Skip to main content

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

See other formats 


:-^??!-:n 


Iri   > 


m^ 


CATALOGUE  OF 

POLITICAL  AND  PERSONAL 
SATIRES 


'^^- 


^  has  Burden  _ 


_  AncCUu^  MncC  sUuk So  tuwCjious  y.-cls  Uu.  hy]'— 


lON-JJI-     ^' 


.  What  w^ became  ^  ^o  Yermm^  ^^ 3idt  skauUMs^-  r  //  ^  f"  -^  ^  ■" 


"/ 


i\o.  T328.S 


CATALOGUE  OF 

POLITICAL  AND  PERSONAL 

SATIRES 

PRESERVED  IN  THE  DEPARTMENT  OF 

PRINTS  AND  DRAWINGS  IN 

THE  BRITISH  MUSEUM 

VOL.  IX 
1811-1819 

By 
MARY   DOROTHY   GEORGE 

LiTT.D. 


PRINTED  BY  ORDER  OF  THE  TRUSTEES 

1949 


Sold  at 

THE  BRITISH  MUSEUM  and  by 

H.M.  STATIONERY  OFFICE,  York  House,  Kingszvay,  London,  IV.C.2. 

BERNARD  QUARITCH  Ltd.,  ii  Grafton  Street,  London,  W.i. 

CAMBRIDGE  UNIVERSITY  PRESS,  200  Euston  Road, 

London,  N.W.i,  and  51  Madison  Avenue,  Neiv  York,  U.S.A. 

KEGAN  PAUL,  TRENCH,  TRUBNER  &  Co., 

43  Great  Russell  Street,  London,  W.C.i. 


.•7  A  t> 


'U 


V  9 


L 


LIBRARY 

75^93(1 

UNIVERSITY  OF  TORONTO 


PRINTED  IN  GREAT  BRITAIN 


CONTENTS 

PREFACE,  ending  with  Notes  on  Method,  and  Abbreviations       .          .  vii 

INTRODUCTION xiii 

CORRIGENDA,  ETC.,  to  Vols.  IV,  V,  VI,  VII,  VIII,  IX      .          .  lix 

CATALOGUE       ..." i 

ADDENDA,   1812-19     .          . 1004 

INDEX  OF  PERSONS 1013 

INDEX  OF  TITLES 104 1 

INDEX  OF  SELECTED  SUBJECTS 1069 

INDEX  OF  ARTISTS 1083 

INDEX  OF  PRINTSELLERS  AND  PUBLISHERS       .          .          .  1089 


PREFACE 

A  CONVENTION,  which  goes  back  to  1877  and  the  issue  of  Volume  III, 
Part  I ,  of  the  Catalogue  of  Political  and  Personal  Satires,  imposes  on 
the  Keeper  of  the  Department  of  Prints  and  Drawings  the  task  of  intro- 
ducing each  volume  with  some  prefatory,-  remarks  and  acknowledgements. 
The  need  to  introduce  Mrs.  George,  who  resumed  the  series  in  1935  and 
has  now  completed  five  volumes  of  the  catalogue,  is  no  longer  obvious. 
Her  work  speaks  for  itself  and  the  material  which  she  describes  and  anno- 
tates, though  it  forms  part  of  the  contents  of  the  Department,  is  primarily 
material  for  the  historian  of  politics  and  manners  rather  than  for  the 
historian  of  art.  For  someone  who  is  not  a  professed  historian  (in  the 
former  sense)  it  is  something  of  an  impertinence  to  introduce  Mrs.  George's 
introduction,  in  which  the  scope  and  contents  of  the  volume  are  fully 
explained. 

The  following  facts  may,  however,  be  recorded  here.  The  volume  covers 
nine  years,  one  year  less  than  the  preceding  volume,  with  some  200  fewer 
entries  but  with  twenty-one  more  pages  of  text.  The  principal  theme  of 
Volume  VIII  was  the  comparatively  simple  issue  of  defence  against  in- 
vasion; events  recorded  here  have  become  more  complex,  their  implica- 
tions wider,  and  their  interpretation  lias  demanded  more  space. 

The  first  draft  of  Volume  IX  was  prepared  in  manuscript  at  Aber}'st\\yth 
during  the  war  and  revised  and  completed  in  London. 

Dr.  George  wishes  to  express  her  thanks  for  help  given  her  by  the  Staff 
of  the  National  Library  of  Wales,  Mr.  S.  G.  H.  Burger,  Miss  R.  M.  Clay, 
Mr.  W.  E.  Cox,  Brigadier-General  Sir  James  Edmonds,  C.B.,  C.M.G., 
Professor  Constantia  Maxwell,  Dr.  Percy  Scholes,  and  Mr.  A.  S.  White. 
Dr.  George  wishes  also  to  thank  the  Director  of  the  Staatssammlungen  in 
Vienna  for  the  information,  obtained  through  the  kindness  of  Dr.  Gombrich, 
that  no  Austrian  Napoleonic  caricatures  are  recorded.  This  negative  in- 
formation arrived  too  late  for  inclusion  in  the  introduction. 

A.  E.  POPHAM 


NOTES  ON  THE  METHOD  USED  IN  THE  PRESENT 

VOLUME 

THE  method  is  that  of  Volumes  V-VIH,  namely,  that  of  the  earlier 
volumes  with  certain  modifications.  The  prints  are  divided  into  two 
categories,  political  and  non-political,  with  a  few  borderline  subjects  scarcely 
possible  to  classify  with  rigid  consistency.  Political  prints  are  arranged  chrono- 
logically according  to  the  date  of  publication.  Undated  prints  are  given  a 
conjectural  date  in  a  square  bracket ;  French  prints  are  normally  undated,  but 
dates  of  some  of  these  have  been  obtained  from  De  Vinck  (too  late  for  re- 
arrangement). Such  dates  (given  in  a  square  bracket)  are  those  of  deposit  at 
an  official  bureau,  which  coincided  with  a  licence  to  publish ;  occasional  Press 
notices  show  that  publication  followed  almost  immediately.  Non-political 
plates  are  grouped  in  years,  but  arranged  according  to  series,  subject,  or  artist, 
categories  which  overlap  in  a  way  that  defies  uniformity  of  classification.  The 
titles  are  given  in  block  capitals,  the  publication  line  and  the  inscriptions  on 
the  plate  in  italics.  To  avoid  ambiguity,  foreign  words,  &c.,  which  would 
normally  be  printed  in  italics,  are  in  roman  type  in  the  descriptive  paragraphs 
to  show  that  they  are  no  part  of  the  inscription.  The  dimensions  are  those  of 
the  subject,  not  the  plate,  except  when  the  contrary  is  specified,  the  first  being 
the  upright,  the  second  the  horizontal  measurement  (reversing  the  order  in 
Volumes  I-IV). 

As  in  Volumes  V-VHI  'engraving'  is  used  to  include  line-engraving, 
etching,  and  stipple-engraving.  The  majority  of  the  plates  are  in  fact  etch- 
ings, but  woodcuts  have  become  more  numerous,  and  from  1817  lithographs 
increase.  As  before,  a  few  prints  have  been  described  from  photographs  or 
reproductions ;  it  is  hoped  that  these  will  some  day  be  included  in  the  collec- 
tion, and  it  will  be  noted  from  Corrigenda  that  some  have  been  acquired  since 
the  publication  of  Volume  VHI.  Copies  or  slightly  altered  states  have  the 
number  of  the  original  followed  by  a  (or  a,  b,  &c.).  No  distinction  is  made 
between  different  states  unless  there  has  been  some  essential  alteration  in 
engraving  or  lettering.  The  addition  of  a  press-mark  preceded  by  the  letters 
B.M.L.  indicates  that  the  print  is  in  the  British  Museum  Library,  not  in  the 
Print  Room. 

The  subject-index  is  supplementary  to  the  index  of  persons  and  to  the 
cross-references  in  the  text.  It  is  intended  to  show  broadly  from  year  to  year 
what  were  the  main  preoccupations  of  the  caricaturist,  and  also,  so  far  as 
possible,  to  give  references  to  the  subjects  most  sought  after  by  students. 
Political  events  are  not  indexed,  but  will  be  found  under  the  appropriate  date 
and  from  the  cross-references  there  given. 


vui 


PUBLISHED  WORKS  AND  COLLECTIONS  REFERRED 
TO  IN  THE  CATALOGUE  BY  ABBREVIATIONS 


A.  de  R. 


Binyon 

Bourguignon 
Broadley 

'Caricatures' 

Caricatures  of  Gillray 

Cohn 
Colas 
Cruikshankiana 

Cruikshatikian  Momus 
Dayot,  Napoleon 
De  \^inck 


Everitt 
Fenaille 

Fuchs 

G.W.G. 

Genest 
Grand-Carteret 


—  A  collection  of  caricatures  belonging  to  Mr.  Anthony 

de    Rothschild,    bound    in    t\vent\-    folio    volumes, 

lettered  I-XVIII,  'Gillray',  and  'Bunbur>'.    T>-pe- 

script   catalogue    in    the   Print   Room   presented   by 

Mr.  de  Rothschild. 
=  Catalogue  of  Drawings  by  British  Artists  and  Artists 

of  foreign  origin  uorking  in  Great  Britain,  preserved  in 

the  Department  of  Prints  and  Drazvings  in  the  British 

Aluseutn.    1898-1907. 
=  Jean     Bourguignon,     Napoleon     Bonaparte,     d'apr^s 

Arnault,  .  .  .  [Sec.].   Deux  tomes.   Paris,  1936. 
=  A.  M.  Broadley,  Napoleon  in  Caricature  I7g5-i82i. 

With  an  introducton,-  essay  on  pictorial  satire  as  a 

factor  in  Napoleonic   histon.-   by   J.   Holland   Rose. 

Two  vols.    191 1  [19 10]. 
=  A  collection  of  caricatures,  mounted  in  twelve  folio 

volumes,  transferred  from  the  B.M.L.  (press-mark 

Tab.  524).    See  \'olume  V,  p.  viii. 
=  The  Caricatures  of  Gillray;  icith  historical  and  political 

anecdotes   and   notes.     Pts.    i-xi.     Pub.    John    Miller 

[1818]. 
=  Albert   M.   Cohn,    George   Cruiksliank,   a   Catalogue 

Rai Sonne  of  the  work  executed  .  .  .  iSoO-iSjJ.    1924. 
=  Rene  Colas,  Bibliographic  ge'n&ale  de  Costume  et  de 

la  Mode.    Deux  tomes.    Paris,  1933. 
=  Cruikshankiana,    .    .    .    the  most   celebrated   Works  of 

George  (huiksluink  [and  others]  .  .  .  f<r  Plates  on  68 — 

Price  four  Guineas  .  .  .    London:  Published  by  Thomas 

McLean,  26,  Haymarkct  [1835]. 
=  .  .  .  Pictorial  Broadsides  .  .  .  by  the  three  Cruikshanks 

.  .  .  1892. 
=  Napoleon  rocont^  par  i image  d'apres  les  sculpteurs,  les 

graveurs  et  les  peintres.    Paris,  1895. 
=  Bibliotheque    Nationale,    Inventaire   analytiquc   de   la 

Collection   de    Vinck.     Tonws   i,   ii  par  F.    L.   Bruel, 

Paris,    1909,    1 9 14;    Tome  Hi  par  M.   Aubert  et  M. 

Roux,  1921  ;  Tome  iv  par  Marcel  Roux,  1929;  Tome  v 

par  Anne-Marie  Rosset,  1938. 
=  Graham    Everitt,    English    Caricaturists   and  graphic 

humourists  of  tlie  nineteenth  century  .  .  .,  1886. 
=  Maurice  Fenaille,  L'Qiiuvre  grave'e  de  Philibcrt  Louis 

Debucourt  .  .  .,  preface  et  notes  de  Maurice  Vaucaire. 

Paris,  1899. 
=  Eduard  I'uchs  und  Hans  Kracmer,  Die  Karikatur  der 

europdischen   Volker  vom  Althertum  bis  zur  Neuzeit. 

Berlin,  1901. 
=  Genuine    Works    of   Mr.   James    Gillray.     Published 

T.  M'Lean,  1830  (from  the  original  plates).    Illustra- 
tive Description  in  separate  volume. 
=  John  Genest,  Some  Account  of  the  English  Stage  from 

.  .  .  1660  to  1830.    Ten  vols.    Bath,  1832. 
=  John  Grand-Carteret,  Les  Mocurs  et  la  Caricature  en 

France.    Paris,  1888. 


IX 


ABBREVIATIONS 


Grand-Carteret, 

Allemagne 
Grand-Carteret 

Napoldon 
Grego,  Gillray 

Grego,  Rowlandson 

H.M.C. 
Hagen 

Hennin 


J.L.D. 

Jaime 

Kay 

Layard 
Meteor 
Milan 

Reid 

Rubens 


Satirist 
Schulze 


Scourge  — 

Simond,  Paris  = 

Town  Talk  — 

Van  Stolk  = 

Wright  and  Evans  = 


-■  John  Grand-Carteret,  Les  Mceurs  et  la  Caricature  en 

Allemagne,  en  Autriche  —  en  Suisse.   Paris,  1885. 
=  Idem,  Napoleon  en  Images,  Estampes  anglaises.   Paris, 

1895. 

=  James  Gillray  the  Caricaturist,  with  the  History  of  his 
Life  and  Times.    Ed.  T.  Wright,  1873. 

:  Joseph   Grego,   Rowlandson   the   Caricaturist.     Two 
vols.  1880. 

■  Historical  MSS.  Commission. 

■■  Carl  Hagen,  Der  Maler  J.  M.  Voltz  ....  Nehen  einem 
Verzeichnisse  seiner  Werke.    Stuttgart,  1 863 . 

■■  Inventaire    de    la    Collection    d'Estampes    relatives    a 
Vhistoire  de  France  le'guee  en  1863  a  la  Bibliotheque 
Nationale   par   Michel   Hennin,    redige   par    Georges 
Duplessis.    Tome  iv.    Paris,  1882. 
A  collection  of  caricatures  belonging  to  Mr.  J.  L. 
Douthwaite,  bound  in  one  volume. 
Musee  de  la  Caricature,  on  Recueil  des  Caricatures  les 
plus    remarquables,    publie'es     en     France     depuis    le 
quatorzieme  siecle  jusqn'a  nos  jours,  calquees  et  gravees 
par  E.  Jaime.    Deux  tomes.    Paris,  1838. 
A  Series  of  Original  Portraits  and  Caricature  Etchings 
by  John  Kay  with  Biographical  Sketches  and  Illustra- 
tive Anecdotes.    Ed.  H.  Paton.    2  vols.    Edinburgh, 

1877. 

George  Somes  Layard,  Suppressed  Plates,  Wood 
Etigravings,  &c.  .  .  .  1907. 

The  Meteor;  or.  Monthly  Censor.  A  Critical,  Satirical, 
and  Literary  Magazine,  i  Nov.  181 3  to  i  July  18 14. 
Comune  di  Milano,  Istituti  di  Storia  e  d'Arte:  Le 
Stampe  Storiche  ...  P.  Arrigoni  e  Achille  Bertarelli, 
Catalogo  Descrittivo.    1932. 

George  William  Reid,  A  Descriptive  Catalogue  of  the 
Works  of  George  Cruikshank  .  .  .  1871. 
Alfred    Rubens,    Anglo-Jewish    Portraits.     A    Bio- 
graphical  Catalogue  of  Engraved  Anglo-Jetvish  and 
Colonial   Portraits  from    the    Earliest    Times    to    the 
Accession  of  Queen  Victoria.    1935. 
The  Satirist,  or  Monthly  Meteor.    1808-14. 
Friedrich  Schulze,  Die  deutsche  Napoleon-Karikatur, 
Eine    Auswahl    und    Wilrdigung    der    hezeichnendsten 
Blatter.    Weimar,  1916. 

The    Scourge;    or    Monthly    Expositor    of   Literary, 

Dramatic,  Medical,  Political,  Mercantile,  and  Religious 

Imposture  and  Folly,  181 1-16. 

Charles  Simond,  Paris  de  1800  a  igoo  d'apres  les 

Estampes    et    les   Me'moires    du    temps,    Paris,    1900. 

Tome  i,  1 800-1 830. 

Town  Talk;  or.  Living  Manners.    1811-14. 

G.  van  Rijn,  Atlas  van  Stolk,  Katalogus  der  Historie- 

Spot-   en   Zinne-prenten   hetrekkelijk   de   Geschiedenis 

van  Nederland,   verzameld  door  A.   van   Stolk,   Cz. 

w'n^^,  viii^e  deel.   Amsterdam,  1906,  1908. 

Thonias  Wright  and  R.   H.   Evans,   Historical  and 

Descriptive    Account    of    the    Caricatures    of  James 

Gillray,    1851.     A  key   to   the   edition   of  Gillray 's 

plates  published  by  Bohn  in  1851. 


FURTHER  ABBREVIATIONS  USED  IN  THE  DESCRIPTIONS 


B.M.L. 

=  British  Museum  Librar\'. 

H.L. 

=  Half  length. 

T.Q.L. 

=  Three-quarter  length. 

V.  &  A. 

=  Victoria  and  Albert  Museum,  Department  of  Engraving, 

Illustration,  and  Design. 

W.L. 

=  Whole  length. 

1. 

=  left. 

r. 

=  right. 

pi. 

=  plate. 

XI 


INTRODUCTION 

THE  tremendous  drama  and  the  startling  transitions  of  the  nine  years  of 
the  Regency  (covered,  except  for  a  few  days,  in  this  volume)  could  scarcely 
be  more  vividly  displayed  than  in  the  caricatures  of  the  day.  From  being 
almost  entirely  English,  Napoleonic  satire  suddenly,  from  1813  to  181 5, 
becomes  European,  to  some  degree  international,  yet  with  English  and  French 
satires  in  strong  and  significant  contrast.  The  volume  opens  with  the  turn  of 
the  tide,  with  the  Russian  bear  escaping  from  bondage,  and  the  Peninsular 
War  on  the  way  to  victor}'.  But  in  181 1  and  1S12  this  was  not  apparent,  dis- 
tress at  home  tilled  much  of  tiic  horizon;  the  Government  had  dilhculties 
which  the  Opposition  had  not  fathomed.'  Nevertheless,  the  Opposition 
believed  in  the  invincibility  of  Napoleon;  they  thought  his  bulletins  more 
truthful  than  Wellington's  dispatches:  the  sh(Kk  of  the  famous  29tii  Bulletin, 
on  the  'frightful  calamity'  that  had  overtaken  the  Grande  Armce,  was  corre- 
spondingly great,  but  fleeting.  From  the  first  the  caricaturists  appreciated  the 
news  from  Russia,  and  exploited  the  popular  glorification  of  the  Cossack,  who, 
with  Jack  Frost,  became  their  hero.  In  France,  apotheoses  of  Napoleon  and 
state-directed  attacks  on  his  enemies  had  filled  the  print-shops.  On  the  mere 
rumour  that  a  royalist  print  had  been  seen,  Napoleon  set  his  police  in  motion.^ 
A  few  anti-Bonapartist  prints  circulated  as  the  Empire  was  crumbling;  after 
the  abdication  bitter  royalist  satires  took  their  place.  Before  the  Hundred 
Days  anti-Bourbon  prints  had  begun'  to  creep  out;  with  Napoleon's  entr}' 
into  Paris  a  Hood  of  Bonapartist  prints  began,  to  be  replaced  after  Waterloo 
with  the  most  cruelly  savage  phase  of  French  graphic  satire  on  Napoleon. 
More  or  less  clandestine  anti- Bourbon  prints  were  soon  in  circulation. 

In  England,  Napoleonic  prints  continued  after  victory  much  as  before;  they 
corresponded  as  always  to  the  events  and  controversies  of  the  day.  It  is  note- 
worthy that  though  ICnglish  prints  are  essentially  and  unmistakably  English, 
they  are  far  from  insular:  Leipzii:  made  more  impression  than  Vittoria,  per- 
haps than  \\'aterloo,  and  Wellington  as  hero  dcx-s  not  rank  apprecialtly  higher 
than  Alexander,  Bernadotte,  or  BJiicher.  The  Cossack  plays  a  part  scarcely 
less  and  far  more  gallant  than  John  Bull.  Here  again  the  shrinking  from 
heroics  plays  its  part.*  English  caricaturists  havi-  been  blamed  for  'iirnoble 
exultation'  at  the  tall  of  Napoleon,  and  such  is  undoubtedly  the  spirit  ot  many 
of  the  Elba  prints.  Gentlemanliness  and  restraint  were  no  part  of  the  caricatur- 
ists' code,  and  the  Regent  and  his  Ministers  were  treated  at  least  as  harshly 
as  Napoleon.  Exultation  and  derision,  following  naturally  on  the  long  years 
of  effort  and  disappointment,  were  an  instinctive  British  reaction  to  Imperial 
pomp;  hate  is  more  conspicuous  in  French  and  Ckrman  prints.  Internal 
dissension  and  an  attitude  to  a  defeated  enemy  that  was  to  become  traditional 

'  'Had  the  Opposition  been  in  possession  of  all  the  difficulties  attendant  on  carr\inK 
on  the  war  in  the  Peninsula  two  years  ago,  the  troops  would  ha\c  been  by  this  time 
withdrawn.'  Bathurst  to  Wellington,  13  Oct.  1812.  Wellington,  Supplementary  Dis- 
patches, vii.  456. 

^  A.  Blum,  'La  Caricature  politique  en  France  sous  le  Consulat  et  rEmpirc',  Rev. 
des  Etudes  Xapoleonirtttics,  i.  302. 

'  So  say  Blum  and  Cirand-Carteret,  instancing  a  February  plate  to  I.r  \a>n  Jnurw. 
But  according  to  the  Exonnnrr,  30  Oct.  1814:  'Caricatures  against  the  Bourbons  con- 
tinue to  be  circulated  w  ith  great  audacity.  There  is  one  representing  "The  Thuillerics 
from  which  a  number  of  Eagles  are  flying,  and  a  flock  of  tvrtr,  preceded  by  an  unwieldy 
gander,  waddling  in."  '  This  print  was  a  subject  of  pleased  comment  by  Napoleon  at 
St.  Helena,  accordinc  to  the  Stemnrial  of  Las  Cases. 

■•  V^olume  VHI,  p.  xvi. 

xiii 


INTRODUCTION 

soon  combined  to  evoke  prints  in  which  Napoleon  is  an  injured  exile.  Also, 
satire  at  its  most  characteristic  attacks  those  in  power:  Ministers  always, 
Napoleon  while  an  Emperor.  In  fact,  almost  every  view-point  of  a  period 
of  bitter  controversy  can  be  found  in  the  satires. 

With  regard  to  Napoleon  the  question  of  state-influenced  propaganda  does 
not  arise ;  it  was  unnecessary,  the  prints  are  clearly  the  expression  of  national 
feeling.  No  artist  takes  the  place  of  the  pensioned  Gillray,  ready  in  an  emer- 
gency to  come  to  the  help  of  Ministers.'  No  consistent  political  sympathies 
are  discoverable  in  the  professional  caricaturists  (with  the  possible  exception 
of  Marks),  other  than  the  natural  inclination  of  the  satirist  to  oppose.  Print- 
sellers  on  the  other  hand  have  their  political  sympathies.  There  are  many 
Radical  prints  that  are  propagandist  in  the  sense  of  being  intended  to  influence 
opinion.  Some  on  the  other  side  are  doubtless  to  be  attributed  to  amateurs, 
or  to  printsellers  anxious  to  counteract  dangerous  tendencies,  or  hoping  for 
Ministerial  favour.  Some  possibly  owe  something  to  Ministerial  suggestion, 
as  some  newspapers  published  articles  and  paragraphs  supplied  by  Croker  or 
Arbuthnot.  Plates  to  the  Tory  Satirist  are  frankly  Ministerial,  and  are  usually 
at  odds  with  other  political  prints. 

What  distinguishes  these  English  caricatures  from  all  others  in  Europe  is 
that  they  are  based  on  a  completely  free  Press  and  on  a  deep  interest  in  the 
details  of  politics  and  the  debates  in  Parliament.  How  free  the  Press  was  is 
sometimes  obscured  by  the  notoriety  given  to  Press  prosecutions.  But  even 
when  these  did  not  fail,  as  they  often  did,  they  did  not  curb  the  Press.  Leigh 
Hunt,  in  prison  for  a  libel  on  the  Regent,  continued  to  edit  the  Examiner,  and, 
now  embarked  on  a  vendetta,  increased  the  severity  of  his  gibes  at  the  Prince. 
Carlile,  similarly  safe  from  prosecution  in  Dorchester  Jail,  went  on  with  his 
Republican,  publishing  articles  that  were  openly  seditious.  When  in  1812 
Wellington  complained  to  Liverpool  of  the  information  given  to  the  enemy 
in  the  newspapers,  the  answer  was  that  when  once  the  information  (from 
Wellington's  own  officers)  had  reached  England,  it  was  impossible,  as  he  must 
know,  to  prevent  publication.  The  Press  Acts  of  18 19  (part  of  the  ill-famed 
Six  Acts)  were  inoperative,  and  were  immediately  followed  by  a  licence  so 
excessive  that,  as  Brougham  said,  it  defeated  its  own  ends.^  And  while  journal- 
ists were  liable  to  prosecution,  caricaturists  were  almost  immune,  so  that,  as 
before,  the  more  risky  allegations  of  a  magazine  or  pamphlet  would  be  em- 
bodied in  a  caricature  without  comment  in  the  text.  For  the  intense  interest 
in  Parliament  (reflected  in  the  caricatures)  the  contents  of  newspapers  are 
evidence — no  need  for  a  Hansard  Society.  In  1824  an  anonymous  pamphlet 
begins:  'Although  the  Chapel  of  St.  Stephen  forms  for  half  a  year  the  leading 
topic  of  conversation  with  the  whole  British  public,  and  though  it  always 
contrives  to  impose  upon  them  some  memorial,  in  consequence  of  which  they 
do  not  forget  it  during  the  other  half.  .  .  .'^  Debates  were  said  to  be  far  more 
effective  than  pamphlets,  because  more  read."^ 

This  preoccupation  with  the  details  of  politics  is  an  important  element  in 
the  contrast  between  French  and  English  caricature :  in  France  the  boredom 
engendered  by  years  of  official  news  and  a  rigid  Press  censorship ;  in  England 
a  zest  for  politics  and  the  daily  and  weekly  newspaper.  English  prints  are 
factual,  often  detailed  to  a  fault,  with  lengthy  citations  from  the  Debates,  and 
tending  to  be  Oppositionist  where  home  aff^airs  are  concerned.  French  satires 
are  primarily  expressions  of  emotion  or  of  ideas,  and  are  alternately  Bonapar- 
tist  and  Bourbonist  with  changes  as  sudden  and  complete  as  the  volte-faces  of 

'  Ibid.,  pp.  xii,  xiv.  ^  ^■^j^  ^^  ^xvii.  51  (1838).  See  below,  p.  xliv,  n.  i. 

^   The  Collective  Wisdom;  or  Sights  and  Sketches  in  the  Chapel  of  St.  Stephen.  .  .  . 
*  Edin.  Rev.  xliv.  458  (1826). 

xiv 


INTRODUCTION 

the  Press.  In  both  countries  the  relationship  between  the  spirit  of  caricature 
and  of  the  Press  was  close.  'La  veille  de  I'abdication  les  journaux  appelaient 
encore  I'Empereur  "I'arbitre  souverain  des  destinees  du  monde,  I'interprete 
des  volontes  du  ciel,  I'executeur  des  decrets  divins",  le  Icndemain  ils  le  traitent 
de  "despote,  d'oppresseur,  de  tigre  a  face  humaine".  Un  de  ceux  qui  I'avait 
le  plus  adule  lui  donne  le  nom  de  "Nicolas"  et  le  compare  a  Robespierre.'' 
Just  so  is  he  treated  in  the  prints.  Facts  are,  comparatively  speaking,  irrelevant 
to  French  caricaturists.  An  extreme  example  is  Expedition  Anglaise  (No. 
10537),  in  which  a  British  expedition  to  the  Continent  ends  in  rapid  and 
ignominious  retreat.  This  might  apply  to  more  than  one  occasion,  and  in 
Volume  Vm  it  was  conjecturally  attributed  to  the  Weser  expedition  in  1806; 
in  De  Vinck  it  is  placed  with  prints  on  the  French  occupation  of  Hanover. 
But  it  was  published  in  July  1801  when  no  expedition  was  in  contemplation. 
Conversely,  several  English  prints  give  lengthy  quotations  from  Napoleon's 
most  important  speeches;  no  such  concern  with  the  details  of  policy  is  to  be 
expected  in  a  French  print. 

The  impression  made  by  the  retreat  from  Moscow,  followed  by  international 
co-operation,  evoked  a  remarkable  episode  in  caricature  history,  the  inter- 
national copying  of  prints  on  an  unprecedented  scale.'  England,  the  first  in 
the  field,  and  a  great  exporter  of  caricatures,  might  have  been  expected  to  take 
the  lead.  But,  if  we  regard  as  international  those  prints  with  variants  in  at 
least  three  countries,  Germany  takes  the  first  place  with  Russia  as  sole  com- 
petitor.-' There  is  indeed  one  international  English  satire  on  Napoleon,  but 
it  belongs  to  1803:  Gillray's  famous  The  King  of  Brohdingnag  and  (tuUiver 
(No.  10019);  this  was  copied  for  London  und  Paris  in  1803,  a  Spanish  version 
probably  belongs  to  1808.  In  a  German  adaptation  of  18 13  the  Tsar  replaces 
George  III,  and  there  is  a  verse  inscription  beginning  'Zu  mir  nach  Russland 
kamest  du';  there  is  an  Italian  version  of  this  with  a  literal  translation  of  the 
verses.  In  its  adaptation  to  three  separate  crises  it  must  surely  stand  alone. 
The  first  caricature  reaction  was  a  set  of  Russian  caricatures,  purely  national 
in  outlook  and  confined  to  the  events  of  181 2.  It  is  clear,  however,  that 
the  Russian  artists  have  been  intluented  by  Western  prints.  Perhaps  the 
earliest  of  the  prints  here  called  international  is  the  Russian  print  of  Napoleon 
riding  a  crayfish  and  holding  out  a  bunch  of  twigs  to  a  Cossack  who  gallops 
towards  him,  lance  in  rest.  A  German  copy  is  in  the  Print  Room.  There  is 
also  a  later  German  version  adapted  to  March  1814  by  the  introduction  of 
Paris  (Montmartre)  in  the  background  (Milan,  No.  2480)  and  a  similar 
French  version  (De  \'inck,  No.  8909).  But  the  theme  of  the  unlucky  general 
riding  a  crayfish — emblem  in  France  for  the  slow  and  the  retrograde — is 
French,  and  was  applied  to  Jourdan  in  a  print  of  1799.'* 

From  January  to  June  1813  Cruikshank  did  a  set  of  eight  caricatures  from 
Russian  originals,  chiefly  by  Terebenef.  Though  more  adaptations  than 
copies  they  are  unlike  the  German- Russian  plates  in  being  professedly  from 
the  Russian;  they  have  inscriptions  in  Russian  and  in  English — on  one  indeed 
there  are  also  inscriptions  in  German  and  French.  One  of  the  set,  Russians 
teaching  Boney  to  dance  (No.  12046),  is  international  in  that  there  are  also 

'  Welschinger,  La  Censure  sous  le  premier  Empire,  Paris,  1882,  p.  128. 

*  There  is  an  earlier  instance  of  an  international  set  of  caricatures,  HoUandia  Re/^ene- 
rata:  drawn  by  Hess,  a  Swiss,  etched  by  Gillray,  produced  in  England  for  propagandist 
circulation  in  Holland,  copied  in  Italv  and  in  Germany  (Gcittingen).  .See  Vol.  VII, 
p.  xii,  No.  8846,  &c. 

'  The  instances  given  below  are  based  on  the  prints  in  the  Museum,  on  Broadiey's 
analysis  (Appendixes  in  vol.  ii),  reproductions  in  Schulze,  Grand-Carteret,  and  other 
works  listed  on  p.  ix  f.,  and  on  the  catalogues  cited  as  De  Vinck,  Van  .Stolk,  Milan,  and 
Schulze.  «  Grand-Carteret,  p.  63. 

ZV 


INTRODUCTION 

German  and  Italian  versions  of  the  original.  Another  interesting  example  of 
Anglo-Russian  copying  is  Rowlandson's  adaptation  of  Terebenef's  Shepherd 
and  Wolf  to  the  first  abdication  and  the  return  of  the  Bourbons.  This  is 
shown  in  the  frontispiece  and  it  will  be  noted  that  the  Russian  artist  seems  to 
have  based  his  shepherd  (the  Tsar)  on  George  III  in  Gillray's  Death  of  the 
Corsican  Fox  (1803)  adapted  by  Rowlandson  in  18 14  (No.  12220). 

The  high  tide  of  German  caricature  was  after  Leipzig  (there  had  previously 
been  a  few  cautious  prints  on  the  coffee  shortage,  &c.,  due  to  the  blockade), 
when  there  was  an  outburst  of  satirical  prints  comparable  with  the  uprush  of 
patriotic  verse.  The  international  satire  par  excellence  is  the  famous  'corpse 
head'  by  Voltz,  published  as  'A  New  Year's  Offering  to  the  German  People' 
(No.  12177).  Though  it  is  in  some  degree  a  new  form,  it  derives  in  part  from 
the  old  hieroglyphic  print,  packed  with  allusions  and  incomprehensible  with- 
out an  explanation,  in  part  from  the  puzzle-print  with  contours  that  conceal 
a  profile,  in  part  from  the  popular  prints  of  persons  constructed  from  the 
tools  or  symbols  of  their  trade. ^  The  new  idea  was  that  of  taking  a  flattering 
portrait  of  Napoleon,  well  known  in  Germany,  and  turning  it  into  an  emble- 
matic expression  of  hate  as  'The  true  Portrait  of  the  Conqueror'.  The  cocked 
hat  becomes  a  Prussian  eagle  gripping  the  head  with  its  claws;  the  face  is 
covered,  inconspicuously,  with  naked  figures,  correctly  drawn,  victims  of  a 
lust  for  conquest.  The  coat  is  a  map  of  Germany  marked  with  the  battles  of 
the  Leipzig  campaign;  the  collar  is  'a  sea  of  blood';  the  star  on  the  breast 
becomes  a  cobweb,  the  Confederation  of  the  Rhine,  while  the  epaulet  is 
'the  mighty  Hand  of  God'  about  to  tear  the  web  asunder.  There  are  other 
German  versions,  one  with  a  hat  composed  of  five  eagles  (for  Russia,  Austria, 
Prussia)  and  one  where  the  epaulet-hand  represents  the  Allies,  on  each  finger 
a  ring,  and  on  each  ring  an  initial  letter.  This  last  is  the  version  most  copied 
abroad,  and  the  beringed  hand  appears  on  other  German  prints.  In  one 
French  version,  known  as  'La  Chouette',  there  is  an  owl;  in  one  the  hand 
becomes  'la  main  de  Justice'  (see  No.  12247).  There  are  at  least  five  French, 
eight  Italian,  several  Dutch,  two  Swedish  versions.  The  Spanish  variant 
seems  based  on  an  English  version,  at  all  events  prominence  is  given  to 
Inglaterra.  The  Portuguese  is  an  inferior  version  of  the  Spanish  and  the  only 
Portuguese  Napoleonic  print  discovered  by  Broadley,  as  the  Russian  variant 
is  the  only  Russian  print  not  relating  to  the  campaign  of  1812.  It  is  probable 
that  some  of  these  were  produced  in  Germany  for  circulation  abroad.  In  the 
first,  or  seemingly  the  first,  of  many  English  variants  the  venue  is  changed 
from  Germany  to  the  Peninsula,  and  the  eagle  of  the  hat  becomes  a  damaged 
French  eagle  (as  in  many  versions).  Six  English  variants  are  catalogued  here, 
including  two  on  broadsides  with  much  printed  matter.  The  spider  becomes 
either  the  vigilance  of  the  Allies  or  the  black  heart  of  Napoleon,  and  the 
German  theme  of  the  direct  intervention  of  God  is  absent.  A  seventh  (No. 
12535)  is  a  more  remote  adaptation,  a  print  of  the  Hundred  Days.  Before 
this,  a  companion  plate  to  the  head  of  Napoleon  was  produced  in  England,  a 
wholly  flattering  portrait  of  the  Tsar.  There  is  also  a  set  of  three  equestrian 
portraits  by  Heath,  in  March  1814,  in  the  manner  of  the  Voltz  head,  one  of 
Napoleon  as  a  fiend  (No.  12195),  his  thighs  covered  with  interlaced  corpses, 
the  others  of  Alexander  and  Bernadotte  as  heroes.  From  the  Buonaparte  may 
derive,  paradoxically,  the  only  patriotic  French  print  discovered  by  Champ- 
fleury  relating  to  the  invasion  of  18 14:  a  Cossack,  emblem  of  war,  on  a  horse 
formed  of  the  corpses  of  men,  women,  and  children.^    After  Waterloo,  a 

'  See  below,  p.  xxiv  f. 

^  Other  patriotic  prints,  published  during  the  first  Restoration,  are  directed  against 
the  plundering  Cossack.   De  Vinck,  Nos.  8890-2,  8931  (31  Aug.  1814). 

xvi 


INTRODUCTION 

similar  W.L.  portrait  of  Napoleon,  General  Sans  Pareil,  probably  also  by  Voltz, 
appeared.  French  and  English  versions  are  described  here,  the  latter  almost 
certainly  copied  from  the  former.   There  is  also  said  to  be  an  Italian  version. 

The  history  of  the  'corpse  head'  does  not  end  here.  It  was  adapted  in 
France  in  1871  to  a  savage  attack  on  Napoleon  III,  and  analogous  heads  have 
appeared  of  Bismarck,  William  I,  and  Pius  IX.'  The  head  of  1814,  in  one  of 
its  many  forms,  was  widely  circulated  throughout  Europe,  and  20,000  copies 
of  the  original  are  said  to  have  been  sold  in  a  week  in  Berlin.  In  the  later 
nineteenth  century  Thomas  Hardy  saw  one  of  the  prints  in  a  Dorsetshire 
cottage  and  introduced  it  into  the  Trumpet  Major.  He  adapted  the  design  to 
the  invasion  threat  of  1804  (paraphrasing  the  original  inscription):  'the  hat 
represented  a  maimed  French  eagle;  the  face  was  ingeniously  made  up  of 
human  carcasses,  knotted  and  writhing  together  in  such  directions  as  to  form 
a  physiognomy;  a  band  or  stock  shaped  to  represent  the  English  Channel, 
encircled  his  throat  and  seemed  to  choke  him;  his  epaulette  was  a  hand  tearing 
a  cobweb  that  represented  the  treaty  of  peace  with  England ;  and  his  ear  was 
a  woman  crouching  over  a  dying  child.' 

Only  less  popular  was  the  German  print  copied  and  enlarged  by  Rowland- 
son  as  The  Devil's  Darling  (No.  I2iq6),  of  which  there  are  also  Frmrh  Dntrh 


ERRATUM 

On  page  xvi  it  is  said  that  Tcrebenef 's  Sfiep/urd  and  \Volf\s  shown 
in  the  frontispiece.  For  this  and  No.  12220,  No.  1328S  has  been 
substituted :  Poor  Bull  iJ  ///>  Burden— or  the  Political  Murraion .'.'.' 


vananisj  ana  tne  two  '^oap  Huhhk-  prmts  {Ah,  Papa,  uelche  schone  Scifm- 
blasen!  by  Voltz,  and  a  similar  plate).  These  Broadlcy  derives,  on  rather  slight 
grounds,  from  Playint^  at  Bubbles  (No.  10022);  they  have  a  closer  analogy 
with  No.  8345,  A  Member  of  the  French  War  Department  raising  Parses  to 
conquer  the  World.  Besides  the  Gulliver  print,  and  the  copies  in  London  und 
Paris,  only  two  German  copies  from  an  English  plate  have  been  traced.  Pin 
Grosser  General  und  ein  Kleiner  Kaiser,  in  which  Bliicher  holds  Napoleon 
poised  on  his  thumb  and  is  about  to  flip  him  away,  is  said  by  Broadley  to  be 
the  original  of  A  Great  General  and  a  Little  Emperor,  published  by  Knight, 
23  May  18 14  (not  in  the  Museum;  reproduced,  Grand-Cartcret,  Napoleon). 
But  since  the  German  plate  is  post-\Vaterloo  tlicre  can  be  no  doubt  of  its 
English  origin.  The  other  is  a  German  adaptation  of  Gillray's  Political- 
Dreamings! — J'isions  of  Peace! — Perspective  Horrors!  (1801),  No.  9735.  This 
is  Napoleons  Traum,  which  Broadlcy  reproduces  and  attributes  to  London  und 
Pans  in  1809:  a  close  copy  of  the  original  had  appeared  in  the  magazine  in 
1802,  and  it  is  scarcely  possible  that  the  adaptation  could  have  appeared  in 
Germany  before  1813,  certainly  not  in  1809.  The  plate  is  not  in  the  B.M.L. 
copy  of  the  magazine.  A  print  published  by  Ackermann  for  publication  in 
Germany  seems  to  stand  by  itself.  It  is  on  Murat's  flight  to  France  after 
Tolentino  in  May  1815:  Komisches  Ende  des  Neapolitatiischcn  Feldzugs,  oder 
Konig  loachim  Murats  Flucht  zu  Wasser,  imprint,  London  bei  Ackermann  & 
C°  No  10 1  Strand  (De  Vinck,  No.  8200). 

'  Grand-Cartcret,  Vieux  Papier s,  ritil/r^  Images,  1896,  p.  149. 

xvii  b 


INTRODUCTION 

German  and  Italian  versions  of  the  original.  Another  interesting  example  of 
Anglo-Russian  copying  is  Rowlandson's  adaptation  of  Terebenef's  Shepherd 
and  Wolf  to  the  first  abdication  and  the  return  of  the  Bourbons.  This  is 
shown  in  the  frontispiece  and  it  will  be  noted  that  the  Russian  artist  seems  to 
have  based  his  shepherd  (the  Tsar)  on  George  III  in  Gillray's  Death  of  the 
Corsican  Fox  (1803)  adapted  by  Rowlandson  in  18 14  (No.  12220). 

The  high  tide  of  German  caricature  was  after  Leipzig  (there  had  previously 
been  a  few  cautious  prints  on  the  coffee  shortage,  &c.,  due  to  the  blockade), 
when  there  was  an  outburst  of  satirical  prints  comparable  with  the  uprush  of 
patriotic  verse.  The  international  satire  par  excellence  is  the  famous  'corpse 
head'  by  Voltz,  published  as  'A  New  Year's  Offering  to  the  German  People' 
(No.  1 2 177).  Though  it  is  in  some  degree  a  new  form,  it  derives  in  part  from 
the  old  hieroglyphic  print,  packed  with  allusions  and  incomprehensible  with- 
out an  explanation,  in  part  from  the  puzzle-print  with  contours  that  conceal 
a  profile,  in  part  from  the  popular  prints  of  persons  constructed  from  the 
tools  or  symbols  of  their  trade.'  The  new  idea  was  that  of  taking  a  flattering 
portrait  of  Napoleon,  well  known  in  Germany,  and  turning  it  into  an  emble- 
matic expression  of  hate  as  'The  true  Portrait  of  the  Conqueror'.  The  cocked 
u„*  u^^^rr.*.c  a  Prussian  eagle  gripping  the  head  with  its  claws;  the  face  is 


seems  based  on  an  English  version,  at  all  events  pronnncin^c  10  gir^^.i  vv. 
Inglaterra.  The  Portuguese  is  an  inferior  version  of  the  Spanish  and  the  only 
Portuguese  Napoleonic  print  discovered  by  Broadley,  as  the  Russian  variant 
is  the  only  Russian  print  not  relating  to  the  campaign  of  1812.  It  is  probable 
that  some  of  these  were  produced  in  Germany  for  circulation  abroad.  In  the 
first,  or  seemingly  the  first,  of  many  English  variants  the  venue  is  changed 
from  Germany  to  the  Peninsula,  and  the  eagle  of  the  hat  becomes  a  damaged 
French  eagle  (as  in  many  versions).  Six  English  variants  are  catalogued  here, 
including  two  on  broadsides  with  much  printed  matter.  The  spider  becomes 
either  the  vigilance  of  the  Allies  or  the  black  heart  of  Napoleon,  and  the 
German  theme  of  the  direct  intervention  of  God  is  absent.  A  seventh  (No. 
12535)  ^s  ^  more  remote  adaptation,  a  print  of  the  Hundred  Days.  Before 
this,  a  companion  plate  to  the  head  of  Napoleon  was  produced  in  England,  a 
wholly  flattering  portrait  of  the  Tsar.  There  is  also  a  set  of  three  equestrian 
portraits  by  Heath,  in  March  18 14,  in  the  manner  of  the  Voltz  head,  one  of 
Napoleon  as  a  fiend  (No.  12195),  his  thighs  covered  with  interlaced  corpses, 
the  others  of  Alexander  and  Bernadotte  as  heroes.  From  the  Buonaparte  may 
derive,  paradoxically,  the  only  patriotic  French  print  discovered  by  Champ- 
fleury  relating  to  the  invasion  of  18 14:  a  Cossack,  emblem  of  war,  on  a  horse 
formed  of  the  corpses  of  men,  women,  and  children.^    After  Waterloo,  a 

'  See  below,  p.  xxiv  f. 

^  Other  patriotic  prints,  published  during  the  first  Restoration,  are  directed  against 
the  plundering  Cossack.   De  Vinck,  Nos.  8890-2,  8931  (31  Aug.  1814). 

xvi 


INTRODUCTION 

similar  W.L.  portrait  of  Napoleon,  General  Sans  Pareil,  probably  also  by  Voltz, 
appeared.  French  and  Enp;lish  versions  are  described  here,  the  latter  almost 
certainly  copied  from  the  former.   There  is  also  said  to  be  an  Italian  version. 

The  history  of  the  'corpse  head'  does  not  end  here.  It  was  adapted  in 
France  in  1871  to  a  savage  attack  on  Napoleon  III,  and  analogous  heads  have 
appeared  of  Bismarck,  William  I,  and  Pius  IX.'  The  head  of  1814,  in  one  of 
its  many  forms,  was  widely  circulated  throughout  Europe,  and  20,000  copies 
of  the  original  are  said  to  have  been  sold  in  a  week  in  Berlin.  In  the  later 
nineteenth  centun,'  Thomas  Hardy  saw  one  of  the  prints  in  a  Dorsetshire 
cottage  and  introduced  it  into  the  Trumpet  Major.  He  adapted  the  design  to 
the  invasion  threat  of  1804  (paraphrasing  the  original  inscription):  'the  hat 
represented  a  maimed  French  eagle;  the  face  was  ingeniously  made  up  of 
human  carcasses,  knotted  and  writhing  together  in  such  directions  as  to  form 
a  physiognomy;  a  band  or  stock  shaped  to  represent  the  English  Channel, 
encircled  his  throat  and  seemed  to  choke  him;  his  epaulette  was  a  hand  tearing 
a  cobweb  that  represented  the  treaty  of  peace  with  England ;  and  his  ear  was 
a  woman  crouching  over  a  dying  child.' 

Only  less  popular  was  the  German  print  copied  and  enlarged  by  Rowland- 
son  as  The  DeziVs  Darling  (No.  12196),  of  which  there  arc  also  French,  Dutch, 
Italian,  and  Swedish  versions.  A  similar  print  whose  German  origin  has  not 
been  noted  (the  plate  is  reproduced  in  Schulzc)  was  published  by  Ackcrmann 
in  1814  as  Magical  Print  of  the  Destroyer!!!  (not  in  the  Museum).  The  Devil 
stands  in  profile,  beside  him  is  his  shadow,  forming  a  silhouette  of  Napoleon. 
The  French  version  seemingly  derives  from  the  English  copy:  it  is  called 
Magical  Print  Portrait  Magiquc  (De  Vinck,  No.  103SS).  In  the  case  of  Der 
Rheinische  Courier,  the  Frencli  version,  and  probably  the  Italian,  are  from  the 
German  original.  Rowlandson  also  copied  and  enlarged  it,  as  Head  Runner 
of  Runaways,  from  Leipzic  Fair  (No.  1 2 192).  There  is  a  second  German  version 
in  which  Napoleon  approaches,  not  the  Rhine,  but  Paris. 

Some  of  these  international  prints  of  (icrman  origin  have  no  recorded 
English  version.  Such  are  Der  (Uiickliche  or  Der  Rheinisc/w  Jaeger  (two 
variants)  and  the  two  'Soap  Bubble'  prints  (Ah,  Papa,  uelclw  schone  Seifen- 
blasen!  by  Voltz,  and  a  similar  plate).  These  Broadlcv  derives,  on  rather  slight 
grounds,  from  Playing  at  Bubbles  (No.  10022);  they  have  a  closer  analogy 
with  No.  S345,  A  Member  of  the  French  War  Department  raising  Forses  to 
conquer  the  World.  Besides  the  Gulliver  print,  and  the  copies  in  London  und 
Paris,  only  two  German  copies  from  an  English  plate  have  been  traced.  Ein 
Grosser  General  und  ein  Kleiner  Kaiser,  in  which  Bliicher  holds  Napoleon 
poised  on  his  thumb  and  is  about  to  flip  him  away,  is  said  by  Broadlcy  to  be 
the  original  of  A  Great  General  and  a  Little  Emperor,  published  by  Knight, 
23  May  1814  (not  in  the  Museum;  reproduced,  Grand-Carteret,  Napoleon). 
But  since  the  German  plate  is  post-\Vaterloo  there  can  be  no  doubt  of  its 
English  origin.  The  other  is  a  German  adaptation  of  Gillray's  Political- 
Dreamings! — Visions  of  Peace! — Perspective  Horrors!  (1801),  No.  9735.  This 
is  Napoleons  Trauni,  which  Broadlev  reproduces  and  attributes  to  London  und 
Paris  in  1809:  a  close  copy  of  the  original  had  appeared  in  the  magazine  in 
1802,  and  it  is  scarcely  possible  that  the  adaptation  could  have  appeared  in 
Germany  before  1813,  certainly  not  in  1809.  The  plate  is  not  in  the  B.M.L. 
copy  of  the  magazine.  A  print  published  by  Ackermann  for  publication  in 
Germany  seems  to  stand  by  itself.  It  is  on  Murat's  flight  to  France  after 
Tolentino  in  May  1815:  Komisches  Ende  des  Neapolitatiischen  Feldzugs,  oder 
Konig  loachim  Murats  Flucht  zu  Wasser,  imprint,  London  bet  Ackermann  & 
C°  No  10 1  Strand  (De  Vinck,  No.  8200). 

'  Grand-Carteret,  Vieux  Papicrs,  Vidlles  Images,  1896,  p.  149. 

xvii  b 


INTRODUCTION 

Instances  of  the  same  theme  repeated  from  country  to  country  are  many. 
Such  are,  pre-eminently,  the  enforced  dance,  with  other  designs  than  those 
mentioned  above  as  deriving  from  the  Russian;  the  shaving-shop  prints  in 
which  Napoleon  is  stripped  of  his  conquests  (reversing  earlier  prints  in  which 
Napoleon  or  a  French  general  had  been  the  barber) ;  Napoleon  as  Robinson 
Crusoe  (not  an  English  them.e,  though  Crusoe  is  mentioned  in  Elba  prints); 
Napoleon  and  the  rats  of  St.  Helena,  elaborated  with  wearisome  reiteration 
(No.  1 2710).  One  of  the  German  rat-prints  was  copied  by  Rowlandson  for 
Ackermann :  Alte  Liebe  rostet  nicht  .  .  .  becomes  War  in  the  East  against  the 
Cats  (23  Feb.  18 16,  not  in  the  Museum).  Foreign  prints  circulated  in  Holland 
with  printed  descriptions  in  Dutch,  often  in  verse  (cf.  No.  121 14).  The  sub- 
ject of  cross-currents  in  Napoleonic  graphic  satire  is  one  that  Broadley  has 
made  his  own;  it  would  not  be  easy  to  exhaust  it. 

In  these  English  importations  from  Germany,  all  published  by  Ackermann,^ 
the  question  of  propaganda  is  almost  irrelevant :  they  were  saleable  novelties, 
in  the  spirit  of  the  overwhelming  sentiment  of  the  moment.  But  from  the 
spring  of  1814,  and  possibly  earlier,  French  versions  of  prints  by  Cruikshank 
were  made  for  circulation  in  France;  here  deliberate  propaganda  is  probable, 
and  there  is  reason  to  suppose  that  these  copies  were  produced  in  England : 
Le  Volant  Corse  is  annotated  in  a  contemporary  hand  'cette  caricature  et  les 
cinq  suivantes  ont  ete  faites  en  Angleterre'.  There  are  in  fact  seven  plates 
by  Cruikshank  with  French  versions  which  are  similar  in  style  and  format. 
The  English  originals  are  Anticipation  for  Boney  or  a  Court  Martial  (No. 
12023,  March  18 13,  with  a  French  adaptation  which  may  be  post-Leipzig  or 
post-Waterloo,  possibly  earlier);  No.  12120  on  'The  Allied  Extinguisher', 
December  1813;  Delusion,  a  New  Farce  (January  1814,  the  French  copy  only 
in  the  Museum,  No.  12178);  The  Allied  Bakers  (i  April  1814,  No.  12206); 
The  Corsican  Shuttlecock  and  The  Corsican  Whipping  Top  (10  and  11  April 
1814,  Nos.  12217-18).  Finally,  The  Last  Tubfull  (20  June  1815),  the  French 
copy  only  in  the  Museum  (No.  12573).  Other  English  satires  with  French 
copies  are  The  Daw  stript  .  .  .  (No.  12098)  and  Explanation  of  the  Arms  of 
Napoleon  Bonaparte  (No.  12235);  ^^e  spelling  'Moscow'  and  'Leipsig'  on  the 
latter  suggests  that  this  too  was  produced  in  England.  In  a  rather  different 
category  is  a  French  adaptation  of  a  non-political  print  by  Rowlandson  of 
1800  to  a  satire  on  Napoleon  and  Marie  Louise  (No.  12270). 

English  adaptations  of  French  prints  are  more  varied  in  character  and 
intention.  No.  121 15,  Un  Empire  a  vendre  un  Empereur  a  pandre  [sic],  pro- 
fesses to  be  copied  from  a  'Placard  posted  on  the  walls  of  Paris',  and  this  may 
well  be  true.  The  French  'Corporal  Violette'  prints  of  March  1815  were  much 
copied  and  adapted  in  London  (and  some  were  produced  in  Paris  with  English 
inscriptions  for  circulation  in  England),^  but  perhaps  without  much  political 
significance,  though  No.  12544  is  certainly  Bonapartist  in  character.  The 
violets  were  afterwards  introduced  into  anti-Bonapartist  prints.  Cruikshank's 
Louis  XVIII  climbing  the  Mat  de  Cocagne,  one  of  Hone's  Bonapartist  pro- 
ductions, is  styled  'New  French  Caricature  selling  privately  in  Paris'.  It  is 
certainly  a  free  elaboration  of  a  French  original,  combining  hatred  of  the 
Bourbons  and  indignation  at  Napoleon's  exile  with  the  usual  venom  against 
Castlereagh.  There  is  something  Gallic  about  the  amusing  French  Elephant  (No . 
13008),  and  it  is  probably,  though  perhaps  indirectly,  from  a  French  original. 

During  the  occupation  of  France  caricatures  on  the  Allies  could  appear  only 
secretly  or  in  the  milder  form  of  gibes  at  the  appearance  and  manners  of  the 
foreigners.   Prints  on  the  English  in  Paris  in  1814  and  1815  and  later  form  a 

■  No.  122 1 5,  'Designed  at  Berlin',  was  published  by  an  obscure  printseller. 
^  De  Vinck,  No.  9398. 

xviii 


INTRODUCTION 

large  group, ^  quasi-political  in  intention,  since  they  are  a  retort  to  military 
defeat.  British  officers  are  depicted  as  tipsy  and  grossly  ill-mannered;  there 
is  a  variant  on  the  old  theme  of  British  gold  in  the  Englishman  who  crudely 
proffers  a  money-bag  to  a  ballerina  in  contrast  with  the  advances  of  an  elegant 
Frenchman.  There  are  also  prints  on  the  gaucherie  and  brutality  of  the 
English  at  home.  The  English  in  Paris  are  dejpicted  as  ugly,  greedy,  ill- 
mannered,  ill-dressed,^  and  speaking  contemptible  French,  or  with  an  ill-bred 
sight-seeing  stare.  On  the  stage  the  English  tourist  was  ridiculed  in  Les 
Atiglaises  pour  rire  by  Sewrin  and  Du  Mersan,  and  it  is  worth  noting  that  the 
play  was  afterwards  acted  in  London.  But  there  were  also  the  Anglomanes 
and  the  Royalist  Anglophils. 

A  Bonapartist  print  on  the  capitulation  of  Paris  in  1814,  on  the  old  theme 
of  British  bribes  and  British  gold  (No.  12237),  was  perhaps  published  secretly 
— it  is  without  imprint;  or,  like  No.  12588  on  the  return  of  Louis  XVIII  on 
the  bayonets  of  the  Allies,  it  may  be  a  print  of  the  Hundred  Days.  Two  bitter 
satires,  almost  certainly  secret  publications  during  the  first  Restoration,  attack 
the  abolition  of  the  Slave  Trade  as  British  hypocrisy  (Nos.  12312,  12313). 
They  express  the  strongly  hostile  attitude  of  the  French  to  English  attempts 
to  induce  them  to  abolish  the  Trade.  Napoleon's  bid  for  British  favour  by  a 
decree  of  abolition  in  18 15  forced  the  King's  hand  after  the  second  Restora- 
tion. These  plates  are  without  imprint  and  are  not  recorded  in  the  catalogues 
of  the  great  European  collections.  A  print  of  May  18 15  on  the  Congress  of 
Vienna,  La  Balance  Politique  (Xo.  12542),  attacks  British  subsidies  and 
British  influence  in  Europe  in  the  time-honoured  way.  Wellington's  position 
vis-a-vis  the  Ministers  of  Louis  XVIII  seems  to  be  the  subject  of  No.  127 13. 
Lavalette's  rescue  from  prison  by  three  British  officers  is  the  subject  of  several 
French  prints,  one  in  the  Museum  (Xo.  12706).  There  is  a  royalist  satire  on 
Napoleon  and  Sir  Hudson  Lowe  (Xo.  12903).  Here,  French  interest  in  the 
English,  as  expressed  in  caricature,  costume  prints  excepted,  seems  to  have 
faded  out  till  the  scandals  of  the  Queen's  affair  in  1820  proved  an  attractive 
theme  to  French  artists. 

In  England,  as  appears  in  former  volumes,  the  law  of  libel  had  few  terrors 
for  printseller  or  caricaturist,  and  the  more  risky  allegations  of  a  pamphlet  or 
magazine  are  sometimes  embodied,  without  comment  in  the  text,  in  a  carica- 
ture frontispiece.  There  is  still  no  example  (the  case  of  Peltier  in  1802 
excepted)  of  a  political  prosecution;  as  before,  civil  suits  occur.  In  two  cases 
the  victim  of  a  libellous  print  takes  action.  One  is  the  outcome  of  a  vendetta 
in  St.  Luke's  parish,  Chelsea,  where  a  prolonged  struggle  was  going  on 
between  rival  vested  interests.  The  Inside  of  a  nc-ulv  reformed  Workhouse  icith 
all  Abuses  removed  (Xo.  1 195 1)  is  a  print  which  Cruikshank  afterwards  auto- 
graphed 'Unfortunately  designed  &  etched  by  me  .  .  .  for  some  libellious 
scoundrel'.  It  charges  a  doctor,  one  Smith,  with  stealing  parish  malt,  treats 
Mrs.  Smith  with  disrespect,  and  makes  further  allegations  of  corrupt  practices 
on  the  usual  lines.  The  injured  doctor,  one  of  the  Guardians,  sued  Wood  (the 
'scoundrel'),  but  Ellenborough,  though  declaring  such  publications  highly 
unwarrantable,  saw  no  proof  of  malicious  intention,  and  the  plaintiff  was 
non-suited.  The  other  case  was  an  action  for  'three  poetical  libels  and  two 
caricature  drawings'  produced  and  circulated  (in  manuscript)  by  a  young 
woman  of  Margate,  accusing  a  local  attorney,  one  Boys,  of  three  dishonest 
and  contemptible  actions.  Ellenborough  tried  the  case  at  Maidstone  Assizes; 
Boj's  claimed  /^i.ooo  damages  and  got  £10.  Cruikshank,  who  had  been  stay- 
ing at  Margate,  was  in  court,  clearly  with  strong  sympathies  for  the  defendant. 

'  Many  are  listed  in  the  Catalogues  cited  here  as  Colas  and  de  Vinck ;  some  of  the 
prints  in  the  Museum  are  not  in  either  work.  *  See  below,  p.  1  f. 

xix 


INTRODUCTION 

He  made  etched  copies  of  her  drawings  to  illustrate  a  pamphlet  account  of  the 
trial,  repeating  the  allegations,  and  provided  a  view  of  the  scene  in  court 
(No!  13493),  all  for  the  further  discomfiture  of  the  miserable  Boys,  and  one 
more  example  of  the  discouraging  results  of  an  action  for  pictorial  libel. 

The  relations  between  literary  and  graphic  satire  are  exceptionally  close 
and  important.  This  is  because  of  the  concerted  campaign  against  the  Regent, 
set  on  foot  in  1812  by  his  disappointed  'Friends',  in  newspaper  lampoons  and 
squibs  and  in  verses,  anonymous  and  otherwise.  Many  have  survived  on  their 
merits  and  from  the  fame  of  their  authors.  In  this  vein  Moore  was  supreme, 
admired  and  imitated  by  Byron.  It  was  Bate  Dudley's  part  to  defend  the 
Prince  against  newspaper  wit  in  his  Morning  Herald,^  and  he  did  it  with  spirit : 
the  reputed  headquarters  of  the  campaign  were  at  Holland  House,  as  appears 
from  lines  entitled  'Dinners  of  Holland  House'  (2  April  1812),  beginning 

Let  Falsehood  in  caricature  begin 

To  empoison  the  mob  and  insinuate  sin. 

The  leading  authors,  who  'work  underground',  'a  dark  trio  juncta  in  uno', 
were  said  in  the  same  paper  (7  Feb.  1814)  to  be  'Lord  Byron,  Anacreon 
Moore  and  Sam  Rogers'.  Judging  from  epigrams  acknowledged  by  Byron 
and  printed  in  his  Works  (on  Pitt,  Castlereagh,  Cobbett,  and  Queen  Caroline, 
1820-2)  some  unacknowledged  trifles  may  well  lie  hidden  in  the  columns  of 
the  Morning  Chronicle,  whence  they  reached  the  annual  volumes  of  The 
Spirit  of  the  Public  Journals  ?■  These  authors  make  the  Holland  House  sugges- 
tion more  than  plausible,  and  Lord  Holland  wrote  in  retrospect:  'We  all 
incurred  the  guilt,  if  not  the  odium,  of  charging  his  Royal  Highness  with 
ingratitude  and  perfidy.  We  all  encouraged  every  species  of  satire  against  him 
and  his  mistress.'^  Leigh  Hunt  played  his  part  in  the  Examiner.  'I  was  very 
much  flattered',  Moore  wrote  to  Hunt  in  August  1812,  'by  your  taking  some 
doggrel  of  mine  out  of  the  Morning  Chronicle  some  months  since,  called  "The 
Insurrection  of  the  Papers".  I  dont  know  whether  you  saw  the  "Plumassier" 
about  the  same  time;  it  was  mine  also  but  not  so  good.  I  hope  next  year  .  .  . 
to  help  you  with  a  few  shafts  of  ridicule  in  the  noble  warfare  you  are  engaged 
in,  since  I  find  that  you  have  thought  some  of  them  not  unworthy  of  your 
notice. ''^  Hunt  continued  to  print  and  reprint  suitable  verses  in  the  Examiner, 
(including  an  epigram  by  Lamb  in  1812),  besides  other  lampoons  on  the 
Regent  with  whom  he  was  soon  to  have  a  personal  vendetta.  He  had  already 
printed  Lamb's  amusing  'The  Triumph  of  the  Whale'  which  is  illustrated  in 
one  of  the  best  of  Cruikshank's  early  plates  (No.  1 1877). 

The  themes  of  the  literary  satirists^  are  also  the  subjects  of  caricature,  and 
priorities  are  hard  to  determine,  except  that  in  181 1  the  caricaturists  had  in 
some  degree  anticipated  the  Whig  satirists  of  1812.  Both  dilate  on  the  wigs, 
the  whiskers,  the  fatness,  the  stays  of  the  Regent,  his  punch  and  his  brandy, 
his  preoccupation  with  tailors  and  exotic  uniforms,  the  selfish  extravagance 
of  his  fetes  and  his  yachts,  his  penchant  for  elderly  women,  and,  of  course, 
his  mattresses  en  titre.  The  George  IV  of  history  is  partly  a  product  of  this 
scurrility  and  graphic  wit.  Thackeray's  picture  would  have  been  different  if, 

■  Corr.  of  George  IV,  i.  137  f. 

^  Unfortunately  the  volumes  from  18 15  to  1823  are  not  in  the  B.M.L. 

^  Further  Memoirs  of  the  Whig  Party,  1905,  p.  122. 

*  Moore,  Prose  and  Verse  .  .  .  ,  ed.  R.  H.  Shepherd,  1878,  p.  395. 

5  Shelley  joined  in  the  1812  chorus  of  dispraise: 

Fat  as  that  Prince's  maudlin  brain 

Which,  addled  by  some  gilded  toy, 
Tired,  gives  his  sweetmeat,  and  again 
Cries  for  it,  like  a  humoured  boy. 

Tlie  Devil's  Walk,  published  as  a  broadside,  1812. 

XX 


INTRODUCTION 

as  a  boy,  he  had  not  been  a  caricature  addict,  famihar,  as  he  says,  with  'the 
atrocious  Castlereagh,  the  sainted  CaroHne,  and  the  dandy  of  sixtv'.  G.  W.  E. 
Russell  quotes  as  a  serious  verdict  lines  from  one  of  Hone's  illustrated  squibs, 
given  additional  publicity  in  a  second  caricature  (No.  13305),  the  famous 
Dandy  of  sixty.  Far  more  serious  injustice,  as  is  now  recognized,  has  been 
done  to  Castlereagh,  and  history  is  permeated,  sometimes  visibly,  more  often 
invisibly,  with  the  allegations  of  satire.  'Mankind,  and  especiallv  literary 
mankind',  wrote  Lord  Salisbur\%  'are  ready  dupes  of  a  squib  or  of  a  caricature.' 
The  Regent's  'ingratitude'  was  conveyed  to  the  Whigs  in  his  famous  Letter; 
this  was  the  starting-point  of  the  campaign  against  him  and  it  evoked  satires 
from  both  Moore  and  Byron.  Moore's  well-known  'Parody  of  a  celebrated 
Letter'  appeared  early  in  March  in  the  Morning  Chronicle;  it  was  reprinted  on 
a  broadside  illustrated  by  an  unrecorded  caricature  by  Cruikshank.'  The 
Letter  is  one  of  the  subjects  of  the  well-known  'Insurrection  of  the  Papers' 
already  mentioned:  'His  own  dear  Letter,  void  of  grace.  .  .  .'  The  verses  are 
illustrated  in  detail  in  a  plate  by  Elmes  (No.  11869).  'The  Letter  caused  the 
altercation  between  the  Regent  and  Lord  Lauderdale  which  led  to  Princess 
Charlotte's  tears  and  thus  to  Byron's  'Weep  daughter  of  a  Royal  Line  .  .  .', 
printed  in  the  Morning  Chronicle  on  12  ^larch  as  'A  sympathetic  Address 
to  a  young  Lady'.  The  tears  are  an  incident  in  a  comprehensive  caricature 
by  Cruikshank  (No.  11S64).  Moore's  Morning  Chronicle  epigram  on  'The 
Prince's  Privy  Purse'  is  illustrated  and  quoted  in  A  Ridicule;  or  a  ne7C'  /Era  .  .  . 
(No.  1 1874).  The  liaison  with  Lady  Hertford  is  a  leading  theme  of  Opposition 
wits  and  of  caricaturists  from  1812,  though  it  had  been  well  known  for  many 
years.  McMahon  (Keeper  of  the  Prince's  Privy  Purse)  had  been  his  factotum 
much  longer;  not  till  181 1  (with  one  doubtful  exception  in  1800)  does  he 
appear  in  these  prints,  and  not  till  18 12  is  he  a  butt  of  the  Whigs. 

When  the  exploitation  of  Lady  Hertford  began  to  flag,  the  Opposition  turned 
to  the  Princess  of  Wales.  Here  they  had  been  anticipated  in  caricature  and 
here  they  were  on  delicate  ground.  Satirists  of  note  on  the  whole  avoided  the 
topic,  though  Lord  Grey  suggested  in  April  1813  that  'persons  not  implicated 
as  we  were'  should  take  up  her  case.^  It  was  taken  up,  but  by  'the  Mountain' 
in  Parliament,  and  tiie  caricaturists,  and  in  the  long  scurrilous  verse  satires 
without  literary  merit  which  came  out  in  such  surprising  numbers  on  every 
scandal  and  striking  incident  of  the  day.  Moore  and  Byron  seized  on  two 
incidents  for  a  more  subtle  attack  on  the  Prince's  relations  with  his  wife, 
avoiding  the  theme  of  injured  innocence.  An  opportunity  was  given  by 
Ellenborough's  words  at  the  trial  of  the  Hunts,  when  he  said  that  the  offence 
of  crim.  con.  might  be  cither  venial  or  enormous  according  to  circumstances. 
This  dictum  was  twisted,  misrepresented,  and  exploited  in  the  Opposition 
Press  and  defended  in  the  Morning  Herald.  Moore's  Correspondence  between  a 
Lady  and  a  Gentleman  . . .  came  out  in  the  Morning  Chronicle  on  6  January  1 8 1 3, 
was  at  once  reprinted  in  the  Examiner,  and  was  acknowledged  by  Moore  by 
its  inclusion  in  the  Twopenny  Post  Bag  in  that  year.  The  lines,  a  dialogue,  are 
quoted  and  illustrated  in  No.  12042.  Meanwhile,  the  opening  of  the  coffins 
of  Henry  N'lII  and  Charles  I  at  Windsor  was  the  subject  of  Byron's  'Windsor 
Poetics'  and  lines  'On  a  Royal  \'isit  to  the  Vaults'  which  circulated  in  manu- 
script. 

By  headless  Charles  see  heartless  Henry  lies, 
Between  them  stands  another  sceptred  thing — 
It  moves,  it  reigns — in  all  but  name  a  king: 
Charles  to  his  people,  Henry  to  his  wife.  .  .  . 


'   Discovered  too  late  for  inclusion  in  this  volume,  see  under  No.  11855. 
H.M.C.,  Dropmore  Papers,  x.  234. 


2 


XXI 


INTRODUCTION 

The  squibs  may  have  been  known  to  the  inventor,  whoever  he  was,  of  two 
caricatures  by  Cruikshank,  cruder  but  less  savage  representations  of  the  same 
theme  (Nos.  12041,  12056). 

The  visit  of  the  alhed  sovereigns  and  notables  to  England  in  June  18 14  was 
a  boon  to  Opposition  satirists  who  had  been  almost  silenced  for  some  months 
by  the  victories  that  had  belied  their  prophecies.  The  outstanding  squib  was 
'The  Two  Veterans'  by  Moore  in  the  Morning  Chronicle,  a  bitter  attack  on 
the  Regent,  not  reprinted  till  1878.'  This  was  twice  illustrated  by  Cruikshank 
on  a  broadside  where  the  verse  dialogue  was  printed  at  length  (Nos.  12296-7). 
'The  Two  Journals',  a  similar  but  inferior  verse  satire  in  The  Champion,  was 
also  transcribed  on  two  illustrated  broadsides  (Nos.  1 2290-1).  The  Regent, 
as  a  selfish  debauchee  and  vindictive  husband,  is  contrasted  with  the  Tsar, 
described  as  self-denying  and  public-spirited,  and  (absurdly)  a  model  husband. 

Better  known  and  more  politically  important  are  Moore's  Morning  Chronicle 
verses,  'Epistle  from  Tom  Cribb  to  Big  Ben  concerning  some  foul  Play  in  a  late 
Transaction',  a  savage  attack  on  the  Regent  for  Napoleon's  exile  to  St.  Helena: 
'see  him  dunghill  all  o'er.  Insult  the  fall'n  foe,  that  can  harm  him  no  more.' 
It  represents  the  attitude  of  Opposition,  their  mouthpiece  being  Lord  Hol- 
land, and  is  illustrated  and  quoted  in  Boxiana  .  .  .  (No.  12613).  In  18 16  came 
Moore's  'Lines  on  the  Death  of  Sh-r-d-n',  with  an  altogether  deeper  note,  a 
bitter  attack  on  the  Regent  for  deserting  his  friend : 

And  thou,  too,  whose  life,  a  sick  epicure's  dream, 
Incoherent  and  gross,  even  grosser  had  passed,  .  .  . 

By  dint  of  quotation  these  lines  have  become  part  of  the  verdict  on  George 
IV.  The  desertion  of  Sheridan  (denied  by  modern  research)  is  a  subject  of 
No.  1 1914  (1812);  the  'sick  epicure'  is  the  George  of  many  caricatures,  before 
and  after  181 6. 

The  squibs  noted  here  are  primarily,  if  not  entirely,  directed  against  the 
Regent,  and  are  part  of  the  Whig  vendetta :  their  leading  wits  must  have  been 
well  aware  of  his  dread  of  ridicule,  his  'one  fear',  according  to  Wellington. ^ 
His  Ministers  were  not  spared.  The  attacks  of  Byron,  Moore,  and  Shelley  on 
Castlereagh  are  well  known.  Many  coarser  and  cruder  but  not  more  cruel 
onslaughts  are  to  be  found  in  the  caricatures  and  on  the  same  grounds :  Ire- 
land (Moore's  'His  Lordship  loves,  though  best  of  men,  A  little  torture  now 
and  then'^  and  Byron's  'Cold-blooded,  smooth-faced  placid  miscreant! 
Dabbling  its  sleek  young  hands  in  Erin's  gore''*);  Walcheren;  the  Treaties; 
Peterloo;  his  speeches  ("Thou  Malaprop  Cicero  .  .  .y.  But  direct  relationship 
between  poems  and  prints  is  not  easily  traceable. 

The  association  between  caricatures  and  verses  where  personal  scandal  was 
involved  (part  of  the  horrible  publicity  given  to  private  affairs  in  printshops 
and  the  Press)  is  illustrated  by  Byron's  separation  from  his  wife  and  departure 
from  England.  'Fare  thee  well'  is  printed  in  full  on  a  broadside  illustrated  by 
Cruikshank  (No.  12827).  It  is  quoted,  together  with  the  more  savage  'A 
Sketch',  in  No.  12828. 

A  new  form  of  association,  amounting  to  partnership,  between  written  and 
graphic  satire  was  started  by  Hone's  verse  pamphlets.  Cruikshank's  woodcuts 
are  inset  on  the  printed  page  and  are  an  essential  part  of  the  satire.  The  first 
was  one  of  the  many  parodies  of  'The  House  that  Jack  built'  which  had  long 

'  Moore,  Prose  and  Verse,  ed.  Shepherd,  pp.  12-14. 
^  Greville,  Memoirs,  1938,  i.  322  (23  Sept.  1829). 
^  'Wreaths  for  the  Ministers',  Morning  Chronicle,  12  Apr.  18 12. 
*  Mock  dedication  to  Southey  of  Don  Juan,  1818. 

^  Moore,  'Lines  on  the  departure  of  Lords  C-st-r-gh  and  St-w-rt  for  the  Continent*, 
Works,  1910,  p.  652. 

xxii 


INTRODUCTION 

been  found  suitable  for  caricature  illustration,  but  in  the  form  of  a  sequence 
of  little  designs  etched  on  a  single  sheet.  There  were  many  direct  imitations 
— indeed  parodies — of  Hone's  The  Political  House  that  Jack  built  (1819), 
followed  by  a  great  outcrop  of  shilling  pamphlets  in  verse  illustrated  by  wood- 
cuts. The  vogue  reached  its  peak  in  1820,  died  down  after  1821,  with  a 
partial  revival  from  1830  to  1832.  That  is,  it  was  an  outcome  of  political 
excitement  tending  towards  revolution.  Hone's  squib  was  a  challenge  to 
Peterloo  and  the  Six  Acts,  and  in  general  these  pamphlets  are  radical  or 
republican  in  spirit,  though  there  are  Tory  efforts  to  stem  the  tide.  The 
most  famous  satire  on  Peterloo,  Shelley's  The  Mask  of  Anarchy,  is  not  here 
in  question,  since  Leigh  Hunt  withheld  it  from  publication  till  1832. 

The  many  separately  published  lengthy  verse  satires,  now  forgotten,  were 
sometimes  illustrated,  the  only  appropriate  illustration  being  a  caricature. 
This  was  either  by  a  frontispiece,  also  published  separately,  and  usually 
missing  from  the  B.M.L.  copy  of  the  work,  or  by  a  selection  of  verses  printed 
on  a  pictorial  broadside.  Examples  are  Xos.  11843,  11844,  12626,  12770, 
12771,  13346.  Many  are  imitations  of  Wolcot,  and  adopt  some  variant  of  his 
'Peter  Pindar'  pseudonym.' 

John  Bull  has  become  standardized  as  the  personification  of  the  British 
nation  or  of  the  typical  Englishman,  who  is  above  all  the  bearer  of  burdens. 
According  to  the  trend  of  events  and  opinion  he  is  the  defender  of  his  country, 
the  shocked  observer  of  depravity  in  high  life,  the  opponent  (with  George  HI) 
of  Catholic  Emancipation,  the  mainstay  of  the  Alliance  against  Napoleon,  and 
then  the  arbiter  of  his  fate;  he  is  the  victim  of  penal  taxation,  a  destroyer  of 
the  hydra-headed  Income-tax,  the  dupe  of  Ministers  or  demagogues,  and,  if 
driven  to  extremes,  the  avenger  of  his  wrongs.  He  is  all  this  and  more  in  this 
volume,  but  the  most  characteristic  and  significant  John  Bull  is  perhaps  the 
patient — puzzled,  frightened,  or  angry — of  doctors  who  drain  his  lite-blood 
with  their  lancets.  The  theme  begins  with  Isaac  Cruikshank's  Doctor  San- 
grado  .  .  .  (Xo.  8620)  in  1795,  and  is  developed  in  Gillray's  Doctor  Sangrado 
curing  John  Bull  of  Repletion  .  .  .  (No.  9986)  on  the  Peace  of  Amiens,  and  by 
George  Cruikshank  in  No.  12756.  A  similar  symbolism  is  that  of  leeches 
who  suck  him  dry  (Nos.  10965,  1 1732).  There  arc  also  the  quacks  who  proffer 
competing  remedies,  notably  the  bloodthirsty  surgeon  whose  nostrum  is 
Reform  (Nos.  11340,  12110). 

His  appearance  undergoes  some  modifications.  The  oafish  yokel  introduced 
by  Gillray  disappears,  though  he  is  sometimes  a  countryman  and  occasionally 
oafish.  Commonly,  he  is  a  prosperous  or  once-prosperous  citizen,  reduced  in 
18 16  and  1 8 19  to  starvation  and  rags.  When  pugnacious,  he  is  formidable, 
but  fundamentally  good-natured,  with  a  cudgel  of  'British  Oak'  intended  for 
enemies  abroad  or  at  home.  It  is  part  of  his  character  to  be  paunchy  and 
bottle-nosed,  marks  of  approval  as  signs  of  good  living.  Even  when  ruined, 
a  deflated  paunch  and  bulbous  nose  bear  witness  to  past  prosperity.  Cruik- 
shank introduces  a  new  type,  ascetic-looking  and  dangerous.  His  first  appear- 
ance is  as  the  countryman,  outraged  by  the  Corn  Bill  and  determined  to 
emigrate  with  his  wife  and  family  (No.  12503).  He  is  not  yet  in  extremis,  as 
he  is  in  18 19,  when  the  type  reappears  as  a  shop-keeper,  ruined  by  forged 
banknotes  (No.  13 197).  This  John  Bull  is  aggressive  and  muscular,  with 
beetling  brows  and  frontal  baldness  which  give  him  a  look  of  intelligence, 
alien  to  the  typical  John  Bull.   Angry  and  resentful,  a  similar  figure  watches 

'  These  include  'P.P.  Poet  Laureate'  (George  Daniel),  'Peter  Pindar  Junior'  (George 
Daniel  and  John  Agg),  and  'the  Younger',  'the  Elder',  'Minimus'.  Perhaps  the  best- 
known  example  is  Royal  Stripes  .  .  .  (see  No.  1 1843),  by  Daniel.  Shelley's  Stcellfoot  the 
Tyrant  (1820)  is  an  experiment  in  this  genre. 

xxiii 


INTRODUCTION 

the  Duke  of  York  profiting  to  the  extent  of  ^10,000  a  year  from  his  father's 
illness  in  No.  13215.  There  are  several  prints  in  which  John  Bull  and  his 
family  are  reduced  to  starvation,  and  a  convention  by  which  the  children  are 
in  much  worse  case  than  their  father,  wearing  scanty  rags  and  gnawing  bare 
bones,  is  perhaps  not  without  significance  as  indicating  a  society  where  the 
head  of  the  family  came  first,  the  children  last,  in  the  household  economy. 

Where  John  Bull  is  symbolized  by  a  bull,  it  is  that  he  may  be  depicted  as 
overburdened,  baited,  butchered,  or  dangerous  (Nos.  11845,  12550,  12864). 
He  tosses  the  Manchester  yeomanry  and  chases  the  magistrates  in  No.  13270. 
Heavily  overburdened  and  about  to  be  slaughtered,  he  threatens  to  'rise'  in 
No.  13288.  In  earlier  years  John  Bull  has  been  occasionally  identified  with 
George  HI.  Even  when  the  King  is  literally  blind  and  deaf  to  the  world  he 
appears  as  a  symbol  for  John  Bull  in  one  of  the  counter-pamphlets  to  Hone's 
House  that  Jack  [i.e.  John  Bull]  built  (No.  13320).  It  is  surprising  to  find  the 
Regent  as  John  Bull,  but  this  is  dispraise  in  a  parody  of  Arbuthnot's  Jo/m  Bull 
adapted  to  post-war  distress.  Brougham  seems  equally  ill  cast  as  John  Bull 
(No.  12766);  high  approbation  is  implied  and  is  due  to  his  violent  speech 
against  the  Prince. 

The  representative  or  typical  Spaniard  and  Dutchman  are  as  before,  one 
a  lanky  don  in  the  costume  of  circa  1600,  the  other  short  and  broad  in  bulky 
breeches  and  sleeved  waistcoat  or  jacket;  the  Prince  of  Orange  is  so  depicted. 
The  standard  Frenchman  of  caricature,  who  dines  on  soupe  maigre  and  frogs, 
has  temporarily  disappeared;  perhaps,  as  a  defeated  enemy,  he  is  immune 
from  ridicule.  English  caricaturists  were  probably  unaware  of  the  many 
French  caricatures  of  the  clumsy  and  vulgar  John  Bull  in  France.  The  much- 
admired  Russian  is  represented  for  a  year  or  two  as  a  Cossack,  with  trousers 
tucked  into  his  boots,  a  fur-bordered  cap,  and  long  spear.  The  American  is 
lank-haired  and  Quaker-like. 

Caricature  changes  subtly  from  year  to  year,  with  new  artists,  new  topics, 
kaleidoscopic  fashions,  but  with  a  basic  conservatism:  the  persistence  of 
traditional  symbols  and  themes.  Outstanding  in  this  volume  is  that  of  the 
Danse  Macabre  with  Rowlandson's  plates  to  Combe's  English  Dance  of  Death 
( 1 814-16);  war  is  the  subject  of  one  plate  only;  the  tradition  prevails  that 
Death  is  ubiquitous  and  incalculable :  the  quack  doctor  and  the  runaway  horse 
are  more  lethal  than  gunpowder.  In  English  political  prints  of  the  Hundred 
Days,  as  in  French  post- Waterloo  satires,  Death  accompanies  Napoleon,  The 
medieval  representation  of  Hell  as  the  flaming  jaws  of  a  monster  still  persists : 
they  gape  for  Napoleon  in  No.  12233.  'Nobody'  is  still  depicted  as  in  1600 
as  a  man  whose  legs  are  joined  to  his  shoulders,  a  figure  used  to  point  the 
moral  of  political  and  social  satires.  Figures  of  artisans  and  others  constructed 
of  the  tools  or  emblems  of  their  trades  are  an  ancient  form  of  popular  print, 
especially  in  Germany,  Flanders,  and  Italy  before  the  seventeenth  century. 
The  genre  was  elaborated  in  France  in  the  seventeenth  century  in  some 
charming  engravings  by  Nicolas  de  Larmessin.'  Cruder  prints  were  published 
by  G.  Bickham  in  the  early  eighteenth  century,  and  the  device  was  used  more 
subtly  by  Hogarth  for  the  figures  of  a  fashionable  pair  and  for  the  attributes 
of  Monarchy,  Episcopacy,  and  Law,  in  Some  of  the  Principal  Inhabitants  of  y 
Moon,  a  hieroglyphical  print  of  1724.  'The  Giant  Commerce',  in  a  design  by 
Woodward  on  the  blockade  (No.  10699),  is  most  effectively  constructed  on 
this  principle,  and  something  of  it  is  to  be  found  in  Voltz's  famous  'corpse 
head', 2  not  to  speak  of  Gillray's  'Old  Lady  of  Threadneedle  Street'  (No. 
9016).    There  are  some  straightforward  but  interesting  examples  in  this 

'  Grand-Carteret,  Vieiix  Papiers,  Vieilles  linages,  1896,  pp.  142-6. 
^  See  above,  p.  xvi. 

xxiv 


INTRODUCTION 

volume,  notably  A  Flint  (No.  11824),  with  its  detailed  illustration  of  the 
tailoring  trade.  A  variant  is  the  musical  instrument  which  represents  a 
musician  (No.  13085).  Burlesque  heraldry  is  a  time-honoured  form  with 
some  striking  examples  in  this  volume.  Among  pictures  travestied,  always 
a  comparatively  rare  form  of  satire,  Fuseli's  Nightmare  has  been  supreme 
since  Rowlandson's  caricature  of  Fox  in  The  Cozent  Gardeii  Night  Mare 
(No.  6543).  Here,  the  picture  inspires  a  satire  on  Napoleon  and  the  liberation 
of  Holland  (No.  12 105)  in  The  Dutch  Night  Mare  . . . ,  and  on  Matthew  Wood's 
police  activities  in  The  Night  Mayor  .  .  .  (No.  128 17).  There  is  also  a  striking 
travesty  by  Rowlandson  of  a  well-known  apotheosis  of  Napoleon  by  Dabos 
(No.  121 12).  Travesties  of  sentiment  and  romance  are  less  interesting  than  in 
Volume  Vn. 

The  innovations  are  of  a  minor  character.  One  is  the  grouping  by  Cruik- 
shank  of  several  subsidian,-  designs  with  one  principal  one,  with  which  these 
may  merge,  but  are  usually  entirely  separate,  forming  a  composite  plate,  as  in 
No.  12714.  It  may  be  guessed  that  this  form  of  composition  owed  something 
to  his  early  work  on  his  father's  plates,  when  background  figures  or  groups, 
or  small  inset  scenes,  such  as  pictures  on  the  wall,  were  added  by  the  boy.  He 
was  afterwards  to  develop  this  arrangement  in,  for  instance.  Sketches  of  Time. 
Here  it  is  only  an  occasional  device,  soon  given  up.  It  appears  only  in  plates 
to  the  Scourge,  and  may  well  derive  from  the  desire  to  include  as  much  as 
possible  in  a  single  print.  The  burlesqued  medieval  design,  the  point  stressed 
by  'Olde  Worlde'  spelling,  was  to  be  a  stand-by  of  the  comic  artist  (e.g. 
F.  C.  Gould).  Perhaps  its  first  appearance  is  in  Cruikshank's  Myy  Lord 
Yarremouth  equippedde  forre  hisse  trauell  innto  Forreign  Partes  (No.  122 10) 
and  its  companion  plate.  But  these  seem  to  stand  alone.  Designs  in  lines  and 
dots  (Nos.  12955-8)  are  a  novelty  by  Cruikshank,  but  not  a  new  invention: 
Woodward  designed  two  plates  called  Multum  in  Parvo,  or  Lilliputian  Sketches 
shewing  nhat  may  be  done  by  lines  and  dots.  Cruikshank's  prints  are  full  of 
spirit  and  expressiveness.  Marks,  in  The  Progress  of  BoneyU  (n.d.),  cleverly 
translates  Cruikshank's  aquatints  to  Combe's  Life  of  Napoleon  into  a  running 
design  in  lines  and  dots.  Grandville  afterwards  adapted  the  device  with 
much  virtuosity  to  music:  Musique  animee.^ 

A  new  look  invades  caricature,  with  lithography  increasingly  used  from 
about  1817.  These  early  examples  are  all  pen  lithographs,  seemingly  intended 
to  resemble  etchings  as  closely  as  possible.  But  a  decorative  treatment,  the 
blackness  of  the  line,  with  flat  washes  of  watercolour,  gives  them  a  distinctive 
character.  This  is  especially  the  case  with  a  set  of  boldly  designed  prints, 
chiefly  by  or  after  Cruikshank,  issued  from  1817  to  18 19,  and  apparently 
plagiarized,  as  there  are  close  copies  of  many.  They  are  comic  studies  of  life 
and  character,  some  being  imitations  of  earlier  plates  by  Rowlandson,  and 
seem  intended  to  fill  the  place  taken  by  Rowlandson's  social  caricatures, 
which  were  now  appearing  only  occasionally. 

Political  Satires 

As  in  earlier  volumes,  the  sequence  of  political  prints  illustrates  the  relative 
importance  in  John  Bull's  eves  of  home  and  foreign  atfairs:  politics  at  home, 
war  and  peace  abroad.  A  third  strand,  or  sub-plot,  is  more  than  usually 
prominent :  the  personal  affairs  of  the  Royal  Family.  At  times,  these  dominate 
politics,  as  in  1809  with  the  scandal  of  the  Duke  of  York  and  Mrs.  Clarke. 
And  when,  from  18 12,  the  Opposition  fell  out  with  the  Regent,  the  effect  of 
such  personal  matters  on  politics  was  important  and  prolonged.  The  sub-plot, 

'  Grand-Carteret,  Vieux  Papiers,  Vieilles  Images,  1896,  p.  155. 

XXV 


INTRODUCTION 

if  SO  it  can  be  called  when  the  personal  concerns  of  the  Prince  become 
matters  of  high  politics,  reached  its  climax  after  his  accession.  In  this  volume 
there  are  the  ramifications  connected  with  Princess  Charlotte  and  the  royal 
dukes.  If  these  matters  get  excessive  attention  from  the  caricaturists  it  is 
because  they  are  the  things  in  which  John  Bull  takes  the  greatest  interest, 
and  which  lend  themselves  peculiarly  to  the  uninhibited  caricature  of  the 
day.  They  can  be  swept  from  the  scene  by  events  of  moment,  as  the  most 
important  events  may  be  kept  from  the  stage  by  some  passing  sensation. 

The  second  decade  of  the  century,  like  the  first,  opened  in  gloom  and  sus- 
pense. The  number  of  political  prints  for  the  year  is  only  forty-six — two  less 
than  the  low  level  of  1801.  It  was  a  year  of  crisis,  but  of  crisis  that  was  not 
dramatic  or  clearly  related  to  personal  issues.  There  was  also  a  certain  apathy 
due  to  reaction  from  the  fevers  of  1809-10.  Good  news  came  from  the 
Peninsula,  where  the  tide  had  turned  with  Massena's  retreat  from  the  Lines 
of  Torres  Vedras — Napoleon's  'Leopards  into  the  sea'  operation  had  mis- 
carried. But  though  Tories  rejoiced,  the  general  attitude  was  cynical  or 
despondent.  A  short  speculative  boom  had  just  collapsed;  there  was  a  cur- 
rency crisis,  combined  with  a  commercial  and  industrial  crisis.  The  note  of 
Mrs.  Barbauld's  poem  Nineteen  Hundred  and  Eleven  (1812)  is  despair  and 

ruin;  Britain 

Bravely,  though  vainly,  dares  to  strive  with  Fate, 
And  seeks  by  turns  to  prop  each  sinking  state.  .  .  . 
Ruin  as  with  an  earthquake  shock  is  here,  .  .  . 
Thy  baseless  wealth  dissolves  in  air  away.  .  .  . 

Something  of  this  theme  is  to  be  found  in  a  complicated  plate  by  Cruik- 
shank  on  the  currency  imbroglio  (No.  11716),  but  the  chief  concern  of  the 
caricaturists  at  the  beginning  of  the  year  is  the  Regency,  when  the  old  contro- 
versies of  1789  were  revived,  one  of  the  prints  of  that  year  being  adapted  to 
the  new  situation  in  The  Comet  of  1811  (No.  11705).  This  was  a  warning  to 
the  Whigs  that  their  hopes  were  ill-founded,  and  would  be  short-lived. 
Conversely,  Perceval  is  threatened  with  a  fall  in  No.  11706.  The  struggle  for 
power  and  the  uncertainty  of  party  grouping  is  the  subject  of  No.  11713. 
The  Regent's  decision  to  retain  Perceval  while  there  were  still  hopes  (or 
fears)  of  the  King's  recovery  is  expressed  in  No.  1 1714,  The  Cats  let  out  of  the 
Bag.  ...  A  significant  incident  was  the  quiet  reinstatement  of  the  Duke  of 
York  as  C.-in-C.  as  compared  with  the  excitement  over  his  resignation  in 
1809.  Cobbett,  who  had  then  declared  it  'the  only  interesting  subject'  to  the 
people,  kept  a  significant  silence  for  many  weeks  and  then  declared  the  return 
to  be  'in  my  opinion,  of  very  little  consequence  to  the  nation'.  The  three  prints 
on  this  incident  are  well  informed  and  give  a  good  picture  of  the  situation. 
In  Cruikshank's  The  Return  to  Office  (No.  11728)  there  is  a  significant  detail: 
one  of  those  funerals  of  the  Whig  party  by  which  caricaturists  have  recorded 
a  sequence  of  disappointed  hopes.  It  is  rightly  suggested  that  this  reinstate- 
ment at  the  wish  of  the  Regent,  for  which  Perceval  took  full  responsibility, 
points  to  the  Minister's  continuing  favour  at  the  expense  of  the  confident 
Opposition. 

One  of  the  chief  topics  of  the  year  is  the  birth  of  the  King  of  Rome ;  the 
child  is  a  little  replica  of  his  father,  lusting  for  conquest.  In  one  of  these 
plates  (No.  11738)  is  the  first  suggestion  that  the  Russian  bear  is  escaping 
from  bondage.  Or,  perhaps,  the  dangling  chain  is  a  mere  symbol  of  servitude 
— the  bear's  restiveness  was  scarcely  apparent  except  to  the  well-informed. 
The  fulsome  attitude  of  Dutchmen  to  Napoleon  on  his  visit  to  their  newly 
annexed  country  is  burlesqued  in  Men  of  Bottom  .  .  .  (No.  11741).  Meanwhile 
the  news  from  Spain  is  the  theme  of  the  Tory  Satirist.   In  two  plates  (Nos. 

xxvi 


INTRODUCTION 

1 1722,  1 1736)  Napoleon  is  horror-struck  at  the  news  from  the  Peninsula:  in 
one  Cobbett  is  pilloried  as  the  Emperor's  'faithfull  frind' — he  continued  to 
deplore  the  campaign  and  to  disparage  Wellington.  The  Scourge  also  gives  a 
tribute  to  Wellington  and  Graham  in  a  plate  unlike  its  usual  vein  of  all-round 
scurrility  (No.  11723). 

Personal  scandal  connected  with  the  Royal  Family  centres  round  the 
Regent's  sprained  ankle  at  Oatlands,  subject  of  a  sequence  of  satires  (No. 
1 1746,  &c.),  and  the  suitors  of  Miss  Tylney-Long,  which  gave  opportunities 
for  cruel  ridicule  of  the  Duke  of  Clarence,  one  of  the  rejected.  The  succession 
of  satires  on  the  Regent's  costly  fetes  begins  with  three  plates  on  the  Carlton 
House  fete  in  June,  one  of  the  scenes  in  The  Dynasts.  The  famous  gold  and 
silver  fish  of  the  table-decorations  are  ridiculed  in  Gudgeon  Fishhig  a  la 
Conservatory,  as  they  were  by  Moore,  two  years  later,  in  the  Ticopenny  Post 
Bag.  From  the  beginning  of  the  Regency,  the  Prince's  appearance  alters,  wig 
and  whiskers  are  conspicuous,  with  a  crest  of  curls  that  gives  his  head  a 
pine-apple  shape.  After  1820  there  is  another  complete  change;  the  pine- 
apple head  and  the  figure  tightly  encased  in  uniform  and  (from  18 14) 
spangled  with  orders  disappear. 

The  year  1812  (82  political  prints)  began  like  181 1  in  profound  gloom. 
Fears  of  revolution  were  abroad  with  Ludditc  riots  in  the  Slidlands,  but  no 
such  alarms  are  discoverable  in  the  satires.  The  caricaturists  are  preoccupied 
with  the  approaching  end  of  the  Regency  Restrictions,  when  the  Whigs 
counted  on  office;  for  the  greater  part  of  the  year  their  concern  is  politics  in 
the  narrowest  sense,  the  struggle  between  the  Ins  and  the  Outs.  The  Mounte- 
banks (No.  1 1846)  is  a  canvassing  of  probabilities;  Wellcsley  and  his  satclHte 
Canning  are  expected  to  get  the  better  of  the  Whigs,  who  beguile  and  bewilder 
John  Bull  with  the  quack  remedies  of  Reform  and  Emancipation.  In  Reading 
the  Letter  (No.  1 1855)  the  Satirist  derides  the  disappointed  Whigs.  With  this 
famous  letter,  dashing  their  hopes  of  office  on  their  own  terms,  not  of  grace 
but  of  right,  as  the  Prince's  F"riends,  the  long  campaign  begins.'  The  cam- 
paign opens  in  February  with  Delilah  depriveing  Sampson  of  those  Locks  in 
nhich  consisted  his  Strength  (No.  11853),  the  first  of  many  satires  on  Lady 
Hertford's  political  infiuence.  Grey's  outburst  in  the  Lords,  'an  unseen  and 
separate  infiuence  that  lurked  behind  the  throne',  was  on  19  March.  Lord 
Donoughmorc  went  farther  in  April  in  a  notorious  speech  on  the  'matured 
enchantress'.  Lord  Hertford  was  Castlereagh's  uncle,  the  Hcrtfords  were 
Tories  and  'Protestants',  but  there  is  little  evidence  of  their  political  infiuence. 
For  some  months  Lady  Hertford,  her  husband  and  son,  and  McMahon,  the 
'Prince's  Privy  Purse'  and  Private  Secretar}',  dominate  the  prints.  She  is  a 
stout  sultana  with  huge  spherical  breasts  and,  as  head-dress,  a  circlet  or  small 
crown. 

Princess  Charlotte's  tears  (No.  11864)  were  a  minor  but  not  unimportant 
episode  in  the  quarrel  with  the  Opposition.  The  Whig  heiress  presumptive, 
the  disciple  of  Fox,  became  potentially  a  political  puppet.  This  is  her  first 
appearance  in  the  prints  since  the  negotiations  in  1S05  over  her  custody  (No. 
10363).  The  Regent's  daily  visits  to  Manchester  Square  were  the  common 
ground  of  newspapers  and  prints.  These  topics  we^e  interrupted  by  two 
satires  on  the  burning  and  important  question  of  the  Orders  in  Council,  which 
were  a  factor  in  the  prevailing  distress,  and  were  on  the  verge  of  provoking  a 
breach  with  America.  A  speech  by  'Old  George  Rose'  is  illustrated  in  Which 
droicns  first  or  Boney's  imprcned  Bucket  (No.  11876,  i  May):  Napoleon  is  the 
beneficiary  of  the  licensing  system,  here  represented  as  disastrous  to  Britain, 
while  the  dearth  is  attributed  to  the  Non  Intercourse  Act,  one  of  the  few 

'  See  above,  p.  xx. 

xxvii 


INTRODUCTION 

allusions  to  the  pending  war  with  America.  The  print  is  more  effective  than 
a  Morning  Chronicle  squib  (5  June)  beginning : 

One  day  old  George  Rose  in  a  fit  of  finance 
Saw,  or  thought  that  he  saw,  in  two  buckets 

The  two  gasping  nations  of  England  and  France, 
Not  worth  by  their  warfare  two  ducats.  .  .  . 

Suddenly,  the  scene  is  changed  by  Perceval's  assassination,  a  subject  of 
rejoicing  for  Cobbett  and  some  of  those  who  saw  him  as  the  author  of  their 
misery.  Nothing  of  that  spirit  appears  in  the  prints  of  the  year  (though  it 
does  retrospectively  in  a  print  of  18 19);  interest  is  concentrated  on  the  new 
and  prolonged  political  crisis  which  lasted  from  12  May  to  8  June,  and  was 
remarkable  for  its  publicity  and  for  the  animosities  that  embittered  it.  It  is 
comprehensively,  if  confusedly,  dealt  with  in  Cruikshank's  The  Political 
Medley  or  Things  as  they  were  in  June  18 12.  The  Regent  is  in  the  'Hertford 
Nursery',  a  baby,  dandled  by  Lady  Hertford,  the  first  of  a  number  of  satires 
(especially  in  1820)  in  which  he  is  an  infant.  He  had  avoided  the  choice  of  a 
successor  to  Perceval  till  the  different  factions  had  exhausted  themselves  in 
efforts  to  form  a  Ministry,  when  he  turned  with  relief  to  Liverpool.  Grenville 
and  Grey,  'friends'  whom  he  had  long  disliked,  played  into  his  hands.  Osten- 
sibly, negotiations  with  them  broke  down  on  the  question  of  the  Household 
appointments,  involving  Lady  Hertford's  husband  and  son.  The  Tory 
Satirist's  contribution  to  the  confifsed  and  heated  controversy  was  Whig 
Patriotism,  or  the  Struggle  for  the  Kitchen  Stuff  (the  cook's  perquisites.  No. 
1 1890).  A  different  viewpoint  is  taken  in  A  Midsummer  Nights  Dream  (No. 
1 1893),  a  complicated  design  with  allusions  to  national  distress,  and  a  con- 
temptuous gibe  at  Ministerial  scares  of  plots  and  treasons.  The  distress  is 
attributed  to  the  Prince's  forgetfulness  of  Fox  under  the  influence  of  Lady 
Hertford :  the  Princess  is  introduced  as  a  much-wronged  wife.  Absorbed  in 
personalities  and  faction,  the  caricaturists  disregard  the  American  declaration 
of  war  on  18  June,  and  the  massing  of  French  troops  on  the  Russian  frontier 
(crossed  on  23  June)  on  which  the  attention  of  Europe  was  fixed.  The  first 
print  on  the  invasion  of  Russia  is  on  24  August,  The  Bear,  The  Bull  Dog  and 
the  Monkey  (No.  11 896),  contending  that  Russia  and  England  together  could 
defeat  France  and  so  restore  peace  to  Europe.  But  after  this  Russia  disappears 
from  view  till  December.  There  was  also  good  news  from  Spain — Salamanca, 
and  the  departure  of  King  Joseph  from  Madrid.  But  the  departure  was  not 
final,  and  the  pessimists  were  only  very  slightly  disconcerted.  There  is  a 
bitter  attack  on  the  Regent,  the  Ministers,  and  the  War  in  The  Opening  of 
Pandora's  Box  (No.  11897)  in  which  Princess  Charlotte  is  the  hope  of  an 
afflicted  world.  But  in  the  prints  there  is  also  a  note  of  exultation,  with  some 
of  the  earlier  tributes  to  Wellington.  The  Satirist  represents  Salamanca  as  a 
death-blow  to  the  Whigs,  and  one  of  the  funerals  of  the  party  is  depicted 
(No.  1 1905).  Liverpool's  weak  position  was  strengthened,  and  a  general 
election  in  October  went  well  for  the  Tories,  with  successes  in  the  great 
commercial  centres  of  London,  Bristol,  and  Liverpool  (No.  11906,  &c.). 

In  December  there  is  at  last  a  complete  change ;  home  affairs  are  forgotten 
in  the  excitement  of  the  Russian  news.  Elmes  begins  with  a  splendid  design, 
and  a  theme  that  was  to  be  popular:  General  Frost  Shaveing  little  Boney  (No. 
1 19 17).  The  first  print  on  Napoleon's  bulletins  from  Russia  is  Cruikshank's 
Boney  hatching  a  Bulletin,  or  snug  Winter  Quarters — fantasy  and  burlesque 
with  a  solidly  documented  basis.  The  famous  29th  Bulletin,  with  its  news  of 
the  'frightful  calamity'  that  had  overtaken  the  Grande  Armee,  did  not  reach 
London  till  21  December.   Before  this  Elmes  adapted  Gillray's  Valley  of  the 

xxviii 


INTRODUCTION 

Shadow  of  Death,  stressing  the  contrast  between  the  bear  of  1808,  Napoleon's 
captive,  and  the  formidable  monster  of  1812 :  Death  rides  the  bear,  threatening 
Napoleon  with  a  Cossack  spear.  As  on  other  occasions,  the  caricaturists  were 
at  odds  with  the  Opposition  and  the  defeatists  over  the  war.  Grey  com- 
municated to  Grenville  his  own  'ver\'  detailed  and  accurate  accounts  [from 
Sir  Robert  Wilson]  of  the  proceedings  both  in  Russia  and  Spain'  where  there 
was  'no  reasonable  hope  of  success'.'  Leigh  Hunt  wrote  a  remarkable  article 
in  the  Examiner  (17  Jan.)  on  the  'State  of  the  civilised  world  at  the  close  of  the 
year  1812':  England  'remains  as  she  was  at  the  commencement  of  last  year, 
gazing  wistfully  on  the  Continent  instead  of  attending  to  her  internal  interests, 
and  feeding  idle  hopes  of  Buonaparte's  downfall'.  France's  losses,  he  said, 
would  be  easily  made  good:  little  impression  had  been  made  bv  them  on 
Austria,  or  the  rest  of  Germany,  or  Scandinavia.  He  anticipates  'our  speedy 
evacuation  of  the  Peninsula  .  .  .  '.  'Such  is  the  present  condition  of  the 
civilised  part  of  Europe — hopeless,  for  all  that  we  have  done  to  make  it 
otherwise.'  The  only  hope  was  that  'the  final  loss  of  Spain  and  the  new 
intercourse  of  Buonaparte  with  Russia,  which  we  shall  see  before  long,  will 
give  us  something  of  a  disposition  to  treat  of  peace'.  Seldom  has  political 
prophecy  been  more  quickly  belied  by  facts:  Prussia  had  already  deserted 
Napoleon — the  impression  on  Germany  and  Scandinavia  was  profound. 

The  beginning  of  1813  (138  political  prints)  is  still  dominated  by  the  retreat 
from  Russia :  frost  and  snow,  the  Cossacks,  the  Bulletins,  Napoleon's  desertion 
of  his  army,  and  the  army's  ghastly  plight.  Plates  on  these  subjects,  though 
past  history,  continue  into  June,  evidence  of  the  deep  impression  they  had 
made.  The  diplomatic  position  was  obscure,  actual  fighting  was  in  abeyance. 
Austria  and  Prussia  were  still  ostensibly  humiliated  satellites  of  Napoleon  and 
are  so  depicted  in  The  Imperial  Shazitig  Shop  (So.  12007,  ^  Feb.).  Competing 
themes  at  the  beginning  of  the  year  arc  the  Princess  of  Wales  and  the  con- 
troversy over  the  renewal  of  the  East  India  Company's  Charter.  The  more 
radical  part  of  the  Opposition,  Brougham  (out  of  Parliament),  Whitbread, 
Creevey,^  and  others,  discountenanced  by  events  in  Europe,  turned  to  the 
Princess,  with  the  support  of  that  underworld  of  literature  that  battened  on 
scandals  in  high  life,  and,  inevitably,  of  the  caricaturists.  The  campaign 
opened  with  the  publication  of  'The  Book',  for  which  Cobbett  had  clamoured 
in  1809."  In  No.  11990,3  plate  to  the  Scourge (i  Jan.),  its  imminent  appearance 
is  represented  as  a  disaster  for  Ministers,  the  Regent,  and  Lady  Hertford. 
'The  Book'  contained  a  defence,  by  Perceval,  of  the  Princess  from  the  findings 
of  the  'Delicate  Investigation'  set  on  foot  by  the  Whig  Ministr)-  in  1S06  in  the 
interests  of  their  patron,  the  Prince.  It  also  contained  the  depositions  against 
her,  highly  damaging,  except  on  the  assumption  that  they  were  perjuries. 
Consequently  'the  Book'  was  followed  by  violent  attacks  on  the  witnesses  of 
1806  as  perjurers,  and  the  chief  witnesses  (Sir  John  and  Lady  Douglas) 
repeated  their  depositions,  to  the  rage  of  the  Princess's  supporters.  'The  poor 
Princess  .  .  .  ,'  Walter  Scott  wrote  in  March,  'surely  her  fate  has  been  a  hard 
one,  and  no  less  so  to  have  fallen  into  the  hands  of  her  present  advisers  whose 
only  object  in  making  these  scandalous  anecdotes  public  is  to  disgrace  the 
royal  family  in  the  eyes  of  the  public.  After  all,  the  whole  affair  reminds  me 
irresistibly  of  a  hand  at  Commerce.  The  present  Ministers  while  out  of  office 
[1806-7]  ^cld  the  Princess  in  their  hand — a  court  card  to  be  sure,  but  of  no 
great  value — they  have  the  luck  to  take  up  the  Prince  (cast  by  the  blunder 

'  H.M.C.,  Drnprtiore  Papers,  x.  300  (i  Nov.  181 2). 

^  'These  books  [Mrs.  Clarke's  blackmailing  memoirs  (No.  113 15,  n.)  and  "The 
Book"]  would  be  of  much  more  real  service  to  England  than  all  the  horse  and  foot  in 
the  country.'    Pol.  Reg.,  8  July  1809. 

xxix 


INTRODUCTION 

of  their  opponents)  and  they  discard  the  Princess  as  a  matter  of  course :  while 
the  Outs  equally  as  a  matter  of  course,  take  her  up  and  place  her  in  their  hand 
as  a  kind  of  pis  aller.  And  thus  goes  the  strange  game  at  politics.''  Just  so,  but 
Scott  could  not  have  anticipated  the  storms  that  were  to  follow.  Meanwhile, 
a  series  of  prints  on  the  East  India  Company  begins  (No.  11999,  &c.);  both 
sides  of  the  controversy  are  represented,  with  the  balance  against  the  Com- 
pany's monopoly  and  in  favour  of  the  Out  Ports,  hitherto  excluded  from  trade 
with  India  and  China.  Many  of  the  contentions  of  the  pamphlet  war  are 
graphically  rendered,  but  with  relatively  little  heat,  since  the  question  was 
outside  party  politics  and  was  argued  more  or  less  on  its  merits. 

The  deadly  game  in  which  the  Princess  was  a  puppet  opened  with  her 
letter  to  the  Regent  (probably  by  Brougham)  protesting  against  her  separation 
from  her  daughter.  It  was  printed  in  the  Morning  Chronicle,  then  in  other 
papers,  then  on  a  pictorial  broadside.  Regent  Valentine  (No.  12011).  It  con- 
tained the  words  which  were  the  key-note  of  the  campaign,  'the  perjuries  of 
my  suborned  traducers' — the  suborners  of  course  being  the  Prince  and  his 
agents.  This  was  only  an  interlude  in  what  was  still  the  most  engrossing 
subject,  the  fortunes  of  Napoleon  and  the  feats  of  the  Cossacks.  In  The 
Hero's  Return  (No.  12012)  the  Emperor,  unrecognizable  from  the  ravages  of 
the  journey  from  Russia,  terrifies  his  wife  and  son.  Other  topics  are  the 
levies  of  conscripts  and  Napoleon's  important  speech  to  the  legislative  body 
(No.  12014),  both  treated  with  cruel  burlesque.  In  April  the  Douglases  are 
revealed  as  perjurers  in  chief  of  the  Princess,  and  are  savagely  treated  in 
several  prints  (No.  12026,  &c.).  In  one  of  these  is  an  allusion  to  a  scheme  for 
a  divorce,  concocted  by  the  Regent  and  his  Ministers,  seven  years  before  it 
was  openly  mooted.  This  was  the  moment  when  the  public  belief  in  the 
victimization  of  an  innocent  woman,  cruelly  separated  from  her  daughter, 
was  at  its  height.^  Only  the  Satirist  attempts  a  counter-stroke,  A  Caput  (No. 
12030,  I  Apr.)  in  which  Brougham  is  shown  as  the  wirepuller  in  this  sordid 
branch  of  the  campaign  against  the  Prince.  A  Key  to  the  Investigation  or 
logo  distanced  by  Odds,  one  of  the  many  illustrated  parodies  of  The  House 
that  Jack  built  (No.  1203 1),  is  a  summary  of  the  Princess's  case  from  the 
usual  standpoint.  It  is  based  on  a  debate  in  which  Whitbread  called  upon  the 
House  'to  become  the  protectors  of  an  innocent,  traduced  and  defenceless 
stranger'.  In  the  same  month  Fores  published  Boney  and  the  gay  Lads  of 
Paris  calculating  for  the  next  triumphant  Entry  into  Moscow  (No.  12033), 
illustrating  doggerel  verses  of  his  own.  The  Princess  and  Napoleon  are 
competing  interests  with  the  public  and  the  printsellers.  Great  enthusiasm 
was  caused  by  the  arrival  of  two  Cossacks  in  London,  one  of  whom  exhibited 
himself,  his  spear,  and  his  horsemanship  in  the  Park,  to  the  delight  of  the 
public ;  needless  to  say  he  was  a  butt  of  the  Opposition  Press.  John  Bull  and  the 
Cossack,  in  London  (No.  12040)  is  a  plate  to  the  Satirist,  with  the  comment: 
'While  we  .  .  .  behold  one  of  the  liberators  of  Europe,  they  [Opposition]  see 
in  him  only  one  of  the  enemies  of  their  idol  Buonaparte.' 

Not  till  May  is  there  a  print  on  the  American  war  (No.  12043),  the  illustra- 
tion of  a  minor  but  discreditable  incident.  The  Boroughmongering  Trio  (No. 
12067)  on  three  Cornish  elections  is  an  interesting  example  of  the  way  in 
which  personal,  political,  and  constitutional  issues  can  be  represented  in  a 

'  Corr.  of  Sir  Walter  Scott,  1932,  iii.  241. 

^  The  publication  of  The  Correspondence  of  George  IV,  1938,  has  shown  that  the 
separation  was  entirely  justified.  The  Princess  claimed  that  George  Ill's  illness  had 
deprived  her  of  his  support.  Dr.  Guttmacher  shows  from  the  Windsor  MSS.  that  after 
the  Delicate  Investigation  the  King  decided  that  she  was  no  longer  to  be  'an  Intimate 
in  his  Family  and  no  nearer  intercourse  could  he  admit  than  outward  marks  of  Civility'. 
America's  Last  King,  1941,  p.  351. 

XXX 


INTRODUCTION 

comparatively  simple  print.  A  savage  attack  on  Pitt  in  a  cheap  broadside 
(No.  12062)  occasioned  by  the  monument  in  Guildhall,  erected  in  1813,  is  a 
condemnation  of  the  whole  policy  of  the  war  from  the  Radical  and  pacifist 
viewpoint;  it  is  clearly  at  odds  with  popular  feeling  in  18 13. 

News  of  Vittoria  suddenly  changed  the  political  atmosphere,  and  the 
rejoicings  at  so  complete  a  victory,  with  the  final  flight  of  'King  Joe',  and  the 
capture  of  his  Spanish  loot,  are  graphically  expressed  in  many  prints.  After 
this,  the  first  adverse  note  comes  with  the  Vauxhall  fete  on  20  July  to  celebrate 
the  victory.  To  spite  the  Regent,  the  Opposition  had  arranged  that  the 
Princess  should  be  present;  he  therefore  stayed  away.  The  scene  at  Vauxhall 
is  depicted  in  a  plate  by  Cruikshank  (No.  12076),  attacking  the  Regent  ('afraid 
of  meeting  his  wife'),  his  brothers,  and  Ministers.  Meanwhile,  the  situation 
in  Europe  was  critical  during  the  so-called  Congress  of  Prague — this  might 
have  led  to  a  peace  between  Napoleon  and  the  Russian  and  German  Powers 
which  would  have  left  the  British  isolated  in  Spain,  against  the  whole  might 
of  France.  Disregarding  their  treaty  obligations  and  their  subsidies,  England's 
allies  had  made  an  armistice  without  consulting  her.  British  diplomacy, 
especially  the  treaty  with  Sweden  and  the  policy  of  subsidies,  was  violently 
attacked  in  Parliament  and  in  Cruikshank's  Preparing  John  Bull  for  General 
Congress  (No.  12077),  ^^hich,  however,  cannot  forbear  a  tribute  to  'the  brave 
Wellington'.  Simple-minded  exultation  is  the  note  of  British  Valour  and 
Yankee  Boasting,  or  Shannon  versus  Chesapeake  (No.  12080),  one  of  the  few 
prints  on  the  war  with  America. 

With  the  autumn  attention  turns  to  the  campaign  in  Germany,  and 
Napoleon's  demands  for  conscripts.  Cruikshank's  Coniparatize  Anatomy  .  .  . 
(No.  12087)  'S  ^^^  most  grisly  of  a  sequence  of  prints  between  Februar}'  1813 
and  March  18 14  on  levies  of  conscripts  (also  the  subject  of  many  French 
satires).  The  battle  of  the  Katzbach  is  the  subject  of  Cool  Summer  Quarters 
.  .  .  (No.  12086),  a  victory  damped  by  the  more  important  Battle  of  Dresden. 
The  battle  of  Leipzig  transformed  the  situation;  its  significance  was  at  once 
grasped,  the  rejoicings  exceeded  those  for  Vittoria,  and  till  the  spring  the 
victory  and  its  consequences  are  almost  the  sole  topics  of  the  caricaturists, 
although  Wellington  was  advancing  into  France  from  the  Pvrenees.' 

Rowlandson's  fine  design,  The  Tzco  Kings  of  Terror  (No.  12093),  ^^^  ^^^ 
transparency  exhibited  by  Ackermann  at  the  illuminations  of  5  and  6  Nov. 
was  popularized  on  broadsides  and  is  still  familiar  from  reproductions. 
Prophecies  of  disaster  recoiled  on  the  Opposition;  Whitbread  is  taunted  with 
his  words  in  No.  12099.  'The  consequence  of  Leipzig  that  roused  most 
enthusiasm  in  England  was  the  liberation  of  Holland.  'Orange  Boven' 
became  a  catchphrase;  there  was  something  dramatic  in  the  return  of  the 
Prince  of  Orange  to  Scheveningen,  whence  his  father  had  escaped  to  England 
in  1794,  and  it  is  the  subject  of  cheap  popular  prints  (No.  13491).  The  results 
of  Leipzig,  successes  in  the  Pyrenees,  and  events  in  Holland  are  merged  in 
prints  celebrating  the  triumphs  of  the  Allies.  Faction  and  pessimism  almost 
disappear.  Almost:  in  National  Phrenzv,  or  John  Bull  and  his  Doctors!  (No. 
121 10)  victories  are  quack  remedies;  John  exclaims:  'What!  My  shop  door 
open!  My  business  going  on!!  Hurrah  hurrah.  Little  Boney  destroy'd!!!!! 
Leipsic  taken,  Hanover  restored,  Holland  free  and  France  invaded!!!!!  Is 
this  not  too  much  to  swallow?'  But  he  is  bewildered  and  perturbed  at 
victories  that  are  combined  with  disastrous  expenditure;  all  political  groups 
are  condemned:  Ministers  for  their  salaries  and  sinecures,  Carlton  House 

'  Wellington  entered  France  on  7  Oct.;  on  15  Sept.  Brougham  wrote  to  Creevey: 
'I  beg  to  remind  you  of  my  predictions,  viz.  Wellington's  retreat  in  Nov.  or  Dec.  and 
a  separate  peace  on  the  Continent  before  Xmas.  .  .  .'    Creeiey  Papers,  1904,  ii.  186. 

xxxi 


INTRODUCTION 

for  selfish  extravagance,  Foxite  Whigs  for  selfishly  shirking  responsibility, 
Burdett  for  his  advocacy  of  Reform.  Opposition  to  Reform  excepted,  this  is 
Cobbett's  theme :  'Tax  gatherers  yet  unborn  will  cover  the  land  in  consequence 
of  this  war,  the  apparent  result  of  which  is  such  matter  for  bragging!'  With 
this  exception,  exultation  at  victory,  spontaneous  and  unmixed,  dominates  the 
prints  of  December.  In  one  week  the  Tower  guns  were  fired  four  times,  for 
revolution  in  Holland,  the  liberation  of  Hanover,  the  battle  of  the  Nivelle, 
and  the  surrender  of  Dresden.  In  this  spirit  of  unalloyed  rejoicing,  and  of 
enthusiasm  for  his  Allies,  John  Bull's  part  as  paymaster  is,  most  exceptionally, 
stressed  without  rancour  in  Bleeding  &  Warm  Water!  Or  the  Allied  Doctors 
bringing  Boney  to  his  Senses  (No.  121 18).  All  these  prints  are  international  in 
outlook,  glorifications  of  the  Allies  in  which  John  Bull  certainly  gets  no  more 
than  his  due  and  Wellington  perhaps  less.  One  of  the  most  striking  of  the 
post-Leipzig  prints  is  German,  Le  Commencement  du  Finale  (No.  12549), 
by  Schadow,  a  survey  of  the  European  scene  in  the  guise  of  a  theatre.  Four 
allied  sovereigns  (including  Bernadotte),  ready  for  war,  watch  the  stage  where 
Napoleon's  satellites  disappear  into  the  wings,  and  Wellington  advances  from 
the  background:  'from  the  foot  of  the  Pyrenees'. 

For  1814  there  are  156  political  prints,  but  of  these  23^  are  French,  4  German, 
and  2  Italian.  The  burning  question  at  the  new  year  was  that  of  peace,  which 
seemed  fast  approaching.  Would  France  have  her  'natural  limits'  as  offered 
to  her  in  the  Frankfort  Proposals,  or  her  'ancient  limits'  ?  Would  peace  be 
made  with  Napoleon  ?  What  would  be  his  fate,  and  the  fate  of  his  dynasty  ? 
This  suspense  is  illustrated  in  The  Double  Hutnbug  or  the  Devils  Imp  praying 
for  Peace  (No.  12169),  one  of  several  prints  showing  how  closely  Napoleon's 
pronouncements  were  scanned.  The  uncertainties  of  the  first  weeks  of  the 
year  are  reflected  in  a  certain  inconsequence,  and  choice  of  non-committal 
subjects  such  as  the  Regent  at  Belvoir  or  at  Petworth.  For  a  few  weeks 
the  Regencyof  Marie  Louise  for  her  son  seemed  a  possibility  and  several 
prints  hint  at  this,  notably  Cruikshank's  The  Infant  Richard  (No.  12172). 
There  is  silence  on  the  engagement  of  Princess  Charlotte  till  i  March;  it  is 
opposed  in  No.  12191,  as  it  was  by  the  Opposition,  who,  for  various  reasons, 
worked  up  an  agitation  against  it.  Meantime,  the  allied  armies  in  France  had 
suffered  a  series  of  checks,  owing  to  divided  aims  and  dubious  strategy.   On 

4  Mar.  appeared  an  optimistic  and  prophetic  print.  Political  Chess  Players, 
or  Boney  bewildered — John  Bull  supporting  the  Table  (No.  12 193),  one  of  those 
rare  satires  in  which  John  cheerfully  accepts  the  burden  of  the  financial 
support  of  the  Allies.    All  this  time  Cobbett  was  prophesying  disaster:  on 

5  Mar.  'the  French  are  now  in  a  position  to  dictate  terms  to  their  invaders'. 
A  week  later  he  was  convinced  that  the  invaders  would  be  driven  from  France. 
Not  till  the  19th  did  he  admit  that  Bonaparte's  defeat  was  'not  impossible'. 
This  was  after  news  of  Bliicher's  victory  at  Laon,  which  was  followed  by 
John  Bull  bringing  Bonys  Nose  to  the  Grindstone  (No.  12199).  At  this  time  a 
considerable  proportion  of  English  caricatures  are  copies  of  German  prints, 
including  several  versions  of  Voltz's  'corpse  head'.^  In  The  Allied  Bakers 
(i  Apr.)  all  the  Allies  co-operate  in  the  final  disposal  of  Napoleon,  all,  that 
is,  but  Francis  I,  who  surreptitiously  protects  his  son-in-law,  an  illustration  of 
suspicions  heightened  by  the  calculated  inactivity  of  Schwartzenberg.  It  was 
not  known  in  London  that  the  Allies  had  entered  Paris  on  31  March. 

Momentous  happenings  in  France  were  temporarily  obscured  by  one  of 
those  scandals  that  delighted  the  caricaturists;  at  such  a  time,  though  con- 
nected with  the  war,  it  could  be  but  a  minor  excitement.  This  was  'the  Stock 

*  Pol.  Reg.  xxiv.  715  (4  Dec).  2  Not  including  some  copies. 

^  See  above,  p.  xvi. 

xxxii 


INTRODUCTION 

Exchange  hoax' :  news  was  dramatically  published,  during  the  set-back  in 
February  (after  Champaubert  and  Alontmirail,  with  more  defeats  to  come), 
that  Napoleon  was  dead  and  the  Allies  were  in  Paris.  Shares  were  bought  and 
sold  to  take  advantage  of  the  short  boom  and  quick  reaction  caused  by  the 
news  and  its  falsity.  Eventually  Lord  Cochrane,  his  uncle,  and  one  Butt 
were  convicted  of  conspiracy.  All  but  Cochrane  were  undoubtedly  guilty ;  the 
prima-facie  evidence  against  him  was  strong  and  his  own  affidavits  weakened 
his  case.  This  started  a  controversy  which  is  still  not  forgotten,  and  can  hardly 
be  regarded  as  settled.  The  caricaturists  assume  his  guilt,  and  attacks  upon 
him  end  only  with  his  departure  for  Chile  four  years  later.  This  and  another 
incident  combined  further  to  discredit  the  Princess's  supporters,  w^hose 
prophecies  of  defeat  and  ruin  had  been  so  signally  falsified.  Cochrane  John- 
stone had  clamoured  in  Parliament  for  the  accusers  of  the  Princess  to  be  tried 
for  perjury :  he  was  now  manifestly  guilty  of  perjury.  Secondly,  Whitbread 
and  others  had  accused  Moira  of  inserting  paragraphs  in  the  newspapers 
disparaging  the  Princess;  in  February  Lady  Perceval  was  found  to  have  been 
concocting  libellous  paragraphs  and  'hints'  from  iSii  to  1813  in  favour  of  the 
Princess,  with  the  supposed  object  of  securing  posts  in  her  Household  for 
herself  and  her  son,  and  she  had  falsely  accused  her  tool  of  being  their  author. 
The  newspapers  rang  with  the  affair,  which  is  the  subject  of  one  print  only, 
filled  with  innuendoes  that  for  once  seem  to  be  justified  (No.  12194). 

But  events  in  France  soon  overwhelmed  every  other  topic.  News  of  the 
occupation  of  Paris  reached  London  on  5  Apr.,  of  Napoleon's  abdication  on 
9  Apr.,  while  the  treaty  of  abdication  was  signed  on  11  Apr.  From  8  Apr. 
onwards  these  arc  the  subjects  of  the  prints,  rapidly  drawn  reactions  to  sudden 
and  astonishing  developments.  Rowlandson's  Bluchcr  the  Brave  exacting  the 
Groan  of  Abdication  from  the  Corsican  Bloodhound  (No.  122 16,  9  Apr.)  is  the 
first  open  reference  to  a  Bourbon  restoration.  Exultation  at  Napoleon's  defeat, 
abdication,  and  exile  dominates  the  caricatures;  the  artists  compete  in  the 
invention  of  humiliating  details,  especially  in  connexion  with  the  journey  to 
the  coast  and  the  installation  in  Elba.  The  cruelty  of  the  satires  is  in  some 
degree  mitigated  by  tlieir  burlesque.  The  old  allegations  of  the  atrocity 
satires  which  began  in  1803'  are  repeated  and  brought  up  to  date.  The  part 
played  by  Talleyrand  (misunderstood  in  No.  12 190)  is  recognized  (No.  12226). 
Less  so,  for  the  moment,  that  of  Wellington :  news  of  his  final  victory  did  not 
reach  London  till  25  Apr.,  and  Bliicher  is  the  chief  allied  hero  (No.  12220). 
The  entry  of  the  Allies  into  Paris,  cheered  by  a  royalist  crowd,  is  realistically 
depicted  in  No.  12228.  Cruikshank's  Broken  Gingerbread  (No.  12230)  is  an 
ironic  sequel  to  Gillray's  famous  Tiddy  Doll;  Napoleon  in  Elba,  'Removed 
from  Paris',  vainlv  hawks  the  crumbling  fragments  of  his  'Corsican  King- 
lings';  his  wares  are  sadly  diminished,  since  the  other  satellite  kings  of  1806 
are  absent — they  are  now  his  enemies. 

The  French  prints  of  about  this  date  are  not  all  royalist  in  spirit.  Napoleon 
is  seldom  caricatured,  but  has  the  classic  features  of  official  portraiture.  It 
would  seem  that  he  is  castigated  less  as  usurper  than  for  loss  of  conquests.  In 
one.  No.  12240,  he  is  condemned  for  rejecting  an  offer  of  peace  from  motives 
of  ambition.  There  is  one  Bonapartist  plate  (No.  12237),  ^  bitter  attack  on 
Talleyrand  and  Marmont  (bribed  by  British  gold)  for  their  treachery. 

The  theme  that  had  brought  such  disillusion  in  1802  is  revived  in  a  good- 
humoured  print,  Cruikshank's  Peace  &  Plenty  or  Good  Neus  for  John  Bull!!! 
(No.  12265),  ^^  which  the  Regent  entertains  Louis  XVIII,  and  bread,  porter, 
and  meat  arc  all  'coming  down'.  For  once  'Peace  and  Plenty'  arc  words  not 
used  in  irony — prices  did  fall,  trade  temporarily  flourished  with  the  opening 

■   See  Volume  VIII,  p.  xxi  f. 

xxxiii  C 


INTRODUCTION 

of  the  Continent.  As  in  1801,  a  good  harvest  followed  a  dearth.  Even  the 
Morning  Chronicle  descended  to  gibes  at  Napoleon  in  the  popular  vein,  and  in 
April,  under  the  heading  'the  Tyrant's  Fall',  made  one  of  the  many  punning 
jokes 'in  which  Elba  is  'Hell'  or  'Hell  Bay'  (No.  1223 1,  &c.):  'For  Elba  est 
en-fer.'  The  return  of  the  gouty  king  to  France  is  the  subject  of  Marks's 
Needs  must,  when  Wellington  drive's  or  Louis's  Return  (No.  12266),  a  first  hint 
of  dissatisfaction  with  the  turn  of  events,  foreshadowing  far  bitterer  satires  on 
this  theme.  The  competitive  eagerness  of  Napoleon's  Marshals  to  make  their 
peace  with  Louis  is  satirized  in  Cruikshank's  Acts  of  Adhesion!!!  (No.  12271, 
I  June),  one  of  many  examples  of  the  care  with  which  the  foreign  news  was 

scanned. 

For  some  months  the  Regent  had  enjoyed  a  phase  of  popularity,  while  the 
Princess  had  been  in  eclipse.  Opposition  could  not  suffer  this  to  continue,  and 
their  opportunity  came  with  Princess  Charlotte's  engagement  and  the  state 
visit  in  June  of  the  allied  sovereigns  and  notables.  June  was  a  watershed 
between  the  national  rejoicing  that  silenced  malcontents  and  the  reaction  that 
was  to  follow.  Verses  in  the  Morning  Chronicle  (13  June)  are  noteworthy  as  an 
early  expression  of  disillusionment — so  far  wholly  partisan : 

'Tis  past — War  drops  his  crimson  lance ; 

The  Bourbons  mount  the  throne, 
And  reassume  their  Spain  and  France, 

To  rule  by  love  alone. 
Resolv'd  to  prove  that  France  and  Spain 

Have  better'd  their  condition. 
One  bids  the  Slave  Trade  thrive  again, 

And  one  the  Inquisition. 

Hostilities  opened  with  the  Queen's  refusal  to  receive  the  Princess  at  a 
Drawing  Room  on  2  June,  when  Princess  Charlotte  was  to  make  a  first 
appearance,  on  the  ground  that  the  Regent  would  be  present.  The  usual 
letter  of  protest  was  published,  and  a  new  phase  of  unpopularity  for  the  Prince 
began,  now  shared  by  the  Queen.    The  dutiful  Morning  Herald  pilloried 

'Opposition  Councils  ...  on  the  well-fomented  variance  between  her  M 

and  the  Princess  of  W respecting  the  well-advised  non-appearance  of  the 

latter  at  the  next  drawing  room',  and  the  paragraph  was  denounced  in  Parlia- 
ment. Royal  Advice  (No.  12279)  ^y  Marks  is  a  venomous  print  timed  to 
coincide  with  the  arrival  of  the  royal  visitors,  but  there  was  also  a  tribute  to  the 
Regent  for  his  share  in  the  settlement  of  Europe  in  Cruikshank's  A  Game  at 
Crihbage  .  .  .  (No.  12277). 

Princess  Charlotte  and  her  'Dutch  Toy'  (No.  12273)  ^^^  the  foreign  visitors 
were  two  congenial  subjects  for  the  print-shops.  The  public  were  fascinated 
by  the  Tsar  and  his  sister  and  by  Bliicher  and  Platoff.  New  ammunition 
against  the  Regent  was  found  by  contrasting  him  with  Alexander  and  with 
Bliicher.'  Princess  Charlotte,  like  her  mother,  was  now  a  pawn  in  the  intrigues 
of  Brougham;  she  had  made  friends  with  the  mischief-making  sister  of  the 
Tsar,  who  had  established  relations  with  the  Opposition;  she  broke  off  her 
engagement  and  announced  it  in  a  letter  in  which  she  openly  sided  with  her 
mother  against  her  father.  Creevey  exulted :  'What  think  you  of  the  effect  of 
this  upon  the  British  publick  ?'  The  Regent  thereupon  dismissed  all  her  ladies 
and  said  that  she  was  to  have  an  establishment  outside  London.  The  Princess 
retorted  by  getting  into  a  hackney  coach  and  going  to  her  mother,  with  whom 
she  proposed  to  live.  The  sensation  was  great  and  was  the  subject  of  lengthy 
verse  satires.  The  whole  episode  can  be  followed  in  the  prints,  beginning 
with  The  Regent  kicking  up  a  Row  (No.  12292).  Victory  was  with  the  Regent; 

'  See  above,  p.  xxii. 

xxxiv 


INTRODUCTION 

a  move  to  represent  Princess  Charlotte  as  harshly  treated  was  foiled,  and 
Opposition  were  further  discomfited  by  the  departure  of  the  Princess  of  Wales 
for  the  Continent. 

The  next  episode  was  the  Regent's  grand  fete  in  the  three  royal  parks 
on  I  Aug.,  to  celebrate  the  peace,  the  centenary  of  the  House  of  Brunswick, 
and  the  anniversary  of  the  Battle  of  the  Nile.  Needless  to  say  that  during  the 
preparations  it  was  denounced — for  extravagance,  waste,  and  absurdity — in 
Parliament,  in  the  Opposition  Press,  and  in  verse  satires.  The  tenor  of  the 
campaign  can  be  gathered  from  the  prints,  for  instance  Cruikshank's  The 
Modern  Don  Quixote  or  the  Fire  King  (No.  12301).  But  John  Bull  was  pleased : 
John  Bull  ynad  zdth  Joy!  .  .  .  (No.  12302)  has  a  basis  of  fact.  Here  again 
victory  was  with  the  Regent.  The  year  ends  with  a  dearth  of  political  prints. 
Some  unwonted  attention  is  given  to  the  American  War:  The  Merchants 
Memorial  to  Alley  Croker  (No.  123 10)  is  a  violent  attack  on  the  Admiralty  for 
failure  to  protect  shipping  from  the  exasperating  attacks  of  privateers. 
Exasperation  may  in  part  account  for  the  exultation  expressed  in  The  Fall  of 
Washington  or  Maddy  in  full  flight  (No.  12311)  on  the  burning  of  the  public 
buildings  at  Washington. 

For  1815  there  are  176  political  prints,  but  of  these  44  are  French  and  i  is 
German.'  At  the  beginning  of  the  year  disillusionment  had  unmistakably 
arrived.  For  caricaturists  the  two  burning  questions  were :  what  would  happen 
to  the  Property  (Income)  Tax;  what  was  happening  at  Vienna.  To  these  was 
soon  added,  what  would  be  the  fate  of  the  Corn  Bill.  A  campaign  against  the 
tax  had  begun;  the  return  of  Napoleon  defeated  it,  but  its  departure  was 
prematurely  announced  in  a  plate  dated  19  Mar.  (No.  12507).  Prints  on  the 
Congress  are  all  influenced  by  the  attacks  of  Opposition  on  'the  monstrous 
proceedings  of  the  Robbers  at  N'icnna'.  On  the  last  day  of  1814  a  squib 
appeared  in  the  Champion  containing  almost  all  the  points  on  which  ignorance 
of  international  possibilities  and  of  earlier  agreements,  idealism,  and  sheer 
faction  were  to  fasten:  Norway,  Saxony,  Poland,  Italy,  Spain  ('with  a  fell 
Inquisition  and  a  brutified  King'),  the  Slave  Trade.   Castlercagh  speaks: 

And  you  mighty  commanders  will  doubtless  allow 
That  at  ever>'  pinch  Johnny  Bull 's  the  milch  cow. 

Then  settle  your  claims  and  your  losses,  and  say 
How  much  compensation  you  wish  us  to  pay  .  .  . 

Vansittart  will  manage  the  Propcrt>'  Tax. 

If  this  was  not  the  inspiration  of  Cruikshank's  Ttcelfth  Night  .  .  .  (No. 
12453)  it  might  have  been,  as  also  of  Williams's  Amusement  at  Vienna,  alias 
Harmony  at  Congress  i.e.  Paying  the  Pipers  (No.  12499).  ^^^^  ^"*^''^  ^^  \'ienna 
arc  repeatedly  ridiculed.  Castlercagh's  eagerly  awaited  return  is  anticipated 
in  No.  12501 ;  he  is  denounced  as  a  creature  of  the  Regent  and  for  sacrificing 
Poland  and  Saxony.  On  these  lines  he  had  been  attacked  in  Parliament  in 
November.  Stark  disillusion  is  expressed  in  John  BuWs  Three  Stages  or, 
from  Cood  to  Bad  o  from  Bad  to  Worse  (No.  12502),  one  of  those  prints  in 
which  past  prosperity  is  contrasted  with  present  ruin;  on  this  occasion  there 
is  an  intermediate  stage — during  the  war — when  times  were  hard  but  not 
desperate;  'Peace  with  all  the  World'  has  brought  utter  destitution.  The 
after-war  miseries  were  to  come  in  full  force  but  they  had  not  yet  arrived, 
indeed  trade  was  flourishing :  the  print  is  political  rather  than  factual  and  may 
be  inspired  by  the  coming  Corn  Bill.  Tlie  Blessings  of  Peace  or  the  Curse  of 
the  Corn  Bill  (No.  12503)  is  also  by  Cruikshank.  The  Bill  is  a  landmark  in 
economic  history  and  in  opinion;  it  roused  instant  indignation,  and  evoked 

*  Misplaced,  a  print  of  18 14. 
XXXV 


INTRODUCTION 

interesting  prints,  but  news  of  Napoleon's  return  soon  damped  down  other 

topics. 

Napoleon  landed  at  Golfe  Juan  on  i  Mar.,  on  the  loth  the  news  was 
announced  in  London.  The  first  plate,  The  Fox  &  the  Goose;  or,  Boney  broke 
loose!,  is  dated  17  Mar.  A  pleasingly  naive  bird's-eye  survey  combines  a  view 
of  Elba,  of  the  Congress  about  to  hear  the  news  from  flying  geese,  and  of 
France,' where  a  fox  with  Napoleon's  head  races  towards  Paris,  and  agitated 
Britons  make  for  the  coast,  to  embark  at  exorbitant  fares.  Dismay  in  Vienna, 
where  the  Powers  are  'cutting  out'  Europe  in  a  tailor's  workshop,  is  depicted 
in  No.  12509;  this  is  one  of  three  prints  in  which  the  King  of  Prussia  aims  at 
an  imperial  crown.  The  Spanish  Mule  has  the  same  date  (21  Mar.);  it  is  one 
of  the  earliest  satires  on  Ferdinand  VII's  obstinate  bigotry.  Even  Napoleon's 
return  could  not  displace  the  theme  of  brutal  misgovernment  at  Madrid,  the 
subject  of  Rowlandson's  The  Privy  Cou?icil  of  a  King  (No.  125 10,  28  Mar.)— 
not  irrelevant  to  the  claims  and  fortunes  of  a  Bourbon  King  of  France.  At 
this  time  'Corporal  Violette'  prints  (No.  125 12)  from  France  were  an  attractive 
novelty  despite  their  Bonapartist  colour.  Comparatively  few  of  the  satires  on 
the  return  from  Elba  are  simple  prints  on  that  theme ;  they  combine  with  it 
ridicule  of  the  Congress,  or  of  the  John  Bulls  taken  unawares  in  France,  or  of 
Louis  XVIIL  French  levity  and  fickleness  are  the  subject  of  Nos.  12524, 
1253 1 .  The  High  Winds  of  March,  blowing  Events  from  all  Quarters  (i  Apr.)  is 
a  composite  design  relating  only  in  part  to  Napoleon ;  it  illustrates  a  plea  for 
not  renewing  the  war  on  the  ground  that  the  French  choice  of  a  sovereign  is 
their  own  concern,  and  that  exhausted  John  Bull  should  not  be  asked  to  be 
the  paymaster  of  Europe.  This  is  no  exceptional  viewpoint,  but  in  several 
prints  Napoleon  is  in  company  with  Death,  or  the  Devil,  or  his  Hellhounds 
(marshals).  In  No.  12533  the  selfish  quarrels  of  the  Powers  at  Vienna  are 
blamed  for  the  return,  and  the  same  plate  also  illustrates  a  broadside  headed 
The  Bungling  Tinkers!  or.  Congress  of  Blockheads!  Who  Battered  a  Hole  in 
Great  Europe's  Kettle.  John  Bull's  burden  recurs:  in  No.  12534,  another 
broadside,  the  armies  of  the  Allies  'shall  dash  through  all  France,  if  John  Bull 
will  equip  and  maintain  'em!'  In  two  plates  (Nos.  12532,  12538)  specific  debates 
are  depicted  as  contests  between  Castlereagh  and  Whitbread,  and  No.  12534 
seems  to  reflect  yet  a  third  debate,  the  one  so  truthfully  rendered  in  The 
Dynasts.  In  such  a  contest  the  verdict  is  for  Castlereagh:  Whitbread  was 
unpopular  with  caricaturists ;  in  a  number  of  satires  he  had  been  attacked  for 
defeatism  and  false  prophecies. 

The  prints  reflect  a  public  opinion  divided,  perturbed,  but  fundamentally 
staunch.  From  March  to  June  they  show  how  necessary  was  the  ministerial 
policy  of  refusing  to  say  that  their  object  was  the  reinstatement  of  Louis. 
Even  Whigs  who  were  not  Bonapartist  (as  many  of  them  were)  were  not  eager 
for  victory.  On  13  June  Horner  wrote  to  Jeffrey:  'Conceive  me  to  hate 
Buonaparte  as  you  do,  yet  to  wish  (as  I  do  fervently)  for  a  successful  resistance 
by  France  to  the  invasion  of  the  Allies.  .  .  .''  But  Napoleon's  promises  and 
proclamations,  the  Acte  Additionnel,  and  the  abolition  of  the  Slave  Trade  are 
derided  as  the  blandishments  of  a  wolf  in  sheep's  clothing  in  General  Nap 
turn'd  Methodist  Preacher  . . .  (No.  12546)  and  A  View  of  the  Grand  Triumphal 
Pillar  (No.  12541),  both  by  Cruikshank.  Three  illustrated  broadsides  written 
and  published  by  Hone  shortly  before  Waterloo  are  frankly  Bonapartist:  Nos. 
12545,  12552,  12553.  In  the  second  is  a  last  belated  gibe  at  Liverpool  for  his 
'March  to  Paris'  speech  in  1794,  on  the  grounds  that  Napoleon's  defeat  is 
unattainable  as  well  as  undesirable :  his  treatment  of  Europe  is  contrasted  with 
the  conduct  of  the  Allies  to  Poles,  Saxons,  Norwegians,  and  Genoese;  his 
'  Memoirs  and  Corr.  of  Francis  Horner,  1843,  ii.  25. 

xxxvi 


INTRODUCTION 

abolition  of  the  Slave  Trade,  'by  a  stroke  of  the  pen',  is  compared  with  the 
intransigence  of  Louis  (subservient  to  French  opinion,  see  No.  12312); 
Castlereagh  is,  of  course,  denounced.  But  in  other  eve-of-battle  prints 
Napoleon  is  annihilated.  An  Eruption  of  Mount  Vesuvius  . . . ,  fatal  to  Napoleon 
and  to  Murat,  has  three  states  corresponding  to  publication  before  and  after 
news  of  \\'aterloo. 

The  first  Waterloo  print  is  Heath's  rapidly  drawn  A  Lecture  on  Heads  as 
delivered  by  Marshals  Wellington  zj  Blucher  (No.  12557).  Published  later,  but 
designed  before  news  of  victory,  is  The  Ballace  [sic]  of  Power,  exceptional  in 
its  uncompromising  preference  for  Louis.  English  Waterloo  prints  are  com- 
paratively few;  they  support  the  contention  that  the  unalloyed  rejoicing  of 
1814  was  not  renewed;  certainly  the  exulting  derision  of  the  Elba  prints  is  not 
repeated.  \\'aterloo  soon  gives  way  to  .  .  .  Little  Boney's  Surrender  to  the  Tars 
of  Old  England!!!  (No.  12579),  news  of  which  reached  England  on  21  July. 
'What  can  be  more  wonderful  than  that  the  actual  capture  of  Buonaparte,' 
Hallam  wrote  to  Horner  on  the  26th,  'an  event  beyond  all  calculation  .  .  . 
should  not  raise  our  stocks  and  hardly  our  spirits.'  The  first  of  the  St.  Helena 
prints  is  No.  12592,  with  an  allusion  to  the  'Themistocles'  letter;  John  Bull 
answers  the  request  for  hospitality:  '.  .  .  when  you  are  kicked  out  of  France  a 
second  time  you  want  to  come  &  live  on  my  Island  but  it  wont  do  Master 
Boney.  .  .  .'  John  makes  a  similar  reply  in  Napoleon  s  Trip  from  Elba  to  Paris 
&  from  Paris  to  St.  Helena,  '.  .  .  it  has  cost  me  a  pretty  round  sum  to  catch 
you  Mr  Themistocles,  as  you  call  yourself,  but  now  I  have  got  you  I'll  take 
care  of  you.'  Here  undoubtedly  is  the  authentic  voice  of  John  Bull.  But 
Cobbett  and  the  Radicals  were  'galled  exceedingly''  at  the  results  of  Waterloo; 
the  Whigs  considered  Napoleon's  exile  a  crime — Moore  describes  it  as  'Foul 
play'  in  the  Epistle  from  Tom  Cribb  illustrated  in  Boxiana,  No.  12613.^ 

The  second  Restoration  was  a  more  promising  line  of  attack;  it  is  the  subject 
not  only  of  Radical  prints  but  of  Return  of  the  Paris  Diligence — or — Boney  rode 
over  (No.  12609)  invented  by  George  Humphrey,  and  published  in  St.  James's 
Street.  Perhaps  there  is  not  much  animus  in  this,  but  Hone's  publications  are 
bitter  indeed ;  hatred  of  the  Bourbons,  of  Clericalism,  of  Castlereagh,  mortifica- 
tion at  Napoleon's  defeat,  resentment  at  subsidies,  are  expressed  in  Louis 
XVHI  climbing  tlw  Mat  de  Cocagne  (No.  12614);  Fast  Colours  is  a  similar 
theme;  both  are  by  Cruikshank,  both  were  pirated,  a  sign  of  popularity.  The 
restoration  of  the  works  of  art  appropriated  by  Napoleon  is  approved  in 
Cruikshank's  Departure  of  Apollo  and  the  Muses  (No.  12619),  but  this  was  not 
the  \\  hig  attitude,  and  the  Morning  Chronicle  called  it  'this  act  of  pillage'.  In 
The  Afterpeice  to  the  Tragedy  of  Waterloo — or — Madame  Francoise  &  her 
Managers!!!  (No.  12620),  France  is  the  victim  of  ruthless  militarism,  Castle- 
reagh is  of  course  vilified,  and  the  restoration  of  the  art  treasures  is  denounced. 

Cruikshank's  adaptation  of  Gillray's  Cloria  Mundi,  or — the  Devil  addressing 
the  Sun  (No.  12593)  is  the  most  famous  of  the  St.  Helena  satires,  but  it  is 
exceptional.  There  is  a  marked  contrast  with  the  1814  caricatures :  the  standard 
Elba  print  is  of  a  ragged  ex-Emperor  in  some  humiliating  situation,  surrounded 
by  carrion  birds — expressing  not  only  exultation  at  long-delayed  victory  but 
the  reaction  to  Napoleon's  'Lilliputian  Empire'  with  hie  Court  and  his  Guards. 
The  usual  St.  Helena  print  is  of  a  colossus  (not  caricatured)  dominating  the 
island  peaks  whence  he  watches  the  European  scene  (No.  1261 1,  &c.). 
Napoleon  and  the  rats  of  St.  Helena  was  a  continental  theme  with  many 
variations;  there  is  one  English  print  (Elban  in  spirit)  where  Napoleon  catches 
rats  (No.  12608),  characteristic  of  the  Scourge,  and  one  German  rat  print  was 
copied  for  Ackermann. 

'  Examiner,  1815,  p.  529.  '  See  above,  p.  xxii. 

xxxvii 


INTRODUCTION 

The  only  print  explicitly  approving  the  second  Peace  of  Paris  is  a  copy  of 
Ackermann's  transparency  for  the  occasion  (No.  12621).  To  quote  the  hostile 
Cobbett:  'How  dull,  how  mournful  the  scene.  ...  No  illuminations  except 
Ex-Officio  in  London.  It  is  peace  in  such  dismal  circumstances  as  to  shut  up 
the  hearts  of  the  people  against  any  feeling  of  joy.'  The  State  of  Politicks  at 
the  Close  of  the  Year  181 5  (No.  12622)  is  a  gloomy  survey:  'Priests  and  the 
Devil  rule  in  Spain — priests  and  old  women,  with  the  .  .  .  co-operation  of  the 
Allies  in  France.'  Russia,  Prussia,  and  Austria  have  made  territorial  gains ; 
'England  comes  in  only  for  the  honour  and  even  for  that  she  pays  dearly 
enough.'  The  scene  was  set  for  the  resentful  suspicion  which  the  Holy 
Alliance  was  to  encounter,  and  for  the  diatribes  of  1816-17  on  'the  black 
transactions  of  Vienna'.'  Home  affairs  are  still  in  the  background.  There 
is  a  satire  (No.  12591)  on  the  refusal,  in  sensational  circumstances,  of  a 
marriage  grant  to  the  Duke  of  Cumberland,  in  which  he  is  depicted  as  the 
murderer  of  his  valet,  though  for  prudential  reasons  that  part  of  the  design 
is  (almost)  obliterated.  In  Royal  Methodists  .  .  .  (No.  12624)  the  Whiggish 
Dukes  of  Kent  and  Sussex  are  satirized  as  patrons  of  dissent,  hostile  to  the 
Established  Church. 

The  dominant  theme  of  1816  (123  prints,  8  French)  is  national  distress,  the 
mood  is  angry  disillusionment.  The  transition  from  war  to  peace  had  come 
with  its  wonted  severity,  and  the  country  discovered  that  'it  was  reserved  for 
peace  to  bring  forth  the  fruits  of  war'.^  There  was  stagnation  of  trade, 
unemployment,  and  a  crisis  in  agriculture;  prices  were  falling,  food  prices  fell 
more  slowly,  and  the  price  of  corn,  low  at  the  beginning  of  the  year,  rose  to  a 
great  height  with  a  bad  harvest.  Unrest  and  riots  were  the  consequence.  The 
keynote  of  the  year  is  given  in  a  January  print  by  Cruikshank,  English  Generals 
on  the  Peace  Establishment  (p.  630);  they  are  'General  Complaint',  'General 
Bankruptcy',  'General  Starvation'.  The  Ministry  intended  to  keep  the 
Property  (Income)  Tax  at  a  reduced  rate :  organized  propaganda  and  mass 
petitioning  led  by  Brougham,  who  had  succeeded  Whitbread  as  leader  of  'the 
Mountain',  defeated  this,  and  an  incompetent  Chancellor  of  the  Exchequer 
(Vansittart)  was  thrown  back  on  a  policy  of  expedients  which  hampered 
recovery  (cf.  No.  13269).  The  note  of  the  agitation  against  the  tax  is  given  in 
the  title  of  a  pamphlet  with  a  frontispiece  by  Cruikshank  (No.  12715) :  Resist, 
or  be  Ruined!  The  Property  Tax  must  be  Abolished  now,  or  a  State  Inquisition 
will  be  Established  in  England  for  ever.  .  .  .  Many  prints  dilate  on  the  iniquities 
of  the  tax,  which  is  depicted  as  a  savage  monster  (Nos.  1275 1,  12752),  and 
exult  at  its  defeat.  This  was  by  37  votes  on  30  Mar.  (No.  12750);  Castle- 
reagh's  words,  'ignorant  impatience  of  taxation',  roused  a  storm;  they  are 
pilloried  in  State  Physicians  bleeding  John  Bull  to  Death!!  (No.  12756),  a 
perennial  theme. 

Other  grievances,  illustrated  in  the  prints,  aided  and  were  aided  by  the 
agitation  against  the  tax.  The  call  for  retrenchment  became  overwhelming; 
fear  of  militarism  sharpened  the  demand  for  a  reduction  of  the  Army,  and 
the  prolonged  debates  on  the  Army  Estimates  are  illustrated  in  many  satires, 
especially  No.  12756.  Other  expenditure  of  course  came  under  fire;  the 
Civil  List,  the  Regent's  colossal  debts,  and,  above  all,  sinecures.  The  'Red 
Book'  was  a  symbol  for  places,  pensions,  and  sinecures:  lohn  Bull  reading 
the  Extraordinary  Red  Book  (No.  12781)  is  one  of  many  demands  for  Econo- 
mic Reform,  which  by  this  time  has  become  almost  synonymous  with 
Parliamentary  Reform. 

The  Princess  of  Wales  was  now  a  liability  for  her  supporters  (The  Regent's 

'  Brougham,  on  13  Mar.  18 17.   Pari.  Deb.  xxxv,  1840. 
^  Peter,  Thoughts  on  the  present  Crisis,  18 16. 

xxxviii 


INTRODUCTION 

endeavours  to  get  evidence  for  a  divorce  are  satirized  in  No.  12808),  and 
for  some  years  the  chief  grounds  of  attack  on  the  Prince  are  his  various 
manifestations  of  extravagance.  The  Cottage  in  Windsor  Park  and  the  Chinese 
decorations  of  the  Pavilion  become  symbols  not  only  of  squandermania  but 
of  depravity  or  oriental  decadence.  These  themes  seem  to  have  been  started 
by  speeches  in  Parliament  beginning  in  February  (No.  12747).  The  most 
notorious  was  Brougham's  speech  on  20  Mar.,  when  he  called  the  Regent 
one  of  those  'who  in  utter  disregard  of  the  feelings  of  an  oppressed  and  insulted 
nation,  proceeded  from  one  wasteful  expenditure  to  another  .  . .  who  associated 
with  the  most  profligate  of  human  beings  . . . '.  This  pleased  the  Radicals  and 
the  caricaturists — the  speech  is  illustrated  in  Xos.  12756,  12766 — but  offended 
moderates  in  the  Commons  and  saved  the  Ministr}'.  Romillv  calls  it  'very 
injudicious  as  well  as  very  unjust'  and  'in  terms  not  too  strong  to  have  de- 
scribed the  last  days  of  Tiberius'.  The  Court  at  Brighton  a  la  Chinese  (No. 
12749)  is  ^  comprehensive  satire  on  'Regency  Taste!!!!!'  as  well  as  on  Regency 
manners  and  morals  and  on  Lord  Amherst's  mission  to  China.  From  this 
time  the  Prince  is  often  depicted  in  Chinese  costume,  and  surrounded  by 
Chinese  bric-a-brac;'  even  his  crutches — symbol  of  an  attack  of  gout — are 
garnished  with  dragons.  Prince  Leopold  makes  his  appearance  in  this  satire, 
and  the  betrothal  and  marriage  of  Princess  Charlotte,  followed  by  that  of 
Princess  Mary,  are  the  subject  of  many  prints,  the  only  break  in  the  prevailing 
gloom.  On  the  whole,  the  caricaturists,  though  ill-mannered,  are  not  ill- 
natured  :  the  burden  of  marriage  portions  figures  repeatedly,  for  instance  in 
Leap  Year,  or  John  Bulls  Peace  Establishment  (No.  12754).  The  bridegroom's 
poverty  and  his  rich  reward  are  depicted  in  The  Contrast  .  .  .  (No.  12773). 
But  the  Princess  was  John  Bull's  pet,  and  is  so  depicted  in  No.  12785.  More- 
over, the  Opposition  had  transferred  their  hopes  to  her. 

Every  object  of  expense  provoked  an  outcry  and  an  attack  on  the  Prince  or 
his  Ministers.  In  The  Elgin  Marbles!  or  John  Bull  buying  stones  at  the  time 
his  numerous  Family  want  Bread!!  (No.  12787)  there  is  a  denunciation  of  the 
'Glorious  Peace'  which  has  brought  increase  of  taxes,  decrease  of  trade,  and 
dear  bread.  The  so-called  Regent's  Bomb,  a  war  trophy  presented  bv  the 
Spanish  Regency,  was  mounted  on  a  symbolical  base  and  placed  on  Horse 
Guards  Parade,  where  it  remains.  At  once  it  became  an  opportunity  for 
coarse  gibes  at  the  Regent,  which  continued  for  years  (No.  12799).  The 
royal  yacht  was  another  occasion  for  dispraise,  and  the  Prince's  occasional 
yachting  trips  became  a  standard  subject  of  reproof  or  ridicule. 

As  the  year  goes  on,  the  prints  reflect  increasing  distress,  despondency,  and 
resentment.  In  Political  Balance  .  .  .  (No.  13497),  ^"  interesting  plate  on  the 
Corn  Laws,  George  III,  the  '(iood  Old  Master',  peeps  from  his  seclusion  at 
Windsor  to  see  justice  done  to  his  'distress'd  people':  their  prosperity  or  ruin 
is  shown  to  depend  on  the  price  of  corn,  and  a  scale  of  prices  is  postulated  that 
would  have  ruined  the  agricultural  interest.  At  the  end  of  July  Welleslcy  Pole, 
the  new  Master  of  the  Mint,  writes:  'The  Citizens  have  lost  all  their  feelings 
of  pride  and  richness  and  flourishing  fatness,  trade  is  gone,  paper  credit  is 
gone,  and  there  is  nothing  but  stoppage,  retrenchments,  and  bankruptcy.'^ 
National  Bankruptcy  .  .  .  (No.  12779)  ^^''^  its  own  tale.  In  John  Bull's  last 
Kick  (No.  12794)  Jo'"'"  '■^'CS'  stabbed  by  Death,  personified  by  Castlereagh, 
and  in  dying  he  drags  the  Regent  to  the  ground.  Orator  Hunt  and  his  first 
inflammatory  speeches  at  Smithfield  demanding  Universal  Suffrage  and 
Annual  Parliaments,  and  countenancing,  or  seeming  to  countenance,  Spencean 

'   Cf.  Moore,  Fum  and  Hum,  tJic  ttco  Birds  of  Royalty,  cited  by  Byron:  'And  where 
is  "Fum"  the  Fourth,  our  "royal  bird"  ?'   Don  Juan,  xi.  Ixxviii. 
*  Bagot,  CatiJiing  and  his  Friends,  ii.  23- 

xxxix 


INTRODUCTION 

doctrines  of  land  nationalization,  are  the  subjects  of  two  prints  which  treat  him 
with  apparent  respect  (Nos.  12818-19). 

Foreign  affairs  are  in  the  background,  but  not  ignored,  since  the  Bourbon 
Restoration  was  a  crime  in  Radical  eyes.  Two  prints  are  expressions  of  the 
prevailing  m.ood.  Dreams  of  Terror  .  .  .  (Ts^o.  12707)  is  a  Bonapartist  print  in 
which  Louis  is  threatened  with  the  ghosts  of  Ney  and  Laboyedere.  (The 
death  of  Ney  was  to  become  an  item  in  the  Radical  indictment  of  Wellington, 
especially  during  the  excitements  of  the  Reform  Bill.)  Far  bitterer  is  Hone's 
publication.  The  Royal  Shambles  or  the  Progress  of  Legitimacy  &  Reestablish- 
ment  of  Religion  &  Social  Order — .'.'.' — .'.'.'  (No.  12797).  Wellington  is  most 
unjustly  vilified  as  a  supporter  of  the  Ultras  and  the  embodiment  of  ruthless 
militarism.  The  print  is  a  stage  in  the  Duke's  regression  from  hero  to  bogey 
— in  the  satires — not  in  the  eyes  of  the  public :  when  he  returned  to  London 
on  the  first  anniversary  of  Waterloo  it  was  noted  that  'Wherever  he  appears 
he  is  follow'd  and  Huzza'd  as  much  as  he  was  in  1814'.'  Indeed,  the  opposi- 
tionist satires  of  18 16  do  not  reflect  public  opinion.  The  Whigs,  who  were 
held  to  have  shirked  their  responsibilities,  had  made  themselves  unpopular 
by  their  attitude  to  the  war;  their  diatribes  against  'the  black  transactions  of 
Vienna'  roused  resentment.  'Independent  persons',  Lord  Webb  Seymour 
told  Horner  in  a  letter  of  March  1816,  had  been  indignant  'to  see  men,  who 
profess  themselves  patriots  and  philanthropists,  steadily  turning  away  from 
every  bright  prospect,  to  dwell  only  upon  the  few  intermingled  occasions  of 
regret,  or  censure,  or  despondency,  and  uttering  naught  but  groans  over  the 
fate  of  Norway,  or  Spain,  or  Saxony,  or  Genoa,  while  our  own  country,  and 
half  the  civilized  world,  felt  as  if  breathing  when  first  risen  from  a  bed  of 
imminent  death'.  The  public  dreaded  the  accession  of  any  man  to  office 
'whose  indulgent  favour  to  Napoleon  might  render  it  .  .  .  more  likely  that  he 
should  escape  .  .  .  and  again  throw  the  world  into  confusion'.^ 

With  18 17  (only  37  political  prints)  there  is  a  striking  change.  The  view- 
point in  1816  is  often  radical,  almost  always  anti-Ministerial.  Now,  opinion 
in  the  prints  is  divided  between  hostility  to  the  'faction  of  levellers,  Jacobins 
and  Radicals',  as  Lord  Holland  calls  them,  and  hostility  to  the  Ministry  for 
scaremongering.  Each  side  benefits  from  the  intemperance  of  the  other,  a 
seeming  illustration  of  John  Bull's  preference  for  the  middle  way.  The  prints 
(not  the  caricaturists,  who  attack  all  parties  in  turn)  seem  to  be  taking  sides  in 
a  political  and  constitutional  debate.  The  year  opens  with  Fee  Faa  Fum — 
False  Alarms  .  .  .  (No.  12861)  on  the  scaremongering  theme.  The  mobbing 
of  the  Regent's  coach  at  the  opening  of  Parliament  followed,  and  in  Hunt-ing 
the  Bull!!  (No.  12864)  John  Bull  is  the  victim  of  demagogy,  personified  by 
Hunt,  the  Westminster  Reformers,  and  the  Radical  Press,  and  of  reaction  in 
the  persons  of  the  terrified  Ministers  (Castlereagh  alone  showing  courage). 
Advocates  of  Reform  shewing  the  White  Feather  .  .  .  (No.  12866)  is  a  damaging 
personal  attack  on  Hunt  and  Cobbett,  neither  of  whom  was  remarkable  for 
courage.  One  of  the  very  few  prints  in  which  Ministers  and  the  Regent  are 
unreservedly  praised  is  A  Patriot  Luminary  [Brougham]  extinguishing  noxious 
Gas!!!  (No.  12867)  i'^  which  a  passage  from  Brougham's  speech  on  'the  absurd 
and  impracticable  doctrine  of  Universal  Suffrage'  is  quoted  at  length.  This 
is  the  most  documented  indictment  in  the  collection  of  the  demagogy  of 
Hunt,  Cobbett,  and  the  Westminster  Radicals  (damaged  as  in  No.  12874  ^y 
association  with  Spencean  doctrines),  who  are  spouters  of  flaming  gas.  This 
was  followed  by  an  equally  mordant  attack  on  the  Secret  (or  Green  Bag) 

'  Bagot,  op.  cit.  ii.  29. 

^  Memoirs  and  Corr.  of  Francis  Horner,  1843,  ii.  323  f.  See  also  an  interesting  analysis 
of  public  opinion  in  the  New  Annual  Register,  181 6,  pp.  294  ff. 

xl 


INTRODUCTION 

Committee  which  was  investigating  sedition  and  unrest  (Xo.  12868).  Hunt's 
third  Spa  Fields  meeting  receives  unqualified  condemnation  and  ridicule  in 
No.  12869,  where  his  breach  with  Burdett  is  noted.  Equally  uncompromising 
is  No.  12870,  Will  of  the  Whisps — or — Glimmerings  of  Reform;  John  Bull 
flounders  into  'the  Quagmire  of  Sedition',  led  by  Hunt,  Cobbett,  and 
Cochrane.  A  denunciation  of  the  repressive  measures  of  18 17  follows  in  No. 
1 287 1,  Liberty  suspended!  .  .  .  that  is,  hanged.  These  three  consecutive  but 
conflicting  prints  by  Cruikshank  are  all  issued  by  the  same  publisher.  They 
are  followed  by  whole-hearted  approval  of  the  Seditious  Meetings  Act  and  the 
suspension  of  Habeas  Corpus :  Our  Tough  Old  Ship  steered  safely  into  Harbour. 
Maugre;  the  Dreams  of  Folly  and  Madness  (No.  12874).  Then  comes  a  con- 
demnation of  the  whole  policy  of  the  war,  'foreign  partnerships'  have  ruined 
John  Bull,  and  there  is  incidental  blame  for  the  measures  of  repression.  And 
so  the  ding-dong  of  recrimination  goes  on.  Condemnation  of  Cobbett's 
flight  to  America  (No.  12878)  follows  denunciation  of  Southey  as  a  Court  tool 
(No.  12877).  Cochrane  is  savagely  attacked  in  No.  12881 ;  Eldon  is  ridiculed 
in  No.  12883.  Then  revelations  of  the  infamous  character  of  Castles  and 
Oliver,  spies  who  inevitably  became  agents-provocateurs,  weight  the  scale 
against  Ministers.  Their  employment  is  the  subject  of  three  bitter  plates 
(Nos.  12885,  12887,  12888).  But  Cochrane  and  Hone  are  attacked  in  No. 
12886. 

Tension  subsides  in  the  latter  part  of  the  year.  Trade  depression  had 
lessened,  indeed  there  was  a  minor  trade  boom  in  1817-18.  'Never  was  such 
a  change  as  from  January  to  July',  Canning  writes  at  the  end  of  the  month.' 
And  in  December  Wellesley  Pole  dilates  on  calm  in  Downing  Street  and 
'Peace,  Prosperity  and  Plenty,  Capital,  Confidence,  and  Credit'.^  There  are 
two  prints  by  Cruikshank  (Nos.  12889-90)  highly  detrimental  to  the  Princess 
of  Wales,  which  in  1821  were  included  in  a  volume  (not  in  the  British  Museum) 
of  fifty  plates  embodying  the  case  against  her  as  depicted  in  caricature.  The 
death  of  Princess  Charlotte  (No.  12894)  caused  national  grief,  derided  by 
Cobbett.  The  year  ends  with  some  interesting  plates  on  Hone's  trial  and 
acquittal  for  seditious  blasphemy. 

The  atmosphere  of  returning  prosperity  continued  in  1818  (37  prints). 
Revenue  was  rising,  there  was  genuine  retrenchment,  especially  in  the  military 
budget;  the  troops  were  to  be  withdrawn  from  France.  The  print-shops 
tended  to  neglect  politics  for  social  subjects,  especially  the  dandy  in  all  his 
manifestations.  No  general  thread  runs  through  the  satires;  the  chief  topics 
are  royal  marriages,  the  Westminster  Election,  and  the  Congress  of  Aix-la- 
Chapelle. 

The  marriages  of  Princess  Elizabeth  and  of  three  royal  dukes  are  treated  as 
a  burden  on  John  Bull :  a  German  husband  for  an  English  princess  was 
inevitably  depicted  as  a  fortune-hunter,  and  marriage  grants  for  the  Dukes 
of  Clarence,  Kent,  and  Cambridge  were  debated  with  some  heat  in  Parliament. 
The  issue  at  Westminster  was  a  three-cornered  attempt  to  undermine  the 
interest  which  the  Westminster  Committee  had  established  for  Burdett  and 
a  second  Burdettite,  standing  for  Reform.  The  ^^  hig  candidate  was  Romilly; 
the  Government  put  forward  a  gallant  naval  officer.  Captain  Murray  Maxwell; 
Hunt,  backed  by  the  Spa  Fields  revolutionaries,  put  himself  forward  as  the 
advocate  of  Universal  Suffrage  with  a  large  red  flag  and  the  slogan  'Hunt  and 
Liberty'.  He  gave  Maxwell  his  damaging  and  unwelcome  support;  both  were 
assailed  as  Government  spies  and  colleagues  of  Oliver  and  Castles ;  both  were 
completely  defeated.  Cobbett  supported  Hunt  and  violently  attacked  Burdett, 
and  the  Westminster  Committee  were  forced  to  withdraw  their  second 
'  Bagot,  op.  cit.  ii.  55.  ^  Ibid.,  p.  66. 

xli 


INTRODUCTION 

candidate,  Kinnaird,  and  to  see  Burdett  outstripped  by  Romilly.  These 
cross-currents,  which  are  significant  of  the  latent  unrest  and  the  fears  of 
Revolution,  are  illuminated  in  the  six  prints  on  the  election,  which  also  give 
an  excellent  view  of  the  scene  at  Co  vent  Garden.  Modern  Reformers  in 
Council .  .  .  (No.  13001)  is  a  violent  attack  on  the  Spa  Fields  revolutionaries 
and  their  association  with  Hunt;  in  subject  and  treatment  it  recalls  Gillray's 
London  Corresponding  Society,  Alarni'd  (No.  9202),  a  satire  on  the  British 
Jacobins  of  1798.  The  General  Election  went  badly  for  the  Government 
(within  the  limits  of  the  system  and  without  much  numerical  change).  In  the 
City  the  two  Radicals,  Waithman  and  Wood,  were  returned,  and  the  two 
sitting  Ministerial  members  defeated. 

Heath's  two  plates  on  the  Congress  of  Aix-la-Chapelle  (Nos.  13007,  13010) 
are  without  acrimony;  Castlereagh  is  not  even  mentioned,  though  he  and  the 
Congress  were  the  subjects  of  verse  squibs  by  Moore.  The  Curse  of  Spain 
(No.  13009)  is  a  bitter  satire  on  Ferdinand  VH,  directed  especially  at  the 
recent  Press  decrees  and  the  Inquisition.  There  are  two  versions  of  this  with 
the  inscriptions  translated  into  Spanish,  one  a  lithograph'  seemingly  intended 
for  wide  and  cheap  circulation.  These  were  doubtless  for  secret  circulation  in 
Spain  or  for  Spanish  emigres  in  England. 

The  boom  ended  in  18 19  (157  prints)  with  a  crisis  of  over-production,  a 
sudden  and  universal  stagnation  of  trade,  unemployment,  and  great  distress. 
It  was  a  year  of  political  and  economic  crisis;  the  dominating  theme  in  the 
prints  is  Reform ;  the  note  is  anger,  either  against  Ministers  and  magistrates  or 
against  demagogues  and  Radicals,  a  new  name  for  the  ultra-reformists  as  they 
were  also  called.  These  maintained  that  the  sufferings  of  the  people  were  due 
to  a  corrupt  Parliament  which  taxed  the  country  for  the  benefit  of  placemen, 
pensioners,  and  sinecurists,  and  that  the  sole  and  complete  cure  was  universal 
suffrage  and  annual  parliaments.  Violent  partisanship  on  one  side  is  countered 
with  retaliatory  violence.  The  year  opens  with  one  of  those  recurrent  contrasts 
between  John  Bull  prosperous  in  the  past,  ruined  in  the  present  (No.  13 192). 
Anger  inspires  Johmiy  Bull  and  his  forged  Notes!!  or — Rags  &  Ruin  in  the 
Paper  Currency  (No.  13 197),  anger  at  the  notes  that  were  so  easily  forged, 
anger  at  the  executions  for  forgery.  This  was  the  motive  of  Cruikshank's 
famous  Bank  Restriction  Note  (No.  13 198),  also  in  January.  It  evoked  a 
counter-print  (No.  13200)  in  which  Cobbett,  Hunt,  and  Hone  are  'the 
Quintessence  of  Revolution'.  Romilly's  death  caused  a  by-election  at  West- 
minster which  underlined  the  cleavage  between  Whigs  and  Burdettites  and 
between  Burdettites  and  Radicals.  Burdett  and  the  Westminster  Committee 
were  at  odds  with  both,  and  the  result  was  a  Whig  victory  over  Hobhouse,  the 
Burdettite,  to  the  fury  of  the  populace.  Cruikshank's  The  Funeral  Procession 
of  the  Rump  (No.  13207)  is  one  of  the  very  few  caricatures  in  this  volume 
signed  as  invented  by  himself;  it  is  noteworthy  for  the  appearance  of  Francis 
Place  as  Burdett's  partner  in  the  support  of  Hobhouse ;  all  their  supporters 
are  ragamuffins  or  jail-birds. 

There  is  one  print  only  on  foreign  affairs.  Ambrister  and  Arbuthnot, 
prisoners  of  war  captured  by  the  Americans  in  Florida,  were  hanged  by 
Andrew  Jackson  against  the  verdict  of  a  court-martial.  There  was  a  storm 
of  indignation  in  the  Press  and  only  Castlereagh's  restraint  prevented  an 
irresistible  demand  for  war.  It  is  noteworthy  that  in  American  Justice!!  or 
the  ferocious  Yankee  Gen.  Jack's  Reward  for  butchering  two  British  Subjects!!! 
(No.  1 32 18)  the  reward  is  the  Governorship  of  Florida,  which  followed,  but 
not  till  1 82 1. 

The  political  crisis  was  only  developing  in  the  early  months  of  the  year. 
*  Its  manner  suggests  a  date  after  i8i8,  perhaps  1823  or  later. 

xlii 


INTRODUCTION 

The  caricaturists  are  absorbed  in  the  new  velocipede,  and  politics  are  expressed 
chiefly  in  crudely  scurrilous  prints  on  the  Regent  and  the  Duke  of  York. 
Judging  from  the  way  in  which  the  different  artists  imitated  each  other,  these 
must  have  been  extremely  popular.  The  Queen's  death  was  the  occasion  of 
more  insults  to  the  Royal  Family  in  Sales  by  Auction!— or  provident  Children 
disposing  of  their  deceased  Mother's  Effects  .  .  .(No.  13229).  The  Duke  of  York 
was  appointed  to  succeed  her  as  guardian  of  the  King  with  a  grant  of  ^10,000 
a  year,  which  was  long  remembered  against  the  Duke;  Royal  Hobby's  (No. 
132 1 5)  is  the  harshest  of  mxany  satires. 

Till  Peterloo  darkened  the  scene  in  August  a  majority  of  the  prints  on 
Reform  were  hostile  to  the  Reformers.  Universal  Suffrage,  or — the  Scum  upper- 
most— If!  (No.  13248)  is  an  expression  of  anger  at  the  meetings,  the  Unions, 
and  the  agitation  in  the  unstamped  Press,  and  is  one  of  many  satires  in  which 
Radical  Reform  is  identified  with  Revolution.  Another  kind  of  Reformer,  the 
Abolitionist,  is  attacked  in  The  Ne^cV  Union  Club  (No.  13249),  ribald  propa- 
ganda for  the  West  India  interest.  The  election  of  Sir  Charles  Wolscley  as 
'legislatorial  Attorney'  for  Birmingham  in  default  of  a  Member,  is  derided 
in  The  Birmingham  New  Member — A  Man  of  Metal  .  .  .  (No.  1325 1).  The 
Female  Reformers  of  Blackburn  are  harshly  treated  in  No.  13257,  The  Belle- 
Alliance.  .  .  .  On  the  other  hand  the  Tory  and  timorous  Lord  Mayor  is 
condemned  in  The  Rehearsal  .  .  .  of  a  Nexc  Farce  called  Fire  and  Murder!! 
(No.  13254).  There  are  two  prints,  both  hostile,  on  Hunt's  mass  meeting  at 
Smithfield  (Nos.  13252,  13253).  The  attitude  to  the  Church  and  the  clergy 
is  always  a  touchstone  of  political  opinion,  though  bishops  and  tithes  are 
always  disliked.  'The  unjust  and  greedy'  demands  of  the  London  clergy 
are  the  subject  of  Pull  Devil!  Pull  Baker!  or  Pastors  versus  Flocks  .  .  .  (No. 
13224).  One  of  the  consequences  of  Peterloo  was  to  inflame  the  simmering 
hostility  to  the  clergy. 

The  unhappy  affair  at  Manchester  lent  itself  to  the  kind  of  misrepresentation 
inherent  in  graphic  satire,  where,  for  instance,  a  prisoner,  however  well 
housed,  is  depicted  as  fettered  in  a  dungeon.  T\\e  words  'Manchester 
Massacre'  and  the  scathing  sobriquet  Peterloo  played  their  part.  The  Man- 
chester yeomanry,  local  tradesmen  who  could  not  manage  their  horses,  found 
themselves  surrounded  by  a  crowd  of  80,000,  lost  their  heads,  and  drew  their 
sabres.  In  many  prints  they  are  the  ruthless  assassins  of  women  and  children; 
the  effect  of  such  satires  on  public  opinion  is  not  to  be  doubted.  The  scheme 
for  assisted  emigration  to  the  Cape  was  an  opportunity  for  an  envenomed 
satire  on  the  Regent  and  Castlereagh  for  Peterloo  (No.  13267).  Increased 
duties  on  malt,  tobacco,  coffee,  tea,  &:c.,  aggravated  the  Government's 
unpopularity,  and  the  Reformers  advocated  resistance  by  a  policy  of  absten- 
tion; Hunt  sold  coflee  substitutes  on  a  commercial  basis.  Tlie  Blessing  of  Nno 
Taxes  (No.  13269)  is  the  most  extreme  of  several  satires:  taxes  are  part  of  a 
policy  to  keep  John  Bull  poor  and  therefore  harmless;  John's  room  is  decorated 
with  pictures ;  in  one  Charles  I  is  beheaded  with  the  axe  of  'Justice',  in  another 
the  Regent  and  Castlereagh  dangle  from  a  gibbet.  It  is  surprising  to  find  this 
(by  Marks)  with  a  publisher's  imprint. 

Part  of  the  unstamped  Press  was  openly  revolutionary';  to  quote  the 
Democratic  Recorder  and  Reformist's  Guide  (2  Oct.):  'If  ever  it  was  the  duty 
of  Britons  to  resort  to  the  use  of  arms  to  recover  their  freedom  and  hurl 
vengeance  upon  the  heads  of  their  tyrants  it  is  now.'  On  24  Oct.  Brougham 
wrote  to  Grey:  'The  Radicals  have  made  themselves  so  odious,  that  a  number 
even  of  our  way  of  thinking  would  be  well  enough  pleased  to  sec  them  and 
their  vile  press  put  down  at  all  hazards.''  Angry  fear  of  the  extremists  is 
'  Brougham,  Life  and  Times,  1871,  ii.  348. 

xliii 


INTRODUCTION 

expressed  in  several  prints.  A  Radical  Refor?ner  .  .  .  (No.  13271)  is  a  double- 
edged  satire  by  Cruikshank  perhaps  inspired  by  Gillray's  Genius  of  France 
(1795)-  The  Radical's  Arms  (No.  13275)  is  uncompromising ;  the  supporters, 
a  male  and  female  Radical,  are  degraded  denizens  of  the  underworld;  the 
motto  is  'No  God!  No  Religion!  No  King!  No  Constitution!'  King  and 
Constitution  were  still  words  to  conjure  by,  and  the  association  of  the  Radicals 
with  free  thought  told  against  them,  despite  the  unpopularity  of  the  Church. 
In  Death  or  Liberty!  or  Britannia  &  the  Virtues  of  the  Constitution  in  danger 
from  the  great  Political  Libertine,  Radical  Reform  (No.  13279,  invented  as  well 
as  etched  by  Cruikshank),  Death  wearing  the  mask  of  Liberty  tries  to  ravish 
Britannia,  who  braces  herself  against  the  rock  of  Religion. 

Cobbett's  return  from  America,  bringing  the  bones  of  Tom  Paine,  was 
acclaimed  by  the  Radicals,  who  gave  him  a  public  dinner  at  the  Crown  and 
Anchor,  but  is  almost  universally  derided  in  tiie  prints.  The  Political  Champion 
turned  Resurrection  Man  (No.  13283)  is  a  violent  attack.  In  The  Age  of  Reason 
or  the  World  topsyturvy  exemplefied  in  Tom  Paine' s  Works!!  (No.  13274) 
Radicals  help  Carlile  to  burn  emblems  of  Church  and  State.  Their  motto  is 
*No  Christianity!!! — No  Religion!!! — No  King!!! — No  Lords!  No  Commons! 
Nothing  but  Tom  Paine  &  Universal  Suffrage.'  A  print  contributed  by 
Carlile  himself  can  hardly  have  helped  his  cause :  John  Bull  on  the  Road  to 
Ruin.!!!  (No.  13347).  This  attacks  not  only  the  Church  in  the  person  of  a 
bloated  parson  who  gashes  John  savagely  with  a  spur,  but  also  Nonconformity 
represented  by  a  grotesque  fanatic,  while  Faith  is  a  puppet  manipulated  by  a 
Demon;  church-building,  chapel-building,  missionaries,  and  Bible  Societies 
are  all  denounced.  The  clerical  magistrate,  however,  was  blamed  for  Peterloo 
and  incurred  a  hatred  graphically  expressed  in  Cruikshank's  Preachee  & 
Floggy  too  (No.  13281),  and  in  similar  prints. 

Parliament  sat  from  23  Nov,  to  30  Dec.  in  a  special  session  to  consider 
the  disturbed  state  of  the  country  and  the  violence  of  the  unstamped  Press. 
The  latest  prints  in  the  volume  are  reactions  to  the  notorious  Six  Acts. 
A  Free-born  Englishman  is  a  traditional  response  to  restrictions  on  the  Press. ^ 
Poor  Bull  &  his  Burden — or  the  Political  Murraion — .'.'.' — (No.  13288) 
expresses  the  ultra-Radical  attitude  to  Ministers,  taxes,  Army,  Church,  and 
Crown,  with  a  covert  threat  of  revolution;  Wellington,  symbol  of  militarism, 
is  the  Bull's  executioner.  Hone  expresses  Radical  opinion  more  explicitly 
and  more  moderately  in  his  verse  squib.  The  Political  House  that  Jack  built 
(No.  13292),  illustrated  by  Cruikshank,  and  said  to  have  gone  through  fifty 
editions:  the  remedy  for  all  ills  is  Reform — 'the  Watchword — the  talisman 
word' — the  means  to  attain  it  is  the  Press.  Since  18 12  the  Whigs  have  almost 
dropped  out  of  the  satires :  it  is  interesting  to  find  the  Radical  Hone  accepting 
the  Whig  standpoint  (he  was  under  a  personal  obligation  to  Grey)  that  the 
Regent  abandoned  political  virtue  by  deserting  (in  1812)  'the  friends  of  his 
youth'  (No.  13299).  Counter-squibs  from  the  Tory  standpoint  are  many; 
some  are  catalogued  in  this  volume,  other  appeared  in  1820.  'Les  caricatures 
sont  le  thermometre  qui  indique  le  degre  de  I'opinion  publique',  wrote 
Boyer-Brun  in  1792:^  at  this  date,  the  indications  are  conflicting,  or  rather, 
they  show  a  conflict  of  opinion  in  which  each  side  benefits  from  the  excesses 

'  The  extravagance  of  the  Press  was  not  checked.  Denman  recalled  in  1832  the 
policy  in  1819-20  of  'leaving  obscene  publications,  however  offensive,  to  perish  in 
their  obscurity  .  .  .  such  had  been  the  course  adopted  in  1819  when  certain  publications 
did  not  stop  at  invective  and  obloquy,  but  even  recommended  assassination,  and 
openly  called  upon  their  readers  to  sow  the  streets  of  London  with  forged  Bank  notes 
...  to  prosecute  would  have  been  to  play  the  game  of  the  libellers.'  Pari.  Debates, 
3rd  S.,  xii.  1 149.    See  above,  p.  xiv. 

^  Hist,  des  Caricatures  de  la  Revoke  des  Frangais,  p.  10. 

xliv 


INTRODUCTION 

of  the  other.   The  volume  breaks  off  in  mid-crisis — the  Radical  heats  of  1S19 
were  to  have  a  strong  influence  on  the  Queen's  affair. 

Outside  the  main  thread  of  politics  as  seen  by  the  caricaturists  there  are 
other  topics.  In  this  volume  Catholic  Emancipation,  no  longer  a  direct  party 
issue,  is  a  secondary  interest;  the  prints  reflect  its  unpopularity.  The  basic 
and  widespread  'No  Poper}''  feeling  remained,  embittered  by  Orange  societies, 
and  by  the  trend  of  events  in  Ireland  (Nos.  11898,  12016).  There  was  also 
the  animosity  to  Catholics  produced  by  events  in  France  and  in  Spain,  more 
particularly  by  the  priest-ridden  barbarities  of  Ferdinand  VII  (Xos.  12704, 
13009),  the  subjects  of  propagandist  prints  in  England.  Currency  is  a  recur- 
rent topic  in  view  of  the  controversy  over  the  depreciation  of  paper  money, 
and  the  prospects  of  the  resumption  of  cash  payments.  The  coinage  was 
reformed  in  1817,  when  the  sovereign  replaced  the  guinea;  the  new  silver 
coinage  is  the  subject  of  No.  12865.  Education  is  the  subject  of  two  interest- 
ing prints,  Nos.  11745,  13276,  on  the  antagonism  between  the  undenomina- 
tional Lancastrian  schools  and  the  'National'  schools  under  Church  patronage. 
These  give  a  good  survey  of  the  prejudices  and  passions  involved  in  a  contro- 
versy that  has  coloured  the  whole  history  of  elementary  education  in  England. 
State  lotteries  are  denounced  in  Nos.  12880,  13236;  Vansittart  is  blamed  for 
retaining  a  source  of  revenue  which  was  financially  unsound  and  morally 
pernicious  while  he  was  President  of  the  Bible  Society.  In  the  controversy  on 
the  causes  of  distress  which  is  a  background  to  many  of  the  post-war  prints, 
Robert  Owen's  'Plan  of  Amelioration  or  Reformation  without  Revolution' 
played  a  part.  There  is  a  remarkablv  interesting  print  (No.  12891)  on  the 
important  meeting  held  in  August  181 7,  filled  with  portraits,  evidently  from 
life,  in  which  the  characters  speak  not  only  in  part,  but  as  they  actually  did 
speak.  The  dramatic  intervention  of  a  negro,  though  unrecorded  in  the 
report  in  The  Times  (which  strongly  supported  the  plan),  may  well  have 
happened.  British  rule  in  India  and  the  activities  of  missionaries  there  under 
the  new  Charter  are  attacked  in  an  anonymous  verse  satire  illustrated  by 
Rowlandson  (No.  12718,  &c.).  The  writer  is  filled  with  personal  rancour 
against  various  officers;  Hastings  is  attacked  for  the  Nepal  war,  with  an 
animus  seemingly  due  to  his  reputed  activities  against  the  Princess  of  Wales 
in  1813.  The  author  writes  as  a  newly  arrived  subaltern,  and  his  grievances 
include  the  low  pay  of  junior  military  officers  compared  with  that  of  civilian 
servants  of  the  Company,  and  the  rapacity  of  Indian  money-lenders  (also 
the  subject  of  an  independent  print). 

Personal  and  Social  Satires 

The  separation  of  the  prints,  year  by  year,  into  two  classes,  political  and 
non-political,  tends  to  obscure  the  news-reel  character  of  the  prints,  the  ebb 
and  flow  of  passing  sensations,  not  all  political,  though  in  this  period  most 
were.  There  is  nothing  in  this  volume  comparable  with  the  O.P.  riots  of 
1809,  but  a  main  interest,  judging  from  the  prints,  was  in  the  theatre,  the 
outstanding  events  being  the  rebuilding  and  opening  of  Drury  Lane,  and 
Kean's  London  debut.  In  181 1  two  eccentrics  make  an  appearance,  'Romeo' 
Coates  and  Baron  de  Geramb,  whom  caricaturists  sometimes  link  together. 
Coates,  a  stage-mad  amateur  actor  of  incomparable  badness,  gained  much 
notoriety  (from  1811  to  1814),  and  even  a  place  in  the  D.N.B.,  by  his  self- 
advertised  eccentricities.  Geramb  was  notorious  in  England  from  1811  to 
18 12  as  a  dubious  military  adventurer  with  a  turn  for  self-advertisement,  but 
he  afterwards  achieved  fame  as  Procureur-general  of  the  Trappists  and  a 
writer  of  devotional  books.  Early  in  18 14  Kean,  and  Frost  Fair  on  the  Thames 
were  two  print-shop  topics,  despite  the  absorbing  interest  of  events  in  France. 

xlv 


INTRODUCTION 

On  the  ice  the  most  prominent  objects  were  tents  for  drinking  and  eating,  and 
it  is  interesting  to  find  that  the  most  conspicuous  were  the  'Lord  WeUington', 
the  'City  of  Moscow',  and  the  'Orange  Boven'.  From  July  the  followers  of 
Joanna  Southcott,  who  believed  her  immortal,  were  awaiting  her  miraculous 
pregnancy  and  the  birth  of  Shiloh ;  bulletins  were  issued  and  great  excitement 
prevailed.  Self-delusion  is  outside  the  horizon  of  the  caricaturists  who  treat 
her  with  coarse  ribaldry  as  a  supreme  humbug.  In  1815  all  sensations  were 
political;  at  the  new  year  in  18 16  the  exhibition  of  Napoleon's  travelling  car- 
riage, taken  at  Waterloo,  was  a  more  than  nine-days'  wonder  for  John  Bull. 
Ini8i6  fashions  became  of  exceptional  interest,  and  new  dances  also  fascinated 
the  caricaturists,  but  an  outstanding  sensation  was  Byron's  separation  from 
his  wife  and  departure  from  England.  This  was  a  result  of  Press  publicity 
and  his  own  verse  satires,  privately  printed,  but  much  reprinted.  The  opening 
of  the  Soho  Bazaar  evoked  much  absurd  pictorial  comment  in  18 17,  and  in 
this  year  prints  on  the  craze  for  dancing  were  at  their  peak.  A  chief  interest 
in  1 8 18,  which  continued  in  1819,  is  the  dandy,  who  becomes  an  all-pervading 
character  much  as  the  Macaroni  had  been  from  1770  to  1774.  The  contrast 
between  these  two  sets  of  prints  on  masculine  fashions  illustrates  the  trans- 
formation, not  only  of  costume,  but  of  society  and  manners.  Though  the 
dandy  had  appeared  some  years  earlier,  not  till  1818  was  he  a  print-shop 
sensation.  In  1819  prints  on  the  dandy  merge  with  prints  on  the  velocipede: 
this  passing  craze  was  an  obsession  with  caricaturists,  a  fact  of  some  signifi- 
cance in  view  of  the  intense  political  tension  of  the  year.  The  vogue  of  this 
embryo  bicycle  evoked  satires  on  the  displacement  of  the  horse  by  mechanical 
transport. 

There  are  two  recurrent  themes  in  the  theatrical  prints — one  time-honoured, 
the  neglect  of  the  standard  authors  for  spectacle  and  pantomime,  the  other 
more  or  less  new.  In  this  volume  the  animal  performers  at  Covent  Garden 
are  much  satirized;  the  horses  of  181 1  were  followed  by  the  elephant  of  the 
Christmas  pantomime  of  1811-12:  the  beast  figures  in  a  verse  satire  of  1819 
on  Covent  Garden  as  the  supreme  example  of  'pantomimic  degradation' 
(No.  13372).  The  new  theme  is  the  insolvency  of  the  theatres  and  their 
managers,  though  it  is  true  that  Sheridan's  difficulties  and  windfalls  had 
produced  some  striking  prints.  Taylor  of  the  King's  Theatre  in  the  Hay- 
market  (the  Opera)  was  hopelessly  and  dishonourably  insolvent,  and  after  he 
lost  his  seat  in  Parliament  he  conducted  the  aflPairs  of  the  theatre  from  the 
Rules  of  the  King's  Bench.  He  is  a  sinister  figure  who  contributed  to  Sheri- 
dan's final  ruin,  and  the  prints  throw  some  gleams  of  light  on  his  obscure 
career.  Colman,  too,  managed  his  theatre  from  the  Rules  of  the  King's  Bench : 
his  insolvency  is  the  subject  of  Hocus  Pocus  .  .  .  (No.  12328),  containing 
portraits  of  the  Haymarket  actors.  The  Theatrical  House  that  Jack  built  ( 1 8 1 9) 
is  a  verse  satire  on  the  desperate  financial  plight  of  Covent  Garden.  Other 
Covent  Garden  themes  are  the  retirement  of  Mrs.  Siddons,  her  occasional 
return  to  the  theatre,  and  her  rivalry  with  Miss  O'Neill. 

But  it  is  the  fortunes  of  Drury  Lane  that  excite  the  most  interest.  The 
appointment  of  a  Committee  of  amateurs,  one  for  rebuilding  the  theatre 
(burned  down  in  1809),  one  of  'Taste'  for  management,  both  nominated  by 
Sheridan  and  presided  over  by  Whitbread,  men  of  note  who  included  Byron 
and  Lord  Holland;  the  exclusion  of  Sheridan  from  all  share  in  the  manage- 
ment of  the  theatre  whose  finances  he  had  brought  to  confusion,  these  were 
striking  events,  and  evoked  a  sequence  of  prints.  There  are  gibes  at  Sheridan 
for  defrauding  the  renters  (shareholders)  of  the  old  theatre,  and  for  absorbing 
a  large  proportion  of  the  funds  for  the  new  one.  The  extreme  plainness  of 
the  new  building — 'Whitbread's  brewhouse'- — is  ridiculed.   The  Committee 

xlvi 


INTRODUCTION 

are  rebuked  for  bad  choice  of  plays  (their  stock  authors,  it  is  said,  will  be  the 
feeble  Dimond  and  the  melodramatic  Lewis),  for  an  inferior  company,  and 
for  stinginess  over  salaries.  To  all  this  the  opening  day  in  October  1812,  and 
the  violent  recriminations  over  the  'Rejected  Addresses',  came  as  a  climax.  All 
the  Addresses  of  the  hundred  or  so  competitors  were  rejected,  and  one  was 
commissioned  from  Byron  and  spoken,  amid  uproar,  by  EUiston.  The  incred- 
ible badness  of  the  Address  by  Dr.  Busby  (which  he  printed  in  the  Morning 
Chronicle),  his  angry  protests  in  the  theatre,  and  the  attempts  of  young  Busby 
to  deliver  it  from  the  stage  to  an  uproarious  house  turned  the  affair  into  a 
farce,  while  the  brilliant  and  prophetic  parodies  of  Horace  and  James  Smith 
provided  admirable  comedy.  The  prints,  which  give  good  views  of  the 
interior  of  the  theatre,  illustrate  this  sensation  with  some  completeness. 

Under  the  Committee,  Drury  Lane  was  lapsing  into  bankruptcy  when  it 
was  rescued  by  Kean.  From  his  London  debut  in  18 14  he  dominates  the 
scene.  He  is  one  of  Three  Great  Actors  (No.  12263),  the  others  being  Welling- 
ton and  Bliicher.  His  first  appearance  is  as  The  Theatrical  Atlas  (No.  12325); 
in  the  dress  and  pose  of  Richard  HI  he  carries  on  his  humped  shoulders  a 
model  of  Drury  Lane,  the  theatre  he  has  saved.  But  the  caricaturists  liked  to 
disparage  popular  idols;  the  management  of  Drury  Lane,  with  its  'puffing 
advertisements',  was  an  accepted  butt,  and  Kean's  eccentricities  gave  them 
opportunities.  Attempts  by  Covent  Garden  to  prop  their  falling  fortunes  by 
putting  forward  actors  to  rival  Kean  in  Richard  HI  are  the  subject  of  several 
prints.  Two  are  on  the  rivalr\'  between  Booth  and  Kean;  both  are  hostile  to 
Kean,  though  Booth  is  blamed  for  playing  fast  and  loose  with  both  theatres 
and  had  caused  a  riot  by  doing  so.  Kean's  satellites  and  boon-companions, 
embodied  in  a  tavern  club,  the  Wolves,  are  accused  of  driving  Booth  from  the 
stage  on  the  orders  of  their  master.  Kean's  conduct  to  Charles  Bucke,  a 
playwright,  produced  a  heated  newspaper  correspondence  and  a  pamphlet 
war  in  1819,  and  the  controversy  is  fully  illustrated.  His  claque,  the  Wolves, 
are  again  depicted  as  his  instruments. 

Prints  on  literary  themes  are  few  but  noteworthy.  Byron  is  the  man  of 
letters  who  appears  most  often  in  the  prints,  but  mainlv  for  non-literary 
reasons.  The  sensation  caused  by  Fare  Tlwe  Well  has  alreadv  been  noted. 
The  way  in  which  the  first  two  cantos  of  Don  Juan  were  received  in  1819,  and 
especially  the  criticism  in  Blackuood's,  may  account  in  part  for  his  appearance 
in  a  verse  satire  (No.  13330)  resolved  to  show  himself  as  'a  cool  unconcerned 
fiend'.  Southey's  transition  from  republican  to  Laureate  caused  him  to  be 
denounced  as  an  arch-renegade  in  A  Poet  Mounted,  or  a  Court- Pegasus  (No. 
12877);  this  followed  a  violent  attack  by  Hazlitt  and  the  reading  of  a  quotation 
from  Wat  Tyler  in  Parliament.  There  are  two  strikingly  comprehensive 
satires  devoted  to  literarv  criticism  of  the  cruder  sort.  In  The  Genius  of  tlie 
Times  (No.  11941)  the  names  of  those  who  have  stood  the  test  of  time  are 
inscribed  on  the  Temple  of  Fame  which  is  dominated  by  Milton  and  Shake- 
speare. On  the  road  to  Fame  is  Scott  followed  by  Byron;  others  do  not 
attempt  to  climb  the  hill  but  rush  aside  in  pursuit  of  wealth.  These  mercenary 
writers  include  Pye  (the  Laureate),  'Monk'  Lewis,  Pratt,  and  Hayley.  Strug- 
gling in  the  waters  of  Lethe  are  Southey,  Wordsworth,  Coleridge,  and  God- 
win, with  four  others  who  are  unidentified.  Outside  the  other  groups  and  at 
the  bottom  of  the  hill  are  Sheridan  (seemingly  doomed  to  Lethe),  Colman, 
and  Wolcot.  This  is  a  plate  to  Totvn  Talk  whose  editor  was  Agg.  Some  of 
these  mercenary  writers  appear  also  in  the  other  print,  the  frontispiece  to 
The  Modern  Dunciad  (No.  12338),  a  verse  satire  by  George  Daniel,  who 
became  a  critic,  a  scholar,  and  a  collector  of  books,  but  at  this  time  was  not 
distinguishable  from  the  poetasters  he  pillories.    The  print  is  adapted  by 

xlvii 


INTRODUCTION 

Cruikshank  from  the  frontispiece  to  Pope's  Dunciad  (1729);  the  place  of 
poetaster  in  chief  is  given  to  Edward  Thurlow,  and  the  vapid  novels  of  Lane's 
Minerva  Press  are  derided.  Daniel  selects  for  condemnation  Agg,  his  own 
rival  in  scurrilous  verse  satires  on  the  Regent."  Newspapers  and  their  editors 
are  the  subject  of  an  interesting  political  print  (No.  12307). 

Like  the  poor  poet  in  a  garret  (No.  12139),  the  distressed  artist  in  his 
garret-studio-bedroom-kitchen  is  a  standing  subject  of  caricature.  Here  there 
is  a  variant,  The  French  Artist  (No.  13436),  by  Cruikshank  after  Marryat;  the 
artist  paints  away,  victim  of  poverty  and  duns,  but  with  a  gay  insouciance  and 
a  tattered  foppishness  that  are  French,  and  without  the  wife  and  infants  who 
figure  in  Rowlandson's  rendering  of  the  subject  represented  in  this  volume 
by  The  Chafnber  of  Genius  (No.  11962).  Artists  appearing  in  the  prints,  apart 
from  the  occasional  self-portraits  of  the  Cruikshanks,  are  West  and  Haydon, 
the  former  ironically  presented  as  the  mouthpiece  of  'Poor  Artists'  in  a 
Napoleon  print  (No.  12185).  Haydon's  gift  for  publicity  kept  him  in  the 
public  eye  and  exposed  him  to  accusations  of  being  a  quack  artist,  who  puffed 
his  pictures  and  his  pupils  (Nos.  13034,  13364)- 

Prints  on  music  and  musicians  include  portraits  of  performers  constructed 
of  the  instruments  they  play — these  are  Spagnoletti  and  perhaps  James 
Cervetto.  Two  noteworthy  prints  illustrate  the  way  in  which  serious  con- 
troversy was  carried  on  in  caricature.  When  Logier,  a  German  of  French 
origin,  set  up  in  London  as  a  music-master,  a  pamphlet  war  ensued  on  the 
merits  of  his  system.  In  ^  German  Mountebayik  bloicing  his  own  Trumpet  at  a 
Dutch  Concert  of  500  Piano  Fortes!!  (No.  13035).  Logier  delivers  one  of  his 
musical  lectures  with  demonstrations  by  his  pupils.  This  is  a  serious  attack 
on  his  career,  his  methods,  and  his  system  of  harmonics  allegedly  derived 
from  the  fallacious  theories  of  Rameau  and  Tartini.  The  Logier ian  System  .  .  . 
(No.  13036)  is  a  counterprint,  equally  serious  and  more  effectively  bitter,  in 
which  the  old  gang  of  music  masters,  entrenched  exploiters  of  the  public, 
conspire  against  the  enlightened  innovator;  they  suggest  that  he  may  be 
worsted  by  some  'Caricature  or  Satirical  work'  which  will  delude  and  amuse 
John  Bull.  Both  prints  contain  portraits  and  are  filled  with  interesting 
details.  The  attacks  on  Logier  gave  him  a  publicity  that  established  him  in 
popular  favour. 

The  growing  hostility  to  the  established  clergy  manifested  in  the  prints 
had  political  causes  and  has  already  been  noticed.  Bishops  and  parsons  are 
more  bloated  and  carbuncled  than  ever,  though  changing  manners  made  this 
less  and  less  true  to  life.  It  is  as  a  symbol  that  Manners- Sutton,  the  ascetic- 
looking  Archbishop  of  Canterbury,  is  repulsively  obese.  But  there  is  probably 
no  political  animus  in  Rowlandson's  burlesques  of  the  elderly  University  don, 
one  of  which  is  decidedly  libellous.  Contrasted  types  of  clerics  are  a  special 
feature  of  the  lithographs  after  Captain  Hehl.  In  realism  these  are  somewhere 
between  Rowlandson's  grotesques  and  Dighton's  University  portraits.  It 
would  seem  that  'Cambridge  Butter'  was  a  phrase  for  a  type  of  parson  who 
was  meltingly  fat  and  rubicund.  A  contrast  is  drawn  between  an  incumbent 
of  the  Established  Church,  who  is  plump,  placid,  complacent,  and  the  lean 
Dissenter  who  preaches  Hell  and  Damnation,  and  whose  catch  phrase  is  'You 
will  all  be  damned'.  The  eccentric  and  irregular  preachers,  who  are  apt  to  be 
identified  with  the  nonconformist  clergy,  are  harshly  ridiculed. 

As  always,  the  lawyer  is  of  all  professions  the  most  severely  treated.  The 
old  theme  that  a  lawsuit  meant  ruin  for  the  client,  wealth  for  the  lawyer,  is 
the  subject  of  No.  12653.  That  popular  subject.  The  Lawyer's  last  Circuit 
(Rowlandson's  in  1782,  Woodward's  in  1803),  is  the  subject  of  two  striking 

'  See  above,  p.  xxiii,  n. 

xlviii 


INTRODUCTION 

prints  (Nos.  13451,  13452).  As  political  acrimony  increases,  the  attitude  to 
judges  and  the  crown  lawyers  grows  more  bitter,  and  does  so  markedly  in  this 
volume. 

Doctors,  like  parsons  and  la\\yers,  are  subjects  of  derision.  In  Villagers 
shooting  out  their  Rubbish!!!  (No.  13286),  yokels  gleefully  rid  themselves  of  a 
fat  parson,  a  lean  apothecary,  and  a  sour  lawyer.  Of  the  three  classes  of 
medical  men  the  surgeon  incurs  something  approaching  to  hate :  this  under- 
lies Rowlandson's  The  Anatomist,  seemingly  an  early  satire  on  body-snatching; 
it  pervades  Cruikshank's  Exatrmiation  of  a  Young  Surgeon  (No.  11763),  a 
futile  ordeal,  carried  out  by  self-seeking  or  senile  incompetents,  who  are 
worshippers  of  the  Golden  Calf.  The  typical  old-fashioned  physician  of 
burlesque  is  obese,  complacent,  and  unhelpful;  at  consultations,  which  seldom 
consist  of  less  than  four,  all  are  in  violent  conflict,  an  illustration  of  the  saying 
'Doctors  differ  and  their  patients  die'.  This  is  an  old  theme  of  Rowlandson's, 
and  is  illustrated  by  Williams  in  No.  12 141.  The  apothecary,  lowest  in  the 
medical  hierarchy,  is  a  shopkeeper  who  vends  poisons  (No.  12421).  Vaccina- 
tion, the  doctors  who  practise  it,  and  the  charities  that  support  it,  arc  libelled 
in  The  Cozv  Pox  Tragedy — Scene  the  Last.  Individual  doctors  are  also 
attacked  in  prints  on  Joanna  Southcott  and  in  G.  Cruikshank's  libellous 
Medical  Mushrooms.  The  vendors  of  quack  remedies  are  a  target  of  the 
Scourge  (Ko.  11704,  &c.).  Symbolical  satires  on  disease  are  in  a  category  of 
their  own:  two  on  Gout  (Nos.  12445,  "3^  ^7)  derive  from  Gillray's  famous 
plate;  there  are  two  others,  The  Cholic  and  The  Head  Ache  (13438,  13439). 
Two  prints  stand  out  as  concrete  and  significant  illustrations  of  medicine  in 
social  life;  if  not  accurate,  and  they  probably  are  essentially  so,  they  are 
truthful,  and  if  each  was  placed  side  by  side  with  a  drawing  or  photograph  of 
its  modern  counterpart,  much  social  history  would  be  illuminated.  These 
are  Williams's  Country  Infirmary  (No.  12142)  and  Rowlandson's  Midziife 
going  to  a  Labour  (No.  11795).  In  the  latter  the  streets  before  dawn,  the 
sleeping  watchman,  the  little  chimney  sweep  'crying  the  streets',  and  the 
mountainous  but  indomitable  woman  who  makes  her  way  over  the  cobbles  on 
her  pattens,  in  the  teeth  of  driving  rain,  form  a  picture  which  to-day  has  a 
historical  significance  transcending  the  comedy  of  Rowlandson's  design. 

Woodward's  sailor  was  described  in  Volume  VIII  as  a  creation  belonging 
peculiarly  to  the  decade  of  Trafalgar;  the  sailor  of  this  volume  is  conceived 
on  more  realistic  lines.  Two  of  the  Woodward  type  (Nos.  11801,  12644)  ^^^ 
etched  by  Rowlandson,  perhaps  after  Woodward,  and  may  be  reissues  of 
earlier  prints.  They  are  certainly  survivals,  the  type  was  popular,  and  old 
plates  continued  to  be  reprinted.  Rowlandson  makes  his  own  contribution, 
notably  in  Portsmouth  Point,  that  focus  of  naval  life.  Realism  comes  with 
prints  from  designs  by  naval  officers.  Sailors  and  their  women  are  the  subject 
of  prints  in  earlier  volumes,  with  a  varying  infusion  of  sentiment.  Elmes 
makes  this  subject  his  own;  sentiment  is  eliminated,  but  burlesque  qualifies 
an  otherwise  painful  realism.  He  gives  some  notion  (Nos.  11 981,  12158)  of 
the  scene  when  ships  were  in  harbour — described  by  a  modern  writer  as  *a 
compound  of  Gin  Lane  and  the  stews',  and  accounted  for  by  a  contemporary 
as  a  war-time  necessity  to  prevent  desertion.'  The  Sailors  Progress  (No. 
13045),  by  Cruikshank  after  his  friend  Sheringham,  is  a  sequence  of  designs 
showing  the  ascent  from  landsman  to  boatswain,  followed  by  life  as  a  Green- 
wich Pensioner.    In  another  design  with  this  title  Cruikshank  reduces  the 

'  'It  was  absolutely  necessary  to  provide  them  on  board  with  the  only  pleasures  they 
sought  on  shore.  Hence  the  introduction  of  women,  dancing  and  liberty-liquor.  .  .  .' 
F.  Chamicr,  Tow  Bowlint;:  A  Tale  of  the  Sea.  He  writes  not  of  all  sailors,  but  of  those 
who  were  'the  outcasts  of  prisons'. 

xlix  d 


INTRODUCTION 

Stages  and  the  realism.  Two  verse  satires  by  John  Mitford,  The  Adventures 
ofjohtny  Newcome  in  the  Navy,  the  second  purporting  to  be  a  second  edition 
of  the  first,  and  embodying  the  author's  second  thoughts,  are  illustrated  by 
Rowlandson  and  Williams  respectively  from  Mitford's  designs  or  descrip- 
tions. They  recount  the  career  of  a  midshipman  (Mitford)  with  realistic 
details  of  life  on  board.  Especially  interesting  are  the  views  of  the  gloomy 
cockpit  and  of  the  little  enclosure  styled  'the  Midshipman's  Birth'  [sic\  with 
its  mess  table  and  crockery. 

An  earlier  verse  satire,  by  Lt.-Col.  David  Roberts,  Military  Adventures  of 
Johnny  Newcome  (classed  with  political  prints),  also  with  plates  by  Rowland- 
son,  illustrates  the  Peninsular  campaign;  the  plates  are  less  convincing  as 
scenes  from  life  and  are  sometimes  at  odds  with  the  text.  Other  prints  on 
the  soldier  defy  classification. 

One  of  those  bursts  of  costume  caricature  that  indicate  some  new  and 
startling  development  began  in  1816,  the  first  for  many  years,  indeed  since 
high-waisted  clinging  gowns  were  a  novelty.  It  marks  the  beginning  of  a 
prolonged  phase  of  extravagance  in  feminine  fashions:  large  hats,  large 
sleeves,  wide  petticoats,  always  of  course  fluctuating  in  shape.  The  prelude 
to  this  was  the  sudden  impact  of  France  after  a  period  when  English  fashions 
had  developed  on  lines  of  their  own.  The  dress  of  the  English  who  flocked 
to  Paris  in  1814  astonished  the  French  and  is  a  subject  of  many,  indeed  most, 
of  the  prints  ridiculing  the  English  visitors:  the  men's  narrow-brimmed, 
flower-pot  hats,  trousers,  often  pinched  at  the  knee,  and  long,  narrow  coat- 
tails;  greatcoats  like  dressing-gowns,  or  long,  frogged  and  braided  coats  to 
the  ankle.  English  uniforms  are  ridiculed,  especially  very  tight  trousers,  the 
seat  not  covered  by  tiny  coat-tails,  as  well  as  a  fantastic  variety  of  military 
modes.  More  striking  were  the  differences  between  French  and  English 
feminine  costume.  The  English  fashions  that  most  astonished  the  French 
were  the  small  plain  hats  or  bonnets,  sometimes  with  floating  gauze  veils; 
dresses  with  an  almost  normal  waistline,  tight  bodices  or  spencers  of  coloured 
silk  worn  with  white  skirts — skirts  that  to  French  eyes  were  so  plain,  skimpy, 
and  short  that  they  are  sometimes  depicted  as  slanting  inwards  from  hips  to 
hem  (no  such  contour  is  discoverable  in  English  prints  or  fashion  plates, 
where  waists  are  short).  French  bonnets  towered,  with  high  cylindrical 
crowns  trimmed  with  upstanding  bunches  of  naturalistic  flowers,  ribbons, 
and  feathers.  French  waists  were  short,  skirts  flowed  outwards  to  the  hem, 
and  were  much  trimmed  and  flounced.  Contempt  in  Paris  was  matched  by 
anxiety  in  London:  when  Napoleon  had  been  relegated  to  Elba  fashion 
became  almost  an  international  question.  The  newspapers  implore  English 
ladies  not  to  adopt  French  frippery,  and  especially  to  abjure  the  French 
bonnet.  The  Champion  (5  June)  addresses  verses  'To  the  Ladies  of  England' : 

Beauties!  .  .  . 

Attend  the  friendly  stanza 
Which  deprecates  the  threaten'd  change 
Of  English  modes  for  fashions  strange 

And  French  Extravaganza. 

Monstrous  bonnets  are  derided — English  fashions  are  'Domestic — simple — 
chaste— sedate— '.  In  May  1814  Ward  wrote  to  Miss  Berry  from  Paris:  'The 
wom.en  are  chiefly  distinguished  by  a  sort  of  bonnet  three  stories  high  and  by 
far  the  most  horrible  superstructure  that  was  ever  piled  upon  the  human 
head.  .  .  .  The  rest  of  the  dress  by  no  means  atones.  ...  It  is  a  slovenly  con- 
fused looking  thing.'  'The  shortness  of  the  English  ladies'  petticoats',  Lord 
Glenbervie  notes  ten  months  later,  'and  their  careless  or  (as  might  in  some 
cases  be  supposed)  the  studied  display  of  the  ankle  gave  great  scandal.  .  .  .' 

1 


INTRODUCTION 

French  fashions  prevailed,  but  not  without  some  infiltration  of  English  modes 
in  Paris  (No.  12859),  where  the  kilts  of  the  Highlanders  were  admired  (No. 
12634),  and  influenced  feminine  costume  (De  Vinck,  No.  9263). 

The  extravagant  revulsion  from  the  'simple — chaste— sedate'  is  illustrated 
in  caricatures  from  18 16  onwards.  They  show  an  ill-conceived  imitation  of 
French  modes,  with  differences,  notably  very  short  petticoats  and  an  exagge- 
rated decoUetage.  Direct  imitation  is  the  subject  of  Le  Retour  de  Paris ...  by 
Cruikshank  after  an  amateur  (No.  12922).  In  1816  Cruikshank's  series  oi  Mon- 
strosities promenading  in  the  Park  begins,  an  imitation  of  Gillray's  Mo?istrosities 
of  1799.  Waists  are  now  grotesquely  short,  bishop  sleeves  hang  from  below 
bare  shoulders;  a  very  short  full  skirt  with  a  transparent  hem  curv'es  out- 
wards like  an  inverted  pipe-bowl  from  artificially  humped  shoulders  ac- 
centuated by  a  fashionable  stoop.  Bonnets  and  hats  are  large  and  flaunting 
with  wide,  upturned  brims  and  towering  feathers  or  flowers.  The  change  in 
men's  dress  is  also  striking.  Fashions  associated  in  caricature  with  the  dandy 
now  appear — though  the  word  dandy  is  an  innovation — in  prints — of  1818;' 
the  dandy  in  the  sense  of  a  man  of  fashion  was  of  some  years'  standing — Byron 
so  uses  it  in  1813,  while  Brummel,  now  regarded  as  the  supreme  dandy,  left 
England  in  18 16.  The  chief  characteristics  of  these  dandy  fashions  arc  a 
bulging  breast,  a  pinched  and  high  waist  produced  by  stays,  a  stiff  collar 
clasping  the  cheek  like  blinkers,  above  a  swathed  cravat,  high  shoulders,  tight 
sleeves,  and  (at  first)  a  great  variety  of  trousers.  Influences  on  these  fashions 
seem  to  have  been  military:  the  trousers  and  the  tight  waist  of  uniform,  and 
the  high-shouldered  effect  of  epaulettes.  Alexander  I,  'the  dandy  Emperor', 
is  depicted  as  a  dandy,  and  so,  alone  of  the  Ministers,  is  Castlereagh.  In  i8i6 
Lord  Petersham,  a  dandy  par  excellence,  wears  long,  loose  trousers,  styled  'the 
Cossack  pantaloon'  (No.  1283 1).  He  and  a  few  others  wore  the  hitherto 
military  moustache.  Hair  was  brushed  upwards  and  outwards  in  varieties  of 
shock-headed  eccentricity.  Hats  ranged  from  the  small  and  flat,  and  the 
low-crowned  hat  with  a  dccplv  curved  brim,  called  a  Petersham  after  its 
wearer,  to  the  rakish  bell-shaped  top  hat  with  a  crown  that  reversed  the  shape 
of  the  Petersham. 

In  18 17  skirts  are  shorter,  bonnets  more  flaunting,  decollctagcs  more 
extreme.  A  new  coiffure  is  a  topknot  encircled  with  a  wreath  of  flowers.  By 
the  next  year  bonnets  are  higher  still,  but  skirts  are  longer,  dresses  less 
decolletee;  the  ladies' stoop  is  less  pronounced  and  they  now  walk  on  tip-toe. 
Trousers  gathered  at  the  ankle  have  disappeared,  and  they  are  often  short, 
wide,  and  white;  the  ubiquitous  spur  is  peculiarlv  absurd  with  such  trousers. 
In  1818-19  the  dandy  is  the  great  theme  of  comic  prints,  prologues,  and  panto- 
mime: at  Drury  Lane,  Harlequin  and  the  Dandy  Club;  or,  1818.  To  the 
caricaturist  the  dandy  means  several  things — first  (and  least)  'the  genuine 
dandy'  or  man  of  fashion  (No.  13030).  Secondly,  the  man  living  in  a  squalid 
room  whence  he  sallies  out,  aping  the  dress,  manner,  and  catch-phrases  of 
the  dandy  (No.  13060).  Thirdly,  the  absurd  nincompoop,  often  an  effeminate 
epicene  creature — this  last  a  speciality  of  I.  R.  Cruikshank  (No.  13069). 
Besides  his  dress,  which  has  shed  some  of  its  eccentricities  by  1819,  dandy 
attributes  are  a  tube-shaped  bottle  of  eau-de-Cologne,  a  tightly  rolled  umbrella 
(its  first  appearance),  and  short  yellow  gloves  (of  chicken  skin).  Dighton's 
The  Dandy  Club  (No.  13031)  and  Cruikshank's  The  Dandies  Coat  of  Arms 
(No.  13394)  summarize  the  dandy  of  many  caricatures. 

Many  prints  are  illustrations  of  the  joke,  visual  or  verbal;  the  joke  of  jokes 
is  the  accident,  such  as  Gillray's  well-known  plate  after  Brownlow  North, 
Company  shocked  at  a  Lady  getting  up  to  ring  the  Bell  (No.  10303).  A  supreme 
'  Anticipated  by  Gillray  in  1810,  see  No.  11595. 

li  d2 


INTRODUCTION 

example  is  Rowlandson's  catastrophe  on  the  steeply  descending  spiral  stair 
at  Somerset  House.  The  etched  version,  Exhibition  Stare  Case  (No.  11820), 
suffers  by  comparison  with  the  earlier  drawing.  Almost  all  the  prints,  even 
the  most  fantastic,  throw  light  on  manners;  some  are  valuable  as  realistic 
views,  as  for  instance  the  interior  of  the  cheap  ham  and  beef  shop  'in  St. 
Martin's  Lane'  (No.  13 127),  a  piece  of  social  history. 

There  are  many  signs  of  a  new  age ;  in  the  last  volume  gas-lighting  was  a 
startling  innovation ;  in  this  it  has  become  more  a  fact  than  a  topic :  a  nuisance, 
by  dint  of  street  excavations  and  foul  fumes ;  a  threat  to  the  old-established 
trades  of  chandler  and  oil-man  (No.  12633).  It  is  also  part  of  the  decor  of  a 
well-furnished  room — florid  when  gas-flames  stream  from  the  mouths  of 
writhing  serpents,  more  practical  when  globes  are  set  in  hanging  chandeliers. 
The  innovation  of  the  decade  is  travel  by  steam;  there  is  even  a  project  for 
a  steam-balloon  service  between  London  and  Paris  (No.  13289).  Exploration 
— Polar  and  African — gives  opportunities  for  comic  prints.  The  kaleidoscope 
is  a  fascinating  novelty  (No.  1305 1).  The  growing  humanitarianism  has 
begun  to  make  itself  felt,  even  in  the  unpromising  field  of  a  collection  of 
satirical  prints.  For  many  years  there  had  been  attempts  to  improve  the  lot 
of  the  climbing  boy,  and  for  many  years  he  has  figured  in  the  prints  as  a 
quasi-comic  figure,  the  gamin  of  the  London  streets  (as  he  was),  without 
whom  a  street-scene  is  hardly  complete.  His  miseries  are  the  subject  of  a 
serious  and  moving  satire  (No.  13206).  And  for  the  first  time  the  harsh  penal 
code  is  pilloried. 

Artists 

The  volume  sees  the  establishment  of  George  Cruikshank  as  the  leading 
caricaturist  and  the  heir  of  Gillray.  This  could  scarcely  have  been  obvious 
till  after  1815,  when  Rowlandson's  work  became  increasingly  scarce  and 
perfunctory.  There  is  a  tradition  that  Miss  Humphrey  employed  Cruikshank 
to  finish  plates  left  unfinished  by  Gillray,  but  there  is  no  evidence  for  this  in 
the  prints.  In  181 1  and  1812  she  turned,  not  to  Cruikshank  but  to  Rowland- 
son,  and  the  Russian  prints  of  181 3  are  his  first  work  for  her.  Cruikshank 
etched  one  plate  from  a  drawing  by  Gillray,  A  Pinch  of  Cephalic,  but  it  was 
not  published  till  1821.  A  plate  by  Gillray  of  1801  (No.  9770)  was  reissued 
in  1835  when  McLean  took  over  the  Humphrey  stock,  and  attributed  to 
Cruikshank.  Gillray 's  influence  pervades  this  period;  his  prints  are  classics 
to  be  adopted  to  modern  themes ;  they  are  sometimes  repertories  for  portrait 
heads.  Some  plates  stand  out  as  Gillrayesque ;  all  but  two  of  these  are  etched 
by  Cruikshank,  but  all^  are  'invented'  by  G.  H.,  that  is,  George  Humphrey, 
Hannah's  nephew  and  successor,  the  subject  of  the  strange,  wild  portrait 
head  drawn  by  Gillray  in  his  last  illness.  He  has  remarkably  absorbed  Gillray 's 
spirit  and  manner.  A  theory  that  he  may  have  been  working  from  ideas  or 
sketches  produced  at  lucid  intervals  can  hardly  be  sustained,  since  some  of 
the  most  striking  are  after  Gillray 's  death.  Moreover,  Gillray 's  last  plate, 
after  Bunbury  (No.  11779),  seemingly  finished  by  January  181 1  though  not 
published  till  George  Humphrey  succeeded  his  aunt,  is  evidence  of  poor 
Gillray's  failure  of  invention  and  weakness  of  line.  Two  of  the  G.  H.  designs 
stand  out  as  tributes  to  Gillray.  They  are  Cruikshank's  well-known  adapta- 
tion of  Gillray's  Gloria  Mundi  to  Napoleon  in  St.  Helena  (No.  12593),  and 
his  Broken  Gingerbread  .  .  .  ,  the  sequel  to  the  famous  Tiddy  Doll. 

During  i8n  and  1812  Cruikshank  worked  for  none  of  the  leading  print- 
sellers,  whose  artists  were  Rowlandson,  Williams,  and  Elmes.  His  first  impor- 

'  No.  12012,  the  first  plate  in  the  G.  H.  manner,  is  signed  'David  pinxit  [in  tru( 
Gillray  vein] — Etched  by  George  Cruikshank.' 

Hi 


INTRODUCTION 

tant  plates  were  for  the  Scourge  from  July  1811.  By  18 15  he  had  displaced 
Williams  as  Fores's  chief  artist.  His  innovations  in  caricature  have  been 
noted.  As  a  caricaturist  he  combined  essential  originality  and  a  strongly 
individual  manner  with  imitativeness,  and  the  influence  of  his  father  and  of 
Williams,  as  well  as  of  Gillray,  are  conspicuous  in  this  early  phase.  He  bor- 
rowed also  from  Hogarth:  No.  11987  is  a  free  copy,  altered  and  reversed,  of 
the  fifth  plate  of  The  Harlot's  Progress,  while  figures  from  the  first  plate  in 
that  series  are  introduced  into  No.  11986.  Cruikshank's  version  of  the  time- 
honoured  theme  of  the  poet  in  a  garret  (No.  12139)  is  based  on  Hogarth's 
classic  Distrest  Poet. 

Writers  on  Cruikshank  have  not  taken  into  account  the  etchings  done  in 
old  age  to  illustrate  an  autobiographical  work  to  be  called  'Recollections'. 
These  were  privately  printed  for  Sir  Benjamin  Ward  Richardson  in  1895, 
unfortunately  without  the  comments  they  demand.  In  one  he  is  in  a  poverty- 
stricken  garret,  barricaded  against  duns  and  prepared  to  defend  himself  with 
pistol  and  sword-stick.  After  this  comes  his  first  interview  with  Hone:  he 
sits  in  a  neatly  carpeted  parlour  which  an  etching  table  shows  to  be  his  own, 
portfolios  beside  him,  dictating  with  raised  forefinger  to  his  visitor,  who 
flinches  in  alarm  from  the  young  man's  ardour.  On  the  wall  are  a  shield  and 
battle-axes  as  evidence  of  the  crusader  against  abuses.  Since  Hone  had  met 
Cruikshank  by  181 1  (No.  11 764)  and  had  employed  him  in  18 15  on  work  for 
which  the  initiative  was  undoubtedly  his  own,  this  scene  is  probably  a  con- 
tribution (influenced  by  a  failing  memory)  to  the  controversy  over  the  Restric- 
tion Bank  Note  and  the  relative  shares  of  author  and  artist  in  the  illustrations 
to  Hone's  pamphlets.  In  two  other  of  these  autobiographical  plates  Cruik- 
shank declares  himself  an  Anti-Jacobin.  One  is  'A  Republican  Beau  for  1794, 
Copy  of  an  etching  made  by  my  father  Isaac  Cruikshank  during  the  Revolu- 
tion in  Paris  1794  [No.  S435]  and  copied  by  me  George  Cruikshank  whilst  a 
Revolution  is  raging  in  Paris  in  1871!!!'  It  is  noteworthy  that  the  onlv  political 
plates  in  this  volume  claimed  by  Cruikshank  as  invented  bv  himself  are 
strongly  anti-Jacobin  (Nos.  13207,  13279) — that  is,  in  1819,  they  are  anti- 
Radical.  With  this  exception  no  political  affinities  can  be  deduced  from  these 
prints :  extremes  cancel  each  other  out,  nor  is  it  possible  to  know  how  far  he 
was  working  on  his  own  designs  and  ideas.  In  fact,  the  prints  support  Lock- 
hart's  interpretation  in  1824  of  the  popular  verdict :  that  he  was  'a  free-handed 
comical  young  fellow,  who  will  do  anything  he  is  paid  for'.  His  notes,  made 
late  in  life,  express  regret  for  coarse  or  libellous  plates,  usuallv  but  not  always 
from  the  designs  of  others.  Thackeray's  theory  that  Cruikshank  'most  cer- 
tainly believed  .  .  .  that  the  Princess  was  the  most  spotless,  pureminded 
darling  of  a  princess  .  .  .'  is  manifestly  fallacious,  in  1818  as  in  1820-1. 

I.R.  (Robert)  Cruikshank  is  a  puzzling  artist;  though  he  has  a  distinctive 
manner  of  his  own,  his  work  can  perhaps  never  be  completely  distinguished 
from  that  of  his  brother,  and  this  not  only  from  the  fact  of  co-operation: 
mutual  work  on  each  other's  plates,  while  sometimes  a  plate  drawn  by  I.  R.C. 
is  etched  by  G.  C;  sometimes  the  process  is  reversed.  It  is  a  fair  presumption 
that  after  18 14  plates  signed  'Cruikshank'  without  initial  may  be  partly  at 
least  by  the  elder  brother.  The  imaginative  quality  which  constitutes  George's 
claim  to  greatness  is  generally  lacking  in  his  brother's  work.  Robert  (in  this 
early  period)  is  as  correct  a  draughtsman  and  his  portraits  have  some  claim 
to  be  better.  \r\  this  volume  he  already  shows  a  special  interest  in  the  life  of 
the  town,  especially  in  the  characteristic  plate  called  Sparring.  He  claims  only 
one  political  plate  as  invented  by  himself  (No.  13002)  and  this  is  Burdettite; 
in  the  person  of  a  handsome  voung  sailor  it  contains  an  evident  self-portrait. 

As  usual,  Rowlandson's  work  in  political  caricature  is  fitful.    In  181 1  he 

liii 


INTRODUCTION 

did  plates  for  Tegg  on  the  King  of  Rome.  His  next  political  plate  was  from 
the  famous  battle  of  Leipzig  transparency  for  Ackermann;  he  followed  this 
up  with  a  whole  series  of  plates  for  Ackermann  (some  being  copies  from 
German  prints)  on  Napoleon's  defeat,  first  exile,  and  return  from  Elba,  with 
a  St.  Helena  plate  (not  in  the  Museum)  in  February  1816.  Here  his  political 
plates  virtually  end.  His  comic  plates  for  Tegg's  Caricature  Magazine  seem 
to  end  in  181 5.  Some  of  the  best  of  the  book  illustrations.  The  English  Dance 
of  Death,  are  from  1814  to  1816,  but  after  this  decline  is  apparent.  Some 
etched  illustrations  to  a  political  pamphlet  of  18 19  suggest  uncongenial  pot- 
boiling. 

Williams's  work  goes  on  in  its  well-established  and  competent  way;  till 
1815,  when  he  was  displaced  by  Cruikshank,  he  continues  to  be  Fores's 
chief  artist.  The  Gillray  influence  is  perhaps  wearing  out,  and  his  plates  tend 
to  be  more  and  more  scenes  from  social  life,  mildly  humorous  genre,  rather 
than  caricature.  Also,  he  too  was  turning  to  book  illustration.  Samuel  De 
Wilde's  plates  to  the  Satirist  continue,  but  he  was  eventually  superseded  by 
Cruikshank.  In  this  period  William  Heath's  work  tends  to  be  intermittent 
and  hasty.  Caricature  was  evidently  a  supplement  to,  almost  a  by-product  of, 
more  serious  work.  His  is  the  earliest  Waterloo  caricature :  from  181 5  to  181 9 
he  was  to  design  many  striking  aquatints  of  the  battle.  Similarly,  his  two 
caricatures  on  the  Congress  of  Aix-la-Chapelle  can  be  related  to  a  large  and 
elaborate  portrait  group  connected  with  the  Congress.  One  of  his  water- 
colours  in  the  Museum  is  signed  'Drawn  by  William  Heath  Portrait  and 
Military  Painter,  18 19'.  He  drew  not  only  all  the  fifty-two  plates  to  the  well- 
known  Martial  Achievements  which  are  dated  from  181410  1815,  but  drew 
and  etched  the  thirty  plates  to  Syntax's  Wars  of  Wellington  which  were  aqua- 
tinted  by  Stadler  'from  the  original  paintings  by  Heath'.'  Many  have  charm- 
ing landscape  or  topographical  backgrounds.  As  a  caricaturist,  and  an  able 
one,  his  work  belongs  chiefly  to  the  next  decade,  when  the  demand  for  military 
prints  had  slackened  off.  When  Cruikshank  turned  to  book  illustration  Heath 
was  the  leading  English  caricaturist  till  he  was  displaced  by  Seymour  and 
H.  B.  Biographical  details  are  strangely  lacking;  he  is  known  as  the  'ex-captain 
of  Dragoons',  and  it  was  assumed  in  Volume  VHI  that  he  was  the  William 
Heath  who  appears  for  a  few  years  in  the  Army  List  before  181 6.  But  this 
man  died  in  1816^  and  no  other  relevant  William  Heath  is  discoverable.  Per- 
haps he  served  in  the  yeomanry,  perhaps  his  army  rank  is  mere  legend.  There 
is  nothing  to  connect  him  with  the  great  engravers  Charles  and  James  Heath; 
similarity  of  manner  and,  once  at  least,  co-operation  suggest  that  he  was  a  near 
relation  of  Henry  Heath. 

The  work  of  Elmes,  of  whose  life  nothing  is  known,  seems  to  belong  wholly 
to  this  period.  It  is  genuine  caricature,  broadly  burlesqued,  naively  drawn, 
decorative,  and  effective,  and  may  well  be  that  of  an  uninhibited  amateur 
with  a  special  interest  in  sailors  and  their  ways.  Another  new  caricaturist  is 
Lewis  or  J.  L.  Marks.  He  began  in  18 14  with  a  close  but  inferior  and  rather 
juvenile  imitation  of  Cruikshank  (No.  12260),  but  he  soon  developed  a  man- 
ner of  his  own,  exploiting  feminine  plumpness  and  a  hard  decorative  outline. 
He  has  a  grossness  and  vulgarity  peculiar  to  himself,  but  infectious,  and 
seemingly  popular.  He  is  the  only  professional  caricaturist  in  this  period 
who  seems  consistently  Radical  in  politics,  apart  from  a  gibe  at  the  Female 
Reformers  inspired  by  native  vulgarity. 

'  See  C.  de  W.  Crookshank,  Prints  of  British  Military  Operations,  ii,  1921,  for  mili- 
tary prints  by  Heath.  Besides  the  plates  indexed  as  by  him,  are  also  those  signed 
'W.  H.'. 

^  Information  from  Mr.  White  of  the  War  Office  Library. 

liv 


INTRODUCTION 

W.  H.  Brooke,  a  portrait-painter  and  illustrator,  makes  a  brief  appearance 
in  caricature  in  plates  to  the  Satirist  during  Jerdan's  attempt  to  run  the 
magazine  without  'personalities  and  rancour'.  He  had  little  aptitude  for 
caricature  or  satire  and  his  portraits  are  often  unrecognizable.  His  most 
characteristic  vein  was  a  burlesqued  grand  manner,  with  much  display  of 
bare  limbs,  exaggerated  muscles,  and  fantastic  costume  with  elaborate  decora- 
tion. From  1 8 14  he  was  replaced  by  Cruikshank,  nevertheless  the  Satirist 
did  not  long  survive. 

Robert  Dighton's  last  plates  belong  to  181 2  and  in  that  year  he  reverted  to 
the  earlier  manner  of  his  comic  designs  for  mezzotints  published  by  Bowles 
(Nos.  11930-1).  Two  finished  water-colours  in  this  manner  apparently  belong 
to  181 3  (Xos.  12074-5).  The  series  of  portraits  was  continued  by  Richard 
Dighton,  in  close  and  uninspired  imitation  of  his  father.  The  earliest,  three 
Cambridge  plates  of  181 5,'  are  not  in  the  Museum.  Like  his  father,  he  also 
did  a  few  caricatures,  two  of  which  are  in  this  volume. 

As  always,  amateurs  have  a  large  but  indeterminate  place;  they  range  from 
those  who  are  caricaturists  in  their  own  right  to  the  'inventor'  whose  share 
may  be  a  sketch  or  a  verbal  description,  acknowledged  or  unacknowledged. 
The  semi-professional  John  Nixon's  last  work  is  represented  in  1814  by  one 
of  his  rare  political  designs  and  studies  of  the  two  most  renowned  of  the  ladies 
who  presided  at  the  restaurants  and  cafes  of  Paris.  Two  amateurs  whose 
work  had  been  etched  by  Gillray  have  recourse  to  Cruikshank ;  one  is  Gillray's 
friend,  John  Sneyd,  who  sent  George  Humphrey  a  sketch  to  be  published 
for  humanitarian  reasons;  one  is  *J.  L.  R.',  revealed  as  an  Irishman  (No. 
12891),  whose  portraits  are  expressive  and  convincing.  Many  lithographs, 
some  by  Cruikshank,  are  from  the  designs  of  Captain  Simon  Hehl  of  the 
War  Office.  Captain  Marr^at's  drawings  are  stiff  and  amateurish  but  expres- 
sive and  the  subjects  are  amusing,  and  so  Cruikshankian  that  the  co-operation 
between  draughtsman  and  etcher  is  fruitful.  John  Shcringham  is  another 
amateur  whose  drawings  Cruikshank  etched  and  perhaps  adapted.  The 
'inventor'  of  some  striking  plates  is  'Yedis' ;  since  these  are  almost  all  published 
by  Sidebotham  (and  etched  by  Cruikshank)  it  is  a  not-unreasonable  guess 
that  Yedis  =  Sidey  =  Sidebotham.  Before  the  appearance  of  the  'Yedis' 
pseudonym,  Sidebotham  designed  Cruikshank's  Departure  of  Apollo  and  the 
Muses.  As  a  printseller  he  was  a  shameless  pirate  (Nos.  12614-15);  if  he  is 
Yedis  he  was  a  man  of  versatility,  intelligence,  and  some  cultivation. 

French  caricatures  are  for  the  most  part  by  anonymous  or  obscure  artists. 
Exceptions  are  the  joint  work  of  Debucourt  and  Horace  Vernet.  It  is  believed 
that  the  signature  'Exxxxx'  on  plates  of  18 15  to  Le  Nain  Jaune  connotes 
Eugene  Delacroix,  then  seventeen.  The  outstanding  German  caricaturists 
were  Schadow  and  Voltz,  both  represented  here,  as  is  Terebenef,  the  only 
Russian  of  note. 

Printsellers  and  Publishers 

The  leaders  are  still  Humphrey,  .\ckermann,  and  Fores,  with  Tegg  more 
important  than  Holland,  who  died  in  18 16.  Miss  Humphrey's  output  of  new 
plates  was  small,  and  she  probably  continued  to  rely  on  her  monopoly  of 
Gillray's  plates.^  When  George  Humphrey  succeeded  his  aunt  in  1818  the  old 

'  See  H.  M.  Hake,  Print  Collector's  Quarterly,  xiii.  242.  There  is  also  an  unrecorded 
pi.,  A  View  from  St.  Mary's  Church,  Cambridge. 

^  An  informative  Catalogue  in  the  B.M.L.  of  the  sale  of  the  Humphrey  stock  in 
1835  was  unfortunately  destroyed  in  the  war.  Among  the  items  were  three  volumes  of 
Gillray  papers,  one  of  which  is  presumably  now  in  the  British  Museum  (Add.  MSS. 
27337)- 

Iv 


INTRODUCTION 

business  was  revived,  and  by  1819  he  was  publishing  many  striking  plates, 
including  the  best  designs  of  Cruikshank.  Though  there  are  exceptions,  his 
plates  are  anti-Gppositionist  in  tone,  but  not  slavishly  so,  and  his  social 
plates  are  free  from  coarseness  and  offensive  personalities.  Ackermann  is 
more  than  ever  a  man  of  note,  taking  a  leading  part  in  the  organization  of 
relief  for  war  distress  in  Germany  in  18 14.  Apart  from  book  illustrations  and 
with  the  exception  of  two  velocipede  prints  in  18 19,  his  plates  are  part  of 
the  campaign  against  Napoleon,  expressions  of  both  British  and  German 
patriotism,  and  they  cease  from  Feb.  1816.  From  1817  he  was  engaged 
in  the  establishment  of  artistic  lithography  in  England.  Fores  goes  on  in  his 
accustomed  way.  It  is  a  clue  to  the  dating  of  his  plates  that  in  18 19  the  number 
of  his  Piccadilly  shop  is  altered  from  50  to  41  and  that  during  1818  and  1819 
he  had  a  second  address  in  Oxford  Street.  He  issued  and  presumably  pirated 
close  copies  of  some  of  Richard  Dighton's  portraits.  By  the  end  of  1819  'the 
ingenious  and  opulent  Mr.  Tegg  of  Cheapside',  as  Thackeray  calls  him,  seems 
to  have  abandoned  the  publication  of  new  caricatures,  as  suddenly  and  as 
completely  as  he  gave  up  his  evening  book  auctions.  He  was  turning  to  the 
publication  of  finely  illustrated  books ;  the  Life  of  Napoleon  and  The  Gratid 
Master.  .  .  in  this  volume.  Heath's  plates  (dated  i  Apr.  1818)  to  the  Wars  of 
Wellington  1819  have  his  imprint.  The  suggestion  of  his  autobiographical 
memoranda'  (in  which,  however,  no  mention  is  made  of  his  caricatures)  is  that 
this  activity  had  served  its  turn  and  had  become  inconsistent  with  his  status  in 
the  City.  Knight  was  a  printseller  of  some  note  established  in  Sweetings 
Alley  (the  shop  so  dear  to  Thackeray  as  a  boy)  by  18 13,  in  succession  to 
Walker  and  Knight.  He  designed  one  of  the  prints  he  published,  and  his 
shopman  was  sufficiently  a  public  character  to  be  the  subject  of  a  print  (No. 
12323).  Sidebotham  of  Dublin  set  up  a  shop  in  London  in  181 5,  having  a 
bewildering  series  of  addresses;  his  shop  in  the  Strand  is  depicted  in  No. 
13449.  He  published  some  striking  plates  which  are  both  vehemently 
partisan  and  conspicuously  many-sided. 

Printsellers  whose  output  was  uncompromisingly  radical  where  political 
prints  were  concerned  were  Hone,  Fairburn  (also  a  publisher  of  comic 
song-books),  Johnston,  and  Flook,  while  Carlile  and  Wooler,  not  printsellers, 
issued  one  or  two  propagandist  plates.  Fairburn  and  Johnston  were  among 
the  chief  publishers  of  the  shilling  verse  satires,  abusive  and  libellous,  which 
were  a  feature  of  the  period.  Pitts,  the  chief  of  the  Seven  Dials  publishers  of 
street  papers  and  broadsides  until  he  was  outmatched  by  Catnach,  appears  as 
the  publisher  oT  a  popular  woodcut.  There  is  only  one  plate  with  a  provincial 
imprint,  a  copy  of  a  No-Popery  print  issued  by  Eaglesford  of  Leicester. 
McCleary  of  Dublin  continues  his  copies  of  English  plates  and  again  incurs 
the  angry  reprobation  of  his  rival  Sidebotham  (Nos.  12054-5).  O'Callaghan's 
is  another  Dublin  imprint  found  on  an  Irish  plate. 

'  In  a  pamphlet  Memoir  of  Tegg,  chiefly  from  the  City  Press,  in  the  Hbrary  of  the 
Book  Society. 


Ivi 


Les  Anglais,  obsession  de  Bonaparte  et  cause  de  presque 
toutes  ses  fautes,  passerent  le  Bidassoa  le  7  Octobre: 
Wellington,  I'homme  fatal,  mit  le  premier  le  pied  sur  la 
terra  de  France. 

CHATEAUBRIAND,  Memoires  d'Outre-Tombe. 

Mankind,  and  especially  literary  mankind,  are  the 
ready  dupes  of  a  squib,  or  of  a  caricature. 

LORD  SALISBURY,  Quarterly  Review,  Apr.  1861. 

The  history  that  is  present  politics  is  mainly  com- 
posed of  envy,  malice  and  all  uncharitableness. 

D.  \v.  BROGAN,  The  Study  of  Politics,  1946. 


Ivii 


CORRIGENDA,  Etc. 

TO  VOLUME  V 
p.  xxix,  par.  3,  1.  4.   For  '5877'  read  '6877'. 

6257  A  complete  print  has  been  acquired.  On  the  margins  are  a  printed  title : 
Celebrated  Speec  [sic]  of  the  Earl  of  Abingdon  in  the  Home  of  Lords  on 
Tuesday,  December  2,  1783,  and  the  text  of  the  speech,  in  the  course  of 
which  Abingdon  laid  this  print  (first  state)  on  the  Table. 

TO  VOLUME  VI 

p.  499  The  Long-zvinded  speech.  The  print  has  been  acquired. 

8074  Title,  for  Anti-Saccarites  read  Anti-Saccharites . 

p.  922  A  Limited  Monarchy.  The  print  (half  the  pi.)  has  been  acquired. 

TO  VOLUME  VII 

8321  par.  2,  1.  2.   For  'Neewinden'  read  'Neer%vinden'. 
8376  Frontispiece   to   Man-Midwifery   dissected;   or,    the   Obstetric   Family 
Inspector,  1793.   By  John  Blunt  [S.  W.  Fores]. 

9046  p.  369,  last  1.   For  '8781'  read  '8710'. 

p.  576  Buonaparte's  Dance  of  Death.   The  print  has  been  acquired. 

9448  A  copy,  reduced  and  slightly  aquatintcd,  is  a  pi.  to  Cruikshankiana, 

1835. 
9546  The  print  has  been  acquired. 

TO  VOLUME  VI II 

p.  xxxvii,  par.  3;  p.  1069,  Index.  The  signature  P.F.L.B.  (on  four  plates 
etched  by  Gillray)  seems  to  indicate  an  amateur:  it  appears  on  John  Bull 
fighting  the  French  Single  Handed  1803,  recently  acquired. 

9905  The  Wright  and  Evans  number  is  512  not  466. 

10019  A  copy  by  Charles  Turner,  signed  'Ch^  T.  f^',  is  De  Vinck,  No.  7647. 
10072  A  For  '10283  ^'  ^^^^  '10283  c', 

10138  Though  dated  1803  (see  p.  xxx)  the  pi.  was  not  published  till  1828, 
in  the  second  edition  of  Ibbetson's  book  (B.M.L.  562*.  e.  28). 

10259  'r^^  B.M.  impression  is  a  reissue  with  the  date  altered  to  1804  from 
1803  (when  the  subject  was  the  budget  introduced  13  June). 

10418  The  original,  pub.  Martinet,  has  the  title  La  Visile  inattendue,  and  is 
De  Vinck  No.  8025. 

10518  The  Wright  and  Evans  number  is  309  not  307. 
10537  Date  of  deposit,  18  July  1801  (De  Vinck  No.  7622). 
10540  penultimate  par.    The  Postmaster-General  was  the  Earl  of  Bucking- 
hamshire not  the  Marquis  of  Buckingham. 

10721  penultimate  par.   For  '4  Apr.  1796'  read  '4  Apr.  1798'. 

11048  p.  687,  1.  3.  For  'Vincent'  read  'St.  Vincent'. 

11082  After  the  signature  read:  '[De  Wilde]'. 

1 1544  An  impression  in  the  V.  &  A.  (CC.  17  b)  is  autographed  'Drawn  & 
Etched  by  my  Father  Isaac  Cruikshank — the  Speaker  in  the  Chair  by  me 
G.  C— '. 

lix 


CORRIGENDA,  ETC. 

TO  VOLUME  IX 
1 1764  Last  1.,  after  Layard  read  George  Cruikshank's  Portraits  of  himself, 
1897  [1896]. 

1 1864  Cruikshank's  pencil  drawing  is  in  the  V.  &  A.  (CC.  18  a);  on  the 
reverse  is  a  pencil  sketch  for  the  same  design,  differing  in  detail. 

1 1865  Cruikshank's  pencil  drawing  is  in  the  V.  &  A.  (CC.  18  a);  on  the 
reverse  is  another  drawing  of  the  subject,  in  reverse. 

13258  A  pencil  sketch  by  Cruikshank  is  in  the  V.  &  A.  (CC.  17  b);  on  the 

same  sheet  as  that  for  No.  13272. 
13272  A  pencil  sketch  is  in  the  V.  &  A.,  cf.  No.  13258. 
13279  Cruikshank's  pencil  sketch  is  in  the  V.  &  A.  (CC.  18  a),  caption:  'An 

Emblem  of  Radical  Liberty  or  Britannia  in  Danger';    above,  'Taking 

Liberties  or  Political  Revolution  the  Grand  Object  of  Reform'. 
13288  A  rough  pen  drawing  for  the  upper  part  of  the  human  pyramid  is  in 

the  V.  &  A.  (CC.  18  a).   On  the  crown  stand  the  legs  of  the  Regent. 


Ix 


i8ii 
POLITICAL  SATIRES 

11704  NEW  ROADS  TO  THE  TEMPLE  OF  FORTUNE. 

[De  Wilde.] 

Published  Jan'J  i"  1811.  by  M.  Jones.  N°  5  Newgate  Street 

Engraving,  slightly  aquatinted  (coloured  impression).  Frontispiece  from  the 
Scourge,  i.  Paths  lead  uphill  towards  the  distant  temple  of  Fortune,  a  dome 
supported  on  columns,  and  surmounted  by  Fortune  on  her  wheel,  emptying 
cornucopias;  tiny  figures  struggle  to  enter.  A  double  path  formed  of  papers 
leads  from  Justice,  who  stands  on  the  hill  holding  her  scales  and  a  flaming 
sword  which  directs  a  shaft  of  fire  at  an  elderly  couple  (John  King  and  (?)  his 
wife  the  Countess  of  Lanesborough)  who  flee  downhill  and  have  reached  a 
sign-post  inscribed  High  Road  to  Nezigate.  From  this  hangs  a  noose  labelled 
A  Check  payable  to  Mess.  Deane  &  Co.  The  prison  is  on  the  extreme  1., 
a  gateway  inscribed  Felons  Side  outside  which  are  a  gallows  and  a  double 
pillory.  The  papers  (the  track  of  the  two  fugitives)  have  fragmentary'  and 
scarcely  legible  inscriptions:  Harrison  versus  Ki  .  .  .;  Sir  Rob.  Wm  [?]  Laxthcr 
.  .  . ;  Miss  Deon  [Chevalier  d'Eon,  see  No.  4870,  &c.,  d.  1810] ;  Glover  v  Albut; 
The  King  versus  John  Ki?ig;  Freeman;  Account  Solomon  Da  Coster;  Brought 
Lady  in  Distress;  [.']  Accompt  J  Partington;  The  King  versus  John  King  [at 
King's  feet].  The  papers  terminate  in  objects  associated  with  the  past  life 
of  the  pair:  a  string  of  pewter  pots,  shoes  with  brushes  and  blacking-pot; 
writing-materials,  with  a  paper:  Copy  of  Writ  John  Doe  ...  [to  show  King's 
ascent  through  pot-boy,  shoe-black,  and  attorney's  clerk]. 

Next,  Leigh  Hunt,  youthful  and  fasliionably  dressed,  stands  full-face,  with 
his  back  to  the  hill;  he  holds  up  a  hanil-mirror  inscribed  I'lie  Reflector  show- 
ing, as  a  reflection  of  himself,  an  ape's  head.  He  blows  a  trumpet  from  which 
issue  the  words  /  am  the  great  Thunder.  In  his  pocket  is  a  paper  inscribed 
Myself;  by  his  r.  foot  is  a  small  coflin  inscribed  Reputation  of  L  Hunt.  His 
1.  foot  is  on  a  paper  headed  F.xaminer.  Before  him  are  bundles  of  papers, 
books,  &c.:  Office  Accounts;  Netv  .  .  .;  John  Doe  Rich  .  .  .  Roe  [cf.  No.  891 1, 
&CC.];  Juvenile  Preceptor  and  Juvenilia  with  the  coat  and  stockings  of  a  Blue 
Coat  boy.   Behind  him  is  a  stone  with  a  hand  pointing  To  the  Fleet  [Prison]. 

Farther  up  the  hill  (r.)  a  well-dressed  man  in  top-boots,  Anthony  DafFy 
Swinton,  is  being  dragged  forward  by  Dr.  Brodum,  who  takes  his  hand, 
pointing  behind  him  to  the  temple.  Each  has  a  bottle  in  his  coat-pocket: 
Daffy  Elixer  and  Nervous  Cordial.  Under  Swinton's  foot  is  a  Ledger.  A  trail 
of  properties  descends  the  hill  from  the  two  men:  papers,  Tlie  Old  Oige  \}]; 
Escape  Hotel;  Poison  .  .  .;  a  large  package  of  Andersons  Pills,  an  open  chest; 
two  pigs  and  a  horn,  a  heap  of  homely  household  goods:  damaged  pot,  fire- 
irons,  bellows,  rat-trap,  &:c. 

On  the  r.  William  Huntington,  fat  and  clumsy,  on  hands  and  knees,  is 
being  pushed  up  the  hill  by  five  plainly  dressed  and  pious  women;  one  of 
these  wears  breeches,  the  belt  inscribed  Conjugal  Prize;  in  her  pocket  is  a 
paper:  Se^  -on  on  Leather  Breeches  [see  No.  1 1080].  The  women  push  against 
a  large  b^ok  or  sheaf  of  papers  which  they  press  against  his  posterior, 
inscribed^  Baxter's  [Baxter's]  Shove  Heavy  Ar  .  .  Christian  [see  Nos.  12136, 
12768].  The  path  he  is  on  leads  not  to  the  temple  but  to  a  sign-post  (r.) 
pointing  To  He[ll]  on  which  sits  a  beckoning  demon.  They  ascend  over  a 
mass  of  books  and  papers  which  trails  down  the  hill  ending  in  a  pile  of  old 

I  B 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

shoes  and  lasts,  below  which  is  a  sack  of  coal  and  a  shovel.  The  inscriptions 
include:  Spiritu  .  .  .  Voyage  [under  Huntington's  head],  Diniens  .  .  .  Love, 
Lying  Profit,  Free   Thought  [twice],  Innocent  Game,   Shunamite,   Coloured 
Saints,  Authentic  Confession,  Scheme  for  setting  up  Master,  Bank  of  Faith 
[see  No.  11080],  Parson  W.  Himti?igton,  Warrant  Bastardy  Wm  Hunt  .... 
An  illustration  to  four  articles  in  the  magazine:  (i)  'John  King',  pp.  1-27, 
allegations  of  money-lending,  fraudulent  banking,  forgery,  blackmail,  &c.: 
King  (1753-1824),  real  name  Jacob  Rey,  a  Sephardi  Jew,  was  educated  at  a 
Jewish  orphan  asylum  in  London,  and  divorced  his  wife  to  marry  the  Dowager 
Lady  Lanesborough,  see  No.  7198.   Glover  and  Albut  were  his  assistants  in 
frauds  on  a  bank.   Messrs.  Dean  &  Co.  was  a  fraudulent  banking  firm  con- 
ducted by  King,  who  issued  advertisements  imploring  assistance  in  the  char- 
acter of  'a  lady  in  distress'.  (2)  'James  Henry  Leigh  Hunt',  pp.  46-64:  attacks 
on  the  politics  of  the  Reflector  and  the  Examiner,  Hunt's  egotism,  versifica- 
tion, &c.  The  Reflector  was  a  quarterly  started  in  18 10  by  Hunt's  brother,  four 
numbers  only  appearing.    On  22  Feb.  he  was  tried  for  libel  for  an  article 
against  military  flogging,  was  defended  by  Brougham,  and  acquitted.   Before 
this,  two  prosecutions  against  the  Examiner  had  been  brought  forward,  but 
dropped :  one  in  connexion  with  disclosures  by  Major  Hogan  on  army  promo- 
tions, see  No.  11211,  Sec,  one  for  a  remark  on  George  HI;  Autob.  of  Leigh 
Hunt,  1903,  i.  226  ff.   (3)  'Anthony  Dafl^y  Swinton',  pp.  27-46:  an  ancestor  of 
Swinton  was  a  travelling  tinker  who  became  agent  for  a  vendor  of  Anderson's 
pills  (for  inducing  miscarriages);  he  then  made  bogus  pills;  on  the  discovery 
of  the  fraud  he  went  to  London  and  made  friends  with  Anthony  Daffy,  called 
inventor  of  the  famous  elixir  (actually  invented  by  the  Rev.  Thomas  Daffy, 
d.  1680).   One  of  the  tinker's  descendants  married  a  Miss  Daffy  and  became 
proprietor  of  the  medicine;  their  son,  A.  D.  Swinton,  was  committed  to 
Newgate  for  fraud  in  1806,  and  (in  181 1)  had  taken  sanctuary  in  the  Rules 
of  the  Fleet.   William  Brodum  was  a  Jewish  quack  born  in  Denmark,  who 
had  been  footman  to  Dr.  Bossy  (see  No.  8740).    He  advertised  medicines, 
notably  his  'Restorative  Nervous  Cordial'  which  he  sold  with  his  business  to 
Swinton.  Cf.  No.  1 171 1 .  (4)  'Rev.  William  Huntington,  S.S.',  pp.  64-77,  incor- 
rectly called  a  Methodist;  an  account  based  on  his  own  voluminous  writings. 
At  one  time  he  combined  preaching,  cobbling,  and  coal-heaving.  The  'conjugal 
prize'  is  the  rich  city  widow.  Lady  Sanderson,  see  No.  12135,  &c.    For  King 
and  Lady  Lanesborough  see  John  Taylor,  Records  of  My  Life,  1832.  ii.  341-5. 
Rubens,  No.  296. 

11705  THE  COMET  OF  1811 

Pii¥  Jany  1811,  by  T,  Moon.  Westminster 

Engraving  with  aquatint  background  (monochrome  and  coloured  impressions). 
An  adaptation  in  reverse  of  No.  7508  by  Sayers.  The  Prince's  head,  set  in 
a  star  v/hich  is  the  head  of  the  comet,  is  as  in  No.  7508  except  for  the  addition 
of  a  stock  between  the  wings  of  the  coat-collar.  In  the  comet's  tail  the  first 
profile  head  is  that  of  Moira,  replacing  Sheridan  who  is  in  the  second  place, 
between  and  in  front  of  Erskine  and  a  partly  concealed  profile  perhaps 
intended  for  Ponsonby.  Next  are  the  Duke  of  Norfolk  and  Lord  Derby. 
Behmd  them  are  (?)  Tierney  and  a  good-looking  military  officer  Text  come 
three  Grenvilles  abreast:  Lord  Temple  between  Lord  GrenviJJe^n  his  r.) 
and  the  spectacled  Buckingham.  Behind  them  are  Whitbread,  hVlding  up 
a  frothing  tankard  of  his  'Entire',  and  Lansdowne.  Behind  these  t:re  Grey, 
and  (partly  obscured)  Lord  Carlisle.  Two  heads  with  faces  hidden  are  on  the 
extreme  r. 


POLITICAL   SATIRES    1811 

The  original,  published  just  before  the  announcement  of  the  King's 
recovery  in  1789,  anticipated  a  short  period  of  office  for  the  Opposition  during 
a  regency.  Sheridan,  Norfolk,  and  Derby  appear  in  both  prints.  In  December 
1810  the  King  was  again  insane,  and  the  question  of  a  regency  was  urgent. 
During  January  the  Grenvilles  were  Cabinet-making,  anticipating  office  (as 
in  1804,  cf.  No.  10252).  The  position  of  Moira  and  Sheridan,  detached  from 
the  others  and  in  front,  corresponds  with  their  position  as  the  friends  of  the 
Prince,  who  had  disliked  Grey  and  was  ill-disposed  to  Grenville.  The  lord- 
lieutenancy  of  Ireland  was  destined  for  Moira,  but  Sheridan  w^as  ignored 
and  even  slighted  in  the  discussions.  See  H.M.C.,  Dropmore  Papers,  x.  98, 
104-8;  Buckingham,  Memoirs  of  the  Court  of  the  Regency,  1856,  i.  13  ff. ; 
Holland,  Further  Memoirs  of  the  Whig  Party,  1905,  p.  72;  Romilly,  Memoirs, 
under  date  6  Feb.  181 1.  In  i8ii,  as  in  1788-9,  a  comet  was  visible,  but  this 
was  Pons,  first  discovered  in  March,  see  No.  1 1810,  &c.  For  the  Regency  see 
also  Nos.  11706,  11707,  1 1708,  11709,  11713,  11846. 

Sometimes  attributed  to  Gillray,  who  was  lapsing  into  insanity.  The  heads 
in  the  comet's  tail  seem  to  be  copied  from  heads  by  him  in  various  prints. 
8|  X  II  in. 

11706  THE  TRIUMPHAL   ENTRY  INTO    ST   JAMES'S,   OR  THE 
DOWNFALL  OF  THE  MODERN  COLOSSUS. 

[Williams.] 

Pub'  Jan^  18 1 1  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  The  royal  princes  are  grouped  at  the  gate 
of  St.  James's  Palace  (1.)  and  have  just  hurled  a  bundle  of  crowned  batons 
at  Perceval,  who  approaches,  standing  like  a  circus-rider  on  a  white  horse 
(of  Hanover)  with  the  head  of  the  Prince  of  Wales.  He  staggers  under  the 
blow  and  is  about  to  fall;  in  his  1.  hand  is  a  sceptre;  between  his  feet,  on  a 
tasselled  cushion  which  serves  as  saddle,  is  the  crown.  He  wears  a  fool's  cap 
and  his  Chancellor  of  the  Exchequer's  gown.  The  batons  are  bound  like 
fasces  with  a  ribbon  inscribed  Protes[t'\  unity  [a'\gainst  Rcstri[ctions].  Before 
the  princes  stands  a  trumpeter  in  oriental  dress,  about  to  welcome  Perceval; 
he  turns  his  head  to  look  with  dismay  at  the  Duke  of  York  who  has  just  Hung 
the  missile;  his  trumpet  has  a  banner  inscribed  Bow  The  Knee  Before  Him. 
A  label  floats  up  from  the  princes:  York,  Clarence,  Kent,  Cumberland,  Sussex, 
Cambridge  and  Gloucester  sends  [sic]  you  this  greeting.  They  are  poorly  char- 
acterized: York  is  the  most  prominent,  Clarence  behind  him,  identified  by 
his  naval  uniform,  Kent  on  the  extreme  1.,  Cumberland  in  Hussar  uniform  on 
the  r.,  Sussex,  wearing  a  feathered  Scots  bonnet,  Cambridge  and  (their  cousin) 
Gloucester  between  York  and  Kent  and  behind  the  trumpeter. 

Behind  Perceval  is  a  dismayed  group,  wearing  blue  spencers  over  their 
coats,  and  fool's  caps.  They  say  Death  to  our  hopes  he  is  Off  just  at  the  journey's 
End.  One  holds  a  banner  inscribed  Hon''''  Band  of  Blue  Spencer  Pensiofiers; 
to  it  is  tied  a  bag  inscribed  Empty.  In  front  of  the  'Pensioners'  and  on  the 
extreme  r.  is  Sheridan  next  Moira  who  turns  to  him,  saying,  This  makes  the 
Old  Proverb  good.  Sheridan :  Aye  Frank,  but  he  need  not  have  hurry' d  so.  Behind 
him  is  \\'hitbread,  saying,  He  had  better  have  mounted  one  of  my  dray  Horses. 

See  No.  11705,  &:c.  Perceval,  like  Pitt  in  1788-9  (see  No.  7382,  &c.),  is 
accused  of  trying  to  appropriate  royal  power  by  restrictions  on  the  powers 
of  the  Regent.  The  peers  of  royal  blood  signed  at  Carlton  House  on  19  Dec. 
1810  a  protest  against  the  intention  of  Ministers  to  establish  a  restricted 
regency  as  unconstitutional  and  'contrary'  to  .  .  .  the  principles  that  seated 
our  family  upon  the  throne  .  .  .',  H.M.C.,  Dropmore  Papers,  x.  87  (Cobbett 
dates  the  letter  12  Dec,  Pol.  Reg.  xix.  8).    This  was  done  at  the  Prince's 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

instigation.  Windsor  Archives,  cited  M.  Roberts,  The  Whig  Party,  i8oy- 
1812,  1939,  p.  360.  The  'Spencer  Pensioners'  are  (Tory)  followers  of 
Spencer  Perceval.  The  trumpeter,  whose  turban  is  part-coronet,  is  probably 
Wellesley.  The  position  of  Moira,  Sheridan,  and  Whitbread  among 
Ministerialists  seems  odd,  but  may  connote  their  expected  triumph.  See 
Pari.  Debates,  xviii.  802,  &c.;  Holland,  Further  Memoirs  of  the  Whig  Party, 
1905,  pp.  75-80. 
915X141  in- 

11707  STATE  MINERS. 

G.  Cruickshank  del 

PuM  by  y  Johnston  87  Bishopsgate  Jan^  1811 

Engraving  (coloured  impression).  The  interior  of  the  Treasury  (the  name 
over  an  iron-studded  door)  with  heaps  of  coin  on  the  floor;  many  persons 
greedily  help  themselves  or  walk  off  with  plunder.  In  the  foreground  (r.) 
are  housebreaking  tools:  keys  and  picklocks,  a  dark  lantern  and  masks,  with 
shovels.  Two  men  ply  shovels:  one  is  Lord  Eldon  (1.),  saying,  /  never  care 
how  the  world  wags  for  Fve  always  4,000  per  An"^  Secure  in  my  Bags  [he  refers 
to  a  Chancellor's  pension,  cf.  No.  10714].  The  other  is  Perceval,'  who  cheer- 
fully shovels  coin  into  a  pair  of  breeches  held  out  by  a  man  whose  hair  stands 
on  end,  and  says:  Come  along  Leatherbreech's!  what  the  devil  makes  your  hair 
stand  on  end  always?  He  addresses  Lethbridge  who  came  into  prominence 
over  the  arrest  of  Burdett,  see  No.  11538.  Alderman  Curtis,  wearing  sailor's 
trousers  (see  No.  11353,  &c.),  stands  in  front  of  a  basket  overflowing  with 
coin  inscribed  Billys  Biscuit  Basket ;  beside  it  is  a  paper  Biscuit  Contract  [see 
No.  1 1354].  He  says:  I  filld  my  Basket  Speedy  &  Soon  [see  No.  11306]. 
Behind  him  two  grotesque  Scots  exult  together ;  one  says :  The  de'el  tak  me 
but  Fve  taken  care  o  mysel;  the  other:  you  are  right  M''  M'^Scroyle  I  have 
feathered  my  own  nest  well.  Two  men  behind  are  Castlereagh  and  Canning, 
glaring  angrily  at  each  other ;  the  latter  says :  get  out  of  the  way  pat  you  have 
no  more  business  here  then  I  have  [see  No.  11370,  &c.].  On  the  r.  is  a  Secret 
Door  over  which  hang  the  tattered  fragments  of  a  Map  of  the  United  Kingdoms 
of  .  .  .  Towards  this  are  walking  (among  others)  a  fat  drink-blotched  parson 
carrying  a  tub  on  his  head  inscribed  Cambridge  Butter  Tub  [cf.  No.  13 105], 
and  Liverpool  wearing  a  star.  A  man  whose  head  only  is  visible  says:  I  have 
croaked  for  something,  showing  he  is  Croker,  Secretary  to  the  Admiralty.  On 
the  extreme  1.  Wellesley,  an  Oriental  wearing  a  jewelled  turban,  walks  off  with 
a  sack,  saying.  Take  Care  of  Number  One.  Two  grotesque  busts,  heavily  shaded, 
emerge  from  the  heaps  of  coin ;  they  dimly  suggest  grotesque  renderings  of 
Queen  Charlotte  (clutching  a  money-bag)  and  George  HL  Behind  the  former 
is  the  back  of  a  top-hatted  head  suggesting  the  Prince. 

Pictures  cover  the  greater  part  of  the  wall.  On  the  extreme  1.  is  (i)  a  bust 
portrait  of  the  Prince  of  Wales  in  back  view.  Next  (2)  a  flying  demon  leads 
burglars  towards  a  hoard  inscribed  Secret  Million  and  Public,  loooooooo. 
The  foremost,  who  is  masked  and  has  a  key  and  dark  lantern,  is  probably 
Perceval;  he  is  followed  by  Eldon  and  other  tiny  figures.  The  centre  picture 
(3)  is  inscribed  What  I  wo^,  have  if  I  could:  Perceval  holds  in  leading-strings 
an  infant  wearing  the  Prince's  feathers  in  his  cap  and  holding  up  a  coral  and 
bells  inscribed  R — G — Y;  he  drives  the  child  towards  an  infant's  commode- 
chair  inscribed  Regency,  saying,  thats  my  Pitty  Pincy.  His  coat-tails  are  held 
by  the  Queen  whose  head  is  obscured  by  a  pillar  (showing  she  replaces  the 

■  Identified  by  Reid  as  Vansittart,  Secretary  to  the  Treasury  1801-4  and  1806-7,, 
but  not  resembling  him. 


POLITICAL   SATIRES    1811 

King,  cf.  No.  10709).  Behind  him  is  a  barber's  block  representing  the  King's 
head.  On  the  r.  is  (4)  King  Lear  &  his  Daughter;  the  King  is  grotesque  and 
unrecognizable,  identified  by  his  words,  zvhat  what;  he  holds  up  both  arms 
at  the  sight  of  a  woman  lying  prostrate  (a  heartless  representation  of  the  death 
of  Princess  Amelia  (2  Nov.  1810),  believed  to  have  been  the  final  cause  of  his 
insanity).  Below  this  is  (5)  a  picture  inscribed  Devil  among  the  Lawyers;  the 
Devil  frightening  a  group  of  lawyers  (cf.  No.  8394,  &c.). 

Perhaps  the  first  elaborate  political  design  by  G.  Cruikshank  without  his 
father's  help.  A  schoolboy  conception,  partly  hackneyed  generalities  on  place- 
men, &c.,  but  with  some  point  in  its  allusions  to  the  Regency,  see  No. 
1 1705,  &c.  The  Prince  in  leading-strings  derives  from  No.  7497  (1789), 
Suitable  Restrictions  by  Rowlandson,  like  this  print  a  satire  on  the  Regency 
restrictions.  For  the  supposed  miserliness  of  the  King  and  Queen  see 
No.  7836,  &c.  The  first  allusion  to  Eldon  as  'Bags'  (called  'Old  Bags'  by  the 
Prince).  A  reversion  to  the  ridicule  of  the  King  which  had  disappeared  from 
political  caricatures.   No.  6280  (1783)  has  the  same  title. 

Reid,  No.  120.   Cohn,  No.  2004. 
8|xi3iin. 

11708  [THE  POLAR  STAR.]' 
Pub"^  by  E.  Delaney  Jan^  21  1811 

Engraving.  A  small,  ill-drawn  naval  vessel,  broadside  on,  fills  the  design, 
one  row  of  guns  projecting  from  port-holes;  she  is :  The  Good  Ship  Britannia. 
A  disproportionately  large  mast  is  cut  off"  by  the  upper  margin;  beside  it  is 
an  eight-pointed  star  enclosing  a  circle  filled  with  a  profile  head  (unrecog- 
nizable) of  the  Prince  of  Wales.  In  the  upper  corners  of  the  design  are  two 
groups  of  three  smaller  stars.  The  crew  and  passengers  are  (1.  to  r.):  a  sailor 
in  the  bows  with  Regency  on  his  hat  ribbon;  three  lawyers  in  conversation, 
two  saying.  Brother  zcere  you  not  a  little  sea  sick  lately  and  Yes  the  Ship  heav'd 
sadly  but  now  goes  as  gently  and  as  progressively  as  a  Chancery  suit.  Next,  a 
woman  hands  a  box  to  a  militar}'  officer,  saying.  Oh  dear  Sir,  pray  take  care 
of  my  regency  Caps  I  hope  to  sell  hundreds  of  them.  He  answers:  Oh  my  dear 
stay  till  I  am  Captain  and  I  will  buy  them  all  to  give  my  Wife.  A  sailor  looks 
to  the  helmsman,  saying.  Steady  at  the  helm  there,  and  is  answered:  Fear  not 
my  care  of  my  numerous  passengers.  Between  these  two  is  a  group  of  four: 
a  lady,  a  parson  holding  a  wine-glass,  a  sailor  (wearing  a  Regency  ribbon)  who 
says:  Come  messmates  give  us  a  Chorus  to  cheer  the  Ship  on  her  way.  The 
parson  responds: 

To  our  good  King  our  zeal  evince 

By  loyal  service  to  the  Prince 

Come  Britons  all  zcith  heart  and  hand 

Support  the  Rulers  of  the  Land 

Then  shall  our  Charter  our  Cliarter  still  remain 

And  guardian  Angels  sing  this  strain 

Rule  Britannia  Britannia  rule  the  Waves 

Britons  never  zcill  be  slaves 

A  man  apostrophizes  the  Prince:  Resplendent  Polar  Star  on  thee  every  eye 
ardent  in  hope  is  fixt  for  thy  clear  steady  Rays  to  guide  us  safely. 

A  naive  print;  if  it  has  more  than  a  general  application  to  the  Regency, 
see  No.  11705,  &c.,  it  is  that  substantial  agreement  on  the  Regency  Bill  had 
been  reached  (18  Jan.)  or  that  the  Opposition  are  assumed  to  have  surmounted 

'  Title  in  pen. 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

the  difficulties  of  Cabinet-making.    None  of  the  persons  can  be  identified. 
'Regency  caps'  had  been  much  worn  in  1789,  cf.  No.  7522. 
7iixi3  in. 

1 1709  ROBBING  THE  REGENT  OR  THE  ROAD  TO  PREFERMENT. 

[Williams.] 

Pu¥  Fehy  I.  1811  by  Walker  &  Knight  7  Cornhill 

Engraving.  Those  expecting  favours  gather  round  the  Prince  of  Wales  to 
prepare  him  for  the  Regency.  He  stands  in  back  view,  his  head  in  profile  to  the 
1.,  looking  into  a  mirror  obsequiously  held  up  by  (?)  Tierney,  whose  face  is 
partly  hidden.  Moira  kneels  to  adjust  the  garter  on  his  1.  leg,  saying.  What 
an  honor  this  is!  but  I  hope  for  a  greater .  The  Prince :  Fear  not  tny  friend!  all  in 
good  time.  Cholmondeley  (?)  holds  out  the  ermine-lined  robe;  the  more 
adroit  McMahon  takes  it  from  him,  saying,  Why  can't  you  see  you  have  given 
the  wrong  sleeve  do  give  it  to  me, you'll  make  a  fine  figure  of  him!  Cholmondeley : 
Dont  push  so  Col.  you  wont  let  any  one  come  near  his  Highness  but  yourself. 
Sheridan  (1.)  is  prominent;  he  stoops,  pointing  to  the  Prince's  foot,  a  brush 
in  his  r.  hand,  saying,  I  hope  your  Royal  Highness  wont  forget  poor  Old  Sherry, 
pray  allow  me  to  brush  the  royal  shoes  they  seem  quite  ?nouldy  ivith  lieing  by  so 
long.  Behind  Sheridan  stands  Whitbread,  holding  a  large  frothing  tankard; 
he  says :  If  his  Highness  should  want  any  refreshment,  here  is  a  pot  of  my  best 
brewing!  On  the  extreme  1.  is  Grey,  holding  a  small  bowl;  he  says:  A  bason 
of  Grey  pease  soup  is  better  than  porter  for  his  Highness.  Grenville,  his  back 
to  Grey,  says:  Here's  broad  bottom  at  your  Highness's  service  [cf.  No.  10530]. 
A  man  with  his  back  to  the  Prince  brushes  the  large  feathered  hat.  On  the 
extreme  r.  three  men  crowd  into  the  room:  first,  Adam,  in  his  robes  as 
the  Prince's  Chancellor  and  Keeper  of  his  Great  Seal,  saying,  Adam,  good 
prospect  now  however!  Next  is  Melville  in  Highland  dress,  saying,  Wha  wants 
me!!  [see  No.  10249,  ^c-]>  ^nd  last,  the  profile  of  George  Hanger,  saying, 
I  hope  you  won't  forget  poor  Georgy. 

For  the  Regency  see  No.  11705,  &c.  The  Opposition  still  expected  office: 
a  letter  from  Grey  and  Grenville  to  the  Prince  of  2  Feb.  asking  him  not  to 
delay  the  decision  as  to  his  Ministers  was  not  delivered,  because  the  Prince 
had  already  signified  his  determination  not  to  change.  He  informed  Perceval 
of  this  in  a  letter  of  4  Feb.,  alleging  concern  for  the  King's  health  as  his 
reason,  see  No.  11714.  He  was  doubtless  influenced  also  by  the  divisions 
among  the  Whigs,  notably  between  the  followers  of  Grey,  and  of  Whitbread, 
indicated  here,  and  between  both  and  Sheridan,  who  remained  the  Prince's 
friend.  The  Prince's  personal  following,  besides  Moira  and  Sheridan  (1.), 
are  on  the  extreme  r.,  headed  by  McMahon,  Keeper  of  the  Prince's  Privy 
Purse,  Keeper  of  his  Privy  Seal  and  Private  Secretary,  see  No.  11861.  The 
man  identified  as  Melville  (d.  29  May  iSii)  may  be  his  son,  then  a  member 
of  Perceval's  government,  to  whom  the  Prince  showed  special  favour  on  his 
accession.  Hanger  was  an  impoverished  ex-boon  companion  of  the  Prince, 
see  vols,  vi,  vii,  viii. 
811X13  in. 

11710  SKETCH  FOR  A  PRIME  MINISTER  OR  HOW  TO  PURCHASE 
A  PEACE 

[De  Wilde.] 

Published  for  the  Satirist  Feb^  i'^  1811. 

Aquatint.  Folding  pi.  from  the  Satirist.  Lord  and  Lady  Holland  stand 
together  at  the  door  of  the  Treasury,  he  wearing  his  wife's  petticoat,  she  in  her 


POLITICAL   SATIRES    1811 

husband's  breeches.  Holding  out  a  paper  inscribed  Lord  Wellmgto7i's  Recall, 
she  shelters  under  her  cloak  Napoleon,  who  crouches  at  her  feet.  Holland's 
r.  hand  is  on  the  knocker,  his  1.  under  his  wife's  r.  elbow,  and  he  turns  to  her, 
saying,  /  shall  be  Prime.  She  answers :  Theji  I  shall  be  Bang  Up  to  every  thing. 
Napoleon  adds  Et  Moi  aussi;  he  holds  up  an  olive-branch  and  a  monev-bag 
inscribed  Peace  Offering,  but  in  his  r.  hand  is  a  dagger.  The  knocker  is  set 
in  a  portrait-mask.  From  a  window  above  the  door  Perceval  looks  out,  hold- 
ing a  blunderbuss;  he  says:  Azi-ay  Rogues  you  can't  come  in  here.  From  Lord 
Holland's  pocket  hangs  a  paper:  List  Pensi[om]  Edin[burgh]  Rez'i[ezv].  Lady 
Holland  wears  a  very  decolletee  bodice  with  jewels,  and  a  belt  inscribed 
Status  quo  ante  bellum.  Napoleon  wears  militar}^  uniform  with  a  crown, 
sw'ord,  and  boots. 

During  the  abortive  Cabinet-making  which  preceded  the  Regencv,  see 
No.  11705,  &c..  Lord  Holland  was  suggested  as  premier  as  an  alternative  to 
Grenville  or  Grey.  M.  Roberts,  The  Whig  Party,  i8oy-i8i2,  1939,  p.  363; 
CobbetVs  Pol.  Reg.  xix.  309  (6  Feb.  181 1).  Lady  Holland's  overbearing  ways 
and  absorption  in  politics  were  notorious.  She  was  described,  Dec.  1810,  as 
seeming  'already  to  have  all  the  cares  of  office  on  her'.  Corr.  of  Lord  G.  L. 
Gozcer,  1916.  Her  admiration  for  Napoleon  was  equally  well  known.  A 
peace-overture  from  Napoleon  was  pending  (letter  of  17  Apr.  to  Castlereagh). 
It  broke  down  on  the  Spanish  question  and  public  opinion.  See  P.  Coquelle, 
Napoleon  et  VAngleterre,  1904,  pp.  287-9.  ^f-  ^o.  11740.  For  the  catch- 
phrase  'Bang  Up  Prime'  cf.  No.  11700,  &c. 

Listed  by  Broadley. 
8^X7  in. 

11711  [MERE  BUBBLES.]' 

[De  Wilde.] 

Published  Feby  i"  181 1  by  M.  Jones,  5  Newgate  Street 

Engraving,  slightly  aquatinted  (coloured  impression).  No  title.  PI.  from  the 
Scourge,  i.  85.  A  design  containing  four  groups  or  incidents,  two  in  the  fore- 
ground, and  two  on  a  smaller  scale,  [i]  The  largest  is  on  the  1.  A  barrister 
(Gibbs  the  Attorney  General)  works  the  handle  of  a  pump  whose  spout  is 
the  head  of  Mrs.  Clarke,  producing  a  large  pool  in  which  floats  a  paper 
inscribed  A  Sea  of  Iniquity.  In  this  four  men  are  floundering;  two  are  facing 
each  other  on  a  rotten  log  inscribed  Honour;  one,  a  militar}^  officer,  seizes  the 
other  bv  the  collar  and  is  about  to  fall  backwards;  he  holds  up  a  blunderbuss 
and  a  sheathed  sword  with  a  paper:  Muzzle  a  Muzeler.  In  the  other's 
pocket  is  a  paper:  Hell  to  Pay.  Close  by,  Wardle  flounders  on  his  back 
flourishing  a  pipe  from  which  hangs  a  soap-bubble  inscribed  Saving  of 
11,000,000  to  the  Nation,  and  a  small  commode  (as  in  No.  11713)  inscribed 
Seat  of  Patriotism.  Beside  him  floats  a  paper:  Col.  Wardle  D'  to  .  .  .  Other 
bubbles  float  on  the  water  inscribed  Charges  against  D.  of  Y  (this  is  breaking) 
and  Letter  To  People  of  England.  A  military  officer,  almost  submerged  and  in 
back  view,  clings  to  Wardle;  his  cocked  hat  floats  with  a  paper:  Correspond  .  .  . 
Duke  Kent,  showing  that  he  is  Major  Dodd,  the  Duke  s  ex-secretar^'.  The 
pump  is  topped  by  a  realistic  head  (Cobbett)  gazing  impassively  at  the 
scene.  A  man,  probably  Phillips,  kneels  to  burn  papers  inscribed  My  Ozcn 
Life.  M  A  Clarke;  he  looks  up,  grinning,  at  the  pump. 

[2]  A  mail  coach,  carelessly  driven,  tilts  dangerously,  the  four  horses  rear- 
ing; it  is  the  Cambridge  Roy[ar\  Teleg[raph].   The  driver  flourishes  his  whip 

'  From  the  Scourge,  i.  176. 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

but  is  absorbed  in  a  courtesan  seated  on  his  knee  with  an  arm  round  his  neck ; 
in  his  pocket  is  a  paper:  Rules  .  .  .  Varmint  Club.  A  second  man  on  the  box- 
seat  offers  them  a  drink  from  a  fragment  of  skull  inscribed  Trumpet[ers] 
Skull;  he  clasps  a  bottle  of  Gin.  Both  men  wear  top-boots  and  long  coats 
with  multiple  capes.  On  the  roof  is  baggage  with  three  men,  one  at  least 
similarly  dressed.  Through  the  window  are  seen  two  Cambridge  dons  in 
wig  and  bands.  A  tall  undergraduate  wearing  a  mortar-board  and  a  long 
gown  approaches  on  stilts,  saying,  A?n  I  not  a  Hell  of  a  WALKER. 

[3]  On  the  r.  is  the  side-door  of  a  large  building  inscribed  Opera  Office. 
William  Taylor  stands  on  the  doorstep  blowing  large  bubbles  from  a  pipe; 
at  his  feet  is  a  cracked  chamber-pot  inscribed  My  Treasury.  The  bubble 
issuing  from  the  pipe  is  inscribed  Promises.  Others  float  upwards:  on  one 
inscribed  Mad:  Mallard  are  two  tiny  figures :  a  military  officer  threatens  a  lady 
with  a  sword.  On  another,  inscribed  Des  Hayes,  a  man  and  woman  dance 
hand-in-hand.  The  others  are  inscribed  respectively  1,2 10,  £180,  £110,  £80. 
Beside  Taylor  are  (r.)  a  huge  pile  of  Unpaid  Bills  and  (1.)  a  small  heap  of 
Paid  Bills.  On  the  former  are  large  sums,  e.g.  £3006  and  £1600;  on  the  latter 
small  ones,  2.6,  i.g,  &c.  Two  men  are  in  the  doorway  behind  Taylor:  a  slim 
man  posing  like  a  dancer,  and  behind  him  a  large  impassive  figure. 

[4]  In  the  background  a  quack-medicine  vendor  stands  blowing  bubbles 
high  above  a  crowd  of  eagerly  clamouring  women.  Two  inscribed  Medical 
Monitor  Part  i  and  Medical  Monitor  Part  2^  are  ascending.  Others  fall  within 
reach  of  the  women:  one  inscribed  Long  Life  breaks,  releasing  a  crowned 
figure  of  Death  holding  a  javelin.  On  another  is  a  Cupid  aiming  his  bow; 
on  another  is  Hymen  holding  a  torch. 

An  illustration  to  four  articles  in  the  magazine:  [i]  a  detailed  account  of 
Mrs.  Clarke  (pp.  102-36);  for  her  revelations  discrediting  the  Duke  see 
No.  11216,  &c.  Wardle  published  A  Letter  to  the  People  of  England  denying 
any  share  in  the  transaction  with  Wright  for  providing  furniture  for  Mrs. 
Clarke,  see  No.  11341,  but  lost  his  actions  for  conspiracy  and  libel,  see 
No.  1 1385.  For  the  burning  of  Mrs.  Clarke's  book  see  No.  113 15,  &c. 
Wardle  announced  at  a  Cro\vn  and  Anchor  meeting  in  April  1809  that  by 
public  economy  ^^  11,000,000  could  be  saved  to  the  nation.  Under  pressure 
he  elaborated  the  statement  in  a  long  speech  in  the  Commons  on  19  June 
1809,  making  allegations  which  were  demolished  by  Huskisson.  Pari.  Deb. 
xiv.  107811.  [2]  An  account  of  Sir  Godfrey  Webster  (1789-1836,  Lady 
Holland's  son,  now  remembered  for  a  flirtation  with  Lady  Caroline  Lamb), 
as  a  dissipated  undergraduate  at  Cambridge  (pp.  85-101).  He  is  said  to  be 
the  actual  though  not  nominal  founder  of  the  Varmints  Club  there,  from 
which  the  Four-in-hand  and  Whip  Clubs,  see  No.  11700,  &c.)  are  said  to 
have  derived  their  language  and  costume.  He  went  to  the  Peninsula  with 
a  commission  and  returned  to  Cambridge  with  the  skull  of  a  trumpeter  made 
into  a  drinking-cup  (see  No.  11761).  The  man  on  stilts  is  'Walker  of  Peter- 
house'  who  walked  nine  miles  on  stilts  in  two  hours.  For  the  Telegraph, 
a  famous  Cambridge  coach,  see  No.  11401.  [3]  An  account  of  'Mr.  William 
Taylor  of  the  Opera  House',  headed  'Character  of  a  Scoundrel'  (pp.  146-64), 
see  No.  12133,  &c.  The  chief  dancer  engaged  for  i8n  is  Mons.  Deshayes; 
Mallard  is  not  mentioned.  [4]  An  account  of  a  quack,  'Edward  Senate', 
PP-  i37~46>  ^ri  apothecary  from  Dublin,  who  though  destitute,  set  up  as 
money-lender  in  London,  then  sold  a  treatise  on  Female  Complaints,  to  puff^ 
'Aromatic  Lozenges  of  Steel'.  His  Medical  Monitor  (B.M.L.  1173.  c.  8)  is 
denounced  as  abominable.  The  Scourge  specialized  in  exposing  patent  medi- 
cines, cf.  No.  1 1704. 
7fxi6  in. 


POLITICAL   SATIRES    1811 

11712  lOHN'BULL  AND  THE  REGENT 'FROM  THE  FABLE  OF 
THE  FOX  AND  THE  SWALLOW 

[W.  Heath.] 

Puh  Fehy  1811  by  SW  Fores  50  Picadilli 

Engraving  (coloured  impression).  John's  head  and  shoulders  emerge  from 
a  sheet  of  water  inscribed  Slough  of  Taxation ;  he  clutches  a  branch  projecting 
from  a  sandy  bluff,  tormented  by  a  swarm  of  ten  insects  with  human  heads 
and  bloated  bodies.  Only  Perceval  and  Eldon  can  be  identified,  but  they 
evidently  represent  the  Cabinet  (the  others  being  Liverpool,  Wellesley, 
Ryder,  Camden,  Westmorland,  Bathurst,  Yorke,  and  Mulgrave).  A  much 
larger  swarm,  with  long  thin  bodies,  advances  from  the  r.  Among  these 
Sheridan,  Moira,  Grey,  Erskine,  Lauderdale,  Sidmouth,  Lansdowne,  Temple, 
Derby,  Grenville,  and  Buckingham  are  more  or  less  recognizable.  They 
follow  a  swallow  with  the  head  of  the  Regent  who  approaches  John  Bull,  saying, 
my  good  friend  those  reptiles  harass  you  sadly,  shall  I  rid  you  of  Them.  John 
answers  gloomily :  you  are  quite  right,  but  if  those  zvho  are  gorged  are  driven 
away,  the  next  will  be  so  Hungry,  they  won't  Leave  a  drop  of  Blood,  in  my 
Veins// J   The  Prince  wears  coronet  and  feathers,  with  a  ribbon  and  star. 

For  the  decision  to  retain  Perceval's  Ministry'  at  the  beginning  of  the 
Regency  see  No.  1 1709.  The  theme  that  both  parties  were  merely  competitors 
for  the  loaves  and  fishes  of  office  was  revived  during  the  Ministry'  of  the 
Talents,  cf.  No.  10742,  Sec,  and  was  strengthened  by  the  agitation  of  1809-10 
against  placemen  and  sinecures,  see  No.  11537,  &c. 
8|xi3fin. 

11713  BATTLE  ROYAL,  OR  WHICH  HAS  IT. 
[De  Wilde.] 

[Published  for  the  Scourge,  March  i"  181 1.  by  M.  Jones.  5  Newgate  St'. 

Aquatint  (coloured  impression).  PI.  from  the  Scourge,  i,  before  p.  175.  The 
Ministry  defend  The  Citadel  of  Office  behind  a  high  stone  wall  against  differ- 
ent Opposition  groups.  The  chief  defence  is  by  the  tiny  Perceval  who  fires 
a  cannon  from  whose  muzzle  issue  three  heads  intended  for  Wellesley,  Ryder, 
and  Melville.  In  the  centre  the  wall  is  breached,  and  Eldon  looks  from  the 
gap,  weeping;  behind  him  is  the  Woolsack,  inscribed  Wool.  Lord  Grey,  on 
tiptoe,  reaches  up  to  seize  his  gown,  while  he  flourishes  a  paper:  Report  of 
Physicians  1804.  Erskine,  quite  bald  and  with  his  (former)  Chancellor's  gown 
over  his  arm,  reaches  up  to  tug  at  the  Chancellor's  wig.  Seated  on  the  wall 
at  the  lowest  point  of  the  breach  is  Yorke  in  back  view;  in  his  pocket  is  a 
List  of  7ny  Friends  Cambridge  [see  No.  11535].  He  hands  down  a  large  seal 
bearing  an  anchor  to  Whitbread  who  straddles  a  cask  floating  in  water  which 
adjoins  the  'Citadel'  on  the  r.  Whitbread  takes  this  emblem  of  the  Admiralty, 
flourishing  a  tankard  (cf.  No.  104 14).  On  the  1.  of  the  breach  Sir  Vicary 
Gibbs,  brandishing  a  rolled  document  inscribed  Late  of  Libel,  defends  himself 
vigorously  against  Romilly,  who  drags  at  his  gown  and  has  a  similar  weapon 
inscribed  New  Statutes.  In  Romilly's  pocket  is  a  paper:  Netc  Bankrupt  Laws. 
Farther  to  the  1.  the  three  Grenvilles,  Lord  Temple,  the  Marquis  of  Bucking- 
ham, and  Lord  Grenville,  level  a  battering-ram  against  the  wall.  The  ram 
has  a  ram's  head,  as  in  heraldry,  but  with  a  human  face,  and  is  intended  for 
Ponsonby,  leader  of  the  Opposition  in  the  Commons.  On  one  horn  is  spiked 
a  paper:  Catholic  Emancipation.  Between  them  and  Romilly,  little  Lord 
Lansdowne  (Petty)  sits  on  the  ground  squirting  a  large  syringe  over  his 
shoulder  at  the  wall.  Next  the  ram  Moira,  stiff  and  aloof,  holds  up  a  fox 
with  the  head  of  Lord  Holland  (nephew  and  political  heir  of  Fox),  whose 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

fore-paws,  holding  a  paper  of  Resolutions,  have  reached  the  top  of  the  wall 
but  are  caught  in  a  trap.  On  the  extreme  1.  Tierney  bestrides  a  wooden  horse 
whose  hind-legs  are  broken  off;  it  is  inscribed  Finance.  A  bundle  inscribed 
New  Budget  for  i8ii  is  strapped  to  his  back ;  he  fires  a  pistol  inscribed  Bullion 
Report,  but  he  is  about  to  be  thrown,  so  that  the  pistol  points  backwards  over 
his  head.  Between  Tierney  and  the  wall  are  Burdett  and  Wardle.  The  former 
is  flinging  mud  at  the  defenders,  at  Moira,  and  at  Tierney.  As  in  No.  11711 
Wardle  holds  out  a  close-stool. 

A  corner  of  the  'Citadel'  is  on  the  r.,  where  Perceval  stands  putting  a  match 
to  the  touch-hole  of  the  gun.  On  the  extreme  r.  is  a  short  length  of  side-wall 
in  deep  shadow  with  an  archway  inscribed  Private  Door  to  Treasury.  Towards 
this,  Sidmouth,  standing  in  the  stern,  propels  a  small  boat,  whose  tiller  is 
held  by  Canning.  A  clyster-pipe  (cf.  No.  9849)  hangs  from  the  former's 
pocket;  the  latter  is  further  identified  by  a  paper:  The  Pilot  that  Weathered 
the  Storm  [cf.  No.  9865].  Castlereagh  leans  over  the  side  with  a  gesture  of 
dismissal  to  a  man  in  the  water,  who  clutches  the  gunwale,  anxious  to  be 
admitted.  There  are  three  other  shadowy  figures  in  the  boat,  whose  occupants 
intend  either  to  join  the  garrison  or  attack  from  the  rear.  A  heavy  pall  of 
smoke  hangs  over  the  'Citadel';  in  this  flies  (1.  to  r.)  a  serpentine  body 
inscribed  Crackers,  spurting  fire  from  many  points ;  it  has  the  head  of  Sheridan, 
blowing  fire  against  the  defenders. 

A  satire  on  the  hopes  of  the  Opposition  that  the  Prince  would  dismiss  the 
Perceval  Ministry  on  the  establishment  of  the  Regency,  see  No.  11705,  &c. 
The  print  was  out  of  date:  at  the  beginning  of  February  the  Regent  had 
declared  his  intention  of  retaining  his  Ministers,  see  No.  11709.  It  is  fairly 
well  informed  on  the  divisions  in  the  Opposition  and  their  recent  Cabinet- 
making.  Lord  Grey,  in  a  debate  on  the  Regency  Bill  on  28  Jan.,  violently 
attacked  Eldon  for  putting  the  Great  Seal  to  a  Commission  for  giving  the 
royal  assent  to  Bills  in  1804,  while  the  King  was  incapacitated.  Pari.  Debates, 
xviii.  1051,  cf.  No.  11716.  Erskine  was  the  obvious  Opposition  candidate  for 
the  Chancellorship.  Yorke's  believed  readiness  to  resign  the  Admiralty  is 
expressed  in  his  attitude;  he  did  resign  in  Jan.  1812,  but  not  from  sympathy 
with  Opposition;  Whitbread,  despite  his  pacifism,  had  been  suggested  for  the 
place.  H.M.C.,  Dropmore  Papers,  x.  98.  Romilly  had  been  at  first  intended 
to  succeed  Gibbs  as  Attorney-General;  his  important  Bill  to  amend  the 
Bankruptcy  Laws  was  passed  in  1809  (49  Geo.  Ill,  c.  121).  Holland,  see 
No.  11710,  and  Moira  were  among  the  peers  who  opposed  the  resolutions 
moved  by  Perceval  on  27  Jan.  for  the  establishment  of  a  regency  under 
restrictions,  see  No.  11706.  The  Opposition,  and  especially  the  Grenvilles, 
stood  for  Emancipation,  cf.  No.  10709.  The  Burdettites  are  only  indirectly 
concerned  in  the  assault:  Wardle  merely  collects  unsavoury  scandals,  cf. 
No.  11219;  Burdett  slings  more  mud  at  the  Opposition  than  at  the  defenders 
of  the  'Citadel'.  Tierney  was  prospective  Chancellor  of  the  Exchequer  in  a 
Whig  Ministry;  he  had  taken  a  prominent  part  in  the  Bullion  Committee, 
see  No.  11 576;  his  ineffective  pistol  anticipates  the  rejection  of  its  findings 
m  May.  Canning,  Castlereagh,  and  Sidmouth  were  potential  adherents  of 
either  Perceval  or  the  Whigs,  but  their  mutual  antipathies  were  great. 
Cannmg  had  voted  against  the  Government  on  the  Regency  question;  his 
defence  of  Pitt  on  2  Jan.  i8n  is  probably  indicated  by  the  allusion  to  his 
poem.  Pari.  Debates,  xviii.  665-70.  Sheridan  is  correctly  represented  as  aloof 
from  the  Opposition  groups  and  emitting  fireworks.  M.  Roberts,  The  Whig 
Party,  i8oy~i8i2,  1939,  pp.  363-t;.  The  substitution  of  Melville  for  Liver^ 
pool  (the  third  Secretary  of  State)  is  odd. 

An  original  pencil  sketch  for  the  greater  part  of  this  design  is  in  the  Print 

10 


POLITICAL   SATIRES    1811 

Room.  The  upper  part,  with  Sheridan,  and  Perceval  and  his  gun,  is  omitted, 
as  is  the  boat.  The  wall  is  absent,  and  there  is  a  study  on  a  larger  scale  of 
Burdett's  head  and  shoulders.  The  heads  are  better  characterized  than  in 
the  engraving. 

7i6Xi4Jin- 

11714  THE  CATS  LET  OUT  OF  THE   BAG   OR  THE   RATS   IN 
DISMAY. 

Scarpione  fecit 

Published  for  the  Satirist  March  1811 

Aquatint.  PI.  from  the  Satirist.  The  Regent  (r.)  stands  directed  slightly  to 
the  1.,  his  head  irradiated,  holding  open  a  bag  from  which  one  cat  has  jumped 
and  two  others  are  ready  to  spring,  causing  rats  to  scamper  off.  Cats  and  rats 
have  human  heads,  ill-characterized.  Eldon  has  pounced  on  Grey,  while 
Liverpool  and  Perceval  are  still  in  the  bag.  Ten  other  rats  scurry  to  the  1., 
as  does  a  tiny  creature  with  the  head  of  Lansdowne.  Only  Erskine,  in 
Chancellor's  wig,  Aloira  (in  a  cocked  hat),  Derby,  and  Whitbread,  with  a 
barrel  of  Whitbred  Entire  [cf.  No.  104 14]  fixed  to  his  tail,  can  be  identified. 
One  of  the  others  says:  Wigs  shavd  for  twopence.  The  three  Grenvilles  (r.) 
scuttle  to  the  r. :  Lord  Grenville  with  a  [Spe'\ech  on  the  Regency  Bill  lySg 
issuing  from  his  mouth,  Buckingham  in  spectacles,  and  Temple  carrying  off 
a  large  bundle  of  Stationary  &c  [see  No.  10721,  &c.].  Two  other  rats,  one 
resembling  Cobbett,  are  in  a  large  rectangular  trap  inscribed  Gibbs  Patent  Rat 
Trap  [see  No.  11717,  &:c.];  a  bull-dog,  John  Bull,  looks  menacingly  at  him, 
a  hind-leg  contemptuously  raised.  Three  rats  run  to  the  1.  from  behind  the 
trap;  behind  them  is  a  gibbet  from  which  hang  three  nooses;  on  this  sits  a 
demon,  holding  out  to  them  a  noose,  and  saying.  Reformers  Stop  here.  They 
are  Wardle  between  Burdett  (on  his  r.)  and  Folkestone.  A  rat  with  the  head 
of  Sheridan  struggles  to  the  r.  from  the  back  of  the  Prince's  bag  (or  from  his 
pocket).   The  Prince,  a  manly  figure,  says: 

For  Heaven  doth  kncnc  so  shall  t)ie  World 
Perceive  that  I  have  turned  rteivn'  niy  former 
Self,  so  zcill  I,  those  that  kept  me  company. 

[2  Henry  IV,  v.  5.] 
Behind  him  is  a  shield,  with  his  coronet  and  feathers,  and  the  inscription: 
Spes  columenque  gentis.  On  it  rests  a  scroll  headed  Filial  Affection,  and  the 
words  We  shall  W''  ^  ^e.  Beside  it  lies  a  leek,  emblem  of  Wales.  On  a  cloud  (1.) 
reclines  a  partly  draped  woman  extending  a  wreath  to  the  Regent;  she  is 
lit  by  rays  from  the  Prince. 

The  Regent  is  praised  for  retaining  Perceval's  Ministry,  see  No.  11709. 
When  in  office,  Grenville  had  supported  restrictions  on  the  Regency  in  1789 
(see  No.  7485,  &c.)  which  he  now  opposed;  his  speech  of  16  Jan.  1789  was 
reprinted  and  circulated,  it  was  believed  by  the  Treasury,  to  convict  him  of 
inconsistency.  H.M.C.,  Dropmorc  Papers,  x.  91  f.  Gibbs's  trap  is  an  allusion 
to  prosecutions  for  libel  by  the  .Attorney-General  on  ex-officio  Informations, 
see  No.  11717,  &c.  One  of  several  prints  comparing  the  Prince  to  Shake- 
speare's Prince  Hal,  cf.  No.  10230,  &c.  In  a  'Letter  to  the  Prince  of  Wales' 
he  is  praised  for  having  'shaken  off  the  trammels  of  party'  and  in  a  previous 
letter  (Feb.)  he  is  exhorted  to  address  the  words  quoted  from  Henry  IV  to 
'those  who  would  baselv  influence  you  to  sacrifice  your  duty  to  your  future, 
your  king  and  your  countrj''.  Satirist,  viii.  105-13,  204-10.  See  No.  11855. 
There  is  no  direct  reference  to  the  print  in  The  Satirist. 
8|xi2|  in. 

II 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11715  BONAPARTE.     5^9 

G.  Cruickshank  del  et  Sulp  [sic] 

Published  March  25'"  1811,  by  Laurie   &  Whittle,  53,  Fleet  Street, 
London. 

Engraving.  Heading  to  (printed)  verses  Written  by  Mr.  Lawler;  introduced  by 
Mr.  Elliston,  and  Sung  by  him,  with  unbounded  Applause,  in  the  Character  of 
Sylvester  Daggerwood,  at  the  Surry  Theatre.  The  corner  of  a  small  stage,  seen 
diagonally  from  the  pit,  part  of  the  first  row  of  vv^hich,  with  the  heads  of  the 
musicians,  forms  the  foreground;  on  the  1.  is  a  crowded  stage-box.   On  the  | 

stage  Elliston  sings,  grinning  broadly.  He  wears  the  ragged,  makeshift,  but 
quasi-Spanish  dress  of  the  unsuccessful  provincial  actor,  typified  by  'Sylvester 
Daggerwood'.  The  spectators  in  the  pit  register  absorbed  and  delighted 
amusement,  as  do  some  of  those  in  the  box,  where  one  man  holds  a  Book  of 
Songs,  and  a  play-bill  is  displayed :  Surry  Theatre — Silvester  Daggerwood.  In 
the  verses  the  titles  of  and  allusions  to  plays  are  in  italics : 

All  the  World  is  a  Stage  it 's  well  known, 

Life's  a  Chapter  of  Accidents,  too.  Sir; 
Everyone  has  his  Fault,  we  must  own. 

Whether  Musselman,  Quaker,  or  Jew,  Sir, 
While  the  brisk  Wheel  of  Fortune  goes  round. 

To  Laugh  when  you  can  is  most  hearty, 
Wherever  the  cause  can  be  found, 

From  Tom  Thumb  to  the  great  Bonaparte 

Tol  de  rol,  &c. 
If  the  World  this  vast  hero  had  got, 

Hit  or  Miss,  he  would  wish  to  drive  further; 
I  will  not  decide,  Kfiave  or  not 

But  'tis  plain  he  thinks  Killing  no  Murder, 
He 's  as  choleric,  too,  as  King  Lear 

And  some  say,  '  Tis  well  it 's  no  worse,  Sir ; 
He  a  sad  Jealous  Wife  made  last  year. 

When  he  slyly  got  up  the  Divorce,  Sir. 

He  found  an  odd  Way  to  get  Married, 

The  Honey-Moon  pass'd  without  strife.  Sir; 
And  tho'  he  his  point  snugly  carried. 

It  was  a  Bold  stroke  for  a  Wife,  Sir. 
Josephine,  like  a  sad  Mourning  Bride, 

Saw  Hymen's  soft  fetters  undone.  Sir; 
And  the  poor  Son  in  Law  thrust  aside 

To  make  way  for  the  Doubtful  Son,  Sir. 

Tol  de  rol,  &c. 
When  he  finds  Ways  and  Means  rather  bare, 

In  his  Cabinet  such  the  hard  plan  is. 
The  Dutch  Merchant  he  never  will  spare, 

Any  more  than  the  Merchant  of  Venice. 
He's  fortune's  Spoil d  Child,  people  say. 

Such  luck  tho'  we  don't  often  meet,  Sir; 
There's  always  the  Devil  to  pay. 

When  he  meets  with  the  English  Fleet,  Sir. 


12 


POLITICAL   SATIRES    l8n 

Of  his  Brothers,  too,  something  I'll  say 

They're  not  o'erfond  of  his  laurels ; 
And  prudently,  some  run  away 

'Cause  they  do  not  like  Family  Quarrels. 
But  this  is  no  ill-natur'd  age. 

Humanity's  spark  will  not  cool,  Sir; 
And  the  Exile  that  flies  from  his  Rage 

Will  meet  a  kind  friend  in  John  Bull,  Sir. 

Tol  de  rol,  &c. 

For  Napoleon's  marriage  to  Marie  Louise  see  No.  11557,  &c.;  for  the 
quarrel  with  Lucien  Bonaparte  and  the  latter's  arrival  in  England,  No.  11583. 
For  Napoleon's  son  see  No.  11719,  &c.  'Son  in  Law'  connotes  step-son, 
Eugene  Beauharnais.  Sylvester  Daggerwood  is  the  unsuccessful  provincial  actor 
in  Colman's  play  New  Hay  in  the  Old  Market,  1795,  which  was  subsequently 
played  as  Sylvester  Daggerzvood,  who  is  also  the  (fictitious)  author  of  'Memoirs' 
that  have  been  taken  as  authentic  autobiography;  see  Nos.  9872,  12814. 

Reid,  No.  117.   Cohn,  No.  939.   Listed  by  Broadley.    Reproduced,  Cruik- 
shankian  Momus,  p.  64. 
6Jx8|  in.   Sheet,  ii|x9|  in. 

11716  THE  LAND  OF  PROMISE!!! 
Drazvn  by  Docter  Catterfelto     Ge"  Cruickshank  Scul^ — 
Pu¥  for  the  Docter  at  J  Johnstons  Sy  Bishopsgate  S^  March  1811  & 
lOi  Cheapside — 

Engraving  (coloured  impression).  In  the  upper  margin:  A  Design  for  a 
Threadneedle  Case.  A  complicated  and  confused  design  on  the  commercial 
and  financial  crisis.  In  the  centre  foreground  a  town-crier  or  bell-man  rings 
his  bell,  shouting:  O  Yes!  O  yes!  O  yes!  Lost  stolen  strayed  or  otherwise 
Mislaid  some  Millions  of  Bank  Tokens  whoever  will  bring  one  of  the  same  to 
M'  Harry  H — Ass — e  [Hase]  shall  receive  5^16'^  reivard  and  no  Questions  Ask'd. 
A  yokel  in  a  smock  and  gaiters  answers  him,  saving,  /  has  gut  nunc,  but  if 
I  could  find  some  would  the  pay  me  in  gold?  Between  them  stands  a  Jew,  grasp- 
ing a  bag  of  Dollars  and  listening  with  avid  delight  to  the  crier.  A  grinning 
man  (1.)  holds  up  a  notice  on  a  pole  surmounted  by  a  fool's  cap  and  bells: 
Fudge  &  Co — Lottery  Tickets  Cent  p'  Cent  premium.  \  little  boy  runs  off  to 
the  r.,  blowing  the  words  Fxtraurdinary  Gazette  through  a  newsboy's  horn; 
he  holds  a  placard :  5  Shilling  &  6  pence  for  a  Dollar.  Other  foreground 
figures  are  (1.)  a  respectable  elderlv  citizen  gaping  at  the  sight  of  a  coin  dis- 
played to  him  by  a  ragged  dwarfish  man  with  a  Jewish  profile  who  says: 
Vat  vil you  give  me  to  peep  at  a  Guinea  old  Dad;  he  answers:  O,  what  a  noble 
sight  I  neer  shall  see  the  like  again.  Sir  William  Curtis,  dressed  as  a  sailor 
(see  No.  11353)  and  much  caricatured,  offers  a  biscuit  (cf.  No.  11354)  to  a 
lean  old  man  who  puts  his  hand  through  his  empty  ragged  pocket;  he  says: 
r II give  you  a  Cack  for  a  Rhyme  to  a  Tukcn.  On  his  head  is  a  pie  surmounted 
by  a  crown  or  coronet,  and  in  his  pocket  a  paper  inscribed  Speedy  Disp  .  .  . 
[cf.  No.  1 1306].  The  other  answers:  A  promise  &  pycrust  are  easily  Broken. 
On  the  extreme  r.  a  bearded  figure,  reclining  among  casks  like  a  river-god 
(?  Father  Thames),  holds  out  a  paper:  Advice — Begin  nothing  of  which  you 
have  not  well  considred  the  End.  From  a  cask  inscribed  Dollars  for  Paveing  coins 
stream  out.  Another  cask  is  inscribed  Dollars  to  Pave  Cavens  [sic]  in  Spain. 
Across  the  middle  distance,  and  receding  slightly  from  1.  to  r.,  are  three 
buildings,  all  but  the  centre  one  being  ruinous.  The  largest  (1.)  represents 
the  Bank  of  England.    The  pillars  of  the  fa9ade,  inscribed  Thread  papers  or 

13 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

paper,  are  breaking.  Above  these  on  the  cornice  is  The  Trade  Siipplid  [sic] 
flanked  by  Paper  \  Warehouse.  There  is  a  dome  with  a  lantern  (the  windows 
inscribed  6*^),  the  former  being  Gull  Trap,  the  latter  Money  Box;  towards  this 
Gidls  fly  to  drop  in  coins.  It  is  surmounted  by  a  flag  inscribed  I  promise  to 
pay  to  M'  [an  ass,  i.e.  Hase,  is  depicted]  or  Be[arer]  lone— Puff.  Two  disks 
or  balls  inscribed  two  Shillings  are  on  the  summit  of  the  flag-staff.  On  the 
corner  of  the  building  is  a  pawnbroker's  sign  (three  balls)  with  the  flag: 
money  taken  in  pledge  Paper  Lent.  A  figure  of  Faith  also  stands  on  the  roof. 
On  the  side  and  front  of  the  building  are  placards :  [i]  lO per  cent  Discount  Off' 
Old  Gold  &  Silver  Spanish  Dollars  &  Joes  pegodas  [sic]  &  Guineas— taken 
in  Exchange  for  paper  or  old  Rags.  [2]  Bullion  wanted  for  Exportation.  [3] 
Theatre  Roy[al]  Blind  Bar[gain,  a  comedy  by  F.  Reynolds],— //zY  or  Miss  [see 
No.  1 1700] — .  .  .  Pr  Rex  .  .  .  No  money  Returned.  [4]  Stock  [scored  through] 
Exchange  for  Rags  to  Grind. 

The  centre  building  is  a  Magical  Mill  with  an  adjacent  Treasury  Stream 
on  the  r.  It  is  turned  by  a  wheel  inscribed  Faith,  round  which  flow  coins  from 
the  'stream'  in  place  of  water;  the  spokes  of  the  wheel  are  Credit.  At  the  apex 
of  the  roof  is  the  head  of  EUenborough  in  his  judge's  wig,  inscribed  Lazo. 
Below  it  are  the  arms  of  the  City  of  London,  with  the  Lion  and  Unicorn  as 
supporters.  The  motto  is  Paper,  and  crest  a  Fools  cap.  The  edge  of  the  roof  is 
inscribed  Thou  shalt  not  make  the  likeness  of  any  thing  herein.  On  the  building : 
Gold  dust  ground  into  Blank  tissue  paper  Best  Price  given  for  White  Linin  Rags, 
and  Dollars  bought  5J6  each.  The  'Treasury  Stream'  is  enclosed  by  a  bank: 
Bank  Restriction.  Over  it  hangs  a  weeping  willow,  in  whose  branches  is  the 
weeping  head  of  Pitt  inscribed  Weeping  Willy.  It  looks  towards  an  adjacent 
Gothic  building  (r.),  seemingly  derelict,  inscribed  Pitts  Head  Assembly  House. 
On  it  is  a  placard  D^  D'or — Patentr  of  Pills  for  a  Broken  Constitu".  Against 
this  tilts  upside  down  a  set  of  (penal)  stocks  inscribed  Stocks  Consols  Reduced. 

In  front  of  the  'Treasury  Stream'  a  man  {}  Perceval)  hounds  on  a  dog  after 
two  rats  labelled  Libel,  saying  Vic  Vic  Vic  Heigh  rat  Gib  heigh  rat ;  on  his  sleeve 
is  a  badge:  XO  [ex  officio].  The  dog  has  the  bewigged  head  of  Sir  Vicary 
Gibbs.  In  the  opposite  direction  (r.  to  1.)  marches  pompously  a  fat  military 
officer  wearing  an  apron,  and  holding  a  sword  inscribed  Pepper,  and  a  paper 
inscribed  Sugar  Plumb's;  he  is  followed  by  a  drum  and  fife  playing  O  the 
Roast  Beef  [of  Old  England]  and  leads  a  body  of  soldiers  with  a  banner 
inscribed  Train  Band  and  surmounted  by  a  Sugar  loaf.  Between  this  band 
and  Father  Thames  are  two  dogs  with  human  heads  growling  at  each  other 
across  a  Bone  of  Contention.  One  (Lord  King)  has  King  on  his  collar  and  a 
saucepan  inscribed  Chancery  tied  to  his  tail;  the  other  (r.)  is  Harr[ozvby]. 
Mercury  with  his  caduceus  hovers  over  the  dispute,  unseen  by  the  antagonists. 

In  the  background  is  a  landscape  with  two  small  buildings  and  a  mule- 
train  (r.)  winding  up-hill  towards  a  sign-post  on  the  extreme  r.,  inscribed 
Toy^  Continent.  One  building  is  pyramidal  and  is  inscribed  Bo[ul]tons  Patent 
Dollar  Stamp  Soho.  The  other,  a  small  prison,  is  inscribed  Rat  Trap.  The 
mule-train  is  conveying  wagons  inscribed  Dollars  out  of  the  country.  It  is 
headed  by  a  flag  and  military  music  playing  Over  the  Hills  &  far  away ;  this 
has  reached  a  mile-stone  inscribed  5  Miles  from  Thre[adneedle  Street  ?] .  The 
sky  above  their  heads  is  filled  with  birds  (a  pendant  to  the  gulls  on  the  1.) 
inscribed  Cormorents.  The  mule-train  winds  round  a  group  of  tiny  men  in 
animated  discussion  inscribed  Wise  Men  of  the  East,  who  are  probably  Jewish 
financiers.  Above  the  birds  is  a  crescent  moon  enclosing  the  profile  of  Perceval 
and  inscribed  /  Perceive  All.  Over  the  edge  of  the  hill  looks  a  rising  sun, 
irradiated,  and  enclosing  the  head  of  the  Regent.  He  looks  up  towards  a  large 
balloon  which  fills  the  sky  in  the  centre  of  the  design.   Three  men  look  out 

H 


POLITICAL   SATIRES    1811 

from  the  circular  basket  which  is  inscribed  G'  Seal,  one  (centre)  waving  his 
hat,  the  other  two  waving  identical  flags  inscribed  5  hundred  Millions  £  I 
promise  to  pay.  They  scatter  paper  inscribed  Ballast  and  Consol\ations. 
Above  their  heads:  Sadler  Chancellor.  The  balloon  is  inscribed  Captial  [sic]  | 
New  inented  [sic]  |  Conveyancer  \  Transferable  \  Property,  and  is  encircled  by 
a  broad  band  OMNI — UMI!  with  Quod  Exit  in  enclosed  in  an  oval  between 
the  syllables. 

An  incoherent  satire  on  financial  and  commercial  problems,  and  especially 
on  the  vexed  question  of  currency  depreciation.  The  starting-point  is  the 
increase,  19  Mar.,  of  10  per  cent,  in  the  value  of  the  dollars  or  tokens  issued 
by  the  Bank  (from  55.  to  55.  bd.),  announced  by  the  Bank  Directors  on  the 
advice  of  a  Committee  of  the  Privy  Council.  This  was  attacked  as  unconstitu- 
tional, the  defence  was  that  the  'dollars'  were  Bank  tokens  (struck  by  Boulton 
at  Soho)  not  current  coin.  Pari.  Debates,  xiv.  445-7;  CobbetVs  Pol.  Reg. 
xix.  681,  718  (20  and  23  Mar.);  Grueber,  Br.  Coins,  1899,  pp.  150  f.  The 
reasons,  the  Government  maintained,  were  the  appreciation  of  silver,  leading 
to  the  disappearance  of  silver  coins,  here  alleged  to  be  due  to  the  export  of 
silver  for  the  Peninsular  campaign  (cf.  No.  11731).  For  the  disappearance 
of  the  guinea  see  No.  11576.  Connected  with  this  financial  problem  is  com- 
mercial distress  aflfecting  manufacturers  and  banks,  which  began  in  18 10,  see 
No.  1 1569,  starting  with  a  wave  of  speculation  following  the  expectations  of 
large  markets  in  South  America,  but  mainly  due  to  the  closing  of  oversea 
markets  under  the  Continental  System,  see  ^so.  10773,  ^^^  ^^  disputes  with 
the  United  States,  cf.  No.  10626.  The  Government's  remedy  was  an  advance 
of  y(^6,ooo,ooo  in  Exchequer  Bills,  attacked  by  Lord  King,  see  No.  11731,  who 
maintained  that  over-trading  due  to  an  excess  of  bank-paper  could  not  be 
cured  by  an  issue  of  paper  credit.  Ilarrowby,  admitting  a  violation  of  the 
rules  of  political  economy,  pleaded  emergency.  Pari.  Debates,  xix.  529-31 
(28  Mar.).  On  the  same  day  Folkestone  attacked  Gibbs  for  the  excessive 
number  of  informations  filed  by  him  (ibid.,  p.  548  fF.),  see  No.  11717,  &c. 
The  City  is  ridiculed  in  the  persons  of  Curtis,  and  of  the  City  Militia.  Father 
Thames  gives  a  warning  against  speculative  projects,  e.g.,  the  Strand  (Water- 
loo) Bridge,  see  No.  1 1439,  &:c.  The  'G*  Seal'  on  the  balloon  seems  to  connote 
the  Opposition's  objection  to  the  affixing  of  the  Great  Seal  by  the  Chancellor 
to  a  Commission  for  giving  assent  to  Bills  during  the  King's  incapacity. 
Ann.  Reg.,  181 1,  p.  6  f.,  cf.  No.  11713.  Sadler  was  a  well-known  aeronaut, 
cf.  No.  iiyjS-  Henr\-  Hase  was  the  Chief  Cashier  (1807-29)  of  the  Bank  in 
succession  to  Newland,  and  notes,  formerly  'Newlands',  cf.  No.  9033,  were 
called  'Hases'.  Catterfelto  was  a  notorious  quack  and  conjurer,  see  No. 
6325,  ^c.  For  the  Bank  Restriction  Act  see  No.  8990,  &:c.  For  Omnium 
(stocks  in  which  a  government  loan  was  funded),  cf.  No.  12209.  ^  ^c  attitude 
to  paper  money  resembles  that  preached  by  Cobbett  in  his  Political  Register, 
in  pamphlets,  and  in  his  Rural  Rides.  For  the  currency  crisis  see  No.  11731, 
&c.     For  Bank  tokens  see  also  Nos.  11727,  11900,  12865. 

There  is  a  state  (not  in  B.M.)  dated  June  181 1. 

Reid,  No.  116.   Cohn,  No.  1302. 
9f X 13^  in. 

11717  TRUTH  IN  JEOPARDY,  OR  POWER,  VERSUS  FREEDOM. 

[De  Wilde.] 

Published  April  i"  iSii.  by  M.  Jones,  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  i.  The  naked  body 
of  Truth,  badly  wounded  by  axe-cuts,  is  supported  by  Lord  Holland  against 

15 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

the  attacks  of  those  who  try  to  complete  her  murder.  He  holds  up  a  flaming 
torch  inscribed  Truth.  Vicary  Gibbs,  the  Attorney- General,  strides  towards 
her  with  a  blood-stained  axe  inscribed  Ex  Officio ;  he  places  over  her  a  covering 
(to  conceal  her  wounds)  inscribed  Ministerial  Influence  [repeated  in  reversed 
characters].  Behind  Gibbs  is  a  more  bulky  assailant,  Lord  Ellenborough 
(Law),  raising  a  sword  to  smite;  on  his  arm  is  a  Shield  of  Degraded  Law. 
Erskine,  on  the  extreme  1.,  rushes  forward  to  restrain  Ellenborough;  in  his 
pocket  is  a  paper:  Trial  by  Jury.  Truth's  wrists  are  tied  by  a  rope  which 
Perceval  is  dragging  towards  a  grave  (r.).  Lord  Folkestone,  kneeling  between 
Truth  and  Perceval  is  about  to  cut  the  rope  with  shears  but  is  pushed  back 
by  Perceval.  Behind  Folkestone  is  a  burly  fellow  (?  Whitbread)  shaking  his 
fist  at  Perceval.  Behind  the  latter  is  a  man  {}  Harrowby)  raising  a  mallet 
inscribed  Standing  Order  to  strike  at  Truth.  On  the  r.  is  Lord  Eldon,  gleefully 
sharpening  on  a  Chancery  File  a  huge  razor  inscribed  Satire.  A  grave-digger 
stands  in  the  grave;  he  resembles  caricatures  of  Lord  Liverpool.  There  is  a 
tomb-stone:  Here  lies  the  Body  of  Truth.  Gibbs,  Ellenborough,  Perceval,  and 
Eldon  wear  their  official  gowns. 

On  4  Mar.  i8n  Lord  Holland  moved  for  an  account  of  all  'Informations 
Ex  Officio'  in  libel  cases  (by  which  criminal  proceedings  were  instituted  by 
the  Attorney-General  without  indictment,  thus  by-passing  the  Grand  Jury) 
from  I  Jan.  1801  to  the  end  of  18 10.  He  complained  that  these  had  greatly 
increased,  and  were  used  in  terrorem  (as  in  Cobbett's  case,  see  No.  11568). 
He  was  opposed  by  Ellenborough  and  Liverpool;  Eldon  is  not  reported  as 
speaking;  Erskine  spoke  on  trial  by  jury.  Holland's  motion  was  defeated 
by  12  to  24.  Lord  Folkestone  made  a  similar  motion  in  the  Commons  on 
28  Mar.;  he  was  answered  by  the  Attorney-General;  Perceval  did  not  speak, 
and  it  was  lost  by  1 19  to  36.  See  Lord  Holland's  Further  Memoirs  of  the  Whig 
Party,  1905,  p.  99  f.  There  is  no  reference  to  the  pi.  in  the  magazine,  but 
there  is  a  serious  letter,  pp.  266-70,  signed  E.  D.  Latouche,  headed  'Informa- 
tions ex  Officio',  regretting  the  loss  of  Holland's  motion,  and  denouncing  the 
procedure  and  its  employment  by  the  Ministry  against  seditious  libels.  For 
ex-officio  informations  see  Wickwar,  The  Struggle  for  the  Freedom  of  the 
Press,  J<9j9-j<*?J2,  pp.  37-9,  3 14,  and  Nos.  11568,  11714,11716, 11893,  12081, 
12982. 
8|xi3|in. 

11718  THE  WALKING,  COMMITTEE. 

Publish' d  for  the  Satirist,  April,  i  18 11 

Aquatint.  PI.  from  the  magazine.  A  sub-human  hairy  creature  with  the  head 
of  Wardle  acts  as  a  nightman  or  scavenger  with  a  rake  and  lantern.  He  is  nude, 
with  one  cloven  hoof;  round  his  waist  are  papers  or  pouches  inscribed  Political 
Register  and  Statesman.  He  stands,  directed  to  the  r.  and  looking  at  the 
spectator,  on  the  edge  of  a  chasm  inscribed  Gttlf  of  Perdition  from  which 
flames  rush  towards  him.  He  is  followed  by  ducks  and  three  pigs,  the  ducks 
say  Quack  Quack  or  Corporal  Curtis's  Case.  One  pig  has  in  its  mouth  a  saw 
mscribed  Substitute  for  a  Cat  0  Nine  Tails,  another  has  a  wire  scourge,  an 
Address  to  the  .  .  .  issues  from  the  mouth  of  the  third.  On  the  edge  of  the 
chasm  (r.)  lies  a  decapitated  man,  the  head  resting  on  a  saw  inscribed  a  Humane 
Substitute  for  a  Cat  o  [nine  t]ails.  Behind  (1.)  is  a  night-cart,  containing 
baskets  and  a  short  ladder.  It  is  inscribed  Burdett  Wardle  &  Co  [Sca]vengers 
Night  Work  Done.  From  the  windows  of  a  house  (r.)  men  and  women  fling 
slops  at  Wardle. 

The  savage  flogging  sentences  on  soldiers  were  one  of  the  abuses  attacked 

16 


POLITICAL   SATIRES    1811 

by  the  reformers,  cf.  No.  11568.  The  print  illustrates  a  passage  in  the  (Tory) 
Courier  of  13  March,  quoted  and  pilloried  in  Cobbeti's  Pol.  Reg.,  i6  Mar. 
It  is  a  comment  on  a  clause  in  the  Mutiny  Act  of  181 1,  making  it  discretionary 
for  Courts-Martial  to  sentence  an  offender  to  flogging  or  imprisonment,  which 
was  the  first  step  towards  the  abolition  of  flogging  in  the  Army.  The  article 
complained  that  the  Burdettites  'have  only  lungs  for  clamour  or  complaint. 
They  erect  themselves  into  walking  Conmiittees  of  grievances.'  Cobbett 
remarks  'the  public  will  bear  in  mind  what  abuse  was  heaped  upon  Mr.  Wardle 
for  having  brought  forward  the  case  of  Corporal  Curtis,  who  had  been 
sentenced  to  receive  a  thousand  lashes'.  The  Statesman,  see  No.  11724,  was 
a  Burdettite  paper  which  had  originally  been  Foxite.  M.  Roberts,  The  Whig 
Party,  i8oy-i8i2,  1939,  p.  281.  There  is  no  allusion  to  this  print  or  to  its 
subject  in  the  magazine  for  April.  See  also  Nos.  11862,  11883. 
8i6Xi3|in. 

11719  HONEY  THE  SECOND  OR  THE  LITTLE  BABOON  CREATED 
TO  DEVOUR  FRENCH  MONKIES.     66 

[Rowlandson.] 

Pub'^  April  9""  1811  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  The  little  King  of  Rome  sits  in  his  cradle, 
between  the  proudly  protecting  arms  of  Marie  Louise,  who  kneels  behind 
him.  The  infant  has  an  adult  head  resembling  that  of  his  father,  and  a  tail; 
he  wears  a  replica  of  Napoleon's  cocked  hat.  He  holds  out  his  arms  to 
Napoleon,  who  sits  by  the  fire,  holding  out  a  napkin  to  dry.  The  Emperor 
looks  fondly  at  the  child,  saying.  Rejoice  O  ye  Frenchmen,  the  Fruits  of  my 
Labour  has  produced  a  little  Image  of  myself,  I  shall  for  the  love  I  owe  to  your 
Country  instill  in  my  Noble  Ofspring  the  same  principles  of  Lying  thieving 
treachery  Letcher y  Murder  and  all  other  foul  deeds  for  which  I  am  now  Wor- 
shipped and  Adored.  Behind  and  between  the  Emperor  and  Empress,  a  bishop 
(.'  Cardinal  Fesch)  kneels  over  the  infant,  his  hands  folded  as  if  in  prayer; 
he  repeats  the  words  of  Henry  VI  to  Gloucester  before  his  murder  by  the 
latter: 

The  Otvl  shrieked  at  thy  Birth,  an  ezil  Sight 

The  Night  Crmv  cry' d  foreboding  luckless  Time. 

Dogs  hozcVd  and  hideous  Tempests  shook  down  Trees 

The  Raven  rook'd  her  on  the  Chimney  Top 

And  chattering  Pies  in  Dismal  Discord  sung. 

[3  Henry  VI,  v.  6.] 

On  the  fire  (1.)  boils  a  saucepan  inscribed  French  Blood;  little  demons  ascend 
in  the  steam  rising  from  it.  The  mantelshelf  is  supported  by  car\ed  demoniac 
creatures,  one  having  a  satyr's  head,  the  other  that  of  a  Fury  with  snaky  locks. 
A  similar  creature  supports  the  bars  of  the  grate.  On  the  mantelshelf  are 
imperial  crowns,  the  iron  crown  of  Italy  (as  in  No.  10432),  and  a  papal  tiara. 
The  cradle  has  a  crown  at  the  head,  and  at  the  foot  a  grotesque  mask  inscribed 
Devils  Darlind  [sic].  Behind  (r.),  a  lady,  evidently  Josephine,  sits  up  in  bed, 
holding  a  wine-glass;  she  looks  towards  the  child  quoting  Ophelia's  words: 
Ah  Woe  is  me,  seeing  what  I  have  seen  and  seeing  what  I  see.  Near  her  stands 
an  ugly  old  nurse,  holding  a  syringe;  an  infant's  chair  is  beside  her;  it  is 
ornamented  with  a  crown  and  inscribed  Prince  Skinny  Boneys  Caching  Chair. 
On  the  ground  (1.)  is  a  sauce-boat  inscribed  Bitter  Cup. 

The  child,  born  20  Mar.,  resembled  Marie  Louise:  caricaturists  anticipate 
Napoleon's  desire  that  portraits  should  make  the  baby  face  a  miniature  replica 

17  C 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

of  his  own.  Geer,  Napoleon  and  his  Family,  ii,  1928,  p.  214.  See  also  Nos. 
11715,  11721,  1 1722,  1 1735,  1 1737.  "998.  12476.  AprintbyG.Cruikshank, 
The  First  Exploit  of  Boney  the  Second,  Apr.  181 1  (Reid,  No.  118),  is  repro- 
duced, Bourguignon,  ii.  128. 

Grego,  Rowlandson,  ii.  203  f.    Broadley,  i.  302  f.    De  Vinck,  No.  8574. 
Reproduced,  Grand -Carteret,  Napoleon,  No.  227. 
8|Xi2|  in. 

11720  PUSS  IN  BOOTS.  OR  GENERAL  JUNOT  TAKEN  BY  SUR- 
PRISE.    71 

Rowlandson  Del 

Pu¥  April  12  1811  by  Tho'  Tegg  N"  iii  Cheapside 

Engraving  (coloured  impression).  A  comely  florid  woman,  girding  up  the 
skirts  of  her  decolletee  dress,  has  dressed  up  in  the  cocked  hat,  jack-boots,  and 
sword-belt  of  General  Junot,  and  gaily  marches  beside  his  bed,  flourishing 
his  sword  in  a  gauntleted  hand,  while  she  looks  over  her  shoulder  for  admira- 
tion. Junot  (r.)  sits  up  in  bed  looking  at  her  angrily,  and  clutching  his 
breeches,  as  if  afraid  she  would  don  those  too :  her  legs  are  bare  above  the 
spurred  boots.  A  cat  miaows  at  her.  The  bed  is  curtained  and  canopied,  but 
a  military  saddle,  hanging  from  a  peg,  and  a  musket  show  that  the  general 
is  campaigning. 

Junot  commanded  the  eighth  army  corps  under  Massena  in  the  Peninsula 
in  1810-11,  after  having  been  Governor-General  of  Portugal  until  the  Con- 
vention of  Cintra,  see  No.  1 1035.  The  seraglio  with  which  he  quitted  Portugal 
under  the  Convention  was  ridiculed  in  English  newspapers.  The  lady  may, 
however,  be  Mme  Junot,  Duchess  d'Abrantes,  who  accompanied  her  husband 
to  Spain,  and  entertained  gaily  and  lavishly.  For  'Puss  in  boots',  Bonaparte, 
and  Mme  Junot  as  a  child  see  D'Abrantes,  Memoirs,  1836,  i.  28  f.  For 
Massena's  retreat  cf.  No.  iiyzz. 

Also  an  impression  with  the  date  removed  from  the  pi, 

Grego,  Rowlandson,  ii.  204. 
i2|X9in. 

11721  NURSING  THE  SPAWN  OF  A  TYRANT,  OR  FRENCHMEN 
SICK  OF  THE  BREED.     [62] 

[Rowlandson.] 

Pu¥  April  14^^  1811  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  Marie  Louise  shrinks  in  terror  from  her 
baby  son,  seated  on  her  knee,  who  threatens  her  with  a  dagger.  In  his  1.  hand 
is  the  orb  which  he  seems  about  to  hurl  at  her.  He  wears  a  cocked  hat  and 
has  the  features  of  his  father  in  profile  to  the  1.  Napoleon  draws  aside  a 
curtain  (r.);  his  profile  (to  the  r.),  expression,  and  cocked  hat  resemble  those 
of  his  son,  as  in  No.  11719.  The  Empress:  There's  no  Condition  sure  so  curst 
as  mine — Day  and  Night  to  dandle  such  a  Dragon — The  little  Angry  Cur  snarls 
while  it  feeds — See  how  the  Blood  is  settled  in  his  Scarecrow  Face — what  brutal 
mischief  sits  upon  his  Brow — Rage  and  Vengeance  sparkle  in  his  Cheeks — the  very 
spawn  and  spit  of  its  Tyrant  Father — Nay  now  I  look  again  he  is  the  very  Picture 
of  his  Grandfather  the  Devil.  In  her  alarm  she  kicks  over  a  child's  commode 
(r.);  a  saucepan  and  spoon  lie  on  the  floor.  On  the  extreme  1.  appears  the 
head  of  a  mitred  bishop  (probably  Fesch),  who  raises  an  arm,  as  if  from  the 
floor  or  below  it,  holding  up  to  the  Empress  a  goblet  inscribed  Composing 

18 


POLITICAL   SATIRES    1811 

Draught.   Beside  him,  a  sinister  face,  behind  the  Empress's  chair,  looks  up 
to  say :  Send  him  to  his  Grand  Pappa  as  quick  as  possible.   See  No.  1 1719,  &c. 
Grego,   Rozvlandson,   ii.   204  f.     Broadley,    i.   303    (reproduced,   p.   298, 
attributed  to  G.  Cruikshank). 
12^X9  ^^-  'Caricatures',  xii.  47. 

11722  THE  imperial"  NURSERY  OR  NEWS  FROM  THE  ARMY, 

Published  for  the  Satirist  May  i.  181 1 

Aquatint.  Folding  pi.  from  the  Satirist.  Napoleon,  seated  in  his  bedroom 
nursing  his  infant  (see  No.  11719,  &c.),  receives  with  horror  a  grotesquely 
lean  and  ragged  soldier  in  postilion's  boots  who  bows  stiffly,  holding  out  a 
large  paper  inscribed  Dispatches  Massena  loooo  slain  ran  azcay  all.  He  throws 
up  a  leg  and  an  arm  in  horror,  and  the  infant  hangs  limply  head  downwards 
over  his  1.  arm,  so  that  his  head  is  close  to  the  savage  jaws  of  a  monster  whose 
head  projects  from  the  lower  r.  corner  of  the  design  among  flame  and  smoke. 
From  the  upper  part  of  the  smoke,  above  the  Emperor's  head,  phantom  heads 
emerge,  saying,  Avenge  us  Wellington.  One  is  that  of  an  oflicer  wearing  a  star. 
On  the  1.  is  the  imperial  bed,  the  canopy  supported  by  figures  like  carj'atids, 
but  standing  on  their  heads.  Each  stands  on  a  wheel,  blindfolded,  and  holding 
a  cornucopia,  showing  that  she  is  Fortune  reversed.  One  wheel  (r.)  rests  on 
a  crown  at  which  a  rat  nibbles.  Marie  Louise  is  asleep.  Beside  Napoleon  is  a 
warming-pan,  the  lid  decorated  with  a  \Tjlture-like  eagle.  Beside  this  lie  two 
papers :  a  letter  signed  .  .  .  faithfull  frind  If"  Cobbet  and  a  List  of  Engl[ish] 
Disaffect[ed]. 

Napoleon  receives  news  of  Massena's  retreat,  5  Mar.-7  Apr.,  from  before 
the  lines  of  Torres  Vedras,  pursued  by  Wellington.  His  losses  are  now  esti- 
mated at  28,000,  38  per  cent,  of  his  total  force,  2,000  being  killed,  8,000 
prisoners,  the  remainder  dead  from  sickness  and  hunger.  Wellington  esti- 
mated the  French  losses  at  45,000.  Fortescue,  Hist,  of  the  Br.  Artny,  viii.  114. 
This  retreat  confounded  the  Opposition's  predictions  of  calamity  to  Welling- 
ton and  was  the  turning-point  of  the  Peninsular  War.  On  26  Apr.  both  Houses 
passed  an  unopposed  vote  of  thanks  to  Wellington  and  the  Army.  Pari. 
Debates,  xix.  763  fF.  Cobbett,  however,  continued  to  disparage  Wellington  and 
deplore  the  campaign,  beginning  his  article  (24  Apr.) :  'The  boastings,  respect- 
ing the  retreat  of  Massena,  have  been  so  noisy  that  there  was  not,  until  now, 
any  hope  of  getting  a  hearing.'  Pol.  Reg.  xix.  993  f[.  The  Satirist,  viii.  398- 
410,  quotes  the  passage  under  the  heading  'Cobbett's  Prison  Lucubrations', 
with  the  comment:  'he  has  far  exceeded  in  impudence  and  falsehood  his 
worthy  coadjutor  the  editor  of  the  Moniteur\  The  ghosts  who  appeal  to 
Wellington  for  vengeance  may  be  Portuguese  or  Spaniards  who  had  suffered 
from  French  outrages,  or  those  who  so  often  figure  in  graphic  satire: 
d'Enghien,  Pichegru,  Palm,  &c.  See  Nos.  11723,  11736,  11749,  11862. 
7|X  II  in. 

11722  a  An  earlier  state,  also  folded,  with  less  shading,  the  ghosts  fewer 
and  less  defined,  and  without  the  inscription  'List  of  Enghsh  Disaffected'. 

1 1723  BRITISH  COOKERY  OR  "OUT  OF  THE  FRYING-PAN  INTO 
THE  FIRE" 

[?De  Wilde] 

Published  May  i"  18 11  by  M.  Jones  5  Newgate 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  i.  Scene  in  a  kitchen. 
Wellington  (1.)  stands  before  a  huge  fire  inscribed  Grand  Kitchen  of  Europe 

19 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

basting  a  goose  with  a  human  head  which  is  spitted  on  a  bayonet  inscribed 
British  Spit.  He  uses  a  British  Basting  Ladle  and  with  his  1.  hand  he  holds 
a  frying-pan  inscribed  Portugal.  From  this  many  Httle  French  officers  wear- 
ing cocked  hats  and  with  the  legs  of  apes  are  leaping  into  the  flames  which  are 
inscribed  Spain.  The  smoke  is  inscribed  French  Gasconade.  Another  general, 
Graham  (r.),  kneeling  on  one  knee,  plies  bellows  inscribed  British  Bravery. 
Behind  Wellington  (1.)  is  a  large  rectangular  charcoal  stove  on  the  flames, 
on  which  rests  a  saucepan  inscribed  A  Stew.  From  this  emerge  the  head 
and  shoulders  of  Napoleon,  crowned,  and  gesticulating  wildly.  On  the  ground 
beside  it  is  an  Ali-Baba  jar,  inscribed  A  Pickle,  from  which  project  the  head 
and  hands  of  Ney. 

See  No.  11722.  The  pi.  is  explained:  'That  Ney  should  be  in  a  pickle  and 
Buonaparte  in  a  stew  John  Bull  will  think  very  natural.  General  Graham  .  .  . 
[gives]  new  vigor  to  the  flame  of  patriotism.'  The  spitted  goose  is  Massena. 
Graham  gained  the  brilliant  victory  of  Barrosa  over  Marshal  Victor,  5  Mar. 
181 1,  and  received  the  thanks  of  Parliament  on  28  Mar.  Ney,  commanding 
the  Sixth  Corps  in  the  Peninsula,  in  March  refused  to  obey  Massena's  orders, 
was  removed  from  his  command,  and  returned  to  Paris  where  he  was  repri- 
manded by  Napoleon.  Fortescue,  Hist,  of  the  British  Army,  viii.  94  f.  See 
also  No.  1 1862.   Cf.  No.  11919  where  Napoleon  is  roasted. 

Broadley,  i.  280. 
Sfxiif  in. 

11724  GENERAL  JAIL  DELIVERY 

Aquatint.  PI.  to  the  Satirist,  viii.  435.'  A  scene  outside  Newgate,  part  of  the 
fa9ade  forming  a  background.  Cobbett,  wearing  leg-irons  and  with  a  noose 
round  his  neck,  is  being  carried  in  triumph  by  two  ragamuffins.  He  sits  com- 
placently, holding  out  a  paper  inscribed  Register.  Near  him  (r.)  stands  Peter 
Finnerty;  a  fragment  of  pillory  encircles  his  neck  and  is  inscribed  Huzza! 
Escaped  from  Lincoln.  Behind,  a  man  holding  a  paper  inscribed  Statesman 
stands  in  the  doorway,  and  is  hailed  by  a  barrister  as  he  is  about  to  leave  the 
prison.  Among  the  crowd  is  a  thin  man  who  pugilistically  attacks  a  fat  one, 
striking  him  in  the  face,  while  the  latter's  pocket  is  being  picked.  In  the  fore- 
ground, and  on  the  extreme  1.,  is  a  man  holding  shears  and  a  yard-stick 
next  one  holding  a  cabbage.  These  emblems  of  tailordom  (see  No.  11824) 
may  indicate  one  Taylor  or  a  tailor  (perhaps  Francis  Place).  On  the  extreme 
r.  and  in  the  background  the  hangman  sits  astride  the  gallows,  holding  a  noose ; 
he  looks  towards  the  ex-prisoners,  saying,  Im  cheated  by  Jingo! 

Cobbett  (see  No .  1 1 5  68),  Finnerty,  and  Lovell  were  ( 1 8 1 1 )  in  prison .  Finnerty 
was  sentenced  in  the  King's  Bench  7  Feb.  181 1  to  eighteen  months'  imprison- 
ment (in  Lincoln  Castle)  for  a  libel  charging  Castlereagh  with  cruelty  in  Ire- 
land in  1798.  He  memorialized  the  House  of  Commons  on  21  June  alleging 
ill-treatment  by  the  jailor.  Pari.  Debates,  xx.  723  ff.  A  subscription  was  raised 
for  him  by  a  committee  of  which  Arthur  Thistlewood  was  secretary,  Burdett 
taking  the  chair  at  the  meeting  on  20  Feb.  This  was  attacked  in  the  Satirist 
(viii.  217-24),  which  had  consistently  railed  at  Finnerty,  see  vol.  viii.  The 
Statesman  (see  No.  11718)  was  owned  and  edited  by  Daniel  Lovell,  who  was 
sentenced  to  twelve  months'  imprisonment  in  181 1  for  copying  the  remarks 
of  Manchester  papers  on  the  conduct  of  the  military  at  Burdett's  arrest,  see 
No.  1 1543.  There  is  no  reference  to  the  pi.  in  the  magazine,  and  it  is  perhaps 
misplaced  in  the  copy  examined. 
7X  14  in. 

'  Misplaced:  it  belongs  to  the  number  for  i  May  18 12,  where,  however,  there  is  no 
reterence  to  the  subject  of  the  pi. 

20 


POLITICAL   SATIRES    1811 

11725  THE  SOLDIER'S  WELCOME  HOME.!!! 
[\Villiams.] 

London  Pu¥  June  4"'  1811  by  Will'"  Holland  N°  11  Cockspur  Street 

Engraving  (coloured  impression).  The  Duke  of  York  leaps  high  in  the  air 
through  the  gate  of  the  Horse  Guards,  where  the  welcoming  hands  of  the 
Regent  appear  from  within;  the  Prince's  1.  leg  below  the  knee  is  also  partly 
visible  with  one  letter,  N,  of  his  Garter.  The  Duke  puts  a  hand  on  the  shoulder 
of  Lord  Grenville,  who  raises  his  arms  in  protest,  while  Lord  Temple,  followed 
by  his  father,  Buckingham,  runs  forward  trying  in  vain  to  pull  him  back.  The 
Duke  looks  round  with  dignified  disapproval  at  Temple,  his  r.  toe  coming 
in  contact  with  the  latter's  shoulder.  On  the  extreme  1.  a  tall  thin  man  runs 
forward,  holding  up  The  Times,  and  pointing  to  it  with  his  pen.  In  the  back- 
ground troops  are  drawn  up  at  attention,  but  wave  their  shakos  to  cheer  the 
Duke's  return. 

One  of  the  first  executive  acts  of  the  Regent  was  the  restoration  on  25  May 
of  the  Duke  of  York  to  the  office  of  C.-in-C,  which  the  Clarke  scandal, 
brought  forward  by  Wardle,  had  forced  him  to  resign,  see  No.  11216,  &c. 
Dundas  (b.  1735),  who  succeeded  him,  was  ready  to  resign,  and  did  so  on 
grounds  of  health,  as  from  26  May.  The  reinstatement  was  attacked  by 
sections  of  the  Opposition,  but  the  motion  was  defeated  by  296  to  47.  In 
this  minority  were  Buckingham's  second  son  Lord  George  Grenville,  and 
his  nephews,  the  two  Williams  Wynns,  but  not  Lord  Temple.  Pari.  Debates, 
XX.  470-510;  Memoirs  of  Romilly,  under  date  6  June.  As  peers,  Buckingham 
and  Grenville  took  no  ostensible  part  in  what  throughout  had  been  business 
of  the  Lower  House.  The  efficiency  of  the  Duke  and  his  popularity  with  the 
Army  were  not  disputed.  Cobbett,  who  had  uncompromisingly  supported 
Wardle,  made  no  reference  to  the  reinstatement  till  17  Aug.,  when  lie  calls 
it  'in  my  opinion,  of  very  little  consequence  to  the  nation'.  Pol.  Reg.  xx.  202. 
The  Examiner  (19  May,  2,  9  June)  condemned  the  reinstatement,  calling 
Dundas  'an  old  rag  stuffed  in  the  window  till  the  frame  was  mended'.  See 
Nos.  1 1726,  1 1728. 
8f  X  13  in. 

11726  PARADISE  REGAINED!!! 
G.  Cruikshank  fec^ 

Pub''  by  y  Johnston  10 J  Cheapside.  June  181 1 

Engraving  (coloured  and  uncoloured  impressions).  The  Duke  of  York,  wear- 
ing uniform  and  garlanded  with  roses,  shamrock,  and  a  thistle,  stands  in 
profile  to  the  1.  on  a  rectangular  pedestal  decorated  with  goats'  heads,  while 
women,  also  garlanded,  dance  round  him,  holding  hands  in  a  circle.  The 
pedestal  is  inscribed:  This  Royal  May  Pole  after  laying  by  for  some  time  was 
again  set  up  on  the  25'*  of  May  18 1 1  by  his  [brother] — O!  what  a  fallin  off-— 
tvas  there!  Shakespeare  [Hamlet,  i.  v].  The  Duke  stands  (like  Bobadil)  with 
head  thrown  back,  chest  forward,  r.  leg  advanced,  his  drawn  sword  pointing 
upwards,  1.  hand  on  his  hip.  He  wears  a  plumed  cocked  hat  and  a  gorget 
inscribed  T  F.  He  says :  D — n  all  W — dl — s  and  investigations  here  am  I  in 
office  again  icho's  afraid.  There  is  a  background  of  trees;  flc)wcrs  lie  on  the 
ground.  Six  of  the  eight  women  sing,  with  variations:  Round  about  the  May 
Pole  now  we  Trot  trot  &c  &c  &c. ;  one  says :  Round  about  the  Darling  May  Pole 
how  zee  Trot ;  another :  Round  about  the  Royal  May  Pole  see  how  we  Dance.  The 
most  active  and  the  most  simply  dressed  of  the  women  is  Mrs.  Clarke  (I.), 
in  profile  to  the  r.  She  sings:  Note  we'll  live  on  the  fat  of  the  land,  and — 
Johnny  Bull  who  pays  for  all_will  pay  I  do  not  doubt  it  and  if  he  don't  why  some 

21 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

one  shall  so  I  don't  care  much  about  it—0  I  am  so  happy  to  think  that  aU  his 
darlinP  Love  Letters  were  not  made  public.  At  her  feet  is  a  paper:  Pripnciple 
Clearke  [sic],  see  No.  11228,  &c.  The  woman  holding  her  1.  hand  says:  ^o 
alone  Moll  Clarke  that 's  your  sort  [a  catch-word  from  The  Road  to  Ruin,  see 
No  8073  &c]  On  the  extreme  1.,  just  behind  Mrs.  Clarke,  sits  a  little 
spindle-shanked  piper,  playing  The  Regents  Dance  On  the  r.,  receding  in 
perspective,  is  a  wall  inscribed  Garden  of  Eden,  with  a  notice-board:  Wardle 
Traps  set  in  these  Grounds.  Over  the  wall,  standing  on  a  ladder,  looks  John 
Bull,  a  'cit'  with  an  ill-fitting  wig:  he  registers  astonishment,  exclaiming: 
Hallo— ^hat  the  Devil  have  we  got  here?— why  if  there  an' t  Fred  in  his  Oldplace 
again!!!!!!  and  as  Fm  alive  his  Old  Favoites  [sic]  celebrating  the  event  O,  lohn 
Bull,  lohn  Bull  who  would  have  thought  of  all  this. 

For  the  Duke's  reinstatement  see  No.  11725,  &c.  His  abandonment  of 
Mrs.  Clarke  in  1806  (see  No.  11283)  which  led  her  to  combine  with  Wardle, 
see  No.  11219,  &c.,  was  final.  Mrs.  Carey's  presence  may  be  assumed, 
cf.  No.  1 1050,  &c.   For  the  title  cf.  No.  6319. 

Cohn,  No.  1826. 
8fxi3|in. 

1  1727  REGENCY  FETE  OR  JOHN  BULL  IN  THE  CONSERVATORY. 

[Williams.] 

Pub'^  June  2g  1811  by  S  W,  Fores  50  Piccadilly 

Engraving  (coloured  impression).  A  farmer  (John  Bull)  and  his  family  gape 
in  amazement  at  the  arrangements  for  the  Regency  fete  on  19  June.  The 
narrow  iable  extends  across  the  design  receding  from  1.  to  r.,  the  cloth  hang- 
ing over  the  seats  of  chairs  in  the  foreground.  The  famous  canal  decorates 
the  centre  of  the  table  with  its  gold  and  silver  fish,  and  the  table  is  laid  with 
gold  plate,  and  ornate  cut-glass  goblets  and  decanters  labelled  Dry  Champain, 
Claret,  and  Burgundy.  There  are  three-branched  gold  candelabra.  The 
Prince's  chair  is  on  the  extreme  r.;  beside  it  stand  a  man  in  livery  and  an 
attendant  in  plain  clothes.  Behind  the  chair  large  ornate  gold  salvers  are 
arranged  on  shelves  covered  with  white  drapery,  as  in  No.  11729.  This  was 
'a  kind  of  circular  buffet  .  .  .  lined  by  festoons  and  antique  draperies  of  pink 
and  silver'  {Ann.  Reg.,  181 1,  p.  69).  The  sightseers  are  on  the  farther  side 
of  the  table  (1.)  with  their  backs  to  the  windows,  John  in  the  centre;  he 
says,  pointing:  Why  Odd  Zookers  this  is  marvellous  fine  indeed.  Oh  Nan 
how  7oe  should  relish  a  rasher  on  one  of  they  monstracious  beautifull  Plates,  why 
now  I  think  I  shan't  grumble  to  pay  three  or  four  Bank  Tokens  [see  No.  11716] 
towards  this  grand  treat — methinks  I  should  Just  like  a  nippikin  too.  His  wife 
puts  out  her  hands  protestingly :  Oh  John  one  of  our  milk  white  Chickens 
roasted  by  myself  by  our  wood  fire  would  be  Luscioscious  indeed.  His  daughter 
says:  La  Feather  do  zee  how  they  gilded  Fishes  be  stareing  at  yow.  There  are 
three  loutish  sons;  one  says:  /  say  Sue  I  thinks  I  should  not  like  that  dry 
Shampain,  but  a  Dobbin  of  our  home  brewed  in  that  there  gilded  gold  thing 
would  be  dreadfully  noice  indeed;  another  (looking  up  at  the  (invisible)  ceil- 
ing :  Dang  it  if  the  top  0  the  pleace  beant  all  Eel  pottles  Fll  be  hangd. 

After  the  Grand  Regency  fete  on  19  June  (the  first  of  a  series  criticized 
on  grounds  of  extravagance),  Carlton  House  was  opened  to  the  public  by 
ticket  from  24-6  June.  The  table  for  the  supper  extended  the  whole 
length  of  the  Gothic  conservatory,  with  water  flowing  from  a  silver  fountain 
down  a  canal  bordered  by  flowers.  The  feature  of  the  conservatory  was  that 
the  tracery  of  the  roof  was  perforated  and  filled  with  glass.    See  Morning 

22 


POLITICAL    SATIRES    1811 

Herald,  20  June,  quoted  Examiner,  p.  397  f.;  European  Mag.  lix.  467  f., 
Ix.  70  f.   For  the  fete  see  also  Nos.  11729,  11730.   Cf.  No.  12550. 

91X14x6  in- 

11728  THE  RETURN  TO  OFFICE. 

G.  Cridkshank  fe' — 

N°  7   Pu¥  July  i"  1811  by  M  Jones  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  ii,  frontispiece. 
Illustration  to  'The  Duke  of  York,  the  Whigs  and  the  Burdettites',  pp.  1-5. 
The  Duke  of  York,  mounted  on  the  shoulders  of  General  Dundas,  is  about 
to  enter  the  Horse  Guards;  the  Regent,  pompous  and  regal  in  court  dress  with 
royal  robes,  ushers  him  in  with  a  commanding  gesture  and  a  pleased  smile, 
which  the  Duke  returns.  Perceval,  wearing  his  Chancellor's  robes,  gleefully 
runs  in  front,  using  a  broom  to  clear  the  way  and  pushing  aside  Wardle  who 
lies  on  his  back,  his  legs  raised  and  supported  against  the  wall;  a  box  inscribed 
Freedom  of  the  City  dangles  from  his  foot,  while  on  his  body  lie  papers: 
Address  Col  Wardle;  Col.  Wardle.  He  is  befouled  by  a  perky  little  dog  with 
the  head  of  Mrs.  Clarke,  wearing  a  padlocked  collar:  Marx  Anne  late  the 

property  of  y  D but  nozv .   The  Duke  gleefully  flourishes  his  sword 

and  a  flag  inscribed  Extraordinary  Gazette  London  May  25"*  his  Royal  Hin  .  .  . 
reinstated.  Dundas,  ven,'  thin  with  a  nut-cracker  profile,  wears  the  mob-cap 
of  an  old  woman.  The  Duke  is  preceded  by  a  tiny  grotesque  figure  of  Fame 
with  small  wings  and  wearing  breeches,  who  strides  through  the  air  under  the 
archway,  blowing  two  trumpets,  one  behind  him.  From  them  issue  the  words 
He  cotnes  he  co  .  .  .,  and  He  comes  he  comes  the  Hero  comes.  Two  M.P.s  who 
had  originally  voted  against  the  Duke  express  their  regret  by  sitting  on  three- 
legged  stools  inscribed  Stool  of  Repentance,  from  which  they  lean  forward  to 
kiss  his  posterior.  The  first  stool  is  Bankes  Stool,  beside  it  is  a  small  over- 
turned pot  of  Bankes  Blacking,  with  hoot-brushes,  and  a  large  pail  of  Bankes 
Patent  White  ziash  liSll.  The  other  is  Barhanfs  stool.  Behind  Barham  a 
funeral  procession  advances:  a  coffin  inscribed  The  Patriotism  of  140  Wigs, 
with  pall-bearers  wearing  mourning  scarves  and  black  cloaks  (cf.  No.  9258); 
the  most  prominent  of  the  five  is  Sheridan.  On  the  coffin  is  a  wig  on  a  wig- 
block.  Behind  the  coffin  walks  a  weeping  'cit'  resembling  John  Bull.  In  the 
foreground  (1.),  a  pendant  to  Wardle,  is  Time  holding  his  scythe  and  hour- 
glass with  a  serpent  forming  a  complete  circle  (emblem  of  eternity).  He 
tramples  on  a  bag  inscribed  Opposition  Resolutions  from  which  smoke  issues. 
In  the  sky  above  him  is  a  balloon  in  flames;  a  tiny  aeronaut  falling  headlong 
from  the  basket;  this  is  inscribed  Charges  against  his  R  H  the  Duke — charges 
air  light  air  nothing. 

For  the  Duke's  reinstatement  see  No.  11725,  Sec.  Wardle,  after  receiving 
the  freedom  of  the  city  and  manv  addresses,  see  No.  11341,  ^vas  discredited 
by  the  evidence  of  Mrs.  Clarke  and  others,  see  No.  11385,  &:c.  Perceval  had 
been  the  chief  defender  of  the  Duke,  see  No.  11233,  and  had  accepted  full 
ministerial  responsibility  for  his  reinstatement  which,  incidentally,  pointed 
to  the  probability  of  his  own  continued  favour  with  the  Regent.  Bankes 
belonged  to  'the  Saints',  and  was  neither  Whig  nor  Tor}-;  he  had  moved  a 
resolution  against  the  Duke  in  1809,  and  voted  with  the  majority  for  his 
restoration.  Barham  spoke  in  the  debate,  rejoicing  'that  he  had  this  oppor- 
tunity of  retracting  and  confessing  those  errors  under  which  he,  with  many 
others,  laboured  some  time  ago.  .  .  .  He  regarded  the  Duke  of  York  as  a  most 
injured  man.  .  .  .'    Pari.  Debates,  xx,  499.    In  this  print  the  Prince  appears 

23 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

for  the  first  time  with  the  elderly,  pear-shaped  head  with  heavy  whiskers 
characteristic  of  the  Regency  period.  For  the  funeral  procession  cf.  No. 
1 1905,  &c. 

Reid,  No.  123.   Cohn,  No.  732. 
6|xi5i|in. 

11729  GUDGEON  FISHING  A  LA  CONSERVATORY. 

[Williams.] 

Pu¥July  1811  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  The  supper  table  at  the  Regent's  fete,  with 
the  Regent  (r.)  seated  between  the  Duchesse  d'Angouleme,  daughter  of 
Louis  XVI,  and  the  little  Duchess  of  York.  All  the  ladies  except  the  latter 
have  fishing-rods,  with  which  they  catch  the  gold-fish  in  the  canal  in  the 
centre  of  the  table.  The  Duchesse  holds  a  fish  on  her  line,  and  turns  to  the 
Prince  to  say:  De  Gugon  bite  more  better  here  den  dey  did  eji  France.  He 
answers  Yes  they  are  a  very  silly  Fish  indeed.  He  wears  (as  he  did  in  fact) 
the  uniform  of  a  field  marshal,  having  taken  that  rank  on  becoming  Regent. 
An  attendant  out  of  livery  on  the  extreme  r.  looks  round  at  the  spectator  to 

say :  They  must  be  D d  silly  indeed  to  be  caught  in  this  manner.   He  points 

to  a  packet  of  papers  at  his  feet :  Admission  for  John  Bull  to  look  at  the  Gold. 
Next  the  Duchesse  sits  Sheridan ;  he  looks  across  at  Moira  who  holds  up  his 
glass,  saying.  Success  to  the  Gudgeon  fishery.  Sheridan,  who  holds  a  paper 
inscribed :  Nominal  Subscribers  to  the  Humbug  Theatre,  answers :  With  all  my 
Heart  my  Lord!  I  have  just  begun  a  nezv  fishery  for  Flats.  A  man  wearing  a  star 
(1.)  looks  up  the  table  to  say  to  the  Duchesse  ha  you  seem  to  be  a  dab  at  Gudgeon 
fishing  my  Lady.  He  may  be  the  Cte  de  Provence.  The  other  five  guests  are 
ladies.  Servants  in  striped  liveries  stand  behind  the  chairs.  Gothic  windows 
(1.)  and  (r.)  part  of  the  buffet  with  gold  plate  (as  in  No.  11727)  behind  the 
Prince  form  a  background.  This  is  flanked  by  pillars  wreathed  with  roses; 
in  front  of  the  windows  are  festoons  of  fairy  lights. 

At  the  fete,  see  No.  11727,  Sec,  the  Bourbons  were  the  guests  of  honour; 
the  Duchess  of  York  took  the  place  of  the  Queen ;  Moira  received  the  princes. 
Sheridan  refers  to  the  subscribers  to  the  fund  for  rebuilding  Drury  Lane 
Theatre,  see  No.  11767,  &c. 
9I X  14^  in. 

1 1730  SCENE  BEFORE  CARLTON  HOUSE  OR  A  LAST  STRUGGLE 
TO  GET  IN. 

Luigt  Senzanome  Fecit 

Published  for  the  Satirist  July  181 1 

Aquatint.  PI.  from  the  Satirist,  ix,  frontispiece.  The  crowd  in  front  of  Carlton 
House  fills  the  greater  part  of  the  design,  the  background  being  the  lower 
part  of  the  pillared  screen  (r.)  and  windows  within  the  gateway  (1.).  On  the  r. 
ladylike  young  women,  with  their  dresses  partly  torn  off  and  in  great  distress, 
walk  dejectedly  from  the  building;  a  constable  (?  Townsend)  looks  over  the 
gate  at  them  holding  out  his  staff,  and  saying.  None  of  your  sort  are  to  be 
admitted.  A  man  wearing  a  cocked  hat,  evidently  McMahon,  leans  from  a 
window  to  help  a  young  woman  to  climb  in.  In  the  foreground  (1.)  members 
of  the  Opposition  struggle  unsuccessfully  to  make  their  way  through  the 
crowd  towards  the  house.  Grenville  bends  forward,  while  little  Lord  Lans- 
downe  crouches  beneath  him.  Sheridan  picks  the  pocket  of  a  man  in  back- 
view,  saying.  Damn  it  you' I  not  shut  us  out  sure.  Behind  him  is  a  profile  head, 

24 


POLITICAL   SATIRES    1811 

Stiffly  erect,  intended  for  Moira.  Near  them  a  burly  virago  attacks  a  very 
obese  man  in  whose  pocket  is  a  paper:  Case  a[}gainst\  Hen  Howard. 

On  26  June,  the  last  day  that  the  public  were  admitted  to  see  Carlton  House, 
see  No.  11727,  &c.,  the  crowd  was  so  large  and  so  ill-managed  that  ladies  had 
their  dresses  torn  off,  and  some  were  seriously  hurt;  many  gave  up  the  attempt 
to  enter.  This  scene  is  combined  with  allusions  to  the  disappointed  hopes 
of  Opposition,  see  No.  11709,  and  to  McMahon's  reputation  as  the  Prince's 
pimp,  cf.  No.  1 1874.  The  admittance  of  women  to  the  fete  by  a  side-door 
is  an  incident  in  The  Dynasts.  The  pi.  is  not  referred  to  in  the  text. 
6^X  14  in. 

11731  JEW [KING]  DEPRECIATING  BANK  NOTES. 

[Williams.] 

Pu¥  July  181 1  by  S  W  Fores  50  Piccadilly. 

Engraving  (coloured  impression).  Lord  King,  with  a  Jewish  beard  and  profile, 
sits  at  a  writing-table  in  a  counting-house  or  estate-room  to  receive  his  rents. 
A  prosperous  top-booted  farmer  who  resembles  John  Bull  stands  opposite 
him,  taking  a  sheaf  of  bank-notes  (one  inscribed  Ten  .  .)  from  a  wallet,  saying, 
/  be  come  to  pay  you  some  money!  but  I  cannot  get  Guineas  for  loze  nor  money 
so  you  must  take  Bank  Notes — zvhy  no  person  ever  refused  them  before.  King, 
who  points  to  a  pile  of  guineas  and  puts  out  a  rejecting  hand  answers:  /  tell 
you  I  mil  haze  Guineas,  if  I  take  Bank  Notes  I  mil  have  20 p'  Cent  I  like  good 
profit.  Before  him  is  a  paper  headed  Notice  to  Stoc  .  .  .  and  on  the  table  are 
two  books:  Lazes  of  Landlord  &  Tenant  and  l^ible  of  Interest.  On  the  floor, 
to  leave  no  doubt  of  his  identity,  are  volumes  inscribed  Lords  Journals.  The 
table  is  in  a  wide  bay-window,  with  both  side-windows  open.  Through  one 
(1.)  Perceval  looks  in,  saying,  77/  stop  this  Jezcish  business  in  tny  District. 
Through  the  other  (r.)  looks  Stanhope,  saying,  I  have  put  a  compleat  stop  to 
it  in  mine.  On  the  extreme  r.  behind  King  is  an  open  cupboard,  the  shelves 
filled  with  large  bags  of  Guineas  and  with  papers  labelled  Leases,  Annuities, 
Hostages. 

Lord  King,  an  authority  on  currency  and  a  large  landowner,  issued  a  letter 
to  tenants  whose  leases  were  dated  1802,  demanding  payment  of  rent  in  gold 
coin  or  in  notes  with  an  addition  of  ^^17.  105.  od.  per  cent.,  on  account  of  the 
depreciation  of  paper  money.  Ann.  Reg.,  181 1,  'Chronicle',  p.  76.  This 
brought  the  currency  question  to  a  head;  Stanhope  moved  his  (temporary) 
Gold  Coin  Bill  on  27  June,  making  it  illegal  to  pay  more  than  215.  for  a 
guinea,  or  less  in  coin  than  the  face  value  of  a  bank-note;  this  was  supported 
by  the  Government  and  passed.  Lord  King  is  caricatured  as  a  Jew  by  his 
identification  with  'Jew  King',  that  is,  with  John  King,  a  discredited  Jewish 
financier,  see  No.  11704.  For  the  currency  crisis  see  also  Nos.  11569,  11576, 
11716,  11732. 
9wXi3iin. 

11732  THE   BLESSINGS   OF   PAPER   MONEY,   OR    KING  A   BAD 
SUBJECT. 

G.  Cruikshank  fec^ 

Pub'^  August  i^*  1811  by  M  Jones  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  ii,  before  p.  87. 
John  Bull  sits  in  an  armchair-commode  directed  to  the  1.,  attended  by  two 
doctors.  Lord  Stanhope  and  Perceval.  He  is  in  his  shirt-sleeves,  and  his  chest 
is  bare  to  allow  four  leeches,  one  with  a  human  head,  to  drain  his  blood.  The 

25 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

lean  and  angular  Stanhope  (1.)  rams  down  his  throat  a  roll  of  Bank  Papery 
and  holds  a  similar  roll  inscribed  L^  Stanhops  R[}emedy\ .  Perceval,  diminutive 
and  shambling  in  his  Chancellor  of  the  Exchequer's  gown,  holds  the  patient's 
1.  wrist,  and  a  large  ball  inscribed  Legal  Tender  a  Bolus  for  John  Bull.  Behind 
John's  chair  stands  Lord  King,  flourishing  rolled  documents  inscribed  Lord 
Kings  Leases,  threatening  Perceval,  whose  scraggy  pigtail  he  holds  up 
derisively.  Napoleon,  in  uniform  and  wearing  a  crown,  kneels  behind 
Perceval  to  draw  from  under  the  commode  a  large  pan  overflowing  with 
guineas  evacuated  by  John  Bull.  In  the  foreground  (r.)  is  a  large  jar  of  leeches 
inscribed  Whitmore  &  Co  Leeches,  on  this  is  a  pound  note  inscribed  —  Bank 
I  promus  to  pay  One  Pound  Henry  Ease  [see  No.  11716];  beside  it  is  a  large 
pill-box:  Perceivall  Pill  Box  and  a  phial  labelled  A  [}]  fatal  Dose  Draght 
M'Bull. 

On  the  1.  two  men  are  being  cooked  in  a  big  pot  inscribed  The  Combustible 
Knight  [Sir  R.  Phillips]  and  his  Esquire  in  Hot  Water.  Under  the  pot  are 
flames  presided  over  by  two  demons,  one  using  bellows,  while  a  judge  (Ellen- 
borough)  applies  a  red-hot  poker  to  papers  which  constitute  the  fuel.  The 
victims  say  D — n  it — it  is  as  hot  as  Crown  Court  and  Yes!  but  not  quite  so  hot 
as  your  house  at  Leicester.  The  papers  are  inscribed:  O' Sullivan  30' 000  Irish 
Bills;  Fourdriniai  [sic]  &  Co;  McDonald  £250  Forged;  Bills  discounted  by 
Jew  King;  Chater  &  C;  Brewer  &  Co  Albany;  Tim  Brown;  Martin  &  Co 
Irish  Stamps  Conspiracy  &c ;  Tabart  &  Co ;  Juries ;  Fenton ;  No  Effects  Returned 
from  the  Bank  of  England;  Gardiner  Leicester,  Gillett  accepted  by  my  Son  a 
minor;  McMillan;  Cox  &  Baylis;  Cooper.  On  the  horizon  behind  Ellen- 
borough  are  a  tiny  gibbet  and  a  double  pillory. 

In  the  background  (r.)  stands  Britannia  with  her  spear  and  shield  pointing 
to  a  high  pyramid  of  confused  papers  lying  upon  the  dead  or  moribund 
'Credit'  whose  head  and  arm  project  from  under  the  pile;  she  says:  Alas,  poor 
Credit!  A  head  in  the  extreme  upper  r.  corner  of  the  design  blows  a  blast 
inscribed  Puff  at  the  top  of  the  pile,  striking  the  words  Bank  Paper  (in  large 
letters).  Bank  Paper,  Paper,  and  Bank  are  repeated  on  the  pile,  other  inscrip- 
tions being  Crowti  Tissue,  White  Linin  Rags,  Bills,  note,  and  Hase. 

A  satire  on  the  currency  controversy  which  was  brought  to  an  issue  by 
Lord  King,  see  No.  11731.  The  resolutions  of  the  Bullion  Committee  (see 
No.  1 1576),  were  rejected  by  Parliament  on  10  May  after  prolonged  debate, 
and  on  15  May  Vansittart's  rival  resolutions  were  passed,  asserting  that  the 
high  price  of  bullion  was  not  due  to  an  over-issue  of  paper.  As  a  consequence 
of  King's  action  Stanhope  introduced  his  Bill  and  on  2  July  King  defended 
his  action;  the  Government  supported  Stanhope  and  his  Bill  was  passed. 
Bank-notes  became  virtually  though  not  technically  legal  tender.  This  policy 
of  the  Government  was  violently  attacked  by  Cobbett,  see  Pol.  Reg.  xx. 
97  ff.,  &c.  See  also  Smart,  Econ.  Annals  of  the  Nineteenth  Century,  1910, 
i.  292  ff.;  Pari.  Debates,  xx.  784  ff.,  &c.  Napoleon  appropriates  English  gold 
presumably  to  show  that  the  adverse  exchange  and  lack  of  bullion  are  due  to 
the  demands  of  the  British  army  in  Portugal  and  to  the  exclusion  of  British 
commerce  from  the  Continent.  The  plight  of  'Credit'  indicates  the  commercial 
and  financial  crisis,  see  No.  11716,  and  relates  it  to  an  over-issue  of  paper 
money;  the  Bank  is  blamed.  John  Whitmore  was  the  Governor  of  the 
Bank  of  England  who  gave  evidence  to  the  Bullion  Committee  in  i8io. 
Sir  R.  Phillips  (see  vol.  viii)  had  procured  accommodation  bills  purport- 
ing to  be  drawn  in  Cork  by  one  O'SuUivan;  bankers  took  proceedings, 
and  though  non-suited  were  informed  that  the  defendants  might  be 
indicted  for  a  conspiracy  to  defraud.  Scourge,  i.  393  ff.  'Jew  King'  was 
Jacob  Rey  or  John  King,  but  the  name  is  here  applied  to  Lord  King  as  in 

26 


POLITICAL    SATIRES    l8n 

No.  1 173 1.  Fourdrinier  and  Co.  (Henry  and  Sealy)  are  the  famous  paper- 
makers  and  inventors  who  went  bankrupt  in  1810.  Gillett  is  probably  a 
printer  with  whom  Phillips  had  dealings,  see  No.  113 15.  Cox  and  Baylis 
were  printers,  cf.  vol.  viii,  Index  of  Printsellers.  Tabart  and  Co.  owned  the 
Juvenile  Library,  165  New  Bond  St.,  London  Directory,  181 1.  For  the 
bleeding  of  John  Bull  cf.  No.  12756,  &c.  The  print  purports  to  represent  a 
dream :  the  text  is  allusive  and  explains  little  that  is  not  apparent  in  the  design. 

Reid,  No.  124.   Cohn,  No.  732.   Broadley,  i.  303  f. 
6|x  15  in. 

11733  THE  BOND  OF  PATRIOTISM. 
Published  for  the  Satirist  August  J^'  181 1. 

Aquatint.  PI.  from  the  Satirist,  ix.  77.  Burdett  stands  in  profile  to  the  1. 
snatching  at  a  large  deed  held  by  a  barrister  in  wig  and  gown,  tearing  it,  and 
so  revealing  a  child'dressed  in  a  frock.  He  says :  I  will  have  my  bond;  the  child, 
who  has  an  adult  profile  like  that  of  Burdett,  says:  O  you  cruel  Papa!  Lady 
Oxford,  standing  behind  the  little  boy,  turns  her  head  away,  saying.  Gold  is 
the  Patriots  God  He  offers  up  his  Mistress  to  it.  The  barrister,  William  Scott, 
Lady  Oxford's  brother,  points  severely  to  the  deed  which  is  headed  Knoic 
all  men  by  these  presents,  and  contains  the  words  in  large  letters  Tzventy 
Thousand  Pounds.  The  first  of  three  signatures  is  F  B.  The  child  (Lord 
Harley,  1800-28)  sits  on  a  pile  of  four  volumes  all  inscribed  Harlien  [sic] 
Miscellany;  another  volume,  Harleian  Miscellany,  lies  face  down  by  Burdett; 
other  papers,  &c.  lie  on  the  floor:  a  Map  of  Oxford,  Secrets  zvorth  knotving, 
Adultery  Patriotism,  and  School  [for]  Scandal.  The  last  (r.)  is  near  Sheridan 
(poorly  characterized)  who  kneels  on  one  knee,  pointing  at  Burdett  to  say 
Look  at  Morality  nozc.  On  the  wall  is  a  picture  of  the  head  of  an  ox  gazing 
at  Lady  Oxford,  and  representing  her  (horned)  husband. 

For  this  scandal  see  No.  11734;  after  it  Lord  and  Lady  Oxford  continued 
to  live  together  as  before.  The  children  of  Lady  Oxford  were  known  as  the 
Harleian  Miscellany  from  their  doubtful  paternity;  Park's  edition  of  the 
Harleian  Miscellany  (1808-13)  in  ten  volumes  was  appearing  (a  selection  of 
scarce  pamphlets,  &:c.  from  the  library'  of  the  ist  and  2nd  Earls  of  Oxford). 
Burdett  and  Sheridan  had  come  into  conflict  over  the  Westminster  election 
of  1806,  see  No.  io6ig  (when  Burdett  attacked  Sheridan  and  his  son  as  place- 
men and  the  moral  Burdett  had  been  contrasted  with  his  dissolute  opponent); 
they  were  opposed  in  politics,  the  former  being  in  the  Princess  of  Wales's 
circle,  the  latter  a  friend  of  the  Regent.  The  only  reference  to  the  subject 
in  the  text  is  indirect:  'Letter  from  a  detected  Adulteress',  pp.  123-5. 
65X13  in. 

11734  THE  PATRIOT  PUZZLED— OR  THE  TRUSTY  SCOT  PRO- 
DUCING HIS  VOUCHERS. 

[Williams.] 

Pub'^  Aug^  1811  by  S  IV  Fores  jO  Piccadilly 

Engraving  (coloured  impression).  A  Scot  in  Highland  dress,  dramatically 
registering  indignation,  raises  a  cloak  covering  a  lady  and  her  young  son  to 
display  both  to  Burdett.  He  says:  There  is  the  interest  and  the  Vouchers!! 
forshameU    Your  dishonour 

Mangles  true  judgement,  and  bereaves  the  State 

Of  that  Integrity  which  should  become  it. 

[Coriolanus  to  Brutus,  Coriolanus,  iii.  i.] 

27 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Burdett  (1.),  egged  on  by  Home  Tooke,  who  furtively  clutches  his  shoulder, 
puts  out  a  protesting  arm,  and  says,  manifesting  alarm :  //  //  //  Know  nothing 
about  them  perhaps  Hamilton  may.  He  holds  a  paper:  Bond  for  20.000  payable 
in  case  my  son  should  attain  the  age  of  21.  His  foot  rests  on  a  paper:  Interest 
of  5.000.  Tooke  says:  Swear  its  false  my  lad  or  your  honor  is  for  ever  gone. 
The  lady.  Lady  Oxford,  says:  What  thus  deny  your  plighted  Troth.!  perjured 
man  bezvare,  is  this  what  you  call  Patriotism.  The  boy  is  a  juvenile  replica  of 
Burdett,  There  is  a  background  of  bare  hills  and  a  sign-post  pointing  towards 
Lady  Oxford  and  inscribed  To  Oxford. 

A  satire  on  the  case  brought  by  Burdett  11  July  181 1  in  the  Edinburgh 
Court  of  Sessions  against  William  Scott,  brother  of  Lady  Oxford,  on  a  bond 
of  ^5,000.  Scott's  defence  was  that  the  money  was  part  of  a  sum  given  in 
trust  to  Scott  for  Lord  Harley  whom  Burdett  thus  accepted  as  his  son. 
Burdett  denied  the  paternity,  and  maintained  that  the  transaction  had  no 
connexion  with  Harley,  but  dropped  the  action,  so  that  the  affair  looked  black. 
His  explanation  to  his  wife  was  that  the  money  was  deposited  with  Scott 
because  the  latter  had  (falsely)  informed  him  that  on  his  (Burdett's)  account 
the  Oxfords  were  to  separate  and  he  therefore  wished  to  make  some  provision 
for  Lady  Oxford.  Scott,  in  refusing  to  return  the  money  and  bringing  in 
Lord  Harley,  was,  on  this  showing,  a  blackmailer.  To  fight  the  case  Burdett 
would  have  had  to  call  Lady  Oxford  as  witness.  Burdett  was  attacked  in  an 
anonymous  pamphlet.  Adultery  and  Patriotism,  taunting  him  with  his  attitude 
to  the  Duke  of  York  over  the  Clarke  scandal  which  Burdett  had  said  'shewed 
a  picture  of  hypocrisy  &  profligacy  truly  revolting  to  propriety  and  decency'. 
Patterson,  Burdett  and  his  Times,  1931,  i.  295-311.  See  Farington  Diary, 
vii.  13  for  an  explanation  by  Sir  T.  Lawrence,  according  to  which  Burdett 
admitted  responsibility  for  one  of  the  Harleys.  In  the  Satirist  for  August 
there  are  several  references  to  the  subject,  a  'Letter  from  a  detected  Adulter- 
ess' (Lady  Oxford),  a  number  of  epigrams,  &c.,  and  a  review  of  Adultery  and 
Patriotism.  For  Burdett  and  Lady  Oxford  cf.  Nos.  9240,  9735.  The  aff'air  was 
damaging  to  Burdett,  who  had  lost  popularity  in  1810  by  his  exit  from  the 
Tower,  see  No.  11567,  &c.  Home  Tooke  was  his  political  mentor,  see 
No.  10731,  &c.   See  also  No.  11733. 

Reproduced,  Patterson,  op.  cit.  i.  298. 
8|xi2}|  in. 

11735  THE  DEBUTEYS  APOINTED  BY  THE  LEGISLATIVE  BODY 
DOING  HOMAGE  TO  THE  KING  OF  ROME  IN  THE  NURSERY 
AT  ST  CLOUD.     81 

[Elmes.] 

Published  August  20""  1811.  by  Thorn'  Tegg  N°  iii  Cheapside  London. 

Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  The  infant  King  of  Rome  sits  on  the  lap 
of  his  Governess  to  receive  the  compliments  of  a  long  procession  of  deputies. 
She  offers  the  child's  bare  posterior,  from  which  issues  an  explosion,  to  the 
lips  of  the  foremost  deputy  who  kneels  obsequiously  on  a  cushion.  The  child 
has  his  father's  face,  as  in  No.  1 1719,  &c.,  and  wears  a  cocked  hat  and  military 
tunic;  he  flourishes  a  rattle,  ignoring  the  homage.  The  deputies  all  wear  long 
robes  over  court  dress  with  sword  and  are  burlesqued ;  the  second  holds  his 
nose,  many  take  snuff.  The  long  procession  recedes  in  perspective  (r.).  The 
Governess  is  also  grotesque  and  elderly,  wearing  old-fashioned  dress  and  an 
elaborate  frilled  cap.  She  sits  on  the  little  King's  throne  which  is  on  a  dais. 
It  is  topped  by  the  iron  crown  of  Italy  with  a  sceptre  and  baton ;  on  the  back 

28 


POLITICAL   SATIRES    1811 

is  an  imperial  eagle  above  a  wreath  enclosing  the  letters  R  R  [Rex  Romae]. 
The  leading  deputy:  Madam  Governess,  not  one  of  us  can  behold  zvithout  a 
most  lively  interest,  that  August  Infant — on  whom  rest  so  many  Destinies,  and 
whose  Age  and  Charming — Qualiteys,  inspires  the  Most  tender  Sentiments  in  the 
French  and  Surrounding  Nations.  She  answers  with  a  staring  grin :  Monsieurs, 
— /  thank  you  for  the  polite  and  flattering  encomiums,  You  are  pleased  to  bestow 
on  me — I  thank  you  in  the  Name  of  the  Young  Prince,  Whoes  Charms  are 
Inexpressible,  and  regret  that  he  can  not  add  his  personal  sentiments  to  those 
which  I  entertain,  to  the — Legislative  Body. 

Napoleon  (1.)  watches  the  homage  from  behind  a  curtain  which  divides  the 
child's  throne  from  women  who  are  washing  the  infant's  napkins;  he  holds 
up  a  forefinger  and  stares  intently.  A  disreputable  old  woman  washing  a  tub- 
full  of  Shi — "'  Clouts  also  watches;  her  tub  rests  on  a  low  stool  under  which 
a  dog  urinates,  and  on  which  are  bottle,  glass,  and  snuff-box.  Another, 
behind  Napoleon,  hangs  Royal  Clouts  on  a  line  in  front  of  a  steaming  copper. 
She  says,  Tfie  Stench  from  the  Young  Urchin  is  intolerable — he  smells  like  a 
pole  Cat.   A  basket  of  Foul  Linen  is  on  the  ground. 

On  25  July  'a  deputation  of  the  Legislative  Body  went  through  the  humilia- 
ting ceremony  of  presenting  a  complimentary'  address  to  the  baby  King  of 
Rome,  which  was  replied  to  by  his  nurse!'  European  Mag.  Ix.  147.  The  child's 
gouvernante  (here  depicted  as  nourrice)  was  IVIme  de  Montesquiou,  a  descend- 
dant  of  Louvois  and  wife  of  the  Cte  de  Montesquiou-Fezensac  who  replaced 
Talleyrand  in  18 10  as  the  Emperor's  grand-chambellan.  The  infant  was 
surrounded  by  more  pomp  and  etiquette  than  that  of  the  ancien  regime. 

Listed  by  Broadley.  Milan,  No.  2351. 
8|x  124  in. 

11736  BONY'S  VISIONS  OR  A   GRE.\T   LITTLE   MAN'S  NIGHT 
COMFORTS 

The  Caricaturist  General  fecit 
Published  for  the  Satirist  Sept'  i"  1811 

Aquatint.  PI.  from  the  Satirist,  ix.  165.  Napoleon,  wearing  a  night-shirt, 
leaps  from  a  canopied  bed  (1.),  terrified  at  the  demons,  goblins,  and  ghosts 
that  surround  him  menacingly.  He  holds  a  dagger,  under  his  pillow  are  two 
pistols;  he  calls  in  terror:  Duroc,  Savary,  Roustan,  aux  amies  aux  armes. 
Marie  Louise  sleeps  beside  him.  A  large  imperial  eagle,  crowned  and  holding 
a  sword,  flies  above  his  head,  saying.  Wretch  I  leave  thee  for  ever.  Napoleon's 
son  is  nursed  by  a  demon  seated  on  a  stool  (1.),  who  says:  Dear  Image  of  my 
darling  Nap,  \  Suck  milk  of  Hell  instead  of  pap.  The  child  wears  the  iron 
crown  of  Italy  (see  No.  10432)  and  his  head  is  like  that  of  Napoleon,  as  in 
No.  11719,  &c.  Facing  Napoleon  are  his  visions.  The  heads  and  shoulders 
of  ghosts  issue  from  clouds;  they  say  (1.  to  r.):  /  am  D'Enghien  the  blood  of 
your  King  [see  No.  1025 1];  Remember  Capf"  Wright  [see  No.  11057];  /  am 
Pichegru  [see  No.  1 1053] ;  /  am  George  [Cadoudal,  cf.  No.  9998].  Above  them 
a  Turk  rides  on  the  horizontal  and  elongated  body  of  a  French  Grenadier, 
whose  head  is  a  skull,  and  who  says:  /  am  one  of  your  oun  Soldiers  poisoned 
in  the  Hospitals  of  Egypt  [see  No.  10063].  From  the  Turk's  mouth  issues  the 
head  of  another  Turk,  saying.  We  are  the  Turkish  Prisoners  murdered  at  Jaffa 
[see  No.  10062].  A  grotesque  bird  with  the  head  of  a  negro  says  I  am  Toussaint 
[see  No.  10090];  he  is  propelled  towards  Napoleon  by  a  demoniac  quasi- 
human  creature  with  two  heads,  one  winged.  Above  floats  an  open  book 
framing  a  head  which  says  /  am  Palm  [see  No.  11053];  two  hands  (palms) 
project  from  behind  the  book. 

29 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

On  the  ground  before  the  bed  a  demon,  seated  on  the  back  of  an  emaciated 
man  who  is  about  to  slice  a  heart  with  a  knife,  gleefully  holds  up  a  placard 
inscribed :  Morning  Post — Courier  [two  ministerial  papers] — Peltier — Ambigu 
Satirist — Gilray's  Caricatures  &c  &c  &c.  Facing  these  is  the  largest  object 
in  the  design,  a  monster  with  a  quasi-human  profile  above  a  huge  fanged 
mouth  from  which  diabolical  creatures  are  issuing;  it  has  a  bird-like  leg. 
Nearer  to  the  bed  is  a  coffin  marked  with  A^  and  a  crown ;  on  this  are  a  rat  and 
two  birds :  a  stork  and  an  owl  (?  a  chouan,  or  rebel  of  La  Vendee,  cf.  No.  9887). 
An  imp  with  antlers,  crouching  on  the  bed-curtain,  is  about  to  knock  off  with  a 
wand  the  crown  surmounting  Napoleon's  night-cap.  Above  is  a  skeleton.  In 
the  foreground  are  skulls  and  bones. 

On  the  r.  a  flying  cherub  displays  a  vision  to  Napoleon,  saying.  Napoleon, 
lo!  Britannia  still  enjoys  the  blessings  of  the  Constitution — Surrounded  by  Liberty, 
Commerce,  and  Plenty,  supported  by  her  heroes — and  attended  by  public  felicity , 
She  defies  thy  machinations!  This  allegorical  group  is  on  a  dais  to  which  lead 
steps  inscribed  Wellington,  Graham,  Beresford.  A  pillar  inscribed  G  III  Rex 
supports  an  architectural  canopy,  beneath  which  Britannia  sits  with  her  lion 
beside  her.  Liberty,  wearing  a  Roman  helmet,  holds  up  the  cap  of  Liberty; 
a  figure  holding  a  caduceus  and  cornucopia  represents  both  Commerce  and 
Plenty,  while  Public  Felicity  puts  a  protecting  arm  on  each. 

An  illustration  to  'The  Vision  of  Buonaparte',  Satirist,  ix.  1 10-21  (Aug.), 
translated  from  L' Ambigu,  No.  288,  and  purporting  to  be  the  Emperor's 
account  of  a  dream  the  night  after  his  son's  birth.  This  relates  only  indirectly 
to  the  print,  in  which  he  appeals  for  protection  to  those  especially  concerned 
with  his  personal  safety:  Duroc,  Grand-marechal  du  Palais;  Savary,  who 
succeeded  Fouche  as  Minister  of  Police  in  18 10;  his  mameluke,  Roustan.  For 
the  British  successes  in  Portugal  see  No.  1 1722,  &c.  The  thanks  of  Parliament 
were  voted  to  Beresford  for  Albuera  (16  May).  Napoleon  is  beset  by  the 
ghosts  of  those  he  had  actually  or  reputedly  done  to  death.  For  Peltier  and 
his  paper  U Ambigu,  see  No.  9887,  &c.  For  Bonaparte  and  the  English  Press 
see  No.  9998.  'Napolean'  connotes  the  Beast  of  Revelation,  see  No.  11004. 
The  design  may  derive  from  A  Little  Man's  Night  Comforts  or  Boney's  Visitor, 
14  July  1803,  in  which  also  he  shouts  'Aux  Armes!!',  and  in  which  the  news- 
papers are  those  of  Peltier  and  Cobbett  (not  in  B.M.,  Broadley  i.  179  f.).  It 
is  a  variant  of  many  atrocity  satires,  see  Indexes  s.v.  names  of  victims  and 
'Jaffa'.  Cf.  Napoleon's  dream  before  Waterloo  in  The  Dynasts  and  Nos.  1 1722, 
12170. 

Broadley,  i.  304. 
7ixi3iin. 

11737  THE  GALLIC  MAGI  LED  BY  THE  IMPERIAL  COMET.     92 

Elmes  soul 

Pub<^  Sep''  24  1811  by  Tho'  Tegg — iii  Cheapside 

Price  one  Shillifig  Coloured 

Engraving  (coloured  impression).  Napoleon  and  Marie  Louise  are  awkwardly 
seated  on  a  throne  (r.)  watching  a  comet  representing  the  King  of  Rome,  while 
the  child's  gouvernante  proudly  holds  him  up  to  gaze  at  the  phenomenon 
through  a  telescope.  The  comet  is  a  disk  containing  a  naked  child  wearing 
a  cocked  hat,  and  holding  a  bowl ;  a  gallic  cock  stands  on  his  posterior,  from 
which  the  comet's  tail  issues,  reaching  the  real  child.  Five  grotesque  and 
elderly  Frenchmen  kneel  with  gestures  of  adoration  (1.);  one  kisses  the  toe 
which  the  Empress  holds  out.  They  have  plans  of  the  heavens;  on  the  ground 
beside  them  is  a  plan  showing  the  child-comet  surrounded  by  stars  and  a 

30 


POLITICAL    SATIRES    1811 

waning  moon.  Napoleon  wears  a  plumed  bicome  and  Hessian  boots;  he  looks 
through  a  telescope,  seated  on  the  edge  of  the  throne,  r.  leg  raised  and  resting 
on  Marie  Louise.  The  King  of  Rome,  who  as  usual  has  his  father's  features 
(see  No.  11719),  wears  a  similar  hat  and  a  little  shirt.  His  gouvernante, 
Mme  de  Montesquiou,  is  dressed  as  nourrice  rather  than  court  ladv.  The 
throne  is  surrounded  by  draperies  supported  on  pillars;  it  is  surmounted  by 
the  iron  crown  of  Italy  and  the  back  and  arms  are  formed  of  carA'ed  eagles. 

A  satire  on  the  pomp  surrounding  the  infant  King  of  Rome,  as  the  embodi- 
ment of  the  imperial  dynasty,  cf.  No.  11735.  For  the  comet  see  No.  ii8io,&c. 

Listed  by  Broadley.    Reproduced,   Grand -Carte  ret,  Napoleon,  No.  z'i,! . 
Milan,  No.  2342. 
8^Xi2i|in. 

11738  THE    LMPERLAL    COMET    SHEDIXG    ITS    BANEFUL    IN- 
FLUENCE, 93 

Ebnes. — Sculf' 

Sepr  25.  1811  Puhl'^  by  Tho'  Tegg  11 1  Cheapside. 

Price  one  Shilling  Coloured 

Engraving  (coloured  impression).  The  little  King  of  Rome,  the  comet,  a 
naked  infant  wearing  a  cocked  hat,  crouches  on  hands  and  knees  within 
a  circle;  the  tail  is  a  blast  issuing  from  his  posteriors  as  in  No.  11737  and 
slants  to  the  upper  r.  corner  of  the  design.  Within  it  are  emblems  of  'Popery' : 
a  triple  cross,  a  mitre,  a  stole,  a  Latin  cross,  a  chalice,  a  crosier  and  crown, 
a  hand-bell,  an  open  book,  a  burning  torch,  and  an  axe.  The  child  spoons 
flaming  pap  from  a  bowl.  Round  the  comet  are  stars,  represented  by  smaller 
circles  enclosing  symbolical  objects:  the  Georgium  Sidus  in  the  lower  1.  comer 
encloses  the  head  of  George  III,  looking  up  in  alarmed  astonishment  at  the 
comet.  The  others  are  Ceres,  a  sickle  and  wheatshcaf;  Mercurx,  a  caduceus; 
Jupiter,  an  eagle  holding  thunderbolts  which  impinge  on  the  rim  of  the  comet ; 
Mars,  a  visored  helmet,  with  a  mailed  hand  holding  a  sword;  I'enns,  a  flaming 
heart  pierced  by  an  arrow;  the  Moon.  On  a  cloud  (r.)  is  a  bear,  with  a  chain 
dangling  from  its  nose.  In  the  lower  1.  corner  surrounded  bv  clouds  is  part 
of  a  globe  inscribed  Earth,  showing  England  and  Erance.  On  England  stands 
John  Bull,  gazing  at  the  comet  through  a  telescope.  On  France  stand  the 
Imperal  Eamily :  Napoleon  looks  through  a  long  telescope,  the  Empress  hang- 
ing on  his  arm.  .\  fat  nurse  (Mme  de  Montesquiou,  see  No.  1173';)  ''^^^  "P 
the  child,  who  looks  through  his  telescope  at  the  comet.  Two  persons  kneel 
in  abject  humility. 

The  first  suggestion  that  the  Russian  bear  was  escaping  from  bondage;  as 
Napoleon  said  'a  great  planet  taking  a  wrong  direction'.  J.  H.  Rose,  Napoleon, 
1934,  ii.  234.   See  No.  11896.   The  planet  Uranus  discovered  by  Hcrschel  was 
first  named  by  him  Georgium  Stdus  in  honour  of  George  III,  cf.  No.  8115. 
8^X13  in. 

11739  DEVILS  AMONG  THE  FLATS  OR  BONEV  GETTING  INTO 
HOT  WATER. 

[Williams.] 

Puh'^  Sepr  1811  by  Walker  &  Knight  Xo  7  Cornhill 

Engraving  (coloured  impression).  Above  the  design,  as  a  second  title:  The 
First  Glorious  Exploit  of  the  Invincible  Boulogne-Flotilla.  Sep''  20,  1811.  In 
the  foreground  are  two  boats,  a  ship's  boat  (1.)  and  a  small  open  gunboat  (r.); 
Napoleon,  sword  in  hand,  prepares  to  step  from  the  former,  which  is  the 

31 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

[NapoU]on  le  Grand,  into  the  water  separating  him  from  the  latter  which  is 
badly  battered.  In  his  boat  are  four  terrified  French  oarsmen,  wearing  frilled 
shirts,  a  general  (Ney)  who  holds  back  the  Emperor,  and  an  officer  holding 
the  tiller.  A  French  military  officer,  holding  a  bullet-pierced  cocked  hat, 
stands  in  the  gunboat,  answering  Napoleon,  who  says :  You  scoundrel  how 
dare  you  run  away  when  you  were  twenty  seven  to  five  I'll  order  the  guns  of  the 
Batteries  to  sink  every  one  of  you.  The  officer:  Eh  bien  Mais  Mon  Empereur 
you  tell  us  de  Jack  Anglais  be  men  Mais  by  Gar  we  find  dem  Devils.  Ney  says : 
Mafois  [sic]  take  care  your  Majesty  will  be  in  hot  water  up  to  de  chin.  The 
helmsman :  Very  true  Monsieur  Ney  de  devils  Jack  Bulls  make  hot  water  all 
over  de  vorld.  Bodies  of  dead  sailors  lie  in  the  gunboat,  only  part  of  which 
is  within  the  design;  her  rigging  is  shot  away,  and  sail  and  hull  are  perforated. 
A  comet  shoots  upwards  across  the  sky,  its  head  is  that  of  Nelson  in  profile 
to  the  r. ;  the  tail  is  formed  of  barbed  lightning  slanting  towards  Napoleon 
and  inscribed  Remember  Nelson.  In  the  background  two  British  ships  (r.) 
chase  a  large  flotilla  of  gunboats  towards  Boulogne,  indicated  by  low  cliffs 
on  which  are  two  forts  and  an  encampment. 

The  events  of  two  days,  20  and  21  Sept.,  are  combined.  On  20  Sept. 
Napoleon  visited  the  flotilla  in  Boulogne  road  in  his  barge,  the  imperial  flag 
being  hoisted  on  each  ship  visited.  Observing  an  English  frigate  of  38  guns, 
the  Naiad,  anchored  in  full  view,  he  ordered  a  division  to  attack  her;  this  they 
did  without  inflicting  damage  or  driving  her  from  her  position.  On  21  Sept. 
a  French  force  under  Rear-Admiral  Barte  again  attacked  the  Naiad,  now 
accompanied  by  three  brigs  and  a  cutter.  The  British  held  their  fire  till  the 
French  were  at  short  range,  when  they  threw  them  into  'inextricable  con- 
fusion'. One  gunboat  or  prame  was  taken,  the  Ville  de  Lyons,  with  112  men, 
60  being  soldiers  of  the  line ;  the  other  French  ships  gained  the  shelter  of  the 
shore  batteries,  and  so  escaped.  According  to  the  dispatch  of  the  captain  of 
the  Naiad  the  enemy  flotilla  consisted  of  seven  gunboats  or  prames,  each  with 
twelve  24-pounders,  and  fifteen  smaller  vessels,  chiefly  brigs.  The  English 
losses  were  slight.  European  Mag.  Ix.  227  f.;  Ann.  Reg.,  181 1,  p.  98  f.  In 
June  i8ii  Napoleon  established  a  new  camp  at  Boulogne,  with  a  flotilla  ready 
for  action,  giving  out  at  different  times  that  this  was  to  be  used  for  a  landing 
in  Ireland,  the  burning  of  Chatham  dockyard,  and  a  descent  on  the  Channel 
Islands.  It  was  a  device  to  combine  the  training  of  conscripts  with  a  feint 
against  the  British  Isles.  Fortescue,  Hist,  of  the  British  Army,  viii.  257.  See 
No.  1 1742.  The  comet  of  181 1  (Pons),  first  seen  in  March,  was  given  several 
satirical  personifications,  see  No.  11810,  &c.;  cf.  No.  11705. 

Broadley,  i.  304  f.  Reproduced,  Grand-Carteret,  Napoleon,  No.  230. 
8|xi3iin. 

11740  THE  COMET.!!! 

[Williams.] 

London  Pu¥  Octo^  1811  by  W"  Holland  N"  11  Cockspur  S* 

Engraving  (coloured  impression).  The  head  of  Pitt  in  profile  to  the  1.  is  the 
head  of  a  comet  (see  No.  11810,  &c.)  whose  tail  is  formed  of  hair  streaming 
across  the  design  and  covered  with  the  words  War  and  Taxes,  each  repeated 
six  times.  Fox,  floating  above  the  comet's  tail,  leans  forward  holding  a  pair 
of  Patent  snuffers  with  which  he  is  about  to  try  to  snip  off  the  comet's  head. 
Below  the  comet  is  a  five-pointed  star  containing  the  profile  head  of  Perceval, 
much  smaller  than  that  of  Pitt  and  registering  melancholy  pugnacity.  The 
points  of  the  star  are  inscribed  War  [three  times]  and  Taxes  [twice].  Below, 
the  H.L.  figure  of  a  military  officer  surrounded  by  clouds  looks  up  angrily, 

32 


POLITICAL   SATIRES    181I 

saying,  Cot  dam!  this  fellow  tcill  hum  my  whiskers!  He  has  short  hair,  whiskers, 
and  an  enormous  snake-Hlce  moustache,  and  wears  a  braided  hussar  tunic  with 
a  star;  a  skull  and  cross-bones  on  his  chest  serves  to  fasten  a  broad  fur  collar. 
The  whiskered  officer  is  Baron  de  Geramb  (see  No.  11744)  whose  eccen- 
tricities and  adventures  in  England  in  181 1  attracted  much  attention.  This 
makes  the  design  fantastic  and  inconsequent:  Perceval  carries  out  the  war 
policy  of  Pitt,  ruthlessly  imposing  taxes,  though,  it  would  seem,  on  a  much 
smaller  scale.  While  he  is  inspired  by  Pitt's  spirit,  that  of  Fox  dominates  the 
Opposition,  who  are  critics  of  the  war.  At  this  time  the  advocates  of  peace 
were  few  (notably  Whitbread)  and  (in  181 1)  did  not  include  the  leading 
Foxites.  Cf.  No.  11710. 
8^x  i2f  in. 

11741  MEN  OF  BOTTOM  OR  MEMBERS  OF  THE  TRIBUNAL  OF 
THE  FIRST  ORDER,  AT  AMSTERDAM,— DOING  HOMAGE  TO 
BONYPARTE.  &  [cropped] 

E '  Sculp.  [Elmes]  [c.  Oct.  iSii] 

Engraving.  Napoleon  and  Marie  Louise,  seated  on  casks,  are  surrounded  by 
a  crowd  of  grotesque  and  obsequious  Dutchmen,  who  puff  smoke  towards 
them.  Napoleon  raises  his  1.  leg  vertically  to  present  his  posterior  to  two 
simian  creatures  who  puff  at  close  range.  Behind  and  on  the  r.  a  Dutchman 
seated  on  a  braving  ass  plays  bagpipes  from  which  issue  the  words:  '^Sire — 
Deign  to  permit  the  Members  of  the  Tribunal  of  Amsterdam  to  have  the  honor 
of  doing  their  respectful  homage  by  Kissing  Your  Imperial  and  Royal  Majesty^ 

A ^.  Napoleon's  cask  is  inscribed  Hollands  Gin  above  proof .  The  Empress 

(1.)  sits,  with  indecorously  crossed  legs,  on  Essence  of  Juniper  [gin].  Many  of 
the  Dutchmen  hold  under  the  arm  small  casks  of  Holl — ^.  They  smoke  pipes 
with  curved  stems  and  elaborate  covered  bowls.  In  the  centre  foreground, 
in  back  view,  is  a  bowing  man  whose  broad  posteriors  are  inscribed  President 
M —  Von.  Schottcn.  Near  him,  two  pug-dogs  are  chained  together;  one  strains 
towards  an  almost  empty  dish.  On  the  extreme  1.  is  a  barrel  of  Dutch  Herrings 
on  which  sits  a  frog  smoking  a  pipe.  In  the  background  are  gable-ended  quasi- 
Dutch  buildings  and  beflagged  spires. 

A  satire  on  Napoleon's  visit  to  Holland  (annexed  9  July  1810)  in  October 
181 1.  He  wrote  to  Eugene  Beauharnais,  26  Oct.  181 1  :  'J'ai  ete  extremement 
content  de  la  Hollande.  Ces  gens  n'ont  conserve  le  souvenir  de  leur  inde- 
pendance  que  pour  sentir  les  avantages  de  la  reunion.  ...  lis  sont  plus 
Fran^ais  qu'aucuns  habitants  des  pays  reunis.  .  .  .  Je  n'ai  vu  nulle  part 
autant  de  mouvement  et  d'aussi  bons  sentiments.'  Corr.,  1867,  xxiii.  535. 
Triumphal  arches  and  illuminations  were  ordered  in  Amsterdam.  On  9  Oct. 
the  members  of  the  Tribunal  of  Amsterdam  presented  their  homage  to 
Napoleon,  the  President  Von  Schotten  making  a  fulsome  speech:  'French- 
men in  heart'  ....  'in  consequence  of  the  union,  the  inhabitants  of  this  great 
city  feel  all  the  honour  of  forming  part  of  the  Empire  of  Charlemagne, 
restored  by  a  monarch  who  is  superior  to  him  in  all  respects.  .  .  .'  Examiner, 
181 1,  pp.  583  f.,  685  (quoted  without  comment  from  the  foreign  press).  Cf. 
No.  12102,  &c.,  on  the  liberation  of  Holland. 

Listed  by  Broadley. 
8i^gXi2|  in. 

11742  A  SCENE  AT  BOULOGNA  OR  NEEDS  MUST  WHEN  THE 
DEVIL  DRIVES.  [i  Nov.  181 1] 

Aquatint.  PI.  from  the  5<7//;75/,  ix.  341.  A  scene  on  the  shore.  Napoleon  (1.), 
sword  in  hand,  drives  forward  a  marine  whom  he  holds  by  his  long  pigtail, 

33  D 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

saying,  Rascal — F e,  go  fight  dem  dam  English ;  the  man  answers :  Sire  me 

like  fight  men  dem  English  be  Diables.  He  wears  a  shako,  miUtary  tunic, 
trousers,  anTsHppers.  In  the  foreground  grenadiers  with  fixed  bayonets  drive 
a  naval  officer  and  sailors  towards  a  ship's  boat,  into  which  one  tumbles.  The 
trembling  and  reluctant  officer,  who  wears  a  feathered  bicorne  and  holds  a 
telescope,  says :  Allans  a  Gloire!  The  sailors  are  rough-looking  men  wearing 
bonnets  rouges  with  shirts  and  trousers;  three  act  as  boatmen,  two  saying. 
Oh!  by  Gar!  dey  vill  eat  us  all  up,  and,  Ah  mon  dieu.  On  the  horizon  two 
British  ships  are  firing,  a  third  stands  by. 

See  No.   11739.    There  are  two  inventive  articles  in  the  magazine  on 
Napoleon's  visit  to  Boulogne  and  inspection  of  the  flotilla,  but  they  have  no 
reference  to  the  plate. 
6|x  12^  in. 

11743  ENGLISH  MANNERS  AND  FRENCH  PRUDENCE  OR  | 
FRENCH  DRAGOONS  BROUGHT  TO  A  CHECK  BY  A  BELVOIR 
LEAP. 

[Rowdandson.] 

London  Piib'^  25  November  18 11  By  H  Humphrey  S^  James s  Street 

Engraving  (coloured  impression).  Below  the  title:  A  Scene  after  Nature  near 
Ciudad  Rodrigo  September  1811.  Obstupuere  Omnes!  An  English  hussar 
officer.  Lord  Charles  Manners,  holding  his  sabre  against  his  shoulder,  takes 
a  flying  leap  across  a  stream,  looking  composedly  over  his  1.  shoulder  at 
French  mounted  soldiers,  whose  horses  have  checked  at  the  stream.  He  says 
Adieu  Messieurs.  The  foremost  Frenchman  cries  Sacrebleu!!!,  the  others 
Mais  Comment? ;  Quel  Diable  d^ anglais;  and  Est  il possible.  Their  horses  are 
clumsy  compared  with  the  English  thoroughbred.  Each  Frenchman  has  a 
diflferent  uniform.  The  scene  is  a  barren  plain  sloping  to  the  stream  from 
a  mountainous  background,  with  soldiers  marching  in  the  distance.  Two 
small  frogs  in  the  foreground  (r.)  gape  at  the  frustrated  pursuers. 

This  adventure  was  recalled  on  the  death  of  Lord  Charles  Manners  in  1855 
(press-cutting  with  print):  he  was  a  famous  horseman,  and  unexpectedly 
coming  upon  a  French  cavalry  picket,  was  chased,  till  on  reaching  a  brook 
he  cleared  it,  taking  off  his  hat  and  saying  'Adieu  Messieurs'.  This  or  a 
similar  print  is  mentioned:  A  Belvoir  Leap;  or  Teaching  the  French  Good 
Manners!  Lord  Charles,  brother  of  the  Duke  of  Rutland,  was  Lt.-Col. 
23rd  Dragoons  and  M.P.  for  Cambridgeshire. 

Grego,  Rowlandson,  ii.  215  f. 
8|x  13  in.   With  border,  g^x  i^u  ^^^ 

1 1744  PRINCELY  PIETY,  OR  THE  WORSHIPPERS  AT  WANSTEAD. 

G.  Cruikshank  fec^ 

Published  December  i^^  1811  by  M  Jones  5  Newgate  Str^ 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  ii,  before  p.  473. 
Miss  Tylney  Long,  the  heiress,  on  a  fantastic  throne,  receives  declarations 
from  suitors.  She  is  coloured  yellow  (gold)  and  her  throne  is  flanked  by  large 
florid  cornucopias  disgorging  guineas.  Her  seat  is  at  the  top  of  five  steps 
inscribed  respectively  Infancy  10,  Puberty  15,  Womanhood  20,  Discretion  25, 
Old  Maidism  30.  She  rises  in  alarm  or  astonishment,  unconscious  of  Death, 
a  tall,  crowned  skeleton,  who  stands  behind  her  with  drapery  swirling  wildly 

34 


POLITICAL   SATIRES    1811 

round  him,  pointing  with  his  javehn  towards  two  men  who  are  dancing  to- 
gether on  the  extreme  1.  These,  still  holding  hands  and  capering,  look  up 
horror-struck,  the  only  persons  who  have  seen  Death.  A  fool,  with  cap  and 
bells,  ass's  ears,  and  protruding  tongue,  stands  beside  them  playing  a  fiddle. 
One  of  the  dancers  drops  a  pistol,  a  second  pistol  lies  on  the  ground  beside  him, 
with  a  star,  and  a  paper  inscribed  Copy  of  Verses  on  Pole's  Dancing.  In  his 
pocket  is  a  paper:  Caligny  2§  Lord  Kil[zcorth].  His  partner  also  drops  a  pistol. 
At  the  foot  of  the  throne  (1.)  kneels  a  more  grotesque  pair:  Romeo  Coates  in 
theatrical  dress,  trunk-hose  and  cape,  and  a  long  rapier,  with  a  cock  seated 
on  his  head  and  crowing  Cock  a  doodle  doo-o;  he  kneels  on  one  knee,  the  r. 
leg  thrust  forward,  his  hand  theatrically  on  his  breast.  Beside  him,  nearer  the 
throne,  is  Skeffington,  ogling  the  heiress  through  a  lorgnette  and  holding  out 
a  large  paper  headed  Ode  first  and  inscribed  To  the  Scourge—Skejfington; 
other  papers  beside  him  are:  Ode  on  Miss  Tilney — To  the  Scourge  and  Ode  4"' 
Miss  Long.   Both  men  have  sharp  grotesque  profiles. 

The  pendant  pair  on  the  r.  of  the  throne  are  on  a  rather  larger  scale,  being 
bulky  while  the  others  are  thin :  the  Duke  of  Clarence,  in  admiral's  uniform 
(he  was  given  the  rank  by  the  Regent  in  181 1),  stands  holding  out  his  r.  arm 
with  a  declamatory  gesture  while  with  his  1.  hand  he  presses  back  Baron 
de  Geramb,  who  kneels  on  money-bags.  Behind  and  above  this  pair  stands 
Mrs.  Jordan  emptying  a  chamber-pot  or  Jordan  (see  No.  7908,  &c.)  over  the 
Duke,  pouring  out  a  stream  of  tiny  sons  and  daughters,  five  boys,  with  their 
father's  features,  and  at  least  three  girls.  She  stands  on  a  chest  inscribed 
Bushy  Money  Chest  M  T  [empty].  She  says :  False  faithless  perjured  Clarence  \ 
behold  thy  Children! ! !  hem,  Shakespeare .  Three  boys  cling  to  their  father's 
head  and  shoulders;  one  is  in  naval,  one  in  military  uniform,  the  others  in 
childish  dress.  The  Duke  tramples  on  the  Marriage  Act;  in  a  pocket  is  a 
paper:  To  the  House  of  Commons.  The  Baron  is  a  grotesque  figure  with  huge 
moustache,  a  skull  and  cross-bones  on  the  braided  tunic  which  defines  a 
paunchy  body,  and  another  on  his  cap  in  which  is  an  enormous  plume.  He 
holds  a  money-bag;  the  three  bags  on  which  he  kneels  are  inscribed  respect- 
ively From  France,  For  Secret  Intelcg[ence],  and  To  the  Baron.  Beside  him 
is  a  paper:  Sophia  of  Cadis.  He  holds  out  behind  him  a  paper  inscribed  Secret 
Intelegence  which  Napoleon,  on  the  extreme  r.,  is  about  to  take.  The  latter 
straddles,  wearing  the  great  jack-boots,  large  bicorne,  and  sabre  of  earlier 
caricatures;  he  holds  out  a  money-bag  inscribed  To  the  Baron,  de  Wishers  for 
Secret  Intel —  and  looks  with  gloating  eagerness  at  the  paper  he  is  about  to 
receive. 

The  pi.  relates  to  verse  satires,  dialogues.  Sec.  on  the  admirers  of  the  heiress, 
pp.  235-42  (i  Sept.),  Coates  being  introduced  'not  because  of  his  pretensions, 
but  his  boasts  and  wishes'.  Catherine  Tvlney-Long,  here  traduced  as  an 
angular  old  maid,  was  born  2  Oct.  1789;  her  fortune  included  Wanstead 
House  which  had  cost  over  ^360,000.  Lord  Kilworth  (b.  1792)  and  Wellesley- 
Pole,  rivals  for  the  heiress,  met  to  fight  a  duel  over  newspaper  verses  on  the 
lady;  the  affair  was  amicably  settled  on  the  ground  (9  Aug.)  but  a  second 
meeting  took  place  over  an  apology  demanded  by  Kilworth ;  shots  were 
exchanged,  after  which  they  agreed  to  meet  as  friends.  European  Mag. 
Ix.  148  f.  Wellesley-Pole  was  accepted,  the  engagement  being  announced  on 
25  Nov.,  and  in  Jan.  18 12  he  changed  his  name  to  Pole-Tylney-Long- 
Wellesley.  In  181 1  the  Duke  of  Clarence,  pressed  for  money  and  anxious 
to  marry,  parted  from  Mrs.  Jordan  with  whom  he  had  lived  at  Bushey  Park 
for  twenty  years  (see  vols,  vi,  vii,  viii);  he  then  made  repeated  proposals  to 
Miss  Tylney-Long  but  was  refused.  The  three  other  suitors  are  included  as 
eccentric  bachelors  much  in  the  public  eye.    For  Skeffington  see  vols,  vii, 

35 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

viii;  for  Romeo  Coates,  No.  11769.  Baron  de  Geramb  (1772- 1848)  was  a 
military  adventurer  who  came  to  England  from  Spain,  ostensibly  to  form 
a  foreign  legion  for  the  service  of  Spain.  He  published  a  Lettre  a  Sophia 
de  Cadiz  in  181 1  (see  No.  11943),  and  wits  identified  Sophia  with  Miss 
Tylney-Long  {The  Satirist,  ix.  224  f.).  He  is  here  represented  as  a  spy  in  the 
service  of  Napoleon;  shortly  after  this,  having  resisted  arrest  for  debt,  he  was 
deported  to  Denmark,  and  arrested  and  imprisoned  by  Napoleon.  He  was 
notorious  in  England  in  181 1  but  was  to  become  famous  as  Procureur-general 
of  the  Trappist  order,  and  author  of  devotional  works.  For  the  heiress's 
suitors  see  also  Nos.  11747,  11748,  11774,  11844.  For  the  Marriage  Act 
(1772)  see  No.  4970. 

Reid,  No.  129.   Cohn,  No.  732.   Listed  by  Broadley. 
6fxi3f  in. 

11745  BELl,  AND  THE  DRAGON 

[Rowlandson.] 

Published  Dec'  9'^  1811.  by  I.  I.  Stockdale  41  Pall  Mall. 

Engraving  (coloured'  and  uncoloured  impressions).  A  scaly  dragon  breathing 
smoke  advances  furiously  towards  a  composed  clergyman  in  cassock  and 
bands  (r.).  The  latter  stands  under  an  irradiated  sun  containing  a  face,  from 
which  an  arm  projects  holding  the  shield  of  Religion  between  him  and  his 
antagonist.  The  arm  is  inscribed  Marsh,  Clergy,  Monarchist.  The  dragon's 
tongue  is  Falsehood,  the  talons  with  which  he  paws  at  his  enemy  are  inscribed 
Hypocrisy,  Vanity,  Misrepresentation,  Calumny.  Behind  it  is  the  fragment  of 
a  ruined  building  inscribed  Lancaster's  School;  on  the  wall  is  poised  a  large 
Quaker's  hat  inscribed  Broad  Brim  nearly  covering  the  words  Madras  System. 
On  the  ground  are  the  words  Deceit  Misrepresentation.  Behind  the  parson 
is  a  handsome  Georgian  building  inscribed  /)''  Bell's  School  on  a  rock  inscribed 
Church  &  State;  to  this  he  points  with  a  dignified  gesture  while  looking  at 
the  dragon.   Farther  off  are  a  country  church  and  a  house. 

A  satire  on  the  violent  controversy  between  Joseph  Lancaster  (1778- 1838) 
and  Dr.  Bell  (1753-1832)  over  their  educational  methods  and  the  rival 
societies  for  educating  poor  children  with  which  they  were  associated.  This 
was  at  its  height  between  1808  and  181 1.  Lancaster  was  falsely  accused  of 
imitating  Bell's  'Madras  System';  he  was  a  Quaker,  vain,  extravagant,  and 
insolvent,  but  with  great  gifts  and  enthusiasm  for  education.  His  schools  were 
non-sectarian  and  had  powerful  support  including  that  of  George  HI  (1805) 
and  the  Regent  (in  181 1).  A  society  was  founded  by  Lancaster  in  1808  (taking 
the  title  of  British  and  Foreign  School  Society  in  18 14).  This  roused  the 
suspicion  of  Churchmen  who  found  in  Bell  (a  prosperous  parson)  a  useful 
protagonist,  and  in  181 1  the  National  Society  for  Educating  the  Poor  in  the 
Principles  of  the  Church  was  founded,  starting  a  conflict  which  has  influenced 
English  elementary  education  ever  since.  This  society  was  largely  due  to 
Herbert  Marsh,  Lady  Margaret  Professor  of  Divinity  at  Cambridge,  and  to 
a  sermon  preached  by  him  at  St.  Paul's  on  13  June  181 1.  See  Halevy,  Hist, 
of  the  English  People  in  181 5,  1924,  pp.  461-5 ;  J.  Binns,  A  Century  of  Educa- 
tion, i8o8-igo8;  Salmon,  Joseph  Lancaster,  1904;  Wallas,  Life  of  Francis 
Place,  ch.  iv;  contemporary  works  by  Bell,  Lancaster,  and  Mrs.  Trimmer; 
D.N.B.  See  No.  13276. 

Grego,  Rowlandson,  ii.  216. 
6|X9f  in. 

'  'Caricatures',  ix.  147. 
36 


POLITICAL   SATIRES    1811 

11746  THE  ROYAL  MILLING  MATCH 

[W.  Heath.] 

Pub  Dec  181 1  by  S  W  Fores  50  Picadilli 

Engraving  (coloured  impression).  A  stalwart  man  in  a  boxing  attitude  hits 
the  Regent  in  the  eye  with  his  r.  fist,  making  him  fall  backwards  with  extended 
arms.  He  says:  There  is  plenty  of  fair  Game  but  no  Poaching  on  my  Mannor — 
my  Action  is  quick  &  put  in  strait  fomard  so — .  In  his  pocket  is  a  paper:  Late 
Pupil  to  the  Campion  [sic]  of  En[gland,  Jackson].  The  Prince  shouts:  Help. 
Help  I  have  made  a  false  step  and  Sprain'd  my  Ancle.  The  room  is  small, 
with  a  door  at  each  side;  a  chair  is  overturned.  A  man  (.-'  AlacMahon)  hurries 
in  from  the  1.  behind  the  pugilist,  saying,  Lord  Sir — d'ont  be  so  Harsh  you  I 
sprain  the  Gentlemans  ancle,,  by  Goles  this  is  zvhat  they  call  Milling  Indeed.  On 
the  r.  a  lady  looks  in;  she  wears  jewels  and  a  feathered  tiara,  and  is  evidently 
Lady  Yarmouth.  She  looks  from  behind  a  folding  screen  which  stretches 
across  much  of  the  room,  and  is  covered  with  caricature  prints,  freely 
sketched :  a  man  with  a  globular  contour  suggests  Bunbury's  A  Hail  Storm, 
No.  6145.  Just  above  it  is  (?)  No.  10474;  two  others  suggest  the  Hot- 
tentot Venus,  see  No.  11577;  among  many  others  is  a  man  with  a  dancing 
bear. 

At  this  time  the  Prince  was  ill  at  Oatlands;  in  teaching  Princess  Charlotte 
to  dance  the  Highland  fling  (on  13  Nov.)  he  had  broken  a  tendon  in  his  foot 
with  such  violence  that  he  fell,  and  his  leg  instantly  swelled  to  the  knee.  This 
was  jocularly  interpreted  by  Lady  Holland  as  the  result  of  a  clumsy  attempt 
to  outdo  Erskine  in  dancing,  causing  him  to  sprain  his  ankle.  Others  'are 
convinc'd  it  is  only  a  pretext  to  hide  the  infirmity  of  swell'd  Legs,  the  sure 
indication  of  a  broken  constitution'.  Corr.  of  Lord  G.  L.  Gozcer,  1916,  ii.  416- 
17.  Lampooners  and  caricaturists  persistently  connected  the  accident  with  a 
supposed  quarrel  between  Lord  Yarmouth  (Lady  Hertford's  son)  and  the 
Regent  over  the  latter's  attentions  to  Lady  Yarmouth  (Maria  Eagniani).  See 
also  Examiner,  181 1,  pp.  740,  747-9.  Yarmouth,  however,  continued  to  be 
a  favourite  of  the  Regent;  Lady  Yarmouth  was  in  France.  B.  Ealk  says  the 
lady  was  Yarmouth's  mistress,  Fanny,  sister  of  Harriette  Wilson.  Old  Q's 
Daughter,  1937,  p.  95.  See  the  Scourge,  iii.  150-60,  'Doggrel  Attacks  on  the 
Regent',  where  the  verses  are  condemned  as  contemptible  and  having  a 
'powerful  influence  on  the  lower  classes'.  They  are,  however,  quoted  at  some 
length  and  are  similar  in  spirit  not  only  to  plates  in  the  magazine  but  to  a  verse 

satire,  'The  H dynasty  or  the  Empire  of  the  Nairs',  ibid.  313-18,  456-61. 

See  also  Nos.  11841,  11842,  11843,  11853,  11860,  11861,  11889. 
8|xi3i  in. 

11747  THE  DISCONSOLATE  SAILOR  OR  MISS  LONG  ING  FOR 
A  POLE.     Vide,  the  Waterman. 

Ar^iis  Fecit    [Williams.] 

PwV  Dec''  1811  by  Walker  &  Kmght  A^"  7  Cornhill 

Engraving  (coloured  impression).  A  scene  on  the  banks  of  the  Thames. 
Miss  Tylney-Long,  short,  plump,  and  youthful,  stands  between  a  gardener 
who  is  Wellesley-Pole,  and  the  Duke  of  Clarence  as  a  Thames  waterman, 
with  the  Royal  Arms  on  his  jacket.  Her  dress  is  looped  up  to  contain  a  heap 
of  guineas,  and  she  holds  a  large  document  inscribed  Rerit  Roll.  She  looks 
towards  the  Duke  (r.)  but  extends  her  r.  arm  to  Wellesley-Pole,  saying,  /  am 
very  sorry  iif  Tugg,  that  I  can't  be  yours  for  indeed  I  find  it  impossible  to  resist 

37 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

such  a  Pole.  The  Duke  points  sulkily  to  a  smart  wherry  lying  against  the  river 
bank,  saying,  Why  look  you  Miss,  Fllgo  on  board  of  a  Man  of  War,  for  I  cannot 
bear  to  see  you  in  the  arms  of  another.  Then  farewell  my  Trim  built  wherry — And 
the  Rent-Roll  then  farewell.  Wellesley-Pole  holds  a  tall  pole  terminating  in 
a  pine-apple;  in  his  r.  hand  is  a  bunch  of  roses.  He  looks  aggressively  at  the 
Duke,  saying,  Fll  tell  you  what  Master  Tugg  you'll  not  be  first  Oars  here  I  can 
assure  you — this  little  Rose  bud  I  intend  to  pluck  myself — therefore  be  off.  Beside 
him  are  his  watering-pot,  rake,  and  top-hat.  In  the  background  stands 
Mrs.  Jordan  with  four  dismayed  children;  she  holds  out  her  arm  dramatically, 
saying.  What  leave  your  faithfull  Peggy.  The  oar  of  the  Duke's  boat  is 
inscribed  Tom  Tiigg  Hampton;  on  the  back  of  the  seat  are  the  Royal  Arms. 
In  the  background  among  trees  are  two  sign-posts,  one  on  the  extreme  1. 
pointing  To  London,  the  other,  across  the  river  and  on  the  extreme  r..  To 
Bushy. 

See  No.  11744,  &c.  Miss  Tylney-Long  refused  a  succession  of  proposals 
from  the  Duke  of  Clarence  and  accepted  Wellesley-Pole,  marrying  him  in 
Mar.  i8i2.  The  marriage  was  unhappy  (see  vol.  x),  her  fortune  was  squan- 
dered, and  her  husband  died  in  poverty.  The  Duke  of  Clarence  separated 
from  Mrs.  Jordan  in  the  summer  of  181 1 ;  by  the  settlement  she  was  to  have 
the  care  of  the  four  youngest  daughters  up  to  a  certain  age  unless  she  should 
return  to  the  stage.  One  of  her  leading  roles  was  Peggy  in  The  Country  Girl; 
in  this  she  made  her  debut  at  Drury  Lane  in  1785,  being  painted  by  Romney 
in  the  part.  The  Duke  quotes  (and  parodies)  Tom  Tug  in  C.  Dibdin's  The 
Waterman  (1774). 
lO^XHiin. 


1 1 748  NEPTUNE'S  LAST  RESOURCE  OR  THE  FORTUNE  HUNTER 
FOILED. 

[Williams.] 
[?Dec.  iSii.Ji 

Engraving  (coloured  impression).  After  the  title:  a  Sketch  from  Heathen 
Mythology.  The  Duke  of  Clarence  as  Neptune  has  landed  from  his  car  and 
kneels  on  the  sea-shore,  trying  to  drag  two  bags  from  the  hands  of  Sartjee, 
'the  Hottentot  Venus',  see  No.  11577,  &c.  He  wears  a  crown  with  admiral's 
uniform  and  a  long  grey  beard,  and  kneels  on  his  cocked  hat  which  lies  across 
his  trident.  Sartjee  wears  the  cap  and  necklace  of  other  prints,  with  court- 
dress  defining  her  enormous  posterior;  bank-notes  issue  from  a  pocket-slit. 
She  strains  backward  to  prevent  her  large  money-bags  from  being  pulled 
from  her  hands  by  the  Duke,  who  says : 

Since  golden  Long  my  suit  denie, 
Some  other  fortune  now  Fll  try, 
Now  Venus  Barton  Fll  come  o'eer 
For  wealth's  the  Goddess  I  adore. 
Dear  Venus  if  report  says  true. 
Your  chartns  has  claim' d  the  public  view, 
Great  Neptune  kneels  in  humble  state. 
Pray  on  your  rump  grant  him  a  seat ; 
There  shall  he  ride  trimnphant  still. 
And  your  bright  gold  his  pocketts  fill. 

'  Imprint  erased,  but  traces  of  Walker  &  Knight,  7  Cornhill  remain. 

38 


POLITICAL   SATIRES    1811 

Sartjee,  who  smokes  her  accustomed  short  pipe,  says : 

Ha  Massa  Neptune  vat  you  Vant? 

Me  quite  up  to  all  your  Cant, 

For  if  Missi  Golden  Long  would  have  you 

You  would  not  come  to  me  to  sue 

And  leave  your  Wife  and  Pickaninies 

To  come  and  try  to  take  my  Guineas — 

Close  to  the  shore  (I.)  is  Neptune's  car  with  two  prancing  horses,  two 
attendants  blowing  trumpets,  and  a  postilion,  all  dressed  as  sailors.  Behind 
it  flies  a  flag  on  which  is  an  anchor.  On  the  r.  three  mermaids  rise  from  the 
sea  to  watch  the  interview. 

For  the  Duke's  proposal  to  Miss  Tylney-Long  see  No.  1 1744,  &c. ;  her  sixth 
refusal  was  followed,  it  is  said,  by  proposals  to  other  heiresses.  See  Fulford, 
Royal  Dukes,  p.  no.  Examiner,  22  Dec.  181 1,  p.  820:  'The  Duke  of  Clarence's 
matrimonial  overture  to  Lord  Keith's  daughter  is  reported  to  be  now  under 
consideration.  The  papers  say  this  is  the  fourth  proposal  made  by  the  Duke 
within  these  four  months.'  Cf.  No.  12994. 
Slfxisin. 

11749  A  FAME-OUS  ENIGMA. 

London.   Published  by  T.  Tegg.  N"  iii.  Cheapside.  [?  181 1] 

Engraving  (coloured  impression).  A  heroic  figure,  not  of  Fame  but  of 
Miner\-a,  holding  up  a  flaming  sword  and  trampling  on  a  dragon.  She  wears 
quasi-classical  draperies  with  a  corslet  and  a  plumed  helmet  on  which  sits 
an  owl.  On  her  1.  arm  is  a  shield.  The  dragon  rests  upon  irradiated  clouds. 
Four  profiles  are  inconspicuously  outlined  by  her  hair  and  floating  draperies: 
one  is  Wellington.  The  others  are  probably  generals  who  had  distinguished 
themselves  in  the  Peninsula,  cf.  No.  11722,  &c.  For  similar  puzzle-prints 
cf.  No.  12512,  &c. 
c.  ii|x7|  in. 


39 


i8ii 
PERSONAL  AND  SOCIAL  SATIRES 

11750  A  VIEW  OF  A  TEMPLE  NEAR  BUCKINGHAM. 

[R.  Dighton.] 

Pu¥  by  Dighton,  Spring  Gardens,  July,  1811 

Engraving  (coloured  impression).  A  caricature  portrait  of  the  Marquis  of 
Buckingham  (George  Grenville  Nugent  Temple)  walking  in  profile  to  the  1. 
He  wears  military  uniform  with  cocked  hat  and  spurred  Hessians,  and  is 
enormously  obese,  his  sword-belt  grotesquely  clasped  across  his  paunch.  His 
hand  is  on  the  hilt  of  his  sword.  He  was  Lord  Lieutenant  of  Bucks.  Unlike 
other  caricatures  of  Buckingham. 
i2|x8jVn-(pl-)- 

11751  A  VIEW  OF  SOMERSET. 
C.  B  Esq'  del'   [R.  Dighton  f.] 

Pu¥  by  Dighton,  Spring  Gardens,  Dec''  1811. 

Engraving  (coloured  impression).  The  Duke  of  Somerset  in  military  uniform 
rides  in  profile  to  the  1.  He  wears  a  double-peaked  cocked  hat  with  plume. 
In  the  background  is  a  camp  with  tiny  soldiers  being  drilled. 

The  Duke  was  a  noted  scholar,  F.R.S.,  F.L.S.,  &c.,  and  held  no  military 
rank.  He  is  presumably  a  volunteer  officer. 

11752  OLD  Q 

Pub'^  Jany  1811  by  W"  Holland,  11  Cockspur  S' 

Stipple.  The  *Q'  of  the  title  is  a  letter  formed  of  acanthus  scrolls  surrounding 
the  head  in  profile  to  the  1.  of  the  Dukeof  Queensberry.  The  head,  in  which 
the  r.  eyelid  is  visible,  appears  to  be  copied  and  enlarged  from  that  in  Gillray's 
Piish-Pin  (No.  9082).  A  sprig  of  (.?)  box  projects  from  the  upper  part  of  the 
conventional  scroll. 

Queensberry  died  on  23  Dec.  1810. 
6|x  5i6  in.  With  border,  7  x  6|  in. 

11753  TOLER— ABLE,  HORSEMEN!! 

Pub'^  by  J  Sidebotham  2a  Sackville  S'  [181 1]' 

Engraving  (coloured  impression).  Two  elderly  men  ride  (r.  to  1.)  on  well- 
bred  horses.  The  nearer,  who  is  slightly  to  the  r.,  is  slim  and  very  erect  with 
an  umbrella  under  his  r.  arm.  The  other  is  stouter,  wears  a  short  brown  wig 
under  a  top-hat,  and  has  an  intimidating  profile. 

The  stouter  man  is  probably  John  Toler  (1745-183 1),  Baron  Norbury, 
Chief  Justice  of  the  Common  Pleas  in  Ireland,  noted  for  partiality  and  buffoon- 
ery on  the  bench.  His  companion  is  probably  called  Abel. 
7I X  7f  in.   With  border,  8 J  X  8|  in. 

'  So  dated  by  E.  Hawkins. 

40 


PERSONAL   AND   SOCIAL   SATIRES    l8ll 

11754  DREW  FROM  LIFE,  JULY— 13™  isiL 

Engraving.  A  thin,  middle-aged  military  officer  in  profile  to  the  1.  faces  a 
barking  spaniel,  leaning  backwards,  and  raising  his  sword  in  a  fierce  gesture. 
He  has  a  small  pigtail,  and  wears  a  crescent-shaped  cocked  hat,  sword-belt, 
sash,  gloves,  and  tasselled  Hessian  boots.   Below  the  title: 

Lo!  in  his  iirath  George  Purdon — Drew 

His  fighting  Szvord,  and  swore 
"By  this  hand,  which  many  a  Frenchman  slew, 
"And  by  my  hard  earnd  Laurels  too'' 
"I'll  run  you  Mister  Jocus  thro' 
"If  you  bark  any  more. 

George  Purdon  Drew  was  Major  in  the  45th  foot  or  Nottinghamshire 
Regiment  of  foot,  gazetted  7  Jan.  1808.  Army  List,  181 1. 
8^x8|in. 

11755  CRIB  UNCORKING  BLACKSTRAP     98 

W.  £^— [Elmes]  Sen'— 

16  Octo'' — 18 1 1  Puhl'^ — by  Tho'  Tegg. — 11 1  Cheapside  London 

Price  One  Shillin  Coloured. 

Engraving  (coloured  impression).  Tom  Cribb  stands  in  the  foreground,  full- 
face,  in  a  sparring  attitude,  but  holding  a  bottle  whose  cork  he  has  just  drawn. 
In  the  bottle  is  a  negro's  face;  the  contents  explode  violently,  with  inscriptions 
in  the  explosion:  a  Jaw  breaker — Fibbing — Fibbing — More  Punishment,  A 
Floorerer,—A  Nobber  A  Doubler ,—Want  of  Wind  A  Left  Flush,— A  Rally 
Sparring  for  Wind.  Behind  him  is  a  table  round  which  sit  and  stand  raffish- 
looking  men,  drinking,  cheering,  and  smoking.  .\  punch-bowl  is  on  the  table, 
empty  bottles  on  the  floor.  Captain  Barclay  stands  with  one  foot  on  the  table 
raising  his  glass,  to  give  the  toast:  Gentlemen — the  Milling  Champion  at 
Thisselton  Gap.  Six  others  shout:  Bravo,  Cap" — ;  Brazo  Barclay  for  ever.; 
Bravo,  Milling  for  ezcr.;  Bravo, — Bravo, — Scotch  Training  for  ever.;  Crib,  and 
Barclay  for  ever.;  Bravo  Cap" — Huzza. 

Tom  Cribb  (i 781-1848),  champion  of  England  (1808)  beat  Molineux,  a 
negro,  for  £600  at  Thissleton  Gap,  Leicester,  28  Sept.  iSii ;  Molineux's  jaw 
was  broken.  His  trainer  was  Captain  Barclay,  the  pedestrian  (properly 
Barclay-Allardice,  1 779-1 854,  son  of  Robert  Barclay  of  Ur}'),  Europ.  Mag. 
Ix.  308.  Black  strap  is  (bad)  thick  sweet  port.  The  theme  clearly  derives  from 
Gillray's  Uncorking  Old  Sherry  [No.  10375].  ^^^  ^^^  match  see  No.  11786. 
I4|x8|  in. 

11756  ANTICIP.\TION  [1811] 
Engraving  (coloured  impression).  A  smartly  dressed  militar}'  officer  sits  on 
a  stool  with  his  feet  thrust  through  stocks  inscribed  Justice.  His  hands  rest 
on  an  upright  stick  or  prop  inscribed  Waterford  Intrcst.  The  stool  is  inscribed 
Infamy,  its  legs  Impudence,  Cozcardicc,  Thief,  Lies,  Ignorance.  On  the  ground 
are  a  broken  sword  inscribed  G,  and  a  gorget  inscribed  Sy.  The  scene  is  a 
countrified  street;  in  the  background  is  a  group  of  three:  two  officers,  one 
of  whom  stands  watching  the  victim,  the  other  turns  his  back,  while  a  lady 
holding  a  sunshade  also  watches. 

One  of  a  set  of  prints  with  inscriptions  and  annotations  w'hich  show  that 
Godfrey  Green,  accused  of  misappropriating  funds  to  pay  his  debts,  escaped 
indictment  but  was  transferred  from  the  87th  to  the  34th  Regiment  on  30  May 
181 1.    G.  G.  appears  in  the  181 1  Army  List  as  Lieutenant  (gazetted  1807) 

41 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

in  the  87th  or  Prince  of  Wales's  Irish  Regiment;  he  is  not  in  the  1812  List. 
The  title  implies  an  anticipation  of  the  verdict  of  a  civil  or  military  court.  The 
absence  of  imprint  on  these  prints  suits  their  libellous  character.  'Waterford 
Intrest'  suggests  an  interest  in  the  boroughs  of  County  Waterford :  Godfrey 
Greene  (?  this  man's  father)  was  returned  for  Dunvargan  in  1776.  Perhaps 
a  reduced  version  of  a  plate  uniform  with  Nos.  10757-9,  ^^'^  which  appears 
in  Nos.  1 1758,  1 1759. 
5liX4|in. 

11757  HOW  TO  CATCH  A  GREEN  LINNET 

[W.  Heath.]  [181 1] 

Engraving.  A  slim  and  dandified  officer  with  the  head  of  a  bird  stands  in 
profile  to  the  1.  at  a  portable  brass-bound  desk  on  a  plain  wooden  table.  He 
holds  bank-notes,  inscribed  One  and  Bank;  in  his  beak  is  a  note  inscribed 
Bank  Fifteen.  In  his  pocket  are  papers  inscribed  Tailors  Bills  &'^'^  and  A  Nezv 
Way  to  pay  Old  Debts  [Massinger's  comedy] .  The  buttons  of  his  coat  are 
inscribed  Sy,  and  on  the  hilt  of  his  sword  is  a  G,  as  in  No.  11758.  He  wears 
cavalry  boots  with  tassels,  high  heels,  and  enormous  spurs.  The  door  of  the 
room  (r.)  is  bolted.  On  the  wall  are  two  pictures:  View  of  Hanging  Wood  in 
the  C°  of  Warterford,  a  landscape  with  a  sign-post  resembling  a  gibbet;  The 
Prodigal  Son  [tending  swine] . 

A  satire  on  Godfrey  Green,  who  seems  to  be  robbing  the  Paymaster's  desk. 
See  No.  11756,  &c.  The  print  appears  in  No.  11759. 
i3i6X8|in. 

11758  GREEN     TURNED     YELLOW.     OR,     REFLECTIONS     ON 
EMBARKING  FOR  THE  CONTINENT 

Veritas  fecit   [Williams.]  [1811] 

Engraving  (coloured  impression).  Green  stands  in  profile  to  the  1.  at  a  table 
and  open  desk  as  in  No.  11757.  ^^  tears  in  half  a  print,  Anticipation  [see 
No.  1 1756],  the  stocks,  the  stool  inscribed  Infamy,  and  the  gorget,  &c.,  being 
visible.  Under  his  arm  is  a  rolled  print  inscribed  Green  Linnet  [see  No.  1 1757]. 
He  wears  very  smart  uniform  with  a  crescent-shaped  cocked  hat  with  a 
cockade  and  drooping  aigrette.  His  buttons  and  sword-belt  are  inscribed  34 
[instead  of  8y^  and  on  the  hilt  of  his  sword  are  the  letters  GG.  Gloves  lie 
on  the  chair  behind  him.  Beside  the  open  desk  lie  two  bundles  of  Bills.  He 
says:  O.  damn  this  business — notwithstanding  I  escaped  the  Itidictment  I  have 
jump'd  out  of  the  fry-pan  into  the  fire,  I  dread  the  Idea  of  Joining  my  new 
Regiment.  I  exchanged  to  escape  the  alternative  of  being  ******  but  these  infernal 
caricatures  will  drive  me  to  desperation  I  wish  I  had  spirit  enough  to  shoot  myself 
— If  these  reach  the  Reg^  Fll  be  sent  to  Coventry  for  ever! 

See  No.  11756,  &c.  A  companion  pi.  to  No.  11759. 
12^X81!  in. 

11759  [BANE  AND  ANTIDOTE.] 
Veritas  deP  1811.   [Williams.] 

Engraving  (coloured  impression).  No  title.  A  companion  pi.  to  No.  11758. 
Green  sits  in  profile  to  the  1.  at  a  table  strewn  with  papers  inscribed  Court 
of  Inquiry;  Reasons  for  quitting  my  last  Regiment;  Bills;  Letters  from  Lawyers. 
His  buttons  &c.  are  inscribed  34.  He  has  no  sword,  but  in  his  r.  hand  is  a  pistol, 

42 


PERSONAL   AND   SOCIAL   SATIRES    1811 

the  butt  inscribed  G.G.,  the  stock  Courage.  In  his  1.  hand  are  three  carica- 
tures, the  uppermost  Anticipation  [So.  11756]  with  How  to  C  .  .  .  net  [Xo. 
1 1757]  and  a  print  (partly  visible)  of  a  peacock  with  the  head  of  Green  wearing 
a  cocked  hat  and  called  Peacock  .  .  .  These  he  weighs  against  the  pistol  with 
an  agonized  frown.   Below  the  design: 

My  Bane  and  Antidote  now  lye  before  m,  [sic] 
This  in  a  moment  brings  me  to  an  end 


But  these  inform  me  I  shall  never  die!!   Cato   [Addison  (v.  i).] 

The  table  is  inscribed  Breach  of  Trust  and  Obstinacy ;  the  chair,  Incorrigible- 
ness.  Disgrace,  and  Lies  (on  the  four  legs).  On  the  wall  is  a  framed  placard: 
Dashing  Advice  to  Officers. — get  a  friend  to  pay  for  your  clothes  and  send  you 
the  reciepts.  NB.  shezv  them  in  proof  of  payment  tchen  he  asks  you  for  the  Monev. 
— Never  mind  a  horsewhipping  If  your  friend  leaves  the  room  zcith  money  on  the 

table  borrow  some the  Paymaster  is  fair  game.   See  No.  11756,  &c. 

I2^x8f  in. 

11760  THE  BERKELEY  SLIP  OR  A  LESSON  FOR  SPINSTERS. 

[Williams.] 

Pub'^  July  7"'  1811  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  A  fashionable  young  man  kneels  beside 
a  good-looking  girl  who  sits  indecorously  on  the  ground  leaning  against  an 
upright  chair  (r.).  Both  look  up  at  a  man  who  stands  in  the  doorway  (1.), 
saying,  O'ho  I  am  afraid  I  have  interrupted  you.  He  answers:  No,  No,  only 
a  going,  ?iothing  criminal  upon  my  honor,  just  going  to  Kiss  .Mary  a  little.  She 
says  composedly :  No  brother  tlw  Gentleman  was  only  going  to  behave  genteely. 
A  corner  of  a  handsomely  furnished  room  is  the  setting,  with  a  folded  Pem- 
broke table  behind  the  visitor,  on  which  is  his  hat.    Below  the  title: 

''And  one  false  Slip  entirely  damns  her  Fame." 

Trust  not  to  Man,  hozcever  Debonair 

Nor  trust  your  bottoms  on  a  slippery  Chair. 

They  are  identified  in  an  old  hand  as  Col.  Berkeley  and  Miss  Westrop. 
iif  X8.^  in. 

11761  DINNER  OF  THE  FOUR  IN  HAND  CLUB  AT  SALTHILL. 
G  Cruikshank  fe' 

Published  June  i^'  181 1  by  M  Jones  5  Newgate  Street 

Engraving.  PI.  from  the  Scourge,  i,  before  p.  431.  A  scene  of  drunken 
disorder,  the  members  drinking  toasts,  fighting,  or  asleep.  A  long  table 
littered  with  bottles,  some  broken,  glasses,  &c.,  extends  across  the  design. 
On  the  extreme  1.  is  the  chairman's  seat,  empty.  It  is  surmounted  by  a 
gigantic  broad-brimmed  hat  and  flanked  bv  whips.  On  the  back  is  a  design 
of  a  coach-wheel  surmounted  by  a  similar  hat  and  having  the  motto  Prime 
Bang  Up  [see  No.  11700].  A  man  stands  on  the  table  drinking,  holding  up 
decanter  and  glass.  One  man  smokes  a  pipe  and  holds  a  frothing  tankard 
inscribed  Tempest.  Most  of  the  members  wear  coaching-dress,  some  with 
hats  of  varying  patterns.  A  man  wearing  a  coat  with  multiple  capes  sits 
tipsily  on  an  overturned  chair,  holding  a  whip  and  imaginary  reins,  as  if 
driving  a  four-in-hand.  Next  him  is  a  man  who  spills  wine  from  a  goblet 
made  of  a  skull  and  inscribed  Trumpeter  scull  [see  No.  11711],  showing  that 
he  is  Sir  Godfrey  Webster.   He  wears  a  new-fashioned  overcoat,  with  high 

43 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

collar  without  capes,  double-breasted,  with  large  buttons  inscribed  Tally  ho. 
Two  men  lie  on  the  ground,  one  vomiting  into  his  hat.  The  space  behind 
the  table  is  packed  with  men  fighting  and  shouting.  Raised  above  the  others 
is  a  man  playing  a  fiddle.  On  the  walls  is  a  placard  headed  Resolutions  Passd 
at  the  Last  Meeting  of  the  Four  in  .  .  .  Resolved  .  .  .  [signed]  Buxton.  There 
are  two  pictures,  one  of  a  man  driving  an  open  carriage  and  four,  apparently 
a  'landeau-vis',  and  one  a  man  driving  a  coach  and  four,  inscribed  Royal 

M[ail]. 

Illustration  to  an  article  'The  Dinner  at  Salt  Hill' :  The  Four-m-hand  Club 
met  in  Cavendish  Square,  seven  members  only ;  at  Salt  Hill  they  found  pro- 
fessional coachmen  and  a  courtesan,  admitted  a  temporary  member.  The 
president  was  C.  Buxton  (probably  Charles,  1787-18 17,  second  son  of  Thomas 
Fowell  Buxton  of  Essex).  Cf.  an  article  on  the  Club  in  the  Satirist,  i  Mar. 
181 1 :  the  leader  of  the  Club  is  Mr.  C.  Buxton,  the  vehicles  are  all  landeau-vis, 
uniform,  hung  high  and  painted  yellow.  The  great-coats  are  to  be  worn 
without  capes,  the  hats  conical  with  small  brims.  See  also  Gronow,  Reminis- 
cences, 1892,  ii.  108-10.  For  the  driving  mania  see  also  No.  11700,  &c.  The 
design  probably  derives  from  Gillray's  The  Union  Club,  No.  9699,  cf. 
No,  13249. 

There  is  a  second  state,  with  the  title  Bang-up  Dimier  or  Love  and  Lingo, 
a  frontispiece  to  Lexicon  Balatronicum,  A  Dictionary  of  Buckish  Slang, 
University  Wit,  and  Pickpocket  Eloquence.  Compiled  originally  by  Captain 
Grose  .  .  .,  181 1  (Cohn,  No.  486).  PI.  missing  from  the  B.M.L.  copy.  A 
later  edition  with  the  same  pi.  is  A  Bang  up  Dictionary ;  or,  the  Lounger  and 
Sportsmafi's  Vademecum  .  .  .  (Reid,  No.  4617;  Cohn,  No.  46). 

Reid,  No.  122.   Cohn,  No.  732. 
7iixi3|in. 

1 1 762  QUADRUPEDS ;  OR,  THE  MANAGERS  LAST  KICK,  last  Scene. 

G.  Cruikshank  fec^ 

Pub''  September  j^'  1811  by  M  Jones  5  Newgate  Str^ 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  ii,  before  p.  177  (see 
p.  172).  A  wild  affray  between  tailors,  some  mounted  on  asses  or  on  miserable 
horses,  the  design  being  filled  with  a  confused  medley  of  figures,  only  one 
being  a  woman;  she  rides  a  donkey  and  flourishes  a  toy  sword.  The  weapons 
and  missiles  show  that  the  men  are  journeymen  tailors;  they  are  shears, 
cabbages,  and  flat-irons,  with  bludgeons,  turnips,  a  broom,  &c.  There  are 
three  banners:  on  two  are  three  frothing  tankards,  on  one  a  pair  of  shears. 

On  18  July  181 1  a  'heroic,  tragic,  operatic  drama'  with  the  title  of  the  print 
was  played  for  the  first  time  by  the  English  Opera  Company  at  the  Lyceum. 
A  manager  informs  his  creditors  that  he  is  unable  to  pay  his  debts,  since  he 
has  not  been  able  to  introduce  on  his  small  theatre  the  quadrupeds  that  are 
all  the  rage.  He  proposes  therefore  to  produce  '  "The  Tailors,  A  Tragedy  for 
Warm  Weather"  adapted  to  the  present  taste'.  In  the  last  scene,  here  depicted, 
the  rival  bodies  of  the  (London)  tailors,  the  Dungs  and  the  Flints,  appear 
mounted  on  donkeys  and  horses  created  by  the  machinist  and  armed  with 
brooms,  crutches,  &c.  A  tremendous  discharge  of  cabbages  closes  the  scene. 
The  two  most  prominent  actors  are  probably  Raymond  and  Lovegrove.  This 
was  a  satire  on  the  horses  appearing  at  Covent  Garden,  see  No.  11773. 
Examiner,  181 1,  pp.  470  ff.;  Europ.  Mag.  Ix.  44.  The  Tailors  .  .  .,  1767  (cf. 
No.  12509),  is  a  play  on  the  tailors'  wage-disputes  and  trade  clubs,  containing 
parodies  of  famous  passages  from  plays  in  blank  verse.   Its  performance  was 

44 


PERSONAL   AND   SOCIAL   SATIRES    1811 

sometimes  prevented  by  the  tailors,  and  in   1805  there  was  an  organized 
tailors'  riot  to  prevent  it.  The  'Flints'  (see  No.  1 1824)  were  those  who  formed 
clubs  to  resist  the  masters  corresponding  to  trade  union  men,  the  'Dungs' 
w^ere  the  blacklegs.   Cf.  No.  11814. 
Reid,  No.  125.   Cohn,  No.  732. 
6|xi5  in. 

11763  THE  EXAMINATION,  OF  A  YOUNG  SURGEON. 

G.  Cruikshank  fecit 

Pii¥  October  i''  18 11  by  M  Jones  5  Newgate  Str' 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  ii.  263  (second  state). 
Members  of  the  Court  of  Examiners  of  the  Royal  College  of  Surgeons  sit 
on  the  outer  side  of  a  horse-shoe  table,  four  on  each  side  of  the  Master,  who 
sits  in  a  raised  chair,  wearing  a  gown,  bands,  and  hat.  On  the  table  before 
him  are  a  skull  and  bone.  The  examinee,  trembling  and  insignificant,  stands 
on  the  extreme  1.,  facing  a  man  who  has  risen  from  his  chair  to  say  angrily, 
Describe,  the  Organs  of  Hearing;  the  latter's  neighbour  listens  intently  through 
an  ear-trumpet.  The  next  Examiner  sleeps  with  folded  arms;  next,  and  on 
the  Master's  r.,  is  a  man  turning  his  back  on  the  Master  and  holding  his  nose 
while  he  studies  a  book:  Question  upon  Wind  i  Suppose  a  man  uas  to  .  .  . 
What  zv  .  .  .  you  .  .  .  The  aged  and  toothless  Master  (Sir  Charles  Blicke, 
1745-1815)  listens  with  senile  intensity  through  an  ear-trumpet.  On  his  1. 
two  Scots,  ungainly  fellows  wearing  tartan,  are  absorbed  in  conversation;  one 
says :  you  paid  too  dear  for  it  brother  Sergeant,  the  other  takes  snuff  from  a  mull. 
Next  is  a  fat  man  with  swathed  gouty  legs;  crutches  lie  on  the  ground  beside 
him;  he  has  a  paper  thh  [sic]  cow  pox  cronicle,  suggesting  that  he  is  Jenner 
(not  a  surgeon).  He  has  a  pen  in  his  mouth,  spectacles  on  forehead,  and  looks 
sideways  at  his  neighbour,  a  lean  old  man  who  is  intently  counting  piles  of 
coin.  In  the  foreground  is  a  trough  containing  books;  a  man  stands  near  it 
holding  a  large  volume  and  looking  towards  examiner  and  examinee.  A  man 
leaves  the  room  (r.)  looking  over  his  shoulder  with  shocked  distress,  and 
exclaiming  Oh!    In  his  pocket  is  a  paper:  A  Peter  on  the  Gravel. 

The  Master's  chair  is  decorated  with  skulls;  from  its  back  projects  a  striped 
pole  supporting  a  skull  which  serves  as  a  wig-block,  emblem  of  the  old  con- 
nexion between  surgeons  and  barbers,  see  No.  9092,  &:c.  Under  the  chair  are 
monev-bags,  one  inscribed  £50,  the  other  For  Shirt.  Behind  the  chair  are 
two  niches  or  alcoves  in  each  of  which  a  skeleton  is  suspended  by  the  neck 
from  a  rope;  one  (1.)  is  Govenor  [sic]  Wall  [see  No.  9845],  the  other  Lady 
Brozcnrigg.  These  are  symmetrically  flanked  by  four  pictures:  [i]  a  prize- 
fight between  a  negro  pugilist  and  a  skeleton  at  which  the  Master  of  the 
College  presides,  standing  before  his  chair.  [2]  Sartjee,  'the  Hottentot  Venus', 
see  No.  11577,  Sec,  stands  in  profile  to  the  r.  while  'Nobody',  a  man  whose 
legs  are  jointed  to  his  shoulders  as  in  No.  12438,  Sec,  points  with  amusement 
at  her  huge  posterior.  [3]  A  young  woman  without  arms  or  legs,  placed  on 
a  bergcre,  is  inspected  by  an  ugly  man,  who  points  at  her.  [4]  A  brazen  cow 
(or  golden  calf)  is  supported  on  a  garlanded  pillar  on  whose  base  is  a  crown; 
round  this  men,  apparently  surgeons,  dance  gleefully,  holding  hands  in  a 
ring.  On  the  extreme  1.  of  the  wall  is  an  ornate  clock,  showing  that  the 
time  is  eleven.  It  is  topped  by  a  grinning  figure  of  Time  holding  an  hour- 
glass. On  the  ground  is  a  paper:  At  the  sign  of  the  Cow's  Head  Lincolns  Inn 
Feilds. 

The  College  of  Surgeons  was  established  by  royal  Charter  in  1800,  after 
a  contest  with  the  old  Surgeons'  Company,  see  No.  9092,  Sec   The  Court  of 

45 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Examiners  were  ten,  named  in  the  Charter,  one  being  the  Master.  The  pi. 
illustrates  'Medical  Science  Exemplified',  pp.  263-8,  ridiculing  the  education 
and  examination  of  surgeons  with  special  reference  to  two  Scottish  examiners, 
clearly  David  Dundas  and  Everard  Home  (see  No.  11864),  both  Serjeant- 
surgeons  to  the  King.  It  reflects  a  hatred  of  the  surgeon  expressed  in  several 
prints,  cf.  Nos.  9092,  11800.  Blicke  accumulated  a  large  fortune  and  was 
prominent  but  undistinguished  in  his  profession.  The  old  Surgeons  Hall  in 
the  Old  Bailey  was  sold  in  1796  and  replaced  by  the  house  in  Lincoln's  Inn 
Fields.  In  the  old  hall  skeletons  had  been  mounted  in  niches.  That  of  Mrs. 
Brownrigg  the  murderess  was  bought  in  1768,  C.  Wall,  Hist,  of  the  Surgeons' 
Company,  1937,  pp.  69-70. 

There  is  a  first  state  with  the  title  Examination  at  Golgotha  ;  or,  the  College 
of  Skulls. 

Reid,  No.  126.   Cohn,  No.  732. 
7Xi4|in. 

11764  INTERIOR  VIEW  OF  THE  HOUSE  OF  GOD. 

G  Cruikshank  fec^ 

Published  November  i'^  18 11  by  M  Jones  N°  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  ii,  before  p.  349. 
Scene  in  Elias  Carpenter's  meeting-house,  previously  a  paper-stainer's  work- 
shop. The  pulpit,  before  the  organ-loft,  is  the  centre  of  the  design.  Carpenter 
(a  portrait)  raises  a  fist  emphatically,  shouting,  and  Jacob  kissed  Rachel 
Genesis  .  .  .  [&c.],  his  words  reaching  a  young  girl  standing  below  the  organ- 
loft.  Behind  him  stands  a  ragged  clerk,  snuffing  a  candle.  Immediately  above 
their  heads  a  demon  with  webbed  wings  looks  down  from  in  front  of  the 
organ,  playing  on  a  gridiron  (for  fiddle)  with  a  red-hot  poker.  Heads  look 
over  and  through  a  ragged  curtain  bordering  the  organ-loft.  The  congrega- 
tion are  chiefly  ruffians  or  sanctimonious  humbugs,  with  a  few  women,  some 
disreputable-looking.  Four  (comparatively)  well-dressed  women  sit  in  an 
enclosure  just  in  front  of  the  pulpit :  one  has  a  paper  inscribed  Dear  Carpenter. 
Beside  another  is  a  book  inscribed  M''^  Joanna  Southcote  Vision  4.  Conversa- 
tions and  incidents  take  place  among  those  whose  eyes  are  not  fixed  on  the 
preacher.  A  man  puts  his  arm  round  a  young  woman,  showing  her  a  lewd 
book:  Fan\ny'\  Hi[ll];  another  off'ers  a  bottle  of  Gin  to  a  frightened  woman. 
An  old  woman  holds  a  bottle  of  Max  [good  gin].  A  comparatively  well- 
dressed  man  gapes  at  the  preacher  while  a  man  takes  his  watch  from  his 
fob,  another  has  robbed  him  of  a  wallet.  The  latter  holds  a  packet  inscribed 
Signed  Gabriel  3J6'^.  A  sanctimonious  man  beside  the  pulpit  has  a  paper: 
C«/)'  Morris  Hymns — Hymn  i^^  Great  Plenipo.  [The  Plenipotentiary  was  a 
coarse  song  by  Captain  Morris,  cf.  No.  7935.]  Near  a  small  door  (r.)  an  affray 
with  clubs  is  going  on,  beside  a  notice :  House  of  God  ...  5  Pounds  Reward. 
On  the  extreme  1.  is  a  portrait-group  of  detached  observers  who  contrast 
favourably  with  the  congregation.  George  Cruikshank,  a  self-portrait,  T.Q.L., 
holding  a  sketch,  young,  debonair,  and  well-dressed,  talks  to  Jones,  publisher 
of  the  'Scourge',  a  middle-aged  man  on  the  extreme  1.  Next  George  (r.)  is 
Isaac  Robert,  a  slightly  older  and  stouter  replica  of  his  brother,  turning 
towards  a  man  with  a  humorous  profile  identified  by  Layard  as  Hone. 

The  building  is  ramshackle,  with  bricks  showing  through  the  plaster,  and 
has  a  barrel-shaped  roof.  Pictures  decorate  wall  and  roof.  They  include  (i)  a 
man  on  horseback  irradiated  and  framed  by  clouds,  (2)  a  man  enthroned  on 
clouds  and  holding  a  banner,  who  is  addressed  by  a  person  kneeling,  (3)  a 
capering  demon.    In  each  side-wall  is  a  window  covered  by  dilapidated 

46 


PERSONAL   AND   SOCIAL   SATIRES    1811 

Venetian  blinds.  By  one  (r.)  is  a  notice:  Tickets  either  to  these  [:  the  sel[ect]] 
Fezvs  or  to  Heaven  j^  6'^  each.  On  the  pulpit  is  inscribed: 

Hiatus  valde  \  H  — 

Deflendiis      I  Damnation.  — 

Madness  —  Fire  o  Brimstotie 

Blasphemy  Red  Hot  — 

Hot  water  — 

Lukewarm  — 

Milk  — 

Water  — 


Lust  .  .  . 
Drowsijiess 


Beneath  this  (and  under  the  pulpit)  is  an  arched  recess  in  which  is  the  head 
of  a  demon  gnashing  his  teeth  and  pointing  upwards. 

Above  the  design :  ''Believe  not  every  Spirit'',  but  try  the  Spirits,  zvether  they 
are  of  God;  because  many  false  prophets  are  gone  out  into  the  world."  I  John. 
Chapter  iv.  Verse  i^' — . 

This  meeting-house  was  in  Kennington  Road ;  Carpenter  is  not  to  be  con- 
fused with  Lant  Carpenter  (1780- 1840),  the  Unitarian  minister.    A  savage 

account  of  Carpenter,  'Mr  and  the  House  of  God',  appeared  in  the 

August  number  of  the  Scourge,  ii.  94-102.  Tickets  signed  bv  the  Angel 
Gabriel  are  said  to  be  sold.  The  w^alls  are  decorated  with  pictures  by  a  herald- 
painter's  apprentice,  representing  his  own  visions;  most  conspicuous  is  one 
of  Christ  'riding  on  a  white  horse  in  boots  and  spurs'.  The  congregation  is 
said  to  be  chiefly  composed  of  discarded  Methodists.  Actually,  Carpenter, 
a  paper-maker  of  Neckinger  House,  Bermondsey,  set  up  a  'chapel'  in  1803, 
on  the  walls  of  which  the  dreams  of  one  Henr)-  Prescott  of  Bermondsey, 
interpreted  by  Joanna  Southcott,  were  depicted.  The  'tickets'  must  be  the 
half-sheets  signed  and  sealed  by  Joanna,  by  which  the  faithful  were  'sealed' 
or  certificated  for  the  millennium;  these  she  was  falsely  accused  of  selling. 
The  paper  was  supplied  by  Carpenter,  then  one  of  her  leading  preachers,  but 
who  seceded  from  the  prophetess.  None  was  sealed  after  1808,  when  one 
of  the  sealed  was  convicted  of  murder.  See  An  Impartial  Account  of  the  Life 
and  Writings  of  Joanna  Southcott  .  .  .,  Leeds,  18 14,  pp.  39-43;  B.ALL. 
Catalogue,  s.v.  Elias  Carpenter,  and  No.  12329.  Cf.  the  treatment  of  Hunting- 
ton's meeting-house  in  No.  11080. 

Reid,  No.  127.    Cohn,  No.  732.  Reproduced,  Layard,  p.  62. 

11765  DOUBLE  BASS. 

G.  Cruikshank  fecit 

Pub''  at  J  Johnston  s  N°  loi  Cheapside — May  lo""  18 11 

Engraving  (coloured  impression).  Two  men,  elderly  and  grotesque,  stand 
one  on  each  side  of  a  double-bass,  playing  it  simultaneously  with  great  vigour; 
one  (r.)  is  left-handed.  Behind  the  instrument  stands  a  violinist,  holding  up 
fiddle  and  bow  in  his  r.  hand,  giving  an  agonized  scream  and  stopping  his 
ear  with  his  finger.  In  the  foreground  lies  a  large  open  music-book:  Double 
Bass  Hum  strum  diddle  dinn.  On  the  wall  is  a  picture  of  a  little  chimney- 
sweep flourishing  two  brushes  like  drum-sticks  behind  the  Hottentot  Venus 
(see  No.  11577,  &c.),  who  capers  along,  pipe  in  one  hand,  staff  in  the  other, 
her  much-exaggerated  posterior  serving  as  a  drum.  A  vase  of  flowers  stands 
on  a  wall-bracket.  Below  the  title:  Proposals  for  six  practical  Duets  adapted 
to  any  instrument. 

Reid,  No.  121.   Cohn,  No.  1072. 
8x7  in. 

47 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

11765  a  a  second  state  with  altered  imprint:  Pu¥  June  21'^  18 13  by 
H.  Humphrey  S^  James's  Street  London 

There  is  a  third  state,  the  picture  of  the  sweep  and  Hottentot  removed,  and 
a  fourth,  with  other  alterations  to  the  plate. 

1 1766  THE  TAYLOR'  SHEERING  THE  GEESE  OR  THE  PROTEST- 
ANTS IN  THE  WRONG  BOX. 

[W.  Heath.] 

Pub  Feb  5"^  1811  by  Fores  50  Picadilli 

Engraving  (coloured  impression).  A  tailor  uses  his  shears  and  yard-stick  to 
chase  five  ladies  from  an  open  door  (1.)  through  which  is  seen  a  narrow  section 
of  two  tiers  of  crowded  boxes  on  the  opposite  side  of  the  theatre.  A  card  of 
patterns  projects  from  his  pocket;  his  dress  is  in  disrepair  and  he  wears  the 
ungartered  stockings  and  slippers  characteristic  of  the  tailor.  Above  the  door 
is  a  notice:  Boxes  all  Taken.  The  ladies,  who  are  in  evening  dress  with 
feathers  or  flowers  in  their  hair,  flee  in  terror.  The  tailor  cuts  the  back  of  a 
lady's  dress,  revealing  posterior;  others  have  been  similarly  treated.  He 
shouts :  If  I  have  not  a  right  to  do  as  I  will  with  my  own,  who  has,  if  you  conspire 
to  injure  me  I  will  Clip  you  depend  on  it  So  off  offjjj  Two  victims  say  respect- 
tively :  Upon  my  life  he  handles  his  Yard  Famously;  aye  and  Sheers  too  I  think. 
The  boxes  in  the  background  are  filled  with  a  fashionable  audience. 

The  tailor  is  evidently  the  discredited  William  Taylor,  manager  of  the 
Opera,  that  is,  the  King's  Theatre  in  the  Haymarket,  see  No.  8010.  There 
had  been  a  move  for  an  English  Opera  House,  or  for  the  performance  of 
English  instead  of  Italian  opera  (cf.  No.  11772).  According  to  the  Satirist, 
viii.  159  (i  Feb.  181 1),  meetings  of  subscribers  to  the  Opera  had  been  held 
to  devise  some  other  establishment  for  fashionable  amusement,  so  that  'the 
insolence  of  this  adventurer  has  at  last  received  a  check  . . .'.  See  also  pp.  36-8. 
For  Taylor  see  No.  12133,  &c. 
8|x  i2|  in. 

11767  CLEARING  AWAY  THE  RUBBISH  OF  OLD  DRURY. 

[Williams.] 

Pub'^  Ocf  28^^  1811  by  Walker  &  Knight  N°  7  Cornhill 

Engraving  (coloured  impression).  Irish  labourers  clear  away  bricks  and 
rubbish  from  the  foundations  of  Drury  Lane  Theatre  (burnt  down,  24  Feb. 
1809).  In  the  foreground  Sheridan  lies  on  his  back,  with  old  bricks,  in  a 
wheelbarrow  pushed  by  W^hitbread,  dressed  as  a  labourer,  who  says:  Now 
that  we  have  got  rid  of  all  the  wash  and  grains  we'll  brew  some  fresh  Intire.  Two 
tankards  of  Whitbreads  Intire  [cf.  No.  10421]  lie  beside  him.  Sheridan 
flourishes  a  document  inscribed  20' 000  and  exclaims:  Hope  told  a  flattering 
Tale!  Dam  that  Brewer  and  his  Intire,  he  has  wash'd  me  out  with  only  2o'ooo. 
but  I  Know  how  to  Palaver  them  over  and  get  in  again.  A  labourer  (r.)  leans 
on  his  spade  watching  the  barrow;  he  says:  By  Jasus you've  a  rare  load  there 
sure  enough  some  of  the  Ould  Foundation  I  parceave!  In  the  middle  distance 
two  other  barrows  are  being  pushed  in  the  same  direction ;  in  the  first  Tom 
Sheridan  (cf.  No.  11438)  sits  among  bricks  holding  up  an  open  book:  Joe 
Miller  Jests.  He  has  a  paper  inscribed  12.000.  The  man  pushing  says: 
Be  aisy  my  dear  Tommy  I'll  not  spill  ye  becase  ye  are  a  chip  of  the  ould  block. 
He  is  followed  by  a  barrow  in  which  sprawls  a  tragedy  queen  holding  up  a 
dagger  and  a  goblet,  with  a  feathered  helmet  and  baton  in  her  lap.  The  man 

48 


PERSONAL   AND    SOCIAL   SATIRES    1811 

pushing  says:  Arrah  note  don't  make  sich  a  bodderation  han't  you  got  all  the 
Tinsel  zvid  you  my  Jewel.  The  scene  is  bounded  by  a  high  irregular  hoarding 
in  front  of  which  labourers  are  working.  Behind  this  is  a  brick  wall  with 
windows,  the  comer  inscribed  Vinegar  Yard. 

In  October  181 1  the  final  arrangements  for  the  rebuilding  of  Drury  Lane 
Theatre  by  a  Committee  presided  over  by  Whitbread  were  complete.  Of  the 
^(^400, 000  subscribed  ^{^40,000  was  applied  to  buying  the  old  patent  interest, 
;^20,ooo  for  Sheridan,  the  remaining  ^^20,000  equally  divided  between 
Mrs.  Linley,  Mrs.  Richardson,  and  Tom  Sheridan.  Whitbread  and  others 
delivered  possession  of  the  ground  and  materials  to  the  builder,  Rowles,  on 
19  Oct.,  and  building  began  on  21  Oct.  Oulton,  Hist,  of  the  Theatres  of 
London,  i.  217  f,  Cf.  the  Examiner,  20  Oct.  181 1,  '.  .  .  it  appears  that  the 
majority  of  the  lawful  Creditors  are  to  accept  of  5s.  in  the  pound,  while 
Mr.  Sheridan,  the  Bankrupt  Proprietor,  and  the  man  who  has  occasioned  all 
this  confusion  and  loss  is  to  retire  with /or/)'  thousand  pounds  in  his  pocket! — ' 
For  Sheridan  and  Drur\'  Lane  shareholders  cf.  No.  10459,  ^^-  ^^^  Nos, 
11729,  11846,  11864,  11935,  1 1936  (a  sequel),  11940,  12325,  13369. 
8|xi3in. 

11768  THE  GAME  CHICKEN. 

London  Pii¥  July  1811  by  W'"  Holland.  Cockspur  Street. 

Aquatint  (coloured  impression).  'Romeo'  Coates,  in  profile  to  the  1.,  drives 
a  pair  of  rather  clumsy  horses  in  a  grotesque  curricle.  Its  body  is  a  large 
chamber-pot,  on  which  Coates  sits,  his  thin  legs  dangling.  This  is  inscribed 
Cock  a  Doodle  Doo!  above  a  monogram  in  which  the  letters  R  C  are  decipher- 
able. The  carriage  and  harness  are  decorated  with  crowing  cocks  in  the 
round  (.''  of  brass);  and  one  sits  on  Coates's  head,  serving  as  a  hat.  Cocks 
in  relief  decorate  the  harness. 

Coates  (1772-184S)  drove  a  curricle  shaped  like  a  kettle-drum;  across  its 
bar  was  a  large  brazen  cock,  with  his  motto,  'While  I  live  I'll  crow',  see 
No.  1 1950.  Among  the  names  by  which  he  was  known  was  'Cock-a-doodle- 
doo  Coates'.    See  No.  11769. 
c.  io|x  13!  in.  (pi.). 

11769  LOTHARIO,  AS  PERFORMED   BY   M«  COATES  at  the  Hay- 
market  Theatre  Decetn^  g"'  1811 

[Williams.] 

London  Pub'^  Decern''  ii'^  by  W"  Holland  N"  ii  Cockspur  St. 

Engraving  (coloured  impression).  Coates,  in  gorgeous  theatrical  dress,  stands 
with  knees  apart  and  fiexcd,  looking  to  the  r.,  holding  his  scabbard  and  draw- 
ing his  sword.  Five  enormous  ostrich  feathers  tower  above  his  high-crowned 
hat.  He  wears  a  jewel  suspended  from  his  neck,  a  tight-fitting  white  suit 
with  elaborate  sash  and  cloak,  both  fringed.  His  words  are  etched  beside  the 
feathers : 

Thou  hast  ta'en  me  somewhat  unawares,  tis  triie ; 

But  Une  and  war  take  turns  like  day  and  night. 

And  little  preparation  serves  my  turn. 

Equal  to  both,  and  arm' d  for  cither  field. 

We've  long  been  foes,  this  moment  ends  our  quarrel; 

Earth,  Heav'n,  and  fair  Calista  judge  tfie  combat. 
Coates(i772-i848),  a  wealthy  West-Indian,  who  called  himself  an  'Amateur 
of  Fashion',  appeared  as  Romeo  in  Bath  on  9  Feb.  1810,  and  as  Lothario  in 

49  B 


CATALOGUE  OF   POLITICAL   AND    PERSONAL   SATIRES 

Rowe's  Fair  Penitent  at  the  Haymarket  on  9  Dec.  181 1.  The  Haymarket 
season  was  over  and  this  was  a  benefit  performance  ostensibly  for  a  widow, 
but,  according  to  the  Satirist  (x.  53),  was  got  up  by  and  for  John  WiUiams 
(Anthony  Pasquin),  who  induced  Coates  to  make  himself  a  laughmg-stock. 
See  Byron's  description  in  a  letter  to  Hobhouse,  Byron's  Corr.,  ed.  Murray, 
1922,  i.  64-6;  Gronow's  Recollections,  1877,  pp.  47-52.  See  Nos.  11844, 
1 1934,  1 1935.  His  acting  in  this  part  was  mimicked  by  Mathews  (as  Romeo 
Rantail)  in  At  Home  (25  Feb.  1813),  when  his  display  of  his  hat  and  diamonds 
was  ridiculed,  see  No.  12324.  He  was  stage-mad,  and  played  (atrociously)  for 
charities  and  benefits  without  fee,  forcing  his  services  on  the  management. 
Genest,  viii.  207,  307  f.,  627-30. 
I2^X8|  in. 

11770  DRAMATIC  ACTION  ILLUSTRATED,  OR  HAMLET'S 
ADVICE  TO  PLAYERS,  SUIT  THE  ACTION  TO  THE  WORD, 
AND  THE  WORD  TO  THE  ACTION.     196 

[Williams.]    [Date  erased  ?  1811.] 

Tho'  Tegg  III  Cheapside.  price  j/-  colored 

Engraving  (coloured  impression).  A  design  in  six  almost  equal  compartments 
arranged  in  two  rows.  Coates  (see  No.  11769)  stands  in  six  difi"erent  attitudes 
in  the  dress  he  wore  as  Lothario,  see  No.  11769.  Each  design  has  a  caption 
describing  an  ill-conceived  gesture :  [i]  Through"  [thrust  your  hands  forward)] 
his  arms  are  held  out  to  the  r.  [2]  The  Wide  {Spread  out  your  Arms) ;  they  are 
extended.  [3]  Circle''  {Describe  a  circle  zvith  your  finger);  he  stands  with  r. 
forefinger  pointing  to  the  ground,  1.  hand  on  hip.  [4]  Of  Ten  {Hold  tip  both 
your  Hands);  his  hands  are  held  up  to  display  his  outspread  fingers.  [5] 
Revolving"  {Describe  a  circle  backzvards  zvith  your  ha?id);  he  stands  pointing 
downwards  with  r.  forefinger.  [6]  Years"  {Lay  hold  of  your  Ears.).  He  pulls 
the  lobes  of  his  ears.  After  the  title:  Dedicated  to  the  celebrated  Amateur  of 
Fashion. 
8|x  13  in.   Each  compartment  c.  4IX4I  in. 

1 1771  A  CART  LOAD  OF  YOUNG  PLAYERS  ON  THEIR  JOURNEY 
TO  LONDON. 

[Williams.] 

Pub'^  Nov''  1811  by  W""  Holland  N°  11  Cockspiir  5'  London 

Engraving  (coloured  impression).  A  countryman  drives  (1.  to  r.)  a  two- 
wheeled  farm-cart  with  a  body  consisting  of  a  cage  for  poultry  above  which, 
as  an  upper  story,  is  a  shallow  trough  in  which  stand  posturing  midgets  in 
theatrical  costume;  on  this  is  inscribed  To  Mess''^  Harris  and  Kemble  London. 
The  driver,  a  yokel  in  smock  and  gaiters,  says :  /  never  had  such  a  troublesome 
Cargo,  in  all  my  born  days — they  zvill  sartainly  kill  one  another  before  they 
reach  the  Tropolis, — Pm  dang'd  but  I  do  think  the  old  Mare  has  a  mind  to  turn 
Actor,  she  cocks  her  ears  in  such  a  wild  manner.  The  thick-set  animal,  with 
twitching  ears  and  raised  tail,  paws  the  ground.  Through  the  bars  of  the 
cage  a  cock  and  a  goose  extend  their  necks,  labelled  Cock  for  Hamlet  and  For 
Mother  Goose.  Above,  the  actors  rehearse  their  parts:  one  takes  another  by 
the  shoulder,  saying,  Now  Villain  shall  I  cut  thy  throat  or  thou  mine;  the 
answer :  My  Arm  a  nobler  Victory  ne'er  gain'd.  The  next  two,  obscured  by 
the  gestures  of  those  in  front,  say :  Whip  me,  ye  Devils  Blow  me  about  in  Winds, 
roast  me  in  Sulphur  Wash  me  in  steep  down  gulphs  of  liquid  fire.  And :  Be  thou 
a  Spirit  of  Health,  or  goblin  datn'nd!  Brings  with  thee  airs  from  Heaven,  or 

50 


PERSONAL   AND    SOCIAL   SATIRES    l8ll 

Blasts  from  Hell — .  A  man  flourishing  a  sword  exclaims :  Of  one  or  both  of 
us  the  time  is  come ;  a  woman  declaims :  Ca7i  I  have  peace  zvith  thee?  Impossible! 
First  Heaven  and  Hell  shall  join;  they  only  differ  more.  On  the  extreme  r.  are 
two  men  in  Highland  dress  holding  daggers;  one  says:  Turn  Hell  Hound 
Turn!,  the  other:  /  zcill  not  Fight  thee. 

In  the  autumn  season  of  1811  several  new  performers,  some  from  provincial 
theatres,  appeared  at  Covent  Garden.  The  Satirist  (ix.  468-71)  accused 
Kemble  and  Harris  of  engaging  docile  new  actors  at  low  salaries  to  replace 
old  favourites  who  were  too  independent  (among  these  new-comers  are 
included  H.  Lewis,  son  of  'Gentleman'  Lewis  who  died  Jan.  181 1,  and  one 
Putnam:  actually  both  appeared  at  the  Lyceum  in  the  Drury  Lane  Company, 
the  former  having  appeared  at  Covent  Garden  on  10  Oct.  1805).  Miss  Sarah 
Booth  (1793-1867)  made  her  debut  on  the  regular  stage  as  Juliet  on  the  open- 
ing night  of  the  season,  9  Sept.'  John  Sinclair  (1791-1857),  the  tenor,  appeared 
on  20  Sept.  as  Carlos  in  The  Duenna  (allegedly  to  replace  Incledon).  A 
Mrs.  Child  was  well  received  as  Emily  in  The  Woodman  on  4  Oct.  Miss 
Feron  made  her  debut  as  Floretta  in  The  Cabinet  on  24  Oct.  According  to 
the  Satirist  she  had  been  'exhibited'  in  the  provinces  as  an  'Infant  Catalani' 
of  fourteen  for  three  years,  and  was  puffed  as  a  successor  to  Mrs.  Dickens 
(playing  with  the  Drury  Lane  Company).  Francis  Huntley  (i787?-i83i), 
afterwards  known  as  'the  Roscius  of  the  Coburg'),  a  provincial  actor  who  had 
played  at  the  Surrey  Theatre  in  1809,  appeared  as  King  James  in  The  Knight 
of  Snozvdon  on  25  Nov.  Minor  first  appearances  at  Covent  Garden  were 
one  Thompson  on  13  Nov.,  Mr.  Broadhurst  from  Sadler's  Wells,  on  21  Nov., 
and  a  Mr.  Grant  from  Liverpool  on  6  Dec.  Europ.  Mag.  Ix.  213,  299,  371, 
450-1.   The  'Cock  for  Hamlet'  is  an  allusion  to  Coates,  cf.  No.  11768;  cf. : 

Your  Romeo  is  not  worth  a  d — n. — Let 

Your  next  part  be — the  Cock  in  Hamlet.    Satirist,  ix.  317. 

'Mother  Goose'  is  an  allusion  to  the  Covent  Garden  pantomimes,  see 
No.  10796. 

8|  X  131^6  in- 

11772  APOLLO  IN  D.-\NGER.    Environd  mth  an  host  of  Foes.   Dryden. 
Luigi  Seuzanome  Sc.  [?De  Wilde] 

Publish'^  for  the  Satirist  [June  181 1] 

Aquatint.  PI.  from  the  Satirist,  viii.  453.  An  assault  on  Apollo  (1.)  is  made 
by  a  force  of  Tartar  horsemen,  headed  by  a  lady  in  quasi-medieval  costume 
on  an  armoured  charger:  she  rides  at  him,  levelling  her  spear.  He  flinches 
back,  with  a  broken  bow  in  his  1.  hand,  his  helmet  and  quiver  on  the  ground. 
He  is  a  classical  figure,  almost  nude;  his  garlanded  head  is  irradiated.  He  is 
also  attacked  from  behind  by  a  man  wearing  boxing-gloves.  The  amazon's 
horse  fills  the  centre  of  the  design.  Kemble  takes  it  by  the  tail,  and  is  about 
to  ginger  it  with  a  piece  of  Cocktail  Ginger.  In  his  pocket  is  a  paper:  New 
Readings.  In  the  foreground  (r.)  a  plump  man  wearing  spectacles  lies  on  the 
ground  firing  a  blunderbuss  inscribed  Hit  or  Miss  at  Apollo.  From  its  muzzle 
issue  words  and  papers :  Manager  &  Authors  Duties;  Crit[iqu]e  on  the  .  .  .  tion; 
Original  Remarks  on  Light  o  Shade;  Plan  of  a  A'czc  Tragedy;  Operas;  Poetry 
for  an  Oratorio,  Lectures  Odes  lauret  [sic]  I'erses.  The  blunderbuss  is  sup- 
ported on  a  pile  of  large  books:  Americans;  New  Musical  Pieces;  Invectives 
against  the  Italian  Opera ;  Shipwreck  . . .  The  Tartar  horsemen  are  shadowy 
figures  wearing  turbans  with  aigrettes,  and  holding  scimitars;  fifteen  are 

'  So  it  was  said.  But  she  played  in  The  Gazette  Extraordinary  by  Holman  on  23  Apr. 
i8n  at  Covent  Garden.  Europ.  Mag.  lix.  290. 

51 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

drawn  or  indicated.  Behind  Apollo,  a  winged  horse,  Pegasus,  lies  on  his  back 
on  the  top  of  a  mountain  (Parnassus),  snorting  the  words  Oh.  Oh. 

The  print  is  not  referred  to  in  the  text  but  is  a  satire  on  recent  theatrical 
happenings,  especially  the  performance  of  Timour  the  Tartar,  a  'Grand 
Romantic  Melo  Drama'  by  M.  G.  Lewis  at  Covent  Garden  on  29  Apr.  181 1. 
There  was  an  organized  opposition  on  the  first  night,  hand-bills  being  thrown 
from  the  upper  boxes  to  denounce  equestrian  performances  at  a  regular 
theatre;  but  these  were  torn  to  pieces  by  an  audience  delighted  at  the  spectacle. 
Mrs  h'.  Johnston  as  Zorilde  rode  a  white  horse  which  performed  admirably: 
'he  kneels,  leaps,  tumbles,  dances,  fights,  dashes  into  water  and  up  precipices, 
in  a  very  superior  style  of  acting'  (see  No.  11 773,  &c.).  Sixteen  Tartars  were 
mounted  on  horses  which  'lived,  died,  climbed  up  walls  perpendicularly,  and 
scampered  longitudinally'.  ^Mro^.  Mfl?.  lix.  377-8;  Genest,  viii.  236-7.  The 
boxer  appears  to  be  Oxberry  as  young  Contract  in  The  Boarding-house;  or, 
Five  Hours  at  Brighton,  by  Beazley  (his  first  play),  satirizing  the  mania  for 
pugilism,  a  musical  farce  played  by  the  English  Opera  Company  at  the 
Lyceum  on  26  Aug.  Ibid.,  p.  21 1 .  The  man  with  the  blunderbuss  is  evidently 
S.  J.  Arnold,  who  in  1809  obtained  a  licence  to  open  an  English  Opera  House 
(cf.  No.  1 1766)  at  the  Lyceum  during  the  summer  season;  he  was  also  closely 
connected  with  the  Drury  Lane  Company  during  its  three  seasons  at  the 
Lyceum.  He  wrote  many  musical  pieces,  including  The  Americans,  produced 
at  the  Lyceum  27  Apr.  181 1.  For  Hit  or  Miss  by  Pocock,  see  No.  11700. 
It  was  a  very  profitable  piece  for  the  Drury  Lane  Company  in  18 10.  Arnold 
sometimes  collaborated  with  Pye,  the  Poet  Laureate,  his  father-in-law.  Other 
allusions  include  the  conversation  between  an  Author  and  a  Manager  in 
Colman's  Quadrupeds  of  Quedlinburgh  (Haymarket,  26  July  181 1).  Europ. 
Mag.  Ix.  130.  The  theme  that  managers  neglect  the  great  dramatists  is 
perennial,  cf.  No.  11 773.  See  No.  11762.  The  Satirist  seems  to  have  had 
an  animus  against  Drury  Lane,  cf.  Nos.  11079,  "438- 
7|xi4iin. 

11773  THE  CENTAUR-IAN  MANAGER. 

The  Caricaturist  General  fecit  [i  Oct.  18 11] 

Aquatint.  PI.  from  the  Satirist,  ix.  253.  Kemble,  as  a  centaur,  ser\'es  as 
mount  for  Mrs.  Siddons.  He  is  in  profile  to  the  1.,  with  bare  arms  extended 
to  a  troupe  of  performing  dogs  and  cats  to  whom  he  says :  /  toill  engage  you 
all  for  the  present  Season  and — methinks  I  shall  do  zvell,  to  engage  the  Devil  to 
play  Lewis's  Wood  Daemon  [see  No.  10796].  The  animals  are  on  their  hind- 
legs,  fashionably  dressed;  beside  them  squats  an  ape  dressed  as  a  man,  and 
behind  them  stands  a  satyr-like  Devil  holding  a  trident.  Under  Kemble's 
arm  is  a  book :  Emendations  of  Shakespeare  by  I.  P.  K.  Under  his  hoofs  are 
large  open  books  with  blank  pages  and  a  bust  portrait  of  Shakespeare,  the 
face  torn  in  half.  Mrs.  Siddons  is  a  tragedy  queen,  with  a  small  crown  on 
the  back  of  her  head;  she  raises  a  dagger  and  spills  the  contents  of  a  goblet. 
Behind  the  centaur's  kicking  hind-legs  lies  Comedy  on  her  back,  a  young 
woman  holding  up  a  smiling-mask.  Harlequin  kneels  at  her  feet,  flourishing 
his  wooden  sword;  a  Pierrot  stoops  over  her  head,  flapping  the  sleeves  that 
descend  over  his  hands.  Behind  him  and  on  the  extreme  r.  two  asses  on  their 
hind-legs  are  conferring;  they  hold  between  them  [The]  Managers  Last  Kick. 
Both  wear  clothes,  one  being  fashionably  dressed  with  an  opera-hat  under 
his  arm. 

A  satire  on  the  equestrian  performances  at  Covent  Garden.  These  began 
with  a  revival  of  Blue  Beard  on  18  Feb.  1811,  with  a  troop  of  sixteen  horses 
ridden  by  Spahis  who  storm  the  castle.  It  was  very  popular  but  was  denounced 

52 


PERSONAL   AND    SOCIAL   SATIRES    1811 

as  a  disgraceful  lowering  of  the  dignity  of  the  theatre  for  the  sake  of  money. 
Genest,  viii.  231  f.;  Europ.  Mag.  Ix.  131  f. ;  the  Satirist,  viii.  331  f.,  532-5.  Its 
success  led  to  the  introduction  of  horses  in  Timour  the  Tartar,  see  No.  11772; 
the  vogue  for  equestrian  displays  and  the  neglect  of  the  great  dramatists  were 
satirized  in  the  Manager's  Last  Kick,  see  No.  11762;  cf.  No.  13041.  Kemble 
published  adaptations  of  many  of  Shakespeare's  plays,  including  Hamlet, 
Lear,  and  Macbeth.  He  was  attacked  in  the  Satirist,  viii.  356-7,  for  having 
'mercilessly  mangled'  Henry  V  in  his  production  of  25  Mar.  181 1.  For 
performing  dogs  cf.  No,  11079. 
6^1  X  13  in. 

11774  WITH  R.^GE  THE  BARON  BOLD  TURNED  PALE,  A  BLOW 
TREMENDOUS  GAVE  HER  TAIL,  &c  &c  vide  Satirist  N"  30,  page  388. 

[?The  Caricaturist  General]  [i  Dec.  181 1] 

Aquatint.  PI.  from  the  Satirist,  ix.  419.  Baron  de  Geramb  stands  on  a  pave- 
ment facing  a  cow,  whose  tail  he  has  just  cut  off;  he  holds  up  tail  and  sword, 
saying,  G — d  d — n  me  no  tink  she  turn  again  after  cut  its  tail  off,  by  Gar  me 
no  like  her!  Sophia!  Maria!  protect  your  slave.  The  cow's  head  is  lowered 
menacingly;  one  horn  is  caught  in  the  enormously  long  moustache  of  the 
baron,  while  its  hoof  rests  on  a  torn-off  length  of  moustache  from  the  opposite 
side  of  his  face.  He  wears  a  braided  hussar  tunic  with  fur  cuffs  and  a  skull 
and  cross-bones  on  the  breast,  tight  embroidered  breeches  with  high  tasselled 
Hessian  boots,  long  spurs,  and  no  hat.  A  high  curricle  waits  for  him  in  the  back- 
ground with  a  smart  groom  at  the  head  of  a  well-matched  pair.  A  crowd  watches 
from  across  the  street,  and  a  little  girl  runs  for  protection  to  an  elderly  man. 
Illustration  to  verses  called  'Baron  de  G.  A  Poem  in  three  Tumbles',  a 
burlesque  account  of  the  Baron's  career,  parodying  Scott's  Lay  of  the  Last 
Minstrel,  canto  vi.  Satirist,  ix.  386-91  (i  Nov.).  It  begins:  'Lives  there  the 
man  with  head  so  thick.'  His  alleged  exploit  with  the  cow  in  a  London  street 
was  in  order  to  acquire  fame  after  his  arrival  in  England  from  Spain.  After 
other  ignominous  happenings  he  pravs: 

"Oh  Gracious  Heaven!  thy  servant  spare,  who  mad  is, 
"For  glor>%  gold,  Miss  L — g,  and  Poll  of  Cadiz." 
For  his  supposed  addresses  to  Miss  Long  see  No.  11744;  he  published  a 
poem  to  Sophia  of  Cadiz  (181 1),  cf.  No.  11943. 
6f  X  i2|  in. 

11775  PRIME    BANG    UP    XT    HACKNEY    OR    A    PEEP    AT   THE 
BALLOON  12"«  AUGT  80 

W"  E—me[s] 

[Pub.  iS  11]  by  Tho'  Tegg  N"  iii  Cheap  Side  Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  A  plebeian  crowd,  much  caricatured,  cheers 
the  majestic  ascent  of  a  balloon.  On  the  r.  is  part  of  an  old-fashioned  gabled 
building  with  a  large  projecting  sign.  Mermaid:  a  mermaid  emerges  from  the 
sea  holding  up  a  comb  and  a  wine-bottle.  Two  men  and  a  woman  sit  on  the 
beam  of  the  sign,  two  other  men  climb  up  to  it.  In  the  foreground  a  fat 
woman  has  fallen  over  a  sow  and  her  litter.  A  sailor  carries  astride  his 
shoulders  a  stout  woman,  who  waves  frantically.  The  roofs  of  coaches  are 
crowded  with  cheering  spectators.  Others  wave  from  distant  roofs  and  from 
the  square  tower  of  Hackney  Church.  Two  tiny  aeronauts  wave  flags  from 
the  car  of  the  balloon,  which  is  vertically  striped,  with  cross-bands  round  its 
circumference  inscribed  G.  P.  W,  a  crown,  and  P  R. 

On  12  Aug.,  to  celebrate  the  Regent's  birthday,  Sadler  ascended  from 

53 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

the  gardens  of  the  Mermaid  tavern  at  Hackney,  where  the  spectators  were 
said  to  number  3,000,  with  a  greater  crowd  outside  the  gardens.  He  was 
accompanied  by  Lieut.  Paget,  R.N.,  who  paid  100  guineas.  They  descended 
near  Tilbury  Fort  seventy-three  minutes  later.  Europ.  Mag.  Ix.  149-50.  For 
the  title  cf.  Nos.  11619,  11955. 

Reproduced,  G.  Tissandier,  Hist,  des  ballons,  ii.  40. 
i2f  X9  in.  'Caricatures',  x.  118. 

11776  THE  CHALLENGERS  OF  ALL  ENGLAND  CHOP-FALLEN. 
OR  THE  CUMBERLAND  TRIUMPH.    Vide  Stamford  Race  Ground 

[Williams.] 

Pu¥  SepV  1811  by  SW  Fores  N''  50  Piccadilly 

Engraving  (coloured  impression).  Below  the  design:  The  Skill  of  the  Com- 
petors  [sic]  may  be  judged  of  by  the  following— first  Match — Notts  21.  Artillery 
Yagers  23.  Second  Match,  Notts  18  Cumberland  31.  Above  the  design: 
NB  The  Notts  took  2  hours  and  40  minutes  to  fire  their  shots,  in  order  to  drive 
the  Cumberland  into  the  night,  the  Cumberland  fired  theirs  in  43  minutes  begining 
[sic]  at  a  1(4  past  Five.  Two  sets  of  rifle-shooters  are  grouped  at  one  end  of 
a  field.  Five  men,  elderly,  stout,  and  civilian  (the  Notts),  stand  together  dis- 
consolate ;  they  wear  round  hats,  green  suits  with  wide  trousers.  The  Cumber- 
lands  are  smart  and  soldierly  in  braided  hussar  tunics  with  shakos,  long 
braided  breeches,  and  half-boots,  and  are  slim  and  youthful.  One  of  them 
stands  beside  a  banner  (on  which  is  a  bugle)  taking  aim;  the  target  is  in  the 
doorway  of  a  small  building;  the  others  stand  together  on  the  extreme  r. 
beside  a  bench  on  which  they  have  heaped  fringed  garments  (?  dolmans), 
bugle,  sword,  &c.  In  the  foreground  (1.)  is  a  group  of  spectators  and  a  young 
man  with  a  musket  who  threatens  a  dog  in  an  irritated  manner.  He  wears 
a  tunic  rather  like  that  of  the  Cumberlands,  but  with  a  belt,  bugle,  and  white 
breeches,  and  a  handkerchief  tied  round  his  head.  The  words  of  the  speakers 
are  etched  below  the  upper  margin  and  do  not  interfere  with  the  realism  of 
the  design.  A  man  (1.)  points,  saying,  Those  queer  looking  Chaps  are  Robin 
Hoods  Men,  as  they  call  themselves!  A  lady  holding  his  arm  says :  Well  I  always 
thought  Robin  Hood  and  his  Men,  had  been  Gentlemen!  A  pieman  offers  his 
wares  to  a  man  seated  on  the  ground,  saying,  Excellent  Sharp  Shooters  Pyes! 
and  Cumberland  Nuts  I  can't  recommend  the  Nottingham  Cakes,  the  compa?iy 
says  they  are  rather  sour!  The  other  answers :  Why  Master  Pyeman  your  a 
Wag,  you  had  better  take  care  what  you  say,  the  Colonels  a  Magistrate!  A  stout 
spectator  with  a  paper  in  his  pocket  inscribed  Stand  .  .  .  Gun  M[aker]  says 
to  his  neighbour :  Pon  my  vord  dat  little  CoV  vat  you  call  be  very  fine  shoot 
indeed,  you  toss  up  de  pin  in  de  Air  and  he  shoot  of  de  head  pon  my  vord,  I  be  de 
Gun  maker!  The  other  answers:  And  the  Trumpeter  into  the  bargain  it  seems. 
A  portly  (Notts)  volunteer  colonel  says:  It  certainly  jnust  be  oweing  to  the 
Belly  Ache  that  I  fired  so  bad  I  never  had  such  a  belly  ache  in  my  life  before 
Gripe' d  all  night  I  assure  you.  His  companion  says :  Why  I  say  Col'!  that  man's 
fireing  with  a  rest  damme  if  thats  fair  they  shant  have  the  stakes.  One  of  the 
Cumberlands  (r.)  says :  Twigg  the  two  Slings  to  their  Guns! 
9|Xi4|in. 

11777  THE  QUAKER,  PLEADING  HIS  OWN  CAUSE;  OR,  JUSTICE 
ASLEEP,  IN  AN  OLD  MANS'  FIELD, 

[G.  Cruikshank.]  [?  18 11] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  A  Quaker 
wearing  an  enormous  broad-brimmed  hat,  stands  at  the  bar  (1.),  facing  the 

*  Apostrophe  added  in  pen. 

54 


PERSONAL   AND   SOCIAL   SATIRES    1811 

judge,  who  sleeps  in  his  raised  chair  behind  which  is  a  figure  of  Justice  holding 
her  scales  askew.  Between  them  is  the  well  of  the  court  filled  by  a  large  round 
table,  at  which  ten  barristers  sit  or  stand.  One  rises  to  ask:  Pray?  Ohadiah 
why  do  you  wish  for  a  New  Trial?  The  Quaker:  Because  friend.  Justice  did  not 
hear  the  Trial  Nay  she  zcas  asleep  all  the  while  in  an  O Id- M an' s  field!  The  song, 
fifteen  lines  {Tune — ''Ti  Turn  TV),  begins: 

All  men  are  mud,  I  do  affirm; 

Hush!  hush!  hush! 
And  I  am  but  a  sleepy  worm. 

Hush!  hush!  hush! 
The  spirit  mov'd — the  feet  too  stept — 
And  to  an  old  man's  field  I  crept, 
Where  justice  \tvy  soundly  slept. 

Hush!  hush!  hush! 
The  judge  is  not  Lord  Mansfield  (d.  1793)  as  Reid  and  Cohn  say,  but 
Sir  James  Mansfield  (1733-1821),  Chief  Justice  of  the  Common  Pleas  1804, 
resigned  Feb.  1814.  He  came  too  late  to  the  bench  for  his  reputation,  but 
presided  'without  positive  discredit,  in  spite  of  declining  powers'.  DN.B. 
See  No.  12124. 

Reid,  No.  133.     Cohn,  No.  1881. 
5^X8  in.    Broadside,  15x81  in. 

11778  CHORISTERS 

Piihlis''  by  M'Cleary  Nassau  Street  [?  c.  181 1] 

Engraving  (coloured  impression).  The  choristers  sit,  full-face,  in  two  pews 
in  the  choir  of  St.  Patrick's,  Dublin.  In  the  front  pew  only  the  upper  parts 
of  the  heads  of  four  little  choirboys  appear.  Behind  are  six  surpliced  men, 
singing.  On  the  extreme  1.  is  Sir  John  Andrew  Stevenson  ( ?i76o-i833), 
Vicar-Choral  of  St.  Patrick's  from  1783.  The  others  are  probably  also  por- 
traits. Behind  them  a  Gothic  arcade  extends  across  the  design;  above  it  are 
ranged  the  helmets,  each  draped  with  a  tasselled  scarf,  and  the  cross-hilted 
swords  of  the  Knights  of  St.  Patrick. 

The  date  is  uncertain.  The  choir  of  St.  Patrick's  was  used  as  the  chapel 
of  the  Order.  The  absence  of  the  banners  of  the  Knights  is  unexplained. 
J.  H.  Bernard,  The  Cathedral  Church  of  St.  Patrick,  ed.  Oulton,  1941,  p.  74. 
8f  X  I2j"6  in. 

1 1779  A  BARBERS-SHOP  IN  ASSIZE  TIME.— /rom  a  Picture  painted  by 
H.  W.  Bunbury  Esq'' 

J'  Gillrav  fee' 

Published  January  g"'  1811  by  H.  Humphrey  5'  James's  Street  London.^ 

The  Last  Work,  of  the  late  James  Gillray— Now  first  Published  May  15"* 

i8i8By  G.  Humphrey  nephew  and  successor  to  the  late  hP'  H.  Humphrey 

— 2y  S'  James's  Street — 
Engraving  (coloured  and  uncoloured  impressions).  A  countr\^  barber,  his 
assistant,  and  a  boy,  are  engaged  in  shaving  and  wig-dressing.  An  elderly 
rustic  sits  full-face  and  well-lathered  in  an  arm-chair  in  the  centre  of  the  shop, 
while  a  lean  and  tattered  barber  holds  the  bowl.  A  stout  farmer  in  top-boots 
(1.)  with  a  stubbly  face  dubiously  contemplates  a  wig,  which  he  holds  on  a  tall 
wig-block.  On  the  r.  a  fat  barber  painfully  shaves  an  old  man,  while  a  younger 
customer  stanches  a  cut  over  a  basin.  A  young  boy  in  front  of  them  holds 
'  The  date  has  been  left,  the  other  words  are  scored  through. 

55 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

two  elaborately  curled  legal  wigs.  A  long  judge's  wig,  uncurled,  hangs  from 
a  wig-block.  Behind  (1.)  a  prim,  elderly  man  in  a  newly  dressed  wig  adjusts  his 
neck-cloth  at  a  small  mirror;  a  coachman  in  back  view  puts  on  his  tightly 
curled  wig.  There  are  also  two  dogs,  two  cats,  a  magpie  taking  part  of  a  wig 
from  a  box  on  the  floor,  and  another  bird  in  a  cage.  Above  the  door  (r.)  are 
fishing-rods  and  a  creel.  On  the  wall  are  four  prints:  a  naval  battle  (framed); 
a  view  of  the  County  Gaol;  an  execution  scene ;  and  a  skeleton  fiddling  to  exult- 
ing demons.  There  is  also  A  Calendar  of  the  Prisoners  to  be  Tried.  .  .  .  The 
room  is  ramshackle  with  a  casement  window,  bricks  showing  through  the 
plaster.   From  the  roof  hang  a  ham  and  a  bundle  of  turnips  and  carrots. 

Gillray's  last  plate,  with  traces  of  his  latest  manner,  despite  much  roulette 
work,  but  more  characteristic  of  Bunbury.  It  is  said  to  have  been  etched 
during  lucid  intervals  until  his  death,  but  the  original  publication  line  and 
signature  (in  Gillray's  hand)  suggest  that  the  plate  was  finished  in  1811, 
though  it  may  have  been  worked  on  later,  perhaps  by  Cruikshank,  who 
informed  Grego  that  he  had  been  given  Gillray's  unfinished  plates  to  com- 
plete {Rowlandson,  ii.  223).   Cf.  No.  6882,  A  Barbers  Shop  after  Bunbury, 

(^785)-  .  ,     , 

A  smaller  version  of  this  design  was  etched  by  Rowlandson. 

Grego,  Gillray,  pp.  19,  370  f.  (small  copy).    Idem,  Rowlandson,  ii.  223. 

Wright  and  Evans,  No.  582.  Reprinted,  G.W.G.,  1830.  Small  copy,  Everitt, 

P-  5- 
i5|X22jm. 

11780  [IMITATION  BANK-NOTE.] 

Sold  by  S.  W.  Fores,  50.  Piccadilly.  [?  1811] 

Engraving.    Headed :  N'^  24 Text :  /  promise  to  pay  to  Ignorance, 

Hypocrisy  &  Fanaticism,  Methodist  \  Preachers,  or  Bearer  Five  farthings,  when 
Methodism  shall  have  been  |  done  away  by  the  Pious  exertions  of  the  established 
Clergy,  and  when  \  John  Bull's  Family  shall  be  no  longer  scared  by  the  tale  of 
the  Devil  let  loose.  \  London  the  j^'  day  of  Sepf  [181 1]  |  For  Self,  Be-just  & 
Fear-not  |  [signed]  Moral  Rectitude  \  Farthings  FIVE  \  Enf^  No  Cant.  On  the 
1.  of  the  text:  enclosed  in  concentric  circles  a  preacher  declaims  from  a  pulpit 
which  rises  from  a  sea  of  heads.  On  his  shoulder  sits  a  demon  (cf.  Nos.  1 1080, 
1 1764).  Inscription :  I  give  ye  this  consolation — You  'II  all  be  Damn'd.  Above : 
For  modes  of  Faith  \  Let  fiery  Zealots  fight,  \  He  can't  be  wrong,  \  whose  life 
is  in  the  right.  Pope,  Essay  on  Man.  Below:  Mind  not  one  word  |  Such  stupid 
fellows  say;  \  Fear  the  true  God,  \  and  mend  your  sinfid  zvay. 

Cf.  No.  13 109.  One  of  a  series  of  imitation  bank-notes,  numbered  from 
I  to  25,  issued  c.  1803-12  with  the  imprint  of  Luff  man,  and  the  date  of 
publication  in  the  text.  They  were  reissued  by  Fores,  with  the  year  removed 
from  the  plate  and  the  date  of  (?)  sale  added  in  pen.  Those  described  are 
dated  '1818'.  The  original  dates  are  given  conjecturally.  See  No.  10123. 
3ix6iin.  (pi.). 

1 1781  COLLEGE  PRANKS,  OR  CRABBED  FELLOW'S  TAUGHT  TO 
CAPER  ON  THE  SLACK  ROPE. 

Rowlandson  Del  et  Scul  Tegg's  Caricatures  N°  53 

Pubdjan'y  28  1811  by  Tho'  Tegg  N°  iii  Cheapside 
Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  Two  fat  elderly  parsons  in  cap  and  gown 
walking  together  along  the  side-aisle  of  a  large  Gothic  church  fall  violently 

56 


PERSONAL   AND   SOCIAL   SATIRES    1811 

over  a  rope  stretched  across  the  aisle  and  held  by  two  groups  of  under- 
graduates, also  in  cap  and  gown.  With  the  group  on  the  r.  is  a  buxom  young 
woman,  pulling  the  rope.  Two  undergraduates  flourish  long-lashed  whips, 
one  aims  a  squirt,  another  lets  off  a  squib.  The  aisle  is  divided  from  the 
nave  by  an  iron  railing;  on  the  ground  is  a  stone  or  brass  with  a  mitre  and 
crosier  inscribed  Here  Lies  the  Body  of  Bishop  Blear  eyes. 

Grego,  Rowlandson,  ii.  199. 
8f  X  i2|  in. 

11782  BACON  FACED  FELLOWS  OF  BRAZEN  NOSE,  BROKE 
LOOSE.     59 

Rowlandson.  Del 

Pu¥  [date  almost  erased,  March]  .  .  .  181  .  .  by  Tho'  Tegg  N°  iii 

Price  One  Shilling 

Engraving  (coloured  impression).  A  crowd  of  elderly  Fellows  in  cap  and  gown 
issue  from  the  Gothic  doorway  of  the  (?)  chapel  (1.)  and  turn  to  the  1.,  to  walk 
in  back  view  under  an  archway  below  a  mullioned  window,  towards  a  quad- 
rangle which  is  indicated  only  by  the  windows  of  the  (?)  hall.  One  enters  the 
Principal's  Lodge  by  a  Georgian  door  (r.)  facing  that  of  the  chapel.  He  is 
closely  followed  by  a  buxom  girl  with  baskets  of  fruit,  exciting  the  prurient 
interest  of  some  of  the  Fellows.  Others  buy  fruit  from  another  pretty  girl. 
All  are  burlesqued.  The  architecture  is  realistically  drawn.  On  the  wall  of 
the  Lodge  are  two  placards,  one  upside  down,  inscribed  Vice  .  .  .  and  Vice 
Chan''.  The  Principal  of  Brazenose  was  Frodsham  Hodson  (1770-1822), 
Regius  Professor  of  Divinity  1820,  see  No.  11534. 

Grego,  Rowlandson,  ii.  201. 
8|xi3  in. 

11783  A  MAN  OF  FEELING.  126 
Rowlandson  Del 

Pub''  December  2"''  18 11  by  The'  Tegg  N"  ill  Cheapside 
Price  One  Shilling  Coloured 

Engraving.  A  lean  and  grotesquely  ugly  old  parson,  wearing  cap  and  gown, 
sits  in  his  college  room  with  a  pretty  young  woman  on  his  knee.  She  puts 
an  arm  round  his  neck  and  warms  a  foot  at  a  blazing  fire,  on  which  stands 
a  large  coffee-pot.  Her  (large)  straw  bonnet  and  gloves  are  on  the  ground. 
Through  a  high  Gothic  window  (r.)  two  other  Fellows  look  in,  much  amused. 
Behind  him  and  against  his  chair  is  a  table  covered  with  punch-bowl,  lemons, 
a  decanter,  bottles  of  Gin,  Rum,  and  Coniac,  and  ajar  of  Preserved  Ginger,  &c. 
On  the  floor  beside  it  is  a  huge  volume :  Doomsday  Book,  with  other  books, 
one  being  Arratin  [Aretino],  another  (open)  A  Master  of  Arts  \  a  Fellow 
Feeling  for  the  human  Race.  With  these  are  spectacles,  cork-screw,  long  pipe, 
tobacco-jar.  On  the  high  chimney-piece  are  a  nvmph  disrobing,  candle- 
stick, medicine-bottles,  jug,  and  a  framed  Oxford  almanack.  Beside  it  hang 
a  violin  and  bow.  On  the  wall  hang  a  chess-board  and  a  bag,  as  in  No.  12161, 
with  a  notice:  Term  begins  —  Term  ends  —  Long  Vacation.  No.  108 11  by 
Rowlandson  has  the  same  title  (from  Mackenzie's  novel). 

An  Irish  copy  in  J.L.D.,  title:  A  Fello^c  Feeling!  [Imprint  erased]  .  .  .  & 
Publisher  of  curious  Prints.  Sold  by  Wiseheart,  Arcade.  Slight  variations  in 
inscriptions  on  books. 

Grego,  Rowlandson,  ii.  216. 
i2f  x8|  in. 

57 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11784  A  MILK  SOP.  J25 

Rozclandson  Del. 

Pu¥  December  15"'  1811  by  Tho'  Tegg  N°  iii  Cheapside. 
Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  A  scene  in  a  College  cloister,  indicated  by 
a  wall  and  Gothic  vaulting.  A  pretty  and  buxom  girl  carrying  milk-pails 
suspended  from  a  yoke  is  embraced  by  a  young  man  in  cap,  gown,  and  bands 
who  leans  towards  her  through  a  casement  window.  She  disregards  her  milk- 
pails;  one,  containing  two  infants,  tilts  upwards,  the  other,  full  of  milk, 
correspondingly  descends  and  a  spaniel  greedily  laps  the  milk.  On  the  extreme 
1.  a  lean  elderly  parson,  hideous  and  grotesque,  similarly  dressed,  watches 
intently. 

Grego,  Rowlandson,  ii.  216. 
I2|x8|in. 

11785  RURAL  SPORTS.— CAT  IN  A  BOWL.  N^  i. 

Rowlandson  Del 

[Pub.  Tegg,  24  Apr.  1811.] 

Engraving  (coloured  impression).  One  of  a  set,  see  Nos.  1 1786-91;  cf. 
Nos.  1 1629,  &c.,  1 1792,  12406.  Scene  by  a  roadside  pond  opposite  a 
picturesque  inn  (r.).  A  few  country-people  watch  a  distressed  cat  in  a  bowl 
which  floats  precariously.  An  angry  old  woman  strides  into  the  water  to  rescue 
the  animal,  but  is  restrained  by  a  friend.  Other  spectators  watch  with  amused 
delight;  they  wear  holiday  finery,  imitating  fashionable  dress.  A  boy,  holding 
back  a  dog,  and  a  girl  sit  together  on  the  bank.  A  young  couple  in  a  gig  at 
the  inn-door  watch  the  cat.  Behind  the  pond  (1.)  a  tandem  runs  away  over- 
turning a  gig.  For  the  old  maid's  cats  cf.  (e.g.)  No.  11 126. 

Grego,  Rowlandson,  ii.  205. 
8|  X  1 2^1  in .  ' Caricatures' ,  ix .  88 . 

11786  RURAL  SPORTS.     A  MILLING  MATCH  94- 

Rowlandson  Del. 

Pub'^  Sept  2g.  181 1  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  See  No.  11785,  &c.  After  the  title:  Took 
Place  at  Thisselton  Gap  in  the  County  of  Rutland  Sepf  28. 181 1.  betwixt  Cribb 
and  Molineaux  on  a  2 5  foot  Stage  and  was  the  second  Public  contest  between  these 
two  Pugilists.  It  lasted  ig  Minutes  and  10  Seconds  and  zvas  decicive  in  favour 
of  Cribb.  The  stage  or  platform  is  surrounded  by  a  dense  crowd,  some  three 
rows  of  which  form  the  foreground  of  the  design.  Cribb,  who  has  cuts  on 
the  face,  strikes  Molineux  on  the  throat  and  he  falls  backwards,  to  the  dismay 
of  his  second,  also  a  negro,  and  another  supporter.  On  the  r.  Cribb's  second 
and  bottle-holder  register  satisfaction.  The  crowd  is  wildly  enthusiastic,  and 
drawn  with  humorous  realism.  Some  men  on  horseback  are  among  the 
spectators  immediately  surrounding  the  stage,  as  are  one  or  tw-o  carriages. 
Two  pickpockets,  a  man  and  woman,  work  together  in  the  foreground;  two 
men  are  fighting.  A  few  women  are  among  the  crowd,  one  astride  a  man's 
shoulders  (r.).  The  crowd  and  the  stage  which  it  surrounds  fills  the  greater 
part  of  the  design.  There  is  a  pleasant  landscape  background.  On  a  road  is 
a  long  line  of  tiny  carriages  and  men  on  horseback,  with  one  farm-wagon. 
In  the  seventh  of  eleven  rounds  Molineux  received  a  dreadful  blow  on  the 

58 


PERSONAL   AND    SOCIAL    SATIRES    1811 

throat,  and  fell.  Cribb's  seconds  were  John  Gully  and  Joe  Ward,  those  of 
Molineux  were  Richman  (?  Bill  Richmond,  the  negro)  and  Bill  Gibbons. 
Europ.  Mag.  Ix.  308;  Fistiana,  1847.   See  Nos.  11755,  11927. 

Grego,  Rozclandson,  ii.  212.  Reproduced,  E.  B.  Chancellor,  Life  in  Regency 
and  Early  Victorian  Times,  p.  83. 
8^1  X  131!  in.  'Caricatures',  ix.  89. 

11787  RUR.4L  SPORTS.     SMOCK  RACING.  loi 

Rowlandson  Del 
[Pub.  Tegg.,  I  Oct.  1 8 it] 

Engraving  (coloured  impression).  See  No.  1 1785,  &:c.  A  crowd  watches  three 
country  girls  who  race  (1.  to  r.)  barefoot  and  lightly  clad;  a  dog  has  tripped 
up  a  fourth.  A  dog  runs  too,  with  some  object  tied  to  its  tail.  Many  of  the 
crowd  are  in  violent  action,  fighting  or  falling.  Spectators  watch  from  a  wagon 
into  which  a  very  fat  woman  is  being  hoisted.  Others  fall  from  a  bench  (r.), 
near  which  are  a  man  on  stilts  with  a  fiddle  on  his  back,  and  another  blowing 
a  coach-horn.  A  horse  driven  by  a  would-be  fashionable  in  a  gig  plunges 
into  the  crowd,  and  the  driver  is  fiercely  assailed  by  two  mounted  men.  In  the 
background,  on  a  ridge,  are  a  few  small  tents  with  banners  and  spectators, 
indicating  a  village  fair.   Farther  off  (r.)  is  a  church  with  a  double  spire. 

Grego,  Rozclandson,  ii.  212  (reproduction). 
9iX  131  i"-  'Caricatures',  ix.  86. 

11788  RURAL  SPORTS  OR  GAME  .Vr  QUOITS.  97 

Rowlandson  fecit 

October  1811^  [p^b.]  by  Tho'  Tegg  X"  iii  Cheapside 

Price  One  S/iilling  Coloured 

Engraving  (coloured  impression).  See  No.  11785,  &c.  Villagers  play  quoits 
outside  a  gabled,  thatched,  and  dilapidated  inn,  the  sign :  Asses  Milk  sold  here 
and  Dirty  Dick.  The  quoits  lie  round  a  peg  in  the  r.  foreground  watched  by 
a  bull-dog.  One  man  is  about  to  throw.  There  is  none  of  the  rustic  prosperity 
and  gaiety  of  other  plates  in  the  series.  The  players  are  in  their  working- 
clothes,  some  with  aprons.  A  fat  butcher  drains  a  tankard  (r.)  spilling  its 
contents,  and  watched  with  anger  by  a  lean  man.  A  grossly  fat  woman  with 
a  donkey  flirts  shamelessly  with  two  men,  one  a  crippled  beggar,  while  the 
animal  eats  from  the  fruit  in  a  pannier  on  its  back.  A  half-naked  termagant 
leans  over  a  paling  to  beat  a  bystander  with  her  broom;  behind  her  is  a 
notice:  Washing  and  mangling  done  here.  A  woman  carn,-ing  an  infant  angrily 
tries  to  drag  away  an  absorbed  spectator.  In  the  background  villagers  drink 
and  embrace,  and  a  thin  man  rides  a  kicking  donkey.  A  view  of  the  grosser 
side  of  rural  life,  with  the  suggestion  that  these  are  the  village  wastrels. 

Grego,  Rozclandson,  ii.  212. 
9|X  13I  in.  'Caricatures',  ix.  84. 

1 1789  RURAL  SPORTS,  OR  HOW  TO  SHOW  OFF  A  WELL  SHAPED 
LEG.  9  [sic] 

[Rowlandson.] 

[Oct.  1 811.    Pub.  Tegg.] 

Engraving  (coloured   impression).     See   No.    11785,   &c.    A   pretty  young 
woman  swings  high  above  the  heads  of  the  spectators,  seated  on  a  rope  hung 

■  Date  almost  obliterated. 
59 


CATALOGUE   OF   POLITICAL   AND   PERSONAL    SATIRES 

between  two  tall  trees.  A  similar  girl,  and  a  young  man  who  embraces  her, 
pull  at  a  rope  which  works  the  swing.  An  elderly  parson  of  Syntax  type 
(see  No.  11507,  &c.),  smoking  and  drinking  on  a  bench,  looks  up  delightedly 
at  the  girl's  legs.  Another,  fat  and  humpbacked,  flirts  with  a  fat  elderly 
woman.  Three  elderly  farmers  rush  from  the  r.  to  watch  the  display  of  legs, 
one  waving  a  pipe  and  punch-bowl.  A  fat  woman  tugs  angrily  at  the  pigtail 
of  one  of  them,  kicking  him  behind ;  an  elderly  virago  threatens  them  with 
her  fist. 

Grego,  Rowlandson,  ii.  212. 
9X  i3i  in.  'Caricatures',  ix.  87. 

1 1 790  RURAL  SPORTS  OR  A  CRICKET  MATCH  EXTRAORDINARY. 

96 

[Rowlandson.] 

[Oct.  i8ii.'   Pub.  Tegg.] 

Engraving  (coloured  impression).  See  No.  11785,  &c.  Below  the  title:  On 
Wednesday  October  j'"'^  1811  A  Singular  Cricket  Match  took  place  at  Balls 
Pond  Newington.  The  Players  on  both  sides  were  22  Women  11  Hampshire 
against  ii  Surrey.  The  Match  was  made  between  Two  Amateur  Noblemen  of 
the  respective  Counties  for  500  Guineas  a  side.  The  Performers  in  the  Contest 
toere  of  all  Ages  and  Sizes.  The  scene  is  a  sloping  field.  The  batswomen  are 
running  hard,  while  one  of  the  field  leaps  to  attempt  a  high  catch;  the  wicket- 
keeper  crouches  behind  the  wicket,  hands  on  knees.  The  players  have  petti- 
coats kilted  above  the  knee,  bare  heads,  necks,  and  arms;  they  wear  fiat 
slippers,  mostly  'en  cothurne'.  All  the  fielders  look  or  run  towards  the  ball; 
one  has  fallen  with  great  display  of  leg;  another,  running  headlong,  trips  over 
a  dog.  Eleven  are  playing,  including  those  batting.  Two  girls  sit  together 
on  the  ground,  one  cutting  notches  on  a  stick  to  record  the  runs.  Others 
stand  near,  one  with  a  young  man's  arm  round  her  waist.  Spectators  stand 
round  the  field.  In  the  miHdle  distance  is  a  marquee  with  a  flag:  Jolly 
Cricketers.  Here,  fashionably  dressed  men  are  entertaining  the  players ;  a  very 
fat  woman  drains  a  bowl  of  punch,  another  sits  on  a  man's  knee.  A  girl 
descends  from  a  donkey.  Behind  is  a  fashionable  tandem.  The  scene  is  rural 
except  for  a  smoking  lime-kiln. 

The  match  was  as  recorded  above.  It  was  a  three-day  match,  Hampshire 
were  81  ahead  at  the  end  of  the  first  day's  play;  they  won  after  a  good  innings 
by  Surrey.  The  losers  challenged  the  winners  to  another  match.  The  ages 
of  the  players  were  from  fourteen  to  'upwards  of  60'.  Europ.  Mag.  Ix.  310. 

Grego,  Rowlandson,  ii.  214. 
8|x  13!  in.  'Caricatures',  x.  226. 

11791  RURAL  SPORTS.     BALLOON  HUNTING.  157 
[Rowlandson.] 

Pub"^  October  25"'  1811  by  Tho'  Tegg  N"  iii  Cheapside. 

Engraving  (coloured  impression).  See  No.  11785,  &c.  Three  women  fall 
from  a  gig,  which  has  fallen  backwards,  the  shafts  broken  under  a  heavy  load. 
A  fat  man,  losing  hat  and  wig,  holds  the  head  of  the  kicking  horse,  at  which 
a  dog  leaps  fiercely.  The  women  are  his  very  fat  wife  and  two  comely 
daughters  dressed  for  an  outing;  a  parasol,  bottle,  and  bundle  in  a  knotted 
handkerchief  lie  beside  them.   The  scene  is  a  rough  track  over  a  heath.   In 

'  From  Grego. 

60 


PERSONAL   AND   SOCIAL   SATIRES    1811 

the  air  is  a  balloon  much  tilted,  a  man  and  two  flags  are  in  the  basket.  A 
woman  descends  by  parachute,  surrounded  by  a  flock  of  birds,  with  much 
display  of  leg,  and  a  man  watches  her  through  a  telescope  from  a  high  round 
tower  which  rises  above  a  group  of  trees  in  the  background  (r.). 

There  was  a  revival  of  the  craze  for  balloon  ascents  in  181 1,  cf.  No.  11775. 
For  parachute  descents  cf.  No.  9927. 

Grego,  Rozclandson,  ii.  215. 
9Xi3|in. 

11792  RURAL  SPORTS,  OR  AN  OLD  MOLE  CATCHER  IN  FULL 
SCENT.  83 

[Rowlandson.    Pub  Tegg  ?  181 1] 
Price  One  Shillitig  Coloured 

Engraving  (coloured  impression).  Two  figures  in  a  pleasant  undulating  land- 
scape with  trees.  A  lean  elderly  man  (resembling  Dr.  Syntax),  rides  across 
grass  with  a  smile  of  anticipation  towards  a  country'  girl  seated  on  the  ground 
under  a  tree.  She  stares  fixedly  at  him.  Two  dogs  scamper  before  the  horse, 
barking. 

'Mole  catcher'  is  a  slang  term  implying  sexual  attraction,  cf.  Partridge, 
Slang  Diet.   See  No.  11793. 

Grego,  Rowlandson,  ii.  208  (reproduction). 
8|x  i2Yg  in.  'Caricatures',  x.  31. 

11793  RURAL  SPORTS.— BUCK  HUNTING. 
Rowlandson  Del 

[Pub.  Tegg.    ?  1811]' 

Engraving  (coloured  impression).  A  young  couple,  fashionably  dressed, 
embrace,  seated  in  a  summer-house  on  the  bank  of  a  stream.  Beside  the 
summer-house  is  a  notice-board  inscribed  Man  Traps.  Across  the  water  is 
an  ugly  elderly  man  who  leans  forward,  gaping  with  agonized  intentness  at 
the  pair.  There  is  a  landscape  background,  the  winding  stream  receding  in 
perspective  under  trees. 

Grego,  Rowlandson,  ii.  287-8. 
8|x  13  in.  'Caricatures',  x.  227. 

11794  A  SLEEPY  CONGREGATION. 

Rowlandson  scul.  Teggs  Caricatures  N"  5^ 

Pub''  [date  erased,  Feb.  18 11]  by  Tho'  Tegg  N"  11 1  Cheapside. 
Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  A  arge  square  pew  immediately  below  the 
pulpit  fills  the  greater  part  of  the  design.  In  this  an  old  couple,  ugly  and 
obese,  sleep  soundly,  their  feet  on  big  straw  hassocks.  On  the  r.  sits  a  pretty 
girl  in  profile  to  the  1.,  with  bent  head,  who  is  yet  aware  of  the  gaze  of  two 
handsome  young  men  (1.)  who  look  over  the  edge  of  the  pew.  The  parson, 
fat  and  ugly,  declaims  from  the  high  pulpit.  Beneath  him  Is  the  head  of  the 
clerk,  leaning  back  and  grotesquely  asleep  (as  in  No.  11831).  On  the  wall  (r.) 
an  armorial  tablet  is  partly  visible ;  it  has  the  text  Resurgam  below  decanters 
heraldically  arranged. 

Grego,  Rozclandson,  ii.  199. 
I2x8f  in. 

'  Grego  attributes  it  conjecturally  to   1814:   it  seems  to  be  a  companion   pi.  to 
No.  1 1792.    Number  cropped. 

61 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11795  A  MIDWIFE  GOING  TO  A  LABOUR. 
Rowlandson  Del.  Teggs  Caricatures,  N°  55 

Pu¥  Feb''^  12  1811  by  Tho'  Tegg  N°  in  Cheapside.  Price  One  Shilling 
Engraving  (coloured  impression).  A  fat  elderly  woman  walks  (1.  to  r.)  over 
rough  cobbles,  in  the  teeth  of  a  strong  wind  against  a  deluge  of  rain ;  her 
contour  is  global  and  fills  the  greater  part  of  the  design.  She  holds  a  lighted 
lantern  and  clutches  a  bottle  of  cordial  and  a  bundle.  She  wears  a  hooded 
cloak,  a  flat  straw  hat  over  a  white  cap,  and  pattens.  Near  her  (r.)  runs  a 
shivering  little  chimney-sweep,  bare-legged,  and  carrying  his  tools  and  soot- 
bag;  he  is  shouting  or  'crying  the  streets'  for  custom.  Behind  her  (1.)  is  an 
aged  watchman,  leaning  with  folded  arms  on  the  front  of  his  watch-box, 
asleep.  His  lighted  lantern  hangs  above  his  head. 

Grego,  Rowlandson,  ii.  199. 
i2i6X8|  in. 

11796  THE  GIG  SHOP  OR  KICKING  UP  A  BREEZE  AT  NELL 
HAMMILTONS  HOP. 

Rowlandson.  Del.  Teggs  Caricatures.  N°  56. 

Pub^  Feb^y  16.  1811  by  Tho'  Tegg  N°  in  Cheapside 
Price  One  Shilling 

Engraving  (coloured  impression).  Scene  in  a  dance-room,  which  is  roughly 
panelled,  has  a  low  platform  across  one  end,  and  a  small  gallery  (r.)  with 
a  fiddler  and  a  man  blowing  a  French  horn ;  it  is  lit  by  a  hanging  chandelier. 
In  the  centre  two  men  face  each  other  in  boxing  attitudes;  one  is  stripped 
to  the  waist,  the  other  to  the  shirt.  Women  stand  behind  them,  alarmed  or 
interested.  A  woman  has  fainted  and  is  supported  by  a  man  who  administers 
smelling-salts.  On  the  r.  a  wild  scuffle  is  going  on :  two  termagants  seize  each 
other  by  the  hair,  a  third,  on  the  ground,  pulls  down  one  of  the  combatants; 
they  resemble  prostitutes  of  St.  Giles.  Others  are  comelier  and  better  dressed. 
Women  and  men  stand  on  the  platform  watching  with  amused  interest;  one 
or  two  women  register  alarm  or  concern;  on  the  r.  are  two  ugly  old  bawds. 
Grego,  Rowlandson,  ii.  199  f.  Reproduced,  E.  B.  Chancellor,  Life  in 
Regency  and  Early  Victorian  Times,  p.  83. 
^X12^,  in. 

11797  PIDGEON  HOLE.    A  Convent  [sic]  Garden  Contrivance  to  Coop  up 
the  Gods, 

Rowlandson  Del  Teggs  Caricatures,  N°  ^y 

Pu¥  Fe^y  20^''  1811  by  The'  Tegg  N°  in  Cheapside 

Engraving  (coloured  impression).  A  close-up  view  of  one  of  the  'pigeon  holes' 
which  flanked  the  upper  gallery  at  Co  vent  Garden.  Heads  closely  packed 
together  are  framed  in  the  lunette  opening,  six  or  seven  rows  receding  one 
above  the  other  in  the  centre.  Most  seem  suff"ering  from  heat  or  discomfort, 
and  except  for  one  or  two  pretty  young  women  are  grotesquely  caricatured. 
The  centre  figure  in  the  front  row,  leaning  on  the  parapet  and  apparently 
asleep,  is  a  fat  coachman  in  livery.  An  old  man  leans  over,  bleeding  copiously 
at  the  nose.  In  the  spaces  left  by  the  curve  of  the  lunette  in  the  upper  comers 
of  the  design  are  groups  symbolizing  Comedy  (1.)  and  Tragedy  (r.):  comic 
mask,  pan-pipes,  &c. 

The  'pigeon  holes'  were  one  of  the  grievances  of  the  O.P.  rioters,  see 
No.  11414,  &c. 

Grego,  Rowlandson,  ii.  200-1  (reproduction). 
Sfxiail  in. 

62 


PERSONAL   AND   SOCIAL   SATIRES    1811 

11798  A  FRENCH  DENTIST  SHEWING  A  SPECIMEN  OF  ARTI- 
FICIAL TEETH  AND  FALSE  PALATES.  5S 

Rowlandson  Del 

Pii¥  Feby  26.  1811  by  Tho'  Tegg  N°  iii  Cheapside 

Price  One  Shilling 

Engraving  (coloured  impression).  The  heads  and  shoulders  of  three  persons 
fill  the  design,  all  studies  in  teeth,  facial  expression,  and  caricature.  The 
profile  head  of  the  dentist  is  close  to  the  fat  face  of  his  patient,  a  woman  with 
a  wide  smiling  mouth,  open  to  show  two  rows  of  artificial  teeth  and  gums. 
He  smiles,  displaying  his  own  artificial  teeth,  and  holds  his  patient  by  the 
chin.  Facing  him  (r.)  is  a  man's  head  in  profile,  staring  up  at  the  woman 
through  a  double  lorgnette;  his  open  mouth  reveals  sparse  and  irregular 
teeth,  in  a  grotesque  jaw.  Above  his  head  is  a  notice:  Mineral  Teeth  Monsier 
De  Charmant  from  Paris  engages  to  affix  from  one  tooth  to  a  whole  set  without 
pain.  Mouns  D  can  also  affix  aji  artificial  Palate  or  a  glass  Eye  in  a  manner 
peculiar  to  himself,  he  also  distills. 

Evidently  Dubois  de  Chemant  who  introduced  porcelain  teeth  into  England 
(replacing  those  of  bone  and  ivorj')  and  published  A  Dissertation  on  Artificial 
Teeth  in  general,  \']Cfj,  4th  ed.,  1804.  Cf.  earlier  prints  by  Rowlandson  on 
false  teeth,  Nos.  7766,  8174. 

Grego,  Rowlandson,  ii.  201. 
8|Xi2|  in. 

11799  SHE  STOOPS  TO  CONQUER.  61 

Rowlandson  Del 

Pub''  March  10"'  1811  by  Tho'  Tegg  N"  iii  Cheapside 

Price  One  Shilling 

Engraving  (coloured  impression).  Scene  in  the  vaulted  ante-room  of  a 
dungeon.  The  turnkey,  keys  in  hand,  accepts  with  war}'  enjoyment  the 
blandishments  of  a  pretty  young  woman,  whose  interest  is  clearly  in  the  fate 
of  a  handsome  youth  seen  through  the  bars  above  a  padlocked  barrier  on  the  r. 
A  grotesquely  obese  and  misshapen  man  (r.)  approaches  the  turnkey  with  a 
jug  and  frothing  glass.  Behind  the  latter  (1.)  is  a  table  with  a  shoulder  of 
mutton  and  a  small  cask.  A  cat  plays  amicably  with  a  dog.  Heavy  fetters 
hang  from  the  walls,  and  there  is  a  heavily  barred  door;  a  vaulted  recess  leads 
to  a  second  dungeon.   The  place  is  lit  by  hanging  lamps. 

Grego,  Rowlandson,  ii.  201  f. 
8f  Xi2|  in. 

11800  THE  ANATOMIST.  60 

Rowlandson  Del 

Pub''  March  12  1811  by  Tho'  Tegg  N°  iii  Cheapside. 

Price  One  Shilling 

Engraving  (coloured  impression).  An  aged  surgeon  leans  over  a  bag  of  instru- 
ments on  a  table  (r.),  selecting  a  knife;  he  wears  an  old-fashioned  wig,  hat, 
coat,  &c.  A  pretty  girl  seizes  him  by  the  arm;  she  shouts  at  him,  pointing 
behind  her  to  his  subject,  a  young  man  lying  on  a  trestle-table,  fully  dressed 
and  apparently  in  perfect  health,  who  has  just  wakened,  horrified.  In  an  open 
cupboard  stands  a  skeleton  (1.).  On  the  wall  is  a  notice :  A  Course  of  Anatomical 
Lectures  accompanied  with  Dissections  will  be  delivered  tommorrow  Even\ing^  by 

63 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

Professer  Sawhone}   Two  lighted  candles  stand  on  the  table.   On  the  lintel 
of  the  door  is  a  bust  of  (?)  Hippocrates  frowning  down  at  the  scene. 

Probably  a  satire  on  body-snatching.  Cf.  Nos.  5 119,  13283.  For  Rowland- 
son's  interest  in  anatomical  dissections  cf.  Nos.  6127,  9682. 

Grego,  Rowlandson,  ii.  202. 
12^X9  in. 

11801  SAILORS  ON  HORSEBACK.  62 

Rowlandson  sail   [  ?  Woodward  del.] 
Pu¥  March  16.  1811  by  Tho'  Tegg  iV"  iii  Cheapside 
Price  One  Shilling 

Engraving  (coloured  impression).  Three  sailors  ride  away  from  the  sea-shore 
(r.)  where  a  man-of-war  is  at  anchor.  All  are  in  difficulties.  A  fourth  is  on 
his  hands  and  knees  on  the  extreme  1.;  he  looks  up  to  say:  Mind  what  you  are 
at  Messmates  for  I  am  upset,  and  the  frigate  I  came  on  board  of — has  been  under 
weigh,  without  me  this  half  hour.  The  foremost,  clasping  his  rearing  horse 
round  the  neck,  looks  back  to  say :  Keep  more  to  the  Star-board  and  be  D — d, 
to  you — dont  you  see  how  you  make  my  vessel,  run  a  head.  The  next  man  is  tied 
to  his  galloping  mount  with  heavy  ropes ;  and  he  says :  Here  I  come  my  Hearty^ s 
— Right  and  tight, — smart  sailing,  but  never  mind  that — /  cant  be  cast  away  for 
my  commander.  Heavens  bless  him  has  lash'd  me  to  the  deck,  with  some  tough 
Old  Cables!  The  last  sailor's  horse  kicks  with  tail  erect ;  he  exclaims :  D — n 
me — how  she  heaves.  Why  this  is  worse  than  a  Jolly  Boat,  in  the  Bay  of  Biscay, 
and  what  a  D — d  noise  she  makes  in  her  poop — Signals  for  sailing  I  suppose. 

Grego,  Rowlandson,  ii.  202. 
8iix  131^6  in. 

1 1802  KITTY  CARELESS  IN  QUOD,  OR  WAITING  FOR  JEW  BAIL. 

Rowlandson  Del. 

Pub'^  March  28^^  iSii  by  The'  Tegg  N"  iii  Cheapside 

Engraving  (coloured  impression).  A  handsome  young  courtesan  sits  by  the 
fire,  her  legs  crossed  indecorously,  her  breast  bare ;  she  has  a  decanter  at  her 
elbow,  and  holds  a  glass  of  wine.  Standing  on  each  side  of  her  are  her  jailor, 
holding  a  bunch  of  keys,  and  a  hideous  old  woman;  both  drink.  Over  the 
chimney-piece  is  a  placard :  Mac  Nab  Sherrifs  Officer  for  the  County  of 
Middlesex — Genteel  Accomodation  for  Ladies  and  Gentlem[en].  The  door  (1.) 
is  heavily  bolted,  and  has  an  iron  grille;  the  large,  partly  curtained  window 
is  massively  barred. 

A  scene  in  a  sponging-house.   Jew-bail  is  the  worthless  bail  which  Jews 
were  said  to  traffic  in  as  a  profession. 

Grego,  Rowlandson,  ii.  202  f. 
I2^x8|in. 

1 1803  PASTIME  IN  PORTUGAL  OR  A  VISIT  TO  THE  NUNNERYS. 

64 
Rowlandson  Del 

Pub^  April  I.  1811  by  The'  Tegg  N°  iii  Cheapside 
Engraving  (coloured  impression).   Three  pretty  young  nuns  stand  behind  a 
widely  spaced  iron  grille ;  one  of  them  sells  netted  silk  purses  to  a  handsome 

'  An  early  use  of  the  word  'Sawbone'.    Partridge  gives  the  date  as  from  c.  1835, 
citing  Sam  Waller  in  Pickwick  (1837). 

64 


PERSONAL   AND   SOCIAL   SATIRES    1811 

young  British  officer  in  full  regimentals  who  gazes  fixedly  at  them.  Two 
return  his  gaze.  Behind  and  on  the  extreme  1.,  an  ugly  old  officer  stares  at 
them  through  a  lorgnette.  Beside  the  three  nuns  is  a  fourth,  old,  ugly,  sour, 
and  duenna-like.  The  figures  are  H.L.  or  T.Q.L.  Behind  the  nuns  is  a  back- 
ground of  Gothic  vaulting  with  a  crucifix. 

Grego,  Rowlandson,  ii.  203. 
8|Xi2|  in. 

11804  A  PICTURE  OF  MISERY.  70 
Rowlandsoji  Del. 

Pu¥  by  Tho'  Tegg  N°  iii  Cheapside  April  lo  1811 

Engraving  (coloured  impression).  A  hideous  old  miser  sits  between  fire  (r.) 
and  table  (1.)  snuffing  a  candle;  he  ignores  a  man  seated  opposite  him,  who 
registers  agonized  entreaty.  Both  are  T.Q.L.  On  the  table  is  a  large  book: 
Table  of  Interest.  Over  the  chimney-piece  is  a  placard,  the  r.  side  cut  off  by 
the  margin  of  the  design.  Stock  Ex[change],  Bank  Stock,  j  P''  Cents,  Imperial 
[Loan],  Omnium  [cf.  No.  1 1716],  South  Sea,  Exchequer  [Bills],  Lottery  Tick[ets]. 
A  portrait  of  the  miser  above  his  head  shows  him  gleefully  weighing  coin,  with 
money-bags  beside  him.  The  room  is  small  and  poverty-stricken  with  a  case- 
ment window,  and  a  skeleton-like  rat  scampering  on  the  window-ledge. 
Through  an  open  door  (1.)  is  seen  the  profile  of  a  grotesquely  malevolent  old 
hag.   Below  the  design: 

Iron  zvas  his  Chest         His  hand  zvas  Iron 
Iron  zcas  his  Door  And  his  heart  zvas  more. 

Grego,  Rowlandson,  ii.  204. 
8fxi2i|in. 

11805  THE  ENRAGED  SON  OF  MARS  AND  TIMID  TONSOR.  67 
Rowlandson  Del 

Pub'^  April  20"'  1811  by  The'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  The  interior  of  a  barber's  shop,  a  ram- 
shackle room  with  a  raftered  ceiling.  An  elderly  military  officer,  seated  in  the 
middle  of  the  room  between  the  barber  and  his  wife,  causes  general  dismay; 
he  points  to  a  gash  on  his  cheek  and  shakes  his  fist  at  the  barber  who  flinches 
back,  razor  in  hand.  The  barber's  wife,  bending  over  the  customer  with  a 
bowl  of  soap-suds,  is  terrified.  The  assistant,  his  own  hair  in  curl-papers, 
trims  the  hair  of  a  customer  (r.),  holding  a  bowl  on  his  head.  At  a  table  (1.) 
a  man  washes,  stanching  his  head.  Water  is  supplied  from  the  tap  of  a 
bucket  on  a  shelf  above  the  basin.  Part  of  the  table  serves  as  dressing-table; 
on  this  a  monkey  sits  before  the  mirror,  lathering  its  head.  On  a  high  shelf 
(r.)  are  wig-boxes  and  wig-blocks;  the  latter  have  inscriptions  characterizing 
their  (carved)  features,  and  each  having  its  appropriate  wig:  Clarkes  Block, 
Parsons  Block,  Docter's  Block,  Lawyers  Block.  On  the  back  wall  are  a  roller- 
towel  and  four  prints:  Absalom  hanging  from  a  tree  while  his  horse  gallops 
off,  inscribed:  Oh  Absolom  My  Son  My  Son — hadst  thou  Wore  a  Wig  this 
neer  .  .  .;  two  profile  heads,  nose  to  nose,  roughly  resembling  Rowlandson's 
Mock  Turtle  [No.  11639];  ^  narrow  broadside  headed  by  a  gibbet,  such  as 
were  sold  in  London  on  execution  days;  a  bewigged  caricature  head. 

The  print  of  Absalom,  probably  common  in  barber's  shops,  also  appears 
in  Rowlandson's  A  Barber's  Shop,  No.  5765. 

Grego,  Rowlandson,  ii.  203. 
8|xi2|  in. 

65  F 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

1 1806  TOUCH  FOR  TOUCH.  OR  A  FEMALE  PHYSICIAN  IN  FULL 
PRACTICE  72 

Rowlandson.  Del 

Pu¥  May  i'^  1811  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  handsome  well-dressed  young  courtesan 
leads  the  way  out  of  a  room,  her  1.  hand  on  the  door-handle,  her  r.  held 
behind  her  to  take  the  guineas  which  an  aged  and  decrepit  old  rake  gives  her 
with  a  leer.  A  handsome  well-furnished  room  is  indicated.  Above  the 
chimney-piece  is  a  heavily-framed  picture  of  Danae  catching  the  shower  of 
gold  (cf.  No.  9812). 

Grego,  Rowlandson,  ii.  206. 
I2^x8|  in. 

11807  THE   BASSOON   WITH  A  FRENCH   HORN   ACCOMPANY- 

MENT.  75 

Rowlandson.  Del. 

[Pub.  Tegg,  16  May  1811] 

Engraving  (coloured  impression).  A  man  and  woman  sleep  in  a  rough  wooden 
bed,  heads  thrown  back  so  that  their  nostrils  face  the  spectator.  Bare  feet 
projecting  from  the  bed-clothes  attract  a  rat.  A  cat  lies  on  a  chair  in  the 
disordered  room.  An  antique  musket  and  broadsword  hang  horizontally 
above  the  bed,  on  a  wall  from  which  much  plaster  has  fallen.  A  makeshift 
curtain  hangs  across  a  casement  window  (1.).  On  a  chair  by  the  bed  (r.)  is 
a  punch-bowl.  On  the  wall  is  a  placard:  Hush  every  Breese  let  nothing  move 
My  Celia  sleeps  and  dreams  of  Love.  Cf.  No.  11 831. 

Grego,  Rowlandson,  ii.  207. 
8|x  I2|  in.  'Caricatures',  x.  28. 

11808  MASQUERADING.  84 

Rowlandson  Del. 

Pu¥  August  30"'  1811  by  Tho'  Tegg  N°  iii  Cheapside 

Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  Masqueraders  stand  closely  grouped.  A 
centre  figure  is  an  obese,  aged,  and  capering  Punch,  playing  a  guitar.  Two 
women  are  prominent,  both  are  in  profile  to  the  1.,  and  wear  small  masks 
which  frame  their  eyes.  One  holds  a  wand  and  a  book  inscribed  Magi,  the 
other  wears  breeches  and  is  very  decoUetee.  Behind  her  is  an  ugly  coarse- 
looking  man,  wearing  a  domino  with  a  naturalistic  mask  resembling  his  own 
features.  A  man  wears  a  bag -wig  with  large  horns  and  carries  a  placard 
inscribed  Horns  to  Sell.  One  figure  wears  two  realistic  and  complete  masks, 
Janus-like — one  that  of  a  handsome  woman,  the  other  of  an  ugly  man.  The 
background  is  an  arc  of  a  rotunda,  with  Ionic  pillars  framing  curtains  and 
decorated  with  fairy  lights.   Cf.  No.  11989. 

Grego,  Rowlandson,  ii.  209-11  (reproduction). 
i2^X9iin. 

11808  a  masquerade 

Engraving  (coloured  impression).    An  ill-executed  copy  of  No.  11808,  one 
figure  on  the  extreme  1.,  heads  in  the  background  as  well  as  the  pillars  and 
curtains,  and  the  legs  of  some  of  the  figures  being  omitted. 
ii|X9Jin. 

66 


PERSONAL   AND    SOCIAL   SATIRES    1811 

11809  ACCOMODATION  LADDER.  85 

Rowlandson  Del. 

Pu¥  Sept"  i'^  1811  by  Tho'  Tegg  N°  ill  Cheapside 

Price  One  Shilling  Col'^ 

Engraving  (coloured  impression).  A  strapping  young  courtesan  holds  against 
her  neck  a  ladder  up  which  an  elderly  naval  officer,  less  than  half  her  height, 
begins  to  climb,  looking  up  avidly.  He  holds  a  telescope,  and  wears  a  ribbon 
inscribed  Death  or  Victory.  From  her  feathered  hat  streams  a  ribbon  inscribed 
England  expects  every  Man  To  do  his  Duty.  She  wears  a  belt  inscribed  Belly 
Rough  One  [Bellerophon]  above  the  figure  7^.  The  scene  is  the  quay-side 
between  large  cannon.  A  ship's  boat  rows  out  to  a  man-of-war  at  anchor. 

The  Bellerophon  was  a  ship  of  74  guns  {Royal  Kalendar,  1812,  p.  152). 
A  little  man  (Cosway)  climbing  up  a  ladder  which  rests  on  the  breast  of  a 
woman  is  introduced  in  No.  6102. 

Grego,  Rowlandson,  ii.  210. 
I2|x8|  in. 

11810  LOOKING  AT  THE  COiMET  TILL  YOU  GET  A  CRIEK  [sic] 
IN  THE  NECK.  91 

Rowlandson  Del 

Pu¥  SepV  20.  1811  by  Tho'  Tegg  N°  in  Cheapside 

Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  An  ugly  old  man  wearing  night-cap, 
dressing-gown,  and  slippers  stands  at  an  open  window  gazing  up  through 
a  spy-glass  at  a  comet  shaped  like  a  large  shuttle-cock.  Keys  hang  from  his 
waist.  Behind  him  (1.)  sits  a  pretty  young  woman,  turning  her  head  to  look 
at  the  comet,  but  giving  her  r.  hand  to  a  young  man  who  kneels  beside  her, 
while  she  presses  her  foot  on  his.  She  wears  a  long  fur  boa  over  her  even- 
ing dress. 

A  comet  was  observed  on  25  March  in  France.  It  became  visible  to  the 
naked  eye  in  England  in  August,  and  was  the  subject  of  much  scientific 
discussion  and  superstitious  speculation.  Europ.  Mag.  Ix.  210,  344,  426.  See 
Nos.  1 1737,  11738,  11740.  Cf.  No.  1 1705. 

Grego,  Rowlandson,  ii.  210  f. 
I2f  X9  in. 

11811  LIFE  AND  DEATH  OF  THE  RACE  HORSE.  90 

Rowlandson  Del 

Pub'^  SepV  25.  1811  by  Tho'  Tegg  N"  in  Cheapside 

Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  A  sequence  of  six  scenes  in  compartments 
arranged  in  three  pairs,  [i]  A  foal  lies  beside  its  dam.  [2]  The  owner  leads 
the  high-stepping  animal  across  a  race-course;  behind  (r.)  is  the  weighing- 
post.  [3]  Ridden  by  a  huntsman  he  takes  a  flying  leap  over  a  wall;  hounds 
run  beside  the  animal.  [4]  He  is  one  of  a  pair  of  galloping  horses  in  a  post- 
chaise,  ridden  by  a  postilion.  An  ugly  couple  sleep  uneasily  in  the  chaise. 
[5]  As  an  emaciated  pack-horse  he  plods  along  a  rough  track,  thrashed  by 
a  coarse  old  peasant  woman.  [6]  A  huntsman  stands  on  his  dead  body,  cutting 
off  the  flesh  for  the  hounds ;  carrion  birds  hover. 

Grego,  Rowlandson,  ii.  211  f. 
i2|X9f  in.   Each  compartment  4^  X  4f  in. 

67 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11812  SIX  CLASSES  OF  THAT  NOBLE  AND  USEFUL  ANIMAL 
A  HORSE.  95 

Rowlandson  Del. 

Pu¥  October  lo'K  i8ii^  by  Tho'  Tegg  N"  iii  Cheapside 
Price  One  Shilling  Col'^ 

Engraving  (coloured  impression).  A  design  in  six  compartments  arranged 
as  in  No.  11811.  The  Race  Horse:  a  jockey  stands  at  the  animal's  head,  his 
saddle  on  the  ground  beside  him.  The  War  Horse :  a  hussar,  sword  in  hand, 
rides  a  rearing  horse  over  the  prostrate  body  of  an  officer.  A  battle  is  indi- 
cated in  the  background.  The  Shooting  Poney:  a  stout  man  fires  from  the 
back  of  a  sturdy  cob,  the  reins  lying  on  its  neck;  two  dogs  run  forward.  The 
Hunter:  a  huntsman  leaps  a  rustic  fence,  waving  his  cap;  he  is  close  behind 
the  hounds.  The  Gig  Horse :  a  tall  sturdy  animal  stands  in  the  shafts  of  a  light 
two-wheeled  gig,  on  high  springs.  The  driver  stands  at  his  head  with  a  dog. 
The  Draught  Horse :  a  sturdy  animal  draws  a  two-wheeled  cart  heaped  with 
sacks;  a  carter  runs  beside,  leading  the  horse. 

Grego,  Rowlandson,  ii.  214. 
I2| X  9I  in.   Each  compartment  4^  X  4ig  in. 

11813  DISTILLERS  LOOKING  INTO  THEIR  OWN  BUSINESS.  100 

Rowlandson.  Del. 

Published  OcV  10  1811  by  The'  Tegg  N°  iii  Cheapside 

Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  Three  old  men  with  grotesque  and 
hideously  carbuncled  faces  look  into  a  cask  of  Double  Rectified  Spirits,  stream- 
ing copiously  from  nose  and  mouth.  Their  heads  and  shoulders  almost  fill 
the  design.   On  the  1.  is  a  still  with  a  pipe  leading  into  the  cask. 

A  companion  pi.,  equally  repulsive,  is  Dinners  Dressed  in  the  neatest  manner ^ 
112.   Grego,  ii.  215. 

Grego,  Rowlandson,  ii.  214. 
8f  X  12^1  in.  'Caricatures',  x.  102. 

11814  THE  MANAGERS  LAST  KICK.  OR  A  NEW  WAY  TO  PAY 
OLD  DEBTS.  117 

[Rowlandson.] 

[Pub.  Tegg,  1 811]   Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  A  bailiff  who  has  attempted  to  deliver  a 
writ  to  the  Manager  of  a  theatre  sinks  through  a  trap  in  the  centre  of  the 
stage,  into  which  he  has  been  decoyed.  He  holds  out  his  arms  despairingly, 
dropping  a  paper  headed  A  Red  Tail,  and  saying:  Zounds  what  a  cursed 
Infernal  Trick.  The  Manager  (1.)  bows  towards  him,  with  extended  arms, 
saying.  Good  Morning  Tkf  Catchpole  you' I  find  more  of  your  tribe  when  you  get 
to  the  bottom.  Harlequin  capers  triumphantly  behind  him;  a  fat  Punch  laughs, 
holding  his  sides,  and  an  old  Pantaloon  registers  delighted  amusement.  Six 
musicians  (H.L.)  in  the  orchestra  form  the  base  of  the  design,  all  look  up 
laughing,  while  they  continue  to  play. 

For  the  title,  here  joined  to  that  of  Massinger's  comedy,  see  No.  11762. 

Grego,  Rowlandson,  ii.  219  f.  (reproduction). 
9X  13  in.  'Caricatures',  x.  91. 

'  Watermark,  1816. 

68 


PERSONAL  AND   SOCIAL   SATIRES    1811 

11815  HIRING  A  SERVANT.  124 

[Rowlandson.] 

[Date  removed,  Pub.  1811]  by  Tho'  Tegg  N°  iii  Cheapside 

Price  One  Shilling  Col'^ 

Engraving  (coloured  impression).  An  obese  'cit'  and  his  wife  sit  side  by  side 
at  a  small  round  breakfast-table,  facing  a  tall  handsome  young  woman  who 
stands  before  them.  The  wife,  registering  surprise,  asks:  What  Situation  in 
my  Family  zvoudyou  wish  to  undertake  Young  Woman.  She  answers  demurely: 
Ma'am  I  should  like  to  be  under  Your  Man  Cook  by  Way  of  Improvement.  The 
*cit',  excited  and  angry,  exclaims:  What 's  that  you  say  I'll  be  D — nd  If  you 
shall  be  under  my  Man  Cook  or  any  other  man  in  my  house.  The  fat  cook, 
outside  the  open  door  (r.),  laughs  uproariously.  A  large  fierce  cat  advances 
towards  the  girl.  On  the  table  are  tea-things,  a  large  urn,  and  boiled  eggs. 

Grego,  Rowlandson,  ii.  220. 
8iix  I2i|  in.  'Caricatures',  x.  25. 

11816  A  TEMPLAR  AT  HIS  STUDIES.  76 

Rowlandson  Del 

[Date  removed,  Pub,  ?  i8ii]  by  Tho'  Tegg  N°  ill  Cheapside 

Price  One  Shilling 

Engraving  (coloured  impression).  A  barrister,  haggard  and  exhausted,  yawns 
over  a  Brief,  reclining  in  an  arm-chair,  extending  his  bare  legs  to  the  fire  (r.) 
where  a  coffee-pot  stands.  Beside  him  is  a  Bill  of  Costs.  Evidence  of  over- 
night dissipation  are  a  (Turkish)  masquerade  dress  and  mask  on  the  floor  and 
a  young  woman,  partly  dressed,  arranging  her  hair  at  a  mirror  placed  on  the 
breakfast-table.  Her  foot  rests  on  a  large  volume :  Crim  Con  Cases.  The  room 
is  lined  with  heavy  folios,  a  Serjeant's  wig  hangs  by  the  window;  there  is  a 
notice:  Term  begins — A  convenient  Sett  of  Chambe[rs]  To  Lett.  A  bust  portrait 
of  a  severe  old  judge  is  over  the  chimney-piece  on  which  stand  books,  bottles 
of  Cherry  Bounce,  and  Restorative  Drops.  On  the  ground  are  empty  bottles, 
top-boots,  a  gun,  a  dog.   Riding-breeches  and  a  jockey-cap  hang  from  a  peg. 

Grego,  Rowlandson,  ii.  222. 
8^  X  i2|  in.  'Caricatures',  x.  3. 

11817  AWKWARD  SQUADS  STUDYING  THE  GRACES!!  87 

Woodward  Del  Rowlandson  Scul. 

Price  One  Shilling  Coloured   [Pub.  Tegg,  ?  181 1.] 

Engraving  (coloured  impression).  Six  pairs  of  dancing-master  and  pupil 
arranged  in  two  rows,  words  etched  above  the  head  of  the  speaker,  [i]  A 
dancing-master  holding  his  kit  and  pointing  his  toe,  addresses  a  rough- 
looking  pupil,  saying.  Monsieur — Monsieur  turn  out  de  toe.  The  other  answers 
angrily:  /  tell  you  I  conna  besides  I  duna  like  to  be  brcnv  beat  by  a  Frenchman. 
[2]  The  master  fiddles,  looking  to  his  hideous  pupil  who  grimaces  inanely, 
and  saying :  Now  Monsieur  the  languishing  look — very  well  indeed  dat  will  do. 
The  pupil :  Yes  I  think  that  will  answer  pretty  well.  [3]  The  master,  his  fiddle 
under  his  arm,  touches  the  knee  of  a  fat,  curtseying  lady  with  his  bow,  saying, 
A  little  lozcer  Madame  si  vous  plait.  She  answers :  Sir  if  I  go  lower  I  shall  never 
be  able  to  get  up  again.  [4]  The  master  springs  high  in  the  air,  hands  on  hips, 
saying  to  an  obese,  elderly  'cit' :  Dere  Sare  is  de  grande  Spring.  The  man 
answers,  his  wig  falling  off :  Grand  Spring  indeed — why  now  in  your  conscience 

69 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

do  you  think  a  Man  of  my  kidney  could  cut  such  a  caper  as  that — /  am  made 
for  ground  work  a  Minuet  or  so  I  should  not  mind.  [5]  The  master  fiddles  and 
dances  opposite  a  grotesque  harridan  who  capers,  hands  on  hips :  Vera  well 
Madame  de  true  Highland  fling.  She  answers  with  a  fatuous  grin :  Do  you 
really  think  so  Monsieur.  [6]  The  master  strikes  an  attitude  poised  on  one 
toe,  the  1.  leg  extended,  saying  to  a  fat  man  who  has  fallen  on  his  back:  Dere 
Sir  dat  is  de  true  attitude — Sare  you  will  be  down.  The  victim  answers: 
Damn — why  I'm  down  already  I  told  you  so  before  I  began — who  do  you  think 
is  to  stand  half  an  Hour  like  a  Goose  on  one  leg  [cf .  prints  of  Vestris  compared 
to  a  goose  on  one  leg,  Nos.  5905,  5906]. 

Similar  in  arrangement  and  manner  to  the  series  after  Woodward  beginning 
in  1794,  cf.  No.  8541,  &c. 

Grego,  Rowlandson,  ii.  220. 
8|X  13!  in.  'Caricatures',  x.  13. 

11818  A  TRIP  TO  GRETNA  GREEN. 

Rowlandson  1811^ 

Designed  and  Pu¥  by  T  Rowlandson  October  25  1811^  at  N°  i  James 
Street  Adelphi 

Engraving  (coloured  impression).  A  pretty  girl  (1.)  and  a  handsome  young 
officer  in  regimentals  (r.)  stand  facing  each  other;  he  holds  her  hand,  and 
places  a  ring  on  her  finger.  The  grotesque  elderly  man,  more  parson  than 
blacksmith,  stands  between  them,  bawling  from  a  book  and  watching  the 
bride.  Behind  (r.)  is  a  post-chaise  and  horse ;  a  postilion  stands  by,  watching 
the  ceremony.  In  the  background  (1.)  is  a  shed  where  a  horse  is  being  shoed. 
It  is  placarded :  Tim  Tag  Blacksmith  and  Rector. 

Grego,  Rowlandson,  ii.  215.  Reproduced,  F.  L.  Carter,  'Gretna  Green  and 
the  Arts',  Print  Collector's  Quarterly,  xix.  240. 
ii|X9^  in.  'Caricatures',  ix.  170. 

11819  [MODERN  ANTIQUES.]  3 

Rowlandson  Del. 
[Pub.  Tegg,  ?  181 1] 

Engraving  (coloured  impression).  Title  from  Grego.  A  collection  of  antiques, 
real  or  faked,  Egyptian  and  classical.  A  buxom  young  woman  opens  a  hinged 
mummy-case  (1.)  to  embrace  a  handsome  young  officer  in  regimentals  who 
stands  within  it.  An  aged  man  crouching  down  (r.)  glares  at  them  through 
an  eye-glass  in  frenzied  malevolence.  Another  mummy  has  a  realistic  head, 
and  there  is  a  life-like  statue  of  an  Egyptian  wearing  a  head-dress  and  loin- 
cloth. There  are  also  a  satyr  and  smaller  figures  of  Egyptian  gods.  On  the 
wall  are  grotesque  satyrs'  masks  and  on  a  high  shelf  are  Greek  or  Etruscan 
vases.  On  the  ground  is  a  book:  Loves  of  the  Gods  Embell^  with  Cuts. 

Grego,  Rowlandson,  ii.  223  f. 
i2fX9i^6  in- 

11820  EXHIBITION  STARE  CASE. 

[Rowlandson.]  [?  iSii] 

Engraving  (coloured  impression).  Visitors  to  the  Royal  Academy  struggle  up 
and  down  the  steeply  curving  staircase  of  Somerset  House.    On  the  lower 

'  The  year  has  been  altered. 

70 


PERSONAL   AND   SOCIAL   SATIRES    1811 

Steps  stout  ladies  fall  headlong:  the  uppermost,  who  is  seemingly  the  cause 
of  the  catastrophe,  treads  on  a  dog;  one  falls  head-first  over  the  balustrade, 
one  falls  on  top  of  a  man,  who  has  been  hurled  down;  one  lies  at  the  bottom, 
being  picked  up  by  a  man.  The  wild  display  of  bare  legs,  causing  delight 
to  the  spectators,  standing  at  the  base  of  the  stairs  and  on  the  staircase,  is 
a  motif  of  the  design.  The  spectators  standing  on  the  r.  include  a  delighted 
oriental  in  a  turban.  The  figures  recede  in  perspective  as  they  approach  the 
top  of  the  extravagantly  steep  staircase,  where  they  are  fighting  to  push  their 
way  up  or  down.  On  the  stairs  lies  a  Catalix  .  .  Discriptive .  There  is  an  archi- 
tectural background  showing  part  of  the  dome,  below  which  is  a  frieze  in 
bas-relief — a  Venus  drawn  by  nymphs  and  satyrs — and  on  the  wall  in  a  niche 
a  statue  of  a  nymph  disrobing. 

The  original  drawing  in  pen  and  wash,  styled  'A  Soiree  at  the  Royal  Acad- 
emy', is  reproduced  by  the  Vasari  Society,  2nd  s.  Pt.  iii,  Xo.  19.  This  has 
been  altered  and  vulgarized  in  the  etching,  which  has  lost  some  of  the  free- 
dom, expressiveness,  and  gusto  of  the  drawing,  where  a  man  takes  the  place 
of  the  woman  falling  over  a  dog;  most  of  the  architectural  detail  is  absent. 
In  the  niche,  in  place  of  the  nymph,  is  an  urn.   (154  .<  lOy  in.) 

A  water-colour  (19  x  i  if  in.)  corresponding  to  the  engraving  was  exhibited 
at  Burlington  Fine  Arts  Club,  1936-7,  from  the  collection  of  Mr.  Minto 
Wilson.  Figures  are  identified  in  the  Catalogue  as  Lady  Buckinghamshire, 
Rowlandson,  NoUekens  (with  a  crutch),  and  Sir  Joseph  Banks. 

Another  state  is  in  the  collection  of  Mr.  Minto  Wilson. 

Grego,  Rozclandson,  ii.  217  f.  (reproduction). 

11821  POLITENESS.  X"i4 
Woodward  del'    W,  [Williams]  Sep' 

London,  Pub''  May  6'''  i8ii^  by  Tho'  Tegg  N°  iii  Cheapside. 

Engraving  (coloured  impression).  A  bedroom  scene.  A  lean  and  elderly  man 
stands  just  within  the  open  door  (1.),  holding  a  lighted  candle,  and  bowing 
hat  in  hand  to  one  of  the  occupants  of  the  bed,  who  sits  up,  doffing  his  night- 
cap with  equal  ceremony.  The  woman  is  defined  by  the  bed-clothes;  she 
lies  on  her  face  clutching  the  pillow.  The  visitor  wears  slippers  with  un- 
gartered  stockings  and  breeches  open  at  the  knee;  in  his  pocket  is  a  book 
Chesterfields  Letters.  He  says :  /  am  sorry  Sir  to  intrude  in  this  abrupt  manner, — 
but  do  you  know  Sir  vou  are  in  bed  with  my  Wife?  The  other  answers :  Sir, 
I  beg  you  ten  thousand  pardons!  let  me  request  you  will  be  seated,  and  she  slmll 
be  at  your  service  in  the  course  of  half  an  hour!  The  men  gaze  at  each  other, 
warily  intent,  hostility  predominant  in  the  husband,  alarm  in  his  rival. 
9Xi3iin. 

11822  IMPLEMENTS  ANIMATED  Pi-  L  89 
Dedicated  to  the  Carpenters  and  Gardeners  of  Great  Britain  &c  &c 
Williams  Sculp' 

Pub''  SepV  18 1 1  by  Tho'  Tegg  iii  Cheapside  Lotuton 
Price  One  Shilling  Colourd 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  11823,  with  the 
same  imprint.  Two  figures  face  each  other  made  of  tools,  implements,  &c. 
A  carpenter,  very  thin  and  erect,  is  composed  of  a  straw  tool-bag,  placed 

'  The  year  seems  to  have  been  altered. 
71 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

vertically  and  containing  saw,  plane,  &c.,  supported  on  a  pair  of  compasses 
for  legs.  The  head  is  a  mallet  on  which  is  a  glue-pot,  with  gimlet,  chisel,  &c. 
An  axe  serves  as  arm.  The  gardener  bends  politely;  the  body  is  a  watering- 
pot  supported  on  a  pair  of  shears.  The  head  is  a  nosegay  of  roses,  &c.  tied 
to  a  spade;  roses  and  lavender  lie  in  a  piece  of  drapery  that  serves  as  apron. 
A  rake  and  hoe  are  thrust  through  the  handle  of  the  watering-pot.    Below 

the  Carpenter: 

With  Bowels  lank  and  Head  of  Mallet 
The  Joiner  longs  to  taste  a  Sallad, 

Below  the  gardener : 

Old  Nosegay  quite  alert  and  busy, 

Has  one  to  sell  and  asks  a  tizzey. 
Similar  prints  of  figures  constructed  of  the  tools  of  their  trades  were  sold, 
and  probably  engraved,  by  G.  Bickham  (?  c.  1720-40).  A  Barber,  Butcher^ 
Victualler  or  Publican,  and  Moll  Hardy,  a  maid-servant,  are  in  the  B.M. 
('Caricatures',  ii.  2-5).  The  device  was  used  by  Hogarth  in  Some  of  the 
Principal  Inhabitants  of  y^  Moon,  his  satire  on  the  Court,  Episcopacy,  and 
Law  (No.  1734).  Cf.  also  Nos.  10699,  "824,  13268. 
7|Xi2f  in. 

11823  IMPLEMENTS  ANIMATED.  PL  2.  88 
Dedicated  to  the  House-maids  and  Cooks,  of  the  United  Kingdoms. 
Williams  Fecit 

See  No.  11822.  Two  figures  face  each  other  made  of  domestic  utensils,  A 
housemaid  (1.),  very  erect,  has  a  wooden  bucket  for  a  body  supported  on 
a  mop  and  a  long-handled  floor-polisher,  and  is  also  concocted  of  a  broom, 
a  dust-pan,  a  brush,  and  a  hearth-brush,  with  a  check  duster,  &c.  A  cook  (r.) 
seems  to  bow  courteously  towards  the  housemaid.  She  is  made  of  a  Flour 
barrel  supported  on  a  large  ladle  and  two-pronged  fork;  a  covered  pot  with 
pot-hooks  hanging  from  the  handle,  a  rolling-pin  (as  r.  arm)  to  which  a 
colander  is  attached.  There  are  also  a  grid-iron  (or  save-all),  a  small  sauce- 
pan, a  salt-box,  and  dangling  metal  skewers.   Below  the  title : 

Proud  of  imaginery  Plume, 

Let  none  o'er  modest  worth  presume. 

Some  shew  airs,  where  eWe  they  got  e'm 

Tho  nothing  but  a  Scrub  at  bottom. 
7|Xi2iin. 

11824  A  FLINT.  87 

Pub.  by  T.  Tegg,  iii,  Cheapside    Price  One  Shim  Coloured       [?  1811] 

Engraving  (coloured  impression).  A  figure  representing  a  tailor  composed  of 
the  implements,  materials,  and  emblems  of  his  trade,  each  inscribed,  and 
with  a  large  Cabbage  for  head,  stands  full-face,  legs  astride.  On  the  cabbage- 
head  each  eyebrow  is  a  Piping  Knife,  handle  and  blade  being  at  a  wide  angle, 
each  eye  is  a  round  ball  of  Wax.  An  oval  Snuff  Box  forms  the  nostrils,  above 
a  narrow  oblong  implement  inscribed  Notch  [not  in  O.E.D.  in  this  sense], 
perhaps  used  for  precise  measurements.  The  markings  of  the  cabbage  leaves 
give  an  angry  scowl  to  the  face.  A  shirt-collar  is  inscribed  Glazed  Linen, 
the  neck-cloth  is  Padding  and  Silk  Serge.  This  rests  on  a  roll  of  Scarlet  which 
forms  the  body  (or  waistcoat);  on  this  is  placed  a  Card  of  Buttons,  arranged 
in  rows,  fifteen  large  and  twenty-four  small.  A  short,  open  coat  is  inscribed 

72 


PERSONAL  AND   SOCIAL   SATIRES    1811 

Remnant  of  Superfine,  its  collar  is  a  Collar  Pattern.  The  arms,  bent  at  the 
elbow,  are  inscribed  Pattern  Card,  small  coloured  rectangles  arranged  in  two 
rows;  each  is  bordered  w4th  a  Cuff  Pattern,  from  which  projects  a  small  Pad; 
into  the  pad  large  needles  are  stuck  to  form  fingers;  those  on  the  r.  hand  are 
Sharps,  with  a  Thimble  on  the  second  finger.  Another  Pad  is  tied  to  the  1. 
arm  above  the  cuff  into  which  are  stuck  short  needles  inscribed  Blunts.  The 
r.  hand  supports  a  large  pair  of  (open)  Shears,  held  up  threateningly.  In  the 
1.  hand  is  a  Yard  stick.  From  the  r.  pocket  project  Cucumber[s\ ;  round  them 
hangs  a  Thread  List,  lengths  of  thread,  wrapped  in  paper;  a  similar  packet 
is  round  the  neck,  inscribed  Silk  List.  A  bunch  of  tape,  inscribed  Measures, 
hangs  from  the  1.  pocket.  Between  body  and  legs  is  a  roll  of  Buckram.  A 
Bodkin  is  suspended  between  the  legs  by  a  Stay  Tape  which  encircles  the 
waist.  The  legs  above  the  knee  are  cylinders  or  large  reels  of  Princes  Cord 
and  Patent  Cord;  below  the  knee  two  Sleeve  Board[s^  rest  on  the  flat-irons 
which  form  the  feet.  Each  is  inscribed  Goose,  and  has  a  Holder  on  the  handle. 
Horseshoes  serve  as  iron-stands.  The  'Sleeve  Boards'  are  tied  to  the  handles 
by  strips  of  (pink)  List.    At  the  knee  are  bows  of  binding  inscribed  Ferret. 

Other  objects  are  on  the  Shop  Board,  on  which  the  Flint  stands:  a  cloth 
inscribed  Lap  Cloth,  a  smaller  Press  Cloth;  Tape  wound  on  a  card,  a  small 
pair  of  Button  hole  Scissars,  buttons,  small  pieces  of  Chalk,  a  bunch  of  Snarl 
or  ravelling;  a  pile  of  four  pieces  of  material:  Padue  [Paduasoy,  a  thick  silk], 
Kerseymere  [twilled  fine  cloth  of  peculiar  texture],  A  piece  of  Superfine,  and 
Role  of  Florentine  [twilled  silk].  A  Candle  Stick  supports  three  short  candles 
resting  on  a  (.'  sliding)  bar  at  r.  angles  to  a  stick.  Beside  this  are  a  tankard 
inscribed  Purl,  a  small  jug  of  Gin,  and  a  glass.  Hanging  from  nails  above  the 
shop-board  are  two  strings  of  Moulds  (?  for  buttons),  and  a  small  Pocket. 

The  London  journeymen  tailors  were  divided  into  Flints,  who  formed 
clubs,  embryo  unions,  to  resist  the  masters,  and  the  unorganized  whom  they 
derisively  called  Dungs.  Cabbage  denoted  the  cloth  pilfered  from  customers 
(cf.  (e.g.)  No.  10498);  cucumbers  ('two  a  penny')  were  said  to  be  the  poor 
tailors'  chief  food  in  the  long  summer  season  of  unemployment.  See  F.  W. 
Galton,  Select  Documents  illustrating  the  hist,  of  Trade  Unionism,  I  The 
Tailoring  Trade;  The  Tailors;  a  Tragedy  for  ]]'arm  Weather  (see  No.  11762). 
Cf.  No.  1 1822,  &c. 
la^xSjgin.  'Caricatures',  X.  41. 

1 1825  JACK,  HOVE  DOWN— WITH  A  GROG  BLOSSOM  FEVER.   78 

[\V.  Elmes  f.] 
By  XYZ 

Pu¥  Aug'  12.  18 1 1  by  Tho'  Tegg  N°  iii — Cheapside — Opposite  Bow 
Ch  urch — Lon  don 

Engraving  (coloured  impression).  A  sailor  with  a  hideously  carbuncled  face 
lies  in  a  hammock  wearing  a  striped  shirt  and  night-cap.  Beside  him  is  his 
sea-chest,  the  open  lid  inscribed  Sea  Stock,  from  which  he  has  taken  a  bottle 
of  Grogg.  He  shakes  his  fist  at  an  old-fashioned  doctor,  lean  and  grotesque  (1.), 
who  stoops  towards  him  proferring  a  box  of  Pills  and  holding  a  long  bottle 
labelled  A  Sweat.  Under  the  doctor's  arm  is  a  gold-headed  cane,  and  from 
his  coat-pocket  project  a  Clyster  [pipe]  which  is  exploding,  and  a  bottle  of 
Jollop;  beside  him  are  a  Pestel  and  Mortar.  He  says:  hold — /  must  stop  Your 
Grog  Jack — it  excites  those  impulces,  and  concussions  of  the  Thorcux,  which  acom- 
pany  Sternutation  by  zvhich  means  you  are  in  a  sort  of  a  kind  of  a  Situation — 
that  Your  head  niust  be — shaved — /  shall  take  from  you  only — 20"^  of  Blood — 
then  szvallow  this  Draught  and  Box  of  Pills,  and  /  shall  administer  to  you  a 

73 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Clyster.  Jack  answers  angrily  :  Stop  my  Grog.— Belay  there  Doctor— Shiver 
my  timbers  but  your  lingo  bothers  me— You  May  batter  my  Hull  as  long  as  you 
like,  but  I'll  be  d — 'nd  if  ever  You  board  me  with  your  Clyster  pipe.  In  his 
chest  are  bottles  inscribed  Brandy,  Rum,  and  Cin,  a  large  twist  of  Pig  tail 
[tobacco],  a  True  Love  Token,  and  a  miniature  (cf.  No.  10894).  ^^  is  covered 
with  a  gaily  patterned  coverlet  inscribed  P  R.  His  jacket  and  breeches  are 
on  the  deck  beside  him,  and  close  by  (1.)  are  a  cannon  and  cannon-balls. 

Also  a  reissue  with  date  removed  ('Caricatures',  x.  15). 
8f  Xi2|  in. 

11826  JACK  IN  A  WHITE  SQUALL,  AMONGST  BREAKERS— ON 
THE  LEE  SHORE  OF  ST  CATHERINES  yg 

By  XYZ   [W.  Elmes  f.] 

Pub'^  Aug'  16'^  18 1 1  by  Tho'  Tegg  N°  iii  Cheapside.  London. 

Engraving  (coloured  impression).  A  sailor  stands  full-face,  legs  astride, 
hands  plunged  through  the  bottomless  pockets  of  his  jacket;  he  squints 
violently,  one  eye  turned  on  an  uproar  (1.),  the  other  on  two  termagants  (r.). 
His  broken  pipe,  still  smoking,  lies  at  his  feet.  He  says:  /  am  hardup — not 
a  Quid  left,  or  Shot  in  the  Locker — to  pay  the  Fiddler — Mi  Eyes — what  a  Squall, 
how  it  whistles  trough  the  Ratlines  I  must  Braill  up  and  Scudd  under  Bare  Poles. 
A  prostitute  with  a  patched  face  (1.)  kicks  him  and  is  about  to  bring  down 
a  fiddle  with  broken  strings  on  his  head.  This  she  has  snatched  from  a  man 
with  a  wooden  leg  and  patched  eye-socket  who  lies  on  the  ground  at  her  feet. 
Another  woman  (r.)  yells  at  him,  holding  out  an  enormously  long  bill  on 
which  are  such  items  as  D°,  often  repeated,  and  Sundreys,  Lodgings,  Crog, 
Fidler.  Behind  her  an  old  bawd  in  the  bar  points  to  a  chalked-up  score, 
where  signs  for  guineas  are  marked.  On  the  1.  a  watchman  with  a  lantern 
enters,  springing  his  rattle,  which  is  inscribed  5'  C. 

St.  Catherines  by  the  Tower  was  a  small  disorderly  liberty,  with  its  own 
Watch,  in  which  were  many  sailors'  ale-houses.    It  was  afterwards  engulfed 
in  St.  Catherine's  Dock. 
8|xi3in. 

1 1827  SIC  TRANSIT  GLORIA  MUNDI  [scored  through  and  replaced  by] 
CITY.  OR  THE  OLD  NURSE'S  MEDITATION. 

[Williams.] 

Pu¥  July  1811  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  The  nurse,  a  respectable-looking  woman 
wearing  a  cap  and  apron,  stands  in  profile  to  the  r.  beside  an  open  coffin 
placed  on  trestles;  she  rests  her  1.  hand  on  a  shrouded  protuberance.  In  her 
r.  is  a  glass  filled  from  a  bottle  of  Cin  on  a  table  (1.).  The  coffin  lid  rests 
against  the  wall :  Cab'^  Paunch  Citizen  and  Alderman  of  Cobble  Ward  Obeit  [sic] 
Nov""  10^^  1810  Mtat  45  Years.  A  plate  on  the  ornate  coffin  is  decorated 
with  a  bottle,  bird,  glass,  &c.  On  a  chest  of  drawers  are  many  medicine-bottles 
all  labelled :  Opening  draught  Aid"  Paunch.  An  alderman's  gown  hangs  on  the 
wall.  Torn  papers  lie  beside  a  chair:  List  of  City  Feasts  for  the  Year  18 10 
and  Swan  Hop.  [Upping].  A  round  bath  or  tub  is  on  the  floor  (1.).  The  nurse 
says:  Ah!  all  the  good  things  of  this  world  wont  save  us  eJaithH  this  belly  I 
warrant  you  has  held  as  many  bottles  of  wine  in  ifs  time  as  ever  a  Celler  in  the 
City,  well  poor  ikf  Alderman  Paunch!  Cod  rest  his  Soul!  he  was  a  good 
creature!  He  never  grudged  the  poor  what  he  didn't  love  himself.  Oh  those  poor 
pale  lips!  where 's  all  the  Chickens,  and  all  the  Capons,  and  all  the  Ducks,  and 

74 


PERSONAL   AND   SOCIAL   SATIRES    1811 

all  the  turkeys,  and  all  the  pullets,  and  all  the  fowls,  and  all  tlie  game,  and  all 
the  hams,  and  all  chines,  and  all  the  haunches  of  Venison,  and  all  the  turbot,  and 
all  the  Salmon,  and  all  the  fish,  and  the  beef  and  the  turtle,  a?id  the  marrow- 
pudding,  and  the  pies,  and  tJie  Custards,  and  all  the  dainties,  it  has  cost  the  City 
so  much  money  for,  what  will  he  do  poor  soul  if  there 's  no  such  good  things  where 
he  is  gone  too. 

For  the  guzzling  'cit'  cf.  (e.g.)  No.  9472.   He  had  died  immediately  after 
the  Lord  Mayor's  Day  feast. 
8|X  I2|  in.  'Caricatures',  viii.  143. 

11828  LADY  SQUABB  SHEWING  OFF,  OR  A  PUNSTERS  JOKE 

[Williams.] 

Pub"^  6  Sepf  181 1  by  S  W  Fores  N°  50  Piccadilly. 

Engraving  (coloured  impression).  A  grotesquely  fat  woman,  much  decolletee, 
sits  at  a  piano  (1.)  singing  and  playing,  her  1.  foot  on  the  pedal.  With  upturned 
eyes  and  gaping  mouth  she  smgs:  Just  like  love  .  .  .  [three  times].  Her  music 
book  is  open  at:  Just  like  Love  a  Favorite  Song  Sung  by  .V  Braham.  A  fat 
man  in  old-fashioned  dress,  standing  just  behind  her,  his  hands  raised  in 
surprise,  turns  to  address  two  younger  men  who  are  fashionably  dressed.  He 
asks:  Don't  my  Lady  play  and  Sing  delightfully?  she  teas  finished  under  the 
famous  Sig''  Squawlletti.  The  man  on  the  extreme  r.,  holding  his  friend's 
arm,  says:  By  G —  if  the  Signior  had  been  under  my  Lady  she  would  have 
finished  him!  would' nt  She  Sir  Thomas.  The  other  laughs :  Ha!  Ha!  Ha!  come 
that 's  a  good  one! 
8|xi3  in.  'Caricatures',  viii.  128. 

11829  THE  RIVAL  PUBLICANS. 

[Williams.] 

London  Pub'^  J  any  22^  18 11  by  IV'"  Holland  N°  il  Cockspur  S'. 

Engraving  (coloured  impression).  Heading  to  a  moral  tale,  By  the  late 
Dr.  Lyon,  etched  in  two  columns.  A  goose  approaches  the  edge  of  a  pond  (1.) 
carrying  a  struggling  fox  which  it  holds  by  the  neck.  There  is  a  realistic 
landscape  background  with  a  substantial  village  inn  in  the  distance  (r.).  The 
text  relates  how  a  beloved  publican  kept  a  humble  little  ale-house,  the  sign 
of  the  Goose.  A  rival  built  a  larger  house  with  'three  rooms  .  .  .  drinking 
glasses  instead  of  horns',  intending  to  monopolize  custom,  with  the  sign,  a  fox 
running  off  with  a  goose.  Two  farmers  then  enabled  the  keeper  of  'the  Goose' 
'to  out-top  his  rival  in  a  house  and  furniture',  with  a  sign  of  his  own  device, 
the  Goose  running  away  with  the  Fox. 
5nX8|  in.    Sheet,  i5iV<  10}^  in. 

11830  LAMB  AND  MINT  SAUCE. 

[Williams.] 

Pub'^  March  1811  by  W"'  Holland  N"  11  Cockspur  S'. 

Engraving  (coloured  impression).   A  very  stout  elderly  man  in  old-fashioned 
dress  holds  on  his  knee  a  slim  and  elegant  courtesan,  who  holds  out  her  dress 
to  receive  the  guineas  which  he  pours  into  her  lap.   Beside  them  (r.)  is  a  table 
laid  with  knife,  fork,  and  (?)  lamb  chop  (cut  off  by  the  margin), 
iiixyf  in.   With  border,  i2|;-  Qjg  in.  'Caricatures',  x.  231. 

75 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

11831  PEALING  ORGANS 

[Williams.] 

Pu¥  Octob^  1811  by  W""  Holland  N°  11  Cockspur  S^  London. 

Engraving  (coloured  impression).  A  close-up  view  of  the  heads  of  a  man 
and  v^^oman  asleep  in  bed,  vs^ith  their  arms  round  each  other.  They  have 
grotesquely  long  and  tumed-up  noses.  Similar  in  character  to  Nos.  1 1 128-30. 
ii-x8-  in.  'Caricatures',  viii.  190. 

11832  36  PR  CENT  DISCOUNT  AT  CALCUTTA. 

London.    Pub.  Feb.  1811  by  Will'"  Holland  N°  11  Cockspur  Street,  of 

whom  all  the  other  Caricatures  may  be  had. 
Aquatint  (coloured  impression).  Two  dark-complexioned  money-lenders, 
Eurasians  or  Portuguese,  sit  facing  each  other  at  a  round  table.  One  (1.),  with 
a  cane  under  his  arm,  appears  to  be  a  visitor;  he  regards  his  vis-a-vis 
with  a  fixed  and  cunning  grin,  holding  out  a  bill  or  cheque,  and  pointing  to 
an  open  chest  containing  money-bags  which  is  on  the  ground.  The  other  (r.) 
stares  angrily,  leaning  on  the  table  and  clutching  a  large  money-bag.  He 
wears  a  shirt  and  waistcoat  with  breeches  and  shoes ;  the  other  wears  a  short 
jacket  or  long  spencer,  breeches,  and  boots.  The  figures  are  strongly  lit,  the 
room  is  in  deep  shadow.  Apparently  a  companion  pi.  to  No.  11833.  Cf.  also 
Nos.  12164,  12165. 
8x  12^  in.  'Caricatures',  vii.  76. 

11833  SCENE  IN  THE  WRITER'S  BUILDINGS  CALCUTTA! 

London  Pub.  by  Will"'  Holland  N"  11  Cockspur  Street.  [?  1811] 

Of  M''  Holland  may  be  had  a  number  of  East  and  West  India  Caricatures. 

Aquatint  (coloured  impression).  A  young  man,  thin,  dark-haired,  and  sallow, 
leans  back  in  his  chair  smoking  a  hookah:  the  long  coiled  tube  is  attached 
to  a  receptacle  supporting  a  small  brazier  at  which  an  Indian  servant  (r.), 
crouching  on  the  floor,  is  bloving;  he  wears  breeches  with  an  open  shirt.  His 
feet  are  on  an  oval  table  beside  writing-materials.  He  faces  an  Indian  wearing 
a  turban  and  scanty  draperies,  who  stands  (1.),  reading  near-sightedly  from 
a  long  document.  The  Indian  says:  Got  Bill — Massa's  name.  The  other 
answers:  No  Money — come  next  month.  A  second  servant  stands  behind  his 
master's  chair  working  a  primitive  punkah  attached  to  a  pole.  Apparently  a 
companion  pi.  to  No.  11832.  Holland  also  published  Money  Lenders  in 
Calcutta!  n.d.  (A.  de  R.  viii.  194).  For  the  money-lender  cf.  No.  12722. 
7^1  X  I2|  in.  'Caricatures',  vii.  77. 

11834  LUMPS  OF  PUDDING 

H  W  Bunbury  Esq''  Delin     Etch'd  by  W  Heath 

London  Published  Aug  15 18 11  by  Robinson  5  Margaret  Street  Cavendish 
Square  &'  Colnaghi  Cockspur  Street 

Engraving  (coloured  impression).^  A  country  dance;  eighteen  couples  in  a 
strip  design  in  the  manner  of  the  Long  Minuet  (No.  7229),  dance  with  awkward 
vigour;  one  of  the  most  active  ladies  has  a  wooden  leg.  The  first  couple  (1.) 
face  each  other,  the  lady  squinting  violently.  On  the  r.  a  man  turns  eagerly 
from  his  elderly  and  offended  partner  to  a  young  lady,  whose  partner  also 
holds  the  hand  of  another  lady,  while  an  elderly  man  stands  alone  on  the 
extreme  r.,  holding  his  wig,  and  mopping  his  bald  head.  The  elder  men  wear 

'  Flesh  tints  and  light  monochrome  only. 
76 


PERSONAL   AND   SOCIAL   SATIRES    1811 

powdered  hair  with  small  pigtails,  the  younger  ones  have  frizzed  hair  without 
powder,  short  or  with  small  tails.  Only  one  or  two  wear  wigs.  The  women 
wear  simple  high-waisted  gowns  with  elbow  sleeves  and  long  gloves;  one 
wears  a  hat  and  long  sleeves.  All  wear  flat-heeled  shoes,  and  have  frizzed 
hair,  short,  or  piled  on  the  head;  a  few  wear  feathered  bandeaux;  one  lady 
only  has  powdered  hair.  Some  have  strange  hair  ornaments:  a  fat  and  very 
decoUetee  lady  with  a  lap-dog  under  her  arm  wears  round  her  erect  bush  of 
hair  a  circlet  from  which  project  barbed  zigzags,  like  lightning  flashes.  A 
youngish  lady  has  on  her  head  a  bird  with  a  barbed  fang;  an  older  one  in 
spectacles  wears  a  small  windmill  behind  two  drooping  aigrettes.  The 
neglected  lady  wears  a  tiny  wheat-sheaf,  her  pretty  rival  a  ship  in  full  sail. 
Below  the  title : 

What  an  elegant  Set — What  a  bustling  of  Rumps! 

What  a  Szveet  Toe  to  Toe-ing  of  Slipers  and  Pumps! 

At  the  sight  my  Old  Druttjsticks  are  ready  to  Prance 

There  is  nothing  I  love  so  as  seeing  Folks  Dance. 
'Lumps  of  Pudding'  was  a  countr^^-dance  tune;  it  is  in  The  Dancing  Master, 
1703.  C.  W.  Beaumont,  Bibl.  of  Dancing,  1929,  p.  46.  Bunbun,-  died  in 
May  181 1 ;  the  drawing  is  probably  some  years  earlier.  The  print  was 
advertised  in  a  handbill  (in  B.M.)  dated  11  Nov.  181 1.  'This  day  is  pub- 
lished. Price  los.  6d  Plain  or  One  Guinea  Brown  or  Coloured  in  a  superior 
Manner  ,  .  .  from  a  drawing  by  that  distinguished  genius  the  late  W.  H. 
Bunbur}',  Esq.  .  .  .'  A  third  publisher  is  'Mr.  Molteno,  Pall  Mall'.  The  size 
is  given  as  eight  feet  by  twelve  inches. 
ii^Xgol  in.  (five  sheets  pasted  together). 

11835  PISTOL  EATING  FLUELLENS  LEAK,  Vide,  Henry  V'^ 
H  Bunhury  Esq''  Del 

Engraving  (coloured  impression).  A  crude  copy  in  line  of  a  pi.  in  the  set 
of  stipple  illustrations  to  Shakespeare,  after  Bunbury,  published  by  Macklin. 
The  original  is  the  serious  illustration  of  a  comic  subject;  the  copy  has  the 
character  of  caricature.  Pistol  sits  on  the  ground  clutching  his  sword  in  both 
hands,  his  mouth  distended  by  a  large  leek;  he  scowls  towards  Fluellen  (r.) 
who  threatens  him  with  raised  cudgel.  Behind  the  latter  stands  a  grinning 
man  at  arms  holding  a  spear.  The  scene  is  open  country  with  a  large  camp 
in  the  middle  distance.  The  costume  is  quasi-Elizabethan,  but  Pistol  has  a 
long  pigtail  queue,  and  beside  him  is  a  large  cocked  hat. 

The  original,  Fluellen  makeing  Pistol  eat  the  leek,  is  engraved  by  Meadows 
and  published  i  Aug.  1795.   The  dialogue  between  Fluellen  and  Pistol  is 
engraved  below:  Henry  V,  v.  i.  23-40.   (141V'  ^5  •"•) 
8|x  i2|  in. 

11836  BACHELORS  FARE. 

C  Nelson  del'  et  Sculp'  [  ?  f .  1 8 1 1] 

Aquatint  (coloured  impression).  A  young  man  and  young  woman,  both  hand- 
some and  fashionably  dressed,  embrace  amorously  on  a  sofa,  on  which  the 
girl  has  thrown  her  hat  and  parasol.  The  man's  r.  hand,  holding  a  knife, 
rests  on  a  table,  beside  a  cheese  and  loaf;  a  jug  and  glass  beside  it.  A  patterned 
wall-paper  and  carpet,  with  a  tall  curtained  window  on  the  extreme  1.,  com- 
plete the  design. 

Illustration  of  a  proverbial  phrase,  see  No.   12400,  where  this  design, 
reversed  and  assimilated  to  Rowlandson's  manner,  is  introduced. 
ii|X9/gin.   With  border,  12}^ X  loj  in.  'Caricatures',  x.  253. 

77 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

11837  POOR  MR  SPRIGGS. 

G.  Cruikshank  del    W.  Grainger  sculp. 

London,  Published  by  John  Fairburn,  2,  Broadway,  Ludgate  Hill. 

[?c.  1811] 

Engraving.   Heading  to  a  song.   A  fisherman  leads  a  dripping  and  dejected 
woman,  wrapped  in  a  fishing-net,  to  the  door  of  a  grocer's  shop,  inscribed 
SPR[IGGS];  the  owner   stands   in   the    doorway,    registering   furious   rage. 
Behind  (1.)  are  the  masts  of  a  vessel.   Below  the  title: 
He  pulVd  Sally  out  by  a  cast  of  his  net. 
Took  her  home,  half -drown' d,  to  her  anxious  dear, 
Who  cried,  when  he  saw  her  looking  so  queer, 
"Pray,  Sir,  why  the  devil  did  you  interfere 

With  poor  M''"  Spriggs? 
A  song  sung  by  Fawcett. 
Reid,  No.  411.   Cohn,  No.  1859. 

216  X2j  ^^' 


I1838-I1840 
From  series  of  'Drolls' 

11838  JOHN  HOBBS,  JOHN  HOBBS. 

Finucane,  delin^ 

Published  12th  August,  1811,  by  Whittle  and  Laurie,  No.  Jj,  Fleet  Street, 
London. 

Engraving.  Heading  to  (printed)  verses:  Sung  by  Mr.  Lovegrove,  zvith 
unbounded  Applause,  in  "Any  Thing  New,"  at  the  Lyceum  Theatre,  Strand. 
Lovegrove  as  Jeremiah  Babble  stands  hat  in  hand  before  a  solid  rail,  behind 
which  is  a  grotesquely  fat  woman,  dressed  in  her  best,  with  a  rope  round  her 
neck,  at  whom  he  points.  Three  other  men  stand  by,  one  with  a  hand  on 
Lovegrove's  shoulder,  the  others  inspecting  the  woman.  The  verses  relate 
that  Hobbs,  *a  jolly  Shoe-Maker',  having  'caught  a  Tartar'  for  his  wife  tried 
to  sell  her  at  Smithfield,  but 

The  wife-dealing  fellows 

Were  all  of  them  sellers. 

Hobbs  thereupon  tried  to  hang  himself  with  the  rope,  but  his  wife  cut  him 
down  and: 

They  settled  their  troubles 
Like  most  married  couples, 
John  Hobbs,  John  Hobbs, 
Oh,  happy  shoe-maker  John  Hobbs. 

Such  wife-selling  was  a  common  practice,  popularly  believed  to  be  a  legal 
method  of  divorce  (and  so  reported  by  foreign  visitors).  Any  Thing  New  was 
a  musical  farce  by  Pocock,  first  played  by  the  English  Opera  Company  at 
the  Lyceum  on  i  July  181 1.  The  song  illustrated  was  the  chief  hit,  being 
twice  encored,  then  a  remarkable  event;  it  is  printed  in  full  in  the  Europ.  Mag. 
Ix.  43. 

There  are  two  song-heads  by  G.  Cruikshank  of  this  subject,  one  pub. 
Fairburn  (Reid,  No.  437,  Cohn,  No.  1263),  one  pub.  Harrild  (Cohn,  No.  1264). 
6^X9^  in.   Sheet,  c.  iif  X9I  in. 

78 


PERSONAL   AND   SOCIAL   SATIRES    l8ll 

11839  A  BUNDLE  OF  TRUTHS.  521 
[G.  Cruikshank.] 

Published  2"'^  Sepf  1811  by  Laurie  &  Whittle,  33,  Fleet  Str'  London. 

Engraving.  Heading  to  (printed)  verses  Sung,  with  great  Applause,  by 
Mr.  Henry  Johnston,  in  Dublin,  Cork,  &c.  &c.  A  pedlar  with  a  wooden  leg 
stands  at  a  street  comer,  singing,  a  bottle  of  Irish  Whisky  in  his  1.  hand, 
another  bottle  in  his  coat-pocket.  His  open  box  is  slung  from  his  neck,  show- 
ing a  watch,  gloves,  scissors,  seals,  watch-keys,  ribbons,  &c.  On  the  r.  is  a 
barber's  shop:  T.  Trim  Hair  .  .  .  with  a  (torn)  paper-covered  lamp  (as  in 
No.  7605)  inscribed:  Shave  well  for  Penny  cut  for  2  .  .  .  In  the  room  above 
a  tailor  holding  shears  and  iron  looks  from  the  window;  a  projecting  sign  is 
inscribed  Sam  Shred  Taylor.  On  the  pavement  outside  are  a  fat  doctor,  a  man 
leading  an  ass  with  paniers,  and  shouting  his  wares,  a  barrister  addressing 
a  burly  man  with  a  staff.  On  the  opposite  side  of  the  road  is  a  puppet-show 
in  the  form  of  a  castle,  into  which  children  are  peeping.  A  baker's  man  walks 
past  with  a  board  on  his  head  on  which  is  a  pie.  The  last  of  six  verses: 
Taylors  cabbage  all  your  cloth, 
Shins  of  beef  are  ver}-  tough. 
Flummer}^  is  just  like  froth 

Mrs.  Clarke  is  up  to  snuff. 
Jolly  tars  are  fond  of  fun, 

"God  save  the  king",  we'll  nobly  shout. 
And  now,  good  folks,  my  song  is  done, 
Nobody  knows  what  'twas  about. 
Right  fol  de  riddle  del,  &c. 

To  cabbage  is  to  pilfer,  see  No.  11824,  &c.  Flummer}'  (or  oatmeal  and 
water  boiled  to  a  jelly)  =  flatter)'.  Partridge,  Slang  Diet.  For  Mrs.  Clarke 
see  No.  11216,  &c. 

Reid,  No.  4497.  Cohn,  No.  964.  Reproduced,  Cruikshankian  Momus,  p.  66. 
6|x8}^  in.    Sheet,  iiriX9Yg  in. 

11840  THE  BEAUTIFUL  MAID.  522 
G.  Cruikshank  fecit 

Published  23"'  Nov''  1811,  by  Laurie  &  Whittle,  N"  53,  Fleet  Street, 
London. 

Engraving  (coloured  impression).  Heading  to  (printed)  verses  As  Sung  by 
Mr.  Liston,  with  unbounded  Applause,  1811;  being  a  Parody  on  Mr.  BraJiam's 
Song  of  ''The  Beautiful  Maid".  A  kitchen  scene:  a  cat  has  dashed  to  the  top 
shelf  of  the  dresser  with  a  fish  (a  ray  or  skate)  in  its  mouth,  causing  a  cascade 
of  broken  crocker}-.  A  well-dressed  man  (Liston)  registers  consternation,  and 
a  dog  bites  his  leg.  The  fat  cook  in  poking  the  fire  (r.)  upsets  a  saucepan. 
The  setting  is  a  good  representation  of  the  arrangement  and  equipment  of 
a  kitchen.  On  the  wall  are  a  cuckoo  clock  and  a  framed  print  of  an  elopement. 
The  song  ends : 

Oh!  pussey,  you  hussey, 
Oh!  What  have  you  done. 
You've  eat  up  my  beautiful  maid. 

Maid  =  the  ray  or  skate  when  young,  the  French  word  being  pucelle. 

Another  rendering  of  the  subject,  signed  G.  Cruikshank  feet.,  with  the  same 
title,  was  published  by  R.  Harrild  in  1812.  (Reid,  No.  131,  Cohn,  No.  916.) 
See  also  No.  12395. 

Reid,  No.  128.  Cohn,  No.  915.  Reproduced,  Cruikshankian  Momus,  p.  68. 
6|x8fin.    Sheet,  II y\x  9^  in. 

79 


l8l2 

POLITICAL  SATIRES 

11841  PRINCELY  AGILITY  OR  THE  SPRAINED  ANCLE. 

G  Cruikshank  fec^ 

Pu¥Januy  1812  by  J  Johston  [sic]  g8  Cheapside 

Engraving  (coloured  and  uncoloured  impressions).  The  Regent  (r.)  lies  in 
a  canopied  bed,  the  bed-clothes  defining  a  grossly  distended  paunch.  He 
weeps,  looking  up  at  Mrs.  Fitzherbert,  who  splashes  liquid  over  his  mouth 
from  a  long  spoon.  She  wears  a  rosary  and  a  little  crown  (though  her  reign 
was  over,  see  Nos.  11853,  11904,  &c.).  He  wears  a  nightcap  shaped  like  a 
fool's  cap,  and  tied  with  a  Garter  (knee)  ribbon,  inscribed  Honisoi[t\  in  which 
is  a  leek  (for  Wales).  He  says:  Oh!  my  Ancle.  Oh! — bring  me  my  Wig.  Oh 
my  Ancle — .'.'  "Take  care  of  my  Whiskers"  Mac  Oh  Oh  Oh  Oh  o  o  o  o  oh  0. 
MacMahon,  ridiculous  in  a  braided  and  fur-trimmed  hussar  tunic,  advances 
beside  the  Ijed,  carrying  a  wig-block  carved  to  represent  the  Prince's  head 
on  which  is  a  naturalistic  wig  with  bushy  whiskers  attached  to  it.  A  smaller 
woman,  perhaps  the  Duchess  of  York  (his  hostess  at  Oatlands),  raises  the  bed- 
clothes at  the  foot  of  the  bed  to  uncover  the  swollen  ankle,  saying.  Bless  me 
how  it 's  swelled.  The  leg  is  raised  to  allow  an  elderly  doctor  to  apply  a  steam- 
ing poultice.  The  doctor  (?  Home,  see  No.  11864,  or  Gilbert  Blane)  looks 
over  his  shoulder  at  a  ruffianly  looking  man  holding  a  strait-waistcoat,  saying, 
Take  that  Waistcoat  azvay  or  we  shall  make  Town  talk.^  Another  elderly 
doctor  (identified  by  Reid  as  Sir  John  Douglas,  but  (?)  Sir  W.  Farquhar) 
holds  the  Prince's  1.  wrist,  saying,  Out  a  way  Mon  You  are  always  Exposing 
yourself!  Both  doctors  wear  chequered  coats  indicating  tartan.  On  the 
extreme  1.,  John  Bull,  a  burly  countryman  wearing  top-boots  and  holding 
a  cudgel,  faces  Perceval,  who  wears  his  official  gown,  and  tries  to  prevent  his 
entry,  saying.  Indeed  Bull  'tis  only  a  Sprained  Ancle.  John  answers,  frowning, 
John  Bull  is  not  to  be  fobbed  off  so  easily  Master  Lawyer.  On  the  wall  beside 
him  is  a  framed  notice :  Advice  to  his  Roy —  |  .  If  the  Cap  fits,  wear  it  \  Whether 
Red  or  Blue  \  Laugh  at  the  Joke  \  Least  others  Laugh  at  you  \  John  Bull.  Beside 
the  bed  is  an  ornate  set  of  (three)  steps,  on  which  stand  medicine-bottles  and 
pill-boxes.  On  the  ground  (1.)  is  a  paper:  New  way  to  pay  old  debts  a  new 
Song  to  an  Old  tune  by  Perceiveall. 

For  the  Regent's  sprained  ankle  at  Oatlands,  where  he  had  gone  for  a  dance 
in  honour  of  his  daughter,  see  No.  11746,  &c.  It  was  widely  believed  that 
he  was  insane,  see  Wilberforce,  Life,  iii.  559.  He  was  in  a  state  of  mental 
agony  over  the  difficulties  of  forming  a  Cabinet  when  the  Regency  restrictions 
should  expire  on  5  Feb.,  see  No.  11855.  Perceval's  presence  may  indicate  the 
growing  inclination  to  retain  him.  Cf.  Cobbett,  Pol.  Reg.,  6  Feb.  181 1 :  'if  all 
matters  hold  together  till  next  February,  Mr.  Perceval  must  be  a  very  lame 
man  indeed  if  he  be  not  much  more  powerful  than  he  now  is  .  .  .' .  Alexander 
Baring's  opinion  in  Jan.  1812:  'that  the  Prince  Regent  is  playing  between 
two  political  parties  ...  in  order  to  obtain  payment  of  His  debts  &  whatever 
He  wants,  &  that  He  will  act  &  choose  a  ministry  such  as  He  likes,  or  such  as 
from  his  natural  timidity  He  dare  not  disoblige,  meaning  the  Grenvilites  .  .  .' . 

'  Perhaps  a  puff  for  the  publisher's  Town  Talk;  or  Living  Manners  (see  Cohn,  No. 
802)  thought  not  a  pi.  to  the  magazine. 

80 


POLITICAL    SATIRES    l8l2 

Farington,  Diary,  vii.  74.  Farquhar  and  Blane,  both  Scots  (cf.  No.  11763), 
appear  in  the  Royal  Kalendar  for  1812  as  the  Regent's  chief  physicians, 

Reid,  No.  149.   Cohn,  No.  1871. 
SJXHfin. 

11842  A  LESSON  ON  MILLING,  OR  A  HINT  TO  RAKES. 

[WilHams.] 

Pu¥  January  1812  by  Walker  &  Knight  7  Cornhill 

Engraving  (coloured  impression).  Heading  to  etched  verses.  In  a  comer  of 
a  small  room  Cribb  (see  No.  11755)  gives  a  boxing  lesson  to  the  Regent; 
both  wear  gloves  and  closely  buttoned  jackets.  Cribb  strikes  a  boxing  atti- 
tude, which  the  Prince  watches,  with  his  heels  together,  his  head  turned  in 
profile  to  the  1.  McMahon  stands  erect  with  his  back  to  the  fire  (r.).  On  a 
settee  are  the  coats  of  the  boxers,  with  Cribb's  top-hat.  Above  hang  pictures : 
two  oval  bust  portraits  of  classical  beauties,  Helen  and  [Elec\tra\  above  these 
are  the  lower  edges  of  three  pictures :  The  Champion  of  England,  showing  the 
feet  and  unmistakable  calves  of  the  Regent,  with  a  sceptre  leaning  against 
a  piece  of  drapery;  this  is  flanked  by  Hogarth's  Rave's  [sic]  Progres  Plate  5 
and  Rave's  Pvogves  Plate  6  (the  marriage  and  the  ruin  in  a  gaming-house). 
On  the  ground  (1.)  is  a  heap  of  books  and  papers,  including  Ovids  Avt  of  [L]ove. 
On  the  chimney-piece  three  figures  are  in  front  of  a  large  mirror.  A  fool  in  cap 
and  bells  holds  a  small  clock-face,  showing  that  the  time  is  twelve;  the  base 
is  inscribed  Tempiis  Fugit.  This  is  flanked  by  [Tempe]vance  and  Pvud[ence], 
both  headless.  On  the  fringed  heanh-rug  is  a  lion.  The  verses  (47  11.)  begin: 

There  was  once  a  Rake  of  high  renown, 
Heigh  ho  says  Rowley! 
He  had  toy'd  with  half  the  Belles  in  Town, 
And  yet  for  his  Frolicks,  was  never  knock'd  down. 
After  being  milled  by  'The  husband  or  uncle,  which  Vr;-  matters  not'  (Lord 
Yarmouth),  McMahon  advises  him  to  learn  to  box,  and  he  sends  for  Cribb. 
See  No.  1 1746,  Sec.  The  verses  (as  in  No.  1 1843)  are  one  of  many  parodies 
on  'A  frog  he  would  a  wooing  go',  see  No.  11 525;  cf.  Nos.  11878,  11939. 
SlxgiQ  in.    Broadside,  134x9^  in. 

11843  A    KICK   FROM   YARMOUTH   TO   WALES;  OR  THE  NEW 
ROWLY  POWLY. 

[G.  Cviiikshank  feet .    Published  by  J.  Johnston,  gS  Cheapside,  1812] 

Engraving  (coloured  impression).  Heading  to  verses  printed  below  the 
(printed)  title:  'Tune — The  Love-sick  Fvog.'  Lord  Yarmouth,  taking  the 
Regent  by  the  collar,  propels  him  towards  the  door  (r.),  the  latter  taking 
a  flying  stride.  On  the  1.  a  young  woman  in  evening  dress  (Lady  Yarmouth), 
seated  on  a  sofa,  registers  alarm.    On  the  wall  is  a  picture:  God  Save  Gveat 

Geovge  ouv  P ;  three  men  carr}'  off  the  lifeless  and  obese  body  of  the 

Regent.  The  verses  (28  11.),  begin:  'A  Prince  he  would  a  raking  go.'  They 
relate  the  Regent's  visit  (with  McMahon)  to  the  Duchess  of  York  at  Oatlands 

('O '),  his  infatuation  with  a  lovely  lady,  the  inter\^ention  of  her  husband 

who  'behav'd  very  gross',  so  that  he  was  carried  to  bed  by  three  ser\^ants. 

See  No.  11746,  &c.  The  verses  are  printed  in  full  in  B.  Falk's  Old  Q's 
Daughtev,  1937,  p.  loi  f.  No.  11842  is  a  similar  parody  of  the  same  song. 
Cf.  No.  11860.  The  pi.  was  also  used  as  folding  frontispiece  to  'R — y — 1 
Stripes;  or  a  Kick  from  Yar — th  to  Wa — s,  with  the  particulars  of  an  Expedi- 
tion to  Oat — nds,  and  the  Sprained  Ancle :  a  poem  by  P —  P —  Poet  Laureate 

81  O 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

[i.e.  George  Daniel,  see  No.  12338]'.  According  to  a  MS.  note  by  the  author 
it  was  suppressed  and  bought  up  in  Jan.  i8i2,  before  pubhcation,  by  order 
of  the  Regent,  the  author  receiving  a  large  sum,  Daniel  secured  four  copies 
and  copies  in  MS.  were  widely  sold.  See  D.N.B.  and  the  copy  in  B.M.L. 
11641.  cc.  31/1.  It  was  attributed  in  the  Scourge,  iii.  150-60,  to  John  Agg 
(author  of  similar  verse  satires  with  the  same  pseudonym),  and  strongly  con- 
demned as  having  a  deplorably  'powerful  influence  on  the  lower  classes'. 
'Doggrel  Attacks  on  the  Regent',  Feb.  1812.  The  verses  are,  however,  quoted 
at  some  length,  and  are  similar  in  character  to  plates  and  a  lampoon  in  the 
magazine.  Ibid.  313-18,  456-61.  A  print  (?  this  pi.)  attributed  to  Dighton 
and  called  'A  Kick  from  Yarmouth  to  Wales',  is  said  to  have  suggested 
Daniel's  verses.  Notes  and  Queries,  3rd  s.,  x.  180.    Cf.  No.  11847. 

Reid  describes  a  state  in  which  the  Prince  cries  Oh!  my  ankle,  oh!  pray 
forgive  me  this  time,  &c.,  and  Yarmouth  answers,  D — n  you,  your  ankle  and 
your  honour  too.   In  this  the  verses  are  headed  The  Countess  of  Yarmouth. 

Reid,  No.  148.   Cohn,  No.  1287. 
5|x8f  in.   Broadside  (cropped),  I5|x8|  in. 

11844  THE  R L  LOVER,  OR,  THE  ADMIRAL  ON  A  LEE 

SHORE.  [W.  Heath] 

Printed  and  Published  by  S.  W.  Fores,  Corner  of  Sackville-street,  Picca- 
dilly. [18 1 2] 

Engraving  (coloured  impression).  Heading  to  verses  printed  in  three  columns. 
In  a  room  at  Wanstead  House  the  Duke  of  Clarence  kneels,  clasping  his  hands 
with  burlesqued  anguish,  his  hair  on  end.  He  wears  admiral's  uniform,  and 
is  unrecognizable.  Miss  Tylney-Long  stands  by  the  open  door  (1.)  frowning 
and  extending  an  admonitory  forefinger.  On  the  wall  (1.)  is  a  plan  inscribed 
Tinley{sic\-Estate,  and  behind  the  Duke  (r.)  a  picture  of  Mrs.  Jordan,  The 
Deserted  Cora,  surrounded  by  nine  sons  and  daughters.  She  says:  This  is  the 
best  reward  of  Royal  Gratitude  for  Twenty  years  of  Care  &  Motherly  Attention 
Come  then  my  Children  lets  persue  the  middle  path  &  leave  to  Courts  &  Royalty 
its  Blackest  stain  Ingratitude. 

The  verses  are  from  a  satire  by  John  Agg  (Peter  Pindar,  Junior)  published 
in  1 812  which  went  through  at  least  twelve  editions  in  that  year.  The  title 
continues :  *or  a  D — e  defeated :  containing  particulars  of  a  Journey  to  W — d 
House;  ...  a  poem'.  Twenty-one  (out  of  seventy-two)  verses  are  printed  on 
the  broadside.  They  begin: 

What!  leave  a  woman  to  her  tears? 

Your  faithful  friend  for  twenty  years ; 
See  No.  11744.  The  Duke  is  described  as  a  love-sick  old  man,  who  visits 
Miss  Tylney-Long  at  Wanstead,  professing  his  readiness  to  fight  Lord 
Kilworth  or  Wellesley-Pole,  or  both.  The  heiress  reproaches  him  with  his 
cruelty  to  Mrs.  Jordan  and  bids  him  return  to  her  'and  play  the  fool  no  more'. 
There  are  allusions  to  Coates's  surprise  at  the  loud  laughter  that  greeted  his 
performance  of  Lothario,  see  No.  11769,  and  to  the  Duke  of  York's  love- 
letters  to  Mrs.  Clarke,  see  No.  11228,  &c.  Cora  is  the  faithful  wife  of  Alonzo 
in  Pizarro  (see  No.  9396,  &c.)  played  by  Mrs.  Jordan. 
5^|x8fin.   Broadside,  I 6y|xio|  in. 

11845  POLITICAL  BULLBAITING. 

Published  by  A.  Redford  London  Road  Soiithwark  Feb  i'^  1812 
Engraving  (coloured  impression).    Folding  pi.  from  a  book  or  pamphlet. 
A  massive  bull  (John  Bull),  with  an  iron  band  round  its  neck  by  which  it  is 

82 


POLITICAL   SATIRES    l8l2 

attached  by  a  heavy  chain  to  a  stump,  is  approached  by  dogs  with  human 
heads,  who  are  driven  forward  by  a  man  plying  a  whip ;  he  stands  by  a  cask 
of  Whitbreads  Entire  [cf.  No.  10421],  showing  that  he  is  Whitbread.  The 
heads  of  the  dogs  are  poorly  characterized,  but  the  leader  wears  a  legal  wig 
and  has  some  resemblance  to  Erskine.  On  the  bull's  back  sit  the  Regent  in 
quasi-royal  robes  and  Queen  Charlotte  wearing  a  crown  and  much  bejewelled. 
The  Prince  bestrides  the  animal's  neck,  clutching  the  iron  band  which  is 
inscribed  Corruption ;  a  paper  inscribed  £600000  hangs  from  his  pocket.  The 
Queen  sits  behind  him,  one  hand  on  his  shoulder;  in  the  other  is  a  paper 
inscribed  £10,000.  The  massive  links  of  the  chain  are  inscribed  Tax  [several 
times],  Duty,  Expences,  Income  Tax,  Scicily,  Portu[gal],  Spain  &  P,  £600000, 
Milling  [see  No.  11842,  &c.] ;  the  band  round  the  stump  is  War.  A  man  with 
some  resemblance  to  Burdett  raises  a  heavy  club  to  strike  at  the  chain. 
Behind  him  (1.)  is  the  gate  of  the  Horse  Guards.  On  the  r.  is  the  Banqueting 
House,  Whitehall,  with  spectators  leaning  from  the  windows. 

An  attack  on  the  heavy  burdens  of  the  war,  and  also  of  the  Regency,  in 
which  the  attackers  are  the  1.  wing  of  the  Opposition,  'the  Mountain',  not  the 
Foxites.  It  was  proposed  on  16  Jan.  to  provide  for  the  extra  expense  of  the 
Regency  by  an  addition  of  ;^  10,000  to  the  Civil  List :  the  King's  Household 
was  left  to  the  control  of  the  Queen,  at  an  estimated  annual  charge  of  ^(^  100,000; 
she  was  to  be  allowed  an  addition  to  her  income  of  ^{^  10,000  from  the  Civil 
List.  These  arrangements  were  attacked  by  the  Opposition.  Ann.  Reg.,  1812, 
pp.  1 1  ff .  The  alliance  with  the  King  of  the  Two  Sicilies  involved  an  annual 
subsidy  (^(^400, 000  in  181 2,  Pari.  Deb.  xxii.  188),  which  was  much  and 
repeatedly  attacked,  see  No.  12077.  For  Burdett  and  his  attacks  on  'Corrup- 
tion' see  vol.  viii.  The  design  may  derive  from  Gillray's  John-Bull,  baited  by 
the  Dogs  of  Excise  (1790),  see  No.  7640. 
^ifXHi^in. 

11846  THE  MOUNTEBANKS,  OR  OPPOSITION  SHOW  BOX. 

Nathaniel  NoParty  Esq"  inv'      G  Cruikshank  Sculp' 
Published  Febury  [sic]  J^'  1812  by  M  Jones  5  Newgate  Street 

Engraving,  with  traces  of  aquatint  (coloured  impression).'  PI.  to  the  Scourge, 
iii,  before  p.  87.  The  show-box  is  a  small  platform  on  four  legs,  like  a  high 
table,  the  front  partly  covered  by  draper}-.  On  this  members  of  Opposition 
are  performing.  The  front  legs  are  inscribed  Avarice — Treason  (1.)  and 
Impudence  Apostacy  [v.).  To  the  legs  on  the  r.  had  been  fastened  bands  or 
leading-strings  inscribed  Restrictions,  attaching  to  the  platform  a  spirited 
thoroughbred  horse  with  the  head  of  the  Regent.  These,  however.  Time  has 
just  cut  with  his  shears,  and  the  horse  gallops  off  to  the  r.  The  rider  is 
Wellesley,  in  oriental  dress  with  a  jewelled  turban;  in  triumphant  exultation 
he  holds  the  reins  high  above  his  head,  while  he  flourishes  the  long  knotted 
lash  of  his  whip  towards  the  stage  which  he  is  leaving  behind  him.  His  1.  leg 
is  thrust  forward,  so  that  Canning  (r.)  may  obsequiously  lick  his  toe.  The 
Regent's  head  has  the  enormous  curled  whiskers  of  recent  prints. 

On  the  edge  of  the  platform  sits  Grey,  leaning  forward  to  tie  a  bandage 
inscribed  Catholic  Emancipation  over  the  eyes  of  an  alarmed  John  Bull,  who 
stands  below,  with  his  back  to  Grey.  John  is  a  countn,'man  with  a  short 
smock  and  gaiters  to  the  knee.  Against  his  breast  is  a  dagger,  perhaps  falling 
from  Grey's  hand.  Whitbread,  a  quack  doctor  in  old-fashioned  dress,  stands 
behind  Grey,  holding  out  a  placard  inscribed  Infallible  Panacea — Reform;  in 

'  Not  folded,  showing  that  it  was  issued  separately. 

83 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

his  coat-pockets  are  medicine-bottles,  one  labelled  Whitbreads  intire  [cf. 
No.  1 0421].  Little  Lansdowne  capers  behind  him,  apparently  dancing  a 
Highland  fling  (cf.  No.  10589).  On  the  1.  of  the  platform  kneels  Sheridan, 
dressed  as  a  zany  or  clown;  he  holds  a  tumbler  from  which  he  blows  froth 
through  a  pipe ;  this  rises  not  in  bubbles  but  in  smoke  inscribed  Drury  Lane 
Promises,  Old  Drury  Promises.  Two  vulgar  would-be  fashionables,  holding 
pouches  inscribed  Token  of  English  Credulity,  advance  to  the  platform  to  drop 
coins  in  Sheridan's  tumbler.  On  the  r.  of  the  platform  is  a  box  inscribed 
State  Box;  from  under  the  lid  papers  project  inscribed  Corruption,  Reform, 
Abuses,  Catholic  Bill.  On  this  is  a  pile  of  coin  and  money-bags,  inscribed 
16000  Sinecure,  on  which  Grenville  is  seated ;  his  huge  projecting  posterior 
is  inscribed  Modesty;  he  shakes  towards  the  r.  (and  towards  the  departing 
Regent)  a  large  piece  of  swirling  drapery,  much  tattered,  and  inscribed  Cloak 
of  Patriotism. 

On  the  ground  between  the  platform  and  the  horse's  heels  is  an  overturned 
box  inscribed  Opposition ;  it  has  been  upset  by  a  dog  with  the  head  of  Burdett 
who  leaps  towards  the  horse  barking  Bow  woo  woo  woo.  From  the  box  project 
the  heads  of  animals  on  short  posts;  these  are  a  fox,  an  ass,  and  a  dog. 
Perceval,  wearing  his  gown,  stoops  under  the  platform  to  put  a  torch  to  a 
barrel  inscribed  Stephens's  Infiamable.  He  says:  Here  goes!  for  a  Complete 
blow  up.  On  the  ground  between  John  Bull  and  Perceval  reclines  (?)  Ponsonby, 
holding  upside  down  a  bottle  labelled  Compassion  for  the  Irish.  Smoke  or 
cloud  billows  along  the  ground  behind  the  figures,  only  Canning  being 
partially  engulfed  in  it. 

It  is  anticipated  that  when  the  restrictions  on  the  Regency  (see  No.  11706) 
expire  on  5  Feb.  the  Prince,  ridden  by  Wellesley,  will  be  released  from  ties 
with  Opposition,  here  represented  as  beguiling  the  people  with  advocacy  of 
Reform  and  clamour  against  corruption  in  high  places.  Sheridan  is  accused 
of  deception  over  the  rebuilding  of  Drury  Lane  Theatre,  see  No.  11767,  &c. 
From  1784  he  had  been  occasionally  depicted  as  the  zany  who  attracts  the 
public  to  a  booth  at  a  fair,  see  Nos.  6384,  8690.  For  Grenville's  lucrative 
sinecure,  the  Auditorship  of  the  Exchequer,  see  No.  10543,  ^^-  That 
Wellesley  would  succeed  Perceval  was  generally  expected,  despite  his  resigna- 
tion on  17  Jan.  He  was  in  close  touch  with  the  Regent  and  with  Canning, 
who  counted  on  office  if  Wellesley  should  be  appointed.  See  Huskisson 
Papers,  ed.  L.  Melville,  1931,  pp.  75-8,  and  No.  11888,  &c.  For  the  Prince's 
desertion  of  the  Opposition  see  No.  11855,  &c.  There  is  no  explanation  of 
the  plate  in  the  text,  except  for  an  article,  'Drury-Lane  Theatre  and  Mr. 
Sheridan',  alleging  the  impossibility  of  rebuilding  on  account  of  the  claims 
made  (on  compassionate  grounds)  for  Sheridan.  For  the  lapsing  of  the 
Restrictions  see  Nos.  11856,  11860. 

Reid,  No.  151.   Cohn,  No.  732. 
7^Xi8|in. 

11847  1812  OR  REGENCY  A  LA  MODE 

Drawn  &  Etchd  by  W  Heath 
Pub  Feb  I''  .  .  .1 

Engraving  (coloured  impression).  A  toilet  scene.  The  Regent  stands  in  profile 
to  the  r.  at  his  dressing-table,  rouging  his  cheek  with  a  small  brush.  An 
attendant,  resembUng  McMahon,  laces  the  stays  which  in  front  resemble  a 
waistcoat;  he  tugs  at  the  lace,  standing  on  a  low  stool,  using  one  foot  as  a 
fulcrum  against  his  master's  posterior  (cf.  No.  8287),  a  small  buflfer  orna- 

'  Imprint  erased. 

84 


POLITICAL    SATIRES    l8l2 

mented  with  goats'  heads  being  attached  to  this  foot.  On  the  oval  mirror 
which  reflects  the  Prince's  face  sits  a  monkey,  holding  on  its  head  a  wig  with 
a  pyramid  of  curls  above  the  forehead  with  large  side- whiskers  attached.  The 
Prince's  hair  is  similarly  arranged.  The  Prince's  tail-coat,  in  back  view,  is 
spreadeagled  on  a  stand.  On  an  ornate  wall-bracket  inscribed  Bilb  and  Recetts 
are  two  ornamental  files,  one  filled  with  bills:  hatters  Bill,  Poulterers  Bill, 
Fishmongers  B,  Hair  Dresser,  Taylors  Bill,  Butchers  Bill,  Docters  Bill,  Silve- 
smiths  Bill;  the  other  empty.  A  bracket-clock,  surmounted  by  a  figure  of 
Time  shearing  a  triple  ostrich  plume,  points  to  two  o'clock  (reversed).  A 
round  wall-mirror  and  candle-sconce  is  surmounted  by  a  figure  of  Bacchus 
bestriding  a  cask.  On  the  dressing-table  are  pots  and  jars  of  Tooth  Powder, 
Rouge,  Otto  of  Roses,  and  Secilian  Wash  for  the  Skin.  On  the  floor  is  a  book, 
The  Stripes  Poem,  which  a  small  dog  shaved  like  a  poodle  is  befouling. 

The  book  is  a  reference  to  one  of  the  verse  satires  on  the  Regent's  supposed 
quarrel  with  Yarmouth,  see  No.  11843. 

Reproduced,  L.  Melville,  Beau  Brummell,  1924,  p.  120. 
Ii^x8|  in. 

11848  THE  POLITICAL  SPIDER. 

[?The  Caricaturist  General] 

Published  for  the  Satirist  Feby  J^'  181 2. 

Aquatint.  PI.  from  the  Satirist,  x.  61.  Perceval,  in  his  Chancellor  of  the 
Exchequer's  gown,  stands,  legs  astride,  holding  a  large  broom,  about  to  sweep 
away  an  immense  and  intact  spider's  web.  He  says:  Destroy  his  Web,  his 
prophecy  's  in  vain  \  The  Creature's  at  his  dirty  tcork  again. ^  Advancing  from 
the  middle  of  the  web  towards  Perceval  is  a  big  spider  with  the  head  of 
Whitbread.  On  the  web  are  words :  Lies  [eleven  times].  False  Prop/iesies  [three 
times].  Three  insects  with  human  heads  are  caught  in  the  web,  a  fourth,  with 
broken  wings,  and  resembling  Wardle,  has  fallen  from  it.  Three  have  long 
jointed  or  striped  bodies  with  projecting  stings,  one  is  a  fly,  one  is  Burdett, 
one  wears  a  cocked  hat,  and  is  probably  Cochrane.  Beside  the  w-^b  are  papers 
and  an  open  book.  A  countryman  (r.)  in  tattered  clothes,  holding  a  frothing 
tankard,  looks  up  in  alarm  at  the  web.  Behind  it  (1.)  is  a  cheering  crowd. 
Behind  Perceval  and  on  the  extreme  1.  is  a  building  representing  the  Treasury. 
A  satire  on  Whitbread's  speech  of  8  Jan.,  foretelling  disaster  in  the  Penin- 
sula, and  advocating  peace.  Perceval  answered  by  showing  that  his  previous 
prophecies  of  disaster  had  proved  false :  'and  yet  .  .  .  [he]  was  prepared  upon 
the  same  grounds  of  apprehension,  namely,  the  boasts  of  Bonaparte,  to  repeat 
his  prophecies — "Destroy  the  web  of  prophecy  in  vain  .  .  ." '  [ut  supra].  Pari. 
Deb.  xxi.  57.  See  No.  12099,  ^^' 
6i|xi3|in. 

11849  CAPTURE  OF  THE  PETTICOAT. 
[Rowlandson.] 

Pub'^  Feby  12"'  181 2  by  I.  I.  Stockdale  41  Pall  Mall.^ 

Engraving  (coloured  impression).    Frontispiece  to  Petticoat  Loose:  A  Frag- 
mentary ''Tale  of  the  Castle".   A  beefeater  stands  in  a  ballroom,  holding  up 
his  pike,  on  which  is  speared  a  petticoat.  The  guests  are  grouped  round  the 
'  An  adaptation  (or  misquotation)  of 

Destroy  his  Fib,  or  Sophistry';  in  vain, 
The  Creature 's  .  .  . 

Pope,  Epistle  to  Dr.  Arbuthnot,  1734. 
^  The  plates  are  placed  in  their  order  in  the  book,  disregarding  the  publication  lines. 

85 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

room,  Staring  in  surprise  or  consternation.  Only  one  couple  waltzes;  three 
belles  stand  together  (1.)  like  three  graces,  clasping  each  other  and  staring. 
There  is  a  baroque  musicians'  gallery  (1.).  The  women  wear  the  high-waisted 
clinging  dresses  of  the  period. 

One  of  four  coloured  plates  by  Rowlandson  illustrating  a  verse  satire 
(apparently  in  imitation  of  Walter  Scott)  with  lengthy  introduction  and  notes 
based  on  a  supposed  incident  at  a  Viceregal  ball  in  Dublin,  when  an  under- 
petticoat  slipped  from  under  a  lady's  hoop,  and  the  displaying  of  the  object 
failed  to  discover  its  owner.  This  incident  marred  the  diminished  hospitality 
of  the  Castle  under  the  Duke  of  Richmond,  reduced  to  One  feast,  one  birth- 
night,  and  one  ball  (p.  96).  The  satire  is  on  the  evil  consequences  of  the  Union, 
with  the  secondary  theme  of  the  immodest  and  scanty  dress  of  women.  See 
Nos.  1 1850-2. 

Grego,  Rowlandson,  ii.  238  f. 
7^X9^  in.  B.M.L.  C.  ii6.g.  i. 

11850  BREAKFAST  ROOM  AT  AN  INN. 

Pub"^  Feby  lo""  181 2  .  .  .  [ut  supra]  [P.  10.] 

See  No.  11849.  A  young  man  in  fashionable  travelling-dress  stands  holding 
an  open  book.  Petticoat  Loose,  taken  from  a  portmanteau  which  lies  on  a  side- 
table  (r.).  Round  him  on  floor,  chair,  &c.  are  other  books  (the  inn  library) : 
New  Manual,  Dyche's  Spelling,  Reading  made  easy.  Pilgrim's  Progress,  Robinson 
Crusoe,  Glasse's  Cookery.  A  tall  maidservant  carries  off  a  tray  with  coffee-pot, 
&c.;  the  open  door  gives  on  the  street.  Near  the  fire  (1.)  is  a  round  cloth- 
covered  table,  with  one  dish,  at  which  a  lean  dog  laps.  An  open  corner- 
cupboard,  placed  high  (as  in  No.  11657),  displays  punch-bowls,  decanters, 
glasses,  &c.  Through  a  high  casement  window  is  seen  the  back  of  a  travelling- 
carriage  or  post-chaise. 

The  reader  is  offered  Petticoat  Loose  as  a  substitute  for  the  deplorable  books 
in  the  inn:  'Glasse's  Cookery  .  .  .,  the  remnant  of  Robinson  Crusoe  .  .  .  after 
he  had  left  the  island, — a  1775  Edition  of  ballads  printed  by  Bat-Corcoran, 
.  .  .  and  the  Pilgrims  Progress  interrupted  by  a  large  rent  .  .  .'  (p.  10). 
6^1  X8|  in. 

11851  COLLEGE  GREEN,  BEFORE  THE  UNION. 

Pub'i  7  Feby  1812  .  .  .  [ut  supra]  [P.  50] 

See  No.   11849.    A  procession  of  state  coaches  with  galloping  outriders 
emerges  from  Grafton  Street  in  the  r.  foreground  and  curves  across  College 
Green  to  the  portico  of  the  Parliament  House  in  the  background.    Well- 
dressed  pedestrians  stand  on  the  pavement  (1.)  and  in  the  roadway  to  watch 
and  cheer.  They  also  look  from  the  windows  of  houses  on  the  1.  Over  a  shop- 
front  on  the  extreme  1.  hangs  an  oval  board  inscribed  Mahon  Bookseller.  On 
the  r.  is  the  west  front  of  Trinity  College.  An  illustration  of  the  lines: 
I  well  remember,  so  must  all. 
The  happy  days  before  our  fall, — 
When  in  those  streets  (ah!  now  so  green!) 
The  wealth  of  all  our  Isle  was  seen, — 
When  Senates  pass'd  in  splendid  state, 
(A  Lord  Mayor's  show  was  then  no  treat;)  ...  (p.  59). 
7iX9iin. 

86 


POLITICAL   SATIRES    l8l2 

11852  COLLEGE  GREEN  AFTER  THE  UNION. 

Pub.  12  Feby  i8i2  .  .  .  [ut  supra]  [P.  62.] 

See  No.  11849.  A  scene  architecturally  identical  with  that  of  No.  11851 :  the 
Parliament  House  is  inscribed  Bank  of  Ireland.  The  only  traffic  consists  of 
a  coach  with  two  miserable  horses  and,  more  distant,  a  rudimentary  jaunting- 
car;  both  are  making  for  Grafton  Street.  In  the  distance  is  a  second  coach 
with  one  or  two  men  on  horseback,  while  horses  wait  outside  the  Bank.  On 
the  pavement  (1.)  beggars  are  lying;  an  old  soldier  with  a  wooden  leg  plays 
a  flute,  followed  by  two  ragged  children,  while  a  woman  with  a  baby  on  her 
back  begs  from  a  woman  who  stands  discouragingly  in  a  doorway.  An  elderly 
man  in  old-fashioned  dress  stares  at  the  books  in  the  window  of  Mahon's 
shop  which  is  To  Lett. 

The  hues  quoted  in  No.  11852  continue: 

The  little  creeping  chaise  and  pair 

Might  then  pass  on  without  a  stare — [p.  59]. 

"Dull  are  our  streets — alas  how  dull! 
"Since  Sheelah  wedded  Johnny  Bull;  [p.  90] 

The  sale  of  yonder  H e  of  P  -  -  rs ; 

Survives,  alas!  that  fatal  day. 

When  Mr.  P — Im — r  seiz'd  the  key, 

And  turn'd  out  v — ters  and  their  votes, 

To  give  him  room  to  count  his  notes!  [p.  91  f.]. 

The  sale  of  the  Parliament  House  to  the  Bank  of  Ireland  visibly  symbolized 
the  decline  of  Dublin  society  after  the  Union,  see  C.  Maxwell,  Dublin  under 
the  Georges,  1936,  p.  76  f.   For  the  Union  as  a  marriage  (for  which  'sweet 
L  ...  d  C  ....  er  .  .  gh'  is  here  blamed)  cf.  No.  9531,  &c. 
7iX9^in. 

11853  DELILAH  DEPRIVEING  SAMPSON  OF  THOSE  LOCKS  IN 
WHICH  CONSISTED  HIS  STRENGTH. 

[Williams.] 

Pub'^  Feb!'  1812  by  Walker  and  Knight  N"  7  Cornhill 

Engraving.  Lady  Hertford,  seated  regally  on  a  small  sofa,  cuts  locks  from  the 
head  of  the  Regent  who  reclines  against  her  knees,  asleep.  The  locks  already 
cut  are  on  the  ground  inscribed  respectively  Sheridan,  Norfolk,  Moira, 
Holland,  Erskine.  She  is  about  to  shear  off  one  inscribed  Grenville;  the  last. 
Grey,  is  still  on  his  head.  The  Prince,  who  is  conventionally  handsome,  and 
wears  uniform,  holds  a  paper  signed  [Gren]ville  \  Grey;  his  garter,  inscribed 
Honi  so  .  .  .,  is  loose,  and  his  1.  hand  hides  the  star  on  his  breast.  Lord 
Yarmouth  (r.)  stands  holding  a  guttering  candle;  he  points  to  the  uncut  lock, 
saying,  Doti't  forget  that  lock  laying  [on]  the  shoulder  its  Grey  dy'ye  see!  In  his 
pocket  is  a  pamphlet:  Art  of  Milling  [see  No.  11842].  To  leave  no  doubt  as 
to  his  identity,  a  basket  of  fish  is  beside  him  inscribed  [Y]ar}nouth  Herrings. 
Lady  Hertford  is  heavily  handsome;  a  small  crown,  which  might  pass  as  a 
tiara  decorates  her  head;  one  foot  rests  regally  on  a  footstool.  A  pillar  and 
drapery  behind  her  suggest  regal  state.  On  the  sofa  beside  her  is  a  rolled 
document  headed  Road  to  Hertford  from  Pall  Mall.  On  the  ground  (1.)  are 
empty  wine-bottles;  on  a  book  by  the  Prince's  feet,  Economy  of  Human  Life, 
lies  a  broken  bottle  from  which  wine  pours.  Behind  (1.)  stands  Perceval  in 
his  Chancellor  of  the  Exchequer's  gown,  watching  from  behind  a  curtain 

87 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

which  he  holds  aside;  Castlereagh  stands  behind  him,  saying,  By  Jasus,  but 
she's  as  pretty  a  Barber  as  ever  I  clap't  my  eyes  upon.  Perceval  answers :  Hush! 
Hush!  you'l  wake  him  before  they  are  all  cut. 

The  Prince's  attachment  (since  1805)  to  Lady  Hertford  had  been  notorious 
at  least  since  1807;  the  final  break  with  Mrs.  Fitzherbert  was  in  June  181 1, 
but  this  is  the  first  appearance  in  these  prints  of  the  former  as  the  Prince's 
mistress  and  mentor,  apart  from  the  reference  in  No.  10625  (1806).  The 
disappointed  Whigs  attributed  their  desertion  to  her  influence,  see  Fulford, 
George  the  Fourth,  1935,  pp.  121-3.  For  the  Regent's  proposals  to  Grey  and 
Grenville  that  they  should  join  Perceval's  Ministry  see  No.  1 1855,  &c.  Grey, 
in  the  Lords,  spoke  of  'an  unseen  and  separate  influence  that  lurked  behind 
the  throne. ...  An  influence  of  this  odious  character,  leading  to  consequences 
the  most  pestilential  and  disgusting,  it  would  be  the  duty  of  parliament  to 
brand  .  .  .'.  Pari.  Deb.  xxii.  85  (19  Mar.  1812).  The  first  of  many  satires 
on  her  political  influence,  cf.  (e.g.)  No.  ii866.  For  Mrs.  Clarke  as  'Dahlah', 
of.  No.  1 1262. 

Milan,  No.  2360.  Reproduced,  Shane  Leslie,  George  IV,  1926,  p.  80. 

There  is  also  a  reissue  (n.d.)  with  the  imprint  removed. 
8|Xi3iin. 

11854  [IMITATION  BANK-NOTE.] 
Sold  by  S.  W.  Fores,  50.  Piccadilly. 

Engraving.  Headed:  N°  25 Text:  I  promise  to  pay  to  Mess''^  Long- 
face,  Widemouth  &  Dumps,  \  or  Bearer,  Twenty  Maravedis,  when  the  Golden 
Dreams  of  the  \  Outs  shall  have  been  realized,  and  when  the  most  dearly  beloved  \ 
Loaves  and  Fishes  shall  have  been  placed  within  their  grasp.  |  London  the  2g^^ 
day  of  Feby  [1812].  |  For  Vantaxwell  [Vansittart],  Lord  Pat  [Castlereagh]  &  C" 
[signed]  Solomon  Snugbirth  \  Maravedis  TWENTY  \  Enf^  Sinecure  Rosey. 
On  the  1.  of  the  text:  a  circle  in  which  three  fish  are  suspended  above  three 
loaves.   Below: 

Good  B/P  V.  crown  all  my  wishes 

Do  let  me  taste  the  loaves  &  fishes ; 

I  do  entreat  you! — let  me  in, 

P II  gnaw  a  crust,  or  suck  a  fin.  L. 
For  the  disappointment  of  the  Opposition  see  No.  11855,  &c.  Perhaps 
antedated :  Vansittart  did  not  become  Chancellor  of  the  Exchequer  till  20  May ; 
he  took  the  chief  part  in  defeating  the  resolutions  of  the  Bullion  Committee, 
see  No.  11576.  Castlereagh  succeeded  Wellesley  (see  No.  11846)  as  Foreign 
Secretary  on  4  Mar.  Wellesley  suspended  his  resignation  of  16  Jan.  and 
finally  resigned  on  19  Feb.  'Rosey'  may  connote  George  Rose,  considered  an 
arch-sinecurist,  or  'the  Bed  of  Roses',  i.e.  of  office,  see  No.  10558,  &c.  An 
ancient  theme,  see  (e.g.)  No.  8707.  One  of  a  series,  see  No.  11780. 
3/5X61  in.  (pi.). 

11855  READING  THE  LETTER,  OR,  THE  BROAD-BOTTOMITES 
NONSUITED.  FEBY  1312  [i  Mar.  1812] 

Aquatint.  PI.  from  the  Satirist,  x.  234.  The  Duke  of  York  (r.),  in  uniform, 
stands  erect  in  profile  to  the  1.  reading  a  document  to  the  closely  grouped 
leaders  of  the  Opposition.  Behind  him  the  Prince's  feathers  and  motto  show 
that  he  is  acting  for  the  Regent.  In  front  are  Grenville  and  Grey;  the  former, 
clutching  a  handkerchief,  supports  himself  on  the  back  of  a  chair,  thus 
accentuating  his  'broad  bottom',  see  No.  10530.  He  says:  Oh!  when  shall  we 
perform  High  Mass  at  Dropmore  [cf.  (e.g.)  No.  11 570].   Grey  puts  a  hand  on 

88 


POLITICAL   SATIRES    1812 

his  shoulder.  Behind  them  are  Sheridan,  who  weeps,  saying.  It 's  all  up  with 
us,  and  the  bulky  and  spectacled  Buckingham.  Behind  them  are  (1.  to  r.) 
Whitbread,  the  only  one  who  sits,  with  a  Plan  of  Drury  [see  No.  11767,  &c.] 
projecting  from  his  pocket;  he  asks:  7^  poor  dear  Bony  still  to  be  thwarted? 
Ill  brew  more  mischief.  Tierney,  in  profile  to  the  1.,  clasps  his  hands,  saying, 
A  long  farewell  to  all  my  hopes  of  greatness  [he  was  a  notorious  careerist,  see 
No.  10128,  &c.].  Erskine,  in  barrister's  wig,  registers  acute  melancholy. 
Moira,  like  Tierney  turning  his  back  on  the  Duke,  says:  Why  then  to  me  this 
bustling  world 's  but  Hell!  Between  the  last  tw'o  is  a  man  with  a  large  nose 
(?  Ponsonby).  A  profile,  saying  Oh  dear,  may  be  that  of  Lauderdale.  On  the 
floor  are  a  paper  and  book:  The  Cat  let  out  of  the  Bag  [see  No.  11714]  and 
Thoughts  Regency .  Behind,  in  an  adjacent  room  (1.),  are  other  dismayed  Whigs, 
including  Lord  Derby,  vomiting.  Behind  these  a  cheering  crowd  is  seen 
through  an  open  door. 

On  13  Feb.  the  Regent  sent  a  letter  to  the  Duke  of  York  saying  he  intended 
to  retain  Perceval's  Ministry:  'In  the  critical  situation  of  the  war  in  the 
Peninsula,  I  shall  be  most  anxious  to  avoid  any  measure  which  can  lead  my 
allies  to  suppose  that  I  mean  to  depart  from  the  present  system.'  He  invited 
'some  of  those  persons,  with  whom  the  early  habits  of  my  public  life  were 
formed'  to  join  it,  and  asked  the  Duke  'to  communicate  these  sentiments  to 
Lord  Grey,  who  I  have  no  doubt,  will  make  them  known  to  Lord  Grenville' 
(a  slight  to  Grenville).  Pari.  Deb.  xii.  39  f.  The  letter,  altered  by  the  Regent, 
had  been  drafted  by  Perceval:  both  were  confident  that  the  Whigs  would 
refuse.  See  Letters  of  George  IV,  1938,  i.  1-8.  On  14  Feb.  the  Duke  read  the 
letter  to  Grey  and  Grenville  (who  thought  it  'highly  offensive').  They  refused, 
in  a  letter  to  the  Duke  of  15  Feb.,  stressing  the  impossibility  of  compromise 
on  the  Catholic  question,  which  they  delivered  in  person.  H.M.C.,  Dropmore 
MSS.  X.  213-20,  Bathurst  MSS.,  pp.  164-6.  Both  letters  appeared  in  the 
Press.  Many  of  the  Opposition,  notably  Whitbread,  were  in  favour  of  peace, 
which  must  have  been  on  Napoleon's  terms;  Grenville,  though  opposed  to 
this,  advocated  withdrawal  from  the  Peninsula.  The  reading  of  the  letter 
(by  Grenville,  a  double  error)  is  the  subject  of  a  skit  in  the  Satirist,  x.  280-7, 
but  without  reference  to  the  pi.  The  letter  was  amusingly  ridiculed  by  Moore 
in  his  Parody  of  a  celebrated  Letter,  beginning : 

At  length,  dearest  Freddy,  the  moment  is  nigh. 

When,  with  P — re — v — I's  leave,  I  may  throw  my  chains  by; 

(pub.  Morning  Chron.,  reprinted  Examiner,  8  Mar.  1812,  privately  printed  in 
1812  and  published  in  The  Twopenny  Post-Bag,  1813).  For  the  Whigs'  dis- 
appointment see  Nos.  11853,  11856,  11859,  11860,  11867,  11868,  11869, 
11877,  11887,  13299,  13315;  cf.  No.  11841.  For  thcletter  see  No.  11864,  &c. 
A  print  by  Cruikshank  (unrecorded)  is  the  heading  to  a  broadside,  a 

PARODY  ON  AN  ORIGINAL  LETTER  FROM  A  CERTAIN  PERSONAGE  TO  A  BISHOP  [sce 

No.  11227],  pub.  J.  Duncombe,  June  9,  Middle-Row,  Holborn.  The  Regent 
writes,  his  arm  round  Lady  Hertford,  who  is  giving  orders  to  the  besotted 
Prince.  Moore's  parody  is  printed  in  full.    (B.M.L.  1875,  d.  7/15.) 
6|xi3i«8in. 

11856  PRINCELY   AMUSEMENTS    OR   THE    HUMORS    OF   THE 
FAMILY. 

G  Cruikshank  fec^ 

Published  March  i"  18 12  by  M  Jones  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  to  the  Scourge,  iii.  173.  In  a  long  room 
or  gallery  the  Regent,  and  the  Dukes  of  Clarence,  York,  and  Sussex  are 

89 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

engaged  in  appropriate  recreations.  The  Regent  is  one  of  a  set  of  four  dancing 
a  reel  with  crossed  hands ;  he  capers  vigorously,  his  outstretched  arm  pointing 
as  if  in  derision  to  the  Princess  of  Wales,  who  leaves  the  room ;  she  is  in  back 
view,  identified  by  her  head-dress  of  coronet,  feathers,  and  motto :  Ich  Dien. 
The  Prince  says:  Off  she  goes.  He  holds  Princess  Charlotte's  hand;  the  other 
couple  are  Mrs.  Fitzherbert  (deserted  since  June  1811,  see  No.  11904,  &c.), 
and  a  floridly  obese  man.  The  Prince  wears  a  cap  with  his  motto  and  three 
wildly  swirling  ostrich-feathers.  On  the  ground  is  a  broken  ribbon  inscribed 
Restrictions,  and  a  music-book  with  the  Prince's  feathers:  List  of  Tunes 
Morgan  Rattler  &c.  Close  to  them  are  three  musicians  (1.),  much  caricatured; 
two  play  respectively  fiddle  and  pipe  and  tabor,  while  an  aged  flautist  stops 
to  receive  a  cheque  or  note  signed  R'^  Wilson  from  a  grotesquely  caricatured 
McMahon  who  holds  John  Bulls  Purse.  Behind  him  and  on  the  extreme  1. 
Lady  Hertford  holds  up  a  Political  Barometer,  in  which  two  figures  alternately 
advance  and  recede  in  accordance  with  the  weather  (like  the  man  and  woman 
of  the  cottage-barometer).  The  figure  in  advance  is  Grenville,  with  a  dis- 
gruntled expression,  while  ensconced  in  a  recess  is  Wellesley,  in  quasi- 
oriental  dress,  wearing  a  star  and  coronet  (as  in  No.  11864),  who  points  at 
Grenville  derisively.  On  the  side-wall  against  which  she  is  standing  is  her 
W.L.  portrait,  standing  arrogantly  and  holding  a  sceptre.  This  is  unrecog- 
nizable, but  is  inscribed  Harford.  Beside  it  is  a  bust  portrait  of  Fox,  hung 
upside  down. 

These  groups  fill  the  1.  half  of  the  design.  On  the  extreme  r.  a  lady  in 
back  view  sits  at  a  square  piano  with  an  open  music-book  showing  her  identity : 
The  Sussex  Tune — /  told  a  flattering  Tale — by  AP^  Billington.  Beside  her 
stands  the  Duke  of  Sussex,  more  grotesquely  paunchy  than  his  brothers ;  he 
smokes  a  long  German  pipe  with  a  curved  stem  and  covered  bowl,  and 
tramples  on  a  print  of  Lady  Ag[usta]  Murry.  He  wears  uniform  with  jack- 
boots and  a  Scots  cap  with  feathers  (as  in  his  portrait),  one  drooping  down 
his  back.  Between  piano  and  a  fire-place  which  is  in  the  centre  of  the  back 
wall  is  a  round  card-table,  at  which  the  Duke  of  Clarence  plays  opposite 
Mrs.  Jordan,  and  Mrs.  Carey  partners  the  Duke  of  York.  Clarence  wears 
admiral's  uniform  with  trousers  and  sword ;  he  throws  down  a  card,  saying 
defiantly,  /  revoke!!!  Mrs.  Jordan  watches  him  with  quiet  dignity.  Mrs, 
Carey  is  identified  by  a  basket  under  her  chair  inscribed  Mother  Careys 
Chickens  [see  No.  11050]  and  containing  coins.  She  shows  the  Duke  a  card: 
Knave  Col  Wardle;  on  the  table  is  another:  Af^  Clarke;  the  Duke  registers 
surprised  dismay. 

On  the  back  wall  pictures  are  symmetrically  arranged.  Over  each  of  the 
two  doors  is  a  round  profile  portrait:  George  HI  looking  through  his  spy- 
glass as  in  No.  10019,  &c.,  says:  What  What  [his  accustomed  phrase];  this 
is  Tony  Lumkin  [sic].  The  other  (r.)  is  inscribed  Old  Snuffy:  Queen  Charlotte 
(her  head  perhaps  copied  from  No.  6918),  taking  snuff.  Next  each  is  a  square 
picture,  one  above  the  Regent's  head  covered  with  a  curtain;  the  other, 
over  the  card-table,  is  The  Adoration:  a  woman  crowned  and  enthroned 
arrogantly  holds  out  a  sceptre ;  on  one  side  of  the  triple  dais  stands  a  bishop, 
on  the  other  a  woman  holding  out  a  book  and  a  birch-rod.  Above  the  chimney- 
piece  are  two  smaller  picture-frames.  One  contains  a  realistic  bust  portrait 
of  the  Regent,  the  other  is  empty,  to  show  that  a  portrait  of  the  Princess  of 
Wales  has  been  removed.  Between  the  two  is  a  long  upright  Pole  [Wellesley- 
Pole],  standing  in  the  middle  of  the  mantelshelf;  on  its  summit  is  a  cock's 
head;  a  (?)  hen  clings  to  the  pole  close  to  this,  while  at  its  base  is  a  dog  with 
the  head  of  the  Duke  of  Clarence  (its  collar  marked  C),  trying  to  climb  up. 
On  the  other  side  of  the  pole  is  a  medicine-bottle  labelled  For  The  Kings  Evil. 

90 


POLITICAL    SATIRES    l8l2 

The  Regent  is  attacked  for  his  treatment  of  his  wife,  for  poUtical  sub- 
servience to  Lady  Hertford,  see  No.  11853;  for  neglect  of  his  old  friends 
(symbolized  in  the  treatment  of  Fox's  portrait),  see  No.  1 1855.  He  is  ridiculed 
for  his  addiction  to  dancing,  cf.  No.  11746.  His  association  with  Mrs.  Fitz- 
herbert  ended  when  she  was  refused  a  place  with  the  roval  guests  at  the 
Regency  fete,  cf.  No.  11904.  The  Duke  of  Sussex  was  a  musical  enthusiast, 
devoted  to  Mrs.  Billington;'  he  is  satirized  for  his  desertion  of  Lady  Augusta 
Murray,  whom  he  married  secretly  in  1793.  The  Duke  of  York,  a  notorious 
gambler,  is  ridiculed  for  the  Wardle-Clarke  affair,  see  No.  11216,  &c.,  and 
for  his  association  with  Mrs.  Carey,  see  No.  1 1050.  The  Duke  of  Clarence  is 
attacked  for  his  desertion  of  Mrs.  Jordan,  and  ridiculed  for  repeated  overtures 
to  her  after  his  rejection  by  Miss  Tylney-Long,  see  No.  11743.  For  the 
lapsing  of  the  Regency  Restrictions,  see  No.  11846,  &c.  There  is  no  ex- 
planation of  the  pi.  in  the  text. 

Reid,  No.  153.    Cohn,  No.  732. 
7Jxi9|in. 


11856  a  a  second  state,  not  folded,  'Harford'  removed  from  Lady  Hert- 
ford's portrait.  (The  name  has  been  cut  from  the  pi.  in  B.^LL.  C.  40.  f.  4.) 

11857  A  SELECT  CIVIL  COMMITTEE. 

[G.  Cruikshank.] 

Pu¥  for  the  Town  Talk  March  i"  181 2 

Engraving  (coloured  impression).  PI.  from  Tozvn  Talk;  or,  Living  Manners, 
ii.  89.  Nine  members  of  the  committee  are  grouped  round  a  table.  The 
chairman,  full-face,  sits  in  a  raised  seat;  in  his  pocket  is  a  paper  inscribed 
To  M''  Wharton.  He  turns  to  the  man  on  his  1.,  who  has  a  paper:  Kings 
Kitchen,  saying,  Dotit  let  11s  poke  into  the  Kings  Kitchen  make  short  zcork  of  it, 
no  waiste  of  the  public  money.  He  holds  out  his  hat  to  a  ferocious  demon  with 
coiling  snakes  on  his  head  who  fills  it  with  gold  coins.  Another  demon,  wear- 
ing breeches,  stands  with  his  back  against  the  door,  holding  a  large  key.  A 
member  opposite  the  chairman  reads  a  paper  inscribed  Necessary  Woman 
£200  P''  an;  he  says:  Necessary  Woman  £200  a  year.  Aye,  that  is  a  very 
Necessary  expence.  Another  member  sleeps,  his  back  to  the  chairman,  his 
elbow  resting  on  two  volumes  of  Statute.  The  others  are  absorbed  in  their 
own  concerns.  Two  pairs  are  deep  in  conversation  :  one  with  a  book  inscribed 
Reform;  at  his  feet  is  a  paper  inscribed  Kings  Kitch  .  .  .  His  vis-a-vis's  foot 
rests  on  a  paper:  50  000  Lord  St  .  .  .  [.'  Steward],  the  ninth  man  stands  with 
his  back  to  the  table  reading  the  Morning  Post  through  a  glass.  Papers  on  the 
table  are  inscribed:  2g6.ooo£;  Treasury  [twice];  gi,000  Lord  Steward; 
Lo'^  Stezcards  Off[ice] ;  Lord  Chambelains  Office;  40,000;  Civil  List  £800,000, 
On  the  wall  are  four  pictures,  three  being  obscured  or  blank,  but  two  of  these 
have  titles:  Keninston  Pall  .  .  .;  Windsor  Castle;  in  the  fourth  a  fat  man  runs 
away  from  a  spectre  with  a  scourge. 

A  satire  on  the  Committee  on  Civil  List  Revenue  moved  for  by  George 
Eden  on  10  Feb.  He  attacked  a  charge  for  a  Gothic  entrance  to  the  Treasury, 
the  heavy  expenses  of  repairs  to  Windsor  Castle,  and  of  the  Lord  Steward's 
department.  One  of  the  twenty-one  members  was  Richard  Wharton,  Senior 

'  Cf.  No.  9306,  generally  said  to  be  of  the  Duke  and  Mrs.  Billington.  They  may 
well  have  become  associated  with  the  print  at  a  later  date. 

91 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

(patronage)  Secretary  to  the  Treasury;  Eden  and  Tierney  refused  to  attend 
because  it  was  'deprived  of  the  power  of  sending  for  persons,  papers,  and 
records'.  Pari.  Deb.  xxi.  713-42,  749-51. 

Reid,  No.  154.   Cohn,  No.  802. 
7Xi3|in. 

11858  THEY  STOOP— BUT  NOT  CONQUER 

[W.  Heath.] 

Puh  March  11 1812  by  S  W  Fores  50  Piccadilli 

Engraving  (coloured  impression).  Lady  Hertford  (1.)  has  dropped  her  fan; 
she  and  the  Regent  (r.)  stoop  to  pick  it  up,  but  the  dress  of  both  is  so  tight 
that  her  skirt  and  his  breeches  are  shattered,  revealing  posteriors.  She  says: 
/  shall  Burst;  he  says:  ho  Dear.  Between  them  is  a  younger  and  more  active 
man  {}  Yarmouth)  who  picks  up  the  fan,  looking  with  covert  hostility  (cf. 
No.  1 1746)  towards  the  Prince,  and  interposing  his  opera-hat  between  him 
and  the  fan.  He  says :  dont  Distress  Your  Selves,  III  Assist  you!!!  A  man  in 
plain  old-fashioned  dress  seated  (1.)  behind  Lady  Hertford  watches,  much 
amused.  The  wall  is  divided  into  panels  by  decorative  bands  of  musical 
instruments,  suggesting  a  music-room.  There  is  one  picture,  a  hunting-scene, 
and  a  lighted  cut-glass  chandelier. 

For  the  Prince  and  Lady  Hertford  see  No.  11853. 
8i|xi2f  in. 

11859  THE  REGENT'S  HACK. 

[Williams.] 

Pub'^  March  1812  by  W"*  Holland  N"  11  Cockspur  Street 

Engraving  (coloured  impression).  The  Regent,  scarcely  caricatured,  rides 
(r.  to  1.)  a  white  horse  with  the  (bloated)  head  of  Sheridan,  the  flank  being 
branded  P  R.  The  horse  walks  along  a  cobbled  street  which  is  strewn  with 
large  stones  on  each  of  which  is  the  head  of  a  member  of  the  Opposition. 
Sheridan  says :  Never  fear,  my  dear  Master,  I  will  carry  you  through  this  ugly 
road  in  safety — 77/  kick  all  the  vile  stones  aside  that  would  impede  your  way, 
and  your  old  Hack,  Sherry,  you  will  find  able  to  support  you  to  the  last.  On  the 
stone  under  his  hoof  is  the  head  of  Grenville.  Two  others  have  already  been 
kicked  aside:  (.?)  Holland,  and,  in  the  foreground,  the  Duke  of  Norfolk. 
Others  (1.  to  r.)  are:  Buckingham  (in  spectacles)  and  Whitbread,  Grey,  Lord 
Temple,  Moira,  and  Erskine.  Others  are  not  characterized.  The  street 
leads  into  Manchester  Square,  showing  that  the  Prince  is  on  his  way  to 
Hertford  House. 

For  the  Regent's  retention  of  Perceval  and  desertion  of  his  old  friends 
see  No.  11855,  &c.  This  led  to  an  open  breach  with  the  indignant  Whigs; 
only  Sheridan  and  a  few  others  of  minor  political  importance  remained  faith- 
ful. At  the  St.  Patrick's  Day  dinner  (17  March),  at  which  the  Prince  was 
usually  'the  reigning  and  rapturous  toast',  his  name  was  received  with  hisses; 
Sheridan  maintained  that  he  'still  sustained  the  principles  of  the  Prince 
Regent',  and  was  greeted  by  angry  shouts.  Leigh  Hunt,  Autobiography,  1903, 
i-  255-6.  According  to  George  Eden  this  was  a  drunken  and  indiscreet  speech 
during  which  hisses  were  redoubled.  H.M.C.,  Dropmore  Papers,  x.  227. 
Lady  Hertford  is  called  by  the  Whigs  'the  old  lady  of  Manchester  Square'. 
Ibid.,  p.  240.  The  Prince  drove  regularly  to  visit  her  there,  see  Nos.  11865, 
1 1874,  1 1878. 
8^Xi2|  in. 

9Z 


POLITICAL   SATIRES    l8l2 

11859  a  a  copy,  no  apostrophe  in  title,  Pub  by  J  Sidebotham  L  Sackville 
S'  [Dublin]. 

8^X12^  in. 

11860  POLLY    &    LUCY    TAKEING    OFF    THE    RESTRICTIONS. 
Vide  Beggars  Opera 

G  Cniikshank  Sculp 

Published  March  1812  by  J  Johnston  g8  Cheapside 

Engraving  (coloured  impression).  The  Regent,  as  Macheath,  wearing  military 
uniform  and  heavily  shackled,  stands  between  Mrs.  Fitzherbert,  who  kneels 
at  his  feet  (1.)  removing  his  leg-irons,  and  Lady  Hertford  (r.),  who  stands  beside 
him  taking  the  fetters  from  his  wrists  (inscribed  Restri[ctions]) .  He  sings  How 
happy  could  I  be  zvith  either.  Mrs.  Fitzherbert,  a  long  rosar\'  dangling  from 
her  waist,  says :  The  Benediction  of  His  Holiness  light  on  the  Defender  of  Our 
Faith.  Lady  Hertford,  sultana-like  in  a  jewelled  turban,  says:  You  heard  of 
the  Row  &  the  Rowly  Powly  Song  before  Our  house  the  Other  Night?!!  Behind 
and  on  the  r.  Eldon  stands  full-face  between  Perceval  and  McMahon,  who 
face  each  other  in  profile.  Perceval,  in  his  Chancellor  of  the  Exchequer's 
gown,  and  holding  a  brief-bag,  says:  The  Greys  won't  move  without  their  own 
Coachman  tho  the  Brewer  [Whitbread]  has  offerd  his  black  to  do  the  dirty  Work. 
Eldon,  in  a  huge  wig,  holds  the  Purse  of  the  Great  Seal;  he  says:  We 
must  hire  Jobs  for  the  Night  Work  but  zee  are  Pro'  Rogued.  McMahon,  in 
military'  uniform,  has  a  number  of  ribbons  and  stars  hanging  over  his  arm; 
he  says:  These  Garters  &  Ribbands  are  all  return  d.  On  the  wall  are  two 
pictures:  George  Hanger,  bestriding  his  pony  (as  in  No.  8889)  with  a  burly 
bailiff  seated  behind  him,  rides  in  the  direction  of  a  sign-post,  with  a  noose 
hanging  from  it,  pointing  7'o  the  Kings  Bench.  This  is  George  &  his  Hanger 
On,  takeing  a  ride  together  to  a  Lodging  in  Surry.  The  other  is  Sheridan  as 
Bacchus,  but  dressed  as  Harlequin  (cf.  No.  9916),  bestriding  a  cask  of 
Old  Sherry. 

For  the  lapsing  of  the  Regency  Restrictions  see  No.  11846,  Sec.  Mrs.  Fitz- 
herbert, whose  separation  from  the  Regent  (see  No.  11 856)  is  ignored,  stands 
for  the  Catholic  interest  and  thus  for  the  Opposition,  while  Lady  Hertford 
refers  to  her  son's  supposed  quarrel  with  the  Prince,  which  was  the  subject 
of  parodies  of  'Roly  Poly,  Gammon  and  Spinach'  or  'The  Lovesick  Frog', 
see  Nos.  11842,  11843.  For  Grey's  refusal  to  join  the  Ministry  see  No. 
1 1855,  &c.  According  to  Auckland  'the  purchase  of  Mr.  Whitbread  and  of 
his  republican  friends'  by  the  Home  Seals,  in  a  coalition  with  Wellesley  had 
been  mooted.  H.M.C.,  Dropmore  MSS.  x.  193  f.  The  Duke  of  Norfolk  and 
Moira  refused  (28  Feb.)  the  Garter  lest  it  should  be  considered  a  bribe  for 
deserting  their  friends;  Moira  accepted  later.  Corr.  of  George  IV,  1938, 
i.  32-5.  The  pictures  imply  that  the  Regent  retains  only  his  less  worthy 
friends;  Hanger,  a  former  boon-companion,  see  vols,  vi,  vii,  viii,  was  im- 
prisoned for  debt  in  the  King's  Bench  in  1798-9.  McMahon  is  handsome 
and  aquiline,  quite  unlike  his  caricature  stereotype.  The  Prince  (between 
Mrs.  Fitzherbert  and  Mrs.  Billington)  sings  the  same  air  in  No.  9840. 

Reid,  No.  152.   Cohn,  No.  732. 
8|xi3  in. 

11860  A  A  reversed  copy  (by  G.  Gleadah):'  Pub.  by  M'Cleary  32  Nassau 
Street.  The  shadow  on  the  background  wall  is  omitted.  Notes  of  exclamation 
are  omitted,  and  'return'd'  spelt  returrie'd;  'together',  togather. 

'  Note  by  E.  Hawkins. 
93 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11861  AN  ACCOUCHMENT  OR  LADY DELIVERING 

THE  PRESENT  ADMINISTRATION. 

[Williams.] 

Pu¥  March  30'^  1812  by  S  W  Fores  N°  50  Piccadilly 

Engraving  (coloured  impression).  Lady  Hertford  lies  on  a  couch  shaded  by 
tent-like  draperies.  From  under  her  petticoats  five  little  men,  fully  dressed, 
fall  or  have  fallen.  The  Regent  stands  over  her  with  a  large  steaming  bow^l: 
he  says :  Come  my  good  Lady,  take  another  sup  and  you  will  be  able  to  bring 
forth  some  more.  She  answers :  Well  I'll  try!  but  I  hope  they  won't  have  such 
thick  Heads  as  the  last.  Perceval,  on  the  extreme  1.,  dressed  as  a  nurse,  receives 
her  offspring ;  in  his  pocket  is  a  paper :  List  of  New  Made  Places — Private  Sec 
to  the  Reglent].  He  stoops  to  help  Castlereagh,  seated  on  the  ground,  to  his 
feet.  The  latter  holds  a  document:  View  of  Flushing  after  the  Siege  [see 
No.  1 1364,  &c.].  Perceval  says  to  him:  Now  my  little  Gentleman  stand  up, 
and  do  as  I  bid  you.  here  we  go  up  up  up.  Sidmouth  sits  near  him,  a  clyster- 
pipe  (cf.  No.  9849)  hanging  from  his  pocket.  Lord  Yarmouth  falls  head 
first,  obscuring  the  head  of  a  man  lying  on  the  ground  who  wears  a  ribbon; 
from  his  pocket  projects  a  paper:  Essay  on  Milling  by  a  Yarmouth  [see 
No.  1 1746,  &c.].  The  last  man,  still  on  the  couch,  has  some  resemblance  to 
Canning.  By  the  curtains  of  the  couch  (r.)  are  State  Papers.  The  Prince, 
in  back  view,  but  showing  cheek  and  whisker,  wears  powdered  hair  and  small 
pigtail  with  a  high  crest  of  curls.  The  back  of  his  coat  is  white  with  powder 
(cf.  No.  7537).  On  his  garter  the  word  Honi  is  visible. 

A  satire  on  additions  to  the  Ministry,  actual  and  anticipated,  made  after 
the  removal  of  the  Regency  Restrictions,  see  No.  11846.  Castlereagh,  as 
Foreign  Secretary  (4  Mar.),  succeeded  Wellesley,  whose  resignation  involved 
the  exclusion  of  Canning.  The  last  mannikin  may  be  Buckingham,  but  with- 
out his  spectacles;  the  same  man  is  in  No.  11866.  For  Lady  Hertford  and 
the  Regent  see  No.  11853.  Perceval's  paper  relates  to  McMahon's  appoint- 
ment on  17  Mar.  as  the  Regent's  Private  Secretary  (a  post  which  he  had 
held  unchallenged  before  the  Regency,  cf.  No.  11874),  ^^^  the  debate  on 
23  Mar.  when  the  appointment  was  attacked.  Pari.  Deb.  xxii.  120-2.  It  was 
the  subject  of  a  more  extended  debate  on  14  Apr.,  when  the  Opposition 
maintained  that  the  appointment  was  unconstitutional,  tending  to  'secret 
influence',  and  a  dangerous  precedent.  Ibid.  332-64;  Corr.  of  George  IV, 
1938,  i,  pp.  lix  f.  See  No.  11874,  ^^^ 
9Xi3|in. 

11862  NATIONAL  PURSUITS 
[Williams.] 

Pub'^  for  the  Proprietors  of  Town  Talk  April  i'^  1812 

Engraving  (coloured  impression').  PI.  to  Town  Talk,  ii.  177.  Cross-roads 
diverge  diagonally  from  a  sign-post  in  the  centre  foreground  pointing:  (1.) 
To  Place  and  To  Glory,  (r.)  To  Ruin  [cf.  No.  11888]  and  To  Pleasure.  Six 
'placemen'  hasten  towards  'Place',  the  road  strewn  with  roses:  Perceval  in  his 
official  gown  clutching  a  bag  of  Cash;  Castlereagh,  also  with  Cash,  and  a 
paper.  Plan  for  a  Burial  Gr[ound]for  the  Army  [see  No.  11364,  &c.].  The 
hindmost,  Sidmouth,  has  a  bottle  labelled  Composing  Draugh'  M"  Brittania 
[cf.  No.  9849]  and  a  paper:  Calendar  of  Political  Saints.  The  other  three  are 
poorly  characterized,  one  is  Lord  Hertford,  holding  a  bag  labelled  To  repair 
and  beautify  old  Hertford  Abby.   Behind  them  on  the  road  to  'Glory'  three 

'  Not  folded,  showing  that  it  was  issued  separately.  The  volume  is  not  in  the  B.M.L. 

94 


POLITICAL   SATIRES    1812 

officers  gallop  with  drawn  sabres  inscribed  respectively  Ciudad  Rodrigo  [cap- 
tured by  Wellington  19  Jan.  18 12],  Barrossa  [Graham's  victory,  see  No.  1 1723], 
and  Merida  [bridge  held  by  Beresford  in  Apr.  181 1].  Behind  them  walks 
Sir  Sidney  Smith,  identified  by  a  sword  inscribed  Acre  [see  No.  9412]. 

Along  the  road  to  'Ruin',  which  is  strewn  with  stones,  John  Bull  (not 
named)  trudges  sullenly,  a  great  bundle  of  Taxes  attached  to  his  back  by 
chains  fastened  by  a  padlock;  he  holds  a  pistol  and  a  cudgel.  The  taxes: 
Income  Tax,  Property  Tax,  House  Tax,  Windoiv  Tax,  Shop  Tax,  Assessed 
Taxes,  Can[dle]  Tax.  He  says  (parodying  Hamlet) :  To  be!  or  Not  to  be!  that 
is  the  Question,  wether  tis  nobler  to  let  my  Shoulders  bear  this  load,  or  by  a 
Pistols  help  at  once  to  ease  them,  or  shall  I  ease  the  zvealthy  Knave  that  fattens 
on  the  State  of  what  is  spent  in  luxury  and  waste,  but  then  perhaps  the  Hangmans 
dirty  hands  must  end  me— aye  there  's  the  Rub.  Five  ragged  and  bare-footed 
children  follow  him,  appealing  pitifully  to  their  father.  On  the  same  road, 
under  a  sign-post  inscribed  To  The  Union,  stands  a  gamester  holding  a  dice- 
box  and  a  bag  inscribed  5000;  dice  lie  at  his  feet  and  Hoyle  ['on  Whist',  &c.] 
projects  from  his  pocket.  He  exclaims:  /  zvould  take  the  Long  odds — lost  the 
5,000,  by  G^dH! 

Two  roads  diverge  from  the  main  road  to  'Pleasure',  with  posts  pointing 
respectively  To  Hertford  Abbey  and  To  Conway  Castle.  Each  leads  to  an  open 
pavilion  in  which  a  half-naked  woman  reclines  on  a  sofa.  On  the  former  is 
the  word  Messalina  [Lady  Hertford],  on  the  latter  Libidinous  Suk  [for  'Suk 
Conway'  (.^  a  courtesan),  cf.  No.  11949].  The  Regent  gallops  towards  the 
former.  On  the  latter  road  stands  a  younger  man  (?  Yarmouth),  saying, 
T'is  useless  for  my  Father  to  take  so  much  care  of  N°  I  zvhen  we  have  most  to 
dread  A'"  j.  In  his  pocket  is  Tozcn  Talk  N°  2.  On  the  sky-line  is  a  castle. 
Rose-bushes  border  these  by-roads,  on  one  of  which  is  an  inconspicuous 
serpent. 

In  the  foreground,  beside  the  sign-post,  stand  Burdett  and  Whitbread, 
pointing  to  the  r.  The  former  has  a  Motion  against  Military  Flogging  [see 
No.  11718],  the  latter.  Motion  .  .  .  American  Correspondence. 

A  comprehensive  satire  in  which  the  persons  with  a  few  exceptions  are 
identified  only  by  inscriptions.  For  the  Regent  and  Lady  Hertford  see 
No.  1 1853.  Since  1808  Burdett  had  opposed  flogging  in  the  Army;  on 
13  Mar.  1812  he  proposed  a  clause  in  the  Mutiny  Act  to  abolish  it.  Memoirs 
of  Romilly,  1842,  ii.  242;  Pari.  Deb.  xxi.  1263  ff.  Whitbread  moved  on  13  Feb. 
that  the  correspondence  between  the  Government  and  the  United  States  on 
the  disputes  between  them  should  be  laid  before  the  House.  Ibid.,  pp.  762  ff. 
For  the  Union  Club  see  No.  9098,  &c. 
9|x  17  in. 

11863  THE  CANDIDATE  FOR  BARKSHIRE  IN  DISMAY,  OR  THE 
ELECTORS  REVENGE.  [i  Apr.  1812] 

[?The  Caricaturist  General] 

Aquatint.  PI.  to  the  Satirist,  x.  235.  A  man  (r.)  stands  with  legs  astride, 
a  knife  in  one  hand,  a  puppy  in  the  other,  terrified  at  bemg  beset  by  the 
ghosts  of  dogs  and  by  monsters.  He  exclaims  to  them:  Spare  me!  choose  me 
&  the  Dog  tax  Fll  repeal.  On  the  extreme  1.  are  the  victims  of  a  spring-gun 
(which  is  going  off)  and  t\vo  steel  traps,  a  dog  in  each.  Above,  fantastic 
creatures,  some  with  dog-like  characteristics,  spring  from  the  gaping  jaws  of 
a  monster  towards  the  man.  The  foremost,  a  creature  with  great  fanged  jaws 
with  a  small  dog  on  its  back,  says:  You  stand  for  Barks!  first  strive  your  deeds 
to  alter.   A  mastiff  on  the  ground  with  a  rope  round  its  neck  says:  Behold 

95 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

audacious  Candidate  this  halter.  A  pack  of  dogs  leap  furiously  towards  their 
enemy,  barking  Bow  Wow.  A  big  dog  under  the  man's  legs  collapses,  saying, 
Behold  the  victim  of  your  poison  ball.  A  skeleton-dog  which  has  lost  a  hind 
paw  springs  at  the  man  from  the  r.,  saying.  Your  cursed  bullets  made  poor 
Rover  fall.  Two  headless  dogs  stand  on  their  hind-legs  on  the  extreme  r., 
saying  respectively: 

We  headless  puppy-dogs  will  grant  you  votes  [and] 

We  will  by  G —  altho'  you've  cut  our  throats. 
A  satire  on  William  Hallett,  of  Denford,  Berks.,  a  Burdettite  candidate  for 
Berkshire,  the  subject  of  a  series  of  attacks  in  the  Satirist,  against  whose 
editor.  Manners,  he  brought  a  successful  libel  action  (King's  Bench,  i  June 
1811).  The  request  of  a  group  of  freeholders  that  he  would  stand  for  the 
county,  the  senior  member  having  announced  his  intention  of  retiring,  and 
his  answers  were  published  in  the  Reading  Mercury,  3  Feb.  1812,  and  reprinted 
with  comments  in  the  Satirist,  x.  190-7.  He  acknowledged  himself  'particu- 
larly tenacious  of  my  game',  hence  the  accusations  of  dog-killing  and  an 
epigram  (p.  198): 

The  Canicide's  right  to  solicit  our  votes. 
Whose  conduct  his  aptitude  marks ; 

For  since  he  has  kindly  cut  all  our  dog's  throats, 
We  want  him  to  represent  Barks. 

Bow  wow  wow! 

He  was  heavily  defeated  at  the  general  election  in  October,  see  No.  11915. 
See  also  pp.  269-71,  288-93,  297-306,  and  No.  11875.  Cobbett's  Pol.  Reg. 
of  13  and  20  Dec.  1817  were  in  the  form  of  Letters  (from  U.S.A.)  to  Hallett. 
6^x131  in. 

11864  PRINCELY  PREDILECTIONS  OR  ANCIENT  MUSIC  AND 
MODERN  DISCORD. 

G.  Cruikshank  fec^ 

Pub'^  April  i'^  1812  by  M  Jones  N°  5  Newgate  St^ 

Engraving  (coloured  and  uncoloured^  impressions).  PI.  from  the  Scourge, 
iii.  259.  It  is  not  referred  to  in  the  text,  but  there  are  articles  on  'The  Prince 
Regent  and  the  Opposition',  and  on  'The  Noble  Adulterer'  (on  Wellesley 
and  Polly  Raffle).  The  Regent,  tipsy  and  much  caricatured,  stands  among 
old  and  new  friends;  other  groups  fill  a  large  room  with  a  musicians'  gallery 
(r.),  where  Catalani,  a  woman  with  a  cat's  head,  is  in  front,  attempting  to  sing 
from  a  large  volume:  Ancient  Music  Part  first.  The  figures  below,  stretching 
across  the  design,  pay  no  attention  to  the  gallery,  except  for  words  issuing 
from  inconspicuous  heads  in  the  background :  Hiss  sss  .  .  .  Hisssss  .  .  off  off 
Hiss  Hissss — No  Catalani  .  .  Hiss  ss  .  .  Off  No  Catalani.  She  says :  Hiss  not 
de  Talent  &  de  innoshensh!  The  musicians  have  stopped  playing  and  register 
dismay.  The  Prince's  dress  is  disordered,  his  stockings  ungartered,  his  Garter 
inscribed  Honi  soit  hanging  loose.  He  is  supported  by  a  very  small  woman 
(?  the  Duchess  of  York,  cf .  No.  7927),  and  McMahon  puts  a  bottle  of  Curacoa 
to  his  lips.  The  latter's  face  is  hidden  by  the  Prince's  arm;  from  his  head 
sprout  antlers,  and  his  identity  is  shown  by  a  large  Privy  Purse  hanging  from 
his  pocket,  with  a  paper  inscribed  Widows  Friend  [see  No.  11 874].  On  his  1. 
stands  Lady  Hertford,  regal  and  composed,  holding  the  Leading  Strings  which 
are  round  his  waist.  On  the  other  side  stands  a  sharp-featured  lady  wearing 
a  miniature  inscribed  L.  Howe;  she  asks:  "Well:  since  you  have  got  rid  of  your 
'  Not  folded,  showing  that  it  was  issued  separately. 

96 


POLITICAL   SATIRES    1812 

Old  Friends  Howe  do  you  like  your  New  Ones?  [cf.  No.  12081].  The  Prince: 
Not  at  all.  D — A'^  them!  Not  at  all!!!!  Lady  Hertford  says :  Friends  indeed! 
you  will  always  meet  with  a  warm  friend  in  Hertford.  She  wears  a  crown-hke 
marquis's  coronet  with  an  aigrette;  a  heart  hangs  on  her  neck  from  a  jewelled 
chain.  The  ends  of  the  leading-strings  she  holds  are  held  by  a  debauched- 
looking  cupid  (cf.  No.  11904)  at  her  feet  who  bestrides  his  arrow,  wearing 
breeches  and  top-boots.  Over  her  shoulder  looks  Lord  Hertford,  a  scowling 
man  wearing  horns.  At  her  side  (r.)  stands  Erskine  wearing  a  tam-o'-shanter, 
but  holding  an  opera-hat ;  he  points  to  her,  saying :  Behold  the  gracious  Quean 
of  Love.  He  wears  (though  he  was  not  K.T.  till  1815)  a  star  and  knee- 
breeches  with  the  addition  of  a  ver)'  short  kilt,  plaid  stockings,  and  a  sporran 
inscribed  1 1 1 1  meme  [indicating  his  egotism,  see  No.  9246,  &c.].  Behind 
and  between  Lady  Howe  and  McMahon  stands  the  Duke  of  Cumberlalid 
in  hussar  uniform;  he  looks  melancholy  and  holds  a  paper  inscribed  Am 
I  not  a  Man  and  a  Br[other].  Over  the  Prince's  1.  shoulder  looks  Mrs.  Fitz- 
herbert,  her  face  in  shadow  (cf.  No.  11856).  These  figures  form  the  centre 
group. 

On  the  1.  stands  Perceval,  much  burlesqued,  wearing  his  official  gown,  and 
watching  the  Regent  with  pained  surprise;  at  his  feet  is  a  book  inscribed  The 
Book.  Behind  him  and  on  the  extreme  1.  a  plainly  dressed  parson  in  back 
view  talks  to  an  elderly  doctor  who  sucks  his  cane.  From  the  former's  pocket 
project  Bidlake's  Poems;  he  holds  a  paper:  Sermon  on  Drunkeness  Sunday  next; 
the  latter  says:  That  comes  Home  to  him,  showing  that  he  is  Everard  Home, 
see  No.  11763.  (John  Bidlake  was  a  Chaplain  to  the  Regent  and  the  Duke 
of  Clarence,  and  published  poetical  and  religious  works.)  Behind  and  between 
Perceval  and  Lady  Howe,  Death,  a  crowned  skeleton  wearing  clothes,  marches 
off  arm-in-arm  with  Lord  Liverpool  in  a  manner  perhaps  satirizing  the  latter's 
'march  to  Paris',  see  No.  9726;  from  his  spear  hangs  a  streamer  inscribed 
Walchren.  Near  them  is  Lord  Melville  in  Highland  dress,  wearing  a  tam-o'- 
shanter. 

Princess  Charlotte  stands  on  the  r.,  wiping  her  eyes  as  if  weeping  with 
childish  unrestraint.  She  holds  a  paper:  C — It — m  [sic]  House  Sunday — 18 1 2 
Apology  to  Lord  Lauderdale.  My  Lord  I  ask  pardon.  She,  too,  is  in  Leading 
Strings,  and  these  are  held  by  a  burlesqued  bishop,  his  mitre  perched  on  an 
absurd  wig.  He  stands  with  his  back  to  her  and  is  evidently  her  preceptor, 
John  Fisher  of  Salisbury.  The  Princess's  tears  attract  the  attention  of  Wellesley 
who  is  in  oriental  dress  with  a  star  inscribed  Eastern  Star.  He  holds  up  a 
forefinger,  his  arm  round  the  neck  of  a  woman  with  a  paper  inscribed  Lady 
Raffels  Rout.  (His  mistress  was  Moll  Raffles  (see  No.  12081,  cf.  No.  13461; 
according  to  the  Scourge,  iii.  267-70,  Polly  Raffle).)  She  laughs  at  the 
Princess.  A  fat  John  Bull,  who  has  just  entered  (r.),  looks  at  the  Princess  in 
dismayed  surprise,  shedding  sympathetic  tears.  Just  behind  him  is  Sheridan 
in  very  tattered  Harlequin's  dress  (cf.  No.  9916);  he  furtively  picks  John's 
pocket,  extracting  a  large  purse.  Bulls  Purse;  he  holds  a  comic  mask.  The 
Duke  of  York,  in  uniform,  followed  by  a  lady  (?  Mrs.  Carey)  enters  behind 
Sheridan.  On  a  settee  by  the  door  is  a  stout  man  wearing  a  star  (?  the  Duke 
of  Kent)  staring  at  the  Princess  with  pained  surprise. 

Below  the  musicians'  gallery  hangs  a  long  picture;  in  the  centre  is  the 
Regent,  Bacchus-like,  astride  a  cask  of  Curacoa.  He  throws  an  arm  over  the 
neck  of  an  ass,  while  a  crowned  woman,  her  breasts  exposed,  proffers  a 
goblet.  He  extends  his  1.  toe  to  Erskine  who  grovels  at  his  feet.  The  profile 
of  Queen  Charlotte  peers  from  behind  the  ass,  looking  towards  Death,  a 
crowned  skeleton  who  drags  forward  Lord  Chatham,  who  tramples  on  an 

97  H 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

anchor  (see  No.  11533).  Behind  the  crowned  woman  is  Perceval  (1.)  pointing 
her  out  to  Lord  Eldon,  behind  whom  is  Wellesley ,  a  turbaned  figure  registering 
surprise.  Flat  on  the  ground  lies  Sheridan,  as  Harlequin,  drinking  from  a 
bottle.  On  the  extreme  r.  a  naked  and  antlered  figure  (?  Hertford)  plays  fife 

and  tabor. 

One  of  many  satires  on  the  Regent's  desertion  of  the  Whigs,  an  exception 
being  Erskine,  and  on  the  influence  of  Lady  Hertford,  see  No.  11853.  The 
title  is  an  allusion  to  the  famous  letter  to  the  Duke  of  York,  see  No.  11855: 
'I  have  no  predilection  to  indulge,  no  resentments  to  gratify  .  .  .'  (see  Nos. 
1 1 869,  1 1887).  The  political  exploitation  of  the  Princess  of  Wales  was  fore- 
shadowed on  23  Mar.,  when  Perceval  was  taunted  with  his  support  of  her 
in  'The  Delicate  Investigation'  of  1806  when  he  compiled  'The  Book'  in  her 
defence,  see  No.  11990,  &c.  Pari.  Deb.  xxii.  135-40.  Liverpool  and  Chatham 
are  attacked  for  the  terrible  mortality  at  Walcheren,  see  No.  11536.  For 
quarrels  between  the  Prince  and  the  Duke  of  Cumberland  see  Fulford,  Royal 
Dukes,  1933,  p.  210  f.  Princess  Charlotte  weeps  as  she  had  done  at  Carlton 
House  on  22  Feb.  when  the  Regent  furiously  attacked  the  Whigs  and  was 
answered  by  Lauderdale,  who  restated  his  views  in  a  letter  next  day.  Corr. 
of  George  IV,  i.  26  f.  Her  tears  were  made  memorable  by  Byron's  verses 
('Weep  daughter  of  a  Royal  line').'  For  Sheridan's  pocket-picking  cf.  No. 
1 1767,  &c.  'The  Concerts  of  Antient  Music'  at  the  Hanover  Square  Rooms 
were  regularly  attended  by  the  royal  family,  cf.  No.  7163. 

Reid,  No.  155.   Cohn,  No.  732. 
7jXi8f  in. 


1 1865  A  PROCESSION  FROM  WALES  TO  MANCHESTER  SQUARE. 
NB.  BY  WAY  OF  YARMOUTH. 

G  Cruikshank  sculpt 

Pu¥  by  M  Jones  N"  5  Newgate  S'  April  3'^  181 2 

Engraving  (coloured  impression).    Frontispiece  from  The  Setting  Sun,  or, 

a  Little  Reason  and  a  Great  R 1.    A  Poem  by  Ambrose  Dry  switch.    The 

Regent,  riding  a  goat,  followed  by  attendants  on  goats  and  preceded  by  Lord 

Yarmouth  driving  a  Yarmouth  Troll,  approaches  Hertford  House.    Behind 

him  (1.)  are  mountains  with  Carlton  House,  a  colonnade  in  a  valley  between  the 

peaks  of  Wales ;  above  it  is  a  flock  of  (carrion)  birds,  and  on  an  adjacent  peak  is 

a  tiny  gibbet  with  a  dangling  corpse.   Lady  Hertford,  crowned  and  holding  a 

sceptre,  stands  majestically  on  a  balcony  watching  the  procession.   The  house 

is  inscribed  Manchester  Square.  On  it  is  a  notice :  The  Horns — By  H*FORD 

NB  Good  Entertainment  for  Man  &  Beast.  Below  the  balcony  is  a  large  bill: 

Regency  Theatre — Ev^  zvill  be  .  .  .  The  Road  to  Ruin  [see  No.  8073]  to  which 

will  be — 7^  he  a  Prince — tomorrow  Turnout  Characters  Hertford  Yarmouth. 

Yarmouth,  wearing  the  fashionable  dress  of  the  amateur  coachman,  see 

No.  1 1700,  &c.,  stands  swaggeringly  on  the  low  platform  of  his  troll,  a  wheeled 

sledge,  flourishing  a  whip;  his  horse  is  a  wretched  moribund  hack.  He  says: 

Ya  hip-Mis  bit  of  Blood  [cf.  No.  7233].  Behind  him  is  the  Regent,  very  erect 

on  his  goat  and  using  a  leek  for  a  whip.   A  leek  and  three  feathers  decorate 

his  cocked  hat.  He  says,  looking  up  at  Lady  Hertford,  All  Hail  sweet  Quean. 

He  is  followed  by  Perceval,  who  says :  There  we  go  me  &  My  Billy  gee  oh. 

McMahon,  flourishing  a  large  Privy  Purse,  rides  his  goat  ruthlessly  over  a 

'  First  published  in  the  Morning  Chronicle,  7  Mar.  1812,  as  'A  Sympathetic  Address 
to  a  Young  Lady'. 

98 


POLITICAL    SATIRES    1812 

prostrate  woman,  evidently  the  Princess  of  Wales.  Three  others  follow: 
Erskine,  Eldon,  and  Liverpool.'  Beside  the  procession  and  on  the  extreme  1. 
stands  John  Bull,  a  stout  man  wearing  top-boots,  much  startled.  He  says: 
Zooks  what  Nation  fine  Galloping  Goats  thes  be  It  puts  I  in  Mind  of  a  Race 
at  our  Fair  for  a  Wager — Aye  Aye  this  is  the  way  our  Taxes  do  go  Galloping 
Aye  Aye.  By  the  Prince  is  a  sign-post  pointing  (1.)  To  Wales  and  (r.),  with 
an  elongated  finger,  To  Hertford  Pleasure  Grounds.  Across  this  sits  a  little 
demon-Cupid  with  webbed  wings,  gleefully  pointing  out  Lady  Hertford  to 
the  Prince. 

See  No.  1 1853.  The  Prince  drove  regularly  to  Manchester  Square  to  visit 
Lady  Hertford,  see  No.  11859,  &c.  For  the  Yarmouth  car  or  troll  see 
No.  10488.  Is  he  a  Prince  w-as  a  farce  by  Greffulhe  first  played  at  the  Hay- 
market  in  1809.  The  Turn  out  was  a  musical  farce  by  Kenney  first  played  by 
the  Drury  Lane  Company  on  7  Mar.  1812.  Cf.  No.  6451  (1784),  The  Goats 
canter  to  Windsor  .  ,  .  also  on  the  Prince. 

Reid,  No.  156.   Cohn,  No.  736. 
6iixi5iin. 

11866  PATENT  PUPPETS  ALL\S  THE  HERTFORD  FANl^OCCINI 

[After  Williams.] 

Pub.  by  M'Cleary  32.  Nassau  Street.  Dublin 

Engraving  (coloured  impression).  An  Irish  copy  of  a  pi.  pub.  Fores,  6  Apr. 
1812  (A.  de  R.  xii.  48).  Lady  Hertford  (1.)  and  John  Bull  face  each  other 
in  front  of  a  puppet  theatre,  whose  small  scale  is  shown  by  its  relation  to 
these  two  large  T.Q.L.  figures.  Lady  Hertford's  raised  1.  arm  is  behind  the 
curtain  (1.)  from  which  her  hand  emerges,  holding  the  four  strings  attached 
to  the  wrists  and  toes  of  Perceval,  the  only  puppet  on  the  stage,  whose  back- 
ground is  a  realistic  view  of  the  screen  of  Carlton  House.  He  wears  his 
Chancellor  of  the  Exchequer's  gown,  and  bows  deprecatingly,  as  if  making 
a  speech.  A  paper,  Delicate  Investigation,  projects  from  his  pocket.  In  her 
r.  arm  are  four  puppets  (1.  to  r.):  (?)\Vellesley,  (?)  Buckingham  (see  No.  11 861), 
{})  Temple,  Sidmouth.  Behind  her  head  two  discarded  puppets  hang  perpen- 
dicularly, back  to  back :  Grenville  (1.)  and  Grey.  On  the  proscenium :  Regency 
Theatre,  in  large  letters  with  a  scroll:  Nunc  aut  Nunquam.  John  Bull,  a  yokel 
in  a  smock,  holding  his  hat  and  cudgel,  scratches  his  head,  exclaiming:  Laud! 
Laud!  be  they  all  your  own  meaking  what  a  clever  Leady  thee  must  be.  whoy 
there  beant  such  another  in  all  Hertford.  She  answers :  Yes  Jonny  they  are  all 
manufactured  by  me  &  my  Son.  I  can  make  them  do  any  thing,  the[y]  work 
so  easy,  only  Perceive  all  the  gestures  of  this  Lawyer  like  Gentleman  zvith  the 
delicate  investigation  in  his  pocket,  he  is  my  principal  actor  &  ahvays  ready  to 
take  any  part — those  Grey  &  Green-vile  looking  figures  behind  me  are  so  stiff 
&  stubborn  that  I  cannot  do  any  thing  with  them,  &  am  obliged  to  put  them 
aside,  Why  I  have  had  the  Honor  of  performing  before  the  Prince  Regent,  & 
he  has  given  me  permission  to  write  up.  Performer  to  his  Royal  Highness.  Her 
hair  is  dressed  with  two  circlets  simulating  a  crown,  and  w^ith  the  Prince's 
feathers.  She  is  much  decolletee;  and  on  her  belt  are  the  words  Fide  et 
Amo[re],  the  Hertford  motto.  In  front  of  the  stage  is  a  play-bill:  Theatre 
Royal  Hertford — The  Piece  calVd  Secret  Infiuence  will  be  continued  some  time 
longer,  a  Revived  piece  in  one  Act  calVd  The  Petition  Regegted  [sic]  will  be 
performed  in  the  course  of  a  few  days  to  which  will  be  added  the  Baggatelle  the 
Cits  in  the  Suds  or  How  can  you  help  it — NB  no  person  permitted  to  peep  behind 
the  Curtain  but  the  Performers. 

'  They  are  incorrectly  identified  by  Reid. 

99 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

One  of  many  satires  on  the  'secret  influence'  of  Lady  Hertford,  see 
No.  1 1853,  &c.,  and  on  the  Prince's  decision  to  retain  Perceval,  see  No.  1 1855. 
On  26  Mar.  the  Livery  of  the  City  of  London  drew  up  a  petition  expressing 
their  disappointment  that  the  Regency  was  not  to  be  the  'dawn  of  a  new  era' 
(cf.  Nos.  1 1 874,  1 1894),  since  no  change  was  made  in  the  Ministry  and  no 
reforms  were  carried  out.  This  the  Regent  refused  to  receive  with  the 
formaUties  expected  by  the  Livery,  see  Nos.  11869,  11887.  Cf.  No.  ii86i. 
9iXi4T\in. 

11867  THE  THREE  OUTS  OR  PATRIOTS  IN  HIGH  GLEE.    Tune, 
Hearts  of  Oak. 

[Williams.] 

Pu¥  by  Walker  and  Knight  Sweetings  Alley  Cornhill  April  10^^  1812 

Engraving  (coloured  impression).  Moira,  in  uniform  with  cocked  hat  and 
boots,  stands  stiffly  with  his  heels  together  between  Grey  (1.)  and  Grenville  (r.). 
He  takes  Grey's  1.  hand  and  Grenville's  r.,  turning  his  head  in  profile  to  the 


And  can't  get  into  place.  Moira 
We  fill  one  with  disgrace.   Grey 


former,  who  says :  We  be  three  poor  Patriots 

says:  Well  cockey  Grey!  John  Bidl  can't  say 

has  a  crest  of  hair  fringing  his  (bald)  forehead.   Grenville  adds:  Or  yet  that 

we  like  some  we  see  \  Meet,  friends  with  a  New  Face.   He  has  an  enormously 

heavy  posterior  (cf.  No.  10530).    A  paper  inscribed  Catholic  Emancipation 

projects  from  the  pockets  of  all  three. 

A  satire  on  the  disappointment  of  the  Opposition,  see  No.  11855,  &c.  The 
Whigs  stressed  Catholic  Emancipation  in  their  refusal  to  join  Perceval :  'To 
recommend  to  Parliament  this  repeal  is  the  first  advice  which  it  would  be 
our  duty  to  oflPer  to  his  Royal  Highness.'  Grey  and  Grenville  to  the  Duke 
of  York,  15  Feb.  H.M.C.,  Dropmore  MSS.  x.  213.  Moira,  pre-eminently  the 
Prince's  friend,  supported  the  motion  on  19  Mar.  for  an  Address  to  the 
Regent  praying  him  to  form  an  efficient  Administration  on  the  ground  that 
Catholic  Emancipation  was  necessary  for  the  conciliation  of  Ireland  and  there- 
fore for  the  safety  of  England.  Pari.  Deb.  xxii.  87-9.  Cf.  No.  11868. 
8|xi2|  in. 

11868  THE  PRIVY  PURSE  AND  POLITICAL  BEGGARS. 

[Wilhams.] 

London  Pu¥  April  13^''  1812  by  W"  Holland  N"  11  Cockspur  S^ 

Engraving  (coloured  impression).  Buckingham,  with  his  brother  and  son, 
and  Sheridan  abase  themselves  before  McMahon  whose  head  and  shoulders 
emerge  from  a  large  bag,  filled  with  guineas  (but  patched  and  mended), 
inscribed  Privy  Purse  (1.).  McMahon,  brandishing  a  large  club  inscribed 
Shillela,  addresses  them  sternly :  Paws  off!  no  Blarney  will  do  with  me!  Pm 
up  to  all  your  Gammon!  and  so  is  ?ny  dear  Master,  Pm  Cozey  at  last  in  spite 
of  all  your  speeches  and  paragraphs,  and  you  may  all  go  to  the  Devil  your 
Master!!!  Buckingham  kneels  on  both  knees,  his  arms  extended ;  before  him 
on  the  ground  is  a  chalice  standing  on  a  paper  inscribed  Ca[tholic  Emancipa- 
ti^on  [see  No.  11867];  he  says:  /  have  not  above  a  Hundred  Thousand  a  Year, 
these  hard  times  Pray  remember  the  Poor  !  [cf.  No.  10986].  The  others  stoop 
low,  with  outstretched  arms.  Grenville  has  placed  his  hat  on  a  paper  inscribed 
Ca[tholic  Emancip]ation ;  he  says :  I  have  not  above  Fifty  Thousand  a  Year,  a 
slender  pittance.  Pray  remember  the  Poor.  Temple,  holding  out  his  hat  and 
leaning  over  his  kneeling  father,  says:  With  my  Wife's  fortune  and  my  own, 
I  have  not  above  Forty  Thousand  a  Year,  Pray  remember  the  Poor!  Sheridan, 

100 


POLITICAL   SATIRES    l8l2 

holding  a  tattered  hat,  says :  Dear,  good,  worthy  countryman,  thou  Pine  Apple 
of  Erin!  consider,  I  was  burnt  out,  not  a  penny  in  my  purse,  my  credit  very  low — 
do,  dear  Mac,  for  the  love  of  5'  Patrick,  give  me  a  handfull. 

McMahon  was  appointed  Keeper  of  the  Privy  Purse  and  Private  Secretary 
(see  No.  11861)  to  the  Regent  in  March,  though  he  had  previously  held  the 
former  office,  see  No.  11874,  ^^-  The  Grenville  family  had  long  been 
associated  with  lucrative  sinecures,  Buckingham  being  a  Teller  of  the 
Exchequer,  and  Grenville  the  Auditor,  cf.  Nos.  10543,  10721;  for  their 
expectations  cf.  No.  10258,  but  their  attitude  to  the  Regent,  far  from 
obsequious,  was  haughty.  Sheridan,  hopelessly  insolvent,  refers  to  the  burn- 
ing of  Drury  Lane  Theatre  in  1809,  cf.  No.  11767.  He  remained  faithful  to 
the  Prince.  For  the  Whigs'  disappointment  see  No.  11855,  &c. 
8fxi3iin. 

11869  THE  INSURRECTION  OF  THE  PAPERS. 

E s  [Elmes]    Price  one  Shilling  Coloured^ 

Londo  [sic]  Apr^  28"'  1812  Publ''  by  Tho^  Tegg  iii  Cheapside, 

Engraving  (coloured  impression).  The  Regent,  beset  by  a  blizzard  of  intimi- 
dating and  humiliating  papers,  falls  backwards,  upsetting  his  arm-chair  and 
kicking  over  a  small  breakfast-table.  He  is  much  caricatured,  wearing 
moustache  as  well  as  whiskers.  The  largest  papers  are  a  Catholic  Petition 
which  floats  towards  his  head,  and  a  long  list  headed  Death-warrants  which 
has  fallen  from  his  hand.  On  the  former  is  a  figure  of  St.  Patrick  holding 
a  cross,  on  the  latter  Time  with  his  scythe,  a  gibbet,  and  the  words  I  M'^M — n 
[McMahon];  across  this  lies  The  Book  [see  No.  11990,  &c.].  He  exclaims: 
'Vf  Tu  Brute,  and  by  his  face  is:  Letter  about  Predilections"  [see  No.  11864]. 
His  foot  is  on  Official  Papers ;  near  them  are  Billets  doux  [twice] ;  Notes  from 
My  Lady  [Hertford];  Drains  for  Vapours;  hints  from  five  Physicians.  On  the 
table  are  the  Morning  Post  newspaper  and  three  rolls  of  Unread  Petitions. 
A  small  bureau  is  covered  with  other  Unread-Petitions,  and  a  large  sheaf  of 
these  is  on  a  shelf  above  it,  with  Liverpool  Petitiotis.  There  are  also  Carlisle 
Petitions  [see  No.  11870],  Nottingham  Petitions  [with  a  kneeling  skeleton 
depicted],  Manchester  Petitions  [with  a  head  behind  prison  bars].  Other 
papers  are  a  large  sheaf  of  Common-Hall  Addresses,  two  sets  of  Tradesmens 
Bills,  two  other  Billets  doux.  On  the  chimney-piece  behind  the  Regent's  back 
is  a  bust  of  Fox  (the  famous  bust  by  Nollekens,  done  for  the  Empress 
Catharine,  see  No.  7902,  &c.,  of  which  so  many  replicas  were  made).  From 
the  lips  issue  the  words  Fo.x's  Bust.  A  kettle  on  the  fire  hisses  steam  towards 
the  Prince.  From  the  table  an  urn  decorated  with  the  Prince's  feathers,  with 
other  pieces  of  gold  plate,  and  a  boiled  egg  slide  to  the  ground.  In  front  of 
the  Prince  is  a  saddle  inscribed  Plans  of  Saddles. 

An  illustration  in  detail  of  Moore's  verses  with  the  same  title  (reprinted  from 
the  Morning  Chronicle  in  the  Examiner,  26  Apr.  1812),  the  motto  of  which  is 
from  Castlereagh's  speech  on  McMahon's  appointment  (see  No.  11874):  'It 
would  be  impossible  for  his  Royal  Highness  to  disengage  his  person  from  the 
accumulating  pile  of  papers  that  encompassed  it.'  Moore  writes:  'His  Own 
Dear  Letter  void  of  grace,  |  Now  flew  up  in  its  parent's  face.'  (The  letter 
of  13  Feb.,  see  No.  11855,  &c.)  Romilly  writes  (18  Feb.):  'He  says  in  the 
letter  that  he  has  no  predilection  to  indulge  and  no  resentment  to  gratify: 
a  most  dangerous  sentiment  at  the  commencement  of  his  reign,  considering 
his  past  conduct  and  his  past  professions.   It  will  be  understood  to  mean  that 

'  Erased,  but  traces  remain. 
101 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

there  are  no  injuries  he  will  not  forgive  and  no  services  he  vi^ill  not  forget.' 
Life,  1848,  ii.  237.  The  other  papers  of  the  print  are  also  those  of  the  verses. 
Catholic  Emancipation  having  become  a  non-party  question  in  1 81 2  the  atti- 
tude of  the  Regent  was  all- important;  for  the  text  of  the  Catholic  Petition 
presented  to  him  see  Ann.  Reg.,  1812,  pp.  342-6.  For  the  Address  of  the 
Common  Hall  see  No.  11866;  on  a  refusal  to  receive  it  with  the  desired 
formalities  the  Livery  passed  a  series  of  resolutions  against  the  advisers  of  the 
Crown.  See  Sharpe,  London  and  the  Kingdom,  1895,  iii.  283-5.  Other  peti- 
tions relate  to  industrial  and  commercial  distress,  cf.  No.  11876. 
8|xi3  in. 

11870  THE  CATHOLIC  HYDRA  WANTING  TO  GET  LOOSE 

[W.  Heath.]  [?Apr.  1812] 

Engraving.  A  priest  wearing  a  Jesuit's  biretta  stands  beside  a  small  pound 
or  enclosure  formed  of  wooden  railings,  displaying  to  John  Bull  a  scaly  four- 
footed  monster  which  tries  to  get  out.  One  of  the  railings,  inscribed  Whole- 
some &  Necessary  Restraint,  is  fastened  with  a  padlock.  The  monster  looks 
at  John  with  gaping  jaws  showing  large  teeth  and  barbed  tongue;  it  has  savage 
claws  and  a  long  barbed  tail.  The  priest,  who  is  tall  and  thin,  holds  out  his 
arms  to  the  monster  (1.),  turning  his  head  to  John  (r.)  and  saying,  I  say  Master 
Bull  let  him  out  a  bit,  do  you  see  he  is  become  perfectly  Harmless,  he  hurts  no  body 
he  only  wants  to  Play  zvith  the  Baa  Lambs  a  bit.  John,  holding  out  Foxis  [sic] 
Book  of  Martyrs,  answers :  no  no  Master  Preist,  we  let  him  Loose  some  years  ago 
and  here's  an  account  of  a  few  of  his  Gambols  with  the  poor  Inocent  Sheep, 
he  does  very  well  where  he  is,  &  Looks  fat  and  Harty,  his  Tongue  his  Talons  & 
his  Teeth  seem  quite  as  Sharpe  as  ever  they  did  &  as  his  Nature  is  not  altered, 

I  be  well,  persuaded  he  wou'd  play  the  same  game  again,  do  you  mind  how  he 
looks  at  the  Baa  Lambs  besides  my  Measter  has  taken  almost  [sic]  Solemn  Oath 
not  to  Let  him  Out  &  would  you  have  me  do  it  when  my  Measter  is  so  badly 
that  I  cannot  Ax  his  permission  no  no  I  cant  like  you  for  that  Measter  Priest. 
In  his  1.  hand  is  the  key  of  the  padlock.  He  is  a  yokel  in  smock  and  gaiters. 
Behind  him  (r.)  sheep  are  grazing. 

This  seems  to  relate  to  Lord  Donoughmore's  motion  on  21  Apr.  181 2  for 
a  committee  to  consider  the  Catholic  claims  for  the  removal  of  their  dis- 
abilities. It  was  defeated,  after  a  debate  till  5  a.m.,  by  174  to  102.  Pari.  Deb. 
xxii.  509-703.  Many  petitions  for  and  against  Emancipation  were  presented 
to  Parliament.  See  Nos.  11869,  11883.  For  George  Ill's  coronation  oath 
cf.  No.  5534  (1779). 
8i^gXi2^in. 

I I  870a  a  close  copy,  coloured,  /  Hackett  sc,  Pub'^  &  Sold  by  G.  Eagles- 
field  M/e'  S^  Leister.  'Price  one  Shilling'  and  'When  my  Measter  is  so  badly 
that  I  cannot  Ax  his  permission  no  no'  omitted;  'almost'  corrected  to  a  most. 

I1871-I1873 
Three  drawings  in  pen  and  watercolour  by  an  amateur.     201*  b  2. 

11871  FRONTISPIECE  EXHIBITING  CORRECT  LIKENESSES  OF 
OUR  HERO  .  .  . 

Scene  in  Portugal  with  a  background  of  mountains.  The  title  continues: 
on  his  wonderful  Portugal  Poney,  with  Oncle  &  Kussing  Fischer,  being  the  3 
members  of  that  most  wonderful  Family,  now  the  hopes  of  England  in  our 

102 


POLITICAL   SATIRES    l8l2 

arduous  contest  in  Portugal.  A  spectacled  major  (r.)  stands  full-face,  sheathed 
sword  in  1.  hand,  extending  his  r.  towards  an  officer  on  a  miserable  plodding 
pony,  while  a  little  boy  in  full  officer's  uniform  bowls  a  hoop.  The  mounted 
man.  Cornet  Tappe,  has  a  shocking  seat  and  rides  without  stirrups;  fore  and 
aft  of  the  pony  are  cooking-pots,  coffee-mill,  &c.  All  three  wear  gauntlets 
and  cavalry'  boots. 

Charles  Tappe  was  gazetted  Lieutenant,  24  Sept.  18 12.   Christian  Fischer 
was  Major  (1809);  Henry  Fischer,  Lieutenant,  13  Mar.  18 12.    Army  List, 
1813. 
6x  10  in. 

11872  THE  FIRST  REMARKABLE  ADVENTURE  OR  CAUSE  OF 
PROMOTION  WHICH  HAPPENED  TO  CORNET  TAP— E  .  .  . 

Taken  on  the  spot  by  the  Provost  of  the  i^'  Reg'  Heavy  Dragoons  K.  G.  L. 
[King's  German  Legion]. 

The  title  continues :  on  his  entering  into  Campaign  in  Portugal.  March  2^.  18 12 
dedicated  without  permission  to  C  Tappe  Esq'^^ .  The  Comet  is  supported  on 
the  back  of  a  trumpeter  where  a  surgeon  shows  his  bared  and  scarred  posteriors 
to  a  very  obese  general.  Two  lines  of  mounted  dragoons  are  drawn  up  in  the 
background;  behind  is  a  small  Portuguese  town.  The  surgeon:  You  see 
General  the  young  Cornet  is  not  fit  to  go  to  battle  in  this  sad  condition.    The 

general :  By  G — d  Surgeon,  he  looks  d sh  sore,  we  will  leave  him  behind  & 

make  him  Commandant  of  Santarem. 
6|x  ii|  in. 

11873  A  DISPATCH  FROM  MAJOR  FISCHER  .  .  . 

The  title  continues:  dated  last  at  Branco  20  April  18 12  says  "Our  Regiment 
has  suffered  much  from  wett  &  cold  having  been  bevouacked  for  7  nights  in  the 
open  air  &  I  found  for  the  first  time  the  great  utility  of  my  tent,  hut  alas,  a 
madman  has  stole  my  watch  o  spectacles!!!  The  Major,  his  uniform  in  extreme 
disorder,  stands  before  a  small  tent,  hands  raised,  addressing  the  trumpeter 
of  No.  1 1872,  who  sits  on  a  drum,  with  the  young  Comet  on  his  knee.  He  says: 
Oh!  Trumpeter,  what  for  a  Rascal  has  my  Spectacles  &  watch  stole?  I  shall  not 
be  able  now  to  see  the  enemy! — (Thank  God!).  The  boy,  with  a  peevish 
grimace :  Papa,  I  want  to  go  home  I  wont  play  soldiers  no  more  I  be  so  cold  & 
wet.  The  trumpeter:  Hush!  Hush  little  Lieutenant,  Hush.  In  the  background 
neatly  dressed  officers  warm  themselves  at  camp-fires. 

The  dates  cover  the  climax  of  Wellington's  successful  spring  campaign 
(during  bad  weather)  with  the  capture  of  Badajoz  (6  Apr.)  after  twenty -one 
days'  siege. 
6jx  io|  in. 

11874  A  RIDICULE;  OR  A  NEW  .^RA,  NEW  MANNERS;  ALIAS 
THE  AGE  OF  WONDERS 

[Williams.] 

Pub'^  May  i"  18 12  by  Tho'  Tegg  ill  Cheapside 

Engraving  (coloured  impression).  The  Regent  (r.)  advances  bowing  towards 
Lady  Hertford,  doffing  his  crescent-shaped  cocked  hat.  From  his  1.  arm 
dangles  a  large  bag  with  a  tassel  at  the  bottom,  in  which  sits  impassively  a 
miniature  McMahon,  in  profile  to  the  1.,  with  a  pen  behind  his  ear.  He  says: 
/  am  so  partial  to  the  Privy  Purse  my  Lady ;  that  I  have  turned  it  into  a  Ridicule 
that  I  may  have  it  always  about  me.    She  gazes  at  it,  her  arms  extended  in 

103 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

a  gesture  of  surprise,  saying,  Well!  upon  my  Honor,  our  Friend  has  got  a  snug 
birth  there  indeed.  She  is  plainer,  and  appears  older  than  in  other  caricatures 
of  this  date,  and  is  enormously  fat.  The  words  of  both  speakers  are  in  labels 
above  their  heads,  which  float  backwards  to  conceal  two  portraits,  of  which 
the  lower  parts  only  are  within  the  design.  The  frames  are  inscribed  respec- 
tively Solomon  [above  the  Prince]  and  Sheha  [above  Lady  Hertford],  denoting 
portraits  of  the  pair.  The  room  resembles  an  ante-room  and  is  plainly 
furnished,  with  a  pot-plant  standing  in  a  jardiniere  (1.).  A  window-seat  is 
under  the  sash-window,  which  is  wide  open  to  show  the  road,  with  the  rail- 
ings and  trees  of  Manchester  Square.  A  carriage  and  pair  is  passing.  Two 
well-dressed  men  converse  on  the  pavement.  One  says:  Queer  News  to  day! 

all  worse  &  worse,  \  Mac,  is  the  P s.  Privy  Purse.  The  other :  TheP s  purse. 

No!  No!  you  fool  \  You  mean  the  P s  Ridicule.  (These  lines  are  an  'Epigram* 

by  Moore  (attributed  by  him  to  the  Princess  of  Wales),  correctly  quoted 
except  for  the  first  line:  'What  news,  to-day? — "Oh!  worse  and  worse — '; 
see  No.  12279.) 

The  Paymastership  of  Widows'  Pensions  (cf.  No.  11864),  a  sinecure  of 
j^2,70o  and  an  item  in  the  Army  Estimates,  which  had  been  granted  to 
McMahon  as  a  virtual  salary  for  his  office  of  Private  Secretary  to  the  Regent, 
was  refused  in  the  Commons  by  a  majority  of  3  on  24  Feb.  Pari.  Deb.  xxi. 
911-33,  see  No.  11861.  In  March  he  was  gazetted  Keeper  of  the  Privy  Purse 
and  Private  Secretary  to  the  Regent ;  the  latter  office  (with  a  salary  of  ^^2,000) 
was  attacked  as  unconstitutional,  since  it  was  alleged  to  constitute  an  intrusion 
between  the  Sovereign  and  his  Ministers.  The  hostile  motion  was  defeated 
by  176  to  100.  Ibid.  xxii.  332-64;  Letters  of  George  IV,  1938,  p.  Ixxiv  f.,  40. 
Before  the  Prince  became  Regent  these  offices  were  unquestioned  posts  in  his 
Household,  McMahon  having  succeeded  Thomas  Tyrwhitt.  The  Keeper- 
ship  of  the  Privy  Purse  ('P.P.')  connoted  for  caricaturists  the  office  of  the 
Prince's  pimp,  cf.  Nos.  11730,  1323 1.  For  the  Prince's  visits  to  Hertford 
House  see  No.  1 1859,  ^c-  'New  ^ra'  is  a  quotation  from  a  City  petition,  see 
No.  1 1866.  Ridicule,  a  perversion  of  reticule,  was  a  French  term,  adopted 
in  England,  for  the  bags  carried  by  ladies  when  transparent  dresses  displaced 
the  old-fashioned  pocket,  see  No.  9577.  For  the  Privy  Purse  see  also  Nos. 
11865,  11868,  11869,  11877,  11888,  11914,  12039,  12081,  12082,  12110, 
12749,  12756,  12757. 
8^Xi2fin. 

11875  HALLET'S   HINT,    OR   CHEAP   TRAVELING    FOR    BERK- 
SHIRE ELECTORS.  [i  May  1812] 

[?The  Caricaturist  General] 

Aquatint.  PI.  from  the  Satirist,  x.  315.  A  procession  of  ragamuffins,  some 
riding  on  broom-sticks,  advances  towards  a  signpost  (r.)  pointing  To  Reading, 
on  which  sits  the  Devil,  pointing  out  the  way.    They  wave  their  hats  and 

cheer  frantically,  shouting  Halletfor  ever.  One  shouts :  By  J s  Fm  his  home 

made  freeholder  Huzza ;  another  says :  ///  register  his  deeds!  The  Devil :  /  have 
registered  them  already.  A  man  at  the  head  of  the  procession,  better  dressed 
than  the  others,  wears  leg-irons ;  a  paper  inscribed  Newgate  Callender  hangs 
from  his  pocket.  Among  the  marchers  are  two  braying  asses.  Behind  a  hedge 
(r.)  and  in  the  background,  is  a  crowd  of  astonished  spectators. 

Illustration  to  an  article  on  'Mr,  Hallett',  pp.  333-7,  a  comment  on  his 
circular  to  the  electors  of  Berkshire,  announcing  that  he  would  not  make  a 
personal  canvass,  but  requesting  their  support  and  interest.  See  No.  11863. 
6|xi3|in. 

104 


POLITICAL   SATIRES    l8l2 

11876     WHICH     DROWNS     FIRST,    OR,    BONEY'S     IMPROVED 
BUCKET. 

[Williams.] 

London,  Pu¥  May  J^'  1812  by  IV"  Holland  11  Cockspur  S' 

Engraving  (coloured  impression).  Two  large  buckets  stand  side  by  side, 
inscribed  respectively  Treasury  Bucket  (1.)  and  Seau  de  la  Grande  Nation.  One 
stands  on  papers  inscribed  Ordedrs  [sic]  in  Council  and  Deputation  from 
Birmingham,  the  other  on  larger  and  more  compact  papers  inscribed  Berlin 
and  Milan  Decrees  [signed]  Napoleon.  In  the  British  bucket  George  Rose  has 
plunged  his  head  and  shoulders,  making  the  water  overflow,  while  his  legs 
wave  in  the  air.  Napoleon  leans  over  his  bucket,  holding  the  sides,  but  looks 
complacently  at  Rose,  saying,  ah  ha!!  me  sing  Old  Rose  and  burn  de  bellows. 
He  is  not  caricatured,  and  wears  neat  uniform,  with  a  long  coat  and  sash,  and 
orders.  His  bucket  has  a  large  spout  inscribed  British  Licences  through  which 
water  gushes  to  the  ground ;  this  has  a  tap  inscribed  Perceive-alls  Patent.  It  is 
hooped  with  tri-colour  bands.  Behind  him  lie  his  sword  and  (small)  cocked  hat 
on  which  is  perched  a  crowing  game-cock  (cf.  No.  9973,  &c.).  Rose's  identity 
is  shown  by  a  rose  on  the  bucket,  and  a  rose  in  the  crown  of  his  hat  which 
lies  on  a  piece  of  music  headed :  The  Rose  had  been  wash'd  by  a  Show'r  to  the 
tune  of  Death  &  the  Lady.  Country  roads  lead  from  each  bucket  to  the  back- 
ground, one  with  a  signpost  pointing  To  Manchester,  the  other  with  one 
inscribed  To  Paris.  By  the  former  is  a  group  of  tiny  figures  registering 
despair;  behind  them  is  a  town  in  flames.  The  French  road  winds  peacefully 
past  trees. 

Behind  the  British  bucket  stands  Sir  Charles  Mordaunt,  fashionably  dressed, 
with  his  chin  sunk  in  a  neck-cloth;  he  holds  wire  mouse-traps  and  razors 
and  turns  to  an  American  standing  behind  the  French  bucket  to  say :  You  shall 
neither  have  Mouse  Traps  nor  Razors.  The  other,  plainly  dressed  and  Quaker- 
like, with  lank  hair  and  a  beard,  holds  out  a  paper  headed  Resolutions  of 
Congres;  he  answers :  You  shall  have  no  Grain.  A  mouse  runs  across  his  beard. 

A  satire  on  the  Continental  System,  see  No.  10773,  ^c.,  with  special  refer- 
ence to  the  debate  of  17  Apr.  on  the  Orders  in  Council,  and  to  the  licensing 
system  whose  effect  was  to  put  commerce  under  the  control  of  the  Board  of 
Trade,  George  Rose  being  its  Vice-President,  and  the  chief  ministerial  expert 
on  trade  questions.  A  petition  from  Birmingham  against  the  Orders  was 
presented  by  Mordaunt,  AI.P.  for  Warwickshire,  alleging  that  the  licensing 
system  was  an  acknowledgement  of  the  impolicy  of  the  Orders,  which  were 
originally  'contrary  to  the  Law  of  Nations',  and  might  lead  to  war  with 
America,  Mordaunt  confirmed  Rose's  statement  that  employment  was  good 
in  Birmingham,  and  said  further  that  America  'could  not  do  without  Birming- 
ham— she  could  not  even  shave  herself,  or  catch  her  own  mice'.  Pari.  Deb. 
xxii.  424-40.  Rose  received  a  deputation  from  Birmingham,  Mordaunt  and 
Perceval  being  present,  and  was  accused  of  showing  insensibility  to  distress 
by  saying  'that  the  two  countries  were  in  the  situation  of  two  men  whose 
heads  were  in  a  bucket  of  water,  and  the  struggle  was,  which  of  the  two  could 
remain  longer  in  that  situation  without  suffocating',  ibid.,  1063.  The 
licensing  system  is  here  represented  as  favourable  to  France;  this  was  the 
contention  of  petitions  from  British  sea-ports  during  1812,  alleging  that 
it  enabled  Napoleon  and  his  allies  to  trade  with  impunity  under  a  neutral 
flag  with  British  licences.  The  Opposition  attributed  industrial  distress, 
rioting,  and  frame-breaking  to  the  Orders  in  Council.  The  dearth,  due 
to  a  bad  har\est,  and  accompanied  by  industrial  distress,  cf.  No.  11869, 
is  attributed  to  the  Non-Intercourse  Act  (revived  2  Mar.  181 1);  this  held 

105 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

up  supplies  of  cotton  for  Britain,  but  grain  was  not  then  an  export  from  the 
United  States  to  Britain,  though  some  came  from  Canada.  See  Heckscher, 
The  Continental  System,  1922,  pp.  238  fF.;  Smart,  Econ.  Annals  of  the  Nine- 
teenth Century,  1910,  pp.  324  ff;  Tarle,  Bonaparte,  1937,  pp.  243  ff.  See 
Nos.  1 1880,  1 1893,  1 1897,  1 1999,  12000,  12269,  &c.,  13485. 

Broadley,  i.  306  f. 
8fXi2|in. 

11877    THE    PRINCE    OF    WHALES    OR    THE    FISHERMAN    AT 

ANCHOR. 
G.  Cniikshank  Sculp 

Pu¥  May  i'^  18 12  by  M  Jones — A^"  5  Newgate  Street 
Engraving  (coloured  impression).  PI.  from  the  Scourge,  iii.  345.  A  whale 
with  the  head  of  the  Regent  swims  in  The  Sea  of  Politics  spouting  water  from 
each  nostril :  one  stream,  darker  and  more  compact,  is  The  Liquor  of  Oblivion ; 
it  curves  backwards  to  strike  a  turtle  with  the  head  of  Grenville  and  a  little 
grey  dog  with  the  head  of  Grey  which  scampers  off  to  the  1.  Both  are  on  the 
shore  behind  the  monster's  lashing  tail.  The  turtle  is  inscribed  Sinecure 
30,000,  5000,  1000,  Sec.  [see  No.  10543,  &c.].  The  other  stream,  inscribed 
Dew  of  Favor,  curves  to  the  r.,  descending  on  Perceval  and  two  companions 
in  a  small  boat.  Perceval,  'the  Fisherman',  wearing  his  Chancellor  of  the 
Exchequer's  gown,  stands  holding  in  his  r.  hand  a  heavy  chain  attached  to 
an  anchor,  one  barbed  fluke  of  which  has  transfixed  the  lips  of  the  Prince ; 
its  stock  is  inscribed  Delicate  Enquiry;  in  his  1.  hand  is  the  end  of  a  fishing-net 
hanging  from  the  boat,  and  containing  two  fish,  one  Sinecure,  the  other  Arch 
Bishopric.  Temple,  with  a  porpoise-like  body,  swims  towards  the  fish,  put- 
ting out  his  hands  to  catch  the  former,  while  the  latter  attracts  a  big  oyster 
on  the  shore,  with  a  human  face  showing  between  its  valves.  This  is  'the 
Bishop  of  B',  i.e.  Mansel,  Bishop  of  Bristol.'  In  front  of  the  net  lies  a 
large  seal  (the  Great  Seal)  with  the  head  of  Eldon.  In  Perceval's  boat  are 
two  large  baskets  of  fish  inscribed  respectively  Gudgeons  and  Flat  Fish; 
Sidmouth's  head  emerges  from  the  former,  that  of  Lord  Melville  wearing  a 
tam-o'-shanter  from  the  other.  The  boat  has  run  ashore  where  there  are  two 
rats,  one  with  the  head  and  turban  of  Wellesley,  the  other  with  the  head  of 
Canning  (cf.  No.  11 846);  these  rats  are  gnawing  holes  in  the  boat  of  which 
Perceval,  smiling  complacently,  is  unaware.  Melville,  watching  them,  exclaims 
We  shall  all  be  dish'd.  Outside  the  boat  a  shark  with  the  head  of  Castlereagh 
leaps  from  the  water  to  catch  some  of  the  'Dew',  inscribed  Salery  reappoint- 
ment [cf.  No.  ii86i]. 

In  the  foreground  in  the  centre  of  the  design  a  'beautiful  mermaid'  (Lady 
Hertford)  swims  in  'The  Sea  of  Polities',  playing  a  lyre  and  looking  alluringly 
at  the  Prince,  who  turns  his  eyes  towards  her.  Behind  her  a  merman  rises 
from  the  water,  angrily  holding  the  antlers  which  decorate  his  head.  In  front 
of  the  whale  the  head  and  shoulders  of  Mrs.  Fitzherbert  emerge;  she  holds 
up  a  mirror  and  looks  up  at  the  Prince  who  is  looking  away  from  her.  A  pike- 
like fish  with  the  head  of  McMahon  terminating  in  an  elongated  spike  pierces 
the  side  of  the  whale  causing  coins  to  fall  from  the  wound ;  a  fin  is  inscribed 
Privy  Purse  [see  No.  11 874,  &c.].  On  land  (r.)  behind  Grey,  a  clumsy 
monster  (styled  rhinoceros)  with  the  head  of  Sheridan  lumbers  towards  the 
Regent.  The  screen  of  Carlton  House  forms  a  background. 

One  of  many  satires  on  the  political  influence  of  Lady  Hertford,  see 
No.  1 1853,  and  the  Prince's  desertion  of  the  Whigs,  see  No.  11855,  &c. 

'As  Perceval's  prot^gd,  see  No.  11404,  and  because  Beadon  of  Bath  and  Wells  and 
Majendie  of  Bangor  are  less  likely. 

106 


POLITICAL   SATIRES    l8l2 

Wellesley  and  Canning  threaten  Perceval's  weak  Ministry,  and  it  is  (incor- 
rectly) implied  that  Perceval  has  a  blackmailing  hold  on  the  Prince  through 
his  relations  with  the  Princess,  see  No.  11990.  Wellesley's  final  resignation 
had  been  insisted  on  by  Perceval,  see  H.M.C.,  Bathurst  MSS.,  p.  166. 
Temple  was  not  a  candidate  for  office  under  Perceval,  but  the  greed  of  the 
Grenvilles  was  a  stock  subject  of  satire.  Mrs.  Fitzherbert  and  the  Prince 
parted  finally  in  June  181 1,  see  Nos.  11886,  11904. 

The  design  was  clearly  suggested  by  Lamb's  verses'  in  the  Examiner  of 
15  Mar.  1812,  'The  Triumph  of  the  Whale',  e.g.: 

Not  a  fatter  fish  than  he 

Flounders  round  the  polar  sea,  .  .  . 

Mermaids  with  their  tails  and  singing 

His  delighted  fancy  stinging;  .  .  . 

For  his  solace  and  relief, 

Flat  fish  are  his  courtiers  chief. 

The  Scourge,  however,  explains:  'The  idea  of  the  caricature  is  taken  from 
Milton's  description  of  the  mariners  casting  anchor  on  the  scaly  rind  of  the 
huge  Leviathan.'  The  persons  are  identified  by  initials;  the  Hertfords  are 
Lord  and  Lady ,  the  Prince  and  Mrs.  Fitzherbert  are  omitted. 

Reid,  No.  161.   Cohn,  No.  732. 
7fXi9|in. 

11878  MANCHESTER  SQUARE  CATTLE  SHEW 

[W'illiams.] 

Pub'^  for  the  Proprietors  of  Town  Talk  May  J^'  181 2 

Engraving  (coloured  impression).  PI.  from  Town  Talk;  or,  Living  Manners, 
ii.  265.  A  caravan  supported  on  high  wheels  stands  in  a  cobbled  space 
surrounded  by  houses;  in  front  of  it  is  a  platform  onto  which  opens  a  door 
in  the  side  of  the  van,  whose  roof  is  raised  and  supported  like  a  box-lid.  On 
a  tall  pole  attached  to  the  front  are  two  large  pictorial  placards :  on  the  lower 
one  is  an  enormous  cow  with  the  face  of  Lady  Hertford;  a  marquis's  coronet 
encircles  her  neck,  and  on  the  ground  before  her  is  a  collection  of  objects 
including  a  crown;  she  has  picked  up,  and  is  munching,  a  sceptre.  On  the 
horizon  the  fa9ade  of  Carlton  House  is  indicated.  The  placard  above  this  is 
in  two  compartments:  in  one  is  a  red  bull  with  the  head  of  Lord  Yarmouth, 
inscribed  Tony  Lumphim  [sic]  with  a  signpost  pointing  (in  reversed  char- 
acters) To  Yarmouth.  In  the  other  is  a  sportive  bull  with  the  head  of  the 
Regent;  it  has  just  kicked  down  a  fence;  inscription:  Young  Caesar.  The 
caravan  is  Bull's  Wonderfull  Menagerie;  from  a  flag-staff  attached  to  it  flies 
a  large  Royal  Standard. 

Steps  lead  up  to  the  platform  which  is  above  the  heads  of  the  crowd.  A  fat 
showman,  John  Bull,  standing  on  a  step,  holds  a  blue  ribbon  attached  to  the 
horns  of  a  large  bull  with  the  head  of  Lord  Hertford  which  stands  passively 
on  the  platform  with  closed  eyes.  Two  musicians  stand  behind  the  bull  (1.); 
one  has  a  box-organ,  the  other  beats  a  drum  and  blows  pan-pipes.  Two 
spectators  stand  behind  the  bull  pointing  up  at  the  placards.  The  show- 
man says :  Walk  up  Ladies  and  Gentlemen  and  see  the  curiosest  Hanimals  that 
ever  was  seed  afore — a  Cozv  of  an  extraordinary  size,  of  the  Hertfordshire  breed, 
six  inches  fat  on  each  side  clear  of  the  ribs,  more  celebrated  for  her  zveight  than 
beauty,  remarkably  short  in  the  neck,  and  distended  in  the  udder — also  an  Old  Bull 
of  the  same  breed — blind  but  not  from  age — remarkable  for  the  length  of  his  horns 

'  Referred  to  in  the  Scourge,  iii.  265  as  the  'Prince  of  Whales',  and  attributed  (with 
others)  to  'the  Prince's  early  friends', 

107 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

and  his  docility;  indeed  so  tractable  is  this  that  you  see  he  is  led  by  a  blue  ribband. 
Then  there  is  a  red  Bull  Calf  of  the  same  breed — eats  amazingly,  drinks  abun- 
dantly, but  so  vicious  that  it  is  necessary  to  caution  the  public  against  him — after 
to  day  these  Hanimals  may  be  seen  every  day  in  Manchester  Square  for  Half  a 
Crown  Also  to  be  seen  at  the  same  place  every  day  from  3  to  6,  from  9  to  12 
and  occasionally  to  3,  4,  5,  or  6  in  the  morning  as  the  company  tnay  suit  a 
remarkably  large  Bull  Calf  [the  Regent]  of  the  Buckinghamshire,  or  Kings  own 
breed,  astonishingly  agile  in  his  movements,  and  although  so  fat  can  make  a 
summerset,  wheel  round  or  otherwise  change  his  positions  with  wonderfull  versa- 
tility  strangely  forgetfull  tho,  admission  to  see  this  Hanimal  alone  nothing  less 
than  a  Crown. 

Three  streets  lead  to  the  square.  On  the  r.  is  King  Street;  at  the  corner  of 
this  a  small  (yellow)  coach  and  pair  with  drawn  blinds  advances  towards  the 
caravan.  The  coachman  (probably  Perceval)  and  two  footmen  behind  are  in 
plain  clothes;  on  the  door  are  the  letters  G.P.R.  A  ragged  ballad-singer, 
surrounded  by  a  small  group  of  listeners,  sings  A  Prince  he  would  a  Rakeing 
go!!  [cf.  No.  1 1 842],  pointing  over  her  shoulder  with  her  thumb  at  the  coach. 
A  bystander  looks  round  at  it,  saying,  There  he  goes.  In  front  of  a  crowd 
which  stands  to  watch  the  Prince's  coach  (r.)  or  to  gaze  up  at  the  caravan  (1.) 
stand  Grenville  (with  vast  posteriors)  and  Grey  in  conversation.  The  former: 
/  do  not  like  that  fat  Hertfordshire  Cow  with  her  great  Duggs — did  you  percieve 
how  Vicious  she  look'd  at  us.  Grey :  Yes  my  Friend!  and  the  Red  Bull  Calf  did 
not  look  less  so.  I  think  zve  had  better  keep  out  of  their  way.  Two  well-dressed 
men  watch  the  coach,  saying,  D — n  it  is  that  the  P —  in  that  shabby  chariot,  where 
can  he  be  going  to  and  Why  into  Hertfordshire  to  be  sure  to  hold  a  secret  Council!^ 
Spectators  (1.)  gape  up  at  the  caravan.  A  butcher  holds  on  his  shoulder  a  tray 
containing  two  calves'  heads  labelled  Lady  Hertford  [the  name  indicated  only] 
Manchester  Square;  a  little  ragged  girl  carries  a  basket  of  Regency  Spice  Nuts. 
The  houses  in  the  background  are  drawn  with  realistic  precision.  On  one 
corner  of  King  Street  is  a  low-built  ale-house,  with  a  large  placard  J""  Adams  \ 
The  Hit  or  Miss  [cf.  No.  1 1700]  |  Meux  and  Reid  [brewers] ;  on  the  chimney 
is  a  notice :  Sun  Engine  [the  insurance  companies  kept  fire-engines] .  Opposite 
is  a  tall  building,  the  Worcester  Coffee  House;  on  this  is  a  bill:  Town  Talk 
N°  IV.  At  the  opposite  side  of  the  square  (1.)  behind  the  caravan  is  Princes 
Street,  with  the  window  of  a  silversmith's  shop  at  the  corner. 

One  of  many  satires  in  which  the  Prince's  desertion  of  the  Whigs  is 
attributed  to  Lady  Hertford,  see  No.  11853,  &c.  Lord  Hertford  is  attacked 
both  for  his  complaisance  and  for  accepting  favours :  his  Garter  dated  from 
1807,  but  he  was  made  Lord  Chamberlain  on  5  Mar.  1812,  and  his  son 
Yarmouth  Vice-Chamberlain  on  10  Mar.  Report  was  busy  on  the  greqd  of 
the  Hertfords:  'The  love  of  gain,  it  is  said,  pervades  the  whole  family,  and 
that  even  Lady  Hertford  is  so  fond  of  Diamonds  that  the  Prince's  finances  can 
hardly  suffice.'  Corr.  of  Lord  G.  L.  Gower,  1916,  ii.  429  (Lady  Bessborough, 
31  Dec.  181 1).  For  the  Prince's  frequent  visits  to  Hertford  House  see 
No.  11859. 
9|Xi6|in. 

No.  1 1724  should  be  dated  i  May  1812. 

'  Cf .  Moore's  Extracts  from  the  Diary  of  a  Politician : 

Through  M — nch — st — r  Square  took  a  canter  just  now — 
Met  the  old  yellow  chariot,  and  made  a  low  bow. 
This  I  did,  of  course,  thinking  'twas  loyal  and  civil 
But  got  such  a  look — oh  'twas  black  as  the  devil!  .  .  . 
Mem. — When  next  by  the  old  yellow  chariot  I  ride, 
To  remember  there  is  nothing  princely  inside. 

108 


POLITICAL   SATIRES    l8l2 

11879  THE  MODERN  CALYPSO;  OR  THE  MATURED  ENCHAN- 
TRESS.   Vide  Telemachus  [by  Fenelon]. 

[Williams.] 

Pu¥  May,  1812  hy  S  W  Fores  N"  50  Piccadilly 

Engraving  (coloured  impression).  Lady  Hertford  (r.),  as  Calypso,  beguiles 
Telemachus,  the  Regent,  who  kneels  at  her  feet,  pointing  behind  him  to 
Sheridan,  who  is  Mentor.  All  wear  quasi -classical  draperies  with  cross- 
gartered  sandals.  Calypso,  very  fat  and  with  enormous  spherical  breasts  much 
displayed,  holds  an  unstrung  long-bow  and  an  arrow;  a  greyhound  walks 
beside  her.  A  little  cupid  bestrides  one  of  her  breasts  aiming  his  cross-bow 
at  the  Prince.  Two  of  her  maidens  alluringly  offer  goblets  of  wine  to  the  dis- 
hevelled Mentor.  The  Prince  says :  Most  adorable  and  Divine  Goddess  permit 
a  poor  shipzcrecked  mortal  to  indulge  himself  in  the  Luxuries  of  your  Enchanted 
Island,  and  allow  me  to  recommend  my  esteemed  Mentor  the  Guide  of  my  Youth 
to  the  care  and  delight  of  your  captivating  Maidens.  She  says,  pointing  to  a 
cave  (r.):  T'is  time  for  you  after  so  many  labours  to  taste  the  Balsamick  Cordial, 
Sleep  ;  you  have  nothing  here  to  fear  ;  every  thing  smiles  on  you  ;  tfien  give  a  loose 
to  Joy ;  indulge  to  [sic]  peace,  and  all  other  blessings  tvhich  heaven  is  going  to 
shower  down  upon  you.  Sheridan  says,  extending  his  arm  for  wine:  Aye  Aye, 
f'^^  we  had  better  stay  here,  '''''  come  let 's  have  some,  ^''  more  Nectar  my  pretty,  ''''^ 
pretty  D  D  D  Dear's.  Behind  them  (1.)  is  the  sea;  there  is  a  background  of 
clouds. 

One  of  many  satires  on  the  Regent  and  Lady  Hertford,  see  No.  11853. 
Sheridan,  who  remained  the  Prince's  friend  and  (to  some  degree)  adviser,  is 
ironically  identified  with  Mentor  (or  Miner\a  in  disguise)  who  rescued 
Telemachus  from  the  wiles  of  Calypso.  For  the  Prince  as  Telemachus  (with 
Fox  as  Mentor)  cf.  No.  7162  (1787). 
9|xi4^in. 

1 1 879  A    A  crude  but  fairly  accurate  copy,  the  clouds  omitted :  Publish" d 
by  J.  Sidebotham  24  Lozcer  Sackville  [5']. 

S^X  i2}|  in.  (cropped). 

11880  A  ROSEY  PICTURE  OF  THE  TIMES  133 

[Elmes]  Sculp' 


London  May  the  6"'  18 12  Pub'^ — by  Tho'  Tegg  iii  Cheapside 
Price  One  Shilling  Coloured. 

Engraving  (coloured  impression).  Napoleon  stooping  forward,  and  George 
Rose  bending  backward,  put  their  heads  in  a  large  bucket  inscribed  Suffoca- 
tion; the  former's  eyes  are  half  below  the  water,  while  Rose's  mouth,  his  head 
being  upside  down,  is  practically  above  it.  Napoleon  clutches  his  Berlin 
Decree,  Rose's  hand  rests  limply  on  Orders  in  Council.  Behind  Napoleon  is 
his  large  plumed  bicorne.  In  the  bucket  stands  Lord  Melville  wearing  a  short 
tartan  kilt  and  tartan  coat  with  a  tam-o'-shanter  on  which  is  a  huge  rose, 
showing  that  he  quotes  Rose.  He  turns  his  head  to  a  group  of  men  who  enter 
from  the  r.,  to  say:  Gentlemen — My  Opinion  is — that  England  and  France  are 
like  two  men  whose  heads  are  in  a  Bucket  of  Water  and  the  Struggle  is  which 
of  the  two  can  remain  longest  in  that  Situation  without  Suffocation.  The  men 
addressed  register  shocked  disapproval  at  these  words ;  their  leader  (Mordaunt) 
holds  out  a  paper  headed:  Deputation  from  Birmingham.  Though  sturdy  and 
well-dressed,  wearing  top-boots,  they  are  out  at  elbows.   Behind  Melville  (1.) 

109 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

is  a  large  picture  inscribed  View  of  Edenhorough :  a  man  in  Highland  dress 
(Melville's  father)  stands  by  a  bucket,  which  he  partly  screens  by  a  large 
plaid,  shouting  Wa— Wants  Me—  as  in  No.  8103  (see  Nos.  10249,  "888); 
behind  is  the  Castle,  with  other  buildings.  On  a  table  (1.)  are  two  large 
bundles  of  papers  inscribed  Petitions. 

See  No.  1 1876,  &c.  Melville  became  First  Lord  of  the  Admiralty  in  March, 
but  he  hardly  spoke  in  the  Lords.  He  seems  to  figure  as  an  exponent  of 
'Scotch  Washing'  (see  No.  11476,  &c.)  by  standing  bare-legged  in  a  tub. 

Broadley,  i.  307  f. 
8^^Xi2|  in. 

11881  MR  PERCEVAL  ASSASSINATED  IN  THE  LOBBY  OF  THE 
HOUSE  OF  COMMONS  BY  lOHN  BELLINGHAM  MAY  llTH  i812. 

[Williams.] 

London  Sweetings  Alley.  Pu¥  May  15  1812  by  Walker  &  Knight 

Engraving  (coloured  impression).  Bellingham,  tall  and  strongly  built,  stands 
firing  his  pistol  point-blank  at  Perceval  (1.)  who  staggers  back,  1.  hand  on  his 
breast,  r.  arm  raised.  Behind  him  is  one  of  the  doors  of  the  lobby,  closed. 
The  adjacent  door  is  open  and  a  horrified  man  enters,  an  arm  outstretched 
towards  Bellingham.  On  the  r.  are  two  other  men,  partly  hidden  by  one  of 
two  columns  which  flank  the  design.   Not  a  caricature. 

Perceval  was  shot  as  he  entered  the  lobby  at  5.15  on  11  May.  He  was 
carried  by  William  Smith,  M.P.  for  Norwich,  and  two  others  to  the  room  of 
the  Speaker's  Secretary  on  the  1.  of  the  lobby.  General  Gascoigne  seized 
Bellingham.  Ann.  Reg.,  1812,  pp.  71-5.  W.  Jerdan,  Autobiography,  1852, 
i.  133  ff.  See  Nos.  11882,  11884,  11885. 
8f  Xi2f  in. 

11882  JOHN  BELLINGHAM,  TAKEN  AT  THE  SESSIONS  HOUSE 
OLD  BAILEY,     MAY  15TH  1812. 

Drawn  &  Etc^  by  Dennes  Dighton  Pub'^  as  the  Act  directs  by  Dighton. 
Spring  Gardens.  May  16""  18 12. 

Engraving  (coloured  impression).  T.Q.L.  portrait  of  Bellingham  standing 
in  profile  to  the  r.,  holding  an  open  letter. 

The  original  pencil  drawing  is  in  the  Print  Room. 
iifxSf  in.  (pi.)  282.  a.  1/68. 

11883  [THE  HEADS  OF  THE  MUTINY  ACT.] 

[Williams.] 

Pu¥  May  20'''  1812  by  S  W  Fores  N°  50  Piccadilly 

Engraving  (coloured  impression).  No  title.  An  adaptation  of  No.  8244  (1784), 
by  Sayers.  The  upper  part  of  the  table  of  the  House  of  Commons  stretches 
across  the  design.  On  this  lie  two  pairs  of  decollated  heads,  each  with  its 
appropriate  collar  and  neck-cloth.  Burdett's  head  (1.)  lies  on  a  paper:  Motion 
for  the  abolishing  of  Military  flogging;  Home  Tooke's  head  rests  against  that 
of  Burdett.  On  the  r.  the  heads  of  Grey  and  Grenville,  directed  towards  each 
other,  are  supported  on  a  book;  under  Grenville's  is  a  document:  Catholic 
Bill.  Behind  the  heads  lies  the  mace.  A  background  is  formed  by  the  back 
of  the  Speaker's  Chair,  with  the  enormous  wig  and  small  head  of  Abbot. 

no 


POLITICAL   SATIRES    l8l2 

Below  the  design,  adapting  the  phraseology  of  the  Journals  of  the  House  of 
Commons  (as  in  No.  8244): 

Cui  Bono Publico  Bono  — 

Die  Luna  April  21 
In  a  Committee  on  the  Sense  of  the  Nation — moved — that  for  preventing  future 
disorders  and  Dissentions,  the  Heads  of  the  Mutiny  Act  be  brought  in  and 
suffered  to  lie  on  the  Table  to  Morrow — 

Ordered 
That  all  further  proceedings  upon  the  Act  for  dividing  the  Country  be  adjourned 
sine  die —  Ordered  \ 

Vox  Populi  I  Cler—Par— 

It  was  on  13  Mar.  that  Burdett  moved  the  addition  of  a  clause  in  the  Mutiny 
Bill  to  abolish  flogging  in  the  Army,  see  No.  11718,  &c.;  see  also  the  debate 
of  15  Apr,  when  Burdett  spoke.  Pari.  Deb.  xxii.  374  fF.  For  Home  Tooke 
as  Burdett's  mentor  see  No.  10731,  Sec;  he  died  on  19  Mar.  1812,  thus  a 
common  convention  in  these  prints  that  the  dead  appear  only  as  ghosts  is 
ignored.  On  21  Apr.  petitions  for  Catholic  Emancipation  were  presented  to 
the  House  of  Commons  and  ordered  to  lie  on  the  table  (see  No.  11870). 
Grey  and  Grenville  are  out  of  place  in  the  Commons:  on  21  Apr.  there  was 
a  long  debate  on  Donoughmore's  motion  for  a  committee  on  Catholic  dis- 
abilities in  which  Grenville,  but  not  Grey,  spoke.  Pari.  Deb.  xxii.  509-704. 
8^X9Y^6in.   PI.  iifxioj^  in. 

1 1 884  JNO  BELLINGHAM  SHOOTING  THE  RIGHT  HON  SPENCER 
PERCEVAL. 

G  Cruikshank  fee'  [c.  Alav  1812] 

Engraving  (coloured  impression).  Frontispiece'  from  an  account  of  the  trial 
of  Bellingham.  Bellingham  (r.)  stands  just  within  the  door  of  the  lobby, 
firing  point-blank  at  Perceval,  who  staggers  with  widespread  arms.  He  holds 
a  second  pistol.  In  the  background  (1.)  are  two  horrified  men.  See  No. 
11881,  &c. 

Reid,  No.  166.   Cf.  Cohn,  No.  636. 
6Jx8iin. 

11885  THE  RIGHT  HONBLE  SPENCER  PERCEVAL. 

G.  Cruikshank  fee'     F  W  Pailthorpe  sc'  [c.  May  18 12] 

Engraving  (coloured  impression).  An  oval  bust  portrait  of  Perceval  directed 
to  the  1.,  wearing  his  Chancellor  of  the  Exchequer's  gown.  This,  with 
emblems  of  oflice  (writing-materials,  key,  &c.),  rests  on  a  small  design  of 
Bellingham  shooting  Perceval,  with  five  agitated  spectators.  See  No.  1 1881,  &c. 

Of  the  original,  etched  by  G.  C,  only  the  shooting-scene  is  in  the  B.M. 
(2iX3|in.). 

Either  portrait  or  shooting  scene  was  a  frontispiece  to  a  Life  of  the  Right  Hon. 
Spencer  Perceval,  Late  Prime  Minister  of  the  Realm,  .  .  .  pub.  Fairbum,  n.d. 
The  portrait  (Reid  says  the  scene)  was  used  as  a  heading  to  a  broadside: 
Monumental  inscription  on  the  departed  Minister!!,  pub.  Fairburn,  with  a  con- 
demnatory epitaph  on  Perceval,  and  an  account  of  the  assassination.  Cobbett 
exulted  at  Perceval's  death.  See  Pol.  Reg.,  23  and  30  May  1812;  Advice  to 
Young  Men,  1829,  p.  283  f. 

Reid,  No.  165.   Cf.  Cohn,  Nos.  635,  1758. 
^'  65X3I  in.    Shooting  scene,  Zi^X^f^  in. 

'  Not  folded,  showing  that  it  was  issued  separately. 

Ill 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

1 1886  WORSE  AND  WORSE  OR  THE  SPORTS  OF  THE  19™  CEN- 
TURY. 

[Williams.] 

Pu¥  June  i'^  1812  for  the  Proprietors  of  Town  Talk. 

Engraving  (coloured  impression).  PI.  from  Town  Talk,  ii.  353.  The  'sports' 
take  place  in  an  open  landscape :  in  the  centre  foreground  a  see-saw  is  poised 
on  a  block  of  stone  inscribed  Constitution.  Britannia  (1.)  is  outweighed  by  the 
spherical  Lady  Hertford,  whose  end  is  further  held  down  by  the  Regent's 
foot  and  several  bottles  of  wine,  while  empty  bottles  lie  on  the  ground. 
Britannia,  a  blooming  young  woman,  drops  her  shield  and  spear,  exclaiming, 
O  dear  I  shall  be  down.  The  Prince  looks  at  her,  saying,  Well  done  my  thriving 
County  of  H,  when  thou  art  placed  in  the  opposite  scale,  that  poor  withered, 
meagre  looking  jade  Brittannia  is  but  a  feather — take  care  of  yourself  Brit !!  The 
British  lion  bounds  angrily  towards  the  unconscious  Lady  Hertford,  who 
extends  her  arms  towards  her  rival. 

Behind  and  on  the  1.  is  an  open  pavilion  formed  by  hangings  fastened  to 
a  massive  but  broken  and  moribund  oak.  It  is  decorated  with  the  Royal  Arms, 
as  is  the  carpet  spread  beneath  it.  On  this  Mrs.  Fitzherbert  and  Lady  Hert- 
ford play  battledore  and  shuttlecock  with  the  Prince  of  Wales's  feathers 
bound  with  his  motto:  Ich  Dien.  Both  are  fat  but  the  latter  is  more  grossly 
so;  the  former  wears  a  large  cross  and  rosary.  The  feathers  fly  above  Mrs. 
Fitzherbert's  head,  and  Yarmouth,  who  stands  behind  her,  is  about  to  catch 
them.  She  says :  This  Shuttlecock  is  to  light  for  me  Til  have  no  more  to  do  with  it. 
Her  rival:  You  have  play' d  with  it  till  you  are  tired;  but  it  suits  me  to  a  nicety, 

the  game's  mine  Y h  take  care  of  the  Shuttlecock!    He  answers:  O  yes 

Maam,  Til  take  care  of  the  Shuttlecock  I  warrant  you.  In  front  of  the  pavilion 
is  a  pool  in  which  fish  swim  towards  Lady  Hertford ;  this  is  inscribed  Treasury 
Stew. 

On  the  r.  and  in  the  foreground  is  a  narrow  piece  of  water  in  which  poli- 
ticians are  fishing.  Grenville  and  Grey,  one  on  each  side,  use  a  drag-net. 
Grenville  (1.)  says:  Tm  tired  of  draging.  Til  give  it  up  Mate.  The  man  next 
him  has  hooked  a  big  fish  inscribed  Place;  in  his  pocket  is  a  paper  inscribed 
Voters  at  Old  Sarum  j  showing  that  he  is  Vansittart,  M.P.  for  Old  Sarum 
1807-12,  who  succeeded  Perceval  as  Chancellor  of  the  Exchequer  on  20  May. 
He  says :  Aye  You  may  drag  away,  but  give  me  a  corrupt  maggot  for  catching. 
Gad  Tm  afraid  it  will  break  my  rod!  His  vis-a-vis  sits  in  a  chair  holding  a  rod ; 
he  turns  to  his  neighbour.  Grey,  to  say :  /  think  you  trouble  the  water  still 
more,  we  Anglers  will  have  no  chances.  Grey,  hauling  at  the  net,  answers 
Grenville :  Let 's  have  another  cast  made,  it 's  the  only  chance  in  troubled  water. 
A  man  kneels  on  the  bank  with  a  landing-net,  from  which  a  small  fish  is 
leaping ;  he  says :  D — n  it  heres  a  Thames  Flounder,  but  he  's  off  again ;  in  his 
pocket  is  a  paper:  Road  to  Liverpool.  The  head  is  unrecognizable,  but 
resembles  Liverpool  in  No.  11888.  On  the  opposite  bank  stands  a  spectator, 
saying,  /  say  Van  there  [sic]  enough  to  regale  the  Voters  of  Old  Sarum. 
Behind  the  fishermen  a  very  fat  man  with  a  basket  of  bread  faces  a  clamouring 
horde  of  men  and  women,  saying,  /  have  but  a  feio  small  loaves  and  what  are 
they  among  so  many. 

In  the  middle  distance  a  conical  volcano.  Mount  Albion,  is  in  violent  erup- 
tion ;  on  its  side  are  the  words  (partly  obscured  by  smoke) :  Orde\rs  in  Counc]il, 
Orders.  Great  rocks  fly  up  among  the  flames,  inscribed  War  [twice],  National 
Debt,  Taxes,  Sinecures.  A  pall  of  smoke  extends  over  the  sky,  containing 
other  rocks  about  to  descend  upon  the  groups  below,  who  are  unconscious 
of  their  doom:  Secret  Influence,  Petticoat  Government,  both  above  Lady 

112 


POLITICAL   SATIRES    l8l2 

Hertford;  Rotten  Borroughs  and  Corrupt  Influence  above  the  fishermen  and 
the  distributor  of  loaves.  Taxes  [eight  times]  and  &c  [sixteen  times]  are 
vi^idely  distributed. 

One  of  many  satires  on  the  political  influence  of  Lady  Hertford,  see 
No.  1 1853,  and  the  first  recognition  in  these  prints  of  the  separation  of  the 
Regent  and  Mrs.  Fitzherbert.  For  national  distress  and  the  Orders  in  Council 
see  No.  11876,  &c.  The  negotiations  for  a  new  Ministr}^  which  followed 
Perceval's  assassination,  see  No.  11881,  were  in  progress,  and  as  usual  are 
represented  as  a  contest  for  the  loaves  and  fishes  of  office  (cf.  No.  10697).  For 
this  crisis  see  No.  11888,  &c.  The  question  of  Parliamentary  Reform  and 
nomination  boroughs  (see  No.  11551,  &c.)  had  been  raised  by  a  motion  for 
Reform  on  8  May  18 12.  The  volcano  suggests  that  the  forces  of  unrest  are 
becoming  potent  in  politics.  For  'Worse  and  Worse'  cf.  No.  11874. 
9^Xi6f  in. 

11887  HE  HAS  PUT  HIS  FOOT  IX  IT. 

[Williams.] 

Pub'^  June  181 2  by  S  W  Fores  N°  50  Piccadilly  corner  of  Sackville  S' 

Engraving  (coloured  impression).  The  Regent  stands  with  his  back  to  a 
writing-table,  his  foot  on  a  dog's  excrement;  he  says  to  McMahon  (1.):  D  .  .  . 
that  fat  Bitch  I  must!  I  must!  get  rid  of  her!  I  say  Sec  I  have  put  my  foot  in  it. 
McMahon,  a  pen  behind  his  ear,  stoops  with  one  hand  on  his  knee;  he  looks 
up  at  the  Prince,  holding  his  nose,  and  says :  You  have  indeed.  Sir  any  one 
may  smell  that.  A  fat  nondescript  bitch,  her  collar  inscribed  [Heri]ford, 
watches  them,  as  does  a  reddish  dog  seated  behind  her  on  a  bergere,  his  collar 
inscribed  [Yar]mouth.  Papers  on  the  table  and  a  pile  of  books  beside  the 
Prince's  chair  show  that  he  has  been  interrupted  in  Cabinet-making.  Petition 
of  .  .  Citizen  .  .  lies  on  Arrangement  of  a  Xezv  Adniinist[ration]  on  which  the 
beginnings  of  names  are  visible:  Cas[tlereagh],  Li[verpool],  and  (much  lower 
on  the  list)  Sher[idan\.  Below  this:  Reuards  for  Favorites  .  .  .  th  §000. 
Books  on  the  ground:  Thoughts  on  Predilections  [see  No.  11864]  by  a  Great 
[}]  Trickster ;  The  Alan  of  Business  a  Farce  Performed  by  .  .  .;  The  Chid  [sic] 
out  of  his  Leading  Strings  a  true  tale  of  the  ig"'  Century;  An  Essay  on  the 
improvement  of  the  memory  by  Proffesor  Gray  and  Grenville.  Beneath  is  a  piece 
of  music:  blov:  thou  [Winter]  Wind  thou  dost  not  cut  so  keen  as  friends  remem- 
bered n[ot].  Another  paper  is  headed  Blow  thou  Wint  .  .  .  The  writing-table 
faces  a  large  window  looking  on  to  the  screen  of  Carlton  House.  The  carved 
backs  of  the  arm-chairs  are  formed  by  the  Prince's  feathers,  set  in  an  oval 
border  which  is  surmounted  by  a  crown.  The  writing-table  has  ornate 
ornaments  in  the  form  of  feathers.  On  the  wall  are  tAvo  T.Q.L.  portraits,  the 
heads  cut  off  by  the  upper  margin:  Henry  Fifth  (1.),  the  canvas  badly  torn, 
and  (above  the  Prince)  Henry  Eighth.  Below  each  hangs  an  oval  bust  portrait : 
a  hideous  head  inscribed  Epicure,  and  a  head  of  the  Regent  partly  hidden  by 
a  chair. 

One  of  many  satires  on  the  political  influence  of  Lady  Hertford,  see 
No.  1 1853,  &c.  For  the  City  Petition  see  No.  11866.  The  misquoted  song 
from  As  You  Like  it  (ii.  7)  alleges  base  ingratitude,  as  do  the  references  to 
Grey  and  Grenville  and  to  'Predilections  .  .  .',  see  Nos.  11855,  11869.  The 
death  of  Perceval  produced  a  new  and  prolonged  ministerial  crisis,  see 
No.  1 1 888,  &c.  Yarmouth  appears,  not  only  as  Lady  Hertford's  son,  but  as 
one  of  the  Prince's  'Favorites'.  The  Man  of  Business,  1774,  is  a  comedy  by 
George  Colman.  For  the  Prince  as  Prince  Hal  cf.  (e.g.)  No.  10230,  as 
Henry  VIII  cf.  No.  9871. 
9i^Xi4j  in. 

113  I 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11888  THE  POLITICAL  MEDLEY  OR  THINGS  AS  THEY  WERE 
IN  JUNE  1812. 

G.  Cruikshank  fed 

Pu¥  July  I"  1812  by  M  Jones  N°  5  Newgate 

Engraving  (coloured  impression').  PI.  from  the  Scourge,  iv,  frontispiece  (no 
reference  to  the  pi.  in  the  text).  An  intricate  design,  the  chief  feature  being 
a  fantastic  pavilion  (r.),  directed  to  the  1.,  whose  (open)  r.  side  abuts  on  a 
precipice  inscribed  Gulph  of  Dispair.  In  large  letters  above  the  front  are  the 
words  He\rtford]  Nursery,  below  which  hangs  a  semicircular  placard :  Wanted 
an  Upper  Servant  he  must  do  as  his  Mistress  bids  him.  A  Clever  active  fellow 
will  meet  with  great  Encouragement — Also  Wanted  several  Journeymen  Cabinet 
Makers,  great  wages — and  little  to  do — Enquire  Within.  Inside,  Lady  Hertford 
is  seated  regally,  dandling  the  Regent  on  her  knee ;  one  foot  rests  on  the  little 
infant's  commode  which  forms  her  foot-stool,  and  from  which  she  has  picked 
up  the  Prince.  This  commode  is  in  the  form  of  a  throne,  with  a  crown,  the 
Prince's  feathers,  and  initials  G.PR.  The  Prince,  an  absurd  mannikin  wearing 
the  insignia  of  the  Garter,  puts  an  arm  round  her  neck,  holding  up  a  coral 
and  bells;  in  his  1.  hand  is  a  bottle  of  Curafoa.  Yarmouth  approaches  from 
behind  with  a  punch-bowl.  On  Lady  Hertford's  r.  is  a  table  draped  with 
green  cloth  and  covered  with  blocks  of  different  dimensions  inscribed  respec- 
tively: Liverpools  Ash,  Moiras  Heart  of  Oak,  Grenvilles  Log  Wood,  Rosewood 
[an  allusion  to  George  Rose],  Castlereaghs  Middleburg  Yew  [an  allusion  to  the 
calamities  of  Walcheren,  see  No.  11364,  &c.].  She  looks  down  at  the  trust- 
fully upturned  face  of  the  Prince,  pointing  to  her  table,  and  saying :  Really 
My  Love  it  is  impossible  to  make  a  Cabinet  out  of  such  discordant  Materials. 
Lord  Hertford,  with  antlers,  who  is  grovelling  on  the  floor  behind  his  wife, 
looks  up  to  say :  Keep  him  at  play  My  Dear  or  we  are  Lost.  Lady  Hertford 
wears  a  crown-like  coronet  from  which  curves  a  tall  ostrich  feather.  From 
the  roof  of  this  'Nursery'  dangles  an  extinguisher  or  fool's  cap  decorated 
with  bells  and  inscribed  with  the  Prince's  motto,  Ich  Dien;  to  this  a  birch- 
rod  is  tied.  By  the  Prince's  empty  chair  is  an  open  book:  Songs  for  the 
Nursery  Georgee  Porgee  Ride  in  a  Coachee  Poach  .  .  The  two  posts  which 
support  the  front  of  the  pavilion  are  fantastically  and  symmetrically  decora- 
ted with  carved  figures:  a  terminal  figure,  with  a  bearded  satyr's  head, 
supports  a  drink-blotched  infant  Bacchus  on  whose  shoulders  stands  an 
almost  naked  nymph  holding  out  the  drapery  which  decks  the  sides  of  the 
structure. 

Just  inside  the  pavilion,  and  facing  its  r.  end,  stands  a  handsome,  fashion- 
ably dressed  man  (Stuart  Wortley)  lifting  above  his  head  a  massive  club 
inscribed  Adress  of  the  House  of  Commons;  with  this  he  has  just  hurled  Lord 
Liverpool  head-first  into  the  'Gulph  of  Dispair' .  The  falling  Minister  clutches 
a  paper  inscribed  L  .  .  .  Pool  and  says :  D — n  the  disgrace  Pll  be  prim  [sic]  yet. 
Clinging  to  the  edge  of  the  adjacent  precipice  is  Lord  Melville,  wearing  High- 
land dress,  one  hand  on  the  dais  of  the  pavilion,  the  other  holding  a  broken 
anchor  inscribed  First  Lord  of  the  Admritaty  [sic] .  He  cries :  Wha  Want's  Me 
[see  No.  11880,  &c.].  The  'gulph'  recedes  into  the  background  behind  the 
pavilion  on  the  r.  of  the  design.  Half-way  down  it,  on  a  grassy  ledge,  sits 
Queen  Charlotte,  a  grotesque  figure,  crowned,  and  taking  snuff,  a  large  jar 
oi  Princes  Mixture  beside  her  (cf.  No.  12066).  Against  her  ledge  rests  a  ladder 
up  which  climbs  Lord  Eldon,  wearing  his  Chancellor's  wig  and  gown;  he 
looks  down  at  Castlereagh  whose  head  and  shoulders  appear  in  the  lower  r. 
corner  of  the  design,  and  who  looks  up,  grinning.  Eldon  holds  out  an  encour- 

*  One  impression  is  not  folded,  showing  that  it  was  issued  separately. 

114 


POLITICAL   SATIRES    l8l2 

aging  arm  to  him,  saying,  Come  along  my  Lads  this  is  the  way  to  get  in  again. 
The  Queen  says :  Never  fear  F II  protect  you.  Behind  (r.),  the  precipice  ascends 
to  a  higher  level;  on  the  summit  is  a  well-head,  its  open  shaft  descending  into 
the  'gulph'.  A  skeleton  (Death),  wearing  breeches,  turning  the  windlass,  has 
drawn  up  a  bucket,  inscribed  Grey  Mud;  in  this  sits  Grey,  delightedly  saying. 
Here  I  go  Up  Up  Up;  in  the  descending  bucket  is  a  large  rose  (George  Rose), 
saying,  Here  I  go  dozen  dozen  downy. 

On  the  1.  half  of  the  plate  are  isolated  figures  and  groups,  skilfully  merged 
in  the  design.  On  the  extreme  1.  is  an  open  sentry-box,  in  which  Sheridan 
stands  asleep  with  folded  arms,  leaning  against  the  side.  He  wears 
Harlequin  dress  (cf.  No.  9916)  and  clasps  a  bottle  of  Sherry.  Grenville,  with 
gouty  legs  and  enormous  posterior,  marches  (1.  to  r.)  towards  Aloira,  who 
stands  full-face,  stiff  and  impassive,  beating  a  (broken)  drum  inscribed 
G  P  R.  The  r.  legs  of  the  two  men  are  shackled  together  by  a  hea\y  chain 
inscribed  Necessity.  Moira  says:  /  tnust  Halt.  Between  and  behind  Sheridan 
and  Grenville,  a  ragged  John  Bull,  with  empty  and  torn  pocket,  sits  on  a 
hillock,  facing  two  ragged  and  emaciated  children  who  exclaim  give  us  bread. 
He  answers :  /  have  no  Bread  to  give  you — nothing  but  a  fezu  Mushrooms. 
Meanwhile,  McMahon,  bestriding  a  small  gaping  dragon  inscribed  Privy 
Purse  [see  No.  11874]  is  stealing  from  him  a  paper  inscribed  2,000  P''  A. 
Behind  and  on  the  r.  of  McMahon  is  Canning,  kicking  along  a  golden  ball 
inscribed  Popularity.  Between  him  and  the  1.  corner  of  the  'nursery'  stands 
Wellesley  wearing  a  jewelled  turban  and  grotesque  boots  with  military 
uniform.  While  holding  up  a  banner  he  lifts  the  lid,  inscribed  Catholic 
Restrictions,  of  a  large  box  inscribed  Ireland,  from  which  flames  rise  high  into 
the  air,  terminating  in  dense  clouds  and  darts  of  lightning,  inscribed  Dreadful 
Private  Anamosites,  which  have  broken  the  tall  shaft  of  the  banner  which  is 
inscribed  Wellesley  Mahratta  War.  Frightful  creatures  emerge  from  the  box: 
a  grotesque  man  wearing  a  papal  tiara  and  holding  a  large  dagger  which  drips 
blood  is  inscribed  Superstition;  beside  him  are  serpents,  barbed  spears,  and 
a  crowned  skull.  Wellesley  stands  on  a  paper:  Liberty  of  y^  Press.  In  the 
foreground  the  Duke  of  Atholl  kneels  on  a  cushion  in  front  of  the  pavil- 
ion, proffering  a  large  disk  or  coin  with  the  three  running  legs  which 
are  the  emblem  of  the  Isle  of  Man  and  the  inscription  My  Services  a 
Manks  Half -penny.  A  long  mantle  decorated  with  Masonic  symbols  hangs 
from  his  shoulders,  partly  covering  a  bundle  inscribed  jo,ooo  Grant  to 
y'  D  of  At[holl].  He  wears  a  Scots  cap,  with  bag-wig,  breeches,  and  tartan 
stockings. 

Behind  this  1.  half  of  the  design  is  a  landscape  background  with  tiny  but 
expressive  figures.  A  road  ascends  (r.  to  1.)  past  a  rocky  mound  inscribed 
Treasury,  in  which  there  is  an  open  door.  Plunderers  are  about  to  enter,  led 
by  Eldon  holding  a  dark  lantern  and  followed  by  three  others:  Placem[an] 
resembles  McMahon,  a  Pensi[oner]  has  the  grotesque  nose  of  Curtis,  another 
wears  spectacles  which  suggest  the  Marquis  of  Buckingham.  A  fourth  walks 
off  carrying  a  sack  inscribed  Pension.  On  the  top  of  the  mound  grow  trees, 
a  weeping  willow  and  a  decayed  oak  with  a  noose  hanging  from  a  withered 
branch.  At  the  top  of  the  hill  a  coach,  the  Britannia  High  Flyer,  has  left  the 
road  and  the  four  horses  are  plunging  to  destruction  down  a  steep  craggy 
incline.  The  back  wheels  have  broken  off  and  the  guard  lies  on  the  ground 
as  if  dead,  his  blunderbuss  and  horn  beside  him.  The  disaster  is  due  to  the 
Regent,  the  coachman,  who  is  kissing  Lady  Hertford,  to  whom  he  has  given 
the  reins.  She  wears  a  crown  and  feather  as  in  her  'Nursery'.  John  Bull  (not 
named),  the  outside  passenger,  is  about  to  fall  headlong;  a  sinister  grinning 
face  looks  from  the  coach  window.    Beside  the  coach  is  a  triple  sign-post; 

"5 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

one  arm,  inscribed  R'^  to  Ruin  [cf.  No.  1 1862],  points  down  the  fatal  hill;  one, 
with  a  rope  dangling  from  it,  has  a  finger  pointing  at  the  Regent. 

A  comprehensive  satire  on  the  phases  of  the  continuous  ministerial  crisis, 
12  May  (see  No.  1 188 1)  to  8  June,  the  main  theme  being  the  political  influence 
of  Lady  Hertford,  see  No.  1 1853,  &c.  It  does  injustice  to  the  skill  with  which 
the  Regent  lured  the  Whigs  into  a  false  position  and  thus  established  Liver- 
pool in  power.  On  20  May,  after  overtures  to  Wellesley  and  Canning  which 
were  refused  on  the  ground  of  the  Catholic  claims,  though  after  Liverpool 
had  promised  liberty  of  action  on  the  question,  Liverpool  prepared  to  remain 
in  office,  appointing  Vansittart  Chancellor  of  the  Exchequer,  see  No.  11886. 
But  on  21  May  Stuart- Wo rtley  moved  an  Address  to  the  Regent,  praying  him 
to  secure  an  efficient  administration;  this  was  carried  by  a  majority  of  four 
and  Liverpool  resigned  (22  May).  The  Regent  again  turned  to  Wellesley, 
expecting  him  again  to  approach  Liverpool  on  terms  less  favourable  to  the 
latter.  But  meantime  Wellesley  had  published  his  correspondence  with 
Liverpool,  without  Liverpool's  letter  on  the  Catholic  question,  and  followed 
this  with  a  statement  on  his  resignation  (see  No.  11 846)  derogatory  to 
Perceval,  which  caused  all  Liverpool's  Ministry  to  refuse  to  serve  with  him. 
Wellesley,  to  the  Regent's  dismay,  then  turned  to  Grey  and  Grenville,  whose 
answer  was  not  un conciliatory.  But  the  Prince  then  urged  the  Liverpool 
Ministry  to  sink  their  personal  feelings  against  Wellesley.  They  declined 
(27  May),  and  the  Prince,  after  an  interval  in  which  his  exasperation  verged 
on  insanity,  renewed  his  commission  to  Wellesley  with  full  powers  to  form 
an  administration  which  was  to  include  Canning,  Erskine,  and  Moira.  Grey 
and  Grenville  refused  his  proposals,  and  Wellesley  in  the  Lords  attributed 
his  failure  to  form  a  Ministry  to  'the  most  dreadful  personal  animosities' 
(Pari.  Deb.  xxiii.  333,  3  June).  The  Prince  then  turned  to  Moira  who 
approached  Grey  and  Grenville.  This  negotiation  broke  down  over  the 
question  of  the  resignation  of  the  Household,  i.e.  of  Hertford,  the  Lord 
Chamberlain  and  Yarmouth,  the  Vice-Chamberlain,  which  they  insisted  on. 
Sheridan's  conduct  on  this  occasion  has  been  regarded  as  a  blot  on  his  career, 
hence  probably  his  position  in  the  print,  see  No.  11890.  Moira  then  ap- 
proached Wellesley,  Canning,  Erskine,  Whitbread,  and  the  Duke  of  Norfolk, 
but  was  not  encouraged  by  the  Regent,  grew  disheartened,  and  laid  down 
his  commission  on  8  June,  when  the  Regent  fell  back  with  relief  on  Liverpool. 
Canning,  who  would  have  been  in  Wellesley's  Cabinet,  refused  office  under 
Liverpool.  See  Aspinall,  'The  Canningite  Party',  Trans,  of  the  Royal  Hist. 
Soc,  1934,  p.  189  f.  On  Perceval's  death  Rose  resumed  the  office  of 
Treasurer  of  the  Navy  which  he  had  resigned  shortly  before.  The  Duke  of 
Atholl  in  a  speech  on  5  June,  deploring  that  'personal  animosities'  should 
have  influenced  politics,  professed  his  willingness  to  join  any  competent 
Ministry  appointed  by  the  Regent.  Pari.  Deb.  xxiii.  348  f.  The  Sovereignty 
of  the  Isle  of  Man  had  been  inherited  by  his  mother  in  1764  from  the  Stanley 
family.  This  she  and  her  husband  sold  in  1765  to  the  Government  for 
5^70,000  and  an  annuity  of  ^^2,000  for  their  joint  lives,  reserving  manorial 
rights  and  landed  interest.  The  fourth  Duke  (here  depicted)  in  1805  (on  a 
third  petition)  obtained  after  much  opposition  a  quarter  of  the  customs  of 
the  island  for  himself  and  his  heirs ;  this  he  subsequently  resigned  for  ;^409,ooo. 
G.E.C.,  Complete  Peerage.  For  the  ministerial  crisis  of  May-June  see  Ann. 
Reg.,  1812,  pp.  129-31 ;  Roberts,  The  Whig  Party,  i8oy-i8i2, 1939,  pp.  382- 
4.05;  Letters  of  George  IV,  1938,  i.  70-119;  Wellington,  Supplementary 
Dispatches,  vii.  257  ff.  It  was  remarkable  for  the  publicity  given  to  the 
negotiations  by  the  publication  of  papers  and  by  debates  in  Parliament,  see 
Pari.  Deb.  xxiii.  23 1  ff'.  and  Appendix  i.   An  anticipation  of  many  prints  (in 

116 


POLITICAL   SATIRES    l8l2 


1820,  &c.)  of  George  as  an  infant  (cf.  No.  12066).  See  also  Nos.  1 1886,  1 1887, 
1 1889,  1 1890.    For  the  two  buckets  cf.  No.  11876. 

The  'Hertford  Nursery'  section  of  the  pi.,  altered,  was  reissued  in  1821 
as  Things  as  they  are  in  February  182 1  (Reid,  No.  970;  Cohn,  No.  2030). 

Reid,  No.  163.   Cohn,  No.  732. 


7^X181 


in. 


11889  MINISTERIAL  RACES. 

[Williams.] 

PuM  July  i^'  1812  for  the  Proprietors  of  Town  Talk. 

Engraving  (coloured  impression).  PI.  to  Tozvn  Talk,  ii.  437.'  Five  horses 
with  human  heads,  ridden  by  jockeys,  race  for  the  half-open  door  of  the 
Treasury  (1.),  across  a  wide  cobbled  pavement.  The  Regent  and  Lady  Hert- 
ford with  Lord  Hertford  standing  behind  holding  his  Lord  Chamberlain's 
wand,  stand  on  the  pavement  (1.)  watching  the  finish.  The  winning  horse, 
Liverpool,  is  a  piebald,  with  an  earl's  coronet  round  his  neck,  and  branded  H. 
Next  is  Wellesley,  a  marquis's  coronet  round  his  neck,  ridden  by  a  jockey  in 
oriental  dress  with  a  jewelled  turban,  who  looks  over  his  shoulder,  saying: 
Come  Grey  push  on  you  II  let  Pye  Ball  win  else.  Next  is  Moira,  a  blue  ribbon 
round  his  neck  representing  the  Garter  granted  on  12  June  (which  he  had 
refused  on  28  Feb.,  see  Corr.  of  George  IV,  i.  29,  34-5),  close  behind  is  Grey; 
last  is  Grenville.  Lady  Hertford,  as  umpire,  exclaims:  Bravo  Pye  Ball  you 
have  fairly  won.  Lord  Hertford  cries:  Huzza  Pye  Ball  for  ever.  The  Regent 
turns  to  a  stout  John  Bull,  to  say :  Come  Johny  out  with  your  Cash  your  favorite 
has  lost  you  see.  John  puts  out  a  protesting  hand,  saying.  No  No  D — e  if  I  do! 
Pm  off,  why  its  a  proper  cross  and  Jostle  I  d'ont  like  the  Umpire  neither.  John 
wears  a  top-hat  and  top-boots,  his  pockets  bulge  with  money-bags,  and  he 
holds  a  cudgel.  In  the  roadway  is  a  cob  or  pony  with  the  face  of  Sheridan, 
branded  P  R,  ridden  by  the  stout  Yarmouth,  from  whose  pocket  projects  a 
paper:  The  Milling  Hero  a  Poem,  see  No.  11 746,  &c.;  he  is  too  large  for  his 
mount,  and  says :  Softly!  Softly!  poor  Old  Sherry,  Oh  my  poor  bones  are  in 

danger!   The  animal  kicks,  saying:  It's  a  d — d  dirty  Job  to  carry  such  a 

but  as  I  carried  your  Master  [the  Regent]  through  before  you  holdfast  and  I'll 
take  you  to  the  end.  In  the  foreground  (r.)  a  man  stands  full-face,  shouting; 
he  holds  a  tall  pole  on  which  is  a  placard : 

The  Treasury  Sweepstakes  for  high-bred  Hunters 

4  Heats 

The  M-ch-ss  of  H — s  Pyebald  Colt  Liverpool  - 
lohn  Bulls  favorite  ch .  f.  Moira  ----- 
The  Fox  Clubs  b.f- 


I 

dr 

dr 

I 

dr 

2 

I 

3 

4 

3 

2 

dr 

3 

I 

3 

2 

2 

4 

4 

4 

-  Grey-     -     -     -      - 
The  East-India  Company's  Oriental  filly  Wellesly 
The  well  known  Pit  [Pitt]  bred  horse  Grenville 

This  match  teas  very  hardly  contested,  the  Jockey  Club 

decided  that  the  first  heat  was  unfairly  won,  and  the 

last  it  is  supposed  will  be  subject  to  a  similar  decree ; 

but  the  P —  R —  to  whom  the  decision  of  the  Club  was 

referrd  overruled  the  first  objection.    Bets  at  starting 

2  to  I  on  Moira;  and  at  the  commencement  of  the  third 

heat  2  to  I  on  Moira  against  the  field 

'  The  impression  described  is  not  folded,  showing  that  it  was  issued  separately. 

117 


I 

3 

3 

I 

3 

I 

2 

3 

2 

2 

I 

2 

CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

Same  Day 
The  Exchequer  plate  for  Colts  half  bred 
The  Earl  of  LiverpooVs  black  Colt  Vansittart 
Marquis  of  Wellesleys  gr  C.  Grant 
Earl  Moira's  ch.  C  Huchisson 

This  Race  like  the  preceeding  one  has  excited  much 
difference  of  opinion  amongst  the  members  of  the  Club. 

N.B  A  match  will  be  made  before  the  Club  breaks  up  between  the  R s  old 

Hack  and  any  Noted  Horse  that  may  be  chosen  to  start  against  him,  the  Hack 
will  carry  double  and  any  bet  staked  on  his  winning 

Mac  Sycophant  [McMahon]  Sect^. 

Beside  this  notice  are  betting  men.  Three  say:  How  pye  Ball  dashes  in,  he 
has  jockey' d  them  there  he  goes! ;  Da — me  Johny  seems  in  a  Passion ;  Aye  he  's 
[word  scored  through]  Humbugged!  The  other  spectators:  Why  the  knowing 
ones  are  taken  in;  disKd  by  Jupiter  [the  Prince],  and,  /  rather  think  they  are 
dish'd  by  Juno,  she  seems  to  be  umpire.  In  the  background  are  other  specta- 
tors, on  foot,  on  horseback,  and  in  a  coach. 

For  the  ministerial  crisis  see  No.  11888,  &c.  As  ahvays,  Lady  Hertford  is 
alleged  to  control  the  Prince.  The  heats  for  the  Treasury  stakes  correspond 
to  the  men  entrusted  by  the  Regent  with  the  task  of  forming  a  Ministry: 
Liverpool,  dislodged  by  the  vote  of  the  House,  Wellesley,  and  Moira.  Grey 
was  not  approached  by  the  Prince,  and  Grenville  was  second  to  Grey  in  the 
negotiations.  On  the  reinstatement  of  Liverpool  (8  June),  Stuart-Wortley 
again,  but  unsuccessfully,  moved  (11  June)  for  an  Address  to  the  Regent  for 
'such  an  Administration  as  may  be  entitled  to  the  support  of  the  nation'. 
Pari.  Deb.  xxiii.  397-465. 

The  second  race  is  for  the  Chancellorship  of  the  Exchequer;  Liverpool 
had  appointed  Vansittart  on  20  May,  just  before  his  resignation,  see  No.  1 1886. 
Wellesley's  Chancellor  would  have  been  Huskisson  (if  Canning  had  refused); 
or  Lord  Hutchinson,  see  No.  1 1916,  a  friend  of  the  Regent,  may  be  intended. 
Charles  Grant,  also  a  Canningite,  afterwards  Lord  Glenelg,  became  a  Lord 
of  the  Treasury  in  181 3.  The  relations  between  Sheridan  and  Yarmouth 
relate  to  the  Household  question,  see  No.  11890,  &c.  For  the  race-theme 
cf.  No.  1 1906. 
9ieXi5f  in. 

11890  WHIG    PATRIOTISM,    OR    THE    STRUGGLE    FOR    THE 
KITCHEN  STUFF.     1812 

[?The  Caricaturist  General] 

Pu¥  July  i'^  1812 

Aquatint  (coloured  impression).  PI.  from  the  Satirist,  xi,  frontispiece.  The 
Regent,  wearing  feathered  hat,  Garter  robes,  with  the  collar  and  George, 
stands  in  a  kitchen  between  a  tub  of  Kitchen  Stuff  (r.)  and  Grenville  and 
Grey  (1.),  behind  whom  are  their  followers,  a  crowd  of  aspirants  for  office, 
seen  through  a  doorway,  those  behind  armed  with  mops  and  brooms.  Grey 
asks  eagerly :  But  shall  we  have  all  the  Kitchen  stuff?  Grenville :  Ay  all  the 
Kitchen  stuff?  The  Regent  points  to  the  tub :  Take  every  dab  of  it,  if  that  will 
do  you  any  good.  Behind  him  stands  Moira,  in  uniform,  saying.  Your  honour 
shall  not  part  with  a  single  pennyworth  of  it.  There  are  four  maid-servants 
wearing  mob-caps.  Liverpool,  as  head  cook,  stoops  over  the  tub,  from  which 
he  has  taken  a  candle-end,  putting  a  hand  on  the  shoulder  of  Lord  Eldon  (in 
wig  and  gown)  who  is  groping  in  the  tub.  Two  maids  stir  a  pot  on  the  fire, 
one  using  a  (short)  gold  stick,  the  other  the  long  wand  of  the  Lord  Chamber- 

118 


POLITICAL   SATIRES    l8l2 

lain,  showing  that  they  are  Cholmondeley  the  Lord  Steward,  and  Hertford. 
Sheridan,  as  Harlequin  (cf.  No.  9916)  embraces  a  maid  with  a  mop  (Yar- 
mouth), saying,  Take  the  advice  of  an  old  friend  and  don't  throw  away  Your 
mop  in  a  hurry.   Rats  scamper  towards  the  tub. 

A  satire  on  the  question  of  the  officials  of  the  Household  on  which, 
ostensibly,  the  negotiations  of  IVIoira  with  Grey  and  Grenville  broke  down, 
see  No.  11888.  It  illustrates  indirectly  'High  Life  below  Stairs  .  .  .',  Scourge, 
xi.  36-46,  and  is  explained  in  the  issue  for  August  (p.  84  f.).  In  the  debate 
(11  June)  on  the  negotiations  Yarmouth  stated  that  he  and  other  members 
of  the  Household  had  determined  to  resign  if  the  Whigs  came  in,  and  that 
he  had  so  informed  Sheridan.  Tiemey  then  said  that  Sheridan  had  denied 
that  the  Household  was  to  retire ;  for  this  Sheridan  was  violently  attacked  in 
the  Morning  Chronicle,  and  Fuller  concluded  that  what  Grey  and  Grenville 
wanted  was  patronage.  JMoira,  according  to  Canning,  had  insisted  that  the 
Regent,  despite  his  willingness,  should  not  part  with  the  Household;  to  do 
so  would  be  to  give  way  to  'those  calumnies  which  were  so  much  in  the  minds 
of  men'  (the  secret  influence  of  the  Hertfords).  The  Prince  and  Moira,  fearing 
apparently  that  Sheridan  would  reveal  that  there  was  no  real  intention  of 
accepting  Grey  and  Grenville,  tried  to  stop  him  from  making  a  declaration 
in  Parliament.  He  spoke,  however,  but  failed  to  convince.  Corr.  of  George  IV, 
1938,  i.  116  f.;  Pari.  Deb.  xxiii.  423  ff.,  552-9,  606  ff.  He  is  here  called  'a  sly, 
droll,  clever  and  patriotic  fellow'.  Moore  regards  this  as  the  only  indefensible 
episode  in  his  public  life.  Life  of  Sheridan,  ii.  426.  See  M.  Roberts,  The 
Whig  Party,  i8oy-i8i2,  1939,  pp.  395-405,  where  he  is  convincingly 
defended.  See  also  Nos.  11889,  11891.  Cf.  No.  13208,  &:c. 
6fxi3|in. 

1 1 891  WORKING  OVER  THE  FLATS  IN  TROUBLE'D  WATER.   152 

[Elmes.] 

July  I"  18 1 2   Pu¥  by—Tho'  Tegg  iii  Cheapside 

Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  Sheridan,  in  Harlequin  dress  (cf.  No. 
9916),  rows  an  open  boat,  over  which  large  waves  are  breaking,  towards  a 
rock  on  the  horizon  inscribed  Cape  Clear.  The  others  in  the  boat  are  (1.  to  r.) 
Moira,  in  the  bows,  Yarmouth  pumping  hard,  the  Regent,  McMahon,  and 
Lady  Hertford  who  steers  with  an  oar.  Her  identity  is  made  unmistakable 
by  a  scarf  streaming  from  her  decolletee  dress,  inscribed  Manchester  Stuff 
[of.  No.  1 1 878].  She  says:  Pull  away  Sherry — 77/  steer  you — into — Blanket 
Bay.  Next  her  sits  the  Prince,  vomiting,  his  head  held  by  McMahon,  who 
says.  This  is  Sorry — Work  indeed.  His  hat,  trimmed  with  his  feathers  and 
motto,  Ich  Dien,  flies  from  his  head,  puffed  by  blasts  from  three  winged 
(portrait)  heads,  two  perhaps  intended  for  Burdett  and  Whitbread.  Sheridan 
says  to  Yarmouth:  Pump  a  way  My  Noble  dont  Flinch.  Moira  bestrides  the 
bows  of  the  boat  clasping  the  flag-staflF  from  which  flies  a  Union  Jack;  he 
says :  77/  keep  a  good  look-out  a  head  for  My  Honoi^rs  sake.  Three  other  winds 
(unrecognizable),  inscribed  Mother  Careys  Chickens,  blow  against  him  (cf. 
No.  11050).  On  the  horizon,  surrounded  with  breakers,  are  buildings:  (1.) 
Yarmouth  Peer,  and  (r.)  above  Lady  Hertford,  Cuckolds-point,  surmounted 
by  a  head  with  wide-spreading  horns. 

A  satire  on  the  Household  question,  and  on  the  parts  played  by  Sheridan 
and  Moira,  see  No.  11890.    For  the  'secret  influence'  of  Lady  Hertford  see 
No.  11853. 
8f  X  i2|  in. 

119 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11892  THE   LANCASTER  CALEB    QUOTEM,   i.e.    JACK  OF  ALL 
TRADES.  170 

[Williams.] 

Pu¥  July,  1812,  by  Tho'  Tegg,  iii  Cheapside 

Engraving  (coloured  impression).  After  the  title:  Vide  S^  Francis  Burdetts 
speech.  A  design  in  six  compartments,  arranged  in  two  rows;  in  each  the  same 
person,  Higgins,  Governor  of  Lancaster  jail,  is  depicted  in  a  different  occupa- 
tion, [i]  A  Jailor.  He  stands  in  a  prison  yard,  holding  keys,  addressing  a 
wretched  prisoner;  he  points  to  an  open  door,  saying:  You  wont  be  physic' d 
by  my  Son,  eh  you  rascall?  then  you  shall  go  into  the  black  hole  till  you  will. 
In  the  background  is  a  prisoner  looking  from  a  barred  window.  [2]  A  Gardiner. 
He  holds  a  flower-pot,  and  turns  to  address  a  lady,  who  says :  /  did  not  know 
you  was  a  gardener  M^  Higginbottom.  He  answers:  O  yes  Fts  [sic]  all  in  my 
way  of  business  Maani  I  exports  Natives  and  imports  Exotics  from  Botany  Bay. 
[3]  A  Manufacturer .  He  addresses  a  starved-looking  man  seated  at  a  loom, 
and  holds  a  large  roll  of  cloth  under  his  arm.  He  says:  You  Idle  scoundrel  is 
that  all  you  have  made  to  day.  I  'II  discharge  you  depend  on  it.  The  man  answers : 
Indeed  Sir  I  have  been  hard  at  it  for  eighteen  hours.  Large  rolls  of  cloth  are 
piled  on  a  table  under  a  wide  window.  Through  a  doorway  is  seen  the  back 
of  another  weaver  at  his  loom.  [4]  A  Farmer.  He  stands  in  a  corn-field, 
wearing  a  smock  and  gaiters,  and  holding  a  pitchfork.  He  addresses  two 
labourers  holding  sickles :  /  think  I  should  know  you!  didn't  you  belo?ig  to  my 
Sheep  walk  once.  One  answers  with  a  grin:  to  be  sur  I  did  Governor  and  took 
a  little  bit  of  an  Oath  for  you.  [He  seems  to  imply  that  he  has  given  (perjured) 
evidence  in  a  sheep-stealing  case].  [5]  An  Alderman.  He  sits  in  an  arm-chair, 
wearing  a  furred  gown,  addressing  a  trembling  yokel :  How  dare  you  contradict 
an  Alderman  do  you  know  I  can  send  you  to  Quod  for  that.  The  man  answers : 
Na  I  did  not  indeed  your  Worship!  but  you  shall  always  have  it  your  own  way 
in  future.  Fetters  hang  on  the  wall  behind  the  alderman's  head,  labelled : 
I.  10.  o  [twice]  and  £2.  o.  o.  [a  smaller  set].  A  key  is  on  the  table  beside 
him,  and  prison  buildings  are  seen  through  a  window.  [6]  A  Captain.  He 
stands  arrogantly,  wearing  cocked  hat  and  gorget,  pointing  with  his  sword 
and  saying:  You  sir  ther  with  the  carotty  wishers! !  I  see  you  sneering  at  me. 
don't  you  know  Ftn  your  Captain  and  can  put  you  in  irons.  Three  ladies  watch 
him  with  mocking  disapproval ;  one  says :  Captain  forsooth!  these  fellows  will 
make  the  word  Captain  Odious. 

On  3  July  Burdett  moved  for  a  commission  of  inquiry  into  the  state  of 
Lancaster  jail,  because  of  complaints  whose  truth  he  could  not  guarantee. 
His  own  charges  against  the  jailor  Higgins  were  that  he  had  one  son  acting 
as  his  deputy,  another  as  an  attorney,  a  third  as  'a  sort  of  assistant  surgeon 
to  the  prisoners',  and  that  he  had  a  hot-house,  in  which  he  employed  one 
of  the  turnkeys.  Wilbraham  Bootle  answered,  saying  he  had  often  inspected 
the  gaol;  that  he  had  seen  no  hot-house;  the  gaoler  was  called  a  gardener 
because  he  had  a  small  garden,  and  a  manufacturer,  because,  for  the  benefit 
of  the  county,  he  employed  the  persons  condemned  to  hard  labour.  Burdett 
withdrew  his  motion.  Pari.  Deb.  xxiii.  895-904.  For  Caleb  Quotem,  parish 
clerk  and  Jack  of  all  trades,  cf.  No.  10674. 
8f  X  i2|  in.   Each  design,  c.  45X4!  in. 

11893  A  MIDSUMMER  NIGHTS  DREAM. 
[Williams.] 

Pub'' for  the  Proprietors  of  Town  Talk  August  i''  1812. 
Engraving  (coloured  impression).   PI.  from  Town  Talk,  iii.  i.   The  Regent 

120 


POLITICAL   SATIRES    l8l2 

lies  with  closed  eyes,  registering  horror,  in  a  magnificent  canopied  bed.  A 
mountainous  lady  (Lady  Hertford),  beside  him,  raises  herself  to  address  him. 
The  characters  of  his  dream  approach  from  the  r.,  headed  by  the  ghost  of 
Fox.   The  Prince: 

Oh!  I  have  had  a  miserable  dream 
So  full  of  ghastly  forms  and  nameless  horro's! 
Methought  strange  phantoms,  unsubstantial  shapes 
Glided  along  ;  while  in  my  palsied  ear,  piercing  as  death 
"A  voice  cryd  "sleep  no  more'' 

Lady  Hertford :  My  life,  my  love,  let  not  a  dream  disturb  you,  come  to  my  arms 
and  give  your  thoughts  to  pleasure." 

Fox,  ver}'  solid  in  his  accustomed  dress  but  with  a  sheet  over  his  head, 
stands  in  profile  to  the  1.,  with  outstretched  arms,  exclaiming:  IVher  is  the 
early  promise  of  thy  of  thy  [sic]  greatness?  hast  thou  forgotten  Me?  He  is  followed 
by  an  emaciated  and  ragged  Britannia,  with  broken  spear  and  shield.  She 
says:  /  once  believed  thee  faithf nil .  Nozv  a  victim  to  famine,  poverty,  and  woe, 
I  fall  unpitied  by  thee.  Beside  her  walks  her  lion,  also  emaciated  and  shedding 
tears.  Next  comes  Erin  holding  up  a  broken  Irish  harp.  She  says:  /  also  was 
credulous,  and  I  also  was  desieved,  my  shamrock  is  withered  and  my  harp  broken 
and  unstrung.  She  is  followed  by  the  Princess  of  Wales,  slim  and  elegant, 
wearing  a  small  broken  crown  and  holding  an  open  book :  A  Delicate  Investiga- 
tion. She  says:  Can  Slumber  sit  on  that  brow  which  ought  to  be  wrinkled  by 
agony  "canst  thou  sleep  undaunted  by  the  threating forms  zchich  croud  thy  pillow. 
The  procession  ends  by  two  burly  rough-looking  constables  holding  on  their 
backs  large  sacks  labelled  Informations.  One  says:  Here  are  heaps  of  treasons, 
plots  conspiracies  atid  every  description  of  tnischief,  brewing  in  in  [sic]  various 
counties,  every  line  smells  of  Gunpowder.  The  other:  /  have  got  a  rare  load  too 
and  seized  a  great  rnatiy  pop  guns.  Beside  the  procession,  as  if  guiding  it, 
walks  a  woman  in  classical  draperies  with  a  serpent  coiled  round  her  body. 
She  holds  towards  the  Regent  a  scourge  whose  lashes  are  writhing  serpents; 
in  her  other  hand  is  the  staff  of  a  (torn)  banner,  also  surmounted  by  serpents; 
it  is  inscribed :  Hand  zvrit[ing]  on  the  zvall — Balthazzar  [sic]  Mene  Mene 
Tekel  .  .  .  Har  .  .  .  Daniel — [cf.  No.  10072,  &:c.]  Awake  and  banish  sleep.  She 
says:  Come  on  my  friends  follow  your  leader  Conscience  and  let  us  try  the  temper 
of  his  soul. 

The  canopy  of  the  bed  is  decorated  with  the  Royal  Arms  and  the  Prince's 
feathers.  Two  T.Q.L.  portraits  are  on  the  wall,  one  (1.)  of  W^  Duke  of 
Cumberland  in  uniform  (erroneously  coloured  blue)  and  holding  a  baton ;  the 
other  of  A  Wise  Man  of  Gotham,  with  face  obscured  but  clearly  the  Regent. 
On  a  table  by  the  bed  are  two  pistols,  a  guttering  candle,  pill-boxes,  one 
inscribed  Tonic  Pills,  and  bottles  labelled  Catitharides  and  Oblivion  Water. 
Papers  hang  from  the  table-drawer:  My  dear  [Pr]ince  and  dear.  Into  a 
chamber-pot  are  crammed  a  book:  Youngs  Sight  Thoughts  and  a  torn  paper: 
Reform.  Other  books  on  the  ground  are  Seneca  Mor  .  .  .,  a  Bible  with  torn 
pages  headed  Kings;  Ovids  Metamorphoses  \  The  [Fall]  of  Phaeton  [cf.  No. 
7335],  with  a  rolled  document:  Bill  of  Fare.  On  a  chair  with  the  Regent's 
coat  is  another  book  [Roche]sters  Wors  [sic].  On  a  high  chimney-piece, 
besides  a  bottle,  are  two  goats  butting  at  a  terminal  figure  of  a  satyr. 

One  of  many  satires  in  which  the  Prince's  devotion  to  Lady  Hertford  is 
associated  with  desertion  of  the  Whigs,  see  No.  11853,  &c.  He  is  accused 
especially  of  denying  Ireland  Catholic  Emancipation,  cf.  No.  11 869,  a  less 
usual  reproach.  The  sacks  of  'Informations'  connote  Informations  ex  officio 
by  the  Attorney-General  in  libel  cases,  see  No.  11717,  &c.,  as  well  as  civil 

121 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

disturbances,  cf.  No.  11897.  Britannia's  sad  state  connotes  the  distress  due 
to  dearth  and  industrial  difficuhies,  often  attributed  to  the  Orders  in  Council, 
see  No.  11876,  &c.  The  Whigs  had  already  begun  to  support  the  Princess 
of  Wales  as  a  means  of  attacking  the  Prince,  see  No.  11864;  for  the  'Delicate 
Investigation'  (of  1806)  see  No.  11990,  &c.  Cf.  No.  9381,  &c.,  where  the 
Prince's  great-uncle,  the  Duke  of  Cumberland,  warns  him  of  the  effects  of 
drink  and  debauchery. 
9i|xi52  in. 

11894  TYPE    OF    THE    NEW    SERIES    OF    THE    SATIRIST.     1 
1ST  AUGUST  1812. 

Satirist,  inv*  W.  H.  Ekoorb  [Brooke]  del'  et  aq"^  jorV  fecit. 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xi.  79.  A  coach-and- 
four  symbolizing  the  magazine  is  driven  r.  to  1.  at  a  gallop,  the  horses 
trampling  on  a  woman  with  snaky  locks,  symbolizing  Vice,  who  has  dropped 
her  sword.  The  driver,  dressed  as  a  fashionable  amateur  whip,  see  No. 
1 1700,  &c.,  flicks  his  heavy  lash  over  a  (departing)  gaggle  of  geese  represent- 
ing Folly;  the  lash  encircles  the  neck  of  one,  another  dives  into  a  pond.  Three 
asses  (1.)  draw  back  in  alarm  at  the  sight  of  the  coach.  The  four  spirited 
horses  (in  the  centre  of  the  design)  are  lit  by  rays  from  a  sun  inscribed  New 
Era  [cf.  No.  11866].  The  rays  impinge  on  heavy  clouds  to  1.  and  r.  On 
the  1.  is  an  incantation  scene,  three  witches  over  a  cauldron,  with  nude  men 
and  winged  creatures  in  the  air.  They  are  miscreants  trying  to  provoke 
discord  and  'eclipse  the  glories  of  Britain'.  On  the  r.  thunderbolts  strike  a 
group  of  gibbets  on  a  hill  from  which  hang  corpses,  the  remains  of  those 
previously  pilloried  in  the  'Satirist'.  In  the  foreground  a  snake  emerges  from 
flowers  to  hiss  at  the  coach. 

In  the  coach  is  a  pleasant  group,  John  Bull  and  his  family;  a  man  facing 
the  horses,  a  lady  opposite  him,  and  two  children  looking  from  the  window. 
The  words  The  \  Satirist  \  New  Series  |  A^"  7  on  the  door  are  bordered  by 
pens  and  surmounted  by  a  jester's  head,  birch-rod,  and  scourge;  also  the 
letters  S  N  S  and  crossed  pens,  encircled  by  a  laurel  wreath  and  by  a  snake. 
A  guard  sits  behind  blowing  a  horn. 

The  pi.  symbolizes  the  Satirist  under  new  management:  the  driver  is 
presumably  the  new  editor,  William  Jerdan ;  the  horses  are  'his  kind  literary 
friends  who  have  promised  him  their  support',  p.  83.  Jerdan  bought  the 
Satirist  from  Manners  in  1812  and  began  'a  new  series,  divested  of  the 
personalities  and  rancour  of  the  old'.  Autob.,  1852,  i.  108. 
^igX  I3ig  in.   With  border,  7|x  14^  in. 

11895  THE  GHOST  OF  PITT!!  SAID  TO  APPEAR  FREQUENTLY 
IN  DOWNING  ST  WESTMINSTER— 

G  Cruikshank  fee' 

Pub^  by  J  Fairburn — Broadway —  [c.  Aug.  1812]^ 

Engraving.  Frontispiece  from  Resurrection  of  Pitt!!  An  Account  of  the 
Appearance  of  a  Mysterious  Figure,  solemnly  asserted  by  Francis  Murray,  of 
Lambeth,  to  be  .  .  .  William  Pitt,  ...  A  grotesque  travesty  of  Pitt  stands  (1.) 
among  clouds  or  smoke.  His  breeches  are  continued  as  a  kind  of  braces;  his 
spurred  top-boots  have  curved  and  elongated  toes.  In  one  hand  is  a  riding- 
switch,  in  the  other  his  hat.  He  says:  List!  Oh  List!!  In  the  smoke  behind 
him  is  the  head  of  a  demon,  saying,  ha  ha  ha.    Facing  him  is  Whitbread 

'  Or  18 1 3,  when  the  affair  was  again  much  in  the  news. 

122 


POLITICAL   SATIRES    l8l2 

seated  on  a  large  cask  of  Whitbread's  Intire  [cf.  No.  10241],  with  beer  gushing 
from  its  tap.  He  writes,  with  his  1.  hand,  on  a  paper  held  at  arm's  length: 
iVf  Murr[ay]  .  .  .  Pitt  ....  Pitt  Pitt  Toes  .  .  .Sam[uel .  .  .  .]  and  says :  It  is  not 
M^  Pitt — He  is  thin  &  wears  Leather  Breeches  &  in  these  circumstances  alone 
resembles  AP  Pitt — His  features  are  not  like  AP  Pitt  his  Complexion  is  not  like 
M''  Pitt  his  Hair  is  not  like  AP  Pitt — his  Limbs  are  not  like  AP  Pitt — his  Feet 
are  not  like  AP  Pitt — &  he  is  not  so  tall  as  AP  Pitt — Upon  my  Oath  he  is  not 
Af  Pitt.  A  fat  ugly  man,  Murray,  stands  behind  the  cask  (r.)  screaming: 
But  I  say  'tis  M'"  Pitt  Pll  be  d — d  if  it  is-n't.  Two  women  in  the  background 
talk  together.  One  says :  I  never  read  of  a  Ghost  appearing  in  Leather  Breeches. 
The  other:  It  would  be  very  immodest  of  the  Heaven  born  Minister  if  he  appeared 
without  Breeches. 

One  Francis  Murray,  who  was  owed  money  for  expenses  in  watching 
French  emigres  which  on  Pitt's  death  he  lost  hope  of  recovering,  mistook  a 
Mr.  Chapman  for  Pitt,  and  threatened,  dunned,  and  terrified  him.  Chapman 
appealed  to  W'hitbread  who  denied  on  oath  that  Pitt  was  alive,  and  wrote  the 
letter  quoted  above.  See  Examiner,  1813,  pp.  561-4.  The  matter  did  not  rest 
there,  see  No.  12084.   ^f.  No.  12452. 

Reid,  No.  167.    Cohn,  No.  690. 
8|xi3iin. 

11896  THE  BEAR  THE  BULL  DOG  AND  THE  MONKEY. 

[?  Heath.    Pub.  Plolland  24  Aug.  1812.] 

Reproduction,  Broadley,  i.  311.  Napoleon,  an  ape  from  the  waist  down  as 
in  No.  10775,  ^s  g^ipp^^  t'y  the  Russian  bear  and  savaged  by  the  British  bull- 
dog. The  bear  holds  Napoleon's  arms  and  bites  his  cocked  hat.  The  attack 
has  only  just  begun,  but  Napoleon  is  clearly  helpless.  On  the  ground  beside 
him  is  a  paper:  French  Policy  \  Fraud  Cruelty  \  &  Plunder.   Below  the  title: 

Dame  Mischief  may  say,  Spare  my  Monkey,  good  Sirs, 

And  Pll  tell  you  what  's  best  to  be  done — 
The  Villain  delights  in  such  mischievous  stirs 

That  'tis  wisest  to  stop  all  his  Fun. 
So  Bruin  and  Growler,  each  play  your  part. 

And  worry  this  troublesome  blade, 
Then  Peace  shall  again  delight  ev'ry  Heart, 

And  the  rogue  zcill  be  robbed  of  his  Trade 

The  first  print  on  the  invasion  of  Russia.  On  23  June  Napoleon's  Grand 
Army  began  the  passage  of  the  Niemen,  without  a  declaration  of  war  but  after 
a  proclamation:  'Soldiers! — The  second  war  of  Poland  has  commenced.  .  .  . 
[Russia]  offers  us  the  alternative  of  dishonour  or  war  .  .  .  the  peace  which  we 
shall  conclude  will  be  its  own  guarantee,  and  will  put  an  end  to  that  fatal 
influence  which  Russia  has  for  fifty  years  exercised  in  the  affairs  of  Europe.  .  .  . 
June  22,  1812.  Napoleon.'  Examiner,  19  July;  Corr.  de  Napoleon  i'^,  xxiii. 
528  f.  On  18  July  treaties  of  peace  were  signed  between  England  and  Sweden, 
and  England  and  Russia  (ratified  by  Alexander  on  i  Aug.),  at  Orebro,  which 
prepared  the  way  for  military  co-operation.  Webster,  Foreign  Policy  of  Castle- 
reagh,  i.  95-101.  On  22  Aug.  a  dispatch  from  Admiral  Martin  was  published 
in  the  Gazette  on  the  assistance  given  by  British  naval  forces  in  the  defence 
of  Riga.   See  No.  11917,  &c.,  13485.    Cf.  No.  11738. 

Broadley,  i.  313.  Reproduced  (without  verses),  Klingender,  Russia — 
Britain's  Allv,  1943,  p.  18.  A  copy  (ro^x8Jin.),  pub.  McCieary,  is  De 
Vinck,  No.  9602.  B.M.L.,  K.T.C.  37.  a.  13. 

123 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11897  THE  OPENING  OF  PANDORA'S  BOX 

[Williams.] 

Published  for  the  Proprietors  of  Town  Talk  Sepf  i^^  1812 

Engraving  (coloured  impression).  PI.  from  Town  Talk,  iii.  85.  The  'box' 
stands  in  a  lofty  panelled  room.  It  is  a  pavilion  with  folding  doors  which  are 
opened  (1.)  by  the  Regent  as  Epimetheus,  and  (r.)  by  Lady  Hertford  as 
Pandora.  Within  the  doors  are  festooned  curtains,  which  these  two  hold  back 
to  allow  the  occupants  to  walk  out;  the  majority  have  done  so.  Lady  Hertford 
says:  '^^  Heaven  endued  me  with  the  powers  of  pleasing  thee  Epimetheus  ;  and  now 
let  us  give  loose  to  our  love  and  rejoice  that  we  possess  the  power  and  the  privelige 
to  make  the  world  fear  and  remember  us."  The  Prince:  O  Pandora!  I  almost 
repent  this  fatal  curiosity.  See  what  a  number  of  plagues  we  have  let  loose  upon 
the  world,  the  sufferings  we  have  entailed  on  mankind  by  this  step,  will  induce 
them  to  brand  us  with  everlasting  curses.  Against  the  wall  of  the  room  John 
Bull,  a  stout  citizen,  stands  on  a  chair;  he  raises  his  arms,  exclaiming,  Oh 
Jupiter,  Jupiter!  why  did'st  thou  give  the  power  of  opening  that  d — d  box  to  any 
who  had  not  sence  enough  to  keep  it  shut.  I  look' d for  happiness  but  now  my  days 
are  shortened  and  my  grey  hairs  will  come  with  sorrow  to  the  Grave,  alas  poor 
Bull.  In  his  pocket  is  an  Essay  on  Patience. 

Within  the  box,  the  last  (according  to  the  legend)  to  leave  it  is  Hope  with 
her  anchor;  she  kneels  on  one  knee,  addressing  Princess  Charlotte  (1.)  who 
stands  in  the  foreground,  near  her  father:  Lovely  Princess  the  afflicted  world 
looks  to  thee  for  help  and  Happiness!  Princess  Charlotte  soliloquizes,  with 
clasped  hands:  Alas,  Hope  alone  remains  to  the  world,  and  she  directs  her 
imploring  eye  to  me,  had  I  but  the  power  how  quickly  would  I  heal  the  wounds 
made  by  those  fiends  of  darkness,  and  restore  to  men  Liberty  and  Peace.  In  the 
centre  foreground  Sheridan  has  collapsed,  but  is  dragged  along  by  a  naked 
Silenus  (Drunkenness),  who  drinks  from  a  bottle.  Beside  Sheridan  is  a  broken 
wine-bottle,  in  his  pocket  is  a  paper:  Share  of  New  Dr[uryy,  he  extends  an 
imploring  arm  to  the  Regent.  The  other  figures  proceed  from  the  box  and 
from  1.  to  r.  across  the  room.  They  are  headed  by  Bellona  in  Roman  dress 
with  a  sword  in  her  r.  hand;  she  holds  up  a  fire-brand  and  looks  down  at 
a  paper  which  Castlereagh,  who  clasps  her  arm,  displays  to  her.  On  this  is 
the  word  Spain,  but  inscribed  on  the  back  is  Walcheren.  In  his  pocket  is  a 
paper:  Dispatch  from  Lord  Wellington  for .  Behind  him  Lord  Liverpool  offers 
a  bottle  labelled  Ether  to  an  emaciated  half-naked  creature  (Famine)  gnawing 
a  large  bare  bone  inscribed  Old  Leo  \)  a  relic  of  the  British  Lion].  Behind 
them  is  Vansittart,  holding  open  a  bag  inscribed  Budget  into  which  a  woman 
who  holds  up  a  flaming  censer  emitting  smoke  inscribed  Discord,  drops  a  disk. 
In  his  pocket  is  a  paper:  Taxes  for  1812.  The  smoke  from  Discord  and 
Bellona's  fire-brand  extends  to  John  Bull,  and  threatens  to  engulf  him.  A  man 
in  oriental  dress  holds  a  skull  inscribed  Plague  which  he  shows  to  a  courtier 
holding  a  wand  of  office  and  wearing  a  ribbon  and  star.  Behind  them  is 
{})  Lord  Yarmouth  next  an  emaciated  invalid  on  crutches  (Disease).  The  last 
figures  to  step  from  the  box  are  (1.  to  r.):  a  fierce  woman  {}  Envy)  with 
serpents  for  hair,  holding  up  two  writhing  serpents ;  an  old  man  walking  with 
two  sticks  (?  Old  Age);  the  Chancellor  (Eldon)  with  a  hand  on  the  woman's 
shoulder ;  and  a  man  wearing  spectacles  and  a  ribbon,  with  antlers  (?  Hertford). 
The  'box'  is  surmounted  by  the  figure  of  a  seated  woman  holding  two  cornu- 
copias: from  one  (1.)  issues  foliage  (?  thistles),  from  the  other  (r.)  the  head 
of  a  demon  pufiing  out  scrolls  inscribed:  War,  Famine,  Discord,  Pestilence, 
Drun[k'\en[n\ess,  Disease,  Old  Age,  Envy. 

One  of  many  satires  on  the  political  influence  of  Lady  Hertford,  see 

124 


POLITICAL   SATIRES    1812 

No.  11583.  The  attack  on  the  war,  and  appeal  for  peace  (cf.  No.  11990), 
despite  news  of  victories  in  Spain  (cf.  No.  11901),  is  characteristic  of  the 
Opposition  Press,  cf.  Corr.  of  G.  L.  Gower,  1916,  ii.  454.  Castlereagh  is 
reproached  w4th  Walcheren,  see  No.  11364,  &c.  The  cry  for  peace  was 
influenced  by  the  dearth  and  industrial  distress  due  to  the  Continental 
System,  see  No.  11876,  &c.  Hope's  appeal  to  Princess  Charlotte  verges  on 
sedition ;  on  the  opening  of  Parliament  the  Regent  'was  received  with  a  dead 
and  most  humiliating  silence  .  .  .'.  Princess  Charlotte  was  recognized  and 
'greeted  with  loud  and  repeated  huzzas'.  Romilly,  Memoirs,  under  date 
30  Nov.  1812.   Cf.  No.  12894.   For  the  Pandora  theme  cf.  No.  11219. 

11898  THE  CONFESSIONAL  OR  CONCESSION  WITHOUT  THE 
VETO.   I  SATIRIST  1ST  SEPTEMBER  1812 

Satirist  inv'  W.  H.  Ekoorb  [Brooke]  deV  et  acf  forV  fecit. 

Aquatint  (coloured  impression).  PI.  from  the  Satirist,  xi.  175,  described 
(pp.  175-81)  as  a  dream  of  England  under  Emancipation  without  the  Veto. 
A  priest  is  seated  under  a  canopy  as  if  in  a  confessional  with  side-window's ; 
one  foot  rests  regally  on  a  stool.  English  Ministers  kneel  on  his  1.,  all  making 
confessions  which  he  passes  on  through  a  trumpet  in  the  form  of  a  mitred 
fish.  He  does  this  for  the  information  of  Ireland  and  Napoleon.  A  demon 
looks  from  under  his  chair  towards  the  Englishmen,  who  all  wear  rosaries  and 
have  black  draperies  over  their  heads.  The  foremost  (the  Home  Secretary, 
Lord  Fingall)  says:  Ireland  is  ripe  for  revolt  discontents  prevail  in  our  midland 
Counties  Oh  LuddH!  Next,  Buckingham,  in  admiral's  uniform  as  First  Lord, 
says:  We  are  equipping  a  strong  fleet  for  the  Mediterranean.  Goold  (an  Irish 
barrister)  as  Lord  Chancellor  says:  /  zcill  keep  the  — ^  [King's,  i.e.  Regent's] 
conscience  quiet.  The  Commander-in-Chief,  apparently  Lord  Kenmare,  sa^^s: 
Our  force  in  the  Peninsula  consists  of  ^4,000  men  of  uhich  only  30,000  are 
effective — no  more  troops  shall  be  sent.  Grenville,  as  Premier,  says:  We  have 
just  concluded  an  alliance  offensive  and  defensive  with  the  Protestant  Powers  in 
the  North. 

On  the  1.  are  Irish  ragamuffins,  highly  delighted  with  two  officers'  uniforms 
and  a  judge's  wig  and  gown.  One  puts  on  the  wig  and  gown,  saying.  By  J — s 
Paddy  honey  this  will  do.  Another,  struggling  into  a  much-laced  coat:  Arrah 
be  aisey  man!!!  blood  &  fire  dont  you  see  Fm  a  General.  A  sabre  and  sabre- 
tache inscribed  G  R  lie  at  his  (bare)  feet.  A  third  picks  up  an  officer's  coat, 
exclaiming,  Och! !!  by  my  ozcn  soul  but  Pm  done  for  now!  Phelim,  Phelim  where 
are  you  joy?  here's  the  diviVs  own  beautifull  state  Regimentals  ready  made  to 
my  fist  sure!!!  Phelim,  groaning:  Oh  Gramachree  whack! !!  faith  ami  its  your- 
self O'Doody  that  they'll  be  after  fitting.  A  builder's  labourer  with  a  hod 
brandishes  a  sabre :  HurrooH!  success  to  Father  O'Flanigan  and  divil  burn  the 
Hod  I  say.  Behind  them  are  two  saints  in  niches.  The  most  prominent  is 
S'  Cloud:  Napoleon  in  imperial  robes,  wearing  a  cross  and  holding  an  orb. 
He  looks  down  at  the  Irishmen  and  listens  to  the  words  from  the  priest's 
trumpet:  Cabinet  Secrets  United  Kingdom.  He  stands  on  the  decollated  head 
of  a  Pope  (cf.  No.  10060).  Next  and  on  the  extreme  1.  is  5'  Patrick,  mitred, 
with  book  and  crosier. 

The  scene  is  a  side-chapel  of  a  magnificent  basilican  church,  whose  nave, 
drawn  with  precision  and  probably  adapted  from  an  engraving,  is  on  the  r. 
Double  arches,  mosaic  and  frescoes,  a  Gothic  canopy  over  the  altar  suggest 
San  Paolo  fuori  le  Mura.  It  represents,  however,  St.  Peter's  miraculously 
transported  to  England  and  replacing  St.  Paul's.  In  the  nave  lawyers  compete 

125 


CATALOGUE   OF   POLITICAL    AND   PERSONAL   SATIRES 

for  the  prizes  of  their  profession,  racing  towards  a  bar  from  which  hang 
judges'  wigs,  and  the  mace  and  purse  of  the  Great  Seal.  One  figure  (not 
racing)  only  is  characterized,  he  appears  to  be  O'Connell.  Others  mentioned 
are  'the  Keoghs  and  O'Gormans'. 

A  view  of  the  supposed  consequences  of  Emancipation  without  safeguard, 
and  with  a  Ministry  hostile  (as  Grenville  was)  to  the  Peninsular  war.  In  1812 
speedy  Emancipation  was  expected,  see  No.  12016.  The  Veto,  cf.  No.  12073, 
was  a  scheme  for  control  over  the  election  of  bishops,  brought  forward, 
25  May  1808,  by  Grattan  as  a  concession  to  the  'No  Popery'  that  had  char- 
acterized the  1807  election.  By  18 10  Irish  CathoHc  opinion  had  condemned 
it,  and  by  1812  the  Whigs  showed  readiness  to  drop  it.  Fingall  (1789-1836), 
see  No.  11570,  and  Kenmare  (1754-3  Oct.  1812),  a  Unionist,  were  moderate 
leaders  of  the  Irish  Catholics.  Goold  (1766-1846)  was  a  Protestant  opponent 
of  the  Union,  and  a  distinguished  Master  of  Chancery  in  Ireland.  John  Keogh 
(1740-18 1 7)  had  been  replaced  by  O'Connell  as  a  leader  of  the  Catholics; 
Cornelius  was  an  opponent  of  the  Veto.  The  extremer  Catholics  who  rejected 
the  Veto  aimed  at  repeal  of  the  Union  and  disestablishment  of  the  Church. 
'Ludd'  is  a  reference  to  'Captain  Ludd'  of  the  machine-breaking  riots  in  the 
Midlands. 

Listed  by  Broadley. 
6|x  i3ig  in.   With  border,  y^X  14I  in. 

11899  THE  CORONATION  OF  THE  EMPRESS  OF  THE  NAIRS. 

G.  Cruikshank  sculpt 

Pii¥  September  i'^  1812  by  W  N  Jones  N"  5  Newgate  S' 

Engraving  (coloured  and  uncoloured'  impressions).  PI.  from  the  Scourge, 
iv.  173.    Illustration  to  'The  Empire  of  the  Nairs',  pp.  175-9,  referring  to 

verses  published  in  the  Scourge,  iii.  313-18,  456-61,  'The  H [Hertford] 

Dynasty,  or  the  Empire  of  the  Nairs',  suggested  by  the  romance  of  J.  H. 
I        ^  Lawrence,  The  Empire  of  ihe  Nairs,  181 1  (published  in  German  in  181 1,  and 

^^y^-^'Of^  afterwards  in  French),  with  an  introduction  seriously  advocating  the  intro- 
duction of  these  customs  into  England.  The  Nairs  (or  Nayars)  were  a  military 
caste  of  Malabar  who  practised  polyandry.  The  pi.  is  not  elucidated.  Lady 
Hertford  reclines  in  an  ornate  bath,  into  which  water  gushes  from  the  jaws 
of  a  monster  which  decorates  the  pedestal  of  a  Venus.  The  bath  is  raised  on 
a  triple  dais  and  backed  by  the  pillars  and  canopy  which  frame  the  Venus 
forming  the  centre  of  the  design.  The  Regent,  in  royal  robes,  ascends  the 
steps  of  the  dais,  poised  on  his  toes  like  a  ballet-dancer,  and  places  a  crown- 
like marquis's  coronet  on  the  head  of  Lady  Hertford  who  leans  towards  him, 
her  enormous  breasts  appearing  over  the  edge  of  the  bath.  She  says :  I  proclaim 
the  Freedom  of  the  Sex  &  the  Supretnacy  of  Love.  Lord  Hertford,  who 
bestrides  the  pedestal,  looks  down  delightedly  from  behind  the  statue  of 
Venus.  He  has  horns,  and  holds  his  Chamberlain's  staff.  The  water  pours 
from  the  bath  through  the  nostrils  of  a  bull's  head  with  which  it  is  ornamented, 
and  falls  in  a  triple  cascade  into  a  circular  basin  in  the  centre  foreground. 
On  each  side  of  the  statue  of  Venus  and  flanking  the  dais  is  a  statue  in  a  niche : 
Aspasia  (1.)  and  Messalina  (r.);  both  are  disrobing.  Near  the  fountain  (r.) 
a  hideous  hag,  naked  to  the  waist,  crouches  before  a  tall  brazier  in  which  she 
burns  a  Mantle  of  Modesty. 

The  building  appears  to  be  circular,  an  arc  of  the  wall  forming  a  background 
on  each  side  of  the  centre-piece.  On  this  are  tablets  inscribed  respectively  Hie 
Jacet  Perdita  [Mary  Robinson,  the  Prince's  first  mistress,  see  No,  5767,  &c.]; 

^  Not  folded,  showing  that  plates  were  issued  separately. 

126 


POLITICAL   SATIRES    l8l2 

Hie  Jacet  Armstead  [Mrs.  Fox,  who  had  been  the  Prince's  mistress,  cf. 
No.  10589];  Hie  J[acet\  Vauxhall  Bess  [EHzabeth  BilHngton,  see  No.  9970; 
her  mother  sang  at  Vauxhall,  see  No.  6853]. 

In  the  foreground  on  the  extreme  r.  a  buxom  young  woman  puts  her  arms 
round  the  Duke  of  Cumberland,  saying,  Fll  go  to  Cumberland;  he  w^alks  off 
with  her,  to  the  fur}'  of  an  admiral  just  behind  the  lady  who  clutches  his  sword 
and  is  seemingly  her  husband.  Cumberland  wears  hussar  uniform  with  a 
shako  and  fur-bordered  dolman,  with  a  star  and  a  large  sabre.  A  meretricious- 
looking  young  woman  (?  Mrs.  Carey)  puts  her  arms  round  the  Duke  of  York, 
saying.  And  I  to  York.  The  Duke,  who  wears  uniform  with  a  cocked  hat  and 
no  sword,  looks  down  quizzically  at  her.  Behind  him  a  tall  thin  officer  in 
hussar  uniform  bends  towards  Princess  Charlotte,  taking  her  hand ;  he  says : 
Sure  &  I'll  go  to  Wales.   She  runs  eagerly  towards  him. 

As  a  pendant  to  these  figures.  Grenadiers  stand  at  attention  on  the  1.,  hold- 
ing bayoneted  muskets;  they  have  huge  noses,  and  smile  at  a  buxom  lady 
wearing  spurred  boots  who  addresses  them  with  outstretched  arm,  saying, 
And  you  for  Bu eking h a msh ire .  At  her  feet  is  an  open  book :  Slazvkenberges 
Chap''  on  Noses  [from  Sterne's  Slawkenbergius,  imaginary  author  of  a 
Rabelaisian  fantasy  in  Tristram  Shandy].  They  have  a  standard  with  the 
word  Buckin  .  .  .  on  it. 

Behind  the  Prince  (1.)  stands  Tom  Moore,  looking  up  at  the  coronation; 
he  holds  an  open  book :  Little  Poems  \  Ballad  .  .  .  He  says :  /'//  give  you  one 
Little  Song  More  [see  No.  12082].  Behind  him  stands  Mrs.  Jordan,  placing 
a  chamber-pot  on  the  head  of  the  Duke  of  Clarence,  who  wears  admiral's 
uniform  with  trousers. 

A  satire  on  the  scandals  relating  to  the  Regent,  his  brothers,  and  the 
Hertfords.  For  the  Regent  and  Lady  Hertford  see  No.  11853;  for  Mrs. 
Jordan  and  the  Duke  of  Clarence,  No.  11744,  &c.  Reid  identified  Princess 
Charlotte's  officer  with  the  Hereditar)'  Prince  of  Orange;  his  addresses  were 
not  made  till  1813,  and  at  this  time  he  was  ser\-ing  with  Wellington  in  Spain. 
Though  his  words  suggest  an  Irishman,  he  may  be  Captain  Hesse,  whose 
attentions  were  encouraged  by  the  Princess  of  Wales  in  an  attempt  to  com- 
promise her  daughter,  see  Corr.  of  George  IV,  1938,  i.  518-22.  Lady  Bucking- 
hamshire is  the  dowager,  a  butt  of  Gillray  and  others,  see  (e.g.)  No.  8054; 
she  died  in  1816,  aged  77.  Cf.  'Shelley  and  the  Empire  of  the  Nairs',  Publ. 
of  the  Mod.  Lang.  Ass.  of  America,  xl.  881  flf.   See  No.  11914,  a  sequel. 

Reid,  No.  172.    Cohn,  No.  732. 
10^  X  i8|  in. 

11900  THE  DEVIL  TO  PAY  OR  PAM  BE  CIVIL. 

[G.  Cruikshank.] 

Published  September  1S12  by   Y,  Z,   &  Sold  by  Clinch  Princes  Street 
Soho — 

Engraving  (coloured  and  uncoloured  impressions).  The  Knave  of  Clubs, 
Tarn',  sits  in  state  in  a  ramshackle  attic,  one  foot  resting  regally  on  a  foot- 
stool. He  is  faint-hearted  and  melancholy  and  turns  to  a  dapper  little  man 
(Sir  Walter  Stirling)  at  his  r.  hand,  who  is  supported  by  the  Devil.  He  says: 
I'm  going  to  Hastings  give  me  some  Sterling  No  Tokens.  Stirling,  who  holds 
an  open  book  and  is  prompted  by  the  Devil,  says :  Let  Us  Pray,  with  a  cynical 
smile.  The  Devil  says:  Honestly  if  you  Can?!! — but  get  Money.  A  hideous 
old  w'oman,  grotesque  and  ragged,  offers  him  a  glass,  saying,  Try  if  Brandy 
won't  save  you.  Behind  the  Devil,  and  on  the  extreme  1.,  stands  a  burlesqued, 

127 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

knock-kneed  lawyer,  closing  one  eye  in  a  cynical  grimace;  he  holds  a  large 
pen  and  a  paper  headed  The  Last  Will  &  Testement  [sic]  of  Pant.  The  room 
has  the  signs  of  squalor  characteristic  of  the  period :  bricks  showing  through 
broken  plaster,  raftered  roof,  check  bed-curtains,  a  broken  chair,  with  broken 
jug  and  plate  on  the  floor.  Ragged  stockings  and  a  night-cap,  &c.  hang  from 
a  string  across  the  fireplace  (r.),  and  on  the  mantelshelf  are  a  candle  in  a  bottle, 
a  saucepan,  medicine-bottle,  teapot,  and  cup.  Above  it  are  a  gallows  broad- 
side, and  a  print  of  a  seated  demon  holding  a  small  pair  of  scales. 

Pam  appears  to  be  Lord  Liverpool,  much  caricatured.  He  is  represented 
in  extremis,  unable  to  carry  on  his  Government,  declaring  his  intention  of 
appealing  to  Moira,  and  begging  Stirling  for  cash.  'No  Tokens'  is  an  allusion 
to  the  'dollars'  issued  by  the  Bank  of  England,  see  No.  11716.  Liverpool's 
position  had  improved  since  his  appointment  on  8  June,  see  No.  11888.  He 
had  since  made  overtures  to  Canning  but  not  to  Moira.  See  Feiling,  The 
Second  Tory  Party,  1938,  pp.  272-4.  Parliament  was  dissolved  on  29  Sept. 
Sir  Walter  Stirling  (1758-1832)  was  a  London  banker,  M.P.  Gatton  1799- 
1802,  St.  Ives  1807-20.  Pam,  from  Fr.  Pamphile,  is  the  Knave  of  Clubs, 
which  in  some  games,  notably  five-card  loo,  is  always  the  highest  card ;  in  the 
latter  the  leader  of  the  ace  of  trumps  asks  the  holder  of  Pam  to  pass  the  trick, 
saying  'Pam  be  civil'  (cf.  No.  6488,  where  Fox  is  Pam),  which  he  was  bound 
to  do  unless  clubs  were  trumps.  Foster's  Complete  Hoyle,  n.d.,  p.  267. 

The  drawing  in  pen  and  watercolour  is  in  the  Print  Room,  'Drawn  & 
Etched  by  George  Cruikshank'.  The  place  of  the  lawyer  is  taken  by  the 
personification  of  a  will.  The  Devil  wears  a  barrister's  wig  and  gown.  G.  C. 
notes  that  it  was  'suggested  by  John  Birch  of  St.  Thornas's  Hospital  .  .  .'. 
Binyon,  i.  283.  (199.  c.  1/3.)  7^X  lof  in. 

Reid,  No.  171.   Cohn,  No.  1058. 
7Jxio|  in. 

11901  KING  JOEY  TAKING  LEAVE  OF  HIS  CAPITAL  ie  MADRID 
RELIEVED  FROM  ROBBERS 

[Williams.] 

Pu¥  SepV  1812  by  S  W  Fores  N°  30  Piccadilly 

Engraving  (coloured  impression).  Joseph,  wearing  royal  robes  and  with  a  sack 
of  plunder  across  his  shoulder,  flees  in  terror  before  Wellington,  who  gallops 
forward  from  the  r.  slashing  open  the  sack;  plate  falls  out:  a  crucifix,  chalice, 
&c.  Joseph's  hair  stands  on  end,  and  his  crown  falls  off;  he  looks  over  his 
shoulder,  screaming,  Ah!  Diable  ces't  [sic]  le  Dieu  de  la  Guerre!  He  has 
dropped  a  paper  addressed  To  King  Joseph :  I  have  to  inform  Your  Majesty 
of  the  defeat  of .  .  .  MarmoJit.  Two  French  officers  (1.),  equally  terrified,  drag 
Joseph  after  them;  one  says:  Vite  Monsieur  Joe  if  we  leave  you  behine  Monsieur 
Nap  make  us  go  sleep!  The  other:  Vite!  Vite!  or  by  gar  dat  dam  Bull  dog  vill 
put  your  Majesty  in  Check  and  let  all  de  cats  out  of  de  bags.  One  has  a  sack  of 
plunder ;  the  sack  of  the  other,  containing  church  plate,  lies  on  the  ground 
with  his  cocked  hat.  Wellington,  serene  and  impassive,  says:  Thus  shall  the 
hand  of  Wellington  arrest  all  sacrilegious,  upstart,  Tyrannic  Monarchs,  and 
restore  to  the  injured  their  rights  and  Lawfull  Sovereign!  He  is  followed  by  a 
mounted  officer  with  raised  sabre,  who  says:  Ah  you  Scoundrels  F II pay  you 
of  some  old  scores  for  King  Ferdinand!  They  are  passing  the  door  of  a  Gothic 
cathedral  in  which  stand  two  priests;  one  (1.)  watches  the  Frenchman,  saying, 
ah  Mon  Dieu  quel  Sacrilage.  The  other  raises  his  arms  in  ecstatic  delight  at 
the  sight  of  Wellington.  The  door  is  flanked  by  niches,  in  each  of  which  is 
a  mutilated  statue. 

128 


POLITICAL   SATIRES    l8l2 

Joseph  began  to  evacuate  IMadrid,  to  which  he  had  retired  on  news  (5  Aug.) 
of  Marmont's  defeat  at  Salamanca  (22  July),  on  learning  that  Wellington  was 
marching  there.  The  retreat  was  made  with  a  convoy  of  20,000  vehicles  and 
with  10,000  fugitives,  'amid  disgraceful  scenes  of  plunder  and  indiscipline'. 
Fortescue,  Hist,  of  the  British  Army,  viii.  559.  On  12  Aug.  Wellington 
entered  Madrid  and  was  enthusiastically  acclaimed.  After  capturing  the 
fortified  palace  of  Retiro,  he  left  on  i  Sept.  For  similar  prints  on  Joseph's 
flight  in  1808  see  No.  11012,  &c.   See  also  Nos.  11903,  11905,  13484. 

Listed  by  Broadley  (Latta  Coll.). 
8|xi3iin. 

11902  BRITISH  WELCOME;  OR,  A  VISIT  FROM  THE  BANTAM 
TO  THE  LION.' 

[Williams.] 

London.  Pu¥  SepV  1812  by  W""  Holland  N"  11.  Cockspur  Street 

Engraving  (coloured  impression).  A  scene  on  the  shore  in  front  of  a  cave 
inscribed  Albion,  the  w^ord  surmounted  by  a  crown.  Napoleon,  with  the  body 
of  a  bantam  game-cock,  runs  off  towards  the  sea,  away  from  an  enormous 
British  Lion  who  advances  towards  him  with  one  paw^  menacingly  raised.  The 
Hon  says :  So,  my  little  Bantam,  you  are  come  to  pay  me  a  Visit — w'ellU  [sic] 
lets  have  a  shake  of  your  Clatv.  Napoleon  answers:  Excuse  moi!  Mons^  Le 
Lion,  yon  gripe  too  hard!!  He  wears  a  large  plumed  bicorne  and  has  human 
legs,  but  the  spurs  on  his  top-boots  are  those  of  a  game-cock.  Below  the 
design : 

Though  Bantam  Boney,  claps  his  Wings, 
Yet  this  ice  may  rely  on  ; 

He'll  turn  his  tail,  and  run  away. 
When  e^er  he  meets  the  Lion. 

A  satire  without  precise  application,  strategic  or  political.  The  date  shows 
signs  of  alteration,  and  it  is  perhaps  the  reissue,  on  news  from  Spain,  see 
No.  11901,  of  a  print  of  1803,  cf.  No.  9973,  &c. 

Listed  by  Broadley. 
8^X12  in. 

11903  JOSEPHS  FLIGHT. 

[Williams.] 

Pub'^  Octo'^  J^'  1812  for  the  Proprietors  of  Town  Talk. 

Engraving  (coloured  impression).  PI.  from  Town  Talk.  Joseph  Bonaparte 
stands  in  a  farm  w^agon  filled  with  young  Spanish  nuns.  He  wears  his  crown 
and  robes,  and  points  derisively  at  a  group  of  Spaniards  who  cheer  the 
departure  of  the  French.  He  exclaims:  Bye  Bye  dont  cry  so  my  faithfull 
Subjects  ril  come  back  to  you  as  soon  as  those  dam'd  English  will  let  me — /  have 
taken  a  few  tokens  to  remember  you  by.  His  is  one  of  a  procession  of  laden 
wagons  accompanied  by  marching  soldiers.  Two  fat  monks  stand  in  the  fore- 
ground; one  extends  his  arms  towards  the  nuns,  exclaiming,  God  deliver  you 
out  of  the  Devils  clutches  my  poor  girls,  but  I  fear  you  are  lost  sheep.  One  of 
them  answers :  Father  Dominick  don't  grieve  King  Joseph  has  left  some  old  ones 
behind  for  you.  A  French  soldier  prods  the  other  monk  with  a  bayonet,  saying, 
get  home  You  old  Rams!  zvhat  do  you  begrudge  King  Joseph  a  few  Virgins  for 

'  Some  stops  added  in  pen. 

129  K 


CATALOGUE  OF  POLITICAL  AND   PERSONAL  SATIRES 

his  amusement.  The  wagon  is  drawn  by  two  horses,  the  wheeler  a  wretched 
hack,  the  leader  an  animal  of  some  spirit.  A  soldier  drags  at  its  head,  saying, 

Sacre  B de  Cheval  Espagnole  Marche.  A  second  soldier  turns  to  Joseph ; 

he  points  to  the  rejoicing  Spaniards,  saying,  Ces  foiis  la  rejouis  by  gar  Mons 
Joseph  dey  be  glad  we  go.  A  soldier  bayonets  one  of  the  cheering  crowd  of 
men,  women,  and  children,  saying.  What  do  you  say  you  Scoundrel!  do  you 
call  us  robbers!  I'll  make  you  remember  it.  The  man  answers :  Worthy  Gentle- 
man you  mistak  I  was  Lamenting  the  departure  of  such  kind  friends  who  have 
been  so  free  &  easy  zoith  us!  An  angry  woman  seizes  the  French  soldier 
by  the  hair.  A  man  shouts :  Deo  Gratuos!  [sic]  They  are  going.  They  are 
going! 

The  procession  of  carts  leaving  Madrid,  led  by  that  of  Joseph  in  the  centre 
of  the  design,  takes  a  sharp  turn :  the  two  horses  of  the  second  cart,  led  by 
a  soldier,  turn  to  follow  Joseph ;  this  is  heaped  with  church  plate :  huge  candle- 
sticks, crucifixes,  &c.  Two  soldiers  sit  in  front  with  fixed  bayonets.  It  is 
followed  by  a  wagon  heaped  with  plump  wine-skins  inscribed  Wine.  The  two 
most  distant  carts  are  similarly  filled  with  plate  and  wine.  On  the  extreme  r. 
are  foot-soldiers  with  a  banner  inscribed  Legion  of  Honor.  The  two  foremost 
seize  two  distraught  girls ;  one  says :  Ah  Pardie  you  7iot  gone  yet  Madonna 
I  take  you  to  see  de  gratid  Paris.  An  officer  asks:  What  is  that  foolish  woman 
makeing  such  a  noise  for,  look  how  contented  Josephs  companions  travel  with  him. 
A  soldier  answers :  We  have  got  all  her  Husbands  property  so  she  has  nothing 
worth  staying  behind  for  Captain?  Other  foot-soldiers  walk  in  small  groups, 
laden  with  plunder.  The  setting  is  an  undulating  landscape,  with  Madrid 
on  the  1.  across  the  river,  groups  of  trees,  and  a  background  of  low  mountains. 

For  the  departure  of  Joseph  and  the  French  from  Madrid  see  No.  11901. 
The  attitude  towards  monks  and  nuns  is  traditional,  cf.  No.  3777. 

Listed  by  Broadley. 
9|Xi5T\in. 

11904  AN  EXCURSION  TO  R HALL. 

G.  Cruikshank  Sculp 

Published  October  J^'  1812  by  W  N  Jones  5  Newgate  Str^ 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  iv.  261.  The  pi.  is 
not  elucidated  but  is  referred  to  in  'A  Tour  to  R.',  pp.  279-83.  The  Devil 
drives  (1.  to  r.)  the  Regent  and  Lady  Hertford  in  an  open  barouche  with  four 
spirited  horses  towards  Ragley  Hall.  The  Prince,  who  wears  military  uniform 
with  ribbon  and  star,  puts  his  r.  arm  round  Lady  Hertford,  who  has  grotesquely 
enlarged  breasts ;  she  says :  We  have  had  a  glorious  ride,  my  Love! — It  is  worth 
Half  a  Crown.  He  answers :  /  have  not  Hcdf  a  Crown  to  give  thee.  Would  that 
I  had.  The  Devil,  nude,  emaciated,  gap-toothed,  and  grinning,  flourishes  a 
whip  whose  handle  is  a  barbed  trident.  Beside  him  sits  Lord  Yarmouth,  blow- 
ing a  horn,  with  his  r.  arm  round  the  Devil's  waist.  He  wears  the  dress  of 
a  fashionable  amateur  whip,  long  coat  with  capes  and  broad-brimmed  hat, 
cf.  No.  1 1 700.  A  little  Cupid  is  a  postilion  on  the  off^  leader,  gashing  his  horse 
with  an  enormous  spur,  making  it  rear.  He  is  blindfolded,  and  wears  jockey- 
cap  and  top-boots,  but  is  otherwise  naked  except  for  a  short  open  jacket  (he 
perhaps  derives  from  No.  11405,  by  Gillray).  He  flourishes  a  whip,  the 
handle  of  which  is  his  bow.  Behind  the  carriage,  as  footman,  stands  McMahon, 
bending  forward,  obsequious  and  inquisitive.  The  arms  on  the  coach  are  a 
spouting  wine-bottle  between  two  wine-glasses  and  above  a  knife,  fork,  and 
corkscrew.  The  crest  is  a  fool's  cap  between  two  hearts. 

The  outrider  on  a  galloping  donkey  is  Lord  Hertford,  wearing  court  dress 

130 


POLITICAL   SATIRES    l8l2 

and  holding  his  chamberlain's  wand.  Antlers  sprout  from  his  head,  and  his 
identity  is  stressed  by  an  H  on  the  beast's  flank,  and  a  coronetted  H  on  the 
saddle-cloth.  An  inferior  donkey,  lean  and  clumsy,  is  tied  to  the  back  of  the 
carriage.  On  its  back  is  a  cask  of  Ciiracoa  on  which  Sheridan  sits  astride, 
saying,  They  must  een  go  zchen  the  Devil  Drives.  He  is  dressed  as  Harlequin 
(cf.  No.  9916)  to  the  waist,  and  flourishes  his  wooden  sword,  but  wears  long 
tattered  breeches.  Behind  him  and  on  the  extreme  1.  is  a  one-horse  tilt- 
wagon  surmounted  by  a  coronet.  Inside  are  young  women,  and  it  is  inscribed : 
For  Yarmouth  Second  hand  Peices  [cf.  No.  1 1993] /rom  Wales.  The  Regent's 
horses  are  passing  a  small  and  decayed  Gothic  building  inscribed  Female 
Asylum.  It  has  two  upper  windows  with  broken  tracer}-,  from  which  women 
discarded  by  the  Regent  look  out  registering  distress.  They  have  con- 
spicuously large  breasts.  The  most  prominent  is  Mrs.  Fitzherbert,  wearing 
a  rosary,  with  a  veil  over  her  head;  she  exclaims:  Ah!  I  remember  the  time 
zchen  I  myself  e?ijoyed  those  loves.  But  he  has  forgot  his  Poor  F.  Four  are  in 
each  window.  They  say:  There  he  goes;  oh!  oh!  oh!;  O!  the  gay  Deceiver; 
There  he  soes  Faithless  man.  The  roof  is  decorated  with  the  Prince's  feathers 
and  coronet,  upside  down,  with  two  prancing  cats  as  supporters.  A  sign- 
post points  To  Ragley  [the  word  obscured  by  shading].  In  the  distance  is  a 
castellated  country  house,  surrounded  by  a  park  wall. 

One  of  many  prints  on  the  Regent  and  Lady  Hertford,  see  No.  11853,  and 
on  the  attitude  of  her  husband  and  son.  Ragley  was  the  Hertfords'  Warwick- 
shire seat.  Cf.  No.  6967,  A  Trip  to  Brighton  (1786),  in  which  the  Prince 
drives  with  Mrs.  Fitzherbert.  The  first  reference  to  her  desertion;  she  is 
a  neglected  rival  in  No.  11877.   See  Nos.  11841,  11856. 

A  copy,  reversed  and  altered,  the  Conynghams  replacing  the  Hertfords, 
was  published  c.  1820  by  Marks,  with  the  title  An  E.xcursion  to  Brighton,  see 
vol.  X. 

Reid,  No.  175.    Cohn,  No.  732. 
7j»6X2o|  in. 

11905  EFFECTS    OF   THE    ARRIVAL    OF    FRENCH    EAGLES    IN 
ENGLAND  |  SATIRIST  1ST  OCTOBER  1812. 

Satirist  inv^    W.  H.  Ekoorb  [Brooke]  del'  et  aq'^  for V  fecit 

Aquatint  (coloured  impression).  PI.  to  the  Satirist,  xi.  271.  A  design  in  two 
compartments,  divided  by  a  pillar  which  frames  the  design  on  the  r.  [i]  A 
London  street-scene  at  night,  with  Burdett's  house  in  Piccadilly  on  the  extreme 
1.  The  adjacent  large  house  is  recessed  between  Burdett's  and  a  corresponding 
house  on  the  r.  Burdett's  is  dark,  the  others  are  illuminated  with  transpar- 
encies, festoons  of  fair\'  lights,  and  candles  in  each  window-pane.  The  pave- 
ment and  the  recess  between  the  two  houses  are  filled  with  a  cheering  crowd, 
except  opposite  Burdett's  house,  where  the  mob  are  throwing  stones  at  the 
windows.  A  funeral  procession  is  passing  (1.  to  r.)  with  weeping  mourners 
and  pall-bearers,  the  coflin  being  covered  with  a  cloth  inscribed:  Hopes  of 
the  Party  Obiit  22"^  July  1812.  Beside  it  is  a  statue  on  a  pedestal;  a  black- 
edged  placard  inscribed  TJie  Mourning  Chronicle  covers  the  body  of  a  man 
registering  despondency  and  alarm.  A  pendant  to  this  (1.)  is  a  large  placard 
inscribed  Wellington  \  Salamanca  Almieda  \  Vimiera  [see  No.  11024]  |  Ciudad 
Rodrigo  \  Badajoz  |  Talavera  |  .  .  .  rossa  [Barrosa].  This  is  against  a  post 
(representing  the  'Morning  Post',  which,  according  to  the  'Explanation',  had 
always  supported  Arthur  Wellesley  against  detraction),  and  is  topped  by  a 
Union  flag  flying  above  a  French  tricolour  and  a  laurel  wreath,  from  which 
an  arm  points  downwards  to  the  'Mourning  Chronicle'. 

131 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Stones,  cats,  and  fire-brands  are  hurled  at  Burdett's  shattered  windows. 
A  butler  looks  out,  turning  to  Burdett,  whose  profile  appears  at  the  side  of 
the  window.  He  says:  Indeed  Sir  Francis  you  must  light  or  they  will  destroy 
every  thing.  Burdett  answers :  Curse  them!!!  if  it  must  be  so  illuminate  with 
a  dozen  dark  lanthorns.  On  the  adjacent  (recessed)  house  fairy  lights  form  the 
words  Glory  of  Ireland  \  Wellington  \  Victory  \  with  two  transparencies :  a 
cavalry  charge  against  French  eagles,  and  a  portrait  of  Wellington  standing 
beside  a  horse  and  cannon.  The  house  next  this  has  on  the  wall  which  faces 
Burdett's  house  the  word  Salamanca  in  fairy  lights,  a  crown,  a  transparency, 
and  M.  W.  \  V.  On  the  front  facing  the  street  is  another  transparency  (an 
incident  of  battle),  and  festoons  of  fairy  lights. 

In  the  foreground  (1.)  are  two  almost  nude  figures  representing  Discord  or 
Faction  and  surrounded  by  smoke;  they  fling  themselves  to  the  ground  in 
despair,  away  from  the  rejoicing  crowd.  They  have  snakes  for  hair;  one  holds 
a  serpent  and  has  dropped  a  fire-brand,  the  other  drops  a  dark  lantern. 

[2]  Four  men,  representing  England,  Ireland,  Wales,  and  Scotland,  sit  at 
a  small  round  table,  ecstatically  toasting  The  immortal  Wellington  and  his  brave 
fellows  in  arms;  the  British  Lion,  standing  beside  them,  tramples  on  French 
eagles  and  standards,  and  raises  his  eyes  to  the  words  of  the  toast  which  are 
inscribed  above  a  trophy  on  the  table.  The  toast  is  given  by  John  Bull  (not 
named),  a  'cit'  who  says :  Come  Gemmen  I'll  give  you.  He  sits  full-face  opposite 
Wales  and  between  Ireland  (1.)  and  Scotland  (r.).  The  others  add  prefatory 
words :  Ireland,  drinking,  says :  HurroojoyH!  may  the  blessing  of  Saint  Patrick 
and  the  sweet  little  Island  of  Saints  for  ever  attend  .  .  .  Wales  says :  Cot  of  his 
infinite  mercy  look  you  for  ever  shower  down  his  plessings  and  preservations 
upon  .  .  .  Scotland  adds :  Weel  said  Johnnie!  and  may  the  deel  tak  the  hinmost 
when  drinking  everlasting  glory  an'  mae  bonnie  bra'  deeds  to  .  .  .  John  has  a  rose 
in  his  glass,  Ireland  a  shamrock,  Wales  a  leek,  and  Scotland  thistles.  All  but 
John  have  legs  bare  above  the  knee.  Scotland  wears  a  breast-plate  with  kilt, 
plaid,  and  tam-o'-shanter.  The  trophy  on  the  table  is  Britannia's  shield  sur- 
mounted by  rose,  thistle,  leek,  and  shamrock,  supporting  a  crown  framed  in 
a  laurel  wreath  and  irradiated.  The  shield  is  flanked  by  an  Irish  and  a  Welsh 
harp,  a  feathered  Scots  cap  and  a  target,  and  four  flags.  Above  the  whole 
flies  a  dove  with  an  olive-branch,  indicating  that  victory  will  bring  peace. 

Wellington's  victory  of  Salamanca  (22  July,  see  No.  11 901)  is  represented 
as  a  death-blow  to  the  Whig  party.  Dispatches  and  captured  eagles  reached 
London  on  16  Aug.;  that  night  London  was  illuminated,  and  windows  not 
lit  up  were  broken.  Cobbett's  Pol.  Reg.  xxii.  259.  The  illuminations  con- 
tinued on  the  1 8th  and  19th,  'accompanied  by  the  most  genuine  and  unmixed 
demonstrations  of  joy.  .  .  .  "WeUington"  .  .  .  shone  in  every  street.'  Europ. 
Mag.  Ixii.  164.  The  Whigs  were  opposed  to  the  Peninsular  War,  and  received 
news  of  victories  with  scepticism  and  gloom,  while  extremists  clamoured  for 
peace.  Cobbett  at  first  admitted  that  it  was  a  victory,  but  later  m.aintained 
that  the  military  consequences  were  not  likely  to  be  great,  and  that  it  would 
do  harm  unless  followed  by  peace  off'ers  from  England.  Pol.  Reg.  xxii.  225  ff". 
(22  Aug.),  265  (29  Aug.),  706  if.  (5  Dec),  &c.  For  the  Whigs  and  the  war 
see  M.  Roberts,  The  Whig  Party,  i8o'j-i8i2,  1939,  chap.  ii.  Burdett  in  the 
debates  on  the  thanks  and  grant  to  Wellington,  spoke  of  'boasted  and  over- 
praised victories'  {Pari.  Deb.  xxiv.  163);  'the  cause  of  Spain  appeared  to  him 
infinitely  more  hopeless  than  at  the  commencement  of  the  campaign'  (ibid. 
208).  See  No.  12099,  &c.  Cf.  No.  9258,  The  Funeral  of  the  Party,  after  the 
Battle  of  the  Nile;  for  other  funerals  of  vanished  political  hopes  cf,  Nos.  7526 
(1789),  9254  (1798),  941 1  (1799),  10713  (1807),  1 1728,  13207. 
6igX  13^  in.   Border  cropped. 

132 


POLITICAL   SATIRES    l8l2 

11906  A  VIEW  OF  THE  STARTING  POST  AND  LIST  OF  THE 
HORSES  AND  THEIR  RIDERS  WHO  STARTED  FOR  THE  CITY 
PLATE,  OCTOBER  5™  1812. 

[Williams.] 

Pu¥  Octo''  6'*  i8i2  by  Walker  and  Knight  N°  7  Sweetings  Alley  Royal 
Exchange 

Engraving  (coloured  impression).  The  seven  candidates  for  the  four  seats 
for  the  City  of  London  are  horses  with  human  heads,  ridden  by  jockeys 
except  for  one  (1.)  who  is  led  off  the  course.  The  others  are  all  in  profile  to 
the  1.  The  scene  is  the  Guildhall,  a  wall  with  Gothic  mouldings  forming  a 
background.  Voters  stand  on  the  extreme  r.  behind  a  bar;  on  the  extreme  1., 
through  the  doorway,  spectators  are  seen.  The  starting-post  is  a  tall  pole  held 
by  a  man  in  top-boots,  supporting  a  banner  on  which  are  four  clasped  hands, 
the  wrists  forming  a  cross,  with  the  motto  In  Hoc  Signo  Vincit  [cf.  No.  104 16] ; 
this  is  surmounted  by  the  City  arms.  Labels  issue  from  the  mouths  of  all 
the  jockeys.  These  are  (1.  to  r.):  (the  departing  jockey)  Your  servant  Gentle- 
men for  this  time  we'll  start  on  some  other  Course  for  a  Kings  Plate  [Claudius 
Hunter] ;  You  see  mine  stands  as  quietly  as  if  he  was  Wood  [Alderman  Wood] ; 
You  woul  [sic]  think  he  had  nothing  on  his  back,  but  we  are  W^eight  man!  [SVaith- 
man,  a  Common  Councillor] ;  What  are  you  At-kin  of  the  old  one  a  little 
flogging  will  suit  you  perhap  [Alderman  Atkins] ;  PShazv  now  don't  be  Prancing 
so  you'll  zuant  all  your  speed  prese?itly  [Sir  James  Shaw] ;  /  can  hardly  hold 
Banker  in  till  we  start  He  has  been  so  well  train' d  on  Turtle  Soup  [Sir  William 
Curtis] ;  Good  bye  to  you  there!  you  may  do  for  a  Hunter  if  not  for  a  Racer 
[Combe  addressing  Hunter] ;  his  horse  is  branded  with  a  comb.  Below  the  title : 


A  Favorite  Old  Horse,  has 
often  started  and  zcon  lie  is  in 
good  condition  and  can  be 
trusted  on  most  Courses,  is 


Horses 

Riders 

Color 

Banker         .  .  . 
Curtis 

Integrity    .  .  . 

Blue. 

Long  Jemmy 
[Shaw] 

Industry 

Green 

Catholic  Christian  . 

Broad-Bottom . 

Crimson 

Combe 

Merchan       .  .  . 
Atkins 

Doubtful    .  .  . 

Black  and 
White    ) 

Ell-wide        .  .  . 
[Waithman] 

Opposition  .  .  . 

Orange. 

expected  to  come  in  easy 
Won  the  last  plate  in  style 
and  is  supposed  to  have 
bottom,  is  expected  to  come 
in  with  good  Joe  key  ship. 
A  Cunning  Old  Horse  goes 
pleasant  zvith  some  Riders  but 
is  given  to  kicking,  in  general 
few  jockies  like  to  trust  him. 
A  Ilorse  also  enter' d  for  the 
first  time  zvell  bred  and  like'd 
by  the  Jockies,  but  is  supposed 
not  to  have  got  his  speed  yet 
may  do  for  the  fiext  race. 
An  Old  Horse  enter' d  for  the 
first  time,  the  Gentlemen  of 
the  Turf  are  doubtfull  of  him, 
but  the  Stable  boys  and 
Helpers  speak  highly  of  him 
and  expect  him  to  come  in  easy 
he  is  cunning  and  difficult  to 
ride  and  has  often  bolted  in 
exercising. 


133 


Horses 

Riders 

Color 

Woodbe        .  .  . 

Vanity 

.  .  .      Pink  and 

[Wood 

Yellow, 

CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

A  Horse  entered  for  the  first 
time,  and  by  those  who  have 
seen  him  exercise  declared  to 
have  neither  Speed  or  Ability, 
he  has  always  endeavoured  to 
keep  up  with  Ellwide  but 
always  distanced. 
Hunter         .  .  .         Loyalty     .  .  .     Scarlet  This  is  a  promising   Young 

[Hunter]  and  Horse  but  the  Jockies  being 

Gold  doubtfidl  of  his  speed  he  was 
led  of  the  course  before  start- 
ing. 

6  to  4  on  Banker  and  Catholic  Christian,  5  to  4  on  Long  Jemmy,  even  betting 
on  Merchant,  betting  on  Ell-wide  vary.  Odds  for  and  against  him,  the  field  against 
Woodbe. 

The  results  were:  Combe  5,125,  Curtis  4,577,  Shaw  4,082,  Atkins  3,645, 
Waithman  2,622,  Wood  2,373.  Curtis  and  Shaw  were  prominent  Tories, 
Combe  a  Foxite  Whig  and  a  brewer,  see  No.  7703,  Waithman  and  Wood  were 
the  leading  City  radicals,  Hunter  (1775-1851),  Lord  Mayor  1811-12,  and  a 
barrister,  was  cr.  baronet  11  Dec.  1812;  he  did  not  again  stand  for  Parliament, 
Parliament  was  unexpectedly  dissolved  by  proclamation  on  29  Sept.  Elections 
(in  England)  were  from  5  to  20  Oct.  They  were  remarkable  for  the  small 
proportion  of  contests,  the  infrequency  of  riots,  and  for  ministerial  successes, 
especially  in  London,  Bristol,  and  Liverpool.  Ann.  Reg.,  1812,  p.  134  f. 
See  Nos.  11909,  11915. 
9|Xi5iin. 

1 1 907  TWO  CANDIDATES  FOR  THE  CITY  OF  B L  GENERAL 

ELECTION  OCTR,  1812 

[Williams.] 

Puh^  Oct  18 1 2  ...  .1 

Engraving.  One  candidate  (1.)  kneels  low,  doffing  his  crescent-shaped  cocked 
hat,  at  the  feet  of  the  other,  who  holds  a  round  hat  with  an  election  favour. 
He  has  tonsured  baldness  with  curly  hair  and  is  evidently  Protheroe.  He 
says :  Do  Sir,  assist  me,  I  have  no  other  dependence  I  assure  you  on  my  Honor 
I  am  no  Wig.  The  other,  Davis,  answers :  Sir  I  believe  you! — /  cannot  say 
anything  you  must  apply  to  my  Friends.  There  is  a  landscape  background 
with  the  buildings  of  Bristol  (r.),  the  river,  and  the  hills  on  the  opposite 
shore. 

Evidently  a  satire  on  the  coalition  between  the  Whig  and  Tory  candidates 
for  Bristol,  Protheroe  and  Davis,  by  which  Romilly  was  defeated.  This  was 
partly  due  to  the  riots  and  disturbances  caused  by  the  intervention  of  Henry 
Hunt  at  a  by-election  in  the  previous  July  (cf.  No.  12866).  At  Bristol  there 
was  a  standing  agreement  by  which  each  party,  represented  by  a  club,  sup- 
ported one  candidate,  so  that  the  city  was  represented  by  a  Whig  and  a  Tory. 
Romilly  had  been  invited  to  stand  by  the  Whigs  in  the  previous  December. 
He  was  violently  attacked  by  Cobbett  in  Apr.  and  July  18 12.  Polling  began 
on  6  Oct.  Romilly  writes :  'Davis  pretended  to  be  no  party  to  such  a  coalition, 
and  perhaps  he  was  at  first  a  stranger  to  it,  but  his  friends  entered  warmly 

'  Imprint  obliterated  in  pen. 


POLITICAL   SATIRES   l8l2 

into  it ;  and  as  to  Protheroe,  he  so  avowedly  entered  into  it  that  his  committee 
.  .  .  gave  Davis's  cockades  to  Protheroe's  voters.  .  .  .'  Romilly  therefore 
declined  the  poll  on  the  seventh  day.  See  Memoirs  of  Romilly,  under  dates 
Dec.  1811,  7  Jan.,  2  Apr.,  31  Oct.  18 12.  For  the  caucuses  controlling  the 
Bristol  elections  see  Oldfield,  Representative  Hist.  iv.  416  ff.  The  results  were : 
Richard  Hart  Davis  2,960,  Edward  Protheroe  2,435,  Romilly  1,685,  Henry 
Hunt  455.  Cf.  No.  1 1906. 
8fXi3^in. 

11908  THE  BOROUGH  CANDIDATES. 

G  C  Sculp' 

Pu¥  Ocf  1812  at  g8  Cheapside 

Engraving.  The  candidates  for  Southwark  are  on  a  platform  above  the  heads 
of  the  electors  and  the  mob  which  form  the  base  of  the  design.  In  the  centre, 
seated,  legs  apart,  on  a  large  beer-barrel,  is  Charles  Calvert  the  brewer, 
jovially  holding  out  a  frothing  tankard  in  his  1.  hand,  his  hat  in  the  r.  The 
barrel  rests  on  a  stand,  and  beer  gushes  from  it  at  each  end.  Above  his  head 
are  the  words  For  Ever.  This  fills  the  greater  part  of  the  platform.  On  the 
1.  is  Henry  Thornton,  as  a  sectarian  preacher  in  a  tub.  He  holds  a  book 
before  his  face.  The  upper  part  of  the  tub  is  encircled  with  huge  ferocious 
thorns,  and  on  it  is  scrawled  a  caricature  of  Thornton  wearing  clerical  bands 
and  inscribed  Gin  Trap.  Above  is  the  word  5'.  The  pendant  to  this  (r.)  is 
a  tattered  coat,  stuffed  with  straw  and  surmounted  by  a  hat,  placed  on  a  pole 
like  a  scarecrow;  this  is  Jack  Straw,  and  represents  Jones  Burdett.  Beside  it 
on  the  ground  are  a  bottle  of  Gin  and  a  sheaf  of  Straw.  On  Calvert's  barrel: 
State  I  of  the  \  Poll  \  Ocf  12"'  \  Calvart—2142  \  Thornton— 1766  |  Burdett 

—515- 

For  the  general  election  see  No.  11 906;  the  results  in  Southwark  were: 
Calvert  2,180,  Thornton  1,804,  William  Jones  Burdett  (not  his  brother 
Sir  Francis,  as  in  Reid),  see  No.  11 547,  &c.  Henr)'  Thornton,  one  of  'the 
Saints',  and  a  leading  member  of  the  Clapham  sect,  represented  Southwark 
from  1782  to  his  death  in  1815.  He  was  unpopular  with  the  mob,  and  is  here 
depicted  as  a  sectarian  preacher,  like  Dr.  Price  in  No.  7822.  Calvert  (see 
Burke's  Landed  Gentry,  not  Sir  Charles  as  in  Cohn)  was  a  new  member, 
succeeding  Sir  Thomas  Turton,  a  Reformer,  see  No.  11915,  who  did  not 
seek  re-election. 

Reid,  No.  174.   Cohn,  No.  949. 
6x8|in. 

11909  THE  MODERN  QUIXOTTE,  OR  ALDERMAN  SAP,  A  TALE 
BY  WOOD!!!  [?Oct.  181 2] 

[G.  Cruikshank.] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  Mathew 
Wood,  with  a  tree-trunk  for  body  and  two  branches  representing  his  out- 
stretched arms,  looks  slightly  to  the  1.,  smiling.  On  the  withered  branches 
hang  (damaged)  apples  inscribed  Promises;  two  have  fallen  to  the  ground. 
The  engraving  is  upside  down  on  the  sheet  (apparently  by  accident).  The 
text,  in  two  columns  of  verse  below  the  printed  title,  is  a  satirical  account 
(14  lines)  of  Wood's  career  up  to  the  general  election  of  1812,  followed  by 
a  burlesque  election  address  (40  lines)  beginning: 

I  stand  before  you  like  a  wooDen  Tree 

1  am  THE  UPRIGHT  SAP  OF  LIBERTY. 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

He  describes  how  as  sheriff  he  prevented  slaughter  during  the  Burdett  riots 
(see  No.  11543): 

I  when  GREAT  FRANCIS  YIELDED  UP  TO  POWER, 

I  WENT  IN  STATE  TO  sooth  him  in  THE  towtr! 

I  hail'd  with  joy  our  Monarch's  jubilee;  [see  No.  11381,  &c.] 
I  said  the  poor  I'd  from  their  burthens  free; 

I  am  the  great  and  mighty  sap  'tis  true ; 
If  you'll  Elect  me  all  I've  said  I'll  do ! !  1 

Wood  was  at  the  bottom  of  the  poll,  see  No.  1 1906.  The  print  is  attributed 
by  E.  Hawkins  to  18 17,  when  he  was  returned  unopposed  for  the  City  on  the 
resignation  of  Alderman  Combe,  and  by  Cohn  to  Wood's  defence  in  1820  of 
the  Princess  of  Wales.  On  both  occasions,  and  also  in  1816  (see  No.  12816, 
&c.),  the  print  may  have  been  reissued. 

Reid,  No.  674.   Cohn,  No.  1744. 
5|X7i^g  in.   Broadside  i6|x  lOj  in. 

11910  THE   CANDIDATE   MISSING!!   OR  THE  PUBLIC   ENTRY 
OF  THE  "BACK  BONE"  OF  LIVERPOOL 

[.?  Atkinson.]  [Oct.  1812] 

Engraving.  A  scene  outside  the  Liverpool  hustings,  a  boarded  structure  built 
against  the  pillared  portico  of  a  public  building,  the  pediment  of  which  is 
inscribed  [Tem]ple  of  Influence  \  i^xxxx^  Architect.  This  is  evidently  intended 
for  the  new  Liverpool  Town  Hall,  finished  in  1811,  Foster  being  the  borough 
surveyor.  A  tarpaulin  covers  the  sloping  roof  of  the  timber  stand  or  hustings, 
in  front  of  which  are  the  names  of  three  candidates:  G.  Canning,  \Tar\lton, 
Brougham.  Above  Canning's  name  is  a  seated  figure  bowed  under  a  burden 
of  Taxes,  Sinecures,  Pensions,  Surcharg[es],  above  Brougham's  a  figure  of 
Justice,  blindfolded,  with  sword  and  evenly  balanced  scales.  The  chief  object 
in  the  design  is  a  coach  and  pair  driven  (r.  to  1.)  across  the  cobbles  before  the 
hustings.  Driver  and  occupants  are  in  the  deepest  dejection;  they  wear 
ribbons  as  election  favours,  which  hang  from  their  hats  like  mourning- 
scarves.  The  coach  is  a  private  carriage  with  the  (lowered)  hood  of  a  barouche, 
and  a  rumble  for  two  behind.  The  driver  holds  the  reins  listlessly;  in  the 
pocket  of  his  companion  on  the  box  are  two  papers:  To  IW^  Potter  and 
M''^  Ashton.  Inside  a  man  stands  up  to  vomit,  splashing  the  coach  and  a  paper 
on  the  ground  inscribed :  Friends  of  G.  Canning  meet  London  Road  Wednesday 
Morning.  Another  man  offers  a  cup  to  a  fainting  friend,  and  a  fourth  passenger, 
wearing  a  surplice  and  bands,  stands  weeping  with  a  handkerchief  to  his  eye. 
The  coach  is  decorated  with  an  irradiated  crown  surrounded  by  the  words: 
Pensions,  Places,  Intrigues,  Sinecures,  Rot"  Boroughs.  The  other  four  panels 
are  decorated  symmetrically  with  crests:  on  two  panels  a  shackled  negro 
kneeling  with  clasped  hands  and  on  the  two  lower  panels  a  bird,  one  with 
leaves  in  its  beak,  the  Liver  bird  of  Liverpool.  Two  other  dejected  men  sit 
in  the  rumble,  which  is  inscribed  Road  to  Ruin.  The  front  of  the  carriage 
is  inscribed  Captin  Gla^^^^e  [Gladstone]  runs  every  day  during  the  Election; 
on  the  box-seat  are  the  words  The  African  enclosed  in  a  laurel  wreath.  The 
men  in  the  coach  are  young,  good-looking,  and  fashionably  dressed.  The 
coach  is  followed  by  a  procession  of  men  (r.),  similarly  dressed,  also  weeping, 
who  have  two  banners:  one  Canning  and  more  Taxes,  the  other  Friends  of 
Pensioners  and  Men  Living  by  the  Taxes.   Behind  the  horses  (1.)  is  a  crowd  of 

136 


POLITICAL  SATIRES   1812 

similar  men  also  in  distress,  with  a  banner  inscribed  Surcharges.  A  young 
man  wearing  a  loose  jacket  and  trousers  has  climbed  to  a  hoarding  above  the 
hustings,  and  supports  himself  by  holding  the  toe  of  the  figure  symbolizing 
Canning;  he  waves  his  hat  gloomily.  On  the  hustings  and  hoarding  are 
election  bills:  one  headed  [B]rother  [T]ozvnsm€n  and  signed  Creevey  is  next: 
Wanted  Immediately  a  Candidate.  Another:  O!  dear  what  can  the  matter  he — 
Missing  this  Morning  The  Rig^  Hon^^^  G  Canning  A  Reward  or  a  Place  or 
Pension  &c.  This  is  above  a  bill  signed  Gascoyne.  Another  is  headed  Freemen 
and  ends  Ocr  7"*  1812. 

The  Liverpool  election  began  on  7  Oct.  The  candidates  were  two  Whigs, 
Brougham  and  Creevey,  and  two  Tories,  Canning  and  Gascoyne,  with 
Tarleton,  the  two  last  being  the  old  members,  and  Tarleton  declining  the 
poll  at  an  early  stage.  The  poll  closed  on  16  Oct.,  the  results  being:  Canning 
1,631,  Gascoyne  1,532,  Brougham  1,131,  Creevey  1,068,  Tarleton  11.  Can- 
ning arrived  in  Liverpool  a  day  late,  and  missed  the  parade  prepared  for  him, 
and  here  depicted.  John  Gladstone,  father  of  W.  E.  G.,  had  invited  Canning 
to  contest  Liverpool,  and  was  at  first  sole  guarantor  of  his  election  expenses 
(for  which  a  subscription  was  raised).  He  was  a  merchant  with  interests  in 
the  slave-trade,  which  he  defended.  Mr.  Ashton  was  one  of  Creevey's  sup- 
porters. Though  there  were  many  speeches,  songs,  and  squibs  the  election 
was  conducted  with  politeness  and  good  temper:  'We  are  all  as  amiable  as 
ever  we  can  be,  there  is  not  a  particle  of  bad  blood.  .  .  .'  Gore,  Creevey's 
Life  and  Titnes,  1934,  p.  61.  See  Collection  of  Addresses,  Songs,  Squibs,  etc.  .  .  . 
Oct.  1812  (B.M.L.  1 1623  bbb.  6);  Creevey  Papers,  ed.  Maxwell,  1912, 
pp.  166-72;  Corr.  of  George  IV,  1938,  i.  178;  CobbetVs  Pol.  Reg.  xxii.  577-95; 
Memoirs  of  Horner,  1843,  ii.  132-4;  Aspinall,  Brougham  and  the  Whig  Party, 
1927,  pp.  28-30.  See  No.  11906.  For  Liverpool  and  the  slave-trade  cf. 
No.  12021. 
Six  11^  in. 

11911  NEWRY  ELECTION 

Dublin  Publish''  by  J  O'Callaghan  11  Bride  Stree'  one  door  from  Ross 
Lane  [Oct.  181 2] 

Engraving  (coloured  impression).  Ragged  Irish  peasants  in  the  foreground 
are  cheering  Needham  for  Ever,  under  the  influence  of  a  few  well-dressed  top- 
booted  men.  One  elector  (1.)  stands  between  two  of  the  latter,  each  of  whom 
puts  a  coin  into  his  extended  hands;  he  says:  Upon  my  soul  I  can't  take  such 
a  trifle  to  sell  my  Country.  Another  propels  a  peasant  towards  the  hustings, 
saying,  Come  on  my  Boy  the  General  will  do  your  business.  The  hustings  is 
raised  above  the  crowd,  and  has  a  ramshackle  roof  of  boards  supported  on 
poles.  Two  poll-clerks  sit  at  a  desk  (1.),  and  near  this  a  man  tackles  another 
to  prevent  his  flying  at  Curran  who  is  making  a  speech  on  the  hustings  (r.). 
Curran  is  surrounded  by  six  respectable-looking  men  seated  on  benches.  He 
says,  pointing  down  at  his  opponent,  Atn  I  to  be  disturbed  by  the  Obscene 
Unnatural  grimaces  of  a  Baboon.  His  own  appearance  is  far  more  baboon-like 
than  that  of  the  General  in  full  regimentals,  who  angrily  draws  his  sword  in 
the  foreground  (r.),  looking  up  at  the  hustings.  One  of  Curran's  supporters 
says :  What  a  pity  that  such  thunders  of  eloquence  have  not  to  resound  in  the  ears 
of  the  Sleeping  Commoners.  Behind  General  Needham  are  a  cask  with  a  flagon 
inscribed  Needh[am],  and  a  cart  from  which  six  grotesque  ragamuffins  watch 
the  hustings.  In  the  cart  are  lifeless  men,  apparently  dead  drunk.  Under 
Needham's  feet  is  a  terrier,  its  collar  inscribed  Needham,  which  barks  at  a  sow 

137 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

with  a  brood  of  miniature  pigs.  In  the  background  (r.)  is  Newry,  closely 
built,  with  dilapidated  cottages  in  the  middle  distance. 

General  Needham,  afterwards  12th  Viscount  Kilmorey,  represented  Newry 
from  1806  to  1818.  In  1812  the  electors  invited  Curran  to  contest  the  seat, 
but  after  a  single  speech,  which  is  almost  the  only  considerable  one  he  ever 
made  to  a  purely  popular  assembly,  he  retired  on  17  Oct.,  the  sixth  day  of 
the  election,  the  results  being  346  to  144.  D.N.B. 
7|xi2jin. 

11912  THE  FARCE  AT  ST  STEPHEN'S.  OR  SIR  FRANCIS,  DIPPING 
BUCKETS  INTO  EMPTY  WELLS.  177 

W—E[lmes.] 

London.  PuW  OcV  24  1812  by  The'  Tegg,  ill  Cheapside 

Price  One  Shilling  Coloured 

Engraving.  Sir  Francis  Burdett,  in  shirt-sleeves,  turns  the  windlass  of  a  well 
above  which  hangs  an  Empty  Bucket.  Lord  Cochrane  (1.),  in  naval  uniform, 
is  about  to  heave  in  a  sounding- lead,  inscribed  No  Bottom;  he  stands  on  an 
anchor  and  papers  inscribed  Droits  of  Admiralty  and  Proctor's  Bill.  Burdett 
tramples  on  two  books :  Red  Book  and  Sinecures  \  Pensioji  List,  beside  which 
lie  two  bulky  documents:  Reason  and  comon  sense  and  Anaul  [sic]  Parlia- 
menVs  Free  Elections.  Behind  Burdett  is  the  Table  of  the  House  of  Commons 
and  (r.)  the  Speaker's  Chair;  the  little  Speaker,  Abbot,  steps  from  the  seat 
of  the  Chair  on  to  the  table,  and  on  to  a  paper  inscribed  Bill  of  Rights,  raising 
the  mace  to  smite  the  unsuspecting  Burdett.  A  dais  supporting  the  Chair 
is  inscribed  Conveniant  stepping  Stone.  Two  judges,  Ellenborough  and  Eldon, 
stand  behind  the  Table,  about  to  hit  Burdett  on  the  head  with  two  blocks 
inscribed  Law  and  logic  Pentioned  Justices  and  Vague  and  Sanguinary  Laws. 
The  spectacled  Clerk  writes  painfully  with  his  1.  hand :  low  farce.  In  the  back- 
ground are  members  of  the  Commons  on  the  ministerial  side  of  the  House, 
one  of  whom  is  speaking.  Words  issue  from  Burdett's  mouth,  forming  a 
prominent  part  of  the  design:  Gentlemen,  I  have  no  wish  to  be  returned  a 
Member  of  an  Assembly  where  Corruption  is  acknowledged  to  be  as  "notorious 
as  the  sun  at  noon  day.  Nine  hundred  millions  of  debt, — inland  fortresses  under 
the  name  of  barracks, — an  army  of  foreign  mercenaries, — an  army  of  spies  and 
informers — of  Tax  and  Excise  Agents,  an  Inquisition  of  private  property,  a 
phantom  for  a  King, — a  degraded  Aristocracy  a  crushing  burtheJi  of  Taxation, 
are  some  of  the  bitter  fruits  of  corruptiofi  in  the  House  of  Commons. 

A  satire  relating  chiefly  to  the  Westminster  election,  at  which  Burdett  and 
Cochrane  were  returned  on  8  Oct.,  unopposed  and  without  being  present. 
Europ.  Mag.  Ixii.  326.  Burdett's  speech  is  from  his  election  address  as  are 
'pentioned  justices'  and  'vague  and  sanguinary  laws'.  He  said:  'The  House 
of  Commons  ...  is  become  the  Greatest  of  all  Grievances  .  .  .  the  people 
of  England  are  entitled  by  several  positive  laws  as  well  as  by  that  which  is 
superior  to  all  law,  reason  &  common-sense  &  common  good  to  Annual 
Parliaments  &  free  elections.'  Patterson,  Burdett  and  his  Times,  193 1,  i.  321-4. 
For  Burdett  and  the  Red  Book  see  No.  10745,  ^c.  Cochrane  in  his  letter  to 
the  electors  after  the  election  enclosed  an  Admiralty  Court  Proctor's  bill 
thirty-seven  feet  six  inches  long,  which  he  had  produced  in  the  House  of 
Lords,  to  show  that  the  abuses  of  the  Admiralty  Courts  protected  enemy 
coasting  trade.  He  also  condemned  the  Peninsular  War  as  playing  into  the 
hands  of  the  enemy.  Cobbett's  Pol.  Reg.  xxii.  599-605.  For  the  Droits  of 
Admiralty  see  No.  10967.    Brougham  on  2  June  moved  for  an  account  of  all 

138 


POLITICAL   SATIRES    l8l2 

sums  taken  from  the  fund,  which  was  outside  the  control  of  Parliament. 
Pari.   Deb.  xxiii.   326.    The   Speaker's   action   represents   his  warrant  for 
Burdett's  arrest,  see  No.  11538,  &c. 
8|xi2f  in. 

11913  DEERHURST'S  DEFEAT  OR  THE  END  OF  UNQALIFIED 
[sic\  AMBITION. 

[Williams.] 

PuM  NovenC  1 1812  for  the  Proprietors  of  Town  Talk 

Engraving  (coloured  impression).  PL'  to  Tozvn  Talk,  iii.  245.  A  carriage  and 
four  is  drawn  (r.  to  1.)  by  four  galloping  horses,  the  driver  having  dropped 
reins  and  whip  in  terror  at  being  confronted  with  an  election  banner  inscribed : 
State  of  the  Poll  Magority  [sic]  over  7^;  the  man  holding  it  shouts :  Gordon  for 
ever.  In  the  carriage  a  young  man  hides  his  face  in  his  hands,  while  four 
ladies  trj'  to  console  him,  one  saying,  Dry  your  tears  my  dear  Lord!  it  is  unmanly 
to  Despair!  Another  looks  over  her  shoulder  to  the  distant  town  of  Worcester 
on  the  extreme  r.,  where  two  members  are  being  chaired.  These  have  four 
banners:  Gordon  and  Freedom,  Robarts for  Ever,  The  Worcester  Freeman,  and 
Purity  of  Election.  A  signpost  beside  them  points  [r.]  To  Worcester,  [1.]  To 
Croome.  On  the  carriage  is  the  Coventry  crest,  a  cock  on  a  sheaf  of  com,  with 
the  motto  Fortem  Posce  Animum  ['Wish  for  a  brave  soul',  the  motto  of  the 
Twisleton  family,  that  of  Coventry  being  'Candide  et  Constanter'].  In  front 
of  the  horses  two  men  hold  up  a  dead  cock  on  a  pole,  and  a  man  plays  the 
Rogue's  March.  Two  young  women  exclaim:  Poor  Cock  how  crest  fallen 
erUt  it  Harriett,  and.  He  is  indeed!  he  has  a  fine  tail  but  good  for  nothing  eh 
Suk. 

In  the  foreground,  in  front  of  the  carriage,  a  funeral  procession  walks 
towards  a  smoking  cavity  on  the  extreme  1.,  from  which  emerges  an  arm 
holding  a  banner  inscribed  Gulph  of  Despair.  The  coffin,  carried  on  the 
shoulders  of  four  weeping  men,  is  inscribed  Interest  of  the  Coventry  Family 
Obiit  1812,  and  is  followed  by  two  other  mourners.  Behind  them  run  three 
men  wearing  election  scarN^es  with  a  paper  inscribed  Influence,  who  flee  from 
men  who  chase  them  at  the  point  of  the  sword.  Three  of  the  latter  have  swords 
inscribed  Independence,  one  of  whom  holds  a  paper:  Worcester  Freemen,  a 
fourth  fires  a  pistol,  and  a  fifth  uses  a  ramrod  on  his  gun.  They  are  followed 
by  a  man  with  a  banner :  Robarts  \  Duly 

Gordon  \  elected. 
Deerhurst — Declined. 

In  the  background  is  a  decayed  park  wall  and  an  entrance,  from  which  the 
gate  has  fallen,  leading  to  a  country  house.  Tree-trunks  are  toppling.  A 
steward  stands  by  the  gate  raising  his  arms  in  a  gesture  of  despair;  he  says: 
These  timbers  the  last  left  of  those  zve  were  allowed  to  fell,  must  now  be  taken 

away  to  pay  Electio?i  e.xpences  Woe  is  the  day  to  the  House  of  C .    A  man 

in  a  smock  standing  beside  him  says :  Aye  Measter  Stezcard,  times  be  Strangely 
altered  within  these  last  fete  years.  A  starving  dog  with  a  bone  in  its  mouth 
running  behind  Deerhurst's  carriage  emphasizes  the  family  impoverish- 
ment. 

In  Oct.  18 1 2  Lord  Deerhurst  contested  Worcester,  whose  electors  were 
the  (reputedly  venal)  freemen,  but  the  old  members  were  returned :  Abraham 
Robarts  1,248,  William  Gordon  939,  Deerhurst  855.  Deerhurst  (1784-1843) 
was  returned  at  a  by-election  in  Dec.  1816.    Harriette  Wilson  called  him 

'  Not  folded,  showing  that  it  was  issued  separately. 

139 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

*a  most  profligate  nobleman'.  In  1811  he  married  Lady  Mary  Beau  clerk  with 
^100,000.    G.E.C.,  Complete  Peerage.    Crome  Court  was  Lord  Coventry's 
seat.   Cf.  No.  11 949. 
9^Xi6|in. 

11914  THE  COURT  OF  LOVE,  OR  AN  ELECTION  IN  THE  ISLAND 
OF  BORNEO. 

G.  Cruikshank  fed 

Published  November  j^'  18 12  by  W  N  Jones  N°  5  Newgate  Street 

Engraving'  (coloured  and  uncoloured  impressions).  PI.  to  the  Scourge,  iv, 
before  p.  349.  An  illustration  to  'Elections  in  the  Isle  of  Borneo',  pp.  349-55, 
relating  a  dream  in  which  the  Prince  chooses  his  Ministers  and  Household 
officers  according  to  their  proficiency  in  adultery.  A  sequel  to  No.  11899. 
The  Regent  is  enthroned  under  a  canopy  in  the  centre  of  a  long  platform 
backed  by  the  pillars  of  Carlton  House.  Below  is  the  cobbled  street,  with 
passers-by  and  spectators  whose  heads  are  just  below  the  platform,  so  that 
the  figures  are  arranged  in  two  tiers.  The  Regent's  throne  is  on  a  triple  dais; 
he  puts  one  arm  round  the  waist  of  Lady  Hertford  who  sits  on  his  knee, 
holding  at  arms'  length  a  brimming  goblet.  She  puts  her  r.  arm  round  his 
neck,  and  also  supports  herself  by  placing  a  finger  on  the  branching  antlers 
of  her  husband,  who  stands  in  his  chamberlain's  robes,  and  holding  his  wand 
of  office,  beside  the  dais,  at  which  he  points  with  a  complacent  grin.  He  says : 
My  gracious  Master  is  personelly  acquainted  with  my  merits,  they  live  in  his 
bosom,  &  he  will  reward  me,  according  to  my  Deserts.  Lady  Hertford  wears 
a  spiky  crown,  and  her  vast  spherical  breasts  are  divided  by  a  jewel  in  the 
form  of  the  Prince's  feathers  with  his  motto  Ich  Dien.  The  drapery  over  the 
throne  is  centred  by  the  crowned  skull  of  a  stag,  with  wide  antlers;  in  its 
nostrils  is  a  ring  from  which  a  birch-rod  hangs  above  the  Prince's  head.  A 
grinning  demon,  standing  on  the  antlers,  straddles  across  the  crown,  holding 
up  the  drapery.  On  the  1.  of  the  throne  the  Duke  of  York,  in  uniform  with 
cavalry  boots,  his  hand  on  his  sword,  stands  swaggeringly.  A  woman  clutches 
his  arm  and  whispers  in  his  ear;  beside  them  is  a  basket  containing  three 
infants  and  inscribed  Mother  Careys  Chickin  [see  No.  11050].  He  says:  /  was 
turned  out  of  the  Office  I  now  solicit  because  I  was  too  fond  of  a  married  Woman 
[Mrs.  Clarke,  see  No.  1 1216,  &c.]  &  could  not  live  without  commiting  Adidtery 
I  claim  therefore  to  be  once  7nore  elevated  to  the  Office  of  Commander  in  Cheif. 
Behind  Lord  Hertford  (and  a  pendant  to  Mrs.  Carey)  stands  an  elderly 
posturing  peer,  wearing  a  star,  his  hands  deprecatingly  extended.  He  says: 
As  for  business  I  never  had  a  Headfor't  but  I  have  laid  the  Coimtry  under  a 
Massy  load  of  Obligations  in  other  respects  Adultery  is  my  Motto  so  give  me 
xxxxxy^fijp  qJ  f}ig  f{ Next  (r.)  is  a  group  of  three :  the  Duke  of  Cumber- 
land in  outlandish  Death's  Head  Hussar  uniform  holding  a  sabre  with  a 
notched  blade  and  seemingly  dripping  blood,  though  not  so  coloured.  He 
stands  between  two  young  women;  one,  holding  his  arm,  brandishes  a  razor 
over  her  head,  the  other  holds  a  paper  called  Nugent.  The  Duke  says :  Con- 
sidering  my  Exploits  you  cannot  do  less  than  make  me  a  Field  Marshal.  On  the 
extreme  r.  is  the  Duke  of  Clarence  in  admiral's  uniform  with  trousers,  point- 
ing to  a  broken  chamber-pot  ('Jordan')  decorated  with  a  crown  and  containing 
seven  children,  two  in  uniform.  Mrs.  Jordan  takes  him  affectionately  by  the 
arm.  He  points  downwards,  saying,  /  have  lived  in  Adultery  with  an  actress 
2^  years  &  have  a  pretty  Number  of  illegetimate  Children.  I  hope  you  will  make 
me  an  Admiral  of  the  Fleets. 

'  Not  folded,  showing  that  it  was  issued  separately. 

140 


POLITICAL   SATIRES    l8l2 

On  the  extreme  1.  McMahon,  dwarfish  and  ugly,  stoops  over  the  edge  of 
the  platform,  pouring  coins  from  a  bag  marked  P P  [reversed  letters],  for  Privy- 
Purse  (or  Pimp),  into  the  apron  of  a  hideous  bawd  who  grins  up  at  him.  He 
says :  Let  her  be  forty  at  least,  plump  &  Sprightly.  Next  stands  Lord  Yarmouth, 
wearing  a  star,  his  hands  in  his  pockets,  scowling  at  a  young  woman  who  puts 
her  hands  on  his  shoulders;  he  says:  Confound  my  Wishers  if  Venus  alias 
Fanny  Anny  [Fagniani]  may  not  go  to  Juno — /'m  Vice  all  over.  Let  me  con- 
tinue so.  Next  is  a  tall  man  wearing  a  long  driving-coat  with  a  star  and  a  small 
rakish  top-hat  (?  Lord  Melbourne);  one  leg  terminates  in  a  cloven  hoof.  He 
stands  between  two  disreputable  women  of  the  lowest  St.  Giles  type,  ragged 
and  hideous,  an  arm  across  the  shoulders  of  each;  both  offer  him  drink,  one 
takes  him  by  the  chin.  A  third  and  younger  woman  sits  on  the  ground  at  his 
feet,  drinking  from  a  bottle.   He  says:  As  for  me  my  Name  is  sufficient,  I  am 

known  as  the  Paragon  of  Debauchery  and  I  only  claim  to  be  the s  [Regent's] 

Confidential  Friend. 

On  the  ground  (1.  to  r.)  are  the  bawd  receiving  money  from  McMahon, 
a  ragged  dustman  with  the  curved  shin-bones  then  known  as  'cheese-cutters', 
a  result  of  rickets;  George  Hanger,  with  his  bludgeon  under  his  arm  (cf.  No. 
8889,  &c.),  saying,  Hang  her  She's  quite  Drunk;  Augustus  Barr\^,  grotesquely 
thin  and  very  rakish,  with  long  coat,  standing  with  widely  splayed-out  feet. 
These  three  stare  up  at  the  throne,  Barry  looking  through  an  eye-glass.  A 
ragged,  sub-human  creature  picks  Barry's  pocket,  taking  a  paper:  A  Sermon 
to  be  Preached  at  Cripple  gate  by  Rev'^  Hon^^"  A  Neugate.  A  blind  beggar 
(?  a  sailor)  walks  with  a  stick,  and  a  dog  on  a  string,  holding  out  his  tattered 
hat.  A  Quaker-like  figure  stares  up  at  the  platform  where  the  legs  of  the  seated 
prostitute  hang  over  its  edge,  as  does  a  beggar  boy  with  badly  twisted  legs. 
Next,  a  fashionably  dressed  man  and  woman  shake  hands,  bending  to  stare 
into  each  other's  face.  He  takes  her  1.  hand.  His  dress  resembles  that  of  the 
dandy  of  a  few  years  later:  shock  of  hair,  exaggerated  neck-cloth,  hussar- 
pattern  trousers,  and  long  tail-coat.  The  centre  figure  in  this  lower  row  is 
John  Bull  looking  up  angrily  over  his  shoulder  at  the  prostitute,  and  pushing 
away  to  the  r.  three  young  girls;  he  says  to  them:  Get  azcay  get  azcay,  if  you 
go  near  the  Platform  you'll  be  ruined.  His  bull-dog  looks  pugnaciously  up  at 
the  platform.  A  tall  emaciated  cavalry  soldier  speaks  to  a  woman  in  a  poke- 
bonnet,  while  a  little  ragged  boy  clasps  the  long  horse-tail  which  hangs  from 
his  helmet.  On  the  extreme  r.  is  Sheridan  in  (ragged)  Harlequin's  dress  (cf. 
No.  9916),  moribund  or  drunk,  supported  between  two  top-booted  bailiffs; 
one  holds  a  writ  and  says  Poor  fellow  his  Magic  wand  is  broken.  On  the  ground 
lies  his  wooden  sword  in  two  pieces,  one  inscribed  M,  the  other  P;  at  his  feet 
is  a  paper:  Princely  Promises. 

A  picture  of  depravity  centring,  as  in  No.  11899,  '"  ^^^  associations  of  the 
Regent  with  the  Hertfords.  The  Duke  of  York  had  been  reinstated  as  Com- 
mander-in-Chief, see  No.  11725;  the  Duke  of  Clarence  had  been  made 
Admiral  of  the  Fleet  by  the  Regent  in  181 1;  he  had  separated  from  Mrs. 
Jordan,  see  No.  11744.  The  Duke  of  Cumberland  was  Colonel  of  the 
15th  Dragoons  (hussars  since  1806);  he  was  made  Field  Marshal  26  Nov. 
1813.  It  is  implied  that  he  murdered  his  valet  Sellis,  instead  of  being  Sellis's 
victim,  see  No.  11561,  and  the  woman  with  the  razor  is  probably  Mrs.  Sellis, 
the  reputed  cause  of  the  supposed  attack  on  her  husband.  'Nugent'  must 
relate  to  one  of  the  scandals  the  public  delighted  to  guess  at.  For  the  Marquis 
of  Headfort  (K.P.  1806)  see  No.  12042.  He  wrote  on  4  Oct.  to  McMahon, 
professing  devotion  to  the  Regent  and  referring  to  the  latter's  constant 
'attention,  kindness,  friendship  and  protection'.    Corr.  of  George  IV,  1938, 

141 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

i.  162.  Melbourne  (1745-1828)  was  'principally  known  by  the  distinguished 
place  that  he  occupies  in  the  annals  of  meretricious  pleasure',  Wraxall, 
Memoirs,  1884,  iii.  370.  He  and  Headfort  were  made  Lords  of  the  Bed- 
chamber in  Mar.  1812  (see  No.  12006).  For  the  Prince  and  Lady  Melbourne 
see  No.  6961,  &c.  Yarmouth,  Lady  Hertford's  son  and  the  Prince's  friend, 
was  Vice-Chamberlain  of  the  Household,  see  No.  11890,  &c.;  his  wife  Maria 
Fagniani  lived  in  Paris  and  was  a  mistress  of  Junot,  cf.  No.  12056  (B.  Falk, 
Old  O's  daughter,  1937,  p.  49).  For  MacMahon  as  the  Prince's  pimp  cf. 
No.  1 1874.  For  Augustus  Barry  (1773-1818,  'Newgate')  see  No.  7997. 
Sheridan's  defeat  in  the  1812  election  completed  his  ruin.  His  estrangement 
from  the  Prince  followed,  and  the  latter  was  accused  of  deserting  him. 
Actually,  the  Regent  provided  him  with  ,^4,000  to  buy  another  seat,  but, 
it  is  said,  Sheridan  through  procrastination  applied  it  to  the  payment  of  press- 
ing debts  and  thereafter  avoided  the  donor.  Croker  Papers,  1884,  i.  305-11; 
Rhodes,  Harlequin  Sheridan,  1933,  228  ff.;  see  No.  12081.  In  1812  the 
Regent  instituted  new  helmets  for  the  Life  Guards  with  long  horse-tails. 
See  Examiner,  1812,  pp.  651-3,  698  (verses), 
lof  X  i8|  in. 

11915  DISSOLUTION  OF  PARLIAMENT'  |  SATIRIST  1ST  NOVEM- 
BER 1812. 

Satirist  inv'   W.  H.  Ekoorb  [Brooke]  del  et  aq'^  forV  fecit. 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xi.  367.  A  moribund 
giant,  'M""  Parliament',  lies  on  an  ornate  bed,  decorated  with  the  Royal  Arms, 
with  a  pelmet  inscribed  Bed  of  Justice.  A  dagger  labelled  By  Proclamation 
is  thrust  into  his  breast;  his  head  is  supported  by  the  Speaker,  Abbot,  who 
sits  on  the  pillow,  his  mace  beside  him,  saying  to  the  Clerk:  Order!  Order! 
Clerk  take  down  the  words.  The  Clerk  writes,  seated  on  the  bed.  At  the  foot 
of  the  bed  (1.)  six  men  gather  round  a  lusty  squalling  brat,  the  new  Parliament; 
Whitbread  proffers  a  tankard  of  Whitbr[ead's]  Entire,  treading  on  a  Decoct" 
of  Log  Wood  [an  imputation  on  his  beer,  cf.  No.  10794].  Two  hold  out 
napkins:  one  (1.)  is  Ponsonby,  leader  of  the  Opposition  in  the  Commons  (cf. 
No.  10969),  the  other,  kneeling,  is  Burdett.  Three  others  have  medicine- 
bottles:  Grattan's  is  Catholicon,  Romilly's  Essence  of  Laws,  Madocks's  (or 
Folkestone's)  Purgatio  Reformatio  [see  No.  1 1334] .  Nearer  the  bed  is  a  rocking- 
horse  centaur  with  the  head  of  the  Lord  Mayor,  who,  holding  a  mace,  says 
(quoting  Raleigh):  Fain  would  I  climb,  but  that  I  fear  to  fall.  A  man  climbing 
up  the  bed  by  stepping  on  a  chamber-pot  (Waithman),  turns  to  say:  If  thy 
heart  fail  thee  Climb  not  at  all. 

On  the  extreme  r.  five  men  are  grouped  round  a  huge  fire  in  an  ornate  fire- 
place, preparing  caudle  and  warming  napkins.  On  the  chimney-piece  are 
medicine-bottles,  bowl,  &c.;  above  it  is  an  ornately  framed  picture  of  two 
women  and  an  infant,  a  third  figure  bending  over  them.  On  the  r.  rays  and 
cloud  slant  towards  the  bed  with  two  winged  figures.  Described,  but  not 
depicted,  as  under  the  bed  are  Wardle,  Sir  T.  Turton  (see  No.  11908),  and 
Tarleton  (see  No.  119 10).  Others  who  have  fallen  into  the  chamber-pot 
which  will  shortly  engulf  Waithman  are  Henry  Hunt,  see  No.  1 1907,  Cobbett, 
and  Hallett,  see  No.  11863.  A  broken  phial  of  deleterious  drugs,  'Alder- 
Wood'  (Alderman  Wood,  see  No.  11909),  is  said  to  be  depicted;  the  artist 
seems  to  have  substituted  Whitb read's  logwood. 

An  anti-Radical  satire  on  the  dissolution  of  Parliament  by  proclamation 

*  Cropped.   Title  and  signature  from  B.M.L.,  P.P.  3558. 

142 


POLITICAL   SATIRES    l8l2 

on  29  Sept.,  and  on  the  general  election,  see  No.  11906,  &c.  The  Catholic 
question  had  been  Grattan's  special  province  in  Parliament  since  1805.  For 
Romilly's  long  struggle  for  administrative  law  reform  and  relaxation  of  the 
penal  code  cf.  No.  11713.  For  Burdett  and  Reform  see  No.  11551,  &c.; 
Cobbett  tried  to  make  it  an  issue  at  the  election,  see  Pol.  Reg.  xxii.  418-33 
(3  Oct.  1 81 2).  All  the  invisibles  but  Cobbett  are  unsuccessful  candidates  or 
former  members  who  did  not  seek  re-election,  Hunter  the  Mayor  withdraw- 
ing at  an  early  stage,  see  No.  11906.  Wardle,  discredited  and  in  debt,  see 
No.  1 1385,  did  not  stand,  though  a  Westminster  politician  is  said  to  have 
raised  ,{^4,000  for  him. 
7|X  13^  in.   With  border,  8f  X  i4jg  in. 


11916  THE  ANTI-ROYAL  MENAGERIE  1  SATIRIST  1ST  DECEM- 
BER 1812. 

Satirist  inv^         W.  H.  Ekoorb  [Brooke]  deV  Aqua  Fortis  fecit. 

Engraving  (coloured  impression).  PI.  to  the  Satirist,  xi.  463,  with  an  explana- 
tory description  (pp.  463-71)  which  is  a  skit  on  that  issued  by  Polito  for  his 
Royal  Menagerie,  Exeter  'Change  (see  No.  10077).  This  is  allusive;  not  all  the 
animals  mentioned  (creatures  with  human  heads)  can  be  traced  in  the  pi. 
Some  are  recognizable,  though  poorly  characterized.  A  vaulted  menagerie  is 
open  at  one  end  (r.),  admitting  slanting  rain  and  a  box-like  van  completely 
covered  with  bills  on  which  animals  are  depicted.  The  showman.  Grey  (1.), 
in  a  dress  roughly  resembling  that  of  a  herald,  has  two  heads  and  is  'Signor 
Double-Tete' ;  he  blows  through  a  trumpet:  Here's  your  Raree-ShowH! 
Tumble  up  Ladies  and  Gem  men,  here  we  are  all  alive  and  kicking!  The  other 
head,  that  of  Grenville,  says:  Great  Natural  Curiosities  &  most  ivonderful 
wonders  from  all  parts,  just  arrived — all  alive  alive  alive  OH!  He  leads  (r.  to  1.) 
'The  Great  Egyptian  Camel'  with  the  profile  of  Lord  Hutchinson.  His  assist- 
ant is  Ponsonby  (see  No.  11915)  wearing  top-boots  and  with  bandy  legs;  he 
flourishes  a  whip  and  leads  a  dray-horse  with  the  head  of  Whitbread,  which 
is  in  the  shafts  of  the  van  (said  to  be  stuck  in  the  mud).  Between  camel  and 
horse  is  a  rhinoceros,  with  the  face  of  Lord  Holland,  and  with  a  hen  (Lady 
Holland)  pecking  its  back.  In  front  of  this  and  between  Grey  and  Ponsonby 
are  four  creatures:  a  little  dancing-dog  (cf.  No.  10589)  on  its  hind-legs,  wear- 
ing a  cocked  hat,  is  Lord  Lansdowne.  Next,  a  large  kangaroo  with  the 
spectacled  head  of  the  Marquis  of  Buckingham  and  a  vast  paunch,  'a  sinecure 
stomach'  (cf.  No.  10721,  &c.).  An  ape  on  its  hind-legs  and  with  an  ape's 
head,  is  identified  as  Lord  Lauderdale.  Near  him  prances  a  little  pig  with 
the  head  of  Lord  Derby  copied  (in  reverse)  from  Gillray's  More  Pigs  than 
Teats  (No.  10540).  Behind,  and  almost  concealed  by,  the  dray-horse,  is  a 
goat,  'a  Wynny  Welch  Goat  called  the  Squeaker'  (i.e.  Charles  Wynn,  he  and 
his  brother  Sir  William  being  known  as  Bubble  and  Squeak,  see  No.  10566). 
On  the  extreme  1.  and  next  Grey  is  a  violently  kicking  ass,  described  as  a 
mischievous  brute  with  a  rooted  antipathy  to  lawyers — probably  J.  C.  Curwen, 
who  brought  in  a  Reform  Bill  in  1809  to  prevent  bribery  at  elections  and  the 
sale  of  seats.  The  profile  has  some  resemblance  to  his  portraits.  Next  the 
dray-horse  (r.)  is  a  prancing  mule  'from  Folkestone',  which  'feeds  on  straw- 
berries', and  is  Lord  Folkestone,  see  No.  11565.  There  are  five  other  animals 
on  the  r.  'A  singular  weazel  from  New-port  in  Ireland'  is  a  small  ferret,  i.e. 
Sir  John  Newport,  M.P.  for  Waterford,  known  as  'the  political  ferret'.  A 
jackal  and  badger,  both  oddly  drawn,  are  'Abercrombie'  (James  Abercromby, 
1776-1858,  M.P.  for  Calne,  a  moderate  Whig),  and  Creevey,  whose  role  was 

H3 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

to  badger  the  Ministry.  Two  larger  animals,  close  together,  are  a  hippo- 
potamus and  a  sloth.  The  former  has  the  head  and  cocked  hat  of  Cochrane, 
and  is  described  as  the  'Tapir  or  Hippopotamus','  just  arrived  and  'con- 
spicuous .  .  .  from  the  extreme  clumsiness  of  its  motion  upon  dry  land'.  The 
other,  the  'Ursine  sloth',  is  identified  as  Sir  James  Shaw  (see  vol.  viii),  who, 
however,  was  an  independent  Tory, 

The  sides  of  the  menagerie  are  formed  of  three  tiers  of  cages,  only  three 
of  which  contain  identified  beasts:  The  Wonderful  Bedford  [Cow],  has  udders 
inscribed  Boroughs,  and  is  described  as  harmless,  but  giving  its  milk  as 
sustenance  to  other  animals.  (The  Duke  of  Bedford  had  less  electoral  interest 
than  several  other  peers;  he  had  recently  sold  Camelford,  leaving  him  only 
Tavistock  and  his  interest  in  the  county  and  town  of  Bedford.)  The  Golden 
Vulture  [?  Wellesley]  clutches  papers  and  money-bags  inscribed  with  huge 
sums,  50,000,  60,000,  &c.;  The  Rugged  Russian  Bear,  described  as  'The 
Astonishing  Bear,  sent  from  literati  in  Iceland  to  Lord  Darnley'  (i  767-1 831, 
F.S.A.,  F.R.S.,  a  Whig  and  a  reputedly  ineffective  speaker  on  Irish  affairs). 
In  lunettes  above  the  top  row  of  cages  are  skeletons  of  animals. 

There  are  also  five  birds,  flying  about  or  on  perches.  The  largest  is  a  sea- 
gull flying  into  the  menagerie,  and  crying.  Foul  weather  foul  weather  coming, 
which  was  'kept  for  some  time  in  the  Tower'.  (In  1809  Tierney  called 
Burdett  'a  political  seagull,  screaming  and  screeching  and  sputtering  about 
foul  weather  which  never  arrived'.  Pari.  Deb.  xiv.  733.)  'A  swallow  larger 
than  an  owl'  is  identified  as  Lord  Grosvenor,  who  'builds  extensive  nests'  (he 
rebuilt  Eaton  Hall).  A  crossbill  on  a  perch  is  identified  as  Lord  Donough- 
more.  A  'Yorkshire  Macaw'  and  'a  curious  mockbird'  on  the  same  perch  are 
identified  as  Lord  Milton  (M.P.  for  Yorkshire,  see  No.  11241),  and  as  a  bird 
brought  from  Portugal  by  Lord  G.  Grenville  (i.e.  Lord  George  Grenville 
(Lord  Nugent),  who  in  1812  published  a  poem  called  Portugal).  A  'pelican 
of  the  wilderness'  (Byron)  is  described  (but  not  depicted)  as  'bought  by 
Childe  Harold,  having  a  low  melancholy  note,  and,  though  in  some  respects 
disagreeable,  is  yet  a  rara  avis  .  .  .'. 

Other  animals  are  depicted  on  the  bills  of  varying  size  which  cover  the  van. 
The  largest  is  a  hyena  with  the  face  of  Brougham,  described  as  'from  America 
\sic\  landed  at  Liverpool,  perfectly  tame  and  fed  upon  broom'.  (Cf.  No.  1 1910.) 
Others  are  'a  blue  fox'  (Tierney),  'A  wolf  Hunted  at  Bristol  (Hunt,  see 
No.  1 1907).  'A  Mad-Dog,  cured  of  the  Hydrophobia  in  Bark-shirt"  (Hallett, 
see  No.  11863,  &c.).  ^ A.  green  goose,  some  time  shown  in  Southwark,  but  last 
in  Surrey'  must  be  Sir  Thomas  Turton.  A  woo^f-pecker  and  Tumbling 
Magpie  are  Wood  and  Waithman.  'A  Viper  caught  at  Okehampton'  has  the 
head  of  Wardle,  see  No.  11219,  &c.  A  porcupine  has  the  head  of  Cobbett 
(see  No.  11049).  There  are  also  (not  described)  a  baboon  and  a  mouse. 

An  attack  on  the  Opposition  with  especial  reference  to  their  failure  to  form 
a  Ministry,  see  No.  1 1888,  &c.  Grey  and  Ponsonby  regret  (p.  464)  that  despite 
all  their  exertions  they  have  been  unable  to  ensnare  and  exhibit  a  Royal  Lion. 
'They  have  a  young  cub  however  in  Sussex,  and  another  in  Gloucester  . . .'  (an 
allusion  to  the  Whiggish  sympathies  of  the  Dukes  of  Sussex  and  Gloucester). 
Byron  made  his  two  speeches  in  the  Lords  in  Feb.  and  Apr.  18 12.  The 
menagerie  theme,  cf.  No.  11549,  was  used  in  a  Whig  satire  (1815)  advertising 
the  menagerie  of  Nicholas  Vansittart  Pidcock,  reprinted  New  Tory  Guide, 
1819,  pp.  14-21. 
6|Xi3|in.  With  border,  7^  X  1 4I  in. 

'  Cf.  Goldsmith,  Natural  History,  1776,  iv.  331:  'The  tapir  may  be  considered  as 
the  hippopotamus  of  the  New  Continent.'   O.E.D. 

144 


POLITICAL  SATIRES   l8l2 

11917  GENERAL  FROST  SHAVEING  LITTLE  BONEY  i8i 

E [Elmes.] 

Dec""  I.  1812  Publ'^  by  Tho'  Tegg  N°  iii  Cheapside  London. 
Price  One  Shilling  Coloured 

Engraving  (coloured  impression).  General  Frost  towers  above  Napoleon  who 
stands  in  the  snow,  his  arms  folded,  while  Frost,  standing  behind  him,  holds 
his  victim's  nose,  and  flourishes  a  large  razor  of  Russian  Steel.  Frost  is  a 
grotesque  monster,  nude  to  the  waist  and  with  the  legs  of  a  bear;  his  great 
feet  are  planted  upon  two  groups  of  little  French  soldiers,  crushing  them  into 
the  snow.  He  is  emaciated  and  old,  with  glaring  eyeballs,  wide  mouth  fringed 
with  fang-like  teeth,  and  huge  moustache;  a  blast  issues  from  each  nostril; 
one  inscribed  North  slants  down  upon  Napoleon's  head,  the  other,  slanting 
to  the  r.,  is  inscribed  North  East — Snow  and  Sleet;  these  are  white  against 
a  dark  sky.  He  has  icicles  for  eyebrows  and  on  his  head  are  jagged  pinnacles 
inscribed  Mountain  of  Ice.  This  is  irradiated  by  a  disk  above  his  head 
inscribed  Polar — Star.  His  fingers  are  talons.  From  his  mouth  float  the 
words:  Invade  My  Country  indeed — /'//  Shave — Freeze — and  Bury  you  in 
Snow — You  little  Alonkey.  Tears  fall  from  Napoleon's  eyes,  and  he  says: 
Pray — Brother — General — have  Mercy,  dont  overwhelm  me  with  your  hoary 
element,  You  have  so  jiiped  me,  that  tny  very  Teeth  chatter  O^ — dear — /  am 
quite  Chop  fallen.  A  telescope  is  thrust  under  his  arm.  He  wears  tiie  wide 
plumed  bicorne  of  earlier  caricatures.  In  the  background  on  the  1.  is  Moscow 
in  flames;  on  the  r.  the  buildings  of  Petersbourg,  and,  nearer  the  foreground, 
Riga.   Above  the  horizon  rise  icebergs  in  fantastic  shapes. 

An  early  representation  of  the  horrors  of  the  retreat  from  Moscow,  which 
began  on  19  Oct.  It  was  not  till  7  Nov.  that  the  cold  began.  Napoleon  said 
at  St.  Helena:  'I  conquered  their  armies.  But  I  was  unable  to  conquer  fire 
frost  numbness  and  death.'  See  Memoirs  of  Sergeant  Bourgogne,  1926, 
pp.  55  ff^.  Cf.  the  lithographs  of  C.  W.  von  Faber  du  Faur,  Blatter  aus 
meinem  Portefeuille  im  Laufe  des  Feldzugs  .  .  .,  1831-43.  For  the  invasion  see 
No.  1 1896.  For  the  shaving  theme  cf.  Nos.  12007,  ^c-'  1^575'  ^^-  ^^^  ^^^ 
retreat  see  also  Nos.  11918,  11919,  11920,  11921,  11991, 11992,  11994,  11995, 
11996, 12004, 12014, 12022, 12024, 12025, 12036, 12050, 12051, 12053, 12112, 
121 13,  12202,  12240,  12478. 

Broadley,  i.  313.  Van  Stolk,  No.  6155.   Reproduced  (colour),  Klingender, 

P-23- 
I2|x8|  m. 

11918  JACK  FROST  ATTACKING  BONY  IN  RUSSIA.  179 

Des'^  by  E [Elmes.] 

Price  one  Shilling  Coloured  [Pub.  Tegg,  ?  Dec.  1812.] 

Engraving  (coloured  impression).  Jack  Frost,  bestriding  a  bear  (1.),  hurls 
snowballs  at  Napoleon,  who  tries  to  escape,  trudging  through  snow  with 
skates  attached  to  his  spurred  and  tasselled  Hessians.  Two  strike  his  back, 
another  has  knocked  off  his  plumed  bicorne.  He  holds  his  nose,  looking  over 
his  shoulder  to  say :  By  gar — Monsieur  Frost  this  is  a  much  colder  Reception 
than  I  expected  I  never  experianced  such  a  pelting  before — /  find  I  must  take 
care  of  my  Nose  as  zvell  as  my  Toes — Pray  forgive  tne  this  time  and  I  swear  by 

iS'  Dennis  never  to  enter  your  —  dominion  again.   From  the  angry  bear's 

nostrils  issues  a  Northern  blast  which  strikes  Napoleon's  posterior;  its  hind- 
quarters are  inscribed  Northern  Bear  Ham.  Jack  Frost  is  naked,  except  for 
large  skates,  emaciated,  and  old,  with  a  wide  gap-toothed  mouth,  beard,  and 

145  L 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

huge  moustache.  From  each  glaring  eyeball  slants  a  searchlight  inscribed 
Northern  lights.  In  each  bony  hand  is  a  big  Snow  ball,  and  another  flies  through 
the  air.  He  says :  What — Master  Boney — have  I  caught  You  at  last  He — teach 
you  Russian  fare — take  that  and  that  as  a  relish  and  digest  it. 

In  the  middle  distance  the  Emp^  Alexander  stands  with  legs  astride  on  a 
mound  of  snow  pointing  derisively  at  Napoleon.  He  wears  cocked  hat,  cloak, 
and  fur-topped  boots  with  huge  curving  toes,  like  those  of  three  Cossacks 
who  watch  Napoleon  from  a  mound  on  the  extreme  1.  They  have  spears  but 
are  smoking  and  one  is  seated;  they  grin,  content  to  wait  their  time.  Behind 
Alexander  the  spears  and  fur-capped  heads  of  an  army  project  above  the 
snow,  in  front  of  the  walls  of  Petershourgh.  On  the  extreme  r.  and  nearer  the 
foreground  are  French  soldiers  crouching  in  the  snow  and  warming  their 
hands  at  a  fire  of  sticks  inscribed  Moscow ;  fragments  of  gutted  buildings  are 
behind  them.  The  sky  is  covered  with  slanting  lines  indicating  a  blizzard 
blowing  against  Napoleon  and  the  French.  See  No.  11917,  &c. 

A  copy  in  reverse  with  added  details  was  published  by  McCleary. 

Broadley,  i.  313  f.   De  Vinck,  No.  8790.    Milan,  No.  2398.    Reproduced, 
Grand-Carteret,  Napoleon,  No,  233;^  Klingender,  p.  28  (with  the  additional 
title  or  the  biter  bit). 
8^X13  in. 

11919  POLISH  DIET,  WITH  FRENCH  DESERT. 

E'—  [Elmes.] 

Pub''  Decern^  8.  1812  by  Tho^  Tegg  N°  iii  Cheapside — London. 

Price  one  Shilling^  Coloured 

Engraving  (coloured  impression).  General  Bennigsen  (r.)  stands  aggressively 
beside  a  large  kitchen  fire  basting  Napoleon,  a  much  smaller  figure,  who  is 
horizontally  transfixed  on  a  spit  turned  by  a  bear  (I.)  seated  erect  on  its  hind- 
legs.  He  uses  a  ladle  inscribed  Benningsen^  baistings.  A  large  frying-pan  rests 
on  the  flames  by  the  bear's  head  from  which  frogs  are  diving  into  the  fire. 
There  is  also  a  large  steaming  pot  inscribed  Corsican  Broth.  The  bear,  whose 
thigh  is  inscribed  Westphielea  ham,  asks:  Hoio  do  you  like  Benningsen  Baisting 
— Master  Bony — and  your  Frogs.  Napoleon,  whose  wrists  and  ankles  are 
lashed  to  the  spit,  answers:  Our  situatio?i  may  be  fun  for  you — M''  Bear — but 
Death  to  us.  Bennigsen  grasps  a  red-hot  poker  with  a  spade-like  end 
inscribed  Russia  Iron;  he  says  fiercely:  I'll  Roast — Beast  [sic] — Dish — and 
Devour  you,  he  Smoaks  Brothe  [sic]  Bruin — an  other  turn  and  he  is  done.  He 
has  a  patch  over  one  eye,  huge  moustaches,  and  wears  a  fur  cap,  fur-trimmed 
uniform,  with  star  and  cross,  and  high  cavalry  boots,  besides  a  small  apron 
inscribed  Russia  duck.  The  long  pan  under  Napoleon,  in  which  are  sops 
of  bread,  is  inscribed  Sop  for  Cossacks.  On  the  ground  is  a  row  of  four  dishes 
inscribed  respectively  Bears  grease,  French  Capers,  Russian  Sauce,  Ice  Cream. 

See  No.  11917,  &c.  Bennigsen  was  one  of  the  generals  under  KutusoflP. 
He  gained  a  success  over  Murat  in  the  engagement  of  18  Oct.,  south  of 
Moscow,  in  which  Cossacks  distinguished  themselves.  This  was  just  before 
Napoleon  left  the  city.  Gazette,  11  Nov.  1812;  Memoirs  of  Caulaincourt, 
i.  280-2.   Cf.  No.  1 1722,  in  which  Massena  is  roasted. 

Broadley,  i.  314.   De  Vinck,  No.  8786.   Reproduced,  Klingender,  p.  32, 
8|xi3  in. 

'  With  the  imprint  Publised  Novenf  7'*  181 3  by  Tho^  Tegg  N°  iii  Cheapside,  the 
last  figure  of  the  date  being  doubtful. 
^  Altered  in  pen  to  'two  Shillings'. 

146 


POLITICAL   SATIRES   l8l2 

11920  BONEY    HATCHING    A    BULLETIN    OR    SNUG    WINTER 
QUARTERS!!! 

GC 

Published  Dec''  1812  by  Walker  &  Knight  Sweetings  Alley  Royal  Exchange 

Engraving  (coloured  and  uncoloured  impressions).  Napoleon's  head  in 
profile  to  the  1.,  wearing  an  enormous  plumed  bicorne,  emerges  from  the 
snow,  facing  a  grotesque  French  officer,  only  waist-deep,  who  asks:  Vat  de 
devil  shall  Ve  say  in  de  Bulletin?  Other  French  soldiers  are  represented  only 
by  bayonets  and  by  their  bonnets  rouges,  with  an  occasional  cavalr}^  helmet 
and  one  cocked  hat.  Here  and  there  heads  appear  through  the  snow,  and  a 
pair  of  boots  sticks  up,  the  wearers'  toes  projecting.  A  courier  (1.),  who  has 
tied  boards  under  his  boots,  is  completely  above  ground;  he  is  grotesque, 
emaciated,  and  tattered,  with  bonnet  rouge  and  huge  pigtail ;  he  looks  through 
a  lorgnette  at  the  Emperor,  gaping  with  horror,  and  says :  By  gar  he  is  abnost 
lost!!  Napoleon  has  a  tragic  expression  and  though  caricatured  is  not  bur- 
lesqued like  the  others,  apart  from  the  size  of  his  hat.  He  answers:  Say!!!! 
why  say  zve  have  got  into  Comfortable  Winter  Quarters,  and  the  Weather  is  very 
fine  &  zoill  last  8  days  longer.  Say  zee  have  got  plenty  of  Soup  Meagre  plenty 
of  Minced  meat — grilld  Bears  fine  Eating — driveing  Cut-us-off  to  the  Devil 
Say  we  shall  be  at  home  at  Xmas  to  dinner — give  my  love  to  darling  [Marie 
Louise] — don't  let  John  Bull  know  that  I  have  been  Cowpoxed — tell  a  good  lie 

about  the  Cossacks — D e  tell  any  thing  but  the  Truth.  An  eagle  sticks  out 

of  the  snow  behind  Napoleon,  with  a  banner:  Vive  La'Emp  .  .  .  Napo[leon]. 

See  No.  11917,  &c.  Napoleon  left  Moscow  declaring  that  he  was  going 
into  winter  quarters,  and  intending  to  do  so;  this  was  often  repeated  in 
bulletins,  e.g.  25th  Bulletin,  20  Oct.:  'Every  thing  indicates  we  must  think 
of  winter-quarters.  .  .  .'  The  bulletin  satirized  is  the  27th  (27  Oct.):  'It  is 
beautiful  weather,  the  roads  are  excellent ;  it  is  the  end  of  autumn ;  this  weather 
will  last  eight  days  longer,  and  at  that  period  we  shall  have  arrived  in  our 
new  position.'  (Cobbett's  Pol.  Reg.,  5  Dec.  1812.)  Cf.  Letters  of  Napoleon 
to  Marie  Louise,  1935,  pp.  116-36.  On  5  Dec.  Napoleon  left  his  army,  see 
No.  11991.  The  news  of  the  destruction  of  the  army  was  published  in  an 
Extraordinary  Gazette  on  16  Dec;  The  Times  (17  Dec.)  hailed  the  news  as 
'a  divine  judgment'.  The  full  extent  of  the  disaster  was  not  known  till  the 
famous  29th  Bulletin  (3  Dec,  Moniteur  16  Dec.)  reached  Lord  Liverpool  on 
21  Dec.  and  was  generally  known  in  London  on  22  Dec.  Cf.  the  saying  'faux 
comme  un  bulletin'.  For  the  bulletins  see  also  Nos.  11991,  11992,  12086, 
121 12,  12255,  12257,  ^2319,  12596.    For  earlier  bulletins  cf.  No.  10441,  &c. 

Broadley  (ii.  171  n.,  408)  suggests  that  this  may  derive  from  a  Russian 
print,  Retirement  into  Winter  Quarters. 

Broadley,  i.  314.    Reid,  No.  180.    Cohn,  No.  940.    De  Vinck,  No.  8788. 
Milan,  No.  2405.    A  copy  published  by  McCleary  is  reproduced,  Grand- 
Carteret,  Napoleon,   No.  235;   among  other  minor  differences  the  banner 
attached  to  the  eagle  is  inscribed  Vive  VEmpereur. 
8|xi3  in. 

11921  THE  VALLEY  OF  THE  SHADOW  OF  DEATH.     183 

[Elmes.] 

London  Pub'^  by  Tho'  Tegg  iii  Cheapside  18  De"" — 1812 

Price  One  shilling  Coloured 

Engraving  (coloured  impression).    An  adaptation  of  and  sequel  to  Gillray's 
plate  with  this  title.  No.  11031.    Napoleon,  copied  from  No.  11031,  stands 

H7 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

dismayed,  sword  in  hand,  in  profile  to  the  1.,  confronting,  not  the  British  Lion 
but  his  former  captive,  the  Russian-Bear,  which  towers  savagely  above  him.  He 
stands  as  before  between  the  Lethean  Ditch  in  the  foreground,  and  the  Ditch 
of  Styx  in  the  middle  distance,  but  on  an  irregular  strip  of  grass,  not  a  rocky 
causeway.  He  tramples  on  a  crucifix,  Bible,  and  crosier,  and  his  r.  leg  is  encircled 
by  a  rattlesnake  which  has  raised  its  head  from  the  waters  of  Lethe  to  spit  a 
venomous  blast  at  Napoleon's  face.  A  Toad  on  the  edge  of  the  ditch,  beside 
the  bear,  also  spits  up  at  Napoleon ;  it  has  excreted  a  row  of  Toad  stools  grow- 
ing in  the  grass.  A  smaller  frog  raises  its  head  from  the  v/ater  to  spit,  as  in 
No.  1 103 1.  The  lifeless  head  of  Rex  Joseph  floats  above  the  water,  the  neck 
encircled  by  a  coil  of  the  rattlesnake.  Beside  him  floats  a  large  (looted)  mitre. 
Death,  instead  of  riding  a  mule  of  'True-Royal  Spanish-Breed',  is  poised 
triumphantly  on  the  back  of  the  Russian  Bear,  holding  up  his  hour-glass  with 
sands  almost  run  out,  and  pointing  his  spear  at  Napoleon  as  before,  but  the 
spear  has  transfixed  the  decollated  and  bleeding  heads  of  three  French  officers, 
who  look  down  at  the  Emperor  with  tragic  expressions.  Instead  of  wearing 
a  cocked  hat,  Death  is  crowned,  and  round  him  swirls  drapery  inscribed 
Rhenish  Confederation.  Three  savage  beasts  leap  towards  Napoleon  from  the 
r. :  Leo  Britannicus  as  in  No.  11031,  but  reversed,  and  his  hind-quarters  con- 
cealed by  the  rocks  from  which  he  springs ;  immediately  behind  him  is  a  bull- 
dog, its  collar  inscribed  True  breed  Bull-.  This  corresponds  to  the  former 
'Sicilian  Terrier'.  In  place  of  the  'Portuguese  Wolf  is  a  Hungara  . .  Wolf,  with 
the  end  of  a  broken  chain  attached  to  its  collar;  it  leaps  down  upon  him  from 
the  r.,  his  hind-feet  emerging  from  the  snow-hills  which  border  the  Styx. 
The  head  and  hands  of  the  Empress-Josephene  emerge  from  the  Styx ;  she 
looks  towards  the  Emperor  in  consternation. 

In  place  of  the  'German  Eagle',  but  filling  more  of  the  design,  is  a  naked 
figure  somewhat  like  Frost  in  No.  11917,  &c.  He  sits  in  a  Sledge  drawn  over 
mountains  of  snow  and  through  clouds  by  a  wildly  galloping  reindeer.  He  blows 
through  a  speaking-trumpet  a  blast  against  the  back  of  Napoleon's  head 
inscribed  Russian  Scourge,  raising  a  barbed  scourge.  Though  the  air  between 
the  Russian-Bear  and  the  Russian  Scourge  leaps  down  a  fierce  cat,  inscribed 
Muscovy  Cat,  also  spitting  a  blast  at  Napoleon,  and  about  to  land  upon  him 
with  outstretched  claws.  From  behind  the  snow-hills  fringing  the  Styx  rise 
huge  flames  from  which  an  arm  emerges  holding  a  dagger  inscribed  Revenge, 
pointing  vertically  downwards  at  Napoleon's  head.  Among  the  flames  is  a 
shallow  dome  inscribed  Cremlin  Palace.  On  a  smaller  scale  than  the  other 
figures  are  a  fox  and  an  ass  on  the  extreme  1.,  and  on  the  snow-hills.  The  fox, 
crowned,  leaps  off  to  the  1.,  holding  a  goose  in  its  mouth  and  looking  over  its 
shoulder  towards  Napoleon.  He  is  Bernadotte  Crown  Prince  of  Sweaden. 
Above  him  is  a  kneeling  ass,  facing  towards  Napoleon,  ridden  by  two  kings 
tied  back  to  back.  One  (r.)  is  Prusia,  the  other  Germany  [Austria] ;  the  ass 
has  a  pannier  in  which  are  crowns. 

For  the  retreat  from  Moscow  see  No.  11917,  &c.  No.  11031  relates  to 
French  defeats  in  Spain  and  the  Spanish  revolt;  here  Spain  is  referred  to 
only  by  the  dead  or  dying  Joseph,  a  prophetic  rendering  of  the  eflfects  of  the 
Russian  campaign  on  the  French  forces  in  Spain,  but  inconsistent  with  the 
actual  situation :  Joseph  had  returned  to  Madrid,  and  Wellington  had  been 
forced  to  retreat  to  Portugal.  The  princes  of  the  Confederation  of  the  Rhine, 
Napoleon's  vassals  and  beneficiaries,  had  contributed  147,000  men  to  the 
Grand  Army  in  1812,  and  were  to  desert  him  after  Leipzig.  The  rattlesnake 
is  the  emblem  of  America,  see  No.  6004,  &c.,  and  in  No.  11 031  is  inscribed 
American  Rattle-Snake  shaking  his  Tail;  but  America,  though  not  an  ally  of 
France,  had  declared  war  on  England,  see  No.  12043.  Bernadotte,  Prince  Royal 

148 


POLITICAL   SATIRES   l8l2 

of  Sweden,  had  secured  Alexander's  consent  to  the  acquisition  of  Norway  (the 
goose),  in  return  for  support  against  France;  he  refused,  however,  to  take  part 
in  the  campaign.  See  Webster,  Foreign  Policy  of  Castlereagh,  1931,  pp.  92- 
loi.  Prussia  and  Austria,  sateUite  aUies  of  Napoleon,  had  contributed  con- 
tingents to  his  army.  In  No.  11031  the  frogs  represent  Holland,  annexed  to 
France  in  18 10.  Napoleon  had  ordered  Mortier  to  destroy  the  Kremlin  and 
other  public  buildings;  he  did  this  very  half-heartedly.  Cf.  Kutusoff's 
proclamation  of  31  Oct.:  'In  the  very  moment  of  his  going  he  showed  his 
l)afHed  anger  by  the  destruction  of  the  Kremlin.  There  the  divine  power 
intervened  for  us,  and  saved  the  cathedral  and  our  holy  shrines.'  Cf.  Nos. 
12049,  12569. 

Listed  by  Broadley.    Milan,  No.  2404. 
8fxi3iin. 

11922  R L  WHISKERS. 

[G.  Cruikshank.] 

Published  by  John  Fairburn,  2,  Broadway,  Ludgate-Hill,  facing  the  Old 
Bailey  [?  181 2] 

Engraving.  Heading  to  a  printed  broadside,  55  11.  of  verse:  U Adieu,  from  a 
puissant  Prince  to  his  cast-off  Whiskers,  on  his  leaving  London  to  make  an 
Excursion.  The  Regent,  H.L.,  directed  to  the  r.,  holds  up  his  false  whiskers, 
regarding  them  with  admiration : 

For  in  cur\'e  so  enchanting  you  lay  on  my  chin. 
You  completely  conceal'd  all  the  blubber  within. 

Behind  him  is  a  barber's  block,  a  realistic  portrait-head  of  the  Regent,  with 
a  comb  stuck  in  the  curls  of  the  wig.  The  verses  begin  'Adieu,  my  dear 
Whiskers!  dear  Whiskers,  adieu!',  and  are  signed  G.  P.  R.  He  compares  his 
whiskers  with  those  of  Geramb  and  Lord  Yarmouth  and  imagines  them 
purchased  at  a  broker's  shop  to  be  worn  by  the  next  Mayor  on  Lord  Mayor's 
Day,  when  they  amuse  'Sir  Archy'  in  the  Court  of  Exchequer,  or,  alterna- 
tively, to  adorn  Magog  in  Guildhall. 

The  date  should  be  before  Sir  Archibald  Macdonald  ceased  to  be  Chief 
Baron  of  the  Exchequer  in  Michaelmas  181 3.  The  allusion  to  Geramb 
suggests  18 12.  The  whiskers  were  not  discarded  till  after  the  Regent's 
accession  in  1820.   For  a  second  state  with  different  verses  see  No.  12806. 

Reid,  No.  595.   Cohn,  No.  1935. 
4|X4f  in.    Broadside,  lyix  5I  in. 

11923  CANDIDATES    CANVASSING"    FOR    SEATS    IN    PARLIA- 
MENT. 86 

W.  E  [Elmes]  S' 

Price  One  Shilling  Coloured  [Pub.  Tegg,  ?  1812.] 

Engraving  (coloured  impression).  A  grotesquely  ugly  candidate  (r.)  bows  low, 
top-hat  in  hand,  r.  hand  pointing  to  his  breast,  before  a  sturdy  and  ragged 
rat-catcher,  who  stands  facing  him,  scratching  his  forehead.  The  latter  holds 
by  a  strap  a  rectangular  cage  of  rats;  across  his  shoulders,  like  a  garter  ribbon, 
is  a  broad  band  on  which  dead  rats,  or  rat-skins,  are  extended  (cf.  No.  5099). 
Under  his  arm  is  a  rod  on  which  two  rats  are  spiked,  a  pouch  hangs  from  his 
shoulders,  and  he  wears  short  gaiters.  The  candidate,  apprehensive  and 
deferential,  says:  ''What  my  honest  friend  Lurcher — /  have  not  had  the 
pleasure  of  seeing  you  since  last  Election,   we  expect  a  severe  contest  this  time, 

149 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

therefore  "earnestly  Solicit  Your  Vote  and  Interest  and  shall  request  the  Honor 

of — M"  Lurcher's  Company  to  Dinner  at  the  Hog  in  the  Pound.  N.B.  Dinner 

•f       d  ; ; 

Ticket  only  .10 — 6.  Close  behind  the  candidate  is  his  very  ugly  agent,  hold- 
ing a  purse  from  which  he  is  about  to  take  a  coin.  Both  wear  spurred  boots. 
The  rat-catcher  answers:  /  see  Your  Honor  bees  mortal  short  of  memory. 
You  forget  as  how  your  Worships  committed  me  to  the  County  Jail  for — a 
Month — "fro  [sic]  only  Throwing  a  Sheeps  Je  at  a  Hare  running  a  cross  the 
Common.  So  your  worship  may  if  you  please  Call  a  gain  to  Morrow  [a  catch- 
phrase,  cf.  No.  1 1207].  Two  curs  stand  beside  him.  Behind  is  the  corner 
of  his  cottage;  over  the  door:  G^  Lurcher  Rat  Catcher  All  sorts  of  Vermin 
destroyed.  A  fat  countrywoman  stands  on  the  door-step  using  a  broom  to 
dislodge  two  cats  from  the  projection  over  the  door.  In  the  background  (r.) 
is  a  country  inn  with  a  sign  on  which  a  fat  pig  is  depicted.  A  man  leads  two 
saddle-horses  under  the  entrance  to  the  courtyard ;  above  is  a  placard :  Neat 
Wines  ...  In  a  bow- window  punch-bowls  and  bottles  are  ranged. 
8f  X  13  in.  'Caricatures',  x.  14. 


ISO 


l8l2 

PERSONAL  AND  SOCIAL  SATIRES 

11924  A  PORTRAIT. 

[Rowlandson.] 

Pub^  January  lo"'  1812  by  H.  Humphrey  2j  <S'  James's  Street 

Engraving  (coloured  impression).  The  Duke  of  Cumberland  walks  in  profile 
to  the  1.,  putting  his  spy-glass  to  his  r.  eye.  He  holds  hat  and  cane,  wears 
a  high-collared  coat  with  a  star,  blue  with  red  facings  (the  Windsor  uniform), 
leather  breeches,  and  spurred  top-boots.  Behind  is  the  pagoda  in  Kew 
Gardens,  with  a  background  of  distant  trees  rising  to  a  great  height.  A  com- 
panion pi.  to  No.  1 1925  by  Rowlandson,  with  the  same  imprint. 

This  figure,  with  a  reversed  copy  of  No.  9846  (the  Prince  of  Wales,  by 
Gillray)  appears  in  a  watercolour  interior  by  Rowlandson,  'Blood  Royal', 
reproduced  Fulford,  Royal  Dukes,  1933,  p.  210.  Cumberland  lived  at  Kew 
Green. 

Grego,  Rozvlandson,  ii.  225. 
9^X7i^g  in.   With  border,  io|x8jg  in. 

11925  A  PORTRAIT. 

See  No.  11924.  Lord  Petersham  stands  full-face,  as  if  on  a  flight  of  steps, 
the  r.  foot  advanced  below  the  1.,  r.  hand  on  hip,  holding  a  long  cane,  his  hat 
in  his  1.  hand.  He  looks  to  the  1.,  with  a  pleasing  smile  (for  which  he  was 
noted).  He  has  large  whiskers,  and  wears  a  (brown)  double-breasted  tail-coat 
with  high  collar  and  sleeves  gathered  at  the  shoulders  to  form  a  peak,  in  the 
manner  of  a  Jean  de  Brj'  coat,  see  No.  9425,  with  long  close-fitting  breeches 
and  spurred  Hessian  boots  with  large  tassels. 

Petersham  is  known  as  an  eccentric  leader  of  fashion  (Lord  Fitzbooby  of 
Disraeli's  Coni?iosby),  a  friend  of  the  Regent.  There  is  little  resemblance  to 
Dighton's  portrait,  No.  10295.    See  No.  12127. 

Grego,  Rozclatidson,  ii.  225. 
9iiX7i  ^"-   ^^'ith  border,  io^|x8j^q  in. 

1 1925  A  A  state  (uncoloured)  with  the  addition  of  a  Tudor  gate-house  in 
the  background  (1.),  indicating  St.  James's  Palace. 

11926  A  PORTRAIT. 

[Rowlandson.] 

London  Pu¥  Feb^y  26.  1812  by  H.  Humphrey  N  2y  S'  James's  Street 

Engraving  (coloured  and  uncoloured  impressions).  A  portrait  of  George, 
3rd  Earl  of  Pomfret  (see  No.  9923),  standing  in  profile  to  the  1.,  with  his  1. 
hand  in  his  breeches  pocket.  He  is  obese,  with  powdered  hair  in  a  small  tail, 
and  a  dark  whisker.  He  wears  an  open  double-breasted  coat,  long  breeches 
with  short  Hessian  boots. 

The  drawing,  probably  by  an  amateur,  is  in  the  Print  Room  (201.  c.  6/38). 

Grego,  Rowlandson,  ii.  225. 
9^X7i|  in.   With  border,  loJgXS^  in. 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

11927  MOLINEAUX. 
[Dighton.] 

Pub'^  by  Dighton,  Spring  Gardens,  Jan^  1812 

Engraving  (coloured  impression).  The  negro  pugilist,  stripped  to  the  waist, 
stands  in  the  ring  directed  to  the  1.,  1.  leg  advanced,  fists  clenched.  In  the 
background,  behind  the  ropes,  spectators  on  foot  and  on  horseback  are 
indicated;  there  is  one  coach.  Not  a  caricature. 

Molineux  was  beaten  by  Tom  Cribb,  see  Nos.  11755,  11786. 

Reproduced,  The  Sporting  Repository,  1904,  ii.  19;  B.  Lynch,  The  Prize 
Ring,  1925,  pi.  xiv. 
8fxii|  in. 

11928  A  GENTLE  RIDE  FROM  EXETER  'CHANGE  TO  PIMLICO. 
Drawn,  Etch'd,  Pub^  by  Dighton  Spring  Gardens  Aug  1812. 

Engraving  (coloured  impression).  An  elderly  man  in  profile  to  the  r.  sits 
heavily  on  a  horse  which  plods  slowly  with  lowered  head.  He  holds  the  single 
rein  awkwardly;  in  his  r.  hand  is  a  cudgel.  He  wears  old-fashioned  dress  with 
round  hat  and  high-quartered  buckled  shoes  with  spurs.  Identified  as  Thomas 
Clark  of  Exeter  Change. 
iix8|  in. 

11929  LIEUT  GEN  MACDONALD. 

Dighton.  18 12. 

Engraving  (coloured  impression).  A  tall  and  elegant  officer  walks  1.  to  r.  and 
slightly  towards  the  spectator,  his  hand  on  the  hilt  of  his  sword.  He  wears 
cocked  hat,  high  tasselled  Hessian  boots;  gold  aiguillettes  hang  from  his  r. 
shoulder  below  the  waist. 

Donald   Macdonald,   of  the   55th   Foot,    Lieutenant-Governor   of   Fort 
William,  was  commissioned  Lieutenant-General  in  18 10.    Royal  Kalendar, 
1812,  p.  195. 
io|X7|in.  (pi.). 

11930  A  MASTER  PARSON  &  HIS  JOURNEYMAN. 
[Dighton.] 

Pub'^  by  Dighton,  Spring  Gardens.  May.  181 2. 

Engraving  (coloured  impression).  A  grossly  obese  bishop,  almost  spherical, 
walks  with  a  lean  parson,  r.  to  1.,  and  slightly  towards  the  spectator.  Both 
wear  hat,  gown,  and  bands.  Their  features  are  not  dissimilar  in  type,  but 
one  is  gross,  carbuncled,  and  surly,  the  other  lean  and  melancholy.  One  has 
a  ticket  for  a  Turtle  Dinner  tucked  into  his  waistcoat,  the  other  holds  a  large 
Bible  in  both  hands. 

Cf.  Dighton's  earlier  'Journeyman  Parson'  and  'Master  Parson'  in  Nos. 
3753.  3754.  6153,  6154  (all  c.  1782),  3755,  3756  {c.  1785).'    No.  11931  is  a 
companion  pi.  by  Dighton  with  the  same  imprint. 
ioJx8|  in. 

11931  A  LAWYER  &  HIS  CLIENT. 

See  No.  11930.  A  stout  lawyer  puts  his  I.  arm  across  the  shoulders  of  a  lean 
and  distraught  client,  gripping  him  with  a  sinister  show  of  affection,  while 

'  The  earlier  numbers  were  not  attributed  to  Dighton  and  were  conjecturally  dated 
c.  1760.  They  belong  to  the  mezzotints  published  by  Bowles,  which  can  be  dated  by 
their  serial  number,  see  vol.  v,  p.  786  f.,  vol.  vi,  p.  1002. 


PERSONAL   AND    SOCIAL   SATIRES    l8l2 

he  scrutinizes  his  face  with  the  calculating  smile  of  false  friendship.  He 
takes  a  sheaf  of  One  pound  notes  from  his  victim's  hand.  The  lawyer  is 
fashionably  dressed;  a  brief-bag  is  slung  from  his  arm.  The  client  wears  old- 
fashioned  dress;  his  shoes  are  distended  by  bunions. 

The  rapacious  lawyer  is  a  favourit  esubject  of  Dighton,  cf.  Nos.  3762,  3763 
(1791),  3764(1792),  3765,  3766  (1785),  3767  {c.  1792),  6767,  8394,  8912.' 
8|^Xio  in. 

11932  BARROW  NIGHT.  |  A  HIGH  BRED  HUNTER  [?  1812? 
Engraving  (coloured  impression).  A  portrait  of  Sir  Claudius  Hunter  riding 
a  high-stepping  white  horse  in  profile  to  the  1.,  past  Carlton  House.  He  rides 
stiffly,  leaning  slightly  back,  the  reins  in  the  r.  hand,  his  1.  arm  dropped,  and 
with  no  whip.  He  wears  a  top-hat,  a  long  braided  and  frogged  coat,  with 
breeches  and  spurred  Hessian  boots.  Below  the  title :  Any  Old  Cloaths;  below 
the  design  (see  No.  11946): 

Hunter  of  Fame  and  Folly  too, 
November's  come  a  Jezo!  a  Jew!  [adieu] 

Hunter  was  made  a  baronet  by  the  Regent  on  11  Dec.  1812.  The  back- 
ground probably  implies  that  he  was  the  Prince's  protege;  the  inscription 
refers  to  the  end  of  his  year  of  office  as  Lord  Mayor,  in  Nov.  1812.  For 
the  pun  cf.  No.  10144.  'Old  Cloaths'  and  'a  Jew'  seem  to  indicate  that  Hunter 
was  Jewish,  cf.  No.  11945,  &c. 
8f  Xi2|  in. 

11933  [REVD  MR  BERESFORD]  [?  1812]^ 

Engraving  (coloured  impression).  Title  from  MS.  index.  A  parson,  with 
dark  cropped  hair,  gown,  and  bands,  skins  a  sheep  which  hangs  by  its  hind- 
feet  from  a  butcher's  stand.  He  holds  a  blood-stained  knife  and  says :  V II flay 
you  all  by  S'  Andrezv  I  will.  In  his  pocket  is  an  Excheq.  Bill.  Other  sheep 
stand  meekly,  waiting  their  turn.  Behind  him  stands  the  Devil,  holding  out 
a  sheep-skin  inscribed  2^ .  g'^  Each  and  saying,  Thats  the  time  of  Day  my  Lilly. 
In  the  background  are  (1.)  a  church  and  (r.)  a  large  four-storied  house.  Above 
the  design : 

"This  is  a  Priest  made  according  to  Law, 

"Who  on  being  ordain  d  vozvd  by  rote  like  a  daw, 

"That  to  think  of  the  World  and  the  Flesh  he'd  cease, 

"And  keep  men  in  quietness  love  and  Peace:"       [See  No.  13303.] 

[Below  the  design :] 

But  as  soon  as  State  Interest  obtains  him  a  Place, 
In  the  Church  He  forgets  both  his  God  and  his  Grace. 
Thinks  most  of  his  Tithes:  takes  Old  Nick  by  the  Paw, 
And  threatens  the  whole  of  his  Parish  with  Law. 
Cares  nought  for  the  flock  (if  Himself  can  but  thrive) 
And  rather  than  feed  he  zcould  Flay  them  alive. 

James  Beresford  (1764-1840),  author  of  the  popular  Miseries  of  Human 
Life,  see  No.  10815,  &c.,  a  Fellow  of  Merton  College,  was  in  1812  appointed 
to  a  college  living,  Kibworth  Beauchamp,  Leicestershire.    The  sheep-skins 
seem  to  indicate  writs  at  a  fee  of  zs.  gd.   Cf.  No.  13281,  &c. 
4f  X3I  in.  'Caricatures',  x,  frontispiece. 

See  note  on  opposite  page.       ^  Dated  18 14  by  E.  Hawkins.       '  See  Corrigenda. 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

11934  AN  AMATEURS  DREAM. 
[  ?  The  Caricaturist  General] 
Published  for  the  Satirist  Jan^  i,  1812. 

Aquatint.  PI.  from  the  Satirist,  x.  i.  Robert  ('Romeo')  Coates  Hes  with 
closed  eyes  on  an  ornate  sofa,  holding  a  cock  which  stands  facing  him  on  his 
stomach.  He  wears  the  quasi-Spanish  or  sixteenth-century  costume  which 
was  a  convention  of  the  theatre,  with  tasselled  Hessian  boots.  The  sofa  is 
decorated  with  cocks'  heads.  Visions  from  his  dream  surround  him.  He 
repeats  Romeo's  words :  O  heavy  lightness!  serious  vanity  |  Mis-shapen  chaos 
of  well  seeming  forms!  Behind  him  (1.)  Shakespeare  (H.L.)  rises  from  the 
floor  in  profile  to  the  r.,  saying.  Oh  Romeo!  Romeo!  wherefore  art  thou  Romeo? 
On  the  r.  and  standing  on  clouds  a  cock  with  the  head  and  arm  of  Coates, 
holding  out  his  purse,  addresses  the  Apothecary,  who  has  a  cock's  head :  Come 
hither  Man  I  see  that  thou  \  are  [sic]  poor.  Hold,  there' s  forty  Ducats.  Coates 
as  a  man  in  armour  with  a  cock's  head  strides  upon  clouds  (r.)  pointing  with 
outstretched  arm.  On  the  floor  are  objects  and  symbols  representing  Coates's 
dramatic  aspirations:  his  feathered  and  jewelled  hat  (1.),  his  sword  (the  hilt 
ornamented  with  a  cock)  with  a  jewel  on  a  chain  lying  across  it.  On  the  r. 
stand  Tragedy  and  Comedy  as  two  cocks:  Tragedy  is  crowned,  holds  a 
dagger  in  its  beak,  and  a  cup  of  poison  in  its  claw;  Comedy  holds  a  comic 
mask  in  its  beak.  Below  the  title:  ''Is  this  that  Gallant  Gay  Lothario'".  \  Vide 
the  Fair  Penitent. 

For  Coates  see  No.  11 769;  the  inscription  and  hat  indicate  his  appearance 
as  Lothario  in  Rowe's  Fair  Penitent  at  the  Haymarket  which  is  the  chief  topic 
of  a  review  of  'Antony  Pasquin's'   The  Dramatic  Censor,  in  the  Satirist 
X.  207-18  (March),  cf.  No.  11941. 
6^1  X  I2|  in. 

1 1935  THE  REHEARSAL  OR  THE  BARON  AND  THE  ELEPHANT. 
G  Cruikshank  fec'^ 

Published  January-i^'  181 2  by  M  Jones  5  Newgate  Street. 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  iii,  frontispiece. 
Illustration  to  'John  Bull  and  the  Rehearsal',  pp.  64-6.  A  satire  on  the 
Covent  Garden  pantomime  of  1812-13,  which  caused  a  sensation  by  the 
performance  of  an  elephant.  The  elephant,  which  dominates  the  design, 
marches  in  profile  to  the  r. ;  it  crushes  under  a  fore-foot  a  bust  of  Sha[kespeare] 
and  a  number  of  open  books.  In  its  trunk  is  grasped  a  pretty  young  woman, 
'the  expiring  figure  of  Comedy',  who  hangs  head  downwards,  holding  an  open 
book :  Congreve.  Baron  Geramb  bestrides  the  upper  part  of  the  trunk,  taking 
the  place  of  the  lascar  who  sat  on  the  animal's  neck  in  the  pantomime.  His 
enormous  moustaches  frame  his  person,  and  he  wears  grotesque  uniform 
with  orders,  and  a  skull  and  cross-bones  on  his  paunch.  He  holds  a  banner 
on  which  a  volcano  is  depicted.  In  his  r.  hand  is  a  purse  which  he  carelessly 
empties;  the  coins,  inscribed  Crumbs  of  Comfort,  fall  into  the  gaping  jaws  of 
a  lean  dog  which  faces  the  elephant,  its  thin  neck  surrounded  by  an  enormous 
padlocked  collar  inscribed  Holt  the  Property  of  Messenger  Bell.  Between  the 
dog's  paws  is  a  frying-pan,  inscribed  Sop  for  the  Critics.  On  the  elephant's 
back,  in  place  of  the  'Sultan  of  Cashmire',  sits  John  Kemble.  His  saddle  or 
howdah  is  formed  of  parallel  giant  H's,  so  that  he  bestrides  the  two  cross-bars 
of  the  centre  pair;  across  his  shoulders  sits  a  grotesque  mannikin  wearing  a 
fool's  cap,  who  empties  a  money-bag  into  a  tambourine  held  out  by  Kemble. 
Kemble  wears  shirt  and  trunk  hose,  and  throws  behind  him  his  socks  and 
ermine-bordered  cloak  inscribed  King  John's  Mantle  towards  a  'care-worn 

154 


PERSONAL   AND   SOCIAL   SATIRES    l8l2 

actor  (?  Elliston),  who  puts  up  his  hands  to  catch  them;  the  latter  wears  black 
theatrical  dress  with  sword,  suggesting  the  costume  of  Hamlet.  A  long  scroll 
hangs  down  the  elephant's  flank  inscribed :  Royal  \  Menagerie  \  Covent  Garden  \ 
This  Evening  perford  [sic]  |  The  Murder  \  of  Shakespeare  j  a  Tragedy  |  zvith  the 
Farce  of  \  Joh  Bull  \  in  Extacy  \  Principal  \  Performers  \  Ttco  Bears  \  An  Ass  &c. 

The  management  of  Drury  Lane  is  satirized  in  a  group  on  the  1.  of  the 
design.  Sheridan,  as  Harlequin  (cf.  No.  9916),  sits  astride  a  cask  inscribed 
Whitbreds  Stale.  He  turns  to  the  1.  to  hold  out  a  foaming  goblet  of  Froth  to 
Whitbread,  who  capers  gleefully  as  he  gives  a  kick  to  a  man  dressed  as  a  sailor, 
propelling  him  off  the  stage;  a  terrified  young  actress  runs  off  beside  him.  On 
the  ground  is  a  paper :  The  Storm  \  Luff  Boys  Luff  boys  \  dont  make  zcry  faces. 
Whitbread  holds  up  a  paper :  A  Guinea  P''  Week  for  Native  Talent ;  with  his 
1.  hand  he  pours  coins  into  a  bag,  inscribed  Treasury,  furtively  held  out  by 
Sheridan,  beside  whom  is  a  bottle  of  Sherry.  Above  the  heads  of  this  group 
projects  a  beam,  like  that  of  a  sign-board,  inscribed  Lyceum  [the  theatre  at 
which  the  Drury  Lane  Company  was  performing] .  On  this  sits  a  perky  little 
bird,  with  a  man's  head,  described  as  a  tom-tit;  it  says:  Tit  tit  tit.  A  peacock 
with  a  drooping  tail  stands  beside  it.  Emblems  of  tragedy  lie  on  the  ground 
on  the  extreme  1.:  crown,  goblet,  skull  transfixed  by  a  dagger,  'ready  to  be 
swept  away  at  the  conclusion  of  the  rehearsal' . 

On  the  extreme  r.  Mrs.  Siddons  walks  off  the  stage  with  a  majestic  swagger, 
carrying  a  huge  money-bag  on  each  hip.  She  wears  a  spiky  crown  decorated 
with  towering  ostrich  feathers;  her  dress  below  the  waist  is  inflated  back  and 
front  and  extends  behind  her  in  a  monstrous  train.  To  her  posterior  is  pinned 
a  play-bill:  Theatre  Royal  Covent  Garden — Positively  the  last^  Season  of 
Af^  Siddoti[s].  Behind  her  (1.)  Romeo  Coates  riding  a  golden  cock,  his  feet 
on  the  ground,  pierces  with  his  sword  the  throat  of  a  prostrate  man  who  holds 
up  an  open  book.  The  Fair  Penitent,  though  which  the  sword  passes.  Coates 
wears  trunk  hose  and  slashed  doublet,  enormous  spurs,  and  his  famous 
jewelled  and  feathered  hat,  see  No.  11934.  Beside  him  stands  a  man  in  early 
eighteenth-century  costume — 'the  robes  of  King  Arthur' — wearing  a  crown; 
he  says:  Lord  zchat  a  Rowe.  Behind  and  above  this  group  is  a  female  statue 
whose  garments  an  ugly  hag  is  tearing  off;  this  is  'Indecency  unveiling 
Nature'.  This,  with  stage  trees,  and  part  of  a  stage  box  above  a  door,  indicate 
the  stage  of  a  theatre. 

The  annual  Christmas  pantomime  at  Covent  Garden,  Harlequin  and 
Padmanaba ;  or,  the  Golden  Fish,  was  extremely  popular,  the  chief  attraction 
being  an  elephant  on  which  the  'Sultan  of  Cashmire'  (afterwards  Pantaloon) 
returns  from  a  tiger-hunt.  Europ.  Mag.  Ixi.  53  f.  Cf.  No.  13372.  The  H's 
on  which  Kemble  sits  are  his  famous  'aitches',  his  pronunciation  of  'aches' 
in  certain  passages  of  Shakespeare,  notably  in  The  Tempest,  see  No.  1 1424,  &c. 
Like  other  managers,  he  is  accused  of  sacrificing  the  great  dramatists  to  the 
public  love  of  spectacle,  cf.  No.  10796,  &c.,  although  the  pantomime  had  long 
been  an  annual  event  at  Covent  Garden.  Geramb  was  an  eccentric  much  in 
the  public  eye  and  associated  by  the  caricaturists  with  Coates,  see  No.  11769. 
For  Sheridan,  Whitbread,  and  brur\'  Lane  see  No.  1 1767,  &:c.  Mrs.  Siddons, 
who  was  determined  to  make  money  for  her  children,  had  long  been  unjustly 
accused  of  avarice,  see  No.  6712.  She  had  announced  her  last  appearance  in 
certain  characters  in  1809,  but  'yielded  to  the  interests  of  the  new  theatre'  (see 
No.  1 1413,  &c.),  accepting  an  engagement  at  fifty  pounds  a  week,  'terms  both 
complimentary  and  just'.  Boaden,  Mrs.  Siddons,  1827,  ii.  360  f.  She  made 
her  farewell  appearance  (as  Lady  Macbeth)  on  29  June  1812.   Cf.  No.  12829. 

Reid,  No.  145.   Cohn,  No.  732. 
7fX20j3gin. 

15s 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

11936  ACT  THE  2D  OF  THE  NEW  DRURY  LANE  BREWERY  OR 
A  MANAGERS  SPUR  TO  PROGRESS 

Argus  Inv^   [Williams  f.] 

Pub"^  Jany  1812  by  Walker  &  Knight  N"  7  Cornhill 

Engraving  (coloured  impression).  A  sequel  to  No.  11767.  A  scene  outside 
the  hoarding  behind  which  the  theatre  is  being  rebuilt.  Two  draymen  (r.  to 
1.)  carry  slung  from  their  pole  a  large  cask  of  his  En[t]ire,  which  Whitbread 
bestrides  in  triumph,  holding  up  a  frothing  tankard  inscribed  [Whit]bread; 
in  his  1.  hand  he  grasps  the  Pat[en]t  of  the  new  theatre.  He  is  escorted  and 
followed  by  a  cheering  crowd  of  men  who  wave  their  hats.  He  says:  Huzza! 
Huzza!  we  have  carried  our  point  and  shall  now  have  a  Theatre  as  much  like 
a  Brewhouse  as  one  Barrel  is  like  another,  which  is  certainly  the  most  elegant 
of  all  buildings  &  what  Publican  is  there  But  thinks  the  same,  therefore  Master 
Yat  [Wyatt]  let  it  be  as  much  like  a  Brewhouse  as  possible,  then  I  shall  have 
some  grains  of  Comfort.  In  the  foreground  (r.)  Peter  Moore  proffers  his  hat 
for  contributions ;  he  holds  a  tall  pole  on  which  is  a  board  inscribed :  /  am  a 
Man  of  Taste  \  From  Coventry  I  come  \  To  tell  you  all  in  haste  \  We  want  a 
little  sum  \  And  therefore  beg  your  Aid  \  For  a  pretty  Collonade.  On  the  extreme 
r.  are  two  (out  of  three)  ostrich  feathers,  rising  from  the  (obscured)  head  of 
the  Prince  Regent. 

In  the  1.  foreground  is  a  group  of  four:  Sheridan,  in  profile  to  the  r.,  out 
at  elbows  and  with  his  toes  through  his  fashionable  Hessian  boots,  holds  out 
a  battered  hat  for  alms  to  the  Duke  of  Bedford.  In  his  pocket  are  three 
papers:  School  for  Scandal,  Duenna,  Rivals.  He  says:  Pray  remember  your 
old  Manager,  burnt-out  &  lost  his  little  all — ?iot  admitted  into  the  new  firm  on 
account  of  his  honesty  &  extreme  punctuality  in  all  his  dealings — his  talents  not 
suiting  the  present  committe  [sic]  of  Taste  who  instead  of  Shakespeare,  Vanburgh, 
&  Congreve,  will  give  you  nothing  but  the  bottom  of  the  Tap  Tub.  as  Mother 
Cole  [in  Foote's  'Minor']  says  "wheti  we  are  missed  we  are  mourn' d'^  depend  on 
it  without  my  assistance  they  will  be  all  lost  in  a  storm  of  their  own  Brewing. 
Bedford,  stalwart  and  handsome,  drops  a  coin  into  the  hat,  saying.  Write 
My  Old!  Boy!  use  but  your  Pen  and  all  parties  will  benefit  so  there's  a  trifle 
to  buy  Ink  with.  Under  his  arm  is  a  large  bag  inscribed  Shares,  and  in  his 
pocket  is  a  paper  inscribed  Calculations.  Beside  Sheridan,  and  also  slouching 
and  abject,  stands  his  son  Tom,  holding  out  to  the  Duke  a  broadside :  To  [sic] 
Sides  of  The  Gutter  A  Favourite  Song  Sung  by  T.  Sh[eridan].  The  fourth 
(?  Lord  Holland)  smiles  down  on  the  Sheridans. 

Behind,  folding  doors  in  the  high  hoarding  are  open,  showing  bricklayers 
on  a  scaffolding  and  men  below  wheeling  barrows.  A  man  with  a  hod  mounts 
a  ladder.  All  turn  to  cheer  or  watch  the  procession.  They  are  at  work  on 
a  plain  brick  wall ;  above  this  appears  the  top  of  a  hoarding  which  divides  it 
from  the  wall  of  a  plainly  built  house  or  houses.  On  the  nearer  hoarding  (r.) 
is  a  bill :  To  be  Sold  several  it  res  [}  interests]  .  .  .  New  Brewery  .  .  .  Drury  Lane. 

See  No.  11767,  &c.  The  Duke  of  Bedford  renounced  his  claim  (£12,000) 
in  the  old  property.  As  the  ground  landlord  he  had  insured  the  old  theatre 
for  ^35,000.  The  old  renters  (shareholders)  and  other  creditors  accepted 
25  per  cent,  of  their  demands.  The  architect  was  Benjamin  Wyatt.  Oulton, 
Hist,  of  the  Theatres  of  London,  1 81 8,  i.  172,  217  f.  In  the  interests  of  economy 
the  new  building  was  very  plain.  Sheridan's  notorious  insolvency  and 
unbusinesslike  methods  had  prejudiced  the  old  theatre ;  his  agreement  to  have 
'no  concern  or  connexion  of  any  kind  whatever  with  the  new  undertaking' 
was  made  'a  sine  qua  non  by  all  who  embarked  on  it'.  The  Committee,  of 
which  Whitbread  was  chairman,  and  Peter  Moore,  M.P.  for  Coventry,  a 

156 


PERSONAL   AND   SOCIAL   SATIRES    l8l2 

member,  were  all  friends  of  Sheridan  and  nominated  by  him,  and  he  hoped 
(vainly)  that  this  exclusion  would  not  be  enforced.  For  the  opening  of  the 
new  theatre  see  No.  11940,  &c.  Rhodes,  Harlequin  Sheridan,  1933,  p.  228. 
For  the  Drur^'  Lane  Committee  (one  for  rebuilding,  one  'of  taste'  for  manage- 
ment) see  also  Nos.  11937,  11938,  11940,  11993. 
lof  X  14I  in. 

11937  COMMITTEE  OF  TASTE  OR  THE  PUNISHMENT  OF  A 
MODERN  MIDAS,  Dedicated  (zdthout  permission)  to  the  Subscribers  to  the 
New  Theatre  Drury  Lane. 

[Williams.]  [?  1812] 

Engraving  (coloured  impression).  A  satire  on  the  rebuilding  of  Drury  Lane 
Theatre.  Whitbread,  Chairman  of  the  Committee,  bestrides  a  barrel,  the 
head  inscribed  The  Butt  M,  T  [empty].  He  has  long  ass's  ears  and  points 
to  a  table  beside  him  on  the  extreme  r.  where  there  is  a  model  of  a  theatre 
v/ith  a  pillared  portico  and  pediment.  This  rests  on  a  paper  inscribed  Whit- 
bread Copeland  Holland  Rolls  ZSd^  clear  gains  4^0000! !!! !  Next  Whitbread 
a  man  sits  behind  a  similar  table  littered  with  plans  all  inscribed  Plan  of 
Drury  Lane.  He  also  has  ass's  ears,  to  which  a  second  pair  has  been  added 
in  water-colour.  He  looks  through  an  eye-glass,  resting  his  r.  elbow  on  an 
anchor,  while  he  holds  at  arm's  length  the  model  of  a  theatre  whose  portico 
is  flanked  by  two  large  sphinxes.  A  carved  sun,  like  the  emblem  of  the  Sun 
Fire-Office,  decorates  his  chair;  on  the  r.  is  a  broad  post  or  terminal  pillar 
supporting  a  man's  head,  also  with  ass's  ears.  This  rests  on  a  volume  inscribed 
Commons,  and  on  its  face  in  large  letters  are  the  words  Ex  Nihilo  Nihil  Fil; 
from  its  upper  edge  a  signpost  arm  projects  to  the  r.  inscribed  To  Coventry, 
showing  that  he  is  Peter  Moore.  Behind  Whitbread  (1.)  and  partly  screened 
by  a  hea\y  curtain  is  a  table  supporting  a  third  model  of  a  theatre,  also  with 
a  portico.  Whitbread,  frowning  slightly,  says:  These  Resolutions  once  carried 
good  bye  Friend  Sherry  Old  Claimants  and  nezv  Subscribers  (aside)  Hem! 
I  think  I  have  bullied  the  Committe  [sic]  properly.  His  neighbour  (.'  Lord 
Holland)  who  smiles,  has  a  round  good-humoured  face;  he  says:  La!  M'' 
Chairman  I  think  my  Sphyn.xcs  look  Monstrous  Pretty. 

A  satire  on  the  extreme  plainess  of  the  new  theatre,  see  No.  11936,  con- 
trasted with  the  elaborate  fa9ades  of  the  models:  'this  is  not  the  exterior  of 
a  Theatre,  but  rather  of  a  Quaker's  Meeting'.  Examiner,  1812,  4  Oct.  Com- 
mittee and  contractors  are  accused  of  illicit  profits.  Henn,-  Rowles  was  the 
builder.  Lord  Holland  was  on  the  Committee;  Holland,  architect  of  the  old 
theatre,  died  in  1806.  The  identity  of  Copeland  is  obscure. 
8fxi3iin. 

1 1938  A  BUZ  IN  A  BOX  OR  THE  POET  IN  A  PET— WITH  A  CHIP 
OF  THE  BLOCK,  MOUNTED  ON  PAPA'S  PEGASUS. 

[Williams.] 

Pub'^  Oct''  21  18 1 2  by  S.  W  Fores  50  Piccadilly. 

Engraving  (coloured  impression).  After  the  title:  vide  opening  of  New  Drury 
Lane  Theatre.  A  corner  of  the  stage  at  Drury  Lane  slants  diagonally  from 
I.  to  r.,  showing  part  of  the  orchestra  and  pit  (r.)  with  part  of  two  stage-boxes 
on  the  extreme  r.  The  stage  manager,  Raymond,  stands  addressing  the 
clamorous  audience,  while  on  the  1.  a  voung  man  with  ass's  ears  sits  on  a 
donkey  which  flourishes  its  heels  so  that  they  strike  the  lowered  stage-curtain. 

157 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

The  donkey  brays  Ih  ho  Ih  ho  Ih  ho,  its  hind-quarter  is  branded  My  Pegasus 

Buz.    Its  rider  recites  : 

''Nor  ever  here  your  smiles  would  be  represt, 
"Knew  you  the  rival  flames  that  fires  our  breast, 
"Flame,  Fire  and  Flame! — sad — woe  Neddy! 

Ladies  and  Gentlemen,  My  Papa's  Pegasus  is  sofidl  of  fire  and  spirit  that  very 

few  are  capable  of  mounting  him.  for  my  self  I  never  spoke  but  once  &  that  was — 

Unce  logos  but  if  you  will  give  me  leave  to  get  on  with  my  Papas  Monologue  I  am 

positive  you  will  pronounce  it  the  prettiest  piece  of  poetry  produced  for  the  purpose. 

Raymond  says:  Ladies  and  Gentlemen,  it  was  never  the  intention  of  the 

Proprietors  to  introduce  Assess  [sic]  on  these  boards  but  as  you  seem  entertained 

with  their  braying  if  it  [is]  your  wish,  we  will  procure  some  trainers  from  the 

other  House  as  we  are  really  ignorant  in  the  management  of  thes  [sic]  Animals. 

Greeted  by  derisive  cheers  from  the  audience,  Dr.  Busby,  also  with  ass's 

ears,  leans  from  the  upper  stage-box,  saying.  Ladies  and  Gentlemen,  only  hear 

My  Son  speak  my  Monologue  written  by  myself  the  only  one  fit  to  be  heard  the 

committee  are  as  ignorant  of  good  Poetry  a[s]  I  am  of  true  criticism.  I  am  a  great 

writer  reviews  my  sons  works  very  clever  indeed— writes  my  own  life — well  worth 

reading — my  Life  of  Lucius  Otrigger  will  astonish  you  now  pray  hear  my  Son 

speak  my  Monologue! — .  A  man  behind  him  shouts:  Bravo!  Go  on!  Go,  on,  and 

one  in  the  crowded  lower  box  applauds :  Bravo  Apollo  go  on  Go  ...   In  the 

foreground  a  man  in  the  pit  shouts  pointing  to  the  ass :  Why  don't  you  come  down 

and  get  up  behind  don't  you  see  he  wants  ballast.   Six  others  address  the  son: 

When  you  have  done  there — set  those  Epigrams  to  Music  young  Apollo! ;  Off  Off 

Off  Off;  he  will  be  off  presently  if  Neddy  kicks  so! ;  Go  on  Go  on ;  Speak  out  you 

should  have  brought  your  Voice  with  you;  hear  him  hear  him.    The  orchestra  is 

empty  of  performers,  but  the  music  scores  are  headed  The  Judgement  of  Midas 

[O'Keefe's  play].  Three  large  papers  lie  on  the  stage  inscribed  respectively: 

[i]  A  Lord  [Byron]  and  a  Doctor  once  started  for  Fame 

Which  for  the  be  A  Poet  should  pass 

The  Lord  was  cried  up  on  account  of  his  name 

The  Doctor  cried  down  for  an  Ass — 

[2]  Doctor  Bus  he  assures  us  on  Drury  new  Stage 
No  Horses  or  Elephants,  there  shoidd  engage 
But  pray  Doctor  Buz,  how  comes  it  to  pass. 
That  you  your  own  self  should  produce  there  an  Ass 

[3]  Old  Buz  against  Quadrupeds,  war  did  zvage. 

And  swore  on  Drury' s  board's  such  Mum'ry  ne'er  should  pass 
But  forcing  his  own  Pegasus  on  Drury s  stage 
The  Critic  Audience  christen' d  Buz  an  Ass. 

Behind  Raymond  is  the  lower  part  of  the  verd-antique  pillar  which  flanked 
the  curtain,  and  on  the  r.  the  large  ornate  lamp,  of  quasi-Egyptian  design  in 
which  three  hawk-headed  monsters  support  an  inverted  tripod,  the  base  of 
a  ring  of  lamp-jets. 

The  scene  at  Drury  Lane  on  15  Oct.  is  depicted,  see  No.  11940,  &c.  Dr. 
Busby  actually  spoke  from  a  box  in  the  third  tier,  and  in  a  much-interrupted 
speech  said,  among  much  else,  'he  should  give  them  an  opportunity  of  hearing 
such  a  Monologue  as  they  had  seldom  heard',  Raymond  was  understood  to 
say  that  the  reciter  should  not  be  interrupted.  After  the  first  few  lines  young 
Busby  was  inaudible.  For  its  opening  lines  see  No.  11939.  The  lines  quoted 
are  9-1 1,  ending  *sad,  heart-appalling  sounds'.  See  Europ.  Mag.  Ixii.  26i*-4*. 
Dr.  Busby  wrote  most  of  the  Addresses  and  Prologues  spoken  by  Elliston  at 

158 


PERSONAL   AND   SOCIAL   SATIRES    l8l2 

Drury  Lane,  and  it  was  the  custom  of  the  theatre  to  disparage  the  animal 
performers  at  Co  vent  Garden  (for  the  horses  see  No.  11772,  for  the  elephant 
No.  1 1935).  His  Address,  pubHshed  by  himself  in  the  Morning  Chronicle 
(16  Oct.),  and  reprinted  in  the  European  Magazine,  was  so  bad  as  to  be 
distinguished  among  the  other  indifferent  ones.  It  was  parodied  by  Byron 
as  Parenthetical  Address  .  .  .  Busby's  son  also  contributed  an  address  which 
he  called  Unalogue.  Horace  Smith's  'Architectural  Atoms.  By  Dr.  B.' 
appeared  in  Rejected  Addresses  on  12  Oct.  (before  the  Doctor  and  his  son  made 
their  protest)  prophetically  headed  'To  he  recited  by  the  Translator' s  Son'. 

Copy,  Everitt,  frontispiece. 
8|xi3f  in. 

1 1939  THE  MANAGER,  AND  THE  BUZ-BEE  IN  A  DOCTOR'S  WIG. 

G  Cruikshank  del  [c.  Oct.  181 2] 

Engraving.  Heading  to  a  printed  broadside.  A  corner  of  the  stage  at  Drury 
Lane,  receding  in  perspective  to  the  1.,  with  part  of  the  orchestra  and  a  corner 
of  the  pit  on  the  r.  Above  this  are  two  boxes,  one  above  the  other,  so  wide  as 
to  resemble  sections  of  gallery.  One  of  the  famous  lamps  is  in  the  corner 
of  the  stage.  G.  F.  Busby,  thin  and  foppish,  stands  in  profile  to  the  r.,  address- 
ing the  house,  holding  out  his  hat  in  the  r.  hand  and  in  the  other  flourishing  a 
long  broadside,  headed  The  Buz  bees  Address.    He  declaims  the  opening  lines : 

When  energising  objects  nien  persue 

What  are  the  prodigies  they  cannot  do. 

Behind  him  stands  an  irate  schoolmaster  in  cap  and  gown,  a  reincarnation 
of  Dr.  Busby  (1606-95),  of  Westminster  School,  lifting  the  young  man's  coat- 
tails,  and  vigorously  plying  a  birch-rod.   He  says: 

As  Harlequin  had  smote  the  Slumberous  heap 
And  bade  the  rubbish  to  a  fabric  leap 

So  will  I  smite  this  little  Buz  bee's  r 

And  make  the  Rogue  uith  rage  Poetic  jump. 

On  the  extreme  1.  stands  the  stage  manager,  Raymond,  displaying  to  the 
audience  a  long  printed  broadside  headed  A  Loud  Bees  humming  Add[ress\. 
He  says: 

Are  these  the  Busby's  of  the  present  age? 

Flog  me  such  Asses  fro?n  famed  Drury' s  stage. 
In  the  upper  box  a  little  man  (Dr.  Busby)  is  angrily  shouting,  Pm  the  great 
Buzbee.  Two  tough-looking  men  are  about  to  seize  him.  Occupants  of  both 
boxes  point  and  stare.  The  pittites  are  much  amused  at  young  Busby's  recita- 
tion ;  some  shout :  go  off;  off  off  off  go  home  go  home,  and  'tis  a  very  bad  Address ; 
one  says:  go  on.  The  song  is  to  the  air  of  'The  Frog  in  a  Cock'd  Hat',  see 
No.  1 1842.  It  opens  with  a  'Recitative'  (annotated  'Fragment  in  imitation 
of  Lucretius  delivered  in  Recitative  by  a  Yonker,  accompanied  with  a  full 
Chorus  of  Groans,  and  set  to  Music  by  Doctor  Busby,  professor  of  Ars 
Musica'): 

Thou  whom  all  natures  amorous  works  obey. 
Whose  smiles,  from  chaise-horse  called  primaeval  day; 
Thou  for  whose  presence  every  lover  sighs, 
Sing  rumpty  dumpty,  puddings  and  mince  pies; 
Thee  I  invoke!  possess  me  while  I  sing. 
To  Whitbread's  ear  my  nonsense  let  me  bring; 
Apollo,  strike  thy  lyre  with  merr}'  jig, 
And  hear  a  Buz-bee  in  a  doctor's  wig. 

159 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

The  sixth  of  eight  verses : 

Of  your  humming  address  you  need  not  be  proud, 

No,  no,  said  Raymond 

For  a  lord  B [Byron]  has  lately  been  humming  the  croud, 

With  his  buzzing,  fussing. 
Gammoning  speeches  O! 

He  has,  said  Manager  Raymond. 

Another  satire  on  the  scene  at  Drury  Lane  on  15  Oct.,  see  No.  11940,  &c. 
Dr.  Busby's  rhymed  translation  of  Lucretius  is  also  ridiculed;  it  was  com- 
pleted c.  1782  but  not  pubUshed  (to  subscribers)  till  1813,  though  he  (and 
his  son)  gave  readings  from  it. 

Reid,  No.  135.  Cohn,  No.  171 5.  Reproduced,  Cruikshankian  Momus,  p.  70. 
7x9!^  in.   Sheet,  i6|x  io|  in. 

11940  MANAGEMENT— OR— BUTTS  &  HOGSHEADS. 

G.  Cruikshank  ScuP 

Published  December  i'^  1812  by  W  N  Jones.  5  Newgate  Str* 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  iv.  Illustration  to 
'The  two  first  chapters  of  the  Book  of  Drury,  and  of  Acts  of  Samuel'  (in 
biblical  language),  pp.  431-5.  A  satire  on  the  management  of  the  new  theatre, 
the  scene  being  the  stage  framed  by  two  tiers  of  stage-boxes.  In  the  centre 
is  a  huge  wooden  tub.  New  Drury  Brewing  Vat,  supported  on  the  backs  of 
two  men  on  hands  and  knees.  One  (I.)  rests  his  hand  on  a  paper:  Arnolds 
Swiss  Banditti,  showing  he  is  Samuel  James  Arnold;  the  other  similarly 
displays  Raymonds  Life  of  Dermody,  showing  he  is  James  Grant  Raymond. 
Whitbread  stands  on  a  ladder  stirring  the  frothing  contents  of  the  vat  with 
an  oar-shaped  implement,  and  throwing  in  papers:  Expectations,  Subscrip- 
tions, Promises  [twice].  Clouds  rise  from  the  vat  and  reach  Apollo,  who  floats 
in  front  of  the  centre  of  the  festooned  curtain,  with  irradiated  head  and  hold- 
ing his  lyre.  He  wears  draperies  above  breeches  and  spurred  top-boots,  and 
flees  from  the  fumes  of  the  vat.  At  the  bottom  of  the  vat  (r.)  is  a  tap  beneath 
which  stands  a  bucket  inscribed  For  Profits.  John  Bull  (not  named)  sits  on 
the  ground,  disconsolately  watching  the  tap,  from  which  nothing  flows;  he 
says :  Profits!!!!  D — me  if  any  will  come.  The  reason  for  this  is  that  Sheridan, 
supported  on  the  back  of  his  son  Tom,  intercepts  them.  Both  use  gimlets 
to  puncture  the  cask ;  Sheridan  holds  a  tankard  to  collect  the  frothing  liquor, 
inscribed  4000  P^  An^  from  his  hole;  the  other  catches  1000  P*"  An"'  in 
his  mouth. 

In  the  foreground  on  the  r.  are  two  couples.  The  stout  and  elderly  Duke 
of  Norfolk,  wearing  a  star,  dressed  as  Hamlet  with  his  arm  round  the  shoulders 
of  a  plain  and  middle-aged  actress  who  holds  a  play-bill :  Hamlet  the  Du[ke] 
of  Norfolk  Ophelia  Miss  Tidswell.  He  says :  Oh!  that  this  too,  too  solid  flesh 
would  melt!  She  answers  (misquoting  'Richard  III') :  Jocky  of  Norfolk  be  not 
so  bold.  Beside  them  (r.)  a  tall  thin  actor  (EUiston)  addresses  a  stout  lady 
on  whose  posterior  is  a  play-bill :  The  Wonder  Don  Felix  M^  EUiston  Isabella 
[i.e.  Albinia]  Countess  of  Buck.  She  has  whiskers,  and  is  addressed  by 
EUiston  (adapting,  not  Mrs.  Centlivre's  play,  but  'The  Critic') :  O!  Whiskeranda 
Whiskeranda  O.  Behind  Miss  Tidswell  Lord  Holland,  a  star  on  his  coat, 
stands  on  a  pile  of  Rejected  Addresses,  with  others  tucked  under  his  1.  arm, 

and  in  his  1.  hand  a  paper:  Lord  B s  Add{ress'\.  Above  his  head  a  notice 

is  pinned  to  a  column :  A  Map  of  Holland.  He  turns  to  a  thin  man  with  a 
deformed  r.  leg,  saying.  Well!  well!  you  voted  with  us  B.  the  prize  shall  be 

160 


PERSONAL   AND   SOCIAL   SATIRES    l8l2 

Yours;  Byron  is  capering  in  dismay  at  a  heavy  battering-ram,  inscribed 
Monologue,  which  strikes  his  posterior,  the  point  of  contact  being  an  ass's 
head  with  wings  for  ears.  He  exclaims:  Stop!  good  Doctor!  one  Murder  is 
enough  I  do  not  zvish  to  suffer  the  same  fate  zoith  Lucretius.  Two  men  hold  the 
ram,  one  (Busby)  is  elderly;  his  son,  behind  him,  is  ineffectively  foppish,  and 
says :  Let  us  cram  it  down  John  Bulls  Throat  Father. 

On  the  extreme  1.,  a  pendant  to  the  group  of  Norfolk  and  Elliston,  is  a 
throne-like  settee  with  an  ornate  canopy.  On  this  are  seated  a  tall  emaciated 
old  man  and  a  youngish  woman  with  much-exposed  breasts,  who  holds  a 
melon  to  which  she  points  with  an  imperative  gesture.  From  the  man's 
pocket  hangs  a  paper :  Mellon  payable  at  Coutts,  showing  that  they  are  Coutts 
and  Harriet  Mellon.  In  front  of  them,  grinning  and  posturing,  stands 
Skeffington,  pointing  at  the  lady,  and  displaying  to  Coutts  a  paper  inscribed 
The  Vertious  Cortezan  or  generous  Cut  Throat  MS.  At  his  feet  is  a  paper, 
The  Sleeping  Beauty,  his  most  popular  play,  see  No.  10455.  Near  them,  a 
pendant  to  Lord  Holland  and  Byron,  stands  a  man  in  flamboyant  military 
uniform,  a  pen  behind  his  ear,  with  his  arm  round  a  young  woman,  evidently 
Mary  Orger.  He  holds  a  paper  inscribed  Highgate  Tunnel  [showing  that  he 
is  Lascelles  Smith,  whose  after-piece  of  that  name  was  played  2  July  i8i2 
by  the  Drury  Lane  company],  and  tramples  on  another  inscribed  Rejected 
Addresses.  Behind  them  shuffles  a  disconsolate  man  holding  a  pair  of  pattens 
in  one  hand,  and  a  book,  Orgers  Ovid,  in  the  other;  under  his  arm  is  an 
umbrella.  He  exclaims:  Oh!  my  Vife  my  Vife.  The  pair  are  playing  the 
parts  of  Major  Sturgeon  and  Mrs.  Sneak  (with  Orger  as  Jerry  Sneak,  the  hen- 
pecked husband)  in  Foote's  'Mayor  of  Garratt'.  Behind  him  are  two  casks 
inscribed  respectively  Fixture  Dimond  Small  Beer  and  Fixture  Letvis's  Gun 
Powder. 

At  the  back  of  the  stage  (1.)  is  a  high  platform,  on  which  is  a  tall  post 
supporting  a  notice  headed  New  Regulations;  these  are  numbered  from  i 
to  6  and  signed  H.  Combe.  Combe  himself,  wearing  his  alderman's  gown 
and  chain,  stands  at  the  foot  of  the  post,  kicking  off  the  platform  bottles 
inscribed  Choice  Spirits;  he  says :  What  have  these  to  do  here?  He  holds  a  tray 
of  candles  and  candle-ends,  which  he  is  distributing  to  a  group  of  actors  of 
the  barnstorming  type :  a  short  shambling  man  in  Roman  armour,  a  tall  lean 
and  elderly  actor,  a  fat  woman  wearing  a  spiky  crown,  a  man  in  Turkish 
costume,  and  an  ugly  dwarfish  infant  in  Highland  dress,  reminiscent  of  the 
Roscius  era,  see  No.  103 18,  &c.  They  eagerly  hold  out  their  hands  for  the 
candles  (part  of  their  meagre  pay).  Combe  is  said  to  have  issued  'New 
Regulations'  and  hired  provincial  actors.  On  the  opposite  side  of  the  stage  is 
a  high  cliff  on  which  is  a  tomb  topped  by  an  urn  and  emblems  of  Tragedy  and 
Comedy;  the  inscription :  Hicjacet  Georgius  Cook — Heu  Heu  Heu.  A  woman, 
'the  genius  of  the  drama',  weeps  for  the  death  of  her  favourite. 

The  proscenium  is  realistically  depicted,  with  the  two  stage-boxes  on  each 
side  above  the  'two  very  fine  and  large  lamps,  with  tripods  on  triangular 
pedestals',  supporting  'a  circle  of  small  burners  on  the  principle  of  Bartons 
lamps'.  On  each  side  is  'a  massy  Corinthian  column  of  verd  antique'.  Europ. 
Mag.  Ixii.  258*.  From  brackets  above  the  upper  stage-boxes  dangle  two 
women,  in  the  last  stage  of  death  by  strangulation :  one  (1.),  grotesque,  ugly, 
and  elderly,  is  Tragedy,  holding  cup  and  dagger,  the  other  (r.),  young  and 
comely,  is  Comedy.  The  lower  stage-boxes  are  occupied.  On  the  1.,  in  the 
shadowy  recesses  of  the  box,  the  Prince  Regent  seems  to  be  indicated,  kissing 
Lady  Hertford.  On  the  r.  is  a  fashionably  dressed  man  wearing  spectacles 
and  watching  the  performers. 

A  satire  on  the  management  of  Drury  Lane,  and  on  the  opening  of  the 

161  M 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

new  theatre  on  lo  Oct.  Whitbread  was  chairman  of  the  Committee  for 
rebuilding,  see  No.  11936,  &c.,  and  of  the  Committee  of  Management,  or 
'Committee  of  Taste'.  The  two  managers,  under  the  Committee,  were 
Arnold,  see  No.  11772  (his  The  Maniac,  or  Swiss  Banditti,  was  first  played 
13  Mar.  1810;  the  Committee  announced,  7  Dec.  1812,  that  they  had  secured 
his  services  as  principal  manager),  and  Raymond,  acting-manager,  author  of 
a  Life  (1806)  of  the  Irish  poet  Thomas  Dermody.  For  the  sums  paid  to 
Sheridan  and  his  family  for  their  interest  in  the  patent  see  No.  11767.  The 
Committee  advertised  on  14  Aug.  a  competition  for  a  prologue  to  be  spoken 
on  the  opening  night,  the  entries  to  be  anonymous,  the  pseudonym  to  be 
identified  only  in  the  case  of  the  successful  competitor;  the  selection  com- 
mittee was  understood  to  be  Whitbread,  Lord  Holland,  and  Combe.  Over  a 
hundred  were  sent  in,  including  one  by  Whitbread,  all  were  rejected,  and 
Byron  was  asked  to  supply  a  prologue,  which  he  did  in  consultation  with 
Lord  Holland.  He  had  made  his  first  speech  in  the  Lords  on  27  Feb.  1812 
on  information  supplied  by  Holland.  There  was  a  storm  of  protest  from  the 
competitors.  The  Address  was  spoken  by  Elliston  who  played  Hamlet  on 
the  opening  night.  Byron  writes  (17  Oct.)  of  'my  Address  which  has  been 
murdered  (I  hear)  in  the  delivery,  and  mauled  I  see  in  the  newspapers*. 
Corr.,  ed.  Murray,  1922,  i.  91.  On  14  Oct.  an  unknown  who  proved  to  be 
G.  F.  Busby  got  on  the  stage  from  the  pit  and  attempted  to  address  the 
audience,  but  was  hustled  ofi^  by  police  officers:  on  15  Oct.  Dr.  Busby 
{Mus.  Doc.)  addressed  the  House  from  a  box  in  the  third  tier,  after  the  comedy, 
and  again  after  the  farce,  amid  much  confusion,  on  the  claims  of  the  authors 
of  the  rejected  addresses;  he  finally  got  their  leave  for  his  son  to  speak  the 
address  prepared  by  himself.  He  was  removed  by  Bow  Street  officers,  but 
recaptured  and  reinstated  by  the  audience,  assuring  them  they  would  now 
hear  'such  a  monologue  as  they  had  seldom  heard'.  His  son  then  appeared 
and  recited,  but  his  weak  voice  was  inaudible.  Busby  published  his  Address 
next  day  in  the  Morning  Chronicle.  Byron  parodied  it  anonymously  in  his 
'Parenthetical  Address  by  Dr.  Plagiary,  to  be  recited  in  an  inaudible  voice  by 
his  Son'  {Morn.  Chron.,  23  Oct.).  The  Smiths'  Rejected  Addresses^  was  pub- 
lished 12  Oct.  1 812,  Busby  being  one  of  the  parodied.  Subsequently,  The 
Genuine  Rejected  Addresses  .  .  .  preceded  by  that  written  by  Lord  Byron  .  .  . 
was  published.  See  Oulton,  Hist,  of  the  London  Theatres,  1818,  i.  228  ff.; 
Europ.  Mag.  Ixii.  264,  257*-64*;  Genest,  viii.  350-2;  A.  Boyle's  edition  of 
Rejected  Addresses,  1929.  Miss  Tidswell  acted  minor  parts  at  Drury  Lane. 
On  10  Oct.  Miss  Kelly  played  Ophelia.  Harriet  Mellon  (cf.  No.  11628) 
played  Nell  in  The  Devil  to  pay;  she  married  Coutts  in  1815.  Lady  Bucking- 
hamshire had  been  a  noted  amateur  performer,  see  No.  6713;  cf.  No.  11914. 
Mary  Anne  Orger  nee  Ivers  was  a  Drury  Lane  actress  who  on  marrying  a 
Quaker,  George  Orger,  retired,  but  soon  returned  to  the  stage  with  his  con- 
sent. Their  identity  is  indicated  by  allusion  to  Thomas  Orger,  who  published 
a  translation  of  Ovid's  Metamorphosis  in  181 1.  Dimond  was  a  prolific  writer 
of  inferior  plays,  see  vol.  viii.  For  Drury  Lane  playwrights  cf.  No.  11438,  &c. 
The  'New  Regulations'  are  the  restrictions  on  free  admissions  advertised  on 
the  play-bill  on  10  Oct.  G.  F.  Cooke,  a  brilliant  but  uncertain  actor,  died  in 
New  York  in  181 1.  The  print  justly  censures  the  mediocrity  of  the  Drury 
Lane  company  under  the  Committee.  For  the  Rejected  Addresses  see  also 
Nos.  1 1938,  11939,  11941,  1 1993. 
Reid,  No.  182.  Cohn,  No.  732. 
lo^XiSJ  in. 

*  The  i8th  edition,  1833,  was  illustrated  by  G.  Cruikshank.   (Reid,  3948-53.) 

162 


PERSONAL  AND   SOCIAL   SATIRES    1812 
11941  THE  GENIUS  OF  THE  TIMES. 

[Williams.] 

Puh^  Decern^  1 1812  for  the  Proprietors  of  Town  Talk. 

Engraving.  PI.'  to  Town  Talk,  iii.  325.  A  wide  cundng  road  leads  up 
Parnassus  to  the  Temple  of  Fame.  In  the  foreground  (1.)  is  a  deep  pool  fed 
by  a  culvert  inscribed  Lethe;  to  this  a  cup  is  chained.  On  the  r.  is  a  sign- 
post, one  arm  pointing  uphill  To  Fame,  the  other  (r.)  To  the  Bank  of  England. 
A  laurel  twines  round  the  post,  turning  in  the  direction  of  the  Temple.  Authors 
are  variously  grouped  on  the  road  to  Fame,  in  or  near  the  waters  of  Lethe, 
or  rushing  headlong  from  fame  towards  riches.  The  Temple  is  a  rotunda 
with  pilasters,  pediment,  and  portico,  set  between  curving  colonnades  which 
form  wings ;  Fame  blows  a  trumpet  from  the  roof  and  in  front  of  it  Pegasus 
paws  the  ground.  Busts  of  Milton  and  Shakespeare  stand  on  the  ends  of  the 
colonnade ;  the  names  of  lesser  writers  are  in  ovals  on  the  colonnade  and  on 
the  pillars  of  the  portico.  On  each  side  of  the  door  are  (1.)  Rabelais  and 
Le  Sage  and  (r.)  a  blank  and  Pope;  outside  these  are  (1.)  Fielding  and  Moliere 
and  (r.)  Racine  and  Dryden.  In  places  of  honour  below  Milton  (1.)  are  Chaucer 
and  Cowper,  and  below  Shakespeare  (v.)  Johnson  and  Gay.  The  other  names 
are  Ben  Johnson  [sic].  Swift,  Newton,  Locke,  Akenside,  Congreve,  Tickell, 
Savage,  Prior,  Spencer,  Addison,  Rowe. 

Nearest  the  Temple,  though  some  way  from  the  top,  is  Walter  Scott  carried 
on  the  shoulders  of  (presumably)  his  publisher  John  Ballantyne,  In  his  pocket 
is  a  book.  Lady  of  the  Lake;  his  r.  hand  is  in  Ballantyne's  coat-pocket,  his 
1.  arm  extended  as  he  declaims:  Give  all  thou  cans' t,  and  let  me  hope  for  More'' 
[parodying  Pope  in  Eloisa  to  Abelard]  another  2000  for  another  Lady  of  the 
Lake,  and  a  seat  near  Milton,  or  I  zvill  write  a  Dunciad!    Ballantyne,  dis- 
gruntled, exclaims:  Five  shillings  a  line  by  G — d.   They  are  followed  by  a  pro- 
cession dragging  uphill  a  large  cask  of  Whit[br'\ea[d' s]  Enti[re\  slung  from 
a  drayman's  pole  carried  by  two  men.    Two  others  haul  at  it  by  ropes,  and 
three  more  push  or  walk  behind.   Astride  the  barrel  sits  Byron,  fashionably 
dressed  and  (incorrectly)  wearing  a  ribbon  and  star.    In  his  pocket  is  Childe 
Harold  Pilgrimage;  he  holds  up  his  Address  for  the  opening  of  the  New  Drury 
Lane  Theatre  and  declaims :  What  with  my  address,  title  and  Pilgrimage  I  shall 
be  sure  to  get  a  seat  on  the  mount,  for  I  know  the  road  well  enough,  having 
travelVd  this  classic  ground  before.    In  the  pockets  of  two  of  his  bearers  are 
papers,  inscribed  respectively  Fleet  Street  and  Pater  Noster  Row ;  two  followers 
say  His  Lordship  seems  tickled,  and  Well  he  might  when  the  Committee  zvere 
determined  he  should  bear  away  the  Palm.   Facing  the  spectator,  with  his  back 
to  Byron,  stands  Wolcot  (Peter  Pindar)  with  his  hands  in  his  pockets,  holding 
a  large  book.  The  Lousiad  [see  No.  7186,  &c.] ;  from  his  pocket  hangs  a  paper 
inscribed  Pension  [see  No.  7399].    He  says:  A  pretty  troop  of  Candidates  for 
fame  I  have  left  at  the  bottom  of  the  hill,  all  for  getting  Money,  fools  if  they  think 
to  get  a  sprig  of  laurel  much  less  a  bundle!!   Next  him  (1.)  is  George  Colman, 
fashionably  dressed,  who  seizes  a  woman  in  classical  draperies.    She  holds 
a  pen  and  removes  a  smiling  mask  inscribed  Wit  to  show  a  sour  and  elderly 
face.  He  says :  /  have  caught  thee  at  last!  ''Come  live  with  me  and  be  m\  Loz^e." 
In  his  pocket  is  a  book.  Broad  Grins  by  G  [Colman,  cf.  No.  11963]  and  Day 
Rule,  showing  that  he  was  a  debtor  living  in  the  Rules  of  the  King's  Bench 
Prison.   In  the  foreground  Sheridan,  staggering  drunkenly,  seems  about  to 
walk  into  the  waters  of  Lethe;  he  tries  to  drink  from  a  bottle  of  Sherry,  but 
pours  the  contents  down  his  waistcoat.    In  his  pocket  is  The  Rivals.   He 

'  Not  folded,  showing  that  it  was  issued  separately. 

163 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

says:  /  see  a  vacant  seat  near  Rabelais  that  shall  content  me  for  the  loss  of  one  at 
St d  [Stafford]  a  parcell  of  rotten  leather-heads  and  be  daniend  to  them. 

On  the  1.  are  men  struggling  in  the  waters  of  Lethe.  Near  the  waving  legs 
of  a  man  who  is  head  downwards  floats  a  book,  The  Friend,  indicating 
Coleridge.  Near  another  floats  Thala[ba]  the  Destroy[er],  indicating  Southey. 
Near  two  emerging  hands  floats  Political  Justice  by  [Godwin] .  Between  two 
men  who  are  falling  is  a  book  inscribed  Novel\etts  {1)  \  in  Rhym.  One  of 
these  clutches  at  the  coat  of  a  neatly  dressed  man  in  dark  clothes  who  staggers 
backwards  and  will  inevitably  fall  in.  A  book  inscribed  Lyrical  Ballads  shows 
that  he  is  Wordsworth,  since  Coleridge  is  accounted  for.  Two  men  clutch 
desperately  at  the  bank,  but  have  little  chance  of  getting  to  dry  land.  The 
mercenary  writers  are  a  pendant  to  these  unfortunates.  They  rush  forward 
to  the  r.  with  their  books.  The  two  foremost  are  'Monk'  Lewis,  holding  up 
The  Monk  by  G  M  Lewis,  and  Pratt  with  his  Gleanings  in  [England]  (2nd  ed. 
1 801).  Close  behind  is  Hayley  clutching  his  Triumphs  of  Temper  [1781,  many 
later  editions,  ridiculed  by  Byron  in  English  Bards  .  .  .].  Next  is  Pye,  holding 
up  his  epic  (1801)  inscribed  Alfred  by  .  .  .  Next  is  Kemble  holding  a  paper 
inscribed  Burnt  Out;  he  looks  over  his  shoulder  at  the  last  of  the  party 
(Arnold),  running  fast,  who  shouts:  Why  Hello  Spangle  Jack  what  are  you 
running  so  fast  for  en' t  you  contented  yet!  Kemble  answers:  No!  I  never  shall 
recover  burning  out!  [see  No.  11413,  &c.].  Arnold  is  identified  by  a  book 
inscribed  The  Devils  Bridge;  this  was  a  'grand  operatic  romance'  played  by 
the  Drury  Lane  Company  on  6  May  1812;  a  roll  of  music  projects  from  his 
pocket.  Between  him  and  Kemble  runs  a  man  holding  out  a  book  inscribed 
Dramatic  Censor,  implying  that  he  is  John  Williams  (Anthony  Pasquin).' 

The  figures  are  poorly  characterized  and  are  identified  only  by  inscriptions; 
those  in  Lethe  are  unidentified.  Scott  nominally  received  ;^2,ooo  for  the 
copyright  of  The  Lady  of  the  Lake  (1810),  but  Ballantyne  &  Co.,  in  which 
Scott  was  secretly  a  partner,  retained  three-quarters  of  the  property.  Byron 
returned  from  Greece  in  181 1  and  published  Childe  Harold  (i  and  ii)  in 
Mar.  1 812;  for  his  Drury  Lane  Address  and  its  connexion  with  Whitbread 
see  No.  11940,  &c.  For  Wolcot  (1738-1819)  see  vols,  vi,  vii,  viii.  He  con- 
tinued to  publish  verse  satires  till  18 17,  leaving  much  unpublished  verse;  he 
attacked  the  Regent  in  Carlton  House  Fete  .  .  .  181 1 .  For  Colman's  insolvency 
see  No.  12328.  Sheridan  was  ruined,  owing  to  his  defeat  at  Stafford  in 
October  (cf.  No.  10607),  and  his  exclusion  from  the  management  of  Drury 
Lane,  see  No.  11914,  11936,  &c.  Eight  authors  condemned  to  oblivion 
include  Wordsworth,  Coleridge,  Southey,  and  Godwin,  cf.  No.  9240  (1798) 
where  the  three  last  appear;  a  fifth  may  well  be  Leigh  Hunt.  The  best-sellers 
have  had  more  ephemeral  reputations.  Dr.  Johnson,  placed  under  Shake- 
speare, was  in  1783  caricatured  by  Gillray  as  'Dr.  Pomposo*,  scourged  round 
Parnassus  by  Apollo  and  the  Muses,  see  No.  6328.  See  No.  12338. 
9|Xi6  in. 

11942  CLOWN  &  GRASSHOPPER,  IN  THE  NEW  COMIC  PANTO- 
MIME OF  JACK  AND  JILL  AS  PERFORMED  AT  THE  THEATRE 
ROYAL  LYCEUM. 

London  Published  as  the  Act  directs  Aug^^  9'^  1812  by  W.  West  at  his 

Theatrical  Print  Warehouse  13  Exeter  Str^  Strand. 
Engraving  (coloured  impression).    A  clown,  in  the  tight-fitting  dress  of  an 
acrobat,  does  splits,  looking  up  in  comic  astonishment  at  a  monster  grass- 
hopper which  hovers  over  him.   First  played  Lyceum,  30  July  18 12. 
6f  x8^§  in. 

'  Alternatively  he  is  Thomas  Button,  who  edited  the  Dramatic  Censor;  or.  Weekly 
Theatrical  Report,  1801 ;  he  also  wrote  verse  satires,  and  translated  German  plays,  &c. 

164 


PERSONAL  AND   SOCIAL  SATIRES    l8l2 

11943  OH  MA  SOPHIE!  MA  SOPHIE! 

[?  Williams.]  [Apr.  i8i2]i 

Engraving  (coloured  impression).  The  travelling  carriage  of  Baron  Geramb 
extends  across  the  design.  The  horses  have  been  thrown  on  their  haunches 
by  a  sudden  check,  and  the  baron  leans  from  the  window  to  scowl  melo- 
dramatically at  a  young  woman  in  quasi-Spanish  dress,  who  stands  on  the 
cobbles  of  the  street,  tearing  her  hair.  He  holds  out  a  double  sheet  of  MS. 
or  print  headed  To  Sophia.  Orders  dangle  from  his  neck;  on  one  breast  is 
a  star,  on  the  other  a  skull  and  cross-bones.  On  the  coach  door  is  a  large 
coat-of-arms  with  coronet  and  supporters,  the  motto  .  .  .  tia  latere  etfortuna. 
The  carriage  is  of  heavy  German  pattern  studded  with  nails,  but  with 
elaborate  springs,  and  having  six  carriage-lamps.  Coachman  and  footman 
are  Germans  with  huge  cocked  hats  and  long  moustaches;  both  register 
astonishment  at  Sophia.  Part  of  the  screen  of  Carlton  House  forms  the  back- 
ground. 

For  Geramb  and  'Sophia  of  Cadiz'  see  No.  11774.  On  i  Apr.  1812  he 
was  arrested  on  a  warrant  from  the  Home  Office,  and  was  deported  to  Heligo- 
land under  the  Alien  Act.  He  had  for  some  days  previously  refused  to 
surrender  to  the  warrant,  erecting  a  placard  inscribed  'My  House  is  my  Castle, 
I  am  under  the  protection  of  British  Law',  but  eventually  surrendered  on  the 
assurance  that  his  pursuers  were  not  bailiffs.  Europ.  Mag.  Ixi.  309. 
lofx  14I  in. 

1 1944  HOAX  AT  THE  PAVILION,  SLOANE  STREET.  AUGUST  3L 
1812  PRECISELY  AT  1/2  PAST  TWELVE 

[Williams.] 

Pub''  Septem''  2'^  1812  by  W""  Holland  N"  11  Cockspur  S'  London. 

Engraving  (coloured  impression).  Tradesmen  carrying  their  wares  converge 
on  gates  set  in  a  high  wall,  but  are  prevented  from  entering  by  a  steward  or 
butler  who  exlaims:  Where  the  devil  are  you  comeing  too  [sic]  do  you  take  it  jor 
an  Inn,  or  the  Auction  Mart.  He  stands  in  front  of  a  horse  drawing  a  high 
gig  (r.).  The  driver  answers :  A  comeing  to  the  Pavillion  to  be  sure,  zvith  Drazc- 
ings  for  the  Nezv  Carraiges  tell  her  Ladyship  Baxter's  here,  Xo  Hoclx  I  hope! 
Behind  him  is  a  portfolio  inscribed  Carriages.  Also  approaching  from  the  r. 
are:  a  man  carrying  saddles  and  two  whips  on  a  porter's  knot;  he  holds  a  bill : 
[L]ady  Denys  \  to  H.  Kelly  \  A  Saddle  5.  o.  o  \  do  Ladys  6.  3  \  2  whips  2  \ 
Rec'^  I J  J.  He  says:  If  this  is  a  Hoax  I  wish  zve  could  put  tfic  Saddle  on  the 
right  Horse.  A  lad  carries  a  wicker  basket  on  his  top-hat;  he  says :  A  thousand 
New  laid  Eggs  what  a  large  Order  its  very  lucky  that  we  had  just  recieved  the 
Cargo  from  Scotland.  A  man  flourishes  breeches  slung  from  the  top  of  a  long 
pole,  saying,  Here's  the  Buckskin  Breeches  for  her  Ladyship  to  keep  her  warm 
this  cold  Summer.  A  man  sits  on  the  edge  of  a  large  crate  of  chamber-pots, 
mopping  his  forehead,  his  porter's  knot  on  the  ground;  he  says:  /  never  had 
such  a  load  of  chamber  Pots  from  our  house  in  my  life  before.  Ah  by  Jasus  my 
Lady's  an  Irishman  sure  enough  and  they  knock  about  the  Whisky  Jiere.  They 
are  labelled:  50  China  Chamber  Pots  for  the  Pavilli[on].  Behind  him  and  on 
the  extreme  r.  is  a  well-dressed  young  man  with  a  covered  basket  over  his 
arm,  saying,  Bless  me!  twenty  doses  of  Physic  for  the  Servants  Ah  they  have 
been  eatitig  some  foreign  Kickshaw!   D  Squirt  must  be  call  V  ;"//  after  all! 

On  the  opposite  side  (1.)  are  six  other  men.   Two  carrying  portfolios  show 
each  other  their  bills.   A  stout  well-dressed  man  wearing  gaiters  {}  Holland, 

'  So  dated  by  E.  Hawkins. 

165 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

see  No.  8342,  &c.)  says:  A  Woman  of  Taste!  here's  an  Order  for  Holland's 
beauties  of  Buck!  this  will  dofreind  Daniels.  The  other,  who  wears  fashionable 
Hessian  boots,  answers:  77/  be  bound  she's  a  good  Catholic,  for  here's  an  order 
for  all  my  Saints  and  Angels  I  shall  touch  Sixty  at  least.  A  third,  carrying  on 
his  head  a  large  box  inscribed  Jenkins's  Fancy  Magazine  Strand,  says :  Talk 
of  Touching?  Im  the  Man  for  that  my  Boys,  see  here's  a  load  of  Jenkins' s  fine 
Print  and  Lilliputian  Collection.  A  fourth  carries  in  silence  a  large  load  of 
portfolios  on  his  head.  Behind  is  a  man  carrying  four  huge  volumes  on  his 
head,  the  two  larger  inscribed  Shakespeare,  the  others  Milton.  He  says:  This 
is  a  devilsh  [sic]  sweating  Job  from  Cheapside  in  the  middle  of  the  day,  however 
iril  [sic]  persuade  her  to  have  our  Hogarth  and  our  Blind  Fidler  &  Nelson 
&  a  few  more.  The  last  man,  dressed  in  black,  carries  a  lap-dog's  coffin  and 
small  parcel;  he  says:  Poor  Puggy!  here's  a  pretty  little  Coffin  for  you,  I  have 
brought  some  silk  gloves.  I  dare  say  her  Ladyship  forgot  them  in  the  order.  The 
garden  wall  is  surrounded  by  trees,  through  which  is  seen  the  pediment  of 
the  house.   On  the  extreme  r.  the  wall  joins  a  house  inscribed  Hans  Place. 

The  Pavilion,  a  large  house  off  Sloane  Street,  was  built  for  himself  by 
Henry  Holland,  the  architect  who  laid  out  Sloane  Street.  The  (real  or 
imaginary)  hoax  is  an  imitation  (one  of  many)  of  the  Berners  Street  hoax, 
see  No.  11603,  and  is  on  Lady  Charlotte  Denys,  caricatured  by  Gillray  in 
No.  9923,  wife  of  Peter  Denys  who  bought  the  Pavilion  in  1806.  Faulkner, 
Chelsea,  1810,  p.  434.  The  presence  of  five  print-sellers  is  noteworthy.  The 
Shakespeare  and  Milton  are  probably  the  editions  published  by  John  and 
Josiah  Boydell,  see  No.  7584,  &c.,  and  the  man  may  be  the  latter,  nephew, 
partner,  and  successor  to  John  (d.  1804). 
8f  X  13  in. 

11945  THE  WEDDING  DINNER  OR  MOSES   AND   THE  MAGI- 
STRATE, vide  London  Tavern. 

[Williams.] 

Pub'^  Ocf  1812  by  Mess  Walker  &  Knight  N°  3  Sweetings  Alley 

Engraving.  The  upper  end  of  a  long  table  laid  with  dessert,  the  cloth  removed. 
All  the  men  but  two  are  conspicuously  Jewish,  one  is  a  rabbi  with  a  full 
beard.  At  the  head  of  the  table  (1.)  the  Lord  Mayor,  Sir  Claudius  Hunter, 
wearing  court  dress  and  bag-wig  with  his  chain  of  office,  gives  a  toast,  point- 
ing towards  the  bridegroom,  who  also  stands,  with  both  hands  on  his  breast. 
He  says :  Ladies  and  Gentlemen,  it  is  with  unspeakable  pleasure  I  rise  to  expres 
the  satisfaction  I  feel  at  sitting  at  the  head  of  so  numerous  select  and  aimable  a 
company  of  Jews  and  Christians,  we  have  donejuctice  to  the  excellent  dinner  ztnth 
with  [sic]  eaqual  accord.  I  hope  we  shall  join  in  the  toasts  with  concord,  and 
conclude  the  evening  without  discord,  I  propose  for  the  first  Toast,  Health  and 
Happiness  to  the  Bride  and  Bridegroom! !  He  is  between  the  bride  and  another 
lady.  Four  guests  are  on  the  farther  side  of  the  table :  the  rabbi,  the  bride- 
groom, and  a  fashionably  dressed  couple  with  Jewish  profiles.  The  bride- 
groom, glass  in  hand,  answers:  Ladishs  and  Shentlemens,  I  cannot  shit  any 
longers  witout  risking  to  tank  de  Shairmans  for  de  great  honorshs  conferd  on  ush 
I  proposhe  trinking  hish  Healsh  and  dat  von  day  he  may  shit  in  the  Housh  of 
Commons!  His  dress  is  fashionable  in  intention  but  his  hair  is  ill-dressed  and 
his  rings  over-large.  The  man  on  the  extreme  r.,  who  is  more  gentlemanly 
in  appearance,  says :  Healsh  and  Happiness  to  de  Pride  and  Pridegroomsh  I  shall 
be  very  clad  to  see  you  in  Petticoat  Lane  S''  John! 

The  bride  is  handsome  apart  from  the  size  of  her  aquiline  nose.   She  turns 
to  a  plebeian-looking  man  on  her  r.  who  says:  May  you  sleep  in  Abrahams 

166 


PERSONAL   AND   SOCIAL   SATIRES    1812 

bosom  all  the  davy's  [sic]  of  your  life  Madam.  She  answers :  Rather  not  alwaish 
shleep  dar  Sir!   On  the  r.,  in  back  view  with  heads  turned  in  profile,  are  a 
(?)  Christian  lady,  a  Jew  with  lank  hair  and  beard,  and  an  elderly  Jewess. 
The  Jew  says :  Very  niche  Man  inteet  MaumsU   I  should  like  to  pie  his  coold 
shains.   On  the  wall  behind  the  bridegroom's  head  is  a  placard :  Bill  of  Fare  \ 
First  Course  \  Fish  \  Secotid  Course  \  Fish  |  Third  Course  \  Fish  |  NB  the  Best 
Fish  in  Town  to  be  had  in  S^  Peters  Court.   The  dessert  includes  pine-apple, 
grapes,  and  a  triple  stand  of  jelly-glasses,  &c.  After  the  title: 
To  sit  at  a  Feast  and  make  speeches  quit  pretty, 
Who  is't  can  compare  to  the  Lord  o'  the  City, 
What!  not  sit  in  the  House,  Lord  what  a  pity. 

A  satire  on  the  attendance  of  the  Lord  Mayor  at  the  wedding  dinner,  at 
the  London  Tavern  on  7  Oct.,  of  Moses  Abrahams  and  Elizabeth,  daughter 
of  Michael  Myers  of  Peter's  Alley,  Cornhill,  a  wealthy  fishmonger,  who  were 
married  at  the  Great  Synagogue,  Duke's  Place.  The  card  of  Mr.  and 
Mrs.  Myers  to  the  Lord  Mayor  and  Lady  Mayoress,  inviting  them  to  the 
'Ceremony,  Dinner  and  Ball',  is  in  the  Banks  Collection  at  the  British 
Museum.  To  this  is  attached  an  account  of  the  wedding  from  the  Morning 
Post  (quoted  Rubens).  For  Hunter's  election  failure  see  No.  11906.  He  was 
savagely  attacked  in  the  Scourge,  iv.  56-61,  as  'A  Hunter  after  Fame',  and 
for  aping  the  manners  of  a  Bond  Street  lounger  and  despising  the  City, 
see  No.  11932.  A  companion  pi.  to  No.  11946. 

Rubens,  No.  297. 
8|xi3iin. 

1 1946  THE  PATTERN  OR  DIGNITY  AND  GRACE,  OPENING  THE 
WEDDING  BALL 

[Williams.] 

Pub'^  Octo''  1812  by  Walker  and  Knight  j  Sweetings  Alley  Royal  Exchange 

Engraving.  After  the  title :  vide  London  Tavern  Festivals  for  Oct  181 2  Plate  2. 
The  ball  which  followed  the  dinner  at  the  London  Tavern,  see  No.  11945: 
the  Mayor  dances  hand  in  hand  with  Mrs.  Abrahams,  his  body  taking  an 
exaggeratedly  graceful  curve,  with  his  sword  and  mayoral  chain  swinging  side- 
ways. He  says :  /  ad-Myer  your  grace,  \  Put  me  out  of  the  Case,  \  To  none  tzvill 
give  place.  A  tall  man  standing  behind  the  bride  watches  her  partner,  saying, 

D d  warm  work  tho'  he  is  as  red  as  a  boil'd  Lobster!   On  the  extreme  r.  an 

elderly  Jew  addresses  the  very  short  father  of  the  bride,  spreading  his  fingers 
in  admiration :  My  Cot  t'is  charmings  your  daughtersh  dance  quite  as  veil  as  her 
partnersh.  Myers :  Yesh  she  ish  de  true  Spazvn  of  de  Moders.  she  vas  dance  zvells 
ven  no  greater  dan  a  Shrimpsh.  In  his  pocket  is  a  paper:  A  fine  Cod  to  be  sent 
to  Spring  Gard[en].  Behind  them  a  plebeian-looking  couple  dance  facing  each 
other;  he  asks:  Do  you  think  this  any  thing  like  my  Lords  step  Miss  Pattypan. 
On  the  extreme  1.  a  man  advances  to  a  lady  who  stands  watching  the  bride  and 
her  partner:  Now  Miss  Ragbag  if  you  please  wee' II  try  to  shew  off  our  Graces! 
In  the  background  spectators  are  grouped  near  the  wall  and  below  the 
musicians'  galler\'.  The  bridegroom  leans  towards  the  bride's  mother  who  is 
indicated  by  jewellery  in  the  form  of  fish,  and  by  a  border  of  embroidered  fish 
on  the  edge  of  her  gown.  She  says :  He  vas  make  me  tink  of  Tavid  ven  he  dance 
pefore  de  Ark!  vat  you  call  dis  Tance.  He  answers :  Tish  calVd  Cots  headsh 
and  shouldersh  or  my  Lord  Maresh  delight — my  Vife  make  very  pretty  Lady 
Maresh.  Under  the  galler\'  stands  a  Jew  watching  the  Lord  Mayor;  a  young 
man  says  to  him :  Prime!  e'nt  it  M''  Solomans  My  Mare  is  pretty  skittish  but 
nothing  like  that  Da e.    Solomans :  Ah  dat  is  dansh  he  kicksh  his  legs  all  as 

167 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

von  as  de  Vestris.  A  man  bows  before  a  seated  lady,  saying:  If  it  is  agreable 
to  you  M^^  Ling  wee'l  call — the  trip  to  Billinsgate.   After  the  title  (see  No. 

I 1932): 

Hunter  of  Fame,  and  Folly  too, 
No  more  we  Hunt  for  mirth  with  You 
November  come  Adieu!  Adieu! 
The  Lord  Mayor,  whose  term  of  office  was  almost  over,  opened  the  wed- 
ding ball  with  the  bride.   The  dinner  began  at  four,  the  party  did  not  end 
till  five  a.m. 

Rubens,  No.  298. 
8fXi3f  in. 

11947  TOWNSEND  THE  UMPIRE  OF  LOVE,  OR  THE  PO'LE'D 
SCOTT  HUNTED  OFF  AFTER  A  LONG  STRUGGLE 

[W.  Heath.] 

Pub  Jan  7  1812  by  S  W  Fores  50  Picadilli 

Engraving  (coloured  impression).  Townsend,  the  Bow  Street  Officer  (see 
vols,  vii,  viii),  holding  up  his  constable's  staff,  chases  a  man  away  from  a 
country  house,  a  corner  of  which  appears  on  the  r.  A  third  man,  Wellesley- 
Pole,  shelters  behind  the  constable,  stretching  out  his  arms  towards  his  fleeing 
rival;  he  turns  his  head  to  listen  to  a  pretty  young  woman  who  stands  on 
a  small  iron  balcony  immediately  behind  him,  with  an  open  sash-window 
behind  her.  She  says :  Risk  not  thy  Precious  life  my  Love  in  bold  encounter  with 
that  dareing  Scott.  He  answers :  no  no  my  dear  I'll  shelter  me  behind  the  arm 
of  Justice,  &  hunt  him  from  his  Scent  by  one  of  the  most  famous  Bull  Dogs  in  the 
Kingdom,  &  teach  him  never  never  to  Dare  to  woo  the  [sic]  from  my  Longing  Arms 
Oh  thou  Golden  Angel.  A  paper  inscribed  Scot  projects  from  the  fugitive's 
pocket.   Townsend  says :  /'//  teach  you  worsted  workifig  rascall  to  dare  to  set 

up  in  opposition  to  the  Irish  Secretary  D n  your  Impudence.   A  signpost 

points  (I.)  to  Norwhich  and  (r.)  To  Chippenham. 

Another  print  on  the  suitors  of  Miss  Tylney-Long,  who  had  already  accepted 
Wellesley-Pole,  see  No.  11744,  &c.,  the  son  of  the  Irish  Secretary. 
Six  131^6  in. 

11948  FASHIONABLE  FRAILTY  OR  JOHN  PREFERD  TO  HIS 
MASTER,  A  SPECIMEN  OF  THE  VITIATED  TASTE  IN  HIGH 
LIFE 

[W.  Heath.] 

Pub  Jan  9  181 2  by  S  W  Fores  50  Picadilli 

Engraving  (coloured  impression).  A  young  man  in  shirt  and  night-cap  gets 
out  of  a  bed  (r.)  in  which  is  a  pretty  young  woman,  and  is  thrashed  by  three 
men-servants  who  are  directed  by  their  master.  She  says:  Pray  have  mercy 
on  my  poor  John,  my  poor  dear  bed  Fellow —  Her  husband  says :  You  Filthy 
Hussey  your  sex  protects  you  from  the  same  punishment,  but  if  your  sence  of  shame 
for  the  sake  of  your  numerous  family  does  not  sufficiently  affect  you,  I  hope  the 
Public  excreation  [sic]  will  follow  you  for  Ever.  One  of  the  servants  is  a  negro; 
another  says:  after  Sweet  meat  comes  Sour  Sauce  [cf.  No.  11 642].  A  foot- 
man's cocked  hat  and  livery  coat  are  by  the  bed,  which  has  a  tent-like  canopy. 
At  the  head  of  the  bed  is  a  small  clock,  and  above  it  the  (black)  impress  of 
a  hand. 

The  word  'Hussey'  may  be  a  punning  clue  to  the  identity  of  the  pair, 
cf.  No.  12626. 
81X13^6  in. 

168 


PERSONAL  AND   SOCIAL   SATIRES   1812 

11949  TOWN  TALKS  A  GREAT  LIAR 

[W.  Heath.] 

Pub  March  5^''  1812  by  S  W  Fores  30  Picadilli 

Engraving  (coloured  impression).  A  fashionably  dressed  young  man  sits  at 
a  table,  holding  a  large  open  pamphlet,  and  pointing  reproachfully  at  a 
dejected  youth,  who  sits  facing  him.   A  paper  lies  on  the  floor  by  the  latter: 

/  chearfully  give  up  my  Intrest  to  your  Present  Advantage  Notwithstanding 

.  .  .  your  unfortunate  T  C.  On  the  table  is  a  book :  Brothers  a  Tragedy  [by 
Edward  Young,  1753].  The  pamphlet:  Hon^^^  T  Coventry  Town  Talk,  the 
script  arranged  to  suggest  an  article  in  the  scurrilous  monthly  magazine  of 
that  name.  Behind  the  elder  man's  chair  is  a  third  young  man  in  age  appar- 
ently between  the  two  seated  brothers.   He  looks  down  at  the  open  magazine, 

saying  with  raised  arm  and  clenched  fist.  He  Shan't  Die  by as  my  Uncle 

Toby  says  [quoting  'Tristram  Shandy'].  Immediately  above  the  head  of  the 
seated  elder  brother  is  a  W.L.  portrait  of  a  courtesan,  holding  a  birch-rod, 
the  frame  inscribed  Suk  Conway  [see  No.  11 862].  The  room  has  a  panelled 
wall,  and  is  plainly  furnished  with  ornate  candlesticks  on  the  chimney-piece. 
Thomas  Henry  Coventrj'  (1792-1869),  third  son  of  the  7th  Earl,  matricu- 
lated at  Christ  Church,  Oxford,  17  Oct.  181 1  (B.A.  1815,  ^LA.  1819),  and 
became  a  countr}'  parson.  His  eldest  brother,  the  rakish  Lord  Deerhurst,  see 
No.  1 19 13,  appears  to  be  blackmailing  him,  owing  to  some  scandal.  The  third 
young  man  may  be  the  second  son,  John  Coventry,  1789-1832.  The  apparent 
ages  of  the  young  men  support  these  identifications. 
8^X131  in. 

11950  THE  GAME  CHICKEN. 

[Williams.] 

Piib'^  March  1812  by  W  Holland  N''  11  cockspur  Street 

Engraving.  A  more  elaborate  and  better-drawn  version  of  No.  11768.  A 
carriage-pole,  lacking  in  No.  11768,  has  been  added.  Miniature  cocks  are 
perched  on  the  horses'  head-bands.  The  motto  on  the  chamber-pot  which 
forms  the  body  of  the  carriage  is  on  a  scroll,  and  there  is  no  monogram,  but 
the  letter  C  is  on  the  harness.  A  realistically  drawn  background  has  been 
added,  suggesting  Hyde  Park.  Fashionably  dressed  young  men  lounge 
against  rails,  quizzing  the  odd  turn-out;  there  are  two  men  on  horseback. 
Behind  the  rails  are  trees,  above  which  houses  appear. 
ii|x  16^  in. 

1 1951  THE  INSIDE  OF  A  NEWLY  REFORMD  WORKHOUSE  WITH 
ALL  ABUSES  REMOVED. 

[G.  Cruikshank.]  [18 12] 

Engraving  (coloured  impression).  A  committee  room  in  'St.  Luke's'  parish. 
A  well-dressed  man  wearing  top-boots  stands  pointing  a  challenging  finger  at 
a  man,  probably  the  Vestry  Clerk,  seated  on  the  opposite  side  of  a  long  table 
covered  with  green  cloth  on  which  are  writing-materials  and  a  statement  of 
accounts.  He  asks:  Have  you  received  the  Forty -five  Pounds  for  Bastardy  of 
an  adjoining  Parish?  The  Clerk  answers,  putting  his  hand  on  his  heart.  Upon 
the  word  of  an  Honest  Man  I  have  not;  a  demon  clutches  his  shoulder  and 
whispers  in  his  ear:  Never  mind  telling  a  good  fat  Lie.  High  on  the  wall  are 
two  shelves,  on  each  of  which  two  men  lie  flat  on  their  backs,  facing  each 

169 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Other  in  pairs.  The  upper  shelf  is  inscribed  Overseer  laid  on  the  Shelf.  On 
the  lower  shelf  one  overseer  is  A  Rum-One,  the  other  A  Wood-en  one;  the 
latter  turns  a  large  swivel  eye  on  the  Vestry  Clerk  below,  saying,  with  a  frown, 
You  have  had  the  Money  in  your  Pocket  these  Months  past  Johnny.  At  the  far 
end  of  the  table  Two  Auditors  whisper  together.  One  has  a  loaf  inscribed 
L  W  for  a  head,  the  other  the  disk  with  an  embossed  sun  of  the  Sun  Fire 
Office.  They  say :  We  zoill  pass  the  Ac^^  right  or  Wrong.  Papers  on  the  table 
before  the  Vestry  Clerk  are  inscribed  Law  Expences,  with  a  large  document 
headed  Rec'^  by  Me  John  .  .  . : 

i8og    —     III2.  75.  9 

1810  .        jdg  -  I.  9 

181 1  2223  -2-6 

181 2  gg5  -0-0 
not  less  then          £4700  -  o.  o. 

In  the  foreground  (r.)  a  bastardy  payment  is  in  progress.  A  well-dressed 
man  gloomily  gives  an  overseer  a  money-bag  labelled  ^^30.  The  overseer 
already  furtively  holds  a  bag  labelled  £26.  5.  o;  at  his  feet  are  his  broad- 
brimmed  hat  and  a  paper :  Vestry  Resolution  passd  against  a  Quaker  Overseer. 
Behind  them  stands  a  woman  holding  an  infant,  and  watching  the  overseer 
with  a  sly  smile.  As  a  pendant  (1.)  to  this  group  is  a  rat  with  a  human  head 
(portrait)  nibbling  at  one  of  a  pile  of  large  sacks  of  Parish  Malt;  under  his 
paws  is  a  paper:  A  Doctor  of  Phisic.  It  says:  This  is  very  good  Malt,  Pll  have 
3  of  these  Sacks  sent  to  my  house  &  one  to  an  honest  Friend  of  mine.  (The  sacks 
are  numbered  J  to  ^.)  A  stout  woman  wearing  knee-breeches  tugs  at  its  tail, 
and  it  excretes  a  blast  of  medicine-bottles,  one  To  be  well  Shaken  when  Taken, 
pill-boxes,  and  the  words  What  will  M''^  Grundy  say?  These  whizz  between 
her  legs.  A  lean  elderly  man  stoops  to  peer  through  a  telescope  directed  at 
her  back;  from  his  shoulder  hangs  a  kettle,  showing  that  he  is  a  brazier.  At 
his  feet  are  the  words :  A  Brazier  Turned  Philosopher. 

In  a  recess  at  the  back  of  the  room  (1.)  a  meal  or  parish  feast  (cf.  No.  8770, 
&c.)  is  in  progress.  Four  men  sit  at  a  table  on  which  is  a  sucking-pig.  One 
wears  a  fool's  cap,  decorated  with  bells  and  the  word  Dunce;  he  holds  a  birch- 
rod  and  a  frothing  tankard,  and  says:  The  Beer  Brew' d from  the  12  Quarters 

is  very  weak  the  Brewer  must  have  been .   His  neighbour  says :  Then  Mix 

it  with  Brandy.  Another  says :  Oh,  No  two  [sic]  much  like we  shall  be  smelt. 

His  vis-a-vis  remarks:  Send  for  the  Docter  he's  a  Judge.  The  'Rum'  overseer 
on  his  shelf  swivels  a  huge  eye  down  on  this  feast,  grinning.  Above  their 
heads  hangs  a  picture:  Setting  Sun.  A  stout  man  points  to  the  sun,  which 
is  setting  behind  a  level  horizon.  It  has  three  large  rays  inscribed  respec- 
tively:  Docter,    Quaker,    Lazvyer.    On   the   opposite   side   of  the    room   is 

another  picture :  A  Picture  intended  to  be  hung  up  in  the to  deter  others 

from  the  like  offence;  a  doctor  (one  Smith)  stands  on  his  doorstep  looking 
across  the  street  to  the  Quaker  overseer,  who  stands  on  his  doorstep,  wearing 
his  broad-brimmed  hat.  Over  the  doctor's  door  is  the  word  Dr.  Malt,  and 
a  pestle  and  mortar,  the  usual  sign  of  an  apothecary.  Over  the  overseer's  door : 
Jimmy  B  Dealer  in  Stones.  The  doctor  exclaims :  /  had  the  Malt ;  the  other 
says  primly :  /  had  the  Money.  At  the  corner  of  the  house  a  signpost  points 
To  S^  Lukes;  below  it  is  a  small  pillory. 

The  parish  is  evidently  St.  Luke's  Chelsea,  where  a  long  struggle  went  on 
between  corrupt  parish  officers  and  the  open  vestry,  and  between  those  who 
wanted  to  get  an  Act  to  amend  the  chaotic  system,  and  the  overseers  and 
those  who  contended  that  any  representative  body  chosen  from  the  vestry- 
men would  constitute  a  select  vestry.    See  'Chelsea  Uproar'  in  the  Satirist, 

170 


PERSONAL  AND  SOCIAL  SATIRES  l8l2 

X  (1812),  98-107;  S.  and  B.  Webb,  Parish  and  County,  1906,  p.  77  f.  An 
investigation  in  1822  revealed  gross  forms  of  the  abuses  pilloried  in  the  print: 
receipts  for  bastards  showed  misappropriation  on  a  huge  scale,  dinners  were 
supplied  to  the  parish  officers  meeting  at  the  workhouse,  the  bill  for  three 
dinners  amounting  to  ^^92. 

Bruton  has  annotated  an  impression  belonging  (193 1)  to  Mr.  W.  T.  Spencer . 
'Geo  Ck  has  written  on  Mr  Truman's,  "Unfortunately  designed  &  etched 
by  me  Geo  Cruikshank  for  some  libellious  [sic]  scoundrel.  H.  W.  Bruton.'" 
The  pi.  gave  rise  to  a  libel  action,  against  one  Wood,  evidently  the  'scoundrel', 
by  'Dr.  Malt',  i.e.  Smith,  for  a  print  with  this  title.  See  Smith  v.  Wood,  K.B., 
20  Jan.  1813,  3  Campbell,  No.  323.  In  the  Examiner  the  print  is  styled 
St  Lukes  Caricature ;  or  a  Peep  into  the  Workhouse,  with  a  description:  'a  cat 
\sic]  with  the  face  of  Smith,  "a  respectable  surgeon  and  apothecar)",  is  pawing 
and  nibbling  at  the  lowest  sack,  while  a  woman  representing  Smith's  wife 
holds  the  cat's  tail.  Figures  look  down  at  the  cat,  the  most  prominent  being 
Wood,  who  had  explained  to  various  inquirers  that  the  print  implied  that 
Smith  had  stolen  malt  belonging  to  the  parish.'  Smith  was  the  present 
Guardian  of  the  Poor  of  the  parish,  Wood  a  former  Guardian.  Ellenborough, 
though  he  held  such  publications  'highly  unwarrantable',  did  not  see  any 
proof  of  malicious  publication  by  Wood,  and  the  plaintiflP  was  non-suited. 
Examiner,  1813,  p.  64.  The  'Mrs.  Grundy'  quotation  is  from  Morton's  Speed 
the  Plough,  1800. 

Reid,  No.  136.    Cohn,  No.  1237. 
8X13I  in. 

1 1951  A  Another  version  (by  Cruikshank),  uncoloured,  is  inscribed  Pu¥  by 
I  Spy  I  &  Sold  at  g8  Cheapside  Timothy  Teas' etn  fecit .  It  has  the  additional 
inscription  if  the  cap  fits,  wear  it.  The  Quaker  overseer  is  wearing  his 
hat;  the  items  in  the  account  are  omitted,  leaving  the  total  £4700.  o.  o.  The 
picture  of  Dr.  Malt,  &c.  is  reversed,  the  other  picture  is  The  Setting  Sun — 
1812,  and  there  are  other  minor  variations. 

7T5Xi3Tin- 

11952  THE  ANTIQUARIAN  SOCIETY. 

[G.  Cruikshank.] 

Pub''  June  i''  1812  by  M  Jones  N°  5  Newgate  Street. 

Engraving  (coloured  and  uncoloured'  impressions).  PI.  from  the  Scourge, 
iii,  before  p.  431,  illustrating  'The  Society  of  Antiquaries',  pp.  450-5;  see 
also  ibid.,  pp.  188-94.  A  meeting  of  the  Society  with  Lord  Aberdeen  in 
the  chair  addressing  the  members,  only  one  of  whom  is  listening.  Aberdeen 
is  young,  slim,  and  handsome,  and  stands  full-face,  holding  out  his  cocked 
hat  in  his  1.  hand,  and  in  his  r.  a  large  scroll  inscribed  K.I.S.S.  \  M.Y .  \  R\ 
he  says :  Behold  Gentlemen  a  most  Curious  relique  of  Antiquity.  From  his  pocket 
hang  papers:  Ancient  Ballads  and  Bonny  Jem  of  Aberdeen.  His  (raised)  presi- 
dential chair  is  at  the  centre  of  a  table  which  forms  the  head  of  a  T,  at  right 
angles  to  that  at  which  the  members  are  seated.  On  it  are  a  tasselled  cushion 
and  (?)  mace.  At  his  1.  hand  sits  the  Secretary',  Nicholas  Carlisle  (1771-1847), 
talking  to  Samuel  Lysons,  who  listens  intently.  They  are  identified  by  papers 
inscribed  Antiquity  of  Carlisle  and  Lyson,  while  the  latter  holds  a  volume  of 
Magna  Britannia. 

On  the  1.  of  the  table  is  a  group  of  eight.   In  the  foreground  a  man  whose 
profile  caricatures  that  of  George  III,  leans  his  elbow  on  the  rail  at  the  back 

'  Not  folded,  showing  that  it  was  issued  separately. 

171 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

of  the  bench  to  listen  to  Flaxman,  who  is  earnestly  expounding  the  Holy  Bible, 
a  finger  on  the  open  book.  The  former  is  identified  by  a  paper  inscribed 
Barnard  Castle,  and  an  open  book:  Essay  on  Royal  Bastards  \  George  II — 
N°  one — Barnard  N°  two —  He  is  evidently  Frederick  Augustus  Barnard,'  a 
Vice-President  of  the  Society,  cataloguer  of  the  King's  library  now  in  the 
B.M.L.  Flaxman  is  round-shouldered  to  deformity,  with  shrunken  legs. 
Between  and  behind  them  is  Sir  Joseph  Banks,  full-face,  and  wearing  his  star. 
On  the  extreme  1.  is  John  Landseer,  clutching  a  paper:  Landsee's  Review. 
Seated  next  Barnard  is  Sir  Henry  Englefield,  F.S.A.  since  1779,  the  ex- 
President  and  a  Catholic.  A  rosary  is  slung  from  his  shoulder.  He  is  intently 
inspecting  through  a  glass  a  bust  of  a  hideous  negress  with  a  damaged  nose, 
and  has  two  papers :  Antiquity  of  the  Black  Joke  and  Antiquity  of  Rapes.  Next 
him  is  Viscount  Valentia  (i 769-1 844),  identified  by  the  book  which  he  holds: 
Travels  in  India  by  Lord  Valetia  [sic] ;  facing  him  is  a  man  resembling  (though 
not  conclusively)  Warren  Hastings,  who  listens  intently.  Near  them  stands 
Thomas  Dibdin  (1776- 1847)  taking  off  his  hat;  he  is  identified  by  the  paper 
under  his  arm:  Dibdens  Bibliomania  [cf.  No.  11 686]. 

On  the  opposite  side  of  the  table  is  a  good-looking  man  holding  out  a  book 
inscribed  His^  of  Celts  Herons  Letters  [apparently  Sir  Robert  Heron,  1765- 
1854].  Next  him  sits  the  Duke  of  Norfolk,  fast  asleep,  holding  a  paper: 
Ant[iquity]  of  Norfolk.  Lord  Mulgrave  (Master-General  of  the  Ordnance 
1810-18)  stands  behind  him  putting  a  hand  on  his  shoulder.  He  is  identified 
by  a  paper:  Ant^  of  Ordanance  [sic]  offices.  Next  him  stands  Payne  Knight, 
identified  by  the  book  under  his  arm:  Essay  on  Priapus  P  Knight.  Behind 
him  is  a  broad  and  jovial  face,  unidentified.  A  youngish  man  facetiously 
points  a  magic  lantern  at  Norfolk,  at  very  close  range.  Next  him  is  a  man 
who  turns  his  back  on  this  group  to  listen  to  the  chairman;  his  elbow  rests 
on  a  paper :  Scrap  .  .  .  for  Gentlemans  Review  by  a  Carter.  He  is  evidently 
John  Carter,  F.S.A.  (described  as  an  indefatigable  contributor  to  the  'Gentle- 
man's Magazine'),  who  did  architectural  drawings  for  the  Society's  publica- 
tions. Behind  him  two  men  stand  in  conversation,  one  wearing  a  star,  the 
other  holding  a  paper :  Antiq  .  .  .  Puffs. 

On  the  table  are  various  'antiquities'.  A  pig-trough  inscribed  Sarcophagus 
and,  less  conspicuously,  Gubbins's  Piggery.  A  neatly  made  boot-tree  for  a 
top-boot,  in  three  pieces  and  with  a  hinged  instep,  is  inscribed  Hoby  Boot 
Maker  London;  this  is  Fragment  of  an  Apollo.  A  pile  of  preserve  jars  inscribed 
respectively  Beans,  Goosberry,  and  Cabbage,  is  labelled  Funereal  Urns.  A 
battered  pot  is  a  Roman  Vase,  a  hoop  is  Wedding  Ring  of  Hercules ;  a  coal- 
scuttle is  labelled  An  Ancient  Shield,  and  a  bowl  inscribed  T  Smoothwell 
Shaver  Lond  ...  is  (though  not  in  the  traditional  Mambrino  shape)  A  Helmet. 
Above  the  fireplace  and  behind  the  presidential  chair  is  a  bust  of  George  HI 
inscribed  Patronus.  On  the  r.  wall  is  a  much-tilted  picture  of  Henry  VHI 
(burlesqued),  enthroned  and  holding  a  sceptre,  with  Prince  Edward  on  his 
r.  hand  and  Princess  Elizabeth  on  his  1.;  other  figures  are  indicated. 

Aberdeen  (1784-1860),  Byron's  'travelled  thane'  and  'Scotch  Reviewer', 
was  elected  President  on  12  Apr.  1812,  succeeding  Englefield,  as  a  result,  it 
is  alleged,  of  intrigues  that  have  'distracted  the  society'.  An  attack  on  the 
contents  of  Archceologia  and  on  the  alleged  undistinguished  pedantry  of 
Carlisle,  Carter,  and  S.  Lysons.  The  gullible  antiquary  was  a  stock  subject 
of  ridicule,  cf.  No.  9296. 

Reid,  No.  162.   Cohn,  No.  732. 
6|X  14!  in. 

'  According  to  Reid  he  is  George  III. 


PERSONAL   AND   SOCIAL   SATIRES    l8l2 
11953  THE  cow  POX  TRAGEDY— SCENE  THE  LAST.— 

G.  Cruikshank  Sculpt 

Pub  by  M  Jones  5  Newgate  S'  Scourge  [i  Aug.]  1812 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  iv,  before  p.  87. 
Illustration  to  'Vaccine  Quackery',  pp.  87-9.  A  large  central  design  is  flanked 
by  four  small  designs  arranged  as  if  to  represent  the  decorations  of  folding 
doors  open  to  display  a  puppet-show  (but  explained  as  'tablets  ...  in  the 
manner  of  a  child's  writing  piece',  as  in  a  pi.  published  in  1803  by  the  Royal 
Jennerian  Society,  called  'A  comparative  Viezc  of  the  Effects  on  Individuals  and 
Society  between  the  Small-pox  and  Cow-pox').  There  is  a  quasi-heraldic  head- 
piece to  the  whole,  W'ith  a  scroll :  Dedicated  to  the  Associated  Jennerain  Cow 
Poxers  ofGloster.  The  main  design  is  a  funeral  procession  (r.  to  1.),  the  cofiin 
inscribed  Vaccina  aged  12  Years.  Two  bearers  are  seen  under  the  pall ;  one 
points  to  two  men  heading  the  procession  holding  up  placards;  he  says: 
Par  ignobile  fratrum.  The  men  are  plainly  dressed  and  Quaker-like,  the 
placards  are :  National  Vaccine  Institution  for  Genuine  Cow  Pox  by  Act  of 

Parliment!   L Undertaker  and  Surry  Dispensary  Institution  for  Genuine 

Cow  Pox  .  .  .  [ut  supra]  W  [?  John  Walker]  Undertaker.  In  front  of  the 
procession  marches  a  parson  (Row^land  Hill)  with  an  open  book  and  holding 
a  torch  from  which  rises  smoke  forming  a  dark  background  to  the  design. 
Beside  him  is  a  milestone  inscribed  ////  Miles  from  the  Sur[rey]  Round  House. 
The  two  pall-bearers  (the  others  being  hidden  by  the  coffin)  are  elderly  and 
ugly,  the  legs  of  one  being  shrunken,  of  the  other  gouty.  They  hold  torches 
inscribed  Harveian  Oration.  On  the  coffin  stands  a  golden  calf,  garlanded 
with  roses,  and  inscribed  The  Brazen  Image.  Immediately  behind  the  coffin 
walks  a  little  naked  boy  carrying  a  milk-pail  on  his  head.  Behind  him  walks 
an  old  man  wearing  a  long  official  gown;  he  weeps  and  carries  on  a  staff  a 
conical  fool's  cap  decorated  with  bells  and  inscribed  L  Ps  [Pepys]  Prasus. 
He  is  followed  by  a  fat  parson  and  a  woman  registering  violent  grief.  The 
procession  of  mourners,  old  men  and  women,  emerges  from  a  building  which 
is  collapsing  (r.).  This  is  hexagonal  with  a  dome,  lantern,  and  spire,  having 
a  flag  inscribed  Broad  hum  for  ever.  The  building  tilts,  and  the  spire  breaks 
off,  under  the  impact  of  rays  from  a  face  centrally  placed  in  the  upper  part 
of  the  design,  just  above  the  'Brazen  Image'.  The  rays  dispel  the  heavy  clouds 
which  surround  the  procession  and  are  inscribed  (1.  to  r.):  Common  Sense, 
Candid  Investigation,  Reason,  Religion,  Truth.  The  upper  part  of  the  design 
is  framed  by  a  festooned  stage-curtain  inscribed  'tis  Conscience  that  makes 
Cow-herds  of  us  all.  From  this  falls  downwards  and  to  the  r.  a  little  cow  with 
the  (horned)  head  of  Jenner,  much  distressed. 

The  four  smaller  designs  are  realistic  scenes,  [i]  A  doctor  sits  with  hands 
on  knees  addressing  a  young  woman  who  stands  holding  an  angry  baby.  He 
says :  /  will  not  recommenetuid  your  Milk  Lass — unless  you  have  the  Child  Cow 
pox'd.  On  the  wall  is  a  picture  of  a  cow^  dancing  on  its  hind-legs  while  a  man 
fiddles.  [2]  A  handsome  young  blacksmith  standing  beside  his  anvil  puts  his 
arm  on  the  shoulder  of  a  sick  and  spotty  friend,  asking,  What  's  the  Matter 
Dick.  The  other,  supporting  his  head  on  his  hand,  answers :  /  have  caught 
the  Small  pox  tho  I  was  Cowed  with  the  genuine  Parliment  sort.  [3]  A  milk- 
maid, her  pail  on  her  head,  shows  her  little  boy  to  an  elderly  doctor  (Jenner). 
The  child  displays  his  speckled  arm,  his  face  also  is  covered  with  a  dark  rash. 
She  says:  The  Docter  says  it  is  the  Small  Pox.  He  answers:  Poh!  'tis — 
impossible  I  Vaccinated  him  My  self  at  Cheltenham.  [4]  A  doctor  (Moore)  and 
a  parson  (Rowland  Hill)  sit  facing  each  other  in  controversy.  An  angry  old 
woman  stands  between  them,  saying  to  Moore :  You  have  brought  the  College 

173 


CATALOGUE   OF    POLITICAL   AND   PERSONAL   SATIRES 

into  sad  disgrace  Squire.  He  says:  /  dare  not  make  any  Moore  Reports.  Hill 
answers :  I'll  have  it  preached  &  practised  in  all  My  Methodest  Chappels  not- 
withstanding. 

Above  the  design  and  below  the  dedication  is  a  central  sarcophagus  sup- 
ported on  cloven  hoofs,  and  inscribed :  To  the  Memory  Of  Vaccina  who  died 
April  the  First!  On  this  a  cow  lies  on  her  back.  A  burlesque  figure  of  Time 
chops  off  the  cow's  head  with  his  scythe ;  he  wears  breeches,  shoes,  and  stock- 
ings, and  on  his  head  is  a  winged  hour-glass.  Opposite,  and,  like  Time,  in 
the  position  of  a  supporter  to  a  coat-of-arms,  a  donkey  prances  on  one  hind- 
leg,  its  forefeet  on  the  tomb.  This  centre-piece  is  flanked  by  cornucopias, 
one  (1.)  scattering  papers  on  to  a  bed  of  roses,  the  other  (r.)  on  to  a  pile  of 
skulls  and  bones.  The  papers  are  (1.):  Illustrations  of  the  Proofs  of  Young 
Jenners  Inoculation  by  D^  Barron;  Grovennor  Case;  List  of  Fai[lures] ;  Sermons 
on  Cow  Pox  by  Rowland  &  Others;  Blair's  Whores  of  Baby  Ion;  Harveian 
Orations;  College  Reports;  Supposing  Reports;  Rings  Botherations;  Roseum 
oratio;  Ringwood  Report.  On  the  r. :  Squinting  Eyes  &cc;  dandle  swelli[ngs] ; 
Seabed  Heads;  Jennerain  Scrophula;  Blindness;  Vaccine  Eruptions;  Inflamed 
Arms;  Cow  Itch;  Lingering  Death;  Cowpox  Mange;  Tumid  Glands;  In 
Ccelo  Quies. 

An  attack  on  vaccination  and  on  the  College  of  Physicians  (which  in  1806 
had  reported  strongly  in  favour  of  vaccination  and  the  merits  of  Jenner), 
represented  as  struck  down  by  the  rays  of  Truth.  Jenner  (from  c.  181 1) 
investigated  many  cases  in  which  small-pox  had  occurred  after  vaccination, 
and  reported  that  vaccination  had  lessened  the  severity  of  the  attack.  Accord- 
ing to  the  Scourge,  one  of  these  was  a  son  of  Lord  Grosvenor.  It  is  also 
alleged  that  Dr.  Jenner  'inoculated  his  own  child  with  small-pox,  and  kept 
it  a  secret  for  ten  years,  and  such  fatal  consequences  have  resulted  from  the 
experiment,  the  practice  has  ceased  in  the  metropolis,  and  is  confined  to  the 
followers  of  Rowland  Hill'.  It  is  also  stated  that  Jenner  was  dismissed  from 
his  office  as  director  of  the  Vaccine  Institution  of  the  College  of  Physicians 
and  replaced  by  Moore.  Actually,  James  Moore  (brother  of  Sir  John),  the 
friend  of  Jenner,  was  at  first  appointed  by  Jenner  Assistant  Director,  suc- 
ceeding him  as  Director  on  his  resignation  in  1809.  Rowland  Hill  (1744- 
1833),  see  No.  5493,  whose  chapel  was  in  Blackfriars  Road,  was  a  warm 
advocate  of  vaccination,  and  himself  vaccinated  thousands  of  persons.  John 
Walker  (1759-1830),  M.D.,  Leyden,  had  assumed  the  style  and  garb  of  a 
Quaker;  he  was  an  ardent  supporter  of  vaccination,  and  Public  Vaccinator 
in  London  1802-30.  On  30  Sept.  1812  he  was  admitted  a  licentiate  of  the 
College  of  Surgeons.  Sir  Lucas  Pepys,  see  No.  1 1536,  President  of  the  College 
of  Physicians  1804-10,  was  an  ardent  supporter  of  the  National  Vaccine 
Institution.  Barron  is  John  Baron  (1786-185 1),  M.D.  1805,  friend  and 
biographer  of  Jenner,  who  practised  at  Gloucester.  William  Blair  (1766- 
1822),  was  an  eminent  surgeon  and  a  Methodist;  he  was  surgeon  to  many 
charities,  including  the  Female  Penitentiary  which  he  defended  in  Prostitutes 
Redeemed  .  .  .  1809.  The  downfall  of  the  College  of  Physicians  is  prophesied 
because  an  advertising  quack  doctor  (cf.  No.  11704)  is  admitted  a  student  of 
physic  under  members  of  the  College.  The  procession  following  the  coffin 
consists  of  the  charitably  disposed  who  have  been  persuaded  to  subscribe 
liberally  by  the  addresses  and  reports  of  the  vaccine  societies.  For  the  vaccina- 
tion controversy  see  Crookshank,  Pathology  and  Hist,  of  Vaccination,  1889, 
and  No.  9925,  &c.   Cf.  No.  11093,  a  pro-Jennerian  satire. 

Reid,  No.  170.   Cohn,  No.  732. 
9fxi3i|in. 


PERSONAL   AND   SOCIAL   SATIRES    l8l2 

11954  "I  BE  A  GROCER" 

[  ?  I]  Cruikshank  del  [  ?  1 8 1 2] 

Engraving  (coloured  impression).  Portrait  of  a  man  standing  in  profile  to  the 
r.,  hand  plunged  in  his  coat-pocket,  from  which  project  bulky  papers:  An 
Account  of  Sales  of  Smyrnas  and  {,341.  15  Wills  Tap.  He  wears  a  hat  with 
a  swathed  band  or  scarf,  spectacles,  a  spencer,  breeches,  and  tied  shoes.  He 
is  surrounded  by  hogsheads  and  casks  of  currants,  large  egg-shaped  baskets 
or  skins,  and  jars  in  open  fluted  baskets.  Facing  him  but  apparently  unseen, 
the  head  and  shoulders  of  the  Devil  emerge  from  a  pit,  among  flames,  hold- 
ing out  his  talons;  a  label  inscribed  200,000  issues  from  his  mouth. 

Identified  in  an  old  hand  as  'Fredi'  Wills  Esq. — of  the  firm  of  Wills — Tap — 
&  Morgan',  with  the  date  1812.   I.  C.'s  work  seems  to  cease  after  1810. 
9^X81  in. 

11955  PRIME  BANG  UP  AT  DRUMCONDRA,  OR  A  PEEP  AT  THE 
BALLOON.    1812 

Dublin  Publish' d  by  M^Cleary.  32.  Nassau  Street, 

Engraving  (coloured  impression).  A  balloon  ascends  vertically,  from  a  point 
on  the  shore  facing  a  small  island.  Below  is  a  plebeian  crowd  of  spectators, 
the  chief  part  of  the  design.  Some  sit  on  the  ground,  others  stand.  A  fat 
woman  sprawls  over  young  pigs,  while  a  large  pig  runs  off^,  and  a  fat  and 
angry  man  leans  over  her  with  his  cane  extended.  A  man  holds  up  a  (tasselled) 
blackthorn  cudgel  towards  the  balloon,  saying,  //  /  could  get  at  it  I'd  make 
another  hole  in  it.  A  slim  parson  stands  on  the  extreme  r.  The  balloon,  which 
has  vertical  stripes,  is  encircled  with  an  ornamental  band  on  which  an 
escutcheon,  perhaps  adapted  from  the  portcullis  crest  of  the  Duke  of  Rich- 
mond, is  flanked  by  Irish  harps  and  shamrocks.  The  aeronaut  stands  in  the 
boat-shaped  car  waving  a  flag. 

James  Sadler  attempted  to  cross  the  Irish  Sea  on  i  Oct.  1812  when  he 
ascended  from  the  lawn  of  Belvedere  House,  Drumcondra,  near  Dublin.  The 
Duke  and  Duchess  of  Richmond  were  present;  there  were  two  military  bands 
and  a  military  guard,  horse  and  foot,  to  preserve  order  among  the  large  crowd. 
There  was  a  rent  in  the  balloon  which  Sadler  partially  repaired  with  his  neck- 
cloth. He  came  down  in  the  sea  east  of  the  Isle  of  Man,  after  having  been 
over  Anglesea.  An  Authentic  Narrative  of  the  JErial  Voyage  ...  is  in  the 
Halliday  Coll.  in  the  Royal  Irish  Academy;'  Europ.  Mag.  Ixii.  326.  For  the 
catch-phrase  Trime  Bang  Up',  in  relation  to  ballooning,  cf.  No.  11775. 
I2j3gx8i|in. 

11956  WET  UNDER  FOOT. 

[Rowlandson.] 

London  Publish' d  February^  10'''  1812  by  H.  Humphrey  N°  2y  5'  James's 
Street 

Engraving,  slightly  aquatinted  (coloured  impression).  A  street  scene  at  the 
corner  of  Petticoat  Lane  (1.)  and  Smock  Alley  [v.).  An  ugly  and  bedizened 
woman  wearing  pattens,  holding  an  umbrella  and  kilting  up  her  skirt,  walks 
painfully  over  the  cobbles,  bending  forward ;  her  stockings  heavily  spattered 
with  mud;  her  breast  and  arms  are  bare  except  for  a  scarf  looped  over  her 
shoulders.    Heavy  slanting  rain  descends;  it  pours  from  the  hat  of  an  old 

'  Information  from  Professor  C.  Maxwell. 

*  January  according  to  Grego ;  the  word  shows  no  sign  of  alteration. 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

woman  (1.),  who  stoops  over  a  heavy  basket  she  is  carrying.  Above  her  head 
a  woman  leans  from  a  window,  emptying  a  chamber-pot.  Behind  (r.),  two 
scavengers  shovel  mud  into  a  cart.  The  houses  are  old  and  dilapidated,  with 
casement  windows.  The  lantern-sign  of  a  penny-barber  (cf.  No.  7605)  hangs 
from  a  pent-house  projection,  inscribed  Shave  .  .  .  There  is  no  pavement, 
but  a  solid  post  (1.)  protects  a  large  grating  let  into  the  cobbles. 

Said  to  be  from  the  design  of  an  amateur. 

Grego,  RowlandsoUy  ii.  225. 
8f  X  6|  in.   With  border,  9I X  ']\\  in. 

11957  CATCHING  AN  ELEPHANT.  146 
Rowlandson  del.    Price  One  Shilling  Coloured 

Pu¥  March  i"^  1812  by  Tho'  Tegg.  N°  iii  Cheapside 

Engraving  (coloured  impression).  Two  handsome  young  courtesans  coax  an 
enormously  obese  and  carbuncled  'cit'  towards  the  door  of  a  bagnio  (r.).  One 
(r.)  takes  him  by  the  wrist,  throwing  back  a  cloak  to  reveal  her  charms;  he 
leers  hideously  at  her.  The  other  takes  him  by  the  shoulders  and  chin.  Above 
the  door  are  the  words  Warm  Bath.  A  placard  beside  it:  Restorative  Drops — 
Old  Age  Debility  of  ever  so  long  standing  quickly  restored  to  Youth  and  Vigour 
— Prepared  &  Sold  by  the  .  .  .  They  are  under  an  archway  inscribed  Bagnio 
Court  in  an  arcade,  suggesting  Co  vent  Garden. 

Grego,  Rowlandson,  ii.  226. 
12^X9  ^'^• 

11958  A  SPANISH  CLOAK.  J 39 
Rowlandson  Del. 

London  Pub'^  March  2"'^  181 2  by  Tho'  Tegg  N'*  iii  Cheapside. 

Engraving  (coloured  impression).  A  soldier,  apparently  on  sentry  duty  on  a 
castle  rampart,  embraces  a  pretty  young  woman,  holding  his  cloak  round  her. 
He  has  whiskers  and  a  moustache  and  wears  a  busby  with  aigrette  and  bag, 
indicating  an  hussar  regiment.  He  wears  a  sword  but  his  bayonetted  musket 
leans  against  the  wall  behind  him.  The  girl  wears  a  curiously  shaped  cap, 
with  two  tails  hanging  down  her  back.  An  officer  walking  past  stops  to  stare 
and  snigger;  behind  him  is  a  cannon  in  an  embrasure.  In  the  foreground  (1.) 
is  a  pile  of  cannon-balls. 

Also  a  later  impression,  with  the  date  removed. 

Grego,  Rowlandson,  ii.  226.   Milan,  No.  2374. 
I2^x8|in. 

11959  FAST  DAY. 
[Rowlandson.] 

Published  by  T.  Rowlandson  March  20'^  1812^  N"  i  James  S^  Adelphi 

Engraving  (coloured  impression).  Four  elderly  parsons,  grossly  fat,  appar- 
ently Fellows  of  Brasenose  College,  are  seated  in  stuffed  arm-chairs  at  a  small 
dinner-table.  One  (r.)  carves  a  capon,  another  ladles  soup  from  a  tureen,  the 
others  drink.  One  servant  hands  wine,  another  brings  in  a  bowl,  into  which 
his  nose  drips  as  in  Swift's  'Directions  to  Servants'  (cf.  No.  109 18).  A  third 
in  the  doorway,  more  unkempt  than  the  others,  brings  in  a  sucking-pig.  On 
the  floor  (r.)  is  a  paper :  A  New  form  of  Prayer,  Gravy  Soup,  Mock  Turtle, 

'  The  date  may  have  been  altered. 

176 


PERSONAL  AND  SOCIAL  SATIRES  l8l2 

Cods  Head,  Turbott,  Haunch  of  Venison,  Stewed  Carp,  Roast  Ducks,  Pidgeon 
Pye,  Woodcocks,  Jelly,  Marrow  Pudding.  On  the  1.  are  a  wine-cooler,  many 
bottles,  three  labelled  Burg[undy],  Ho[ck],  Clar[et],  a  loving-cup,  a  punch- 
bowl inscribed  Bowl  for  a  Bishop,  with  lemons,  a  cork-screw,  and  the  lid  of 
the  tureen.  On  the  walls  are  pictures:  Bench  of  Bi[shops]  [in  reversed  char- 
acters], parsons  carousing  at  a  table,  some  lolling  in  easy  chairs;  Ecclesiastical 
Court,  an  elderly  man  (or  woman)  doing  penance  in  a  sheet  and  holding  a 
candle;  Viezo  of  Brazen  Nose  Col.,  a  college  quadrangle;  a  picture  of  an 
anchorite  in  the  wilderness,  holding  a  cross;  Susannah  [and  the  Elders]; 
Portrait  of  S  .  .  .  Fellow  Commoner  of  Braze[nose]  [the  subject  cut  off  by  the 
upper  margin].  There  are  also  two  notices,  partly  obscured,  on  the  wall: 
This  Day  Being  Proclaimed  A  Fast  .  .  .  Church,  and  List  of  Great  Tythes 
Church  Lands  .  .  . 

See  No.  8323,  a  similar  subject  by  Newton.  Fasts  were  occasionally  pro- 
claimed during  the  war  as  days  of  intercession.  The  powers  of  the  Ecclesiasti- 
cal Courts  over  civilians  were  a  grievance,  cf.  Examiner,  26  Jan.  1812.  Fellows 
of  Brasenose  were  a  favourite  subject  of  Rowlandson,  see  No.  11782, 

Grego,  Rowlandson,  ii.  226. 
9fXi4iin. 

11960  SEA  STORES.  140 

Rowlandson  Del 

London  Published  March  25""  1812  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  boyish  midshipman  (r.),  wearing  uniform 
with  cocked  hat,  fashionable  neck-cloth,  and  tight  white  trousers,  bargains  at 
the  waterside  with  two  prostitutes.  He  puts  his  arm  round  a  comely  young 
woman,  feeling  in  his  pocket;  she  extends  her  hand  for  payment.  Beside  her 
(1.)  is  a  hideous  negress  smoking  a  pipe.  Behind,  at  the  foot  of  a  ladder, 
crouches  a  shapeless  elderly  woman.  The  ladder  leads  to  a  coastal  fortifica- 
tion, where  look-out  men  are  lounging  and  smoking  near  a  gun-embrasure. 
A  man  ascends  the  ladder  with  a  basket  on  his  head.  Behind  (r.)  is  the  sea 
with  a  man-of-war;  by  the  shore  a  ship's  boat  with  three  sailors  waits  for  the 
midshipman. 

Grego,  Rowlandson,  ii.  226. 
i2f  X9i  in. 

11961  LAND  STORES.  148' 

Rowlandson  Del.    Price  One  Shilling  Couloured 

[Date  removed]  by  Tho^  Tegg  N°  iii.  [Mar.  181 2] 

Engraving  (coloured  impression).  A  vast  and  hideous  negress  (1.),  almost 
spherical,  is  embraced  by  a  lean  and  elderly  militar)'  officer  with  a  long  pig- 
tail. They  are  on  the  ramparts  of  a  heavily  fortified  castle,  indicated  by  a 
massive  pillar  and  a  raised  portcullis  beyond  which  is  another  lean  officer, 
in  back  view  but  looking  over  his  shoulder.  In  the  background  are  cannon 
and  a  sentry.  Behind  the  woman's  head  is  a  placard :  Voluntary  Subscription 
for  a  Soldiers  Widow  the  smallest  donation  ivill  be  gratefully  received — By 
Rachel  Ram  Part. 

Grego,  Rowlandson,  ii.  226-7. 
i2^X9ja  i"'  'Caricatures',  ix.  195, 

'  The  last  figure  is  doubtful. 

177  N 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

11962  THE  CHAMBER  OF  GENIUS. 

Rowlandson  inv  1812^ 

Pu¥  April  2"^  1812^  by  T  Rowlandson  N  i  James  Street  Adelphi 

Engraving  (coloured  impression).  In  a  squalid  room  a  man  in  a  frenzy  of 
inspiration,  stern  and  intent,  sits  at  an  easel  painting  on  a  canvas  on  which 
is  the  large  head  of  a  (?)  minatory  Hebrev^^  prophet.  He  wears  a  shirt  with 
one  tattered  boot  and  one  slipper,  and  a  cloth  tied  over  his  head.  In  his  1. 
hand  is  a  pen,  and  he  appears  unconscious  of  a  large  cat  which  claws  at  his 
bare  legs.  His  pretty  wife  sleeps  with  a  carefree  expression  on  a  make-shift 
bed  (across  which  his  breeches  are  thrown),  while  a  naked  infant  beside  her 
pours  the  contents  of  a  bottle  into  a  glass.  On  the  table  are  coffee-pot,  &c. 
An  older  child,  almost  naked,  sits  in  a  tub  facing  the  fire  plying  a  pair  of 
bellows  and  is  in  great  danger  from  a  kettle  and  a  red-hot  poker.  The  other 
pursuits  of  the  genius  are  indicated  by  two  large  books,  on  which  he  rests 
a  foot,  a  violin  and  a  French  horn,  a  syringe,  a  pair  of  scales,  a  retort  standing 
on  a  small  furnace;  a  classical  bust  on  a  bracket.  A  cord  stretches  across  the 
room  on  which  hang  tattered  stockings  and  a  piece  of  drapery.  On  the  wall 
hang  a  sword  and  tricorne  hat,  with  three  prints:  Araeostation  [sic],  a  balloon 
ascending,  reminiscent  of  Rowlandson's  Aerostation  out  at  Elbows  .  .  . 
(No.  6858);  a  woman  ballet  dancer,  and  an  ugly  profile  head  inscribed  Peter 
Testa.  Above  the  fireplace  (r.)  are  a  string  of  onions  and  a  bunch  of  tallow 
dips.  A  dish  of  food  with  knife  and  fork  is  on  the  floor.  There  is  a  casement 
window.    Below  the  title : 

Want  is  the  Scorn  of  every  wealthy  Fool 
And  Genius  in  Rags  is  turn'd  to  Ridicule —  Juv^  Satire 
Cf.  No.  13436.  Grego  considers  the  'genius'  a  self-portrait  of  Rowlandson; 
there  is  little  resemblance  to  better  authenticated  portraits,  see  No.  9672. 

Grego,  Rowlandson,  ii.  227-8. 
SigX  life  ir^-  'Caricatures',  v.  217. 

11963  BROAD  GRINS,  OR  A  BLACK  JOKE 
Rowlandson  Del 

Publ'^  June  4^^  1812  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  woman  in  an  advanced  stage  of  preg- 
nancy stands  with  folded  hands,  laughing,  close  to  an  elderly  parson  (r.)  of 
Dr.  Syntax  type  who  recoils  in  angry  horror.  Behind  them  is  a  high  garden 
wall,  with  a  notice :  Man  Traps  laid  in  these  Grounds.  Behind  the  woman  (1.)  is 
a  hole  in  the  wall,  through  which  looks  the  grinning  head  of  a  negro  servant. 

'Broad  Grins'  is  a  collection  of  coarse  comic  songs  by  Colman,  1802,  cf. 
No.  11941. 

Grego,  Rowlandson,  ii.  230-1. 
I2jgx8|in.  'Caricatures',  ix.  207, 

11964  MISERIES  OF  LONDON. 
Rowlandson 

Designed  &  Pub'^  July  14  1812  by  T  Rowlandson  N  i  James  S^  Adelphi 
Engraving  (coloured  impression).  Below  the  title:  Entering  upon  any  of  the 
Bridges  of  London,  or  any  of  the  passages  leading  to  the  Thames,  being  assailed 
by  a  groupe  of  watermen,  holding  up  their  hands  and  bawling  out  Oars  Sculls, 
Sculls,  Oars  Oars.  A  fat  woman  laden  with  basket,  bottles,  bundle,  &c. 
descends  steps  to  the  waterside,  blown  by  the  wind  and  beset  by  five  bawling 

*  The  '12'  appears  to  have  been  etched  above  an  obliterated  date. 

178 


PERSONAL   AND    SOCIAL   SATIRES    l8l2 

watermen,  who  point  towards  their  boats.  Behind  (r.),  other  men  hail  an 
approaching  passenger.  The  bows  of  two  Thames  wherries  are  on  the  1.;  in 
one  a  young  waterman  stands  punting  his  boat.  The  watermen  wear  short  full- 
skirted  coats  with  knee-breeches  and  have  large  oval  badges  on  the  arm.  Part 
of  an  old  timber  building  forms  a  background  to  the  group  on  the  stairs.  It 
has  a  large  placard:  Wapping  Old  Stairs.  From  a  projecting  upper  floor  a 
man  and  girl  look  down,  amused,  the  man  smoking  a  long  pipe.  In  the  fore- 
ground (r.)  a  chubby  fisherman's  boy  sleeps  in  a  dinghy  on  a  pile  of  nets. 
There  is  a  background  of  ships  at  anchor,  a  riverside  church  flying  a  flag, 
and  a  timber  building  with  a  large  beam  projecting  over  the  water  from  which 
hangs  a  barrel. 

The  Thames  passenger-boats  or  wherries  were  a  monopoly  of  the  Water- 
men's Company  and  were  in  two  categories,  having  either  one  sculler  or  two 
oarsmen.   For  such  'Miseries'  cf.  No.  10825,  &c. 

Grego,  Rowlandson,  ii.  231  (outline  copy,  p.  232). 
iifX9^in. 

11965  A  SEAMANS  WIPES  RECKONING.  275 
Woodward  Delin.   Rowlandson  Scul     Price  One  Shilling  Coloured 
London  Pu¥  is  July  [?  1812]'  by  Tho'  Tegg  iii  Cheapside. 

Engraving  (coloured  impression).  A  family  conclave.  A  pretty  young  woman 
sits  holding  an  infant  in  long  clothes  with  curiously  adult  features;  she  turns 
towards  an  elderly  man  beside  her  (1.);  her  sailor  husband,  who  has  risen  from 
his  chair,  stares  warily  at  his  father.  The  old  man,  who  wears  a  seaman's  short 
jacket  with  knee-breeches,  scowls  towards  his  son,  saying.  Why  d'ye  see  I  am 
an  old  Seaman  and  not  easily  imposed  upon — /  say  that  cant  be  my  Son  Jacks 
child  why  he  has  been  married  but  three  tnonths  and  during  that  time  he  has  been 
at  sea — the  thing  is  impossible  you  may  as  well  tell  me  that  my  ship  Nancy  goes 
nine  knots  an  hour  in  a  dead  calm,  and  no-cv  I  look  again  its  the  very  picture  of 
Peter  IVilkins  the  Soap  Boiler.  A  dog  sits  beside  him,  much  interested.  The 
woman  says:  My  dear  Father-in  Laze,  III  make  it  out  very  easily — Jack  has 
been  married  to  me  three  montlis — very  zcell — /  have  been  with  child  three 
months — which  makes  si.x — then  he  has  been  to  sea  three  months  has  not  he? — 
and  that  just  makes  up  the  Nine!!  The  husband:  Father,  Farther  [sic], — dont 
be  too  hard  upon  Poll — /  knmv  something  of  the  log  book  myself — and  d — m  me 
but  she  has  kept  her  reckoning  like  a  true  Seamans  wife. 

Grego,  Rowlandson,  ii.  231. 
8|xi3  in. 

11966  THE  SECRET  HISTORY  OF  CRIM  CON.  fig'  i. 
Woodward  Del.^  Rowlandson  Sc. 
[Date  erased,  15  July  181 2,  according  to  Grego]  by  Tho'  Tegg  N°  iii 

Cheapside. 

Engraving  (coloured  impression).  One  of  a  pair  with  the  same  signatures  and 
imprint.  Six  scenes  arranged  in  two  rows,  divided  by  lines,  each  with  a 
caption,  and  inscriptions  above  the  design.  The  figures  have  large  heads, 
broadly  caricatured,  in  the  manner  of  Woodward's  Lilliputian  designs,  cf. 
No.  9635,  &c.  All  are  ugly  except  the  woman  in  [4].  [i]  Morality.  Sourly 
sanctimonious  parsons  sit  together,  each  with  clasped  hands.  They  say:  Sad 
times  sad  times  Friend  Nicodemus,  this  Crim  Con  Business  is  quite  shocking,  and 

'  A  re-issue,  waterwark  1816.     Cf.  vol.  viii,  p.  xxxv. 
^  Erased,  traces  remain. 

179 


CATALOGUE   OF  POLITICAL  AND   PERSONAL   SATIRES 

Ah  it  is  of  no  use  talking  to  them— they  will  have  their  own  way — shocking  doings 
indeed.  [2]  A  Kitchen  Scene.  A  hideous  and  fashionably  dressed  old  woman 
(?  a  cook)  reclines  in  an  arm-chair  while  (?)  a  steward  or  clerk  of  the  kitchen 
stands  before  her  adjusting  her  large  ear-rings.  They  say:  Do  my  sweet 
Creature  let  me  fasten  on  your  ear  rings  and  Oh  fie  Tkf  Clerk  you  are  really  too 
bad.  [3]  A  Lecture.  Two  elderly  and  ugly  women  stand  glaring  angrily  at 
each  other.  They  say :  Af^  Amelia  Caroline  Skeggs  [one  of  the  courtesans  in 
The  Vicar  of  Wakefield] — /  am  afraid  you  give  too  much  encouragement  to 
Tkf  Spriggins  and  Take  care  what  you  say  Maam  my  Character  is  not  to  be 
sported  with.  The  first  speaker  holds  a  fan,  her  breasts  are  immodestly  bare, 
the  other  wears  a  wide  straw  hat,  her  hands  in  a  muff^.  [4]  An  Affair  on  the 
Dickey.  A  couple  embrace  on  the  box-seat  of  a  carriage;  the  young  woman 
is  comely,  the  other  is  a  coachman  in  livery.  They  say :  O  you  Angel  and 
Fm  afraid  my  love  you  will  get  the  whip  hand  of  me.  [5]  Information.  Two 
hideous  men  stand  facing  each  other,  one  uses  an  ear-trumpet,  and  wears 
spectacles  and  a  night-cap.  They  say:  Speak  louder,  only  one  shilling  damages 
— why  I  shall  be  ruined —  and :  Never  mind — you  have  lost  a  bad  wife,  and  got 
a  good  shilling.  [6]  A  Compromise.  A  burly  fellow  threatens  with  his  fists  a 
smaller  one  who  cowers  in  terror.  They  say :  you  little  Scoundrel  did  not  I  catch 
you  with  my  wife — Pll  break  every  bone  in  your  skin  and  Dont  be  so  obstropolous 
III  give  thee  a  quartern  of  gin  to  make  it  up  and  thats  better  than  going  to  La — 

A  favourite  subject  of  Woodward,  see  Nos.  8925,  8928.    For  the  damages 
in  cases  of  crim.  con.  cf.  Nos.  9305,  11119. 

Grego,  Rowlandson,  ii.  231. 
8|x  13  in.  'Caricatures',  ix.  132. 

11967  THE  SECRET  HISTORY  OF  CRIM  CON.  fig  2 

See  No.  11966.  [i]  Conscience.  A  fat  florid  woman  gesticulates  wildly, 
watched  by  a  sour-looking  man.  They  say:  Oh  Im  Undone!  Im  Undone!  and 
Then  I  wish  you  would  undo  me — for  they  have  fined  me  five  Shillings  for  my 
bit  of  fun.  [2]  An  Airing.  A  fashionably  dressed  and  grotesque  couple  walk 
arm-in-arm,  registering  anger.  She  says :  Nozo  let  us  pretend  to  walk  out  as 
if  nothing  was  the  matter.  He  says,  registering  anguish.  Oh  what  a  prize  in 
the  Lottery.  [3]  Alarm.  A  woman  holds  a  man  on  her  knee.  He  says,  register- 
ing dismay.  But  if  M^  Spriggins  should  come  home  what  should  we  do  then. 
She  answers,  calculatingly  amorous :  Be  not  alarmed  sweet  Lily  of  the  Valley. 
[4]  A  Walk  to  the  Shubbery  [sic].  A  not  uncomely  woman,  holding  up  a  fan, 
leads  a  hideous  man  towards  a  shrubbery.  He  says:  Let  me  lead  you  lovely 
fair  one — Nothing  loath.  She  answers :  Oh  spare  my  Blushes.  [5]  A  scene  in 
a  Stone  Coffin.  A  couple  embrace  in  a  stone  coffin  beside  which  lie  a  skull 
and  bones.  She  says :  O  Dear  0  dear  if  the  Gostesses  should  come.  He  answers : 

D n  the  Gostesses.    (An  Irish  scandal  of  1784,  see  No.  6699,  &c.)    [6] 

Observation.   An  old  man  wearing  a  night-cap  and  huge  spectacles  stands 
with  bent  knees  gazing  through  a  doorway.  He  says :  Mercy  on  me,  what  do  I 
see — well  a  pair  of  spectacles  is  tantamount  to  two  Witnesses. 
8|x  13  in.  'Caricatures',  ix.  133. 

11968  SETTING  OUT  FOR  MARGATE.  166 
Woodward  Del     Rowlandson  Scul 

London  Aug^'  2g.  18  [figures  erased,  12  according  to  Grego]  Pub'^  by 
The'  Tegg  N°  iii  Cheapside.  Price  One  Shilling  Coloured 

Engraving  (coloured  impression).    A  mountainous  woman,  with  traces  of 
comeliness,  sits  squarely  in  an  arm-chair,  plying  a  fan,  between  her  husband 

180 


PERSONAL   AND    SOCIAL   SATIRES    l8l2 

(1.)  and  a  servant  who  stands  (r.),  his  hat  under  his  arm  and  his  hands  in  his 
coat-pockets.  The  latter  says:  An  please  you  Master  and  Mtssiss,  The  Sailor 
Man  has  sent  word  as  how  the  Wessel  is  ready  to  swim.  The  husband,  a  paunchy 
*cit'  in  old-fashioned  dress,  stands  leaning  towards  his  wife,  saying,  Why  my 
Dove — /  am  loaded  zvith  provisions  like  a  tilt  cart  on  a  fair  day,  and  my  pockets 
stick  out  as  if  I  was  just  return' d  from  a  City  Feast.  The  heads  of  two  geese 
hang  from  his  pocket.  His  wife  says:  Dont  be  so  Wulgar  M^  Dripping — you 
are  now  among  gentill  folks,  and  must  behave  yourself — we  shall  want  all  the 
Wickalls  on  the  Woyage  depend  upon  it — bless  me  how  Varm  it  is,  I  am  all  07)er 
in  a  muck. 

For  Margate  as  the  'cit's'  watering-place  see  No.  6758,  &c. 

Grego,  Rowlandson,  ii.  231  f. 
8|Xi2|  in. 

11969  REFINEMENT  OF  LANGUAGE.  171 

Woodward  Del.    Rowlandson  sc 

Pu¥  October  i'^  18 12  by  Thomas  Tegg  N°  iii  Cheapside. 

Engraving  (coloured  impression).  A  design  in  six  compartments,  arranged  in 
two  rows,  [i]  A  Timber  Merchant.  A  ragged  match-seller,  with  a  basket 
slung  from  his  shoulder  and  a  bundle  of  matches  in  his  hand,  cries :  Buy  my 
Matches.  [2]  A  Turkey  Merchant.  A  poulterer  (dressed  like  a  butcher)  sits 
on  a  stool  beside  his  stall  (r.)  from  which  hang  two  turkeys.  A  dog  takes  offal 
from  the  table  in  front  of  it.  (Home  Tooke,  according  to  Rogers,  said  his 
father,  a  poulterer,  was  a  Turkey  Merchant,  i.e.  a  member  of  the  Levant  or 
Turkey  Company,  incorporated  in  1579.)  [3]  A  Man  of  Letters.  A  man 
collecting  letters  hurries  along,  ringing  his  bell;  he  holds  a  post-bag  inscribed 
G.  R.  A  maidserv'ant  stands  at  a  door  holding  out  a  letter  for  his  bag.  [4]  A 
Banker.  A  grave-digger  stands  in  a  grave  piling  earth  against  a  tombstone 
in  a  country  church-yard.  [5]  A  Merchant  Taylor.  A  bearded  Jew  buying 
old  clothes  stands  with  his  sack  across  his  shoulder,  two  hats  on  his  head  and 
two  in  his  hand.  He  shouts  Any  old  Cloaths  to  shell.  A  maidservant  stands 
in  a  doorway  (r.)  holding  a  coat.  [6]  Master  of  the  Mint.  A  gardener,  spade 
in  hand,  points  to  his  pot-plants.  On  the  r.  are  a  frame  and  the  corner  of  a 
green-house. 

Grego,  Rowlandson,  ii.  233. 
8^X12^  in. 

11970  THE  SUCCESSFUL  FORTUNE  HUNTER.  OR  CAPTAIN 
SHELALEE  LEADING  MISS  MARROWFAT  TO  THE  TEMPLE 
OF  HYMEN. 

Rowlandson  1812^ 

Engraving  (coloured  impression).  A  tall  strapping  Irishman  wearing  a  flam- 
boyant cocked  hat  and  quasi-military  uniform  looks  down,  with  a  sly  smile, 
at  his  squat  and  bedizened  bride.  Under  his  r.  arm  is  a  long  cudgel  or 
shillelagh.  She  takes  his  arm  and  looks  up  rapturously.  They  walk  (r.  to  1.) 
across  the  Crescent,  Bath,  whose  houses  form  a  background.  A  gouty  old 
man  on  crutches  behind  them  (r.)  looks  sourly  at  them,  and  a  chair-man  (1.) 
between  the  shafts  of  his  sedan-chair,  gapes  in  astonishment. 

Grego,  Rowlandson,  ii.  235. 
ii|x8|  in. 

'  The  date  may  have  been  altered  from  1802. 

181 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

11971  THE   LEARNED    SCOTCHMAN   OR   MAGISTRATES   MIS- 
TAKE.!! 150 

Woodward  Del  Rowlandson  Sad 

London  Published  by  Tho'  Tegg  iii  Cheapside  [181 2] 
Price  One  Shilling  Colou^ 

Engraving  (coloured  impression).  A  gouty  'cit'  (r.),  using  an  ear-trumpet, 
sits  in  an  arm-chair  facing  a  delinquent  in  Highland  dress,  who  bows  low. 
One  swathed  leg  rests  on  a  stool,  on  the  other  foot  is  a  slashed  shoe.  At  his 
r.  hand  is  a  table  with  writing-materials;  on  the  other  side  of  this  sits  a 
bedizened  wife,  holding  a  fan  against  her  hideous  profile.  Behind  the  Scot 
stands  a  fat  constable  holding  a  long  staff.  The  Scot :  /  own  your  Worship — 
/  was  a  little  inebriated  but  your  Worship  knaws  ''Nemo  Mortatium  [sic] — 
Omnibus  \  ''Hooris  Saupit  [horis  sapit]!!  The  Justice:  What's  that  you  say 
fellow  about  Whores  in  a  Saw  Pit — a  very  improper  place  to  go  with  such  com- 
pany— /  wonder  you  are  not  ashamed  to  mention  such  a  thing  and  before  my  Wife 
too!! — but  however  as  it  is  your  first  offence  I  will  discharge  you  this  time — but 
never  come  here  with  such  a  story  again!! 

Grego,  Rowlandson,  ii.  236. 
8f  X  i2\l  in.  'Caricatures',  x.  34. 

11972  PREACHING  TO  SOME  PURPOSE. 

[  ?  After]  Rowlandson  [  ?  1 8 1 2] 

Engraving  (coloured  impression).  A  field  preacher  (1.)  in  clerical  dress  stands 
in  a  roughly  constructed  pulpit  addressing  a  rustic  congregation  (H.L. 
figures)  who  look  up,  some  amused,  others  impressed.  He  clutches  a  large 
rent  in  his  trousers,  saying.  Dearly  Beloved — before  I  begin  my  discourse — / 
have  three  things  to  inform  you  of — The  first  thing  I  know,  and  you  do  not  know — 
The  next  thing  you  know,  and  I  do  not  know — and  the  third  none  of  us  know — 
Viz  in  my  way  here  to  preach — crossing  Farmer  Hobsons  Stile,  I  tore  my 
Breeches — the  extent  of  the  rent  I  know  and  you  do  not  know, — Secondly — what 
you  are  willing  to  Subscribe  to  get  them  repaired  you  know,  and  I  do  not  know 
— and  lastly  what  Tim  Snip  the  Tailor  will  charge  for  the  job — that  none  of  us 
know!   Cf.  No.  1 1080,  &c. 

Grego,  Rowlandson,  ii.  236, 
9nX  13  i^-  'Caricatures',  ix.  34. 

11973  A  CAT  IN  PATTENS 
Rowlandson  inv  1812^ 

Engraving  (coloured  impression).  A  grotesquely  ugly  old  maid,  wearing 
pattens,  walks  preceded  by  a  small  poodle,  clipped  in  an  exaggeration  of  the 
French  manner,  and  followed  by  a  negro  foot-boy  in  livery,  who  holds  on 
a  skewer  a  lump  of  Cat's  Meat.  He  carries  an  umbrella  under  his  arm.  Her 
dress  is  blown  back  against  her  skinny  form;  her  hands  are  in  a  large  muff, 
and  she  wears  a  fur  tippet  over  a  tight  bodice  defining  shoulders,  round  to 
deformity.  Her  profile  is  hideously  sub-human.  She  walks  with  a  fixed  stare, 
not  looking  at  a  half-naked  beggar  (r.)  with  a  patch  over  one  eye  and  sup- 
ported on  a  crutch  who  holds  out  his  hat  for  alms.  Behind  is  a  blank  wall, 
above  which  are  a  church  spire  and  old-fashioned  gabled  houses. 

For  Rowlandson's  attitude  to  the  old  maid  cf.  No.  9619. 

Grego,  Rowlandson,  ii.  237. 
I2X8|  in. 

'  The  '12'  may  replace  other  figures. 
182 


PERSONAL   AND   SOCIAL   SATIRES    l8l2 

11974  OFF  SHE  GOES.  289 

Woodward  Del  Rowlandson  scul 

Pub'^  Dece^  24  [year  obliterated]  by  Tho^  Tegg  N°  11  [sic]  Cheapside. 

Engraving  (coloured  impression).  An  elopement.  A  fat  woman  has  fallen 
on  her  back  from  a  ladder,  knocking  down  her  lover,  who  lies  on  his  back 
beneath  her.  He  wears  military  uniform.  Both  scream  angrily,  and  a  dog  (1.) 
barks  at  her.  The  ladder,  one  rung  of  which  is  broken,  leans  against  a  first- 
floor  window  (1.)  from  which  the  husband  looks  out,  holding  a  candle.  Behind 
(r,),  a  laughing  postilion  holds  open  the  door  of  a  post-chaise.  A  full  moon 
with  grinning  features  looks  down  from  clouds.  A  lamp  projects  from  the 
corner  of  the  house. 

The  title  is  from  'a  lively  dance  tune'.   Harriette  Wilson's  Memoirs,  1929, 
p.  104.  Cf.  No.  13143. 

Grego,  Rowlandson,  ii.  237-8. 
ii|x8fin. 

11975  COMFORTS  OF  AN  IRISH  FISHING  LODGE. 

Etched  by  T.  Rowlandson    [  ?  Bunbury  del.] 

Pub'^  May  iz"*  1812^  by  H  Humphrey  N°  2j  S'  James's  Street 

Engraving  (coloured  impression).  Two  men  sit  in  a  dilapidated  room,  the 
floor  completely  covered  by  water  in  which  three  pigs  wade,  ducks  swim  and 
dive,  and  geese  run  aggressively  towards  a  dog.  Their  feet  rest  on  boulders. 
One  stout  man  in  a  broken  chair  sits  with  his  elbows  on  a  small  round  table, 
holding  up  a  large  watch,  the  hands  showing  that  it  is  9.40,  and  yawning 
deeply.  On  the  table  are  a  decanter  containing  a  tiny  'blue  devil',  cf.  No.  8745, 
and  a  guttering  candle  stuck  in  a  potato  at  which  a  rat  is  nibbling.  Another 
rat  runs  up  the  table  leg.  The  other  man  (r.),  with  closed  eyes,  and  hands 
on  knees,  sits  on  a  stool,  registering  melancholy  resignation.  One  pig  (1.) 
devours  a  Racing  Calendar  which  floats  on  the  water.  A  fire  of  sticks  burns 
smokily  on  a  wide  hearth;  a  large  pot  is  overturning,  the  contents  gushing 
over.  Above  the  chimney-piece  hangs  a  picture  in  a  broken  frame  of  a  country 
house.  There  is  one  small  casement  window,  half  boarded  up,  the  other  half 
partly  stuffed  up  with  a  pair  of  breeches.  A  ham  and  a  hare  hang  from  hooks 
in  the  ceiling.  High  up  on  the  wall  is  a  small  shelf  on  which  is  broken  china; 
a  cat  stands  on  it. 

Not  in  Grego. 
9jx  13^  in.    Border  cropped.  'Caricatures',  ix.  93. 

11976  IRISH  BINDING  FOR  THE  CARICATURE  MAGAZINE.  42 

Woodward  del'    [Williams  f.] 

London  April  75""  1812'   Pub'^  by  Tho'  Tegg  N°  in  Cheapside 

Engraving  (coloured  impression).  The  interior  of  a  shop,  with  open  books 
displayed  in  the  window  and  large  volumes  on  shelves  behind  the  counter. 
A  well-dressed  elderly  man  wearing  spectacles,  holding  an  open  number  of 
the  magazine,  displaying  a  print,  leans  on  the  counter  towards  a  short  thick- 
set customer  who  holds  a  cudgel :  Ah — Ah  Master  Pat,  so  you  have  got  my 
Friend  Teggs  Caricature  Magazine — /  see,  and  you  say  you  want  to  haze  it 
handsomely  bound, — suppose  you  have  it  done  in  Russia.  Pat  answers  with  a 
puzzled  frown :  Why  d'ye  see  Honey — Russia  is  such  a  plaugy  way  off — /  should 

'  The  '12*  has  been  added,  the  original  figures  having  been  removed. 

183 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

lose  the  cream  of  the  Jokes  before  it  came  back  again — so  if  it  makes  no  difference 
to  you — ril  have  it  bound  here  in  Dublin.  On  the  counter,  besides  ink-pot, 
ledger,  and  books  is  a  number  of  the  magazine,  which  seems  to  contain  from 
two  to  three  plates,  oblong  in  format,  and  a  paper  inscribed  A^"  42  |  Caricature 
Magazine  \  Pu¥  by  T  Tegg  \  ill  Cheapside.  On  a  pamphlet:  Price  one 
Shim  CoVd. 

A  puff  for  the  magazine,  see  No.  10889.  ^f-  ^o- 12157  and  vol.  viii,  p.  xliii. 
8^Xi2|  in. 

11977  AN  IRISH  PILOT  OR  STEERING  BY  CHANCE.  175 

[Williams  f.,  ?  Woodward  del.] 

Pub''^  August  1812  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  Three  figures  on  the  after-deck:  a  naval 
officer  pointing  with  a  telescope  to  the  1.,  looks  round  at  a  rough-looking 
elderly  sailor  who  holds  the  helm,  to  say :  Now  en't  you  a  pretty  fellow  for  a 
Pilot?  to  see  Land  and  not  know  where  we  are!  The  man  answers :  Och  my  dear 
Jewel!  only  shew  me  the  Old  head  of  Kinsale,  and  Fll  tell  you  where  we  are  to 
an  Inch!  A  capable-looking  sailor  (1.),  hauling  at  a  rope  to  reef  a  sail,  looks 
towards  the  pilot  with  angry  contempt.  Sails,  rigging,  the  lower  part  of  a 
mast,  and  tossing  waves  complete  the  design. 
SfXiSigin. 

11978  FIVE  WIVES  AT  A  TIME  OR  AN  IRISHMAN  TAKEN  IN!!  156 

Woodward  del'   [Williams  f.]  Price  One  Shilling  Coloured 

London  Pub'^  Aug'  6"^  1812  by  Thomas  Tegg  in  Cheapside 

Engraving  (coloured  impression).  Five  women,  fashionably  dressed,  are 
grouped  by  a  round  table  (r.).  Three  play  cards,  one  (r.)  weeps,  reading  a 
book :  Excessive  Sensibility  a  Novel  in  21  Volumes  by  the  Auth[or]  of  Tears  & 
Sighs  I  Chap  i^'.  A  fifth  stands  with  her  back  to  the  others,  drinking,  a 
decanter  in  her  r.  hand.  A  plainly  dressed  man  wearing  top-boots,  and  hat 
in  hand,  sits  (1.)  in  profile  to  the  r.  regarding  the  women  with  consternation. 
Next  him  the  husband,  fashionably  dressed  but  clumsy,  sits  with  hands  on 
knees,  frowning  angrily.  The  former  says:  Why  Jack  you  terrible  Turk  I  could 
not  believe  it  if  I  had  not  seen  it — Five  Wives  at  once — why  you  will  get  yourself 
into  a  pretty  scrape!  what  could  induce  you  to  commit  such  a  rash  action.  The 
other  answers :  Why  you  must  know  Uncle — out  of  so  many  I  was  in  hopes  to 
have  met  with  a  Good  One — but  by  S'  Patrick.  I  have  been  taken  in — .'.' 
Bfxisin. 

11979  THE  YORKSHIRE  BUMKINS  MISTAKE.  155 

Woodward  del.    [Williams  f.]  Price  one  Shilling  Colored 

London  Pub^  Aug  6"'  1812  by  Thomas  Tegg  N°  in  Cheapside 

Engraving  (coloured  impression).  An  obese  country  footman  stands  at  the 
door  of  a  large  town  house,  addressing  a  fashionable  London  servant,  who 
stands  (1.)  between  the  two  pillars  of  the  porch,  his  hands  behind  his  back, 
legs  astride.  The  latter  says:  Tell  the  Dowager,  My  Lady  is  gone  to  Court. 
The  other :  Gone  to  Court!!  come  thats  a  good  one — /  thought  she  was  married — 
you  Lononers  be  strange  people  to  be  sure — Gone  to  Court!  Mercy  on  us!  why 
where  I  come  from  the  Leadies  always  expect — that  of  the  Men.  He  wears  a 
gold-laced  cocked  hat  and  livery  coat;  a  gold-headed  cane  is  in  his  r.  hand; 
his  1.  hand  is  in  his  coat-pocket  (a  characteristic  of  uncouth  servants  in  these 

184 


PERSONAL  AND   SOCIAL   SATIRES    1812 

prints).   Behind  him  is  a  bull-terrier,  behind  the  other  a  greyhound.   In  the 
background  are  the  trees  of  a  square  backed  by  houses,  with  a  statue  in  the 
garden  suggesting  Berkeley  Square.   In  the  roadway  a  coroneted  sedan-chair 
is  borne  off  by  two  liveried  chair-men,  preceded  by  two  footmen. 
8|xi3jin. 

11980  COUNSELLOR  NODEE,  OR,  A  BROW-BEATER  BADGER'D. 

[Williams.] 

[Pub  Tegg]  A^"  III  Cheapside  [.?  1812].   Price  one  Shilling  Col'^ 

Engraving  (coloured  impression).  A  scene  in  court,  with  the  Chief  Justice 
(Ellenborough)  seated  between  two  other  judges.  In  front  and  below  are 
three  counsel  and  two  clients.  A  barrister  stands  to  examine  a  witness,  a  stout 
man,  well  dressed  but  countrified  (r.) :  Well  Sir,  you  are  a  witness  in  this  Cause, 
eh?  You  look  like  a  very  knozving  fellozc  to  be  sure!  pray  nozc  do  you  know  the 
difference  between  the  Mortgager  and  the  Mortgagee?  The  man  answers :  To  be 
sure  I  do,  for  example  now!  I  nod  at  you,  then  I  am  the  Noder  and  you  are  the 
Nodee.  All  except  the  questioner  smile;  a  distressed  usher  (r.)  exclaims 
Silence  there! 

The  anecdote  is  related  in  The  Wifs  Magazine  (1818),  p.  343,  the  text  of 
which  is  that  of  Tegg's  Prime  Jest  Book,  1812.   (Cohn,  p.  243.) 
8|x  13  in.  'Caricatures',  x.  249. 

11981  A  MILLING  MATCH  BETWEEN  DECKS.  164 
[Elmes.]   Price  one  Shilling  Coloured 

London  Pub^  by  Tho^  Tegg — iii  Cheapside,  July  jj""  1812. 

Engraving  (coloured  impression).  Two  sailors,  one  a  negro,  both  stripped 
to  the  waist,  are  seated  astride  a  long  chest,  inscribed  Arm  Chest  GR.,  to 
which  they  are  lashed,  facing  each  other  with  clenched  fists.  Other  sailors 
look  on,  amused,  or  fiercely  intent.  Behind  the  white  pugilist  stands  a  buxom 
woman  clasping  a  bottle ;  she  says :  Now  Jack — Brail  up  his  Peepers  or  Mungo 
— zcill  tip  you  Y ankey-dodle-do .  A  naval  officer  wearing  a  cocked  hat,  rests 
his  elbow  on  her  shoulder.  All  the  others  are  rough-looking  sailors  and  their 
women.  In  the  foreground  a  grinning  negro  sailor  kneels  near  a  sailor  (1.) 
who  sits  on  a  gun  smoking  and  drinking.  The  latter  is  the  only  sailor  with 
a  pigtail;  it  reaches  below  his  waist.  A  woman  looks  down  at  the  fight  from 
a  hammock.  On  the  r.  two  disreputable-looking  women  are  fighting,  egged 
on  by  two  sailors.  In  the  background  a  sailor  dances  with  two  women;  he 
says:  /  love  a  bit  of  hop — Life  is  ne'ar  the  worse  for  it.  When  in  my  way  do 
drop — a  Fiddle — thats  your  sort  [cf.  No.  8073].  A  one-legged  man  sitting  on 
a  gun  plays  a  fiddle.  In  the  foreground  (r.)  stands  a  can  of  Grog.  Hammocks 
are  slung  from  the  roof. 

While  in  port:  'With  sailors  carousing,  rum  flowing  and  women  on  board, 
the  scene  below  decks  was  an  obscene  compound  of  Gin-lane  and  the  stews.' 
C.  Lloyd,  Captain  Marryat,  1939,  p.  26.   Cf.  Nos.  121 58,  13 123. 
8fxi3in. 

11982  IRISH  BOG  TROTTERS.  163 
[Elmes.]    Price  Otie  Shilling  Coloured 

London  Piib'^  by  Tho'  T?^^— [date  erased]— iVo  iii  Cheapside    [?  1812] 

Engraving  (coloured  impression).  Three  burlesqued  and  bare-legged  peasants 
run  (1,  to  r.)  splashing  through  a  bog.   The  leader  is  a  man  carrying  on  his 

i8s 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

pitchfork  his  (patched)  breeches  and  a  pair  of  Brouges  or  clumsy  shoes.  He 
holds  a  large  jug  of  Butter  Milk  and  under  his  arm  is  a  bludgeon  inscribed 
Sprig  of  Shillelah.  A  woman  follows,  holding  the  end  of  his  shirt,  with  a 
basket  of  Potatoes  [some  falling  out]  on  her  head.  Her  petticoat  is  kilted 
up,  and  the  third,  a  woman,  clutches  at  the  end  of  her  shift,  to  extricate 
herself  from  the  bog.  All  three  smoke  short  pipes.  The  man  wears  a  small 
wig  on  unkempt  hair  which  projects  through  his  hat.  In  the  middle  dis- 
tance (1.)  a  woman  has  fallen,  spilling  the  contents  of  a  large  basket  of 
Turf,  strapped  to  her  back.  In  the  background  (r.)  huntsmen  are  gallop- 
ing from  rising  ground  (r.)  into  the  bog,  in  which  dogs  and  horses  are 
partly  submerged;  geese  fly  up.  On  the  1.  is  a  thatched  cabin,  and  there 
is  a  mountainous  skyline.  In  the  foreground  is  a  strip  of  water  with  three 
huge  frogs. 

Many  Irish  peasants  wore  wigs,  often  too  small  and  bright  yellow,  over  fine 
crops  of  dark  hair.    C.  Maxwell,  Country  and  Town  in  Ireland  under  the 
Georges,  1940,  p.  134. 
8f X i2| in. 

11983  ADVENTURES  OF  JOHNNY  NEWCOME.    PL  i.  178 

[Elmes.] 

PuM  by  Thomas  Tegg  iii  Cheapside,  Ocf.  24 — 1812 

Engraving,  slightly  aquatinted  (coloured  impression).  A  design  in  six  com- 
partments arranged  in  two  rows,  each  with  a  title,  [i]  Johnny,  Newcome  land- 
ing in  the  W^  Indies.  Johnny,  wearing  top-hat  (blown  off),  breeches,  and  top- 
boots,  steps  through  surf  towards  a  sandy  shore  (r.)  where  a  giant  crab 
advances  to  meet  him,  and  two  negresses  seated  under  palm-trees  register 
amusement  and  pleasure.  Under  his  arm  is  a  portmanteau.  Behind  him  (1.) 
is  the  prow  of  a  ship's  boat  with  two  burly  sailors,  in  which  he  has  left  a 
British  ship  at  anchor.  A  mountainous  landscape  is  indicated.  [2]  Johnny 
situated  as  Clerk  of  stores.  In  an  open  shed  facing  the  sea  he  reclines  among 
hogsheads,  smoking  a  cheroot  and  holding  a  punch-bowl;  beside  him  are  pen, 
ink,  and  paper;  on  the  ground  are  a  turtle  and  a  monstrous  insect  compounded 
of  spider  and  ant.  A  negro  clerk,  also  smoking,  kneels  on  a  cask,  and  waves 
a  branch  over  his  master's  head  to  drive  oflf  a  swarm  of  flies.  [3]  Johnny 
enamoured  with  Nymphs  bathing.  He  stands  on  the  shore  inspecting  through 
his  glass  at  very  close  range  three  plump  negresses,  all  grinning  delightedly, 
all  with  the  large  posteriors  of  the  Hottentot  Venus,  see  No.  11577,  &c. 
Behind  Johnny  stands  a  negro  servant,  wearing  breeches  only,  who  holds  up 
an  umbrella,  and  waves  a  branch  to  drive  off^  flies.  [4]  Johnny  on  a  Country 
excursion.  Johnny,  holding  a  gun,  lies  in  a  hammock  carried  by  two  negro 
servants  wearing  breeches  only;  a  third  runs  beside  him  holding  up  an 
umbrella  and  dispersing  flies  with  a  branch.  He  smokes  a  cheroot  and 
between  his  legs  he  supports  a  large  jar,  evidently  of  sangaree.  A  large  lizard 
watches  him.  [5]  Johnny  enjoying  the  sports  of  the  field.  He  sits  under  a  palm- 
tree,  a  table  at  his  elbow,  and  holding  a  bowl  in  his  r.  hand;  he  supports  his 
cocked  gun  with  his  1.  hand  while  a  negro  holds  up  the  barrel.  Johnny  has 
one  foot  braced  against  the  latter's  posterior.  Behind,  another  negro,  wearing 
shirt  and  breeches,  stands  drinking  from  a  bowl  and  waving  a  branch  over 
his  master's  head  as  in  Nos.  2-4.  A  negro  boy  drives  birds  towards  Johnny. 
Large  bottles  of  Sangaree  are  on  the  ground,  others  are  on  the  table,  with  a 
pine-apple  and  (?)  two  banners.  There  is  a  mountainous  sky-line.  [6]  Johnny 
Preachee  and  Floggee  poor  Mungo  [see  No.  9636].  Johnny,  seated  beside  a 
table  as  in  No.  5,  smoking  a  cheroot,  and  holding  a  bowl  on  his  knee,  flourishes 

186 


PERSONAL   AND   SOCIAL   SATIRES    l8l2 

the  long  knotted  lash  of  a  whip  over  the  back  of  a  negro  who  kneels  with 
clasped  hands.  Another  holds  an  umbrella  and  the  usual  branch  over  his 
master.   Bottles  of  Sangaree  are  in  the  foreground. 

In  Nos.  2-6  Johnny  wears  an  enormously  broad-brimmed  straw  hat, 
jacket,  waistcoat,  open  shirt,  and  loose  white  trousers  with  flat  shoes;  and 
grins  broadly,  as  do  the  negroes.  'New-come'  =  new  arrival,  the  earliest 
instance  in  the  O.E.D.  is  Egan,  Life  in  London,  1821 ;  in  Smyth's  Sailors'  Word 
Book,  1867,  p.  497,  Newcome  =  'an  officer  commencing  his  career.  Any 
stranger  or  fresh  hand  newly  arrived',  A  companion  pi.  to  No.  11984.  See 
also  Nos.  11131,  12484,  12718. 
8f  X  i2f  in.   Each  design  c.  4|X4j  in. 

11984  ADVENTURES  OF  JOHNNY  NEWCOME    PI  2  180 

W"*  E "      Price  One  Shilling  Coloured. 

Pu¥  by  T'  Tegg  N''  22.  181 2.  Cheapside  N°  iii. 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  1 1983.  [i]  Johnny' 
reception  by  "merry  Tonkanoo  at  Negro  Ball.  The  ball  is  in  an  open  shed  with 
a  negro  fiddler  seated  high  on  a  hogshead;  most  of  the  guests  watch  Johnny, 
the  only  w^hite,  and  'Tonkanoo'  bowing  to  each  other.  The  latter  is  a  tall 
negro  with  huge  false  moustache  and  long  wig,  feathered  hat,  and  wide-cuffed 
coat  in  imitation  of  English  dress  c.  1740,  with  breeches  and  bare  legs.  A 
negro  behind  Johnny  disperses  flies  with  a  branch.  A  negro  couple  is  dancing; 
the  ladies  are  fully  dressed,  some  with  tall  cylindrical  hats.  Behind  are  distant 
mountains.  [2]  Johnny  dancing  zcith  Rosa — the  Planters  beautiful  daughter.  At 
the  same  ball  all  the  negroes  form  a  background  of  admiring  spectators  while 
Johnny,  still  wearing  his  enormous  hat,  dances  with  a  pretty  English  girl  in 
conventional  evening  dress,  holding  both  her  hands.  Tonkanoo  stands  with 
his  arms  extended  towards  them.  In  the  foreground  (1.)  is  a  little  naked  negro 
Cupid  with  bow,  quiver,  and  arrows,  pointing  to  the  couple.  [3]  Johnny' 
Courtship  and  prof essions  of  Love  to  Rosa.  Rosa  reclines  on  a  sofa  under  a  piece 
of  drapery  looped  from  a  tree;  Johnny  (1.),  hat  in  hand,  kneels  at  her  feet 
while  the  Cupid  aims  his  bow  at  him.  A  pet  monkey  sits  beside  Rosa,  and 
behind  her  (r.)  stands  a  negro  girl  brushing  away  flies  with  a  branch.  Johnny's 
servant  is  behind  (1.)  holding  an  umbrella.  Two  cockatoos  bill  on  a  branch. 
[4]  Johnny  and  the  fair  Rosa  tripping  to  the  Altar  of  Hymen.  The  pair  run 
hand  in  hand  along  a  path  which  winds  to  a  church  resembling  an  English 
village  church.  Negro  servants  run  after  them,  one  holding  up  a  large 
umbrella.  Before  them  run  two  little  negroes;  one  is  Cupid  playing  a  fiddle, 
the  other,  Hymen,  holds  up  a  lighted  torch.  In  the  distance,  nearing  the 
church,  are  the  parson  and  his  clerk.  [5]  Nuptial  ceremony  of  Johnny  and  the 
charming  Rosa.  In  a  Gothic  church  the  parson  with  his  book  stands  behind 
a  cylindrical  altar  on  which  are  two  hearts  transfixed  by  an  arrow.  Johnny 
puts  the  ring  on  Rosa's  finger.  The  congregation  are  delighted  negroes  and 
negresses.  Against  the  altar  sit  Cupid  and  Hymen;  Cupid  wears  Johnny's 
huge  hat  and  plays  the  fiddle;  Hymen  blows  at  his  torch.  [6]  Johnny  and  his 
fair  Bride  reveling  in  Jollity  and  festive  mirth.  Johnnv,  tipsily  jovial,  his  father- 
in-law,  and  Rosa,  sit  at  table,  drinking,  the  men  smoking,  many  bottles  of 
Sangaree  on  the  floor.  A  man  fiddles,  and  in  the  background  a  dance  is  in 
progress.  Johnny  wears  his  planter's  hat,  Sec,  as  in  No.  11983,  and  has 
always  a  swarm  of  flies  round  his  head.  Rosa  throughout  wears  her  ball-dress, 
with  feathers  in  her  hair. 
8fxi2j|in.   Each  design  c.  4JX4I  in. 

187 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11985  GRIEVANCES  OF  LONDON. 
G  Cruikshank  fec*^ 

[Pub.  G.  Smeeton,  139  St.  Martin's  Lane.]  [1812] 

Engraving  (coloured  impression).  Frontispiece  from  Metropolitan  Grievances  ; 
or,  a  serio-comic  glance  at  minor  mischiefs  in  London  and  its  Vicinity,  1812  (in 
Print  Room).  A  crowded  street  scene,  with  the  corner  of  a  tripe-butcher's 
on  the  r. :  Gilbert.  Gall  Tripem[an],  a  lean-to  shop,  in  which  the  butcher 
bargains  over  sheeps'  trotters  and  offal  with  an  elderly  woman.  Outside  this 
is  a  pavement  along  which  a  little  boy  bowls  a  hoop  between  the  legs  of  an 
elderly  lady  on  the  extreme  r.  who  totters  on  high-heeled  shoes,  having 
dropped  a  lap-dog  from  her  muff.  A  little  chimney-sweep  is  much  amused. 
Above  the  butcher's  a  woman  at  a  window  empties  a  pan :  the  contents  splash 
on  to  the  pent-house  roof  and  pour  through  a  spout  over  the  white  stockings 
of  a  fashionably  dressed  passer-by  who  registers  horror,  holding  up  an  eye- 
glass. The  stream  splashes  the  unconscious  woman  who  chaffers  with  the 
tripe-man.  A  street-lamp  projecting  from  the  corner  of  the  house  is  broken. 
Over  the  uneven  cobbles  an  old  woman  pushes  a  barrow  of  cat's-meat, 
shrieking  her  wares;  two  dogs  bark  at  the  barrow,  a  cat  miaows.  Near  her 
stands  a  ragged,  bare-legged  man,  with  grievously  twisted  and  misshapen  legs 
(showing  the  effects  of  rickets);  he  sells  The  Last  Dying  Sp[eech]  .  .  .,  with 
a  print  of  bodies  on  a  gibbet,  shouting  from  a  cavernous  mouth  in  a  sub- 
human face.  Behind  him  a  jovial  crossing-sweeper  plies  his  broom.  On  the 
1.  is  a  caricature  shop,  the  window-panes  filled  with  prints,  among  which  one 
of  'the  Hottentot  Venus',  see  No.  11577,  &c.,  is  conspicuous.  There  are  also 
large  comic  heads.  A  fashionably  dressed  woman  leaves  the  shop,  holding 
her  nose  (assailed  by  the  cat's-meat).  Four  men  gaze  at  the  window;  one  is 
a  countryman  whose  pocket  is  being  picked.  Heavy  flower-pots  are  about  to 
fall  on  their  heads  from  a  projecting  ledge.  A  woman  leans  from  a  first-floor 
window  trying  vainly  to  stop  the  fall,  and  letting  her  watering-pot  discharge 
its  contents  on  the  still  unconscious  window-gazers.  On  the  wall  is  the  disk 
of  the  Sun  Fire  Office,  with  the  date  18 12.  The  next  house  is  a  small  gin- 
shop  with  a  bunch  of  grapes  for  its  sign  and  the  inscription  .  .  Arsnic — Best 
Cordial  Gin.  Three  dram-drinkers  stand  at  the  door.  The  last  house,  a  corner 
one,  is  dilapidated  and  shored  up  with  a  beam.  The  ground  floor  belongs  to 
D.  Dip  Tallow  Chandler;  against  the  window  is  a  stall  or  bulk.  The  top  floor 
is  that  of  Ling — Dyer  &c;  a  pole  projects  from  a  window  with  dyed  garments 
and  a  length  of  material  hanging  out  to  dry.  On  the  corner  of  the  house  is 
the  notice :  F  P  20  F' .  In  the  background  the  dome  of  St.  Paul's  rises  above 
the  roofs  of  houses  in  the  middle  distance. 

Reid,  No.  137.   Cohn,  No.  555. 
5^X7|in. 

11986  PICTURE  OF  LONDON. 

G  Cruikshank  fec^  F.  W.  Pailthorpe  Sculp* 

Engraving  (coloured  and  uncoloured  impressions).  A  street  scene;  two 
corner-buildings  converge,  flanking  a  cobbled  street  of  irregular  shape.  On 
the  1.  is  a  wide  door  headed  [Auct]ion  Rooms;  within,  the  auctioneer  declaims 
from  a  high  rostrum  to  closely  grouped  men :  a  raffish-looking,  smartly  dressed 
man  picks  the  pocket  of  a  countryman.  Outside  the  door  a  bearded  Jew  with 
a  sack  of  old  clothes  peers  in.  On  the  wall  beside  the  door  is  a  bill  headed 
To  Be  Sold.  Against  it  is  a  closed  watchman's  box.  At  the  corner  of  the 
pavement  a  man  stands  holding  up  a  placard  on  a  pole :  Beware  of  Mock 

188 


PERSONAL  AND  SOCIAL  SATIRES  l8l2 

Auctions.  In  the  roadway  two  smartly  dressed  rascals  accost  an  oafish  country- 
man wearing  top-boots,  who  gazes  delightedly  at  a  (?)  bead-chain  which  one 
of  them  displays,  kneeling  on  one  knee  on  the  cobbles.  The  dupe  gropes  in 
his  pocket. 

On  the  r.  is  the  wide  gateway  leading  to  the  courtyard  of  The  Ram  hin; 
a  list  of  places  within  the  door  is  headed  Stocrching  (?),  Yorkshire  .  .  .  Outside 
it  stands  a  large  wagon  with  broad  wheels  and  high  tilt,  placarded  Maidenhead 
Waggon.  A  young  girl  carrying  a  box  and  bundle  has  just  left  it  and  is  being 
accosted  by  a  hideous  old  bawd  who  chucks  her  under  the  chin.  An  elderly 
man  with  gouty  legs  stands  in  the  inn  doorway  watching  them  over  his 
shoulder.  Behind  (1.),  a  ballad-singer  screams,  an  infant  tied  to  her  shoulders. 
The  background  is  of  tall  converging  houses  with  the  dome  of  St.  Paul's 
rising  above  them.  The  design  is  enclosed  in  a  border  simulating  a  picture- 
frame. 

The  wagon,  the  girl  and  bawd,  and  the  elderly  man  are  adapted  from 
Hogarth's  Harlot's  Progress,  PI.  i  (No.  2031),  the  setting  being  altered  from 
the  inn  yard  to  the  street  outside. 

Reid,  No.  138. 
4l|X7iin. 

11987  EXTINGUISH'D   IS  HER  BLOOM  AND  NATIVE  FIRE; 
VIEW  THE  POOR  WRETCH  IN  PATIENT  PAINS  EXPIRE. 

GC*  [?i8i2] 

Engraving.  A  free  copy,  reversed  and  reduced,  and  with  altered  costume, 
of  Hogarth's  Harlot's  Progress,  PI.  5  (No.  2091),  the  character  of  the  heads 
being  changed.  The  woman  leans  back  in  her  chair,  dead  or  dying,  supported 
by  the  servant,  who  with  an  agonized  gesture  appeals  in  vain  to  the  two 
quarrelling  doctors  (r.),  one  with  his  pill,  the  other  with  his  medicine-bottle. 
The  details  are  as  in  the  original,  with  the  omission  of  the  bed-pan  and  of  all 
inscriptions.  The  woman  who  rifles  the  trunk  (r.)  is  more  grotesque  and 
villainous  with  a  twisted,  noseless  face.  The  room  is  more  realistically  ram- 
shackle, the  bed-curtains  are  tattered.  A  poker  thrust  through  the  bars  has 
been  added. 

According  to  Truman  this  was  the  frontispiece  to  a  pamphlet  published 
by  Smeeton. 

Reid,  No.  134.   Cohn,  No.  iioi. 
5fx6|in. 

11988  MRS.  TOPPER'S  DREAM!,  OR,  |  OVERBOARD  SHE  VENT.  | 

Written  expressly  for  the  Occasion,  by  Scriblerus  Horselydotvnus^ 

G  Cruikshank  fed 

Printed  and  published  by  Joseph  Robins  ^y,  Tooley  Street,  Southwark. 

[?l8l2]2 

Engraving  (coloured  impression).  Illustration  to  A  New  Song,  which  with 
the  (printed)  title  is  on  a  separate  sheet.  On  the  pi.:  Sung  by  AP  Norman, 
at  the  Royalty  Theatre,  Wall  Street,  Wellclose  Square.  A  woman  falls  head- 
first out  of  a  low  truckle-bed,  her  terrified  husband  sits  up,  arms  extended; 
both  scream.  The  room  is  small,  with  indications  of  poverty :  wash-tub,  table 
with  ragged  cloth,  plate,  bottle  of  Gin,  &c.,  rough  shelf  over  fireplace,  with 
tea-things,  coffee-pot,  and  medicine-bottle.  Through  the  window  is  seen  the 

'  Horselydown,  Southwark,  extends  from  Tooley  Street  to  Dockhead.  Cf.  No.  10937. 
*  Dated  181 2  in  penciL 

189 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

rigging  of  a  ship.  A  frightened  cat  has  cUmbed  on  to  the  table.  Over  the  fire- 
place is  a  broadside:  Over  Board  he  Vent,  a  man  falls  head-first  from  a 
rowing-boat,  leaving  a  truculent  man  in  possession.  There  is  also  a  small 
print  of  a  ship.  The  verses  (24  11.)  begin : 

After  vashing  hard  vun  day, 
Mrs.  Topper  went  to  bed, 

She  dreams,  bawls,  hits  her  husband  in  her  sleep;  he  throws  her  out  of  bed. 

Reid,  No.  722.   Cohn,  No.  1769. 
5i|X7i  in.   Song,  3^^x61  in.  (Both  clipped.) 

11989  [MASQUERADE.] 

[?W.  Heath.]  [?i8i2] 

Photograph  (much  reduced)  of  an  engraving.  Persons  in  masquerade  dress 
closely  grouped.  They  include  a  mile-stone  inscribed  iii  Miles  from  Hyde 
Park,  a  devil  with  a  pitchfork,  a  Diana,  a  fat  lady  in  back  view  with  small 
butterfly  wings.  A  man  in  mask,  beard,  and  domino  (1.)  says  to  a  masked  lady 
beside  him :  /  can  describe  to  you  Ma'am  every  person  in  the  Rooms  for  Instance 
the  lusty  Lady  in  the  character  of  a  Sylph  is  the  Dutchess  Dauphins — the  Lady 
as  the  Goddess  of  Chastity  is  Lord  Dashats  kept  Mistress — and  the  Puppy  is  heir 
to  an  immense  property  the  Gentleman  on  your  left  in  the  character  of  a  Mile 
stone  is  a  respectable  Broker  from  the  Minories  and  the  Devil  in  the  back  ground 
is  a  Councellor  of  considerable  practice  [cf.  No.  1345 1].  A  lady  whose  only 
concession  to  masquerade  is  a  mask  walks  arm  in  arm  with  a  stout  man  wear- 
ing cocked  hat  and  furred  gown.  She  says:  What  I  dislike  is  the  almost 
universal  want  of  Character.  He  answers :  That  Madam  is  the  general  com- 
plaint of  the  most  Fashionable  Masquerades!  A  Turk  says  to  a  hideous  man 
wearing  towering  antlers  in  his  cap :  As  I  am  a  true  Musselman  I  never  saw 
such  a  figure — You  have  horns  like  an  Antelope.  The  other  answers:  /  dont 
know,  it  was  a  whim  of  my  wifes  she  said  they  would  become  me.  A  bear  says 
to  a  flower-girl :  so  I  thought  it  [?  wise]  my  Dear  to  come  as  a  Bear.  She 
answers :  You  were  Perfectly  right  my  Lord  I  never  saw  your  Lordship  more  in 
Character.  Cf.  No.  11808. 
2|X3/gin. 


190 


i8i3 
POLITICAL  SATIRES 

11990  THE  SPIRIT  OF  THE  BOOK— OR  ANTICIPATION  OF  THE 
YEAR  1813. 

[Williams.] 

Pub'^  Jan^  J^'  l8ij  for  the  Proprietors  of  Town  Talk. 

Engraving  (coloured  impression).  PI,  from  Town  Talk,  iii.  405.  A  figure, 
draped  in  white  (r.),  supports  on  outstretched  arms  the  open  pages  of  a  huge 
book  which  covers  his  person.  He  stands  at  the  foot  of  the  double  throne, 
from  which  Lady  Hertford  has  hurled  herself;  she  lies  face  downwards  on 
the  dais,  putting  out  a  hand  to  ward  off  the  dread  apparition.  The  Regent 
has  risen  to  his  feet,  terror-struck.  The  pages  are  inscribed  in  large  letters: 
Spirit  I  of  I  The  \  Book  |  Chapter  |  of  \  Evidence  \  and  |  Delicate  j  Investi\gation. 
The  figure,  with  a  menacing  gesture,  holds  out  to  the  Regent  a  sheaf  of  papers, 
the  uppermost  inscribed  Perigord  [a  dispatch  from  Talleyrand],  the  others: 
Berlin,  Vienna,  Antwerp,  Paris,  Impeachment;  he  says  (adapting  the  Ghost's 
words  to  Hamlet) :  /  will  to  the  peoples  ear  a  tale  unfold,  shall  make  their  matted 
and  combined  locks  to  part — and  each  particular  hair  to  stand  on  end  like  quills 
upon  the  fretfull porcupine .  The  Regent,  his  hair  rising,  exclaims :  "Angels  and 
Ministers  of  Grace'',  but  alas  I  have  no  Angels  but  fallen  ones,  and  my  Ministers 
are  not  Ministers  of  Grace,  Grim  Spectre  approach  not,  I  thought  thou  hads't 
been  laid  forever — /  zmll  listen  to  thee.  What  woulds't  thou  have  with  me?  Lady 
Hertford  moans:  Hide  it,  oh  Hide  the  hideous  Spectre  from  me!  The  throne, 
an  ornate  settee  for  two  people,  surmounted  by  a  crown,  and  having  a  tent- 
like canopy  on  which  are  the  royal  arms,  forms,  with  the  three  principal 
figures,  the  centre  of  the  design. 

The  spectre  throws  his  1.  arm  backwards  as  if  pointing  to  a  large  picture  (r.) 
partly  obscured  by  a  recording  angel  seated  on  clouds  and  writing  in  a  book: 
Records  of  .  .  .  Court  of  [RegeTi]cy.  Her  pen  rests  on  the  word  IXOCEN  .  . 
The  picture  represents  a  scaffold  surrounded  by  spectators ;  a  body  lies  under 
the  blade  of  a  guillotine.  The  figures  are  in  shadow,  and  partly  hidden,  but 
the  subject  is  clear  on  close  scrutiny.  The  picture  hangs  above  a  group  headed 
by  the  (unrecognizable)  Princess  of  Wales,  who  is  tall,  slim,  and  youthful.  She 
extends  her  arm  towards  the  throne,  turning  her  head  to  say  to  her  followers : 
I  will  have  Justice  on  my  enemies!  The  most  prominent  is  the  Speaker,  a  com- 
manding presence  in  his  robes,  quite  unlike  the  puny  Abbot;  he  grasps  a 
document  inscribed  Impeachment,  and  points  a  menacing  finger  towards  a 
group  of  Ministers  (1.),  saying,  We  have  examined  zcitnesses  and  in  the  name  of 
the  Commons  I  impeach  those  men.  Behind  him  are  (next  the  Princess)  Whit- 
bread  (?)  and  Burdett,  carrying  a  book  inscribed  Witnesse[s].  Other  heads  are 
poorly  characterized. 

The  Ministers  on  the  1.  of  the  throne  all  register  terror  at  the  apparition. 
Lord  Liverpool,  in  front,  is  on  his  knees,  his  hands  clasped,  exclaiming, 
/  knew  not  of  thy  wrongs  mysterious  Spirit  do  not  let  thy  Anger  involve  me  in 
the  ruin  thou  threateneth  to  my  umcorthy  colleauges  [sic] ;  in  his  pocket  is  a 
paper:  New  Taxes  for  18  ij.  Lord  EUenborough  flinches  to  the  1.,  exclaiming, 
oh  that  I  had  never  been  a  commissioner!  or  that  I  had  been  a  more  upright  one. 
Lord  Mulgrave,  also  preparing  to  flee,  exclaims :  Ruind!  lost,  for  ever  that 

d d  book  zvill  haunt  us  for  ever.    Lord  Eldon  exclaims :  Commissioner,  said'st 

thou,  say  not  that  cursed  word  again,  it  racks  me  with  the  Tortures  of  the  Damned, 

191 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Avaunt  Grim  Spectre.  On  the  extreme  1.  Castlereagh  clasps  his  hands,  saying, 
Oh  dear  this  is  worse  than  Walcheren  its  all  over  with  us  [see  No.  11364,  &c.]. 
From  his  pocket  hangs  a  paper:  Song  by  Catalani  [cf.  No.  10979].  Sidmouth, 
in  silent  terror,  holds  up  a  clyster-pipe  (cf.  No.  9849).  On  the  r.  of  the  group, 
and  peeping  round  the  hangings  of  the  throne,  is  Lord  Yarmouth,  exclaiming. 
Mother!  where  are  you.  All  these  figures  are  on  a  larger  scale,  and  nearer  the 
throne  than  the  opposite  and  vengeful  group.  Behind  them  is  a  picture,  a 
pendant  to  the  execution  scene:  George  III,  enthroned,  receives  a  book  ('The 
Book')  from  the  kneeling  Perceval;  courtiers  include  the  Lord  Chamberlain, 
Dartmouth,  with  his  wand ;  there  is  also  a  beefeater. 

A  satire  on  the  pending  publication  of  'The  Book'  (suppressed  in  1807)  in 
a  campaign  to  attack  the  Regent  through  his  wife.  It  was  originally  prepared 
for  publication  by  Perceval,  who  acted  as  the  Princess's  adviser  in  the 
'Delicate  Investigation'  of  1806,  see  No.  11864,  and  contained  the  depositions 
and  the  letters  from  the  Princess  to  the  King,  drafted  by  himself,  which 
attacked  the  Commissioners  of  the  Investigation,  Erskine,  Ellenborough, 
Eldon,  Grenville,  and  Spencer  (see  No.  1203 1).  On  the  appointment  of  the 
Portland  Ministry  'The  Book'  was  withheld,  but  Perceval  took  office  only  on 
condition  that  the  Princess  was  received  (once)  at  Court.  After  the  failure 
of  the  Whigs  to  obtain  office  in  1812,  followed  by  violent  attacks  on  the 
Regent,  publication  of  'The  Book',  copies  being  known  to  exist,  was  hinted 
at  as  part  of  a  violent  campaign  against  Ministers  and  the  Regent.  Grey  wrote 
to  Grenville,  10  Apr.,  suggesting  that  persons  'not  implicated  as  we  were', 
should  take  up  the  Princess's  case:  Grenville  strongly  disapproved.  H.M.C., 
Dropmore  MSS.,  x.  234.  Although  the  letters  were  an  able  defence  of  the 
Princess,  the  depositions  were  highly  damaging,  except  on  the  supposition 
that  they  were  complete  perjuries  (see  No.  12026,  &c.).  More  than  one 
version,  containing  much  supplementary  matter,  appeared  early  in  181 3.  'The 
Spirit  of  the  Book  or  Memoirs  of  Caroline  Princess  of  Hasburgh',  3  vols.,  181 1, 
ostensibly  a  novel,  was  an  attack  on  the  Princess  by  Thomas  Ashe  (see 
D.N.B.);  in  1820  he  offered  to  swear  that  he  had  been  suborned  to  write  it 
and  other  works  'to  prepare  the  public  mind  for  "A  divorce"'.  See  Corr.  of 
George  IV,  1938,  ii.  364-6,  375.  The  print  foreshadows  a  violent  attack  on 
the  Regent  through  the  Princess,  who  was  the  instrument  of  Brougham, 
Whitbread,  Creevey,  and  others,  the  first  overt  act  being  her  letter  to  the 
Regent,  see  No.  12011,  &c.  This  campaign  followed  the  attacks  on  his  con- 
nexion with  Lady  Hertford,  see  No.  11853,  ^^-  ^^^  Corr.  of  George  IV,  1938, 
i.  186  f.;  The  Book,  ed.  C.  V.  Williams,  1813;  Croker  Papers,  1884,  i.  300-2. 
'The  Book',  a  'Melodrama  in  two  acts'  is  the  subject  of  Letter  vii,  in  Moore's 
Twopenny  Post-Bag,  1813.  The  letter  from  Talleyrand  may  be  Napoleon's 
peace  overture  before  the  Russian  campaign,  which  Whitbread  maintained 
(21  July  1812)  was  the  best  possible  opportunity  for  a  negotiated  peace.  Ann. 
Reg.,  1812,  p.i26f.  For  'The  Book' see  also  Nos.  11864, 11869, 12026, 12092; 
cf.  No.  12194. 
91x15!  in. 

11991  BONEY  RETURNING  FROM  RUSSIA  COVERED  WITH 
GLORY— LEAVING  HIS  ARMY  IN  COMFORTABLE  WINTER 
QUARTERS.— 

[Williams.] 

Pu¥  Jany  J^'  181 3  by  S  W""  Fores  N°  50  Piccadilly  corner  of  Sackville  St 

Engraving  (coloured  and  uncoloured  impressions).  Napoleon  travels  in  an 
open  sledge,  drawn  by  two  horses,  which  gallop,  though  lean  and  exhausted. 

192 


POLITICAL   SATIRES    1813 

He  sits  facing  one  of  his  generals  with  writing-materials  between  them  on  a 
small  stool;  both  have  gloomy  expressions.  The  officer,  holding  out  a  pen, 
asks :  Will  your  Majesty  zvrite  the  Bulletin?  Napoleon :  No!  you  write  it!  tell 
them  we  left  the  Army  all  well,  quite  gay  in  excellent  Quarters,  plenty  of  pro- 
visions— that  we  travelled  in  great  style, — recieved  every  where  with  congratula- 
tions— atid  that  I  have  almost  compleated  the  repose  of  Europe.  An  officer  drives, 
standing  on  the  runners ;  he  has  a  whip  with  an  enormously  long,  heavy,  and 
knotted  lash.  The  sledge  is  surrounded  with  dead  or  dying  French  soldiers, 
some  covered  by  snow.  In  the  foreground  (1.)  two  starving  men  cut  up  the 
carcase  of  a  horse.  A  soldier,  leaning  against  the  snow-covered  body  of  a 
horse,  looks  up  to  say :  Ah  Sire!  so  dat  John  Bull  says!  I  wish  I  could  have 
some  repose  Pm  tired  of  Glory.  Snow  is  piled  thickly  on  his  cocked  hat,  as  it 
is  on  the  hats  of  those  in  the  sledge.  A  soldier  wearing  a  cdcvdXry  helmet 
stands  in  snow,  with  flexed  knees  and  clasped  hands,  looking  with  dismay 
after  the  departing  sledge.  In  the  middle  distance  bodies  of  men  and  horses 
are  scattered  over  the  snow-covered  ground,  while  in  the  distance  (r.)  Cossacks 
pursue  fleeing  soldiers.  A  waste  of  snow  is  indicated,  and  snow-flakes  fill  the 
sky.   After  the  title : 

Nap  and  Joe,  from  France  would  go, 
To  fill  the  World  zvith  Slaughter, 
Joe  fell  down,  and  broke  his  Crown, 
And  Nap  came  tumbling  after. 

Napoleon  with  a  small  escort  left  his  army  on  5  Dec,  under  a  secretarj^'s 
name,  driving  in  a  covered  sleigh,  a  berline  on  runners,  with  Caulaincourt. 
Memoirs  of  Caulaincourt,  1935,  i.  411  fF.  For  bulletins  and  'Winter  quarters' 
see  No.  11920,  &c.  For  the  position  of  Joseph  in  Spain  cf.  No.  11901,  &:c. 
For  Napoleon's  journey  and  abandonment  of  his  army  see  also  Nos.  1 1917,  &c., 
11997,  12001,  &c.,  12033,  12036,  12050,  12205,  12244,  12602,  12608. 

The  design  may  be  based  on  a  print  by  Terebenef,  reproduced  Broadley, 
ii.  173;  Klingender,  p.  21. 

A  Dutch  version,  De  Vlught  uit  Moskouw,  is  listed  by  Broadley. 

Broadley,  i.  316.   De  Vinck,  No.  8789. 
8|xi4|in. 

11992  QUADRUPEDS  OR  LITTLE  BONEYS  LAST  KICK. 

G.  Cruikshank  fec^ 

Pu¥  January  i'^  1813  by  W  N  Jones  5  Newgate  Street. 

Engraving  (coloured  impression).  PI.  from  the  Scourge,^  v,  frontispiece. 
Alexander,  as  the  Russian  bear,  and  on  a  larger  scale  than  the  other  figures, 
stands  in  the  centre  of  the  design  holding  Napoleon  suspended  in  the  air  by 
one  jack-booted  leg,  and  plying  a  large  birch-rod.  Jack  Frost  (cf.  No. 
H918,  &c.),  a  hideous  goblin  (r.),  tsveaks  Napoleon's  nose;  he  has  a  lean, 
naked  body,  webbed  and  spiky  wings,  bristling  icicles  for  hair  and  beard, 
huge  eyeballs,  a  long  sharp  nose,  talons,  and  a  barbed  tail,  apparently  adapted 
from  No.  11474  by  (?)  Woodward.  The  victim,  whose  crown  drops  off, 
screams:  Save  me.  Save  me  from  de  big  bore.  Alexander  wears  fur-bordered 
dress  and  a  small  crown  on  his  bear's  head.  He  tramples  on  a  French  eagle 
and  laurel  wreath.  The  head  of  a  French  officer  projects  from  a  hole  in  the 
snow  (1.),  saying.  By  gar  de  Bears  have  caught  us  in  our  own  Traps. 

On  the  1.  stalwart  bears  attack  the  fleeing  French,  using  bayonets  and 
swords;  they  have  a  standard  on  which  is  a  Russian  eagle.  The  little  French 

'  Not  folded,  showing  that  it  was  issued  separately. 

193  O 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

soldiers  have  simian  faces,  and  some  have  tails;  they  wear  big  jack-boots, 
some  w^ear  cocked  hats,  some  bonnets  rouges,  one  a  cavalry  helmet.  Some  of 
the  French  are  struggling  through,  or  drov^ning  in,  a  piece  of  water  on  the 
extreme  1.,  inscribed  Sea  of  Troubles.  One  soldier  holds  up  an  eagle  from 
which  flies  a  flag  inscribed  Leigeon  of  Honor;  another,  floating  behind  him, 
clings  to  his  long  pigtail.  On  a  snowy  mound  rising  from  the  water  is  a  gabled 
wooden  cottage,  with  an  open  shop-front  in  which  joints  of  meat  are  dis- 
played beneath  a  placard :  The  Kalouga  Larder  Russian  Fare ;  from  a  side-door 
a  bear  looks  out,  aiming  a  blunderbuss,  and  saying.  No  Admittence  here.  He 
addresses  a  French  officer  (with  a  tail)  who  has  reached  the  hut  but  is  caught 
by  the  leg  in  a  steel  trap,  and  staggers  backwards,  saying.  Ah  de  Bar  bare:  dey 
have  not  de  pity.  A  placard  beside  the  hut  and  pine-trees  is  inscribed:  Steel 
Traps  &  Spring  guns  set  in  this  gro  .  .  .  Other  French  soldiers  climb  the  hill 
behind  him;  one  falls  over  a  dismantled  gun. 

On  the  extreme  r.  General  Kutusoff  (not  a  bear)  superintends  the  cooking 
of  a  number  of  tiny  French  soldiers  in  a  frying-pan  inscribed  Moscow;  he 
spears  a  man  on  a  fork,  flourishing  a  large  knife.  The  pan  rests  on  a  grid 
above  a  large  fire.  The  soldiers  shout:  dont  Cut  us  off;  some  have  escaped  from 
the  flames  and  are  fleeing  to  the  1.  (towards  Jack  Frost).  Behind  and  above 
them  is  a  snow-covered  hill,  on  which  Count  Platoff,  hetman  of  the  Cossacks, 
stands  with  outspread  arms  beside  a  fashionably  dressed  young  woman. 
Between  them  is  a  tall  staff  supporting  a  placard:  100,000  Rubles  and  my 
Daughter  to  the  Man  who  will  bring  Buonaparte  Dead  or  Alive.  Money-bags 
are  piled  at  the  base  of  the  staff.  Between  the  lady  and  Kutusoff  is  a  post 
inscribed  Bait  for  Monkeys,  from  which  hangs  a  bag  inscribed  Provisions  & 
good  Winter  Quarters.  Galloping  through  the  air  above  are  Cossacks,  riding 
over  an  arc  of  clouds,  inscribed  Cloud  of  Cossacks.  In  the  foreground,  in  front 
of  Jack  Frost,  is  a  paper:  28^^  Bulletin  This  is  Autumfine  zveather  easy  marches 
— Invincible  General. 

The  28th  Bulletin  (cf.  No.  11920,  &c.)  was  from  Smolensk,  dated  ii  Nov., 
received  in  England  4  Dec.  (Europ.  Mag.  Ixiii.  53);  it  recorded  fine  weather 
up  to  6  Nov.,  but  the  beginning  of  winter  on  9  Nov.  It  referred  to  'a  cloud 
of  Cossacks'  (cf.  No.  11994)  which  covered  12,000  Russian  infantry  and  inter- 
cepted communications,  but  stated  that  this  force  had  been  routed.  In  a 
dispatch  from  the  British  Ambassador  in  Petersburg,  published  in  the 
Extraordinary  Gazette  of  16  Dec.  it  was  reported  that  a  French  corps  march- 
ing from  Smolensk  towards  Kalouga  had  been  routed.  Kutusoff,  commander- 
in-chief  of  the  Russian  army,  by  his  slowness  in  pursuit  missed  the 
opportunity  of  capturing  the  Grand  Army.  J.  H.  Rose,  Napoleon  I,  1934, 
ii.  262  f.  For  Count  Platoff  and  his  daughter  see  No.  11994,  &c.;  for  the 
retreat.  No.  11917,  &c.  Cf.  No.  10705,  a  contest  between  Russian  bears 
and  French  apes.   For  the  title  cf.  No.  11762. 

Reid,  No.  212.   Cohn,  No.  732.   Broadley,  p.  314. 
7x20^  in. 

11993     THE     BREWERS     ENTIRE     SALOON     (a     Bird's-eye     view) 
1   SATIRIST  1ST  JANUARY  1813. 

Satirist  inv^  W.  H  Ekoorb  [Brooke]  deV  Aqua  Fortis  fecit 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xii,  frontispiece.  The 
explanatory  text  (pp.  1-5)  has  the  second  title:  or.  The  Friend  to  a  Peace,  the 
'ea'  being  half  obliterated  and  surmounted  by  'ie'.  The  'grand  saloon'  of 
the  new  Drury  Lane  Theatre  is  a  long  room  showing  an  apse-like  end  (1.).  The 
furniture  consists  of  divans  placed  at  regular  intervals  on  which  courtesans 

194 


POLITICAL   SATIRES    1813 

recline,  some  embraced  by  men.  In  the  centre  is  a  statue  of  Apollo 
playing  a  lyre,  on  a  pedestal  against  which  leans  Sheridan  as  Harlequin 
(cf.  No.  9916).  He  points  his  wooden  sword  towards  a  divan  in  the  foreground 
(r.)  where  Whitbread  reclines  between  two  women,  a  third  kneels  at  his  feet, 
with  raised  arm,  declaiming.  Hail  entire  Guardian  of  our  Liberties  [cf.  No. 
10421].  Two  others  bend  amorously  towards  him;  one,  holding  up  a  wreath, 
says :  Ah  gay  deceiver?  Pll  bind  thy  brozvs  siveet  fellow  with  the  Cyprian  wreath; 
&  lull  thee  with  thy  wished-for  Piece.  He  answers :  Oh!  Ladies  spare  my  feelings!!! 
your  gratitude  quite  overpowers  me.  On  the  extreme  r.  two  women  rush  towards 
Whitbread,  one  looking  behind  her  to  say:  Come  Sisters!  let  us  kiss  the freind 
to  Freedom  and  to  Love.  Behind  (r.),  Townsend,  holding  his  constable's  staff, 
pushes  back  a  number  of  men  who  advance  towards  Whitbread,  tvvo  with 
papers  inscribed  Address.  They  are  the  poets,  angrj'  at  the  rejection  of  their 
Addresses,  see  No.  11940,  &c.  Townsend  says:  Back  ye  Ruffians  back!!! — my 
friend  the  Brewer  zvill  make,  &  by  Jupiter  III  keep  the  piece.  Busby  advances 
from  behind  W^hitbread  (r.)  holding  out  a  paper  inscribed  Monologue,  and 
saying:  "When  energizing  objects  jnenpursue"  [theopeningwordsof  his  Address, 
see  No.  11939]  hem!!!.  A  man  walking  past,  staring  at  Whitbread  through 
an  eye-glass,  seems  intended  for  Skeffington,  see  No.  10455.  Among  the 
figures  in  the  background  are  men  seizing  women  round  the  waist;  other 
women  promenade  alluringly.  The  room  has  marble  pillars  and  pilasters  with 
ornate  composite  capitals.  There  are  two  statues  in  the  apse,  and  in  the  fore- 
ground (1.)  is  a  statue  in  a  niche  above  a  stove  with  an  open  fire.  There  are 
three  folding  doors,  two  open  showing  staircases  with  small  figures. 

For  Whitbread,  Sheridan,  and  Drury  Lane  see  Nos.  11767,  11936,  &c. 
The  satire  depends  on  the  pun  by  which  peace  =  piece  =  minx  or  baggage 
(cf.  No.  10668,  &c.),  here  used  in  a  more  depreciatory'  and  specific  sense  than 
in  the  O.E.D.;  cf.  the  punning  Cambridge  toast,  c.  1810-30  (quoted  Partridge, 
Slang  Diet.) :  'May  we  never  have  a  piece  (peace)  that  will  injure  the  Constitu- 
tion.' For  Whitbread's  persistent  pacifism  and  motions  for  peace  negotiations 
see  No.  12099,  &c.  The  saloon,  the  divans  excepted,  is  depicted  with  some 
accuracy:  it  was  '86  feet  long,  circular  at  each  extremity.  ...  It  has  a  richly 
gilt  stove  at  each  corner,  over  which  are  finely  imitated  black  and  yellow- 
veined  marble  slabs  as  pedestals  in  the  niches.  The  ceiling  is  arched,  and  the 
general  eff"ect  of  two  massy  Corinthian  columns  of  verd  antique,  with  ten 
corresponding  pilasters  on  each  side  is  grand  and  pleasing.'  Europ.  Mag., 
1813,  p.  257*.  Cf.  No.  12065. 
7-|-X  13I  in.   With  border,  J^X  14^  in. 

11994  A  TIT-BIT  FOR  A  COSSACK  OR  THE  PLATOFF  PRIZE— 
FOR  THE  HEAD  OF  BUONAPARTE  184 

W^  E^ [Elmes]     Price  One  Shilling  Coloured 

Pu¥  by  Tho'  Tegg — iii  Cheapside    Jan^  4"'  1813 — London 

Engraving  (coloured  impression).  The  daughter  of  Count  Platofi^  stands  full 
face,  erect,  dashing,  and  alluring,  on  a  snowy  mound.  Her  r.  hand  supports 
a  spear  from  which  floats  a  banner  inscribed:  /  General — Count — Platoff. 
promise  to  give  my  Daughter  in  Marriage  and  2000  Rubles — to  any  Cossack 
— Russian — Prusian — German — Sic  cede — Turk — John  Bull — Sauny  Bull — 
Paddy  Bull — or  any  other  Bull,  who  shall  bring  Me  the  Head  of  Little  Bony 
— dead  or  a  live.  She  wears  fur-trimmed  cap  with  a  long  hussar-bag,  long 
high-waisted  fur-bordered  pelisse,  with  a  cape,  fur-trimmed  boots,  and  large 
ear-rings.    The  words  //i''" — ho"— for  a  Husband  issue  from  closed  and 

195 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

smiling  lips.  With  her  1.  hand  she  points  behind  her  to  the  r.  and  to  the  little 
figure  of  Napoleon  on  skates,  wearing  a  large  plumed  bicorne,  and  brandishing 
his  sabre;  he  deserts  his  snow-bound  army,  saying,  O" — ho" — hygare  I  had 
best  be  Off.  He  strides  past  the  heads  of  soldiers  emerging  from  snow,  together 
with  bayonets,  and  a  French  flag;  behind  him  the  French  army  marches  in 
close  ranks,  with  one  eagle  and  one  flag.  On  the  1.  is  another  column  of  tiny 
soldiers  indicated  by  heads,  bayonets,  an  eagle,  and  flags.  In  the  clouds,  air- 
borne as  in  No.  11992,  are  two  bands  of  galloping  Cossacks,  one  (r.)  seems 
about  to  swoop  down  on  Napoleon.  Heavy  clouds  frame  slanting  rays  which 
make  a  background  for  Platoff's  daughter.  At  her  feet  are  two  money-bags 
both  inscribed  1,000  Rubles,  which  disgorge  coins.  Behind  them  a  kneeling 
Cupid  aims  his  bow  towards  the  'cloud  of  Cossacks'  on  the  1. 

For  the  retreat  from  Moscow  see  No.  11917,  &c.  A  legend  was  current 
that  Count  Platoff,  hetman  of  the  Cossacks,  who  was  pursuing  the  French 
army,  had  offered  his  daughter  and  a  dowry  of  200,000  roubles  to  whoever 
would  bring  him  Napoleon's  head,  see  Nos.  11992,  12001,  12010,  12033, 
12094. 

Broadley,  i.  315  f.   Milan,  No.  2482. 
I2|X9  ^^^ 

11995  SPECIMEN  OF  RUSSIAN  CHOPPING  BLOCKS 

Copied  from  an  Original  Russian  Print  Etched  by  G.  Cruikshank 

Pub'^  by  H.  Humphrey     S^  James's  Str*    Jan^  8^^  1813 

Engraving  (coloured  and  uncoloured  impressions).  A  companion  pi.  to 
No.  1 1996,  with  the  same  heading  and  imprint.  A  Russian  peasant-soldier 
raises  an  axe  to  smite  a  French  officer  who  kneels  on  the  bodies  of  two  other 
officers  whose  skulls  have  been  split  by  the  axe.  The  Frenchman,  whose 
uniform  is  smart  but  ragged,  looks  up  in  terror  at  the  Russian,  holding  up 
an  eagle  on  its  staff  as  if  to  avert  the  blow.  The  Russian  is  bearded;  he  wears 
a  belted  tunic  over  loose  breeches  to  the  knee,  and  gloves.  Harness-like  straps 
support  a  knapsack,  a  cartouche-box,  and  a  sabre.  He  puts  one  foot  on  the 
leg  of  the  kneeling  man,  the  other  on  a  low  rock.  His  high  four-sided  fur- 
bordered  cap  decorated  with  a  Greek  cross  is  on  the  ground.  Below  the 
design:  Mhoto  jih  Bact?  ajib  Bct  ywt !  TaK-b  ktj  craTH  h  nocTam>  nopy6HTb 
HTod-b  Bnpenb  ne  TpeBo>KHjiH  |  So  youW  the  last!  says  this  brave  honest  Man, 
Now  Nap  return  to  Russia  if  you  can.  (This  translation  is  a  rough  paraphrase ; 
the  meaning  is  'There  were  hordes  of  you,  weren't  there  ?  Well,  that's  the  lot! 
That's  what  you  were  up  to,  trying  to  hack  your  way  through;  in  future  you 
won't  give  any  trouble!') 

According  to  Broadley  (ii.  409)  the  Russian  original  was  published  in 
November  1812.  For  the  retreat  from  Moscow  see  No.  11917,  &c.  One  of 
a  set,  based  on  Russian  prints,  see  Nos.  11996,  12025,  12045,  12046,  12051, 
12053,  12060. 

Reid,  No.  213.  Cohn,  No.  1996.  Broadley,  ii.  171  n.  Reproduced  (colour), 
Klingender,  p.  34;  Rosner,  Writing  on  the  Wall,  1943. 
7X  10^  in. 

1 1996  A  RUSSIAN  BOOR  RETURNING  FROM  HIS  FIELD  SPORTS. 

See  No.  11995  (coloured  and  uncoloured  impressions).  A  Russian  peasant, 
similar  to  the  man  in  No.  11995,  but  wearing  high  boots  instead  of  gaiters, 
and  with  his  axe  thrust  through  his  belt,  walks  (1.  to  r.)  carrying  his  musket 
across  his  shoulder.    From  the  barrel  dangle  the  bodies  of  three  miniature 

196 


POLITICAL   SATIRES    1813 

French  soldiers,  suspended  by  the  neck;  two  more  are  spiked  on  the  bayonet. 
He  turns  his  smiling  head  towards  the  spectator.  His  little  boy,  bare-legged, 
and  wearing  a  little  frock,  runs  in  front  riding  a  French  eagle  like  a  hobby- 
horse. On  the  horizon  are  two  small  barns.  Above  the  English  title:  JXnn 
Kypi'osy  pe65iTHiiiKaM'b  dHpioneKi.  npHHecb.  (The  translation  should  be 
'Bringing  home  a  bunch  of  spillikins  for  the  eager  children'.) 

One  of  a  set,  see  No.  11995.   According  to  Broadley  the  Russian  original 
was  published  in  Nov.  18 12. 

This  design,  with  the  title  Europe  Preserved  and  inscriptions  in  Russian  and 
English  decorate  a  jug,  reproduced  Broadley,  ii.  260. 

Reid,  N0.214.  Cohn,  No.  1938.  Listed  by  Broadley.  Reproduced  (colour), 
KUngender,  p.  38;  Rosner,  Writing  on  the  Wall,  1943. 
S^XioJ  in.  (pi.). 

One  impression  with  marginal  lines  (VjX  10=^  in.). 

11996a  A  copy,  reversed,  without  Russian  inscription;   imprint,  Dublin 

Pub.  by  M'^Cleary  Nassau  Street 

8xi2jin. 

1 1997  LITTLE  BONEY  SNEAKING  INTO  PARIS— WITH  A  WHITE 
FEATHER  IN  HIS  TAIL  [186] 

IV"  E — '  [Elmes]  Delin — Scul —  Price  One  Shillin  [sic]  Coloured 
London  Pub^—by  Tho'  Tegg  N"  iii  Cheapside  Januy—iz  1813. 
Engraving  (coloured  impression).  A  night  scene,  broadly  burlesqued.  Napo- 
leon, in  profile  to  the  1.,  strides  in  furtive  haste  towards  a  massive  gate, 
directing  the  beam  of  a  dark  lantern  against  it.  From  between  his  coat-tails 
a  long  white  feather  (see  No.  12613)  floats  behind  him,  emerging  from  a 
cluster  of  shorter  ones.  He  wears  an  enormous  bicorne,  with  a  plume  set  in 
an  ornament  composed  of  a  crown  and  olive-twigs  (as  in  No.  11998),  a  sash 
and  sabre  over  his  long  coat,  tasselled  Hessians  with  huge  spurs.  A  head 
wearing  a  night-cap  looks  through  the  bars  which  form  the  top  of  the  gate 
under  a  stone  arch,  to  say:  Rap — Rap — Rap — Who  comes  there — zchat  Mid- 
night disturbers  are  you.  An  officer  (actually  Caulaincourt)  crouches  at  the 
gate  holding  the  knocker  which  is  set  in  a  great  lion's  mouth,  and  beckons 
towards  Napoleon,  answering.  It's  only  Count  Vincen' — Alias — Little  Boney. 
the  Imperial  Fugitive — returned  from  Victory."  The  gate-keeper:  ''Alias — 
zvho" — Alias  the  Divilyou  mean.  In  front  of  Napoleon's  foremost  foot  a  large 
frog  leaps  forward;  behind  him  a  lean  fierce  cur  barks:  A  Russian  Cur — 
2ow — Wow — Wow.  A  large  label  floats  back  from  Napoleon's  mouth, 
inscribed :  hist — is  that  the  Croaking  of  Frogs  I  hear — /  mistake — its'  only  the 
Sycophant  Lads  in  Paris — hurra-ing  at  My  unexpected  and precipate  [sic]  return, 
thank  my  Luckey  Stars — /  have  got  out  of  the  clutches  of  them  Damd  Cossack 
Curs'' — or  I  should  have  been  food  for  Bears — long  before  this  time.  Beside  the 
gate  is  a  sentry-box,  in  which  a  sentr\-  completely  muffled  up  and  wearing  a 
night-cap,  sleeps,  seated  with  folded  arms,  clasping  his  musket.  A  frog  looks 
from  behind  the  box. 

Napoleon  reached  Paris  on  18  Dec,  having  left  his  anny  on  5  Dec,  see 
No.  11991,  &c.  He  was  almost  unrecognizable  from  the  hardships  of  the 
journey,  see  No.  12012,  but  drove  unchallenged  through  the  Arc  de  Triomphe; 
on  arriving  at  the  Tuileries  at  1 1 .45  the  sleepy  porter  who  admitted  him  was 
in  his  shirt.  Caulaincourt,  Memoirs,  1935,  i.  561  f.  See  also  Nos.  12036, 
12059. 

Broadley,  i.  317.   Van  Stolk,  No.  6157.   Milan,  No.  2483. 
9f  X  13  in.  'Caricatures',  xii.  48. 

197 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

11998  THE  OATH  OF  ALLEGIANCE  TO  THE  INFANT  KING  OF 
ROME'  185 

W"  E—'  [Elmes] 

Engraving  (coloured  impression).  Napoleon  and  Marie  Louise  sit  side  by 
side  on  a  double  throne  raised  on  a  circular  dais  of  three  steps.  On  the  dais 
is  a  large  model  of  the  Papal  tiara,  which  serves  as  throne  for  the  King  of  Rome. 
He  sits  astride  the  cross  on  its  summit,  his  legs  thrust  forward,  flourishing 
a  (watchman's)  rattle,  and  holding  out  to  the  Pope  a  large  sabre  with  a 
curved  blade.  Pius  VII  (1.),  in  his  robes  and  wearing  his  tiara,  kneels  in 
profile  to  the  r.  on  the  lowest  step  of  the  dais,  kissing  the  blade.  In  his  r. 
hand  is  his  crosier  which  either  deliberately  or  through  negligence  he  has 
broken  against  a  censer  which  stands  on  the  step  of  the  dais  emitting  puffs 
of  smoke.  The  Emperor  wears  uniform,  with  a  bicorne  decorated  with  plume, 
crown,  and  olive  twigs  as  in  No.  11997.  His  r.  foot  in  his  spurred  boot  rests 
on  a  footstool,  his  r.  hand  is  on  his  thigh  and  he  clutches  a  paper  inscribed 
Oath  of  Allegiance,  while  he  stares  intently  at  the  Pope.  The  Empress,  wear- 
ing a  low  spiky  crown  or  tiara  with  feathers,  turns  to  her  husband,  pointing 
to  her  son.  The  child's  hat  and  profile  are  exactly  like  those  of  his  father  (as 
in  No.  11719,  &c.);  but  he  wears  a  frock  with  a  sash.  A  poodle  clipped  in 
the  French  manner  urinates  against  his  tiara-seat.  An  eagle  with  a  crown 
poised  on  its  wings  and  with  a  laurel  wreath,  decorates  the  back  of  the 
throne,  whose  arms  are  formed  of  carved  eagles  with  fierce  melancholy 
expressions. 

Two  little  grinning  boys  on  the  extreme  1.  hold  up  the  Pope's  robes. 
Behind  them  is  a  bishop,  his  hands  on  his  breast,  an  expression  of  horror 
on  his  aquiline  features.  He  is  followed  by  a  procession  of  soldiers  with  two 
tricolour  flags;  this  curves  into  the  background,  where  it  is  indicated  by  a  line 
of  bayonets.  In  the  foreground  (r.)  are  the  head  and  shoulders  of  a  bishop 
in  back  view,  holding  up  his  hands  and  leaning  sideways  as  if  in  horror  or 
abject  obeisance.  A  third  bishop  beside  him  (r.)  turns  an  agonized  profile  to 
the  1.  Obsequious  faces  watch  from  behind  the  dais,  and  in  front  of  the 
bayonets.  Behind  these  is  a  gallery,  filled  with  ladies,  freely  indicated.  The 
gallery  is  festooned  with  drapery,  as  is  the  wall  behind  it. 

An  anticipation  of  the  expected  coronation  by  the  Pope  of  the  King  of 
Rome  and  the  Empress  who  was  to  be  appointed  Regent,  announced  in  the 
Paris  papers  of  5  Jan.  Napoleon's  aim  was  to  strengthen  the  dynasty  and  seal 
by  a  Concordat  a  reconciliation  with  the  Pope  (who  had  excommunicated 
him,  see  No.  11360).  This  was  to  have  taken  place  in  Notre  Dame  on  7  Mar., 
but  was  formally  postponed  on  23  Mar.  On  29  Dec.  Napoleon  had  taken 
a  first  step  to  reconciliation  by  a  propitiatory  letter.  A  new  Concordat  was 
signed  on  25  Jan.  but  the  Pope  withdrew  his  consent  in  a  letter  of  24  Mar. 
See  Corr.  de  Nap.  i^'',  xxiv.  pp.  354,  450-2,  and  Nos.  12014,  12016. 

Broadley,  i.  332  (reproduction).   De  Vinck,  No.  8596.   Milan,  No.  2407. 
Reproduced,  Bourguignon,  ii.  173. 
81X13  in. 

11999  THE  GRAND  BUBBLE— 

[Williams.] 

Pu¥  Jany  2j  1813 

Engraving.  A  satire  on  the  controversy  over  the  renewal  of  the  East  India 
Company's  Charter.   A  very  fat  man,  the  Earl  of  Buckinghamshire,  stands 

'  Imprint  as  No.  11 997. 

198 


POLITICAL   SATIRES    1813 

directed  to  the  1.,  blowing  soap-bubbles  through  a  long  spiral  pipe,  suggesting 
an  Indian  hookah;  at  his  feet  is  a  large  crock  of  soap-suds  inscribed  Free 
Trade  \  TY.  In  his  pocket  is  a  book:  A  Survey  of  Buckinghamshire.  The 
bubble  emerging  from  the  pipe  is  inscribed  Any  Port.  Floating  bubbles  are 
Liverpool,  Hull,  Glasgow,  Bristol,  Any  Port.  Four  men  dressed  in  the 
fashion  of  the  day  are  trying  to  catch  the  four  first,  while  an  older  man, 
dressed  as  a  fisherman  with  high  sea-boots,  holds  out  his  hat  hopefully  for 
the  Any  Port  bubble ;  he  says :  /  have  been  catching  Herrings  at  Hastings  these 
sixty  years,  and  nothing  the  richer.  The  Sally  and  Joe  is  a  tight  little  Vessel 
so  ril  e'nn  [sic]  try  a  voyage  to  the  East!  In  the  background  three  other  men 
run  eagerly  forward,  one  grasping  a  document  which  is  evidently  a  petition. 
Between  the  bubble-catchers  and  Buckinghamshire  stands  the  central  figure 
of  the  design,  a  statuesque  woman  in  classical  draperies,  resting  her  hand  on 
a  shield  with  the  arms  of  the  City  of  London;  on  her  head  is  a  fur-bordered, 
four-cornered  cap.  She  looks  down  with  a  melancholy  expression,  raising  her 
1.  arm  towards  a  blast  of  East  Wind,  which  comes  from  an  angry  head  emerging 
from  clouds  in  the  upper  r.  corner  of  the  design.  She  says:  Why  this  Trouble 
For  a  Bubble.  The  blast  is  from  the  East  India  Company :  a  hand  emerges 
from  the  clouds  grasping  the  East  In[dia]  Charter.  It  tries  to  blow  away  the 
bubbles  and  bursts  one  which  emits  a  strong  Puff.  Behind  Buckinghamshire, 
and  on  the  extreme  r..  Napoleon,  furtively  eager,  bends  forward,  screening 
his  face  with  his  cocked  hat.  He  takes  a  paper  inscribed  Licence  which 
Buckinghamshire  slips  into  his  hand,  in  such  a  way  that  his  action  is  hidden 
from  the  bubble-catchers.  He  says:  Ah  de  Bubble  be  as  good  as  my  Russian 
Campaign.  Beside  him  is  a  large  basket  inscribed  French  Exchequer  heaped 
with  papers  inscribed  Licence,  some  of  which  protrude  through  a  hole  in  the 
basket.  Behind,  the  sea  is  indicated  by  merchant  ships  with  furled  sails;  one 
behind  Napoleon  has  a  flag  intended  to  be  tricolour.  After  the  title : 


How  many  slave  with  toil  and  trouble. 
Whose  projects  prove  at  last  a  Bubble. 


The  commercial  world  was  agitated  over  the  pending  renewal  of  the  East 
India  Company's  Charter.  Buckinghamshire,  as  President  of  the  Board  of 
Control,  sponsored  the  Bill  for  the  regulation  of  the  Company  (Charter  Act 
of  1813).  Petitions  poured  into  the  House  of  Commons,  chiefly  for  the 
removal  of  the  Company's  Monopoly  and  for  the  extension  of  the  trade, 
hitherto  restricted  to  the  Port  of  London,  to  the  Out  Ports.  The  result  of  the 
attack  by  the  Out  Ports  on  the  Company's  monopoly  was  that  the  London 
merchants  swung  completely  round  and  supported  the  Company,  calling  upon 
the  Corporation  to  do  the  same.  See  Ann.  Reg.,  1813,  pp.  58-65,  103,  315; 
C.  H.  Philips,  The  East  India  Company  1784-1834,  1940,  pp.  181  ff. 
Napoleon  had  been  obtaining  British  goods,  despite  the  Colonial  System, 
filling  his  exchequer  by  issuing  licences  to  import,  in  return  for  a  fee,  and 
also  an  import  duty  of  5  per  cent.  (Decree  of  5  Aug.  1810).  See  No.  11876 
and  Caulaincourt,  Memoirs,  1935,  i.  58-60,  88,  112,  Sec.  On  returning  from 
Moscow  (see  No.  11997)  Napoleon  found  fiscal  considerations  so  pressing 
as  to  override  the  idea  of  war  on  British  trade,  and  decided  that  new  licences 
must  therefore  be  granted:  'Undoubtedly  it  is  necessary  to  harm  our  foes, 
but  above  all  we  must  live.'  Memorandum  of  22  Dec.  1812.  Heckscher,  The 
Continental  System,  1922,  p.  253.  For  the  controversy  over  the  East  India 
Company  see  Nos.  12005,  12008,  12009,  12017,  120 18,  12021,  1202 if,  12077; 
cf.  No.  1 27 19. 

Broadley,  i,  331  f. 
8fXi3^in. 

199 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

12000  lOHN  BULL  TEAZED  BY  AN  EAR-WIG!!! 
[Williams.] 

London  Pu¥  1813  by  W'"  Holland  N°  11  Cockspur  Street  [?  Jan.]. 
Engraving  (coloured  impression).  A  copy,  better  drawn,  of  No.  9976.  John 
sits  directed  to  the  r.,  scowling  up  at  the  tiny  Napoleon  who  stands  on  tip- 
toe on  his  1.  shoulder,  pricking  his  r.  cheek  with  his  sword.  He  is  a  fat  'cit', 
with  his  r.  elbow  resting  on  a  table  on  which,  besides  the  cheese  and  bread, 
are  a  frothing  tankard,  a  paper  of  Short  cut  tobacco,  and  a  newspaper,  True 
Britten,  on  which  lies  a  large  bread-knife.  On  the  ground  is  a  Moniteur,  torn, 
and  with  a  tobacco-pipe  lying  across  it.  Napoleon  says,  as  before:  /  will  have 
the  Cheese,  you  Brute  you — /  have  a  great  mind  to  annihilate  you,  you  great 
overgrown  Monster!!  John :  /  tell  you  what  you  Vermin!  [altered  from  'young 
one'] — if  you  wont  let  me  eat  my  bread  and  cheese  in  peace  and  comfort — 77/ 
blow  you  away  depend  upon  it.  The  bread  and  cheese  are  without  the  inscrip- 
tion 'Malta'  and  'Ceylon'. 

A  satire  on  the  eve-of-war  crisis  of  1803  is  altered  to  one  on  the  Colonial 
system,  see  No.  11876,  &c.,  while  the  aggression  of  1803  becomes  ironical, 
in  view  of  the  retreat  from  Russia.  A  gibe  at  Napoleon's  bulletins,  published 
in  the  official  Moniteur,  is  probably  intended,  cf.  No.  11920,  &c. 

Listed  by  Broadley  as  a  retouched  issue  of  No.  9976. 
12^X9  ii^- 

12001  THE  NARROW  ESCAPE,  OR,  BONEYS  GRAND  LEAP  "A  LA 
GRIMALDI!! 

G  Cruikshank  fec'^ 

Pub'^  by  S  Knight  Sweetings  Alley  Jan  181  j 

Engraving  (coloured  impression).  After  the  title:  "No  sooner  had  Napoleon 
aligted  [sic],  &  entred  a  miserable  house  for  refreshment,  then  a  party  of  Cossacks 
rushed  in  after  him — Never  was  Miss  Platoff  [see  No.  11994]  so  near  Matri- 
mony!!! Had  not  the  Emperor  been  very  alert  at  Vaidting  and  leapt  through 
the  Window,  with  the  nimbleness  of  an  Harlequin,  while  his  faithfull followers  were 
fighting  for  his  life,  there  would,  probably,  have  been  an  end  at  once  to  that 
Grand  Bubble,  the  French  Empire.'' —  Part  of  a  wretched  timber  building, 
with  the  chequers  sign  (which  in  England  denoted  the  sale  of  beer),  fills  the 
greater  part  of  the  design.  Napoleon  takes  a  flying  leap  from  a  rectangular 
opening  which  serves  as  window  and  is  about  to  land  on  a  heap  of  muck 
where  a  cracked  chamber-pot  will  receive  him.  He  is  much  burlesqued,  and 
registers  terror,  his  hair  on  end,  his  large  plumed  bicorne  falling  off.  He 
wears  jack-boots  with  monstrous  spurs  and  pointed  toes.  A  pig  (1.)  gazes  up 
at  him.  Round  the  corner  of  the  building  is  a  doorway,  beside  which  Cossacks 
are  spearing  and  sabreing  unresisting  French  soldiers.  A  horizontal  beam 
projects  from  the  house;  on  it  is  a  placard:  The  Hole  in  the  Wall  [name  of 
a  London  public  house]  By  Jimmy  Jumps  from  the  Dunghill — Good  accomoda- 
tion for  Travellers  ISB  Hot  Baths  &c. 

A  story  appeared  in  the  newspapers  that  Napoleon,  having  fled  from 
Oschmiana  on  horseback  in  disguise,  was  nearly  caught  by  Cossacks  at  a 
miserable  inn  at  Syzemsk  on  the  road  to  Vilna,  taking  a  'harlequin  leap* 
through  the  window.  Europ.  Mag.  Ixiii.  164;  Examiner,  31  Jan.  1813.  The 
story  is  unfounded.  He  reached  Oschmiana  at  midnight  on  5  Dec,  just  after 
Cossacks  had  raided  the  town,  and  left  at  2  a.m.  for  Vilna.  Caulaincourt, 
Memoirs,  1935,  i.  411-13.   See  Nos.  12036,  12040,  12058,  12480. 

Reid,  No.  206.  Cohn,  No.  1780.  Listed  by  Broadley.  De  Vinck,  No.  8830. 
Milan,  No.  2486. 
Six  13^  in. 

200 


POLITICAL   SATIRES    1813 

12002  MURAT  REVIEWING  THE  GRAND  ARMY!!!!!! 

G.  Cruik  [s,\c\fec' 

Pu¥  JarV  1813  by  Walker  &  Knight  Sweetings  Alley  Royal  Exchange 
Engraving  (coloured  impression).  Murat,  on  a  miserably  decrepit  horse 
which  stands  (1.)  in  profile  to  the  1.,  looks  over  his  shoulder,  horrified  at  the 
remnants  of  the  army,  a  row  of  nine  ragged  and  emaciated  scarecrows.  All 
are  grotesquely  burlesqued.  Murat  is  in  better  case  than  the  'Army',  but  his 
horse  is  a  skin-covered  skeleton;  its  hollow  flank  is  inscribed  Boney  Part 
[cf.  No.  1 1520].  He  wears  a  plumed  bicorne  like  that  of  Napoleon  and  huge 
jack-boots  with  monstrous  spurs.  He  says :  If  I  be  not  ashamed  of  my  Soldiers 

ril  be  D d,  by  Gar  they  are  truly  Miserable!  the  very  scum  of  the  Earth: 

the  Refuse  of  Mankind  the  Sweepings  of  Hospitals  &  Workhouses!  Dunghill 
Cocks,  not  fit  to  Carry  guts  to  a  Bear!!  Wretches  with  Hearts  in  their  bellies 
no  bigger  then  pin's  heads  Slaves  as  ragged  as  Lazarus — there  isn't  half  an  inch 
of  Shirt  amongst  them  all!!  Zounds  the  Russians  will  think  I  have  unloaded  all 
the  Gibbets,  &  prest  the  dead  bodies,  but — however  the  Crows  &  the  Cossacks 
will  soon  put  an  end  to  them.  The  men  are  of  different  sizes,  shapes,  and  arms, 
and  recede  in  perspective  from  r.  to  1.  On  the  extreme  r.  a  man  wearing  a 
cocked  hat  and  enormous  spurred  jack-boots  holds  a  battered  sabre.  Next, 
a  ragged  drummer  wearing  bonnet  rouge  and  sabots;  then  a  tall  grenadier 
with  a  musket.  Then  an  elderly  officer  of  civilian  appearance,  wearing 
spectacles,  holds  up  a  grotesque,  decapitated  eagle  spatchcocked  on  its  staff, 
with  tricolour  rags  inscribed  Leigeon  of  Honor.  The  next  man  wears  trousers 
and  holds  a  musket,  as  does  the  one-eyed  cripple  next  him.  A  cavalr)'man 
with  a  plumed  helmet  and  sabre  is  almost  naked.  A  knock-kneed  grenadier 
has  lost  his  r.  arm.  The  last  man  wears  a  bonnet  rouge. 

On  leaving  the  Army  on  5  Dec,  see  No.  11991,  Napoleon  entrusted  the 
command-in-chief  to  ^lurat,  who  became  utterly  dejected  and  on  8  Jan. 
resigned  the  command  to  Eugene  Beauharnais.  On  17  Jan.  he  suddenly  left 
Posen  for  Naples.   Cf.  No.  12051. 

Reid,  No.  211.   Cohn,  No.  1772.  Van  Stolk,  No.  6156.  Milan,  No.  2485. 
Listed  by  Broadley.    A  copy,  reversed,  was  published  by  McClear}\ 
8|xi3i  in. 

12003  GRIM  JOEY  DASHING  LITTLE  BONEY  INTO  THE  JAWS 
OF  A  RUSSIAN  BEAR.  [c.  Jan.  1813] 

G  C^  del. 

Reproduction  of  a  coloured  engraving,  Cohn,  p.  94.  Frontispiece  to  Fairburn 
{Sen''^)  Dashing  Song  Book  for  181 3.  Grimaldi  is  dressed  as  a  hussar,  as  in 
the  pantomime  of  the  season,  'Harlequin  and  the  Red  Dwarf;  or.  The 
Adamant  Rock'.  He  wears  cylindrical  coal-scuttles  for  boots,  with  huge  spurs 
made  out  of  brass  dishes,  a  muff  for  a  cap,  with  ridiculous  beard  and 
moustache  made  from  a  fur  tippet.  He  holds  a  tiny  Napoleon  by  the  legs, 
and  pops  him  head-first  into  the  jaws  of  a  Russian  bear  (r.),  whose  head  and 
fore-paws  only  are  within  the  design.  Above  the  design:  Hoo  hazv  There 
he  goes!! 

The  pantomime  was  a  satire  on  the  hussar  uniform  much  displayed  in 
London  (where  (e.g.)  hussars  replaced  constables  to  guard  the  approaches 
to  Vauxhall  for  the  Vittoria  fete,  see  No.  12076).  Europ.  Mag.  Ixiii.  44  f. 
For  Napoleon's  retreat  see  No.  11917,  &c. 

Reid,  No.  184.  Cohn,  No.  279.  Reproduced,  Rosner,  Writing  on  the  Wall, 
1943.    Listed  by  Broadley.  E.  5.  31. 

3i|X4in.  (reprod.). 

201 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

12004  [FRONTISPIECE  TO  A  SET  OF  TWELFTH-NIGHT  CHAR- 
ACTERS.] 

[G.  Cruikshank.]  [c.  Jan.  1813] 

Engraving.  A  huge  Cossack  (1.),  half-seated  on  a  cushioned  chest,  levels  his 
long  spear  against  a  burlesqued  Napoleon,  who  flees  screaming  to  the  r.  The 
Emperor  wears  a  large  plumed  bicorne  on  the  back  of  his  head,  with  large 
gauntlet  gloves  and  high  cavalry  boots.  The  Cossack  wears  the  dress  familiar 
from  many  prints,  with  fingerless  gloves.  Behind  and  between  them  is  a  big 
Twelfth-cake  decorated  with  emblems  of  Russia :  the  Russian  flag  surmounts 
a  trophy  of  flags;  round  the  side  a  Cossack  gallops  after  fleeing  French 
soldiers.  Before  the  cake  is  a  row  of  large  wine-bottles.  The  scene  is  flanked 
by  draped  curtains.  Cf.  No.  11917,  &c. 
Reid,  No.  277. 

3X5|in- 

12005  THE  STORMING  MONOPOLY  FORT  OR  THE  DIRECTORS 
IN  DISMAY. 

Argus  Fecit   [Williams.] 

Pub"^  February  i,  1813.  by  M.  Jones  N°  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  v,  before  p.  89.  On 
the  1,  Ministers  assail  a  young  woman  in  classical  draperies,  representing  the 
East  India  Company.  On  the  r.  the  fort  of  Monopoly  is  attacked  from  the  sea 
by  gun-boats  flying  the  flags  oi  Free  Trade  and  the  Out  Ports.  The  Company, 
in  a  fainting  condition,  sits  on  the  ground  directed  to  the  r.  and  leaning  against 
a  large  tea-chest  inscribed  Con[gou\,  next  which  is  one  inscribed  Bohea;  under 
her  dropping  hand  is  the  Chater  [sic]  Granted  to  the  East  I[ndia]  Co.  Her  1. 
arm  rests  on  a  pile  of  three  bales  of  textiles  inscribed  respectively  Chinz,  Muslins, 
Nankeens.  The  weapons  of  the  Ministers  (as  in  No.  12008)  are  bulky  rolled 
documents,  all  inscribed  India  Bill,  which  they  hurl  against  her  or  use  as 
bludgeons.  The  three  foremost  are  Melville  in  Highland  dress,  Castlereagh, 
and  Sidmouth.  Behind  them  (1.)  runs  up  the  fat  Buckinghamshire,  who  has 
hurled  one  roll,  and  has  two  more  under  his  arm.  A  paper  inscribed  a  tour 
in  Buckinghamshire  projects  from  his  pocket.  He  is  followed  on  the  extreme 
1.  by  Vansittart,  Chancellor  of  the  Exchequer,  bringing  up  a  load  of  India  Bill 
ammunition,  and  with  papers  inscribed  Budget  for  181  j  in  his  pocket.  Facing 
the  distressed  woman  is  a  man  who  runs  towards  her  with  a  protecting 
gesture,  saying:  In  Hume-man  Man.  A  paper  in  his  pocket  inscribed  Jack 
my  Son's  Speech  indicates  Randle  Jackson. 

A  low  circular  building  on  the  sea-shore  (r.)  inscribed  Monopoly,  flies  the 
East  India  Company's  flag,  a  striped  ensign  (see  Perrin,  British  flags,  1922, 
p.  130);  it  is  already  damaged,  and  the  only  weapons  of  the  defenders  are 
bladders  inscribed  Sophistry,  documents  inscribed  Speech,  small  framed 
mirrors  inscribed  Delusion,  and  Squibs  and  Crackers  representing  pamphlets, 
&c.  Bladders,  speeches,  and  mirrors  are  being  hurled  towards  the  nearest 
gun-boat.  One  of  the  defenders  uses  a  cylindrical  Long  Speech  as  a  speaking- 
trumpet.  The  boat  flies  the  flag  of  Liverpool  with  a  pendant  inscribed  Free 
Trade.  One  man  propels  it  with  a  pole,  the  other  fires  the  gun  in  the  bows; 
its  blast  inscribed  Free  Trade  shatters  the  masonry  of  the  little  fort.  Three 
similar  boats  are  approaching,  all  with  the  Free  Trade  pendant,  and  with  flags 
inscribed  respectively  Bristol,  Glasgow,  and  Hull.  In  the  fort,  and  on  the 
extreme  r.,  is  a  wide  breech  within  which  men  prepare  Squibs  and  Crackers. 
One  carries  up  a  basketful  to  the  defenders ;  a  sheaf  of  Impartial  Letters  in 

202 


POLITICAL   SATIRES    1813 

his  pocket;  other  papers  are  inscribed  Croesus  and  mpar[tial]  Letters. 
Among  them  stands  a  man  scattering  coins  and  holding  up  a  sheaf  of  India 
Bonds,  showing  that  these  pamphleteers  are  venal.  On  the  ground  by  the 
breech  in  the  fort  lies  a  large  paper  headed :  Proofs  of  utility  of  E.I.C.  debts 
J. 000.000  I,  loss  to  the  public  £16  000  000  000  gain  to  the  company  10  p^ 
Cent. 

In  the  foreground  (r.)  and  in  front  of  the  fort  is  a  large  chest  inscribed 
Commercial  Liberty  within  which  crouches  a  young  woman  holding  a  caduceus. 
One  well-dressed  man  tries  to  raise  the  lid,  while  another  holds  it  down.  The 
former  says :  In  the  cause  of  Freedom  my  impoliteness  must  be  Excused;  the  latter : 
/  cannot  Grant  it  ('Grant'  in  large  letters),  showing  that  he  is  Charles  Grant. 
On  the  r.  stands  John  Bull,  a  stout  'cit'  in  dilapidated  clothes,  with  a  large 
cudgel.  He  turns  to  a  haughty  Oriental  (r.)  to  say:  Hapless  me  to  be  out- 
elbozved — impoverished — and  insulted — by  my  ozvn  children.  In  the  centre  fore- 
ground John's  dog,  inscribed  Bull,  lies  facing  a  dish  of  Pillazc,  his  mouth 
dripping  saliva.  Beside  the  dish  are  ajar  of  Currie  pozvder,  and  another  (over- 
turned) of  Pickle  ...  In  the  background,  across  the  water,  is  a  flat  (Indian) 
landscape  with  tiny  figures :  a  procession  headed  by  an  ornate  palanquin  with 
a  reclining  figure,  and  many  bearers.  This  is  followed  by  a  man  regally 
enthroned  on  an  elephant,  probably  Lord  Moira,'  the  Governor-General. 
Behind,  a  man  prostrates  himself  at  the  feet  of  a  boy.  Some  of  the  attendants 
caper  gleefully  in  a  ceremonial  dance. 

See  No.  11999,  &c.  The  controversy  over  the  renewal  of  the  East  India 
Company's  Charter  raged  during  1812-13.  Negotiations  with  the  Company 
had  at  first  been  in  the  hands  of  Melville,  President  of  the  Board  of  Control 
till  he  was  appointed  to  the  Admiralty  (March  1812)  and  succeeded  by 
Buckinghamshire,  who  sided  with  the  Out  Ports  against  the  Company. 
Randle  Jackson  (1757-1837)  was  Parliamentary^  Counsel  to  the  E.I. Co.  He 
made  an  important  speech  to  the  Court  of  Proprietors  on  5  May  1812,  urging 
them  'to  resist  the  coercion  of  the  merchants  and  the  suggestions  of  the 
Ministry',  which  was  published  and  went  through  five  editions.  He  appears 
to  allude  to  Joseph  Hume  (1777-1835),  the  radical  politician  (who  in  i8i2 
was  a  Tory  M.P.  for  Weymouth),  a  member  of  the  Court  of  Proprietors  who 
advocated  freedom  of  trade  with  India.  Charles  Grant  (1746-1823),  M.P.  for 
Inverness-shire,  took  a  leading  part  in  the  negotiations,  his  aim  being  to  secure 
the  Company's  commercial  privileges  and  the  establishment  of  Christian 
missions  in  India.  The  organized  propaganda  against  the  commercial  privi- 
leges of  the  Company  was  very  effective ;  the  best  pamphlets  in  reply  were 
by  Grant  and  Jackson.  It  was  alleged  in  Parliament  that  the  borrowing  of 
money  for  investments  had  increased  the  Indian  debt  by  ,(^16,000,000.  The 
Company  were  at  a  disadvantage  owing  to  divisions  among  the  Directors  and 
to  their  financial  position :  a  large  Indian  debt,  an  almost  empty  home 
treasury  which  forced  them,  9  Apr.  181 2,  to  petition  the  Ministry'  for  a  loan 
of  ;^2, 500,000,  and  an  unfavourable  balance  sheet.  C.  H.  Philips,  The  East 
hidia  Company,  1^84-1834,  1940,  pp.  178-80,  184.  The  print  precedes 
the  debates  on  the  Charter  (Charter  Act,  23  July  181 3),  but  not  the  many 
petitions  from  the  Out  Ports,  the  pamphlet-war,  and  the  discussions  in 
the  Court  of  Directors  and  Court  of  Proprietors.  There  is  no  allusion 
to  the  print  in  the  text,  apart  from  an  article  (pp.  91-7)  hostile  to  the 
Company. 
71x191  in. 

'  Moira's  appointment  was  dated  18  Nov.  181 2;  he  took  over  from  Minto  on 
4  Oct.  1813. 

203 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

12006  THE  SHIELD  OF  LAW.  OR  THE  MODERN  QUIXOTE 

[Williams.] 

Pu¥  Februy  J^'  1813  by  the  Proprietors  of  Town  Talk 

Engraving  (coloured  impression).  PI.  to  Town  Talk,  iv,  frontispiece.^  A 
battle  between  Lord  Ellenborough  (Edward  Law),  dressed  as  Don  Quixote, 
and  Truth.  With  a  tilting-lance  he  shivers  the  mirror  she  holds  up.  He  has 
a  large  oval  shield  inscribed  Law  on  which  is  a  Medusa  head,  pierced  through 
the  eye  and  mouth  by  the  arrows  of  bowmen  who  support  Truth.  Round  the 
edge  of  the  shield  are  the  words:  Legal  Definition — Crim  Con  is  a  Venial 
Misfortune.  He  wears  a  long  floating  judge's  wig  over  the  barber's  bowl 
(Mambrino's  helmet),  and  the  armour  on  his  thighs  does  not  cover  his  bulky 
breeches.  He  lunges  fiercely  forward,  saying:  Avaunt,  Jade!  Fll  teach  thee 
how  to  thrust  thy  hatefull  mirror  into  good  company.  Go,  Don  Quixote  thee  to 
get  a  new  one,  more  accommodating  to  the  taste  of  the  Times.  Truth,  wearing 
a  girdle  (of  Chastity),  with  an  irradiated  sun  on  her  breast,  and  a  piece  of 
drapery  swirling  round  her,  holds  up  a  large  tattered  flag  inscribed  Truth  and 
Morality.  She  says :  The  curse  of  Cain  is  come  on  me,  my  hand  is  against  every 
one,  and  every  one's  hand  against  me.  Behind  her  are  five  men  wearing 
classical  tunics  who  have  just  launched  their  arrows  at  Ellenborough;  two  lie 
bent  and  broken  on  the  ground,  one  transfixes  his  wig,  the  others  have  not 
pierced  the  shield  in  which  they  stick.  They  wear  belts,  three  of  which  are 
visible  and  are  inscribed  respectively  Reproof  (twice)  and  Shame.  They  stand 
before  a  rocky  mountain  (1.)  inscribed  The  Dwelling  of  Truth  Clariore  Tenebris. 
This  is  surmounted  by  a  tiny  temple,  a  dome  supported  on  pillars,  and 
inscribed  In  Veritate  Victoria. 

Ellenborough  also  has  five  supporters,  one  being  Sancho  Panza  on  his  ass, 
in  quasi-modern  dress  with  a  long  judge's  wig  over  his  hat.  Behind  him 
stands  Intemperance,  naked  except  for  vine-branches  and  belt,  who  holds  up 
a  brimming  goblet  and  puts  a  hand  on  the  Slang  Dictionary  which  Sancho 
holds,  saying.  You  must  leave  off  your  Slang  now  you  have  got  a  post,  such 
Gross  language  will  not  become  you.  Sancho  is  evidently  Sir  Nash  Grose, 
Judge  of  the  King's  Bench  under  Ellenborough  the  Chief  Justice.  He  flings 
away  a  book.  Practices  of  the  Court,  and  answers :  Aye  Aye,  leave  Sancho 
Panza  alone  for  that — as  the  proverb  is  the  greater  the  sinner  the  greater  the 
Saint.  The  other  three  are  Revenge,  holding  a  dagger,  Voluptuos[ness]  with 
bare  breast,  roses  in  her  hair  and  in  her  hand,  and  holding  a  small  winged 
globe,  and  Envy  gnawing  at  a  heart.   Behind  these  (r.)  is  Westminster  Hall. 

A  satire  on  EUenborough's  language  at  the  trial  of  John  and  Leigh  Hunt 
(see  No.  11704)  on  9  Dec.  1812  for  a  libel  on  the  Regent,  as  inter  alia,  'a 
libertine  over  head  and  ears  in  debt  and  disgrace,  a  despiser  of  domestic  ties', 
cf.  No.  12037.  His  words  were  stigmatized  in  the  Ann.  Reg.  (1812,  p.  279) 
as  scarcely  to  be  'read  without  surprise  and  regret,  as  pronounced  from  the 
bench  of  the  Lord  Chief  Justice  .  .  .  "The  libeller  was  not  defended  by  saying 
that  the  Prince  had  taken  into  his  councils  some  person  [Lord  Headfort,  see 
No.  11914]  who  had,  at  a  remote  time  been  guilty  of  adultery.  There  were 
venial  circumstances  connected  with  that  offence  .  .  .^  He  chose  to  call  it  .  .  . 
misfortune ;  for  there  were  circumstances  which  rendered  the  crime  of  adultery 
either  enormous  or  venial'".  Farington  reports,  11  Jan.,  'that  he  [Dr.  Hayes] 
had  heard  from  Lawyers  that  Lord  Ellenborough  has  professed  it  to  be  his 

'  Not  folded,  showing  that  it  was  issued  separately. 

^  Cf.  Moore,  Twopenny  Post  Bag,  1813  (the  Regent  loq.): 
When  the  dinner  was  over,  we  drank  every  one 
In  a  bumper,  "The  venial  delights  of  Crim.  Con. 

204 


POLITICAL   SATIRES    1813 

object  to  reduce  the  damages  below  what  was  given  in  Crim :  Con :  cases  in 
the  time  of  Lord  Kenyon  [cf.  No.  9305,  &c.).  .  .  .  Lord  Ellenborough's 
speech  .  .  .  has  been  much  disapproved  as  being  very  lax  and  unfit  for  one 
in  his  station'.  The  'Slang  Dictionary',  by  Francis  Grose  (d.  1791)  indicates 
Nash  Grose,  a  common  device  for  identification  in  prints  of  this  period  being 
an  allusion  to  a  namesake.  See  also  No.  12042. 
9^X15^  in. 

12007  THE  IMPERIAL  SHAVING  SHOP 
SATIRIST  1ST  FEBRUARY  1813. 

Satirist  inv^  W.  H.  Ekoorb  [Brooke]  deP  Aqua  Fortis  fecit 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xii.  97.  The  explana- 
tory text  (pp.  97-101)  has  the  second  title:  or,  Royal  Shavifig  for  Half-a- 
Crozon!  Napoleon,  perched  on  a  four-legged  stool,  with  a  large  dish  of 
soap-suds  on  his  knee,  holds  up  a  shaving-brush,  looking  at  the  Prince 
Regent  who  lounges  on  a  throne-like  seat  (1.),  with  his  r.  foot  on  an  ornate 
footstool.  He  says:  Begar  me  can  no  reach  to  shave  de  dam  Mustache  of  dat 
vile  Regent  for  dis  basin  of  water  between  us.  The  Regent  wears  exotic  hussar 
uniform  with  gauntlet  gloves,  tight  embroidered  breeches,  and  baggy  tasselled 
Hessians.  He  is  much  larger  than  Napoleon,  and  looks  down  at  him;  his 
profile  shows  a  luxuriant  whisker  reaching  from  head  to  chin.  He  says,  with 
a  nonchalant  air,  /  shall  continue  to  wear  my  whiskers  as  I  please  in  spite  of  all 
opposition.  On  the  r.,  as  a  pendant  to  the  Regent,  the  Tsar  sits  on  a  draped 
seat  raised  on  a  circular  dais.  He  wears  a  cocked  hat  and  ornate  military 
uniform,  with  a  sheet  draped  round  his  neck.  He  has  one  bushy  dark  whisker, 
the  other  is  covered  with  soap-suds  which  merge  into  icicles.  He  is  kicking 
away  Murat,  'the  facetious  journeyman  of  the  shaving-shop'  (p.  100),  depicted 
as  a  grotesque  French  officer  with  long  ass's  ears  and  fur-trimmed  uniform, 
who  holds  up  a  large  razor.  The  Tsar  says:  No  Monsieur!  by  S'  Alexander 
Newski — no  shaving  here!!!  A  small  bear  or  bear-cub,  beside  Alexander,  bites 
the  posterior  of  Murat,  who  screams :  Ah  Ha!  f outre  Bear!  while  I  stoop  for 
my  razor  I  am  kick  &  yet  cant  get  away. 

Between  and  slightly  behind  Napoleon  and  Alexander,  the  Emperor  of 
Austria  and  King  of  Prussia  sit  side  by  side  full-face,  on  low  stools;  both  are 
draped  in  sheets  and  both  wear  crowns.  The  former  has  one  bushy  whisker 
only,  the  latter  is  completely  shaved.  Francis  I  holds  on  his  knee  his  grand- 
son the  little  King  of  Rome,  who  as  usual  has  his  father's  features  (cf. 
No.  11719).  Napoleon,  with  his  back  to  his  father-in-law,  inadvertently  kicks 
his  little  son  with  his  heel.  Francis  I  says:  /  am  only  half  shaved!  when  will 
my  terrible  Son  in  Law  finish  his  Job?.  The  screaming  child  wears  a  helmet, 
and  an  infant's  frock  with  rosary  and  cross.  Frederick  William  III  holds 
the  hilt  of  a  sword  whose  broken  blade,  inscribed  Fred'^  the  Great,  lies 
on  the  ground.  He  turns  up  his  eyes,  saying.  Oh  hone!  I  am  shaved  close 
enough!!! 

Alexander's  immunity  from  the  razor  is  attributed  in  the  text  to  his  defiance 
of  Napoleon  and  to  the  frozen  lather  on  his  face.  'Had  the  canvas  permitted 
it',  Bernadotte  would  have  been  seen  behind  Alexander.  Austria  and  Prussia 
are  depicted  as  humiliated  and  humble  satellites  of  Napoleon,  which  they 
still  ostensibly  were.  By  the  Convention  of  Tauroggen  on  i  Jan.  the  Prussian 
general  Yorck  made  terms  with  Russia,  and  declared  against  Napoleon,  but 
this  was  officially  disowned  and  Frederick  William  went  to  Breslau,  ostensibly 
to  raise  troops  for  Napoleon,  who  held  most  of  the  Prussian  fortresses.  The 
court  of  Vienna  still  seemed  wiUingly  subservient.   See  C.  K.  W^ebster,  The 

205 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Foreign  Policy  of  Castlereagh,  1931,  i.  103-15.  For  the  retreat  from  Moscow 
cf.  No.  11917,  &c.   For  the  shaving-shop  theme  cf.  Nos.  io6oi,  11917,  &c. 

Broadley,  i.  319  f.   Reproduced,  Grand-Carteret,  Napoleon,  p.  130. 
6^X  13^  in.   With  border,  7^X  14^  in. 

12008  BREED   AGAINST   BULK  OR  THE  BUCKS   ATTACK   ON 
THE  LEADENHALL  STREET  ELEPHANTS 

[WilHams.] 

Pub'^  Feby  i^ '  18 1 3  by  S  Knight  N°  3  Sweetings  alley  late  Walker  and  K?iight 

Engraving  (coloured  impression).  The  Ministry  attack  the  East  India  Com- 
pany, represented  by  men  seated  on  two  elephants,  by  sending  against  them 
a  stag  or  buck,  representing  Lord  Buckinghamshire,  laden  with  rolled  docu- 
ments inscribed  India  Bill.  The  animal  wears  a  wide  collar  inscribed  Regent's 
Park,  probably  implying  that  he  is  a  protege  of  the  Regent,  cf.  No.  12081. 
To  this  a  leading  rein  is  attached  held  by  a  man  in  Highland  dress,  who  cheers 
on  the  charging  beast,  and  is  evidently  his  predecessor,  Melville.  A  strap 
binding  the  Bill  to  the  stag's  back  has  burst,  and  the  documents  are  falling  off, 
three  lying  on  the  ground.  Other  copies  fly  in  the  air,  hurled  by  the  Minis- 
terial forces  (as  in  No.  12005).  One  of  the  elephants  has  seized  an  India  Bill 
in  its  trunk.  Sidmouth  ('the  Doctor',  cf.  No.  9849),  next  Melville,  exclaims: 
Zounds  how  that  Animal  tosses  the  Bills  about  by  the  God  of  Physick  they'll  all  be 
lost.  Behind  him  and  on  the  extreme  r.  is  Castlereagh,  about  to  hurl  an  In[did\ 
Bill.  The  two  other  ministers  are  poorly  characterized,  one  (?  Canning)  is 
identified  by  the  words :  If  they  are  lost,  I  shall  lose  the  Freedom  of  Stockport. 

Behind  the  Company's  forces  is  part  of  the  fafade  of  the  India  House  (in 
Leadenhall  Street)  with  its  portico  and  pediment.  Beside  the  elephants,  and 
in  the  foreground  on  the  extreme  1.,  a  soldier  of  the  Company,  wearing  a 
shako  and  long  gaiters,  runs  forward  with  the  Company's  flag,  which  sweeps 
the  ground,  its  spear-head  levelled  at  the  lowered  antlers  of  the  buck.  There 
are  six  men  on  the  nearer  (1.)  elephant.  The  one  astride  the  neck  brandishes 
a  rolled  paper  inscribed  Arguments  .  .  .  (the  other  words  obscured  by  shading). 
The  next  man  flourishes  two  packages  of  Nankeen,  and  says :  Atzvood  or  Stone 
Here  goes.  The  next,  who  wears  spectacles,  clasps  the  (?)  importer  of  nan- 
keens round  the  paunch.  Behind,  a  man  stands  up  flourishing  a  birch-rod, 
and  saying:  There  is  sound  Argument  in  BIRCH  and  ought  to  be  vigously  [sic] 
applied.  The  next  man  kneels,  holding  out  a  paper:  Allowance  of  tonage  [sic] 
to  private  Merchant[s] .  The  last  man  holds  an  open  basket  of  Currie  Powder 
and  says:  III  give  them  some  currie  powder  to  season  their  arguments.  The  first 
three  men  on  the  second  elephant  are  seated  and  wave  hats  and  arms  in  silence, 
they  appear  to  have  just  launched  two  documents  both  inscribed  Arguments 
against  Free  Trade.  The  last  man  is  standing.  In  the  background  a  freely 
sketched  crowd  watches ;  two  men  say :  /  say  Jack  thats  the  right  Buckingham- 
shire breed  he  attack  well!  and  So  he  does,  but  by  Goles  the  Nabobs  will  get  the 
better  of  him.  The  windows  of  the  India  House  and  of  adjacent  houses  are 
crowded  with  spectators. 

See  No.  11999,  &c.  The  protagonists  of  the  East  India  Company  are 
unidentified  except  for  the  name  Birch  ( ?  the  Alderman).  The  leading 
pamphleteers,  Charles  Grant  and  Randle  Jackson,  are  presumably  present, 
with  the  Chairman  and  Deputy-Chairman  of  the  Company,  Hugh  Inglis  and 
Robert  Thornton,  although  their  attitude  was  conciliatory.  See  C.  H.  Philips, 
op.  et  loc.  cit.  Thomas  Attwood  took  a  leading  part  against  the  Company's 
monopoly.  C.  M.  Wakefield,  Life  of  Thomas  Attwood,  1885,  pp.  33  ff. 
8^X13  in. 

206 


POLITICAL   SATIRES   1813 

12009  ST  Virus's  dance  or  the  panegyrist  and  the 

PATRON  OR  A  I   I   I    I   I   SLS;Y  [W^ellesley]  PUSH  FOR  POWER 
Veni  Vidi  fecit    [Williams.] 

Pu¥  Feby  1813  by  S.  W.  Fores  N°  50  Piccadilly  corner  of  Sackville  S' 
Engraving  (coloured  impression).  A  grotesquely  dressed  man  ('Vetus')  on 
stilts  with  two  large  trumpets  heads  a  procession  which  tries  to  force  its  way 
into  the  Treasury.  One  rein  of  a  donkey  is  hooked  over  his  stilt,  both  stilts 
being  thrust  under  his  sash  to  leave  his  hands  free  for  the  trumpets.  On  the 
donkey  sits  Lord  Wellesley  in  oriental  dress,  much  be-jewelled,  and  carrying 
on  his  head  a  model  of  the  India  House  (like  Fox  in  Sayers's  print,  No.  6271). 
He  has  a  shield  inscribed  in  large  letters  Aut  Ccesar  aut  Nullus;  on  this  is 
depicted  a  realistic  hand  about  to  grasp  a  small  crown  resting  on  clouds.  He 
raises  his  r.  hand,  declaiming:  Hear  my  Friend  Vetus.  His  ass  has  one  (super- 
fluous) wooden  leg,  its  own  leg  being  bent  back  at  the  knee,  and  it  tramples 
on  two  papers  inscribed  Fr[ee'\  Trade  and  Free  Pori[s'\.  Behind  Wellesley  is 
a  second  ass,  with  a  thick  sheaf  of  newspapers,  The  Times,  bound  to  its  back 
in  place  of  a  saddle  and  labelled  Qui  Veut.  Beside  it  walks  Canning,  who  puts 
out  a  protesting  arm,  and  says  (to  Wellesley) :  No!  I  am  not  goifig  to  act 
Sancho  Panza  to  your  Quixot  I  assure.  I  am  off  to  S'  James's!  He  is  identified 
by  a  paper  which  he  holds,  inscribed  To  the  Electors  of  Liverpool  [cf.  No. 
11910].  Vetus  is  dressed  like  the  zanies  who  accompanied  quack  doctors  for 
purposes  of  advertisement  (cf.  No.  8183).  He  wears  a  conical  hat  in  which 
a  pen  labelled  Venial  [?  Venal]  is  thrust.  In  his  sash  is  a  sheaf  of  papers 
inscribed  Vetus  Letters.  A  gridiron  (or  'save-all')  decorates  the  front  of  his 
tunic  and  he  w'ears  wide  trousers.  He  blows  a  trumpet  from  which  issues 
a  label :  Behold  your  King!  your  Governor!  your  Ruler!  your  God!  This  is  the 
only  being  capable  of  opposing  that  great  Conqueror  Bonaparte  icho  is  over- 
running Russia  and  zcill  conquer  the  whole  icorld,  reciere  him  zcith  open  Arms, 
and  hail  his  triumphal  entry.  The  other  trumpet,  held  in  his  1.  hand  and 
directed  from  his  posterior  towards  Wellesley  emits  the  words :  Lo!  behold 
the  Hero  come,  \  Blozc  the  Trumpet  beat  the  Drum,  \  Sound  his  praise  with  Voice 
and  Bum.  He  is  followed  by  a  subordinate  trumpeter,  plainly  dressed,  who 
blows  through  a  small  trumpet :  The  finest  letters  that  ever  were  read  on  the 
word  of  a  Newsman ;  he  holds  out  a  sheaf  of  Vetus' s  Letters.  Seven  other  well- 
dressed  men  follow  Welleslev  and  Vetus;  three  of  them  hold  out  documents 
inscribed  respectively  Liverpool,  Glasgow,  and  H[ull]  Petition,  showing  that 
they  represent  the  out-ports  which  were  agitating  for  a  share  in  the  trade  with 
India.  Four  say  respectively:  No  Monopoly!  Free  Trade;  Hey  Marquis! 
Well  it's  sly  of  you;  Free  Trade  Free  Trade;  A^o  Nabobs. 

John  Bull  stands  on  the  pavement  in  front  of  the  Treasury  door,  holding 
out  a  spear  with  which  he  prods  Vetus  on  the  papers  in  his  sash;  to  the 
spear  shaft  is  attached  a  banner  inscribed  Free  Trade  in  large  letters.  He  says : 
No!  No!  zve  dont  zvant  any  more  Kings  No  more  Governors — no  more  Tyrants 
I  know  him  well  and  so  do  all  our  honest  Statesmen,  ajid  for  his  last  attempt  at 
Monopoly  in  the  Government  zvill  not  act  with  him  so  off  with  you!,  off!  off! 
Castlereagh  peeps  through  the  partly  open  door  to  say:  Thats  right  Johnny 
keep  them  out.  we  might  as  zvell  let  in  the  Great  Mogul.  Other  faces  are  indicated 
behind  him.   After  the  title: 

Who  aspires  must  down  as  low" 

As  high  he  soar'd;  obnoxious  first  or  last". 

To  basest  things." 

Two  subjects  are  combined:  the  letters  of  Vetus  to  The  Times  in  18 12 
praising  Wellesley  in  terms  of  hero-worship,  and  the  controversy  over  the 

207 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

India  Charter  Bill,  see  No,  11999,  &c.  The  anonymity  of  Vetus  (afterwards 
revealed  as  Edward  Sterling)  was  carefully  preserved;  Letter  xvi,  printed 
8  Dec,  was  a  violent  attack  on  Liverpool,  and  prosecution  was  contemplated, 
but  the  Law  Officers  advised  against  it.  The  object  was  to  overthrow  the 
Ministry  and  replace  it  by  one  under  Wellesley.  Hist,  of  the  Times,  1935, 
pp,  150-4.  Canning  wrote,  19  Nov.,  to  Wellesley:  'You  have  a  long-tailed 
partizan  in  The  Times  called  "Vetus",  who,  amidst  a  great  deal  of  reasoning 
and  eloquence  of  the  very  highest  sort,  introduces  a  strain  of  flattery  to  you 
and  disparagement  to  every  other  human  being.  ,  ,  ,  I  do  not  attribute  to 
you  being  party  or  privy  to  these  letters,  but  the  world  does,'  Wellesley  Papers, 
1914,  ii.  125.  See  No,  12207,  Wellesley,  who  had  quarrelled  with  the  Com- 
pany when  Governor- General,  supported  them  against  the  Out-Ports  in  1813, 
see  his  important  speech.  Pari.  Deb.  xxv.  675-99  (9  Apr,),  For  his  failure  to 
form  a  Ministry  see  No,  11888,  For  Wellesley  and  Canning  see  No.  11846. 
Vetus  is  depicted  as  a  grotesque  personification  of  Fame, 
8i|Xi4i|in, 

12010  COSSACK'S  RETURNING  FROM  THE  FIELD  OF  BATTLE 
OR  A  VALENTINE— FOR  BONEY. 

[Williams,] 

Pu¥  Feby  14^^  1813  by  S,  Knight  N"  3  Sweetings  Alley  Royal  Exch" 

Engraving  (coloured  impression).  Cossacks  laden  with  trophies  approach  two 
tents  on  the  extreme  1.  where  they  are  received  by  the  family  of  Count  Platoff, 
Outside  the  tents  stands  Platoff 's  daughter  who  has  put  on  a  French  officer's 
coat  over  her  furred  dress;  she  inspects  an  epaulette,  saying.  This  is  like  them- 
selves nothing  more  than  tinsel!  Another  girl  turns  to  an  older  woman  to  say : 
Here  they  come  Mother  loaded  with  Honor.  A  Cossack  kneels  in  front  of  the 
tent,  facing  one  of  the  Platoff  family,  also  kneeling,  to  display  trophies  and 
loot;  he  holds  out  a  coat  with  epaulettes,  beside  which  lies  a  watch  and  seals. 
Behind  him  a  French  eagle  and  a  sabre  lie  together.  An  older  woman  lifts 
the  side  of  the  tent  to  peer  out.  Beside  the  tents  and  on  the  extreme  1,  a  large 
cooking-pot  rests  on  a  fire  of  sticks.  The  centre  figure  is  a  mounted  Cossack, 
who  holds  up  in  one  hand  two  tattered  tricolour  flags  inscribed  Invincible 
Legion,  in  the  other  three  eagles ;  medals  inscribed  Legion  of  Honor  are  slung 
round  his  neck ;  a  French  cavalry  helmet  and  a  bunch  of  sabres  are  tied  to 
the  horse.  In  front  of  him  runs  a  little  boy  who  holds  on  his  head  a  French 
cavalry  helmet  which  covers  his  eyes,  and  wearing  a  sabre  which  trails  on  the 
ground.  The  foremost  horseman  is  followed  by  galloping  Cossacks;  one  holds 
out  two  dangling  medals,  saying.  Here  we  are  my  Dears  you  shall  all  belong 
to  the  Legion  of  Honor.  He  wears  a  French  helmet  over  his  cap,  and  holds 
up  two  eagles,  to  one  of  which  a  large  laced  and  plumed  cocked  hat  is  attached. 
The  men  with  him  have  more  eagles,  a  standard  inscribed  Invincible,  a  bundle 
of  army  coats,  and  a  sheaf  of  sabres.  Snow-covered  trees  rise  above  the  tents. 
After  the  title : 

Say^s  Humanity,  Poet!  your  pen  take  &  write. 

And  to  Boney  a  Valentine  I  will  indite. 

It's  done!  and  a  volunteer  Job. 

Instead  of  your  Eagles  may  some  bold  Cossack! 

By  a  fortunate  blow  lay  you  flat  on  your  back, 

And  present  to  Miss  Platoff  your  Nob. 
For  the  story  of  Platoff 's  daughter  and  Napoleon  see  No,  11994,  &c.  For 
the  valentine  cf.  No,  12011, 

Broadley,  i.  320. 
8|^Xi3  in. 

208 


POLITICAL  SATIRES   1813 

12011  REGENT  VALENTINE. 

G  Cruikfec^ 

14'^  Feb.  [18 1 3]  Published  by  J.  Knight,  {late  Walker's,)  3  Sweeting's 
Alley,  Royal  Exchange. 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside,  Letter  of 
the  Princess  of  Wales  to  the  Prince  Regent,  the  text  of  the  letter,  dated  14th.  Jan. 
1813,  sent  by  the  Princess,  protesting  at  her  separation  from  her  daughter, 
after  'complete  acquittal'.  She  also  protested  against  her  daughter's  exclusion 
'from  all  intercourse  with  the  world'  and  complained  that  she  had  not  yet 
been  confirmed.  The  Princess  of  Wales,  girlish  and  innocent-looking,  kneels 
on  one  knee  with  an  eager  gesture,  holding  out  towards  the  Regent  a  paper 
headed  To  the  Prince  Regetit — Sir  .  .  .  Britannia  stands  by,  holding  her  shield 
protectingly  over  the  suppliant.  Beside  Britannia  is  the  British  Lion  glaring 
savagely  at  the  Regent  who  turns  his  back  on  Britannia  and  the  Princess,  and 
turns  in  profile  towards  Princess  Charlotte  (1.)  who  clasps  her  hands  in 
supplication.  The  Prince,  very  regal  and  stately,  wears  the  robes  and  collar 
of  the  Garter  and  his  coronet,  inscribed  Ich  Dein  [sic],  with  feathers.  A 
serpent  encircles  his  body  and  directs  its  fangs  against  his  ear,  while  another 
serpent  twines  round  his  leg,  and  darts  its  fangs  towards  the  Princess  of  Wales. 
They  probably  represent  Lady  Douglas  and  her  husband,  see  No.  12026,  &c. 
The  little  Princess  w'ears  a  coronet  and  feathers,  her  more  simply  dressed 
mother  a  small  crown.  Beside  the  latter  stands  a  lamb,  emblem  of  innocence; 
behind  her  (r.)  is  a  piece  of  water  with  a  weeping  willow.  A  heart  pierced 
with  an  arrow  and  covered  with  black  lines  is  above  the  head  of  the  Prince, 
and  another,  dripping  blood,  over  that  of  his  wife. 

The  letter,  probably  written  by  Brougham,  see  No.  11990,  (printed  Pari. 
Deb.  xxiv.  11 12-17,  Ann.  Reg.,  1813,  pp.  341-4)  was  twice  returned  unopened 
by  the  Regent.  It  contained  the  explosive  phrase  'the  perjuries  of  my  suborned 
traducers'.  The  Princess  then  sent  it  to  the  Ministers,  demanding  that  the 
contents  should  be  made  known  to  the  Prince,  who  merely  answered  that  he 
'was  not  pleased  to  signify  any  commands  upon  it'.  She  then  sent  it  to  the 
Morning  Chronicle,  where  it  appeared  on  lo  Feb.  and  was  reprinted  in  the  other 
newspapers.  The  Prince  thereupon  referred  the  letter  and  the  documents 
of  the  'Delicate  Investigation'  of  1806  to  the  Archbishops,  Prime  Minister, 
and  other  Ministers  and  Privy  Councillors,  who  reported  (27  Feb.)  that  it  was 
'highly  fit  and  proper'  that  the  restraint  on  the  intercourse  between  the 
Princess  and  her  daughter  should  continue.  Meantime  Princess  Charlotte 
wrote  to  the  Regent  on  10  Jan.,  protesting  that  she  would  not  receive  anyone 
as  her  governess  (the  Duchess  of  Leeds  having  been  appointed)  but  only  as 
her  lady,  sending  a  copy  of  her  letter  to  Lord  Liverpool.  The  Regent  then 
went  to  Windsor  with  the  Lord  Chancellor  to  scold  her.  Mother  and  daughter 
were  instruments  used  by  Brougham,  Whitbread,  and  Creevey  to  make 
trouble  for  the  Regent,  hence  the  next  stage  in  the  affair,  the  Princess's  letter 
to  the  Speaker,  debated  4  March,  cf.  No.  12026.  Popular  feeling  was  easily 
raised  on  behalf  of  the  supposedly  injured  mother  and  daughter.  See  Letters 
of  George  IV,  1938,  i.  203-15,  221  f.;  Renier,  The  Ill-fated  Princess,  1932, 
pp.  58  ff. ;  Parry,  Queen  Caroline,  1930,  pp.  193-7.  This  and  No.  12010  are 
the  first  allusions  in  these  prints  to  the  pictorial  valentine,  of  which  the  hearts 
transfixed  by  arrows  are  typical.  The  earliest  reference  in  the  O.E.D.  is  1824 
(Miss  Mitford's  Our  Village).  The  'Valentine-Writer',  an  annual  repository 
of  suitable  verse,  dates  at  least  from  1802. 

Reid,  No.  216.   Cohn,  No.  1893. 
4iX7ire^  i"^-   Broadside,  i7ix  io|  in. 

209  P 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

12012  THE  HERO'S  RETURN. 

David  pinxit — Etched  by  G.  Cruikshank 

Pu¥  by  H.  Humphrey  S^  James's  S^  Feby  22^  18 13 

Engraving  (coloured  impression).  A  scene  in  the  Empress's  dressing-room. 
Marie  Louise  is  horror-struck  at  the  appearance  of  Napoleon  who  advances 
towards  her  in  profile  astride  the  back  of  a  crawling  Mameluke;  he  is  held 
up  by  two  other  Mamelukes  who  support  his  arms  and  shoulders.  He  is 
terribly  emaciated  and  appears  moribund.  He  wears  uniform;  his  legs,  feet, 
and  hands  are  swathed  in  bandages,  his  (former)  ear  and  nose  covered  with 
black  patches.  The  crawling  Mameluke,  presumably  Roustan,  holds  out  a 
bottle  containing  a  pointed  nose,  and  labelled  Le  Nez  de  VEmpereur.  Imme- 
diately behind  Napoleon  and  his  three  supporters  are  two  kneeling  Mamelukes, 
each  reverently  holding  a  tasselled  cushion  supporting  a  bottle;  one  being 
labelled  Les  Doights  [sic]  de  VEmpereur  Napole  .  .  .,  the  other,  Les  Oreilles 
de  VEmpereur  Napoleon.  Behind  them  (1.)  another  Mameluke  advances  with 
a  bottle  labelled  Les  Doights  du  pied  de  I  Empereur  Bon  .  .  .  The  Mamelukes 
wear  Turkish  dress  with  turbans. 

Napoleon  looks  in  tragic  silence  at  his  wife,  who  is  seated  in  regal  state  but 
turns  aside  weeping  with  violent  gestures  of  despair.  A  small  terrestrial  globe 
decorates  her  chair ;  her  foot  rests  on  a  stool  in  the  form  of  a  flattened  polar 
hemisphere  on  which  the  word  Brit[ain]  is  visible.  Over  her  low-cut  dress 
is  an  ermine-bordered  robe  clasped  with  a  fleur-de-lis.  She  is  supported  by 
an  emaciated  court-lady,  with  a  patched  face,  proflPering  a  smelling-bottle, 
whose  profile  and  a  small  crown  show  that  she  is  one  of  Napoleon's  sisters ; 
two  other  ladies,  wearing  crowns,  stand  behind  the  Empress,  registering  con- 
sternation. A  less  conspicuous  lady  weeps.  On  the  Empress's  r.  kneels  the 
Governess  of  the  King  of  Rome,  Mme  de  Montesquiou,  holding  the  scream- 
ing child,  and  weeping  noisily.  He  registers  angry  terror  at  the  sight  of  his 
father ;  his  little  crown  has  fallen  oflf .  His  features,  though  fore-shortened  and 
distorted,  resemble  those  of  his  father,  cf.  No.  11719.  He  wears  an  ermine- 
trimmed  robe  over  his  childish  tunic  and  breeches.  Behind  the  Governess 
is  a  draped  dressing-table,  the  drapery  decorated  by  a  large  fleur-de-lis,  and 
the  toilet  boxes  ornamented  with  crowns.  A  terrified  monkey  climbs  up  the 
mirror,  clutching  at  the  crown  which  surmounts  it,  and  looking  over  its 
shoulder  at  the  shocking  spectacle  presented  by  the  Emperor.  On  the  extreme 
r.  a  lap-dog  stands  on  a  cushion  barking  furiously  at  Napoleon.  On  the  ground 
on  the  extreme  I.  are  two  large  round  coffers,  one  inscribed  Cqffre  Pour  la 
Bijoutere  [sic]  Russe,  the  other  expectantly  open.  Voluminous  draperies  on 
the  1.  and  r.,  supported  on  the  r.  by  a  piUar  add  to  the  regal  character  of  the 
room.   Below  the  title : 

Dishonest  with  lopp'd  arms  the  man  appears 

SpoiVd  of  his  nose,  and  shortened  of  his  ears — 

She  scarcely  knew  him,  striving  to  disown 

His  blotted  form,  and  blushing  to  be  known. 

Dry  den's  Virgil,  Book  Six. 
For  Napoleon's  return  to  the  Tuileries  (where  he  was  received  with 
delighted  surprise  by  the  Empress)  see  No.  11997.  He  was  accompanied  by 
Roustan  in  his  hurried  journey  from  Russia.  Both  conception  and  treatment 
show  the  influence  of  Gillray.  The  presence  of  Napoleon's  sisters,  Elisa, 
Pauline,  and  Caroline,  as  court  ladies  of  the  Empress,  probably  derives  from 
Gillray's  The  Handwriting  on  the  Wall,  No.  10072,  to  which  this  print  may 
be  regarded  as  a  sequel. 

There  are  two  other  plates  by  G.  C,  both  dated  Jan.,  on  the  return  to 

210 


POLITICAL   SATIRES    1813 

Paris:  Boney,  tir'd  of  War's  Alarms,  flies  for  safety  to  his  darling's  Arms,  pub. 
Walker  and  Knight,  and  An  Arch  Design,  intended  for  Boney's  Triumphal 
Entry  into  Paris,  pub.  Johnston. 

Broadley,  i.  320  f.  (reproduced  p.  314).  Reid,  No.  220.  Cohn,  No.  11940. 
9^X  14!  in.   With  border,  14^ X  15^  in. 

12013  BONAPARTE  REVIEWING  HIS  CONSCRIPTS.  187 

W"* E ^  [Elmes]  Scul^  Price  One  Shilling  Coloured 

London  PuM  by  Tho'  Tegg  N°  iii  Cheapside.  Feb"  23 — 1813. 

Engraving  (coloured  impression).  Napoleon  mounted  on  an  ass  in  profile  to 
the  r.  faces  a  piece  of  water  in  which  Dutch  light  Horse  (cf.  No.  8478),  fat 
Dutch  soldiers,  are  mounted  on  huge  frogs.  All  wear  bonnets  rouges  with 
bulky  breeches  defining  heavy  posteriors.  All  hold  drawn  sabres  and  have 
small  kegs  (of  Hollands)  under  the  1.  arm;  although  they  are  smoking  they 
have  a  disciplined  and  martial  appearance  compared  with  the  Frenchmen. 
Napoleon  wears  a  huge  bicorne  with  crown  and  plume,  and  holds  a  sabre 
against  his  shoulder.  His  ass  brays  and  urinates  violently.  A  burlesqued  and 
very  miscellaneous  staff"  and  escort  is  grouped  behind  him;  they  have  a 
tricolour  flag  and  an  eagle,  while  a  soldier  holding  a  second  eagle  struggles 
painfully  out  of  the  water.  Immediately  behind  Napoleon  are  a  drummer 
beating  a  drum,  and  a  dwarfish  companion  blowing  a  fife.  Both  wear  high 
conical  caps  with  drooping  peaks.  A  soldier  with  cur\'ed  ('cheese-cutter') 
shins  negligently  holds  a  musket,  looking  mournfully  at  a  fat  friar,  also  with 
a  musket,  who  drinks  from  a  bottle  of  Friars  Balsam.  There  is  an  eighth  man 
with  a  grotesquely  sharp  profile.  In  the  background  a  column  of  tiny  soldiers 
stretches  away  in  an  endless  line  to  the  r.  Behind  them  are  the  roofs  and 
towers  of  a  town. 

A  satire  on  the  repeated  levies  of  1813  necessitated  by  the  losses  in  Russia. 
Napoleon  sent  orders  from  Russia  in  November  for  a  new  conscription  for 
1813;  the  levy  (137,000  men)  took  place  in  Jan.  Further  levies  followed. 
Holland  contributed  some  15,000  men  to  the  Grand  Army  of  whom  only 
a  few  hundred  returned;  trouble  broke  out  there  at  the  ballot  for  conscription 
in  February,  but  the  troops,  even  those  of  Dutch  birth,  were  loyal  to  the 
Empire.  See  Renier,  Great  Britain  and  the  Establishment  of  the  Kingdom  of 
the  Netherlands,  1813-15,  pp.  99-102.  Napoleon  managed  to  put  in  the  field 
in  1 813  a  large  army  which  was  defective  only  in  cavalry.  Camb.  Mod.  Hist. 
ix.  508  (cf.  No.  12044).   See  No.  12087,  &c. 

Broadley,  i.  333.   Milan,  No.  2487. 
8^^X13  in. 

12014  BONAPARTE  ADDRESSING  THE  LEGISLATIVE  BODY.  189 

W"'  E [Elmes]  Del—S'  Price  One  Shilling  Coloured. 

London  Pub''  Febr"  24  1813 — by  Tho'  Tegg — A^""  iii  Cheapside 

Engraving  (coloured  impression).  Napoleon  stands,  colossus-like,  legs  apart, 
his  head  turned  in  profile  to  the  r.,  looking  down  with  an  expression  of 
despair.  He  is  on  a  high  dais  beside  his  throne  (r.),  and  turns  his  back  on 
the  crowded  hall.  He  wears  a  crown  and  imperial  robe  over  ragged  uniform. 
A  tattered  sleeve  leaves  his  r.  forearm  and  elbow  bare;  his  legs  are  naked 
between  tattered  remnants  of  breeches  and  spurred  boots  through  which  his 
toes  project.  He  weeps,  with  a  handkerchief  to  his  eye,  and  his  r.  hand  touch- 
ing the  star  on  his  breast.  Behind  him  (1.)  is  a  sea  of  heads  receding  in 
perspective;    these   are   burlesqued,   with   expressions   registering   dismay, 

211 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

cynicism,  or  sly  satisfaction.  Among  them  are  three  bishops  wearing  mitres. 
At  the  back  of  the  hall  is  a  gallery  filled  with  heads  on  a  tiny  scale,  feathered 
head-dresses  show  them  to  be  ladies.  Napoleon's  words  fill  a  large  label 
covering  the  upper  part  of  the  design:  "/  myself  entered  Russia,  the  Russian 
armies  could  not  stand  before  our  armies.    The  French  arms  were  constantly 

victorious. "a  swarm  of  Tartars  turned  their parricidal  hands  against 

the  finest  provinces  of  that  vast  Empire  which  they  had  been  called  to  defend. ■ 

''But  the  excessive  and  premature  rigour  of  the  winter  brought  down  a  heavy 

calamity  upon  my  army in  a  few  nights  I  saw  every  thing  change. "the 

misfortunes  produced  by  rigour  of  hoar  frosts,  have  been  made  apparent  in  all 

their  extent, /  experienced  great  losses — they  zvould  have  broken  my  heart, 

if  under  such  circumstances  I  could  have  been  accessible  to  any  other  sentiments 
than  those  of  the  interest, — the  glory, — and  the  future  prosperity  of  my  people. — 
"/  have  signed  with  the  Pope  a  Coticordat,  which  terminates  all  the  diffirences  [sic] 
that  unfortunately  had  arisen  in  the  Church. — The  Fretich  dynasty — reigns, — 
and  will  reign  in  Spain. — /  am  satisfied  with  all  my  allies. — /  will  abandon  none 
of  them. — The  Russians  shall  return  into  their  frightful  climate  [cf.  Nos.  12022, 
12024,  13487]. 

The  speech  made  by  Napoleon  at  the  opening  of  the  Session  of  the  Legisla- 
tive Body  on  15  Feb.  is  quoted  from  the  translation  in  the  English  newspapers, 
almost  textually  except  for  large  omissions.  The  chief  divergence  follows 
'rigour  of  hoar  frosts';  this  continues:  'have  made  apparent,  in  all  their 
extent,  the  grandeur  and  the  solidity  of  this  empire,  founded  upon  the  efforts 
and  the  love  of  50,000,000  of  citizens,  and  upon  the  territorial  resources  of 
the  finest  countries  in  the  world'.  The  omissions  are  chiefly  an  attack  on 
England,  and  a  declaration  of  his  desire  for  peace,  proposed  four  times  since 
the  Treaty  of  Amiens,  and  praise  of  the  'glorious  contest'  of  America,  Europ. 
Mag.  Ixiii.  162-3.  For  the  retreat  from  Moscow  see  No.  11917,  &c.;  for  the 
(abortive)  Concordat  see  No.  11998,  &c. 

Perhaps  based  on  No.  9278,  by  Gillray  (1798),  Buonaparte,  hearing  of 
Nelson's  Victory,  swears  by  his  Sword,  to  extirpate  the  English  from  off  the 
Earth,  based  on  a  speech  written  by  Volney  and  published  in  the  Moniteur. 
In  both  a  colossal  figure  stands  astride,  with  words  filling  the  upper  part  of 
the  print, 

Reid,  No.  217,    Cohn,  No.  1197.    Broadley,  i,  333. 
12^X9  i^- 

12015  A  RUSSIAN  PEASANT  LOADING  A  DUNG  CART, 
Etched  by  G.  Cruikshank  Copied  from  a  Russian  Print 

Pu¥  March  i^'  181 3  by  H.  Humphrey  S'  James's  Street 

Engraving  (coloured  and  uncoloured  impressions).  One  of  a  set,  see  No. 
1 1995,  &c.  A  stalwart  Russian  pushes  a  pitchfork  against  the  v/aist  of  a 
terrified  and  screaming  French  officer  (1.),  who  holds  a  sword  but  makes  no 
attempt  to  resist.  The  Frenchman  is  thin  but  not  emaciated,  and  wears 
elegant  uniform  with  a  star,  a  cocked  hat,  and  long  gaiters.  He  is  about  to 
be  hurled  on  to  a  high  pile  of  dead  and  dying  men  who  lie  among  straw  in 
the  peasant's  cart.  The  peasant  is  dressed  as  in  other  prints  of  the  series, 
and  wears  gauntlet  gloves  and  low  cross-gartered  shoes  like  cothurnes.  A 
cross  hangs  from  his  neck.  A  fine  horse  is  harnessed  to  the  cart ;  a  chubby  bare- 
legged boy  (r.)  sits  on  it  looking  round  with  delight  at  his  father.  In  the  middle 
distance  (1.)  burlesqued  French  soldiers  in  flight  disappear  down  a  slope;  one 
wears  a  saucepan  on  his  head.  In  the  background  on  the  extreme  r.  are  tent- 
shaped  farm  buildings,  with  trees.    Inscriptions  are  in  the  upper  and  lower 

212 


POLITICAL   SATIRES    1813 
border:  KpecxbHHHH'b  HsaH-b  floji6Hna.  —  FIoctoh  Mycbe,  ne  enpyr-b  npoHner-b! 

3BtCb     XOTb     My>KHHKH      Ha PyCKie. BoTb     H      BHnbl     TpOHHaXKH      npHrOnHJlHCb 

y6HpaTb  fla  yKnanbiBaTb.  Hy  Mycbe!  Ylonno  BanpHrHsaTb! — [The  peasant  John 
Chiseller : — 'Halt,  M'sieu!  Don't  carry  on  so  fast! — Look,  here  are  men  and 
Russians!  See,  there  are  carts  ready  to  pack  up  and  carry  you  off!  Now 
then,  M'sieu!  Get  out  right  now!']    Cf.  No.  12051. 

Reid,  No.  220.   Cohn,  No.  1940.    Milan,  No.  2488.    Listed  by  Broadley. 
Reproduced  (colour)  Klingender,  p.  37. 
7^  X  12^  in.   With  border,  9/5  x  13I  in. 

12016  THE  MERRY  THOUGHT  OR,  THE  CATHOLIC  QUESTION 
RESOLVED. 

G.  Cruik.  Sculp 

Pu¥  March  i''  1813  by  J  Johnston  g8  Cheapside 

Engraving  (coloured  impression).  Irish  Catholics  (1.)  and  English  Protestants 
(r.)  tug  at  the  two  sides  of  a  giant  merrj'-thought  (the  furcula  or  forked  bone 
between  the  neck  and  breast  of  a  bird),  at  the  apex  (or  inter-clavicle)  of  which 
is  the  head  of  George  III  in  profile  to  the  r.  Above  him  and  between  two 
winged  heads  floats  a  scroll  inscribed  Defender  Of  the  Faith.  The  clavicles 
are  inscribed  respectively  Catholic  and  Protestant.  On  the  1.,  a  lean  and  ragged 
Irishman  with  a  rosary  hanging  from  his  waist,  tugs  at  the  bone,  leaning  far 
back,  with  his  insteps  supported  against  a  small  stone ;  he  cries :  A  long  pull  &  a 
Strong  pull  &  a  pull  Alltogather.  A  second  man,  insecurely  planted  on  one 
foot,  tugs  at  him,  with  his  hands  clasped  round  the  neck  of  the  first;  he  says: 
This  is  the  third  &  last  tiyne  of  asking.  A  third  has  fallen  to  the  ground  and  lies 
on  his  back,  yelling.  A  fourth  capers  wildly,  flourishing  a  shillelagh  and 
shouting :  By  S^  Patrick  my  honies  if  it  cracks  zee  shall  lose  our  Faiths  Defender, 
but.  We  shall  get  the  Pope  again,  &  those  two  Gontlemen  could  never  agree  very 
well  togather.   Behind  him  (1.)  a  skeleton  hangs  from  a  gibbet. 

John  Bull  (not  named),  a  fat  citizen,  tugs  at  the  other  clavicle,  his  mouth 
sternly  shut,  but  with  the  words  Long  live  Old  George  our  King  issuing  from 
it.  One  foot  is  raised  and  planted  on  a  rock  inscribed  "and  upon  this  Rock 
I  will  build  my  Church  &c  &c  Mat  Chap  xvi  ver  118;  the  other  foot  is  on 
the  blank  page  of  a  book:  Fox's  Book  of  M  .  .  .  [cf.  No.  10712];  on  the  rock 
is  a  tasselled  cushion  supporting  a  Bible  and  crown  (as  in  other  prints  where 
George  III  resists  Catholic  Emancipation,  see  No.  10709).  The  next  man 
is  a  fat  bishop  who  clasps  John's  bald  head  (his  wig  lies  on  the  ground)  and 
coat;  a  mitre  rests  on  his  very  bushy  wig  and  he  has  a  corvune  profile,  and 
gouty  legs.  Behind  (r.)  a  lean  and  dejected  parson  pulls  at  the  bishop's  gown. 
A  second  bishop  runs  up,  waving  his  crosier  and  shouting  Pull  away  pull  away 
the  Church  is  in  Danger;  his  face  is  drink-blotched. 

In  the  centre  of  the  design  the  Pope  crawls  towards  the  arch  formed  by 
the  merry-thought;  astride  his  back  sits  Napoleon,  wearing  a  plumed  bicorne 
and  jack-boots.  The  Emperor's  arms  are  extended;  in  his  r.  hand  is  a  sabre 
(with  a  notched  blade),  in  the  1.  a  Papal  cross.  From  behind  him,  and  also 
seated  on  the  Pope's  Ijack,  two  little  figures  lean  outwards  to  1.  and  r.:  on 
the  1.  (Napoleon's  r.)  the  little  King  of  Rome  waves  a  paper  towards  the 
Catholics  inscribed  Concordat  Pope  &  Bounaparte  [sic].  On  the  r.  a  demon 
with  a  trident  grins  towards  the  Protestants. 

The  question  of  Emancipation  was  again  prominent  in  18 13,  the  occasion 
of  many  petitions,  the  majority  opposing  it.  In  1812  it  was  expected  by  many 
that  it  would  be  secured  in  the  following  year,  cf.  No.  11898.  Grattan's 
motion  on  25  Feb.  1813  for  a  Committee  to  examine  the  laws  attacking 

213 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

Roman  Catholics  was  carried  by  264  to  224  after  a  great  debate  lasting 
four  days.  Pari.  Deb.  xxiv.  747  ff.  A  Bill  for  the  removing  of  civil  and  military 
disqualifications  under  safeguards  reached  the  Committee  stage,  but  on  the 
passing  of  Abbot's  amendment  by  25 1  to  247,  to  exclude  Catholics  from  Par- 
liament, was  withdrawn.  Ibid.,  xxvi.  361  (24  May).  Ann.  Reg.,  1813,  pp.  26- 
34.  It  was  noted  that  the  question  had  become  one  of  political  expediency 
rather  than  religious  controversy.  Ibid.,  p.  99  f.  For  Napoleon  and  the 
(abortive)  Concordat  see  No.  11998,  &c.;  for  Napoleon  and  Emancipation 
cf.  No.  1 1384.   See  also  Nos.  12065,  12066,  12073,  12077. 

Reid,  No.  219.   Cohn,  No.  1728. 
8^Xi3iin. 

12016  a  a  second  state  (uncoloured).  Napoleon  is  replaced  by  the  Regent 
who  bestrides  the  Pope,  flourishing  a  (single)  cross.  His  words  are  in  a  label 
against  the  upper  margin :  By  S^  Patrick  if  the  Paddy  Bulls  get's  the  better  of 
the  Johny  Bulls,  Fll  go  to  Iriland  [sic]  turn  Monk  and  give  Absolution  to  all 
the  Females.  The  words  of  the  Irishman  with  the  shillelagh  are  altered  to: 
Pull  away  my  honies,  or  by  Jasus  we  shant  have  the  great  big  Darling  come  for 
to  wisit  us.  In  place  of  the  head  of  George  III  at  the  apex  of  the  bone  are 
two  books :  Fox's  Book  of  Martyrs  and  Holy  Bible.  In  the  publication  line 
'1813'  is  blotted  but  remains  legible. 

According  to  Reid  a  reissue  relating  to  George  IV's  visit  to  Ireland  in  1821, 
but  perhaps  merely  an  adaptation  relating  to  the  public  uncertainty  c.  18 13 
as  to  the  Regent's  attitude  to  Emancipation:  'Old  George'  still  remains  king, 
though  possibly  through  inadvertence.  An  impression  has  been  dated  by 
Hawkins  *i  Mar.  1814'.  There  is  a  sequel,  with  the  same  title,  on  the  king's 
Irish  visit,  see  vol.  x. 

12017  DISPUTE  BETWEEN  MONOPOLY  AND  POWER 
SATIRIST  1ST  MARCH  1813 

Satirist  inv^  W.  H.  Ekoorb  [Brooke]  deU  Aqua  Fortis  fecit. 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xii.  193.  The  explana- 
tory text  has  the  additional  title:  A  Story  about  Humpty  Dumpty.  Monopoly 
is  a  huge  hydra  with  twenty-four  (human)  heads,  with  a  great  naked  paunch 
and  arms;  this  paunch  terminates  in  the  vast  scaly  coils  of  a  serpent.  It  fills 
the  centre  of  the  design;  its  barbed  tail  stretches  behind  Power,  a  stalwart 
man  representing  the  might  of  the  British  Empire,  and  is  directed  against 
his  back.  Power  straddles  across  a  gulf,  his  r.  foot  resting  on  the  top  of  a 
pillar  surmounted  by  a  tasselled  cushion,  and  inscribed  Pillar  of  the  Constitu- 
tion; the  other  rests  on  the  Rock  of  Liberty  (r.).  He  wears  an  oddly  shaped 
high-crowned  hat  inscribed  Cap  of  Knowledge,  a  buttoned  jacket  and  short 
trousers.  His  jacket  is  covered  with  pockets,  all  buttoned  up  and  empty 
except  one  large  centre  one  inscribed  London  which  is  heaped  with  guineas. 
The  others  are  quite  flat  and  are  inscribed  respectively  Liverpool,  Hull,  Dublin, 
Bristol,  Cork,  Glasgow.  His  r.  sleeve  is  covered  with  a  pattern  of  ships, 
realistically  drawn,  the  1.  with  marching  soldiers,  to  show  that  India  is 
defended  by  the  forces  of  the  Crown,  as  well  as  by  those  of  the  Company. 
The  1.  hand  of  the  monster  holds  a  chain  attached  to  the  leg  of  a  vulture, 
which,  half-supported  on  a  coil  of  the  serpentine  tail,  gnaws  at  the  side  of 
Power,  piercing  his  coat.  Power  clenches  his  fist,  and  glares  angrily  towards 
the  monster,  saying,  I  am  free  myself,  and  my  Ports  shall  be  free,  and  All 
my  pockets  filled — Have  I  nourished  the  Serpent  till  it  stings  its  Benefactor? 
The  heads  of  the  monster  are  burlesqued ;  one  is  in  profile  to  the  r.,  directing 

214 


POLITICAL   SATIRES   1813 

against  Power  a  label:  How  dare  you  call  a  Charter  a  Grant?  I'll  Grant  you! ! ! 
He  is  evidently  Charles  Grant.  Six  other  labels  from  the  heads  of  the  monster 
contain  puns:  You  shall  find  a  great  deal  of  Gall  besides  Ben-Gall;  We  zvill 
Cant-On ;  Let  us  try  Gull  ifzve  cannot  Mo-Gull;  Alas  I  am  no  better  than  Rajah 
Pout ;  Oh  Mysore!!!  (the  last  two  heads  are  upside  down).  The  labels  relating 
to  Rajput  and  Mogul  are  directed  tow^ards  a  porcelain  mandarin  with  a  gourd- 
shaped  body  and  wearing  a  wide-brimmed  conical  hat.  It  is  seated  on  the 
corner  of  a  high  brick  w*all  (1.),  but  is  toppling  forward.  A  seventh  label  is 
directed  towards  it : 

Humpty  Dumpty  sat  on  the  zcall! 

Humpty  Dumpty  had  a  great  fall! 

Not  all  the  Kings  horses,  nor  all  the  Kings  men 

Could  set  Humpty  Dumpty  up  again!!! 

(The  nurser}'  rhyme  appears  first  in  the  1810  ed.  of  Gammer  Gurton's  Garland, 
O.E.D.)  The  wall  rises  from  a  solid  stone  terrace,  the  r.  edge  of  which 
touches  the  leftmost  coil  of  the  hydra.  In  the  background  (1.)  are  a  Chinese 
pagoda  like  the  one  in  Kew  Gardens,  a  palm-tree,  and  a  humped  bridge. 

The  text  is  a  violent  attack  on  the  East  India  Company  and  its  efforts  to 
have  its  Charter  renewed.  For  the  controversy  see  No.  11999,  &c.  The 
twenty-four  heads  are  the  members  of  the  Court  of  Directors ;  for  their  names 
see  Royal  Kalendar,  1813,  p.  316.  The  Chairman  and  Deputy-Chairman  were 
Sir  Hugh  Inglis  and  Robert  Thornton.  These  are  indicated  in  the  text, 
followed  by  'Buzzing-Kit'  (Jacob  Bosanquet),  'a  (Met-)  calf  (Sir  T.  T. 
Metcalfe);  the  others  indicated  are  George  Millett,  William  Wigram,  Joseph 
Cotton,  Edward  Parry,  Thomas  Reid,  Richard  Twining,  John  Bladen  Taylor. 
The  Company  retained  its  monopoly  of  trade  with  China  (carried  on  through 
Canton)  under  the  new  Charter.  The  Directors  have  been  unjustly  traduced 
in  political  and  commercial  controversy  as  self-interested  monopolists.  See 
C.  H.  Philips,  The  East  India  Company  1784-18J4,  1940,  pp.  299-305 
and  passim. 
6|xi3^in.   With  border,  7^ X  14  in. 

12018  A   BUCKINGHAMSHIRE   BREEZE— OR   AN   EAST    INDIA- 
MAN  IN  DANGER. 

[Williams.] 

Pub'^  March  J^'  181  j  by  the  Proprietors  of  Town  Talk 

Engraving  (coloured  impression).  PI.  from  Town  Talk,  iv.  83.  An  East 
Indiaman,  symbolizing  the  Company,  heels  dangerously,  beset  by  huge 
waves,  and  by  blasts  from  the  mouths  of  four  winds  (r.),  inscribed  respectively 
East,  West,  North,  South,  all  directed  against  her  by  a  winged  man  (Bucking- 
hamshire) seated  god-like  upon  clouds  (r.).  He  is  a  conventional  bearded 
figure,  surrounded  by  swirling  drapery,  on  which  (incorrectly)  is  a  star.  The 
ship,  flying  the  striped  ensign  of  the  Company,  recedes  in  perspective  to  the 
r.,  her  stern  towards  the  spectator.  This  is  inscribed  Inglis  Commander  and 
The  Directors  of  Leadenhall  Street.  One  man,  the  helmsman,  is  visible;  he 
tugs  at  the  tiller,  saying,  Oh  these  cursed  Buckinghamshire  breezes  will  sink  us, 
and  there  be  at  least  20,000  souls  lost.  The  three-masted  ship,  crowded  with 
sail,  drives  towards  a  lee  shore,  represented  by  a  quay,  backed  by  warehouses, 
where  five  vessels  lie,  inscribed  respectively:  Adventure  of  Bristol,  Britainia  of 
Plymouth,  Happy  Return  of  Liverpool,  Swiftsure  of  Leith,  Mercury  of  Glasgow. 
On  the  quay  are  piled  bales  and  packages  inscribed /or  Madras,  for  Calcutta, 
for  Bengal,  for  China.  Tiny  figures  stand  behind  them,  cheering  the  doomed 
ship;  eight  labels  ascend  from  them  and  from  the  anchored  ships:  Twenty  of 

215 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

these  bales  I  have  had  lying  here  these  six  months  waiting  for  permission,  freight, 
and  one  thing  or  another  untill  they  were  nearly  spoiled;  Aye!  Aye!  we  have  lojig 

groan' d  under  this  d d  Monopoly;  by  [sic]  thank  God  it  looks  in  a  dying 

state;  I  wouldnt  throw  out  a  cable  to  save  her — the  timbers  in  her  would  have 
been  enough  for  a  hundred  moderate  merchantmen ;  I  believe  so,  &  the  pitch  & 
tar  &  copper  &  rigging  of  her  have  cost  the  Nation  a  mint  of  money  let  the 
usurers  deny  it  if  they  will;  Well  if  these  tight  little  vessels  can  but  get  out  one 
may  venture  at  a  bit  of  speculation  now  an  then ;  Shiver  my  topsails — but  if  that 
damnable  twenty  decker  was  once  fairly  stowed  in  Davys  Locker,  we  should  have 
plenty  of  freight;  Free  Trade  for  ever!  and  No  Monopolies;  Da — me  but  I  should 
like  to  see  these  Injies  as  they  call  um ;  and  we  can  direct  ourselves  to  market  with- 
out any  Directors. 

For  the  controversy  over  the  East  India  Company  and  the  agitation  of  the 
Out  Ports  for  untrammelled  admission  to  the  trade  with  India  and  China 
see  No.  11999,  &c. 
9f  X  16  in. 

12019  lOHN  BULL  IN  TH  CELLAR— THE  BURSTING  OF  THE 
HOOP  OR  THE  SECRET  OF  SIXPENNY  COMPOUN  DISCOVER'D. 

Argus  fecit   [Williams.] 

Pub'^  March  i'^  1813  by  W  N  Jones  N°  5  Newgate  Street 

Engraving.  PL  to  the  Scourge,  v.  177  (not  folded,  showing  that  it  was  issued 
separately).  John  Bull  (1.)  stands  aghast  at  the  sight  of  a  large  cask  bursting 
so  that  cascades  issue  from  between  the  gaping  staves  and  broken  hoops.  He 
is  a  stout  'cit',  out  at  elbows  and  wearing  patched  clothes;  in  his  pocket  is 
a  paper:  Arbuthnot  on  Diet.  His  arms  are  raised,  and  his  tankard  and  cudgel 
lie  at  his  feet.   The  top  of  the  cask  flies  up,  from  a  cloud  of  froth  inscribed 

HEADING  I  p  The  uppermost  hoops  gape  most  widely,  the  lowest 

ones  are  still  intact  and  are  inscribed  Three  Pence  P"  Pot  iy6i;  the  others, 
reading  upwards,  are:  Threepence  half  pen  \  ny  iy62;  Fivepenc  \  e  1801;  Five- 
pence  halfpenny  18 1 2 ;  sixpe  |  nee  181  J.  The  streams  which  gush  from  between 
split  staves  are  (1.  to  r.):  Spanish  Liquorice,  Liquorice  Root,  Capsicum,  Essetitia 

Berria  |     A        ^^  Malt,  Linseed,  Treacle,  Hops,  Salt  of  Tartar,  Cinnamon, 

Color \        .,,,.  *^      .  .  Ginger,  Coculus  Indicus] — intoxicating.  Slack' d 

\  a  middling  Consistence,        ^    '  ]  °' 

Lime. 

John  exclaims :  Mercy  on  me  what  a  compound,  Bitter,  Hot,  Sweet,  Salt,  and 
stupifying  am  I  paying  Sixpence  a  quart  for!  zvell!  as  this  silver  Hoop  giving  zvay 
has  let  me  into  the  secret  I  hope  it  will  benefit  both  purse  and  Constitution!  by 
adopting  a  simpler  beverage.  Beside  him  stands  a  large  jug  inscribed  WATER 
Health  &  Economy.  On  the  ground  (r.),  splashed  by  falling  porter,  lies  a 
paper:  It  is  hereby  enacted  that  no  beer  or  ale  be  sold  for  more  than  one  penny 
p^  Quart  James  i  Rex  1603.  Behind  John  (1.)  barrels  supported  horizontally 
recede  in  perspective,  inscribed  ALE — Exilerating  and  SMALL  BEER — 
Refrshing. 

The  pi.  is  explained  in  'Memoirs  of  a  Pot  of  Porter',  the  Scourge,  v.  262-4, 
where  the  price  of  porter  is  traced  from  zd.  (1720)  to  2\d.  {c.  1732),  3|j. 
(1761),  5^.  (1801),  s^\d.  (1812),  bd.  (1813),  when:  'lo!  the  bubble's  burst — 
John  Bull  has  descended  into  the  cellar  .  .  .  and  it  is  probable  brewers  may 
still  dream  of  carriages,  horses,  town  and  country  establishments,  and  seats 
in  parliament,  but  nothing  more — the  imposture  is  detected!'   For  the  raising 

216 


POLITICAL   SATIRES   1813 

of  the  price  of  beer,  1760-1,  see  No.  3805,  which  also  attacks  the  rich  brewer 
who  is  a  profiteer.  For  the  price  of  porter  in  1 800-1,  when  4^.  a  quart  seemed 
exorbitant,  see  No.  9430,  &;c.    For  sixpenny  porter  cf.  No.  10732.    For  the 
adulteration  of  beer  cf.  Nos.  10574,  10732,  10794,  ^^• 
9X14^  in. 

12020  THE  ADMIRAL  IN  ST.  PETERSBURGH;  OR,  POOR  WILL 
FOIL'D  AGAIN 

G.  Cruik  del 

March,  181  j.  Printed  atid published  by  J.  Johnston,  g8,  Cheapside. 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  The 
Duke  of  Clarence,  in  admiral's  uniform  with  sword,  kneels  on  both  knees, 
arms  extended,  at  the  feet  of  a  young  woman  who  walks  away.  He  is  in  profile 
to  the  1.,  caricatured,  with  words  issuing  from  his  coarse  protruding  lips: 

0  listen,  listen  to  the  voice  of  Love.  The  lady,  the  Grand  Duchess  Anna 
(Pavlovna)  of  Russia,  looks  scornfully  over  her  shoulder,  pointing  to  a  treasure- 
chest  (1.)  filled  with  bags.    She  answers:  Aye,  Aye,  you  zcant  my  money  bags 

1  suppose!!  She  wears  a  spiky  crown  having  a  square  cap  like  that  of  a  Russian 
peasant,  cf.  No.  11995,  with  feathers,  and  a  fur-bordered  tunic  over  a  slightly 
trained  gown,  and  long  gloves.  A  cross  hangs  from  a  necklace.  Behind  the 
Duchess  (r.)  is  an  imperial  throne.   The  verses: 

Ah!  never  in  the  fire  was  so  scorch'd  a  salamander. 
As  I  with  love  for  the  Sister  of  the  Emperor  Alexander, 
I  long'd  full  sore  for  Tilney  Long, — her  till  had  won  my  soul, 
But  I,  unlike  you  Russians,  was  beaten  by  a  Pole. 

You've  heard  how  for  a  River  I  left  the  stormy  main, 
By  that  fair  river's  Bank,  I  long  did  graze  and  gain; 
Then  like  a  Jew,  as  you'll  allow,  when  you  shall  understand, 
I  on  the  Jordan  turn'd  my  back,  to  seek  a  wealthy  land. 

I  travel  now  to  Russia,  in  which  my  heart  is  bound, 
Oh!  say  not  within  Calf's  skin  it  is  still  to  be  found; 

Take  pity  on  a  worthy  P e,  as  you're  a  Princess  good. 

Let's  manufacture  if  you  please,  young  P s  of  the  Blood! 

For  the  Duke  of  Clarence's  proposals  to  Miss  Tylney-Long  see  No.  1 1744; 
for  his  desertion  of  Mrs.  Jordan,  No.  11844  (he  was  popularly  supposed  to 
live  on  her  earnings).  Princess  Lieven  records  in  1814  that  on  her  arrival  in 
England  at  the  end  of  18 12,  the  Duke  'had  designs  on  a  Russian  Grand 
Duchess  and  he  courted  me  for  that  purpose'.  Unpublished  Diary,  ed. 
Temperley,  1925,  p.  34.  See  No.  12047.  Napoleon  had  made  an  offer  of 
marriage  for  Anna  (b.  1795)  at  the  end  of  1809,  cf.  No.  11529.  She  married 
the  Prince  of  Orange  in  1816. 

There  is  another  state  (not  in  B.M.),  with  the  title:  The  R — /  Lovers,  or 
another  Attempt  at  making  Love  (Aug.  1814).  Reid,  No.  363.  Cohn,  No.  1922. 
According  to  Reid  it  has  an  additional  verse.  This  was  issued  as  a  satire  on 
the  Duke's  courtship  of  the  Grand  Duchess  Catherine,  see  No.  12290;  he 
escorted  her  to  England  from  Holland  in  March  1814,  see  C.  K.  Webster, 
Foreign  Policy  of  Castlereagh,  i,  193 1,  pp.  288  ff. 

Reid,  No.  236.   Cohn,  No.  867  (dated  Aug.  1814,  when  it  was  presumably 
reissued). 
6^X9  in.    Broadside,  17  x  io|  in. 

217 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12021  [THE  OUT-PORTS  AND  THE  EAST  INDIA  COMPANY.] 

\c.  Mar.  1813] 

Engraving  (coloured  impression).  No  title.  Perhaps  a  separate  issue  (not 
folded)  of  a  pi.  to  a  book.  In  the  centre  of  the  design  a  comely  young  woman 
in  classical  draperies,  backed  by  a  cloud  inscribed  The  Spirit  of  Delusion, 
touches  with  a  long  wand  a  reclining  woman  (r.)  who  wakes  yawning,  while 
she  points  with  her  r.  hand  to  a  crowd  of  petitioners  (1.)  as  if  to  introduce 
them.  The  yawning  woman  is  tawny,  with  long  ears,  and  half-nude,  with  a 
bell  (signifying  folly)  attached  to  the  drooping  peak  of  her  cap.  Beside  her 
sits  a  naked  infant  blowing  an  enormous  soap-bubble  from  a  dish  of  lather 
inscribed  Double  double  Toil  &  Trouble ;  he  sits  on  drapery  inscribed  and  give 
to  airy  nothing  a  local  habitation  and  a  Name  [Midsummer  Night's  Dream,  v.  i] . 
The  bubble  is  inscribed :  Free  Trade  to  &  from  India  &  Chi?ia.  The  Earth 
has  Bubbles  as  the  Water  hath  [Macbeth,  i.  iii].  Another  bubble  inscribed 
Buenos  Ayres  Monte  Video  has  risen  and  burst.  The  pair  are  surrounded  by 
bulky  bundles  of  documents :  Scheme  to  Cut  kennels  into  Rivers  with  Sheffield 
Knives  &  forks  Creating  Cut  &  Come  again  Channels  for  needy  Adventurers; 
Scheme;  Scheme  for  Cutting  a  Canal  over  the  Desart  &  forming  a  Grand 
Junction  between  the  Ganges  and  the  Nile  ex  nV  lo  nil  fit;  Snow  Boots,  Fire 
Screens,  Warming  Pans,  Invisible  Petticoats,  Tragedies  for  Warm  Weather 
[cf.  No.  1 1762]  ;/or  Converting  Scotch  Pearls  into  Orientals;  Scheme  for  melting 
the  Ice  at  the  North  Poles  and  forcing  a  N.E.  Passage  by  means  of  Fire  Ships; 
for  a  Tunnel  under  Dover  Castle  to  Calcutta;  Skates  for  Warm  Weather;  South 
Sea  Bubble. 

The  foremost  petitioner  wears  an  alderman's  gown,  he  kneels  presenting 
a  scroll  inscribed  To  barter  Bristol  Stones  for  Diamonds  to  open  another  Channel 
for  Smuggling  beside  that  of  the  Bristol  Channel — "The  Navy  and  the  Naval 
greatness  of  Great  Britain  will  be  destroyed  &  the  downfall  of  its  Independence 
effected  by  the  Existance  of  the  East  India  Company.  Behind  him  stands  a  Scot 
in  Highland  costume  holding  a  scroll :  Desirious  of  throwing  a  new  light  on 
Commerce  by  exporting  Chandeliers  Gas-lamps  Mirrors  Chinese-luminaries  and 
other  Articles  usualy  termed  the  Glass-go  we  humbly  entreat  .  .  .  The  next  man 
holds  out  a  scroll :  Since  the  loss  of  our  Slave  Trade  our  Liver  has  become  a  Pool 
of  grief  to  us  dissolved  in  Woe  [cf.  No.  11 910] — moreover  our  Port  stands  So 
Snug  for  Smuggling  that  the  Free  Trade  tieed  not  go  North  about  for  that 
purpose.  On  the  extreme  1.  stands  an  Irishman,  his  scroll  inscribed  To  save 
Dublin  the  Cape  of  Good  Hope  by  throwing  an  Iron  Railway  across  the  Prom- 
entory  to  export  Irish  Diamonds  &  mend  the  breed  of  Bulls.  Only  part  of  the 
two  remaing  petitions  is  visible :  one  is  Cork  Jackets  for  Indian  Divers  Salted 
Pork  for  Fakirs;  the  other:  Your  Petitioners  request  that  leaving  to  the  Company 
the  Hull  You  would  give  us  the  Kernel  of  the  East  India  Commerce,  showing 
that  the  petitioners  are  from  Cork  and  Hull.  Three  other  men  stand  behind, 
one  with  a  hammer  against  his  shoulder  inscribed  Sheffield.  Behind  them  is 
the  fa9ade  of  the  East  India  House  in  Leadenhall  Street,  with  To  Be  Let  in 
large  letters  below  the  pediment.  Next  it  are  the  masts  of  ships,  all  with 
brooms  tied  to  them  and  inscribed  To  Be  Sold.  Above  the  woman  with  the 
wand  fly  two  children,  their  arms  outstretched  towards  a  wild  goose  flying 
(1.  to  r.),  and  inscribed  Full  feathered  for  INDIA.  In  the  background  (r.)  is 
a  harbour  from  which  vessels  are  sailing.  Against  a  jetty  is  a  boat  inscribed 
Venus,  with  a  sail  inscribed  The  Winds  are  lovesick  with  them  [Antony  and 
Cleopatra,  11.  ii.;  'were'  in  orig.].  A  fat  bawd  ushers  on  board  a  number  of 
women  in  clinging,  high-waisted  dresses.  Another  ship,  the  Boreas,  has  just 

218 


POLITICAL   SATIRES    1813 

left,  her  sail  inscribed  Ships  Colonies  and  Commerce  for  Bonaparte.  Another 
ship  is  from  Liverpool  the  Africa.  A  mere  barge,  No  430,  has  a  sail  inscribed 
And  in  a  sieve  Fll  thither  sail  [Macbeth,  11.  iii]  from  Cork.  A  similar  sail  is 
inscribed  from  Hull.  All  these  vessels  are  small  and  insignificant  compared 
with  the  abandoned  East  Indiamen  on  the  1. 

A  defence  of  the  East  India  Company  against  the  petitions  and  propaganda 
of  the  Out  Ports  for  free  trade  with  India  (and  China),  see  No.  11999,  &c. 
Absurd  petitions  were  actually  made,  e.g.  (according  to  Brougham)  from  New- 
castle, to  ship  coal  for  the  stoves  and  hot-houses  of  Calcutta.  Pari.  Deb.  xxiii. 
490.  The  broken  Buenos  Ayres  bubble  indicates  the  disastrous  rush  to  export 
manufactures  to  that  place,  in  1806,  on  the  advice  of  Popham,  cf.  No.  10974. 
The  export  of  courtesans  to  India  is  the  subject  of  No.  7014,  by  Gillray,  after- 
wards copied  by  Rowlandson  (perhaps  in  connexion  with  this  controversy). 
For  'Ships,  Colonies  and  Commerce'  see  No.  10439,  &c.  Forthe  original  South 
Sea  Bubble  see  No.  1625,  &c.  The  pi.  was  dated  1829  by  E.  Hawkins;  the 
allusion  to  Napoleon,  and  the  costume  of  the  embarking  women,  as  well  as  its 
general  tenor,  indicate  the  1812-13  controversy.  This  was  revived  in  1829,  in 
view  of  the  expiry  of  the  Charter  in  1834,  and  the  pi.  may  have  been  reissued. 

Original  water-colour  in  the  collection  of  Sir  Robert  Witt,  attributed  to 
I.  Cruikshank. 
7|xi6^in. 

1202  It  NORTHERN  DEPUTIES  ON  AN  EASTERN  SURVEY. 

[?i8i3] 
Drawn  &  Etched  by  Delpini 
Pub  by  S  Knight  3  Sweetings  Alley  Cornhill. 

Aquatint  (coloured  impression).  Two  men  ride  an  ass  in  profile  to  the  1. 
A  third  man  wearing  a  fool's  cap  is  on  a  second  ass,  directed  to  the  r.,  but 
looking  round  to  the  1.;  he  points  to  a  bill  on  the  wall:  A  Certain  Cure  for 
the  Liver  ....  Complaint  Apply  at  N"  Leadenhall  Street.  Behind  him  on 
the  ass  are  packages :  Calcutta  Presents  \  Whitney  Blankets  \  Bellozcs  Buttons  & 
Stoves.  The  man  on  the  first  ass  looks  eagerly  at  it;  under  his  arm  is  a  large 
document :  Plan  for  removing  Leadenhall  Market  to  Liverpool.  Seated  behind 
him  on  the  ass's  hind-quarters  is  a  very  small  man  who  waves  a  rolled 
Petition,  on  the  end  of  which  is  his  hat,  with  a  band  inscribed  No  India.  Tied 
to  his  back  is  a  container  inscribed  Gunpowder,  with  the  East  India  Company's 
mark,  and  filled  with  rolled  papers  inscribed  [Pet]ition.  On  the  wall  behind 
him  are  two  dilapidated  bills :  Great  Bargain  To  be  disposed  of  for  the  benefit 
of  a  fezo  Indigent  Adventurers  a  Set  of  Warehouses  Gf  c  AB  A  small  Number 
of  Clerks  &  Industrious  Men  about  150000  may  go  zcith  them.  Apply  at 
Cl-rend-n  [Ho]tel  New  Bond  5'.  On  the  extreme  1.,  receding  in  perspective 
from  this  wall  is  a  facade  on  which  a  pediment  and  pilasters  are  indicated. 

A  satire  on  the  petitions  of  the  Out  Ports  to  share  in  the  East  India  Com- 
pany's trade,  see  No.  11999,  ^^-    ^^  ^^  dated  in  pencil  1830,  when  similar 
petitions  were  made  (see  No.  12021),  and  the  print  was  perhaps  reissued;  the 
imprint  and  the  manner  (old-fashioned  by  1813)  indicate  an  earlier  date. 
8f  xi2|  in. 

12022  THE  WAGS  OF  PARIS,  OR  THE  DOWNFALL  OF  NAP.  THE 
GREAT. 

Pub'^  March  6""  1813  by  S.  Kjught  Sweetings  Alley  Cornhill  London. 
Engraving  (coloured  impression).   A  street  scene,  the  background  being  the 
lower  part  of  the  fa9ade  of  a  row  of  almost  uniform  shop-fronts.    On  the 

219 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

cobbles  of  the  foreground  a  dog  with  a  pot  tied  to  its  tail  runs  between 
Napoleon's  legs,  so  that  he  staggers  backwards.  Two  other  dogs  run  off,  one 
to  the  r,,  one  to  the  1.,  with  pots  tied  to  their  tails,  and  all  three  are  labelled 
Run  away  from  Moscow.  Facing  Napoleon  and  close  to  him  is  a  gendarme 
flourishing  a  sword.  Napoleon,  crudely  drawn  rather  than  caricatured, 
exclaims :  Sucre  DieuH  Plot  AngloisH  D — n'd  Dogs  &  Bitches!!  not  a  Dog 
in  Paris  but  shall  feell  my  Vengeance!!  Shoot!  Hatig!  them  all!!  Not  the 
Empress's  Favorite  shall  escape.  D — nd  John  Bull,  D — nd  Russian  Bears,  not 
content  with  hunting  Me  from  the  frightfull  Climate  but  sends  Mad  Dogs  to 
Hunt  me  in  my  own  Capital!!!  The  gendarme  answers :  Sire  be  Pacified.  All 
the  Dogs  in  Paris  shall  be  tried  by  a  Military  Commission  for  a  Conspiracy 
against  your  Sacred  Majesty,  all  John  Bulls,  Bull-Dogs,  shall  be  Destroyed! 
Pomeranian,  Danish,  Mastiffs  &  all  but  your  Majesty's  own  breed.  Blood 
Hounds!!  Amused  spectators  stand  in  the  shop-doors  and  on  the  pavement 
and  look  from  windows.  The  shops  seem  to  be  a  silversmith's  and  watch- 
and  clock-maker's,  a  bookshop,  a  coiffeur,  a  boot-shop,  a  hosier.  Below  the 
title :  But  the  circumstance  said  to  have  annoy' d  the  Emperor  most  was.  Some 
Wags  of  Paris  taking  of  Dogs,  and  for  sev'ral  nights  together,  tied  Tin  Kettles 
to  their  tails  &  labels  round  their  necks,  with  the  words  '^Ru?i  away  from  Moscow" 
&  giving  them  liberty  they  ran  with  volocity  [sic]  &  fury  in  various  directions 
to  the  great  Entertainment  of  the  Parisians   Courier  March  j^'  1813. 

For  the  retreat  from  Moscow  see  No.  11917,  &c.;  for  'frightfull  climate'. 
No.  12014.    See  also  No.  12024. 

Listed  by  Broadley.   Milan,  No.  2491. 
8^X13!  in. 

12023  ANTICIPATION  FOR  BONEY  OR,  A  COURT  MARTIAL  ON 
THE  COWARDLY  DESERTER  FROM  THE  GRAND  ARMY! 

Etched  by  G.  C 

Pub'^  March  6"^  1813  by  S  Knight  j  Sweetings  Alley  Royal  Exchange 

Engraving  (coloured  and  uncoloured  impressions).  Napoleon  is  sentenced  by 
French  Jacobins.  The  judge,  a  cobbler  (1.),  sits  in  a  chair  on  a  cloth-covered 
table  pointing  a  minatory  linger  at  the  kneeling  and  terrified  Emperor  (r.). 
In  his  r.  hand  is  a  hammer,  his  slippered  1.  foot  rests  arrogantly  on  a  lapstone, 
his  r.  foot  is  in  a  patched  shoe  or  sabot.  He  is  ragged  and  emaciated  and  wears  a 
bonnet  rouge  and  leather  apron.  Two  grotesquely  lean  old  men  wearing  large 
judge's  wigs,  poverty-stricken  but  legal  rather  than  proletarian  in  appearance,  sit 
one  on  each  side  of  his  table  writing  in  large  books.  The  nearer,  on  the  extreme 
1.,  has  written  Napoleon  Bounapart  Proved  Guilty  of  Desert  .  .  .  The  cobbler 
shouts :  Well,  you  are  found  Guilty  of  Cozvardly  deserting  from  the  Grand  army, 
&  by  repairing  here  with  your  Cobbling  defence,  you  have  done  a  d — d  bad  job 
for  yourself,  &  as  your  time  waxes  near  its  end,  I  would  have  you  prepare  your 
Sole  for  your  Last — so  off  with  his  head  M''  Butcher.  A  butcher  stands  between 
judge  and  prisoner,  with  legs  wide  astride,  holding  a  rope  which  is  round 
Napoleon's  neck.  The  Emperor  weeps,  his  hair  stands  on  end,  and  he 
exclaims,  with  hands  together  as  if  in  prayer :  O  dear,  o  dear,  do  not  kill  me! 
Cut  off  my  Tail  if  you  please!!  but,  spare,  O  spare  my  head.  He  wears  tattered 
uniform  with  a  sash  tied  at  the  back,  and  huge  spurs  on  his  jack-boots.  The 
butcher  holds  a  large  headsman's  axe  against  his  shoulder,  and  glares  fiercely 
down,  saying,  Oh,  D — n  you  we'll  Cut  off  your  head  &  your  Tail  too!  He  is 
a  ruffian  with  a  damaged  nose,  looped-up  apron,  and  a  steel  hanging  from 
his  waist.  Famished  proletarian  spectators  stand  in  the  background.  A  tailor 

220 


POLITICAL   SATIRES    1813 

holding  shears,  shouts:  Aye,  Aye,  he  has  butchered  Millions.  Others  shout: 
Crispin  for  ever;  Liberty  Liberty  away  zcith  him;  Emperor  Crispin  for  ever; 
a  (?)  sailor  shouts  Off  with  his  head.  A  family  group  hurries  towards  Napoleon 
from  the  extreme  r.:  a  grotesquely  caricatured  virago  shouts:  Where's  my 
husband  Wretch,  a  boy  holding  a  dagger  exclaims :  Wheres  my  Father,  and  a 
smaller  child  asks:  Wheres  my  dady.  Behind  the  tailor's  seat  is  a  cap  of 
Liberty  on  its  pole,  flanked  by  ragged  curtains.  On  the  ground  in  front  of 
his  table  is  a  large  skull. 

For  Napoleon's  departure  from  the  army  see  No.  11991,  &c.  The  design 
perhaps  derives  from  the  revolutionary  tribunal  of  G'lWvdiy's  Patriotic  Regenera- 
tion .  .  .,  No.  8624. 

A  copy,  reversed,  was  published  by  McClear}-. 

Reid,  No.  221.    Cohn,  No.  890.   Listed  by  Broadley.  Milan,  No.  2490. 
SixisJin. 


12023a  cour  martiale  assembl^e  pour  juger  ux  de- 
serteur  de  la  grande  armee 

Reproduction  of  a  French  copy  (?  1815),  of  No.  12023,  ^^'^^^  omissions, 
Grand-Carteret,  Napoleon,  No.  246.  The  chief  hgures  are  closely  copied 
but  the  proletarian  crowd,  except  for  the  tailor  and  the  woman  (scarcely 
caricatured)  who  demands  her  husband,  are  omitted.  The  judge  says:  Uon 
vous  a  trouve  coupable  d' avoir  honteiisement  deserte  la  Grande  Armee  ce  n'est 
pas  avec  vos  contes  que  vous  pourrez  vous  tirer  de  la  vous  etes  dans  un  tres 
mauvais  cas  votre  derniere  heure  est  venue  recommendez  votre  [ame]  a  dieu 
ainsi  Af  Le  Boucher  abattez  la  tete.  The  other  speeches  are  closely  translated. 
The  tailor  says :  il  a  massace  [sic]  des  7tiillions  de  personnes  quon  abatte  sa  tete. 

Cf.  No.  12564,  &c.   Broadley,  ii.  51  (attributed  to  Apr.  1813).    De  Vinck, 
No.  8793.   Milan,  No.  2478. 
8^X  12  in.  (original).  B.M.L.  010662.  k.  19. 

12024  THE  CORSICAN  BLOODHOUND,  BESET  BY  THE  BEARS 
OF  RUSSIA.  [191] 

[Elmes.]     Price  One  Shilling  Coloured 

Pub'^  Mar^  7""  1813  by  Tho'  Tegg.  iii  Cheapside  London 

Reproduction,  Klingender,  p.  27.  A  dog  with  the  head  of  Napoleon  wearing 
his  plumed  bicorne,  runs  1.  to  r.  across  the  snow,  turning  his  head  in  profile  to 
the  1.;  to  his  tail  is  tied  a  battered  saucepan,  inscribed  Moskow  Tin-Kettle, 
from  which  fall  papers  inscribed  respectively:  Famine  (twice).  Oppression, 
Frost,  Destruction,  Death,  Mortality,  Horror,  and  Moskow  Annihilation.  The 
end  of  a  heavy  chain  dangles  from  his  collar,  which  is  inscribed  From — 
Moskow.  Huge  bears  advance  towards  him  from  the  1.,  corpses  are  outlined 
on  the  snow.  The  foremost  bear  says:  Push  on  my  Lads — no  grumbling — keep 
scent  of  him — no  sucking  of  Paws — this  winter — here  is  food  for  the  Bears  in 
all  the  Russias.  Napoleon  says:  ''What  a  horrible  climate' — my  only  chance  to 
escape  the  clutches  of  those  monstrous  canables  [sic]  is  by  takeing  to  my  heels — 
once  more — /  shall  never  be  able  to  shake  off  this  d — d  old  Kettle — trailing  at 

my till  my  Tail  drops  off.   In  the  background  is  Moscow  in  flames  (see 

No.  12049,  &c.). 

See  No.  12022.  For  'horrible  climate'  see  No.  12014.  Napoleon's  profile 
resembles  that  of  Rowlandson's  The  Corsican  Tiger  at  Bay!  (No.  10994),  from 
which  the  design  may  derive.    Cf.  also  An  English  Bull  Dog  and  a  Corsican 

221 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Blood  Hound,  No.  10080,  where  Napoleon  has  a  similar  profile,  though  the 
design  is  very  different. 

Listed  by  Broadley.   De  Vinck,  No.  8792.  Milan,  No.  2492.   Reproduced, 
ut  supra ;  Grand-Carteret,  Napoleon,  No.  247  (a  later  state,  Moscow  obliter- 
ated by  cross-hatching,  the  inscription  on  the  collar  removed);   Rosner, 
Writing  on  the  Wall,  1943. 
8^X  12^  in.  (original).  B.M.L.  12322.  cc.  7. 

12025  AUSSERORDENTLICHE  FRANZOSISCHE  REITPOST  VON 
MOSCAU  NACH  PARIS- 
FRENCH  POST  EXTRAORDINARY  FROM  MOSCOW  TO  PARIS— 

Copied  from  a  Russian  Print  Etched  by  G.  Cruikshank 

Pu¥  March  26^^  1813  by  H.  Humphrey  S'  James's  S'  London 

Engraving  (coloured  and  uncoloured  impressions).  One  of  a  set,  see  No. 
1 1995,  &c.  An  ass,  with  a  feathered  wing  attached  to  each  hoof,  flies  from 
1,  to  r.,  and  slightly  upwards,  led  by  two  crowned  eagles  which  are  harnessed 
to  its  tail.  Napoleon,  wearing  a  large  plumed  bicorne,  bestrides  the  ass,  with 
four  French  generals  seated  behind  him,  their  differing  uniforms  signifying 
different  branches  of  the  army.  The  ass  has  huge  ears  and  eye;  it  snorts  fire, 
and  its  mouth  is  wide  open.  Round  its  neck  hangs  a  placard  headed  by  an 
imperial  eagle:  Le  Courier  Extraordinaire  de  rEm[pereur]  Napoleon.  The 
Emperor  flings  his  arms  wide;  in  his  r.  hand  is  a  baton  topped  by  an  eagle, 
in  the  1.  a  paper:  Tout  a  Dessein  [according  to  plan].  He  says:  co  cjiasoio  — 
nbiWH  HasacTpHBaio//.'  Mit  Ruhmgeb'  ich  das  Ferien  geld!!!  [With  glory  I  left 
without  paying  my  bills] .  The  officer  behind  him,  who  wears  a  high  fur  cap 
with  plume,  holds  the  long  shaft  of  an  ornate  tricolour  flag,  inscribed  La 
Grande  Nation  and  decorated  with  A^.'s;  it  is  surmounted  by  an  eagle  and 
has  streaming  tassels.  The  next  man,  wearing  a  smaller  version  of  Napoleon's 
hat,  holds  a  miniature  cannon,  as  do  the  two  men  behind  him.  The  next 
man  wears  a  shako  and  long  gaiters.  The  last  man,  wearing  a  short  braided 
tunic  bordered  with  fur  and  a  cavalry  helmet  with  a  streaming  horse's  tail, 
waves  his  cannon,  saying,  Bor-b  hto/  seh't  da!  See!  See! 

Each  eagle  has  the  cross  of  the  Legion  of  Honour  hanging  from  its  neck 
and  is  ridden  by  a  postillion  blowing  a  trumpet,  and  wearing  a  cavalry  helmet 
and  high  jack-boots;  to  one  trumpet  is  attached  a  banner  inscribed  HneTi> 
BejiHKiH — Erkomt  dor  [sic]  Crosse,  and  from  its  mouth  issue  the  words :  He  is 
coming,  the  Great  Emperor  is  Coming.  The  ass's  tail  ascends  in  a  curve  above 
a  basket  which  hangs  from  it  inscribed  Provisions  from  Moscow.  In  this  stands 
a  young  woman  in  profile  to  the  r.,  with  a  bare  bone  in  one  hand,  an  empty 
bottle  in  the  other.  She  addresses  two  men  who  cling  to  the  tip  of  the 
animal's  tail  and  float  together  through  the  air:  Bonpu  Focnona.'  Courage 
meine  Herrn!  Courage  Gentlemen.  One  wears  the  uniform  of  a  hussar  ofiicer; 
he  shouts  noMHuyHTe  cosMHTe  Hacb  co6oh  Erharmt  Euch  nehmt  uns  mit  For 
Gods  sake  take  us  with  you.  The  other  (?)  a  Pole,  wears  a  square  cap  with 
bag  and  plume  and  a  long  tunic  over  high  boots.  Above  the  design  is  the 
title  in  Russian :  HpesBbiHaHnayi  ^JpaHuysKaH  nonra  a-b  riapHwt 

A  satire  on  Napoleon's  retreat  from  Moscow,  see  No.  11917,  &c.  A  regular 
and  rapid  post  went  backwards  and  forwards  between  Paris  and  the  Emperor's 
headquarters,  with  a  'truly  astonishing  punctuality',  see  Caulaincourt, 
Memoirs,  1935,  i.  230  f. 

Reid,  N0.223.  Cohn,  No.  1138.  Listed  by  Broadley.  Reproduced  (colour), 
Klingender,  p.  39. 
7^Xi2|in.  With  border,  9|x  1 3I  in. 

222 


POLITICAL  SATIRES    1813 

12026  INDELICATE      INVESTIGATION      OR      THE      SPYING 
D GLASS'S— 

Designed  by  J  B  P.   Etc¥  by  G.  C 

March  26  1813  Publ^  by  S  Knights  3  Sweetings  Alley  Royal  Exchange 

late  Walker  &  Knights  Removed  from  7  Cortihill — 
Engraving.  The  Princess  of  Wales  (idealized)  wearing  coronet  and  feathers, 
sleeps  on  a  sofa.  This  has  a  draped  canopy  decorated  with  two  crowns,  one 
inverted  and  inconspicuously  suggesting  the  Regent's  pendulous  cheeks 
framed  by  whiskers,  and  with  eyes  that  look  down  with  sly  malevolence.  The 
crowns  are  irradiated  and  surmounted  by  the  Prince's  feathers  and  motto, 
Ich  Dien.  Lady  Douglas,  plump  and  roundabout,  kneels  on  a  cushion, 
eagerly  peering  through  a  spy-glass  at  the  gently  swelling  figure  of  the 
Princess.  She  says  /'//  Szcear  it.  Behind  her  kneels  Sir  John,  1.  hand  on  his 
wife's  shoulder,  looking  through  an  eye-glass;  he  says  /'//  second  it.  He 
wears  uniform  with  sword  and  spurred  jack-boots;  unlike  the  other  figures, 
he  is  burlesqued  with  a  long  nose  and  huge  eye-ball.  Both  are  in  profile  to 
the  1.  A  fashionably  dressed  man  (Bidgood,  see  No.  1203 1)  points  furtively 
at  a  large  wall-mirror  (r.),  a  finger  to  his  lips,  saying,  /'//  icitness  it  in  the  Glass. 
On  the  floor  (1.)  is  a  large  open  book:  The  Book  [see  No.  11990].  Beside 
Douglas  are  two  smaller  books :  Douglas  on  Modesty,  and  .  .  .  dwifry  [Mid- 
wifery], and  a  paper:  Form  of  an  Oath. 

Three  pictures  are  on  the  wall:  [i]  The  Milk  Woman  Painted  by  L  D 

[Douglas] ;  a  flamboyant  woman  carries  milk-pails  on  a  yoke,  milk  pouring 
from  both  to  the  ground.  A  finger-post  points  To  The  Dairy;  a  gable-end 
placarded:  Nezv  Milk  from  the  Cow.  [2]  A  View  at  Charlton,  a  woman  looks 
down  in  astonishment  into  a  wash-tub;  clothes  hang  on  a  line;  behind  is  a 
cottage.  [3]  Anticipation  Painted  by  Justice;  the  Douglases  stand  in  a  pillory 
(the  punishment  for  perjurers),  heads  and  hands  confined. 

A  satire  on  the  depositions  of  the  Douglases  which  led  to  the  'Delicate 
Investigation'  of  1806.  Douglas  (gazetted  Major-General  181 1)  was  knighted 
in  1800  when  a  major  of  Marines  for  gallantry  at  Acre  and  El  Arish.  His  wife, 
Charlotte,  was  a  daughter  of  Lt.-Col.  Hopkinson  of  the  15th  Dragoons. 
Farington  Diary,  vii.  157.'  Lady  Douglas  said  that  the  Princess  told  her  that 
she  had  concealed  milk  that  flowed  through  her  gown.  A  laundress  deposed 
that  the  Princess's  linen  showed  signs  of  a  miscarriage.  The  Princess  in  her 
letter  to  the  Regent  and  appeal  to  the  Speaker,  see  No.  12011,  called  them 
suborned  perjurers.  The  matter  was  debated  on  4,  5,  and  15  Mar.;  Whit- 
bread  asked  whether  Lady  Douglas  was  to  be  prosecuted  for  perjury.  On 
17  Mar.  he  presented  a  petition  from  the  Douglases  offering  to  re-swear  their 
evidence  before  a  tribunal  that  would  enable  them  to  be  so  prosecuted.  See 
Ann.  Reg.,  1813,  pp.  16-25;  P^^l-  Deb.  xxiv.  iio6ff.;  xxv.  116  ff.  See  also 
Nos.  12011,  12027,  12028,  12029,  12030,  12031,  12032,  12039,  12732. 

Reid,  No.  224.    Cohn,  No.  1232. 
8|xi3^  in. 

12027  ANTICIPATIONS  FOR  THE  PILLORY. 

[W'illiams.] 

Pub'^  April  i^'  1813  for  the  Proprietor  of  Town  Talk. 

Engraving  (coloured  impression).    PI.  from  Tozcn  Talk,  iv.  165.    A  double 

pillory  stands  on  a  scaffold  placed  under  an  avenue  of  trees  adjoining  a  house 

'  According  to  Lysons,  who  had  long  known  her.  Stories  of  her  low  origin  figured 
in  the  Opposition  Press:  Examiner,  25  Apr.  181 3,  citing  the  West  Briton,  said  she  was 
the  daughter  of  a  private  who  became  an  army-agent  (echo  of  the  Clarke  scandal,  see 
No.  11216)  and  then  a  colonel  with  a  fine  estate.  This  is  combined  with  incorrect 
information  about  Sir  Charles  Barrow,  father  of  her  (alleged)  illegitimate  mother. 

223 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

(1.)  evidently  intended  for  Montagu  House,  Blackheath,  the  residence  of  the 
Princess  of  Wales.  A  constable  or  sheriff  raises  the  upper  half  of  the  pillory, 
in  readiness  for  the  two  people  who  shamefacedly  advance  on  the  scaffold, 
Lady  Douglas  covering  her  face,  and  supported  by  her  husband  who  is  in 
uniform.  A  festive  crowd  surrounds  the  platform.  On  the  1.  a  naval  officer 
(Sir  Sidney  Smith)  in  uniform,  wearing  a  star  and  seated  on  a  horse.  He 
points  to  the  scaffold,  looking  down  at  a  one-legged  sailor  (1.)  to  say:  Shiver 
my  timbers  if  there  might  not  be  two  or  three  others  by  the  side  of  her.  The  sailor : 
God  bless  your  Honour!  remember  poor  Jack  that  serv'd  at  the  siege  of  Acre  with 
your  Honor — /  wish  we  had  the  Keel-hauling  her.  Beside  him  stands  a  military 
officer  (his  coat  coloured  blue).  A  woman  holds  out  her  apron  to  collect  mud 
or  stones  shovelled  up  by  a  man  who  says:  Give  her  enough!  She  wants  a 
mask  to  hide  her  shameless  face.  She  answers :  Fll  make  her  repent  saying  my 
child's  not  my  own,  or  Fm  not  Sophy  Austin.  A  woman  with  a  large  basket 
on  her  arm  cries :  Buy  my  nice  Pillory  Nuts!  My  Warm  Douglas  gingerbread. 
A  well-dressed  man  says :  Ecod  I'll  taste  this  gingerbread  I  think  it  must  have 
a  d — d  quantity  of  gall  in.  &  must  be  confounded  bitter.  A  man  with  a  wooden 
leg  stands  beside  his  pannier-laden  donkey  shouting :  Fine  high  flavour' d 
rotten  Eggs  sixpence  a  hundred!  A  man  holds  out  his  hat,  saying,  Lets  have 
a  hat  full!  a  rotten  Egg  is  a  good  antagonist  to  a  corrupt  heart.  A  boy  holds 
out  his  hat,  saying,  master  give  us  a  few  Fm  a  desperate  good  marksman.  The 
crowd  is  decently  dressed,  men  in  top-boots,  women  in  bonnets  and  cloaks 
or  fashionable  pelisses.  On  the  r.  a  stage-coach  inscribed  Greenwich  and 
Woolwich  appears  above  the  spectators,  with  inside  and  outside  passengers. 
The  driver  turns  to  watch  the  pillory,  saying,  So  may  all  her  Royal  Highness' s 
enemies  be  exhibited!  In  Montagu  House,  behind  a  garden  wall,  four  sash- 
windows  are  open ;  three  women  and  the  Princess  look  out ;  she  says :  This  is 
my  hour  of  Triump  [sic] . 

On  5  Mar.,  after  the  Princess's  appeal  to  the  Speaker,  see  No.  12026, 
Cochrane  Johnstone  (see  No.  12209,  &c.)  complained  that  the  Douglases 
persisted  in  their  story  (that  William  Austin  was  the  son  of  the  Princess), 
and  asked  why  they  were  not  prosecuted.  On  15  Apr.  a  realistic  effigy  of 
Lady  Douglas,  placarded  'Conspiracy  and  Perjury'  and  'Diabolical  Perjury', 
was  carried  through  Greenwich,  Blackheath,  &c.  and  finally  burned  before 
a  large  and  applauding  crowd.  Examiner,  18  Apr.  1813.  It  had  been  estab- 
lished to  the  satisfaction  of  the  Commissioners  of  1806  that  W.  Austin  whom 
the  Princess  had  adopted  was  the  child  of  his  alleged  parents.  James 
Brougham,  after  interviewing  the  Princess  in  1819,  wrote  to  his  brother: 
'She  has  told  me  all  about  W.  Austin  who  is  not  ye  son  of  Austin  but  quite 
another  person.  .  .  .  She  told  Perceval,  Eldon,  and  yrself  [Brougham]  that 
W.  A  was  not  her  son,  wh.  was  true,  but  tho'  old  Austin  and  his  wife  both 
believe  him  to  be  their  son,  he  is  not.'  Corr.  of  George  IV,  1938,  ii.  281. 
Cf.  No.  12030.  See  Brougham,  Life  and  Times,  ii.  425. 
6^X151  in. 

12028  STATE  MYSTERIES  A  VISION  OF  PALL  MALL. 

[Williams.] 

Pub<^  April  I''  181 3  by  W  N  Jones  Newgate  Street 

Engraving  (coloured  impression).    PI.  from  the  Scourge,  v,  before  p.  269.* 

Illustration  to  'The  First  Book  of  the  Acts  of  the  Regent'  (in  Biblical  language), 

pp.  269-75.  The  Regent  and  three  others  have  been  seated  on  a  throne-like 

settee;  they  are  terrified  at  the  approach  of  the  Princess  of  Wales  (r.)  led 

'  Misplaced  in  B.M.L.  copy. 
224 


POLITICAL   SATIRES    1813 

forward  by  Truth  who  holds  up  her  mirror,  directing  its  rays  against  the  heads 
of  the  Prince  who  flinches  back,  throwing  up  a  leg  in  horror.  Lady  Douglas 
seated  beside  him  and  clutching  his  r.  arm,  and  Sir  John  Douglas,  who  rises 
to  his  feet,  tugging  at  his  wife's  dress.  On  the  r.  of  the  settee.  Lady  Hertford 
hides  her  head  against  the  Prince,  clutching  his  legs  in  an  abandoned  way. 
At  her  feet  crouches  Envy,  a  hag  with  pendent  breasts  wTeathed  with  serpents, 
who  flinches  from  Truth  and  tries  to  veil  her  head  with  Lady  Hertford's  skirt. 
Truth  is  naked  except  for  a  belt  and  swirling  draperies,  on  her  breast  is  an 
irradiated  sun  (as  in  No.  12006).  The  Princess,  handsome  and  dignified, 
wears  the  Prince's  feathers  in  her  hair  which  is  encircled  by  a  fillet  inscribed 
[Ich]  Dien;  a  long  veil  hangs  down  her  back;  with  1.  arm  raised  she  declaims, 
quoting  from  Queen  Katherine's  speech  {Henry  VIII,  ii.  4): 

Sir  I  desire  you  do  me  right  and  Justice 

And  to  bestow  your  pity  on  me:  for 

I  am  a  most  poor  Woman  and  a  stranger 

born  out  of  your  dotninion 

if  you  can  report 
and  prove  it,  against  mine  honor  aught 
my  bond  to  Wedlock,  or  my  love  and  duty 
against  your  sacred  person  in  gods  name 

turn  me  away and  so  give  me  up 

to  the  sharpest  kind  of  Justice 

Behind  her  (r.)  walks  a  man  displaying  a  large  document :  Secret  Correspon- 
dence I  The [Regent]  |  Lady |  Lady |  M"^ |  Ye  perjurers 

suborned  avaunt  this  deed — the  under  tongued  shall  plead — against  the  deep 
damnation  of  your  Souls.  He  is  *a  scribe  whom  the  people  honor',  and  may 
be  Whitbread  or  Brougham  though  resembling  neither. 

Lady  Hertford  exclaims  to  the  Regent :  Hide  me!  Hide  me!  Truth  is  hatefull 
to  me  and  a  Virtuous  wife  abhorrent  to  my  Nature.  The  Regent  quotes  Hamlet 
as  in  No.  1 1990 :  Angels  and  Ministers  of  grace  defend  us.  Lady  Douglas,  good- 
looking,  with  a  tartan  scarf  across  her  shoulders,  says:  Mercifull  Heaven  it 
is  all  discovered,  our  our  [sic]  schemes  are  confounded  and  we  are  branded  zvith 
the  charge  of  perjury.  Her  husband,  who  wears  Highland  dress,  exclaims: 
Never  mind  my  Dear — the  Blood  of  Douglas  will  protect  itself!  but  I  must  confess 
it  will  be  most  adviseable  to  shuffle  our  heads  guilty  [?  quickly]  as  possible  out 
of  this  disagreable  Halter.  The  settee  is  on  a  dais  and  is  backed  by  heavy 
fringed  draperies  looped  round  two  massive  columns. 

On  the  1.  are  five  men,  all  terrified  at  the  approach  of  Truth;  they  surround 
a  cauldron  from  which  issue  flames  and  clouds  of  smoke  inscribed  in  large 
and  partly  obscured  letters  DI[V^OR[C]E;  all  hold  long  wands.  Sidmouth 
scrambles  away  from  the  cauldron  on  all  fours,  a  clyster-pipe  (cf.  No.  9849) 
hanging  from  his  pocket;  he  says:  Unhappy  Man  what  had  I  to  do  with  this 
wretched  scheme  of  Divorce! — this  is  zcorse  than  my  intolerant  Dissenting  Ministers 
Bill!  The  two  archbishops  flee  to  the  1.:  Manners-Sutton  says:  "Confound 
our  politics  They  frustrate  our  knavish  tricks''.  And  have  made  Canterbury  cakes 
of  us.  Vernon,  his  hand  on  the  other's  shoulder,  and  stepping  from  the 
cauldron,  says:  /  thought  I  was  far  enough  North  for  them  but  it  appears  York 
wont  do!  Eldon,  in  his  Chancellor's  gow^n,  with  primly  clasped  hands  says: 
Wou'd  I  were  now  quietly  locking  up  my  table  Beer  to  prevent  waste  among  my 
servants,  or  sneaking  to  bed  with  my  shoes  in  my  hand — in  fear  of  waking  my 
Lady — any  where  but  where  I  am.  Lord  Ellenborough,  in  his  robes,  says :  Curse 
the  cauldron!  I  have  put  foot  in  it. 

A  satire  on  the  commission  to  the  Archbishops,  Cabinet,  and  Privy  Council- 

225  Q 


CATALOGUE   OF  POLITICAL  AND   PERSONAL   SATIRES 

lors  to  examine  the  documents  of  1806,  the  'so-called  delicate  investiga- 
tion', into  the  conduct  of  the  Princess  of  Wales.  The  Princess  maintained 
that  the  Douglases  were  suborned  perjurers;  they  demanded  to  stand  trial 
for  perjury,  see  No.  12026.  The  Princess's  innocence,  the  thesis  of  Judge 
Parry's  Queen  Caroline,  1930,  can  scarcely  be  maintained  since  the  publication 
of  the  Correspondence  of  George  IV,  1938,  see  especially  i.  507-23,  ii.  57-61, 
281.  In  181 1  Sidmouth  brought  in  a  Bill  requiring  all  dissenting  ministers 
to  be  licensed,  and  restraining  unlicensed  preachers;  this  caused  an  outcry; 
the  Bill  was  thrown  out  in  the  Lords  without  a  division.  The  first  allusion 
to  a  plan  for  the  divorce  of  the  Princess,  seven  years  before  it  was  openly 
mooted.  According  to  the  'historical  preface'  to  The  Book,  ed.  C.  V.  Williams, 
p.  xviii,  'one  evening  paper  of  infamous  notoriety'  had  asserted:  'the  Prince 
Regent  may  lose  his  wife,  may  marry  again,  and  have  a  son'.  See  No. 
12808,  &c.  Cf.  Nos.  1 1990,  12039,  12041,  12056. 
7^X20^  in. 

12028  A  The  plate  used  as  the  heading  to  The  First  Book  of  the  Acts  of  the 
Regent — Extract  from  "The  Scourge",  printed  in  five  columns. 
Broadside,  17x22  in. 

12029  A  VENEMOUS  VIPER  POISONING  THE  R L  MIND. 

G  Cruikshank  fee* 

Pub^  April  J^'  181 3  by  J  Fairburn  2  Broadway  Ludgate  hill. 

Engraving  (coloured  impression).  The  Regent  sits  on  the  end  of  a  couch,  legs 
astride,  holding  on  his  lap  Lady  Douglas  whose  (naked)  body  terminates  in 
a  long  serpent  which  coils  fantastically  across  the  design.  A  piece  of  tartan 
drapery  swirls  from  her  shoulders.  She  has  a  handsome  profile,  but  fangs 
issue  from  her  lips;  her  1.  arm  is  round  the  Prince's  shoulders :  she  emphasizes 
her  words  with  her  r.  forefinger :  /  will  swear  she  told  me  that  she  got  a  bedfUow 
[sic]  whenever  she  could,  that  nothing  was  more  Wholesome — that  she  was  preg- 
nant— and  the  P should  have  the  Credit  of  it:  she  did  what  she  Liked  had 

what  bedfellow  she  Liked  &  the  P paid  for  all.   The  Prince  takes  a  large 

goblet  from  a  table  (r.),  spilling  its  contents;  he  says :  That's  D — dgoodH  we'll 
have  an  Indelicate  investigation ;  take  another  Glass  upon  the  strength  of  it. 
Sir  John  Douglas,  hiding  behind  the  couch,  raises  his  head  and  shoulders  to 
say  to  his  wife :  PR  swear  to  that,  or  any  thing  else  ;  so  help  me  Bob.  He  wears 
a  tam-o'-shanter  and  a  tartan  coat,  and  has  coarse  burlesqued  features.  On 
the  table  by  the  Regent  is  a  large  decanter  labelled  Curacoa,  and  a  dish  of 
fruit,  grapes,  pine-apple,  &c.  A  bottle  lies  at  his  feet,  spilling  its  contents. 
Outside  a  large  window  draped  with  a  curtain  behind  which  Douglas  is 
sheltering,  is  seen  a  woman  (Lady  Douglas)  standing  in  the  pillory.  She  is 
closely  confined,  and  seems  in  extremis,  under  a  shower  of  mud,  eggs,  cats,  &c., 
from  the  surrounding  crowd.  Above  her  is  a  placard:  An  Exalted  Situation, 
suited  to  the  detestable  Crime  of  Wilful  &  Corrupt  Perjury. 

For  the  evidence  of  Lady  Douglas  in  the  'Delicate  Investigation'  see 
No,  12026,  &c.  Whitbread,  on  17  Mar.,  complained:  'Lady  Douglas  has 
again  been  examined  as  a  credible  witness  .  .  .'  (by  the  Treasury  Solicitor 
in  the  presence  of  Conant,  the  Bow  Street  magistrate).  Pari.  Deb.  xxv.  155. 
See  No.  12039. 

Reid,  No.  225.   Cohn,  No.  2073. 
8^X13  in. 

226 


POLITICAL   SATIRES   1813 

12030  A  CAPUT:   NEW  COLLEGE  OXFORD. 
SATIRIST  1ST  APRIL  1813 

Satirist  inv^  Aqua  Fortis  Fecit   [Brooke.] 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xii.  290.  Explanatory 
text,  pp.  290-4,  in  the  form  of  a  dialogue.  A  consultation  between  Brougham 
and  Burdett  on  William  Austin  and  the  succession  to  the  Crown.  Four 
persons  sit  at  a  long  table  covered  with  a  green  cloth  with  an  elaborate  gold 
border.  At  one  end  (r.)  is  Brougham  in  wig  and  gown,  leaning  forward  to 
address  Burdett;  under  the  table  his  foot,  a  cloven  hoof,  appears.  In  front 
of  him  on  the  table  is  a  round  basket  inscribed  from  Brownlow  Hosp'  Glass 
to  be  kept  dry  this  side  up.  From  the  basket  climbs  a  little  boy  in  a  tight  suit 
decorated  with  buttons;  he  stretches  his  hand  towards  a  large  royal  crown 
which  has  fallen  sideways  from  the  cushion  against  which  it  rests.  Brougham's 
1.  hand  rests  on  an  open  book:  The  Young  Man's  complete  Letter  Writer.  On 
the  table  is  also  a  round  band-box  on  which  Burdett's  hand  rests,  inscribed 
Scotts  tribute  to  the  King  of  England.  In  this  kneels  a  little  girl,  similar  in  size 
to  W.  Austin,  but  dressed  as  a  woman  and  with  Burdett's  profile;  she  extends 
both  arms  towards  Austin  (and  the  crown).  Brougham  says:  The  interests 
of  Billy  Austin  are  entrusted  to  my  care — he  shall  marry  Your  daughter  by  that 
Lady  &  dash  for  the — (a  crown  is  depicted).  Burdett  answers:  /  agree, 
provided  I  am  made  Prime  any  thing  to  create  a  ferment.  Behind  Brougham's 
chair  (r.)  stands  a  short  man  (Oxford)  clapping  his  hands,  and  looking  down ; 
he  has  large  ram's  horns  and  Mephistophelian  features,  and  says :  Oh!  great 
joy!  I  shall  be  Foster-Father  to  a  Q  ...  .n  and  Step-father  to  a  K.S  .  .!!!  how 

lucky  it  is  to  marry  a Wife!  At  the  opposite  end  of  the  table  and  near 

Burdett  sits  a  very  pretty  woman.  Lady  Oxford  {nee  Scott);  she  gazes  at  a 
man  who  sits  on  her  r.  hand,  his  1.  hand  on  her  neck,  his  r.  hand  touching 
an  open  book  on  the  table :  Ovid's  Art  of  Love.  He  says :  /  shall  be  Secretary  for 
the  Home  department.  Lady  Oxford:  Yes  my  Love!  and  as  your  Sister  Ann 
writes  pretty  letters,  she  shall  do  your  public  business  that  we  may  not  be  taken 

from  our .'.'.'.  She  holds  a  fan  on  which  a  reclining  Venus  is  depicted. 

Her  lover,  'Lord  Archer'  in  the  text,  is  evidently  the  Marquess  of  Douglas, 
the  word  Home  being  a  punning  allusion  to  Home's  play,  Douglas  (1756). 
He  wears  the  long  queue,  tights,  and  Hessian  boots  for  which  he  was  long 
to  be  noted.  His  sister.  Lady  Anne  Hamilton,  was  lady-in-waiting  to  the 
Princess  of  Wales. 

The  object  of  this  match  between  'Folly'  (Austin)  and  'Treason'  is  'to  keep 
alive  confusion  and  disorder'.  Brougham  is  for  the  first  time  depicted 
(correctly)  as  the  wire-puller  of  the  campaign  to  use  the  Princess  to  make 
trouble  for  the  Regent,  and  the  composer  of  the  letters  that  were  the  chief 
instruments  of  the  attack,  see  No.  11990,  Sec.  William  Austin,  see  No.  12027, 
was  born  in  the  Brownlow  Street  Hospital  in  1802 ;  Lady  Douglas  had  deposed 
that  the  Princess,  while  pregnant,  had  said  to  her  that  if  she  should  be  dis- 
covered, 'she  would  give  the  Prince  of  Wales  the  credit  of  being  the  father, 
for  she  had  slept  two  nights  at  Carlton  House  within  the  year'.  Europ.  Mag. 
Ixiii.  234.  The  possibility  of  the  child's  giving  trouble  as  a  pretender  was 
taken  seriously,  see  Corr.  of  George  IV,  1938,  i.  516  f.  For  Burdett  (the 
trouble-maker,  see  No.  9884,  &c.),  as  the  father  of  one  of  Lady  Oxford's 
children,  see  No.  11733.  At  this  time  'The  Oxford  &  Burdett  party'  were 
the  Princess's  chief  acquaintances,  Lady  C.  Campbell's  Diary,  11  Feb.  1813. 
Lady  Anne  Hamilton,  at  the  Princess's  command,  answered  Liverpool's  letter 
of  14  Feb.  informing  the  Princess  that  in  consequence  of  the  publication  of 
her  letter  to  the  Regent  in  the  Morning  Chronicle,  a  forthcoming  visit  of 

227 


CATALOGUE   OF  POLITICAL  AND   PERSONAL   SATIRES 

Princess  Charlotte  to  the  Princess  was  not  to  take  place.  Pari.  Deb.  xxiv.  1 126. 
'Caput' =the  governing  body  of  a  university,  strictly  that  of  Cambridge. 
6|x  13^  in.   Border  cropped. 

12031  A  (KEY)i  TO  THE  INVESTIGATION  OR  lAGO  DISTANCED 
BY  ODDS. 

[Williams.] 

Pu¥  April  5^^  1813  by  S  W  Fores  N"  50  Piccadilly 

Engraving  (coloured  impression).  A  sequence  of  eight  designs  arranged  in 
two  rows,  each  with  an  inscription,  parodying  the  House  that  Jack  built  (cf. 
No.  13292,  &c.).  [i]  A  handsome  woman,  Lady  Douglas,  sits  in  an  arm- 
chair beside  a  window ;  in  her  hand  is  an  open  book,  Othello ;  she  has  a  cunning 
smile.  Other  books  are  on  the  floor  beside  her:  The  Revenge;  School  for 
Scandal,  Lady  Sneerwell  by  Lady;  Double  Dealer,  and,  on  a  table,  The  Hipo- 
crite.  A  picture  on  the  wall  depicts  Judas  betraying  Christ.  Through  the 
window  is  seen  a  village  green  with  a  church,  &c.,  evidently  Blackheath. 
Above : 

These  are  the  Words  which  Nobody  spoke. 
Indelicate,  Vulgar,  Obscene,  Lacivious  [sic],  Adulteress,  Treasonable 

This  is  the  Lady  who  ne'er  dropt  a  word, 

Of  the  matter  in  question,  not  e'en  to  her  Lord, 

Untill  calVd  by  the  P to  tell  all  she  knew. 

When  away  to  the  Councill  with  rapture  she  flew. 

Stung  with  jealousy's  rage  which  S  [Sidney  Smith]  did  provoke. 

To  swear  to  the  Words  which  nobody  spoke. 
[2]  A  servant  in  livery  which  resembles  a  military  officer's  coat  (Bidgood) 
stands  by  a  table,  one  end  of  which  only  appears.    At  it  the  Chancellor 
(Erskine)  and  Ellenborough,  the  Chief  Justice,  sit  facing  each  other,  examin- 
ing the  man.  The  backs  of  the  chairs  are  decorated  with  the  Prince's  feathers. 

This  is  the  B covered  with  lace, 

Who  swore  with  precision  to  both  time  and  place. 

In  support  of  the  Lady  who  ne'-er  .  .  .  [&c.] 
[3]  A  similar  scene,  with  the  whole  table  in  view;  Bidgood  stoops  to  kiss  the 
book,  handed  to  him  by  Erskine,  before  giving  his  evidence.   Erskine  is  in 
back  view,  Ellenborough  (1.)  faces  Bidgood.   On  the  farther  side  of  the  table 
are  Lord  Grenville  and  Lord  Spencer. 

These  are  Commissioners  named  by  the  K , 

To  investigate  matters  and  witness's  bring. 

And  primo  the  B covered  with  lace,  .  .  .  [&c.] 

[4]  The  table,  partly  visible,  is  on  the  extreme  r.,  with  only  one  Commissioner, 
the  Chancellor,  who  is  partly  cut  off  by  the  r.  margin.  Six  servants  face  the 
table,  three  men  and  three  women  standing  in  pairs. 

These  are  the  Servants  examined  by  Law  [Ellenborough], 

Who  thought  by  a  stretch  to  gain  some  eclat. 

While  before  the  Commissioners,  named  by  the  K ,  .  .  .  [&c.] 

[5]  The  table,  partly  visible,  is  on  the  extreme  1.,  with  Ellenborough  seated 
full-face,  and  Erskine  facing  him;  they  look  towards  a  lady  (Mrs.  Lisle)  who 
faces  them,  seated  very  erect,  as  she  answers  their  questions. 

This  is  the  Witness  whose  answers  when  pen'd 

Without  Questions,  which  drew  them,  appear' d  to  portend. 

More  reproach  than  she  meant,  against  her  good  Friend 

While  the  hireling  Servants  examin'd  by  Law  .  .  .  [&c.] 

'  Depicted. 
228 


POLITICAL   SATIRES   1813 

[6]  A  corner  of  the  House  of  Commons,  showing  the  Speaker  in  his  chair 
with  the  clerks  at  the  table.  In  front  of  this  stands  Whitbread,  declaiming 
to  Castlereagh  (1.)  who  sits  opposite  him,  the  only  one  of  three  persons  on 
the  front  bench  who  is  characterized. 

This  is  the  Senate,  who  all  cried  Oh  fie, 

That  the  Lady  and  B had  told  a  D — d  lie. 

And  were  unworthy  credit,  though  Oaths  they  did  try. 

And  lamented  the  Witness  whose  answers  .  .  .  [&c.] 
[7]  Lord  EUenborough  in  wig  and  gown  stands  with  clenched  fists  raised, 
stamping  in  furious  anger.   Behind  him  is  (incorrectly)  the  Woolsack,  over- 
turned. 

This  is  the  Chief  J who  as  the  Lords  tell, 

Swore  that  the  reflections  were  false!  black  as  H !, 

And  tho  such  bad  words  no  man  can  use  fezver. 

In  his  rage  it  was  fear' d  he'd  have  pistol' d  the  Brewer  [Whitbread], 

For  moveing  the  Senate  who  all  cried  Oh  fie,  .  .  .  [&c.] 
[8]  In  an  ornate  arm-chair  standing  on  a  dais  is  the  Regent's  cocked  hat 
decorated  by  a  triple  plume.    Under  the  chair  lie  numbers  of  empty  wine- 
bottles.  Behind  the  chair  and  partly  draped  over  it  is  a  curtain  from  behind 
which  the  Regent  peers  furtively  out. 

This  is  the  Spring  that  set  all  in  motion, 

Inspired  with  Love  and  fired  with  Devotion, 

Like  my  Lord  the  Chief  J who  as  the  Lords  tell,  .  .  .  [&c.] 

After  the  title : 

"Who  steals  my  purse,  steals  trash;  t'is  somethitig,  nothing; 

"T'was  mine,  t'is  his ;  and  has  been  slave  to  thousands ; 

"But  he  that  filches  from  me  my  good  name, 

"Robs  me  of  that  which  not  enriches  him, 

"And  makes  me  poor  indeed.  [Othello,  ill.  iii.] 
An  illustration  of  the  debate  of  17  March,  on  the  Princess  of  Wales,  in 
which  Whitbread  attacked  the  Ministr}'  for  a  recent  examination  of  Lady 
Douglas  and  other  witnesses,  although  the  Princess  (he  said)  had  been  cleared 
in  the  inquiry  of  1806-7.  He  denounced  the  publication  in  the  newspapers, 
especially  the  Morning  Herald,  'organ  of  Carlton  House',  of  the  depositions 
of  1806,  made  to  the  Commissioners  here  depicted  (2-6),  which  he  main- 
tained were  perjured.  These  were  especially  those  of  Lady  Douglas,  see 
No.  12026,  and  of  Robert  Bidgood,  who  said,  inter  alia,  that  he  had  seen  in 
a  looking-glass  (see  No.  12026)  the  Princess  and  Captain  Manby  kissing 
{Europ.  Mag.  Ixiii.  235).  He  alleged  that  the  evidence  of  Mrs.  (Hester)  Lisle 
(ibid.,  p.  322  ff.),  as  printed,  was  misleading  by  the  omission  of  the  questions 
put  to  her.  He  called  on  the  House  'to  become  the  protectors  of  an  innocent, 
traduced,  and  defenceless  stranger',  and  moved  an  Address  to  the  Regent 
protesting  against  the  publications  (the  depositions)  insulting  to  the  honour 
of  the  royal  family  and  offensive  to  decency  and  good  morals.  Castlereagh 
answered  that  'under  the  mask  of  defending  the  Princess  ...  he  had  indulged 
himself  in  a  most  personal,  improper,  illiberal,  unfair,  and  unparliamentary 
attack  on  .  .  .  the  Prince  Regent'.  These  words  on  Whitbread's  demand  were 
taken  down  by  the  Speaker.  Pari.  Deb.  xxv.  141-200;  Romilly,  Memoirs, 
under  date  22  Mar.  1813.  The  publication  of  'the  Book',  see  No.  11990,  was 
followed  by  the  publication  of  depositions.  No.  7  illustrates  Ellenborough's 
speech  on  22  Mar.,  in  which  he  denied  Whitbread's  allegations  that  he  had 
taken  down  Mrs.  Lisle's  evidence  unfairly  (on  that  occasion,  Romilly  being 
absent,  he  had  acted  as  secretary).  He  said:  'My  Lords,  I  assert  that  the 
accusation  is  as  false  as  hell  in  every  part!  ...    I  will  give  the  lie  to  such 

229 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

infamous  falsehood.  .  .  .'  Pari.  Deb.  xxv.  209.  Romilly,  secretary  to  the 
Commission  of  1806,  here  depicted,  emphatically  denied  that  the  evidence  of 
Mrs.  Lisle  was  printed  improperly  or  in  a  way  likely  to  mislead.  Memoirs, 
17  Mar.  1813.  He  wrote:  'I  cannot  but  wonder  at  the  extraordinary  success 
which  has  hitherto  attended  the  bold  ,  ,  .  steps  which  the  Princess  has  taken. 
The  publication  of  the  depositions  taken  in  1806  would  not,  I  think,  fail  to 
destroy  her  reputation  for  ever  in  the  opinion  of  the  public ;  and  yet  she  has 
repeatedly  called  for  the  publication  of  them.'  Ibid.,  5  Mar. 
12^  X  17I  in.   Each  compartment  c.  6x4^  in. 

12032  INOCENCE  TRIUMPHANT 

Heath  del  et  Scul  \c.  Apr.  1813] 

Engraving  (coloured  impression).  The  Princess  of  Wales  (1.),  handsome, 
elegant,  and  dignified,  stands  between  her  supporters  Truth  and  Justice  who 
put  her  accusers  to  flight.  There  (r.)  are  the  Douglases  and  Moira,  all  with 
scaly  serpentine  legs  terminating  in  barbed  tails,  like  (Milton's)  Sin  in 
Gillray's  Sin,  Death,  and  the  Devil  (No.  8105).  Lady  Douglas  has  serpents 
for  hair,  a  floating  tartan  cloak,  bare  neck  and  arms.  Her  husband  wears  a 
plaid  across  a  military  tunic,  and  flourishes  a  scourge  whose  lashes  are  two 
lobsters  (emblem  of  the  army).  From  Moira's  mouth  projects  a  bunch  of 
tongues.  They  flee  before  a  broad  beam  inscribed  Truth  directed  upon  them 
by  Truth's  mirror.  Behind  them  is  a  dense  cloud.  Justice,  blindfolded,  stands 
with  her  sword  against  her  shoulder,  holding  up  her  scales.  Behind  the  three 
women  is  a  tall  screen  of  several  leaves,  inscribed  Falshood,  Perfidy,  Deciet, 
Pergury  [sic].  Over  it  appear  the  hands  and  head  of  the  Regent,  masked, 
gazing  in  dismay  at  the  plight  of  his  friends.  In  the  background  two  men 
watch  a  seated  woman,  in  classical  draperies,  surrounded  by  four  infants,  a 
symbol  of  the  charities  of  the  Princess  to  children.   Below  the  design: 

Fly  Envy  with  thy  hedioiis  Scaly  Train 

Rumour  his  many  Tongues  of  little  use 

Detested  malice  whirl  your  whip  in  Vain 

And  false  Detraction  Scor?i'd  for  foul  abuse 

Mean  Calumny  its  dumb  Despair  betrays 

All  fore' ed  to  yield  to  Truths  Triumpant  [sic]  rays. 

For  the  Douglases  as  perjured  assailants  of  the  virtuous  Princess,  see 
No.  12026,  &c.  Moira,  who  had  acted  for  the  Prince  in  1806  and  subse- 
quently, defended  himself  in  Parliament  against  charges  of  plotting  against 
her,  by  (inter  alia)  sending  anonymous  paragraphs  to  newspapers.  Pari.  Deb. 
xxv.  221-5  (25  Mar.).  See  Nos.  12725,  12732. 
7^Xi2|in. 

12033  BONEY  AND  THE  GAY  LADS  OF  PARIS  CALCULATING 
FOR  THE  NEXT  TRIUMPHANT  ENTRY  INTO  MOSCOW. 

[Williams.] 

Pub''  April  1813  by  S  W  Fores  N"  50  Piccadilly 

Engraving  (coloured  impression).  Heading  to  verses  etched  in  two  columns. 
Napoleon,  surrounded  by  his  officers  of  the  Grand  Army,  sits  in  an  arm- 
chair discussing  a  large  Map  of  Russia  on  the  wall  (1.).  One  bandaged  leg  is 
on  a  footstool.  He  is  not  caricatured,  but  is  plump,  with  the  features  of  official 
portraiture,  and  wears  plain  uniform  with  the  star  and  jewel  of  the  Legion 
of  Honour.  His  officers  are  all  badly  damaged  by  frost-bite,  with  mutilated 
or  absent  noses.  One  hobbles  on  crutches.  One  points  to  Petersburgh,  saying, 

230 


POLITICAL   SATIRES    1813 

Gy  [sic]  Gar  Sire  we  had  better  go  to  Petersburgh  at  once.  Napoleon  answers : 
Aye  and  then  we  can  march  to  Siberia  and  release  the  Exiles  who  will  gladly 
join  us  and  abjure  their  Tyrant.  He  holds  a  document:  Effective  jrench  forces  \ 

French  100,000  \  Austrians |  Prussians |  Bavarian  i.ooo  \  Saxons 

I  Westphalien  .500  \  Dutch |  Naupolita |  Italians  31,000.  One 

officer  leans  eagerly  forward,  pointing  a  truncated  finger  at  the  map,  a  hand 
on  Napoleon's  chair.  Two  disgruntled  officers  stand  (r.):  one  says:  Sacre 
dieu,  I  no  like  de  Russia  Campaign  I  lose  my  Nose,  my  finger e  and  toes  in  de  last. 
The  other :  Eh  bien,  den  now  we  lose  all  our  odds  and  ends.  On  the  floor  are  two 
papers:  Plan  to  procure  Horses  and  Russian  Force  |  Russians  400,000  \  Poles 
30,000  I  Prussians  50,000.  Other  figures  and  words  are  illegible.  Another 
estimate  of  Russian  Forces  is  on  the  table,  with  another  Plan  for  .  .  .  The 
verses,  the  fourth  to  eighth  omitted : 

Master  Boney  was  fain,  after  fighting  zvith  Spain, 
And  loseing  some  thousands  of  men  ; 
To  make  an  attack  on  the  Russian  Cossak, 
With  Nations  to  assist  him  full  Ten. 

He  began  with  a  boast,  that  he'd  scozcer  their  Coast, 
Arid  drive  them  all  into  the  Sea ; 
He  continued  his  blow,  till  he  got  to  Moscow  ; 
His  designed  winter  quarters  to  be. 

But  when  he  got  there.  Lord  how  he  did  stare, 
To  see  the  whole  place  in  a  flame. 
Not  a  house  for  his  head,  not  a  rug  for  his  bed, 
Neither  plunder,  nor  victuals,  nor  fame.  .  .  . 

The  frost  kill'd  one  half,  the  rest  Kutusojf, 
KilVd  or  prisoners  made  in  their  flight ; 
Thus  the  Russians  did  beat  Nap  and  friends  so  compleat 
That  no  Armies  e'er  suffered  such  plight. 

Now  this  madman  ti's  said  has  ta'en  in  his  head ; 

To  attempt  at  another  Campaign, 

With  but  half  of  his  friends,  yet  still  he  intends. 

To  venture  to  Moscow  again. 
But  if  Nap  and  ten  more,  were  beaten  before. 

By  raw  Russian  troops  single  handed; 

With  what  chance  can  he  hope,  against  Russia  to  cope, 

When  their  force  with  Allies  are  extended. 
No!  No!  master  Nap  you'll  not  feather  yor  [sic]  cap. 

Any  more,  for  your  race  is  near  run. 

And  your  murderous  heart,  is  destined  Bonaparte, 

To  suffer  for  crimes  it  has  done. 
Then  ye  Nations  whose.  Voice  through  fear  not  from  choice  ; 

To  this  Tyrant,  it's  homage  has  paid. 

Join  the  brae  [sic]  Russian  throng,  that  your  miseries  ere  long 

May  with  Nap  in  Oblivion  be  laid.   S  W  F.  [Fores] 

An  anticipation  of  the  Coalition  for  which  Castlereagh  was  working  and 
a  satire  on  Napoleon's  persistent  optimism,  and  his  determination  to  defeat 
Russia  and  dominate  Germany  despite  the  opinion  of  many,  even  of  the 
marshals,  that  peace  was  obtainable  and  advisable.  See  Bainville,  Napoleon, 
1932,  pp.  368-72.  The  French  army  was  formidable,  cavalry  excepted,  cf. 
No.  12044;  the  Imperial  Guards  had  suffered  little.  Napoleon  left  Paris  for 
the  army  on  15  Apr.  to  oppose  Russia  and  Prussia.   He  still  had  contingents 

231 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

from  Saxony,  Bavaria,  Italy,  and  the  Confederation  of  the  Rhine.  Austria 
had  made  an  armistice  with  Russia,  30  Jan.,  and  was  ostensibly  neutral, 
though  informing  Napoleon  that  the  Austrian  contingent  was  at  his  service 
while  anxious  to  withhold  it,  and  attempting  to  get  a  subsidy  from  England 
in  return  for  'armed  mediation'  with  France.  See  Caulaincourt,  Memoirs^ 
1935,  i.  616-19;  C.  K.  Webster,  Foreign  Policy  of  Castlereagh,  1931,  i.  124; 
Catnb.  Mod.  Hist.  ix.  506-17.  Other  references  are  to  Napoleon's  return  by 
sledge,  see  No.  11991,  and  to  'Miss  Platoff',  see  No.  11994. 

Broadley,  i.  321  f.  (reproduction). 
6|x  10^  in.    Sheet,  14^  X  io|  in. 

12034  THE  PARTING  OF  HECTOR-NAP  AND  ANDROMACHE  OR 
RUSSIA  THREATENED.   Plate  i'^  of  Russian  Campaign.  193 

[Williams.] 

Pu¥.  April  1813  by  Tho^  Tegg  iii  Cheapside. 

Engraving  (coloured  impression).  Napoleon  stands  at  the  portico  of  a  palace, 
his  arms  flung  wide,  his  head  in  profile  to  the  1.,  taking  leave  of  Marie  Louise 
who  stands  holding  out  the  little  King  of  Rome.  He  says:  Farewell!  I  go! 
ril  see!  Fll  conquer!  at  my  return  F II greet  our  Son  with  a  new  title.  The  child's 
profile  resembles  Napoleon's  (cf.  No.  11718);  he  wears  a  spiky  crown,  and 
holds  a  sword  in  his  r.  hand,  a  sceptre  in  his  1.,  he  looks  upwards,  saying, 
/  will  kill  the  people  as  my  papa  does.  The  Empress  says :  Kiss  him,  then,  my 
dear!  and  he  will  bring  you  some  of  the  naughty  Russians  to  Kill  [cf.  No.  12059]. 
Napoleon  says : 

"That's  right  my  boy,  cause  war  to  rage 

"And  rise  the  Tyrant  of  a  future  Age. 

He  wears  a  plumed  bicorne,  not  grotesquely  large,  and  has  the  features  of 
official  portraiture.  The  child  wears  a  tunic  over  trousers  with  a  sash  like  that 
of  his  father.  Four  ladies-in-waiting  stand  behind  Marie  Louise ;  two  of  them 
hold  her  long  imperial  train.  From  two  open  windows  above  ladies  look  out 
to  watch  the  departure,  and  to  talk  to  two  officers  who  stand  below,  waving 
farewell.  Two  mamelukes  stand  at  attention  with  drawn  swords  in  front  of 
the  portico;  a  third  holds  the  Emperor's  (white)  horse,  which  has  a  gold- 
embroidered  saddle-cloth.  Behind,  French  cavalry  are  drawn  up.  They 
stand  in  front  of  a  flanking  wall  and  a  colossal  statue  of  Victory  on  a  high 
pedestal.  She  is  poised  on  one  toe  on  a  military  trophy,  but  has  lost  her  head, 
and  only  a  fragment  of  wreath  remains  in  her  (damaged)  r.  hand. 

Napoleon  parted  from  Marie  Louise  at  Dresden  at  3  a.m.  on  29  May  1812, 
embracing  her  in  the  vestibule  before  entering  his  travelling  carriage.  One 
of  a  set  of  eight  by  Williams,  of  which  PI.  3  is  not  in  the  B.M.  This  is  Nap's 
Heroes,  or  a  Specimen  of  French  Mercy  and  Moderation,  a  scene  of  murder  and 
rape  by  French  soldiers,  see  under  Van  Stolk,  No.  6159.  See  Nos.  12035, 
12048,  12049,  12050,  12058,  12059.  Cf.  No.  12036. 

Broadley,  i.  324.    Milan,  No.  2496. 
8f  X12I  in. 

12035  NAP  REVIEWING  THE  GRAND  ARMY  OR  THE  CONQUEST 
OF  RUSSIA  ANTICIPATED.'   Plate  2  194 

[Williams.] 

Engraving  (coloured  impression).  Napoleon  (not  caricatured)  rides  (r.  to  1.) 
the  white  horse  of  No.  12034.    He  points  with  his  sword  to  regiments 

*  Imprint  as  No.  12034. 
232 


POLITICAL   SATIRES    1813 

marching  and  counter-marching  in  the  distance  and  middle  distance,  while  he 
leans  back  and  looks  over  his  1.  shoulder  at  two  officers  who  stand  holding  their 
hats.  He  says :  With  this  Army  will  I  crush  those  Russian  Savages,  and  make  all 
Nations  tremble  at  my  Wrath!!  One  of  the  officers,  holding  up  a  field-marshal's 
baton,  exclaims :  Parbleu  vid  dis  Armee  zee  vil  conquer  de  Heaven!!!  His  com- 
panion adds:  And  de  Hell  too,  dat  zee  may  send  dere  de  dam  Anglois.  Two 
officers  ride  on  Napoleon's  r. ;  he  is  followed  by  two  Mamelukes  with  sabres 
against  their  shoulders.  In  the  background  is  a  town  with  handsome  buildings 
among  trees  and  backed  by  hills.  Cavalry  (on  a  minute  scale)  are  riding 
through  the  city  gate  and  over  a  bridge. 

On  leaving  Dresden  Napoleon  went  to  Posen,  Thorn,  Danzic,  and  Konigs- 
berg,  en  route  to  the  Niemen;  at  various  points  he  reviewed  the  troops  who 
were  approaching  the  frontier. 

Broadley,  i.  324.    Under  Van  Stolk,  No.  6159.   Milan,  No.  2495. 
8||-xi2|in. 

12036  THE  GRAND  EMPEROR'S  GRAND  CAMPAIGN    Dedicated  to 
the  Russian  Cossacks 

Dravm  &  Etchd  by  W  Heath 

Published  April  18  1813  by  S  Knight  late  Waker  [sic]   <Sf  Knight  3 
Sweetings  ally  Cornhill 

Engraving  (coloured  impression).  A  sequence  of  eight  designs  in  two  rows, 
each  with  an  inscription  below  it.  [i]  The  Grand  Emperor  reviezvi?ig  his  Troops 
previous  To  the  Grand  Campaign.  Napoleon  rides  past  his  troops,  holding  out  his 
hat  at  arm's  length.  He  is  preceded  by  a  Mameluke  who  strolls  in  front  of  him, 
hands  on  hips,  and  is  followed  by  a  mounted  officer  holding  up  a  large  tricolour 
standard  inscribed  NR.  [2]  The  Suprise  [sic]  and  Disappointment  of  the  Grand 
Emperor  at  the  Conflageration  of  Moscow.  Napoleon  points  in  sudden  rage 
towards  the  city  where  one  tower  of  the  Kremlin  emerges  from  flames.  Other 
French  soldiers,  irregularly  grouped,  register  consternation.  In  the  middle  dis- 
tance a  Cossack  gallops  ofl^.  SeeNo.  11917,  &c.  [3]  The  Grand  Emperor  Causeing 
the  Bridge  over  the  Berezina  to  be  Destroyed  to  prevent  the  Sick  and  wounded 
from  Following.  The  river  is  a  boiling  torrent;  three  French  soldiers  in  the 
water  throw  up  their  arms  in  supplication  to  Napoleon  who  stands  on  the 
bank,  sternly  extending  an  arm  in  a  gesture  of  refusal,  while  he  beckons  to 
a  man  in  the  foreground  (r.)  who  holds  a  fire-brand.  A  wooden  rail,  almost 
submerged,  is  on  fire.  (The  rearguard  fired  the  bridges  to  cover  the  retreat, 
(28  Nov.  1812):  the  caption  probably  derives  from  the  much-repeated  tale 
of  his  poisoning  the  sick  at  Jaffa,  see  No.  10063.)  [4]  ^^'^  Grand  Emperor 
Obliged  by  his  Troops  to  Leave  his  Cloke  Equality  being  the  Principle  of  the 
Grand  Nation.  A  snow  scene:  Napoleon  walking  with  one  officer,  both  in 
ragged  uniform,  takes  off  his  large  cloak,  alarmed  at  the  gestures  of  a  group 
of  men.  A  dead  or  dying  man  lies  in  the  foreground  (1.).  In  the  background 
galloping  Cossacks  advance  upon  tiny  French  soldiers.  [5]  General  Frost  and 
General  Famine  prove  Them  selves  more  powerfull  than  the  Grand  Eemperor  [sic] . 
Dead  and  dying  men  and  horses  lie  in  the  snow,  men  are  carving  up  the 
horses;  a  soldier  sits  on  a  naked  corpse.  In  the  background  a  travelling 
carriage  with  Napoleon's  (tiny)  profile  in  the  window  is  drawn  (r.  to  1.)  by 
two  galloping  horses.  Infantry  march  in  front;  behind,  a  Cossack  rides  down 
a  mounted  Frenchman.  [6]  The  Grand  Emperor  Leaping  Out  of  a  Window  to 
save  himself  from  the  Fury  of  the  Cossacks.  Napoleon,  registering  terror,  takes 
a  flying  leap  from  the  window  of  a  miserable  building  from  which  a  frightened 
Frenchman  looks  out.  Two  Cossacks  (1.)  are  forcing  in  the  door;  in  the  back- 

233 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

ground  a  mounted  Cossack  pursues  a  fleeing  Frenchman.  See  No.  12001,  &c. 
[7]  The  Grand  Emperor  makeing  all  possible  haste  to  A  warmer  Climate  the 
Cossacks  in  Persuit  of  him.  The  Emperor  crouches  in  a  small  open  sledge  with 
one  companion.  He  wears  a  fur  cap  and  fur-trimmed  cloak  over  tattered 
breeches,  and  registers  despair.  A  corpse  lies  in  the  foreground ;  in  the  back- 
ground are  galloping  Cossacks.  See  No.  11 991,  &c.  [8]  The  Grand  Emperor 
making  his  Grand  Entry  Into  Paris  at  the  close  of  the  Grand  Russian  Campaign. 
Napoleon  approaches  a  stone  archway  on  the  shoulders  of  a  ragged  French- 
man. He  is  in  tattered  uniform,  his  toes  projecting  through  a  jack-boot,  and 
holds  out  his  hat  as  if  asking  for  alms.  He  is  preceded  by  a  soldier  in  rags 
who  holds  up  a  decapitated  eagle.  He  is  followed  by  a  crowd  of  decrepit, 
ragged  soldiers  with  one  astonished  mounted  man,  evidently  a  Paris  gendarme. 
See  No.  11997. 

For  a  similar  series  on  the  Russian  campaign  see  No.  12034,  ^^-  Napoleon 
(in  Nos.  1-4  and  8)  wears  or  holds  his  petit  chapeau  in  place  of  the  huge 
bicorne  dating  from  the  Italian  campaign  in  which  he  is  usually  depicted  in 
English  caricature. 

Listed  by  Broadley. 
10JX17I  in.   Nos.  1-4,  3fX4i  in.;  Nos.  5-8,  4X4I  in. 


12037  A    FREE    BORN    ENGLISHMAN!— THE    PRIDE    OF    THE 
WORLD!  AND  THE  ENVY  OF  SURROUNDING  NATIONS!!! 

G.  Cruikshank  sculp 

Pu¥  April  ig"'  18 13  by  H.  Martin  27  Fetter  Lane 

Engraving.  A  good-looking  well-built  man  stands  directed  slightly  to  the  r., 
heavily  shackled,  his  lips  closed  by  a  large  padlock.  His  fashionably  cut 
clothes  are  ragged,  his  tattered  pockets  hang  inside  out.  His  hands  are  bound 
behind  him;  heavy  leg-irons  are  attached  by  a  rope  to  a  ring  round  his  waist. 
Under  his  feet  are  papers :  Bill  of  Rights,  Magna  Charta,  a  long  list  of  Bank- 
rupts and  a  Gazette.  In  the  background  (1.)  is  a  dilapidated  house,  shored 
up  with  a  beam,  the  door  inscribed  ikf  Bull.  Two  tax-collectors  and  a  con- 
stable stand  at  the  door  shouting  up  at  two  windows  where  Bull,  exclaiming 
Mercy  on  us,  and  his  family  look  out.  They  shout  Taxes,  Taxes;  one  has  an 
open  book :  Kings  Taxes.  On  the  r.  is  a  house  with  a  (broken)  shop-window, 
inscribed  John  England  &  Co,  placarded :  The  Stock  of  this  Shop  Selling  off 
under  Commission  of  Bankruptcy. 

The  victim  is  not  unlike  Leigh  Hunt;  though  in  prison  for  libel,  cf. 
No.  12006,  he  was  not  silenced:  he  continued  to  edit  the  Examiner  and  to 
attack  the  Regent  in  the  vein  of  the  offending  article.  The  print  derives  from 
satires  on  the  Treason  and  Sedition  Bills  of  1795,  see  No.  8693,  &c.,  especially 
from  No.  8710.  The  device  of  the  padlocked  mouth  was  again  revived  in 
1819.  Though  there  had  been  some  trade  recovery  since  1812,  corn  prices 
were  high  until  the  excellent  harvest  of  1813.  The  Ann.  Reg.,  1813,  pp.  103  f., 
records  increasing  prosperity.  See  also  Smart,  Econ.  Annals  of  the  Nineteenth 
Century,  i.  365.  According  to  the  Scourge,  v.  453,  June  1813,  the  manu- 
facturers' condition  was  displayed  by  the  bankruptcies  in  the  Gazette,  while 
the  people  were  'feasting  on  parish  scraps'. 

For  adaptations  see  Nos.  12211,  13287,  13287  a.  The  last  is  perhaps  a 
lithographic  copy  of  a  pi.  with  the  same  title  published  by  Martin,  Apr.  1813 
(Reid,  No.  228). 

Reid,  No.  229.   Cohn,  No.  1129. 
ii|x8|  in. 

234 


POLITICAL   SATIRES    1813 

12038  THE   LORD    MAYOR   TURNING   THE   LIVERY   OFF!   AT 
TYBURN!!    Vide  Alderman  Wood's  Speech  at  Guildhall  Ap^  23"^  181 3. 

Pu¥  Ap'  30^^  1813  by  S  Knight  Siveetings  Alley  Cornhill' 

Engraving  (coloured  impression).  An  irregular  procession  of  Corporation  of 
London  coaches  proceeds,  1.  to  r.,  with  the  Lord  Mayor's  state  coach  in  the 
foreground  and  on  the  extreme  1.  In  the  centre  foreground  a  deformed, 
knock-kneed  ragamuffin  holds  out  a  Last  Dying  Speech  And  Confession ;  under 
his  arm  is  another  paper:  Copy  of  a  Letter.  In  the  background  (centre)  is  a 
triangular  gibbet  from  which  hang  many  nooses ;  the  executioner,  in  his  shirt- 
sleeves, sits  on  the  top  of  his  ladder;  he  grumbles :  Who'se  to  vait  here  all  day. 
I  tell  you  Vat,  I  vants  my  dinner  vy  dont  you  let  me  begin  Business.  The 
coaches  drive  between  the  ragged  broadside-vendor  and  the  gibbet.  The  Lord 
Mayor  leans  from  his  coach  w  indow  holding  out  the  mace  to  cry :  Turn  them 
Off!  Turn  them  Off  I  say  no  murmering  fzvas  most  of  your  turns  long  time  ago. 
The  City  Sword-bearer,  holding  the  sword,  sits  behind  him,  saying.  It  zcill 
thin  the  Land  so  many  to  Suing,  upon  Tyburn  Tree.  Beside  the  coach  rides 
one  of  the  Sheriffs,  saying,  My  Lud,  I'm  Affraid  zee  tnust  have  tzco  or  three 
more  Gibbets,  &  Some  more  Jack  Ketches,  for  there 's  so  many  Customers!  The 
Mayor  is  driving  away  from  the  procession,  the  coachman's  head  being  on 
the  extreme  1.,  the  horses  cut  off  by  the  margin.  Two  little  naked  imps  sup- 
port the  City  Arms  on  the  roof  of  the  coach. 

The  foremost  coach  (r.)  is  that  of  Waithman,  a  Common-Councillor,  He 
wears  a  gown  and  looks  from  the  window  to  say :  Consider  I'm  A  Great  Linett 
Draper,  Orator,  &  A  Weightyman  in  the  City,  if  You  turn  me  Off,  you'll  have 
no  more  of  my  fine  long  Speeches,  that  so  often  puts  Guildhall  in  A  Delightfull, 
and  A  Patriotic  Uproar!  He  holds  a  roll  ( ?  of  linen)  inscribed  Irish.  His  com- 
panion in  the  coach,  an  old  man  wearing  spectacles,  says:  I'm  a  Citizen  & 
Honest  Baker  no  Potatoe  Bread  as  my  Vife  says  only  now  &  ten  [sic]  A  little 
Parish  Pudding  [a  feast  at  the  expense  of  the  Poor  Rate,  cf.  No.  8770]  Ah! 
Spare  poor  Caleb  Cake.  Two  boys  or  dwarfish  men  run  behind  the  coach, 
holding  on  to  ropes;  they  say:  Tis  Plaguey  hot  Bob  But  we  shall  have  a  good 
tuck  out  for  this.  On  the  door-panel  are  the  City  Arms  upside  down,  sur- 
mounted by  a  Cap  of  Liberty  and  superimposed  upon  a  mace  and  sword. 
On  each  side  panel  is  a  placard,  one  headed  ]\Iy  Speech  at  Guildhall  and  end- 
ing Applause,  the  other  My  Speech  at  the  Crown  [scored  through]  &  Anchor, 
also  ending  Applause.  The  next  coach  is  that  of  Alderman  Wood,  who  leans 
from  the  window  to  say  to  the  coach  in  front :  Be  comforted  Brother  Liverymen ; 
If  the  Lord  Mayor  turns  You  Off  I'll  give  him  A  Dose  of  my  Chemicals  as  shall 
make  his  Guts  Grumble  &  Work  like  A  Barrell  of  New  Beer!!  On  the  door- 
panel  is  an  exploding  beer-barrel  on  an  escutcheon,  with  the  motto  Vox 
Populi;  on  the  side-panel  is  a  frothing  tankard  inscribed  W  above  the  word 
Froth.  The  coachman  lounges  on  his  box,  saying  with  a  scowl.  Master  may 
get  another  Sarvant  I  vas  hir'd  to  drive  Horses  not  Asses.  The  last  carriage  is 
a  hackney-coach.  No  45  (reminiscent  of  Wilkes)  with  the  crown  (surmounting 
the  Royal  Arms)  scored  through.  Three  agonized  faces  look  from  the  window. 
One  says :  O  Lud!  O  Lud  you  Wood  make  Poor  Snip  the  Marchant  Tailor  go 
to  Guildhall  &  then  come  here  Alack  to  be  Turn'd  Off!!  Another:  /'m  a  Citizen 
<Sf  Needle  Maker!  Oh!  that  I  had  been  sharp  enough  to  have  kept  out  of  this 
abominable  scrape  vat  vill  my  poor  vife  Say!  She,  sont  me  here.  In  the  fore- 
ground (1.)  is  a  man  holding  a  little  boy  by  the  hand.  The  child  points,  saying, 
O  Daddy  What  do  the  Gentlemen  look  so  frightened  For.   The  man  answers : 

'  Imprint  scored  through. 

235 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

They  are  going  to  be  turned  off  Yonder.  Mindjackey  &  dont  keep  bad  Company 
for  fear  of  Tyburn! 

On  22  (not  23)  Apr.  a  special  Court  of  Common  Council  was  held  to  con- 
sider the  Address  presented  by  the  Livery  to  the  Princess  of  Wales  on  12  Apr. 
This  was  in  terms  of  adulation,  expressing  abhorrence  of  'that  foul  and 
detestable  conspiracy  ...  by  perjured  and  suborned  traducers',  see  No. 
12026,  &c.  The  procession  returned  from  Kensington  by  Piccadilly,  some 
coaches  turned  down  St.  James's  Street  in  order  to  pass  Carlton  House, 
followed  by  a  crowd  which  demonstrated  with  hisses  and  groans  against  the 
Regent.  The  Mayor,  George  Scholey,  and  City  Officers,  went  straight  on, 
in  the  interests  of  order.  Alderman  Wood  declared  'he  could  not  .  .  .  see  that 
there  was  any  necessity  for  the  Lord  Mayor  turning  off  at  Tyburn  (a  laugh) 
as  he  had  done'  (turn-off  =  hang).  Waithman  had  complained  that  the  route 
taken  was  through  St.  Giles  and  Tyburn  (instead  of  past  Carlton  House). 
Wood  spoke  at  the  Westminster  meeting  in  Old  Palace  Yard  on  15  Apr., 
where  an  Address  to  the  Princess  was  approved.  Examiner,  18  and  25  Apr. 
1 81 3.  The  radicals  of  the  City,  embodied  in  the  Livery,  and  especially 
Wood,  Waithman,  and  Quin,  were  violent  partisans  of  the  Princess  as  they 
had  been  of  Wardle,  cf.  No.  11309,  &c.  See  also  No.  12057. 
8^X13!  in. 

12039  THE  DELICATE  INVESTIGATION  OR  SECRETS  OF  

Time  Three  o  Clock  in  the  Morning!!! 

[Williams.] 

Pub"^  May  i'^  1813  by  W.  N.  lones  N"  5  Negate  Street 
Engraving  (coloured  impression).  PI.  from  the  Scourge,  v,  before  p.  355. 
Illustration  to  a  continuation  of  'The  First  Book  of  the  Acts  of  the  Regent', 
pp.  355-9,  see  No.  12028.  An  after-dinner  scene,  wine  and  dessert  on  the 
table,  candles  in  branch-candlesticks  burnt  to  the  socket.  The  Regent  at  the 
head  of  the  table  (1.),  very  drunk,  is  supported  by  McMahon  and  Lady  Hert- 
ford; he  leans  his  head  against  her.  She  puts  her  r.  hand  on  his  head,  in  her 
1.  is  a  steaming  jug  labelled  Egg  Brandy;  she  says:  Rest  your  R — I  head  upon 
my  bosom  it  was  made  to  bear  yes  even  the  weighty  thing  that  fills  the  chair  before 
T — e.  McMahon  says:  Am  not  I  your  own  purse  [see  No.  11874]  and  is  not 
that  enough  to  make  me  purse  proud  lean  your  R — /  arm  on  mine,  I  can  accomo- 
date you  in  any  way.  The  Prince  says :  Bring  tne  the  Roman  Punch  there  is 
much  excellence  in  Punch  it  exhilerates  it  revives!  Half-way  down  the  long  table 
and  in  the  centre  of  the  design  Sir  John  and  Lady  Douglas  mix  a  huge  bowl 
of  punch,  aided  by  the  Duke  of  Sussex.  Lady  Douglas,  a  pretty  woman  with 
her  hair  bound  by  a  tartan  scarf,  stands  full-face  squeezing  a  lemon  between 
clasped  hands;  the  Juice  of  Perjury  streams  upon  Suborned  Evidence.  She 
says :  The  Punch  will  soon  be  ready,  and  the  ingredients  are  of  excellent  quality. 
Sir  John,  in  Highland  dress,  facing  her  and  on  the  near  side  of  the  table, 
pours  in  Liquor  of  Infamy  from  a  kettle  inscribed  Pandoras  Box  [cf.  No.  1 1897] ; 
he  also  puts  in  a  lump  of  Preferment  taken  from  a  fragment  of  sugar-loaf 
similarly  inscribed.  He  says:  Aye  leave  such  punch  makeing  to  my  Lady  and 
me,  who  can  match  us?  Other  ingredients  on  the  table  are  lemons  inscribed 
Revenge  and  Resentment  and  fragments  inscribed  Gold  drop  and  Gold  drop  from 
the  [  ?]  Privy  Purse.  Two  decanters  are  labelled  Essence  of  Malignant  Invention 
and  Spirit  of  Perjury.  The  Duke  of  Sussex,  a  clumsy  figure  in  a  fur-trimmed 
coat,  puts  a  hand  on  Lady  Douglas's  shoulder  and  stirs  the  brew  with  a  ladle 
inscribed  (inconspicuously)  Sussex  and  Divorce  and  Seperation  infallible.  He 
says:  Never  doubt  it  will  be  excellent  Brother — and  I  have  stirr'd  it  up  well. 
Before  him  on  the  table  is  a  sheet  of  music  headed  Brav[ura]. 

236 


POLITICAL   SATIRES   1813 

In  front  of  the  table,  near  the  Prince,  Sheridan  sprawls  on  the  floor  beside 
his  overturned  chair,  and  a  decanter  of  wine  which  spills  its  contents.  Spread 
out  before  him,  and  lying  across  a  pamphlet  inscribed  forty  Thieves  [cf. 
No.  10459],  is  a  large  document,  part  of  which  is  rolled  up:  Butcher  £300, 
Baker  200,  Wine  Merc^  1000,  Tallow  Cha^  150,  Coal  Merc¥  200,  Silversmith 
300,  Taylor  230,  Hatter  20,  Hosier  40.  In  his  coat-pocket  is  a  pamphlet: 
School  for  Scandal  by  the  Rt  [Hon.  R.  B.  Sheridan].  He  says:  /  am  wearrid 
of  this  Investigation  clamorous  Creditors  and  long  Bills  are  troublesome ;  give 
me  more  Wine.  He  is  neatly  dressed,  with  hair  tied  in  a  queue,  but  his  breeches 
are  chequered  to  represent  Harlequin,  cf.  No.  9916.  On  the  extreme  r.  stand 
Eldon  and  Ellenborough  wearing  their  judge's  wigs  with  dark  suits.  Ellen- 
borough  stands  in  profile  to  the  r.  at  an  ornate  side-table  carv'ing  a  pie;  he 
says :  Well  of  all  investigations,  none  is  in  my  mind  so  pleasing  as  that  of  a  savory 
Eel  Pie;  in  his  pocket  is  A  New  Dictionary  of  the  Vulgar  Tongue.  Eldon 
stands  full-face,  the  Purse  of  the  Great  Seal  suspended  from  his  arm;  he 
stufi^s  a  bird  into  his  coat-pocket,  saying,  /  hope  my  Pocket  will  not  be  investi- 
gated or  Bags  may  be  brought  before  the  Lord  chief  Justice.  Behind  him  in  the 
shadow,  and  peeping  round  a  door,  stands  Lord  Hertford,  with  (incon- 
spicuous) horns  among  his  hair :  he  says :  Wither  my  Love  Ah  wither  art  thou 
Gone  [a  popular  song,  cf.  No.  93 11]. 

On  the  chimneypiece  on  the  extreme  1.  is  an  ornate  clock,  the  hands  point- 
ing to  3  (a.m.):  the  dial  is  supported  by  Time  hiding  his  face  on  his  arm. 
Beside  it  stands  an  incense-burner.  Above  is  a  picture  of  a  pig  feeding  from 
a  trough  inscribed  ex  breed.  On  the  walls  is  a  set  of  four  pictures  of  Don 
Quixote.  In  the  first  (obscured  by  labels  containing  inscriptions)  he  rides 
along,  in  the  next  he  tilts  at  a  windmill;  in  the  third  he  is  in  a  bedroom, 
stabbing  wine-skins  with  his  sword ;  in  the  fourth  he  hangs  by  one  arm  from 
a  barred  window,  supporting  himself  on  his  tilting-lance.  Before  the  fire  is 
a  fringed  hearth-rug  on  which  is  a  lion  couchant. 

For  the  Regent  and  Lady  Hertford  see  No.  11853,  for  the  depositions  of 
the  Douglases,  No.  12026,  &c.  These  were  originally  made  to  the  Duke  of 
Sussex,  Sir  John  being  one  of  his  Grooms  of  the  Bedchamber.  The  Duke 
was  proud  of  his  voice:  'a  bravura'  indicates  his  liaison  with  Mrs.  Billington, 
see  No.  9840;  an  allusion  to  a  divorce  for  the  Regent,  see  No.  12028,  is  made 
in  this  reference  to  the  annulment  (1794)  of  his  marriage  in  1793  to  Lady 
Augusta  Murray,  under  the  Royal  Marriage  Act.  Ellenborough  was  in  the 
public  eye  by  the  coarseness  of  his  language  and  remarks  on  adultery  (see 
No.  12006)  and  as  one  of  those  to  w^hom  the  Princess's  letter  had  been 
referred  (see  No.  1203 1),  as  well  as  for  his  part  in  the  'Delicate  Investigation' 
of  1806.  After  the  election  of  1812  Sheridan  no  longer  visited  Carlton  House 
and  the  Regent  was  reputed  to  have  abandoned  him,  see  No.  11914. 
7^X19!  in. 

12040  JOHN  BULL  AND  THE  COSSACKS  IN  LONDON. 
SATIRIST  1ST  MAY  1813. 

Satirist  inv^  W.  H.  Ekoorb  [Brooke]  del*  Aqua  Fortis  fecit 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xii.  393.  A  Cossack 
stands  in  a  London  street,  holding  an  enormously  long  spear  in  his  1.  hand, 
his  r.  hand  is  grasped  by  John  Bull;  a  second  Cossack  steps  from  a  carriage, 
holding  transfixed  on  his  spear  Napoleon's  large  plumed  bicorne.  John  and 
his  family  stand  before  his  shop,  a  butcher's  on  the  extreme  1.,  with  the  name 
[Bu]ll  Butcher;  John,  much  moved,  says:  /  wish  his  head  had  been  in  it  with 
all  my  heart  and  soul! — /  am  glad  to  see  you  my  very  good  friends.  Mrs.  Bull 
holds  her  husband's  shoulder  and  peers  at  the  Russian,  saying  with  a  delighted 

237 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

grin :  La!  sure — such  fine  beards  &  whiskers!!!  Bond  Street  is  nothing  to  them 
do  but  Lookee  John — now  LookeeH!  Two  little  boys  examine  the  (blood- 
stained) head  of  the  Cossack's  spear.  The  second  Cossack  (r.)  says:  The 
rascal  himself  made  his  escape  from  Justice!  I  was  just  in  time  to  run  my  Spear 
through  his  Hat.  The  Cossacks  have  fierce  aquiline  features,  and  bushy 
beards ;  they  wear  high  fur  caps  and  a  garment  somewhat  resembling  British 
battle-dress  of  1939-45,  with  belts  and  baggy  trousers  tucked  into  half -boots. 
The  first  has  a  pistol  in  his  belt  and  a  musket  on  his  back;  both  wear  large 
sabres.  On  the  door  of  the  carriage  is  a  monogram  W.H.B.  (that  of  the  artist). 
Huge  joints  hang  in  the  butcher's  window.  Next  door  is  a  shop  with  a  curved 
window,  with  bottles  of  wine,  &c.,  behind  the  small  panes.  Behind  are  houses 
and  the  dome  of  St.  Paul's. 

The  arrival  of  two  Cossacks  in  full  costume  in  a  post-chaise  at  the  Post 
Office,  London,  on  9  Apr.,  roused  great  interest.  The  elder  had  a  spear  ten 
feet  long  projecting  from  the  window;  the  other  was  a  Don  Cossack.  They 
were  greeted  by  Sir  W.  Curtis  among  others,  and  'the  Cossack'  was  much 
lionized  (Europ.  Mag.  Ixiii.  356).  The  text  (p.  394)  attacks  the  Opposition 
Press  for  the  ridicule  heaped  on  the  Cossack  visitors :  'While  we  .  .  .  behold 
one  of  the  liberators  of  Europe,  they  see  in  him  only  one  of  the  enemies  of 
their  idol  Buonaparte.'  See  also  Examiner,  1813,  pp.  248,  265,  314.  For 
Napoleon's  supposed  escape  from  Cossacks  see  No.  12001,  &c.  See  also 
Nos.  12056,  12094.  Cf.  No.  12134,  n. 

Broadley,  i.  322  f.  (reproduction). 
6^X  13I  in.   With  border  (cropped)  c.  14JX7I  in. 

12041  MEDITATIONS  AMONGST  THE  TOMBS— 

G.  Cruikshank  fec^ 

Pub'^  May  i'^  1813  by  J  Johnston,  g6  Cheapside 

Engraving  (coloured  impression).  The  Regent  stands  in  profile  to  the  1.  with 
flexed  knees  and  raised  hands  staring  at  two  open  coffins  (1.),  where  the 
corpses  of  Henry  VHI  and  Charles  I  are  raising  themselves  to  a  seated 
position.  An  elderly  man  in  black  (Sir  Henry  Halford)  bestrides  the  nearer 
coffin  (1.),  holding  a  pair  of  scissors  and  supporting  the  head  of  Henry  VHI, 
which  has  great  glassy  eyes,  and  a  fringe  of  beard.  On  the  head  is  a  flat  Tudor 
cap,  the  body  wears  a  shroud;  round  the  neck  is  a  chain  of  Maltese  crosses. 
A  coffin-plate  is  inscribed  Henry  VHI.  Charles  I  raises  his  decollated  head 
in  both  hands;  the  coffin  is  inscribed  King  Charles  J^'.  Behind  the  Regent 
McMahon  stands  on  tiptoe  on  a  closed  coffin,  so  as  to  hold  a  torch  above  the 
Prince's  head;  he  puts  his  1.  hand  on  his  master's  shoulder.  From  his  coat- 
pocket  hangs  a  huge  purse  inscribed  PPP  [Prince's  Privy  Purse,  see 
No.  1 1874].  He  is  much  caricatured,  with  a  pimpled  face,  nutcracker  profile, 
and  an  evil  grin.  He  says:  How  queer  King  Charley  looks  without  his  Head, 
does'nt  he?!!!  Faith  &  sure  &  I  wonder  how  We  should  look  without  Our 
Heads?!!  Behind  him  (r.)  the  head  and  shoulders  of  the  Devil  appear  from 
behind  the  coffin,  emerging  from  an  unseen  pit,  from  which  ascends  a  column 
of  flame  and  smoke.  The  Regent,  registering  greater  terror  than  his  words 
suggest,  says:  Aye!  There's  great  Harry!  great  indeed!!!!!  for  he  got  rid  of 
many  wives,  whilst  I,  poor  soul,  can't  get  rid  of  one — Cut  of  his  Beard  Doctor 
t'will  make  me  a  prime  pair  of  Royal  Whiskers!!!  A  stone  wall  with  Gothic 
arches  forms  a  background. 

On  28  Apr.  Sir  Henry  Halford  published  a  narrative  of  the  investigation 
on  I  Apr.  in  St.  George's  Chapel,  Windsor,  in  the  presence  of  the  Regent, 
the  Duke  of  Cumberland,  the  Dean  of  Windsor,  himself,  and  two  others. 

238 


POLITICAL  SATIRES   1813 

The  coffin  of  Charles  I  was  opened  and  the  head  identified.  A  large  coffin, 
supposed  to  be  that  of  Henr}'  VIII,  contained  a  mere  skeleton  with  traces 
of  beard.  A  third,  and  smaller  one,  beheved  that  of  Queen  Jane  Seymour, 
was  not  disturbed.  Ann.  Reg.,  1813,  p.  33  f.  Examiner,  1813,  11  Apr.  This 
was  the  subject  of  two  squibs  by  Byron,  Windsor  Poetics,  in  which  the  Regent 
is  'Charles  to  his  people,  Henrj'  to  his  wife'  (pub.  1819);  On  a  Royal  Visit 
to  the  Vaults  was  not  published  till  1904,  but  both  circulated  in  MS. 
See  No.  12056.  Cf.  No.  12853.  For  the  Regent's  desire  for  divorce  see 
No.  12028. 

Reid,  No.  231.   Cohn,  No.  1723.   Milan,  No.  2497. 
8|^Xi3jin. 

12042  LOVE  AND  LAW  IE  A  VENIAL  MISFORTUNE  OR  CRIM- 
CON  MODIFYD  igs 

[Williams.] 

Pub''  May  2'^  1813  by  T  Tegg  iii  Cheapside  price  i  /  col'^ 
Engraving  (coloured  impression).   A  handsome  rakish-looking  man  (1.)  puts 
his  arms  round  the  waist  of  a  good-looking  young  woman,  who  draws  away 
from  him.    Their  words,  in  large  labels  above  their  heads,  are  from  verses 
in  the  Examiner,  10  Jan.  1813  (by  Tom  Moore):' 
He  (the  first  and  last  of  four  verses) : 

Come  fly  to  these  arms,  nor  let  beauties  so  bloomy 

To  one  frigid  owner  be  tied, 
The  Prudes  may  revile,  and  the  old  ones  look  gloomy, 

But  dearest  we've  Law  on  our  side.  .  .  . 
And  ev'n  should  our  sweet  violation  of  duty 

By  cold  blooded  jurors  be  tried, 
They  can  but  bring  it  in,  a  ''Misfortune''  my  beauty 
As  long  as  we've  Law  on  our  side. 

She :  Hold!  Hold  my  good  Sir!  go  a  little  more  slowly 
For  grant  I  thus  guiltily  sigh'd. 
Such  sinners  as  ive  are  a  little  to  lowly 

To  hope  to  have  Law  on  our  side. 
Had  you  been  a  great  Prince,  to  whose  star  shining  oe'er  'em. 

Then  people  should  look  for  thier  [sic]  guide. 
Then  your  Highness  [and  welcome)  might  kick  down  decorum, 

You'd  always  have  Law  on  your  side.  .  .  . 
But  for  you  Sir  Crim  Con.  is  a  path  full  of  troubles, 

By  my  advice  therefore  abide 
And  leave  the  pursuit  to  those  princes  and  nobles 
Who  have  such  a  Law  on  their  side. 
On  the  r.  the  Prince  walks  off  in  back  view  between  Lady  Hertford  and 
Ellenborough,  in  wig  and  gown.   He  takes  Ellenborough's  1.  arm,  his  1.  arm 
is  round  Lady  Hertford,  whose  r.  arm  is  round  the  Prince,  her  profile  turned 
possessively  towards  him.   Ellenborough  declaims: 
''Too  busy  Senates  with  an  over  care, 
''To  make  us  better  than  our  kind  can  bear, 
"Have  dash'd  a  spice  of  Envy  in  the  laws, 
"And  straining  up  to  high  have  spoil' d  the  cause ; 
"Yet  some  wise  Nations  break  the  cruel  chains, 
"And  own  no  laws  but  those  which  Love  ordains. 

'  Reprinted,  The  Twopenny  Post-Bag,  1813,  pp.  83-5,  with  an  additional  verse  by 
the  lady  on  'an  old  Marquis  [Headfort],  in  mischief  growTi  hoary'. 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

On  the  ground  behind  the  group  are  two  papers,  one  below  the  other  and 
showing  only  the  1.  margin:  Trial  \  Mar[quis  of  Headfort]  |  Crim  \  Decern  \ 
— Dam  I  £20,00  .  .  Above  it: 

"U Amour  par  tyrannie  obtient 

'*ce  qu^il  demande, 

'^S'il  parle  ilfaut  ceder  ;  Oheir 

"s'il  commands 

"Et  ce  Dieux  [sic],  tout  aveugle,  et  tout 

^^ enfant  quHt  [sic]  est, 

*^ Dispose  de  nos  coeurs,  quand  et 

"comme  il  lui  plait 

After  the  title : 

"Plate  sin  with  Gold. 

"And  the  strong  lance  of  Justice  hurtless  breaks 

"Arm'd  in  rags,  a  pigmy's  straw  doth  pierce  it. 

[Lear,  iv.  vi.] 

The  Regent  is  castigated  by  an  allusion  to  Ellenborough's  words  at  the 
trial  of  the  Hunts,  see  No.  12006.  Brougham  explained  the  words  'the  Com- 
panion of  Gamblers  and  Demireps'  as  due  to  the  shock  given  to  Hunt  by 
Headfort's  recent  appointment  as  a  Lord  of  the  Bedchamber  despite  a  notor- 
ious crim.  con.  suit  (in  1803),  when  a  verdict  of  ;(^io,ooo  damages  had  been 
given  against  him  for  elopement  with  a  clergyman's  wife.  See  No.  11914. 
8|XI3  in. 

12043  A  VIEW  OF  WINCHESTER  IN  NORTH  AMERICA.  DEDI- 
CATED TO  MR  PRESIDENT  MAD  I  SON!! 

Pub^  by  S.  Knight  Sweetings  Alley  Cornhill  London  May  j'^  1813. 

Engraving.  An  American  officer,  General  Winchester,  stands  stripped  to  the 
waist,  his  face  and  body  covered  with  bold  patterns  in  paint:  stars,  circles, 
an  anchor,  &c.  He  stands  directed  towards  an  amused  British  officer  (r.)  and 
looking  over  his  shoulder  at  an  Indian  brave,  who,  sword  in  hand,  is  imme- 
diately behind  him,  executing  a  war-dance,  and  smoking  a  long  pipe.  Over 
his  own  fringed  leggings,  the  Indian  wears  the  coat,  frilled  shirt,  sword-belt, 
and  sash  of  his  victim.  An  Indian  squaw  (1.)  suckling  an  infant,  and  holding 
a  long  pipe,  also  dances;  she  wears  the  American  officer's  cocked  hat.  Behind 
(r.)  three  British  soldiers  stand  at  attention,  and  in  the  background  another 
Indian  drags  along  an  American  soldier  also  stripped  and  daubed  with  paint. 
A  very  pointed  wigwam  stands  under  a  palm-tree.  Below  the  title:  Extract 
from  the  Morn^  Chronicle  Ap'-  23'^,  181 3.  It  appears  from  One  of  the  Halifax 
Papers,  it  was  the  famous  Wyandot  Chief  Roundhead,  who  took  Gen^  Winchester 
Prisoner  ;  The  Indian  according  to  his  notion  of  the  Laws  of  Nations,  &  Courtesy 
due  to  Prisoners  of  War,  stripped  the  American  Commander  of  his  Fine  Coat, 
Waistcoat,  &,  Shirt,  &  then  Bedaubed  his  Skin  with  Paint ;  In  this  ludicrous 
state  having  dressed  himself  in  his  Regimentals,  he  presented  him  to  CoV  Proctor  ; 
who  with  difficulty  Succeeded  in  getting  the  Discomfited  Gen^  his  Coat,  Sword  &c 
back. 

On  22  Jan.  1813  General  Winchester,  marching  to  the  relief  of  French- 
town  (near  the  American  shore  of  Lake  Erie)  was  surprised  by  a  force  under 
Col.  Proctor  of  regulars,  militia,  and  Indians;  his  whole  force  was  killed  or 
captured,  the  killing  of  wounded  prisoners  by  the  Indians  being  highly  dis- 
creditable to  Proctor.  Winchester  was  a  prisoner  in  Canada  until  he  was 
exchanged  in  18 14.   His  negligence  contributed  to  the  defeat.    Camb.  Mod. 

240 


POLITICAL   SATIRES    1813 

Hist.  vii.  339  f.;  Diet.  Am.  Biography.   The  first  print  on  the  War  with  the 
United  States,  declared  by  Congress  on  18  June  18 12,  following  Madison's 
message  of  i  June;  of.  Nos.  11862,  11921. 
7ilxi3f  in. 

12044  BONEY'S   CAVALRY— A  RUSE  DE   GUERRE   OR  BAYES'S 
TROOP  IN  FRENCH  PAY.  192 

[Williams.] 

Pu¥  May  4^''  18 13  by  Tho'  Tegg,  iii  Cheapside.  price  1/  skills  colored. 

Engraving.  French  cavalry  on  realistic  hobby-horses  are  commanded  by  an 
officer  similarly  mounted.  Napoleon  stands  behind  him  (r.)  with  folded  arms, 
turning  his  head  in  profile  to  the  r.  to  address  an  elderly  general  who  faces 
him  with  flexed  knees  and  deprecating  hands.  The  'horses'  are  surrounded 
by  a  petticoat  under  which  pairs  of  booted  legs  are  visible.  Top-boots  are 
attached  to  the  saddles  to  simulate  the  boots  of  the  cavalrymen,  who  hold 
their  sabres  against  their  shoulders.  All  wear  cavalry  helmets  with  horse- 
tails. The  officer,  his  sword  raised,  shouts: 

Attention!  Strut;  look  big ;  and  make  your  Hobbies  prance; 
We'll  make  the  foe  believe  there's  Cavalry  in  France. 

Napoleon,  who  is  not  caricatured,  though  wearing  a  large  plumed  bicorne, 
says  complacently :  Eh  bien  General  vat  you  tink  of  dis  Ruse  de  Guerre,  dey  vill 
make  de  Cossak  run  ma  foil  The  general  answers :  Oui  Sire!  tis  very  good  trick 
indeed!  Another  officer  behind  him  (r.),  clasps  his  forehead,  saying:  Very 
good  horse  for  de  Russia  Campaign  they  no  mind  the  cold  nor  de  hunger.  The 
background  is  a  wide  plain  with  a  distant  camp.   After  the  title: 

As  War  is  Boney's  Hobby,  then. 
Why  not  on  Hobbies  mount  his  men. 

The  Russian  campaign  was  fatal  to  Napoleon's  cavalr\%  cf.  No.  12033. 
Bayes  is  the  chief  character  in  Buckingham's  The  Rehearsal  (1671),  where  a 
battle  is  fought  between  foot-soldiers  and  hobby-horses. 

Listed  by  Broadley.   Van  Stolk,  No.  6164. 
8fxi3  in. 

12045  HAnOJlEOHOBA  CJIABA— NAPOLEONS  FAME. 

Copied  from  a  Russian  Print   Etched  by  G.  Cruikshank  [after  I.  Tere- 

benef] 
Pu¥  May  18""  1813  by  H.  Humphrey— S'  James's  Str'— 

Engraving  (coloured  and  uncoloured  impressions).  One  of  a  set,  see  No. 
1 1995.  Fame,  wearing  draperies  patterned  by  the  bees  that  were  Napoleon's 
emblem,  stands,  gracefully  poised,  on  a  pile  of  bones,  each  foot  resting  on 
a  skull.  She  is  beset  by  three  Russians:  a  Cossack,  an  infantryman,  and  a 
peasant.  She  is  outwardly  fair,  but  the  infantryman's  bayonet  dislodges  the 
mask  that  hides  a  ghastly  corpse-like  face  with  glaring  eyeball  and  serpents 
for  hair.  A  writhing  tail  hangs  down  behind  her  graceful  legs.  The  laurel 
wreath  in  her  r.  hand  is  falling  to  pieces,  and  the  trumpet  in  her  1.  hand  is 
being  blocked  up  by  the  peasant  with  lumps  of  snow.  The  infantr\'man, 
directed  to  the  1.,  faces  her;  the  Cossack  (1.)  approaches  on  foot  from  behind, 
fiercely  raising  a  whip,  his  long  spear  in  his  1.  hand.  The  amused  peasant, 
with  his  axe  attached  to  his  back,  and  his  legs  cross-gartered,  kneels  on  one 
knee  on  a  snow-covered  rock,  a  second  lump  of  snow  under  his  1.  hand. 
Above  the  design :  Flonajiacb  Bt  npocaK-b!    PyccKOH  connar-b  uiTbiKOM-b  chhjitj  cb 

241  R 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

Hee  wacKy,  KosaKt  HaBaiiKOio  Bct  etHUbi  ea  jiaBpoBbie  oxjiecranij,  a  BaoHna 
Mopo3-b  H  BpeMKyK)  Tpy6y  en  saTKHyn-b  CH-bsoM-fa!  —  HBaHt  Tepe6eHeB-b. 
Below  this :  Buonaparte's  Fame  overpowered  &  destroyed  by  the  Russian  Army 
and  Peasantry. 

The  original  (coloured,  c.  9 x  12  in.)  is  in  the  Print  Room;  Cruikshank  has 
followed  it  fairly  closely,  but  his  two  soldiers  are  in  more  violent  action, 
especially  the  Cossack  whose  expression  is  altered  from  quiet  satisfaction  to 
furious  rage.  A  second  skull  has  been  added  to  the  pile  of  bones. 

Reid,  No.  233.   Cohn,  No.  1779.   Broadley,  i.  323,  ii.  171  n.,  172.   Repro- 
duced (colour),  Klingender,  p.  40;  Rosner,  Writing  on  the  Wall,  1943. 
7f  X  i2|  in.  With  border,  9|x  13!  in. 

12046  RUSSIANS  TEACHING  BONEY  TO  DANCE.' 

Engraving  (coloured  and  unco  loured  impressions) .  One  of  a  set,  see  No .  1 1 995 . 
Napoleon  capers  wildly,  arms  outstretched,  1.  leg  raised  high,  head  turned 
in  profile  to  the  r.,  to  face  a  peasant  who  flourishes  a  whip  and  points  to  the 
Emperor's  r.  foot.  A  second  peasant  (1.)  seated  on  a  stone  plays  the  flute  with 
great  vigour,  leaning  forward,  his  bare  feet  stretched  out.  Napoleon's  mouth 
is  wide,  as  if  shrieking,  his  large  bicorne  falls  off,  he  wears  big  gauntlet  gloves, 
a  sash,  no  weapons,  and  spurred  cavalry  boots.  The  peasants  are  in  summer 
costume,  with  broad-brimmed  hats;  both  wear  belted  tunics,  one  (1.)  has 
striped  trousers,  the  other  short  full  breeches  with  stockings  and  shoes.  The 
scene  is  a  small  plateau  backed  by  a  broad  winding  river  and  mountains,  with 
a  fir  tree.  The  words  of  the  peasant  with  the  ship  are  etched  in  Russian  and 
English  above  the  design:  He  ynajiocb  Te6'b  Hacb  nepejianHTb  Ha  cboio  norynKy: 
nonjiHCHCb  H<e  BocypwaH-b,  Haiuy  nyflKy!  —  HsaH-b  Tepe6eHeB'b  If  you  trespass 
on  our  grounds ;  you  must  dance  to  our  tunes. —  For  the  enforced  dance  cf. 
Nos.  12565,  12570,  12579,  12603.    ^f-  t^^  contrasted  situation  in  No.  10075 

(1803). 

Terebenef's  etching  (coloured,  c.  8x  io|  in.)  is  in  the  Print  Room,  much 

altered  by  Cruikshank.    Napoleon  is  a  portrait,  not  a  merely  comic  figure, 

and  wears  the  dress  familiar  from  many  pictures  and  engravings:  his  petit 

chapeau  (a  little  larger  than  life)  falls  off,  the  short  boots  are  tasselled  Hessians. 

Instead  of  capering  frantically,  he  dances  grimly,  r.  arm  raised,  snapping  his 

fingers,  1.  hand  on  his  hip,  r.  knee  bent,  1.  leg  thrust  forward  and  resting  on 

the  heel.  He  turns  a  resentful  profile  towards  the  peasant  on  the  r.  who  stands 

closer  to  him,  with  a  gesture  and  expression  which  are  quieter  and  more 

convincing  than  in  No.  12046.   The  flute-player  sits  impassively,  resting  his 

elbows  on  his  knees.    There  is  no  landscape  background.    (Reproduced, 

Broadley,  ii.  175;  Klingender,  p.  31.) 

A  German  copy  with  Russian  and  German  inscriptions  is  reproduced, 
Schulze,  p.  3.  An  Italian  adaptation  is  //  Ballerina  piii  ricco,  see  under  No. 
12188.  There  is  also  a  German  print  (in  B.M.)  endorsed  'The  Dancing 
Master'  in  which  a  Cossack  with  a  whip  faces  Napoleon,  forcing  him  to 
imitate  his  steps  as  he  drives  him  backwards.  He  says  Immer  zuriick! 
Napoleon :  Ich  kann  bald  nicht  weiter! 

Cruikshank's  drawing  in  pen  and  pencil,  in  reverse,  signed,  is  in  the  Print 
Room  (7^x  12  in.).   Binyon,  i.  284  (4).  (199  c.  1/4.) 

Reid,  No.  237.   Cohn,  No.  1941.   Broadley,  i.  323,  ii.  171  n.,  172.  Repro- 
duced (colour),  Klingender,  p.  30;  Rosner,  Writing  on  the  Wall,  1943.    See 
under  De  Vinck,  No.  9361. 
7|x  12^  in.  With  border,  9|x  13!  in. 

'  Signature  and  imprint  as  No.  12045. 
242 


POLITICAL   SATIRES   1813 

12047  LONGITUDE  &  LATITUDE  OF  ST  PETERSBURGH. 

G.  Cruikshank  fed 

Pu¥  May  i8^^  1813  by  H.  Humphrey  S^  James's  Street 

Engraving  (coloured  and  uncoloured  impressions).  The  Duke  of  Clarence 
dances  with  a  tall  thin  girl  (r.),  holding  both  her  hands;  they  face  each  other 
in  profile.  He  is  unrecognizable,  a  plainly  dressed  short  and  obese  John  Bull, 
She  wears  a  cross  suspended  from  a  long  necklace.  The  room,  with  boarded 
floor  and  small  musicians'  gallery,  suggests  an  English  provincial  assembly- 
room  rather  than  a  Russian  palace.  Two  couples  stand  against  the  wall  (1.), 
a  lady  and  her  partner  sit  on  a  bergere  (r.);  a  man  stands  near  them.  Two 
of  the  men  have  moustaches,  as  an  indication  that  they  are  foreigners.  All 
are  much  amused  at  the  ill-matched  partners. 

For  the  Duke  and  the  Grand-duchess  Anna  see  No.  12020.   For  the  title 
cf.  No.  8662. 

Reid,  No.  235.    Cohn,  No.  1329. 
8-^  X  i2|  in.   With  border,  9^  X  13I  in. 


12048  NAP  OMNIPOTENT  OR  THE  ACME  OF  ARROGANCE  AND 
PRESUMPTION    Vide  Russian  Campaign  Plate  4  198 

[Williams.] 

Pu¥  May  181 3  by  Tho^  Tegg  ill  Cheapside  Price  1/  colored 

Engraving  (coloured  impression).  One  of  a  set,  see  No.  12034.  The  interior 
of  Napoleon's  tent,  the  design  being  framed  by  drapery  festooned  back  and 
looped  to  tree-trunks.  The  Emperor  has  risen  in  a  fury  from  his  arm-chair 
(decorated  with  an  eagle  clutching  thunderbolts)  and  has  overturned  his  foot- 
stool. He  stands  with  both  arms  raised,  and  fists  clenched,  facing  an  officer, 
evidently  a  Prussian,  who  addresses  him  with  raised  r.  arm,  his  forefinger 
pointing  upwards.  The  officer  says :  If  the  dictates  of  humanity  zvill  not  prevail 
zve  must  take  the  chance  of  War!  but  remember  Man  proposes,  but  God  disposes. 
Napoleon :  Tis  false  no  man  proposes  to  me,  and  I  dispose  of  events,  your  Master 
has  offended  me  and  I  hurl  him  from  his  Throne.  Two  French  officers,  one 
holding  a  field-marshal's  baton,  stand  between  and  close  behind  the  dis- 
putants, staring  in  consternation  at  the  Prussian.  A  staff  officer  writes  at 
a  table  (r.);  he  looks  up  at  an  officer  beside  him,  who  says:  Mafoi  c'est  dire 
un  peu  trop!  Vis  say  great  deal.  On  the  extreme  1.  stands  a  young  (Prussian) 
officer  holding  a  standard,  on  w^hich  is  (incorrectly)  a  double-headed  eagle 
(cf.  No.  9694).  A  French  cavalry  officer  stands  by  a  Prussian  officer,  who 
addresses  him  angrily.  The  French  officers  wear  tricolour  sashes,  the  three 
others  have  crimson  sashes.   Below  the  design : 

"Who  knows  himself  a  Braggart, 

"Let  him  fear  this  ;  for  it  zvill  come  to  pass, 

"That  every  Braggart  shall  be  found  an  Ass. 

An  imaginary  incident,  probably  deriving  from  the  detection  of  Yorck's 
Prussian  contingent  under  the  secret  convention  of  Tauroggen  (30  Dec.  1812), 
while  the  King  of  Prussia  preserved  the  semblance  of  good  relations  with 
Napoleon.  Yorck's  Prussians  had  remained  with  Macdonald's  army  corps 
before  Riga  during  the  advance  into  Russia  and  were  almost  intact. 

Broadley,  i.  324, 
8fxi3iin, 

243 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12049  WARM  WINTER  QUARTERS  OR  MOSCOW  WELL  AIRED 
FOR  NAP  AND  HIS  GRAND  ARMY.   Russian  Campaign  Plate  5'    J 99 

[Williams.] 

Engraving  (coloured  impression).  One  of  a  set,  see  No.  12034.  Moscow  in 
flames,  with  French  soldiers  seeking  food  and  drink  in  the  foreground;  in  the 
middle  distance  is  Napoleon  on  horseback,  at  the  head  of  a  body  of  cavalry. 
On  the  1.  is  a  blazing  timber  structure,  with  a  French  soldier  lying  under  a 
pile  of  fallen  beams;  two  men  try  to  release  him,  one  pulls  at  his  legs,  the 
other  raises  a  beam,  saying,  Holla  camrade — you  not  want  so  much  covering 
de  place  he  warm  assez.  The  blazing  shack  is  inscribed  Hot  Pea[se,]  ....  Day 
The  French  House;  a  dead  cat  or  dog  hangs  over  a  beam;  a  soldier  prods  it 
with  his  bayonet,  saying.  Ah  I  find  de  roast  meat  by  Gar!  On  the  r.  the  stone 
cellar  of  a  burning  building  is  still  intact;  a  soldier  emerges  carrying  two 
bottles,  behind  him  other  Frenchmen  with  bottles  are  indicated.  Two  soldiers 
rush  gleefully  to  the  cellar,  saying,  Diable  you  find  some  wine. 

Ranks  of  neatly  dressed  Russian  (?)  militiamen  with  muskets  stand  at  atten- 
tion facing  Napoleon.  In  front  of  them  is  an  aged  civilian  doffing  his  hat  to 
him.  The  Emperor  reins  in  his  horse,  turning  to  speak  to  an  officer  on  foot, 
who  points  to  the  Russian,  saying,  Sire  ther  is  the  higest  [sic]  Functionary  we 
found  in  the  place  to  welcome  you  to  Moscow.  The  man  addresses  Napoleon : 
/  am  secretary  to  the  Foundling  Hospital  I  hope  your  Majesty  will  find  Moscozo 
warm  enough.  Napoleon,  pointing  to  the  Kremlin,  says:  Let  that  palace  be 
blown  up  as  they  have  begun  Fll  finish  they  shall  remember  Napoleon  the  Great. 
Before  the  Kremlin  are  low  buildings  on  fire ;  a  river  separates  them  from  the 
open  space  where  Napoleon  and  the  Russian  militia  stand.  On  the  bridge  are 
Russian  soldiers. 

The  French  did  their  best  to  save  important  buildings  in  Moscow,  especially 
the  Kremlin  and  the  Foundling  Hospital,  and  to  prevent  the  fire  from  spread- 
ing. After  the  fire,  they  looted  wine-cellars;  ample  provisions  remained  for 
the  invaders  during  the  occupation.  See  Caulaincourt,  Memoirs,  1935,  i.  21 1  ff . 
and  No.  12477.  ^"^  departing  Napoleon  gave  orders  for  the  destruction  of 
the  Kremlin,  see  Nos.  11921,  12024,  12118,  12233,  12240,  12244,  12319, 
12477,  12569.  The  title  is  an  allusion  to  Napoleon's  bulletins,  see  No.  11920. 

Broadley,  i.  324.  Van  Stolk,  under  No.  6159.   Milan,  No.  2498. 
8|xi3  in. 

12050  GASCONADERS   OR   THE   GRAND   ARMY   RETREATING 
FROM  MOSCOW.   Plate  6  of  Russian  Campaign^  200 

[Williams.] 

Engraving  (coloured  impression).  One  of  a  set,  see  No.  12034.  French 
soldiers  in  a  snowy  waste  endeavour  to  march;  men  and  horses  lie  dead  or 
dying,  and  in  the  background  tiny  Cossacks  with  long  spears  are  galloping 
from  a  wood.  An  officer  in  the  foreground  struggles  to  mount  his  horse,  two 
ragged  bare-footed  men  with  knapsacks  help  him;  one  says:  Mais  General 
ou  est  VEmpereur.  Ver  is  de  great  Napoleon.  The  officer:  Ah!  he  he  gone  to 
clear  de  way  we  overtake  him  a  Paris.  On  the  r,  a  soldier  with  his  bayonet 
in  his  hand  tries  to  rouse  a  prostrate  man,  saying.  Holla  Camrade  why  you 
no  wake  we  go  plunder  burn.  &  ravish!  diable  he  gone  to  de  other  world!  Another 
reclining  soldier  supports  himself  on  his  hands  watching  the  attempt  with 
apathetic  melancholy.  On  the  1.  a  bare-footed  infantryman  tugs  at  the  rein 
of  a  prostrate  horse.    In  the  middle  distance  (1.)  an  officer  on  foot  leads  a 

'  Imprint  as  No.  12048. 

244 


POLITICAL   SATIRES   1813 

group  of  men,  all  with  muskets  and  knapsacks,  who  drag  themselves  along. 
He  says:  Allans  Marche!  de  Great  Napoleon  commande  v^e  hum,  plunder  and 
ravish  evr'y  ting  Allons  Courage,  Marche  Vite.  One  of  them  says:  Ah  Hah! 
I  try  vat  zoat  [sic]  /  will  do!  Farther  off  a  small  body  are  running,  they  have 
seen  the  distant  Cossacks,  and  cry :  Ah  Diahle!  les  Cossak  les  Cossak!  Two 
small  log  huts  are  blazing,  fired  by  the  French.  A  dismantled  cannon  lies 
in  the  foreground.   Below  the  design: 

"So  Satan,  whom  repulse  upon  repulse 
"That  ever,  and  to  shamefull  silence  brought 
"Yet  gives  not  o'er  though  desperate  of  success. 

See  No.  11917,  &c.  For  Napoleon's  departure  from  his  army  see  No. 
1 1 99 1,  &c. 

Broadley,  i.  324.   Van  Stolk,  No.  6159. 
8^X12^  in. 

12051  REVIEW  OF  THE  FRENCH  TROOPS  ON  THEIR  RETURN- 
ING MARCH  THROUGH  SMOLENSKO. 

G.  Cruikshank  sculps 

Pu¥  May  2y^'*  1813  by  H.  Humphrey  S'  James's  Str' 
Engraving  (coloured  and  uncoloured  impressions).  Apparently  an  adaptation 
from  a  Russian  print,  see  No.  11995.  Napoleon  stands  in  profile  to  the  1.  on 
a  flat  stone,  regarding  his  troops  with  morose  intensity.  They  are  a  grotesque 
collection.  In  the  first  rank  (1,  to  r.) :  a  man  has  a  blanket  wrapped  round  him, 
over  remnants  of  breeches,  with  one  bare  foot  and  one  dilapidated  boot; 
a  man  wearing  a  broad-brimmed  hat  and  woman's  petticoat  holds  an  eagle 
numbered  8yg6,  with  a  pennant  inscribed  Napoleon.  A  dwarfish  drummer 
beats  a  cask  slung  from  his  neck  by  a  rope ;  he  wears  a  woman's  hat,  tattered 
military  coat,  one  jack-boot  and  one  high-heeled  woman's  shoe  of  antique 
pattern.  Next,  a  tall  man  playing  a  fife,  has  a  bucket  for  hat,  and  a  short 
kilt  of  straw  over  bare  legs.  The  men  behind  hold  muskets  at  different 
angles,  two  have  spears;  all  are  wretched  in  the  extreme,  and  absurdly 
dressed. 

Napoleon  is  short  and  obese,  his  hands  behind  his  back,  holding  a  docu- 
ment, his  appearance  being  a  curiously  prophetic  travesty  of  portraits  at 
St.  Helena  (e.g.  the  sketch  of  March  18 17  reproduced,  Grand-Carteret, 
Napoleon,  p.  21).  He  wears  the  petit  chapeau  and  uniform  of  fact  instead 
of  the  costume  customary  in  English  prints.  Behind  (r.)  is  his  horse, 
grotesque,  emaciated,  tall,  with  skates  bound  to  its  hoofs,  a  ladder  leans 
against  its  belly,  below  the  saddle ;  there  are  two  ornate  holsters  inscribed  A'', 
each  containing  three  pistols.  A  Mameluke,  Roustan,  holds  the  rein,  staring 
in  astonished  dismay  at  the  extraordinary  soldiers.  The  staff  are  foppish 
despite  rags  and  disaster.  One  wearing  ribbon  and  star,  both  hands  in  an 
ermine  muff",  scowls  sideways  at  the  troops;  his  sword  is  broken.  Another 
holds  a  double  lorgnette.  Two  others  talk  together  (r.);  both  register  despair, 
one  is  cynical,  the  other  astonished.  All  are  burlesqued.  Below  the  title: 
"Altho  their  Dress  is  not  gaudy  it  is  warm  &  that  is  the  principle  thing!,. 
Vide,  the  Hamburg  Correspondenten  for  1812 — A^"  180— 14"'  March — 
Russian  title  above  the  design:  CMorp-b  <J>paHuy3CKHM-b  BoficKaM-b  Ha  o6paTHOM'b 
Hx-b  noxonH  npeat  CMOJieHCK-b.  ,.Xoth  onerbi  HeKpacHBo  na  xenjio:  a  3to  cjiasHoe 
HHJiol"  raM6ypecK  Koppecn.  Gazette  duDep.  des  Bouches  de  V Elbe,  18 12.  N.  180. 
riHCbMO  H3-b  BapmaBbi  oTb  Hoh6. 

See  No.  11917,  &c.  Napoleon  was  at  Smolensk  from  9  to  11  Nov.,  and 
'he  did  everything  possible  to  reorganise  the  different  units'.    'The  state  in 

245 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

which  he  saw  the  army  on  its  march  through  the  town  convinced  him,  I  think, 
that  our  pHght  was  worse  than  he  had  been  wiUing  to  admit  to  himself.' 
Caulaincourt,  Memoirs,  1935,  i.  341,  344.  One  of  several  prints  in  which 
remnants  of  the  French  Army  wear  women's  clothes^  and  other  makeshift 
garments,  see  Nos.  12015,    12053,  12088.  Cf.  No.  12002. 

A  Dutch  broadside,  Wapenschouw  der  Fransche  troepen  .  .  .  was  published 
to  accompany  the  English  print.   Broadley,  ii.  416  f. 

Reid,  No.  238.     Cohn,  No.   1900.     De  Vinck,  No.  8784.    Reproduced, 
Grand- Carteret,  Napoleon,  No.  251.   Listed  by  Broadley. 
8|xi2|in.  With  border,  9|x  14  in. 

12052  THE  DEVONSHIRE  MINUET 

[Williams.] 

Pu¥  May  2g^^  18 13  by  W""  Holland  N"  11  Cockspur  Street 

Engraving  (coloured  impression).  Princess  Charlotte  (1.)  and  the  young  Duke 
of  Devonshire  (r.)  dance  a  minuet;  they  are  a  handsome  pair,  not  caricatured. 
She  wears  a  tiny  crown  on  the  back  of  her  head  as  an  ornament,  her  clinging 
dress  has  a  small  train,  and  she  holds  up  the  skirt  in  her  finger-tips.  He  wears 
court  dress  with  a  sword,  and  holds  his  opera-hat  by  one  point  in  his  1.  hand, 
the  r.  arm  slightly  extended.  They  are  side  by  side,  looking  towards  each 
other.  In  the  background,  1.  and  r.,  are  two  groups  of  much-interested 
spectators,  the  ladies  are  seated,  the  men  stand. 

Creevey  wrote  [19  July]  1813:  'Young  P.  [Prinney]  and  her  father  have 
had  frequent  rows  of  late,  but  one  pretty  serious  one.  He  was  angry  at  her 
for  flirting  with  the  D.  of  Devonshire.  .  ,  .'  Creevey  Papers,  ed.  Maxwell, 
1912,  p.  181.  See  also  C.  R.  Jones,  Princess  Charlotte  of  Wales,  1885, 
pp.  54  f. 

Reproduced,  C.  E.  Pearce,  The  Jolly  Duchess,  1915,  p.  272. 
8^X1  if  in. 

12053  FRENCH  GENERALS  RETREATING.— 

G.  Cruikshank  sculp 

Published  May  30"'  1813  by  H  Humphrey  S^  James's  Street 

Engraving  (coloured  and  uncoloured  impressions).  One  of  a  set,  see  No.  1 1 995 . 
An  adaptation  of  a  Russian  print.  Two  horses  are  attached  by  shafts  only  to 
a  rough  trough-like  sledge  containing  seven  (burlesqued)  generals.  The  near 
horse  kicks  violently,  its  fore-feet  planted  on  the  snow,  and  turns  its  grotesque 
head  to  glare  savagely.  Reins  lie  on  the  neck  of  the  off  horse ;  an  officer  holds 
its  tail  and  furiously  raises  his  sword  to  force  it  to  move.  Three  officers  stand, 
one  staggering  back  from  the  heels  of  the  kicking  horse.  The  garments  (one 
a  woman's  petticoat),  which  the  other  two  huddle  round  them  are  blown  by 
the  wind.  Two  officers  crouch  in  the  straw,  another  sits  behind  them;  an 
eighth  has  fallen  from  the  back  of  the  sledge  (r.)  and  lies  on  his  back,  his 
legs  in  the  air,  a  bonnet  rouge  falling  from  his  head.  All  register  despair,  with 
grotesque  expressions  of  anger,  terror,  complaint,  or  resignation.  Three  wear 
women's  hats.  There  is  a  background  of  craggy  mountains.  Russian  title 
above  the  design:  PeTHpana  ^^paHuyacKHx-b  FeHepanoB-b. 

For  the  retreat  from  Moscow  see  No.  119 17,  &c. ;  for  the  women's  clothes, 
No.  12051,  &c. 

'  Cf.  the  street  song  of  Konigsberg,  18 12:  *.  .  .  Kuirassier  in  Weiberock  .  .  .',  H. 
Nicolson,  Congress  of  Vienna,  181 5,  p.  23. 

246 


POLITICAL   SATIRES    1813 

Dr.  Klingender  suggests  that  the  original  of  this  print  is  Terebenef's 
Journey  of  the  exalted  Traveller  (reproduced,  Broadley,  ii.  173).  The  title 
suggests  the  print  listed  by  Broadley  as  Napoleon's  retreat  from  Russia  with 
his  generals. 

Reid,  No.  239.  Cohn,  No.  1135.  Listed  by  Broadley.  De  Vinck,  No.  8791. 
Reproduced,  Grand-Carteret,  Napoleon,  No.  236,  Klingender  (colour),  p.  20. 
7t6X  12^  in.   With  border,  9|x  13I  in. 

12054  THE  MEETING  OF  DOODLE  AND  NOODLE  AT  THE 
MANSION  HOUSE  OF  THE  LORD  MAYOR  OF  LONDON  1813! 

Pub  by  Sidebotham  Sackville  S'  [Dublin,  }  May  1813]  NB  the  greatest 
variety  in  Europe  oti  Sale. 

Pub  by  Sidebotham  Sackville  5'  zvho  cautions  the  public  against  Mc  Cleary 
ofN"  32  Nassau  S'  &  his  spurious  copies  of  all  S's  Original  Caricatures 
which  are  uniformly  \  made  by  him  in  the  most  Daring  &  dishonest 
manner  for  the  purpose  {as  he  publicly  declares)  of  putting  down  all 
competition  in  the  trade  heretofore  monopolized  by  himself. ' 

Engraving  (partly  coloured).  Perhaps  a  copy  of  an  English  print.  The  Lord 
Mayors  of  London  (Scholey)  and  of  Dublin  (King)  shake  hands;  each  bends 
forward,  so  that  King's  r.  cheek  touches  the  r.  cheek  of  Scholey,  who  says: 
M"  Noodle,  how  do  you  do?  King,  who  holds  a  large  opera-hat,  answers: 
iVf  Doodle  how  are  you?  His  face  is  depicted,  that  of  Scholey  concealed.  Both 
wear  long  gowns  over  court  dress,  with  long  swords  projecting  horizontally; 
King  also  holds  a  long  staff  of  office;  close  behind  him  stands  a  grinning 
Irish  servant,  plainly  dressed  and  with  ungartered  stockings,  who  holds  on 
his  shoulder  an  enormous  bundle  of  papers:  Protestant  Petition  against 
Catholic  Emancipation!  He  says : 

Sure  such  a  day  so  renown'd  &  so  Vain-Glorious 
Such  a  day  as  this  was  never  seen! 
Two  Lord  Mayors  so  gay  &  the  Mob  so  uproarious! 
Nature  seems  to  wear  an  universal  Grin!! 

Behind  Scholey  stand  two  tall,  lank,  and  elegant  footmen,  with  long  tags  on 
their  shoulders,  their  crescent-shaped  hats  under  their  arms.   One  says: 

Oh  this  is  a  day  of  Jubilee,  Cajollery 

A  day  we  never  saw  before,  a  Day  of  Fun  &  Drollery! 

The  other: 

That  you  may  say,  the  Orangemen  may  boast  of  it 
Afid  si?tce  it  never  can  come  more 
Tis  fit  they  make  the  most  of  it! 

Abraham  King  was  elected  Lord  Mayor  of  Dublin  on  10  Apr.  1812.  He 
came  to  England  to  present  a  petition  against  Catholic  Emancipation  at  the 
bar  of  the  House  of  Commons,  for  which  he  received  an  address  from  the 
Dublin  Corporation,  dated  15  Oct.  18 13,  with  a  piece  of  p'ate  valued  at  j(^2oo. 
Cat.  of  Ancient  Records  of  Dublin,  xvi.^  For  the  fate  of  the  Bill  see  No.  12016. 
For  Doodle  and  Noodle  cf.  No.  11048;  for  Sidebotham  and  McCleary, 
No.  11412.  See  No.  12055,  ^  companion  pi.  (partly  coloured)  by  the  same 
artist,  with  the  same  imprint  and  marginal  inscriptions. 
8i|Xi3iin. 

'  Inscription  along  the  side  margins  of  the  print. 
*  Information  from  Professor  C.  Maxwell. 

247 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

12055  THE  LATE  LORD  MAYOR!  OR  ABRAHAM  IN  THE  LAND 
OF  PROMISE!!! 

See  No.  12054.  Abraham  King  steps  from  his  coach  across  the  cobbles  to 
the  pavement  opposite  the  door  of  Carlton  House  (r,),  bowing  low,  hat  in 
hand,  and  holding  a  long  staff  and  a  large  Protestant  Petition  against  Catholic 
Emancipation.  A  grinning  servant  opens  one  leaf  of  the  door,  but  wards  off 
the  visitor  with  extended  hand,  saying.  You  are  too  late — the  Levee  is  broken 
up!  King,  in  profile  to  the  r.  and  dressed  as  in  No.  12054,  answers:  Too  late 
say  you!  Impossible!  Why  they  promised  to  wait  till  I  came  &  promised  to  make 
a  Knight  of  me  &  promised  that  I  should  be  received  with  Dignity  &  honor  but 
after  such  scurvy  behaviour  I  shall  put  no  more  faith  in  Man,  for  if  a  Prince  treats 
A  King  with  contempt,  what  may  we  not  Expect?  So,  after  all  my  Voyages  & 
travels  it  appears  that  I  came  hither  for  no  other  purpose  but  to  regulate  my 
Watch  by  S^  Paul's  &  then  go  back  again! — however  I  shall  lose  no  further  time 
in  Escaping  from  this  D — d  City  of  London  where  the  People  take  no  more 
Notice  of  me  than  a  Parish  Watchman! — if  ever  I  come  on  such  a  wild  Goose 
chace  again,  may  I  be  choak'd  with  Cartridge  Paper!!!  Behind  him  is  a 
grinning  sentry  standing  by  his  box.  On  the  extreme  1.  is  the  back  of  King's 
coach,  with  three  elegant  footmen  holding  tall  canes,  standing  at  the  door. 
Behind  is  the  screen  of  Carlton  House,  which  is  (incorrectly)  on  the  1.  of  the 
door,  suggesting  that  the  pi.  is  a  reversed  copy  of  an  English  print. 

See  No.  12054.    King  was  subsequently  knighted  in  Ireland.    The  title 
may  relate  to  the  expiry  of  his  year  of  office,  his  successor  being  elected  on 
30  Apr.  18 13,  making  his  term  twenty  days  more  than  a  year. 
8|Xi2j  in. 

12056  A  SEPULCHRAL  ENQUIRY  INTO  ENGLISH  HISTORY.— 

G.  Cruikshank  fecK 

Pub'^June  i'^  18 13  by  W.  N.  Jones  N"  5  Newgate  Str^ 

Engraving  (coloured  impression).  PI.  to  the  Scourge,  v,  before  p.  449.  An 
open  coffin  stands  upright  in  a  rectangular  niche  at  each  end  of  a  long  vault 
which  is  represented  by  a  stone  wall  and  a  neatly  paved  floor.  On  the  1.  a 
headless  body  swathed  in  draperies  stands  within  the  coffin,  which  is  sur- 
mounted by  a  crown  and  partly  covered  by  a  long  piece  of  black  drapery. 
Above  the  niche  is  a  lunette  containing  a  carving  of  the  execution  of  Charles  P^, 
with  the  executioner  displaying  the  head.  Sir  Henry  Halford  stands  directed 
to  the  r.,  blandly  holding  by  the  hair  the  King's  head,  from  which  blood  drips ; 
in  his  r.  hand  is  a  handkerchief;  he  points  to  the  r.,  saying,  /  am  not  sure  that 
this  is  blood.  I  never  before  saw  the  head  of  a  decapitated  Monarch,  but  if 
Fortune  should  favor  my  professional  researches  I  will  leave  to  posterity 

a  criterion  to  ascertain  beyond  the  possibility  of  a  doubt  whether  this  be  blood 
or  not.  The  Regent,  standing  between  the  cofffns,  flinches  violently  to  the  r., 
away  from  Halford,  averting  his  head,  but  turning  his  eyes  towards  the 
ghastly  sight,  which  he  fends  off  with  both  hands.  He  says :  Let  the  tomb  have 

its  due  talk  not  to  me  of igns  &  dec on  [traces  of  the  intermediate 

letters,  sovere  and  apitati  remain]  bury  reflection  with  the  dead — hide — hide,  from 
my  eyes  the  fearful  sight! —  On  his  1.  stands  McMahon  (r.),  very  small,  point- 
ing to  the  second  coffin,  and  holding  out  to  the  Regent  an  open  book  inscribed 

History  of  England — Henry  VHL  He  says :  Turn  your  eyes  this  way  my  P 

let  them  dwell  upon  a  Soverign  [sic]  of  another  class  upon  him  who  never  spared 
man  in  his  hate  or  woman  in  his  lust" — History  informs  us  he  had  a  method 
in  the  disposal  of  his  Wives  peculiarly  his  own  let  us  study  him! 

248 


POLITICAL   SATIRES   1813 

Henry  VIII  stands  erect  in  his  coffin,  with  huge  eyeballs,  wearing  a  flat 
Tudor  cap,  a  moustache  and  fringe  of  beard,  over  a  cape  encircled  by  a  chain 
of  Maltese  crosses.  His  heavy  face  has  a  certain  resemblance  to  the  Regent. 
His  coffin  is  of  wood,  the  upper  part  broken  away,  the  lower  part,  inscribed 
H  .  .  .  ry  V  .  .  .  Ill,  split  by  Lord  Yarmouth  who  lunges  at  it  with  a  crow- 
bar. Yarmouth  looks  quizzically  at  the  head,  saying.  There's  a  heard  Theres 
Whiskers  red  like  my  own!  faith  I  never  knew  I  had  any  thing  half  so  regal  in 

me — curse  Junot  &  my  rib — d n  the  Cossack  &  his  pike  [see  No.  12040]  red 

Wigs  &  Whiskers  will  now  he  all  the  go.  Against  the  wall  three  frightened 
footmen  stand  holding  huge  lighted  candles. 

See  No.  12041.  A  footnote  to  Halford's  Account  is  satirized  (in  an  implied 
threat  verging  on  sedition):  'I  have  not  asserted  this  liquid  to  be  blood.  .  .  . 
I  believe  it  however  to  have  been  blood.  ...  It  gave  to  writing  paper,  and 
to  a  white  handkerchief,  such  a  colour  as  blood  .  .  .  generally  leaves  behind 
it.  .  .  .'  The  print  illustrates  verses,  'A  New  Song — To  an  old  tune'  (Scourge, 
V.  449-52),  highly  disrespectful  to  the  Regent.  Lady  Yarmouth  was  in  France 
and  was  or  had  been  Junot's  mistress,  see  No.  11914. 

Reid,  No.  241.   Cohn,  No.  732. 
75X19!  in. 

12056  a  The  pi.  as  heading  to  the  same  verses  on  a  printed  broadside. 
This  is  bound  with  a  Print-Room  copy  of  Halford's  Account. 

Broadside,  i7|X22|-  in.  184*.  a.  13 

12057  TURNING  OFF  AT  TYBURN  OR  THE  LIVERY,  RE-SPITED 
[G,  Cruikshank.] 

Pub^June  i''  181 3  for  Town  Talk 

Engraving  (coloured  impression).  PI.  from  Town  Talk,  iv,  before  p.  329.  The 
Lord  Mayor  in  his  robes  stands  on  the  roof  of  his  ornate  gilt  coach,  which 
is  the  chief  feature  of  the  design.  There  are  two  smaller  coaches,  behind  and 
to  1.  and  r.,  part  of  a  procession  which  the  Mavor,  George  Scholey,  is  address- 
ing. Behind  them  is  a  high  gibbet  inscribed  Hop  Pole,  on  which  the  hangman 
sits  astride,  saying,  I  zvish  your  Lordship  would  give  me  a  job.  The  Mayor, 
directed  to  the  r.,  his  head  in  profile,  his  arms  flung  wide,  says:  Gentlemen, 
as  I  thought  it  my  duty  to  keep  the  peace  of  the  City,  I  have  marched  you  through 
S'  Giles's  to  Tyburn,  &  here,  by  Virtue  of  my  authority,  I  turn  you  all  off ;  for  you 
are  all  Malefactors :  which  signifies  evil  doers,  &  you  have  done  evil  to  insist 
on  coming  at  all.  I  have  nothing  more  to  say  to  you,  but  to  beg  of  you  to  go  home, 
put  on  your  aprons,  get  behind  your  Counters  &  mind  your  business  &  think 
yourselves  happy  that  you  are  not  all  executed.  Inside  the  coach  are  an  officer 
clasping  a  roll  of  Records,  the  mace-bearer  holding  the  mace,  and  a  third  man. 
A  pompous  coachman  sits  on  the  box,  wearing  a  huge  cocked  hat  and  a  big 
nosegay.  Four  footmen  stand  behind,  one  of  whom  kicks  one  of  the  crowd 
in  the  face.  From  the  front  coach  (1.),  behind  which  are  two  footmen,  an 
alderman  looks  out  to  ask :  What  the  Devil  is  he  about?  Two  men  look  from 
the  other  coach  (r.);  one  says:  Hang  him  Kick  him  out  of  Office,  the  other: 
Give  him  rope  &  he'll  hang  himself.  A  crowd  watches  the  procession.  On  the 
r.  three  well-dressed  men  stand  in  conversation ;  one  says :  His  Lordship  has 
alzvays  had  a  hankering  after  this  place  ever  since  the  affair  of  the  Hop  Sacks. 
Another:  Of  what  Company  does  his  Lordship  suppose  us  to  he — of  horse- 
stealers river-pirates,  pick  pockets,  or  zvhat  else?  A  boy  or  dwarfish  man  with 
twisted  shin-bones  twitches  the  handkerchief  from  the  speaker's  pocket.  The 

249 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

rest  of  the  crowd  is  proletarian.  On  the  1.  two  fighting  viragoes  fall  to  the 
ground  and  a  child  falls  on  its  back;  a  coal-black  chimney-sweep  gapes  at 
them.  Behind  them  two  men  fight,  one  with  a  hod,  the  other  with  a  cudgel. 
A  man  seated  on  a  braying  ass  with  enormous  erect  ears  gazes  up  at  the 
Mayor,  as  does  a  fat  woman  with  a  basket.  There  are  also  a  very  deformed 
cripple  on  crutches,  an  old  woman  in  a  cloak,  a  scavenger,  and  many  heads. 
Two  dogs  confront  each  other  aggressively  in  the  centre  foreground.  A  sign- 
post (1.)  pointing  to  the  r.  is  inscribed:  New  Road  from  Kensington  Pallace 
to  the  Mansion  House  through  S^  Giles. 

See  No.  12038.  A  satire  on  the  Address  of  the  Livery  of  London  to  the 
Princess  of  Wales,  on  the  route  taken  by  the  procession,  and  on  the 
Mayor's  speech  justifying  it :  'He  had  acted  in  conformity  to  the  sacred  oath 
he  had  taken  .  .  .  [to]  support  the  peace  and  good  order  of  the  City.'  (His 
object  being  to  avoid  Carlton  House.)  Examiner,  25  Apr.  1813,  p.  269. 
A  typical  St.  Giles's  fracas  is  depicted,  to  stress  the  disorderly  character  of 
that  district.  Executions  ceased  to  take  place  at  Tyburn  in  1784. 

Reid,  No.  240.   Cohn,  No.  802. 
9IX13  in. 

12058  NAP  NEARLY  NAB'D  OR  A  RETREATING  JUMP  JUST  IN 
TIME,  Plate  7.  203 

[Williams.] 

Pub'^  June  1813  by  Tho^  Tegg  N°  11  [sic]  Cheapside — Price  one  sh^  col'^ 

Engraving  (coloured  impression).  One  of  a  set,  see  No.  12034,  &c.  Napoleon 
leaps  in  terror  from  a  window,  his  large  bicorne  falling  off;  another  French 
officer  steps  on  to  the  sill,  about  to  follow.  They  will  inevitably  drop  into 
a  wash-tub  below.  The  house  is  a  neat  log  cabin  with  casement  windows. 
Two  flowering  plants  in  pots  fall  from  the  sill,  pigs  scamper  off^,  a  cock  and 
hen  fly  away.  A  woman  scouring  a  pot  looks  out  in  alarm  from  a  lower 
window.  A  cat  miaows  on  a  pent-house  roof.  Behind  a  paling  (1.)  a  Cossack 
with  his  long  spear  has  dismounted,  and  hastens  towards  the  house  with  a 
satisfied  grin;  in  the  background  Cossacks  gallop  across  a  snowy  landscape. 

For  this  supposed  adventure  see  No.  12001,  &c. 

Broadley,  i.  324.   Milan,  No.  2501. 
8^X13  in. 

12059  NAP'S   GLORIOUS  RETURN  OR  THE  CONCLUSION  OF 
THE  RUSSIAN  CAMPAIGN.   PI  8  Boneys  Russian  Campaign.  204 

[Williams.] 

Pub^  June  181 3  by  Tho^  Tegg  iii  Cheapside — Price  ij-  colored 

Engraving  (coloured  impression).  One  of  a  set,  see  No.  12034,  ^^-  Napoleon 
advances  into  Marie  Louise's  bedroom  from  the  r.,  with  outstretched  arms, 
terrifying  those  in  the  room.  His  nose  is  damaged,  his  sword  broken,  his 
uniform  ragged,  with  toes  projecting  through  his  boots;  he  wears  fingerless 
gloves.  He  says:  Me  Void!  your  poor  Nap — escape  from  de  Cossack — by  gar 
I  jump  out  of  de  window  for  my  life  [see  No.  12001]  Ah  I  now  jump  in  de  bed 
vid  my  Wife.  Marie  Louise  is  seated  in  an  arm-chair,  a  maid  kneels  to  draw 
off  a  stocking.  She  flings  up  her  arms,  and  throws  up  a  leg  with  a  stocking 
dangling  from  her  foot,  screaming,  Jesu  Maria  What  is  this  so  woe  begone  it 
can't  be  My  husband  he  promised  to  return  in  triump,  it  must  be  his  Ghost — 
The  maid  shrieks:  Ah  de  Ghost!!  de  Ghost  of  Mon^  Nap.  Another  maid  (1.) 

250 


POLITICAL    SATIRES    1813 

flings  herself  to  the  ground  covering  her  head  with  an  arm,  having  upset  a 
chamber-pot.  A  third  maid,  immediately  behind  Napoleon,  lies  screaming 
on  the  floor  at  the  foot  of  the  bed  in  which  she  has  left  a  warming-pan, 
causing  a  fire  in  the  middle  of  the  bed.  The  little  King  of  Rome,  wearing 
a  spiky  crown  over  his  night-cap,  rushes  blindly  to  the  1.,  turning  his  head 
towards  his  father:  That  e'nt  my  Papa!!  he  said  he  zvould  bring  me  some 
Russians  to  cut  up  [cf.  No.  12034].  /  think  they  have  cut  him  up.  There  is  an 
ornate  four-post  bed  with  fringed  hangings,  but  the  room  is  domestic  rather 
than  palatial.  A  clock  standing  on  a  chest  of  drawers  points  to  twelve.  Above 
it  is  a  H.L.  portrait  of  Napoleon  in  coronation  dress,  the  head  in  profile  to 
the  r.,  a  blend  of  Henri  IV  and  Roman  Emperor;  he  wears  a  laurel  wreath 
and  holds  a  sheaf  of  sceptres. 

For  the  return  see  No.  11997,  &c. 

Broadley,  i.  324.    Milan,  No.  2500. 
8fxi3-^in. 

12060  A  PEASANT  CARRYING  OFF  A  FRENCH  CANNON  INTO 
THE  RUSSIAN  CAMP  WHILST  THE  ENEMY  HAD  LEFT  IT  TO 
GO  MARAUDING  IN  THE  VILLAGE— 

G.  Cruikshank  sculp 

Pu¥  by  H.  Humphrey  S'  James's  Str'  June  8^^  1813 

Engraving  (coloured  and  uncoloured  impressions).  One  of  a  set,  see  No.  11995. 
A  Russian  peasant  stands  on  a  four-wheeled  gun-carriage,  driving  off^  at  a 
gallop  the  four  spirited  horses  harnessed  to  it,  holding  the  long  reins  in  both 
hands,  arms  flung  wide.  A  saddle  with  stirrups  is  on  the  near  leader.  He 
wears  square  cap,  tunic,  full  breeches  and  cross-gartered  legs  as  in  No. 
12015,  &c.  In  the  middle  distance  (r.)  a  peasant  plants  a  foot  on  the  prostrate 
body  of  a  French  soldier,  raising  an  axe  to  smite.  Another  French  soldier 
lies  beside  him.  Farther  off  are  three  Frenchmen;  one  has  fallen,  another 
flees,  the  third  kneels  to  fire  towards  the  peasant  with  the  axe.  Nearer  the 
village  (1.)  is  a  melee,  two  peasants  with  pitchforks  and  one  with  a  club  are 
killing  four  French  soldiers.  Behind  are  closely  placed  small  log  huts  with 
steep  roofs.   There  is  a  green  landscape  with  a  few  small  trees. 

Title  in  Russian  above  the  design:  KpecrbHHHH-b  yB03HT-b  y  <i5paHuy30B-b 
nyiUKy   Bt   PycKOH    jiarep'b,   MCHtny  x-feM-b  KaKt  —  ohh,  ocraBHBUJH  OHyra   wa 

nOJIH,   6pOCHnHCb   Cb  nCpeBHK)   3a  K0HTpH6yuieK). 

Reid,  No.  242.    Cohn,  No.  1833.    Listed  by  Broadley. 
7^  X  i2f  in.   With  border,  9|f  X  13II  in. 

12061  DRAMATIC  EFFECT  OR  THE  DEATH  OF  GENL  DUROC. 

vide  French  Bulletin. 

[Williams.] 

London  Piib'^  June  g'^  18 13  by  W'"  Holland  iV^  11  Cockspur  Street 

Engraving  (coloured  impression).  The  interior  of  a  tent.  Duroc,  in  his  shirt, 
lies  supported  by  a  soldier  on  a  wooden  bed,  while  Napoleon  (r.)  holds  his 
r.  hand,  turning  away  (to  the  r.)  and  covering  his  face  with  his  1.  hand.  An 
oflicer  stands  solicitously  beside  the  Emperor,  supporting  his  1.  elbow. 
Another  officer  stands  (1.)  behind  the  head  of  the  low  bed.  On  the  extreme 
1.  a  soldier  bends  over  a  table  compounding  medicaments.  Duroc's  coat  and 
sword  lie  on  a  camp-stool,  beside  his  hat  and  boots.  A  glimpse  of  the  distant 
camp  is  seen  on  the  extreme  r.,  where  a  Mameluke  stands  by  the  tent  holding 
Napoleon's  horse.  Duroc  is  addressing  the  Emperor,  with  his  1.  arm  extended. 
Their  words  are  etched  below  the  title:  Duroc,  ''My  whole  life  has  been 

251 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

consecrated  to  your  service,  nor  do  I  regret  its  loss,  but  for  the  use  it  still  might 
have  been  of  to  you!"  Buonaparte,  "Duroc!"  there  is  a  life  to  come ;  it  is  there 
you  are  going  to  wait  for  me,  and  where  we  shall  one  day  meet  again!"  Duroc, 
"  Yes  Sire!  but  that  will  not  be  these  thirty  years,  when  you  will  have  triumphed 
over  your  enimies  [sic],  and  realised  all  the  hopes  of  your  country,  I  have  lived 
an  honest  man:  I  have  nothing  to  reproach  myself  with,  ah!  Sire!  go  away  this 
sight  gives  you  pain — B^,  "Farewell  then  my  friend. 

Duroc  was  mortally  wounded  at  Bautzen,  21  May,  and  died  on  23  May  at 
a  small  farm.  The  dialogue  is  from  the  official  account  in  the  Moniteur  of 
30  May  (abridged).  Napoleon  bought  the  farm  and  erected  a  monument  there 
to  Duroc.  Not  a  caricature.  See  Examiner,  1813,  p.  361.  See  also  No.  12064. 

Van  Stolk,  No.  6167. 
8|x  ii|  in.  'Caricatures',  xii.  49. 

12062  INSCRIPTION  FOR  A  MONUMENT,  ON  A  FORMER  MIN- 
ISTER!! 

G  C  Sen' 

Published  by  John  Fairburn,  2,  Broadway,  Ludgate-Hill,  facing  the  Old 
Bailey.  [c  June  181 3] 

Engraving  (coloured  impression).  Heading  to  a  cheap  printed  broadside, 
purporting  to  be  the  inscription  on  Pitt's  mausoleum.  Pitt  is  tied  back  to 
back  to  a  skeleton.  Death,  on  the  back  of  a  skeleton  horse  which  leaps  from 
a  cliff  into  an  abyss.  He  wears  his  Chancellor  of  the  Exchequer's  gown,  and 
waves  his  arms  wildly,  raising  one  thin  leg  into  the  air.  He  exclaims:  Oh!  my 
Country  [his  dying  words].  Death  points  a  finger  at  the  abyss,  looking  round 
at  Pitt;  his  legs  are  in  spurred  top-boots.  Two  other  skeletons  on  skeleton- 
horses  follow,  both  holding  barbed  scourges.  A  signpost  points  (1.)  To 
England,  another  arm  points  downwards  To  [Hell]. 

The  inscription  (63  11.)  is  a  savage  attack  on  Pitt  and  his  policy.  It  begins: 
'This  Mausoleum  |  entombs  ]  William  Pitt,  |  .  .  .  He  doubled  the  prices  of 
provisions,  |  Tripled  the  amount  of  the  poor-rates  and  taxes,  |  Added  Three 
Hundred  Millions  to  the  National  Debt,  [  And  sacrificed  Two  Hundred 
Thousand  Britons  in  |  'Just  and  necessary  wars!'  He  assisted  in  the  sub- 
version of  the  balance  of  power,  |  .  .  .  France,  . .  .  Obtained  the  empire  of  the 
World.'  The  memorial  is  said  to  be  erected  by  tax  collectors,  contractors  &c., 
'The  modern  nobility.  Lord  Melville,  |  And  |  Napoleon,  Emperor  of  France.' 

The  text  burlesques  Canning's  inscription  on  the  monument  erected  in  the 
Guildhall  to  Pitt  in  18 13.  On  this  Pitt  in  his  Chancellor  of  the  Exchequer's 
gown  stands,  supported  by  Apollo  and  Mercury,  above  Britannia  who  is  seated 
on  a  sea-horse.  See  Europ.  Mag.  Ixiv.  36  f. ;  the  frontispiece  is  an  engraving 
of  the  monument.  For  the  spirit  of  the  attack  on  Pitt  cf.  Nos.  8500,  9872, 
10533.  For  'just  and  necessary  war'  see  No.  8599.  Melville  is  pilloried  as 
his  father's  son.  Cf.  No.  10377,  &c.  The  design  is  based  on  No.  6128  after 
Rowlandson,  Pitt  taking  the  place  of  the  fat  lawyer. 

Reid,  No.  168.    Cohn,  No.  1236. 
2^X3!  in.   Broadside,  i6|x  4^  in. 

12063  THE  PRINCELY  MEETING  AT  STARLSUND  [sic] 

Pub'^   by   Hurwood    &    C°   Hunter   Street    North   Brunswick    Square 
London  N°  30  [c.  June  181 3] 

Engraving  (coloured  impression).    Bernadotte,  in  uniform,  and  holding  his 
hat,  bows  towards  the  Duke  of  Cumberland,  who  addresses  him,  extending 

252 


POLITICAL   SATIRES    1813 

his  r.  forefinger.  They  are  in  a  room  or  gallery  with  a  door  at  either  end; 
a  court-chamberlain  holding  a  long  wand  stands  behind  Bernadotte  (1.)  slyly 
putting  a  forefinger  to  his  nose.  A  Swedish  officer  stands  behind  the  Duke 
as  if  ushering  him  in.  The  Duke:  7'm  come  Post  Haste  Your  Highness  to  sett 
you  in  Motion  Oceans  of  Money  Anns  &  Ammunition  are  coming  &  all  the 
German  Legion  do  but  drive  that  capering  Fellow  Bonaparte  from  Hanover  & 
I  shall  be  Governor  &  out  of  the  Din  of  that  Rascall  the  Whig  who  is  allway  [sic], 
bothering  me  about  Sellis  &  the  Devil  knows  what  I'd  sooner  hear  the  Roaring 
of  a  Thousand  cannon  than  be  Baited  so.  Bernadotte  answers  with  a  sly  smile: 
My  dear  Prince  You  are  wellcome  to  Starlsund.  Fll  accept  My  friend  John 
Bull's  Subsidy  with  pleasure  going  to  drub  Bonaparte  directly  the  weather 
permits:  Fll  cut  of  his  Retreat  &  take  him  Prisoner,  &  make  You  a  present 
of  Him  to  put  in  the  Tower  as  a  Curiosity.  Tell  your  R — y — /  Br — th — r  to 
send  Cash  directly  As  you  knozv  My  Lord  Duke  of  Cumb — / — d  mony  makes  the 
mare  to  go.  I  am  in  earnest  Indeed  I  am  &  the  brave  Szveeds  all  a  gog  to  catch 
Nap  in  a  Trap  but  pray  send  the  Money.  The  Swedish  officer  says :  When 
we're  tir'd  of  a  War  zve  can  patch  up  a  Peace,  To  handle  the  Cole's  the  fun 
[cf.  No.  6213].  The  courtier  says:  Aye  Aye,  the  Devil  a  barrel  the  better 
Herring,  two  pretty  Boys  together,  If  Old  Nick  was  to  cast  his  net  here,  what 
a  nice  dish  offish  he'd  have  for  Supper.  Behind  Bernadotte  hangs  a  small  W.L. 
portrait  of  Cha^  XII  [of]  Sweeden,  with  military-  accessories;  between  the 
two  princes  is  a  H.L.  profile  portrait  of  Frederick  of  Prussia  holding  a  baton. 
A  boldly  patterned  carpet  forms  the  base  of  the  design. 

Cumberland,  who  left  England  on  2  May,  see  No.  12067,  arrived  in 
Stralsund  en  route  for  Strelitz  on  19  May,  and  was  received  by  Bernadotte, 
Crown  Prince  of  Sweden  since  18 10,  with  demonstrative  courtesy  and 
expressions  of  gratitude  to  the  Regent.  According  to  his  letter  to  the  Regent 
of  20  May  he  delivered  his  message:  *.  .  .  that  he  put  his  whole  confidence 
in  him  for  the  defence  and  recover)'  of  his  German  dominions'.  Corr.  of 
George  IV,  1938,  i.  249-52.  The  print  is  an  attack  on  the  hated  Cumberland, 
who  by  implication  is  accused  of  murdering  Sellis  as  in  No.  12067,  and  on  the 
British  subsidy  to  Sweden  towards  the  support  of  Swedish  troops  serving 
against  Napoleon  by  the  treaty  of  Stockholm,  3  Mar.  181 3,  see  No.  12077. 
Bernadotte  landed  at  Stralsund  with  24,000  men  on  May  18,  but  was  unable 
to  help  in  the  campaign  before  the  armistice  of  4  June,  thus  incurring 
suspicions  as  to  his  bona  fides.  See  J.  H.  Rose,  Napoleon,  1934,  ii.  296-8. 
8fxi3iin. 

Two  designs  by  Brooke  on  one  pi.,  headed  SATIRIST  1ST  JULY  1813, 
enclosed  in  border,  7|x  14II  in. 

12064  TRAGEDY. 

Satirist,  tnv^ 

Engraving  (coloured  impression).  Duroc,  wounded  in  the  hip,  falls  back- 
wards, breaking  his  fall  with  his  r.  hand.  His  sabre,  broken,  lies  beside  him. 
Napoleon  faces  him,  his  head  in  profile  to  the  1.,  looking  down  and  weeping; 
in  his  1.  hand  is  a  handkerchief;  he  contemptuously  snaps  his  r.  forefinger 
and  thumb.  The  Devil,  a  huge  head  between  webbed  wings,  hovers  over 
them.  Duroc  says:  Dear  Master  in  this  world  I've  served  you  right  well  \  Have 
you  any  commands  for  the  other.  Napoleon  answers :  Dear  Duroc  I  need  not 
your  interest  in  Hell  \  For  the  Devil's  my  best  friend  and  brother.  Both  are 
burlesqued,  and  wear  uniforms  heavily  trimmed  with  gold.  Behind  Duroc 
a  decollated  head  lies  on  the  ground ;  a  battle  rages  in  the  background. 

253 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

See  No.  12061.  Duroc  was  with  Napoleon  and  other  officers  at  Bautzen 
when  he  was  wounded  by  a  bullet  which  ricocheted  from  a  tree;  Napoleon 
did  not  notice  it  till  he  saw  Le  Brun  in  tears,  speaking  low  to  Caulaincourt. 
The  text  (p.  3),  after  citing  a  French  account  of  Duroc's  death,  attacks 
Napoleon  as  a  'Damnable  hypocrite  .  .  .':  'the  cold-blooded  assassin  of  the 
cabinet,  and  the  demon  of  horror  in  the  field,  dares  to  mock  the  misery  of 
mankind'. 

Broadley,  i.  334  f. 
i^x6iin. 


12065  COMEDY. 

W  HEkoorb  [Brooke],  deV  et  fecK 

Engraving  (coloured  impression).  A  pair  of  scales  hangs  from  the  Prince's 
feathers,  with  Ich  Dien  on  a  scroll;  one  bowl,  the  lower  (1.),  is  inscribed 
Protestant,  the  other  Catholic.  Three  men  tug  at  a  rope  passed  over  the 
'Catholic'  bowl;  a  fourth  stands  with  them,  holding  up  a  decanter  and  drink- 
ing a  toast.  They  are  (1.  to  r.)  the  Duke  of  Sussex,  wearing  his  apron  as 
Grand  Master  of  the  Freemasons;  he  says:  Pull  away  boy{s\  &  the  Protestant 
Establishment  must  kick  the  beam ;  the  Duke  of  Kent,  in  regimentals,  in  back 
view,  saying.  Hurra!  Catholicism  for  ever;  Lord  Holland  (?)  who  says:  As 
Chairman,  I  drink  the  Prince  Regent  in  solemn  silence!!!;  Lord  Grey,  facing 
Sussex  in  profile,  says:  The  Catholic  Faith  &  all  the  Talents!  Pull  boys — 
pull!!!  Close  beside  them  (r.)  is  a  large  cask  on  which  stands  Whitbread 
holding  a  frothing  tankard,  and  pointing  to  the  Prince's  feathers;  he  says: 
Here's  down  with  the  Plume.  He  is  supposedly  a  statue,  standing  on  a  slab 
inscribed  J.  (a  pig  is  depicted,  signifying  Bacon)  Sculptor.  The  cask,  which 
serves  as  pedestal,  is  inscribed  Erected  \  Gratitude  by  \  Drury  Lane  \  To  \ 
Sam  W  .  .  .  Esq^  \  the  brewer  of  .  .  .  A  label  from  the  mouth  of  Sheridan, 
who  lies  drunkenly  on  his  back  against  the  barrel  and  under  Grey's  legs, 
floats  across  the  cask :  Bacon  and  Beer  |  Very  good  cheer! 

The  text  (pp.  4-7)  is  an  attack  on  the  Opposition  and  the  Catholic  Relief 
Bill.  On  10  June  a  dinner  was  given  by  the  'Friends  of  Religious  Liberty* 
to  the  Catholic  Delegates  (to  support  the  abortive  Emancipation  Bill,  see 
No.  1 20 1 6)  at  which  the  Dukes  of  Kent  and  Sussex  were  present,  and  speeches 
by  Whitbread  and  Lord  Holland  were  particularly  eloquent.  Since  the  con- 
viction of  Leigh  Hunt,  cf.  No.  12006,  it  had  become  customary  for  the  Whig 
newspapers  to  record  hisses  or  disapprobation  when  the  Regent's  health  was 
drunk.  It  had  also  become  customary  to  drink  the  King's  health  in  silence, 
on  account  of  his  illness  and  seclusion;  'as  a  subtle  stroke  of  humour'  the 
Prince's  health  was  also  drunk  in  silence,  and  was  so  drunk  on  10  June.  See 
Examiner,  18 13,  pp.  301-2,  376,  The  Duke  of  Sussex  succeeded  the  Regent 
(who  had  held  office  for  twenty-two  years)  as  Grand  Master  of  the  Free 
Masons  in  18 13.  A  form  of  disparagement  to  the  Regent  was  applause  for 
his  Whiggish  brothers,  Kent  and  Sussex.  A  bust  of  Whitbread  by  Bacon  had 
recently  been  placed  in  'the  principal  saloon  of  Drury  Lane  Theatre'.  Europ. 
Mag.  Ixiii.  454.  Cf.  No.  11993. 
6#x6f  in. 

12066  JOHN  BULL  IN  THE  COUNCIL  CHAMBER— 
G.  Cruikshank  fee* 

Pu¥  July  I'*  1813  by  W  N  Jones  N°  5  Newgate  Street 
Engraving  (coloured  impression).    PL  from  the  Scourge,  vi,  frontispiece. 
Queen  Charlotte,  hideously  caricatured,  sits  enthroned  under  a  canopy  in 
the  centre  of  the  design.   Her  knees  are  wide  apart,  and  one  skinny  foot  in 

254 


POLITICAL   SATIRES    1813 

a  grotesque  high-heeled  shoe  of  antique  pattern  is  raised  high  on  a  cushioned 
stool,  which  is  a  coffer  containing  the  Hastings  Diamond;  in  her  1.  hand  is 
a  sceptre  topped  by  an  eagle,  her  1.  elbow  rests  on  a  bolster,  inscribed  German 
Sausage,  which  is  poised  on  a  great  heap  of  green-stuif  in  a  receptacle  inscribed 
Sauer  Kraut  [cf.  No.  10170].  A  small  crown  is  perched  on  her  feathered  cap. 
She  takes  snuff  from  a  box  inscribed  Strasburgh  proffered  by  a  lean  grotesque 
courtier  (1.),  kneeling  on  one  knee ;  another  (r.)  stands  with  flexed  knees  hold- 
ing another  box  so  inscribed.  Both  have  hideous  comic  profiles,  wear  quasi- 
miUtary  dress  with  epaulets,  and  feminine  mob-caps.  A  third,  without  a  cap, 
stands  behind  the  first,  extending  ajar  of  Strasbu[rgh]  snuff.  Little  grotesque 
demons  run  forward,  three  on  the  1.,  with  boxes  on  their  heads,  inscribed 
respectively  Real  Strasburg,  Princes  Mixture,  and  Irish  Blagiiard.  A  fourth 
advances  from  the  r.  with  a  huge  crowned  jar  of  Royal  Strasburgh  on  his  head. 
The  festooned  canopy  above  the  Queen  is  supported  by  terminal  pillars, 
topped  by  H.L.  figures  of  hideous  naked  hags,  with  arms  crossed  and  resting 
on  clustered  money-bags  inscribed  1000  or  .  .  .  00.  Round  each  is  twined  a 
serpent  with  fanged  and  fiery  jaws  from  which  issue  the  words  Pride  Corrup- 
tion (1.)  and  Malice  Hatered  (r.).  She  says :  Am  I  not  the  Q n.  I  will  not  lose 

one  jot  of  my  prerogative — More  Strasburgh  there — lay  before  me  the  Reports — • 

On  the  1.  Liverpool  (.'*),  his  body  covered  with  scales,  and  having  cloven 
hoofs,  a  barbed  tail,  small  horns  sprouting  from  his  forehead,  and  (incorrectly) 
a  star  on  his  breast,  stands  holding  out  a  paper  headed  Secret  Inquiry,  and 
making  a  declamatory  gesture  with  extended  arms.    He  says:  May  it  please 

your The  precious  Ore  resists  every  Chemical  attempt  at  deterioration — 

so  the  Virtue  of  injured  Woman  repels  the  touch  of  Slander  &  rises  superior  to 
its  malevolence.  I  take  Shame  to  myself  at  discomfiture — but  the  Princess  is 
declared  "Innocen  [sic].'"  Behind  him  (1.)  stands  Ellenborough  in  wig  and 
gown,  with  clenched  fists,  directed  to  the  r.  He  says,  scowling,  By  Hell  I 
thought  to  shame  the  Rogues  but  the  d — d  Brewer  [Whitbread,  the  champion 
of  the  Princess]  was  to  much  for  me.  On  the  extreme  1.  stands  Sir  Henry 
Halford  in  profile  to  the  r.,  with  a  huge  hooked  nose ;  he  holds  a  paper  headed 
Medical  monthly  Report,  and  says,  bowing:  May  it  please  your  M — g — ty  the 
Reports  of  the  Physicians  is  admirably  confused  &  equivocating  &  well  calculated 
to  meet  the  public  eye! 

On  the  extreme  r.  the  Regent  sleeps  in  an  infant's  cradle,  at  the  head  of 
which  are  three  scraggy  ostrich  feathers  and  the  motto  Ich  Dein  [sic].  He 
clasps  a  doll,  with  large  breasts  and  wearing  a  spiky  crown,  intended  for 
Lady  Hertford  (cf.  No.  11853);  between  his  legs  is  a  decanter  of  Curacoa. 
Kneehng  before  the  cradle  is  a  ragged  Irishman  in  profile  to  the  r.,  holding 
out  a  paper  headed  Catholic  Claims.  Eldon,  in  Chancellor's  wig  and  gown, 
kneels  protectingly  beside  the  cradle,  stretching  out  his  arms  to  defend  the 
child  from  the  Irishman.  He  says:  Be  easy  Pat  or  you  will  disturb  the  Royal 
Conscience  which  is  now  dozeing  in  quiet  comfortable  slumbers.  Pat  answers :  By 
5'  Patrick  but  so  long  as  your  Lordship  is  its  Keeper  there  is  no  danger  of  disturb- 
ing it.  Behind  Pat,  John  Bull  stands  with  legs  astride  and  hands  raised  in 
astonishment;  he  looks  to  the  1.,  saying,  Mercy  on  me  what  have  we  hear, 
Conscience  asleep!  on  the  one  hand  &  the  Manufacture  of  Reports  on  the  other — 
Is  this  the  way  I  am  bubbled?!  He  is  framed  by  rocks  as  if  standing  in  the 
mouth  of  a  cave. 

A  malevolent  satire  on  the  Queen  and  the  Regent,  probably  suggested  by 
Whitbread's  speech,  27  May,  on  the  Civil  List:  among  notable  items  'he 
perceived  "to  Messrs  Randall  and  Bridge  for  snuff-boxes,  7,  170.  35" — (A 
laugh.) — To  whom  these  snuff-boxes  had  been  given  they  had  not  been  told'. 
Pari.  Hist.  xxvi.  383-4.    The  Scourge  (vi.  81)  invents  an  amazed  country 

255 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

member:  '  .  .  .  what  can  the  Queen  do  with  so  many  snuff-boxes?'  She 
was  an  inveterate  snuff-taker,  'Old  Snuffy',  of.  No.  11320.  The  'Report' 
proffered  by  Liverpool  is  perhaps  that  of  the  Ministers  to  whom  the  Princess's 
letter,  and  the  papers  of  the  'Delicate  Investigation'  had  been  referred,  see 
No.  1203 1,  &c.  This  was  actually  non-committal,  but  is  here  represented 
as  an  acquittal  of  the  Princess  and  (inconsistently)  a  manufactured  report  to 
deceive  John  Bull.  The  print,  however,  applies  more  especially  (and  unjustly) 
to  the  monthly  bulletins  on  the  King's  health  signed  by  the  doctors,  headed 
by  Halford.  The  last  one,  5  June,  was  'His  Majesty  has  been  tranquil  and 
comfortable  in  general  since  the  last  general  report',  Europ.  Mag.  For  the 
failure  of  the  Catholic  Relief  Bill  see  No.  120 16.  Allegations  of  miserly 
avarice  against  the  Queen  were  current  from  1786  to  c.  1792,  see  No.  7836,  &c. 
The  'Hastings  Diamond'  is  an  allusion  to  the  unlucky  affair  of  the  bulse, 
a  package  of  diamonds  for  the  King,  sent  through  Hastings  by  the  Nizam  of 
the  Deccan  in  1786,  see  No.  6966,  &c.,  and  to  the  known  fondness  for  jewels 
of  the  Queen,  who  thus  acquired  the  name  of  Queen  of  Diamonds,  see 
No.  6978.  She  is  here  pilloried  probably  for  her  attitude  to  the  Princess  of 
Wales,  and  her  severity  to  Princess  Charlotte.  There  is  no  reference  to  the 
plate  in  the  text,  but  cf.  the  verses  on  pp.  101-5  (Aug.  1813)  on  the  Queen  and 
Princess  Charlotte.  See  No.  12272.  For  the  Prince  as  an  infant  cf.  No.  1 1888. 
Reid,  No.  244.    Cohn,  No.  732. 

7fXi9i^  in- 

12067  THE  BOROUGH-MONGERING  TRIO. 

[G.  Cruikshank.] 

Pub^  July  J^'  181 J  for  the  Proprietor  of  Town  Talk — 

Engraving  (coloured  impression).  PI.  from  Town  Talk,  iv.  407.  The  trio  are 
the  Duke  of  Cumberland,  stepping  into  a  ship's-boat,  the  Duke  of  Leeds,  in 
front  of  5'  Stephens  Chapel,  and  Thomas  Crogan,  standing  behind  prison 
bars  in  Newgate.  The  centre  figure  is  Leeds,  wearing  (incorrectly)  a  star,  and 
standing  in  a  frothing  tub  of  Leeds  White  Wash.  Four  men  apply  the  white- 
wash: Wilberforce  (1.)  faces  him  in  profile,  saying,  'Tho^  your  sins  be  as  scarlet, 
yet  will  we  make  them  whiter  than  Snow ;  he  plies  a  brush ;  in  his  pocket  is  a 
paper:  Aboulain  [?]  of  the  Slave  Trad[e].  A  second  man  uses  a  mop,  a  third 
a  bucket,  the  fourth  (r.)  a  broom,  saying,  Aye,  Aye,  if  he  were  as  black  as  Hell 
we'd  White  wash  him.  Leeds  smiles  and  bows,  saying,  /  thank  you,  most  honour- 
able Getitlemen,  as  you  approve  of  what  I  have  done,  I  will  go  on  with  new  Spirit 
at  the  next  Election  in  spite  of  Committees  &  Prisons.  The  chapel  shows  signs 
of  dilapidation;  the  interior  is  seen  through  a  wide  Gothic  archway  from 
which  four  steps  lead  to  the  House,  where  the  Speaker  (Abbot)  is  in  the 
Chair;  this  is  placed  against  the  wall  on  a  high  platform.  A  corner  of  one 
gallery  with  two  spectators  is  seen  on  the  1.  On  the  outside  wall  is  a  placard: 
White  Washing  done  here — &  all  sort  of  dirty  work. 

The  building  stands  between  the  sea  and  Newgate ;  stairs  lead  to  the  water, 
where  a  sailor  looks  quizzically  up  at  Cumberland.  A  razor  is  tied  to  his  1. 
ankle,  a  dog  barks  at  him,  and  a  ragged  boy  (r.)  points  derisively,  saying. 
There  goes  the  Cumberland  Transport  [i.e.  convict  bound  for  a  penal  settle- 
ment] .  A  John  Bull  with  a  little  boy  beside  him  watches  the  departure  with 
a  grin ;  the  child  says :  There  he  goes ;  John  answers :  Good  riddance  of  bad 
rubbish.  They  stand  under  a  rickety  signpost,  one  arm  (1.)  pointing  To 
Germany;  the  other,  with  a  noose  hanging  from  it,  points  To  Newgate.  The 
Duke,  who  wears  exotic  hussar  uniform,  with  a  cap  decorated  with  skull  and 
cross-bones,  and  a  short  fur-bordered  cape,  scowls,  clenching  his  fist;  he  says : 

256 


POLITICAL   SATIRES    1813 

Curse  on  this  Borough  Meddling  on  Weymouth  &  all  the  H e  of  C s 

together  will  nothing  but  a  trip  to  Germany  save  my  Royal  limbs  from  Prison?  A 
man-of-war,  the  Cumberland  Transport,  flying  an  ensign,  is  preparing  for 
sea  (1.),  guns  project  from  port-holes,  men  are  in  the  rigging  unfurling  sails. 

On  the  extreme  r.  a  gloomy,  unshaven  man  stands  behind  an  iron  grille, 
which  covers  a  doorway  in  a  heavy  stone  building.  He  looks  out,  saying, 
/  do' ant  like  for  this  ikf  Duke  of  Cumberland  and  this  Af  Duke  of  Leeds  to  get 
away  while  poor  Tom  Croggan  is  in  Newgate — Fze  ben  above  zix  weeks,  and 
d n  me  if  I'll  petition — Its  a  rotten  shame. 

A  satire  on  borough-mongering  based  on  parliamentary  proceedings  relating 
to  the  recent  elections  for  Helston,  Weymouth,  and  Tregony.  Leeds  was 
patron  of  Helston,  and  by  an  arrangement  with  the  Corporation  paid  the 
town  rates  in  return  for  nominating  the  member  (as  his  ancestors  had  done 
since  the  reign  of  Elizabeth);  the  patron's  personal  interposition  was  excluded 
by  the  Corporation  as  in  other  Cornish  boroughs.  Swan,  M.P.  for  Penrj^n, 
moved  the  prosecution  of  Leeds  and  four  aldermen  by  the  Attorney-General 
for  'practices  subversive  of  the  freedom  of  election' ;  the  motion  was  defeated 
by  55  to  52.  The  'white-washers'  are  not  portraits,  but  Castlereagh  and 
Canning  defended  Leeds;  Wilberforce  did  not  speak.  See  Pari.  Deb.  xxvi. 
796  ff.  (21  June  1813).  It  was  finally  decided  to  extend  the  electorate  of 
the  borough;  the  Bill  passed  the  Commons,  but  was  shelved  in  the  Lords. 
Oldfield,  Representative  History,  181 6,  iii.  185  f.  Abbot,  the  Speaker,  had 
been  Leeds's  nominee  for  Helston  (1795-1822),  see  Porritt,  Unreformed  House 
of  Commons,  i.  163,  232,  337  f.  The  Duke  of  Cumberland  was  involved  in 
the  election  for  Weymouth  as  trustee  for  the  patron.  Sir  F.  G.  Johnstone, 
b.  1810,  who  succeeded  to  the  baronetcy  24  Dec.  181 1,  shortly  before  the 
General  Election.  Three  points  in  the  election  petition  were  treating,  the 
splitting  of  freeholds  (to  minute  fractions),  and  the  action  of  the  Duke  of 
Cumberland,  the  interference  of  a  peer  in  elections  being  against  the  Standing 
Orders  of  the  House:  the  Duke  had  obtained  control  of  the  writ.  See  Pari. 
Deb.  xxiv.  844-7;  xxv.  500  ff.,  640  fl".  The  razor  connotes  the  popular  and 
unfounded  suspicion  that  he  had  murdered  his  valet  Sellis,  see  No.  11 561. 
The  Duke  left  England  on  2  May  for  Germany  in  the  hope  of  getting  a 
command  in  the  Allied  Army,  and  the  Governorship  of  Hanover,  cf.  No. 
12063.  There  was  a  petition  against  the  return  for  Tregony  in  1812:  there 
had  been  much  bribery,  and  the  Committee,  though  finding  the  two  members 
duly  returned,  reported  that  Thomas  Crogan  (or  Croggan),  a  currier  of  Truro, 
had  corruptly  endeavoured  to  obtain  the  return  of  the  two  members,  and  he 
was  committed  to  Newgate  on  a  motion  of  22  June,  remaining  there  nine 
weeks,  till  discharged,  refusing  to  acknowledge  the  offence.  Pari.  Deb. 
xxv.  810;  Oldfield,  op.  cit.  iii.  197  f.  Swan,  M.P.  for  Penryn,  asked:  'With 
Croggan's  example  then  in  view,  whether  the  House  could,  with  due  regard 
to  consistency  of  character  and  duty,  grant  impunity  to  the  Duke  of  Leeds  ?' 
Pari.  Deb.  xxvi.  800  (21  June  1813).  This  debate,  when  the  prosecution  of 
Leeds  was  successfully  opposed,  was  printed  in  large  type  by  Cobbett  {Pol. 
Reg.  xxiii.  905-25).  Cruikshank  anticipates  the  conclusions  of  the  Examiner, 
II  July  1813  (pp.  433-4),  that  in  Cumberland's  case  justice  was  set  aside  out 
of  deference  to  the  Crown,  in  that  of  Leeds,  out  of  deference  to  Borough 
patrons,  and  not  set  aside  in  that  of  Croggan  because  he  was  not  of  sufficient 
consequence.  See  also  ibid.  p.  449  f.  Three  of  the  members  returned  for 
Weymouth  were  unseated  on  petition;  for  the  resulting  by-election  see 
No.  12284.   For  Cornish  boroughs  cf.  No.  11551. 

Reid,  No.  243.   Cohn,  No.  802. 
8i^Xi5|in. 

257  8 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12068  THE  BATTLE  OF  VITTORIA—  201 
G  Cruikshank  fc^ 

Pu'^  July  7'^"  1813  by  T,  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  melee,  in  which  British  soldiers  put 
Frenchmen  to  flight.  In  the  foreground  (1.)  a  burly  grenadier  prods  with  his 
bayonet  a  ragged  man  from  whose  head  falls  a  large  sirloin  and  its  dish  which 
he  had  been  trying  to  carry  off.  The  man  shouts ;  Oh!  Jean  Bull  vill  you  not 
let  me  have  one  little  bit  of  Beef??!  [A  catch-phrase,  cf.  No.  5790.]  John 
answers:  No,  No,  Fll  be  d — d  if  you  take  the  Roast  Beef  with  you.  At  their 
feet  are  a  sack  of  coin,  baskets  of  provisions,  wine,  bread ;  a  large  pot  of  soup 
meagre  is  overturned.  On  the  r,  a  Highlander  beside  a  cannon  with  a  gun- 
carriage  inscribed  A^,  seizes  a  French  ragamuffin  by  his  long  pigtail,  and  raises 
his  sword,  saying,  Stand  out  o'  the  way  loons  whilst  I  tak  your  Last  Cannon 
(see  No.  12069).  In  the  middle  distance  French  soldiers  flee  (1.  to  r.)  before 
a  bayonet  charge  from  men  wearing  shakos.  On  a  hill  behind  (1.),  Wellington 
on  a  curvetting  white  charger  surveys  the  scene ;  a  soldier  stands  beside  him 
holding  a  Union  flag;  both  wave  their  hats.  A  pendant  figure  on  the  r.  is 
Joseph  Bonaparte  fleeing  to  the  r.  on  a  galloping  ass,  his  crown  falling  from 
his  head,  his  hair  rising,  and  his  hands  together  as  if  in  prayer;  he  looks 
behind  in  terror,  exclaiming :  O  vat  de  devil  vill  Brother  Nap  say?!!  Beside 
him  a  signpost  points  To  France.  In  the  centre  a  man  holds  up  Marshal 
Jourdan  spiked  on  his  bayonet.  Jourdan  shrieks:  Oh!  My  Batoon  (his  baton 
falls  from  his  hand).   The  soldier  answers:  it's  oh  your  Bottom  I  think. 

News  of  Vittoria  (21  June)  was  given  in  an  Extraordinary  Gazette  on  3  July; 
on  5,  6,  7  July  London  was  illuminated,  and  on  7  July  there  was  a  public 
thanksgiving  at  St.  Paul's.  After  the  battle  Joseph  had  only  just  time  to  leave 
his  carriage,  jump  on  his  horse  and  gallop  away.  Fortescue,  Hist,  of  the  Br. 
Army,  ix.  199.  ' .  .  .  One  thing  was  never  found  again — the  crown  of  Spain, 
fallen  for  ever  from  the  brow  on  which  it  was  not  to  be  replaced.'  Fee, 
Souvenirs  .  .  .,  quoted  Oman,  Hist,  of  the  Peninsular  War,  vi.  451.  All  the 
French  guns  were  captured.  For  Jourdan's  baton  see  No.  12072,  and  for  the 
battle,  Nos.  12069,  12070,  12071,  12072,  12074,  ^2075,  12076,  12083,  12179, 
12186. 

Cohn,  No.  909.    Listed  by  Broadley.    Not  identical  with  Reid,  No.  245 
(n.d.,  not  in  B.M.)  with  the  same  title. 
8|Xi3iin. 

12069  BONEY  RECEIVING  AN  ACCOUNT  OF  THE  BATTLE  OF 
VITTORIA— OR,  THE  LITTLE  EMPEROR  IN  A  GREAT  PASSION— 

G  Cruikshank  fec^ 

Pub^  July  8'^  181 J  by  S  Knight  Sweetings  Alley  Royal  Exchange 

Engraving  (coloured  impression).  Napoleon  (1.),  burlesqued,  and  wearing 
high  cavalry  boots,  stands  with  legs  astride  in  front  of  his  throne,  on  the  dais. 
He  tears  his  hair  (which  stands  on  end)  in  wild  fury,  and  flourishes  an  enor- 
mous sabre  above  his  head :  the  blade  is  notched  and  on  it  are  engraved  skull, 
cross-bones,  and  A^.  His  large  bicorne  has  fallen  to  the  ground  and  his  foot- 
stool is  overturned;  this  is  circular  and  domed,  the  top  representing  a  hemi- 
sphere on  which  is  a  map  of  Europe  on  which  Russia  and  Spain  are  marked. 
At  his  feet  lies  a  large  paper  inscribed  Armistice.  Two  grotesque  post-boys  (r.) 
display  a  long  scroll.  One  kneels  supporting  the  lower  part  of  the  document, 
the  other  stands  on  his  companion's  back  to  hold  up  the  upper  part.  It  is 
inscribed :  King  Joseph  has  been  Deafeated  by  Wellington  with  the  Loss  of  151 

258 


POLITICAL   SATIRES    1813 

peices  of  Cannon  415  Ammunition  Waggons — Bag  and  Baggae  [sic]  Provisions 
&c  &c  &c  The  French  have  one  very  fine  little  Howitzer  left — One  quarter 
of  the  Army  are  Killed  the  other  Wounded  the  Third  quarter  taken  prisoners  & 
the  English  are  playing  the  Devil  with  the  Rest.  The  standing  post-boy,  his 
face  screened  from  Napoleon  by  the  scroll,  says :  Yes  by  gar  dat  is  all  very 
pretty  but  it  is  all  true  tho.  He  wears  huge  'milk-chum'  boots,  with  a  mon- 
strous spur;  a  heavy  whip  projects  from  a  boot.  The  other  peers  from  behind 
the  scroll  at  the  Emperor,  much  terrified ;  he  is  barefoot,  with  a  huge  spur 
attached  to  his  ankle.  Napoleon  shouts:  Hell  &  the  Devil!!  Death  & 
D — na — on!!  that  cursed  fiend  John  Bull  will  drive  me  mad!  Villains!  Villains! 
'tis  all  a  lie  His  false  as  Hell  I  say!  away!  with  the  Bl — ted  Scroll — it  sears  my 
very  eye  balls!  Ill  cut  it  in  Ten  Thousend peices — ///  kick  ye  to  the  Devil — away 
with  it!  Oh!  Oh.  A  diminishing  trail  of  Oh  and  O  connects  the  speech  with 
Napoleon.  Beside  the  dais  and  on  the  extreme  1.  stands  a  terrified  Mameluke, 
watching  Napoleon  sideways.  The  ornate  throne  is  draped  by  curtains  and 
surmounted  by  a  crowned  eagle  clutching  a  crown,  above  a  large  crowned  A^. 

Three  sovereigns  in  uniform  stand  together,  in  consultation,  unregarded 
by  the  frenzied  Emperor.  The  Tsar  says,  with  forefinger  raised :  Now,  is  the 
time.  The  King  of  Prussia  says  to  the  Emperor  of  Austria:  Nmv  or  never,! 
Will  you  not  join  us.  Francis  registers  calculating  and  melancholy  indecision, 
cf.  Nos.  12033,  12079. 

For  Vittoria  see  No.  12068,  &c.  Napoleon's  agitation  at  the  news  was 
expressed  in  seven  dispatches  from  Dresden,  written  on  the  first  three  days 
of  July,  so  vehement  that  they  were  omitted  from  the  Corr.  de  Napoleon  I. 
Rose,  Napoleon,  1934,  p.  313.  The  Armistice  is  that  of  Plaswitz,  see  No. 
12077,  &c.  Wellington's  dispatch,  published  in  the  Gazette  of  3  July,  stated 
that  all  ammunition  and  baggage  were  captured:  'I  have  reason  to  believe, 
that  the  enemy  carried  off  with  them  one  gun  and  one  howitzer,  only.' 
Austria's  declaration  of  war  on  France  was  expected,  and  had  been  prematurely 
reported  in  June  {Corr.  of  George  IV,  i.  255) ;  it  was  made  on  1 1  August.  The 
design  probably  derives  from  No.  9998  by  Gillray:  the  overturned  footstool 
repeats  the  terrestrial  globe;  the  fallen  hat  and  the  notched  sword-blade  are 
incidents  in  both ;  Napoleon's  attitude  differs,  but  in  both  he  registers  angry 
consternation  with  frenzied  gestures. 

Reid,  No.  164.    Cohn,  No.  941.    Reproduced,  Grand-Carteret,  NapoUon, 
No.  954.    Listed  by  Broadley.    Milan,  No.  2459. 
SfXisiin. 

12070  JOURDAN  AND  KING  JOE  OR  OFF  THEY  GO— A  PEEP  AT 
THE  FRENCH  COMMANDERS  AT  THE  BATTLE  OF  VITTORIA. 

205  m 
[Williams.] 
PuMJuly  g"'  1813  by  Tho'  Tegg  iii  Cheapside  Price  ij  colored 

Engraving  (coloured  impression).  In  the  foreground  on  a  hillock  above  the 
battlefield  are  Joseph  and  Jourdan,  starting  to  run  from  r.  to  1.  The  King  wears 
crown  and  royal  robe  over  Spanish  costume  with  ruflF  and  slashed  breeches ; 
his  snuff-box  lies  at  his  feet.  He  looks  over  his  1.  shoulder  at  Jourdan,  saying, 
Par  Bleu  Mons^  Marshal  we  must  run!  a  pretty  piece  of  business  we  have  made 
of  it,  if  my  Brother  Nap  sends  for  me  to  the  congress  the  Divil  a  clean  shirt  have 


I 


they  left  me!  could  you  not  try  your  skill  at  a  convention  again  my  dear  Jour  dart 
as  our  friend  Junot  did  in  Portugal.  Jourdan,  in  profile  to  the  1.,  r.  hand  on 
Joseph's  shoulder,  answers:  Convention!  No  ma  foi!  there  is  no  tricking  ce 
Lord  Wellington,  we  have  nothing  to  trust  to  but  our  heels,  but  I  dont  think  they 

259 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

will  save  us,  you  need  not  be  uneasy  about  a  clean  shirt  for  the  congress  Mons^  Joe 
Allons  done  run  like  de  Devil!  run  like  your  Brother  Nap  from  Russia!  At  his 
feet  lie  a  telescope,  his  baton  (see  No.  12072),  and  a  sceptre.  In  the  middle 
distance  British  infantry  put  French  infantry  to  flight  with  the  bayonet.  In 
the  background  (r.)  on  a  hill  is  Wellington  with  his  staff,  tiny  figures.  At  the 
base  of  the  hill  British  soldiers  stand  at  attention,  with  Frenchmen  kneeling 
abjectly  at  their  feet.  In  the  distance  are  tiny  baggage  wagons.  On  the  1.  is 
the  town  of  Vittoria. 

For  the  battle  see  No.  12068,  &c.  The  Congress  is  that  of  Prague,  see 
No.  12077.  For  the  Convention  of  Cintra  (for  which  Wellesley  had  been 
blamed)  see  No.  11035,  &c. 

Listed  by  Broadley.    Milan,  No.  2460. 
8f  X13  in. 

12071  A  SCENE  AFTER  THE  BATTLE  OF  VITTORIA  OR,— MORE 
TROPHIES  FOR  WHITE=HALL!!!  202 

G.  Cruikshank  fec^ 

Pub'^  July  10^^  1813  by  T.  Tegg — iii  Cheapside. 

Engraving  (coloured  impression).  Wellington  on  the  extreme  1.,  seated  in 
profile  on  his  white  horse,  looks  down  at  three  officers  who  heap  trophies  at 
his  feet.  He  says:  Why!  here's  enough  for  three  nights  Illumination!  An  officer 
answers:  Three  times  Three!  My  Lord!!  Another,  holding  two  eagles  with 
their  tattered  tricolour  flags,  holds  out  a  marshal's  baton,  saying.  Here's 
Marshal  Jordens  Rolling-pin.  The  third,  wearing  hussar  uniform,  and  holding 
an  eagle  with  a  flag  inscribed  La  Emperu  .  .  .,  points  behind  and  to  the  r., 
saying.  And  here  comes  their  Last  Cannon!!  In  the  middle  distance  a  soldier 
is  dragging  after  him  downhill  a  cannon  by  a  rope  attached  to  the  muzzle; 
he  says,  grinning.  By  S'  Patrick  I  think  we  have  taken  all  they  brought  from 
Paris!;  a  drummer  bestrides  the  gun  beating  his  drum  and  shouting,  and  a 
third  man  stands  astride  it  on  the  gun-carriage,  waving  a  Union  flag  and  his 
shako  and  shouting  Huzza  Huzza.  Two  asses  are  harnessed  tandem  to  the 
gun-carriage  and  are  being  dragged  backwards,  one  slides  on  its  haunches, 
the  other  rears ;  on  each  is  a  French  soldier  wearing  a  bonnet  rouge ;  one  says : 
By  Gar  every  ting  goes  backwards  with  us.  On  the  hill  lies  a  dead  soldier, 
burlesqued  and  wearing  a  bonnet  rouge,  his  legs  raised  from  the  ground  by 
his  huge  spurs;  near  him  is  a  decapitated  body  with  the  detached  head  still 
wearing  a  grenadier's  cap.  In  the  foreground  (r.)  are  sacks  of  coin,  and  a  chest 
inscribed  Plunder,  heaped  with  church  plate. 

For  Vittoria  see  No.  12068,  &c.  For  Jourdan's  baton  see  No.  12072. 
Joseph's  baggage  was  captured,  containing  looted  church  plate,  &c.,  the 
accumulated  plunder  of  the  French  occupation,  as  well  as  French  treasure- 
chests  and  private  hoards.   See  Oman,  Hist,  of  the  Peninsular  War,  vi.  441  ff. 

Reid,  No.  246.    Cohn,  No.  1958.    Listed  by  Broadley.    Milan,  No.  2461. 
Six  13  in. 

12072  WELLINGTON  AND  GLORY,  OR  THE  VICTORY  OF  VIT- 
TORIA—HE  CAME,  HE  SAW,  HE  CONQUER'D.  206 

[Williams.   Pub.  Tegg,  c.  July  1813.] 

Engraving  (coloured  impression).  Wellington,  handsome  and  youthful,  stands 
beside  his  white  charger;  he  wears  a  star  (K.G.,  4  Mar.  1813)  and  a  star 
dangles  from  his  horse's  head.  A  young  oflicer  runs  up  to  him  from  the  1., 
hat  in  hand,  proffering  a  field  marshal's  baton ;  he  says :  General  I  greet  you 

260 


POLITICAL   SATIRES    1813 

zoith  the  tydeings  of  complete  Victory  the  Usurper  and  his  Field  Marshal  have 
fied,  and  left  all  their  Cannon,  Amunition,  Baggage,  Military  Chest,  provision, 
and  I  here  present  you  with  Marshall  Jour  dans  Baton  of  command!  Wellington 
says:  May  this  Trophy  prove — our  hope  of  future  victory,  and  England  once 
more  restore  Spain  to  her  lawful  Soveriegn!  Between  and  behind  them  stands 
a  third  officer,  looking  at  Wellington  with  both  arms  raised  ecstatically.  On 
the  extreme  r.  and  almost  in  back  view  an  officer  looks  through  a  telescope 
saying,  There  goes  King  Joey!  He  looks  towards  tiny  figures  on  a  bluff  (1.) 
near  the  towers  of  Vittoria.  They  stand  on  raised  ground  in  the  foreground. 
Behind  (I.)  English  infantry  run  forward  with  fixed  bayonets;  bodies  lie  on 
the  ground. 

For  Vittoria  see  No.  12068,  &c.  Marshal  Jourdan's  baton  was  appropriated 
by  a  corporal  of  the  Eighteenth,  who  broke  oflF  the  gold  ends  before  it  was 
stolen  from  him  by  a  drummer  of  the  Eighty-seventh.  Both  parts  were 
recovered  and  reached  Wellington  who  sent  the  baton  to  the  Regent  with  his 
dispatch.  Fortescue,  Hist,  of  the  British  Army,  ix.  185  f.  See  No.  12498. 
8i|-Xi3  in. 

12073  DOCTOR  DRUM  LETTING  THE  CAT  OUT  OF  THE  BAG 
UNDESIGNEDLY  [c.  July  1813] 

Engraving  (coloured  impression).  An  Irish  print.  A  meeting  of  the  Catholic 
Board  in  Dublin.  Twenty-one  persons  sit  or  stand  round  a  long  table.  Their 
speeches  (in  labels)  cover  much  of  the  design,  and  are  numbered.  The  Chair- 
man sits  (r.)  in  an  arm-chair  on  a  dais  of  three  steps  behind  the  secretary  who 
sits  pen  in  hand  at  the  head  of  the  table.  Five  sit  on  two  forms  on  the  nearer 
side  of  the  table.  A  man  approaches  the  member  on  the  1.  end  of  the  bench, 
holding  a  bag  from  which  a  cat  is  emerging;  under  his  arm  is  a  physician's 
cane  inscribed  Medical  Staff.  He  is  A''  i,  and  says:  What!  take  an  Oath  not 
to  seek  directly  or  indirectly  the  subversion  of  the  Protestant  Church!  why  this 
would  be  to  abuse  the  Divine  Command— If  the  Church  of  England  trembles  for 
its  safety,  it  must  seek  it  elsewhere  We  have  no  security  to  give.  It  shall  fall, 
and  notlmig  but  the  memory  of  the  mischiefs  it  has  created  shall  survive.  Already 
the  approaching  marks  of  ruin  are  upon  it!  no  Protestant  Parliament  over  us. 
The  other,  2,  inspects  him  through  an  eyeglass,  saying,  O  Dear  Doctor  you 
are  letting  the  Cat  out  of  the  Bag  St^p  till  we  get  Emancipation.  In  his  pocket 
is  a  paper  inscribed  Alls.  A  member  standing  on  the  opposite  side  of  the 
table,  J :  /  wish  the  learned  Doctor  had  kept  the  string  of  the  Bag  a  little  tighter 
and  not  let  the  Cat  out  untill  we  had  obtained  Catholic  Emancipation  but  the  Board 
will  get  the  Cat  into  the  Bag  Again.  Another  man,  4,  seated  on  the  form 
complains:  Oh  Doctor  the  Cat  is  out  of  the  Bag — you  have  ruined  us.  all's  lost 
now  the  Orange  men  may  rejoice  indeed.  A  seated  man,  5,  with  a  paper,  Derry 
Journal,  in  his  pocket,  turns  to  his  r.  hand  neighbour:  I  will  at  our  next  meeting, 
lay  hold  of  her  by  the  tail  if  I  can  and  get  a  resolution  pass'^  by  this  Honourable 
Board  denying  what  the  Learned  Doctor  has  done.  A  man  standing  opposite, 
6,  declares :  The  Learned  Doctor  has  Just  declared  the  most  shocking  sentiments, 
as  a  Protestant  member  I  protest  against  his  intolerance.  A  man  seated  next 
him,  7,  remarks:  Ah  but  which  way  did  she  run?  perhaps  some  Orangemen  has 
got  hold  of  her.  A  barrister,  8,  to  whom  5  is  speaking,  holds  a  brief-bag, 
saying,  If  an  Orangeman  in  Ireland  or  England  has  got  hold  of  her  I  fear  we 
shall  not  get  her  again.  But  all  Join  the  Chase  to  Try.  The  man  seated  on  the 
secretary's  r.,  9,  says:  I  fear  this  Doctor  Drum  will  beat  to  arms  before  we  are 
prepared.  But  we'll  muffle  the  Drum  if  we  can  for  the  present.  The  secretary, 
10,  says:  Hey  Hey  what's  all  this  I  am  what  I  was  in  the  Year  lygS  Sec^.  The 
chairman,  11,  who  is  ignored  by  the  others,  holds  a  long  scroll:  Address  of  the 

261 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

Hon  Board  to  the  Spanish  Cortes.  List  of  the  penal  Laws — Heads  of  a  new  hill 
against  Protestants.  He  says:  /  as  Lord  Ten  days  sight  require  Order.  His  chair 
has  the  inscription  Infallible  Chair,  surmounted  by  a  cross.  On  the  wall  above 
his  head,  resting  on  an  inverted  crown  between  the  letters  G  i?  is  an  inscription 
within  a  wreath :  Senatorial  Catholic  Board  Exch  SK  Above  this  is  an  Irish 
harp  supporting  a  cross. 

On  the  extreme  1.  of  the  room  is  a  high  timber  structure,  like  an  open-air 
stand,  from  which  spectators  look  down.  One  wears  a  hat  inscribed  Orange 
Boven  (originally  the  cry  of  the  Dutch  orangists,  or  partisans  of  the  Stad- 
holder,  cf.  No.  12 102);  he  says:  Protestants!  see  the  Doctor  is  letting  the  Cat 
out  of  the  Bag  at  last  all  Protestants  ought  to  thank  him  Orange  Boven.  Two 
others  say :  /  hope  this  will  open  the  eyes  of  the  blind  Protestants  The  Cat  is 
out  never  to  get  in  again,  and,  Hear  Hear  Bravo. 

At  a  meeting  of  the  Catholic  Board  in  Dublin  on  17  July  1813,  Nicholas 
Purcell  O'Gorman  brought  forward  a  motion  for  addressing  the  Spanish 
Cortes  to  request  their  intervention  in  favour  of  the  Catholics  of  Ireland,  an 
appeal  to  an  essentially  intolerant  body  on  behalf  of  toleration  to  Catholics 
which  was  damaging  to  the  Irish  Catholics.  Ann.  Reg.,  1813,  p.  loi  f. 
Thomas  Dromgoole,  M.D.  (i750?-i8i6),  a  prominent  member  of  the  Board, 
was  an  anti-vetoist,  and  in  181 3  vigorously  attacked  Grattan's  contention  that 
the  veto  (see  No.  1 1898)  was  approved  in  Ireland,  thus  materially  contributing 
to  the  defeat  of  the  Emancipation  Bill  (see  No.  120 16).  His  outspokenness 
was  ill-timed  and  unpopular.  D.N.B.  No.  3  resembles  O'Connell.  The 
Secretary  is  Edward  Hay  (1761  ?-i826),  tried  for  treason  in  1798  but  acquitted. 
In  18 13  Orange  Societies  spread  to  England  to  agitate  against  Emancipation, 
and  were  much  attacked  in  the  Press  and  in  Parliament.  Pari.  Deb.  xxvi.  974- 
86  (29  June). 
7|Xi2fin. 

12074  THERE  IS  GALLANTRY  FOR  YOU! 

AND  MY  BOY  MENTIONED  IN  THE  DISPATCH!!! 

[Robert  Dighton.]  [c.  July  1813] 

Watercolour.  A  typical  John  Bull,  obese  and  rubicund,  sits  directed  to  the 
r.  in  a  plain  upright  chair  with  short  legs,  reading  a  London  \  Gazet  .  .  \ 
Extraordin  .  .  .].  He  registers  intense  satisfaction;  he  extends  his  1.  arm,  snap- 
ping his  fingers.  The  first  column  is  headed  Defeat  .  .  .  |  French.  His  short 
unpowdered  hair  is  brushed  forward,  he  wears  plain,  old-fashioned  dress, 
dark  blue  coat,  scarlet  waistcoat,  both  with  brass  buttons,  canary-coloured 
breeches,  blue  stockings,  and  buckled  shoes. 

The  victory  is  probably  Vittoria,  see  No.  12068,  &c.  Wellington's  dispatch 
was  in  an  Extraordinary  Gazette  of  3  July  (Saturday)  which  actually  appeared 
on  Sunday  morning.  Examiner,  1813,  p.  441.  A  companion  design  to 
No.  12075.  Both  are  in  the  manner  of  water-colours  by  Dighton  intended 
to  be  engraved. 

Binyon,  ii.  36  (4). 
i3|Xiiiin. 

12075  COMME  CE  CORSE  NOUS  MfiNE! 

IL  FAIT  PAYER  CH£r  SES  CROIX  D'HONNEUR! 

See  No.  12074.  A  Frenchman  seated  in  an  upright  straw-bottomed  chair 
holds  a  copy  oi  Le  Moniteur  .  .  .  1813  at  arm's  length,  and  clenches  his  r.  fist. 
The  first  column  is  headed  Defeat.  His  r.  leg  is  raised  in  his  agitation,  and 
he  glares  angrily  at  the  newspaper.  He  is  lean  and  coarse-featured,  with  short- 

262 


POLITICAL   SATIRES    1813 

ish  grey  hair  swept  back  from  his  head.  On  the  back  of  the  chair  is  his  cocked 
hat  with  tricolour  cockade.  He  is  neatly  and  plainly  dressed  in  dark  green 
tail-coat,  scarlet  waistcoat,  shirt  with  a  plain  turn-down  collar  and  very  pro- 
jecting frill,  grey  breeches,  white  stockings,  and  buckled  shoes,  and  resembles 
a  Robespierrist  Jacobin. 

Binyon,  ii.  36  (5). 
14X  II  in. 

12076  VAUXHALL  FETE— 

[G.  Cruikshank.] 

Pu¥  August  j^'  181 3  for  Town  Talk 

Engraving  (coloured  impression).  PI.  from  Tozvn  Talk,  v,  frontispiece.  The 
orchestra,  illuminated  and  outlined  with  fairy  lamps,  is  on  the  1. ;  in  front  of  it 
and  of  the  trees  which  stretch  across  the  design,  the  company  is  promenading. 
Across  the  orchestra  stretches  the  illuminated  word  Vittoria.  String  and  wind 
instruments  are  being  played,  with  a  negro  playing  cymbals.  On  the  extreme 
1.  the  Duke  of  York,  in  uniform,  leans  against  a  tree  drunkenly  vomiting.  His 
back  is  towards  a  soldier  on  two  wooden  stumps,  and  with  a  damaged  eye, 
who  begs  from  him,  holding  out  his  hat.  The  man  says:  Bless  your  honor's 
Highness.  I  was  wounded  at  the  Battle  of  Salamanca.  Please  to  give  me  a 
morsel  of  bread,  I  served  with  your  Highness  in  Holland.  His  wife,  in  rags  and 
carrying  two  infants,  says :  What  did  you  say  any  thing  about  Holland  for? 
douHyou  see  how  it  turn'd  his  Royal  Stomach.  Next,  the  Duke  of  Sussex,  very 
bulky  in  Highland  uniform  with  a  feathered  bonnet,  and  an  absurdly  short 
kilt,  walking  1.  to  r.,  meets  McMahon.  He  holds  a  frothing  tankard  and 
smokes  a  long  German  pipe  with  a  covered  bowl,  and  asks:  /  say  Mac. 
Why  is  'nt  your  Royal  Master  here??!!!  MacMahon,  small  and  perky,  stands 
chapeau  bras,  he  looks  up  to  say:  He's  afraid  of  meeting  his  wife  &  he  would 
as  soon  meet  the  Devil  at  any  time.  In  the  centre  Sir  William  Curtis  walks 
(1.  to  r.)  between  the  little  Lord  Mayor  (Scholey,  see  No.  12038)  and  Castle- 
reagh  who  (incorrectly)  wears  a  star;  both  take  an  arm  of  the  obese  Curtis 
who  wears  the  sailor's  dress  of  the  Walcheren  prints  (see  No.  11353).  The 
Mayor's  long  gown  trails  behind  him;  he  raises  his  hat  and  capers  absurdly, 
saying,  Now  the  Girls  are  come  we'll  have  some  fun  we'll  have  a  Hop  in  the  Dark 
Walks  D — n  me.  Castlereagh  raises  a  goblet  of  wine,  saying,  this  is  almost  as 
glorious  as  the  Walcheren  Expedition!  Billy.  Next,  the  Duke  of  Clarence  in 
admiral's  uniform,  runs  after  an  angrily  protesting  woman,  seizing  her  by  the 
waist.  He  protrudes  his  coarse  lips,  saying,  What!  won't  you  have  a  Kiss  from 
a  Royal  Duke?!!  She  screams :  Oh!  you  Nasty  beast  if  Kiss  [sic]  me  I'm  sure 
I  shall  faint.  On  the  r.  Lord  Yarmouth,  tipsy  and  dishevelled,  seizes  a  lady 
round  the  waist,  holding  up  a  bottle.  He  says:  Welcome  sweet  Ladies,  we 
wanted  some  variations  in  our  pleasures — we  long  to  do  homage  at  the  shrine  of 
your  beauties.  An  ugly  spinsterish  woman  angrily  pulls  at  a  stole  round  the 
shoulders  of  the  lady  and  shrieks  Get  away  you  Drunken  red  whiskerd  Intriguing 
Rascal.  A  very  fat  and  ugly  woman  on  the  extreme  r.  watches  the  encounter, 
exclaiming,  Oh!  Dear  Bless  me  They're  all  Drunk  the  brutes.  Behind,  a  man 
embraces  a  protesting  lady.  Other  figures  are  indicated  in  the  middle  distance ; 
in  front  of  the  orchestra  a  man  stands  on  a  (?)  table,  holding  out  a  punch-bowl 
and  ladle,  while  beneath  him  two  men  are  fighting. 

On  20  July  a  grand  (subscription)  fete  was  held  at  Vauxhall  to  celebrate 
Wellington's  victory,  see  No.  12068,  &c.  It  began  with  a  dinner  in  the 
Rotunda,  with  a  raised  table  for  the  Royal  family,  Ministers,  and  Ambassa- 
dors, the  Duke  of  York  being  chairman  in  the  Regent's  absence.  At  nine  the 

263 


CATALOGUE  OF    POLITICAL  AND   PERSONAL   SATIRES 

ladies  began  to  arrive  and  were  received  by  Lord  Yarmouth,  one  of  the 
stevi^ards.  The  visit  of  the  Princess  was  arranged  as  part  of  the  campaign 
against  the  Regent  (cf.  No.  11990),  see  Creevey  Papers,  1912,  pp.  181-3; 
Examiner,  18 13,  pp.  465-7.  The  Duke  of  York  was  in  command  in  Holland 
in  1793,  1794.  and  1799,  and  was  recurrently  blamed  for  these  failures,  see 
No.  1 1023.  For  the  association  of  Curtis  and  Castlereagh  in  connexion  with 
Walcheren  see  No.  11357,  &c.  The  fete  ended  in  confusion  owing  to  the 
crowds,  the  traffic  being  badly  managed  by  hussars  who  were  less  experienced 
than  the  constables.  Among  the  stewards,  who  each  subscribed  50  guineas, 
were  Curtis  and  the  Lord  Mayor.  Examiner,  p.  459.  Cf.  Hardy,  The  Dynasts, 
Part  HI,  Act  11,  sc.  iv. 

Reid,  No.  251.   Cohn,  No.  802. 
7ixi9jin. 

12077  PREPARING  JOHN  BULL  FOR  GENERAL  CONGRESS. 

G.  Cruikshank  fee* 

Pu¥  August  I'*  1813  by  W  N  Jones  N"  5  Newgate  S* 

Engraving  (coloured  and  uncoloured'  impressions).  PI.  from  the  Scourge,  vi, 
before  p.  87.  John  Bull,  a  giant  beset  by  pigmies,  sits  on  a  bank  with  his  back 
against  a  massive  oak,  his  legs  wide  apart.  He  is  a  'cit'  with  his  wig  awry; 
his  r.  arm,  inscribed  Ireland,  is  extended;  an  Irish  peasant,  wearing  a  rosary, 
stands  on  it,  slashing  it  with  a  (notched)  headsman's  axe  inscribed  Catholic 
Bill;  blood  gushes  from  a  deep  gash  at  the  shoulder.  The  Irishman  asks: 
Johnny  how  do  you  like  the  Union!  how  do  you  like  emancipation?!!!  The  1.  arm, 
inscribed  Hanover,  is  already  cut  off  and  is  carried  by  two  French  ragamuffins, 
one  wearing  a  bonnet  rouge,  towards  Napoleon  who  is  enthroned  on  a  drum 
under  a  tent  on  the  extreme  r.  An  oval,  inscribed  Guadaloupe,  is  being  dragged 
from  John's  mouth  by  Bernadotte,  who  has  transfixed  it  with  a  hook  tied  to 
a  rope  at  which  he  is  tugging.  He  is  a  grotesque  figure  in  uniform  holding 
a  dagger  dripping  blood  in  his  I.  hand;  he  says:  Give  me  this  Cake  John — 
it  is  too  large  for  your  Swallow  &  by  your  leave  I  will  take  a  little  Blood  from 
you  to  prevent  your  dying  of  Plethora.  A  demon  with  one  claw-like  foot  dug 
into  John's  thigh,  holds  a  Sweedish  Tap  Tub  to  catch  guineas  which  spout 
from  an  incision  in  the  victim's  waistcoat.  He  is  a  grotesque  emaciated 
creature,  with  a  spiny  backbone,  and  says,  grinning  horribly,  Poor  John  Bull 
ha!  ha  ha!  John's  r.  leg,  inscribed  West  Indies,  is  being  peppered  by  an 
American  gun-boat.  His  1.  leg  is  inscribed  East  Indies  and  two  opposed  parties 
of  tiny  men  are  tugging  at  it:  on  the  1.  two  men  tug  at  a  bandage  above  the 
ankle  inscribed  Free  Trade;  they  are  lean  and  ragged;  one,  who  holds  his 
companion  round  the  waist,  says:  A  long  pull  &  a  Strong  pull  &  a  pull  Allto- 
gather.  The  other  three  (r.)  tug  at  a  ligature  round  the  knee  inscribed 
Monopoly,  they  are  fat  'cits',  one  with  gouty  feet.  The  last  man,  holding  the 
latter's  coat-tails,  says.  Here  we  go  Johnny  two  to  one  we  win  the  day.  John, 
much  distressed,  says :  Have  mercy  on  me  &  do  tiot  send  me  thus  maimed  to 
congress  I  can  hardly  distinguish  Friend  from  Foe  in  the  severity  of  my  sufferings. 
On  the  extreme  1.  is  the  sea;  a  half-decked  vessel  with  a  cannon  in  the  bows 
flies  a  pennant  inscribed  President.  An  American  naval  officer  applies  a  match 
and  flame  from  the  muzzle  strikes  John's  r.  leg,  the  W.  Indies,  at  close  range. 
He  says :  D — n  that  Bull  Dog  the  Shannon  he  has  gored  the  Cheesapeak.  if  the 
English  Ministers  will  but  keep  him  out  of  our  way  we'll  pepper  this  leg.  The 
bull-dog,  inscribed  British  Navy,  is  savagely  leaping  from  beside  John  Bull 

'  Not  folded,  showing  that  it  was  issued  separately. 

264 


POLITICAL   SATIRES    1813 

towards  the  vessel;  he  wears  a  spiked  collar  but  is  closely  muzzled  and  barks: 
Take  off  my  Muzzle!  let  me  get  at  him.  Bow  woo  woo.  Behind  the  mast  which 
supports  a  small  patched  sail,  a  ragged  American  wearing  a  bonnet  rouge  on 
his  straggly  hair,  stands  dejectedly  in  profile  to  the  r.  with  flexed  knees,  fingers 
together.  A  third  man,  much  alarmed,  probably  Madison,  holds  the  tiller. 
The  stars  and  stripes  flag  is  tattered.   Clouds  surround  the  vessel. 

Napoleon,  aggressive  but  alarmed,  sits  under  an  open  tent  on  the  extreme 
r.,  watching  the  approach  of  'Hanover'.  He  wears  a  large  feathered  bicorne 
and  heavy  jack-boots,  his  r.  leg  is  supported  on  a  terrestrial  globe  which  serves 
as  footstool  and  which  he  gashes  with  his  spur ;  his  1.  hand  rests  on  his  sabre, 
his  r.  is  on  his  hip.  Behind  him  (1.)  stands  a  terrified  Mameluke  (Roustan) 
holding  a  tall  pike.  On  his  1.  are  a  cannon  and  a  pyramid  of  cannon-balls. 
He  says :  When  you  have  finished  your  labors  Gentlemen  bring  hirn  [John  Bull] 
to  me  &  I  will  prepare  his  Epitaph.  In  the  foreground,  in  front  of  the  mound 
on  which  Napoleon's  tent  is  placed,  are  two  figures.  A  naked  infant,  smiling, 
holds  on  his  shoulders  a  large  sack  from  which  coins  drop;  it  is  inscribed: 
For  the  Brave  Wellington  Johnny's  Free  gift  in  aid  of  successful  Valor  &  a 
Glorious  Cause  £1000.  On  the  extreme  r.  a  plump  demon,  whose  naked  body 
resembles  a  sack,  runs  off  to  the  r.  (it  evidently  derives  from  No.  6991  by 
Gillray).  Round  its  neck  is  a  label:  Sicilian  Subsidy  ioooo£ ;  coins  drop  from 
a  rent. 

A  miscellaneous  satire  only  indirectly  relating  to  the  so-called  Congress  of 
Prague  which  was  held  during  the  Armistice  of  Plaswitz  (4  June-12  Aug., 
see  Nos.  12069,  12079,  12 179),  to  discuss  peace  terms;  it  opened  on  12  July, 
and  was  abortive,  since  Napoleon  was  determined  to  continue  the  war  unless 
he  could  retain  his  conquests.  The  treaty  between  England  and  Sweden  of 
3  Mar.,  see  No.  12063,  laid  before  Parliament  on  11  June,  is  attacked:  in 
return  for  30,000  men  to  be  employed  against  France,  England  promised  a 
subsidy  of  ,^1,000,000  during  the  year.  She  also  promised  to  transfer  Guade- 
loupe, taken  from  France,  to  Sweden.  This  was  violently  attacked  by  the 
Opposition  and  by  Canning,  and  triumphantly  defended  by  Castlereagh.  See 
Pari.  Deb.  xxvi.  762  ff.  (18  June  18 13);  Webster,  Foreign  Policy  of  Castlereagh, 
193 1,  p.  145.  Castlereagh's  instructions  (to  Cathcart)  for  the  negotiations 
included  'the  complete  and  absolute  restoration  of  His  Majesty's  Hanoverian 
dominions'  (5  July).  Webster,  British  Diplomacy  18 13-18 15,  1921,  p.  8;  for 
Hanover  see  No.  10023,  &c.;  for  Sweden,  No.  12063;  for  the  Cathohc  Question, 
No.  1 20 1 6,  &c.  For  the  controversy  between  'Free  Trade'  and  'Monopoly'  see 
No.  1 1999,  &c.  The  President  was  the  flagship  of  Commodore  John  Rodgers 
(cf.  No.  12085)  who  is  probably  the  U.S.  naval  officer  depicted.  After  reverses 
at  sea  in  18 12  the  capture  of  the  Chesapeake  roused  enthusiasm,  see  No.  12080. 
These  reverses  caused  repeated  attacks  on  the  conduct  of  the  war  and  naval 
administration,  see  Pari.  Deb.  xxvi.  173  ff.,  713-15,  1102  ff.,  1155  ff.  (14  May, 
18  June,  8  July).  See  also  Nos.  123 10,  132 18.  By  the  convention  of  30  Mar. 
1808  Great  Britain  maintained  10,000  men  in  Sicily  and  paid  Ferdinand  an 
annual  sum  of  ^300,000,  for  which  commercial  and  other  privileges  were 
granted;  this  was  important  for  the  control  of  the  Mediterranean,  and  as  a 
breach  in  the  Continental  System,  but  the  Sicilian  Subsidy  was  frequently 
attacked  by  the  Opposition,  see  No.  1 1845.  Napoleon  wrote  to  Savary,  2  July 
1813 :  'I  have  already  ordered  that  everything  the  English  newspapers  publish 
on  Sicily  should  be  printed  in  the  Moniteur.'  Corr.  de  Napoleon  I,  xxv.  451. 
Cf.  No.  12550,  &c.   For  Wellington's  victory-  see  No.  12068,  &c. 

Reid,  No.  252.  Cohn,  No.  732.   Broadley,  i.  336-7  (coloured  reproduction, 

P-  334)- 
7fxi9f  in. 

265 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12078  JOHN  BULL'S  PATENT  MEDECINE.  [28  Aug.  181 3] 
Reproduction,  Grand-Carteret,  Napoleon,  No.  256.  The  doctor,  John  Bull 
(1.),  sits  beside  the  bed  of  his  patient,  Napoleon.  They  face  each  other  in 
profile ;  the  Emperor  clasps  a  basin  into  which  he  vomits  six  crowns,  saying, 
Doctor,  This  Air  dont  agree  with  my  Constitution.  John  answers :  No  Wonder 
Boney  your  III.  Wellington's  dose  will  soon  compose  you.  He  has  a  long  car- 
buncled  nose  and  bushy  eyebrow;  he  holds  a  bottle  labelled  Wellingtons 
Mixture.  On  the  bed  are  a  bottle  labelled  Russian  Oil,  a  heart-shaped  fragment 
inscribed  A  Cossack  Blister,  and  a  box  of  Prussian  Pills.  Behind  the  doctor 
stands  Death,  a  crowned  skeleton  looking  menacingly  towards  Napoleon,  and 
holding  out  to  him  a  goblet  (of  poison),  which  appears  from  behind  the 
doctor's  head.  In  its  r.  hand  is  a  print  of  a  body  hanging  from  a  gibbet. 
The  head  of  John's  dog  looks  over  the  side  of  the  bed.  Behind  the  drapery  at 
the  head  of  the  bed  lurks  the  Devil,  partly  concealed ;  he  holds  a  dagger. 

A  prophetic  print.  At  this  date  the  news  from  Spain  was  Wellington's 
dispatch  of  4  Aug.  on  the  defeat  of  Soult  in  the  Pyrenees  {Extraordinary 
Gazette,  16  Aug.);  a  further  dispatch  {Gazette,  22  Aug.)  reported  little  change 
on  the  frontier.  The  effect  of  Prussia's  desertion  of  Napoleon  was  still 
potential,  cf.  No.  12007;  the  news  of  Austria's  declaration  of  war  was  not 
received  in  England  till  the  end  of  the  month.   Cf.  No.  12276,  &c. 

Listed  by  Broadley. 

B.M.L.  010662.  k.  19. 

12079  A  CONGRESS  FOR  PEACE. 
SATIRIST  1ST  SEPTEMBER  1813. 

Satirist  inv^  W  H  Ekoorb  [Brooke]  deP  et  fecit 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xiii.  193.  In  the  text 
the  title  continues  '.  .  .,  alias  War'.  A  satire  on  the  Congress  of  Prague. 
Four  sovereigns,  completely  unlike  the  men  in  question,  in  conference.  The 
Tsar  sits  behind  a  small  rectangular  table  on  which  are  displayed  implements 
of  war  in  miniature:  cannon,  pyramids  of  cannon-balls,  muskets,  swords, 
drums,  &c.,  and  flags  on  one  of  which  are  fleurs-de-lis.  On  the  1.  stand  the  King 
of  Prussia  and  the  Emperor  of  Austria,  on  the  r.  is  Napoleon.  Alexander 
extends  his  hands  rhetorically,  turning  to  the  1.,  with  a  puckered  scowl,  to 
say  to  the  two  Germans:  Come  Gentlemeti  see  first  if  you  can  agree — if  not  we'll 
all  fight!  He  has  quasi-Kalmuck  features,  and  wears  an  odd-shaped  crown, 
an  ermine-bordered  robe,  with  a  jewelled  necklace  and  a  Greek  cross. 
Frederick  William  III,  on  the  extreme  1.,  clutches  the  hilt  of  his  sword  and 
puts  his  1.  hand  to  his  cocked  hat  as  if  ready  to  doff  it,  he  turns  to  Francis  I, 
towards  whom  a  label  issues  from  his  mouth :  I  am  ready  to  treat  or  to  fight ; 
a  second  label  floats  to  the  1.,  inscribed  Infernal  Scoundrel.  Francis  I,  looking 
distracted,  stands  directed  to  the  r.,  legs  apart,  and  in  his  1.  hand  is  his  sabre, 
the  blade  of  which  curves  over  the  Tsar's  head,  but  both  hands  touch  his 
crown,  and  he  says:  /  will  wear  an  independant  Crown.  He  wears  hussar 
uniform,  cloak,  sash,  and  elaborately  embroidered  tunic  and  pantaloons. 
Napoleon,  tall  and  burly,  with  heavy  whisker  and  aquiline  profile,  wears  a 
plumed  bicorne  with  tricolour  cockade  and  very  tattered  uniform  leaving  his 
legs  almost  bare,  with  one  dilapidated  jack-boot  and  one  damaged  stock- 
ing; he  has  a  long  sword.  He  stands  aggressively  with  arms  dramatically 
extended,  saying.  My  Friends!  all  we  wish  is  Peace.  A  chain  is  attached  to 
each  great  toe,  which  is  fastened  to  the  necks  of  two  miserable  princes,  tiny 
figures  standing  between  his  outstretched  legs.  One  (1.),  Charles  IV  of  Spain, 
wearing  a  crown  and  robe,  grotesquely  knock-kneed  and  despairing,  stands 

266 


POLITICAL   SATIRES    1813 

full-face.  The  other,  wearing  a  crown  with  uniform  and  sword,  stoops  in 
profile,  looking  up  abjectly  at  Napoleon's  legs.  On  the  extreme  r.,  in  the 
middle  distance,  is  a  tall  Spanish  don,  much  emaciated,  wrapped  in  a  cloak. 
He  looks  down  with  folded  arms  at  a  fat  British  officer  beside  him,  who  says: 
///  countenance  Austria  into  our  interests.  The  Spaniard :  Fll  be  damned  if  I  go 
to  meet  a  Frenchman  in  Prague,  while  there  is  a  Frenchman  to  meet  in  Spain!!! 
Behind  them  in  the  background  a  tiny  Napoleon,  wearing  a  grotesque  crown 
and  holding  a  sword,  marches  downhill  at  the  head  of  his  soldiers  carrying 
flags ;  he  has  a  melancholy  expression  and  approaches  the  edge  of  a  precipitous 
descent. 

The  satire  has  little  relation  to  the  circumstances  of  the  Congress,  see 
No.  12077,  where  Metternich  presided  and  the  sovereigns  were  not  present. 
It  represents,  however,  the  enmity  between  Prussia  and  Austria  and  the 
bellicose  intentions  of  Napoleon,  despite  his  formal  and  illusory  peace  dis- 
cussions, and  his  own  precarious  situation.  Charles  IV  had  abdicated  and 
was  living  with  Napoleon's  permission  at  Rome,  Ferdinand  was  interned  at 
Valen9ay,  see  No.  10990.  On  11  Aug.  Austria  declared  war  in  a  manifesto 
delivered  to  the  French  envoy  at  Prague;  the  armistice,  see  No.  12077,  ^^'^^ 
denounced,  and  hostilities  began  on  17  Aug.  The  text  attacks  the  Congress 
as  'solemn  trickery'  without  explaining  the  plate;  in  the  remote  future  'it 
may  be  remembered,  that,  at  least  one  miserable  scribbler  would  tell  his 
country  to  expect  nothing  but  war  from  the  pantomime  at  Prague'. 

Listed  by  Broadley. 
6 H  X  I2f  in.   With  border,  7^  X  14^  in. 

12080  BRITISH  VALOUR  AND  YANKEE  BOASTING  OR,  SHAN- 
NON VERSUS  CHESAPEAKE. 

G.  Cruikshank  feet 

Pub''  September  i^'  181  j  for  the  Proprietor  of  Town  Talk — 

Engraving  (coloured  impression).  PI.  from  Tovm  Talk,  v.  93.  Captain  Broke 
and  his  boarding-party  of  sailors  and  marines  are  on  the  deck  of  the  Chesa- 
peake. The  Americans  are  all  in  extremis,  and  some  resemble  Frenchmen 
in  caricature,  being  thin,  with  long  pigtails;  others  resemble  civilians.  The 
British  advance  from  the  1.,  Broke  seizes  a  fugitive  by  the  hair,  raising  his 
sword,  shouting.  Dozen  with  your  Colours  you  Szvabs,  dozen  zcith  your  Stripes 
or  D —  me  zee  II  Stripe  you!  Only  one  American  shows  fight;  he  stands  on 
the  body  of  a  dead  or  dying  comrade  and  is  about  to  smite  Broke  with  his 
sabre,  but  is  being  bayonetted  by  a  marine.  A  young  marine  officer  (1.)  hold- 
ing a  Union  Jack,  shako  in  hand,  runs  forward  over  a  cannon.  A  burly  sailor 
seizes  an  American,  probably  Captain  Lawrence,  round  the  neck,  and  lifts 
him  from  the  ground,  at  the  foot  of  the  mainmast.  Another  American,  wear- 
ing a  bonnet  rouge,  kneels  in  supplication  at  the  Englishman's  feet.  A  hand- 
some young  sailor  holds  an  American  suspended  by  the  pigtail  and  the  seat 
of  his  trousers,  saying.  Stand  clear  Messmate  zvhilst  I  heave  a  few  of  these 
Lubberly  Yankee  Doodles  overboard.  His  messmate  (r.),  holding  a  crowbar, 
is  kicking  an  American  overboard,  saying.  Go  along  d — n  you  don't  you  see 
they  are  zvaiting  Dinner  for  you.  He  points  to  the  shore  (r.)  where  there  is 
an  open  tent  flying  the  Stars  and  Stripes,  containing  a  dinner-table  and  chairs. 
A  party  of  grotesque  elderly  Americans,  one  a  woman,  stand  before  it.  One 
bows,  saying.  Friends  I  think  you  hah  [sic]  better  come  &  sit  dozen  for  if  we  wait 
till  the  Chesapeake  comes  back  I  am  afraid  the  Dinner  will  get  Cold.  A  man 
answers :  Why  I  dont  think  they  zvill  zcant  much  dinner  for  they  seem  to  have 
got  their  Belly  full. 

267 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

The  whole  action  on  i  June  took  fifteen  minutes ;  after  the  boarding  of  the 
Chesapeake,  and  *a  desperate  but  disorderly  resistance',  in  two  minutes  the 
British  flag  was  hoisted;  in  another  minute  firing  ceased  and  the  crew 
surrendered,  James,  Naval  Hist.,  1902,  vi.  50  ff.  The  exultation  in  England 
was  great:  according  to  Cobbett  'there  is  more  boasting  about  this  defeat  of 
one  American  frigate  than  there  used  to  be  about  the  defeat  of  whole  fleets'. 
Pol.  Reg.  xxiv.  73 .  Hunt  wrote :  'We  do  not  think  well  of  our  former  behaviour 
to  the  United  States,  and  are  inclined  to  think  as  highly  as  possible  of  the 
skill  and  gallantry  of  their  sailors  .  .  .  but  the  Americans,  on  the  strength  of 
succeeding  against  a  few  vessels  of  inferior  strength,  have  lately  shewn  a  little 
too  much  of  their  nation's  bad  taste,  by  their  vulgar  and  noisy  boasting,  and 
we  are  heartily  glad  to  see  this  wholesome  lesson  afforded  them.'  Examiner, 
II  July  1813.   See  Nos.  12077,  12310,  13218. 

Reid,  No.  257.   Cohn,  No.  802. 
7ixi9^in. 

12081  THE  •  R— G— NCY  •  PARK  • 
y  C  {or  C  J)  fecit 
Published  September  i^'  1813  by  M.  Jones  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  vi.  173.  Animals  with 
human  heads  are  placed  singly  or  in  groups  in  a  setting  representing  the 
recently  formed  Regent's  Park,  on  the  north  of  London,  the  arrangement 
being  in  the  manner  of  a  tapestry.  The  pi.  illustrates  a  sequence  of  verses 
describing  these  animals  with  which  the  park  is  supposed  to  be  stocked, 
appearing  in  the  magazine  from  Sept.  1813  to  Mar.  1814.  Facing  the  pi. 
is  a  key,  the  names  being  limited  to  initials  or  to  letters  interspersed  with 
blanks.  A  piece  of  ornamental  water  stretches  across  the  foreground.  On  the 
extreme  1.,  a  mermaid,  Mrs.  Jordan,  swims  off  with  a  'Sea  Calf,  the  Duke 
of  Clarence;  they  are  the  subject  of  verses  on  pp.  395-8  (Nov.),  in  which  the 
Duke  is  violently  attacked  as  'false  blubberhead'.  In  the  centre  foreground 
a  fat  naked  woman  emerges  from  the  water,  holding  up  a  piece  of  music 
headed  The  Soldier  Tired  (see  No.  9730),  she  is  'Syren',  Mrs.  Billington.  On 
the  bank  near  her  is  a  sloth  with  the  head  and  feathered  bonnet  of  the  Duke 
of  Sussex,  smoking  his  long  German  pipe;  they  are  described  in  scurrilous 
verses  on  p.  465  f.  (Dec).  Between  them  swims  a  swordfish  with  the  head 
of  the  Duke  of  Cumberland,  its  body  decorated  by  the  skull  and  cross-bones 
which  in  caricature  adorns  his  hussar  uniform.    He  is  not  mentioned  in  the 

verses.   On  the  r.  swims  a  strange  marine  creature,  'M — r  C r',  the  Sea 

Wolf,  not  mentioned  in  the  verses,  and  evidently  Croker,  Secretary  to  the 
Admiralty, 

On  the  grass  immediately  behind  the  water  on  the  extreme  1.,  is  a  slab, 
inscribed  Political  Consistency,  on  which  stands  a  cuckoo.  Canning,  walking 
off  to  the  1.  and  looking  down.  He  is  not  mentioned  in  the  verses.  A  small 
nondescript  dog  (not  in  the  key')  is  climbing  on  to  the  same  slab.  Behind 
Canning  are  the  trunks  of  trees  which  fill  the  1.  part  of  the  design.  A  'Boa 
Constrictor'  is  coiled  round  a  trunk,  its  head,  that  of  Liverpool,  hangs  down, 
tugging  at  the  corner  of  a  cloth  inscribed  Elijah's  Mantle.  A  wolf,  Castlereagh, 
tugs  at  the  opposite  corner;  it  stands  on  a  paper  inscribed  Ireland  Sold, 
in  reference  to  the  Union  (see  Nos.  9514,  9531);  he  is  the  subject  of  verses 
in  Mar.  1814  (vii.  202  f.).    Next,  and  behind  the  Duke  of  Sussex  and  Mrs. 

'  He  perhaps  represents  the  'Camelion',  Cobbett,  who  is  in  tbe  key,  but  is  not 
apparently  depicted.  Or  this  creature  may  be  the  mastiff,  Ponsonby,  in  the  key,  but 
not  elsewhere. 

268 


POLITICAL   SATIRES    1813 

Billington,  are  three  animals  tugging  at  three  feathers  on  a  dish :  a  fox,  Lord 
Grenville;  a  weasel,  Lord  Grey;  a  mole,  Lord  Holland.  They  are  not  men- 
tioned in  the  verses,  but  the  allusion  is  to  their  supposed  competition  for  the 
premiership  under  the  Regency,  and  their  resentment  with  the  Regent  on 
being  disappointed,  see  No.  11855,  &c.  Behind  the  mole  is  a  fox-like  dog, 
with  its  fore-paws  on  a  paper  inscribed  Libel;  he  is  'Lurcher',  the  Attorney- 
General,  Garrow  (not  mentioned).  Next  is  a  dormouse  with  the  profile  of 
Lord  Chatham,  not  mentioned  in  the  verses,  but  an  allusion  to  his  conduct 
of  the  Walcheren  expedition,  see  No.  11364.  Next,  a  penguin,  the  Duke  of 
York,  stands  erect;  he  wears  a  cocked  hat  and  a  star.  He  faces  a  much  larger 
creature  (r.),  a  sphinx  with  the  profile  of  Mrs.  Clarke;  one  heavy  paw  grips 
his  breast,  the  other  lies  possessively  on  his  marshal's  baton.  Beside  her  is 
a  letter  inscribed  My  dearest  Dear  [see  No.  11228,  &c.].  (Verses,  vi.  183  f., 
Sept.)  Behind  the  sphinx  sits  a  monkey,  chapeau-bras,  and  turning  his  head 
in  profile  to  the  r.,  holding  an  eyeglass  to  his  eye.  He  is  Skeffington,  and 
has  two  books  beside  him:  Sleeping  Beauty,  see  No.  10455,  ^^^  ^^^^  "^  Time, 
his  latest  play,  Drury  Lane,  11  June.   (Verses,  vii.  40  f.,  Jan.  1814.) 

Towards  the  centre  (in  depth)  of  the  design,  is  a  group  on  the  1.  of  large 
figures  among  trees:  'the  Old  Buck',  a  stag  with  the  head  of  the  Regent  and 
with  fine  antlers;  lying  opposite  a  smaller  stag  (r.)  with  the  head  of  Lady 
Hertford,  who  regards  him  amorously.  Close  behind  him  is  a  hyena,  with 
the  head  of  Queen  Charlotte,  crow^ned.  Behind  Lady  Hertford,  a  reindeer 
(horned  beast  par  excellence).  Lord  Hertford,  walks  off,  disgruntled.  Next, 
and  laterally  in  the  centre  of  the  design,  is  a  goat,  seated  on  its  haunches  in 
profile  to  the  r.  with  a  star  on  its  side.  It  has  the  head  of  Lord  Wellesley; 
from  one  horn  dangle  two  empty  purses,  and  a  large  round  miniature  with 
a  profile  head,  inscribed  Poll  Hazard  [i.e.  Raffle,  see  No.  11864].  On  the 
other  horn  is  spiked  a  paper  inscribed  Times,  in  allusion  to  the  letters  of  Vetus, 
see  No.  12009.  ^^  ^^^^  '^^  ^  paper  inscribed  East  Indi  .  .  .  Bankrupt.  He  is 
not  mentioned  in  the  verses;  his  debts  were  notorious.  On  the  r.  a  large  hog, 
Lord  Ellenborough,  puts  his  face  between  the  tail  of  a  ferret,  Sir  Vicary 
Gibbs,  and  the  head  of  a  'Carrion  Crow',  Lord  Eldon.  Gibbs  excretes  balls 
inscribed  ex  officio,  an  allusion  to  ex  officio  Informations  for  libel,  see  No. 
11717,  &c.   Eldon  is  attacked  in  verses  entitled  The  Raven,  vi.  306  f.  (Oct.). 

Behind  and  to  the  r.  of  the  hog  is  a  group  filling  the  upper  r.  corner. 
A  lynx,  with  the  head  of  Lady  Douglas,  wearing  a  Scots  cap,  and  having  a 
gashed  and  bleeding  flank,  registers  distress.  A  terrier  with  a  head  intended 
for  Brougham,  but  completely  unlike  him,  watches  her.  Behind  and  on  the 
extreme  r.  is  a  large  bull-calf  with  the  profile  head  of  Burdett,  lying  on  a  paper 
inscribed  Parliamentary  Re[form'\  (cf.  No.  1 1551).  Behind  this  group  is  a  rock 
in  which  is  the  entrance  to  a  cave  from  which  a  lion  emerges  with  the  head 
of  Whitbread,  the  largest  head  in  the  design,  but  unrecognizable.  Against 
the  rock  sits  an  orang-outang  with  the  head  of  Norfolk,  wearing  a  ducal 
coronet  and  a  star;  his  earl-marshal's  baton  is  under  his  arm  and  he  holds 
a  tankard  and  glass  (he  is  not  mentioned).  On  the  extreme  r.,  emerging  from 
trees,  are  the  head  and  shoulders  of  a  'white  doe'  with  the  head  of  the  Princess 
of  Wales,  crowned,  looking  to  the  1.,  the  heroine  of  the  print.  Beside  her  head 
is  that  of  Princess  Charlotte,  'the  Kidling'. 

Between  this  group  and  the  sphinx  and  monkey  are  two  isolated  animals : 
a  'Dutch  Pug'  (Vansittart),  befouling  a  paper  inscribed  Catholick  Claims  (not 
mentioned,  cf.  No.  12016),  and  a  fighting-cock  with  the  profile  head  of  Coates. 
The  latter  holds  in  a  claw  a  paper  inscribed  Fair  Penitent  [see  No.  11769] 
while  standing  on  one  inscribed  Romeo  &  Juliet.  A  fool  in  cap  and  bells 
rides  the  cock.   He  is  ridiculed  in  verses,  vii.  41  f.  (Jan.  1814). 

269 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

In  the  upper  1.  part  of  the  design,  a  pendant  to  the  group  round  the  Hon, 
are  birds  perched  on  trees.  A  woodpecker  is  Lord  Glenbervie  (his  first 
appearance  since  No.  9722);  an  owl  wearing  a  cocked  hat  and  star  is  Lord 
Cathcart  (see  No.  9564),  at  this  time  Ambassador  Extraordinary  and  Minister 
Plenipotentiary  to  Russia.  A  pheasant  is  the  Duchess  of  York,  praised  for 
her  charities,  despite  the  neglect  of  the  Penguin  (p.  399  f.,  Nov.).  A  chatterer 
is  unidentified ;  she  looks  down  from  her  branch  at  the  Regent,  saying,  Howe 
do  you  like  your  new  friends  my  old  Buck  [cf.  No.  11 864].  Above  these  two  is 
a  magpie  (not  in  the  key,  but  perhaps  the  jackdaw,  Byron,  who  is  the  subject 
of  verses  in  Jan.  1814).  A  large  bird,  not  in  the  key,  says  Navy  Treasury,  and 
is  therefore  George  Rose.  In  the  centre  of  the  upper  edge  of  the  design  is 
a  sun  inscribed  Truth,  whose  rays  irradiate  a  'golden  eagle',  Romilly  (r.), 
who  forms  a  pendant  (and  contrast)  to  George  Rose. 

Immediately  below  the  sun,  and  with  a  background  of  rays  is  a  rectangular 
table,  on  which  is  a  large  decanter  filled  with  the  face  of  the  Regent.  The 
stopper  is  a  coronet,  above  the  motto  Ich  Dien,  from  which  spring  the  Prince's 
feathers.  This  object  is  surrounded  by  sycophants.  The  most  prominent  is 
a  jackal,  McMahon  (1.),  putting  its  fore-paws  on  the  table.  It  wears  a  cocked 
hat  from  which  dangles  a  purse  inscribed  P.P.  [see  No.  11874,  ^c.].  In  front 
of  the  table  a  small  poodle.  Colonel  Bloomfield,  sits  opposite  a  larger  'Mongrel 
Cur',  with  a  pen  behind  his  ear,  wearing  clerical  bands,  and  with  a  baronet's 
hand  (indicating  Sir  Bate  Dudley)  decorating  its  flank.  It  sits  on  a  paper 
inscribed  Morning  Herald,  on  which  are  crossed  duelling  pistols;  near  these 
are  small  circles  inscribed  Cork  Bullet.  On  the  table  sits  a  begging  spaniel 
(not  in  the  key)  with  the  head  of  Sheridan  and  the  coat  and  sword  of  Harlequin 
(cf.  No.  9916).  Facing  him  are  two  small  birds,  a  kingfisher,  Lord  Moira,  and 
a  titmouse.  Sir  Thomas  Tyrwhitt.  McMahon,  Sheridan,  and  Bate  Dudley, 
editor  of  the  Morning  Herald,  are  the  subject  of  scurrilous  verses  on  pp.  467-71 
(Dec).  The  cork  bullets  indicate  the  sham  duel  between  Bate  and  Andrew 
Robinson  Stoney  in  1776,  which  induced  Lady  Strathmore  to  marry  Stoney, 
see  No.  7012,  &c.  For  Bate  as  the  'Fighting  Parson'  see  No.  5198,  &c.  The 
kingfisher  is  the  subject  of  verses  in  Mar.  1814;  Moira  is  said,  on  account 
of  his  debts,  to  have  deserted  the  Whigs  in  order  to  retain  the  favour  of  the 
Regent.  A  tiny  demon  stands  beside  the  centre  leg  of  the  table  which  is 
inscribed  Curacoa.  The  edge  of  the  table  is  inscribed  Suppers  Fetes  &c.  &c. 
The  group  at  the  table  is  enclosed  in  a  semicircular  inscription  in  large  letters : 

WE     ■     PRAISE     •     THEE     ■     O     ■     PRINCE     ■     WE     •     ACKNOWLEDGE     ■     THEE    • 
TO-BE    ■    THE    ■    OLD    ■    BUCK. 

The  main  object  of  attack  is  the  Regent,  with  his  brothers,  his  personal 
adherents,  and  the  Queen.  Stress  is  laid  on  the  innocence  and  misfortunes 
of  the  Princess  of  Wales;  Eldon  and  Lady  Douglas  (see  No.  12031,  &c.)  are 
violently  assailed.  Brougham,  the  terrier,  calls  on  Whitbread,  the  lion,  to 
attack  the  latter  and  defend  'the  Chaste  or  White  Doe'  at  whose  side  sports 
the  Kidhng: 

Threats  Old  Buck  has  breath'd  in  vain 

Naught  could  Kidling's  love  restrain 

And  Hyaena  grinned  with  spite  ...  p.  310  (Nov.  1813). 

Burdett,  'Bull  Calf,  alias  John  Bull  on  account  of  the  popularity  (recently 
diminished)  gained  by  (inter  alia)  his  support  of  the  Princess.  For  Princess 
Charlotte  and  her  mother  see  Nos.  12 194,  12279.  -^^^  the  Princes  are  attacked 
except  Kent,  who  had  shown  some  politeness  to  the  Princess  at  the  Vauxhall 
Fete,  see  No.  12076.  Cambridge  is  not  depicted,  but  as  'The  Earwig',  vii. 
157  f.  (Feb.  1814),  he  is  denounced  as  a  mean  scandalmonger.   The  group 

270 


POLITICAL   SATIRES    1813 

at  the  table  are  individually  attacked  in  verses,  Tyrwhitt  and  Bioomfield 
excepted.  Sheridan  is  described  as  a  victim  to  drink  and  duns,  and  deserted 
by  the  Prince,  but  see  No.  11914  and  his  letter  to  the  latter,  thanking  him 
fortheofferof  an  asylum  at  Carlton  House.  Corr.  of  George  IV,  1938,  i.  365-7. 
'Little  Tommy  Tyrvvhitt',  Gentleman  Usher  of  the  Black  Rod,  preceded 
McMahon  as  Keeper  of  the  Privy  Purse  to  the  Prince,  and  like  Bioomfield, 
who  succeeded  McMahon  in  1817,  was  the  Prince's  factotum.  Romilly's 
position,  a  tribute  to  his  reputation,  is  contrary  to  the  bias  of  the  satire:  his 
attitude  to  the  Delicate  Investigation  was  unfavourable  to  the  Princess,  see 
No.  1203 1 .  Liverpool  and  Castlereagh  dispute  Pitt's  inheritance,  actually  they 
shared  it.  Vansittart  was  a  die-hard  opponent  of  Emancipation. 
1 0^X17!  in. 

12082  RIVAL  CANDIDATES  FOR  THE  VACANT  BAYS 

y  C  {or  C  J)  fecit 

London  Publish' d  Oct''  1 1813  by  N.  Jones  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  vi.  261.  A  satire  on 
the  Laureateship.  The  Regent  as  Apollo,  his  head  irradiated,  eyes  tipsily 
closed,  sits  on  one  knee  of  the  Duke  of  Norfolk,  Bacchus,  who  sits  on  a  cask. 
He  rests  his  1.  leg,  displaying  the  honi  on  his  garter,  on  the  shoulder  of 
Bate  Dudley,  who  kneels  before  him.  He  is  naked  except  for  a  drapery  hang- 
ing from  the  waist,  and  massive  cothumes  decorated  with  a  heart.  A  quiver 
of  arrows  is  strapped  to  his  back,  and  he  supports  a  lyre  on  his  I.  knee. 
Norfolk  is  naked  except  for  vine-girdle  and  wreath,  as  is  Sheridan,  who 
reclines  on  the  ground  (I.)  holding  a  glass  to  catch  wine  which  spouts  from 
the  cask.  These  three  gods  are  larger  in  scale  than  the  other  figures.  The  cask 
is  inscribed  Annual  Butt  of  Sack  and  {,100  per  Annum.  The  Regent: 

Who  best  can  sing  of  drinking  loving  lays 
Shall  have  the  butt  and  zvith  it  take  the  Bays 

Norfolk  steadies  himself  by  a  staff  topped  by  a  pine-cone  and  streamers; 
he  says : 

Tho'  of  Love  &  Wine  you  have  had  store 

By  N — rf — Ike  dumplings  I'd  have  More  [Moore] 

Sheridan,  as  Silenus: 

Whom  he  has  promis'd  most  I  will  be  swore 

He'll  give  the  Sack^  as  he  has  done  before  [cf.  No.  11914] 

From  the  clouds  (r.)  emerge  the  head  and  shoulders  of  McMahon,  as 
Mercury,  but  on  the  scale  of  the  mortals.  His  arms  are  folded  on  his  caduceus 
from  which  hangs  a  purse  inscribed  P.P.  [see  No.  11874,  Sec.].  He  looks  at 
the  Regent,  saying, 

Who  has  the  Bays  I  do  not  care  a  curse, 
So  that  I  always  keep  the  Privy  Purse. 

Bate  Dudley  like  Sheridan  has  satyr's  ears;  he  wears  clerical  gown  and 
bands;  his  face  is  hidden  by  the  coronet  and  feathers  which  fall  from  the  head 
of  the  Regent.   Across  his  person  is  a  broad  ribbon  with  the  Prince's  motto 
Ich  Dien.   Under  his  foot  is  a  paper,  Morn^  Herald,  and  he  says: 
With  praises  so  ftdsome  I've  run  such  a  race, 
'Tho  not  over  modest  I'm  ashamed  of  my  face. 

An   early  instance   of  this   phrase   meaning   dismiss   from   employment,   which 
Partridge  dates  from  c.  1840. 

271 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

The  competing  poets  run  from  the  r.  towards  Apollo.  They  are  headed 
by  Byron,  his  head  concealed  by  an  arm  supporting  a  big  volume  of  Byron's 
Works  carried  on  his  r.  shoulder.  Under  his  r.  shoe  is  a  small  block,  indicating 
lajneness.   He  says: 

Far  far  from  me  he  such  temptation  put, 

To  bake  a  butt  of  Sack  to  make  myself  a  butt. 

Close  behind  him,  Skeffington  runs  with  a  long  stride,  holding  out  in  both 
hands  with  an  elegant  gesture  a  volume  inscribed  Sleeping  Beauty  [see 
No.  10455].  Iri  his  pocket  is  a  paper:  Point  of  Honour  [i.e.  Word  of  Honour, 
a  comedy  first  played  at  Covent  Garden  26  May  1802].  He  is  foppishly 
dressed,  with  shirt-frill  and  embroidered  stockings,  at  his  feet  lie  his  opera- 
hat  and  two  books.  Lose  no  Time  [see  No.  12081].   He  says: 

Of  Sleeping  beauties  I  rehearse  the  rhyme 

Make  me  your  poet  lose  no  Time. 

Above  his  head  flies  a  naked  Cupid,  holding  out  a  book  inscribed  Little, 
on  whose  back  sits  Tom  Moore,  youthful  and  jaunty,  a  hand  on  Cupid's 
quiver.  Moore: 

/  sing  the  joys  of  Love  and  Bacchus  store 

My  gracious  R — g — nt  would  you  wish  for  More? 

Behind  Skeffington  walks  'Monk'  Lewis  as  a  barefooted  monk  holding  his 
Tales  of  Wonder  [see  No.  9932]  and  pointing  upwards.  From  his  hood  two 
books  project.  Castle  Spectre  and  The  Monk.  He  says: 

/  have  written  for  pelf 
Till  I  frightened  myself!  !  !  ! 

Next,  Scott,  in  chain  armour  and  helmet,  strides  rapidly  forward,  his  cloak 
flying  out  behind  him.  On  his  helmet  is  a  bunch  of  pens ;  a  huge  pen  is  thrust 
though  a  shoulder-belt  as  is  an  object  like  a  great  pen-nib  (?  his  patent  pen, 
see  Corr.  iii,  1932,  p.  90).  He  holds  out  Rokeby  [1812];  under  his  r.  arm  is 
a  book  or  paper  inscribed  Marmion  [1808]  Lady  of  the  Lake  [1810].  In  his 
1.  hand  he  carries  a  pile  of  books  in  a  strap ;  they  are  falling  out  and  three 
are  on  the  ground :  Coke  falls  on  Littleton  and  the  Statutes  at  Large  [showing 
his  desertion  of  the  law  for  literature].   He  says: 

Three  Thousand  pounds  I've  made  a  Joke  by 
A  six  weeks  scrawl  entitled  Rokeby. 

Behind  (r.)  kneels  a  man  in  clerical  gown  and  bands;  he  holds  out  a  book 
without  inscription ;  beside  him  is  one  inscribed  Temperance.   He  says : 

I've  often  wish'd  that  I  had  clear 

For  life  one  hundred  pounds  a  year 

Swift    Hem 

Last  (r.)  stands  Busby,  wearing  spectacles  and  holding  out  an  Address; 
under  his  arm  is  a  piece  of  music.   He  says : 

They  say  that  under  George  the  seconds  rule 
Cibber  was  both  the  poet  and  the  fool. 
The  Prince  more  moderate  now  I'd  have  you  know  it, 
Will  take  the  fool  who  is  no  poet. 

On  II  Aug.  Pye  died,  the  Prince  offered  the  Laureateship  to  Scott,  who 
at  first  thought  of  accepting,  but  refused,  suggesting  to  Croker  that  it  should 
be  offered  to  Southey.  This  was  done;  Southey  was  sworn  in  on  4  Nov. 
Scott,  Corr.  iii.  332,  335  f.  J.  Simmons,  Southey,  1945,  pp.  138-40,  241 ; 
Broadus,  The  Laureateship,  1921,  pp.  163  ff.  See  Hazlitt,  'Mr  Southey,  Poet 

272 


POLITICAL   SATIRES    1813 

Laureate'  {Morn.  Chron.,  18  Sept.  1813),  Works,  ed.  Howe,  vii.  24  f.;  Southey 
was  also  violently  attacked  in  the  Examiner,  26  Sept.  Bate  Dudley,  as  in 
Nos.  1 208 1,  12207,  is  attacked  for  obsequiousness  to  the  Regent,  and  as  the 
editor  of  the  Morning  Herald  (hostile  to  the  Princess  of  Wales).  Scott  wrote, 
23  Mar.  1813 :  'I  really  get  as  much  by  Rokeby  as  I  have  any  reason  to  expect 
and  more  than  was  ever  given  for  any  poem  of  the  length — 3000  guineas.' 
Op.  cit.  iii.  242;  cf.  No.  11082.  Moore's  amorous  verse  was  published  in  1801 
as  Poems  by  the  late  Thomas  Little;  cf.  No.  11899;  his  Twopenny  Post  Bag 
makes  him  an  absurd  candidate  as  are  Skeffington,  Lewis,  and  Busby  (see 
No.  1 1939,  &c.).  The  identity  of  the  parson  is  obscure;  his  couplet  suggests 
Theophilus  Swift  (cf.  the  use  of  homonymous  authors  in  (e.g.)  No.  11940). 
He  had  written  bad  verse,  but  was  not  in  orders;  or  he  may  be  the  obscure 
Swift  of  No.  12891.  For  the  laureateship  see  also  No.  12877. 
71^X12%  in. 

12083  NAP  AND  HIS  FRIENDS  IN  THEIR  GLORY. 

[Rowlandson.] 

Pub'^  October  J^'  1813  by  R  Ackermann  N  loi  Strand 

A  reissue  (uncoloured)  of  No.  1 1038.  A  satire  on  Joseph's  flight  from  Madrid 
in  1808  is  applied  to  his  final  flight  from  Spain  after  Vittoria,  see  No.  12068. 
He  fled  to  France  and  went  to  his  chateau  of  Morfontaine  north  of  Paris. 
Napoleon  forbade  him  to  go  to  Paris;  he  was  later  summoned  there  for  an 
interview  on  28  Nov.,  see  Geer,  Napoleon  and  his  Family,  iii,  1929,  pp.  24-5, 

37-43 >  382. 

De  Vinck,  No.  8398. 

12084  THE  WITCH  OF  ENDOR  AND  THE  UNEXPECTED  GHOST. 
SATIRIST  OCTOBER  1ST  1813— 

Satirist  inv^     G.  Cruikshank  fee* 

Engraving  (coloured  impression').  PI.  to  the  Satirist,  xiii.  289.  'Explanation 
of  the  Plate',  pp.  289-95.  The  ghost  of  Pitt  (1.),  irradiated  and  standing  upon 
clouds,  looks  sternly  towards  Burdett  and  a  miscellaneous  assortment  of 
opponents  of  the  Government  in  Ireland.  He  is  elongated  and  corpse-like, 
in  a  shroud  with  the  sleeves  of  his  Chancellor  of  the  Exchequer's  gown. 
Burdett,  'the  witch  of  Endor',  who  is  conducting  an  incantation,  alone  con- 
fronts him  boldly,  though  with  defiant  alarm.  He  stands  with  legs  astride, 
wearing  a  long  cloak  over  waistcoat,  with  a  high  shirt-collar,  and  pantaloons ; 
on  his  breast  is  a  skull  and  cross-bones.  In  his  r.  hand  is  a  large  dagger, 
dripping  blood;  in  his  1.  is  a  tall  staflF  topped  by  a  large  cap  of  Liberty  from 
which  writhing  serpents  emerge.  Before  him  is  a  large  cauldron  standing 
among  flames,  and  boiling  over  with  a  (red)  froth  of  Protestant  Blood.  In  the 
flames  are  a  crown,  a  mitre,  a  crosier,  and  documents:  Bill  of  Rights,  Habeas 
Corpus',  under  his  foot  is  Magna  Charta  and  a  sceptre.   He  declaims: 

Spirit  of  Fitzg — r — Id  hear! 

By  the  blood  of  Robespierre  ; 

By  Danton's  bowl;  by  Marat's  Knife; 

By  Napoleon's  spell  bound  life  ; 

By  the  Shapes  of  Fear  that  wave 

The  gorey  wing  oe'r  Orleans  grave 

Rise  from  thy  dishonoured  Tomb!! 

'  Not  folded,  showing  that  it  was  issued  separately. 

273  T 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

Crouching  on  the  ground  between  Burdett's  legs  is  O'Connell,  much 
alarmed ;  one  hand  rests  on  a  brief  inscribed :  Retaining  Fee  in  King  v  Magee 
10  Guine{a\s  Councellor  O'Connell;  he  is  'repeating  Ave  Marias'  (p.  295).  On 
the  extreme  r.  is  a  window,  through  which  General  Mathew  (copied  from 
No.  10163  by  Gillray),  identified  by  a  paper  projecting  from  his  pocket: 
General  Matthew)  is  about  to  leap.  One  foot  is  on  the  sill,  the  other  on  a  table 
on  which  is  a  paper  kept  in  place  by  a  massive  ink-stand,  with  a  list  of  names 
or  signatures :  Burdett,  Bryon,  Matthew,  Hutchins[on],  Landaff.  Bryan,  dressed 
as  a  military  officer,  rushes  towards  the  window  clutching  Mathew's  coat- 
tails;  a  dagger  is  thrust  through  his  belt,  and  he  holds  a  baton  inscribed 
Cheif  of  the  Boys  of  Kil  .  .  .,  he  looks  over  his  shoulder,  exclaiming,  Pitt: 
by  all  thats  Terrible.  In  front  of  him,  lying  prone,  is  Landaff,  Mathew's 
brother,  a  slim  military  officer  (his  coat  coloured  green) ;  his  eyes  are  closed 
and  he  holds  a  cross  to  which  a  rosary  is  attached.  A  man  wearing  (green) 
military  dress  and  holding  a  (green)  flag  inscribed  Toleration  For  Ever  Down 
with  the  Protestants',  he  cries:  From  the  Red  Sea  by  5'  Patrick  and  staggers 
back  in  consternation.  Behind  him  a  crowd  of  Irish  ragamuffins  with  spears 
flee  in  terror  to  the  r.  A  Gothic  window  indicates  a  wall  behind  them.  On 
the  wall  on  the  1.,  and  partly  obliterated  by  rays  from  Pitt,  is  a  picture  of 
a  guillotine.  The  victim's  head  is  in  the  basket ;  blood  gushes  from  the  neck ; 
a  mitre  shows  that  the  body  is  that  of  a  bishop. 

According  to  the  text  Burdett  visited  Landaff  at  Thomastown  in  August. 
Discontented  at  the  decline  of  the  radical  fortunes  in  England,  they  discussed 
the  prospects  of  *a  grand  display  of  popular  feeling'  in  Ireland.  Burdett,  in 
order  to  probe  the  future,  pledged  himself  to  raise  a  spirit  by  a  long  invocation 
to  Fitzgerald  (opening  lines  on  the  pi.),  to  discover  the  prospects  of  an  armed 
rising  in  Ireland.  In  place  of  Fitzgerald  (see  No.  9227,  &c.)  Pitt  appeared; 
the  terror  of  the  company  was  abated  only  by  Napoleon's  Dresden  bulletin 
(cf.  No.  12086).  For  the  ghost  of  Pitt  see  No.  11895;  Murray,  exasperated 
by  Whitbread's  letter,  continued  to  threaten  Chapman,  and  applied  to  Burdett 
who  gave  him  a  cheque  on  Coutts,  which  increased  his  delusion.  Examiner, 
1813,  p.  561  f.  Landaff,  Mathews,  and  Hutchinson  (who  had  recently  made 
a  gross  attack  in  the  Lords  on  the  Regent)  were  Irish  M.P.'s  in  favour  of 
Emancipation.  For  Orleans  (figalite)  see  No.  8292,  &c.  For  Bryan  see 
Hugh  Bryan,  The  Autobiography  of  an  Irish  Rebel,  1866.  For  O'Connell's 
defence  of  John  Magee,  July  1813,  see  Ann.  Reg.  1813,  pp.  269-74. 

Reid,  No.  258.    Cohn,  No.  724. 
6|x  13^  in.   With  border,  7|x  13^!  in. 

12085  ALDERMAN,  ALIAS  COMMODORE  CURTIS,  MISTAKEN 
FOR  COMMODORE  ROGERS!— 

G.  Cruikshank  fee' 

Pu¥  Octob"^  i'^  iSijfor  Prop''  of  Town  Talk 

Engraving  (coloured  impression).  PI.  from  Town  Talk,  v.  173.  A  boat  from 
Curtis's  yacht  approaches  the  coast  of  the  Highlands,  where  grotesque  Scots- 
men are  prepared  to  repel  an  attack  from  an  American  vessel.  Curtis,  much 
burlesqued  and  in  nautical  dress  as  in  No.  11353,  &c.,  stands  in  the  bows, 
addressing  the  natives  and  holding  up  a  spit  on  which  a  turkey  is  transfixed ; 
a  chain  of  sausages  streams  from  it.  The  boat  is  crammed  with  provisions 
for  a  feast,  as  in  No.  1 1357.  Carrots  and  turnips  project  at  the  bows,  fish  hang 
over  the  sides,  with  a  net  of  oysters.  There  is  a  large  basket  of  bottles  between 
Curtis  and  the  oarsman,  his  cook.  A  huge  turtle  supports  a  reversed  cauldron 
which  Sir  Claudius  Hunter  uneasily  bestrides.   An  elderly  naval  officer,  the 

274 


POLITICAL   SATIRES    1813 

captain  of  the  yacht,  sits  in  the  stern  holding  a  bottle  of  Comfort,  his  1.  hand 
on  the  tiller,  looking  warily  towards  the  shore.  The  sea  is  rough  and  waves 
break  against  the  low  cliffs  where  the  Scots  are  standing.  Three  lean, 
grotesque  men  in  kilts  and  jackets  stand,  presenting  respectively  a  blunder- 
buss with  bayonet,  a  (bent)  pitchfork,  and  a  ladle  at  the  supposed  invaders. 
The  first  says:  Get  awa  ye  loun  ye  may  be  au  Rogers  for  the  Yankees  but  you' r 
no  Rogers  for  us.  Farther  off  a  family  is  grouped,  headed  by  a  fat  woman 
with  a  broom  and  chamber-pot.  Behind  her  stands  a  melancholy  man  wearing 
a  military  bonnet,  holding  a  musket.  Like  his  two  boys  he  wears  a  kilt.  One 
of  the  boys  holds  a  target  and  broadsword.  There  are  also  three  young 
children,  all  burlesqued.  Curtis  declaims,  1.  arm  extended  towards  his  com- 
panions: My  good  friends,  don't  be  frigtend  [sic],  &  pray  don' t  frighten  us  & 
I'll  tell  you  who  we  are  speedily  &  soon  [see  No.  11 306].  My  name  is  Billy 
C — rt — ^  Knight,  Alderman  Banker  &  Biscuit  Baker.  My  Friends  that  are 
with  me  are  my  Cook,  &  a  Cap'" — &  the  Man  on  the  Saucepan  is  the  City 
High  bred  Hunter  indeed  we  are  none  of  the  Rogerers — indeed  we  are  not  &  may 
I  never  swallow  another  lump  of  green  fat  if  we  intenend  [sic]  any  thing  more  then 
a  Jollification.  Knife,  spoon,  fork,  and  bottle  project  from  his  waistcoat 
pocket;  his  nose  is  grossly  enlarged  and  carbuncled.  Hunter,  who  is  thin  and 
wears  neat  military  uniform  with  a  gorget,  exclaims :  This  is  not  quite  so  pleasant 
as  rideing  White  Surry. 

For  'Commodore  Curtis'  see  No.  11362.  His  yacht  and  his  lavish  hospital- 
ity had  been  a  feature  of  many  prints  on  the  Walcheren  Expedition,  see 
No  1 1354,  &c.  Alderman  Hunter  was  a  favourite  butt  (in  the  City)  for 
pretensions  to  horsemanship  and  elegant  manners.  For  Commodore  Rodgers 
of  the  U.S.  Navy  see  No.  12077.  The  Examiner,  1 1  July,  wishes  he  had  been 
the  defeated  commander  of  the  Chesapeake  (see  No.  12080,  &c.):  'whom  his 
countrymen,  out  of  the  abundance  and  classicality  of  their  similes,  compare 
with  Julius  Caesar,  and  who  always  appeared  to  us,  from  the  first,  a  great 
coxcomb'.  Perhaps  Curtis's  yacht  was  in  Scottish  waters:  his  visit  to  Edin- 
burgh in  1822  occasioned  similar  prints. 

Reid,  No.  259.   Cohn,  No.  802. 
7|xi8|in. 

12086  COOL  SUMMER  QUARTERS,  OR,  GOING  ON  SWIM- 
MINGLY!!!! 

G  Cruikshank  fe' 

Pub''  OcV  2'^  1813  by  S.  Knight  N°  3  Sweetings  Alley  Roy^  Exchang 

Engraving  (coloured  and  uncoloured  impressions).  A  sequel  to  No.  11920, 
with  water  taking  the  place  of  snow.  French  soldiers,  much  burlesqued,  try 
to  escape  from  a  river  into  which  they  have  been  driven  by  Allied  troops. 
The  water,  made  rough  by  the  struggles  of  drowning  men,  extends  across  the 
design.  Napoleon's  head  and  shoulders  emerge;  his  enormous  feathered 
bicorne  forms  the  centre  of  the  design :  heads,  hands,  and  spurred  boots  rise 
from  the  waves.  He  exclaims :  D — n  the  Bober — but  I  must  put  the  best  face 
on  a  bad  business  &  tell  my  good  people  of  Paris  [Credulous  souls)  that  my  Grand 
Army  is  in  Snug  Summer  Quarters.  {&  I  believe  I  may  lie  there  without  fear 
of  detection  for ,  few  will  escape  to  contradict  or  complain) — whoever  [sic],  /  must 
tell  them,  that  we  are  going  on  in  prime  twig,  quite,  Swimmingly!! — &  lay  all 
the  blame  on  that  infernal  Bore  the  River!!  A  head  emerges,  wearing  a  bonnet 
rouge,  and  uttering  the  words :  Yes,  upon  my  vord  dis  is  de  nice  cool  quarters. 
In  the  foreground  (1.)  a  standard-bearer  flounders,  holding  up  an  eagle,  to 

275 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

which  is  attached  a  tricolour  flag,  inscribed  Vive  la  Emprl . .  [sic] ;  he  exclaims : 
Oh!  by  Gar  me  no  like  dis  vater  vidout  de  vine.  On  the  extreme  r.  a  mounted 
dragoon,  submerged  above  the  saddle,  is  escaping  to  the  r.,  but  is  held  back 
by  a  man  who  swims,  clutching  his  long  queue ;  he  shouts :  OH  D — n  you  sare 
let  my  Tail  alone.  Behind  (1.)  allied  troops  are  throwing  Frenchmen  into  the 
water  with  the  bayonet.  Clouds  of  smoke  cover  much  of  the  background; 
a  mountain  and  pine-trees  are  seen  on  the  r. 

Apparently  based  on  a  dispatch  of  i  Sept.,  published  in  an  Extraordinary 
Gazette  of  21  Sept.,  recording  Blucher's  defeat  of  the  French  on  29  Aug., 
'in  a  position  behind  the  Bober  river'.  This  was  the  battle  of  the  Katzbach' 
(in  Silesia,  east  of  the  Bober),  the  river  being  fatal  to  Macdonald,  who  was 
routed.  Napoleon  was  not  present;  he  had  just  beaten  the  Allies  at  Dresden, 
26-7  Aug.,  see  No,  12084.   See  Nos.  12109,  12177. 

Reid,  No.  260.  Cohn,  No.  1016.  Listed  by  Broadley.  De  Vinck,  No.  8830. 
Milan,  No.  2502. 
8fXi3iin. 

12087  COMPARATIVE  ANATOMY  OR  BONE-YS  NEW  CON- 
SCRIPTS FILLING  UP  THE  SKELETONS  OF  THE  OLD  REGE- 
MENTS  I  SATIRIST  NOVEMBER  l^'i"  1813. 

G.  Cruikshank  fec^ 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xiii.  377.  Explanatory 
text,  pp.  377-82.  Napoleon,  short  and  grotesque,  stands  with  his  head  in 
profile  to  the  r.,  pointing  imperiously  to  his  grisly  conscripts  whose  emaciated 
misshapen  bodies  are  in  various  ways  encased  in  the  skeletons  (cadres)  of  the 
old  army.  He  wears  a  large  plumed  bicorne,  huge  sword,  gauntlet  gloves,  and 
jack-boots  with  spiked  toes;  in  his  r.  hand  is  a  baton.  He  is  ruthlessly  un- 
moved at  the  terrible  sight,  but  an  officer  (1.)  and  a  Mameluke  (r.)  are  aghast. 
The  ribs  of  a  skeleton  wearing  a  cocked  hat  rest  on  the  head  of  a  terrified 
bow-legged  little  soldier.  Another's  legs  are  covered  to  the  hips  in  large 
Hessian  boots,  his  body  is  enclosed  in  ribs,  and  on  a  pole  rising  from  inside 
his  boot  is  a  skull  wearing  a  grenadier's  cap  decorated  with  cockade,  plume, 
eagle,  and  tassels,  a  pipe  between  its  teeth.  An  emaciated  figure  has  a  jacket 
of  ribs  and  vertebrae;  on  his  head  is  a  skull  wearing  a  cavalry  helmet.  A  little 
ragger  drummer  stands  on  his  drum  to  place  a  skull  wearing  a  shako  on  the 
head  of  a  man  jacketed  with  ribs.  In  the  foreground  a  dwarfish,  bow- 
legged  creature  with  his  head  covered  by  a  skull  wearing  a  bonnet  rouge,  runs 
after  a  screaming  little  boy  holding  out  in  each  hand  a  relatively  huge  skeleton 
hand.  Other  skull-headpieces  in  the  background  indicate  the  rear  ranks.  The 
officer  on  the  extreme  1.,  a  grotesque  figure,  lean  and  with  bent  shin-bones, 
and  an  enormous  queue,  holds  an  eagle  with  a  tricolour  flag;  he  says:  Sacre 
Dieu!  but  tis  the  force  of  a  Boney-party.  The  Mameluke  in  a  long  furred  robe 
and  turban  has  a  huge  moustache ;  he  holds  a  sabre  with  notched  blade  against 
his  shoulder. 

A  satire  on  the  losses  of  the  French  armies  (before  news  of  Leipzig).  It  is 
allegedly  based  on  Napoleon's  Bulletin  of  13  Sept.  in  which  'we  are  made 
acquainted  with  the  Emperor  Napoleon's  transcendent  design  of  reinforcing 
the  skeletons  of  all  his  old  soldiers!'  It  anticipates  the  winter  levies  of  young 
conscripts  to  fill  the  cadres  of  the  French  armies  and  of  the  National  Guards. 
Cf.  Napoleon's  notes  on  conscription,  of  27  Sept.  1813,  Corr.  xxvi.  254-6. 
See  also  Nos.  12013,  12088,  12100,  121 11,  12115,  12201,  12202,  12225,  12239, 
12246,  12247,  12250,  12586,  12606,  12711,  13486.    Cf.  No.  10117  (1803). 

'  Reid  and  Cohn  explain  it  as  the  crossing  of  the  Elster  after  Leipzig  (Oct.  16-19). 

276 


POLITICAL   SATIRES    1813 

For  French  satires  see  La  fete  des  innocents  (reproduced  Bourguignon,  ii.  207) 
De  Vinck,  No.  8875;  and  ibid.,  Nos.  8877-81. 

Reid,  No.  178.  Cohn,  No.  724.   Broadley,  i.  337  f. 
6|x  13!  in.   With  border,  7|x  14!  in. 

12088  FRENCH   RECRUITS,   OR  A  BIRD'S  EYE  VIEW  OF  THE 
NEW  CONSCRIPTION— 

G.  Cruikshank  fed 

Pu¥  for  the  Proprit°'-'  of  Town  Talk  Nov''—i''  18 13 

Engraving  (coloured  impression').  PI.  from  Town  Talk,  v.  245.  Marie  Louise, 
seated  on  a  miserably  decrepit  horse  or  mule,  with  her  son  astride  her 
shoulders,  heads  a  grotesque  recruiting  procession.  The  animal,  much 
caparisoned,  is  led  by  a  dwarfish  and  crippled  groom  (1.),  wearing  a  jockey 
cap  and  top-boots.  The  Empress  wears  a  flowered  gown,  defining  her  figure, 
and  a  spiky  crown.  She  extends  her  r.  arm,  saying.  Come  Old  &  Young. 
Cripples,  larne,  blind  deaf  &  dumb  Napoleon  wants  you  all  at  Dresden  to  bring 
him  back  to  Paris,  &  to  punish  those  rascals  who  liave  come  with  their  long 
Beards  &  their  long  Pikes  from  the  Banks  of  the  Don,  to  annoy  my  poor  Dear 
pacific  husband.  She  holds  the  child's  1.  leg.  The  boy  has  a  nose  like  the  beak 
of  a  bird  of  prey  (as  in  No.  121 72)  and  a  long  military'  pigtail  which  flies  out 
horizontally.  He  wears  a  large  crown  surmounted  by  a  cross.  In  his  r.  hand 
is  a  sceptre  resembling  a  child's  coral  and  bells,  and  he  grasps  a  spike  of  his 
mother's  crown.  He  says:  Daddy's  gone  a  hunting:  naughty  daddy  to  leave 
Mama  &  me  on  a  zcild goose  chase.  Morblieu  I  wish  I  [was]  a  Man  hozv  I  zvould 
fight  these  Cossacks.  Behind  the  horse  a  little  drummer  wearing  a  bonnet 
rouge  beats  a  drum,  and  a  man  wearing  a  plumed  cask  for  a  cap  blows  a  fife. 
A  deformed  infantine  creature  marches  along  on  bare  legs,  holding  a  sword 
tucked  under  his  arm.  After  him  shuffles  a  youth  dragging  a  musket  by  the 
barrel  which  he  bestrides  like  a  hobby-horse;  on  his  head  is  a  frying-pan. 
A  tall  emaciated  soldier  marches  with  an  eagle,  to  which  is  attached  a  tricolour 
flag  inscribed  Napol[eon] ;  he  drags  along  a  weeping  infant.  A  man  carries 
on  his  head  a  basket  inscribed  Sugar  Plutnbs  for  the  Grand  Army  [i.e.  of 
children].  On  the  extreme  r.  a  man  on  crutches  with  a  wooden  leg  hobbles 
along.  Above  the  heads  of  the  procession  are  bayonets  at  various  angles. 
Spectators  watch  from  the  1.;  grotesque  old  women  shout  Vive  VEmpereur. 

For  the  Regency  see  No.  11998.  On  7  Oct.  the  Empress  Queen  and 
Regent  went  in  state  from  the  Tuileries  to  the  Senate  to  deliver  an  address, 
and  a  projet  of  a  Senatus  Consultum  was  presented  to  the  Senate  for  a  levy 
of  280,000  men  of  the  classes  of  1814  and  1815.  Cobbett's  Pol.  Reg.  xxiv. 
687-9.   See  No.  12087,  &c.   Cf.  No.  12051,  Sec. 

Reid,  No.  268.   Cohn,  No.  802.   Broadley,  i.  337. 
9x14^  in. 

12089  BENEFITS  OF  A  PLENTIFUL  HARVEST. 

C  PT  [Williams] /mY 

Pub'^  Novem''  i''  181 3  by  W  N  Jones  N"  5  Negate  Street. 

Engraving  (coloured  impression).  Pi.  from  the  Scourge,  vi.  349.  The  Lord 
Mayor,  Scholey,  sits  enthroned,  his  chair  framed  in  an  alcove  which  forms 
the  centre  of  the  design.  He  wears  a  monkish  gown  over  his  dress  and  points 
above  his  head  to  a  pair  of  scales  where  a  quartern  loaf  is  much  lighter  than 

'  Not  folded,  showing  that  copies  were  issued  separately. 

277 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

a  weight  inscribed  4  lbs  5  oz  ^Jq.  The  scales  hang  from  the  summit  of  the 
alcove,  above  which  is  the  City  shield  held  by  two  griffins.  On  a  footstool 
in  front  of  his  dais  the  City  Sword  lies  across  the  mace.  Two  men  kneel  on 
his  r.  and  1.,  their  knees  on  the  edge  of  the  dais.  On  his  r,  is  a  Quaker 
(a  miller,  corn-factor,  or  meal-man),  with  a  bag  inscribed  Sample  in  each 
hand.  On  his  1.  is  a  baker,  holding  a  large  basket  of  loaves  on  his  shoulders, 
and  with  a  rolled  document  in  his  jacket  pocket.  The  Mayor  looks  to  the  r., 
saying:  If  you  wish,  my  sons,  for  success  in  this  world,  or  hope  for  happiness  in 
the  next,  make  no  mental  reservation — Maugre  popularity,  I  will  do  my  duty! 
The  baker  answers :  What!  must  I  confess  all?  Is  there  no  hope  of  pardon 
without  it?  then  I  am  undone  indeed!  for  I  have  been  very  liberal  in  the  use  of 
alum — peas — potatoes — rice — nay  stone — and  sometimes  deducted  from  the  weight, 
&c — O  L — d!  O  L — d!  I  wish  I  had  been  satisfied  with  plundering  Sunday 
dishes! —  [dishes  baked  for  customers  in  his  oven].  His  loaves  are  marked  W. 
The  Quaker:  Yea  verily,  friend  I  will  confess  and  disburden  my  overcharged 
conscience. — /  solemnly  affirm  that  I  have,  all  my  life,  been  a  strict  worshipper 
in  the  Temple  of  Monopoly,  erected  by  my  forefathers  ;  and  albeit  though  I  have 
never  been  scrupulous  in  my  returns,  and  may  occasionally  have  wanted  wind  and 
water  to  grind  corn,  I  have  never  ceased  to  grind  the  public  on  every  favourable 
opportunity — .  Nha! 

On  the  r.  (the  Mayor's  1.)  is  a  group  of  Corporation  notables.  Alderman 
Wood  (1.)  turns  to  Quin  to  say:  /  wonder  M''  Q — n,  that  bakers  have  never 
introduced  Quassia  [see  No.  10574,  &c.];  it  is  a  stomachic  Wood,  and  I  deal 
very  largely  in  it.  Quin  (also  prominent  among  the  supporters  of  the  Princess 
of  Wales)  answers:  None  of  your  tricks  upon  an  old  ''Traveller"  [cf.  No.  1 1657] 
— by  Jasus,  I  think  the  state  of  the  labouring  poor  is  bitter  enough  already, — 
O  that  I  had  the  brushing  of  their  bums.  Both  men  are  fashionably  dressed 
under  their  fur-bordered  gowns.  Curtis,  wearing  the  sailor's  dress  of 
No.  1 1353,  &c.,  stands  in  profile  to  the  1.,  holding  a  bowl  of  steaming  Turtle 
soup,  into  which  he  dips  a  spoon ;  he  says:  /  wish  they  were  as  honest  as  I  have 
been  with  my  biscuits  [cf.  No.  11354],  or  you  holy  father  in  your  contract  for 
hops. — A  speedy  reformation  to  them  all,  and  that  soon,  say  I  [see  No.  11306]. 
A  fourth  man  on  the  extreme  r.,  dressed  like  Curtis,  but  holding  his  hat  and 
an  alderman's  gown,  puts  his  hand  on  Curtis's  arm,  saying.  Come!  thats  very 
good  indeed! — /  say  brother  trowsers,  invite  me  to  your  next  Turtle  feast.  I'll 
be  sure  to  be  in  Time, — apropos  your  watch  don't  want  repairing  does  it!  [He 
is  probably  an  alderman  belonging  to  the  Clock-makers'  Company.]  Behind 
this  group  is  a  large  open  window  through  which  is  seen  a  street-corner 
inscribed  Mark  Lane  (site  of  the  Corn  Exchange).  Two  Quakers  in  broad- 
brimmed  hats,  stand  primly  with  clasped  hands,  facing  two  other  men.  One 
Quaker  says:  Verily  there  is  a  large  supply  of  foreign  Wheat  and  the  price  has 
fell.   His  vis-a-vis  answers :  Then  D — n  you  Aminadab  werr'e  dish'dH! 

On  the  1.,  a  pendant  to  the  Aldermen,  stand  a  starving  family,  anxious  to 
approach  the  Mayor.  The  man,  lean  and  ragged,  in  clothes  denoting  the 
middle-class  citizen,  drops  his  hat  and  looks  over  his  shoulder  at  his  wife, 
exclaiming  Oh  wherefore  breathe  we  in  a  christian  Land?  The  ragged,  emaciated 
woman  is  suckling  an  infant,  and  is  in  an  advanced  state  of  pregnancy ;  she 
answers :  Christians!  I  think  for  my  part  there  are  very  few  left  among  us, 
the  [sic]  have  all  turn' d  Jews  and  Turks.  Beside  her  is  a  girl,  prematurely  old, 
and  behind  are  two  boys,  one  gnawing  a  bare  bone.  Through  the  window 
behind  them  is  seen  a  quay  where  a  two-masted  ship  stands  beside  a  ware- 
house from  which  sacks  are  being  carried  on  board.  On  the  extreme  1.  a 
neatly  dressed  man,  wearing  top-boots,  turns  to  a  farmer,  John  Bull,  who 

278 


POLITICAL   SATIRES   1813 

Stands  beside  him;  he  points  at  the  window,  saying,  Look  there  M^  Bull! 
do  you  see  zvhats  going  on  Yonder  the  fish  will  not  starve  however.  John  answers : 
Good  Heavens  that  the  bounty  of  Providence  should  be  so  abused. 

In  1 8 13  the  price  of  com  was  very  high  till  it  was  lowered  rapidly  by  an 
exceptionally  good  harvest.  Under  the  assize  of  bread  (see  No.  9720)  the 
Lord  Mayor  periodically  fixed  the  price  of  the  loaf,  which  he  could  legally 
do  according  to  the  price  of  either  grain,  meal,  or  flour,  but  by  custom  the 
price  had  a  fixed  ratio  to  the  price  of  flour.  There  were  complaints  that  the 
price  of  bread  in  London  did  not  fall  in  proportion  to  the  price  of  w-heat, 
flour  fell  less  than  wheat.  There  were  also  prosecutions  of  bakers  for  selling 
underweight  bread.  The  Mayor  in  September  declared  his  intention  of  fixing 
the  assize  according  to  the  price  of  wheat ;  he  was  visited  by  a  deputation  of 
bakers  who  protested  that  they  would  be  ruined.  On  4  Oct.  a  Court  of 
Common  Council  (here  satirized)  was  held  on  the  Mayor's  requisition  to  take 
into  consideration  the  alarming  price  of  bread  notwithstanding  the  abundant 
harvest.  In  the  debate  (reported  at  length  in  Cobbett's  Pol.  Reg.  xxiv.  457  ff., 
9  Oct.)  blame  was  laid  on  mealmen,  millers,  and  corn-factors,  rather  than 
bakers,  but  there  was  strong  opposition  on  laissez-faire  principles,  notably 
by  Quin  and  Alderman  Wood  (who  said  he  was  taking  the  unpopular  side) 
to  any  regulation ;  Wood  was  accused  of  acting  from  personal  hostility  to  the 
Mayor  (cf.  No.  12038).  In  a  recent  case  a  baker  had  been  convicted  of 
adulterating  bread  with  alum  and  potatoes,  a  judgement  condemned  by 
Cobbett  on  laissez-faire  and  caveat  emptor  principles,  which  he  also  applied 
to  all  price  regulation  and  all  attacks  on  corn-factors,  &c.,  for  'monopoly',  who 
are  here  condemned.  Op.  cit.,  pp.  817-25.  For  the  monthly  price  of  corn 
and  the  quartern  loaf  according  to  the  assize  of  bread  in  London,  see  Ann. 
Reg.,  1813,  p.  325.  According  to  an  act  regulating  the  assize,  wheaten  loaves 
had  to  be  stamped  with  W.  Prothero,  English  Farming  Past  and  Present,  1912, 
p.  450.  The  Report  of  the  Select  Committee  on  the  Corn  Trade,  ii  May 
1813,  recommended  free  export  of  corn  up  to  the  high  rate  of  94^.  2d.  a 
quarter  (see  Smart,  Econ.  Annals  of  the  Nineteenth  Century,  i.  374-5,  407-17); 
this  shocks  John  Bull.  Corn-factors  and  'Monopoly'  had  been  the  special 
subject  of  attack  during  the  dearth  of  1 800-1,  see  No.  9717,  &c.  To  buy  by 
sample  was  to  'forestall'  the  market,  and  allegedly  to  raise  the  price.  Here  the 
'City  Patriots'  are  shown  defending  Monopoly  at  the  expense  of  the  starving 
poor.  Aminadab  was  a  stock  name  for  a  Quaker  in  old  comedies.  A  'bur- 
lesque ode',  'The  Bounties  of  Providence  counteracted  or  Benefits  of  a 
plentiful  Harvest',  Scourge,  vi.  351-3,  denouncing  'curs'd  Mark  Lane'  and 
'human  locusts'  was  published  'in  allusion  to  our  caricature'.  See  Nos.  12095, 
12110,  12265. 
7|Xi9i^  in. 

12090  THE  YANKEY  TORPEDO.  215 

E — ^  [Elmes]  Del — S'.  Price  One  Shilling  Coloured 

Pub — Nov''  i^'  1813  by  Tho^  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  A  sea-monster  (1.)  discharges  flames  and 
missiles  against  a  British  vessel,  represented  by  a  corner  of  the  deck  (r.),  the 
taffrail  inscribed  British  Oak.  On  this  stands  a  sailor,  clapping  his  r.  hand 
to  his  posterior ;  his  1.  holds  his  sabre,  inscribed  British  Steel,  with  which  he 
steadies  himself,  the  point  resting  on  the  deck.  He  looks  over  his  shoulder 
at  the  monster  with  a  contemptuous  scowl.  In  his  round  hat  is  a  broad  blue 
ribbon  inscribed  in  large  letters  True  Blue  Dreadnought.  The  monster,  or 
torpedo,  is  barrel-shaped,  with  fanged  and  gaping  jaws,  a  huge  eye,  and 

279 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

smoke,  flame,  and  thunderbolts  rising  from  its  nostrils.  On  its  back  stands 
a  demon  holding  the  American  flag  and  pointing  to  a  skeleton.  Death,  which 
stands,  clenching  its  fists  in  a  pugilistic  attitude,  in  the  flames  rushing  from 
the  torpedo's  jaws.  The  demon  says  to  the  skeleton:  Grapple  him  Citizen  and 
r II  play  one  of  my  Infernal  capers  under  his  Bottom.  The  skeleton  says  to  the 
sailor:  Fll  tip  you  a  Yankey  Torpedo.   The  sailor:  Blow  up  my  hull  indeed — 

you  may  Kiss  my tafferal — M^  Yankey  doodle — "Shiver  me — Fll  tip  you 

a  taste  of  the  Shannon  and  send  you  down  to  old  Davy.  From  the  torpedo's 
jaws,  among  the  flames,  come  serpents;  objects  discharged  against  the  ship 
are  a  cannon,  pistol,  powder-barrel,  &c.,  all  emitting  fire,  and  also  crow- 
bar, scourge,  chain-shot,  spear,  cross-bones,  shears,  hammer,  pincers. 

The  torpedo,  invented  by  Fulton,  named  after  a  fish  emitting  an  electric 
ray,  cf.  No.  591 1,  was  an  enclosed  mass  of  gunpowder  designed  to  be  exploded 
under  or  against  a  vessel.  In  the  summer  of  1813  'torpedoes  and  other 
explosive  machinery'  were  used  in  the  defence  of  New  York  against  the 
British  blockading  fleet.  Great  indignation  was  caused  in  England  by  the 
throwing  in  the  way  of  the  Ramillies  an  American  sloop  in  which  gunpowder 
to  be  fired  by  clockwork  was  hidden  under  stores.  This  exploded  after 
capture,  an  early  instance  of  the  booby-trap  in  war.  The  Ann.  Reg.,  1813, 
p.  184,  deplores  that  these  methods  were  'first  encouraged  by  the  English 
ministry'  (see  No.  10394).  James,  Naval  Hist.,  1902,  vi.  100  f.  Cf.  No.  10768. 
8|X  I2g  in. 

12091  THE    METEOR    DISCOMFITING    VICE    AND    EXPOSING 
FOLLY  I  THE  METEOR  NO  1  NOVEMB  1ST  igU. 

G.  Cruikshank  feci. 

Pub^  by  T.  Hughes  Ludgate  S' 

Engraving  (coloured  and  uncoloured'  impressions).  Frontispiece  to  the 
Meteor,  apparently  deriving  from  Gillray's  frontispiece  to  vol.  i  of  the  Anti- 
Jacobin  Review,  see  No.  9243.  The  Meteor,  personified  by  Truth,  poised 
upon  clouds,  and  irradiated  from  a  star  touching  her  head,  stands  full-face, 
as  if  descending  from  the  sky.  Her  rays  strike  a  circle  of  dark  clouds.  She 
wears  clinging  and  floating  draperies;  in  her  r.  hand  is  a  fiery  sword,  whose 
flames  reach  a  monster  standing  in  a  cave  (1.)  inscribed  The  Abode  of  Vice. 
This  has  a  scaly  body,  with  pendent  breasts,  serpents  for  hair,  a  long  barbed 
tail ;  it  holds  a  barbed  dagger  and  flinches  from  the  Meteor's  weapon.  Above 
its  head  four  attendant  demons,  not  winged,  spring  away,  registering  terror; 
they  are:  Fraud,  Hypocrisy,  Intrigue,  Licentiousness.  Other  serpentine  mon- 
strosities above  the  cave  are  also  flying  off.  The  ground  below  the  cave  is 
the  Mire  of  Corruption.  Through  this,  editors  of  papers  are  floundering 
wildly,  to  escape  from  the  Meteor,  On  the  extreme  1.  is  a  man  wearing  a 
bonnet  rouge  and  holding  up  a  gibbet  from  which  dangles  a  wig  inscribed 
Independent  Wig.  He  is  followed  by  a  man  wearing  spectacles,  evidently  a 
portrait,  seated  on  the  bent  back  of  a  man  who  walks  supported  on  two  sticks. 
He  carries  a  large  book  inscribed  Scourge.  Next  is  a  grotesque,  almost  naked, 
harridan,  carrying  on  her  head  a  large  open  book:  Town  Talk.  Last  runs  a 
satyr  wearing  a  fool's  cap,  carrying  the  Satirist, 

On  the  r.  is  a  fragile  Temple  of  Folly,  collapsing  from  the  impact  of  a  broad 
ray  from  Truth's  mirror.  A  shallow  dome,  fluted  and  scalloped,  supported 
on  slender  poles  wreathed  with  roses  topples  to  the  r.  The  ray  strikes  the 
head  of  Folly,  who  is  about  to  fall  from  a  three-legged  stool  which  stands  on 

'  Not  folded,  showing  that  it  was  issued  separately. 

280 


POLITICAL   SATIRES    1813 

a  pedestal  under  the  dome.  He  holds  a  fiddle  and  bow  in  his  1.  hand,  and 
throws  up  arms  and  legs  in  wild  alarm.  He  wears  an  elongated  fool's  cap 
with  bells,  and  has  a  long  nose  and  satyr's  ears.  Grouped  round  the  base  of 
the  pedestal  are  terrified  worshippers  of  Folly:  Coates,  dressed  as  Lothario, 
has  fallen  to  the  ground  (as  in  his  fight  with  Altamont,  see  No.  12 128),  and 
points  his  sword  upwards  towards  Folly.  Beside  him  a  crowing  cock  (see 
No.  1 1768)  stands  on  a  box  of  Precious  Stones  Diamonds  &c  [as  worn  by 
Coates  on  and  off  the  stage].  Next,  the  Regent  in  back  view  except  for  a 
bulging  cheek,  flinches  from  Truth,  his  arms  extended ;  three  ostrich  feathers 
float  from  his  head.  Under  his  feet  is  a  large  round  box:  Wig  &  Whisker  Box, 
with  a  small  cylindrical  box.  Near  these  are  a  Wig  Block  and  a  bottle  labelled 
Russia  Oil.  A  tiny  McMahon,  cringing  and  mean,  runs  off  in  profile  to  the  r. 
On  the  r.  is  Skeffington,  chapeau  bras,  running  off  to  the  r.,  but  looking  to 
the  1.  through  his  lorgnette.  Heads  and  hands  of  other  terrified  people  are 
indicated  behind  the  pedestal. 

Cruikshank  continued  to  illustrate  the  periodicals  (one  Tory,  two  specializing 
in  all-round  scurrility)  here  stigmatized  in  their  own  vein  by  their  new  rival : 
The  Meteor ;  or.  Monthly  Censor.  A  Critical  Satirical  and  Literary  Magazine, 
which  was  entirely  illustrated  by  him  (thirty-ts\'0  etchings  and  eight  wood- 
cuts). There  were  eight  monthly  numbers,  from  i  Nov.  18 13  to  i  July  18 14 
(no  number  for  June),  comprising  one  volume  and  two  numbers.  The  bide- 
pendent  Whig  preached  Reform  and  opposed  the  war  with  virulence,  see 
No.  1 1380. 

Reid,  No.  262.    Cohn,  No.  553. 
7ixi3f  in. 

12092  HER  ROYAL  HIGHNESS  THE  PRINCESS  OF  WALES.    PV  2^ 

[G.  Cruikshank.]  [i  Nov.  18 13] 

Engraving.  PI.  from  the  Meteor,  i,  see  No.  12091.  A  flattering  portrait  of  the 
Princess  seated  in  an  upright  chair  beside  a  small  hexagonal  table  (1.)  on 
which  are  writing  materials.  She  looks  pensively  to  the  r.,  a  book  in  her  r. 
hand,  her  1.  arm  on  the  back  of  her  chair.  Her  dress  is  decolletee,  with  short 
sleeves;  she  wears  two  feathers  in  her  hair  and  long  gloves. 

Her  book  is  probably  'The  Book',  see  No.  11990,  &c.,  which  was  so  oddly 
acclaimed  by  her  supporters  as  having  established  her  innocence. 

Reid,  No.  263.    Cohn,  No.  553. 
6f  X4^  in. 

12093  THE  TWO  KINGS  OF  TERROR. 

T.  Rowlandson  deV  [Nov.  18 13] 

Aquatint  (coloured  impression).  Heading  to  a  printed  broadside:  'Copy  \  of 
the  I  Transparency  \  exhibited  at  \  Ackermann's  Repository  of  Arts,  \  During  the 
Illuminations  of  the  5th  and  6th  of  November,  18 13,  \  in  honour  of  the  splendid 
Victories  obtained  by  \  The  Allies  over  the  Armies  of  France,  \  at  Leipsic  and 
its  environs.'  A  skeleton.  Death  (1.),  seated  on  a  cannon,  his  elbows  on  his 
knees,  faces  Napoleon,  not  caricatured,  in  a  similar  attitude  on  a  drum.  The 
'two  Kings'  gaze  fixedly  at  each  other.  Death  menacing.  Napoleon  as  if  trying 
to  read  a  terrifying  riddle.  Death's  1.  foot  rests  on  a  cannon-ball,  the  r.  on 
the  broken  shaft  of  an  eagle.  Behind  is  a  symbolical  representation  of  the 
battle.  The  Allies  advance  from  the  1.  in  regular  formation  with  bayonets 
levelled  at  fleeing  French  soldiers.    Four  flags,  with  the  eagles  of  Russia, 

281 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

Prussia,  and  Austria,  and  the  Swedish  cross,  are  held  up  by  standard-bearers 
in  the  third  rank :  they  recede  in  perspective  from  1.  to  r.  On  the  1.  wing  are 
two  hussars,  riding  down  the  fugitives.  The  main  French  army  is  streaming 
in  wild  confusion  up  and  over  a  hill,  diminishing  in  perspective.  Other 
soldiers,  pursued  by  hussars,  flee  down  a  hill  behind  Napoleon  (r.).  Bodies 
of  Frenchmen  lie  on  the  ground.  Below  the  (printed)  title  is  printed :  'This 
Subject,  representing  the  two  Tyrants,  viz.  the  Tyrant  Bonaparte  and  the 
Tyrant  Death,  sitting  together  on  the  Field  of  Battle,  in  a  manner  which 
promises  a  more  perfect  intimacy  immediately  to  ensue,  is  very  entertaining. 
It  is  also  very  instructing  to  observe,  that  the  former  is  now  placed  in  a  situa- 
tion in  which  all  Europe  may  see  through  htm.  The  emblem,  too,  of  the  Circle 
of  dazzling  light  from  mere  vapour,  which  is  so  soon  extinguished  has  a  good 
moral  eifect;  and  as  the  Gas  represents  the  dying  flame,  so  does  the  Drum, 
on  which  he  is  seated,  typify  the  hollow  and  noisy  nature  of  the  falling  Usurper. 

The  above  description  of  the  subject  appeared  in  the  Sun  of  Saturday,  the 
6th  of  November.  These  pointed  comments  arose  from  the  picture  being 
transparent,  and  from  a  Circle,  indication  of  the  strength  and  brotherly  union 
of  the  Allies,  which  surmounted  the  same,  composed  of  gas  of  brilliant 
brightness.' 

News  of  Leipzig,  'the  battle  of  the  Nations',  16-18  Oct.,  reached  London 
on  2  Nov.  {Extraordinary  Gazette) ;  the  town  was  illuminated  on  5  and  6  Nov. 
The  first  print  to  be  published  was  perhaps  Cruikshank's  The  Emperor  Boney 
escaping  from  Leipsic  under  Cover,  dated  8th  Nov. ;  he  hides  under  the  petti- 
coats of  an  old  woman  representing  the  Church  of  Rome  (Reid,  No.  269,  not 
in  B.M.).  For  gas-lighting  cf.  No,  10798,  &c.  For  the  battle  see  Nos.  12094, 
12096,  12097,  12098,  12100,  12103,  12108,  &c.,  12109,  12110,  12169,  12171, 
12177,  12187,  12188,  12192,  12201,  12202,  12203,  12204,  12235  A,  12318, 

12319.  13487- 
A  folded  impression,  without  text,  shows  that  the  pi.  was  used  also  as  a 

book-illustration. 

Imitated  in  Conversation  Sentimentale,  1830  (against  Charles  X). 

Grego,  Rowlandson,  ii.  255,  257,  272  (under  date  i  Jan.  1814).   Broadley, 
i.  338.    De  Vinck,  No.  8825.    Van  Stolk,  No.  6179.    Hennin,  No.  13777. 
Often  reproduced,  e.g.,  Dayot,  Napoleon,  p.  87;  Fuchs,  i.  180;  Bourguignon, 
ii.  204;  Klingender,  p.  43. 
7^  ^  ^^  ^^-   Broadside,  c.  17I  x  1 1|  in.' 

12094  COSSACK  SPORTS— OR  THE  PLATOFF  HUNT  IN  FULL 
CRY  AFTER  FRENCH  GAME.  218 

W^  E [Elmes].     Price  One  Shilling  Coloured 

London  Pu¥ — Nov""  p'''  1813  Tho' — Tegg — A^"  iii  Cheapside — 

Engraving  (coloured  impression).  Cossacks,  led  by  Platoff,  pursue,  across  a 
river,  a  fox  with  the  head  and  huge  bicorne  of  Napoleon.  The  Russians  ride 
their  horses  through  the  water.  The  fox,  larger  in  scale  than  the  other  figures, 
takes  a  flying  leap  to  the  shore  (r.).  He  says :  Hark — /  hear  the  Cry  of  Cossacks 
— The  [sic]  have  got  Scent  of  me — /  must  take  to  my  heels  once  more — the  are 
close  to  my  Brush.  His  tail  is  inscribed  Corsican  Fox.  Across  the  lower  edge 
of  the  design  runs  a  strip  of  land  on  which  are  frogs ;  one,  inscribed  French 
Frog,  waddles  oflF,  while  one  on  the  extreme  1.  is  being  speared.  Of  the  other 
frogs  a  few  turn  to  oppose  the  Cossacks  with  bayonets ;  these  have  a  tricolour 
flag;  the  majority  are  escaping  to  the  r.,  a  row  of  heads  and  sloped  bayonets, 

'  Copies  vary  considerably  in  size,  the  text  being  printed  at  different  distances  from 
the  design. 

282 


POLITICAL   SATIRES    1813 

with  one  eagle.  Platoff,  whose  high  fur  cap  has  a  long  plume  inscribed  Platojf, 
riding  with  levelled  spear,  shouts :  Hark  forward  my  boys  get  along!  he  runs 
in  view — Yoics — Yoics — There  he  goes — Tally-ho!  His  daughter,  in  the  middle 
distance,  rides  through  the  water,  pointing  with  the  hand  that  holds  the  reins, 
and  raising  a  whip ;  she  shouts :  Hi — ho — Tally — ho! — For  a  husband.  Cossacks 
gallop  up  from  the  background  (1.),  leap  from  a  low  cliff  into  the  river,  and 
swim  through  it,  one  carrying  a  standard  with  the  Russian  eagle,  behind  the 
two  Platoffs.  In  the  background  is  a  town  flying  a  flag  inscribed  Leapsic ;  tiny 
horsemen,  evidently  Cossacks,  gallop  out  of  the  city  gate. 

For  Leipzig  see  No.  12093,  &c.,  and  for  the  offer  of  Platoff  (one  of  the 
generals  at  Leipzig)  to  give  his  daughter  to  whoever  captured  Napoleon,  see 
No.  1 1994,  &c.  This  made  a  great  impression  in  England,  increased  by  a 
romantic  admiration  for  the  Cossacks,  cf.  No.  12040,  &c.  In  the  retreat  from 
Leipzig  many  were  drowned  in  the  Elster,  see  No.  12 108,  &c.  Napoleon  has 
the  customary  profile  and  bicorne  (associated  with  his  first  Italian  campaign). 
For  the  'Corsican  Fox'  cf.  Nos.  10039,  12220. 

Listed  by  Broadley.   De  Vinck,  No.  8835.   Milan,  No.  2503. 
8|xi2|  in. 

12095  THE  PROTECTOR— ROGUES  IN  GRAIN— A  LESSON  FOR 
MONOPOLIZERS. 

[Williams.] 

Pub'^  Nov''  g"'  18 1 3  by  S  Knight  N°  j  Sweetings  Alley  Roy'  Exchange 

Engraving.  Cromwell  stands  in  a  market-square,  addressing  corn-dealers; 
in  the  background  are  gabled  houses  forming  a  large  rectangle,  and  (1.)  wagons 
piled  with  neatly  packed  sacks.  All  wear  quasi-Cromwellian  dress,  except 
for  one  man  in  cloak  and  trunk  hose  (1.)  who  says,  bowing:  My  Lord  Protecto 
[sic]  /  have  brought  fivety  load  to  market,  I  claim  the  Preinium!  The  next  man, 
pointing  to  the  wagons,  says:  My  Lord  it's  mine,  I  have  brought  three  times 
as  much,  the  premium's  mine.  Cromwell  turns  his  head  towards  them,  point- 
ing to  the  r.,  where  an  ungainly  fellow  eagerly  holds  out  a  rope  noose;  he 
says :  You  precious  Rogue  in  Grain!  you  shall  be  paid  the  money,  and  as  I  think 
it  is  not  sufficient,  I  will  give  you  a  halter  into  the  bargain — Hangman  do  your 
duty!  The  man  says :  //  your  Highness  thinks  proper  both  gentlemeti  may  be 
rewarded,  I  have  plenty  of  rope!  Two  onlookers  just  behind  the  foreground 
figures  say :  We  are  petty  Rogues  we  should  never  be  able  to  claim  the  premium! 
and  But  then  we  escape  the  rope.  A  man  on  horseback  says :  77/  go  and  sell 
my  Corn  at  a  fair  price — its  time  to  be  honest  I  find.  His  companion  says: 
Why  Neighbour  it  appears  to  be  a  hanging  Markett  to  day  is  the  Protector  come 
to  purchase.  A  youth  (r.)  waves  his  hat,  shouting,  No  Monopoly!  the  Protector 
for  Ever!  Huzza.  Below  the  design :  By  unjust  dealing  and  Monopoly  during 
the  Protectorate,  a  pretended  scarcity  haveing  taken  place  in  a  plentifull  year  and 
Oliver  Cromwell  knowing  there  was  a  great  quantity  of  grain  in  the  Country, 
took  the  following  method  to  find  out  and  punish  the  rogues  in  Grain ;  He  adver- 
tised £1000,  as  a  premium  to  hitn  zvho  brought  the  greatest  quantity  of  corn  to 
market  on  a  certain  day — immense  quantities  were  produced,  but  one  man  above 
all  produced  more  than  the  rest — Oliver  paid  him  dozen  the  money,  telling  him 
he  woul  [sic]  give  him  a  halter  into  the  bargain,  ordered  the  Monopolizer  to  be 
hanged — Dedicated  to  the  late  &  present  Lord  Mayors,  Schooly  &  Domvile 
Nov'"  9  181  J. 

See  No.  12089.  ^^^  reason  for  the  discrepancy  between  the  price  of  wheat 
and  flour  was  said  to  be  that  a  dry  season  had  deprived  the  mills  of  water. 
Published  on  Lord  Mayor's  day,  when  William  Domville  succeeded  Scholey. 

283 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

The  phrase  'Rogue  in  Grain',  punningly  used  for  the  dishonest  dealer  in 
corn,  perhaps  derives  from  an  epigram  of  1785,  see  No.  7070.  The  attitude 
to  Cromwell  is  exceptional;  he  is  usually  pilloried  as  a  dictator,  cf  No.  6380,  &c. 
8|xi3in. 

12096  CATERERS— BONEY  DISH'D— A  BONNE  BOUCHE  FOR 
EUROPE. 

[Williams.] 

Pu¥  Nov""  10^''  18 1 3  by  S  Knight,  N"  3  Sweetings  Alley  Roy^  Exch' 

Engraving  (coloured  impression).  The  Powers  of  Europe  surround  a  circular 
table,  almost  covered  by  a  large  dish  in  which  a  little  Napoleon,  with  his 
marshals  and  generals  (as  'garnish'),  gesticulates,  kneeling  on  one  knee.  The 
officers  sit  on  the  rim  of  the  dish,  facing  Napoleon,  their  hands  tied  behind 
them;  those  on  the  near  side  are  identified  (1.  to  r.):  Souham,  Regnier,  Mar- 
mont,  Macdonald,  Lauri[ston],  all  of  whom  had  commands  at  Leipzig.  The 
'caterers',  who  are  discussing  the  fate  of  Europe,  are  with  two  exceptions, 
grouped  on  the  farther  side  of  the  table.  The  two  foreground  figures  (T.Q.L.) 
are  the  Tsar  (1.)  and  (r.)  Sir  Charles  Stewart'  who  is  in  back  view,  talking 
intently  to  Bernadotte.  The  Tsar,  who  presides,  rests  his  r.  hand  on  the  hilt 
of  his  sword,  and  points  to  the  dish;  he  looks  at  Francis  I,  who  is  seated  on 
his  1.,  and  says:  /  think  Brother  of  Austria,  this  dish  will  be  relished  by  all 
Europe.  Francis  answers :  And  I  think  Brother  of  Russia  they  will  admire  the 
Garnish!  Frederick  William  III  wears  hussar  uniform  with  a  skull  and  cross- 
bones  on  his  high  cap;  he  says:  It  is  rather  too  highly  season' d for  any  taste, 
but  French.  Bernadotte,  Crown  Prince  of  Sweden,  holds  his  sword  in  his  1. 
hand ;  he  says  to  Stewart :  We  must  reduce  the  quantity  of  irritating  articles, 
before  we  can  produce  it  as  a  finished  dish,  what  say  you  Stewar^t  of  the  feast?? 
Stewart  holds  a  money-bag  labelled  Subsidy ;  he  answers :  /  agree  with  your 
Highness!  John  Bull  prefers  moderation.  On  the  back  of  his  chair  are  the 
Royal  Arms.  These  five  are  the  principals,  all  with  seats  at  the  table,  and  all 
wearing  uniform.  There  are  six  onlookers,  standing  just  behind  them. 
Behind  Francis  I  stands  the  ultra-fat  King  of  Wiirtemberg ;  he  says :  Pray  let 
Wurtemburg  join  in  that  Dish.  Behind  him,  and  with  his  hand  on  the  king's 
shoulder,  is  the  King  of  Bavaria,  saying,  And  Bavaria,  if  you  please!  Between 
Austria  and  Prussia,  and  in  the  centre  of  the  design,  stands  a  stout  Dutch- 
man, wearing  a  round  hat  and  holding  a  pipe ;  he  says :  Bonder  and  Blikens, 
dat  dish  will  please  mine  Vrozv!  Between  Prussia  and  Bernadotte  stands  a 
plainly-dressed  Swiss,  with  lank  hair,  holding  a  cudgel ;  he  says :  William  Tell 
never  invented  a  better  dish,  I  hope  we  shall  have  a  taste  of  it!  An  Italian, 
resembling  a  peasant,  stands  behind  the  Swiss,  saying.  By  the  god  of  Love! 
that  is  better  dish  den  Maccaroni.  On  the  extreme  r.  is  a  weeping  old  man, 
with  his  hands  held  as  if  in  prayer;  he  says:  oh  dear!  dear!  I  hope  they  won't 
Dish  the  poor  old  King  of  Saxony!! 

A  satire  on  the  military  and  diplomatic  consequences  of  Leipzig,  see 
No.  12093,  &c.  Of  the  five  French  officers  particularized  Lauriston  and 
Reynier  were  the  most  important  of  the  thirty  captured  generals;  Souham 
and  Marmont  were  wounded,  Macdonald  lost  his  artillery  and  escaped  by 
swimming  his  horse  across  the  Elster.  Major-General  Sir  Charles  Stewart, 
half-brother  of  Castlereagh,  was  the  British  Minister  Plenipotentiary  and 
Ambassador  Extraordinary  to  Prussia  and  British  Commissioner  to  the  Allied 
Armies;  he  fought  at  Leipzig,  but  his  great  service  to  the  Allies  was  his 

'  Called  the  Prince  Regent  by  Broadley. 

284 


POLITICAL   SATIRES   1813 

successful  pressure  on  Bemadotte,  who  was  disposed  to  use  his  subsidy  for 
the  capture  of  Norway  instead  of  the  defeat  of  France,  and  after  Leipzig  was 
opposed  to  the  invasion  of  France.  Stewart  was  in  the  pubUc  eye  as  the  writer 
of  the  accounts  of  Leipzig  pubHshed  in  the  Gazette.  The  British  poUcy  was 
to  complete  the  victory,  and  to  avoid  humiliating  France :  the  Regent's  speech 
on  the  opening  of  Parliament  (4  Nov.),  after  exhortations  to  persevere  in  the 
defeat  of  French  views  of  domination,  declared  that  'no  disposition  to  require 
from  France  sacrifices  of  any  description  inconsistent  with  her  honour,  or  just 
pretensions  as  a  nation,  will  ever  be  on  his  part,  or  on  that  of  his  majesty's 
allies,  an  obstacle  to  peace'.  Ann.  Reg.,  1813,  p.  200.  The  kings  of  Bavaria 
and  Wiirtemburg  were  associated  as  members  of  the  Confederation  of  the 
Rhine,  but  their  relations  had  not  the  amity  suggested  in  the  print  (see 
No.  12101).  Bavaria  made  a  treaty  with  Austria  on  8  Oct.  (at  Ried);  Wiirtem- 
berg  followed  on  2  Nov.  with  the  Treaty  of  Fulda  (see  No.  12101),  after  the 
Wiirtembergers  had  deserted  to  the  Allies  at  Leipzig.  Frederick  Augustus 
of  Saxony  was  with  Napoleon  at  Leipsig,  and  was  taken  prisoner;  despite  his 
offer  to  make  common  cause  with  the  Allies  and  the  desertion  of  Saxon  troops 
during  the  battle,  he  faced  the  prospect  of  the  absorption  of  Saxony  in 
Prussia.  The  defeat  of  Napoleon  foreshadowed  the  disappearance  of  his 
power  in  Holland,  Switzerland,  and  Italy;  at  this  date  the  Powers  had  just 
made  the  'Frankfort  proposals'  (9  Nov.)  for  negotiations  with  France  on  the 
basis  of  her  'natural  limits'. 

Broadley,  i.  340.   Van  Stolk,  No.  6180. 
8f  X12JI  in. 

12097  THE  COSSACK  EXTINGUISHER.  217 

W^  E—'  [Elmes]  Del—Scul' 

London  Pu¥  Nove'' — 10"' — 181  j  by  Tho^  Tegg — iii  Cheapside.    Price 
One  Shilling  Coloured 

Engraving  (coloured  impression).  A  smiling  bearded  Cossack  strides  towards 
the  spectator,  spear  in  hand,  with  the  1.  hand  he  places  his  conical  furred  cap 
over  a  tiny  terrified  Napoleon.  He  says :  /'//  Extinguish  Your  little  French^ 
Farthing — Ru^h  light — Master  Botiey.  Napoleon  exclaims,  trying  to  run  away: 
Death  and  Fury! — how  I  burn  zvith  Rage — those  "Frightfid — "Contempable  [sic] 
Cossacks  has  Clouded  all  my  hopes.  They  are  on  a  plateau:  the  head  of  the 
Cossack's  horse  is  on  the  extreme  1.;  troops  are  marching  on  the  plain,  where 
a  Cossack  is  galloping.  In  the  background  is  the  walled  town  of  Leipzig, 
backed  by  mountains. 

See  No.  12093,  ^'C.    For  the  Cossack  'Cloud'  cf.  No.  11992.    A  detail  in 
No.  12254  seems  to  derive  from  this  print.  For  the  extinguisher  cf.  No.  12 120. 

Broadley,   i.    325    (reproduction).     De   Vinck,    No.    8836.     Reproduced, 
Rosner,  The  Writing  on  the  Wall,  1943. 
12JX9  ^^' 

12098  THE  DAW   STRIPT,   OF  HIS   BORROWED   PLUMES     Vide 
Gays  Fable  of  the  Daw  [and]'  other  Birds 

[W.  Heath.] 

Pub  Nov  10"'  1813  by  S  Kfiight  j  Sweetings  Ally 

Engraving  (coloured  impression).  A  jackdaw,  with  the  head  of  Napoleon, 
turned  in  profile  to  the  r.,  is  assailed  by  four  eagles,  all  wearing  crowns  on 
their  heads  and,  round  their  necks,  crown-like  circlets  inscribed  with  their 

'  Mutilated. 

285 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

names.  These  strip  him  of  his  borrowed  plumes:  Russia  and  Prussia  are  the 
largest  birds.  The  former,  Alexander,  has  two  heads,  both  crowned;  one  beak 
seizes  Napoleon's  crown,  the  other  the  ribbon  of  the  Legion  of  Honour  which 
is  round  his  neck.  Russia's  1.  claw  clutches  a  baton.  The  other  birds  seize  the 
peacock's  feathers  with  which  the  daw  is  decked,  actually  ostrich  feathers 
with  eyes  formed  by  the  round  tricolour  cockade  worn  by  the  French. 
Sweeden  (Bernadotte)  has  secured  a  small  feather,  Prussia,  Frederick  William 
III,  standing  on  the  r.,  has  a  large  one;  Austria  (Francis  I)  flying  down- 
wards towards  Prussia,  has  another.  Two  remain  in  the  daw's  tail.  Three 
crowns  supported  by  wings  hover  in  the  air:  Poland,  Boheamia,  Spain.  In 
the  background  (1.)  a  mounted  Cossack  transfixes  two  Frenchmen  on  his  long 
spear  (cf.  No.  11996),  a  third  flees  to  the  1. 

A  satire  on  Leipzig,  see  No.  12093,  &c.  The  last  remnant  of  Poland,  the 
Grand  Duchy  of  Warsaw,  disappeared  after  the  retreat  from  Moscow,  when 
Warsaw  was  occupied  by  the  Russians.  Joseph  lost  his  crown  after  Vittoria, 
see  No.  12068.  Bohemia  may  be  an  error  for  Bavaria,  an  ex-satellite  kingdom, 
'The  Daw  stript .  .  .'  is  one  of  ^sop's  fables  not  included  in  Gay's  Fables. 

Le  geai  depouille  de  ses  plumes  empruntees,  a  French  copy,  reversed,  with  a 
Spanish-looking  castle  replacing  the  Cossack  and  the  Frenchmen,  is  repro- 
duced, Broadley,  ii.  46,  attributed  to  spring  1814. 

Broadley,  i.  340.  De  Vinck,  No.  8830.  Van  Stolk,  No.  6193,  accompanied 
by  a  printed  explanation  in  Dutch,  with  ten  lines  of  verse,  De  Fransche  Kraal 
met  kroon  en  vederpracht.   Milan,  No.  2504. 
8^X13  in. 

12099  THE  WORKING  OF  THE  PROPHECIES  OF  SAMUEL  THE 
PROPHET  OR  THE  BREWER  SUFFOCATED  IN  HIS  OWN  WORK 
TUB 

[W.  Heath.] 

Pub  12  Nov  181 3  by  S  W  Fores  50  Picadilli 

Engraving  (coloured  impression).  John  Bull  stands  beside  a  large  cask, 
inscribed  Home  Brewed,  from  which  emerge  the  head  and  shoulders  of  Whit- 
bread,  surrounded  by  billowing  froth  which  fills  the  upper  part  of  the  design. 
His  words  are  in  a  label  on  the  upper  part  of  the  froth :  I  shall  be  Suffocated 
help — help  D — n  the  Chotholic  question.  His  former  words  surround  his  head, 
inscribed  on  the  froth:  Alexander,  a  weak  spiritless  Monarch  a  mad  man  to 
Oppose  the  all  Conquering  Arme  of  Bounaparte  Emperor  of  Austria  Firmly 
attached  to  Boney  King  of  Prussia  in  Strict  alliance  with  him  &  not  to  Be  moved 
Saxony  Bavaria  Bohemia  and  all  the  Principle  Powers  united  to  him  by  Choice 
not  liable  to  be  Drawn  away.  Spanish  Resistance  Futile  British  Assistance 
Childish  Imbicility.  John  says :  /  say  M^  Brewer,  I  hope  you  have  Got  Enough 
of  Propecying  for  your  Friend  If  you  can't  make  a  better  Brewing  than  that  I 
would  Advise  you  To  Leave  off  Buiseness.  He  stands  in  profile  to  the  1.,  clasp- 
ing a  thick  staff  as  a  walking-stick,  and  derives  from  Woodward's  typical 
John  Bull.  Beside  him  is  a  dog,  barking  at  the  cask.  Above  the  design  floats 
a  scroll :  Tis  Madness  To  Oppose  the  Destinies. 

Whitbread  was  the  most  uncompromising  and  persistent  of  the  Opposition 
in  his  defeatist  attacks  on  the  policy  and  conduct  of  the  war  and  demands  for 
peace  negotiations.  See  M.  Roberts,  The  Whig  Party:  i8oy-i8i2,  1939, 
ch.  ii,  and  Nos.  11848,  11905,  11993,  12189,  1252^.  He  is  confuted  by 
Leipzig  and  its  consequences,  see  No.  12093,  &c.  Cf.  the  effect  on  the  Whigs 
of  the  Battle  of  the  Nile,  No.  9248,  &c. 
I2|x8^  in. 

286 


POLITICAL   SATIRES    1813 

12100  THE  CORSICAN  •  MAD  DOG  OR  THE  HOPEFULL  SITUA- 
TION OF  THE  DESTROYER  OF  THE  HUMAN  SPEICE 

[W.  Heath.] 

Puh  Nov  16  1813  by  Fores  50  Picadilli 

Engraving  (coloured  impression).  A  dog  with  the  head  of  Napoleon,  with 
crown  falling  from  its  tail,  flees  before  soldiers  (I.)  of  different  nations,  along 
a  road  where  a  gibbet-signpost  (r.)  is  inscribed  Road  to  Fran\ce\;  from  this 
hangs  a  rope  inscribed /or  Boney.  Still  tied  to  his  tail  are  the  crown  of  France, 
and  a  smaller  one  inscribed  Rome;  Italy  dangles  by  a  string,  but  the  crowns 
of  Holla[nd]  and  Spain  have  fallen  off.  The  ribbon  of  the  Legion  of  Honor 
is  round  Napoleon's  neck,  the  cross  streaming  behind  him.  In  the  foreground 
(1.)  is  a  cask  inscribed  Holland;  a  Dutchman  in  bulky  breeches,  using  it  as 
cover,  aims  his  pistol  at  the  fugitive.  The  two  foremost  pursuers  are  a 
Russian  Cossack  levelling  his  long  spear,  and  a  Prussian  hussar  with  raised 
sabre.  They  are  closely  followed  by  an  Austrian  with  lifted  sabre,  and  (?)  a 
Swede.  A  Spaniard,  in  slashed  tunic  and  ruff,  points  at  Napoleon.  There 
are  three  other  figures  of  doubtful  nationality :  a  hussar,  a  man  with  a  profile 
which  suggests  a  British  officer,  and  a  man  on  the  extreme  1.  who  is  almost 
hidden.  In  the  middle  distance  a  man  dressed  as  a  peasant  approaches  the 
dog  from  the  r.,  holding  out  a  pitchfork  inscribed  Tet[ten]born.  In  the  back- 
ground one  mounted  Cossack  chases  three  little  French  soldiers  inscribed 
Conscripts;  the  last,  a  mere  child,  has  fallen  on  his  hands  and  knees.  Below 
the  title:  M''  Pitt  in  Reply  to  one  of  the  Jacobinacal  Speaches  made  by  the 
Opposition  respecting  the  Futility  of  this  Country!!!  Prophetically  Asserted 
The  Energies  of  this  Country  will  one  Day  Afford  an  Example  for  all  Other 
Nations  to  Emulate  &  be  roused  by  the  Energies  of  their  Own  to  Assert  and 
Secure  their  Independance  behold  Ye  Jacobines  &  wonder  &  perish  Despisers. 

A  satire  on  the  consequences  of  Leipzig,  see  No.  12093,  &c.  It  can  hardly 
have  been  known  to  the  artist  that  on  12  Nov.  Russian  Cossacks  entered 
Holland  from  the  north-east,  the  French  retreated,  and  orange  cockades 
appeared.  The  Dutch  civilian  who  takes  action  under  cover  of  the  military 
advance  of  the  Allies  is  a  fair  representation  of  the  sequence  of  events  in  the 
Netherlands  in  November.  See  Renier,  Great  Britain  and  the  Establishment 
of  the  Kingdom  of  the  Netherlands,  1930,  pp.  98  ff.  General  Tettenborn  was 
in  command  of  Cossack  scouts  who  harassed  the  French  in  the  autumn  of 
1813,  his  name  appearing  in  the  bulletins  of  Bernadotte,  e.g.,  on  4  and  22  Sept. 
His  troops  occupied  Bremen  after  Leipzig.  For  the  young  French  conscripts 
see  No.  12087,  ^^-  Pitt's  words  may  derive  from  his  famous  speech  of  9  Nov. 
1805:  'England  has  saved  herself  by  her  exertions,  and  will,  as  I  think,  save 
Europe  by  her  example.'  On  22  July  1803  he  prophesied  complete  victory; 
'that  the  result  of  this  great  contest  .  .  .  will  afford  the  means  of  animating 
the  spirits,  of  breaking  the  lethargy  of  the  surrounding  nations  of  Europe  .  .  .'. 
Pitt,  War  Speeches,  ed.  Coupland,  1940,  p.  329.   Cf.  No.  12103. 

Broadley,  i.  325  f.   Reproduced,  Rosner,  Writing  on  the  Wall,  1943. 
8ixi3iin. 

12101  TOM  THUMB  AND  THE  GIANT  OR  A  FORCED  MARCH 
TO  FRANCKFORT. 

[Williams.]  [Nov.  1813] 

Engraving.  Napoleon  (1.),  not  caricatured  apart  from  his  huge  bicome,  rides  in 
profile  to  the  r.,  extending  horizontally  his  enormous  sword  to  the  grotesquely 
fat  King  of  Wiirtemberg,  a  giant  with  very  short  legs.  The  King  wears  a 
ribbon  and  star,  and  a  long  patterned  waistcoat  of  antique  type,  with  a  crown, 

287 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

from  which  large  drops  of  sweat  fall  down  his  face.  Napoleon  says :  On  Sir — 
to  Franckfort — and  there  await  my  coming.  The  King  waddles  to  the  r.,  looking 
over  his  shoulder  to  say :  Well  I  am  going  as  fast  as  I  can  pretty  work  this 
for  a  Man  of  my  Importance!!  was  it  for  this  that  you  put  a  Crown  upon  my 
head  [cf.  No.  10440].  The  Emperor's  charger  has  an  elaborately  braided 
mane,  its  long  tail  is  tied  with  ribbons ;  huge  pistols  are  in  holsters  decorated 
with  a  large  N.  After  the  title :  Kings  are  his  Centinels,  Vide  Sheridans  Speech  | 
A  Letter  from  Stralsund  states  that  Buonaparte  on  his  journey  to  Paris,  sent 

a  Courier  to  the  King  of  Wi g  with  Orders  for  him  to  proceed  to  Frackfort 

[sic]  on  the  Maine  and  the  latter  would  meet  him  there. 

Sheridan,  in  a  speech  of  1807  deprecating  'petty  squabbles'  over  Irish 
affairs,  at  a  time  of  emergency,  said  of  Napoleon:  'His  are  no  ordinary 
fortifications.  His  martello  towers  are  Thrones ;  sceptres  tipt  with  crowns  are 
the  palisadoes  of  his  entrenchments,  and  Kings  are  his  sentinels.'  Moore, 
Life  of  Sheridan,  1825,  ii.  353.  Napoleon  reached  Frankfort  on  31  Oct.,  after 
defeating  Wrede  at  Hanau,  the  place  shortly  afterwards  becoming  the  head- 
quarters of  the  Allies.  On  2  Nov.  the  shifty  Frederick  made  peace  with 
Austria  at  Fulda  (after  informing  Napoleon  that  as  a  result  of  the  alliance 
between  Austria  and  Bavaria  he  was  forced  to  ask  for  an  armistice).  But  after- 
wards he  was  to  enter  into  secret  correspondence  with  Napoleon.  Aberdeen 
wrote  24  Dec.  1813  to  Castlereagh  that  the  King  'has  written  to  Bonaparte 
to  say  that  the  alliance  was  forced  upon  him,  and  that  he  looks  forward  to 
the  time  when  he  may  be  able  to  assist  him  with  effect  .  .  .  the  cause  of  this 
conduct  is  to  be  found  in  his  hatred  of  Bavaria'.  Castlereagh  Corr.  ix.  no; 
cf.  No.  12096.  For  the  King  (the  Regent's  brother-in-law)  see  No.  9014,  &c. 
and  Corr.  of  George  IV,  1938,  i.  348-67. 

Broadley,  i.  341. 
8j^Xi3iin. 

12102  A  LONG  PULL  A  STRONG  PULL  AND  A  PULL  ALTO- 
GETHER. 233 

[Rowlandson.] 

Publishd  by  Tho'  Tegg  1813  Nov''  25  A^"  iii  Cheapside 

Engraving  (coloured  impression).  The  representatives  of  six  of  the  Allies,  the 
most  prominent  being  John  Bull,  stand  on  a  bluff  (1.)  tugging  at  a  rope  by 
which  they  pull  a  row  of  seven  uniform  Dutch  men-of-war  from  the  opposite 
coast.  The  ships  are  small,  their  sails  are  inflated  by  a  favourable  wind ;  they 
fly  Dutch  flags,  one  inscribed  Texell  Fleet;  John  Bull,  a  stout  'cit',  pulls  side 
by  side  with  a  Spaniard  in  slashed  tunic,  ruff,  and  feathered  hat.  Behind  this 
pair  a  Russian  wearing  a  fur  hood  steadies  the  rope.  A  Prussian  Death's  Head 
Hussar  hauls  at  the  end  of  the  rope,  his  back  to  the  sea,  but  looking  over  his 
shoulder.  Beside  him  is  an  Austrian  officer,  while  a  Portuguese  or  Sicilian 
waves  a  feathered  cap.  On  the  extreme  r.,  behind  the  Dutch  fleet,  are  two 
little  figures  making  frantic  gestures:  Napoleon  waving  his  sword  exclaims: 

Oh  Brother  Joe — Fm  all  Fire,  My  Passion  eats  me  up 
Such  unlooked  for  Storms  of  ills  fall  on  me 
It  beats  down  all  my  cunning,  I  cannot  bear  it 
My  ears  are  filVd  with  Noise  my  Eyes  grow  dim 
And  feeble  shakings  seize  every  Limb. 

Joseph  stands  behind,  his  crown  at  his  feet,  saying:  Oh  Brother  Nap  Brother 
Nap  we  shant  be  left  with  half  a  Crown  apiece  [see  No.  12068]. 

The  ships  are  filled  with  Dutch  sailors ;  others  are  on  the  shore  (r.)  pushing 

288 


POLITICAL   SATIRES    1813 

at  the  stern  of  the  nearest  ship  in  order  to  launch  her.  This  partly  obscures 
the  others,  which  are  in  line,  diminishing  in  perspective.  A  ship's  boat  rows 
towards  the  horizon.  A  large  sun  (r.),  irradiated  and  inscribed  Sunset  of 
Tyranny,  sinks  into  the  sea.  Between  it  and  the  coast  (1.)  is  a  row  of  five 
men-of-war  at  anchor,  flying  the  flags  of  the  Allies,  their  poops  in  a  line.  The 
ship  on  the  r.,  nearest  Holland,  flies  a  Russian  flag,  the  next,  with  the  highest 
masts,  flies  British  flags.  In  the  foreground  (1.),  lying  at  the  base  of  the  bluff 
on  which  the  Allies  stand,  are  two  casks  inscribed  Real  Hollands  Best  Double 
Proof  and  Genuine  Spirit  Neat  as  Imported. 

The  news  of  revolt  in  Amsterdam,  on  16  Nov.,  when  the  place  was  evacu- 
ated by  the  French,  and  of  the  proclamation  of  17  Nov.,  beginning  'Orange 
Boven!  Holland  is  free',  was  published  in  an  Extraordinary  Gazette  of  2i  Nov. 
It  had  been  brought  by  two  emissaries  from  the  Provisional  Government, 
who  also  reported  incorrectly  that  the  fleet  at  the  Texel  had  revolted  against 
the  French.  The  liberation  of  Holland  is  rightly  attributed  to  the  defeat  of 
Napoleon  by  the  united  efforts  of  the  Allies,  rather  than  to  the  efforts  of  the 
Dutch.  See  Renier,  Great  Britain  and  the  Liberation  of  Holland,  1930,  pp.  98- 
124;  H.M.C.,  Bathurst  AISS.,  1923,  pp.  240-50.  The  British  victories  in 
Spain  are  (unwontedly)  given  precedence  over  the  Leipzig  campaign.  The 
many  prints  on  the  liberation  of  Holland  reflect  the  enthusiasm  occasioned 
in  England:  on  22  Nov.  almost  everyone  in  London  was  wearing  orange. 
Scott  describes  the  wild  delight  in  Edinburgh.  Letters,  ed.  Grierson,  iii.  387  f. 
No,  6165  has  the  same  title.  See  Nos.  12104,  12105,  12106,  121 12,  121 14, 
12116,  12117,  12118,  12119,  12123,  12172,  12174,  12188,  12342,  13491. 

Grego,  Rowlandson,  ii.  258  f.  (reproduction).  Van  Stolk,  No.  6194.  Copy, 
Ashton,  English    Caricature   and   Satire   on  Napoleon,  ii.    159.    Listed    by 
Broadley.    Milan,  No.  2446, 
9X13I  in. 

12103  EXECUTION  OF  TWO  CELEBRATED  ENEMIES  OF  OLD 
ENGLAND  AxND  THEIR  DYING  SPEECHES  NOVR  5  1813 

[Rowlandson.] 

Piib'^  Nov''  27 — 181 J  by  R.  Ackermann  N°  loi  Strand 

Engraving  (coloured  impression).  The  arms  of  two  gibbets  extend  symmetri- 
cally, high  above  a  bonfire ;  between  them  is  an  equally  high  post  supporting 
a  board  on  which  the  title  is  etched.  From  one  (r.)  dangles  a  realistic  effigy 
of  Napoleon  (scarcely  caricatured)  in  cocked  hat,  uniform,  and  Hessian  boots. 
From  the  other  hangs  a  ruffianly  fellow  holding  a  dark  lantern.  They  face 
each  other  in  profile.  The  fire  is  under  Napoleon;  smoke  and  flames  drift 
towards  Guy  Faux.  Countr}'  people  cheer  the  bonfire,  with  two  boys  capering 
hand  in  hand  in  the  centre  foreground.  Below  the  design  (an  alternative  title) : 
Bonfire  at  Thorpe  Hall  near  Louth  Lincolnshire  on  5""  Nov"  1813  given  by  y' 
Rev^  W.  C.  to  the  boys  belonging  to  the  Seminary  at  Louth  in  consequence  of 
the  arrival  of  news  of  the  Decisive  Defeat  of  Napoleon  Buonaparte  by  the  Allies 
[see  No.  12093]  ^^  ^^  ^  Clock  P  M  ony'^  4"'  &  Louth  Bells  Ringing  all  night. 
Below  is  etched  in  two  columns  (1.) :  guy  faux'S  dying  speech  I  Guy  Vaux 
meditating  my  Country's  ruin  by  the  clandestine  and  diabolical  means  of  Gun- 
powder Plot,  was  most  fortunately  discovered  and  brought  to  condign  punishment 
by  Old  England  and  here  I  bewail  my  fate. 

NAPOLEON  BUONAPARTES  DYING  SPEECH  [r.] .  /  Napoleon  Buonapartc flattered 
by  all  The  French  Nation  that  I  was  invincible,  have  most  cruelly  and  ynost 
childishly  attempted  the  subjugation  of  the  World,  I  have  lost  my  fleets,  I  have 
lost  the  largest  and  finest  armies  ever  heard  of,  and  I  am  now  become  the  indigna- 

289  U 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

tion  of  the  World,  and  the  scorn  and  sport  of  hoys.  Had  I  not  spurned  the  firm 
•wisdom  of  the  Rig''^  Hon.  W'"  Pitt  I  might  have  secured  an  honourable  Peace. 
I  might  have  governed  the  greatest  Nation  but  Alas  my  ambition  had  decieved  me 
and  Pitts  plans  have  ruined  me. 

For  the  adoption  of  Pitt's  plans  for  the  defeat  of  Napoleon  and  the  recon- 
struction of  Europe  see  C.  K.  Webster,  The  Foreign  Policy  of  Castlereagh, 
i.  53-63.  Cf.  No.  12100.  W.  C.  is  William  Chaplin  of  Louth  Hall  who  was 
a  chaplain  to  the  Regent.  For  the  'Dying  Speech'  cf.  No.  121 15,  &c. 

Rowlandson,  ii.  260.   Broadley,  i.  338  f.   De  Vinck,  No.  8840.  Van  Stolk, 
No.  6203. 
81X9^  in.   PI.  i3fX9|in. 

12104  THE  CORSICAN  TOAD  UNDER  A  HARROW. 

[Rowlandson.] 

Pub"^  Nov""  27  1813  by  R.  Ackermann  N  loi  Strand 
Engraving  (coloured  impression).  Napoleon  (r.)  lies  on  his  face  under  the 
sharp  teeth  of  a  harrow;  two  ropes  are  attached  to  it,  at  each  of  which  repre- 
sentatives of  three  nations  are  tugging.  In  the  foreground  a  British  sailor 
hauls  behind  him  a  Spanish  don  in  slashed  tunic  and  breeches,  feathered  hat, 
cloak,  and  ruff.  The  third  is  a  man  of  nondescript  appearance  wearing  a  cap 
with  a  drooping  peak,  probably  intended  to  represent  Sicily,  which  the  British 
had  held  as  an  outpost  against  Napoleon.  On  the  other  rope  the  chief  figure 
is  a  Prussian  hussar;  next  him  is  (?)  a  Swede  in  a  fur  cap,  and  on  the  end 
of  the  rope  a  man  wearing  a  cavalry  helmet  of  French  type  is  probably  intended 
for  an  Austrian.  These  six  fill  the  1.  of  the  design.  Russia  is  represented  by 
a  bearded  Cossack  who  stands  on  the  r.,  prodding  at  Napoleon  with  his  long 
spear.  On  the  harrow  sits  a  fat  Dutchman,  smoking  his  pipe  with  a  fiercely 
preoccupied  expression,  with  his  1.  hand  in  his  breeches  pockets.  Napoleon, 
much  distressed,  cries:  Oh  this  heavy  Dutchman.  O  had  I  not  enough  to  bear 
before!!!  Two  birds  swoop  down  from  the  1.;  one  says:  I  smell  Carrion. 

For  the  liberation  of  Holland  see  No.  12102,  &c.  The  successes  of  the 
British  Navy  and  Army  are  equated  with  the  effects  of  the  Russian  and 
Leipzig  campaigns. 

Grego,  Rowlandson,  ii.  259.    Broadley,  i.  341  f.    De  Vinck,  No.  8841 
Van  Stolk,  No.  6222.   Reproduced,  Grand-Carteret,  Napoleon,  No.  265. 
8i^Xi3iin. 

12105  DUTCH  NIGHT-MARE  OR  THE  FRATERNAL  HUG  RE- 
TURNED WITH  A  DUTCH  SQUEEZE 

[Rowlandson.] 

Puh'^  Nov^  2g.  18 1 3  by  R  Ackermann  N°  loi  Strand — 

Engraving  (coloured  impression).  Napoleon  lies  in  bed,  with  a  fat  Dutchman 
seated  on  his  chest,  puffing  tobacco  smoke  at  his  face,  and  saying  Orange 
Boven.  He  grips  Napoleon's  neck  between  his  legs;  the  two  men  face  each 
other  in  profile,  one  staring  up,  terrified,  the  other  looking  down.  Napoleon's 
r.  arm  hangs  down  from  the  bed,  his  fist  is  clenched,  his  feet  (r.),  with 
crisped  toes,  project  from  under  the  coverlet.  The  Dutchman  wears  a  high- 
crowned  hat,  with  a  large  (orange)  cockade,  and  bulky  breeches;  his  1.  hand 
is  in  his  breeches  pocket.  The  curtains  and  counterpane  are  patterned  with 
eagles ;  the  curtains  hang  from  a  circular  canopy  topped  by  a  large  crown  and 
a  trophy  of  sword,  sceptre,  and  eagle.  They  are  drawn  aside  to  frame  the 
two  figures.  On  the  fringed  pelmet  eagles  alternate  with  crowns  and  a  papal 

290 


POLITICAL   SATIRES    1813 

tiara,  emblem  of  the  humiliation  of  the  Papacy.  On  the  r.  stand  two  enormous 
fasces  with  projecting  Hctor's  axes,  the  blades  turned  towards  Napoleon.  On 
a  stool  in  front  of  the  bed  are  the  Emperor's  bicorne  and  sword. 

See  No.  12 102,  &c.  The  liberation  was  the  subject  of  a  'new  song'  (printed 
in  Leicester)  with  the  chorus  'Holland's  free! — shout  Orange  Boven',  see 
Van  Stolk,  No.  6209.  For  the  fraternization  of  the  Dutch  with  the  French 
invaders  in  1795  and  their  rapid  disillusionment  see  No.  8608,  &c.  The  'hug 
Fraternal'  is  mentioned  in  No.  9419  (1799);  it  was  further  exemplified  in  the 
establishment  of  Louis  Bonaparte  as  King,  see  No.  10581,  &c.,  and  by  the 
annexation  of  Holland  in  1810.  For  Napoleon's  nightmare  cf.  No.  11736. 
One  of  many  echoes  of  Fuseli's  picture,  cf.  No.  12455. 

Grego,  Rowlandson,  ii.  260  f.    Broadley,  i.  342.    De  Vinck,  No.  8842. 
Van  Stolk,  No.  6223.  (Van  Stolk,  No.  6224,  is  a  close  copy  without  imprint, 
with  the  'or'  of  the  title  replaced  by  'of'.) 
12^X9^  in. 

12106  PLUMP  TO  THE  DEVIL  WE  BOLDLY  KICK'D  BOTH  NAP 
AND  HIS  PARTNER  JOE.  234 

[Rowlandson.] 

Pu¥  Nov''  30  1813  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  fat  Dutchman  (r.),  with  1.  leg  raised  high, 
has  kicked  Napoleon  into  the  air,  towards  a  large  exulting  Devil  crouching 
before  the  flames  of  Hell  (1.).  Napoleon's  bicorne  is  falling  to  the  ground, 
his  sword  flies  up,  attached  to  the  belt.  The  Devil  grasps  Napoleon  by  the 
1.  ankle.  He  is  a  naked  satyr  with  hairy  legs,  barbed  tail,  fierce  talons,  as  in 
No.  6283  by  Rowlandson.  The  Dutchman  holds  a  goblet  above  his  head,  in 
his  1.  hand  is  a  long  tobacco-pipe.  He  wears  the  usual  bulky  breeches  with 
short  jacket,  and  has  a  big  (orange)  cockade  in  his  high-crowned  hat.  In  the 
background  a  second  Dutchman  lunges  forward  with  a  pitchfork  pressed 
against  the  posterior  of  Joseph,  who  runs  screaming  towards  the  flames,  his 
crown  on  the  ground  behind  him.  The  scene  is  the  sea-shore,  with  three 
ships  (r.)  at  anchor. 

Consequences  of  the  battles  of  Leipzig  and  Vittoria  are  depicted ;  for  the 
liberation  of  Holland  see  No.  12102,  Sec.  Though  Joseph's  loss  of  the  crown 
of  Spain,  see  No.  12068,  &c.,  had  nothing  to  do  with  events  in  the  Nether- 
lands, it  is  appropriate  to  the  (altered)  quotation  from  Dibdin's  popular  song 
The  Waterman,  see  Professional  Life  of  Mr.  Dibdin,  ii.  240,  250-2,  also 
illustrated  in  No.  11036;  cf.  No.  8907,  My  Poll  &  my  Partner  Joe. 

Grego,  Rowlandson,  ii.  261.    De  Vinck,  No.  8843.    Van  Stolk,  No.  6226. 
Listed  by  Broadley.    Milan,  No.  2464. 
8^Xi2|  in. 

12107  GRASP   ALL    LOOSE    ALL— ATLAS    ENRAGED— OR   THE 
PUNISHMENT  OF  UNQALIFED  [sic]  AMBITION  254 

[Williams.] 

Pub''  Dec''  i^^  1813  by  Tho'  Tegg  iii  Cheapside — Price  one  Shilling  Col^ 

Engraving  (coloured  impression).  Atlas  (r.),  bearded  and  muscular,  nude 
except  for  swirling  drapery,  kneels  on  one  knee,  supporting  with  both  hands 
a  terrestrial  globe  which  he  pushes  towards  Napoleon  on  whom  it  is  about 
to  fall.  The  Emperor  staggers  back,  dropping  his  sword,  his  1.  arm  and  r.  leg 
are  raised  high,  to  ward  off^  the  impact.  He  looks  up,  terrified,  and  says: 
France  be  mine!  Holland  be  mine!   Italy  be  mine!   Spain  &  Poland  be  mine! 

291 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Russ,  Prussia  Turky,  de  whole  World  vil  be  mine!!!  Moris'"  Atlas  hold  up  dont 
let  it  fall  on  me.  Atlas,  with  a  menacing  frown,  answers:  When  the  Friends  of 
Freedom  and  Peace  have  stop'd  your  shakeing  it  on  my  shoulders  [and]  got  their 
own  again,  Fll  bear  it,  till  then  you  may  carry  it  yourself  Master  Boney!  Close 
behind  Napoleon  (1.)  two  French  marshals  or  generals  flee  to  the  1.,  looking 
back  at  the  globe  One  (1.)  says:  By  Gar  tis  true  tis  fall  on  your  Head!  votre 
Serviteur!  we  no  stop  to  be  crush  vid  you ;  the  other :  Votre  Serviteur  Mons^ 
Boney.  Napoleon's  head  is  scarcely  caricatured,  the  generals  are  grotesques 
in  the  manner  of  Gillray,  e.g.  in  No.  9403,  French  Generals  retiring,  on  account 
of  their  Health  .  .  .  The  globe  is  patterned  with  continents  and  islands  regard- 
less of  geography.  After  the  title : 

"Most  wretched  wight,  whom  nothing  might  suffice 

"Whose  greedy  lust,  did  lack  in  greatest  store 

"Whose  need  had  end,  but  no  end  covetise 

Spencer  [Faery  Queen,  i.  iv.] 

At  this  date  the  consequences  of  the  Spanish  and  Leipzig  campaigns  were 
the  crumbling  of  the  Confederation  of  the  Rhine,  the  liberation  of  Holland, 
see  No.  12102,  &c.,  the  establishment  of  British  forces  in  France  by  the 
passage  of  the  Nivelle,  10-12  Nov.,  Wellington's  dispatch  of  13  Nov.  being 
published  in  an  Extraordinary  Gazette  of  23  Nov.  The  Allies  occupied  the 
line  of  the  Rhine,  see  No.  12109.  Napoleon's  refusal  to  surrender  his  con- 
quests had  led  to  the  loss  of  two  opportunities  for  a  not  unfavourable  peace : 
at  Prague,  see  No.  12077,  &c.,  and  the  Frankfurt  Proposals,  9  Nov.,  offering 
France  the  'natural  limits',  see  No.  12169.  One  of  many  satires  on  Napoleon's 
designs  on  the  globe,  cf.  The  Modern  Atlas  asking  a  favour  of  John  Bull, 
No.  10760,  and  No.  12171. 

Broadley,  i.  343.   Van  Stolk,  No.  6270. 
6|x  I2|  in. 

12108  BONAPARTE'S  BRIDGE,  to  the  Tune  of,  This  is  the  House  that 
Jack  built  253 

La  Nourice  du  Rot  de  Rome  Inv'   [Williams  f.]  Price  one  Skills 

Coloured 
Pu¥  Decern''  i.  1813  by  Tho  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Eight  designs  in  two  rows,  each  with  lines 
parodying  'the  House  that  Jack  built'  etched  above  each.  Some  section  of  the 
bridge  appears  in  Nos.  1-5.  [i]  Tiny  French  soldiers  gallop  across  the  bridge; 
a  man  punts  in  the  rapidly  flowing  river.  Behind  is  Leipzig,  a  walled  town 
backed  by  hills.  Above:  This  is  the  Bridge  that  was  blown  into  air.  [2]  Three 
men,  wearing  helmets  and  aprons,  excavate  a  pit  beside  the  bridge,  from 
which  a  man  looks  down :  These  are  the  Miners  that  had  the  care  \  Of  mining 
the  Bridge  .  .  .  [&c.].  [3]  A  Grenadier  corporal  holds  a  long  match  towards 
the  covered  pit;  three  tiny  Grenadiers  run  across  the  bridge:  This  is  the 
Corporal,  stout  and  strong,  \  Who  fired  the  Mine  with  his  match  so  long,  \  Which 
zvas  made  by  the  Miners  .  .  .  [&c.].  [4]  A  swaggering  officer  points  at  the 
ground,  looking  over  his  shoulder  at  the  corporal,  who  runs  forward  with  his 
match,  saluting  obsequiously :  This  is  the  Colonel  of  Infantry,  Who  ordered  the 
Corporal  .  .  .  [&c.].  [5]  The  colonel  listens  deferentially  to  an  officer  who 
whispers  in  his  ear,  pointing  downwards :  This  is  the  Marshal  of  high  degree  \ 
Who  whispered  the  Colonel .  .  .[&c.].  [6]  Napoleon  gallops  from  the  battlefield, 
indicated  by  a  drum  in  the  foreground  and  bodies  in  the  background:  This 
is  the  Emperor  who  scampered  away,  \  And  left  the  Marshal  .  .  .  [&c.].    [7] 

292 


POLITICAL   SATIRES    1813 

Refugees,  including  women  with  infants  and  an  old  farmer,  make  gestures 
of  despair.  Behind  is  the  blazing  town  which  more  fugitives  are  leaving: 
These  are  the  Thousands  zcho  cursed  the  day,  \  Which  made  him  Emperor  . . .  [&c.]. 
[8]  Four  allied  sovereigns  in  a  tent  consult  over  a  map  held  bet\veen  them. 
Alexander  (1.)  sits  on  a  camp-stool,  the  others  stoop  over  the  map :  the  King 
of  Prussia  is  in  back  view,  facing  the  Emperor  of  Austria.  Bernadotte  faces 
the  Tsar :  These  are  the  Monarchs  so  genWous  and  brave,  \  Who  conquered  the 
Tyrant,  and  Liberty  gave,  \  To  Thousands  on  Thousands  .  .  .  [&c.]. 

The  verses  (attributed  to  'La  Nourice  .  .  .')  are  from  the  Morning  Chronicle, 
24  Nov.  1813  ('Spirit  of  the  Public  Journals,  1813',  p.  332  f.)  For  Leipzig 
see  No.  12093,  &c.  Its  chief  aspects  in  caricature  are  Napoleon's  flight,  cf. 
No.  12109,  and  the  bridge;  a  corporal  of  engineers  had  been  ordered  to  blow 
it  up  when  the  pursuers  were  at  hand ;  he  fired  the  mine  before  the  rearguard 
had  crossed,'  owing  to  the  skilful  flanking  movements  of  the  light  Russian 
troops  under  Sacken.  Napoleon  rode  with  the  fugitives  from  the  battlefield. 
J.  H.  Rose,  Napoleon  I,  1934,  ii.  364  f.  See  also  Nos.  12094,  12113,  12169, 
12205  [3],  12229,  12479,  12569,  12602,  12608. 

Broadley,  i.  343  f.   Van  Stolk,  No.  6195. 
1-4 :  4^ X  3i  in.   5-8 :  4^^ X  3I  in.   Whole  design,  8| X  13^  in. 


12109  THE  IMPERIAL  TYGER  HUNT.  |  SATIRIST  1ST  DECEMBER 
1813. 

Amateur  deU  et  sculp'    [E.  H.  Brooke.] 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xiii.  473.  A  tiger 
with  the  head  of  Napoleon,  badly  wounded,  leaps  from  a  low  bluff  into  the 
river  Rhine,  closely  pursued  by  five  sovereigns.  The  principal  figure  is  the 
Tsar,  bearded  and  dressed  as  a  Cossack  and  unrecognizable,  on  a  rearing 
horse;  he  is  about  to  strike  with  his  spear,  his  cloak  swirling  above  his  head. 
On  the  trapping  of  his  horse  is  the  word  Moscotv.  Bernadotte  stands  on  the 
brink;  his  spear,  inscribed  Sweden,  is  raised.  Above  his  head  is  a  star,  indi- 
cating the  Swedish  order  of  the  Polar  Star.  The  King  of  Bavaria,  who 
deserted  Napoleon  before  Leipzig,  raises  a  spear  inscribed  Bavaria,  he  holds 
a  (?)  crown  inscribed  Legion  of  Honor  (received  from  Napoleon).  He  wears 
a  crown  and  ermine-bordered  robes.  Prussia  has  a  bare  torso,  on  which  is 
(incorrectly)  a  large  double  eagle;  he  runs  forward,  his  r.  arm  raised,  showing 
that  he  has  hurled  one  of  the  spears  with  which  the  tiger  is  pierced ;  he  carries 
three  in  his  1.  hand  inscribed  Katzbach  [see  No.  12086],  Partha,  Leipsic. 
A  knight  in  armour  (r.)  with  his  face  obscured  by  a  visor,  gallops  at  the  head 
of  an  army  indicated  by  spears  and  a  sea  of  heads.  In  his  r.  hand  is  a  sword, 
in  his  1.  a  spear,  and  on  his  surcoat  is  a  cross,  with  the  word  Prague,  showing 
that  he  is  the  Emperor  of  Austria,  who  was  also  King  of  Bohemia.  The  tiger 
is  bleeding  from  wounds  in  which  (broken)  spears  are  embedded;  he  wears 
a  broken  crown,  and  his  head  is  gashed. 

The  pursuit  of  Napoleon  to  the  Rhine  (see  No.  12 108)  after  Leipzig,  see 
No.  12093,  &c.,  had  none  of  the  savage  energy  depicted.  Napoleon  defeated 
the  Bavarians  under  Wrede  at  Hanau,  29-31  Oct.,  and  crossed  unmolested 
at  Mainz  on  2  Nov.  The  Coalition  was  incapable  of  'swift  and  purposeful 
action'.   Camb.  Mod.  Hist.  ix.  540.   The  text  elaborates  the  theme  of  Napo- 

'  To  Heaven  is  blown  Bridge  Lindenau; 
Wrecked  regiments  reel  therefrom; 
And  rank  and  file  in  masses  plough 
The  sullen  Elster-Strom. 

Hardy,  Dynasts. 

293 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

Icon's  flights,  from  Egypt,  from  Russia,  and  from  Germany,  and  of  the  flights 
of  Jerome  and  Joseph  from  Cassel  and  Madrid.  The  theme  was  current  in 
France  after  Waterloo,  see  No.  12564,  &c.  For  Napoleon  as  a  tiger  cf. 
Nos.  10254,  ^c->  12509,  12565. 

Broadley,  i.  342  f.   Reproduced,  Rosner,  Writing  on  the  Wall,  1943. 
7X  iSil  in.   With  border,  y^x  14^  in. 

12110  NATIONAL  PHRENZY,  OR,  JOHN  BULL  AND  HIS  DOC- 
TORS! Pl^"  JSt 

G.  Cruikshank  fed  Pu¥  for  the  Meteor  [i  Dec]  181 3 

Engraving  (coloured  impression).  Pl.^  to  the  Meteor,  i,  83.  John  Bull,  a  fat 
'cit',  beset  by  doctors,  leans  back  on  a  cushioned  seat,  with  gaping  mouth 
and  goggling  eyes,  registering  bewildered  alarm.  His  dress  is  completely 
topsy-turvy:  his  breeches  are  round  his  neck  in  place  of  a  coat,  his  arms 
thrust  through  the  legs,  with  shoes  on  his  hands.  His  legs  are  in  the  sleeves 
of  his  coat  and  his  collar  is  across  his  waist;  there  are  gloves  on  his  feet,  and 
pockets  hang  inside  out.  On  his  head  is  a  hat,  above  this  is  his  wig,  topped 
by  his  night-cap.  At  his  feet  are  two  big  bottles  labelled  Commercial  Alterative 
and  Wellington  Drops.  He  is  much  larger  in  scale  than  his  doctors,  two  of 
whom  stand  on  a  table  behind  his  head:  Liverpool  pierces  his  arm  with  a 
Liverpool  Lancet  as  long  as  himself,  saying,  /  have  an  infallible  lancet  which 
Johnny  bares  his  arm  to  very  kindly,  see  how  the  Blood  flows,  who  says  the  Bull's 
exhausted?!!  A  golden  cascade  spouts  up  from  the  point  of  the  lancet  and 
falls  into  a  Waste  Butt,  a  ramshackle  cask.  The  stream  is  inscribed  Pension 
Places  &c,for  Dinners  &c.  Subsidy  [three  times],  Pensions,  For  Fetes,  Princess 
Charlottes  Establishment.  Three  little  demons  frolic  on  the  summit  of  the 
cask,  to  get  a  share;  one  is  inscribed  Pensioner.  Caterpillars  crawl  up  the  cask 
inscribed  Pensioner  and  Placeman,  they  nibble  at  the  wood,  which  is  broken 
in  various  places,  letting  coins  fall  out.  The  cask  stands  on  low  trestles  and 
the  tap  is  turned  on,  letting  Secret  Service  Money  gush  out.  On  the  extreme  1. 
McMahon,  dwarfish  and  blotched  and  hideous,  with  a  pen  behind  his  ear, 
stands  turning  on  a  side-tap,  inscribed  Stop  Cock,  from  which  coins  shoot  out 
into  a  bulging  sack  inscribed  P  P  P  [see  No.  11874,  ^c.]  which  he  holds.  A 
label  projects  into  the  design  from  the  1.  above  McMahon's  head,  enclosing 
words  spoken  by  the  (invisible)  Regent :  Fill  it  brim  full,  Mac!  McMahon 
answers :  Leave  me  alone  to  take  care  of  the  privy  Purse.  The  Lord  Chancellor, 
Eldon,  stands  on  tiptoe  on  a  stool  inscribed  Chancery  Suit,  to  feel  John's 
pulse ;  he  holds  up  a  watch  and  says :  They  may  call  us  Quacks  if  they  please 
but  we  are  on  the  Right  side  of  the  question  &  it  shall  go  hard  but  we'll  keep  our 
places;  the  mace  and  the  purse  of  the  Great  Seal  project  from  his  gown,  like 
medical  implements,  and  his  wig  hangs  below  his  knees. 

The  other  doctor  on  the  table  is  Castlereagh,  barely  recognizable,  with  a 
heavy  jowl  and  broad  medical  wig;  he  holds  to  John's  head  a  long  spoon  on 
which  are  two  balls  inscribed  respectively :  Total  Defeat  for  Bounaparte  and 
Cheap  Bread.  He  says:  Cant  you  be  aisy  John.  [T]hen  take  these  Bolus's  they 
will  make  you  bleed  freely.  And  my  Friend  Death,  there  is  preparing  you  a  reptile 
soup,  an  infallible  specyfic  in  your  case.  Two  large  pots  stand  on  the  table 
beside  him;  one  (r.)  topped  with  Regency  Froth,  the  other  heaped  with  balls 
inscribed:  Hanover,  Dresden,  Leipsic,  Orange  Boven,  France  Invaded.  John 
txc\2Avcis:What!  My  shop  door  open,!  My  business  going  on! !  Hurrah  hurrah, 
little  Boney  destroyd! ! ! !  Leipsic  taken,  Hanover  restored,  Holland  free  & 
France  invaded!!!!!  Is  not  this  too  much  to  swallow?  At  John's  feet  (r.)  is  an 

'  Not  folded,  showing  that  it  was  issued  separately. 

294 


POLITICAL   SATIRES   1813 

apothecary's  mortar  in  which  Napoleon  sits,  wearing  a  much  feathered 
bicome,  and  with  his  jack-boots  projecting  upwards.  He  gapes  up  terrified 
at  the  huge  Allied  Pestle  with  which  Death  is  about  to  smite  him.  Death 
wears  old-fashioned  physician's  dress,  is  more  emaciated  than  a  skeleton,  and 
has  a  skull-like  head,  with  spectacles  framing  the  eye-sockets.  He  puts  one 
foot  on  the  edge  of  the  mortar,  and  says:  D — m  you  I'll  Doctor  you.  x\t  his 
feet  are  large  balls  or  boluses  inscribed  England,  Prussia,  Russia,  Sweden. 
On  the  r.,  behind  Death,  a  man  in  legal  wig  and  gown  seizes  Burdett  by  the 
throat,  in  his  1.  hand  is  a  clyster-pipe  inscribed  Law  of  Libel,  with  which  he 
is  about  to  smite  his  antagonist.  He  says:  Curse  you  what  do  you  zvant  here. 
Burdett,  in  profile  to  the  r.,  and  much  caricatured,  is  dressed  as  a  butcher- 
surgeon,  wearing  trousers  and  a  belt  from  which  hangs  a  butcher's  steel,  with 
two  knives,  one  with  a  serrated  blade.  He  raises  above  his  head  a  saw  and 
an  axe,  both  inscribed  Reform,  and  says :  /  knew  they  would  drive  him  Mad  at 
last  nothing  can  save  him  but  applying  the  Axe  to  the  Root  or  Sazving  off  the 
excrescences  of  y^  State.  On  the  extreme  r.  three  opposition  Whigs  slink  off 
hurriedly  to  the  r.  The  most  prominent  is  Grenville,  stooping  low,  and  walk- 
ing with  a  physician's  gold-headed  cane;  his  posteriors  are  spherical  and  are 
inscribed  Fat  Sincure  [sic]  Tellings  of  the  Exchequer  [see  No.  10543,  Sec.].  He 
says :  Pretty  goings  on — well  Pll  be  off — Broad  Bottams  for  ever  I  say  [see 
No.  10530].  Grey,  beside  him,  says :  Aye  Aye  they  will  be  no  good  zvithout  Usj 
Lord  Holland,  on  the  extreme  r.,  walks  off  with  a  deprecating  gesture. 
Portraiture  is  not  attempted  except  for  the  three  Whigs  who  are  after 
Gillray. 

John  Bull,  despite  his  words,  appears  bewildered  and  perturbed  at  victories 
which  are  combined  with  disastrous  expenditure  and  waste.  Leipzig,  see 
No.  12093,  &c.,  is  associated  with  the  defeat  of  Dresden  (26  Aug.).  The 
French  occupation  of  Hanover  ceased  after  Leipzig,  and  the  Duke  of  Cumber- 
land entered  the  country  on  4  Nov.,  see  Corr.  of  George  IV,  1938,  pp.  324, 
327-9.  For  the  Uberation  of  Holland  see  No.  12102,  &c.;  for  the  price  of 
bread.  No.  12089,  ^^-  ^^^  political  groups  are  condemned:  Carlton  House 
for  selfish  extravagance,  the  Ministers  are  quack  doctors,  the  Foxite  leaders 
abandon  John  Bull  (cf.  No.  11888,  &c.);  Burdett  offers  the  remedy  of  a  blood- 
thirsty surgeon,  cf.  No.  9092,  &:c.;  his  opponent  is  probably  Sir  Vicary  Gibbs, 
notorious  when  Attorney-General  (1807-12)  for  his  ex-officio  Informations, 
see  No.  11717,  &c.  Victories  appear  only  as  quack  remedies.  The  theme, 
except  for  the  attack  on  Burdett,  is  that  of  Cobbett,  who  had  refused  to 
believe  in  the  possibility  of  victory,  and  when  it  came  complained:  'Tax- 
gatherers  yet  unborn  will  cover  the  land  in  consequence  of  this  war,  the 
apparent  result  of  which  is  such  matter  of  bragging.'  Pol.  Reg.  xxiv.  715 
(4  Dec).  Cf.  No.  121 18.  For  bleeding  John  Bull  cf.  No.  12756,  &c.,  for 
Reform  as  the  axe  to  the  root,  Nos.  8817,  1 1323,  for  'cheap  bread'.  No.  12089. 
Cf.  No.  1 1340. 

Reid,  No,  266.   Cohn,  No.  553.   Listed  by  Broadley. 
7IX19I  in. 

12111     GASCONADEING— ALIAS— THE     RUNAWAY     EMPEROR 
HUMBUGING  THE  SENATE. 

[Williams.] 

Pub'^  Decern''  J^'  181 3  for  the  Proprietor  of  Town  Talk. 

Engraving  (coloured  impression).  PI.  from  Town  Talk,  v.  325.  Napoleon, 
standing  in  front  of  the  throne,  addresses  senators  who  stand  facing  him  on 
the  1.  and  r.   He  wears  his  crown  and  coronation  robes  as  depicted  by  Gillray 

295 


CATALOGUE  OF  POLITICAL  AND   PERSONAL  SATIRES 

in  No.  10362;  he  extends  his  arms,  a  long  sceptre  in  his  r.  hand,  and  turns 
his  head  in  profile  to  the  r.,  saying:  Senators!  the  glorious  success  of  our  Arms, 
has  forced  me  to  give  way  to  the  impulse  of  quitting  the  field  of  honour,  that  I 
might  have  the  satisfaction  of  presenting  to  my  faithfull  Senate  the  glorious 
trophies  of  our  Victories,  Senators!  your  resless,  envious,  enemies,  shall  be 
humbled  to  the  dust,  your  Emperor  wills  it  so,  this  Arrogant  confederacy  shall 
be  punished  for  their  temerity,  and  our  brave  Soldiers  shall  repose  in  peace. 
Senators!  for  this  purpose  I  shall  require  the  small  Sum  of  25.00000  a  sum  the 
flourishing  state  of  our  finance  will  easily  produce — and  to  replace  the  Vacancy 
made  in  my  Army  500' 000  from  the  consciptions  [sic]  of  4  Years  to  come  will 
be  all  that  I  demand.  Frenchmen  the  will  of  your  Emperor  and  the  Glory  of  the 
great  Nation  requires  it.  The  Devil,  a  winged  imp,  clutches  an  arm  of  the 
throne  and  looks  up  at  the  Emperor  to  say :  Thats  right  my  Boy  Humbug  them 
out  of  another  Conscription,  to  send  me  before  you  come  yourself!  On  the  back 
of  the  throne  is  a  carved  eagle  which  glares  menacingly  down.  Outside  the 
imperial  carpet  are  benches  facing  each  other.  From  these  the  senators  have 
risen;  all  wear  long  gowns  with  escutcheons  on  the  sleeve,  blank  except  for 
a  small  device  in  one  quarter.  Their  leader  (r.),  answers  with  extended  arms : 
Great  Emperor  of  the  Great  Nation  the  Senate  devotes  the  lives  and  property 
of  the  People  to  your  service.  The  man  behind  him  takes  snuff,  frowning;  he 
mutters :  Ces't  [sic]  dire  un  peu  trop  cela!  Two  men  in  the  second  row  say 
to  each  other :  What  has  he  done  with  the  last  Grand  Army,  that  he  wants  so 
many  again!  and  They  are  gone  to  see  how  their  friends  in  Russia  do. 

On  each  side  of  the  throne,  beside  the  dais,  stand  two  turbaned  Mamelukes 
with  drawn  sabres  and  pistols  in  the  belt.  Behind  the  senators  are  soldiers 
of  the  Imperial  Guard.  Those  on  the  1.  hold  trophies :  two  standards  inscribed 
Bavaria,  and  spears  from  which  dangle  military  equipment:  pistols,  knap- 
sack, bottles,  a  sabre.  Two  senators  on  the  extreme  1.  whisper  to  each  other: 
Why  these  trophies  belong  to  our  allies  ces't  drole  cela!  and  Another  Russian 
buisiness  depend  upon  it.  After  the  title : 

"Some  are  short  and  some  are  tall 

"But  it's  very  well  known  that  he  hums  them  all, 

"And  then  sings  fal  de  ral  tit. 

Three  occasions  are  combined:  (i)  Napoleon's  address  to  the  Senate  on 
14  Nov.,  which  ended:  'Frenchmen  will  shew,  by  their  devotion  and  by  their 
sacrifices  that  no  nation  has  ever  better  understood  its  duties  towards  the 
Country,  Honour,  and  the  Sovereign.'  It  was  short  and  dignified : '.  .  .  a  year 
only  has  elapsed  since  Europe  was  with  us;  now  all  Europe  is  marching 
against  us.  It  is  because  the  opinion  of  the  world  is  formed  by  France,  or 
by  England.  .  .  .  Posterity  shall  say  that  if  great  and  critical  circumstances 
presented  themselves,  they  were  not  above  France  and  me.'  (2)  The  projet 
du  senatus-consulte  presented  to  the  Senate  on  12  Nov.,  and  accepted 
unanimously  on  15  Nov.,  for  300,000  conscripts  from  the  classes  of  181 1  to 
1814  and  1806,  1807  (see  No.  12087,  &^c.).  (3)  The  presentation  by  the 
Minister  of  War  to  the  Empress  on  15  Nov.  of  'twenty  stand  of  colours  taken 
at  Wachau,  Leipzig  [see  No.  12093],  and  Hanau  [see  No.  12109]  .  .  .  each 
carried  by  an  officer  .  .  .  these  colours  will  attest  to  posterity  the  valour  of 
our  French  armies.  Treasons,  without  example,  have  procured  our  enemies 
great  advantages,  they  are  for  them  without  glory;  they  cannot  support  them 
by  similar  trophies  .  .  .'.  Examiner,  21  and  28  Nov.  1813.  For  these  trophies 
see  Nos.  12112,  12113,  12123,  12169,  12318. 

Broadley,  i.  342. 
7^Xi8|in. 

296 


POLITICAL   SATIRES   1813 
12112  NAPOLEON  LE  GRANDE 

Invente  par  Dabos  Alex  Tardieu  Effigiem  Del  [Rowlandson] 

Deposee  a  le  Bibloteque  Impereale  [sic] 

To  be  had  at  R.  Ackermann's  loi  Strand,  London.  [2'  Dec.  18 13] 

Engraving  (coloured  impression),  A  travesty  of  a  French  print,  an  apotheosis 
of  Napoleon  by  Tardieu  after  Dabos.  As  in  the  original,  the  title  is  on  a  piece 
of  fringed  drapery  between  two  naturalistic  eagles ;  these  flank  an  arc  of  the 
globe,  its  northern  summit,  more  flattened  than  in  the  original.  On  the  globe 
is  a  map,  with  France  in  the  centre,  flanked  (1.)  by  Golfe  of  Venice  and  Italy 
and  (r.)  Espagne  and  Pologne.  On  the  north  are  Amsterdam  Pres  Unie  [sic] 
and  Whestphalia.  From  the  summit  of  the  globe  rises  a  pole  supporting  the 
face  of  Napoleon,  copied  from  the  original  but  with  the  addition  of  a  melan- 
choly frown  and  transformed  by  the  pole  into  a  decollated  head.  It  is  inscribed 
Polar  Star  and  enclosed  in  a  circle  of  writhing  serpents  which  takes  the  place 
of  a  laurel  wreath.  Rays  extend  from  the  circle  over  the  greater  part  of  the 
design,  with  inscriptions  radiating  outwards :  Assisting  in  the  Assassination  of 
Louis  the  16'^  my  Benefactor ;  Murdering  the  Citizens  of  Paris  under  Roberspierre 
[cf.  No.  9534];  Murdering  the  Citizens  of  Toulon  [see  No.  10095];  Insulting 
the  Pope  robbing  and  plundering  the  Churches  &c  &c.  [see  No.  8997] ;  Poisoning 
my  ozvn  Sick  Soldiers  in  the  Hospital  at  Jaffa  [see  No.  10063]  '■>  Murdering  the 
Duke  Danguilme  [d'Enghien,  see  No.  1025 1] ;  Treacherously  betraying  the  king 
of  Spain  and  his  Family  [see  No.  10990];  Murdering  the  inhabitants  of  Madrid 
in  cold  Blood  [see  No.  iiooo];  Murdering  Captain  Wright  in  the  Temple  at 
Paris  [see  No.  11057];  Marrying  tzvo  Ulves  and  intriguing  zcith  the  Daughter 
of  one  of  them  [Hortense,  cf.  No.  10362] ;  The  Murder  of  Palm  [see  No.  11053] 
of  Hoffer  &c  &c.;  Leading  'jooooo  Frenchmen  to  perish  in  Russia  by  the 
Severity  of  the  Season  18 12  [see  No.  11917,  &c.];  Loosing  another  similar 
Army  the  following  Year  in  Germany  181 J  [see  No.  12093];  ^^^if'^K^  h'^^S 
Bulletins  [see  No.  1 1920] ;  Loosing  all  the  Colonies  Commerce  and  Shipping  [cf. 
No.  10439,  &c.].  At  this  point,  in  the  upper  r.  corner,  an  open  cask  inscribed 
Dutch  Comet,  divides  the  inscriptions.  A  fat  Dutchman  smoking  a  pipe  sits 
astride  it;  he  directs  the  contents  of  the  cask  against  Napoleon  (see  No.  12102). 
The  final  inscription :  And  for  all  these  brilliant  Exploits  am  now  to  be  sent 
headlong  to  the  Devil.  In  the  original  the  rays  are  faintly  inscribed  'Marie 
Louise'  and  'Roi  de  Rome'. 

The  design  is  surmounted  by  the  head  of  the  Devil  wearing  a  spiky  crown 
inscribed  Damnation,  between  two  oval  shields:  on  one  a  heart,  Heart  of  a 
Tyrant,  on  the  other  a  Vulture.  These  emblems  replace  a  crown  between 
two  shields,  one  with  the  Napoleonic  eagle,  the  other  with  the  Habsburg 
eagle.  From  this  centre-piece  flames  and  smoke  (replacing  olive  branches) 
stream  1.  and  r.,  with  a  scourge  and  a  barbed  trident.  The  lower  corners  are 
decorated  with  trophies  slanting  outwards  from  the  eagles:  spears,  eagles, 
axes,  &c.,  one  spear  supporting  a  placard  :  Flags  manufactured  for  the  Empress. 
In  the  original  spears  are  faintly  indicated.  Below  the  title  (as  in  the  original) : 

Astre  brillant,  immense,  il  eclaire,  il  feconde, 

Et  seul  fait,  a  son  gre,  tous  les  destins  du  monde, 

Vigee. 

One  of  many  satires  embodying  anti-Napoleon  propaganda  ranging  from 
canards  through  half-truths  to  facts,  and  forming  a  scurrilous  life-history, 
cf.  No.  11736.  A  new  element  is  introduced:  failure  as  well  as  crime.  The 
execution  of  Hofer,  the  Tyrolean  patriot,  was  especially  ordered  by  Napoleon 

'  Date  from  Broadley. 

297 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

in  a  dispatch  of  lo  Feb.  1810  (J.  H.  Rose,  Napoleon,  1934,  ii.  201),  The  flags 
are  those  sent  to  the  Empress  by  Napoleon  to  herald  his  return  to  Paris, 
see  No.  121 11,  &c.  The  map  connotes  the  French  empire  at  its  height. 
Jerome  fled  from  his  kingdom  after  Leipzig,  cf.  No.  12549. 

Grego,  ii.  263  f.    Broadley,  i.  344.    Reproduction  of  the  original,  Dayot, 
Napoleon,  p.  388. 
12^X9  ^^• 

12113  THE  CORSICAN  MUNCHAUSEN— HUMMING  THE  LADS 
OF  PARIS. 

[Rowlandson.] 

Pub'^  December  4.  1813  by  R.  Ackermann  N.  loi  Strand. 

Engraving  (coloured  impression).  A  design  based  on  Gillray's  Maniac 
Ravings,  No.  9998.  Napoleon,  scarcely  caricatured,  but  poorly  characterized, 
stands  addressing  an  audience  of  seated  men  who  listen  with  varying  ex- 
pressions, the  corner  of  his  platform  projecting  into  a  sea  of  heads  (1.),  while 
on  the  r.  a  file  of  soldiers  with  fixed  bayonets  or  drawn  swords  is  indicated. 
At  his  side,  the  little  King  of  Rome,  in  officer's  uniform,  with  a  plumed 
bicorne,  gapes  down  at  the  audience;  his  over-long  sabre  trails  on  the  ground, 
he  bestrides  a  tall  military  cane;  his  profile  resembles  without  repeating  (as 
in  other  prints)  that  of  his  father,  but  remains  childish  and  blank.  Napoleon 
stands  in  a  commanding  attitude  with  his  r.  arm  extended,  his  1.  hand  on 
the  hilt  of  his  sabre,  legs  apart.  He  wears  military  dress  with  a  plumed 
bicorne  in  which  a  tricolour  cockade  is  unusually  conspicuous.  Behind  him 
(r.)  his  arm-chair,  closely  copied  from  the  'Consular  Chair'  of  No.  9998  and 
with  a  similar  Medusa  head,  falls,  all  its  legs  in  air.  Beside  it,  a  damaged 
terrestrial  globe,  as  in  No.  9998,  has  fallen,  but  is  directed  to  the  1.  instead 
of  to  the  r.;  it  has  the  inscriptions  America  and  Atlantic  Ocean.  As  before. 
Napoleon's  words  radiate  from  his  head  as  if  inscribed  on  clouds.  On  the  r., 
reading  downward :  Did  I  not  swear  I  would  destroy  Austria?  Did  I  not  swear 
I  would  destroy  Prussia  Did  I  not  leave  the  Russians  1200  pieces  of  cannoti  to 
build  a  monument  of  the  victory  of  Moscow  Did  I  not  lead  4g8,ooo  men  to 
gather  fresh  Laurels  in  Russia — Did  I  not  burn  Moscow — and  leave  400,000 
brave  soldiers  to  perish  in  the  snow  for  the  good  of  the  French  nation?  On  the  1. : 
Did  I  not  swear  I  would  destroy  Sweden  Did  I  not  swear  "I  would  have" 
Colonies  &  Commerce  [see  No.  10439,  &c.]  Did  I  not  build  more  ships  than 
you  could  find  Sailors  for"  Did  I  not  burn  all  the  British  produce  bought  and 
paid  for  by  my  faithful  merchants — before  their  faces,  for  the  good  of  them  and 
my  good  people  of  Paris?  Have  I  not  called  my  troops  from  Holland — that  they 
might  not  zvinter  in  that  foggy  climate?  [see  No.  12102,  &c.]  Have  I  not  called 
my  troops  from  Spain  and  Portugal  to  the  ruin  of  the  English?  Did  I  not  change 
my  religion  and  turn  Turk,  for  the  good  of  the  French  Nation  [see  No.  9973,  &c.]. 
Have  I  not  blown  up^  the  Corporal,  for  blowing  up  the  Bridge  [see  No.  12 108] 
Have  I  not  robbed  the  Churches  of  twenty  flags  to  send  to  my  Empress,  for  the 
loss  of  my  own  flags  &  Eagles?  And  now  for  the  good  of  my  Empire,  Behold! 
O  ye  Lads  of  Paris!  I  have  put  the  King  of  Rome  in  Breeches!!! 

After  his  return  to  Paris  on  9  Nov.  Napoleon  attempted  to  conciliate  public 
opinion,  cf.  No.  12111.  The  'twenty  flags'  sent  to  the  Empress  by  Napoleon 
on  I  Nov.  were  taken  in  battle,  see  No.  12111,  &c.  On  22  Nov.  the  Paris 
papers  reported  a  review  by  Napoleon  at  the  Tuileries,  at  which  'the  king  of 
Rome,  dressed  in  uniform,  walked  for  a  long  time  in  the  middle  of  the 

'  The  earliest  instance  in  the  O.E.D.  of  blow  up,  meaning  to  scold,  is  Lytton's 
Pelham,  1827. 

298 


POLITICAL   SATIRES    1813 

troops'.  The  Examiner  (5  Dec.)  comments:  'It  is  thus  that  grown  men  are 
deluded,  and  that  children  are  fondled  and  fine  coated  into  annoyers  of  their 
species.'  See  Nos.  12123,  12178.  By  the  Fontainebleau  Decree  of  18  Oct. 
1 810  prohibited  goods  (including  all  British  industrial  products)  smuggled 
into  Europe  were  ordered  to  be  publicly  burned,  inventories  appearing  in  the 
Moniteur.  Heckscher,  The  Continental  System,  1919,  pp.  202  f.,  227-9.  Cf. 
No.  12202.  For  the  retreat  from  Moscow  see  No.  11917,  &c.  For  Napoleon 
as  Munchausen,  cf.  No.  121 17.  For  'Humming  the  Lads  of  Paris',  cf. 
No.  12257. 

Grego,  Rozvlandson,  ii.  261.    Listed  by  Broadley.    Van  Stolk,  No.  6271. 
Reproduced,  Grand-Carteret,  Napoleon,  No.  268;  Fuchs,  i.  168. 
9f  X12II  in. 

12114  FUNCKING  THE  CORSICAN. 

T.  Rozvlandson  del' 

Pub'^  December  6"^  1813  by  R.  Ackermann  N°  loi  Strand 

Engraving,  slightly  aquatinted  (coloured  impression).  Napoleon,  surrounded 
by  the  Powers  of  Europe  who  puff  smoke  at  him,  dances,  frantic  with  rage 
and  fear,  upon  the  head  of  a  large  cask  of  Real  Hollatids  Geneva.  The  cask- 
head  tilts  under  his  feet,  the  contents  splash  out,  and  he  is  on  the  point  of 
disappearing  inside  it.  On  the  cask  are  the  words:  The  Fly  that  sips  Treacle 
is  lost  in  the  szveet  [Gay,  Beggar's  Opera] .  The  most  prominent  smoker,  nearest 
the  cask  on  the  1.,  is  a  fat  Dutchman  in  bulky  breeches,  with  a  big  orange 
cockade  in  his  small  hat.  He  sits  on  a  small  barrel  inscribed  Dutch  Herrings  and 
Crimp  Cod  and  leans  forward  and  to  the  r.,  puffing  upwards  a  cloud  of  smoke. 
In  his  1.  hand  he  holds  up  his  long  pipe,  his  r.  is  on  the  handle  of  a  jug 
inscribed  Success  to  his  Serene  Highness.  Beside  him  are  a  Dutch  Cheese  [cf. 
No.  9412],  a  Tobacco  Pouch,  three  closely  coiled  twists  of  tobacco,  and  a  jug 
of  Dutch  Drops^  [see  No.  121 18].  Almost  equally  prominent  is  an  obese  John 
Bull,  a  'cit'  holding  a  pipe  and  a  frothing  tankard  of  Brozvn  Stout,  who  stands 
close  to  the  cask  in  profile  to  the  1.,  looking  up  with  amused  satisfaction,  a 
cloud  of  smoke  rising  from  his  mouth.  Next  him  and  on  the  r.,  a  Prussian 
hussar  sits  on  a  cannon,  holding  a  pipe  with  a  long  curved  stem,  and  turning 
a  grotesque  profile  toward  Napoleon.  Behind  John  Bull  is  a  (?)  Hanoverian 
wearing  a  helmet,  puffing  steadily.  Above  them  and  near  the  upper  margin 
are  four  heads:  one  very  close  to  Napoleon,  emerging  from  cloud,  is  perhaps 
a  Saxon.  A  man  wearing  a  high  fur-bordered  cap  is  probably  a  Russian,  and 
a  profile  smoking  a  pipe  with  an  ornate  bowl  may  be  Swedish.  The  man  on 
the  extreme  r.  smoking  a  German  pipe  may  represent  Bavaria.  On  the  1., 
standing  behind  the  Dutchman,  the  bulky  King  of  Wiirtemberg  is  con- 
spicuous. His  antique  dress,  with  a  long  flowered  and  gold-laced  waistcoat,  is 
reminiscent  of  the  caricatures  of  his  courtship  and  marriage,  see  No.  9014,  &c. 
He  holds  a  bottle  of  Wirtemberg  Drops,  and  smokes  a  large  cur\ed  German 
pipe.  Above  him  are  the  heads  of  two  men,  an  Austrian  and  a  Spanish  don, 
probably  the  Emperor  of  Austria  and  Ferdinand  of  Spain.  Napoleon  stands 
among  clouds  of  smoke,  which  also  form  a  background  to  the  heads.  He 
storms:  Oh  you  base  Traitors  and  Deserters.  Eleven  Hundred  Thousand  Lads 
of  Paris  [cf.  No.  121 13,  &c.]  shall  roast  every  one  of  you  alive,  as  soon  as  they 
can  catch  you! 

One  of  many  satires  on  the  consequences  of  Leipzig,  see  No.  12093,  &c., 
and  Wellington's  victories,  the  subject  being  the  defection  of  Napoleon's 

'  A  balsam  or  popular  nostrum,  prepared  with  oil  of  turpentine,  nitric  ether,  &c. 
O.E.D. 

299 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

former  vassals.  As  in  other  prints  at  this  time,  the  prominent  part  taken  by 
Holland  illustrates  the  importance  to  England  of  the  revolution  (called 
counter-revolution  in  the  radical  press),  see  No.  12102,  &c.  This  and  other 
prints  of  early  December  reflect  the  'triumphant  events'  for  which  the  Tower 
guns  were  fired  four  times  in  the  week  20-27  Nov. :  on  21  Nov.  for  revolution 
in  Holland,  on  23  Nov.  for  the  liberation  of  Hanover  (see  No.  121 10),  on 
24  Nov.  for  the  Battle  of  the  Nivelle  (on  10  Nov.),  and  (later)  for  the  surrender 
of  Dresden  (11  Nov.).  These  events  were  followed  on  25  Nov.  by  news  of 
the  fall  of  Stettin,  and  were  accompanied  by  rumours  of  insurrection  in  Paris 
and  the  assassination  of  Napoleon.  Examiner,  28  Nov.  181 3.  The  Prince  of 
Orange  (William  VI)  landed  from  England  at  Scheveningen  on  30  Nov. 
(whence  his  father  had  escaped  to  England  on  18  Jan.  1795,  see  No.  8631). 
He  was  proclaimed  Sovereign  Prince  at  Amsterdam  on  2  Dec.  See  Renier, 
Great  Britain  and  the  Establishtnent  of  the  Kingdom  of  the  Netherlands,  1930, 
pp.  120-8.  See  also  Nos.  12116,  12117,  12118,  12119,  12120,  12122,  12123, 
12171 .  To  funk  is  to  puff  smoke  at,  figuratively  to  smoke  or  stink  from  fear,  see 
Partridge,  Slang  Diet.,  1938  and  No.  8086,  Gillray's  Austrian  Bugaboo,  Funking 
the  French  Army  (1792). 

Grego,  Rowlandson,  ii.  262.  Listed  by  Broadley.  De  Vinck,  No.  8844  (a 
copy  is  No.  8845).  Van  Stolk,  No.  6272,  accompanied  by  a  printed  broad- 
side headed  Verklaring  .  .  .  de  berooking  van  der  Korsikaan  met  regie-tabak 
(20  lines  of  verse).  There  is  also  a  poem:  De  lelijke pijp  tabak,  Wijze:  Van  de 
jonge  Matroos. 
9|XI3^  in. 

12115  UN  •  EMPIRE  A  VENDRE  •  UN  EMPEROR  A  PANDRE  [sic]  ■ 
UNE  EMPERATRICE  A  RENDRE', 

[W.  Heath.]  Vid  Placards  posted  in  Paris 

Pub  Dec  9  1813  by  S  W  Fores  50  Piccadilli 

Engraving  (coloured  impression).  Perhaps  a  copy  of  a  French  print:  above 
the  design :  This  Placard  was  posted  on  the  Walls  in  Paris.  The  title  indicates 
the  three  figures  of  the  design,  each  above  the  relevant  words.  In  the  centre 
is  Napoleon,  standing  disconsolate  under  a  gibbet,  the  noose  just  above  his 
large  plumed  bicorne.  He  is  directed  to  the  1.,  turning  up  his  eyes,  his  thumbs 
together,  fingers  interlaced.  From  his  coat-pocket,  beside  a  large  sword-hilt, 
hang  two  papers:  D — n  Moscow  [see  No.  11 917]  and  Last  Dying  Speech  of 
Boney.  A  dog  with  its  collar  inscribed  Dutch  Pug  befouls  his  boot  (a  tradi- 
tional incident  in  caricature,  cf.  No.  5472).  On  the  1.  Talleyrand,  wearing 
a  long  robe  and  papal  tiara,  sits  on  a  gilt  chair  writing  at  a  table  which  extends 
behind  the  post  of  the  gibbet.  The  block  under  the  foot  on  his  lame  leg  is 
conspicuously  planted  on  a  Map  of  France  inscribed  To  Be  Nockd  Down  to 
the  Highest  Bidder.  His  pen  rests  on  a  paper  inscribed :  New  Taxes  &  Leives 
[sic] /or  the  Spo  .  .  of  the  War  Conscrip  .  .  .  [see  No.  12087].  On  the  r.  stands 
Marie  Louise,  much  taller  than  her  husband,  her  head  turned  in  profile  to 
the  1.,  weeping  with  clasped  hands.  She  wears  a  crown,  a  decolletee  dress 
with  a  vandyked  ruff  and  long  sleeves,  a  sheath-like  skirt,  with  an  over-dress 
of  gold.  All  the  figures  are  in  a  landscape:  behind  the  Empress  a  road 
inscribed  Road  to  Viania  [sic]  recedes  to  a  dome  and  spires  among  trees, 
behind  which  is  a  large  sun  just  above  the  horizon,  which  irradiates  the  sky 
behind  her. 

A  prophetic  satire :  on  the  return  of  Napoleon  to  Paris  in  November,  see 
No.  12111,  &c.,  Talleyrand  saw  that  he  was  'finished';  he  already  secretly 

'  The  last  two  words  are  in  pen. 

300 


POLITICAL   SATIRES    1813 

supported  the  Bourbon  cause,  see  Nos.  12168,  12216,  12225;  cf.  No.  11054. 
For  the  Hberation  of  Holland  see  No.  12102,  &c.  Marie  Louise  left  Orleans 
to  rejoin  her  father  on  12  Apr.  1814.  For  Napoleon's  'Dying  Speech'  cf. 
Nos.  10058,  10099  (1803),  12103,  12121,  12174,  12200,  12226,  12580. 

Broadley,  i.  336  (reproduction),  345. 
8^X  i2f  in. 

12116  THE  MOCK  PHCENIX!!!  OR  A  VAIN  ATTEMPT  TO  RISE 
AGAIN. 

[Rowlandson.] 

Pu¥  Dece""  lo^''  1813  by  R.  Ackermann.  N°  loi  Strand. 

Engraving  (coloured  impression).  Napoleon  emerges  from  the  flames  of  a 
huge  fire  burning  on  the  summit  of  a  rock,  on  the  face  of  which  is  an  opening, 
like  the  door  of  an  oven,  whence  issue  flames  and  serpents.  These  are  being 
stirred  up  by  the  long  spear  of  a  Cossack  (r.),  who  gazes  up  at  Napoleon, 
while  a  sturdy  Dutchman  (1.)  plies  a  huge  pair  of  bellows.  The  head  of 
Napoleon  is  based  on  Gillray's  Apotheosis  of  the  Corsican-Phoenix,  No.  11007, 
but  as  a  'Mock  Phoenix',  he  has  not  the  wings  and  body  of  a  bird,  but  the 
body  of  a  man,  though  one  claw  extends  from  the  fire,  dropping  an  orb,  as 
in  that  print.  His  flaming  crown  rises  from  his  head,  as  in  No.  11007,  but 
he  clutches  his  breast  with  the  r.  hand,  and  raises  the  1.  arm  in  a  gesture  of 
agonized  despair;  his  sceptre  falls  into  the  fire.  The  flames  and  smoke  have 
more  lateral  spread  than  in  No.  11007,  and  are  filled  with  demons,  ranging 
from  quasi-human  devils  and  imps  to  serpents.  The  Dutchman,  in  bulky 
breeches,  wears  a  large  orange  cockade  in  his  hat;  he  looks  up,  the  smoke 
from  his  pipe  merging  with  that  of  the  pyre.  The  Cossack  is  bearded,  with 
the  high  furred  cap  of  other  prints.  The  scene  is  a  plateau  surrounded  by 
rocky  peaks. 

One  of  the  many  prints  exulting  at  the  victories,  see  No.  121 14,  in  which 
the  liberation  of  Holland  (invaded  by  Cossacks),  see  No.  12102,  takes  a 
prominent  part. 

Grego,  Rowlandson,  ii.  262.    Listed  by  Broadley.    De  Vinck,  No.  8846 
Van  Stolk,  No.  6273. 

98  X  13-8- in- 

12117  FRIENDS  &  FOES— UP  HE  GOES— SENDING  THE  CORSI- 
CAN  MUNCHAUSEN  TO  ST  CLOUD'S 

[Rowlandson.] 

Pub'^  December  12"'  1813  by  R.  Ackermann  N°  loi  Strand. 

Engraving  (coloured  impression).  The  Powers  of  Europe  toss  Napoleon  in 
a  blanket.  He  flies  into  the  air,  legs  above  his  head,  dropping  crown  and 
sceptre,  his  sword  also  falls.  He  exclaims  with  an  agonized  expression: 
O  Misericorde.  Three  figures  hold  the  front  of  the  sheet,  in  back  view,  but 
with  upturned  profiles:  in  the  centre  is  John  Bull,  a  fat  'cit',  bald-headed, 
his  hat  and  wig  on  the  ground.  On  his  1.,  their  hands  touching,  is  a  Dutch- 
man smoking,  and  w'ith  a  big  orange  cockade  in  his  hat.  On  his  r.  is  a  Spanish 
don,  in  feathered  hat,  ruff,  cloak,  slashed  tunic  and  breeches.  At  the  extreme 
ends  of  the  sheet  are  (1.)  a  Cossack,  next  the  Dutchman,  and  (r.)  the  fat  King 
of  Wiirtemberg.  Seven  men  hold  the  farther  side  of  the  blanket  (1.  to  r.): 
the  Pope,  wearing  his  tiara,  a  man  wearing  a  fur  cap  with  a  star,  inscribed 
Polar  Star,  identified  in  a  contemporary  hand  as  Poland,  despite  the  associa- 
tion with  Sweden  (see  No.  10997).  His  neighbour  is  identified  as  Bernadotte, 

301 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

but  resembles  Francis  I.  The  next  two  are  identified  as  Russia  and  Austria, 
one  is  perhaps  Bavaria  (Russia  being  represented  by  the  Cossack  as  England 
is  by  John  Bull).  Next  is  the  hussar  who  commonly  stands  for  Prussia.  A 
man  wearing  cocked  hat  and  star  is  identified  as  Hanover,  but  does  not 
resemble  the  Duke  of  Cambridge  or  of  Cumberland  and  is  not  unlike 
Bernadotte. 

One  of  many  prints  exulting  at  victories,  see  No.  12114,  and  giving 
prominence  to  Holland,  see  No.  12102,  &c.  For  Napoleon  as  Munchausen 
cf.  No.  12113;  he  is  tossed  in  a  blanket  in  No.  loooi  (1803). 

Also  an  impression  with  the  final  letter  of  the  title  removed. 

Grego,  Rowlandson,  ii.  262  f.    Broadley,  i.  345.    De  Vinck,  No.  8847. 
Reproduced,  Fuchs,  i.  168;  Klingender,  p.  41. 
9^X131  in. 

12118  BLEEDING  &  WARM  WATER!  OR,  THE  ALLIED  DOCTORS 
BRINGING  BONEY  TO  HIS  SENSE'S  287 

G.  Cruikshank  fec^ 

Pu¥  Dec''  12^^  1813  by  T.  Tegg  Cheapside 

Engraving  (coloured  impression).  Napoleon,  a  grotesque  mannikin  in  a  strait- 
waistcoat,  sits  on  a  three-legged  Stool  of  Repentance  which  stands  in  a  large 
tub  of  Hot  Water,  whose  steaming  contents  are  inscribed  Sea  of  Troubles. 
The  waistcoat  is  inscribed  Allied  Strait  Waist-coat ;  it  has  long  sleeves  extend- 
ing far  beyond  his  hands,  the  ends  held  by  the  Tsar  (1.)  and  a  Cossack  (r.) 
so  that  the  captive's  arms  are  horizontally  extended.  His  head  is  bald  and 
is  in  profile  to  the  1. ;  he  has  a  beak-like  nose  and  his  mouth  gapes  like  a  young 
bird's  for  a  huge  bolus  inscribed  Invasion  of  France  which  John  Bull,  a  fat 
'cit',  puts  into  his  mouth.  Alexander,  who  wears  an  ill-fitting  bag-wig  poised 
on  his  own  hair,  holds  a  knout  with  knotted  lashes,  inscribed  Russia  Hemp; 
he  says :  /  have  found,  a  constant  application  of  this  Russian  Knout  to  work 
Wonders!!  John  Bull,  who  stands  beside  him,  says :  Work  away  my  Masters 
r II  pay  you  your  fees  ay  ay  rave  &  rant  Master  Boney  but  the  Devil  will  Bone 
you  at  last.  In  the  centre  of  the  design,  high  above  the  other  figures,  stands 
a  grotesque  Dutchman,  with  a  conical  hat,  a  frill  round  his  neck,  and  grinning 
features.  In  his  hat  is  a  ribbon  inscribed  Orange  and  a  pipe.  He  holds  up 
a  short  cannon  or  mortar  inscribed  Dutch  Drops  [see  No.  121 14],  from  which 
pours  a  flood  containing  tiny  replicas  of  himself  armed  with  dagger,  axe, 
a  blunderbuss  or  bayonet,  who  descend  upon  Napoleon's  head;  among 
these  are  balls  (bullets  or  oranges),  the  largest  inscribed  Orange  Boven.  He 
says :  We'll  try  what  Dutch  Drops  will  do!  By  the  tub  (r.)  kneels  a  Spanish  don, 
wearing  slashed  tunic  and  breeches,  with  cloak  and  ruff";  he  applies  a  plaster 
to  Napoleon's  back  inscribed  Spanish  Flies  [cantharides  or  blister-beetles,  see 
No.  1 1 01 6],  and  grins  broadly,  saying,  Here  is  a  Plaster  of  Spanish  flies  for 

his .   Behind  him  stands  the  Cossack,  piercing  Napoleon's  1.  arm  with 

his  long  spear,  making  a  fountain  of  blood  spurt  into  a  bowl,  inscribed  Crown 
Bowl,  held  by  Bernadotte,  the  Crown  Prince  of  Sweden.  Bernadotte  wears 
an  absurd  powdered  wig  with  queue  perched  on  his  own  hair  which  is  in  a 
small  pigtail.  On  the  wig  is  poised  a  cocked  hat.  He  says:  /  think  my  Crown 
Razors  have  shaved  his  Crown  pretty  close.  From  his  belt  hangs  an  open  razor, 
the  blade  inscribed  Best  Crown  Steel.  Like  Alexander,  he  wears  uniform  with 
jack-boots.  The  tub  stands  upon  flames  inscribed  Moscow  from  which  emerge 
the  towers  and  buildings  of  the  city,  see  No.  12049.  Napoleon  frantically 
flourishes  above  the  water  one  thin  leg  in  a  huge  jack-boot  with  a  giant 

302 


POLITICAL   SATIRES    1813 

spur.  He  exclaims:  Hence  with  your  Medecines — they  but  drive  me  Mad — 
Curse  on  your  Dutch  Drops  your  Leipsic  Blister  [see  No.  12093,  &c.]  &  your 
Spanish  flies  they  have  fretted  tne  to  what  I  am  D — n  your  Cossack  Lancets 
they  have  drained  my  veins  and  rendered  me  poor  &  vulnerable  indeed! — Oh! 
how  I  am  fallen — But  I  will  still  struggle — /  will  still  be  great — Myriads  of 
Frenchmen  still  shall  uphold  the  glory  of  my  Name  the  Granduer  [sic]  of  my 
Throne  &  write  my  disgrace  in  the  hearts  of  ye — ye  Wretched  creatures  of 
English  Gold!  On  the  extreme  r.  a  Frenchman  wearing  a  bonnet  rouge  looks 
in  through  a  window,  much  perturbed.  He  says :  By  gar  de  grande  Bounaparte 
get  into  de  hot  zoater  at  last,  he  ?to  like  his  Doctors — by  gar  he  say  they  be  no 
doctors,  but  de  journeymen  of  dat  great  Doctor  John  Bull.  Behind  Alexander 
and  on  the  extreme  1.  is  the  Allied  Medecine  Chest.  It  contains  a  jar  of  Surgical 
Instruments  bristling  with  cutting  and  slashing  weapons,  axes,  bayonets, 
sword,  &c.,  with  a  jagged  saw;  a  pile  of  snozv  balls  [cf.  No.  11917,  &c.],  and 
a  jar  of  Cossack  Leeches. 

One  of  many  prints  exulting  at  the  French  defeats,  see  No.  121 14,  &c., 
with  the  liberation  of  Holland,  see  No.  12102,  &c.,  taking  a  prominent  place. 
As  in  No.  121 10,  England's  part  as  paymaster  of  the  Allies  is  stressed,  but 
without  rancour,  John  Bull  being  transformed  from  patient  to  doctor. 
'Invasion'  is  a  reference  to  Wellington,  the  Allies  did  not  cross  the  Rhine 
till  20  Dec.  For  'English  gold'  cf.  No.  12542.  Cf.  No.  10970  (1808),  where 
'Doctor  Boney'  deals  with  the  Powers  of  Europe. 

A  Dutch  print,  't  zickbed  van  Napoleon  de  i\  Van  Stolk,  No.  6264,  is  said 
by  Broadley  to  derive  from  this  print,  but  is  an  entirely  different  design. 

Reid,  No.  276.    Cohn,  No.  931.    Broadley,  i.  345  f. 
8^Xi3iin. 

No.  1 1026,  A  Spanish  Pass-port  to  France!!,  Woodward  del,,  Rowlandson  f., 
was  reissued  by  Ackermann,  12  Dec.  1813  (the  day  after  the  Treaty  of 
Valengay,  cf.  No.  12123).  De  Vinck,  No.  8399.  Hennin,  No.  13501;  Van 
Stolk,  No.  6274,  with  a  printed  explanation,  fourteen  lines  of  verse  in  Dutch. 
Not  in  B.M. 

12119  THE  SEA  IS  OPEN.     TRADE  REVIVES 

De  Zee  is  vry    de  Koophandel  herleevt 

Published  Dec''  13"'  1813  by  R.  Ackermann  Strand. 

Engraving  (coloured  impression).  A  British  and  a  Dutch  sailor  in  Amsterdam 
fraternally  celebrate  the  liberation  of  Holland.  The  Englishman  (1.)  sits  on 
a  bench,  his  r.  leg  sprawling  on  the  top  of  a  cask  which  serves  as  table,  his 
1.  arm  round  the  waist  of  the  Dutchman  who  stands  beside  him  with  a  paper 
inscribed  Paris  Imperial  Decree  Napol[eon]  under  his  foot;  the  latter's  r.  knee 
is  raised  high  in  the  act  of  trampling.  The  Englishman  holds  up  a  foaming 
tankard  of  Brown  Stout,  the  Dutchman  holds  up  a  tobacco-pipe  in  his  r. 
hand,  a  bottle  of  Hollands  in  the  1.  The  Englishman  wears  loose  trousers 
with  a  jacket;  the  Dutchman  wears  a  double-breasted  jacket  and  trousers, 
with  an  orange  favour  in  his  hat.  Behind  them  are  their  respective  flags, 
leaning  towards  each  other :  (red)  ensign  and  the  striped  flag  of  the  Sovereign 
Prince,  inscribed  Orange  Boven  181  j,  and  with  a  shield  held  by  two  sup- 
porters, one  concealed  by  the  Dutchman's  hat,  the  other  (sinister)  a  lion.  On 
the  cask  (1.)  are  a  large  loaf,  a  round  Dutch  cheese  with  a  slice  out  of  it, 
tobacco-box,  pipe,  glass,  and  knife.  On  the  ground  (1.)  is  a  collection  of  docu- 
ments which  has  been  set  on  fire :  a  large  ledger  inscribed  Continental  System 
and  papers:  Confederation  of  the  Rhine,  Napo[leon],  Seventeenth  Military 

303 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

Division,  Senatus  Consultum.  On  the  r.  by  the  Dutchman  are  a  cannon  and 
money-bags  inscribed  Ducats  and  Guilders.  In  the  background  (1.)  are  the 
sails  of  a  fleet  flying  the  Orange  flag,  and  (r.)  the  buildings  of  Amsterdam 
flying  the  same  flag,  with  French  troops  in  the  middle  distance  marching  off 
to  the  r.,  their  muskets  sloped,  and  with  a  flag  and  an  eagle.  A  Dutchman 
kicks  a  retreating  Frenchman  and  prods  him  with  a  pitchfork.  Above  the 
two  flags  floats  a  ribbon  inscribed  in  large  letters :  Fendragt  maakt  Magt  and 
below  (in  smaller  letters)  Concord  makes  Power. 

The  French  garrison  left  Amsterdam  on  the  night  of  14-15  Nov.  To  avoid 
pillage  by  the  Dutch,  a  popular  Orangist,  Job  May,  grandson  of  an  English- 
man, and  an  ex-captain  in  the  Dutch  navy  (perhaps  depicted)  incited  the 
populace  to  fire  the  custom  houses  which  were  a  symbol  of  French  oppression, 
probably  symbolized  here  by  the  burning  of  the  'Continental  System'  (see 
Nos.  10773,  &c.,  121 13),  with  the  other  emblems  of  the  Napoleonic  Empire. 
Renier,  Great  Britain  and  the  Establishment  of  the  Kingdom  of  the  Nether- 
lands, 1930,  p.  Ill  f.  For  the  dissolution  of  the  Confederation  of  the  Rhine 
see  No.  12122,  &c.  On  2  Dec.  William  VI  was  proclaimed  in  Amster- 
dam as  William  I,  Sovereign  Prince.  For  the  liberation  of  Holland  see 
No.  12102,  &c. 
ii^X9iin. 

12120  THE  HEAD  OF  THE  GREAT  NATION,  IN  A  QUEER  SITUA- 
TION! 

G.  Cr.fec' 

Pu¥  Dec^  1813  by  S  Knight  Sweetings  Alley  Roy^  [sic] 

Engraving  (coloured  impression).  Napoleon,  a  little  figure  with  a  big  head, 
stands  with  legs  astride,  head  turned  to  the  1.,  hair  on  end;  his  arms  are 
extended,  fingers  spread,  mouth  open  as  if  shrieking.  He  has  a  grotesque 
profile  with  corvine  nose  and  wears  high  jack-boots  with  large  spurs.  At  his 
feet  lies  a  broken  baton  inscribed  Magic  Wand.  Five  allies  threaten  him  at 
point-blank  range,  and  from  a  circle  of  cloud  an  arm  emerges  holding  a  conical 
Allied  Extinguisher  above  his  head.  On  the  extreme  1.  Wellington  aims  a 
blunderbuss,  saying.  Take  a  good  aim  at  the  Head  Gentlemen,  &  we  shall  soon 
settle  the  Business.  On  Wellington's  1.  stands  Francis  I,  aiming  a  small  pistol; 
by  his  head  are  the  words :  Away  ikf  Boney  the  Hand  of  Justice  [see  No.  12247] 
will  put  your  Night  Cap  on  at  last.  On  the  extreme  r.  a  fat  Dutchman,  wearing 
a  conical  cap  as  in  No.  12105,  stands  behind  a  small  cannon  holding  a  lighted 
match  and  a  cannon-ball  inscribed  Orange  Boven ;  he  says :  /'//  deal  out  my 
Oranges  to  him  Wholesale.  Beside  him  are  piled  cannon-balls  inscribed  Orange. 
In  his  hat  are  orange  ribbons  inscribed  Orange  Boven  and  a  tobacco-pipe. 
Next  him  the  Tsar  leans  forward,  aiming  a  large  pistol;  he  says:  /'//  rattle 
a  few  Snow  Balls  at  his  Cranium.  On  Alexander's  r.  stands  Bernadotte,  aiming 
a  small  pistol ;  he  says :  By  gar  we  shall  mak  de  head  look  like  de  plomb  Pudding. 
All  but  the  Dutchman  wear  uniform  with  cocked  hats.  A  background  of 
smoke  or  cloud  is  indicated. 

One  of  many  satires  exulting  at  victories  and  the  liberation  of  Holland,  see 
No.  121 14,  &c.,  and  the  first  of  these  in  which  Wellington  appears  in  person. 
The  symbol  of  the  extinguisher  (cf.  No.  12097)  was  much  used  in  French 
satirical  prints  in  1815,  see  No.  12588.  It  was  used  in  Nos.  8701  (1795), 
10013  (1803).  For  the  title  cf.  Nos.  5661,  11564. 

Reid,  No.  275.    Cohn,  No.  1187.  Listed  by  Broadley.   Milan,  No.  2506. 
81^X13-^  in. 

304 


POLITICAL  SATIRES    1813 

12120a  le  ch£;f  de  la  grande  nation  dans  une  triste 
position 

Engraving.  A  close  copy  (?  1814),  the  inscriptions  literally  translated.  Said 
to  be  published  also  with  the  title  UEteignoir  des  Allies  (which  is  on  the 
extinguisher). 

Reid,  No.  275.    Listed  by  Broadley  (Latta  Coll.).    De  Vinck,  No.  8985. 
Milan,  No.  2455.    Reproduced,  Dayot,  Napoleon,  p.  324. 
8^X  i2|  in. 

12121  napoleon  BONAPARTE.    |   CHEF  DE  BRIGANDS;    |   AT 
HIS  POST  OF  HONOR. 

Published  by  Baldzvyn,  Catherine  Street,  Dec.  181  j — 

Engraving  (coloured  and  uncoloured  impressions).  A  bust  portrait  of  Napo- 
leon in  profile  to  the  r.,  wearing  uniform  with  his  petit  chapeau,  not  carica- 
tured, and  apparently  from  the  engraving  (reversed)  by  Lehmann  after 
Dahling  (1807)  which  was  the  basis  of  No.  12 177,  &c.  It  is  framed  by  the 
rectangle  of  a  gibbet,  the  post  on  the  1.,  with  the  noose  dangling  above  his 
head.   Cf.  No.  121 15,  &c. 

Listed  by  Broadley.   De  Vinck,  No.  8858.   Reproduced:  Grand-Carteret, 
Napoleon,  p.  18;  Dayot,  Napoleon,  p.  322;  Fuchs,  i.  170. 
7jX4|in.  (pi.). 

12122  POLITICAL  CHEMIST  AND  GERMAN  RETORTS  OR  DIS- 
SOLVING THE  RHENISH  CONFEDERACY. 

[Rowlandson.] 

Pub^  December  14  1813  by  R  Ackermann  N  loi  Strand 

Engraving  (coloured  impression).  In  a  goblet-shaped  glass  vessel  on  the  top 
of  a  cylindrical  German  Stove  a  little  Napoleon  is  being  heated  to  dissolution 
point.  Two  retorts  are  connected  with  this  vessel  inscribed  Intrigue  and 
Villainy  and  Ambition  and  Folly;  four  others  issue  symmetrically  from  the 
stove:  Gasconade  and  Lies,  Fire  and  Szcord,  Arrogance  and  Atrocity,  Murder 
and  Plunder.  In  the  front  of  the  stove  is  an  opening  for  the  fire;  this  is  being 
stoked  by  John  Bull  (1.),  a  fat  'cit*  who  leans  forward,  supporting  John  Bulls 
Coal  Tub,  and  holding  out  a  lump  of  coal  in  a  pair  of  tongs.  His  vis-a-vis 
is  a  fat  Dutchman  (r.)  who  crouches  on  his  knees  plying  a  pair  of  Dutch 
Bellows.  He  wears  a  cap  and  is  smoking  a  pipe;  beside  him  is  a  pot  marked 
Gall.  Behind  John  stand  five  sovereigns  or  personifications  of  their  countries : 
the  King  of  Wiirtemberg,  grotesquely  obese,  gazes  up,  pointing  a  finger  as 
if  giving  directions;  he  holds  an  open  book:  Publishd  Wirtemburgh.  Berna- 
dotte,  wearing  several  orders,  triumphantly  empties  into  the  steaming  vessel 
a  bottle  labelled  Sulphat  of  Swedish  Iron.  Behind  him  are  the  hussar  who 
stands  in  these  prints  for  Prussia  or  Frederick  William  III,  and  (?)  Francis  I. 
Between  Bernadotte  and  the  glass  is  an  older  face,  perhaps  the  King  of  Saxony. 
All  look  up  exultingly  at  the  tortured  Napoleon.  Facing  this  group  stands 
a  German  officer  (r.)  stretching  up  to  hold  a  lid  which  he  is  about  to  clap 
down  on  the  vessel,  though  this  reaches  only  to  below  the  victim's  waist. 
Napoleon,  in  profile  to  the  1.,  puts  one  hand  to  his  head  with  a  despairing 
gesture,  and  flings  out  his  1.  arm  as  if  to  ward  off  the  extinguishing  lid;  he 
exclaims:  Oh  Spare  me  till  the  King  of  Rome  j  Is  ripe  for  mischief  yet  to  come. 
On  the  extreme  r.  a  Spanish  don  pounds  with  a  pestle  in  a  large  mortar 
inscribed  Saragossa. 

On  the  1.  are  four  men  seated  close  together  at  a  round  table  where  one 

305  X 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

of  them,  a  large  Cossack,  is  mixing  chemicals.  He  is  directed  to  the  1.  and 
holds  a  book  while  he  mixes  the  contents  of  a  small  pot ;  a  pair  of  scales  lies 
on  the  table  on  which  are  also  jars  and  an  hour-glass.  The  other  three  watch 
intently;  next  him  is  a  man  wearing  a  fur  cap  inscribed  Polar  Star  (?  Sweden 
or  Poland)  who  also  appears  in  No.  121 17.  His  neighbour  resembles  the 
Emperor  of  Austria,  but  he  and  the  man  on  the  extreme  1.  may  be  the  King 
of  Bavaria  and  the  Duke  of  Baden,  princes  of  the  Confederation  of  the  Rhine. 
On  the  ground  near  the  table  three  books  are  propped  up.  The  largest  is 
open;  on  the  1.  page  but  scored  through  are  the  words  Napoleon  Protecter  of 
the  Rhenish  Confederacy;  on  the  r.  page :  Francis  Emperor  of  Germany  restored 
181 3.  The  others  are  Liberty  of  Germany  and  The  Downfall  of  Boney. 
Behind  the  Cossack,  but  directed  to  the  r.  and  watching  Napoleon,  stands  the 
Pope,  wearing  his  tiara  and  holding  a  bottle  in  each  hand  containing  Fulmina- 
ting Powder  and  Vial  of  Wrath.  Chemical  appliances  are  indicated  in  the 
background. 

One  of  many  prints  on  the  consequences  of  allied  victories,  cf.  No.  121 14. 
Prominent  parts  are  given  to  England  as  paymaster  of  the  Coalition,  and 
to  the  Dutch  for  the  revolution,  see  No.  12102.  The  two  defences  of  Saragossa, 
15  June  1808  to  14  Aug.,  when  the  French  were  compelled  to  raise  the  seige, 
and  Dec.  1808  to  21  Feb.  1809  when  the  garrison  left  the  city  with  the  honours 
of  war,  were  (with  Baylen)  the  outstanding  achievements  of  the  Spanish 
patriots,  cf.  No.  10997,  &c.  The  Confederation  of  the  Rhine  (cf.  No.  11031) 
dissolved  by  the  defection  of  the  Kings  of  Wiirtemberg  and  Bavaria  and  of 
the  petty  princes  who  made  peace  with  Metternich  after  Leipzig  (see 
No.  12093,  &c.)  and  joined  the  Allies,  cf.  No.  12123.  The  officer  about  to 
put  the  lid  on  Napoleon  may  be  one  of  the  Allied  generals,  perhaps  Bliicher. 
Should  Tolar  Star'  denote  Poland  an  allusion  to  the  occupation  of  the  Grand 
Duchy  of  Warsaw  by  the  Russians  may  be  intended. 

Grego,  Rowlandson,  ii.  263.    Broadley,  i.  346. 
9iXi3jin. 

12123  MOCK  AUCTION  OR  BONEY  SELLING  STOLEN  GOODS. 

[Rowlandson.] 

Pu¥  December  25"*  1813  by  R.  Ackermann  N"  loi  Strand 

Engraving  (coloured  impression).  Napoleon  stands  in  profile  to  the  r.  on  a 
low  platform  at  a  desk  on  which  he  leans,  his  auctioneer's  hammer  in  his  r. 
hand,  the  1.  hand  extended.  The  Allies  are  crowded  together  on  or  beside 
a  bench  facing  a  second  bench  on  which  are  four  elderly  French  officers.  One 
of  these,  rather  younger  than  the  others,  identified  in  Van  Stolk  as  Marshal 
Berthier,  stands  holding  up  a  crown  above  his  head.  A  Spanish  don  stands 
extending  both  arms  towards  the  crown  with  a  gesture  of  dismissal ;  he  says : 
That  a  CROWN!  It'snot  worth  half  a  Crown.  Napoleon,  who  wears  uniform 
and  a  cocked  hat  and  is  scarcely  caricatured,  says:  What  no  bidding  for  the 
Crown  of  Spain  Then  take  the  other  crowns  and  lump  them  into  one  lot.  The 
two  most  prominent  figures  on  the  front  bench,  and  the  nearest  to  the  rostrum, 
are  a  fat  Dutchman  smoking  a  pipe  and  turning  his  head  in  profile,  and  a 
rough  British  sailor  who  sprawls  behind  him,  one  hand  protectingly  on  the 
Dutchman's  shoulder,  the  other  pointing  to  Napoleon.  John's  back  is  to  the 
other  Allies;  the  obese  King  of  Wiirtemberg,  with  a  conspicuous  flowered 
waistcoat,  cf.  No.  121 14,  is  immediately  behind  him.  The  others  are  a  Cossack 
and  a  Prussian  hussar  with  the  Spanish  don.  The  French  officers  watch  with 
rage  or  intense  melancholy. 

Stepping  on  to  Napoleon's  little  platform  is  Marie  Louise  (1.),  holding  in 

306 


POLITICAL   SATIRES    1813 

her  arms  the  httle  King  of  Rome  with  the  face  of  a  monkey,  wearing  miHtary 
uniform  with  a  cocked  hat.  He  says :  /  suppose  daddy  zvtll  put  us  up  for  sale. 
The  Empress  is  one  of  Rowlandson's  buxom  Enghsh  girls.  Napoleon  leans 
on  a  large  document  which  is  on  his  desk :  Speedily  zvtll  be  sold  the  Thirteen 
Cantons  of  Smtserlajid.  In  the  foreground  (1.)  in  front  of  the  rostrum  the 
goods  for  sale  are  piled.  There  are  three  crowns  and  a  papal  tiara,  a  sheaf 
of  flag-staffs,  with  a  paper :  Lot  2  Twenty  flags  the  property  of  the  Empress 
[see  No.  121 11,  &c.];  a  sheaf  of  Eagles  with  a  paper:  Lot  of  Useless  Eagles, 
with  other  papers  inscribed  respectively :  Kingdom  of  Bavaria,  Kingdom  of 
Prussia,  Saxony  [see  No.  12096],  Kingdom  of  Westphalia  [see  No.  12549], 
United  Provinces. 

One  of  many  satires  on  the  consequences  of  allied  victories,  see  No.  121 14, 
&c.,  and  combining  references  to  the  collapse  of  the  Confederation  of  the 
Rhine,  cf.  No.  12122,  and  the  liberation  of  Germany,  the  defeat  of  the  French 
in  Spain  and  the  flight  of  Joseph,  see  No.  12068,  &:c.,  the  liberation  of 
Holland  with  British  support,  see  No.  12 102,  &c.  The  King  of  Rome  is 
habitually  depicted  in  uniform;  at  this  date  the  reference  is  to  his  appearance 
at  a  review,  see  No.  121 13,  8:c.  Rowlandson  cannot  have  known  of  the  secret 
agreement  of  Napoleon  with  Ferdinand,  by  the  Treaty  of  Valenfay  (11  Dec.) 
by  which  he  agreed  to  recognize  him  as  King  of  Spain  provided  that  British 
and  French  troops  evacuated  the  countr}%  thus  side-tracking  Wellington. 
This  was  rejected  by  the  Spanish  Regency  and  Cortes.  J.  H.  Rose,  Napoleon  I, 
1934,  ii.  379  f.,  see  No.  12193.  The  Pope  was  still  a  prisoner,  cf.  No.  11360. 
Napoleon  by  the  Act  of  Mediation  of  1803  was  the  protector  of  the  Swiss 
Federation;  since  that  date  he  had  added  six  cantons  to  the  original  thirteen. 
On  20  Nov.  the  Swiss  Diet  issued  a  declaration  of  neutrality;  this  the  Allies 
refused  to  accept  and  Austrian  forces  entered  Switzerland  (en  route  for 
France),  declaring  their  intention  of  restoring  the  ancient  independence  of 
the  country.  Berne  was  entered  on  24  Dec,  and  on  that  day  the  ancient 
government  of  the  canton  was  re-established.  See  Ann.  Reg.,  1813,  pp.  170-2, 
and  Nos.  12172,  12192. 

Grego,  Rowlandson,  ii.  264-5.  Listed  by  Broadley.  Van  Stolk,  No.  6275. 
9^Xi3iin. 

12124  THE  PORTABLE  PURIFICATOR  OF  OUR  COURTS  OF  LAW 
&  EQUITY;— 

[G.  Cruikshank.]  [1813] 

Pub"^  as  the  Act  directs  at  the  Corner  of  Chapel  Court  Swallow  S'  where 

the  peeps  &  Gleanings  of  John  Bulls  Watchman  are  Sold  lent  &  some 

given  away  to  any  poor  man  who  has  Brains — 

Engraving.  One  of  two  folding  plates  to  Patriotic  Gleanings  by  John  Bull's 
Watchman.  Showing  how  the  Laws  and  Practice  of  our  Courts  of  Jurisprudence 
have  changed  since  the  last  century,  etc.  (not  traced  in  B.M.L.).  The  title  con- 
tinues: being  the  Way  our  Great  &  Glorious  Alfred  cured  the  Winkings  & 
Squintings  of  his  Judges,  see  his  reign  in  the  History  of  England  or  in  my  3'^  Peep. 
A  judge  in  wig  and  gown,  and  blindfolded,  hangs  from  a  gibbet  outside  an 
archway  inscribed  Great  Scotland  Yard.  His  executioners  are  a  band  of  men 
who  gleefully  drag  away  a  cart  filled  with  sheaves  in  which  he  has  been  brought 
to  the  gallows.  On  the  1.  stands  the  'watchman'  wearing  a  watchman's  over- 
coat and  with  a  rattle  suspended  from  his  shoulders.  He  looks  up  at  the  judge 
through  a  telescope,  and  makes  a  long  speech  beginning :  Aye!  Aye!  That  is 
him ;  He  suspended  his  Prothonotary  because  he  wo^  not  Tax  y*  Costs  so  high 
as  he  pleased  .  .  .    [An  account  of  a  personal  injury  in  a  lawsuit  follows  with 

307 


CATALOGUE  OF  POLITICAL   AND   PERSONAL   SATIRES 

page  references  to  'Patriotic  Gleanings'.]  Come  my  Lads!  let  us  next  Proceed 
to  the  Exchequer!  We  have  now  no  Alfred,  &  must  do  this  Drudgery!  our- 
selves! .  .  .  The  men  who  drag  the  cart  or  stand  round  to  cheer  say :  Huzza! 
To  the  purity  of  our  Courts  of  Judicature  &  the  Uprightness  of  our  Judges!!!; 
Zoons,  what  haum  Baggs  they  are  wha  Wou'd  a  thought  it — ?;  Be  the  Powers: 
he'll  Hum  Bugg  no  more  nor  rob  Orphans! ;  And  I  too  was  falsely  nonsuited! 

So  you  are  welcome  to  my  old [the  word  'hay'  has  been  erased]  Cart  & 

best  services  see  page  159;  Huzza!;  Huzza  my  lads!  Huzza!!  this  was  alfreds 
way  of  Purifying  his  Judges.  On  the  side  and  lower  margins :  After  having 
repeatedly  tried,  in  the  most  Civil  manner  ;  to  draw  the  above  Judge's  Attention 
to  the  Treason  &  Robbery  in  his  Court;  &  least  they  shou'^  have  been  Inter- 
cepted, I  informed  him  by  Post  see  Page  133,  that  I  should  do  what  I  have 
now  done,  if  he  did  not  pay  attention  to  my  Request.  When  after  4  Days  it 
was  Returned,  wrote  upon  ''Refused  to  pay  the  Postage"  I  very  cheerfully  paid 
the  Postage  as  that  proved  he  was  no  stranger  to  the  Business. 

At  this  date  only  the  Court  of  Common  Pleas  had  officers  termed  Protho- 
notaries.  The  judge  is  therefore  Sir  James  Mansfield  (see  No.  1 1777)  provided 
the  date  (given  by  Cohn)  is  correct.  In  18 14  he  was  succeeded  by  Sir  Vicary 
Gibbs.  This  appeal  to  the  practice  of  Alfred  was  made  in  squibs  and  pamph- 
lets attacking  the  judges  in  the  reign  of  Charles  II. 

The  frontispiece  is  described  by  Reid  (No.  202):  The  Modern  Heirs-at- 
Law  ;  or  the  Rise  and  Progress  of  Poverty  and  Profligacy.  Showing  the  blessings 
enjoyed  by  a  country  from  making  the  judges  independent.  Exemplified  in  the 
funeral  procession  of  Madame  Justitia ;  Lady  Prosperitas  and  her  family.  .  .  . 
In  this  bags  of  gold  are :  Fee  stuff  for  Ryder  and  Co.  Richard  Ryder,  Home 
Secretary  1809-12,  held  the  lucrative  office  of  Registrar  of  the  Consistory 
Court. 

Reid,  No.  450.   Cohn,  No.  628. 
6j|X9f  in. 


308 


i8i3 
PERSONAL  AND  SOCIAL  SATIRES 

12125  THE  LORD  KNOWS  WHO. 

[?  Williams.] 

London  Pu¥  June  f^  1813,  by  IV"  Holland  N°  11  Cockspur  Street 

Engraving.  A  W.L.  caricature  of  the  deformed  Lord  Kirkcudbright  (see 
No.  9905,  &c.)  walking  in  profile  to  the  1.  with  his  hand  in  his  breeches 
pocket.  He  has  a  mat  of  short  hair  (or  wig),  his  head  is  sunk  on  his  chest,  and 
his  shoulders  are  humped.  His  body  diminishes  from  the  shoulders  down- 
wards, and  he  has  thin  legs,  very  short  below  the  knees.  He  wears  double- 
breasted  tail-coat,  tight  striped  breeches,  and  top-boots  without  spurs. 
7|X5|in.  (pi.). 

12126  L'AIMABLE  ROUfi 

London  Pub'^  6  April  1813  by  H  Humphries  S'  James  Street 

Engraving  (coloured  impression).  An  unidentified  portrait.  A  very  stout  man 
with  small  neat  features  rides  a  well-bred  horse  in  profile  to  the  r.;  his  obesity 
forces  him  to  lean  backwards.    He  w'ears  a  cylindrical  hat,  double-breasted 
coat,  frilled  shirt,  Hessian  boots,  and  holds  a  hunting-crop. 
9iXiif  in.  (pi.). 

12127  LORD  P— T— SH— M.    PV  4^'' 
G  Cruikshank  fec^ 

Pub'^  by  T  Hughes  Ludgate  S^—  [i  Nov.  18 13] 

Engraving.  PI.  from  the  Meteor.  Above  the  design:  Costume  of  a  Groom  of 
the  Stole.  Petersham  walks  1.  to  r.,  (cylindrical)  hat  and  cane  in  hand,  with 
an  expression  of  amiable  recognition.  He  bows  from  the  waist,  but  his  trunk 
is  almost  upright  and  his  head  thrown  slightly  back.  He  has  short  curly  hair, 
with  whiskers  like  crescent-shaped  patches  of  fur.  His  double-breasted  coat 
is  buttoned  to  the  neck  with  a  high  collar,  with  sleeves  inflated  and  puckered 
at  the  shoulder,  as  in  a  Jean-de-Bry  coat,  see  No.  9425,  and  has  very  long 
tails.  He  wears  tight  pantaloons  and  spurred  boots  of  Hessian  type,  with 
high  heels.  There  is  a  landscape  background,  with  a  placard  on  a  decaying 
tree :  Rotten-Row  [Hyde  Park] . 

This  portrait  derives  from  No,  11925.   Petersham  was  a  Lord  of  the  Bed- 
chamber to  George  HI,  1812-20,  but  not  Groom  of  the  Stole. 

Reid,  No.  265.    Cohn,  No.  553. 
6|X4f  in. 

12128  THE  GAY  LOTHARIO  .  THE  GREAT  AND  CELEBRATED 
AMATUER  OF  FASHION.  190 

E — ^  [Elmes]  Scul'   Price  One  Shilling  Coloured 

Pu¥—Mar''  6""  181 3  by  Tho'  Tegg—N"  iii  Cheapside  London. 

Engraving  (coloured  impression).  Coates  in  a  pose  suggesting  Harlequin  in 
a  fencing-match  (and  like  that  of  the  clown  in  No.  9003),  sits  on  the  stage, 
his  trunk  almost  at  r.  angles  to  his  legs  which  slant  stiffly  towards  the  stage- 
box  (1.).  He  grins  at  the  occupants,  pointing  his  sword  towards  them  and 
raising  his  1.  arm.  He  wears  his  jewelled  hat  with  the  enormous  feathers, 
cloak,  tunic,  and  sash,  as  in  No.  11769.  He  declaims  Lothario's  speech  when 
he  falls  dying,  after  the  duel  with  Altamont,  beginning:  Oh  Altamont!  thy 

309 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

genius  is  the  stronger,  thou  hast  prevail d  .  .  .  [Rowe,  Fair  Penitent,  iv.  i].  He 
lies  on  bright  green  ground,  a  garden  scene  with  trees  and  skaters  forming 
a  background.  Four  persons  in  the  box,  much  burlesqued,  applaud,  grinning 
broadly:  Encore — Encore;  Bravo — bravo — Encore;  Bravo — Encore. 

Also  an  impression  with  the  date  removed. 
8fxi3iin. 

12129  MAY  FASHIONS,  OR  HINTS  FOR  A  FOUR  IN  HAND  EX- 
HIBITION. 

[Williams.] 

Pub^  May  J*'  1813  by  the  Proprietor  of  Town  Talk 

Engraving  (coloured  impression).  PI.  from  Town  Talk,  iv.  247.  A  procession 
of  coaches  through  Cavendish  Square,  the  houses  of  which  form  a  background, 
together  with  a  street  which  recedes  in  perspective  on  the  1.  The  foremost 
coach  (r.)  has  a  roof  shaped  like  a  Chinese  pagoda  and  decorated  with  bells ; 
on  the  apex  is  a  seat  occupied  by  an  ape,  dressed  as  a  man,  who  rings  a  hand- 
bell and  blows  a  horn.  Bells  are  attached  to  the  springs  of  the  coach.  The 
arms,  surmounted  by  a  coronet,  are  crossed  whips,  the  crest  a  fool's  head. 
A  man  seated  on  the  box  turns  to  the  driver  to  say :  No  bad  scheme  of  S^  Harry's 
to  get  the  Amateur  [Coates]  to  perform  today!  tolerable  attendance.  The  driver 
wears  a  conical  hat  with  a  vast  brim,  manifold  capes,  and  a  large  nosegay, 
with  top-boots.  Two  servants  sit  in  the  rumble ;  one  points  to  the  ape,  saying. 
What  do  you  think  Tom  of  our  new  fellow  Servant!  did  Master  get  him  from 
Bond  Street.  The  other  answers :  Oh  No!  hes  not  one  of  the  Loungers  [see 
No.  8377,  &c.]  Master  had  him  from  Exeter  Change  [menagerie]  he  has  been 
well  educated  you  see. 

The  second  equipage  is  the  odd-shaped  curricle  of  'Romeo'  Coates,  see 
No.  1 1768,  &c.,  drawn  by  four  horses,  whose  harness,  like  the  curricle,  is 
decorated  with  cocks.  He  is  dressed  as  Lothario,  see  No.  11769,  &c.,  with 
three  huge  feathers  towering  from  his  hat.  He  says:  /  scorn  that  odious 
uniform  which  would  hide  the  graces  of  my  form  and  those  detestable  boots  would 
spoil  a  most  delectable  leg! — Bless  us!  how  we  draw,  out  of  the  theatre  as  well 
as  in.  The  following  coach  is  on  the  extreme  1. ;  its  roof  is  a  four-sided  pinnacle 
topped  with  a  spike;  the  driver  is  dressed  like  the  man  on  the  first  coach.  He 
says  (of  Coates) :  Fll  back  him  to  spar  with  Molineaux  at  St  Martins  Court  for 
the  benefit  of  Carter.  The  man  beside  him  answers :  Aye  my  Lord!  or  Fll  take 
the  chance  of  the  day  for  my  debt,  and  remove  the  execution  from  your  carriage 
and  horses.  A  man  on  horseback  in  the  background  shouts :  your  lordship  had 
better  take  the  Opera  House,  as  it  will  be  for  a  charitable  purpose. 

The  road  is  crowded  with  spectators  many  of  whom  wave  their  hats.  Tiny 
coaches  proceed  along  the  Square  from  r.  to  1.,  to  join  the  procession.  In  the 
foreground  is  a  row  of  well-dressed  spectators  in  back  view.  Shouts  rise  from 
the  distant  crowd :  The  Hobbies!  The  Hobbies ;  Cock  a-doodle  do ;  The  Mono- 
logue; Bravo  Romeo.  On  the  extreme  r.  is  the  gilt  equestrian  statue  of  the 
Duke  of  Cumberland,  erected  in  1770. 

For  the  Four-in-hand  Club  see  No.  11761,  &c.  They  are  accused  of  seeking 
publicity  by  eccentricity  as  Coates  did.  'Sir  Harry'  may  be  Sir  Henry  Peyton, 
one  of  the  leading  members.  The  impoverished  peer  is  probably  Lord 
Barrymore,  see  No.  7997,  &c.,  who  was  one  of  the  founders  of  the  club,  and 
notorious  for  his  love  of  pugilism.  Gronow,  Reminiscences,  1892,  ii.  109,  257. 
MoHneux,  a  negro  pugiHst,  see  No.  11927,  beat  Jack  Carter  on  2  Apr.  1813 
in  a  fight  of  twenty-five  rounds  for  100  guineas.  Fistiana,  1847. 
9f  X16  in. 

310 


PERSONAL   AND   SOCIAL   SATIRES    1813 

12130  MEDICAL  MUSHROOMS. 

Jesse  (Foot')  inv'^   George  Prince  fec*^  1813  [G.  Cniikshank  f.] 

Engraving  (coloured  impression).  Three  well-known  medical  men  are 
depicted,  each  with  a  burlesque  coat  of  arms  on  the  wall  behind  him.  The 
centre  and  presiding  figure  is  Sir  Everard  Home  (i 756-1 832)  wearing  a  long 
gown.  He  has  half-risen  from  an  arm-chair  which  faces  a  small  table  with 
curved  ends  at  which  the  other  two  sit.  On  the  table  is  a  dish  with  three 
mushrooms,  each  directed  towards  one  of  the  men,  and  a  paper:  Lecture  on 
Toad  Stools.  Home  scratches  his  head,  squinting  violently.  Under  his  foot 
is  a  paper:  A  Review  of  Anitomacal  Discoveres  [sic].  On  his  escutcheon  the 
hand  of  a  baronet  is  between  three  chamber-pots.  The  crest  is  a  hand  holding 
a  surgical  implement;  the  motto,  Rien  que  Pissie. 

On  his  r.  sits  Jesse  Foot  (i 744-1 826),  turning  his  head  to  kiss  the  posterior 
of  an  infant,  presented  to  him  by  a  nurse  (1.)  with  coarse  sensual  features. 
His  arms  are  the  posteriors  and  legs  of  an  infant,  legs  uppermost;  the  crest 
is  a  hand  holding  a  forceps;  the  motto:  Arse  [As]  in  Presenti. 

On  the  r.  half-sits  Sir  Gilbert  Blane  (i 749-1 834),  his  chair  being  a  close- 
stool.  He  wears  a  tartan  kilt  over  his  breeches,  with  tartan  stockings.  A  small 
dog  befouls  his  foot,  another  sits  beside  him.  His  arms  are  (dexter)  ABC  and 
an  anchor;  (sinister)  a  hand  holding  a  birch-rod.  The  crest  is  a  small  dog, 
the  motto:  Inveni.  Portum. 

The  men  are  identified  in  an  old  hand  with  (absurd)  explanations  seem- 
ingly based  on  a  literal  interpretation  of  the  print,  but  accepted  by  Reid. 
Foot  is  'Brighton  Man  midwife';  he  was  a  well-known  London  surgeon  (who 
may  sometimes  have  practised  at  Brighton)  and  a  prolific  and  egotistic  writer; 
among  his  works  was  one  on  venereal  infection  in  mothers,  infants,  and  nurses 
which  seems  to  be  satirized  here.  Home  (see  No.  11763)  is  simply  surgeon: 
he  was  pupil,  brother-in-law,  and  executor  of  Hunter,  a  good  practical 
surgeon  and  a  prolific  writer  on  professional  subjects,  largely  plagiarized  from 
Hunter.  One  of  his  best-known  works  was  on  Strictures  in  the  Urethra. 
Blane  (see  No.  11841)  is  described  as  'Dog  doctor,  formerly  school  master'. 
He  was  F.R.S.,  with  a  large  Court  and  hospital  practice.  As  a  former 
Physician  to  the  Fleet  he  had  reformed  sanitary  conditions  in  the  Navy,  and 
continued  to  render  great  public  service,  notably  in  the  Walcheren  inquiry, 
see  No.  11536.  The  two  last  had  recently  been  created  baronets  by  the 
Regent,  Blane  on  26  Dec.  1812,  Home  on  2  Jan.  1813,  hence  the  signatures. 
The  plate  is  said  to  have  been  suppressed. 

Reid,  No.  201.   Cohn,  No.  1722. 
9Xi3|in. 

12131  WHAT  A  HARD  THING  IT  IS  SUCH  A  GOOD  LOOKING 
ELF— SHOULD  BE  FORCED  TO  MAKE  TEA  FOR  HIMSELF— 

[G.  Cruikshank.]  [?  1813]^ 

Engraving  (coloured  impression).  Two  watchmen  with  lighted  lanterns  and 
cudgels  are  ushered  into  a  room  by  a  fashionably  dressed  man  who  points  to 
its  occupant,  saying.  There!  thats  the  Man!  The  accused  kneels  on  one  knee, 
saying.  By  the  Almighty  God  'tis  a  lie!!  He  also  says :  Watch  Watch  A  Call 
y^  Watch;  the  same  words  are  etched  over  the  second  watchman.  He  is  slim 
and  fashionably  dressed,  but  wears  an  apron  and  steel  to  show  that  he  is  a 
butcher  (or  called  Butcher).  On  the  wall  is  a  picture  of  an  ox.  The  watchmen 

'  A  foot  is  depicted. 

*  Dated  181 3  by  Reid.   Water-mark  1813. 

3" 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

are  old  and  shambling  with  patched  overcoats  and  rattles  slung  from  the 
shoulders.  After  the  title:  — This  Print  is  most  humbly  Dedicated  to  the 
Independent  B.C.P.  by  the  Right  Honorable  Timothy  Tarbucket. 

A  personal  (but  unexplained)  satire;  its  libellous  character  explains  the 
absence  of  imprint. 

Reid,  No,  195. 
5|X9in.  PI.  7|X9|in. 

12132   THE  RULER  RULED  OVERRULED  &  ROUTED— 
O'  OPERA  OPERARUM— 

W.  Taylor  del  et  sculp   [G.  Cruikshank.] 

Pu¥  May  8'''  1813  by  H  Humphrey  S^  James's  Str^ — 

Engraving  (coloured  and  uncoloured  impressions).  Below  the  title:  Being 
Scene  the  i^^  2'^  &  3^  of  an  Operatic  performance  recently  exhibited  within  the 
Rules  of  the  Kings  Bench.  A  sequence  of  three  scenes,  one  below  the  other, 
each  with  a  title:  [i]  Conversatione  [sic] :  a  street  scene.  Taylor  (1.),  Manager 
of  the  King's  Theatre,  threatens  with  his  fists  a  foreigner  who  wears  a  long 
fur-trimmed  and  braided  overcoat  to  the  heels,  over  spurred  Hessian  boots. 
Taylor,  who  is  dressed  like  a  country  gentleman,  and  wears  top-boots,  shouts : 

Dom  your  pistols  you  Caterwauling  B she  shall  sing  or  Fll  send  a'  ye 

forign  [sic]  loons  out  O'  the  Country!!  The  other,  who  is  Valabregue,  Mme 
Catalani's  husband,  using  an  umbrella  as  a  walking-stick,  flinches  back, 
saying,  Mi  vife  indispose  cannot,  shall  not  sing!!!  Me  no  fight  widfist  me  fight 
wid  pistol.  On  the  r.  a  thin,  fashionably  dressed  man  wearing  spectacles 
(Masterson)  hurries  off  to  the  r.,  alarmed,  and  looking  over  his  shoulder; 
he  says:  Oh!  what  will  become  of  Master -son  of  iniquity!!?  On  the  1.  an  infant 
crossing-sweeper,  bare-legged,  and  a  man  walking  with  a  bundle,  stare  at  the 
encounter.  In  the  background  (r.)  is  an  obelisk  surrounded  by  an  iron  railing, 
to  indicate  St.  George's  Fields  (near  the  King's  Bench  Prison).  [2]  Unpas  de 
deux.  A  scene  outside  a  house  before  which  stands  Mme  Catalani  (r.),  in 
evening  dress  with  long  gloves,  watching  an  encounter  between  her  husband 
and  Taylor,  both  dressed  as  before.  Taylor  (1.)  has  fallen  on  his  back  into 
a  shallow  ditch,  and  clenches  his  fist  at  Valabregue,  who  points  his  umbrella 
at  him,  saying.  Ah!  Ah  I  Read  you  you  grand  Scoundrel  take  dat  &  pay  me 
ma  6ooo£  &  ma  Vifes  Salary.  Taylor  shouts:  Oh!  you  French  theif!  Fll! 
Fll!  Fll!  indict  you  for  perjury  dom  your  soul  will  I.  Catalani  extends  her  arms, 
saying,  De  Monster!!  again  so  My  dear  Vail — e.  A  man  and  two  boys  watch 
with  delight.   On  the  1.  are  a  shed  and  a  house. 

[3]  Un  pas  seul — .  Taylor,  pursued  and  pelted  by  men  and  boys,  rushes 
to  the  1.,  where  a  woman  (identified  as  Mrs.  Dunn)  with  the  head,  claws,  and 
hoofs  of  the  Devil  extends  her  arms  to  him.  She  stands  in  front  of  the  Kings 
Bench  Prison,  saying.  Come  to  my  Arms  my  Love  I  have  not  yet  Dunn  with  you. 
This  is  represented  by  a  corner  of  a  building  with  a  grated  window,  below 
which  is  a  collecting-box  for  impoverished  prisoners.  Across  the  road  is  a 
building  inscribed  Horsemonger  Lane  Prison;  on  its  roof  is  a  gallows  from 
which  hangs  the  effigy  of  a  man.  The  pursuers,  one  a  butcher,  fling  mud  and 
stones;  a  boy  brandishes  a  dead  cat,  a  dog  barks  savagely.  The  butcher  says: 
Lets  drive  him  into  the  Kings  Bench.  Others  shout:  No,  No  he  is  going  to 
Horsemonger  Lane ;  Ah  you  d — d  coward,  Sec. 

WiUiam  Taylor,  Manager  of  the  Opera  House,  see  No.  12 133,  &c.,  was 
insolvent,  and  discredited  by  the  failure  of  an  action  for  perjury,  Feb.  1812, 
against  one  Alexander  Read,  for  swearing  two  affidavits  that  Taylor  had 
settled  private  debts  of  his  own  with  money  belonging  to  the  Opera  House. 

312 


PERSONAL  AND   SOCIAL  SATIRES   1813 

William  Masterson  was  mentioned  in  the  trial;  he  held  some  subordinate 
position  to  Read  (Trial,  B.M.L.  839.  h.  34  (3)).  For  Taylor's  impudent  claim 
on  the  funds  of  Drury  Lane  Theatre,  which  led  to  Sheridan's  arrest  for  debt 
in  Aug.  1813,  see  Rhodes,  Harlequin  Sheridan,  1933,  p.  241  f.  Taylor  was 
at  this  time  either  in  the  King's  Bench  Prison,  or  seeking  safety  from  his 
creditors  in  the  Rules.  Catalani  refused  to  sing  at  the  Opera  till  the  money 
due  to  her  was  paid,  see  No.  12133.  Valabregue  lived  only  to  help  his  wife 
secure  as  much  money  as  possible,  and  to  help  her  to  spend  it.  Grove,  Diet. 
Music. 

Also  a  state  in  which  'Dunn'  is  not  underlined. 

Reid,  No.  232.   Cohn,  No.  1936. 
Each  design,  4^X  8|  in. 

12133  THE  UPROAR  HOUSE!!!  |  SATIRIST  1ST  jUNE  1813. 

Satirist  inv^  W  H  Ekoorb  [Brooke]  deV  et  sculps 

Engraving  (coloured  impression  and  impression  on  pink  paper^).  PI.  from 
the  Satirist,  xii.  489.  A  fantastic  rendering  of  a  riot  at  the  'Opera-house'  (the 
King's  Theatre  in  the  Haymarket)  on  i  May  181 3.  The  stage  stretches  across 
the  design,  to  which  the  heads  and  shoulders  of  the  orchestra  form  a  base, 
the  musicians  hurrying  to  the  1.  in  wild  confusion.  In  the  upper  part  of  the 
design  two  figures  float  almost  horizontally,  hand  in  hand,  supported  on  wings, 
and  on  a  substantial  cloud  which  rises  like  smoke  from  the  stage,  forming  a 
background.  The  woman  has  butterfly  wings,  and  a  winged  infant  flies 
towards  her;  she  looks  up.  The  man  (Didelot)  who  has  feathered  wings, 
looks  down,  stretching  out  his  1.  arm  towards  a  danseuse  who  stands  grace- 
fully at  the  front  of  the  stage  looking  up.  He  says:  Ma  Vife  take  great  fly! 
Hey  diddle!  high  Didel-ot  Vy  not  take  a  fly?  You  veil  paid  for  all.  She  answers 
with  r.  arm  defiantly  raised  :  No!  I'll  be  dam  if  I  take  a  fly!!!  I'll  be  de  Angelle 
no  longer — nor  any  zvhat  oder  ting  till  I  are  payed.  'Angelle'  is  in  large  letters 
and  probably  denotes  Angiolini,  one  of  the  performers.  She  wears  diaphanous 
quasi-classical  draperies  with  seemingly  bare  legs  and  Roman  sandals.  Her 
loosely  curling  hair  hangs  to  the  thigh.  A  pendant  to  this  figure  is  a  stately 
woman  in  profile  to  the  1.,  with  heavy  draperies  and  a  spiky  crown.  She  looks 
up  towards  a  rectangular  cage  in  the  upper  1.  corner  of  the  design,  where 
a  bird  with  a  human  profile  looks  down  at  her.  The  cage  is  decorated  with 
a  heavy  pair  of  shackles  and  a  crown  to  show  that  it  is  the  King's  Bench 
Prison.  She  extends  her  arms  gracefully,  saying,  ^'De  Taileur  Bird  in  yondere 
caige  confine  \  To  me  sing  de  note  of  Sorrow."  The  bird  (William  Taylor)  says : 
/  am  quite  tired  of  perching  on  this  Bench!  I  wish  they'd  let  me  fly  too!!!  Between 
the  two  women,  Coates,  dressed  as  Lothario,  see  No.  11769,  rushes  forward, 
both  arms  raised,  exclaiming:  ''Ladies  and  Gentlemen!  where' s  the  use  of  our 
going  a  rioting?"  He  wears  his  feathered  hat  with  a  jewelled  star,  and  the  hilt 
of  his  sword  is  in  the  form  of  a  cock. 

On  the  1.,  ladies  of  the  ballet  or  the  chorus  are  rushing  off  the  stage  to  the  1., 
one  on  the  extreme  1.,  partly  cut  off  by  the  margin,  is  being  embraced  by  a  fop 
in  an  opera-hat,  another  falls  over  a  bulky  man  who  lies  prostrate.  Amoretti 
with  butterfly  wings  are  tumbling  or  flying  through  the  air,  much  alarmed. 
On  the  r.  a  fashionably  dressed  man  wearing  an  opera-hat  confronts  with 
clenched  fists  a  group  of  foot-guards  with  fixed  bayonets,  who  advance  from 
the  r.,  where  they  are  in  shadow,  with  the  folds  of  a  curtain  above  their  heads. 
One  elegantly  dressed  man  has  fallen  head  first  into  the  orchestra.  The 
musicians  on  the  1.  are  carrying  off  large  music-books,  one  open.  The  others 

'  Not  folded,  showing  that  it  was  issued  separately. 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

are  lettered  respectively:  La  Fille  Sauvage;  II  Matrimonio  par  [?]  Sassnio, 
Mozart;  [P]ucitta  [Puccitta,  1 778-1861] ;  Boudicca;La  Charmante Hongr[o]ise. 
A  man  carries  off  a  'cello  on  his  shoulders.  The  figures  in  the  centre  are 
brilliantly  lit,  those  at  the  side  are  in  shadow. 

Taylor,  Manager  of  the  King's  Theatre,  was  insolvent.  After  he  lost  his 
seat  in  Parliament,  in  Oct.  1812,  he  was  unable  to  appear  at  the  theatre  for 
fear  of  arrest.  See  also  Waters  v.  Taylor  in  Chancery,  4  Nov.,  24  Dec.  1813, 
15  Vesey  10.  Catalani,  see  No.  12 132,  &c.,  refused  to  sing  till  the  debt  due 
to  her  was  paid,  and  on  i  May  an  attempt  to  perform  the  opera  Enrico  IV 
without  her  caused  a  riot  started  by  the  fashionables  admitted  behind  the 
scenes;  colleagues  in  the  pit  joined  in  with  calls  for  the  Manager.  A  deputy 
explained  that  he  could  not  appear  'on  account  of  his  present  situation',  and 
begged  that  the  ballet  might  be  allowed  to  proceed.  Police  officers  ordered 
the  eight  sentinels  behind  the  scenes,  who  always  had  fixed  bayonets,  to  clear 
the  stage,  which  they  vainly  tried  to  do.  The  orchestra  escaped  early  in  the 
fray  'with  the  whole  of  their  music  books'.  When  all  thoughts  of  the  resump- 
tion of  the  ballet  were  over  Coates  appeared  and  made  an  absurd  speech : 
'Ladies  and  gentlemen,  it  is  a  great  misfortune  ...  to  be  deprived  of  the 
talents  of  Madama  Catalani,  but  it  is  of  no  use  for  us  to  go  a  rioting.'  The 
riot  was  followed  by  an  order  from  the  Lord  Chamberlain  forbidding  persons 
to  go  behind  the  scenes.  Examiner,  9  May  1813  (pp.  297  f.,  303  f.).  The 
interrupted  ballet  seems  to  be  Didelot's  Psyche  et  V Amour,  1809,  in  which 
he  used  his  invention  of  wires  for  enabling  dancers  to  simulate  aerial  flight. 
C.  W.  Beaumont,  Bibl.  of  Dancing,  1929,  p.  61  f.  For  Didelot  and  his  wife 
Mme  Rose  see  Nos.  8008,  8891,  &c.  He  was  ballet-master  at  the  King's 
Theatre,  where  his  son,  of  about  thirteen,  and  Vestris  (see  No.  105 16)  were 
also  appearing.  The  Scourge,  vi.  50-3.  Catalani  had  refused  to  sing  the  part 
of  Boadicea  (in  the  'new  serious  opera'  of  that  name,  1813).  Satirist,  xii.  492. 
For  Taylor  see  Nos.  8010,  10969,  and  index, 
iif  X  15I  in.   With  border,  I2f  X  16J  in. 

12134  INDIAN  JUGGLERS.  |  SATIRIST.  1ST  AUGUST  1813 

W.  H.  Ekoorb  [Brooke]  del^  et  aqiiatinta.  fecK 

Aquatint  (coloured  impression).  PI.  from  the  Satirist,  xiii.  97.  A  perform- 
ance by  three  Indian  jugglers.  The  centre  one  leans  back  from  a  sitting 
position,  his  legs  in  the  air,  juggling  with  four  hoops  spun  by  his  thumbs  and 
toes;  on  his  cheek  and  tongue  he  supports  an  arrangement  of  rods  hanging 
from  a  centre-piece.  Behind  him,  the  man  on  the  1.  sits  cross-legged  holding 
in  each  hand  a  bowl,  like  half  an  egg,  linked  by  a  chain ;  similar  bowls  are 
placed  face  downwards  on  the  ground  beside  him,  interspersed  with  small 
balls.  The  third  (r.)  kneels  in  profile  to  the  1.,  swallowing  a  sword.  Behind 
him  is  a  large  ball.  All  are  on  a  fringed  carpet  on  which  three  snakes  are 
writhing. 

The  text  (pp.  97-104)  is  a  detailed  account  of  the  feats  of  the  jugglers,  then 
performing  in  London,  interspersed  with  political  parallels.  They  are  evi- 
dently the  three  natives  of  Madras'  who  performed  at  a  select  party  at  Carl- 
ton House  on  i  July  attended  by  the  Queen  and  Princess  Charlotte.  The 
Examiner  (1813,  p.  426)  contemptuously  announced:  'These  foreigners  were 

'  There  Indian  jugglers  ply  their  trade  for  hire, 
And  here  a  Prussian  lady  swallows  fire,  [cf.  No.  13033] 
While  rushing  crowds  assemble  far  and  near, 
What  to  behold? — a  Cossack  with  his  spear!  [see  No.  12040] 

Modern  Dunciad,  1814,  p.  89. 


PERSONAL   AND   SOCIAL   SATIRES    1813 

"introduced  to  the  Royal  Party,  and  displayed  extraordinary  powers  in" — 
what?   In  music?    In  science?    In  military  exercises? — No,  in  legerdemain r 
Hazlitt's  essay  'The  Indian  Jugglers'  {Table  Talk,  1821),  is  said  to  relate  to 
a  performance  in  the  winter  of  181 5. 
6t6  X  13!  ^"-   With  border,  7f  X  14^  in. 

12135  THE  SALE  OF  THE  COAL  •  HEAVERS  •  SCRAPS!! 
JC.{ovC.J.-\fecit. 
London  Published  Dec""  i'^  1813  by  N.  Jones  5  Newgate  S^ 

Engraving  (coloured  impression).  PL  to  the  Scourge,^  vi,  before  p.  437,  and 
illustration  to  verses,  The  Bounties  of  Providence  Counteracted  .  .  .,  with 
detailed  explanatory  notes.  An  auction  of  the  deceased  Huntington's  property 
takes  place  outside  a  house  whose  corner  appears  on  the  r.  The  auctioneer, 
one  Tutchin,  stands  in  a  high  desk  (1.);  his  man,  kneeling  on  one  knee  on 
a  large  oval  table,  holds  up  a  high-backed  old-fashioned  arm-chair,  the  back 
inscribed  S  S;  a.  demon  is  breaking  its  way  out  through  the  cover.  Eager 
bidders  on  the  farther  side  of  the  table  raise  their  arms  looking  up  at  the 
auctioneer,  who  says,  raising  his  hammer :  Nozv  Gentlemen  I  cannot  sujfer  this 
Lot  to  pass  without  Tuchin  upon  it's  various  properties  It  is  the  very  identical 
Chair  in  which  the  Prophet  when  sitting  at  his  Ease  examined  the  "Wise  and 
foolish  Virgins"  &  play'd  his  ''Innocent  Games"  in  "The  Saints  seed  time" 
which  he  called  the  "follies  of  Youth"  having  cost  him  jo£  when  "the  Bond  Child 
was  brought  to  the  Test"  &  this  is  my  "Final  exhortation"  as  for  further  particu- 
lars  see  his  "Answer  to  fools" .  thank  you  Sir  60  Guineas  is  bid  going  for  the 
last  time  at  60  Guineas!!!!  The  foremost  bidder  says:  /  bid  60  Guineas  Sir 
don't  dwell  "forward press  forzvard"  that's  my  Motto  my  Boy.  His  hand  rests 
on  a  paper  inscribed  M — rg — n  (Morgan,  an  upholsterer,  commissioned  by 
a  devotee  to  bid  up  to  £10^).  The  next  man  says:  50  Guineas;  the  third: 
/  am  Overs' eer  &  Treasurer.  Both  men  wear  over-sleeves  and  are  butchers, 
the  former  holds  a  paper :  H — Marrowbone  S^ ;  they  are  Ashlin  and  Over,  both 
wish  to  succeed  the  deceased  preacher. 

In  the  foreground,  in  front  of  the  table,  is  a  pit  from  which  flames  are  rising. 
From  this  emerge  the  head  and  shoulders  of  Huntington,  inscribed  Lot  60. 
He  wears  a  coal-heaver's  hat  and  extends  his  arms  towards  his  old  chair. 
A  large  Devil  grips  Huntington,  holding  up  a  large  money-bag,  Gleaning  of 
the  Vintage,  and  saying:  Agoing  agoing  agoing  for  the  last  time  agoing.  The 
flames  round  Huntington  are  inscribed :  Cry  of  little  Faith,  Feeble  Disput  [sic], 
Glory  of  the  Second  House,  Satan's  law  Suit. 

Groups  of  devotees  surround  the  table,  others  lean  from  the  two  open 
windows  of  the  house,  which  are  placarded  Sale  by  Auction  Tuchin.  Some 
of  the  women  are  old  crones,  others  are  meretricious-looking.  Three  (1.)  hold 
a  pair  of  breeches  inscribed  S  S,  one  of  them  has  a  paper :  Bear  &  Forbear ; 
another  wearing  spectacles  peers  inside  them,  saying,  Altho  I  have  given 
6  Guineas  for  a  pair  of  the  dear  mans  spectacles  I  can  see  nothing  in  thetn.  A  stout 
man  stands  behind  the  rostrum,  saying,  Seven  times  have  I  been  Transported 
by  Love  &  the  Eighth  by  Law.  He  is  one  Langford,  alleged  'methodist 
preacher',  recently  sentenced  at  the  Old  Bailey  to  seven  years'  transportation 
for  'marrying'  seven  women,  all  still  alive.  A  respectable-looking  man  stands 
by  the  table,  his  hand  resting  on  a  paper  inscribed  Strong  Shoes;  he  is  a 
wealthy  shoemaker.  Another  kneels  with  clasped  hands,  a  medicine-bottle  in 
his  pocket;  he  is  an  apothecary  in  Oxford  Road.  A  footman  in  livery  wearing 

'  Not  folded,  showing  that  it  was  issued  separately. 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

a  hat  shouts  into  the  enormous  ear-trumpet  of  an  elderly  woman,  in  whose 
pocket  is  a  bottle,  the  aperture  being  inscribed  S  S.  She  is  Huntington's 
widow,  relict  of  a  Lord  Mayor,  see  No.  11083.  On  the  r.  'a  dashing  kiddy 
blade'  puts  his  arm  round  a  demure  and  comely  'Methodistic  maid',  saying, 
What  do  you  think  of  that  Hey  My  dear? 

On  the  extreme  1.  is  a  tombstone  inscribed  Here  Lyes  the  Coal  heaver 
Beloved  of  his  God  but  ahhored  of  Men  having  amased  many  thousands.  And 
England  shall  know  that  he  hath  had  a  Great  PROFIT!!!  among  them  WH  •  S 
alias  WH  •  A  '  S  -  S.  Behind  it  kneels  Huntington  himself,  inscribed  S  S, 
apparently  tearing  the  pages  of  a  book;  beside  him:  Utility  of  the  Books 
"Music  &  odour  of  Saints". 

On  the  extreme  r.  a  man  descends  the  steps  from  the  house  carrying  on 
his  head  a  tray  on  which  is  church  plate  inscribed  S  S.  Another  man  walks 
off  to  the  r,  with  a  large  wall-clock,  apparently  from  the  preacher's  chapel. 
Another  follows  with  a  treasure-chest  inscribed  Bank  of  Faith  S  S.  On  the 
ground  (r.)  is  miscellaneous  property  for  sale :  a  basket  inscribed  S  S,  a.  foil, 
jars  or  bundles  inscribed  S  S,a.  mouse  or  rat  in  a  trap,  a  barber's  block  carved 
to  represent  Huntington's  head,  a  paper  inscribed  Child  of  Liberty  in  Legal 
Bondage. 

Huntington  the  preacher,  who  appended  to  his  name  S  S,  i.e.  Sinner  Saved, 
died  I  July  181 3 ;  his  epitaph,  by  himself,  began :  'Here  lies  the  coalheaver  .  .  . 
beloved  of  his  God  but  abhorred  of  men.'  His  chapel  was  rebuilt  (181 1)  for 
£10,000  after  a  fire,  and  he  had  secured  the  freehold  for  himself,  deriving 
a  handsome  income  from  pew-rents,  &c.  On  24  Sept.  his  property  was 
auctioned  outside  his  house  in  Pentonville:  'an  old  arm  chair  intrinsically 
worth  fifty  shillings,  actually  sold  for  sixty  guineas ;  and  many  other  articles 
fetched  equally  high  prices;  so  anxious  were  his  besotted  admirers  to  obtain 
some  precious  memorial  of  that  artful  fanatic'.  Examiner,  1813,  p.  634.  The 
auctioneer's  words  are  taken  from  Huntington's  autobiographical  writings, 
and  refer  to  a  payment  to  indemnify  the  parish  for  a  bastard  child.  For  his 
'Bank  of  Faith'  and  his  breeches  see  No.  11080,  &c.  He  made  prophecies, 
personal  and  political.  See  Southey,  Quarterly  Rev.,  Jan.  1821,  xxiv.  462-510 
(a  review  of  Huntington's  Works  published  in  20  vols.  1820,  and  showing 
'how  possible  it  is  for  perfect  enthusiast  to  ripen  into  perfect  rogue').  See 
also  Nos.  11704,  12136. 
lo^XiSfin. 

12136  THE  RELICS  OF  A  PROPHET;  OR,  HUNTINGDON'S  SALE, 

pte  odi 

Pu¥  for  the  Meteor  181 3""  [i  Dec] 

Engraving  (coloured  and  uncoloured  impressions).  A  wild  scramble  for 
Huntington's  property,  see  No.  121 35.  The  high  rostrum  is  in  the  centre 
of  the  design,  and  the  auctioneer,  Tutchin,  is  above  the  crowd.  A  man  (1.) 
holds  up  a  pole  from  which  hangs  a  pair  of  breeches.  Two  women  have 
climbed  up  to  clutch  the  waist-band ;  one  is  supported  on  a  woman's  shoulders ; 
her  husband  tries  to  pull  her  down,  grabbing  her  hair,  and  flourishing  a  crutch ; 
he  says :  Come  down  with  you  what  do  you  want  with  breeches — they  will  not 
fit  you.  She  looks  round  to  say:  Never  you  mind.  I  know  my  own  business 
better  than  you ;  her  bonnet  falls  off.  The  other  supports  herself  by  the  rostrum 
and  grasps  the  auctioneer's  shirt-front,  turning  to  him  to  say :  I  am  the  highest 
Bidder.  He  leans  towards  her  with  arms  raised  in  a  frenzied  gesture :  Ladies 

'  Imprint  and  number  removed  from  the  coloured  impression. 


PERSONAL   AND   SOCIAL   SATIRES    1813 

/  must  beg  of  you  to  leave  the  Breeches  alone — going  going  let  them  alone — 
Madam  you  will  Tear  the  zvaistband — going  going  gone!  A  voice  from  the  back- 
ground :  Knock  the  Breeches  down  to  me  at  any  price.  The  man  holding  them 
up  says :  What  a  fuss  about  a  pair  of  Breeches.  Other  women  join  in  the 
struggle,  an  old  woman  has  fallen  on  her  back.  Another  clutches  at  a  leg  of 
the  garment ;  she  is  hoisted  up  in  a  sitting  position  by  a  man  in  whose  pocket 
is  a  paper  inscribed  Baxters  Shove  [see  No.  11 704]. 

On  the  r.  is  a  group  in  angry  competition  for  the  arm-chair,  see  No.  12135. 
Morgan  leans  across  the  chair  to  shout  at  a  man  and  woman  who  are  claiming 
it :  It  was  Knocked  down  to  me  for  Sixty  Guineas!  His  vis-a-vis  triumphantly 
flourishes  a  note  for  ioo£,  saying.  Here's  a  hundred,  for  It  I  must,  I  will  have 
the  Chair.  Behind  them  a  man  shouts  at  a  fat  disreputable  virago:  You  be 
d — d;  she  answers:  No  Sir  I  am  to  be  saved.  From  a  pole  hang  a  tattered 
shirt,  The  Prophets  Mantle,  and  a  coal-heaver's  hat.  A  man,  head  and  shoulders 
above  the  crowd,  shouts:  A  Hundred  Gu^  for  the  shirt.  A  voice  from  the 
background :  50  pounds  for  the  Snuff  Box,  &  any  price  for  the  Coalheavers 
Mantle.  A  man  (r.)  has  climbed  up  to  clutch  at  the  auctioneer's  coat;  he  says: 
/'//  give  50  Guineas  for  the  Spectacles.  All  the  figures  are  burlesqued.  A 
grotesque  little  dog,  shaved  in  the  French  manner,  rushes  into  the  fray. 

See  No.  12135,  &c.  Huntington's  congregation  were  well-to-do  trades- 
people, &c.,  whose  devotion  was  highly  profitable  to  him. 

Reid,  No.  270.    Cohn,  No.  553. 
6f  X9f  in. 

12137  BILLY  DIP  THE  DYER. 

[G.  Cruikshank.]  [1812] 

Engraving  (coloured  impression).  PI.  from  The  Cabinet  of  Comicalities  .  .  . 
by  T.  Spiller,  Comedian,  p.  25.  A  lady,  old,  lame,  and  ugly,  'a  maid  at  fifty- 
five',  sits  at  her  dressing-table  (r.)  wearing  a  morning  wrapper,  which  leaves 
her  breast  bare.  She  turns  in  surprise  towards  the  dyer  (1.),  ushered  in  by 
a  tall  lady's  maid  who  is  holding  a  pair  of  curling-tongs.  He  enters,  hat  in 
hand,  short  and  bandy-legged,  wearing  an  apron  and  over-sleeves,  and  carry- 
a  bundle,  'the  man  who  dies,  i.e.  dyes,  not  only  for  her  but  for  half  the 
town'. 

The  verses  illustrated  are  in  the  Scourge,  viii.  259  f. 

Reid,  No.  204.   Cohn,  No.  106. 
3X4is-in. 

12138  AN  ELECTION  BALL. 

Etched  by  G.  Cruikshank. 

Pub"^  April  28"'  1813  by  H.  Humphrey  N"  2y  5'  James's  Str' 

Engraving.  A  provincial  Assembly  Room.  A  musicians'  gallery  (r.)  is  above 
a  recess  which  is  the  entrance  from  the  street.  In  this  a  young  woman  changes 
pattens  for  dancing-shoes,  supporting  herself  on  the  arm  of  a  stout  woman 
with  a  pin-cushion  slung  from  her  arm.  A  lighted  lantern  stands  on  the  floor. 
In  the  foreground  a  couple  advances  from  this  entr}%  meeting  a  younger  pair. 
In  the  background  against  the  wall  couples  are  dancing,  facing  each  other, 
the  man  holding  his  partner's  wrist.  An  absurd  couple  on  a  settee  (1.)  flirt, 
the  lady  holding  a  tumbler,  the  man  fanning  her.  Behind,  two  men  delightedly 
inspect  a  paper  headed  Election  1812.  On  the  wall  is  a  bill :  Sir  Toby  Spendall 
returns  his  most  grateful  thanks  to  the  worthy  Ereemen  for  thier  kind  support 

317 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

during  the  late  Election.  From  the  pocket  of  an  elderly  man  near  the  door 
hang  two  papers:  State  of  the  Pole  and  To  the  Worthy  Freemen.  In  the  fore- 
ground (r.)  a  pair  of  half-boots,  a  cane,  and  a  hat  lie  together.  The  room  is 
lit  by  hanging  candelabra  and  candle-sconces. 

See  No.  13432,  a  reduced,  reversed,  and  altered  version. 

Reid,  No.  230.    Cohn,  No.  1083. 
9fX  i4w  ii^-   With  border,  10^ x  15^  in. 

12139  PURSUITS  OF  LITERATURE.  NO  1  |  THE  BUSINESS  OF 
THE  STUDY.—  Pl^'  3<^ 

G.  Cruikshank  fec^ 

Pub^  by  T  Hughes  Ludgate  S'  [i  Nov.  181 3] 

Engraving.  PI.  from  The  Meteor,  No.  i.  One  of  a  set,  see  Nos.  12140,  12388, 
12389.  In  a  ramshackle  garret,  serving  as  study,  kitchen,  and  bedroom,  a 
poet  tries  desperately  to  write.  He  sits,  pen  in  hand,  at  a  rough  plank  table, 
staring  at  a  ragged  boy  who  holds  out  to  him  a  paper:  No  More  Money  till 
you  send  more  Copy.  His  1.  hand  is  stretched  behind  him  to  adjust  the  string 
from  which  meat  dangles  before  the  fire  (as  in  Hogarth's  Harlot's  Progress, 
pi.  V  (No.  2091).  The  interview  is  watched  by  a  dun,  a  burly  man  wearing 
a  hat,  and  scratching  his  head  in  a  sourly  puzzled  way.  The  poet's  buxom 
wife  stands  at  a  small  wash-tub  (1.),  looking  at  her  husband  in  alarm,  and 
rocking  with  her  foot  the  cradle  of  a  screaming  infant.  A  slightly  older  child 
with  its  father's  sharp  profile  sits  in  a  small  chair  by  the  fire,  shouting  and 
brandishing  a  rattle.  A  saucepan  resting  on  the  coals  tilts  dangerously;  a 
starving  cat  advances  upon  the  dangling  meat. 

Through  the  doorway  are  seen  the  top  of  the  stairs  and  the  beams  of  a 
flimsy  sloping  roof.  Against  the  wall  of  the  room  are  the  ragged  curtains  of 
a  bed.  There  is  a  small  casement  window  (1.).  Over  the  fireplace  a  print  of 
Pegasus  is  insecurely  pinned.  On  a  shelf  below  it  are  books,  tea-pot  and  cup, 
a  candle  stuck  in  a  bottle.  Ragged  stockings  hang  from  a  string  across  the  fire ; 
from  the  dilapidated  wall  hang  farthing  dips,  bellows,  &c. 

A  familiar  theme,  its  classic  representation  being  Hogarth's  Distrest  Poet, 
No.  2309,  on  which  this  print  is  evidently  based.  The  title  of  the  series  is 
from  the  verse  satire  of  T.  J.  Mathias,  cf.  No.  9513. 

Reid,  No.  271.   Cohn,  No.  553. 
3ilX7in. 

12140  PURSUITS  OF  LITERATURE.  N©  2.  |  FRIENDS  IN  NEED! 

G  Cruikshank  fec^ 

Pub'^for  the  Meteor  [i  Dec]  1813 

Engraving  (coloured  impression).  The  unfortunate  poet  of  No.  12 139,  better 
dressed  and  less  dishevelled,  but  just  arrested  for  debt,  stands  in  a  well- 
furnished  parlour,  making  a  despairing  gesture  towards  two  repulsive-looking 
men  (r.)  in  extravagantly  fashionable  dress,  who  prance  contemptuously  from 
the  room,  arm-in-arm.  One  wears  an  overcoat  reaching  to  his  heels  with  triple 
capes,  and  buttoned  gaiters  which  hang  in  festoons  round  his  legs,  the  other 
wears  a  long  tail-coat;  his  thin  legs  are  engulfed  in  large  tasselled  Hessians. 
Behind  the  poet,  at  whose  feet  lies  a  letter:  Z)''  Sir  I  am  very  sorry  but — , 
stand  two  bailiff's  men,  one  holding  a  bill.  His  wife,  seated  by  the  fire  suckling 
an  infant,  registers  despair,  while  a  frightened  and  angry  little  boy  clings  to 

318 


PERSONAL   AND    SOCIAL   SATIRES    1813 

her  knee.  A  plump  cat  lies  with  its  kittens.  Above  the  chimney-piece  is  a 
mirror  with  a  carved  frame.  A  convex  mirror  hangs  over  a  sofa  between  two 
pictures;  one  of  a  man  in  a  prison  cell,  the  other  of  two  men  carousing. 

Reid,  No.  272.   Cohn,  No.  553. 
3i|x6f  in. 

12141  DOCTORS   DIFFER   OR   DAME   NATURE  AGAINST  THE 
COLLEGE. 

[Williams.] 

Pu¥  March  5""  1813  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  Four  elderly  physicians  fight  wildly, 
flourishing  their  canes,  in  a  room  leading  to  that  of  the  patient  (r.).  One  has 
fallen  on  his  back,  two  others  fight  across  him,  each  planting  a  foot  on  his 
chest ;  he  clutches  at  the  coat  of  one  of  these,  shouting,  /  say  it  is  an  exfoliation 
of  the  Glands,  which  has  fallen  on  the  ?nembranous  coats  of  the  Intesti?ies  &  must 
be  thrown  off  by  an  Emetic.  In  his  pocket  is  a  letter :  To  D^  Emetic  Upper  B  .  .  . 
In  the  pocket  of  the  man  he  clutches  is  a  letter:  To  W  Sudorific  .  .  . 
sell.  Squoe.  The  latter  answers  the  antagonist  who  has  seized  his  neck- 
cloth: /  say  it  is  a  pleurisie  in  the  Thigh  and  must  be  Sweated  away!  His 
adversary,  D^  Drastic  Cloacina  Row,  answers :  You  are  a  blockhead!  I  say  it 
is  a  nervous  affection  of  the  Cutis  &  the  patient  must  immediately  loose  18  ounces 
of  blood  and  then  take  a  powerfull  Drastic.  The  fourth  doctor  (r.)  assails 
Drastic :  What  are  you  quarrelling  about!  you  are  all  wrong  I  say  it  is  an  infiama- 
tion  on  the  os  Sacrum,  &  therefore  14  blisters  must  be  immediately  applied  to 
the  part  affected  &  the  adjacents.  His  letter  of  identification  is:  To  D^  Blister 
Cantheartic  Pla  .  .  .  Through  the  open  door  (r.)  the  amused  patient,  in 
dressing-gown  and  night-cap,  w^atches  the  fray  from  beside  his  bed,  having 
just  risen  from  a  commode.  He  remarks:  /  say  Dame  Nature  has  relieved  me 
both  of  the  Cause  &  Effects  while  these  learned  disputants  are  deciding  the  nature 
of  my  complaint — so  Fll  e'en  be  off  to  save  both  my  money  atid  my  Life.  After 
the  title: 

"To  Apothecaries  let  the  learn' d prescribe , 
''That  men  may  die  without  a  doid)le  bribe, 
"Let  them,  but  under  their  superiore  kill, 

When  Doctors  first  have  signed  the  bloody  bill  Dryden. 
"He  that  can  cure  by  recreation  and  make  pleasure  the  vehicle  of  health  is  a  Doctor 
in  good  earnest.    Collier.   Cf.  No.  12 157. 
X  13^  in.  'Caricatures',  viii.  139. 


12142  THE  COUNTRY  INFIRMARY. 

[Williams.] 

London  Pu¥  June  25'*  1813  by  W""  Holland  N"  11  Cockspur  Street — 

Engraving  (coloured  impression).  A  doctor,  in  profile  to  the  1.,  capers  with 
contemptuous  arrogance  in  the  middle  of  a  hospital  ward,  realistically  depicted, 
in  which  emaciated  old  men  lie  in  pairs  in  wooden  bedsteads  ranged  against 
the  walls.  He  is  larger  in  scale  than  his  patients,  and  wears  neat  old-fashioned 
physician's  dress,  with  cocked  hat,  flapped  waistcoat,  bushy  powdered  wig, 
and  high  spurred  boots.  He  holds  a  nosegay  (to  ward  off'  unpleasant  odours) 
and,  behind  his  back,  his  gold-headed  cane.  A  dog  befouls  a  paper  headed 
Prescr[iption].  There  are  six  beds,  all  the  patients  wearing  (red)  night-caps 
and  night-shirts;  one  is  seated  on  a  chamber-pot.  Above  one  bed  hangs  the 
hat  and  watch  of  its  occupant.    An  elderly  nurse  sleeps  in  an  upright  arm- 

319 


CATALOGUE   OF  POLITICAL  AND   PERSONAL   SATIRES 

chair  at  the  end  of  the  ward,  an  open  book  and  spectacles  on  a  round  table 
beside  her.  She  is  neatly  dressed,  wearing  a  cap,  fichu,  elbow-sleeves,  and 
long  mittens.  Against  the  wall  is  a  large  glass-fronted  cupboard,  the  shelves 
filled  with  large  jars  and  stoppered  bottles  containing  coloured  liquids.  The 
beds  are  not  crowded  together,  and  the  room  is  orderly  and  apparently  clean, 
except  that  bricks  show  through  the  plaster,  and  a  long  low  casement  window 
indicates  an  ancient  building. 
8^X  i2|  in.  'Caricatures',  vii.  66. 

12143  A  SHREWD  GUESS  OR  THE  FARMERS  DEFINITION  OF 
PARLIAMENTARY  DEBATES. 

[Williams]  fecit. ^ 

Pu¥  by  T  Tegg  N°  iii  Cheapside  London  [?  1813] 

Engraving  (coloured  impression).  A  farm-house  kitchen.  The  farmer's  wife 
(1.)  sits  beside  a  table  on  which  are  a  tray  of  tea-things  and  a  tankard.  She 
carves  a  loaf,  holding  it  on  her  lap,  and  asks :  /  dont  understand  what  they  mean 
by  they  Debates,  cans' t  thee  tell  Robins?  The  stout  farmer  sits  full-face,  holding 
a  newspaper :  Liverpool  Journal.  He  answers :  Why  I  take  it  it  means  this! — 
tK  men  ith  Parliament  up  at  Lunnon  makes  sham  quarrels;  and  then  grins  at  us 
folk  ith  country  for  believen  un  to  be  in  ArnestH  The  son,  a  young  man  wearing 
a  smock,  sits  in  the  ingle-nook  (r.)  holding  a  knife  and  slice  of  bread,  and 
eagerly  watched  by  a  dog.  He  says:  Eh  Feather!  why  that  be  just  like  D^ 
Solomon  w'th  folks  that  swallow  his  balm  of  Gulllad  [Gilead].    After  the  title, 

"i/e  laughs  at  him:  in' s  face  too, 
"O  you  mistake  him;  t'was  an  humble  grin. 
The  fawning  joy  of  courtiers  and  of  dogs. 

Samuel  Solomon  (1780-18 19)  was  a  quack  doctor  who  practised  and 
prospered  at  Liverpool.  He  was  painted  with  the  '55th  Edition'  of  his  Guide 
to  Health.   Rubens,  p.  213  f. 
8|x  I2|  in.  'Caricatures',  viii.  142. 

12144  SUMMER  AMUSEMENT  AT  MARGATE,  OR  A  PEEP  AT  THE 
MERMAIDS. 

Rowlandson  Del  Price  One  Shilling  Coloured 

[Date  removed,  i  Sept.  181 3]  by  Tho^  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  In  the  foreground  is  a  low  cliff  or  bank 
overlooking  the  sands ;  from  this  four  elderly  men  are  eagerly  and  delightedly 
looking  through  telescopes  at  naked  ladies  disporting  in  the  sea.  An  angry 
woman  (r.)  tugs  at  the  coat-tails  of  one  of  them;  she  has  a  tiny  sunshade,  and 
like  her  husband  is  grossly  fat.  Bathing  machines  are  in  the  water,  with  hoods 
covering  the  steps  to  the  sea.  A  fat  bathing  woman  pushes  a  lady  up  the  steps 
of  a  machine.  Behind  the  spectators  is  a  Circulating  Library;  above  the  lower 
floors  is  a  large  balcony  from  which  more  men  are  gazing  through  telescopes. 
On  the  extreme  r.  is  a  doorway  placarded:  Hot  Sea  Baths;  a  fat  man  with  a 
crutch  walks  in.  In  the  background  a  jetty  projects  from  the  sands,  with 
a  windlass,  and  packages  of  goods.  Behind  are  small  vessels.  For  Margate 
as  a  plebeian  watering-place  cf.  No.  6758,  &c. 

Grego,  Rowlandson,  ii.  254  (reproduction). 
8|x  12^  in.  'Caricatures',  ix.  74. 

'  Mutilated. 
320 


PERSONAL  AND   SOCIAL   SATIRES   1813 

12145  THE    LAST   GASP.     OR   TOADSTOOLS    MISTAKEN    FOR 
MUSHROOMS  210 

Rowlandson  Del —  Price  One  Shilling  Coloured 

Pu¥  September  i'^  1813  by  Tho'  Tegg  N°  iii  Cheapside — 

Engraving  (coloured  impression).  An  elderly  old-fashioned  doctor,  holding 
his  gold-headed  cane,  sits  bending  forward  to  inspect  the  tongue  of  his 
agonized  patient.  The  latter,  grotesquely  obese,  sits  in  a  low  arm-chair  (r.) 
with  his  lean  and  hideous  wife  beside  him ;  a  thin  grotesque  footman,  his  hair 
standing  on  end,  stands  behind  the  doctor's  chair,  leaning  towards  his  master. 
All  three  put  out  their  tongues,  and  all  register  dismay;  the  equally  ugly 
doctor  gapes  in  unhelpful  concern.  The  grotesque  heads  are  closely  grouped 
against  a  high  window.  A  grandfather  clock  (1.)  shows  that  the  time  is  2.22. 
A  thermometer  hangs  on  the  wall. 

Grego,  Rowlandson,  ii.  254. 
i2jX9jin. 

12146  HUMOURS   OF   HOUNDSDITCH,    OR   MRS    SHEVI    IN   A 
LONGING  CONDITION  213 

Rowlandson — del.  Price  One  Shilling  Coloured 

Pub'^  September  20^^  1813  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  plump  Jewess  leans  over  the  wooden 
barrier  across  the  street  doorway,  to  kiss  a  sucking-pig  which  her  husband 
holds  out  to  her,  affectionately  putting  his  arm  round  her  shoulders.  He  is 
bearded,  with  a  long  coat,  with  a  bag  slung  from  his  arm,  showing  that  he 
deals  in  old  clothes.  A  sow  (r.)  looks  up  anxiously  at  the  pig.  A  comely  young 
woman  wearing  a  necklace  and  ear-rings  leans  over  Mrs.  Shevi,  admiring  the 
pig.  From  an  adjacent  window  or  doorway,  an  elderly  Jew  leans,  registering 
outraged  horror.  The  doorway  is  vaulted,  and  has  a  heavy  wooden  door. 
A  caged  bird  hangs  just  inside.  On  a  wall  (r.)  is  a  bill:  Lost  supposed  to  have 
been  Stolen  a  Sow  and  Seven  Pigs  Whoever  gives  Information  Five  Pound 
Reward. 

For  Jews  and  pigs  cf.  Nos.  8536,  8746,  9562. 

Grego,  Rowlandson,  ii.  254  f. 
i2X8|  in. 

12147  A  DOLEFUL  DISASTER,  OR  MISS  FUBBY  FATARMIN'S 
WIG  CAUGHT  FIRE.     Vide  Bath  Guide  212 

Rowlandson  Del  Price  One  Shilling  Coloured 

Pu¥  September  20^''  1813  by  Tho'  Tegg  N°  iii.  Cheapside 
Engraving  (coloured  impression).  A  fat  lady,  much  decolletee,  whose  hair 
is  blazing,  in  her  frantic  gestures  has  overturned  a  chair;  tea-  and  coffee- 
things  lie  on  the  ground.  Screaming  servants  rush  in  from  the  r.,  headed  by 
two  footmen ;  one  holds  up  a  table-cloth  to  fling  over  her  head,  but  is  hampered 
by  his  companion,  a  negro,  who  flings  the  liquid  contents  of  a  (?)  large  flower- 
pot in  her  face,  but  stands  on  the  cloth.  A  fat  cook  follows;  a  pretty  young 
woman  kneels  on  the  ground  throwing  up  her  arms,  a  dog  howls.  Four  older 
servants  look  through  the  doorway.  Two  candles,  the  cause  of  the  disaster, 
blaze  on  the  chimneypiece  where  a  clock  shows  that  it  is  2.25. 

'Lady  Tetraton's  Sister,  Miss  Fubby  Fatarmin'  was  the  first  to  appear  at 
the  ball  (Anstey,  Bath  Guide,  Letter  xi),  but  the  accident  is  unrecorded. 

Also  an  impression  with  the  date  removed. 

Grego,  Rowlandson,  ii.  255. 
Sfxisiin. 

321  Y 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12148  THE  COBLERS  CURE  FOR  A  SCOLDING  WIFE  294 

Rowlandson  Del 

London.  Pub  Aug  [year  obliterated,    ?  1813]   by   Tho^   Tegg  N°  ill 
Cheapside 

Engraving  (coloured  impression).  The  cobbler  leans  savagely  over  his  vi^ife 
who  is  tied  to  a  chair,  and  with  her  wrists  bound.  With  his  awl  between  his 
teeth  he  pulls  at  the  thread  with  which  he  is  stitching  up  her  mouth.  She  is 
an  elderly  virago  with  pendent  breasts,  who  glares  up  at  him,  crisping  her 
fingers;  their  faces  are  close  together.  A  buxom  young  woman  leans  delight- 
edly over  the  pair,  holding  up  a  candle. 

Grego,  Rowlandson^  ii.  267,  8  (copy).    Copy,  Everitt,  p.  29. 
12^X8^  in. 

12149  NONE  BUT  THE  BRAVE  DESERVE  THE  FAIR.  231 

Rowlandson  1813 

Pub'^  December  9  1813  by  Tho"  Tegg  N"  iii  Cheapside 

Engraving  (coloured  impression).  A  mounted  hussar  receives  in  his  arms  a 
pretty  young  woman  who  is  climbing  down  from  a  high  wall.  She  puts  her 
face  to  his,  and  rests  her  hand  on  his  shoulders  while  he  supports  her  ample 
posterior.  The  horse,  directed  to  the  r.,  is  almost  knee-deep  in  water.  A 
corner  of  a  house  among  trees  appears  over  the  wall  (r.). 

Grego,  Rowlandson,  ii.  255.  Milan.  No.  2448. 
12X9  in. 

12150  WITCHES  IN  A  HAY  LOFT.  226 

Woodward  Delin.  Rowlandson  Scul.  [?  1813] 

[Pub.  Tegg.] 

Engraving  (coloured  impression).  A  yokel  puts  his  head  through  a  trap-door 
(1.),  holding  up  a  lantern  and  pitchfork.  He  gapes  in  horror  at  the  sight  before 
him.  Two  witches  (r.)  sit  over  a  fire  burning  in  a  bowl;  one  holding  a  broom 
gazes  grimly  towards  the  creatures  they  have  called  up :  two  bodies,  one  old, 
the  other  young,  both  winged,  one  having  wings  of  flame,  terminate  together 
in  the  crouching  hind-legs  of  a  beast  of  prey;  with  these  are  the  head  and  neck 
of  a  monstrous  bird.  Two  grotesque  goblins  emerge  from  clouds  (1.),  and 
a  serpent  hisses  at  the  women. 
Grego,  Rowlandson,  ii.  265. 
8^X  I2f  in.  'Caricatures',  x.  29. 

12151  THE  QUAKER,  AND  THE  COMMISSIONERS  OF  EXCISE. 

276 

Woodward  Delin  Rowlandson  scul  Price  one  shilling  Coloured 

London  Published  [date  erased,  ?  1813]^  by  Tho"  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  Quaker  (1.),  standing  on  his  toes,  faces 
four  stout  and  elderly  Commissioners  seated  at  a  small  table,  who  register 
surprise  and  disapproval.  Three  of  them  say:  What  an  impertinent  fellow  to 
keep  on  his  hat  before  such  a  dignified  Assembly!;  None  of  your  theese  and  thous 
here  Sir — come  to  the  point — we  know  you  have  evaded  certain  duties,  and, 
Pray  Sir  do  you  know  what  we  sit  here  for?   The  Quaker,  his  hands  folded, 

'  First  published,  9  July  1807,  serial  number  23.     Information  from  Mr,  S.  G.  H. 
Burger. 

322 


PERSONAL   AND    SOCIAL   SATIRES    1813 

answers :  Verily  I  do — some  sit  here  for  500  others  for  a  1000 — and  more 
over  I  have  heard  it  reported  that  some  sit  here  for  two — thousand  pounds 
per  annum. 

The  Commissioners  of  Excise  (now  absorbed  in  the  Commissioners  of 
Inland  Revenue)  were  a  dignified  body  of  nine  appointed  by  patent,  their 
names  being  in  the  Royal  Kalendar  and  Haydn's  Book  of  Dignities.  The  men 
depicted  are  of  the  John  Bull  type,  not  portraits. 

Grego,  Rowlandson,  ii.  265  f. 
8|xi2|  in. 

12152  A  GOING!  A  GOING!!!  291 
R  Newton  del                         Rowlandson  sc 

[Date  erased]  Tho'  Tegg  N°  iii  Cheapside.  [?  1813] 

Engraving  (coloured  impression).  A  doctor  (1.),  grotesquely  obese,  stands  in 
profile  regarding  with  a  satisfied  smile  his  dead  or  dying  patient,  who  leans 
back  in  an  arm-chair  with  closed  eyes.  The  patient,  old  and  emaciated,  wears 
night-cap  and  dressing-gown  over  breeches  and  stockings.  Behind  him  are 
the  curtains  of  his  bed  (r.).  At  his  side  is  a  round  table  with  a  bowl,  medicine- 
bottle,  and  a  paper:  Prescriptions,  Bolus,  Blisters.  On  the  ledge  of  a  casement 
window  is  a  close  array  of  medicine-bottles.  The  doctor  says:  My  Dear  Sir 
you  look  this  Morning  the  Picture  of  health  I  have  no  doubt  at  my  next  visit 
I  shall  find  you  intirely  cured  of  all  your  earthly  infirmitys.  He  wears  old- 
fashioned  dress,  with  tricorne  hat  and  gold-headed  cane.  A  fat  woman  stands 
in  the  doorway  (1.),  her  hands  clasped.   Cf.  No.  iiiii. 

Grego,  Rowlandson,  ii.  267. 
9X12I  in.  'Caricatures',  x.  10. 

12153  GIVING  UP  THE  GHOST  OR  ONE  TOO  MANY.  292 

R  Newton  Del  Rowlandson  Scul 

[Date  erased]  Tho'  Tegg.  N°  iii  Cheapside  [?  1813] 

Engraving  (coloured  impression).  A  dying  man,  wearing  a  tattered  shirt, 
lies  stretched  on  a  miserable  bed  under  a  casement  window,  through  which 
looks  Death,  a  skeleton  holding  up  an  hour-glass  and  a  javelin  which  he  points 
menacingly  at  his  victim.  A  fat  doctor  (1.)  sits  asleep  at  the  bedside  (1.)  while 
an  undertaker's  man,  with  a  coffin  on  his  back,  and  holding  a  crepe-bound 
mute's  wand,  enters  from  the  r.  as  if  smelling  out  death.  The  doctor  wears 
old-fashioned  dress,  with  powdered  wig,  and  has  a  huge  gold-headed  cane. 
Beside  him  are  the  words : 

/  purge  I  bleed  I  sweat  em 

Then  if  they  Die  I  Lets  em 

This  was  an  epigram  on  Dr.  Lettsom  (1744-1815),  who,  however,  wore 
Quaker  dress,  and  is  probably  not  the  subject  of  the  print. 

Grego,  Rowlandson,  ii.  267. 
8^X  i2|  in.  'Caricatures',  x.  59. 

12154  CRACKING  A  JOKE!!  2g6 
Woodward  Delin  Rowlandson  scul 
[Date  erased]  Tho'  Tegg  N°  lii  Cheapside                                   [?  1813] 

Engraving  (coloured  impression).  Two  men  drink  and  smoke  together,  a  jug 
of  Stingo  on  the  table  between  them.    The  more  proletarian,  who  wears  a 

323 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

small  cap  on  short  tousled  hair,  turns  up  his  eyes  to  a  large  louse  on  his 
forehead,  saying,  Whats  that  you  say  Neighbour?  You  see  a  Creeper  on  my 
Forhead!  Come — Come — you  Joke!  The  other  answers :  /  tell  you  what  my 
good  Friend  if  you  have  any  more  such  Jokes  I  advise  you  to  crack  them  as  soon 
as  possible. 
8jx  i2|  in.  'Caricatures',  x.  228. 

12155  THE  GHOST  OF  MY  DEPARTED  HUSBAND  •  OR  WITHER 
MY  LOVE  AH  WITHER  ART  THOU  GONE. 

Woodward  del^  Rowlandson  soul. 

[Pub.  Tegg,  ?  1813.    Imprint  cropped.] 

Engraving  (coloured  impression).  A  grotesque  night  scene  in  a  churchyard. 
An  old  woman  has  fallen,  shrieking,  over  the  ghost,  the  head  and  shoulders 
of  a  grotesque  corpse-like  creature,  wearing  a  night-cap,  which  seem  to 
emerge  from  the  ground  on  which  he  folds  his  arms.  An  elderly  country- 
man crouches  towards  her,  holding  out  his  lantern.  Behind  him  (1.)  is  a  tomb- 
stone :  Here  Lies  .  .  .  against  the  railings  of  a  handsome  tomb.  For  the  second 
title  cf.  No.  931 1. 

Grego,  Rowlandson,  ii.  267. 
iijx8|  in.  'Caricatures',  ix.  22. 

12156  THE  WAY  TO  KEEP  HIM. 

G  M  Woodward  del^   [Williams  f.] 

Pub'^  Aug^  30^''  18 1 3  by  H  Hitchcock  Love  Lane 

Engraving  (coloured  impression).  A  fat  woman  (r.),  dressed  for  an  outing, 
and  grasping  a  closed  parasol,  threatens  a  miserably  trembling  husband  with 
a  large  key.  Round  the  latter's  waist  is  a  chain  fastened  by  a  huge  padlock. 
She  shouts  at  him :  Fll  teach  you  to  run  after  the  House  Maid  in  my  absence 
you  Amourous  Scoundrel,  but  however  I  have  now  lock'd  up  the  Shop,  and  shall 
keep  the  key  in  my  possession  till  my  return!  The  title  is  from  Murphy's  comedy 
(1760).  Cf.  No.  9579. 
8^X  12  in.  'Caricatures',  viii.  98. 

12157  THE  THREE  BEST  PHYSICIANS— D^  DIET— DR  MERRY- 
MAN— AND— DR  QUIT  [sic]  380 

[Williams.]  [?i8i3] 

Pub^  by  T.  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  After  the  title :  A  Hint  to  Hippocondriacks . 
Bedroom  scene:  an  invalid  in  a  dressing-gown  sits  smiling  in  an  arm-chair, 
while  a  fat  yawning  doctor,  'Quiet',  puts  a  night-cap  on  his  head.  On  the  r. 
'Merryman',  dressed  as  a  zany  or  clown,  with  a  gridiron  painted  on  the  back 
of  his  striped  tunic,  kicks  Death  towards  the  door  (r.),  and  presses  his  cap  like 
an  extinguisher  against  its  grinning  skull ;  he  says :  Be  Off!  Be  Off!  you  have 
no  chance  where  Diet  Merryman  and  Quiet  practice!  Death  answers :  Then  my 
first  job  must  be  to  quiet  you  and  your  partners  will  soon  follow.  Quiet :  Come 
now  for  a  little  quiet ;  Merrymans  dose  has  opperated  suficiently!  The  patient 
holds  a  'merrythought'.  A  fat  cook,  'Diet',  stands  on  the  1.  inspecting  a  dish 
of  bare  chicken  bones;  he  says,  grinning  broadly:  He'll  do!  Pick'd  the  bones 
clean!  We  shall  beat  the  Charlotte  Street  Medical  Board  hollow!  A  dinner- 
table,  with  an  empty  plate,  a  decanter  of  Madiera  and  a  loaf,  is  on  the  1.,  and 

'  Erased  and  almost  obliterated. 
324 


PERSONAL   AND   SOCIAL   SATIRES    1813 

behind  it  a  large  canopied  bed.  The  chimneypiece  (r.),  is  covered  with  medi- 
cine-bottles. The  floor  is  boarded.  On  it  lie  two  piles  of  Carricatures, 
evidently  the  'Caricature  Magazine',  on  which  the  imprint  is  inscribed. 
There  are  also  books  lettered  J^^^^^.  A  puff  for  Tegg's  Magazine,  cf.  No.  1 1976. 
8f  X  12 jf  in.   With  border,  g^x  13I  in.  'Caricatures',  ix.  68. 

12158  EXPORTING  CATTLE  NOT  INSURABLE  188 

W'"  E — ^  [Elmes]  Delin  Price  One  Shilling  Coloured 

Pu¥  Febr^  23  18 13  by  Tho'  Tegg — N° — 11 1  Cheapside — London. 

Engraving  (coloured  impression).  A  ship's  boat  filled  with  rollicking  prosti- 
tutes, is  rowed  towards  a  King's  ship  whose  bows  are  on  the  extreme  1.  The 
two  oarsmen  and  the  helmsman,  and  a  marine  playing  a  fiddle  are  swamped 
by  the  women,  who  hold  up  decanters  and  glasses.  The  helmsman  lounges 
with  his  arms  round  two  women,  one  of  whom  holds  the  tiller.  A  negro 
woman  smokes  a  long  pipe  (cf.  No.  8793).  All  are  in  high  spirits.  Tied  out- 
side the  boat  are  two  barrels,  both  inscribed  Smugled,  one  is  Hollands  Gin, 
the  other  and  larger  is  Coniac  Brandy.  Behind  (r.)  is  a  ship  with  guns  pro- 
jecting from  port-holes;  two  women  climb  on  board  by  a  rope-ladder  from 
a  boat,  watched  by  sailors  and  an  officer,  while  from  a  window  of  the  captain's 
cabin  another  woman  looks  out.  A  ship  in  full  sail  (1.)  makes  for  the  horizon. 
Cf.  No.  1 1 981. 
8|xi2^  in. 

12159  JACK  JOLLY  STEERING  DOWN  WAPPING  IN  BALLAST 
TRIM.  216 

E — ^  [Elmes]  Sculp  Delin  Price  One  Shilling  Coloured 

Pu¥  Octo'^  2g.  1813  by  Tho'  Tegg  iii  Cheapside  London. 

Engraving  (coloured  impression).  A  jovial  sailor  bestrides  a  mis-shapen  horse 
with  panniers,  a  foot  in  each  basket.  In  each  basket  sits  a  bedizened  prostitute, 
each  holding  one  of  his  arms.  He  grins  amorously  towards  the  one  on  his  r. 
who  is  immensely  fat,  with  a  patched  face  and  coarse  features.  She  wears 
long  gloves,  holds  up  a  parasol,  and  a  reticule  dangles  from  her  arm.  The 
other,  who  is  less  repulsive,  drinks  from  a  bottle;  from  her  pannier  dangles 
a  jar  of  British  Spirits.  Both  wear  feathered  hats  and  low-cut  dresses  with 
very  short  sleeves,  necklaces,  and  ear-rings.  They  are  in  a  wide  cobbled  street 
leading  to  the  Thames,  which  resembles  the  sea;  behind  a  corner  shop  (1.), 
inscribed  Dealer  in  Maritime  Stores,  appears  the  stern  of  a  ship  flying  an 
ensign. 

A  copy,  reversed,  Pub  by  M'^Cleary  32.  Nassau  Street,  in  J.L.D. 
8i|xi3^  in. 

12160  IRISH  ROADS  OR  LIFES  FINGER  POST.— Fmem  respice. 

[Williams]' /m^ 

Pub'^  by  Tho'  Tegg  N  iii  Cheapside  London.  [?  181 3] 

Engraving  (coloured  impression).  An  elaborate  sign-post  on  a  pillar,  with 
five  arms  topped  by  a  fool's  cap,  stands  in  the  centre  of  a  landscape.  The 
directions  are :  To  Love — you  are  requested  not  to  pluck  the  Roses  till  they  fall 
off.  To  Prison.  NB  The  Courts  of  Law  will  shew  the  way,  and  take  care  of 
your  Luggage.    To  Honour  carry  Arms  with  you  as  you  will  not  get  through 

'  Cropped. 
325 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

without  a  Duel.  To  Matrimony  Caution — Travel  this  road  in  boots  and  wear 
gloves  it  being  overrun  with  Nettles.  To  the  Undertakers  Observe — the  nearest 
way  through  the  Apothecary  Shop.  On  the  column:  If  you  cannot  read  you 
must  take  your  Chance.  A  well-dressed  English  traveller  (1.)  addresses  a  sturdy 
Irishman  (r.) :  Why  Pat!  you  have  a  variety  of  curious  Roads  here,  but  hav'nt 
you  any  Road  to  Preferment?  Pat  answers :  Arrah  my  Jewel,  but  that  Road  has 
been  removed  to  England  ever  since  the  Union ;  you  pass  through  it  to  the  Kings 
Palace  and  /['m]  tould  it 's  the  dirtiest  Road  in  Great  Britain!  After  the  title : 

"Howe'er  'tis  well,  that  while  mankind 
"Through  lifes  perverse  meanders  errs, 
"Some  can  imagin'd  pleasures  find, 
"To  combat  against  real  cares.   Prior 

For  the  Union  see  Nos.  9284,  9695,  &c.   Cf.  No.  11852. 
84  X  I  if  in.  (cropped).  'Caricatures',  vii.  52. 

12161  THE  REVD  DOCTOR  SYNTAX. 

Drawn  by  Rowlandson. 

Pub'^  Aug*  16  1813,  at  R.  Ackermann's  Repository  of  Arts  loi  Strand, 
London. 

Aquatint  (coloured  impression).  Frontispiece  to  The  Tour  (see  No.  1 1507,  &c.). 
Syntax  sits  leaning  on  his  r.  elbow  on  a  writing-desk  which  stands  under  an 
open  casement  window,  head  in  profile  to  the  1.,  r.  forefinger  on  his  forehead. 
He  smiles  delightedly.  A  book  lies  open  on  the  desk,  showing  a  drawing  of  a 
castle  (cf.  No.  1 1672).  A  cat  lies  on  the  back  of  his  chair.  On  the  wall  behind 
him  are  a  caged  bird,  a  wall-clock,  a  fiddle,  with  a  chess-board  and  bag  of 
pieces  (as  in  No.  1 1783),  his  hat  and  cloak.  Under  the  chair  is  a  paper:  Every 
Man  his  own  Farrier. 

One  of  three  plates  added  to  the  Schoolmaster's  Tour  when  republished  in 
a  volume,  see  Nos.  12 162,  121 63. 
6^X4^  in.  298*.  b.  19. 

12162  THE  TOUR  I  OF  |  DOCTOR  SYNTAX,  |  IN  SEARCH  OF 
THE  I  PICTURESQUE  |  A  POEM. 

See  No.  12161.  Title-page:  the  word  'Picturesque'  forms  part  of  a  romantic 
landscape,  ruins  of  a  Gothic  abbey,  the  P,  I  (a  column),  and  C  being  formed 
of  fragments  of  the  ruin,  with  turesque  engraved  across  a  rock.  There  are  also 
an  ancient  castle,  and  a  church  spire  among  trees.  Below,  five  lines  from 
Horace,  Ars  Poetica,  beginning  Ut  Pictura,  Poesis  erit  (1.  361). 

Cf.  reproduction  (coloured)  of  the  title-page  of  the  Seventh  Edition  (re- 
drawn with  slight  alterations).  Piper,  British  Romantic  Artists,  1942,  p.  20. 
Vignette,  c.  2|X4|  in. 

12163  THE  DOCTOR'S  DREAM.' 

Drawn  &  Etch'd  by  Rowlandson. 

See  No.  12161.  PI.  facing  p.  238.  Syntax  sleeps  in  an  arm-chair  in  a  handsome 
library.  Over  the  fireplace  is  a  topographical  view  of  London  from  the  S.E. 
Two  groups  of  flying  books  with  human  heads  and  dolphin-like  bodies 
approach  each  other  in  combat  above  his  head ;  piles  of  the  fallen  lie  on  the 
floor. 

'  Imprint  as  No.  12161, 

326 


PERSONAL  AND   SOCIAL  SATIRES   1813 

An  illustration  to  the  addition  made  to  the  Tour  (as  Canto  xxv)  on  its 
republication.  The  dream  (derived  from  Swift),  in  the  library  of  Lord 
Carlisle's  London  house,  is  of  a  conflict  between  the  Greek  and  Latin  authors 
led  by  Pallas's  owl,  and  commercial  publications  led  by  Cocker,  father  of 
mercantile  arithmetic. 
4^X7iin. 

12164  A  LADY'S  DRESSING  ROOM  IN  CALCUTTA. 

London  Pub'^  1813  by  Will"'  Holland,  Cockspur  Street,  of  whom  may  be 
had  a  humorous  Collection  of  East  &  West  India  Caricatures. 

Aquatint  (coloured  impression).  ^\n  Eurasian,  Portuguese,  or  English  lady, 
sallow,  with  black  hair,  sits  on  a  stool  in  profile  to  the  r.  in  the  centre  of  a  bare 
room,  attended  by  six  Indian  women.  She  dips  both  hands  into  a  shallow 
open  box  held  by  a  woman  seated  on  the  floor.  Another  stands  beside  her, 
watching.  On  the  r.  an  ayah  nurses  a  doll-like  infant.  Another  servant  stands 
holding  up  a  bell-shaped  implement  with  a  long  handle.  A  fourth  (1.)  sits 
full-face,  apparently  on  a  low  stool,  using  a  slab  to  pulverize  something  on 
a  board;  beside  her  are  a  small  earthenware  pot  and  a  three-legged  pot  with 
a  lid.  A  low  oblong  stool  stands  on  the  floor.  Behind,  a  young  Indian  girl 
approaches  from  the  1.  holding  a  jug  and  an  oval  tray  or  mirror.  There  is 
a  large  door  or  window  (1.)  closed  with  persiennes;  before  this  is  a  table  on 
which  are  a  closed  oblong  box  and  a  (?)  wine-bottle.  Another  large  window- 
space  is  open  to  the  sky.  The  Indians  are  almost  black,  except  for  the  strong 
whites  of  their  eyes,  and  wear  coloured  draperies.  There  are  hea\^  shadows. 
Apparently  a  companion  pi.  to  No.  11 165  by  the  same  artist,  probably  an 
amateur.  Cf.  also  No.  11832,  &c. 
8^X  i2|  in.  'Caricatures',  vii.  75. 

12165  A  BENGAL  KITCHEN.  [?  1813] 

Aquatint  (coloured  impression).  A  cavernously  dark  interior,  despite  a  strong 
light  from  a  wide  doorway  and  open  window  in  the  wall  which  forms  a  back- 
ground. Five  Indian  servants,  of  whom  two  may  be  women,  are  employed 
in  various  operations;  three  squat  on  the  floor  on  mats  or  low  stools,  a  fourth 
holding  a  slab  or  brick  like  that  in  No.  12 164,  rises  in  angry  controversy  with 
a  seated  man  (1.).  Their  dress  ranges  from  a  tunic  and  trousers  with  a  turban 
to  a  loin-cloth.  A  steward  or  butler  wearing  a  turban  stands  in  the  doorway, 
holding  a  bowl.  On  the  r.  is  a  large  stove  on  which  pots  of  various  sizes  are 
cooking  over  five  small  charcoal  fires  on  the  surface  of  the  stove.  Above,  in 
deep  shadow,  hang  large  hams,  &c.  Apparently  a  companion  pi.  to  No.  12164. 
Imprint  cropped, 
lojx  13I  in.  'Caricatures',  vii.  74. 

12166-12168 

From  Series  of  'Drolls' 

12166  TABITHA  GRUNT,  OR  THE  WALKING  HOSPITAL.      525 
G.  Cruikshank  fec^ 

Published  July  24, 1813,  byja'  Whittle,  &  Ric¥  H.  Laurie,  Fleet  Street, 
London. 

Engraving  (coloured  and  uncoloured  impressions).   A  hideous  old  maid  has 
risen  from  her  chair  (r.)  and  stands  supported  on  a  crutched  stick  to  address 

327 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

a  comic  doctor  (1.),  who  faces  her,  much  disconcerted,  putting  his  gold- 
headed  cane  to  his  chin.  Her  dress  is  antiquated,  with  high-heeled  shoes; 
one  foot  is  swollen  with  Gout,  the  other  with  Chilblains,  and  is  also  distorted 
with  Corns.  Her  person  and  costume  are  covered  with  the  names  of  diseases 
in  appropriate  places:  Lightness  (on  a  feather  nodding  from  her  head).  Head 
Ache,  Stupor,  Dizziness,  Palsy,  Ague,  Sore  Throat,  S^  Vit.  Dance,  Asthma,  .  .  . 
[&c.].  Medicine-bottles  on  a  table  beside  her  are  labelled  Miss  Grunt  and 
T-  Grunt.  A  little  dog,  shaved  in  the  French  manner,  barks  at  the  doctor. 
The  room  is  a  comfortably  furnished  parlour,  with  an  iron  balcony  outside 
a  window  reaching  to  the  floor,  with  a  background  of  trees  (1.).  Twelve  lines 
of  verse  are  engraved  beneath  the  title,  beginning : 

Im  loaded  with  ev'ry  disease,  it  is  true. 

Reid,  No.  248.    Cohn,  No.  2022.    Reproduced,  Cruikshankian  Motnus, 
p.yz. 
6f  X9I  in.   Sheet,  9JX  io|  in.  (cropped). 

12167  A  DAY  OF  FASHION.  527 
G.  Cruikshank  fee* 

Published  24th  August,  1813,  by  James  Whittle  and  Richard  Holmes 
Laurie,  No.  5J,  Fleet  Street,  London. 

Engraving.  Heading  to  a  song  interspersed  with  prose  conversations  printed  in 
three  columns :  Sung  with  the  greatest  Applause  by  Mr.  C.  Taylor,  at  Vauxhall 
Gardens:  Written,  composed,  and  respectfully  inscribed  to  George  Rogers  Barrett, 
Esq.,  by  Mr.  W.  T.  Parke.  A  scene  at  Christie's :  James  Christie  the  younger, 
fashionable  and  good-looking,  stands  at  a  high  rostrum  (1.),  hammer  in  hand, 
selling  pictures;  the  spectators  are  hideous  and  elderly.  The  picture  for  sale 
is  on  the  wall,  a  T.Q.L.  portrait  of  a  simpering  lady  in  the  dress  of  1813, 
but,  according  to  Christie,  by  Reynolds,  and  considered  his  chefd'oeuvre.  She 
is  'Lady  Squander',  wife  of  Lord  Squander,  whose  property  is  being  sold, 
as  in  the  School  for  Scandal,  see  No.  6968.  Other  pictures.  Lot  5,  &c.,  are 
on  the  wall.  The  song  begins:  'In  London's  gay  circle  where  pleasures 
abound'.   Refrain: 

And  sure  no  delights  are  so  gay  and  so  clever 
'Tis  London,  dear  London,  for  ever. 

The  conversations  are  at  Christie's,  at  dinner  (9  p.m.),  and  at  Vauxhall. 

For  'the  morning  lounge'  at  Christie's  see  No.  8888.  Parke,  the  author  of 
Musical  Memoirs,  1830,  was  a  brilUant  oboist  who  composed  songs  for  the 
theatre. 

Reid,  No.  255.    Cohn,  No.   1045.    Reproduced,  Cruikshankian  Momus, 
frontispiece. 
5I X  8|  in.    Sheet,  1 1|  X  9I  in. 

12168  CHARIOTEER  SNIP  ON  RISING  GROUND.  527  [sic] 

Priscilla  Groote  inv*   G.  Cruikshank  sculp 
Published,  October  i8th,  181 3,  by  [ut  supra]. 

Engraving.  Heading  to  printed  verses.  A  wealthy  tailor,  much  burlesqued, 
drives  his  own  (open)  carriage,  which  is  fantastically  composed  of  objects 
connected  in  fact  or  jest  with  tailoring.  His  wife  sits  inside  holding  a  parasol, 
a  grotesque  footman  stands  behind  (1.).  Four  geese  (r.)  are  harnessed  to  the 
carriage,  the  box-seat  is  a  cabbage.  The  body  of  the  carriage  is  in  the  shape 

328 


PERSONAL   AND   SOCIAL   SATIRES    1813 

of  the  upper  part  of  a  pair  of  breeches,  the  arms  being  a  card  of  buttons  with 
two  cabbages  as  supporters ;  Cabbage  and  open  scissors  in  the  place  of  crest ; 
below  the  buttons  is  a  flat-iron  (goose)  flanked  by  cucumbers.  The  spokes 
of  the  wheels  are  open  scissors,  the  footman  stands  on  a  giant  pin-cushion, 
and  the  upholstering  of  the  carriage  is  chequered  like  a  tailor's  pattern-card. 
The  tailor  is  dressed  as  a  fashionable  army  officer,  his  cocked  hat  flies  off" 
towards  a  passing  lady  followed  by  a  footman.  A  sign-post  points  (1.)  To  Ruin 
and  (r.)  To  Brentford.  On  the  extreme  r.  in  the  background  is  an  old-fashioned 
inn  with  a  sign :  Goose  [and]  Grid[iron'\ ;  the  host  stands  at  the  door  clasping 
his  fat  sides  in  laughter.  The  verses  (16 11.)  begin :  'Sir  Buttonhole  Snip  drives 
a  goose-chase'. 

For  cabbage,  &c.  as  emblems  of  tailoring  see  No.  11824,  &c. 

Reid,  No,  261.  Cohn,  No,  985,  Reproduced,  Cruikshankian  Motnus,  p.  76. 
6|X9  in.   Sheet,  lof  xq-^  in. 


329 


i8i4 
POLITICAL   SATIRES 

12169  THE  DOUBLE  HUMBUG  OR  THE  DEVILS  IMP  PRAYING 
FOR  PEACE 

Rowlandson  del. 

Pu¥  Jan^  i'^  1814  by  R.  Ackermann  N°  loi  Strand 

Engraving  (coloured  impression).  A  design  in  two  compartments,  separated 
by  a  vertical  line,  [i]  Napoleon  stands  on  the  dais  in  front  of  a  chair  of 
state  addressing  rows  of  (burlesqued)  Senators  and  Deputies,  who  listen  with 
hostility  and  scepticism;  some  close  their  eyes,  two  take  snuff.  The  Devil, 
a  winged  monster,  clutches  the  back  of  Napoleon's  chair,  and  leans  towards 
him  like  a  gargoyle-bird  of  prey,  inspiring  the  speech.  The  dais  is  supported 
on  crowns  of  varying  patterns.  The  Emperor  is  in  profile  to  the  1.,  extending 
both  arms  in  a  propitiatory  gesture;  he  wears  plain  military  uniform  with 
boots.  His  words  are  in  a  large  label  across  the  design :  Extracts  of  Bony- 
party's  Speech,  Sunday  ig^^  December  18 13.  Senators,  Counsellors  of  State, 
Deputies  from  the  Department  [sic]  to  the  Legislative  Body.  Splendid  Victories 
have  raised  the  Glory  of  the  French  Arms  during  this  Campaign,  in  these  weighty 
Circumstances  it  was  my  first  thought  to  call  you  all  around  me.  I  have  never 
been  Seduced  by  Prosperity,  I  have  conceived  and  executed  great  Designs  for  the 
Prosperity  and  the  Happiness  of  the  World.  As  a  Monarch  and  a  Father,  I  feel 
that  Peace  adds  to  the  security  of  Thrones  and  that  of  Families,  I  have  accepted 
proposals  &  the  Preliminaries,  It  is  necessary  to  recruit  my  Armies  by  numerous 
Levies,  and  an  increase  of  Taxes  becomes  indispensable.  I  am  satisfied  with  the 
Sentiment  of  my  People  of  Italy,  Denmark,  Naples,  America  and  the  nineteen 
Swiss  Cantons  and  have  acknowledged  the  Laws  which  England  has  in  vain 
sought  during  four  centuries  to  impose  on  France — /  have  ordered  discharges  of 
Artillery  on  my  coming  and  leaving  you.  This  label  hides  the  upper  part  of 
two  pictures  on  the  wall:  a  battle-piece  (1.),  and  (above  Napoleon's  head) 
20  Flags  Presented  to  the  Empress:  tiny  obsequious  figures  present  the  flags, 
see  No.  121 11,  &c. 

Napoleon's  speech  of  19  Dec.  is  in  parts  given  almost  textually,  but  with 
important  omissions  and  alterations  that  constitute  misrepresentation  and 
burlesque:  after  'splendid  victories'  .  .  .  'defections  without  parallel  have 
rendered  those  victories  useless'.  He  said  not  'I  have  accepted  proposals  .  .  .' 
but  'I  have  adhered  to  the  preliminary  basis  ...  on  my  side  there  is  no 
obstacle  to  the  establishment  of  peace'.  'I  know  and  partake  all  the  sentiments 
of  the  French  .  .  .  because  there  is  not  one  of  them  who  would  desire  peace 
at  the  price  of  honour.  It  is  with  regret  that  I  ask  of  this  generous  people 
new  sacrifices.  .  .  .'  The  chief  alteration  is  after  the  reference  to  'my  people 
of  Italy':  'Denmark  and  Naples,  alone,  have  remained  faithful  to  their 
alliance  with  me.  The  Republic  of  the  United  States  of  America  continues 
with  success  its  war  with  England.  I  have  recognised  the  neutrality  of  the 
nineteen  Swiss  cantons  [see  No.  12123].'  'I  have  acknowledged'  is  part  of  a 
bellicose  passage:  'My  people  cannot  feel  that  the  policy  of  their  Emperor 
will  ever  betray  the  national  glory.  .  .  .'  He  ended  with  a  plea  for  continued 
resistance,  and  against  acknowledging  'the  laws  which  England  . . .'  [ut  supra]. 
Examiner,  26  Dec.  181 3.    See  Ward's  comment  (27  Dec.)  in  Letters  to  Ivy, 

330 


POLITICAL   SATIRES   1814 

1905,  p.  225  f.  See  also  Pariset,  Hist,  de  France  contemporaine,  iii,  1921,  443-6. 
The  speech  is  quoted  in  No.  12222. 

[2]  Napoleon,  in  profile  to  the  r.,  kneels  abjectly  before  the  Allies,  present- 
ing to  them  a  collection  of  crowns,  including  the  Pope's  tiara,  and  a  sheaf 
of  flags;  these  are  on  the  ground  with  his  cocked  hat  and  sword;  he  keeps 
one  crown  tucked  under  his  r.  arm.  The  Allies  stand  menacingly  on  the  r. 
They  are  (1.  to  r.):  John  Bull,  a  fat  'cit'  pugnaciously  clenching  his  fists;  a 
morose-looking  Spaniard;  a  Cossack,  his  r.  hand  on  his  sabre;  an  (?)  Austrian 
officer,  his  sword  in  his  1.  hand,  and  on  the  extreme  r.  a  Dutchman  in  bulky 
breeches,  with  a  long  pipe  in  his  mouth.  Other  heads  are  indicated  behind. 
Napoleon's  words  are  in  a  large  label:  Gentlemen  Emperors,  Kitigs,  Rhenish 
Confederations  &c  &c  &c  Behold  unto  you  a  j alien  Imposter,  who  has  for  many 
Years  been  Drunk  &  intoxicated  with  Ambition,  Arrogance,  and  Insolence,  who 
has  decieved,  cheated,  and  tricked  you  ofi  many  Occasions,  who  has  foolishly  and 
wickedly  lost  within  a  twelve  Months  a  Million  of  brave  but  deluded  Frenchmen, 
Who  has  conceived  the  great  and  diabolicol  [sic]  design  of  enslaving  the  world,  and 
has  lost  all  his  friends  except  Yankee  Maddison.  Now  Gentlemen  to  make  amends 
for  my  Sins,  I  sollicit  your  Pardon  and  ask  for  Peace,  on  your  own  Terms. 
Gentlemen,  and  I  will  strictly  adhere  to  till  x  x  x  x  x  x  You  may  take  all  those 
Crowns  back  again  except  the  one  belonging  to  the  Bourbons.  My  Empress  sends 
you  also  back  the  20  flags  I  found  in  some  of  the  Churches  in  the  course  of  my 
flight  from  Leipzig  [see  No.  121 11,  &c.] — As  for  the  Story,  Gentlemen,  of  the 
Corporal  &  the  blowing  up  the  Bridge  [see  No.  12108,  &c.]  you  must  know 
twas  a  mere  Humbug  to  Gull  the  Lads  of  Paris.  Behind  Napoleon  is  Talleyrand 
supported  on  a  crutch;  he  leans  foru'ard  obsequiously,  saying.  What  my 
Master  has  said  is  true  So  help  me  G — d  Amen. 

At  this  date,  on  the  burning  question  of  peace  negotiations,  the  public 
knew  only  what  could  be  deduced  from  Napoleon's  speech  of  19  Dec.  and 
from  the  debate  of  20  Dec,  when  Lord  Holland  asked  if  the  Declaration  of 
the  Allied  Powers  at  Frankfurt  (i  Dec.)'  was  authentic,  if  the  British  Govern- 
ment was  a  party  to  it,  if  a  peace  overture  had  been  rejected,  or  if  any  overture 
had  been  made  that  was  likely  to  lead  to  a  negotiation.  Liverpool  confirmed 
the  authenticity  of  the  document  (in  which  it  was  said:  'the  first  use  which 
their  imperial  and  royal  majesties  have  made  of  victory,  has  been  to  offer 
peace  to  his  majesty  the  Emperor  of  the  French'),  saying  that  the  British 
Government  was  not  a  party  to  it,  but  refused  to  answer  further  questions. 
Similar  questions  were  asked  in  the  Commons,  and  on  this  day  Parliament 
was  adjourned  to  i  March.  Pari.  Deb.  xxvii.  285  f.;  Ann.  Reg.,  1813, 
p.  210  f.  Actually,  the  Frankfurt  Proposals  offering  France  her  'natural 
limits',  were  sent  to  Napoleon  on  9  Nov.,  on  16  Nov.  he  made  an  evasive 
answer;  on  5  Dec.  Caulaincourt  offered,  too  late,  to  accept,  and  on  28  Dec. 
Castlereagh  left  for  Allied  Headquarters  to  weld  the  Alliance.  See  C.  K. 
Webster,  The  Congress  of  Viemia,  1934,  pp.  10-19,  ^^^  Foreign  Policy  of 
Castlereagh,  i,  1931,  pp.  187  ff".;  cf.  No.  12206.  During  the  retreat  from 
Moscow  Talleyrand  began  to  plot  Napoleon's  overthrow.  Lacour-Gayet, 
Talleyrand,  1930,  ii.  314  f.;  see  also  Dard,  Xapoleon  and  Talleyrand,  1927, 
pp.  292-4.  It  is  to  be  noted  that  Napoleon  keeps  the  French  crown.  Cf. 
Nos.  12077,  12 107,  12174,  12179,  12240. 

Grego,   Rowlandson,   ii.   271  f.     Broadley,   i.   348.     De  Vinck,   No.   8873 
(publication  of  the  pi.  announced  in  the  Journal  de  Paris,  19  Apr.  1814). 
8fxi3|in. 

'  This,  and  the  documents  relating  to  the  Proposals,  were  clandestinely  published 
in  Paris  in  a  bogus  number  of  the  Moniteur,  'Le  Moniteur  suppress^,  ou  le  Double 
Moniteur  du  20  Janvier  1814.'    De  Vinck,  No.  8870  bis. 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12170  THE  METEOR;  OR  MONTHLY  CENSOR. 

G.  Cruikshank  del 

London:  Printed  by  W.  Lewis,  St.  John's-square,  and  sold  by 

T.  Hughes,  J5,  Ludgate- street,  And  by  all  Booksellers.  Price  2s.  6d. 

[i  Jan.  1814] 

Wood-engraving  on  pink  paper,  cut  from  the  wrapper  of  the  magazine,  the 
title,  &c.  being  surrounded  by  the  design.  Below  the  title:  Four  Coloured 
Plates.  No.  IIL  A  hero  in  Roman  armour,  holding  a  shield  inscribed  Free 
Press  decorated  with  flames  and  lightning,  and  raising  a  fiery  sword  inscribed 
Justice  Truth,  attacks  a  three-headed  monster  with  a  long  serpentine  body 
bristling  with  spikes.  Flames  issue  from  its  three  jaws:  Licentiousness,  Fraud, 
Hypocrisy.  Behind  him  (r.)  is  the  pillar  of  the  Constitution  flanking  the 
design:  a  Corinthian  column  supporting  on  a  cushion,  Bible,  crown,  mitre, 
crosier,  sceptre.  As  a  pendant  to  this  is  a  figure  of  Punch,  wearing  the  cap 
and  bells  of  Folly,  standing  on  a  pedestal,  and  regarding  with  dismay  his  own 
reflection  in  a  mirror  held  up  by  a  laughing  satyr  (satire)  with  goat's  legs. 
Heavy  clouds  rise  behind  the  column  from  the  monster  and  spread  across  the 
upper  part  of  the  design,  where  they  are  dispelled  by  the  Meteor,  a  winged 
imp  holding  out  a  lantern.  On  his  forehead  is  a  star  with  a  comet-like  tail ; 
he  grins  broadly  as  he  springs  through  space.   Cf.  No.  12091. 

Reid,  No.  2800.    Cohn,  No.  553. 
84X4I  in.    Corners  clipped  to  form  an  octagon. 

12171  BONAPARTE!  AMBITION  AND  DEATH!!.— 

G.  Cruikshank  fecit 

Plate  i'^  of  N"  3  of  the  Meteor,     Pub"^  January  i''  1814— 

Engraving  (coloured  and  uncoloured  impressions).'  Three  designs,  side  by 
side,  each  with  its  title,  [i]  Buonaparte  led  on  by  Ambition,  seeks  y  conquest 
of  y  World.  Napoleon  takes  a  flying  stride  towards  a  globe  which  floats  in 
the  air,  lured  on  by  Ambition,  a  lean  and  naked  creature  with  webbed  wings 
and  spiky  crown.  The  latter,  who  springs  through  the  sky  pointing  to  the 
globe,  has  a  large  pointed  face  and  an  insinuating  smile.  On  the  globe  is  a 
map  and  lines  of  longitude  and  latitude ;  it  floats  among  stars,  and  is  hope- 
lessly out  of  reach.  A  face  in  a  crescent  moon  grins  down  at  it  and  the 
Emperor.  Napoleon  tramples  on  a  pile  of  corpses,  his  foot  resting  on  an 
infant  which  lies  across  its  mother  who  is  transfixed  by  a  dagger;  with  the 
bodies  are  spoils  of  war:  a  cross,  a  mitre,  and  a  crosier.  He  holds  up  his  sabre, 
and  his  1.  arm ;  both  drip  with  blood.  He  wears  uniform,  without  a  hat,  and 
with  a  tricolour  sash,  and  jack-boots  with  huge  spurs,  and  has  a  corvine 
profile.  He  is  followed  by  a  crowd  of  grinning  Jacobin  soldiers,  eager  for 
rapine  and  murder;  they  rush  forward  holding  daggers,  sabres,  bayonets, 
pikes,  &c. ;  all  wear  bonnets  rouges.  They  have  an  eagle,  with  a  tricolour 
flag  inscribed  Empreur  [sic]  Napoleon  Honor.  Their  heads  and  shoulders  are 
on  the  extreme  1.  In  front  of  Napoleon  (r.)  are  heavy  clouds  of  smoke.  Cf. 
Nos.  12107,  12260. 

[2]  Discomfitted  at  Leipsic  he  flies  from  Death.  In  the  foreground  (1.)  stands 
Death,  a  skeleton  wearing  a  spiky  crown,  about  to  hurl  a  javelin  at  the  fleeing 
Emperor,  while  in  his  1.  hand  he  holds  up  an  hour-glass  whose  sands  have 
run  out.   He  tramples  on  a  tricolour  flag  attached  to  an  eagle,  and  on  frag- 

'  Not  folded,  showing  that  they  were  issued  separately. 


POLITICAL   SATIRES    1814 

ments  of  a  crown.  Beside  him  is  a  rotten  and  gnarled  tree-trunk,  from  behind 
which  the  Emperor,  in  profile  to  the  r.,  leaps  forward,  to  cross  a  swiftly  flowing 
stream.  He  is  dressed  as  in  [i],  but  his  face  is  emaciated  and  ravaged.  In  the 
background  the  battle  is  in  progress,  a  cannon  firing  point-blank  at  fleeing 
French  soldiers.  Above  the  battle,  Ambition  (1.),  now  a  tiny  figure,  falls  head- 
first from  the  sky,  his  crown  dropping  off,  and  his  body  terminating  in  fire  and 
smoke.   Behind  (1.)  are  the  towers  of  Leipzig. 

[3]  Overtaken  by  Retribution  he  trembles  for  y  future,  while  y  shades  of 
those  whom  he  has  Murder'd  appear  to  his  disordered  Vision,  and  Death  digs 
his  Grave!!!  Napoleon,  wearing  tattered  uniform  with  jack-boots,  sits  on  the 
throne,  which  faces  the  spectator.  On  his  1.  thigh  he  supports  a  tiny  King 
of  Rome,  who  wears  jack-boots,  and  a  spiky  crown  over  an  infant's  cap.  Both 
have  beak-like  corvine  noses.  Contorted  flames,  mscrxhtd  Justice,  dart  towards 
him  from  the  r.,  striking  his  crown  from  his  head.  He  shrieks,  clutching  his 
hair  and  looking  to  the  1.,  where  among  flames  rising  from  the  ground  are 
grotesque  corpse-heads,  inscribed:  D"  Enghien  [see  No.  1025 1],  Toussant 
[see  No.  10090],  Pichegrew,  Wright  [see  No.  11057],  Palm  [see  No.  11053]. 
There  are  also  two  unidentified  heads,  one  being  that  of  a  woman.  The 
Emperor's  r.  foot  rests  on  his  footstool,  which  is  in  the  form  of  a  polar  hemi- 
sphere. The  throne  is  on  a  circular  dais,  in  front  of  this  six  little  'blue  devils', 
cf.  No.  8745,  &c.,  dance  hand  in  hand,  forming  a  ring  round  Napoleon  at 
whom  they  grimace  mockingly.  In  the  foreground  (1.  and  r.)  are  two  others: 
one,  very  small,  fiddles  (1.),  the  other,  much  larger  and  very  obese,  plays 
bagpipes,  standing  on  a  cushion  (r.).  Behind  (r.),  Death,  a  grinning  skeleton, 
plies  a  pickaxe  with  frenzied  glee,  digging  a  grave.  An  eagle  and  laurel-wreath 
decorate  the  summit  of  the  throne.  Across  the  upper  part  of  the  design 
stretches  festooned  and  fringed  drapery,  centred  by  the  w'ord  Napoleon  and 
on  the  r.  concealed  (or  destroyed)  by  flames. 

For  the  ghosts  of  Napoleon's  victims  cf.  No.  11736.  One  of  many  satires 
on  the  consequences  of  Leipzig,  see  No.  12093,  ^^-   ^^-  No.  121 14,  &c. 

Reid,  No.  282.    Cohn,  No.  553.    Broadley,  i.  347-8. 

Designs  i  and  2,  7|x6|,  design  3,  7|x6^.  Whole  design  with  border 
8JX20  in. 


12172  THE  INFANT  RICHARD.  |  SATIRIST  JANUARY  1ST  1 81 
G.  Cruikshank  fee' 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xiv  (n.S.  iv).  The 
little  King  of  Rome  is  Richard,  in  Richard  III,  iv.  iv,  French  couriers  with 
the  heads  of  owls  taking  the  part  of  the  four  Messengers.  The  baby  king 
stands  on  the  seat  of  the  throne,  wearing  armour  and  a  crown  with  a  high 
plume  of  ostrich  feathers  worn  over  an  infant's  cap,  with  an  ermine-trimmed 
robe  and  sword.  He  has  an  elongated  beak-like  nose  with  an  infantine  mouth. 
He  extends  his  arms,  dropping  a  baton,  and  turns  to  the  couriers,  register- 
ing terror.  The  owl-couriers  (1.)  are  grotesque  creatures  in  tattered  dress, 
three  wear  bonnets  rouges,  one  is  chapeau  bras ;  one  has  a  queue  reaching 
to  the  ground,  one  has  the  milk-churn  boots  of  the  French  postilion; 
the  first  three  hold  out  papers  to  the  King.  The  first  says,  parodying  iv.  iv, 
11.  500-4): 

My  gracious  sovereign,  Now  in  Switzerland 
As  I  by  friends  am  well  advertized 
Bold  A  lays  Reding,  &  the  Cantons  all 
Are  up  in  arms. 

333 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

The  second  (11.  505-8) : 

Oh  my  dred  Lord  the  Tyrol  is  in  Arms 

And  every  hour  more  competitors 

flock  to  the  Rebels  &  their  powers  grow  strong. 

The  third  (1,  509):  My  lord  the  Army  of  the  Allied  powers 

The  fourth:  The  Dutch  Or  wage  Boven  shouting  rise  and  flout  your  way — 

The  little  King  says  (adapting  passages  from  iv.  iv  and  v.  iv): 

Out  on  ye  Owls — the  last  is  worst  of  all.  Now  all  my  toys  are  gone — A  horse! 
a  horse  my  Kingdom  for  a  Nice  Dutch  Rocking  Horse. 

The  throne  is  supported  on  the  legs  of  a  bird  of  prey.  The  drapery  above 
it  is  centred  by  a  cross.  Beside  the  throne  (r.)  is  a  table  covered  with  a  green 
cloth  bordered  with  gold.  On  this  are  toy  soldiers  and  a  cannon,  with  an  open 
box  of  soldiers  inscribed  11,000,000  Paper  Men  for  the  King  of  Rome.  Four 
similar  boxes  have  fallen  to  the  ground,  where  are  also  toy  cannons  and 
cannon-balls.  From  the  1.  an  ass  with  the  profile  head  of  Napoleon  gallops 
into  the  room,  harnessed  to  a  chariot  in  which  is  a  frenzied  hag  personifying 
the  excesses  of  the  Revolution.  His  long  ears  resemble  wings.  He  says: 
At  least  we'll  die  with  harness  on  our  back  [Macbeth,  v.  v].  The  creature  in 
the  car  has  two  heads,  the  upper  one  wearing  a  bonnet  rouge;  both  have 
serpents  for  hair.  She  has  pendent  breasts,  and  holds  a  rod  in  one  hand,  a 
dagger  in  the  other.  Her  r.  foot  rests  on  a  skull.  A  guillotine  flying  a  tricolour 
flag  forms  the  back  of  her  seat.  On  the  chariot  are  two  flaming  fire-brands; 
the  hub  of  the  wheel  is  a  skull,  the  spokes  are  daggers  and  bones.  The  wheels 
crush  a  Holy  Bible,  a  mitre,  &c. 

On  the  wall  behind  Napoleon  and  the  chariot  is  a  heavily  framed  picture : 
"New  Sports  of  the  Field"  par  M.  David!!  (court  painter  to  Napoleon,  cf. 
No.  10599):  Napoleon  and  his  son  are  birds,  with  human  heads,  and  long 
beak-like  noses.  The  child,  a  fledgling,  wearing  a  spiky  crown,  stands  on  the 
edge  of  a  rock,  looking  up  at  the  Emperor  who  falls  head-first,  losing  his 
crown,  struck  by  a  Congreve  Rocket  which  rushes  towards  him  from  among 
clouds  behind  the  child,  its  curve  of  flight  traced  through  the  air.  The  child 
says:  Oh  dat  I  could  fly  like  my  Dady. 

Austrian  forces  entered  Switzerland  unopposed  on  20  Dec,  see  No.  12123. 
Aloys  de  Reding  had  taken  the  chief  part  in  resisting  French  domination  in 
Switzerland,  1798- 1802.  The  Tyrolese  resented  their  transference  by  the 
Peace  of  Pressburg  (i  Jan.  1806)  from  Austria  to  Bavaria,  and  after  Leipzig 
they  attacked  Bavarian  troops  in  Innsbruck.  The  rising  was  checked  by 
proclamation  (12  Dec.)  from  Austrian  and  Bavarian  commanders.  Ann. 
Reg.,  1813,  170-3.  The  Rhine  was  crossed  in  December  by  the  Allies,  cf. 
No.  12 109,  and  allied  troops  spread  over  Alsace  and  Franche-Comte  without 
resistance.  For  the  liberation  of  Holland  see  No.  12102,  &c.  At  Leipzig,  see 
No.  12093,  ^^M  ^^^  British  were  represented  by  one  battery  of  Congreve 
rockets,  cf.  No.  11326,  which  did  great  execution.  Fortescue,  Hist,  of  the 
British  Army,  ix.  388.  The  position  of  the  infant  King  reflects  the  project, 
at  first  favoured  by  Austria,  of  a  Regency  under  Marie  Louise.  C.  K.  Web- 
ster, Congress  of  Vienna,  1934,  p.  20.  Cf.  Nos.  12183,  12185,  12190.  Another 
pi.  by  Cruikshank  is  The  Modern  Hannibal,  alias  the  King  of  Rome,  Swearing 
Eternal  Enmity  to  England.  Pub.  Tegg,  16  Jan.  1814  (not  in  B.M.).  For  similar 
representations  of  the  French  Revolution  (or  Republic)  cf.  Nos.  8436,  8614. 

Reid,  No.  281.   Cohn,  No.  724.   Broadley,'  i.  348. 
7|X  13!  in.   With  border,  7II X  14^  in. 

*  Broadley  calls  the  print  a  reflection  of  Kean's  triumph  at  Drury  Lane.  This  did 
not  take  place  till  26  Jan.  (as  Shylock);  Richard  III  was  not  played  till  12  Feb. 

334 


POLITICAL   SATIRES    1814 

12173  CHRISTMAS-GAMBOLS,    OR    THE    PLEASURES    OF    A 
COURT. 

[Williams.] 

Puh^  for  the  Proprietor  of  Tovm  Talk,  January  i^'  1814 , 

Engraving  (coloured  impression).  PI.  from  Town  Talk.  A  reception  at 
Carlton  House,  at  which  stags'  antlers  are  being  attached  to  the  foreheads  of 
the  men-guests.  In  the  centre  the  Regent  stands  in  profile  to  the  r.,  fixing 
the  antlers  on  the  head  of  a  stout  man  wearing  a  ribbon,  but  turns  his  head 
in  back  view,  saying.  Give  me  Age  and  wrinkles,  your  young  girls  are  only  food 
for  children.  A  middle-aged  and  rather  haggard  lady  assists  the  Regent  with 
the  fastening  at  the  back  of  her  husband's  head,  saying  over  her  shoulder  to 
Lord  Hertford:  A  very  Noble  looking  Buck  he  makes  dont you  think  so  Marquis! 
She  wears  the  Prince's  feathers  in  her  hair  with  a  bandeau  inscribed  Ich  Dien, 
and  is  clearly  the  Regent's  latest  mistress.  Lady  Hertford  is  prominent, 
standing  with  her  back  to  her  husband,  and  looking  angrily  at  the  trio; 
Hertford  also  watches  the  operation  resentfully,  taking  snuff.  The  company 
is  entering  the  room  through  a  wide  doorway  (1.);  ladies  are  seated  against 
the  wall.  All  the  women  wear  feathers  in  their  hair.  In  the  foreground  (1.), 
McMahon,  a  bundle  of  antlers  under  his  arm,  offers  a  pair  to  a  stiff  and  rather 
obese  man  wearing  a  ribbon  (?  Salisbury-);  they  are  being  selected  by  his  tall 
wife,  who  stoops  to  inspect  them  through  an  eye-glass.  Salisbury  says :  /  think 
those  are  too  large  for  me  my  Lady.  McMahon  says:  My  Lady's  the  best  judge 
of  that!  She  says :  To  be  sure  I  am  but  I  should  like  a  pair  with  a  little  more 
gold  on  them!  On  the  extreme  1.  an  antlered  man  wearing  a  ribbon  looks  with 
astonishment  towards  a  pier-glass  (concealed  by  the  margin):  he  raises  his 
arms  frantically.  His  wife  says :  Dont  be  frightened  my  Dear  you  shall  not  suffer 
the  fate  of  Acteon.  An  amused  spectator  says:  Xo  faith  for  there  are  no  Diana's 
here!  On  the  extreme  r.  the  game  is  in  progress:  two  men,  both  wearing 
ribbons,  are  struggling  against  each  other  with  locked  antlers.  Behind  them 
stand  four  other  antlered  men  and  three  ladies.  Two  of  the  latter  face  each 
other,  saying,  Til  bet  you  a  hundred  my  Buck  beats!!,  and,  Done!  double  if  you 
please  my  Lady!  my  Buck  has  bore  Antlers  for  some  Years!  The  third  leans 
eagerly  towards  them,  her  hand  on  the  shoulder  of  a  man  who  is  watching 
the  contest  intently;  she  says:  My  Old  Buck  shall  take  up  the  conqueror  for 
what  you  please  Ladies!  One  of  the  other  bystanders :  This  will  make  a  pretty 
novel  amusement  to  introduce  on  the  Continent;  his  vis-a-vis  answers:  arid 
occasion  perhaps  a  new  order  of  Knighthood.  In  the  background  (1.)  the  Duke 
of  York,  screening  his  face  with  his  hat,  says  to  one  of  his  brothers:  We  must 
take  care  of  the  young  ones  Brother! 

A  satire  on  the  manners  and  morals  of  Carlton  House.    One  of  many 
allusions  to  the  Prince's  penchant  for  middle-aged  women,  of.  No.  8485,  &c. 
It  illustrates  his  supposed  desertion  of  Lady  Hertford,  cf.  No,  12 189. 
6f  X  19  in. 

12174  NAPOLEON  DANCE  IN  HOLLAND. 

[Williams.] 

London  Pub'^  Janu^  J^'  1814  by  W.  Holland  N°  11  Cockspur  S' 

Engraving  (coloured  impression).  Napoleon,  in  his  death  agony,  hangs  from 
a  gibbet  formed  of  the  beam  of  a  pair  of  scales  supported  on  two  pillars 
inscribed  in  large  letters,  one  Hercules,  the  other  Pillars.  The  beam  is  inscribed 
Ne  Plus  Ultra,  and  on  it  stands  a  crowing  cock  labelled  Gallia  Cantat.  It  is 
further  balanced  at  the  extreme  ends  by  (1.)  a  weight  inscribed  Allied  Sovereigns 

335 


CATALOGUE  OF   POLITICAL  AND   PERSONAL    SATIRES 

and  (r.)  by  a  sword  tied  to  a  hook  on  the  beam  with  an  orange  ribbon,  the 
blade  inscribed  Balance  of  Power.  Napoleon's  hands  are  tied  behind  him,  his 
legs  are  kicking  violently,  dancing  to  a  tune  played  by  a  fat  Dutchman  (1.) 
who  says  Viva  Orangee,  and  fiddles,  looking  up  quizzically  at  Napoleon,  whose 
agonized  profile  is  directed  downwards  towards  his  tormentor.  The  Dutch- 
man wears  the  usual  short  jacket  and  bulky  breeches ;  orange  favours  decorate 
his  hat  and  his  fiddle.  Napoleon  wears  uniform  with  a  plumed  bicorne, 
tricolour  sash,  and  spurred  boots;  his  scabbard  is  empty  and  his  sword  lies 
broken  on  the  ground,  its  blade  inscribed  Tyr\any.  The  pillars  are  on  the 
sea-shore  framing  a  view  of  the  sea  where  a  King's  ship  is  firing  on  a  small 
one-masted  vessel. 

For  the  liberation  of  Holland  see  No.  12102,  &c.  Castlereagh's  object  in  the 
negotiations  about  to  begin  (cf.  No.  12 169)  was  a  lasting  peace  through  the 
establishment  of  a  real  balance  of  power,  'a  just  equiUbrium',  and  he  envisaged 
a  strengthened  Holland  as  a  barrier  against  France.  See  Nicolson,  Congress 
of  Vienna,  1946,  pp.  206  ff.  The  cock  implies  that  France  welcomes  the 
Emperor's  fall.  The  'Hercules  Pillars',  by  tradition  flanking  the  Straits  of 
Gibraltar,  probably  connote  British  sea-power  as  the  main  support  of  the 
balance,  and  perhaps  the  Peninsular  campaigns.  For  the  Balance  of  Power 
cf.  No.  10137.  For  Napoleon  gibbeted  see  Nos.  10058  (1803),  12121,  12200, 
12256.  A  gibbet  often  decorates  the  sky-line  of  Elba.  Cf.  No.  121 15,  &c. 

Listed  by  Broadley. 
iif  X8|  in. 

12175  RUSSIAN  AMUSEMENT  OR  THE  CORSICAN  FOOT  BALL 

240 

[Roberts  f.] 

Pu¥  Jan^'y  J*'  18 1 4  by  T  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  A  reissue.  Roberts's  imprint  is  obscured 
with  cross-hatching.'  A  burly  whiskered  and  moustached  Russian,  wearing 
high  fur  cap,  cloak,  top-boots,  and  sword,  gauntleted  hands  on  hips,  kicks  a 
much  smaller  Napoleon  into  the  air,  contemptuously  smoking  a  pipe.  He 
says:  /'//  teach  you  to  imult  Ambassadors  Master  Bouncing  B,  showing  that  he 
was  originally  intended  for  Markoff,  and  that  the  pi.  related  to  Napoleon's 
treatment  of  the  Russian  Ambassador  in  1803,  see  Nos.  100 16,  10091. 
Napoleon's  huge  bicorne  falls  from  his  head;  he  says:  /'//  not  be  treated  in 
this  way  I  will  have  my  own  way  in  every  thing. 

Broadley,  i.  347.  Milan,  No.  2507.  Reproduced  (colour),  Klingender,  p.  44. 
9|X  i2f  in. 

12176  A  REJECTED  TRIFLE   FROM— CUMBERLAND  TO  HAN- 
OVER— Plate  2^ 

G.  Cruikshank  fee* 

Pub'^for  the  Meteor  N°  3  [i  Jan.  18 14] 

Engraving.  PI.  from  the  Meteor.  A  caricature  portrait  of  the  Duke  of 
Cumberland  in  uniform.  He  stands  directed  to  the  r.,  his  sheathed  sabre 
under  his  1.  arm,  which  is  covered  by  his  pelisse,  on  which  is  a  star.  He  is 
knock-kneed,  and  has  a  melancholy  expression  with  almost  closed  eyes.  He 
wears  a  hussar's  cap  with  bag,  high  stock,  short  heavily  braided  tunic,  with 
fur-trimmed  cuff,  long  embroidered  pantaloons,  tight  till  below  the  knee 

'  Tegg's  date,  1814  is  altered  from  1807,  see  vol.  viii,  p.  506. 


POLITICAL   SATIRES   1814 

where  they  expand  into  trousers,  with  small  buttons  up  the  outside  of  the 
leg.  His  boots  have  pointed  toes  and  high  heels.  He  stands  by  the  stump  of 
a  rotten  tree.  There  is  a  landscape  background  with  a  distant  gibbet  on  a  hill. 

In  April  1813,  the  Duke  of  Cumberland  left  England  (see  No.  12067) 
anxious  to  see  military  service,  and  to  represent  the  House  of  Brunswick  with 
the  Allies.  He  went  to  Hanover  on  its  evacuation  by  the  French  (see 
No.  121 10),  despite  official  opposition,  hoping  to  be  made  Governor.  But 
on  9  Dec.  Bloomfield  arrived,  dispatched  by  the  Regent  to  break  the  news 
that  the  Duke  of  Cambridge  was  to  be  re-established.  He  was  received  with 
'a  burst  of  tears  &  evident  distress  &  mortification'.  Cambridge  arrived  on 
22  Dec,  his  brother  remained  on  the  Continent,  'quarrelsome  &  dissatisfied'. 
Corr.  of  George  IV,  1938,  i.  324,  338,  341  f.,  346,  369,  376.  The  gibbet  implies 
that  the  Duke  had  murdered  his  valet,  see  No.  11 561.  Cumberland  was 
Col.  of  the  15th  Light  Dragoons  (hussars  since  1806),  and  at  this  period  is 
generally  depicted  in  hussar  uniform. 

Reid,  No.  264.    Cohn,  No.  553. 
7X4iin. 

12177  WAHRE  ABBILDUNG  DES  EROBERERS.  [TRUE  PORTRAIT 
OF  THE  CONQUEROR.]  |  TRIUMPH  DES  JAHRES,  1813,  |  DEN 
DEUTSCHEN  ZUM  NEUEN  JAHR. 

[Voltz.]  [?  I  Jan.  1814] 

Reproduction  (facsimile)  Fuchs,  i.  172.  A  bust  portrait  of  Napoleon  in  profile 
to  the  1.,  based  on  a  head  engraved  by  Lehmann  after  a  portrait  by  Dahling 
(1807).  Below  the  design  is  the  explanatory'  text  (in  Fraktur),  which  was 
copied  and  adapted  with  many  variations  in  other  countries : 

Per  Hut  ist  Preussen  Adler,  zvelcher  mit  seinen  Krallen  den  Grosen  gepakt 
hat,  und  nicht  me/ir  loss  Idsst. 

Das  Gesicht  bilden  einige  Leichen  von  denen  Himderttausenden  welche  seine 
Riihnsucht  opferte. 

Der  Kragen  ist  der  grose  Blutstrom  zvelcher  fiir  seinen  Ehr,  geiz  so  lange  fliisen 
tnuste. 

Der  Rock  ist  ein  Sttick  der  Landcharte  des  aufgelosten  Rheinbundes,  An  alten 
darauf  zidesenden  Orteti  verlohr  er  Schlachten.  Das  rothe  bdndchen  bediirfte 
des  erkldrenden  Ortes  wol  nicht  mehr. 

Der  grose  Ehrenlegionsorden  ist  ein  Spinengeweber  dessen  Fdden  iiber  den  ganzen 
Rheinbund  ausgespant  zvaren:  allein  in  der  Epaulette  ist  die  mdchtige  Gotteshand 
ausgestreckt,  welche  gewebe  zerreisst,  womit  Deiitschland  umgarnt  war,  und  die 
Kreuz  spine  vernichtet  die  da  ihren  Sitz  hatte,  wo  ein  Herz  seyn  sollte. 

The  Emperor's  petit  chapeau  is  formed  of  an  eagle,  its  talons  grip  Napo- 
leon's head;  naked  corpses  (inconspicuously)  cover  the  profile.  The  hand 
forming  the  epaulet  holds  a  thread  extending  from  the  spider's  web  repre- 
senting the  star  of  the  Legion  of  Honour.  The  (profile)  edge  of  the  coat 
from  the  collar  is  a  wa\y  line  inscribed  Rhein  F;  other  rivers  run  down  from 
the  collar:  IVeser  f,  Elbe  f,  Oder  f;  on  the  extreme  r.,  below  the  epaulet, 
Veichsel  f.  On  the  breast,  enclosed  in  an  oblong  strip,  'the  little  red  band' 
or  ribbon,  is  the  word  Ehrfort  [cf.  No.  12202].  Names  of  battles,  each  with 
a  cross,  are  scattered  over  the  coat:  Hanau  [actually  a  victory  for  Napoleon, 
see  No.  12 109],  Hochst,  Gr.  Beeren  [23  Aug.  18 13],  Leipzig  [see  No.  12093,  ^<^-]' 
Lutzen  [2  May  18 13,  a  costly  French  victory],  Reivitz  [corrected  in  a  later 
version  to  Denewiz,  6  Sept.  1813],  Kulm  [29  Aug.  181 3],  Katzbach  [see  No. 
12086].  There  is  also  Hetnau  without  the  battle  sign,  and  afterwards  omitted. 

337  Z 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Perhaps  the  original  version  of  the  famous  corpse-head,  on  the  Hberation 
of  Germany,  and  especially  on  the  crumbling  of  the  Confederation  of  the 
Rhine,  cf.  No.  12 192.  The  version  reproduced  by  Broadley  (ii.  245)  is  more 
delicately  modelled  and  the  names  are  more  correctly  given.  On  the  cuff 
above  the  hand-epaulet  an  eye  has  been  added,  and  the  inscription  (which 
lacks  the  first  title)  is  in  Roman  script. 

Another  version  is  reproduced,  Dayot,  Napoleon,  p.  324,  apparently 
German,  but  with  some  features  of  No.  12202:  Honi  Soil  round  the  wrist, 
R  (for  Regent)  on  the  cuff,  and  letters  on  the  five  fingers:  E,  R,  P,  S,  O 
[Oesterreich],  as  in  No.  12320.  See  also  F.  Schulze,  Die  deutsche  Napoleon- 
Karikatur,  Weimar,  1916,  pp.  v*,  27.  Four  Dutch  versions  are  Van  Stolk, 
Nos.  6181-3,  6185.  The  first  three  with  the  title  Echte  beeldtenis  des  vero- 
veraars;  the  fourth.  Napoleon.  De  eerste  en  laatste,  door  des  Hemels  wrack 
Keizer  der  Jacobijnen,  is  evidently  from  an  English  version.  Broadley  (ii.  417) 
adds  to  the  list  another  from  his  own  collection :  Eigenaardige  Afbeelding  des 
geweldenaars.  He  lists  three  French  versions,  one  Le  conquerant  devastateur 
[Van  Stolk,  No.  6186].  He  gives  five  Italian  versions,  two  called  Vera 
immagine  del  Conquistatore,  one  //  Ritratto  dell'  ambizioso  Conquistatore,  one 
with  the  inscription  Berlin  1814,  a  fifth,  Vero  ritratto  del  Conquistatore.  A 
Spanish  version  is  Napoleon  en  el  ano  18 1 4;  a  Portuguese  version  with  no 
title  is  the  only  Portuguese  Napoleonic  caricature  known  to  Broadley.  He 
lists  one  Russian  (?  without  a  title)  and  two  Swedish  versions,  both  with  the 
German  title.  A  French  version  was  announced  in  Le  Journal  de  Paris,  3  May 
1814  (De  Vinck,  No.  8862).  For  English  copies  and  adaptations  see  Nos. 
I2i86,  12202,  12203,  12204,  12535.   Cf-  Nos.  12195,  12205,  12606. 

An  English  adaptation  is  reproduced,  Fuchs,  i.  237  (Broadley,  i.  359), 
published  by  J.  Johnson  (probably  during  the  Tsar's  visit  to  England).  The 
profile  head  is  that  of  Alexander  I,  the  cocked  hat  is  formed  of  a  bear,  holding 
a  palm-branch  in  allusion  to  the  approaching  peace  through  the  exertions  of 
Russia.  On  the  face  is  Fame  raising  Slavery;  round  the  neck  is  a  laurel- 
wreath,  the  epaulet  is  a  lion's  claw,  symbolizing  'the  assistance  given  by 
England'.  The  star  on  the  coat  is  the  globe  surrounded  by  the  fingers  of 
'Peace,  Commerce,  Plenty  and  Trade'.  The  order  round  the  neck  is  four 
clasped  hands  'to  show  that  the  concord  of  the  world  is  near  at  a  crisis'.  On 
a  light  blue  ribbon  (in  place  of  'Ehrfort')  is  'Bridge  of  Lindenau'  (see 
No.  12 108).  On  the  coat  are  the  names  Lindenau,  Krasnoi,  and  Leipzic. 
For  Krasnoye  (15-18  Nov.  18 12),  a  feeble  attack  by  Kutusoff  on  the  French 
rearguard,  see  Tarle,  Napoleon's  Invasion  of  Russia,  1942,  pp.  260-4.  Cf. 
No.  12277. 
c.  7fx5in.  B.M.L.,  Cup.  364.  g.  21. 

12178  NOUVELLE   FARCE  QUI   A  ETg  REPRESENT^  A  PARIS 
AVEC  fiCLAT,  ACTEUR  PRINCIPAL  LE  ROI  DE  ROME????? 

[G.  Cniikshank.]  [?  Jan.  1814] 

Reproduction,  Grand-Carteret,  Napoleon,  No.  283.  French  version  of  a 
caricature  published,  simultaneously  it  is  said,  with  English  and  French  text. 
The  King  of  Rome  on  a  toy  horse,  is  addressed  by  Napoleon,  who  points  out 
to  him  two  ranks  of  guards  (r.) :  behind  are  tall  battered  men,  their  lips  closed 
by  large  padlocks  (cf.  No.  12037);  in  front,  dwarfish  bandy-legged  men.  The 
child  is  also  burlesqued;  he  wears  a  head-dress  of  crown-cum-papal-tiara, 
and  has  an  immense  pigtail,  held  up  by  an  elderly  court  lady.  A  Mameluke 
carries  a  large  covered  pot,  and  has  a  large  reticule  hanging  from  his  arm 
inscribed  Serviettes  pour  Majeste  Imperiale.    Napoleon:    Voyez  mon  fils  les 

338 


POLITICAL   SATIRES   1814 

legions  qui  ont  conquis  ['Europe  et  voyez  celles  qui  doivent  recommencer  cette 
besogne  comme  Alexandre  je  pleurals  de  n' avoir  pas  un  autre  Europe  a  Conquerir 
y  [II]  etait  unfou  il  aurait  dufaire  comme  moi  il  se  serait  epargne  bien  des  larmes. 
passe  [sic]  les  troupes  en  revue  dites  lexir  queje  vais  les  conduire  a  la  g loir e  comme 
fai  conduit  leurs  peres  dites  leur  qu'ils  doivent  se  battre  pour  [vous]  et  papa.  The 
child  says  only:  qu'on  me  ramene  chez  maman  jai  envie  de  faire  .  .  .  Shouts 
of  Vive  VEmpereur  issue  from  a  window  (1.).  Below  the  title:  Belle  estampe 
representant  Le  marmot  roi  de  Rome  age  de  trois  ans  monte  sur  son  dada  passant 
en  revue  les  troupes  franpaises  dedie  aux  soldats  de  la  grande  armee. 

See  No,  121 13.  A  copy  of  Delusion,  A  New  Farce,  performed  at  Paris  with 
great  eclat — Principal  Performer  the  King  of  Rome!!!  G.  Cruikshank  fee. 
Pub.  18  Dec,  1813,  by  Knight  (Reid  No.  5091,  not  in  B.M.). 

De  Vinck,  No.  8595.    Milan,  No.  2564.     Reproduced,  Grand-Carteret, 
UAiglon  en  Images,  1901,  p.  323. 
8^X  12^^  in.  (orig.).  B.M.L.  010662.  k.  19. 

12179  MAD   NAP  BREAKING  THE  ARMISTICE  from  the  Original 
Picture  at  Dresden  [?Jan.  18 14] 

Engraving.  Two  grotesque  French  couriers  give  bad  news  to  Napoleon.  He 
kicks  one  behind  and  threatens  them  with  his  fist  and  a  poker.  The  couriers 
have  huge  pigtails  and  high  boots,  each  holds  a  whip  with  a  heavily  weighted 
lash,  one  (r.)  holds  a  bonnet  rouge.  The  one  who  is  being  kicked  looks  over 
his  shoulder  to  say:  Diable!  Your  Grand  Army  in  Spain  is  totally  routed  180 
Cannon  400  Ammunition  Waggons  All  the  Baggage!  gooo  head  of  Cattle 
Military  Chest  full  of  Money  taken  Your  Brother  King  Joey  gallop' d  away  on 
Horseback  Devil  knows  where!  M.  Jourdan  lost  his  stick  [marshal's  baton]  & 
Wig!  &  the  Enemy  persuing  in  all  directions.  The  other  (r.)  stands  in  profile 
to  the  1.,  with  flexed  knees,  alarmed  at  the  Emperor's  rage;  he  holds  out  a 
paper:  English  near  Bayonne  Rising  in  South  of  France  200,000  men  joind 
the  Bourbons  Standard  Revolt  at  Toulon.  Discontents  at  Paris  All  Spain 
Evacuated  &  more  losses.  Napoleon,  in  profile  to  the  r.,  wearing  a  feathered 
bicorne,  shouts :  Away  base  slaves!  Fresh  Torments!  Vile  Cowards!  Paltroon 
Joe!  Traitor  Jourdain!  Cursed  Anglois!  Fll  make  Heaven  &  Earth  tremble 
for  this!  But  no  tis  lies!  base  lies!  Give  me  my  Horse  Fll  mount  &  away  to 
Spain!  England!  Wellington!  &  Hell  to  drive  Lucifer  from  his  Infernal  Throne 
for  Treachery  to  Me!!  On  the  extreme  1.  stands  an  officer,  regarding  Napoleon 
with  much  concern;  he  holds  out  towards  him  a  shapeless  garment,  saying, 
Alas  Poor  Master  is  it  come  to  this  I  must  whip  on  this  Strait  Jacket  or  He'll 
break  all  our  Bones  as  well  as  the  Armistice. 

The  date  is  uncertain.  The  first  courier  gives  an  account  of  the  French 
losses  at  Vittoria,  see  No.  12068.  The  Armistice  of  Plaswitz,  during  which 
Napoleon's  headquarters  were  at  Dresden,  was  denounced  by  Austria  on 
ID  Aug.,  owing  to  Napoleon's  intransigeance  (see  No.  12077,  cf.  No.  12169,  &c.), 
but  'Armistice'  may  connote  the  abortive  negotiations  at  Chatillon  in  Feb. 
1814  (cf.  Nos.  12193,  12206,  12240).  'English  near  Bayonne'  indicates  the 
situation  after  the  battles  of  the  Nive,  9-10  Dec.  The  remaining  items  reflect 
rumour  or  exaggeration,  and  are  inconsistent  with  'near  Bayonne'.  The  only 
approach  to  a  Bourbon  rising  was  at  Bordeaux,  where  the  mayor  organized  the 
surrender  of  the  town  to  Wellington,  and  British  forces  were  welcomed  on 
12  Mar.  See  Oman,  Peninsular  War,  vii.  388  flf.  The  complete  evacuation 
of  Spain  (by  Suchet's  forces  in  Catalonia)  took  place  after  Napoleon's  abdica- 
tion. 

Listed  by  Broadley. 

339 


CATALOGUE   OF  POLITICAL  AND   PERSONAL  SATIRES 

12180  THE  ROYAL  SPONGERS  A  PEEP  IN  BELVOIR  CASTLE 

London  Pu¥  by  J.  Johnston  N"  loi  Cheapside  Jan^  22'^  1814 

Engraving.  The  feast  at  the  christening  on  4  Jan.  of  an  heir  to  the  Duke  of 
Rutland,  crudely  drawn  and  burlesqued.  A  section  of  a  long  table  stretches 
across  the  design,  the  lower  part  of  which  is  formed  by  H.L.  figures  of 
persons  seated  on  the  near  side,  in  back  view,  but  turning  their  heads  in 
profile.  The  principals  are  seated  opposite  with  a  background  of  Gothic 
windows,  alternating  with  gigantic  suits  of  armour.  The  Duke  sits  between 
the  Regent  and  the  Duke  of  York ;  both  raise  their  glasses  high  and  the  Prince 
puts  his  1.  hand  on  Rutland's  shoulder,  giving  a  toast  (or  sentiment):  May 
Young  Granhy  rival  Old  Granby,  and  Manners  never  want  A  Good  Manners  in 
his  House.  The  Duke  of  York:  Long  life  to  my  Young  Recruit,  &  may  You 
live  to  see  Him  Drub  the  Foes  of  Old  England  &  equal  the  Hero  of  Minden 
[John  Manners,  Marquis  of  Granby  1721-70].  On  the  Regent's  r.  and  on 
the  extreme  1.  sits  the  Archbishop  of  Canterbury,  who  gives  the  toast:  Church 
and  King!  may  the  Noble  House  of  Rutland  never  want  an  Heir,  or  an  Arch- 
bishop's Blessing.  An  elderly  man  next  the  Duke,  much  startled,  exclaims :  O 
Lud!  O  Lud!  Solomon  never  utter' d so  much  Wisdom  in  this  universal  World!  Next, 
and  on  the  extreme  r.,  sits  a  bucolic  guest,  grinning  and  clutching  his  glass. 

Facing  the  Duke  of  Rutland  sits  his  wife,  turning  to  the  Queen  on  her  1. 
The  latter  leans  towards  the  Duchess,  saying,  May  we  soon  meet  your  Grace 
agin  on  the  same  joyfull  Occasion ;  the  other  answers :  If  my  Good  Lord  pleases.  A 
country  bumpkin  on  the  extreme  1.,  next  the  Queen,  exclaims  Amen,  looking 
to  the  Regent.  On  the  Duchess's  r.  sits  a  nurse,  holding  the  infant  and  saying : 
O  the  Picture  of  its  Noble  Father!  O  my  Chicken  my  Chicken  my  Deary.  Two 
old-fashioned  and  humble  guests  on  the  extreme  r.,  turn  to  each  other,  clink- 
ing glasses ;  they  say :  Good  Neighbour  Here 's  Hob  and  Nob  ;  may  you  &  I  Live 
to  be  Here  Twenty  times  more  on  the  same  merry  Concern,  &  Success  to  the 
Old  Trade  of  Basket  Making,  and.  With  all  my  Heart,  not  forgetting  the  Good 
Wives  at  Home.  On  th*;  table  is  a  meagre  dessert,  with  three  bowls  of  punch 
and  decanters  labelled  Tent,  Tokay,  Claret  (three),  Port  (two).  Sherry,  Cordial. 

On  4  Jan.  an  heir  to  the  Duke  (married  in  1799)  was  christened  by  the 
Archbishop  with  great  ceremony,  the  god-parents  being  the  Regent  and  the 
Duke  of  York,  with  the  Duchess  Dowager  of  Rutland  as  proxy  for  the  Queen. 
The  newspapers  made  much  of  the  Regent's  visit  (2-7  Jan.)  to  Belvoir,  and 
the  festivities  there.  The  Examiner  devoted  its  leading  article  of  16  Jan.  to 
protests  against  this  preoccupation  with  the  Regent,  and  the  drunkenness 
which  followed  the  Duke's  lavish  hospitality.  The  child  did  not  live  to  succeed 
his  father;  there  were  three  more  sons.  See  No.  12 181. 
9Xi3iin. 

12181  BEL-VOIR     FROLICS     OR    PUNCH'S     CHRISTENING.     | 
METEOR,  NO  4  FEBRUARY  1ST  1814— 

G.  Cruikshank  fec^ 

Engraving  (coloured  and  uncoloured  impressions).'  PL  to  the  Meteor,  p.  235. 
A  burlesque  on  the  christening  of  the  Duke  of  Rutland's  heir,  see  No.  12 180. 
The  figures  have  large  heads,  like  Woodward's  'Lilliputian'  designs,  see 
No.  10889,  ^c.  A  grotesque  archbishop,  wearing  a  mitre  poised  on  a  bushy 
wig,  stands  beside  a  giant  punch-bowl,  clasping  his  hands  and  shouting  at  a 
drunken  parson  who  stands  on  a  ladder  leaning  against  the  bowl,  into  which 
he  has  dropped  a  miniature  Punch,  with  the  long  beak-nose  which  Cruikshank 
gives  to  the  King  of  Rome,  see  No.  12 172.    The  child  falls  in  head  first, 

*  Not  folded,  showing  that  they  were  issued  separately. 


POLITICAL   SATIRES    1814 

waving  a  ladle ;  lemons  float  on  the  agitated  surface  of  the  punch.  The  parson 
says:  /  Baptize  thee — hie  Bless  his  little  heart  he's  tumbled  in  the  Bowl!!!  \ 

or  care  remain  \  we'll  drown  him  in  the  Bowl  the  Bowl  hie! —  A  lady  with 

feathers  in  her  hair  leans  across  the  bowl  trying  to  reach  the  child  and  scream- 
ing: Oh!  Save  the  Marquis — little  Punch  is  in  the  Bowl.  The  Archbishop 
shouts:  You  Drunken  Wretch  what  the  Devil  are  you  about?!!  if  you  are  going 
to  drown  the  Child  I  could  have  done  that  my  self  &  be  D — d  to  you.  Beside 
the  parson's  ladder  stands  his  clerk,  with  his  back  to  the  bowl,  pouring  punch 
into  his  mouth  with  a  ladle;  he  says:  D — d good.  In  his  1.  hand  is  an  open 
book  inscribed  Amen.  The  Duke  of  York  in  uniform  and  spurred  jack-boots 
stands  near  (1.);  he  holds  a  brimming  glass,  and  scowls  sideways  at  the  clerk, 
saying,  D — n  that  Clarke  how  he  is  pilfering  the  Punch  to  be  sure!!! — /  hate 
a  Clarke  as  I  hate  the  Devil. 

On  a  round  table  on  the  extreme  1.  stands  an  elderly  Punch,  his  vast  nose 
much  drink-blotched.  He  capers  delightedly,  holding  up  a  glass,  and  says: 
Punch  cures  the  Gout  y  Colic  &  y  Phthisic — Come  Drink  away  my  Friends 
for  this  is  Punch's  Holiday  therefore  we  will  be  merry — here's  to  you  i\P  Higgins 
here's  to  you  M^  Wiggins  so  we'll  push  the  Punch  about.  Bottles  and  lemons 
are  on  the  floor  by  his  table.  On  the  r.  the  Regent,  glass  in  hand,  is  a  prominent 
figure;  he  dances  opposite  a  lady  (?  the  Duchess  of  Rutland),  who  leers  at 
him,  hands  on  hips;  she  holds  a  punch-ladle,  and  wears  a  small  steeple- 
crowned  hat  poised  sideways,  and  a  large  spiky  ruff;  she  says:  Drink  drink 
&  Kiss  the  Lasses  that 's  your  play  Kiss  away.  The  Regent,  ogling  her,  sings : 
Round  about  the  Punch  Bowl  how  we  Trot!  On  the  extreme  r.,  and  in  shadow, 
Sheridan  dressed  as  Harlequin  (cf.  No.  9916)  slinks  off,  quoting  Wolsey: 
If  I  had  serv'd  my  God  with  half  the  Zeal  I  serv'd  my  Prince,  He  would  not 
have  deserted  me  in  my  Nakedness.  In  the  background  are  other  figures  in 
outline:  two  elderly  ladies  in  conversation  (1.),  and  two  heads  gaping  in  dismay 
over  the  edge  of  the  bowl.  The  punch-bowl  is  decorated  with  figures  in  relief, 
a  Bacchanal  with  vine-leaf  border;  the  Regent,  naked,  with  a  girdle  of  vine 
leaves  lies  on  his  back;  one  naked  child  seated  across  him,  holding  up  bottle 
and  glass,  a  second  empties  a  bowl  into  his  mouth  through  a  large  funnel, 
a  third  brings  in  a  bowl. 

A  feature  of  the  christening  festivities  was  an  oval  cistern  of  punch  con- 
taining 50  gallons;  this  'administered  in  the  Servants'  Hall  .  .  .  laid  many  a 
brave  fellow  prostrate'.  Gent.  Mag.  Ixxxiv.  88;  Times  quoted  Examiner, 
16  Jan.  1 8 14.  Punch's  words  are  from  a  well-known  catch,  see  No.  9449, 
cf.  No.  12714.  For  the  Duke  of  York  and  Mrs.  Clarke  see  No.  11216,  &c. 
She  was  again  in  the  public  eye  for  a  libellous  pamphlet,  see  Examiner, 
22  Aug.  1813.  For  the  Regent  and  Sheridan  see  No.  11914,  &c.  The  pi, 
appears  in  No.  12208. 

Reid,  No.  284.    Cohn,  No.  553. 
7^X  i8|  in.   With  border,  yfx  19I  in. 

12182    THE     DIVINE     AND     THE     DONKEY— OR     PETWORTH 
FROLICKS. 

[Williams.] 

Pu¥  Februy  i''  18 14  by  W  N  Jones  N°  5  Newgate  Street. 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  vii,  before  p.  89. 
A  magnificent  bed  forms  the  centre  of  the  design ;  towards  this  two  fashion- 
ably dressed  men  carry  a  fat  and  drunken  parson  (I.),  encouraged  by  the 
Regent  who  stands  by  the  corner  of  the  bed,  in  back  view,  holding  up  a 
decanter  and  glass.   On  the  r.  two  other  men,  lifting  up  an  ass,  wrapped  in 

341 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

a  frilled  feminine  garment,  are  about  to  place  it  in  the  bed,  while  a  man  in 
back  view,  probably  Lord  Egremont,  turns  back  the  bed-clothes.  Other 
guests  at  Petworth  watch  with  great  amusement.  A  footman  stands  near  the 
open  door  (1.)  holding  up  lighted  candles.  A  man  bending  over  the  head  of 
the  parson  with  decanter  and  glass  says :  Come  one  more  bumper  to  the  Allies! — 
The  parson  answers :  Fll  drink  another  bottle  to  the  Allies — Huzza!!  Love  and 
Wine  for  ever!!  The  Prince,  striking  an  elegant  attitude,  says :  Bravo  my  Boy — 
we  have  provided  you  an  Allie  for  the  night  my  Buck  I  hope  you  will  agree 
together.  From  under  the  valance  of  the  bed  appear  the  head  and  shoulders 
of  a  woman ;  she  looks  up  at  McMahon,  who  stoops  towards  her,  saying,  What 
Margery! — did  you  want  to  hear  the  news  from  the  Doctors  lips.  From  his 
pocket  hangs  a  purse  inscribed  P  P  [Privy  Purse,  see  No.  11874,  &c.].  The 
man  who  holds  the  ass  by  a  hind-leg  says :  Why  Jenny  you  must  not  kick  in 
this  manner,  when  you  have  got  your  Bedfelow  with  you.  Behind  and  on  the 
r.  three  men  drink  together.  One  holds  out  his  glass,  saying.  Come  lets  drink 
a  Bon  Repos  to  them.  Another  fills  his  glass,  saying,  Bon  Repos  to  Ourselves 
for  there  will  be  a  rare  duet  of  snoring  &  Brayi?tg.  The  third  laughs,  holding 
his  sides :  Oh  dear!  Oh  dear! — /  shall  die  with  laughing  what  will  the  Parso7i 
say  when  he  finds  what  a  strange  bedfellow  he  has  got —  In  the  foreground  (r.) 
is  the  parson's  open  portmanteau,  with  the  name  outlined  in  nails:  [D^avis 
D  D.  Beside  it  lie  open  books :  Sermon  on  the  Sin  of  Drunkenness ;  Com- 
mentarie[s]  on  the  Golden  Ass  [of  Apuleius] ;  Thirty-nine  Articles.  Inside  it  are 
a  large  Bible,  a  garment,  and  (strapped  inside  the  lid)  a  bundle  of  Sermotis 
and  a  pair  of  shoes.  On  the  head  of  the  bed  are  the  arms,  crest  and  motto, 
Au  Bon  Droit,  of  Lord  Egremont. 

Illustration  to  an  account  of  a  practical  joke  played  at  Petworth  on  one 

'Mr.  D ',  a  parson,  who  was  heard  to  make  an  assignation  for  the  night 

with  Margery,  one  of  the  servants.  The  man  was  made  drunk,  and  placed 
in  bed  together  with  an  ass-foal  wrapped  in  a  petticoat.  The  occasion  was 
the  arrival  of  news  of  Leipzig  (which  reached  London  on  3  Nov.),  see 
No.  12093,  while  the  Regent  was  at  Petworth.    Others  mentioned  as  taking 

part  include  the  Marquis  of  H [Hertford],  the  Earl  of  Y  [Yarmouth], 

Col.  McM ,  The  Regent  seems  to  have  made  no  visit  to  Petworth  at  this 

time:  he  opened  Parliament  on  4  Nov.,  having,  according  to  the  Examiner 
(7  Nov.),  returned  to  Carlton  House  from  a  visit  to  Lord  Hertford  in  Sussex 
on  30  Oct.    Wild  stories  were  credited  about  Lord  Egremont's  menage  at 
Petworth,  see  Corr.  of  Lord  G.  L.  Gower,  1916,  ii.  474. 
7^  X  i9il  in. 

12183  THE  ROYAL  BEGGARS.   |  SATIRIST  FEBRUARY  1ST  18I4 

G.  Cruikshank  fec^ 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xiv.  89.  John  Bull, 
a  fat  *cit',  is  on  the  throne  (1.),  sceptre  in  hand,  imperious  and  angry.  He 
points  to  a  row  of  five  supplicants.  Napoleon  and  his  brothers  (r.),  saying. 
Take  the  Vagrant  impostors  to  Gaol;  they  are  not  Objects  for  Charity!!  Beside 
the  double  dais  of  the  throne  lies  the  British  Lion,  alert  and  fierce,  with  a 
cannon  and  cannon-balls  beside  him;  next  stands  Wellington,  a  handsome 
figure,  his  1.  hand  on  his  sword.  On  the  extreme  1.  is  Bernadotte;  between 
and  behind  them,  the  Tsar.  On  John  Bull's  1.  hand  is  a  British  sailor,  fiercely 
determined,  a  rope's  end  in  his  r.  hand,  the  1.  hand  resting  on  an  anchor; 
behind  are  flags.  At  his  feet  are  a  rudder  and  symbols  of  commerce :  boxes 
of  guineas,  a  spade,  a  large  corded  bale,  and  casks.  A  figure  behind  the  sailor 
may  be  the  Emperor  of  Austria.    On  the  summit  of  the  throne  is  a  crown, 

342 


POLITICAL   SATIRES   1814 

irradiated  by  rays  from  a  female  face  (?  Peace  or  Justice) ;  the  rays  are  bordered 
by  the  heavy  folds  of  a  canopy. 

On  the  extreme  r.  and  in  the  foreground,  a  pendant  to  Wellington,  is 
Napoleon,  emaciated  and  tattered,  bowing  low,  with  an  expression  of  agonized 
entreaty,  to  John  Bull ;  he  doffs  a  bonnet  rouge.  On  his  back  is  a  (patched) 
sack,  containing  his  son.  The  child  wears  a  crown,  and  in  contrast  to  his 
father  is  plump.  His  head,  hands,  and  sceptre  emerge  from  the  sack;  he 
screams :  Take  me  from  this  Naughty  Man  who  stole  me  &  is  not  my  Papa. 
Napoleon :  Pray  pity  a  poor  distressed  Emperor,  with  two  Wives  &  one  helpless 
foundling  Baby!  He  wears  remnants  of  uniform,  a  swollen  foot  resting  on  the 
sole  of  what  was  once  a  jack-boot,  and  still  has  a  huge  spur.  He  supports 
himself  on  the  arm  of  Joseph,  who  is  equally  ragged  in  the  remains  of  a 
slashed  (Spanish)  tunic  with  a  ruff.  He  holds  hat  and  stick  and  says:  Look 
with  an  eye  of  Compassion  on  the  poorest  King  of  the  Indies  that  ever  lived  [see 
No.  12068].  A  third  brother  takes  Joseph's  other  arm,  putting  his  r.  hand 
on  his  breast,  and  saying :  Charity  for  a  wretch  with  also  two  wives  &  a  small 
family.  His  sticks  of  legs  emerge  from  breeches  of  Dutch  type.  (The  words 
point  to  Jerome  of  Westphalia,  whose  marriage  with  Elizabeth  Patterson  was 
annulled  by  Napoleon  so  that  he  might  marry  Princess  Catherine  of  Wvirtem- 
burg;  his  dress,  however,  indicates  Louis,  ex-king  of  Holland.)  The  others 
(Jerome  and  Lucien,  the  latter  still  in  England)  are  less  conspicuous;  both 
kneel  humbly.  One  says :  A  bone  &  a  morsel  of  of  [sic]  Bread  is  all  I  can  hope 
from  your  bounty  benevolent  Gentlemen.  The  last  and  smallest  says:  Let  me 
retire  from  Business  with  a  little  pension  &  I  ask  no  more. 

The  position  of  the  King  of  Rome  implies  the  possibility  of  a  regency, 
cf.  No.  12 172,  and  stresses  the  contrast  between  the  parvenu  Bonapartes  and 
the  grandson  of  Francis  I.  After  Leipzig  Louis  (who  fled  from  Holland  in 
1 8 10)  had  thoughts  of  regaining  the  crown;  he  sought  refuge  in  France  when 
the  Allies  entered  Switzerland.  Jerome  was  forced  to  leave  his  kingdom  after 
Leipzig  and  took  refuge  in  France.   For  the  brothers  cf.  No.  12225. 

Reid,  No.  286.    Cohn,  No.  724.    Broadley,  i.  348. 
7^X  13  il  ^^-   With  border,  8x  14I  in. 

12184  THE  CHAIR  BEFORE  THE  THRONE. 
G.  Cruikshaftk  fec^ 
Pub'^for  the  Meteor  [i  Feb.]  1814 

Engraving  (coloured  and  uncoloured  impressions).  The  seat  of  a  fantastic 
arm-chair  is  occupied  by  a  wig-block,  on  a  stand  like  a  candlestick,  carved 
to  represent  the  bland  features  of  the  Regent,  which  are  framed  by  his  wig 
and  (false)  whiskers.  The  oval  back  of  the  chair  is  bordered  by  the  curved 
and  elongated  bodies  of  {})  Liverpool  (1.)  and  Castlereagh  (r.).  Between  their 
profile  heads,  and  decorating  the  top  of  the  chair  is  the  head  of  Eldon,  full- 
face,  in  his  Chancellor's  wig,  together  with  the  mace  and  the  purse  of  the 
Great  Seal.  The  arms  of  the  chair  are  coiling  rattlesnakes  whose  heads  rest 
on  two  props:  Lord  Yarmouth  (1.)  and  McMahon  (r.).  Both  stand  on  tiptoe 
in  profile  to  1.  and  r.,  with  their  curved  backs  resting  against  and  supporting, 
the  chair.  Yarmouth,  who  wears  top-boots  with  a  long  caped-coat  reaching 
to  the  ground,  holds  a  bottle  labelled  Curacoa.  McMahon,  wearing  top-boots 
and  tail-coat,  holds  a  large  purse,  see  No.  11 874,  &c.  The  chair  stands  within 
a  circle  formed  by  a  serpent  with  its  tail  in  its  mouth  (symbol  of  eternity) ; 
it  is  framed  by  draped  curtains. 

The  Regent  is  attacked  for  abandoning  the  Whigs,  cf.  No.  11855,  &c. 

Reid,  No.  285.   Cohn,  No.  553. 
6^X31  in. 

343 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

12185  HARD  TIMES  OR,  O!  DEAR  WHAT  WILL  BECOME  OF  US 
O!  DEAR  WHAT  SHALL  WE  DO?!!!!!  jJi 

[G.  Cruikshank.] 

Pub'^  Feby  10^^  1814  by  T.  Tegg  Cheapside  London. 

Engraving  (coloured  impression).  A  subject  inspired  by  the  hard  frost,  see 
No.  12341,  &c.  (It  was  customary  in  London  for  unemployed  work-people 
to  perambulate  the  streets  with  the  tools  of  their  trade,  asking  for  alms,  water- 
men with  a  boat,  gardeners  with  spades,  &c.).  A  procession  of  small  groups 
each  with  emblems  carried  on  a  long  pole.  Three  gardeners  (1.)  are  leading, 
thin  and  ragged,  two  hold  out  their  hats;  to  their  pole  are  tied  a  cabbage, 
huge  carrot,  &c.  Above:  Poor  Gardeners!  Next,  two  grotesque  apothecaries 
are  led  by  a  tall  emaciated  man  holding  to  his  mouth  a  large  gold-headed  cane, 
with  a  bottle  labelled:  To  be  well  shaken  when  taken.  A  grim-looking  man 
follows,  holding  a  pole  topped  by  a  skull  which  supports  a  mortar  and  pestle ; 
from  it  hangs  a  placard:  The  Humble  Petetion  of  the  Poor  Apothecaries — 
Sheweth  that  they  are  all  Starving!!  With  him  is  a  stout  obese  man,  with 
carbuncled  nose,  also  holding  his  cane  to  his  mouth,  and  with  a  clyster-pipe 
projecting  from  his  coat-pocket.  Above:  Poor  Apothecaries!!  Close  behind 
are  two  artists,  the  more  prominent  being  George  Cruikshank,  thin,  knock- 
kneed,  with  crooked  shins,  out-at-elbows,  and  with  his  pockets  hanging  out ; 
he  holds  the  pole  to  which  are  tied  palette,  portfolio,  brushes,  &c.,  and  a  large 
document:  Tlf  West's  Speech  on  the  Gloomy  State  of  the  Arts.  Between  his 
splayed-out  feet  is  a  paper  inscribed  Poor  Shank's  fec*^  placed  so  as  to  serve 
as  signature  to  the  print.  He  resembles  the  self-portrait  in  No.  11764,  but 
is  thinner  and  older.  His  companion  (?  Benjamin  West)  wears  spectacles  and 
a  broad-brimmed  hat.  Above :  Poor  Artists!  They  are  followed  by  two  lank 
and  melancholy  poets,  clasping  their  MSS.  One  holds  aloft  on  a  pole  a 
bunch  of  Manuscripts  and  Rejected  M  S  S,  with  crossed  pens.  Next,  Napoleon, 
burlesqued  and  with  a  rope  round  his  neck,  is  dragged  forward  by  a  demon 
with  a  trident.  He  wears  a  large  plumed  bicorne  with  tattered  uniform  and 
spurred  boots.  His  pole  is  the  shaft  of  an  eagle  on  the  head  of  which  is  seated 
the  King  of  Rome,  wearing  a  scanty  ragged  garment,  with  spurs  attached  to 
his  bare  heels.  He  has  an  enormous  pigtail  and  wears  a  spiky  crown  over  an 
infant's  cap ;  he  holds  up  a  sceptre  which  resembles  a  child's  coral  and  bells. 
To  the  shaft  of  the  eagle  is  tied  a  trophy  of  sword,  sceptre,  crown,  and  tattered 
flag.  Above :  Poor  BoneyH  Four  prostitutes  follow,  the  foremost  being  a  fat 
disreputable  and  noseless  bawd,  with  a  patched  face  who  is  bawling,  like  a 
younger  woman  who  follows  her,  holding  up  a  pole  topped  by  a  bottle  (upside- 
down)  and  supporting  a  tattered  petticoat  flanked  by  a  pair  of  stockings.  The 
others  are  a  handsome  woman  and  a  mere  child.  Above :  Poor  Dolley'sH!  The 
last  are  undertakers,  capering  delightedly.  Two  flourish  papers  inscribed  Bill 
of  Mortality  (the  weekly  list  of  deaths  in  the  London  district).  On  their  pole 
is  a  coffin  inscribed  Patent,  draped  with  mourning  scarves  and  surmounted 
by  a  crowned  skull.   Above:  Jolly  Undertakers. 

One  of  several  prints  stressing  the  importance  of  the  King  of  Rome,  see 
No.  12172,  &c.  The  allusion  to  the  'Poor  Artists'  may  be  ironical ;  Cruikshank 
seems  to  have  been  more  fully  employed  than  he  had  yet  been ;  Haydon  writes 
in  the  Examiner  of  21  Nov.  1813  of  the  'unparalleled  off^er  ...  of  10,000 
guineas  for  the  picture  Mr.  West  is  now  finishing  .  .  .'.  For  the  physician's 
gold-headed  cane  see  W.  MacMichael,  The  Gold-headed  Cane,  1827. 

Reid,  No.  289.   Cohn,  No.  1178.    Broadley,  i.  348.   Van  Stolk,  No.  6283. 
Milan,  No.  2652.    Reproduced,  Grand-Carteret,  Napoleon,  No.  282. 
8|xi3|in. 

344 


POLITICAL   SATIRES   1814 

12186  NAPOLEON   BONAPARTE  AS   OVERCOME   BY  MARQUIS 
WELLINGTON  &  THE  ALLIES,  1814 

[After  Voltz.] 

Published  &  Sold  Feby  14,  1814,  by  Edw^  Orme,  Bond  Street,  corner  of 
Brook  Street,  London 

Engraving.  A  copy  of  the  German  corpse-head,  see  No.  12177,  with  altered 
inscriptions.  On  the  collar  France;  on  the  coat  Portugal,  Madrid,  Saragosa, 
S^  Sebastian,  Vittoria.  Below  the  title:  Desaiption.  The  Hat  is  composed  of 
a  Vanquished  Eagle,  taken  at  the  Battle  of  Vittoria — His  Face  of  the  Prisoners 
living  and  slain — His  Collar  of  the  part  of  France  adjoining  Spain — His  Coat 
of  Spain  and  Portugal — His  Epaulette  of  his  ozv?t  blood  Stained  Hand — His  Star 
a  Cobweb,  Emblematic  of  the  Flimsy  Tenure  of  his  Reign. 

For  Vittoria  see  No.  12068,  &c.,  Saragossa,  No.  11058.  The  only  reference 
to  the  capture  of  St.  Sebastian;  the  town  was  stormed  and  (disgracefully) 
sacked  on  31  Aug.  18 13;  the  castle  surrendered  on  9  Sept.  See  Oman, 
Peninsular  War,  vii.  i  ff. 

Broadley,  ii.  249. 
9^X7iin.  (pi.). 

12187  THE  BATTLE  OF  LEIPSIC— OR— BONEY  GRIPED— a  Ger- 
main Valentine. 

[Williams.]  [?  14  Feb.  1814] 

Engraving  (coloured  impression).  A  triple  design,  so  folded  that  when  both 
halves  of  the  outer  page  (which  is  bisected  horizontally)  are  closed  there  is 
a  bust  portrait  of  Napoleon;  when  the  lower  flap  only  is  opened,  there  is  a 
second  and  completely  diff"erent  design ;  this  is  again  transformed  when  both 
flaps  are  opened.  Each  has  an  appropriate  verse,  [i]  A  flattering  bust  portrait 
of  Napoleon,  the  head  turned  in  profile  to  the  1.  He  wears  furred  Turkish 
robes,  and  an  oddly-shaped  turban;  the  folds  round  the  head  are  trimmed 
with  pearls;  the  (pink)  crown  is  large  and  like  a  pointed  egg,  this  part  forms 
the  point  of  a  heart  in  the  second  design.   Above: 

Christian  or  Turk,  tis  all  the  same. 

With  Nap  religion  '5  but  a  tiame  ; 

Can  aught  with  such  a  Heart  compare, 

{Turn  down)  tis  done,  deny't  who  dare 

For  Bonaparte's  attempt  to  conciliate  the  Turks  (1798)  by  posing  as  a 
Moslem  see  No.  9973,  &c. 

[2]  On  folding  down  the  lower  flap,  the  upper  part  of  the  turban  in  which 
is  a  feathered  quill,  joins  the  lower  half  of  a  pink  heart,  the  quill  serving  as 
the  shaft  of  an  arrow  embedded  in  the  heart,  which  rests  on  a  drum  decorated 
with  an  imperial  eagle  and  crown.  Beside  the  drum  are  drum-sticks,  a  broken 
sword,  an  eagle  with  a  tattered  tricolour  flag  by  which  lie  four  cannon-balls, 
inscribed  respectively:  Russian  Bolus,  Austrian  Bolus,  Prussian  Bolus,  Sweedish 
Bolus,  in  allusion  to  Leipzig,  see  No.  12093,  ^^-  These  objects  rest  on  a  patch 
of  grass  behind  which  are  clouds  of  smoke.    Below: 

A  Drum  his  heart,  here  rests  upon; 
Hollow  like  it ;  its  honor  gone  ; 
Turn  up;  and  you  will  find  a  drum, 
Has  sent  his  Heart  to  seek  his  B — m. 

[3]  When  the  upper  flap  is  lifted,  the  point  of  the  heart  disappears,  and 
in  place  of  it  is  the  body  of  Napoleon,  in  back  view,  lifting  up  his  coat-tails 

345 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

to  reveal  the  lower  part  of  the  heart  in  [2]  which  now  becomes  his  bared 
posterior,  seated  on  the  drum.  He  is  not  caricatured,  his  head  is  turned  to 
the  1.,  and  he  wears  his  petit  chapeau.   Above: 

Hark!  Hark!  the  Drum  beats  a  retreat, 
I  hear  my  Soldiers  flying  feet. 
Zounds!  how  I'm  griped  both  front  and  rear, 
O  zounds!  Fm  griped  to  Death  I  fear. 

For  Napoleon's  flight  from  Leipzig  see  No.  12108,  &c. 
Broadley,  i.  16.    De  Vinck,  No.  8824. 
[i]5i^X7i|in.   [2]8|x7i|in.   [3]  "ixyil  in. 

12188  LA  NUOVA  BOTTEGA  DEI  BARBIERI  IN  EUROPA 

[?Feb.  1814] 

Engraving  (coloured  impression).  Said  to  be  copied  from  Die  neue  Euro- 
paeische  Barbierstube,  1814.  Napoleon  sits  in  a  low  chair  to  be  shaved  by 
(?)  the  Regent  who  applies  a  razor  inscribed  London  18 13  to  his  chin,  inscribed 
Olanda.  On  the  1.  a  second  sovereign  (?  Frederick  William)  holds  Napoleon's 
shoulders,  while  a  little  apart  stands  Alexander  holding  the  bowl  and  soap- 
ball.  The  sheet  which  is  draped  round  Napoleon  is  inscribed  Milano,  Culm 
[see  No.  121 77],  Lipsice  [see  No.  12093,  &c.],  Dantzica.  Behind  Alexander 
a  map  of  a  great  plain  intersected  by  rivers  hangs  from  a  table.  The  figures 
are  not  caricatured  but  are  poorly  characterized ;  all  wear  uniform ;  the  barber 
has  perhaps  more  resemblance  to  Bernadotte  than  to  the  Regent,  whom  the 
inscription  on  the  razor  seems  to  indicate,  unless  a  reference  to  the  British 
subsidy  to  Sweden  is  intended. 

Dantzig  capitulated  on  2  Jan.  For  the  revolution  in  Holland,  assisted  by 
Great  Britain,  see  No.  12102,  &c.  One  of  many  satires  (English  and  French) 
where  shaving  is  given  political  significance,  cf.  No.  12576,  &c. 

On  the  same  pi.  as  II  Ballerino  piii  ricco,  see  under  No.  12046. 

Broadley,  ii.  124,  160.  Milan,  No.  2633.  Reproduced,  A.  Commandini, 
U Italia  nei  Cento  Anni  del  Secolo  XIX,  Milan,  1 900-1,  p.  712,  see  also  p.  506. 
3|X3^  in.    With  margin  enclosing  title,  3|x  3  j^  in. 

12189  IMPERIAL  BOTANY— OR  A  PEEP  AT  JOSEPHINE'S  COL- 
LECTION OF  ENGLISH  EXOTICKS.  vide  the  Champion  JanV  30  1814. 

[WiUiams.]! 

Pub'^  March  i'^  1814  by  W  N  Jones  N°  5  Newgate  S^ 

Engraving  (coloured  impression).  PI.  to  the  Scourge,  vii,  before  p.  179,  with 
explanatory  text  (pp.  179-83),  in  the  form  of  a  letter  from  Josephine  *to  the 

Marchioness  of  H '  (Hertford)  describing  her  acclimatization  of  seeds,  &c. 

sent  from  England.  Josephine  walks  in  her  garden  (at  Malmaison)  shaded  by 
a  large  fringed  umbrella  held  over  her  head  by  a  page  and  accompanied  by 
ladies-in-waiting;  in  her  r.  hand  is  a  pruning  knife;  from  her  waist  hangs  a 
reticule  in  the  form  of  a  crown,  filled  with  tiny  gardening  tools.  She  is  stout 
but  handsome  and  imperial  in  her  dress  and  carriage.  She  is  in  profile  to  the 
1,,  facing  an  array  of  pots  containing  labelled  plants.  The  largest  is  in  a  tub: 
a  huge  sunflower,  the  petals  surrounding  the  (handsome)  face  of  the  Regent, 
and  labelled  Royal  Sunflower.  A  lady  walking  beside  Josephine  points  to  it, 
saying,  If  you  will  allow  me  to  give  my  opinion  Madam  I  should  prefer  this  to 

'  Attributed  to  Cruikshank.  The  manner  is  that  of  prints  here  attributed  to  Williams, 
including  all  the  plates  to  the  Scourge,  vii. 


POLITICAL   SATIRES    1814 

any  other  in  your  Garden!!!  The  Empress  answers:  Ah  you  rogue!  why  that 
is  a  favorite  with  the  English  Ladies — /  must  cut  away  that  love  in  idleness,  or 
it  ruin  my  plant.  A  plant  from  an  adjacent  pot,  labelled  Love  in  Idleness,  has 
twined  round  the  sunflower.  Other  pots  grouped  round  the  sunflower  are 
a  Cockscomb,  Solomons  Seal,  Everlasting  Pea,  and  Marrowfat  Pea.  The  head 
of  Ellenborough  rises  from  a  big  pot ;  a  tree  trunk  sprouts  from  it,  from  which 
spring,  first  branches  of  weeping  willow,  then  twigs  of  sloe;  it  is  labelled 
Old  Sloe  E — n.  Near  it  is  an  orange  tree,  with  the  head  of  Princess  Charlotte 
decorated  by  a  passion  flower,  gazing  down  at  a  giant  orange  with  the  features, 
gazing  up,  of  the  Hereditary  Prince  of  Orange.  On  the  extreme  1.  is  a  little 
pear  tree,  whose  stem  forks  at  the  root,  and  produces  two  heads  scowling  at 
each  other,  both  wearing  Scots  caps,  and  intended  for  Sir  John  and  Lady 
Douglas  (see  No.  12026,  &c.);  it  is  labelled  Sour  Pear.  A  lady  stands  beside 
it;  having  tasted  a  pear  she  exclaims:  Faugh!  I  never  tasted  atty  thing  half  so 
sour.  I  will  persuade  the  Empress  to  expel  this.  The  remaining  pots  form  a  row 
in  the  foreground  (1.  to  r.):  a  plant  labelled  Poison  Tree,  intended  to  assist 
Josephine's  'best  friend  in  relieving  .  .  .  his  sick  and  wounded',  an  allusion 
to  the  Jaff"a  incident,  see  No.  10063,  &c.  Two  plants  in  one  pot  are  labelled 
Balm  and  Balsam  P  C  W  [Princess  Caroline  of  Wales],  sent  to  Josephine  by 
a  fellow-sufferer  to  cure  'the  wounds  of  insulted  virtue  and  injured  honor'. 
Next  is  Newcastle  Bur,  the  face  of  Lord  Eldon  with  a  plant  bearing  burrs 
issuing  from  the  lips.  Next  is  a  Crown  Imperial  drooping  and  moribund. 
A  Fleur  de  Lys  de  Bourbon  is  a  minute  seedling,  but  is  'much  protected'  by 
the  sunflower.  The  Laureat  Bay  sprouts  from  the  (unrecognizable)  face  of 
Southey,  one  eye  looking  up  at  the  sunflower,  the  other  watches  'its  fairest 
flowers  and  finest  leaves  withering  on  the  ground'.  One  leaf  on  the  plant  is 
inscribed  Wro  .  .  .  Triumph  [see  No.  121 11].  On  the  left  is  a  high  ornamental 
trellis  covered  with  a  vine.  A  gardener  reaches  up  to  cut  off'  a  bunch  of  grapes 
which  rests  on  the  profile  head  of  Sheridan;  he  says:  My  Mistress  could  not 
find  a  more  acceptable  present  to  to  [sic]  King  Joey! 

On  the  r.  behind  the  Empress  two  ladies  point  to  a  small  drooping  plant 
in  a  large  pot,  labelled  Chaste  Flower.  They  say :  This  Plant  will  never  Thrive 
in  our  warm  climate!  you  see  it  is  drooping  before  it  is  half  way  to  perfection, 
and,  /  thought  it  would  fiot  bloom  here!  I  am  told  however  it  is  seeti  in  great  per- 
fection in  private  collections  in  England.  Behind  them  is  a  statue  of  Diana  on  a 
pedestal.  On  the  extreme  r.  stand  three  pots:  a  large  Wellington  Laurel  grows 
from  a  wreath  on  the  profile  head  of  Wellington;  its  branches  reach  to  the 
upper  edge  of  the  design,  far  the  finest  plant  in  the  collection.  By  it  is  a 
mushroom  in  a  pot  labelled  C — k — r  [Croker]  Mushroom.  Behind,  a  medlar 
grows  out  of  a  gnarled  oak  stump  on  which  is  an  acorn  with  the  face  of 
Whitbread.  By  the  laurel  are  two  French  officers  (prisoners  released  on 
parole  from  Spain).  One  exclaims :  Ah  ma  foi  dis  be  more  fine  dan  de  Laurel 
de  iS'  Cloud;  the  other,  taking  snuff,  answers:  Parbleu  de  Laurel  de  5'  Cloud 
be  all  wither,  thare  grows  rien  que  de  Stinging  Nettle. 

A  comprehensive  satire;  the  'Letter'  is  one  of  sympathy:  Lady  Hertford 
and  Josephine  'have  both  tasted  the  miseries  of  greatness  .  .  .'  (cf.  No.  12 173, 
where  the  former  is  displaced  by  a  rival).  The  Fleur-de-lis  'though  .  .  .  not 
less  offensive  than  wormwood  to  Lord  Liverpool  and  other  members  of  your 
cabinet,  may  yet  expand  into  magnificence  .  .  .'.  (The  Regent  was  more  in 
favour  of  a  Bourbon  restoration  than  Liverpool  and  many  of  the  cabinet,  see 
Webster,  Foreign  Policy  of  Castlereagh,  i,  193 1,  pp.  233-9.)  Whitbread  was 
the  donor  of  the  'heart  of  oak',  from  which  Josephine  hopes  to  produce  'the 
material  of  a  future  navy' — which,  however,  would  be  destined  to  fill  British 
harbours  with  prize  ships,  cf.  No.  10772.  An  allusion  to  Whitbread's  pacifism, 

347 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

and  his  favourable  interpretation  of  Napoleon's  policy,  see  No.  12099,  &c. 
For  the  betrothal  of  Princess  Charlotte  see  No.  12 191.  Little  had  been  heard 
of  the  Princess  of  Wales  in  recent  months,  see  Buckingham,  Memoirs  of  the 
Court  during  the  Regency,  1856,  ii.  46  f. ;  cf.  No.  12 194. 

Reid,  No.  296.    Cohn,  No.  732.    Listed  by  Broadley.  Milan,  No.  2653. 
7|X2oJ  in.  B.M.L.  C.  40.  f.  8. 

12190  THE  IMPERIAL  FAMILY  GOING  TO  THE  DEVIL. 

G.  Cruikshank  fec*^ 

Pu¥  March  J*'  18 14  by  T  Hughes  Ludgate  Hill. 

Engraving  (coloured  impression).  PI.  from  the  Meteor.  A  procession  of  head- 
less men  and  women  from  a  guillotine  (1.)  to  the  gate  of  Hell  (r.).  Heavy 
bars  close  the  mouth  of  a  cave  filled  with  flames  and  demons ;  behind  them 
stands  the  Devil,  a  monster,  with  streams  of  flame  pouring  from  his  mouth. 
He  levels  a  trident  at  Napoleon  through  the  bars,  refusing  him  admittance. 
Napoleon,  holding  up  his  decollated  head  wearing  a  plumed  bicorne,  strikes 
an  attitude  with  legs  astride  and  wide-flung  arms,  demanding :  Do  you  not 
know  me?  I  am  Napoleon  Buonaparte — your  Vicegerent  on  Earth.  His  words, 
like  those  of  his  followers,  are  on  a  label  from  his  neck.  The  Devil's  words 
are  on  the  flames  from  his  mouth,  which  extend  above  Napoleon's  head: 
That  may  be  very  true  but  you  was  such  a  Devil  among  men  that  I  fear  you  here 
so  go  about  your  business  I  am  determined  to  have  no  one  here  who  shall  dispute 
with  me  my  dominions  and  threaten  to  usurp  my  Empire  so  go  along.  Grotesque 
imps  look  through  the  bars,  two  spitting  flames ;  others  are  in  the  flames  from 
the  Devil's  mouth.  Behind  Napoleon,  Talleyrand  has  come  to  a  sudden  stop, 
his  hands  extended,  his  head  held  between  his  knees;  the  block  under  his 
shoe  is  large  and  conspicuous.  He  says :  Mercy  on  me  what  is  to  become  of  us — 
his  imperial  Majesty  King  Lucifer  refuses  us  admittance.  Next  walks  a  lean 
courtier  with  his  head  under  his  arm,  saying.  Distraction!  Whether  shall  we 
go?  I  thought  we  should  be  sure  of  a?i  assylum  here.  Marie  Louise  follows, 
carrying  her  feathered  head  on  a  plate.  She  takes  the  arm  of  a  general  wear- 
ing high  tasselled  boots  who  drags  his  head  along  the  ground  by  its  long 
pigtail.  He  says:  Accept  ?ny  arm  Madam  we  shall  soon  meet  with  a  warm  recep- 
tion in  the  court  of  our  Dearly  beloved  Frie?id.  Next,  a  court  lady,  probably 
Mme  de  Montesquiou,  see  No.  11735,  flings  out  her  arms  in  a  wild  gesture, 
as  her  head  falls  to  the  ground ;  she  exclaims :  Bless  me  the  Austrian  Eagle  is 
carrying  away  little  Boney.  Above  her  flies  a  double-headed  eagle  holding  the 
little  King  by  his  sash;  the  child  wears  a  crown,  with  uniform  and  spurred 
boots  and  holds  a  sceptre.  Last,  an  officer  stoops  to  pick  up  his  head,  saying, 
stop  the  procession  till  I  have  picked  up  my  head.  In  front  a  small  boy  stands 
astride,  hands  on  hips,  with  his  grinning  head  on  the  ground  beside  him.  Two 
little  boys  (1.),  still  intact,  point  at  him  derisively.  A  grotesque  man  wearing 
huge  spurs  on  buckled  shoes  kneels  on  a  platform  at  the  guillotine,  his  stringy 
neck  through  the  aperture,  his  pigtail  turned  over  his  head.  Steps  lead  to  the 
ground  from  the  guillotine,  so  that  victims  may  join  the  procession.  A 
skeleton.  Death,  holds  the  cord  attached  to  the  blade,  saying.  Walk  up  Ladies 
&  Gentlemen  walk  up  the  fee  is  only  a  trifling  Poll  Tax  &  you  are  immediately 
in  the  high  Road  to  the  dominions  of  your  only  remaining  ally.  Behind  the  guillo- 
tine and  on  the  extreme  1.,  two  men  and  a  lady  wait  their  turn.  A  rocky  hill 
rises  behind  them  surmounted  by  towers  enclosed  in  a  castellated  wall,  and 
inscribed  Paris. 

A  regency  for  the  King  of  Rome,  protected  by  his  grandfather,  is  prophesied, 

348 


POLITICAL   SATIRES   1814 

see  No.  12 172,  &c.  'Family'  here  has  the  sense  of  household  or  court,  in 
which  Talleyrand,  who  had  abandoned  the  Emperor,  is  misplaced.  For 
Napoleon  excluded  from  Hell  cf.  No.  10045. 

Reid,  No,  291.    Cohn,  No.  553.   Broadley,  i.  348  f. 
7^Xi8f  in. 

12191  A  BROAB  [sic]  BOTTOM  DYNASTY,  THE  ORANGE  TRANS- 
PLANTED OR  FRUITS  OF  AN  UNION. 

[Williams.] 

Pub^  March  i^^  18 14  for  the  Proprietors  of  Town  Talk 

Engraving  (coloured  impression).  PI.  from  Tozcn  Talk,  vi.^  The  centre  of 
the  design  is  the  throne,  which  faces  the  spectator  on  a  dais  of  two  steps.  Two 
bulky  Dutch  gardeners  lift  an  orange  tree  in  a  tub,  inscribed  Planted  at  the 
Hague  AD  181  j,  to  place  it  on  the  throne,  from  which  a  rose  tree  in  a  pot 
has  been  thrown,  and  lies  on  its  side  (1.).  The  Royal  Arms  behind  the  throne 
are  correctly  enclosed  in  the  Garter  ribbon,  with  the  Lion  and  Unicorn  as 
supporters,  but  the  Unicorn  looks  over  its  shoulder  instead  of  towards  the 
shield,  and  on  the  shield  the  arms  are  changed  to  the  lion  rampant  of  the 
House  of  Orange.  The  motto  Dieu  [et  mon]  Droit  is  interrupted  by  a  circle 
enclosing  two  clasped  hands  (signifying  the  projected  marriage  of  Princess 
Charlotte  to  the  Hereditary  Prince  of  the  Netherlands). 

In  the  foreground  (1.)  a  burly  English  gardener,  John  Bull,  holding  a 
watering-pot  inscribed  G.R.,  seizes  the  bulky  breeches  of  a  Dutchman,  who 
stands  by  the  rose  tree,  and  who  is  contemptuously  smoking  a  pipe.  He  says: 
Aye  you  may  bump  away  M^  Mynheer — but  Til  be  d — d  if  I  give  up  the  care 
of  my  Favorite  Rose  that  I  have  water' d  from  the  purest  Stream  for  this  Cetniiry 
[sic]  past.  Behind  John  and  on  the  1.  are  an  Irishman  and  a  Scot.  The  former, 
with  coat-tails  flying,  flourishes  a  very  gnarled  shillelagh,  saying.  By  jfasus, 
M^  Bull!  and  what 's  all  this  Blarjiey  about.  By  S'  Patrick  if  the  Rose  of  old 
England  baint  tumbled  from  its  salt  and  and  [sic]  the  Old  Gardener  turnd  out 
of  plaice!  Off  with  you  dyke  trotters  or  Pll  rattle  my  Shillaleah  about  your 
sconces.  Behind  him  a  Highlander  lunges  forward  with  a  broad-sword,  saying, 
Hauld  your  hands  there  ye  loons  I  will  naer  sae  our  Native  Flower  displaced  for 
any  Foreign  Plant!  I  weel  protect  the  auld  partner  of  the  Thistle.  Behind,  four 
aspirants  for  office  bow  obsequiously  to  a  fat  uncouth  Dutchman  who  stands 
between  them  and  the  throne,  bending  towards  them  with  more  of  aggression 
than  courtesy.  He  holds  behind  his  back  a  List  of  Places  and  says:  A' ay 
Mynheer  dare  is  nil  room!  Of  the  four,  only  Sidmouth  is  recognizable ;  their 
leader  says:  We  are  descendants  of  the  famous  Broad  Bottom  Administrain  [sic], 
we  [see  No.  10530]  shall  be  happy  to  fill  any  Situation  for  the  service  of  the 
Orange  Tree.   Mynheer. 

On  the  r.  a  crowd  of  Netherlanders  advances  towards  the  throne  from  a  high 
archway  (r.)  through  which  are  seen  the  sails  and  rigging  of  a  ship  with  the 
striped  flag  of  the  Sovereign  Prince.  They  are  led  by  a  fat  and  jovial  man 
wearing  an  enormous  Chancellor's  wig  (on  which  a  hat  is  perched)  and  long 
gown,  and  carrying  the  mace  against  his  shoulder.  He  says,  pointing  to  the 
orange  tree,  Dat  is  good  change.  Fine  smell  fine  taste  for  nothing  but  smell.  He 
is  followed  by  an  equally  fat  tax-collector,  with  a  pen  behind  his  ear  and  a 
large  empty  purse  draped  round  the  big  Netherlands  Tax  Book  which  he  holds 
under  his  arm.   He  says:  Yaw  Yaw  Mynheer!  dat  is  very  good  change  for  us. 

'  Vol.  vi  consists  only  of  the  number  for  March,  after  which  publication  ceased. 
Cohn,  p.  229. 

349 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

I  put  some  money  in  de  purse  now.  Beside  him  (r.)  is  a  stout  peasant  woman 
holding  a  miniature  orange  tree  in  a  Httle  tub;  she  says:  Dese  Oranges  from  de 
grote  tree,  will  keep  up  de  stock.  The  others  all  carry  their  burdens  on  their 
heads :  a  fishwife  with  a  barrel  of  Herrings,  a  man  with  a  basket  of  spherical 
Cheese[s'\,  another  carrying  a  large  cask  of  Hollands,  a  dairymaid  carrying  a 
pail  of  New  Milk,  while  three  more  casks,  two  labelled  Butter,  are  behind. 

A  satire  on  the  projected  marriage  of  Princess  Charlotte  to  the  Prince  of 
Orange.  It  is  suggested  that  a  Dutch  Prince  will  rule  in  England,  ousting  the 
House  of  Brunswick.  It  was,  however,  agreed  throughout  the  negotiations 
that  the  sovereignty  of  Britain  and  the  Netherlands  should  never  be  united : 
the  first  son  would  succeed  in  England,  the  second  in  Holland ;  failing  a  second 
son,  the  Dutch  succession  would  go  to  a  collateral  branch  of  the  House  of 
Nassau.  The  Opposition  were  opposed  to  the  marriage  for  various  reasons, 
and  worked  up  an  agitation  against  it.  See  Renier,  Great  Britain  and  the 
Establishment  of  the  Kingdom  of  the  Netherlands,  1930,  pp.  163-98;  The  Ill- 
fated  Princess,  1932,  pp.  84  ff.  See  Nos.  12189,  12273. 
7iXi8i|in. 

12192  HEAD  RUNNER  OF  RUNAWAYS,  FROM  LEIPZIG  FAIR. 

[Rowlandson.] 

Pu¥  March  2  1814  by  R  Ackermann  N°  loi  Strand 

Engraving  (coloured  impression).  A  copy,  probably  much  enlarged,  of  a 
German  print,  der  rheinische  courier  |  verliehrt  auf  der  Heimreise  von 
der  Leipziger  Messe  alles  (reproduced  Broadley,  ii.  117).  Napoleon  runs  in 
profile  to  the  1.,  holding  in  both  hands  a  pole  like  that  of  a  running  foot- 
man, but  topped  by  the  head  of  the  sceptre  of  Charlemagne  (an  emblem  of 
the  Empire)  inscribed  Carolus  Magnus.  His  head  and  uniform  evidently  derive 
from  Dahling's  engraving  of  Napoleon  in  the  uniform  of  the  Colonel  of  the 
Chasseurs  of  the  Guard  (reproduced,  Dayot,  Napoleon,  p.  205),  on  which 
No.  12 1 77  is  based,  but  on  his  back  is  the  hairy  knapsack  of  a  private  (as  in 
No.  12308).  Its  contents  fly  out  as  he  runs.  On  the  ground  are  two  prints 
of  French  soldiers  at  attention,  Alte  Garde  and  Junge  Garde ;  maps  fall  to  the 
ground:  Poland,  Rhein  Bund,  Hanstat  [sic]  Departement,  Sewitszerla[nd]  [sic], 
Holland,  Italy,  which  has  hardly  left  the  knapsack ;  two  rolled  maps  are  about 
to  fall:  Brabant  and  Bheisufer  [i.e.  Rheinufer  or  Bouches  du  Rhin].  He  runs 
diagonally  towards  a  broad  river,  the  Rhine ;  on  the  farther  side  are  the  build- 
ings of  Maynz,  reflected  in  the  water.  Just  before  him  runs  a  hare.  The 
original,  including  inscriptions,  is  closely  followed,  but  the  hare  (cf.  No.  12564) 
has  been  added  and  a  bush  removed. 

One  of  many  prints  on  the  consequences  of  Leipzig,  see  No.  12093,  &c. 
Napoleon  crossed  the  Rhine  at  Mainz  on  2  Nov.  The  Confederation  of  the 
Rhine  began  to  crumble  before  the  battle  by  the  treaty  of  Ried  between 
Bavaria  and  Austria  on  i  Oct.  (cf.  No.  12549).  Switzerland  abrogated  the 
Act  of  Mediation  on  29  Dec,  see  No.  12123.  The  Bouches  du  Rhin  was  one 
of  two  Dutch  departments  added  to  France  by  the  Senatus-consulte  of  24  Apr. 
1 810.  The  departement  Hanseatique  was  annexed  at  the  expense  of  the  Con- 
federation of  the  Rhine  on  13  Dec.  1810.  For  Holland  see  No.  12102,  &c. 
See  No.  12193;  cf.  No.  12580.  See  also  No.  12276,  &c.  The  title  is  quoted 
in  Nos.  12202,  12580. 

Grego,  Rowlandson,  ii.  276  f.  Broadley,  i.  349.  De  Vinck,  No.  8848.  Repro- 
duced, Klingender,  p.  17. 
12JX9J  ^^^ 

350 


POLITICAL   SATIRES    1814 

12192a   LE  courier  DU  ruin.  \  perd  tout  en  revenant  de  la  foire  de 
Leipsig  [18 1 4] 

Engraving  (coloured  impression).  A  close  French  copy  of  the  German 
original.  Of  the  two  rolled  maps  still  in  the  knapsack  one  is  B.  du  Rhin,  the 
other  is  blank. 

Listed  by  Broadley.   De  Vinck,  No.  8849.   Van  Stolk,  No.  6189. 
7fx8iin. 

An  ItaUan  copy,  il  corriere  del  reno,  is  listed  by  Broadley.   Another 
version  is  il  corriere  piu  ricco  .  .  .,  Milan,  No.  2437. 

12193  POLITICAL  CHESS  PLAYERS,  OR  BONEY  BEWILDER'D— 
JOHN  BULL  SUPPORTING  THE  TABLE 

G.  H,  Inv'  [G.  Humphrey]    [Williams  f.] 

Pu¥  March  4^''  1814  by  H  Humphrey  N°  2y  S^  James  S' 

Engraving.  John  Bull,  a  fat  'cit'  with  coins  and  notes  dropping  from  his 
pockets,  bends  his  back  to  support  a  globe,  on  the  upper  part  of  which  is 
a  chess-board,  with  a  game  between  Napoleon  and  the  Allies  in  progress. 
Napoleon,  full-face,  stands  on  a  ladder  inscribed  Ambition  which  rests  against 
the  globe  in  order  to  reach  the  board ;  the  lower  rungs  have  broken.  His  side 
of  the  board  is  scantily  filled  with  pieces,  the  king  is  conspicuous,  with  the 
word  Paris  before  it.  He  stretches  his  r.  hand  towards  the  board,  while  with 
the  1.  he  tries  to  steady  his  falling  crown,  impeded  by  the  sword  which  hangs 
by  a  loop  from  his  hand.  He  says,  with  an  anguished  expression:  Which  way 
shall  I  move!  how  shall  I  maneuvre.  I  am  afraid  I  shall  lose  my  King  as  well 
as  my  men  and  Knights.  The  ribbon  of  his  legion  of  Honour  is  inscribed  Honor 
lost  (cf.  No.  12202).  The  tu'o  most  prominent  of  the  Allies  are  Bernadotte 
(1.)  and  WeUington  (r.);  the  former  holds  his  sword  across  the  well-filled 
squares  of  the  lower  part  of  the  board,  looking  down  at  John  to  say:  Stand 
by  us  Johnny!  never  mind  your  money  dropping  out  of  your  pocketts.  John  looks 
up  grinning:  Never  fear  my  Lads!  only  mind  your  play,  John  Bull  won't  flinch 
let  what  will  happen.  Wellington,  stern  and  handsome,  stands  in  profile  to 
the  1.,  on  John's  1.,  his  gloved  hands  resting  on  the  hilt  of  his  unsheathed 
sword ;  he  says:  /  shall  move  soon  and  I  hope  I  shall  play  Well  in  turn.  At  his 
feet  lie  pieces  taken  from  Napoleon.  On  the  r.,  behind  Bernadotte,  are  the 
sovereigns  of  Prussia,  Russia,  and  Austria.  Frederick  William  (1.)  in  hussar 
uniform,  with  a  skull  and  cross-bones  on  his  cap,  and  wearing  a  fur-bordered 
cape,  stares  with  a  satisfied  smile  at  Napoleon,  saying,  Check  Mate — by  all 
thats  good.  Alexander  moves  a  knight;  Francis  I,  his  sword  resting  against 
his  shoulder,  says  to  the  Tsar,  raising  an  admonishing  forefinger:  Let  us  only 
mijid  our  motions  Brother  and  we  shall  be  sure  of  the  Game.  On  the  extreme  r. 
Ferdinand  VII,  wearing  feathered  hat,  cloak,  and  slashed  doublet,  runs 
towards  an  unidentified  sovereign,  who  takes  his  hand,  saying,  Your  just 
in  time  to  see  your  old  kidnaper  lose  the  game  he  though  [sic]  himself  the  best 
player  in  World.  Ferdinand  holds  out  a  (broken)  shackle,  saying,  /  am  released 
on  condition  of  takeing  share  in  a  rubber  with  him  but  I  shall  not  consider  com- 
pulsion binding.  The  globe  is  so  placed  that  Great  Brit  tain  is  at  the  base,  next 
John  Bull,  with  S'  Georges  Channel  and  Ireland  to  the  r.  Above  are  the  German 
Ocean  (1.)  and  British  Channel  with  the  north  coast  of  France  showing  under 
the  chess-board  which  covers  much  of  the  rest.  There  is  a  landscape  back- 
ground. 

At  the  date  of  publication  a  seemingly  optimistic  print :  the  latest  news  from 
France  was  of  Napoleon's  succession  of  victories,  10-13  Feb.,  over  Bliicher, 
followed  by  the  Allies'  proposal  of  an  armistice  (cf.  No.  12 179).  Actually,  the 

351 


CATALOGUE  OF  POLITICAL   AND   PERSONAL   SATIRES 

tide  had  turned  with  Marmont's  defeat  at  Bar-sur-Aube  on  14  Feb.  Unknown 
to  the  artist,  WeUington's  expected  offensive  began  on  14  Feb.,  leading  to  the 
battle  of  Orthez  on  27  Feb.  {Extraordinary  Gazette,  21  Mar.).  After  Leipzig 
(see  No.  12093,  &c.)  Bernadotte  was  dilatory  and  inactive,  undeserving  of  the 
prominence  given  to  him  in  this  and  other  prints.  For  the  Treaty  of  Valen9ay 
made  by  Napoleon  with  Ferdinand  VII  see  No.  12123,  &c. ;  Ferdinand 
intended  to  repudiate  it  as  soon  as  he  had  escaped  through  the  French  lines, 
see  Oman,  Hist,  of  the  Peninsular  War,  vii.  297  ff.  John's  cheerful  acceptance 
of  his  burden  as  paymaster  of  the  Allies  is  in  striking  contrast  with  other 
prints,  cf.,  e.g.,  No.  121 10.   For  political  chess  cf.  No.  9839. 

Listed  by  Broadley.   Reproduced,  Grand-Carteret,  Napoleon,  No.  285. 
9X13!  in. 

12194  LADY  P  ARAGRAPH  CHAMPIONIZING.— F/c^g  Letters 

[WilUams.] 

Pu¥  March  4'^  1814  by  S  W  Fores  N°  50  Piccadilly 

Engraving.    Lady  Perceval  sits  at  an  ornate  writing-table,  pen  in  hand.    A 

serpent  issues  from  her  breast,  coils  round  her  arm,  and  darts  its  fang  at  the 

tip  of  her  pen.  She  frowns  meditatively,  saying.  Now  then  for  something  strong 

but  not  libellous,  I  hate  half  measures  we  must  rush  upon  the  enemy — suprise  [sic], 

astound  him — and  unhorse  him  by  Terror — John  Bull  have  at  you!  Fll  open  your 

eyes .   The  table  is  littered  with  papers  and  books ;  some  are  docketed : 

For  the  Star,  To  the  Editor  of  the  Star,  For  the  News,  Extracts  from  the  Book, 
one  is  Copy,  a  book  is  Politicks,  and  a  large  paper  is  displayed :  Select  Scraps 
from  Shakespeare — with  my  own  comments  "Some  achieve  greatness  "some  have 
greatness  thrust  upon  them  ....  Querie  was  this  not  the  case  with  Nunky  [Spencer 
Perceval],  why  not  happen  ....  Son — .  Other  papers  and  books  lie  on  the 
floor:  newspapers  are  The  News  and  The  Star,  a  paper  is  headed  Memor- 
andums Billy  Austin  [see  No.  12027] — '^^  Will —  Books  are  Life  of  Lord 
Nelson,  A  very  Woman  by  Massinger,  Machiavael,  Johnson,  Indiscretion  a  Novel, 
Don  Quixote.  On  the  1.  John  Mitford,  identified  by  a  letter  in  his  coat-pocket 
To  John  Mit — ,  stands  facing  the  wall,  and  hanging  one  picture  over 
another:  he  places  a  view  of  a  country  inn.  The  Tigers  Head  above  one 
of  \yVzr\burton's  Mad  House,  saying.  Come  this  is  a  prettier  picture  than 
the  other  [I]  shall  catch  some  fish  in  this  neighbourhood.  He  is  fashionably 
dressed,  wearing  Hessian  boots.  This  picture  is  on  the  1.  of  a  row:  a  large 
picture  oi  Alecto  (cf.  No.  7721),  naked,  wreathed  in  serpents,  and  brandishing 
scourge  and  fire-ljrand,  with  a  background  of  flames  hangs  between  T.Q.L. 
portraits  of  Lady  Douglas  and  Lady  A  Hamilton.  The  former  covers  her  face 
with  a  tragic  gesture;  a  dagger  lies  on  a  table  beside  her,  she  seems  to  con- 
template suicide.  The  latter  clasps  her  hands.  Over  the  chimneypiece  (r.) 
is  a  T.Q.L.  portrait  of  Lord  P  .  .  .  .  val  concealing  his  face  with  his  hat; 
below,  and  partly  hiding  the  frame,  is  a  statuette  of  a  knight  killing  a  dragon. 
On  the  chimney-piece  there  is  also  a  bottle  labelled  Cephalic  (for  diseases  of 
the  head).   Papers  are  burning  in  the  grate,  one  inscribed  To{6\  Libellous. 

A  satire  on  the  revelations  of  the  trial  of  John  Mitford  (1782-183 1)  in  the 
King's  Bench,  24  Feb.  18 14,  on  an  action  by  Viscountess  Perceval  for  having 
falsely  sworn  that  articles,  &c.,  published  in  newspapers  were  by  her;  it  was 
proved  that  she  had  written  them,  and  he  was  acquitted.  Lady  Perceval  had 
organized  a  publicity  campaign  in  favour  of  the  Princess  of  Wales,  and 
engaged  Mitford  to  get  paragraphs  and  'hints'  (written  by  herself  but  copied 
by  Mitford)  inserted  in  the  papers,  especially  in  the  Star,  the  News,  and  the 
Pilot.  The  campaign  continued  from  the  end  of  181 1  till  late  in  18 13.  Mitford 

352 


POLITICAL   SATIRES   1814 

was  voluntarily  confined  in  Mr.  Warburton's  private  asylum  at  Whitmore 
House,  Hoxton  while  thus  engaged,  at  Lady  Perceval's  desire  (he  said),  that 
he  might  not  be  examined  at  the  bar  of  the  House.  She  afterwards  proposed 
his  residence  at  The  Tiger's  Head,  but  countermanded  this  as  too  near  the 
Princess  at  Blackheath.  Among  Lady  Perceval's  letters  (some  of  which  were 
rejected  by  editors  as  too  libellous)  was  one  ostensibly  from  Lady  Anne 
Hamilton  (see  No.  12030).  The  campaign  seems  to  have  begun  with  the 
publication  of  'the  Book',  see  No.  11990.  Lady  Perceval  was  especially 
anxious  to  show  that  Princess  Charlotte  was  'uncommonly  attached  to  her 
mother  and  afraid  of  her  father',  cf.  No.  12081,  &c.  Her  object  was  appar- 
ently to  secure  a  'proper  establishment'  for  the  Princess,  with  (according  to 
Mitford)  positions  in  her  Household  for  herself  and  her  son.  A  house  was 
taken  in  Abingdon  Street,  and  the  assistance  of  Whitbread  was  secured.  Her 
husband  (b.  1767),  styled  Viscount  Perceval  1770-1822,  was  the  nephew  of 
Spencer  Perceval.  The  trial  probably  contributed  to  the  decline  in  the 
Princess's  popularity,  and  increase  in  that  of  the  Prince,  reversed  in  June, 
see  No.  12279,  &c.  See  Mitford's  Trial  and  his  Narrative  of  Facts  in  the 
Scourge,  vii.  303-15,  361-71,  454-69  (Apr.-June  1814).  For  Mitford  see 
No.  13 176,  &c. 
8|X  13  in. 

12195  BUONAPARTE 
Drawn  &  Etched  by  W  Heath 
London  Pub  March  6'^  1814  by  Ackermann  Strand 

Engraving  (coloured  impression).  Napoleon,  as  a  fiend,  rides  (1.  to  r.)  a 
wildly  galloping  horse  through  space  above  the  curve  of  the  globe,  a  polar 
arc  of  which  is  the  base  of  the  design.  A  hieroglyphical  print,  evidently 
deriving  from  No.  12177,  with  an  explanatory  inscription  below  the  design: 
The  Horse  represents  Ambition  leading  on  the  Fiend,,  whose  body  is  encompass^ 
by  an  Enormous  Serpent,  the  withered  hand  and  arm  grasping  the  broken  Sword 
alludes  to  The  Feeble  effort  made  by  BuoJiaparte  to  oppose  the  Conquering  arms 
of  the  Allies  ;  a  Crown  Encircles  his  brows  formd  of  Daggers  and  Poison  Cups, 
alludes  to  murdering  his  own  Soldiers  [see  No.  10063]  The  Thighs  are  formd  of 
the  Skeletons  of  the  Massacred  hosts,  the  boot  a  Deamon  his  guardian  Genius. 

Napoleon  is  in  profile  to  the  r.,  his  body  is  completely  covered  by  the  coils 
of  a  serpent,  on  which,  burlesquing  the  star  of  the  Legion  of  Honour,  is  a 
skull  and  cross-bones ;  a  barbed  tail  projects  at  the  waist.  The  thigh  is  covered 
with  skeletons  in  imitation  of  the  corpses  on  the  face  in  No.  10 177,  &c.  From 
a  circlet  on  his  head,  inscribed  Murd[er],  blood-stained  daggers  and  cups  of 
Pois[on]  project  vertically.  His  epaulettes  are  bunches  of  blood-stained 
daggers.  His  r.  arm  is  bare  and  emaciated,  in  the  hand  are  the  fragments  of 
a  sword  inscribed  Power.  His  jack-boot  is  covered  by  a  demon  crouching  in 
profile  to  the  r.,  with  a  hoof  in  a  shackle  which  serves  as  stirrup,  and  with 
a  barbed  tail  for  a  spur.  The  horse  snorts  fire ;  a  barbed  tongue  issues  from 
its  mouth;  the  mane  is  formed  by  tiny  spitting  serpents;  to  each  hoof  is 
attached  a  small  webbed  wing.  The  saddle  is  in  the  shape  of  a  large  webbed 
wing  and  is  inscribed  Ambition.  On  the  globe  England  (1.)  and  France  (r.)  are 
marked ;  behind  the  former  is  a  rising  sun  inscribed  Allies,  behind  the  latter 
are  flames  and  smoke. 

'Feeble  Effort'  belies  the  marvellous  vigour  of  Napoleon's  strategy  at 
Champaubert,  Montmirail,  and  Vauchamps  in  February. 

One  of  a  set  of  three,  see  No.  13489. 

Listed  by  Broadley. 
9|Xi3i|  in.  (pi.). 

353  A  a 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

12196  THE  DEVILS  DARLING. 

[Rowlandson.] 

Pu¥  March  12^''  1814  by  R.  Ackermann  N  loi  Strand 

Engraving  (coloured  impression).  Copy,  much  enlarged,  of  a  German  print: 
Das  ist  mein  lieber  Sohn  an  dem  ich  Wohlgefallen  habe,  reproduced  Fuchs, 
i.  174.  The  Devil,  huge,  nude,  dark,  and  hairy,  with  beard,  satyr's  ears,  and 
rudimentary  horns,  drawn  with  more  vigour  and  realism  than  the  original, 
sits  on  the  ground,  directed  to  the  1.,  nursing  a  swaddled  infant  on  a  pillow, 
with  the  head,  not  caricatured,  of  Napoleon.  The  Devil,  with  glaring  eye- 
balls and  flashing  teeth,  puts  his  head  close  to  the  stern  and  slightly  frowning 
profile  of  his  darling,  who  gazes  into  his  face.  The  head  is  that  of  the  Dahling 
profile,  copied  in  No.  12 177.  The  swaddling  bands  are  of  tricolour  ribbon. 
Under  the  chin  is  a  bib.  In  the  Devil's  1.  hand  is  a  (red)  ribbon  from  which 
hangs  the  star  of  the  Legion  of  Honour.  Flames  (not  in  the  original)  rise 
from  the  ground.   See  No.  12 197. 

Grego,  Rowlandson,  ii.  278.  Broadley,  i.  342  (reproduction),  349.  De  Vinck, 
No.  7814  (German  pi.,  No.  7817). 
I2|x8f  in. 

12197  LE  PETIT  HOMME  ROUGE  BERQANT  SON  FILS,      [1814] 

Engraving  (coloured  impression).  A  close  French  copy  of  the  German 
original  of  No.  12196.  The  Devil  is  coloured  a  uniform  red  with  dark  hair 
and  beard ;  he  has  not  satyr's  ears.  The  two  faces  have  less  expression.  The 
figures  fill  less  of  the  design  than  in  No.  12 196,  and  there  are  no  flames. 
Below  the  design:  Void  man  fils  bien-aime,  qui  m^a  donne  tant  de  satisfaction. 

For  THomme  Rouge'  see  No.  12481. 

A  Dutch  copy  without  title,  De  Vinck,  No.  7816,  is  listed  by  Broadley 
(ii.  412);  a  Swedish  copy  (ibid.,  ii.  420);  an  Italian  copy,  Milan,  No.  2632. 

Listed  by  Broadley.   De  Vinck,  No.  7815. 
7|X5|in. 

12198  NOBODY  DOES  SO. 

[Williams.] 

Pub"^  March  21"^  1814  by  S  W  Fores  N°  50  Piccadilly 

Engraving  (coloured  impression).  Eight  designs  arranged  in  two  rows.  In  all 
is  the  same  'Nobody'  with  no  body  as  in  No.  12438,  &c.,  with  coarse  greedy 
face,  dressed  until  8  in  tight  pantaloons  from  chin  to  Hessian  boots,  [i] 
Nobody  turns  Patriot  in  hopes  to  be  bought  by  the  Minister.  The  House  is 
indicated  by  the  Speaker's  chair  (with  Speaker)  and  table  on  which  is  a  huge 
mace,  and  a  single  (opposition)  bench  (r.)  empty  except  for  a  hat  and  paper 
headed  Motion.  Nobody  stands,  declaiming,  Nothing  can  prevent  impending 
Ruin  but  Reform,  Reform.  [2]  Nobody  takes  a  bribe  when  MP  for  his  Vote. 
A  Minister  (J  Castlereagh)  slips  a  money-bag  into  the  hand  which  Nobody 
holds  behind  his  back,  and  says:  Remember  it  is  No!  Nobody:  Aye,  Aye. 
[3]  Nobody  turns  off  a  beautifull  young  Wife,  for  a  fat  high-sented  Grany  [sic]. 
A  fat  bedizened  woman  takes  him  by  the  chin,  while  a  young  woman  walks 
off  (r.)  raising  her  arms  in  despair.  He:  She  has  not  half  the  charms  that  you 
have!  She :  Oh  you  are  the  Prince  of  Flatterers!  [4]  Nobody  recieves  presents, 
when  Commissioner,  from  a  rapacious  Contractor.  He  lounges  in  a  chair,  elbow 
on  a  table  on  which  there  is  a  bottle  of  wine,  its  cork  on  a  cork-screw,  holding 
out  a  paper:  Contract  for  the  Navy  ...  to  an  ugly  man  in  fashionable  dress 
who  bows  hat  in  hand.   The  latter  points  to  a  basket  of  wine-bottles  on  the 

354 


POLITICAL   SATIRES    1814 

floor,  saying :  This  is  a  sample  of  some  Pipes  I  have  to  beg  your  acceptance  of. 
Nobody:  Pon  Honor  you  are  a  very  honest  Man  Mr  Whats  your  name  you 
deserve  the  contract!  [5]  Nobody  when  a  Peer  makes  use  of  his  privelege  to  cheat 
a  tradesman.  Arms  akimbo  he  looks  with  sly  truculence  at  a  man  who  stands 
hat  in  hand,  holding  one  end  of  a  long  scroll  which  lies  coiled  on  the  floor; 
this  is  headed  Lord  Vicount  Allbreeches  to  Tim^  Staytape  and  begins:  Panta- 
loons 2  •  12  •  6,  repeated,  with  D° — ,  eight  times,  and  i  P'^  Sleeve  i  •  10  - 
Staytape:  It  has  been  due  these  nine  Years  my  Lord.  Nobody:  Well  fellow  if 
it  has!  don't  you  know  I  have  the  priviledge  to  pay  or  not  you  Scoundrill.  On 
a  table  beside  him  is  a  pile  of  bills :  Boot  Makers  Bill,  Sec.  [6]  Nobody  when 
a  Privy  Counseller,  makes  use  of  his  knowledge  to  dabble  in  the  Stocks.  Seated 
by  a  table  on  which  are  a  Dispatch  box  and  a  Dispatch,  he  says,  with  a  finger 
to  his  nose,  to  a  Jewish  broker  who  stands,  writing  in  a  note-book:  Sell  out 
half  a  Million  of  Omnium!  &  30000  3  P''  Cents!  Mum  [cf.  No.  12209].  [?] 
Nobody  becomes  Prime  Mi?iister,  for  the  good  of  his  Country.  He  stands  hand- 
ing behind  him  (1.)  and  (r.)  papers  to  a  woman  and  man:  4000  for  Au?it 
Deborah ;  5000  for  Uncle  Tom.  Others  including  two  children  stand  hopefully 
behind.  He  says:  A  nice  patronage  this!  I  shall  be  able  to  provide  for  my 
hundred  and  Twelfth  Cousin.  Beside  him  on  a  table  are  papers:  1. 000  P''  An 
for  Cousin  Frank,  &c.  and  a  long  scroll  hanging  to  the  ground,  a  long  list  of 
Places  in  the  Gift  of  the  Minister.  [8]  Nobody  in  a  Judge's  Wig  expounds  the 
Law  of  Libel  in  favour  to  Titled  Iniquity.  Seated  in  a  chair  with  a  wig  reaching 
below  his  calves,  he  addresses  a  man  who  is  blindfolded,  has  a  padlocked 
mouth  (cf.  No.  12037),  his  feet  and  wrists  tied,  and  with  a  pen  in  his  hands, 
and  a  paper,  Castigator  .  .  .,  in  his  pocket.  He  says:  When  you  have  worn  these 
Ornaments  for  a  time,  you  will  recollect  that  Title  and  rank  have  no  Vices. 
Under  his  chair  lies  Magna  Charta,  a  bulky  roll;  under  his  foot  a  paper: 
Virtus  in  actione  consistit. 

A  satire  apparently  with  no  personal  basis,  even  of  slander.   For  sinecures 
cf.  Nos.  1 1537,  12781,  &c. 
io|Xi8fin.  'Caricatures',  viii.  37. 


12199  lOHN  BULL  BRINGING  BONYS  NOSE  TO  THE  GRIND- 
STONE 

W"  Elmes—D^  S' 

London  Pub'^  March  21^' — 1814.    [Tegg.] 

Engraving  (coloured  impression).  The  Tsar  (1.)  turns  the  handle  of  a  grind- 
stone against  which  John  Bull  (r.),  a  fat  'cit',  larger  in  scale  than  the  other 
figures,  presses  Napoleon's  bleeding  nose,  his  r.  hand  on  the  Emperor's  head, 
while  he  holds  him  up  by  the  r.  boot.  Bernadotte  stands  on  John's  r.,  highly 
delighted.  Behind  (r.)  stands  a  Prussian  Death's  Head  hussar,  intended  for 
Frederick  William,  with  the  Austrian  Emperor  looking  over  his  shoulder. 
Behind  the  Tsar  stands  a  fat  Dutchman  with  a  large  orange  favour  in  his  cap, 
smoking  a  curved  pipe  with  a  curved  bowl  (in  place  of  the  usual  short  clay 
pipe).  John  says:  Aye — Aye — Master  Boney — /  thaught  I  should  bring  You 
to  it  one  of  those  days.  You  have  carryed  on  the  trade  of  Grinding  long  enough 
to  the  Anoyance  Of  your  Opressed  Neighbours — One  good  turn  deserves  another 
— Give  him  a  Turn  Brother  Alex^ — and  let  us  see  how  he — likes  a  Taste. 
Alexander,  Francis,  and  Bernadotte  wear  plumed  bicornes  like  that  of  Napo- 
leon (which  falls  oflF)  but  with  one  feather  instead  of  two.  All  are  bur- 
lesqued. 

The  pi.  was  published  after  a  week  of  good  news,  following  news  of  the 

355 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

British  reverse,  9  Mar.,  at  Bergen-op-Zoom  {Gazette Extraordinary,  14  Mar.): 
Bliicher's  success  at  Laon  on  9  Mar.  (ibid.,  18  Mar.),  Wellington's  victory 
at  Orthez  on  27  Feb.  (ibid.,  20  Mar.). 

Broadley,  i.  348,  349  (reproduction).   De  Vinck,  No.  8908, 
8^X13  in. 

12200  PUBLIC  EXECUTION  OF  A  TYRANT. 
T  H  (monogram) 

Published  as  the  Act  directs  March  1814 

Aquatint,  vignetted.  Below  the  title:  A  gibbet  formed  by  the  Allies,  well  sup- 
ported by  Old  England.  The  British  Oak  &  Lion,  crushing  &  tearing  the 
Corsican  Viper,  whose  sting  falls  down  harmless  upon  the  Oak.  A  large  serpent 
with  a  barbed  tail  is  coiled  round  the  post  (inscribed  Austria.  Russia)  of  a 
gibbet,  which  is  topped  by  a  cap  of  Liberty  with  a  French  cockade ;  its  neck 
is  in  a  noose  hanging  from  the  cross-beam  which  is  inscribed  Holland.  A  strut 
supporting  the  cross-beam  is  Spain.  A  sloping  oak  tree  inscribed  England 
supports  the  post,  and  the  British  Lion  (1.)  furiously  bites  the  serpent  which 
spits  venom,  intercepted  by  the  oak. 

Cf.  No.  12 174.   The  absence  of  Prussia  is  noteworthy. 

Listed  by  Broadley.    Van  Stolk,  under  No.  6313.    Reproduced,  Grand- 
Carteret,  Napoleon,  p.  35. 
9|X7iin.  (pi.). 

12201  AUTANT  EN  EMPORTE  LE  VENT.  [?  Mar.  1814] 
Engraving.  A  French  print.  The  Vent  du  nord,  a  blast  from  a  child's  head 
emerging  from  clouds  (1.),  strikes  Napoleon  (not  caricatured)  and  his  horse 
from  behind ;  the  horse  falls  on  its  knees,  the  Emperor  is  flung  upwards.  The 
blast  is  inscribed  Russie,  (followed  by)  Prusse,  Autriche.  It  carries  away  Napo- 
leon's hat,  his  crown,  orb  and  sceptre,  the  Hand  of  Justice  (see  No.  12247), 
and  a  sheaf  of  papers  which  he  vainly  tries  to  catch :  Moscow,  Vienne,  [M]adrid, 
Berlin,  [Alexjandrie,  Marengo,  Levee  en  masse,  conscription  de  1815,  decret  du 
Senat.  The  horse's  mane,  back,  reins,  and  stirrup  are  blown  violently  to  the 
r.,  and  the  animal  has  a  more  agonized  expression  than  its  rider. 

One  of  many  prints  on  the  consequences  of  Leipzig  (see  No.  12093,  &c-)» 
with  the  loss  of  the  fruits  of  victory,  indicated  by  Marengo  (cf.  No.  9544) 
and  places  formerly  occupied  by  the  French.  Conscripts  of  18 14  and  181 5 
were  called  up  before  Leipzig;  after  it  there  were  much  heavier  levies,  and 
after  the  invasion  of  France,  a  levee  en  masse  (see  Nos.  12250,  12607)  for  the 
Eastern  Departments  and  an  order  for  the  enrolment  of  National  Guards. 
See  Houssaye,  Napoleon  and  the  Campaign  of  181 4,  pp.  i  ff .  For  conscription 
see  No.  12087,  &c. 

Listed  by  Broadley  (as  'The  Wind  takes  the  lot').    De  Vinck,  No.  8986; 
(No.  9007  has  the  same  title).   Reproduced,  Bourguignon,  ii.  244. 
7X11  in. 

12202  NAPOLEON 
[After  Voltz.] 

Pub'^  by  Ackermann,  loi  Strand  London.  [?  Mar.  1814]' 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  A  copy 
of  No.  12177,  with  the  same  inscriptions,  except  that/  is  omitted  after  the 
rivers  and  'Veichsel'  (Vistula)  is  spelt  Weichsel  R.  Ehrefort  ['loss  of  honour' 

'  Dated  April  by  Broadley,  who  attributes  it  to  Rowlandson,  but  probably  before 
the  abdication  and  after  No.  12 192. 


POLITICAL   SATIRES   1814 

punningly  combined  with  Erfurt,  scene  of  Napoleon's  triumph  in  1808,  and 
his  headquarters  before  Leipzig;  cf.  No.  12248]  is  on  a  red  ribbon.  The  web 
is  larger  in  proportion  to  the  coat,  the  spider  much  larger  in  proportion  to 
the  web.  On  the  collar  are  waves  of  the  sea,  with  an  inconspicuous  ship.  On 
the  cuff  is  R  (for  Regent),  round  the  wrist  Honi  •  Soit  • ,  on  the  fingers  are  the 
letters  A,  R,  P,  S,  E  (for  the  AlHes).  The  printed  text,  headed  Napoleon 
(the  title):  'The  First,  and  Last,  by  the  Wrath  of  Heaven  Emperor  of  the 
Jacobins,  Protector  of  the  Confederation  of  Rogues  [du  Rhin],  Mediator  of 
the  Hellish  [Helvetique]  League,  Grand  Cross  of  the  Legion  of  Horror, 
Commander  in  Chief  of  the  Legions  of  Skeletons  left  at  Moscow,  Smolensk 
[see  No.  11917],  Leipzig,  &c.  [see  No.  12093],  Head  Runner  of  Runaways 
[see  No.  12 192],  Mock  High-Priest  of  the  Sanhedrim  [see  No.  12256],  Mock 
Prophet  of  Mussulmen  [see  No.  9973,  &c.].  Mock  Pillar  of  the  Christian  Faith 
[see  No.  10090],  Inventor  of  the  Syrian  ^Iethod  of  disposing  of  his  own  Sick 
by  sleeping  Draughts  [see  No.  10063],  or  of  captured  Enemies  by  the  Bayonet 
[see  No.  10062];  First  Grave-Digger  for  bury^ing  alive;  Chief  Gaoler  of  the 
Holy  Father  [see  No.  11360]  and  of  the  King  of  Spain  [see  No.  10990], 
Destroyer  of  Crowns,  and  Manufacturer  of  Counts,  Dukes,  Princes,  and 
Kings  [see  No.  10518];  Chief  Douanier  of  the  Continental  System  [see 
No.  121 13],  Head  Butcher  of  the  Parisian  [see  No.  9534]  and  Toulonese 
Massacres  [see  No.  12458],  Murderer  of  Hoffer  [see  No.  121 12],  Palm  [see 
No.  1 1053],  Wright  [see  No.  11057],  nay,  of  his  own  Prince  the  noble  and 
virtuous  Duke  of  Enghien  [see  No.  1025 1],  and  of  a  Thousand  others; 
Kidnapper  of  Ambassadors  [Rumbold  and  Lord  Elgin],  High-Admiral  of  the 
Invasion  Praams  [see  No.  9995],  Cup-bearer  of  the  Jaffa  Poison  [repetition], 
Arch-Chancellor  of  Waste-Paper  Treaties,  Arch-Treasurer  of  the  Plunder  of 
the  World,  the  Sanguinary  Coxcomb,  Assassin,  and  Incendiary to 

Make  Peace  w^ith  ! ! ! 

This  Hieroglyphic  Portrait  of  the  Destroyer  is  faithfully  copied  from  a 
German  Print,  with  the  parody  of  his  assumed  titles  [see  No.  12244].  The 
Hat  .  .  .  represents  a  discomfited  French  Eagle,  maimed  and  crouching,  after 
his  Conflict  with  the  Eagles  of  the  North.  His  Visage  is  composed  of  the 
Carcases  of  the  Victims  of  his  Folly  and  Ambition,  who  perished  on  the 
Plains  of  Russia  and  Saxony.  His  Throat  is  encircled  with  the  Red  Sea,  in 
Allusion  to  his  drowned  Hosts.  His  Epaulette  is  a  Hand,  leading  the  Rhenish 
Confederation,  under  the  flimsy  Symbol  of  a  Cobweb.  The  Spider  is  an 
Emblem  of  the  Vigilance  of  the  Allies,  who  have  inflicted  on  That  Hand  a 
deadly  Sting!' 

Also  a  state  in  which  the  'E'  on  the  fourth  finger  is  absent. 

Broadley,  ii.  246  f.  De  Vinck,  No.  8859.  Reproduced,  Grand-Carteret, 
Napoleon,  p.  45.  This,  or  another  version  pub.  Ackermann,  is  Hennin, 
No.  13634,  which  is  accompanied  by  a  printed  explanation  in  French  and 
German,  Gedruckt  bey  G.  Schulze  and  J.  Dean,  ij  Poland  Street,  Oxford 
Street,  London.  De  Vinck,  No.  8865,  with  the  same  imprint,  has  marginal 
inscriptions,  French  (1.)  and  German  (r.),  translations  of  the  text  of  No.  12202 
Broadside,  i8|x  n|  in. 

12203    [TRIUMPH    DES    JAHRES    1813— DER    DEUTSCHE    ZUM 
NEUENJAHN]   [sky  [?  Mar.  18 14] 

Engraving  (coloured  impression).  An  English  copy  of  the  corpse-head,  see 
No.  12 177.  It  resembles  No.  12202  in  the  size  of  the  web,  and  in  having  the 
letter  R  on  the  cuff,  and  A,  R,  P,  S  on  the  hand  (see  No.  12204  a).  The  names 

'  Title  written  in  pen  by  Miss  Banks. 

357 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

on  the  coat  are  as  in  No.  12202,  except  that  Hanau  and  Hochst  are  omitted 
in  the  west,  though  the  places  are  marked  with  swords,  and  in  the  east  only 
the  battles  of  Leipzig,  Lutzen,  Culm,  and  Katzbach  are  given. 
4f  X3J  in.  B.M.L.  1890.  e.  18.  fo.  84. 

12204  MEMOIRS  OF  BUONAPARTE, 

His  Imperial  Family,  Great  Officers  of  State,  and  Great  Military  Officers. 

London:  Printed  and  Published  by  G.  Smeeton,  ij,  S^  Martins  Lane, 

Charing  Cross.   Price  Sixpence  [?  Mar.  1814] 

Engraving  (coloured  impression)  inset  in  a  printed  broadside  bordered  with 
a  white  key-pattern  on  a  black  ground.  The  head  is  from  the  same  pi.  as 
No.  12203.  The  text  is  in  three  closely  printed  columns,  the  pi.  inset  in  the 
upper  part  of  the  broadside,  which  consists  of  short  libellous  accounts  of 
Napoleon,  his  family  and  officers  under  the  three  headings  of  the  title.  At 
the  end  of  the  third  column:  'Description  of  the  hieroglyphic  Portrait  of  Buona- 
parte. The  French  Eagle,  crouching,  forms  the  chapeau  en  militaire:  the  Red 
Sea  represents  his  throat,  illustration  of  his  drowning  armies:  the  visage,  is 
formed  of  carcases  of  the  unhappy  victims  of  his  cruel  ambition:  the  hand 
is  judiciously  placed  as  the  epaulet,  drawing  the  Rhenish  Confedracy  [mV] 
under  the  flimsy  symbol  of  the  cobweb :  and  the  spider  is  a  symbolic  emblem 
of  the  vigilance  of  the  Allies!'   Nos.  12205,  12607  are  companion  prints. 

Broadley,  ii.  248  f. 
4|X3j  in.    Broadside,  145  X  105  in. 

12204  a  memoirs  of  BUONAPARTE,  .  .  .[ut  supra] 
Third  Edition,  with  Additions. 

Engraving  (coloured  impression).  The  pi.  is  that  of  No.  12204,  with  the  same 
imprint,  but  the  principal  headings  are  in  Gothic  character.  The  paragraph 
on  the  last  of  the  Great  Military  Officers  (Vandamme)  is  added  to,  and  two 
more  generals  are  included:  General  Baraguay  d'Hilliers,  and  General  Loison. 
They  fill  the  place  previously  taken  by  the  'Description'  quoted  above.  This 
is  altered  and  printed  in  larger  type  across  the  lower  edge  of  the  broadside : 
'Correct  Explanation  of  the  Hieroglyphic  Portrait  of  Buonaparte.  The  French 
Eagle,  crouching,  forms  his  hat ;  the  red  collar  represents  the  River  Rhine,  and 
the  black  border  above  it,  [round  his  neck]  the  Rhenish  Confederacy;  the 
letters  on  the  fingers  are  the  initials  of  Austria,  Russia,  Sweden,  and  Prussia; 
and  the  Cuff  of  the  Sleeve  is  emblematic  of  Great  Britain,  by  whose  influence 
and  power  the  Allies  are  bound  together ;  the  letter  R  signifying  Regent.  The 
visage  .  .  .  \ut  supra] ;  the  spider  is  symbolic  of  the  rancor  and  venom  of 
Buonaparte's  heart;  and  the  web  illustrative  of  the  flimsy  tenure  by  which 
he  at  present  holds  his  kingdom! 

Copied  from  the  Original  Berlin  Print ;  of  which  there  was  sold  in  that  Capital, 
20,000  Copies  in  One  Week!'   See  No,  12205. 

Broadley,  ii.  248  f.    Reproduced,  Grand-Carteret,  Napoleon,  p.  47. 
Broadside,  i6^x  lof  in. 

12204  b  GOVERNOR  OF  THE  ISLAND  OF  ELBA. 
y.  Kay  18 14 

A  close  copy  of  No.  12204  with  the  same  inscriptions,  Katzbach  spelt  Kazbach. 
Below  the  design:  Description  of  the  Hieroglyphic  Portrait  of  Buonaparte 
followed  by  the  same  text  as  in  No.  12204.   For  Elba  see  No.  12216,  &c. 

Kay,  No.  cccxxxvi.   Broadley,  ii.  249  f. 
4f  X3I  in.   PL  6f  X3I  in.  B.M.L.  1303.  m.  14. 

358 


POLITICAL   SATIRES    1814 

12205  RISE  AND  PROGRESS  OF  BUONAPARTE. 
Intended  as  a  Companion  to  his  Hieroglyphic  Portrait. 
[G.  Cruikshank.] 

Engraving  (coloured'  and  uncoloured  impressions).  Heading  to  a  printed 
broadside,  with  border,  as  No.  12204.  A  companion  print  to  No.  12204  with 
the  same  imprint.  An  altered  copy  of  No.  11057,  Explanation  of  the  Arms 
and  Supporters  of  Napoleon  Bonaparte.  The  supporters  are  as  before :  dexter, 
'The  French  Devil',  identified  as  Talleyrand,  and  sinister,  'a  Corsican  Devil', 
Napoleon,  but  the  animals  at  their  feet,  the  cock  and  the  hyena,  are  omitted, 
as  is  the  motto  from  Proverbs.  The  elaborate  crest,  the  globe,  is  copied  with 
some  alterations:  the  'bloody  hand  and  dagger  reaching  towards  Spain'  is 
omitted;  Spain  and  England  are  as  before,  but  Russia  takes  the  place  of 
'  Sweden'  among  the  irradiated  countries  not  enveloped  by  Tyranny,  Hypocrisy, 
Villainy,  and  Barbarity  (on  tricolour  flags  whose  shafts  pierce  the  globe  as 
before). 

The  shield  is  divided  as  before  into  eight  (numbered)  quarterings,  all  but 
3  and  8  closely  copied  from  No.  11057.  These  are,  i.  The  mushroom,  croco- 
dile, guillotines,  black  heart,  and  bloody  hand,  as  emblems  of  Napoleon. 
2.  The  Massacre  of  the  garrisons  of  Jaffa,  Edko  and  Alexandria  (the  design  is 
the  same,  the  text  diflPers).  3.  [In  place  of  the  hospital  at  Jaffa]  Bonaparte 
ordering  the  Bridge  to  be  destroyed.  Napoleon  on  the  r.  end  of  the  bridge, 
which  collapses  behind  him,  leaving  soldiers  in  the  water  and  on  the  other 
bank.  '.  .  .  when  closely  pursued  by  the  enemy,  immediately  on  his  crossing 
a  bridge,  he  ordered  it  to  be  burnt,  although  there  were  hundreds  of  the  sick 
and  lame  of  his  own  army  on  it,  and  in  his  rear'.  (A  misrepresentation,  see 
No.  12108.)  4.  Murder  of  the  Duke  d'Enghien,  at  Vicennes  [sic].  5.  Buona- 
parte's Coronation  by  the  Pope.  6.  Murder  of  Captain  Wright.  7.  Murder  of 
the  Innocent  Inhabitants  of  Madrid.  8.  [In  place  of  the  imprisonment  of 
Ferdinand  VII]  Flight  of  BuoJiaparte  from  Mosccnv.  Napoleon  is  alone  in 
a  sledge,  drawn  by  two  galloping  horses,  lashed  by  the  driver ;  a  dead  French- 
man and  derelict  cannon,  &c.,  in  the  foreground,  Cossacks  in  the  distance. 
(See  No.  11991,  &c.)   Cf.  Nos.  12202,  12454. 

For  another  version  of  No.  11057  (from  the  original  pi.),  see  No.  12235. 

Reid,  No.  317.   Cohn,  No.  1908.   Broadley,  ii.  239. 
PI.  io|x8j  in.    Broadside,  c.  17^  X  lof  in. 

12205  a  a  close  copy  (coloured)  of  this  design  without  letterpress  is 
signed  F  W  P  [Pailthorpe]  Sc^  G  C^  deV.  'Spain'  is  represented  on  the  map 
hy  S. 

12206  THE  ALLIED  BAKERS  OR,  THE  CORSICAN  TOAD  IN  THE 
HOLE 

G.  H  [Humphrey]  iv'^  Gruikshank  [sic]  fee' 
Pub<^  April  i'^  18 1 4  by  H.  Humphrey  S'  James  S' 

Engraving  (coloured  and  uncoloured  impressions).  Three  allied  generals  (1.) 
hold  the  long  handle  of  a  shovel  (peel)  on  which  is  a  dish  containing  a  tiny 
Napoleon.  This  they  try  to  push  into  a  baker's  oven,  but  are  hindered  by 
the  Austrian  emperor,  who  holds  the  door  of  the  oven,  feigning  to  be  trying 
to  open  it,  but  actually  holding  it  at  an  angle  which  prevents  the  entry  of  the 
dish.  The  leading  baker  is  Bliicher,  wearing  an  apron  over  his  uniform,  and 
without  a  hat ;  he  looks  sternly  at  Francis,  saying.  Pull  away  Frank!  you  Keep 

'  Border  cropped. 
359 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

US  waiting!  General  Mikhail  Woronzoff,  young  and  handsome,  immediately 
behind  Bliicher,  pushes  hard,  saying.  In  with  it  Blucher.  On  the  extreme  1. 
is  Bernadotte,  one  hand  on  Woronzoff's  shoulder,  saying,  /  tell  you  what, 
Woronzow,  the  Hinges  want  a  little  Russia  Oil. 

Francis  I,  who  like  the  others  wears  uniform  with  jack-boots,  but  has 
(baker's)  over-sleeves  to  the  elbow,  says  with  an  expression  of  startled  alarm : 
This  door  Sticks!  I  dont  think  I  shall  get  it  open?!  A  weathercock  surmounts 
his  cocked  hat.  Wellington  comes  up  (r.),  poking  him  in  the  back  with  his 
baker's  tray  on  which  are  two  pies.  He  says:  Shove  alltogather  [sic]  Gentle- 
men! D — me  shove  door  &  all  in!  His  two  pies  are  Soult  Pie,  with  two  spurred 
jack-booted  legs  projecting  through  the  crust,  and  a  pie  with  spires  and  other 
buildings,  with  a  flag  inscribed  Bourdeaux.  He  wears  an  apron  and  the  order 
of  the  Golden  Fleece  as  well  as  the  star  of  the  Garter.  A  fat,  grotesque  Dutch- 
man sits  on  a  flat  cushion  gazing  up  at  the  oven ;  he  holds,  but  does  not  use, 
a  pair  of  bellows.  In  his  conical  hat  is  a  tobacco-pipe.  The  fire  under  the 
oven  is  filled  with  broken  eagles  and  fragments  of  weapons.  Among  the  debris 
in  the  recess  for  ashes  is  a  crown.  Above  the  oven  is  the  inscription  Allied 
Oven  surmounted  by  a  crown  and  cross-bones.  In  the  shadow  formed  by  the 
half-open  door,  a  skull  (Death)  waits  to  receive  Napoleon,  who  lies  on  his 
back,  kicking  violently,  and  shouting  Murder!  Murder!!;  he  wears  a  large 
plumed  bicorne.  The  stone  wall  in  which  the  oven  is  built  forms  the  background. 

The  delays  and  diplomatic  uncertainties  of  the  last  phase  of  the  campaign 
are  attributed  to  the  temporizing  of  Francis  I,  supposed  to  be  secretly  anxious 
to  protect  his  son-in-law.  After  the  defeat  of  Schwarzenberg  on  17,  18,  and 
21  Feb.,  Austria  was  eager  for  peace.  On  21  Feb.  Napoleon  wrote  to  Francis, 
urging  him  not  to  sacrifice  Austrian  interests  to  his  allies,  but  his  refusal  of 
an  armistice  (cf.  No.  12 179)  disgusted  the  Emperor,  and,  owing  to  Castle- 
reagh,  the  Treaty  of  Chaumont  was  signed  on  9  Mar.,  the  Allies  binding 
themselves  to  continue  the  war  till  their  aims  were  attained.  On  19  Mar.  the 
Conference  of  Chatillon  broke  up  and  negotiations  with  Napoleon  ended. 
See  Memoirs  of  Caulaincourt,  ii,  1938,  pp.  9  ff. ;  C.  K.  Webster,  Foreign  Policy 
of  Castlereagh,  i,  1931,  pp.  205  ff.  The  march  on  Paris  began  in  earnest 
after  Schwarzenberg's  attack  at  Arcis-sur-Aube  (21  Mar.,  Gazette  2  Apr.)  after 
which  Napoleon  retired  eastwards,  vainly  hoping  to  draw  the  enemy  after 
him.  Wellington  defeated  Soult  at  Orthez  (27  Feb.);  and  entered  Bordeaux 
unopposed  on  12  Mar.,  the  news  reaching  London  on  22  Mar.  Michael 
Woronzoff,  son  of  the  Russian  Ambassador  in  London,  had  a  command 
under  Blucher  at  Laon  (9  Mar.).  For  Bernadotte  cf.  No.  12 193.  The  Dutch- 
man's inactivity  may  connote  the  lull  in  Holland  after  Graham's  failure  at 
Bergen-op-Zoom  on  9  Mar.  The  pi.  derives  from  Gillray's  Tiddy-Doll, 
No.  10518. 

Reid,  No.  299.   Cohn,  No.  882.    Broadley,  i.  350  f.    Reproduced,  Grand- 
Carteret,  Napoleon,  No.  290. 
8f  X  13^  in.   With  border,  9|X  131I  in. 

12206  a  le  four  des  allies  ou  le  corse  pr6s  a  Etre  cuit 

Engraving  (coloured  impression).  A  French  copy  of  No.  12206,  the  inscrip- 
tions literally  translated,  except  that  Wellington  merely  says :  enfournes  le  tout 
ensemble  Messieurs.  The  figures  are  approximately  the  size  of  the  original  but 
are  slightly  closer  to  each  other  and  to  the  lateral  margins. 

Broadley,  ii.  54.    Milan,  No.  2647.   Reproduced,  Dayot,  Napoleon,  p.  327; 
Grand-Carteret,  Napoleon,  No.  291. 
8|xi2|in. 

360 


POLITICAL   SATIRES    1814 

12207  MODERN  IDOLATRY— OR— EDITORS  AND  IDOLS. 

[Williams.] 

London  Pu¥  April  i'^  1814  by  W  N  Jones  N°  i  Newgate  Street. 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  vii,  before  p.  267; 
explanatory  text,  pp.  267-72.  A  satire  on  the  Press,  purporting  to  represent 
a  vision,  in  which  editors  and  newspaper  proprietors  are  displayed  by  Truth. 
The  editors  write  at  tables  arranged  near  an  arc  of  the  wall  of  a  building,  each 
in  front  of  his  respective  idol,  which  stands  on  a  pedestal  against  the  wall, 
in  the  guise  of  a  statue,  though  a  life-like  representation  of  the  person 
depicted.  The  central  idol  is  the  Devil,  on  a  pedestal  inscribed  Mammon, 
dark  and  hairy,  with  webbed  wings,  embryo  horns,  satyr's  ears,  and  a  barbed 
tail ;  he  wears  a  sash  in  which  is  a  weapon  like  Harlequin's  sword ;  he  is  blind- 
folded, and  holds  up  a  money-bag  in  each  hand ;  he  says :  Here 's  your  reward 
— he  who  humbugs  best  gets  the  most — Write  away  my  boys — lie  as  fast  as  you 
write,  and  you  shall  be  paid  as  fast  as  you  lie.  He  looks  down  at  the  editor 
whose  table  is  against  his  own  pedestal.  This  writer  (Peter  Street),  holding 
up  a  newspaper  inscribed  Courier,  with  both  arms  raised,  exclaims:  Glorious 
News,  the  allies  at  Paris  Bonaparte  killed!  let  each  Street  rejoice!  I  shall  sell 
eleven  thousand  to  day!  A  pile  of  the  Courier  lies  at  his  feet. 

On  the  extreme  1.  is  Bellona,  in  Roman  armour,  holding  up  shield  and 
dagger,  next  it  is  Indian  Juggler  [cf.  No.  12 134],  i.e.  Marquis  Wellesley  in 
oriental  dress,  wearing  a  dagger,  and  a  jewelled  cap.  Beside  both  idols  are 
two  men  representing  'The  Times'.  One  writes  on  a  lengthy  script  headed 
Vetus  Letter  xxxix,  while  others  lie  on  the  ground :  xx  letter  ....  Vetus,  &c. 
He  apostrophizes  Wellesley:  Even  from  your  lifeless  Image  I  catch  such  inspira- 
tion, that  I  dare  the  world  to  match  you  zvith  an  equal.  He  is  Edward  Sterling, 
whose  identity  was  kept  secret  but  may  have  been  known  to  the  writer  in  the 
Scourge.  Behind  him  stands  a  colleague  holding  a  bunch  of  'unpaid  checks', 
who  looks  up  at  Wellesley  saying :  The  Times  are  so  d — d  hard.  1 1  [sic]  wish 
his  Lordshis  [sic]  checks  were  saleable — but  the  Corsican  Ruffian  shall  be  hunted 
down  if  I  never  get  a  penny  for  them.  He  is  presumably  either  John  Walter 
(1776-1847),  proprietor  of  The  Times,  or  John  Stoddart.  Next  sits  a  man  who 
according  to  the  text  is  the  editor  of  the  'Morning  Post',  that  is,  Nicholas 
Byrne.  He  apostrophizes  an  effigy  of  Lord  Liverpool,  on  a  pedestal  inscribed 
A  Prime  Minister.  Liverpool  wears  a  long  gown,  and  holds  a  large  book,  the 
Royal  Arms  on  which  are  concealed  by  his  arm.  His  1.  hand  rests  on  a  rudder. 
Byrne  declaims:  Our  never  sufficiently-to-be-admired-Premier, — has  shewn  a 
moderation,  which  the  miseably  [sic]  degraded  minds  of  certain  would-be-clever- 
politicians  cannot  comprehend — .  The  next  is  Sir  Henry  Bate-Dudley,  wearing 
a  parson's  gown  and  bands ;  he  writes,  kneeling  on  one  knee  at  an  altar-like 
structure,  his  paper  resting  on  a  (pulpit)  cushion.  He  addresses  an  effigy  of 
the  Regent  on  a  pedestal  inscribed  Britain's  Adonis  and  holding  a  paper: 
List  of  British  Beauties.  Bate-Dudley  says  (mis-quoting  Wolsey) :  "my  blushing 
honors  are  thick  upon  me" — bestowed  by  the  gracefull  Hand  of  my  divine  master 
— Gratitude  demands  that  I  should  bait  my  hook  to  catch  the  fpws  gudgeons  who 
now  nibble  at  it — and  be  the  Herald  of  his  Princely  virtues.  Beside  him  lie  two 
open  books.  Essay  on  Adulation  and  [?]  Works  (Bate-Dudley  was  a  play- 
wright, see  No.  5550)  on  a  newspaper:  Morn[ing  IIer]ald. 

On  the  r.  of  Peter  Street  and  Mammon  the  next  idol  is  Napoleon,  standing 
in  profile  to  the  1.  with  folded  arms,  a  copy  of  Dahling's  engraving  (repro- 
duced Dayot,  A^a/)o/eow,  p.  205).  On  the  pedestal:  The  Imperial  Fugitive.  The 
writer  beside  him  is  identified  by  a  large  book  leaning  against  the  table. 
Monthly  Magazine  Vol.  xii,  as  Sir  Richard  Phillips;  two  other  books  are 

361 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Review  and  My  own  Works  decorated  with  a  fool's  cap.  In  his  pocket  is 
My  Pocket  Book  [the  burlesque  on  Carr's  Stranger  in  Ireland,  see  No.  11084, 
&c.].  He  points  to  Napoleon  and  turns  to  a  satellite  who  stands  behind  him, 
pen  in  hand,  saying,  The  low  scurrility  which  venal  hirelings  vent  upon  the  truly 
great  Hero,  who  sways  the  sceptre  of  France  is  the  disgrace  of  the  Times,  but 
while  there  is  a  Napoleon  [coin]  to  be  seen  F II  praise  him.  The  other  answers 
delightedly,  pointing  at  Napoleon :  Yes!  Yes!  so  I  say ;  but  if  matters  go  on 
as  they  have  done  it  will  be  well  if  we  get  tizzies  [sixpences]  for  nappies  there 
will  be  plenty  of  Statesmen  to  sell  but  no  buyers.  (He  is  apparently  John  Scott 
editor  of  'The  Statesman',  an  evening  paper.)  Next,  at  the  feet  of  Sir  Francis 
Burdett,  whose  pedestal  is  inscribed  Red  Book  Knight  [see  No.  10745], 
Cobbett  sits  before  volumes  inscribed  My  Register.  He  says  reflectively: 
Statesmen  to  sell — Aye  and  Patriots  too — D — n  my  eyes  if  there  is  one  uncorrupt 
man  among  them  but  Sir  Frank — atid  bl — st  me  if  I  found  him  out  till  he  bought 
a  double  set  of  my  Register —  At  his  feet  is  an  open  book.  History  of  the 
Porcupine  [see  No.  11049],  a  porcupine  being  sketched,  and  papers,  one 
inscribed  Week.  Burdett  holds  a  tilting-lance,  and  a  shield  on  which  is  a  lion 
rampant  holding  a  javelin  and  a  scroll;  the  motto:  Reform  [see  No.  11551]. 
Next  sits  a  very  dejected  man,  turning  his  head  from  his  idol,  which  is 
merely  a  wig-block  from  which  the  wig  has  fallen.  At  his  feet  is  a  wig-box 
inscribed  Dead  Wigs.  He  says:  Thy  former  fame,  thy  hapless  fortune ,  and  thy 
present  ruin,  dear  lamented  wigs  [cf.  No.  11728],  be  it  my  office  to  Chronicle 
with  fidelity .  [He  is  James  Perry,  editor  of  the  'Morning  Chronicle'.]  On  the 
extreme  r.,  a  pendant  to  Bellona,  is  a  meretricious-looking  Pax;  she  holds  up 
an  olive-branch,  in  her  1.  hand  is  a  firebrand  with  which  she  sets  fire  to  (?)  a 
helmet  on  her  pedestal.  Beside  her,  and  clasping  her  pedestal  is  a  bewildered 
John  Bull  (not  named)  who  shouts  towards  the  line  of  journalists :  This  is  the 
way  Fm  bamboozled — Patriots! — dirty  work  and  the  Devils  hire  are  fit  for  each 
other — the  highest  bidder  has  you  all!!! — 

At  this  date  very  bellicose  leading  articles  attacking  Napoleon  in  The  Times 
were  being  written  by  John  Stoddart,  who  became  official  editor  in  Apr.  18 14, 
having  been  previously  so  regarded.  Hist,  of  the  Times,  i.  157-9.  ^^r  the 
letters  of '  Vetus'  and  their  praise  of  Wellesley  see  No.  12009.  For  the  Morn- 
ing Post  (uncompromisingly  Tory)  see  W.  Hindle,  The  Morning  Post  1772- 
1937,  1937,  p.  142.  For  Bate-Dudley,  proprietor  of  the  Morning  Herald, 
whose  duty  it  was  to  counter  scurrility  against  the  Regent  in  the  Morning 
Chronicle,  &c.,  cf.  Corr.  of  George  IV,  i.  137-8;  see  No.  12082,  &c.  Street 
is  said  to  sell  successive  (bogus)  editions  of  the  Courier  by  tricks,  and  to  be 
assisted  by  'a  Croaker'  (i.e.  J.  W.  Croker,  who  managed  the  Ministerial  Press). 
His  horn-blowers  are  to  shout  false  news,  as  'Allies  in  Paris' :  their  entrj'^  into 
Paris  on  31  Mar.  was  not  known  in  England  till  5  Apr.  False  news  that 
Napoleon  was  killed  by  Cossacks  was  brought  to  London  on  21  Feb.,  see 
No.  12209,  &c.  For  Sir  Richard  Phillips  see  No.  11081,  &c.  He,  Scott,  and 
Cobbett  here  represent  the  radical  Press  which  was  anti-Bourbon,  anti  -war, 
and  to  some  degree  pro-Napoleon,'  a  position  which  was  also  that  of  Cobbett, 
see  No.  12258,  who  is  violently  attacked:  'every  public  man  has  by  turns  been 
disgraced  by  his  praise,  and  honoured  by  his  abuse ;  and  he  is  now  employed 
in  the  very  act  of  vindicating  the  knaves  who  conspired  in  the  late  fraud  upon 

'  A  book  review  in  the  Monthly  Magazine  for  Feb.  1814  referred  to  'the  costly 
defensive  wars  in  which  France  has  long  been  engaged,  in  repelling  the  implacable 
hostility  of  various  despots'.  Quoted,  Scourge,  vii.  391.  Cf.  'Ode  to  Napoleon  Bona- 
parte' in  Cobbett's  Pol.  Reg.,  1815,  p.  414,  which  ends: 

And  though  Injustice  bids  thee  now  depart 
Thy  fame  still  lives  in  every  Freeman's  heart. 

362 


POLITICAL   SATIRES   1814 

the  Stock  Exchange.'  (See  No.  12212  and  Pol.  Reg.,  19  and  26  Mar.,  &c.) 
Cobbett,  the  supporter  of  Burdett,  had  at  first  opposed  him,  see  No.  10264. 
The  Morning  Chronicle  was  consistently  Whig;  the  Whigs,  as  on  earher 
occasions,  see  No.  10713,  &c.,  were  an  apparently  ruined  party,  owing  to 
their  defeatism  and  opposition  to  the  policy  now  triumphant. 

Listed  by  Broadley.    Milan,  No.  2655. 
7f  X2o|  in. 

12208  A  LEVEE  DAY. 
G.  Cruikshank  fee* 
Pu¥  April  I'*  iSidfor  the  Meteor 

Engraving  (coloured  impression).  PI.  from  the  Meteor,  p.  315.  The  Regent, 
registering  physical  and  mental  distress,  with  eyes  almost  closed,  sprawls  in 
his  chair,  one  inflated  gouty  foot  on  a  cushion,  while  he  is  approached  from 
1.  and  r.  on  national  and  personal  affairs  respectively.  He  wears  a  dressing- 
gown  over  his  bulging  waistcoat  and  a  night-cap  which  a  tiny  McMahon 
adjusts,  saying,  Oh!  by  the  Pozvers  my  Honey  you  must  not  go  &  leave  all  these 
good  things  behind  you.  From  the  Prince's  forehead  a  malignant  little  demon 
springs  up,  extending  feet  and  talons,  while  his  barbed  tail  is  against  the  cap ; 
he  is  surrounded  by  a  cloud  inscribed  Vapou  rs.  Across  the  invalid's  paunch 
straddles  a  hideous  bloated  imp  inscribed  Dropsy,  raising  a  glass  and  shout- 
ing: Punch  cures  the  Gout  the  Colic  &  the  Phthisic  [see  No.  9449].  Three 
demons  fiercely  assail  the  gouty  foot  with  jaws,  talons,  barbed  spear,  and 
barbed  tail  (in  evident  imitation  of  Gillray's  The  Gout,  No.  9448).  At  the 
Regent's  r.  hand  stands  Lady  Hertford,  weeping,  wearing  a  coronet  like  a 
spiky  crown ;  she  holds  out  a  rectangular  tureen  of  soup,  saying.  Come  Deary 
take  a  little  of  my  Turtle  Soup.  On  his  1.  stands  Lord  Yarmouth,  touching 
his  arm,  and  holding  out  an  open  book :  The  Meteor  N°  j,  showing  a  pi.  from 
No.  5:  No.  12210.  He  says:  Accept  my  Prince  a  correct  account  of  my  Travels 
in  Holland  which  cannot  fail  but  afford  you  considerable  information  &  amuse- 
ment. Next  the  Regent,  and  between  himself  and  Yarmouth,  is  a  round  close- 
stool,  inscribed  G  P  R  with  a  tasselled  lid  on  which  stands  a  crown.  The 
Prince's  r.  foot  rests  on  an  open  number  of  the  Meteor,  showing  the  pi. 
Belvoir  Frolic's  or  Punch's  Christening  [No.  12 181].  The  chair  is  not  on  a  dais, 
but  on  a  fringed  rug,  and  is  backed  by  hangings. 

On  the  1.  Liverpool  hurries  forward,  with  both  hands  extended,  followed 
by  Sidmouth  who  brings  in  a  canvas,  on  which  are  two  caricatures  divided 
by  a  horizontal  line.  Liverpool  exclaims :  Dispatches  from  Lord  Wellington 
y^  defeat  of  SoultH!  Bourdeaux  in  our  possession!!!  Bounaparte  defeated  by 
BlucherU!  In  his  pocket  is  a  document :  To  Lord  Liverpool.  Sidmouth  says : 
/  beg  leave  to  lay  before  My  Prince  a  Correct  account  of  the  Opposition  Hoax 
upon  the  Stock  Exchange  which  I  pronounce  to  be  as  alarming  in  its  proposed 
consequences  as  y  famous  Gunpowder  Plot  in  the  Days  of  James.  In  the  upper 
caricature  a  post-chaise  with  four  galloping  horses  and  two  postilions  ap- 
proaches a  house  inscribed  Green  Street  [Cochrane's  house].  An  officer 
(de  Beranger)  waving  an  olive-branch  leans  out:  the  chaise  flies  a  flag:  Death 
of  Buonaparte.  Below,  the  foremost  of  a  group  of  four  men  holds  up  the 
mirror  of  Truth,  directing  its  rays  upon  a  cask  on  which  stands  a  cock  wear- 
ing a  cocked  hat  on  a  pair  of  sailor's  trousers,  with  a  sabre  hanging  from  the 
waist  (Lord  Cochrane);  it  says  Cockadoodel.  An  officer  (de  Beranger)  with 
immense  moustaches  reclines  against  the  cask,  struck  down  by  Truth's  rays. 
Behind  the  cask  is  a  second  cock  (Cochrane  Johnstone),  on  the  ground  are 
papers  inscribed  Omnium.  The  men  are  Ye  Sub.  Committee. 

On  the  r.  behind  Yarmouth,  a  grotesque  tailor  advances ;  he  says :  /  hope 

363 


CATALOGUE   OF   POLITICAL  AND   PERSONAL  SATIRES 

your  Highness' s  Breeches  sit  easy  I  trust  the  padings  are  rightly  placed.  Under 
his  arm  are  three  bulky  dossiers :  Instructions  for  the  Coat  AB  the  collar  as 
before ;  further  instructions ;  instructions  for  y^  Breeches.  Two  long  streamers 
hang  from  his  pocket,  both  inscribed  unpaid  Bills.  Close  behind  is  a  man 
holding  up  a  wig-block  on  which  is  the  Prince's  wig;  he  says:  Your  Royal 
Highness' s  Wig  which  I  confidently  present  as  the  best  in  Christendom.  Behind 
and  on  the  extreme  r.  stands  the  Recorder  (John  Silvester)  in  wig  and  gown. 
He  points  at  the  tailor  and  barber,  saying,  /  must  wait  till  these  weighty 
matters  are  settled.  He  holds  a  bag  inscribed  Black  Jacks  Black  Bag.  From  it 
project  papers  inscribed  lo  for  Ste  .  .  .  g  Cheese;  lOO  for  Stealing  Bread; 
50  for  Stealing  meat.  He  is  bringing  to  the  Regent  the  list  of  persons  con- 
demned to  death,  to  arrange  who  are  to  be  reprieved  and  who  executed,  and 
on  which  the  Regent's  decisions  were  notoriously  dilatory. 

A  cruel  satire  on  the  Regent  in  which  the  Hertford  family  are  again  in 
favour  (cf.  No.  12 173).  For  the  Stock  Exchange  fraud  by  which  Omnium  and 
other  stocks  rose  sharply  on  false  news  of  victory  and  Napoleon's  death,  see 
No.  12209,  &c.  The  news  brought  in  by  Lord  Liverpool,  though  true  as 
regards  Wellington,  is  probably  intended  to  be  misleading  as  regards  the 
defeat  of  Napoleon  by  Bliicher:  the  news  of  his  defeat  at  Arcis-sur-Aube, 
cf.  No.  12206,  did  not  reach  London  till  2  Apr.,  when  its  significance  was 
not  understood,  and  there  were  reports  that  the  Austrian  Army  was  in  a 
dangerous  position,  see  Examiner,  3  Apr.  The  first  direct  reference  to  the 
savage  penal  code  which  Romilly  had  long  been  attempting  to  reform;  the 
Recorder  was  a  notoriously  severe  judge. 

Reid,  No.  312.    Cohn,  No.  553. 
7|-Xi8|  in. 

12209  GAMBLING  IN  THE  STOCKS  |  SATIRIST  APRIL  1ST  1314 
G  Cruikshank  fec^ 

Engraving  (coloured  imp'-ession).  Two  sets  of  double  stocks  face  each  other, 
the  farther  ends  converging  so  that  the  occupants  are  sufficiently  close  to  play 
cards  at  a  table  placed  between  them.  The  principal  pair.  Lord  Cochrane  (1.) 
and  de  Beranger  (r.)  throw  dice.  Cochrane's  seat  is  a  huge  thistle;  he  wears 
naval  uniform  with  a  star,  cocked  hat,  and  knee-breeches.  Beside  him  is  a 
grappling  iron.  De  Beranger  has  huge  black  moustaches,  indicating  his 
Prussian  nationality ;  he  wears  a  cocked  hat  in  which  is  a  large  olive-branch, 
a  green  military  coat;  his  1.  hand  rests  on  a  sabre,  with  which  he  supports 
himself.  His  legs  are  in  tattered  stockings ;  his  large  jack-boots  lying  on  the 
ground  in  front  of  the  stocks.  Next  Cochrane  sits  his  uncle,  Andrew  Cochrane 
Johnstone,  wearing  a  tam-o'-shanter.  In  his  pocket  is  a  paper:  Motion 
Princess  Wales  Cock  John.  His  vis-a-vis.  Butt,  wears  a  barrel  over  his  coat 
from  neck  to  waist,  with  holes  for  the  arms.  Under  his  hand  is  a  paper: 
Oxford  18'''  Feb  To  my  Secretary  Af  Butt  [signed]  F.  Burdett.  They  play 
cards  with  sly  but  pleased  concentration.  The  other  two  throw  dice  with  a 
reckless  swagger.  In  the  foreground  (1.)  a  procession  of  animals  makes  its 
way  to  a  pond  inscribed  Fleet  Ditch  (1.)  on  which  two  ducks  are  already  swim- 
ming. A  bull  enters  the  water,  followed  by  two  'lame  ducks',  one  using  a  stick, 
the  other,  wearing  hat  and  wig,  using  crutches.  They  walk  over  papers 
inscribed  Consols  and  Omnium  [twice].  They  are  followed  by  a  bear  on  its 
hind-legs  walking  on  Scrip,  at  whom  a  duck  quacks.  On  the  r.  is  a  bench 
inscribed  Kings  Bench  with  four  occupants:  a  duck,  a  bear,  a  man  (in  back 
view),  a  bull,  which  is  dressed  as  a  man,  and  sits  on  the  end  of  the  seat  facing 
another  piece  of  water  inscribed  Sinking  Fund  (r.).  This  is  much  agitated  by 
a  man  (or  bull)  who  has  plunged  in  head  first,  leaving  hind-quarters  inscribed 

364 


POLITICAL   SATIRES    1814 

Honor  and  legs  waving  in  the  air ;  the  creature  wears  breeches  and  boots,  the 
feet  of  which  are  formed  of  cocked  pistols. 

In  the  middle  distance  (1.)  a  bull  with  a  man's  face  and  branded  J  B  [John 
Bull]  has  tossed  a  little  Napoleon  high  in  the  air  so  that  he  is  about  to  fall 
on  the  spear  of  a  grimly  expectant  Cossack.  Behind  these  figures  is  a  rocky 
pinnacle  with  a  ladder  and  gibbet  on  its  summit.  The  top  of  the  gibbet  is 
hidden  by  a  cloud,  from  which  dangles  a  noose  surrounding  the  stalk-like 
neck  of  a  grotesque  mannikin  wearing  spurred  boots,  who  looks  down  at  the 
gamblers  through  an  eye-glass,  saying.  Ha!  ha!  Neck  or  Nothing.  From 
behind  the  side  of  the  hill  appears  an  empty  pillory,  the  holes  in  which  repre- 
sent a  grinning  face  looking  towards  Cochrane;  missiles  and  a  cat  are  flying 
round  it,  with  the  words  Peep  boo.  On  the  r.  a  post-chaise  with  four  galloping 
horses  and  two  postilions  is  dashing  down  a  hill  (r.  to  1,);  a  man  (Ralph 
Sandom)  leans  out,  wildly  waving  his  hat  and  shouting  Death  of  Bounaparte! ! 
The  chaise,  inscribed  H.  Hianbug  &  Co  North  Fleet,  and  horses  are  decked 
with  branches  of  laurel ;  behind  it  are  tied  large  bundles  of  Dispatches. 

On  21  Feb  at  i  a.m.  a  man  calling  himself  Col.  R.  du  Bourg  appeared  in 
Dover,  wearing  scarlet  uniform  with  a  star,  saying  he  had  come  from  France ; 
that  Napoleon  was  killed  in  battle,  torn  to  pieces  by  Cossacks,  that  the  Allies 
were  in  Paris,  and  peace  was  certain.  He  ordered  a  post-chaise  and  four  and 
drove  to  Cochrane's  house  in  London.  The  stocks  immediately  rose.  Lord 
Cochrane,  his  uncle  Cochrane  Johnstone,  and  a  Mr.  R.  G.  Butt,  acting  in 
concert,  made  a  large  profit  by  selling  shares  in  Omnium  (see  No.  11716) 
and  Consols,  recently  bought  (mostly  on  19  Feb.)  on  account.  (Cochrane 
made  £2,^'jo,  his  uncle  ^4,931,  and  Butt  ;^3,048.)  When  the  news  was  not 
confirmed,  the  stocks  at  once  fell,  and  those  who  bought  lost  heavily,  hence 
the  lame  ducks,  and  bulls  and  bears,  who  find  themselves  destined  for  a 
debtors'  prison,  the  Fleet,  or  the  King's  Bench.  The  fraud  was  further  sup- 
ported by  one  Ralph  Sandom,  a  prisoner  in  the  Rules  of  the  King's  Bench, 
who  absented  himself,  set  off  in  a  post-chaise  from  North  Fleet  with  tvvo 
accomplices  for  Dartford,  whence  he  took  a  post-chaise  and  four  to  London, 
decking  the  horses  with  laurel,  and  circulating  the  same  news  as  'du  Bourg'. 
The  matter  was  referred  to  a  sub-committee  of  the  Stock  Exchange  which 
reported  on  7  Mar.,  with  minutes  of  evidence  and  affidavits.  Cochrane  swore 
on  1 1  Mar.  that  the  officer  was  a  Captain  de  Beranger  (in  the  Duke  of  Cumber- 
land's Sharp  Shooters)  who  wore  a  green  uniform,  and  who  professed  anxiety 
to  go  to  sea  with  him.  He  gave  Beranger  (a  Prussian)  at  his  request,  a  change 
of  clothes,  in  order  to  visit  Lord  Yarmouth,  his  commanding  officer,  and 
return  to  his  lodgings  within  the  Rules.  On  23  March  a  fisherman  hauled 
up  de  Beranger's  scarlet  uniform,  star,  &c.,  from  the  Thames.  The  pillory 
is  introduced  as  the  punishment  for  perjury.  At  this  date  there  were  doubts 
as  to  the  possibility  of  legal  proceedings,  but  on  27  Apr.  the  Grand  Jury 
returned  a  true  bill  against  all  those  in  this  print  for  conspiracy  to  defraud ; 
all  but  Cochrane  were  undoubtedly  guilty.  Cochrane  Johnstone,  M.P.  (see 
D.N.B.),  was  an  adventurer  with  a  bad  record.  He  had  attacked  the  Douglases 
in  parliament  as  perjured  witnesses  against  the  Princess  of  Wales  (see 
No.  12027),  ^^^  ^^*^  been  seconded  by  Burdett.  Pari.  Deb.  xxv.  280  f. 
(24  Mar.  1813).  See  Pol.  Reg.,  19  and  20  Mar.  1814;  Examiner,  30  Mar. ;  J.  B. 
Atlay,  Trial  of  Lord  Cochrane,  1897;  Lord  Ellenborough,  The  Guilt  of  Lord 
Cochrane,  19 14;  Patterson,  Sir  Francis  Burdett  and  his  Times,  1931,  i.  329  ff. 
See  also  Nos.  12207,  12208,  12212,  12300,  12322,  12514,  &c.,  12874,  12881, 
12886,  12995. 

Reid,  No.  298.    Cohn,  No.  724.    Broadley,  i.  350. 
7X  13I  in.    With  border,  7!  X  14J  in. 

365 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

12210  MYY  LORDDE  YARREMOUTH  EQUIPPEDDE  FORRE  HISSE 
TRAUELL  INNTO  FORREIGN  •  PARTES.— 

donne  from  the  lyffe  by  Georgge  Crukeddeshanks,  anno  dom:  1314 

Engraving.  PI.  from  the  Meteor,  1  Apr.  18 14.  A  design  in  outline  purporting 
to  be  by  a  medieval  artist,  the  inscriptions  being  in  black  letter.  Yarmouth, 
wearing  a  hat  with  a  vast  shallow  brim  shading  the  whole  length  of  his  horse, 
and  a  long  coat  with  high  collar  and  multiple  capes,  rides  stiffly  in  profile  to 
the  r.,  holding  a  whip,  and  with  a  pistol  attached  to  the  animal's  neck.  His 
face,  except  for  one  staring  eye,  is  concealed  by  his  cravat,  in  which  is  a  nose- 
gay. His  tight  top-boot  has  a  high  heel  and  pointed  toe.  Behind  the  saddle, 
on  the  horse's  long  back,  is  a  round  box,  then,  thee  Wigge  &  Whiskker  Boxe, 
on  which  sits  a  groom,  holding  a  portmanteau  under  his  arm  and  crouching 
under  his  master's  hat.  Behind  him  are  a  bottle  and  a  pair  of  boxing-gloves. 
The  grotesque  horse  walks  heavily.  The  sea  is  indicated  by  the  horizon  and 
a  ship.   On  the  1.  is  a  cottage,  with  a  man  speaking  to  a  woman  at  the  door. 

Yarmouth  is  satirized  primarily  as  a  favourite  of  the  Regent;  his  dress 
burlesques  that  of  the  fashionable  amateur  whip,  cf.  No.  12129.  The  print 
appears  in  No.  12208.  A  companion  pi.  to  No.  12211. 

Reid,  No.  335.    Cohn,  No.  553. 
4fX7|in. 

12211  TRYALLE  FORRE  LIBELLE.—  [  PLEADINGGE  TOE  ANN 
INDICTEMENETE. 

[G.  Cruikshank.] 

Engraving.  Pi.  iromXht Meteor,  i  Apr.  1814.  A  companion  print  to  No.  12210, 
similarly  drawn.  A  trial  scene,  the  judge  and  counsel  having  the  heads  of  owls 
(cf.  No.  12338).  The  prisoner  at  the  bar  (r.)  is  a  burlesque  copy  of  'a  free  born 
Englishman'  in  No.  12037,  heavily  shackled  and  with  padlocked  lips.  Behind 
him  stands  a  jailor,  with  keys  hanging  from  his  waist,  holding  a  headsman's 
axe  immediately  behind  the  prisoner's  head.  Counsel  sit  at  a  round  table 
between  judge  and  prisoner;  one  has  risen  and  addresses  the  judge,  pointing 
to  the  dock.  The  judge,  pen  in  hand,  is  blindfolded,  with  a  pair  of  scales 
above  his  head.   The  jury,  childishly  drawn,  sit  in  their  box,  full-face. 

Reid,  No.  336.   Cohn,  No.  553. 
3|x6|in. 

12212  REPRESENTATION  OF  YE  GULL  TRAP— &  YE  PRINCIPAL 
ACTORS  IN  YE  NEW  FARCE  CALL'D  YE  HOAX!  LATELY  PER- 
FORM'D  WITH  GREAT  ECLAT  ON  YE  STOCK  'XCHANGE 

G.  H  [George  Humphrey]  inv^  G  Cruikshank  fec^ 
Pu¥  April  6^''  1814  by  H.  Humphrey — S^  James's  Street 
Engraving  (coloured  and  uncoloured  impressions).  A  long  plank  is  poised  like 
a  see-saw  on  a  small  stone  building  symbolizing  the  Stock  Exchange.  At  each 
end  was  a  set  of  stocks ;  one  remains,  with  Lord  Cochrane  seated  triumphantly 
on  the  upper  end  of  the  plank,  his  legs  through  stocks  inscribed  (upside- 
down)  Consols  Omnium.  He  fires  a  large  blunderbuss  at  Napoleon,  who  lies 
on  the  ground,  mortally  wounded  by  his  ball,  which  is  inscribed  A  D — d  Lie. 
Napoleon's  end  of  the  plank  is  on  the  ground ;  one  foot  is  still  in  the  stocks 
which  lie  broken  beside  him.  Napoleon,  much  burlesqued  and  wearing  a 
large  plumed  bicorne,  waves  his  arms,  and  raises  a  leg  in  the  air,  exclaiming : 
Oh!  by  Gar  I  am  KilVd  Again.  Cochrane  wears  naval  uniform  with  trousers 
(coloured  tricolour)  and  cocked  hat  on  which  stands  a  cock  crowing  Cock  a 

366 


POLITICAL   SATIRES    1814 

doodle  do.  His  end  of  the  see-saw  is  held  up  by  a  grotesque  figure  (de  Beranger) 
standing  on  a  barrel  and  holding  up  a  post  which  is  attached  to  the  stocks 
and  passes  through  a  hole  in  the  plank.  De  Beranger  also  supports  a  cock 
in  a  pair  of  breeches  and  wearing  a  tam-o'-shanter  which  leans  against  the 
vertical  post.  Its  tail-feathers  are  inscribed  Motion  on  Princess  of  Wales,  show- 
ing it  is  Cochrane  Johnstone,  see  No.  12027.  ^^  Beranger  has  a  grinning 
face,  huge  floating  moustaches,  a  body  of  leafage  inscribed  Col'^  De  Humbug 
alias  Jack  in  the  Green,  from  which  jack-boots  and  a  sabre  emerge.  The  cask, 
representing  Mr.  Butt,  lies  on  its  side,  supported  by  the  arms  and  legs  of  a 
man  in  a  grovelling  position,  a  large  tap  representing  his  head.  Thus  Cochrane 
is  held  up  by  a  human  prop  consisting  of  Butt,  de  Beranger,  and  Cochrane 
Johnstone,  one  above  the  other.  The  building  has  a  wide  open  door  with  a 
flight  of  three  steps ;  gulls  are  flying  around  and  in  and  out  of  the  building, 
some  with  tiny  human  bodies,  and  shouting  Huzza.  Smoke  or  cloud  surrounds 
the  building,  and  rises  high  above  it,  covered  with  an  inscription,  the  leading 
words  being  in  large  letters:  Extraordinary  News!!!!/  A  French  Officer  of  high 
Rank!  &  distinction!  decronated  [sic]!  with  Laurels!  &  the  White  Cockade! 
Just  arrived!!  from  y  Continent  Bringing  the  Glorious  Tidings  of  the  certain 
Death  of!!!  BounaparteH! — .'.'.'.'  &  the  hoisting  of  y''  white  Flag  at  Paris 
&c,  &c,  &c  &c  &c. 

In  the  upper  r.  corner  of  the  design  broad  rays,  directed  against  Cochrane's 
back,  radiate  from  a  disk  containing  four  angry  faces,  from  which  projects 
a  menacing  hand.  This  is  Sub-Commi[ttee]  (of  the  Stock  Exchange).  Dark 
clouds  impinge  on  the  rays  from  the  r.,  they  are  above  the  masts  of  a  vessel 
in  the  middle  distance  which  appears  behind  a  ship's  boat,  lying  against  the 
shore.  In  the  boat  jovial  sailors,  one  holding  a  bottle,  wave  their  hats  at  the 
approach  of  a  drink-bloated  comrade,  who  walks  towards  them  smoking  a 
pipe;  on  his  shoulder  is  a  large  sack  inscribed  £200000000,  in  his  hand  a 
money-bag  inscribed  5  000  00.  He  says :  Here 's  Ballast  my  Boys.  A  sailor 
answers :  why  d — me  Jack  this  is  as  neat  a  Trick  as  throwing  the  Ships  Books 
overboard;  another  shouts  Huzza.  In  the  background  (1.)  is  a  post-chaise 
drawn  (1.  to  r.)  by  four  galloping  horses  down  a  hill,  wildly  lashed  by  two 
postilions.  The  occupant,  Sandom,  wearing  a  cocked  hat,  leans  out  holding 
a  flag  decorated  with  laurel,  as  are  the  horses,  the  chaise,  and  his  own  hat. 
On  the  roof  of  the  chaise  is  a  gigantic  bottle  inscribed  Dispatches,  and  emitting 
smoke.  By  the  horses  is  a  sign-post,  one  arm,  from  which  hangs  a  noose, 
points  (1.)  to  North  Fleet,  the  other  (r.)  to  Green  Stre'  (Cochrane's  house). 

For  the  Stock  Exchange  fraud  see  No.  12209,  ^^-  "^^^  ^i^^^  "^^Y  satirize 
Cobbett,  who  maintained  (Pol.  Reg.,  19  Mar.)  that  the  persons  were  falsely 
accused,  and  that  even  if  the  accusations  were  true,  they  were  merely  'con- 
trivers of  the  hoax',  'not  chargeable  with  .  .  .  any  fraud  or  any  immoral  act, 
if  all  gambling  be  not  imtnoraV  (see  No.  12207).  The  bottle  on  the  chaise  is 
an  allusion  to  the  Bottle  Conjuror,  the  great  hoax  of  the  eighteenth  centur)', 
see  Nos.  3022-7,  5245.  For  the  gulls  cf.  No.  11716.  The  print  appeared 
immediately  after  news  that  the  allies  were  in  Paris,  see  No.  122 13. 

Reid,  No.  308.    Cohn,  No.  496.    Broadley,  i.  350  n. 
9x13^  in. 

12213  BONEY  FORSAKEN  BY  HIS  GUARDIAN  GENIUS. 

[Williams.]  [Apr.  18 14] 

Engraving  (coloured  impression).  The  Devil  hovers  above  Napoleon,  who 
kneels  on  one  knee,  looking  up  in  horror;  he  snatches  the  crown  from  the 
Emperor's  head ;  in  his  1.  hand  he  holds  up  a  second  crown.  He  is  dark,  hairy, 

367 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

and  muscular,  with  webbed  wings  and  barbed  tail.  Napoleon,  who  wears 
uniform  with  a  sash  and  a  very  large  sword,  with  Hessian  boots,  leans  back 
with  arms  extended  protestingly ;  he  says :  My  Guardian  Angel — my  Protector, 
do  not  desert  me  in  the  hour  of  Danger.  The  Devil :  Poh!  Poh!  you  cannot  expect 
to  reign  for  ever,  besides  I  want  you  at  home  to  teach  some  of  the  young  imps 
Tvickedness.  Great  clouds  of  smoke  rise  from  distant  flames,  where  Paris  (r.)  is 
blazing.  Beside  Napoleon  lies  a  large  rolled  document  headed :  List  of  Murders 
and  Robberies  and  various  other  crime  \s\c\  committed  by  the  ....    [Napo]/eow. 

News  of  the  occupation  of  Paris  (31  Mar.)  reached  London  on  5  Apr.,  see 
No.  1 22 1 4,  &c.  The  print  was  probably  designed  before  the  circumstances 
became  known,  and  while  flames  were  not  improbable,  cf.  No.  12233.  The 
print  is  dated  3  Apr.  by  Broadley,  accepting  a  conjectural  date  on  the  B.M. 
impression. 

Listed  by  Broadley.    De  Vinck,  No.  9021. 
I2f  X9  in. 

12214  OLD  BLUCHER  BEATING  THE  CORSICAN  BIG  DRUM 
GCfc' 

Pub'^  April  8'^  1814  by  S.  W.  Fores  50  Piccadilly 

Engraving  (coloured  and  uncoloured  impressions).  Bliicher,  legs  astride  and 
arms  raised,  fills  the  centre  of  the  design.  Slung  from  his  neck  by  a  sash  is 
Napoleon,  horizontally  suspended,  shrieking  with  terror  and  pain,  his  posterior 
(1.)  bared,  jack-boots  on  his  bare  legs.  With  immense  vigour  Bliicher  raises 
a  birch-rod  inscribed  Blucher  Drum  Stick;  in  his  1.  hand  is  a  heavy  club: 
Schwarzenberg  Drum  Stick.  He  wears  uniform  with  orders,  and  high  boots 
and  a  leather  apron:  his  1.  foot  is  planted  on  Napoleon's  broken  sword.  On 
the  ground  at  his  feet  is  an  open  music-book :  The  Downfall  of  Paris.  His 
cocked  hat  lies  on  the  1.,  Napoleon's,  a  bicorne,  on  the  r.  In  the  middle 
distance  behind  Blucher  a  confused  fight  under  the  walls  of  Paris  is  in 
progress:  unsoldierly  Frenchmen,  freely  sketched,  are  put  to  flight  by  a  few 
German  soldiers  (r.).  One  kneels  in  supplication  on  the  high  canvas  tilt  of 
a  wagon.  Behind  (1.)  are  the  castellated  walls  of  Paris;  an  Austrian  with  a 
double-eagle  flag,  and  a  Russian  with  an  axe  stand  behind  the  battlements. 

During  the  final  battle  for  Paris,  30  Mar.,  Napoleon  was  hastening  towards 
the  city  to  command  the  defence ;  on  news  of  the  surrender  (by  his  brother 
Joseph)  he  went  to  Fontainebleau.  See  Caulaincourt,  Memoirs,  ii,  1938, 
pp.  48-61.  Schwarzenberg  was  in  command  of  the  Allied  Army.  For  the  fall 
of  Paris  see  also  Nos.  12213,  122 15.  For  the  'Big  Drum'  theme  cf.  Nos. 
12274,  12571. 

Reid,  No.  309.    Cohn,  No.  1800.    Broadley,  i.  351. 
9iX4|in. 

12215  ENIGMATICAL  DESIGN  OF  THE  SITUATION  OF  BUONA- 
PARTE IN  MARCH  AND  APRIL  1814. 

Designed  at  Berlin  by  C.  A.  Lehmann 

Pub'^  April  8,  1814,  by  Tho^  Palser,  Surry  side  Westmin^  Bridge 
Engraving  (coloured  impression).  A  leopard  stands  directed  to  the  r.  in  an 
oddly  drawn  pit;  it  turns  its  head  to  snarl  at  a  Cossack  who  stands  on  the 
side  of  the  pit,  in  the  upper  1.  corner  of  the  design,  with  his  spear  poised  for 
a  thrust;  a  fore-paw  is  raised  towards  two  soldiers  who  are  about  to  strike 
him  down  from  the  r.  One,  resembling  Bliicher,  raises  his  sword,  while  an 
Austrian,  a  Tyrolean  in  shako  and  trousers,  aims  his  musket.  At  the  animal's 
feet  are  bones,  with  a  horse's  skull  (1.),  and  a  human  skull  (r.). 

368 


POLITICAL   SATIRES   1814 

In  the  centre  of  the  design  is  the  mouth  of  the  cave,  its  contour  forming  a 
profile  of  Napoleon,  which  faces  the  upper  edge  of  the  design  and  which, 
though  large  and  striking,  is  not  at  once  apparent.  The  nostril  and  mouth 
are  formed  by  the  wings  and  head  of  a  (Prussian)  eagle,  head  downwards, 
beside  Bliicher's  arm,  towards  which  the  eye  is  directed.  Across  the  face 
from  forehead  to  chin  extend  the  spires  and  buildings  of  Paris.  Foliage  curving 
round  the  edge  of  the  pit  forms  the  hair  and  the  back  of  the  head.  Below  the 
design:  Psalm  7.  V.  ij.  I J  ('He  made  a  pit,  .  .  .  and  is  fallen  into  the  ditch 
which  he  made  .  .  .').  Isa^  14.  V.  15.  20.  ('.  .  .  Is  this  the  man  that  made  the 
earth  to  tremble,  that  did  shake  kingdoms;  .  .  .'.)   See  No.  122 14,  &c. 

Listed  by  Broadley. 
8^X  12J  in. 

12216    BLUCHER  THE  BRAVE  EXTRACTING  THE  GROAN  OF 
ABDICATION  FROM  THE  CORSICAN  BLOOD  HOUND.'  322 

[Rovvlandson.] 

Pu¥  9  April  1814  by  Tho'  Tegg  N"  iii  Cheapside 

Engraving  (coloured  impression).  Bliicher  stands  on  the  shore,  directed  to 
the  1.,  holding  out  at  arm's  length,  and  by  the  scruff  of  the  neck,  an  animal 
(as  much  like  a  fox  as  a  dog)  with  the  head  of  Napoleon.  The  Emperor,  in 
profile  to  the  1.,  wears  his  petit  chapeau,  and  gauntlet  gloves,  so  that  he  has 
human  hands.  In  a  heap  at  Bliicher's  feet  lie  Napoleon's  discarded  uniform, 
crown,  sceptre,  sword,  and  an  eagle.  Along  the  shore  runs  an  officer  shout- 
ing in  terror,  his  arms  raised  above  his  head.  Near  him  a  small  boat  with 
sail  and  oars  lies  at  the  edge  of  the  water ;  a  man  climbs  in  with  a  sack  on  his 
shoulder  inscribed  20.000  a  year.  On  the  horizon  is  a  small  island,  Island 
of  Elba,  above  which  fly  carrion  birds. 

On  the  r.  in  the  middle  distance  is  another  scene;  a  closely  packed  group 
of  royalists  and  allied  soldiers,  in  front  of  which  stands  Louis  XVUI,  with 
clasped  hands,  while  a  man  places  a  crown  on  his  head ;  Talleyrand,  wearing 
a  long  gown,  and  with  a  surgical  shoe  on  his  r.  foot,  obsequiously  proffers 
a  paper:  A  List  of  Ministers  for  your  Majesty^  s  Approbation.  Behind  Talley- 
rand is  a  bishop  with  a  crosier,  and  wearing  a  mitre  which  suggests  a  papal 
tiara.  A  woman  holding  up  a  laurel-wreath  stands  on  the  r.  Behind  these 
figures  appear  the  heads  of  mounted  soldiers  and  hands  waving  hats.  The 
whole  group  is  dominated  by  large  white  flags,  the  most  prominent  covered 
with  fleur-de-lis  and  inscribed  Restoration  of  Louis  XVIII.  There  is  also  an 
Austrian  (or  Russian)  flag. 

News  that  Napoleon  had  agreed  (6  Apr.)  to  abdicate  (see  No.  12482),  and 
to  retire  to  Elba  (the  proposal  of  the  Tsar)  reached  London  on  9  Apr. ;  the 
print  may  therefore  be  ante-dated,  or  the  Elba  detail  added  later.  The  treaty 
of  abdication  at  Fontainebleau  was  signed  on  11  Apr.  See  No.  12237;  ^^• 
No.  12256.  The  rapid  acceptance  of  a  Bourbon  restoration  (cf.  No.  12227.) 
was  largely  due  to  Talleyrand,  see  No.  12225.  Louis  XVIII  was  detained 
in  England  by  gout  and  did  not  enter  Paris  till  3  May,  see  No.  12266,  &c. 
For  the  banishment  to  Elba  see  also  Nos.  12204  b,  12219,  12221,  12222,  12223, 
12225,  12226,  12235,  12243,  12244, 12245,  12256, 12257, 12262, 12276, 12281. 
For  Napoleon  in  Elba  see  No.  12229,  ^^• 

The  design  is  adapted  from  a  pi.  by  Terebenef :  nacryxt  h  Bonn-b  [Shep- 
herd and  Wolf]  (reproduced,  Bourguignon,  ii.  200).  Bliicher  replaces  a 
Russian  peasant  (the  Tsar),  Napoleon  is  closely  copied.  The  Tsar  shows  that 
Napoleon  is  a  wolf  in  the  guise  of  a  liberator.  The  fugitive  officer  (1.)  is  closely 

'  See  frontispiece. 

369  B  b 


CATALOGUE   OF  POLITICAL  AND   PERSONAL   SATIRES 

copied ;  two  similar  fugitives  (r.)  are  replaced  by  the  group  round  Louis  XVIII. 
Crown,  eagle,  and  sword  have  been  replaced  by  Napoleon's  discarded  uniform. 
The  landscape  background  is  altered. 

Grego,  Rowlandson,  ii.  278.  Broadley,  i.  351.  De  Vinck,  No.  8978.  Milan, 
No.  2656.   Reproduced,  Grand-Carteret,  Napoleon,  No.  292. 
91x13!  in. 

12217  THE   CORSICAN    SHUTTLECOCK   OR  A   PRETTY   PLAY 
THING  FOR  YE  ALLIES. 

G  Cruik'^  fee* 

Pu¥  April  10*''  1814  by  S  Knight  No  3  Sweetings  Alley 
Engraving  (coloured  impression).  Bliicher  (1.)  and  Schwarzenberg  (r.)  play 
shuttlecock  with  a  puppet-like  emperor,  who  flies  stiffly  through  the  air,  his 
hands  together  as  if  in  prayer,  wearing  a  huge  bicorne,  the  feathers  serving 
for  the  shuttlecock.  Bliicher  is  nearer  the  foreground,  and  is  larger,  more 
active  and  more  determined.  He  says:  Bravo  Schwartzenberg!  Keep  the 
Game  alive!  Send  him  this  way  &  d — n  him  I'll  drive  him  back  again. 
Schwartzenberg:  There  he  goes!!  why  Blucher!  this  used  to  be  rather  a  weighty 
plaything:  but  D — —  me  if  it  isn't  as  light  as  a  feather  now!!  Both  are  in  uniform, 
Blucher  is  bareheaded.  Across  the  background  stretches  Paris,  a  city  of 
palaces  and  spires,  three  of  which  fly  a  double-headed  eagle  flag ;  from  a  dome 
this  flag  flies  above  the  tricolour. 

The  final  campaign  against  Napoleon  had  been  characterized  by  Schwarzen- 
berg's  caution  and  diplomatic  hesitation,  cf.  No.  12206.  The  design  appears 
to  be  based  on  No.  9716,  by  Gillray.   See  No.  12217  a. 

Reid,  No.  310.    Cohn,  No.  1020.   Broadley,  i.  351-2.   Milan,  No.  2657. 
8i|Xi3iin. 

12217  a  LE  VOLANT  CORSE  OU  UN  JOLI  JOUJOU  POUR  LES 
ALLIES. 

Engraving  (coloured  impression).  A  close  copy  of  No.  122 17,  the  inscriptions 
literally  translated.  On  the  print  is  written  in  an  old  hand:  'Cette  Caricature 
et  les  Cinq  Suivantes  ont  ete  faites  en  Angleterre.'  It  is  said  to  have  appeared 
in  Paris  in  May  18 14  (De  Vinck,  No.  9591). 

Cf.  De  Vinck,  No.  9591 :  Ein  kleines  Spiel  fUr  zwei  gross  Manner,  Blucher 
and  Wellington  play  shuttlecock  with  Napoleon.  There  is  also  a  French  print 
(in  B.M.,  De  Vinck,  No.  9592,  reproduced  Broadley,  ii.  51)  in  which  two 
soldiers,  one  laughing,  play  shuttlecock  with  the  Emperor,  who  is  not  carica- 
tured and  wears  his  petit  chapeau.  Between  and  behind  him  the  Devil  (red 
as  in  No.  12 197)  emerges  from  flames  extending  a  hand  towards  his  prey. 
Below  the  design  (the  only  title) : 

Jaloux  de  leurs  [sic]  plaisir,  epiant  chaque  geste. 

Messieurs  dit  Lucifer  apres  vous  s'il  en  reste.    (9^X7!  in.) 

Broadley,  ii.  55.   De  Vinck,  No.  8910.   Van  Stolk,  No.  6506.  Milan,  No. 
2645.    Reproduced,  Grand- Carteret,  Napoleon,  No.  295. 
8f  X  12^  in. 

12218  THE  CORSICAN  WHIPPING  TOP  IN  FULL  SPIN!!! 
G.  H  [Humphrey]  inv''    G.  Criiikshank  fee* 

Pu¥  April  11*^  1814  by — H  Humphrey  S*  James's  Str* 

Engraving  (coloured  and  uncoloured  impressions).  A  (tricolour)  top  with  the 

head  of  Napoleon  spins,  above  the  ground,  savagely  lashed  by  representatives 

370 


POLITICAL  SATIRES    1814 

of  the  Allies.  His  arms  and  his  legs  have  already  been  severed  from  his  body, 
now  represented  only  by  the  madly  spinning  top.  The  most  violently  active 
is  Bliicher  (1.)  stripped  to  the  shirt,  his  coat  and  hat  thrown  on  a  drum  on 
the  extreme  1.,  beside  which  lie  his  gloves  and  baton.  Facing  them  is  Welling- 
ton (r.)  equally  effective,  stern,  but  less  savage.  Full-face,  and  immediately 
behind  the  top  is  the  Tsar,  1.  hand  on  hip;  his  whip  is  inscribed  Knout. 
Between  him  and  Wellington  is  Schwarzenberg  (or  Francis  I).  Bernadotte 
stands  rather  behind,  between  Bliicher  and  Alexander,  both  hands  on  his 
hips ;  he  holds  a  w^hip  but  is  an  amused  spectator.  Behind  (r.)  the  future  King 
of  Holland,  crowned  and  wearing  a  star,  but  dressed  in  the  breeches  and 
jacket  of  the  Dutchman  in  English  caricature,  sits  under  a  tree  on  a  cask  of 
Hollands.  He  watches  delightedly,  holding  up  one  of  Napoleon's  legs 
inscribed  United  Netherlands.  The  other  leg,  the  thigh  inscribed  Swissla'^, 
the  boot  Italy,  lies  near  Bliicher.  At  Wellington's  feet  is  the  r.  arm  inscribed 
Spain  &  Portugal;  the  1.  arm,  inscribed  Germany,  is  near  Schwarzenberg. 
Napoleon's  orb  and  (broken)  sceptre  lie  near  him,  with  some  of  the  feathers 
from  the  large  hat  which  is  still  on  his  head ;  his  horrified  and  shrieking  profile 
faces  Bliicher.  In  the  background  (1.)  is  a  road  along  which  a  carriage  drives 
off,  drawn  by  four  galloping  horses.  It  contains  tiny  figures:  Marie  Louise, 
crowned  and  looking  behind  her,  and  the  little  King  of  Rome  also  crowned 
and  waving  a  sceptre.  Two  soldiers  are  on  the  box,  two  others  sit  behind. 
In  the  air  behind  Bernadotte  a  demon  flies  off  to  the  1.,  with  Joseph  Bonaparte 
clutching  his  barbed  tail.  The  latter,  his  crown  flying  off,  looks  back  horrified, 
exclaiming  0/  My  poor  Brother  Nap  oh  oh!  O! 

The  first  recognition  in  these  prints  of  the  inactive  part  played  by  Berna- 
dotte. For  the  first  time  Holland  is  represented  by  the  future  William  I, 
instead  of  by  a  fat  Dutch  civilian.  Marie  Louise  left  Paris  with  her  son  on 
29  Mar.  for  Rambouillet;  on  12  Apr.  she  left  Orleans  to  join  her  father. 
Joseph,  put  in  command  of  Paris  by  Napoleon,  abandoned  it  on  30  Mar. 
without  giving  any  military  orders  or  leaving  any  instructions  for  the  civil 
authorities.  For  the  situation  at  this  date  cf.  No.  12216.  Cf.  No.  9412, 
Gillray's  Allied-Pozvers,  un-booting  Egalite  (1799).  For  the  whipping-top  cf. 
Nos.  8839,  12273. 

Reid,  No.  311.    Cohn,  No.  102 1.    Broadley,  i.  351.   De  Vinck,  No.  8979. 
8-^  X  13I  in.   With  border,  9|x  13^  in. 

12218  a  LE  SABOT  CORSE  EN  PLEINE  DEROUTE 

Engraving  (coloured  impression).  A  copy  of  No.  122 18,  reversed.  Napoleon's 
r.  arm  is  France  instead  of  'Germany' ;  the  1.  arm  is  Portugal  esp[a.gne] ;  Joseph 
says:  Ah  mon  cher  frere  de  naples,  thus  apostrophizing  Murat.  The  other 
inscriptions  are  literally  translated. 

Hennin,  No.  13772.    De  Vinck,  No.  8980.    Milan,  No.  2646.   Listed  by 
Broadley  (Latta  Coll.).    Reproduced,  Grand-Carteret,  Napoleon,  No.  288; 
Dayot,  Napoleon,  p.  328. 
8|xi2|  in. 

12219  BLOODY    BONEY    THE    CARCASS    BUTCHER    LEFT    OF 
TRADE  AND  RETIRING  TO  SCARECROW  ISLAND.  323 

[Rowlandson.] 

Pu¥  12  April  1814  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  Napoleon,  riding  on  an  ass,  with  Marie 
Louise  seated  behind  him,  approaches  the  coast,  with  the  Island  of  Elba  on  the 
horizon  (r.).   Just  in  front  of  him  the  King  of  Rome  rides  a  mastiff  inscribed 

371 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

Corsican  Dog;  the  child  points  with  a  switch  at  the  island,  and  looks  round 
at  his  father  registering  furious  anger.  Napoleon  stares  in  agonized  dismay, 
his  hands  raised  in  astonished  protest.  He  wears  a  peaked  cap  inscribed 
Fools  Cap ;  the  coat  of  his  accustomed  uniform,  breeches  unbuttoned  at  the 
knee,  and  wrinkled  stocking  showing  bare  leg.  In  front  of  him  hangs  a  small 
sack:  Bag  of  Brown  Bread.  Marie  Louise  (see  No.  12218)  is  a  dishevelled 
termagant,  her  1.  hand  resting  heavily  on  Napoleon's  shoulder.  She  turns  to 
thrash  the  donkey,  her  open  mouth  indicating  an  angry  scream;  she  raises 
a  bludgeon  inscribed  Baton  Marechdle  [cf.  No.  12088].  The  boy  wears  a 
single  garment  over  bare  legs;  a  tight  childish  cap  is  tied  to  his  head;  from 
his  waist  hangs  a  dagger.  The  dog  bays  at  the  sight  of  the  sea.  Behind  the 
ass  walks  an  elderly  and  old-fashioned  French  post-boy,  with  heavy  boots 
and  whip  and  wearing  a  cocked  hat.  He  clenches  a  fist,  and  extends  a  leg  as 
if  kicking,  and  screams :  Be  gar  you  Cocquin  now  I  shall  drive  my  Old  Friends 
and  bonne  Customers  de  English  Vive  Le  Roi  et  le  Poste  Royale.  Beside  the 
ass's  head  is  the  upright  of  a  gibbet-shaped  sign-post  inscribed  Road  to  Elba ; 
from  this  hangs  a  noose.  Two  carrion  birds  fly  past  it  towards  Napoleon, 
one  holding  in  its  beak  a  paper :  We  Long  to  pick  your  Bones.  Over  Elba  is  the 
customary  flight  of  (carrion)  birds.  Against  the  shore  lie  two  small  boats,  one 
has  a  mast;  in  the  other  sits  a  man. 

For  the  banishment  to  Elba  see  No.  122 16,  &c.  The  details  of  Napoleon's 
establishment  there  were  fixed  by  the  Treaty  of  Fontainebleau  on  11  Apr., 
which  was  not  officially  communicated  to  Parliament  till  7  Apr.  181 5.  See 
C.  K.  Webster,  British  Diplomacy,  1931,  pp.  175-7;  P'^^l-  Deb.  xxx.  375-87. 
He  left  Fontainebleau  on  20  Apr.  for  St.  Tropez  and  Elba.  For  Napoleon 
as  carcase-butcher  cf.  No.  10091. 

Grego,  Rowlandson,  ii.  279.   Broadley,  i.  354.    Milan,  No.  2598.    Repro- 
duced, Norwood  Young,  Napoleon  in  Exile  at  Elba,  1914,  p.  324. 
8f  Xi2f  in. 

12220  COMING  IN  AT  THE  DEATH  OF  THE  CORSICAN  FOX. 
Scene  the  Last, 

[Rowlandson.] 

Ptib'^  April  12.  1814  by  R.  Ackermann  loi  Strand 

Engraving  (coloured  impression).  An  adaptation  of  No.  10039,  by  Gillray, 
the  place  of  George  III  being  taken  by  Blucher,  the  name  on  a  ribbon  worn 
over  his  uniform.  The  horse  (1.)  is  a  restive  charger  instead  of  a  hunter  stand- 
ing quietly.  Blucher  leans  towards  the  pack  in  a  fierce  attitude,  unlike  that 
of  the  King.  The  grip  of  the  hand  on  the  fox's  neck  is  as  before,  and  the  fox 
with  the  profile  head  of  Napoleon  registering  despair  is  closely  copied.  In 
place  of  six  hounds  there  are  fourteen,  six  with  names  on  their  collars: 
Wellington,  Swartsenberg,  Crown  Prince  [Bernadotte],  D.  York,  Kutusojf,  Row 
[with  a  fourth  letter  which  is  perhaps  L].  Two  monarchs  wearing  crowns 
gallop  up  from  the  r.,  on  a  larger  scale  than  the  tiny  horsemen  headed  by 
Pitt  in  No.  10039.   I^  the  background  (r.)  is  a  flaming  town. 

For  the  final  defeat  of  the  French  by  the  allied  forces  under  Blucher  and 
Schwarzenberg  cf.  No.  12206.  Kutusoff  died  in  May  1813,  his  presence 
indicates  the  retreat  from  Moscow,  cf.  No.  11917.  After  Leipzig,  Bernadotte, 
though  in  command  of  an  army,  was  inactive.  News  of  Wellington's  final 
victory  at  Toulouse  (10  Apr.)  reached  London  on  25  Apr.  'D.  York'  may 
possibly  be  a  deserved  tribute  to  the  Duke's  work  as  commander-in-chief, 
but  more  probably  connotes  York  von  Wartenburg,  sometimes  styled  in  the 
English  papers  General  d' Yorck,  a  Prussian  who  fought  at  Leipzig  and  Laon ; 

372 


POLITICAL  SATIRES   1814 

cf.  Nos.  12007,  12048.  Sir  Josias  Rowley  commanded  a  small  squadron  in 
the  Mediterranean  which  captured  Spezzia  and  Genoa  in  March  and  April 
1814;  news  of  the  latter  exploit  reached  London  on  8  May.  For  the  Corsican 
Fox  cf.  No.  12094. 

Grego,  Rowlandson,  ii.  278  f.   Broadley,  i.  352. 
%%  X  13  in. 

12221  A  GRAND  MANCEUVRE!  OR,  THE  ROGUES  MARCH  TO 
THE  ISLAND  OF  ELBA  325 

G  Cruikshafik  fec^ 

Pu¥  April  if"  1814  by  T.  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  In  a  fantastic  procession  Napoleon,  much 
burlesqued  and  very  thin,  is  dragged  and  pushed  to  the  sea-shore,  where  (r.) 
a  boat  manned  by  the  Devil  waits  to  take  him  to  Elba.  Round  his  neck  is 
a  rope  dragged  by  two  dwarfish  and  ragged  Frenchmen  (r.) :  one  is  a  ferocious 
little  Jacobin,  wearing  a  bonnet  rouge,  shouting  a  bas  le  Tyran;  the  other  is 
a  royalist,  waving  a  hat  in  which  is  an  olive-branch  and  ribbons  inscribed 
Vivent  les  Bourbons,  and  shouting  Vive  Louis  XVIII.  Napoleon  weeps;  he 
is  assailed  by  a  shower  of  missiles  including  cats  and  rats;  a  little  demon 
capers  on  his  head  playing  a  fiddle.  His  hands  are  tied  behind  him  and  his 
coat  is  worn  back  to  front;  his  feet  project  through  his  ragged  boots,  his  great 
spurs  are  attached  to  the  front  of  his  leg  above  the  instep.  In  his  coat-pocket 
is  a  tiny  King  of  Rome  waving  a  rattle  topped  by  a  crown  and  shouting: 
By  gar  Papa  I  have  made  von  grand  manoeuvre  in  your  Pocket!! 

The  chief  motive  force  is  the  large  Allied  Brootn,^  with  which  Talleyrand, 
wearing  a  long  gown  and  a  high  surgical  shoe  on  his  1.  foot,  pushes  Napoleon 
forward,  pointing  derisively  and  grinning  delightedly;  he  says:  There  he 
goes!!!  Behind  Talleyrand  are  a  small  but  elderly  drummer  and  a  ragged 
soldier  playing  a  fife.  The  former  wears  in  his  cap  a  big  white  favour,  and  an 
inscription:  Vive  Louis  XVIII \  the  latter  wears  a  laurel  branch  and  a  favour 
inscribed  Vive  Louis  in  his  bonnet  rouge;  from  his  mouth  float  the  words: 

He  was  whip'd  &  he  zv  drum'd 
He  w  [sic]  drmnd  out  of  the  Reg' 
If  ever  he  is  a  Soldier  again 
The  Devil  may  be  his  Sergeant. 

Next,  and  on  the  extreme  1.,  are  two  women  flinging  missiles  at  Napoleon, 
and  shouting  a  bas  le  Tyran — Down  with  the  Tyrant — Vive  Louis.  On  the 
extreme  r.  is  a  shouting  man  holding  up  a  tricolour  flag,  inscribed  Vivent  les 
Bourbons,  its  staflF  topped  by  a  fleur-de-lis.  On  the  ground  (1.)  are  Napoleon's 
epaulets  with  the  scissors  by  which  they  have  been  cut  from  his  coat,  his  sash 
and  a  small  crown,  perhaps  that  of  the  King  of  Rome.  With  these  is  a  docu- 
ment: Done  at  Fontainebleau,  across  which  lies  a  broken  sword.  On  the 
horizon  (r.)  is  a  rocky  island  from  which  rise  large  flames;  these  surround  a 
tall  gibbet  with  one  dangling  corpse  and  one  empty  noose;  a  ladder  leans 
against  it. 

For  the  abdication  at  Fontainebleau  see  No.  122 19.  Beneath  the  burlesque 
is  a  satire  on  the  counter-revolution  in  Paris,  carried  through  by  Talleyrand, 
see  No.  12225,  and  on  French  fickleness.  For  the  journey  to  Elba  see 
No.  i22i6,  &c.  For  the  'Rogues  March'  cf.  No.  12222.  For  Elba  as  Hell 
cf.  (e.g.)  No.  1223 1. 

Reid,  No.  313.   Cohn,  No.  1171.   Broadley,  i.  354.    Milan,  No.  2599. 
8ixi3|in. 

'  According  to  Broadley,  perhaps  describing  another  state,  the  inscription  is  not 
'Allied  Broom'  but  'Abdication'. 

373 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

12222  THE  ROGUES  MARCH.  321 

[Rowlandson.] 

Pu¥  April  15  1814  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  As  in  No,  12221,  Napoleon  is  being 
drummed  out  of  France.  His  r.  wrist  is  tied  to  the  I.  wrist  of  Joseph  Bona- 
parte; they  are  led  forward,  abjectly  crouching,  by  Bliicher,  who  holds  the 
rope  attached  to  the  noose  round  Napoleon's  neck.  Napoleon  has  long  ass's 
ears  and  wears  a  fool's  cap  inscribed  Transported  for  Life ;  his  brother's 
cocked  hat  is  inscribed  Coward  and  Thief.  Both  are  assailed  by  serpentine 
monsters,  barbed  and  scaly,  which  bite  their  legs,  one  inscribed  Execration, 
the  other  Detestation.  Both  wear  uniform  with  the  coats  without  epaulets  and 
cut  off  at  the  waist.  Bliicher  carries  against  his  shoulder  a  long  pole  on  which 
is  a  placard:  Napolean,  Late  Emperor  of  the  French,  King  of  Italy  Protecter 
of  the  Confederation  of  the  Rhine,  Grand  Arbiter  of  the  fate  of  Nations  &c  &c  &c 
but  now  by  the  permission  of  the  Allied  Sovereigns,  Exile  in  the  Isle  of  Elba  an 
Outcast  from  Society  a  fugitive  a  Vagabond.  Yet  this  is  the  conceited  Mortal 
who  said,  I  have  never  been  seduced  by  prosperity  Adversity  will  not  be  able  to 
overcome  me — 

Behind  (1.)  the  sovereigns  of  Europe  gleefully  dance  in  a  ring,  holding 
hands,  round  two  flag-staffs  from  which  float  two  large  flags,  the  Bourbon 
flag  dotted  with  fleur-de-lis  and  inscribed  Rejoice  O  ye  Kings  Vive  le  Roi; 
on  the  other  is  a  flag  with  the  double-headed  eagle  of  Austria  or  Russia.  The 
monarchs  wear  crowns ;  with  them  is  the  Pope,  wearing  his  tiara.  Next  him 
is  the  corpulent  Louis  XVHI,  one  arm  round  the  Pope's  shoulder.  Of  the 
others  only  William  of  Holland  can  be  identified  with  certainty;  he  wears 
bulky  Dutch  breeches  with  an  ermine  cloak.  There  are  five  others,  three 
must  be  the  Tsar,  Emperor  of  Austria,  King  of  Prussia.  The  others  are 
probably  Ferdinand  of  Spain  and  Ferdinand  of  Sicily.  They  sing:  Now  we 
are  met  a  Jolly  set  in  spite  of  Wind  or  Weather.  The  three  foreground  figures 
are  faced  by  a  row  of  soldiers  beating  drums,  with  an  officer  raising  his  sword. 
Below  the  design: 

From  fickle  fortune's  gamesome  lap 

What  various  titles  flow 

The  Emperor  of  Coni\u\rors  Nap 

The  King  of  Beggars  Joe! 

One  of  many  satires  on  Napoleon's  abdication  and  banishment,  see 
No.  1 22 1 6,  &c.,  cf.  No.  1 222 1.  Napoleon's  words  are  from  his  speech  of 
19  Dec.  1 81 3,  see  No.  12 169.  (These  words  were  the  theme  of  a  leading 
article  in  the  Examiner  of  9  Jan.  1814.)  Joseph  is  condemned  for  his  flights: 
from  Madrid  in  1808,  see  No.  11012,  &c.,  after  Vittoria,  see  No.  12068,  and 
from  Paris,  see  No.  122 18,  as  well  as  for  his  Spanish  plunder.  Pius  VH  was 
on  his  way  from  Fontainebleau  to  Rome  to  resume  his  temporal  power. 
'Napolean'  connotes  the  Beast  of  Revelation,  see  No.  11004. 

Grego,  Rowlandson,  ii.  279  f.    Broadley,  i.  355.    Milan,  No.  2600. 
8|Xi3  in. 

12223  THE  SORROWS  OF  BONEY,  OR  MEDITATIONS  IN  THE 
ISLAND  OF  ELBA!!! 

Published  April  J5.  1814,  by  John  Wallis,  42  Skinner  Street,  London. 

Engraving  (coloured  impression).  A  reissue  of  the  illustrated  broadside 
Crocodiles  Tears;  or,  Bonaparte' s  Lamentation,  A  new  Song,  No.  10119  (1803), 
without  verses.  Napoleon  weeps  on  a  rock  in  the  sea,  which  is  now  inscribed 

374 


POLITICAL   SATIRES   1814 

Elba;  the  citadel  across  the  water,  surrounded  by  ships,  is  Continent  of 
Europe. 

One  of  many  satires  on  Napoleon  in  Elba,  see  No.  12229,  ^^-  ^^-  -^o- 12252. 

A  copy,  reversed,  was  published  by  McCleary  in  181 5,  'Elba'  in  title  altered 
to  St.  Helena  (reproduced  Broadley,  ii.  12). 

Broadley,  i.  355  (reproduction). 
c.  7  X  8 J  in.  (vignette). 

12224  IMPEARIAL,  BOMB,  OR  •  NAP  •  THE  •  GREAT  •  IN  •  A  • 
HOBBLE, 

[W.  Heath.]  [c.  Apr.  18 14] 

Pub'^  by  S.  Knight  3,  Sweetings  Alley,  Cornhill 

Engraving  (coloured  impression).  Napoleon,  terrified,  with  arms  and  legs 
spreadeagled,  is  the  centre  of  an  explosion ;  from  behind  him  radiate  flames 
containing  small  bomb  fragments;  the  flames  shoot  past  and  behind  a  circle 
of  dark  puff^s  of  smoke.  The  impact  of  smoke  and  flame  upon  a  white  back- 
ground frames  the  design.  Napoleon  is  realistically  depicted,  and  w^ears  the 
uniform  of  the  chasseurs  of  the  guard,  as  in  No.  12177,  ^^^  t>ut  with  the 
addition  of  a  ribbon,  and  with  a  heavy  sabre.    His  petit  chapeau  flies  oflF. 

Listed  by  Broadley. 
11^x8^  in.  (pi.). 

12225  THE  LAST  MARCH  OF  THE  CONSCRIPTS— OR  SATAN  & 
HIS  SATELLITES  HURLED  TO  THE  LAND  OF  OBLIVION 

[G.  Cruikshank.] 

Pub'^  April  if^  1814  by  SW  Fores  N°  30  Piccadilly 

Engraving  (coloured  and  uncoloured  impressions).  A  bearded  Cossack,  his 
long  spear  in  his  1.  hand,  drives  the  Bonaparte  family  before  him  with  a 
murderous  whip.  The  five  victims,  grotesque,  ragged,  emaciated,  and  miser- 
able, are  linked  together  by  heavy  chains,  and  walk  with  shackled  feet.  Of 
the  first  two,  on  the  extreme  r.,  one  is  identified  as  Joseph  by  his  Spanish 
dress ;  he  looks  behind  him,  more  openly  terrified  than  the  others,  who  cannot 
be  separately  identified:  Louis,  ex-King  of  Holland,  Jerome,  ex-King  of 
Westphalia,  and  (probably)  Murat.'  They  walk  two  and  two,  followed  by 
Napoleon,  the  smallest  and  most  ragged,  who  walks  with  bent  back  and 
clasped  hands,  his  wrists  heavily  padlocked.  The  little  King  of  Rome,  also 
barelegged  and  ragged  (with  his  father's  profile),  runs  behind,  holding  his 
father's  coat-tails ;  he  asks :  Did  you  not  promise  me  I  should  be  a  King.  Behind 
the  Cossack,  who  is  larger  in  scale  and  more  realistically  drawn  than  his 
victims,  is  Talleyrand,  capering  delightedly;  his  1.  leg  raised  high,  displaying 
(incorrectly)  his  surgical  shoe.  He  holds  up  a  paper:  by  Order  of  the  Provisional 
Govern^  &  by  special  favor  of  the  Great  Alexander,  and  cries:  Huzza!  there 
goes  the  whole  Family.  Beside  him  is  a  sign-post  pointing  (r.)  to  Elba  and  (1.) 
to  Paris.  Behind  him  an  officer  wearing  a  star  echoes  huzza,  holding  up  a 
paper:  by  the  Universal  execration  of  all  France.  Behind  him  and  on  the 
extreme  1.  is  a  second  officer. 

The  captives  walk  towards  clouds  of  smoke  apparently  rising  from  a  pit, 
just  outside  the  design.  These  clouds  rise  up,  forming  a  background.  From 
them  look  down  ghosts  or  visions  of  Napoleon's  victims.  Immediately  above 
him  a  man  holding  a  dagger  which  drips  blood  points  menacingly  downwards ; 
behind  him  two  heads  look  from  the  clouds:  they  are  Murdered  Generals. 

'  Possibly  Lucien,  see  No.  1 1583,  who  was  still  in  England. 

375 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

An  angry  skeleton  (H.L.)  is  the  Duke  d'Enghien;  behind  is  a  head,  Wright, 
and  (not  depicted)  Palm.  A  group  of  grisly  corpse-heads  is  inscribed  Martyrs 
in  Russia  [see  No.  1 1917,  &c.] ;  below  and  to  the  1.  of  these  are  turbaned  heads, 
the  prisoners  of  El  Arish,  see  No.  10062).  On  the  extreme  r.  are  more  corpse- 
heads,  inscribed  Poisoned  Soldiers  (the  sick  at  Jaffa,  see  No.  10063).  In  the 
foreground  on  the  extreme  1.  is  an  open  chest,  inscribed  To  the  Right  Owners, 
heaped  with  crowns  and  sceptres.  Three  have  labels:  Louis  XVIII,  Italy, 
Prince  of  Orange.  Beside  it  lies  the  little  spiky  crown  associated  with  the  King 
of  Rome,  or  the  Iron  Crown  of  Italy,  as  in  No.  10432. 

One  of  many  prints  on  the  banishment  to  Elba,  see  No.  122 16,  &c.  The 
part  played  by  Talleyrand  in  inducing  the  Tsar  to  decide  upon  a  Bourbon 
restoration  is  correctly  indicated.  He  then,  as  Vice-Grand  Elector,  presided 
over  the  Senate  (i  Apr.),  got  them  to  establish  a  provisional  government  of 
five  dominated  by  himself,  which  declared  (2  Apr.)  that  Napoleon  had  ceased 
to  reign.  Cf.  Nos.  121 15,  12226.  For  Napoleon's  brothers  cf.  No.  12183; 
for  his  conscripts,  No.  12087.  'The  ghosts  in  the  clouds  represent  the  stock 
allegations  (true  and  false)  against  Napoleon,  cf.  No.  12202,  &c.  and  index. 
'Generals'  must  stand  primarily  for  Pichegru,  whose  death  by  strangulation 
in  prison,  probably  by  his  own  hand,  was  attributed  to  Napoleon's  Mame- 
lukes. In  No.  12204  (text),  it  is  baselessly  alleged  that  Desaix  and  probably 
Brune  were  killed  by  Napoleon's  orders.  Other  French  generals  were  victims 
of  the  Republic,  see  No.  8514. 

Reid,  No.  314.  Cohn,  No.  1306.    Broadley,  i.  356.    De  Vinck,  No.  8998. 
Reproduced,  Rosner,  Writing  on  the  Wall,  1943. 
8^X13  in. 

12226  THE  AFFECTIONATE  FAREWELL  OR  KICK  FOR  KICK. 

[Rowlandson.] 

Pu¥  ij^^  April  1814  by  R.  Ackermann  N°  loi  Strand 

Engraving  (coloured  impression).  Napoleon  runs  away  from  Talleyrand,  who 
aims  a  violent  kick  at  him  with  the  heavy  surgical  shoe  on  his  r.  foot,  raising 
his  crutched  stick  to  smite  the  fugitive.  Napoleon  holds  his  hat,  a  bicorne, 
and  looks  over  his  shoulder  with  a  terrified  stare  to  say:  Votre  tres  humble 
Serviteur  Monsieur  Tally.  Talleyrand,  furiously  vindictive,  exclaims:  Va  ten 
Cocquin  I'll  crack  your  Crown  you  pitiful  Vagabond.  He  holds  a  bulky  docu- 
ment: Abdication  or  the  Last  Dying  Speech  of  a  Murderer  Who  is  to  be  difered 
[sic]  into  the  hands  of  the  Devil  the  first  fair  Wind.  Beside  Napoleon  a  gibbet 
with  a  dangling  noose  serves  as  sign-post,  pointing  To  the  Isle  of  Elba.  Across 
a  piece  of  water  on  the  extreme  1.  is  an  islet  on  which  is  a  high  gallows  from 
which  hang  six  tiny  corpses.  In  the  background  a  British  sailor  with  a 
bludgeon  is  running  by  the  shore ;  he  says :  What  let  him  sneak  of  without  a 
Mark  or  a  Scratch  No  No  I'll  darken  his  Day  Lights  for  him.  Behind  Talleyrand 
maimed  French  soldiers  are  running  forward  as  fast  as  crutches  and  infirmity 
allow.    Three  have  fallen ;  the  foremost  says :  Bone  him  my  Tight  little  Tally. 

One  of  many  satires  on  Napoleon's  banishment,  see  No.  122 16,  &c.  For 
the  part  played  by  Talleyrand  cf.  No.  12225,  ^^-  ^^^  ^^^^^  refers  to  the 
previous  treatment  of  Talleyrand  by  Napoleon,  notably  the  famous  scene  of 
28  Jan.  1809,  though  the  artist  may  have  had  in  mind  the  kick  at  Talleyrand 
in  Gillray's  News  from  Calabria!,  No.  10599  (1806).    Cf.  No.  121 15,  &c. 

Grego,  Rowlandson,  ii.  280.  Broadley,  i.  356-7.  Reproduced,  Grand- 
Carteret,  Napoleon,  No.  301.    Described,  Lacour-Gayet,  Talleyrand,  1930, 

ii-  393- 
8^Xi2|  in. 

376 


POLITICAL   SATIRES    1814 

12227  A  DELICATE  FINISH  TO  A  FRENCH'  USURPER. 

y  N.  [Nixon]  del   [Rowlandson  f.] 

Piihl'^  April  20.  1814  by  J  Asperne  32  Cornhill 

Engraving  (coloured  impression).  Napoleon,  very  ill,  sits  on  a  chair  of  state, 
resting  his  head  on  his  hand ;  a  small  label  hangs  just  below  his  lips  indicating 
that  he  has  vomited  The  Throne  of  France.  His  face  and  hands  are  a  darkish 
yellow.  Above  him  flies  Time,  holding  the  point  of  an  extinguisher  (cf. 
No.  12 1 20)  which  he  is  about  to  place  on  his  head.  In  the  r.  hand  Time  holds 
up  an  hour-glass.  His  head  and  arms  (on  a  larger  scale  than  other  figures) 
and  wings  emerge  from  clouds.  At  Napoleon's  r.  hand  stands  Bliicher,  hold- 
ing a  large  two-handled  goblet  inscribed  Bluchers  Black  Draught.  He  stands 
at  the  r.  end  of  a  line  of  Allied  generals  and  sovereigns.  On  the  extreme  1.  is 
Wellington,  next  him  is  the  Tsar;  each  rests  a  hand  on  his  sheathed  sword. 
Next  is  (.f")  the  Emperor  of  Austria,  with  (?)  Schwarzenberg^  looking  over  his 
shoulder.  All  are  dignified  and  impassive.  At  Napoleon's  feet  is  a  heap  of 
strips  of  paper,  each  with  its  inscription,  and  all  larger  than  the  paper  he  has 
just  disgorged:  Holland,  Moscow,  Saxony,  Florence,  Rome,  Portugal,  Vienna 
(twice),  Poland,  Milan,  Spain,  Switzerland,  Dantzic  (places  occupied  by  his 
armies).  With  these  lies  a  spiky  crown  inscribed  Tyrant,  a  laurel-wreath 
(broken),  and  a  'main  de  Justice'  (see  No.  12247).  The  arms  of  Napoleon's 
chair  are  formed  of  skulls  on  which  he  supports  r.  elbow  and  1.  hand;  the 
skulls  rest  on  ribs.  He  wears  across  his  uniform  a  piece  of  drapery  patterned 
with  bees ;  from  this  larger  bees  fly  oflF  to  the  r.  where  in  the  middle  distance 
three  young  girls  dance  hand-in-hand,  holding  up  the  Bourbon  fleur-de-lis 
shield.  In  the  background  behind  these  figures  a  man  is  ploughing.  Below 
the  design: 

Boney  Canker  of  our  Joys,  Now  thy  tyrant  reign  is  o'er 
Fill  the  Merry  Bowl  my  Boys  join  in  Bacchanalian  roar. 
Seize  the  Villain  plunge  him  in  see  the  hated  miscreant  dies 
Mirth  &  all  thy  train  come  in.  Banish  Sorrow  tears  &  sig/is. 

A  satire  on  Napoleon's  abdication,  combined  with  the  Bourbon  restoration, 
as  in  No.  12216.  Published  on  the  day  of  Napoleon's  departure  from  Fon- 
tainebleau  for  Elba. 

Grego,  Rowlandson,  ii.  281.    Broadley,  i.  357. 
Six  13  in. 

12228  THE    ALLIES    ENTERING    PARIS    AND    DOWNFALL    OF 
TYRANNEY 

[W.  Heath.] 

Pub  April  20  1814  by  S  W  Fores  50  Picadilli 

Engraving  (coloured  and  uncoloured  impressions).  The  Tsar  canters  forward 
from  the  1.  On  his  r.  rides  an  oflicer  with  drawn  sword,  resembling  Bliicher. 
Behind  these  leaders,  Cossacks  with  a  forest  of  spears  and  flags  are  indicated 
on  the  extreme  1.  A  group  of  fashionably  dressed  men  (r.)  wave  hats  with 
white  cockades,  smiling  broadly;  they  shout  vive  Alexandre  and  Vive 
L'Empereur  Alexandre.  Ladies  wave  handkerchiefs  from  an  adjacent  balcony. 
In  the  middle  distance  a  crowd  is  tugging  at  ropes  attached  to  the  neck  of 
a  statue  of  Napoleon  in  uniform,  on  a  high  pedestal.  At  this  missiles  are  being 

'  'French'  is  altered  in  pen  in  Rowlandson 's  hand  to  'Corsican',  and  the  pi.  is  so 
advertised  on  No.  12267. 

^  Identified  as  Bemadotte  by  Grego,  but  not  resembling  him. 

377 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

hurled,  with  shouts  of  A  has  le  Tyran,  and  Bourbons,  or  La  Burbons  [sic]. 
Others  frantically  wave  their  hats  (with  white  favours)  towards  the  approach- 
ing cavalcade,  shouting  Vivent  les  bons  Allies  and  Alexandre.  The  buildings 
are  partly  obscured  by  clouds  which  resemble  heavy  smoke  but  are  probably 
dust.  From  a  tower  floats  a  flag  with  a  double-headed  eagle  above  another 
flag. 

A  representation  of  the  events  of  31  Mar.,  based  on  a  dispatch  from  Sir 
Charles  Stewart  published  in  a  Gazette  Extraordinary  of  9  Apr. :  'The  people 
of  Paris  .  .  .  unanimous  in  their  cry  for  peace,  and  a  change  of  dynasty.  .  .  . 
A  rope  placed  round  the  neck  of  the  statue  of  Napoleon,  on  the  Colonne  de 
la  Grande  Armee,  and  the  people  amused  with  pulling  it  and  crying  "a  bas 
le  Tyran!".'  The  shouts  of  the  crowd  were  much  as  the  inscriptions  on  the 
print.  For  the  entry  see  Beranger,  Ma  Biographie,  1858,  pp.  158  ff. ;  Houssaye, 
Napoleon  and  the  Campaign  of  18 14,  19 14,  pp.  439  ff.  The  statue  was  taken 
down  on  8  Apr.;  it  was  replaced  in  1833  by  another  statue  of  Napoleon; 
see  De  Vinck,  No.  8083. 

Listed  by  Broadley. 
8|xi2|in. 

12229  BONEY  AT  ELBA  OR  A  MADMAN'S  AMUSEMENT. 

[Williams.] 

Pu¥  April  20*^  1814  by  S.  W.  Fores  N"  50  Piccadilly. 

Engraving  (coloured  impression).  Napoleon,  wearing  a  straw  crown  and 
decked  out  with  straw,  flourishes  a  straw  sceptre,  while  he  holds  a  firebrand 
to  a  mock-cannon  on  a  wheeled  gun-carriage  completely  formed  of  straw. 
Flames  and  thick  clouds  of  smoke  rise  from  burning  straw.  Napoleon  (r.), 
his  head  in  profile  to  the  1.,  says:  Now  these  fellows  shall  know  what  the  Con- 
queror of  the  World  can  do!   Corporal?  D you  Sir!  don't  you  blow  up  the 

Bridge  till  I  order  you  [see  No.  12108,  &c.].  A  French  soldier  standing  beside 
him  holds  up  an  arm  in  protest,  saying,  Ah  Diable  Mai  you  was  burn  Le 
Materiel,  you  burn  your  playtings.  Napoleon's  straw  crown  is  an  elaborate 
structure,  like  a  very  tall  Papal  tiara  in  two  tiers.  Straw  forms  a  ribbon  or 
scarf  that  goes  over  his  shoulder,  and  the  sash  round  his  waist,  both  having 
grotesque  projecting  bunches.  A  cloth  is  tied  round  his  neck  over  his  uniform, 
and  falls  to  the  ground  behind  him,  to  represent  a  royal  robe.  At  his  feet  are 
two  papers:  Project  to  Invade  the  Moon,  and  Grant  of  the  Senate  6,000,000. 
On  the  1.  is  a  row  of  four  posts  covered  with  straw  to  represent  men.  Each 
has  a  ribbon,  and  an  order  suspended  from  the  supposed  neck,  showing  that 
they  stand  for  Alexander,  Frederick  William  III,  Francis  I,  and  Bernadotte. 
Their  orders — large  disks,  are  inscribed  Russia  (above  a  bear),  Prussia  (above 
a  HohenzoUern  eagle),  Austria  (above  a  Habsburg  eagle),  and  Sweeden  (above 
a  cross).  Behind  (1.)  is  a  rocky  mountain  on  which  is  a  large  tower,  inscribed 
Elba  Babel,  formed  of  diminishing  concentric  circles,  the  upper  part  cut  off 
by  the  margin.  Behind  Napoleon  (r.)  is  the  sea;  a  fisherman  rushes  towards 
his  boat,  saying,  He  will  frighten  all  the  fish  and  burn  my  boat  Pll  be  off  in  time. 
After  the  title : 

"So  high  he's  mounted  on  his  airy  Throne, 
"That  now  the  wind  is  got  into  his  Head, 
"And  turns  his  brain  to  Frenzy. — Dry  den. 

There  were  conflicting  reports  of  Napoleon  at  Fontainebleau  after  his 
abdication:  'Some  persons  represent  him  as  being  in  a  state  of  despair 
approaching  to  frenzy,  and  as  being  with  difficulty  prevented  from  killing 

378 


POLITICAL   SATIRES   1814 

himself;  others  on  the  contrary  say,  that  he  is  composed  and  even  cheerful. . . .' 
Examiner,  17  Apr.  Pubhshed  on  the  day  of  the  departure  from  Fontainebleau 
for  Elba.  Cf.  No.  122 16,  &c.  For  Napoleon  in  Elba  see  Nos.  12223,  12230, 
12232,  12247, 12249,  12250,  12251,  12252,  12255,  12258,  12260,  12261,  12265, 
12267,  12286,  12299,  12307,  12308,  123 19,  12320,  12454,  12483,  13490.  For 
his  escape  see  No.  12506,  &c. 

Broadley,  i.  357. 
8fXi3in. 

12230  BROKEN  GINGERBREAD— 

G  H — [Humphrey]  inv^   G  Cruikshank  fee* 

Pu¥  April  21^^  1814  by  H.  Humphrey  S'  James's  Street 

Engraving  (coloured  and  uncoloured  impressions).  A  sequel  to  No.  105 18, 
Gillray's  Tiddy-Doll.  Napoleon,  haggard  and  desperate,  wearing  tattered 
uniform  without  the  former  apron  and  sword,  walks  in  profile  to  the  1.,  carr}'- 
ing  on  his  head  a  large  tray.  On  this  stand  three  gingerbread  kings,  burlesqued 
and  mutilated,  with  two  queens,  a  detached  head  (crowned),  and  (r.)  a  pile 
of  imperial  emblems:  crowns,  mitre,  sceptre,  eagle,  flag,  Sec.  On  the  1.  a 
bonnet  rouge  hangs  from  a  staff".  In  the  middle  stands  an  imperial  eagle  with 
a  tricolour  flag  to  which  is  tied  a  broom  showing  that  the  contents  of  the  tray 
are  for  sale.  Napoleon  says  (with  grimly  closed  mouth):  Buy  my  Image! 
Here  '5  my  nice  little  Gingerbread  Emperor  &  Kings  Retail  and  for  Exportation! 
Behind  him  is  a  tumbledown  thatched  hovel ;  over  an  aperture  where  more 
gingerbread  figures  are  displayed  is  a  board :  Tiddy-Doll  Gingerbread  Baker. 
I^  Removed  from  Paris.  Above  fly  three  of  the  (carrion)  birds  associated  in 
these  prints  with  Elba.  Napoleon  walks  towards  the  sea;  across  the  water 
(in  France)  tiny  figures  dance  holding  hands  round  a  white  flag  inscribed 
Vivent  les  Bourbons  and  topped  by  a  fleur-de-lis.  Behind  them  is  the  gable- 
end  of  a  rustic  inn:  The  Kings  Head  New  Revived.  A  fiddler  capers  on  the 
edge  of  the  cliff,  watching  Napoleon. 

One  of  many  satires  on  Napoleon's  banishment,  see  No.  12229,  &c.,  and 
on  the  fall  of  the  Bonaparte  kings,  the  'Corsican  Kinglings'  of  No.  105 18. 
The  Kings  must  be  Joseph,  Louis,  and  Jerome,  see  No.  12225,  the  Queens 
either  their  wives  or  Napoleon's  sisters ;  they  symbolize  the  fall  of  the  dynasty 
and  no  precise  identification  is  necessary.  The  other  kings  of  No.  105 18, 
those  who  owed  their  crowns  to  Napoleon,  are  absent;  they  are  now  his 
enemies.  For  the  Bourbon  Restoration  cf.  No.  12225.  'The  French  equivalent 
of  the  title  is  'Fabrique  de  Sire  [Cire]*,  see  No.  12606.   Cf.  No.  12276,  &c. 

Reid,  No.  315.   Cohn,  No.  960.   Broadley,  i.  357  f.  (reproduction). 
7^X9^  in.    With  border,  8^  X  io|  in. 

EL 

12231  THE  HELL  BARONIAN  EMPEROR  GOING  TO  TAKE  POS- 
SESSION OF  HIS  NEW  TERRITORY. 

G  H  [Humphrey]  inv*    G  Cruikshank  fee* 

Pub^  April  23'^  1814  by  H  Humphrey  S*  James's  S* 

Engraving  (coloured  and  uncoloured  impressions).  Napoleon  stands  in  a 
massive  dome-shaped  cage  on  low  wheels,  drawn  (1.  to  r.)  by  a  horse  ridden 
by  a  Cossack.  He  is  escorted  towards  the  sea  by  mounted  Cossacks  riding 
among  clouds  of  dust.  Napoleon  is  heavily  shackled,  ragged,  and  bare- 
legged, but  wearing  a  large  plumed  bicorne.  He  is  burlesqued,  haggard,  and 
despairing,  in  contrast  with  the  grinning  and  robust  Cossack,  and  shouts: 

379 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Oh!  D — n  these  Cossacks,  gripping  the  bars  of  his  cage.  A  rod  projects  from 
the  apex  of  the  cage  where  are  fixed  crown,  sceptre,  and  sword,  all  broken. 
To  the  rod  are  tied  his  spurs  and  a  weighted  scourge.  In  the  background  on 
the  extreme  r.  is  a  tiny  rocky  islet  on  which  stands  a  gibbet. 

For  the  exile  to  Elba  see  No.  12216,  &c.  The  Cossacks  made  a  great 
impression  in  1813-14  (as  after  the  retreat  from  Moscow),  partly  owing  to 
the  Cossack  camp  in  the  Champs  Elysees,  formed  on  31  Mar.  Cf.  Hennin, 
No.  13575;  ^^^  Stolk,  Nos.  6212-20.  Elba  as  *Hell-Bay'  figured  in  a  trans- 
parency in  the  London  illuminations  of  11-13  Apr.,  representing  Napoleon 
falling  from  the  Mount  of  Republicanism  into  the  arms  of  a  demon.  Examiner, 
1814,  p.  255.   Cf.  Nos.  12257,  12267,  12515,  12525,  12610. 

Other  prints  of  Napoleon  in  a  cage  are:  The  Corsican  Bajazet  in  London, 
I.  Cruikshank  1803  (listed  by  Broadley);  Der  Grosse  Adler  1814  (reproduced, 
ibid.  ii.  122);  Das  Neue  Elba  1815  (reproduced,  ibid.  ii.  129);  A  Rare  Acquisi- 
tion to  the  Royal  Menagerie,  28  July  1815,  by  Rowlandson  (reproduced,  ibid, 
ii.  5).  Lady  Bessborough  describes  a  French  print  of  Castlereagh  displaying 
a  caged  eagle  to  the  Congress  of  Vienna,  to  enforce  a  demand  for  all  the  sea- 
ports of  Europe,  saying,  'Cedez  tout  ou  je  vous  le  lacherai'.  Corr.  of  Lord 
G.  L.  Gower,  19 16,  ii.  524. 

Reid,   No.   316.    Cohn,   No.    1191.    Broadley,   i.   358  f.   (reproduction). 
Reproduced,  Grand- Carteret,  Napoleon,  No.  306;  N.  Young,  Napoleon  in 
Exile  at  Elba,  1914,  p.  40. 
7^X9!  in.   With  border,  8ix  lof  in. 

12232  NAP  DREADING  HIS  DOLEFUL  DOOM  OR  HIS  GRAND 
ENTRY  IN  THE  ISLE  OF  ELBA.  328 

[Rowlandson.] 

Pub"^  April  25''',  1814  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  scene  on  the  wild  and  rocky  shore  of 
Elba  where  Napoleon  has  just  landed.  He  stands  on  the  beach  in  deep  dejec- 
tion, in  profile  to  the  r.,  looking  down,  and  saying:  Ah  Woe  is  me  seeing  what 
I  have  and  seeing  what  I  see  {Hamlet,  in.  i].  A  dog  befouls  his  boot.  He  is 
the  centre  of  attraction  to  uncouth  peasants  who  surround  him,  while  many 
more  approach  through  a  defile  in  the  mountains.  A  gross  and  hideous 
woman,  holding  a  long  tobacco-pipe,  puts  her  hand  on  his  shoulder,  saying. 
Come  cheer  up  my  little  Nicky  III  be  your  Empress.  A  man  beside  her  points 
to  a  ship  at  anchor;  a  boat  filled  with  people  is  rowing  out  to  her.  The 
peasants  all  grin  broadly.  Near  Napoleon  (1.)  is  seated  a  hideous,  bare- 
legged woman  suckling  an  infant  and  smoking  a  long  pipe.  An  almost  naked 
child  clings  to  her  shoulders,  putting  out  his  tongue  at  Napoleon,  as  does  a 
man  standing  just  behind  him.  In  the  foreground.  Napoleon's  Mameluke, 
Ali,  sits  on  the  ground,  beside  a  pile  of  portmanteaux  inscribed  Boneys 
Baggage;  he  averts  his  head  from  the  humiliating  spectacle;  his  sabre  lies 
beside  him.  An  odd  ape-like  creature  squats  on  the  extreme  1.  On  the  extreme 
r.  a  fisherman,  staring  over  his  shoulder  at  Napoleon,  is  about  to  jump  ashore 
or  push  off  in  his  boat.  In  the  background  two  boats,  one  with  a  furled  lateen 
sail,  lie  against  the  rocky  coast. 

For  Napoleon  in  Elba  see  No.  12229,  &c. ;  for  Napoleon  as  Nicolas, 
No.  12256. 

Grego,  Rowlandson,  ii.  281.    Listed  by  Broadley.    De  Vinck,  No.  9354. 
Milan,  No.  2602.   Reproduced,  Norwood  Young,  Napoleon  in  Exile  at  Elba, 
1914,  p.  96. 
9X13^  in. 

380 


POLITICAL   SATIRES    1814 

12233  GREAT  &  GENEROUS  NATION  •  BRITONS  HAS  TRIUM- 
PHANTLY REACH'D  THE  SUMMIT  OF  TRUE  GLORY 

.W.C.  [C.Apr.  1814] 

Engraving.  Britannia  stands  under  an  oak  tree,  her  lion  crouching  beside 
her,  her  1.  arm  is  through  that  of  WeUington  who  stands  with  his  hands 
behind  his  back.  She  says:  Join  us  &  we  will  give  Europe  peace.  They  stand 
beside  three  alhed  princes  (r.),  each  with  a  hand  resting  on  the  hilt  of  his 
sword;  all  say  Join  us.  In  the  centre  is  Alexander,  with  a  double-headed 
eagle  on  his  sword ;  the  others  are  poorly  characterized,  but  must  be  Francis  I 
and  Frederick  William  III.  In  the  tree  is  a  lozenge-shaped  shield  almost 
covered  by  a  fleur-de-lis,  to  which  Britannia's  spear  points.  Up  the  trunk 
climb  rose,  thistle,  and  shamrock.  It  is  divided  from  Britannia  and  her  allies 
by  a  narrow  strip  of  water  from  which  Neptune  rises,  pointing  to  the  trunk 
with  his  trident.  The  ends  of  three  oddly  drawn  boats  are  on  the  r.,  facing 
the  sovereigns.  Behind  them  in  the  background  is  a  row  of  burning  houses, 
among  which  is  a  dome  of  the  KremUn.  In  the  upper  r.  corner  of  the  design 
is  inscribed  Moscow  is  Burnt  Paris  Saved  [see  No.  12049,  &c.]. 

In  the  middle  distance  (1.)  is  a  hill  ending  abruptly  (1.)  in  a  cliff,  below 
which  lies  on  its  back  a  monster  with  vast  serrated  jaws,  the  Jaws  of  Hell, 
from  which  issue  flames.  Up  the  slope  leading  to  the  cliff  Napoleon  has  been 
chased ;  he  falls  head  first  into  the  jaws  of  the  monster,  where  he  is  welcomed 
by  two  tiny  demons  holding  tridents.  He  has  been  hounded  to  his  doom  by 
two  mastiffs  followed  by  a  mounted  officer  who  holds  out  a  baton.  A  force 
of  Cossacks  gallop  up  behind  him  in  very  close  formation,  together  with 
four  bears. 

A  satire  exceptional  at  this  date  in  the  prominence  given  to  emblems  of 
Britain.  For  the  Cossacks  cf.  No.  1223 1,  for  the  Bourbon  Restoration 
No.  I22i6.  A  feature  of  the  illuminations  in  London  on  11-13  Apr.  was  the 
War  Office,  covered  with  lamps  forming  the  name  of  Louis  XVIII,  and  the 
words  'Moscow  burnt — Paris  spared'.  Examiner,  1814,  p.  255.  Cf.  Nos. 
12213,  12237. 
9|Xi3f  in.  (pi.). 

12234  EUROPE 

Timothy  Lash-' em  Inv'  et  En^  [c.  Apr.  1814]' 

R.  Smart^ 

Engraving  (coloured  impression).  Napoleon  falls  head  first  from  the  summit 
of  a  pyramidal  pile  of  roughly  shaped  blocks  of  stone.  Across  the  base  of  the 
erection  extend  the  fanged  jaws  of  a  grotesque  monster,  within  which  are  the 
flames  of  Hell;  above  this  are  glowing  cavities  representing  fiery  eyes  and 
nostrils.  At  the  summit  of  the  erection  are  two  stones,  divided  from  the  lower 
ones  by  grass:  France — How  are  the  Mighty  fallen! ! !  and  (larger)  England. 
On  the  latter  kneels  the  ghost  of  the  Due  d'Enghien,  his  head  turned  in  profile 
to  the  1.  towards  a  fleur-de-lis  flag  whose  shaft  he  holds.  This  is  planted  on 
the  shore  of  'France',  an  olive-branch  grows  round  it.  Blood  drips  from  a 
wound  in  his  breast;  in  his  1.  hand  he  holds  out  a  paper:  France  and D' Enghien 
Avenged.  Above  his  head  is  suspended  a  ducal  coronet.  The  heads  of  other 
ghosts  of  Napoleon's  victims  emerge  from  clouds  flanking  the  pyramid,  look- 
ing up  in  profile  towards  d'Enghien.  On  the  1.:  Wright,  Georges,  Pichegru; 
on  the  r. :  Moreau,  Palm,  and  Hofer.    Napoleon's  crown  falls  from  his  head, 

'  Dated  11  Apr.  1814  by  Broadley,  accepting  the  date  in  pencil  on  B.M.  impression 
of  the  'Treaty  of  Paris'  [51c].  An  inscription  between  quotation  marks  below  the  title 
has  been  cut  off. 

^  Inconspicuously  etched  on  the  block  of  stone  inscribed  England. 

381 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

and  from  each  hand  falls  a  paper :  Plan  for  the  Invasion  &  destruction  of  the 
British  Empire  and  Project  for  Universal  Empire.  In  the  flames  towards  which 
he  falls  are  two  profile  heads,  looking  upwards,  Robespiere  and  Marat. 
Between  them  is  a  tricolour  flag  inscribed  Blood  and  Rapine.  Across  the 
flames  is  the  inscription:  The  End  of  Usurpation  and  Tyranny.  The  stones 
of  the  pyramid,  below  the  two  at  the  flattened  apex,  are:  Prussia,  Russia, 
Sweden.,  Portugal.,  Spain.,  Holland.,  Germany,  Poland,  Italy,  Saxony, 
Netherla[nds],  Denmark,  Switzerland,  Brabant,  Hanover. 

With  two  exceptions  the  seven  victims  of  Napoleon  are  stock  subjects  of 
English  graphic  propaganda  against  Napoleon,  cf.  (e.g.)  Nos.  12202,  12235. 
Georges  (Cadoudal)  (cf.  No.  9998)  was  executed  in  1804  for  the  royalist 
assassination  plot,  which  led  to  the  death  of  the  innocent  d'Enghien.  Moreau 
was  also  involved  and  was  banished;  he  joined  the  Allies  in  18 13  and  was 
mortally  wounded  at  Dresden;  cf.  No.  12606.  For  Napoleon's  abdication  and 
the  Bourbon  Restoration  see  No.  122 16. 

Listed  by  Broadley, 

iSfXiOw  in- 

12235  EXPLANATION  OF  THE  ARMS  OF  NAPOLEON  BONA- 
PARTE, 

Published  by  R.  Ackermann,  at  his  Repository  of  Arts,  loi.  Strand, 

London.   [Harrison  &  Leigh,  Printers,  jyj,  Strand.]       [c.  Apr.  18 14] 

Engraving,  partly  aquatinted  (coloured  impression).  An  altered  version  (like 
No.  12205)  of  No.  1 1057,  from  the  original  pi.  The  (printed)  title  continues 
(in  place  of '. .  .  now  the  Curse  of  Europe') :  The  Tyrant  of  France,  who  created 
himself  Emperor  of  the  French  i8th  May  1803  [sic]  was  dethroned  by  the  French 
Senate  2d  April  1814  ;  compelled  to  abdicate  for  himself  and  his  Family  6th  April, 
and  his  Life  spared  on  condition  of  being  transported  for  the  remainder  of  his  days 
to  the  Island  of  Elba  ;  whither  he  was  sent  under  escort  on  the  20th  of  April,  18 14. 
The  shield,  sinister  supporter,  crest  and  motto  are  the  same,  but  the  dexter 
supporter  is  altered,  apparently  by  Rowlandson,  from  'The  French  Devil* 
(Talleyrand,  now  a  supporter  of  Louis  XVIII)  to  Death,  a  skeleton  holding 
up  an  hour-glass.  This  has  necessitated  the  re-drawing  of  the  Gallic  cock  at 
his  feet,  but  it  pecks  at  a  crucifix  as  before.  The  (printed)  text  is  as  before 
(allusions  to  Jaffa,  d'Enghien,  &c.)  except  for  the  addition  to  the  title  and 
the  descriptions  of  the  supporters:  '.  .  .  The  Gallic  Cock,  vainly  pecking  the 
crucifix,  is  symbolic  of  the  Corsican's  impiety.'  The  description  of  'The 
Corsican  Devil'  is  altered  to  'Satan,  wearing  an  Iron  Crown,  .  . .  cutting  down 
the  Cap  of  Liberty,  and  accompanied  by  the  Serpent  and  Hyaena,  the 
attributes  of  the  Corsican  Emperor's  wily  and  sanguinary  reign'.  The  inscrip- 
tions (now  obsolete)  hanging  from  the  mouth  of  the  hyena  are  altered  to: 
Cambaceres,  Davoust,  Augereau,  Sebastiani,  Vandamme,  Savary. 

For  Napoleon's  abdication  and  banishment  see  No.  122 16. 

Broadley,  ii.  239  f.    Reid,  p.  34. 
Broadside,  19X113I  in. 

12235  A-12250 

French  prints  of  c.  April-May  18 14' 

12235  a  EXPLICATION  DES  ARMES  DE  BUONAPARTE 

Engraving  (coloured  impression).  A  French  copy  of  No.  12235,  without  the 
addition  to  the  title,  but  with  the  descriptions,  literally  translated,  of  crest 

'  French  prints  on  English  visitors  to  France,  though  having  a  poHtical  background, 
are  placed  with  social  satires,  see  No.  12354,  &c- 

382 


POLITICAL   SATIRES    1814 

and  supporters  engraved  below  the  title.  The  'Gallic  Cock'  is  altered  to  an 
imperial  eagle.  The  ribbons  hanging  from  the  hyena's  mouth  are  altered  to 
Erfurth  [cf.  No.  12202],  Dresde  [a  victory  for  Napoleon],  Leipsig  [see  No. 
12093],  Moscow  [see  No.  12049],  Espagne,  Egypte.  The  scenes  on  the  shields 
are  copied  from  No.  12235,  each  with  an  engraved  title,  but  are  in  a  different 
order  because  the  street-fighting  scene  is  transferred  from  Madrid  in  1808  to 
Paris  in  1795,  and  therefore  takes  the  second  place.  The  first  has  one  guillo- 
tine in  place  of  three,  and  is  inscribed  Voyez  V Explication  ci  dessoiis*  [a  literal 
translation  of  the  English].  [2]  Massacre  des  C^"^  de  Paris,  ij  Vend.  An  4. 
[3]  Massacre  de  800.  Prisonniers  tiircs  [a  copy  of  2].  [4]  Empoisonnement  des 
Pestiferes  a  Jaffa  [a  copy  of  3].  [5]  Meutre  du  due  d'Enghien  [a  copy  of  4]. 
[6]  Bonaparte  se  place  la  couronne  sur  la  tete  [a  copy  of  5].  [7]  Strangulation 
du  general  Pichegru  [a  copy  of  6,  the  death  of  Wright].  [8]  Emprisomiem^  de 
Ferdinand  VII  [as  in  No.  12235].  The  quotation  from  Proverbs  is  in  Latin. 
i3fxio^  in. 

12236  LES  CHATEAUX  EN  ESPAGNE. 

A  Paris,  chez  Genty,  Rue  S^  Jacques,  N°  14  [?  Apr.  18 14] 

Depose  a  la  Direction  de  la  Librairie 

Engraving  (coloured  impression).  Wellington  (1.)  and  Joseph  Bonaparte  (r.) 
face  each  other  across  a  square  table,  at  which  the  latter  is  building  a  house 
of  cards.  The  former  blows  down  a  towering  pile,  Joseph  tries  to  hold  up 
a  little  pile  of  three,  the  third  card  being  a  King  upside  down  in  his  hand. 
Joseph  wears  an  odd-shaped  crown,  an  ermine-trimmed  robe  over  Spanish 
costume,  indicated  by  a  loose  boot  of  antique  pattern.  Over  his  robe  hangs 
a  sceptre  or  hand  of  Justice  (see  No.  12247)  ornamented  with  bells  denoting 
folly.  Behind  him  (r.)  stands  Napoleon  (not  caricatured)  holding  leading- 
strings  attached  to  his  brother's  shoulders.  He  and  Wellington  (unrecogniz- 
able) wear  uniform  with  sword.  Behind  Napoleon  and  near  the  horizon  is 
Paris,  indicated  by  windmills  outlining  a  low  hill.  Behind  Wellington  is  the 
sea,  with  a  town,  presumably  Madrid,  on  the  horizon  between  Joseph  and 
himself. 

Joseph  fled  from  Spain  after  Vittoria,  see  No.  12068,  but  the  print  can 
hardly  have  appeared  with  a  publisher's  name  before  the  fall  of  Paris.  The 
windmills  suggest  the  engagement  of  Montmartre,  see  No.  12237. 

Broadley,  ii.  50.    De  Vinck,  No.  8397. 
7jx  io|  in. 

12237  LE  MARCHlg  CONCLU,  OU  LA  CAPITULATION. 

\c.  Apr.  1 814] 

Engraving  (coloured  impression).  A  satire  on  the  capitulation  of  Paris.  It  is 
being  signed  by  Talleyrand  and  (?)  Marmont,  who  are  fox  and  cat  respec- 
tively, with  human  heads  (not  caricatured).  They  are  heavily  bribed  by  three 
officers  (much  caricatured)  representing  the  Allies.  Talleyrand  (1.)  is  identified 
by  a  high  surgical  shoe  on  his  r.  leg,  and  by  a  crutch  lying  beside  him.  The 
document  on  the  table  is  headed :  Capitulation,  jo  Mars  18 1 4.  Talleyrand's 
pen  rests  on  the  text,  below  Art  2;  that  of  Marmont,  who  is  on  his  1.,  rests 
below  Art  i^\  The  latter  puts  his  1.  paw  on  a  money-bag  inscribed  5  Millions 
places  sur  le  Banque  de  Londres,  to  which  the  (?)  Prussian  officer  beside  him 
points.  Facing  the  two  signatories  stands  a  Russian  (Alexander)  in  profile  to 
the  1.,  holding  out  a  bag  of  Roubles.  Between  him  and  the  Prussian  stands  a 
hideous  British  officer  with  protruding  tongue  (?  Wellington),  who  holds  a  bag 
of  Guinees,  while  he  clasps  two  other  bags  to  his  chest.  Behind  (1.)  a  row  of 
five  windmills  (as  in  No.  12236)  on  a  hill  indicates  Montmartre,  where  the 

383 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

fighting  of  30  Mar.  had  taken  place  (of.  No.  122 14).  A  pillar  supporting 
an  architrave  forms  a  conventional  background  on  the  r. 

By  the  capitulation  of  Marmont  and  Mortier  (printed  Gazette  Extraordinary, 
9  Apr.  1814)  the  city  was  to  be  evacuated  by  their  troops  on  31  Mar.,  leaving 
the  National  Guard,  and  was  to  be  recommended  to  the  generosity  of  the 
Allies,  cf.  No.  12233.  ^^^  artist  was  probably  aware  of  Marmont's  treachery 
on  the  night  of  4  Apr.  when  he  brought  his  corps  within  the  Allied  lines, 
making  further  resistance  by  Napoleon  impossible,  cf.  No.  12271.  Talley- 
rand's venality  and  intrigues  with  the  Allies  and  the  Bourbons  were  notorious, 
cf.  Nos.  121 15,  12225.  ^^^  part  played  by  British  gold  is  characteristic  of 
French  political  satires,  see  Nos.  10522,  10611,  &c.,  12522,  12542.  Cf. 
No.  121 18. 

De  Vinck,  No.  8925.  Hennin,  No.  13546.  Reproduced,  Bourguignon,  ii.  242. 
7fXii^in. 

12238  LA  CHUTE  DU  TITAN  MODERNE.  [c.  Apr.  1814] 

Engraving  (coloured  impression).  Napoleon,  not  caricatured,  falls  headlong 
from  his  horse,  across  a  large  map  of  Europe  which  is  suspended  from  the 
branches  of  a  tree,  the  lower  part  resting  on  the  ground.  Napoleon  has  fallen 
on  the  portion  marked  France ;  he  clutches  at  the  crown  which  has  fallen  from 
his  head  and  is  also  grasped  by  the  claw  of  a  large  and  moribund  imperial 
eagle.  A  spiky  crown  intended  for  the  Iron  Crown  of  Italy  (cf.  No.  10432) 
has  also  fallen.  The  map  is  well  drawn  and  includes  the  whole  of  Europe 
from  the  British  Isles  to  the  Black  Sea,  excluding  the  north  of  Scandinavia 
and  Russia;  on  this,  beside  countries,  London,  Paris,  Copenhague,  Stokolm, 
Vienne,  Berlin,  S  Peter sbourg,  and  Moscou  are  marked.  The  horse  prances 
wildly,  throwing  up  its  head.  It  has  a  leopard's  skin  in  place  of  a  saddle. 
There  is  a  landscape  background. 

For  Napoleon's  abdication  see  No.  122 16,  &c.  Theme  and  design  resemble 
No.  12566. 

Listed  by  Broadley.    De  Vinck,  No.  9003. 
7^X11^  in. 

12239  LA  CRISE  SALUTAIRE  [c  Apr.  1814] 

Engraving  (coloured  impression).  Napoleon,  seated  in  profile  to  the  1.  on 
an  ornate  chair-commode,  clasping  his  knees,  bends  forward  to  vomit  (cf. 
No.  12276,  &c.)  into  a  bowl  held  by  a  fat  doctor,  larger  in  scale  than  his 
patient.  The  doctor,  wearing  a  long  gown  and  a  symmetrically  parted  wig 
which  frames  his  face,  looks  fixedly  at  the  spectator  over  Napoleon's  head, 
with  a  sly  smile;  in  his  1.  hand  he  holds  on  a  salver  a  bottle  labelled  Potion 
suivant  Vordon.  The  chair  and  the  doctor  are  on  a  small  rectangular  dais  of 
four  steps.  On  and  beside  the  dais  are  rolled  documents:  two  maps,  one 
Carte  de  France,  showing  the  Mediteranele],  the  other  showing  Ocean;  two 
completely  rolled  are  Suise  [sic]  and  Moscow.  The  back  of  the  chair  is  decor- 
ated with  a  large  N  surmounted  not  by  an  eagle  but  by  an  owl.  It  is  patterned 
not  by  bees  but  by  drops  of  blood  (or  tears),  and  is  topped  by  a  crown  formed 
of  bones  and  skulls  at  the  apex  of  which  is  a  larger  skull,  smoking  like  a  censer. 
In  the  background  (r.)  is  a  corner  of  the  palace  of  Fontainebleau  (the  name  on 
a  flag);  outside  it  stand  two  doctors,  each  with  a  large  syringe.  Below  the 
title:  Buonaparte,  Docteur  voyez  dans  quel  etat  je  me  trouve  j'ai pris  des  bains 

de  sang,  j'ai  fait  des  levees  en  masse  et  rien  ne  m'a  reussi '  quel  regime 

suivre?  ....  toujours  le  regime  actuel  n'est-ce  pas!  Le  Docteur.  Non  .  .  .  non 
ilfaut  revenir  a  Vancien  regime.  B  .  .  .  .  De  grace  donnez  moi  quelque  prise  de 

'  The  dots  in  the  dialogue  are  in  the  original. 

384 


POLITICAL   SATIRES    1814 

conscrtts  vous  me  sauverez.  Le  D.  Vous  vous  sauverez  saiis  cela,  vous  en  avez 
trop  pris  .  .  .  Evacuez  c'est  voire  demiere  ressoiirce!  B.  Ah  Docteiir!  je  n'ai 
fait  qu'evacuer  depiiis  Moscow  jusqu'd  Paris!  le  D.  tant  rtiieux  il  faut  tout 
rendre. 

A  satire  on  Napoleon's  abdication,  see  No.  12276,  &c.,  in  which  evacuation, 
regime,  and  prise  (as  in  No.  10418)  are  used  punningly.  For  the  restoration 
of  the  Bourbons  see  No.  12225,  ^c- '  ^"^^  the  levee  en  masse,  No.  12201 ;  for 
conscripts,  No.  12087,  ^c.  Napoleon  was  at  Fontainebleau  from  30  Mar.  to 
20  Apr. 

Broadley,  ii.  53.   Hennin,  No.  13771.   De  Vinck,  No.  8983. 
8|x6  in.    PL  10-^x7!^  in. 

12240  L'OLIVE  DE  LA  PAIX  ENVAIN  LUI  PUT  OFFERTE, 
IL  SUIT  L' AMBITION  QUI  LE  M£NE  A  SA  PERTE. 

Maleuvre  del  at  sculp. 

A  Paris  chez  Martinet,  Libraire,  rue  du  Coq,  N°  J5.  [?  Apr.  18 14] 

Engraving  (coloured  impression).  An  allegorical  design.  Napoleon  stands 
between  Peace  (1.)  and  Bellona  (r.)  who  stands  in  her  chariot  urging  him  on 
to  war.  He  turns  his  back  on  Peace  with  a  gesture  of  rejection,  and  hastens 
to  Bellona.  Peace  stands  on  the  base  of  a  cloud  which  rises  behind  Napoleon ; 
in  her  1.  hand  is  a  large  olive-branch.  Beside  her  is  a  cornucopia  of  fruit  and 
flowers.  She  points  (1.)  to  a  romantic  landscape,  where  a  wide  road  leads 
between  standing  corn,  and  grass  with  a  flock  of  sheep  and  shepherd,  towards 
a  town  of  domes  and  spires  set  among  mountains.  On  the  road  five  young 
people  dance  in  a  ring.  Behind  the  sheep  is  the  pillared  portico  of  a  temple 
among  trees.   In  the  foreground  (1.)  is  a  bee-hive. 

Bellona,  wearing  Roman  armour,  with  a  plumed  helmet,  holds  a  spear  and 
the  reins  of  two  prancing  horses.  She  points  to  a  snow-covered  scene  repre- 
senting the  retreat  from  Moscow.  In  the  distance  are  blazing  buildings 
between  which  is  the  Kremlin  (see  No.  12049).  ^^  ^^^^  middle  distance  are 
corpses,  tents,  and  the  debris  of  war.  In  the  foreground  on  the  extreme  r., 
as  a  pendant  to  the  bee-hive,  are  a  cannon  and  cannon-balls. 

Broadley  attributes  the  pi.  to  1813  (cf.  No.  12077);  i^  could  not  have  been 
openly  published  before  Napoleon's  fall.  The  subject  is  probably  Napoleon's 
refusal  to  accept  terms  at  Chatillon  (Feb.  18 14),  following  his  rejection  of  the 
Frankfurt  proposals  (Nov.  1813).  Cf.  No.  12 179,  Sec.  Napoleon's  failure  to 
give  peace  to  France  was  the  main  cause  of  his  loss  of  popularity  in  18 14, 
cf.  No.  1225 1.   For  the  retreat  from  Moscow  see  No.  11917,  &c. 

Broadley,  ii.  44  (reproduction),  50. 
8^X  12 1  in. 

12241  DU  HAUT  EN  BAS  .  .  .  OU  LES  CAUSES  ET  LES  EFFETS. 

[?  Apr.  1814] 

Engraving  (coloured  impression).  Napoleon  (not  caricatured),  precariously 
poised  on  stilts,  takes  an  immense  stride  from  Madrid,  represented  by  a  cluster 
of  Gothic  pinnacles,  to  Moscozv,  represented  by  the  onion  domes  of  the 
Kremlin.  His  stilts  rest  only  on  the  spikes  which  project  from  pinnacles  and 
domes.  The  stilts  are  breaking  and  he  is  about  to  fall,  his  arms  are  flung  wide, 
and  he  has  dropped  his  sceptre  and  orb:  he  looks  downwards  and  his  hat  is 
falling.  Madrid  and  Moscow  are  divided  by  the  ornamental  water  or  canal 
leading  from  the  water-front  of  Fontainebleau,  which  is  in  the  background, 
symmetrically  placed  between  and  behind  the  two  cities;  the  character  of 
the  building  is  correctly  but  not  accurately  given.  Green  hills  lie  between 
Madrid  and  Fontainebleau,  snow-covered  mountains  between  the  palace  and 
Moscow. 

385  cc 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Napoleon's  fall  is  attributed  to  his  Spanish  policy  and  the  Moscow  cam- 
paign, cf.  No.  12250.  He  was  at  Fontainebleau  from  30  Mar.  to  20  Apr.  The 
design  is  adapted  from  the  well-known  French  satire,  L'Enjambee  Imperiale,^ 
a  copy  of  an  English  caricature.  No.  7843,  where  Catherine  strides  trium- 
phantly from  Russia  to  Constantinople.   A  companion  pi.  to  No.  12242. 

Broadley,  ii.  48  (reproduction),  53  f.    De  Vinck,  No.  8981.    Van  Stolk, 
No.  6310.   Milan,  No.  2477.   Reproduced,  Bourguignon,  ii.  244;  Klingender, 
p.  42. 
8x  12  J  in. 

12242  DU  BAS  EN  HAUT,  OU  LE  TITAN  NOUVEAU. 

Depose  a  la  Bibliotheque  Roy  ale  [?  Apr. -May  18 14] 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  12241.  Napoleon 
(not  caricatured  except  for  the  length  of  his  legs)  takes  a  long  stride  across  a 
globe,  the  upper  part  of  which  emerges  from  clouds  clustered  to  1.  and  r.,  both 
inscribed  (below  the  design)  Neant.  He  looks  behind  him  with  a  fierce  but 
furtive  expression,  raising  above  his  head  in  his  1.  hand  a  firebrand  and  dagger. 
In  his  r.  hand  is  a  chain  which  extended  across  the  globe,  but  which  is  broken. 
Fires  burn  on  the  part  of  the  globe  across  which  Napoleon  strides.  Below: 
Le  Per  et  le  Feu.  He  has  left  behind  him  skulls  and  bones,  with  the  bones 
of  a  horse;  among  these  are  papers  on  which  he  is  trampling  inscribed 
Religion,  humanite,  honneur,  justice.  Behind  the  globe  and  above  the  clouds 
are  (1.)  the  sea,  and  (r.)  the  fagade  of  the  Louvre.  On  the  sea  is  a  conventional 
ship  with  a  single  sail,  a  figure-head  with  a  boy's  head,  flying  a  pennant 
inscribed  Albio?i,  and  sailing  towards  the  Louvre.  A  rainbow  stretches  from 
the  ship,  encircles  the  globe,  and  touches  the  Louvre.  On  the  rainbow,  next 
the  ship,  are  five  fleur-de-lis  (representing  the  returning  Bourbons). 

A  satire  on  the  abdication  of  Napoleon,  see  No.  122 16,  and  the  return  of 
Louis  XVIII,  see  No.  12265.  Broadley  attributes  it  to  July  1815  (when  it  may 
have  been  reissued) ;  it  illustrates  the  circumstances  and  spirit  of  the  first,  not 
the  second,  Restoration. 

Broadley,  ii.  75,  76  (reproduction).  Van  Stolk,  No.  6310.  Milan,  No.  2641. 
7|X  12  in. 

12243  AH!  PAPA,  TU  T'ES  FAIT  BIEN  DU  MAL  .... 

[?  Apr.-May  18 14] 

Engraving  (coloured  impression).  Napoleon,  exclaiming  Quelle  Chute!,  lies  on 
his  back  on  the  floor,  one  leg  in  the  air,  holding  up  a  pair  of  compasses 
(dividers)  towards  a  map  which  hangs  from  the  upper  margin:  Plan  de  Vile 
d'Elbe.  His  conventionally  handsome  profile  is  turned  towards  the  map  above 
his  head ;  his  (sheathed)  sword  has  broken  in  the  fall.  Opposite  him  (1.)  stands 
the  King  of  Rome,  wearing  uniform  like  that  of  his  father  (cf.  No.  121 13) 
with  a  cocked  hat  and  sword ;  he  holds  a  handkerchief  to  his  face,  and  extends 
his  1.  hand  towards  the  map.  His  words  are  engraved  below  the  design  and 
serve  as  title.  Beside  him  on  the  ground  is  the  toy  called  Diabolo  (cf.  No. 
12601).  The  map  is  realistically  drawn,  Porto-Ferrajo  and  Porto-Longone 
being  marked,  but  there  is  a  scale  which  makes  the  island  far  smaller  than 
it  is.  It  is  also  unduly  near  Corse,  two  promontories  of  which  appear  on  the 
south-west,  across  the  Mer  Mediterranee. 

One  of  many  satires  on  the  banishment  to  Elba,  see  No.  122 16,  &c. 

Broadley,  ii.  54.  Hennin,  No.  13643.  De  Vinck,  No.  9006.  Milan,  No.  2592. 
5|X9in. 

'  A  French  pi.  of  181 5  with  this  title  is  a  more  remote  imitation  of  the  original. 
(Reproduced,  Broadley,  ii.  60.) 

386 


POLITICAL   SATIRES    1814 

12244  DEPART  POUR  L'lLE  D'ELBE 

Depose  a  la  Direction  de  Vhnprimerie  de  la  Librairie.    [?  Apr.-AIay  1814] 

Engraving  (coloured  impression).  Napoleon,  pensively  distressed,  walks  (r.  to 
1.)  along  a  country  road  near  the  sea.  In  his  1.  hand  he  holds  up  a  small  hand- 
bell ;  his  r.  finger  and  thumb  touch  his  cheek.  His  scabbard  is  empty  and  his 
broken  sword  lies  on  the  ground.  An  imperial  robe,  lined  and  bordered  with 
ermine,  has  fallen  from  his  shoulders  and  floats  behind  him,  partly  dotted 
by  bees,  flying  above  the  cloak  and  aw^ay  from  Napoleon;  a  double  branch 
of  laurel  also  flies  off".  Above  Napoleon's  head  is  a  large  imperial  eagle,  with 
Napoleon's  crown  in  its  beak,  and  grasping  in  its  claws  a  spiky  crown  intended 
for  the  Iron  Crown  of  Italy  (cf.  No.  10432).  Flames  and  smoke  rise  from  the 
crown  of  Napoleon's  head,  the  smoke  forming  a  background  for  the  eagle. 
On  this  are  inscribed  (1.)  Prise  d'Espagne  and  (r.)  Xapoleon  i''''  j  Etnpereur  des 
Franfais  |  Roi  d' Italic  \  Protecteur  de  la  \  Confederation  \  du  Rliin  \  Mediateiir 
de  la  Confederation  Suisse  [cf.  No.  12202]. 

Behind  (r.)  is  Moscoii,  represented  by  the  Kremlin,  behind  which  rise 
flames  and  smoke  (see  No.  12049).  It  is  on  snow-covered  hills;  a  tiny  Napo- 
leon drives  himself  (r.  to  1.)  in  a  sledge  drawn  by  two  horses  across  a  level 
frozen  plain.  He  is  followed  by  mounted  soldiers  [see  No.  11 991,  &c.].  Near 
the  horizon  (1.)  by  Napoleon  is  the  lie  d'Elbe  represented  by  a  citadel  on  low 
ground.  Close  by  and  on  the  extreme  1.  are  two  pyramids  representing  Egypte. 
A  small  vessel  with  complicated  sails  is  in  the  middle  distance.  In  the  fore- 
ground (r.),  a  picture  shaped  like  a  shield  leans  against  a  fragment  of  a  fluted 
column:  the  fable  of  the  frog  and  the  ox  (applied  to  Napoleon  in  No.  10247) 
is  depicted,  with  the  inscription  (from  La  P'ontaine's  fable)  La  Chetive  Pecore 
s'enfle  si  bien  qu'elle  a'eva:  one  of  two  frogs  falls  backwards,  much  smaller 
than  its  companion,  having  vainly  tried  to  become  as  large  as  the  ox  which 
watches  them. 

One  of  many  prints  on  the  banishment  to  Elba,  see  No.  12216,  &c.,  and 
on  Napoleon's  three  failures:  the  Egyptian  campaign,  see  No.  9278,  &c.,  the 
Spanish  venture,  see  No.  10997,  ^^-^  the  Russian  fiasco,  see  No.  11917,  &:c. 

Listed  by  Broadley.    De  Vinck,  No.  8993.    \'an  Stolk,  No.  6318.    Milan, 
No.  2590. 
7]  X  9^  in. 

12245  SAUTE  POUR  LE  ROI. 
Deposes 

Engraving  (coloured  impression).  A  tall  Englishman  (or,  according  to 
De  Vinck,  a  Royalist)  stands  in  back  view,  head  turned  in  profile  to  the  r., 
holding  up  a  hoop,  while  he  gives  orders  to  a  performing  dog  (r.)  with  the 
head,  hat,  and  coat  of  Napoleon.  The  man,  who  wears  a  round  hat,  short 
jacket,  and  trousers,  holds  a  whip,  at  his  feet  is  a  drum.  Napoleon,  on  his  hind- 
legs  in  profile  to  the  1.,  fore-paws  extended,  obediently  prepares  to  jump. 
Behind  him  (r.)  arc  pinnacled  buildings  representing  the  palace  of  Fontaine- 
bleau.  From  this  a  landscape  slopes  gently  to  a  strip  of  sea  where  the  lie  d'Elbe 
is  represented  by  castellated  buildings  on  the  extreme  1. 

One  of  many  prints  on  the  banishment  to  Elba  and  the  Bourbon  restora- 
tion, see  No.  12216,  &c.   Cf.  No.  12574. 

Listed  by  Broadley.   De  Vinck,  No.  8982.   Van  Stolk,  No.  6316. 
4fx<:.  7^  in.  (r.  edge  cut). 

12246  QUI  TROP  EMBRASSE,  MAL  l^TREINT! 
Reproduction,  Broadley,  ii.  55.   Napoleon  is  lifted  into  the  air  by  a  huge  and 
fiercely  impassive  double-headed  eagle.    Below  him  is  the  globe,  an  arc  of 

387 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

which  forms  the  base  of  the  design.  He  clutches  a  small  map  of  Elbe,  but 
has  dropped  three  maps:  France  Allemagne  Italie,  Portugal  Espagne,  and  a 
tiny  Corse ;  his  broken  sword  is  also  falling.  In  his  pocket  is  a  bulky  document 
inscribed  Co7iscription  [see  No.  12087,  &c.].  On  the  globe  are  naked  corpses 
and  the  mutilated  carcase  of  a  horse. 

Napoleon  loses  all  but  Elba,  despite  the  sacrifices  he  has  imposed  on  France 
and  Europe. 

Broadley,  ii.  55  f.    De  Vinck,  No.  9004. 
13^X92  in.  (original).  B.M.L.,  K.T.C.  37.  a.  13. 

12247  ARRIVEE  DE  NAPOLEON  DANS  L'lLE  D'ELBE. 

Depose  a  la  Bibliotheque  [Apr. -May  18 14] 

Engraving  (coloured  impression).  German  and  Italian  versions  of  the  title 
are  engraved  in  smaller  text  below  the  French  title.  Napoleon,  not  carica- 
tured, wearing  uniform  and  petit  chapeau,  hurries  across  the  island  towards 
a  small  forbidding  castle  on  a  rock  (r.).  Across  his  1.  shoulder  he  carries  the 
'main  de  Justice',  its  long  shaft  broken.  Under  his  r.  arm  is  a  large  book. 
Code  Napoleon,  and  in  his  r.  hand  is  a  telescope.  On  his  back  he  carries  a 
bunch  of  fluttering  papers,  four  of  which  are  inscribed  Decret  (twice),  Decret 
de  18 1 3,  and  Conscription  de  18 14.  He  stoops  forward,  eyes  on  the  ground, 
which  is  stony,  with  a  few  thistles.  In  the  background  is  the  sea,  with  a  frigate 
(the  Undaunted). 

For  the  arrival  in  Elba  on  4  May  see  Norwood  Young,  Napoleon  in  Exile 
at  Elba,  19 14,  pp.  95  fi^.  The  main  de  Justice  (a  baton  terminating  in  an  ivory 
hand,  used  as  a  second  sceptre  by  the  French  kings),  was  adopted  by  Napo- 
leon as  an  emblem  in  the  Imperial  seal.  Cf.  No.  12229,  ^^-  ^^^  ^^^  con- 
scriptions of  1813-14  see  No.  12087,  &c. 

Broadley,    ii.    56    (reproduction).     De    Vinck,    No.    9352.     Reproduced, 
Norwood  Young,  op.  cit.,  p.  104;  Bourguignon,  ii.  251. 
8^X7i|in. 

12248  LA  RESTITUTION,  OU  CHAQU'UN  SON  COMPTE. 

Deposee  a  la  dir°"  Gen"^  de  I  tmprtjnerie.  [Apr. -May  18 14] 

Engraving  (coloured  impression).  The  figures  have  numbers  referring  to  the 
words  engraved  below  the  design.  They  are  identified  in  pen  in  a  con- 
temporary hand.  The  Tsar  stands  directed  slightly  to  the  1.  in  the  centre 
of  a  large  dais,  between  Louis  XVIII  (1.)  and  Napoleon  (r.),  who  is  still  seated 
in  a  chair  of  state.  Napoleon,  supported  by  Wellington,  is  vomiting  a  map 
of  the  last  remnants  of  his  empire  (cf.  No.  12276).  His  chair  is  decorated  by 
an  imperial  eagle  clutching  thunderbolts,  but  head  downwards,  and  sur- 
mounted by  three  fleurs-de-lis.  Alexander,  5,  has  just  handed  a  crown  to 
Louis,  saying,  Acceptez  toujour  [sic]  ceci  voiis prendrez  le  reste  apres.  Louis,  4: 
Mais  pourtant  cela  doit  etre  a  moi;  he  points  to  the  map  that  Napoleon  dis- 
gorges. He  is  in  profile  to  the  r.,  and  is  flatteringly  depicted,  without  obesity. 
Napoleon,  6,  says:  Grace  a  vous  je  n^ai  plus  rien.  Wellington,  7  (identified 
as  Tangleterre'),  answers:  Depuis  longtems  j'y  travaillais.  The  map  consists 
of  Pays  Bas  (which  the  Emperor  of  Austria  is  detaching  for  himself),  Picardie 
and  Champagne  [which  Alexander  is  about  to  tear  off],  Bourgogne,  and  Paris, 
on  all  of  which  are  crossed  swords  representing  one  or  more  battles,  with 
Normandie,  Bretagne,  and  Dauphine.  Napoleon's  epaulets  and  sword  lie  on 
the  ground. 

On  the  ground  before  the  dais  are  three  sovereigns:  on  the  extreme  1. 
Ferdinand  VII,  i,  walks  off  in  profile  to  the  1.,  with  a  large  fragment  of  map, 
the    Iberian    peninsula  on  which  are  marked  Portugal,  Asturies,  Biscay e^ 

388 


POLITICAL   SATIRES    1814 

Estramadure,  Castille,  Catalogue,  Valence,  Grenade.  He  wears  Spanish  costume : 
feathered  cap,  cloak,  ruff,  and  slashed  doublet.  He  says:  Elle  est  en  bien 
Mauvais  etat.  The  King  of  Prussia,  2,  stoops  in  profile  to  the  r.  to  pick  up 
a  tiny  castle  inscribed  Erfurt.  He  holds  another  castle,  and  from  his  pocket 
project  a  church  spire  and  two  towers  inscribed  Rosbach,  with  a  rolled  map 
of  Suisse;  the  contour  of  a  cannon  is  faintly  sketched  on  the  pocket.  He  says: 
Oil  Von  troiive  so?i  bien  on  le  prend.  The  Emperor  of  Austria,  3,  kneels  in 
profile  to  the  1.,  holding  the  edge  of  a  wide-mouthed  sack  which  he  has  filled 
with  spoil.  On  it  cannon,  &c.,  are  faintly  traced,  as  if  the  sack  were  transparent. 
It  contains  a  town  represented  by  a  castle  and  spire,  large  wagons,  three  rolled 
maps:  Baviere,  Italie,  and  Saxce  [sic],  while  a  fragment  from  Napoleon's  map 
hangs  over  the  side :  I\Iilan  and  Parme.  Two  other  rolled  documents  are  in  his 
pocket:  Piemont  and  Ve?iise.  He  says,  as  he  takes  the  Low  Countries,  il  Me 
faiit  encore  Ceci.  More  of  Napoleon's  map  lies  on  the  ground,  a  large  fragment 
at  Alexander's  feet :  Pologne  between  Cracovie  and  Warzovie  in  the  north  and 
M"'  Crapaes  [?  Carpathes]  in  the  south.  Another  fragment,  perhaps  attached  to 
this  one,  lies  between  Alexander  and  Francis:  Konisberg,  Dantzig,  and  Grodno. 

This  scene  is  bounded  on  the  r.  by  a  wooden  partition  in  which  are  a  door 
behind  Napoleon's  seat,  and  a  small  window  behind  Francis.  Through  the 
latter  peers  in  Murat,  8,  extravagantly  dressed  as  was  his  custom.  He  wears 
uniform,  short  tunic,  long  tight  pantaloons  with  bows  at  the  knees,  short 
wrinkled  boots  with  wide  tops ;  his  fantastic  biretta-like  hat  with  a  tall  plume 
is  on  the  ground.  He  holds  a  document  inscribed  Sicile,  while  another 
inscribed  Naples  falls  from  his  hand.  He  says:  Voyons  ce  quails  me  laisseront. 
From  the  door  above,  inscribed  Porte  de  Derriere,  Cambaceres,  1 1,  globular 
in  contour,  walks  off  to  the  r.,  holding  a  large  paper:  Demission  Par  Suite 
[d'adlijesion.  He  is  followed  by  a  smaller  man  of  similar  shape,  who  holds 
the  coat-tails  of  his  leader,  and  carries  a  similar  paper:  Cuisiniere  Bourgeoise 
des  Cofifitures.  He  is  10,  d'Aigrefeuille.  Beside  him  and  holding  the  bag-wig 
of  Cambaceres  is  9,  tall,  thin,  and  inconspicuous,  not  identified,  but  evidently 
Villefcuillc.  These  three  say  respectively:  Suivez  nioi  je  Connais  Cette porte; 
Mais  de  quel  Cote;  Allons  nous  en  avant  que  Von  nous  le  dise. 

The  words  of  Cambaceres  (see  No.  9509),  who  was  arch-chancellor  and 
president  of  the  Senate,  show  that  the  date  of  the  print  is  after  9  Apr.  18 14, 
when  he  adhered  to  the  acts  of  the  Senate  deposing  Napoleon  and  then 
retired  to  private  life.  He,  d'Aigrefeuille,  who  was  small,  round,  and  fat, 
and  Villefeuille,  tall  and  thin,  were  a  trio  of  inseparable  gourmands  well  known 
in  Paris  during  the  Empire  and  Restoration.  The  print  reflects  the  uncer- 
tainty as  to  the  rearrangement  of  Europe  and  the  commanding  position  of 
Alexander  in  Paris,  as  well  as  his  demands  for  Poland,  but  is  not  otherwise 
well  informed.  It  was  already  certain  that  the  Netherlands  would  not  return 
to  Austria  (C.  K.  Webster,  Congress  of  Vienna,  1934,  p.  21),  and  that  countr}''s 
possible  acquisitions  are  exaggerated.  Ferdinand  had  no  prospect  of  getting 
Portugal.  The  independence  of  Switzerland  had  been  agreed  upon.  'Rosbach' 
seems  to  connote  the  great  Prussian  victory  over  France  of  1757:  Napoleon 
in  1806  ordered  the  column  commemorating  the  battle  to  be  removed  to 
France.  Mo?iitcur,  27  Oct.  1806;  De  Vinck,  Nos.  8257-8.  Erfurt  (cf. 
No.  12202)  had  been  given  to  Prussia  in  i8d2,  seized  by  Napoleon  in  1806, 
and  was  returned  in  18 14.  Murat  had  never  reigned  in  Sicily;  by  a  treaty 
with  Austria  in  Jan.  1814  he  remained  King  of  Naples  (till  i8i5,seeNo.  12519). 
See  also  No.  12276,  &c. 

Listed  by  Broadley.   Hennin,  No.  13626.   De  Vinck,  No.  9335.  Van  Stolk, 
No.  6276.   Reproduced,  Dayot,  Napoleon,  p.  329. 
8x  12^  in. 

389 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12249  LE  COMMENCEMENT  ET  LA  FIN.  [c.  May  1814] 

Engraving  (coloured  impression).  Napoleon  stands  on  the  shore,  his  head  in 
profile  to  the  1.,  holding  the  staff  of  a  white  flag  on  which  are  three  golden 
bees.  His  1.  hand  is  raised  high  above  his  head,  holding  his  hat  which  is 
cylindrical,  with  a  curved  brim,  and  a  white  cockade.  Though  not  caricatured, 
he  is  dressed  as  Harlequin,  and  has  a  wooden  sword  in  his  belt  (cf.  No.  10060). 
On  his  r.  leg,  which  is  advanced,  he  wears  a  spurred  cavalry  boot,  on  the  other 
a  sabot  inscribed  Corse.  His  body  is  covered  with  inscriptions,  fitted  into  the 
variegated  pattern  of  the  dress  which  clings  to  his  muscular  figure.  These 
record  the  stages  of  his  career,  starting  with  Corse  on  his  1.  foot;  on  his  1.  leg: 
Buonaparte  \  £leve  de  VEcole  Militaire;  C^"  sans  culotte;  Capit.  d'Ar tiller ie; 
Qai  d'Artillerie  13  Vend[emiaire];  G"'  de  Varmee  d'ltalie.  On  the  r.  thigh: 
G'^'  de  Varmee  d'Egypte;  Bofiaparte;  i^^  Consul;  Restaurateur;  Pacificateur; 
Consul  a  vie.  On  the  torso:  P'^*  de  la  Repub.  Italienne;  Napoleon.  On  the  1. 
arm:  Emp.  des  Franfais;  Roi  d'ltalie;  Protecteur  de  la  Confed.  du  Rhin.  On 
ther.  arm:  Napoleon  le  Grand;  Med.  de  la  Suisse;  Bourgeois  de  Vile  de  VElbe. 
On  the  1.  is  the  corner  of  an  ancient  fortress.  In  the  background  (r.)  low 
mountains,  with  a  hill-town,  rise  above  the  horizon. 

Before  landing  in  Elba  Napoleon  chose  a  flag  for  the  island.  It  was  one 
used  in  the  time  of  Cosimo  de'  Medici,  white  with  a  red  diagonal  stripe,  upon 
which  Napoleon  placed  three  bees  in  gold.  Two  were  made  by  the  tailor  of 
the  Undaunted,  one  for  the  fort,  the  other  for  the  barge  of  the  Undaunted. 
According  to  the  Paris  papers  this  was  a  white  flag  bordered  with  red. 
Examiner,  1814,  p.  323.  See  No.  12536.  The  curious  hat  held  by  Napoleon 
may  represent  the  'small  round  sailor's  hat'  which  he  is  said  to  have  carried 
when  he  landed,  though  wearing  his  usual  uniform  of  the  Chasseurs  of  the 
Guard.  Norwood  Young,  Napoleofi  in  Exile  at  Elba,  19 14,  pp.  98,  103. 
For  the  cockade  cf.  No.  12262.  Satires  on  the  banishment  to  Elba  appeared 
as  soon  as  his  destination  became  known,  see  No.  122 16,  &c. ;  this  is  excep- 
tional in  being  related  to  fact.  Despite  its  necessarily  later  date,  it  is  placed 
with  other  French  prints  on  the  subject.  For  Napoleon  in  Elba  see  No. 
12229,  ^^-  ^^^  the  title  cf.  No.  12549;  Talleyrand  called  the  campaign  of 
1813  'le  commencement  de  la  fin'. 

Listed    by    Broadley    (attributed    to   July    181 5).     Hennin,    No.    13644. 
De  Vinck,  No.  9353. 
8|-  X  6  in. 

12250  LE  ROBINSON  DE  L'lLE  D'ELBE.  [16  July  1814] 

Reproduction  (coloured),  Broadley,  ii.  56.  Napoleon,  active  and  alert,  stands 
in  profile  to  the  1.  holding  up  a  large  open  umbrella  with  a  spiked  shaft,  and 
topped  by  an  eagle.  On  the  surface  of  the  umbrella  is  a  scroll  inscribed 
l^^  Ban.  He  wears  uniform  with  a  star,  a  sword,  and  spurred  boots ;  over  this 
is  a  large  tiger-skin,  girt  round  him  by  a  belt;  the  animal's  (stuffed)  head  rests 
on  his  own  head,  the  tail  trails  on  the  ground.  In  his  1.  hand  is  a  sword- 
like saw  with  big  notches,  the  blade  decorated  with  eagles,  and  the  handle 
a  Hand  of  Justice,  see  No.  12247.  Attached  to  his  back  is  an  axe,  with  a  vulture 
perched  on  the  blade.  A  basket  hangs  from  his  shoulders,  from  which  papers 
project  inscribed  Espagne,  Moscou,  Jaffa  [see  Nos.  10062,  10063],  Levee  en 
masse,  [Conscr]iption,  Vincennes  [where  d'Enghien  was  shot,  see  No.  1025 1]. 
In  the  background  (r.)  a  black  'Man  Friday',  wearing  cocked  hat  and  military 
coat  over  a  loin-cloth,  runs  towards  his  master. 

For  Napoleon  in  Elba  see  No.  12229,  ^c.  For  the  consequences  of  Spain 
and  Moscow  cf.  No.  12241;  for  the  levee  en  masse,  No,  12201 ;  for  con- 

390 


POLITICAL   SATIRES    1814 

scription,  No.  12087,  &c.  For  Napoleon  as  Crusoe  see  also  Nos.  12255,  12258, 
12319,  12708. 

Napoleone  all'  Elba  (Bertarelli  Collection)  is  an  Italian  version  of  the  theme. 

De  Vinck,  No.  9371.   Reproduced,  Bourguignon,  ii.  258. 
12IX9J  in.  (original).  B.M.L.,  K.T.C.  37.  a.  13. 

12251  THE  DOWNFAL  OF  TYRANNY  &  RETURN  OF  PEACE. 

G  Cruikshank  fec^  [i  May  1814]' 

Engraving  (coloured  impression).  PI.  from  the  Meteor.  On  the  1.  Napoleon 
is  chained  to  a  rock;  on  the  r.  Britannia  sits  enthroned;  between  them  are 
three  allegorical  figures:  Justice  walking  on  clouds,  in  profile  to  the  1.,  blind- 
folded and  holding  her  scales,  raises  a  flaming  sword  to  strike  down  Napoleon. 
In  the  centre  Plenty,  supported  on  clouds,  scatters  flowers  and  fruit  from  a 
large  cornucopia ;  these  fall  on  the  edge  of  a  cliff"  which  borders  a  gulf  between 
Elba  and  a  green  plateau  representing  Britain.  Above,  Peace  flies  stiffly  above 
Plenty,  to  whom  she  extends  a  protecting  hand  while  she  holds  out  an  olive- 
branch  towards  Britannia.  Napoleon,  his  wrists  and  ankles  heavily  chained, 
kneels  on  one  knee,  flinching  from  the  gulf  over  which  his  rock  projects  and 
from  the  sword  of  Justice.  He  is  clutched  by  a  hideous,  nude,  emaciated 
creature,  diabolical  but  female  and  without  the  attributes  of  horns,  wings, 
hoofs,  and  tail.  Britannia  sits  on  a  dais  with  shield  and  spear,  under  a  draped 
canopy,  holding  out  her  arm  towards  Peace  and  Plenty.  Beside  her  stands 
France,  her  1.  arm  across  Britannia's  shoulder,  and  supporting  a  shield  bearing 
a  fleur-de-lis.  Beside  her  are  emblems  of  industr}':  a  bee-hive,  spade,  and 
flowers.  Water  flows  round  the  promonton,'  on  which  they  sit,  dividing  them 
from  Elba  (1.)  and  from  a  pleasant  landscape  (France)  where  naked  infants 
draw  a  wagon  heaped  with  emblems  of  harvest:  sheaves,  scythe,  &c. ;  one 
holds  up  a  banner  inscribed  Agriculture.  Beside  them,  another  child  guides 
a  plough  drawn  by  a  garlanded  ox.  In  the  channel  between  England  and 
France  a  naked  infant  sits  in  a  cockle-shell  boat,  holding  up  a  barbed  trident 
with  a  swirling  sail  attached  to  it,  inscribed  Commerce. 

A  print  similar  in  spirit  to  the  transparencies  exhibited  in  London,  cf. 
No.  12233.  For  Napoleon  in  Elba  see  No.  12229,  ^c.  Cf.  Nos.  12299,  12627. 
For  the  Bourbon  restoration  see  No.  12225,  ^c. 

Reid,  No.  494.   Cohn,  No.  553.   Broadley,  i.  361. 
7f  Xi8|  in. 

12252  BONEY  TURNED  MORALIST. 

Rozvlandson  del 

Pu¥  May  i"-  1814  by  R  Ackermann  N"  lOi  Strand 

Engraving  (coloured  impression).  Napoleon  in  three  contrasted  situations, 
each  w^ith  a  caption  in  large  capitals  above  and  below.  The  sea  extends 
behind  the  three  figures,  [i]  ^  Cruel  Tyrant.  He  stands  on  the  shore  in  royal 
robes,  wearing  a  spiky  crown  (like  that  of  Italy  in  No.  10432)  and  holding 
sceptre  and  orb.  He  turns  his  head  in  profile  to  the  r.,  registering  angry 
surprise,  seemingly  at  the  vision  of  his  future.  At  his  feet  are  two  crowns, 
a  mitre  and  crosier,  and  an  imperial  eagle.  Behind  and  on  the  extreme  1.  is 
part  of  a  facade  inscribed  Thidleries  [sic].  Below:  What  I  Was,.  [2]  A  Snivelling 
Wretch.  Napoleon,  wearing  a  small  bicorne,  sits  on  a  small  rock  in  the  sea, 
supporting  his  head  on  his  hand,  with  a  handkerchief  to  his  eye.  At  his  feet 
lies  his  sword.  Behind  the  rock  is  a  wind-swept  cloud  rising  from  the  sea;  in 

■  On  I  May  1814  The  Corsican  Locust,  No.  10092  (1803)  was  reissued. 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

it  fly  the  (carrion)  birds  associated  with  Elba  in  many  prints.  On  the  rock: 
Brief  History  of  my  Life  which  I  intend  to  Publish.  Below:  What  I  Am,. 
[3]  Hung  For  A  Fool.  Napoleon,  with  long  ass's  ears,  hangs  directed  to  the  1. 
from  a  gibbet;  he  wears  uniform  with  a  sword.  His  cocked  hat  lies  at  the 
foot  of  the  gibbet  which  stands  on  a  rocky  sea-coast.  Below :  What  I  Ought 
To  Be. 

For  Napoleon  in  Elba  see  No.  12229,  &c.  The  centre  figure  resembles 
No.  12223,  except  that  Napoleon  is  directed  slightly  to  the  r.  and  is  more 
realistically  drawn.  Cf.  No.  121 15,  &c. 

Grego,  Rowlandson,  ii.  282.   Broadley,  i.  361.   De  Vinck,  No.  9374. 
8^X13^  in. 

12253  THE  TYRANT  OF  THE  CONTINENT  IS  FALLEN,  EUROPE 
IS  FREE,  ENGLAND  REJOICES. 

[Rowlandson.] 

PiiM  May  i.  1814  by  R.  Ackermann  N°  loi  Strand 

Engraving  (coloured  impression).  Napoleon  (1.)  looks  up  terrified  at  an  arm 
holding  a  sword  emerging  from  clouds  (r.),  with  the  words:  Thou'rt  doom'd 
to  Pain,  at  which  the  Damn'd  will  tremble  \  And  take  their  own  for  Joys — .  The 
sword  has  a  jagged  blade,  intended  to  symbolize  flames.  He  wears  plain 
uniform  with  epaulets ;  his  small  bicorne  is  falling  off.  On  the  r.,  beneath  the 
avenging  arm,  is  Napoleon's  chair  of  state,  overturned ;  beside  it  are  heaped 
a  large  fringed  canopy  or  curtain,  a  spiky  crown  (cf.  No.  12252),  and  sceptre. 
From  behind  the  folds  of  the  curtain  the  Devil  em.erges,  winged  and  ferocious ; 
he  grasps  Napoleon's  leg.  Beside  Napoleon  is  a  pile  of  crowns  and  gold  plate. 
There  are  heavy  clouds  behind  Napoleon  and  on  the  r.,  above  and  below  the 
arm  and  sword.  Below  the  title:  Empire  and  Victory  be  all  forsaken.  To 
Plagues  Poverty  Disgrace  &  Shame,  Strip  me  of  all  my  Dignities  and  Crowns 
Take  O  Take  your  Sceptres  back.   Spare  me  but  Life. 

Cf.  Gillray's  The  Handwriting  upon  the  Wall,  No.  10072. 

Grego,  Rowlandson,  ii.  281  f.   Broadley,  i.  361.   De  Vinck,  No.  9022. 
8fxi3jin. 

12254  SNUFFING  OUT  BONEY!  326 
G  Cruikshank  fee' 

Pu¥  May  i'^  1814  by  T,  Tegg,  N"  iii  Cheapside 

Engraving  (coloured  and  uncoloured'  impressions),  A  Cossack  (r.),  highly 
delighted,  uses  a  large  pair  of  snuffers  to  grip  the  head  of  a  tiny  figure  of 
Napoleon  (1.),  emerging  like  a  candle  from  a  flat  candlestick  which  stands  (1.) 
on  a  three-legged  stool.  Napoleon's  feet  are  within  the  socket  of  the  candle- 
stick ;  he  wears  uniform,  with  immense  plumes  in  his  bicorne.  He  stands  with 
fingers  outspread,  turning  his  head  in  profile  to  the  r.,  his  mouth  wide  open 
as  if  shrieking.  The  Cossack  is  a  large  figure,  boldly  drawn,  wearing  furred 
cap  with  aigrette  and  a  sword.  He  is  in  a  slightly  crouching  attitude,  r.  leg 
extended  and  resting  on  the  heel,  1.  arm  raised,  as  if  dancing  (cf.  No.  12046). 
On  the  wall  above  Napoleon  is  a  print  of  a  seated  Cossack  about  to  place  an 
extinguisher  over  a  tiny  and  terrified  Napoleon;  this  resembles,  but  is  not 
a  copy  of  No.  12097. 

Reid,  No.  320.   Cohn,  No.  1992.    Broadley,  i.  361.    De  Vinck,  No.  8837. 
Van  Stolk,  No.  6313.    Milan,  No.  2658.    Reproduced,  Fuchs,  i.  173;  Klin- 
gender  (coloured  frontispiece). 
12^X9!  in. 

■  Without  serial  number. 


POLITICAL   SATIRES    1814 

12255  OTIUM  CUM  DIGNITATE,  OR  A  VIEW  OF  ELBA. 
SATIRIST  MAY  1ST  ign  [sic] 

G  Cniikshank  fee* 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xiv  (n.S.  iv).  The 
interior  of  a  ramshackle  hut  on  the  shore.  A  large  fire  burns  in  the  chimney- 
recess  (1.)  which  Napoleon  blows  with  bellows,  seated  on  a  three-legged  stool 
in  profile  to  the  1.  He  is  thin,  ragged,  unshaven  and  unkempt,  with  bare  legs, 
and  smokes  a  short  pipe ;  on  the  smoke  issuing  from  the  pipe  are  the  words : 
/  wish  I  could  Set  the  Chimney  on  Fire.  The  fuel  of  the  fire  is  a  pile  of  relics 
of  the  past:  a  terrestrial  globe  on  a  stand,  transfixed  by  a  sword  close  to  the 
word  Moscow,  books,  and  documents  inscribed  Camp  in  Russia,  Bulletin  [see 
No.  1 1920,  &c.],  Spain  &  the  Indies.  Over  the  fire  a  big  pot  hangs  from  a 
chain;  it  contains  bones;  on  the  ground  are  two  onions  and  a  spoon.  Other 
documents  lie  behind  Napoleon,  with  a  cracked  chamber-pot  and  an  old  shoe: 
Signed  Napoleon ;  Map  of  France ;  Fotification  [sic] ;  there  is  also  a  book :  Life 
&  Advent^  of  Robin  Cruso.  At  Napoleon's  r.  hand  stands  Joseph,  in  tattered 
quasi-Spanish  dress,  staring  in  dismay  at  a  bottle  he  holds  up.  Against  the 
chimney-corner  leans  a  headsman's  axe.  On  the  wall  beside  the  fire  two  small 
fish  hang  from  a  nail.   Scrawled  on  the  wall  are  a  guillotine  and  a  dagger. 

Behind  Napoleon,  and  in  the  centre  of  the  design,  is  a  rough  table,  at  which  a 
fat,  meretricious-looking  woman,  intended  for  Josephine,  is  rolling  pastry.  A 
ragged  and  foppish  officer,  identified  as  Bertrand  by  a  paper  in  his  pocket,  leans 
towards  her  amorously,  hand  on  heart,  to  give  a  surreptitious  kiss ;  he  holds 
up  two  fingers,  signifying  horns,  towards  Napoleon.  Josephine  smiles,  holding 
up  a  warning  finger  and  looking  sideways  at  her  husband's  back.  On  the  wall 
behind  her  head  is  a  T.Q.L.  portrait  of  Josephine  holding  orb  and  sceptre. 
Above  this  is  a  shelf  on  which  are  cup  and  saucer,  tea-pot  and  plate.  Two  far- 
thing dips  hang  from  a  nail.  The  irregular  stone  walls  arc  roughly  roofed  w^ith 
thatch,  and  there  is  a  wide  opening  framed  with  fiimsy  rustic  timber  which 
gives  access  to  the  shore  (r.).  Just  inside  this  doonvay  is  a  toy  cannon,  made 
of  a  spurred  jack-boot  resting  on  the  toe,  and  supported  horizontally  on  small 
wheels  (cf.  No.  12261).    Near  it  an  emaciated  cat  laps  from  a  plate. 

Just  outside  the  door  sits  Jerome  Bonaparte,  on  an  overturned  basket.  He 
wears  a  broad-brimmed  hat  in  which  a  short  pipe  is  thrust,  and  heavy  jack- 
boots and  is  very  unkempt.  He  is  in  profile  to  the  r.,  engrossed  in  making 
a  fishing-net.  At  his  feet  is  a  paper :  Jerome  Admidral  [sic]  of  the  Fleet.  Natives 
of  Elba,  two  men,  a  woman,  and  a  little  boy  stand  together  (r.),  staring  in 
at  the  hut;  compared  with  its  occupants  they  are  well  dressed  and  present- 
able.  Beyond  the  sea  a  rocky  mountain  rises  steeply. 

With  No.  12249,  the  first  of  the  satires  on  Elba  (see  No.  12229,  &c.)  to 
take  account  of  reports,  false  and  true,  on  the  circumstances  of  the  exile. 
General  Bertrand  accompanied  Napoleon ;  Josephine  would  have  liked  to  do 
so.  It  was  reported  from  Autun,  26  Apr.,  that  Joseph  and  Jerome  were 
en  route  for  Elba.  Examiner,  8  May.  For  Napoleon  as  Crusoe  cf.  No.  12250, 
&c.   Cf.  the  Corsican  hut  of  No.  9534. 

Reid,  No.  323,   Cohn,  No.  724.    Broadley,  i.  359  f. 
7^X13^  in.   With  border,  7|x  14^  in, 

12256  NIC  ALIAS  NAP'S  MARCH  TO  ELBA  OR  THE  DOWNFALL 
OF  THE  NAPOLEAN  DYNASTY. 

[Williams.] 

Pu¥  May  i''  1814  by  W  N  Jones  N"  5  Newgate  Street. 

Engraving  (coloured  impression).    PI,  from  the  Scourge,  vii,  before  p.  353, 

A  scene  outside  an  inn  whose  side-wall,  between  sea  (1.)  and  mountains  (r.), 

393 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

forms  a  background  to  the  centre  of  the  design.  Napoleon,  wearing  his  petit 
chapeau  and  not  caricatured,  seated  on  a  kicking  mule,  is  stationary  under  a 
gallows,  apparently  unconscious  of  the  Devil  who  stands  behind  him  on  the 
mule,  one  hoof  resting  on  a  box  of  600,0000  Franks  which  is  slung  from  the 
Emperor's  shoulder,  in  order  to  adjust  a  noose.  Two  similar  but  smaller 
demons,  with  webbed  wings  and  barbed  tails,  stand  on  the  cross-bar  of  the 
gallows  displaying  a  placard :  Triumphal  Arch  Of  The  Bonararte  [sic]  Dynasty. 
Napoleon  sits  between  two  panniers  heaped  with  church  plate;  he  reads  a 
document:  Proclamation  of  the  Provisional  Government  of  France — Recals 
Louis  XVIII  to  the  throne  Banisheth  Nap  to  the  Isle  of  Elba.  He  says,  biting 
his  thumb,  Dogs!  Rascals!  Turncoats!  am  I  fallen  without  blozving  up  Paris — 
but  I'll  leave  yet  a  bloody  page  for  history.  A  third  little  demon  prances  in  front 
of  the  mule,  which  he  is  leading  by  a  rein  slung  from  his  shoulder.  On  his 
head  he  carries  three  large  volumes:  Alcoran,  Sainte  Bible,  and  Service  of  the 
Synagogue,  on  which  lies  a  mask.  The  innkeeper  stands  behind  this  demon, 
with  both  arms  raised,  gleefully  holding  out  a  basin  to  Napoleon;  he  says: 
Here  Nic!  here's  a  babason  [sic]  of  Pichegrew  gruel  for  you.  There  are  two 
wide-open  windows  in  the  inn  wall.  From  one  (1.)  Josephine  flings  the  con- 
tents of  a  chamber-pot  at  Napoleon,  saying.  Wretch!  Monster!  Hypocrite! — 
Josephine  \}  helped]  you  to  a  throne  here's  a  reward  for  your  ingratitude  to  her. 
From  the  other  window  Elisa  Paterson  pours  a  similar  stream  on  the  head 
of  ex-King  Jerome  who  stands  below,  beside  the  (weeping)  King  of  Saxony. 
She  says:  Poor  Jerry  there  is  a  few  drops  from  Paterson  Lake  to  cool  your  West- 
phalian  fever — vive  Louis  XVIII.  Both  ladies  are  very  full-bosomed  and 
decolletees.  Jerome  wears  royal  robes,  and  holds  a  sceptre  in  the  hand  he 
raises  to  steady  his  toppling  crown.  Over  his  1.  shoulder  he  holds  a  sack. 
He  says:  Oh  that  I  had  staid  in  America  with  injured  Paterson — /  have  driven 
my  Westphalia  hogs  to  a  fine  jnarket  however  I  have  prig'd  some  Hams.  Frederick 
Augustus  also  wears  royal  robes;  his  crown  is  upside-down.  He  covers  his 
face  with  his  hands  and  a  handkerchief,  his  wrists  being  heavily  chained,  and 
says:  Oh  Saxony!  Saxony!  how  I  have  been  GuU'd  to  thy  ruin — .  Behind  them 
(r.)  stands  Louis  Bonaparte,  v/earing  crown  and  royal  robes,  with  both  arms 
raised.  He  exclaims:  Oh  Holland!  that  you  shotdd  part  with  so  good  a  King 
as  I  was — 

In  the  foreground  (r.)  is  Joseph  in  Spanish  dress.  He  uses  a  dilapidated 
imperial  eagle  as  a  walking-stick  and  drags  an  ornate  go-cart,  shallow  and 
boat-shaped,  inscribed  Playthings  for  Young  Boney — April  i^'  18 1 4.  It  con- 
tains drum,  trumpet,  sword,  bayonet,  crown,  and  sceptre.  On  these  rests 
a  wooden  horse  on  low  wheels  which  the  King  of  Rome  bestrides.  He  wears 
a  little  frock  but  has  a  profile  and  cocked  hat  resembling  those  of  his  father. 
The  reins  of  the  horse  are  pulled  by  an  officer  who  is  placing  a  fool's  cap  and 
bells  on  Joseph's  head.  The  child  flourishes  a  rattle,  saying,  Colico  [Caulain- 
court]  you  shan't  be  Master  of  my  Horse,  you' II pull  me  down  I'll  anihilate  you — 
as  Papa  says — .  Marie  Louise  walks  behind  the  child,  holding  him  on  the 
horse.  She  says:  Come  my  Dear  we'll  take  the  road  to  Italy,  and  his  holiness 
will  give  you  better  lessons  than  your  Father  did — .  Joseph,  much  downcast, 
says :  Oh  my  Subjects  in  Spain,  what  will  they  do  without  King  Joe!  Caulain- 
court  answers :  Never  mind  Joe  you  shall  be  Nic's  fool  at  Elba — and  be  head 
Marshall  over  160  coaches  and  take  charge  of  the  Pigs — .  Behind  Marie  Louise 
and  on  the  extreme  1.  stands  Pius  VII  in  robes  and  tiara,  his  cross  in  his  1. 
hand.  He  points  behind  him  towards  a  rugged  mountain.  A  sign-post  points 
(1.)  To  Italy. 

In  the  1.  foreground  a  man  in  Turkish  costume,  probably  Ali,  cf.  No.  12232, 
is  pushing  a  wheelbarrow  in  which  are  a  crown,  sceptre,  plate,  a  box  oi  Jewels, 

394 


POLITICAL    SATIRES    1814 

and  drapery  dotted  with  bees.  Three  bearded  Jews  stand  round  the  barrow, 
clamouring  for  payment.  One  holds  out  a  paper:  Contract  for  Supplying  the 
French  Army  in  Russia  with  Provisions,  and  says :  I'll  have  my  Bond!  I  should 
not  have  trusted  him,  but  he  shaid  he  wash  one  of  our  peoples.  Another,  with 
a  Contract  for  Supplying  Bonapart  with  Forage  in  Russia,  says :  /  trusted  him 
with  forage  on  the  same  account.  The  third  (1.)  drags  at  the  drapery  in  the 
wheelbarrow,  saying,  /  tinks  we  has  better  pay  ourshelves  he  hash  no  principle 
he  would  sheet  te  Devil  if  he  would  let  him.  Ali  says:  He  a  Jew!  no  no  Moses 
he  is  a  son  of  the  Prophet!  a  true  Mussleman. 

Behind  (1.)  two  men  wearing  peaked  caps  are  pushing  a  boat  to  the  shore. 
One  says :  There  he  is  Peter  it  seetjis  we  shall  get  rid  of  hifu ;  the  other  answers : 
To  give  the  Devil  his  due  he  deserves  our  thanks.  On  the  horizon  (1.)  is  a  rocky 
spur  of  land  on  which  is  a  temple.  Two  rocks  are  inscribed  Elba  and  A 
Momento  [sic]  for  Tyrants.  The  temple,  a  dome  supported  on  columns,  is 
Temple  of  In  •  Fame  •  y.  On  the  summit  is  poised  a  figure  of  Fame  holding 
up  a  weathercock  and  blowing  through  her  trumpet  the  words:  Be  wise,  O, 
Therefore  Ye  Kings.  On  the  frieze  is  the  inscription  Dedicated  to  Napoleon. 
Between  the  columns  is  seen  a  tiny  statue  of  a  man  holding  out  a  dagger  in  each 
hand.  Each  column  has  an  inscription,  the  first  is  in  shadow  and  obscure :  D'Eng- 
hien  [."],  Murder,  Deceit,  Hipocracy,  Opression,  Rapine.  From  the  inn,  facing 
Elba,  a  sign  projects:  The  H  .  .  E  By  Louis  Loyal  Refreshment  for  Travellers 
visting  [sic]  Ellba].   To  this  a  laurel  branch  is  fixed  with  a  favour:  Vive  Louis. 

As  in  No.  12255  Joseph  and  Jerome  are  associated  with  Xapoleon's  exile. 
Jerome  married  Eliza  Patterson  in  1803,  Napoleon  annulled  the  marriage  by 
imperial  decrfee  in  1807,  cf.  No.  10759.  The  Proclamation  signed  by  Alexander 
on  behalf  of  the  Allies  on  31  Mar.,  published  i  Apr.,  declared  that  the  Allies 
would  never  treat  with  Napoleon  or  any  of  his  family.  On  that  day  the  Senate 
formed  a  provisional  government  which  on  2  Apr.  pronounced  that  Napoleon 
had  forfeited  the  crown,  cf.  No.  12216.  Just  afterwards  the  Journal  des  Debats 
announced:  'II  est  temps  de  faire  connaitre  que  Bonaparte  ne  s'appelle  pas 
Napoleon,  mais  Nicolas!:  cet  homme  voulant  paraitre  extraordinaire  en  tout, 
meme  en  son  nom.'  Quoted,  Simond,  Paris,  i.  314.  In  Provence  he  was 
assailed  with  cries  of  'A  bas  Nicolas!'  At  Orgon  on  25  Apr.  where  the  post- 
horses  were  waiting.  Napoleon  encountered  a  gallows  with  an  effigy  of  himself. 
See  No.  12174.  On  his  abdication  Napoleon  was  represented  in  negotiations 
with  the  Allies  by  Caulaincourt,  his  Master  of  the  Horse.  For  his  liberal 
attitude  to  Jews  see  Jewish  Encyclopedia,  s.v.  Consistory,  Napoleon,  and 
Sanhedrin;  cf.  No.  12204.  For  his  religious  opportunism  see  No.  9973.  The 
only  reference  to  the  print  in  the  Scourge  is  an  alleged  quotation  (p.  424)  from 
a  public  body  in  France;  ".  .  .  Nicolas  Bonaparte  commonly  called  Napoleon 
Bonaparte",  with  the  comment: 

And  so  the  name  Napoleon 's  all  a  Trick 
He's  Nicolas,^  descended  from  Old  Nick. 

See  No.  12262;  for  the  exile  see  No.  12216,  &c.  'Napolean'  connotes  the 
Beast  of  Revelations,  see  No.  11004.  For  Napoleon  as  Nicolas  see  also 
Nos.  12232,  12572,  12585,  12603. 

Broadley,  i.  360  f.    Reproduced,  Norwood  Young,  op.  cit.,  p.  56. 
7|xi5iiA. 

'  The  Journal  de  Paris,  7  Apr.  1814:  'II  est  bon  de  savoir  que  Buonaparte  ne 
s'appclait  point  Napoleon,  mais  Nicolas,  ni  Bonaparte,  mais  Buonaparte.'  Henceforth 
the  appellation  'Nicolas'  was  much  used  by  French  caricaturists,  &c.  De  Vinck, 
No.  7804.  Nicolas  is  an  imaginary  heretic,  deduced  by  the  Fathers  from  Rezelation,  ii. 
14-15;  his  disciples  (Xicolaitans)  tn,'  to  make  Christians  fall  into  sin  in  order  to  call 
down  upon  them  the  wrath  of  God.  Littre,  Diet.,  citing  Revue  Gerrnanique,  1  Apr. 
1863,  p.  264. 

395 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

12257  THE  CREAM  OF  THE  JOKE  OR  BONEY'S  LAST  BULLETIN. 
[Williams.] 

PiiM  May  2'^  1814  by  S  W  Fores  ^o  Piccadilly,  where  may  be  had  all  the 

Carricature  [sic]  of  Bonaparte's  life. 
Engraving  (coloured  impression).  Napoleon  rides  (r.  to  1.)  on  a  wretched 
white  horse,  scarcely  caricatured,  but  with  his  hands  tied  behind  him.  Beside 
him  walks  a  French  officer  to  whom  he  dictates  a  bulletin.  The  latter  writes 
on  a  long  scroll  of  paper,  whose  end,  still  coiled,  trails  on  the  ground.  Napo- 
leon is  closely  followed  by  Cossacks,  the  two  foremost  with  levelled  spears. 
Others  form  a  close  column  advancing  through  a  distant  defile.  Above  him 
flies  an  eagle  with  a  crown  in  its  beak,  as  if  snatched  from  Napoleon's  head ; 
it  clutches  a  document  inscribed  Abdication  of  Nap  .  .  Round  its  neck  is  tied 
a  medal  inscribed  Bourbon.  There  is  a  mountainous  background  with  a  town 
on  the  coast,  and  the  island  of  Elba  on  the  horizon  (1.).  Napoleon  says:  Tell 
the  Lads  of  Paris — /  have  taken  two  thousand  of  the  D — d  Cossack's,  and  am 
going  to  transport  them  to  the  Island  of  Elba!!!  The  secretary  answers :  Mais 
Sire!  Ces  Diables  des  Cossak's  your  prisoners — take  the  liberty  of  the  Master 
and  wont  let  you  tell  de  lie  any  more! —  The  two  foremost  horsemen  say: 
Come!  Come!  push  on  the  Lads  of  Paris  are  not  to  be  hum'd  any  longer! —  [cf. 
No.  121 13]  and  Aye!  stop  till  we  lodge  you  in  El-bay  [see  No.  12267]  and  then 
you  and  the  old  one  may  try  which  can  lie  fastest.  After  the  title:  "Boasters 
are  naturally  falsifiers,  and  the  \  "people  of  all  others,  that  put  their  shams  the 
worst  together. — U Estrange' s  Fables. 

For  the  journey  to  Elba  see  No.  12216,  &c.  Napoleon's  bulletins  were  a 
favourite  topic,  see  No.  11920,  &c.  'Napoleon's  last  Bulletin'  was  published 
in  the  English  papers,  as  having  been  posted  at  Rennes  on  5  Apr.  when 
Marmont's  defection  (4  Apr.)  had  wrecked  the  last  hope  of  resistance.  It 
announced  that  the  Emperor  'with  the  whole  army  arrived  from  Troyes',  had 
taken  up  a  position  between  Essonne  and  Paris  with  the  forces  of  Marmont 
and  Mortier,  and  of  General  Compans.   {Examiner,  17  Apr.) 

Broadley,  i.  361.    De  Vinck,  No.  8990. 
81-Xi3|in. 

12258  BONEY'S  ELBGW  CHAIR 
G  Cniikshank  fee' 

Piib'^  May  5'''  1814  by  S  Knight  N°  3  Sweetings  Alley  Royal  Exchange 
London 

Engraving  (coloured  impression).  Heading  to  (etched)  verses.  Napoleon  sits 
in  an  arm-chair,  which  is  also  a  commode,  on  a  flat-topped  rock  surrounded 
by  sea.  He  wears  a  fool's  cap  with  bells,  inscribed  Imperial  Crown,  is  thin, 
unshaven  and  ragged,  and  scratches  himself  violently.  Carrion  crows  fly 
round  his  head ;  one  perches  on  the  back  of  his  chair.  His  small  platform  is 
covered  with  medicaments,  &c. :  a  jar  of  Brimstone,  two  bottles,  one  labelled 
Purgatif,  a  pot  of  Itch  Salve.  His  feet,  toes  protruding  from  his  boots,  rest 
on  a  State  Paper,  an  open  book  is  Life  &  Adventures  of  Robinson  Cruso  [cf. 
No.  12250,  &c.].  On  the  edge  of  a  distant  cliflF  (1.)  stands  John  Bull,  arms 
flung  wide  in  delighted  exuberance,  talking  to  a  lean,  sour-looking  man. 
Below  the  design ;  A  \  New  Throne  For  a  New  Emperor ;  |  or,  an  old  sinner 
brought  to  the  Stool  of  Repentance —  |  A  Dialogue  between  one  of  his  Admirers 
&  John  Bull,  on  his  being  laid  up  with  a  Cutaneous  or  Skin  Disorder 

" So!  your  poor  Friend  Nap  Boney  is  Kick' d  from  his  Throne, 
And  must  sit  on  a  Stool  close  at  Elba  alone  ? 

396 


POLITICAL   SATIRES    1814 

He  is  not  poor,  said  Nic,  he's  got  fat  &  grown  flabby ." 
"He  has  also  said  John,  got  the  Itch,  or  grown  scabby. 
For,  not  e'en  his  wife  will  consent  to  go  nigh  him 
And  all  his  Old  Mamelukes  flout  &  defy  him 
Perhaps  thou,  in  pity,  will  lift  up  his  latch. 
And  rub  him  with  Brimsto?ie,  or  help  hifn  to  scratch 
Pray  go — ;  &  take  with  thee  the  birds  of  thy  feather 
And  all  catch  the  Itch,  or  grow  scabby  together.     „ 

For  Napoleon  in  Elba  see  No.  12229,  ^^-  Cobbett  had  long  been  an 
admirer  of  Napoleon,  asserting  that  his  bulletins  were  more  truthful  than 
those  of  WeUington,  see  Nos.  11378,  12207.  In  his  Political  Register  he 
prophesied  the  defeat  of  the  Allies  up  to  the  last  moment;  on  5  Mar.,  'the 
French  are  now  in  a  position  to  dictate  terms  to  their  invaders';  on  12  Alar, 
he  was  'convinced  that  the  invaders  would  be  driven  from  France' ;  on  19  j\Iar. 
he  admitted  that  the  defeat  of  Bonaparte  was  'not  impossible'.  On  9  Apr.  he 
wrote  of  the  ferocious  and  implacable  advocates  of  "a  just  and  necessar}^  war" 
(cf.  No.  8599,  &c.)',  declaring  that  the  loss  of  Paris  was  not  final,  and  that  the 
French  were  devoted  to  Napoleon.    Cf.  No.  12511,  &c.    See  No.  12261. 

Raid,  No.  324.    Cohn,  No.  943.    Listed  by  Broadley.    Milan,  No.  2603. 
7jX9jin.    Sheet  c.  13IX9I  in. 

12259  PEACE  AND  PLENTY.  324 

Rowlandson  soul. 

Pub'^  May  8"'  1814  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  coastal  fortification:  a  sentry  stands 
beside  a  cannon,  but  in  the  foreground  three  soldiers  amuse  themselves  with 
a  buxom  laughing  woman;  one  is  a  drummer-boy,  his  drum  slung  from  his 
back.  Another  soldier  sleeps,  his  head  on  a  drum;  cannon-balls  lie  beside 
him,  and  on  the  1.  is  a  mortar  and  balls.  Behind,  two  men  flirt  with  a  woman 
whose  profile  is  on  the  extreme  1.  Above  them  flies  the  Royal  Standard,  with 
the  fleur-de-lis  quartering  abandoned  in  1801,  and  other\vise  incorrect.  On 
a  distant  promontory  is  a  castle. 

Peace  was  signed  on  30  May,  after  a  Convention  of  Armistice  on  23  Apr., 
by  the  Cte  d'Artois  as  Lieutenant-General  of  France,  and  the  Emperor  of 
Austria  for  the  Allies.  See  E.  Satow,  International  Congresses,  1920,  pp.  31  f., 
122-6.    See  No.  12265,  &c. 

Grego,  Rowlandson,  ii.  282-4  (reproduction).    Milan,  No.  2660. 
I2^X9J  in. 

12260  THE  TYRANT  OVERTAKEN  BY  JUSTICE  IS  EXCLUDED 
FROM  THE  WORLD  J29 

L  M  [Marks]  Del 

Pub'^  May  1814  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Napoleon,  in  profile  to  the  r.,  sits  on  the  flat 
top  of  a  precipitous  rock,  clasping  his  knees  and  looking  up  at  a  globe,  patterned 
with  sea  and  land,  with  lines  of  longitude,  the  equator,  &c.  This  floats, 
surrounded  by  clouds.  Below  (r.)  is  the  sea  and  (1.)  the  flames  of  Hell,  with 
more  clouds  from  which  emerge  the  head  and  shoulders  of  a  grinning  Devil, 
pointing  derisively  at  Napoleon.  A  carrion  bird  flies  towards  the  exile. 
Napoleon  is  ragged  and  grotesquely  caricatured  in  imitation  of  Cruikshank. 

397 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Cf.  No.  12171 ;  for  his  early  designs  on  the  globe  of.  No.  9977,  &c.  For 
Napoleon  in  Elba  see  No.  12229,  &c. 

Reid,  No.  321.    Cohn,  No.  2060  (with  the  note  that  G.  C.  rejected  it). 
Listed  by  Broadley.    Milan,  No.  2605. 
8|Xi3iin. 

12261  LITTLE  BONEY  GONE  TO  POT.  jjj 
G.  Cruikshank  fec^ 

Pu¥  May  12^^  1814  by  Tho'  Tegg  TV"  iii  Cheapstde 
Engraving.  Elba  is  represented  by  a  flat-topped  rock  emerging  from  the  sea 
only  a  little  above  the  waves.  Napoleon,  much  burlesqued,  sits  on  a  huge 
chamber-pot  inscribed  Imperial  Throne.  He  is  ragged  and  bare-legged  but 
wears  a  large  (damaged)  feathered  bicorne;  under  his  arm  is  a  clyster-pipe. 
He  turns  his  head  in  profile  towards  a  demon  rising  from  the  sea  (1.)  who 
holds  out  a  large  pistol,  saying,  If!  you  have  one  Spark  of  Courage  left!  take 
this.  Napoleon  answers:  Perhaps  I  may  if  you'll  take  the  flint  out.  The  demon 
is  nude  and  emaciated,  with  a  spiky  backbone;  flame  issues  from  his  mouth. 
Behind  Napoleon  is  the  trunk  of  a  decayed  tree;  on  a  branch  hang  (r.)  a  (torn) 
pair  of  breeches  and  two  tattered  stockings.  On  the  trunk,  above  Napoleon's 
head,  a  crow  is  spreadeagled  to  represent  the  imperial  eagle ;  from  its  splayed 
legs  hangs  a  gorget  inscribed  Pmperiel  Crozv.  On  the  ground  by  Napoleon's 
throne  are  a  large  jar  of  Brimstone,  an  open  book:  A  Triti  [sic] — on  the  Itch! 
by  Doctor  Scratch,  a  small-tooth  comb,  a  pipkin,  and  three  medicine-bottles. 
On  the  r.  is  a  cannon  made  out  of  a  jack-boot  as  in  No.  12255,  and  mounted 
on  a  gun-carriage.  A  pole  topped  by  a  turnip  and  two  carrots  has  a  little 
wooden  sword  tied  to  it,  in  imitation  of  a  trophy.   At  its  base  lies  a  syringe. 

A  similar  conception  to  No.  12258.  Carlyle  wrote  on  30  Apr.,  ' — Nap  the 
mighty  is — gone  to  pot!!!'  Early  Letters,  ed.  Norton,  1884,  i.  4;  cf.  No.  12281. 

The  demon's  offer  may  echo  the  Roustan  canard,  cf.  No.  12482,  or  Napo- 
leon's attempt  at  suicide. 

Reid,  No.  328.  Cohn,  No.  1322.  Listed  by  Broadley.  Milan,  No.  2597. 
8fxi2|in. 

12262  GOD  SAVE  YE  KING!!  by  an  Old  performer— &  the  Devil  take  the 
Cryer 

S  Kn^  inv^  G  Cr'^  Sculp 

Pub'^  May  ly^''  1814  by  S  Knight  Sweetings  alley  Royal  Xchange 
Engraving  (coloured  impression).  Napoleon,  his  head  in  profile  to  the  1., 
capers  frantically  on  the  shore,  waving  his  cocked  hat,  both  arms  raised;  he 
shouts  Vive  le  Roi!  Vive  Louis  XVIII!  Vive  Les  Bourbons!  Vive  Le  Roi  vive 
le  Roi. — vive  Louis!  He  registers  extreme  terror.  His  cocked  hat  and  uniform 
are  decorated  with  bunches  of  white  ribbon ;  one  on  his  breast  is  inscribed 
Vive  les  Bourbons ;  on  his  white  sash  are  the  words  Vive  le  Roi.  On  the  horizon 
(1.)  is  Elba,  a  rocky  promontory  on  which  is  a  gallows. 

A  satire  based  on  accounts  of  Napoleon's  journey  to  Elba,  see  No.  122 16, 
&c.,  copied  in  the  English  Press  from  the  Paris  papers  which  reported  (correctly) 
that  he  personated  a  member  of  his  escort  and  wore  a  white  cockade  to  escape 
molestation.  It  was  also  reported  that  at  one  or  two  places  he  was  forced  to 
shout  'Vive  Louis'.  Examiner,  15  May.  See  letter  of  Col.  Campbell,  27  Apr. 
1814,  Corr.  of  George  IV,  1938,  i.  433  f.,  and  Norwood  Young,  Napoleon  in 
Exile  at  Elba,  1914,  pp.  65-70.   See  Nos.  12256,  12266. 

Reid,  No.  329.   Cohn,  No.  1163.   Listed  by  Broadley.    Milan,  No.  2662. 
12^X9  i'^- 

398 


POLITICAL   SATIRES    1814 

12263  THREE  GREAT  ACTORS  all  the  world  a  Stage  &  all  the  men  are 

mearly  Players  [sic] 

[W.  Heath.] 

Puh  May  ig'^  1814  by  S  Knight  3  Szveeting  Alley 

Engraving.  Three  W.L.  portraits  (1.  to  r.):  WelHngton,  Bliicher,  Kean. 
Bliicher  stands  swaggeringly,  legs  astride,  hands  on  hips.  WelHngton,  calm 
and  dignified,  head  in  profile  to  the  r.,  points  a  forefinger  as  if  giving  an  order, 
the  1.  hand  on  the  hilt  of  his  sword.  Kean,  hunch-backed  and  in  his  Richard  III 
costume,  holds  his  sword  in  his  1.  hand,  pointing  with  his  r.  forefinger  in  a 
pose  not  unlike  Wellington's.    Bliicher  squints  violently. 

For  Kean's  first  appearance  in  London  see  No.  12325.   He  played  Richard 
at  Drury  Lane  on  12  Feb.,  so  exhausting  himself  that  he  could  not  act  for 
a  week.   D.N.B. 
8f  X  I2f  in. 

12264  A  LOGGERHEAD  QUARREL,  BETWEEN  THE  CITY  AND 
SURREY  OR,  A  GRAND  SET-TO  BETWEEN  M^  H— S— ,  &  SIR 
J— S— ,  TW^O  HONORABLE  MEMBERS  OF  A  CERTAIN  G^;  HOUSE, 
IN  THE  COMMITTEE  ROOM,  ON  FRIDAY  MAY  20TH  18I4. 

[G.  Cruikshank.] 

Pub'^  May  24  18 14  by  W  J  Fairburn — Brodway  [sic]  Blackfriars 

Engraving  (coloured  impression).  Two  men  hurl  ink-pots  at  each  other  in 
a  Committee  Room  of  the  House  of  Commons;  a  chair  overturns  (1.)  and  the 
table  with  its  green  cloth  tilts  over.  Both  are  very  thin,  the  younger  (r.),  who 
has  short  hair  with  a  whisker,  and  wears  short  gaiters,  has  hurled  an  ink-pot 
from  which  pens  scatter,  above  the  head  of  his  opponent.  The  other  (1.), 
who  wears  powdered  hair  with  a  short  pigtail,  raises  his  ink-pot,  and  is  about 
to  hurl  it.  They  are  Sir  James  Shaw,  M.P.  for  the  City,  and  George  Holme 
Sumner,  M.P.  for  Surrey.   One  (r.),  apparently  Shaw,  says: 

I've  flung  the  Loggerhead  Inkstand  at  his  Loggerhead 
If  he  had'nt  bob'd  &  miss'd  it,  Fd  kilVd  him  stone  dead 
The  other  says : 

Should  this  Loggerhead  but  hit  him  it  zvill  knock  him  down  flat 
If  this  Loggerhead  meets  his  Loggerhead,  he 's  as  dead  as  a  Rat. 

On  the  table  are  documents,  one  inscribed  New  Post-oflice  Bill.  Six  M.P.'s 
watch  with  scandalized  consternation  from  the  r.  and  from  across  the  table. 
They  are  freely  sketched.  One  on  the  extreme  r.  exclaims  Pshaw!  Pshaw!! 
Others  say  Order  Order. 

There  is  no  record  in  the  Commons  Journals  or  Pari.  Debates  for  20  May 
1 8 14  of  a  Committee  on  a  Post-office  Bill,  but  the  question  was  discussed  in 
Common  Council  on  24  Mar.  Examiner,  18 14,  p.  204.  The  'Fracas'  was  the 
subject  of  an  epigram  in  the  Scourge,  vii.  506  (June  18 14). 

Reid,  No.  333.    Cohn,  No.  1326. 

12265  PEACE  &  PLENTY  OR  GOOD  NEWS  FOR  JOHN  BULL!!! 
G.  H.  [Humphrey]  inv*^   Etched  by  G  Cruikshank 

Pub'^  May  25  1814  by  H  Humphrey  S^  James's  Street 

Engraving  (coloured  and  uncoloured  impressions).  John  Bull  sits  at  dinner 
outside  a  rustic  inn  (r,),  entertaining  Louis  XVIII  (1.)  who  is  on  his  r.  hand, 

399 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

in  profile  to  the  r.  Behind  John  is  the  trunk  of  an  old  oak  tree,  one  (decayed) 
branch  serving  as  support  for  the  sign,  a  crown,  irradiated  and  resting  on 
a  cushion :  The  Old  Constitution  New  Revived  by  John  Bull.  The  branch  is  sup- 
ported by  a  flimsy  strut  from  the  wall  of  the  inn  (r.).  A  sloping  board  or  chicken- 
ladder  leads  from  the  inn  window  to  the  table ;  down  this  strides  a  loaf  on 
legs,  and  inscribed  9'^,  followed  by  a  foaming  tankard  inscribed  Porter  3'^  Pot, 
capering  on  gaitered  legs.  Last  comes  a  grinning  leg  of  mutton,  with  arms 
and  legs,  and  inscribed  Mutton  4^^  lb.  The  Regent  (scarcely  caricatured)  looks 
out  of  the  window  to  say  They  are  all  coming  down  Johnny.  On  the  table  is 
a  dish  of  ribs  of  beef  inscribed  4^  lb,  a  plum-pudding,  and,  by  Louis,  a  bottle 
of  French  Wine  1/6.  Louis,  who  is  caricatured,  wears  a  coat  patterned  with 
fleurs-de-lis ;  he  sits  on  an  ornate  stool,  his  gouty  legs  extended.  He  raises 
his  glass,  saying.  Here 's  The  Prince  Regent  &  his  Allies!  John,  who  wears  the 
ill-fitting  wig  of  an  artisan,  puts  his  r.  hand  on  his  breast  and  lifts  his  glass 
high;  he  answers,  grinning  broadly:  Huzza!  with  all  my  Heart  &  may  we 
never  want  better  Friends.  By  the  table  (r.)  is  a  wine-cooler;  one  of  the  bottles 
is  Burgundy  2/-,  another  Sherry.  Beside  it  is  a  cask  on  which  stands  a  basket 
of  fruit. 

In  the  background  (1.)  another  delighted  John  Bull  drives  a  plough.  Behind 
is  the  sea,  with  a  small  vessel,  and  a  ship's  boat  against  the  shore,  filled  with 
bales  which  a  man  is  unloading.  In  the  distance  is  a  rocky  islet  with  a  tiny 
Napoleon  seated  on  a  small  stool  on  its  summit.  He  is  in  profile  to  the  r., 
wearing  a  huge  plumed  bicorne,  and  apparently  shackled  (see  No.  12229, 
&c.). 

On  20  Apr.,  the  day  of  Napoleon's  departure  from  Fontainebleau,  Louis 
XVIII,  who  had  been  delayed  at  Hartwell  by  gout,  made  a  state  entrance  into 
London,  accompanied  by  the  Regent.  They  went  to  Grillon's  hotel,  where 
the  two  sovereigns  exchanged  speeches  in  French:  Louis  attributed  his 
restoration  to  the  Regent  and  to  'ce  glorieux  pays  .  .  .',  cf.  No.  12617.  The 
loaf,  &c.,  'coming  down'  is  adapted  from  No.  9731  (1801),  &c. ;  the  price  of 
bread  fell  in  the  autumn  of  18 13  owing  to  a  good  harvest  after  a  dearth,  see 
No.  12089;  there  were  further  falls  in  the  price  of  wheat  in  May,  June,  July 
1 8 14.  Ann.  Reg.,  18 14,  p.  341.  Wine  had  been  very  dear  during  the  war. 
For  porter  cf.  No.  12502,  &c.  See  also  Nos.  12259,  12275,  12276,  12277, 
12307.  Cf.  Nos.  12301,  &c.,  12705.  For  'Peace  and  Plenty'  in  1801  see 
No.  9732,  &c.  For  Louis's  return  see  No.  12266,  &c. 

Reid,  No.  334.    Cohn,  No.  1832.    Listed  by  Broadley. 
9"^X  i3tI  iri-   With  border,  loix  14^  in. 

1 2266  NEED'S  MUST,  WHEN  WELLINGTON  DRIVE'S  OR  LOUIS'S 
RETURN!! 

Marks  Del 

Pub'^  by  S  Knight  j  Sweething  Alley  [May  18 14] 

Engraving  (coloured  impression).  Napoleon  (1.)  drags  a  bath  chair  in  which 
Louis  XVIII  reclines,  resting  one  swollen  gouty  leg  on  a  cushion  and  holding 
a  crutch.  The  chair  is  escorted  by  Wellington  and  Bliicher.  The  former, 
raising  a  birch-rod  and  pointing  to  Louis,  says  menacingly  to  Napoleon: 
I  desire,  you  will  Sing  God  save  the  King!!!  [cf.  No.  12262].  Napoleon,  holding 
a  handkerchief  to  his  eye  and  registering  angry  dismay,  answers:  /'//  be 
D — d  if  I  do!!  He  is  emaciated  and  ragged,  wearing  uniform  without  hat, 
sword,  or  spurs.  Bliicher  walks  behind  the  chair  (r.)  holding  his  sword  against 
his  shoulder.  He  extends  his  r.  arm  towards  Napoleon,  saying,  You'l  be 
d — d,  wither  you  do,  or  do  not!!  He  and  Wellington  wear  uniform  with  cocked 

400 


POLITICAL   SATIRES    1814 

hats.  The  chair  is  patterned  with  gold  fleurs-de-Hs.  The  scene  is  a  country 
road,  with  a  castle  (1.)  in  the  background. 

Wellington  entered  Toulouse  on  12  Apr.,  the  town  hoisting  the  white  flag; 
later  in  the  day  he  received  news  of  Napoleon's  abdication.  On  24  Apr.  Louis 
reached  Calais,  on  3  May  he  entered  Paris.  For  his  return  see  also  Nos.  12242, 
12265,  12268. 

Listed  by  Broadley.   Reproduced,  Grand-Carteret,  Napoleon,  No.  309. 
8^X12^  in. 

12267  CRUCE  DIGNUS  I  THE  GRAND  MENAGERIE,  |  WITH  AN 
EXACT  REPRESENTATION  OF  |  NAPOLEON  BUONAPARTE*,  | 
THE  LITTLE  CORSICAN  MONKEY,  1  AS  HE  MAY  PROBABLY 
APPEAR  AT  THE  ISLAND  OF  ELBA. 

Lee 

Printed  for  James  Asperne,  at  the  Bible,  Crown,  and  Constitution,  No  32 
Cornhill,  .  .  .  Price  Sixpence  Plain — One  Shilling  Coloured. 

[?May  1 8 14] 

Woodcut  (coloured  impression).  Heading  to  a  printed  broadside.  A  reissue 
of  Pidcock's  Grand  Menagerie,  No.  10077  (1803),  with  altered  title.  John  Bull, 
a  showman,  displays  a  captive  monkey  with  the  head  of  Napoleon.  His  words 
have  been  adapted  to  the  events  leading  up  to  the  abdication.  They  begin: 
'This  surprising  Animal  was  taken  by  John  Bull  and  his  Allies . . .'  'Russia  Sec' 
is  added  after  the  allusion  to  Egypt,  the  reference  to  Sidney  Smith  is  omitted. 
As  before:  'he  thought  he  coud conquer  the  four  Quarters  of  the  Globe'.  The 
speech  ends:  'But  Bull  and  Co.  coming  up  with  him  by  break  of  day, 
compelled  him  to  surrender,  and  transported  him  to  Hell  Bay,  (Elba.)'  The 
asterisk  in  the  title  refers  to  a  note:  'Anagram  upon  Buonaparte's  name.  On 
his  attempting  to  steal  the  crown,  &:c.  Bona  rapta  pone  leno. — Lay  down  the 
goods  you  have  stolen  Rascal!'  There  is  also  a  note  to  'Deceptions':  'The 
First  Twenty-seven  Verses  of  the  14"'  Chapter  of  Isaiah.' 

See  No.  12229,  ^c.    For  'Hell  Bay'  cf.  No.  1223 1. 

Other  broadsides  advertised  below  the  imprint  are  'A  delicate  Finish  to  a 
Corsican  Usurper,  with  a  large  Copperplate.  Price  6^  Plain,  or  is.  Coloured', 
sec  No.  12227,  ^^^  two  without  illustrations,  price  ^d-  or  6  for  a  shilling: 
'Cruce  Dignus'  .  .  .',  23  Apr.  1813  (suggesting  that  these  two  words  have 
been  inadvertently  prefixed  to  the  title  of  this  print),  and  'Bona  Rapta  .  .  .' 
(n.d.).    Copies  of  these  last  two  are  pasted  on  the  back  of  this  print. 

Broadley,  i.  362. 
7|X9f  in.    Broadside,  i']\x  13 J  in. 

12268  A  PLEASENT  DRAUGHT  FOR  LOUIS  OR  THE  WAY  TO 
GET  RID  OF  A  TROUBLESOME  FELLOW  363 

[?  Cawse.] 

[Pub.  Tegg,  ?  May  1814.] 

Engraving  (coloured  impression).  Louis  XVHI  sits  squarely  in  an  arm-chair, 
head  turned  slightly  to  the  r.,  with  a  satisfied  and  truculent  smile.  In  his 
1.  hand  he  holds  a  wine-glass  in  which  kneels  a  tiny  screaming  Napoleon, 
submerged  to  the  waist,  with  both  arms  raised  above  his  head.  His  1.  foot 
rests  regally  upon  a  cushion,  but  the  slashed  shoe  indicates  that  this  is  on 
account  of  gout.   He  wears  dress  of  ancien  regime  type,  with  the  ribbon  and 

'  On  this  is  advertised  'An  exact  Representation  of  Buonaparte  as  he  may  probably 
appear  on  the  Island  of  Elba'.   6d.  Plain,  is.  Coloured'  (probably  No.  12267). 


401 


Dd 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

Star  of  St.  Louis.  At  his  side  (r.)  is  a  cloth-covered  table  on  which  stands 
a  bottle  of  wine.    See  No.  12266,  &c. 

Listed  by  Broadley  (attributed  to  Elmes,  but  not  in  his  manner).  De  Vinck, 
No.  9149. 
iif  X8^  in. 

12269  CADUTA  DI  NAPOLEONE. 

[Milan  ?  May  1814.]    Deposto  alia  Biblioteca 

Engraving.  An  allegorical  design.  Fortune  (1.),  blindfolded  and  naked,  with 
long  hair,  poised  on  her  wheel,  pushes  up  the  pole  of  a  triumphal  car  in  which 
Napoleon  was  ascending  from  the  earth,  so  tilting  it  that  he  falls  out.  His 
crown,  and  the  Iron  Crown  of  Italy  are  both  falling.  He  raises  a  sword,  the 
blade  of  which  is  broken  off,  and  attempts  to  support  himself  on  a  massive 
throne  (r.)  which  tilts  backwards  at  his  grasp.  On  his  feet  are  Mercury's 
wings,  to  which  are  attached  branches  of  leaves ;  there  are  leaves  also  in  the 
car  and  twined  round  its  pole.  In  the  air  above  Napoleon  and  framed  by  a 
rainbow,  four  figures,  supported  on  a  double-headed  eagle,  are  about  to  strike 
him  down.  They  are  (1.  to  r.)  Russia,  a  burly  nude  figure,  with  butterfly-wings 
and  cheeks  inflated  with  the  north  wind;  Austria,  pointing  a  sword,  and 
Prussia,  raising  'the  sword  of  Frederick  the  Great'.  These  three  wear  spiky 
crowns,  on  which  their  names  are  inscribed.  Next  them  is  Inghilterra,  the 
name  on  the  trident  with  which  she  menaces  Napoleon ;  she  wears  a  helmet 
and  corslet  of  mail. 

At  the  base  of  the  design  Mercury  sits  on  a  rock,  a  nude  figure  in  profile 
to  the  r.,  gazing  intently  up  at  Napoleon.  He  wears  a  winged  cap,  his  feet  are 
without  wings,  he  holds  a  flute,  and  beside  him  is  a  sheathed  dagger.  Behind 
is  the  sea  with  a  low  horizon  from  which  the  sun  is  rising,  irradiating  the  dark 
sky.  On  the  1.  under  the  water  are  a  sunken  ship,  an  anchor,  and  a  corpse, 
symbolizing  the  fate  of  commerce  under  Napoleon.  On  the  r.  Napoleon's 
collapsing  throne  forms  a  large  triangular  mass.  The  heavy  slabs  on  which  it 
stands  were  supported  on  the  bowed  backs  of  France  and  Italy,  chained 
women,  joined  by  a  yoke,  one  wearing  a  mural  crown,  the  other  with  flowing 
hair.  Behind  them,  and  almost  crushed,  is  Liberty,  head  downwards,  holding 
her  cap  on  a  spear.  The  arms  of  the  chair  are  supported  on  a  lion  and  a  tiger, 
archaic  figures.  Beside  it  lie  a  crowned  skull  {}  of  Louis  XVI),  a  broken 
sceptre,  and  bones.  Beside  the  throne  are  the  papal  tiara  and  a  crosier,  round 
which  hang  chains,  now  broken,  but  linking  them  to  France  and  Italy.  With 
these  is  a  broken  crown,  wreathed  with  leaves.  Above,  resting  on  clouds,  is 
a  massive  stone  seat  on  which  sits  the  veiled  figure  of  Time,  holding  a  scroll 
inscribed  li  2  Aprile  18 14,  and  pointing  a  finger  at  the  four  avenging  Powers. 
Beside  him  stands  an  hour-glass  whose  sands  have  run  out. 

Below  the  title :  La  protezione  di  Mercurio  esaltb  Buonaparte  addormentando 
insidiosamente  la  Francia  e  V Italia  e  fondando  il  suo  Trono  sulle  rovine  delV 
Anarchia.  Colle  ali  alle  piante  die  il  Dio  de'  furbi,  gli  diede  oso  inalzarsi  sino 
al  Polo-Artico  ;  Ma  giunto  alia  meta  delle  sue  rapine  Vinesorabile  Fato  intima 
il  suo  Decreto  alle  alte  Potenze,  sorge  col  soffio  boreale  la  Russia,  su  i  vanni  dell' 
aquila  bicipite  V Austria,  colla  spada  del  gran  Federico  la  Prussia,  col  tridente 
dominator  de'  Mari  VInghilterra,  e  pongon  fine  ai  capricci  della  Fortuna  che 
rovescia  il  suo  Carro,  e  precipitano  Buonaparte,  che  inutilmente  s'appoggia  al 
suo  Trono  cui  la  forza  nel  Leone,  e  la  crudelta  nella  Tigre  sostengono  invano. 
Spezzansi  le  catene  che  inceppavano  la  Tiara.  Sorge  il  nuovo  Sole  che  fa 
risplendere  Vlride  pegno  di  quella  pace,  che  danno  al  Mondo  le  Potenze  Alleate, 
e  Mercurio  se  ne  torna  alle  cure  delV  abbandonato  Commercio. 

402 


POLITICAL   SATIRES    1814 

A  satire  giving  more  credit  than  is  common  in  prints  of  this  date  to  the 
effect  of  British  sea-power  (especially  apparent  in  Italy)  and  noteworthy  for 
the  allusion  to  Napoleon's  Continental  System.  See  Nos.  10773,  ^  1876, 123 16, 
12526,  12606,  12607.  The  fatal  date  of  2  Apr.  is  that  of  the  first  act  of  the 
Provisional  Government  in  Paris,  the  declaration  that  Napoleon  had  ceased 
to  reign  and  the  address  to  the  French  armies,  concluding  'Vous  n'etes  plus 
les  soldats  de  Napoleon;  le  Senat  et  la  France  entiere  vous  degagent  de  vos 
serments',  cf.  No.  12237.   The  Pope  re-entered  Rome  on  24  May. 

Broadley,  ii.  154  (reproduction),  157.   Milan,  No.  2635. 
iifxi3in.    PI.  i4Xi3|in. 

12270  MME  ESTURGION,  MONS  ..  VA  DE  BON-COEUR  CAPORALE. 
A  Paris  Chez  Vallardi,  Boulevard  Poissonniere,  N"  5. 

Depose  a  la  Directioti  [?  A  lay  1814] 

Engraving  (coloured  impression).  A  close  copy,  reversed,  of  BiUingsgatitia 
and  Battleoriim  from  No.  9620  (1800)  by  Rowlandson,  the  two  heads  directed 
towards  each  other.  The  military  officer  becomes  Napoleon;  the  fishwife, 
Marie  Louise,  both  with  a  certain  resemblance  to  their  subjects,  and  suggesting 
the  downfall.  Above  the  design:  Caricature  Anglaise  and  A"  6. 
c.  loxSi  in. 

12271  ACTS  OF  ADHESION!!!  |  SATIRIST  JUNE  1ST  jgH 

G.  Cruikshank  fee' 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xiv  (x.s.  iv).  Louis 
XVIII,  seated  on  the  throne,  flanked  by  an  officer  with  drawn  sword  and 
by  Talleyrand,  is  surrounded  by  Marshals  and  officers  of  Napoleon,  eager  to 
'adhere'  to  the  restored  king.  He  turns  his  head  in  profile  to  the  r.,  where 
Talleyrand  stands  at  his  1.  hand,  saying,  Welcome  my  Honest  Friends!!! 
Talleyrand,  who  stands  with  his  1.  foot  on  the  lower  dais,  the  r.,  in  its  surgical 
shoe,  on  the  upper  dais,  close  to  the  King,  says :  /  was  born  to  be  your  Slave. 
He  wears  clerical  gown  and  bands.  The  officer  on  the  King's  r.  says:  Vive 
le  Roi  &  r Amour.  (He  is  presumably  Marmont,  the  traitor  par  excellence 
of  the  abdication,  see  No.  12237.)  ^"^^  ^^^  steps  of  the  throne  (r.)  kneels  an 
officer  who  extends  his  1.  arm  in  a  dramatic  gesture,  saying,  A  Vice  of  Ki?igs 
may  be  a  good  Subject,  showing  that  he  is  Eugene  de  Beauharnais.  Behind 
him  stands  a  grotesquely  hideous  officer  who  holds  behind  his  back  a  plate 
inscribed  Duke  D.  Eng[hie?i]  on  which  is  a  decollated  head;  he  holds  out  his 
r.  hand  to  Louis,  saying,  /  had  no  hand  in  seizitig  him,  showing  that  he  is 
Caulaincourt.  Behind  him  is  a  fat  plebeian-looking  man  with  a  birch-rod 
tied  to  his  waist,  who  says:  Make  zcay  for  the  Lady -flogging  Hoggendmp 
[?  Augereau].  On  the  extreme  r.  stands  another  rough-looking  man,  wearing 
a  cocked  hat  with  a  white  cockade,  and  holding  a  tiny  guillotine  behind  his 
back  [?  Jourdan].  Less  conspicuous  is  another  'adhering'  officer,  and  behind 
the  throne  (r.)  a  turbaned  figure  who  is  presumably  Roustan,  Napoleon's 
faithless  Mameluke. 

Three  officers  are  on  the  1.  One  doffs  his  cocked  hat  with  white  cockade ; 
behind  his  back  he  holds  a  paper  inscribed  Plan  of  the  Sacki^ig  of  Sarragosa, 
suggesting  that  he  is  Mortier.  Next  him  stands  Soult,  with  framed  pictures 
hanging  from  his  shoulders;  he  bows,  saying,  /  adhere,  provided  all  tny 
robberies  adhere  to  me  Spanish  Pictures  &  all.  The  third,  Davout,  stands  with 
a  model  of  a  building  inscribed  Hamburg  Bank  hanging  from  his  shoulders; 
he  says:  Da!  Vos!   On  the  extreme  1.  two  men  hasten  off  to  the  1.,  one  is  a 

403 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

priest,  wearing  a  skull-cap,  long  robe,  sandals,  and  rosary;  he  says:  hn  blown 
— no  hopes  of  being  Pope,  showing  that  he  is  Cardinal  Fesch.  His  companion, 
a  ruffianly  fellow,  registers  rage,  saying.  Are  there  no  Daggers  still  in  the  World. 

After  Napoleon's  abdication  his  marshals  hastened  competitively  to  adhere 
to  Louis  XVIII.  See  Aulard,  'Les  Adhesions  aux  Bourbons  en  1 8 14',  La  Rev. 
fr.,  Apr.  1890.  The  Moniteur  from  7  to  14  Apr.  was  filled  with  these  acts 
of  adhesion  or  professions  of  loyalty,  notably  from  Augereau  (see  No.  10362) 
and  Jourdan.  Houssaye,  1814,  ed.  of  1915,  p.  641.  See  Examiner,  i  May 
1 8 14  (p.  283),  where  the  adhesions  of  Brune,  Augereau,  Massena,  Soult,  and 
Suchet  are  noted.  On  the  arrival  of  the  King  in  Paris  the  marshals  dined  with 
him.  Ibid.,  p.  292.  Soult  had  accumulated  works  of  art  and  church  treasures 
in  Spain.  Davout  marched  out  of  Hamburg  only  on  news  of  the  abdication. 
On  returning  to  France  he  was  disgraced  and  ordered  to  stand  his  trial  on 
three  charges,  one  being  that  he  had  seized  the  Bank  of  Hamburg.  Though 
Caulaincourt,  like  Davout,  remained  faithful  to  the  Emperor,  and  was 
excluded  from  the  House  of  Peers,  he  was  presented  to  Louis  XVIII.  He 
had  been  deliberately  implicated  by  Napoleon  in  the  seizure  of  the  Due 
d'Enghien,  see  No.  1025 1,  but  was  guiltless  of  his  death.  See  Memoirs  of 
Caulaincourt,  1938,  ii.  391-5.  Eugene  de  Beauharnais,  the  Viceroy  of  Italy, 
did  not  adhere  to  Louis  XVIII.  He  came  to  Paris  to  visit  Josephine  on  9  May, 
and  then  paid  his  respects  to  the  King.  Geer,  Napoleon  and  his  Family, 
iii,  1929,  p.  122. 

Reid,  No.  338.    Cohn,  No.  720. 
7jx  13-^  in.   With  border,  7|x  14I  in. 

12272  ROYAL— MUNIFICENCE,     hemll 

[Williams.] 

Pub'^  June  i'^  1814  by  W.  N  Jones  N°  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  vii,  before  p.  443. 
Illustration  to  verses,  pp.  443-8.  Queen  Charlotte,  taking  snuff,  sits  in  an 
arm-chair  beside  a  table  on  which  is  a  frugal  meal.  She  looks  up  in  astonish- 
ment at  a  military  officer,  who  enters  (r.),  chapeau-bras,  holding  out  a  paper 
on  which  a  few  of  the  words  indicated  are  legible:  Gentlemen  .  .  .  2.000 
guineas  .  .  .  my  dear  countrymefi  .  .  .  my  heart  bleeds  .  .  .  distress  .  .  .  [signed] 
Charlotte.  She  exclaims:  Mein  Gottf  my  poor  Countrymen!  my  heart  bleeds! 
but  de  public  money  is  a  sacred  trust — /  love  my  Countrymen — but  de  Britons  be 
generous  and  will  relieve  them — Ach!  mein  Gott — mein  Gott.  On  her  lap  is  an 
open  book:  Frugal  Maxims  or  the  Art  of  Saving  Chap  i^' — Cheap  Diet.  Her 
knees  are  ungracefully  apart,  with  a  corner  of  the  table-cloth  drawn  over 
them ;  a  napkin  is  tied  round  her  neck.  On  the  table  are  two  boiled  eggs,  a  loaf, 
a  decanter  labelled  Aqua  reg[ia],  coins,  and  a  bulging  money-bag.  One  of  the 
Princesses,  probably  Sophia,  kneels  before  the  fire  (1.)  in  profile  to  the  1., 
plying  bellows  to  heat  a  small  pot.  Beside  the  Queen  (r.)  is  a  large  snufT- 
jar  inscribed  Strasburg  [see  No.  12066].  Behind  the  astonished  visitor  who 
holds  out  to  the  Queen  her  own  letter  two  men  whisper  together  on  the 
extreme  r.,  concealing  amusement.  They  say:  A  good  manoeuvre  this  and 
It  zvon't  take  tho! 

The  room  is  that  of  a  miser.  Behind  the  Queen  (1.)  is  an  open  cupboard, 
the  shelves  stacked  with  money-bags,  &c.  On  the  top  shelf  a  (carved)  bird 
labelled  Tippo's  Dove,  presumably  from  the  spoils  of  Seringapatam  (1799), 
a  bag  of  Pearls,  and  a  jar  of  Gold  Dust.  Below:  a  bag  of  Farthings  stands  on 
a  triply  locked  chest  oi  Jewels,  which  is  next  a  bag  inscribed  20.000.  On  the 
lower  shelves  are  money-bags.    On  the  inner  side  of  the  door  is  a  Table  of 

404 


POLITICAL   SATIRES    1814 

Interest  with  sums  extending  from  100  to  100.000.  On  a  settee  against  the 
wall  is  a  heap  of  books,  four  inscribed:  The  Man  of  Ross,  Narrative  of  the 
Battle  of  Leipsic,  Life  of  John  Elzves  Esqr,  Essay  on  Charity.  Above  is  a  picture 
inscribed  Date  Obolum  Belisario:  the  Queen  walks  along  a  pavement  holding 
out  the  hat  of  the  blind  King,  who  follows  her  with  his  hand  on  her  shoulder. 
On  the  chimney-piece  is  a  bust  oi  Elzves,  and  a  candlestick  with  an  extinguisher 
resting  on  a  candle-end.  Above  are  three  pictures:  Betievolefice,  a  woman  on 
a  doorstep  gives  something  to  a  beggar-woman ;  Charity  hangs  sideways  and 
is  largely  hidden  by  the  margin;  [A\varice  a  woman  (the  Queen)  with  money- 
bags, the  head  cut  off  by  the  upper  margin. 

According  to  the  verses  (in  the  manner  of  Peter  Pindar),  the  Queen's  name 
was  in  jest  put  down  for  ,(^2,000  on  a  subscription  list  opened  in  the  City 
for  the  relief  of  distress  in  Germany  due  to  the  war.  On  inquiry  it  was  found 
that  she  had  not  contributed.  A  satirical  paragraph  in  the  Examiner,  15  May, 
on  the  subscription  (initiated  by  the  Duke  of  Sussex):  'The  hitherto  regretted 
absence  of  this  august  name  is,  we  understand,  solely  imputed  to  a  desire 
entertained  by  the  exalted  Personage  of  waiting  till  the  renewal  of  her  birth- 
day [19  IVIay]  should  offer  a  felicitous  opportunity  of  thus  increasing  the  public 
love  and  her  own  immediate  self-respect.'  Ibid.,  26  June:  'Her  Majesty  .  .  . 
has  not  given  one  sixpence  in  aid  of  her  distressed  country.'  On  25  Sept.  a  vicious 
article  is  headed  'Her  Majesty  and  Alms-giving'.  Satires  on  the  Queen's 
supposed  miserliness  were  revived  in  1813,  see  No.  12066;  cf.  Xo.  12279. 
The  print  deri\es  in  part  from  Gillray's  Temperance  enjoying  a  frugal 
Meal,  No.  81 17;  the  allusions  to  the  Man  of  Ross  (John  Kyrle),  and  to 
the  miser  Elwes;  the  Table  of  Interest,  the  candle,  the  eggs,  the  table- 
cloth over  the  knee,  are  common  to  both.  Date  Obolum  Belisario  is  a  catch- 
phrase  embodying  the  legend  that  Belisarius  was  neglected  in  his  old  age  by 
Justinian  and  allowed  to  beg  in  the  streets,  cf.  Nos.  6028,  12995;  ^^^"^  ^^  i^ 
an  allusion  to  the  King's  blindness  as  well  as  to  the  Queen's  parsimony. 
8|x  i2|  in. 

12273  THE  DUTCH  TOY. 

[Williams.] 

Pu¥  June  i'^  1814  by  IV  Holland  X"  11  Cockspiir  Street. 

Engraving  (coloured  impression).  Princess  Charlotte  (a  flattering  portrait) 
stands  raising  a  whip  to  lash  a  top  spinning  on  the  floor,  on  which  sits  in 
profile  to  the  r.  a  little  Dutchman  smoking  a  pipe.  He  wears  the  short  jacket, 
bulky  breeches,  and  flower-pot  hat  of  the  Dutchman  in  English  caricature,  but 
orange-coloured  and  with  epaulets,  and  with  a  paper  inscribed  Contract  in  his 
pocket  to  show  that  he  is  the  Prince  of  Orange.  An  ermine-lined  robe  hangs 
from  her  shoulders  over  a  decolletee  dress.  She  says:  Take  this  for  Ma!  and 
this  for  Pa! — a7id  this!  and  this!  for  myself,  you  ugly  thing  you! —  The  door  (r.) 
is  slightly  open,  allowing  an  arm  holding  a  birch-rod  tied  with  orange  ribbon 
and  an  unmistakable  leg  to  project  into  the  room.  The  words  of  the  concealed 
Regent  float  in  on  a  label:  If  you  don' t  find  pleasure  in  whipping  the  Top,  I  shall 
whip  the  Bottom!  Against  the  wall  (1.)  is  a  square  piano  with  an  open  music- 
book,  with  the  words  and  music  of  a  song : 

An  Obstinate  Daughter's  the  plague  of  you  [sic]  life 

No  rest  can  you  take  tho  your  rid  of  your  Wife 

At  twefity  she  laughs  at  the  duty  you  taught  her 

Oh!  what  a  plague  is  an  obstinate  Daughter. 

[Sheridan,  The  Duenna.] 

405 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

On  the  piano  is  a  book,  School  for  Wives  [comedy  by  Hugh  Kelly,  1773]. 
On  the  wall  is  a  picture  of  Cupid  standing  on  his  head  on  a  terrestrial  globe 
at  the  point  where  Holland  is  marked:  he  has  dropped  his  bow,  arrows  fall 
from  his  quiver  towards  England. 

For  Princess  Charlotte's  engagement  see  No.  12 191,  &c.  At  this  date  the 
Prince  of  Orange  was  in  London,  meeting  the  Princess  daily;  a  threatened 
rupture  over  her  demands  that  she  should  never  be  obliged  to  leave  England 
had  been  overcome  by  the  acceptance  of  her  conditions,  which  were  embodied 
in  an  additional  article  to  the  marriage  contract  (10  June).  The  print  may 
be  part  of  the  campaign  against  the  marriage  of  Brougham  and  those  Whigs 
who  used  the  Princess  and  her  daughter  to  attack  the  Regent.  See  Renier, 
Great  Britain  and  the  Establishment  of  the  Kingdom  of  the  Netherlands,  1930, 
pp.  163  ff.  For  the  breaking  of  the  engagement  see  No.  12280,  &c.  No.  12288 
is  a  sequel  to  this  print.  For  the  top  cf.  No.  122 18. 
8|xi2j  in. 

12274  DRUMMING  OUT  OF  THE  FRENCH  ARMY!!! 

[Williams.] 

Pu¥  June  1814  by  Holland  N°  11  Cockspur  Street 

Engraving  (coloured  impression).  Napoleon  is  suspended  horizontally  in  a 
drum  slung  from  the  neck  of  Bliicher,  who  raises  a  birch-rod  in  his  r.  hand, 
a  drumstick  in  his  1.,  to  smite  his  victim  on  bared  posteriors  and  head.  On 
the  r.  Alexander,  holding  his  sword  against  his  r.  shoulder,  walks  with 
Frederick  William  HI,  taking  his  r.  arm;  both  turn  their  heads  to  look  with 
satisfied  nonchalance  towards  Napoleon.  Behind  them  walks  a  grenadier 
playing  a  fife ;  he  has  a  fleur-de-lis  badge  in  his  cap.  In  the  middle  distance 
an  officer  marches  behind  Bliicher  holding  up  the  Bourbon  flag  and  followed 
by  a  detachment  of  the  French  army. 

The  adhesion  of  the  French  marshals  and  generals  to  Louis  XVIII,  as  well 
as  the  victories  of  the  AHies,  is  indicated,  see  No.  12271.  Cf.  No.  12314,  a 
similar  subject,  and  No.  12571,  apparently  based  on  this  print.  Broadley  lists 
Blucherion  Discipline,  by  Elmes,  pub.  Tegg,  22  Mar.  18 13,  as  a  similar  design. 

Broadley,  i.  365.  Reproduced:  Grand-Carteret,  Napoleon,  No.  317;  Fuchs, 
i.  176  (colour). 
8|xi2||  in. 

12275  EMBLEMATIC  REPRESENTATION  OF  PEACE.  75 

[Cruikshank.] 

Published  by  T.  Batchelar,  11^,  Long  Alley,  Moorfields,  London. 

[June  1 8 14] 

Woodcut.  The  crudely  cut  print,  perhaps  sold  at  a  halfpenny,  is  described: 
'The  Definitive  Treaty  of  Peace  was  signed  at  Paris  on  the  30th  of  May.  .  .  . 
The  figures  represent  Britannia  seated  on  a  rock,  supported  by  Peace  &  Free- 
dom, with  Plenty  presenting  the  fruits  of  the  earth  from  a  cornucopiae.  .  .  . 
On  the  one  side  [r.]  is  the  flourishing  pillar  of  commerce,  and  on  the  other 
that  of  monopoly  [cf.  No.  9717]  broken  asunder  .  .  . ;  in  the  background 
warriors  returning  to  their  homes  and  friends,  trading  ships  on  the  ocean, 
where  the  British  flag  is  still  hoisted  triumphant.'  Freedom  holds  the  Cap 
of  Liberty  on  a  staff.   See  No.  12265,  &c. 

The  print  is  autographed  'Drawn  by  Geo  Cruikshank  on  wood — & 
engraved — by  a  wood  cutter — who  cut  my  drawing  all  to  peices — '. 

Reid,  No.  2810.    Cohn,  No.  1087. 
5jx8|  in. 

406 


POLITICAL   SATIRES    1814 

12276  AN  IMPERIAL  VOMIT. 

[Williams.] 

London  Pu¥  June  4^''  1814  by  W""  Holland  N"  11  Cockspur  S^ 

Engraving  (coloured  impression).  Napoleon  (r.)  bends  in  profile  to  the  r.  over 
a  tub  vomiting  tiny  figures,  crowns,  sceptres,  &c.  Behind  him  (1.)  stands  the 
Prince  Regent,  tall  and  portly,  looking  down  at  him,  1.  hand  raised ;  he  says :  / 
think  nozv  my  little  fellow,  you  are  pretty  well  clear' d  out,  audi  hope  you  will  never 
give  us  the  trouble  to  Presaibe  or  Proscribe  any  more.  In  the  Regent's  r.  hand 
is  a  large  rolled  document:  Treat[y  0/]  Peace.  The  tub  is  inscribed  George 
Prince  and  C°.  Two  little  men  falling  into  the  tub  hold  flags  inscribed  Spain, 
a  third  holds  a  flag  inscribed  Westphalia,  indicating  Joseph  and  Jerome. 
Issuing  from  Napoleon's  mouth  is  a  woman  holding  a  fleur-de-lis  flag.  With 
the  crowns  and  sceptres  falls  a  document  inscribed  Confederation  of  the  Rhine. 
Looking  over  the  edge  of  the  tub  is  a  man  saying,  /  say  Mynheer!  do  stop  and 
help  a  poor  Swiss  out  of  the  Tub.  He  addresses  a  tiny  Dutchman,  wearing 
bulky  breeches  (coloured  orange)  and  smoking  a  pipe,  who  walks  off'  to  the  r., 
his  hands  in  his  pockets,  saying.  Nay  Nay  Mynheer  nozv  I  be  out  I  will  run 
for  it.  Napoleon  holds  his  head  and  stomach,  looking  very  ill ;  on  the  ground 
are  his  petit  chapeau,  and  a  large  sword  lying  across  a  Plan  of  Elba  [see 
No.  122 16,  &c.].   After  the  title: 

"And  all  the  way  most  like  a  brutish  Beast 

''He  spewed  up  all  his  Gorge,  that  all  did  him  detest. 

Spencer  [sic] 
[Faery  Queen,  i.  iv.  21.] 

One  of  several  prints  on  the  disappearance  of  Napoleon's  subject  kingdoms, 
cf.  Nos.  12191,  12230,  12248,  12606,  here  combined  with  a  reference  to  the 
peace  treaties.  Cf.  No.  12265,  &c.  With  the  preparations  for  the  reception 
of  the  Allied  sovereigns  in  London  the  Regent  takes  a  leading  place  in 
Napoleonic  caricature,  cf.  No.  12277. 

Broadley,  i.  363  f.  (reproduction). 
ir^xSf  in. 

12277  A  GAME  AT  CRIBBAGE  OR  BONEY'S  LAST  SHUFFLE— 

G  H  [Humphrey]  inv^    G  Cruikshank  Sculp 

Pub''  June  6"'  1814  by  H  Hwnphrey  S'  James's  Street 

Engraving  (coloured  impression).  Napoleon  (1.)  and  the  Regent  (r.)  face  each 
other  in  profile  across  a  square  card-table,  on  which  is  a  cribbage-board. 
Napoleon  is  much  caricatured,  a  puny  figure  with  his  legs  dangling  from  his 
chair,  toes  upturned,  registering  acute  anxiety;  he  grimaces  as  he  puts  an 
eight  of  clubs  on  the  table,  saying  Eight.  He  holds  the  ace  and  knave  (or  king) 
of  clubs,  the  three  and  four  of  spades.  The  Regent,  handsome  and  debonair, 
holds  out  a  king  of  hearts  inscribed  L.  XVHI  saying  XVHIH!  He  holds 
the  eight  of  diamonds  and  three  court  cards,  which  are  portraits  of  Alexander, 
inscribed  A,  Blucher,  inscribed  B,  and  Schwarzenberg  inscribed  5".  Beside 
him,  the  top  card  of  a  pack,  is  a  queen  of  hearts  inscribed  D'  of  O  [Olden- 
burg], Alexander's  sister  Catherine,  who  visited  England  30  Mar.-27  June 
1 814.  The  back  of  Napoleon's  chair  is  decorated  with  a  guillotine,  and  a 
bonnet  rouge  supported  on  the  point  of  a  dagger ;  on  that  of  the  Regent  are 
the  Royal  Arms  and  the  Prince's  feathers.  Behind  the  latter's  chair  (r.)  lies 
a  wary  British  bulldog,  symbolizing  John  Bull. 

Published  on  the  day  of  the  arrival  of  the  Allied  sovereigns  in  England, 
cf.  No.  12278.   The  Regent  is  rightly  credited  with  a  share  in  the  restoration 

407 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

of  Louis  XVIII,  cf.  No.  12265,  &c. ;  the  artist  is  ignorant  of  the  almost  open 
hostihty  of  the  Grand  Duchess  towards  him.  The  Tsar  became  a  popular 
hero;  he  and  the  Regent  vied  in  slighting  each  other.  See  C.  K.  Webster, 
The  Foreign  Policy  of  Castlereagh,  i,  1931,  pp.  288-92;  Nicolson,  The  Congress 
of  Vietina,  1946,  pp.  106  ff.  See  Nos.  12289,  12290,  12291.  See  under 
No.  12177. 

Reid,  No.  339.   Cohn,  No.  1146.   Reproduced,  Grand-Carteret,  Napoleon, 
No.  319. 
7^  X  9f  in.   With  border,  8  X  10^  in. 

12278  R L  ADVICE.  333 

Lewis  Marks  del. 

Pu¥  by  T.  Tegg  iii,  Cheapside,  June  6,  1814. 

Engraving  (coloured  impression).  Queen  Charlotte,  an  ugly  old  woman,  sits 
enthroned  on  a  dais  (r.),  facing  the  Regent,  who  stands,  wearing  a  royal  robe 
over  fantastic  dress,  with  a  turban-coronet  surmounted  by  tall  feathers. 
Three  lean  and  ugly  ladies-in-waiting  stand  round  the  dais,  one  proffering 
a  huge  box  of  Royal  Snuff  [cf.  No.  12066],  into  which  the  Queen  avidly  dips 
her  hand.  The  Regent  asks:  Madam  I  am  at  a  loss  what  to  tell  the  allied- 
soveriegns,  if  they  should  make  bold  to  ask  how  and  where  is  my  R — /  Wife? 
She  answers,  holding  snuff  to  her  nose,  /  advise  you  my  Son,  to  say  as  little 
as  convenient,  or  d — n  it ;  say  I  am  your  R — /  Wife.  The  arms  of  her  throne 
are  formed  of  fanged  snakes,  and  the  dais  is  polygonal,  with  concave  sides ; 
the  shape  perhaps  signifying  the  Queen's  crabbedness.  Behind  the  Regent 
stands  McMahon,  burlesqued  and  obsequious,  but  grinning  slyly.  Behind 
him  and  on  the  extreme  I.  stands  Lord  Yarmouth,  much  amused,  who  asks: 
M^  What  say  you  to  all  this.  McMahon:  The  least  I  say  my  Lord  the  better. 
Published  to  coincide  with  the  arrival  of  the  allied  sovereigns,  see  No.  12277. 
During  the  visit  the  Regent's  enemies  exploited  his  relations  with  his  wife. 
The  Queen's  letter  to  the  Princess  of  23  May,  informing  her  that  as  the 
Regent  would  be  present  she  could  not  receive  her  at  the  two  forthcoming 
Drawing  Rooms,  was  given  great  publicity,  and  roused  public  clamour  against 
both  the  Regent  and  Queen,  see  Examiner,  5  June  18 14;  Farington  Diary, 
vii.  254,  268,  and  No.  12279,  ^c.  It  reversed  the  recent  unpopularity  of  the 
Princess  and  popularity  of  the  Regent,  see  Diary  of  Frances  Lady  Shelley, 
19 12,  i.  62;  Buckingham,  Memoirs  of  the  Court  of  the  Regency,  1856,  ii.  79  ff. ; 
cf.  Nos.  12 194,  12296.  For  McMahon  as  the  Prince's  pimp  see  No.  1 1874,  &c. 
81^X12^1  in. 

12279  THE  BRITISH  SPREAD  EAGLE 

Pu¥  June  1814  by  S  W  Fores  N°  50  Piccadilly 

Engraving  (coloured  impression).  The  Princess  of  Wales  and  the  Regent, 
walking  together,  bend  in  opposite  directions  as  in  Bunbury's  A  Modern 
Spread  Eagle,  No.  6140,  and  in  No.  11 127.  The  Prince,  plump  and  debon- 
air, bends  to  the  r. ;  he  holds  out  a  full  bottle,  saying,  /'//  to  my  Bottle  my 
Marchioness  [Lady  Hertford]  my  Countess  [cf.  No.  12 173]  my  Dears.  Three 
women  watch  him  invitingly  from  an  arbour  among  trees  on  the  extreme  r. 
The  Princess,  handsome  and  dignified,  holding  out  an  oval  miniature  of 
Princess  Charlotte,  says :  Then  Fll  to  my  Child  my  only  Cojnfort.  The  young 
Princess,  a  pendant  to  the  Prince's  ladies,  hurries  forward,  saying.  The  Child 
that  feels  not  for  a  Mothers  woes  can  ne'er  be  calVd  a  Briton.   The  only  point 

408 


POLITICAL   SATIRES    1814 

of  contact  between  the  Princess  and  her  husband  is  a  circular  reticule  dangUng 
from  her  1.  wrist,  on  which  is  a  bust  portrait  of  the  Regent  inscribed  my 
Ridicule  [cf.  No.  11874].  There  is  a  landscape  background.  After  the  title: 
Presented  to  the  Northern  Alonarchs  as  a  Model  for  their  New  Natio7ial  Banner, 
in  consequence  of  the  General  Peace. 

The  return  of  the  Princess  of  Wales  to  the  limelight  after  the  period  of 
discredit  began  with  her  exclusion  from  Drawing  Rooms  held  on  2  and  8  June, 
and  was  exploited  by  the  Opposition,  helped  by  the  opportunities  given  by 
the  festivities  in  honour  of  the  royal  visitors.  See  a  paragraph  in  the  Morning 
Herald  (see  No.  12207)  of  27  May  quoted  in  the  Commons,  on  the  'Opposition 

Councils  ...  on  the  well-fomented  variance  between  her  M and  the 

Princess  of  W respecting  the  well-advised  non-appearance  of  the  latter 

at  the  next  Drawing-room  .  .  .'.  Pari.  Deb.  xxvii.  1039-42  (i  June  1814). 
Lady  Bessborough  (4  June  1807)  compares  the  Prince  and  Princess  of  Wales 
leaving  the  Queen's  assembly  to  'the  print  of  the  Spread  Eagle'.  Corr.  of 
Lord  G.  L.  Gower,  1916,  ii.  251.  See  Nos.  12272,  12278,  12280,  12291; 
cf.  Nos.  12081,  12194. 

Reid,  No.  337.    Cohn,  No.  959. 
8|xi3^in. 

12280  A  DUTCH  TOY!!!— OR,  A  PRETTY  PLAY-THING  FOR  A 
YOUNG  PRINCESS!!!— Hws^a  332 

G.  Cruikshank  fec^  March  1814 

Pu¥  June  20"'  1814  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  Princess  Charlotte  sits  enthroned  under 
a  canopy,  holding  up  a  jointed  puppet  (a  pantin)  representing  the  Prince  of 
Orange  in  military  dress.  She  pulls  the  string  that  passes  vertically  through 
head  and  body  so  that  arms  and  legs  are  extended.  The  puppet  looks  at  the 
Princess;  it  holds  out  a  flag  surmounted  bv  an  orange  and  inscribed  Orange 
Boven  [cf.  No.  12102].  The  Princess  sits  directed  to  the  r.,  her  1.  foot  on  a 
footstool,  looking  towards  the  spectator.  Across  her  knee  hangs  a  bust  minia- 
ture portrait  of  a  man  inscribed  Fitz  Mo.^  At  her  foot  is  an  open  book 
inscribed  Clarence's  Dream.  She  wears  a  dress  defining  her  figure  and  a 
coronet  with  triple  ostrich  plume.  On  the  back  of  the  ornate  arm-chair  is 
a  large  marquis's  coronet.  She  sits  near  an  open  French  window  (r.)  through 
which  is  seen  a  garden  fountain,  with  water  spurting  from  a  cupid  seated  on 
a  swan,  as  at  Bagnigge  Wells,  see  No.  9495. 

Princess  Charlotte  broke  off  her  engagement  (see  No.  12 191)  in  a  letter  of 
16  June,  giving  as  reasons,  that  'from  recent  circumstances  ...  I  am  perfectly 
convinced  my  interest  is  materially  concerned  with  that  of  my  Mother,  and 
that  my  residence  out  of  this  Kingdom  would  be  equally  prejudicial  to  her 
interest  as  to  my  own'.  This  quickly  became  known ;  it  was  debated  in  Parlia- 
ment on  20  June,  and  increased  the  Princess's  popularity,  see  No.  12279. 
The  breach,  announced  by  Castlereagh  on  23  June,  was  due,  at  least  in  part, 
to  the  machinations  of  Brougham.  See  Creevey  Papers,  ed.  Maxwell,  under 
date  21  June;  Renier,  Great  Britain  and  the  Establishment  of  the  Kingdom  of 
the  Netherlands,  1930,  pp.  179  IT.,  and  The  Ill-fated  Princess,  1932,  pp.  199  fl^. ; 
Pari.  Deb.  xxviii.  104-11.  According  to  Greville  it  was  because  she  had  sud- 
denly fallen  in  love  with  Augustus  of  Prussia.  Memoirs,  1938,  ii.  319.  Here 
it  seems  to  be  suggested  that  the  Princess  was  attracted  by  the  Marquis  of 
Lansdowne  (also  Viscount  FitzMaurice).  'Clarence's  Dream'  may  be  an 
allusion   to   the   Duke's   courtship  of  the   Grand   Duchess   Catherine  (see 

'  The  last  two  letters  are  doubtful. 
409 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Webster,  Foreign  Policy  of  Castlereagh,  i,  1931,  pp.  288-90),  or  to  his  repeated 
failures  to  obtain  a  wife,  cf.  No.  11744,  &c.  A  pi.  by  Robert  Cruikshank  has 
the  same  title.  See  also  Nos.  12282,  12288,  12303,  12453,  12700.  Cf. 
No.  12273. 

Reid,  No.  340.  Cohn,  No.  1078.  Van  Stolk,  No.  6336.  Milan,  No.  2664. 
Reproduced,  Fuchs,  p.  270. 
I2^x8|  in. 

12281  BONEY  AND  MADDY— GONE  TO  POT 

[W.  Heath.] 

Pub  June  23  1814  by  S  W  Fores  50  Picadilly 

Engraving  (coloured  impression).  Napoleon  (1.)  and  President  Madison  (r.) 
face  each  other,  each  seated  on  a  commode.  The  Emperor  is  the  smaller  in 
scale,  and  his  stool  is  correspondingly  smaller,  though  both  are  of  the  same 
pattern,  that  of  Madison  being  inscribed  John  Bull  Patent.  Napoleon,  with 
an  angry  and  frightened  gesture,  clutches  a  paper  inscribed  Orders  for  an 
Imeadiet  march  to  Elba  [see  No.  122 16,  &c.] ;  he  says:  Yon  See  its  all  dicky 
with  me  They  have  sent  me  to  Pot  [cf.  No.  1226 1].  Madison,  with  a  similar 
expression,  grasping  a  paper  inscribed  March  to  the  Tomahazvks,  answers: 
And  soon  I  fear  it  will  be  all  dicky  with  me.  they  will  send  me  to  pot  too,  see 
what  a  fine  kettle  of  fish  we  have  made  of  it,  this  comes  of  my  believing  you  and 
Takeing  your  Bribes. 

News  from  America  was  scanty  and  belated,  and  the  public  took  little 
interest  in  the  war.  The  cessation  of  war  in  Europe  meant  increased  pressure 
on  the  United  States,  and  on  31  May  the  Gazette  announced  the  blockade 
of  her  ports.  Madison,  by  his  Message  to  Congress  of  i  June  18 12,  supported 
the  interests  demanding  war  in  face  of  considerable  opposition.  Cf.  No. 
12311,  &c. 

Broadley,  i.  366  f. 
7t6Xi2^  in. 

12282  THE  DUTCH  APOLLO! 

[Williams.] 

London  Pub''  June  2g  1814  by  W'"  Holland  11  Cockspur  <S' 

Engraving  (coloured  impression).  The  Prince  of  Orange  (1.),  dressed  like  a 
Dutchman  in  (English)  caricature,  kneels  with  arms  extended  imploringly  at 
the  feet  of  Princess  Charlotte  (a  good  portrait).  He  wears  Apollo's  wreath, 
decorated  with  small  oranges,  before  him  is  his  clumsy  flower-pot  hat,  con- 
taining a  paper:  Rules  for  the  game  of  ye  Dutch  Pins  (ninepins);  beside  this 
is  a  Jews'  harp,  a  degraded  form  of  Apollo's  lyre.  His  breeches  are  enormously 
bulky,  and  a  tobacco-pipe  projects  from  a  pocket.   He  sings: 

Lovely  Maid,  assuage  my  Anguish! 
At  your  feet  your  true  love  sighs; 
Do  not  let  your  Dutchman  languish, 
If  you  frown,  alas  he  dies! 

She  answers,  pointing  to  his  breeches: 

From  what  I  feel,  and  what  I  see. 
There's  nought  about  you  that  bewitches; 
Unless  indeed  a  charm  may  be 
In  a  Dutc/iman's  great  big  breeches!!! 

410 


POLITICAL   SATIRES    1814 

She  stands  beside  a  table  (r.)  at  which  she  has  been  sitting.  On  this  are 
her  painting  materials,  pencil,  brushes,  cakes  of  water-colour,  porcelain 
palette,  and  jar  of  water,  with  an  open  box.  Her  painting  is  on  a  sloping 
board:  a  fat  Dutchman  trudges  off,  a  bundle  at  his  back,  in  the  direction  of 
a  sign-post  pointing  To  Holland;  he  grasps  his  head  despairingly.  Behind  the 
Prince  a  French  window  with  draped  curtains  gives  on  to  a  small  balcony. 
By  the  window  are  flowering  plants  in  a  jardiniere ;  a  sofa  stands  against  the 
wall ;  a  patterned  carpet  completes  the  design. 

See  No.  12280,  &c.  That  the  Prince  suffered  personally,  despite  assertions 
to  the  contrary,  is  shown  by  Dr.  Renier,  The  Ill-fated  Princess,  1932,  pp. 
209-11. 

Van  Stolk,  No.  6335. 
8f  Xi2Jf  in. 

12283  A  RECEPTION  OF  DOCTORS  AT  OXFORD'S  UNIVERSITY, 
THE  I5TH  OF  JUNE  1814,  RECEPTION  DE  DOCTEURS  A  L'UNI- 
VERSITg  D'OXFORD  .  .  .  [&C.]'  [?  June  1814.] 

Engraving  (coloured  and  uncoloured  impressions).  A  French  caricature  of 
the  presentation  of  degrees  to  the  Allied  sovereigns  at  Oxford.  In  the  centre 
of  the  platform  sits  the  Regent,  with  the  Prince's  feathers  on  the  back  of  his 
chair.  On  his  r.  hand  is  the  Tsar,  on  his  1.  the  King  of  Prussia,  both  handsome, 
and  facing  each  other  in  profile.  All  wear  long  full  wigs,  with  academic  caps 
(like  pork-pies)  and  furred  robes.  The  cocked  hats  of  the  two  foreign 
sovereigns  are  on  stools  beside  them.  The  Prince  wears  a  broad  ribbon  round 
his  knee  which  dangles  to  the  ground  and  is  inscribed  Honi  soit  qui  Jtial  y 
pense.  The  English  and  French  titles  of  the  print  are  divided  by  a  more 
correctly  drawn  garter  with  the  same  inscription.  The  Tsar's  sister,  the 
Duchess  of  Oldenburg,  flatteringly  depicted,  sits  on  his  r.  A  man,  also  in 
academic  dress  and  much  caricatured,  stands  near  the  King  of  Prussia  in 
profile  to  the  1.,  pointing  to  the  sovereigns,  and  making  a  speech.  He  is 
Grenville,  Chancellor  of  the  University,  see  No.  1 1570.  Men  similarly  dressed 
in  doctors'  gowns  form  a  semicircle  seated  behind  and  to  1.  and  r.  of  the 
royalties.  Behind  these  stand  officers  wearing  stars  and  medals;  among  them 
are  one  or  two  ladies.  Across  the  base  of  the  design  cheering  spectators  (H.L.) 
stand  against  the  platform,  looking  up  and  shouting.  These  are  much  carica- 
tured. According  to  a  pencil  note  in  an  old  hand,  which  is  probably  correct, 
those  on  the  1.  are  'les  Russes',  those  on  the  r.  'Les  Prusses'.  Those  between 
them  seem  to  be  English  and  are  equally  hideous.  Two  men  turn  their  backs 
on  the  proceedings  and  stand  full-face;  these  are  Frenchmen,  both  hand- 
some, one  an  officer  wearing  a  cocked  hat  and  stars. 

Flying  downwards  above  the  Regent's  head,  and  much  foreshortened,  is  a  man 
dressed  as  a  jester,  symbolizing  Folly;  he  holds  out  a  fool's  bauble  with  head, 
cap  and  bells  in  each  hand.  The  wall  is  divided  into  three  sections  by  two 
pilasters.  On  the  1.  and  r.  respectively  are  drawn  terrestrial  and  celestial 
globes,  one  with  compass,  &c.,  the  other  with  telescope,  &c. 

The  visit  of  the  Allied  sovereigns  to  Oxford,  14-15  June,  was  a  magnificent 
affair.  At  the  ceremony  in  the  Theatre  the  sovereigns  and  notables  wore 
academic  growns  and  received  diplomas  of  the  degrees  which  had  already 
been  conferred:  D.C.L.  for  the  Tsar  and  King  of  Prussia,  LL.D.  for  Mettcr- 
nich.  Count  Lievcn,  and  Bliicher.  See  Europ.  Mag.  Ixv.  551-3;  Examiner, 
1 8 14,  p.  393  f.  The  five  principals  sat  as  in  the  print,  but  the  Regent's  chair 
was  higher  than  those  of  his  two  chief  guests.   See  Nos.  12287,  12820. 

'  One  impression  was  'brought  by  Mr.  Colman  from  France,  1817'  (pencil  note). 

411 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12284  THE  WRYMOUTH  CANDIDATES  OR  THE  STRANGERS  AT 

HOME.    Plate  i  Dedicated  to  every  Indepent  [sic]  Elector. 

[Williams.]  [?Junei8i4] 

Engraving  (coloured  impression).  Three  candidates  for  Weymouth  are  dis- 
played on  a  table  to  the  electors,  whose  heads  and  shoulders  form  the  base 
of  the  design.  One  is  a  tiny  figure  standing  on  the  hand  of  a  man  who  stands 
on  the  table,  saying,  What  a  pretty  little  fellow.  A  military  officer  stands  beside 
the  table  (1.),  pointing  to  the  tiny  candidate;  he  bows  to  the  electors,  saying, 

Gentlemen  I  propose  my  Lord  C [Cranborne]  as  a  proper  person  to  represent 

you  in  Parliament  being  of  a  reputed  ancient  fa?nily,  tho  I  forget  who  his  father 
is,  as  sent  down  by  a  Royal  Duke,  and  a  noble  Lord  who  has  for  so  many  years 
served  his  Kitig  and  Country  in  the  Army  [sic]  and  earned  never  fading  laurels.  I 
trust  you  will  not  venture  to  refuse  him.  Cranborne  bows,  hat  in  hand ;  he  says : 
Gentlemen  a  prophet  is  never  esteemed  in  his  own  Country!  I  therefore  offer 
myself  to  you  an  entire  stranger  and  the  reason  is  because  I  have  been  kicked  out 
of  the  County  &  Borough  of  Hertford  where  I  am  best  known,  and  where  my 
father  is  Lord  Lieutenant,  and  the  Government  assisted  me,  but  the  freeholders 
in  that  County  were  too  scrupolous  &  independent  &  knew  me  too  well — /  offer 
under  the  nomination  of  a  Royal  Duke  whose  character  for  veracity,  humanity, 
charity,  &  brotherly  affection  you  all  know  and  revere,  and  as  you  have  all 
promised  to  support  any  person  he  sent  down,  being  a  lord  of  the  same  feather, 
you  cannot  refuse  me.  The  second  candidate  stands  hat  in  hand ;  under  his  arm 
is  a  book :  Slavery  vindicated.  He  says :  Getitlemen!  as  it  is  determined  by  your 
Masters  the  trustees  of  the  Johnstone  interest  that  you  shall  always  have  strangers 
to  represent  you,  it  is  as  well  that  I  should  as  any  other — /  cannot  boast  of  my 
public  Acts  or  services  to  call  your  attention,  but  haveing  ruled  20  Years  in  the 
lajid  of  slavery,  I  can  manage  Obstreporotis  &  refractory  people  as  well  as  any, 
and  flatter  myself  I  shall  be  able  to  keep  you  all  hi  Order.  I  have  the  Scotch 
Bar  [sic]  to  recommend  me,  &  he  being  one  of  your  Masters  you  will  in  course 
vote  for  me.  None  of  the  electors  looks  towards  him.  The  third  (r.)  stands 
hat  in  hand  with  both  arms  above  his  head ;  papers  inscribed  Contract  project 
from  both  pockets.  He  says:  Gentlemen!  who  says  I  am  Idle  I  have  exerted 
myself  as  much  as  any  Contractor,  Jobber  or  Blood-sucker  can  do,  and  my 
pocketts  woidd  convince  you  of  the  truth  of  the  assertioti — althd'  I  have  been  next 
to  Kicked  on  the  Royal  Exchange  I  am  rich  &  at  the  request  of  Lord  L — /  have 
left  off  my  business  with  the  view  of  supporting  in  the  house  of  commons  the  same 
measures  as  have  brought  me  forward  I  can  turn  water  into  wine,  &  tho  more 
than  oJice  detected  have  managed  to  hush  up  ;  the  Treasury  have  sent  me  as  their 
own  man  &  you  cannot  refuse  me,  or  if  you  do  I  am  to  be  pitted  agains  Sir  Fracis 
[sic]  Burdett  your  dependance  on  the  Johnstone  interest  &  my  own  hidependence, 
insure  me  success.  Only  the  two  electors  on  the  extreme  r.  look  up  at  him; 
one  says :  Aye  Aye  my  boys!  we  shall  soon  have  some  of  our  real  friends  down, 
to  contrast  their  merits  against  yours  then  we'll  open  the  Ball.  A  man  stands 
behind  the  table  (1.)  addressing  the  electors:  /  have  y2  Votes  and  24  houses 
&  100  votes  &  20  houses  at  the  service  of  the  Trustees!  A  poll-clerk  sits  behind 
the  table,  putting  a  finger  knowingly  to  his  eye.  On  the  table  is  an  open  book 
(?  Bible),  each  double-columned  page  headed  Kings.  Ten  electors  constitute 
the  audience ;  all  but  two  gaze  up  at  Cranborne.  One  says :  Why  sure  that  be 
Tom  Thumb  that  war  picked  out  o'th  Kiow-turd.  After  the  title:  And  lo  they 
were  bought  and  sold  like  Beasts  in  a  Market. 

In  181 3  the  election  of  three  of  the  four  members  returned  in  18 12  for 
Weymouth  and  Melcombe  Regis  was  declared  void  on  proof  of  bribery  and 

412 


POLITICAL   SATIRES    1814 

treating,  see  No.  12067.  On  15  June  1814  three  other  members  (here 
depicted)  were  returned:  Masterton  Ure,  Viscount  Cranborne,  only  son  of 
Lord  SaUsbury,  and  Christopher  Idle.  This  was  Cranborne's  first  seat.  The 
borough  was  in  the  hands  of  trustees  for  the  infant  patron,  Sir  F.  G.  John- 
stone, the  'Scotch  Bar'  mentioned  by  Ure.  These  were  the  Duke  of  Cumber- 
land (who  was  abroad  and  had  nothing  to  do  with  the  18 14  election),  Lord 
Newark,  David  Cathcart,  and  Masterton  Ure.  The  'noble  Lord'  here 
attacked  therefore  seems  to  be  Newark  (b.  1778),  afterwards  2nd  Earl 
Manvers,  M.P.  for  Notts.,  who  became  a  post-captain  at  the  early  age  of 
twenty  and  retired  on  half-pay  in  1803. 
9ixi3#  in. 

12285  BLUCHER  GREETED   BY  HIS   NUMEROUS   FRIENDS   IN 
THE  PARK. 

y.L.M.  [Marks]  del'  [c.  June  1814] 

Engraving  (coloured  impression).  Bliicher,  standing  with  his  back  to  a  large 
tree-trunk  (r.),  is  beset  by  a  crowd  partly  proletarian,  partly  of  would-be 
fashionables,  who  wish  to  touch  him  or  to  shake  his  hand.  He  wears  uniform 
with  jack-boots,  without  hat,  sword,  or  orders.  His  arms  are  raised  protest- 
ingly  and  he  exclaims:  D — ''  Friends!  Pray  let  me  catch  breath:  I  am  really 
so  exhausted  by  the  Ladies  kind  salutation  that  I  would  almost  rather  be  Twelve 
Months  in  Campaign!  than  One  Month  in  this  Park. — If  yon  will  but  be  so  Kind 
to  give  me  a  little  rest  I  will  endeavour  to  please  you  all.  A  ragged  boy  with 
a  short  jacket  and  the  gaiters  of  a  countryman  reaches  up  towards  the  great 
man.  Beside  him  a  man  wearing  a  small  hat,  tight-waisted  coat,  and  tight 
pantaloons  pushes  forward  his  pregnant  and  demurely  drooping  wife;  he 
says :  Sir!  I  hope  you  will  be  so  good  as  to  give  my  Wife  one  shake,  as  really  she 
is  in  a  longing  way.  She  says :  Indeed  Sir  I  will  be  contented  zvith  one.  Indeed 
I  will.  Behind  this  couple  is  a  fat  meretricious-looking  woman  with  a  man 
in  hussar  uniform ;  she  says:  /  would  give  Ten  Pounds  to  get  hold  of  His  Hand. 
A  man  dressed  like  a  sailor  advances  from  the  extreme  1.,  holding  a  big  frothing 
tankard  marked  L  M  (the  artist's  initials),  saying.  Stand  clair,  and  let  me 
pass — or  by  Jasus  you'll  Kill  him  tcith  Kindness.  On  the  extreme  r.  a  young 
woman  standing  behind  the  tree  touches  the  hero. 

For  the  visit  to  England  of  Allied  sovereigns  and  officers  see  No.  12277. 
PlatofT  and  Bliicher  were  the  most  popular  with  the  crowd.  Cf.  No.  12289. 
9-|x  13I  in.  'Caricatures',  xii.  60. 

12286  BONEY  AND  HIS  NEW  SUBJECTS  AT  ELBA 

Lewis  Marks  del  [c.  June  18 14] 

Engraving  (coloured  impression).  Napoleon,  thin,  ragged,  and  burlesqued, 
stands  outside  a  miserable  wooden  hovel  (1.)  in  a  martial  attitude,  reviewing 
four  grotesque  peasants.  On  his  head  is  a  chamber-pot,  with  a  lighted  candle 
tied  to  the  handle  (as  in  scwermen's  hats).  A  broom  slung  in  a  rope  serves 
as  sword,  in  his  1.  hand  is  a  weaver's  shuttle.  He  wears  tattered  uniform  with 
bare  legs,  and  ragged  slippers,  to  which  are  tied  respectively  a  fork  and 
candle-snuffers  to  serve  as  spurs.  He  points  imperiously  with  his  1.  forefinger 
at  his  subjects,  his  hand  emerging  from  a  tattered  gauntlet,  the  place  of  which 
on  the  r.  wrist  is  supplied  by  coiled  rope.  He  says:  Gentlemen  my  friends 
despise  &  d — n  England  Russia  Prussia  Germany  &  Sweden  &  obey  me  &  I 
will  make  Kings  of  you  all.  They  gaze  at  him,  except  a  little  drummer  on  the 
extreme  r.,  who  wears  a  spurred  jack-boot  on  his  head,  and  beats  a  saucepan 

413 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

with  a  bone  and  a  spoon.  Next,  a  lean  and  ragged  cook  (?)  holds  tongs  against 
his  shoulder;  a  tobacco-pipe  projects  from  the  top  of  his  conical  cap,  A 
peasant  holds  a  (broken)  pitchfork,  and  on  the  1.  is  a  man  holding  an  axe  with 
a  shattered  blade  against  his  shoulder.  A  three-legged  stool  stands  at  the 
door  of  the  hut.   The  sea  forms  a  background. 

A  satire  on  Napoleon's  possession  of  Elba  (see  No.  12229,  &c.)  'in  full 
property  and  sovereignty'  with  the  retention  of  his  titles  and  rank,  by  the 
Treaty  of  Fontainebleau,  11  Apr.  18 14.  Besides  his  Guard  and  his  Poles, 
Napoleon  raised  two  battalions,  nominally  of  four  hundred  each,  one  called 
the  Corsican,  the  other  the  Elban  (disbanded  at  the  end  of  the  year).  He 
formed  five  brigades  with  nine  French,  six  Elban,  two  Corsican  horses,  and 
five  mules.  See  Norwood  Young,  Napoleon  in  Exile  at  Elba,  19 14,  pp.  143-6, 
149  f.  See  also  No.  123 19.  An  imitation  of  similar  caricatures  of  Napoleon 
by  Cruikshank,  cf.  No.  12255. 

Listed  by  Broadley.    De  Vinck,  No.  9370.    Reproduced,  Grand-Carteret, 
Napoleon,  No.  316. 
8f  Xi3i  in. 

12287  DOCTOR  BLUCHER  |  SATIRIST  JULY  1ST  18I4. 

G  Cruikshank  fec^ 

Engraving  (coloured  and  uncoloured'  impressions).  PI.  from  the  Tripod  or 
New  Satirist,  a  continuation  of  the  Satirist  of  which  two  numbers  were 
issued.  A  fantastic  scene  at  Oxford.  In  the  foreground  (r.)  Bliicher,  flatter- 
ingly depicted,  sits  hands  on  hips,  in  a  gilt  chair  directed  to  the  r.,  turning 
his  head  to  look  at  his  (H.L.)  reflection  in  a  large  wall-mirror.  He  wears 
a  mortar-board  cap,  long  gown,  and  bands,  over  his  uniform  and  spurred 
jack-boots.  He  says:  Devilish  odd  people!  to  dub  Old  Blucher  a  Doctor!  The 
room  gives  directly  on  to  a  road  backed  by  academic  buildings,  illuminated. 
The  illustrious  visitors  are  promenading  and  greeting  members  of  the  Univer- 
sity who  are  in  ordinary  dress  with  academic  bands.  The  Tsar,  in  cap  and 
gown  over  his  uniform,  walks  (r.  to  1.)  with  his  sister  on  his  1.  arm.  Walking 
on  his  r.  is  the  King  of  Prussia  also  in  cap  and  gown.  Alexander  doffs  his 
cap  to  two  ugly  Oxford  dons,  who  bow  awkwardly.  The  Duchess's  face  is 
hidden  by  a  cylindrical  poke-bonnet,  on  the  top  of  which  is  a  clerical  wig 
surmounted  by  a  mortar-board  cap.  On  the  extreme  1.  Platoff  in  cap,  wig, 
and  gown  over  his  Cossack's  trousers  rollicks  along,  bottle  in  one  hand,  glass 
in  the  other,  arm-in-arm  with  a  plump,  jovial,  and  bald  don,  who  flourishes 
a  bottle;  two  books  lie  on  the  ground  at  his  feet.  On  the  r.,  behind  the  Tsar, 
stands  another  Cossack  in  cap  and  gown  delighted  with  a  young  woman  who 
coquettishly  touches  his  beard.  The  nearest  college  building  has  a  large 
transparency  framed  with  fairy  lights  and  inscribed  Unanimity :  the  British 
Lion  on  his  hind-legs,  and  wearing  a  cocked  hat  and  boots,  walks  between 
two  double-headed  eagles,  representing  Russia  and  Prussia  (cf.  No.  9694), 
taking  a  wing  of  each.  On  a  more  distant  building  is  a  large  G  R  and  crown 
in  fairy  lights. 

See  No.  12283,  &c.  Oxford  was  illuminated:  'The  well-dressed  crowds 
(comprising  Kings  and  Princes),  .  .  .  the  great  number  of  elegant  females,  and 
the  greater  proportion  of  academical  persons  in  their  sable  robes,  intermixed 
with  the  grotesque  appearance  of  the  country  folks  .  .  .  resembled  a  carnival.' 
Eiirop.  Mag.  Ixv.  552.   Cf.  No.  12622. 

Reid,  No.  346.    Cohn,  No.  720. 
7w  X  13!  i'^'   With  border,  8^  X  14!  in. 

'  Not  folded,  showing  that  it  was  issued  separately. 


POLITICAL   SATIRES    1814 

12288  MISS  ENDEAVOURING  TO  EXCITE  A  GLOW  WITH  HER 
DUTCH  PLAY  THING— 

[I.  R.  Cruikshank.J]    , 

Pu¥  July  i"  18 1 4  by  S  W  Fores  30  Piccadilly 

Engraving  (coloured  impression).  A  sequel  to  No.  12273.  Princess  Charlotte 
(1.),  whip  in  hand,  stands  over  the  'Dutch  Toy',  pointing  down  at  it,  and 
addressing  the  Regent  who  is  seated  on  a  sofa.  The  top  is  falling  forward, 
the  Prince  no  longer  sits  jauntily  with  hands  on  knees,  but  folds  his  arms  in 
resignation,  a  bottle  between  his  knees.  As  before,  he  is  smoking,  with  a 
paper :  Contrct  [sic]  in  his  pocket.  The  Princess  says :  There,  I  have  kept  it 
up  a  long  while  you  may  send  it  away  now,  I  am  tired  of  it,  Mother  has  got  sotne 
better  play  things  for  me.  The  Regent  holds  out  his  hand,  saying,  What  are 
you  tired  already?  Take  another  spell  at  it,  or  give  me  the  whip.  She  answers: 
No,  No,  you  may  take  the  Top,  but  Til  Keep  the  Whip.  The  Regent's  back  is 
reflected  in  a  large  wall-mirror;  at  his  feet  is  an  open  book:  The  Way  to 
Teaze  him  a  Play  in  V  acts.  On  the  wall  behind  the  Princess  and  on  the 
extreme  1.  is  a  picture  burlesquing  that  in  No.  12273  •  Cupid's  head  touches, 
not  the  globe,  but  a  large  orange  inscribed  Orange  Boven  [cf.  No.  12 102].  He 
is  falling  downwards,  and  has  dropped  his  bow  and  (broken)  arrows.  On  his 
bare  feet  are  spurs;  he  is  assailed  by  birds  and  by  slanting  rain. 

For  the  broken  engagement  see  No.  12280.  The  Prince  of  Orange's  bottle 
(a  common  object  in  caricatures  of  Dutchmen)  may  refer  to  his  unlucky 
intoxication  on  returning  from  Ascot  on  10  June,  owing  to  Prince  Paul  of 
Wiirtemberg,  whose  stepmother  wrote,  30  June,  to  her  brother  the  Regent: 
'I  shudder  to  think  of  his  profligacy  in  drawing  the  amiable  young  Prince  of 
Orange  into  a  scrape  in  presence  of  Charlotte.'  Corr.  of  George  IV,  1938, 
i.  458. 

Reid,  No.  344.    Cohn,  No.  1738.    \  an  Stolk,  No.  6337. 
8|x  13^  in.   With  border,  9^^  x  13:^  in. 

12289  RUSSIAN    CONDESCENSION    OR    THE    BLESSINGS    OF 
UxNIVERSAL  PEACE 

GC^fed 

Piib'^  July  11"'  1814  by  S  W  Fores  Piccadilly 

Engraving  (coloured  impression).  The  Tsar  and  his  sister  walking  arm-in-arm 
are  stopped  by  a  coarse-looking  woman  (r.)  who  flings  her  arms  round  his 
neck  and  kisses  him  avidly,  while  a  yokel  (1.)  takes  the  hand  of  the  Grand 
Duchess.  The  woman  exclaims  to  a  fat  friend  (r.),  who  watches  with  a  broad 
grin :  There  Sal,  I  can  boast  of  what  Jione  of  the  Bitches  of  Billinsgate  can, 
having  kissed  the  Kings  Emperor  of  all  the  Russian  Bears,  &  he  is  the  sweetest 
modestest  mildest  Ge?itleman  I  ever  Kissed  in  all  my  life.  The  countrvman  wears 
a  short  smock  with  breeches  and  wrinkled  gaiters,  and  has  the  coarse  car- 
buncled  features  of  a  John  Bull  in  these  prints.  He  says,  grinning:  Dang  it 
zvhen  I  goes  back  &  tells  The  folks  in  our  Village  of  this.  Law  how  they  will 
envy  I,  ha  ha!  The  Tsar  and  his  sister  smile  amiably.  Behind  (1.),  another 
woman  runs  after  a  bearded  Cossack  eager  to  kiss  him.  There  is  a  landscape 
background,  probably  indicating  Hyde  Park,  cf.  No.  12285. 

The  Tsar  and  his  sister  during  their  visit  were  much  together,  and  were 
received  with  applause  which  to  some  degree  reflected  the  unpopularity  of 
the  Regent,  who  was  deliberately  slighted  by  his  guest.  On  12  June  (Sunday), 
when  the  pair  returned  to  the  Pulteney  Hotel,  Alexander  raised  his  hat  to  the 

'  The  impression  in  the  Douglas  Collection  is  autographed  'By  I.  R.  C,  the  writing 
by  me  G.  C  Cohn. 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

crowd  'and  shook  hands  with  some  ladies  who  pressed  forward  to  obtain  that 
favour.  This  affabihty  dehghted  the  people'.  Examiner,  19  June  18 14.  See 
No,  izz']'],  &c. 

Reid,  No.  356.   Cohn,  No.  1939.   Copy,  Everitt,  p.  133. 
8|xi3iin. 

12290  THE  TWO  JOURNALS.    >«'  x  335 

[Williams.] 

PuM  July  1814  by  Tho^  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  12291,  with  the  same 
imprint.  A  sequence  of  eight  scenes,  arranged  in  two  rows,  each  with  an 
inscription  below  it.  They  represent  a  day  spent  by  the  Tsar  while  in  London, 
[i]  Alexander  stands  by  a  combined  wash-stand  and  dressing-table  (1.)  in 
a  simply  furnished  bedroom.   A  valet  helps  him  to  put  on  his  coat.    Below: 

With  gratefull  recollections  blest 
I  thank' d  my  God  and  sajik  to  rest. — 
Slept  like  a  top — at  six  arose 
Shaved  in  a  trice — slipt  on  my  clothes, 

[2]  The  Tsar  walks  rapidly  (1.  to  r.),  looking  toward  his  sister  the  Grand 
Duchess  of  Oldenburg  who  takes  his  r.  arm.  Her  head  is  concealed  by  her 
bonnet.  He  holds  the  r.  hand  of  a  little  boy.  He  wears  plain  riding  dress 
with  cocked  hat.  Behind  are  trees  and  grass,  with  a  low  circular  railing. 
Below  : 

CaWd  up  my  sister  and  her  son 

And  walk'd  with  them  to  Kensington — 

Walking  betimes  the  system  hardens 

So  trudg'd  quite  round  the  ring  and  gardens 

[3]  He  stands  under  a  tree  writing  in  a  notebook  beside  his  sister  who  is 
talking  to  her  son.  In  the  middle  distance  soldiers  are  being  drilled.  Below: 

Saw  Soldiers  drilling  in  the  Parks, 
And  stopped  to  make  my  own  remarks 
Wether  the  tactics  of  this  nation 
Where  worthy  Russian  imitation. 

[4]  The  Tsar  and  his  sister  stand  together  in  a  plainly  furnished  breakfast 
parlour.  She  unties  her  bonnet-strings,  he  takes  off  a  glove.  On  a  round  table 
is  a  tray  with  coffee-pot,  &c.    Below: 

Returned  as  hungry  as  a  fox. 
Off  after  breakfast  to  the  docks. 
Will — introduce  at  home  whatever 
Seems  in  their  coftduct  new  and  clever. 

[5]  The  pair,  dressed  as  before,  except  that  she  holds  a  (closed)  parasol,  walk 
arm-in-arm  (r.  to  1.)  with  the  stern  of  a  large  ship  in  the  dock  immediately 
behind  them.  The  bows  of  another  ship  are  on  the  extreme  1.  They  are 
accompanied  or  followed  by  a  naval  officer  and  two  other  men;  a  third 
addresses  them,  hat  in  hand.    Below: 

Surprised  ajtd  pleas' d,  the  docks  survey' d 
Those  mighty  monuments  of  trade, 
Where  the  proud  God  of  commerce  is 
Throned  in  his  hundred  palaces, 

(A  network  of  docks  was  built  below  London  Bridge  during  the  war.) 

416 


POLITICAL  SATIRES   1814 

[6]  Well-dressed  spectators  in  the  foreground  cheer  a  departing  carriage  in 
which  is  the  tiny  figure  of  the  Tsar,  bowing  hat  in  hand  to  a  cheering  crowd. 
Next  him  his  sister's  bonnet  appears  over  the  lowered  roof  of  the  carriage. 
Two  officers  sit  on  the  back  seat.   There  are  no  footmen.    Below: 

Took  notes — set  off — and  thought  to  jog 
Home  to  my  own  abode  incog 
But  was  discovered  on  my  rout 
And  followed  with  a  general  shout. 

[7]  The  Tsar  sits  at  a  plain  round  table,  writing.  An  open  door  shows  an 
adjacent  room  where  the  Grand  Duchess,  reading  some  letter  or  document, 
sits  beside  a  round  table,  laid  for  a  meal.   Below: 

Wrote  to  my  Wife — sate  down  to  dine 
At  two,  and  drank  one  glass  of  wine — 
{Engaged  to  dine  again  at  night 
Which  I  call  supping  out  in  state.) 

[8]  The  Tsar  sits  in  a  plain  arm-chair  beside  a  simple  curtained  bed  (1.); 
an  attendant  wearing  a  ribbon  and  holding  a  lighted  candle  is  about  to  leave 
the  small  room.   He  wears  uniform  with  ribbon  and  stars.    Below: 

Transacted  business  till  seven; 
Dress' d — supp'd — got  home  about  eleven. 
On  a  straw  mattress  laid  me  down. 
And  slept  till  morn  like  any  clozvn. 

After  the  title: 

"Look  here  upon  this  picture — and  on  this, 

"The  counterfiet  presentment  of  two  brothers.    Hamlet 

The  verses  are  from  the  Champion,  19  June  (Spirit  of  the  Public  Journals, 
1 8 14,  pp.  172-4).  The  Tsar,  on  arriving  in  London,  insisted  on  staying  at 
the  Pulteney  Hotel  where  his  sister  had  chosen  to  establish  herself,  the  place 
being  'hired  at  the  enormous  cost  of  210  guineas  a  week'.  There,  instead  of 
at  St.  James's  Palace,  which  was  put  at  his  disposal,  he  enjoyed  the  plaudits 
of  the  mob  and  humoured  the  whims  of  his  sister,  while  slighting  the  Regent, 
and  cultivating  the  Opposition,  a  fatal  diplomatic  blunder.  See  C.  K.  Webster, 
Foreign  Policy  of  Castlereagh,  i,  193 1,  pp.  288-92.  Here,  the  incidents  of  the 
day,  carefully  adapted  to  contrast  with  the  habits  of  the  Regent,  are  taken 
from  those  of  9  June,  when  Alexander  rode  in  Hyde  Park  between  7  and 
8  a.m.  accompanied  by  Lord  Yarmouth  and  Col.  Bloomfield.  After  breakfast 
he  went  with  his  sister  and  others  first  to  see  St.  Paul's,  then  to  the  Docks, 
in  carriages  without  military  escort.  Europ.  Mag.  Ixv.  549.  The  Tsar's  simple 
habits  were  the  subject  of  a  leading  article  in  the  Examiner  on  12  June: '.  .  .  his 
avoidance  of  fuss  and  glitter,  his  fondness  for  the  company  of  his  sister,  and 
even  his  early  rising,  and  his  preference  of  a  common  bed  to  a  down  one, — 
all  fall  in  with  the  best  English  notions  of  the  sensible  and  the  happy'.  The 
Grand  Duchess  is  consistently  depicted  wearing  a  poke-bonnet  concealing 
the  face,  a  fashion  which  became  known  as  'the  Oldenburgh  bonnet'.  Cf. 
Examiner,  18 14,  p.  699,  describing  the  Queen  as  wearing  one.  See  No. 
12277,  ^c. 
Each  design  4XC.  3I  in.   Whole  design  8^X  13^  in. 

12291  THE  TWO  JOURNALS.    Journal  11  33^ 

See  No.  12290.  [i]  The  Regent  lies  in  bed  under  fringed  draperies;  he 
supports  his  head  on  his  hand;  the  bed-clothes  are  disordered.   Below: 

417  Ee 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Boozy  and  sick — with  aching  head, 
Toss'd  sleepless,  on  my  swan  down  bed ; 
Sunk  towards  morning  in  a  dose. 
When  dreams  of  frightfull  import  rose. 

[2]  The  Regent  lies  uneasily  asleep,  clutching  the  bed-clothes.  The  Princess 
of  Wales,  with  her  back  to  the  bed,  puts  out  her  arms  to  ward  off  a  demon  who 
is  rising  among  clouds  from  the  floor ;  the  apparition  clutches  a  serpent,  and 
has  hair  composed  of  serpents.    Below: 

Methought  my  Wife,  with  looks  benign, 
Fix'd  her  forgiving  eyes  on  mine. 
And  strove  with  guardian  hand  to  quell, 
The  threatening  progeny  of  hell. 

[3]  The  Regent,  wearing  a  dressing-gown,  sits  in  an  arm-chair  facing  a  tall 
mirror,  surrounded  by  four  foreign  valets,  three  of  whom  are  at  work  on  his 
hair  or  wig.   He  holds  an  open  book:  Memoirs  of  modern  Lais-Ban.   Below: 

At  twelve  awoke — rang  for  La  Gloire 
Skimmed  a  licentious  French  memoir — 
Dress' d  for  tzco  hours  before  the  glass, 
With  Schwartz — Antoine — Francois — La  Place, 

[4]  The  Regent  sits  in  an  arm-chair  with  a  small  table  at  his  elbow  on  which 
is  a  tray  with  coffee-pot,  &c;  McMahon  (r.)  holds  the  back  of  his  chair  and 
looks  over  his  shoulder  at  a  sheet  of  patterns  which  he  is  inspecting.  A  man 
points  to  this  sheet,  a  second  stands  by  with  more  packets  of  patterns.  Below: 

Finished  by  three — took  chasse  caffe — 
Qualmish  and  splenetic  all  day — 
Inspected  twentyseven  packets 
Of  patterns  for  embroidring  jackets  ; — 

[5]  The  Regent,  in  back  view  and  chapeau-bras,  runs  on  tiptoe  towards  a 
door  in  a  garden  wall  that  McMahon  furtively  holds  open.  Outside  a  fat 
man  stands  behind  the  back  wheels  of  a  carriage.  Beside  the  Regent  run 
Lord  Yarmouth  and  another  courtier.    Below: 

Held  with  my  Friends  a  consultation 
How  to  shun  public  observation, — 
By  the  back  gate  slip'd  out — was  known — 
Saluted  with  a  general  groan — 

[6]  The  Regent's  coach  and  pair  drives  at  a  gallop  towards  the  gateway  in 
the  screen  of  Carlton  House,  the  coachman  lashing  the  horses ;  two  footmen 
stand  behind.  In  the  foreground  well-dressed  spectators  watch  with  amuse- 
ment.   Below : 

From  hissing  mobs  cornpell'd  to  drive. 

Return' d  full  gallop — home  by  five — 

Swore  in  reveng  [sic]  to  spend  my  life 

In  daily  insults  to  my  wife — 

On  2  June  the  Prince  Regent,  on  his  way  to  the  Drawing  Room  at  Bucking- 
ham House,  was  hooted  when  his  carriage  entered  the  Park.  Examiner,  18 14, 
p.  363.  This  was  on  account  of  his  exclusion  of  the  Princess  of  Wales  from 
the  Drawing  Room,  at  which  Princess  Charlotte  made  her  first  appearance. 
See  No.  12278. 

[7]  The  Regent  sits  at  a  writing-table,  looking  round  to  the  1.  On  a  stool 
near  him  is  a  pair  of  stays;  on  a  high  wig-block  (1.)  is  his  curled  wig  (of. 

418 


POLITICAL   SATIRES    1814 

No.  12 1 84).   On  the  wall  is  a  large  mirror,  and  against  the  wall  stands  a  sofa. 

Below: 

Worn  with  ennui — devoured  with  spleen, 
Yawned — trifled — cursed  and  drank  between 
Wrote  to  the  square — got  dressed  once  more, 
New  stay — Tiew  ztng — new  whiskers  wore — 

'The  square'  denotes  Manchester  Square,  and  the  Prince's  daily  visits  to 
Lady  Hertford,  see  No.  11865,  &c. 

[8]  The  Regent's  empty  chair  (1.)  stands  at  a  dinner-table  on  which  are 
decanters  and  glasses,  some  overturned  or  broken.  Three  guests  lie  under 
the  table.  The  Prince,  staggering  tipsily,  is  being  conducted  from  the  room 
by  McMahon  and  Yarmouth.    Below : 

At  eight  my  dinner  table  graced 

With  friends  select — of  kindred  taste 

I  quaff' d  till  half  were  on  the  floor. 

Then  reeVd  to  bed — quite  drunk — at  four —   Cf.  No.  12296. 

Each  design  \Xc.  3I  in.   Whole  design  8^  X  13  in. 

12292  THE  R— T  KICKING  UP  A  ROW,  OR,  WARWICK  HOUSE 
IN  AN  UPROAR.!!!—' 

G.  Cruikshank  fed 

Piib'^  July  20  1814  by  T.  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  The  Regent,  flourishing  a  birch-rod  and 
clenching  his  1.  fist,  threatens  three  ladies  who  flee  before  him;  he  kicks 
them,  one  falls  on  her  back.  All  three  scream,  the  Regent  shouts:  Get  out! 
get  out!  you  faggots!  get  out  of  the  House  I  say — Zounds  Fve  burst  my  Stays! — 
what!  what!  you'll  let  Her  see  her  Mother  will  you?!!  O!  you  Jades! — but  I'll 
soon  put  a  stop  to  that,  I'll  lock  the  voung  baggage  up,  thats  what  I  will  &  I'll 
kick  you  to  the  Devil  &  thats  what  I  will  so  turn  out!  turn  out!  Out!  Out!  Out! 
&  be  d — d  to  you  all?!  Through  a  wide-open  door  (r.)  Princess  Charlotte, 
wearing  a  small  coronet,  is  seen  fleeing  with  raised  arms,  looking  over  her 
shoulder.  She  screams:  Oh!  Mamme!  Mamme — Pappe's  going  to  whip  me 
Oh  dear  oh — .  Behind  the  Regent  (1.)  stands  the  Bishop  of  Salisbur)^,  bur- 
lesqued, holding  a  crosier  in  his  r.  hand,  with  a  mitre  perched  on  his  grotesque 
wig.  He  registers  alarmed  astonishment,  saying,  Dash  my  Wig,  here 's  a  pretty 
Kick  up!!!  Through  an  open  window  (1.)  a  puzzled  and  uneasy  John  Bull 
stares  in;  he  says:  What  the  Devil  is  he  about  now?!!  In  the  foreground  (1.) 
the  Prince's  hat  and  gloves  lie  on  the  floor  beside  an  open  book:  Turnout 
A  Farce. 

Princess  Charlotte  had  broken  her  engagement,  see  No.  12280,  &c.,  without 
informing  the  Regent;  she  had  become  a  pawn  in  the  intrigues  of  Brougham 
and  others  to  exploit  the  grievances  of  the  Princess  of  Wales,  and  had  openly 
declared  for  her  mother  in  the  vendetta  between  her  parents.  The  Regent 
summoned  her  to  Carlton  House  on  1 1  July ;  she  was  unable  to  walk  and 
entreated  her  father  to  visit  her.  On  12  July  at  6  p.m.  the  Regent  arrived 
with  the  Bishop  of  Salisbury-  (Dr.  Fisher,  the  Princess's  Preceptor)  and  told 
her  that  her  household  was  to  be  dismissed,  that  she  was  to  stay  for  a  few 
days  at  Carlton  House,  till  Cranborne  House  in  Windsor  Park  could  be  made 
ready.  Miss  Knight,  the  sub-governess,  was  informed,  with  apologies,  that 
her  room  would  be  wanted  that  evening  for  the  new  ladies.  Princess  Charlotte 
meanwhile  slipped  from  the  house  and  hailed  a  hackney  coach  to  drive  to 

'  Serial  number  cropped. 
419 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

the  house  of  her  mother,  with  whom  she  intended  to  Uve,  see  No.  12293. 
A  great  sensation  was  caused  in  London,  see  Examiner,  17  July  18 14,  where 
the  Morning  Herald,  The  Times,  and  Morning  Chronicle  are  quoted;  Greville 
Memoirs,  1938,  ii.  319  f.  Till  the  publication  of  the  Corr.  of  George  IV,  in 
1938,  an  important  factor  in  the  relations  between  the  Regent,  his  wife,  and 
daughter  remained  obscure ;  for  the  attempt  of  the  Princess  to  compromise 
Princess  Charlotte  see  especially  vol.  i.  435  f.,  505-23.  See  Nos,  12293,  12294, 
12295,  12300. 

Reid,  No.  347.    Cohn,  No.  1892. 
8Jxi3iin. 

12293  PLEBEAN   SPIRIT   OR   COACHED   AND   THE   HEIR   PRE- 
SUMPTIVE. 

[Williams.] 

Pu¥  July  25^^  1814  by  S  W  Fores  N°  50  Piccadilly 

Engraving  (coloured  impression).  Princess  Charlotte,  outside  Connaught 
House,  addresses  a  hackney-coachman  who  stands  hat  in  hand  beside  his 
horses.  She  rushes  towards  him,  saying.  Coachman  will  you  protect  me!!  He 
answers :  Yes  your  Highness!  to  the  last  drop  of  my  Blood.  The  front  of  his 
coach,  with  a  tattered  hammer-cloth,  is  on  the  extreme  r.  The  Princess  wears 
a  mauve  pelisse  over  a  white  dress,  and  a  small  hat;  behind  her  is  the  door 
of  Connaught  House,  where  a  servant  gazes  out,  his  hands  raised  in  astonish- 
ment. On  the  1.  stands  Britannia,  clasping  her  hands,  turning  up  her  eyes, 
and  weeping ;  her  spear  and  shield  lean  against  the  porch  of  the  house ;  beside 
her  is  the  British  Lion,  with  downcast  eyes,  also  weeping.  On  the  1.  a  man 
gallops  off  to  the  1.,  cracking  a  postilion's  whip. 

See  No.  12292,  &c.  Princess  Charlotte  drove  from  Cockspur  Street  to 
her  mother's  house  in  Connaught  Place ;  the  Princess  was  at  Blackheath,  and 
messengers  were  sent  for  her  and  for  Brougham.  The  words  of  the  Princess 
and  the  coachman  are  textually  from  an  anecdote  in  circulation,  see  the 
Examiner,  17  July  (p.  459).  See  Renier,  The  Ill-fated  Princess,  1932;  Edin- 
burgh Review,  vol.  Ixvii.  33,  Apr.  1838  (article  by  Brougham). 

The  Royal  Runaway  and  Coachee  ...  by  Cruikshank,  Aug.  1814,  is  on  the 
same  subject  and  was  used  as  a  frontispiece  to  a  verse  satire  with  this  title 
by  'Peter  Pindar  Esq.'.   B.M.L.  11642.  cc.  1/6  (no  pi.). 
8|Xi3iin. 

12294  A  NOVICE  ENTERING  THE  CONVENT  OF  ST  GEORGE! 

G  Cruikshank  Sculp — 

Pub'^  by  S  Knight  Sweetings  Alley  Royal  'Xchange  July  25  1814 — 

Engraving  (coloured  impression).  A  scene  outside  the  gate  of  Carlton  House 
(r.)  which  is  inscribed  Convent  of  Saint  Geo[rge].  The  Duke  of  York,  wearing 
a  long  gown  over  uniform,  stands  with  legs  astride,  holding  a  crosier ;  on  his 
head  is  a  mitre  in  which  is  a  feathered  plume.  He  addresses  Princess  Charlotte 
(1.),  standing  between  her  and  a  meretricious-looking  mother  abbess  with  a 
transparent  lace  veil  over  her  head,  and  a  birch-rod  tied  behind  her  back. 
The  Duke  says:  There's  no  compulsion  my  darling  only  you  must.  The  Princess, 
who  wears  a  decolletee  dress  and  small  coronet,  stands  with  folded  arms  and 
downcast  eyes;  she  answers:  Needs  must  when  the  [Devil  drives].  The  Bishop 
of  Salisbury,  dressed  like  a  bare-footed  friar,  bends  towards  her,  pointing  to 

420 


POLITICAL   SATIRES    1814 

the  r. ;  he  says :  See?  ther's  the  Lady  Abbess!  come  pray  take  the  veil.  His  wig 
extends  laterally  round  his  head,  concealing  his  face,  and  is  inscribed  Salisbury 
Plain.  The  abbess,  fat  and  sinister,  looks  at  the  Princess  with  a  cunning  leer ; 
she  holds  a  lace  veil  like  her  own,  and  says :  Come!  come  Child  take  the  veil  & 
forget  your  own  Mother  &  then  your  good  papa  will  love  you.  Four  'nuns'  with 
hoods  over  their  heads  stand  behind  her  (r.),  watching  and  talking  in  couples. 
Behind  them  is  a  corner  of  Carlton  House;  over  the  gate  dangles  a  bottle, 
sign  of  debauchery.  On  a  hill  behind  the  abbess  is  Warwick  House ;  a  broom 
projects  from  the  roof  supporting  a  placard  To  Lett  (like  the  brooms  tied  to 
ships'  masts  to  show  they  were  for  sale).  On  the  extreme  r.  behind  the  Bishop 
is  a  hackney  coach  and  coachman  standing  beside  a  sign-post  pointing  (1.)  to 
Connaught  [Place]. 

After  her  flight  to  Connaught  Place,  see  No.  12292,  and  the  conference 
there,  see  No.  12295,  Princess  Charlotte  went  to  Carlton  House.  The  arrange- 
ments for  receiving  her,  while  Cranborne  House  was  being  prepared,  had 
been  urged  on  the  reluctant  Regent  by  Queen  Charlotte  (4  July)  to  propitiate 
public  opinion,  and  despite  the  great  inconvenience  it  would  cause  him, 
to  'save  yourself  from  the  effects  of  popular  clamour  which  an  impression 
that  Charlotte  is  sent  by  you  to  a  place  of  confinement  may  produce'.  Corr. 
of  George  IV,  1938,  i.  460  f.  Here  'Abbess'  =  bawd,  see  No.  5177,  &c.  The 
Duke  of  York  had  been  titular  Bishop  of  Osnaburg,  see  No.  11227.  He  was 
one  of  the  envoys  sent  by  the  Regent  to  Connaught  Place.  'Darling'  is 
probably  an  echo  of  his  letters  to  Mrs.  Clarke,  see  No.  11228,  &c. 

Reid,  No.  348.    Cohn,  No.  1797. 
8|Xi3iin. 

12295  THE    RATIFICATION    OF    PEACE    OR    THE    MILITARY 
MEDIATOR. 

[Williams.] 

Pub'^  July  1814  by  J  Johnston  g8  Cheapside. 

Engraving  (coloured  impression).  A  scene  in  Carlton  House.  The  Regent  (1.), 
his  arms  extended  in  a  graceful  gesture,  receives  the  Duke  of  York  who  enters 
from  the  r.  holding  by  the  hand  Princess  Charlotte.  She  partly  conceals  her- 
self behind  her  uncle,  but  looks  towards  her  father.  The  Duke  wears  uniform 
and  holds  his  hat ;  he  says :  Here  is  the  Fugitive!  I  have  been  preaching  to  her 
{and  a  d — d good  Sermon  it  was,  else  wherefore  am  I  a  Bishop)  upon  zchich  I  have 
articted  [sic]  there  is  to  be  no  fioging  on  her  return!  The  Princess,  who  wears 
a  mauve  pelisse  as  in  No.  12293,  but  with  a  trimming  of  olive-leaves  in  her 
small  straw  bonnet,  says:  No  Preachee  and  Flogge  to  Pa!  [cf.  No.  9636]. 
The  Regent  says:  /  ratiy  [sic]  the  Treaty  Peace  is  made.  On  the  floor  beside 
him  is  an  open  book :  Triumph  of  Temper — by  Geo  Prince.  Behind  the  chair 
from  which  the  Prince  has  risen,  and  on  the  extreme  1.,  crouches  the  Bishop 
of  Salisbury,  in  gown  and  mitre ;  from  his  raised  r.  hand  he  lets  fall  a  birch- 
rod  ;  in  his  1.  hand  is  a  bulky  rolled  document  headed  A  Sermon  on  the  Perroga- 
tive  of  a  Father.  He  kneels  on  a  paper:  Honor  thy  Father;  by  this  is  a  book: 
description  of  Salisbury  [Ca]thedral.  Through  the  doorway  (r.)  is  seen  a  corner 
of  the  ornate  staircase  of  Carlton  House. 

See  No.  12292,  &c.  At  Connaught  House  on  the  night  of  12-13  July 
Princess  Charlotte  was  induced  to  go  to  Carlton  House.  The  artist  has 
illustrated  the  account  given  by  the  (pro-Regent)  Morning  Herald  of  14  July. 
She  accepted  'the  proffered  conciliation  of  an  Illustrious  Uncle  .  .  .  who  was 
the  bearer  of  an  olive  branch  from  an  afflicted  Father,  and  had  the  happiness 
to  reconduct  her  to  his  arms  .  .  .'.   Examiner,  1814,  p.  450.   On  19  July  the 

421 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

Duke  of  Sussex  put  a  series  of  questions  to  Liverpool  on  the  removal  of 
Princess  Charlotte,  suggesting  that  she  was  kept  in  confinement;  on  25  July 
he  v^^ithdrew  them,  on  learning  that  she  had  been  riding  in  Windsor  Park, 
and  'hoping  that  more  conciliatory  dispositions  were  entertained'.  Pari.  Deb. 
xxviii.  755-8,  835-7.  The  situation  was  further  improved  by  a  farewell  visit 
of  Princess  Charlotte  to  her  mother,  who  had  declared  her  intention  of  leaving 
England  for  a  visit  to  Germany.   See  Examiner,  3 1  July. 

Reproduced,  Shane  Leslie,  George  IV,  ig26,  p.  98. 
8fxi3in. 

12296  THE  TWO  VETERANS 

G  Cruikshank  fec^ 

London:  Printed  by  Plummer  and  Brewis,  Love-Lane,  Eastcheap;  for 
Thomas  Tegg,  11 1  Cheapside.  \c.  July  18 14] 

Engraving.  Heading  to  a  verse- dialogue  printed  in  two  columns.  Bliicher  in 
uniform  and  jack-boots  and  the  Regent  carouse  at  a  small  supper-table. 
Bliicher  (1.),  very  alert,  raises  his  glass;  behind  him  is  a  large  pile  of  empty 
bottles.  The  Regent  tipsily  tilts  his  chair,  kicking  the  table  so  that  it  slants, 
upsetting  a  three-branch  candlestick,  decanter,  large  bowl  of  punch,  &c. 
Yarmouth  leans  over  him,  putting  a  hand  on  his  shoulder;  he  dips  a  ladle 
into  the  punch  to  fill  the  Regent's  extended  glass,  not  noticing  the  pending 
catastrophe.  Above  Bliicher's  head  hangs  a  battle-piece:  the  pursuit  of  the 
terrified  Napoleon  by  himself  on  a  galloping  horse.  Above  the  Regent  is  a 
picture  of  Punch  and  his  wife,  fighting.   Below  the  (printed)  title: 

Hectora  quern,  laiidas,  pro  te  pugnare  juneto  [sic,  i.e.  jubeto] 
Militia  est  operis  altera  digna  tuis.^ 

Ovid.    [Heroides  xvii,  255  f.] 

Oh!   Wine  is  the  thing  to  make  veterans  tell 

Of  their  deeds  and  their  triumphs — and  punch  does  as  well — 

As  the  R 1  and  B r,  that  sober  old  pair, 

Fully  prov'd  t'other  night,  when  they  supp'd — you  know  where, 
And  goodhumour'dly  bragged  of  the  feats  they'd  been  doing, 
O'er  exquisite  punch  of  my  Y — r — th's  own  brewing. 
This  diff 'rence  there  was  in  the  modes  of  their  strife. 

One  had  fought  with  the  French — t'other  fought  with  his 

"How  I  dress'd  them!"  said  B r,  and  fill'd  up  subhme — 

"I  too,"  says  the  P e,  "have  dressed  men  in  my  time." 

Bl.  One  morning  at  dawn — 

Reg.  Zounds,  how  early  you  fight! 

I  could  never  be  ready  {hiccups)  my  things  are  so  tight! 
Bl.  I  sent  forward  a  few  pioneers  over  night — 
Reg.  Ugly  animals  these  are,  in  general,  I  hear — {hiccups) 

The  Q you  must  know  is  my  chief  pioneer." 

Bl.  The  foe  came  to  meet  us — 

Reg.  There  I  manage  better, 

The  foe  would  meet  me,  but  I'm  d — n'd  if  I'll  let  her. 

Bl.  Pell  Mell  was  the  word — dash  thro'  thick  and  thro'  thin. 

Reg.  C — 1 — n  H to  a  tittle! — how  well  we  chime  in! 

Bl.  For  the  fate  of  all  Europe,  the  fate  of  men's  rights, 

We  battl'd— 

'  Bid  Hector,  whom  you  [Paris]  praise,  go  warring  in  your  stead;  'tis  the  other 
campaigning  befits  your  prowess.   Loeb. 

422 


POLITICAL   SATIRES    1814 

Reg.  And  I  for  the  grand  fete  at  White's! 

BL  Though  the  ways,  deep  and  dirty,  delay'd  our  design — 
Reg.  Never  talk  of  the  dirt  of  your  ways,  think  of  mine 
Bl.  And  the  balls  hissing  round — 
Reg.  Oh,  those  balls  be  my  lot. 

Where  a  good  supper  is,  and  the  P — nc — ss  is  not. 
And  for  hissing — why  faith,  I've  so  much  ev'ry  day, 
That  my  name,  I  expect  in  the  true  Royal  way, 
Will  descend  to  posterity,  "George  le  Siffle!" 

BL  But  we  conquer'd,  we  conquer' d — blest  hour  of  my  life! 

Reg.  And  blest  moment  of  mine,  when  I  conquer'd  my  w , 

Here  the  dialogue  falter' d — he  still  strove  to  speak. 
And  strong  was  the  punch,  and  the  R — — t's  head  weak ; 
And  the  Marshal  cried  "Charge!"  and  the  bumpers  went  round, 
Till  the  fat-toilet  veteran  sunk  on  the  ground ; 
And  old  Bl — ch — r  triumphantly  crow'd  from  his  seat 
To  see  one  worthy  Potentate  more  at  his  feet! 
The  verses  are  from  the  Morning  Chronicle,  29  June  {Spirit  of  the  Public 
Journals,  1814,  p.  190  f.),  and  are  rightly  attributed  in  the  Scourge,  x,  243 
(Oct.  1814)  to  T.  Moore.   An  attack  on  the  Regent  similar  to  No.  12291 ;  cf. 
No.  12700.    For  the  Princess's  exclusion  from  the  Drawing  Room  see  No. 
12278,  for  the  Regent's  interest  in  tailoring,  No.  13237.   See  also  No.  12297. 
A  companion  print  to  No.  12303. 

Reid,  No.  355.    Cohn,  No.  2057.    Listed  by  Broadley  (Addenda).    Van 
Stolk,  No.  6473. 
6fX9^  in.    Broadside,  i6^XiOg  in. 

12297  THE  TWO  VETERANS. 

[G.  Cruikshank.] 

['Printed  and  Sold  by  R.  Harrild  etc.']' 

Engraving  (coloured  impression).    Heading  to  printed  verses  identical  with 

those  of  No.  12296,  except  that  the  Latin  motto  is  omitted.   The  Regent  lies 

dead  drunk  on  the  floor  (r.),  Yarmouth  (1.)  mixes  punch  at  a  round  table; 

Bliicher  sits  on  his  1.,  and  on  the  r.  of  the  Regent's  empty  chair.    He  holds 

a  full  glass  and  looks  with  good-natured  amusement  at  his  unconscious  host. 

A  companion  pi.  to  No.  12304. 

Reid,  No.  355.    Cohn,  No.  2058. 
5^x6f  in.    Broadside,  9f  x6|  in.  (cropped). 

12298  BRITTANNIA  AND  THE  SEVEN  CHAMPIONS  OR  MODERN 
CHRISTENDOM  RESTORED. 

Cruikshank,  fecit. 

[This  print  Presented  gratis  .  .  .  {ut  infra).^  [?  July  18 14] 

Aquatint  (coloured  impression).  Britannia,  triumphant,  is  seated  high  above 
the  sea  in  a  shell-shaped  car;  her  two  sea-horses  are  led  by  two  tritons, 
escorted  by  three  others  carrying  lottery-prizes.  She  advances  diagonally  from 
r.  to  1.,  holding  the  cap  of  Liberty  on  a  staff;  her  arm  rests  on  the  ostrich 
feathers  surmounting  a  shield  on  which  is  a  bust  portrait  of  the  Prince  Regent, 

'  Note  by  G.  C.  on  an  impression  in  the  possession  of  W.  T.  Spencer,  New  Oxford 
Street,  in  193 1. 

*  Cropped.  This  and  No.  12299  were  perhaps  issued  in  connexion  with  the  'Jubilee' 
in  the  Parks  on  i  Aug.,  see  No.  12301,  &c.,  when  tickets  of  admission  were  sold  by 
the  lottery  officers.    Pari.  Deb.  xxviii.  839. 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

irradiated  and  bordered  with  laurel.  Above  her  fly  cherubs,  each  with  a  palm- 
branch,  holding  portrait  heads  on  ovals  of  the  'Seven  Champions'.  The 
principal  place  is  given  to  Wellington  who  is  supported  by  two  cherubs  who 
also  hold  between  them  a  laurel-wreath  above  Britannia's  head.  His  oval, 
inscribed  Wellington — England,  is  the  largest,  and  is  bordered  with  oak-leaves. 
On  the  1.  are  Frederick  of  Prussia,  William  of  Orange,  Alexander  of  Russia. 
On  the  r. :  Ferdinand  of  Spain,  Louis  of  France,  Francis — Austra  [sic]  &.  The 
foremost  of  the  attendant  tritons  carries  on  his  head  a  large  shell  filled  with 
coins  and  a  paper:  The  last  20,ooo£  Prize  sold  by  Martin  Cornh[ill].  The 
next  holds  a  similar  shell:  iooo£  Prize  sold  by  Martin.  The  last  holds  a 
flowerpot  on  his  head  inscribed  Two  50o£  Prize.  Britannia's  car  is  followed 
(r.)  by  little  shell-shaped  boats  with  single  sails,  rowed  by  cherubs;  the 
pennant  of  the  foremost  is  inscribed  Commerce.  In  the  background  (1.)  are 
the  cliffs  of  Dover  with  the  castle. 

For  the  Bourbon  restoration  see  No.  12225,  &c. ;  the  inclusion  of  Ferdinand 
VII  (who  by  his  decree  of  4  May  re-established  absolutism  in  Spain)  is 
exceptional,  and  some  months  earlier  his  place  would  probably  have  been 
given  to  Bernadotte.  An  example  of  the  lavish  advertising  of  the  Lottery 
agents.  A  companion  pi.  to  No.  12299;  both  are  in  the  manner  of  a  trans- 
parency rather  than  of  a  satirical  print. 

Reid,  No.  330.   Cohn,  No.  956.   Broadley,  i.  366. 
lof  X  14I  in. 

12299  THE     MODERN    PROMETHEUS,     OR    DOWNFALL    OF 
TYRANNY. 

This  Print  Presented  gratis  to  every  Purchaser  of  a  Ticket  or  Share  at 

Martins  Lottery  Office  8,  Cornhill. 
Cruikshank,  fecit.  [  ?  July  1 8 1 4] 

Aquatint  (coloured  and  uncoloured  impressions).  A  companion  pi.  to 
No.  12298.  Napoleon,  chained  to  a  rock  with  a  vulture-like  eagle  (r.)  tearing 
at  his  heart,  flinches  in  terror  from  Justice  (1.),  who  stands  over  him  holding 
her  scales  before  his  eyes.  From  one  scale  falls  an  eagle,  a  bonnet  rouge,  and 
a  tattered  tricolour  flag;  the  other,  inscribed  Vive  Louis,  is  weighed  down 
by  a  crown  and  Bourbon  flag.  In  her  r.  hand  is  a  sword  of  fire,  pointing  down 
and  to  the  1.,  to  the  abyss  from  which  the  rock  rises.  The  flames  are  inscribed 
England  (next  the  hilt),  Russia,  Sweden,^  Prussia,  Austria.  Napoleon,  who 
wears  tattered  uniform  with  bare  feet,  turns  an  agonized  profile  towards 
Justice,  clutching  his  head,  while  supporting  himself  on  his  1.  knee  and  arm. 
The  eagle's  neck  is  inscribed  Conscience.  Small  serpents  (r.)  crawl  towards 
him  from  the  abyss.  By  his  extended  r.  foot  lie  an  eagle,  sceptre,  broken 
crown,  star  of  the  Legion  of  Honour,  and  a  tricolour  flag.  Hea\^  clouds 
surround  the  rock.  In  the  background  (1.)  the  upper  part  of  a  terrestrial 
globe,  inscribed  Europe,  and  with  lines  of  longitude,  rises  above  clouds. 
Above  it,  cloud-borne,  are  Peace,  with  an  olive-branch,  and  Plenty  holding 
a  large  cornucopia,  whose  contents,  chiefly  coins,  pour  down  upon  the  globe ; 
they  are  irradiated. 

One  of  several  satires  of  Napoleon  at  Elba  (see  No.  12229,  ^^O'  chained 
to  a  rock,  cf.  No.  1225 1;  the  significance  of  Prometheus  seems  to  be  mis- 
understood: Napoleon  as  Prometheus  (at  St.  Helena)  became  part  of  the 
Napoleonic  legend,  cf.  No.   12627.    For  the  Bourbon  restoration  see  No. 

12225,  ^^• 
A  similar  subject.  Napoleon  chained  to  a  rock  and  devoured  by  an  eagle, 

*  On  one  impression  Sweden  has  been  almost  obliterated.   Cf.  No.  122 18. 

424 


POLITICAL  SATIRES    1814 

by  G.  C.  is  The  Prophecy  or  the  Devil  will  have  his  Due  at  last.  Pub.  J.  John- 
stone, Jan.  1813.  (Reid,  No.  210;  De  Vinck,  No.  8787.) 

Reid,  No.  331.    Cohn,  No.  1743.    Broadley,  i.  365  f.,  369  (reproduction). 

The  Broadley  impression  is  autographed  (thrice)  by  G.  C.,  with  the  note 
that  the  Uttle  figures  of  Peace  and  Plenty  are  'by  my  brother  I.R.C 
10^X141  in. 

12299  a  Another  version,  uncoloured,  with  the  same  signature  and  title, 
but  with  slight  variations  of  line  and  detail.  There  is  only  one  serpent,  the 
star  of  the  Legion  of  Honour  is  absent.  The  inscription  on  the  flaming  sword 
is  diflPerently  arranged,  England  retaining  its  position,  Szveede?i  scored  through. 
The  empty  scale  is  inscribed  A  Bos  le  Tyran.  The  globe  has  no  inscription ; 
crosses  on  the  disks  falling  from  the  cornucopia  are  omitted,  the  contents 
resembling  fruit  rather  than  coins.   Cf.  No.  12218. 

lofxisl  in. 

12300  THE  R L  PEDAGOGUE  AND  HIS  USHERS.    Omnia  bona 

bonis. 

[Williams.] 

Pu¥  Aug^  j'  1814  by  W  N  Jones  TV"  5  Negate  Street 
Engraving  (coloured  impression).  PI.  from  the  Scourge,  viii,  before  p.  83. 
The  Regent  sits  on  a  throne  wearing  academic  cap,  gown,  and  bands,  and 
holding  a  huge  birch-rod.  Poised  on  his  cap  is  a  tiny  merr}^-go-round ;  on 
the  central  post  Punch,  wearing  a  fool's  cap,  postures  on  one  toe;  on  the 
rim  are  a  tiny  car,  a  donkey,  goose,  &c.  His  legs  are  wide  apart  and  he  has 
some  resemblance  to  Henr}' VHI.  Headdresses  Princess  Charlotte  who  stands 
on  the  r.,  walking  away  but  hindered  by  the  Duke  of  York  whom  she  tries 
to  push  aside.  Beside  the  throne  are  Eldon  and  Ellenborough.  Eldon  (1.), 
wears  his  Chancellor's  wig  and  gown,  a  bag  over  his  shoulder,  his  1.  hand  on 
the  r.  arm  of  the  throne.  Ellenborough  sits  at  the  Regent's  1.  A  cross  in  the 
form  of  a  pillory  hangs  from  his  neck ;  this  is  combined  with  a  circle  inscribed 
Croix  de  Pillory  forming  a  cross  of  lona  type.  He  holds  a  book:  Magna 
Charta.  Beside  him,  and  at  the  foot  of  the  throne,  are  a  birch-rod  and  a  bag 
labelled  Thumscrezvs  &  gags.  On  a  stool  (1.)  next  Eldon  sits  a  fat  and  jovial 
bishop  (the  Archbishop  of  Canterbury)  holding  a  bottle,  and  a  large  paper 
which  he  is  reading :  an  old  Song  to  a  new  Tune  \  I  know  my  trade  \  Which  tho 
it  be  made  \  By  some  a  mighty  serious  \  occupation,  \  I  have  found  that  to  laugh  \ 
Is  better  by  half  \  Arid  more  likely  to  get  \  a  presentation  \  Tis  all  a  mere  hum  \  To 
stand  preaching  humdrum  \  And  telling  old  Tales  of  \  repentance  \  You  had  better 
burlesque  \  Both  pulpit  and  desk  \  And  turn  up  your  female  acquaintafu:e  \  So 
bein  ....  A  roll  of  Old  So?igs  Humorous  Amorous  &c,  and  a  book  (of  old  jests): 
Joe  Miller,  lie  at  his  feet.  Neglected  behind  his  stool  lies  a  book  of  Com[mon] 
Pray[er]. 

The  Regent  says  to  his  daughter :  /  have  sent  for  you  my  Dear  Girl,  to  give 
you  advice — for  the  future  you  must  look  up  to  me,  as  a  pattern  of  Chastity, 
Sobriety,  and  Fidelity — /  have  just  dismissed  your  late  attendants,  arid  intend 
now  to  teach  you  these  virtues  by  my  own  precept  and  example — you  will  hence- 
forward live  under  my  roof — if  you  dont  Obey — Mind — this!!  [his  birch-rod]. 
Lord  Eldon:  If  you  will  allow  me  Sir!  to  send  my  wife  to  her,  she  will  teach 
her  how  to  Obey,  Til  answer  for  it  and  that  Scott  free!!  Ellenborough:  Don't 
mind  Brother  Bags  Td  have  every  body  know  what  the  Law  can  do  it  can  decorate 
a  Lord  with  the  Croix  de  S^  Pillory,  why  not  a  Lady!   The  Princess :  /  wont 

425 


CATALOGUE   OF  POLITICAL   AND   PERSONAL   SATIRES 

stay  Uncle — /  won't  be  a  Prisoner — /  don't  care  for  all  the  Bishops  and  Lords 
in  the  Kingdom,  F II  put  my  self  under  the  protection  of  some  Coach' ee  and  drive 
to  my  Mother  that  I  will!  The  Duke  of  York  answers :  No  No  my  dear!  must 
not  run  away  from  School  Nuncky  will  pet  it  and  Nurse  it  and  Nunckys  deary 
shantfret  that  it  shant.  He  wears  a  military  coat  over  a  surplice,  and  a  mitre 
projects  from  his  coat-pocket.  The  Archbishop,  turning  from  the  conclave 
and  absorbed  in  his  song,  says :  Fore  George  but  this  is  a  good  one  I  must  get 
into  the  right  tune. 

The  throne  is  an  elaborate  quasi-Chinese,  quasi-Gothic  erection,  the  top 
of  the  canopy  with  the  Prince's  feathers  cut  off  by  the  upper  margin,  leaving 
the  words  Qui  Pense.  The  canopy  is  edged  by  bells.  Below  it  are  two  winged 
cherubs'  heads,  both  shedding  tears.  The  arms  are  inscribed  respectively 
Wisdom  and  Activity,  Eldon  leaning  against  the  former,  Ellenborough  against 
the  latter.  In  a  niche  beneath  the  1.  arm  are  two  bottles:  Curr[si(;oa]  and 
Brandy ;  the  corresponding  r.  niche  is  hidden  by  Ellenborough.  On  each  side 
of  the  throne  and  above  the  heads  of  the  two  judges  is  an  alcove  containing 
large  volumes:  (1.)  Rule  a  Wife  and  [have  a  wife,  John  Fletcher's  comedy, 
1624,  revived  by  Garrick] ;  Gullivers  Travels;  Gack  the  Gian  Killer  [sic] ;  Tom 
Thumb;  Family  Quarrels  a  Novel  in  one  Vol.  On  the  r. :  Little  Red  Riding 
Hood;  Law  and  Equity;  Duty  of  Jurymen  by  Veritas;  Life  of  John  Bull.  These 
alcoves  are  flanked  by  large  pictures  partly  cut  off  by  the  upper  margin  and 
concealed  by  labels  enclosing  speeches.  On  the  I.  is  Char[les  the  Se]cond,  on 
the  r.  Pri[nce  Re]gent,  a  realistic  rendering  of  his  paunch  and  legs.  At  his 
feet  is  a  scroll  inscribed  A  Chines  Bridge.  Against  the  portrait  hangs  a  cage 
inscribed  Sterne's  Starling,  containing  a  bird  which  puts  its  head  through  the 
bars,  saying,  /  can't  get  out. 

For  Princess  Charlotte's  flight  to  her  mother's  house  and  return  to  Carlton 
House  see  No.  12292,  &c.  Lord  Eldon  (Scott)  was  one  of  those  summoned 
by  the  Regent  to  the  conclave  in  Connaught  House,  see  No.  12295.  ^^  ^^^ 
in  Jan.  181 3  been  brought  by  the  Regent  to  rebuke  his  daughter  in  a  dispute 
over  the  governess  who  was  to  replace  Lady  de  Clifford,  and  had  then  said: 
'If  she  had  been  my  daughter  I  would  have  had  her  locked  up.'  Ellenborough 
appears,  in  relation  not  to  the  Princess,  but  to  his  recent  sentence  on  Lord 
Cochrane,  see  No.  12209,  &c.  The  bishop,  according  to  the  text  (p.  85),  is 
the  Archbishop  of  Canterbury;  he  is  grotesquely  unlike  the  dignified  and 
exemplary  Manners-Sutton ;  he  replaces  Dr.  Fisher,  the  lean  pedagogue  of 
other  prints  on  the  Princess's  escapade.  For  the  'Chinese  Bridge'  (in  St. 
James's  Park)  see  No.  12301,  &c. 
8^Xi2|in. 

12301  THE  MODERN  DON   QUIXOTE   OR,   THE  FIRE   KING.| 
SATIRIST  AUGUST  1ST  18I4 

G  Cruikshank  fec^ 

Engraving  (coloured  impression).  PI.  from  the  Tripod  or  New  Satirist.^  A 
satire  on  the  celebrations  in  the  three  royal  parks  on  i  Aug.  In  the  centre 
is  a  miniature  fort  on  which,  supported  on  two  blazing  barrels  of  Gunpowder, 
is  a  rocking-horse  in  violent  action.  On  the  horse  sits  the  Regent,  as  Don 
Quixote,  with  three  feathers  in  his  barber's  bowl  which  serves  as  (Mambrino's) 
helmet,  and  wearing  high  cavalry  boots  over  his  armour.  Lord  Yarmouth, 
as  Sancho,  sits  behind  clasping  his  master;  a  basket  containing  bottles,  &c., 
one  labelled  Curacoa,  is  attached  to  his  waist.  Both  are  blindfolded.  The 
Prince  waves  his  r.  arm,  shouting.  Now  for  Glory  Yarmouth  Now  for  Blazes. 

'  One  impression  is  not  folded,  showing  that  it  was  issued  separately. 

426 


POLITICAL   SATIRES    1814 

Fireworks  explode  all  round.  A  man,  evidently  Col.  Congreve,  wearing  a 
braided  overcoat  reaching  to  the  ground,  applies  a  match  to  the  horse's  rump 
to  'ginger'  it;  from  this  issue  flames  and  a  shower  of  coins  which  descend 
into  the  hat  which  he  holds  at  arm's  length.  Three  men  attack  the  Regent 
from  the  1.,  where  a  short  ladder  leans  against  the  fort.  Lord  Grenville  has 
reached  the  top ;  he  wears  a  black  mask  over  his  face  and  directs  a  blast  from 
a  pair  of  bellows  at  the  Regent's  face.  He  is  being  supported  by  the  thin 
Lord  Grey  who  is  climbing  up  the  ladder,  and  like  Grenville  has  large 
posteriors,  to  show  that  he  belongs  to  the  Broad-Bottoms  (see  No.  10530). 
The  third  kneels  on  the  fort  to  apply  a  firebrand  inscribed  Civil  List  to  the 
blazing  barrel.  A  fourth  (?  Tierney  or  Whitbread)  stands  behind  the  rocking- 
horse  flourishing  a  firebrand. 

On  the  ground  immediately  below  is  Eldon  in  his  Chancellor's  wig  and  robe, 
as  a  Jewish  pedlar  with  a  beard ;  a  box  of  trinkets  is  slung  from  his  neck.  The 
Purse  of  the  Great  Seal  hangs  from  this  box,  which  he  is  displaying  to  Lord 
Liverpool,  who  is  dressed  as  an  elderly  woman  in  an  old-fashioned  manner 
and  holding  a  fan,  but  with  a  masculine  pigtail.  She  bends  over  the  box, 
pointing  a  forefinger.  Just  behind  Liverpool  (r.)  is  Melville,  the  First  Lord 
of  the  Admiralty,  dressed  as  a  sailor  but  wearing  a  tam-o'-shanter.  He  has 
a  wheelbarrow  on  which  is  a  model  man-of-war  with  furled  sails,  a  broom 
at  the  masthead  signifying  that  she  is  for  sale,  and  flying  a  pennant  inscribed 
The  Melvel.  He  is  shouting  and  holds  out  a  sheaf  of  ballads,  in  the  character 
of  a  discharged  sailor,  begging  for  alms.  Sidmouth  stands  behind  him  (r.), 
gazing  up  at  the  back  of  the  rocking-horse.  On  the  extreme  r.  a  harlequin 
(the  Archbishop  of  Canterbury)  and  Lady  Hertford,  wearing  a  coronet,  dance 
side  by  side,  smiling  towards  each  other.  The  harlequin  wears  a  mask,  a 
clerical  wig  and  bands,  and  a  short  apron  on  which  a  church  is  depicted  with 
the  inscription  A  view  of  Cantabury  Cathedral;  he  holds  a  short  crosier  in 
place  of  his  wooden  sword.  As  a  pendant  to  this  couple  are  the  Princess  of 
Wales  and  Brougham.  He  wears  a  mask,  legal  wig,  and  gown ;  a  broom  leans 
against  him,  while  he  puts  his  r.  hand  on  his  heart,  and  bows  with  an  insinua- 
ting grin,  holding  the  Princess's  1.  hand.  She  smiles  inscrutably.  Behind 
these  foreground  figures  a  crowd  is  indicated:  men  with  torches  or  fire- 
brands on  the  1.  and  pleased  spectators  on  the  r. 

In  the  middle  distance,  and  flanking  the  rocking-horse,  are  (1.)  a  naval 
battle,  and  (r.)  a  Chinese  bridge  with  a  tall  pagoda  standing  on  it.  One  ship 
explodes,  another  sinks ;  little  figures  fly  into  the  air,  and  climb  up  the  masts 
of  the  sinking  ship.  Above  them  is  a  blazing  balloon  from  which  an  aeronaut 
falls  head  first;  another  descends  by  parachute. 

The  erection  of  buildings  in  the  Parks  for  celebrations  of  the  peace,  the 
centenary  of  the  House  of  Brunswick,  and  the  anniversary  of  the  Battle  of 
the  Nile  (on  i  Aug.),  had  for  many  weeks  been  attacked  by  the  Opposition 
and  in  the  Press  on  the  grounds  of  folly,  expense,  &c.  Col.  Sir  William 
Congreve  was  in  charge  of  the  fireworks,  and  defended  them  in  Parliament. 
The  painted  canvas  fort  (in  the  Green  Park)  received  a  cannonade  by  which 
it  was  obscured  by  smoke,  while  it  was  transformed  into  an  illuminated 
Temple  of  Concord  adorned  with  transparencies,  and  inscribed  'The 
Triumph  of  England  under  the  Regency'.  It  was  complained  beforehand 
that  the  parks  would  be  made  into  a  Bartholomew  Fair,  and  this  to  some 
degree  happened  in  Hyde  Park.  The  spectacle  began  with  a  balloon  ascent 
by  Mr.  Sadler,  son  of  the  famous  aeronaut.  The  chief  attraction  was  the 
Naumachia  on  the  Serpentine,  representing  the  Battle  of  the  Nile  (see 
No.  9250,  &c.);  six  men-of-war  at  anchor  were  attacked  by  three  others,  and 
were  burned  by  fire-ships.   The  Chinese  Bridge  (cf.  No.  12300)  and  Pagoda 

427 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

(from  which  rockets  were  fired)  in  St.  James's  Park  were  great  attractions; 
they  were  intended  to  be  permanent,  but  were  destroyed  by  fire.'  Castlereagh, 
on  25  July,  welcomed  the  repeated  attacks  on  the  preparations  as  showing 
that  there  was  no  serious  ground  of  complaint.  See  Pari.  Deb.  xxviii.  420-3, 
480-3,  696-9,  837-9;  Europ.  Mag.  Ixvi.  174-6;  Gent.  Mag.  Ixxxiv.  2, 
pp.  179  ff. ;  Examiner,  1814,  pp.  503-5 ;  Farington  Diary,  vii.  274  f. ;  Summer- 
son,  John  Nash,  1935,  pp.  149-51.  Other  allusions  are  to  the  hostility  of  the 
Whigs  to  the  Regent,  see  No.  11855,  &c. ;  to  the  Archbishop  as  a  companion 
of  the  Regent  (arising  from  the  Press  assertion  that  he  had  been  summoned 
to  the  Connaught  House  conclave,  cf.  No.  12300,  &c.);  to  Brougham  (self- 
interested  and  devious)  as  the  Princess's  adviser,  see  No.  12030,  &c.  The  hard 
fate  of  junior  naval  officers  on  half-pay  was  raised  in  Parliament  on  13  July. 
On  14  July,  in  a  debate  on  the  Civil  List,  the  Regent's  extravagance  was 
attacked  by  Tierney.  For  Liverpool  as  a  woman  cf.  No.  9733.  For  the  fete 
see  also  Nos.  12302-6.  Cf.  Nos.  12556,  12873.  "^^^  ^^^t  satire  on  the  fete 
was  Rowlandson's  The  Naumachia  to  Commemorate  a  Peace,  pub.  Tegg,  July  23, 
reproduced  Grand-Carteret,  Napoleon,  No.  320.  Other  prints  by  Cruikshank 
are  Four  Views  taken  in  the  Parks  .  .  .,  pub.  Harrild  (Reid,  No.  352); 
The  Sham  Naval  Engagement  .  .  .  (Reid,  No.  358);  The  AD-miralty  Inspec- 
tor .  .  .,  pub.  Harrild  (Reid,  No.  359). 

Reid,  No.  351.    Cohn,  No.  809. 
7|X  13!  in.    Border  cropped. 

12302  lOHN  BULL  MAD  WITH  JOY!  OR,  THE  FIRST  OF  AUGUST 

1814. 

[Williams.] 

Pu¥  August  1 1814  by  W*"  Holland  N°  11  Cockspur  Street  London 

Engraving  (coloured  impression).  A  scene  in  St.  James's  Park.  The  Regent 
(1.)  advances  towards  John  Bull,  holding  out  a  large  paper.  John  reads  it, 
capering  wildly ;  he  waves  his  wig  and  a  toy  gibbet  from  which  hangs  a  bunch 
of  three  little  men.  Behind  him  (r.)  is  a  tree  decorated  with  fairy  lights. 
Behind  the  Prince  (1.)  is  an  end  of  the  Chinese  Bridge  over  the  Canal, 
with  one  side  of  the  Pagoda.  The  Prince,  though  obese,  is  scarcely  caricatured, 
and  is  plainly  dressed,  wearing  a  round  hat.  He  has  a  small  whisker,  and  a 
small  tail  of  powdered  hair.  Under  his  r.  arm  is  a  large  roll  of  papers,  inscribed 
Bill  [ofF]are.  The  paper  he  displays  is  inscribed:  Grand  National  Jubilee  for 
the  Peace  of  1814 — Bill  of  Fare  Hyde  Park — a  grand  Fair  Mess  Gyngell — 
Richardson  Scowton  and  Punches  Shews  a  grand  sea  Fight  upon  the  Serpentine. 
Fireworks  in  Kensington  Gardens — plenty  of  Gin  and  Beer — S^  James  Park — 
a  Ballon — with  two  illuminated  to  succeed.  Chinese  Bridge  and  Pagoda  Boat 
race  on  the  Canal — fire  works — plenty  of  Port — Sherry  Claret  champaine 
&c  &c  &c  Green  Park  Castle  and  Temple  Fire  Works  and  Royal  Booth! 
Lords  .  .  .  John  exclaims :  Huzza  for  the  Prince  of  Princes! — Damn  the  lying 

London  Papers!  may  W d  [Whitbread]  be  drown' d  in  one  of  his  Buts!  and 

Tierney  be  choaked  with  his  long  Speeches!  here  I  have  your  enemies  as  they 
should  be!  I  shall  stick  this  hi  my  corn  field  to  frighten  the  crows!  so  Huzza 
again  and  again  for  the  Prince  of  Princes.  The  Prince  says:  Ah  ha!  Johnny, 
I  knew  you'd  be  delighted!  The  figures  on  John's  gibbet-scarecrow  are 
labelled,  the  inscriptions  are  minute  and  partly  erased,  but  one  seems  to  be 
chronicle,  suggesting  that  they  are  Opposition  journalists,  cf.  No.  12207. 
John,  despite  his  'corn  field',  is  dressed  as  'cit'  rather  than  farmer,  with 

'  Contemporary  prints  of  the  buildings,  fireworks,  naval  battles,  &c.,  are  in  B.M. 
Maps,  K.  xxvi. — 6 — 1,  m,  n;  7 — x,  y,  z,  aa-ss. 

428 


POLITICAL   SATIRES   1814 

powdered  wig,  flowered  waistcoat,  and  buckled  shoes.  There  is  a  background 
of  trees,  among  which  are  two  marquees.   On  the  Canal  is  a  boat. 

For  the  fete  see  No.  12301,  &c.  Despite  attacks  in  the  Press  and  in 
ParHament  (in  which  Whitbread  and  Tierney  were  conspicuous),  it  was 
popular.  One  of  Whitbread's  grounds  of  attack  was  that  'London  itself 
was  .  .  .  almost  gone  into  the  country'  (leaving  only  the  vulgar).  Pari.  Deb., 
xxviii.  839. 
SfxisI  in. 


12303  THE  GRAND  ENTERTAINMENT. 

GCfed 

London:  Printed  by  Plummer  and  Brewts,  Love  Lane,  Eastcheap,  for 
T.  Tegg,  III  Cheapside  [?  i  Aug.  18 14] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside,  'Tune — 
"The  Tight  Little  Island"'.  A  companion  print  to  No.  12296.  The  Regent 
dances  between  Lady  Hertford  and  her  husband,  taking  a  hand  of  each, 
before  an  erection  burlesquing  the  display  ('Royal  Raree-Show'),  see  No. 
12301,  &c.  His  head  is  turned  to  the  lady,  showing  a  bulging  1.  cheek;  the 
husband  capers  obsequiously,  antlers  sprouting  from  his  forehead ;  he  wears 
a  gown  as  Lord  Chamberlain  and  holds  up  a  wand  of  office  topped  by  a  fool's 
cap  trimmed  with  bells.  On  the  extreme  1.  Yarmouth,  much  caricatured, 
dances,  holding  his  mother's  1.  hand.  Two  judges,  1.  and  r.,  are  faintly  indi- 
cated and  are  probably  Eldon  and  Ellenborough.  Between  the  Regent  and 
the  temple  round  which  they  dance  is  a  tiny  McMahon,  capering  and  hold- 
ing up  a  large  purse  (see  No.  11874,  &^c.),  and  his  hat. 

The  temple  is  a  model  of  the  screen  of  Carlton  House,  inscribed  The 
Temple  of  Folly — //.',  supported  on  masonry  whose  small  scale  is  shown  by 
a  garland  of  roses.  On  the  colonnade  are  the  Prince's  feathers,  surrounded 
by  a  cascade  of  fireworks  in  which  a  grotesque  figure  of  Folly  is  spread- 
eagled.  He  has  a  large  grinning  head  with  satyr's  ears,  and  wears  a  fool's 
cap ;  in  his  1.  hand  is  a  rattle.  This  centre-piece  is  flanked  by  little  men-of-war, 
in  full  sail,  firing  guns.    The  third  of  seven  verses: 

To  buy  Congreve  Rockets 

He  emptied  both  pockets, 
And[5/c]  if  he  his  coff^ers  to  drain  meant, 

And  Bridges  projected. 

And  Temples  erected, 
For  fireworks  and  such  Entertainment! 
O  what  a  wise  Entertainment! 
A  noble  Guy  Faux  Entertainment  ? 

A  puerile  taste. 

And  ridiculous  waste 
Contended  in  this  Entertainment. 

Other  allusions  are  to  the  visit  of  Alexander  and  Frederick  William, 
Bliicher  and  PlatoflF,  and  their  departure  before  the  Entertainment,  and  to 
the  breaking  by  Princess  Charlotte  of  her  engagement,  see  No.  12280.  The 
verses  are  from  the  Champion,  26  June  {Spirit  of  the  Public  Journals  181 4, 
p.  190  f.).   They  are  also  illustrated  in  No.  12304. 

Reid,  No.  353.    Cohn,  No.  1170. 
7X8|  in.    Broadside,  i6|^x  10  in. 

429 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12304  THE  GRAND  ENTERTAINMENT.  45 

[G.  Cruikshank.] 

Printed  and  Sold  by  R.  Harrild,  20,  Great  Eastcheap.      [?  i  Aug.  18 14] 

Engraving  (coloured  impression).  Heading  to  printed  verses,  see  No.  12303. 
A  companion  pi.  to  No.  12297.  The  Regent  displays  The  Regency  Puppet 
Show  to  John  Bull,  the  words  being  on  a  scroll  across  the  raised  curtain  of 
a  little  stage  (1.).  He  stands  (r.)  in  profile  to  the  1.  behind  John,  touching  his 
shoulder,  and  picking  his  pocket.  John  gapes  in  oafish  delight.  On  the  stage 
is  a  shallow  bowl  in  which  ships  in  full  sail  are  firing  at  each  other.  Behind, 
a  medley  of  bridge,  temple,  and  pagoda  is  surrounded  with  explosions  of 
flame  and  smoke.  A  balloon  is  on  fire  as  in  No.  12301,  with  the  aeronaut 
falling ;  another  balloon  rises,  and  tiny  figures  tumble,  or  are  shot  into  the  air. 

Reid,  No.  354.    Cohn,  No.  1170. 
4fx6|in.    Broadside,  io|x8J  in. 

12305  THE  ROYAL  DOCK  YARD,  OR  THE  WALNUT-SHELL 
SQUADRON— 

[G.  Cruikshank.]  [c  Aug.  18 14] 

Engraving  (coloured  and  uncoloured  impressions).  The  Regent  and  his 
Ministers  are  making  tiny  ships  out  of  walnut  shells.  He  stands  full-face 
behind  a  long  cloth-covered  table,  at  which  his  assistants  are  working,  wear- 
ing an  apron  and  with  his  shirt-sleeves  rolled  up,  but  with  a  star  on  his  waist- 
coat. He  holds  a  plane  and  the  hull  of  an  embryo  ship,  inscribed  Regent  120. 
He  says:  D — n  me,  work  my  lads  let  them  see  wee  have  not  been  to  Portsmouth 
for  nothing.  Castlereagh,  in  profile  to  the  1.,  bends  towards  the  Regent 
inspecting  his  ship  through  an  eye-glass ;  he  says :  By  the  powers,  Sir,  that 
would  suit  for  the  flag  ship  of  another  Walchren  Expedition  [see  No.  11364,  &c.]. 
Beside  him  on  the  table  is  his  own  model,  complete  with  sails  and  rigging, 
the  Castlereigh  g8.  Next  him,  at  the  end  of  the  table  (r.),  sits  Ellenborough, 
in  wig  and  gown,  fitting  a  bowsprit  to  a  shell  inscribed  Ellenborough  g8.  He 
says :  /  never  took  such  pains  to  please  John  Bull  before — if  any  dare  laugh  at 
my  work  D — yne  but  Fll pillory  'em.  A  little  apart  from  the  table  (r.)  Liverpool 
sits  on  a  child's  chair  bending  over  a  tub  of  water,  in  which  he  places  his  own 
completed  vessel:  the  Liverpool  no.;  another  vessel  floats  in  the  tub.  He 
says :  This  exploit  will  render  us  immortal  &  history  will  describe  me  as  a  States- 
man &  Shipbuilder  of  the  first  rate.  On  the  Regent's  r.  sits  Eldon  in  his 
Chancellor's  wig  and  gown.  He  adjusts  a  mast  of  the  Eldon  g8,  saying.  Good 
Lord,  this  will  be  as  long  a  Job  as  a  Chancery  Suit.  At  the  end  of  the  table  (1.), 
facing  Ellenborough,  sits  Sidmouth,  with  a  clyster-pipe  hanging  from  his 
pocket  (cf.  No.  9849).  He  is  about  to  place  a  mast  with  a  sail  inscribed  Petition 
into  his  ship,  the  Sidmouth  gS.  Beside  it  lie  little  papers  inscribed  Petition. 
He  says :  /  never  thought  these  Petitions  would  meet  the  eye  of  the  Prince,  but, 
on  this  occasion,  they  shall  for  once  be  seen  by  him.  On  the  extreme  r.,  behind 
Ellenborough  and  Liverpool,  is  an  open  window  through  which  George  HI 
leans  in,  in  profile  to  the  1.,  holding  his  spy-glass  (cf.  No.  10019),  ^^^  flourish- 
ing a  whip.  He  says:  Out  upon  you  is  this  the  way  you  attend  to  my  concerns 
while  I  am  III!  Please  the  Lord  to  bring  me  about,  &  Fll  ship  you  all  off  to 
New  South  Wales  in  your  own  walnut  shells.  In  front  of  the  table  is  a  basket 
of  walnut  shells  (smaller  than  the  ships). 

A  satire  on  the  Naumachia,  the  naval  battle  in  the  Serpentine,  the  great 
attraction  of  the  fete  of  i  Aug.,  see  No.  12301.  Other  allusions  are  to  the 
Regent's  visit  to  Portsmouth  with  the  Allied  sovereigns,  23-5  June,  when 
there  were  great  demonstrations  of  loyalty  and  a  very  successful  naval  review. 

430 


POLITICAL   SATIRES    1814 

Eiirop.  Mag.  Ixvi.  70-7.  Ships  of  120  to  98  guns  were  three-deckers,  those 
of  98  guns  constituting  the  second  class  ships  of  the  Navy  at  this  date.  James, 
Naval  Hist.,  1902,  vi.  397.  In  1814-15  a  Prince -Regent  (100),  a  Melville  (74), 
and  a  Liverpool  (40)  were  being  built.  Royal  Kalendar,  1814,  p.  159;  1815, 
p.  159.   Cf.  the  petitions  of  No.  123 10,  perhaps  referred  to  here. 

Reid,  No.  357.    Cohn,  No.  1916. 
8^X15^  in.   With  border,  8|x  16J  in. 

12306  PLANNING  THE  GRAND  NAVAL  EXPEDITION. 

L.M.  del'  [Marks]  [Aug.  1814] 

Engraving  (coloured  impression).  The  Regent  and  others  stand  round  a  large 
tub,  Regency  Washing  Tub,  in  which  a  battle  of  toy  ships  is  in  progress.  All 
the  vessels  are  uniform  in  size  and  shape,  some  are  inscribed  74.  The  Prince, 
on  the  extreme  1.,  plies  bellows,  making  the  surface  rough.  A  naval  officer 
next  him,  (.')  the  Duke  of  Clarence,  holds  strings  attached  to  a  row  of  five 
ships  flying  the  British  flag;  a  sixth,  out  of  Une,  is  sinking.  He  turns  to  the 
Regent,  saying  angrily.  Be  a  little  easy  with  that  wind,  or  by  God  you  II  upset 
every  Ship.  Another  naval  officer,  standing  behind  the  middle  of  the  tub, 
holds  the  strings  attached  to  six  French  ships,  five  in  line,  by  the  r.  end  of  the 
tub ;  a  seventh  French  ship  in  the  middle  of  the  water  is  about  to  capsize. 
He  says:  A  Sailor's  lifes'  the  life  for  me,  for  none  can  be  sweeter. — What  do  you 
think  I  call  my  name — Little  Saucy  Powder  Monkey  Peter.  A  third  naval  officer 
and  two  plebeian-looking  civilians  stand  against  the  tub.  On  the  rim  (r.), 
facing  the  Regent,  capers  McMahon,  much  smaller  than  the  others ;  he  holds 
a  large  purse  inscribed  P. P. P.  (Prince's  Privy  Purse,  see  No.  12087),  and 
waves  his  hat,  shouting:  Huzza,  huzza.  The  British  Navy  for  ever!  In  the 
foreground  (r.)  a  gouty  military  officer  watches  the  toy  ships.  Behind  him 
and  on  the  extreme  r.,  Sir  William  Curtis  in  profile  to  the  r.,  addresses  an 
equally  obese  but  shorter  naval  officer.  He  says :  Sir,  I  would  not  ?niss  it  for 
a  mint  of  money,  as  I  am  certaifi  it  will  be  as  glorious  as  the  Valcherine  expedition 
[see  No.  11364,  &c.].  He  wears  sailor's  trousers  with  a  small  straw  hat  as  in 
No.  1 1353,  &c.  The  officer  sheds  tears,  a  handkerchief  to  his  eye ;  he  answers : 
Really,  Sir,  I  dare  not  attend  the  Naval  exhibition,  as  I  am  so  stuff'd  up  with 
wind  that  my  presence  would  be  very  dangerous.   All  the  figures  are  burlesqued. 

See  No.  12301,  &c. 
8|x  12^  in. 

12307  ELBA 

Haller  inv  et  del  Fr  Hirschmann  sc. 

Pub.  Aug^  22,  1814,  by  R.  Ackermann,  loi  Strand. 

Engraving.  Copy  of  a  German  print  (reproduced  Norwood  Young,  Napoleon 
at  Elba,  1914,  p.  88).  A  topographical  view  of  Portoferraio  is  enclosed  in  a 
border  and  rests  on  a  beam  which  extends  to  r.  and  1.,  supporting  two 
elaborate  groups  of  (1.)  emblems  of  war,  1813,  and  (r.)  emblems  of  peace, 
1814.  A  chain  supported  from  three  rings  hangs  along  the  beam.  From  the 
centre  ring  is  suspended  a  chain  which  encircles  the  neck  of  Napoleon,  a  bust 
portrait  in  profile  to  the  r.  hanging  immediately  below  the  centre  of  the  view 
of  Elba.   He  wears  his  petit  chapeau,  and  is  not  caricatured. 

The  emblems  project  from  behind  the  framed  view  of  Elba.  On  the  I.  are 
cannon  and  cannon-balls,  a  mortar  emitting  flame  and  smoke,  the  broken 
mast  and  torn  sail  of  a  man-of-war,  with  the  motto  Discordia,  a  Napoleonic 
eagle,  a  flag  inscribed  A'^,  a  broken  anchor,  a  broken  caduceus,  an  overturned 

431 


CATALOGUE  OF   POLITICAL  AND    PERSONAL   SATIRES 

bee-hive  from  which  bees  fly  away,  an  empty  cornucopia,  a  dead  branch,  a 
sheaf  of  broken  paint-brushes  in  a  battered  palette.  On  the  r.  are  a  mast 
and  sails  flying  the  Bourbon  flag,  bales  of  goods,  a  staff^  and  cap  of  Liberty 
with  the  motto  Concordia,  a  bee-hive  and  bees,  an  anchor  supporting  a  full 
cornucopia,  from  which  fall  flowers,  ears  of  wheat,  and  (?)  coins.  A  dove 
nests  in  a  discarded  helmet,  above  olive-branches ;  her  mate  flies  towards  her 
with  a  sprig  of  olive.  Vines  and  roses  complete  the  group.  Below  the  design: 

The  Chains  he  f org' d  for  Myriads,  to  bear. 
To  his  last  hour  may  he  he  doomd  to  wear. 
War,  cruel  War,  has  ceas'd  its  bloody  reign. 
And  Peace  appears,  with  Plenty  in  its  train. 

The  original  is  closely  copied,  except  that  Napoleon  hanged  replaces  an  oval 
miniature  of  the  Emperor,  suspended  from  the  chain.  The  verses  replace  the 
inscription  Porto  ferraio  auf  Elba.  For  Napoleon  in  Elba  see  No.  12229,  ^^-5 
for  peace.  No.  12265,  &c. 
9|Xi5-^in.  (pi.). 

12308  LE  SIRE  =  CONSCRIT  DANS  L'lLE  D'ELBE. 

Depose  a  la  direction.  [16  July  18 14] 

Engraving  (coloured  impression),  A  French  print.  Portraits  of  Napoleon  and 
Mme  Mere,  seated  at  a  table,  the  corner  of  which  forms  the  base  of  the  design 
on  the  1.,  the  figures  being  less  than  H.L.  Napoleon,  in  profile  to  the  1.,  is 
a  conscript,  he  holds  the  number  he  has  drawn,  n°  18',  he  registers  angry 
dismay,  and  his  words  issue  from  tightly  closed  lips:  ah!  Maman  queu guignon 
[what  bad  luck]  yamene  Le  18.  His  mother  leans  towards  him,  putting  her 
1.  hand  on  his  shoulder;  she  says,  with  a  melancholy  expression:  Console  toi 
monfils  tu  as  un  remplafant  [Louis  XVIII].  Napoleon  wears  his  accustomed 
uniform,  but  with  a  musket  and  a  knapsack  on  his  shoulders  which  is  decorated 
with  gold  bees  and  gold  fringe ;  his  petit-chapeau  is  on  the  back  of  his  head, 
so  that  it  passes  for  a  private's  cap ;  in  it  are  bunches  of  blue  and  red  ribbon, 
and  the  number  18.  Mme  Mere  has  an  elongated  face  and  emaciated  neck, 
surrounded  by  a  high  vandyked  ruff;  her  head-dress  is  a  pointed  tiara  on 
which  are  medallion  portraits  or  cameos  in  ovals;  this  frames  the  tight  curls 
on  her  forehead.  From  her  neck  hangs  a  medallion  on  which  are  three  super- 
imposed profiles,  the  uppermost  resembling  Napoleon. 

Mme  Mere  visited  Napoleon  in  Elba  (see  No.  12229,  &c.),  arriving  on 
2  Aug.  from  Leghorn. 

Broadley,  ii.  59.  De  Vinck,  No.  9360.  Reproduced,  Bourguignon,  ii.  262. 
5^X5iin. 

12309  TOGETHER  LET  US  RANGE  THE  FIELDS. 

[Williams.] 

Pub'^  Sepr  12^^  1814  by  W""  Holland  N°  11  Cockspur  Street,  London. 

Engraving  (coloured  impression).  A  small  stage  fills  the  centre  of  the  design ; 
on  this  two  dogs  stand  on  their  hind-legs,  singing;  they  hold  between  them 
a  piece  of  music  headed  Duet ;  one  sings :  Together  let  us  range  the  Fields  [cf . 
No.  1 27 1 4],  the  other:  Impearled  with  the  morning  dew.  There  is  a  landscape 
background.  The  proscenium  is  flanked  by  two  stage-boxes;  in  the  royal 
box  (1.)  the  Regent  and  Lady  Hertford  (see  No.  11853,  &c.)  sit  together,  they 
exchange  glances,  and  register  approval ;  both  have  play-bills.  Behind  them 
stand  Lord  Yarmouth  and  McMahon,  who  express  ecstatic  approval.  Above 
the  box  are  the  Royal  Arms.   Below  it  are  emblems :  Cupid's  bow  and  quiver, 

432 


POLITICAL   SATIRES    1814 

and  Hymen's  torch.  In  the  opposite  box  sits  Mrs.  BiUington  with  the  Duke 
of  Sussex  standing  behind  her.  She  turns  to  a  handsome  lady  sitting  beside 
her;  both  seem  impressed  by  the  performers.  A  third  lady  stands  behind 
them.  Above  the  box  is  a  lyre  within  a  laurel-wreath,  below  are  musical 
emblems :  lyre,  trumpet,  &c.  A  part  of  each  upper  box  is  visible ;  on  the  1. 
two  men  peer  down  through  opera-glasses  at  the  Regent  and  Lady  Hertford ; 
the  occupants  of  the  other  gaze  admiringly  at  the  stage,  and  applaud.  In  the 
centre  of  the  curtain,  in  place  of  'Veluti  in  Speculum',  is  Spectemur  Agendo; 
the  curtain  is  looped  round  conventional  palm-trees,  whose  slim  gilt  trunks 
frame  the  proscenium.  The  heads  and  shoulders  of  the  orchestra  form  the 
base  of  the  design. 
Sfxsiin. 

12310  THE  MERCHANTS  MEMORIAL  TO  ALLEY  CROKER    334 

G  Cruikshank  fec^ 

Pu¥  Sepr  1814  by  T.  Tegg  iV°  iii  Cheapside  London 

Engraving  (coloured  impression).  The  Admiralty  is  represented  by  an  open 
pavilion  (r.)  on  the  shore,  raised  above  the  ground  by  two  steps  and  having 
a  pediment  inscribed  Adma — y.  Within,  the  Lords  of  the  Admiralty  are  fast 
asleep,  while  Croker,  Secretary  to  the  Admiralty,  angrily  addresses  a  deputa- 
tion of  merchants  approaching  from  the  1.  He  sits  in  an  arm-chair,  legs 
crossed,  holding  a  paper  headed  List  of  Ships  taken  by  the  Americans.  The 
two  leading  petitioners  (cf.  No.  12305)  hold  out  respectively  the  Liverpool 
Petition  and  Glasgow  Petition,  saying:  We  humbly  pray  that  you  will  let  loose 
a  few  of  those  Bull  dogs  to  protect  our  property  from  those  American  Curs  who  are 
Robbing  us  every  day  before  our  faces  &  as  it  is  you  alone  zvho  can  put  a  stop 
to  their  career  &  save  us  from  Ruin :  we  hope  our  prayers  zcill  be  attended  to. 
Croker  wards  them  off  with  outstretched  arm,  shouting.  What  the  Devil  are 
you  Croaking  about?!!!  Why  they  have  only  taken  840  vessels  lately  &  zchat 
is  that,  to  such  a  great  nation  as  this!  The  Lords  of  the  Admiralty,  two  civilians 
and  two  in  naval  uniform,  are  grouped  round  a  circular  table.  A  civilian 
reclines  in  an  arm-chair,  his  gouty  legs  supported  on  a  stool ;  he  holds  a  paper: 
Takeft  last  night  14  vessels  this  mor?ig  20  vessels  by  y'  Americans.  Beside  them 
are  fierce  bulldogs,  muzzled  and  heavily  chained  to  staples,  representing  the 
Navy.  On  the  wall  are  four  pictures  of  naval  battles:  Shannon  &  Chesapeak 
(see  No.  12080),  Glorious  J^'  of  June  (see  No.  8469,  &c.),  Nile  (see  No. 
9250,  &c.),  Trafalgar  (see  No.  10442,  &c.).  From  the  architrave  is  festooned 
drapery  inscribed :  Good  Merchants  do  ?iot  zveep  we  are  not  dead  but  fast  asleep. 
Nelson,  cloud-borne,  looks  down  at  the  sleeping  men,  saying  with  arm 
extended,  Awake!  Arise!  or  be  for  ever  fallen.  Two  of  the  petitioners  (1.)  talk 
together;  one  points  angrily  to  the  sea  where  a  line  of  captured  British  ships 
is  sailing  off  to  the  1. ;  nearer  shore  are  the  mast  and  spars  of  a  sunken  ship. 
He  says:  See  what  they  do!  even  in  the  Chaps  of  the  Channel!!!  Why!  bye  & 
bye  they  will  be  coming  up  the  River:  &  taking  all  our  Wherries  &  Funnies!!! 
The  other  answers :  Faith  if  they  do  that  will  be  Wherry  luoiny  indeed. 

During  the  recess  (31  July-7  Nov.)  there  were  many  complaints  to  the 
Admiralty  from  British  merchants  on  neglect  to  protect  trade  and  the  coasts, 
and  to  provide  convoys  against  the  numerous  American  privateers.  These 
were  brought  forward  by  Lord  Darnley  8  and  15  Nov.,  as  part  of  attacks  on 
the  Admiralty  for  mismanagement  of  the  American  War.  Pari.  Deb.  xxix. 
9-13,  187-93.  Croker  was  Secretary  to  the  Admiralty  1809-30.  The  Lords 
of  the  Admiralty  depicted  are  probably  Melville,  Admiral  Sir  J.  S.  Yorke, 
William  Dundas  or  Sir  George  Warrender,  and  Admiral  George  Johnstone 

433  Ff 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Hope.  Warrender  succeeded  Dundas  on  23  Aug.  'Alley  Croker'  is  an  Irish 
song,  to  the  tune  of  which  Moore  wrote  'O!  the  Shamrock',  and  Colman  'The 
Unfortunate  Miss  Bailey'  (see  No.  1(3352),  after  which  the  tune  seems  to  have 
been  known  as  'Miss  Bailey'. 

Reid,  No.  364.   Cohn,  No.  1724. 
8^X13^  in. 

12311  THE    FALL    OF   WASHINGTON— OR    MADDY    IN    FULL 
FLIGHT. 

[Williams.] 

Pu¥  Ocf  4^''  1814  by  S  W  Fores  N"  50  Piccadilly 

Engraving  (coloured  impression).  President  Madison  and  one  of  his  Ministers, 
both  with  bundles  of  papers,  flee  (r.  to  1.)  from  Washington  watched  by 
Americans,  and  by  two  amused  British  sailors  (r.).  Behind  (r.)  flames  and 
heavy  smoke  rise  from  the  burning  buildings.  An  American  ship  is  at  anchor 
outside  the  town.  Madison  clutches  his  State  Papers,  some  of  which  are 
falling;  one  bundle  is  inscribed  Boneys  Instructions  [to  yi^addison.  He 
exclaims :  D — n  his  notes!  what  are  they  good  for  now!  we  should  get  nothing 
hut  Iron,  he  has'nt  any  of  his  stock  of  Brass  left,  or  some  of  that  would  have 
help'd  us  through  this  busines — .  His  companion,  probably  Armstrong,  the 
Secretary  of  War,  holds  papers  inscribed:  Plan  for  laying  England  under 
Contribution,  Project  for  the  conquest  of  Canada,  Correspond[ence]  with  Boney. 
He  says :  Who  would  have  thought  of  this  Man!  to  oblige  us  to  run  from  the  best 
Cabinet  supper  I  ever  ordered — /  hope  you  have  taken  care  of  Boney^ s  promisary 
notes.  The  people  won't  stand  any  thing  after  This.  Three  Americans  stand 
together  (1.)  watching  the  flight  without  displeasure.  One  asks:  Jonathan 
where  thinkest  thou  our  President  will  run  to  now!  His  neighbour  answers: 
Why  verrily  to  Elba  to  his  bosom  friend!  The  third  says:  The  great  Washington 
fought  for  Liberty,  but  we  are  fighting  for  shadows,  which  if  obtained  could  do 
no  Earthly  good,  but  this  is  the  blessed  effects  of  it.  Two  others  stand  behind ; 
one  points  to  the  flames,  saying,  /  suppose  this  is  what  Maddis  calls  benefiting 
his  Country!  The  other  answers :  Why  it  will  throw  such  a  light  on  affairs  that 
we  shall  find  it  necessary  to  change  both  Men  and  measures.  One  of  the  British 
sailors  holds  a  bludgeon ;  he  points  to  the  ship,  saying :  /  say  Jack!  what  is 
that  there  Man  of  War,  that  was  to  nihilate  us  as  Master  Boney  used  to  say.  The 
other  answers:  Aye  Messmate,  he  is  a  famous  fighter,  over  a  bottle  of  Shampain, 
why  he'd  have  played  Hell  with  us  if  we  had  let  him  sit  down  to  Supper!  All  the 
Americans  are  Quaker-like,  with  lank  hair  and  broad-brimmed  hats.  On  the 
ground  near  the  two  fugitives  are  papers  headed :  Bill  of  fare  for  the  cabinet 
Supper  at  President  Maddis  Aug*  24  18 1 4  Soup — ;  List  of  Guns  Men  &c  &c 
in  the  fortification  of  New  York  Guns —  Men  — ;  with  letters  addressed  To 
Gen^  Vandame ;  To  Geri  Dubourg. 

General  Ross  commanded  the  expeditionary  force  sent  to  America  on  the 
close  of  the  French  war  'to  retaliate  upon  the  Americans  for  the  outrages 
which  they  had  committed  upon  the  frontiers'.  After  a  victory  at  Bladensburg 
he  captured  Washington,  finding  in  Madison's  house  a  supper-table  laid  with 
forty  covers  for  the  expected  conquerors.  All  the  public  buildings  were 
burnt  (in  retaliation  for  the  burning  of  the  public  buildings  of  York,  now 
Toronto,  by  General  Dearborn),  private  property  was  respected.  Many 
Americans,  especially  in  New  England,  were  violently  opposed  to  the  war. 
Armstrong,  who  had  been  U.S.  Minister  in  Paris,  1804-10,  accepted  at  its 
face  value  the  French  note  of  5  Aug.  1810  which  was  intended  to  induce 
America  to  go  to  war  with  Great  Britain,  and  thereby  contributed  to  the  war. 

434 


POLITICAL   SATIRES    1814 

Diet,  of  Am.  Biog.  He  was  forced  to  resign  after  the  Washington  fiasco.  The 
regrettable  and  still  resented  destruction,  which  was  within  the  rules  of  war, 
was  questioned  by  Whitbread,  and  defended  by  the  Chancellor  of  the 
Exchequer  who  asserted  that  it  was  praised  by  the  Americans  themselves  for 
the  'temper  and  moderation'  displayed.  Pari.  Deb.  xxix.  79  f.,  181  f.  (8  and 
14  Nov.).   See  Nos.  123 12,  123 13.   Cf.  No.  12281. 

A  pi.  by  G.  Cruikshank:  John  Bull  making  a  Capital  [Capitol]  Bonfire  & 
Af  Madison  run?iing  away  by  the  light  of  it!!  Pub.  Knight,  Oct.  18 14  (Reid, 
No.  279),  is  reproduced,  Broadley,  i.  373. 
8|Xi3iin. 

12312  LE  BAISER  DE  JUDAS,  OU  LA  BONNE  FOI  ANGLAISE. 

[?Oct.  1814] 

Engraving  (coloured  impression).  A  French  print.  British  officers  set  fire 
to  buildings  at  Washington,  while  two  of  them  at  the  same  time  embrace 
negroes.  One,  probably  General  Ross,  puts  his  r.  arm  round  the  shoulders 
of  a  negro,  who  embraces  him  gratefully;  in  his  r.  hand  is  a  paper:  Liberie 
des  Negres,  to  which  he  turns  a  sinister  profile;  in  his  1.  hand  he  holds  out 
at  arm's  length  a  firebrand  against  a  portico  on  the  extreme  r.,  inscribed 
Wasington.  Behind  him  crouches  a  second  officer  holding  a  firebrand  against 
a  pile  of  agricultural  implements,  rake,  spade,  &c.  He  also  burns  a  paper: 
Droit  des  Gens.  Both  trample  on  a  Traite  de  Paix.  A  third  officer  (1.),  with 
a  cunning  leer,  embraces  a  negro,  holding  in  his  1.  hand  a  paper  inscribed 
Paix  et  Amitie  and  a  dagger.  The  negro  clasps  his  hands  and  gazes  affection- 
ately at  his  false  friend.  In  the  background  are  buildings  with  flames  issuing 
from  the  windows,  one  is  inscribed  Hopital;  a  negro  cries  for  help  from  an 
upper  window.  Next  this  is  a  church ;  a  fourth  officer  mounts  the  steps,  fire- 
brand in  hand,  while  a  negro  (1.)  runs  off,  terrified.  In  the  background  is  the 
sea  with  a  vessel.   A  palm  and  cactus  complete  the  design. 

For  the  burning  of  the  State  buildings  at  Washington  see  No.  123 11.  The 
print  is  an  attack  on  the  British  attempt  to  induce  the  French  to  abolish  the 
slave  trade,  which  was  violently  resisted.  While  the  French  colonies  had  been 
in  British  hands  the  trade  had  been  suspended ;  they  were  now  to  be  returned. 
In  a  supplement  to  the  Treaty  of  Paris,  30  May,  signed  between  England 
and  France,  the  P>ench  slave  trade  was  to  cease  in  five  years  (text,  Ann.  Reg., 
1814,  p,  418),  As  the  English  Abolitionists  pointed  out,  this  was  to  revive 
the  trade.  The  strong  religious  and  humanitarian  movement  in  England  was 
believed  in  France  to  be  'mere  hypocrisy',  a  cover  for  British  maritime  and 
colonial  supremacy:  the  right  of  visit  and  search  was  involved,  and  the  French 
maintained  that  England,  having  stocked  her  colonies  with  slaves,  wanted  to 
exclude  them  from  French  territory.  The  policy  of  the  'amis-des-noirs'  in 
France  was  discredited  as  Jacobinical.  See  Life  of  Wilberforce,  1839,  iv,  180-98 ; 
Memoirs  of  Romilly,  1842,  ii,  336-40;  Pari.  Deb.  xxviii.  267-97,  299-357 
(27  June  1 8 14),  468-70  (30  June);  Webster,  Foreign  Policy  of  Castlereagh, 
i.  413-24;  ii.  454  ff,  F,  J,  Klingberg,  The  Anti-Slavery  Movemefit  in  England, 
1926,  pp,  137-58,  After  the  second  Restoration  Louis  XVIII  declared  that 
the  traffic  in  slaves  should  cease,  Napoleon  having  published  a  decree  abolish- 
ing the  trade  on  his  return  from  Elba,  cf.  No.  12546.  See  also  No.  123 13. 
7i|Xn|in. 

12313  PHILANTHROPIE  MODERNE.  [?Oct,  1814] 
Engraving  (coloured  impression),  A  pi,  similar  to  No,  123 12  by  the  same 
artist.  The  same  officer  {}  Ross),  with  a  calculating  leer,  embraces  a  negro, 
while  he  holds  a  firebrand  to  the  open  door  of  the  building  inscribed  Washing- 

435 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

ton,  more  of  which  is  shown  than  in  No.  123 12;  flames  and  smoke  appear 
at  a  window  (r.)  next  the  door.  The  negro  clasps  his  hands  and  grins  ecstati- 
cally. Ross  tramples  on  two  papers:  Droit  des  Gens  (as  in  No.  123 12)  and 
Droit  de  la  Guerre  entre  nations  civilisees.  On  the  1.  a  fat  John  Bull  puts  his 
hand  on  the  shoulder  of  a  second  negro,  who  registers  grateful  dehght  at  a 
paper  held  up  by  John:  Liberte  des  Negres.  He  resembles  the  John  Bull  of 
French  caricatures  on  English  visitors  to  Paris  in  1814,  cf.  No.  12362.  At  his 
feet  firebrands  set  light  to  a  pile  of  agricultural  implements.  In  the  back- 
ground a  negro  runs  off,  carrying  a  bale  on  his  head.  The  first  negro  wears 
a  loin-cloth  only,  the  other  two  wear  short  military  jackets  over  nudity  or 
loin-cloth. 
8JXii^  in. 

12314  A  WHOLE  FAMILY  LOST.' 

C  W.    [Williams.] 

Pub'^  Novenf  24^^  1814  by  Sam^  Knight  Sweeting  Alley  R^  Exc^ 

Engraving  (coloured  impression).  A  bell-man  or  town-crier  stands  full-face 
in  the  middle  of  the  street,  shouting  his  news,  bell  in  his  r.  hand,  1.  arm  raised. 
His  cocked  hat,  long  coat,  and  flapped  waistcoat  are  gold-laced.  His  large 
figure  fills  the  greater  part  of  the  design ;  words  cover  the  upper  part  of  the 
print :  O  Yes!  If  any  of  the  relations,  or  next  of  kin,  of  one  M^  Guinea,  who 
about  the  year  1800  was  much  seen  in  England,  and  is  supposed  to  be  an  English- 
man, will  give  information  where  he  can  be  met  with,  they  will  be  handsomely 
rewarded,  on  application  to  M'^  John  Bull,  Growling- Lane,  opposite  Thread- 
needle-street — A  proportionate  reward  will  be  given  for  information  relative  to 
his  son,  M''  Half  Guinea  ;  or  his  grandson.  Young  Seven  Shilling  Piece.  Papers 
innumerable  have  been  issued  in  consequence  of  their  disappearance,  but  all  in 
vain ;  and  they  are  believed  by  many  persons  to  have  left  the  kingdom  ;  though 
others  shrewdly  suspect  they  lie  hid  somewhere  in  the  country,  waiting  for  more 
favourable  times  before  they  dare  make  their  appearance ;  as  they  have  reason 
to  suppose  they  zvoidd  instantly  be  tken  up  [sic]  and  put  in  close  confinement — 
Their  sudden  disappearance  is  particularly  to  be  regretted,  as  they  were  in  great 
favour  with  the  people,  and  enjoyed  even  the  King's  Countenance,  to  such  a  degree 
that  they  actually  bore  the  Royal  Arms. — Notwithstanding  they  are  persons  of 
real  worth,  yet  it  must  be  confessed  that  by  getting  occasionally  into  bad  company, 
they  have  lost  some  little  of  their  weight  in  society ;  yet  if  they  will  return  all 
faults  will  be  forgiven ;  no  questions  will  be  asked;  but  they  may  depend  upon 
being  recieved  with  open  arms  by  their  disconsolate  friends,  who  by  this  temporary 
separation  have  learnt  how  to  appreciate  their  sterling  worth. — they  resemble 
each  other  very  closely,  and  may  very  easily  be  known  by  their  round  faces,  and 
by  their  complexion  which  is  of  a  bright  yellow ;  for  though  they,  it  is  true,  were 
born  and  acquired  their  polish  and  insinuatvig  manner  in  London  ;  yet  it  is  well 
ascertained,  that  the  family  originaly  came,  and  derived  their  name,  from  the 
coast  of  Guinea,  a  place  too  well  known  in  Liverpool  to  require  any  description. — 
God  save  the  King. 

The  heavy  masonry  of  the  Bank  of  England  forms  a  background.  On  the 
pavement  by  the  arched  gateway  (r.)  is  a  group  of  four.  One  man,  feeling 
in  his  coat-pockets,  looks  at  the  Bellman,  saying,  Mercy  on  us  how  shocking. 
Two  men  talk  together;  one  says:  Oh!  you  have  recieved  your  Dividend;  the 
other,  holding  out  a  sheaf  of  notes,  answers :  Yes  but  it  is  all  in  Papers  still!! 

'  Nos.  12455-76  are  dated  from  10  Nov.  to  14  Dec.  1814;  as  plates  to  a  book  not 
issued  in  parts  and  published  in  181 5  they  are  catalogued  together. 


POLITICAL   SATIRES   1814 

Behind  them  stands  a  woman.  On  the  1.  a  man  and  woman  walk  together 
along  the  pavement,  surprised  at  the  Bellman's  words. 

By  law  the  Bank  Restriction  Act,  see  No.  8990,  &c.,  was  to  come  to  an  end 
six  months  after  a  definitive  treaty  of  peace.  On  6  July  18 14  it  was  continued 
till  25  Mar.  1815,  Pari.  Deb.  xxviii.  480,  628,  820,  after  which  it  was  again 
continued  to  5  July  181 8.  Ibid,  xxxiv,  Appendix,  xci.  For  the  disappearance 
of  the  guinea  see  No.  11576,  &c.  The  other  gold  coins  were  the  half-guinea 
and  the  seven  shilHng  piece.  For  Liverpool  and  the  slave  trade  cf.  No.  1 1910. 
12^x9  i'^- 

12315  THE  SIEGE  OF  ST  QUINTIN 

[Williams.] 

Pu¥  Decern''  i'^  1814  by  W  N  Jones  N°  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  viii,  before  p.  399. 
On  the  1.  the  Regent  and  the  Duke  of  York  (in  uniform)  haul  ropes  by  which 
a  mounted  hussar  officer  is  being  dragged  from  a  deep  water-filled  ditch ;  the 
rope  passes  round  the  latter's  posteriors.  This  officer,  Colonel  Quentin,  has 
dropped  his  reins  and  clasps  the  head  and  neck  of  the  horse ;  he  exclaims  with 
a  distressed  expression:  Oh,  my  de-a-r  la-dy.  The  Regent  (1.)  turns  to  his 
brother  to  say:  ''He  must  be  sav'd—for  on  my  life,  \  He  hath  a  very  pretty  wife.\ 
And,  chief  commander  of  our  Forces  \  You  know  he  buys  me  all  my  horses  \  Pull 
away  Fred.  The  Duke  answers :  ''Saved  by  a  woman!  how  many  have  we  known 
that  have  been  disgraced  by  one?  [an  allusion  to  Mrs.  Clarke,  see  No.  1 1216,  &c.] 
— well  here  goes.  They  are  walking  towards  the  Horse  Guards  (1.).  Mud  from 
the  horse  struggling  in  the  water  splashes  the  Regent's  stocking.  On  the  r. 
of  the  ditch  a  fire,  in  which  papers  are  burning,  blazes  on  the  ground,  inscribed 
Cotispiracy.  On  this  a  stream  of  water  descends  from  dark  clouds  that 
surround  a  pair  of  scales;  a  paper  inscribed  Sentance  in  one  scale  much  out- 
weighs the  other,  which  is  heaped  with  papers  inscribed  Evidence.  The  scales 
are  held  by  two  hands  emerging  from  the  clouds;  a  label,  inscribed  Ora  et 
Labora,  containing  the  words  of  the  (concealed)  holder  of  the  scales,  floats 
towards  a  body  of  hussar  officers  (r.),  who  are  pursuing  Quentin.  These 
officers  are  also  faced  with  a  large  extinguisher  inscribed  FINIS  and  Adju^ 
Gener^  Office  which  is  held  out  to  them  by  another  hussar  officer  standing 
next  the  Duke  of  York,  but  facing  in  the  opposite  direction ;  he  says:  Aye  Aye 
you  may  sheathe  up  Gentlemen — /  have  orders  to  extinguish  you!! 

The  officers,  suddenly  halted  by  fire  and  extinguisher,  sheath  their  swords. 
The  foremost  says:  /  could  not  palm  the  the  [sic]  conspiracy  on  the  Court 
Martial.  The  next  looks  over  his  shoulder  at  two  officers,  who  wear,  in  place 
of  busbies,  plumed  chamber-pots  on  which  are  the  Royal  Arms,  emblems  of 
Mrs.  Jordan,  see  No.  7908.  He  says:  "I'll  henceforth  to  the  Worcester  potteries, 
and  manufacture  Jordans  for  your  mother.  They  answer :  For  that  matter,  she 
is  well  stock' d  already  Marq^  but  we  may  want  them  amongst  us,  for  we  are  all 
going  to  pot.  Another  officer  says  "A  worse  check  was  never  presented  at  my 
old  dad's  in  Lombard  Street — /  wish  Palmer  had  let  yne  a  loan."  Two  officers 
are  on  the  extreme  r.,  one  falls  head  first  from  his  horse,  saying,  "This  is  a 
complete  Somerset."  The  other  says:  This  is  as  bad  as  charging  up  Hill — . 
Behind,  less  characterized,  are  two  young  officers  waving  their  busbies;  one 
exclaims:  Aye,  Aye;  I  thought  the  Old  Soldier  was  too  good  a  rider  to  be 
unhorsed."  Others  follow.  All  wear  hussar  uniform  with  dolmans  hanging 
from  their  shoulders  over  braided  tunics.  Facing  them  is  a  bearded  Jew  with 
his  sack  for  old  clothes  over  his  shoulder.   He  bows  and  doff^s  his  hat,  saying, 

437 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

/  will  purchase  your  casht  off  shentlemen.  From  his  pocket  hangs  a  paper : 
Levy.  Satnult  at  the  sign  of  the  King  of  Hanover  deals  in  cash.  In  the  foreground 
is  a  mortar  emitting  a  puff  of  smoke.   There  is  a  landscape  background. 

A  satire  on  the  court-martial  on  Col.  George  Quentin,  of  the  loth  Hussars, 
or  Prince  of  Wales's  Own,  as  a  result  of  a  letter  signed  by  the  majority  (twenty- 
five)  of  the  officers  of  the  regiment  making  three  charges  of  neglect  of  duty 
on  specified  days,  and  one  of  general  laxity  of  discipline,  for  which  he  had 
already  been  reprimanded  on  30  Mar.  1814.  The  sentence  was  made  known 
on  10  Nov.  in  a  general  order  signed  by  the  Adjutant-General,  Sir  Harry 
Calvert.  Quentin  was  found  guilty  on  part  of  the  first  charge  only  for  which 
he  was  to  be  reprimanded  as  the  Commander-in-Chief  should  direct,  the 
fourth  charge  being  already  punished  by  reprimand.  The  officers  signing  the 
letter  of  accusation  of  9  Aug.  18 14  were  blamed  for  caballing  against  their 
colonel  and  making  unfounded  allegations.  They  were  all  to  leave  the  regi- 
ment and  be  distributed  by  exchange  among  other  cavalry  regiments.  The 
officers  here  indicated  by  their  words  are  Charles  Palmer  (i 777-1 851)  who 
acted  as  Lt.-Col.  from  May  1810  to  Nov.  1814,  (Whig)  M.P.  for  Bath  and 
son  of  the  projector  of  mail-coaches;  the  Marquis  of  Worcester  (1792-1853), 
A.D.C.  to  Wellington  1812-14  and  (Tory)  M.P.  for  Monmouth,  who  speaks 
to  George  (b.  Jan.  1794)  and  Frederick  (b.  9  Dec.  1799)  Fitzclarence,  see 
No.  1 1744.  The  banker's  son  is  probably  Lt.-Col.  G.  J.  Robarts,  who 
(presumably)  alludes  to  the  firm  of  Robarts  and  Curtis  (Sir  William).  Lord 
Arthur  William  Hill,  b.  1792,  son  of  the  2nd  Marquess  of  Downshire,  became 
colonel  of  the  4th  Dragoon  Guards.  'Somerset'  is  presumably  John  Thomas 
Henry  Somerset,  b.  1787,  Worcester's  uncle.  The  regiment,  according  to  the 
Examiner,  1814,  p.  733,  was  'first  spoiled  by  ridiculous  foppery,  and  is  now 
to  suffer  under  the  displeasure  of  those  [the  Regent]  who  contributed  to 
render  it  incompetent'.  The  Times  condemned  the  'crude  and  ill  formed 
judgment  of  the  accusers',  some  of  whom  had  not  been  with  the  regiment 
during  the  period  in  question,  and  hoped  that  it  would  now  become  an 
English  regiment  of  horse-soldiers  'rather  than  a  regiment  of  dancing-masters 
or  merry-andrews'.  Ibid.  The  verdict  was  unsuccessfully  attacked  in 
Parliament  by  Col.  Palmer,  on  17  Nov.,  supported  by  Tierney,  who  main- 
tained that  Quentin  was  protected  because  he  was  a  favourite.  The  Regent 
was  said  to  be  acting  both  as  colonel  of  the  regiment  and  as  sovereign.  See 
Pari.  Deb.  xxix.  247-333.  ^^e  pi.  illustrates  a  verse  'melo-drama',  pp.  399- 
406,  in  which  Palmer  conspires  with  other  officers,  but  Quentin's  wife  is 
allusively  alleged  to  be  the  Regent's  mistress  and  to  have  saved  her  husband. 
She  became  notorious  as  'Mrs.  Q.'  during  the  Queen's  affair  in  1820.  A  squib 
from  'a  Morning  Paper''  is  quoted,  professing  to  be  the  advertisement  of 
Levi  Samuel,  at  the  sign  of  the  King  of  Hanover,  in  which  the  foppish  and 
German  character  of  the  regimental  uniform  is  ridiculed.  The  satire  is 
primarily  an  attack  on  the  Regent,  exposed  by  Palmer's  action  in  the  Com- 
mons 'to  the  expected  fury  of  a  faction,  &  to  all  the  vile  filth  of  the  rankest 
democracy'.    Corr.  of  George  IV,  1938,  i.  506-9.    Cf.  No.  12626. 

Rubens,  No.  263. 
7^  X  2o|  in. 

12316  PROMPTE  ARRIVfiE  DES  DENR^ES  COLONIALES. 
Depose  a  la  Direction  G'*  [31  Aug.  18 14] 

Engraving  (coloured  impression).   A  large  four-wheeled  wagon,  shaped  like 

a  basket,  piled  high  with  colonial  produce,  proceeds  from  Dover  Castle, 

inscribed  Douvre  (1.),  to  the  coast  opposite  Calais  (r.).    It  is  drawn  by  four 

'  Morning  Chronicle,  17  Nov.,  Spirit  of  the  Public  Journals,  18 14,  p.  350  f. 

438 


POLITICAL   SATIRES   1814 

tortoises  harnessed  in  pairs,  and  a  lobster  or  crayfish.  On  one  of  the  wheelers 
is  a  British  soldier,  fk)urishing  a  weighted  whip.  Two  soldiers  mounted  on 
tortoises  follow  the  wagon,  which  is  heaped  with  sugar-loaves  and  packages 
of  Moka,  Poivre,  and  Indigo.  The  pile  is  covered  with  a  tarpaulin,  on  which 
are  perched  two  typical  British  tourists  of  18 14,  as  seen  in  French  caricatures, 
cf.  No.  12354,  &c.  A  woman  has  a  close-fitting  cap  or  bonnet  from  which 
hangs  a  long  transparent  veil,  her  sleeves  are  a  succession  of  small  puffs,  and 
she  holds  up  a  parasol.  With  her  is  a  smaller  figure,  wearing  a  bonnet  pro- 
jecting over  her  face.   Both  have  skirt  and  bodice  in  contrasting  colours. 

A  complaint  at  the  tardy  arrival  of  colonial  goods  from  England  after  the 
peace.  Sugar  and  coffee  were  the  consumption-goods  most  affected  by  the 
Continental  System.  There  were  many  complaints  in  France  against  beet- 
sugar.  A  caricature  was  displayed  in  Paris  of  Napoleon  squeezing  beetroot 
into  a  cup  of  coffee  while  the  King  of  Rome  sucks  a  beetroot,  his  nurse  saying 
'Suck  dear,  suck,  your  father  says  it  is  sugar'.  Ann.  Reg.,  1812,  Chron.  (Mar.), 
p.  31.  See  No.  12607.  Cf.  De  Vinck,  No.  9516.  Denmark  alone  had  seventeen 
factories  for  making  coffee-substitutes  (from  acorns,  &c.),  and  there  were  also 
indigo-substitutes.  Heckscher,  The  Continental  System,  1922,  pp.  291  ff.,  320. 
See  No.  12269,  &c. 

De  Vinck,  No.  9515.    Reproduced,  Bourguignon,  ii.  166. 
6f  X  i2f  in. 

12317  THE  HELL  I-GO-LAND  AUCTIONEER  &  APPRAISER.  ON 
HIS  NE  MANT  MARE. 

[Williams.]  [?  1814] 

Engraving  (coloured  impression).  A  sloping  wooden  ramp  zigzags  up  to  the 
summit  of  the  cliffs  of  Heligoland.  On  the  top  are  neat  white  red-roofed 
cottages,  and  on  the  edge  of  the  cliff  a  cannon  and  a  sentry.  A  high  gate, 
now  open,  extends  across  the  upper  part  of  the  ramp.  Advancing  towards 
it  from  above  is  a  crowd  of  Heligolanders,  dressed  much  like  Dutchmen  in 
English  caricature  in  flower-pot  hats,  short  jackets  over  which  their  breeches 
are  buttoned.  They  are  preceded  by  two  of  their  number  ringing  hand- 
bells ;  one  of  these  has  lost  his  1.  arm.  Beside  the  crowd  is  a  large  placard : 
Auction  And  at  Hamiltotis  Point — To  be  sold  tomorrow  night  at  I  o'C  a  brown 
Time  Peace  in  a  gilt  Fraim  of  the  very  first  quality  &  Sundry  other  sour  articles 
of  the  most  finest  sorts  &  some  true  Caricatures  &  some  Greefis  &  onions — 
possitive  orders  haveing  come  from  lee  [scored  through  and  replaced  by]  England 
in  a  Parcel  in  a  bit  of  a  mistake.  Below  the  two  bell-ringers  a  fashionably 
dressed  Englishman  on  a  well-bred  horse  gallops  straight  into  the  Jaws  of 
Hell,  (traditionally)  represented  by  the  gaping  and  fanged  mouth  of  a  monster 
from  which  flames  issue,  the  jaws  and  eye  being  on  the  extreme  r.  The  nose 
supports  a  round  clock-face,  on  which  is  seated  a  small  Devil  who  extends 
his  arms  towards  the  rider  with  a  welcoming  gesture.  Walking  behind  the 
rider  and  clutching  the  horse's  tail  is  a  British  officer,  who  says:  Let  me  ride. 
The  rider  answers:  No!  No!  I  a7n  a  great  Man  &  does  as  I  likes,  I  told  them 
so  in  England!  but  my  Time  is  up!  it 's  time  to  be  going  positively  going — going 
at  last  for  this  Brown  Timepiece  for  Ne-mant-mare  un  10  Pund.  Lower  down 
the  ramp,  a  short  fat  Englishman  (?  one  Benjamin)  holding  a  cane,  addresses 
two  Heligolanders,  pointing  to  a  notice-board  at  the  edge  of  the  ramp 
inscribed:  Houses  Forests  and  Estates  Morrow  Morning  may  Is  viewd  in  the 
Market  Place — by  the  Broker  B-nj-n — ,  he  says:  Heer  H-o-n  Heer  Fr-n-e 
how  gaits — we  must  have  no  forestalling — everthing  must  be  sold  in  Public. 
The  two  Heligolanders  say:  Yes  Heer  B-n-j-n  all  Tings  must  be  sold  mit  de 

439 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

Hammer — it  is  good  for  de  Helligolanders,  and  Was  is  de  matter,  I  tink  de 
Peoples  make  much  Plaisir — we  must  see  to  bind  dem  all  to  de  Peace.  In  the 
foreground,  on  the  lowest  part  of  the  ramp,  are  three  women  in  neat  peasant 
costume  with  baskets.  Two  carry  a  large  basket  slung  on  a  pole,  one  says : 
Teno  Upboppom.  At  the  top  of  the  cliff,  behind  a  palisade,  tiny  Heligolanders 
are  cheering  wildly,  shouting  Huzza.  Among  them  is  one  woman  who 
shouts  Jesus  Christus. 

Heligoland,  occupied  in  1807  simultaneously  with  the  attack  on  Copen- 
hagen, remained  a  British  possession  till  1890.  It  became  the  chief  base  for 
smuggling  goods  to  Germany.  Great  Britain  in  1808  built  a  port,  fortifica- 
tions, and  warehouses.  As  many  as  200  British  residents  are  said  to  have 
settled  there ;  they  formed  a  special  chamber  of  commerce,  and  the  place  was 
called  'Little  London'.  This  satire  on  the  liquidation  of  the  British  depot 
after  the  peace  has  personal  allusions  which  are  obscure,  but  seem  directed 
at  one  Brown,  a  broker  called  Benjamin,  and  perhaps  one  Frain  or  Frane. 
12IX9J  in. 

12318  CERBERUS  [1814] 

Engraving  (partly  coloured).  A  German  hieroglyphic  print.  The  title  is  from 
the  inscription  in  large  letters  on  a  savage  dog,  representing  Napoleon,  stand- 
ing on  a  globe,  an  arc  of  which  forms  the  base  of  the  design,  and  on  which 
he  has  left  blood-stained  foot-prints.  A  head  of  Napoleon  in  profile  to  the  r. 
is  enclosed  in  the  upward  curve  of  the  animal's  tail,  which  is  inscribed 
Protecteur;  the  dog's  collar  is  inscribed  Universal  Monarchic,  the  ears  are 
Douaniere  and  Gendarmerie  respectively,  the  jaw  is  Daru ;  his  paws  are  Rapp, 
Victor,  Davoust,  and  Vandame,  the  last  being  linked  to  a  chain  held  in  a  hand 
projecting  from  the  r.  margin ;  the  end  of  the  chain  is  weighted  by  a  pair  of 
shoes  inscribed  Pariser  Kauft.  The  hand  that  holds  the  chain  holds  also  a 
flail  inscribed  Fiir  Hamburg,  Lubeck  &  Bremen.  The  dog's  r.  forepaw  rests 
upon  a  skull  (I.),  which  he  is  licking;  the  other  on  a  rectangular  block  resting 
on  the  globe  and  inscribed  Term.  The  globe  represents  not  the  earth  but 
Hell.  Flames  issue  from  the  lower  margin,  among  them  is  the  word  Pyri- 
phlegelon,  near  which  is  a  (?)  paper  inscribed  Tele  graph,  the  other  rivers  are 
indicated  by  the  word  Styx  (which  Cerberus  bestrides),  and  Lethe.  A  shadowy 
profile  of  Napoleon  is  sketched  on  the  globe;  this  has  the  lank  hair  and 
bicorne  of  Napoleon  in  the  first  Italian  campaign. 

From  the  upper  1.  corner  of  the  design  darts  of  jagged  lightning  point 
towards  Napoleon.  Each  forms  the  profile  of  an  avenging  general  (1.  to  r.): 
Carljohan,  Kutusow,  Bliicher,  Wellington.  Between  the  two  pairs  of  generals 
is  an  irradiated  cross,  symbolizing  God,  from  which  issue  the  words  Siehe  ich 
will  von  Ahab  ausrotten  auch  den  [i  Kings  xi.  21],  signifying  that  Napoleon 
will  be  childless.  The  dart  from  Wellington  strikes  behind  the  dog,  and 
reaches  the  Hand  of  Justice  (cf.  No.  12247)  of  Napoleon,  and  an  eagle 
(reversed),  both  inscribed  A'^,  which,  with  a  laurel-wreath,  are  above  the  r. 
side  of  the  globe. 

A  broad  masonry  pillar  or  monument  rises  vertically  from  behind  the 
globe;  from  this  an  arm  projects  horizontally  to  the  1.,  the  hand  pointing 
towards  the  cross,  and  inscribed  Vidi.  Another  arm  with  a  beckoning  finger 
projects  to  the  r.,  and  is  inscribed  Veni.  On  the  face  of  the  monument  is  a 
rectangular  design  inscribed  Victoire,  and  headed  Vici:  a  scythe,  pitchfork, 
and  rake  are  hung  with  trophies:  de  Leipsic  20  Trop  he!;  a  petticoat,  cap, 
stockings,  and  cloths  inscribed  Drapeau.  On  the  scythe-blade :  d.  ig^^^  Octobr. 
1813.  The  head  and  shoulders  of  a  Jove-like  man  project  from  behind  this 
design. 

440 


POLITICAL  SATIRES    1814 

On  the  r.  of  this  monument  is  a  post  surmounted  by  the  head  of  a  man 
wearing  a  fool's  cap;  below  the  head,  and  perhaps  suspended  from  the 
shoulders  is  a  placard  headed  Pasquinus  eram.  On  it  is  depicted  a  seated  ape, 
holding  a  (?)  newspaper  on  a  stick  (as  read  in  cafes),  reversed;  he  is  Der 
Nachstecher  (engraver  or  copyist).  To  the  lower  part  of  the  post  are  fixed 
masks  with  a  (?)  bladder  attached  to  a  stick,  as  used  in  carnivals.  Below  the 
design: 

Sonst  war  ich  der  grosse  Napoleon 

Jezt  —  dien*  ich  der  Holle  um  Lohn 

Und  bringt  man  mich  dem  Feuer  zu  nah  — 

So  bin  ich  gleich  als  Camdleon  da. 

A  satire  on  the  defeat  and  captivity  of  Napoleon,  with  some  obscure  details, 
with  special  reference  to  the  sufferings  of  Germany  under  the  Empire.  The 
customs  officers  and  gendarmerie  denote  the  French  officials  who  enforced 
the  Continental  System,  whose  rigours  were  especially  felt  in  North  Germany, 
and  above  all  in  Hamburg.  He  is  punished  for  the  sufferings  of  Hamburg, 
Lubeck,  and  Bremen  (annexed  to  France  13  Dec.  1810).  Daru,  as  Commissar}^ 
with  the  Grand  Army,  had  supervised  the  militar}-  occupation  of  Prussia 
from  1807.  General  Rapp  defended  Danzig  from  24  Jan.  to  29  Nov.  18 13. 
Marshal  Victor  commanded  a  corps  during  the  German  campaign  of  18 13 
from  Liitzen  to  Leipzig.  Davout  was  made  Governor  of  the  Lower  Elbe  in 
Mar.  1813,  and  reoccupied  Hamburg  on  30  May;  during  the  siege  in  1814 
he  acted  with  great  harshness  to  the  population.  General  Vandamme  fought 
in  the  campaign  of  1813,  and  was  made  Governor  of  Bremen,  but  was  defeated 
and  captured  at  Kulm  (see  No.  12177).  For  Leipzig  see  No.  12093,  ^^-  The 
trophies  are  probably  those  sent  by  Napoleon  from  Hanau,  see  No.  121 1 1,  &c. 
The  four  commanders  who  launch  thunderbolts  represent  the  forces  of 
Sweden,  Russia,  Prussia,  and  Britain.  Apparently  a  companion  pi.  to  Nos. 
123 19,  12320;  a  serial  number  has  been  erased  from  these  plates.  All  were 
perhaps  accompanied  by  a  printed  explanation. 

Broadley  (ii.  127  f.)  describes  a  version  differing  in  some  inscriptions: 
Billow  takes  the  place  of  Kutusow,  The  inscription  below  (translated):  *I 
am  Cerberus  (Ich  heisse  Cerberus);  I  also  am  Chameleon;  when  heated 
I  change  colour',  with  the  date  'Anno  1814  i  B  and  K  21,  22'.  Imprint: 
Henschel  Brothers  and  Werder,  4  Rosen  Strasse,  Berlin. 
3gX5in. 

12319  HERR  NOCH  JEMAND  AUF  ELBA   [Still  Mr.  Someone  in  Elba.] 

[?i8i4] 
Engraving.  A  German  print.  Napoleon,  wearing  uniform,  sits  in  profile  to 
the  1.  in  his  study  at  Elba  on  a  makeshift  chair  of  state,  made  of  gun-carriages, 
with  a  flimsy  back  on  which  an  eagle  is  perched.  He  is  seated  at  a  plain 
rectangular  table,  with  a  pair  of  pistols  before  him.  Across  the  table  hangs 
a  large  scroll  inscribed  Napoleons  Taschenbuch  which  is  divided  into  irregular 
sections,  each  containing  a  design,  the  largest  of  which  is  Leipzig,  an  irradiated 
sun,  the  smallest  Elba.  The  others  are  Moskau,  with  burning  buildings, 
Trafalgar,  a  shattered  ship,  and,  half  rolled  up,  [Pa]m,  a  shower  of  cannon- 
balls.  The  Emperor  extends  over  the  map  his  Hand  of  Justice  (cf.  No.  12247). 
His  feet  rest  on  a  large  square  packet  (?  of  pamphlets)  inscribed  Liofier 
Pasq[il]le  4500  Fr.  An  open  drawer  at  the  1.  side  of  the  table  is  filled  with 
small  objects,  resembling  crosses  of  the  Legion  of  Honour.  At  his  1.  hand 
stands  a  large  fasces,  with  projecting  axes,  decorated  with  the  imperial  eagle. 
The  floor  under  and  around  his  table  and  chair  is  covered  with  a  gigantic 

441 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

cobweb ;  perhaps  indicating  that  Napoleon  sits  at  the  centre  (which  is  actually 
covered  by  the  packet-footstool),  weaving  plots.  The  single  window  (1.)  is 
broken,  the  panes  partly  covered  by  a  paper:  31  5?///[etin]. 

Immediately  above  Napoleon's  head  is  suspended  a  Damocles-sword,  the 
hilt  formed  of  a  small  ship  inscribed  Usher.  This  sword  hangs  before  two 
bust  portraits,  the  upper  one  resembling  Wellington.  The  lower  portrait  and 
a  second  pair  (1.)  cannot  be  identified:  one  is  inscribed  V,  the  other  R. 
These  portraits  fill  spaces  on  the  wall  left  by  two  large  glass-fronted  cabinets ; 
one  (1.)  is  filled  with  books  and  is  inscribed  Robinsonaden  [see  No.  12250]; 
the  other,  Antikencabinet,  contains  objects  connected  with  the  Empire ;  a  crown 
and  sceptre,  decanters  inscribed  S  Bitt,  caps  and  slippers,  books,  a  shako, 
(?)  a  model  of  the  Colonne  Vendome,  a  terrestrial  globe,  and  two  sets  of 
unidentified  objects.  Across  the  r.  part  of  the  room,  behind  Napoleon,  hangs 
a  curtain  inscribed  Zukunft;  from  under  it  appear  the  paws  and  profile  of 
a  recumbent  Sphinx.  Two  demons  hold  the  sides  of  the  curtain,  and  seem 
about  to  draw  it  back  and  reveal  the  future.  In  the  foreground  (a.)  is  an  open 
and  apparently  empty  chest,  inscribed  Belohnungen  [rewards].  Near  it  stands 
a  chamber-pot,  with  a  paper  headed  Cal. — Heil  Napo  .  ,  .  On  the  extreme 
1.  is  (?)  a  guillotine;  a  rat  runs  under  the  blade.  Other  rats  nibble  at  a  paper 
inscribed  Menteur,  probably  an  allusion  to  the  Moniteur,  Napoleon's  official 
paper  which  had  become  the  mouth-piece  of  Louis  XVI IPs  Government. 

See  No.  123 18.  A  satire  on  Napoleon  as  sovereign  of  Elba  with  the  title 
of  Emperor,  see  No.  12286.  'Usher'  is  an  allusion  to  Thomas  Ussher,  captain 
of  the  frigate  Undaunted  which  took  Napoleon  to  Elba.  The  package  may 
contain  Bonapartist  propaganda  for  Lyons.  'S.  Bitt'  is  from  Spanisch  Bitter 
und  Russisches  Eis.  Schulze,  pp.  i.,  II*.  The  print  reflects  the  uncertainty  in 
1814  as  to  Napoleon's  intentions.  For  Leipzig  see  No.  12093,  &c. ;  for  Mos- 
cow, No.  12049,  &c. ;  for  Napoleon's  bulletins  cf.  No.  11920,  &c. 
3|X5iin. 

12320  ENDLICHES  SCHICKSAAL.    [Final  Destiny.] 

R.  [?  1814] 

Engraving.  A  German  print.  A  globe  floats  among  clouds;  a  large  arbitrarily 
shaped  continent  is  Deutschland,  the  only  place  marked.  Towards  this  part 
of  the  globe  are  directed  rays  from  a  sun  or  disk  inscribed  W^''  Congress ;  they 
issue  from  the  word  Friede  and  are  inscribed:  Sicherheit  des  Eigenthums. 
Unverletztes  Recht  der  Menschheit.  Flor  der  Wissenschaften  und  Kunste. 
Freude,  Gesundheit,  Wohlergehn.  Burger-  und  Familiengliick.  Across  the  ends 
of  the  rays  are  festooned  a  garland  of  flowers  and  a  ribbon  inscribed  Europa 
Asten,  Afrika,  Amerika.  The  ends  are  held  by  two  tiny  cherubs ;  the  garland 
hangs  across  'Deutschland',  A  hand  issues  from  clouds  and  rests  on  the 
globe.  The  wrist  is  inscribed  Vorsehung,  the  hand  Gerechtigkeit.  On  the 
thumb  and  first  three  fingers  are  rings,  each  marked  with  a  letter  R  [Russian d], 
P  [Preussen],  E  [England],  O  [Osterreich],  representing  the  Allies  (see 
Nos.  12177,  12202).  On  the  lowest  part  of  the  globe  and  partly  covered  by 
clouds  is  a  star  with  the  letter  A'^,  close  to  the  word  Elba  (see  No.  12229,  &c.). 

See  No.  12318.   For  the  Congress  of  Vienna  see  No.  12453,  &c. 
3^X5  in. 

12321  GENERAL  SUNFLOWER.  [?  1814] 
Engraving  (coloured  impression).  A  naturalistic  sunflower  conceals  four 
profiles,  two  directed  to  the  1.,  and  two  to  the  r.  One  is  possibly  Wellington. 
7X51  in. 

442 


i8i4 
PERSONAL  AND  SOCIAL  SATIRES 

12322  DE  BERENGER.— ALIAS    CAPTN   BROWNE— ALIAS    COLL 
DUBOURG. 

Etched  by  G.  Cruikshank. 

Published  May  21'^  1814  by  H.  Humphrey  5'  James's  S*. 

Engraving  (coloured  and  uncoloured  impressions).  Bust  portrait  in  profile  to 
the  r.,  of  a  well-dressed  middle-aged  man,  with  cropped  hair,  fleshy  hooked 
nose,  and  protruding  underlip.  Below  the  title:  From  a  Sketch  taken  the  Day 
he  was  apprehended  at  Leith  in  April  18 14 — . 

The  organizer  of  the  Stock  Exchange  fraud  in  which  Lord  Cochrane  was 
involved,  see  No.  12209,  &c. ;  the  trial  for  conspiracy  was  in  the  King's 
Bench,  8-9  June  1814. 

Reid,  No.  332.   Cohn,  No.  1046. 
3-^X3^^  in.   With  (octagonal)  border,  4IX4I  in. 

12323  [MR.  HURSTWAITE.]  [1814'] 

Engraving.  W.L.  portrait,  head  and  hands  in  tinted  stipple.  A  fashionably 
dressed  but  rather  clumsy  man,  hat  in  hand,  in  a  dancing  pose,  r.  foot 
advanced  with  pointed  toe.   The  inscription  is  on  a  separate  pi. : 

To  Vestris  in  Dance  he's  thought  equal  by  some, 

In  singing,  he  rivals  the  famed  Billington, 

In  eating,  'tis  dangerous  to  trust  him  too  nigh 

A  good  Apple  Pudding,  or  nice  Apple  Pyc. 

In  Love  a  Lothario,  and  oft  takes  his  fill. 

From  Bond  Street  quite  home,  to  the  Shop  in  Cornhill, 

So  polite,  the  Girls  say  at  their  nod  he  will  come. 

For  they  love  him,  and  call  him  their  Dear  little  John. 

Identified  in  pen  as  Hurstwaite,  shopman  to  M.  Knight,  Printseller,  Sweet- 
ings Alley. 
7i  ^  4to  i^-   Both  plates,  8|  x  4I  in. 

12324  THE  RIVAL  ROMEOS  OR  COATES  &  MATHEWS—    Plate  3'^ 

[G.  Cruikshank.]  [i  Jan.  1814] 

Engraving.  PI.  from  the  Meteor.  'Romeo'  Coates,  fantastically  dressed  as 
Romeo,  stands  at  the  extreme  1.  of  the  stage,  leaning  against  a  wall.  He  raises 
his  arm  to  take  the  hand  of  Mathews,  who  stands  in  a  stage-box  looking  down 
at  him,  but  smiles  complacently  towards  the  (invisible)  audience.  He  wears 
a  tight-fitting  tunic  and  short  breeches  of  brocade,  with  a  vandyked  ruff,  a 
high-crowned  cap,  jewelled  and  plumed,  and  small  cape ;  his  1.  hand,  holding  a 
rapier,  rests  on  his  hip.  Mathews  is  fashionably  dressed,  wearing  a  cylindrical 
hat,  tight  double-breasted  coat,  and  eye-glass.  Behind  them  stands  a  man 
with  a  comic  profile,  saying  Cock  a  doodle  doo.  Below  this  box  is  one  beneath 
the  level  of  the  stage ;  two  ladies  and  a  man  look  up  at  Romeo,  much  amused. 

'  Dated  by  E.  Hawkins. 

443 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

For  Coates  as  Romeo  cf.  No.  11769,  &c.  It  is  said  that  Mathews  having 
applauded  Coates,  the  latter  publicly  thanked  him.  Mathews  played  Romeo 
Rantall  in  At  Home  (Covent  Garden,  first  played  25  Feb.  1813),  in  which 
Coates  was  ridiculed. 

Reid,  No.  306.    Cohn,  No.  553.    Reproduced  (colour).  Reminiscences  of 
Gronow,  1892,  i.  48. 
6|X4^  in. 

12325  THE  THEATRICAL  ATLAS. 

G.  Cruikshank  fec^ 

Pu¥  May  7'''  1814  by  H.  Humphrey  S'-  James's  Street 
Engraving.  Kean  as  Richard  III,  directed  to  the  1.,  stands  on  a  large  volume : 
Shakespear.  Resting  on  his  head  and  humped  shoulders  is  a  model  of  Drury 
Lane  Theatre,  a  massive  block,  inscribed  Whitbreads  Intire  [cf.  No.  1042 1]. 
On  the  roof  is  poised  an  ugly  figure  of  Fame,  blowing  through  a  trumpet 
Puff  Puff  Puff,  and  holding  behind  her  a  second  trumpet,  from  which  issue 
the  words  Puff  Puff  P.  In  front  straddles  a  tiny  Whitbread,  his  legs  and  arms 
projecting  from  a  cask  which  forms  his  body;  he  says:  "Now  by  S^  Paul  the 
work  goes  bravely  on  [altering  Richard's  words  from  'this  news  is  bad  indeed']. 
Kean  stoops,  leaning  on  a  cross-hilted  sword,  inscribed  A  Keen  supporter;  he 
has  misshapen  bandy  legs.  He  says:  Well,  as  you  guess  [i\ .  xv .  ^b']'].  He  wears 
an  ermine-bordered  cap  encircled  by  a  crown,  slashed  doublet  and  trunk  hose, 
a  sleeveless  coat  bordered  with  ermine  and  embroidered  with  a  (Yorkist)  rose, 
with  flapped  and  spurred  boots.  (The  figure,  with  the  position  of  the  arms 
altered,  is  a  travesty  of  J.  J.  Hall's  portrait  of  Kean  interrogating  Stanley  on 
the  approach  of  Richmond.  The  costume  is  correct.)  The  stage  is  indicated 
by  curtains  flanking  the  design.   In  the  background  are  clouds  of  smoke. 

Kean  made  his  famous  first  appearance  in  London  as  Macbeth  on  26  Jan. 
at  Drury  Lane;  on  12  Feb.  he  first  played  Richard  III,  and  on  19  Feb.  it 
was  announced  that  no  oruers  (paper)  would  be  admitted  on  nights  when 
Kean  appeared.  It  was  at  first  suspected  and  alleged  that  he  was  puffed  to 
fill  the  almost  bankrupt  theatre,  but  he  gained  instant  popularity,  and  saved 
Drury  Lane.  Farington,  Diary,  vii.  222,  262;  Examiner,  13  Feb.  See 
No.  12263.   For  Whitbread  and  the  Theatre  see  No.  11767,  &c. 

There  is  a  reversed  copy  (not  in  B.M.),  pub.  McCleary,  32  Nassau  Street. 

Reid,  No.  326.    Cohn,  No.  2029. 
i2fX9^in.   With  border,  13IX  9  jl  in. 

12326  THE  RIVAL  RICHARDS  OR  SHEAKSPEAR  IN  DANGER. 

[W.  Heath.] 

Pub  May  181814  [sic]  by  S  Knight  Sweeting  ally  Cornhill 

Engraving.  Kean  (1.)  and  Young  (r.),  both  dressed  as  Richard  III,  struggle 
for  Shakespeare  who  stands  between  them,  each  tugging  hard.  In  the  back- 
ground behind  Kean  is  Drury  Lane  Theatre,  behind  Young  is  Covent 
Garden.  Shakespeare's  feet  are  close  to  Young,  but  he  leans  towards  Kean, 
despite  Young's  clasp  on  arm  and  collar;  he  shouts  in  terror:  Murder'' 
Murder".  Kean  says:  ///'  have  him  but  I  Will  not  keep  him  long.  Young 
exclaims:  /  hate  thee  Richard  for  thy  better  Parts,  mine  be  the  Prize  not  thine 
forbare.  Their  dress  is  similar,  but  Kean  wears  an  ermine  cap  and  crown  as 
in  No.  12325,  Young  a  feathered  hat.  Kean  has  spurred  boots.  Young  flat 
buckled  shoes.  The  fa9ade  of  Drury  Lane  is  inscribed  Whitbreads  Entire 
The  Real  Home  Brew;  Whitbread   capers  delightedly  beside  the  theatre, 

444 


PERSONAL   AND   SOCIAL   SATIRES    1814 

flourishing  a  tankard  inscribed  Whi ....  Covent  Garden  is  inscribed  The  Best 
booth  in  The  Fair  zchats  a  Stage  without  Horses  [see  No.  11773].  Harris,  the 
manager,  stands  glumly  in  front  of  the  theatre  saying :  They  are  Too  Kean  for 
me  &  will  Harris  me  to  Death. 

Charles  Mayne  Young  (1777-1836)  was  established  at  Covent  Garden,  and 
before  Kean's  debut  at  Drury  Lane  was  accepted  as  the  leading  English 
tragedian.  The  management  then  put  Young  in  rivalry  with  Kean  as  Richard 
and  Hamlet,  the  plays  being  several  times  given  on  the  same  day  at  both 
theatres.  The  rivalry  was  between  two  schools  of  acting,  the  Kemble  decla- 
matory manner,  and  the  natural  acting  of  Kean.  The  contest  as  regards 
Richard  HI  was  the  subject  of  an  article  in  the  Examiner,  27  Mar.  (by  Barnes), 
in  which  Young's  attempt  to  compete  was  declared  'by  all  good  judges  .  .  . 
perfectly  ridiculous',  cf.  No.  12918.  Covent  Garden  was  notorious  for  plays 
in  which  animals  were  the  chief  attraction. 
S^X  12^  in.    With  border,  8|x  i2|  in. 

12327  THEATRICAL  FAUX  PAS—  |  SATIRIST  MARCH  1ST  1814:— 

G:  Cruikshank  fee' — 

Engraving  (coloured  impression).  PI.  from  the  Satirist,  xiv  (x.S.,  iv).  Mrs.  H. 
Johnston,  dressed  as  a  tragedy  queen,  rushes  towards  a  street-door  (1.),  her 
hand  on  the  knocker,  a  ring  in  the  mouth  of  a  head  which  grins  down  at  her, 
saying.  Come  live  with  me  &  be  my  Love.  She  says:  /  must  pledge  my  Love 
to  support  the  pledges  of  my  Love.  Over  the  door :  Drummond — Pawn  Broker — 
AB  Old  Pieces  taken  in,  with  the  sign  of  three  balls.  Above  the  door  is  the 
lower  part  of  an  open  window,  showing  a  heap  of  money-bags.  Behind  the 
lady  is  the  facade  of  Covent  Garden  Theatre,  with  the  manager,  Harris,  tall 
and  grotesquely  thin,  standing  above  the  pediment,  looking  towards  his  fleeing 
mistress ;  he  says :  Ah  Whither  my  love  Ah  Whither  Art  thou  gone  [cf.  No.  93 1 1] 
On  the  r.,  and  forming  the  greater  part  of  the  design,  stand  members  of  the 
Covent  Garden  company;  they  are  in  front  of  a  rustic  (theatrical)  grotto 
surrounded  with  leaves  and  inscribed  Covent  Garden  Green  House.  They  are 
(1.  to  r.)  Catherine  Stephens  (i 794-1 882),  vocalist  and  actress,  after\vards 
Countess  of  Essex;  she  says:  What  compatiy  has  my  inexperience  got  into. 
Next  stands  IVIathews,  wearing  the  broad-brimmed  hat  and  long  overcoat 
with  capes  of  the  amateur  coachman,  as  in  his  part  of  Cypher  in  Hit  or  Miss, 
see  No.  11700.  He  holds  a  team-whip  and  says:  Bang  up  &  prime.  Next  is 
Fawcett  dressed  as  Servitz  in  F.  Reynolds's  'melodramatic  opera'  The  Exile, 
see  No.  11209.  He  turns  from  Mrs.  Johnston,  saying.  Going  to  Gallivant — 
D — d  bad  management.  Facing  him  in  profile  stands  Incledon  as  a  handsome 
sailor;  he  holds  his  hat,  saying:  He  had  better  marry  a  widow,  better  marry 
than  burn.  Next,  Sally  Booth  (i 793-1 867),  a  demure-looking  ingenue,  says: 
/  wonder  for  my  part  Jiow  zvomen  can  do  such  things.  Emer\%  as  a  yokel  in 
smock  and  gaiters,  holds  his  hat  and  a  whip ;  he  says :  Ao  such  doings  in  York- 
shire. The  diminutive  Mrs.  Liston,  as  Queen  Dollalolla  in  Fielding's  'Tom 
Thumb',  see  No.  10680,  stands  beside  her  husband  who  wears  a  long  wig, 
three-cornered  hat,  laced  coat,  and  flapped  waistcoat.  He  stands  on  tiptoe 
to  stare  at  Mrs.  Johnston,  and  registers  astonishment;  he  says:  Oh,  Shocking!! 
Mrs.  Liston  rejoins:  Monstrous. 

Mrs.  Johnston,  nee  Parker,  b.  1782,  long  separated  from  her  husband  Henry 
Erskine  Johnston,  is  satirized  for  her  desertion  of  Harris  for  Drummond, 
the  London  banker.  Emer}%  noted  for  his  rustics,  is  evidently  copied  from 
his  portrait  after  de  Wilde,  in  the  part  of  Stephen  Harrowby  in  Colman's 
Poor  Gentleman,   1802  (Burney  Coll.).    There  is  a  companion  portrait  of 

445 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Fawcett  as  Servitz,  wearing  short  furred  coat,  three-cornered  hat,  and  knee- 
breeches  as  in  this  print,  but  Cruikshank  seems  to  have  copied  his  own  print, 
see  No.  11209.  Incledon  is  closely  copied  from  a  drawing  by  Emery  (the 
actor),  etched  and  published  by  Roberts,  the  only  alteration  being  that  the 
hat  has  been  transferred  from  the  1.  to  the  r.  hand. 

Reid,  No.  292.    Cohn,  No.  724. 
6 il  X  13!  in.   With  border,  7I  x  14I  in. 

12328  HOCUS  POCUS;  OR,  CONJURORS  RAISING  THE  WIND. 

C  W   [Williams.] 

Pu¥  Ocr  I'*  18 1 4  by  W.  N.  Jones  N"  5  Newgate  Street. 

Engraving  (coloured  impression).  PI.  to  the  Scourge,  viii.  241.  Illustration 
to  'A  New  Interlude',  pp.  243-8.  A  scene  in  the  green  room  of  the  Haymarket 
Theatre.  George  Colman  sits  in  an  arm-chair  beside  a  writing-table,  beset 
(1.)  by  duns,  and  (r.)  by  unpaid  actors  who  played  in  the  entertainment 
'Dr.  Hocus  Pocus,  or.  Harlequin  Washed  White'.  A  sturdy  woman  (r.)  wear- 
ing a  check  apron  tugs  at  him,  trying  to  drag  him  towards  a  wash-tub  which 
stands  beside  her.  He  says,  looking  to  the  r. :  Now  then  Gentlemen!  GO  IT, 
if  Hocus-Pocus  and  Conjurocus  does  but  raise  the  Wind — by  St  George  I'll 
pay  you  all!! — why  you  Husseyyou  are  not  to  put  me  into  the  tub!!  She  answers : 
La  Sir  did  not  you  say  you  should  like  to  be  white  washed  if  you  could  afford 
soap.  Another  aproned  woman  standing  behind  her  holds  out  a  bar  of  soap, 
saying.  Why  here 's  plenty  of  Soap  MaamU  Two  bars  of  Magic  Soap  are  on 
the  ground  beside  her.  Colman  holds  the  blank  page  of  a  giant  volume,  open 
on  a  lectern,  which  tilts  over  under  his  hand ;  on  the  1.  page  is  GO  IT  in  huge 
letters.  In  his  1.  hand  is  an  open  book:  Hocus  Pocus  or  Harlequin  Whitewashd 
A  Ludicrous  Magical  Entertainment  Conjur  ocus  made  of  [illegible  word] 
Scaramouch  Columbine.  An  owl  perches  on  the  back  of  his  chair.  From  behind 
the  chair  a  woman  wearing  a  white  decolletee  dress  (Mrs.  Gibbs)  leans  forward 
threateningly  towards  the  woman  of  the  soap,  saying.  Let  him  alone  hussey 
I  say  he  has' Jit  a  spot  about  him.  Another  lady  puts  her  hand  on  her  shoulder, 
saying,  GO  IT  Columbine.  Other  members  of  the  company  (1.  to  r.)  are  two 
men  behind  Colman's  chair  in  agitated  conversation ;  a  man  in  hussar  uniform ; 
a  man  dressed  as  a  wizard,  with  a  beard,  a  steeple-crowned  hat  and  quasi- 
oriental  robes  who  holds  up  a  long  wand  and  shouts  to  the  dunning  trades- 
men: Don't  be  so  clamorous  there!  you  must  take  orders  till  we  can  rais  the 
Wind!  Next  is  a  man  in  (burlesqued)  fashionable  dress,  his  cylindrical  hat 
under  his  arm,  holding  a  cane  and  looking  through  an  eye-glass.  Behind  him 
is  a  woman  whose  face  is  hidden  by  her  'Oldenburg'  bonnet  (see  No.  12290). 
She  says,  looking  towards  Colman :  /  know  that  face!  ah  he 's  a  Man  of  talent 
but  no  Pro-per-ty!  A  stout  man  (Brunton),  wearing  a  large  wig  and  three- 
cornered  hat,  holds  up  a  conjuror's  wand,  saying  to  a  man  on  the  extreme  r. : 
Hubble  Bubble,  toil  and  trouble,  \  I  hope  your  poney  will  carry  double.  The  man 
on  the  pony  dressed  as  a  clown  is  Scaramouch  (Tokely);  he  answers:  Oh!  ho! 
M''  Conjurocus  in  a  Bush  Wig.  your  for  go  it,  so  I'll  be  off  for  Covent  Garden 
and  try  what  I  can  raise  upon  my  painted  poney!  Before  him  stands  Harlequin 
(Mathews),  supporting  himself  on  a  stick;  he  says  reflectively:  Sir  George  Pay 
you  all  that  will  be  a  first  appearrance  in  a  New  Character.  Colman's  table  is 
a  (.'')  marble  slab  resting  on  two  lyre-shaped  supports.  It  is  littered  with 
papers  inscribed  Admit  Two  to  the  Boxes ;  there  is  also  a  paper  inscribed  Day 
rule  (showing  that  he  was  on  leave  from  the  Rules  of  the  King's  Bench).  On 
the  ground  are  books:  Vagaries  [Colman's  Poetical  Vagaries,  18 12],  Broad 

'  On  a  letter  in  the  tailor's  pocket. 

446 


PERSONAL   AND   SOCIAL   SATIRES    1814 

Grins  [see  No.  11963],  The  Young  Qua  .  .  .  A  .  .  .  By  G.  Colman,  [The  Young 
Quaker,  Haymarket,  1783,  was  by  O'Keefe] ;  beneath  this  is  a  paper:  Plan  of 
the  Rules.  Hanging  above  Colman  and  some  of  the  actors  is  a  large  crocodile, 
with  gaping  jaws  directed  menacingly  towards  the  clamorous  duns. 

On  the  extreme  1.  a  tradesman  pushes  fonvard  a  butcher,  saying,  Push  on! 
Push  on!  Butcher,  if  you  let  that  Coalman  touch  the  cash  first  there  zvill  be  none 
left  for  us.  The  butcher  holds  out  a  paper:  The  [?]  Proprietors  .  .  .  Leg 
[mu]tton  =  ^j6 ;  he  says:  Five  and  sixpence  for  a  Leg  of  Mutton,  for  Katharine 
and  Petruchio.  Just  in  front  is  a  man  wearing  a  coal-heaver's  hat,  saying. 
Only  for  a  Peck  of  Coals  to  roast  the  Mutton  for  Petruchios  supper.  His  bill 
is  for  sixpence  (p.  245).  A  man  behind  him  says:  /  think  you  are  kicking  up 
a  dust  on  this  side,  wether  the  conjurors  raise  the  Wi?id  or  ?iot.  A  tradesman 
grasps  the  shoulder  of  a  barber,  saying,  Frie?id  my  demand  is  of  more  importance 
than  yours,  a  bill  for  a  Crown  &  Sceptre  you  must  wait  till  mines  settled.  The 
barber  answers:  You  are  mistaken  Ma?i  I  furnish' d  two  Conjurors  with  Wig  and 
they  could  not  raise  the  Wind  without  them.  A  tailor  bows  obsequiously,  say- 
ing: Gentlemen  I  hope  you' II  raise  the  wind  for  Falstaffs  breeches — Three  pounds 
two  and  sixpence  only!  A  man  looks  up  nerA'ously  at  the  crocodile,  saying, 
Bless  me  what  ugly  things  these  conjurors  keep  about  them. 

A  satire  on  the  insolvency  of  Colman,  who  managed  the  Haymarket  theatre 
by  excursions  from  the  Rules  of  the  King's  Bench,  see  No.  11941.  Doctor 
Hocus  Pocus;  or  Harlequin  Washed  White,  by  Colman,  was  first  played  on 
12  Aug.,  and  after  some  alterations  became  popular.  Mathews  played  one  of 
three  Harlequins  while  lame  from  a  carriage  accident,  Douglas  and  Yarnold 
were  the  other  Harlequins;  Gomery  was  Pierrot,  Mrs.  Gibbs  (b.  1770)  was 
Columbine;  she  was  the  unacknowledged  wife  (or  mistress)  of  Colman.  John 
Brunton  (b.  1775)  was  brother  of  Louisa,  Countess  of  Craven,  and  father  of 
Elizabeth  Yates.  He  appeared  at  Covent  Garden  22  Sept.  1800  as  John 
Brunton  the  younger.  There  is  a  portrait  of  Tokeley  in  the  Print  Room.  The 
entertainment  was  condemned  as  'a  dramatic  performance  of  inconceivable 
dullness  and  folly'  in  the  Scourge,  viii.  237  (Sept.).  See  also  Europ.  Mag. 
Ixvi.  143  f.;  Genest,  viii.  437.  'Go  it'  is  a  new  catch-phrase;  according  to 
Partridge,  Slang  Diet.,  1938,  it  dates  from  c.  1820. 
7f  X  2o|  in.  B.M.L,  C.  40.  f.  9. 

12329  SPIRITS  AT  WORK— JOANNA  CONCEIVING— IE— BLOW- 
INGUP  SHILOH. 

[Williams.] 

Pu¥  July  i^'  1814  by  W  N  Jones,  5  Newgate  SK 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  viii,  frontispiece. 
Illustration  to  verses:  Celestial  Visitation,  pp.  3-7.  Joanna  Southcott,  seated 
on  a  sofa  in  a  well-furnished  room,  registers  astonished  alarm  at  a  demon, 
who  looks  out  from  under  a  table  (1.)  at  a  cat  which  arches  its  back  angrily. 
She  is  scarcely  caricatured,  and  is  plainly  dressed  in  white,  wearing  a  cap  and 
spectacles.  She  flinches  back,  dropping  her  book,  open  at  The  Art  of  Humbug- 
ing — Cha  L  A  similar  demon,  kneeling  on  a  Bible,  inflates  her  petticoats  by 
blowing  through  some  instrument,  thus  producing  a  semblance  of  exaggerated 
pregnancy.  The  first  demon  says:  Don't  be  frightend  Joany  it  only  me  Ftn 
always  at  work  for  you.  Beside  her  is  a  large  book:  List  of  the  Sealed.  On  the 
floor  are  sealed  packets  inscribed  Wonders  Wonders  Wonders  [puffing  catch- 
phrase  of  Katerfelto,  cf.  No.  6326],  Marvel  Ye  People,  and  a  torn  book, 
A  Treatise  on  the  Cure  of  Insane  Persons.  Under  the  sofa  is  a  chamber-pot 
inscribed  Virgin  Water.   On  the  round  table,  only  the  r.  of  which  is  within 

447 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

the  design,  is  a  brimming  punch-bowl  whose  steam  mingles  with  smoke  from 
a  fiercely  burning  candle  round  the  flame  of  which  a  hoop  or  circle  is  miracu- 
lously suspended.  From  this  cloud  a  hand  emerges,  in  a  blue  sleeve  with  a 
red  cuff",  and  fills  a  glass  with  a  punch-ladle.  Words  issue  from  a  head  faintly 
formed  by  the  convolutions  of  the  smoke:  Fear  not  it  is  I  Drink  this  and 
quicken  your  Conceptions.  The  bowl  is  decorated  with  dancing  demons; 
beside  it  are  decanters  of  Rum  and  Brandy,  a  lemon,  and  sugar-bowl.  A 
kettle  steams  beside  a  blazing  fire. 

Behind  the  sofa  and  shielding  it  from  the  door  (r.)  is  a  tall  screen  of  several 
leaves.  Along  the  upper  edge  is  the  inscription:  The  Tribes  to  be  Conducted 
by  Shiloh  to  T  .  .  .  .  Below  are  panels  decorated  with  genealogical  trees,  three 
of  which  are  named  respectively :  Tribe  of  Juda,  Tribe  of  Issachar,  Tribe  of 
Zebulan.  The  upper  part  of  the  door  is  glass,  through  which  are  seen  two 
bearded  Jews  in  consultation.  One  says:  Well  must  we  tell  de  Shinagog  can 
you  shee  little  Shiloh.  The  other  answers:  No  tish  all  behind  the  Screens  but 
de  Spirit  was  work  I  smell  de  punch. 

On  the  chimney-piece  two  figurines  flank  a  handsome  clock:  Aron  holding 
a  rod  and  (?)  censer,  Moses  with  the  Table  of  the  Law.  There  are  also  an 
ink-stand  and  two  large  volumes:  Smith  on  the  Prophetic  Writers  and  Divine 
Judgement  on  guilty  Nations.  Above  Joanna's  head  hangs  a  bag  labelled: 
Passports  to  Heaven  five  shillings  each  or  two  for  Seven.  Three  H.L.  portraits 
are  on  the  wall,  the  centre  one  being  upside-down :  my  Expartner  Carpenter, 
a.  man  preaching.  On  the  r.  is  my  Enlightened  Journeyman  Tozer;  a  man 
declaims  from  an  open  book ;  behind :  Tozer  lath  render.  On  the  r. :  The  great 
Prophet  Brothers ;  a  ranting  and  ragged  man  lifts  both  arms.   After  the  title : 

"Black  spirits  and  white, 

"Blue  spirits  and  grey, 

"Come  mingle  you  that  mingle  may.   [Macbeth,  iv.  i.] 

At  this  time  Joanna  Southcott,  aged  64,  believed  that  she  was  pregnant, 
and  she  and  many  others  awaited  the  birth  of  Shiloh,  the  Messiah.  The  scene 
depicted  is  based  on  a  vision  described  in  her  Book  of  Wonders.  On  14  Oct. 
1 81 3  she  saw  a  large  bowl  behind  a  candle  whose  flame  was  encircled  by  a  red 
ring;  a  hand  in  a  red  cuff  pointed  at  her,  she  was  ordered  to  put  on  her 
spectacles  and  heard  the  words  'Fear  not  it  is  F.  In  the  advertisement  for 
a  spacious  furnished  house  for  the  accouchement  it  was  announced  that 
Hebrews  (among  others)  would  be  allowed  to  be  present  at  the  birth.  The 
sealed  packets  and  the  'Passports'  are  the  'seals'  with  which  she  sealed  the 
faithful,  who  were  to  be  144,000,  destined  for  Heaven,  see  No.  11764.  She 
had  been  a  supporter  of  Richard  Brothers  (1757-1824),  see  No.  8627,  &c., 
but  afterwards  denounced  him  for  blasphemy ;  Elias  Carpenter  had  been  one 
of  her  preachers.  William  Tozer,  a  lath-render,  opened  a  chapel  for  her 
followers  in  Southwark,  and  remained  her  preacher  and  a  devoted  supporter. 
Impartial  Account  of  the  Life  and  Writings  of  Joanna  Southcott,  Leeds,  1814 
(Nat.  Lib.  of  Wales);  D.N.B.  See  Nos.  12330-6. 
8|xi3  in. 

12330  PREPARATION'S  FOR  THE  HUMBUG.  P' 4 

May  hew  fecit  [c.  Aug.  18 14] 

Engraving  (coloured  impression).  A  bedroom  scene.  Joanna  Southcott,  fully 
dressed  and  rather  meretricious-looking,  sits  on  the  knee  of  a  man  in  clerical 
dress,  who  kneels  on  one  knee  in  profile  to  the  1.  whispering  in  her  ear:  Haste 
my  Love  to  Bed  or  the  Doctor  will  awake  "Mind you  Scream  Lustily.  She  holds 
a  pair  of  spectacles  and  answers :  Leave  all  within  to  me  haste  you  and  Sound 

448 


PERSONAL   AND   SOCIAL   SATIRES    1814 

the  News  abroad  Never  fear  Fve  given  the  Old  Doctor  a  rare  dose.  On  the  1. 
is  an  ornate  four-poster  bed  with  a  fringed  canopy  round  which  serpents 
twine  symmetrically,  supporting  drapery.  In  the  foreground,  at  the  foot  of 
the  bed,  two  women  are  placing  an  infant  in  a  warming-pan  (traditional 
device  for  a  supposititious  child,  cf.  Nos.  7565,  12700);  a  basket  shows  how 
the  child  has  been  introduced.  A  young  woman,  wearing  a  hat,  takes  up  the 
child ;  she  says :  Indeed  I  will  warrant  it  a  Virgins  Child.  The  elder  woman, 
who  holds  the  pan,  says:  Hush! — No  noise  dont  let  it  cry.  An  elderly  doctor, 
with  a  gold-headed  cane,  sits  asleep  in  profile  to  the  r.  with  his  back  to  the 
bed.  Beside  him,  and  extending  across  the  room,  is  an  ornate  gilt  table 
decorated  with  a  crocodile  and  supported  on  a  winged  Sphinx  with  a  scaly 
tail.  On  it,  by  the  doctor,  are  decanter,  glass,  forceps,  &c.  At  the  other  end 
(r.)  is  a  lighted  candle  in  a  tall  candlestick,  surrounded  by  a  red  circle  (see 
No.  12329).  By  this  lies  a  large  seal  with  the  initials  I.C  and  two  stars.  On 
the  bolster  of  the  bed  is  an  embroidered  cover:  the  letters  J.S  surrounded 
by  rays.  At  the  head  of  the  bed  a  ram  is  depicted  with  the  inscription  Oh 
Tempore  Oh  Mores.  A  wall-clock  shows  that  the  time  is  11.50;  on  it  stands 
a  crowing  cock :  Cock  a  doodle  do.  A  crudely  drawn  print. 

A  satire  on  the  expected  accouchement,  see  No.  12329,  &c.,  for  which  a 
'large  furnished  house'  had  been  taken.  The  man  in  clerical  dress  is  probably 
William  Tozer,  her  faithful  preacher.  The  doctor  is  probably  Richard  Reece 
(1775-1831),  who  was  consulted  by  Joanna  as  to  the  possibility  of  her  super- 
natural pregnancy  and  gave  a  non-committal  answer,  see  No.  12335.  Of  nine 
medical  men  consulted,  six  are  reported  to  have  said  that  the  (dropsical) 
symptoms  would  have  indicated  pregnancy  in  a  younger  woman.  The  elder 
woman  may  be  Mrs.  Ann  Underwood,  her  'secretary  and  particular  friend', 
the  other  Miss  Jane  Townley,  with  both  of  whom  she  lived  in  seclusion  from 
Oct.  181 3.  The  seal  is  that  used  in  'sealing'  the  faithful;  it  was  picked  up 
in  1790  by  Joanna  when  sweeping  a  shop,  and  was  the  starting-point  of  her 
career  as  a  prophetess;  the  letters,  at  first  I.S.,  were  'miraculously  changed 
to  I.C.  with  the  addition  of  two  stars'.  Joanna,  believed  by  herself  and  her 
followers  to  be  immortal,  died  27  Dec.  1814. 
9^X13!  in. 

12331  A  PARADICE  FOR  FOOLS;— A  NOCTURNAL  TRIP— OR— 
THE  DISCIPLE  OF  JOHANNA  BENIGHTED— irtfe  Scourge  N°  xxxvi. 
Page  510. 

[?  Williams.] 

Pu¥  Sepr  i'^  1814  by  W,  N,  Jones  N°  5  Newgate  Street 

Aquatint  (coloured  impression).  PI.  from  the  Scourge,  viii.  161.  A  sequence 
of  three  designs  placed  side  by  side,  each  with  a  title.  In  all  there  is  a  night 
sky  with  a  full  moon  surrounded  by  clouds,  [i]  The  Summons  to  Paradise. 
A  man,  woman,  and  child  look  from  the  first-floor  window  of  a  small  house 
at  a  man  mounted  on  a  braying  ass  which  stands  under  the  window.  This 
man  is  draped  in  a  sheet;  like  the  donkey  he  wears  a  wreath  of  roses;  he  raises 
his  arms  above  his  head  and  shouts:  /  am  the  holy  angel,  sent  by  Johanna 
Southcott  to  conduct  your  sealed  Spouse  to  the  Mansions  of  bliss!!  The  man 
above,  wearing  shirt  and  night-cap,  shouts  Who's  there?  His  fat  wife  registers 
delighted  astonishment,  exclaiming:  Oh  dear  Johanna's  prophecy  is  come  to 
pass!  tis  the  good  angel  come  to  fetch  me  to  heaven!  I  must  depart  and  go  to 
glory  with  my  heavenly  guide.  A  man  stands  below  (1.)  in  the  doorway,  holding 
up  a  candle ;  he  wears  shirt,  breeches,  and  ungartered  stockings,  and  his  hair 
stands  on  end.  He  says:  He  be  a  Mortal  rutn  looking  Angel!  Behind  him  a 

449  Gg 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

woman  peeps  round  the  door.  A  large  cat  looks  down  from  an  adjacent 
wall  (r.). 

[2]  The  Set-down.  The  fat  woman,  dressed  in  stays,  petticoat,  and  night- 
cap, kneels  in  a  country  lane  while  the  man  on  the  ass  (1.)  gallops  off,  looking 
round  to  say :  You  must  wait  here  a  few  minutes  longer,  and  another  heavenly 
messenger  will  ascend  with  you  to  the  regions  above.  A  large  owl  flies  towards 
the  woman,  calling,  Hoo  Noo  Noo  000.  She  looks  up,  terrified,  and  says: 
Bless  me  what  a  lonely  place  to  be  left  in  at  this  time  of  night  I  begin  to  think 
Johanna  is  an  imposter — Mercy  on  me  what  is  this — /  wish  I  was  at  home  again. 

[3]  The  Return  to  Reason.  The  woman  stands  under  her  window,  raising 
both  arms  towards  her  husband  who  leans  out.  She  says:  Oh  open  the  door! 
I  am  your  dear  wife  indeed!  indeed!  I  am  your  dear  wife.  He  answers :  That 
can  never  be,  my  wife  is  gone  to  Heaven  on  one  of  Johannds  spiritual  donkeys 
several  Jiours  ago,  and  no  doubt  by  this  tifne  is  happy  enough — She  can  have  no 
wish  to  return  to  the  cares  of  a  family.  Behind  the  man  are  two  children  in 
bed;  one  cries:  Mummy  come  from  Heaven  to  fetch  us  Pa.  Behind  the  implor- 
ing woman  are  the  man  and  wife  who  watched  from  the  doorway  in  the 
first  pi.  He  pricks  her  with  a  pitchfork,  saying,  Fll  soon  knaw  if  it  be  flesh  and 
blood  MeasterU  The  woman  clutches  his  arm,  saying,  Houldjohn!  it  be  surely 
Misis  and  Jolianna  ha  cheated  her!   Our  boy  sliant  be  named  Sliilah  John! 

The  text  {Scourge,  vi.  510-12,  Dec,  1813)  relates  that  the  wife  of  a  respect- 
able tradesman  being  deluded  with  expectations  of  a  heavenly  messenger  on 
an  ass,  he  devised  a  trick.  His  wife  departed,  despite  her  husband's  (feigned) 
tears  and  protests,  and  returned  as  depicted.  She  was  left  outside  the  house 
till  morning,  when  she  was  readmitted,  cured  of  her  delusions.  See  No. 
12329,  &c. 
-]%  X  6|  in.,  7i^  X  61  in.,  -]%  X  6|  in. 

12332  THE  IMPOSTER,  OR  OBSTETRIC  DISPUTE,  33S 

[G.  Cruikshank.] 

Pub"^  Sepf  1814  by  T.  Tegg.  iii  Cheapside  London — 

Engraving  (coloured  impression).  A  scene  outside  Bethlehem  Hospital 
(Bedlam),  Joanna  Southcott,  grotesquely  pregnant,  bestrides  a  dog  wearing 
clerical  gown  and  bands,  its  collar  inscribed  Tozer.  She  and  the  dog  advance 
menacingly  towards  a  preaching  boot-maker  (1.),  who  rants,  standing  on  a 
stool.  The  dog  barks  savagely:  Bow  woo  woo;  she  flourishes  a  broom  and  an 
open  book:  The  Propheci[es]  of  Johanna  Southcote,  saying.  Begone  Satan,  or 
I  shall  Lay  Thee.  She  is  pushed  forward  by  a  dwarfish  and  hideous  artisan, 
who  has  a  pair  of  large  snuffers  thrust  through  his  ragged  coat.  The  boot- 
maker yells  with  outspread  arms :  /  say,  your  prophecies  are  d — d  lies  &  Old 
Touzler  the  father  of  'em  Pll  expose  you  I  will  you  Old  Brimstone  yoiCre  a 
Cheat! — <Sf  a  faggot!  &  a  bag  of  Deceit!  Out  upon  you!  out  upon  you!  you 
Blasphemous  old  Hag.  A  pair  of  Hessian  boots  dangles  from  his  waist;  he 
wears  misshapen  boots  of  similar  type ;  a  hammer  is  thrust  through  the  belt 
of  his  leather  apron,  and  he  wears  clerical  bands  and  wide-brimmed  hat.  A 
little  chimney-sweep  cheers  on  the  dog:  Well  done  Tozer.  A  grinning  by- 
stander shouts  well  dofte  Boots!  close  in  upon  her.  A  crowd  of  grinning 
spectators  is  freely  sketched.  On  the  extreme  r.  three  doctors  stand  in  con- 
sultation, alarmed  for  their  professional  reputations.  One,  probably  Reece, 
holding  his  cane  to  his  face,  says :  Pll  pledge  my  reputation  on  her  being  so. 
Another,  holding  behind  his  back  a  bag  of  obstetrical  instruments,  says: 
/  think  'tis  a  cancer.  He  is  Dr.  John  Sims,  'an  accoucheur  of  great  eminence'. 
The  third  asks:  Have  you  touch' d  her  Doctor.    A  fashionably  dressed  man 

450 


PERSONAL   AND   SOCIAL   SATIRES    1814 

watches  them  through  an  eye-glass,  saying,  What  crotchet  have  the  Doctors 
got  now!! I?  In  the  background  is  the  fa9ade  of  the  rebuilt  hospital,  inscribed 
New  Bethlehem  18 1 4.  After  the  title:  Vide — Johanna  Southcote — and  the 
Public  Disputations — . 

During  the  growing  excitement  caused  by  the  expectation  of  the  birth  of 
Shiloh,  see  No.  12329,  &c.,  one  Colston,  a  boot-closer,  placed  himself  for 
several  Sundays  in  a  chair  facing  Tozer's  chapel,  challenged  Tozer  to  formal 
controversy,  and  attacked  the  prophetess.  Impartial  Account  of  .  .  .  Joanna 
Soiithcott,  Leeds,  1814,  p.  49.  The  chapel  was  in  Duke  Street,  St.  George's 
Fields  (Surrey) ;  the  scene  is  here  laid  in  Moorfields  (now  Finsbury  Square), 
as  the  traditional  place  for  open-air  preaching,  and  for  its  vicinity  to  Bedlam, 
cf.  No.  2432  (1739). 

Reid,  No.  362.    Cohn,  No.  1228. 
8^^X13  in. 

12333  A  MEDICAL  INSPECTION.  OR  MIRACLES  WILL  NEVER 
CEASE.  N°  340 

[Rowlandson.] 

Pu¥  Sept.  8  1814  by  Tho'  Tegg  N"  iii  Cheapside 

Engraving  (coloured  impression).  Joanna  Southcott,  a  stout  termagant, 
stands  in  back  view  directed  slightly  to  the  r.,  gathering  up  her  petticoats  to 
display  her  person  to  three  doctors  (see  No.  12332)  who  gaze  closely  at  her. 
She  is  grossly  caricatured,  with  no  resemblance  to  her  portraits.  She  says, 
her  head  turned  in  profile  to  the  r.,  and  looking  up  with  a  triumphant  smile: 
Seeing  is  believifig  are  you  Now  satisfied  theres  no  [sic]  Behold  the  Naked  Truth 
most  Learned  Doctors.  The  doctors,  who  are  crouching  for  closer  inspection, 
say  respectively:  It  has  a  confounded  straiige  appeara[?ice] ;  /  have  jny  doubts; 
I  cant  help  suspecting.  Across  her  posteriors,  defined  by  the  pulling  up  of  her 
petticoats,  is  engraved :  yJged  64  Bladders  of  Blasphemy  and  Corruption  Sealed 
up  and  Ready  to  Burst.  On  the  1.  is  a  large  cradle  of  straw  in  which  is  seated 
a  grotesque  parson  with  horns  projecting  from  his  forehead ;  he  holds  a  spoon 
and  a  bowl  inscribed  Caudle;  beside  him  is  a  paper:  Cradle  Hymns.  He  leers 
cunningly.  The  cradle  is  inscribed  Parson  Towser  and  Cradle  for  Joatina's 
Boar  Pig.  A  bird-like  demon,  grinning  grotesquely,  crouches  on  the  head  of 
the  cradle.  Against  it  lies  a  sack  inscribed  Donations  Child  Bed  Litien  for 
young  Beelzebub.  Beside  this  lie  a  large  coral  and  bells,  pap-spoon,  syringes, 
a  little  saucepan,  &c.  (presents  from  the  faithful).  Beside  Johanna  (r.)  is  a 
chest  (as  in  No.  12334)  inscrihcd  Joan?ia  Southcot's  Prophecys  and  Seals  for 
Sale.  Other  things  beside  it  are  a  syringe  inscribed  infusion  of  Devils  Dose, 
a  paper  inscribed  Game  of  Humbug,  a  bowl  of  Cock  Broth  for  Tom  Tozer, 
and  a  decanter  of  Strong  Water.  In  the  background,  framed  by  large  curtains, 
are  a  pulpit  and  a  high  latticed  window,  suggesting  a  chapel  interior. 

See  No.  12329,  &c.  The  box  is  probably  that  in  which  she  'sealed  up'  her 
prophecies,  to  be  opened  after  they  had  been  confirmed.  Among  her  volumin- 
ous writings  were  Hymns  or  Spiritual  Songs,  1807. 
i2|X9|  ^"-  'Caricatures',  xi.  58. 

12334  JOANNA  SOUTHCOTT  THE  PROPHETESS  EXCOMMUNI- 
CATING THE  BISHOPS.  341 

[Rowlandson.] 

Pub'^  Sepf  20"'  18 1 4  by  T.  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).   Joanna  Southcott  and  Tozer  drive  before 

them  a  crowd  of  fat  bishops,  who  flee  to  the  r.  in  wild  confusion.    She  uses 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

a  birch-rod,  he  wields  a  flail,  inscribed  Rev'^  Roger  Towser's  Flail.  Joanna 
holds  by  the  toe  the  hindmost  bishop,  who  wears  a  papal  tiara.  One  has 
fallen  to  the  ground,  losing  wig  and  crosier,  another  escapes  over  the  former's 
body ;  two  wear  mitres.  Several  turn  round  to  shriek  defiance ;  one  kicks  out 
at  Tozer,  and  uses  his  crosier  as  a  weapon,  another  brandishes  his  wig. 
Joanna  is  plainly  dressed,  and  wears  a  cap  and  spectacles;  from  her  neck 
hangs  a  medallion  inscribed  /  C  between  two  stars,  with  the  words  A  Fac 
Simili  of  Joannas  Seal.  Drapery  streams  behind  her  inscribed  Elijah's  Mantle 
and  Mohair.  Demons  and  serpents  fly  round  the  angry  pair.  She  screams: 
Lay  it  on  hip  and  thigh  Brave  Towzer  Smite  the  unbelievers — /  put  no  more 
trust  in  Bishops  as  men,  than  I  do  in  their  Chariots  and  Horses,  but  my  trust 
is  in  the  Lord  of  Hosts.  He  shouts:  Fll  well  Dust  their  Woolsacks  and  make 
them  drunk  in  my  fury,  I  will  bring  down  their  strength  to  the  earth.  Behind 
them  (I.)  is  a  chest  (as  in  No.  12333)  inscribed  Contents  of  the  Sealing.  The 
Sealed  of  the  Lord — The  Elect — To  inherit  the  Tree  of  Life.  To  be  made  Heirs 
of  God  and  Joint  Heirs  of  [sic]  with  Jesus  Christ — Joanna  Southcott.  Beside 
it  lie  a  goblet  and  Salver.  At  her  feet  is  an  open  book :  Third  Book  of  Wonders. 
A  serpent  darts  from  1.  to  r.  over  the  bishops.  Below  the  title:  Kno7v  I  told 
thee  I  should  begin  at  the  Sanctuary  I  will  cutt  them  all  off,  having  already  cutt 
off  Four  Bishops  for  refusing  to  hear  her  Visitation. 

See  No.  12329,  &c.  One  of  the  many  presents  to  Joanna  Southcott  during 
her  supposed  pregnancy  was  a  mohair  mantle  (apparently  for  Shiloh)  which 
cost  £,\$o.  Impartial  Account  .  .  .,  Leeds,  1814,  p.  58. 

Grego,  Rowlatidson,  ii.  287. 
8|Xi3  in. 

12335  DELIVERING  A  PROPHETESS. 

[Williams.] 

Pub"^  Nov''  i'^  18 1 4  by  W  N  Jones  N°  5  Newgate  Street. 

Engraving  (coloured  impression).  PI.  to  the  Scourge,  viii,  before  p.  321.  A 
bedroom  scene.  Joanna  Southcott  sits  in  an  arm-chair,  attended  by  three 
v/omen  and  four  doctors.  Between  her  legs  is  a  large  tub  inscribed  Living 
Water,  into  which  water  gushes  from  a  tap  projecting  from  under  her  petti- 
coats. She  leans  back  with  extended  arms,  exclaiming:  Shiloh!  let  not  this 
groiipe  dismay  thee  \  Come  forth  into  the  World  I  pray  thee!  One  doctor,  Reece, 
superintends  the  flow  of  water,  kneeling  in  profile  to  the  1.  on  a  large  volume: 
[R'\eec's  Medical  Guide.  In  his  pocket  is  a  paper:  Account  of  Wonderful 
Pregnancies.  Behind  him  a  second  doctor  sniffs  at  a  tumbler  of  water,  saying. 
This  is  a  very  pretty  rig!  \  Nothing  but  water  d  .  .  .  .  n  my  Wig!  Two  others 
talk  together  on  the  r.,  one  peers  through  a  microscope  into  a  goblet;  the 
other  asks :  What  do  you  see  in  the  water.  Doctor!  He  answers :  Bubbles  Docf 
"the  earth  hath  bubbles,  as  the  water  hat  ft  [Macbeth  i.  iii]".  /  said  it  was  all 
my  eye.  Behind  him,  on  the  chimney-piece,  are  a  medicine-bottle  and  the 
bust  of  a  lank-haired  man  wearing  clerical  bands.  Three  women  stand  behind 
Joanna's  chair  and  in  front  of  the  curtains  of  a  bed.  One  (1.)  holds  out  a  lace 
cap,  saying.  Doctor  here  is  Shiloh' s  cap!  bless  me!  why  he  has  got  a  watery  head! 
The  next  says :  Pray  Docf  take  care  of  tJie  cawl  if  there  is  one.  The  third, 
oflFering  a  steaming  bowl,  says :  Come  my  blessed  Lady  sip  some  of  this  heavenly 
caudle  I  have  made  you.  In  the  foreground  (1.),  Tozer,  dressed  as  an  artisan, 
sits  on  a  three-legged  stool,  corking  up  bottles  of  water.  He  is  identified  by 
a  paper  hanging  from  his  pocket:  Tozer  Preacher  to  the  Virgin  Johanna.  In 
front  of  him  are  a  basket  of  corks  and  a  paper :  Sermon  on  the  Birth  of  Shiloh. 
Corked  bottles  are  on  the  1.,  uncorked  ones  on  the  r. 

452 


PERSONAL   AND   SOCIAL    SATIRES    1814 

See  No.  12329,  &c.    Dr.  Reece,  see  No.  12330,  published  The  Medical 
Guide,  for  the  use  of  the  Clergy,  Heads  of  Families,  and  Practitioners  in  Medecine 
and  Surgery,  1802,  17th  ed.,  1850. 
8f  X  13  in.  B.M.L.  C.  40.  f.  9. 

12335  THE  MOCK  DELIVERY  OF  JOANNA!!! 

[G.  Cruikshank.] 
Published  Dec''  12  1814. 

Engraving  (coloured  impression).  Joanna  Southcott,  propped  on  pillows,  lies 
in  a  handsome  bed  (1.);  against  her  pillow  is  a  bottle  of  Royal  Max  [gin]. 
She  watches  a  parson  seated  beside  her  (1.)  delightedly  dandling  a  screaming 
infant.  She  says:  Dear  Tozer  zorite  a  new  Bulletin  for  next  Sundays  Monitor. 
Tozer:  Hush  my  little  Shiloh,  he  shall  lay  in  his  fine  Cott,  have  nice  beautiful 
presents  of  our  dear  Birmingham  &  other  friefids  that  he  shall  he  shall  [sic]  be 
a  King  too  &  have  all  the  fine  things.  Behind  him  is  an  infant's  commode, 
topped  by  a  crown.  At  his  feet  is  a  letter:  To  ikf  Parson  Tozer.  A  doctor 
(probably  Reece)  stands  by  the  bed,  his  hand  on  Joanna's  1.  arm,  he  raises 
an  admonitory  finger:  Hush,  hush,  don't  talk,  have  no  ofie  admitted,  let  Tozvser 
answer  all  enquiries  you  know  he  has  a  face  that  will  carry  hi?n  through  anythi?ig 
We  have  got  the  Child  convey' d  here  very  Snug  tw  one  scarcely  knows  {my  learned 
Brothers  excepted)  &  as  they  are  as  much  implicated  as  ourselves  we  need  not 
doubt  their  secrecey. 

In  the  foreground  and  on  the  extreme  r.  is  an  accurate  representation  of 
the  cot  presented  to  Joanna,  of  satin-wood  ornamented  with  gold.  The  head 
is  decorated  with  an  irradiated  crown  and  the  word  Shiloh  in  Hebrew 
characters.  The  canopy  is  surmounted  by  a  dove  holding  an  olive-branch, 
and  round  it  are  the  words  [A]  Free-ivill  offering  ['by  Faith  to  the  promised 
Seed'].  A  pap-boat,  coral,  bottle,  and  spoon  lie  on  the  floor.  Behind,  and 
between  cot  and  bed,  stand  five  doctors  in  consultation.  One  says:  D — n  her 
&  her  prophecys  too  I  say,  Fve  got  into  a  pretty  mess  with  being  so  officious, 
however  I  could  have  sworn  she  was  with  child.  A  colleague  answers:  Ah! 
Brother  I  fear  it  will  not  do,  we  shall  be  all  blown  &  then  it  will  be  a  D — d 
pretty  Cut  for  us,  my  wife  told  me  not  to  meddle.  Another  pair  say:  /'//  scratch 
off  Man  Midwife  from  my  Door  as  soon  as  I  get  home — ;  Atid  Fll  stick  to  that 
part  of  the  practice  which  sends  beings  out  of  the  World  let  who  will  usher  them 
in  in  future. 

See  No.  12329,  &c.  Bulletins  on  Joanna's  condition  during  her  supposed 
pregnancy  appeared  in  The  Sunday  Monitor,  the  last  being  on  26  Nov.,  con- 
cluding: 'It  is  the  opinion  of  her  medical  attendants,  that  either  labour  or 
death  must  take  place  in  a  few  days.'  Among  the  many  presents  for  Shiloh 
were  a  silver  cup  and  salver  inscribed  'Hail  Messiah,  Prince  of  Salem  . . .  from 
a  part  of  the  believers  in  the  divine  mission  of  Joanna  Southcott,  at  Birming- 
ham'. An  engraving  of  the  cot  (with  a  portrait  of  Joanna)  is  a  frontispiece 
to  An  Impartial  Account  .  .  .,  Leeds,  18 14. 

Reid,  No.  398.    Cohn,  No.  1741. 
8|xi3  in. 

12337  NORFOLK  DUMPLINGS  OR  GRACE  BEFORE  MEAT. 

G.  Cruikshank  fee'    [Capt.  Hehl,  War  Office,  del.']  [?i8i4] 

Lithograph.    The  Duke  of  Norfolk  (1.),   holding  a  bottle,  strides  with  a 
delighted  grin  towards  three  fat  and  ragged  prostitutes  of  the  lowest  grade, 

'  Note  by  E.  Hawkins. 

453 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

with  damaged  faces.  The  Duke  differs  from  earUer  caricatures  by  baldness 
of  scalp,  and  by  a  heavy  fringe  of  whiskers.  He  wears  a  star  and  Hessian 
boots.   He  died  i6  Dec.  1815.   Cf.  Nos.  7207,  8159,  9261. 

Reid,  No.  2730.    Cohn,  No.  1793. 
9|xii|  in. 

12338  [FRONTISPIECE  TO  THE  MODERN  DUNCIAD.] 

G.  Cruikshank  fecit. 

Published  by  Wilson,  Royal  Exchange,  Nov.  22  1814. 
Engraving.  An  imitation  of  the  frontispiece  to  The  Dunciad,  1729  (B.M.L. 
642.  k.  I  (No.  1795),  copied  in  woodcut  for  Pope's  Works,  1858,  ii).  An  ass 
laden  with  a  pack-saddle  heaped  with  books  and  papers  stands  directed 
slightly  to  the  r.  munching  thistles.  The  pile  is  topped  by  a  book  inscribed 
Thurlow,  on  which  stands  an  owl.'  The  others  are  Bowles;  Carrs  Tour; 
Edinb.  Review;  Dibdin's  Plays;  Fitzgerald;  Anthony  Pasqiiin.  The  papers  are 
The  Scourge,  Town  Talk,  Theatrical  Inquisitor,  Meteor,  Satirist.  On  the 
ground  is  an  open  book :  Tho^  Agg  Hurnph^  Hedgehog,  and  papers  inscribed : 
Mor.  Herald;  Operas  by  S.  Arnold;  Novels  by  Rosa  M,  M"^  Meeke,  Bridget 
Bluemantle;  At  Home  a  Farce;  Essays  by  Hewson  Clarke;  Champion.  Below 
the  design: 

Hcec  ego  non  credam  Venusina  digna  lucerna? 

Hcec  Ego  ?ion  agitem?  Jtiv.    [Satire,  i,  11.  51-2.] 

[Must  I  not  deem  these  things  worthy  of  the  lamp  of  Horace }  Must  I  not 
have  my  fling  at  them.] 

The  anonymous  verse-satire  by  George  Daniel  attacks  contemporary 
authors.  Edward  Thurlow  (1781-1829),  2nd  Baron,  was  a  minor  poet  who 
wrote  (1822)  a  continuation  of  The  Tempest.  W.  L.  Bowles  (1762-1850)  was 
divine,  antiquary,  and  poet.  Sir  John  Carr  wrote  many  'Tours',  see  No. 
1 1084,  &c.  T.  J.  Dibdin  (1771-1841),  song-writer,  wrote  about  200  operas, 
plays,  and  pantomimes.  W.  T.  Fitzgerald  (i  759-1 829),  poetaster,  of  whom 
Canning  said  'Poeta  nascitur  non  Fitz',  was  parodied  in  Rejected  Addresses 
(see  No.  11940,  &c.).  Pasquin  was  the  pseudonym  of  John  Williams  (1761- 
1818).  John  T.  Agg  specialized  in  pseudonyms  and  scurrility,  cf.  No.  12808 ;  as 
Humphrey  Hedgehog  (cf.  No.  12808)  he  wrote  so-called  novels,  and  is  credited 
with  two  works  that  he  attributed  to  Byron ;  he  was  the  editor  of  Town  Talk 
(see  Index  of  Printsellers).  For  S.  J.  Arnold  (1774-1842),  writer  of  musical 
plays,  operas,  and  dramas,  and  theatre-manager,  cf.  No.  11941.  Four  of  the 
papers  on  the  ass  are  known  for  their  caricatures,  largely  by  G.  Cruikshank, 
who  did  all  the  plates  to  the  Meteor.  The  Theatrical  Inquisitor  or  Literary 
Mirror,  by  'Cerberus',  was  published  from  18 12  to  1821.  The  editor  of  the 
Scourge  was  Hewson  Clarke,  see  D.N.B.,  here  said  to  have  contributed  'a 
principal  part  of  the  ribaldry  and  scurrility  ...  in  the  Satirist,  Scourge  and 
Theatrical  Inquisitor'  (p.  18).  Bate-Dudley  (p.  65)  is  attacked  as  editor  and 
proprietor  of  the  Morning  Herald,  see  No.  12207,  and  as  author  of  At  Home, 
see  No.  12324.  The  Edinburgh  Review  is  attacked  for  the  'vulgarity  and 
profaneness'  of  the  reviews  by  Jeffrey  and  others.  The  Champion,  a  Sunday 
paper  edited  by  John  Scott,  is  attacked  (p.  66)  for  the  latter's  criticisms  on 
works  by  Daniel.  The  remaining  allusions  are  to  the  vapid  novels  of  William 
Lane's  Minerva  Press  (pp.  93-6).  'Rosa  M.'  (Byron's  'snivelling  Matilda') 
is  Mrs.  Charlotte  Dacre  {}  also  a  pseudonym),  styled  on  title-pages  'better 

*  Pallas  for  Wisdom  priz'd  her  favorite  Owl, 

Pope  for  its  Dulness  chose  the  self-same  Fowl  .  .  . 

Epigram  in  The  Daily  Gazeteer,  Dec.  18,  1738  {N.  &  Q.  11.  ii.  128).   Cf.  No.  1221. 

454 


PERSONAL  AND   SOCIAL   SATIRES    1814 

known  as  Rosa  Matilda' ;  she  is  here  (p.  8)  said  to  be  the  'daughter  of  the 
notorious  Jew  King',  see  No.  11704.  Mrs.  Mary  Meeke  was  one  of  the  most 
popular  of  the  Miner\^a  writers  (p.  95).  She  was  Macaulay's  favourite  bad 
novelist.  G.  O.  Trevelyan,  Life  and  Letters  of  Lord  Macaulay,  1908,  p.  96. 
It  is  here  said  that  Lane  (who  made  a  fortune)  paid  his  novelists  £^  a  volume. 
See  Amy  Cruse,  The  Englishman  and  his  Books  in  the  Early  Nineteenth  Cefitury, 
1930,  pp.  93  ff.;  M.  Sadleir  in  The  Library,  xxi.  207-15;  D.  Blakey,  The 
Minerva  Press,  1939.  Bridget  Bluemantle  is  the  pseudonym  of  an  unidentified 
novelist.    Cf.  No.  11941. 

Reid,  No.  401.    Cohn,  No.  223. 
6f  X4^  in.  (separately  issued).    Page  6|X4-^  in.  184.  b.  30. 

12339  THE  BAKER  KNEADING  SAMMYS  DOUGH— 

/  R  Cruikshank^  fed 

Pub''  Dec''  1814  by  S  Knight — Sweetings  Alley  Royal  Exchg 

Engraving  (coloured  impression).  A  prize-fight.  'Dutch  Sam',  a  Jew  (1.), 
staggers  back  under  a  blow  in  the  face  from  a  younger  and  better-looking 
man,  Bill  Nosworthy.  Each  has  a  backer  and  a  bottle-holder.  The  back- 
ground consists  of  a  crowd  of  spectators,  Jews  being  prominent,  especially 
among  those  seated  on  the  ground  in  front.  At  the  back  of  the  crowd  is  a 
coach ;  on  the  roof  a  sailor  stands  astride ;  he  waves  hat  and  bludgeon,  shouting 
go  it  Duff  that  your  sort  [cf.  No.  8073,  &c.].  A  man  on  the  box  says:  /  say 
Jack  D — me  how  the  Baker  Knock's  him  about  Pm  afraid  he'll  make  a  Dead 
man  of  him.  A  man  next  him  adds:  Yes  he  is  marking  weight  07i  his  Loaf.  Two 
Jews  say  to  each  other :  O  dish  will  be  my  ruin  Dush  Sham  is  a  Bad  shilling, 
and:  Yesh,  Yesh.  Another  says:  /  hopes  sham  vill  knock  his  pork  chops  about. 
Two  on  the  extreme  r.  say:  Ah  'tis  a  shocking  shites  and  D — d  Bad  Bargens 
to  day.  An  Englishman  says:  There  he  goes  right  and  left.  Two  men  on  horse- 
back shout  at  each  other:  do7ie  6  to  ojie  and  do7ie.  A  slanting  shower  is  indi- 
cated ;  a  man  standing  on  the  coach  has  an  open  umbrella. 

Bill  Nosworthy,  b.  1786  in  Devon,  beat  Dutch  Sam  (Elias),  b.  1775  in 
Whitechapel,  at  Molesey  on  8  Dec.  1814  in  a  match  of  38  rounds  for  ^50 
a  side.  It  was  Sam's  last  fight,  and  Nosworthy's  last  victory;  both  died  in 
1 8 16.  Fistiana,  1847.  For  Jewish  pugilists  and  backers  cf.  No.  7425,  &c. 
(on  Mendoza). 

Reid,  No.  395.    Rubens,  No.  91  (reproduction). 
8|x  I2|  in. 

12340  SMUGGLING  IN  HIGH  LIFE. 

[Williams.] 

Pub''  January  i"  18 14  by  W  N  Jones  N°  5  Negate  Street — 

Engraving  (coloured  impression).  PI.  to  the  Scourge,'  vii,  frontispiece. 
Illustration  to  verses,  Smuggling  Extraordinary ;  or,  the  Kentish  Coast  in  an 
Uproar  &c.,  pp.  3-5.  Five  Custom  House  men  are  stopping  a  coach  and  four 
on  a  country  road.  One  holds  open  the  door;  the  lady  inside  says:  What  do 
you  mean  fellow  by  stopping  me  in  this  rude  zvay  if  there  is  law  you  shall  pay 
for  it.  He  answers:  Aye  Aye,  my  Lady  we'll  run  the  risk  of  that,  it  tis'nt  the 
first  time  we  have  had  dealings  with  Ladies  of  Fashion!!  Contraband  is  littered 
on  the  ground;  a  man  kneels  to  open  a  box,  and  looks  up,  saying.  Let  the 
Lady  talk  of  Law  if  she  likes  we  have  Justice  on  our  side,  and  have  as  much 

'  Altered  in  pen  to  'George  Cr'''. 

^  Not  folded,  showing  that  it  was  issued  separately. 

455 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

regard  for  our  parquisates  as  your  great  folks.  Another  man  beside  the  coach 
grasps  a  ladies'  maid,  and  gropes  in  her  pocket.  She  screams:  Oh  My  Lady 
this  imperent  fellor  is  turning  me  inside  out,  what  does  he  think  to  find  under  my 
petticoats  there  is  nothing  smuggled  there  I'm  siire!  He  says:  /  shall  not  take 
your  word  for  that  I  have  delivered  many  a  big  bellied  Lady  of  a  piece  or  two 
of  french  Cambrick!  A  third  man  seizes  the  reins  and  tugs  at  the  coachman, 
saying :  Come  down  Master  Coachee,  this  carriage  and  horses  belongs  to  us!  and 
a  pretty  little  parquisate  it  will  turn  out!!  The  coachman  kicks  the  man's  face 
and  raises  his  whip,  saying,  Oh  it  does!  then  I'll  be  d — d  (as  our  dictionary  says) 
if  you  turn  in  till  I  have  drove  my  Lady  safe  home,  then  Master  will  settle  the 
matter.  A  man  on  the  extreme  r.  seizes  the  reins  of  a  groom,  and  tugs  at 
a  portmanteau  on  his  saddle,  saying.  You  have  contraband  Articles  in  this 
portmanteaux  I  insist  upon  searching.  The  groom  flourishes  his  whip,  saying, 
/'//  see  you  at  H — II  first,  I  tell  you  there  is  nothing  but  a  slang  dictionary  which 
I  and  master  study  occasionally  so  hands  off  or  I'll  make  mince  meat  of  you. 
The  wares  on  the  ground  include  lace,  gloves,  fans,  a  packet  of  Sole  de  Napo- 
leon,']zxs,oi  Pornadede  Ninon,  of  Depilatoirefranpais,  and  one  inscribed  A  Paris, 
bottles  of  Essence  Amourea  .  .  and  Creme  de  Rose.  In  the  background  a  road- 
side inn  (r.)  has  the  sign  The  Smugglers  Den.  Next  it  is  a  small  wig-shop: 
Scratch  Wig  Maker  to  the  Bench.  A  sign-post  (1.)  points  (r.)  To  Dover.  The 
customs  men  are  uniformly  dressed  in  top-hats,  overcoats  with  double  capes, 
breeches  and  top-boots.  After  the  title:  "The  Rogues  were  not  satisfied  and 
insisted  on  having  the  Coach  and  Horses  too,  and  accordingly  |  " accompany' d  her 
Ladyship  home,  when  the  noble  Lord  facetiously  observed  if  such  was  the  Law  of  | 
the  case  a  value  must  be  set  on  the  carriage  &  horses  and  he  woidd  give  a  draft 
for  the  money,  debiting  her  Ladyships  pin  money  for  the  amount.  Vide  Morn^ 
Herald  Nov''  30  181 3. 

The  lady  had  been  to  buy  French  goods  from  a  secret  depot  at  Dover. 
9|Xi5|in. 

12341  GAMBOLS  ON  THE  RIVER  THAMES.  FERY  1814.  312 

G  Cruikshank  fec^ 

Pub'^  Feby  1814  by  T.  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  A  crowded  scene,  broadly  caricatured,  on 
the  frozen  Thames  just  above  London  Bridge,  which  forms  a  background, 
with  coaches  passing  and  spectators  looking  down.  In  the  foreground  (r.) 
a  jovial  waterman  straddles  behind  his  ninepins  at  which  an  artisan  is  about 
to  throw.  Men  and  women  drink  and  fight  in  an  open  tent  inscribed  Shannon, 
where  a  large  pot  cooks  on  a  brazier.  A  man's  wooden  leg  plunges  through 
the  ice ;  a  fat  woman  falls  on  her  back  on  breaking  ice,  dragging  down  a  man 
by  his  pigtail  and  terrifying  and  tripping  up  a  fiddler  and  a  raffish  man  in 
a  furred  and  braided  overcoat  with  a  flamboyant  top-hat.  Customers  (1.)  buy 
souvenirs  from  a  printer  who  inks  a  block:  behind  is  a  press  placarded  The 
Thames  Printing  Office — Copper  Plate  prints  done  in  the  Best  Style  by  J  water — 
Wagtail  &  Co.  There  are  two  makeshift  tents  on  the  1. :  one  placarded  Gin 
and  Gingerbread  Sold  here  Wholesale;  the  other:  The  Nelson.  In  the  middle 
distance  revellers  drink  or  dance,  and  a  woman  at  a  stall  cries  Here's  my 
smoking  Hot  sasengers  a  pentiey  a  peic. 

The  Thames,  after  being  choked  with  ice  for  the  greater  part  of  January, 
was  crossed  on  foot  on  31  Jan.  after  which  a  Frost  Fair  took  place  between 
London  and  Blackfriars  Bridges  till  5  Feb.  when  the  thaw  began.  The  ice 
broke  up  on  6  Feb.  See  Ann.  Reg.  ('Chronicle'),  pp.  11  f.;  Europ.  Mag.  Ixv. 
172  f.;  Gent.  Mag.  84,  i.  192;  W.  Andrews,  Famous  Frosts  and  Frost  Fairs 

456 


PERSONAL  AND   SOCIAL   SATIRES   1814 

(citing  Frostiana  printed  on  the  Thames  1814),  1887,  pp.  61-73  and  Nos. 
12185, 12342-8. 

Reid,  No.  287.    Cohn,  No.  1145. 
8|Xi3jin. 

12342  FROST  FAIR  OR  RURAL  SPORTS  ON  THE  RIVER  THAMES, 
FEBRUR— 5TH_i8l4 

Puhl'^ — as  the  Act  directs  Feb^ — 12. 

Engraving.  A  view  of  the  frozen  Thames  with  Blackfriars  Bridge  in  the 
background,  the  Shot  Tower  (?)  on  the  Surrey  side  on  the  extreme  1.,  a 
church  tower  and  houses  on  the  extreme  r.  In  the  foreground  (1.)  is  a  print- 
ing-press (copper  plate)  with  a  placard :  Printing  on  the  River  Thames ;  sellers 
of  cakes  "a//  hot,  all  hot — ",  men  playing  skittles,  &c.  In  the  middle  distance 
are  roughly  made  tents  where  a  proletarian  crowd  drinks  and  eats.  On  the 
1.  a  waterman  stands  on  the  edge  of  a  barge  which  forms  the  base  of  a  tent, 
and  ushers  in  visitors  up  a  plank;  there  is  a  flag  inscribed  Orange  Boven 
(see  No.  12 102)  and  a  placard:  Shew  them  up — Only  a  penny  to  see  little  Bony 
put  into  a  stew  pot.  Other  tents  are  placarded:  Beer — Ale — Cyder  Good 
Eatables;  Gin;  and  1.:  These  premises  to  be  let  on  a  building  lease — for — 
particulars  apply  to  M^  Frost,  with  a  flag  inscribed  Wellington  for  ever.  See 
No.  12341,  &c. 
6X9j  in.  Grace  Coll.,  Book  of  Frost  Fairs,  No.  71. 

12343  A  VIEW  OF  FROST  FAIR,  ON  THE  THAMES,  FEBRUARY 
1814.  (5) 

Woodcut.  A  crude  popular  print,  with  Blackfriars  Bridge  in  the  background 
with  St.  Paul's  and  houses  facing  the  river  on  the  r.  At  the  base  of  the  design 
are  spectators  in  boats  at  the  edge  of  the  ice.  The  diversions  are  as  in 
No.  12342,  with  the  addition  of  swing-boats.  Three  of  the  many  tents  are 
inscribed  Moscow,  Wellington,  and  Good  Gin. 

Below  the  design :  The  Year  18 1 4  will  be  long  remembered  for  the  severe 
frosts.  ...  At  the  beginning  of  February  the  river  was  completely  blocked  up 
with  ice,  between  London  and  Blackfriars  Bridges,  where  a  fair  was  kept,  j  or  4 
days,  with  booths,  swings,  skittles,  presses  printing  tickets  in  com?nemoration, 
&c.  &c. 
13  X  17I  in.  Ibid.,  No.  67. 

12344  FROST  FAIR,  HELD  ON  THE  THAMES,  FEBRUARY  1814. 

Woodcut.    A  similar  view  to  No.  12343,  t>ut  more  crudely  drawn.    Printed 

inscription  below  the  title.    Probably  sold  for  a  penny. 

6x8|  in.  Ibid.,  No.  68. 

12345  [FROST  FAIR] 

Aquatint.  A  more  realistic  and  elaborate  rendering  of  the  fair  than  Nos. 
12341-4.  St.  Paul's  and  Blackfriars  Bridge  in  the  background.  In  addition 
to  the  usual  amusements,  there  is  a  band  (1.)  of  hurdy-gurdy,  drum  and  pan- 
pipes, and  tambourine,  to  which  two  sailors  and  a  girl  dance. 

Also  an  earlier  state,  without  aquatint. 
14^X20^  in.  Ibid.,  No.  74a,  No.  74. 

457 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12346  A  VIEW  OF  THE  THAMES  OFF  THREE  CRANES  WHARF 
WHEN  FROZEN ,  MONDAY  3 1ST  JANUARY  TO  SATURDAY  5TH 
FEBRUARY  1814  .  .  . 

Published  as  the  Act  directs  18'''  February  by  Beckitt  &  Hudson,  85, 
Cheapside,  London. 

Engraving  (coloured  impression).  A  landscape  rather  than  a  humorous  print, 

with  architectural  background. 

iSiXiSfin.  Ibid.,  No.  73. 


12347  FROST  FAIR  ON  THE  RIVER  THAMES 

Printed  on  the  River  Thames  February,  4^''  in  the  ^4,  Year  of  the  reign  of 
King  George  the  j"^  Anno  Domini  1814 

Published  Feb^  14. 1814,  by  G.  Thompson  N"  43  Long  Lane  West  Smith- 
field. 

Woodcut  (coloured  impression).  Below  the  title:  As  it  appeared  hi  the  hard 
Frost,  Feby  4.  18 14  between  London  and  Blackfriars  Bridges  when  the  river  was 
one  sheet  of  Ice  and  Snow,  and  on  which  several  trades  and  pastimes  were  carried 
on,  the  above  View,  was  taken  on  the  Spot  at  Bankside  Feby  4  [see  No.  12341]. 
In  the  foreground  is  the  riverside  in  Southwark,  with  spectators,  and  a  vendor 
of  A  hot  Mutton  Pie  or  an  Apple  Pie;  a  gangway  placarded  The  New  City 
Road  leads  from  the  pavement  to  ice.  In  the  background  is  a  detailed  view 
of  riverside  buildings,  the  north  ends  of  Blackfriars  Bridge  (1.)  and  London 
Bridge  (r.),  St.  Paul's,  many  spires,  and  the  Monument  (r.).  Letters  on  the 
print  refer  to  a  key  in  the  lower  margin.  Tents  are  dotted  over  the  ice,  with 
a  group  of  three  in  the  centre  of  the  design :  The  City  of  Moscow  has  two 
other  placards,  Barclays  Intire  and  Good  Gin  Rum  &c.  It  flies  a  Russian 
flag  and  on  its  summit  is  the  effigy  of  a  man.  Behind  this  is  the  Lord  Wellington 
for  Ever,  with  a  Union  flag,  and  on  the  1.  the  Orange  Boven  [see  No.  12 102] 
with  Good  Ale  Porter  &  Gin;  it  flies  the  striped  flag  of  the  Stadtholder.  In 
front  of  this  people  are  dancing  while  a  fiddler  plays  {H,  Dancing  and  Fidling). 
Behind  these  tents  there  is  a  curving  line  of  spectators  and  pedestrians  along 
the  stream  of  the  river,  inscribed  /,  The  main  walk.  At  intervals  along  it  are 
various  attractions:  B,  Copperplate  Printing  (the  press  is  being  worked).  The 
Wiskey  Shop  (a  small  booth),  a  printing-press  with  a  placard  Frost  Fair 
Printing  Office  {A,  Letterpress  Printi?ig),  and,  farther  on,  another  press: 
Thames  Printing  Office  (also  marked  A).  Other  incidents  are  skittles  (two 
games,  F,  playing  at  Skittles);  G,  Throwing  at  Gingerbread,  with  sticks,  the 
slabs  being  placed  on  upright  sticks.  Two  boat-shaped  swings,  one  placarded 
High  Flyer  (E,  Swinging);  two  Ballad  Singers  (D),  a  man  and  woman;  the 
carcase  of  a  sheep,  hanging  from  a  gibbet-like  erection  (C,  A  Sheep  to  be 
roasted).  In  the  distance  a  barber  shaves  a  man  who  is  seated  in  the  open 
{K,  Shaveall  at  work).  Below  the  design:  Copy  of  a  Verse  printed  on  the 
Thames — 

Amidst  the  Arts  which  on  the  Thames  appear. 

To  tell  the  wonders  of  this  Icy  Year, 

Printing  claims  prior  place  which  at  one  view 

Erects  a  monument  of  that  and  you. 

13^  X  17I  in.  Cannan  Coll.  sheet  14,  No.  394. 

458 


PERSONAL   AND   SOCIAL   SATIRES    1814 

12348  A  VIEW  OF  FROST  FAIR  AS  IT  APPEARED  ON  THE  ICE 
ON  THE  RIVER  THAMES  FERY  3D  1814 

Published  March  ig.  18 14  by  J.  Pitts  Great  S^  Andrew  Street,  Seven  Dials 

Woodcut.  A  similar  view  to  No.  12347,  confirming  the  truth  of  the  representa- 
tion. The  view-point  is  a  few  yards  to  the  east,  with  the  gangway  (inscribed 
The  High  Road  to  the  Fair)  on  the  1.  Two  small  tents  are  The  Free  and  Easy 
on  the  Ice  and  Wellington  for  Ever  Good  Ale.  The  barber  has  a  tent  placarded 
Shave  Well.  Two  badged  watermen  are  conspicuous,  one  holding  a  bottle 
of  Old  Tom  [gin].   Below  the  title  are  doggerel  verses  which  end: 

Now  to  conclude  my  Icy  song 
Fm  glad  to  see  the  frost  is  gone. 
And  ships  and  barges  all  afloat 
And  watermen  rowing  of  their  boats 
Black  diamo?id  barges  to  appear 
That  coals  they  may  not  be  so  dear 
So  toss  a  bumper  off  with  cheer 
And  bid  adieu  to  Frosty  Fair. 
14IX  i7j  in.  Ibid.,  No.  392. 

12349  THE  INTERIOR  OF  A  PACKET. 

London:  Pub'^  by  the  Proprietors  July  i.  1814,  and  M"  Hiwiphrey  2j  S' 
James's  Street. 

Aquatint  (coloured  impression).  The  interior  of  a  cabin,  lit  from  the  roof 
and  having  a  door  at  each  end.  Four  berths,  two  above  and  two  below, 
extend  along  the  wall,  their  occupants  sea-sick  or  asleep.  A  sailor  hands  up 
a  basin.  A  woman  crouches  uneasily  on  a  sofa  (1.),  beside  the  door.  Baggage, 
clothes,  food,  and  drink  are  scattered  over  the  floor.  A  small  table  stands  in 
the  middle  of  the  room.  A  traveller  enters  hurriedly  from  the  r.,  his  hand 
to  his  face. 

A  realistic  rendering  of  the  cabin  (for  both  sexes)  of  a  Channel  packet. 
4X6|  in. 


12350-12387 
French  prints,  c.  1814,  on  the  English  in  England  and  in  Paris 

12350  LES  DAMES  ANGLAISES  APRES-DINfi  N°  i 

SCfiNES  ANGLAISES  DESSINI^ES  A  LONDRES 

par  un  franfais  prisotmier  de  Guerre  [18 14]' 

A  Paris,  chez  Martinet,  Libraire,  Rue  du  Coq  S^  Honore 

Engraving  (coloured  impression).  A  lady,  stout  and  plain,  her  knees  awk- 
wardly apart,  sits  behind  a  small  round  tea-table  filling  a  cup  from  a  large  urn. 
Seven  other  ladies  sit  on  her  r.  and  1.,  in  a  semicircle,  on  upright  chairs,  in 
silent  boredom.  A  child  sits  by  its  ugly  middle-aged  mother  on  the  extreme  r. 
A  negro  servant  in  livery  hands  a  tray  on  which  are  cups,  cream-jug,  and 
small  (?)  rolls.  The  room  is  bare  except  for  table,  chairs,  and  a  narrow 
curtained  window. 

One  of  a  set,  with  the  same  sub-title,  signature,  and  imprint,  see  Nos. 
12351-3.   No.  12354  belongs  to  the  set  but  is  without  sub-title  and  signature. 

'  Date  in  an  old  hand. 
459 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

No.  3  is  Les  Boxeurs  (De  Vinck,  No.  7701).  They  illustrate  topics  common 
in  the  accounts  of  French  visitors  to  England,  here  depicted  as  aspects  of 
ennui,  gaucherie,  drunkenness,  spleen,  and  brutality.  See  (e.g.)  Defauconpret, 
Quinze  jours  a  Londres  a  la  fin  de  181 5,  Paris,  18 16. 

De  Vinck,  No.  7699. 
7^X12  in. 

12351  L'APR£S-DINEE  DES  ANGLAIS  N°  2 

See  No.  12350.  Six  men  in  varying  stages  of  intoxication  surround  a  low, 
cloth-covered  dinner-table  (not  bare  as  was  customary  for  dessert),  on  which 
are  a  big  punch-bowl,  bottle,  and  glasses.  One  lies  on  the  floor  clasping  a 
bottle  and  shouting,  his  chair  overturned.  Two  pairs  converse  affectionately ; 
an  elderly  man,  his  elbows  on  the  table,  supports  his  head,  registering  anguish. 
A  seventh  stands  at  a  sideboard  with  a  chamber-pot  taken  from  a  cupboard 
in  the  sideboard.  (This  was  the  practice  after  the  ladies  had  left  the  dining- 
room,  see  (e.g)  Simond,  Voyage  en  Angleterre  .  .  .  j8io  et  1811,  1817,  i.  67  f.) 
On  the  wall  is  a  landscape  with  heavy  rain  as  the  chief  feature. 

De  Vinck,  No.  7700. 
7|X  12  in. 

12352  LE  BOXEUR  BLESSjg  ET  SES  PARIEURS  CONSTERNieS. 

See  No.  12350.  The  pugilist,  stripped  to  the  waist,  lean  and  seemingly  mori- 
bund, is  on  the  knee  of  a  supporter;  a  fat  publican  pours  the  contents  of  a 
tankard  into  his  mouth.  They  register  consternation  at  the  loss  of  their  bets. 
Two  deeply  dejected  men  stand  by,  and  a  ragged  woman  kneels,  gazing  up 
at  the  injured  man.  Behind  (r.)  the  other  boxer  stands  in  back  view,  muscular 
and  erect,  surrounded  by  a  little  group  of  backers. 

One  of  the  casual  street-encounters  for  which  a  ring  of  spectators  was 
instantly  made  and  which  so  much  impressed  foreigners  (favourably  and 
unfavourably). 

De  Vinck,  No.  7702. 
7f  X  lof  in. 

12353  AMUSEMENTS  DES  ANGLAIS  A  LONDRES  AT"  6 

Depose  a  la  Direction  G"''  de  Vlmp''  et  de  la  Librairie.  [1814]^ 

See  No.  12350.  An  exterior  and  interior  view  are  combined.  On  the  1.  a  man 
hangs  himself  from  a  tree,  registering  stupid  satisfaction.  Another,  standing 
in  profile  to  the  1.,  is  about  to  fire  a  pistol  into  his  mouth.  In  the  background 
a  man  hurls  himself  from  a  bridge. 

On  the  r.  a  man  seated  at  a  small  table  leans  forward,  burying  his  face  in 
his  arms ;  beside  him  is  a  big  frothing  tankard  of  Porter.  An  obese  man,  a 
typical  John  Bull  of  French  caricature,  seated  on  a  stool,  holds  up  an  open 
book,  pointing  to  it  with  an  oafish  grin :  Niiits  d'  Young  La  Mort  [Young's 
'Night  Thoughts'].  The  dress  of  all  is  plain  and  inelegant,  hats  have  absurdly 
narrow  brims,  cf.  No.  12361. 

That  Englishmen  were  addicted  to  suicide,  a  result  of  ennui  and  melan- 
choly, was  a  common  assertion  of  foreign  visitors  in  the  eighteenth  century, 
cf.  Nos.  7765,  13454.  Here  they  cheerfully  kill  themselves  or  reflect  on  death. 


7fXioi|  m. 


'  Date  in  an  old  hand. 
460 


PERSONAL   AND   SOCIAL   SATIRES    1814 

12354  AMUSEMENTS  DES  ANGLAIS  A  PARIS.  N"  7^ 

Depose  a  la  D°^  G"-^^  de  V Imprimerie 

See  No.  12350.  A  grossly  obese  John  Bull  and  his  lean  and  ugly  wife,  both 
wearing  hats,  sit  on  upright  chairs,  gormandizing.  The  man  holds  a  whole 
chicken  to  his  mouth,  taking  a  huge  bite.  The  woman  (1.)  faces  him,  biting 
a  large  melon  which  she  holds  with  both  hands  to  an  enormous  mouth.  He 
is  morosely  savage,  she  is  melancholy ;  both  are  gap-toothed.  On  the  ground 
(r.)  by  the  man's  chair  are  collected  a  ham  or  gigot,  a  large  irregular  (?)  galan- 
tine, a  raised  pie :  pate  de  perigiieux,  a  huge  jar  of  vin  de  lafitte  round  which 
four  bottles  are  grouped:  frontignac,  Clos  de  Vouge[ot\,  and  .  .  .  seac.  Beside 
the  woman  are  a  basket  and  tray  filled  with  grapes,  peaches,  and  pears. 

Through  a  wide  doorway  (1.)  the  street  is  seen  with  a  seated  fruit-seller 
who  serves  three  grotesquely  hideous  Englishwomen.  Two  are  lank  and 
emaciated,  one  tries  to  stufT  a  big  peach  into  an  immense  mouth,  holding 
an  armful  of  grapes  and  peaches ;  the  other  gnaws  at  a  bunch  of  grapes  held 
in  both  hands.  The  third,  also  with  bulging  cheeks,  bites  a  peach.  The  fruit- 
seller's  tray  is  empty;  she  holds  out  her  last  peach.  All  the  women  wear 
small  absurd  hats  or  caps,  tight  long-waisted  bodices  (coloured)  with  long 
white  skirts  (cf.  No.  12359). 

One  of  many  prints  on  the  English  visitors  who  flocked  to  Paris  in  18 14 
and  1815  as  they  had  done  in  1802-3,  cf-  No.  9864,  &:c.  For  the  first  rush 
of  tourists  cf.  B.  R.  Haydon,  Autobiography,  1926,  i.  172  ff.  The  chief  topics 
of  French  graphic  satires  on  these  visitors  are  costume,  ungainly  figures  (tall 
and  gawky,  or  obese),  gormandizing,  bad  French,  and  bad  manners.  See 
Nos.  123 16,  12355-87,  125 16,  12698;  cf.  No.  12634,  &c. 
7|Xio|  in. 

12355  MILORD  POUF  MONT  ANT  A  CHEVAL 

A  Paris,  chez  Basset  M''  d'Estampes,  Rue  S'  Jacques  N"  64. 
Depose  au  Bureau  des  Estampes 

Engraving  (coloured  impression).  A  fat  and  clumsy  Englishman  is  being 
hoisted  on  to  a  horse  by  mechanical  appliances  worked  by  three  French  stable- 
boys  who  are  much  smaller  in  scale.  He  faces  the  spectator  with  his  back 
to  the  horse,  his  fingers  resting  on  the  passive  animal's  back.  He  is  slung 
from  two  pulleys,  the  rope  being  attached  to  bands  round  his  vast  arms;  a 
man  hauls  hard  at  each.  The  third  man  winds  a  handle  which  pushes  upwards 
a  jack  supporting  his  r.  leg.  He  is  clean-shaven,  with  heavy  cheeks,  and  wears 
a  flower-pot  hat  (cf.  No.  12361),  plain  single-breasted  coat,  with  wrinkled 
gaiters  to  the  knee.  Below  the  design:  Doucement  moi  il  etre  un  Milord.  |  Oui 
nous  voyons  que  vous  etes  un  homrne  de  poids. 

See  No.  12354,  ^^-   ^^^  the  bad  French  cf.  Nos.  12367,  12368.    See  also 
Nos.  12356,  12357. 
11^X8^  in. 

12356  MILORD  POUF,  CHEZ  COUPON  TAILLEUR 
HE. 

Depose  a  la  Direction  de  la  Librairie 

Engraving  (coloured  impression).  An  immensely  fat  Englishman  stands  in 
profile  to  the  1.,  throwing  out  his  vast  chest,  while  two  thin  French  tailors 
measure  his  waist.  One  (1.)  adjusts  the  tape  in  front,  the  other  (r.)  holds  the 
two  ends.    The  Englishman  looks  up  complacently,  his  head  well  back,  his 

'   Imprint  as  No.  12350. 

461 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

1.  hand  in  his  coat-tail  pocket.  He  wears  an  absurdly  small  hat  on  a  wig 
(simulating  natural  hair)  to  which  is  attached  a  large  curled  whisker.  His  shirt- 
frill  projects  upwards  from  an  almost  horizontal  chest,  his  coat-tails  nearly 
touch  the  ground.  The  deep  tops  of  his  boots  reach  to  the  ankles.  A  seal  and 
watch-key  dangle  from  a  ribbon.  All  are  burlesqued.  See  No.  12355,  &c. 
6^x8  in. 

12357  LES    MILORDS    POUFFES   A   PARIS,    OU   LA   FAMILLE 
ANGLAISE  DU  SUPREME  BON  TON  DE  LONDRES. 

A  Paris,  chez  Martinet,  Libraire,  Rue  du  Coq.  [1814]^ 

Depose  a  la  Direction  de  VImprimerie  Royale. 

Engraving  (coloured  impression).  Two  pairs  of  English  people  much  bur- 
lesqued, both  walking  arm-in-arm,  meet  face  to  face;  two  men,  apparently 
brothers,  register  the  surprise  of  an  encounter  in  the  desert  (cf.  No.  12359). 
On  the  1.  two  men  are  together,  on  the  r.  a  John  Bull  with  his  wife.  All  four 
are  fat  and  clumsy.  Between  them  stands  a  tall  thin  young  man,  legs  astride, 
arms  behind  his  back,  looking  with  quizzical  detachment  at  the  masculine 
pair.  All  four  men  wear  flower-pot  hats  (cf.  No.  1236 1)  with  double-breasted 
coats  whose  tails  nearly  touch  the  ground.  The  young  man  and  the  youngest 
of  the  other  three  wear  tight  trousers  strapped  under  the  boot;  the  latter's 
companion  has  wrinkled  gaiters  to  the  knee,  also  strapped  under  his  boots. 
The  fourth  man  (r.)  wears  boots  with  deep  tops,  as  in  No.  12356.  The  lady 
wears  a  straw  bonnet  covered  with  a  long  transparent  veil,  a  tight-fitting  and 
very  decolletee  bodice  differing  in  colour  and  texture  from  the  full  skirt  which 
shows  her  flat  slippers.  She  uses  as  a  walking-stick  a  small  frilled  parasol 
with  a  long  spike. 
7^X11  win. 

12358  LES  MODES  ANGLAISES  A  PARIS   I   LE  SUPREME  BON 
TON,  N°  22. 

A  G   [Adrian  Godefroy.] 
A  Paris  chez  Martinet,  Libraire,  Rue  du  Coq. 
Dep.  a  la  Direc.  de  la  Lib. 

Engraving  (coloured  impression).  A  young  officer  (r.)  walks,  r.  to  1.,  with  a 
lady  on  each  arm.  He  wears  cocked  hat  and  top-boots ;  his  sword-belt  is  worn 
over  his  coat,  and  he  supports  his  heavy  sabre  in  his  1.  hand.  One  lady  uses 
a  tall  parasol  as  a  walking-stick,  and  is  plainly  dressed,  wearing  an  odd  straw 
bonnet,  a  frill  encircling  her  neck  and  shoulders.  The  other  has  a  more 
elaborate  and  longer  gown,  with  a  festooned  flounce.  Her  hat  is  a  small  fluted 
plateau  with  ribbon  or  lace  tied  under  the  chin.  Walking  towards  them  (1.) 
are  a  civilian  with  a  lady  whose  small  bonnet  is  covered  with  a  long  lace  scarf 
falling  well  below  the  waist.  She  wears  a  tunic  dress,  the  edge  vandyked,  over 
a  plain  skirt.  Her  companion  wears  long  gaiters.  The  centre  figure  is  a  very 
tall  young  man  who  drifts  along  (r.  to  1.)  with  his  arms  folded  behind  him.  He 
wears  trousers  strapped  under  his  boots.  Both  civilians  wear  the  usual  flower- 
pot hat,  cf.  No.  12361,  and  coat  with  long  tails.   In  the  background  is  a  lake. 

See  No.  12354,  &c.  From  a  series  of  30  plates  published  from  c.  1801  to 
1815;  see  Nos.  9830,  9831,  9957,  12359.  ^o.  25  (1815),  two  officers  riding, 
one  English  with  a  big  open  umbrella,  is  De  Vinck,  No.  9253.  Cf.  Nos.  12367, 
12368. 

Colas,  No.  2837  (series). 
6|x  io|  in.  'Caricatures',  x.  95. 

'  Dated  in  pen  'Paris  Oct.  18 14  W  S.' 

462 


PERSONAL   AND   SOCIAL   SATIRES    1814 

12359  RENCONTRE  D'ANGLAIS   A  PARIS  |  LE  SUPREME  BON 
TON,  N°  23. 

A  G   [Adrien  Godefroy.] 

A  Paris  chez  Martinet,  Libraire,  Rue  du  Coq,  N°  15  [9  July  18 14] 

Depose  a  la  Direction,  &c. 

Engraving  (coloured  impression).  Two  British  officers,  one  fat,  one  thin, 
make  gestures  of  delighted  surprise  at  meeting  (cf.  No.  12357).  Between  them 
stands  a  lady  holding  a  little  girl  by  the  hand;  she  registers  more  restrained 
astonishment.  The  officers  wear  tunics  with  short  coat-tails,  one  buttoned 
up  and  double  breasted,  the  other  with  facings  buttoned  back  to  show  a  shirt, 
with  trousers  strapped  over  the  boot.  One  wears  a  shako,  too  small  for  his 
broad  face,  the  other  a  small  cocked  hat.  One  has  a  sword-belt  knotted  like 
harness  round  his  bulky  hips,  the  other  a  neat  sash.  The  dress  of  lady  and 
child  is  extremely  plain,  with  coloured  bodice  and  (narrow)  white  skirt.'  The 
mother  wears  a  straw  hat  turned  back  from  the  face,  with  a  small  feather  and 
flower,  a  transparent  shawl-like  cape  over  her  shoulders,  edged  with  gold 
braid.  Her  narrow  skirt  is  fastened  down  the  front  by  plain  frogs.  At  her 
neck  is  a  small  muslin  collar,  her  sleeves  are  long  and  tight.  The  child  wears 
a  small  straw  bonnet,  and  a  skirt  barely  shorter  than  that  of  her  mother,  which 
is  just  above  the  ankles. 

See  No.  12354,  &c.  Said  to  be  a  truthful  representation  of  *les  costumes 
bizarres',  of  the  recently  arrived  English.  Journal  des  Arts,  30  July  1814.  A 
similar  print,  pub.  Basset,  is  Hennin,  No.  13885.  For  the  series  see  No.  12358. 

De  Vinck,  No.  9273. 
6|x  lof  in. 

12360  L'ANGLAIS  ET  SON  MAITRE  D'ESCRIME. 

A  Paris  chez  Genty  Rue  S'  Jacques  N''^  14. 
Depose  a  la  Direction  G'^  de  Vlmp^^  et  de  la  LiU^ 

Engraving  (coloured  impression).  A  fat  Englishman  (r.),  much  caricatured 
and  with  a  snout-like  profile  encased  in  a  fencing-mask,  stands  awkwardly, 
holding  a  foil,  and  gaping  at  his  opponent  who  lunges  towards  him.  He  wears 
a  fencing-jacket,  with  a  plastron  on  which  is  a  large  heart.  His  opponent  is 
tall  and  thin,  masked,  but  without  a  jacket,  and  with  a  very  long  shoe  on  the 
r.  foot.  The  tail  of  his  coat  rests  on  the  ground.  Behind  him  (1.)  is  a  fencing- 
master,  with  bare  arms,  holding  up  a  foil.  In  the  background  two  well- 
dressed  Frenchmen  fence  without  masks  in  correct  attitudes. 

See  No.  12354,  ^'^• 
7^X  iif  in. 

12361  L'ARRIV^E. 

G.  de  Ca  .  .  .    [Godissart  de  Cari.]  Depose  ...     [i  Feb.  1815] 

[Pub.  Martinet.] 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  12362.  Below  the 
title :  Un  Anglais  attaque  du  Spleen,  vient  se  faire  trailer  en  France.  A  lean 
Englishman  strides  on  to  the  quayside  from  an  (invisible)  gangway  leading 
to  the  deck  of  a  packet,  which  is  seen  below  (r.),  covered  with  the  heads  of 

'  This  arrangement  is  common  in  these  French  prints.  According  to  C.  W.  Cunning- 
ton  the  EngHsh  fashion  in  1814  was  'Frequently  coloured  skirts  and  white  bodices'. 
English  Women's  Clothing  in  the  Nineteenth  Century,  1937,  p.  47.  The  Belle  Assemblee 
notes,  May  181 5,  that  'coloured  satin  spencers  .  .  .  though  on  the  decline  are  not 
exploded'.    Quoted  Examiner,  1815,  p.  224. 

463 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

passengers,  looking  eagerly  upwards.  The  furled  sails  and  rigging  are  on  the 
extreme  r. ;  a  dove  holding  an  olive-branch  sits  on  a  spar.  A  jovial  French 
cook  leads  the  Englishman,  who  grasps  his  1.  wrist;  he  points  to  a  doorway 
on  the  extreme  1.,  below  the  sign  Au  Bien  Venn.  He  holds  the  white  cotton 
night-cap  which  was  the  cap  of  the  French  cook,  but  is  not  foppish  as  in 
English  caricature,  but  manly  and  sturdy.  The  traveller  is  a  grotesque  figure 
wearing  a  hat  shaped  like  a  flower-pot,^  long  tail-coat,  wrinkled  breeches,  and 
long  ill-fitting  gaiters  on  very  thin  legs.  His  profile  has  an  absurdly  heavy 
chin  (cf.  No.  12364)  and  he  registers  eager  expectation.  On  a  flap  projecting 
from  a  window  beside  the  door  are  peaches,  grapes,  pears,  &c.  Within  a 
courtyard  a  second  cook  leans  from  an  attic  window,  knife  in  hand,  to  catch 
a  cat  by  the  tail,  one  of  several  scampering  from  the  ridge-pole. 

The  haste  of  the  English  to  visit  France  in  18 14  is  satirized;  one  of  many 
satires  on  their  gluttony  and  bad  dressing,  see  No.  12354,  &c.  The  French- 
man who  cooks  a  cat  is  a  subject  of  English  caricatures  on  the  favourite  theme 
of  the  beggarly  Frenchman  and  well-fed  Englishman,  cf.  No.  5081 ;  here 
perhaps  the  culinary  ignorance  of  the  Englishman  is  ridiculed. 

De  Vinck,  No.  7689. 
6f  x6|  in. 

12361  A  A  copy  (coloured),  18 14  added  to  the  title.   Jaime,  PL.  215.  O. 
6^x8^  in.  B.M.L.  1266.  g.  5. 

12362  LE  DEPART. 

G.  de  Ca  .  .  .    [Godissart  de  Cari.]  Depose  ...     [21  Oct.  18 14] 

[Pub.  Martinet.] 

Engraving  (coloured  impression).  A  companion  pi.  to  No,  12361.  Below  the 
title :  Giiert  du  Spleen  par  la  Cuisine  Franpaise,  r Anglais  retourne  a  Londres 
en  embonpoint?  The  Englishman,  grossly  obese,  walks  from  the  door  of  the 
inn  (1.)  supporting  his  paunch  on  a  wheelbarrow  which  the  cook  of  No.  123  61 
helps  to  drag,  exhausted  by  the  effort,  and  mopping  his  face  with  his  cap. 
A  plank  leads  from  the  quayside  to  a  packet-boat,  the  stern  of  which  appears 
below,  empty  except  for  one  expectant  sailor.  Another  sailor's  hand  appears 
by  the  plank,  ready  to  assist  the  embarkation.  The  sign  of  the  inn  is  not 
depicted,  the  window  flap  hangs  down.  The  second  cook  stands  in  the  court- 
yard, offering  food  to  a  gorged  cat  on  the  roof. 

The  theme  of  a  fat  man  supporting  his  paunch  in  a  wheelbarrow  is  an  old 
one,  found  in  a  German  wood-engraving  of  1510,  in  a  caricature  of  Luther, 
in  a  French  caricature  of  General  Galas,  c.  1635,  and  in  an  English  pi.  of 
1777,  see  No.  5433. 

De  Vinck,  No.  7690. 
6^X8^  in. 

12362  a  a  copy  (coloured)  with  the  addition  of  181 5  to  the  title.   Jaime, 

PL.  216.  O. 

61x81  in.  B.M.L.  1266.  g.  5. 

'  This  hat  appears  in  almost  all  satires  on  English  costumes  in  Paris,  c.  1814.  It 
is  worn  by  a  man  dressed  a  I'Anglais  in  No.  53  of  the  Bon  Genre  Series  (?  1813): 
Cheveux  a  Cherubin.  Chapeau  en  pot  a  fleurs.  Redingote  en  Robe  de  Chambre.  Cf. 
J. -P.  de  B^renger,  Les  Boxeurs,  1814: 

Quoique  leurs  chapeaux  sont  bien  laids 
Goddam!  moi  j'aime  les  Anglais. 
^  Cf.  the  Englishman  who  arrives  at  Calais,  dines  (for  £35,  the  whole  of  the  permitted 
.travel  allowance')  and  departs  content.   Punch,  17  Sept.  1947  (p.  287). 

464 


PERSONAL   AND   SOCIAL   SATIRES    1814 

12363  LES  COULISSES  DE  L'OPERA. 
A  Parts  chez  Basset  Rue  5'  Jacques,  N°  64. 
Depose  a  la  Direction  Gen^^  de  la  Lihrairie, 

Engraving  (coloured  impression).  \  scene  on  the  stage  of  the  Paris  Opera, 
dancers  rehearse  a  ballet-pantomime,  or  stand  in  groups.  Some  are  identified 
in  a  contemporary  hand.  A  ballerina  on  the  extreme  1.  is  addressed  by  'deux 
Milords',  dressed  in  the  manner  of  English  visitors  to  Paris  in  1814;  both 
wear  flower-pot  hats  and  one  is  very  obese.  With  a  flourish  of  the  r.  leg  she 
kicks  the  nose  of  her  fat  admirer,  who  has  a  hand  in  his  coat-pocket.  The 
other  blatantly  holds  up  a  money-bag.  A  lean  and  elderly  French  admirer, 
chapeau-bras,  bows  towards  her,  inspecting  her  through  an  eye-glass.  On  the 
extreme  r.  a  danseur,  identified  as  'Milon  [L.  J.],  Maitre  de  ballet',  talks  with 
Mile  Bigottini.  He  is  dressed  as  a  savage  or  demon,  his  cap  decorated  with 
writhing  serpents,  and  with  a  grotesque  mask  in  profile  to  the  r.,  attached  to 
his  posterior,  above  a  vandyked  loin-cloth.  The  lady  wears  quasi-contem- 
porary dress  with  a  fantastic  head-dress  of  flowers  and  ears  of  corn.  With 
them  is  a  man  whose  whiskers  suggest  that  he  is  English ;  he  does  not  wear 
a  hat,  and  is  of  more  polished  appearance  than  the  'Milords'.  In  the  centre 
of  the  stage  'Vestris  Pere'  and  'Virginie'  {}  Mme  Gardel)  dance  with  inter- 
laced arms.  Both  are  very  lightly  clad ;  he  holds  out  a  bow,  a  quiver  is  slung 
to  his  shoulders,  and  he  wears  a  wreath  of  roses.  She  holds  up  a  garland  of 
flowers,  and  wears  a  head-dress  suggesting  a  basket  of  flowers.  In  the  centre 
foreground  is  a  trap-door,  from  which  a  man  dressed  as  a  wolf  emerges  by 
a  ladder ;  below  him  is  a  similar  creature  of  the  cat  tribe.  In  the  background 
figures  dance  and  converse.  The  scene  is  the  sea-shore,  with  (1.)  a  rocky 
mountain  topped  by  a  little  temple. 

The  opera  is  perhaps  P.  Gardel's  ballet-pantomime  Paul  et  Virginie,  com- 
posed by  Rodolphe  Kreutzer,  first  played  at  St.  Cloud,  12  June  1806,  in  which 
Mme  Gardel  played  Virginie,  Vestris  Domingo,  and  Mile  Bigottini  Marie, 
wife  of  Domingo.  C.  W.  Beaumont,  Bibl.  of  Dancing,  1929,  p.  86.  Vestris 
(see  No.  5884,  Sec),  reappeared  at  the  Opera  for  one  night  in  1826  as 
Domingo  in  this  ballet.  Grove,  Diet,  of  Music.  'Divine  Bigottini'  (1784?- 
1858)  is  mentioned  in  T.  Moore's  Fudge  Family  in  Paris,  1818.  Cf.  No.  12354. 
The  theme  of  overtures  to  women  by  the  boorish  mercenary  Englishman  and 
the  attractive  and  disinterested  Frenchman  was  common  c.  1814-16,  cf. 
De  Yinck,  Nos.  7692-4,  9256. 
7i|xii|in. 


12364  UN  ANGLAIS.  [1814]' 

[?  Godissard  de  Cari] 

Engraving  (coloured  impression).  An  English  visitor  to  France  rides  (r.  to  1.) 
a  horse  which  is  much  too  small  for  him.  He  has  blunt  features  with  an 
absurdly  heavy  chin  as  in  No.  12361,  apparently  by  the  same  artist.  He  rides 
awkwardly,  leaning  forward,  the  ill-fitting  saddle  placed  near  the  animal's 
hind-quarters,  and  grasps  the  rein  in  both  hands,  holding  also  a  whip  with 
a  long  plaited  lash  and  a  clumsy  (green)  umbrella.  The  horse's  tail  and  mane 
are  docked  (cf.  No.  8460).  He  has  a  thatch  of  short,  ill-cut  hair,  and  wears 
narrow-brimmed  flower-pot  hat  (cf.  No.  12361),  a  clumsy  stock,  a  long 
frogged  coat  hanging  below  his  stirrups,  and  tight  trousers.  See  No.  12354,  &c. 
8f  X  7  in. 

'  Date  in  pen  in  an  old  hand. 

465  Hh 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12365  ANGLAIS  A  LA  PROMENADE 
J  H  (monogram). 

Depose  a  la  Direction  de  la  Librairie  &c.  [1814]^ 

Engraving  (coloured  impression).  Two  Englishmen  walk  impassively  in  single 
file  in  profile  to  the  1.,  the  first  tall  and  thin,  the  second  short  and  stout.  The 
taller  walks  looking  up  and  with  his  hands  crossed  behind  him,  holding  a  cane. 
He  wears  a  flower-pot  hat  (cf.  No.  12361),  very  high  stock  and  frilled  shirt, 
a  coat  with  long  narrow  tails  and  a  collar  which  projects  from  his  shoulders, 
tight  trousers  slit  up  from  the  ankle  for  some  inches,  the  slit  edged  with 
buttons  which  are  unfastened.  An  eye-glass  on  a  ribbon  hangs  from  his  neck. 
He  has  a  carefully  curled  (false)  whisker.  He  is  followed  by  a  stout  chubby 
young  midshipman,  who  wears  a  round  high-crowned  hat  with  a  cockade, 
a  short  jacket  with  buttons  with  an  anchor  device,  wide  trousers,  and  a  dirk 
suspended  from  his  waist. 

See  No.  12354,  &c.  The  two  figures  are  copied  in  a  composite  print  where 
they  walk  from  the  door  of  Very  Freres,  see  No.  12367. 
9^  X  71  in. 

12366  LE  GOCT  DU  jour,  N°  25.   |   LE  gastronome  APRfiS 
DINER. 

Chez  Martinet,  Libraire  rue  dii  Coq,  N°  15. 

Engraving  (coloured  impression).  A  typical  John  Bull  sleeps  awkwardly  in 
a  rough  upright  chair  under  a  horse-chestnut  tree,  a  few  large  leaves  placed 
decoratively  above  his  head,  and  part  of  the  trunk  being  on  the  extreme  r. 
Beside  him  sleeps  a  bloated  bulldog  (r.).  He  sits  with  the  1.  arm  thrown  over 
the  back  of  the  chair,  holding  in  his  1.  hand  his  hat  and  a  bill :  Carte  \  Melons 
.  .  6 —  I  Fates  gras  .  .  8 —  |  [illegible  word]  .  .  12 —  |  Vin  .  .  J5 —  |  dessert  .  . 
4 —  I  Total  45 — .  He  is  fat,  with  a  chubby  good-humoured  face,  short  curly 
hair,  small  whiskers;  his  double-breasted  tail-coat  has  a  large  collar  pushed 
up  to  cover  the  back  of  his  head,  and  cut  short  in  front,  showing  a  spotted 
waistcoat,  with  a  large  pendent  seal;  the  device,  bottles  and  a  raised  pie.  He 
wears  breeches  and  Hessian  boots,  his  legs  being  awkwardly  thrust  forward. 
Attitude  and  expression  indicate  contented  repletion.  Behind  (1.)  is  a  two- 
storied  building  on  a  raised  terrace,  fronted  with  pillars  or  pilasters.  Above 
the  first  floor  runs  the  inscription  in  large  letters:  Very  Restaurateur  Glacier. 
Below  it,  and  projecting  from  the  terrace  is  an  awning,  under  which  are  chairs 
and  small  round  tables.  Tiny  figures,  some  dressed  a  I'Anglais,  promenade 
on  the  terrace.   Behind  it  is  a  steep  wooded  slope  with  houses. 

The  restaurant  is  the  famous  Very  Freres,  see  No.  12409,  &c.    One  of  a 
set  of  30  plates^  on  the  manners  of  the  First  Empire  and  Restoration  (Colas, 
No.  1276). 
71x6^  in. 

12366  a  a  copy  (coloured),  London  und  Paris,  xv.  1805,  N°  VIII,  Der 
Gastronome  nach  dem  Mittagessen,  shows  that  the  original  publication  may 
relate  to  the  English  in  Paris  in  1802-3,  though  nothing  in  the  explanatory 
text  suggests  that  the  Gastronome  is  English.  The  dog's  eyes  are  open,  and 
before  him  is  a  bare  bone.  An  item  on  the  bill  (illegible  in  No.  12366)  is 
Poularde. 

Reproduced,  Simon,  Paris,  i.  51. 
7^X6^  in.  B.M.L.,  P.P.  4689. 

'  Date  in  pen  in  an  old  hand. 

^  The  serial  number  may  indicate  a  reissue  of  the  original  of  No.  12366  A. 

466 


PERSONAL   AND   SOCIAL   SATIRES    1814 

12367  SUPREME  BON  TON.  N"  5 

Plancher,  Rue  Serpente  N°  14.         Depose  a.  la  Direction  [25  Oct.  181 5] 

Engraving  (coloured  impression).  Three  Englishmen  descend  two  shallow 
steps  leading  to  the  street  from  a  wide  doorway  headed  Very  Freres.  Two 
are  military  officers,  one  thin  one  fat,  both  tipsy.  They  are  N°  I  and  N°  2, 
the  numbers  referring  to  words  engraved  below  the  design.  The  thin  officer 
(1.)  looks  very  ill;  with  eyes  closed  he  totters  forward,  supported  from  behind 
Ijy  a  handsome  gentlemanly-looking  waiter.  He  says :  Che  crois  que  le  digestion 

il  sefait His  fat  companion  leans  on  the  shoulder  of  a  stout  English 

civilian  (r.),  wearing  flov»'er-pot  hat,  tail-coat,  breeches,  and  gaiters  to  the  knee. 
He  says  with  a  smile  of  repletion :  Che  nai  have  hete  chavtais  pas  dans  in  Pareille 
bonne  viande!!!!!  Through  the  doorway  is  seen  a  table  (r.)  on  which  are  wine- 
bottles,  with  broken  bottles  on  the  floor  beside  it.  A  hanging  lamp  (as  in 
No.  12368)  is  carefully  depicted:  three  glass  chimneys  are  arranged  round  a 
central  vase,  and  above  a  round  shallow  reflector,  suspended  by  brass  chains, 
and  edged  with  small  crj^'stal  drops. 

See  No.  12354,  ^c. ;  for  Very  see  No.  12409,  &c.;  for  the  bad  French  cf. 
Nos.  12355,  12368.  From  a  series  of  fourteen  plates  with  the  title  Supreme 
Bon  Ton,  not  from  the  better-known  series,  see  No.  12358,  &c.  Nos.  2  and  3 
in  this  series  are  De  Vinck,  Nos.  9271-2  (18 15). 

Colas,  No.  2837.  De  Vinck,  No.  9279  (a  second  state).  A  copy  by  Grego 
forms  the  r.  part  of  a  pi.  to  Gronow,  Reminiscences,  1892,  i.  90:  The  Occupa- 
tion of  Paris.  English  Visitors  in  the  Palais  Royal;  see  also  Nos.  12365,  12383. 
10^X71  in. 

12368  L'ENVIE  RfiCIPROQUE.  Supreme  Bon  Ton.  N°  6. 

Plancher,  Rue  Serpente  N°  14.  Depose  [18 15]. 

Engraving  (coloured  impression).  The  interior  of  a  fashionable  restaurant, 
which  a  hanging  lamp  shows  to  be  Very  Freres  (see  No.  12367).  A  ragged 
old  man  on  crutches  leans  through  an  open  window  to  beg  from  a  massive 
and  gorged  British  officer,  who  faces  him,  seated  at  a  small  table.  Their  words 

are  engraved  below  the  design :  Je  n'ai  rien  mange  depuis  hier God-dam! 

ce  coquin  il  etre  hien  heiireux  de  avoir  faim.  The  officer  wears  a  short  tunic 
with  a  large  epaulet,  projecting  shirt-frill,  and  trousers;  his  r.  hand  clasps 
his  great  paunch.  On  the  table  are  a  raised  pie,  dessert,  bottles,  and  full  glass. 
On  the  floor  beside  him  are  piled  two  plates,  one  with  the  half-eaten  thigh 
of  a  bird  and  empty  bottles,  some  broken.  An  incredibly  bloated  dog  barks 
at  the  beggar.  On  a  stool  (1.)  are  shako,  with  sword-belt  and  sabre.  Behind 
the  beggar  is  a  colonnade.  Behind  the  Briton  a  vestibule,  from  which  a 
gentlemanly  waiter  (cf.  No.  12367)  takes  a  dish  to  a  terrace  with  trees  (r.). 
Behind,  in  a  glorified  bar,  surmounted  by  a  pediment  in  which  is  a  clock- 
face,  stands  an  elegant  woman,  probably  Alme  Ver^',  see  No.  12409;  bottles 
and  jars  are  ranged  on  shelves  beside  her. 

See  No.  12354,  ^c.    For  the  bad  French  cf.  Nos.  12355,  12367.    For  the 
series  see  No.  12367. 
9|Xi4iin. 

12369  LES  ANGLAIS  A  L'ESTAMINET. 

Malbratiche  del.  Jubin  Sculps 

a  Paris  chez  Basset  rue  S'  Jacques  A'"  64. 

Depose  au  Bureau  des  Estampes.  [18 14] 

Engraving  (coloured  impression).   Four  Englishmen  smoke  and  drink,  seated 

at  bare  round  tables;  one  is  in  civilian  dress,  wearing  flower-pot  hat  (cf. 

467 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

No.  12361)  and  a  fur-bordered  coat.  The  fifth  stands  leaning  against  the  bar  (1.), 
his  back  to  a  pretty  young  woman  wearing  a  fashionable  bonnet  who  stands 
behind  it ;  he  thus  hides  her  from  his  companions.  On  her  counter  are  a  pot 
of  flowers,  a  covered  jar,  &c.,  and  a  hand-bell.  All  the  officers  wear  tight 
trousers ;  one  wears  a  shako,  one  a  flat  cap  with  a  peak,  one  a  plumed  cocked 
hat  with  a  civilian  coat.  The  only  bareheaded  man  turns  away  from  the  others, 
smoking  a  pipe.   All  are  seemingly  silent. 

See  No.  12354,  &c.  Cf.  De  Vinck,  No.  7695,  Les  Anglais  chez  le  restaurateur 
de  Paris  [18 15]. 

De  Vinck,  No.  9275. 
7I X  12  in. 

12370  LA  FAMILLE  ANGLAISE  A  PARIS. 

A  Paris,  chez  Genty,  Rue  S'  Jacques,  N°  14. 
Depose  [6  May  18 16]  au  Bureau  des  Estampes. 

Engraving  (coloured  impression).  Husband  and  wife  walk  arm-in-arm  towards 
the  spectator;  she  holds  the  hand  of  a  little  girl  (r.)  who  walks  with  her  1. 
hand  on  the  head  of  an  elegant  greyhound.  All  look  to  the  1.,  as  if  shocked 
at  some  sight,  while  a  little  boy  beside  his  father  stands  in  back  view  to  point 
(cf.  No.  12376).  The  lady  holds  an  open  parasol  with  a  jointed  stick,  and  is 
simply  dressed,  with  small  hat,  plain  bodice,  from  which  hangs  a  short  tunic 
over  a  plain  narrow  ankle-length  skirt,  showing  laced  boots;  a  scarf  hangs 
from  her  shoulders.  The  child  is  similarly  but  more  plainly  dressed.  The 
man  wears  flower-pot  hat  (cf.  No.  123 61),  stock  and  shirt-frill,  double-breasted 
tail-coat,  and  buttoned  gaiters  or  trousers  strapped  over  the  foot.  The  little 
boy  wears  a  short  (quasi-Eton)  jacket,  tight  pantaloons,  half-boots,  and  no  hat. 

There  is  a  companion  pi..  La  Famille  Franfaise  a  Londres  (De  Vinck, 
No.  7708);  No.  9958  has  the  same  title. 

De  Vinck,  No.  7707. 
9|x6if  in. 

12371  PROMENADE  D'ANGLAIS. 

A  Paris,  chez  Genty,  Rue  S^  Jacques,  N°  14.  Depose 

Engraving  (coloured  impression).  Two  very  tall  and  lank  Englishmen  walk 
arm-in-arm  in  profile  to  the  1. ;  one  grasps  a  big  (red)  umbrella,  and  looks 
down  at  a  dog.  Before  them  walks  a  dwarfish  man  holding  a  tall  cane,  perhaps 
a  servant,  but  dressed  in  the  fashion  of  the  day  apart  from  striped  trousers. 
Behind  walks  a  second  couple,  shorter,  broader,  and  more  cheerful.  All  have 
flower-pot  hats,  and  all  double-breasted  long-tailed  coats,  except  one  of  the 
second  pair,  who  wears  top-boots.  The  others  wear  either  long  tight  trousers 
or  tight  gaiters  reaching  above  the  knee.  Two  have  large  bows  suspended 
from  their  fobs,  to  which  seal  and  watch-key  are  attached.  Three  wear  neck- 
cloths with  projecting  ends. 

See  No.  12354,  ^c.  A  companion  pi.  to  No.  12372,  with  the  same  publica- 
tion line. 

De  Vinck,  No.  7709. 
7|-Xiofin. 

12372  LES  EL^GANS  ANGLAIS  A  PARIS. 

Depose  a  la  Direct"  de  la  Libr^^. 

See  No.  1237 1.  Two  British  officers  (r.)  walk  arm-in-arm,  in  half  back  view. 
One  grasps  the  hand  of  a  civilian  walking  towards  him,  who  is  grotesquely 

468 


PERSONAL   AND    SOCIAL   SATIRES    1814 

short-legged  and  broad.  He  wears  a  small  plumed  cocked  hat,  an  enormous 
tasselled  sash  over  his  coat,  large  epaulets,  and  four  chevrons  on  his  coat-tails, 
which  reach  below  the  knee,  and  show  trousers  with  a  buttoned  slit  at  the 
bottom ;  his  sabre  hangs  from  a  cord  outside  his  sash.  His  companion  wears 
a  shako  and  short  hussar  jacket  heavily  bordered  with  fur  over  long  tight 
trousers;  sabretache  and  sabre  dangle  almost  to  the  ground.  Two  civilians 
approach  from  the  1.,  one  staring  through  an  eye-glass;  a  small  dog  con- 
temptuously befouls  his  boot.  He  wears  the  usual  dress  of  the  Britons  in  these 
caricatures,  with  trousers  like  those  of  the  officers.  The  other  wears  a  long 
straight  overcoat  to  the  ankles,  fastened  with  frogs. 
7f  Xii|  in. 

12373  LA  RENCONTRE  A  LA  SORTIE  DU  MUSfiUM.' 

Depose  a  la  DirecV  de  la  Libr'^.      [24  Sept.  18 14] 

Engraving  (coloured  impression).  A  couple  dressed  in  the  French  manner 
leaving  the  Museum  (the  Louvre)  meet  three  pedestrians  (r.)  in  ultra-English 
dress,  an  officer,  a  lady,  and  a  civilian.  The  first  man,  an  officer  in  elegant 
uniform,  but  with  an  over-large  flat  cocked  hat  under  his  arm,  extends  a 
hand,  the  lady  points  to  the  other  three  who  appear  embarrassed  or  vacant. 
A  French  dog  barks  at  them.  The  Museum  is  represented  by  a  small  shed 
or  porter's  lodge  with  a  window  or  guichet  from  which  a  woman  wearing  a 
fashionable  bonnet  looks  out. 

See  No.  12354,  ^c. 

De  Vinck,  No.  9281. 
7^X  iij  in.  'Caricatures',  x.  201. 

12374  ALLEZ  VOIR  BAUBECHE  [?  1814] 

Engraving  (coloured  impression).  Eight  English  tourists  (one  an  elderly 
woman),  grotesque  and  ill-bred,  in  the  Boulevard  du  Temple,  which  is 
indicated  by  a  placard  against  a  low  platform  on  trestles:  Spectacle  du  Monde 
en  Mmiature.  On  this  a  lean  man  with  a  grotesque  pigtail  and  a  fat  Pierrot 
face  each  other  in  a  comical  dispute.  Most  gape  at  this  performance,  while 
one  man  makes  overtures  to  a  pair  of  plump  and  decolletees  fruit-women, 
who  stand  arm-in-arm,  also  watching  the  show.  Except  for  one  countrified 
man  in  top-boots  the  men  are  grotesquely  dressed,  with  wide,  short  trousers, 
or  breeches  below  the  knee,  and  wear  flat  shoes. 

The  performers  are  the  famous  buff^oons,  Bobeche  (Antoine  Mardelard  or 
Mandelard)  and  Galimafre,  who  delighted  Paris  (1809-16).    See  Larousse, 
Gr.  Diet.  Universel,  s.v.  Bobeche. 
8^X  13]^  in.  'Caricatures',  x.  200. 

12375  MR  GARRICK  INTRODUCTEUR  DE  MODES.  AT"  5. 

AV[orV  A] 

A  Paris,  chez  Martinet,  Rue  du  Coq  S^  Honore. 

Depose  a  la  Direction  generale  de  la  Librairie. 

Engraving  (coloured  impression).  An  Englishman,  with  a  melancholy  scowl, 
stands  full-face,  slouching,  hands  in  his  pockets,  wearing  an  enormously  large 
overcoat  which  trails  on  the  ground  and  has  a  high  collar  and  four  voluminous 
capes  reaching  to  the  calf.   This  is  open  to  show  double-breasted  coat,  loose 

'  Imprint  as  No.  12370. 

469 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

trousers,  inconspicuously  striped,  and  reaching  to  the  ground.  He  wears 
flower-pot  hat  and  high  stock,  and  the  black  ribbon  of  an  eye-glass  tucked 
into  the  coat.  Behind  is  a  country  scene  with  bare  trees  under  which  a 
fashionable  French  lady  promenades  in  a  fur-trimmed  pelisse  with  ermine 
cape,  and  a  man,  English  or  anglomane,  stands  in  back  view  with  a  high 
flower-pot  hat  and  a  plain  overcoat  reaching  to  the  ground. 

Carrick  is  the  French  term  for  a  caped  overcoat  as  worn  by  coachmen, 
according  to  Larousse,  Gr.  Diet.  Universel,  named  after  Garrick  the  actor 
who  made  it  fashionable,  but  evidently  the  caped  overcoat  (here  burlesqued) 
worn  by  the  fashionable  amateur  whip,  and  apparently  popularized  c.  1810, 
see  No.  11700,  &c.  This  garment  seems  to  have  reached  Paris  by  18 13: 
Le  Bon  Genre  N°  ^y  [cf.  No.  12380]  is  Carrick  a  Cinq  Pelerines,  the  lowest 
cape  reaching  to  the  waist,  the  fullness  confined  at  the  back  by  a  strap.  A 
similar  caped  coat  appears  as  a  fashion  of  1804  in  a  French  caricature:  Quel 
Est  le  plus  Ridicule  (Jaime). 
8|x6i|in. 


12376  PROMENADE  ANGLAISE  [i^'  L"^  N°  i] 

Dessine  par  C.  Vernet  Grave  par  P.  L.  Debucourt 

a  Paris  chez  Bance,  rue  jf.  J.  Rousseau  N°  10  [2  Nov.  18 14] 

Engraving,  slightly  aquatinted  (coloured  impression).  An  English  couple, 
arm-in-arm,  have  stopped  to  gaze  to  the  r.  at  something  that  surprises  and 
shocks  (cf.  No.  12370);  both  have  a  dogged,  wary  expression.  The  man  wears 
flower-pot  hat,  long-tailed  coat,  high  wrinkled  gaiters,  and  uses  a  green 
umbrella  as  a  walking-stick.  The  lady,  in  profile  to  the  1.,  holds  up  a  small 
pink  parasol;  she  wears  a  small  bonnet  with  hanging  drapery,  a  short  black 
cape,  blue  bodice  and  plain  narrow  white  skirt,  showing  pink  silk  boots 
without  heels  on  large  feet. 

The  first  of  a  Collection  de  Costumes  dessines  d'apres  nature,  issued  first 
separately,  then  in  parts  (livraisons)  containing  six  numbered  plates,  one  part 
issued  yearly  from  18 14  to  1824.  Published  by  Bance  in  Paris  and  by 
Bossange-Masson,  14  Great  Marlborough  Street,  London  (his  imprint  is  not 
on  the  B.M.  impressions).  Nos.  5  and  6  of  Part  i  are  Russian  subjects.  See 
Nos.  12377-9,  all  with  the  same  signatures  and  imprint,  and  No.  13496. 

Fenaille,  No.  335.   Colas,  No.  2984  (series),  C.  293*. 


12377  ANGLAIS  EN  HABIT  HABILLg.     i''  L°«  N°  2       [6  June  1815] 

See  No.  12376.  A  man  in  court  dress  stands  arm-in-arm  with  a  lady,  both 
looking  fixedly  over  the  1.  shoulder  to  the  1. ;  he  frowns.  He  holds  his  small 
cocked  hat,  and  wears  blue  coat,  with  cut-steel  buttons,  ornamental  sword, 
ruffled  shirt,  black  breeches,  white  stockings,  and  buckled  pumps.  His  hair 
is  short,  and  a  black  bag,  like  that  worn  on  a  wig  or  long  hair,  is  attached  to 
the  back  of  his  coat-collar  (as  worn  by  Fox  in  No.  9892,  when  presented  to 
Napoleon).  The  lady  wears  a  small  flat  head-dress  trimmed  with  flowers, 
a  white  gauged  bodice,  with  long  sleeves  and  vandyked  collar,  pink  skirt 
trimmed  with  blue,  with  vandyked  trimming  at  the  edge,  showing  blue  silk 
boots,  as  in  No.  12376.  Below  the  title :  {La  bourse  est  coiisue  a  V habit  et  ne  touche 
pas  aux  cheveux). 

Fenaille,  No.  336.    De  Vinck,  No.  7697. 
i2iX9i^in. 

470 


PERSONAL   AND   SOCIAL   SATIRES    1814 

12378  MARCHE  D'OFFICIERS  ANGLAIS,     j*-^  £<"»  iV"  j  [2  Nov.  1814] 

See  No.  12376.  Two  officers  walk  arm-in-arm,  wearing  ill-fitting  uniform. 
One  (r.)  is  in  back  view,  the  other  (1.)  turns  his  head  in  profile  to  the  r.  with 
a  sight-seer's  stare.  The  latter  wears  a  shako  and  fur-bordered  and  braided 
hussar  jacket  with  trousers ;  he  holds  a  sabre.  The  other  wears  a  plumed 
cocked  hat,  and  a  coat  with  short  tails  slit  to  the  waist,  and  turned  back  to 
uncover  the  tight  seat  of  his  trousers.   He  has  no  sword. 

Fenaille,  No.  337. 
I2|X9^  in. 

12379  RENCONTRE  D'OFFICIERS  ANGLAIS.  i^"  Lo^  N°  4 

[2  Sept.  1 8 14] 

See  No.  12376.  Two  officers  meet  in  Paris,  with  expressions  of  concerned 
surprise;  they  shake  hands,  using  the  I.  hand.  They  are  elegantly  dressed, 
both  wearing  plumed  cocked  hats  and  swords.  One  (1.)  may  be  Wellington; 
he  seems  to  be  reprimanding  the  other  who  makes  a  deprecatory  gesture. 
He  wears  white  breeches  with  high  boots;  the  other  wears  tight  trousers. 
Cf.  De  Vinck,  No.  9262. 

Fenaille,  No.  338. 
I2f  X9I  in. 

12380-12387 

Plates  from  Le  Bon  Genre, ^  104  plates  published  between  c.  1801  and  18 17. 
Colas,  No.  2238.  Coloured  reproductions  of  the  original  water-colours  for  39 
of  the  designs  (eight  of  which  were  not  engraved),  ed.  Charles  Martyne,  were 
issued  in  a  portfolio,  Paris,  1930.  Colas,  No.  2242.  From  these  the  attributions 
below  are  taken.  169.  e.  6. 

12380  COSTUMES  ANGLAIS.  |  LE  BON  GENRE,  N"  68. 

[Lante  del.]  [1814]' 

Engraving  (coloured  impression).  Three  elegant  young  men  talk  together  in 
the  foreground ;  all  wear  versions  of  the  flower-pot  hat,  and  double-breasted 
long-tailed  coats  with  deep  revers  which  show  elaborate  neck-cloth  and  shirt- 
frill.  One  wears  tight  pantaloons  tied  above  the  ankle,  and  low  shoes ;  another, 
long  tight  breeches  and  boots  with  deep  tops,  the  third  shorter  breeches  with 
gaiters.  An  officer  with  a  lady  on  his  arm  walks  away  in  back  view ;  he  wears 
a  long-waisted  coat,  with  five  chevrons  on  sleeve  and  coat,  the  short  coat-tails 
projecting  below  the  hips  and  slit  up  to  the  waist,  over  tight  pantaloons.  He 
wears  a  tasselled  sash  over  his  coat,  tied  at  the  back ;  a  sabre  on  a  sword-belt 
hangs  from  under  the  coat.  The  lady  wears  a  small  straw  bonnet  over  short 
ringlets,  a  trim  tight-waisted  tunic-dress  over  a  skirt  just  clearing  the  ground, 
a  shoulder-scarf  edged  with  little  tassels.  In  the  middle  distance  (r.)  two 
ladies  walk  forward  arm-in-arm,  one  holding  a  parasol ;  long  gauze  veils  hang 
from  the  back  of  simple  hats;  one  wears  a  pelisse  over  muslin,  the  other  a 
tight  coloured  bodice  with  a  full  white  skirt.  The  dress  of  the  women  does 
not  appear  to  be  caricatured,  though  the  contrast  with  French  fashions  is 
stressed. 
6i|X9|in. 

'  The  Print  Room  series  lacks  Nos.  98,  103,  104.   There  is  a  supplementary  series, 
Nos.  105-15,  of  which  Nos.  io6,  107,  iii,  H2  are  in  the  Print  Room. 
^  Dated  in  pen. 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12381  COSTUMES  ANGLAIS.  |  LE  BON  GENRE  N°  69. 

[Lante  del.]  [1814]! 

Engraving  (coloured  impression).  An  Englishman  (r.)  walks  towards  spectator 
with  a  lady  on  each  arm.  He  wears  a  cylindrical  hat  and  dark  tail-coat  with 
white  waistcoat  and  trousers  (above  the  ankle)  and  tied  shoes.  The  women 
wear  small  straw  hats ;  one  wears  a  long  open  coat  over  her  dress,  a  coloured 
bodice  and  white  skirt;  the  other  a  belted  pelisse  with  gauged  sleeves,  and  a 
long  scarf  over  her  shoulders ;  she  holds  a  closed  parasol.  Behind  (1.),  an  officer 
with  a  lady  on  his  arm  walks  off  in  back  view.  He  wears  a  small  plumed 
cocked  hat,  and  the  short  tails  of  his  tight  long-waisted  coat  are  turned  back 
to  show  the  seat  of  tight  trousers,  pinched  at  the  knee  and  expanding  at  the 
bottom.  The  lady  wears  a  small  hat  and  a  fitting  coloured  bodice  with  a  full 
white  skirt. 
6|X9|in. 

12382  UNIFORMES  ANGLAIS.  ]  PARIS.  LE  BON  GENRE.  N°  70. 
[Lante  del.] 

Engraving  (coloured  impression).  Four  officers  stand  in  a  close  group,  facing 
each  other.  One  (1.)  wears  a  plumed  cocked  hat,  but  his  uniform  is  covered 
by  a  long  fur-trimmed  coat,  showing  only  the  bottom  of  trousers.  A  hussar 
officer  in  back  view  wears  an  elaborately  braided,  fur-bordered  tight  jacket 
with  trousers  and  shako.  An  officer  wearing  a  magnificent  (Scots)  feathered 
bonnet  and  plaid  (not  tartan)  over  his  shoulder  wears  tight  trousers.  The 
fourth  is  partly  concealed,  but  wears  cocked  hat,  knee-breeches,  and  dark 
coat  (with  epaulets)  reaching  below  the  knee.  In  the  background  two  officers 
stand  together ;  both  wear  plumed  shakos,  but  otherwise  their  dress  is  quasi- 
civilian;  one  wears  white  waistcoat,  open  tail-coat,  short  trousers  tight  at 
the  knee;  the  other  a  long  overcoat.  Only  the  Scottish  officer  wears  a  sword. 
The  foreground  group,  the  fourth  figure  omitted,  is  copied  by  Grego  in  a  pi. 
to  Gronow's  Reminiscences,  1892,  ii.  324,  'Souvenirs  of  the  Army  of  Occupa- 
tion .  .  .',  cf.  Nos.  12386,  12634. 
8|  X  7|  in. 

12383  COSTUMES  ANGLAIS.  |  LE  BON  GENRE,  N°  72. 

[Lante  del.] 

Engraving  (coloured  impression).  An  officer  (r.)  walks  arm-in-arm  with  an 
elaborately  dressed  lady.  He  wears  a  very  small  cocked  hat  and  walks  with 
a  cane;  his  uniform  is  almost  completely  covered  by  a  long  frogged  and 
braided  overcoat  worn  with  a  tasselled  sash  and  resembling  a  dressing-gown. 
The  lady  wears  no  hat,  a  transparent  veil  hangs  from  her  head ;  her  dress  has 
sleeves  with  seven  puffs  from  shoulders  to  wrist,  small  ruff,  and  guimpe,  tight 
bodice,  and  full  skirt,  showing  ankle-boots  of  (?)  silk.  Three  more  plainly 
dressed  ladies  talk  together  (1.),  wearing  small  hat  or  bonnet,  with  bodice 
tight  to  the  waist,  with  gaugings  or  slashings,  the  bust  much  defined  and 
forming  an  angular  contour.  The  skirts  project  below  the  hips,  and  then 
narrow  towards  the  feet.   One  lady  wears  spats  (as  in  No.  12387). 

The  officer  and  lady  (reversed)  appear  in  the  composite  print  of  the  Palais 
Royale,  see  No.  12367,  &c. 
6|X9|in. 

*  Dated  in  pen. 

472 


PERSONAL   AND   SOCIAL   SATIRES    1814 

12384  COSTUMES  ANGLAIS   &  FRANQAIS.    |   LE  BON   GENRE, 

N°74. 

[PLantedel.] 

Engraving  (coloured  impression).  Two  French  ladies  (r.)  arm-in-arm,  and 
in  back  view  directed  to  the  1.,  advance  towards  three  English  ladies,  whose 
dresses  resemble  in  general  character  those  in  No.  12383,  having  long-waisted 
close-fitting  bodices,  with  skirts  narrowing  at  the  bottom.  One  wears  a  low 
bodice  laced  across  the  front  over  a  chemisette.  The  French  ladies  wear 
much-trimmed  high  hats  in  marked  contrast  with  those  of  the  English  women. 
Their  white  dresses  are  high-waisted,  with  full  skirts  to  the  ankle,  and  are 
elaborately  trimmed  with  pinked,  scalloped,  or  embroidered  frills  or  ruchings 
round  neck  or  shoulders,  and  at  the  bottom  of  the  skirts.  Both  in  detail  and 
in  silhouette  the  dresses  are  in  contrast.  In  the  background  (r.)  a  stout 
Englishman  wearing  an  ill-fitting  coat  with  narrow  tails  reaching  to  the 
ground  and  very  deep  tops  to  his  boots  walks  with  a  Frenchman  in  a  short 
full-skirted  coat,  well-fitting  breeches,  and  top-boots  of  more  normal  cut. 
Both  wear  flower-pot  hats. 

Reproduced,  Laver,  Taste  and  Fashion,  1945,  p.  38. 
7-^X  10  in. 

12384  a  ENGLISH  &  FRENCH  TASTE  OR  A  PEEP  INTO  PARIS. 
Pu¥  by  S.  W.  Fores  50  Piccadilly  and  312  Oxford  S'  London  April  14 1818 
An  inferior  copy  (coloured)  by  (.')  W.  Heath. 

71X1  if  in. 

12385  COSTUMES  ANGLAIS.  ]  LE  BON  GENRE,  N°  75.  [1814]' 
Engraving  (coloured  impression).  Two  ladies,  each  with  a  tall  Englishman, 
stand  in  conversation.  The  dresses  are  laced  across  from  neck  to  waist  in 
a  diagonal  pattern,  and  are  partly  covered  by  cloaks  of  burnous  type,  with 
tasselled  corners.  One  wears  a  small  plain  bonnet,  the  other  a  simple  hat  or 
cap.  The  men  wear  almost  cylindrical  hats;  one  has  a  long  braided  overcoat 
to  the  ankles,  with  a  single  cape;  the  other  a  coat  with  narrow  tails  reaching 
below  the  calves ;  his  tight  pantaloons  end  in  little  bell-shaped  flaps  resembling 
boot-tops,  which  extend  over  his  boots.  On  the  1.  a  neatly  and  plainly  dressed 
lady  (?  a  governess)  holds  the  hand  of  a  little  girl.  She  wears  a  long  fur  boa; 
the  child  wears  a  fur-bordered  coat  over  a  plain  white  frock  and  drawers. 
7^X9!  in. 

12386  COSTUMES  FRANgAIS  ET  UNIFORMES  ANGLAIS.   \  LE 
BON  GENRE,  N°  82. 

[Lante  del.] 

Engraving  (coloured  impression).  Two  French  ladies,  arm-in-arm,  walk  (1.  to 
r.)  with  a  French  officer,  who  points  towards  three  British  officers  standing 
in  conversation  (r.).  Their  white  dresses  and  coquettish  hats  resemble  those 
of  No.  12384.  The  officer  wears  a  high  shako,  braided  jacket,  and  trousers 
with  a  sabre.  One  Englishman  has  a  Life  Guard  he'met  with  long  horse's 
tail,  aiguillettes,  and  coat  with  short  tails  projecting  at  the  hips.  Another 
wears  a  hussar's  fur  busby  with  heavily  braided  jacket ;  the  third  wears  an  open 
tunic  with  long  facings,  belt,  and  short  tails  at  the  back  only;  with  a  round 
flat-topped  cap  with  peak  and  pompon.  All  wear  tight  trousers;  the  two  latter 
wear  sabres.  The  French  trio  are  copied  by  Grego  in  a  composite  pi.,  see 
No.  12382. 
6i|X9iin. 

■  Date  in  pen. 

473 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12387  COSTUMES  ANGLAIS.  |  LE  BON  GENRE  N°  83. 

[Lante  del.] 

Engraving  (coloured  impression).  On  the  1.  a  lady  holding  a  little  girl  by  the 
hand  talks  to  an  officer  who  wears  a  shako,  short  coat  with  frogged  facings 
open  over  a  waistcoat  and  sash,  long  tight  pantaloons,  Hessian  boots,  and 
sword.  The  lady  wears  a  white  bodice  with  a  plain  skirt,  well  above  the  ankle, 
of  check  material,  in  the  English  manner,  but  her  broad-brimmed  hat  with 
feathers  and  ribbon  shows  signs  of  French  influence.  She  wears  spats  of  the 
same  material  as  her  skirt.  The  child  is  very  plainly  dressed  in  a  simple  frock 
and  broad-brimmed  straw  hat.  On  the  r.  a  lady  arm-in-arm  with  an  officer 
talks  to  a  man  wearing  a  round  flat  fur  cap,  braided  and  tight-fitting  overcoat 
to  the  ankles,  over  spurred  jack-boots.  Her  white  dress  with  triple  neck-frill 
of  embroidered  muslin  shows  an  approach  towards  French  fashions.  She 
wears  a  fur-bordered  cap  with  tasselled  bag  of  hussar  type.  Her  companion 
has  a  moustache  and  whiskers,  and  wears  a  plumed  helmet,  short  single- 
breasted  tunic  with  sash  under  the  coat,  and  sword-belt  over  it,  with  trousers. 
6|  X  9  in. 

12388  PURSUITS  OF  LITERATURE,  N°  3.  |  LAW  OF  LIBEL. 

Plate  4'* 
G.  Cruikshank  fec'^ 
Pu¥  for  the  Meteor  N"  3  [i  Jan.  1814] 

Engraving  (coloured  and  uncoloured  impressions).  PI.  from  the  Meteor, 
No.  3.  The  poet  of  No.  12139,  &c.,  sits  dejectedly  in  a  bare  prison  cell  with 
a  barred  window.  Beside  him  is  a  small  round  table  with  writing  materials 
and  a  book.  There  is  an  empty  fireplace  (1.).  On  the  wall  is  a  bill:  The 
Strictures  of  Veritas  on  the  Conduct  of . 

Though  arrested  for  debt,  see  No.  12140,  he  is  imprisoned  for  libel,  cf. 
No.  12037,  &c. 

Reid,  No.  273.    Cohn,  No.  553. 
3|x6f  in. 

12389  PURSUITS  OF  LITERATURE,  N°  4  |  THE  POET'S  GRAVE. 

Plate  4^  N"  4 
G.  Cniikshank  fec^ 
Pub  for  the  Meteor  [i  Feb.  18 14] 

Engraving.  PI.  from  the  Meteor,  No.  4.  A  large  rectangular  monument  (r.) 
surmounted  by  an  urn  is  the  most  conspicuous  object  in  a  country  church- 
yard. A  grave-digger,  one  foot  on  his  spade,  points  it  out  to  a  fashionably 
dressed  young  man  seated  on  a  tomb  (1.)  who  gazes  at  it  reflectively.  Behind 
(1.)  is  a  corner  of  the  church.  The  monument  is  inscribed:  Sacred  \  to  the 
Memory  \  of  \  Horace  j  Laurelless  \  Etat  jj  \  Alass  Poor  |  Horace.  See  No. 
12139,  &c. 

Reid,  No.  274.    Cohn,  No.  553. 
4X6|  in. 

12390  JOURNEY  TO  BRIGHTON  PLATE  1ST  |  TIM  &  THE  OWL 

G.  Cndkshank  fec^  [i  Mar.  18 14] 

Engraving.  PI.  from  the  Meteor,  No.  5.  A  man  in  riding-dress,  much  carica- 
tured, stands  under  a  tree  by  the  roadside,  delightedly  holding  an  owl.    A 

474 


PERSONAL   AND   SOCIAL   SATIRES    1814 

bottle  projects  from  his  pocket.  Behind  (r.)  is  a  road,  where  his  dejected 
saddle-horse  stands  waiting.  A  sign-post  points  (r.)  To  Brighton.  After  the 
title: 

For  pleased  with  his  prize — it  is  absolute  true — 
He  whistled  &  said  Polly,  how  do  you  do}    I  61. 

Reid,  No.  303.    Cohn,  No.  553. 
4ife  X  61  in. 

12391  JOURNEY  TO  BRIGHTON  PLATE  2°  |  TIM  &  THE  GIPSY 

G.  Cruikshank  feci  [i  Mar.  18 14] 

Engraving.  PL  from  the  Meteor,  No.  5.  Tim,  see  No.  12390,  loses  his  stirrups 
in  astonishment  at  the  sight  of  an  old  woman  asleep  by  the  roadside.  The 
horse  has  stopped  suddenly,  putting  back  its  ears.   After  the  title: 

Upbraiding  his  folly  for  getting  so  tipsy 

He  suddenly  spy'd  i?i  the  hedge  an  old  Gipsey 

The  last  of  the  series,  Tim  Trudge  on  the  Steyne  [i  Apr.  18 14],  a  view  of 
the  Steyne,  Brighton,  with  Sir  William  Curtis  and  others  (Reid,  No.  305), 
is  not  in  the  B.M. 

Reid,  No.  304.    Cohn,  No.  553. 
4x6^  in. 

12392  GAME  OF  CHESS 

Design' d  by  an  Amateur  [Marryat]  Etch^  by  G.  Cruikshank — 

Pub"^  March  6"'  1814  by  H.  Humphrey  5'  James's  Street 

Engraving.  Two  elderly  men,  in  old-fashioned  dress,  play  chess,  seated  at 
a  small  table,  lit  by  two  guttering  candles.  One  moves,  the  other  watches  with 
intense  concern.  Each  has  a  deeply  interested  spectator  leaning  on  the  back 
of  his  chair.  All  four  are  caricatured.  A  small  dog  lies  on  the  ground.  A  large 
fire  burns  in  the  grate  (r.).  Over  the  chimney-piece  is  the  lower  part  of  a 
W.L.  portrait.  On  the  wall  behind  the  players  are  three  pictures:  one  of 
a  man  playing  ninepins  outside  a  rustic  inn,  with  a  donkey  looking  over  a 
paling,  is  flanked  by  a  picture  of  a  horse  and  by  a  landscape. 

See  No.  13433,  an  altered  version. 

A  water-colour  ( }  by  Marryat)  of  the  four  players  (in  reverse)  at  a  small  ill- 
drawn  table  lit  by  one  candle,  with  the  dog,  but  a  plain  background  without 
fireplace  and  walls.  There  are  many  differences  in  costume  and  detail. 
(81X9:1  in.;  59.  b.  2.) 

Reid,  No.  297.    Cohn,  No.  1147.    Reprinted,  Cruikshankiana,  1835. 
8^Xi2|^in.    With  border,  9|x  13I  in. 

12393  THE  COUNTRYMAN  IN  LONDON— 
G.  Cruiksh[ank] 

[Pub.  Harrild,  ?  1814.] 

Engraving  (on  pink  paper).  A  fop  (1.),  wearing  top-hat,  Hessian  boots,  and 
embroidered  pantaloons,  with  an  eyeglass  on  a  ribbon,  and  holding  a  small 
cane,  addresses  a  rustic  wearing  gaiters,  who  asks,  scratching  his  head.  Pray 
Ziir  which  be  my  way  to  S'  Pauls}  He  answers:  O!  why  let  me  see,  you  must 
go  strait  down  Crooked  Lane  along  White  Chapel  round  the  Monumefit  through 
East  Cheap  .  .  .  [etc.  etc.]  then  go  up  Piccadilly  &  as  it  will  be  quite  dark  why 
ask  you'r  zvay  to  S^  Giles's  &  when  you  get  there  any  body  will  shezv  you  the 
way  to  5'  Pauls. 

475 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

A  companion  pi.  to  The  Londoner  in  the  Country  (not  in  B.M.),  both  plates 
in  the  first  state  being  printed  side  by  side.  In  this  the  fop,  on  a  sporting 
tour,  asks  the  way  to  Squire  Dunghill's.  The  countryman,  by  his  answer, 
takes  his  revenge. 

Reid,  No.  432.    Cohn,  No.  1025. 
6fX4ii-in. 

12394  THREE  WEEKS  AFTER  MARRIAGE;  OR  THE  COMFORTS 
OF  MATRIMONY. 

[G.  Cruikshank.]  [?  1814] 

[Batchelar,  Printer,  115  Long  Alley,  Moorfields.] 

Woodcut.  In  a  squalid  and  poverty-stricken  room,  a  termagant  has  knocked 
down  her  husband,  a  man  whose  dress  has  pretensions  to  fashion.  He  lies 
on  his  back,  his  head  against  the  fireplace  (r.),  with  blood  streaming  from  the 
nose.  A  bed,  clothes  hanging  on  a  line,  and  a  table  on  which  are  a  bottle  and 
( ?)  pawn-tickets  are  the  only  furniture.  A  crude  print,  probably  sold  at  a 
halfpenny. 

Autographed  by  G.  C. :  'A  bad  wood  cut  from  a  Bad  drawing  by  Geo« 
Cruikshank  1862.' 

Reid,  No.  2796.    Cohn,  No.  2032. 
51x81  in. 

12395  THE  CAT'S  ESCAPE  WITH  THE  FAVOURITE  MAID. 

[G.  Cruikshank.] 

Published  by  John  Chappell,  Successor  to  R.  Harrild,  41,  Haydn  Square, 
Minories.  [?  18 14] 

Woodcut.  Another  illustration  of  Liston's  song,  see  No.  11840.  The  cat  has 
sprung  on  to  a  high  window-siU,  holding  the  fish.  The  grotesque  cook  stands 
by  the  fire  registering  anger.  Liston  makes  violent  gestures  towards  the  cat, 
kicking  over  a  table  on  which  plates  are  piled.  A  dog  barks  furiously  at  the  cat. 

Autographed  (in  1863):  'Drawn  on  wood  by  George  Cruikshank.' 

Reid,  No.  2797.    Cohn,  No.  978. 
3^X4!  in.   With  border,  4X  6|  in. 

12396  THREE  ROOMS  ON  A  FLOOR  OR  CLERICAL  COMFORT 

AT  AN  INN. 

Woodward  deV  [Williams  f.] 

London  Pub"^  March  f^  1814  by  W"  Holland  N°  11  Cockspur  Street. 

Engraving  (coloured  impression).  Three  designs  side  by  side,  representing 
sections  of  three  adjacent  rooms.  In  the  middle  a  parson  with  a  carbuncled 
nose  lies  full-face,  with  closed  eyes  and  clasped  hands.  His  clerical  hat,  wig, 
and  coat  hang  from  a  peg.  On  the  floor  are  his  clumsy  shoes  and  a  port- 
manteau labelled  D''  Drowsey  Brazen  Nose  Oxford.  He  says :  Bless  me! — how 
the  Gentlemen  in  the  next  rooms  do  swear,  a  pretty  place  this  for  a  man  of  my 
cloth!! —  On  the  1.  a  man  sits  up  in  bed,  a  bowl  of  Grog  beside  him  on  his 
sea-chest,  which  is  labelled:  Lieutenant  Bowling  of  the  Tremendous  Frigate. 
With  raised  arm  and  clenched  fist  he  declaims :  O  that  glorious  engagement. — 
D — nation,  if  ever  I  can  sleep  for  thinking  of  it.  His  sabre  and  buckled  shoes 
are  beside  the  low  bed.  On  the  r.  a  burly  whiskered  fellow  sits  up  in  bed 
yelling:  Hollo  Chambermaid — you  have  forgot  my  nightcap — By  the  holy 
S^  Patrick  if  you  dont  bring  it  directly  may  perdition  sieze  me  if  I  dont  fire  the 

476 


PERSONAL  AND  SOCIAL  SATIRES  1814 

House.    Beside  him  are  a  chest  inscribed  Capt  O'Callagan  Irish  Brigade, 

plumed  cocked  hat,  sword,  boots,  and  pistol. 

Each  design,  8f  Xc  5^  in.  'Caricatures',  viii.  163. 

12397  [LADY  SEATED  BY  THE  FIRE] 
C  W  [Williams.] 

London  Pu¥  April,  1814  by  W,  Holland  N°  11  Cockspiir  Street. 

Engraving  (coloured  impression).  Title  cropped.  A  handsome  young  woman 
sits  on  a  settee  drawn  close  to  the  fire,  pulling  up  her  petticoats,  with  one  toe 
on  the  fender.  She  looks  alluringly  at  the  spectator.  She  wears  a  small  hat 
trimmed  with  a  feather,  a  short  braided  hussar  jacket,  a  limp  skirt  draping 
her  knees,  elegant  slippers,  and  clocked  stockings,  with  a  long  boa  and  large 
muff  of  white  fur;  gloves  and  reticule  are  beside  her.  On  the  chimney-piece 
is  a  letter:  To  [?  Miss  Bz\relegs  Dublin.  Cf.  No.  9812. 
iif  x8|  in. 

12398  LODGINGS  TO  LET. 
C  W.    [Williams.] 

London  Pub'^  NovemT  21''  1814  by  W.  Holland,  11  Cockspiir  S' 

Engraving  (coloured  impression).  A  fashionably  dressed  man  stands  in  a  well- 
furnished  sitting-room,  attempting  to  chuck  under  the  chin  a  pretty  and 
elegant  young  woman  who  (unresentfuUy)  pushes  him  away.  He  wears  a  top- 
hat,  Hessian  boots,  and  carries  a  large  rough  walking-stick.  He  says:  My 
sweet  honey,  I  hope  you  are  to  be  let  with  the  Lodgins!  She  answers:  No,  Sir^ 
I  am  to  be  let  alone. 

Cf.  No.  9322,  a  'Droir  with  the  same  theme  and  title. 
n|x8|  in.  'Caricatures',  viii.  191 

12399  QUARTER  DAY,  OR  CLEARING  THE  PREMISSES  WITH- 
OUT CONSULTING  YOUR  LANDLORD.  318 

Rowlandson  1814 
Pu¥  Jatiy  30'^  1814    [Tegg.] 

Engraving  (coloured  impression).  Household  goods  are  being  piled  into  an 
open  cart,  which  stands  beside  a  corner  house,  the  door  being  partly  visible 
on  the  extreme  r.  The  cart  is  already  stacked  high  with  mattresses,  tables,  &c. 
A  burly  muscular  man  stands  inside  it,  taking  things  from  a  fat  and  slatternly 
but  comely  woman  (r.).  She  hands  up  a  child's  commode  and  is  laden  with 
bellows,  warming-pan,  chamber-pots,  gridiron,  &c,  A  pretty  girl  (1.)  brings 
a  trap  containing  a  mouse  and  a  cage  containing  a  bird.  A  pretty  young 
woman  is  in  the  doorway.  In  the  foreground  two  burly  children  play  with 
a  monstrous  cat,  surrounded  by  goods  ready  for  transport.  These  are  cooking 
utensils,  mop  and  pail,  flat-irons,  &c. 

Grego,  Rowlandson,  ii.  274. 
12^X9  in. 

12400  BATCHELORS  FARE,  BREAD  CHEESE  AND  KISSES,  309 
Rowlandson  Del.  181  j 

Pub'^  Feby  10^''  1814^  by  Tho'  Tegg  N"  iii  Cheapside 

Engraving  (coloured  impression).    A  room  in  a  country  inn,  opening  off  the 

kitchen,  a  corner  of  which  appears  through  the  doorway  (r.).   A  man  sits  in  a 

"  'Feb>"  and  the  last  figure  of  the  date  have  been  added  in  a  different  script,  spaces 
having  been  left  by  Rowlandson. 

477 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

high-backed  old-fashioned  chair,  clasping  a  pretty  girl  who  stands  in  front 
of  him ;  she  kisses  him,  holding  his  face  between  her  hands.  He  is  lean  and 
ugly,  with  a  grotesquely  long  chin,  and  grins  broadly  up  at  her.  Behind  him 
(1.)  is  a  round  cloth-covered  table  on  which  are  a  cheese  and  loaf;  a  dog  puts 
its  paws  on  the  table.  A  cat  drinks  from  a  pitcher  on  the  ground.  The  man's 
hat  and  stick  are  on  the  floor;  he  wears  top-boots.  On  the  wall  are  a  gun, 
a  bunch  of  birds,  a  game-bag  and  flask,  a  shelf  with  jars,  bottles,  and  a  basket, 
and  two  prints:  View  on  the  Lake  (landscape)  and  Batcholer's  Fare  Bread 
Cheese  and  Kisses,  another  rendering  of  this  popular  subject,  in  which  the 
couple  sit  side  by  side  on  a  sofa.  A  child  peeps  round  the  door,  and  in  the 
room  beyond,  an  elderly  man  smokes  by  the  fireplace,  before  which  stands 
a  pretty  girl. 

For  this  subject  see  a  charming  mezzotint  after  a  painting  by  CoUett, 
No.  4553  (1777),  reproduced  A.  L.  Simon,  Bottlescrew  Days,  1926,  p.  20. 
A  line-engraving  (1781)  of  the  same  picture  is  reproduced  C.  N.  Robinson, 
The  British  Tar  in  Fact  and  Fiction,  p.  280.  The  print  on  the  wall  is  another 
version,  apparently  copied  from  No.  11836.  Rowlandson  travesties  the  usual 
rendering  of  the  subject.   Cf.  No.  12784. 

Grego,  Rowlandson,  ii.  253  f.  (reproduction). 
i2X8|in. 

12401  KICKING  UP  A  BREEZE.  OR  BARROW  WOMEN  BASTING 
A  BEADLE.  jjo' 

Rowlandson  Del  1814 

Pub.  Feb  10^^  1814  by  T.  Tegg,  iii,  Cheapside 

Engraving  (coloured  impression).  A  confused  scene.  A  beadle,  cane  in  hand, 
grasps  the  side  of  an  overturned  barrow,  from  which  a  basket,  scales,  and 
black  puddings  (coloured  green)  have  fallen.  A  powerful  young  woman 
grasps  his  nose,  and  prepares  to  use  her  fist;  an  older  woman  clutches  his 
back  and  belabours  him  with  a  basket.  Both  are  shrieking  termagants  with 
bare  breasts.  A  dog  between  the  beadle's  legs  barks.  The  spectators,  all  close 
to  the  fray,  are  amused :  a  butcher,  shouldering  a  tray  of  meat,  stands  outside 
his  stall  (1.),  which  is  immediately  behind  the  combatants ;  from  it  dangle  large 
joints  and  a  carcase.  A  woman  passes,  pushing  a  barrow  (1.).  A  man's  grin- 
ning face  watches  from  the  r.  Behind  (r.)  is  a  shop  placarded  Bob  Giblet 
Poidterer,  its  ancient  front  hidden  by  bunches  of  hares  and  turkeys. 

Grego,  Rowlandson,  ii.  274,  276. 
I2^x8|in. 

12402  PROGRESS  OF  GALLANTRY,  OR  STOLEN  KISSES  SWEET- 
EST. 313 

Rowlandson  Del 

Pub"^  Feby  14  1814  by  The'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  Scene  on  a  fortified  sea-front,  with  large 
cannon  on  gun-carriages  pointing  out  to  sea.  An  elderly  sailor  (r.)  wearing 
trousers,  and  painfully  obese,  gazes  through  a  telescope.  A  pretty  young 
woman  standing  beside  him,  turns  to  kiss  a  handsome  young  military  officer 
(1.);  she  holds  up  a  wind-swept  parasol.  Farther  ofl^,  an  elderly  gaitered 
parson,  Syntax  type,  with  his  hat  tied  on,  stands  shivering  in  the  wind.  A 
sentry  stands  on  the  extreme  1.,  with  his  back  to  the  sea.  A  pretty  girl  sits 
at  the  edge  of  the  sea-wall,  looking  down  at  a  sailor ;  their  fingers  are  interlaced. 

'  283  on  A.  de  R.  xiv.  119. 

478 


PERSONAL   AND   SOCIAL   SATIRES    1814 

In  the  foreground  (1.)  is  a  pyramid  of  cannon-balls.  There  are  ships  on  the 
horizon  (r.). 

Grego,  Rowlandson,  ii.  275-6  (outline  copy). 
ii|x8i|in. 

12403  A  TAILORS  WEDDING.  315^ 
Rowlandson  Del  1814 

Pu¥  Feb^'y  20.  1814  by  Tho'  Tegg  iV"  iii  Cheapside 

Engraving  (coloured  impression).  In  a  bare  room  with  a  raftered  roof  couples 
are  energetically  dancing,  holding  hands  behind  their  backs,  or  above  their 
heads.  The  women,  with  one  exception,  are  young  and  handsome,  the  men 
ugly  and  plebeian.  A  seated  fiddler  plays  with  closed  eyes  (r.).  Through  a 
doorway  partly  covered  with  curtains  the  bride  and  bridegroom  are  seen 
embracing.   On  the  wall  is  a  placard : 

They  dance  in  a  round 

Cutting  capers  and  ramping 
A  mercy  the  ground 

Did  not  burst  with  their  stamping 
The  floor  is  all  icett 

With  leaps  and  with  jumps 
While  the  water  and  sweat 

Splish  splash  in  their  pumps. 

Grego,  Rowlandson,  ii.  276  (reproduction). 
i2ifeX9i  in. 

12404  CRIMPING  A  QUAKER.  5/7* 

Rmolandson  1814 

Pub"^  March  i''  1814  by  The'  Tegg  N"  ill  Cheapside 

Engraving  (coloured  impression).  A  handsome  strapping  woman  stands  in 
the  doorway  of  a  brothel,  a  corner  house  of  some  size  (r.),  tugging  hard  at 
the  neck-cloth  of  a  plainly  dressed  man,  saying,  Wont  you  come,  wo7it  you  come 
ikf  Mug  [a  popular  song,  see  No.  11205].  He  leans  back,  pushing  against  the 
door-post,  and  the  woman's  chest,  trying  to  escape,  and  saying:  Avaunt  thee 
Satati.  Two  laughing  prostitutes  lean  against  him  (1.),  pushing  their  posteriors 
against  his,  to  prevent  his  escape ;  one  of  them,  for  better  purchase,  presses 
her  hands  and  a  foot  against  the  post  of  the  sign-board  before  the  door.  On 
this  is  a  pictorial  sign :  Cat  and  Bagpipes.  A  dog  rushes  barking  towards  the 
struggle.  Behind  (1.),  across  the  street,  is  a  row  of  old  houses  with  casement 
windows;  washing  hangs  from  a  projecting  pole. 
Grego,  Rowlandson,  ii.  276,  277  (outline  copy). 
HwXSfin. 

12405  MACASSAR  OIL,  AN  OILY  PUFF  FOR  SOFT  HEADS.  jj6 
Rowlandson  Del 

Pub^  May  15^''  1814  by  The'  Tegg  N°  III  Cheapside 

Engraving  (coloured  impression).  An  obese,  elderly  man,  completely  bald, 
sits  in  an  arm-chair  while  a  shopman  pours  oil  from  a  bottle  (straw-covered 
like  a  Chianti  flask)  on  to  his  scalp,  pressing  down  his  head  with  the  1.  hand. 
At  his  feet  is  a  basin  to  receive  the  overflow.  On  the  ground  is  a  tall  Fools  Cap, 

'   26g  on  A.  de  R.  xiv.  iii. 
*  261  on  A.  de  R.  xiv.  104. 

479 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

with  ears.  Behind  them  stands  a  woman  with  a  shock  of  red  hair  standing 
on  end ;  she  looks  in  horror  at  its  reflection  in  a  wall-mirror  (r.).  On  the  wall 
above  her  head  is  a  placard :  Wonderful  Discovery  Carrotty  or  Grey  Whiskers 
Changed  to  Black  Brown  or  Blue —  High  on  the  wall  are  shelves  where  bottles 
of  the  oil  are  closely  ranged,  one  inscribed  Wig  Oil  One  Guinea  P^  Bottle. 
Behind  the  shopman  (1.)  stands  a  big  Ali  Baba  jar.  Across  the  wall  is  a  large 
placard  inscribed :  Macassar  Oil,  for  the  Growth  of  Hair  is  the  finest  invention 
ever  known  for  encreasing  hair  on  bald  Places,  Its  virtues  are  pre-eminent  for 
improving  and  beautifying  the  Hair  of  Ladies  and  Gentlemen — This  invaluable 
Oil  recommended  on  the  basis  of  truth  and  experience  is  sold  at  One  Guinea 
P^  Bottle  by  all  the  Perfumers  and  Medicine  Venders  in  the  Kingdom. 

This  oil,  also  called  Rowland's  oil,  was  introduced  in  the  early  nineteenth 
century,  and  was  much  puffed  by  Alexander  Rowland,  who  published  an 
Essay  on  .  .  .  the  Hu7nan  Hair  with  Remarks  on  the  Virtues  of  the  Macassar  Oil, 
1809.  Cf.  No.  13440.  Rowland  (or  Rouland)  came  to  London  with  the 
Bourbons  and  followed  them  back  in  18 14.  He  made  a  large  fortune;  his 
shop  was  next  the  Thatched-House  Tavern  in  St.  James's  Street,  Gronau, 
Reminiscences,  1892,  i.  274. 

Grego,  Rowlandson,  ii.  284. 
i2fX9^  in. 

12406  RURAL  SPORTS.  OR  A  PLEASANT  WAY  OF  MAKING  HAY. 

Rowlandson  Del 

Published  June  20^''  1814   [Tegg.] 

Engraving  (coloured  impression),  A  hayfield,  with  small  haycocks  in  the 
background ;  girls  with  pitchforks  stand  by  a  large  laden  wagon.  In  the  fore- 
ground two  men  and  two  girls  romp  on  the  ground,  while  two  other  girls 
prepare  to  smother  them  in  hay.   Cf.  No.  11785,  &c. 

Also  an  impression  without  imprint,  and  with  the  serial  number  16. 

Grego,  Rowlandson,  ii.  284.    Reproduced  (colour),  E.  Fuchs,  Die  Fran  in 
der  Karikatur,  p,  212. 
ii||X9  in. 

12407  THE  FOUR  SEASONS  OF  LOVE. 

Rowlandson  Del 

Pub'^  Sepr  15^''  1814  by  Tho'  Tegg  N°  iii  Cheapside. 

Engraving  (coloured  impression).  A  sequence  of  four  designs  divided  by 
intersecting  lines. 

Spring.  An  ugly  tailor  kneels  with  clasped  hands  at  the  feet  of  a  plain 
woman,  who  holds  up  a  fan  encouragingly,  A  card  of  patterns  hangs  from 
his  pocket.  He  says:  Oh  you  bewitching  A?tgel  behold  at  your  feet  a  Swain  as 
tender  as  a  Veal  Cutlet,  You  are  the  very  Broad  Cloth  of  perfection — have  pity 
on  me  Adorable  M"  Griskin.  She  answers :  You  enchanting  Devil  I  do  not  know 
what  to  say  to  you.  however  M*"  Thimble — that  Mole  between  your  eye-brows — 
put  me  so  much  in  mind  of  my  poor  departed  Husband,  that  I  think  I  cant 
refuse  you. 

Summer.  The  pair  walk  arm-in-arm  in  a  landscape.  He  has  become  plump 
and  wears  trousers  in  place  of  the  breeches  worn  in  the  other  three  designs. 
She  flourishes  a  parasol.  A  dog  follows.  He  says:  O  thou  wert  born  to  please 
me  My  Life  my  only  Dear.  She  answers :  Ay  now  you  look  a  little  stylish  You 
are  a — Charmino  Man   who  woidd  not  be  married. 

Autumn.  They  face  each  other  defiantly,  she  holds  a  letter  beginning  Dear 

480 


PERSONAL  AND   SOCIAL   SATIRES    1814 

M^  Thimble,  and  shrieks:  Here  you  feller  here's  a  pretty  commence.  An 
interspected  letter  from  one  of  your  Naughty  Women  I  knew  you  was  gohig  to 
Gallivant.  He  answers:  Well  Ma'am,  since  you  come  for  to  go  to  that,  who  was 
it  Galivanted  with  M^  Dip  the  Dyer  to  White  conduit  House  last  Sunday  answer 
me  that  however  I'll  have  a  separation. 

Winter.  The  pair  are  seated  each  side  of  a  writing-table  at  which  a  lawyer 
sits  reading  a  paper:  Articles  of  Seperation  between  Jeremiah  a?id  Tabitha 
Thimble.  Her  hands  are  in  a  muff;  she  says  with  a  painful  smile:  /  never  felt 
myself  so  Comfortable  in  all  my  Life.  He  has  grown  thin  and  sits  with  clasped 
hands,  saying,  O  Blessed  day  for  Jerry  Thimble  I  hope  to  pass  the  next  Year  in 
Peace  and  quietness. 

Grego,  Rowlandson,  ii.  286. 
8|x  i2|  in. 

12408  PORTSMOUTH  POINT.  jjpi 
Rowlandson  Del  1814 

[Pub.  Tegg.] 

Engraving  (coloured  impression).  A  wide  space  leads  to  the  harbour.  On  one 
side  (1.)  is  the  corner  of  a  large  old  clothes  shop:  Moses  Levy  Mofiey  Lent, 
with  garments,  &c.,  hanging  from  it.  Opposite  is  the  old-fashioned  Ship 
Tavern.  Off  shore  are  ships  in  full  sail,  boats  are  making  towards  them.  In 
the  foreground  is  a  bustle  of  departure:  baggage  is  being  carried,  casks  are 
rolled,  sailors  and  their  women  embrace  or  fight;  a  one-legged  sailor  plays 
a  fiddle,  a  child  plays  with  dogs.  At  the  door  of  the  Ship  an  officer  takes  leave 
of  his  family;  from  the  bow- window  above  spectators  lean  out,  an  officer 
using  a  telescope. 

Grego,  Rowlandson,  ii.  284-6  (outline  copy). 
9X  13  in. 

12409  MADAME  VERY  RESTAURATEUR,  PALAIS  ROYAL  PARIS. 

348 
Rowlandson  Scul.  J  N.  [Nixon]  1814^ 

[Pub.  Tegg.] 

Engraving  (coloured  impression).  A  plump,  comely  woman  sits  full-face 
behind  a  table  whose  surface  forms  the  base  of  the  design.  Her  dress  is  cut 
low,  and  her  hair  piled  in  a  pyramid;  her  back  is  reflected  in  a  large  wall- 
mirror.  On  the  table  are  trays  filled  with  cards,  dishes  of  fruit,  a  reading  lamp, 
and  a  plant  in  a  pot.  A  thin  elderly  woman,  similarly  dressed,  stands  looking 
at  her  in  profile  to  the  r.   On  the  same  pi.  as  No.  12410,  a  companion  print. 

Very  heads  the  list  of  the  most  renowned  restaurateurs  in  Paris,  in  a  guide- 
book, Le  Nouveau  Conducteur,  of  18 18,  the  address  being  Palais-Royal,  and 
rue  de  Rivoli,  No.  9.    See  Nos.  12366,  12367,  12368. 

Grego,  Rowlandson,  ii.  272. 
5^X9  in. 

12410  LA  BELLE  LIMINAUDIERE  [sic]  AU  CAFFEE  DE  MILLE 
COLLONE.  Palais  Royale  Paris 

J  N  [Nixon]  1814   [Rowlandson  f.] 

See  No.  12409.  A  fashionably  dressed  woman  sits  in  profile  to  the  1.,  at  an 
ornate  table  raised  above  the  floor  of  the  cafe,  studying  a  pamphlet  or  menu 

'  According  to  Grego,  255. 

^  Dated  January  by  Grego,  but  Nixon  can  hardly  have  visited  Paris  till  later. 

481  li 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

on  which  is  the  word  Paris.  Her  arm-chair  is  decorated  with  ornaments,  the 
arm  terminating  in  a  ram's  head.  Customers  and  waiters  (I.)  are  on  a  smaller 
scale.  Columns  with  ornate  capitals  support  the  roof,  and  the  wall  is  decorated 
with  large  paintings  of  nude  and  heroic  figures. 

The  Cafe  des  Mille  Colonnes  was  renowned  for  its  gilt  columns  and 
mirrors,  and  for  the  elegance  of  its  presiding  lady,  Mme  Romain,  whose 
raised  seat  had  belonged  to  the  Viceroy  of  Italy.  Its  'fat  princess'  is  described 
in  Rowlandson's  Dance  of  Life,  1817.  See  also  'Les  Mille  Colonnes',  verses 
from  Brummell's  Album.   L.  Melville,  Beau  Briimmell,  1924,  p.  308  f. 

Grego,  Rowlandson,  ii.  272. 
6x9  in. 

12411-12437 

Aquatints  (coloured)  to  The  English  Dance  of  Death  (vol.  i),  written  by 
Combe  for  Rowlandson's  designs  (72  plates).  It  appeared  in  monthly  parts, 
I  Apr.  18 14  to  I  Mar.  181 6,  and  in  two  volumes  in  1816,  with  frontispiece 
and  title-page  (see  Nos.  12857,  12858).  The  title,  repeated  in  the  index,  of 
each  pi.  is  the  heading  to  the  opposite  printed  page.  Below  each  pi.  is  a 
couplet  not  from  the  text.  Impressions  (cropped)  of  the  first  18  plates  are 
in  'Caricatures',  ix.  112-13,  x.  136,  145-7.   The  dimensions  are  c.  4|x8  in. 

Grego,  Rowlandson,  ii.  317-36.  B.M.L.  C.  59.  f.  7. 

12411  TIME  AND  DEATH:  [i.  i] 

London  Piib^  April  i  18 14  by  R.  Ackermann's  loi  Strand 
Death,  a  skeleton  with  javelin  and  hour-glass,  and  Time  with  his  scythe 
watch  two  (unconscious)  young  men  who  are  drawing  from  antique  busts, 
closely  ranged  on  shelves.    There  are  also  busts  on  the  ground,  and  on 
pedestals,  with  two  W.L.  antique  portrait  statues,  books,  and  cameos.  Below: 

Time  &  Death  their  Thoughts  impart 
On  Works  of  Learning  &  of  Art. 
Ddath  complains  to  Time  that  through  works  of  art  mortals  can  defeat  him: 
excavation  yields  'The  vase,  the  statue,  and  the  bust'. 

12412  THE  ANTIQUARY'S  LAST  WILL  &  TESTAMENT.'  [i.  15] 
Death  (1.)  poises  his  javelin,  about  to  strike  an  old  man  in  bed,  reading  a  book 
by  the  light  of  a  candle  held  in  his  1.  hand.  The  room  is  heaped  with  his 
treasures  (armour,  &c.).    Rats  scamper,  chased  by  a  cat.   Below: 

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

12413  THE  LAST  CHASE.'  [i.  23] 
Death,  on  a  skeleton  horse,  gallops  over  a  cliff,  gleefully  accompanying  a  hunts- 
man who  is  falling.  Two  men  on  the  summit  (r.)  desperately  rein  in  their  horses. 
Below  (1.)  hounds  kill  a  stag.  There  is  a  background  of  water  and  mountains. 

Such  fnortal  Sport  the  Chase  attends: 
At  Break- Neck  Hill,  the  Hunting  Ends. 

12414  THE  STATESMAN.  [i.  29] 
London  Pub.  May  J  .  .  .  [ut  supra] 

Death,  wearing  a  spiky  crown,  advances  from  behind  a  screen  towards  the 
terrified  statesman,  and  a  butler,  who  staggers  back.  A  secretary  writes,  dis- 
tributing money-bags  to  three  men  'To  purchase  Friends  and  quicken  spies'. 

Not  all  the  Statesman' s  power  or  art 

Can  turn  aside  Death's  certain  Dart. 
'  Imprint  as  No.  12410. 

482 


PERSONAL   AND   SOCIAL   SATIRES    1814 

12415  TOM  HIGGINS.i  [i.  37] 

Death  advances  to  strike  down  an  obese  man  asleep  in  an  arm-chair  outside 
a  rustic  inn,  under  an  arbour  of  grape-vines.  The  curate,  seated  by  him,  and 
a  woman  in  the  doorway,  bringing  a  bird  on  a  dish,  flinch  back ;  a  dog  barks 
fiercely.    Below : 

His  blood  is  stopped  in  evWy  vein. 

He  ne'er  will  eat  or  drink  again. 

12416  THE  SHIPWRECK.'  [i.  47] 

Death  sits  on  a  rock  at  the  edge  of  the  sea,  supporting  his  jaw  in  his  hands, 
elbows  on  knees,  staring  at  two  sailors  who  sit  or  lean  against  a  rock,  beside 
wreckage  from  their  ship,  whose  masts  emerge  from  the  water.  They  face 
Death  boldly,  ready  for  a  sailor's  death  to  end  their  misery.    Below: 

The  Dangers  of  the  Ocean  Oer, 

Death  Wrecks  the  Sailors  on  the  Shore. 

12417  THE  VIRAGO.  [i.  57] 

London  PuM  June  J  .  .  .  [ut  supra] 

A  street-scene.  Death  drags  a  shrieking  virago  from  her  husband's  door, 
where  he  stands,  candle  in  hand,  the  pretty  maidservant  standing  behind 
him  (r.),  both  pleased  at  the  departure.  A  watchman  holds  up  his  lantern  to 
stare  (1.).   Behind,  two  women  support  a  drunken  man.   Below: 

Her  tongue  &  temper  to  subdue: 
Ca?i  only  be  perforrnd  by  you. 

12418  THE  GLUTTON.^  [i.  68] 

Death,  javelin  in  hand,  sits  in  an  empty  chair  at  the  glutton's  dinner,  holding 
out  an  hour-glass,  one  foot  resting  on  a  dog.  The  ex-Lord  Mayor  stares  in 
horror,  chair  overturned.  His  wife  and  the  ser\ants,  including  a  fat  cook, 
register  dismay  or  alarm.   Below: 

What  do  these  savWy  meats  delight  you? 
Begone,  &  stay,  till  I  invite  you. 

12419  THE  RECRUIT.^  [i.  73] 

A  village  scene.  A  handsome  young  man  takes  leave  of  a  pretty  girl,  about 
to  follow  a  file  of  three  rustics  preceded  by  a  drummer,  unaware  that  Death, 
jaunty  in  feathered  hat  and  cloak,  puts  a  hand  on  his  shoulder.  Grief-stricken 
parents  with  a  girl  and  boy  watch  the  departure.   Below: 

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

12420  THE  MAIDEN  LADIES.  [i.  77] 

London  Pub.  July  i.  .  .  .  [ut  supra] 

Death  pushes  past  a  fat  protesting  footman  to  enter  a  room  where  ten 
grotesque  elderly  women  (old  maids)  are  playing  cards.  They  overturn  the 
card-table  in  wild  despair.  An  ape  advances  towards  the  skeleton,  who  wears 
a  feathered  hat  and  bows  jauntily,  holding  a  lantern.    Below: 

Be  not  alarm'd: — I'm  only  come 
To  choose  a  wife,  &  lead  her  hotm. 

'  Imprint  as  No.  12414. 
^  Imprint  as  No.  12417. 

483 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12421  THE  QUACK  DOCTOR.'  [i.  85] 

An  apothecary's  shop,  the  walls  covered  by  jars  closely  ranged  on  shelves, 
a  stuffed  fish  hanging  from  the  ceiling.  Behind  a  curtain  (r.)  Death,  wearing 
an  apron,  pounds  at  a  mortar  of  slow  Poison,  looking  gleefully  in  a  mirror  to 
watch  the  customers.  The  fat  quack  compounds  medicines  at  the  counter. 
A  grotesque  crowd  of  agonized  patients  enters  through  a  doorway  (1.) 
inscribed  Apothecaries  Hall.  Two  sit  in  arm-chairs.  The  jars  are  Canthar[ides], 
Arsnic,  Opium,  Nitre,  Vitriol,  Elixir,  with  (r.)  Restorativ  Drops.    Below: 

I  have  a  secret  art  to  cure 

Each  malady,  which  men  endure. 

12422  THE  SOT.'  [i.  97] 

Death  wheels  off  a  fat  sot  from  his  tippling  companions  outside  a  rustic  inn^ 
The  Goat.  A  scolding  wife,  holding  her  husband's  wig  and  stick,  berates  the 
skeleton.    Below: 

Drunk  and  alive,  the  man  was  thine. 

But  dead  &  drunk,  why, — he  is  mine. 

12423  THE  HONEY  MOON.  [i.  106] 

London.  Pub  Aug'  i.  .  .  .  [ut  supra] 

A  pretty  young  wife  sits  beside  an  aged  doting  and  rich  husband,  reading  to 
him.  He  delightedly  contemplates  his  glass,  which  is  being  filled  by  Death, 
who  leans  over  a  screen.  The  girl's  1.  hand  is  held  by  a  young  officer  who 
leans  through  the  window  (r.).   Below: 

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

12424  THE  HUNTER  UNKENNELLED.^  [i.  119] 

Huntsmen  breakfast  at  a  table  in  a  hall,  near  a  doorway  in  which  a  mounted 
huntsman  blows  his  horn.  Death  kneels  to  drag  out  one  of  them  from  under 
the  table ;  the  others  register  terror,  two  look  down  from  the  staircase.  Below: 

Yes,  Nimrod,  you  may  look  aghast: 

I  have  unkennel' d  you  at  last. 

12425  THE  GOOD  MAN,  DEATH,  AND  THE  DOCTOR.^  [i.  121] 
A  death-bed,  with  weeping  widow  and  two  kneeling  children;  a  parson 
declaims.  Death  pushes  from  the  room  a  surly  doctor,  who  sniffs  his  cane- 
Below  : 

No  scene  so  blest  in  Virtue's  eyes, 
As  when  the  Man  of  Virtue  dies. 

12426  DEATH  AND  THE  PORTRAIT.  [i.  129] 

London:  Pub.  Sepf  i.  .  .  .  [ut  supra] 

An  aged  man  sits  for  his  portrait  in  an  arm-chair  on  a  double  dais  backed 
by  a  screen.  He  holds  a  crutch,  his  eyes  are  closed.  Death  sits  at  the  easel, 
holding  palette  and  brushes,  working  on  the  corpse-like  head  of  a  T.Q.L. 
portrait.  On  a  sofa  behind  the  screen  a  handsome  young  couple  are  making 
love,  talking  'of  Taste'.  The  walls  are  covered  with  massively  framed 
pictures,  portraits  interspersed  with  nymphs,  &c.  On  the  r.  a  jointed  lay- 
figure  wears  a  woman's  hat  and  cloak.  Fragments  from  the  antique  lie  on 
the  ground;  beside  the  painter  is  a  box  of  paints.    Below: 

Nature  and  Truth  are  not  at  strife: 

Death  draws  his  pictures  after  Life. 

'  Imprint  as  No.  12420.  2  Imprint  as  No.  12423. 

484 


PERSONAL  AND   SOCIAL   SATIRES    1814 

12427  THE  GENEALOGIST.!  [i.  137] 

Scene  in  a  baronial  hall,  with  Gothic  window,  panelled  walls,  escutcheons, 
and  armour.  An  aged  peer  and  his  fat  plebeian  bride  inspect  a  long  Genea- 
logical Table  on  a  scroll  held  up  by  Death.   Below: 

On  that  illumined  roll  of  fame 

Death  waits  to  write  your  Lordship's  name. 

12428  THE  CATCHPOLE.i  [i.  147] 

Death  prepares  to  seize  a  bailiff  who  is  arresting  a  young  man  for  debt  outside 
his  house :  Catchpole  Sherrifs  Officer.  Behind  is  a  heavily  barred  window  from 
which  prisoners  watch  hilariously.  Two  young  ladies  (1.)  and  a  boy  (r.) 
register  amused  satisfaction.    Below: 

The  Catchpole  need  not  fear  a  jail, 
The  Undertaker  is  his  Bail. 

12429  THE  INSUR.\NCE  OFFICE.  [i.  157] 

London  Pub.  OcV  J  .  .  .  [ut  supra] 

The  office  of 'the  Globe  [established  1803],  or  Pelican  [1797]'.  An  obese  man, 
a  pretty  young  wife  on  his  arm,  is  inspected  by  the  doctor  and  director  of  the 
Company.  Behind  the  pair  Death  crouches,  peering  through  spectacles.  A 
clerk  and  accountant  watch.  Two  Jews  look  in  through  the  door;  they  are 
to  be  Death's  first  victims.   Below : 

Insure  his  Life. — But  to  your  sorrow, 
Yoiill  pay  a  good,  round  Sum  tomorrow. 

12430  THE  SCHOOLMASTER.^  [i.  168] 

A  schoolroom,  with  a  pair  of  globes  on  a  table.  Death  sits  astride  the  Terrestrial 
globe  (1.),  looking  down  at  the  aged  schoolmaster,  in  dressing-gown  and  night- 
cap, who  clasps  the  other.    Boys  rush  terrified  from  the  room.   Below: 

Death  with  his  dart  proceeds  to  flog 
TK  astonished,  flogging  Pedagogue. 

12431  THE  COQUETTE.^*  [i.  175] 
In  a  bedroom,  a  tall  girl,  a  maid  beside  her,  completing  her  toilette  for  a  ball, 
turns  from  the  mirror,  to  see  Death  making  a  low  bow.  He  wears  a  bag-wig 
and  coat,  with  his  javelin  as  sword ;  an  old  woman  in  the  doorway  raises  his 
coat-tail  and  screams  to  see  the  hour-glass  attached  to  posteriors  of  bone. 
Below: 

77/  lead  you  to  the  splendid  Croud: 
But  your  next  dress  will  be  a  shroud. 

12432  TIME  &  DEATH,  AND  GOODY  BARTON.  [i.  181] 

London.  Pub.  Nov^  i.  .  .  .  [ut  supra] 

Time  drives  a  rough  two-wheeled  cart,  filled  with  the  dead,  drawn  by  a 
skeleton  horse;  the  hub  of  the  wheel  is  a  skull.  He  looks  over  his  shoulder 
to  see  Death  hoisting  a  (resisting)  old  man  into  the  cart,  while  behind  a  young 
wife  pushes  forward  an  aged  dotard.  They  are  at  the  door  of  an  ancient  house ; 
a  soldier,  her  lover,  stands  behind  her,  with  a  young  woman  and  three  children, 
and  an  old  woman.    Below: 

On  with  your  dead:  &  Fll  contrive 
To  bury  this  old  Fool  alive. 

'   Imprint  as  No.  12426.  ^  Imprint  as  No.  12429. 

485 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12433  THE  UNDERTAKER  &  THE  QUACK.'  [i.  185] 

In  the  street  or  market-place  of  an  ancient  country-town  a  plump  quack 
doctor  rides  towards  an  undertaker's  shop  (1.)  unaware  that  Death  is  perched 
on  his  horse's  rump.  The  undertaker,  hammer  in  hand,  looks  from  the  window 
at  his  best  friend,  the  quack.  From  the  door  below  come  a  weeping  woman 
carrying  a  child's  coffin,  and  a  man  bending  under  the  weight  of  a  large  coffin. 
Over  the  door:  Peter  Screwtight  Upholsterer  Appraiser  and  Undertaker  Funerals 
furnished.   Below : 

The  Doctor's  sickening  toil  to  close, 

''Recipe  Coffin",  is  the  Dose. 

12434  THE  MASQUERADE.'  [i.  190] 

Death  postures  in  the  centre  of  a  fantastic  masquerade,  flinging  off  a  cloak, 
holding  up  a  satyr's  mask,  with  javelin  poised.  The  figures  in  the  foreground 
flee  to  1.  and  r.  in  wild  confusion,  trampling  over  prostrate  bodies.  In  the 
background  wild  dancing  and  carousing  continues.  The  vast  hall  is  surrounded 
by  a  gallery  under  Gothic  arches,  in  which  are  tiny  spectators.   Below: 

Such  is  the  power,  &  such  the  strife. 
That  ends  the  Masquerade  of  Life. 

12435  THE  DEATH  BLOW.  [i.  205] 

London.  Pub.  Dec^  J  ,  .  .  [ut  supra] 

A  pugilist  whose  opponent  lies  dead  on  the  ground  finds  himself  facing  Death, 
who  has  stepped  into  the  ring.  Behind,  spectators  flee  terror-stricken,  in 
coaches,  on  horseback,  and  on  foot.    Below: 

How  vain  are  all  your  triumphs  past. 
For  this  Set-  To  will  be  your  last. 

12436  THE  VISION  OF  SKULLS.2  [i.  217] 

Death  acts  as  showman  to  a  party  of  (British)  tourists  in  a  Roman  catacomb ; 
skulls  are  piled  in  lunette  recesses  under  a  vaulted  roof.  He  holds  out  a 
flaming  torch  towards  a  wall  of  skulls.  Some  gape  in  terror,  others  flee  up 
the  stairs.    Below: 

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

12437  THE  PORTER'S  CHAIR.^  [i.  229] 

Death  leans  back  in  an  arm-chair  opposite  the  fire  in  the  hall  of  a  great  London 
house.  Two  terrified  servants  are  on  the  staircase  immediately  behind :  a  fat 
woman  (the  victim)  falls,  dropping  her  candle.    Below: 

What  watchful  Care  the  Portal  keeps! 
A  Porter  He,  who  never  sleeps. 

12438-12451 

Plates  (coloured)  to  Something  \  concerning  \  Nobody.  \  Edited  by  Somebody  \  . 
Embellished  with  \  fourteen  characteristic  etchings.  \  London :  \  Printed  for  Robert 
Scholey,\  46,  Paternoster-Row.  18 14.  Incorrectly  attributed  to  G.  M.  Wood- 
ward (d.  1809),  perhaps  by  Marks.  AH  are  vignetted  on  pp.  7^X4!  in. 

B.M.L.  C.  117,  bb,  17. 

12438  iV"  J     EX  NIHILO  NIHIL  FIT. 

Frontispiece.  A  thin  little  man,  his  breeches  buttoned  under  his  chin,  with 
his  legs  joined  to  his  shoulders,  showing  that  having  no  body  he  is  Nobody, 

'   Imprint  as  No.  12432.  ^  Imprint  as  No.  12435. 

486 


PERSONAL   AND   SOCIAL   SATIRES    1814 

Steps  from  within  a  large  O  placed  on  a  background  of  etched  lines.   He  grins 
broadly.   The  same  figure  appears  in  all  the  plates.   Below  the  design : 
Since  Nothing  is  with  Nothing  fraught 
Then  Nobody  must  spring  from  naught. 
This  representation  of  Nobody  dates  at  least  from  1600,  see  Buss,  English 
Graphic  Satire,  1874,  p.  46  f.    Cf.  Nos.  5570,  10942,  11763,  12198,  12873, 
12994. 
3^X3iin. 

12439  N°  2     SOMEBODY  &  NOBODY.  [P.  4] 

Nobody  stands  limply,  looking  up  with  a  melancholy  twisted  grimace  at 
Somebody  (I.),  a  stout  John  Bull  wearing  top-boots  and  holding  a  cudgel, 
c.  4^X31  in. 

12440  3  NOBODY  ARRESTED  IN  HIS  MINORITY.  [P.  10] 
Nobody,  grinning  broadly  with  arms  akimbo,  stands  bet\veen  two  bailiffs  who 
seize  him  by  the  shoulders ;  one  has  a  cudgel,  the  other  holds  out  a  writ. 

c.  4X41  in. 

12441  4     NOBODY  SEE'S  IT.  [P.  u] 

A  paunchy  little  parson  (1.)  stands  on  tiptoe  to  kiss  a  pretty  housemaid. 
Nobody  watches  them,  with  arms  raised,  registering  astonished  and  pleased 
reprobation.    Book-shelves  in  a  panelled  wall  indicate  the  rector's  study. 
c.  5  X  4j  in. 

12442  5     NOBODY  SCENTS  IT.  [P.  26] 

A  fat  'cit',  holding  a  frothing  tankard,  smokes  a  long  pipe;  dense  clouds  of 
smoke  issue  from  mouth  and  pipe.   Nobody,  seated  by  the  same  small  table, 
holds  his  nose,  registering  disgust, 
f.  4^X4  in. 

12443  6    NOBODY  KNOWS  WHEN  TO  LEAVE  OFF  AT  MY  LORD 
MAYOR'S  FEAST.  [P.  31] 

An  alderman  and  a  fat  'cit'  (Alderman  Lard  and  Mr.  Deputy  Guggle)  face 
each  other  across  a  small  table,  guzzling  roast  beef.  Nobody  sits  between 
them,  full-face,  handing  back  an  empty  plate  to  an  astonished  footman. 

c.  4X4  in. 

12444  7  NOBODY  HEARS  IT.  [P.  64] 

Nobody  stands  with  his  hands  over  his  ears  between  a  newsboy  blowing  his 
horn  (1.)  and  a  postman  holding  a  bag  and  ringing  a  large  bell.  One  holds 
a  sheaf  of  papers,  and  has  a  paper  round  the  crown  of  his  hat  News  .  .  . 

Two  familiar  London  noises;  the  letter-carrier  belonged  to  the  branch  of 
the  Post  Office  for  London  and  the  suburbs,  called  the  Twopenny  (previously 
Penny)  Post.    There  were  257  letter-carriers  on  the  establishment  in  1812. 
Royal  Kalendar,  p.  268. 
c.  4X4^  in. 

12445  8   NOBODY  LAUGHS  AT  A  TOUCH  OF  THE  GOUT.  [P.  73] 

Nobody,  grinning  broadly,  leans  back  in  an  arm-chair,  one  enormously 
swollen  foot  resting  on  a  stool,  where  two  little  demons  prod  it  with  barbed 
javelins,  one  also  using  a  spur,  and  a  third  digs  in  teeth  and  claws.  Cf. 
No.  9448. 

^- 32X4!  in- 

487 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

12446  9     NOBODY'S  AT  HOME.  [P.  91] 

A  stout  John  Bull,  resembling  Somebody  in  No.  12439,  enters  a  room,  with 
a  blank  stare  at  finding  no  one.   Nobody  sprawls  in  an  upright  chair,  looking 
up  with  a  sour  frown  at  the  visitor.  A  satire  on  fashionables  who  escape  their 
creditors  by  being  'not  at  home'. 
<^-5¥X4jin. 

12447  10     NOBODY  AT  THE  DOOR.  [P.  98] 

A  startled  footman  in  livery  looks  from  a  doorway  (r.),  holding  out  a  lighted 
candle,  while  Nobody  skips  outside  it,  on  one  toe,  grinning  at  the  man  who 
sees  no  one. 
c.  6  X  4  in. 

12448  II     NOBODY'S  AFFRAID  OF  HIM.  [P.  117] 

Nobody  slinks  timorously  past  a  fat  and  ugly  foreign  general  with  moustache 
and  long  pigtail,  wearing  jack-boots  and  holding  his  sabre,  who  glares 
ferociously  into  space.  He  is  'General  Count  von  Howitzerus  Blunderbuster- 
kin',  Russian  General-in-Chief,  who  had  visited  Butcher-hall  lane  for  five 
plates  of  bceuf-a-la-mode  made  of  beef  shins. 

Probably  a  satire  on  Platoff. 
^-  5iX4iin. 

12449  12     NOBODY  KNOWS  WHAT  IS  BECOME  OF  ALL  THE 
GUINEAS.  [P.  143] 

Nobody  stands  with  one  finger  to  his  nose,  r.  forefinger  raised  admonishingly, 
with  a  knowing  grimace.  Beside  him  (r.)  is  a  money-changer  at  a  table  filling 
a  bag  with  guineas.  In  the  middle  distance  (1.)  a  man  advances  to  a  furnace 
holding  a  guinea  in  a  pair  of  tongs.  In  the  background  is  the  sea,  with  a  man- 
of-war  ;  a  man  advances  towards  it  carrying  a  sack  of  Guineas. 

For  the  scarcity  of  gold  coin  and  the  depreciation  of  paper  see  Nos. 
11576,  &c.,  11716. 
c.  4x4  in. 

12450  13     NOBODY  LAUGHS  AT  A  TRAGEDY  [P.  166] 

A  theatre  scene  showing  a  corner  of  the  stage,  and  one  stage-box  (r.)  where 
Nobody  sits  laughing  sardonically  at  the  sight  of  Coates  as  Romeo,  posturing 
grotesquely  under  the  balcony  where  Juliet's  head  appears.   He  holds  out  his 
famous  feathered  hat  (as  in  No.  11769,  &c.). 
c.  5fX4iin. 

12451  14     NOBODY  DIES  FOR  LOVE  [P.  190] 

Nobody  leans  back  on  a  settee,  overwhelmed  at  the  sight  of  a  hideous  old 
woman  with  hairy  chin,  hump,  and  twisted  legs.    A  little  Cupid  wearing 
breeches  and  top-boots  (cf.  No.  1 1405)  sits  on  the  arm  of  the  settee  tugging 
at  a  string  which  is  round  Nobody's  neck. 
c.  3fX4in. 


488 


i8i5 
POLITICAL  SATIRES 

12452  THE     PROPERTY     TAX— CIVIC     CHAMPIONS— OR     THE 
DARLING  IN  DANGER. 

[W^illiams.] 

Pu¥  J  any  2'^  1815  by  W  N  Jones  N°  5  Newgate  Street 

Engraving  (coloured  impression).  PL  from  the  Scourge,  ix,  frontispiece.  After 
the  title:  — ''Make  not  a  City  feast  of  it,  to  let  the  meat  cool,  ere  we  can  agree 
upon  the  first  cut.''  Timon  [iii.  6].  On  the  1.,  in  front  of  Guildhall,  four  Alder- 
men and  Councillor  Waithman  scourge  with  birch-rods  a  hairy  monster  wear- 
ing a  belt  inscribed  Property,  Ta[x]  who  flees  before  them.  It  has  a  tigrine 
head,  a  quasi-human  body,  and  the  feet  of  a  bird  of  prey.  From  its  belt  hang 
empty  bags.  Alderman  Wood  wears  armour;  he  takes  two  rods  from  bundles 
on  the  ground  tied  by  a  ribbon  inscribed  Smart  Argument.  His  helmet  and 
the  City  shield  lie  against  the  bundles.   Waithman,  behind  the  others,  sings: 

Since  now  there's  Pax, 

This  Monster,  Tax, 

We'll  worry  from  our  plain  Sir 


Wood  answers: 


Two  others  sing: 


and: 


Well  said  efaith  man. 
So  friend  Waithman, 
I'll  second  with  might  &  main  Sir 

ril  tickle  his  rump 
Tho  he 's  so  plump, 
And  makes  in  our  bags  such  a  racket 


If  he  zvont  Jog, 

We  still  must  Flog, 

And  at  last  we  shall  pepper  his  jacket 

[Lines  adapted  from  O'Hara's  burletta  Midas,  ijSz,  cf.  No.  7498.] 
On  the  r.  the  ghost  of  Pitt  (cf.  No.  11895)  advances  from  the  flames  of 
Hell  to  defend  the  tax.  He  is  emaciated,  wears  white  draperies,  and  rides  on 
Cerberus,  who  gallops  forward.  His  saddle-cloth  is  bordered  with  an  inscrip- 
tion Taxation  Botheration  Vexa[tion] ;  on  it  the  Royal  Arms  are  faintly 
suggested.   Pitt's  words  arise  from  his  mouth  on  a  dense  cloud  of  smoke: 

Desist  ye  frantic  Civic  bands 
A  or  on  my  darling  lay  your  hands 
My  Spirit  stalks  S'  Steven  round, 
Inspiring  Statesmen  in  their  dreams, 
To  counteract  mad  Patriots  schemes, 
And  this  remember  by  the  bye! 
Although  I'm  dead,  I'll  never  die 

His  head  is  the  centre  of  rays  inscribed:  Income,  Property,  Comissioners, 
Collectors,  Informers,  Assesors,  Distraining,  Poverty.  Two  figures  emerge  with 
him  from  Hell,  surrounded  by  smoke.  One  gnawing  a  bone  is  Famine,  the 
other  with  a  dagger  in  each  hand  is  Sedition  or  Discord.  Three  winged  heads 
fly  above  and  behind  Pitt:  an  old  woman's,  surmounted  by  bars  of  Soap; 

489 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

an  old  man's,  by  a  bunch  of  Candles,  and  a  head  topped  by  a  shoe,  Leather  Tax. 
Below  these  and  just  behind  Pitt  a  gnome  bestrides  a  bat-like  monster.  He 
wears  a  conical  cap  inscribed  -^^^^^^[ary],  and  holds  an  open  book  and  a  pen; 
he  says :  Fll  book  these  refractory  Cits. 

Between  the  two  groups  stand  five  persons,  three  looking  towards  Pitt,  the 
others  towards  the  Monster.  In  the  foreground  John  Bull,  plump  but  ragged, 
his  pockets  inside  out,  his  hat  and  wig  on  the  ground,  extends  his  arms  to 
ward  off  the  ghost,  exclaiming.  How  say  you  ?  Why  what  care  I!  Are  not  my 
pockets  emptied?  Avaunt  and  quit  my  sight,  Hence,  unreal  mock'ry,  and  Let 
me  be  a  Man  again.  Curtis,  in  the  comic  nautical  dress  of  the  Walcheren 
prints  (see  No.  11353)  holds  out  to  Pitt  a  steaming  bowl  of  Turtle.  He  says: 
/  have  no  hand  in  this  business  I  assure  you  Sir!  its  only  the  Americans  that 
deserve  a  little  flogging,  take  a  little  soup  after  your  ride  Sir!  A  terrified  Alder- 
man, hair  on  end,  puts  his  hands  on  Curtis's  shoulders,  saying.  Dear  me  how 
familiar  you  are  with  a  Ghost  Billy  for  my  part  my  hair  statid  and,  tell  hi?n  I  have 
not  had  a  cut  at  the  darling.  Behind  John  stands  Whitbread,  arms  raised ;  he 
shouts :  Run  Monster,  rwi  Van  I  would  not  give  one  of  my  old  butts  for  him. 
(Vansittart  is  not  depicted.)  A  little  man  whose  neck  is  joined  to  his  breeches 
showing  he  is  Nobody  (see  No.  12438,  &c.)  says  to  the  Monster:  Nobody  pities 
you  upon  my  honor. 

On  13  Dec.  at  a  meeting  of  the  Common  Hall,  the  most  democratic  body 
of  the  Corporation,  to  petition  against  a  continuation  of  the  Income  Tax, 
resolutions  were  carried  unanimously  that  the  City  M.P.s  should  present  the 
petition.  Waithman  conducted  the  business  and  received  a  vote  of  thanks. 
Other  speakers  included  Curtis  who  'was  occasionally  laughed  at'.  Examiner, 
18  Dec.  1814.  The  tax  was  'Pitt's  child',  cf.  No.  10557.  News  of  peace  with 
America,  signed  24  Dec.  at  Ghent,  reached  London  on  26  Dec.  Many 
petitions  against  the  Income  Tax  were  being  prepared  for  the  meeting  of 
Parliament,  see  Nos.  12507,  12556,  12750,  &c. 
7^X2oiin. 

12453  TWELFTH  NIGHT  OR,  WHAT  YOU  WILL!— 

G.  Cruikshank  fe^^ 

Pub'^  Jan^  181 5  by  H  Humphrey  S^  James's  Street 

Engraving  (coloured  impression).  Below  the  title:  Now  performing  at  the 
Theatre  Royal  Europe,  with  new  Scenery  decrorations  [sic]  &c  &c  &c.  A  view 
of  the  stage  flanked  by  two  tiers  of  stage-boxes,  the  heads  and  shoulders  of 
the  orchestra  forming  the  base  of  the  design.  On  the  stage  is  a  large  Twelfth 
Cake,  its  surface  forming  a  map  over  which  the  Tsar  (r.),  the  King  of  Prussia 
(1.),  and  the  Emperor  of  Austria  are  disputing.  Castlereagh  sits  between 
Frederick  William  and  Francis,  facing  Alexander,  holding  up  a  large  knife 
and  a  trident-like  fork.  He  says:  /  have  been  assisting  to  devide  the  Cake  but 
I  dont  much  like  my  Office  the  the  [sic]  Gentlemen  seem  so  dissatisfied.  Alexander 
sits  beside  a  large  portion  inscribed  Russia  in  Europe,  its  surface  sparsely 
scattered  with  fir-trees,  Cossacks,  a  sledge,  and  buildings.  Adjoining  this  is 
Poland,  smaller,  but  with  more  buildings ;  he  puts  both  hands  on  Poland,  and 
turns  to  a  Russian  officer  (r.),  the  Grand  Duke  Constantine,  saying.  Here 
Brother  take  possession  of  this  peice  I  think  I  can  manage  them  both  besides  this 
has  more  plumbs  and  figures  on  it  which  will  mix  with  mine.  The  Grand  Duke 
stoops  with  a  hand  on  his  sabre,  his  fur  cloak  flying  out  behind  him,  as  if 
he  had  hastened  to  the  Tsar.  He  is  thin  and  degenerate-looking,  and  wears 
elaborate  hussar  uniform  with  a  square   cap  bordered  with  fur.    Across 

'  Reid  adds  G.  H  [Humphrey]  inv^. 

490 


POLITICAL   SATIRES    1815 

Alexander's  knee  lies  a  paper:  Proclamation  to  the  Poles — Ann  y^  Blood — 
Def — d.  Frederick  William,  holding  a  small  knife,  sits  beside  the  (small) 
portion  marked  Prussia,  but  points  to  a  larger  adjacent  piece  marked  Saxony. 
He  says :  If  I  add  this  Saxon  peice  to  my  Prussian  one  &  put  the  figure  of  an 
Emperor  on  it,  I  think  my  share  will  look  respectable.  The  Emperor  of  Austria, 
who  faces  him,  extends  his  arms  over  Germany,  saying:  /  shall  get  my  peice 
cut  as  large  as  I  can,  I  dont  think  it  is  large  enough.  In  the  middle  of  the  cake, 
where  all  the  countries  except  Prussia  meet,  there  is  an  irregular  cavity.  All 
three  sovereigns  wear  uniform  with  cocked  hats;  Wellington  is  in  uniform, 
but  bareheaded.  Behind  Constantine  and  in  the  shadow  (r.)  are  four  spectre- 
like sovereigns  in  begging  attitudes,  addressing  the  Great  Powers  round  the 
cake  who  ignore  them.  One,  probably  Ferdinand  of  Sicily,  kneels  on  both 
knees;  the  other  three  are  probably  German  princes:  Saxony,  Bavaria,  and 
Wiirtemberg.  There  is  a  background  of  clouds.  On  these  is  seated  a  mere- 
tricious-looking Justice,  a  bandage  over  one  eye  only,  and  holding  her 
(flaming)  sword  against  her  shoulder.  She  holds  up  her  scales  above  the 
cake,  but  these  are  lop-sided,  being  violently  deflected  by  two  blasts  inscribed 
Avarice  and  Ambition  issuing  from  a  cloud  (1.). 

In  the  upper  box  on  the  1.  Louis  XVIII  sits  in  profile  to  the  r.,  staring 
down  at  the  conference.  He  has  a  play-bill:  Theatre  Royal  Rheims  The 
Coronation  of  Louis  le  Grand.  Behind  him  stands  Bernadotte,  much  carica- 
tured, and  taking  snuff  with  a  cunning  leer ;  he  says :  Now  I  have  got  Norway 
I  can  get  a  zvind  to  blow  which  way  I  please.  Seated  on  the  front  of  the  box, 
next  Louis  XVIII,  and  with  his  back  to  the  stage  is  a  fat  Dutchman,  represent- 
ing the  Prince  of  Orange ;  he  holds  out  an  orange  to  Princess  Charlotte,  who 
looks  away  from  him  with  unmannerly  contempt.  His  play-bill  is  a  Map  of 
the  United  Netherlatids.  He  is  dressed  like  the  Dutchman  of  English  carica- 
ture, with  a  pipe  thrust  through  the  band  of  his  high-crowned  hat.  In  the 
box  below  stands  John  Bull,  turning  from  the  stage  to  take  the  hand  of  a  man 
in  the  feathers  and  war-paint  of  a  Red  Indian  who  represents  the  United 
States.  He  says:  /  hope  you  wofit  disturb  the  peace  [altered  to  peice].  His  hat 
is  on  the  head  of  his  dog,  whose  paws  rest  on  the  front  of  the  box. 

On  the  opposite  side  Ferdinand  VII  stands  in  the  front  of  the  upper  box, 
reading  with  eager  delight  a  List  of  Prisoners  to  be  Hung  for  supporting  a  Free 
Constitution.  He  wears  a  crown  decorated  with  tiny  gibbets  and  dangling 
corpses,  a  central  cross  supporting  a  wheel  (instrument  of  torture).  Behind 
him  stands  a  tall  hideous  figure  holding  a  cross  from  which  floats  a  streamer: 
Holy  Inquisition;  he  wears  a  black  gown  and  Jesuit's  biretta;  in  his  1.  hand 
is  a  dagger,  and  in  his  belt  are  a  knife  and  axe.  In  the  box  below  sits  the  Sultan 
wearing  a  jewelled  turban,  scowling  morosely,  beside  another  turbaned  oriental ; 
behind  them  stands  a  Death's  Head  Hussar. 

The  musicians  have  paused  and  look  at  each  other  in  surprise  or  amuse- 
ment. The  first  violin  has  a  music-book  inscribed  Avarice  and  Ambition  an 
Old  Song  to  a  Nezv  Tune.  The  player  of  the  French  horn  on  the  extreme  1. 
has  another  tune :  Yankee  doodle 's  Come  to  Town  Yankee  doodle  dandy. 

During  Nov.-Dec.  18 14  the  Congress  of  Vienna  was  at  a  deadlock  over  the 
interdependent  questions  of  Poland  and  Saxony  in  which  Castlereagh  acted  as 
mediator.  The  uniform  depicted  possibly  denotes  Wellington,  who  replaced 
Castlereagh,  arriving  in  Vienna  on  3  Feb.  Alexander  was  determined  to 
secure  almost  the  whole  of  Poland,  occupied  by  Russian  troops  as  a  result 
of  the  campaigns  of  18 13-14.  He  had  designated  his  brother  as  Viceroy. 
Prussia's  demand  for  the  whole  of  Saxony  as  compensation  for  the  loss  of 
Prussian  Poland  was  opposed  by  Austria.  Eventually  Frederick  William,  who 
as  in  Nos,  12509,  12622,  aims  at  an  imperial  crown,  obtained  the  northern 

491 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

part  and  the  King  of  Saxony  recovered  the  remainder.  All  the  states  of 
Europe  which  had  taken  part  in  the  war  were  represented  at  Vienna  by  pleni- 
potentiaries, but  the  minor  states  are  rightly  represented  as  petitioners  or 
spectators.  It  had  been  agreed  that  the  conduct  of  the  business  should  rest 
with  the  'leading  Powers',  i.e.  the  four  Allies,  who  were  to  retain  the  'initiative', 
by  which  they  meant  'decision',  and  France  and  Spain.  Bernadotte  had 
extorted  the  consent  of  the  Allies  to  the  annexation  of  Norway  by  Sweden 
in  return  for  military  aid.  After  a  short  campaign  in  Norway  he  opened 
negotiations  and  union  with  Sweden  was  declared  on  4  Nov.  18 14.  For  the 
breaking  of  her  engagement  by  Princess  Charlotte  see  No.  12280,  &c. ; 
she  refused  to  renew  it  in  a  letter  to  the  Regent  of  27  Feb.  181 5.  Corr.  of 
George  IV,  1938,  ii.  37  f.  Peace  between  England  and  America  was  signed 
at  Ghent  on  24  Dec,  the  news  reaching  Vienna  on  i  Jan.  On  the  return 
of  Ferdinand  to  Spain  he  swept  away  the  Constitution,  re-established  the 
Inquisition  and  instituted  a  reign  of  terror,  with  mass  executions,  see  No. 
125 10,  &c.  The  satire  expresses  the  disappointment  in  England  that  the  true 
pacification  of  Europe  should  be  subordinated  to  selfish  ambitions  against  the 
principles  of  justice  and  nationality.  See  C.  K.  Webster:  The  Congress  of 
Vienna,  1934,  Foreign  Policy  of  Castlereagh,  i,  193 1,  pp.  327  ff.,  'England  and 
the  Pohsh-Saxon  problem  at  the  Congress  of  Vienna',  Trans,  of  the  Royal  Hist. 
Soc,  1913;  Satow,  'Peacemaking,  old  and  new',  Camb.  Hist.  Journal,  i.  24  if. 
(1923);  Camb.  Hist,  of  Poland,  1941,  ch.  xii;  H.  Nicolson,  The  Congress  of 
Vienna,  1946,  pp.  n8  if.  This  and  other  satires  on  the  Congress  derive  from 
attacks  by  the  Opposition  on  'the  monstrous  proceedings  of  the  robbers  at 
Vienna'.  Memoirs  of  Horner,  ii.  220.  See  also  Nos.  12320,  12499,  12500, 
12501,  12506,  12515,  12519,  12520,  12528,  &c.,  12533,  12542. 

A  'Twelfth  Cake'  or  'gateau  des  rois'  (for  Twelfth  Night,  6  Jan.),  repre- 
sented either  by  a  map  or  cake  which  is  to  be  shared  between  the  powers 
of  Europe,  is  the  theme  of  Nos.  4958,  5229  on  the  First  Partition  of  Poland, 
as  well  as  of  Nos.  12522, 12525, 12533,  ^2537.  The  theatrical  setting  resembles 
and  probably  derives  from  No.  10549  ^Y  Gillray. 

Reid,  No.  454.   Cohn,  No.  2056.   Broadley,  i.  369. 
8-^X  13^  in.    With  border,  9|x  13^!  in. 

12454  THE  LIFE  OF  |  NAPOLEON,  |  A  |  HUDIBRASTIC  POEM  | 
IN  I  FIFTEEN  CANTOS  |  BY  |  DOCTOR  SYNTAX  [W.  Combe], 

embellished  with  \  Thirty  Engravings,  \by  \  G.  Cruikshank.  \ 
London.  Printed  for  T.  Tegg,  iii,  Cheapside,  W"'  Allason,  31  New  Bond 
Street  &  J.  Dick,  Edinburgh  1815.^ 

Aquatint  (coloured  impression).  Title-page.  The  title  is  engraved  on  a 
(tattered)  tricolour  flag  which  hangs  from  a  (broken)  staff  headed  by  an  eagle, 
placed  horizontally  and  supported  (1.)  on  a  ladder,  (r.)  on  a  blasted  tree.  Five 
stages  of  Napoleon's  life  are  depicted,  and  form  a  border  to  the  flag.  Below 
the  ladder  is  a  tiny  rocky  islet  (Corsica).  Napoleon,  a  ragged  barelegged  boy 
wearing  a  bonnet  rouge,  steps  on  to  a  large  mushroom  (cf.  No.  11057)  in 
order  to  reach  the  first  rung  of  the  ladder.  In  his  1.  hand  is  a  firebrand.  The 
two  lowest  rungs  are  Plunder  and  Bloodshed.  The  next  section  of  the  ladder 
is  a  guillotine,  the  blade  inscribed  Murder.  A  second  Napoleon,  dressed  as 
the  general  of  the  Italian  campaigns  and  later,  waving  a  sword  which  drips 

'  The  plates  (aquatints),  dated  from  10  Nov.  18 14  to  23  Jan.  1815,  are  here  placed 
according  to  their  order  in  the  book  (B.M.L.  C.  116.  f.  4).  The  plates  only  are  in  the 
Print  Room  (coloured  and  uncoloured  except  for  No.  12454,  coloured,  and  No.  12481, 
uncoloured  only). 

492 


POLITICAL   SATIRES    1815 

blood,  climbs  to  the  top  of  the  guillotine  and  grasps  the  highest  rung.  The 
apex  of  the  design  is  a  third  Napoleon,  wearing  crown,  laurel-wreath,  and 
coronation  robes,  seated  astride  the  arc  of  the  Northern  hemisphere  which 
appears  above  the  flag ;  France,  Continent,  and  England  (the  map  being  upside- 
down)  are  depicted  as  on  a  map,  he  straddles  across  the  two  former,  the  last 
is  just  out  of  reach;  his  arms  are  extended  and  he  holds  out  the  hand  of 
Justice  (see  No.  12247)  and  the  orb.  He  is  lit  by  slanting  sunlight  surrounded 
by  dark  clouds.  From  these  (r.)  lightning  flashes  and  forked  darts  strike  down 
upon  the  fourth  Napoleon,  who  falls  head  first,  dropping  eagle,  laurel-wreath, 
and  fasces,  with  crown,  sceptre,  and  sword,  all  broken.  The  last  Napoleon 
is  a  pendant  to  the  first.  He  sits  in  profile  to  the  1.  on  a  big  mushroom  on 
a  similar  islet  (Elba).  He  wears  petit  chapeau  and  greatcoat,  and  sits  in  deep 
dejection  with  bowed  head  and  folded  arms  (see  No.  12229,  &c.).  A  stormy 
sea  connects  the  islands  and  forms  the  base  of  the  design.  The  other  plates 
are  Nos.  12455-83  (Reid,  Nos.  366-94).   Cf.  No.  12902. 

Cf.  the  popular  German  prints  (18 14)  on  Napoleon's  career:  Hennin, 
No.  13649  (reproduced  Dayot,  Napoleon,  p.  359,  with  the  title  Les  divers 
degres  de  la  vie  de  Napoleo?i) ;  Stufenleiter  der  Grosse  und  des  Sturzes  Napoleons 
(reproduced  Broadley,  ii.  124),  with  a  revised  version:  Buonapartes  Stujfen- 
jahre,  and  a  Swedish  version.  Other  life-histories  are  Nos.  9534  (1800),  1 1053 
(1808),  12205.    Cf.  Histoire  Du-Grand  Nicolas,  De  Vinck,  No.  9651. 

Reid,  No.  365.    Cohn,  No.  153.    Broadley,  i.  368  f.,  372  (reproduction  in 
colour). 
8fX5^  in. 

12455  NAPOLEON  DREAMING  IN  HIS  CELL  AT  THE  MILITARY 
COLLEGE.  Plate,  i 

London,  Published  by  Thomas  Tegg,  N°  iii  Cheapside^  Nov.  lo"'  1814. 

See  No.  12454.  P-  ^-  Napoleon  lies  asleep  on  his  back  in  a  half-tester  bed; 
a  phantom  ass  or  mule  ridden  by  a  demon  is  planted  on  his  chest,  glaring  into 
his  face.  Only  the  upturned  toes  under  the  (torn)  military  coat  lying  on  the 
bed  indicate  the  sleeper's  emotion.  The  dream  fills  the  space  above  him,  and 
is  surrounded  by  clouds.  Immediately  over  him  are  three  winged  figures; 
one  pours  down  crowns  from  a  cornucopia,  another  holds  out  a  laurel-wreath, 
and  between  them  Fame  blows  two  trumpets.  Above  and  to  the  r.  is  a  little 
seated  figure  of  Napoleon,  in  uniform  and  wearing  a  large  plumed  bicorne. 
He  leans  against  a  terrestrial  globe,  stretching  his  arm  across  it,  while  he 
gleefully  holds  up  a  dagger  dripping  with  blood ;  below  him  a  sea  of  corpses 
is  faintly  indicated.  Rays  from  behind  Napoleon  and  the  globe  light  up  the 
figures  of  the  dream.  The  room  is  partly  lit  by  the  light  of  a  tiny  beaked  lamp 
standing  in  the  empty  grate  (r.) ;  a  boarded  floor,  rough  plank  door,  and  rough 
walls  show  the  poverty  of  its  occupant.  On  a  rough  table  are  books,  writing 
materials,  and  a  sheet  of  military  diagrams.  Large  volumes  and  plans  of 
fortifications  are  heaped  on  the  floor  (r.).  Above  the  fireplace  are  a  broken 
mirror,  a  sword,  a  shelf  with  books  and  a  model  cannon.  A  musket  leans 
against  the  wall,  a  pistol  hangs  from  a  nail.  Beside  the  bed  are  a  wash-stand 
and  a  three-legged  stool  with  a  book  of  devotion,  kept  open  by  a  cross. 

Napoleon  entered  the  Military  School,  Paris,  in  1784,  aged  fifteen,  after 
five  and  a  half  years  at  Brienne. 

One  of  many  adaptations  of  Fuseli's  Nightmare,  cf.  Nos.  6543,  8555,  8671, 
9371,  9946,  12105,  12817. 

Reproduced,  Bourguignon,  i.  20. 
4^X7f  in. 

493 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

12456  NAPOLEON  BLOWING  UP  HIS  COMRADES.'  Plate  2 

See  No.  12454.  P.  9.  Napoleon  as  a  little  cadet  at  Brienne  (of.  No.  9534  [2]), 
but  with  a  mature  face,  stands  over  two  prostrate  cadets,  pushing  a  third  to 
the  ground  by  fierce  pressure  on  his  eyes  and  nose.  He  flourishes  a  cudgel. 
On  the  1.  is  an  explosion  from  which  three  boys  fly  into  the  air,  and  a  fourth 
has  fallen  on  his  back.  An  elderly  officer,  wearing  uniform  like  that  of  the 
boys,  looks  over  a  low  paling  (r.),  horrified,  and  threatening  the  oflFender  with 
cane  and  fist. 

Reproduced,  Bourguignon,  i.  16. 
4^  X  7f  in. 

12457  NAPOLEON  WORKING  THE  GUN  AT  TOULON. 

London.  Published  hy  Thomas  Tegg,  N'^  iii,  Cheapside,  Nov.  ly.  1814. 

See  No.  12454.  P-  24-  Napoleon  puts  a  match  to  a  mortar,  directing  a  shaft 
of  flame  and  smoke  towards  blazing  buildings  (1.).  Two  French  soldiers  lie 
dead  near  him,  a  third  (1.)  sits  exhausted  or  wounded  beside  his  wheelbarrow 
and  spade.  An  officer  (r.)  takes  snuft'  with  a  nonchalant  air.  Only  Napoleon 
is  in  violent  action.   A  tricolour  flag  flies  beside  him. 

The  capture  of  Toulon  (Dec.  1793)  was  largely  due  to  Bonaparte  as  second- 
in-command  of  the  artillery  under  General  du  Teil. 

Reproduced,  Bourguignon,  i.  65. 
4^X7^  in. 

12458  MASSACRE  AT  TOULON.^ 

See  No.  12454.  P.  26.  In  an  open  space,  in  front  of  fine  but  battered  build- 
ings, republican  soldiers  fire  cannon  point-blank  at  prisoners  (r.),  some  dead 
or  dying,  others  begging  for  mercy.  Some  are  in  uniform,  more  are  in  civilian 
dress.  Immediately  facing  them  is  Napoleon,  standing  on  a  small  barrel,  and 
addressing  them  with  outstretched  arm.  A  senior  officer  stands  just  behind, 
hugging  his  sword  and  gloating  over  the  massacre.  The  gunners  are  Jacobin 
ruffians  in  miscellaneous  uniforms,  one  almost  naked.  Grenadiers  are  drawn 
up  behind,  where  there  are  two  flags,  one  a  tricolour  with  bonnet  rouge. 

Savage  reprisals  were  taken  against  the  population  of  Toulon;  probably 
Bonaparte  had  no  share  in  the  atrocities.   See  No.  10095,  ^^• 
4wX7^in. 

12459  MARRIAGE  TO  JOSEPHINE. 

London.  Published  by  Thomas  Tegg,  N°  ill  Cheapside  Nov^  28^^  1814 

See  No.  12454.  P-  37-  ^  bloated  bishop,  standing  within  altar  rails,  looks 
towards  General  Bonaparte,  who  kneels  on  a  cushion  in  profile  to  the  1.,  facing 
the  kneeling  Josephine,  a  large  bicorne  under  his  r.  arm,  and  wearing  uniform 
with  spurred  boots  and  a  large  sword.  Josephine,  very  plump,  is  decolletee, 
and  holds  a  fan;  while  a  maid  of  honour  holds  up  her  long  train;  another 
stands  behind.  Both  have  patched  faces,  and  recall  the  sisters  of  Bonaparte 
in  Gillray's  Handwriting  upon  the  Wall  (No.  10072).  A  fierce-looking  officer, 
much  burlesqued,  and  a  lank  civilian  stand  behind  Bonaparte.  Two  acolytes 
hold  large  candles,  and  behind  the  bishop  a  priest  is  chanting.  Gothic  vaulting 
forms  a  background. 

The  (civil)  marriage  was  on  9  Mar.  1796,  see  No.  10981. 

De  Vinck,  No.  7895.    Reproduced,  Bourguignon,  i.  322. 
4|X7|in. 

'  Imprint  as  No.  12455.  ^  Imprint  as  No.  12457. 

494 


POLITICAL   SATIRES    1815 

12460  BRIDGE  OF  LODI.i 

See  No.  12454.  P.  44.  A  burlesqued  battle-scene  on  a  timber  bridge  without 
parapet.  French  soldiers,  lean,  ragged,  and  ferocious,  advance  from  the  r.  with 
bayonets  and  pikes  and  a  tricolour  flag  with  bonnet  rouge,  against  handsome 
and  well-equipped  Austrian  soldiers,  with  a  mounted  officer  and  a  Habsburg 
flag.  In  the  middle  distance  (r.)  Bonaparte  rides  in  front  of  grenadiers,  urging 
them  to  attack.  In  the  foreground  heads  and  feet  emerge  from  the  water,  and 
two  Frenchmen  (r.)  prepare  to  fire  a  cannon. 

The  battle  (10  May  1796),  a  rearguard  action  by  the  Austrians,  won  for 
Napoleon  a  reputation  for  great  personal  bravery,  and  was  a  favourite  subject 
of  official  French  art. 

Reproduced,  Bourguignon,  i.  107. 
4I X  7I  in. 

12461  SEIZING  THE  ITALIAN  RELICS. 

London.  Published  by  Thomas  Tegg,  N°  iii  Cheapside.  Dec.  i.  1814. 
See  No.  12454.  P.  58.  A  scene  in  Rome.  Soldiers  are  packing  up  church 
plate  and  works  of  art.  Bonaparte  stands  arrogantly,  directing  operations, 
beside  him  is  a  large  sack  of  plunder;  he  tramples  on  a  cross,  and  gives  orders 
to  a  ragged  and  blackguardly  French  soldier,  who  kneels  on  a  sarcophagus  (1.), 
clutching  the  statue  of  a  Venus  which  he  has  dislodged  from  its  pedestal  with 
hammer  and  chisel.  Two  soldiers  (r.)  fill  a  large  chest  with  gold  plate.  A 
picture  leans  against  it,  and  beside  it  is  a  Roman  bust  on  a  high  pedestal. 
Other  soldiers  march  about  with  fixed  bayonets.  In  the  middle  distance  (1.) 
a  covered  wagon  standing  under  a  temple  is  being  loaded.  Behind  (r.)  is  a 
corner  of  the  Vatican,  with  the  Pope  in  robes  and  tiara  standing  on  a  loggia 
between  a  fat  monk  and  a  cardinal.  In  the  background  behind  Bonaparte  is 
St.  Peter's,  rising  above  clouds  of  smoke. 

The  plundering  of  Rome  in  1797  and  1798  (partly  sanctioned  by  the  Peace 
of  Tolentino)  was  superintended  by  Berthier,  under  instructions  from 
Bonaparte  and  the  Director}'.  Cf.  No.  126 19,  &c.,  for  the  restoration  of 
sculpture,  &c. 

Milan,  No.  1757.    Reproduced,  Bourguignon,  i.  110. 
4|X7i  in. 

12462  THE  BLINDFOLDED  AUSTRIAN  OFFICER.^ 

See  No.  12454.  P.  62.  Bonaparte  sits  arrogantly  in  an  open  tent,  as  if  his 
drum-head  were  a  throne;  his  1.  foot  rests  on  a  cannon-ball;  his  1.  hand  is 
on  the  hilt  of  his  drawn  sabre.  At  his  feet  are  a  Plati  of  Attack,  dagger,  and 
pistols.  He  addresses  a  blindfolded  officer  (1.)  who  stands  holding  out  a  letter, 
while  a  French  officer,  with  a  grin,  and  a  gesture  of  introduction,  prepares 
to  remove  the  bandage.  Four  grotesque  grenadiers  with  drawn  swords  are 
on  guard  behind  Bonaparte,  one  standing  on  a  stool ;  his  taller  neighbour  is 
knock-kneed.  A  cannon  and  pyramid  of  cannon-balls  are  in  the  tent.  In  the 
middle  distance  (1.)  French  troops  stand  at  attention. 

A  supposed  incident  in  the  Italian  campaign,  after  the  fall  of  Mantua 
(2  Feb.  1797).    Bonaparte  bluft's  the  Austrians. 
4-^X7!  in. 

12463  MASSACRE  IN  EGYPT. 

London  Published  by  Thomas  Tegg.  N'^  iii  Cheapside,  Dec.  2,  1814. 

See  No.   12454.    P.  78.    French  soldiers  savagely  attack  Turks;  they  are 

directed  by  Bonaparte,  who  stands  in  the  middle  distance  (1.)  calmly  point- 

'   Imprint  as  No.  12459.  ^  Imprint  as  No.  12461. 

495 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

ing  a  finger  towards  the  massacre.  In  the  foreground  a  soldier  is  about  to 
strike  down  a  kneeling  woman  who  tries  to  protect  her  child,  while  his  com- 
panion gleefully  holds  up  the  body  of  an  infant  spiked  on  a  spear.  Another 
child  is  flung  into  the  air,  while  a  third  is  held  up  on  a  bayonet.  On  the  r. 
Turks  are  fleeing.  On  the  1.  lean  French  soldiers  advance  in  formation. 
Behind  (1.)  are  Pyramids,  with  tiny  figures  killing  and  being  killed.  Clouds 
of  smoke  rise  from  the  ground. 

An  insurrection  broke  out  in  Cairo,  i6  Oct.  1798,  and  was  punished  by 
savage  executions.   For  Alexandria  cf.  No.  10094. 
4|X7iin. 

12464  BURNING  THE  MOSQUES. 

London.  Published  by  Thomas  Tegg  N°  iii  Cheapside.  Dec^  4*^  1814. 

See  No.  12454.  P-  81.  French  soldiers  strike  down  Turks  with  bayonets 
against  a  background  of  blazing  buildings  with  dome-shaped  roofs ;  one  uses 
a  pickaxe.  One  or  two  women  are  among  the  victims.  Bonaparte  on  a  white 
horse  (r.)  directs  operations  with  an  imperious  forefinger.  In  the  background 
two  dwarfish  drummers  beat  their  drums,  and  a  boy  seated  on  the  ground 
with  a  music-book  plays  a  fife.  Cf.  No.  12463. 
4fX7^in. 

12465  SHOOTING  THE  PRISONERS  IN  EGYPT. 

London.  Published  by  Thomas  Tegg.  N"  ill  Cheapside  Nov.  2g,  18 14. 

See  No.  12454.  P-  9i-  Napoleon  stands  on  a  hillock  under  a  tree  in  the  fore- 
ground (r.)  looking  through  a  telescope  at  a  heap  of  dead  and  dying  Turkish 
prisoners  (1.)  in  the  middle  distance.  A  file  of  French  soldiers  fires  at  point- 
blank  range,  while  at  the  end  of  the  line  a  cannon  is  being  brought  into  action. 
The  scene  is  an  undulating  plain  with  occasional  palm-trees ;  in  the  distance 
are  a  walled  town  with  mosque,  a  Roman  pillar,  and  a  pyramid. 

The  massacre  of  prisoneis  at  Jaffa  after  the  storming  of  the  city  on  7  Mar. 
1799  is  one  of  the  chief  items  of  contemporary  propaganda  against  Napoleon, 
see  No.  10062;  cf.  No.  12466. 
4fX7iin. 

12466  POISONING  THE  SICK  AT  JAFFA.' 

See  No.  12454.  P.  92.  Bonaparte  stands  in  a  dispensary  opening  off  a  military 
hospital,  conspiratorially  giving  orders  to  a  slyly  grinning  doctor  who  shows 
him  a  bottle  labelled  Poison.  The  general  points  to  the  hospital,  separated 
from  the  dispensary  by  a  curtain,  where  men,  apparently  moribund,  lie  on 
bedsteads.  In  the  dispensary  are  jars,  bottles,  scales,  pestle,  and  mortar;  a 
small  crocodile  hangs  from  the  roof  (cf.  No.  11057). 

The  most  persistent  of  all  'atrocity'  charges;  certain  plague-stricken 
French  soldiers  being  given  opium  on  the  retreat  from  Acre  in  May  1799, 
see  No.  10063. 

Reproduced,  Bourguignon,  i.  168. 

4|X7^  in. 

12467  SEIGE  OF  ACRE.2 

See  No.  12454.  P.  94.  Bonaparte  (1.),  seated  on  a  horse  which  falls  back  on 
its  haunches,  urges  on  the  men  who  are  advancing  towards  the  siege-ladders 
against  a  stone  castle  flying  a  Turkish  flag.  An  oflicer  stands  deprecatingly 
in  front  of  him,  evidently  protesting  against  the  hopeless  slaughter.  Tiny 
figures  ascend  the  ladders  (r.)  and  are  hurled  back  by  British  soldiers. 

'   Imprint  as  No.  12465.  ^  Imprint  as  No.  12464. 

496 


POLITICAL   SATIRES    1815 

The  siege  of  Acre,  16  Mar.  to  20  May  1799,  was  defeated  by  a  Turkish 
garrison  aided  by  Sir  Sidney  Smith,  see  No.  9412.  Napoleon  is  here  charged 
with  slaughtering  inhabitants  during  a  vain  attack.  Cf.  No.  9992  where  he 
is  accused  of  using  the  white  flag  to  cover  an  attack. 

Reproduced,  Bourguignon,  i.  164. 
4|X7iin. 

12468  FLIGHT  FROM  EGYPT. 

London.  Published  by  Thomas  Tegg.  N°  iii  Cheapside.  Dec.  5.  1814. 

See  No.  12454.  P-  9^-  -^  night  scene  with  a  waning  moon.  Napoleon 
furtively  steps  into  a  small  boat  with  a  tattered  sail,  looking  over  his  shoulder 
at  tiny  French  tents,  placed  round  three  pyramids.  An  officer  standing  in  the 
boat  takes  his  hand,  and  a  ragged  and  ruffianly  French  sailor,  standing  in  the 
stern,  pushes  off  with  a  boat-hook.  In  the  boat  are  money-bags.  A  fantastic 
and  enormous  sphinx's  head  looks  out  from  between  the  pyramids. 

Napoleon  was  often  attacked  for  (secretly)  leaving  his  army  in  Egypt 
(23  Aug.  1799).  See  No.  9523,  by  Gillray,  on  which  this  print  may  be  based. 
4fX7|in. 

12469  COUNCIL  OF  FIVE  HUNDRED. 

London.  Published  by  Thomas  Tegg.  N"  iii  Cheapside.  Dec.  ij.  1814. 

See  No.  12454.  P.  98.  The  storming  of  the  Council  of  Five  Hundred  in  the 
Orangery  at  St.  Cloud  on  19  Brumaire  (10  Nov.  1799).  Bonaparte,  arms  out- 
stretched, stands  at  the  head  of  grenadiers  with  fixed  bayonets  who  rush  in 
through  a  portico  (1.).  The  members  wear  (incorrect)  official  costume,  with 
the  feathered  hats  of  the  Directors  (see  Nos.  9198,  9199).  One  falls  on  his 
back,  at  the  point  of  a  bayonet,  another  threatens  Bonaparte  with  a  dagger. 
The  President  (Lucien  Bonaparte)  rings  his  bell.  A  member  escapes  through 
a  window.    Smoke  from  fire-arms  adds  to  the  confusion. 

A  representation  of  the  coup  d'etat  which,  like  No.  9427,  combines  both 
incursions  of  Bonaparte  into  the  Council:  the  first,  when  the  alleged  dagger 
incident  occurred  and  he  retired  discomfited,  and  the  second  when  he  returned 
in  force  and  the  members  fled. 

Reproduced,  Bourguignon,  i.  202. 
4|X7|in. 

12470  CROSSING  THE  ALPS.' 

See  No.  12454.  P-  ^°^-  French  troops  advance  towards  a  ramshackle  wooden 
bridge  over  a  deep  gorge.  Bonaparte  (r.)  on  horseback,  with  extended  sabre, 
directs  the  hauling  of  a  cannon  up  a  rock  and  on  to  the  bridge.  In  the  back- 
ground, framed  by  the  bridge,  tiny  soldiers  and  guns  cross  the  ravine  in  the 
reverse  direction  by  a  still  more  perilous  bridge  and  march  up-stream  along 
a  rocky  ledge. 

The  passage  of  the  St.  Bernard,  15  May  1800,  a  favourite  theme  of  French 
artists,  is  less  burlesqued  than  other  subjects  in  this  series. 

Reproduced,  Bourguignon,  i.  258. 
4wX7^in. 

12471  MURDER  OF  DESSAIX. 

London.  Published  by  Thotnas  Tegg.  N°  ill  Cheapside.  Dec.  7  1814. 

See  No.  12454.  P-  m-  The  battle  of  Marengo  (14  June  i8oo).  In  the  fore- 
ground is  a  rotten  tree ;  an  officer,  hiding  behind  it,  shoots  Desaix  (r.)  in  the 

'   Imprint  as  No.  12469. 

497  Kk 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

back  with  a  pistol.  The  general,  sabre  in  hand,  staggers  back.  Bonaparte  (1.) 
stands  beside  the  murderer,  giving  instructions.  On  the  r.  in  the  middle 
distance  is  a  melee:  Austrian  hussars  cut  down  French  cavalry.  On  the  1. 
French  cavalry  charge  in  line.  In  the  background  is  a  column  of  French 
infantry. 

A  calumny :  Desaix  brought  up  his  troops  just  in  time  to  turn  defeat  into 
victory,  and  was  killed  at  the  moment  when  Kellermann's  cavalry  charge 
turned  the  tide.   His  loss  was  deeply  mourned  by  Bonaparte. 
4^X7jin. 

12472  MURDER  OF  THE  DUKE  D'ENGHIEN.' 

See  No.  12454.  P.  135.  A  scene  in  a  rocky  cave.  D'Enghien  (1.)  stands  blind- 
folded and  heavily  shackled,  facing  a  firing  squad  of  six  French  infantrymen ; 
three  kneel,  three  stand.  An  officer  (r.)  holds  up  a  torch,  and  gives  the  order 
to  fire.  The  cave  is  lit  by  the  torch  and  by  a  lantern  slung  from  the  victim's 
neck  (one  of  the  rumours  of  1804,  cf.  Memous  of  Queen  Hortense,  1928,  i.  97). 

For  the  murder,  21  Mar.  1804,  see  No.  1025 1. 
4wX7to  in. 

12473  CROWNING  HIMSELF  EMPEROR  OF  FRANCE.^ 

See  No.  12454.  P-  i42'  Napoleon,  in  coronation  robes,  stands  defiantly  on 
a  circular  dais  in  front  of  the  high  altar  (r.)  placing  a  large  crown  on  his  head. 
The  sceptre  and  orb  lie  on  a  cushion  on  the  altar.  He  is  in  profile  to  the  I., 
facing  Josephine,  who  advances,  fat  and  bedizened,  her  train  held  up  by  a 
grinning  black  page.  At  the  foot  of  the  dais  the  Pope  stands  holding  a  little 
vessel  of  oil  in  his  r.  hand,  the  crosier  in  the  1.  He  frowns  towards  the 
Emperor.  Behind  the  Pope  stands  Cardinal  Fesch,  the  head  of  a  file  of 
bishops  indicated  by  their  leader  and  two  crosiers.  In  the  background  rows 
of  courtiers  and  court  ladies  watch  the  ceremony. 

For  Napoleon's  coronation  as  Emperor  of  the  French  see  No.  10362. 

De  Vinck,  No.  7913.    Reproduced,  Bourguignon,  i.  331. 
4fX7f  in. 

12474  NAPOLEON  &  ALEXANDER  ON  THE  RAFT.^ 

See  No.  12454.  P-  ^72-  Napoleon  (1.)  takes  the  hand  of  the  Tsar  who 
advances,  bowing.  The  boats  by  which  the  two  Emperors  have  reached  the 
raft  lie  against  it,  1.  and  r.  In  the  French  boat  two  men  blow  trumpets,  in  the 
Russian  there  are  two  trumpeters  and  a  drummer.  The  canopy  of  the  raft 
is  decorated  with  tricolour  flags,  imperial  crowns,  and  eagles;  the  eagle  on 
the  apex  of  the  roof  holds  an  olive-branch.  On  the  shore  (r.)  are  tiny  Russian 
soldiers. 

For  the  meeting  (25  June  1807),  see  No.  10750,  &c. 

Reproduced,  Bourguignon,  i.  406. 
4tc  X  7w  in. 

12475  FIRST  INTERVIEW  WITH  MARIA  LOUISA. 

London.  Published  by  Thomas  Tegg.  N°  iii  Cheapside.  Dec.  14.  1814. 

See  No.  12454.  P.  207.  Napoleon,  wearing  crown  and  imperial  robes,  rushes 
with  outstretched  arms  down  the  steps  of  an  ornate  quasi-Gothic  palace  (r.) 
towards  Marie  Louise,  who  advances  over  a  flower-strewn  carpet  from  the  1., 
followed  by  three  ladies,  one  of  whom  holds  her  long  train.  Her  route  is  lined 

'  Imprint  as  No.  12471.  ^  Imprint  as  No.  12469. 

498 


POLITICAL   SATIRES    1815 

by  Spectators  and  troops,  with  flags,  eagles,  and  fixed  bayonets.  Roustan, 
Napoleon's  Mameluke,  stands  by  the  steps.  A  band  is  represented  by  a  flute, 
bassoon,  and  horn. 

Napoleon  met  Marie  Louise  (27  Mar.  18 10)  in  her  travelUng  carriage 
between  Soissons  and  Compiegne,  instead  of  in  the  pavilion  erected  for  the 
purpose.    See  No.  11557,  &c. 

De  Vinck,  No.  8446.    Reproduced,  Dayot,  Napoleon,  p.  264. 
4fX7|in. 

12476  NURSING  THE  KING  OF  ROME.' 

See  No.  12454.  P.  213.  Napoleon  and  Marie  Louise  sit  on  chairs  close  to 
a  blazing  fire  in  a  small  room.  The  Emperor  (r.),  wearing  night-cap,  dressing- 
gown,  and  slippers,  dandles  his  infant.  The  child,  wearing  crown,  royal  robe, 
and  spurred  jack-boots,  holds  out  a  coral  and  bells  in  the  r.  hand,  a  sceptre 
in  the  1.  The  cradle  is  immediately  behind  the  Emperor's  chair,  surmounted 
by  a  crown  and  vulturine  eagle.  Beside  it  (r.)  are  a  child's  commode  with 
imperial  emblems  and  a  realistic  rocking-horse  like  Napoleon's  charger,  with 
pistol  holsters.  The  Empress  is  more  formally  dressed  than  Napoleon,  wear- 
ing a  tiara  and  feathers,  and  her  1.  foot  is  on  a  footstool.  She  holds  on  her 
lap  a  dog  shaved  in  the  French  manner.  On  the  wall  (r.)  is  an  equestrian 
portrait  of  Napoleon  firing  a  pistol.  See  No.  11719,  &c. 
4^  X  7^  in. 

12477  BURNING  OF  MOSCOW. 

London.  Published  by  Thomas  Tegg.  N"  ill.  Cheapside.  Jan.  9.  1815 

See  No.  12454.  P-  227.  Napoleon,  standing  just  within  one  of  the  city  gates 
(r.),  draws  back  in  horror  at  the  sight  of  many  blazing  buildings  and  flames 
and  smoke  which  cover  the  sky.  An  officer  (1.)  points  to  the  conflagration. 
Behind  the  Emperor  stand  his  Mameluke  Roustan,  and  a  group  of  mounted 
soldiers. 

Napoleon  entered  Moscow  on  14  Sept.  1812.  The  fire  lasted  from  14  to 
17  Sept.    See  No.  12049,  ^'^• 

Cruikshank's  drawing,  in  pen  and  pencil,  is  in  the  B.M.  Binyon,  i.  284  (5) 
(199.  c.  1/6.) 

Reproduced,  Bourguignon,  ii.  193. 
4ire-X7*in. 

12478  RETREAT  FROM  MOSCOW. 

London.  Published  by  Thomas  Tegg.  N°  iii,  Cheapside :  Jan^  23^^  1815. 

See  No.  12454.  P.  229.  Despairing  French  soldiers  (burlesqued)  struggle 
forward  and  to  the  1.,  through  deep  snow  driven  on  by  a  snow-storm,  each 
man  for  himself.  A  battered  private,  less  deeply  buried,  has  tied  boards  to 
his  feet.  Heads  project  from  the  snow.  In  the  foreground  (r.)  the  legs, 
clasped  hands,  and  hat  of  a  dead  officer  emerge  from  the  snow.  Behind  this, 
four  officers,  under  a  makeshift  tent,  crouch  over  a  pot  on  a  small  fire.  Snow- 
covered  mountains  form  a  background,  and  carrion  birds  hover  over  the 
doomed  men.    See  No.  11917,  &c. 

Also  an  impression  without  aquatint  and  with  watercolour. 

Reproduced,  Bourguignon,  ii.  199. 
4wX7iff  in. 

'   Imprint  as  No.  12475. 

499 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12479  BLOWING  UP  THE  BRIDGE  AT  LIEPSIC. 

London.  Published  by  Thomas  Tegg.  N°  iii.  Cheapside.  Jan.  6.  1815. 

See  No.  12454.  P.  231.  In  the  foreground  (r.)  Napoleon  gallops  off  to  the  r., 
frantically  lashing  his  horse,  followed  by  two  mounted  men.  He  rides  over 
a  prostrate  French  soldier.  A  private  (1.)  gazes  in  horror  at  the  bridge.  In  the 
background  (1.)  the  bridge  is  shattered  by  an  explosion,  tiny  men  and  guns 
fly  high  in  the  air.  An  officer  gallops  into  the  river.  A  long  column  of  retreat- 
ing soldiers  is  left  on  the  farther  side  of  the  river,  which  is  bordered  by  a 
rocky  hill.    See  No,  12 108,  &c. 

Reproduced,  Bourguignon,  ii.  221. 
4iX7fin. 

12480  PURSUED  BY  COSSACKS.' 

See  No.  12454.  P-  234.  Napoleon  leaps  from  the  side-window  of  a  ram- 
shackle hut  of  wood  and  thatch,  while  Cossacks  (1.)  mounted  and  on  foot 
arrive  at  the  front  of  the  hut;  the  foremost  strikes  at  the  door  with  an  axe. 
A  French  private  holding  a  pistol,  opens  a  casement  window  beside  the  door. 
See  No.  12001,  &c. 

Reproduced,  Bourguignon,  ii.  199. 
4jX7iin. 

12481  THE  RED  MAN.2 

See  No.  12454.  P.  240.  Napoleon,  much  alarmed,  has  risen  from  a  chair  of 
state  (r.)  to  appeal  with  outstretched  arms  to  a  tall  man  who  is  leaving  the 
room,  but  turns  towards  him  with  a  menacing  gesture.  The  visitor  wears 
a  cocked  hat  and  a  long  robe  over  close-fitting  garments.  Through  the  partly 
open  door  (1.)  is  seen  a  man  (Count  Mole)  who  listens  in  terror  to  the  inter- 
view. The  chair  is  more  than  usually  ornate,  and  is  surmounted  by  a  menacing 
eagle  clutching  a  crown,  and  with  a  hand  of  Justice  (cf.  No.  12247).  Beside 
it  is  a  writing-table ;  papers  are  scattered  on  the  floor.  Fluted  column,  large 
curtains,  and  a  decorated  door  show  the  palatial  character  of  the  room. 

The  Red  Man,  according  to  a  legend  current  in  Paris  in  1814,  was  Napo- 
leon's familiar  demon  or  genius,  who  gave  him  aid  at  crises.  A  story  was 
circulated  that  on  i  Jan.  a  mysterious  man  had  pushed  past  Count  Mole  who 
had  been  ordered  to  keep  visitors  out,  and  entered  Napoleon's  cabinet,  where 
he  had  given  him  three  months  more,  on  pain  of  final  disaster,  to  complete 
the  conquest  of  Europe  or  make  a  general  peace.  There  were  other  versions, 
and  the  Red  Man  is  sometimes  the  Devil.  Gent.  Mag.,  1815  (Feb.),  p.  122  f. ; 
Notes  and  Queries,  S.  xi,  vol.  ii,  pp.  447,  511. 

According  to   a  Paris  superstition,   Thomme  rouge'   was  a  being  who 
haunted  the  Tuileries  and  announced  misfortunes  to  its  inhabitants.   Littre 
Diet.    Cf.  No.  12 197. 
4jX7f  in. 

12482  SIGNING  HIS  ABDICATION. 

London.  Published  by  Thomas  Tegg.  N°  iii.  Cheapside,  Jan.  7.  1815. 

See  No.  12454.  P-  453-  Napoleon  sits  in  a  chair  of  state  with  a  draped  canopy 
under  an  arcaded  loggia  opening  on  to  a  lawn  and  trees.  Pen  in  hand,  he 
makes  a  gesture  of  angry  despair  towards  one  of  his  marshals,  probably  Ney, 
who  faces  him,  holding  out  a  pair  of  pistols.  Beside  the  Emperor  stands  a 
Cossack  holding  his  long  spear.  Caulaincourt  (r.),  depicted,  as  in  French  and 
Russian  caricatures,  as  a  foppish  courtier,  registers  agitation  (r.).    A  hussar 

'   Imprint  as  No.  12477.  ^  Imprint  as  No.  12479. 

500 


POLITICAL   SATIRES    1815 

presumably  a  (Prussian)  and  another  officer  (probably  an  Austrian)  watch 
the  interview  from  behind  his  chair.  In  the  garden  (1.),  a  Mameluke,  Roustan, 
sharpens  a  sabre  on  a  grindstone  which  is  turned  by  a  dwarfish  French 
grenadier. 

The  abdication  was  signed  at  Fontainebleau  on  1 1  Apr.  18 14,  see  No.  122 16. 
This  was  countersigned  by  Caulaincourt,  Ney,  and  IMacdonald,  and  exchanged 
by  Caulaincourt  with  the  Treaty  of  Fontainebleau,  of  which  the  abdication 
was  the  first  article.  See  Memoirs  of  Caulaincourt,  ii,  1938,  pp.  285  ff. ;  Pari. 
Debates,  xxx.  376-87.  Stories  were  circulated  in  18 14  that  Roustan  oflFered 
his  sword  to  Napoleon  at  Fontainebleau,  and  on  his  master's  refusing  to  com- 
mit suicide  asked  Napoleon  to  kill  him  or  to  dismiss  him  from  his  service. 
See  Examiner,  24  Apr.  18 14.  This  is  an  incident  in  The  Dynasts  and  the 
subject  of  G.  C.'s  Singular  Trait  of  Bounaparte's  favorite  Mameluke,  15  May 
1814.    (Reid,  No.  325.) 

Reproduced,  Dayot,  Napoleon,  p.  312;  Bourguignon,  ii.  245. 
4iX7|in. 

12483  LANDING  IN  ELBA.' 

See  No.  12454.  P.  259.  Napoleon,  wearing  greatcoat  and  petit  chapeau,  and 
carrying  a  small  portmanteau,  walks  ashore  on  a  gang-plank  from  a  ship's 
boat  (r.),  one  end  held  for  him  by  a  British  sailor.  Other  sailors  hold  their 
oars  erect,  and  one  prepares  to  hand  out  a  chest.  He  is  deferentially  received 
by  a  man,  woman,  and  child  dressed  up  for  the  occasion,  by  a  fisherman 
holding  a  net,  and  one  or  two  others.  The  shore  is  wild  and  rocky;  a  gibbet 
with  a  tiny  corpse  hangs  from  a  promontory,  behind  which  are  rays  from  a 
sun  which  has  already  set,  with  the  usual  carrion  birds.  The  British  frigate 
('Undaunted')  is  near  the  shore.    See  No.  12229,  ^^• 

De  Vinck,  No.  9350.   Reproduced,  Dayot,  Napoleon,  p.  321 ;  Bourguignon, 
ii.  251. 
4iX7fin. 

12484  FRONTISPIECE  |  STARTING  TO  JOIN  HIS  REGIMENT. 
Drawn  and  Etch'd  by  Rowlandson 

London:  Pub  Feb^  i.  181 5  by  P.  Martin  ig8  Oxford  Street. 

One  of  fifteen  (coloured)  aquatints  with  the  same  signature  and  imprint,  to 
The  Military  Adventures  \  of  \  Johnny  Newcome,  \  with  an  Account  of  his  \  Cam- 
paigns in  the  Penifisular  j  a?id  in  \  Pall  Mall:  zvith  \  Sketches  by  Rowlandson; 
and  Notes.  |  . . .  By  an  Officer  [Lt.-Col.  David  Roberts.].  |  London:  |  Printed  for 
Patrick  Martin,  igS,  Oxford-Street,  |  .  .  .  |  181 5.  Johnny,  a  newly  joined 
subaltern,  just  arrived  at  Lisbon,  rides  a  small  horse,  followed  by  his  servant 
Teague  O'Connor  who  shoulders  a  musket  and  leads  a  pack-mule.  He  wears 
an  elegant  crescent-shaped  cocked  hat,  perched  on  short  curled  hair,  and  long 
pantaloons.  Teague  has  (throughout)  a  large  red  nose.  There  is  a  background 
of  mountain  with  a  few  gnarled  trees  in  the  middle  distance. 

A  (mild)  verse-satire  on  the  Army,  especially  on  the  promotions  and  privi- 
leges of  officers  in  the  Guards  compared  with  those  in  line  regiments.  Tribute 
is  paid  to  the  Duke  of  York.  The  (admiring)  dedication  is  'To  the  Subalterns 
of  the  British  Army'.  Johnny  Newcome  was  the  accepted  name  for  a  newly 
joined  officer,  see  No.  11983,  &c.  'Johnny',  though  of  different  parentage, 
may  be  John  Fremantle,  see  No.  12498.   See  Nos.  12485-98. 

Grego,  Rowlandson,  ii.  298  f. 
4IX7I  in.  (Approximate  size  of  all  plates.)  298*.  b.  20. 

■   Imprint  as  No.  12482. 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12485  PL  I.     Page  28.     JOHNNY  NEWCOME  GOING  TO  LAY  IN 
STOCK. 

See  No.  12484.  Johnny  walks  in  profile  to  the  r.,  towards  the  door  of  a  Lisbon 
shop.  The  shopman  stands  in  the  doorway  (r.),  below  the  street-level,  rubbing 
his  hands  in  expectant  delight.  Over  the  window :  Senior  Cavigole  Dealer  in 
Army  Stores.  Over  the  door:  All  sorts  of  Hams  Tongues  Pickles  &  Groceries 
Wines  Rum.  Brandy  Hollands.  Genebra  and  Pickled  Tripes.  In  the  window  are 
sugar-loaves,  jars,  candles,  bottles,  hams,  &c.  Military  garments,  a  saddle,  &c., 
hang  outside  the  door.  On  the  ground  outside  are  a  portmanteau,  large  oil- 
jars,  sacks,  muskets,  horse-collar,  cask,  &c.  John  is  closely  followed  by  two 
emaciated  beggars,  one  using  a  crutch. 

One  of  many  shops  selling  stores  to  the  British  Army  at  huge  prices,  to 
supplement  scanty  rations. 

12486  PI.  2.    Page  33.    A  BAD  BILLET. 

See  No.  12484.  Johnny  (1.)  enters  a  hovel  'wanting  door  or  casement',  hold- 
ing out  a  paper,  his  billet,  just  given  him  by  a  Portuguese  magistrate  at 
Sacavem,  first  stage  on  the  journey  to  his  regiment.  Three  old  crones  and  a 
man,  crouching  by  the  open  hearth,  look  round  at  him  in  dismay.  The  room 
contains  a  pack-saddle,  a  heap  of  straw,  a  bench,  crockery,  &c.. 

Very  inferior  billets  were  allotted  to  subalterns,  because  Portuguese 
subalterns  came  'from  very  humble  situations'.  Johnny  finds  better  accommo- 
dation at  a  wine-house. 

12487  PL  3.    Page  41.    TAKING  HIS  BREAKFAST. 

See  No.  12484.  Johnny  and  Teague  picnic  beside  a  stream.  The  subaltern 
sits  on  a  bank  carving  a  cheese,  the  man  stands  over  the  baggage,  saddles,  &c., 
holding  up  a  ham.  The  horse  and  mule  are  on  the  opposite  side  of  the 
stream,  beside  a  wayside  cross.  The  landscape  is  mountainous  and  romantic, 
though  described  in  the  text  as  flat. 

12488  PL  4-    Page  51-     INTRODUCED  tO  HIS  COLONEL. 

See  No.  12484.  An  officer  wearing  a  caped  overcoat  and  round  forage  cap, 
introduces  Johnny  (1.)  to  his  colonel  (r.);  both  raise  their  cocked  hats.  In  the 
background  (1.)  two  officers  walk  arm-in-arm,  one  in  overcoat  and  forage  cap, 
the  other  in  regimentals  and  cocked  hat.  Soldiers  (r.  centre)  sit  or  stand 
round  a  camp-fire.  A  sentry  (r.)  stands  before  a  group  of  small  tents  on  a 
hill-side. 

John  finds  his  regiment  in  bivouac  (without  tents)  at  Salamanca.  The 
officers  are  'oddly  drest'. 

Their  ragged  jacket,  and  their  purple  vest ; 

Reg'mental  great  coats,  batter'd,  bare,  and  old; 

And  forage  caps  that  once  were  blue  and  gold. 

12489  PL  5.    Page  60.    SMELLS  POWDER  FOR  THE  FIRST  TIME. 

See  No.  12484.  A  battle-scene.  Johnny  is  the  end  man  of  a  line  of  soldiers, 
who  are  charging  with  bayonets  in  perfect  formation.  He  holds  his  sword 
in  the  position  of  a  bayonet.  In  the  background  another  line  of  infantry 
advances,  firing.  The  French  flee  to  the  r.,  but  in  the  background  they  answer 
fire  with  fire.  In  the  foreground  are  dead  and  wounded  men ;  a  dying  officer 
lies  across  his  charger.  On  the  horizon  (1.)  British  cavalry  charge  behind  a  gun. 
Johnny's  captain  being  killed,  he  is  ordered  to  take  his  place  and  lead  his 
men  at  the  battle  of  Salamanca  (see  No.  11905). 

502 


POLITICAL   SATIRES    1815 

12490  PL  6.  Page  62.  JOHNNY  WRITES  AN  ACCOUNT  OF  THE 
ACTION  TO  HIS  MOTHER,  WHICH  AFTERWARDS  APPEARS  IN 
THE  STAR. 

See  No.  12484.  Johnny  sits  on  a  slope  in  profile  to  the  1.  under  a  tree,  writing, 
his  hat  and  sword  beside  him.  Teague  lounges  in  the  foreground,  watching 
his  officer  and  leaning  against  a  man  in  civilian  dress.  Soldiers  sitting  and 
standing  are  grouped  in  the  middle  distance,  with  tents  and  a  sentry  behind, 
as  in  No.  12488. 

12491  P/.  7.    Page  63.    HALF  RATIONS. 

See  No.  12484.  Soldiers  bivouac  at  the  base  of  a  rocky  hill  or  cHff  (r.).  Some 
are  cutting  up  a  tree-trunk  with  axes.  In  the  foreground  (1.)  Teague  holds 
out  a  fragment  of  food,  which  Johnny  (r.),  still  smart,  walks  forward  eagerly 
to  take. 

The  scanty  rations,  when  these  arrived,  were  chiefly  'flinty  biscuit,  tough 
and  stinking  beef. 

12492  PI.  8.   Page  65.    LEARNING  TO  SMOKE  AND  DRINK  GROG. 

See  No.  12484.  Five  officers,  drinking  and  smoking  cigars,  sit  at  a  table  in 
a  bare  room;  Johnny  (1.)  stands  with  his  back  to  the  table  violently  sick.  On 
the  wall  is  a  bill  headed  Sick  List,  a  bed  is  seen  in  an  adjoining  room. 

The  doctor,  seeing  Johnny  was  exhausted,  when  close  to  Medina,  took  him 
to  his  hospital  for  'rum  and  segars',  with  a  party  of  officers. 

12493  PL  9.     Page  66.     POOR  JOHNNY  ON  THE  SICK  LIST. 

See  No.  12484.  Johnny,  very  ill,  lies  on  a  blanket  on  a  heap  of  straw  in  a 
miserable  raftered  building  with  a  crucifix  on  the  wall.  The  doctor  who 
inspects  him  wears  regimentals,  but  holds  a  gold-headed  cane.  Teague  stands 
beside  the  doctor  holding  a  syringe.  In  the  background  a  rat  sits  on  a  stool. 
The  doctor  orders  Johnny  to  the  rear  (Salamanca),  whence  he  expects  him 
to  be  sent  home. 

12494  PL  10.    Page  67.    GOING  SICK  TO  THE  REAR. 

See  No.  12484.  Johnny  lies  flat  on  his  back  on  a  rough  two-wheeled  cart 
drawn  by  oxen,  his  head  against  his  portmanteau.  A  sturdy  bearded  peasant 
(r.)  leads  the  beasts.  Teague's  head,  smoking  a  pipe,  projects  into  the  design 
from  the  1.  The  scene  is  a  rough  track  by  a  stream  in  mountainous  country. 
Carrion  birds  fly  ominously  overhead. 

The  terrible  journey  with  sick  and  wounded,  'Dragg'd  in  the  midst  of 
donkies,  mules  and  carts',  is  described.  Johnny,  who  arrives  half-dead  at 
Lisbon,  is  sent  home  with  Teague  in  a  transport. 

12495  PL  II.   Page  73.   JOHNNY  SAFE  RETURNED  TO  HIS  MAMA. 

See  No.  12484.  The  hero  in  civilian  riding-dress  is  shown  into  a  comfortable 
parlour  by  an  ungainly  footman  (r.).  His  parents  sit  by  the  fire,  an  elderly 
London  'cit'  and  his  plainly  dressed  wife.  There  is  a  handsome  carved 
chimney-piece,  with  china  and  a  mirror;  a  T.Q.L.  portrait  of  the  grocer  in 
a  livery  gown;  a  bird  in  a  cage,  a  barometer,  and  a  round  convex  mirror 
hang  on  the  wall.   A  dog  clipped  in  the  French  manner  watches  Johnny. 

Johnny  tells  his  father  that  'campaigning  is  no  joke  with  us  poor  subs',  but 
cash  is  a  better  way  to  get  promotion.  His  father,  a  retail  grocer  on  Johnny's 
departure,  but  now  banker,  alderman,  and  M.P.  for  the  City,  is  ready  and 
able  to  help  in  a  campaign  in  Pall-Mail,  i.e.,  at  Carlton  House. 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12496  PI.  12.  Page  ii6.  DASH'D  WITH  HIS  SUITE  FOR  SANTAREM 
THAT  NIGHT. 

See  No.  12484.  Johnny,  now  a  captain  in  the  Guards,  rides  a  well-bred 
charger,  followed  by  a  valet  and  two  grooms,  all  in  civilian  dress  and  well 
mounted,  who  lead  pack-mules.   A  dog  prances  before  Johnny's  horse. 

Johnny  has  induced  his  father  to  become  a  banker  in  Pall  Mall,  acquire  a 
knighthood  and  a  house  in  St.  James's  Square;  now  backed  by  wealth  and 
influence  he  transfers  into  the  Guards,  returns  to  Lisbon  in  a  man-of-war, 
and  is  entertained  on  arrival  by  Sir  Charles  Stuart,  the  British  Envoy,  and 
by  the  General,  Major-General  Peacocke,  who  'Felt,  as  a  Guardsman,  the 
esprit  du  corps' . 

12497  PI.  13.    Page  121.    JOHNNY  ON  DUTY  WITH  HIS  CHIEF. 

See  No.  12484.  Johnny,  surrounded  by  staff  officers,  gives  a  sealed  letter  to 
Wellington.   In  the  background  (1.)  are  cavalry. 

John,  on  handing  in  his  credentials,  is  appointed  extra  A.D.C.  by  'the 
noble  Chief. 

12498  P/.Xz^.    Page  181.    PRESENTING  THE  TROPHIES. 

See  No.  12484.  The  Regent,  seated  on  the  throne,  surrounded  by  courtiers 
and  ladies,  smiles  at  Johnny  (r.)  who  kneels  before  him,  holding  out  the  crown 
of  a  hat. 

Johnny,  after  Vittoria,  picked  up  Marshal  Jourdan's  baton  and  the  crown 
of  Joseph  Bonaparte's  hat;  Wellington  sends  him  to  England  with  these 
trophies.  He  is  at  once  promoted  Major  and  Lt.-Col.  in  the  same  Gazette 
(hke  Lord  Clinton);  presents  the  trophies  to  the  Regent,  who  makes  him  K.B. 
and  an  Equerry.   His  father  meantime  has  bought  him  a  seat  in  Parliament. 

For  Jourdan's  baton  see  No.  12072,  &c.  Welhngton's  dispatches  on 
Vittoria  were  brought  by  Captain  John  Fremantle  (b.  1790,  gazetted  Lt.-Col. 
in  1814),  who  was  Wellington's  A.D.C.  in  the  Peninsula  and  at  Waterloo; 
afterwards  Lt.-Col.  of  the  Coldstream,  who  had  political  interest  in  the 
Grenville  connexion. 

12499  AMUSEMENT  AT  VIENNA,  ALIAS  HARMONY  AT  CON- 
GRESS, ie  PAYING  THE  PIPERS. 

[Williams.] 

Pu¥  Feby  I,  181 5  by  W  N  Jones  N°  5  Newgate  St 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  ix.  81.  The  Powers 
are  dancing  on  a  large  Map  of  the  Continet  [sic]  spread  on  the  floor.  Castle- 
reagh  (r.),  just  off  the  map,  hands  out  guineas  to  the  musicians.  He  is  in 
court  dress,  and  in  his  pocket  are  papers:  The  Irish  Lilt  and  State  Papers. 
He  has  a  large  sack  of  coins  inscribed  Fidlers  Subsidy,  and  hands  to  the 
delighted  leader,  the  violinist,  a  shovelful  of  money,  saying.  Just  arrived  to 
pay  your  emminet  [sic]  service!  you  have  kept  us  all  in  Harmony,  and  when  we 
have  done  here  I  shall  require  your  skill  for  the  same  purpose  at  our  Uproar  House 
[Opera,  cf.  No.  12133,  i.e.  the  Commons]  in  London.  The  man  answers: 
Ah!  de  Guinea!  I  like  de  guinea,  I  fiddle  for  ever  for  de  guinea!  The  flautist 
just  behind  says:  /  like  de  guinea  too!  Shovel  some  in  here.  I  pipe  so  lofig  as 
he  fiddle.  The  next  man  flourishes  his  trumpet,  saying,  Sar  you  pay  de 
Trompette  Sar.  A  Frenchman  holds  up  a  French  horn,  exclaiming.  Eh  de 
French  Horn  Mon^.  The  last  musician  holds  up  a  bassoon.  Just  behind 
Castlereagh  stands  John  Bull  (r.),  in  top-boots  and  holding  a  riding-whip. 
His  hat  is  under  his  arm  and  in  his  hand  he  holds  a  crown  topped  by  the 
White  Horse  of  Hanover.  He  glares  menacingly  at  the  British  Plenipotentiary, 

504 


POLITICAL   SATIRES    1815 

saying,  So!  So!  this  is  the  way  sbstance  [sic]  is  given  for  Shadows!  this  is  all 
I  am  to  have  in  return,  its  a  Tinsel  bauble,  zounds!  I  could  lay  my  whip  on  the 
shoulders  of  fiddlers.  Pipers,  and zounds  I  can't  keep  my  Temper. 

The  three  dancers  (1.)  are  the  Russian  bear  (Alexander)  who  stands  between 
the  double-headed  Austrian  eagle  and  the  Prussian  eagle,  taking  a  wing  of 
each.  All  wear  ribbons,  and  all  dance  with  lifted  paw  or  claw,  trampling  on 
the  map.  Alexander  dances  on  Poland,  Austria  on  Saxony,  Prussia  on  Italy, 
showing  that  the  artist  has  reversed  the  eagles  symbolizing  these  countries. 
Alexander  says:  Well  Cousins  I  think  we  have  got  this  Country  Dance  pretty 
perfect — wee' I  try  it  once  more,  while  our  friend  is  paying  the  piper — Now!  hands 
round,  lead  down  into  Poland  cross  over  into  Saxony,  and  right  and  left  in  Italy — 
wont  that  do!!!  On  the  extreme  1.,  and  off  the  map,  Talleyrand,  with  a  club- 
foot and  grossly  ugly,  talks  to  a  very  fat  man  wearing  a  ribbon  and  star  ( ?  the 
King  of  Wiirtemberg),  who  says :  Mais  Mons^  Tallyran  Ces  Anglas  hav  great 
deal  Monies  dey  pay  every  ting!  Talleyrand  answers :  Ah  Out  you  cajole  Joh 
Bull  he  pay  what  you  like!  In  the  foreground  (1.)  are  books  and  papers.  An 
open  music-book  is  A  Set  of  New  Country  Dances  Composed  for  the  use  of 
Congress;  the  tune  is  Cajoling.  Other  books  are  Waltz's,  [Fan]dangos,  and 
Jigs.  Papers  are:  A  New  Russian  [}^Dance,  and  A  New  Pas  de  Trois  performed 
by  the .   Behind  are  spectators,  three  being  ladies. 

See  No.  12453,  ^^-  Castlereagh  pays  the  piper  but  fails  to  call  the  tune. 
John  Bull  is  angry  that  Britain's  share  in  the  spoils  of  costly  war  should  be 
merely  the  elevation  of  Hanover  to  the  status  of  a  Kingdom.  The  lavish 
payments  are  retrospective  or  assumed:  subsidies  were  involved  in  the  so- 
called  Secret  Treaty  of  3  Jan.,  a  defensive  alliance  between  Austria,  France, 
and  Britain,  but  this  was  unknown  to  the  artist.  For  the  balls  at  Vienna 
cf.  No.  12500. 
8|xi3iin. 

12500  LE  congr£s. 

[Forceval,  his  signature  being  a  crayfish  in  the  1.  margin.] 

Engraving  (coloured  impression).  A  French  print.  The  personages  of  the 
Congress  of  Vienna  are  dancing.  In  the  centre,  the  Tsar,  the  Emperor 
of  Austria  (1.),  and  the  King  of  Prussia  (r.)  dance  a  pas  de  trois,  arms 
raised  above  their  heads,  except  that  Alexander  holds  behind  his  back  the 
1.  hand  of  Francis  in  his  1.  hand.  He  holds  above  his  head  the  r.  hand  of 
Frederick  William.  Above  their  heads:  lis  balancent.  On  the  1.  of  this  group 
Lord  Castelreagh  dances  a  jig,  with  a  cane  under  his  arm,  his  head  in  profile 
to  the  r.,  sourly  watching  the  monarchs.  He  is  clumsy,  plebeian-looking,  and 
unrecognizable;  above  his  head:  II ballotte  ...  [he  wobbles].  On  the  extreme 
1.  Talleyrand  watches,  leaning  against  the  wall  with  folded  arms.  Compared 
with  the  others  he  is  somewhat  flattered,  and  is  without  a  club-foot,  but  is 
styled  bie?i  au  vent ;  above  his  head :  //  observe.  On  the  r.  of  Frederick  William 
is  the  Roi  de  Saxe,  full-face  and  pointing  a  toe ;  he  wears  a  crown  which  he 
clutches  in  both  hands.  Above  his  head:  //  danse  terre-a-terre.  On  the 
extreme  r.  and  in  profile  to  the  1.  is  the  Republique  de  Genes,  a  woman  wearing 
a  cap  hke  that  of  a  doge,  with  a  long  cloak.  She  leaps  into  the  air,  feet  together ; 
above :  elle  Saute  pour  le  roi  de  Sardaigne.  All  wear  flat  dancing-slippers  except 
Frederick  WiUiam,  who  wears  jack-boots  with  long  spurs.  All  wear  stars  or 
ribbons  or  both,  Castlereagh's  star  being  of  a  curious  pattern. 

For  the  Congress  see  No.  12453,  &c. ;  one  of  several  allusions  to  the 
frequent  balls  (cf.  the  Pr.  de  Ligne's  famous  remark  'le  congres  ne  marche 
pas,  il  danse').  The  transference  of  the  old  Republic  of  Genoa  to  Sardinia  was 

505 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

settled  by  a  secret  clause  of  the  First  Peace  of  Paris  (30  May  18 14).  Webster, 
ForeigJi  Policy  of  Castlereagh,  i,  1931,  p.  287.  The  date  seems  after  the  accep- 
tance by  Alexander  in  January  of  the  restoration  of  the  King  of  Saxony. 
Talleyrand,  having  been  admitted  to  the  Directing  Committee  on  9  Jan.,  was 
more  than  an  observer.  He  w^as  called  in  French  caricature  'Chevalier  de 
rOrdre  de  la  Girouette',  see  U Homme  aux  6  Tetes,  pub.  in  Le  Nain  Jaune, 
15  Apr.  1815  (reproduced,  De  Vinck,  v.  3).    Cf.  No.  12521,  &c. 

Listed  by  Broadley.   Hennin,  No,  13671.   De  Vinck,  No.  9505  (a  state  in 
which  Murat  replaces  Genoa,  and  with  other  variations). 
7|Xioi|in. 

12501  THE    AMBASSADORS    RETURN— OR— A    NEW    ARRIVAL 
FROM  CONGRESS. 

[Williams.] 

Pub^  March  i^^  18 15  by  Johnson  [sic]  g8  Cheapside. 

Engraving  (coloured  impression).  Castlereagh,  mounted  on  an  elephant, 
advances  from  under  a  triumphal  arch  (r.)  towards  the  Regent,  Ministers,  and 
others,  who  acclaim  his  arrival.  He  wears  court  dress  and  sits  cross-legged 
on  a  cushion,  holding  out  a  crown ;  he  says,  bending  forward :  My  Prince  I  am 
returned  overwhelmed  with  glory,  to  recieve  the  applauses  of  a  gratefull  nation. 
I  am  doubtless  the  greatest  negociator  in  the  World  [cf.  No.  12808].  The 
Regent  holds  up  to  him  a  Patent  of  Peerage,  pointing  to  a  ducal  coronet  which 
Garter  King  of  Arms  holds  on  a  cushion,  bowing  towards  Castlereagh  with 
an  obsequious  smile.  He  answers :  Nobody  doubts  that  but  your  own  Country- 
men, and  they  are  d — d  ungratefidl ;  methinks  you  have  accquired  more  gracefidl 
attitudes  since  you  went  abroad,  thank  god  you  are  come  back,  for  we  have  had 
hard  work  to  shuffle  on  in  your  absence.   Immediately  behind  the  Regent  stands 

Lord  Yarmouth,  with  arms  extended ;  he  says :  By  goles  wee' I  push  ; the 

Minister  about  to  night,  and  J' II  brew  such  a  bowl  of  punch  you  have'nt  tasted 
this  twelvemonth  my  Buck.  McMahon  capers  on  the  extreme  1.,  saying.  Now 
we  shall  have  all  the  news  about  the  dancing  a?id  so  [sic]  like —  [cf.  No.  12500]. 
Behind  is  a  corner  of  the  screen  of  Carlton  House.  The  Ministerial  group 
is  in  the  centre  of  the  design,  but  farther  back  and  less  characterized  than  that 
of  the  Regent.  It  is  headed  by  Vansittart,  in  his  Chancellor  of  the  Exchequer's 
gown,  with  a  large  package  inscribed  [Bu]dget  under  his  arm.  He  exclaims: 
welcome  old  colleague  I  have  got  a  rare  budget  of  noelties  [sic]  for  your  inspection. 
Behind  him  is  Sidmouth,  identified  only  by  the  document  he  holds,  inscribed 
Home  Affairs.   Three  or  four  others  stand  behind  with  raised  arms. 

The  triumphal  arch  is  formed  of  two  pillars  of  great  rectangular  blocks  of 
papers,  those  on  the  nearer  side  being  inscribed  respectively:  Treaties  of 
Alliance,  Projects,  Papal  Bulls,  Contracts  of  Marriage,  Protests  of  Saxony, 
Offensive  and  Defensive  Alliances,  [?  Partition]  of  Poland,  Indemnities,  Grants. 
The  architrave  is  a  huge  volume  clasped  with  padlocks  and  inscribed  National 
Leger.  On  this  stand  three  great  money-bags,  each  inscribed  Subsidy.  Behind 
the  elephant  march  two  attendants  carrying  fringed  banners,  one  inscribed 
Sic  Itur  ad  Astra  [Virgil,  Aen.  ix.  641],  the  other:  [Suavite]r  [in  Mo]do 
[F]ortiter  in  Re.  A  monkey  sits  like  a  mahout  on  the  elephant's  neck;  the 
great  saddle-cloth  is  decorated  with  the  Royal  Arms,  partly  covering  a  word 
beginning  Pol.  In  the  foreground  and  in  back  view  stands  John  Bull,  looking 
up  at  Castlereagh,  a  large  sheaf  of  Petions  [sic]  against  Prop[erty]  Tax  under 
his  1.  arm,  a  whip  in  his  r.  hand.  He  says :  Oh  Ho  M''  Negociator!!  zvhat  you 
are  arrived  at  last  come  Sir!  get  into  your  proper  place  and  give  an  account 
of  yourself  ,  let  me  see  what  sort  of  a  figure  you'll  cut  in  Parliament. 

506 


POLITICAL  SATIRES   1815 

An  anticipation  of  the  return  of  Castlereagh,  who  left  Vienna  on  1 5  Feb. 
and  landed  at  Dover  on  3  Mar.  He  is  attacked  on  lines  similar  to  the  budget 
debate  on  20  Feb.,  when  the  commitments  of  the  country  were  said  to  be 
doubtful  until  his  return.  Tierney  asked:  'Why  not  wait  then,  the  arrival  of 
the  noble  lord,  if  his  intelligence  be  good  ?  But  if  the  proceedings  of  the  noble 
lord  at  the  Congress  were  to  be  still  wrapped  in  mystery  .  .  .  why  previous 
to  his  arrival  anticipate  such  silence  and  vote  money  which  was  not  at  present 
necessary.'  Pari.  Deb.  xxix.  875.  He  is  unjustly  attacked  for  sacrificing 
Poland  and  Saxony,  having  done  his  utmost  for  Poland,  and  succeeded  in 
defeating  the  demands  of  Prussia  for  the  whole  of  Saxony.  See  C.  K.  Webster, 
The  Foreign  Policy  of  Castlereagh,  i,  193 1,  pp.  383-6;  Camb.  Hist,  of  Poland, 
1941,  pp.  259  ff.  For  the  Congress  see  No.  12453,  ^^-i  ^^^  petitions  against 
the  Income  Tax,  No.  12507,  &c.  Cf.  No.  12532. 
8^Xi3iin. 

12502  JOHN  BULL'S  THREE  STAGES  OR,  FROM  GOOD  TO  BAD 
&  FROM  BAD  TO  WORSE. 

G  Cruikshank  fec^ 

Pub'^  by  M  Jones  Newgate  S^  March  i'^  181 5 — 

Engraving'  (coloured  and  uncoloured  impressions).  PI.  to  the  Scourge,  ix.  161. 
A  sequence  of  three  designs,  placed  side  by  side,  each  with  a  caption,  [i]  Before 
the  War —  John  Bull,  a  'cit',  dines  with  his  wife  and  infant  son,  waited  on 
by  a  footman  in  livery,  who  brings  in  a  pie.  John  sits  full-face,  fat,  bloated, 
facing  his  plump  wife;  the  little  boy,  in  a  high  child's  chair,  turns  from  the 
(round)  table,  clasping  his  stomach  and  saying,  /  can't  eat  any  more.  On  the 
table  are  a  gigantic  sirloin,  a  plum-pudding,  a  large  frothing  tankard  inscribed 
j'^,  and  a  decanter  of  Port.  The  cloth  hangs  to  the  floor.  John's  well-fed  dog 
lies  asleep  between  a  well-filled  wine-cooler,  a  covered  dish,  empty  bottle, 
and  plate.  A  well-furnished  room  is  indicated,  with  clock  and  ornaments  on 
the  chimney-piece.  John  guzzles  and  grumbles  (as  in  No.  8145):  Ah,  happy 
Country  if  Ministers  zcere  but  honest  &  Patriots  sincere  thy  Princes  neither 
litigious  or  Ambitious — these  are  the  Blessings  we  might  always  enjoy — Plenty 
would  attend  upon  industry — monopoly  would  cease  &  Liberty  guide  the  sail  of 
Commerce — no  more  pudding  boy? — co7ne  have  another  plate: 

[2]  During  the  War —  The  same  family  some  six  years  later,  sit  at  a  similar 
table  covered  with  a  short  dilapidated  cloth.  The  child  is  a  lank  little  boy 
on  a  high  office-stool.  A  second  child  sits  at  the  table,  on  a  stool  heightened 
by  a  Day  Book  and  Ledger.  The  parents  are  less  fat,  but  not  thin.  John 
carves  a  good-sized  sirloin,  the  only  food  on  the  table  except  for  a  tankard 
inscribed  4^'^.  All  have  empty  plates,  and  ask  for  more ;  the  infant  says :  /  want 
some  more  meat.  A  dog  and  cat,  both  thin,  feed  on  bones.  John  (1.):  Curse 
on  this  necessary  War  say  L  it  has  deprived  us  of  all  the  necessaries  of  life — 
give  you  some  Beef  Child!  why  it  is  eating  gold — you  have  had  enough — Chains 
have  become  an  Englishmans  Liberty! — his  boasted  independence!!! — beggary  & 
ruin  his  inheritance — The  Tax  on  my  House,  on  my  Window  lights  on  my  property 
on  my  Salt  my  Hat  fny  Dog  with  a  Thousafid  etceteras  has  exhausted  my  ?neans, 
&  left  me  little  better  than  a  bare  bone.  Oh!  for  a  peace  a  lasting  &  a  permattent 
Peace!!!!— 

[3]  — Peace  with  all  the  World.  The  family  is  emaciated  and  ragged.  John 
(r.)  sits  despairingly,  holding  a  (broken)  carving-knife  and  fork  before  a  dish 
of  bones.    There  is  a  tankard  inscribed  6'^.    On  the  wall  are  (i)  a  picture, 

'  Not  folded,  showing  that  it  was  issued  separately.  The  coloured  impression  is  in 
B.M.L.  C.  40.  f.  10. 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

(2)  a  print,  and  (3)  a  bill  representing  the  three  stages:  a  portrait  of  John  and 
his  wife,  both  grossly  fat;  a  print  of  a  snorting  bull  carrying  an  enormous 
burden  of  Taxes  [see  No.  10728],  and  a  bill:  National  Debt  g^o  millions.  Tea- 
things  are  ranged  on  the  chimney-piece  as  in  a  proletarian  garret.  The  boards 
are  bare,  the  skimpy  table-cloth  tattered,  the  dog  has  disappeared,  a  starving 
cat  miaows  behind  the  younger  child,  who  stands  by  the  table,  saying.  Give 
me  some  more  Bone  dady;  the  others  watch  the  dish  in  glum  despair.  John 
says :  Are  these  the  effects  of  Peace?  is  this  the  Peace  we  have  been  sighing  for? 
Alass  my  good  Old  Sirloin  is  reduced  to  a  bo?ie,  my  Porter  to  a  compound  of 
Drugs  &  Soporifics  I  am  borne  down  by  fresh  exactions  of  the  State,  by  New 
Taxes ;  more  ruinous  wider  a  Peace  establishment  than  those  which  propped  up 
the  late  unhappy  War — from  what  I  was  compare  me  with  what  I  am :  my  limbs 
are  wasting  by  consumption.  I  am  but  the  mere  Shadow  of  my  former  self.  Hope 
has  forsaken  me— more  bone  child? — alass  I  have  no  more  meat  &  these  poor 
remnants  of  my  prosperity  can  scarcely  eke  out  another  days  subsistance. 

A  satire  deriving  from  the  budget  debate  rather  than  fact:  Vansittart 
claimed  that  the  country  was  in  a  flourishing  state,  but  said  that  the  removal 
of  the  Income  Tax  (see  No.  12452)  would  necessitate  new  taxes.  Pari.  Deb. 
xxix.  860  ff.  Peace  led  to  active  speculation;  the  depression  did  not  follow 
till  the  end  of  18 15,  when  an  abundant  harvest  had  brought  distress  to  farmers, 
while  markets  were  overstocked  and  capital  locked  up  in  consignments. 
Smart,  Econ.  Annals  of  the  Nineteenth  Century,  1910,  i.  435  f.  For  the  price 
of  porter  cf.  Nos.  9430,  12265,  for  adulterated  beer.  No.  10794,  for  the  gibe 
at  'necessary'  war  cf.  No.  8599,  &c.  Cf.  similar  comparisons,  Nos.  9714 
(1801),  13192. 

Reid,  No.  458.    Cohn,  No.  732. 
7^X191  in. 

12502  a  a  second  state  (aquatinted),  the  pi.  cut  into  three,  each  with 
separate  title:  Rare-Fare,  Spare-Fare,  and  Bare-Fare,  and  the  same  captions. 
Imprint,  Pub^  by  J  Johnstone  g8  Cheapside. 

7^  X  6^  in. ;  7^^  x  6f  in. ;  7^  X  6|  in. 

12503  THE   BLESSINGS   OF   PEACE   OR,   THE   CURSE   OF  THE 
CORN  BILL. 

G.  Cfec' 

Pub''  by  S.  W.  Fores  30  Piccadilly — March  3'^  1815 

Engraving  (coloured  impression).  Four  landlords  stand  on  the  shore,  sternly 
dismissing  Frenchmen  in  a  small  vessel  filled  with  sacks  of  corn,  the  stern 
being  cut  oft'  by  the  1.  margin.  A  man  in  the  bows  opens  the  mouth  of  a  sack, 
inscribed  50  s,  and  holds  up  a  bunch  of  wheat-ears,  saying,  here  is  de  best  for 
50".  An  elderly  man  wearing  a  court  suit,  supporting  himself  on  a  stick,  says, 
with  a  gesture  of  negation :  We  wont  have  it  at  any  price — we  are  determined 
to  keep  up  our  ozvn  to  80^ — &  if  the  Poor  can't  buy  at  that  price,  why  they  must 
starve,  we  love  money  too  well  to  lower  our  rents  again,  tho  the  Income  Tax  is 
taken  off: —  A  stout  man  with  gouty  legs,  and  hands  on  hips,  says  with  a 
fierce  scowl :  Aye — aye  let  'em  Starve  &  be  D — d  to  'em.  A  third  adds :  no,  no, 
we  wont  have  it  at  all.  All  three  wear  stars,  showing  they  are  men  of  rank. 
The  fourth  wears  more  modern  dress,  with  a  bell-shaped  top-hat;  he  scowls 
towards  the  boat.  One  of  three  Frenchmen  empties  a  sack  overboard,  saying, 
By  gar  if  they  will  not  have  it  at  all  we  must  thro  it  over  board.  A  handsome 
and  sturdy  John  Bull  (a  new  type,  cf.  No.  13 197)  stands  in  the  foreground 
with  his  family;  he  looks  angrily  at  the  landlords,  saying,  No,  No  Masters, 

508 


POLITICAL   SATIRES   1815 

ril  not  starve  but  quit  My  Native  Country  where  the  poor  are  aushed  by  those 
they  labour  to  support,  &  retire  to  one  more  Hospitable,  &  where  the  Arts  of  the 
Rich  do  not  interpose  to  defeat  the  providence  of  God.  He  holds  a  little  boy  by  the 
hand,  while  a  little  girl  clutches  his  r.  hand  in  both  hers.  Behind  her  is  his  good- 
looking  young  wife,  holding  an  infant.  She  wears  a  hat,  a  shawl  or  cloak,  and 
a  necklace.  They  seem  prosperous  country  people.  Behind  them  and  on  the 
extreme  r.  is  a  warehouse,  its  upper  story  filled  with  sacks  marked  80^. 

The  Corn  Law  question,  held  over  from  1814,  was  reopened  by  the  intro- 
duction of  nine  resolutions  on  17  Feb.  by  Robinson,  Vice-President  of  the 
Board  of  Trade,  the  chief  of  which  was  that  no  foreign  corn  might  be  sold 
till  the  price  of  wheat  reached  80s.,  though  it  might  be  imported  duty  free 
and  warehoused  at  any  time.  It  was  the  chief  subject  of  debate  till  10  Alar. 
All  the  resolutions  w^ere  passed  and  on  i  Mar.  the  Bill  was  read  a  first  time. 
On  that  day  petitions  against  it  began  to  pour  in.  On  3  Mar.  the  Bill  was 
read  a  second  time,  but  every  step  w^as  bitterly  opposed.  Speeches  and 
pamphlets  maintained  that  however  the  fact  was  disguised  the  object  was  to 
raise  prices  for  the  benefit  of  the  landed  interest.  As  a  result  of  the  agitation 
of  1814-15  the  landlords  succeeded  to  the  age-long  popular  hatred  of  corn- 
dealers,  &c.,  as  the  cause  of  dear  bread,  cf.  Nos.  9545,  9547,  9717,  S:c.  Pari. 
Deb.  xxix.  806  ff.,  &c.,  xxx.  i  ff.,  &c. ;  Smart,  Econ.  A?mals  of  the  Nineteenth 
Century,  i,  ch.  xxiv;  D.  G.  Barnes,  Hist,  of  the  English  Corti  Laws,  1930, 
ch.  vii.    See  also  Nos.  12504,  12505,  12507,  12523,  12556,  13262,  13497. 

Reid,  No.  459.    Cohn,  No.  932. 
8fxi3iin. 

1 2504  JOHN'S  DREAM— OR.— THE  PRINCE  &  OLD  ENGLAND  FOR 
EVER 

John  Bull  inv'    [G.  Cruikshank.] 

Pub'^  March  11 181 5  by  A.  Beugo^  Maiden  Lane 

Engraving  (coloured  impression).  John  Bull  sleeps  in  a  half-tester  bed  (r.), 
his  contented  face  turned  to  the  spectator,  his  wife  asleep  beside  him.  His 
pillow  is  inscribed  Hope;  the  quilt  is  covered  with  the  words  War  Taxes  and 
Tax.  His  breeches  are  placed  over  his  feet.  The  dream,  the  figures  on  a 
smaller  scale,  is  on  the  1.  of  the  design.  The  Regent,  in  royal  robes  and  hold- 
ing up  a  sceptre,  chases  away  six  supporters  of  the  Corn  Bill  who  flee  (1.  to  r.) 
in  terror.  He  tramples  on  papers  inscribed  Corn  Bill,  and  says :  Away!  ye 
sordid  Scoundrels  I  will  not  aid  you,  in  your  avaricious  Plans,  nor  assist  you, 
to  fill  your  Pockets  at  the  Expence  of  my  Peoples  comfort.  They  are  on  a  rocky 
plateau,  watched  from  below  by  cheering  spectators,  who  shout  Huzza.  A 
man  wearing  a  civic  chain  and  gown,  the  Lord  Mayor,  stands  above  the 
spectators  and  behind  the  Regent  at  whom  he  points,  turning  with  a  smile 
to  the  crowd.    He  holds  a  birch-rod  and  says:  /  think  the  Mob  will  Triump 

now — .'.'    Vide  Lord ^  Speech.    The  two  most  prominent  spectators  are 

a  Scot  in  tartan  and  an  Irishman  waving  a  cap  decorated  with  shamrock  and 
with  a  short  tobacco-pipe.  This  dream  is  surrounded  by  clouds,  according 
to  the  usual  convention ;  the  Regent  is  irradiated,  though  not  conspicuously  so. 
John's  bulldog  emerges  from  under  the  bed  to  chase  rats  down  a  hole  in  the 
floor.  On  the  wall  behind  the  bed  are  two  pictures :  ( i )  a  stout  woman  puts  her 
head  through  the  stringless  frame  of  an  Irish  harp,  saying.  Oh!  Dear!  The 
heads  of  three  pigs  look  up  at  her.  (2)  A  young  dairymaid  is  contentedly 
churning.  On  the  ground  by  the  bed  are  John's  shoes,  stockings,  and  a  candle 
with  extinguisher  on  it. 

'  The  name  is  etched  over  an  erasure. 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

For  the  Corn  Bill  see  No.  12503,  &c.  The  intervention  of  the  Regent  is 
merely  a  dream,  cf.  Corr.  of  George  IV,  1938,  ii.  42  f.  The  Lord  Mayor, 
Samuel  Birch,  presided  at  a  meeting  at  the  Mansion  House  on  3  Mar., 
when  a  petition  against  it  was  carried  by  acclamation.  Examiner,  5  Mar., 
p.  158.  On  20  Mar.  a  Court  of  Common  Council  agreed  to  a  motion  by 
Waithman  for  an  Address  and  Petition  to  the  Regent,  praying  him  to  refuse  his 
consent  to  the  Bill  and  dissolve  Parliament.  This  was  presented  on  24  Mar. ; 
the  answer  was  a  refusal  'so  to  exercise  the  King's  prerogative'  as  to  show 
a  want  of  confidence  in  Parliament.  Ibid.,  p.  207.  Cf.  No.  12556.  The  mean- 
ing of  the  broken  Irish  harp  is  obscure :  the  Bill  was  based  on  proposals  brought 
forward  in  the  interests  of  Ireland  by  Sir  Henry  Parnell,  an  Irish  landlord. 

Reid,  No.  461.    Cohn,  No.  1266. 
8f  X  13  in.    With  border,  g^X  13I  in. 

12505  SHUTTLECOCKS  &  MACKEREL,   OR,  MEMBERS  GOING 
TO  VOTE  ON  THE  CORN  BILL  349 

GC'fec' 

Pu¥  March  14  181 5  by  T.  Tegg  loi  [sic]  Cheapside 

Engraving  (coloured  impression).  In  the  foreground  (1.)  is  a  crowd  wielding 
battledores  who  send  small  puppet-like  M.P.s  high  into  the  air.  On  the  r. 
is  the  House  of  Commons  represented  by  a  corner  of  a  dilapidated  building 
with  a  high  Gothic  doorway.  To  this  men  and  one  fat  Billingsgate  woman 
are  hurrying  with  flat  baskets  on  their  heads,  on  which  are  heaped  more 
M.P.s.  The  crowd  is  cheerful  and  in  general  fashionably  dressed.  They 
shout  No  Corn  Bill  [often  repeated].  Keep  the  game  alive,  and  there  he  goes. 
One  with  patched  clothes  and  the  hat  of  a  dustman  or  coal-heaver,  shouts 
to  his  victim,  a  lawyer  in  wig  and  gown,  Now  for  it  Af  Garrow.  Most  of  the 
shuttlecock  M.P.s  register  silent  dismay;  one  with  gouty  legs  exclaims  Oh! 
my  Heels,  another  who  is  bald  shouts  Oh!  my  head.  Most  of  the  'mackerel' 
lie  limply  on  their  baskets ;  one  struggles  to  rise,  saying.  Faith  &  I  never  was 
in  such  a  Flood  before — /  really  beleive  Fm  dead — but  However  dead  or  alive 
an  Irishman  will  always  do  his  duty.  Over  the  doorway  is  S^  Stephens,  in  large 
letters.  Within,  the  (burlesqued)  Speaker  is  seen  in  his  Chair,  extending  arms 
and  legs  in  terrified  astonishment;  behind  the  table  are  two  Clerks.  Only  the 
Government  benches  are  visible;  these  are  empty,  but  a  man  is  indicated  in 
the  gallery.  Outside,  standing  between  the  two  groups  of  the  mob,  two  con- 
stables holding  their  staffs  consult  gloomily.  One  says  We  had  better  let  them 
alone;  the  other  answers  /  think  so.  On  the  ground  (r.)  is  a  pile  of  bricks, 
stones,  spiked  knuckle-dusters,  and  a  spiked  club  with  a  bag  of:  Pepper  for 
the  Piccadilly  Squad. 

A  satire  on  the  riots  of  6  Mar.  against  the  Corn  Bill,  see  No.  12503,  &c. 
A  mob  surrounded  the  House,  seized  members,  demanded  to  know  their 
names  and  how  they  intended  to  vote.  Garrow,  the  Attorney-General, 
described  his  experience  of  a  discussion  with  the  mob;  Sir  Robert  Heron 
complained  of  the  'most  brutal  treatment'  and  of  his  escape  'after  being 
buflfeted  about  like  a  shuttlecock  between  two  battledores'.  Sir  Frederick 
Flood  said  that  he  had  been  carried  on  the  shoulders  of  the  mob  'just  like 
mackerel  from  Billingsgate,  and  that  he  thought  they  meant  to  quarter  him'. 
Large  forces  of  constables  were  present,  but  made  no  arrests,  and  two  troops 
of  horse  were  called  in.  Pari.  Deb.  xxx.  27-38;  Ann.  Reg.,  1815  (pp.  19-25, 
'Chronicle'). 

Reid,  No.  462.    Cohn,  No.  1977. 
8|x  i2|  in. 

510 


POLITICAL   SATIRES    1815 

12506  THE  FOX  &  THE  GOOSE;  OR,  BONEY  BROKE  LOOSE! 

Designed  by  P,  H,  Esq^    [G.  Cruikshank  f.] 

Published  March  ly,  1815,  by  Whittle  &  Laurie,  5J  Fleet  Street,  London. 

Engraving  (coloured  impression).  A  bird's-eye  view  of  France,  an  irregular 
piece  of  land  between  two  oceans,  the  western  part  being  cut  off  by  the  lower 
margin,  and  with  a  background  of  mountains  representing  the  eastern  frontier 
and  central  Europe.  Napoleon,  a  fox  with  a  human  head  (cf.  No.  12220)  and 
hand,  runs  from  the  coast  towards  Paris;  geese  take  the  news  from  Elba  to 
Vienna.  In  the  upper  1.  part  of  the  design,  above  the  mountains,  is  inset  a 
room,  with  the  fourth  wall  removed,  giving  it  the  appearance  of  a  theatre- 
scene;  this  is  enhanced  by  the  customary'  motto  across  the  proscenium:  Veluti 
in  Speculum,  which  is  centred  by  a  trophy  of  drum,  flags,  cannons,  &c.,  with 
olive-branches.  Within  the  room  is  a  round  conference-table,  at  which  seven 
birds  perched  on  stools,  four  having  human  heads  and  three  being  geese, 
represent  the  negotiators  at  the  Congress  of  Vienna.  They  all  look  up  at  a 
courier  mounted  on  a  goose  who  flies  into  the  room,  blowing  a  trumpet;  he 
heads  a  line  of  geese,  the  first  having  a  letter  in  its  beak,  all  flying  from  a  round 
fortified  islet  on  the  r.  (south)  of  the  design.  Other  geese,  on  a  smaller  scale, 
flv  from  south  to  north  over  NE.  France.  The  birds  with  human  heads  are 
the  Tsar,  in  profile  to  the  r. ;  at  his  1.  hand  is  the  King  of  Prussia,  next  whom 
is  the  Emperor  of  Austria.  In  front  of  the  table,  also  in  profile  to  the  r.,  and 
with  his  back  to  Alexander,  is  Wellington.  On  the  wall  behind  them  are  two 
placards :  Vienna  \  Gazette  extro-ardviary  \  Notice  \  The  Bull  Bait  will  begin  \ 
at  4  &  the  Ball  at  8  \  this  Even^.  and  A  Plan  for  the  \  Security  of  Europe  \  to 
be  Take?!  into  \  Consideration,  the  \  first  thing  after  the  \  Bull  Bait.  On  the 
wall  also  hang  a  French  horn,  a  violin,  and  a  musket.  To  complete  the 
resemblance  to  a  humble  ale-house  there  is  a  bench  on  which  bottles  are 
ranged. 

Elba  is  surrounded  by  a  crenellated  wall  on  a  glacis  sloping  to  the  sea,  on 
which  is  a  palisade  of  barbed  spikes.  At  the  edge  of  the  sea  are  steel  traps, 
with  the  inscription:  Gins  But  no  more  Hollands.  On  the  enclosed  space  of 
the  island  is  a  tiny  mounted  man,  waving  his  hat  and  shouting  Stole  awaylll 
Stole  away!!!  He  is  probably  Col.  Neil  Campbell,  British  Commissioner  in 
Elba.  Four  little  soldiers  stand  at  attention.  By  the  wall  are  perched  a  goose, 
and  an  owl  on  a  (large)  helmet  which  resembles  that  worn  by  Col.  Campbell 
(portrait,  N.  Young,  Napoleon  at  Elba,  p.  288).  The  goose  asks:  What  do  You 
do  when  you  have  caught  Vermin.  The  owl :  Why — Kill  'em  to  be  sure — you 
goose!!  The  island  is  surrounded  by  ships.  Facing  it,  on  the  Mediterranean 
shore,  are  cannons. 

Napoleon  runs  fast  from  the  coast  towards  Paris,  a  sword  in  his  hand;  a 
broken  chain  attached  to  his  collar  drags  behind  him.  Across  his  back  hangs 
a  large  bag  or  purse  inscribed  400,000.  He  is  accompanied  by  a  flight  of  bees, 
and  near  him  is  a  bee-hive.  Paris  is  indicated  by  buildings,  including  the 
dome  of  the  Pantheon,  and  by  the  Seine  which  stretches  across  the  whole 
country  and  is  dotted  with  small  vessels.  Between  Napoleon  and  Paris  cavalry 
and  infantry  are  drawn  up  in  close  formation,  with  Bourbon  flags,  and  flanked 
by  two  guns.  Tiny  fugitives  rush  towards  the  coast,  most  on  foot,  a  few  on 
horses  or  asses,  one  on  a  cow;  one  horse  has  four  riders,  and  there  is  a  coach 
and  four.  A  few  vessels  lie  off  the  shore  and  men  hurl  themselves  into  the 
sea.  On  the  eastern  part  of  the  coast  is  a  huge  notice :  Getitlemen  accomodated 
to  Dover  for  only  20  Guineas!!  NB  Pay  beforehand.  Other  refugees  are 
making  for  the  Mediterranean,  where  a  crowd  with  baggage  has  collected 
at  the  waterside  and  two  boats  are  rowing  out  to  two  vessels  in  full  sail. 

5" 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Below  the  design: 

AB  ( Return  of  the  Host!!! 
I  John  Bull's  dinner  lost 
\  And  a  flight  to  the  coast!! 

Napoleon  embarked  at  Porto  Ferraio  on  26  Feb.,  believing  the  Congress 
of  Vienna  had  broken  up,  and  landed  at  Golfe  Juan  on  i  Mar.  Actually,  the 
final  settlement  of  Italy  and  the  position  of  Murat  were  outstanding.  C.  K. 
Webster,  The  Congress  of  Vienna,  1934,  pp.  122-7.  Great  Britain  was  dis- 
satisfied with  Alexander's  choice  of  Elba  for  Napoleon.  The  news  was 
announced  in  England  on  10  Mar. ;  for  the  first  Press  comment  see  Examrner 
12  Mar.,  quoting  The  Titnes,  Morning  Post,  Morning  Herald,  Morning  Chron- 
icle, and  Courier  of  1 1  Mar.  According  to  the  Chronicle  Napoleon  took  with 
him  to  Elba  (see,  No.  12229,  ^^0  400,000  gold  Napoleons.  For  the  flight  of 
British  tourists  see  No.  12517;  Royalists  also  fled.  The  intercepting  troops 
were  led  by  Ney,  see  No.  125 15.  News  of  the  departure  from  Elba  reached 
Vienna  on  5  Mar.;  see  No.  12527,  &c.  For  the  return  see  also  Nos.  12509, 
12515, 12516, 12517, 12518, 12519, 12521, 12526,  12529,  12531,  12533,  12534, 
12535.  12537,  12902  [18].  _ 

Reid,  No.  478  (as  Veluti  in  Speculum).   Cohn,  No.  1126.   Broadley,  i.  369. 
De  Vinck,  No.  9519.   Reproduced,  Grand-Carteret,  Napoleon,  No.  331. 
9il  X  Hi  in. 

12507  THE  SCALE  OF  JUSTICE  REVERSED— 

G  Cruik'^  fec'^ 

Pu¥  March  ig^''  181 5  by  S  W  Fores  50  Piccadilly — 

Engraving  (coloured  impression).  A  pair  of  scales  hangs  from  a  gibbet.  One 
scale  (1.),  heaped  with  demons  representing  taxes,  rests  on  the  back  of  the 
prostrate  John  Bull,  causing  coins  to  pour  from  his  pockets.  In  the  lighter 
scale  is  a  loaf  ticketed  1^/6^.  John,  a  'cit',  despairingly  raises  an  arm  towards 
the  loaf,  saying.  The  Bread  is  out  of  my  reach,  &  these  cursed  Taxes  will  break 
my  back,  that  large  one  will  do  for  me.  He  refers  to  the  demon  which  the 
Chancellor  of  the  Exchequer,  Vansittart,  much  caricatured,  is  placing  on  the 
top  of  the  heap  of  smaller  creatures.  It  is  inscribed  Duty  on  Manufactorys, 
and  holds  an  arrow  inscribed  a  Death  Blow  for  Trade,  which  it  points  at 
John's  head.  Four  of  the  other  monsters  are  Windows,  Batchelers  Tax,  [Tax] 
on  Shops,  New  House  Duty.  A  smaller  demon  perches  on  the  lower  end  of 
the  beam,  fiddling  hard  to  the  tune  of  New  Taxes. 

One  grotesque  monster  flies  away;  he  is  the  Property  Tax  and  has  wings, 
a  huge  melancholy  head  and  gaping  mouth  from  which  issue  the  words  Fm  off. 
Below  and  on  the  r.  four  men  frantically  cheer  the  departure.  One  on  the 
extreme  r.,  very  tall  and  lank,  and  wearing  a  long  gown  (?  an  office-holder) 
shouts  go  along!  now  we  shall  not  pay  a  farthing  Taxes.  The  next,  who  has 
gouty  legs,  holds  up  a  money-bag  inscribed  1000,000,  shouting  Huzza!  nor 
we  in  the  Funds.  The  third,  who  is  very  thin,  exclaims  Huzza  Huzza.  The 
last  man,  bloated  and  obese,  says:  Nor  we  Landholders,  tho  we  have  raised  our 
rents  Treble  on  account  of  this  very  Tax.  In  the  background,  between  the  two 
groups,  are  two  hideous  men  seated  on  money-chests,  and  facing  each  other. 
One,  holding  up  a  money-bag,  says :  This  is  glorious,  we  are  to  pay  no  Taxes. 
They  are  probably  bankers  and  usurers. 

The  agricultural  and  landed  interests,  with  the  merchants  and  bankers  of 
London,  led  the  agitation  for  repeal  of  the  Income  Tax,  see  No.  12452,  which 
unexpectedly  survived  till  181 6  owing  to  the  renewal  of  war.  Among  the  new 
taxes  proposed  to  supply  the  gap  left  by  the  Income  Tax  was  a  tax  on  the 

512 


POLITICAL   SATIRES    1815 

windows  of  shops,  manufactories,  and  greenhouses,  and  that  bachelors  should 
pay  an  additional  rate  of  50  per  cent,  on  servants,  carriages,  and  horses.  Pari. 
Deb.  xxix.  864-9;  A.  Hope- Jones,  Income  Tax  in  the  Napoleonic  Wars,  1939, 
p.  118.  See  No.  12523  [i].  It  was  supposed  that  the  Corn  Bill,  see  No. 
12503,  &c.,  would  raise  the  price  of  bread;  this  was  actually  low  in  1815, 
ii^d.  the  quartern  in  London  in  March.  Ann.  Reg.,  1815,  p.  325.  The 
demons  representing  taxes  seem  to  derive  from  No,  9391,  imitated  and 
elaborated  by  Cruikshank  in  1823  (Reid,  No.  1162).  John  Bull,  weighed 
down  by  taxes,  was  a  traditional  theme,  cf.  (e.g.)  Nos.  6914,  8646. 

Reid,  No.  464.    Cohn,  No.  1957. 
9X13^  in. 

12508  THE  PIG  FACED  LADY  OF  MANCHESTER  SQUARE 
THE  SPANISH  MULE  OF  MADRID— 

G  H  inv^   G.  Cruikshank  fec^  [21  Mar.  181 5] 

Engraving.  Two  designs  placed  side  by  side;  in  the  upper  margin  of  both: 
Ah!  Sure  a  pair  was  never  seen  so  justly  form' d  to  meet  by  Nature!!!  [Sheridan, 
Duenna] . 

[i]  A  lady  with  the  head  of  a  pig  sits  in  profile  to  the  r.,  playing  a  square 
piano.  She  is  elegantly  dressed  and  her  head  is  covered  with  a  transparent 
lace  veil.  Her  music-book  is  inscribed  Air — Swinish  Multitude  set  to  Music 
by — Grunt  Esq^  [see  No.  8500,  &c.].  The  back  of  her  chair  is  topped  by  a 
coroneted  pig,  and  facing  her  on  the  wall  is  a  portrait  of  Lord  Bacon,  a  man 
with  a  pig's  head,  in  court-dress,  with  a  star.  On  the  ground  is  an  open  book: 
Ovids  Metamorp[hoses].  Below  the  title:  This  extraordinary  Female  is  about 
18  years  of  age — of  High  rank  &  great  fortune  Her  body  &  limbs  are  of  the 
most  perfect  &  Beautiful  Shape,  but,  her  head  &  Face  resembles  that  of  a  Pig — 
she  eats  her  Victuals  out  of  a  Silver  Trough  in  the  same  manner  as  Pigs  do,  & 
when  spoken  to  she  can  only  answer  by  Grunting!  her  cheif  Amusement  is  the 
Piano  which  she  plays  most  delightfully — 

[2]  Ferdinand  VII,  with  the  head  of  a  mule  (emblem  of  Spain  in  No.  11031), 
sits  directed  to  the  1.  at  a  rough  table  or  frame  over  which  is  a  large  piece  of 
flowered  muslin,  which  he  is  embroidering.  He  wears  a  large  ruff,  a  slashed 
tunic,  and  flapped  boots.  On  his  head  is  an  ornament  with  bells,  denoting 
folly,  topped  by  a  tiny  crown.  The  back  of  his  chair  is  in  the  form  of  a  cross. 
Behind  him  is  a  heavily  barred  window  indicating  a  prison  cell.  On  the  floor 
beside  him  (r.)  are  an  open  music-book  inscribed  Anthem,  a  Needle  Case,  a 
pincushion,  and  A  Treatise  on  Tamour  [sic]  by  Miss  Mantee.  On  the  1.  is 
a  receptacle  for  Holy  Water  from  the  River  Jordan  [a  coarse  pun,  cf.  No.  791 1]. 
On  the  wall  is  a  picture.  Amusements  at  Madrid!!!:  Ferdinand  with  a  mule's 
head,  the  eyes  covered  with  a  bandage  inscribed  Bigo[try],  sits  on  a  throne 
holding  a  sceptre.  A  friar  holding  a  cross  stands  at  his  feet  pointing  behind 
him  to  two  kneeling  men,  and  an  executioner's  block,  where  the  headsman 
raises  his  axe  to  smite  his  victim.  Many  corpses  dangle  from  gibbets.  The  friar 
says :  Here's  some  more  Patriots ;  the  King :  0/  thats  right  Kill  'em  Kill  'em.  Below 
the  title:  This  Wonderful  monster  {to  the  great  greif  of  his  subjects)  is  a  King!!! 
He  was  caught  about  7  years  ago  by  Buonaparte,  &  during  his  confinement  in 
France,  amused  himself  by  singing  Anthems  &  Working  a  Robe  in  Tambour  for 
the  Holy  Virgin!  but  since  his  liberation,  he  has  amused  himself,  by  Hanging  his 
best  Friends!!!!!!  Below  both  designs:  "Wonders  will  never  cease"!!! 

For  the  lady  see  No.  12630.  For  Ferdinand's  bigotry  and  folly  cf.  No.  125 10 ; 
he  was  said  to  have  the  head  of  a  mule  and  the  heart  of  a  tiger.  The  satire 
reflects  a  debate  on  i  Mar.  on  the  treatment  of  Spanish  refugees  by  the 

513  Ll 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Governor  of  Gibraltar  involving  the  conflict  betvi^een  old  and  new  Spain, 
and  the  attitude  of  the  British  Government  tov^^ards  Ferdinand,  'a  despicable 
tyrant'.  Whitbread  lamented  that  he  w^as  not  now^  employed  as  during  his 
captivity  at  Valen^ay  (see  No.  10990)  'in  embroidering  a  muslin  gown  for  the 
Virgin  Mary,  who,  in  consideration  of  such  a  present .  .  .  had  revealed  to  him 
in  a  vision  that  he  would  one  day  be  restored  to  the  throne  of  Spain — [Loud 
laughter]'.  Pari.  Deb.  xxix.  1126-66.  The  muslin  petticoat  figures  much  in 
caricature.  Mme  Talleyrand  told  T.  Moore  in  1821  'it  was  all  a  story  about 
Ferdinand's  embroidering  a  petticoat,  and  that  it  was  the  uncle  who  did  it'. 
Diary,  iii.  230. 

Reid,  No.  721.   Cohn,  No.  1846. 
10  X  1 3I  in.    Each  design,  8  X  6J  in. 

12508  A  A  later  state,  coloured,  exactly  as  No.  12508,  but  with  the  imprint: 
Pub'^  by  H.  Humphrey  S^  James's  S^ — March  21  1815.  Cohn  describes  a 
second  state  with  the  imprint  Mar  21st.  181 5  but  with  inscriptions  removed. 

12508  b  [1823]  Another  state,  the  pi.  divided,  Spanish  Mule  section  only 
(coloured),  signed  GH,  inv'^  G.  Cruikshank  fee*,  with  the  inscription  below 
the  title,  '7  years'  altered  to  75  .  .  .;  without  'Wonders  will  never  cease!!!', 
and  without  imprint.  Cohn  describes  a  third  state,  the  pi.  divided,  with 
Humphrey's  imprint  and  date,  and  the  words  'Wonders  will  never  cease'  at 
the  foot  of  the  'Spanish  Mule'  portion.  'Caricatures',  vi.  46. 

12509  BONEYS  RETURN  FROM  ELBA— OR  THE  DEVIL  AMONG 
THE  TAILORS— 

G.  H  [Humphrey]  inv*    Etch^  by  G  Cruikshank 

Pub'^  March  21^^  181 5  by  H.  Humphrey  S^  James's  Street — 

Engraving  (coloured  and  uncoloured  impressions).  A  tailors'  workshop,  with 
the  shop-board  round  three  sides  of  the  room  on  which  the  Powers  (at  Vienna) 
are  'cutting  out'  Europe.  In  the  centre  wall  is  a  large  window  through 
which  Napoleon  has  just  entered,  and  sits,  with  legs  astride  and  arms  extended, 
on  the  shop-board.  His  feathered  bicorne  is  worn  with  the  peak  over  the  face, 
showing  a  horn  projecting  from  his  forehead.  His  jack-boots  define  cloven 
feet.  On  his  breast,  in  place  of  the  star  of  the  Legion  of  Honour,  hangs  a 
black  heart  (cf.  No.  11057).  His  large  gauntlets  are  blood-stained,  and  he 
holds  a  sabre  whose  blade  drips  blood.  The  head  is  not  caricatured.  Beside 
him  on  the  board  is  his  imperial  crown,  through  which  is  thrust  the  Hand 
of  Justice  (cf.  No.  12247).  ^'S  entry  causes  consternation,  especially  to 
Louis  XVHI,  the  Pope,  and  Talleyrand.  He  says,  looking  to  the  r.,  Dont 
disturb  yourselves  shopmates — /  have  only  popped  myself  here  as  a  cutter  out — 
Where  is  my  Wife  &  son  Father  Francis?  The  Emperor  of  Austria,  thin  and 
insignificant,  kneels  on  the  shop-board  on  the  r.  holding  a  small  pair  of 
(button-hole)  scissors,  and  an  iron  or  goose.  He  answers:  /  will  send  an 
Answer  shortly.  The  new  King  of  Holland,  wearing  the  bulky  breeches  of 
the  Dutchman  in  English  caricature  and  a  small  steeple-crowned  hat,  is 
between  Napoleon  and  Francis ;  he  rises  from  a  cross-legged  position,  scream- 
ing with  terror,  Donder  &  Blixen  das  is  de  Devil.  On  the  r.  Alexander  stands 
erect  on  the  board,  looking  boldly  at  Napoleon,  and  pointing  to  a  knout  with 
tape-measures  for  lashes  which  he  holds  up  in  his  1.  hand;  he  says:  /'//  take 
a  few  Cossack  measures  to  him. 

On  the  board  on  the  1.  are  Bliicher,  the  King  of  Prussia,  and  Bernadotte. 
Bliicher  stands  on  Napoleon's  r.,  fiercely  holding  out  a  huge  pair  of  shears; 

514 


POLITICAL  SATIRES   1815 

he  says :  Cutter  out  indeed!!!  Yes  yes  I'll  cut  you  out  Master  Boney.  He  wears 
uniform,  his  thin  legs  in  huge  jack-boots.  At  his  side  is  Frederick  William, 
still  seated  cross-legged,  needle  in  hand,  with  a  gold-laced  garment  across  his 
knees.  He  looks  up  to  say  to  Napoleon :  You  have  cut  out  a  little  work  for  us 
to  be  sure  but  D — me  if  you  shall  be  foreman  here.  He  has  a  paper:  Pattern  of 
an  Emperors  Robe  [see  No.  12453].  Standing  behind  him  and  on  the  extreme  1. 
is  Bernadotte,  stooping  forward  with  a  cunning  smile ;  he  says :  This  looks  like 
another  subsidy.  On  the  board  are  two  crowns  serving  as  pin-cushions,  the 
pins  shaped  like  sceptres.  All  these  sovereigns  wear  uniform  except  the  King 
of  Holland,  only  Alexander  and  Bernadotte  wear  cocked  hats. 

In  the  centre  of  the  floor,  immediately  in  front  of  Napoleon,  Louis  XVHI 
has  fallen  on  his  face  in  his  hurry  to  escape;  his  gouty  legs  wave  in  the  air. 
He  shouts:  Help!  Help!  Oh!  Oh!  I  am  knocked  off  my  Perch.  Beside  him  Ues 
a  bag:  Cabbage  Bag — i.e  Diamonds  Precious  Stones  &c  &c.  John  Bull,  a  fat 
carbuncled  'cit'  (r.),  stoops  over  him;  he  holds  a  large  club  and  says:  Never 
fear  Old  Boy  I'll  help  you  up  again  as  for  that  rascal  Boney  I'll  sow  him  up 
presently.  Behind  John  is  the  Pope,  grovelling  on  the  floor,  and  about  to  take 
cover  under  the  shop-board.  His  tiara  falls  off,  his  cross  lies  beside  him;  he 
looks  round  at  Napoleon,  saying,  Oh!  Curse  the  fellow!  I  wish  I  had  the  Power 
of  a  Bull  I'd  kick  him  to  hell.  D — me  if  it  is'nt  enough  to  make  a  saifit  swear. 
In  the  dark  recess  of  the  'hell'  (the  name  of  the  space  under  the  shop-board, 
see  No.  7262)  hes  Talleyrand  (r.),  revealed  by  his  projecting  legs  with  one 
club-foot.  Near  him  lies  an  open  book:  The  Tailors  A  Tradgedy  For  Warm 
Weather  [see  No.  11 762].  Through  the  window  behind  Napoleon  are  seen 
the  sea,  a  ship,  and  Elba,  a  rocky  islet  on  which  is  a  large  cave  from  which 
slinks  a  tiger  with  the  face  of  Napoleon.  Below  the  design,  etched  in  four 
columns : 

Hush'd  was  the  din  of  Arms  &  fierce  debate, 
Janus  once  more  had  clos'd  his  Temple  gate  ; 
Assembled  Congress  fix'd  the  flattering  Plan 
For  Europes  safety  &  the  Peace  of  Man 
When  like  a  Tiger,  stealing  from  his  den. 
And  gorg'd  with  blood,  yet  seeking  blood  again  ; 
From  Elbas  Isle  the  Corsican  came  forth. 
Making  his  sword  the  measure  of  his  worth 
Hence  Plunder,  force  &  cunning,  blast  his  fame 
And  sink  the  Hero  in  the  Robber's  name  ; 
Hence  guiltless  Louis  from  his  throne  is  hurl'd 
And  discord  reigns  triumphant  o'er  the  World 

S.  M.  B. 

Svnft  as  the  vivid  lightning's  shock, 
The  Exile  darts  frofn  Elba's  Rock! 
And  like  the  Thunderbolt  of  fate 
Dethrones  a  King!  transforms  a  State!! 

For  Napoleon's  return  see  No.  12506,  &c. ;  the  enterprise  had  been  encour- 
aged by  news  of  dissensions  at  Vienna,  cf.  No.  12533.  Louis  XVIII  fled  from 
Paris  on  19  Mar.,  taking  the  crown  jewels,  see  No.  12534,  &c.  Talleyrand's 
arrival  in  England  on  19  Mar.  was  reported;  he  remained  at  Vienna  till 
10  June.   The  print  is  seemingly  ante-dated. 

Reid,  No.  465.   Cohn,  No.  945.    Broadley,  i.  370. 
8|x  i2|  in.   PI.  lofx  14^  in. 


515 


CATALOGUE   OF  POLITICAL  AND   PERSONAL   SATIRES 

12510  THE  PRIVY  COUNCIL  OF  A  KING. 

[Rowlandson.] 

Pu¥  March  28^''  181 5 

Engraving  (coloured  impression).  Ferdinand  VII  sits  enthroned  on  a  dais. 
He  has  ass's  (mule's)  ears  (of.  No.  12508)  and  listens  with  savage  concentration 
to  the  advice  which  his  councillors  blow  towards  him  through  horns  or  speak- 
ing-trumpets. He  turns  his  head  to  the  1.,  where  his  two  clerical  advisers 
stand  at  his  r.  hand.  On  the  extreme  1.  is  a  fat  friar  with  a  carbuncled  face 
saying  Seculum  per  Ignem  [Eternity  through  fire].  Beside  him  stands  a  fat 
priest,  saying,  Up  with  the  Holy  Office.  On  the  r.  are  the  laymen :  a  grotesquely 
ugly  lawyer  in  a  wig  and  long  gown,  clasping  a  document,  says:  Down  with 
the  Constitution.  Beside  him  is  an  elderly  and  old-fashioned  military  officer, 
chapeau-bras  and  holding  a  gold-headed  cane;  he  says  War  to  the  Freemen. 
To  both  sets  of  advisers  the  King  answers  Yes.  In  his  r.  hand  he  clutches 
a  sheaf  of  thunderbolts,  in  his  1.  a  blood-stained  dagger,  attached  to  a  rosary 
which  hangs  from  his  neck.  His  crown  is  surmounted  by  a  little  head  in  a 
fool's  cap,  and  is  decorated  by  a  donkey  and  the  head  of  a  savage  dog.  He 
has  hoofs  in  place  of  feet;  one  rests  on  a  large  volume  inscribed  Laws,  the 
other  is  raised  in  order  to  stamp  upon  a  larger  volume :  Magna  Charta.  These 
books  and  the  throne  are  on  a  slab,  inscribed  Scabelliim  pedum  Suorum  [a  foot- 
stool for  his  feet],  which  rests  on  a  low  pile  of  skulls  and  bones,  realistically 
drawn.  The  sides  of  the  throne  are  (1.)  a  grinning  satyr,  and  (r.)  a  savage 
female  monster  with  pendent  breasts.  Ferdinand  does  not  wear  the  tunic  and 
hose  almost  universal  in  caricatures  of  Spaniards,  but  coat,  waistcoat,  and 
breeches  of  more  modern  pattern,  with  a  high  collar  and  stock.  On  his  1. 
breast  are  two  small  oblong  patches ;  on  one  are  five  (red)  spots,  on  the  other 
four  little  (black)  crosses. 

A  satire  on  the  abrogation  of  the  Constitution  and  restoration  of  the  Inquisi- 
tion by  Ferdinand  VII  on  his  return  (approved  by  the  majority  of  Spaniards), 
followed  by  arbitrary  misgovernment  and  the  persecution  of  the  Liberates. 
See  Nos.  12508,  12622,  13009. 
7Xi3|in. 


12511  VIOLETTES  DU  20  MARS  1815. 

Canu  fecit 

Deposee  a  la  Direction  generale  [27  Mar.]^  A  Paris,  rue,  S^  Jacques  N°  2g 

Engraving  (coloured  impression).  A  puzzle  print.  A  bunch  of  violets  in  which 
are  concealed  the  profiles  of  Napoleon,  Marie  Louise,  and  the  King  of  Rome. 
Marie  Louise  (1.)  and  Napoleon  (r.)  face  each  other  in  the  upper  part  of 
bunch  and  on  its  outer  edge.  Napoleon's  cocked  hat  being  formed  of  a  leaf. 
The  child  is  in  profile  to  the  r.  between  and  below  his  parents.  A  thread  is 
twisted  round  the  stalks. 

One  of  many  similar  prints,  and  the  original  of  several  copies  and  adapta- 
tions. The  title  refers  to  Napoleon's  entry  into  Paris  on  20  Mar.  See  No. 
12511,  &c. 

Broadley,  ii.  91.    De  Vinck,  No.  9398.    Reproduced,  with  the  title  'Le 
Caporal  la  Violette',  Dayot,  Napoleon,  p.  378. 
5|X3f  in.  (pi.). 

'  The  'Direction  de  la  Librairie'  was  abolished  by  decree  on  24  Mar.  Examiner, 
1815,  p.  215. 


POLITICAL  SATIRES   1815 

12512  CORPORAL  VIOLETTE.  [PMarch  1815.] 

'.  .  .  correctly  copied  from  the  original  Print  published  in  Paris,  after 

the  drawing  of  Mons.  Canu.' 
London: published  by  G.  Smeeton,  ly  St.  Martin's  Lane. — Price  Sixpence. 

Engraving  (coloured  impression).  Illustration  to  a  printed  broadside  with  a 
woodcut  border:  Greek  key-pattern  in  white  on  black.  A  copy  of  No.  125 10, 
enlarged.  The  text  begins:  'When  Buonaparte  was  on  the  eve  of  leaving 
France,  ...  he  said  to  some  of  his  adherents,  that  he  would  return  in  the  Violet 
season.  .  .  .  Those  partisans  who  were  in  the  secret,  of  his  return  to  France 
from  his  seclusion,  wore  a  Violet  flower  at  their  breasts ;  carried  one  of  the 
above  prints  about  their  person;  and  always  drank  at  their  meetings,  to  the 
health  of  Corporal  Violet.'  The  Examiner  of  26  Mar.  quotes  the  Morning 
Chronicle:  'Corporal  Violet  (meaning  Bonaparte)  is  the  favourite  toast  of  his 
partisans  in  France.'  Napoleon  learnt  after  his  return  that  violets  had  become 
a  Bonapartist rallying  sign:  Queen  Hortense  {Memoirs,  1926,  ii.  170)  explained 
'that,  after  he  had  gone,  the  soldiers  always  said  he  would  come  back  when  the 
violets  bloomed  and  that  .  .  .  they  always  referred  to  him  as  Fere  la  Violette. 
This  made  him  laugh  heartily.'  See  De  Vinck,  No.  9397.  Several  versions 
of  the  puzzle  picture  were  sold  in  London,  four  called  'Corporal  Violette'  are 
listed  by  Broadley,  who  transcribes  a  hand-bill  'Corporal  Violette  Just 
received  from  Paris  Several  Hundred  Copies  of  the  above  celebrated  Print.  .  .  . 
Price  One  Shilling'.  Such  flower  designs  had  a  great  vogue  also  in  18 13. 
Other  violet  designs :  Les  Fleurs  du  Souvenir  and  Bouquet  cheri,  reproduced 
Simond,  Paris,  i.  252,  253  ;  Le  retour  du  printemps  et  de  la  Violette,  and  Le  Lys 
et  la  Violette,  reproduced  Bourguignon,  ii.  260,  268.  For  earlier  prints  with 
concealed  profiles  cf.  Nos.  8474,  11749.  See  also  Nos.  12511,  12513,  12537, 
12541,  12544,  12563,  12586,  12605. 

Broadley,  ii.  92.  (De  Vinck,  No.  9401,  is  a  similar  pi.  published  by  R.  Pratt, 
price  IS.) 
5f  X44  iri-  (pl-)-    Broadside,  c.  13!  X7I  in. 

12513  CORPORAL  VIOLET.  [?Mar.  1815] 

Engraving  (coloured  impression).    A  bunch  of  violets  similar  to  that  of 

No.  12511,  but  diff^erently  arranged  and  more  clumsily  drawn.    Napoleon 

and  Marie  Louise  face  each  other  as  before,  the  King  of  Rome  is  placed  lower, 

and  more  to  the  1.   The  stems  are  tied  with  ribbon. 

7x5!  in.    (The  bunch  of  violets  is  approximately  the  same  size  as  in  No. 

12511.) 

12514  A  SNUFFY  HO.AK,  OR  A  NEW  WAY  OF  OPENING  MEMBERS 

EYES!!! 

Cruikshank  fecit 

Pub"^  by  S  W  Fores  50  Piccadilly  March  181 5 

Engraving  (coloured  impression).  The  interior  of  the  House  of  Commons 
seen  from  opposite  the  Government  benches,  the  Speaker's  Chair  and  the 
Table  being  on  the  extreme  r.  On  the  extreme  1.  and  facing  the  Speaker 
stands  Lord  Cochrane,  squirting  the  contents  of  a  bag  towards  the  Speaker 
and  over  the  Members.  All  the  Members  register  angry  discomfort,  and  turn 
away  or  cover  their  faces.  They  are  scarcely  characterized,  and  except  for 
Burdett,  seated  (incorrectly)  on  the  front  bench,  and  for  Sheridan  (not  a 
member)  on  the  extreme  r.,  they  cannot  be  identified.  Burdett  drops  a  paper. 
Reform,  saying.  This  Irish  blaguard  has  Blinded  me.    Sheridan  says :  O  D — n 

517 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

this  Scotch  Snuff.  An  invisible  member  says  O  D — n  ike  Batchelors.  Cochrane 
wears  a  broad-brimmed  low-crowned  hat  (called  his  'Obadiah  [Quaker]  hat', 
De  Berenger,  The  Noble  Stockjobber,  i8i6,  p.  250),  and  a  long  (blue)  frogged 
overcoat  and  white  trousers,  and  has  a  fierce  and  scarcely  sane  expression. 
He  says:  There,!  can  you  see  how  infamously  I  have  been  treated,  now — now  can 
you  see  what  an  injured  man  I  am  now  can  you  see?  can  you  see?  now  can  you 
see? — why  you  are  all  blind!!!!!  See!  see  now.  In  his  pocket  is  a  paper  inscribed 
Kings  Bench  Walk.  The  Speaker,  Abbot,  turns  aside  from  the  shower  of 
snuff,  his  hat  falling  off. 

Cochrane  was  convicted  with  Berenger  and  others,  see  No.  12209,  &c.,  for 
conspiracy  (a  Stock  Exchange  fraud)  and  sentenced  on  21  June  18 14  to  twelve 
months'  imprisonment  in  the  King's  Bench.  He  was  expelled  from  Parliament 
but  was  at  once  re-elected  for  Westminster.  He  escaped  on  6  Mar.  and  on 
21  Mar.  entered  the  House  of  Commons,  going  to  the  Clerk's  room  in  order 
to  take  the  oath ;  he  was  informed  that  the  certificate  of  his  return  was  neces- 
sary, and  pending  its  arrival  he  went  into  the  House,  which  was  still  empty, 
and  sat  on  the  Treasury  Bench  where  he  read  aloud  from  some  manuscripts 
taken  from  his  pocket.  There  he  was  arrested  by  the  Marshal  of  the  King's 
Bench  (who  had  advertised  a  reward  of  300  guineas  for  his  recapture)  and 
some  police  officers.  Cochrane  resisted,  and  his  pocket  was  searched  for  fire- 
arms ;  it  was  found  to  contain  snuff,  a  bottle  of  acid,  and  a  few  pistol  bullets. 
He  admitted  that  he  intended  to  throw  the  snuff  in  the  eyes  of  anyone  who 
should  'interrupt'  him.  In  answer  to  questions  he  said  that  he  was  an  ill-used 
man,  had  been  robbed  by  Johnstone  of  ,(^4,000,  and  went  to  the  House  to 
have  the  question  agitated.  Pari.  Deb.  xxx.  309-14,  336-7  (21  and  23  Mar.); 
Examiner,  12  and  26  Mar.,  pp.  170,  207  f.  See  Nos.  12523,  12539,  12757, 
12995. 

Reid,  No.  470.   Cohn,  No.  1993. 
Xi3iin. 


12515  THE  EUROPEAN  PANTOMIME 

Lewis  Marks  Del.  [  ?  Mar.  1 8 1 5] 

Engraving  (coloured  impression).  Below  the  title:  Princeaple  Caracters 
Harliquin  M''  Honey  Pantaloon  Louis  XVIII  Columbine  Maria  Louiza  Clowns 
&c  By  Congress.  Napoleon,  dressed  as  Harlequin  (cf.  Nos.  10060,  &c.,  12527), 
takes  a  flying  leap  from  the  rocky  islet  of  Elba  on  the  horizon  and  on  the 
extreme  r.,  and  is  about  to  land  on  the  coast  of  France.  He  holds  a  large 
scimitar  in  his  r.  hand,  an  imperial  eagle  on  a  staff  in  the  1.  He  wears,  with 
his  tight-fitting  chequered  costume,  a  large  plumed  bicorne  with  a  conspicuous 
tricolour  cockade,  a  tricolour  sash,  and  the  collar  of  Consular  dress.  A  black 
mask  with  a  beaky  profile  covers  the  upper  part  of  his  face.  In  the  foreground 
(1.)  Louis  XVIII,  dressed  as  usual  in  old-fashioned  court  dress,  its  gold  lace 
and  the  flapped  waistcoat  patterned  with  fleurs-de-lis,  rushes  on  gouty  legs 
from  1.  to  r.,  shouting  and  waving  a  crutch.   He  is  bareheaded. 

In  the  middle  distance,  and  in  the  centre  of  the  design,  is  an  open  tent 
across  which  is  a  scroll  inscribed  Congress  &c.  Its  occupants,  mutually  satis- 
fied, and  unconscious  of  the  return,  smilingly  surround  a  large  terrestrial 
globe.  Castlereagh  in  the  dress  of  a  clown,  and  (incorrectly)  wearing  a  baron's 
coronet,  stands  over  it  taking  measurements  with  dividers,  and  turning  to 
Talleyrand  (1.)  with  a  satisfied  air.  There  are  four  sovereigns,  similarly  dressed, 
but  wearing  crowns.  Besides  Alexander,  Francis,  and  Frederick  William  (who 
can  hardly  be  differentiated)  is  Bernadotte  (then  in  Sweden).  The  front  of 
the  tent  is  decorated  by  two  orbs;  from  its  apex  projects  a  pole  topped  by 

518 


POLITICAL   SATIRES   1815 

a  fool's  cap  with  ass's  ears  and  bells.  In  the  background,  on  a  mountainous 
ridge  sloping  to  the  coast,  stands  Marie  Louise,  wearing  a  crown,  with  a 
child-Harlequin,  wearing  a  mask  like  his  father's,  but  holding  a  crosier,  and 
with  a  mitre  on  his  head,  to  show  that  he  is  the  King  of  Rome. 

For  Napoleon's  return  see  No.  12506,  &c.  It  was  at  first  believed  that 
Napoleon  was  acting  with  the  Emperor  of  Austria  and  that  his  wife  and  son 
would  join  him.  For  the  Congress  of  Vienna  see  No.  12453,  &c. ;  for  the 
reception  of  the  news  there,  No.  12528,  &c.  The  Examiner,  19  Mar.  1815, 
calls  Napoleon  'this  extraordinary  Harlequin  of  Europe'. 

Listed  by  Broadley. 
8fxi3iin. 

12516  THE  DEVIL  TO  PAY  OR  BONEY'S  RETURN  FROM  HELL- 
BAY  [scored  through  and  replaced  by]  ELBA 

J.  L.  Marks  Del  [?  Mar.  18 15] 

Engraving  (coloured  impression).  A  boat  approaches  the  coast  of  France, 
rowed  by  the  Devil  and  steered  by  Death  (cf.  No,  12529),  a  grinning  skeleton 
who  holds  up  a  javelin  to  which  is  attached  a  tricolour  flag.  In  the  bows 
stands  Napoleon,  in  profile  to  the  1.,  legs  astride,  holding  up  a  plumed 
bicorne,  and  with  fierce  glee  firing  a  pistol  at  a  dove,  which  falls,  dropping 
an  olive-branch.  He  says:  Away  from  my  sight  Peace,  Thou  art  hatefull  to  me,. 
The  Devil  says  with  a  delighted  grin :  We  shall  wade  Through  sea's  of  Blood 
after  this.  Death,  pointing  his  dart  upwards  at  Napoleon's  hat,  says:  A  more 
expert  hatid  at  my  Trade  does  not  exist.  These  three  are  on  the  same  scale, 
but  the  boat  is  crammed  with  tiny  soldiers,  variously  dressed,  but  holding 
bayoneted  muskets,  and  capering  with  glee;  waves  curl  round  the  boat.  On 
the  horizon  (r.)  is  Elba,  a  mere  rock.  A  general  with  a  very  long  nose,  evidently 
Ney,  rushes  to  the  coast  to  greet  Napoleon,  gleefully  waving  hat  and  sword. 
He  is  followed  by  a  miscellaneous  group  of  delighted  soldiers.  Behind,  a  man 
walks  off  in  the  opposite  direction  carrying  the  fat  gouty  Louis  on  his 
shoulders,  the  latter  being  supported  from  behind  by  another  Frenchman. 
Louis  says :  Oh  Heartwell  I  sigh  for  thy  Peacefull  Shades. 

For  Napoleon's  return  see  No.  12506,  &c.  He  went  in  his  own  brig-of-war 
hiconstant,  accompanied  by  a  merchant  brig,  a  gun-boat,  and  five  feluccas; 
about  1,150  persons  were  with  him.  Ney  marched  south  with  3,000  men, 
saying  that  he  would  bring  back  Napoleon  in  an  iron  cage.  On  receiving  a 
message  from  him  at  Lons-le-Saulnier,  he  issued  an  order  of  the  day  (13  Mar.) 
declaring  'The  cause  of  the  Bourbons  is  lost  for  ever  .  .  .',  and  next  day  he 
joined  the  Emperor.  Louis  XVIII  was  living  at  Hartwell,  Bucks.,  before  his 
return  to  France.   For  Hell-bay  cf.  No.  1223 1. 

Listed  by  Broadley.   Reproduced,  Grand-Carteret,  Napoleo7i,  No.  326. 
8^X12^1  in. 

12517  HELL  BROKE  LOOSE,  OR  THE  JOHN  BULLS  MADE  JACK 

ASSES— 

G.  C,  K  del  [Cruikshank] 

Pu¥  by  S.  W.  Fores  50  Piccadilly  [?  Mar.  18 14] 

Engraving  (coloured  and  uncoloured  impressions).  A  fantastic  scene  just 
outside  Paris  which  is  represented  in  the  background  by  a  high  gate  or 
triumphal  arch  (the  Arc  de  Triomphe)  inscribed  Paris;  this  is  surmounted 
by  a  guillotine  and  bonnet  rouge,  flanked  by  axes  and  heads  on  poles,  and 
surrounded  by  carrion  birds.  There  are  also  high  gibbets  each  with  ladder 
and  dangling  noose.  Outside  the  city  (r.)  is  a  hill,  Mans  Marte  [Montmartre], 

519 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

on  the  summit  of  which  stands  Napoleon,  leading  French  soldiers  in  close 
formation,  with  flags  and  bayonets.  He  holds  a  flag  and  a  sword,  and  says: 
Aye  Aye  I  shall  catch  some  of  the  John  Bulls,  &  I'll  make  them  spend  their 
money  &  their  time  too  in  France.  He  is  about  to  descend  the  slope.  On  an 
opposite  slope  (1.),  Louis  XVHI  runs  up-hill  to  the  1.,  with  arms  outstretched ; 
his  crown,  with  the  sceptre  thrust  through  it,  flies  off  borne  on  a  pair  of  wings. 
He  says :  curse  the  Allies  for  giveing  the  Monster  his  Liberty. 

The  foreground  and  middle  distance  are  filled  with  British  fugitives  (cf. 
No.  12506).  A  narrow  river,  the  Seine,  with  a  small  stone  bridge  forms  an 
obstacle.  The  bridge  is  thronged  with  tourists  on  foot.  Three  men  ride  a  cow, 
a  fourth  clutches  its  tail ;  one  man  rides  a  horse.  The  approach  to  the  bridge 
(r.)  is  densely  packed.  In  front  of  it  men  and  women  scramble  through  the 
water.  A  man  carries  on  his  back  a  fashionably  dressed  woman  with  a  sack 
on  her  back,  followed  by  a  man  with  a  bandage  round  his  head  wearing  a  long 
braided  overcoat ;  some  fall  in,  others  try  to  scramble  out.  A  dog  swims  across. 
On  the  extreme  r.,  a  travelling  carriage  and  pair  approaches  the  water,  with 
an  English  postilion,  and  on  the  roof  a  footman  in  livery,  seated  on  a  port- 
manteau. He  exclaims:  Oh!  that  I  had  never  left  Old  England.  A  Frenchman, 
wearing  spurred  jack-boots,  and  holding  a  knife,  stops  the  horses,  saying  to 
the  postilion,  We  want  de  Coach  to  join  de  grand  Emperor — we  teach  you  now 
to  recover  our  lost  honor  &  fight  like  Devils.  A  horrified  couple,  fashionably 
dressed,  are  seen  through  the  carriage  windows.  On  the  opposite  side  of  the 
river  are  those  who  have  already  crossed:  a  pair  on  horseback,  the  woman 
seated  pillion,  are  stopped  by  a  Frenchman.  He  seizes  the  animal's  head  and 
says:  Me  vant  de  horse  to  meet  my  old  master  Boney.  The  man,  a  typical 
John  Bull  wearing  top-boots,  his  hat  tied  to  his  head,  answers  The  Devil  you 
do.  His  wife  exclaims :  Oh  lork  what  vill  become  of  us!!!  Jonney?  An  open 
gig  just  in  front  is  heaped  with  men,  women,  and  children ;  an  amateur  whip 
(cf.  No.  1 1700)  lashes  the  horses.  A  man  stands  at  the  back  with  a  package 
tied  to  his  back,  and  an  umbrella  under  his  arm ;  a  woman  clasping  an  infant 
exclaims:  Oh!  dear!  Oh  Dear  I  have  left  all  my  valuables  in  Paris;  another 
says:  How  they  will  laugh  at  us  at  home,  for  being  so  fond  of  spending  our  money 
in  Foreign  Countries.  Beside  them  is  a  small  invalid  chair  or  child's  go-cart 
in  which  sits  a  bearded  Jew  with  twisted  legs ;  it  is  dragged  by  a  footman  in 
livery.  A  boar's  head  serves  as  crest  on  the  chair,  showing  that  the  Jew  is 
a  convert.  On  the  ground  are  scattered  a  band-box,  a  dead  goose,  hat,  parasol, 
shoe,  &c.  A  sign-post  points  (1.)  To  Calis.  In  the  background  tiny  figures 
run  down  the  road  leading  from  the  gateway. 

Probably  published  after  the  news  of  Napoleon's  entry  to  Paris  on  20  Mar. 
The  Examiner  of  19  Mar.  quotes  the  Courier:  'the  roads  are  literally  covered 
with  men,  women,  and  children,  of  the  highest  ranks  of  society,  and  of  the 
most  delicate  forms,  all  walking  on  foot,  and  many  of  them  carrying  their 
baggage.  .  .  .  The  English  in  general  meet  with  many  insults,  having  had 
their  horses  and  carriages  stopped,  and  their  property  seized  by  individuals.' 
Napoleon  alludes  to  the  British  visitors  who  were  prisoners  from  1803  to  1814. 
For  the  swarm  of  British  tourists  cf.  No.  12354,  &c. 

Reid,  No.  469,    Cohn,  No.  1193.    Broadley,  i.  375  f. 
9Xi3|in. 

12518  ESCAPE  OF  BUONAPARTE  FROM  ELBA. 

[G.  Cruikshank.] 

[Pub.  G.  Smeeton,  17  St.  Martin's  Lane,  price  i^.]  [?  March] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  Napoleon 
is  carried  by  the  Devil  from  Elba,  a  rocky  islet  (r.),  to  the  French  coast.   He 

520 


POLITICAL   SATIRES   1815 

sits  astride  the  creature's  shoulders,  waving  a  (notched)  sword  and  his  plumed 
bicorne,  and  shouts :  Here  I  come  my  lads  I'll  set  you  to  work  again.  The  Devil, 
who  has  webbed  wings,  and  is  much  larger  than  Napoleon,  grins  delightedly ; 
he  holds  in  each  hand  a  (tricolour)  basket,  containing  tiny  soldiers  and 
munitions  of  war,  with  projecting  bayonets,  flags,  and  eagle.  Behind  him 
gallops  through  the  air  a  skeleton-horse ;  on  its  back  capers  Death,  a  skeleton 
playing  a  fiddle  with  a  large  bone  as  bow.  He  grins,  saying.  Why  D — me 
I  shall  be  as  busy  as  a  Bee.   Behind  him  fly  carrion  birds. 

On  the  French  coast  (1.)  grotesque  French  soldiers  with  fixed  bayonets  and 
a  tricolour  flag  gleefully  hail  Napoleon's  approach.  Their  leader  flourishes 
sword  and  cocked  hat,  and  capers  in  vast  jack-boots,  shouting,  Come  along! 
my  Boy.  On  a  mound  behind  them  is  a  tent  inscribed  Congress  as  in  No.  1 2506. 
Before  it  is  a  huge  cake  (see  No.  12453),  round  which  three  sovereigns  wear- 
ing crowns,  and  a  fourth  man  are  fast  asleep.  Talleyrand,  wearing  a  long 
gown  and  a  surgical  shoe,  strides  furtively  forward,  one  hand  on  the  cake, 
to  give  a  sealed  letter  to  a  French  courier,  saying.  Take  this  to  Buonaparte. 
Above  their  heads  Peace  holding  an  olive-branch  flies  upwards  and  to  the  r., 
exclaiming  Farewell  to  Europe  Now.  On  Elba  are  a  building,  a  gibbet,  and 
three  tiny  figures  registering  astonishment.  Between  it  and  the  coast  is  a 
ship  of  war  from  which  issue  the  words  Stop  him.  Below  the  title :  'Buonaparte 
— the  extraordinary-  Buonaparte — burst  the  bonds  of  his  seclusion  at  Elba. . . . ' 
It  is  an  account  of  the  landing  on  March  3rd  (i.e.  March  ist):  '.  .  .  this  man 
who  pretended  the  wish  to  spare  France  the  horrors  of  a  civil  war,  now  goes 
to  relume  the  torch  of  war!  and  that  which  he  dared  not  do  with  40,000 
Frenchmen,  he  now  attempts  with  a  thousand  banditti,  chiefly  Poles,  Neapoli- 
tans, and  Piedmontese!  .  .  ,' 

For  the  Congress  and  Napoleon's  return  see  No.  12528,  &c.  Napoleon 
secretly  sent  emissaries  to  Talleyrand  who  at  once  (letter  of  13  Apr.)  informed 
Louis  XVm.  Lacour-Gayet,  Talleyrand,  1930,  ii.  439.  The  brig  Partridge 
searched  for  and  belatedly  followed  Napoleon. 

A  copy,  reversed  and  without  the  text,  was  published  by  McCleary. 
(Reproduction,  N.  Young,  Napoleon  at  Elba,  1914,  p.  304.) 

Reid,  No.  466.  Cohn,  No.  1094.  Listed  by  Broadley.  Reproduced,  Grand- 
Carteret,  Napoleon,  No.  327. 
7^  X  9^  in.    Broadside  (cropped)  14I X  io|  in. 

12519-12522  (see  also  Nos.  12511,  12537) 
French  prints  on  the  return  from  Elba^ 

12519  LE  PATg  INDIGESTE. 

Engraving  (coloured  impression).  The  four  leading  sovereigns  of  Europe  sit 
on  stools  at  an  oblong  table  ready  to  carve  a  raised  pie.  This  is  formed  of 
masonry,  with  projecting  gun-muzzles,  and  contains  a  miniature  Napoleon 
(not  caricatured).  He  raises  the  lid,  and  prepares  to  get  out,  unnoticed  by  the 
diners.  At  the  head  of  the  table  (r.)  sits  Francis  I,  saving,  attaquons  tous 
ensemble;  facing  him  is  Frederick  William,  who  says  with  a  greedy  stare :y'm 
une  \s\c\faim  du  Diable.  Both  hold  knife  and  fork.  On  the  farther  side  of  the 
table  sit  the  Tsar  and  the  Prince  Regent.  The  former  turns  to  the  King  of 
Prussia  to  say :  je  le  crois  bien  rassis.  The  Regent  says :  Messieurs  je  fournirai 
le  vin.  All  wear  uniform,  and  all  but  the  Regent  wear  cocked  hats.  Under  the 
table  Louis  XVHI  lies  on  his  back,  the  crown  fallen  from  his  head.  He  says: 
j'en  aurai  les  miettes. 

'  Arranged  before  authentic  dates  of  some  plates  were  ascertained  from  De  Vinck. 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

See  No.  12528,  &c.  Frederick  William  is  still  hungry  after  absorbing  part 
of  Saxony  instead  of  the  wished-for  whole. 

Broadley,  ii.  67. 
7^Xiof  in. 

12520  LE    POUPARD    ANGLO-FRANgOIS    HARANGUANT    SON 
ETAT  MAJOR  LE  19  MARS  1815.  PL.  no.  o. 

Engraving  (coloured  impression).  Copy,  reversed,  in  Jaime  of  a  French  print 
(8  Apr.  1815).  The  Due  de  Berry  addresses  a  line  of  aged  officers  seated  in 
sedan-chairs  which  are  drawn  up  in  a  row  on  the  r.  The  chairs  recede  in 
perspective  towards  an  ornate  pilastered  building  (1.)  which  is  inscribed  Hotel 
des  Voltigeurs  de  Louis  XVIII  [cf.  De  Vinck,  No.  9456].  The  'poupard' 
(chubby  child)  is  short,  with  whiskers  in  the  English  fashion;  he  wears 
fantastic  hussar  uniform,  with  a  fur-bordered  dolman,  a  large  blue  ribbon, 
and  tasselled  Hessian  boots.  His  shako  is  decorated  with  fieur-de-lis  and 
huge  tassels.  He  stands  directed  slightly  to  the  r.,  his  1.  arm  raised  oratorically. 
On  the  1.  stands  a  lean  and  aged  staff-officer,  chapeau-bras,  in  profile  to  the 
r,,  bending  forward,  1.  hand  on  breast.  His  uniform  is  decorated  with  large 
fleur-de-lis,  and  he  wears  boots  with  deep  tops  like  those  of  Englishmen  in 
French  caricature.  The  words  spoken  are  etched  below  the  design.  The 
duke:  J^espere  que  Vous  nous  Servirez  Comme  Vous  avez  Servi  Mon  Bisayeul 
[Louis  XV].'.'.'  The  aged  officers  of  the  general  staff  answer:  Monseigneur 
Nous  N'attendons  que  des  hommes  pour  Nous  porter  En  avant. 

On  19  Mar.  Louis  XVIH  fled  to  Lille,  accompanied  by  the  due  de  Berry 
(b.  1778).  The  words  of  his  officers  imply  not  only  their  own  senility,  but 
the  complete  desertion  of  Louis  XVHI  by  the  army.  Voltigeurs  are  com- 
panies of  elite,  placed  on  the  flanks  of  a  battalion  for  rapid  movement ;  under 
the  Restoration  emigre  officers  restored  to  the  establishment  were  satirically 
termed  'Voltigeurs  de  Loius  XI V.  Littre,  Diet.  The  duke  while  an  emigre 
in  England  had  married  (and  repudiated)  an  English  woman.  Greville  writes, 
18  June,  'The  Due  de  Berri  reviews  and  manouvres  the  small  army  which 
he  commands  in  Flanders,  ...  3  or  4,000  men  ...  of  the  most  wretched 
appearance.  He  however  gallops  about  with  a  numerous  Etat  Major,  all 
glittering  with  embroidery  and  stars  and  crosses  and  medals'.  Memoirs,  1938, 
i.  46. 

The  original  is  listed  by  Broadley.    (De  Vinck,  No.  9483.    Hennin,  No. 

13697-) 

4i^X7^in.  B.M.L.  1266.  g.  5. 

12521  LA  BALANCOIRE. 

[Gautier.]  [31  May  1815] 

Engraving  (coloured  impression).  A  swing-boat  containing  Napoleon's 
enemies  hangs  from  a  cross-beam  supported  on  timber  posts.  Napoleon  (r.), 
active  and  confident,  stands  holding  a  rope  by  which  he  moves  the  boat; 
he  says :  Comme  je  les  fais  aller.  The  boat  tilts,  so  that  the  farther  part  is 
raised,  bringing  the  Tsar's  hat-plume  above  the  cross-beam.  He  stands  full- 
face,  unconscious  of  Napoleon,  grasping  one  pair  of  ropes,  and  saying,  comme 
je  suis  elevee  [sic].  Facing  him,  and  straddling  the  boat  is  the  King  of  Prussia, 
also  holding  the  ropes.  His  head  is  turned  in  profile  to  the  r.,  and  he  says 
allons  toujours.  Between  them  sits  Francis  I,  frowning  down  at  Napoleon; 
he  says  Je  suis  Etourdi.  Beside  him  stands  Wellington  in  profile  to  the  1., 
saying  gloomily,  cela  ne  va  pas  trop  vite.    Louis  XVHI  sits  in  the  near  end 

522 


POLITICAL   SATIRES    1815 

of  the  boat;  he  turns  to  the  r.,  saying,  qu'avais-je  besom  de  m'embarquer!  The 
occupants  of  the  boat  are  covered  with  a  net. 

See  No.  12506,  &c.   There  is  a  companion  pi.  (not  in  B.M.),  Le  Tapecu. 

Broadley,  ii.  64  (reproduction),  67.   De  Vinck,  No,  8064. 
io|x8|  in. 


12522  LE  gAteau  des  rois,  |  tire  au  congr£s  de  vienne 

EN  1815. 

A  Paris  chez  tons  les  Marchands  de  Nouveautes  [12  June  181 1^] 

Engraving  (coloured  impression).  The  Twelfth  Cake  (see  No.  12453)  is  a 
large  map  of  Europe  held  by  the  Powers  of  Europe.  On  the  extreme  1.  stands 
Francis  I,  grabbing  the  Italian  side  of  the  map  marked  Lombardie  and  Etat 
de  Venise.  He  says  with  a  sly  leer  Les  absents  ont  tort...  On  his  1.  stands 
Frederick  William,  close  to  the  Tsar,  he  tears  at  a  piece  inscribed  Saxe  which 
includes  an  extension  to  Mayence,  saying  with  an  imbecile  stare,  Prenons  bien 
les  choses...  Alexander,  holding  a  document  inscribed  Pologne,  puts  his  1.  hand 
near  the  Dtiche  de  Curlande  and  Lithuanie.  He  looks  to  the  r.,  exclaiming, 
Je  crains  le  Revenantl ...  On  his  1.,  in  the  centre  of  the  design  and  a  little  apart 
from  the  others,  stands  the  Regent,  with  a  pyramid  of  curls  on  a  head  like 
a  pineapple.  He  silently  holds  up  a  pair  of  scales,  one  weighted  by  a  heap  of 
coins,  the  other  containing  a  label:  Le  prix  du  sang!!  .  .  .  On  the  r.  is  'le 
revenant',  Napoleon  holding  the  part  of  the  map  on  which  are  France  and 
Paris ;  he  slashes  at  it  with  his  sword,  detaching  it  by  a  clean  cut  which  reaches 
to  les  Pays  Bas\  on  it  is  inscribed  Gare  a  qui y  touchera!  .  .  .  He  says:  Qui 
compte  sans  son  Hote  compte  deux  fois.  .  .  .  The  little  King  of  Rome  clutches 
his  father's  overcoat,  saying.  Papa  garde  fna  part.  .  .  .  On  Napoleon's  r. 
stands  Murat,  handsome  and  imposing.  He  holds  Naples,  which  is  next  the 
cut  made  by  Napoleon.  Under  the  map  is  Talleyrand,  groveUing  on  the 
ground  and  holding  a  profile  medallion  of  Louis  XVHL  His  club-foot  is 
conspicuous,  and  he  wears  many  stars  and  ribbons.  He  says :  Je  vais  devenir 
d'Eveque  .  .  .  Meunier!  Cachons  nous,  je  suis  sur  un  vilain  pied  ici  bos.  .  .  . 

See  No.  12528,  &c.  The  position  of  Mainz,  then  garrisoned  by  Prussians 
and  Austrians,  was  a  burning  question  between  the  Germanic  Powers;  in  18 16 
it  was  added  to  Hesse-Darmstadt.  For  British  gold  as  the  price  of  blood  cf. 
No.  12237,  ^^•'>  ^or  Britain  as  paymaster  of  the  Allies  in  1815,  No.  12542. 
Murat,  by  treachery  to  Napoleon,  retained  Naples  by  a  treaty  with  Austria 
(11  Jan.  1814),  but  the  Powers  at  Vienna  had  secretly  determined  on  a 
Bourbon  restoration.  On  Napoleon's  return  Murat  declared  for  him  and  for 
the  liberation  of  Italy  from  foreign  control;  see  Nos.  12540,  12555,  12622. 
Cf.  No.  12543.  Talleyrand's  words  are  a  proverbial  phrase  for  one  who 
descends  in  the  social  scale,  'Meunier'  being  also  an  allusion  to  the  windmill 
as  a  symbol,  like  girouette,  of  the  turncoat.  Cf.  the  famous  caricature  U Homme 
aux  6  Tetes,  and  Nos.  12500,  12524,  1253 1,  12546. 

Broadley,  ii.  62  (reproduction),  64.   De  Vinck,  No.  9521. 
7T|Xiii^  in. 

12522  a  a  copy,  reversed,  in  Jaime,  ii,  PL  660;  title,  le  Gateau  des  Rois 
tire  a  Vienne  En  dix  huit  Cents  quinze.   Inscriptions  as  above,  with  the  addition 
of  Louis  XVIII  on  Talleyrand's  medallion. 
4J|X7|in.  B.M.L.  1266.  g.  5. 

523 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

12523  THE  HIGH  WINDS  OF  MARCH  BLOWING  EVENTS  FROM 
ALL  QUARTERS— 

G.  Cruikshank  fed 

Pu¥  April  i'^  1815  by  M  Jones  N°  5  Newgate  Street  London — 

Aquatint  (coloured  impression).  PL  from  the  Scourge,  ix.  241.  A  sequence 
of  four  designs,  each  with  a  caption ;  they  illustrate  an  article  in  the  form  of 
a  letter  from  John  Bull,  describing  a  dream,  and  headed  'Wonders!  Wonders!! 
Wonders!!!'  (cf.  No.  6162). 

[i]  Administering  a  Mild  antidote  to  Starvation!!! —  John  is  tied  to  a  pillar 
representing  the  Constitution;  on  it  are  a  Bible,  a  cushion  supporting  the 
crown  which  is  transfixed  by  a  dagger,  and  the  (lop-sided)  scales  of  Justice. 
A  fire  blazes  under  his  feet,  kindled  by  Vansittart  in  his  Chancellor  of  the 
Exchequer's  gown,  who,  using  a  mace  as  a  torch,  feeds  it  with  burning  papers : 
New  Taxes ;  [Tax]  on  Shops ;  on.  .  .  on  Houses ;  .  .  .  Batchelors ;  Cuts  on  Manu- 
factory. He  says :  /  think  this  will  jnelt  him  now.  Liverpool  and  Castlereagh 
attack  John  with  bayonets.  The  former  rams  into  his  mouth  a  large  document 
inscribed  Corn  Bill;  John  cries:  No  Corn  Bill  no,  no,  Liverpool  says:  No 
compulsion  Johnny  but  you  must.  Castlereagh  directs  his  bayonet,  on  which 
a  loaf  inscribed  i\  6'^  is  spitted,  against  John's  stomach.  Mounted  Life 
Guards,  sabre  in  hand,  are  drawn  up  in  a  row  to  protect  the  torturers.  In  the 
foreground,  destined  for  the  fire,  are  papers  and  a  large  open  book:  On  the 
gre^  Utility  of  Petition^  Parliament.  Several  papers  are  inscribed  Petition  ags^ 
Corn  Bill,  and  a  heap  of  these  together  with  Magna  Charta  and  Bill  of  Rights 
is  surmounted  by  a  paper  inscribed  Waste  Paper  Dirty  Parchment  &c  &c. 
In  the  background  is  a  grassy  slope  down  which  cavalry  gallop  towards  burn- 
ing houses,  from  which  tiny  figures  are  hurling  furniture ;  the  words  no  Corn 
Bill  (twice)  appear  in  the  flames.    Infantry  fire  point-blank  at  the  rioters. 

For  the  Corn  Bill  see  No.  12503,  &c.  Houses  were  attacked  but  not  burnt 
during  the  riots  on  6,  7,  and  8  March.  For  the  proposed  taxes  see  No.  12507. 

[2]  Cochrane  and  Brooshooft  or  a  return  to  quarters!!! — A^"  2  A  note  below 
this  and  [3] :  *  by  Mistake  these  Subjects  are  Misplaced,  N°  2  preceeding  N  i. 
A  procession  approaches  the  King's  Bench  Prison  (1.).  Lord  Cochrane, 
dressed  as  in  No.  125 14,  but  heavily  shackled  and  with  a  rope  round  his 
neck,  is  led  by  a  smartly  dressed  man  wearing  top-boots  who  holds  two  large 
keys.  In  front  marches  a  man  holding  up  a  pole  to  which  are  tied  four  pistols, 
a  large  bag  of  Snuff,  a  smaller  one  of  Balls,  and  a  horn  of  Powder.  A  constable 
with  a  crowned  staff  walks  behind  Cochrane,  holding  a  heavy  chain  padlocked 
to  his  prisoner's  wrists.  Other  constables  are  indicated  behind,  in  the  door- 
way (r.)  in  the  wall  surrounding  the  prison.  From  the  mouths  of  the  escort 
rise  the  words  See  the  Conquering  Hero  comes.  A  sign-post  points  (1.)  To 
Ellenborough  Castle  (the  King's  Bench  Prison  was  under  the  control  of  the 
C.  J.  of  the  King's  Bench)  and  (r.)  To  New  Bedlam.  On  steps  leading  to  the 
door  a  man  hails  the  approach,  waving  his  hat.  In  the  foreground  a  ragged 
boy  jeers  and  a  dog  barks.   See  No.  12514. 

Broochooft  was  clerk  to  the  Marshal  of  the  King's  Bench  Prison.  Examiner, 
1815,  p.  478. 

[3]  N°  I  An  if  &  a  Butt  or  how  to  Escape —  At  the  foot  of  steps  leading 
from  a  door  in  the  King's  Bench  Prison  a  man  rolls  (r.  to  1.)  a  large  barrel, 
inscribed  Cockruns  Intire,  from  which  emerge  Cochrane's  head  and  shoulders. 
His  profile  faces  the  ground  and  he  says:  Rowly  Powly  Gammon  &  Spinage^ 
Fm  off  says  Anthony  Rowly.   The  man  who  rolls  the  barrel  says,  grinning, 

'  A  phrase  for  humbug  dating  from  c.  1845,  according  to  Partridge's  Slang  Diet.,  but 
apparently  deriving  from  'A  frog  he  would  a-wooing  go  . .  .',  see  No.  1 1525,  &c.,  1 1843. 


POLITICAL   SATIRES    1815 

Fm  afraid  his  Lordship  will  settle  at  a  heavy  discount — /  shall  get  blamed  for 
this.  A  man  standing  on  the  steps  watches  the  departure  with  folded  arms. 
The  barrel  is  about  to  be  rolled  up  a  slanting  ladder  on  to  the  back  of  the 
dray,  on  which  is  another  cask.  A  high  wall  with  a  frieze  of  spikes  joins  two 
blocks  of  buildings ;  in  it  is  a  large  double  door,  closed. 

How  Cochrane  escaped  was  apparently  then  unknown:  it  was  by  a  rope 
thrown  over  a  wall.  The  title  is  probably  a  punning  allusion  to  the  release 
(and  subsequent  re-arrest)  of  R.  G.  Butt,  convicted  with  Cochrane.  See 
Examiner,  1815,  pp.  463,  478.  A  debtor,  probably  Robert  Dighton,  is  removed 
in  a  barrel  from  under  the  eyes  of  bailiffs  in  No.  7747  by  I.  Cruikshank, 
see  vol.  vii,  p.    1. 

[4]  The  Lyon  &  the  Unicom  fighting  for  the  Crown — &c —  On  a  small 
platform  which  serves  as  dais  for  the  throne  of  Louis  XVIII,  Napoleon  (1.) 
and  Louis  fight,  each  tugging  at  the  crown.  Napoleon,  who  wears  a  large 
plumed  bicorne,  lifts  his  sabre  and  plants  the  toe  of  his  jack-boot  on  the 
King's  gouty  foot.  The  latter  raises  his  sceptre  to  smite,  saying,  Tyrant, 
Usurper  thy  time  is  come  thy  blood  shall  expiate  thy  ahnes.  Napoleon :  Yeild 
Bourbon,  the  Throne  is  mine  Mine  by  Treachery  &  broken  Faith  fly  then  to 
Elba,  do  you  ?iot  tremble  at  yon  grim  Mo?ister  whose  Bloody  Jaws  are  open  to 
receive  you.  He  alludes  to  a  fantastic  guillotine,  dripping  blood,  immediately 
behind  Louis.  This  seems  to  have  two  supports,  one  emerging  from  a  huge 
jack-boot,  the  other  resting  on  the  decollated  head  of  Louis  XVI,  which  is 
carried  on  a  staff  by  the  headless  owner,  who  plucks  at  his  brother's  coat-tail. 
The  guillotine  is  topped  by  a  grotesque  head  with  gaping  mouth,  wearing 
a  bonnet  rouge  in  which  an  axe  is  thrust,  and  flanked  by  two  lean  and  eager 
hands.  From  the  mouth  issue  the  words:  Gentlemen  you  zvill  have  the  goodness 
to  settle  your  own  private  disputes — 07ie  of  you  must  have  the  Throne  but  I  must 
have  the  other. 

On  the  opposite  side  of  the  platform,  behind  Napoleon,  are  the  flames  of 
Hell;  in  these  stands  a  grinning  demon,  holding  on  his  shoulders  a  skeleton, 
Death,  who  holds  a  javelin  and  touches  Napoleon's  back,  crying,  Huzza  Boncy 
for  Ever.  Tiny  demons,  like  insects,  but  representing  men  with  muskets  and 
flags,  ascend  in  the  flames.  Below  the  front  of  the  platform  and  forming  the 
base  of  the  design  are  French  spectators,  T.Q.L.  figures.  Old  soldiers  shout 
Vive  VEmpereur,  one  of  them,  wearing  a  bonnet  rouge,  transfixes  with  his 
bayonet  an  elderly  royalist  shouting  Vive  le  Roi.  One  man  shouts  ecstatically 
Vive  les  Bourbons.  An  elderly  woman,  fashionably  dressed,  registers  con- 
sternation, her  back  to  the  platform.  Behind  the  (fallen)  throne  is  a  high 
canopy  sunnounted  by  a  fleur-de-lis.   (Cf.  No.  12534.) 

The  text  is  a  plea  for  not  renewing  the  war,  on  the  ground  that  the  French 
choice  of  a  sovereign  is  their  own  concern,  and  that  John  Bull  is  already 
exhausted  and  should  not  be  asked  to  be  paymaster  to  the  sovereigns  of 
Europe.   For  the  opposition  to  the  war  cf.  No.  12550,  &c. 

Reid,  No.  472.   Cohn,  No.  732.   Broadley,  i.  No.  376-7. 
7^  X  20^  in.  Each  design,  7^X5  in. ;  7^  X  4i|  in. ;  7^  X  4f  in. ;  7^  X  4^  in. 

12524  THE  GENIUS  OF  FRANCE  EXPOUNDING  HER  LAWS  TO 
THE  SUBLIME  PEOPLE. 

Etched  by  G  Cruikshank 

Pub'^  by  H.  Humphrey  S^  James's  S^— April  4^^  1815— 

Engraving  (coloured  and  uncoloured  impressions).  A  tall  ape  (r.),  much 
emaciated,  and  with  a  butterfly  (emblem  of  levity)  perched  on  its  head,  is  the 
Genius  of  France ;  he  holds  up  a  large  (tricolour)  scroll  headed  French  Code 

525 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

of  Laws  which  forms  the  centre  of  the  design.  Miniature  apes  (I.),  repre- 
senting Frenchmen,  cluster  round  it,  peering  and  Hstening  with  grotesque 
intensity.  The  scroll  continues :  Ye  shall  be  Vain,  Fickle  &  Foolish. —  |  Ye 
shall  Kill  your  King  one  Day,  and  \  Crown  his  Relative  the  next —  |  Ye  shall 
get  Tired  of  Him  in  a  few  \  weeks —  &  recal  a  TYRANT  \  who  has  made 
suffering  hum=  \  =anity  bleed  at  every  pore —  |  because  it  will  be  truly  Nouvelle —  | 
Lastly — Ye  shall  abolish  &  destroy  \  all  virtuous  Society,  &  Worship  \  the 

Devil as  for  \  Europe,  or  that  little  Dirty  \  Nation  the  English  let  them 

be  I  D—d— FRANCE  the  GREAT  \  NATION  against  the  whole  \  WORLD! 
The  ape  has  a  long  tail,  decorated  at  regular  intervals  with  tricolour  bows. 
It  glares  savagely  down  at  the  crowd  of  little  monkeys  on  the  ground.  Some 
wear  bonnets  rouges,  others  are  foppish;  one,  wearing  an  elegant  coat,  sits 
chapeau  bras,  using  a  loop  of  his  tail  as  a  lorgnette  through  which  to  inspect 
the  scroll.  An  ape-magistrate  wearing  spectacles,  bag-wig,  and  gown  sits  on 
a  stool,  gaping  up  at  the  'Code'.  Behind  are  ape-soldiers  with  bayonets,  some 
wearing  bonnets  rouges,  others  in  cocked  hats ;  they  have  two  flags,  one  topped 
by  a  vulture-like  eagle,  the  other  (behind)  with  a  fleur-de-lis.  Behind  the 
soldiers  is  a  grassy  hill  topped  by  a  windmill  on  which  a  crowing  (Gallic)  cock 
serves  as  a  weather-vane.  The  four  sails  are  inscribed :  Vive  le  Roi  (coloured 
white  and  yellow),  Vive  VEmpereur,  Vive  la  Republique,  Vive  le  Diable  (the 
last  three  being  tricolour). 

The  print  may  derive  from  Gillray's  more  elaborate  design,  The  Arms  of 
France,  No.  10090.  For  the  title  cf.  Nos.  8614,  10284.  The  windmill,  like 
the  weathercock,  was  much  used  in  French  caricature  as  an  emblem  of 
political  fickleness,  see  No.  12522  and  Les  hommes  a  tout  vent  (Broadley, 
ii.  96  f.). 

Reid,  No.  473.   Cohn,  No.  1152.   Broadley,  i.  377  f.   Reproduced,  Grand- 
Carteret,  Napoleon,  No.  335. 
i4|X9in.   With  border,  15-^X9!  in. 

12525  THE   CONGRESS   DISOLVED   BEFORE   THE   CAKE   WAS 
CUT  UP— 

Pub'^  by  S  W  Fores  50  Piccadilly,  April  6""  181 5 — 

Engraving  (coloured  impression).  The  Powers  of  Europe  surround  a  Twelfth 
Cake,  as  in  No.  12453,  but,  as  in  No.  12522,  they  are  interrupted  by  the 
return  of  Napoleon  (1.).  He  dashes  in,  trampling  on  the  documents  con- 
taining the  achievements  or  aspirations  of  the  Congress :  Decrees  of  the  Con- 
gress ;  An  Account  of  the  Deliverance  of  Europe ;  A  Plan  for  the  Security  of  Europe. 
He  is  in  profile  to  the  r.,  holding  up  a  large  sabre,  and  pointing  with  a  minatory 
forefinger.  He  says :  Avast  ye  Bunglers,  the  Cake  you  have  been  these  six  months 
disputing  about,  the  Cutting  up  I  will  do  in  as  many  hours  [cf.  No.  9544].  He 
wears  the  large  plumed  bicorne  of  earlier  prints,  with  gauntlets  and  spurred 
jack-boots;  his  sash  and  coat-tails  fly  out  behind  him.  The  cake  covers  the 
surface  of  a  round  table.  The  monarch  nearest  to  Napoleon  is  the  Tsar, 
who  drops  knife  and  fork,  and  turns  round  in  his  chair,  with  extended  arms, 
saying,  who  the  Devil  would  have  expected  you  here — this  is  mal  a  propos.  Next, 
and  on  the  farther  side  of  the  cake,  is  the  King  of  Prussia,  seated  opposite 
a  portion  inscribed  Saxony;  he  drops  his  knife  and  says  with  shocked  dis- 
approval: /  thought  England  had  promised  to  guard  him!!!!  Shrinking  behind 
Frederick  William  is  the  Emperor  of  Austria;  he  grasps  his  knife,  saying, 
Hold  him  Seize  him.  These  three  wear  crowns.  Next  sits  the  Pope,  holding 
up  both  hands,  and  exclaiming  Oh!  dear  Oh!  dear  what  will  become  of  me. 


POLITICAL  SATIRES    1815 

He  wears  a  grotesque  tiara  with  a  wide  brim ;  his  portion  of  cake  is  inscribed 
Italy.  Next  is  a  handsome  man  wearing  a  fur  cap  decorated  with  a  star  which 
indicates  Poland  in  these  prints.  His  arms  are  folded,  and  he  says,  looking 
to  the  r.,  Who'll  begin?  there's  the  Rub!!!  He  sits  near  Poland.  Next  on  the 
cake  is  Sweeden;  Bernadotte  stands  behind  Poland,  with  arms  raised,  shout- 
ing: Seize  him.  Kill  him.  In  the  foreground  (r.)  is  Wellington,  who  has  risen 
from  his  chair,  and  stands  about  to  draw  his  sword,  the  only  silent  and 
unalarmed  witness  of  Napoleon's  entry.  Behind  his  chair,  and  on  the  extreme 
r.,  crouches  a  terrified  king,  whose  ruff  indicates  Ferdinand  VH;  he  screams 
aye  why  dont  you  Kill  him.  In  front  of  the  cake  and  next  to  Wellington  a  small 
man  crouches,  his  chair  overturned,  arms  extended,  exclaiming  Stop  him  stop 
him.  He  is  opposite  Norway.  Between  him  and  the  Tsar  a  grotesque  Dutch- 
man, representing  the  new  King  of  Holland,  has  fallen  on  his  back,  overturn- 
ing a  stool;  he  is  more  burlesqued  than  the  others,  resembling  a  clown,  and 
exclaims:  O!  Bonder  &  Blixen!  my  Hollands  is  allgoJie.  A  bottle  of  Hollands^ 
lies  on  the  floor  beside  him,  spilling  its  contents.  In  the  background  (1.), 
through  the  doorway  by  which  Napoleon  has  entered,  are  seen  grinning 
French  soldiers,  with  bayonets  and  wearing  bonnets  rouges. 

One  of  several  prints  of  the  Congress  (see  No.  12453,  &c.)  disturbed  by 
Napoleon's  return,  see  No.  12528,  &c.  The  identity  of  the  frightened  little 
man  opposite  'Norway'  is  doubtful:  either  a  personification  of  Norway,  or 
Prince  Christian  of  Denmark,  proclaimed  constitutional  King  in  18 14  but 
forced  by  the  Allies  (pledged  to  Bernadotte,  see  No.  11921)  to  yield  the 
country  to  Sweden. 

Reid,  No.  474.  Cohn,  No.  loii.  Broadley,  i.  378.  De  Vinck,  No.  9520. 
8f  X14I  in. 


12526  THE  FLIGHT  OF  BONAPARTE  FROM  HELL-BAY. 

[Rowlandson.] 

Pu¥  april  7  181  ^  by  R.  Ackermann  N  loi  Strand 

Aquatint  (coloured  impression).  The  Devil  (1.),  in  dressing-gown  and  night- 
cap and  holding  a  long  tobacco-pipe,  to  which  is  attached  a  soap-bubble,  sits 
in  an  arm-chair  before  the  flames  of  Hell  (r.)  which  stream  up  from  a  rocky 
pit  or  cavern.  He  looks  up  with  a  smile  of  deep  satisfaction  at  Napoleon  who 
stands  near  the  summit  of  the  pit  against  a  background  of  smoke  and  flames, 
one  foot  resting  upon  a  large  floating  bubble.  He  is  beset  by  two  flying 
dragons  with  serpentine  bodies,  one  having  two  heads;  these  dart  shafts  of 
flame  against  him  which  cross  like  searchlights.  He  raises  his  sword,  register- 
ing terror.  On  the  ground  below  are  two  attendant  demons  w'th  hairy  bodies 
crouching  one  each  side  of  their  master ;  both  look  up  in  delight  at  the  struggle ; 
one  (r.)  holds  out  his  arms,  spreading  his  talons,  ready  to  catch  the  Emperor 
when  he  falls.  The  other  holds  a  small  bowl  of  soap-suds  towards  the  Devil. 
The  latter's  arm-chair  has  arms  in  the  shape  of  serpents;  on  the  back  sits 
an  owl. 

For  Napoleon's  escape  see  No.  12506,  &c.   For  'Hell-Bay'  cf.  No.  1223 1. 

Grego,  Rowlandson,  ii.  291.    Listed  by  Broadley.    Reproduced,  Grand- 
Carteret,  Napoleon,  No.  339. 
i2i|X9|in. 

*  Schiedam  according  to  Broadley. 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

1 2527  HELL  HOUNDS  RALLYING  ROUND  THE  IDOL  OF  FRANCE. 
[Rowlandson.] 

Pu¥  April  8. 1815  by  R.  Ackermann  N°  loi  Strand. 

Engraving  (coloured  impression).  A  colossal  but  life-like  bust  of  Napoleon 
is  placed  on  a  mound  of  decollated  human  heads.  He  gazes  fixedly  upwards 
in  profile  to  the  1. ;  round  his  neck  and  bare  breast  is  twisted  a  noose  of  rope. 
Round  this  idol  dance  demons  with  human  heads,  holding  hands.  They  are 
naked  except  for  head-coverings,  and  have  horns,  hairy  legs,  tail,  with  one 
leg  terminating  in  a  cloven  hoof,  the  other  in  the  claw  of  a  bird  of  prey.  These 
'Hell  Hounds'  have  labels  hanging  from  a  collar  of  rope,  showing  that  they 
are  Caulincourt,  Fouche,  Savary,  with  a  pen  in  his  hat  (he  succeeded  Fouche 
as  Minister  of  Police  in  18 10),  Vandamme,  Davoust,  Ney,  Lefebre.  Two 
demons  fly  towards  the  emperor,  holding  a  large  wreath  which  is  on  fire,  with 
the  inscription  He  Deserves  A  Crown  of  Pitch.  This  they  are  about  to  place 
on  the  idol's  head,  towards  which  gallops  through  the  air  a  small  demon  (r.) 
on  a  goat,  blowing  a  horn.  In  the  foreground  lie  dead  and  dying  soldiers, 
one  is  decapitated,  another  (r.)  is  naked  and  has  lost  an  arm  which  he  holds 
out  with  an  agonized  expression  towards  the  idol.  In  the  background  (1.) 
soldiers  are  feeding  a  bonfire  with  English  Goods.  On  the  r.  is  a  blazing  town. 

Napoleon  remains  the  idol  of  the  French,  despite  the  slaughter  and  misery 
brought  by  him  upon  France  and  Europe,  by  war  and  his  Continental  System 
(under  which  British  goods  were  publicly  burned  in  1810-n,  according  to 
the  Fontainebleau  Decree,  see  Heckscher,  The  Continental  System,  1922, 
pp.  203,  227-9);  cf-  ^^-  12269.  Of  the  'Hell  Hounds'  who  joined  Napoleon 
on  or  before  his  arrival  in  Paris  on  20  March,  Fouche  was  to  betray  him  a 
second  time;  for  Ney  see  No.  125 16.   Cf.  No.  12528. 

According  to  Grand-Carteret  an  altered  version  with  French  inscriptions 
was  published  after  the  Hundred  Days,  and  there  are  impressions  from  which 
'Fouche'  has  been  removed. 

Grego,  Rowlandson,  ii.  291.  Broadley,  i.  378.  De  Vinck,  No.  9409.  Repro- 
duced, Grand-Carteret,  Napoleon,  No.  340. 
8i|Xi2|in. 

12528  SCENE  IN  A  NEW  PANTOMIME  TO  BE  PERFORMED  AT 
THE  THEATRE  ROYAL  PARIS. 

[Rowlandson.] 

Pub^  April  12^^  181$  by  R.  Ackermann.  N  loi  Strand 

Engraving  (coloured  impression).  Below  the  title:  With  entire  New  Music, 
Dances,  Dresses,  Scenery,  Machinery  &c  &c.  The  principle  Characters  to  be 
supported  by  most  of  the  great  Potentates  in  Europe,  Harlequin  by  Tkf  Napoleon, 
Clown  by  King  Wirtemberg,  Pantaloon  Emperor  of  Austria.  To  conclude  with 
a  Comic  Song  to  be  sung  by  the  Pope  and  a  Grand  Chorus  by  the  Crown' d  Heads. 
Vivant  Rex  et  Regina.  The  scene  is  the  throne-room  in  the  Tuileries,  indicated 
by  a  part  of  the  throne  on  its  dais  on  the  extreme  r.,  on  which  are  the  (dis- 
carded) throne  and  sceptre,  and  by  a  large  W.L.  portrait  of  Louis  XVIII,  scowl- 
ing and  caricatured,  inscribed  Louis  le  Bien  Aime.  Napoleon  as  Harlequin 
(as  in  Nos.  10060,  125 15),  in  parti-coloured  tights,  a  dagger  in  each  hand, 
leaps  through  an  opening  cut  in  the  canvas,  hounded  by  the  monarchs  of 
Europe.  The  portrait  (r.)  shows  the  fat  king  holding  orb  and  sceptre,  with 
eyes  closed  or  downcast.  The  canvas  from  waist  to  knees  of  the  portrait  is 
cut  neatly  away,  leaving  the  King's  gouty  feet  resting  squarely  on  a  foot- 
stool. Just  behind  Harlequin  is  the  fat  King  of  Wiirtemberg  on  his  knees 
(and  paunch)  firing  a  pair  of  pistols  at  the  fugitive.   Across  his  posterior  is 

528 


POLITICAL   SATIRES    1815 

the  word  Clown.  Beside  him  Ferdinand  of  Spain  falls  backwards,  over- 
balanced by  an  attempt  to  kick;  his  crown  falls  off  and  he  flourishes  a  sword. 
He  is  identified  by  his  slashed  doublet,  cloak,  and  flapped  boots.  Behind  (1.) 
a  fat  powerful  Cossack,  representing  Russia,  prods  Napoleon  with  his  long 
spear.  He  wears  a  fur  cap,  trousers  tucked  into  his  boots,  and  has  a  pair  of 
pistols  in  his  belt.  Farther  back  is  the  Emperor  of  Austria  wearing  a  wallet 
inscribed  Pantaloon.  He  is  bearded,  slippered,  spectacled,  and  lean,  wearing 
a  crown  and  a  dressing-gown.  He  shuffles  forward  with  clenched  fists,  holding 
a  dagger.  On  the  extreme  1.  is  the  Pope,  wearing  a  mitre  and  holding  a  heads- 
man's axe  against  his  shoulder.  Other  figures  are  nearer  the  wall  which  forms 
a  background.  Foremost  of  these  is  the  King  of  Prussia,  close  behind 
Napoleon  and  firing  a  blunderbuss.  Next  is  the  grotesque  Dutchman  who 
stands  for  the  new  King  of  Holland,  smoking  a  pipe,  and  firing  a  musket  with 
a  fiercely  intent  expression.  Three  unidentified  crowned  heads,  and  a  sharp 
profile  ( ?  Bernadotte)  with  bayonets  and  spear,  and  an  arm  holding  up  a  spiked 
club  make  up  the  crowd  of  attackers.  One  of  the  monarchs  takes  down  from 
the  wall  (or  hangs  up)  a  T.Q.L.  portrait  of  Columbitie,  a  young  woman  with 
a  feathered  hat  and  plump  arms  held  akimbo.  She  is  either  Marie  Louise  (as 
in  No.  125 1 5),  or,  according  to  Broadley,  the  Duchesse  d'Angouleme,  an 
identification  supported  by  the  position  of  her  portrait  in  the  same  room  as 
that  of  Louis  XVHL 

On  13  March  the  Allies  at  Vienna  issued  a  declaration  that,  in  violating 
the  Convention  which  established  him  at  Elba,  Bonaparte  had  placed  himself 
outside  the  protection  of  the  law.  On  25  March  it  was  agreed  by  the  Treaty 
of  Chaumont  that  Great  Britain,  Russia,  Prussia,  and  Austria  should  each 
put  150,000  men  in  the  field,  Britain  being  at  liberty  to  substitute  money  for 
men  at  a  fixed  rate.  The  Prince  of  Orange  had  at  once  taken  steps  to  have  the 
border  fortresses  put  in  repair.  Wellington  reached  Brussels  on  4  Apr.  For 
the  reception  of  the  news  at  Vienna  see  Croker  Papers,  iii.  233  f. ;  Stanhope, 
Conversations  with  Wellington,  1938,  p.  25  f. ;  H.  Nicolson,  The  Congress  of 
Vienna,  1946,  pp.  227-30.  See  also  Nos.  12506,  12515,  12518,  12519,  12522, 
12525;  for  the  Congress  see  No.  12453,  ^^• 

Grego,  Rowlajidson,  ii.  292.    Broadley,  i.  378  f.    De  Vinck,   No.  9410. 
Reproduced,  Grand-Carteret,  Napoleon,  No.  341. 
8|X  12^1  in. 

12529  THE  CORSICAN  AND  HIS  BLOOD  HOUNDS  AT  THE  WIN- 
DOW OF  THE  THUILLERIES  LOOKING  OVER  PARIS. 

[Rovvlandson.] 

Pu¥  April  16^^  1815  by  R.  Ackermann  N"  loi  Strand 

Engraving  (coloured  impression).  Napoleon,  not  caricatured,  stands  on  a 
balcony,  leaning  forward  to  look  down  at  the  scene  which  Death,  a  skeleton, 
points  out.  He  wears  his  petit-chapeau,  and  his  uniform,  without  orders,  is 
buttoned  to  the  neck.  Death  is  perched  on  the  parapet,  turning  his  head  to 
the  1.,  to  stare  in  Napoleon's  face;  in  his  r.  hand  is  his  javelin;  he  points  with 
outstretched  1.  hand.  His  hour-glass  stands  on  the  parapet,  which  is  inscribed 
More  Horrors  and  Death  and  Destruction.  Below  (r.)  are  the  heads  and 
shoulders  of  a  mob  with  pikes,  bayonets,  and  imperial  eagles.  There  are  two 
heads  on  pikes.  Behind  them  are  the  roofs  and  towers  of  a  corner  of  Paris, 
with  a  domed  church  surmounted  by  a  cross.  Close  behind  Napoleon  stand 
four  of  his  marshals  or  generals,  staring  down  at  the  scene  of  bloodshed. 
Next  the  Emperor  is  Ney,  his  hand  on  his  sword;  the  others  are  probably 
Vandamme,  Davout,  and  Lefebvre,  as  in  No.  12527.     The  Devil  stands 

529  Mm 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

behind,  grasping  Ney  and  Napoleon  in  his  hairy  arms.  His  grinning  head 
looks  to  the  1.,  between  those  of  his  victims.  Two  pistols,  a  dagger,  and  axe 
lie  on  the  parapet. 

One  of  several  prints  in  which  Napoleon  is  in  company  with  Death,  and 
of  many  in  which  he  is  with  the  Devil. 

Grego,  Rowlandson,   ii.   292  f.    Broadley,   i.   379.    Reproduced,   Grand- 
Carteret,  Napoleo7i,  No.  342;  Ashbee,  Caricature,  1928,  p.  47. 
8|Xi3i^  in. 

12530  THE  CORSICAN'S  LAST  TRIP,  UNDER  THE  GUIDANCE 
OF  HIS  GOOD  ANGEL 

G.C  Sculp 

Pu¥  by  H.  Humphrey  S^  James's  S^'' — April.  16.  181 5 — 

Engraving.  Napoleon  takes  a  flying  stride  from  Elba,  a  rocky  islet  (1.),  across 
the  sea  to  the  steps  of  the  throne  which  is  placed  on  the  French  coast.  He  is 
supported  by  the  Devil,  a  creature  with  webbed  wings  and  snaky  locks  stream- 
ing in  the  wind,  like  his  long  barbed  tail.  The  Devil  looks  down  at  Napoleon 
with  a  savage  and  insinuating  grin,  pointing  with  his  1.  hand  to  the  crown 
and  hand  of  Justice  (see  No.  12247)  which  are  on  a  cushion  patterned  with 
fleurs-de-lis  on  the  seat  of  the  throne.  They  are  followed  by  carrion  birds. 
The  throne  is  a  small  ornate  chair  without  arms;  on  its  back,  decorated  by 
a  large  fleur-de-lis,  stands  the  dove  of  peace,  on  which  a  vulture-like  eagle 
wearing  a  crown  is  about  to  pounce.  A  small  dog,  its  collar  inscribed 
Tall\eyrand\,  barks  at  Napoleon  from  under  the  throne.  Napoleon  wears  a 
large  plumed  bicorne,  sash,  high  jack-boots,  and  sabre. 

For  the  return  from  Elba  see  No.  12506,  &c;  for  the  attitude  of  Talleyrand 
cf.  No.  12522.  Cf.  UEnjambee  Imperiale  (reproduced,  Broadley,  ii.  60)  in 
which  Napoleon  strides  from  Elba  to  France  with  the  standard  of  'Honneur 
et  Patrie'. 

Reid,  No.  475.   Cohn,  No.  1022.    Broadley,  i.  372.    De  Vinck,  No.  941 1. 
Reproduced,  Grand-Carteret,  Napoleon,  No.  346. 
7|X9^  in.   With  border,  8^X  lof  in. 

12531  VIVE  LE  ROI!— VIVE  L'EMPEREUR.  VIVE  LE  DIABLE. 
[Rowlandson.] 

[Note  by  Miss  Banks,  'Ap:  1815  [Ackermann],  loi  Strand'.] 

Engraving  (coloured  impression).  A  tall  French  soldier,  swarthy,  mustachioed, 
muscular,  and  sinister  stands  almost  full-face,  his  mouth  open  as  if  shouting. 
In  his  large  cocked  hat  are  three  large  favours,  one  white  inscribed  Vive  Le 
Roi,  one  tricolour  inscribed  Vive  Le  Empereur,  the  uppermost  and  largest,  Vive 
Le  Diable,  is  pink.  He  holds  his  musket  by  the  barrel,  the  butt  resting  on  the 
ground,  in  his  1.  hand  he  holds  out  a  snuff-box.  His  uniform  is  neat,  but  his 
feet  are  bare,  except  for  remnants  of  leather  across  the  instep.  By  his  head 
in  large  letters:  French  Constancy  (1.)  and  French  Integrity  (r.).  Behind  and 
on  a  smaller  scale  are  emblems  of  fickleness:  a  windmill  (1.)  represents  French 
Stability;  an  ape  and  cat  embracing,  both  on  their  hind-legs,  represents: 
French  Utiion  between  the  National  Guard  and  Troops  of  the  Line. 

A  dispatch  from  Marseilles,  i  Apr.:  '.  .  .  The  soldiers  and  the  National 
Guards  embraced  with  cries  of  Vive  VEmpereur.'  Examiner,  9  Apr.  1815. 
Cf.  No.  12548.  For  the  windmill  as  emblem  of  French  inconstancy  see 
No.  12522. 

Grego,  Rowlandson,  ii.  291  f.   Broadley,  i.  383  f. 
lofxSf  in. 

530 


POLITICAL  SATIRES   1815 

12532  WESTMINSTER  PUGILISM,  AN  INTERESTING  BATTLE 
FOUGHT  NEAR  WESTMINSTER  BRIDGE  ON  THE  10™  APRIL 
1815  BETWEEN  THOSE  NOTED  CANDIDATES  BOB,  AND  SAM 
THE  BREWER. 

[Williams.] 

pu¥  April  1815  by  S  Knight  N°  3  Sweeting  Alley  R  Ex^ 

Engraving  (coloured  impression).    Illustration  of  a  squib,  'Severe  Battle', 
reprinted  in  The  New  Whig  Guide,  1819,  pp.  104-7.   Much  of  this  is  quoted 
at  length  in  the  print.   A  pugilistic  encounter  in  the  House  of  Commons,  in 
front  of  the  Table,  between  Castlereagh  (1.)  and  Whitbread  (r.).   The  latter 
staggers  back  under  a  well-placed  blow  on  the  jaw.    Castlereagh  wears  his 
shirt,  over  which  his  Garter  ribbon  hangs  loosely ;  Whitbread  is  dressed  like  a 
drayman,  in  short  jacket,  short  gaiters,  with  a  handkerchief  knotted  round 
his  neck,  and  an  apron  tucked  round  his  waist.  Each  has  a  bottle-holder  and 
a  second.   Hiley  Addington,  a  fashionably  dressed  young  man,  Castlereagh's 
bottle-holder,  holds  a  bottle  of  Curracoa  decorated  with  the  Prince  of  Wales's 
feathers ;  he  capers  with  delight,  waving  his  hat,  and  saying,  Thats  a  prime 
facer — there  goes  the  Brewer.    The  second  holds  Castlereagh's  coat.    Whit- 
bread's  second,  much  concerned,  says :  Zounds  Man  you  should  have  guarded 
your  jaw  bett£r  why  that  left  handed  facer  zvill  floor  you.    His  bottle-holder, 
equally  anxious,  holds  a  cask  under  his  arm  inscribed  En  \  tire  \   W  [cf. 
No.   1042 1].  Members  discuss  the  fight.    One  on  the  front  bench  behind 
Castlereagh's  second  turns  to  a  member  behind  him,  who  says:  /  knew  Sam 
had  no  chance  from  the  beginning  of  the  battle,  he  hit  at  random.    The  other 
answers:  Why  Sir  if  you  observed  he  more  than  once  pinked  Brother  Hiley  the 
bottleholder  instead  of  aiming  his  blows  right  at  Bob.   Sam  is  a  glutton,^  but  has 
no  more  science  than  Ikey  Pig.  tho  he  has  gaitted  easy  victories  over  some  pro- 
vincial novices  at  the  fairs  at  Bedford,  he  is  Jiot  able  to  contend  with  tip  top 
profesors.    Two  men  standing  behind  shout :   Thats  a  prime  facer  there  goes 
the  Brewer  and  Lombard  Street  to  a  china  orange.    Two  men  on  the  front 
Opposition  bench  behind  Whitbread  say:  Who  would  have  thought  it!    Sure 
Sam  has  not  been  in  proper  training!!  and:  A^o  he  has'ent  taken  Brown  Stout 
enough!    The  Speaker  (Abbot),  small  and  insignificant,  watches  from  the 
Chair,    Spectators  lean  from  the  galleries.    Below  the  design:   i^  Round. 
N^o  sparring — Sam  set  too,  without  much  ceremony.    He  made  three  or  four 
hanging  hits  at  Bob  Stewart  (alias  bit  of  Blues)' s  head ;  but  it  was  evident  he 
misjudged  his  distance  terribly.    Sam  acted  in  this  round  quite  on  the  offensive, 
tho'  he  shifted  his  ground  constantly,  and  threw  a  good  many  hits  away  right  and 
left.    Towards  the  end  of  the  round  he  lost  his  temper,  tried  a  avss  buttock  but 
failed;  and  after  an  irregular  struggle  was  thrown  oti  his  back  against  the  ropes. — . 
2'^  Round,  in  this  round  the  Irishmatt  showed  himself  a  flash  man,  atui  as  cool 
and  determined  a  pugilist  as  was  ever  pittied  [sic] ;  he  sparred  cautiously  at  first, 
parried  all  Sams  hits  with  much  dexterity,  and  punished  him  about  the  head  and 
body  zvith  the  greatest  good  humour.   Sam  seemed  uneasy  at  this  treatment ;  and 
at  length  Bob  Stewart  {alias  bit  of  Blue)  took  compassion  on  him,  and  planted 
a  left  handed  facer  on  Sams  jaw,  which  floored  him  and  put  an  end  to  the  round — 
Lombard  Street  to  a  china  Orange  agaitist  Sam. — 3'^  Round,  Sam  rallied  and 
sprung  on  his  legs  with  much  gaiety ;  his  wind  seemed  untouched,  and  his  jaw 
stronger  than  ever  ;  he  affected  to  make  play  but  the  Irishman  smiled  with  confi- 
dence.   Sam  tried  to  pink  him  below  the  waist;  loud  cries  of  ''foul,  foul,"  which 

'  Boxing  slang  (1809)  for  'a  man  of  true  bottom'.  'The  classical  phrase  at  Moulsey- 
Hurst  for  one  who  .  .  .  takes  a  deal  of  punishment  before  he  is  satisfied.'  T.  Moore, 
Tom  Crib's  Memorial  to  Congress,  18 19,  p.  xvi.   O.E.D. 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

Sam  disregarded,  and  the  battle  went  on,  untill  the  Irishman  fibbed  him  severely, 
and  Sams  friends  took  him  out  of  the  ring. 

On  10  April  Whitbread  attacked  Castlereagh  in  the  Commons  on  his 
negotiations  at  Vienna,  using  letters  of  Castlereagh  to  Talleyrand  printed  in 
the  Morning  Chronicle  from  copies  in  the  French  archives  sent  to  the  paper 
by  Napoleon.  He  demanded  information  on  the  progress  of  negotiations  at 
Vienna.  Castlereagh  said:  'To  the  hon.  gentleman  it  was,  no  doubt,  easier 
to  calumniate  his  Majesty's  ministers  and  the  Allies  of  the  country  on  imper- 
fect documents  than  on  full  information  for  experience  had  shown  that  when 
he  proceeded  on  the  latter,  no  one  had  been  less  fortunate  than  the  hon. 
gentleman  in  establishing  the  charges  which  he  thought  proper  to  adduce 
against  public  men'  (cf.  No.  12540,  &c.).  No  one  else  is  reported  as  taking 
part  in  the  debate,  which  is  styled  a  conversation.  Pari.  Deb.  xxx.  467-72. 
The  letters  are  reprinted  from  the  Chronicle  in  the  Examiner  of  16  Apr. 
Whitbread  was  the  chief  opponent  of  the  resumption  of  war  with  France, 
cf.  No.  12099.  Hiley  Addington,  termed  by  Canning  'Brother  Hiley',  cf. 
No.  10421,  &c.,  was  Under-Secretary  for  Home  Affairs.  Ikey  Pig  was  beaten 
in  his  only  recorded  fight  by  Tom  Cribb,  21  May  1805.  'Bit  of  Blue'  is 
doubtless  an  allusion  to  Castlereagh's  Garter,  given  before  he  went  to  the 
Congress.  As  in  No.  12501,  he  is  the  Regent's  man.  Cf.  No.  12538,  &c. 
8^X12^  in. 


12533  [FRONTISPIECE  FROM  R L  LOGGERHEADS!  OR  THE 

CONGRESS  OF  STATE  TINKERS!!] 

[G.  Cruikshank.]     [Pub.  Fairburn.]  [?  Apr.  181 5] 

Engraving  (coloured  impression).  The  four  great  Powers  are  tinkering  at  a 
huge  pot ;  instead  of  mending  it  they  have  made  a  big  hole  near  the  bottom 
through  which  Napoleon  emerges,  head  first,  sabre  in  one  hand,  plumed 
bicorne  in  the  other.  He  says :  Bon  jour  Messieurs — /  have  no  time  to  loose — 
adieu  Fm  off — le  congress  is  disout  [sic].  The  pot  is  marked  like  a  map,  taking 
the  place  of  the  'Twelfth  Cake'  (cf.  No.  12453).  Napoleon's  hole  is  within 
the  district  marked  Elba.  The  three  Continental  sovereigns  swing  large 
hammers;  all  wear  aprons.  Castlereagh  (1.),  seated  on  a  three-legged  stool 
placed  on  a  high  stand,  is  engaged  in  gilding  Hanover.  Frederick  William  (r.), 
opposite  Saxony,  and  addressing  the  Tsar,  says: 

You:  made  that  d — d  confounded  hole 
that  let  out  Nap  upon  my  Soul. 

Alexander,  who  faces  Poland: 

What  made  the  Hole,  it  seems  to  me 
was  Prus — a's  blows  at  Saxony. 

Francis  I,  opposite  Italy: 

'  Tis  warm  work  faith ;  I  wish  we'd  here 
a  Butt  of  M*"  Whitbread' s  Beer. 

Castlereagh,  perched  above  him,  answers: 

D—n  Whit—d! 

let  not  that  hard  mouth  dog  be  named. 

The  selfish  quarrels  of  the  Powers,  see  No.  12453,  ^c->  ^^^^  to  Napoleon's 
return,  see  No.  12506,  &c. ;  Alexander  was  responsible  for  his  position  as  ruler 
of  Elba.  Extensions  of  Hanover,  raised  from  an  electorate  to  a  monarchy, 
see  No.  12499,  were  secured  at  the  Congress.  For  Castlereagh  and  Whitbread 

532 


POLITICAL   SATIRES    1815 

cf.  No.  12538.  For  the  theme  of  the  tinkers  cf.  Gillray's  The  State  Tinkers 
(North's  Ministry),  No.  5635. 

The  verse  satire  illustrated  (B.M.L.  1162.  1  28)  is  by  'Peter  Pindar',  con- 
jecturally  identified  in  the  B.M.L.  Catalogue  as  C.  F.  Lawler. 
7iX9i|  in. 

12533a  Heading  to  a  broadside  (44  lines):  The  Bungling  Tinkers!  or. 
Congress  of  Blockheads!  Who  Battered  a  Hole  in  Great  Europe's  Kettle. 
Pub.  Fairburn:  {Price  One  Shilling,  coloured).  The  eleven  verses  are  from 
the  116  verses  of  R — /  Loggerheads,  and  the  copy  described  is  bound  with 
that  satire. 

Reid,  No.  468.    Cohn,  No.  967.    Broadley,  i.  379  f.  (reproduction,  p.  382). 
15^  X  I  if  in.  (broadside).  B.M.L.  G.  18981/14. 

12534  JOHN  BULL  IN  ALARM;  OR,   HONEY'S  ESCAPE,  AND  A 
SECOND  DELIVERANCE  OF  EUROPE.    A  new  Song  to  an  old  Tune. 

[G.  Cruikshank.]  [?  Apr.  1815] 

[Jones  &  Co.  Typ.,  New  Street,  London.   Published  at  98  Cheapside.] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  Napoleon 
kicks  Louis  XVIII  from  the  platform  or  dais  on  which  the  throne  is  placed. 
This  platform  has  three  steps  leading  up  to  it  from  1.  and  r.,  at  r.  angles  to 
the  throne,  and  separated  by  a  vaulted  space.  Napoleon  has  reached  the  top, 
propelled  by  the  trident  of  the  Devil,  who  stands  just  below  him.  He  waves 
his  plumed  bicorne,  places  the  crown  on  his  head  (as  at  his  coronation),  and 
gives  the  fleeing  Louis  a  violent  kick.  The  gouty  king,  dropping  his  crutched 
stick,  but  clasping  a  bag  oi  Jewels,  Precious  Stones,  &c  &c,  is  about  to  take 
a  header,  but  John  Bull,  a  stout  'cit'  holding  a  cudgel,  stands  below,  and  puts 
out  an  arm  to  catch  him,  saying,  Cheer  up  old  Lewis  for  as  fast  as  he  kicks  you 
down  we'll  pop  you  up  again.  Beside  him  stands  the  Tsar;  the  other  AlUes  are 
indicated.  Behind  him,  allied  flags,  symmetrically  arranged,  recede  in  per- 
spective. The  first  is  a  Union  flag  inscribed  England,  the  next  is  that  of  Russia 
with  a  double-headed  eagle ;  the  next  is  that  of  Prussia,  the  eagle  (incorrectly) 
also  double-headed.  The  others  are  not  differentiated.  On  the  1.  behind  the 
Devil  French  soldiers  rush  forward  with  flags  (one  with  an  eagle)  and  bayonets, 
shouting  Vive  VEmpreur.  The  throne,  irradiated  and  canopied,  is  decorated 
with  a  fleur-de-lis.   The  ist,  3rd,  6th,  and  9th  of  nine  verses: 

Oh!  here  are  such  wonders  and  wonders! 

All  the  world 's  in  an  uproar  about  it, 

And  there  are  such  blunders  and  bhoidersH 

When  I  tell  you  I'm  sure  you  wont  doubt  it.    Rum  ti,  &c. 

They  shut  him  up  close  on  a  rock, 
Which  was  open  on  all  sides  around. 
He  broke  out  and  got  back  to  his  flock. 
Whilst  all  thought  him  snug  in  the  pound. 

But  all  our  Allies  will  advance, 
And  the  King's  rights  must  surely  regain  'em. 
Their  Armies  shall  dash  through  all  France, 
If  John  Bull  will  equip  and  maintain  'em. 

But  says  Glass  in  her  cookery  so  rare. 

To  make  dishes — first  rightly  begin  'em! 

Thus  where  Eels  form  a  part  of  the  fare. 

You  must  first  CATCH  the  Eels  and  then  skin  'em!    Rum  ti,  ti. 

533 


CATALOGUE  OF  POLITICAL   AND   PERSONAL   SATIRES 

Apparently  a  comment  on  the  debate  of  7  Apr.  on  the  Regent's  Message  on 
events  in  France,  when  action  in  concert  with  the  AUies  was  recommended. 
The  arrangements  at  Elba  and  the  escape  (see  No,  12506,  &c.)  were  discussed, 
and  war  was  opposed  by  Whitbread  and  others.  Pari.  Deb.  xxx.  417  ff.  This 
debate  is  the  subject  of  The  Dynasts,  III.  v.  Sc.  v.  Cf.  Nos.  12536,  12537, 
12538.  A  complaint  in  the  French  official  Press  of  31  Mar.  that  agents  of 
'the  late  Government'  had  taken  away  valuable  jewels,  &c.,  belonging  to  the 
State  was  printed  in  the  Examiner  of  9  Apr.  See  De  Vinck,  No.  9442,  and 
No.  12509.  Cf.  No.  i2523[4]. 

Reid,  No.  467.   Cohn,  No.  1257.   Broadley,  i.  380  f. 
635- x8f  in.   Broadside,  155X9^  in.  (cropped). 

12535  NAPOLEON,  THE  CORSICAN  PHCENIX. 

[Pub.  John  Fairburn,  junior,  4  Fountain  Court  Minories.]  [?Apr.  1815] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  An  adapta- 
tion of  some  variant  of  No.  12177,  the  title  suggesting  that  it  was  published 
after  the  return  from  Elba,  see  No.  12537.  Napoleon's  head  is  in  profile 
to  the  r.;  on  the  face,  instead  of  corpses,  are  two  juxtaposed  skulls,  one 
inscribed  N.,  the  other  B.,  above  cross-bones.  The  hat  is  a  crowing  cock  with 
spread  wings ;  one  claw  is  dug  into  the  skulls  on  the  cheek,  the  other  grasps  a 
reptile  which,  with  its  tail  in  its  mouth,  encircles  Napoleon's  collar.  The  epaulet 
is  a  hand  holding  a  dagger;  on  the  cuff  is  A'^,  and  round  the  wrist  a  chain.  On 
the  edge  of  the  coat  is  a  larger  chain;  on  the  (r.)  breast  is  a  heart  inscribed 
Ambition  from  which  liquid  cascades;  there  is  also  the  star  of  an  order  centred 
with  an  eagle.  Round  the  shoulders  is  a  leopard  skin,  one  paw  hangs  in  front 
of  the  I.  shoulder,  holding  a  sceptre.  The  bust  emerges  from  flames  which 
form  the  base  of  the  design.   The  text: 

^The  Hat  of  Napoleon  represents  the  Gallic  Cock,  his  wings  expanded,  and 
crowing  confident  of  success.^ — The  Initial  of  his  Name  is  branded  on  his  Face, 
as  a  mark  of  Infamy. — His  Throat  is  encircled  with  a  Serpent,  signifying  that 
he  who  rises  up  against  his  lawful  Sovereign,  encounters  with  a  Serpent, 
and  shall  meet  with  venomous  and  deadly  repulses. — His  Coat  is  embroidered 
with  a  Chain,  representing  that  chain  of  incidents  of  Tyranny  and  Slavery, 
which  many  nations  have  experienced  and  groaned  under,  by  his  boundless 
Ambition. — His  Epaulette  is  a  Hand  grasping  a  Dagger,  an  emblem  of  Usurpa- 
tion, Assassination,  and  Horror. — On  his  Breast  is  a  Heart,  overflowing  with 
Ambition  to  regain  his  lost  Territory,  and  make  the  world  bend  under  his 
Yoke. — Around  his  Body  is  a  Leopard's  Skin;  the  paw  of  the  Leopard  grasps 
a  Sceptre,  an  emblem  of  an  incorrigible  and  crafty  Villain,  the  Skin  contain- 
ing such  spots  as  no  art  can  remove  or  whiten. — His  Empire  is  enveloped  in 
Flame,  figurative  of  the  horrors  of  War  and  Bloodshed.'  For  the  'Corsican- 
Phoenix'  cf.  No.  11007, 

Broadley,  ii.  246  (reproduction),  255  f. 
c.  8f  X9  in.   Broadside,  15^X9^  in.  (cropped). 

12536  HELBA  FLAG 

T  H  inv'    Etc¥  by  G.  C 

Pub'^  by  H.  Humphrey  2y  S*  James's  Street  April  30^^  1815 

Engraving  (coloured  and  uncoloured  impressions).  After  the  title :  Three  Bees 
{properly)  suspended  viz  Buonaparte  &  Burdet  over  Bar — g  but  under  their 
Deserts:  viz  a  Gibbet!!!  A  white  flag  bordered  with  gold  is  attached  to  the 
side  and  cross-bar  of  an  L-shaped  gibbet.    Three  large  (tricolour)  B's  are 

534 


POLITICAL  SATIRES    1815 

suspended  from  the  gibbet,  and  form  the  device  of  the  flag;  the  central  one 
hangs  from  a  longer  rope  and  is  therefore  below  the  others.  They  are  inscribed 
(1.  to  r.)  Bw'dett.,  Baring,  Buonaparte.  There  is  a  background  of  heavy  clouds 
against  a  sky  rendered  dark  by  cross-hatching,  with  the  carrion  birds  associated 
in  these  prints  with  Elba,  and  a  gibbet. 

For  Bonaparte's  flag  at  Elba  with  its  three  imperial  bees  see  No.  12249. 
For  Elba  as  Hell  cf.  No.  1223 1 .  Burdett  protested  on  7  Apr.  against  a  renewal 
of  war  (for  another  twenty  years)  on  the  ground  that  Bonaparte  was  the 
undoubted  choice  of  the  French  people.  Pari.  Deb.  xxx.  435.  Alexander 
Baring,  M.P.  for  Taunton,  owes  his  position  to  his  name  rather  than  his 
politics ;  though  he  was  a  Whig  and  took  a  leading  part  in  opposing  the  Corn 
Bill,  he  spoke  for  the  Commercial  Interest,  and  was  anything  but  a  Jacobin. 

Reid,  No.  476.   Cohn,  No.  1190.   Listed  by  Broadley. 
8^  X  7I  in.   With  border,  9^  X  8^  in. 

12537  THE  PHENIX  OF  ELBA  RESUSCITATED  BY  TREASON 

G  Cruikshank  jc^ 

Pu¥  May  i'^  181 5  hy  W  N  Jones  Newgate  S^ 

Aquatint  (coloured  and  uncoloured'  impressions).  PI.  from  the  Scourge, 
ix.  321.  A  phoenix  with  the  head  of  Napoleon  emerges  from  a  cauldron  of 
flames.  Projecting  from  his  profile  is  a  bird's  large  beak;  on  his  head  are  a 
laurel- wreath  and  bonnet  rouge.  From  his  beak  come  the  words  Veni  Vidi 
Vict.  The  cauldron  is  supported  on  the  talons  of  a  bird  of  prey,  and  is 
encircled  by  a  serpent  from  whose  jaws  issue  flames  and  the  word  WAR. 
Flames  under  the  cauldron  are  produced  by  burning  documents  inscribed 
Connwidrum.  A  witch  or  Fury  (r.)  with  hands  dripping  blood  holds  a  wand 
against  the  breast  of  the  Thenix',  uttering  an  incantation  with  raised  r.  hand: 
Rise  Spirit  that  can  never  rest.  Offspring  of  Treason! — sweet  Bloodthirsty  soul — 
come  forth!!  She  is  a  grotesque  and  skinny  hag,  with  pendent  breasts.  Four 
French  marshals  or  generals,  on  a  much  smaller  scale  than  the  witch  (probably 
those  of  No.  12527),  caper  round  the  cauldron  with  gestures  of  ecstatic  delight. 
One  (1.)  has  a  long  nose  and  a  queue  which  reaches  the  ground;  he  is  evidently 
Ney  (cf.  No.  125 16).  He  says:  Ah!  ha!  by  gar  now  shall  begin  our  Bloody  work 
again.  Above  the  flames,  and  emerging  from  dark  clouds  is  Fate,  a  winged 
female  figure,  looking  down,  and  holding  out  in  the  r.  hand  a  crown  and  hand 
of  Justice  (cf.  No.  12247),  in  the  other  a  noose  of  rope  and  a  tiny  guillotine. 
She  says :  Rise!  Rise,  thou  favord  son  of  Fate!  Death  or  a  Diadem  shall  rezvard 
thy  labours.  Below  her  three  fantastic  little  demons  are  flying,  inscribed 
respectively  Treason,  Rapine,  Murder;  the  last  holds  a  dagger  in  each  hand. 
Smaller  creatures  are  flying  in  the  clouds.  The  cauldron  stands  upon  a  rocky 
plateau  (as  in  Gillray's  Thcenix',  see  No.  11007)  at  the  base  of  the  design;  this 
is  surrounded  by  heavy  clouds  of  smoke  through  which  soldiers  are  marching 
towards  it  from  1.  and  r.  They  have  sub-human  faces,  wear  bonnets  rouges, 
and  carry  bayonets,  pikes,  and  flags  surmounted  by  eagles.  They  shout  Vive 
VEmpreur. 

In  the  upper  part  of  the  design  on  the  1.  and  r.  are  subordinate  scenes  on 
a  smaller  scale.  On  the  1.  the  Regent  sits  on  a  cushion  in  an  oriental  manner, 
in  a  tent  topped  by  his  feathers.  Behind  him  is  a  large  decanter,  and  in  his 
r.  hand  a  long  tobacco-pipe.  He  looks  apprehensively  at  Castlereagh  (r.), 
who  approaches  deferentially,  holding  out  two  documents :  Return  of  Boney  to 
Paris  and  Decision  of  Congress.  Castlereagh :  May  it  please  my  Prince  but  these  are 
events  zee  never  calculated  upon.  I  had  no  objection  to  the  Sacrifise  of  Saxony. 
'  Not  folded,  showing  that  it  was  issued  separately. 

535 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

to  the  Ambition  of  Prussia,  I  had  no  objection  to  the  Views  of  Alexander  upon 
Poland  I  had  no  Objection  to  the  Transfer  of  Norway  to  Sweden  I  had  no 
Objection  to  the  Union  of  Belgium  with  Holland  I  had  no  Objection  to  all  these 
things  but  I  could  not  foresee  that  the  people  would  be  dissatisfied  and  wish  for 
the  return  of  Buonaparte,  to  which  I  have  every  Objection.  Behind  him  is  a 
large  money-bag  inscribed  Acc^  of  my  Expences.  The  Regent,  with  a  gesture 
of  alarm,  answers :  How  ?  shall  I  lose  Hanover  shall  I  lose  all  we  have  been 
fighting  for.   (Cf.  No.  12550.) 

As  a  pendant  to  this  (r.),  Wellington,  sword  in  hand,  gallops  down  hill  and 
to  the  1.  towards  the  'Phenix'.  On  a  parallel  road,  divided  from  that  on  which 
Wellington  is  riding  by  bushes  and  a  sign-post,  Louis  XVIII  rides  uphill 
and  to  the  r.  on  an  ass.  His  gouty  legs  bestride  a  large  bundle  strapped  to 
the  ass  and  inscribed  J^z^^/^  (see  No.  12534).  ^^  beats  the  ass  with  his  crutch, 
saying,  Gee  up  Neddy,  adieu  to  the  lilly  in  the  violet  season  adieu  to  my  good 
City  of  Paris.  The  sign-post  points  (1.)  To  Belgium,  and  (r.)  To  Vienna.  The 
roads  are  at  the  foot  of  a  cliff  on  which  is  a  small  pavilion  with  a  domed  roof 
inscribed  Solomans  Temple.  This  has  an  open  front  which  is  flanked  by  two 
elongated  figures  or  terms  serving  as  pillars ;  they  are  men  with  sly  expressions 
and  ass's  ears,  wearing  conical  fool's  caps.  Within  the  'temple'  five  little  men 
sit  round  a  large  cake  as  in  No.  12453.  On  the  1.  is  Alexander,  pointing  to 
Poland,  and  saying  ///  have  this.  Next  is  Bernadotte,  opposite  Norway,  saying, 
give  me  some  of  that.  Next  are  the  King  of  Prussia  and  the  Emperor  of  Austria, 
both  opposite  Saxony.  The  latter  says  ///  have  this,  Frederick  William  answers 
No  you  shan't  III  have  it.  Wellington  bends  over  the  cake  in  silence;  a  fat 
Dutchman,  smoking  a  pipe,  William  I,  looks  over  his  shoulder  towards  a 
paper  inscribed  Belgium,  saying,  /'//  have  that.  An  owl  is  perched  on  the 
architrave  of  the  temple,  looking  down  at  the  conference. 

The  return  of  Napoleon,  see  No.  12506,  &c.,  is  combined  with  an  attack  on 
Castlereagh  for  his  conduct  at  Vienna  which  is  based  on  ignorance,  on  faction, 
and  on  the  sympathy  felt  for  Poland,  Norway,  and  Saxony,  cf.  No.  12523. 
The  union  of  Holland  and  Belgium,  however,  was  the  result  of  British 
diplomatic  activity  in  18 14  and  181 5.  See  Renier,  Great  Britain  and  the 
Establishment  of  the  Kingdom  of  the  Netherlands  1813-1815,  1930,  pp.  199  ff. 
The  Regent  is  accused  of  caring  only  for  the  interests  of  his  family  in  Hanover. 
Wellington  left  Vienna  on  29  Mar.,  and  travelling  at  great  speed  reached 
Brussels  on  4  Apr.  In  the  debate  of  7  Apr.,  see  No.  12534,  opponents  of  a 
renewal  of  the  war  maintained  that  Napoleon's  return  was  by  the  will  of  the 
French  people,  others  that  he  was  supported  only  by  the  army  (cf.  No.  12538). 
For  the  'violet  season'  see  No.  125 12,  &c. 

Reid,  No.  479.   Cohn,  No.  752.   Broadley,  i.  382  f. 

12538  A  NEW  WAY  TO  ENFORCE  AN  ARGUMENT! ! ! ! ! 

G.  H  [Humphrey]  inv*    Etch^  by  G  Cruik^ — 
Pub^  by  H.  Hutnphrey  2y  S'  James's  S^  May  3^  1815 

Engraving  (coloured  and  uncoloured  impressions).  A  scene  in  the  House  of 
Commons  showing  the  Speaker's  Chair  on  the  extreme  r.,  a  corner  of  the 
Treasury  Bench  in  the  foreground,  which  (incorrectly)  is  on  the  r.  (the 
Speaker's  1.),  Castlereagh,  seated  on  this  bench,  tries  to  ward  off  with  arms 
and  r.  foot  a  fierce  onslaught  from  Whitbread  who  rams  into  his  mouth  a  long 
rolled  document  inscribed  Recapture  of  Paris  &  the  Imperial  Throne.  Whit- 
bread, dressed  as  a  drayman  as  in  No.  12532,  straddles  in  the  centre  of  the 
floor,  in  violent  action,  holding  up  a  tankard  of  Whitbreads  Entire  at  arm's 

536 


POLITICAL   SATIRES    1815 

length  and  pouring  out  its  contents  in  a  frothing  cascade  which  falls  behind 
him.  This  stream  is  inscribed  (several  times)  Vive  VEmpreur.  At  his  feet 
is  an  open  book :  Playful  Account  of  Buonapartes  Plot.  His  words  ascend  in 
a  white  cloud  symbolizing  the  froth  of  his  'Entire' :  " — yes  Sir  I  do  insist  that 
those  who  \  ''justified  their  own  misdeeds  by  their  |  "success  should  also  allow  the 
Misdeeds  of  others  \  to  be  justified  by  their  success,  &  they  who  could  \  swallow 
Copenhagen  down,  might  well  \  swallow  the  recapture  of  Paris  &  the  \  Imperiel 
Throne* — so  swallow  it  you  stammerer!  swallow  it!  swallow  it — swallow  it!!! 
Castlereagh's  hat  falls  off  under  the  impact  of  Whitbread's  thrust ;  from  his 
pocket  projects  a  paper:  Secrets  of  Congress.  He  is  alone  on  the  bench;  just 
behind  him  is  a  pair  of  shapeless  and  gouty  legs.  The  Speaker  (Abbot)  leans 
forward,  holding  out  his  hat  and  shouting  a  little — order!  order!  Behind 
Whitbread  is  a  section  of  the  crowded  Opposition  benches,  filled  with 
delighted  spectators,  one  shouting  Bravo  Bravo.  Immediately  behind  him 
and  on  the  extreme  1.  sits  Burdett,  waving  his  hat  decorated  with  a  tricolour 
cockade  on  the  end  of  his  cane ;  he  grasps  a  paper  inscribed  Reform,  and  says 
Make  him  swallow  it.  Amused  spectators  look  down  from  the  gallery  (1.). 
Below  the  title :  *  see  TVf  Whitbreads  speech  on  the  Return  of  Buonaparte  from 
Elba  April  2d^  181 5— 

In  a  debate  on  an  Opposition  motion  for  papers  relating  to  Napoleon's 
escape,  which  developed  into  a  general  attack  on  foreign  pohcy,  Whitbread 
spoke  as  above,  down  to  'Imperiel  Throne'.  Before  these  words  he  had 
referred  to  'the  most  stammering  part  of  his  stammering  speech' — on  which 
there  were  cries  of  'Order,  Order!',  and  he  withdrew  the  word  'stammering', 
replacing  it  by  'hesitating'.  He  referred  to  the  shouts  of  'Vive  I'Empereur' 
by  which  Napoleon  was  greeted  at  Lyons,  as  evidence  of  the  devotion  to  him 
of  the  French  people.  The  Opposition,  and  especially  Whitbread,  made 
repeated  attempts  to  induce  Castlereagh  to  give  an  account  of  the  negotiations 
at  Vienna;  he  refused  on  the  ground  that  they  were  incomplete.  Whitbread 
referred  (as  on  10  Apr.)  to  the  documents  sent  from  the  French  archives  by 
Napoleon  to  the  Morning  Chronicle  and  printed  in  that  paper.  No  speech  by 
Burdett  is  reported.  Pari.  Deb.  xxx,  756-8.  A  more  important  debate  was 
that  on  28  Apr.,  on  Whitbread's  motion  against  war  with  France.  See  also 
Nos.  12532,  12534,  12536,  12537,  12546.  See  Greville  Memoirs,  1938,  i.  44. 
For  Copenhagen  see  No.  10762,  &c. 

Reid,  No.  480.   Cohn,  No.  1786.   Broadley,  ii.  282  f. 
I2f  XQ-^  in.   With  border,  i4|x  io|  in. 

12539  THINGS  AS  THEY  HAVE  BEEN    THINGS  AS  THEY  NOW 
ARE 

S  T  Taw  [?  Watts]  Inv^     E  Niaws  [Swaine]  sc 

Published  for  the  Proprietor  [words  erased]  Little  Campion  S'  Soho 
May  8.  1815. 

Engraving  (coloured  impression).  A  life-like  portrait  of  Lord  Cochrane 
directed  slightly  to  the  r.,  dressed  half  as  a  naval  officer,  half  in  the  dress  in 
which  he  appeared  in  the  Commons  on  21  Mar.,  see  No.  125 14.  On  the  1. 
he  wears  half  a  cocked  hat,  naval  uniform  with  epaulet,  black  stock,  and  on 
the  (r.)  leg  white  breeches  and  Hessian  boot.  His  r.  hand  rests  on  his  drawn 
sword.  On  the  r.  his  hat  has  a  low  crown  and  broad  brim,  he  has  a  shirt-frill 
and  wears  a  long  blue  overcoat,  frogged.  On  his  1.  leg  is  a  loose  trouser  worn 
with  a  flat  shoe.  In  his  1.  hand  he  holds  out  an  Address  to  the  Electors  on 
Lord  Ell[enborough's]  Charge  to  the  yu[ry].  By  the  point  of  his  sword  lies  a 
paper:  Captures  &c.  El-Gamo.  2  Spanish  Frigates.    Vicv  in   Basque  Roads, 

537 


CATALOGUE  OF  POLITICAL  AND   PERSONAL  SATIRES 

Thanks  &  Freedom  of  y^  City  Votes  for  West[minster]  Thanks  of  [the]  House. 
On  the  opposite  side  (r.)  lie  a  broken  sword,  his  other  epaulet,  the  jewel  and 
star  of  the  Bath,  and  a  paper:  Expulsion  from  t[he]  Hou[se  of  Commons],  There 
is  an  appropriate  background  to  each  part  of  the  design:  on  the  1.  the  sea- 
shore with  a  man-of-war  at  anchor  flying  the  tricolour  and  an  ensign,  to  show 
that  she  is  a  prize.  On  the  r.  the  high  wall  of  the  King's  Bench  Prison,  with 
its  frieze  of  spikes,  as  in  No.  12523.  This  is  inscribed  Eleti'^  [Ellenborough] 
Walk.  There  is  no  dividing  line  between  the  two  halves  of  the  figure,  the 
costumes  being  skilfully  combined.  Below  the  title:  Dedicated  without  per- 
mission to  all  whom  it  may  concern  or  please  by  their  obed^  Serv^  R.  Bothsides. 
For  Cochrane  and  the  de  Berenger  swindle  see  No.  12209,  &c.  He  was 
sentenced  by  Ellenborough  to  a  fine  of  ^1,000,  the  pillory  (remitted),  and 
a  year's  imprisonment  in  the  King's  Bench  Prison.  On  25  June  1814  he  was 
struck  off  the  list  of  the  Navy,  and  on  5  July  expelled  from  the  Commons, 
but  was  at  once  re-elected  (see  Aspinall,  'The  Westminster  Election  of  1814', 
Eng.  Hist.  Rev.,  1925,  pp.  562  ff.).  For  his  escape  see  No.  12514,  &c.  He 
then  addressed  a  'Letter  to  his  Constituents',  explaining  his  motives  for  leaving 
the  prison  and  appearing  in  the  House,  see  Pol.  Reg.,  15  Apr.  18 15.  For  his 
achievements  in  the  Basque  Roads  see  No.  11326,  &c. :  the  El  Gamo,  600  tons, 
was  captured  (1801)  by  Cochrane's  brig  Speedy  of  158  tons. 


1 2540  TREACHERY— TREACHERY— TREACHERY— ! ! ! 

Pu¥  by  S  W  Fores  50  Piccadilly  May  10^^  1813. 

Engraving  (coloured  impression).  A  large  cask,  upright  on  a  low  stand,  is  in 
the  centre  of  the  design,  with  four  slits  for  letters,  which  are  being  used  by 
enemies  of  Britain  for  treasonous  correspondence.  From  the  top  of  the  cask, 
and  surrounded  by  froth,  emerge  the  upper  part  of  Whitbread's  head  and  his 
r.  arm,  holding  out  a  loaf  of  bread.  He  says  to  the  enemy  agents:  Take  this 
Loaf  of  Brown  bread  back  with  you.  The  cask  is  inscribed  Old  [scored  through 
and  replaced  by]  New  English  Porter.  On  the  1.  of  the  cask  the  agents  are 
(i)  a  man  with  a  bag  inscribed  Agent  from  Fouche  [sic],  posting  a  letter:  To  our 
estee[med]  Friends  in  England.  (2)  A  plainly  dressed  man  with  lank  hair  and 
broad-brimmed  hat  with  a  number  of  documents  under  his  arm  labelled 
Agent  from  Madison.  He  posts  a  letter  with  the  same  inscription.  (3)  On  the 
extreme  1.  a  courier  hurries  forward  holding  a  hag  from  Genoa.  The  seal  only 
of  his  letter  is  displayed.  On  the  r.  the  most  prominent  figure  is  (4)  a  French 
officer,  thin,  ragged,  and  foppish,  wearing  great  jack-boots,  and  holding  in 
his  1.  hand  a  heavy  courier's  whip  and  a  bag  From  Buonaparte.  He  is  labelled 
Agent  from  Buonaparte.  He  posts  a  letter  showing  the  sealed  side.  Beside 
him  is  a  theatrically  dressed  man  holding  a  paper  inscribed  agent  from  Murat, 
and  posting  a  letter  To  our  Most  Esteemed  Friends  in  England.  Behind  and 
on  the  extreme  r.  stands  John  Bull,  a  stout  citizen  with  a  walking-stick.  He 
says :  /  do  remember  such  a  man  as  M''  Fox  who  did  send  one  Adair  to  Russia 
on  private  Business ;  &  yet  he  did  escape.  Alack!!  'twere  better  if  justice  were 
administred! ! ! !  A  printed  slip  is  pasted  to  the  print:  'Explanation  of  the 
Brown  Bread.  On  the  26th.  of  April,  a  Young  Lady  of  Condition  arrived  at 
the  Hotel  Bellevue  in  Brussels,  with  a  large  suite  of  Servants,  but  one  of  them 
being  known  to  an  officer  to  be  an  active  Agent  of  Bonaparte's,  the  whole 
group  were  arrested.  Among  them  a  Man  .  .  .  with  a  brown  loaf  under  his 
Arm  .  .  .  the  officer  observing  his  solicitude  to  get  rid  of  his  brown  loaf  .  .  . 

538 


POLITICAL   SATIRES    1815 

discovered  several  Letters  inside,  directed  to  Bonaparte  and  his  Minister's. 
See  Morning-Post,  Statesman  and  Morning  Advertiser,  of  May,  2nd.  1815.' 

Whitbread's  opposition  to  the  war  is  stigmatized  as  sedition.  Documents, 
letters  from  Castlereagh,  &c.,  found  in  the  French  archives  were  sent  to  the 
Morning  Chronicle  by  Napoleon,  cf.  No.  12532,  and  used  by  the  Opposition 
for  attacks  on  Castlereagh.  Whitbread  on  28  Apr.  introduced  a  Motion 
against  war  with  France,  'a  war  that,  if  not  otherwise  terminated,  must,  in 
the  opinion  of  all  thinking  men,  be  soon  abandoned,  from  a  deficiency  in  our 
very  physical  resources'.  He  also  asserted  that  the  Allied  Declaration  of 
13  Mar.,  outlawing  Napoleon,  w^as  a  vindication  of  assassination.  Pari.  Deb. 
XXX.  960-9;  cf.  No.  12581.  The  acquisition  of  Genoa  by  Sardinia  was 
denounced  by  the  Opposition;  on  27  Apr.  Mackintosh  moved  a  resolution 
against  the  transfer  in  a  long  speech.  Ibid.,  pp.  891-935.  Castlereagh  had 
agreed  with  Talleyrand  and  Metternich,  that,  despite  the  treaty  of  11  Jan. 
1814,  see  No.  12522,  Murat  should  lose  the  throne  of  Naples;  on  Napoleon's 
return,  Murat  rushed  to  arms,  invaded  the  Papal  States  and  reached  the  line 
of  the  Po  before  10  Apr.  A  letter  from  Talleyrand  to  Castlereagh  of  15  Dec. 
1 8 14,  showing  the  (secret)  intentions  of  the  Allies  towards  Murat,  was  one 
of  the  documents  sent  to  the  Morning  Chronicle.  Lord  Grey  raised  the 
question  of  Naples  on  20  Apr.  1815.  Ibid.,  pp.  702-4.  For  Madison  see 
No.  12281;  for  Fouche,  No.  12527.  For  Adair's  mission  to  Russia  in  1791, 
to  counteract  (it  was  believed)  Pitt's  policy,  see  No.  8072,  &c. 

Reid,  No.  481.    Cohn,  No.  2045. 
8^  X  13  J  in.    Sheet,  with  addition  of  pasted  slip,  12  X  14  in. 

12541  A  VIEV/  OF  THE  GR-/VND  TRIUMPHAL  PILLAR 
G.  H  [Humphrey]  inv^     EtcM  by  G  Cruikshank 
Pu¥  by  H.  Humphrey  S'  James's  S^  May  12^''  181 5 

Engraving.  Below  the  title :  To  be  erected  on  the  Spot  where  Corporal  Violet, 
alias  Napoleoti  landed,  in  France  on  returning  from  Elba  the  j*^'  of  March  181 5 
in  the  department  of  La  Var  after  a  retirement  of  Ten  Months.  The  base  of 
the  pillar  is  formed  of  blocks  of  stone  inscribed  respectively  Murder,  Plunder, 
Ambition,  Deceit,  Vanity.  On  this  rests  a  smaller  slab,  fronted  by  skulls.  A 
third  still  smaller  slab  is  the  base  for  four  cannon  standing  on  their  muzzles 
as  props  for  the  principal  section  of  the  Tillar'.  In  the  space  between  the 
cannon  stands  a  drum  decorated  with  an  A^  enclosed  in  a  laurel-wreath.  The 
cannon  support  an  entablature  on  which  stands  Death,  a  skeleton  with  a  spiky 
crown  of  daggers.  In  his  r.  hand  is  a  javelin  as  long  as  a  spear  on  which  is 
a  bonnet  rouge  with  tricolour  cockade  in  the  form  of  a  fool's  cap  with  a 
dangling  bell.  The  1.  foot  rests  on  a  Bible,  and  the  1.  elbow  on  a  guillotine 
with  blood-stained  blade.  The  points  of  the  daggers  of  the  crown  support 
a  rather  smaller  entablature  on  which  is  a  gibbet.  To  this  is  tied  by  the  wrists 
a  young  woman,  blindfolded  and  stripped  to  the  waist,  who  is  being  savagely 
flogged  by  Napoleon.  Beside  her  is  a  shield  decorated  with  fleurs-de-lis,  and 
a  sceptre,  suggesting  that  she  is  France;  No.  12541  a  shows  that  she  is  Mercy. 
Napoleon  has  a  scourge  in  each  hand.  His  words  are  etched  behind  his 
head  (1.):  There  you  good  for  nothing  jade  take  that  for  persuading  the  allied 
Sovereigns  to  send  me  to  Elba — so  take  that!  that  &  that!!!  To  the  cross-bar 
of  the  gibbet  are  tied  (1.)  the  sword  and  scales  (hanging  awry)  of  Justice,  and 
(r.)  a  large  cornucopia  from  which  fall  many  papers.  P>om  the  centre  of  the 
gibbet  rises  a  post  supporting  an  imperial  eagle,  the  apex  of  the  design ;  from 

'  Actually  on  i  Mar.    The  first  information  to  reach  London  was  that  Napoleon 
landed  on  the  3rd  or  4th.   Government  Bulletin  of  10  Mar.   {Examiner,  12  Mar.) 

539 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

this  hangs  a  banner  on  which  are  A'^  and  Vive  L'Empreur  [sic].  The  'Pillar' 
is  on  the  sea-shore ;  on  the  horizon  is  a  rocky  islet  on  which  is  a  tiny  gibbet 
from  which  hangs  a  corpse,  as  in  other  prints  of  Elba.  At  the  base  of  the 
'Pillar'  are  violet  plants,  with  serpents  and  toads;  small  bat-like  creatures  fly 
round  it.  The  papers  falling  from  the  cornucopia  are :  Peace  with  Prussia  [not 
yet  fallen].  Proposals  for  Peace  with  Sweeden,  Proposals  for  Peace  with  England, 
Proposals  to  Austria,  An  Address  to  the  Army  &  People  of  France,  Decree  for 
Abolishing  the  Slave  Trade  throughout  France  &  her  Colonies,  New  Constitu- 
tion, Proposals  for  Peace  with  Russia  &c  &c. 

A  satire  on  Napoleon's  attempts  to  avert  immediate  war  by  overtures  to 
the  sovereigns  of  Europe,  on  the  Acte  Additionel,  see  No.  12546,  &c.,  and 
on  his  abolition  of  the  slave  trade,  see  No.  123 12.  While  making  preparations 
for  war  he  attempted  to  detach  Austria  and  Britain  from  the  coalition. 
Caulaincourt  wrote  to  Castlereagh,  4  Apr.:  'It  is  to  the  duration  of  peace 
that  the  Emperor  looks  forward  for  the  accomplishment  of  his  noblest  inten- 
tions.' Napoleon  sent  a  holograph  letter  to  the  Regent  which  was  returned 
unopened.  Similar  letters  were  sent  to  the  Emperor  of  Austria,  to  Metternich, 
and  to  the  Plenipotentiaries  at  Vienna.  Ann.  Reg.,  1815,  pp.  371-5.  For 
'Corporal  Violet'  see  No.  125 12,  &c.  The  design  appears  to  derive  from 
Gillray's  Designfor  the  Naval  Pillar,  No.  9513.  A  companion  pi.  to  No.  12251. 

Reid,  No.  482.   Cohn,  No.  2081.   Broadley,  i.  372  f.   Reproduced,  Grand- 
Carteret,  Napoleon,  No.  328. 
13X9^  in.   With  border,  isl>^9^  ^^^ 

12541  A  A  second  state  (coloured)  with  additional  words  prefixed  to 
Napoleon's  speech,  which  is  enclosed  in  a  label :  Ha!  ha!  you  are  Mercy  are 
you  but  ril  have  fio  Mercy — so  [Sec,  ut  supra].  The  skeleton  is  coloured 
crimson  (as  in  No.  9735),  the  bonnet  rouge  scarlet,  banner  and  cornucopia 
tricolour. 

12542  LA  BALANCE  POLITIQUE.  N°  6 

^  X  X  X  X  X     j-  pEugene  Delacroix  del.] 

Se  trouve  dans  le  N°  du  15.^  May  181 5.  du  Nain  Jaune.    Se  Vend  au 
bureau  du  Journal. 

Engraving  (coloured  impression).  Folding  pi.  from  Le  Nain  Jaune,  text, 
ii.  191  f.  A  pair  of  evenly  balanced  scales  hangs  from  a  hook  on  the  upper 
margin  of  the  design.  On  one  scale  (1.)  Wellington  has  placed  coins  and  ingots 
of  gold  on  which  one  hand  rests ;  in  the  other  is  a  money-bag.  The  opposite 
scale  is  filled  by  a  large  square  package,  which  is  quartered  by  the  cord  binding 
it.  The  King  of  Prussia  puts  his  hand  on  the  side  of  the  package,  where  the 
two  quarters  next  him  are  inscribed  Saxe  and  F.G.  [Frederic- Guillaume]. 
Metternich  puts  his  hands  on  the  opposite  half,  where  a  part  of  the  covering 
has  been  torn  away  showing  the  heads  and  arms  of  a  number  of  vociferous 
men;  on  this  half  of  the  package  is  also  the  letter  O  (Osterreich).  Frederick 
William  says :  J' en  Prendrai  la  Moitie.  Metternich  says :  J'y  consens  pourvu — 
qu'on  me  laisse  sur  le  Po.  [He  speaks  as  sovereign,  but  both  text  and  portrait 
indicate  Metternich.]  Behind  him  and  on  the  r.  is  the  Tsar  seated  on  a  barrel 
placed  on  its  side  and  inscribed  Polognle] ;  it  is  open  on  the  1.,  showing  that, 
like  the  package  on  the  scales,  it  is  filled  with  tiny  men.  Alexander  is  in  back 
view,  in  conference  with  Talleyrand,  who  stands  facing  him.  He  says :  J'ai  ma 
Pologne  en  piece.    He  does  not  perceive  'que  les  braves  Polonais  vont  lui 

'  Endorsed  in  a  contemporary  hand  'Avec  Le  Nain  Jaune  20  Mai   1815.    Paris. 
No.  368.' 


POLITICAL  SATIRES   1815 

echapper'.  Talleyrand  says  reflectively :  Je  M'en  demande  —  que  pour  un  Louis. 
He  wears  the  Bourbon  order  of  the  Saint-Esprit,  and  his  words  punningly 
allude  to  his  rapacity  as  well  as  to  his  support  of  Louis  XVIII.  In  the  fore- 
ground on  the  extreme  r.  is  another  corded  bale,  Italie,  with  little  men  looking 
out  from  a  hole  in  one  corner. 

Wellington,  who  stands  in  profile  to  the  r.,  says:  Nous  ne  les  payerons  que 
3.  schellings  par  tete.  He  wears  the  dress  of  a  British  officer  in  French  carica- 
tures of  English  visitors  to  Paris  in  1814  (cf.  No,  12381,  &c.):  tunic  with  short 
coat-tails  looped  back  above  tight  trousers,  with  spurred  boots ;  he  also  wears 
a  very  high  stock,  projecting  shirt-frill,  and  ruffles.  At  his  feet  lie  his  cocked 
hat,  riding-switch,  and  gloves.  Behind  him  and  on  the  extreme  1.  is  an  open 
treasure-chest  decorated  with  the  Royal  Arms,  and  filled  with  papers.  A 
British  Minister  ( ?  Vansittart)  bends  over  the  chest,  saying,  //  ne  nous  reste 
plus  que  des  Banques-notes  [cf.  No.  1 1576].  Near  the  chest  and  on  the  extreme 
1.  is  another  bale  stuff"ed  with  little  men.  This  is  Belgique.  In  the  background 
is  a  row  of  five  officers  or  princes,  all  in  uniform  and  all  wearing  stars. 

A  satire  on  the  Congress  of  Vienna  in  which  the  old  theme  of  British  gold 
(cf.  No.  12522)  is  combined  with  that  of  the  divisions  among  the  Allies  over 
the  reconstruction  of  Europe:  'II  s'est  etabli  a  Vienne  depuis  environ  un  an 
une  bourse  ou  se  vendent,  au  plus  offrant,  les  hommes  et  les  etats.'  Austria 
had  been  induced  to  consent  to  the  acquisition  by  Prussia  of  half  Saxony  by 
concessions  in  North  Italy,  these  having  been  previously  settled.  The  Italian 
question  at  this  date  was  affected  by  the  defeat  of  Murat,  see  No.  12540.  For 
Alexander  and  Poland  see  No.  12453.  England  was  disbursing  subsidies  to 
the  Allies,  in  proportion  to  the  troops  they  put  in  the  field,  or  as  the  print 
implies  'buying  souls'.  Belgium,  added  to  Holland  through  the  influence  of 
Britain,  is  represented  as  the  property  of  Britain  in  the  same  way  that  Saxony, 
Poland,  Venetia,  and  Lombardy  had  been  disposed  of,  cf.  No.  12620.  This 
is  the  theme  of  La  Bouillotte,  in  which  Napoleon  ousts  Louis  XVIII,  and  the 
gains  of  the  Allied  Powers  are  represented  by  counters  on  the  table :  Austria 
has  Italy;  Russia,  Poland;  Prussia,  Saxony;  England  (represented  by  Welling- 
ton) has  Belgium  (De  Vinck,  No.  9522  [7  June  1815];  reproduced,  Broadley, 
ii.  62). 

De  Vinck,  No.  9512.   Milan,  No.  2751.    Cf.  Hatin,  Bibl.  de  la  Presse 
pe'riodique  fr.,  1866,  pp.  320-3. 
lO^Xisil  in. 

12543  THE   CROWN   CANDIDATES    OR   A   MODEST   REQUEST 
POLITELY  REFUSED, 

S.  T.  Taw  [?  Watts]  invt"  [sic] 
Pub'^  May  1815  N  7  Compton  Sf" 

Engraving  (coloured  impression).  Probably  a  copy  or  adaptation  of  a  French 
print.  A  scene  in  the  Imperial  Coffee  Room,  an  ornate  room  with  tall  mirrors 
between  pilasters.  Louis  XVIII  (1.)  and  the  King  of  Rome  (r.)  sit  at  opposite 
ends  of  a  marble-topped  table;  Napoleon  sits  between  them  at  the  farther  side 
of  the  table,  his  head  in  profile  to  the  1.  He  and  Louis  XVIII  have  each  a 
newspaper,  the  Journal  of  the  Empire  and  Journal  of  Debates.  Louis,  resting 
a  hand  on  his  own  paper,  holds  out  the  r.  for  that  of  Napoleon,  saying,  Sire, 
zvhen  you  have  done  zcith  the  Empire  I  will  thank  you  to  let  me  have  it.  Napoleon, 
holding  his  paper  firmly,  answers,  pointing  to  his  little  son :  /  am  sorry  Sire, 
it  is  engaged  for  that  young  Gentleman.  The  child  is  intent  on  piecing  together 
torn  portions  of  a  map,  and  is  about  to  unite  France  and  Germany.  Near  these 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

large  fragments  are  two  smaller  ones:  Rome,  and  one  from  which  a  word 
seems  to  have  been  erased.  On  the  back  of  his  chair  are  a  crown  and  the  cross 
of  the  Legion  of  Honour  (which  he  also  wears),  on  that  of  Louis  XVIII  are 
a  crown  and  fleur-de-lis.  On  that  of  Napoleon  perches  a  large  eagle.  The 
'Candidates'  are  flatteringly  depicted.  Beside  Louis  XVIII  stands  (as  a  cafe 
waiter)  a  tonsured  priest,  holding  a  glass  of  wine. 

The  French  daily  Journal  des  Debuts  et  des  Decrets  dates  from  1789.  Under 
the  Empire  the  title  was  altered  to  Journal  de  l' Empire.  From  i  Apr.  18 14  to 

20  Mar.  1 81 5  it  was  styled  Journal  des  Debats  politiques  et  litter  aires.    On 

21  Mar.  it  again  appeared  adjournal  de  V  Empire,  and  so  continued  until  7  July, 
reverting  to  the  previous  title  on  the  following  day.  In  Le  Journal  de  V Empire 
ou  des  Debats  the  newspaper  is  represented  by  a  Harlequin,  one  half  shouting 
for  Napoleon,  the  other  for  Louis  XVIII  (Broadley,  ii.  68).   Cf.  No.  12622. 

Listed  by  Broadley.  Cf,  De  Vinck,  No.  9449  [19  Apr.  1815]. 


12544  THE  ROSE  AND  THE  VIOLETS. 

[Williams.] 

London  Pub'^  May  25.  1815.  by  A,  C,  Holland,  No  11  Cockspur  S^ 

Photograph  of  an  engraving.  A  pretty  young  girl,  H.L.  and  directed  to  the  r., 
tucks  into  the  corsage  of  her  decoUetee  dress  a  bunch  of  gigantic  violets  copied 
from  No.  12511.  Below  the  title:  Buonaparte  on  his  leaving  Fontainbleau, 
said  he  should  return  to  France  with  the  Violet  Season!  He  kept  his  zvord  and 
was  in  Paris  in  the  full  bloom  of  that  Flower,  Corporal  Violet  became  a  standing 
Toast  among  his  Friends  ;  and  the  Violet  with  the  portraits  of  himself  ,  his  Empress, 
and  the  King  of  Rome,  among  the  leaves,  are  the  pride  of  the  admirers  of  this 
Extraordinary  Man! 

Original,  A.  de  R.  ii.  179. 
9f  x8  in.  (original). 


1 2545  BUONAPARTE-PHOBIA,  OR  CURSING  MADE  EASY  TO  THE 
MEANEST  CAP ACITY -.—Second  Edition,  Corrected— Price  One  Shilling. 

David  pinx^    J.  Kennerly  sculp. 

Printed  for  W.  Hone,  5^,  Fleet  Street,  and  sold  by  all  Booksellers,  Print- 
sellers,  Stationers,  and  Newsmen  .  .  .  [May  181 5] 

Printed  broadside  in  the  form  of  a  page  of  a  newspaper  in  three  columns, 
decorated  with  The  Times  title  and  vignette,  and  by  an  engraved  copy  of 
David's  H.L.  portrait  of  Napoleon  in  the  uniform  of  the  Chasseurs  de  la 
Garde,  directed  to  the  1.,  r,  hand  under  waistcoat.  An  attack  by  Hone  on 
Stoddart  as  Dr.  Slop  in  the  manner  of  Sterne's  'Tristram  Shandy',  and  on 
newspaper  comment  on  Napoleon  since  the  return  from  Elba,  especially 
in  The  Times  and  the  Courier,  the  Morning  Chronicle  being  excepted. 
The  Resolutions  of  the  Common  Hall  for  peace  with  Napoleon  are,  by  im- 
plication, commended.  Proofs  of  the  portrait  in  royal  quarto,  at  i^.  6d.,  are 
advertised. 

Stoddart's  intemperate  attacks  on  Napoleon  in  The  Times  in  181 5  were 
disliked  in  political  and  literary  circles,  as  undignified  and  un-English.    See 
History  of  The  Times,  1935,  p.  158.  Cf.  No.  12553.  ^  pamphlet  on  the  same 
theme  was  published  by  Hone  in  1822. 
2i|xi3f  in.  Portrait,  4fX3f  in. 

542 


POLITICAL  SATIRES   1815 

12546  GENERAL  NAP  TURNED  METHODIST  PREACHER,  A  NEW 
ATTEMPT  TO  GULL  THE  CREDULOUS; 

[G.  Cruikshank.]  [c.  May  1815] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  After  the 
(printed)  title:  Dedicated  to  Mr.  Whitbread.  ''Dear  Sam,  repeat  my  Words, 
but  not  my  Actions.  Napoleon  (a  good  portrait)  preaches  from  a  high  pulpit 
in  a  Gothic  church.  He  wears  a  gown  over  a  military  coat,  an  ill-fitting  wig 
is  poised  on  his  cropped  head,  and  decorated  with  tricolour  cockade,  a  tiny 
tricolour  flag  with  a  bonnet  rouge,  and  a  cross  and  crescent.  In  his  1.  hand 
is  a  musket  barrel,  with  a  bayonet  across  which  is  fastened  a  tiny  toy  windmill. 
In  the  clerk's  desk  below  the  pulpit  sits  Ney  wearing  uniform  with  plumed 
cocked  hat  and  large  spectacles.  Both  are  in  profile  to  the  r.,  facing  the  choir, 
elderly  Frenchmen  seated  on  drums  in  quasi-military  dress  with  clerical  bands, 
each  with  a  musical  instrument,  French  horn,  trumpet,  cymbals,  &c.  Those 
in  a  third  row  stand;  they  scowl  disconsolately  at  Napoleon  but  say:  Vive 
VEmpereur!  how  happy  we  are!!!  and  Vive  VEmpereur.  In  the  centre  of  the 
design  is  the  organ  in  a  gallery  decorated  with  the  letter  A^;  the  pipes  are 
made  of  cannons.  Looking  from  the  gallery  is  a  soldier  holding  a  lighted 
candle.  Under  the  gallery,  rows  of  scowling  French  soldiers  stand  at  attention 
holding  bayoneted  muskets.  They  are  thin  and  knock-kneed.  The  side  of 
Napoleon's  pulpit  on  the  extreme  1.  is  headed  Vestry;  three  of  Napoleon's 
costumes  hang  from  it:  a  military  coat  and  cocked  hat  with  a  blood-stained 
dagger  inscribed  Imperial  Cross;  a  mitre  and  bishop's  robe  supported  on  a 
musket  and  inscribed  Scarecrow ;  a  Mahometan  turban  and  robe,  with  a  bottle 
inscribed  Arsenic  for  the  Poor  Sick  of  Jaffa  [see  No.  10063].  Napoleon's 
sermon  is  printed  below  the  title:  'Dearly  beloved  brethren,  Honour,  Country, 
Liberty!  this  is  the  order  of  the  day;  far  from  us  all  idea  of  conquest,  blood- 
shed and  war.  Religion  and  true  Philosophy  must  ever  be  our  maxim. 
Liberty,  a  free  Constitution,  and  no  Taxes,  that  is  our  cry.  No  Slave-Trade; 
humanity  shudders  at  the  very  thought  of  it!!  The  brave,  the  excellent 
English  detest  it.  Yea  we  shall  all  be  happy.  Commerce,  Plenty,  and  all  sorts 
of  pretty  things  will  be  our  lot.  Good  Jacobins  rise  and  assert  your  rights. 
And  you,  brave  Soldiers,  the  honour  of  France,  Plunder  and  Blood  shall  once 
more  be  your  cry.  Double  pay  and  cities  burnt  will  come  down  in  showers 
upon  you.  Yea!  ye  shall  all  be  Generals,  all  be  Members  of  the  Legion  of 
Honour!  The  Eagles  will  once  more  cover  the  world.  Now  is  the  time  to 
destroy  Great  Britain,  that  treacherous  country  which  always  seeks  our  ruin. 
Honour  and  Victory  will  lead  us. 

'Dear  Countrymen,  without  good  faith  there  is  no  tie  in  this  world.  Dear 
Jacobins,  we  all  acknowledge  no  God,  and  nothing  else.  Let  the  altars  be 
lighted  up,  and  your  organs  play  the  Marseillois,  that  sacred  air,  which  fires 
every  Frenchman's  breast.  Yea,  I  swear  by  this  holy  cross  I  now  hold  in 
my  hands,  and  in  this  sacred  place,  where  you  are  all  free  and  without 
restraint,  that  my  intentions  are  pure,  and  that  I  wish  for  nothing  else  but 
Peace,  Plunder,  and  Liberty.   Amen!!'   Ney  intones  Nay  then  I  say  Amen. 

A  satire  on  Napoleon's  proclamations  and  promises  on  his  return  from 
Elba,  on  his  attempts  to  conciliate  the  Republicans,  and  especially  on  the 
Acte  Additionel  (22  Apr.)  by  which  he  off^ered  France  a  constitution,  and  on 
the  abolition  of  the  slave  trade  (29  Mar.)  in  an  attempt  to  conciliate  British 
opinion,  Louis  XVIII's  Government  having  refused  abolition.  A  lengthy 
abstract  of  the  Acte  appeared  in  the  Examiner  of  30  Apr.,  and  was  the  subject 
of  a  leading  article.  The  Constitution  (see  S.  Charlety,  La  Restauration,  1921, 
pp.  51-6)  was  submitted  to  a  plebiscite  and  proclaimed  with  great  pomp  on 

543 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

I  June  at  the  Champ  de  Mai.  It  was,  however,  a  mere  attempt  to  influence 
opinion  in  France  and  abroad :  Napoleon  admitted  in  St.  Helena  to  Gourgaud 
that  he  had  intended  to  dismiss  the  Chambers  'as  soon  as  I  was  a  conqueror' 
(though  he  spoke  very  differently  to  Las  Cases).  See  Nos.  12553,  12558, 
12563,  12589,  12623,  12711,  12712.  For  Napoleon's  peace  overtures  see  No. 
12541;  for  the  slave  trade,  Nos.  12312,  12553,  12558,  12613,  12623.  For 
his  professions  of  Mahometanism,  recalled  as  a  warning  against  the  empti- 
ness of  his  promises,  see  No.  9973,  &c.  For  Whitbread  and  the  war  see 
No.  12538,  &c.  For  the  windmill  as  a  symbol  of  French  inconstancy  cf. 
No.  12522. 

Reid,  No.  177.    Cohn,  No.  1150.   Listed  by  Broadley  (attributed  to  Oct. 
1808,    following   E.    Hawkins).     Reproduced,    Grand-Carteret,    Napoleon, 
No.  215. 
9^x  I  of  in.   Broadside,  c.  i8x  11  in. 


12547  THE  ROYAL  ALLIED  OAK  AND  SELF  CREATED  MUSH- 
ROOM KINGS. 

y.  Field  del.  Etch'd  by  Heath 

Pub.  May  2g.  181 5  by  J.  Jenkins,  48  Strand. 

Engraving  (coloured  and  uncoloured  impressions),  with  engraved  verses.  A 
puzzle-print.  A  gnarled  and  aged  oak  grows  on  a  mound  above  a  small  piece 
of  water.  In  the  background  the  Tower  of  Windsor  Castle  emerges  from 
trees.  A  pair  of  profiles  facing  each  other  is  defined  by  the  upper  branches, 
two  other  pairs  are  defined  by  the  contour  of  the  trunk.  Above,  George  III  (1.) 
faces  Louis  XVIII  (r.).  Below,  the  Regent  faces  the  Tsar,  and  near  the  ground 
Wellington  faces  Bliicher.  In  the  foreground  are  two  mushrooms  (cf.  No. 
1 1057),  the  frayed  edges  of  which  outline  profiles  horizontally  placed  and 
gazing  upwards.  Three  other  profiles,  all  looking  up,  are  defined  by  leaves  near 
the  root  of  the  tree;  one  of  the  latter,  on  the  extreme  1.,  appears  to  represent 
Napoleon,  the  other  four  are  presumably  Joseph,  Lucien  (or  Murat),  Louis, 
and  Jerome.  Below  the  title: 

Behold  the  Oak,  whose  firm  fix' d  Stay 

Doth  check  Oppression' s  course, 
Whose  slightest  branch  can  ne'er  decay. 

While  strong  with  Virtue's  force. 

Our  much-loved  Sovereign  decks  the  branch 

The  highest  of  the  Tree ; 
And  peaceful  Louis  tho'  driven  from  France, 

Among  its  boughs  you'll  see. 

The  Regent's  Portrait  next  behold, 

Whose  councils  Wisdom  guides  ; 
And  Russia's  noble  Monarch  bold. 

Who  check' d  the  Tyrant's  strides. 

Immortal  Wellington  next  is  seen. 

Whose  fame  can  ne'er  expire  ; 
And  vet'ran  Blucher's  warlike  mien. 

That  kindled  Napoleon's  ire. 

The  Mushroom  Race  you  have  to  seek 

In  weeds  about  the  Root, 
Who  scarce  dare  at  the  Oak  to  peep. 

Or  at  its  Princely  Fruit. 

544 


POLITICAL   SATIRES    1815 

A  counter-blast  to  the  Bonapartist  puzzle-portraits,  see  No.  125 12,  &c. 
Cf.  No.  12551.  It  perhaps  derives  from  a  French  oak-tree  print  with  profiles 
of  Napoleon,  Marie  Louise,  and  their  son:  Honneur  et  Fidelite  .  .  .  (Musee 
Carnavalet),  reproduced  Simond,  Paris,  i.  255.  Cf.  a  post-Waterloo  French 
print,  Tant  va  la  Cruche  a  Vcaii  qiia  la  fin  elle  se  Casse  (in  B.M.):  in  the 
contours  of  a  broken  pitcher  lying  on  its  side  are  profiles  of  Napoleon,  the 
King  of  Rome,  Cambaceres,  and  five  others. 

Listed  by  Broadlev. 
ii|x8|in.  (pi.). 


12548  A  REVIEW  OF  THE  NEW,  GRAND,  ARMY,  35^ 

[W.  Heath.]  [?May  1815] 

Engraving  (coloured  impression).  Napoleon,  scarcely  caricatured,  stands  in 
the  centre  of  the  design,  pointing  with  1.  forefinger  to  a  pile  of  cannon-balls 
in  the  r.  foreground  inscribed  Forse,  meat  Balls  for  the  Lads  of  Paris.  Just 
behind  him,  and  emerging  from  clouds,  stand  the  Devil  (1.)  and  Death  (r.), 
directing  his  actions.  Napoleon  is  flanked  by  two  much  taller  supporters:  an 
Italian  brigand  holding  up  a  pole  inscribed  Plunder  to  which  a  limp  purse 
is  tied,  and  with  a  pistol  in  his  1.  hand.  On  the  r.  is  a  savage  dishevelled 
butcher,  holding  up  a  knife,  with  a  noose  in  the  r.  hand.  Both  wear  belted 
tunics.  These  three  are  identified  by  an  inscription  below  the  design :  Cap^  of 
Starved  Banditty  from  the  Alps,  Ad  Camp,,  The  Aghast  E'mperor  &  his  two 
Friends  &  Pillars  of  the  State,,  Butcher  from  Elba.  Generalissimo.  All  are 
dominated  by  a  larger  figure,  emerging  from  clouds  above  Napoleon's  head, 
which  has  a  scaly  body  and  streaming  hair,  styled  Deamon  of  War  Presideing 
over  the  Tyrant.  His  extended  r.  hand  points  to  the  words  Boundless  Ambition 
in  large  letters  on  a  background  of  fire  and  lightning  of  which  he  is  the  centre. 
In  his  1.  hand  is  the  shaft  of  a  pennant  inscribed:  We,  Come,  to  Redres:s 
Grievances.  Dark  clouds  and  lightning  extend  1.  and  r.  over  ranks  of  soldiers 
in  the  middle  distance  who  watch  Napoleon.  Those  on  the  r.  are  a  ragged, 
dilapidated,  and  motley  crew,  some  with  pitchforks;  they  shout  Vive  la 
Empre  .  .  .  [sic]  and  Vive  la  Bonn.  .  .  .  Those  on  the  1.  are  perhaps  intended 
for  National  Guards  (cf.  No.  1253 1). 

As  in  No.  12528,  Napoleon  is  directed  by  Death  and  the  Devil.  The 
captain  of  Italian  bandits  is  probably  Murat.  The  allusion  to  redress  of 
grievances  connotes  Napoleon's  promises,  and  perhaps  the  Acte  Additionel, 
see  No.  12546,  &c. 

Listed  by  Broadley.   Reproduced,  Grand-Carteret,  Napoleon,  No.  332. 
7|x  12^  in.   With  border,  8|x  I2|  in. 


12549  COMMENCEMENT  DU  FINALE 

[Schadow.] 

a  Paris  chez  Jeronimo  Furioso.    [Caspar  Weiss,  Berlin]      [?  May  1815]^ 

Aquatint  (coloured  impression).  Napoleon,  realistically  drawn,  stands  with 
his  back  to  a  small  stage  on  which  a  play  symbolizing  the  diplomatic  and 
military  situation  in  Europe  is  being  performed.  He  listens,  cupping  his  ear 
with  his  hand,  to  the  four  musicians,  between  whom  he  stands,  turning  his 
head  to  the  r.,  but  with  his  eyes  turned  to  the  1.  with  a  cynical  expression. 

'  From  date  on  B.  M.  impression,  actually,  winter  1813-14. 

545  Nn 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

He  is  much  shorter  than  the  four  musicians.  In  the  foreground  on  the  1.  the 
Tsar,  half-seated  on  a  (powder)  barrel,  conducts,  using  a  miniature  cannon 
as  baton;  he  holds  a  piece  of  music  headed  Allegro.  He  wears  a  cocked  hat 
with  a  high  plume  of  cocks'  feathers,  the  brim  of  the  hat  concealing  his  eye. 
On  his  leg  is  a  Garter  ribbon.  Beside  him  and  nearer  the  stage  is  the  Emperor 
of  Austria  stiffly  playing  a  violin.  On  the  r.,  and  a  pendant  to  the  Tsar,  is 
the  King  of  Prussia,  seated  in  a  chair  and  playing  a  'cello.  Near  him  and  with 
his  back  to  the  stage  is  Bernadotte  playing  the  flute;  he  wears  two  orders, 
apparently  the  Legion  of  Honour  and  the  Saint  Esprit  (signifying  his  deser- 
tion of  Napoleon).  All  wear  military  uniform,  and  all  have  impassive 
expressions. 

The  stage  is  flanked  by  two  parallel  rows  of  screens  receding  in  perspective, 
four  on  each  side,  making  three  wings,  down  which  the  actors  hurry  off-stage, 
while  a  dragon  flies  above  their  heads,  breathing  fire,  and  ridden  by  Jerome 
Bonaparte.  On  the  monster's  neck  is  a  large  holster  inscribed  HN.  At  the 
front  of  the  stage  are  two  kings:  one  (Bavaria)  advances  with  a  drawn  sword, 
passing  his  hand  under  his  chin;  the  other  (Wiirtemberg,  cf.  No.  12101)  is 
in  back  view  and  walking  av/ay,  contemptuously  lifting  a  coat-tail.  In  the  first 
wing  on  the  1.  stands  a  king  looking  round  anxiously,  his  finger  to  his  lips. 
Next,  a  bishop  (Dalberg,  Archbishop  of  Mainz  and  Prince-Primate  of  the 
Confederation  of  the  Rhine),  hurries  off,  a  portmanteau  under  his  arm.  A 
scared  king  hurries  down  the  third  wing.  On  the  r.,  a  king  in  hunting  dress 
(Anhalt-Dessau),  with  powder-horn  and  gun  slung  at  his  back,  hurries  down 
the  first  wing.  Next,  'the  pious  King  of  Saxony'  walks  off,  clasping  a  book. 
Behind  him  capers  a  Harlequin  juggling  with  a  cone  and  two  balls.  A  stout 
young  woman  (Jerome's  wife)  stands  at  the  back  of  the  stage,  raising  her  arms 
towards  the  dragon.  From  the  background  Wellington,  holding  a  baton, 
gallops  forward. 

On  the  flat  wall  below  the  stage  are  two  small  scenes.  On  the  1.  ex-king 
Jerome  as  a  merchant  sits  on  a  box  or  some  make-shift  seat  writing  on  a  sheaf 
of  paper  which  rests  on  a  portmanteau.  On  the  r.  is  ex-king  Joseph  with 
an  ass  on  which  are  panniers  containing  two  children.  He  counts  money, 
laying  out  coins  in  a  row. 

This  satire  is  enigmatic,  apparently  intentionally  so,  without  the  explana- 
tions of  a  letter  from  Schadow  to  Bottiger,  and  of  a  separately  published 
leaflet  in  verse :  Fmale  der  neuen  grossen  Helden-Oper  .  .  .  das  befreite  Europa, 
both  printed  by  Schulze.  After  Leipzig  Jerome  Bonaparte  loses  his  kingdom 
his  wife  gladly  sees  him  depart.  Napoleon's  satellites  disappear  from  the 
scene  (cf.  No.  12 122);  only  Bavaria  has  drawn  his  sword  in  time  (see  No. 
12192).  Wellington  approaches  from  the  foot  of  the  Pyrenees.  Those  uniden- 
tified above  are  nameless  puppets  according  to  Schadow's  letter,  according 
to  the  verses  the  Dukes  of  Baden  and  Hesse  (see  No.  10615).  Harlequin  is 
introduced  merely  as  necessary  for  a  puppet-play ;  he  removes  his  spectacles 
as  a  symbol  of  the  transition  from  symbolism  to  realism.  The  title  is  from 
Talleyrand's  exclamation,  see  No.  12249.  "^^^  King  of  Saxony  (see  No. 
12096)  is  closely  copied  from  a  Leipzig  print  (reproduced  Schulze,  13): 
Napoleon  plays  a  hurdygurdy  on  the  battlefield :  a  Dieu  mein  lieber  Frederic 
Angus  tin.  .  .  . 

Broadley,  ii.  no  (reproduction),  i.  iiyf.  De  Vinck,  No.  8907  (a  state 
inscribed  Paris,  chez  Furioso  le  Petit. — Depose  a  la  Bibliotheque  nationale) . 
Van  Stolk,  No.  6191  (two  versions,  in  one  the  cask  is  inscribed  'Gunpowder' 
to  indicate  England).  Schulze,  copy  in  colour  of  the  'Gunpowder'  version, 
which  is  reproduced,  Bourguignon,  ii.  261, 
8^Xi2i|in. 

546 


POLITICAL   SATIRES    1815 
12550  PREPARING  FOR  WAR. 

G  Crutkshank  fee' 

Pu¥  for  M  Jones  N°  5  Newgate  Street  June  i'^  181 5. 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  x,  before  p.  403.  An 
elaborate  design.  In  the  centre  a  bull,  John  Bull,  standing  heavily  chained 
and  garlanded  with  flowers,  on  a  sacrificial  pyre  of  logs.  On  the  pyre  is  a 
placard :  Sacred  to  the  Bourbon  Cause  And  dedicated  to  the  Downfall  of  illegiti- 
mate Tyranny.  Across  the  bull's  back  hangs  a  cloth  inscribed:  Land  Tax 
Ditto  Personal — Tax  on  Windows,  Dogs,  Houses,  Servants  Clerks  Shopmen, 
Carts  Hair  Powder  Horses,  waiters.  Travellers,  income  Amorial  [sic]  Bear^ 
Property  Tax  Stamp  .  .  .  He  snorts  and  bellows:  Alass  &  must  I  come  to 
this! — have  I  bled  for  so  many  years  in  your  service  &  will  you  fiozv  take  jny  life. 
On  each  of  his  horns  is  a  little  cap,  one  inscribed  Cap  of  Liberty,  the  other 
Law  of  Libel.  He  faces  Vansittart  in  his  Chancellor  of  the  Exchequer's  gown, 
who  has  a  crown  in  place  of  a  head,  and  stands  on  the  rim  of  a  large  tub, 
across  which  he  straddles,  raising  a  huge  spiked  axe,  inscribed  N'ezu  War 
Taxes;  with  this  he  is  about  to  smite  the  bull,  saying,  No  gruynbling  Johnny, 
you  are  a  Noble  sacrifice  &  zcorthy  of  the  Cause.  Between  Vansittart  and  the 
bull  Castlereagh  stands  on  a  truncated  column;  blandly  oratorical,  he  spreads 
his  hands :  Better  to  die  Johnny  then  live  &  see  thrive  the  thing  we  hate — let 
lis  Arm — war, — war,  interminable  war  I  say,  down  with  the  regicide  no  quarter 
to  the  Usurper — so  I  said  at  congress  so  I  now  repeat  &  if  it  is  your  fate  to  Expire 
at  the  Alter  Johnny,  all  I  ask  is  that  I  may  live  to  preach  your  funeral  Sermon. 
Facing  the  pyre  (1.)  stands  Liverpool  in  profile  to  the  r.,  wearing  the  over- 
sleeves and  apron  of  a  butcher;  with  a  melancholy  air  he  sharpens  a  big  knife. 
Beside  him  lies  a  firebrand  which  has  already  kindled  the  funeral  pyre. 
Against  the  r.  of  Vansittart's  tub  (which  seems  to  be  empty  and  is  certainly 
not  full),  a  sinister  little  creature  is  sitting;  he  turns  its  tap,  holding  open  a 
bag  inscribed  Secret  Service.  A  chain  of  grotesque  little  creatures  extends 
from  the  tub  to  the  r.  margin;  they  are  wide-mouthed  bags  with  (bare)  arms 
and  legs,  twelve  in  all,  two  inscribed:  Contract[oTs\;  three, /or  Subsidys, 
others  for  the  Army,  Navy.  They  approach  the  tub,  some  holding  out 
receptacles;  smallest,  but  in  the  forefront,  is  Civil  List. 

In  the  1.  corner  of  the  design  the  Regent  sprawls  on  a  throne,  his  1.  foot 
on  a  stool.  On  his  r.  crouches  a  stay-maker,  measuring  his  waist;  on  his  1. 
is  a  barber  who  trims  his  whiskers;  on  a  stool  behind  him  is  McMahon  comb- 
ing his  hair.  The  Regent  turns  up  his  eyes,  saying  complacently  to  McMahon : 
Why  this  looks  like  War!  order  me  a  brilliant  Fete,  send  me  a  Myriad  of  Cooks 
&  Scullions,  say  to  me  no  more  of  Civil  lists  and  deserted  wives  but  of  lacivious 
Mistresses  &  Bachanaliafi  Orgies — to  it  Pell-Mell — my  soul  is  eager  for  the 
fierce  encounter — what — are  my  Whiskers  easier  than  they  were?  (The  words 
from  'but'  to  'Orgies'  have  been  scored  through  but  left  legible.)  The  stay- 
maker  :  /  think  these  will  be  the  best  stays  \  our  Highness  has  had  yet.  McMahon : 
Your  Highness  shall  in  all  things  be  obey'd.  The  draped  canopy  above  the 
throne  has  a  fringe  of  wine-glasses,  and  a  border  on  which  bottles  are  depicted. 
Two  naked  women  are  depicted  in  the  folds  of  the  drapery.  Round  the 
canopy  is  a  garland  of  vine-leaves  and  grapes,  and  a  decanter  hangs  from  its 
centre  by  a  cork-screw. 

Behind  these  foregound  scenes  extends  a  narrow  strip  of  water  represent- 
ing the  English  Channel.  On  the  r.,  and  behind  the  gaping  bags,  is  a  cliff, 
at  the  edge  of  which  is  Napoleon  on  a  snorting  charger;  he  turns  in  his  saddle 
to  address  an  officer  who  stands  behind  him :  Let  loose  the  Dogs  of  War!  The 
officer  raises  his  arms,  a  large  key  in  one  hand;  he  looks  down  delighted  at 

547 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

a  pack  of  savage  dogs,  saying,  Here  is  a  glorious  pack  already  sniftifig  human 
blood  &  fresh  for  Slaughter — on  comrades  on!  the  word  is  Buonaparte  Belzebub 
&  blood.  The  dogs  rush  from  a  doorway  (r.)  from  which  issue  also  flames 
and  smoke;  one  is  Rapine,  another.  Murder. 

A  pendant  to  this  on  the  1.  is  Louis  XVIII  in  armour,  bestriding  a  sorry 
horse  or  mule  with  the  head  of  Talleyrand.  He  holds  the  bag- wig  of  his 
mount,  whose  off  fore-leg  has  a  surgical  shoe,  and  supports  himself  in  the 
saddle  with  a  long  crutch.  His  gouty  leg  is  in  a  huge  jack-boot.  His  helmet 
is  topped  by  a  f.eur-de-lis.  Behind  him  (1.)  march  two  aged  soldiers  carrying 
across  their  shoulders  in  place  of  muskets  long  medicine-bottles,  one  labelled 
Louis  XVIII,  Eau  Medicinal.  Two  cannon  stand  on  gun-carriages  formed  of 
rolls  of  Flannel.  The  King  says:  Well — we've  Tally  for  the  Feild  to  morrow! 
but  don't  forget  the  Eau  Medicinal  &  the  Fleecy  Hosiery  alass  these  gouty  limbs 
are  but  ill  adapted  to  jacfi  boots  &  spurs,  I  think  I  had  better  fight  my  battles 
over  a  cool  bottle  with  my  Friend  George.  Behind  him  the  ground  slopes  to 
the  background;  on  it  are  endless  columns  of  tiny  marching  men.  An  officer 
sharpens  his  sword  at  a  grindstone,  another  uses  a  hone. 

The  comprehensive  scurrility  of  the  satire  reflects  the  spirit  of  the  Scourge, 
but  not  the  attitude  to  the  war  of  the  Opposition,  who  maintained  that 
Napoleon's  intentions  were  pacific.  John  Bull  as  a  bull  crushed  by  taxes  is 
an  old  theme,  cf.  No.  10728;  the  unpopularity  of  subsidies  to  foreign  powers 
is  illustrated  in  many  prints  (e.g.)  Nos.  8821,  &c.,  12077,  12523,  12614.  'No 
Grumbling'  is  a  catch-word  of  1795  relating  to  taxation,  see  No.  8646,  &c. 
For  the  Regent's  fetes  see  Nos.  11727,  &c.,  12301,  &c.  For  a  similar  attack 
on  the  Regent  see  No.  12537. 

Reid,  No.  485.   Cohn,  No.  752.    Broadley,  i.  384. 
7|xi9in. 

12551  THE  PEDDIGREE  OF  CORPORAL  VIOLET 

G.  H  [Humphrey]  inv^  et  del  Etc¥  by  G.  Cruiks^ 

Pu¥  by  H.  Humphrey  June  9'*  i8i5-K°  27  S^  Jatnes's  St 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  12541.  The  base 
of  the  design  is  a  dunghill  from  which  rises  the  head  of  Napoleon  as  a  young 
republican  officer,  not  caricatured.  His  head  is  covered  by  a  large  cup-shaped 
fungus,  decorated  with  a  tricolour  cockade  and  resembling  a  Cap  of  Liberty; 
from  its  apex  ascends  a  curving  stalk,  terminating  in  the  large  yellow  rosette 
of  a  sunflower,  centred  by  the  head  of  Napoleon  as  Emperor,  larger  than 
that  of  the  base,  and  representing  an  older  man;  like  the  lower  one  it  is 
directed  slightly  to  the  r.  Below  it,  leaves  project  from  the  stalk,  balancing 
the  design.  On  Napoleon's  head  is  an  arrangement  of  stamens  in  the  form 
of  an  imperial  crown.  These  unite  to  form  the  long  scraggy  neck  of  the  third 
Napoleon,  a  head  in  profile  to  the  r.,  emaciated  and  desperate.  On  this  head 
is  a  larger  fungus  than  that  below,  projecting  like  an  enormous  hat.  From  it 
ascend  the  stems  of  a  bunch  of  violets,  copied  from  No.  12511,  but  with  the 
addition  of  more  flowers,  and  on  a  larger  scale.  It  contains  the  profiles  of 
Napoleon,  Marie  Louise,  and  the  King  of  Rome,  arranged  exactly  as  in 
No.  12511. 

Smaller  fungi  sprout  from  the  dunghill,  some  flat  and  some  conical,  like 
caps  of  Liberty;  on  the  latter  tricolour  cockades  are  indicated.  Four  little 
figures  are  on  a  slope  (1.)  leading  towards  the  dunghill,  prepared  to  clear  it 
away.  In  front  are  Bliicher  and  Wellington,  running  forward,  and  talking  to 
each  other;  one  holds  a  spade,  the  other  a  broad  hoe.  Behind  them  is  the 
Tsar,  shouldering  a  pickaxe.  Behind  again  stands  Louis  XVIII,  with  splayed 

548 


POLITICAL   SATIRES   1815 

gouty  legs,  supported  on  a  crutch.  He  waves  his  hat  to  cheer  them  on.  Below 
the  title:  First  as  a  Consular  Toadstool,  rising  from  a  Corsican  Dunghill,  then 
changing  to  an  Imperial  Sun  Flower,  from  that  to  an  Elba  Fungus  and  lastly 
to  a  bunch  of  Violets,  which  are  so  disposed  as  to  represent  a  Whole  length  Profile 
of  Buonaparte,  with  a  Bust  of  Maria  Louisa,  and  her  son  the  Prince  of  Parma. 

For  'Corporal  Violet'  see  No.  12512;  for  the  mushroom  on  a  dunghill  as 
the  symbol  of  Napoleon,  No.  12205,  &c.,  and  cf.  Nos.  9522,  12547. 

Reid,  No.  486.   Cohn,  No.  1834.   Broadley,  ii.  91  f.  (reproduction^), 
14^x811  in.   With  border,  i6|X9|  in. 

12552  THE    KING'S    STATUE,    AT    GUILDHALL,    OR,    FRENCH 
COLOURS  AND  FRENCH  PRINCIPLES  PUT  DOWN;  .... 

G.  Cruikshank  fec^ 

London:  Printed  for  William  Hone,  55,  Fleet  Street,  and  sold  by  all 

Booksellers  Printsellers,  &c.  throughout  the  United  Kingdom. 

[June  1815] 
Price  IS  6d.  zvith  the  Faces  and  Flags  tinted; — or  2s.  fully  and  handsomely 

coloured. 

Aquatint  (coloured  impression).  Illustration  to  a  broadside  by  Hone,  headed 
'Opening  of  Sir  William  Curtis's  Campaign  against  the  French  Colours',  the 
last  two  words  being  on  a  printed  slip  pasted  over  and  concealing  'Flag  of 
Napoleon'.  Chantrey's  statue  of  George  III  (r.)  stands  on  a  high  pedestal 
in  a  niche  above  a  platform  at  one  end  of  the  Council  Chamber.  Towards 
this  marches  a  procession  of  City  magnates  led  by  the  Sword-Bearer  (William 
Cotterell)  and  followed  by  Ministers.  On  the  ground,  forming  a  carpet,  are 
three  tricolour  flags,  the  centre  one  having  also  the  letter  A^  surrounded  by 
a  wreath.  The  sword,  held  erect,  has  the  wavy  blade  signifying  a  sword  of 
fire.  Next  walks  a  man  in  a  furred  gown  holding  erect  an  enormous  mace, 
followed  by  the  Recorder  (John  Silvester),  with  a  large  book.  City  Records, 
under  his  arm.  He  is  followed  by  the  Lord  Mayor  (Birch),  chapeau  bras, 
who  turns  angrily  towards  Sir  W.  Curtis,  who  is  treading  on  his  robe.  Curtis, 
dressed  as  a  grotesque  sailor  as  in  the  Walcheren  prints,  see  No.  11353,  turns 
to  Lord  Liverpool,  holding  out  his  little  sailor's  hat,  and  pointing  to  the 
statue.  From  his  pocket  hangs  a  long  paper,  headed  Bill  of  Fare.  Liverpool, 
chapeau  bras,  advances  with  mincing  gait  and  deferential  gesture.  Beside 
him  walks  Sidmouth,  'the  Doctor',  holding  his  cocked  hat  before  him  and 
looking  through  an  eye-glass;  from  his  pocket  hangs  the  usual  clyster-pipe. 
Behind  Liverpool  walks  Vansittart,  dressed  like  a  footman  with  tags  on  his 
shoulder.  He  holds  up  a  pole  surmounted  by  a  fleur-de-lis,  from  which  are 
suspended  above  the  Prime  Minister's  head  a  pair  of  enormous  spurred  boots 
with  feathered  wings  and  labelled  Seven  League  Boots  for  a  Second  journey  to 
Paris.  Behind  him  walks  Lord  Harrowby,  chapeau  bras,  and  erect.  Beside 
him  and  in  the  foreground  Lord  Ellenborough  has  fallen  full  length,  with  the 
Attorney-General,  Garrow,  bending  over  him;  and  on  the  extreme  1.,  the 
Solicitor-General,  Sir  Samuel  Shepherd.  Behind  these  and  in  the  door\vay  (1.) 
is  a  group  of  minor  Ministers,  including  Croker.  Against  the  wall  behind  the 
Lord  Mayor  is  a  bust  of  Wellington  on  a  high  pedestal,  decorated  with  a 
Union  flag. 

Above  the  design  is  printed : '  "The  Floor  to  the  Council-Room,  over  which 
they  passed  towards  the  Statue,  was  covered  with  Captured  Tri-coloured 
Flags  of  France,  by  order  of  Sir  Wm.  Curtis,  and  over  head  were  hung  the 
Banners  of  England,  by  direction  of  the  same  sturdy  nationalist." — Morning 
Chronicle,  5'^  June  181 5.'  On  3  June  the  statue  was  ordered  by  the  Corpora- 

549 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

tion  to  be  exhibited  for  the  first  time.  See  Ann.  Reg.,  1815,  p.  38  (Chron.); 
Europ.  Mag.  bcvii.  364.  Below,  a  satirical  account  of  Curtis  is  printed  in  four 
columns,  'The  Dialogue  .  .  .'  between  'Mr.  Foresight'  and  'Mr.  Contract'. 
This  attacks  {inter  alia)  the  inscription  on  the  statue,  for  the  phrase  'the  deadly 
Contagion  of  French  Principles',  attacks  Curtis  (an  inevitable  butt)  for 
indignity  to  the  flag  which  had  'waved  victoriously  over  half  Europe',  attacks 
Castlereagh  and  the  war  policy,  deprecates  the  dethronement  of  Napoleon, 
comparing  his  actions  with  the  treatment  by  the  Allies  of  Poles,  Saxons, 
Norwegians,  and  Genoese  (see  Nos.  12501,  12537).  Liverpool  is  derided  for 
contemplating  the  re- Restoration  of  Louis  XVIII  and  a  second  march  to 
Paris — and  secretly  wishing  that  the  Ogre's  seven-league  boots  were  not 
apocryphal.  Sir  W.  S — tt  is  mentioned;  he  is  Sir  William  Scott,  M.P.,  Judge 
of  the  Court  of  Admiralty  (identified  by  Reid  as  Sir  Walter).  For  Liverpool 
and  the  'March  to  Paris''  (from  a  speech  of  1794)  see  Nos.  8826,  9726,  &c.; 
For  Samuel  Birch,  the  Tory  Alderman,  see  vol.  vi,  and  D.N.B.  Cf.  No.  12553. 

Reid,  No.  487.    Cohn,  No.  1295.    Listed  by  Broadley, 
4|g-X  io|  in.   Broadside,  2if  X  17^  in. 

12553  TO  WILLIAM  WILBERFORCE,  ESQ.  M.P. . . .  THIS  PORTRAIT 
OF  NAPOLEON,  WHO,  BY  A  STROKE  OF  HIS  PEN,  ABOLISHED 
THE  SLAVE  TRADE  IN  FRANCE,  .  .  . 

London:  Printed  for  William  Hotie,  55,  Fleet  Street. 

[Price  One  Shilling  Coloured]  [June  1815] 

Engraving.  Heading  to  a  printed  broadside.  A  flattering  outline  portrait  of 
Napoleon  standing  with  folded  arms,  directed  slightly  to  the  1.,  and  looking 
to  the  r.,  based  on  one  of  many  similar  portraits,  or  perhaps  on  a  statuette. 
The  broadside  is  dedicated  to  Wilberforce  and  to  the  memory  of  Fox;  it 
consists  of  Napoleon's  decree  abolishing  the  Slave  Trade,  see  No.  12546,  &c., 
and  of  quotations  from  speeches  by  Wilberforce  and  Castlereagh,  5  June,  and 
from  Grenville,  8  June  1815,  on  this  decree  and  on  Louis  XVIII's  attitude 
towards  it. 

Hone  carried  on  a  propaganda  campaign  in  favour  of  Napoleon,  see 
Nos.  12545,  12552. 
5|X4i  in.    Broadside,  15^ Xg^  in. 

12554  A  THUNDER  BOLT  FOR  BONEY 

Published  June  12.  181 5,  by  T.  Palser  Surrey  side  Westminster  Bridge. 

Engraving  (coloured  impression).  An  explosion  issues  from  a  round  bomb, 
which  is  the  centre  of  the  design.  From  this  radiate  flashes  of  fire  and  puffs  of 
smoke.  A  serpent  with  tiny  wings  falls  limply  downwards,  losing  its  crown, 
and  with  blood  dripping  from  its  jaws.  A  palm-branch  flies  upwards. 

Published  on  the  day  that  Napoleon  left  Paris  (when  there  were  many 
contradictory  reports  on  his  movements),  when  Wellington  and  Bliicher  were 
covering  Brussels  and  Ghent,  and  Russians,  Austrians,  and  Austro-Sardinians 
were  moving  towards  France. 

Broadley,  i.  384. 
c.  iif  x8|  in.  (pi.). 

'  T.  Moore  had  derided  him  for  this  in  Wreaths  for  the  Ministers: 

'Twill  console  his  brilliant  brows 
For  that  loss  of  laurel  boughs, 
Which  they  sufTer'd  (what  a  pity!) 
On  the  road  to  Paris  City. 

Intercepted  Letters,  18 13,  p.  65. 


POLITICAL   SATIRES    1815 

12555  AN  ERUPTION  OF  MOUNT  VESUVIUS;  AND  THE  ANTICI- 
PATED EFFECTS  OF  THE  [word  erased]  STORM— 

G  H  [Humphrey]  inv*^     Etch'^  by  G.  Criiikshank 
Pu¥  by  H.  Humphrey  27  S^  James's  S'  June  ly,  1815. 

Engraving.  Thunderbolts  strike  Napoleon  and  his  army  from  the  1.,  while 
from  the  r.  an  eruption  from  Vesuvius  is  about  to  overwhelm  them.  The 
thunderbolts  slant  down  from  black  clouds  surrounding  an  irradiated  space 
and  the  heads  of  Liverpool,  the  Emperor  of  Austria,  the  Tsar,  Wellington, 
and  Bliicher.  They  issue  from  cannon,  half-concealed  in  the  clouds,  and  from 
the  mouth  of  Liverpool,  the  foremost  of  the  five.  The  centre  of  the  rays  w'hich 
light  up  these  heads  and  strike  the  hea\y  clouds  is  a  dove  with  an  olive- 
branch.  Napoleon  tumbles  backwards  from  his  horse,  a  grotesque  little  figure 
with  his  legs  uppermost,  his  huge  bicorne  falls  off".  Round  him  are  dead  or 
dying  soldiers,  much  burlesqued,  many  wearing  bonnets  rouges.  Cannon  and 
eagles  lie  on  the  ground. 

The  cone  of  Vesuvius,  surrounded  by  smoke,  sends  up  a  cascade  of  missiles ; 
among  these  are  King  Joachim  of  Naples  (Murat)  and  his  wife  Caroline 
Bonaparte,  who  fall  head  first  towards  Napoleon,  followed  by  rats.  In  another 
cascade  of  stones  is  a  crown  labelled  To  the  right  owner,  and  a  sceptre ;  these 
are  about  to  fall  into  the  arms  of  Ferdinand  IV  of  Sicily,  who  stands  below, 
reaching  up  for  them.  On  the  slope  of  Vesuvius  are  spires  and  buildings, 
inscribed  Naples,  while  lower  down  is  the  bay,  crowded  with  men-of-war,  a 
Union  flag  flying  above  the  French  tricolour.  As  a  pendant  to  Vesuvius  and 
on  the  extreme  1.  is  The  Good  City  of  Paris,  bordered  by  tiny  windmills  (repre- 
senting Montmartre,  see  No.  12237,  ^^^  French  fickleness,  see  No.  12519). 
It  is  on  fire,  owing  to  thunderbolts  falling  perpendicularly  from  the  clouds 
surrounding  the  allies.   Below  the  title : 

Dark  lozv'rs  the  Sky ;  the  clouded  air 
Portends  the  dire,  approaching  shock ; 
Rapine  exults,  &  grim  Despair 
Laug/is  wildly  from  his  barren  rock: 
But  soon  shall  Peace,  from  darkness  breaking 
Smile  brightly  o'er  our  glorious  Isle  ; 
And  soon  indignajit  Thunder  zvaking 
From  France  shall  tear  a  yoke  so  vile! 

Published  the  day  before  Waterloo.  Murat,  see  No.  12522,  defeated  by  the 
Austrians  at  Tolentino  on  2  May,  had  fled  to  France,  arriving  at  Cannes  on 
25  May,  to  offer  his  services  to  Napoleon,  On  news  of  Napoleon's  escape 
Admiral  Lord  Exmouth  had  been  ordered  with  his  squadron  to  the  Mediter- 
ranean. The  print  is  partly  based  on  two  designs  by  Gillray,  Vesuvius  in 
eruption  from  No.  8479;  and  the  thunderbolts  issuing  from  the  heads  of  the 
Allies  from  No.  9167,  where  blasts  against  'the  Raft'  issue  from  the  mouth 
of  Pitt.  The  prominence  of  Liverpool  is  unusual,  and  may  derive  from  an 
analogy  with  the  position  of  Pitt  in  the  latter  print.  His  'march  to  Paris'  is 
ridiculed  in  No.  12552. 

There  are  two  other  states  (not  in  B.M.):  an  earlier  one,  with  the  word 
'Approaching',  here  erased,  before  'Storm',  and  a  later  one  with  the  blank 
space  filled  by  'Waterloo'  (see  No.  12557). 

Reid,  No.  488.    Cohn,  No.  1093.    Broadley,  i.  384  (reproduction),  385. 
De  Vinck,  No.  8199.   Reproduced,  Grand-Carteret,  Napoleon,  No.  348. 
8|x  13I  in.    With  border,  10^ x  141^0  in. 

551 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12556  ANSWER  TO  JOHN  BULLS  COMPLAINT, 

[W.  Heath.] 

Puh  ly^^  June  i8i$  by  T  Tegg  Cheapeside 

Engraving  (coloured  impression).  The  Regent,  seated  sideways  on  his  chair, 
is  in  back  view,  holding  out  his  hand  in  an  oratorical  gesture  towards  a  ragged 
and  despairing  John  Bull,  who  stands  hat  in  hand  addressing  him.  He  says: 
Why  you  unatural  Grumbler  after  I  have  done  all  I  could  to  get  rid  of  your 
Money  you  Still  grumble  did  I  not  give  you  a  Fete  did  I  not  Build  you  a  Bridge 
did  I  not  Treat  you  with  a  Smell  of  all  the  nice  things  at  my  Feast  did  I  not  sign 
the  Corn  Bill  did  I  not  refuse  the  [scored  through]  your  Address  have  I  not  drank 
whole  Pipes  of  Wine  for  fear  it  shoidd  be  waste' d  have  I  not  spent  all  your  money 
because  you  should  not  spend  it  your  self  have  you  not  got  the  Income  Tax  to 
keep  you  sober,  &  as  for  your  Dress  the  Thinner  the  better  for  the  Sumer  Season 
so  Johnny  go  Home  to  work  its  all  for  the  good  of  your  Country.  The  Regent 
wears  a  powdered  wig  and  whiskers,  a  tight-waisted  coat  with  small  pointed 
tails  over  very  tight  breeches,  sleeves  puffed  at  the  shoulders.  John  has  no 
coat,  wears  a  tattered  waistcoat,  shirt,  and  breeches,  has  one  ragged  stocking 
with  a  pad  over  the  knee,  and  one  bare  leg  covered  with  a  twisted  straw  rope, 
with  dilapidated  shoes,  thus  resembling  a  destitute  day  labourer  instead  of 
a  'cit'  or  farmer.   He  registers  despair  and  alarm. 

For  the  Regent's  fete  (with  the  temporary  bridge  in  St.  James's  Park)  in 
celebration  of  Peace  see  No.  12301,  &c.;  cf.  No.  12550.   For  his  rejection  of 
the  City  Address  on  the  Corn  Bill  see  No.  12504.   For  the  Income  Tax  see 
No.  12452,  &c. 
iifx8|in. 

12557  A  LECTURE  ON  HEADS.  AS  DELIVERD  BY  MARSHALLS 
WELLINGTON  &  BLUCHER 

[W.  Heath.] 

Pub  21  June  [18 15]  by  S  Knight  Sweeting  Ally  Cornhill. 

Engraving  (coloured  and  uncoloured  impressions).  Wellington  and  Bliicher 
pursue  a  fleeing  French  army,  grotesquely  depicted.  Wellington  runs  a  French 
soldier  through  the  body  with  his  sword,  holding  up  the  eagle  he  has  taken 
from  his  victim.  Another  British  ofiicer  close  behind  him  runs  with  uplifted 
sword.  They  are  followed  by  Bliicher  (1.)  who  runs  forward  with  a  clenched 
fist,  holding  up  a  decollated  head  on  the  point  of  his  sabre.  Behind,  and  on 
the  extreme  1.,  is  the  Tsar,  running  forward;  he  cries:  Stop  I  am  comeing. 
From  Wellington  float  the  words :  bold  as  Hector  or  Mackbeth  Ri  tol  tol  Lol  la  \ 
wheres  the  Fun  Like  meeting  Death  \  Tol  der  ridy  Tol  de  oi.  Bliicher  says: 
Blister  'em  Fire  'em  shoot  em  \  kick  em  Lick  'em  bump  em  \  Lump  em  Thump  em 
wack  em  smack  em.  To  the  ground  in  front  of  Wellington  falls  a  decapitated 
French  soldier,  putting  his  hand  on  his  severed  head.  Another  decapitated 
body  lies  near.  On  the  r.  the  fugitives  are  in  wild  confusion,  above  them 
in  the  air  are  severed  heads,  two  legs,  and  an  arm.  Two  of  the  former  say: 
oh  Dieblue  I  Lost  me  Body  and  Stop  my  Leg.  In  front  of  these,  running  up-hill 
and  towards  a  burning  town  on  the  extreme  r.,  is  Napoleon,  exclaiming, 
oh  Dear  what  will  become  of  me.  Above  his  head  flies  an  oddly  drawn  Devil. 
Clouds  of  smoke  form  a  background  to  Wellington  and  the  other  central 
figures.   Behind  (1.)  cannon  are  firing. 

News  of  Waterloo  (18  June)  reached  London  through  an  agent  of  Rothschild 
early  on  20  June.  It  was  confirmed  by  Wellington's  dispatch  received  on 
21  June,  and  made  public  on  22  June  when  the  guns  were  fired.   This  print 

552 


POLITICAL  SATIRES   1815 

is  probably  ante-dated.  The  title  is  from  G.  A,  Stevens's  Lecture  upon  Heads, 
see  No.  11155.  For  Waterloo  {Mont  St.-Jean)  see  also  Nos.  12555,  ^2559, 
12560, 12561,  12562,  12563, 12564, 12565,  12566,  12579,  12598,  12602,  12605, 
12608,  12618,  12620,  12627,  12902  [19],  12988. 

Broadley,  i.  387. 
7X11^^  in. 

12558  THE  BALLACE  [sic]  OF  POWER!!!' 

G  H.  [Humphrey]  Del     [W.  Heath  f.] 

Pub  25  June  181 5  by  S  Knight  Sweetings  Ally  Cornhill 

Engraving  (coloured  impression).  An  arm,  slanting  downwards,  emerges 
from  clouds  in  the  upper  part  of  the  design.  In  the  hand  is  a  ring  from  which 
hangs  the  shaft  of  a  pair  of  scales.  In  one  scale  (1.)  is  Napoleon,  head  down- 
wards, with  a  scaly  serpentine  body  terminating  in  a  long  barbed  tail,  showing 
that  he  represents  Sin.  His  head  and  shoulders  are  between  a  skeleton.  Death, 
and  a  naked  Devil  with  snakes  for  hair,  and  talons  for  fingers.  These  two 
stand  in  the  scale,  surrounded  by  smoke  or  cloud.  At  Death's  feet  are  cannon- 
balls,  heavy  chains  hang  from  his  side  of  the  scale.  He  looks  grimly  down 
at  Napoleon,  his  javelin  in  his  1.  hand,  held  above  his  head  and  pointing 
upwards.  Napoleon  rests  his  r.  hand  on  the  raised  knee  of  Death;  in  the  1.  is 
a  blood-stained  dagger.  From  his  neck  hangs  a  placard  inscribed  Decree  for 
the  Abolition  of  the  Slave  Trade.  A  weight  inscribed  Plunder,  hanging  from 
a  hook,  helps  to  depress  the  scale.  Thunderbolts  strike  downwards  on  this 
scale  from  the  clouds  surrounding  the  mighty  arm;  they  dart  also  from  the 
smoke  surrounding  the  Devil.  The  bowl  of  the  scale  is  inscribed  Sin  Death 
&  the  Devil.  At  the  base  of  the  design  is  a  landscape,  and  below  this  scale 
is  France,  with  a  flaming  city  inscribed  Paris  in  a  blaze. 

The  opposite  scale,  which  is  slightly  lower,  is  inscribed  Justice  Piety  Truth. 
It  is  kept  down  by  a  large  weight  inscribed  Russia  Prussia  Austria  Sweeden 
Holland  England.  In  it  stands  the  stout  Louis  XMII,  his  hand  on  a  fleur-de-lis 
shield,  looking  to  the  1.  Beside  and  slightly  behind  him  are,  at  his  r.  hand, 
Justice,  holding  out  her  scales  in  her  r.  hand  with  her  sword  resting  against 
her  shoulder,  her  1.  arm  resting  on  the  King's  shoulder.  In  one  of  her  scales 
is  a  crown  and  Hand  of  Justice  (see  No.  12247),  ^^^  other  is  empty,  a  bonnet 
rouge  and  two  small  chains  are  falling  from  it.  Truth  leans  her  r.  arm  on 
the  King's  1.  shoulder,  her  mirror  is  in  her  1.  hand.  Behind  these  three  are 
clouds,  above  which  rises  a  large  sun  inscribed  Liberty,  irradiating  the  greater 
part  of  the  sky.  The  coast  of  England  is  below.  On  the  shore  stands  a  little 
John  Bull,  capering  delightedly  and  waving  his  hat;  he  says:  ice  shall  soon  see 
whose  got  most  zveight.  Between  the  shores  of  France  and  England  is  the 
Channel,  on  which  large  ships  are  sailing.   Below  the  design: 

It  appears  very  clear,  that  by  Boney's  Decree- 
He  conceives  from  their  bondage  all  slaves  should  be  free  ; 
Take  the  Hint  then  all  Frenchmen  from  the  Tyrant  who  Reigns 
And  united,  burst  forth  from  your  Slavery  &  Chains! 

A  satire  probably  designed  before  the  news  of  Waterloo  (see  No.  12557,  &c.) 
and  exceptional  in  its  attitude  to  Louis  XVIII.  The  composition  resembles 
that  of  Gillray's  Cabinetical-Balance ,  No.  10530;  the  theme  of  Milton's  'Sin 
Death,  and  the  Devil'  may  derive  from  his  print  with  that  title,  see  No.  8105. 
For  Napoleon's  abolition  of  the  Slave  Trade  see  No.  12546,  &c.  The  title, 
a  favourite  one,  reflects  the  traditional  policy  of  Britain,  Castlereagh's  'just 

'  The  notes  of  exclamation  are  inverted  as  in  other  prints  by  Heath. 

553 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

equilibrium  in  Europe'  (Webster,  Br.  Diplomacy,  p.  229),  and  the  professed 
aim  at  this  time  of  every  European  Power  except  France.  See  Nos.  10137,  &c., 
12620. 

Listed  by  Broadley. 
iit|x8^  in. 

12559  MONKEYS  ALLOWANCE  MORE  KICKS  THAN  DUMPLINGS. 
[W.  Heath.]  [June  1815] 
Engraving  (coloured  impression).  Napoleon,  with  his  hands  tied  behind  him, 
is  surrounded  by  Allied  sovereigns  and  commanders,  who  kick  and  buffet  him. 
He  is  much  shorter  than  his  tormentors,  and  looks  over  his  shoulder  to  the  I. 
with  an  agonized  expression.  Labels,  each  with  a  number,  ascend  from  the 
mouths  of  the  assailants.  Wellington  attacks  him  from  the  r. :  Master  Boney 
with  his  fol  der  lol  le  \  I  bujfet  azvay  on  the  Plain  Sir  N°  i.  Facing  Napoleon 
is  (?)  the  King  of  Prussia:  N  2  and  Fll  assist  your  worships  Fist  with  all  my 
Might  and  Main  Sir.  Blucher  kicks  and  strikes  Napoleon  on  the  1. :  and  Fll 
have  a  Thump  |  although  he's  so  plump  N°  3.  Behind  Wellington  stands  (?)  the 
Emperor  of  Austria,  singing,  and  we'll  make  such  a  woundy  racket  N°  4.  On 
the  extreme  r.  the  King  of  Holland,  a  fat  Dutchman  in  baggy  breeches  smok- 
ing a  pipe,  stands  with  his  hands  behind  his  back.  He  sings:  we'll  ramp  zve'll 
Swear  N°  5.  Behind  Blucher  the  Tsar  leans  for\\^ard  aggressively :  We'll  Tear 
N  6.  Behind  again  and  on  the  extreme  1.  is  Bernadotte,  arms  raised  above 
his  head :  Oh  Rare  N  7.  In  front  (1.)  is  Louis  XVHI  supported  on  crutch  and 
stick  and  raising  a  gouty  leg  in  an  ungainly  caper.  He  sings:  /  warant  we'll 
Pepper  his  Jacket  N  8 .  Below  the  title :  a  Farce  Performed  with  Great  Eclat  at  the 
National  Theatre  in  the  Netherlands. 

The  words  of  this  print  on  Waterloo,  see  No.  12557,  &c.,  are  a  parody  of 
air  viii,  Act  HI,  of  O'Hara's  burletta  Midas  (1764),  cf.  Nos.  7393,  7498. 

Broadley,  i.  387. 
7^X10^  in. 

12560  FLOGING,  A  NAUGHTY  BOY  361 
[?W.  Heath.] 

[Pub.  Tegg.]  [June  1815] 

Engraving  (coloured  impression).  Napoleon,  with  his  hands  tied  behind  him, 
stands  between  Wellington  (1.)  and  Blucher  (r.)  who  tower  above  him,  their 
birch-rods  raised  to  strike.  His  (scarred)  posteriors  are  bared,  and  he  looks 
over  his  1.  shoulder  at  Wellington,  with  an  agonized  expression,  shedding 
tears.  Wellington :  you  ungreatfull  Rascall  what  runaway  after  we  forgave  your 
Fault  but  we've  got  you  now.  Blucher :  Well  done  give  it  him  I  have  a  nice  Little 
cage  for  him  when  we  are  tire'd. 

For  Waterloo  see  No.  12557,  &c.   Cf.  No.  8337,  a  French  print  of  1793, 
where  Pichegru  and  Jour  dan  similarly  chastise  Coburg  and  the  Duke  of  York. 

Listed  by  Broadley.  Milan,  No.  2715. 
iifx8|in. 

12561  R.  ACKERMANNS  TRANSPARENCY  ON  THE  VICTORY  OF 
WATERLOO. 

Rowlandson.] 
Pub.  at  R.  Ackermann's  loi  Strand.  [June  181 5] 

Engraving  (coloured  impression).  Napoleon,  on  a  galloping  horse,  is  con- 
fronted by  Blucher  (r.)  who  fires  a  blunderbuss  at  close  range.  He  is  pursued 

554 


POLITICAL   SATIRES    1815 

by  Wellington  (1.)  who  gallops  towards  him,  sabre  in  hand.  Napoleon  has  lost 
his  stirrups;  he  faces  Bliicher  with  arms  thrown  wide  in  a  gesture  of  despair. 
His  crown  flies  from  his  head,  and  six  eagles  (or  geese)  fly  off^  to  the  1.,  above 
Wellington.  In  the  background,  among  smoke,  cavalry  in  wild  flight  (r.)  and 
wild  pursuit  (1.)  are  indicated. 

London  was  illuminated  for  Waterloo,  see  No.  12557,  ^^-y  ^^  23  and 
24  June. 

Grego,  Rozvlandson,  ii.  293.  Broadley,  i.  387.  Reproduced,  Grand-Carteret, 
Napoleon,  p.  53. 
7f  Xi2f  in. 

12562-12577^ 

Post-Waterloo  French  prints 

12562  SACRIFICE  DE  NAPOLEON  BUONAPARTE.  {18  June  1815) 

Se  Vend  chez  Genty,  Rue  S'  Jacques,  A^"  14.    Depose  au  Bureau  des 
Estampes.  [20  Sept.  181 5] 

Engraving  (coloured  impression).  Napoleon  (not  caricatured)  rides,  r.  to  1., 
a  galloping  charger.  Behind  him  sits  Death,  a  skeleton  playing  a  fiddle,  with 
his  scythe  attached  to  his  shoulders.  On  the  1.  is  the  battle;  French  soldiers 
in  close  formation  are  advancing  with  fixed  bayonets  against  enemy  cavalry, 
among  clouds  of  smoke;  with  them  is  a  mounted  officer  (?  Soult).  Napoleon 
points  to  his  soldiers,  turning  round  to  say  to  Death :  Je  te  sacrifie  encore  tout 
celaH  ....    Death :  Tu  y  viendras  anssi. 

One  of  many  French  satires  on  \\'aterloo  (see  No.  12557,  S:c.);  the  flight 
of  Napoleon  from  the  battle  was  a  favourite  theme,  see  No.  12564.  Carica- 
tures against  the  Bourbons,  which  the  Paris  print-sellers  had  been  displaying, 
are  said  to  have  almost  disappeared  from  the  shops  by  26  June.  Examiner, 
2  July  181 5,  p.  425.   Their  place  was  taken  by  prints  against  Napoleon. 

Broadley,  ii.  70  (reproduction),  72.   Dc  Vinck,  No.  9576. 
7fXiii  in. 

12563  RETOUR  DE  L'lLE  D'ELBE,  IL  RAMENE  LA  LIBERT^! 

Depose  au  Bureau  des  Estampes.    [n.d.] 

Engraving  (coloured  impression).  Napoleon  rides  a  monster  whose  collar  is 
inscribed  Liberie.  It  has  a  quasi-human  profile  with  huge  fanged  jaws,  ass's 
ears,  and  wears  a  Phrygian  cap.  Its  forequarters  are  those  of  a  tiger,  its  hind- 
quarters those  of  an  ass;  and  it  excretes  a  shower  of  orders  and  medals. 
Legions  of  Honour,  &c.  Napoleon  uses  a  chain  for  a  rein,  making  the 
creature's  jaw  drip  blood;  his  spur  also  causes  a  shower  of  blood.  He  carries 
a  tricolour  flag  inscribed  Honneur  Patrie,  surmounted  not  by  an  eagle  but  by 
an  owl.  He  says,  with  a  complacent  expression.  Quel  Triomplie.  The  creature 
is  led  by  the  Devil  (1.)  and  a  Harlequin  who  hold  a  rope  attached  to  the  collar. 
The  Devil,  a  hairy  ape-like  creature  with  horns,  says,  Je  le  conduirai  en  Enfer. 
Harlequin,  who  has  the  cap  and  bells  of  a  fool,  says,  C'est  moi  qui  le  guide. 
Above  their  heads  flies  a  bird  with  the  head  of  an  owl,  wings  of  an  eagle, 
tail-feathers  of  a  peacock,  grasping  a  scroll  inscribed :  Pai.x  Generate.  By  the 
side  of  their  route  (1.)  is  a  row  of  flowering  plants,  intended  for  violets,  see 
No.  125 12,  &c.,  and  red  pinks,  a  Bonapartist  emblem  of  the  summer  of  1815, 
cf.  Croker  Papers,  1884,  i.  65.  At  the  back  of  the  procession  marches  Death, 
wearing  a  wreath  of  flowers  and  the  Legion  of  Honour.    He  holds  up  his 

■  Arranged  before  authentic  dates  were  ascertained  from  De  Vinck. 

555 


CATALOGUE   OF   POLITICAL  AND   PERSONAL    SATIRES 

scythe  and  a  scroll  inscribed:  Je  vais  le  suivre  au  Mont-S^  Jean.  Above  his 
head  are  heavy  clouds  from  which  issue  darts  of  lightning  directed  towards 
himself  and  Napoleon. 

A  satire  on  Waterloo,  see  No.  12557,  ^^-^  ^^^  ^^  ^^^  policy  of  the  Hundred 
Days:  the  professions  of  peace,  see  No.  12541;  the  Acte  Additionnel,  see 
No.  12546,  &c. 

Listed  by  Broadley.   De  Vinck,  No.  9407.  Milan,  No.  2677.    Reproduced, 
Dayot,  Napoleon,  p.  330;  Bourguignon,  ii.  269. 
81^X13^  in. 

12564  LE  DESERTEUR. 

Depose  [21  July  1815] 

Engraving  (coloured  impression).  Napoleon  flees  on  foot  from  the  field  of 
Waterloo.  He  runs  from  r,  to  1,  and  towards  the  spectator,  looking  to  the  r. 
with  an  expression  of  terror,  shouting,  Braves  Franpais,  combattez  pour  tnoi. 
He  wears  hat,  jack-boots,  and  gloves  which  do  not  conceal  the  agonized 
tension  of  his  fingers.  His  sword  and  sword-belt  lie  on  the  ground  (r.).  In 
the  background  is  the  battle:  tiny  French  soldiers  in  close  formation  fire  at 
a  solid  mass  of  the  enemy.  Farther  off  the  contours  of  Mont  S^  Jean  are  out- 
lined with  long  columns  of  tiny  soldiers. 

One  of  many  French  satires  on  Waterloo,  see  No.  12557,  ^^-y  stressing 
Napoleon's  flight  from  the  field,  and  illustrating  the  eff"ect  of  his  mistake  in 
leaving  the  command  to  Soult  in  order  to  organize  the  defence  of  Paris.  See 
J.  H.  Rose,  Napoleon  I,  1934,  ii.  509,  and  Nos.  12562,  12566,  12567,  12589, 
12600,  12602;  cf.  No.  12608. 

Cf.  also  Le  Cesar  de  181 5  (De  Vinck,  No.  9578,  Van  Stolk,  No.  6442)  in 
which  Napoleon  flees  Vite  a  Paris,  while  Fame  in  the  clouds  holds  a  paper 
inscribed:  il  S'est  Sauve  de  VEgypte,  de  Madrid,  de  Moscou,  de  Leipsic,  de 
Mont- S^  Jean.  Below  the  design:  Je  suis  venu,  J'ai  vu,  .  .  .  J'aifui.  (i  Aug. 
1815). 

Broadley,  ii.  77.   De  Vinck,  No.  9579.   Van  Stolk,  No.  6441. 
9iX7in. 

12565  LE  TIGRE  ENCHAINE 

Se  vend  chez  Genty,  Rue  S^  Jacques,  N"  14.    Depose  au  Bureau  des 
Estampes  [11  Sept.  181 5] 

Engraving  (coloured  impression).  Napoleon,  wearing  his  petit  chapeau,  with 
the  body  of  a  spotted  feline  animal,  is  ordered  to  dance  by  three  representa- 
tives of  the  Allies.  A  British  officer  holds  the  end  of  a  chain  attached  to  a 
collar  round  Napoleon's  neck.  He  cracks  a  whip  with  a  weighted  lash,  saying. 
Saute  pour  le  Roi  [cf.  No.  12245].  Napoleon  turns  his  head  to  say  to  him: 
M.M^^  les  Demons  laissez  moi  done.  A  Russian  soldier  (r.)  plays  a  flute,  saying, 
Non  tu  dansera  tu  sautera  [see  No.  12046].  An  Austrian  or  Prussian  officer  (r.) 
stands  in  profile  to  the  1.,  beating  a  drum  which  is  slung  from  his  neck;  he 
says :  Nous  sommes  payes  pour  tefaire  danser.  Off  the  shore  are  a  large  rock  (r.) 
and  a  British  ship  (1.). 

The  date  excludes  the  identification  in  De  Vinck  of  the  British  officer  as 
Sir  Hudson  Lowe.   For  St.  Helena  see  No.  12592,  &c.    Cf.  No.  12579,  &c. 

Broadley,  ii.  76  f.,  78  (reproduction).   De  Vinck,  No.  9800. 
7X11^  in. 

556 


POLITICAL   SATIRES    1815 

12566  LA  DERN16RE  chCte. 

Depose  a  la  Direction. 

Engraving  (coloured  impression).  Napoleon  has  fallen  from  his  charger  on 
the  field  of  battle.  He  lies  on  his  back,  his  toe  still  in  the  stirrup,  gazing 
impassively  upwards.  Beside  him  lie  his  hat  and  a  mask  (r.),  inscribed  Charle- 
magne, with  the  classic  features  of  his  own  official  portraits,  and  wearing  a 
laurel- wreath.  The  horse  gallops  off  to  the  1. ;  it  has  a  leopard-skin  shabraque. 
In  the  background  (r.)  is  a  battle  surrounded  by  clouds  of  smoke;  files  of 
English  and  French  soldiers  fire  steadily  at  each  other  at  point-blank  range; 
the  space  between  them  is  filled  by  two  mounted  officers  in  combat.  Below 
the  design: 

Mais  an  moindre  revers  funeste, 

Le  Masque  tombe ;  Vhomme  reste 
Et  le  heros  s'evanouit. 

Ode  dej.  B.  Rousseau. 

See  No.  12557,  &c.  Napoleon  had  posed  as  the  successor  of  Charlemagne, 
see  No.  10267.  Charlemagne's  insignia  and  sword  were  brought  from  Aix-la- 
Chapelle  to  figure  at  his  coronation,  and  in  his  decree  of  1809  from  Vienna 
annexing  the  remainder  of  the  Papal  States  he  cited  the  example  of  'Charle- 
magne, my  august  predecessor,  Emperor  of  the  French'.  Theme  and  design 
resemble  No.  12238. 

Broadley,  ii.  77.    Hennin,  No.  13780. 
7^XiOi^  in. 

12567  BUONAPARTE  AU  MONT  ST  JEAN,  FAIT  USAGE  DE  SON 
TALISMENT  ORDINAIRE.  [14  Aug.  1815] 

Engraving  (coloured  impression).  Napoleon  flees  from  the  battle-field  as  in 
No.  12564;  he  is  similarly  dressed  except  that  he  wears  a  cuirass,  the  back 
and  front  joined  by  straps,  and  his  empty  scabbard  hangs  at  his  side.  He  looks 
over  his  shoulder  at  his  little  son  (r.)  who  runs  after  him,  holding  up  a  toy 
windmill  on  a  stick.  Napoleon's  sabre  and  star  of  the  Legion  of  Honour  lie 
on  the  ground  (r.).  The  child,  styled  in  France  during  the  Hundred  Days 
Prince  Imperial,  wears  long  trousers  and  a  sash,  with  a  white  frill  at  the 
neck  and  short  sleeves.  He  says:  Papa  Lache,  lache  les  courois  de  ta  cuirasse 
et  jette  la  a  terre  tu  courrera  plus  fort.  Napoleon  says :  L'aimable  Enfant  il 
ce  [sic]  sert  des  niemes  mots  dontje  caresse  mes  Officiers  et  mes  Genereaux.  In  the 
background  a  platoon  of  French  infantr\'  fires  steadily  at  British  cavalr}'  who 
advance  from  the  r.;  their  officer,  pointing  to  Napoleon,  says:  le  Lache!  il  nous 
abbandonne  [sic]. 

One  of  many  French  satires  on  Waterloo,  see  No.  12557,  ^^-  The  King 
of  Rome  was  not  of  course  in  France.  His  windmill-toy  is  an  emblem  of 
French  fickleness  as  in  many  prints,  see  No.  12522,  &c.  By  an  unconscious 
pun  the  child  calls  his  father  a  coward. 

Broadley,  ii.  75.    De  Vinck,  No.  9580. 
7^Xio|  in. 

12568  CONDUITE  IMPfiRIALE.  [22  Aug.  1815] 

I'^ngraving  (coloured  impression).  Napoleon  runs  forward,  propelled  by 
Wellington  who  presses  a  long-handled  shovel  against  his  back,  while  Bliicher 
raises  a  broom,  about  to  strike  his  victim.  Napoleon  leans  forward,  about  to 
plunge  into  a  pit  or  grave  on  the  extreme  r.  He  asks :  Messieurs  quelle  Conduite 

SSI 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

niefaite  [sic]  vous.  Wellington:  Celle  que  vous  Meritez.  Napoleon  wears  a  hat 
but  no  sword;  his  jack-boots  have  grotesquely  long  spurs. 
One  of  many  French  satires  on  Waterloo,  see  No.  12557,  ^*^- 
Listed  by  Broadley.   De  Vinck,  No.  9600.  Van  Stolk,  No.  6445. 
9iX7|in. 

12569  ILS  VIENNENT  SE  BRULER  A  LA  CHANDELLE. 

Deposes  [sic]  a  la  Direction  Generate.  [i  Aug.  1815] 

Engraving  (coloured  impression).  Napoleon  stands  on  a  mound  inscribed 
Mont  S^Jean  which  is  covered  with  skulls  and  bones,  with  the  skull  of  a  horse. 
There  is  also  a  monumental  tablet  on  which  the  word  .  .  .  Mort ...  is  legible. 
He  is  surrounded  by  heads  supported  on  bats'  wings ;  some  of  these  fly  towards 
the  flame  of  a  torch  or  candle  which  he  holds  up  in  his  r.  hand.  In  his  1. 
is  a  large  paper:  Discour  aux  deux  Chambres — Independence — Liberalite — 
Liberie.  At  the  base  of  the  mound  are  emblems  of  Napoleon's  unsuccessful 
campaigns :  a  fragment  of  a  broken  bridge  represents  Leipsic,  see  No.  12108,  &c. 
Three  domes  of  the  Kremlin,  surrounded  by  flames  (see  No.  11921,  &c.) 
represent  Moskow.  Shattered  pillars  and  masonry  represent  Espagne.  A 
darkened  profile,  intended  for  a  sphinx,  represents  Egypte. 

At  the  base  of  the  design  on  the  1.  are  two  adjacent  rocks,  one,  above,  is 
inscribed  Chambre  haute,  the  other,  Chambre  basse.  These  indicate  caves  from 
which  the  human  bats  are  flying,  some  with  epaulets  to  show  that  they  are 
soldiers.  Beside  the  candle-flame  are  four:  Manuel,  Garat,  ^avarie  [Savary] 
(with  epaulets),  and  Dumolar.  Near  them  is  a  nose  supported  by  bats'  wings. 
Lower  down,  and  across  the  centre  of  the  design,  are  the  largest  heads :  Merlin 
de  Douay,  Labedoyeur  (with  epaulets),  Regnault.  Facing  these  and  projecting 
from  behind  Napoleon's  thigh  is  a  woman's  head,  with  long  pendent  breasts, 
and  a  bat's  wing.  She  is  yenne  [reine]  hortence.  Lower  down,  and  near  the 
'Chambre  haute'  rock,  are  Lafayette,  with  an  epaulet,  and,  in  back  view, 
Thibaudeau.  Below  is  a  group  of  six  heads  close  together,  only  two,  Cambon 
and  Borie  de  S^  Vincent,  being  named.  Close  beside  them  is  a  group  (r.)  of 
three:  Sibue  (in  back  view),  fe'^  Lepelletier,  and  Mouton  Duvernes  (with 
epaulets).  Below  is  a  set  of  three  small  panels  {}  chair-backs)  inscribed  nous 
fuourotts,  sur  nos  Chaises. 

A  satire  on  Waterloo,  see  No.  12557,  ^c.,  and  on  the  heated  debates  in  the 
Chambers  that  followed  Napoleon's  return  to  Paris  on  21  June,  and  Lafayette's 
motion  that  the  Chamber  should  declare  its  sittings  permanent,  any  attempt 
to  dissolve  it  to  be  treason  to  the  country.  It  relates  especially  to  the  desperate 
attempts  of  the  Bonapartists  to  have  Napoleon's  son  declared  Emperor. 
Queen  Hortense  (with  her  sons)  welcomed  Napoleon  on  his  return,  reviving 
the  old  scandal,  see  No.  10362.  She  was  regarded  as  the  centre  of  Bonapartist 
intrigue,  see  her  Memoirs.  Except  Lafayette,  the  bats  are  Bonapartist  members 
of  the  Chambers  during  the  Hundred  Days.  On  22  June  Napoleon  abdicated 
in  favour  of  his  son ;  on  26  June  he  left  Paris  (on  an  order  from  Fouche)  for 
Malmaison. 

Broadley,  ii.  72.   De  Vinck,  No.  9577. 
12X9I  ^^• 

12570  LA  DANSE  IMPERIALE. 

Depose  [11  Sept.  1815] 

Engraving  (coloured  impression).    Wellington  forces  Napoleon  to  dance, 
standing  over  him  like  a  man  with  a  dancing-bear.   He  holds  a  double  rope 

558 


POLITICAL   SATIRES    1815 

attached  to  a  rope  encircling  Napoleon's  head,  on  which  is  (?)  a  fur  covering 
with  a  small  furry  ear.  Napoleon,  in  profile  to  the  1.,  capers  with  clasped 
hands.  He  wears  jack-boots  with  enormous  spurs.  From  under  the  top  of 
the  boots  curious  white  frills  project  over  his  knees.  He  says:  Finissez  de 
grace  la  dame  me  lasse.  Wellington,  in  profile  to  the  r.,  bends  over  his  victim 
holding  a  large  bludgeon  above  his  head.  He  answers:  Ah!  vom  avez  beau 
crier  II  faiit  que  vous  la  dansiez. 

For  the  enforced  dance  see  No.  12046.  Cf.  Le  depart  du petit  caporal{i8i^), 
described,  Broadley,  ii.  77  n. 

Listed  by  Broadley.   De  Vinck,  No.  9801. 
Sh  X  7f  in. 

12571  LA  GROSSE  CAISSE  DE  L'EUROPE. 

Engraving  (coloured  impression).  Napoleon  as  'the  big  drum'  is  slung  from 
the  neck  of  a  British  soldier,  who  plies  a  drumstick  in  the  r.  hand,  a  birch- 
rod  in  the  1.  He  hangs  face  downwards,  his  arms  clasped  under  his  knees 
which  are  drawn  up  to  his  chest.  His  (large)  head  is  flattened  at  the  crown, 
his  bared  posterior  is  cylindrical,  his  contour  being  an  irregular  cylinder. 

See  No.  12274. 

Broadley,  ii.  73  (reproduction),  74.   De  Vinck,  No.  9595. 
7ilX5f  in. 

12572  NICOLAS  CCEUR  DE  TIGRE,  [11  Aug.  1815] 

Engraving  (coloured  impression).  Below  the  title :  Piece  f eerie  avec  changemens 
a  vue,  evolutions  militaires,  marches,  contre-tnarches,  fuite,  emprisonnement 
&c  &c.  Napoleon  (a  careful  portrait,  not  caricatured)  stands  behind  the  high 
iron  bars  of  the  little  courtyard  of  a  fortress-prison.  The  fortress  is  on  the 
shore,  and  has  a  round  tower  suggestive  of  Elba  (Portoferraio)  rather  than  of 
St.  Helena.  Outside  the  prison  is  Death,  a  skeleton,  turning  the  handle  of  an 
Orgue  de  Barbaric  which  is  slung  from  his  shoulders ;  he  sings : 

Nicolas  6  mon  roi,  UUnivers  f  abandonne 

Sur  la  terre  il  riest  que  moi  Qui  s'interesse  a  ta  personne 

His  instrument  is  inscribed:  Airs:  \  De  la  Marseilloise  \  Ah!  fa  ira,  fa  ira  j 
Veillons  au  salut  de  V Empire  \  La  Lyonnoise.  He  wears  a  (scarlet)  cloak  draped 
over  his  head  and  1.  arm;  at  his  feet  lie  his  scythe  and  a  winged  hour-glass. 
Napoleon  looks  down  through  the  bars,  which  he  grasps  with  both  hands. 
He  says  to  Death:  Pour  que  je  regne  eticore  acheve  mon  ouvr age,  fait  [sic]  perir 
le  reste  des  humains  excepte  moi.  Behind  Death  (1.)  stands  Ambition,  naked 
except  for  cothurnes  and  a  floating  strip  of  drapery  on  which  her  name  is 
engraved.  She  has  feathered  wings;  attached  to  her  heels  are  little  butterfly 
wings.  Round  her  head  is  a  fillet  with  a  plume  of  peacock's  feathers;  small 
feathers  are  attached  to  her  cothurnes.  She  is  poised  on  her  toes,  and  points 
her  r.  forefinger  at  Napoleon,  saying,  with  protruding  tongue : 

lis  sont  passes  ces  jours  de  fetes 

lis  sont  passes  il  [sic]  ne  reviendront  plus. 

In  her  1.  hand  she  holds  out  a  serpent.  High  above  Ambition  and  Death  flies 
a  winged  creature  whose  body  terminates  in  a  scaly  serpent.  It  looks  towards 
Napoleon,  holding  out  a  piece  of  drapery  inscribed  //  Est  Un  Dieu  Vengeur. 
On  the  sea  (1.)  are  five  small  men-of-war  with  furled  sails. 

Death  takes  the  part  of  Blondel,  singing  an  adaptation  of  the  lines, 
*0  Richard,  O  mon  Roi  .  .  .',  famous  in  French  history  from  having  been 
sung  at  Versailles  on  i  Oct.  1789.    A  post-Waterloo  print  of  Napoleon  at 

559 


CATALOGUE   OF  POLITICAL   AND   PERSONAL   SATIRES 

Elba,  fatally  determined  to  regain  his  power.  The  airs  suggest  the  professions 
of  the  Hundred  Days,  cf.  No.  12546,  &c.,  and  Napoleon's  reception  at  Lyon. 
For  'Nicolas'  see  No.  12256. 

Listed  by  Broadley.   De  Vinck,  No.  9803. 
icfxS^in.  'Caricatures',  xi.  91. 

12573  LA  DERNIERE  CUV^E 
[?  After  G.  Cruikshank.] 

a  Londre  181 5 

Engraving  (coloured  impression).  French  soldiers  are  being  cooked  or 
drowned  in  a  big  round  vat  built  of  stone,  under  which  a  fire  is  burning. 
Bliicher  (1.)  and  Wellington  (r.)  stand  over  the  vat,  holding  long-handled 
perforated  ladles  with  which  they  skim  the  surface  of  the  water,  fishing  out 
the  soldiers.  Bliicher  (1.),  saying  Mon  cher  Welington  je  commence  a  ecumer 
j^espere  que  vous  me  Seconderez,  holds  on  his  level  ladle  a  hussar  in  large  busby, 
braided  tunic,  and  boots.  Wellington  holds  up  on  his  (tilted)  ladle  a  man 
hanging  head  downwards.  Beside  the  vat  (r.)  is  a  rocky  cone  from  a  fissure 
in  which  the  flames  of  Hell  emerge ;  Cerberus,  a  monster  with  three  serpentine 
necks  and  webbed  wings,  reaches  from  the  opening  towards  Wellington's 
captive,  and  devours  his  legs  with  two  of  his  great  jaws.  Wellington  answers: 
mon  ami  Bliicher  je  sais  pret  a  vous  suivre  mais  surtout  travaille  fort  cette  nuit. 
Other  soldiers  struggle  to  get  out  or  sink  back  hopelessly.  An  eagle  (standard) 
projects  from  the  water,  on  which  float  many  tricolour  cockades.  Wellington's 
victim,  who  has  a  moustache,  is  not  Napoleon,  who  is  a  subordinate  figure, 
strugghng  to  get  out,  and  extending  his  arms  towards  Wellington, 

Bliicher  reached  Paris  on  29  June,  Wellington  being  two  days  behind  and 
anxious  to  prevent  the  Prussians  from  putting  Napoleon  to  death.  On  that 
day  Napoleon  left  Malmaison  for  Rochefort,  on  the  orders  of  the  Provisional 
Government,  to  escape  capture  by  the  Prussians,  and  intending  to  sail  to 
America  in  a  French  frigate. 

Listed  by  Broadley,  ii.  382,  as  a  copy  of  The  Last  Tubfiil  (anon.),  20  June 
1815.  De  Vinck,  No.  9597.  Milan,  No.  2714.    Reproduced,  Grand-Carteret, 
Napoleon,  No.  351,  as  the  French  version  of  a  pi.  by  G.  Cruikshank. 
8|X  12 J  in. 

12574  LE  SAUTEUR  IMPERIAL—  [1815] 
Engraving  (coloured  impression).  Bliicher  (1.)  and  Wellington  (r.)  face  each 
other  in  profile,  holding  the  ends  of  a  rope  over  which  they  make  Napoleon 
skip.  Bliicher  rests  his  1.  hand  on  his  long  sabre;  he  says:  mon  petit  camarade 
le  saut  perilleux.  Wellington,  his  1.  hand  on  his  hip,  says:  Sire  Saute  pour 
le  Roi  [cf.  No.  12245].  He  and  Napoleon  wear  cocked  hats;  Bliicher  is  bare- 
headed. Napoleon,  short,  fat,  and  round,  jumps  high,  feet  together,  holding 
up  his  coat-tails.  He  faces  Bliicher,  with  a  melancholy  scowl,  saying,  messieurs 
ce  jeu  la  me  deplait  c^est  le  dernier  tour  que  je  vous  fait  [sic]. 

Cf.  No.  12570.  ^ 

Broadley,   ii.   73  f.   (reproduction).    De  Vinck,'   No.  9601.    Van  Stolk,' 

No.  6446. 

6^X  II J  in. 

12575  [LE  JOUR  DE  BARBE]2  [31  July  1815] 

Engraving  (coloured  impression).    Napoleon,  seated  on  a  stool  in  profile  to 

the  1.,  is  shaved  by  Bliicher  (1.)  and  Welhngton,  in  profile  to  the  1.  The  latter 

'  With  depose  [17  Aug.  1815]  and  additional  title:  grand faiseur  de  tours. 
^  From  Broadley;  no  title  on  print.   Cf.  No.  12577. 

560 


POLITICAL   SATIRES    1815 

shaves  the  perfectly  bald  head,  while  Bliicher,  almost  full-face,  shaves  the  I. 
cheek.  Napoleon  has  a  towel  tied  round  his  neck,  and  places  his  hands  below 
it  to  hold  up  the  barber's  bowl.  In  front  of  him  is  a  small  table  with  a  (raised) 
folding  mirror.  The  inscriptions  are  below  the  design:  Napoleon  asks: 
messieurs  avec  quels  Rasoirs  me  faite  [sic]  voiis  la  harbe.  Wellington  answers : 
Sire  Rasoir  anglais. 

One  of  many  satires  on  the  consequences  of  Waterloo,  see  No.  12557,  ^c- 
'Faire  la  barbe'  has  also  the  idiomatic  meaning  to  put  someone  in  his  place. 
The  shaving  theme  was  popular  in  both  English  and  French  caricatures,  see 
(e.g.)  Nos.  10601,  11917,  12576,  12577,  12596.   Cf.  No.  12612. 

Broadley,  ii.  74.   De  Vinck,  No.  9598.  Van  Stolk,  No.  6443. 
8|X5|in. 

12575  A  A  later  state,  depose  added,  the  dialogue  unaltered;  on  the  blade 
of  Wellington's  razor  is  the  word  Palmer  (cf.  No.  12604  a).  According  to 
Broadley  (who  translates  all  inscriptions),  perhaps  describing  a  third  state, 
both  answer  together  'Sire,  English  razors  and  Berlin  soap'. 

Broadley,  ii.  74. 

12576  LE  JOUR  DE  BARBE.  [1815] 
Aquatint  (coloured  impression).  Napoleon  sits  in  profile  to  the  r.  facing  an 
elaborate  wash-stand  in  the  form  of  a  secretaire  (of  Empire  shape),  before  a 
mirror  reflecting  his  gloomy  countenance.  He  sharpens  a  razor  (with  a 
damaged  blade)  on  a  hone.  Wellington  stands  behind  him,  placing  his  r. 
hand  on  his  shoulder,  while  he  sponges  his  head ;  he  says,  punningly :  //  voulait 
nous  faire  la  queue  mais  nous  lui  lavons  la  tete.  (He  wanted  to  trick  us,  but  we 
give  him  a  good  head-washing,  i.e.  scolding.)  Wellington  wears  uniform, 
with  cocked  hat,  breeches  and  boots  in  place  of  the  trousers  common  in 
French  caricature  of  this  date.  Napoleon  wears  uniform  coat  with  a  ribbon 
across  the  shoulder,  with  breeches,  silk  stockings,  and  buckled  shoes,  in  place 
of  the  usual  jack-boots  (suggesting  that  the  issue  has  shifted  from  the  field 
to  diplomacy  or  perhaps  representing  Napoleon's  dress  (apart  from  the  ribbon) 
in  the  Bellerophon).  On  the  lowered  flap  of  the  wash-stand  are  a  soap-ball 
in  a  bowl,  a  sheath  for  the  hone,  and  a  brush.  The  r.  side  of  the  wash-stand, 
which  is  surmounted  by  two  imperial  eagles,  is  open,  with  recess  and  shelves 
for  jug,  basin,  and  tumblers  of  ornate  pattern.  Behind  Wellington  is  a  shallow 
basin  on  a  stand  with  a  fringed  cover.  The  room  is  pilastered.  Cf.  No.  12575. 

Broadley,  ii.  74,  75  (reproduction).   Hennin,  No.  13774. 
S^Xioii  in. 

12577  LE  JOUR  DE  BARBE  OU  LA  MINE  ALLONG^E. 

A  Paris,  chez  tons  les  M^^  de  Nouveautes  Depose  [19  Aug.  18 15] 

Engraving  (coloured  impression).  Napoleon  sits  on  a  low  stool  in  profile  to 
the  1.,  facing  an  ugly  French  barber,  who  stands  over  him,  placing  his  1.  hand 
on  his  head,  and  holding  out  the  r.  hand.  The  barber  is  dressed  like  an  emigre, 
wearing  a  cocked  hat  with  a  white  cockade.  He  says:  Af  vous  me  payerez 
aujourd'hui  4^  au  lieu  de  2^  car  voire  figure  est  plus  longue  de  moitie  qu'a  l' ordi- 
naire! Napoleon  holds  the  barber's  bowl,  in  which  is  a  soap-ball,  under  his 
chin.  He  wears  a  shirt,  braces,  breeches  patterned  with  large  bees,  and  spurred 
jack-boots.  Behind  him  (r.)  is  a  savage  but  dilapidated  eagle,  standing  on 
papers  inscribed  Plan  de  Campagne.  The  wall  which  forms  a  background  is 
patterned  with  fleurs-de-lis. 

561  o  o 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

A  satire  on  the  Waterloo  campaign  (see  No.  12557,  ^^•)  stressing  the 
Bourbon  restoration.  Louis  XVIII  re-entered  Paris  on  8  July  and  installed 
himself  at  the  Tuileries.   Cf.  No.  12575,  ^^• 

Broadley,  ii.  74.   De  Vinck,  No.  9599. 
8|X7  in. 

12578  NEBUCHADNEZZAR'S  DREAM—. 

G.  Cruikshank  fee* 

Pu¥  by  W  N  Jones  N°  5  Newgate  S*  July  i'*  181 5 — 

Engraving  (coloured  and  uncoloured'  impressions).  PI.  to  the  Scourge,  x, 
frontispiece.  A  sequence  of  three  designs,  [i]  The  Regent,  in  bed  (r.),  raises 
himself  on  his  arms  to  gaze  in  terror  at  a  gigantic  figure  of  himself  wearing 
armour  and  standing  on  clouds,  the  head  irradiated  and  surmounted  by  the 
world  ROYALTY.  It  stands  full-face  with  hands  on  hips.  The  head  is 
coloured  yellow,  the  cuirass  coloured  to  represent  silver,  the  thighs  brass,  the 
legs  iron;  the  feet,  being  bare,  represent  clay.  The  arms  are  inscribed  Nobility, 
the  thighs  Commoners,  the  legs  Nobility,  the  feet  Szvinish  Multitude.  The 
pelmet  of  the  bed  is  decorated  with  the  Prince's  feathers  and  motto;  a  set 
of  three  bed-side  steps  stands  against  the  bed,  beside  which  is  a  tall  wig-block, 
with  the  Prince's  features,  supporting  his  wig  and  whiskers.  Above  the  bed: 

One  night  fatigued  with  State  affairs 
He  sought  his  Royal  couch,  &  said  his  prayers. 
Then  on  his  pillozv  gently  laid  his  head. 
And  stretch' d  like  other  folk  his  limbs  in  bed. 
His  heavy  eye-lids  soon  in  slumber  close; 
But  short  his  sleep  &  transient  his  repose. 
For  dreadful  visions  nozv  before  him  roll 
And  dreams  of  fearful  import,  scare  his  soul. 

[2]  The  Regent  seated  on  a  throne  in  profile  to  the  r.,  orders  McMahon 
to  drive  away  his  advisers,  who  fly,  terror-struck,  to  the  r.  He  wears  a  spiky 
crown  and  quasi-oriental  robe,  and  holds  a  sceptre  which  terminates  in  a 
wine-bottle.   Pointing  imperiously,  he  says: 

Quick  from  our  presence  drive  this  rabble  rout 

Quick, — we  repeat, — turn  all  these  Varlets  out. 

To  further  measures  soon  w'll  have  recourse, 

And  put  the  Vagrant  Act  in  rig' rous  force! 

See  to  it — Alah — n,  that  the  thing  be  done, 

See  they  be  pilloried,  every  Mothers  son! 

McMahon,  who  wears  a  turban  and  robe  over  breeches  and  top-boots, 
wields  a  whip  whose  lash  is  a  long  purse,  the  Privy  Purse,  see  No.  1 1874,  &c. 
In  his  haste  Liverpool  has  fallen  on  his  face,  losing  his  turban.  Eldon  scuttles 
off  sideways  holding  up  the  Purse  of  the  Great  Seal.  Castlereagh  runs,  holding 
up  both  arms,  and  is  about  to  lose  his  turban.  On  the  extreme  r.  are  the 
Archbishop  of  Canterbury,  Manners- Sutton,  wearing  a  mitre  and  grotesque 
clerical  wig,  and  the  profile  head  of  Sidmouth,  his  bag-wig  flying  out  behind. 
On  the  floor  is  a  clyster-pipe  dropped  by  Sidmouth  (cf .  9849)  and  two  books : 
The  Black  Art — by  Lord  Liver[pool]  and  The  Art  of  Hum-Bugifig.  From  behind 
the  curtain  of  the  throne  peeps  the  head  of  Yarmouth.  The  ornate  canopy 
of  the  throne  is  decorated  with  a  frieze  of  naked  roisterers,  dancing  hand  in 
hand,  and  with  the  Prince's  feathers.   On  the  dais  by  the  Regent  is  a  wine- 

'  Not  folded,  showing  that  it  was  issued  separately. 

562 


POLITICAL    SATIRES    1815 

cooler  filled  with  bottles.  The  throne  is  placed  within  the  court^-ard  of 
Carlton  House,  the  screen  and  gate  being  on  the  r. 

[3]  The  Regent,  crouching  on  a  settee,  flinches  in  horror  from  a  sequel  to 
the  dream  which  is  being  expounded  by  an  ugly  little  man  in  (ragged)  clerical 
dress.  The  gigantic  figure,  still  irradiated  and  surrounded  by  clouds,  is  struck 
on  the  feet  and  legs  by  an  enormous  rock  inscribed  National  Debt — Millions! 
Millions!!  Millio?is!!  The  head,  the  word  Royali[y]  smaller  and  fainter  than 
before,  is  broken  off,  the  arms  are  severed  at  elbows  and  wrists,  the  legs  fall 
from  the  trunk.  The  interpreter  stands  in  profile  to  the  r.,  a  large  book  under 
his  arm ;  he  declaims : 

Thus  grew  the  evil  which  will  crush  you  yet ; 

The  Stone,  That  monstrous  Stone — the  Public  Debt! 

Which  like  a  Mill- Stone  fastned  round  your  neck, 

Must  lead  at  last  to  universal  wreck,^'' — 

"What  at  the  feet  begins,  will  quickly  spread. 

And  fall,  with  heaviest  vengenance  [sic]  on  the  head!" 

On  the  extreme  1.  is  the  profile  figure  of  McMahon,  gazing  terror-struck. 
On  the  wall  is  a  picture  of  the  Regent  on  his  hands  and  knees,  raising  his  head 
from  his  diet  of  grass  to  look  at  his  astonished  advisers,  five  tiny  figures  on 
the  1.  headed  by  Eldon,  and  all  in  quasi-oriental  dress. 

Illustration  to  verses,  pp.  1-8,  in  which  the  Regent  is  Nebuchadnezzar, 
a  name  defined  as  'nation's  mourning'  and  'poor  man's  woe'.  He  forgets  the 
dream  represented  in  [i],  but  remembers  his  terror,  and  asks  his  advisers  to 
recall  and  expound  the  vision.  This  they  cannot  do,  and  are  driven  out.  Then 
Tozer,  see  No.  12329,  is  appealed  to  and  explains.  The  image  is  the  nation, 
with  'half  the  nation  represented  not',  the  fatal  stone  is  not  Bonaparte  as  the 
Prince  may  fear,  though  he  wears  a  'golden  wig',  Tom  Paine's  phrase  for  the 
royal  crown,  but  the  public  debt  which  will  bring  ruin  unless  this  is  averted 
by  economy  (putting  an  end  to  'sinecures  and  venal  pensions'),  and  by  peace. 
The  Prince  swore  to  amend : 

To  honour  God,  and  cleave  unto  his  wife.  .  .  . 
Next  day,  regardless  of  the  oaths  he  swore, 
He  play'd  the  fool  ev'n  worse  than  heretofore. 

A  plea  for  Peace  and  Reform,  written  before  Waterloo.  For  Burke's  phrase 
'swinish  multitude'  see  No.  8500,  &c. 

Reid,  No.  491.   Cohn,  No.  732. 
Each  design  7|xc.  6  in.    Sheet  8^  X  19I  in. 

12579  COMPLEMENTS  &  CONGEES  OR  LITTLE  HONEY'S  SUR- 
RENDER TO  THE  TARS  OF  OLD  ENGLAND!!! 

G.  Criiikshank  fec^ 

Pu¥  July  24  181 5  [by  J  Johnston  Cheapside]' 

Engraving  (coloured  impression).  A  scene  on  the  deck  of  the  Bellerophon. 
Napoleon,  in  profile  to  the  r.,  cocked  hat  in  hand,  his  1.  arm  extended  in  a 
gesture  of  supplication,  bows  low  to  Captain  Maitland  (r.),  who  returns  the 
bow  with  his  hand  on  his  breast.  Two  burly  sailors  on  Maitland's  r.  watch 
and  comment;  a  third,  with  a  carbuncled  nose,  scowls  with  folded  arms  on 
the  extreme  r.  Another  naval  ofiicer,  behind  whom  is  a  midshipman,  stands 
behind  Maitland.  Behind  Napoleon  is  his  suite:  first  a  hairdresser,  who 
stands  chapeau  bras,  with  hands  together,  his  apron-pocket  is  filled  with  the 

'  Added  in  pen  to  one  impression. 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

tools  of  his  trade.  Next  is  a  cook  holding  a  saucepan,  wearing  jack-boots,  and 
with  a  butcher's  steel  hanging  from  the  waist.  Next  is  a  meretricious-looking 
laundress  with  patched  face,  bare  arms,  and  short  petticoat,  holding  a  bag 
inscribed  le  Linge  de  I'Empereur.  On  the  extreme  1.  are  two  French  officers. 
All  say  vivent  les  Anglais,  all  look  dejected  and  propitiatory.  A  sailor's  head 
appears  on  the  1.,  looking  up  from  a  hatchway.  Napoleon,  who  is  thin  and 
haggard,  says :  O:  Af  Bull  I  am  so  happy  to  see  you  I  always  had  a  great  regard 
for  the  British  sailors,  they  are  such  noble  fellows  so  brave  so  generous!!  you  see 
I  am  in  a  great  deal  of  trouble,  but  I  hope  you  will  take  pity  on  me  &  my  suite, 
namely  my  Barber,  my  Cook  &  my  Washerwoman  togather  with  a  few  of  my 
brave  generals  who  ran  away  with  me  from  the  Battle  of  Waterloo,  and  I  do 
assure  you  zve  all  feel  great  pleasure  in  surrendering  to  the  good  English — I  shoidd 
feel  extremly  [sic]  obliged  if  you  w^  take  us  to  America — but  if  you  zvill  not  I  beg 
you  will  take  us  to  England  for  I  hate  those  Bears  &"  cursed  Cossacks,  &  as  for 
the  French  Nation  now:  why  they  may  be  D — d — Old  England  for  ever  I  say. 
Maitland  answers :  Indeed  M''  Boney  I  am  greatly  Obliged  to  you  for  your 
Complements  &  I  assure  you  we  are  as  happy  to  receive  you  as  you  are  to 
surrender  Fm  afraid  they  would  not  take  that  care  of  you  in  America  that  they 
will  in  England  therefore  I  shall  conduct  you  to  the  latter  place  as  quick  as  possible. 
One  of  the  sailors  says :  /  say  Jack  do  you  think  they'll  clap  him  in  Exeter 
'Change  amongst  Wild  Beasts?!!  His  friend  answers :  No.  I  suppose  as  how  he'll 
be  put  in  the  Monkeys  den  in  the  Tower  or  else  they'll  send  him  about  with  the 
Danceing  Bear!  The  third  sailor  exclaims:  my  eyes!  what  a  sneaking  hound 
he  is!!! 

The  news  of  Napoleon's  surrender  to  Maitland  on  the  Bellerophon  off 
Rochefort  on  15  July  reached  London  on  21  July.  The  print  connects  the 
astonishing  truth  with  the  fantasies  popular  during  the  invasion  crises,  cf. 
No,  10077.  -^o^  Waterloo  see  No.  12557,  ^^'y  ^^^  the  surrender  see  also 
Nos.  12565,  12580,  12581,  12582,  12583,  12584,  12585,  12589,  12592,  12600. 

Reid,  No.  498.    Cohn,  No.  1009.   Broadley,  ii.  1-2. 
8|xi3  in. 


12580  BONEY'S  TRIAL,   SENTENCE,  AND  DYING  SPEECH,  OR 
EUROPE'S  INJURIES  REVENGED. 

[Rowlandson.] 

Pub'^  July  28"'  181 5  by  R.  Ackermann  N°  loi  Strand 

Engraving  (coloured  impression).  Scene  in  an  English  court  of  law.  The 
judge,  Bliicher,  wearing  a  legal  wig  with  regimentals,  stands  up  with  1.  arm 
extended,  addressing  Napoleon,  who  crouches  in  the  dock  (r.),  handkerchief 
in  hand,  pleading  for  mercy.  Beside  the  judge  are  the  sovereigns  of  Europe, 
two  on  his  r.,  three  on  his  1.,  all  gazing  at  the  prisoner.  In  the  well  of  the 
court  aged  and  grotesque  counsel,  typical  of  Rowlandson's  lawyers,  surround 
the  green-covered  table.  The  jury  (1.)  have  stupid,  morose,  or  astonished 
expressions.  The  usher,  with  a  long  rod,  seated  on  a  raised  chair,  faces  the 
jury  on  the  opposite  side  of  the  court.  Corpulent  constables  with  staves  stand 
beside  and  in  front  of  the  dock.  Freely  sketched  spectators  look  down  from 
a  crowded  gallery  above  the  dock.  Almost  all  eyes  are  on  the  prisoner,  behind 
whom  stand  the  Devil,  with  folded  arms,  fiercely  gloating  over  his  victim. 
Behind  the  usher  is  a  high  white  screen  on  which  Napoleon's  offences  are 
inscribed :  napolean  bonaparte  The  first  and  last  by  the  Wrath  of  Heaven 
Ex  Emperor  of  the  Jacobins  &  head  Runner  of  Runaways  [see  No.  12 192], 
Stands  indicted  j'^  [sic]  for  the  Murder  of  Captain  Wright  in  the  Temple  at  Paris 

564 


POLITICAL   SATIRES    1815 

2^  for  the  murder  of  the  Duke  Dangulem  [d'Enghien]  Pichegrew  &  Georges 
3  for  the  Murder  of  Palm  Hoffer  &c  &  4'^  for  the  murder  of  the  12  inhabitants 
of  Moscow  ^^'^for  inumerable  Robberies  committed  on  all  Nations  in  Christendo?n 
&  elsewhere,  6'^  for  Bigamy  &  lastly  for  returning  from  Transportation,  and 
setting  the  World  in  an  uproar.  Bliicher  says  fiercely:  You  Nap  Boneparte 
being  found  Guilty  of  all  these  Crimes  it  is  fell  to  my  lot  to  pronounce  Sentence 
of  Death  on  You — You  are  to  be  hung  by  the  Neck  for  one  hour  till  you  are  Dead, 
Dead,  Dead,  &  your  Body  to  be  chained  to  a  Mill  Stone  &  sunk  in  the  Sea  at 
Torbay.  Napoleon  says:  Oh  cruel  Blucher,  Oh!  cruel  Wellington  it  is  you  that 
have  brought  me  to  this  End.  Oh  Magnanimous  Emperors  Kings  &  Princes 
intercede  for  me  and  spare  my  life ;  and  give  me  time  to  attone  for  all  my  Sins, 
My  Son  Napoleon  the  Secotid  will  reward  you  for  Mercy  shewn  me.  The 
sovereigns  are  poorly  characterized.  On  the  extreme  1.  is  Alexander,  next  him 
and  on  Bliicher's  r.  is  the  Prince  Regent.  On  Bliicher's  1.  is  Louis  XVIII. 
Next  (?)  the  King  of  Prussia,  then  the  Emperor  of  Austria;  next,  the  Pope 
with  clasped  hands,  wearing  his  tiara.  On  the  extreme  r,  is  (?)  Ferdinand 
of  Spain  looking  through  an  eye-glass. 

For  Napoleon's  surrender  see  No.  12579,  ^^-  Early  on  24  July  the 
Bellerophon  anchored  in  Torbay,  and  the  ship  was  surrounded  by  boat-loads 
of  sightseers.  The  list  of  crimes  is  for  the  most  part  stereotyped  (though  far 
from  exhaustive,  some  of  the  most  recurrent  being  omitted),  see  (e.g.) 
No.  12205,  &c.,  and  index  of  names.  But  bigamy  and  returning  from  trans- 
portation (frequent  offences  in  English  courts)  are  new.  'Napolean'  connotes 
'the  Beast',  see  No.  11004,  &c.   Cf.  No.  121 15. 

Grego,  Rowlandson,  ii.  294.   Broadley,  ii.  3-4.   De  Vinck,  No.  9745. 
8fxi3f  in. 

12581  [JUSTICE  PUNISHES  NAPOLEON] 

London  Published  by  Baldwyn,  Catherine  Street.  [c.  July  1815] 

Aquatint  (no  title).  Perhaps  adapted  from  a  French  print.  Justice,  in  clumsy 
and  elaborate  draperies,  stands  holding  up  the  decollated  head  of  Napoleon, 
her  1.  hand  resting  on  the  hilt  of  her  sword.  Beside  her  (I.)  is  an  altar  or 
pedestal  on  which  lie  her  scales.  On  the  altar,  in  relief,  a  fierce  British  lion 
tramples  on  a  serpent;  beside  it  lie  shackles  and  a  broken  dagger.  Behind 
Justice  is  a  battlemented  wall,  which  ends  (r.)  to  show  the  Bellerophon  at 
anchor.  A  large  flag  forms  a  background  to  Napoleon's  head :  on  this  are  twin 
oval  shields,  one  with  the  Bourbon  fleur-de-lis,  the  other  with  the  arms  of 
Navarre,  'gueules  au  chaine  d'or,  pose  en  croix  sautoirc  et  orle'.  They  are  sur- 
mounted by  a  (French)  crown.  The  design  is  enclosed  by  lines  and  outside 
this  margin  hang  (1.  and  r.)  two  skeletons  in  profile,  the  skulls  inscribed  TV  and 
C  respectively. 

Above  the  design :  As  to  those  Monsters  who  under  the  title  of  Sovereigns 
render  themselves  the  scourge  &  horror  of  the  human  race  they  are  savage  beasts 
whom  every  brave  Man  may  justly  exterminate  from  the  face  of  the  earth. 

See  Vattels  Lazv  of  Nations 

Below  the  design :  The  Allies  had  magnanimously  given  to  France  liberty,  & 
to  Buonaparte  life  &  the  Island  of  Elba.  They  had  given  them  a  constitution 
far  better  than  any  they  had  ever  known  from  the  cobweb  inventions  &  ingenious 
devices  of  the  Jacobins  &  democrats  who  had  alternately  exercised  their  talents 
in  that  political  manufacture  till  the  Goddess  of  liberty  was  turjied  to  fury,  &  the 
Goddess  of  reason  to  frenzy,   see  M"  Grattan's  speech  .  .  .  May  25,  18 15. 

By  thus  breaking  the  convention  which  established  him  in  the  Island  of  Elba, 

565 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Buonaparte  destroys  the  only  legal  title  on  which  his  existense  depended:  by 
appearing  again  in  France  with  projects  of  confusion  &  disorder,  he  has  deprived 
himself  of  the  protection  of  law,  ....  The  Powers  consequently  declare  that 
Napoleon  Buonaparte  has  placed  himself  without  the  pale  of  civil  &  social  rela- 
tions, &  that  as  an  enemy  &  disturber  of  the  tranquility  [sic]  of  the  world  he 
has  rendered  himself  liable  to  public  vengeance.  Declaration  of  the  Allied  Powers 

13  March  181 5. 

To  the  Editor  of  the  Morning  Chronicle  \  [zvho  boasts  that  from  iyg2  to  the 
present  time  he  has  never  ceased  to  advocate  the  cause  of  the  Jacobins)  |  this  plate 
is  inscribed  by  his  \  very  humble  Serv'  \  The  Publisher. 

For  Napoleon's  surrender  see  No.  12579.  '^^^  skeleton  inscribed  C  is 
possibly  Caulaincourt,  probably  Cambaceres  (see  No.  12248),  who  returned 
to  office  during  the  Hundred  Days  and  was  afterwards  exiled  as  a  regicide. 
Grattan's  speech  is  incorrectly  quoted  (see  Pari.  Deb.  xxxi.  420  f.);  it  was 
made  against  his  own  party  in  the  important  debate  on  the  motion  by  which 
at  last  the  Government  were  able  to  commit  England  to  war.  The  Morning 
Chronicle  had  recently  published  documents  sent  to  it  by  Napoleon,  see 
No.  12540.  A  counter-blast  to  the  pro-Napoleon,  anti-war  attitude  of  the 
Opposition  which  was  expressed  in  an  extreme  form  by  Cobbett.  Cf.  No. 
12115,  &c. 
i5fXio^  in.  (pi.). 

12582-12589^ 
French  prints 

12582  ORIGINE  DE  L'ETOUFFOIR  IMPERIAL  [14  Aug.  1815] 

Engraving  (coloured  impression).  Bliicher  (1.)  and  Wellington  (r.),  facing 
each  other  in  profile,  clap  on  the  lid  of  a  large  cinder-pail,  from  which  the 
hands  and  agonized  head  of  Napoleon  emerge  on  the  r.  He  exclaims:  Ah 
messieurs  ne  m'etoujfe  pas  sauvez  moi  la  vie.  Bliicher  says  fiercely :  mon  cher 
ami  cet  homme  la  Respire  de  votre  cote.  Wellington,  serene  and  good-tempered, 
answ^ers:  Repose  [sic]  vous  sur  moi  mofi  ami  son  affaire  est  faite. 

A  satire  reflecting  the  situation  after  Napoleon's  surrender,  see  No.  12579. 
It  illustrates  the  desire  of  the  Prussians  for  vengeance,  and  their  suspicion 
of  British  clemency,  which  is  strikingly  expressed  in  Gneisenau's  letter  of 
27  June,  quoted  J.  H.  Rose,  Napoleon,  1934,  ii.  516. 

Listed  by  Broadley.   De  Vinck,  No.  9596.   Reproduced,  N.  Young,  Napo- 
leon in  exile  at  St.  Helena,  1915,  i.  260. 
S^Xiifin. 

12583  LE  JEU  DU  LAPIN. 

Se  vend  chez  Genty,  Rue  S^  Jacques,  N°  16. 
Depose  au  Bureau  des  Estampes. 

Engraving  (coloured  impression).  Wellington  (1.),  in  profile  to  the  r.,  throws 
rings  over  a  set  of  nine  vertical  sticks  arranged  on  a  square  board.  He  has 
just  thrown  a  ring  over  the  central  and  highest  stick,  saying,  Je  vais  le  mettre 
en  cage.  He  refers  to  the  prize  for  this  game  of  skill;  'le  lapin',  or  Napoleon 
in  a  round  basket,  who  watches,  asking  himself,  A  quel  sauce  me  metterons 
t'ils  [sic].  He  is  almost  spherical,  with  a  much  larger  head  and  bust  than 
Wellington.  A  young  woman  dressed  like  the  show  women  of  the  Paris  boule- 
vards stands  between  board  and  basket,  1.  hand  in  her  apron  pocket,  extending 

'  Arranged  before  the  authentic  dates  of  some  plates  were  ascertained  from  De 
Vinck.  See  also  Nos.  12595-12606,  12708-12712. 

566 


POLITICAL   SATIRES    1815 

her  r.  arm  to  Wellington;  she  says :  A  vous  le  Lapin.^  By  the  basket  lie  a  carrot 
and  cabbage,  food  for  the  rabbit. 

A  satire  on  the  surrender  of  Napoleon,  see  No.  12579. 

Broadley,  ii.  75  (reproduction).   De  Vinck,  No.  9594. 
8^Xi3f  in. 

12584  TENEZ  LE  BIEN. 

Engraving  (coloured  impression).  Wellington  (1.)  stands  over  Napoleon  who 
grovels  on  the  ground;  he  holds  him  by  the  r.  ear,  putting  his  1.  knee  on  his 
back,  and  threatening  him  with  his  sword.  Napoleon  supports  himself  on 
his  hands,  turning  his  head  to  look  up  at  his  captor;  he  weeps,  saying.  Encore 
unefots  ....  lachez  nioi.   Under  his  1.  hand  lies  the  hilt  of  his  broken  sword. 

See  No.  12579,  ^c.   Cf.  No.  12595. 

Broadley,  ii.  77,  79  (reproduction).    Hennin,  No.   13773.    Reproduced, 
N.  Young,  Napoleon  in  exile  at  St.  Helena,  i.  332. 
8fX7iin. 

12585  LE  MIROIR  DE  LA  V^RITg  OU  LE  TIGRE  ECR.'\SSE  [sic]. 

Se  vend  chez  Genty,  Rue  S'^  Jacques,  N°  14  [29  Aug.  1815] 

Depose  au  Bureau  des  Estarnpes. 

Engraving  (coloured  impression).  Bliicher  (1.)  and  Napoleon  (r.)  support  a 
heavy  pier-glass  in  an  upright  position.  Its  solid  base  rests  on  the  back  of 
the  prostrate  Napoleon,  from  whose  mouth  issues  a  label :  Sije  pouvais  encore 
me  sauver!  .  .  .  mais  non  c'est  fini  Nicolas  est  pris.  The  mirror,  which  towers 
above  the  head  of  its  supporters,  is  framed  by  pillars,  each  surmounted  by 
a  fleur-de-lis.  These  also  decorate  the  heavy  superstructure  which  supports 
a  trophy  of  two  oval  shields  with  the  arms  of  Bourbon  and  Navarre,  surmounted 
by  a  crown  as  in  No.  12581,  and  four  white  flags.  On  the  face  of  the  mirror  is 
a  large  Bourbon  crown,  and  a  lily  plant.  Bliicher  says:  Le  Diable  m'emporte 
s'il  en  rechappe.   Wellington  responds :  Pour  cette  fois  nous  en  repondons. 

A  satire  on  the  surrender  of  Napoleon,  see  No.   12579.    For  'Nicolas' 
see  No.  12256,  &c. 

Broadley,  ii.  77.   Hennin,  No.  13766.   De  Vinck,  No.  9670. 
9^X7iin. 

12586  BON  A  PART  OU  LE  JEU  DES  QUATRE  COINS 

[Gauthier.]  [5  Sept.  1815] 

Engraving  (coloured  impression).  A  French  print.  Napoleon  sits  in  the  centre 
in  profile  to  the  1.  on  a  large  chamber-pot;  he  wears  his  petit  chapeau,  grey 
great-coat,  and  spurred  jack-boots.  He  is  surrounded  at  each  corner  of  a 
fortified  space  by  a  representative  of  the  four  Allies.  In  the  foreground  (1.) 
Bliicher  leans  with  folded  arms  against  a  cannon  on  a  gun-carriage;  he  is 

smoking  a  pipe  with  a  long  curved  stem,  and  says:  ce  B a  beau  dire 

ce  71^ est  pas  la  de  la  Violette.  At  the  opposite  corner,  \^'^ellington,  more  alert, 
holding  his  sword,  says:  qui  conipte  sans  son  hote  compte  deux  fois.  The  other 
two  are  in  the  background.  The  Emperor  of  Austria  (1.)  points  at  Napoleon, 
saying,  Ton  cos  est  mauvais;  Alexander  (r.),  facing  him,  also  points,  saying, 
cette  foi  ci  tu  y  es  pour  tout  de  bon.  Above  the  head  of  each  a  flag  with  a  double- 
headed  (Austrian  and  Russian)  eagle  flies  from  adjacent  fortifications.  Napo- 
leon holds  a  sheaf  of  papers  in  his  1.  hand:  Contribution  Extraord[inaire]  de 

'  Unlike  the  modem  'rabbit'  as  the  inferior  player  of  any  game,  'lapin'  has  the 
occasional  meaning  of  'homme  rus6,  brave  et  r^solu'.   Littr^,  Diet. 

567 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

100  Millions;  Conscription  levee  \en\  nia\ssey,  impot  dou[ble];  he  says:  Apres 
avoir  ete  Maistre  des  4  coins  du  Globe  je  n'en  puis  trouver  un  pour  reposer  ma 
tete  [sic]. 

Probably  a  bitter  sequel  to  Le  Jeu  des  quatre  Coins  [puss  in  the  corner]  ou 
les  cinq  Freres,  1808  (in  B.M.) :  Napoleon  stands  on  the  globe,  making  Joseph, 
Jerome,  Louis,  and  Murat,  his  vassal-kings  at  the  four  corners,  change  places 
on  the  map  of  Europe.  For  'la  Violette'  see  No.  125 12,  &c.;  the  allusion  is 
probably  to  a  satire  on  the  Champ  de  Mai :  Serrement  de  nez  (Serment  de  Ney) 
(in  B.M.),  apparently  by  the  same  artist  as  this  print,  where  Ney,  kissing 
Napoleon's  posterior,  says  je  jure  que  fa  sent  la  violette.  For  conscription  see 
No.  12087,  &c. 

Broadley,  ii.  77.   De  Vinck,  No.  8143. 
7|Xioii-  in. 

12587  LES  MARIONETTES  DU  JOUR.  [i  June  1815] 
Engraving  (coloured  impression).  WelHngton  (1.),  standing  in  profile  to  the  r., 
works  three  little  marionettes  by  a  horizontal  cord  tied  round  his  jack-boots 
at  the  knee  and  attached  to  a  post  on  the  r.  The  cord  directs  the  movements 
of  three  puppets,  suspended  just  above  a  plank  on  one  end  of  which  Welhng- 
ton's  foot  rests.  These  are  (1.  to  r.),  the  King  of  Prussia,  the  Emperors  of 
Austria  and  Russia;  they  make  gestures  of  resignation  or  protest.  Wellington 
beats  a  drum  and  blows  a  fife.  Behind  him  (1.)  stands  Louis  XVIII,  immensely 
corpulent,  playing  a  double  bass.  He  says,  with  a  melancholy  frown  at 
Wellington's  back :  Donnez-nous  notre  pain  quotidien,  et  pardonnez  nous  nos 
offenses.  Beside  him  and  on  the  extreme  1.  is  a  plant  of  Bourbon  lilies  with 
broken  stalks.  On  the  r.,  beyond  the  puppets,  stands  the  Duchesse  d'Angou- 
leme.  She  wears  a  plumed  helmet,  a  corslet  over  a  long  tight-fitting  robe, 
and  holds  a  shallow  bowl  and  a  long  tilting-lance ;  to  it  are  tied  Bourbon 
orders,  the  decoration  du  Lis,  the  Saint-Esprit,  &c.  She  extends  her  r.  arm 
to  Wellington,  saying  with  a  melancholy  expression  Voila  notre  ressource. 

A  satire  on  the  reliance  of  Louis  XVIII,  while  in  Belgium,  on  foreign 
troops,  and  especially  on  Wellington,  for  his  restoration,  cf.  No.  12588. 

De  Vinck,  No.  9463. 
6|X9i|in. 

12588  IL  REVIENT  PLUS  PUISSANT  QUE  JAMAIS  PL  107.  0 

[Original,  10  May'  1815] 

Engraving  (coloured).  Reversed  copy  in  Jaime  of  a  French  print.  Louis  XVIII, 
more  powerful  (i.e.  more  obese)  than  ever,  is  carried  back  to  France  on  the 
muskets  of  the  Allies.  He  sits  in  profile  to  the  1.  in  a  chair  decorated  with 
fleurs-de-lis,  holding  out  a  large  extinguisher,  and  saying :  fra?icais  ralliez  vous 
a  Veteignoir.  The  chair  rests  on  a  little  platform  supported  on  spear-shafts 
and  the  butts  of  bayoneted  muskets.  In  front,  Wellington,  with  arms  stretched 
out  before  him,  and  the  Tsar  bend  under  the  burden;  behind  them  are  the 
King  of  Prussia  and,  on  the  extreme  r.,  the  Emperor  of  Austria,  who  seems 
to  support  less  of  the  weight  than  the  others.  Wellington  scatters  proclama- 
tions: papers  headed  Proclamation  Nation[al],  Proclamation  Francais,  Sec. 
Before  them  walks,  as  'eclaireur',  a  Cossack,  holding  up  a  lighted  candle,  and 
looking  over  his  shoulder  at  the  procession.   In  his  r.  hand  is  his  spear. 

Louis  XVIII,  who  had  accompanied  Wellington's  army  from  Belgium, 
returned  to  Paris  by  arrangement  between  the  Allied  authorities  and  Fouche, 

■  The  date  shows  that  the  interpretation  here  given  is  incorrect,   though  after 
Waterloo  the  plate  must  have  been  so  understood  by  contemporaries. 

568 


POLITICAL   SATIRES    1815 

who  informed  the  Chambers  on  7  July  that  'the  Sovereigns  had  engaged  to 
replace  Louis  XVIII  on  the  throne'.  For  the  dominating  position  of  Welling- 
ton cf.  No.  12587.  He  is  here  rightly  associated  with  Louis  XVIII's 
proclamation  from  Cambrai  (see  Lacour-Gayet,  Talleyrand,  iii.  18-22).  See 
No.  12609,  ^^-  The  extinguisher  was  used  as  a  symbol  in  French  caricature 
for  a  reactionary  policy,  the  extinction  of  enlightenment  and  liberty ;  though 
primarily  used  against  the  Bourbons,  who  were  'Grand  Masters  of  the  Royal 
Order  of  the  Extinguisher',  it  was  also  used  in  retaliation  against  Napoleon, 
who  was  'the  Great  Imperial  Extinguisher'.  See  Broadley,  ii.  97-9,  and  cf. 
No.  12120.  The  Cossack,  in  England  regarded  as  a  romantic  and  heroic  figure, 
cf.  No.  12040,  in  French  caricature  is  a  barbarian,  who,  according  to  Leon 
Gozlan,  'n'a  touche  le  coeur  d'aucune  classe';  see  Jaime,  Chacun  son  tour 
[pont  neuf  1815). 

Original,  listed  by  Broadley.    De  Vinck,  No.  9647.    Reproduced,  Bour- 
guignon,  ii.  301. 
5ix8|in.  B.M.L.  1266.  g.  5. 

12589  ACTE   ADDITIONEL   AUX    FOLIES    DU   H^ROS,    OU    LA 
CHUTE  DU  GRAND  PETIT  HOMME  [2  Sept.  18 15] 

Aquatint  (coloured  impression).  A  French  print.  Napoleon  (r.),  on  the  deck 
of  the  'Bellerophon',  approaches  three  tall  British  officers,  who  stand  together 
facing  him.  He  weeps,  handkerchief  in  hand,  and  says:  Capitain  la  grace  que 
je  vous  demande  c'est  la  vie  sauve.  The  captain  (Maitland)  says:  c'est  a  quoi 
nous  nous  attendions.  The  next  officer:  Uon  voit  bien  quil  n'est  pas  Franfais; 
the  third:  Goddam  quil  est  petit.  Napoleon,  in  his  gesture  of  supplication,  has 
dropped  his  hat.  Large  documents  project  from  his  coat-tail  pockets:  La 
Maison  d'Autriche  a  cesser  [sic]  de  regner  [in  Italy] ;  la  dinastie  Napoleoniene 
a  regner  et  regneras  [sic]  sur  les  Espagnes;  Je  suis  le  dieu  de  la  Guerre.  There  is 
a  background  of  sea  with  a  rocky  promontory'  (r.). 

For  Napoleon's  surrender  see  No.  12579;  ^^^  the  Acte  Additionnel,  No. 
12546,  &c.  One  of  many  post-Waterloo  French  prints  accusing  Napoleon  of 
cowardice,  see  No.  12564,  &c. 

Broadley,  ii.  76  (reproduction).    De  Vinck,  No.  9737.    A  copy,  with  the 
same  inscriptions,  is  reproduced,  Grand-Carteret,  Napoleon,  No.  352,  as  an 
English  pi. 
7|Xii|in. 

12590  THE  BARONET'S  BARGAIN  A  SCENE  AT  N E— 1815. 

(Nobody)  fecit 

Engraving  (coloured  impression).  A  scene  outside  a  large  tavern  in  Newcastle- 
under-Lyme,  with  a  hanging  sign  of  a  cock;  part  of  the  facade  forms  the 
background.  Electors  stand  outside,  crowd  the  doorway,  and  look  from  the 
windows  flanking  the  door,  the  latter  wearing  favours  in  their  hats.  A 
fashionably  dressed  man,  evidently  Sir  John  Fenton  Boughey,  in  riding- 
dress,  addresses  those  outside,  saying  with  extended  hands:  Gentlemen  take 
the  iooo£  it  is  a  liberal  Offer,  and  then  you  zcill  all  belong  to  me.  At  his  r.  hand 
stands  a  man  similarly  dressed,  who  bows,  hat  in  hand,  pointing  to  Sir  John: 
All  I  can  say  is,  Tis  a  very  fine  thing  to  be  Father  in  Lazv  to  a  very  magnificent 
three  taiVd  Bashaw.  Next  him  (1.),  and  in  front  of  the  tavern  door,  a  man 
stands  disconsolately  with  folded  arms.  He  says,  looking  to  the  1.,  Why  the 
Sir  Johns  are  too  hard  upon  us  but  we  must  close  with  them  for  2ve  are  forced  to 
sell.  At  his  feet  is  a  cask  inscribed  Aqua  ...  on  which  stands  a  frothing 
tankard  concealing  the  rest  of  the  word.   A  bandy-legged  fellow  says:  /  hope 

569 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

he  may  succeed  for  he  declares  every  thing  shall  be  set  straight.  A  ( ?)  postilion 
says:  To  be  sure  I  have  driven  joo  miles  but  thank  God  we  have  got  a 
Candidate  at  last.  A  man  dressed  in  black,  with  lank  hair  and  clerical  bands, 
advances  from  the  extreme  1.,  saying:  If  swearing  is  required  I  am  ready  to 
swear  any  thing.  On  the  r.  and  next  Boughey  is  a  young  man  in  riding-dress, 
flourishing  a  whip,  in  his  pocket  is  a  paper  inscribed  Law;  he  says:  If  zeal 
&  energy  can  ensure  success,  it  is  ours.  On  the  extreme  r.  a  grinning  fellow 
points  at  Boughey,  saying,  I  told  you  that  one  seat  was  not  large  enough  for  him. 
Over  the  door  of  the  tavern :  W  Weight.  Dealer  in  Wine  Spirituous  Liquors  & 
Seats  in  Parliaments. 

Sir  John  Fenton  Boughey  (1784-1823)  was  returned  for  Newcastle-under- 
Lyme  in  1812,  the  senior  member  being  Lord  Gower.  On  22  July  1815, 
Gower  having  vacated  his  seat  in  order  to  sit  for  Staffordshire,  Sir  John 
Chetwode,  Boughey 's  father-in-law,  was  returned  for  the  borough.  The  word 
on  the  basket  indicates  Boughey 's  seat,  Aqualate  Hall.  The  electors  were  the 
mayor,  burgesses,  and  resident  freemen  who  in  1820,  according  to  the  Black 
Book,  were  600.  The  anonymous  artist  is  indicated  by  a  tiny  figure,  with 
head  and  legs  but  no  body,  wildly  capering  and  waving  his  hat;  for  this  con- 
vention see  No.  12 198,  &c. 
7|-Xio|in. 

12591    A    FINANCIAL    SURVEY    OF    CUMBERLAND    OR    THE 
BEGGARS  PETITION. 

G.  Cruikshank  fed . 

Pub'^  August  i'^  1815  by  W.  N.  Jones  N°  5  Newgate  Street 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  x,  before  p.  84.  The 
Duke  of  Cumberland  is  knocked  off  his  feet  by  a  large  cannon-ball  inscribed 
Casting  Vote  which  shatters  the  seat  of  his  trousers.  This  is  fired  at  very  close 
range  from  a  mortar  on  the  door-step  of  the  House  of  Commons  (1.)  by  Lord 
Cochrane.  Cumberland  throws  out  his  arms,  exclaiming  Pity  the  Sorrows 
of  a  poor  young  Man.  He  wears  hussar  uniform  with  a  fur-bordered  cape; 
his  cap  is  decorated  by  spreading  antlers.  From  his  hand  falls  a  torn  paper: 
Petition  of  the  D —  of  C — for  6000  P  An'".  He  has  also  dropped  two  broken 
crutches  inscribed  respectively  My  Services  and  My  Merits.  Beside  these  lie 
papers:  Col.  of  the  Huzzars  3000;  Pension  £18,000;  .  .  .  800.  The  mouth 
of  the  mortar  is  decorated  with  the  wig  and  hat  of  the  Speaker,  so  that  the 
blast  seems  to  come  from  his  angry  face.  Cochrane  puts  a  match  to  the  touch- 
hole,  while  he  extends  his  1.  arm  rhetorically,  saying.  No,  No,  we'll  have  no 
Petitions  here — do  you  thint  zve  are  not  up  to  your  hoaxing,  Cadging  tricks?  you 
Vagrant  do  you  think  we'll  beleive  all  you  say  or  szvear?!  do  you  think  that  your 
services  or  your  merits  will  do  you  any  good  here?  if  you  do  I  can  tell  you  from 
experiance  that  you  are.  Cursedly  Mistaken  so  set  off  &  don't  shew  your  ugly 
face  here  again,  if  you  do:  Shiver  my  timbers  if  I  dont  send  you  to  Ellenborough 
Castle  [the  King's  Bench  Prison,  see  No.  12523];  Aye  Aye  My  boy  I'll  clap 
you  in  the  grated  chamber  where  there 's  neither  door  window  onr  [sic]  fire  place!! 
I'll  put  you  in  the  Stocks!  I'll  put  you  in  the  Pillory:!  I'll  fine  you  I'll,  I'll 
play  hell  with  you :!! — D —  me  I  think  I  have  come  fust  in  time  to  give  you  a  Shot 
between  wind  &  water!  One  leaf  of  the  door  of  S^  Stephens  is  open  behind 
Cochrane,  showing  members  crov/ding  to  look  out.  Sir  F.  Burdett  in  the  fore- 
ground. Within,  a  section  of  the  gallery  with  spectators  is  seen  in  shadow. 
Beside  the  Duke  on  the  r.,  but  obliterated  with  heavy  water-colour  on  the 
impression  described  (and  on  most  impressions),  stands  the  ghost  of  his  valet, 
Sellis,  bare-legged,  in  his  shirt,  and  with  his  throat  cut.  His  arms  are  extended, 

570 


POLITICAL   SATIRES    1815 

and  in  his  r.  hand  is  a  gigantic  razor;  he  says :  Is  this  a  razor  which  I  see  before 
me.   Thou  can'st  not  say,  I  did  it. 

In  the  background  (r.),  on  a  grass  slope  behind  SelHs,  a  fat  and  meretricious- 
looking  woman  holding  a  banner  inscribed  PSALMS  looks  alluringly  up  at 
a  file  of  three  grotesque  and  hideous  Grenadiers  with  enormous  pigtails  who 
stand  in  profile  to  the  1.,  holding  their  muskets  at  attention.  She  says:  Ah! 
who  could  resist  such  Lovers  as  these  happy  is  the  woman  zchose  husband  is  a 
Grenadier.  A  little  boy,  wearing  Grenadier  uniform,  clutches  her  petticoats, 
brandishing  a  rattle ;  he  sings :  My  daddy  is  a  gretmdier  &  he  so  pleased  my 
Mammy  O,  with  his  long  szcoard  and  broad  swoard  and  his  bayonet  so  handy  'O. 

A  satire  on  the  defeat  by  one  vote  on  3  July  of  the  Bill  for  a  grant  of  ;(^6,ooo 
a  year  to  the  Duke  of  Cumberland  on  his  marriage  (29  May)  to  the  Princess 
of  Solms-  or  Salms-Braunfels,  who,  as  the  widow  of  Prince  Frederick  of 
Prussia,  had  recently  jilted  the  Duke  of  Cambridge,  and  whose  reputation 
was  not  good,  for  which  reasons  (and  perhaps  others)  the  Queen  refused  to 
receive  her.  She  had  children  by  both  her  former  husbands.  On  3  July  Lord 
Cochrane  again  took  his  seat  after  his  release  from  the  King's  Bench  Prison 
and  re-election  for  Westminster,  see  No.  125 14.  He  voted  against  the  Bill, 
thus  supplying  the  majority  of  one ;  his  words  are  an  allusion  to  his  own  recent 
misfortunes.  The  grant  was  not  opposed  on  party  grounds,  but  (allegedly) 
on  the  Queen's  opposition  to  the  marriage,  on  the  Duke's  intention  of  residing 
outside  England,  and  on  the  Duchess's  lack  of  fortune.  The  chief  motive  was 
probably  the  extreme  unpopularity  of  the  Duke,  who  was  still  popularly 
believed  to  have  murdered  his  valet,  as  is  implied  in  the  obliterated  part  of 
the  print,  see  No.  11561,  &c.  H.  G.  Bennet  said  that  'whatever  respect  he 
felt  for  the  rest  of  the  Royal  family  did  not  extend  to  the  Duke  of  Cumberland 
[Hear,  Hear!]'.  Pari.  Deb.  xxxi.  1026.  See  ibid.  1041-9,  1074-82;  Examiner, 
16  July  1815;  Corr.  of  George  IV,  1938,  ii.  64  f.,  68,  76-9,  88-91,  93-104, 
1 10-17;  Fulton,  Royal  Dukes,  1933,  pp.  213-22.  There  is  no  allusion  to  the 
subject  of  the  print  in  the  Scourge.   See  also  Nos.  12700,  12793,  12987. 

Reid,  No.  501.    Cohn,  No.  732.    Layard,  pp.  59-69  (reproduction  of  the 
uncoloured  (without  obliteration)  and  coloured  impressions). 
8^X  i2|  in. 

12592  BUONAPARTE  ON  THE   17TH  qF  JUNE 

BUONAPARTE  ON  THE   17™  OF  JULY— 1815 

G  Cruikshank.  fecit 

Pub'^  by  S.  Knight  Sweetings  Alley  Roy^  Exchange  August  1815 

Engraving  (coloured  impression).  Two  designs  placed  side  by  side,  [i] 
Napoleon  straddles  on  a  stone  platform  or  jetty  at  the  edge  of  the  sea,  flourish- 
ing his  sabre  and  clenching  his  fist.  He  shouts  defiance  to  John  Bull  who  sits 
smoking  on  the  opposite  side  of  the  Channel :  Ha!  ha!  you  Bull  beast  you 
Blackguard  Islander,  you  see  Fm  come  back  again  &  now  you  shall  see  what 
I  will  do  zvith  you  you  wretch!  you  thought  I  was  done  over  did  you?!  you  thought 
I  was  going  to  stay  at  Elba?  D — n  all  Elbas  &  Abdication-:  Englishmen  &  their 
Allies — I'll  play  Hell  zvith  them  all.  Beside  Napoleon's  platform  are  chain- 
shot,  a  bundle  of  Rockets,  a  large  bottle  labelled  Poison,  a  cask  of  Pozcder;  the 
heads  of  two  soldiers  with  an  imperial  eagle  appear  behind  the  platform  (r). 
A  British  ship  is  anchored  in  the  Channel,  another  is  close  in  shore. 

John  Bull,  a  fat  'cit',  sits  in  an  arm-chair  on  the  top  of  a  low  cliff  smoking 
a  long  pipe  and  emitting  a  blast  of  smoke,  inscribed :  You  may  be  D — d  Fll 
make  a  Tobacco  Stopper  of  you.  This  reaches  across  the  Channel  to  Napoleon. 
He  wears  a  cocked  hat  and  knee-breeches.    Beside  him  is  a  table  on  which 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

are  a  foaming  tankard  and  a  tobacco-box;  a  bludgeon  inscribed  Oak  lies  at 
his  feet.  Behind  him  is  a  corner  of  a  fortress  bristling  with  guns  and  flying 
an  Ensign  flag.  Two  sentries  stand  on  guard.  In  the  background  where  the 
sea  widens  is  the  island  of  Elba. 

[2]  Napoleon,  kneeling  in  the  bows  of  a  rowing  boat,  the  Bellerophon,  holds 
out  his  hat  in  humble  supplication  to  John  Bull,  who  stands  on  the  shore; 
he  kneels  beside  papers  inscribed  Petetion,  Letters  to  the  Princ  Regent.  He 
says :  O!  good  M^  Bull  I  wish  you  to  know  \ ,  [Although  you  are  my  greatest  foe)  \ 
That  my  Career  is  at  an  end:  \  And  I  wish  you  now  to  stand  my  Friend  \  For 
tho  at  the  Battle  of  Waterloo,  \  I  was  by  you  beat  black  &  blue  \  Yet  you  see 
I  wish  to  live  with  you  \  For  Fm  sure  what  is  said  of  your  goodness  is  true  \  And 
now  if  in  England  you'll  let  me  remain  \  I  ne'er  will  be  guilty  of  bad  Tricks  again. 
John  Bull  stands  with  one  hand  resting  on  the  gnarled  head  of  his  club,  Oak, 
which  resembles  the  head  of  a  lion.  He  wears  spectacles,  a  round  hat,  flowered 
waistcoat,  and  top-boots;  his  1.  arm  is  akimbo,  and  he  answers  with  a  stern 
frown :  Let  me  see,  first  of  all  you  sprung  from  the  Island  of  Corsica — and  when 
you  was  kick'd  out  of  France  &  went  to  the  Island  of  Elba  you  made  another 
Spring  into  France  again — And  now  when  you  are  kick'd  out  of  France  a  second 
time  you  want  to  come  &  live  on  my  Island  but  it  won't  do  Master  Boney — 
you'll  be  making  another  Spring  into  France  again  I  suppose.  So  I  tell  you  what 
I'll  send  you  to  the  Island  of  5'  Helena  &  we'll  see  what  sort  of  a  Spring  you'll 
make  then.  In  the  background  is  a  promontory  faintly  inscribed  Franc[e]. 
On  this  a  group  of  beribboned  frogs  cluster  in  consultation  round  a  tricolour 
flag.  On  the  horizon  are  (1.)  a  promontory  inscribed  Port  Jackson  and  (r.)  a 
rocky  island:  S^  Helena. 

The  first  of  the  St.  Helena  prints.  For  Napoleon's  surrender  see  No. 
12579,  &c.  The  title  is  dated  to  make  Napoleon's  arrival  in  English  waters 
exactly  one  month  after  the  eve  of  Waterloo :  the  Bellerophon  left  Basque  Roads 
on  16  July,  reached  Ushant  on  the  23rd,  and  anchored  off  Torbay  on  the  24th. 
Napoleon's  famous  letter  to  the  Regent  (facsimile,  Corr.  of  George  IV,  1938, 
ii,  frontispiece),  asking  for  hospitality,  and  comparing  himself  to  Themistocles, 
was  published  in  the  English  and  French  papers,  see  No.  12608.  St.  Helena 
was  at  once  decided  on;  Maitland  was  first  informed  of  the  destination  on 
31  July,  though  rumours  had  previously  been  numerous  and  confident.  Lord 
Keith  and  Sir  Henry  Bunbury  announced  the  news  on  the  same  day  to 
Napoleon,  who  made  a  speech  (afterwards  published)  declaring  he  had  come 
voluntarily  to  England  to  claim  the  rights  of  hospitality.  See  J.  H.  Rose, 
Napoleonic  Studies,  1904,  pp.  305  flF.;  N.  Young,  Napoleon  in  exile  at  St. 
Helena,  1915,  i.  52  ff.;  C.  G.  Robertson,  'Great  Britain  and  Napoleon 
1814-15',  History,  Mar.  1944.  Port  Jackson,  the  convict  station  in  New 
South  Wales,  connotes  penal  transportation,  cf.  No.  12580.  For  the  exile  to 
St.  Helena  see  also  Nos.  12565,  12593,  ^2594,  12597,  12598,  12599,  12600, 
12601,  12602,  12603,  12604,  12605,  12608,  12611,  &c.,  12612,  12613,  12708, 
12709,  12710,  12711,  12712,  12868,  12903. 

Reid,  No.  499.   Cohn,  No.  966.   Broadley,  ii.  4-6. 
Each  design,  8|x6-^  in.   PI.,  9|xi3i|  in. 

12593  BONEY'S  MEDITATIONS  ON  THE  ISLAND  OF  ST  HELENA 
—OR— THE  DEVIL  ADDRESSING  THE  SUN.   Paradise  Lost  Book  IV. 

G  H  [Humphrey]  inv'^     G  Cruikshank  fed 
Pub^  August  181 5  by  H.  Humphrey  S'  James's  S' 

Engraving  (coloured  impression).  An  adaptation  of  Gillray's  Gloria  Mundi, 
or— The  Devil  addressing  the  Sun,  No.  6012  (1782):  Napoleon  (1.)  takes  the 

572 


POLITICAL   SATIRES    1815 

place  of  Fox,  the  Regent  that  of  Shelburne.  Napoleon  as  the  Devil  has  horns 
(tipped  to  make  them  harmless)  projecting  through  his  cocked  hat  (as  in 
No.  6012),  he  has  the  tattered  remnants  of  (feathered)  wings ;  his  legs  terminate 
in  deeply  cloven  hoofs,  which  rest  on  the  two  rocky  cliffs  of  St.  Helena  (taking 
the  place  of  Fox's  roulette  table).  He  wears  ragged  uniform,  and  clutches 
round  him  like  a  scarf  a  tricolour  flag,  blown  by  the  wind.  His  wrists  are 
crossed  on  his  breast.  The  sun  in  the  upper  r.  corner  encloses  a  portrait-head 
of  the  Regent,  and  is  topped  by  his  motto  and  feathers.  The  rays  from  it 
extend  to  the  dark  clouds  surrounding  Napoleon.  In  the  centre  of  each  ray 
a  name  is  inscribed:  Alexander,  Fred''  William,  Francis,  William  i^'  of  Orange, 
Wellington  [in  larger  letters  than  the  other  names],  Blucher,  Hill,  Beresford, 
Anglesea}  Napoleon,  looking  up  with  a  despairing  scowl,  exclaims:  To  thee 
I  call —  I  But  with  no  friendly  voice,  &  add  \  thy  name — G — P — R'l.  to  tell 
thee  I  how  I  hate  thy  beams,  that  bring  to  |  my  remejnbrance  from  what  state  \ 
I  fell  &c.  These  words  are  inscribed  on  swirling  flames  which  rise  from 
Napoleon's  mouth.  Between  the  two  clifl^^s  on  which  Napoleon  stands  is  a  bay 
filled  with  a  closely  built  town  on  the  coast,  which  is  backed  by  steep  moun- 
tains.  The  sea  forms  the  base  of  the  design. 

For  the  decision  to  send  Napoleon  to  St.  Helena  see  No.  12592,  and  for 
his  appeal  to  the  Regent,  No.  12608.  Hill  and  Anglesea  were  heroes  of 
Waterloo;  Beresford's  name  connotes  the  Peninsular  War,  see  No.  11736. 
The  landscape  resembles  that  of  St.  Helena,  the  town  corresponding  to  (the 
much  smaller)  Jamestown,  in  the  aquatint  after  Marryat  (reproduced, 
N.  Young,  op.  cit.,  i.  88).  The  most  famous  of  Cruikshank's  Napoleon  plates. 
The  pi.  was  instanced  by  Hone  at  his  trial  for  blasphemy  in  parodying  the 
Catechism  to  show  that  the  parody  did  not  ridicule  Milton,  but  Bonaparte. 
First  Trial,  18 17,  p.  39. 

Broadley,  ii.  6  f.,   10  (reproduction).    Reid,  No.  500.    Cohn,   No.  944. 
Reproduced,  N.  Young,  Napoleon  in  exile  at  St.  Helena,  i.  340. 
12^X9!  in.    With  border,  i3J|x  10^  in. 

12594  THE  EX-EMPEROR  IN  A  BOTTLE. 

London.  Pub'^  by  J.  Jetikins,  48  Strand.  August  23"'  1815. 

Engraving.  Napoleon  stands  in  a  bottle  looking  to  the  r.,  his  r.  hand  thrust 
under  his  waistcoat,  as  in  Isabey's  Malmaison  portrait.  He  wears  orders  and 
ribbon,  but  no  hat  or  sword.  On  the  r.  stand  closely  grouped  the  allied  sove- 
reigns, on  the  1.  the  generals.  The  Regent  is  the  most  conspicuous  figure, 
holding  up  a  tablet  inscribed  Martial  Achievements,  on  which  is  a  cannon.  He 
wears  ornate  hussar  uniform.  The  others  are  (1.  to  r.)  Francis  I,  standing  be- 
hind the  others,  Alexander,  and  Frederick  William,  his  head  in  profile  to  the  1. 
All  are  in  uniform.  In  the  front  of  tiiem  Louis  XVIII  kneels  in  profile  to  the 
1.,  with  clasped  hands,  gazing  up  at  the  Regent's  tablet.  The  most  prominent 
general  is  Wellington,  holding  his  sword  and  cocked  hat;  he  wears  two 
ribbons  and  is  covered  with  orders,  among  which  the  collar  and  George  of 
the  Garter  and  the  Golden  Fleece  are  conspicuous.  Behind  him  (1.  to  r.)  are 
Platoff  and  Blucher,  both  much  decorated,  and  Schwarzenberg  who  is  partly 
behind  the  bottle.  Not  a  caricature;  the  heads  are  stippled  portraits.  Below 
the  title : 

Ambitions  dread  career  at  letigth  is  o'er. 

And  weeping  Europe  hopes  for  peace  once  more  ; 

'  Broadley  adds  Ticton':  final  letters  of  a  name  appear  on  the  extreme  r.,  which 
might  be  interpreted  as  'ton'. 

573 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Sovereigns  in  arms,  at  length  the  world  have  free'd, 
And  Britai?i's  warlike  Som  no  more  shall  bleed; 
The  great  Napoleon  now  resigns  his  sway, 
And  in  a  bottle  seaVd  is  borne  away. 

England's  great  Prince,  whom  Europe  does  confess 
The  potent  friend  of  Freedom  in  distress. 
With  ALLIES  brave,  to  the  world  impartial, 
SeaVd  up  their  foe  with  achievements  martial*, 
That  he  no  more  disturb  the  tranquil  World 
Nor  be  again  his  bloody  flag  unfurl' d. 

'Twas  Alexander  great,  of  generous  mind. 
With  zealous  Frederick,  who  to  peace  inclined. 
Resolved  with  Francis,  in  propitious  hour. 
To  free  old  Gallia  from  the  Despot's  power. 
Her  tyrannic  Lord  from  rule  is  driven. 
And  grateful  Louis  offers  thanks  to  Heaven. 

The  MARTIAL  HEROES  ncxt  a  tribute  claim: 
First  Wellington,  immortal  is  his  fame  ; 
And  BlUcher,  who,  for  valour  loftg  renown' d, 
Compell'd  the  Tyrant's  legions  to  give  ground; 
The  cautious  Swartzenburg,  of  wise  delays. 
And  the  brave  Platoff,  ask  their  share  of  praise. 

*THE  MARTIAL  ACHIEVEMENTS  OF  GREAT  BRITAIN  &  HER  ALLIES,  a  Splendid 

graphical  Work  ...  [to  be  published  in  thirteen  numbers,  .  .  .  each  number 
£i.  I.  o  to  Subscribers,  ^(^i.  ii.  6  to  non-subscribers]. 

Apparently  an  advertisement  of  the  well-known  book  containing  52  coloured 
aquatints  after  W.  Heath.  For  the  decision  to  send  Napoleon  to  St.  Helena 
see  No.  12592.  A  Convention  was  arranged,  signed  at  Paris  on  2  Aug.,  binding 
the  other  Powers  to  send  Commissioners  as  witnesses  to  his  custody  by  the 
British. 

Broadley,  i.  388  f.   De  Vinck,  No.  9587. 
lof  X12I  in.  (pi.). 


12595-12606^ 

French  prints 

12595  EN  FIN  BONAPARTE  MET  A  EXECUTION  SON  PR0J£T 
DE  DESCENTE  EN  ANGLETERRE  Depose  [2  Sept.  1815]. 

Engraving  (coloured  impression).  A  scene  on  the  shore.  Wellington,  with 
drawn  sword,  drives  Napoleon  before  him,  pointing  out  with  extended  fore- 
finger the  route  his  captive  is  to  take.  Behind  him  are  the  bows  of  a  small 
boat  from  which  Napoleon  has  at  last  landed  in  England.  His  wrists  are 
chained,  his  arms  folded,  and  he  looks  on  the  ground  with  a  stare  of  anguish. 

For  Napoleon's  captivity  in   British  waters,   24  July-8   Aug.,   see  No. 
12592,  &c.   Cf.  No.  12610.   Probably  by  the  same  artist  as  No.  12584. 

Broadley,  ii.  77  f.,  81  (reproduction).   De  Vinck,  No.  9751. 
9Tlx6i|in. 

'  Arranged  before  authentic  dates  were  ascertained  from  De  Vinck. 

574 


POLITICAL    SATIRES    1815 

12596  LE    COUP   DE   PEIGNE,   OU    LA   TOILETTE   AVANT   LE 
DEPART  POUR  STE  HELfiNE. 

A  Paris  chez  tous  les  M'^^  de  Nouveautes  Depose  au  Bureau  des  Estampes. 

[5  Sept.  18 1 5] 

Engraving  (coloured  impression).  Wellington  (1.)  stands  over  Napoleon  who 
is  seated  in  profile  to  the  1.  on  a  rock  by  the  sea,  his  r.  hand  under  his  waist- 
coat, his  hat  in  his  1.  hand.  Wellington  holds  a  pair  of  curling-tongs,  and 
puts  his  1.  arm  across  Napoleon's  shoulders.  He  asks:  Uon  tedisait  necoeffe, 
cependant  tu  viens  encore  de  recevoir  unfameux  coup  de  peigne?  Napoleon,  who 
stares  before  him  with  fixed  melancholy,  answers:  J' en  conviens ;  je  suis  un 

homme  rase!! mais  apres  in'  avoir  fait  la  barbe,  tout  defrise  que  je  suis 

je  ne  veux  pas  etre  passe  aufer.  His  hair  is  twisted  in  curling-papers,  inscribed 
Bulletin  de  and  Bulletin.   Near  the  horizon  (r.)  is  a  small  vessel. 

See  No.  12592,  &c.  For  Napoleon's  bulletins  see  No.  11920,  &c.;  these 
descriptions  of  victories  are  now  good  only  for  curling-papers.  For  Welling- 
ton as  Napoleon's  barber  cf.  No.  12575.  The  title  is  a  punning  one,  'coup 
de  peigne'  meaning  (i)  a  rapid  use  of  the  comb  in  the  hair,  and  (2)  a  combat 
in  which  someone  is  seized  by  the  hair,  i.e.  defeated.   Littre,  Diet. 

Broadley,  ii.  74  f.   Hennin,  No.  13794.   ^^  Vinck,  No.  9752. 
7|x6|in. 

12597  DfiSESPOIR  DE  MME  BERTR.AND.  [21  Sept.  1815] 

Engraving  (coloured  impression).  Mme  Bertrand,  springing  from  a  large 
aperture  or  window  in  the  Seller ophon,  is  about  to  reach  the  water,  but  a 
French  officer  grasps  one  of  her  legs ;  Napoleon  looks  from  the  window  with 
seeming  indifi^erence.  Her  dress  flies  up,  leaving  her  posterior  bare.  The  ship 
is  oddly  drawn  so  that  its  side  and  stern  appear  to  be  in  one  plane.  The  lower 
margin,  with  Gazette  de  France,  10  aout  181^,  has  been  cropped.  This  refers 
to  a  translation  of  a  letter  of  a  British  officer  in  the  Bellerophon  of  2  Aug. 
relating  the  incident. 

Mme  Bertrand  made  a  real  or  feigned  attempt  to  drown  herself  on  learning 
that  Napoleon's  destination  was  St.  Helena,  see  No.  12592;  she  was  seized 
by  her  husband  (Montholon  according  to  the  account  illustrated),  Mme 
Montholon  being  present. 

Broadley,  ii.  78.  De  Vinck,  No.  9740.  Reproduced,  Bourguignon,  ii.  318. 
8^x6  in.  'Caricatures',  vii.  117. 

12598  CHUTE  DU  TYRAN. 

Depose  a  la  Direction.  [24  Aug.  1815] 

Engraving  (coloured  impression).  Napoleon  is  about  to  leap  from  a  rock  in 
the  foreground  (r.)  to  a  distant  rocky  island,  He  S'^  Helene.  His  agonized 
profile  expresses  terror,  his  arms  are  above  his  head.  His  1.  foot  is  on  the 
rock,  his  r.  leg,  bent  at  the  knee,  is  raised  high.  On  the  rock  beside  his  foot 
is  a  small  wooden  cross  round  which  flutters  a  scroll  inscribed  Mont  S'  Jean. 
Against  it  are  his  crown,  encircled  by  the  ribbon  of  the  Legion  of  Honour, 
the  Hand  of  Justice  (see  No.  12247),  his  (sheathed)  sword,  and  (under  his 
foot)  a  laurel  branch.  On  St.  Helena  three  tiny  men,  dressed  only  in  breeches, 
flee  terrified,  looking  back  at  Napoleon.   On  the  sea  are  two  small  vessels. 

For  Waterloo  see  No.  12557,  ^c.;  for  St.  Helena,  No.  12592,  &c. 

De  Vinck,  No.  9753. 
9fX7|in. 

575 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 
12599  LE  DERNIER  ELAN  D'UN  GRAND  HOMME.     [29  Aug.  181 5] 

Engraving  (coloured  impression).  Napoleon  takes  a  flying  stride  from  the 
deck  of  Le  Bellerophon  (r.)  to  that  of  Le  Nortomberlan,  over  the  head  of 
Bertrand  who  stands  on  a  curiously  drawn  ship's  barge  inscribed  Le  Connant 
which  is  between  the  two  ships  and  in  the  trough  of  odd,  conical  waves. 
Bertrand  holds  up  a  ladder  towards  his  Emperor,  saying,  attendez  done  Cire 
(the  capital  'C  having  the  tail  of  an  's').  Napoleon  leaps  with  great  determina- 
tion, saying,  Laisse-moi  Bertrand;  he  holds  up  in  his  r.  hand  a  baton,  an  eagle 
with  a  tricolour  flag  is  in  his  1.  hand.  He  wears  his  petit  chapeau,  with  the 
dress  of  a  stage  monarch,  perhaps  representing  his  coronation  robes :  slashed 
tunic  and  ruff,  with  a  sash;  breeches  with  bows  at  the  knee,  and  slippers 
trimmed  with  bows,  a  short  cloak  decorated  with  bees  flies  out  from  his 
shoulders.  Bertrand  wears  a  plumed  cocked  hat  with  the  dress  of  a  clown: 
loose  tunic  and  breeches,  patterned  in  large  checks;  a  small  ruff  and  big 
buttons.  Over  his  arm  hangs  a  basket  containing  a  Hand  of  Justice  (see 
No.  12247),  a  spiky  crown;  an  eagle  is  tied  by  the  feet  to  the  handle  of  the 
basket.  The  tilt  covering  one  end  of  the  barge  is  covered  with  material 
patterned  with  bees.  Only  the  ends  of  the  poops  of  the  two  vessels  are  within 
the  design;  they  bristle  with  guns.  Like  the  costumes  and  the  oddly  drawn 
sea  they  suggest  a  stage  scene. 

Napoleon,  with  those  who  were  to  accompany  him  to  St.  Helena,  see 
No.  12592,  &c.,  was  transferred  on  7  Aug.  in  the  barge  of  the  Tonnant  from 
the  Bellerophon  to  the  Northumberland.  Bertrand  left  the  barge  first,  followed 
by  Napoleon,  'mounting  the  side  of  the  ship  with  the  activity  of  a  seaman'. 
Examiner,  13  Aug.  1815.  'Cire'  for  'sire'  may  be  a  punning  allusion  to  the 
melting  away  of  Napoleon's  empire,  see  No.  12606;  but  the  same  artist  writes 
'ce'  for  'se'  in  No.  12604. 

Broadley,  ii.  80.   De  Vinck,  No.  9750.  Another  version  (reversed),  repro- 
duced Bourguignon,  ii.  315. 
9iX7iin. 

2599  A  A  reversed  copy  (coloured)  having  the  same  inscriptions.   Jaime, 
PL  116.  O. 
8ix6|in.  B.M.L.,  1266.  g.  5. 


12600  LA  GARDE  MEURT  ET  NE  SE  REND  PAS,  MAIS  BUONA- 
PARTE SE  REND  ET  NE  MEURT  PAS. 

[27  Sept.  1815.] 

Engraving  (coloured  impression).  Napoleon  on  the  after-deck  of  a  ship  (the 
Bellerophon),  surrenders  to  a  British  military  officer,  apparently  Wellington, 
seated  at  a  table  covered  with  a  green  cloth.  Napoleon,  his  1.  hand  on  his 
breast,  hands  his  sword  to  the  officer,  saying,  Puisque  la  victoire  m' ahandonne 
je  lui  remets  ses  dons.  The  officer,  touching  the  hilt  of  the  sword,  says :  Ce 
cadeau  funeste  a  coute  bien  des  larmes.  Before  him  is  a  partly  rolled  map  show- 
ing the  coast  of  Afrique\  he  points  with  his  1.  forefinger  to  the  island  of 
S^  helene.  Behind  him  a  canopy  has  been  rigged  up ;  his  cocked  hat  and  sword 
are  on  a  stool  behind  him.  A  second  British  officer  in  the  middle  distance, 
his  hand  on  the  hilt  of  his  sword,  watches  the  surrender.  In  the  background 
is  a  man-of-war  with  furled  sails ;  a  flag  with  a  broken  shaft  falls  from  the  stern. 
One  of  many  French  satires  on  Napoleon's  flight  after  Waterloo  when  he 
failed  to  remain  with  the  Guard.  For  his  surrender  see  No.  12579,  ^c.,  and 
for  St.  Helena,  No.  12592,  &c.  For  the  words  (a  journalist's  invention)  falsely 


576 


POLITICAL   SATIRES   1815 

attributed  to  Cambronne,  cf.  De  Vinck,  No.  9563 ;  Conversations  with  Welling- 
ton, ed.  Stanhope,  1938,  p.  171  f.   Cf.  No.  12564. 

Broadley,  ii.  77.   De  Vinck,  No.  9734.   Reproduced,  Bourguignon,  ii.  317. 
7i|Xi2^  in. 

12601  DIEU  SOIT  LOU^!  LE  DIABLE  L'EMPORTE! 

Engraving  (coloured  impression),  Wellington  stands  on  the  shore  facing  the 
sea,  playing  the  game  formerly  called  (in  England)  the  Devil  on  two  sticks, 
revived  c.  1906  as  diabolo.  He  holds  out  the  sticks,  extending  the  connecting 
cord,  and  has  thrown  the  'diable'  or  double  cone  into  the  air.  Napoleon 
bestrides  the  waist  of  the  'diable',  clutching  his  head,  from  which  a  laurel- 
wreath  has  just  fallen.  On  the  horizon  is  an  island  (St.  Helena)  which  a  ship 
is  approaching. 

A  satire  on  the  defeat  and  exile  of  Napoleon,  see  No.  12592,  &c.  The  game 
appears  also  in  No.  12243.  Apparently  a  sequel  to  Le  Diable  Vemporte  Souhait 
de  la  France  (in  B.M.) :  Napoleon  is  carried  off  on  the  shoulders  of  the  Devil 
who  leaps  through  the  air  towards  the  flames  and  crags  of  Hell ;  he  is  encircled 
and  gnawed  by  a  large  serpent  (De  Vinck,  No.  10386  (16  Aug.  1815);  repro- 
duced, N.  Young,  Napoleon  in  exile  at  St.  Helena,  i.  322). 

Broadley,  ii.  77  (giving  it  the  title  of  Diabolo). 
8|X7|in. 

12602  CINQUlfiME  ET  DERNIER  TOUR  DE  PASSE-PASSE,  OU, 
LE  GRAND  ESCAAIOTEUR  ESCAMOTg. 

Depose  a  la  Direction  Generale.  [11  Aug.  181 5] 

Engraving  (coloured  impression).  Wellington,  as  a  juggler,  stands  behind  a 
folding-table  covered  with  a  fringed  cloth;  on  it  four  juggler's  tumblers 
('gobelets',  used  in  passe-passe,  or  the  vanishing  trick)  lie  on  their  sides.  He 
holds  up  a  fifth  inscribed  ]\Io7it  S'  Jean  which  he  is  about  to  clap  down  on 
a  tiny  Napoleon  who  is  running  away  to  the  1.  on  his  table.  Inside  the  tumbler 
is  the  word  Disparais.  The  other  tumblers  are  inscribed  (1.  to  r.):  Leipsic 
[see  No.  12108,  &c.],  Moskou  [see  No.  11991],  Espagne  [grasped  by  Welling- 
ton's 1.  hand],  and  Egypte  [see  No.  9523].  Inside  all  four  is  the  word  Rien. 
Behind,  a  British  man-of-war,  Bellerophon  (1.),  sails  towards  a  rocky  promon- 
tory on  the  extreme  r.,  inscribed  He  S'  helene,  where  a  church  stands  among 
trees  on  a  cliff. 

One  of  a  number  of  French  prints  on  Napoleon's  flight  after  Waterloo, 
see  No.  12557,  compared  as  in  Le  Cesar  de  1815  (cf.  No.  12564),  with  other 
occasions  on  which  he  had  deserted  his  army.  For  St.  Helena  see  No.  12592, 
&c.   He  had  been  transferred  to  the  Northumberland,  see  No.  12599. 

Broadley,  ii.  76.    De  Vinck,  No.  9736. 
i2|X9it  in. 

12603  NICOLAS  DANSANT  L'ANGLAISE! 

Engraving  (coloured  impression).  Napoleon  dances  on  ?  stage,  immediately 
above  the  orchestra,  which  is  conducted  by  a  soldier  in  British  uniform  seated 
on  a  stool  in  back  view.  The  orchestra  (T.Q.L.)  are  just  behind  the  conductor. 
An  Austrian  officer  (1.),  whose  elongated  head  and  figure  have  some  resem- 
blance to  Francis  I,  plays  the  'cello;  a  Prussian  officer  in  back  view  (Frederick 
William)  plays  the  violin,  and  a  Russian  wearing  a  ffat  round  cap  plays  a  flute. 
Napoleon,  wearing  uniform,  is  full-face,  balanced  on  his  heels  with  legs  astride ; 
under  his  1.  arm  is  a  cane;  he  performs  like  an  automaton.  The  background  is 
the  sea;  the  island  of  St.  Helena,  with  Sugar-loaf  Hill,  is  on  the  horizon. 

577  PP 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

For  St.  Helena  see  No.  12592,  &c.;  for  the  enforced  dance,  No.  12046,  &c.; 
for  'Nicolas',  No.  12256,  &c. 

Broadley,  ii.  77  n.   De  Vinck,  No.  9361. 
8|^x6in. 

12604  LE  GENERAL  [JACOT']  AYANT  JURE  QU'ON  NE  L'EM- 
MENERAIS  PAS  VIVANT  A  STE  HELENE  SE  DECIDE  ENFIN  A 
CE  COUPER  LA  GORGE. 

Engraving  (coloured  impression).  Napoleon  as  an  ape,  but  with  his  own 
profile,  clings  with  his  toes  to  the  seat  of  a  chair  which  is  on  the  deck  of  the 
Northumberland.  He  is  erect,  with  flexed  knees,  holding  an  enormous  razor 
near  his  hairy  throat.  He  says :  ah  mon  dieu  quel  bonheur  que  ce  rasoir  ne  coupe 
pas.  Opposite  him  (1.)  is  the  island  of  s^^  helene.  He  wears  his  petit  chapeau, 
uniform  coat  with  an  ill-fitting  back  indicating  the  dressed-up  monkey,  and 
loose  white  trousers  gathered  at  the  ankle.  Only  the  poop  of  the  ship,  drawn 
as  in  No.  12599,  by  the  same  artist,  is  visible. 

It  was  reported  in  the  English  papers  that  when  Napoleon  was  informed 
of  his  destination,  see  No.  12592,  he  'declared  that  he  would  never  be  carried 
to  St  Helena  alive'.  Examiner,  13  Aug.  1815.  Actually,  in  the  long  protest 
to  Sir  H.  Bunbury  and  Lord  Keith  he  said:  'In  St.  Helena  I  should  not  live 
three  months.  ...  If  your  Government  wishes  to  put  me  to  death  they  may 
kill  me  here.  ...  I  prefer  death  to  Ste.  Helene.'  J.  H.  Rose,  Napoleonic 
Studies,  1904,  p.  320. 

Broadley,  ii.  8i. 
7fx6^in. 

12604  A  A  later  state,  'Jacot'  engraved,  and  with  the  word  Palmer  on  the 
razor,  showing  that  it  is  of  English  make,  see  No.  12575  A. 

12605  VOILA  LE  BOUQUET  Depse  &c.  [26  Sept.  1815] 
Engraving  (coloured  impression).  Below  the  design,  as  a  second  title :  U Entree 
Triomphante  du  Pere  la  Violette  ou  le  Bouquet  de  Waterloo.  Napoleon  is  the 
centre  of  a  horizontal  sheaf-like  bunch  of  huge  violets  from  which  his  head  (1.) 
and  legs  (r.)  project.  This  sheaf  is  being  lifted  by  Wellington  from  Le  North- 
umberland, whose  bows  are  on  the  r.,  to  a  quay  on  »S'  Helene.  Napoleon's 
impassive  profile  faces  the  ground.  Wellington  stands  with  the  r.  foot  in  the 
ship's  boat  which  lies  against  the  Northumberland;  the  1.  foot  is  on  the  edge 
of  the  low  quay.  He  supports  Napoleon  with  one  hand  under  the  neck,  the 
other  under  the  sole  of  his  boot;  and  is  about  to  place  him  on  shore  with  a 
vigorous  swing  of  his  arms.  He  says:  God-dem  quel  Saut.'  The  flower-stems 
are  encircled  by  a  cord  at  the  point  where  they  surround  Napoleon's  knees. 
The  bunch  resembles  in  general  character  that  of  No.  125 12,  &c.,  but  is  with- 
out the  concealed  profiles.  Against  the  quay  (1.)  is  a  pile  of  rocks  where 
Joseph  Bonaparte  is  hiding.  His  head  and  shoulders  emerge,  and  the  brothers 
look  at  each  other.  Napoleon  says :  Tu  te  cache  Joseph,  tu  ne  sent  done  plus  la 
Violette.  Joseph  answers :  Mon  frere,  la  Violette  de  Mars  est  fletrie.  On 
Napoleon's  hat  is  a  little  rat,  saying,  comme  cecisent  la  Violette  [cf.  No.  12586]. 
A  larger  rat  watches  from  the  shore.  The  only  building  on  the  rocky  island 
is  an  ancient  and  forbidding  castle. 

For  St.  Helena  see  No.  12592,  &c.  Napoleon  did  not  land  there  till  16  Oct. 
Joseph,  who  reached  the  United  States  in  August,  was  the  centre  of  plots  to  rescue 
Napoleon.  For  Waterloo  see  No.  12557,  ^c.;  for  the  rats  see  No.  12710,  &c. 

Broadley,  ii.  94  (reproduction),  95.   De  Vinck,  No.  9756. 
8f  Xi2^  in. 

'  Name  inserted  in  pen. 


POLITICAL   SATIRES   1815 

12606  GfiNfiRAL  SANS  PAREIL. 

[Pafter  J.  H.  Voltz.] 

Engraving  (coloured  impression).  A  French  'hieroglyphic  portrait'  of  Napo- 
leon (W.L.),  probably  deriving  from  No.  12177.  It  is  based  on  the  W.L. 
profile  portrait  by  Dahling  (reproduced  Dayot,  Napoleon,  p.  204).  The  arms 
are  not  folded  as  in  that  print,  and  in  the  r.  hand  a  noose  is  held  out :  Lacet 
pour  Pichegrue.  The  1.  forefinger,  inscribed  Moreau,  and  the  thumb,  inscribed 
Pichegrue,  are  extended  in  a  significant  gesture.  The  face,  in  profile  to  the  1., 
is  without  symbols  or  inscriptions ;  the  hat  is  covered  with  crowns,  the  papal 
tiara  being  prominent.  Above:  Chapeau  charge  de  Couronnes.  On  the  front 
of  the  coat  from  the  neck  downwards  are  inscriptions :  Evacuation  de  VEgypte 
[see  No.  9523],  Malte  [see  No.  9700],  Portugale,  Espagne,  Bateaux  plats  [cf. 
No.  9995],  Russie,  Pologne,  Prusse,  Saxe,  Westphalie,  Hollande.  On  the  arm 
two  tiny  soldiers  fire  at  the  kneeling  Due  d'Enghin  [sic],  and  Napoleon, 
enthroned,  gives  orders  to  a  file  of  three  subservient  officials:  Commission 
Militaires  et  Tribunaux  recevant  les  Ordres.  On  the  coat  from  the  waist  down- 
wards are  the  inscriptions:  13  Vendemiaire  [5  Oct.  1795],  Journee  de  S'  Cloud 
[Brumaire,  10  Nov.  1799,  see  No.  9426,  &c.],  Guerre  eternelle  a  VAngleterre, 
Desolation  de  VAllemagne,  Inquietude  en  Italie,  Trahison  sur  la  Famille  d'Espagne 
[see  No.  10990,  &c.],  Detronisation  du  Roi  des  Astiiries,  Violation  des  Etats 
Romains  [see  No.  1 1360,  &c.].  On  the  waistcoat  are  five  kings  (H.L.),  crowned 
and  holding  sceptres :  Fabrique  de  Sire  [cire] .  Above  these  is  an  ape :  la  Folic. 
On  the  r.  thigh,  of  which  only  a  small  part  is  visible,  statues  and  busts  are 
depicted.  The  most  conspicuous  is  the  Apollo  Belvedere.  These  are:  Objets 
d  Arts  Pilles  chez  les  dijferentes  Nations.  On  the  1.  thigh  are  objects  relating 
to  the  Continental  System:  a  cask,  bales  inscribed  Magasin  de  denrees,  a 
larger  cask  filled  with  sugar-loaves,  more  bales  inscribed  Coloniales,  and  a  pile 
of  beetroots:  Sucre  de  Beterave  [see  No.  123 16].  Over  the  boot-top  hangs 
a  row  of  tabs,  inscribed:  Billets  de  |  Banque.  \  Ventes  des  biens  \  Comtnunaux  \ 
Cautionnement  \  Arrieres.  The  boot-top  is  Chute  du  TrSne  de  France  et  d' Italie. 
The  boots  are  covered  with  skulls  and  bones  inscribed  Conscription  [see 
No.  12087,  ^c]  ^^  Levee  en  Masse  [see  No.  12201].  The  spur  is  a  serpent 
spitting  out  the  words:  Eguillonant  son  systeme  de  destruction.  From  the  coat- 
tail  pocket  project  rolled  documents,  torn,  and  inscribed:  Decrets  Violes  depuis 
la  Journee  de  S'  Cloud  Jusque  au  Jour  de  sa  decheance.  The  sword  has  a  star 
below  the  hilt,  and  a  wavy  blade  inscribed  Comete. 

With  the  exception  of  the  allusion  to  Moreau,  the  autocratic  orders  to 
tribunals,  &c.,  the  'violated  decrees',  and  the  financial  shortcomings  inscribed 
on  the  boot-tabs,  these  phases  and  episodes  of  Napoleon's  career  from  1795 
to  18 1 5  are  illustrated  in  other  satires  in  the  Catalogue,  English,  French,  and 
German.  Sovereigns  of  wax  (corresponding  to  the  gingerbread  kings  of 
No.  12230),  are  the  theme  of  La  ruine  du  fabricant  de  cire  (Broadley,  ii.  79  f.), 
and  the  princes  here  depicted  are  probably  Joseph,  Louis,  Jerome,  Murat, 
and  Eugene  Beauharnais.  According  to  No.  12607,  the  ape  'la  Folic'  is  the 
King  of  Rome.  For  the  Continental  System  see  No.  12269,  &c.  The  attitude 
to  the  pillaged  works  of  art  is  exceptional,  see  No.  126 19,  &c.  There  are 
said  to  be  English,  German,  and  Italian  versions  of  this  print' ;  see  No.  12607. 

De  Vinck,  No.  8857.   Milan,  No.  2749.   Reproduced,  Broadley,  i.  388  (as 
the  English  copy);  Grand-Carteret,  Vieux  Papiers  .  .  .  1896,  p.  195  (as  of 
English  origin). 
io|x6^  in. 

'  Grand-Carteret,  Napoleon,  p.  181,  attributes  it  to  a  French  artist  living  in  London, 
though  in  Allemagne,  p.  76,  he  had  (like  Hagen)  attributed  it  to  Voltz. 

579 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12607  GENERAL  SANS  PAREIL. 

London:  Printed  and  published  by  G.  Smeeton,  17,  St  Martin's  Lane 
September  i,  1815. — Price  Sixpence. 

Engraving  (coloured  impression).  A  close  copy  of  No,  12606,  very  slightly 
reduced.  Illustration  to  a  printed  broadside  w'lXh  a  black  woodcut  border; 
a  companion  print  to  No.  12204.  The  inscriptions  are  clumsily  and  sometimes 
incorrectly  translated:  'Bateaux  plats',  in  allusion  to  the  invasion  flotillas  of 
1803-5,  are  omitted,  as  are  the  inscriptions  on  the  boot-tabs.  'Journee  de 
St  Cloud'  becomes  Journal  of  St  Cloud;  'Jour  de  sa  decheance',  Account  of 
all  my  losses.  The  serpent  is  The  spur  the  system  of  destruction.  The  printed 
explanation,  like  the  inscription,  is  incorrect  in  running  together  'La  folic'  and 
'fabrique  de  sire'  as  The  Foolish  made  of  Wax.  The  text: 

'The  above  interesting  Portrait  of  Buonaparte  may  be  considered  as  an 
emblematic  Index  of  his  extraordinary  Life.  The  Design  reflects  the  greatest 
credit  on  the  Artist,  who  is  a  Frenchman;  he  has  judiciously  formed  the  Hat 
of  the  different  Crowns  which  Buonaparte  placed  on  other  men's  Heads.  The 
position  of  the  fore-finger  and  thumb  are  particularly  deserving  of  notice,  .  .  ; 
indicating  that  Moreau  was  his  guide  or  finger-post  to  all  his  victories,  and  the 
word  Pichegru  being  on  his  thumb,  is  meant  to  imply,  that  he  always  had  him 
in  view  as  being  one  great  obstacle  to  his  rising  greatness.  .  .  .  The  words  on 
his  Breast  are  the  names  of  the  different  Kingdoms  he  has  overrun  or 
conquered.  His  Waistcoat  is  ornamented  with  the  figures  of  the  different 
Kings  he  has  made;  the  French  call  them  '' La  folic  fabrique  de  Sire:"  indica- 
tive, that  while  the  dark  clouds  of  despotism  hung  over  Buonaparte's  empire 
his  Kings  reflected  their  borrowed  lustre,  but  when  once  the  Sun  of  universal 
restitution  darted  forth  its  rays,  they  melted  "like  wax  before  the  sun:  the 
artist  has  well  contrived  to  put  the  little  King  of  Rome  as  a  monkey,  above 
the  heads  of  the  other  Kings.  The  Bales  and  Casks  .  .  .  denominate  the 
stoppage  of  trade  which  this  system  of  warfare  had  brought  on  the  French 
People.  The  Beet-root  refers  to  the  Decree  issued  for  making  Sugar  .  .  ., 
when  he  lost  all  his  West-India  possessions  [see  No.  12316].  On  his  legs  are 
represented  Skulls,  symbolic  of  Death,  who  accompanied  him  wherever  he 
trod.  His  Sword,  which  so  often  paralyzed  the  world  .  .  .  is  judiciously  placed 
in  the  form  of  a  Comet  or  Meteor.  Such  is  this  brief  and  imperfect  delinea- 
tion of  the  above  extremely  curious  and  interesting  Portrait.' 

Broadley,  i.  389  f. 
ii|X5|in.(pl.).   Sheet,  i5|X9f  in. 

12607a  Another  state,  PRICE  SIXPENCE  above  the  design,  the  woodcut 
border  being  removed  for  this  inscription. 

12608  NAPOLEONS  TRIP  FROM  ELBA  TO  PARIS,  &  FROM  PARIS 
TO  ST  HELENA— 

G.  Cruikshank  fee' 

Pu¥  by  M  Jones  N"  5  Newgate  S'  Sept^  1 181 5 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  x.  161.  A  sequence 
of  three  designs  placed  side  by  side,  [i]  Napoleon,  in  profile  to  the  r.,  astride 
a  large  eagle,  flies  (and  flees)  from  the  field  of  Waterloo  (see  No.  12557,  &c.). 
His  crown  flies  from  his  head,  his  (broken)  Hand  of  Justice  (see  No.  12247) 
falls;  his  hands  are  clasped,  encircling  the  bird's  neck.  He  says:  Sauve  qui 
pent — The  Devil  take  the  hindmost — Run  my  boys  your  Emperor  leads  the  way — 
My  dear  Eagle  only  conduct  me  safe  to  Paris  this  time  as  you  did  from  Moscow 

580 


POLITICAL   SATIRES    1815 

&  Leipsig,  &  ril  never  trouble  you  again — Oh!  d — n  that  Wellington.  The 
eagle  says :  my  left  wing  has  entirely  disappeared  (the  r.  wing  only  is  depicted, 
the  absence  of  the  other  is  made  less  conspicuous  by  the  position  of 
Napoleon).  On  the  ground  below,  little  French  soldiers  flee  in  wild  and 
grotesque  confusion,  three  mounted  on  one  horse.  Behind  (1.)  British  soldiers 
with  a  torn  Union  flag  advance  down-hill  in  good  order;  great  clouds  of  smoke 
divide  them  from  the  French.  A  sign-post  (r.)  points  (r.)  To  Paris,  (1.)  To 
Waterloo. 

For  the  comparison  of  the  flights  from  Waterloo,  Moscow,  and  Leipzig 
(among  other  places),  cf.  No.  12602,  &c.  The  pun  on  'left  wing'  is  without 
military  significance. 

[2]  John  Bull's  house  (r.)  gives  directly,  by  a  wide  doorless  opening,  upon 
the  sea-shore,  with  the  poop  of  the  [Bell]erophon  (1.)  close  to  land.  Napoleon 
(not  caricatured)  stands  on  a  projection  near  the  water-line,  looking  directly 
down  at  John,  who  sits  in  an  arm-chair  close  to  his  fire.  He  says,  with  out- 
stretched 1.  arm.  My  most  powerful  &  most  generous  enemy,  how  do  you  do? 
I  come  like  Themistocles  to  seat  myself  upon  your  hearth — /  am  very  glad  to  see 
you.  John,  holding  a  pipe  in  his  1.  hand,  turns  his  head  in  profile  to  answer 
Napoleon :  So  am  I  glad  to  see  you  M'^  Boney  but  Fll  be  d — d  if  you  sit  upon 
my  hearth  or  any  part  of  my  house — it  has  cost  me  a  pretty  round  sum  to  catch 
you  M''  Themistocles,  as  you  call  yourself ;  but  now  I  have  got  you  Til  take  care 
of  you. — .  John  Bull  is  a  stout  countr}'man  wearing  top-boots.  His  tall  dog, 
lying  at  his  side,  looks  aggressively  towards  the  Bellerophon.  Above  the 
chimneypiece  is  a  gun;  below  this  a  bust  (coloured  yellow)  of  George  HI 
immediately  above  two  other  profile-busts  on  the  chimney-piece :  Wellington 
and  Bliicher.  On  the  floor  is  an  open  book:  John  Bull  [or  the]  English- 
mans  Fire  Side  [Colman's  best  comedy,  first  played  at  Covent  Garden  5  Mar. 

A  satire  on  Napoleon's  letter  to  the  Regent,  dated  13  July,  in  which  he  said 
*Je  viens  comme  Themistocle  m'asseoir  sur  le  foyer  du  peuple  Britannique', 
an  allusion  to  Themistocles  taking  refuge  on  the  hearth  of  Admctus,  King 
of  the  Molossians,  taking  the  latter's  infant  son  in  his  arms,  thus  establishing 
an  irresistible  claim  to  hospitality.    See  Nos.  12592,  12613. 

[3]  Napoleon  sits  on  a  stool  outside  a  thatched  hut  in  St.  Helena,  hands  on 
knees,  intently  watching  a  large  rat-trap.  Across  his  shoulders  is  one  of  those 
bands  decorated  with  rats  or  rat-skins  that  denoted  the  rat-catcher.  He  sits 
between  a  tall  thin  French  oflicer  and  a  Frenchwoman,  decoUetee  and  wearing 
a  ragged  apron,  who  stands  holding  up  a  piece  of  bacon  on  a  fork.  A  rat 
issuing  from  a  cave  (r.)  approaches  the  trap  suspiciously.  In  the  background 
is  a  conical  mountain,  representing  Sugar  Loaf  Hill;  beside  the  hut  are  two 
tall  palm-trees.  The  officer,  Bertrand,  says:  Ah!  Mon  dieu!  Dere  your 
Majesty — dere  be  de  vilain  rogues — Ah,  Monsieur  rat  why  you  not  pop  your  nose 
into  de  trap  &  let  de  august  Emperor  catch  you — .  Mme  Bertrand :  Will  your 
Majesty  be  please  to  try  dis  bit  of  bacon?  Ah!  de  cunning  rascal!  Dere!  Mafoi! 
he  sniff  at  the  bacon! —   Napoleon : 

Alass!  that  I  who  caught  Imperial  fiats. 
Should  now  sit  here  to  watch  these  scurvy  rats, 
I,  who  Madrid,  Berlin,  Vienna,  Moscow,  took, 
Afn  doomed,  with  cheese,  to  bait  a  rusty  hook! 
Was  it  for  this  I  tried  to  save  my  bacon. 
To  use  it  now  for  rats  that  wont  be  taken? 
Curse  their  wise  souls!   I  had  not  half  such  trouble, 
Their  European  brethren  to  bubble. 

581 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

When  I  myself  was  haiVd  as  Emperor  Nap, 
Emperors  &  Kings  I  had  within  my  trap 
And  to  this  moment  might  have  kept  them  there 
Had  I  not  gone  to  hunt  the  Russian  bear. 

The  print  illustrates  'The  Napoleonade.  An  irregular  Poem,  in  three 
Cantos',  pp.  163-8.   Napoleon  catches  rats: 

For  still  he  finds  a  secret  joy 
Life  of  some  kind  to  destroy. 

For  St.  Helena  (reached  on  15  Oct.)  see  No.  12592,  &c.;  for  the  rats, 
No.  12710,  &c.  For  Napoleon's  desertion  of  his  army  in  Russia  see  No. 
11991,  &c.;  after  Leipzig,  No.  12108,  &c. 

Reid,  No.  502.    Cohn,  No.  732.    Broadley,  ii.  yf.    Milan,  No.  2758.    Re- 
produced, Bourguignon,  ii.  323. 
Each  design,  7^X5!  in,  7^X5!^  in.,  7iX5#  in. 

12609  RETURN  OF  THE  PARIS  DILIGENCE— OR— BONEY  RODE 
OVER— 

G  H  inv'     Etch'^  by  G  Cruikshank 

Puh'^  Sepr  6^''  181 5  by  H  Humphrey  2y  S'  James's  Street — 

Engraving  (coloured  and  uncoloured  impressions).  Louis  XVHI  returns  to 
Paris  in  a  coach  which  is  partly  a  fortress  manned  by  the  soldiers  of  the  Allies. 
It  is  a  glass  coach,  decorated  by  fleurs-de-lis,  the  door  inscribed :  Les  Lis  from 
Brussels  to  Paris.  There  is  a  long  boot  or  basket,  as  in  French  diligences; 
this,  like  the  body  of  the  coach,  is  edged  by  crenellations  in  which  are 
small  cannon.  On  the  roof  is  a  fortress  with  a  central  tower,  from  which  guns 
are  being  fired;  this  is  manned  by  little  soldiers  who  have  a  British  and  a 
Russian  flag.  From  the  tower  flies  a  large  white  flag  with  a  fleur-de-lis  between 
L  and  XVIII.  The  inside  is  crowded :  Louis  XVIII  sits  impassively  in  profile 
to  the  r.,  next  him  is  a  priest  in  a  skull-cap  and  facing  him  is  a  bishop  wearing 
a  mitre.  Looking  from  the  centre  window  is  Talleyrand.  On  the  r.,  with  their 
backs  to  the  horses,  elderly  and  distressed  military  oflicers  are  crowded 
together.  Wellington  drives,  holding  the  reins  in  the  1.  hand,  a  sword  in  the 
r.;  next  him  sits  Bliicher,  smoking  a  long  pipe,  his  sword  held  against  his 
shoulder.  Both  cry  Vive  le  Roi.  On  each  of  the  four  galloping  horses 
sits  a  cavalry  soldier  with  a  drawn  sword  and  holding  a  flag :  on  the  off  side 
(next  the  spectator)  and  in  front  of  Wellington  are  British  soldiers :  the  man 
on  the  wheeler  holds  a  Union  flag,  the  man  on  the  leader  a  Royal  Standard. 
The  other  two,  riding  in  front  of  Bliicher,  hold  up  flags  with  a  double-headed 
eagle,  but  seem  nevertheless  to  be  intended  for  Prussians  (cf.  No.  9694).  The 
occupants  of  the  boot  sit  one  behind  the  other,  each  clasping  the  man  in  front 
round  the  waist.  Next  the  coach  and  clasping  it  is  a  Dutchman  smoking  a 
pipe  and  wearing  a  conical  hat,  representing  William  I  of  Holland,  Behind 
him  is  the  King  of  Prussia,  then  the  Tsar,  with  the  Emperor  of  Austria  on 
the  extreme  1.  All  cry  Vive  le  Roi. 

This  military  coach  is  surrounded  by  smoke  from  its  guns  and  is  driven 
ruthlessly  over  prostrate  French  soldiers.  Under  the  horses'  hoofs  Napoleon 
lies  prone  on  a  tricolour  flag  and  eagle;  he  looks  up  with  an  agonized  ex- 
pression. The  soldiers  round  him  are  more  burlesqued,  some  wearing 
bonnets  rouges.  Along  the  foreground  lie  mutilated  soldiers  and  a  dis- 
mantled cannon,  a  bleeding  arm,  a  leg,  a  decollated  head  which  cries  Vive 
VEmpereur.  The  same  cry  issues  from  the  mouths  of  a  boy  soldier  cut  in 
half,  from  a  veteran  whose  head  is  severed  from  his  body,  and  a  man  under 
the  wheels  of  the  coach  who  has  lost  his  r.  hand.  A  British  soldier  (1.)  holds 

582 


POLITICAL   SATIRES    1815 

Up  a  French  soldier  spiked  on  his  bayonet  who  also  cries  Vive  VEmpereur. 
The  soldiers  who  march  behind  the  coach  seem  to  be  Prussians,  despite  the 
double-headed  eagle  on  their  flag.  The  route  is  across  open  country;  on  a 
hill  is  a  fortress  still  flying  the  tricolour  flag. 

A  satire  on  the  second  restoration.  William  I  may  owe  his  prominent 
position  to  the  part  taken  by  Dutch  troops  at  Waterloo.  On  7  July  the  British 
and  Prussians  entered  Paris,  Wellington  having  concluded  a  capitulation  on 
3  July  by  which  the  French  army  was  to  retire  beyond  the  Loire  and  the 
Allies  and  Louis  XVIII  were  to  be  admitted  to  Paris.  Napoleon  was  then 
at  Rochefort,  his  whereabouts  unknown  to  the  Allies.  Cf.  J.  C.  Hobhouse's 
reflections  in  Paris  on  7  July  (which  he  admits  were  interrupted  by  white 
flags  and  shouts  of  'Vive  le  Roi') ;  on  'the  injustice  and  impolicy  of  bearing 
back  the  Bourbons  in  triumph  over  the  trampled  necks  of  Frenchmen  .  .  .'. 
Substance  of  Letters  .  .  .  [from]  Paris  .  .  .,  1816,  ii.  154.  See  also  Nos.  12588, 
12614,  12615,  12617,  12618,  12620,  12621,  12622,  12623,  12757,  12786, 
12797. 

Reid,  No.  503.   Cohn,  No.  1899.   Broadley,  i.  390  f. 
8^X  15I  in.   With  border,  9^  X  16  in. 

12610  BONEY'S  THREATENED  INVASION  BROUGHT  TO  BEAR— 
OR  TAKING  A  VIEW  OF  THE  ENGLISH  COAST  FROM  YE  POOP 
OF  THE  BELLEROPHON— 

etch^  by  G  C 

Pub''  by  S  W  Fores  50  Piccadilly — September  10^^  181 5 

Engraving  (coloured  impression).  Napoleon  (r.)  stands  on  a  cannon  to  see 
over  the  barrier  round  the  poop ;  he  stoops,  using  a  telescope  to  view  the  coast 
which  is  on  the  extreme  1.  On  this  is  a  castle,  flying  a  Union  flag,  and  inscribed 
Citadel  (in  reversed  characters) ;  before  it  is  a  tall  gibbet  with  a  dangling  noose. 
Bertrand  is  crouching  below  Napoleon  to  look  through  the  port-hole  facing 
the  cannon  on  which  the  latter  stands;  he  points,  holding  in  his  1.  hand  a 
smaller  telescope,  and  looks  up  at  Napoleon  to  say :  By  gar!  mon  Emperor, 
dey  have  erect  von  prospect  for  you.  Napoleon,  whose  profile  is  lean  and 
ravaged,  answers:  Me  no  like  de  D—n  prospect.  He  wears  his  sword  (as  he 
did),  with  spurred  jack-boots,  and  a  chain  is  attached  to  his  1.  ankle.  Only 
a  small  section  of  the  deck  is  shown,  extending  to  the  next  port-hole  (1.)  where 
a  sailor,  resembling  John  Bull,  sits  on  the  cannon,  his  back  to  Napoleon,  and 
his  hands  in  his  jacket-pockets.  He  scowls  towards  him  over  his  1.  shoulder, 
saying,  /  thinks  as  how  Master  Boney,  that,  instead  of  sending  you  to  Hell-bay 
they  sho'^  have  sent  you  to  Hell  at  once. 

For  the  ironic  allusion  to  Napoleon's  projected  invasion  cf.  No.  12595. 
For  Elba  as  Hell  Bay,  cf.  No.  1223 1.  The  print  was  belated:  Napoleon  sailed 
in  the  Northumberland  on  8  Aug.,  cf.  No.  12599. 

Reid,  No.  505.   Cohn,  No.  946.      Listed  by  Broadley. 
8|xi3iin. 

1261 1  THE  EXILE  OF  ST.  HELENA  OR  BONEY'S  MEDITATIONS!! 

Marks  fec^ 

London: — Published  by  R.  Pratt,  12,  Broad  Street,  Golden  Square. — 
Price  One  Shilling.  [  ?  Sept.  1 8 1 5 ] 

Engraving  (coloured  impression).  Heading  to  a  broadside  printed  in  three 
columns.  Napoleon  sits  in  profile  to  the  1.  on  one  of  the  precipitous  promon- 
tories bordering  Jamestown,  his  feet  resting  on  the  opposite  clifl^,  so  that  his 

583 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

legs  form  an  arch  high  above  the  Uttle  port.  He  weeps,  with  folded  arms, 
bending  forward  so  that  an  elbow  rests  on  his  knee.  Behind  is  the  conical 
Sugar  Loaf  Hill,  topped  by  a  little  castle.  Ships  are  sailing  near  the  island. 
The  text  is  a  description  of  the  island  followed  by  the  orders  issued  by  the 
War  Office,  30  July  181 5,  for  the  treatment  of  Napoleon  in  the  Northumberland 
and  at  St.  Helena. 

Napoleon  as  a  colossus  seated  or  standing  on  the  cliffs  of  St.  Helena  (see 
No.  12592)  became  a  favourite  subject  of  caricature.  See  Nos.  12614,  12617, 
12622,  12700,  12786,  12902  [20],  13283. 

Listed  by  Broadley. 
6|x  iijg-  in.   Sheet,  i8|x  15I  in. 

12612  BONEY  CROSSING  THE  LINE. 
Marks  Del. 

PuM  by  y  Johnston  Cheapside  [?  Sept.  181 5] 

Engraving.  A  scene  on  the  deck  of  the  'Northumberland'.  Jovial  sailors 
surround  Napoleon  who  is  seated  in  a  tub  blindfolded,  with  men  pouring 
soapy  water  over  him  from  buckets,  one  of  which  is  discharged  on  his  face 
through  a  funnel  held  by  himself.  He  says:  /  no  like  de  English  Valet  de 
Chambre,  Have  mercy.  Just  behind  his  head  (1.)  a  sailor  stripped  to  the  waist 
stirs  a  smaller  tub  of  soapsuds  with  a  pole.  A  man  flourishes  an  enormous 
imitation  razor  with  a  jagged  blade.  In  a  commanding  position,  backed  by 
a  huge  mast,  are  Neptune  and  Amphitrite,  standing  on  a  gun-carriage;  they 
wear  draperies  and  long  wigs  of  tow,  hanging  from  rope-rings  which  stand 
up  above  their  heads.  Neptune  holds  up  a  trident,  and  declaims :  /  command 
yoiCl  cleanse  him  from  his  Iniquity's.  Two  sailors  (1.)  drag  the  gun-carriage 
with  ropes  over  their  shoulders ;  one  blows  a  conch  shell ;  the  other,  a  negro, 
says :  Massa  Boney  no  like  to  be  got  in  a  Line!!  On  the  opposite  side  (r.)  a 
sailor  hauls  at  a  plank  which  rests  on  Napoleon's  tub.  Behind  him  (r.)  are 
two  grotesque  French  officers,  blindfolded,  wearing  cocked  hats  and  high 
boots ;  they  stand  apprehensively,  with  arms  interlaced ;  one  says :  /  wish  de 
Dirty  job  was  over!! ;  the  other :  Be  gar  me  no  like  de  Shaving  Shop!!!  A  young 
sailor  turns  to  him,  saying.  Have  Patience  Gentlemen  and  we'll  shave  you 
directly  and  give  you  a  good  Lathering  as  Old  Blucher  did!!  On  the  extreme  r. 
an  amused  naval  officer  watches  the  scene.  A  dog  (1.),  also  amused,  barks 
at  Napoleon. 

A  natural  sequel  to  the  shaving  prints,  see  No.  12575,  ^^-  (^^  shave  meaning 
also  to  strip  of  possessions,  while  lather  from  c.  1797  means  also  to  thrash).  The 
Northumberland,  cf.  No.  12599,  crossed  the  equator  on  23  Sept.  The  English 
officers  and  sailors  underwent  the  usual  soaping,  shaving,  and  dowsing: 
Napoleon  kept  to  his  cabin.  N.  Young,  Napoleon  in  exile  at  St.  Helena,  1915, 
p.  84;  Aubry,  St.  Helena  (transl.),  1937,  p.  116  f.   Cf.  No.  12921. 

Broadley,  ii.  6,  7  (reproduction). 
8t^X  12^^  in. 

12613  BOXIANA— OR— THE  FANCY. 

[Williams.] 

Pub"^  by  M  Jones  N°  5  Newgate  S^  Octob''  i'^  181 5. 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  x.  241.  Illustration 
to  verses  (reprinted  from  the  Morning  Chronicle) :  'Epistle  from  Tom  Cribb 
to  Big  Ben,  concerning  some  foul  Play  in  a  late  Transaction.'  A  boxing- 
match  between  the  Regent  and  Napoleon,  both  stripped  to  the  waist.   The 

584 


POLITICAL   SATIRES   1815 

Regent  (I.),  immensely  corpulent,  stands  over  Napoleon,  who  lies  on  the 
ground,  and  kicks  him.  Two  of  the  Prince's  feathers  lie  on  the  ground ;  a  little 
chimney-sweep  has  picked  up  the  third  and  shows  it  to  Napoleon's  second, 
who  is  supporting  the  fallen  man  by  the  shoulders;  the  boy  says:  Master  I 
found  a  white  feather;  the  second  exclaims:  Foul!  Foul!  by  all  the  rules  of 
honor!  why  even  B lackey  cries  shame.  Behind  the  second  stands  Tom  Cribb, 
raising  both  arms  in  protest:  he  says  to  the  Regent: 

What!  Ben  my  big  hero  is  this  thy  renown? 

Is  this  the  new  go? — kick  a  man  when  he's  down! 

When  the  foe  has  knocked  under,  to  tread  on  him  then — 

By  the  fist  of  my  father,  I  blush  for  the  [sic]  Ben! 

The  other  supporters  of  Napoleon  are  on  the  r.  His  bottle-holder  is  a 
negro,  who  watches  in  dismay,  one  foot  on  Napoleon's  (green)  coat  which 
lies  with  his  cocked  hat.  Behind,  two  Englishmen,  much  shocked,  stand 
between  two  Frenchmen.  One  of  the  latter  asks,  with  raised  hands:  Ah! 
Je  vois,  you  be  de  Jentelman!  n'est  pas  bien  Sauvage  Sare!  The  Englishman 
answers :  Bien  shove-a  .  .  e!  no  d — e!  mounseer,  I  think  it  more  like  kicking,  than 
shoving.  The  second  Englishman  holds  his  friend  by  the  shoulders,  saying, 
vy  Charley  vot  sort  of  a  go  d'you  call  this!  The  other  Frenchman,  an  officer 
taking  snuff,  says  to  Napoleon :  Vi  you  no  go  to  de  Russia  you  only  get  little 
squeeze. 

The  Regent's  supporters  on  the  extreme  1.  are  only  three:  his  bottle-holder 
is  Lord  Yarmouth  with  a  decanter  of  Curacoa;  he  says  obsequiously:  He  is 
only  kicking  to  try  if  ther  is  any  honor  there  Blackey!  McMahon  holds  the 
Regent's  stays  under  his  arm,  a  purse  (the  Pri\y  Purse,  cf.  No.  11874)  hangs 
from  his  pocket.  He  says :  Themistocles  will  be  well  treated  if  we  can  find  any 
honor  in  him!  Eldon,  in  wig  and  gown,  holds  a  paper:  Rides  of  the  new  Fancy, 
Kicking  allowed  Scratching  all  .  .  .;  he  says :  Or  we  may  send  Themistocles  to 
acquire  honor  at  Botany! 

An  attack  on  the  Regent  for  Napoleon's  exile,  see  No.  12592,  &c.;  for 
Themistocles  see  No.  12608,  &c.  The  negro  is  probably  an  allusion  to 
Napoleon's  abolition  of  the  slave  trade,  see  No.  12546.  Big  Ben  was  Br}'an 
(or  Brain),  d.  1794,  see  No.  7646.  Tom  Cribb's  words  are  from  Tom  Moore's 
Epistle  from  Tom  Cribb  to  Big  Ben  concerning  some  foul  play  in  a  late  transaction. 
They  were  reprinted  from  the  Morning  Chronicle  in  The  Fudge  Family  in 
Paris,  1818.  In  the  Diary  of  John  Newton,  1933,  they  are  transcribed  in  full, 
under  date  25  July  1816,  and  attributed  to  Dr.  Worthington.  The  last  lines: 
To  show  the  white  feather  is  many  men's  doom. 
But  what  of  one  feather  ? — Ben  shows  a  whole  Plume. 

Broadley,  ii.  8  f, 
8fxi3  in. 

12614  LOUIS  XVIII  CLIMBING  THE  MAT  DE  COCAGNE 

Etched  by  G  Cruikshank 

London  Pub"^  by  W.  Hone  55  Fleet  Street  October  6'''  1815 

Engraving  (coloured  impression).  Adapted  from  a  French  print,  (?)  Le  Mat 
de  Cocagne  [de  Vinck,  No.  9205],  one  of  two  with  this  title.  Above  the  design : 
New  French  Caricature  selling  privately  at  Paris.  Below  the  title:  ''TheMat 
de  Cocagne  is  a  long  pole,  well  soaped,  on  the  top  of  which  are  hung  upon  Publick 
occasions  various  Prizes  which  he  who  climbs  \  "to  the  top  gets.  A  poor  Creature 
of  total  incapacity  affords  infinite  pity  &  Merriment,  &  tumbles  down  faster 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

then  he  ascends.  He  who  fails  once  \  "and  tries  again  affords  the  most  sport" — 
Travels  in  France — .  Louis  has  reached  the  top  of  the  tall  pole,  which  is 
decorated  with  tricolour  cockades,  and  grasps  the  crown  which  tops  it,  grip- 
ping the  pole  with  his  swathed  and  gouty  legs.  He  is,  however,  supported 
on  the  sword-point  of  Wellington,  who  stands  on  the  bowed  shoulders  of  the 
King  of  Prussia  and  rests  his  back  against  the  pole.  Frederick  William  plants 
a  foot  on  each  shoulder  of  the  Tsar,  who  sits  very  erect  bestriding  the  shoulders 
of  the  Emperor  of  Austria.  The  last,  on  hands  and  knees,  is  supported  on 
large  money-bags  placed  against  the  pole,  and  inscribed  English  Subsidies  and 
Subsidies.  All  are  against  the  1.  side  of  the  pole.  The  King  of  Rome,  a  little 
replica  of  his  father,  and  wearing  a  huge  bicorne  and  sword,  stands  behind 
Francis  I,  tugging  at  his  coat-tails.  Marie  Louise,  weeping,  stands  behind 
her  son,  holding  leading-strings  attached  to  his  waist;  she  says:  Oh  where  & 
O!  where  is  my  dear  Napoleon  gone  \  He  is  gone  to  S*  Helena  &  my  son  has  lost 
his  throne.  The  child  says :  Do  Mama  make  Grand-papa  leave  all  these  folks 
to  themselves.  Francis  I  says :  If  I  leave  them  they  will  fall  upon  me.  Alexander 
holds  a  document:  Plans  for  Maritime  ascendancy  and  says,  very  com- 
placently. Behold  my  work.  In  Frederick  William's  pocket  are  documents 
inscribed  Plans  for  new  wars  &  new  Subsidies;  he  says:  Fll  take  what  suits  tne. 
Wellington  is  silent,  but  he  has  papers  inscribed:  [P]lans  for  Campaigns  of 
i8i6  i8iy  &c  &c.  A  large  sack,  inscribed  Claims  of  the  Emigrants,  hangs 
from  the  shoulders  of  Louis  XVIII,  increasing  his  insecurity;  with  this  are 
a  rosary  and  cross,  and  a  bottle  labelled  Holy  Water  and  a  paper:  Absolution. 
He  is  struck  in  the  face  by  lightning  from  thunderbolts,  inscribed  French 
Army,  grasped  by  an  imperial  eagle  who  flies  close  to  him  with  menacing 
beak.   He  says:  Support  me  or  I  shall  fall. 

Other  figures  are  in  the  foreground,  standing  near  the  base  of  the  pole. 
On  the  extreme  1.,  behind  Marie  Louise,  Chateaubriand  stands  on  a  pile  of 
large  volumes ;  immediately  under  his  feet  are  Travels  to  Jerusalem  and  Elegy 
on  Louis  i6,  with  a  fragment  of  paper  inscribed  Sermons.  He  is  dressed  half 
as  a  military  officer  and  half  as  a  priest  in  a  long  cassock.  In  his  r.  hand  he 
holds  a  sword  and  dagger,  in  the  1.  a  cross  and  pen.  His  hair  is  decorated 
with  straw,  emblem  of  the  lunatic,  and  he  says:  Call  me  Chateaubriand  or 
Shatterbrain  or  what  you  will  charge  any  thing  upon  tne  but  Truth  &  Soberness. 
I  who  am  the  greatest  &  most  eloquent  humbug  in  Europe  &  the  first  poetical  & 
Church  Mitilant  [sic]  Statesman  in  France.  Papers  hang  from  his  pockets: 
Fools  Paridise;  Buonaparte  &  the  Bourbons;  State  Papers.  Close  to  the  pole 
on  the  r.  stands  the  Duchesse  d'Angouleme,  very  erect,  and  holding  a  baton. 
She  turns  to  her  husband  who  stands  at  her  side,  saying.  Aye  you'll  never  get 
the  Crown  or  an  Heir  to  it.  Her  skirt  is  bordered  with  fleurs-de-lis,  and  a  rosary 
hangs  from  her  waist.  The  Duke  stands  on  tiptoe,  gaping  up  at  his  uncle 
on  the  pole;  he  wears  uniform  and  holds  a  musket  by  the  barrel,  the  butt 
resting  on  the  ground.  On  the  extreme  r.  stands  Castlereagh,  hiding  his  face 
with  his  cocked  hat,  in  conversation  with  Richelieu,  towards  whom  he  bends. 
He  is  grotesquely  thin,  and  holds  behind  his  back  a  document:  Subjugation 
[of]  France.  The  due  de  Richelieu,  exotic  and  foppish,  stands  chapeau  bras, 
bowing,  with  shoulders  raised.  Castlereagh  says:  My  dear  Richelieu  devide  & 
conquer — &  you'll  Rule  France  at  your  pleasure.  Richelieu:  Fll  take  your 
Lordships  advice  Fll  follow  your  example  in  Ireland  &  I  cannot  fail  of  success. 

In  the  middle  distance  (r.)  stands  John  Bull,  a  jovial  countryman  in  short 
gaiters,  holding  out  a  money-bag  in  each  hand  towards  the  pole.  He  says: 
Come  take  my  Money,  thats!  what  all  this  Fun  means,  well!  that  Mounseer 
Shatterbrain  pleases  me  most:  He  seems  maddest  of  'em  all  &  well  He  may  for 

586 


POLITICAL   SATIRES    1815 

he  keeps  Louis's  conscience.  On  the  opposite  side  (1.),  but  slightly  farther  back 
and  on  a  smaller  scale,  stands  Talleyrand  (1.)  facing  Fouche  who  holds  a  large 
sack  under  each  arm,  inscribed  respectively  Secrets  of  Napoleon  and  Secrets 
of  Louis  XVin.  Talleyrand  points  angrily  behind  him  to  Chateaubriand, 
saying,  My  dear  Fouche  that  charlatan  Chateaubriand  hasjockied  us  both.  Both 
register  angry  dismay. 

In  the  background  are  two  separate  scenes.  On  the  1.  Napoleon  stands  with 
folded  arms  on  St.  Helena,  on  the  plain  behind  Jamestown;  he  is  a  colossus 
surrounded  by  a  fringe  of  tiny  soldiers,  and  with  cannon  pointing  at  him  from 
the  craggy  summits  by  which  Jamestown  is  flanked.  He  says:  /  climbed  up 
twice  without  any  help  [see  No.  1261 1 ,  &c.] .  On  the  r.  a  massacre  of  protestants 

is  taking  place  at  Nismes,  the  place  being  indicated  by  a  sign-post.  The  scene 
is  dominated  by  a  second  greasy  pole,  at  the  top  of  which  is  the  Pope,  holding 
his  cross  and  waving  his  tiara.  He  calls  to  Louis  XVHI:  Soyt  of  S'  Louis 
ascend  to  Heaven  you  can  do  no  good  upon  earth.  Below  him  is  a  serpent  climb- 
ing up  the  pole.  At  the  base  of  the  pole  (r.)  a  naked  man  is  being  burned  at 
the  stake  while  a  man  exultantly  waves  his  hat,  shouting  vive  le  Roi.  On  the 
1.  a  monk  holds  up  a  cross  towards  assassins  who  are  stabbing  prostrate  victims. 
He  says:  Dozen  with  the  Protestants.    Two  buildings  are  on  fire. 

A  comprehensive  attack  on  the  restoration  of  Louis  XVHI  by  the  Allies, 
see  No.  12609.  ^^^  tenor  is  that  of  a  gloomy  series  of  leading  articles  in  the 
Examiner,  from  3  Sept.  to  31  Dec.  1815,  whose  viewpoint  is  hatred  of  the 
Bourbons,  disappointment  at  Napoleon's  defeat,  indignation  at  his  exile,  and 
resentment  that  England  should  still  be  the  paymaster  of  the  alliance.  Marie 
Louise  had  openly  deserted  Napoleon's  cause  for  that  of  her  father  (and 
Neipperg).  The  Talleyrand-Fouche  ministry  of  July  fell  as  a  result  of  the 
election  of  an  ultra-royalist  Chamber  in  August.  Fouche,  by  an  intrigue  of 
Talleyrand,  was  nominated  Minister  at  Dresden.  On  19  Sept.  Talleyrand 
was  dismissed  by  Louis  (or  according  to  himself  resigned  on  patriotic  grounds) 
and  was  succeeded  by  the  due  de  Richelieu.  Chateaubriand  in  1814  declared 
for  the  principle  of  legitimacy  by  his  De  Buonaparte  et  des  Bourbons.  He 
accompanied  Louis  during  the  Hundred  Days  and  returned  with  him  as 
Minister  of  State.  His  Itineraire  de  Paris  a  Jerusalem  et  de  Jerusalem  a  Paris 
was  published  in  181 1.  The  White  Terror  in  the  south  of  France  was  anti- 
Protestant  as  well  as  anti-Jacobin;  see  No.  12704,  &c.  The  Duchesse 
d'Angouleme  (the  Dauphine  of  No.  7886)  married  her  cousin,  the  heir  to 
the  throne;  both  were  leaders  of  the  absolutist  party.  Castlereagh  is  pilloried 
for  his  Irish  policy,  1798-1801,  see  No.  9531.  For  the  opposition  to  subsidies 
see  No.  12550.  Two  mats  de  Cocagne  were  part  of  the  festivities  of  the 
Champ  de  Mai  (i  June),  E.xaminer,  181 5,  p.  373. 

The  pi.  was  probably  commissioned  as  well  as  published  by  Hone,  cf. 
No.  12553.  It  is  one  of 'four  Coloured  Caricatures  by  Mr.  George  Cruikshank' 
advertised  in  Hone's  Second  Trial,  18 18,  where  the  title  continues:  'or  Soaped 
Pole  to  bear  off  the  Imperial  Crown';  it  is  styled  'This  celebrated  Caricature 
privately  circulated  at  Paris  .  .  .  2  s.'.  Sidebotham  applied  to  Hone  for 
impressions  at  less  than  cost  price,  threatening  to  pirate  it  if  Hone  refused. 
He  then  asked  Cruikshank  to  copy  the  pi.,  and  on  his  refusal  had  it  copied 
elsewhere,  see  No.  12615.   Hackwood,  William  Hone,  1912,  p.  106  f. 

In  Le  Mat  de  Cocagne  (2  Sept.  1815),  a  French  print,  a  fat  abbe  tries  to 
grasp  the  prize:  jobs  and  decorations  for  18 15;  he  drags  up  by  the  queue 
a  less  agile  colleague  (De  Vinck,  No.  9205). 

Reid,  No.  507.    Cohn,  No.  1701.    Broadley,  ii.  13,  81. 
11^X9!  in.   With  border,  13^X9^  in.  'Caricatures',  xi.  6i  b. 

587 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

12615  THE  MAT  DE  COCAGNE— OR  LOUIS.  i8TH  SUPPORTED  BY 
YE  ALLIES!! 

[Pub.  Sidebotham.  Oct.  1815.] 

Engraving  (coloured  impression).  An  inferior  copy  of  No.  126 14,  with  altera- 
tions. John  Bull  is  removed  from  his  original  position  and  appears  on  a  larger 
scale  and  on  his  knees  at  the  base  of  the  pole,  supporting  on  his  back  the  bags 
of  English  Subsidies  on  which  Francis  I  kneels.  He  says :  This  additional  weight 
will  sink  me.  The  duchesse  d'Angouleme  says :  You're  a  pretty  fellow  for  y' 
Duke  Dangloueme!  Why  dont  you  shew  a  proper  spirit  as  I  do — or  youll  never 
get  a  Crown  or  an  heir  to  it!!  Chateaubriand  says :  Call  me  Talleyrand  or  Fire- 
brand or  what  you  will  I  am  the  greatest  and  most  Eloquent  Humbug  in  Europe — 
the  Vicar  of  Bray  was  an  Ass  compared  to  me!! —  Talleyrand  says  to  Fouche, 
pointing  to  Chateaubriand :  that  fellow  hasjockied  us!  both.  Richelieu  does  not 
speak ;  Castlereagh  says :  my  dear  Richalieu  you  must  rule  France  by  dividing 
the  People  as  I  did  when  in  Ireland.  The  two  buildings  of  Nimes  are  altered 
into  one  prison,  inscribed  Bastile.  Alexander  and  Frederick  William  do  not 
speak.  The  inscription  above  the  design  is  absent.  The  other  inscriptions 
(some  mis-spelt)  are  as  in  No.  12614. 

Sidebotham  sent  an  errand-boy  to  Hone  with  six  impressions,  asking  for 
six  of  No.  12614  in  return;  Hone  tore  them  up,  and  returned  the  fragments. 
Sidebotham  summoned  Hone  for  damages,  but  the  case  was  dismissed  at  the 
Court  of  Requests,  Guildhall,  'the  Court  conceiving  that  Mr  Hone  had 
received  great  provocation,  as  well  as  sustained  serious  injury  by  the  plaintiff's 
piracy'.  Hackwood,  op.  cit.,  p.  107.   Cf.  No.  11412. 

Reid,  No.  507.    De  Vinck,  No.  9668.    Reproduced,  Bourguignon,  ii.  334. 
iif  X8|  in. 

12616  BRITISH  LIBERTY  AT  BLACKHEATH.  OR,  JUSTICE  SHAL- 
LOW'S UNWARRANTABLE  WARRANT  AGAINST  WALKING!!! 

[G.  Cruikshank.] 

London  des'^  &  Pub'^  by  J.  Sidebotham  N°  74  Newgate  S^  &  at  N°  20 
Capel  S^  Dublin  [Oct.  1815.] 

Engraving  (coloured  and  uncoloured  impressions).  An  elderly  and  hideous 
Justice  of  Peace,  much  caricatured,  sits  in  an  arm-chair  at  his  writing-table  (1.), 
looking  through  his  spectacles  with  an  imbecile  and  puzzled  frown  at  a  good- 
looking  young  man  (?  Ellis),  who  is  taking  the  part  of  the  prisoner.  Close 
beside  him  sits  another  man,  also  stupidly  malevolent.  The  culprit  Wilson, 
a  pedestrian,  stands  with  a  good-natured  smile,  a  stick  in  one  hand,  a  jockey- 
cap  with  a  large  favour  in  the  other.  He  wears  a  sleeved  waistcoat  and 
trousers.  The  Justice  says:  For  Walking  you  must  go  to  jail  j  Or  give  me  good 
sufficient  Bail.  The  prisoner's  advocate  says :  If  walking  for  Money  is  illegal^ 
why  do  you  not  apprehend  the  twopenny  Post  man  when  he  brings  you  a  letter? 
A  respectably  dressed  man,  holding  a  tall  constable's  staff  to  show  that  he  is 
a  Mr.  Constable,  says :  If  the  prisoner  has  acted  contrary  to  Law  it  was  a  disgrace- 
ful &  most  unjustifiable  neglect  of  your  duty  to  wink  at  the  supposed  breach  of 
the  peace  for  i^  days  witho'  interfering!  And  a  most  cruel  act  to  prevent  him 
afterwards  from  finishing  what  would  only  have  taken  five  Days  more!!  On  the 
extreme  r.  is  a  more  fashionably  dressed  man  (?  Kinnaird)  who  says,  with 
a  gesture  of  indignation :  Such  definitions  of  English  Law  is  only  fit  to  be  dis- 
cussed in  a  Saw  Pit  let  a  Constable  take  him  there  &  Goodenough! ! 

The  justice's  arm-chair  is  inscribed  Wto  show  that  he  is  Williams  of  Black- 
heath.  On  a  perch  projecting  from  the  back  of  the  chair  sits  an  owl,  holding 

588 


POLITICAL   SATIRES    1815 

in  one  claw  the  scales  of  Justice ;  one  scale  contains  a  paper,  Private  Bets  agt 
the  Match,  and  outweighs  the  other  containing  a  paper  inscribed  Publick 
Justice.  On  the  wall  are  two  pictures :  one  of  a  goose  peering  at  an  open  book : 
Blackstone  ['Commentaries'] ;  the  other  is  an  ass  standing  on  Burns  Justice 
['Justice  of  the  Peace  and  Parish  Officer',  by  Bum,  cf.  No,  7422].  Below  the 
design : 

Ye  Postmen  &  Porters  &  all  other  folks 

That  make  any  Money  by  Walking 

Beware  of  Blackheath  &  y^  Justice's  looks 

For  he  Views  it  illegal  &  shocking! 

If  you  wish  to  keep  clear  of  the  grim  jailors  cage 

Let  those  who  are  Paid  for  an  Errand 

Dance.  Roll  in  a  Barrow  or  pay  for  the  Stage 

For  fear  of  the  Justices  Warrant!!! 
George  Wilson,  a  pedestrian,  undertook  for  a  subscription  of  ^^  100  to  walk 
1,000  miles  in  twenty  days,  at  50  miles  a  day,  on  Blackheath,  starting  on 
1 1  Sept.  Blackheath  became  crowded  with  booths,  &c.,  and  the  magistrates 
threatened  to  stop  the  walk.  After  the  750th  mile  he  was  taken  into  custody 
on  a  warrant  from  five  separate  magistrates  for  occasioning  a  nuisance.  Bail 
was  ready,  but  the  magistrates  had,  it  was  said,  taken  care  not  to  be  at  home. 
The  warrant  was  afterwards,  owing  to  his  solicitor  Mr.  Ellis  and  the  presence 
of  Messrs.  Kinnaird  and  Constable  at  the  petty  sessions,  declared  illegal. 
Examiner,  24  Sept.,  2  and  8  Oct.  On  15  Sept.  the  magistrates  had  announced 
that  he  would  not  be  allowed  to  walk  'in  any  part  of  the  Sabbath  Day'.  See 
broadside  with  portraits  of  Wilson  in  Print  Room.  The  incident  was  the 
occasion  of  much  publicity  including  two  verse  satires  against  the  magistrates, 
and  a  pamphlet  vindicating  their  proceedings.  Three  accounts  of  Wilson  and 
the  match  in  181 5  (not  in  B.M.)  have  portrait  frontispieces  by  Cruikshank, 
see  Cohn,  Nos.  850,  851,  852  (Reid,  Nos.  281 1,  4665).   Cf,  No.  12870. 

Reid,  No.  506.    Cohn,  No.  958. 
8iXi3iin. 

12617  FAST  COLOURS— 

G  H  inv^     G  Cruikshank  fec^ 

Pub'^  Ocf  26  1815  by  W.  Hone  55  Fleet  5'  London. 

Engraving  (coloured  impression).  Below  the  design,  as  a  second  title :  Patience 
on  a  Monument  smiling  at  Grief — or — the  Royal  Laundress  washing  Boney's 
Court  Dresses.  Louis  XVIII,  as  a  fat  old  washerwoman,  stoops  in  profile  to 
the  r.  over  a  frothing  wash-tub  to  inspect  a  tricolour  flag  which  hangs  over 
the  side  of  the  tub.  Tiny  soldiers  with  the  flags  of  the  Allies :  British,  Russian, 
and  Austrian,  emerge  from  the  lather.  She  says :  Bless  me  how  fast  these 
Colours  are  Pm  afraid  I  shall  not  get  them  white  alth'o  I  have  got  such  a  Strong 

Lather.  He  wears  a  cap,  a  short  projecting  petticoat  bordered  with  fleurs-de-lis, 
and  an  apron.  His  gouty  swathed  legs  are  decorated  with  fleurs-de-lis,  and 
his  bulky  feet  are  supported  on  pattens,  A  bag- wig  rests  on  his  shoulders, 
and  an  irradiated  miniature  of  the  Regent  dangles  against  the  back  of  the 
petticoat.  The  tub,  also  decorated  with  fleurs-de-lis,  stands  on  a  rough  stool 
on  the  edge  of  which,  in  place  of  the  customary  gin-bottle,  is  a  bottle  of  Holy 
Water  and  a  glass.  On  the  ground  at  his  feet  is  a  print  of  three  Old  women 
washing  a  Blackemoore  white  in  a  wash-tub,  probably  a  popular  comic  print 
(cf.  No.  1 1272),  with  a  book,  and  a  bottle  of  Salts  of  Lemon  for  tak^  out  Stains. 
The  tub  is  on  the  shore;  near  the  horizon  (r.)  is  the  island  of  St,  Helena  with 

589 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

a  giant  Napoleon  seated  on  a  sugar-loaf  peak,  his  feet  just  above  Jamestown 
Bay  (see  No.  12611,  &c.).  He  looks  across  the  sea,  one  hand  on  his  hip,  the 
other  thrust  under  his  waistcoat,  saying :  Ha,  ha!  such  an  Old  Woman  as  you 
may  rub  a  long  while  before  they'll  be  all  white  for  they  are  Tricolour  ed  ingrain. 

One  of  many  satires  on  the  restoration  of  Louis  XVIII,  ex-pensioner  of 
England,  his  dependence  on  foreign  armies,  and  especially  the  support  given 
him  by  the  Regent,  to  whom  he  said,  in  1814  (see  No.  12265):  'C'est  aux 
conseils  de  Votre  Altesse  Royale,  a  ce  glorieux  pays  et  a  la  confiance  de  ses 
habitants  que  j'attribuerai  toujours,  apres  la  divine  Providence,  le  retablisse- 
ment  de  notre  maison  .  .  .'.  See  No.  12609,  &c.  The  viewpoint  is  that  of 
No.  1 26 1 4,  also  published  by  Hone  and  pirated  by  Sidebotham.  The  design 
seems  to  derive  in  part  from  No.  5975  (1782)  where  Lord  North  is  a  fat  old 
washerwoman.  Advertised,  price  is.,  as  one  of  four  'Coloured  caricatures  by 
Mr.  G.  Cruikshank',  published  by  Hone,  see  No.  12614. 

Reid,  No.  509.    Cohn,  No.  1830.    Broadley,  ii.  13  f.   He  lists  a  Swedish 
watercolour  copy  in  sepia,  The  Washerwoman  (i8i6). 
6|x8|in.   With  border,  7^X9-^  in. 

12618  FAST  COLOURS— 

London  Pub^  by  J.  Sidebotham  g6  Strand.  [c.  Oct.  1815] 

Engraving.  A  close  copy  of  No.  126 17,  with  the  same  inscriptions  and  second 
title,  but  with  the  addition  of  figures  on  the  1.  Behind  Louis  XVIII  (1.)  is 
a  steaming  copper,  bigger  than  the  King's  wash-tub,  inscribed  Holy  Water. 
In  this  the  Allied  Powers  try  to  boil  out  the  tricolour;  miniature  allied  flags 
appear  among  the  steam  as  in  the  Bourbon  soap-suds.  Wellington  (1.)  and 
Bliicher  (r.)  face  each  other;  both  use  field-marshal's  batons  to  stir  the  con- 
tents of  the  copper.  The  former  says:  In  Waterloo  I  lathered  them  till  they 
turn'd  white.  Bliicher  says:  Louis  must  rub  on  as  well  as  he  can  &  we'll  keep 
him  in  hot  Water.  Between  these  two  and  on  the  farther  side  of  the  copper  are 
Alexander  and  Francis  I,  both  stirring  with  sceptres.  The  Tsar  says:  They 
are  fast  colours  &  we  shall  only  Burn  our  fingers  by  Dabbling  in  such  Domestic 
Affairs!  The  Emperor  of  Austria :  They  look  white  at  present  but  I  am  afraid 
the  Colours  will  appear  again  after  all!  On  the  ground  are  two  papers :  Instruc- 
tions to  pull  dozvn  all  the  Statues  &  public  Buildings  that  may  remind  the  people 
of  Napoleon  &  to  rub  &  pick  out  all  the  N's  in  the  Tapestry,  table  Cloths  Jack 
towels  Napkins  &  Dusters  of  the  Royal  palaces  and  The  Restoration  of  the 
Bourbons  a  tale  of  a  Tub! 

For  the  Allied  Powers  and  the  Restoration  cf.  No.  12609.  For  Waterloo 
see  No.  12557,  ^^• 

De  Vinck,  No.  9369. 
7f  X  12^  in.   With  border,  9X  12^  in. 

12619  THE    DEPARTURE    OF    APOLLO    &    THE    MUSES— OR— 
FAREWELL  TO  PARIS— 

Etch^  by  G  Cruikshank 

London  des^  &  published  by  J.  Sidebotham  N°  74  Newgate  S^  <Sf  N°  20 
Capel  S^  Dublin  [c.  Oct.  181 5] 

Engraving  (coloured  impression).  Apollo  drives  (r.  to  1.)  a  chariot  from  Paris, 
in  which  sit  or  stand  four  of  the  nine  Muses ;  Hercules  follows  with  his  club 
across  his  shoulder,  holding  on  a  leash  two  lions  whose  heads  are  on  the 

590 


POLITICAL   SATIRES    1815 

extreme  r.  Apollo's  lyre  is  his  seat,  and  for  a  whip  he  uses  his  bow,  which 
has  a  floating  string.  On  the  head  of  one  of  the  Muses  (Erato),  sits  a  little 
cupid  with  his  guitar  under  his  arm.  Another  Muse  holds  an  easel  and 
brushes,  a  third  holds  a  book,  a  fifth  walks  behind  the  car.  The  chariot  is 
drawn  by  a  pair  of  horses,  the  near  horse  ridden  by  Bliicher  as  postilion.  They 
seem  intended  for  t\vo  of  the  four  bronze  horses  from  Venice  which  had  been 
placed  on  the  Arc  du  Carrousel.  In  front  of  these  is  harnessed  a  beast  repre- 
senting (though  not  resembling)  the  Lion  of  St.  Mark,  ridden  by  Wellington, 
who  says :  Go  along  Blucher  let  us  haste  to  restore  the  Stolen  Goods.  The  lion's 
(erect)  tail  is  labelled  For  S^  Marc  (it  had  been  on  the  fountain  of  the  Invalides). 
Behind  the  chariot  is  a  corner  of  a  building  representing  (but  quite  unlike) 
the  Louvre,  the  name  over  the  doorway,  in  which,  at  the  top  of  a  flight  of 
steps,  Louis  XVIII  talks  with  Talleyrand.  The  King,  with  swathed  gouty 
legs  and  supported  on  a  stick,  points  behind  him  to  the  departing  chariot, 
and  says  to  Talleyrand  (r.):  Dear  Talley,  persuade  them  to  leave  us  a  few  of 
those  pretty  things  for  my  CHAMBERS  they  zvill  pacify  the  Deputies  &  amuse  the 
people.  Talleyrand :  /  have  tried  every  scheme  to  retain  them  but  it  seems  they 
have  at  last  found  us  out  &  are  not  to  be  humbuggd  any  longer.  A  man,  evidently 
Denon,  director  of  the  Museum,  leans  from  a  sash-window  beside  the  door, 
holding  up  a  handkerchief,  and  extending  his  r.  arm  in  an  appealing  gesture. 
He  says  to  Apollo  and  his  train :  Don't  go  yet  Ladies  &  Gentlemen  Pray  Stay 
with  us  a  little  longer.  We  could  keep  you  for  ever  &  shall  always  regret  that 
we  were  forc'd  to  part  with  you.  Clouds  of  dust  rise  from  the  horses'  hoofs 
and  the  chariot  wheels.  In  the  background  and  middle  distance  a  procession 
of  wagons  filled  with  works  of  art  winds  away  from  Paris.  The  last  (and 
nearest)  is  an  open  cart  inscribed  Holland  filled  with  large  pictures  and  a  huge 
portfolio.  A  soldier  rides  the  galloping  horse.  In  front  is  a  similar  cart 
inscribed  Italy,  also  with  a  soldier-postilion.  Both  men  say:  Every  man  his 
own.  This  is  filled  with  pictures,  with  a  Roman  bust  and  a  classical  urn.  On 
the  extreme  1.  is  the  back  of  a  covered  wagon  inscribed  Venice,  filled  with 
pictures,  a  cross,  and  Church  plate.  In  the  distance  winding  up-hill  (1.  to  r.) 
are  wagons  inscribed  Vienna  and  Berlin.  From  the  top  of  an  arch  adjoining 
the  Louvre  workmen  are  removing  a  statue,  and  seem  to  be  demolishing  the 
arch.  A  soldier  plies  a  pickaxe,  making  the  statue  tilt  over.  A  second  man 
ascends  a  ladder,  a  third  stands  on  a  broken  part  of  the  summit,  next  a  tripod 
with  a  pulley  which  is  being  used  for  demolition.  Through  the  arch  is  seen 
a  statue  on  the  top  of  a  column  (in  the  Place  Vendome).  Above  the  doorway 
of  the  Louvre  is  a  central  monogram,  NBI,  flanked  by  symbols  of  art,  a 
palette,  brush,  &c. 

In  1 8 14  the  Allies  had  permitted  the  French  to  retain  the  works  of  art 
appropriated  by  Napoleon:  in  181 5  it  was  a  condition  of  the  capitulation 
(3  July)  that  they  should  be  returned  to  their  countries  of  origin.  This  roused 
resentment  in  France  and  controversy  in  the  British  Press.  The  difl^erent 
Powers  began  removing  their  own  treasures  under  armed  guard ;  the  position 
was  then  regularized  by  Wellington  (who  thus  incurred  odium  in  Paris)  and 
Castlereagh.  Wellington's  letter  of  23  Sept.  to  Castlereagh  (Gurwood,  Dis- 
patches, xii.  641)  appeared  in  the  newspapers  {Examiner,  15  Oct.).  The 
Morning  Chronicle  called  the  removal  'this  act  of  pillage'.  The  Parisians  were 
especially  enraged  at  the  removal  of  the  Venetian  horses  (see  John  Scott, 
Paris  revisited  in  181 5  .  .  .,  1816,  ch.  x;  Memoirs  of  Romilly,  1842,  ii.  391  f.; 
Examiner,  2-29  Oct.).  Denon  had  pointed  out  to  Napoleon  the  principal  works 
of  art  to  be  chosen  for  the  Louvre;  on  his  resignation,  Oct.  1815,  Louis  XVIII 
expressed  his  satisfaction  at  the  zeal  with  which  he  had  tried  to  retain  them. 
The  English  in  Paris,  who  had  been  very  popular  by  contrast  with  the 

591 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

Prussians,  suddenly  incurred  bitter  hatred.  See  D.  M.  Quynn,  'The  Art 
Confiscations  of  the  Napoleonic  Wars',  Am.  Hist.  Rev.,  Apr.  1945,  and 
Nos.  12461,  12606,  12620,  12622.  Cf.  No.  12746. 

Reid,  No.  345.   Cohn,  No.  1051.   Listed  by  Broadley. 
8#Xi3f  in. 

12620  THE  AFTERPEICE  TO  THE  TRAGEDY  OF  WATERLOO— 
OR— MADAME  FRANgOISE  &  HER  MANAGERS!!! 

G.  Cruikshank  fec^ 

Pu¥  at  W  Hone's  N°  55  Fleet  S^  Nov""  9^''  181 5 

Engraving  (coloured  and  uncoloured  impressions).  France,  or  'Mme  Fran- 
9oise',  is  a  woman,  larger  in  scale  than  the  other  figures,  whom  the  Allies 
pinion,  plunder,  and  maltreat.  She  is  on  the  ground  on  her  back,  supported 
on  her  arms,  with  a  heavy  fetter  attached  to  her  1.  wrist  and  r.  leg.  She  wears 
a  decolletee  high-waisted  dress,  with  bare  arms  and  legs;  her  hair  is  loose. 
Wellington  (r.)  kneels  to  hammer  to  the  ground  an  iron  plate  attached  to  her 
1.  wrist:  Alexander  (1.)  locks  a  large  padlock  by  which  her  chained  1.  leg  is 
linked  to  a  staple  in  the  ground.  The  former  says:  "We  enter  France  as 
Friends'' — well,  Fve  crippled  her  Arms  if  that  zoill  do  her  any  good.  The  Tsar 
says :  "It  is  necessary  that  France  sho'^  be  great  &  powerfidl  in  order  to  keep  up 
the  Ballance  of  Power  for  the  security  of  Europe"  [see  No.  12558]  But  'tis  the 
great  I  who  must  preponderate  in  this  Ballance.  Beside  him  stands  a  fat  Dutch- 
man representing  William  I ;  he  stoops  over  Mme  Frangoise  to  cut  off  with 
scissors  a  part  of  the  skirt  of  her  dress,  inscribed  Netherlands.  He  is  dressed 
like  the  Dutchman  in  English  caricature  in  bulky  breeches  and  short  jacket, 
but  over  his  shoulders  is  the  ribbon  of  an  order.  In  his  hat  is  a  tobacco-pipe. 
On  the  extreme  1.  Francis  I  raises  a  mallet  in  both  hands  to  hammer  the 
staple  by  which  the  chain  held  by  the  Tsar  is  attached  to  the  ground.  He 
says:  "We  come  to  restore  France  to  her  Ancient  rights  &  Liberties."  A  figure 
in  armour  which  bristles  with  ferocious  spikes  represents  the  armed  forces  of 
the  Allies.  The  face  is  covered  by  the  helmet  which  is  topped  by  a  small 
cannon  with  six  large  feathers  waving  from  the  touch-hole ;  the  largest,  in  the 
centre,  is  inscribed  England,  the  others  are  Russia,  Prussia,  Austria,  with 
Holland  (small)  and  Sweeden  (drooping).  This  monster  plants  one  foot  on  the 
stomach  of  Mme  Frangoise,  while  he  uses  a  musket  whose  bayonet  has  been 
converted  into  a  spoon  to  cram  tiny  figures  into  her  mouth.  The  fat  posterior 
and  gouty  legs  of  the  half-swallowed  Louis  XVHI  project  from  her  mouth; 
the  others  are  lined  up  on  the  spoon,  eager  to  be  swallowed:  the  foremost 
is  the  Duchesse  d'Angouleme,  with  outstretched  arms.  The  other  three  must 
be  her  husband,  the  Cte  d'Artois,  and  the  Due  de  Berry;  they  have  a  flag 
inscribed  Les  Bourbons.  Behind  the  victim's  r.  shoulder  stands  Bliicher, 
lunging  forward  to  drag  a  large  purse  from  her  pocket,  and  to  seize  the 
miniature  of  Napoleon  which  hangs  from  her  necklace.  He  says:  "France 
shall  choose  her  own  rulers"  only  she  must  have  the  Bourbons  we  know  what  is 
best  for  her  &  ourselves  too.  Behind  her  Castlereagh  walks  off  to  the  r.,  hold- 
ing up  a  mural  crown  bristling  with  guns  and  a  bonnet  rouge,  both  of  which 
he  has  just  snatched  from  her  head.  He  turns  his  head  in  profile,  saying: 
It  delights  me  when  I  see  a  Country  enjoy  her  Old  established  Privileges — My 
Own  Country  to  wit.  In  the  foreground  beside  La  France  lie  a  damaged  laurel- 
wreath,  a  broken  spear,  and  a  shattered  shield  inscribed  Napoleon  le  Grand. 
In  the  middle  distance  soldiers  stand  at  attention  with  fixed  bayonets  and 
in  close  formation,  watching  the  proceedings.  In  front  of  them  (r.)  three 
soldiers  walk  off  to  the  r.,  heavily  burdened.  The  first  two  have  baskets  on 

592 


POLITICAL   SATIRES    1815 

their  shoulders.  The  first  is  heaped  with  feathers,  and  is  inscribed  Borrowed 
Feathers.  From  the  second,  Borrowed  Ornaments,  project  miniature  statues:  a 
woman  and  a  horse.  The  third  carries  a  picture  on  his  shoulder  and  a  portfolio 
under  his  arm.  Behind,  on  rising  ground  above  the  tips  of  the  soldiers'  bayonets, 
are  two  scenes.  On  the  1.  a  rectangular  pilastered  building  stands  upside  down, 
poised  on  the  apex  of  its  roof.  Above  it  is  a  scroll  inscribed  Louvre  1815.  Beside 
it  (r.)  is  an  enormous  placard,  decorated  with  fleurs-de-Hs  and  inscribed:  In 
consequence  of  the  ''removal  of  the  pictures  <Sf  other  things" ,  The  public  are 

respectf'y  informed  That  this  Build^  will  in  future  be  used  as  a  Bastile — artists 
are  therefore  invited  to  send  in  plans  of  alteration,  improvement  &c  &c — 
iNB  The  Holy  Inquisition  of  Spain  have  kindly  qfferd  to  supply  the  necessary 

instruments.  Frenchmen  (1.)  stare  at  the  building  with  amazement.  An  officer 
looks  through  a  telescope,  saying.  Ah!  Dear  me  I  see  they  have  turn'd  it 
inside  out.  A  civilian  turns  to  his  companions,  shrugging  his  shoulders:  By 
gar!  it  is  not  like  de  same  place  as  it  vas.  As  a  pendant  to  this,  John  Bull, 
a  countryman,  stands  on  a  grassy  plateau  (r.).  He  watches  the  Allies  with  a 
delighted  grin,  saying.  My  soul  but  they  are  befriending  Mumzel  Franca 
indeed!! — Well  I've  no  objection  to  their  rendering  her  all  that  sort  of  assistance 
in  their  Power,  for  she  well  deserves  it!   Only  they  didn't  mention  all  this  fun 

in  their  Proclamations!!!!  A  curtain  draped  from  the  upper  margin  gives  the 
semblance  of  a  proscenium. 

For  the  return  of  the  Bourbons  under  Allied  protection  see  No.  12609,  &c. 
Wellington's  proclamation,  21  June,  began:  'I  announce  to  the  French  that 
I  enter  their  Territory  at  the  head  of  an  army  already  victorious,  not  as  an 
enemy  (except  of  the  Usurper  .  .  .  with  whom  there  can  be  neither  peace  nor 
truce),  but  to  aid  them  to  shake  off  the  iron  yoke  by  which  they  are  oppressed.' 
Ann.  Reg.,  1815,  p.  392.  He  had  difficulty  in  checking,  and  could  not  prevent, 
pillage  by  the  Prussians.  The  treaty  of  1815,  by  adhering  (with  minor  adjust- 
ments) to  the  frontiers  of  1790  instead  of  1792,  gave  some  additions  to  the 
Netherlands,  but  the  satire  seems  to  attack  the  deliver}^  of  the  Netherlands 
(in  1813-14)  from  France,  and  the  re-establishment  of  the  House  of  Orange, 
cf.  No.  12102.  For  the  restoration  of  the  works  of  art  see  No.  12619,  &c.  The 
words  of  John  Bull  admit  that  public  opinion  in  England  was  opposed  to 
the  attitude  of  this  and  other  prints  published  by  Hone  in  1815,  and  having 
the  character  of  political  tracts.  Actually,  owing  to  Castlereagh  and  Welling- 
ton, Russia  and  Britain  were  united  to  prevent  Prussia  from  dismembering 
France,  while  insisting  on  guarantees  against  French  aggression.  See  C.  K. 
Webster,  The  Foreign  Policy  of  Castlereagh,  i,  1931,  pp.  457  ff. 

Reid,  No.  513.    Cohn,  No.  874.    Broadley,  ii.  14-15. 
8^X  13-^  in.   With  border,  gfx  13  jj-  in. 

12621  TRANSPARENCY.  |  EXHIBITED  AT  R  ACKERMANNS  IN 
THE  STRAND  |  ON  THE  27  NOVR  1815  THE  DAY  ON  WHICH  |  THE 
GENERAL  PEACE  WAS  CELEBRATED  IN  |  LONDON 

[Rowlandson.] 

Aquatint  (coloured  impression).  An  allegorical  design.  The  throne  of 
Louis  XVIII,  supported  on  a  monument  and  a  military  trophy,  is  flanked 
by  two  flights  of  stairs:  Bliicher  (1.)  drives  Napoleon  down  one  flight,  while 
WeUington  leads  Louis  XVIII  up  the  other.  The  seat  of  the  canopied  throne 
rests  on  four  fasces  with  lictors'  axes  connected  by  swags  of  laurel.  At  the 
back  of  the  throne  the  centre  ornament  is  the  fleur-de-lis  encircled  by  a 
serpent  with  its  tail  in  its  mouth  (emblem  of  eternity).  This  rests  on  a  stone 

593  ftq 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

base;  the  inscription  Peace  throughout  Europe  is  above  a  tablet  inscribed 
Charlemaigne  Nassau  \  Capet.  Bourbon  flanked  by  laurel-wreaths  respectively 
enclosing  the  words  Humanity  and  Justice.  This  stone  base  is  arched  like 
a  culvert  and  rests  on  a  larger  base  on  which  is  a  large  trophy  which  dominates 
the  design.  This  is  centred  by  two  tablets  one  (above)  inscribed  Wellington^ 
the  other  Blucher,  and  surmounted  by  the  Prince  of  Wales's  coronet  and 
feathers.  This  centre-piece  is  flanked  by  the  flags  of  the  Allies,  cannon, 
bayonets,  and  spears. 

On  the  top  step  flanking  the  throne,  Blucher  fires  a  blunderbuss  point-blank 
at  the  back  of  Napoleon  who  flees  and  falls,  while  two  elderly  French  civilians 
have  fallen  head  foremost  to  the  base  of  the  stairs.  Above  Bliicher's  head  an 
air-borne  Fame  blows  her  trumpet  towards  the  throne.  On  the  opposite  side 
Wellington,  pointing  with  his  hat  to  the  throne,  leads  the  stout  Louis  XVIII 
up  the  stairs.  The  King  is  followed  by  four  of  his  family  (or  adherents),  one 
of  whom  supports  him  from  below;  another  holds  the  crown  on  a  cushion. 
As  a  pendant  to  Fame,  Justice  reclines  upon  clouds  above  Wellington  and 
Louis,  holding  her  sword  and  scales.  At  the  base  of  the  design  immediately 
below  the  stairs  are  two  groups  (T.Q.L.)  of  Allied  soldiers.  Those  on  the  1. 
look  up  at  the  falling  man;  one,  in  Highland  uniform,  holds  up  his  bayonet 
to  spike  one  of  the  Frenchmen  in  the  mouth.  Another  blows  a  trumpet.  On 
the  r.  are  three  mounted  men:  a  Cossack  on  his  pony,  with  his  back  to  the 
staircase,  a  hussar  blowing  a  trumpet,  and  a  British  Life  Guard  with  a 
drawn  sabre. 

The  Second  Peace  of  Paris  was  signed  on  20  Nov.,  the  fact,  but  not  the 
terms,  being  published  in  the  London  Gazette  on  23  Nov.  See  Satow,  'Peace- 
making, old  and  new',  Camb.  Hist.  Journal,  i  (1923),  pp.  31  flF.  The  dis- 
gruntled Exafniner  announced,  3  Dec. :  'The  Illuminations  were  not  general 

Private  houses  were  as  gloomy  as  if  their  inhabitants  had  no  share  in  those 
blessings  which  were  so  splendidly  commemorated  by  the  offices  of  the  Public 
Ministers.'  The  still  more  hostile  Cobbett:  'How  dull,  how  mournful  the 
scene.  .  .  .  No  illuminations  except  Ex-Officio  in  London.  It  is  peace  in  such 
dismal  circumstances  as  to  shut  up  the  hearts  of  the  people  against  any  feel- 
ing of  joy.'  Pol.  Reg.,  2  Dec.  For  the  restoration  of  Louis  XVIII  see  No. 
12609,  &c. 

Grego,  Rowlandson,  ii.  294  f.   Listed  by  Broadley. 
8|xi3|in. 

12622  STATE  OF  POLITICKS  AT  THE  CLOSE  OF  THE  YEAR  1815. 

G.  Cruikshank  fec^ 

Pub'^  by  M  Jones  N°  5  Newgate  S'  December  i'^  181 5 

Aquatint  (coloured  and  uncoloured^  impressions).  PI.  to  the  Scourge,  x.  401. 
In  the  centre,  Louis  XVIII,  obese,  inert,  and  gouty,  is  enthroned  on  a  flimsy 
platform  which  is  supported  by  a  frail  centre  prop  inscribed  Bourbon  Party, 
but  rests  on  the  heads  of  four  sovereigns,  one  at  each  corner.  The  front  pair 
are  the  Regent  (1.)  and  the  Tsar  (r.).  The  Regent  stands  directed  to  the  1., 
1.  hand  holding  a  bottle  of  wine  on  his  hip.  He  says :  Hereditary  right  for  ever 
D — n  all  upstarts.  Alexander,  directed  to  the  r.,  holds  his  cocked  hat;  in  his 
pocket  is  a  paper:  A  Map  of  Poland  in  Russia.  Behind  are  the  Emperor  of 
Austria  and  King  of  Prussia.  The  former  (1.)  puts  a  document  inscribed 
Italian  States  into  his  coat-pocket  and  holds  out  a  paper :  Claims  to  the  Throne 
of  France  to  be  made  in  due  Season.  Frederick  William  holds  a  paper  inscribed 
Szoeedish  Pomerania,  at  which  he  scowls,  saying,  Heigh  ho  for  an  Empire!  this 

■  Not  folded,  showing  that  it  was  issued  separately. 

594 


POLITICAL   SATIRES   1815 

is  not  enough  for  me  [cf.  No.  12453].  ^^  wear  uniform,  the  Regent  with  pumps 
and  silk  stockings,  the  others  with  cavalry  boots.  These  four  stand  on  a  small 
plateau  above  the  surrounding  landscape,  Louis  XVIII  sits,  sceptre  in  hand, 
with  his  gouty  legs  astride;  his  head  is  dragged  in  profile  to  the  1.  by  the  Pope 
who  stands  at  his  r.  hand;  he  holds  a  hook  which  transfixes  his  nose.  The 
Pope's  r.  hand  clutches  both  his  crosier  and  the  King's  sceptre.  The  platform 
is  crowded  with  monks,  priests,  and  nuns  on  a  much  smaller  scale  than  King 
or  Pope.  They  face  the  throne  from  1.  and  r.  holding  lighted  candles;  there 
are  also  a  bishop  and  an  acolyte  swinging  a  censer.  A  winged  serpent  with  the 
head  of  Talleyrand  (cf .  No.  9349)  flies  towards  the  King  to  whisper  in  his  ear. 

On  the  ground  on  the  1.  of  the  plateau  are  four  soldiers  wearing  long  caped 
coats,  each  holding  a  watchman's  rattle  and  lantern,  led  by  Wellington,  who 
also  wears  a  long  overcoat.  He  is  addressed  by  Bliicher  who  wears  an  academic 
cap  and  gown  with  uniform,  and  holds  a  sword  and  a  full  money-bag:  well. 
IW  Patrole  I  think  we've  Doctor' d  them  at  last.  From  the  extreme  1.  advance 
Frenchmen  with  two  profiles,  the  one  facing  r.  smiling,  the  other  scowling. 
They  caper,  waving  their  hats;  from  the  smiling  mouth  issue  the  words  Vive 
le  Roi,  or  Vive  les  Bourbons,  from  the  other  mouth:  Vive  VEmpereur.  Each 
puts  his  r.  hand  behind  his  back,  holding  a  dagger  labelled:  Bloody  revenge 
the  first  Oppertunity,  and  Bloody  Murder  as  soon  as  Possible.  Behind  and  in 
the  middle  distance  is  a  pile  of  packing-cases,  inscribed  Stolen  goods  to  be 
restored  to  the  right  owners.   From  some  of  these  statues  project. 

On  the  r.,  as  a  pendant  to  these  groups  are  three  figures  advancing,  r.  to  I., 
along  a  winding  path  which  will  eventually  lead  them  to  a  small  cave  in  a 
rock,  inscribed  Den  of  Da — nation,  from  which  flames  are  issuing.  A  fat, 
carbuncled,  and  slyly  grinning  friar  leads  Ferdinand  VII;  he  holds  across  his 
shoulder  a  leading-string,  inscribed  Priest  Craft,  attached  to  a  hook  in  the 
King's  nose.  In  his  r.  hand  is  a  firebrand.  The  King  advances  with  a  smile 
holding  a  large  paper  headed :  Hymns  to  accompany  the  Dying  Groans  of  the 
Spanish  Patriots;  he  wears  a  crown,  with  slashed  doublet  and  trunk  hose,  ruff, 
and  cloak.  From  a  pocket  projects  a  paper:  Death  zcarrants.  His  eyes  are 
heavily  bandaged  by  a  cloth  inscribed  Bigotary.  He  is  pushed  forvvard  by 
a  demon  with  horns  and  hoofs,  wearing  gown  and  bands  and  a  Jesuit's  biretta, 
and  holding  a  small  flag  inscribed  Director  of  the  HOLY  inquisition. 

The  background  on  the  1.  is  a  mountain  in  eruption  inscribed  Mount 
Vesuvius.  From  the  cone  tiny  soldiers  fly  into  the  air  or  fall;  among  them  and 
on  a  larger  scale  is  a  rat  (Murat)  which  receives  a  volley  from  a  blunderbuss 
fired  by  Ferdinand  IV  of  Sicily,  and  falls  head  first.  The  King,  wearing  a 
crown,  stands  astride  on  the  side  of  the  mountain ;  he  says :  a  Rat!  a  rat!  Dead 
for  a  Ducat.  The  mountain  slopes  to  the  sea  which  forms  the  background 
on  the  r.  Near  the  horizon  is  the  island  of  St.  Helena  (r.),  a  pendant  to 
Vesuvius.  Napoleon  stands  in  the  centre  behind  Jamestown  Bay  (see  No. 
1261 1,  &c.),  with  folded  arms  and  downcast  eyes.  He  says :  what  is  my  crime? 
it  must  be  ambition:  but  for  that:!  I  might  have  been  the  Continental  ruler  now!! 
Above  are  heavy  clouds  from  which  issues  a  trumpet  directed  towards  the 
platform  of  Louis  XVIII.  From  this  come  the  words:  O!  ye  Kings  of  the 
Earth!  take  warning  &  let  the  fate  of  your  outcast  brother  be  of  bcnfit  to  mankind. 

The  pi.  illustrates  a  disillusioned  summary  of  the  events  of  18 15  entitled 
Political  Mirror,  pp.  403-5 :  'Priests  and  the  Devil  rule  in  Spain — priests  and 
old  women,  with  the  aid  and  co-operation  of  the  allies  in  France,'  see  No. 
12609,  &c.  For  the  territorial  gains  and  ambitions  of  Russia,  Austria,  and 
Prussia  cf.  No.  12453,  &c.  Britain  'comes  in  only  for  the  honour,  and  even 
for  that  she  pays  dearly  enough  .  .  .'.  Wellington's  watchmen  represent  the 
army  of  occupation ;  for  Blvicher's  Oxford  degree  see  No.  12287.  The  French 

595 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

are  still  'alternately  tiger,  alternately  monkey',  cf.  No.  10090;  for  the  sudden 
reversal  of  regime  in  France  cf.  No.  12543;  for  the  restitution  of  the  works 
of  art  see  No.  12619,  &c.;  for  the  atrocities  which  followed  the  restoration 
of  Ferdinand  VII  see  No.  125 10,  &c.  Murat,  having  been  defeated  at 
Tolentino,  see  No.  12555,  ^^-j  escaped  to  France,  and  Ferdinand  returned 
to  Naples.  Though  granted  permission  to  settle  in  Austria  with  a  pension, 
he  went  to  Corsica  and  thence  made  a  hopeless  attack  on  Calabria,  was  court- 
martialled,  and  shot  on  13  Oct. 

Reid,  No.  515.   Cohn,  No.  732.   Broadley,  ii.  15. 
7|xi8|in. 

12623  THE  PRESENT  STATE  OF  FRANCE  EXEMPLIFIED, 
G.  Cruikshank  fecit — 

Printed  by  T.  J.  Wooler,  58,  Houndsditch, — Price  6d.  plain. — Coloured, 
IS. — Impressions  on  large  paper,  finely  coloured,  is.  6d.    [?  Dec.  1815] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  The 
(printed)  title  continues :  |  in  the  \  First  Chapter  of  the  Second  Book  \  of  \  The 
Restoration  of  Kings.  Louis  XVIII  sits  enthroned  on  a  platform  supported 
on  the  points  of  giant  bayonets  in  close  formation.  These  rest  on  the  bodies 
of  dead  (Allied)  soldiers  who  lie  at  the  base  of  the  design.  The  King  sits 
directed  to  the  r.,  his  head  in  profile,  his  expression  malevolent.  In  the  r. 
hand  is  a  sceptre  which  rests  against  his  shoulder,  in  the  1.  is  a  small  cross. 
His  throne  is  formed  of  weapons  of  war :  cannon  resting  on  wheels  for  arms, 
the  back  is  a  trellis  of  daggers  and  pistols  between  bayonets;  from  it  floats 
a  tattered  flag  with  one  fleur-de-lis.  One  swathed  and  gouty  foot  rests  on 
a  footstool ;  the  other  is  hidden  by  the  back  of  a  friar  who  sits  at  his  feet,  his 
legs  hanging  over  the  platform.  The  friar  bends  over  a  paper,  writing  with 
fierce  concentration :  Son  of  S'  Louis,  ascend  to  Heaven.  Talleyrand  (1.)  stands 
at  the  King's  r.;  Fouche  is  on  his  1.  These  four  completely  fill  the  small 
platform.  Talleyrand,  like  Louis  XVIII,  is  looking  to  the  r.  He  holds  a  large 
pouch  containing  documents:  Proclamation  and  State  Papers.  Fouche  turns 
to  the  King,  pointing  to  the  paper  which  he  holds :  Restrictions  on  the  Press. 
He  and  Talleyrand  smile  craftily;  both  wear  large  white  favours. 

Below  on  the  1.  two  hussars  with  their  backs  to  the  platform  and  having 
an  Austrian  (or  Russian)  flag,  with  a  double-headed  eagle,  scatter  largesse 
to  a  (French)  crowd  of  men  and  women  who  eagerly  hold  up  hats  and  hands. 
One  sits  on  a  large  sack  of  coin,  inscribed  Contributions  for  the  Allies;  he  says: 
thats  your  sort  my  Lads  [see  No.  8073,  &c.]  Louis  for  ever  theres  some  coppers 
for  you.  The  crowd  shouts:  veve  [sic]  les  Bourbons;  Vive  Louis  18^^;  vive 
Louis  [twice]. 

On  the  r.  are  figures  on  a  smaller  scale:  three  French  soldiers  wearing 
cocked  hats  aim  their  muskets  at  Ney  (r.)  who  stands  facing  them,  with 
extended  arm,  saying,  above  all,  miss  me  not.  In  the  background  is  a  prison 
surmounted  by  two  gibbets  from  which  corpses  dangle  symmetrically.  The 
building  is  filled  with  tiny  figures;  from  the  arched  gateway  issues  a  line  of 
men  linked  to  one  another  by  a  chain  attached  to  their  necks.  The  foremost 
says:  Vive  VEmpreuer  [sic].  They  are  headed  by  a  goose-stepping  executioner 
with  a  raised  axe.  In  front  of  them  another  executioner  raises  an  axe  to 
decapitate  a  man  kneeling  at  a  block.  Behind  are  other  blocks  and  a  file  of 
gibbets.  In  the  background  tiny  soldiers  with  fixed  bayonets  are  drawn  up 
on  a  hill  dominating  the  execution-ground.  In  the  centre  is  a  huge  flag 
inscribed :  It  is  not  the  wish  of  the  Allies  to  interfere  with  the  internal  govern- 
ment of  France. 

596 


POLITICAL   SATIRES    1815 

The  text,  in  Old  Testament  phraseology,  relates  (mendaciously)  the  return 
of  Napoleon,  his  defeat,  and  the  restoration  of  Louis  XVIII.  Among  Napo- 
leon's crimes  in  the  eyes  of  the  Allies  are  that  he  had  'liberated  the  Negro'  (sic) 
and  given  liberty  to  the  Press  (see  No.  12546,  &c.).  The  Allies  pay  the  French 
one  sou  a  day  to  'cry  out  for  Louis',  'And  all  those  that  would  not  cry  out 
for  the  King,  they  put  to  death'. 

See  No.  12609,  &c.  The  treaty  of  25  Mar.  1815  was  for  the  purposeof  maintain- 
ing entire  the  conditions  of  the  first  Peace  of  Paris.  This  was  ratified  by  the 
British  Government,  25  Apr.,  with  the  reservation  that  it  was  'not  to  be  under- 
stood as  binding  his  Britannic  Majesty  to  prosecute  the  war  with  a  view  of 
imposing  upon  France  any  particular  government' ;  though  the  Regent's  desire 
for  the  restoration  of  Louis  XVIII  was  acknowledged.  Ann.  Reg.,  1815, 
pp.  387-9;  C.  K.  Webster,  Foreign  Policy  of  C ostler eagh,  i,  1931,  pp.  443-7. 
The  sack  of  'Contributions  for  the  Allies'  is  an  attack  on  subsidies,  cf.  No. 
12614,  &c.  For  Louis  XVIII  supported  on  bayonets  cf.  Nos.  12588,  12786. 
The  outstanding  executions  of  the  'traitors'  regarded  as  responsible  for  the 
war  were  those  of  Ney,  7  Dec,  who  refused  to  have  his  eyes  bandaged,  and 
Laboyedere  (at  Grenoble),  19  Aug.  181 5.  The  Faucher  brothers  were  shot 
at  Bordeaux,  27  Sept.  See  No.  12707.  Lavalette  was  sentenced  to  death  but 
escaped,  see  No.  12706.  Fouche  had  given  warning  to  those  in  danger  to 
escape  (Ney  refusing  to  do  so).  Webster,  op.  cit.,  p.  464  f.  At  this  time 
neither  Talleyrand  nor  Fouche  was  in  office,  see  No.  12614.  The  bitterness 
of  the  satire  is  characteristic  of  the  'outburst  of  sedition  and  blasphemy'  in 
the  Press,  1815-17,  and  of  the  unstamped  Press  of  1815-32,  in  which  Wooler 
took  a  prominent  part.  See  J.  H.  Rose,  'The  Unstamped  Press,  1815-1836', 
Eng.  Hist.  Rev.  xii.  711-26  (1897). 

Also  published  as  a  caricature,  without  the  text. 

Reid,  No.  510.    Cohn,  No.  1867.    Listed  by  Broadley. 
6|^Xiofin.    Broadside,  17IX  12^  in. 

12624  ROYAL  METHODISTS  IN  KENT  &  SUSSEX— OR  THE  DIS- 
SENTERS TOO  POWERFUL  FOR  THE  ESTABLISHED  CHURCH!! 

[G.  Cruikshank.] 

Pu¥  by  J  Sidebotham  Dec""  1815  [?  1816]  .V"  J  [?]  Strand.'  [date  erased] 
London  Pub'^  by  J.  Sidebotham  N"  g6  Strand 

Engraving.  Dissenters,  led  by  Collyer,  and  encouraged  by  the  Dukes  of  Kent 
and  Sussex,  attack  the  Church  of  England.  A  ladder,  Jacobs  Ladder,  leans 
against  the  crenellated  tower  of  a  Gothic  church,  probably  intended  for 
Lambeth  Palace,  on  which  the  Archbishop  of  Canterbury  [his  mitre  so 
inscribed]  has  taken  refuge.  At  the  sight  of  a  dissenting  minister  ascending 
the  ladder  he  registers  terror,  holding  up  his  crosier  and  dropping  a  large 
book:  Thoughts  on  the  overgrown  Strength  of  y'  Dissenters  that  threaten  the 
total  Annihilation  of  the  Established  Religion,  &  a  revival  of  y^  Puritanical 
Days  of  Oliver  Cromwell.  The  minister  turns  to  wave  his  hat  to  those  on  the 
ground  below,  saying.  Huzza!  my  boys  you  see  I  am  almost  at  the  Top.  He 
is  identified  by  a  paper  in  his  pocket  addressed  To  D  Coll[yer].  The  Duke 
of  Kent  stands  at  the  foot  of  the  ladder,  which  he  holds,  turning  to  the  1. 
to  say,  pointing  at  Collyer :  Who  is  so  Worthy  of  Royal  patronage,  as  the  man 
that  is  the  admiration  of  y'^  Ladies,  the  popinjay  of  Methodism  &  the  Ornament 
of  the  Print  Shops.  He  wears  uniform  with  jack-boots;  through  his  sash  is 
thrust  a  paper:  Hints  &  advice  from  Lords  Holland  &  Erskin.  He  tramples 
on  The  Act  of  Settlement.   Beside  him  (1.)  stands  the  Lord  Mayor,  Matthew 

'  Within  the  design  and  obscured  by  shading. 

597 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Wood,  holding  the  City  mace,  and  wearing  his  gown  and  chain.  He  stands 
on  a  document:  Test  &  Corporation  acts,  and  turns  to  the  1.  to  take  a  robe 
from  an  obsequious  artisan  in  an  apron,  who  wears  clerical  bands,  a  bushy 
wig  over  his  unkempt  hair,  and  holds  a  crosier  and  a  mitre  inscribed  London, 
which  he  is  about  to  hand  to  the  Mayor.  Behind  them  is  a  bank  on  which 
ugly  proletarians  are  running  with  a  large  battering-ram  towards  Collyer,  The 
ram  terminates  in  a  ram's  head  (as  in  heraldry),  inscribed  Evangelical  Maga- 
zine; the  beam  is  inscribed  Baxters  Shove  [see  No.  1 1704]  to  the  heavy  a — s — e 
Christian!!!  The  battering-ram  is  also  supported  by  a  rope  hanging  from 
two  poles  surmounted  by  a  flag  inscribed  The  True  Religion.  On  the  side  of 
the  bank  below  the  men  is  an  inscription :  Huntingdon's  Bank  of  Faith  proved 
to  be  safer  to  Depend  on  than  the  Bank  of  England!  witness  y^  pair  of  Breeches 
&  the  Bunch  of  Cabbage  that  came  tumbling  down  the  Chimney  into  the  Authors 
fraying  [sic]  pan  &  other  marvellous  benefits  for  the  true  Beleiver  [see  No. 
1 1080,  &c.].  In  the  foreground  on  the  extreme  1.  two  men  stand  in  a  pit  which 
they  are  excavating;  one  who  is  elderly  and  well-dressed,  with  a  grotesquely 
long  nose,  leans  on  a  spade,  saying  to  the  other  who  listens  intently,  pick- 
axe on  shoulder :  when  we  have  succeeded  in  Undermining  this  Crazy  Old  Fabric 
it  will  fall  with  a  glorious  Crash.  Near  them  lies  a  spade  inscribed  Pilgrims 
Progress.  Behind  them  is  the  corner  of  a  building  which  forms  a  border  to 
the  design,  and  is  covered  with  placards.    These  are,  reading  downwards: 

Religious  Tracts  &c  sold  at  the  Vestry  rooms  of  most  dissenting  Chapels 

Sabbath  breakers!  or  a  Treatise  on  the  immorality  of  buying  Milk  Mackerel 
Muffins  &c,  on  a  Sunday!  by  the  Society  for  the  Suppression  of  Vice — M''^ 
Southcotes  prophecies  [see  No.  12329,  &c.] — D'^  Rippons  Hymn  tunes  arranged 
for  the  Piano  Forte!!!  D''  W — k — n's  Vindication  of  the  innocence  of  Eliza 
Penning  or,  a  Methodistical  Method  to  libel  a  Judge  &  Jury  of  the  Country — 
Published  on  speculation  by  one  of  the  elect  at  the  Moderate  Price  of  6^/6'^ — Ogh 
Hone!  Ogh  Hone! — Charity  Sermon  at  the  Chapel  near  Finsbury  Square-by  the 
Rd  j)r  c—l—r  before  their  R.H—s  the  Dukes  of  K—t  &  S—x  the  Duke  of 
Bedford  &  the  Lord  Mayor!!! 

The  principal  figure  on  the  r.  of  the  design  is  the  Duke  of  Sussex,  standing 
in  profile  to  the  r.  on  a  rectangular  tomb,  holding  an  open  book:  Watt's 
Hymns ;  he  sings : 

Come  ragged,  come  hungry,  come  filthy,  come  bare 
You  can't  come  too  bad,  come  just  as  you  are!! 

He  wears  his  feathered  Scots  bonnet  with  cavalry  uniform  and  jack-boots, 
under  one  of  which  is  a  paper:  The  jg  Articles  of  Religion.  His  tunic  is 
grotesquely  short  (as  in  French  caricatures  of  British  officers),  and  a  sash 
accentuates  his  obesity.  At  his  feet  on  the  tomb  sits  the  Duke  of  Bedford, 
also  singing,  his  top-boots  dangling.  He  holds  out  Watts  Hymns  with  a 
rhetorical  gesture.  In  his  pocket  is  a  paper:  Bedfordshire.  The  tomb  is 
inscribed:  Sacred  to  the  Memory  of  K.  Charles  i^^  who  was  sacrificed  by  the 
Puritans  A.D.  i64g.  In  front  of  them  (r.)  lean  lank-haired  dissenters  are 
attacking  fat  bishops :  one  pommels  a  prostrate  victim,  another  seizes  a  fleeing 
parson  by  the  wig  and  flourishes  a  rolled  document  inscribed  Methodistical 
Cant.  A  jovial  ragged  fellow  has  put  on  clerical  bands  and  holds  on  his  head 
a  mitre  inscribed  Durham.  He  faces  the  Duke  of  Kent,  capering  delightedly. 
A  mitre,  crosier,  gown,  and  book  lie  on  the  ground  near  the  fray.  Behind 
the  tomb  (1.)  a  ragged  fellow  attacks  a  bishop  from  behind,  dragging  at  his 
gown  and  snatching  at  a  mitre  inscribed  York  which  his  alarmed  and  angry 
victim  holds  on  his  head.  At  their  feet  is  a  paper:  Meeting'^  of  the  Bible  & 
Missionary  Societies.  Sunday  Schools  &c!  &c!  Duke  of  Sussex  in  the  Chair!! 

598 


POLITICAL   SATIRES    1815 

On  the  roof  of  the  church  a  dissenter  has  seized  the  crosier  of  a  bishop  whom 
he  is  furiously  pushing  down  the  slope  of  the  roof  from  which  he  will  inevitably 
fall  headlong.  Another  man  (r.)  stands  on  a  ladder  gleefully  demolishing  the 
building  with  a  pickaxe. 

On  a  hill  in  the  background  and  on  the  extreme  r.  is  a  building  in  course 
of  construction,  surrounded  by  scaffolding;  a  man  carrying  a  hod  ascends  a 
ladder.  Above  it  is  a  large  placard :  New  Reformed  Church  of  England  erected  by 
the  Dissenters  of  1816  Patronised  by  y  D — 5  of  K — t  &  S — x.  In  front  of 
this  stands  a  lank  dissenting  minister  pointing  to  the  building  and  holding 
out  a  paper  inscribed  Saints  Everlasting  Rest,  the  words  being  repeated  on 
the  ground  at  his  feet. 

The  sympathies  with  dissent,  and  the  charitable  activities  of  the  Dukes  of 
Kent  and  Sussex,  both  of  whom  were  active  in  philanthropic  and  progressive 
causes  in  London,  are  interpreted  as  an  attack  by  dissent  upon  the  Church 
of  England  and  episcopacy  in  the  spirit  of  satires  of  1790  relating  to  the  pro- 
posed repeal  of  the  Test  and  Corporation  Acts,  see  No.  7628,  &c.  The 
Evangelicals  are  associated  with  the  dissenters,  though  Evangelicals,  like  the 
Methodists  and  unlike  the  dissenters,  were  anti-radical.  The  Duke  of  Kent 
made  an  arrangement  with  his  creditors  in  181 5,  Matthew  Wood  being  one 
of  his  trustees.  He  tramples  on  the  Act  of  Settlement,  as  if  spurning  the 
article  by  which  all  who  shall  come  to  the  throne  are  to  be  members  of  the 
Church  of  England.  W.  B.  Collyer  (1782-1854)  was  a  Congregational  minister 
who  was  patronized  by  both  dukes.  His  chapel  at  Peckham  became  too  small, 
and  was  taken  down  in  18 16  and  rebuilt,  the  opening  in  June  18 17  being 
attended  by  the  Duke  of  Sussex.  Europ.  Mag.,  1817,  Ixxii.  409.  The  new 
chapel  was  named  the  Hanoverian  Chapel,  presumably  after  Collyer's  two 
patrons.  On  22  Nov.  1815  Collyer  delivered  the  Anniversary  Oration  (printed) 
of  the  Philosophical  Soc.  of  London,  the  Duke  of  Kent  being  Chairman,  and 
recommending  the  Duke  of  Sussex  to  be  Chairman  at  the  next  anniversary 
meeting.  Examiner,  1815,  p.  762.  On  25  Nov.  1815  Collyer  read  the  annual 
report  at  the  meeting  of  the  British  and  Foreign  School  Soc.  (see  No.  1 1745), 
the  Duke  of  Bedford  in  the  chair  'supported  on  his  right  by  the  Duke  of  Kent'. 
Ibid.,  p.  782.  The  book  by  'D''  W — k — n's'  is  The  Important  Results  of  an 
Elaborate  Investigation  into  the  Mysterious  Case  of  Elizabeth  Fenning  .  .  .  by 
John  Watkins  LL.D.,  pub.  by  Hone  for  55.  E.  Fenning  (1792-1815),  was 
hanged  for  mixing  arsenic  in  the  food  of  her  employer,  the  public  being  con- 
vinced of  her  innocence,  though  the  evidence  was  strong,  and  was  twice 
reconsidered  by  the  Home  Office.  The  allusion  may  be  introduced  by  Side- 
botham  as  a  gibe  at  his  rival  Hone  (see  No.  12614,  &c.),  who  is  indicated  by 
*Ogh  Hone';  Hone  was,  however,  a  friend  and  employer  of  G.  Cruikshank, 
who  illustrated  Hone's  tract  in  defence  of  Fenning :  The  Maid  and  the  Magpie 
(Cohn,  No.  526).  See  Hackwood,  William  Hone,  1912,  pp.  98-102.  John 
Rippon,  a  Baptist  minister,  compiled  A  Selection  of  Hymns  .  .  .  (many  editions 
between  1787  and  1849).  Milk  and  mackerel  were  excepted  from  the  Sunday 
Observance  Act,  cf.  No.  9404.    See  also  No.  12768. 

Reid,  No.  514.    Cohn,  No.  1925. 
9^X  14^  in.   With  border,  10^  x  15^  in. 

12625  [TWO   VIEWS   OF   NAPOLEON   ON   THE   NORTHUMBER- 
LAND.] 

[Denzil  Ibbetson  del.     G.  CruLkshank  f.]  [?  1815] 

Engraving.  No  title.  Two  portraits  of  Napoleon  on  the  deck  of  the  North- 
umberland,   [i]  Napoleon  leans  against  the  end  of  a  gun  on  a  gun-carriage, 

599 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

his  hands  in  his  breeches  pockets,  his  head  in  profile  to  the  1.  with  drawn, 
despairing  expression,  somewhat  Hke  that  of  caricatures  by  G.  Cruikshank, 
which  is  not  that  of  the  original,  though  resembling  it.  He  wears  petit  chapeau, 
uniform  coat  with  orders,  knee-breeches,  and  buckled  shoes.  [2]  Napoleon, 
dressed  in  the  same  way,  stands  in  back  view,  his  feet  in  front  and  to  the  1. 
of  those  of  the  other  portrait.  His  head  is  turned  slightly  to  the  1.,  showing 
cheek  and  an  eyelash  (absent  in  the  original).  His  1.  hand  is  in  the  coat-tail 
pocket. 

The  original  sketch,  a  pen-drawing  by  Denzil  Ibbetson,  who  accompanied 
Napoleon  as  Commissary,  is  very  closely  followed,  see  the  reproduction, 
N.  Young,  Napoleon  in  Exile  at  St.  Helena,  1915,  i.  74.  According  to  Cohn, 
only  the  impression  described  and  one  in  the  Bruton  Collection  are  known. 
A  coloured  print,  either  a  close  copy  of  this  (perhaps  the  same  pi.,  retouched), 
or  a  copy  of  the  original  drawing,  is  reproduced,  Dayot,  Napoleon,  p.  368, 
from  the  collection  of  Prince  Victor  Napoleon  (as  Napoleon  on  the  Bellerophon). 
The  head  is  used  in  a  H.L.  profile  of  Napoleon  between  Gourgaud  and 
Bertrand  (in  profile  to  the  r.)  and  Las  Cases  and  Montholon  (in  profile  to 
the  1.),  after  Ibbetson,  pub.  Hassall,  i  May  1817,  and  reproduced  Broadley, 
ii.  21;  the  etching  is  attributed  to  Cruikshank  (Reid,  No.  504,  not  in  B.M.). 

A  similar  sketch  in  p.en  and  wash  by  Ibbetson  of  Napoleon  in  profile  to  the 
r.,  leaning  against  a  gun  is  reproduced  (from  the  Broadley  Coll.),  N.  Young, 
op.  cit.,  i.  68.  The  eyes  are  completely  covered  by  the  hat.  Inscription  in 
pen:  'This  sketch  of  Napoleon  on  board  the  Northumberland  Man  of  War 
on  her  voyage  to  S*  Helena,  by  the  Commissary  Ibbetson  who  gave  it  to  me 
in  that  Island  Theodore  E.  Hook.'   See  also  No.  12701. 

Reid,  No.  446.   Cohn,  No.  1778.    Reproduced,  Bradley,  ii.  16. 
8|X7^  in.   With  border,  9|x8^  in. 

12626  THE  I  CONUNDRUM, 

[G.  Cruikshank.]  [18 15-16] 

[London :  Printed  for  the  Author  by  D.  N.  Shury,  Warwick  Street,  Soho 
and  sold  by  Stockdale,  41  Pall  Mall.   Price  £1:  is] 

Engraving.  PI.  inset  on  p.  7  of  this  scarce  verse-satire  by  General  Arabin  (see 
No.  9917):  'the  first  Rehearsal  of  an  heterocli'tical  Farce  .  .  .'.  Below  the 
(printed)  title:  'Life  is  a  Jest  and  all  things  shew  it — "Jest  then  with  Life  and 
all  things." — GO  it.'  The  names  of  the  chief  characters  are  engraved.  A 
(stage)  scene  in  Egypt  indicated  by  Pyramids  in  the  background.  Ccesar  (the 
Regent)  in  the  centre,  angrily  faces  Cleopatra  (1.)  ('Jenny  Sutton'),  'a  common 
St  Giles's  drab'.  He  wears  a  Horse  Guards'  helmet  with  long  tail,  and  royal 
robe  over  military  uniform  with  jack-boots.  Anthony  (Castlereagh),  in  oriental 
dress  and  jewelled  turban,  watches  with  folded  arms.  Lepidus  (Liverpool), 
a  military-looking  bishop,  wearing  wig  and  papal  tiara  and  holding  crosier 
and  parchment,  follows  Caesar.  Doctor  Sangrado  (Sidmouth)  advances  from 
the  r.,  bestriding  the  spine  of  a  giant  Burns  Justice  [see  No.  12616]  on  wheels. 
He  wears  academic  cap  and  gown  and  holds  an  obstetrical  instrument.  All 
but  Sangrado  wear  a  star  and  the  crescent  of  a  supposed  order.  They  are 
in  front  of  an  open  pavilion  in  which  are  three  flimsy  arm-chairs  ('curule 
chairs'),  Roman  soldiers,  a  lictor,  and  two  English  heralds  stand  behind  (r.); 
a  Nubian  (1.)  holds  some  emblem  on  a  pole. 

The  text  is  allusive  and  cryptic;  the  first  issue  is  said  to  have  been  sup- 
pressed :  in  the  copy  described  the  names  of  printer  and  seller  are  obliterated 
in  pen.  The  book  is  attributed  to  181 2  by  Cohn,  but  it  contains  allusions  to 
Waterloo  and  St.  Helena,  and  to  a  walking-match  at  Blackheath,  see  No.  12616, 

600 


POLITICAL   SATIRES    1815 

One  note  purports  to  have  been  written  in  Sept.  1815,  another  on  3  May  1816 
(pp.  91,  126).  The  Regent  is  attacked.   Cleopatra  says  to  Caesar  (p.  39): 

"The  Wife  of  Caesar  should  not  be  suspected! 

Nor  soldier  pardon'd,  though  but  once  found  Mussey! 

Whilst  you  at  home,  are  always  with  a  "Hussey*\" 

*  'Some  local  allusion  .  .  .'   Cf.  No.  11948. 
There  is  a  second  issue  without  Stockdale's  name. 
Reid,  Nos.  179,  4618.    Cohn,  No.  38. 
3^X7^  in.  184*.  a.  12. 

12626a   a  close  copy  without  title  by  Pailthorpe. 
3^x6|in.   With  border,  3^  X  7^  in. 

12627  LE  PROMETH^E  DE  L'ISLE  STE  HfiL^NE  [?  1815] 

Engraving  (coloured  impression).  A  French  print.  Napoleon  lies  on  his  back, 
chained  to  a  rock  shaped  roughly  like  St.  Helena  and  with  a  few  houses  repre- 
senting Jamestown  Bay.  His  arms  and  legs  hang  down,  chained  to  the  cliffs 
which  flank  the  bay  on  the  1.  and  r.,  as  if  crucified  on  the  rock.  He  wears 
uniform  with  jack-boots,  without  decorations  or  sword.  A  vulture  inscribed 
Rage  pecks  savagely  at  his  breast  and  tears  at  him  with  its  talons.  Napoleon's 
head  is  in  profile,  his  mouth  open  as  if  shrieking.  On  a  little  plateau  extending 
into  the  sea  from  the  rock  stands  a  candle  in  a  tall  candlestick  (r.),  the  base 
inscribed  Flambeau  de  Promethee.  The  candle  is  Gloire;  on  it  is  an  extinguisher 
inscribed  Mont  S'  Jean.    Below  the  title: 

Sur  un  rocher  brulant,  Promethee  etendu 
Repait  de  son  flam:  noir  un  Vautour  assidu. 

According  to  Broadley  the  print  derives  from  No.  12299,  t>ut  the  design 
is  completely  different,  and  the  conception  of  Napoleon  as  Prometheus  was 
inevitable.  For  French  St.  Helena  prints  see  No.  12708,  &c.;  for  Waterloo 
see  No.  12557,  ^c.;  for  the  extinguisher  cf.  No.  12588. 

Broadley,  ii.  81  (reproduction),  83. 
6^X9fj  in. 


601 


i8i5 
PERSONAL  AND  SOCIAL  SATIRES 

12628  WE  SPARE  THE  HUMP  &  CROOKED  NOSE 
WHOSE  OWNERS  SET  NOT  UP  FOR  BEAUX.     Swift 

Etch^  by  G.  Cruikshank     [J.  L.  R.  del.] 

Pu¥  by  H.  Humphrey  2y  S^  James's  S^  May  22'^  181 5 — 

Engraving  (coloured  and  uncoloured  impressions).  An  elderly  man  in  profile 
to  the  1.,  with  a  gait  both  shuffling  and  swaggering,  1.  hand  on  hip,  a  dog-whip 
in  his  r.  hand.  He  has  a  hooked  nose,  prognathous  jaw,  and  a  knowing  leer, 
heavy  bent  shoulders,  and  small  legs.  He  wears  a  top-hat,  collar  and  stock 
encircling  his  chin,  a  tail-coat,  with  a  handkerchief  hanging  temptingly  from 
the  pocket,  riding-breeches  and  boots  with  deep  tops,  showing  striped  stock- 
ings. An  eye-glass  dangles  on  a  ribbon,  and  a  bunch  of  seals  hangs  from  his 
fob.  He  walks  on  a  pavement  (in  Piccadilly)  beside  railings  through  which 
the  Green  Park  is  seen.  The  railings  terminate  behind  him  in  a  high  wall, 
against  which  is  a  stand  of  walking-sticks  (two  with  comic  heads),  as  if  belong- 
ing to  a  shop.   He  is  identified  as  R.  G.  Nash. 

There  is  a  later  state  (not  in  the  B.M.)  with  the  initials  I.  L.  R.  etched  on 
a  corner  of  the  wall. 

Reid,  No.  484.    Cohn,  No.  2098. 
7X6|in.   With  border,  8 11^  X  7I  in. 

12629  BEHOLD  AT  BROOKS'S  STEP— NAY!  I'LL  BE  BOUND 
TO  SAY  i  A  FIGURE  SUCH  AS  THIS  YOU'LL  SEE  THERE  EVERY 
DAY— 

/•  L'  R^ 

Drawn  by  an  Amateur    Etch'^  by  G.  Cruikshank. 

Pub^  June  J5'*  181 5  by — H.  Humphrey  S^  James's  Street 

Engraving  (coloured  impression).  A  portrait  of  Sir  Thomas  Stepney  standing 
under  the  porch  of  Brooks's  Club  in  St.  James's  Street;  the  double  door 
with  glass  panels  is  behind  him.  His  head  is  turned  in  profile  to  the  1.,  his 
r.  hand  in  his  breeches  pocket.  He  wears  a  round  hat  with  a  low  crown, 
double-breasted  tail-coat,  double-breasted  waistcoat,  a  small  stock,  knee- 
breeches,  and  striped  stockings  with  pumps. 

Stepney  (1760-1825),  of  Prendergast  and  Llanelly,  was  Groom  of  the  Bed- 
chamber to  the  Duke  of  York.  See  Harrison,  Notices  of  the  Stepney  Family, 
1870,  pp.  42-4.  A  similar  but  less  competent  amateur  portrait  was  published 
in  1791,  see  No.  7977. 

Reid,  No.  489.    Cohn,  No  919. 
f)\X']\'m.   With  border,  I o|x8|  in. 

12630  WALTZING  IN  COURTSHIP. 

[Williams.] 

Pu¥  March  1815  by  W'"  Holland  N°  11  Cockspur  Street 

Engraving  (coloured  impression).  A  short  deformed  man  dances  with  an 
elegant  and  graceful  lady  with  a  pig's  head.    His  hump,  small  legs,  and 

'  This  signature  seems  to  preclude  Cohn's  attribution  to  Marryat. 

602 


PERSONAL  AND   SOCIAL   SATIRES   1815 

slightly  concave  profile  seem  to  indicate  Lord  Kirkcudbright,  see  No.  12125. 
The  lady  is  the  fabulous  creature  of  Manchester  Square,  see  No,  12508.  She 
wears  a  feathered  hat. 

For  the  supposed  pig-faced  lady  see  J.  Ashton,  Social  Life  under  the  Regency, 
1899,  pp.  219-22;  Gronow,  Recollections  and  Anecdotes,  1872,  pp.  255-7. 
<:.  9x7!  in.  (cropped).  'Caricatures',  vii.  195. 

12631  [FRONTISPIECE  TO  TRADING  BEGGARS  EXPOSED.  1815.] 

Etched  by  F.  W.  Pailthorpe  from  an  exceedingly  Scarce  Print  by  George 
Cruikshank 

Engraving.  A  sturdy  and  muscular  beggar,  directed  to  the  1.,  holds  out  a 
tattered  hat  for  alms.  The  ragged  remnants  of  a  coat  and  breeches  are  tied 
round  the  waist  with  cord,  leaving  his  arms  and  legs  almost  bare.  On  his 
feet  are  tattered  fragments  of  shoes.  He  is  bearded,  and  a  band  is  tied  round 
his  rough  hair. 

Portrait  of  a  well-known  London  beggar.  The  title  of  the  tract  continues: 
Extracts  from  the  House  of  Commons  Report  on  the  State  of  Mendicity  in  the 
Metropolis ;  clearly  proving  that  Beggars  by  Trade,  Earn  more  than  Honest 
Mechanics.   Part  ./. 

Reid,  No.  441.    Cohn,  No.  804. 
5iX3iin. 

12632  THE  PROGRESS  OF  DISAPPOINTMENT,  OR  THE  HOPES 
OF  A  DAY.— 

G.  Cruikshank  fee' 

Pub^  by  M  Jones  5  Newgate  S'  November  i"  181 5 — 

Engraving  (coloured  and  uncoloured'  impressions).  PI.  from  the  Scourge, 
X.  321.  A  sequence  of  three  designs,  each  with  a  caption,  representing  the 
experiences  of  the  narrator  (pp.  823-30)  in  a  single  day. 

[i]  A  Joint  Stock  Company  dividing  their  Losses —  The  chairman  of  the 
company  stands  at  the  head  of  a  cloth-covered  table  addressing  the  stock- 
holders. On  his  r.  are  three  men  (1.),  who  have  risen  indignantly  from  their 
chairs;  one  is  a  bearded  Jew  who  exclaims  Tam  the  Tevil.  Two  others  are 
seated  on  his  1.;  one  rests  his  elbows  on  the  table,  supporting  his  head;  he 
says :  They  call  this  a  Joint  Stock  Compy  I  think  it  will  be  a  joint  loss  one.  Two 
men  stand  behind  (r.) ;  one  asks :  How  are  Stocks  to  Day?  The  other  answers : 
D — d  low.  The  chairman,  with  a  bland  expression,  says :  Gentlemen,  depend 
upon  it  this  is  a  flourishing  concern — for  though  you  get  nothing  yet,  you  will  be 
sure  to  have  something  at  last  Only  subscribe  a  little  more  money  and  then  it  will 
all  come  in  a  lump.  On  the  table  is  a  large  paper  inscribed  Debts  £40,000 
Devidend  £0.  o.  o.,  with  two  open  books:  Report  and  History  of  the  South 
Sea  Bubble.  A  third  book  lies  on  the  ground :  Life  of  John  Law  the  Celebrated 
Projector.  On  the  wall  behind  the  chairman  is  a  picture:  a  naked  infant  blows 
soap-bubbles;  he  is  seated  on  piles  of  paper  inscribed  joo  Shares  and  Waste 
Paper. 

The  narrator  had  been  induced  to  invest  £1,000  by  the  assurance  that  he 
would  receive  a  dividend  of  from  ten  to  fifteen  per  cent.  The  South  Sea 
Bubble,  1720,  and  John  Law  (1671-1729),  are  the  subject  of  many  prints, 
see  No.  1610,  &c.   For  unsound  companies  cf.  No.  11439. 

[2]  A  Bankrupt  settleing  zcith  his  Creditors —  An  obese  and  hideous  'cit'  (1.) 
stands  with  outspread  hands  before  six  angry  and  dismayed  creditors.   They 

'  Not  folded,  showing  that  it  was  issued  separately. 

603 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

are  grouped  at  a  round  table  covered  with  a  green  cloth  on  which  are  a  Ledger 
and  Day  Book.  He  says :  Here  I  am  Gentlemen,  do  with  me  as  you  please — 
my  body  is  yours  but  my  Chattels  are  gone  to  the  devil — /  assure  you  I  conceal 
nothing  for  I  have  nothing  to  conceal.  One  of  the  victims,  a  baker,  says :  a  d — d 
bad  batch.  The  others  are  silent.  One  is  a  butcher,  in  over-sleeves  and  apron, 
with  his  steel  hanging  from  his  waist.  On  the  wall  are  four  pictures  (1.  to  r.): 
card-players  (part  only);  City  Feast,  guests  at  two  tables  with  a  chairman 
between  and  above  both;  Prodigal  Son,  he  revels  with  harlots,  and  Harlot's 
Prog[ress],  based  on  pi.  2  of  Hogarth's  series  (No.  2046).  Cf.  No.  12779. 

[3]  A  Legacy  forgotten —  The  narrator  (r.),  a  young  man  in  top-boots, 
stands  dejectedly  in  a  snug  parlour,  a  wine-glass  falling  from  his  hand.  A 
young  man  in  black  holding  his  father's  will,  turns  to  the  visitor,  pointing 

to  the  last  words  on  the  will  which  runs :  /  will . .  .in  sound  bo /  bequeath 

to  my  Dear  Nephew —  He  says :  Just  as  my  poor  father  wrote  these  words  he 
expired  I  know  he  meant  to  do  something  handsome  for  you  &  as  I  wish  to 
fulfil  his  intentions  pray  accept  this  mourning  ring.  The  disappointed  man  says : 
/  assure  you  I  most  deeply  lament  my  uncle's  death  just  at  that  moment.  Oh  that 
he  had  lived  a  minute  longer!  What  a  d — d  hurry  he  must  have  been  in!  He 
holds  a  large  handkerchief  and  registers  grief.  Behind  a  small  table  on  which 
is  a  plum-cake  the  widow  is  pouring  wine,  having  just  returned  from  the 
funeral.  Above  the  chimney-piece  is  a  map  showing  the  Cape  of  Good  Hope. 
Beside  it  is  a  H.L.  portrait  of  an  elderly  man. 

Reid,  No.  511.   Cohn,  No.  732. 
Each  design,  7^Xc.  5^  in.    Sheet,  iQfxSf  in. 

12633  INTRODUCTION  OF  GAS!!  OR  THROWING  A  NEW  LIGHT 
ON  THE  SUBJECT. 

G.  Cruikshank  fee* 

London  Design'^  &  Pub'^  by  J.  Sidebotham^  N°  g6  Strand  &  N"*  20  Capel 
S*  Dublin  [18 15] 

Engraving  (coloured  impression).  A  London  street  scene.  Pedestrians  have 
collected  to  listen  to  an  orator  who  stands  in  a  wheelbarrow.  The  street  has 
been  disrupted  by  excavations  for  the  laying  of  gas-pipes,  two  sections  of 
which  lie  in  the  foreground.  Men  ply  pickaxe  and  spade,  another  kneels  to 
mix  tar  in  a  cauldron  (1.);  the  wheelbarrow,  filled  with  debris,  belongs  to  the 
excavators.  The  orator,  Winsor,  wears  spectacles,  and  has  a  scraggy  pigtail, 
with  breeches  and  Hessian  boots.  In  his  coat-pocket  is  a  paper:  Charge  for 
laying  on  the  Gas  £^ — .  He  stands  in  profile  to  the  r.,  both  arms  extended, 
and  says :  The  Gas  Light  is  the  most  surprizing  of  all  modern  discoveries,  its 
brilliance  can  only  be  compared  to  the  Blaze  of  a  Meridian  Sun!!  For  £j  a  year 
we  will  supply  you  with  a  light  strong  enough  to  blind  a  Star  Gazer!  &  a  heat 
sufficient  to  boil  a  Tea  Kettle  or  Roast  an  Ox!!  Its  national  advantages  are 
incalculable!  it  makes  us  independent  of  foreign  resources,  in  the  supply  of  Russian 
Tallow,  Greenland  Oil  &  other  greasy  articles! — The  followers  of  this  NEW 
LIGHT  are  not  only  secure  from  the  depredations  &  waste  of  Servants  but  are 
no  longer  subject  to  a  Variation  in  price  &  other  impositions  inseperable  from 
the  use  of  such  filthy  &  stinking  Commodities!!!  One  of  the  audience  turns 
to  the  r.  to  address  his  neighbour,  saying,  Dont  believe  what  he  says  it's  all 
Smoke — a  Will  o'  the  Wisp  that  will  lead  its  followers  into  a  Quagmire — 
Another  says :  It  is  not  the  True  light — if  the  Tallow  Chandlers  Melt  at  such 
a  doctrine  they  must  all  run  away!!  A  smartly  dressed  man  on  the  r.,  his 
stockings  and  breeches  plastered  with  dirt,  holds  up  his  coat-tails,  and  says 

'  Name  almost  erased. 

604 


PERSONAL   AND   SOCIAL   SATIRES    1815 

angrily :  D — n  your  gas  pipes  say  I!  you  are  so  frequently  breaking  up  the  pave- 
ment that  there  is  no  such  thing  as  walking  the  Streets  upon  clean  legs  without 
a  pair  of  Stilts!!  Five  other  persons  stand  in  the  group,  a  butcher's  boy  with 
his  meat-tray  being  in  front.  One  is  a  woman.  A  child  has  fallen  into  a 
trench  (r.)  and  screams  for  help.  In  the  foreground  a  plank  bridges  a  deep 
excavation.  The  adjacent  shops  belong  to  tradesmen  ruined  by  the  'New 
Light'.  A  corner  house  on  the  extreme  r.  is  inscribed  /.  Dipfat  \  N°  i  \ 
Manufacturer  of  |  Cart  Grease  \  late  \  Tallow  Chandler.  On  the  corner  is  a 
large  bill :  Ju^t  Published  a  Treatise  on  the  New  light  showing  the  fatal  effects 
of  the  Gas  upon  the  Lungs,  the  difficulty  of  respiration  &  an  additional  reason 
for  coughing  at  all  times  in  the  year  untill  carried  off  by  a  Galloping  Consumption. 
Against  the  window  stands  a  barrel  inscribed  Remainder  of  a  Stock  of  Sperma- 
ceti Oil,  to  be  sold  at  2^ p''  Gall".  By  this  is  a  notice-board  on  a  post:  The  Gas 
light  Compy  will  give  a  premium  to  any  person  that  can  discover  a  Method  to 
prevent  the  Subscribers  to  their  New  Light  from  being  so  often  left  in  total 
darkness  through  the  numerous  accidents  that  happen  to  y^  Pipes  zvant  of  coals, 
or  some  otfier  Casualty.  Behind  is  a  dilapidated  and  shuttered  shop  inscribed 
This  shop  to  lett.  It  is  that  of  W.  Link  Pickle  Merc'  late  Oil  man.  Behind 
high  double  doors  is  a  large  building  with  tw^o  tall  chimneys  emitting  black 
smoke,  evidently  the  gas  works.  On  the  gate-post  is  a  carved  lion  or  dog,  with 
flames  issuing  from  its  mouth. 

Behind  the  orator  (1.)  is  a  blank  wall  or  hoarding,  the  upper  part  covered 
with  bills.  [1]  Theatre  Royal — Speculation  [comedy  by  F.  Reynolds,  1795] 
with  the  Farce  of  The  Wonderful  Lamp — NB  The  Theatre  zvill  be  lighted  with 
Gas!!  [2]  Parish  of  S'  Brides  Take  notice  that  the  Watchmen  zdll  in  future 
carry  Gas  LanthronsH  [3]  The  Lottery  office  Comp^  under  the  Royal  Exchange 
are  determined  not  to  HAZARD  the  use  of  Candles  &  Oil  any  longer  &  have 
therefore  resolv' din  future  to  BURN  GAS  that  the  public  may  see  Clearly  that  they 
sell  more  Blanks  than  Prizes.  [4]  Garraways  Coffee  House — The  Sales  by 
Candle  being  exploded,  all  future  bargains  zvill  be  sold  by  GASH!  [5]  Charity 
Sermon  Sunday  Even^  ISB  the  Chapel  will  be  lighted  with  GAsH!  [6]  Guild- 
hall London — Grand  Rehearsal  of  the  gas  lights  Nov''  181 5. 

For  Winsor  and  his  extravagant  pamphlets  and  advertisements  recom- 
mending gas,  see  No.  10798,  &c.  He  supported  the  Light  and  Heat  Com- 
pany's application  to  Parliament  for  a  charter.  This  was  opposed  by 
Brougham,  as  counsel  for  Murdock  and  Watt,  and  was  rejected.  The  West- 
minster Gas  Light  and  Coke  Co.  obtained  their  act  of  incorporation  on  9  June 
1 8 10,  and  from  this  date  their  adviser  was  Samuel  Clegg,  not  Winsor,  who 
in  181 5  went  to  Paris  to  found  a  gas-lighting  company.  D.N.B.  On  Lord 
Mayor's  Day,  1815,  the  Guildhall  was  lit  by  gas:  "The  profuse  delicacies  of 
the  table — the  waving  feathers  and  sparkling  jewels  of  the  ladies — the  mild 
splendour  of  the  gas,  shedding  a  brightness  clear  as  summer's  noon,  but 
undazzling  and  soft  as  moonlight,  altogether  formed  a  magnificent  combina- 
tion. .  .'  Europ.  Mag.  Ixviii.  466.  Two  proprietO{"S  of  a  manufactory  of  gas 
in  Dorset  Street  were  indicted  for  a  nuisance,  'an  insufferable  stench',  and 
found  guilty  at  the  London  Sessions  on  18  Nov.  181 5.  Examiner,  1815,  p.  767. 
The  gas  at  Covent  Garden  Theatre  and  the  ruin  of  'Mr.  Mould'  (a  candle- 
maker)  are  items  in  an  article  on  'Universal  Discontent',  ibid.,  14  Jan.  1816. 
Damages  were  given  in  the  King's  Bench,  16  Feb.  1816,  against  the  Gas 
Light  Co.  for  the  death  of  a  horse,  owing  to  the  overturning  of  a  gig  by  the 
unprotected  rubbish  from  a  street  excavation.   Ibid.,  1816,  p.  iii. 

Reid,  No.  452.   Cohn,  No.  1240. 
9^X  13I  in.    Border  cropped. 

605 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

I 2634-1 264 I 

French  prints,  c.  181 5,  on  the  British  in  Paris  continued  from 

No.  12354,  &c. 

12634  LE  PR^TEXTE. 

Se  vend  chez  Martinet  Rue  du  coq 

Engraving  (coloured  impression).  Two  Highlanders  stoop  over  the  fruit  dis- 
played on  the  ground  by  a  young  peasant  girl  (r.)  seated  on  her  basket.  One 
bargains;  she  holds  up  two  fingers.  He  wears  a  sergeant's  stripes  with  a  flag 
and  crossed  swords.  Both  wear  large  feathered  bonnet,  short  kilt,  and  tartan 
socks.  Two  comely  and  well-dressed  Parisiennes  seated  on  chairs  under  a  tree 
(1.),  make  pretexts  to  stoop  and  thus  see  under  the  Highlanders'  kilts:  one 
rolls  a  ball  for  a  small  child;  the  other  stoops  over  the  cross-gartering  of 
her  shoe. 

The  Scottish  regiments  bivouacked  in  181 5  in  the  Champs  filysees;  their 
kilts  caused  a  sensation  among  Parisian  women.  Gronow,  Reminiscences y  1892, 
i.  81.  The  Highlanders  and  the  fruit-seller  are  copied  in  a  composite  pi.  by 
Grego,  see  No.  12382.   Ibid.  ii.  324.   See  also  Nos.  12635-9. 

A  copy  (coloured),  Grand-Carteret,  p.  1 14. 
']%  X  io|  in.  'Caricatures',  x.  204. 

42635  LES  fiCOSSAIS  A  PARIS  OU  la  CURIOSITY  DES  FEMMES. 

A  Paris,  chez  Genty,  Rue  S'  Jacques,  N°  14 

Dep"  a  la  Dir""  Gen^'  de  Vlmp''  et  de  la  Lib'"  [2  Aug.]  1815 

Engraving  (coloured  impression).  A  scene  in  the  Champs  filysees.  A  hand- 
some kilted  officer  stands  over  the  fruit  displayed  by  a  girl  in  peasant  costume 
(1.),  but  looks  to  the  r.  The  wind  blows  up  his  kilt  and  the  girl  looks  at  the 
display  of  leg  with  shocked  intentness.  In  the  middle  distance  another  officer, 
in  back  view,  drills  four  Highlanders  who  lunge  forward  on  the  r.  leg  to  pick 
up  their  muskets.  The  former's  kilt  is  torn,  revealing  posterior,  while  the 
men's  kilts  blow  up.  Three  well-dressed  ladies  (r.)  walk  away  arm-in-arm 
to  the  r.,  much  disturbed  at  the  kilted  soldiers;  two  look  round,  pointing,  the 
other  looks  ostentatiously  away.  In  the  background  two  British  officers  (1.) 
gallop  towards  tents  (r.).   See  No.  12634,  &c. 

De  Vinck,  No.  9265  (9264  is  a  state  without  number  or  date). 
7X  lof  in.  'Caricatures',  x.  205. 

12636  LES  CURIEUX  (OU  LES  CORDONS  DE  SOULIERS) 

PL  217.  o. 

Engraving  (coloured  impression).  Copy  in  Jaime  of  a  French  print.  The 
Hottentot  Venus,  see  No.  11577,  ^c.,  transferred  to  Paris,  is  exhibited  naked 
except  for  a  loin-cloth.  She  stands  in  the  attitude  of  the  Medici  Venus, 
directed  to  the  1.  on  a  low  stand  inscribed  Venus  hottentote.  Two  Highland 
soldiers  inspect  her.  One  (r.),  a  foot  on  a  chair,  leans  forward  as  if  to  measure 
her  projecting  posterior;  the  other  (1.)  stoops  foward,  hand  on  knee.  A  young 
Parisienne  stoops  to  tie  her  shoe  (as  in  No.  12634)  and  stare.  She  says  in  the 
original  (inscriptions  omitted  in  Jaime),  'A  quelque  chose  malheur  est  bon'. 
A  fourth  spectator  is  a  well-dressed  man  (1.)  inspecting  the  Venus  through 
an  eye-glass. 

The  commentator,  Ouvry,  notes  that  he  saw  the  Venus,  that  she  died  in 

606 


PERSONAL   AND   SOCIAL   SATIRES    1815 

Paris  of  small-pox,  and  that  her  skeleton  is  preserved  at  the  ficole  de  Medecine. 
Her  death  was  announced  in  the  Paris  papers  of  i  Jan.  1816.  Examiner,  1816, 
p.  4. 

Original,  Les  Curieux  en  extase  .  .  .  ,  De  Vinck,  No.  9266  [28  Oct.  181 5]. 
7|xioin.  B.M.L.  1266.  g.  5. 

12637  LA  MARCHANDE  DE  MARONS 

Malbranche,  Del.  Rouargue,  Sculp: 

Depose 
Engraving  (coloured  impression).  Street  scene.  A  handsome  Highlander  buys 
chestnuts  from  a  pretty,  coquettishly  dressed  peasant  girl  seated  behind  a 
brazier  over  which  her  chestnuts  are  roasting.  He  holds  out  his  kilt  in  both 
hands  for  the  chestnuts,  staring  at  the  girl  who  looks  at  him  alluringly.  Behind 
her  (r.)  is  a  fruit-stall  with  pyramids  of  yellow  fruit.  A  fashionably  dressed 
Parisienne  (1.)  who  has  just  passed,  walking  rapidly,  looks  back  at  the  High- 
lander over  her  shoulder.  Below  the  title:  ils  brulent  la  .  .  .  Poche.  See 
No.  12634,  ^C- 
Sifxiol^  in. 

12638  LE  TROUBADOUR  JOUANT  DE  SIX  INSTRUMENS.   |  LE 
BON  GENRE  N°  86. 

Engraving  (coloured  impression).  An  itinerant  musician  in  fancy  costume 
stands  on  a  low  stool,  full-face.  He  blows  a  set  of  pan-pipes  or  syrinx,  and 
plays  a  mandolin.  A  large  drum  is  on  his  back,  which  he  beats  with  a  drum- 
stick tied  above  the  1.  elbow.  A  triangle  dangles  from  a  cord,  and  is  struck 
by  a  metal  rod  projecting  from  above  the  r.  knee.  Cymbals  between  his  legs 
are  fastened  to  his  calves.  In  his  cap  is  a  tall  plume  in  which  are  many  little 
bells.  The  spectators  are  two  pretty  grisettes,  each  with  a  soldier;  on  the  1. 
an  Austrian  (.''),  on  the  r.  a  Highlander,  cf.  No.  12634,  ^^■ 

For  the  series  see  No.  12380,  &c. 

Reproduced,  Simond,  Paris,  i,  344. 
7|X9^  in.  169.  e.  6. 

12639  LA  GRADUATION  DE  LA  FAMILLE  ECOSSAISE 

chez  Genty,  Rue  S'  Jacques  N.  14.  Depose  [14  Feb,  181 6] 

Engraving  (coloured  impression).  A  handsome  young  Highland  officer  walks 
arm-in-arm  with  a  slightly  taller  young  woman.  Her  hair  under  her  flat 
feathered  hat  is  in  a  small  bag  or  net  of  tartan.  Behind  these  walk  in  single 
file  the  family  descending  in  height.  First,  a  youth  in  Highland  uniform, 
next  three  girls,  the  second  without  a  hat,  her  hair  curling  on  her  shoulders. 
Last  a  small  boy,  in  Highland  uniform,  carrying  a  stick  across  his  shoulder, 
musket-wise,  and  holding  a  dog  on  a  lead.  The  dress  of  all  the  girls  is  plainer, 
skimpier,  and  shorter  than  that  of  Frenchwomen;  all,  except  the  youngest, 
have  bodices  or  spencers  of  different  colours  from  their  skirts,  cf.  No.  12359. 
A  companion  pi.  is  Graduation  de  lafamille  Anglaise  (De  Vinck,  No.  7706). 
7|xi2^in. 

12640  MR  TOUPET  OU  LE  COURTIER  D'AMOUR. 
A  Paris  chez  Genty,  Rue  S'  Jacques.  N°  14. 

Depose  a  la  Direction  G'"  de  rimp''  et  de  la  Lib'' 

Engraving  (coloured  impression).  A  British  officer  (r.)  stands  with  cocked  hat 
held  behind  his  back,  r.  arm  extended  towards  two  well-dressed  courtesans, 

607 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

who  stand  with  arms  round  each  other's  waists,  while  the  'broker',  an  ugly 
bandy-legged  barber,  offers  one  a  money-bag,  the  other  a  pair  of  ear-rings. 
He  is  out  at  elbows,  with  a  comb  in  his  hair,  and  curling-tongs,  &c.,  projecting 
from  his  coat-pocket. 
7|X  io|  in.  'Caricatures',  x.  206. 

12641  MERVEILLEUSE,  No  25  |  CHAPEAU  DE  PAILLE.  ROBE  DE 
MOUSSELINE  SUR  UN  TRANSPARENT 

Horace  vernet  del.     Gatine  Sculp 

Engraving  (coloured  impression).  An  English  lady  and  gentleman  (1.)  stand 
in  close  conversation  with  a  British  officer  in  back  view.  The  lady  wears  a 
small  straw  bonnet  fitting  the  back  of  the  head,  a  tight  blue  bodice  with 
a  plain  white  skirt,  showing  a  pink  lining  through  a  pocket-slit,  and  holds 
up  a  fringed  parasol.  The  man  wears  cylindrical  beaver  hat,  tail-coat,  and 
gaiters  to  the  knee.  The  officer  wears  a  small  shako,  red  coat  with  blue 
facings,  heavy  epaulets,  white  trousers  tight  at  the  knee  and  widening  at 
the  bottom. 

One  of  a  set  numbered  from  i  to  33,  published  c.  1815;  those  of  men's 
costume  headed  Paris,  Incroyable,  those  of  women's,  Merveilleuse,  except  for 
Nos.  26  and  27  which  are  Uniformes  Anglais  and  Unifortnes  Russes. 

Colas,  No.  2992. 
lofxyfin.  C.  293*. 

12642  BREAKING  UP  OF  THE  BLUE  STOCKING  CLUB.  343 
Rowlandson  Del 

Pu¥  March  i'^  1815  by  Tho'  Tegg  N°  ill  Cheapside. 

Engraving  (coloured  impression).  A  wild  melee  over  a  tea-table,  five  pairs 
of  women  in  furious  combat.  The  round  table  still  stands  but  the  tea-tray 
slides  to  the  floor,  where  broken  tea-things  have  already  fallen.  Two  viragoes 
fight,  leaning  across  the  table  which  separates  them,  tearing  each  other's  hair: 
one  (r.)  kicks  over  an  arm-chair,  the  other  rests  a  foot  on  the  upturned 
posterior  of  a  woman  lying  on  her  back,  whose  face  receives  a  deluge  of  scald- 
ing water  from  an  urn  held  up  by  her  antagonist.  A  furious  hag  presses  down 
the  head  of  a  victim  with  a  bleeding  nose.  Two  others  scratch  and  tear 
frantically  at  each  other's  face  and  hair,  while  a  younger  woman  flourishes 
a  brass  trivet,  seizing  her  elderly  antagonist  who  tries  to  flee  from  the  room  (r.). 
Three  huge  and  excited  cats  add  to  the  uproar.  Besides  the  debris  of  china 
there  are  two  spirit-bottles,  one  inscribed  Ratifia,  the  other  French  Cream 
[brandy],  a  wine-glass,  and  an  overturned  chamber-pot. 

Grego,  Rowlandson,  ii.  289. 

f  Xi3i^in. 

12643  HODGES  EXPLANATION  OF  A  HUNDRED  MAGISTRATES.' 

345 
Rowlandson  Del. 

Engraving  (coloured  impression).  A  yokel  in  a  long  smock  (r.)  stands,  hat 
in  hand,  before  three  elderly  J.P.s  in  old-fashioned  dress;  he  tugs  at  his  rough 
hair.  One  of  the  justices  sits  in  an  arm-chair,  with  folded  hands  and  downcast 
frown.  The  other  two,  leaning  across  a  table  on  which  are  writing  materials, 
scowl  angrily;  one,  clenching  his  fist,  says:  How  dare  you  Fellow  to  say  it  is 
unfair  to  bring  you  before  one  hundred  Magistrates  when  you  see  there  are  but 

'  Imprint  as  No.  12642. 
608 


PERSONAL   AND   SOCIAL   SATIRES    1815 

three  of  us!  He  answers :  Why  please  your  Worship  you  maun  knozc — zvhen  I 
went  to  school,  they  Taught  I  that  a  one  and  tzvo  O's  stood  for  a  hundred — so 
do  you  see  your  Worship  be  One  and  the  other  tzco  be  Cyphers! 

Grego,  Rozvlandson,  ii.  290. 
8|xi2i|  in. 

12644  SAILORS  DRINKING  THE  TUN-BRIDGE  WATERS.'      346 

Rowlandson  Scut.     [  ?  Woodward  del.] 

Engraving  (coloured  impression).  A  pretty  young  woman  standing  by  the 
pump  offers  a  tumbler  to  a  burly  sailor  wearing  a  petticoat,  who  scowls  and 
flinches,  scratching  his  head.  She  says:  Be  assured  it  is  an  excellent  beverage 
for  Gentlemen  who  have  been  a  long  time  at  sea.  He  answers :  Why  lookee  Ma-am 
I  dont  wish  to  be  impolite  But  if  your  Ladyships  Honor  pleases — /  had  rather 
hang  fire — a  bit — for  d'ye  see  it  gave  our  Poll,  the  belly  ache — and  D — n  the 
Gripes,  I  never  could  bear  them  they  twiddled  me  up  decently  when  I  zvas  last 
in  the  Meditaranean.  On  the  r.  are  two  other  sailors,  wearing  trousers;  an 
elderly  man,  in  profile  to  the  r.,  tries  to  drink,  but  the  water  falls  to  the 
ground ;  he  says :  D — d  Queer  Tipple  to  be  sure!  The  third,  holding  his  tumbler 
carefully,  proffers  a  coin  to  a  small  boy  on  the  extreme  r.,  saying,  Harkee 
young  two-shoes^ — go  and  get  me  a  pint  of  half  and  half  and  a  Squeeze  of  Lemon 
— for  D — n  me  if  I  could  drink  it  ?teat  if  I  zvas  Jiever  to  zveigh  Anchor  Again. 
The  tall  pump  is  topped  by  a  carved  urn  and  has  two  taps  in  place  of  a  spout. 

Grego,  Rowlandson,  ii.  290. 
9|xi2|in. 

12645  DEFRAUDING  THE  CUSTOMS,  OR  SHIPPING  OF  GOODS 
NOT  FAIRLY  ENTERED.  344 

Rozvlandson  Del 

Pu¥  I''  March  18153  [by  Tegg]. 

Engraving  (coloured  impression).  A  scene  near  the  sea.  Two  naval  officers 
carry  off  two  plump  and  pretty  girls  and  run  towards  a  boat,  where  two  sailors 
wait  (1.).  They  are  followed  by  a  fat  old  woman,  screaming  furiously  and 
brandishing  an  umbrella.  She  runs  (r.  to  1.)  at  the  head  of  a  flock  of  school- 
girls, mature  young  women,  two  and  two,  who  watch  their  captured  com- 
panions with  excited  en\^.  They  emerge  from  a  shady  lane  where  a  sign- 
post points  (r.)  to  M"  Crosticlis  Boarding  School  for  Young  Ladies.  In  the 
foreground  (r.)  a  grotesque  lean  and  elderly  man  has  fallen  in  the  chase,  losing 
his  hat  and  wig,  but  clenching  a  fist,  and  clutching  his  cane  in  frantic  anger. 
A  dog  joins  in  the  chase. 

Grego,  Rozvlandson,  ii.  289. 
8|xi3|  in. 

12646  NEIGHBOURLY  REFRESHMENT.  235 

Rowlandson  181^^ 

[Pub.]  by  The'  Tegg  N"  iii  Cheapside. 

Engraving  (coloured  impression).  Two  wooden  shutters,  the  upper  parts  of 
two  adjacent  doors,  hinged  on  one  post  between  two  cottages,  are  opened 

■   Imprint  as  No.  12642. 

^  A  nursery-  colloquialism  applied  to  a  little  girl  from  The  History  of  Little  Goody 
Two-Shoes,  1766,  the  earliest  date  discovered  bv  Partridge  being  i8s8.  Slang  Diet., 
^938. 

^  The  date  has  been  added  in  a  different  script ;  an  earlier  one  has  probably  been 
removed.  ♦  Perhaps  an  altered  date. 

609  Rr 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

inwards,  to  allow  a  handsome  young  couple  to  lean  out  and  kiss.  Behind  the 
young  woman  (I.)  stands  a  bald  and  aged  man,  raising  an  admonishing  fore- 
finger. Behind  the  man  an  elderly  virago  screams  with  a  threatening  gesture. 
On  a  hook  on  the  central  post  is  a  cage  with  two  billing  birds,  which  the 
young  man  is  holding  up.  A  cat  clambers  up  towards  the  girl;  a  dog  (r.) 
dashes  in  fury  towards  a  cock  w^hich  is  pecking  a  hen. 

Grego,  Rozvlandson,  ii.  296. 
I2|x8|  in. 

12647  A  LAMENTABLE  CASE  OF  A  JURY-MAN.  347^ 

Rozvlandson  Del 

Pu¥  March  10"'  1815  by  Tho'  Tegg  No  in  Cheapside. 

Engraving  (coloured  impression).  An  elderly  judge  holding  a  large  open  book, 
Law  .  .  .  Statutes,  addresses  a  juryman,  who  stands  facing  him  in  the  jury- 
box,  where  the  rest  of  the  jury  are  registering  disgust.  He  says :  M'' Juryman — 
you  have  requested  permission  to  retire  for  a  few  moments — /  have  been  looking 
some  time  for  a  precedent,  and  have  at  last  found  by  the  2^^^  of  William  Rufus, 
Chap  531,  that  a  Juryman  on  any  urgent  occauon  may  retire  backwards  for  the 
space  of  ten  minutes  only — therefore  you  may  withdraw.  The  juryman  answers 
that  it  is  no  longer  necessary.  Between  judge  and  juryman  are  three  grinning 
barristers. 

Grego,  Rowlandson,  ii.  290. 
8iixi2i|in. 

12648  THE  PHYSICIANS  FRIEND.  349 

[Williams.] 

Pub'^  by  T.  Tegg  in  Cheapside  [?  1815] 

Engraving  (coloured  impression).  Scene  in  the  kitchen  of  a  large  London 
house,  area  railings  being  just  visible  through  a  high  barred  window  (1.).  A 
grossly  fat  doctor,  his  cane  under  his  arm,  grasps  with  both  hands  the  hand 
of  a  French  chef  (1.),  who  says :  Ah  Mister  Docteur!  how  you  do  Sare!  you  see 
I  make  de  friqasee  de  ragoo,  and  de  Kickshaw!!!  The  doctor :  Yes  juy  good 
friend  I  see  you  are  hard  at  it,  and  I  never  can  quit  the  house  of  my  rich  patients 
without  shaking  hands  with  the  cook.  I  ozve  you  much,  for  you  confer  great 
favours  on  7ne,  your  skill  in  kickshaws  and  the  ingenious  art  of  poisoning  enables 
us  medical  Men  to  ride  in  our  carriages,  without  your  assistance  we  should  all 
go  on  foot  and  be  stared  [sic].'.' —  A  fat  cook  (r.)  with  a  rolling-pin  says  to 
a  kitchen-maid  who  holds  a  spitted  sucking-pig:  /  say  Bet  let's  kick  him  for 
a  fee.  There  is  a  wide  fireplace  with  a  large  pot  on  the  flames,  and  a  huge 
joint  of  beef  on  a  spit  protected  by  a  screen.  Beside  this  is  a  flat-topped  brick 
stove,  with  two  fireplaces  (1.),  on  which  pots  are  cooking.  The  floor  is  flagged. 
8|x  i2|  in.  'Caricatures',  x.  99. 

12649  THE   YORKSHIRE   JOCKEY— OR   THE   MATERIAL   OF   A 
FOX-HUNTERS  HEAD.  359 

Williams  Scup^ 

Pub'^  October,  1815  by  Tho'  Tegg  in  Cheapside 

Engraving  (coloured  impression).   A  horse-dealer  stands  at  his  door  with  a 
customer  in  riding-dress.   In  front  (r.)  a  groom  shows  the  paces  of  a  hand- 

'  According  to  Grego  this  has  sometimes  the  number  220. 

610 


PERSONAL   AND   SOCIAL   SATIRES    1815 

some  high-stepping  horse.  The  customer  stands  with  folded  arms,  saying, 
Well!  I  have  no  objection  to  the  price,  but  you'll  answer  for  it,  He  zvo'nt  refuse 
timber?*.  The  dealer,  who  wears  a  long  coat  with  top-boots,  and  holds  a 
coach-whip,  holds  out  his  top-hat  towards  the  horse,  saying,  with  a  quizzical 
expression,  Refuse  timber!! — Why  he'll  leap  over  your  Head, — zchat  do  you 
think  of  that!!  Above  the  house  door:  A,  Keen,  \  Horse  Dealer.  Behind  (r.), 
across  the  road,  is  a  pavement  with  two  spectators,  backed  by  a  garden  wall, 
screening  trees  and  large  detached  houses. 

Note  *  Refusing  Timber,  is  a  sporting  phrase  for  a  five  bar'd  Gate. 
8^x13  in. 


12650  TAMEING  A  SHREW.  OR  PETRUCHIO'S  PATENT  FAMILY 

BEDSTEAD,  Gags  &  Thumscrews.  360^ 

Williams  fecit. 

Pub'^  Octo^  181 5  by  Tho'  Tegg  iii  Cheapside  London. 

Engraving  (coloured  impression).  An  imitation  of  No.  10887.  ^"^  four-post 
bed  with  a  tent-shaped  canopy  is  made  with  hinged  planks  at  head  and  foot, 
after  the  fashion  of  a  pillory.  In  this  lies  a  woman,  her  arms  confined  behind 
her  head  and  her  feet  thrust  through  the  holes  at  the  foot.  Her  husband  sits 
up  in  bed  beside  her,  holding  a  whip.  He  looks  down  menacingly,  holding 
up  a  metal  gag.  She  looks  up  at  him,  helpless  but  grimly  resentful.  At  the 
head  of  the  bed  hangs  a  placard:  Love  Honor  and  OBEY;  above  the  man 
hangs  a  watch,  the  hands  indicating  2.50.  A  candle  has  burned  to  the  socket 
on  a  table  by  the  bed  on  which  lies  a  paper :  By  the  Kings  Patent  Petruchios 
Family  Bedstead  for  tameing  a  Shrezc.  also  his  patent  gags  and  .  .  .  Thumb- 
screws lie  on  the  paper.  On  the  ground,  with  stays  and  slippers,  are  three 
open  books :  Nuptial  Dialogues  on  Various  Subjects ;  Rule  a  Wife  and  Have 
a  Wife  [Fletcher's  comedy] ;  The  Whole  Duty  of  Woman  [torn] . 
12^X9  i^- 

12651  THE  PARSON  AT  HIS  STUDIES— OR— A  SKITTLE 
GROUND  THE  WRONG  ROAD  TO  A  BENEFICE,  vide  Anecdote  of 
D'  Willett  367^ 

[Williams.] 

Pub'^  Nov''  i"  1815  by  The'  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  On  a  skittle-ground  just  outside  an  inn  (1.) 
with  the  sign  of  the  mitre,  a  stout  parson  stoops  to  throw  a  ball  at  a  set  of 
ninepins,  smoking  a  long  pipe.  A  farmer,  seated  close  to  him,  with  a  foaming 
jug,  says,  with  his  pipe  in  his  mouth,  /  think  a  game  of  skittles  must  be  healthy 
exercise  Doctor!!  The  parson:  Yes!  I  teas  advised  to  it  by  my  Physician!  I  find 
great  benejit!  I  get  quite  a  dab  at  it — here  goes  the  Head  of  the  Church!  He  has 
not  seen  a  grossly  fat  and  carbuncled  bishop  who  has  entered  the  enclosure, 
leaving  a  carriage  and  pair  at  the  gate.  The  bishop  saj^s :  Proceed  good  Doctor 
ziith  your  Game — /  zvish  you  all  the  benejit  from  it  zchich  your  Physician  has 
promised,  but  I  am  afraid  it  zdll  never  procure  you  a  Benefice.  A  man  in  riding- 
dress,  an  ostler,  and  a  countrj^man  in  a  smock  watch  from  the  1.,  the  bishop's 
coachman  and  footman  from  the  gate  (r.). 
8|xi2f  in. 

'  Number  in  pen. 
611 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12652  A  CLERICAL  MANCEUVRE  OR   THE  WAY   TO   FINISH  A 
CHARITY  SERMON.  368' 

C  W,  [Williams]  fecit 

Pu¥  Nov''  i'^  1815  by  Tho'  Tegg  iii  Cheapside. 

A  parson  (1.)  leans  from  his  pulpit,  preaching  with  extended  arm,  while  his 
clerk  takes  round  the  plate,  with  a  sly  smile :  /  percieve  my  Beloved  Brethren, 
that  my  discourse  has  operated  on  your  feelings  and  sensibility ,  but  I  zvotdd  advise 
you  to  be  just  before  you  are  generous,  I  shall  keep  my  eyes  on  you,  and  if  any 
of  you  my  Brethren  are  not  in  a  state  of  solvency,  or  cannot  pay  twenty  shillings 
in  the  pound  {however  may  be  the  goodness  of  your  respective  Hearts)  do  not 
bestow  a  donation.  The  congregation  eagerly  hasten  to  contribute  handsomely, 
making  various  remarks  (e.g.)  Ecod  thats  a  capital  manoeuvre  it's  worth  a  pound 
note  already.  A  well-dressed  man  slinks  off,  saying.  Nothing  but  gold  or  Pound 
Notes  well  I'll  steal  off — /  dotit  what  [sic]  business  I  had  to  poke  my  nose  here. 
After  the  title : 

"Nature  has  made  Man's  Breast  no  Windores, 

"To  publish  what  he  does  within  Doors ; 

"Nor  what  dark  secrets  there  inhabit, 

"Unless  his  own  rash  Folly  blab  it. 
8|Xi2|  in. 

12653  A  LAWYERS  ADVICE  AFTER  LEAVING  OFF  PRACTICE ! !  182 

Woodward  deV     G.  Cruikshank  sculp 

[Pub.]  by  Tho'  Tegg  iii  Cheapside  [?  1815] 

Engraving  (coloured  impression).  A  lawyer,  spectacles  on  forehead,  seated 
in  an  arm-chair  by  a  blazing  fire  (r.),  listens  with  quizzically  twisted  mouth 
and  folded  hands  to  a  visitor  with  a  grievance.  Between  them  is  a  table  with 
glasses,  spirit-bottle,  as  weU  as  a  newspaper  under  the  lawyer's  elbow.  His 
friend  (1.)  leans  forward,  gesticulating,  to  say:  My  dear  Friend  Quilldrive, — 
/  have  a  Melancholy  affair  to  communicate,  I  had  put  by  just  five  hundred 
Guineas  purposely  for  Law,  and  some  villian  has  robb'd  me  of  every  farthing! — 
zohat  ivould  you  advise  me  to  do  in  this  distressing  case?  The  other  answers : 
Why — Pd  advise  you,  instead  of  desponding,  to  rejoice  &  sing,  for  depend  upon 
it,  you  are  a  gainer  by  the  loss!!!  A  dog,  his  collar  inscribed  Quild\rive\  sits 
opposite  the  fire.   On  the  chimney-piece  are  a  clock  and  a  china  mandarin. 

A  popular  theme,  cf.  Nos.  7799  (an  adaptation  of  a  print  of  1749,  see 
Nos.  1609,  3047),  1 1 149. 

Reid,  No.  555.    Cohn,  No.  1311. 
8|xi2^in. 

12654  MY  ASS 

Des'^  &  Etched  by  Rowlandson   Written  by  M''  J.  Yedis  [?  Sidebotham]. 
London  Pub.  Nov.  16,  1815,  by  I.  Sidebotham,  g6,  Strand. 
Ent.  Stat.  Hall. 

Engraving  (coloured  impression).  Six  designs  in  two  rows;  each  has  three 
lines  of  verse  below,  with  the  refrain  My  Ass!,  scenes  in  the  life  of  a  buxom 
young  woman  who  has  an  ass  with  large  panniers  for  hawking  vegetables, 
[i]  She  cries  her  wares  in  a  street  with  old-fashioned  houses,  resembling 
St.  Giles,  walking  against  slanting  rain  and  holding  a  string  of  onions.  The 
ass  follows  quietly.  Behind  is  a  dog,  her  usual  companion. 

*  Number  in  pen. 
612 


PERSONAL  AND   SOCIAL   SATIRES    1815 

Who  followed  me  through  Street  &  Lane 
hi  spite  of  Hurricane  &  rain 
While  I  my  daily  bread  did  gain? 

[2]  She  bestrides  the  ass,  which  plunges  and  brays,  spilhng  her  fniit.  Just 
behind  cavalry  are  galloping,  led  by  a  trumpeter  and  a  man  beating  a  kettle- 
drum.  The  dog  barks  at  the  ass. 

Who  when  at  a  late  Review 

A  sounding  Charge  the  Trumpet  Blew, 

Did  strain  and  squeeze  to  do  so  too? 

[3]  A  young  woman  rides  the  ass  on  the  shore,  plying  a  riding-switch  on 
the  kicking  animal.  Its  owner  stands  behind  flourishing  a  whip,  and  saying: 
Shall  I  whip  your  Ass!  [cf.  No.  10510].  The  dog  rushes  barking  towards 
the  ass. 

Who  carried  lady  fair  at  Brighton 
The  Roses  of  her  Cheek  to  heighten 
Whilst  with  her  Whip  she  laid  it  light-on? 

[4]  She  has  fallen  headlong  from  the  ass  who  lies  beside  her,  in  galloping 
down  a  grassy  hill  with  other  women  on  donkeys  who  are  chased  by  a  crowd 
of  roisterers.   Her  dress  flies  up. 

Who  tripp'd  &  tumbled  dozen  zcith  me 

Racing  one  Easter  Holiday 

And  Lads  &  Lasses  laugh'd  to  see 

[5]  She  sits  contentedly  with  folded  arms  on  the  back  of  the  ass,  with  two 
children  in  one  pannier.  Her  dog  has  caught  a  goose  by  the  neck.  An  old 
woman  leans  from  a  cottage  window  to  scream  and  threaten.  They  are  in  open 
fields  with  buildings  in  the  background,  with  the  dome  of  St.  Paul's. 

And  when  the  day's  hard  toil  is  done 
How'  pleasant  'tis  on  jogging  home 
To  take  a  rest  by  sitting  on 

[6]  She  sits  in  a  rough  hut  on  the  lap  of  a  man  reclining  on  straw,  the  dog 
lying  contentedly  beside  them.  She  turns  to  the  man,  pointing  to  her  ass 
which  looks  in  at  the  door: 

Tm  so  good  nattdr'd  people  say 
To  aid  my  Friend  J  cant  say  nay 
Though  destitute  Td  give  azvay 

Grego,  Rowlandson,  ii.  295. 
Each  design  c.  3x5X4^ — 4^  in.    Sheet  9I X  13 J  in.  (cropped). 

'Caricatures',  ix.  77. 

12655  SLAP-BANG  SHOP. 

Rowlandson  Inv^  1815. 

Engraving  (coloured  impression).  The  interior  of  an  eating-house.  All  the 
customers  look  round  to  smile  expectantly  at  a  tall  and  comely  young  woman 
who  enters  alluringly  from  the  1.,  carr\'ing  dishes.  She  is  followed  by  a  small 
man  with  two  tankards  and  a  basket.  Tables  on  the  r.  are  divided  by  high 
settles.  On  the  1.  men  sit  on  benches  at  a  long  table.  In  the  foreground  sits 
a  dog  looking  round  hungrily.  The  room  is  bare  except  for  a  large  window 
and  hats  on  a  row  of  pegs. 

A  slap-bang  shop  is  a  petty  cook's  shop,  where  no  credit  is  given,  but  cash 
is  paid  'slap-bang',  i.e.  immediately.   Grose,  Slang  Diet.,   1785.   The  term 

613 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

was  current  c.  1780-1850.  Partridge,  Slang  Diet,  A  clumsy  etching  after 
Rowlandson's  design. 

Grego,  Rowlandson,  ii.  297. 
lof  x8f  in. 

12656-12691 

Aquatints  (coloured)  by  Rowlandson  to  the  English  Dance  of  Death 
continued  from  No.  12437.  B.M.L.,  C.  59.  f.  7. 

12656  THE  PANTOMIME.  [i.  238] 

London.  Pub.  Jan^  1 1813,  at  R.  Ackermann's,  loi  Strand. 

A  (stage)  scene  on  the  shore,  depicted  realistically.    Death,  with  his  javelin 
held  behind  his  back,  holds  up  his  hour-glass  to  a  sick  and  trembling  Pierrot, 
who  puts  out  his  tongue,  supported  by  an  agitated  clown.  Pantaloon,  terrified, 
lies  on  the  sand.  In  the  background,  nearer  the  sea,  Columbine  and  Harlequin 
dance  gracefully.    Below : 

Behold  the  signal  of  Old  Time: 
That  bids  you  close  your  Pantomime. 
Illustration  of  a  pantomime  that  some  may  remember:  'Harlequin  turn'd 
Skeleton',  in  which  Death  played  a  terrifying  part  till  invited  by  Columbine 
to  dance,  when  he  was  transformed  into  Harlequin.  Harlequin  Skeleton,  or 
the  Royal  Chace  is  attributed  by  Nicoll,  Hist,  of  Late  Eighteenth  Century  Drama, 
p.  331,  to  Covent  Garden,  16  July  1788,  when  the  theatre  was  normally 
closed. 

12657  THE  HORSE  RACE.'  [i.  245] 

A  young  man  races  neck  and  neck  with  Death  on  a  skeleton-horse  towards  the 
Betting  Post  (1.)  to  which  Death  points  with  his  javelin.  Before  they  reach 
it  the  man  will  have  been  thrown.  Betting  men,  mounted,  cluster  round  the 
post,  giving  and  taking  odds.  In  the  foreground  an  old  man  with  a  basket 
chaffers  with  two  bare-footed  boys.  Bigger  boys  bend  over  an  old  crone's 
gaming-table  (or  tee-totum).  In  the  background  are  the  grand  stand,  men 
on  horseback,  and  carriages. 

12658  THE  DRAM  SHOP.'  [i.  253] 

A  crowded  gin-shop,  realistically  depicted,  with  a  background  of  huge  casks. 
Behind  a  counter  a  bloated  still-man  serves  pretty  courtesans,  filling  glasses 
from  a  pipe  leading  to  a  still.  Into  this  Death,  on  a  ladder,  empties  a  jug  of 
Vitriol.  Beside  him  are  a  jar  of  Compounds,  and  a  jug  of  Aqua  Fortis.  The 
casks  are  Old  Tom  and  Deady's  Best  Cordial.  Against  them  lie  three  women, 
young,  middle-aged,  and  old,  all  dead  drunk.  A  courtesan  embraces  a  young 
man  while  another  picks  his  pocket.  Behind  are  degraded-looking  customers; 
two  viragoes  are  fighting.   Below : 

Some  find  their  Death  by  Sword  &  Bullet ; 
And  some  by  fluids  down  the  Gullet. 

12659  THE  GAMING  TABLE.  [i.  258] 

London.  Pub.  Feb^  i.  1815,  .  .  .  [ut  supra] 

The  Hazard  Room  of  a  London  gaming-hell  is  crowded  with  elderly  rafiish- 
looking  men  wearing  hats.   The  croupier  (r.)  pushes  his  rake  over  the  large 

'  Imprint  as  No.  12656. 
614 


PERSONAL   AND   SOCIAL   SATIRES    1815 

round  table.  From  the  opposite  side  Death  leans  across  it  to  grasp  a  stake. 
He  places  a  foot  on  the  head  of  an  old  man  who  has  fallen  from  his  chair. 
The  company  stampede.   A  military  officer  draws  his  sword.   Below: 

Whene'er  Death  plays,  He's  sure  to  zoin: 

He'll  take  each  knowing  Gamester  in. 

12660  THE  BATTLE.'  [i.  264] 

British  cavalry  charge  up  hill  towards  the  muzzles  of  great  guns  which  blaze 
down  at  them  at  close  range.  Death  fires  the  nearest  gun;  the  other  artillery- 
men are  small  shadowy  figures.   Below: 

Such  is,  alas,  the  common  Story 

Of  Blood  &  Wounds,  of  Death  &  Glory. 

The  verses  (published  on  the  eve  of  Napoleon's  return)  deplore  'the  fell 
arts  of  War',  and  hail  the  hour  when  'chast'ning  Justice'  'gives  the  humbled 
Nations  peace'. 

12661  THE  WEDDING.'  [i.  272] 

Death  in  spectacles,  wig,  bands,  and  surplice  stands  behind  the  altar  balustrade, 
marrying  an  elegant  young  woman  to  a  hideous  old  man.  A  fat  old  woman 
kneels  to  place  hassocks  for  the  pair.  Congregation,  front  pew,  pulpit,  gallery, 
and  east  window  are  depicted  in  a  Gothic  church  with  Georgian  fittings. 
Below : 

Plutus  commands,  &  to  the  Arms 

Of  doting  Age,  She  yeilds  her  Charms. 

Death  at  the  altar  hears  the  bride's  'inward  wish'  and  the  bridegroom  died 
as  'the  sacred  knot  was  tied'. 

12662  THE  SKAITERS.  [i.  283] 

London.  Pub.  March  1 1815,  .  .  .  [ut  supra] 

Death  on  skates,  joyfully  pirouettes  among  skaters  who  fall  violently,  some 
breaking  the  ice,  and  partly  submerged.  In  the  background  tiny  skaters  rush 
1.  and  r.  in  terror  to  the  banks  of  the  lake.  The  scene  resembles,  though  with 
more  incident,  Rowlandson's  Cold  Broth  and  Calamity  of  which  there  are 
several  versions,  see  Nos.  8196,  9663,  9663  A  (1808). 

On  the  frail  Ice,  the  whirring  Skate 
Becomes  an  Instrument  of  Fate. 

12663  THE  DUEL.2  [i.  285] 

Scene  in  Hornsey  Wood.  A  stout  duellist  (1.),  wounded,  falls  back  clutched 
by  Death  who  drags  him  off  to  the  1.  His  second  and  the  surgeon  register 
consternation.  His  opponent  (r.),  pistol  in  hand  and  staring  through  an  eye- 
glass, watches  with  less  emotion.  A  post-chaise  and  pair  with  postilion  waits 
in  the  background  (r.).   Below: 

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

12664  THE  BISHOP  AND  DEATH.^  [i.  291] 

A  stout  bishop  sits  in  an  arm-chair,  a  folio  open  on  a  lectern  beside  him. 
Death  (r.)  stands  menacingly  before  him,  holding  up  his  hour-glass;  the 

'  Imprint  as  No.  12659.  ^  Imprint  as  No.  12662. 

615 


CATALOGUE  OF  POLITICAL   AND   PERSONAL   SATIRES 

(saintly)  bishop  is  undismayed.  A  tall  young  parson  in  gown  and  bands  stands 
on  the  bishop's  r.  On  the  wall  of  the  Gothic  room  between  two  busts  is 
a  W.L.  portrait  of  a  king.    Below: 

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

12665  THE  SUICIDE.  [ii.  i] 

London.  Pub.  April  1 1815,  .  .  ,  [ut  supra] 

A  young  woman  plunges  from  a  rock  into  a  stormy  sea  where  a  body  is  float- 
ing.  Death  lounges  on  a  rock  beside  her  with  a  satisfied  smile.   Below: 

Death  smiles  &  seems  his  dart  to  hide, 
When  He  beholds  the  Suicide. 
For  frontispiece  and  title-page  see  Nos.  12857,  12858. 

12666  CHAMPAGNE,  SHERRY,  AND  WATER  GRUEL.'  [ii.  i8] 

A  dinner-table  drawn  near  a  fire ;  an  invalid  with  a  bowl  of  gruel  sits  between 
table  and  fire,  where  a  fat  old  cook  stirs  a  pot.  Dessert  is  on  the  table.  Death 
clutches  the  shoulder  of  the  invalid  and  looks  across  to  a  stout  and  jolly  man 
and  buxom  woman.  A  third  man  and  three  dogs  complete  the  company. 
Below : 

Have  patience  Death,  nor  be  so  cruel 

To  spoil  the  Sick  man's  Water  gruel. 

12667  THE  NURSERY.'  [ii.  33] 

A  squalid  cottage  interior.  A  fat  woman  (r.),  gin-glass  in  hand,  sleeps 
drunkenly  beside  the  cradle  of  an  unconscious  infant.  Death  rocks  the  cradle, 
grimly  possessive.  Behind  (1.),  two  fashionably  dressed  women  and  a  little 
girl  enter  the  cottage,  registering  consternation.  The  child  has  been  entrusted 
by  its  mother  to  a  foster-mother.    Below: 

Death  rocks  the  cradle.  Life  is  o'er: 
The  Infant  sleeps,  to  wake  no  tnore. 

12668  THE  ASTRONOMER.  [ii.  38] 

London.  Pub.  May  1 181 5,  .  .  .  [ut  supra] 

A  grotesque  old  man,  gazing  through  a  large  telescope  directed  at  an  open 
(Gothic)  window,  is  confronted  by  Death  (1.),  who  has  entered  and  kneels  on 
a  table  pointing  his  javelin.  He  overturns  his  chair,  an  old  woman  rushes 
in  (r.)  followed  by  servants.  The  room  is  crowded  with  mathematical  and 
scientific  instruments,  including  a  big  pair  of  globes.  Astronomical  charts, 
including  a  Planisphere,  are  on  the  wall.  It  is  furnished  with  antique  cabinets, 
on  which  stand  busts  and  Greek  vases.    Below: 

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

12669  THE  FATHER  OF  THE  FAMILY.^  [ii.  43] 

Death  drags  a  youngish  man  from  the  door  (r.)  of  a  large  country  house, 
followed  by  a  crowd  of  daughters  who  form  a  chain  to  pull  their  father  back ; 
weeping  women,  youths,  and  servants  crowd  round  him.  Three  elderly  and 
discomfited  doctors  walk  off  to  the  1.    Below: 

The  Doctors  say  that  you're  my  booty: 
Come  Sir,  for  I  ?nust  do  my  duty. 

'   Imprint  as  No.  12665.  ^  Imprint  as  No.  12668. 

616 


PERSONAL   AND    SOCIAL   SATIRES    1815 

12670  THE  FALL  OF  FOUR  IN  HAND.'  [ii.  49] 

Death  (1.)  rides  the  near  leader  of  four  runaway  horses  harnessed  to  a  Hght 
gig  on  high  springs  which  overturns  on  a  rock}^  boulder,  beside  a  river  in 
a  mountainous  landscape.  The  amateur  whip  and  his  'doxy'  are  about  to  be 
flung  out.  A  groom  (r.)  reins  in  his  horse,  a  dog  barks.   Below: 

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

12671  GAFFER  GOODMAN.  [ii.  62] 

Pub.  June  i  i8i^,  .  .  ,  [ut  supra] 

An  old  yeoman  and  Death  sit  side  by  side  like  cronies,  smoking  long  pipes 
beside  a  fire  on  an  open  hearth  in  a  panelled  room.  His  pretty  young  wife 
sits  at  a  rough  spinning-wheel  near  the  door,  over  which  leans  her  former 
admirer  and  future  husband.    Below: 

Another  Whiff  and  all  is  o'er 
And  Gaffer  Goodtnan  is  no  more. 

12672  THE  URCHIN  ROBBERS.^  [ii.  70] 

An  old  gardener  stands  on  a  melon-frame  at  one  end  of  a  formal  walled 
garden  firing  at  a  number  of  boys  who  rush  towards  the  wall  and  scramble 
over  it.  One  is  seized  by  a  savage  dog.  Death  directs  the  man's  aim.  Behind 
is  the  corner  of  a  neo-Gothic  abbey.    Below: 

O  the  unconscionable  Brute! 
To  murder  for  a  little  Fruit! 

12673  DEATH  TURNED  PILOT.^  [ii.  79] 

A  ship's  boat  filled  with  passengers,  sailors  tugging  at  the  oars,  founders  in 
a  stormy  sea.  Death  sits  at  the  tiller,  the  stern  being  on  the  crest  of  a  wave, 
and  holds  up  his  hour-glass,  smiling  down  in  triumph  at  his  victims.  Two 
disabled  ships  in  the  background  are  half-submerged.    Below: 

The  fatal  Pilot  grasps  the  Helm, 

And  steers  the  Crew  to  Pluto's  Realm. 

12674  THE  WINDING  OF  THE  CLOCK.  [ii.  87] 

London.  Pub.  July  i.  1815,  .  .  .  [ut  supra] 

In  a  handsome  breakfast-parlour  a  fat  'cit'  falls  backwards  from  a  step-ladder 
on  which  he  had  been  standing  to  wind  a  wall-clock.  His  wife's  arm-chair 
tilts  backwards,  dragged  by  Death  who  gleefully  aims  his  javelin  at  the  'cit'. 
Table,  urn,  tray,  and  china  crash  to  the  floor,  a  dog  barks,  a  cat  (about  to 
be  crushed)  miaows  vengefully  at  Death.    Below: 

"Ao  one  but  me  shall  set  my  Clock". 
He  set  it  &  behold  the  Shock. 

12675  THE  FAMILY  OF  CHILDREN.^  [ii.  95] 

A  breakfast-room-nurscry  opens  off  a  bedroom  where  in  the  background  a 
lady  in  bed  is  seen  nursing  an  infant.  Thirteen  children  are  at  a  breakfast- 
table  at  which  the  eldest  girl  pours  out  tea  while  the  father  reads  a  paper. 
By  the  fire  (1.)  is  a  cradle  from  which  two  nurses  have  taken  an  infant  whom 

'   Imprint  as  No.  12668.  ^  Imprint  as  No.  12671. 

3   Imprint  as  No.  12674. 

617 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

they  are  washing  and  dressing.  Beside  them  (1.)  Death  opens  the  door  and 
enters  menacingly.  Below: 

'  Twere  well  to  spare  me  two  or  three 
Out  of  your  ?ium'rous  Family. 

12676  DEATH'S  DOOR.'  [ii.  loi] 

The  door  is  a  rough  double  gate  under  an  arch  set  in  rocks,  the  knocker  hangs 
from  the  mouth  of  a  skull.  The  door  and  its  approaches  through  a  rocky  cave 
are  beset  by  old  and  young,  frantic  or  despairing;  some  are  diseased  or 
crippled.  One  is  a  religious  maniac.  A  man's  hand  is  on  the  knocker;  Death 
emerges  from  the  door,  striding  over  women  lying  on  the  ground.   Below: 

I?i  this  world  all  our  Comforts  o'er ; 
So  let  us  find  it  at  Death's  Door. 

12677  THE  FIRE.  [ii.  io6] 

London.  Pub  Aug^  i.  1815,  .  .  .  [ut  supra] 

Death  advances  towards  a  blazing  farm-house,  a  firebrand  in  each  hand.  In 
the  foreground  a  half-dressed  mother  sits  with  her  children  on  a  pile  of 
household  goods,  while  two  men  fill  buckets  from  a  pond.  Cattle  stampede 
in  the  background.   Below: 

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

12678  THE  MISER'S  END.^  [ii.  116] 

An  old  man  lies  dead  on  a  miserable  truckle-bed  in  a  heavily  barricaded  room 
with  Gothic  vaulting.  He  clutches  money-bag,  bonds,  and  Book  of  Interest. 
Death  (without  his  javelin)  leads  a  delighted  young  man  towards  the  treasure- 
chest.  A  pretty  young  woman  and  an  old  hag  rush  forward,  eager  for  the 
wealth  with  which  the  room  is  filled.    Below: 

Old  Dad,  at  length,  is  grown  so  kind; 
He  dies,  &  leaves  his  wealth  behind. 

12679  GRETNA  GREEN.2  [ii.  126] 

On  a  country  road  a  travelling  chaise  and  four  with  two  postilions  gallops, 
closely  pursued  by  an  elderly  doctor  (the  girl's  guardian)  on  horseback,  who 
is  accompanied  by  Death,  'his  faithful  Groom',  on  a  skeleton-horse.  From 
each  window  of  the  chaise  a  girl  and  an  officer  lean  out  aiming  pistols  at  their 
pursuer.   Below: 

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

Cf.  Fillial  Affection  .  .  .,  No.  6861,  by  Rowlandson,  where  both  fire  at  the 
pursuing  father. 

12680  THE  WALTZ.  [ii.  137] 

Pub.  Sept.''  I.  181 5,  .  .  .  [ut  supra] 

In  a  handsome  garden  pavilion  a  pretty  girl  practises  waltz-steps,  unconscious 
that  she  has  a  partner.  Death,  who  holds  the  tips  of  her  fingers.  The  dancing- 
master  (r.),  playing  a  fiddle,  flinches  in  terror.  In  the  background  an  elderly 
couple  promenade  beside  a  fountain  in  a  walled  garden.   Below: 

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

'  Imprint  as  No.  12674.  ^  Imprint  as  No.  12677. 

618 


PERSONAL   AND   SOCIAL   SATIRES    1815 

12681  MATERNAL  TENDERNESS.'  [ii.  144] 

A  lifeless  boy  is  being  lifted  from  a  pond  among  trees  where  he  has  been 
bathing.  His  mother  (1.)  falls  fainting  into  the  arms  of  Death,  her  husband 
beside  her.   Two  agitated  girls  run  forward.    Below: 

Thus  it  appears  a  pond  of  Water 

May  prove  an  Instrument  of  Slaughter. 

12682  THE  KITCHEN.'  [ii.  152] 

A  wild  stampede  of  servants  towards  the  door  (1.)  is  caused  by  Death,  using 
the  spit  on  which  a  bird  is  spitted  to  attack  a  fat  man-cook,  who  tries  to  defend 
himself  with  knife  and  pot-lid.    Below: 

Thou  Slave  to  ev'ry  gorging  Glutton, 

ril  spit  thee  like  a  Leg  of  Mutton. 

12683  THE  GIG.  [ii.  158] 

London.  Pub.  Oct''  i.  i8i^,  .  .  .  [ut  supra] 

A  runaway  horse  dashes  over  a  bank  towards  the  sea.  The  driver,  a  stout 
'cit',  falls  backwards,  broken  reins  in  his  hands.  A  young  woman  flings  herself 
out.  Death  sits  beside  the  road  on  a  mile-stone,  ')6  Allies  from  London,  holding 
up  his  hour-glass  at  the  pair.  (In  the  text  the  accident  is  on  Shooters  Hill.) 
Below : 

Azvay  they  go  in  chaise  &  one. 

Or  to  undo  or  be  undone. 

12684  THE  MAUSOLEUM.^  [ii.  167] 

Death  welcomes  an  aged  man  supported  on  crutches  who  enters  the  door  of 
a  Mausoleum  shaded  by  trees.  Outside  are  a  handsome  young  man  and  a 
pretty  girl  who  make  their  way  to  a  waiting  coach  with  liveried  servants. 
Below : 

Your  crabbed  Dad  is  just  gone  home  ; 

And  nozv  zee  look  for  joys  to  come. 

12685  THE  COURTSHIP.^  [ii.  173] 

A  pretty  woman  sits  in  a  neo-Gothic  hall  facing  five  elderly  suitors,  a  sixth, 
a  doctor,  just  behind  her.  They  are  colonel,  baronet,  parson,  lawyer,  and 
quaker.  She  intends  to  choose  one,  but  Death  leans  over  her  chair,  seen  only 
by  a  servant  who  stands  on  tiptoe  in  the  doorway.    Below: 

It  is  in  vain  that  you  decide: 

Death  claims  you  as  his  destined  Bride. 

12686  THE  TOASTMASTER.  [ii.  199] 

.  .  .  Pub.  Nov''  I.  181 5,  .  .  .  [ut  supra] 

Topers  carouse  and  smoke  or  sprawl  drunkenly  on  the  floor  beside  empty 
bottles.  A  man  enters  with  another  punch-bowl.  Death  sits  at  the  table 
ladling  punch  into  the  glass  of  a  fat  gouty  man  in  dressing-gown  and  night- 
cap.  Below: 

The  End  of  Life,  the  Chairman  cries: 

'Tis  drank,  &  many  a  Toper  dies. 

'  Imprint  as  No.  12680.  ^  Imprint  as  No.  12683. 

619 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12687  THE  CARELESS  AND  THE  CAREFUL.'  [ii.  204] 

Death,  holding  out  a  watchman's  lantern,  capers  before  a  trio :  an  officer  with 
a  pretty  lightly  clad  girl  on  each  arm.  They  are  leaving  a  ball;  in  the  back- 
ground (r.)  'the  Careful'  are  seen  becloaked  at  a  garden  door,  following  a 
servant  with  a  lantern  in  the  opposite  direction.    Below: 

The  Careful  and  the  Careless  led 
To  join  the  living  and  the  dead. 

12688  THE  LAW  OVERTHROWN.'  [ii.  210] 

A  scene  outside  Westminster  Hall.  An  aged  serjeant-at-law  leans  angrily 
from  a  hackney-coach  which  overturns,  by  being  driven  over  a  paviour's 
barrow  filled  with  stones.  Death  sits  on  the  box  lashing  the  horses,  from  whose 
hoofs  a  fat  barrister  is  escaping.  Two  paviours  laugh  at  the  accident.  Below: 

The  Serjeant's  tongue  will  cease  to  brawl 

In  every  Court  of  yonder  Hall. 

12689  THE  FORTUNE  TELLER.  [ii.  222] 

Pub.  Dec^  I.  1815,  ,  .  .  [ut  supra] 

Two  ladies  stand  within  a  circle  in  the  Fortune  Teller's  room,  terrified  to  see 
his  arm-chair  tilted  violently  backwards  by  Death.  He  kicks  over  a  table 
on  which  an  open  folio  inscribed  Nativity  rests  against  a  celestial  globe  on 
which  is  a  terrified  cat.  A  crocodile  is  suspended  from  the  roof,  and  on  a 
screen  an  arc  of  spheres  or  planets  surrounds  a  sun.   Below: 

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

12690  THE  LOTTERY  OFFICE.^  [ii.  230] 

Behind  a  long  counter  stands  Death,  triumphantly  holding  up  in  each  hand 
a  ticket  No  .  .  .  Blank.  A  cashier  and  clerk  look  amused  at  a  lady  who  falls 
back  lifeless  and  is  supported  by  a  fat  man;  other  customers  crowd  to  the 
door  (1.).  A  youth  runs  forward  with  a  chair  for  the  lady.  Before  Death  is 
a  large  open  book:  Doomesday  Book.  A  third  clerk  spikes  tickets  inscribed 
Blank  on  to  a  file.   Below: 

To  trust  in  Fortune's  smiles  alone, 

Is  the  High  Road  to  be  undone. 

12691  THE  PRISONER  DISCHARGED.^  [ii.  236] 

From  a  prison  doorway,  apparently  the  King's  Bench,  a  man  walks  off  arm-in- 
arm with  Death  who  leads  him  to  the  r.  away  from  an  old  Jew  (I.)  who  proffers 
a  writ.  Men  watch  from  behind  the  spiked  half-door  of  the  prison.  In  the 
background  (r.)  three  women  register  consternation.   Below: 

Death,  without  either  Bribe  or  Fee, 
Can  set  the  hopeless  Prisoner  free. 

12692  [JULIET  &  THE  NURSE— ]3 
GC^  fee'  181 5 

[Pu¥  by  G.  Cruikshank  iiy  Dorset  S'  City.  1815.Y 

Lithograph  (coloured  and  uncoloured  impressions).  A  stout  and  ugly  duenna, 
Spanish  in  type,  and  perhaps  after  Goya,  sits  full-face  holding  a  fan,  with 

'   Imprint  as  No.  12686.  -  Imprint  as  No.  12689. 

^  Inscriptions  in  pen,  in  G.  C.'s  hand. 

620 


PERSONAL   AND   SOCIAL   SATIRES    1815 

lowered  eyes  as  if  asleep,  one  foot  thrust  awkwardly  for\vard  and  upturned. 
A  rosary  hangs  from  her  waist.  A  tall  slim  young  girl  looks  over  her  r. 
shoulder,  1.  hand  on  the  back  of  the  oddly  drawn  chair. 

The  scene  may  represent  some  contemporary  adaptation  of  the  play  (which 
was  acted  in  the  eighteenth  century  with  a  happy  ending). 

Reid,  No.  2732.    Cohn,  No.  1269. 
c.  5|X7  in.  (vignette). 

12692a  JULIET  AND  THE  NURSE 

[G.  Cruikshank.] 

Lithograph  (coloured  impression).  A  copy  of  No.  12692  reversed  and  enlarged ; 
a  curtain  has  been  added  on  the  1. 

One  of  a  series  of  lithographs  uniform  in  format,  with  titles  in  bold  italics, 
see  No.  13085,  &c. 

Reid,  No.  2733. 
8xio|  in. 

12693  QUIZICAL  I  SONGS  I  FOR  |  1815. 

[G.  Cruikshank.] 

London  Printed  for  Thomas  Tegg,  iii,  Cheapside. — Price  Sixpence 

Engraving.  The  letters  of  the  first  two  words  of  the  title  are  formed  by  little 
acrobats,  uniformly  dressed.  Below  is  a  vignette  (2}  X  3}  in.) :  a  wretched  man 
between  two  termagants;  one  pulls  his  nose  with  a  pair  of  tongs,  the  other 
drags  at  his  long  pigtail.   Cf.  No.  12694. 

Cohn  (No.  6812)  lists  a  similar  book  for  1S14,  with  a  coloured  vignette. 
7iX4iin. 

12694  THE   I   LAUGHABLE   |   SONGSTER   |  CONSISTING   |  OF   1 
NEW  I  SONGS  I  1815. 

[G.  Cruikshank.] 

Ptib.  by  Tho^  Tegg,  iii,  Cheapside. 

Engraving.   The  letters  of  'New  Songs'  are  formed  as  in  No.  12693.    Below 
is  a  vignette  (i|X3|  in.):  a  mail-coach  with  four  galloping  horses  in  open 
country.  A  woman  climbs  from  the  box  seat  to  embrace  a  man  on  the  roof, 
whose  hat  flies  off;  the  guard  blows  his  horn. 
7^X4iin. 

12695  THE  OLD  AIAID  AND  HER  TOM  CAT. 

[G.  Cruikshank.] 

Printed  by  Phimmer  and  Brezcis,  Love  Lane,  Eastcheap,  for  Thomas  Tegg, 
III,  Cheapside.    Price  One  Shilling,  coloured.  [c.  181 5] 

Engraving.    Heading  to  a  printed  broadside.   A  court  of  law,  purporting  to 

be  'At  the  Old  Bailey  September  4.  George  L    The  King  v.  '.    The 

defendant,  a  well-dressed  youth,  stands  in  the  dock  (1.)  addressing  the  jury. 
The  judge  listens  on  the  r.;  the  prosecutrix  (1.)  stands  facing  him;  she  is  a 
grotesquely  ugly  old  maid,  holding  up  a  handkerchief  in  sign  of  grief.  Three 
counsel  sit  at  a  round  table  which  fills  the  body  of  the  court.  An  usher  holds 
up  a  dead  cat,  tied  by  its  tail  to  a  long  pole  with  a  black  bow.  Jurymen  snigger 
in  their  box  on  the  judge's  r.  The  text  is  a  report  of  the  trial,  consisting  chiefly 

621 


CATALOGUE    OF   POLITICAL   AND   PERSONAL   SATIRES 

of  a  humorous  defence  by  the  youth  who  had  shot  the  old  cat.  The  costume 
is  c.  1815.  Cf.  No.  1 1 126. 

Reid,  No.  433.   Reproduced,  Cniikshankian  Momus,  p.  88. 
6^  X  8^  in.   Broadside,  17I X  1 1|  in. 


12696  OLD  SNIP;  OR,  THE  DOCK  SHARK. 

[G.  Cruikshank.]  [c.  1815] 

Engraving  (coloured  impression).  Heading  to  a  song:  Tune — "Liberty  Hall". 
A  respectably  dressed  man  with  a  large  green  bag  slung  from  his  shoulders, 
marked  v/ith  the  broad  arrow  and  inscribed  Cabbage  Bag,  stands  with  flexed 
knees  in  profile  to  the  r.,  intently  reading  a  large  Treasury  Letter.  He  stands 
on  the  quayside,  with  his  back  to  a  shed  (1.),  inscribed  /.  Goose  &  Co  Taylors, 
in  which  two  tailors,  seated  cross-legged,  are  jovially  working.  One  plies  shears, 
the  other  an  iron.  On  the  extreme  r.  is  a  shed,  numbered  3,  where  a  customs 
officer  writes  at  a  window.  Behind  are  large  ships  at  anchor.  The  first  of 
seven  verses : 

Old  Snip  was  a  Tailor  bred  up  from  a  boy, 
And  the  Cabbaging  System  his  darling  employ; 
For  Snip,  when  a  youngster,  I'd  have  you  remark, 
For  nibling  and  grasping  was  reckon'd  a  Shark! 

Snip  then  became  a  custom-house  officer  in  America,  where  he  was  tarred 
and  feathered  for  his  extortions.  Then,  as  a  land-waiter  in  England,  for 
making  seizures:  'No  Tiger,  or  Fury,  can  match  this  Dock  Shark!'  Now  and 
then  he  was  checked  by  a  Treasury  Letter. 

For  the  tailors'  'Cabbage'  see  No.  11 824,  &c.  There  was  an  establishment 
of  60  'Landing- waiters'  at  the  London  Docks  (Royal  Kalendar).  Colquhoun's 
Treatise  on  the  Commerce  and  Police  of  the  River  Thames,  1800,  had  drawn 
attention  to  the  depredations  at  the  Docks. 

Reid,  No.  438.    Cohn,  No.  1807. 
5fX7^in.    Sheet,  11^x7!  in. 

I 2697-1 2699 
From  series  of  'Drolls' 

12697  SCENE  IN  THE  COMIC  OPERA  OF  THE  LORD  OF  THE 
MANOR,  SONG  MOLL  FLAGGON,  SUNG  BY  MR  LISTON.      529 

[G.  Cruikshank.] 

Published  Jann  20.  1815,  by  jfa'  Whittle  &  Ric¥  H.  Laurie,  53,  Fleet 
Street,  London. 

Engraving.  Liston,  wearing  a  quilted  petticoat  with  a  military  coat  and 
smoking  a  pipe,  dances,  snapping  his  fingers,  to  the  music  of  a  (regimental) 
fife  and  drum,  while  two  soldiers  watch  him,  one  (1.)  amused,  the  other  (r.) 
surprised  and  dismayed.  Beside  the  latter  lies  an  open  parasol.  The  second 
of  two  verses  engraved  beneath  the  title : 

Sing  and  Quaff, 

Dance  and  Laugh, 
A  Fig  for  care  or  sorrow; 

Kiss  and  Drink, 

But  never  Think, 
'Tis  all  the  same  to-morrow. 

622 


PERSONAL   AND   SOCIAL   SATIRES    1815 

'The  Lord  of  the  Manor'  (1781)  is  a  comic  opera  by  Burgoyne. 

A  character-portrait  of  Liston  as  Moll  Flaggon  by  I.  R.  Cruikshank  with 
some  work  by  G.  Cruikshank  was  published  23  June  1824  (Reid,  No.  1256; 
Cohn,  No.  1320). 

Reid,  No.  455.  Cohn,  No.  1962.  Reproduced,  Crtukshankian  Momiis ,  p.  30. 
yXQ^in.   Broadside,  c.  9|x  I  if  in. 

12698  ALL  THE  WORLD'S  IN  PARIS!  530 
[G.  Cruikshank.] 

Published,  the  J^'  of  February,  181 5,  .  .  .  [ut  supra] 

Engraving  (coloured'  and  uncoloured  impressions).  Heading  to  a  song  printed 
below  the  (printed)  title :  Sung  with  great  Applause  by  Mr.  Grimaldi,  in  the 
popular  Pantonume  of  ''Harlequin  Whittington\  Grimaldi,  as  an  English 
tourist  in  Paris,  his  face  made  up  as  a  clown,  stands  full-face,  1.  arm  extended 
towards  Paris  (r.) :  houses  and  spires  behind  a  wail  with  an  arch  intended  for 
the  Arc  de  Triomphe.  He  wears  a  skull-cap  decorated  with  little  rosettes,  with 
a  frogged  and  braided  overcoat  (shorter  than  was  fashionable)  with  deep  fur 
cuffs  and  collar;  flat  (scarlet)  slippers  and  clocked  stockings.  He  holds  an 
absurdly  tall  top-hat.   The  second  of  five  verses : 

Jockies,  Jews,  and  Parlez-vous 

Courtezans  and  Quakers, 
Players,  Peers  and  Auctioneers, 

Parsons,  Undertakers. 
Modish  airs  from  Wapping-stairs, 

Wit  from  Norton  Falgate, 
Bagatelle  from  Clerkenwell, 

And  elegance  from  Aldgate. 

[Refrain]    London  now  is  out  of  Town 
Who  in  England  Tarries? 
Who  can  bear  to  linger  there. 
When  all  the  world's  in  Paris? 

The  pantomime  was  first  played  at  Covent  Garden  on  26  Dec.  18 14,  the 
chief  feature  was  the  ascent  of  a  balloon  from  which  the  Garnerins'  child 
descended  by  parachute.  Europ.  Mag.  Ixvii.  53  f.  In  Sept.  1815  Wellesley 
Pole  wrote  from  Paris :  'AH  the  English  in  the  world  are  here,  and  one  detests 
the  sight  of  them;  they  are  heartily  quizzed,  as  we  all  are,  as  well  as  detested.' 
Canning  and  his  Friends,  ed.  Bagot,  1909,  ii.  9.    See  No.  12354:  &c. 

Also  a  proof  (uncoloured)  before  number. 

Reid,  No.  457.  Cohn,  No.  880.  Reproduced,  Cruiksliafikian  Momus,  p.  82. 
6|x8|  in.    Broadside,  c.  ii|x9|  in. 

12699  IRISH  HOSPITALITY.  531 
I.  R.  Cruikshank  del           G.  C*  sculp. 

Published,  the  20"^  of  October,  1815,  .  .  .  [ut  supra] 

Engraving.  Heading  to  a  song  printed  below  the  (printed)  title :  Sung  with 
great  Applause  by  Mr.  Incledon,  in  his  New  Entertainment,  called  ''The 
Minstrel'  [Tune — Town  and  Country].  Four  well-dressed  and  smiling  men 
sit  round  a  table  on  which  are  decanters  and  fruit.  One  sings,  grinning 
broadly,  his  hand  on  a  decanter;  his  tie-pin  is  in  the  form  of  a  bottle.  The 
man  at  the  head  of  the  table,  in  profile  to  the  1.,  is  Whittle.   The  chimney- 

'  Without  title  and  verses. 
623 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

piece  (r.)  is  a  clock  surmounted  by  a  Bacchus  and  wreathed  with  grapes. 
A  candle  has  burned  to  the  socket.  Outside  the  window  (1.)  is  a  church 
resembhng  St.  Paul's,  Covent  Garden.  The  third  of  five  verses; 

At  Candy's  in  Church  Street,  I'll  sing  of  a  set 

Of  six  Irish  blades,  who  together  had  met; 

Four  bottles  apiece  made  us  call  for  the  score, 

And  nothing  detain'd  us  but  one  bottle  more. 

Cf.  No.  9835. 

Reid,  No.  508.  Cohn,  No.  1245.  Reproduced,  Cruikshankian  Momus,  p.  84. 
5fx8|in.   Broadside,  c.  I  if  X  9^  in. 


624 


i8i6 
POLITICAL  SATIRES 

12700  ROYAL   CHRISTMAS   BOXES   AND   NEW   YEARS    GIFTS. 

1815  &  16 

G.  Cruikshank  fed 

Pu¥  by  M  Jones,  5  Newgate  S'  Jany  i'^  1816 

Aquatint.  PI.  to  the  Scourge,^  xi,  frontispiece.  The  central  and  principal 
design  is  isolated  from  four  minor  designs  by  being  on  a  land  rising  from  a 
surrounding  plain.  On  this  plateau  is  a  pool,  in  which  is  the  island  of  St. 
Helena,  in  the  form  of  a  giant  whose  updrawn  knees,  as  cliffs,  enclose  James- 
town Bay;  the  apex  is  in  the  form  of  a  grinning  face  on  which  Napoleon,  a 
colossus  (see  No.  12611,  &c.),  sits  in  profile  to  the  r.,  holding  his  chin  medita- 
tively, his  legs  crossed.  He  faces  the  Tsar  who  stands  on  the  edge  of  the  pool, 
displaying  a  pile  of  gifts  destined  for  St.  Helena.  These  are  a  Map  of  France 
and  five  pictures :  View  of  the  Good  City  of  Paris ;  View  of  the  Pall[ace]  of 
St.  Cloud;  a  Representatioti  of  the  Destruction  of  Malmasion  [sic] ;  Burning  of 
Moskow  [see  No.  12049];  Battle  of  Waterloo  [see  No.  12557,  &^c.].  They  lean 
against  a  jar  of  Preserved  Snow  Balls,  and  are  surmounted  by  a  notice-board 
inscribed  Pictures  &c  &c  to  Ornament  the  House  that  Jack  built — presenf^  by 
Al[exandir].  Alexander  declaims  blandly,  with  extended  arms;  his  words  are 
linked  also  with  the  Regent: 

Well,  Nap!  you  see,  we  don't  forsake  you. 
Although  zve  had  such  pains  to  take  you. 
'  Tis  true  we  long  have  been  profuse 
Of  slang  &  Billinsgate  abuse: 
Have  dealt  in  language  most  uncivil. 
And  call' d  you  Robber,  Murd'rer,  Devil! 
Alan-butcher! — but  of  that  tio  more — 
For  there  zee  feel  a  common-sore! 
So  cease,  at  length  to  plague  &  tease  you 
And  send  you  zchat  we  hope  will  please  you'' 

Napoleon  answers  gloomily :  Did  you  ever  hear  the  Story  of  some  fellows  who 
broke  a  poor  devils  head  And  then  gave  him  a  plaster?!!!! 

The  Regent  (r.)  bows  gracefully  but  absurdly,  chapeau  bras,  and  profil 
perdu,  the  curve  of  cheek  and  posterior  being  stressed.  He  points  to  the  gifts 
at  his  feet.  These  are  two  chests  full  of  women,  supposedly  attractive.  One 
of  these  is  being  emptied  by  McMahon,  larger  in  scale  than  the  women,  but 
much  smaller  than  the  three  principals.  The  women  tumble  out,  and  make 
for  the  water,  in  which  one  is  already  swimming  towards  Napoleon.  In  front 
of  these  are  a  punch-bowl,  with  three  decanters,  one  labelled  Curacoa,  and 
a  paint-box,  inscribed  Colour  Box  joo  Guineas!  Ackerman  &  [Co]!!!!!!  (he 
supplied  artists'  materials).  Behind  the  Regent  (r.)  is  the  model  of  a  neo- 
Gothic  and  castellated  house,  inscribed  The  House  that  Jack  Built  [i.e.  John 
Bull  paid  for,  cf.  No.  12786,  &c.]. 

On  the  1.,  in  the  lower  part  of  the  design.  Queen  Charlotte,  a  witch-like 
creature  in  old-fashioned  dress,  stoops  forward  in  profile  to  the  1.  towards 
a  fat  German  prince;  she  puts  the  spout  of  a  tea-pot  into  his  mouth,  and 

'  Not  folded,  showing  that  it  was  issued  separately. 

625  SS 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

hands  him  a  cheese,  saying,  My  Tea  Sip  Brother  if  you  please  and  eat  to 
Charlottes  health  her  Cheese.   He  drinks  with  an  avid  grin. 

Above  this,  and  surrounded  by  clouds,  the  King  of  Spain  kneels  on  a  plat- 
form before  an  image  of  the  Virgin  clasping  the  Child,  round  which  he  ties 
a  petticoat.  He  wears  slashed  breeches,  trunk-hose,  a  cloak,  and  a  fool's  cap. 
The  petticoat  forms  a  sheath  from  which  emerge  the  head  and  shoulders  of  the 
Virgin ;  it  is  decorated  with  shackles,  decollated  heads,  arms,  daggers,  skulls, 
and  a  row  of  gibbets  from  which  corpses  hang.   He  says : 

Before  thy  Shrine,  on  bended  knee, 

Great  Saint!  thy  royal  tailor  see 

He  brings  bright  Empress  of  the  Skies! 

A  petticoat,  to  grace  thy  thighs 

'  Tis  Satin,  richly  wrought  with  gold, 

'Twill  keep  out  heat,  'twill  keep  out  cold 

The  image  and  platform  are  under  a  Gothic  arch  hung  with  curtains  and 
inset  in  an  old  stone  building. 

On  the  r.,  a  pendant  to  Queen  Charlotte,  is  John  Bull,  a  fat  'cit',  who  gives 
a  fierce  kick  to  the  spherical  posterior  (a  giant  orange)  of  a  little  fleeing 
creature  (the  Prince  of  Orange).  He  says:  Thats  your  'Xmas  Box.  You'll 
neither  get  pay  Nor  Princess  here.  The  Prince  takes  a  flying  leap  to  the  r.  with 
outstretched  arms;  he  wears  a  conical  hat  with  a  pipe  stuck  in  it;  he  says: 
Look  at  me  well — /  come  for  inspection  so  hope  you' II  give  me  my  Christmas  Box. 

Above  this,  a  pendant  to  the  Spanish  scene,  are  steps  leading  from  the 
ground  to  an  altar  (r.)  lit  by  two  tall  candles  on  which  ,:its  a  realistic  Virgin 
holding  the  Child.  On  his  knees  on  a  cushion  before  the  altar,  the  due 
d'Angouleme  holds  up  on  a  pole  a  (silver)  figure  of  a  naked  infant  in  a  sitting 
position  (see  No.  12797).  ^^  declaims: 

Chaste  Virgin- Mother,  Source  of  Life! 
A  Husband  &  a  barren  wife 
Whose  nuptial  bed  no  Children  bless 
To  thee  their  vows,  their  Pray'rs  address. 
This  costly  silver  Babe  behold 
{Had  we  been  rich  it  had  been  gold!) 
This  Babe  we  offer  at  thy  shrine: 
Accept  the  [sic]  O  Queen  divine! 
Give  us  a  Babe  to  Crown  our  joy 
Of  flesh  and  blood,  a  chopping  Boy! 

Behind,  and  on  a  lower  step,  kneels  the  Duchess  with  tensely  clasped  hands ; 
both  are  grotesquely  thin.  Two  fat  nuns  bend  towards  her;  one  puts  her  hand 
on  her  shoulder,  saying,  You  had  better  try  the  warming  pan  trick  a\s\  Boney 
did  [cf.  No.  12330].  Beside  the  statue  is  a  gnarled  and  decayed  tree-trunk 
with  a  few  bare  branches  on  which  two  birds  sit  facing  each  other.  One  says : 
/  think  mate  zve  had  better  change  our  quarters.  The  other  answers:  /  think 
so  too,  what  fruit  can  we  expect  from  a  barren  tree? 

For  the  contrast  between  the  warlike  (but  insulting)  gifts  of  the  Tsar,  and 
those  symbolizing  dissipation  given  by  the  Regent,  cf.  No.  12296.  For 
McMahon  and  the  women  cf.  No.  11730.  The  second  design  satirizes  the 
family  quarrel  over  the  marriage  of  the  Duke  of  Cumberland  to  his  first 
cousin,  and  the  friendly  letter  from  the  Queen  to  her  brother,  the  Grand- 
Duke  of  Mecklenburg- Strelitz,  on  the  news,  promising  that  the  bride  should 
be  a  welcome  guest.  When  the  Queen  soon  afterwards  absolutely  refused  to 
receive  the  new  Duchess,  this  letter,  after  a  preliminary  threat  (on  4  Sept.) 

626 


POLITICAL   SATIRES    1816 

was  published  (in  part)  in  the  Morning  Chronicle.  It  ended:  'I  have  sent  by 
the  messenger  six  pounds  of  tea  and  two  cheeses ;  eat  the  latter  to  my  health ; 
and  in  drinking  the  tea,  remember  a  sister  whose  attachment  to  you  will  not 
cease  but  with  death.'  Examine}-  (citing  Morning  Chronicle),  8  Oct.  1815.  See 
Nos.  12591,  12996.  For  Ferdinand  VII  and  the  petticoat  see  No.  12508,  &c. 
In  his  exile  'according  to  the  published  eulogies  of  one  of  his  chaplains  [he] 
was  occupied  in  embroidering  petticoats  for  the  Virgin  Mary'.  Examiner, 
7  Jan.  1816.  For  Princess  Charlotte's  rejection  of  the  Crown  Prince  of  the 
Netherlands  see  No.  12280,  &c.;  any  proposed  Prince  Consort  was  subject 
to  attacks  as  a  would-be  pensioner  of  John  Bull,  while  the  Princess's  popu- 
larity and  the  Regent's  wish  for  the  marriage  contributed  to  the  satisfaction  at 
the  rupture.  The  due  d'Angouleme  married  his  cousin  in  1799;  there  was  no 
prospect  of  an  heir  to  the  Crown  till  after  the  marriage  in  1816  of  his  brother, 
the  due  de  Berry. 

Reid,  No.  560.    Cohn,  No.  732.   Broadley,  ii.  9  f. 
7|xi8f  in. 

1 270 1  BONAPARTE.  ON  THE  QUARTER  DECK  OF  H,  M,  S,  NORTH- 
UMIiERLAND;  Dratai  during  his  passage  to  S'  Helena. 

Williatns  S' 

PiiM  Jan^  J^'  1816  by  Tho^  Falser  Westminster  Bridge  Road, 

Engraving  (coloured  impression).  A  portrait  of  Napoleon  in  profile  to  the  1., 
leaning  against  a  gun  with  his  hands  in  his  breeches  pockets.  It  closely 
resembles  Denzil  Ibbetson's  drawing,  see  No.  12625,  though  the  head  and 
hat  are  less  hfe-like.  Cordage  and  a  pulley  have  been  added  to  the  gun  and 
there  is  a  background  of  sea  and  sky,  with  a  vessel  making  directly  for  St. 
Helena,  a  tiny  island  on  the  horizon. 

Listed  by  Broadley. 
9ix6|in. 

12702  EXHIBITION  AT  BULLOCKS  MUSEUM  OF  BONEPARTES 
CARRIAGE  TAKEN  AT  WATERLOO. 

Rowlandson  Del  1816 

Published  January  10"'  1816  by  R.  Ackermann  N  lOi  Strand 

Engraving  (coloured  impression).  In  a  large  room  lit  by  a  high  double  window 
(r.)  rollicking  sight-seers  are  inspecting  Napoleon's  travelling-carriage.  Men 
and  women  are  clambering  over  it,  and  romping  amorously;  a  man  helps  a 
fat  woman  to  enter  it.  Some  are  inspecting  other  objects  found  in  or  with 
the  carriage;  three  amused  women  inspect  a  chamber-pot.  In  a  crowd  at  the 
back  of  the  room  sticks  and  fists  are  raised  menacingly.  On  the  1.  is  a  table 
where  plate  and  a  coffee-ser\'ice  are  displayed;  visitors  inspect  it.  Over  the 
wide  doorway  behind  the  carriage :  Bullock's  Museum  \  of  \  Natural  Curiosities. 
On  the  wall  to  the  r.  of  the  door  are  large  prints :  the  Hotentot  Venus  (see 
No.  iiS77y  &c.),  nude  and  smoking  a  pipe,  with  two  men  peering  pruriently 
at  her;  Polish  Dzvarf,  three  ladies  inspecting  a  foppish  dwarf  (Boruwlaski, 
1739-1837,  see  No.  7065).  Beneath  are  stuffed  birds  and  beasts  and  a  bust 
of  Napoleon.  By  the  window  (r.)  lean  three  or  four  imperial  eagles.  On  the 
1.  wall  four  horses  (harnessed  to  Napoleon's  carriage)  are  depicted  with  two 
of  the  Imperial  Guard  as  postilions.  Above  this  is  a  gallery  with  cases  (or 
pictures)  of  birds.  In  the  foreground  on  the  floor  are  Napoleon  relics  from 
the  carriage  including  slippers,  night-cap,  a  box  for  a  toilet  set,  a  postilion's 
saddle,  a  hat,  a  sword,  boots,  a  cloak,  and  a  pair  of  pistols. 

627 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

The  carriage  was  exhibited  in  Bullock's  London  Museum,  at  the  Egyptian 
Hall,  22  Piccadilly.  It  was  taken  by  a  Prussian  major  after  Waterloo,  sold 
to  the  British  Government,  and  disposed  of  by  them  (at  a  loss)  to  Bullock, 
together  with  its  contents,  including  a  gold  and  silver  necessaire,  a  steel  bed- 
stead with  two  mattresses,  hat,  sword,  uniform,  and  imperial  mantle.  Europ. 
Mag.  Ixix.  8i  f.  See  Repository  of  Arts,  Feb.  1816;  J.  T.  Tussaud,  The 
Romance  of  Madame  Tussaud's,  1921,  pp.  81-99.  (The  carriage  was  destroyed, 
except  for  one  axle,  carefully  preserved,  in  the  fire  at  Mme  Tussaud's  in  1925.) 
The  Museum  was  a  serious  exhibition  of  curiosities,  antiquities,  and  natural 
history;  it  is  here  ridiculed  by  allusions  to  the  Hottentot  Venus,  &c.,  as  well 
as  by  the  disorderly  behaviour  of  the  visitors.    See  No.  12703. 

Grego,  Rowlandson,  ii.  309.    Listed  by  Broadley. 
8|x  12^  in.  'Caricatures',  ix.  71. 


12703  A  SCENE  AT  THE  LONDON  MUSEUM  PICCADILLY,— OR— 
A  PEEP  AT  THE  SPOILS  OF  AMBITION,  TAKEN  AT  THE  BATTLE 
OF  WATERLOO— BEING  A  NEW  TAX  ON  JOHN  BULL  FOR  1816 
&c  &c. 

G.  Cruikshank  fee' 

Pub'^  by  H.  Humphrey  S^  James's  S'  London  Jan^  1816. 

Engraving  (coloured  impression).  Above  the  design,  as  a  second  title:  A 
Swarm  of  English  Bees  hiving  in  the  Imperial  Carriage!! — Who  would  have 
thought  it!!!  !!!  !!! — .  Napoleon's  carriage,  as  in  No.  12702,  is  beset  by  vulgar 
sight-seers,  but  is  seen  from  the  opposite  side,  the  box-seat  being  on  the  1. 
A  wildly  struggling  crowd  attempts  to  storm  the  carriage,  dividing  into  two 
streams,  one  to  enter  it,  the  other  (r.)  to  climb  on  the  top  from  behind.  Those 
who  are  already  inside  kiss  or  flirt.  A  waggish  man  lies  prone  on  the  roof 
watching  the  fight  to  reach  the  door.  A  woman  steps  on  the  chest  of  a  prostrate 
fop,  sprawling  across  a  woman,  who  cries  Oh!  My  Frill.  A  couple  sit  on  the 
box;  the  man  is  dressed  in  a  multi-caped  long  coat  and  a  bell-shaped  top-hat; 
he  assumes  the  pose  of  a  coachman,  as  if  using  a  whip  and  holding  imaginary 
reins,  turning  with  a  grin  to  his  companion.  A  man  standing  below  says  to 
him:  You^r  prime  bang  Up!!  (see  No.  11700,  &c.).  A  countryman,  turning 
to  his  wife,  points  to  the  seat,  saying  Look  at  Zaber  Gashes.  The  box-seat  is 
supported  on  a  shallow  box  ticketed  Box  for  the  Iron  [Bed]stead. 

On  the  extreme  1.  is  a  small  table  on  which  is  the  box  for  a  toilet  set  inscribed 
This  Box  contained  upzvards  of  100  articles  of  Solid  Gold  &c.  A  man  stoops 
over  it,  using  a  lorgnette.  Behind  him  and  looking  to  the  1.,  a  lady  says  to 
her  little  boy  Look  at  the  Horses  Tommy.  The  bust  of  Napoleon  is  on  the  1. 
A  Frenchman  gazes  at  it,  weeping  unrestrainedly;  he  says:  Ah!  Mon  dear 
Empreu'r  dis  is  de  Shocking  sights.  In  the  foreground  (1.)  a  well-dressed  man 
holds  out  a  shirt  to  three  women,  saying,  This  is  one  of  Napoleons  Shirts 
Ladies.  Against  the  wall  is  a  piece  of  drapery  decorated  with  bees  and  with 
a  crowned  /.  Next  it  is  a  display  of  gold  plate  with  a  cofFee-pot.  Above  are 
three  pictures:  game  (dead  birds),  a  seascape,  an  elephant.  On  the  r.,  in  an 
alcove,  is  a  glass  case  containing  a  chamber-pot.  On  it  are  two  busts,  one 
of  Horner. 

Reid,  No.  559.    Cohn,  No.  1959.    Listed  by  Broadley.    Reissued,  Cruik- 
shankiana,  1835.   Reproduced,  J.  T.  Tussaud,  op.  cit.,  p.  168. 
9^  X  13I  in.  With  border,  10^  X  i4§  in. 

628 


POLITICAL   SATIRES    1816 

12704  CATHOLIC    GRATITUDE    FOR    PROTESTANT    PROTEC- 
TION &  RESTOR.A.TION!! 

[Cruikshank.] 

Pu¥  by  S  W  Fores  50  Piccadilly  Jan^  22*^  1816^ 

Engraving  (coloured^  and  uncoloured  impressions).  Protestants  are  being 
burned  at  the  stake  and  stabbed,  houses  are  burning  with  the  approval  of  the 
Duke  and  Duchess  of  Angouleme.  A  sign-post  (1.)  pointing  To  Nismes  shows 
that  the  town  is  Nimes.  The  Duke,  wearing  uniform,  stands  on  a  cask  (r.) 
addressing  soldiers  who  stand  round  him :  Good  soldiers  Obey  my  Orders  & 
your  King  will  love  you.  A  cavalry  soldier  answers  with  a  delighted  grin : 
Oh!  by  gar  de  good  Catholic  Kill  all  Hereticks,  de  preist  make  dem  swear  dat. 
A  grenadier  holding  a  musket  (r.)  scowls  angrily,  saying,  Ungrateful  wretch 
do  you  not  owe  your  present  restoration  alone  to  Protestants.  John  Bull  is  a 
pendant  to  this  group  in  the  1.  foreground;  he  wears  top-boots  and  holds 
a  cudgel,  clenching  his  fist  and  glaring  angrily  to  the  r.;  he  exclaims:  Hell 
hounds,  They  are  all  of  a  peice,  see  the  Catholic  Bishops  of  Belgium's  memorial 
to  their  King!  If  you  protect  any  religion  but  the  Catholic  zee  zvill  rebellH!  The 
Duchess  stands  with  her  back  to  the  outrages  addressing  a  fat  bare-footed 
friar :  Turn  out  the  protestants  from  all  the  schools,  they  will  contaminate  them 
&  no  children  of  Protestants  shall  be  admitted  &  none  but  Catholic  schools  shall 
be  allozc'd.  He  registers  delight,  saying,  Oh!  the  blessings  of  Heaven  decend 
upon  you.  A  woman  with  a  veil  over  her  head  watches  the  couple,  saying, 
Did  not  the  protestants  of  G'  Britain  forget  all  the  former  persecutions  by  the 
Catholics  of  France,  &  succour,  maintain  fight  for  o  restore  you  to  your  present 
dignity  &  pozver.  Oh  Black  ingratitude  Blush  at  such  detestable  bigotary  & 
thirst  for  blood.  Behind  these  foreground  figures  ruffians  seize  and  stab  help- 
less victims;  a  man  is  suspended  from  a  stake  over  a  fire.  The  flames  and 
smoke  blend  with  those  issuing  from  blazing  houses  (r.);  a  woman  with 
children  appeals  for  help  from  an  upper  window.  After  the  title:  For  the  first 
part  read  [Foxe's]  Book  of  Martyrs  &c. 

A  satire  on  the  White  Terror.  According  to  Romilly,  in  the  department  of 
the  Garde  200  persons  had  been  murdered,  240  houses  had  been  destroyed, 
thirty  women  had  been  flogged,  eight  of  whom  had  died.  The  French  Govern- 
ment was  accused  of  doing  nothing  to  suppress  the  disorders  of  a  fanatical 
mob  except  by  issuing  a  proclamation.  Memoirs  of  Romilly,  27  Feb.  181 6; 
Pari.  Deb.  xxxii.  882  f.,  934.  The  due  d'Angouleme  played  an  honourable 
and  useful  part  in  opposing  Royalist  excesses  after  1815.  Temperley,  Foreign 
Policy  of  Canning,  p.  55.  See  Nos.  12614,  12707.  Reissued,  22  Jan.  1826, 
the  date  altered  in  pen. 

Reid,  No.  456.    Cohn,  No.  976. 
8^X13!  in. 

IE 

12705  A  P-Et\-CE  and  plenty.!!  I  Political  Portraits  N°  i 

[Williams.]  [?Jan.  18 16] 

Engraving,  slightly  aquatinted  (coloured  impression).  Similar  to  plates  to  the 
Busy  Body.  A  very  stout  lady  stands  directed  to  the  r.  reading  a  letter  held 
in  gloved  hands.  She  is  in  full  dress,  ver\-  decoUetce,  her  skirt  festooned  with 
roses;  over  this  is  worn  an  over-dress  with  a  long  train.  Three  tall  feathers 
rise  from  a  gold  fillet  and  partly  hide  a  small  crown  which  decorates  the 
back  of  her  head.  Behind  (I.)  is  a  pillar  against  which  a  heavy  fringed  curtain 

'   Incorrectly  dated  181 5  by  Reid  and  Cohn.  ^  In  'Caricatures',  xii.  69. 

629 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

is  festooned.  This  inconspicuously  reveals  a  shield  on  which  is  a  crescent 
and  the  motto  Amo[re].  Her  attitude  is  that  of  a  singer  holding  music  and 
there  is  a  resemblance,  doubtless  intentional,  to  prints  of  Mrs.  Billington,  who 
was  associated  with  the  peace  (and  with  the  Prince)  in  1801,  see  Nos.  9730, 

9765.  9840- 

She  is  Lady  Hertford,  cf.  No.  11853.    The  title  connotes  the  prevailing 

distress  and  disillusionment;  for  the  pun  cf.  No.  10668.   The  shield  is  from 

the  Hertford  arms,  their  motto  being  Fide  et  Aniore.  Cf.  No.  12265,  &c. 

6f  X4^  in. 


ENGLISH  GENERALS  ON  THE  PEACE  ESTABLISHMENT!!!  by 
Cruikshank,  was  published  by  Sidebotham,  25  Jan.  1816.  Three  generals 
stand  in  a  row:  General  Complaint  [see  No.  8801]  holds  a  list  of  Grievances; 
General  Bankruptcy  holds  the  London  Gazette;  General  Starvation,  a  skeleton 
in  regimentals,  holds  a  List  of  fast  days  in  every  week  during  the  existence  of  the 
National  Debt.  See  No.  12779,  ^^-  (Reid,  No.  561;  Cohn,  No.  1091.) 


12706  SIR  ROBERT  THOMAS  WILSON,  GfiN^RAL  ANGLAIS; 
SIR  JOHN  ELY  HUTCHINSON,  CAPITAINE;  ET  MICHEL  BRUCE, 
CITOYEN  ANGLAIS,  ...  [c.  Jan.  181 6] 

Engraving.  A  French  print.  The  title  continues:  accuses  d' avoir  facilite 
Vevasion  de  M''  de  Lavalette,  nieditant  a  la  Force,  cour  des  opinions,  leurs 
moyens  de  defense.  The  three  walk  arm-in-arm  (1.  to  r.)  in  a  paved  space 
outside  the  ground  floor  of  a  building  with  large  barred  windows.  The  first 
two  wear  top-hats  and  are  typical  tall  Englishmen  as  depicted  by  the  French 
(see  No.  12365,  &c.);  all  v/ear  tail-coats  and  trousers;  the  third,  Bruce,  is 
boyish-looking  and  shorter  than  the  others.  The  two  officers  gesticulate,  talk- 
ing together.  A  turnkey  (1.)  descends  a  flight  of  steps  (1.)  from  a  door,  holding 
keys  and  a  pitcher.  In  the  yard  are  (bare)  trees ;  an  arched  trellis  with  (leafless) 
shrubs  trained  over  it  covers  the  steps,  facing  which  are  ornamental  shrubs 
in  pots.  A  man,  wearing  a  top-hat,  watches  the  three  prisoners  from  behind 
the  bars  of  a  window  (r.). 

Sir  R.  Wilson  (see  Nos.  9998,  12912),  Captain  John  Hely-Hutchinson,  and 
young  Michael  Bruce,  son  of  Crawford  Bruce,  a  Paris  banker,  were  arrested 
on  13  Jan.  for  contriving  the  escape  from  France  of  General  Lavalette,  whose 
wife  had  changed  clothes  with  him  in  prison  where  he  was  under  sentence 
of  death.  The  French  Government  had  intercepted  letters  from  Wilson  to 
Lord  Grey  describing  in  detail  Lavalette's  escape  in  British  uniform  with 
a  British  passport  procured  by  Wilson.  He  was  escorted  by  the  three  men 
through  the  British  lines  to  Mons.  The  imprisonment,  refusal  of  bail,  and 
the  trial  on  22  Apr.  roused  great  interest  in  England  (as  in  France,  see 
De  Vinck,  Nos.  9699-9701)  and  much  Whig  sympathy.  The  sentence  was  the 
minimum:  three  months'  imprisonment.  A  General  Order  was  issued  on 
10  May  by  the  Duke  of  York  expressing  the  Regent's  high  displeasure,  Wilson 
being  an  officer  of  high  rank,  and  Hely-Hutchinson  in  the  Army  of  Occupa- 
tion. Gent.  Mag.,  1816,  i,  pp.  73,  170,  625  f.;  Examiner,  1816,  pp.  36,  39,  52, 
257  if.,  274-6;  Ann.  Reg.,  1816,  pp.  329-36;  Dupin  (who  defended  them), 
Proces  des  trois  Anglais  .  .  .,  1816;  Gronow,  Reminiscences,  1892,  i.  100-4. 
See  Nos.  12623,  12707,  12707  A. 
7|xi2^in. 

630 


POLITICAL   SATIRES    1816 

12707  DREAMS  OF  TERROR!  OR  THE  VISION  OF  LOUIS  XVIII—!! 

[I.  R.  and  G.y  C^ 

Pub^  by  Sidebotham  g6  Strand  [?  Jan.  1816] 

Engraving  (partly  coloured).  Louis  XVIII  lies  on  his  back  on  a  low  bed,  his 
mouth  open,  his  obesity  defined  by  the  bed-coverings  which  are  patterned 
with  fleurs-de-lis.  The  Ghosts  of  Ney  and  Labedeyre  stand  by  his  head,  at  the 
farther  side  of  the  bed,  drawing  aside  curtains  and  pointing  towards  a  vision 
(1.)  framed  in  clouds.  They  have  fiercely  glaring  eyeballs  and  menacing  teeth, 
blood  gushes  from  many  wounds.  Both  have  naked  torsos,  except  that  Ney 
wears  gauntlet  gloves  and  aiguillettes.  They  say: 

''Wake!  drowsy  Sluggard  wake  &  see 

''The  Lilly  y eliding  to  the  active  Bee 

"Hear  Europe  cry  with  one  indignant  voice 

"The  People's  sovereign  is  the  people's  choice!! 

The  vision  is  of  Louis  XVIII  being  chased  from  France  while  Napoleon 
is  enthroned.  French  grenadiers,  led  by  Marie  Louise  and  the  King  of  Rome, 
pursue  Louis  towards  a  sign-post  which  points  (1.)  to  Heartwell.  He  flees  with 
outstretched  arms,  pursued  by  bursting  shells  and  by  bees,  and  accompanied 
by  pigs  wearing  ribbons  decorated  with  fleurs-de-lis;  these  are  Compagnons 
de  Lys.  Both  Marie  Louise  and  her  son  wear  crowns;  the  boy,  holding  his 
mother's  hand,  extends  a  Hand  of  Justice  (see  No.  12247)  towards  the  fugitive. 
The  troops  carry  imperial  eagles  and  a  tricolour  flag.  On  the  r.  sits  Napoleon 
on  a  throne ;  he  wears  uniform,  and  holds  a  sceptre.  He  takes  the  crown  which 
a  kneeling  officer  holds  out.  Two  other  Frenchmen,  one  of  the  ancien  regime, 
grovel  before  him. 

In  the  foreground,  beside  the  bed,  papers  lie  on  the  floor:  [i]  The  Cause 
of  Legitimate  Tyranny  Supported  by  British  blood  &  Treasure,  or  Louis  & 
Ferdinand  for  Ever.  [2]  Recal  of  the  Emigrants.  [3]  Petitions  from  Madams 
Ney  Labedeyre  &  Lavellette  for  the  lives  of  their  Husbands — Rejected.  [4] 
Perpetual  banishment  of  the  Revolutionests.  [5]  Persecution  of  the  Protestants 
by  the  Catholics!!  of  France.  [6]  Arrest  &  imprisonment  of  Sir  R,  Wilson  & 
other  English  Subjects  or  Gallic  gratitude  for  British  Generosity. 

A  comprehensive  attack  on  the  Bourbon  restoration.  For  the  execution  of 
Ney  (7  Dec.  1815)  and  Labedoyere  (19  Aug.  1815),  see  No.  12623;  for  out- 
rages on  Protestants  at  Nimes,  No.  12704,  &c.  By  the  Law  of  Amnesty 
(12  Jan.),  certain  excepted  persons  might  be  exiled  by  the  King  within  two 
months,  not  to  return  without  his  permission  on  pain  of  transportation.  For 
the  escape  of  Lavalette  and  arrest  of  Wilson  see  No.  12706.  Louis  XVIII 
created  a  new  Order,  Compagnons  du  Lys,  in  Jan.  181 6;  it  was  a  French 
witticism  to  call  them  'Compagnons  d'Ulysse',  changed  into  swine  by  Circe. 
Examiner,  4  Feb.  1816.  For  Hartwell  cf.  No.  12265.  The  design  is  based 
(remotely)  on  Fuscli's  Nightmare,  see  No.  8671,  &c. 

Broadley,  ii.  15.    Reid,  No.  558.    Cohn,  No.  1074.    Listed  by  Broadley. 
De  Vinck,  No.  9420. 
8|x  13I  in.   With  border,  9|x  14  in. 

12707  A  A  later  state  (published  after  22  Feb.),  aquatinted  (coloured 
impression),  the  background  re-drawn,  increasing  the  Bonapartist  bias.  Ney 
and  Labedoyere  are  surrounded  by  swirling  clouds,  their  hair  blows  upwards. 
Ney  is  without  gloves,  &c.,  and  Labedoyere  points  to  a  wound  in  his  breast, 
saying : 

'   Douglas  impression  autographed  'by  I.  R.  C,  assisted  by  me,  Geo.  Cruikshank'. 

631 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

''Sleep  on  while  I  by  heaven's  high  ordi?iance 
"In  dreams  of  horror  wake  thy  frightful  Soul 
"Now  give  thy  thoughts  to  me,  let  'em  behold 

"These  gaping  wounds 

"Now  shall  thy  own  devouring  Conscience  gnaw 
"Thy  heart  &  terribly  avenge  my  Murder. 

The  lines  in  No.  12707  are  spoken  by  Ney.  Their  names  are  removed  and 
replaced,  in  the  upper  margin,  by  Ghosts  of  Ney  &  Labedoyre.  The  men 
kneeling  to  Napoleon  are  not  burlesqued ;  he  does  not  hold  a  sceptre  and  the 
crown  is  offered  on  a  cushion.  A  grenadier  running  beside  the  King  of  Rome 
prods  Louis  XVIII  with  his  bayonet.  The  shells  are  in  the  form  of  little  bee- 
hives, one  explodes  above  the  head  of  Louis,  who  is  more  obese,  gouty,  and 
absurd  than  before.  The  King  of  Rome  holds  a  sword  in  place  of  the  hand 
of  Justice.  An  officer  behind  Marie  Louise  cheers  wildly.  The  letter  N  is 
added  to  the  flags,  and  most  of  the  French  bayonets  are  sloped  backwards 
instead  of  forwards.  The  pigs  flee  in  wild  confusion,  instead  of  as  a  herd.  By 
the  foot  of  Louis  XVIII's  bed  a  large  document  is  added:  Black  Ingratitude 
&  perfidy  of  the  French  Royalists  in  their  base  and  Infamous  treatment  of  Sir 
Robert  Wilson  &  other  English  subjects  in  return  for  the  generous  and  unexampled 
Efforts  of  the  British  nation  which  alone  cans' d  the  downfal  of  Bonaparte  &  the 
Restoration  of  the  Bourbons!!  Beside  this  is  a  smaller  paper :  Silly  communica- 
tion to  the  Chamber  of  Peers  about  the  zvill  of  the  Queen  of  Louis  16"'. 

On  22  Feb.  Marie  Antoinette's  touching  letter  to  Mme  Elisabeth  was  read 
in  the  French  Chamber.  At  the  King's  order  a  facsimile  copy  of  'the  Queen's 
testament'  was  delivered  to  each  member.  Examiner,  3  Mar.  18 16. 

12708-12713 

French  prints' 

12708  LE  NOUVEAU  ROBINSON  DE  L'ISLE  STE  H^LENE. 

Depose  a  la  D''^  de  la  Lib'"' 

Engraving  (coloured  impression).  Napoleon  as  Robinson  Crusoe  sits  on  a 
gun-carriage  made  of  wood,  the  (dummy)  gun  pointing  out  to  sea.  His  arms 
are  folded,  his  legs  are  extended,  and  he  gazes  at  the  ground,  registering 
ennui  and  weariness.  An  eagle  hovers  over  him,  ready  to  attack,  its  talons 
grasping  his  shoulder.  He  wears  his  petit  chapeau,  a  tunic  of  furry  skin,  with 
partly  bare  legs  and  jack-boots  through  which  his  toes  protrude.  In  his  belt 
are  a  knife  (or  saw)  with  a  notched  blade,  an  axe,  &c.,  and  he  also  wears  a 
short  sword  suspended  from  a  sword-belt  across  his  shoulders.  At  his  feet  lies 
an  open  umbrella  surmounted  by  an  eagle.  Beside  the  gun-carriage,  over 
which  leans  a  small  palm-tree,  are  a  cask  and  cannon-balls.  Across  the  sea 
or  bay  is  a  line  of  low  hills. 

A  sequel  to  No.  12250,  illustrating  the  decline  in  Napoleon's  status  since 
his  sojourn  in  Elba.  According  to  Broadley  it  derives  from  Der  neue  Robinson 
auf .  .  .  St.  Helena  (De  Vinck,  No.  9810,  pub.  1816),  which,  he  says,  is  based 
on  No.  12250.  It  is,  however,  a  different  design  (see  reproduction,  Dayot, 
Napoleon,  p.  370).  Cf.  Hennin,  No.  13839,  Le  nouveau  Robinson  apprivoisant 
des  rats  dans  Vile  de  Sainte  Helme.   See  No.  iz^gz,  &c. 

Listed  by  Broadley.    Reproduced,  N.  Young,  Napoleon  in  Exile  at  St. 
Helena,  ii.  80. 
8|x6i|in. 

'  Dated  18 16  by  Broadley.  Arranged  before  authentic  dates  were  ascertained  from 
De  Vinck. 

632 


POLITICAL   SATIRES    1816 

12709  JE  MANGE  UN  FAMEUX  FRO  MAGE.  [12  Sept.  1815] 

Engraving  (coloured  impression).  Napoleon  sits  on  the  ground  holding 
between  his  knees  a  huge  cheese  (or  stone),  flat  and  round  like  a  mill-stone, 
and  inscribed  Frontage  de  S^^  Helene.  This  he  tries  to  bite,  with  an  expression 
of  despair.  He  wears  uniform  with  petit  chapeau  and  jack-boots.  The  ground 
is  flat  and  stony;  behind  is  the  sea  with  oddly  shaped  square-rigged  vessels. 

One  of  many  French  satires  with  punning  inscriptions.  Manger  du  fromage 
=  etre  mecontent.   Littre,  Diet.   See  No.  12592,  &c. 

Broadley,  ii.   84,  85   (reproduction).    De  Vinck,  No.  9802.    Van  Stolk, 
No.  6462. 
8iX7i-in. 

12710  JE  FUME  EN  PLEUR.\NT  MES  PfiCHES 
Se  vend  a.  Paris,  chez  Genty,  Rue  S'  Jacques,  A^"  14. 

Depose  au  Bureau  des  Estampes.  [16  Sept.  1815] 

Engraving  (coloured  impression).  Napoleon  sits  on  a  rocky  terrace  by  the  sea, 
looking  slightly  to  the  1.  He  smokes  a  pipe  with  a  long  curved  stem,  the  bowl 
in  the  form  of  an  inverted  eagle.  In  his  1.  hand  is  a  paper:  Mes  dernieres 
Reflexions  de  1815.  Large  tears  fall  down  his  cheeks.  Behind  him  (r.)  the 
land  rises  steeply  in  rocky  terraces  culminating  in  a  fortress  which  flies  an 
ill-drawn  British  ensign.  Near  his  feet  crouches  a  rat;  on  higher  terraces  are 
three  others,  one  holding  a  musket  and  wearing  a  sword  and  knapsack.  Near 
the  horizon  is  a  ship  flying  a  similar  British  flag. 

St.  Helena  (see  No.  12592,  &c.)  was  (and  is)  notoriously  infested  by  rats. 
There  were  many  complaints  of  the  rats  at  Longwood  (where  Napoleon  went 
on  10  Dec.  1815),  but  the  many  St.  Helena  caricatures  in  which  rats  figure 
may  derive  from  common  knowledge:  a  letter  of  2  Aug.  1815  addressed  to 
Napoleon  on  the  Bellerophon  speaks  of  'ce  vil  Rocher  fourmillant  de  rats'. 
J.  H.  Rose,  Napoleonic  Studies,  1904,  p.  323.  A  punning  title,  fumer  =  to 
smoke  or  to  fume.  The  same  pun  is  used  in  an  Elba  caricature,  Je  ne  prise 
pas,  je  fume,  Napoleon  smokes  a  long  pipe  in  a  doorway  (Broadley,  ii.  59). 
Cf.  No.  10418.  Similar  rat-satires  are  Hennin,  Nos.  13837-9;  Van  Stolk, 
Nos.  6464-8;  De  Vinck,  Nos.  981 1,  9813,  9815,  9816.  For  rats  at  St.  Helena 
see  also  Nos.  12605,  12608,  12711,  12712. 

Broadley,  ii.  83.   De  Vinck,  No.  9808;  cf.  No.  9367.  Milan,  No.  2748. 
ii^x8f  in. 

12711  LES  HABITANTS  DE  STE  HELfiNE  PRENNENT  LA  FUITE 
A  LA  VUE  DE  LEUR  NOUVEAU  SOUVERAIN. 

Engraving  (coloured  impression).  Above  the  design  as  a  second  title :  — entree 
triomphante  de  bonaparte  dans  son  nouveau  royaume.  Napoleon,  short  and 
fat  and  with  a  large  head,  rides  a  cat  towards  a  group  of  rats  (r.)  on  their  hind- 
legs.  His  legs  are  bent  and  his  feet  touch  the  ground.  He  extends  his  1.  arm, 
saying,  habitants  de  S'"  helene  soyons  amis  je  vous  declare  peiiple  libre,  je  vous 
donne  pour  gar antie  ce  serviteur  fidele  quej'ai  avec  moi.  He  wears  uniform  with 
a  knapsack  and  a  bottle  formed  of  a  double  gourd.  The  cat  holds  a  tricolour 
flag,  and  a  baton  decorated  with  bees  and  inscribed  Ney. ;  it  says :  Comme  je 
vais  me  remplumer.  The  rats  flinch  away  from  Napoleon,  looking  back  at  him 
over  their  shoulders.  One  says:  messieurs  fious  n  a-con  [sic]  pas  un  instant  a 
perdre  que  notre  co?iseil  s^assemble  sur  le  champ  pour  savoir  comment  nous 
pourons  attacker  le  grelot.  They  are  on  a  plain  at  the  base  of  a  rocky  hill  on 
which  is  a  sentry-box.  In  this  stands  a  rat,  shouldering  a  musket;  looking 
towards  Napoleon  it  says  qui  vive.    Another  rat,  also  with  a  musket,  peers 

633 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

round  the  side  of  the  box,  saying,  Sentinelle  —  prenez  garde  a  vous.  Lower 
down  the  slope,  a  rat  shouldering  a  musket  addresses  a  file  of  rats  with 
muskets :  freres  rongeurs  aux  armes  deux  traitres  osent  s'introduire  dans  nos  etats. 

One  of  many  French  caricatures  on  Napoleon  and  the  St.  Helena  rats,  see 
No.  12710.  It  is  also  a  satire  on  his  return  to  France,  on  the  defection  of 
Ney,  and  on  the  Acte  Additionnel,  see  No.  12546,  &c.  An  English  copy  or 
adaptation,  pub.  McCleary,  Inhabitants  of  St.  Helena  alarmed  at  the  appear- 
ance .  .  . ,  is  listed  by  Broadley. 

A  sequel,  Le  pere  La  Violette  afficheur  .  .  .,  is  reproduced,  N.  Young, 
Napoleon  in  Exile  at  St.  Helena,  ii.  112  (Broadley,  ii.  83  f.).  The  sentry  is  in 
his  box,  the  rats  are  armed,  and  they  chase  Napoleon,  who  is  a  bill-poster 
with  a  ladder  across  his  shoulder;  the  cat  runs  off  beside  him  holding  a 
tricolour  flag  and  a  paste-pot  inscribed  mort-aux-rats.  Behind  (r.).  two  rats 
try  to  tear  down  a  bill  pasted  on  a  tree:  Conscription  de  18 1 3,  18 16,  18 ly, 
1818  .  .  .  (see  No.  12087).  One  says:  Camarade,  cette  colle  tient  comme  le 
diable,  the  other  answers  c'est  de  la  colle  imperiale  (colle,  paste,  also  =  false- 
hood). Another  sequel,  C'est  a  qui  ?i'en  veut  pas  nieme  jusques  [sic]  aux  rats,  is 
reproduced,  Broadley,  ii.  82.  Napoleon  sleeps  in  a  tent,  smoking  a  pipe  and 
saying  Je  fume  meme  en  dormant.  The  cat  {}  Ney)  stands  sentry,  saying,  Enfin 
le  voila  done  tranquille.  In  the  background  the  rats  form  a  circle  round  an 
orator  who  proposes  a  levee  en  masse,  since  no  one  dares  'lui  mettre  le  grelot' 
(to  bell  the  cat). 

Listed  by  Broadley. 
yfXiofin. 

12712  PROPOSITION  DE  CONSTITUTION  AUX  HABITANS  DE 
L'lLE  ST  H^LfiNE  PAR  L'EX  EMPEREUR  ET  ROI. 

A  Paris,  chez  tous  les  Marchands  de  Nouveautes. 

Depose  a  la  Direction  des  Estampes  [12  Aug.  181 5] 

Engraving  (coloured  impression).  Napoleon  stands  on  a  steep  mound  address- 
ing the  St.  Helena  rats.  He  wears  elaborate  ceremonial  dress,  with  his  petit 
chapeau  overladen  with  ostrich  plumes,  a  tricolour  cockade,  and  belt.  He 
has  a  grotesquely  elongated  nose,  and  wears  a  ruflf  and  a  mantle  patterned 
with  bees.  All  round  him  at  the  base  of  the  mound  are  rats  on  their  hind- 
legs.  Above  these  are  two  larger  rats,  one  with  a  shako  and  sash  (1.),  the  other 
with  a  feathered  cocked  hat.  Napoleon  declaims  with  outstretched  r.  arm: 
Vous  lejurez  ?  The  large  rat  on  the  1.  answers  Nous  lejurons ;  the  one  on  the  r. 
shouts  Oui !  Old  ! ;  both  hold  swords.  Most  of  the  other  rats  open  their  mouths 
as  if  shouting.  One  holding  an  eagle  with  a  tricolour  flag  heads  a  file  of  rats 
shouldering  sticks  in  place  of  muskets.  At  the  base  of  the  mound  a  rat  holds 
a  tricolour  pennant  inscribed  Champ  de  Mai  18 16.  In  the  upper  I.  corner 
of  the  design  is  a  huge  eye  in  profile  from  which  rays  slant  towards  Napoleon. 
On  the  r.  an  owl  with  extended  wings  perches  on  a  branch. 

A  satire  on  the  Champ  de  Mai,  i  June  1815  (see  No.  12546)  when,  at 
a  great  ceremony  intended  to  be  a  national  manifestation,  the  result  of 
the  plebiscite  on  the  new  Constitution  was  proclaimed,  after  which  Napoleon 
distributed  eagles  and  appealed  to  the  assembled  armed  forces  to  swear  to 
defend  the  imperial  eagle, '. . .  vous  le  jurez  !'  They  answered  'Nous  le  jurons'. 
See  Charlety,  La  Restaur ation,  1921,  p.  56.  For  the  St.  Helena  rats  see 
No.  12710,  &c. 

Broadley,  ii.  84  f.    De  Vinck,  No.  9809.    Van  Stolk,  No.  6463.    Milan, 
No.  2747. 
Six  12^  in. 

634 


POLITICAL   SATIRES    1816 

12713  LE  NOUVEAU  DIOGENE. 

Charles.     Lith.  de  Fonrouge,  qtiai  Conti,  N°  ^  [?  1816]' 

A  Paris,  chez  VEditeiir,  rue  du  Coq,  N°  4;  Et  chez  Martinet. 

Lithograph  (coloured  impression).  Wellington,  much  caricatured,  walks  in 
profile  to  the  1.,  holding  out  a  lantern  in  his  search  for  an  honest  man.  He 
wears  field-marshal's  uniform  with  plumed  cocked  hat,  ribbon  and  star,  sword 
and  high  spurred  boots.  He  registers  dism.ay;  below  the  design  are  his  words: 
Goddam!  Je  n'en  trouverai  done  pas  un!  In  the  background,  surrounded  by 
conventional  sea,  is  a  piece  of  land  on  which  the  most  conspicuous  object  is 
a  throne  with  a  crown  in  the  otherwise  empty  seat.  Behind  it  a  tiny  soldier 
holds  a  pennant.  By  the  throne  are  shattered  columns  and  blocks  of  masonry. 
Behind,  little  pinnacled  canopies  are  grouped  with  a  block  of  stone  resting 
on  two  columns,  suggesting  an  Italian  and  probably  Roman  scene.  Two  small 
oddly  drawn  ships  are  on  the  water.  The  land  behind  Wellington  ascends 
into  rocky  pyramids  which  are  perhaps  symbols  for  a  range  of  mountains. 

The  date  being  uncertain  the  precise  application  is  doubtful.  It  illustrates 
the  unsettled  state  of  France  and  the  importance  of  Wellington  on  the  Conti- 
nent, when  commander-in-chief  of  the  Army  of  Occupation.  It  may  relate 
to  the  crisis,  when  at  Wellington's  instigation  the  Chatfibre  introuvable  was 
dissolved,  see  No.  12797.  The  background  may  indicate  the  ultramontanism 
of  French  reactionaries, 
c.  II  x8  in. 

12714  ODDS  &  ENDS  FOR  FEBUARY  [sic]  1816. 

G  Cruikshank  fec^ 

Pu¥  Fehy  1 1816  by  M  Jones  Newgate  S^ 

Engraving  (coloured  and  uncoloured  impressions-).  PI.  to  the  Scourge,  xi, 
before  p.  81.  A  central  design  flanked  by  subsidiary  designs  as  in  other  plates 
to  the  magazine,  but  separated  by  lines  instead  of  being  set  in  a  connecting 
landscape.  Below  each  is  a  title,  [i,  the  central  design]  A  Keati  Manoeuvre  to 
"Pay  Old  Debts" — or — "Drury  is  it's  self  agai?i"!!! —  Kean,  dressed  as 
Richard  III,  see  No.  12325,  much  burlesqued,  straddles  across  a  swarm  of 
tiny  men,  holding  out  a  two-handled  goblet,  which  John  Bull  heaps  with 
coins  from  a  fat  purse.  He  has  huge  glaring  eyeballs  and  great  gnashing  teeth, 
which  he  turns  threateningly  to  John  Bull,  brandishing  a  stage  sword.  The 
latter  (r.),  a  plump  'cit'  of  the  Pickwick  type,  perfectly  bald  and  with  chubby 
carbuncled  cheeks,  stands  with  flexed  knees.  He  exclaims:  Oh  dear  Oh  dear! 
You  do  make  such  Ugly  faces,  you  frighten  me  out  of  my  wits!!  My  very  hair 
stands  on  end.  His  wig  and  hat  (together)  have  risen,  and  the  peak  which 
should  cover  the  forehead  is  poised  verticallv  on  his  head.  Notes  and  coins 
shower  down  from  the  goblet  to  be  eagerly  collected  by  the  delighted  little 
men  standing  below,  who  hold  out  their  hats  and  papers  showing  their  claims 
on  the  theatre.  One  is  a  violinist,  his  fiddle  under  his  arm,  another  wears  an 
apron,  a  third  is  a  tailor  with  shears  in  his  belt.  Others  run  up  from  behind 
(1.)  holding  up  long  papers  inscribed  with  sums  of  money,  200  or  300;  they 
shout  There's  my  Bill  (twice),  and  Heres  mine,  &  mine.  A  well-dressed  man 
(not  caricatured),  on  a  larger  scale  than  these  mannikins  but  rather  smaller 
than  the  two  principals,  kneels  behind  Kean,  thrusting  his  arm  between  his 

'  Dated  18 16  in  pencil  in  a  French  hand. 

^  Not  folded,  showing  that  they  were  issued  separately.  The  last  two  volumes  of  the 
Scourge  (for  1816)  are  not  in  the  B.M.  The  imprint  was  altered  from  that  of  Jones 
to  James  Johnston,  Cheapside,  and  335  Oxford  Street. 

635 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

legs,  holding  out  his  hat  to  catch  the  golden  shower.  He  smiles,  saying,  This 
is  a  golden  Ray.   A  looped-up  stage-curtain  borders  the  scene. 

A  satire  on  the  change  in  the  fortunes  of  Drury  Lane  owing  to  the  acting 
of  Kean,  see  No.  12325.  The  Management  presented  him  with  a  loving-cup 
designed  after  the  Warwick  Vase  to  commemorate  his  first  appearance  as 
Sir  Giles  Over-reach  on  12  Jan.  1816.  The  man  at  Kean's  feet  must  be 
Alexander  Rae  (1782-1820),  a  handsome  actor,  who  was  Bassanio  on  Kean's 
first  appearance  at  Drury  Lane.  He  was  also  acting  as  stage-manager  at  Drury 
Lane  on  the  death  of  Raymond.  On  the  1.  are  [2]  and  (above)  [3] .    ']\\  X  8|  in. 

[2]  Biscuit  &  Gingerbread  or  the  Rival  Bakers —  Curtis,  in  the  burlesqued 
sailor's  dress  of  No.  11353,  &c.,  stands  on  the  cobble-stones  of  a  street.  Shire 
Lane,  hand  on  hip,  gazing  with  dismayed  astonishment  at  a  rival  baker  who 
faces  him  with  forefinger  raised  admonishingly,  saying,  /  tells  you  zvhat  you 
knows  nothing  atall  about  it.  A  tiny  man  wearing  a  top-hat  projects  from  the 
speaker's  pocket  and  looks  at  Curtis.  Immediately  behind,  and  standing  on 
the  edge  of  the  pavement  is  a  stout  man  wearing  top-boots,  looking  over  the 
speaker's  shoulder  at  Curtis.  These  two  stand  with  their  backs  to  a  baker's 
shop,  Allpress  &  Co.  On  the  window  is  a  bill :  The  Best  Bread  at  Nine  Pence 
a  Loaf. 

The  subject  is  obscure.  For  Curtis  as  a  biscuit-baker  see  No.  11354.  The 
price  of  bread  is  correct:  the  quartern  loaf  (4  lb.  5  oz.  8  dr.)  at  the  time  was 
from  2>\d.  to  lod.  (a  very  low  price).   Cobbett's  Pol.  Reg.,  27  Jan.  5I  x  5^  in. 

[3]  M''^  Wright  doing  Wrong .'.'.'.'.'.'    A  narrow  channel  (the  English 

Channel)  separates  a  deserted  woman  in  England  (r.)  from  a  man  with  a  Jewish 
profile  (in  France)  who  flees  from  the  coast  with  a  plump  vocalist  and  two 
infants,  carrying  all  three  on  his  back.  The  deserted  woman  reclines  theatri- 
cally on  the  ground,  hand  on  breast,  singing:  Far  far  from  me  my  lover  flies  I 
a  faithless  lover  he  \  In  vain  my  Tears  in  vain  my  Sighs  \  No  longer  true  to  me  \ 
He  seeks  another.  She  leans  on  a  pile  of  music-books  beside  which  is  a  violin. 
Behind  her  stand  three  child'-en,  equal  in  height,  singing  loudly.  The  eloping. 
Mrs.  Wright  holds  an  open  music-book  and  sings  Togather  let  us  range  the 
Feilds  [cf.  No.  12309].  Two  labels  issue  from  her  lover's  mouth:  [i]  The 
tuneful  birds  invite  to  rove  |  To  softer  joys  let  splendor  yeild  \  O  listen  to  the  voice 
of  Love  [cf.  No.  9450].   [2]  Fm  afraid  I  shall  make  but  a  Bad  Bargins  of  dish. 

Braham  elopes  with  Mrs.  Wright,  deserting  Nancy  Storace  (who  had  lived 
with  him  as  his  wife  for  many  years).  The  latter 's  death  in  18 16  is  said  to 
have  been  caused  by  Braham's  marriage  (to  a  Miss  Oldham).  In  March  he 
was  hissed  at  the  Oratorio,  at  Drury  Lane,  on  account  of  a  pending  suit  of 
crim.  con.,  and  on  23  July  Mr.  Wright  obtained  damages  of  ^^1,000.  Europ. 
Mag.  Ixix.  272;  Examiner,  18 16,  pp.  477-9. 

Mrs  Wright  doing  Wrong  .  .  .!!!,  apparently  a  copy  of  part  of  this  design, 
is  the  frontispiece  to  the  Trial  between  Hy  Wright  and  Mr.  Braham  .  .  . 
(Mocatta  Library,  Rubens,  No.  39  A,  not  in  B.M.). 

[4]  Parson  B &  the  Butchers,  or  a  Probationary  Sermon  at  Christ  Church 

Newgate  S' .  Augustus  Barry  leans  forward  in  the  pulpit;  he  gives  out  his  text 
with  a  sly  twisted  smile  and  violent  squint :  In  the  X"'  Chapter  of  the  Acts 
at  the  13^'^  verse  you  will  find  these  words — Rise  up,  Peter,  Kill  and  Eat.  He 
wears  a  high  coat-collar  projecting  from  his  shoulders  like  a  horse-collar,  a 
fashionable  swathed  neck-cloth  from  which  project  clerical  bands.  From  his 
coat-pocket  papers  project:  Fanny  Hill;  Blairs  Sermon;  Ovids  Art  of  Love; 
Cap'  Morris's  Hymns  [cf.  No.  6980];  Cuckolds  Chronicle.  On  the  side  of  the 
pulpit  is  a  bill :  The  Cat  &  Salutation  Sing  Song  Society  Nezvgate  Market  held 
every  Wednesd^  Perpetual  Chairman  The  Hon^^''  Agustus  [sic]  Barry  DD 
Admission  one  Penny— pipes  one  halfpenny —  [signed]    Treas^  Ja^   Cleaver. 

636 


POLITICAL   SATIRES    1816 

Immediately  below  the  pulpit  and  in  the  foreground  are  the  fat  butchers 
(H.L.),  all  with  the  marrow-bones  and  cleavers  with  which  they  made  rough 
music  especially  at  elections.  Behind,  in  side  pews,  appear  the  heads  and 
shoulders  of  a  sparse  and  conventional  congregation. 

Augustus  Barry  (1773-1818)  was  known  as  'Newgate';  this  name  serves  to 
associate  him  with  the  butchers  of  Newgate  Market.  The  sermon  and  the 
other  allusions  derive  from  his  being  a  rake  in  orders.  See  No.  7997,  &c. 
A  pendant  to  [2].    sfxsfin, 

[5]  A  Peep  into  the  Punch  room  at  the  Pavilion,  or  the  Gouty  Adonis!  The 
Regent  lies  in  bed,  with  two  swathed  and  gouty  legs  projecting  from  coverings 
which  define  his  obesity.  He  wears  night-shirt  and  night-cap,  and  holds  up 
a  glass,  singing:  Punch  cures  the  Gout  <Sc  [a  popular  catch,  cf.  No.  9449]. 
Beside  him  (r.)  stands  McMahon,  on  a  much  smaller  scale,  gleefully  flourish- 
ing a  large  funnel  (cf.  No.  12181)  and  a  decanter.  Behind  McAIahon  is  a  pair 
of  squatting  (china)  mandarins,  each  with  a  large  shallow  punch-bowl  resting 
on  the  apex  of  his  hat.  On  a  side-table  (r.)  are  bottles,  one  a  square  brandy- 
bottle.   Other  bottles  with  a  punch-bowl  are  ranged  on  two  shelves. 

The  Regent  was  laid  up  at  the  Pavilion  with  a  fit  of  gout  and  bulletins  were 
being  issued;  for  'Adonis'  cf.  No.  12749.  -^'^o  a  satire  on  the  Chinese  decora- 
tions at  the  Pavilion,  see  No.  12749.  ^  pendant  to  [3].    i|X5|  in. 

Reid,  No.  562.    Cohn,  No.  732. 
7itxi9i  in. 

12715  THE  PROPERTY  TAX  FOR  EVER!!!  OR  A  CITY  MP  FEELING 


THE  PULSE  OF  HIS  CONSTITL'EXT.S!!! 

G.  Cniikshank  fec^ 

Pu¥  by  W.  Hone  Fleet  5'  London  Feb^  i6  1816 

Engraving.  Frontispiece'  to  Resist,  or  be  Ruined!  The  Property  Tax  must  be 
Abolishd  now,  or  a  State  Inquisition  zcill  be  Established  in  England  for  Ever.  .  .  . 
A  scene  on  the  platform  of  Guildhall ;  Alderman  Atkins  advances  to  its  edge, 
and  harangues  those  in  the  body  of  the  hall,  whose  astonished  and  horrified 
faces  look  up  at  him  from  the  lower  1.  corner  of  the  design.  He  holds  his 
crescent-shaped  hat,  and  raises  his  1.  arm,  clenching  his  fist :  "If  I  see  fit  I  shall 
tiot  be  ashamed  to  lend  my  hand  to  Fix  the  Tax  on  Property! — /  zcill  never  be 
I  "restricted  in  my  ozcn  Opinion! — No  ;  I  will  not  By  GOPH! —  |  "Conduct  your- 
selves zjoith  more  reason  &  calmness,  for  it  is  \  "alzvays  the  best  policy!!!!"  see 
Times.  He  tramples  on  a  paper:  Laws  against  Prophaness.  From  the  audience 
below  ascends  a  stream  of  Oh!  O!  O!  OH!  0  00  [&c.].  Sir  William  Curtis, 
much  caricatured,  wearing  his  alderman's  gown  over  striped  sailor's  trousers, 
turns  his  back  on  Atkins,  holding  up  his  little  sailor's  hat  (see  No.  1 1353,  &c.), 
to  protect  his  ear  from  profanitv,  and  saying  /'///  shocked!  Between  and  behind 
them  stands  the  (unpopular)  Recorder  (Silvester),  in  wig  and  gown,  putting 
a  spy-glass  not  to  his  eye  but  to  his  temple  and,  looking  towards  Atkins,  says: 
"/  never  saw  a  Clearer  Case" .  The  Mayor,  Matthew  Wood,  sits  (r.)  on  the 
chair  of  state,  registering  shocked  disapproval.  On  his  r.  stands  a  tall  thin 
alderman  raising  both  arms,  and  saying,  "Oh  Johnny  Atkins!  Johnny  Atkins 
Oh!,,  Wha  would  ha'  thought  it! —  {}  Sir  James  Shaw,  see  vol.  viii).  Below  the 
title:  Atkins  zvas  a  daring  bold  fellozc — much  given  to  curse  &  szvear  &  speak 
"de  great  damn!" vide  Robitison  Crusoe  Vol  II. 

On  8  Feb.  the  Common  Council  unanimously  passed  a  series  of  violent 

'   One  impression  is  printed  on  thick  paper,  not  folded,  showing  that  it  was  issued 
separately. 

637 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

resolutions  against  the  Income  Tax ;  next  day  similar  resolutions  were  carried 
at  a  meeting  of  the  more  radical  Common  Hall.  Atkins  (a  City  M.P.)  con- 
curred, but  (perhaps  imitating  Burke  to  the  electors  of  Bristol)  'insisted  on 
his  right  to  vote  against  the  wishes  of  his  Constituents,  and  swore  (yes,  this 
supporter  of  Church  and  State  absolutely  swore  by  God,  that  he  would  give 
them  no  pledge! — upon  this,  many  laughed  and  more  groaned  and  hissed — 
and  the  worthy  Alderman  seemed  much  enraged'.  Examiner,  1816,  p.  94. 
Both  meetings  are  reported  at  length  in  The  Times,  9  and  10  Feb. 

The  anonymous  pamphlet  illustrated  is  quoted  by  A.  Hope-Jones,  Income 
Tax  in  the  Napoleonic  War,  1939,  p.  114:  'a  government  exercising  inquisi- 
torial prerogative,  in  the  collection  of  a  single  tax,  will  easily  build  upon  this 
precedent  of  tyranny'.  For  the  agitation  against  the  tax,  frustrated  in  1815, 
see  No.  12750,  &c.;  for  Atkins,  No.  13254,  &c. 

Reid,  Nos.  566,  4678.   Cohn,  No.  689. 
5I X  8|  in.   With  border,  7^  x  9^  in. 

12716  THE  NOBLE  PEDLAR!  OR  THE  LATE  CHANCE-SELLER  & 
PRESENT  BROOM-SELLER!! 

GCfec'— 

Pu¥  by  J  Sidebotham  g6  Strand  [?  Feb.  18 16] 

Engraving  (coloured  impression)  with  verses  numbered  I  to  VI  printed  below 
in  four  columns.  Erskine,  dressed  as  in  No.  12717,  walks  (1.  to  r.),  on  a  cobbled 
roadway,  beside  a  small  two-wheeled  cart  selling  brooms;  two  are  across 
his  r.  shoulder;  he  holds  out  a  third,  crying,  O  the  broom  the  bonny,  bonny 
broom!  who'll  buy  my  charming  brooms?!!  From  his  neck  hangs  on  a  ribbon 
a  disk  resembling  the  jewel  of  the  Order  of  the  Thistle,  but  inscribed  Licensed 
Hawker.  From  his  coat-pocket  projects  a  paper:  Case  for  the  Opinion  of  the 
Ex-Chancellor  zvhether  a  peer  of  the  realm  carrying  on  the  Trade  of  an  Itinerant 
Vender  of  Brooms  is  not  subject  to  the  Bankrupt  Law.  Behind  him  walks  a  little 
naked  satyr,  grinning  fiercely;  he  flourishes  in  each  hand  a  short-handled 
broom,  as  if  to  flog  Erskine.  The  cart  is  inscribed  Ers — kin  &ccc  licenced 
Hawkers  &  Dealers  in  heath  Brooms.  One  of  the  brooms  projecting  from  it 
is  labelled  Industria  ditat  [enriches].  Servants  of  Erskine  carrying  bundles 
of  brooms  walk  with  the  cart,  four  men  in  livery  and  a  maid-servant,  all  shout- 
ing Buy  a  Broom!  A  little  hump-backed  crossing-sweeper  (r.),  with  dwarfish 
legs  and  the  bent  shins  produced  by  rickets,  very  ragged,  holds  out  his  hat 
to  Erskine,  saying.  Bless  your  Honor  remember  the  poor  Sweeper.  On  the 
ground  (1.)  is  an  open  book:  Just  Published  A  Sweeping  manouvre  to  raise 
£2000  a  y^  by  a  peer  of  the  Realm.  On  the  corner  of  a  building  (1.)  is  a  bill : 
Public  Office  Bow  S' — Caution  to  Noblemen — Whereas  Lord  E e  [the  inter- 
mediate letters  though  erased  are  visible]  was  convicted  in  y^  penalty  of  £10 
for  hawking  &  selling  heath  Brooms  without  a  licence.  All  the  Princes  & 
Nobility  are  therefore  cautioned  7iot  to  turn  Pedlars  without  first  paying  the 
Duty!  Below  the  title:  "To  what  base  purposes  may  we  not  return  Horatio — 
why  may  we  not  trace  the  Noble  Lord  Chancellor  of  England  as  a  Hawker  of 
Brooms!!" 

The  verses  are  a  'New  Song — The  Bonny  Brooms  (Tune — The  Broom  of 
Cowdenknows)' .  Verses  II  and  IV: 

Let  Spankie  prate  and  Fielding  swell, 

Like  two  unmanner'd  grooms; 
So  I  my  pretty  besoms  sell. 

And  cry  "who  buys  my  brooms?" 

638 


POLITICAL   SATIRES    1816 

The  Thistle's  ribbon  decks  my  breast, 
The  splendid  Star  my  doom; 

But  both  to  thee  must  bend  the  crest, 
My  bonny,  bonny  broom! 


Refrain : 


O!  the  broom,  the  bonny  bonny  broom, 

The  broom  that  sweeps  so  clear; 
From  cellar,  garrett,  street  or  room, 

Two  thousand  pounds  a  year!! 

Erskine  had  bought  the  estate  of  Holmbush,  Sussex,  which  proved  barren 
and  profitless,  therefore,  being  much  in  debt,  he  turned  to  the  growing  and 
manufacture  of  heath  brooms,  and  employed  persons  to  sell  them  in  London. 
Action  was  taken  against  one  of  these,  for  vending  (in  Chelsea)  brooms  with- 
out a  hawker's  licence,  at  Queen  Square  Police  Court  on  5  Feb.  181 6.  Spankie 
was  the  barrister  who  opposed  Erskine's  son,  who  argued  that  the  man  was 
not  a  hawker  but  was  a  servant  of  Lord  Erskine,  to  whom  the  profits  accrued. 
The  magistrate,  William  Fielding  (see  No.  6852)  said  that  Erskine  ought  to 
have  been  licensed  and  imposed  a  penalty  of  j^io.  Erskine  entered  the  court, 
and  was  informed  by  the  magistrates  that  he  must  be  convicted;  he  answered 
'if  you  do  it  must  be  under  a  sweeping  clause',  and  gave  notice  of  an  appeal 
to  Quarter  Sessions,  but  afterwards  took  out  sixteen  hawker's  licences. 
Examiner,  11  Feb.  1816;  Eiirop.  Mag.  Ixix.  177.  The  sale  of  brooms  was 
reported  to  bring  in  ^2,000  a  year.  Erskine  was  made  K.T.  on  23  Feb,  1815. 
See  No.  12717. 

Reid,  No.  563.    Cohn,  No.  1790. 
8y  X  I2||  in.    Whole  sheet  (cropped),  iij^X  13!  in. 

12717  NEW  BROOMS  FOR  JOHN  BULL,  OR  SWEEPING  MEASURES 
RECOMMENDED  BY  THE  LATE  CHANCELLOR. 

London  Pu¥  by  J.  Sidebotham  g6  Strand  [?  Feb.  1816] 

Engraving  (coloured'  and  partly  coloured  impressions).  Erskine  as  a  vendor 
of  brooms  addresses  John  Bull,  an  obese  carbuncled  'cit'.  He  is  plainly 
dressed,  and  only  slightly  caricatured,  but  wears  a  barrister's  wig  under  a 
round  hat.  He  holds  one  broom  in  his  r.  hand,  as  if  sweeping  the  cobbled 
road ;  others  are  across  his  shoulder  and  are  inscribed :  Satnple  of  Brooms  that 
szceep  £2000  a  year  into  my  Coffers.  He  says:  Here  is  a  bonny  broom  with  a 
long  handle  fra  the  North,  that  will  szveep  out  aw  the  dirt  &  rubbish  in  ev'ry 

house  except  the  P [Parliament]  House  and  C — / — n  [Carlton]  House. 

John  answers :  /  want  a  broom  to  szceep  away  the  INCOME  TAX,  and  C — le — h 
[Castlereagh].'.'  Behind  Erskine  and  on  the  extreme  1.  is  an  open  shed  stacked 
with  brooms,  laid  horizontally ;  it  is  inscribed :  Stock  in  Trade  of  E — sk — E 
and  C"  Licemed  Hawkers  and  Pedlars.  From  this  hang  three  objects:  (.^)  a 
cloak,  perhaps  a  peer's  mantle;  the  Royal  Arms  with  the  heading:  Hawkers 
&  Pedlars  \  Office  \  Licence,  and  a  Plan  of  Broom  Heath  (a  wilderness  dotted 
with  bushes).   In  front  of  the  shed  stands  a  tub  inscribed  Rods  in  Pickle,  with 

birch-rods  inscribed  A  Rod  for  the  M r  [Liverpool] ;  a  Rod  for  the  B ps 

[Bishops];  Rod  for  the  P e  R 1;  Rod  for  Ferdifiand  the  7"';  A  Rod  for 

the  Inquisitorial  Cottimis^^  under  the  Income  Tax.  The  brooms  in  the  shed  are 
inscribed :  Broom  for  Sweeping  Clauses  in  Acts  of  Parliaments ;  a  long  Broorn 
for  the  H — se  of  C — mm — ns;  Broom  for  clearing  away  the  Rubbish  of  a  Chancery 
Suit;  Broom  for  clearing  away  the  National  Debt;  a  Broom  for  dusting  the  China 
at  the  Pavillion  [see  No.  12749] !  Broom  to  sweep  out  the  House  of  L — ds.  The 

'  'Caricatures',  xi.  95. 

639 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

space  between  the  shed  and  Erskine  is  filled  with  a  document:  Case  for  the 
Opinioji  of  the  Ex-Chancellor,  whether  a  Peer  of  the  Realm  carrying  on  the  trade 
of  an  Itinerant  Vender  of  Broo?ns  is  not  subject  to  the  Bankrupt  Laws. 

In  the  background  are  subordinate  groups  on  a  small  scale,  [i]  A  House 
of  Correction  (1.)  is  indicated  by  an  open  shed  in  which  a  schoolmaster  in 
dressing-gown  and  night-cap  birches  a  boy  supported  on  the  back  of  another 
boy.  [2]  A  constable  holding  up  his  staff  addresses  a  man  standing  beside 
a  cart  piled  with  brooms;  he  says:  Shew  your  License  Fellow.  The  man,  who 
is  supported  on  a  crutch,  answers:  Oh!  Fve  none  Sir  my  master^ s  a  LORD. 
[3]  A  small  spotted  dog  runs  with  a  broom  tied  to  its  tail  (perhaps  an  allusion 
to  Erskine's  fondness  for  animals,  and  to  the  dog  which  he  used  to  take  to 
consultations;  cf.  No.  10793).  [4]  A  crossing-sweeper  begs  from  a  well- 
dressed  pedestrian;  he  is  a  sailor  with  a  wooden  leg,  a  patch  over  one  eye, 
and  a  long  pigtail,  and  says :  Poor  Jack  y^  Honor  I  sweeps  the  dirty  ways  to 
Perfarment.  The  man  answers:  You've  poor  chance  Jack,  when  Ex:Chancellors 
turn  Broom  Makers!  &  L — D  Mayors  Street  Sweepers!!  A  little  chimney- 
sweep approaches  him,  saying.  Sweep  soot  O  zvith  y"  E  k  e  Broom. 

See  No.  127 16.  The  reference  to  the  Income  Tax  suggests  a  date  before 
its  abolition,  see  No.  12750,  but  the  allusion  (perhaps  added  later)  to  a  Lord 
Mayor  as  street  cleaner  suggests  the  activities  of  Wood,  see  No.  128 13,  &c, 
SJx  i3ife-  in.   With  border,  9f  X  13!  in. 

12718  THE  I  GRAND  MASTER  |  OR  ADVENTURES  OF  |  QUI  HI?  | 
IN  I  HINDOSTAN  A  HUDIBRASTIC  POEM  |  IN  |  EIGHT  CANTOS  | 
BY  QUIZ.   I  ILLUSTRATED  |  WITH  ENGRAVINGS  |  BY  |  ROW- 

LANDSON.  I  LONDON.  |  Printed  by  Thomas  Tegg,  AT^  iii,  Cheapside.  \ 
E.  Gullan  sculp.  1816.^ 

Quiz  fecit.     Rowlandson  sc. 

Aquatint  (coloured  impression).  Title-page,  the  title  engraved  (by  Gullan) 
on  a  label,  4|X2i  in.,  which  is  superimposed  on  a  design  by  Rowlandson. 
The  head  and  fore-feet  of  an  elephant,  India,  are  on  the  1.,  the  feet  standing 
on  a  prostrate  Indian.  A  tall  'pagoda  tree'  borders  the  design  (1.);  this  the 
elephant  is  breaking  with  his  trunk,  nevertheless,  three  British  officers  swarm 
up  it  towards  the  fruit-bearing  summit.  A  skeleton  sits  like  a  mahout  on  the 
animal's  neck  extending  a  menacing  hand  towards  the  climbers,  and  holding 
up  callipers  and  square  (emblems  of  the  draughtsman).  The  upper  edge  of 
the  label,  high  above  the  elephant's  back,  supports  a  howdah-like  canopy 
under  which  Hastings^  sits  on  a  bale  of  Rupees,  taking  the  last  fruit  from  the 
pagoda-tree  to  add  to  those  he  holds  crooked  in  his  1.  arm.  At  his  feet  is  a 
large  jar  of  Toddy.  The  upper  part  of  the  tall  tree-stem  is  inscribed  Exhausted; 
it  droops,  terminating  in  palm-branches  which  shade  Hastings.  Behind  him 
is  a  coat  of  arms  encircled  with  a  Garter  ribbon,  surmounted  with  a  coronet, 
and  with  one  of  the  supporters,  a  bear  and  ragged  staff,  see  No.  12731,  stand- 
ing behind  his  back.  Huge  chains  and  a  scourge  hang  from  the  label,  over 
which  peeps  a  grinning  black  head.  Behind  Hastings  (r.)  is  an  eye  enclosed 
in  a  triangle,  whose  sides  are:  Pro  Rege  \  Lege  \  et  Grege;  this  is  irradiated,  the 
rays  developing  into  conventional  lightning  which  hurls  downwards  and  head 
first  an  officer  wearing  a  star  and  clutching  a  document;  three  others  who 
have  already  fallen  look  up  at  him,  not  noticing  the  Devil  who  reaches  out 
from  behind  the  label  to  seize  them.   On  the  opposite  side  (1.),  as  a  pendant 

'  The  preface  is  dated  London,  February  i,  18 16. 

^  Moira  was  created  Marquess  of  Hastings  on  7  Dec.  18 16:  since  as  Governor- 
General  he  is  known  as  Hastings,  the  new  title  is  here  anticipated. 

640 


POLITICAL   SATIRES    l8l6 

to  the  fallen  officers,  stands  an  officer  who  is  pushing  up  one  of  the  climbers 
of  the  pagoda  tree.  Under  his  feet  is  a  paper:  Charlotte  Smith's  Works. 
Behind  Hastings  are  heavy  clouds,  broken  by  the  triangle  enclosing  the  eye. 
On  the  ground  in  the  foreground  is  a  palette  inscribed  1816,  paint-brushes, 
a  scourge,  and  an  eye. 

An  attack  on  Moira  (see  vols,  vi,  vii,  viii),  Governor-General  of  Bengal 
1813-22,  the  Grand  Master  or  Burra  Sahib  of  the  title,  and  on  British  rule 
in  India.  The  pagoda  tree  is  a  mythical  tree  producing  pagodas,  i.e.  gold 
coins  of  S.  India.  The  standing  officer  is  Lionel  Smith  (1778 -1842),  son  of 
Charlotte  Smith,  poetess  and  novelist;  he  was  then  Col.  of  the  65th  Regiment, 
stationed  at  Bombay,  a  distinguished  officer,  see  D.N.B.,  against  whom  the 
author  has  an  unexplained  animus.  Qui  Hi?  (Hindi  for  'is  any  one  there?'), 
a  term  for  a  servant  of  the  Company,  especially  of  the  Bengal  Presidency,  is 
an  Irish  subaltern,  a  'Johnny  Newcome',  cf.  No.  11983,  identified  with  Quiz, 
the  narrator  (pp.  48,  114  n.).  Some  of  the  plates  (all  coloured  aquatints)  are 
emblematic  attacks  on  Hastings  (and  others)  containing  allegations  not  made 
in  the  text.  The  animus  against  him,  in  part  at  least,  derives  from  his  attitude 
to  the  Princess  of  Wales,  see  Nos.  12725,  12732.  Missionaries  are  also 
attacked.  Other  plates  are  realistic  illustrations  of  the  career  of  Qui  Hi.  The 
book  figures  in  a  print  of  1821  attacking  Tegg  as  a  renegade  from  his  former 
Opposition  politics.  Since  the  book  was  not  issued  in  parts,  the  imprints  on 
the  plates  do  not  connote  their  dates  of  publication.  See  Nos.  12719-45,  all 
signed  Rowlandson  sc.  Quiz,  fecit.  Uncoloured  impressions  of  Nos.  12719, 
12721,  12725,  12727,  12729,  12731  are  in  the  Print  Room. 

Grego,  Rowlandson,  ii.  299-301. 
f.  8x5!  in.  B.M.L.  C.  59.  f.  II. 

12719  A  NEW  MAP  OF  INDIA  FROM  THE  LATEST  AUTHORITY. 

London.  Published  by  T.  Tegg.  N°  iii.  Cheapside.  Oct.  i.  181 5. 

See  No.  12718.  Frontispiece.  India  is  represented  by  an  elephant,  whose 
forelegs  are  bound  by  ropes  inscribed  Restrictions,  the  forelegs  tied  to  a  stout 
post  inscribed  Board  of  Control  [see  No.  7152],  the  hind  legs  to  a  similar  but 
larger  post  (r.):  House  of  Cotnmons.  The  tusks  are  Monopoly  and  Ambition. 
The  tail  is  Patronage.  On  the  creature's  back,  in  place  of  a  howdah,  is  a  small 
pavilion  in  which,  enthroned  on  a  canopied  sofa,  sits  Hastings,  betu^een  two 
members  of  his  Council;  he  registers  dismay,  with  extended  arms.  On  the 
pavilion,  at  his  feet,  is  the  word  Imbecility;  above  his  head:  A^^  Sutor  Ultra 
Crepidam  [Let  the  cobbler  stick  to  his  last].  On  the  animal's  head,  as  mahout, 
with  a  goad,  sits  a  man  in  military  uniform  and  bag-wig,  wearing  a  coronet 
decorated  with  the  Prince  of  Wales's  feathers  (apparently  the  Regent,  though 
not  resembling  him).  On  its  hind-quarters  kneels  a  bishop,  holding  a  paper, 
also  in  profile  to  the  1.,  and  as  if  praying  to  the  Governor-General.  On  its 
back  is  a  large  saddle-cloth,  with  a  border  inscribed  Military  Oeconomy, 
Civil  Extravagance,  Native  Imposition.  Against  the  cloth  hang  many  pack- 
ages, centred  by  two  large  volumes:  New  Charter,  a  third  and  smaller  book 
is  blank;  between  them  is  a  cask  of  Rupees.  The  packages  are:  Blunders; 
Nature  of  Treatise  [sic]  not  Complied  With;  Bonds  Unpaid;  Minutes  of  Council; 
Secret  Correspondence;  Civil  Expenditures;  Applications  for  redress  Unanswered; 
Debts  [four];  Letters  from  Court  of  Directors;  Cotton  Returned;  Complaints  not 
Forwarded.  A  tight  girth  is  Oppression;  other  harness:  Interest;  Selfishness; 
Duplicity.  The  elephant  wears  a  bell  under  its  neck,  and  a  gold  collar.  Its 
trunk  is  raised  as  far  as  is  permitted  by  a  cord  which  ties  it  to  a  mitre  (reversed) 
and  crosier.    On  the  ground  in  the  foreground  (1.)  is  an  arm,  the  sleeve 

641  Tt 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

inscribed  Independence,  the  hand  holding  a  slow-match  which  is  lighting  a 
bunch  of  tow,  near  a  train  scribed  Indignation  issuing  from  a  barrel  inscribed 
Combustible  \  Vox  Populi,  placed  in  front  of  the  elephant;  it  is  depicted  just 
before  the  explosion  which: 

Shook  all  the  Indian  empire  round, 
And  sent  the  Riders  to  the  ground. 
The  elephant  threw  off  his  chain, 
And  sought  his  native  wilds  again.  (P.  15.) 

There  is  a  landscape  background  with  a  few  palm-trees :  in  the  part  framed 
by  the  elephant's  belly  and  legs  is  a  view  of  the  Residency  at  Calcutta,  flying 
a  flag. 

The  'New  Charter'  is  that  of  181 3,  the  cause  of  much  controversy,  see 
No.  1 1999,  &c.  One  of  the  questions  at  issue  was  the  status  of  missionaries; 
under  pressure  from  Wilberforce  and  an  organized  agitation,  restrictions  on 
missionaries  were  modified,  and  an  establishment  of  a  bishop  and  archdeacons 
was  set  up,  the  first  bishop  (of  Calcutta)  being  Thomas  Fanshaw  Middleton. 
Hastings's  appointment  as  Governor-General  was  made  by  the  Regent  with- 
out consulting  Ministers.  See  H.M.C,  Dropmore  Papers,  x.  301 .  It  is  a  theme 
of  the  book  that  military  pay  was  inadequate,  while  that  of  Writers  was 
excessive  (p.  58,  &c.). 
7fxio|in.  B.M.L.  C.  59.  f.  II. 

12720  A  SCENE  IN  THE  CHANNEL.' 

See  No.  12718.  P.  16.   Interior  of  the  steerage,  with  three  passengers  in  two 
upper  berths  slung  from  the  roof,  and  one  lower,  slung  from  an  upper  berth 
(1.).    Two  are  seasick.    A  seasick  boy  droops  over  a  sea-chest.    A  grinning 
sailor  holding  a  sextant  mounts  a  companion  ladder. 
4^X71  in. 

12721  THE  MODERN  IDOL  JAGGERNAUT.' 

See  No.  127 18.  P.  46.  The  car  of  the  idol  is  being  drawn  and  pushed  by 
British  officers  and  soldiers  who  trample  under  foot  papers  inscribed  Honor  (1.) 
and  Virtue  (r.).  Crushed  under  the  front  wheels  (1.),  inscribed  Persecution, 
Injustice,  are  five  Indians,  by  whom  is  a  paper  inscribed  Napaul.  A  skull  and 
bones  lie  beside  them.  Under  the  back  wheels  (r.),  inscribed  Oppression, 
Tyranny,  are  two  British  officers  (one  also  trampled  on  by  a  fellow-officer) 
who  lie  on  papers  inscribed  Merit  and  Humanity.  The  body  of  the  car  is  an 
oblong  chest,  open  to  show  Lord  Hastings,  as  the  god,  seated  cross-legged 
and  wearing  a  loin-cloth  with  the  ribbon  and  star  of  the  Garter.  He  has  three 
pairs  of  arms;  one  held  above  his  head,  a  dagger  in  the  1.  hand,  one  holding 
out  behind  himself  a  Veil  of  Duplicity,  the  third  with  a  decanter  of  wine  in 
the  r.  hand,  a  mask  in  the  1.  On  the  chest  is  a  platform  supporting  a  round 
temple,  surrounded  by  niches  in  each  of  which  stands  a  tiny  nude  figure ;  it 
is  surmounted  by  a  coronet  and  escutcheon.  In  front  of  the  temple  is  a  line 
of  arches  in  each  of  which  is  an  allegorical  figure,  larger  than  those  in  the 
temple,  but  too  small  for  characterization.  At  each  end  is  a  pillar  surmounted 
by  a  posturing  quasi-classical  figure,  holding  spear  and  sword,  and,  projecting 
at  each  end,  a  coat  of  arms  with  supporters,  one  a  lion,  the  other  a  bear,  each 
holding  a  flag  with  a  St.  George's  Cross,  and  apparently  burlesquing  the 
Hastings  Arms,  cf.  No.  1273 1.  The  two  props  of  this  platform  flanking 
Hastings  are  (1.)  Parliamentary  Influence  and  (r.)  Ministerial  Support.  The 
car  above  Hastings  is  inscribed  Infamy  \  MD  CCC  XV;  below :  Public  Execra- 

'   Imprint  as  No.  127 19. 

642 


POLITICAL  SATIRES    1816 

tion  I  Corruption.  At  each  end  of  the  car,  in  the  place  of  the  boot  or  basket 
of  an  English  coach,  is  a  little  rectangular  pen  with  a  railing  round  it.  The  one 
in  front  contains  a  bishop  and  a  senior  officer,  and  is  inscribed  Episcopacy; 
the  one  behind  is  inscribed  Incapacity  and  contains  one  officer  and  two 
civilians,  apparently  members  of  the  Governor-General's  Council. 

An  attack  on  the  policy  of  Hastings  directed  especially  against  the  Nepal 
war  (see  Fortescue,  Hist,  of  the  British  Army,  xi.  120  flf.):  the  Gurkhas  had 
been  raiding  British  India  and  killing  or  capturing  the  garrisons  of  small 
frontier  stations;  war  was  therefore  declared  in  Nov.  1814;  after  reverses  the 
British  were  successful,  cf.  No.  12729.  For  the  Bishop  of  Calcutta  see 
No.  12719, 
4¥X7i|in. 

12722  MISERIES  OF  THE  FIRST  OF  THE  MONTH. 

London.  Published  by  T.  Tegg.  N"  ill  Cheapside^  Nov.  i.  1815. 

See  No.  12718.  P.  53.  The  interior  of  a  bare  barrack-room.  Qui  Hi  (1.),  here 
called  Lieutenant  Newcome  (see  No.  11983),  extended  on  two  chairs  and 
holding  the  mouthpiece  of  a  large  hookah,  is  beset  by  four  Hindu  money- 
lenders, presenting  bills.  They  say  (r.  to  1.):  [i]  himgee  Bhicagee  send  Salam 
to  Master;  [2]  Cameron  Sahib  bat  Salam.  make  plenty  Complement,  illy  pay 
now.  illy  pay  Next  Month;  [3]  I  got  illy  bill  Master's  Name.  [4]  Masters  bill 
long  time  Owe  plenty  month  gone  not  pay  one  rupee  suppose  not  pay  I  make  little 
trouble  for  Master.  The  lieutenant  exclaims :  Not  got  money,  come  next  Month, 
boy  dont  let  any  more  in.  He  addresses  a  servant  by  the  door  (r.),  where  a 
young  man  wearing  a  jockey-cap  and  jacket  with  trousers  stands,  shouting: 
/  say  Newcome  let  me  have  those  two  gold  Mohurs  I  lent  you  I  zvant  to  buy  gram 
for  my  horse.  The  servant  says  to  him  Jou  Banhute.  On  the  ground  beside 
Newcome  is  a  paper:  Abstract  JJ  N  D'^  \  Bal  D'^  50  R\  Against  the  wall  is 
a  sofa  on  which  sits  cross-legged  an  elegant  Indian  girl  with  a  stout  ayah 
standing  beside  her,  attending  to  a  hookah.  An  old  Indian  wearing  a  turban 
and  loin-cloth  sits  on  the  ground  beside  Newcomc's  hookah.  Two  dogs  bark 
at  the  duns.  On  the  floor  are  trunks,  boots,  gun,  and  jockey-cap.  A  sword 
and  pistols  hang  on  the  wall. 

On  account  of  his  low  pay,  the  subaltern  is  forced  to  borrow  from  shroffs, 
'Money-lenders  who  advance  young  men  in  the  Company's  service  almost 
any  amount,  on  exorbitant  interest,  which  generally  keeps  them  involved  in 
debt  all  their  lives',  p.  51  n.   For  the  money-lenders  cf.  No.  11833. 
4|X7f  in. 

12723  THE  BURNING  SYSTEM  ILLUSTRATED.' 

See  No.  12718.  P.  54.  A  funeral  pyre:  a  young  Hindu  woman  reclines  grace- 
fully on  her  husband's  body,  silhouetted  against  a  mass  of  flame.  On  the  1. 
Indians  closely  grouped  sound  trumpets,  drums,  and  a  cymbal;  others  watch. 
In  the  background  is  an  Indian  slung  from  a  cross-bar  fixed  to  a  high  pole. 
On  the  r.  a  few  suppliant  and  sinister  Indians  surround  Hastings  and  the 
bishop  (see  No.  12719).  Both  hold  their  hands  behind  their  backs  to  receive 
bags  of  Rupees.  Hastings  says :  This  Custom  tho'  shocking  to  humanity  we  still 
allow  in  consequence  of  the  revenue  it  brings  in,  zvhich  is  of  importance!  I  have 
also  private  reasons  for  not  suppressing  the  burning  System  immediately .  The 
bishop  answers :  Why  my  Lord  with  a  view  to  Oeconomy  under  existing  circum- 
stances, it  might  be  imprudent  to  press  the  measure  at  present,  besides  I  think 
I  feel  also  the  private  motives  zvhich  actuates  your  Lordship. 

'  Imprint  as  No.  12722. 
643 


CATALOGUE  OF  POLITICAL   AND   PERSONAL   SATIRES 

An  example  of  the  libellous  nature  of  the  book ;  the  allegation  of  bribery 
appears  only  in  this  plate,  though  a  revenue  is  said  to  be  derived  from  the 
custom.   Suttee  was  made  culpable  homicide  by  Bentinck  in  1829. 
4iX7f  in. 


12724  MISSIONARY    INFLUENCE    OR    HOW    TO    MAKE    CON- 
VERTS.' 

See  No.  12718.  P.  68.  Four  representatives  of  professional  Christianity 
advance  from  the  1.  in  single  file  to  meet  their  opposite  numbers  among 
Indians.  They  are  headed  by  the  Bishop  of  Calcutta  (see  No.  127 19)  who 
holds  up  a  crosier  on  which  is  spiked  a  medallion;  on  this  is  the  head  of 
Hastings,  with  horns,  and  inscribed  Medusa.  Under  his  arm  is  a  roll: 
J9  Articles.  He  wears  mitre  and  surplice  and  says:  Infidels  Barbarians!  we 
are  come  to  convert  you  to  the  european  faith  by  Order  of  the  great  Authority 
whose  Image  I  bear  on  this  Shield  the  benignant  beams  of  whose  countenance 
enliven  the  ignorant  inhabitants  of  this  country,  therefore  destroy  your  Gods  burn 
your  books,  be  converted  and  be  saved.  Behind  him  is  a  sour-looking  man  in 
lay  dress  holding  before  him  a  large  book  inscribed  Westley.  He  is  followed 
by  a  Catholic  priest  in  gown  and  bands  holding  up,  as  an  emblem  of  cruel 
bigotry,  a  cross  inscribed  Cortes.  The  last  is  a  Greek  Orthodox  priest.  The 
foremost  Indian  is  a  fakir  almost  covered  by  his  long  hair  and  beard ;  he  holds 
a  staff  and  a  bag  inscribed  Competency;  he  says:  Wah!  Wah!  Topywalla, 
alluding  to  the  bishop's  mitre  (topi  in  Hindi  =  hat).  The  other  three  stand 
together  (r.)  and  are  struck  by  rays  from  the  Hastings  medallion  inscribed: 
Intolerance,  Bigotry,  Injustice,  Oppression,  Vice.  A  Mahometan  holds  the 
Koran;  a  Parsee  holds  a  roll  inscribed  Pithagor[us];  a  Hindu  wearing  only 
a  loin-cloth,  clasping  a  book  inscribed  Sha  . . .  ster,^  as  in  No.  12728,  and  ajar 
of  Ganges  Water  is  the  spokesman-  "Master  you  very  fine  Gentleman  got  very 
fine  Topy — but  not  speak  too  much  good  sense — Master  I'm  poor  people  all  black 
fellow  poor  Man  All  Master  slave — what  for  burra  sahib  [Hastings]  behauden 
Send  Master  for  black  man  not  become  christian  business  got  one  God  already — 
What  can  I  say  more?  Between  the  two  groups  is  the  baggage  of  the  Christians, 
a  box  inscribed  Charged  on  which  is  a  bag  inscribed  Bible  Society  from  which 
an  object  inscribed  Gospel  projects.  On  this  sits  a  monkey  holding  a  razor. 
There  is  a  background  with  domed  buildings  and  two  small  palm-trees. 

In  the  Charter  of  181 3  concessions  to  missionaries  in  India  were  made 
under  great  pressure  from  Wilberforce  and  the  Evangelicals:  he  used  argu- 
ments which  were  bigoted  and  ignorant:  'Our  Christian  religion  is  sublime, 
pure  and  beneficent.  The  Indian  religious  system  is  mean,  licentious  and 
cruel.  ...  It  is  one  grand  abomination.'  Pari.  Deb.  xxvi.  861.  Qui  Hi  is 
concerned  to  show  'the  dreadful  effects  of  religious  enthusiasm  in  India', 
instancing  the  Velio  re  mutiny.  'But  this  is  nothing  to  what  the  consequences 
may  be,  if  illiterate  adventurers  of  methodist  preachers  get  among  them  .  .  .', 
p.  68  n.  See  also  No.  12726. 
41X71  in. 


12725  AN  EXTRAORDINARY  ECLIPSE.' 

See  No.  12718.   P.  72.   A  group  of  officials,  military  and  civihan,  watch  an 
eclipse  across  a  piece  of  water.  A  dark  planet,  the  earth,  has  almost  eclipsed 

'  Imprint  as  No.  12722.  ^  'The  Shaster  or  Hindoo  Scripture',  p.  124  n. 

644 


POLITICAL   SATIRES    1816 

a  Garter  star,  symbol  of  Lord  Hastings,  leaving  the  words  Mai  y  Pense. 
On  the  planet  are  the  words  Europe  and  Africa;  and,  along  the  Equator,  Public 
Disapprobation.  In  the  water  below,  inscribed  Dead  Sea,  the  eclipse  is 
reflected.  On  a  promontory  below  the  eclipse  is  a  fort,  Fort  William,  indica- 
ting Calcutta.  Those  watching  are  probably  officials  of  the  Madras  Presi- 
dency. An  officer  seated  on  a  stool  (?  Sir  Thomas  Hislop,  C.-in-C,  Madras) 
says :  /  am  sorry  for  its  decline  it  may  shake  the  intire  Indian  System  of  discipline . 
A  plainly  dressed  civilian,  says :  /  hope  it  cannot  affect  the  prosperity  of  this 
presidency  tho  its  influence  may  injure  the  harvest  and  destroy  Barns.  A  civilian 
seated  on  a  chair  (.''  Hugh  Elliot,  Governor)  looks  through  a  telescope,  saying, 
A  very  extraordinary  Eclipse  indeed!  I  think  I  should  have  a  better  prospect 
of  its  termination  from  the  telegraph  on  the  Admiralty  Office — gentlemen  has  any 
of  you  calculated  its  duration?  let  me  see  Beginning  7''  ^y.  I  half  M  at  Kensington 
in  1806  Middle  9  h — 7  M  somewhere  about  Westminster  in  18 13  total  Obscura- 
tion I  think  may  be  expected  in  this  country  in  181^ — perhaps  it  may  be  perceived 
sooner  in  England.  A  standing  officer,  with  embr}'o  horns,  holds  up  a  sextant ; 
he  says:  Its  sinking  rapidly,  that  dark  planet  seems  alarming,  and  may  draw 
stars  of  a  less  magnitude  into  its  vortex — dont  you  think  Sir  these  signs  are 
Omenous  [s\c\?  I  hope  its  not  yet  too  late  to  repent.  Another  officer  looks 
through  a  telescope  inscribed  Garrison  Orders.  A  fat  civilian  with  ass's  ears 
also  uses  a  telescope;  Burns  Justice  projects  from  his  pocket,  to  show  that  he 
is  a  magistrate  (or  'Just  Ass',  cf.  No.  8187).  A  seventh  man  sits  on  the  ground 
looking  through  a  telescope.  Heavy  clouds  cover  the  sky,  and  flashes  of  light- 
ning inscribed  Vengeance  threaten  the  spectators. 

The  fall  of  Hastings  is  prophesied,  as  in  No.  12729.  The  allusion  to 
Kensington  indicates  his  part  in  the  'Delicate  Investigation'  of  the  conduct 
of  the  Princess  of  Wales  in  1806;  'Westminster  in  1813'  connotes  the  allega- 
tion that  he  had  secured  perjured  evidence  to  damage  the  Princess,  see 
No.  12032. 
4^X71  in. 


12726  LABOUR  IN  VAIN  OR  HIS  REVERENCE  CONFOUNDED.' 

See  No.  12718.  P.  82.  Indians  form  a  circle  round  a  preacher  who  addresses 
them  from  an  open-air  pulpit,  the  base  of  which  is  a  bale  of  China  Cotton. 
On  this  rests  a  large  cask  inscribed  Best  London  Particular;  on  this  again  is 
a  brass-bound  and  padlocked  money-chest  inscribed  Subscription  which  sup- 
ports the  preacher's  book.  In  the  foreground  (1.)  sits  an  emaciated  snake- 
charmer  piping  to  a  snake  which  rears  its  head  from  a  basket.  On  the  r.  three 
men  squat  on  the  ground,  two  of  them  casting  dice  on  a  chequered  board. 
A  fakir,  as  in  No.  12724,  stands  near  them.  Among  the  closely  packed  Indians 
stand  two  British  soldiers;  one,  an  oflicer,  is  probably  Qui  Hi? 

A  satire  on  missionaries  in  India;  he  preaches  in  a  language  unknown  to 
most  of  his  hearers : 

'with  furious  rant 
And  holy  methodistic  cant'  (p.  84). 

The  money-box  is  for  contributions  from  Indians  'T'wards  the  converting 
institution!'.  The  attack  is  qualified:  'no  allusion  is  here  meant  to  the  estab- 
lished clergymen:  he  means  the  illiterate  and  dangerous  crowd  of  missionaries'. 
But  the  preacher  has  lawn  sleeves;  cf.  No.  12723  for  the  attack  on  the  newly 
instituted  bishop.  See  No.  12728. 
A^^l^  in. 

*   Imprint  as  No.  12722. 

645 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12727  HINDOO  PREJUDICES.' 

See  No.  12718.  P.  92.  Lord  and  Lady  Hastings  (1.),  riding  side  by  side, 
advance  towards  a  startled  family  group  of  Hindus  engaged  in  preparing  or 
eating  a  meal  under  a  few  palm-trees:  two  men  and  two  women  break  and 
overturn  their  pots  and  address  protests  to  the  Governor-General.  Lady 
Hastings  says :  My  dear  Lord!  we  had  better  take  some  other  road  these  poor 
people  are  evidently  disturbed  by  our  presence  we  had  better  turn!  He  answers : 
No,  No.  your  Ladyship  is  really  too  considerate,  let  us  continue  our  ride,  those 
zvretches  are  unworthy  of  our  notice,  nothing  but  superstition  curse  their  prejudices . 
if  I  allow  these  liberties  I  shall  soon  be  as  bad  here  as  I  was  in  England!!  One 
of  the  Indians,  his  back  to  the  intruders,  smashes  a  pot  with  a  stick,  saying, 
Ban  chut  Soor  Terri  mau — .  The  other  turns  towards  them,  saying.  Hither 
rusta  ni — What  for  Master  come  here,  and  spoil  all  peoples  dinner — Master  not 
proper  character  for  Hindoo — all  same  cast  as  dog  eat  every  thing,  all  chatty 
broke  rice  make  spill,  not  eat  dinner,  all  masters  fault — other  time  Master  keep 
proper  distance  see  old  man  make  too  much  angry.  His  elegant  wife,  with  raised 
arm,  exclaims  decko!  decko!  Jungillee  walla.  A  naked  child  clutching  her  dress 
says  Topi  walla!,  staring  at  the  Governor-General's  cocked  hat  (cf.  No.  12724). 
An  older  woman  seated  on  the  r.  lifts  her  hands  in  shocked  surprise,  saying 
Arra  Bobbery^  Kubbar  dar.   The  intruders : 

Not  wishing  to  prolong  the  strife. 

Their  horses  in  an  instant  wheel. 
4|X7i|in. 

12728  JOHN  BULL  CONVERTING  THE  INDIANS.^ 

See  No.  12718.  P.  124.  An  uncouth  Englishman  in  black  bows,  hat  in  hand, 
to  three  Indians;  he  holds  a  huge  Bible  under  his  arm,  and  says:  Gentlemen 
I  have  been  so  very  busy  these  last  twenty  years,  that  I  have  been  prevented 
seeing  you.  having  settled  my  affairs  at  home.  And  having  a  little  time  on  my  hands 
I  have  put  on  my  Sunday  cloths  to  pay  you  a  visit.  I  am  much  obliged  to  you 
for  the  few  Acres  of  land  you  gave  me,  and  the  rupees  you  sent.  And  in  return 
I  have  brought  you  a  present  as  I  understand  you  are  no  better  than  Savages. 
One  of  the  Indians  (a  Parsee)  stands  to  answer  the  missionary :  Master  what 
for  make  bobbery  with  black  fellow?  this  not  proper  custom — plenty  too  much 
rogue  Man  come  from  Europe,  cheat  all  poor  people,  get  all  Rupee  then  go  to 
England:  poor  parsee  man  work  hard,  pay  plenty  money  for  company,  what  for 
Master  not  satisfied?  what  for  make  rogue  fellow  of  poor  people?  all  good  Man 
go  heaven  all  bad  man  go  to  the  devil — What  more  master  want?  A  Hindu 
wearing  a  loin-cloth  sits  with  an  open  book.  The  Shaster  (cf.  No.  12724)  on 
his  lap ;  he  says :  Master  take  all  country  all  money — every  thing  master  take — 
Now  take  away  poor  Hindoos  religion  that  not  good  fashion  Master.  A 
Mahometan  seated  on  the  extreme  1.,  the  Alcoran  on  his  knee,  his  slippers 
tucked  under  his  belt,  prays  with  clasped  hands :  There  is  no  god  but  god  and 
Mahomet  is  his  prophet — Sahib  bot  Salaam.  In  the  background  (r.)  is  a  covered 
wagon  drawn  by  two  oxen  and  inscribed  Missionaries.  The  driver  chants: 
A  -chill  ou  Banchut  -Ky  whasta  toom  ne go  any  faster-Toom  junta.  Sub  Padree 
Dewana  hi;  bot  rupee  cherry  merry  dinga — A  sign-post  points  To  Bombay. 

For  the  ignorant  and  bigoted  missionary  see  also  No.  12726;  for  'bobbery' 
No.  12727  n. 
4^X7iin. 

'   Imprint  as  No.  127 19. 

^  Bobbery  is  Anglo-Indian  for  noisy  disturbance  from  the  Hindi  Bap  re!   O  father, 
an  exclamation  of  surprise  and  grief.    O.E.D.    Cf.  Nos.  12728,  12740. 
3  Imprint  as  No.  12722. 

646 


POLITICAL   SATIRES    1816 

12729  MORE    INCANTATIONS    OR    A   JOURNEY    TO    THE    IN- 
TERIOR.' 

See  No.  127 18.  P.  128.  A  skeleton  with  the  head  of  Hastings,  horns  sprout- 
ing from  his  forehead,  rides  a  galloping  white  horse ;  shafts  of  flame  inscribed 
Desolation  and  Pestilence  issuing  from  its  nostrils.  A  coronet  falls  to  the 
ground;  he  holds  a  paper  inscribed  Napaul  War.  Flames  stream  from  the  1. 
towards  and  past  him,  and  issue  from  below  a  flat  tomb-stone  under  his 
horse's  feet,  which  is  inscribed  Hie  Jacit  [sic]  The  Mortal  part  of  Infamy 
Avarice  and  Tyrany.  Two  officers  and  a  civilian  follow  the  horse  on  foot, 
the  civilian  clasping  the  animal's  tail  and  holding  up  a  firebrand.  One  of  the 
officers  (Lionel  Smith)  wears  a  belt  inscribed  Vice  (as  in  No.  12733),  ^^'^ 
holds  up  a  scourge  and  a  firebrand  inscribed  Discord;  he  is  clasped  by  a 
screaming  Fury  with  snaky  hair,  and  a  raised  dagger  inscribed  Slander.  The 
other  officer  holds  a  mask.  They  are  hastening  towards  a  building  (r.),  appar- 
ently the  Residency,  Calcutta,  outside  which  is  a  H.L.  figure  of  Hastings,  as 
an  idol,  with  a  book  before  him,  on  a  pedestal  inscribed  Search  the  Scripstures 
[sic]  for  therein  &.  &c.  He  reads:  and  I  looked  and  beheld  a  pale  horse  and 
his  name  that  sat  on  him  zcas  Death  and  hell  followed  zcith  him.  On  the  horizon 
behind  the  horse  are  gibbets  and  small  buildings  surrounded  by  flames. 

For  the  Nepal  War  (18 14-16)  see  No.  12721.  The  other  allusions  are 
obscure;  as  in  Nos.  12725,  12732,  12734  Hastings  is  threatened  with  calamity. 
4|X7^in. 

12730  MISERIES  IN  INDIA.2 

See  No.  12718.  P.  140.  An  elegant  English  lady  lies  in  a  four-post  bed  (r.) 
passively  registering  anguish  at  the  attacks  of  large  winged  insects.  An  ayah 
stands  behind  the  bed  screaming  at  the  sight.  A  man  in  night-cap  and  night- 
shirt sits  on  a  sofa  (1.)  agonized  at  the  attacks  of  the  insects;  an  Indian  serv^ant 
stands  behind  him  plying  a  feather  brush. 
4^X7^  in. 

12731  THE  BEAR  &  RAGGED  STAFF.^ 

See  No.  12718.  P.  178.  A  bear  with  the  head  of  Hastings  stands  in  profile 
to  the  1.,  on  a  base  of  two  slabs,  the  upper  inscribed  Nobility.,  the  lower 
Degraded  by  Dishonor.  Round  his  neck  are  the  ribbon  and  collar  of  the 
Garter  with  the  George.  A  coronet  is  flying  upwards  from  his  head.  British 
officers  stand  behind  him,  each  on  a  smaller  slab  or  pedestal,  and  closely 
grouped;  some  bend  obsequiously  forward.  Opposite  the  head  are  three 
Hindus  wearing  loin-cloths.  One  asks:  Kiska  nom  ka?  Another  says:  /  not 
understand  what  kind  beast  this  is  not  proper  for  Hindoos  make  zcorship  to 
All  face,  look  too  much  like  fool.  The  third  who  sits  with  a  book  before  him 
says:  One  Man  not  got  Arm  very  good  face,  other  Man,  fools.  He  refers  to 
one  of  the  officers  who  has  an  empty  r.  sleeve,  and  stands  on  a  pedestal 
inscribed  Worth.  He  wears  an  order,  and  his  uniform  is  tattered,  as  is  that 
of  a  very  small  officer,  who  stands  aggressively  on  a  pedestal  inscribed  Con- 
tempt. The  two  immediately  behind  Hastings  have  ass's  ears;  one  stands  on 
[In] f amy;  the  other  has  also  sprouting  horns  and  stands  on  Vice;  he  is  Col. 
Lionel  Smith.  Others  (r.)  turn  aside  in  disgust  or  contempt.  In  the  back- 
ground (1.)  is  a  small  temple  with  two  kneeling  Hindus. 

The  title  and  the  association  of  Hastings  with  a  bear  derive  from  the  sup- 
porters to  his  arms,  see  No.  127 18. 
4|X7iin. 

'   Imprint  as  No.  12722.  ^  Imprint  as  No.  12719. 

647 


CATALOGUE  OF   POLITICAL   AND   PERSONAL  SATIRES 

12732  HINDOO  INCANTATIONS  A  VIEW  IN  ELEPHANTA.' 

See  No.  12718.  P.  194.  Scene  in  one  of  the  Elephanta  caves.  Hastings,  his 
hair  on  end,  sits  on  a  stool  in  profile  to  the  r.,  looking  through  a  kind  of 
telescope  (a  'magic  glass')  at  a  vision.  Immediately  behind  him  is  the  triple 
bust  of  Siva  (formerly  thought  to  be  of  Brahma,  Vishnu,  and  Siva,  and 
described  in  the  text  as  Brahma).  The  heads  and  helmets  are  altered,  and 
the  head  in  profile  to  the  r.  resembles  a  gigantic  Hastings.  A  Brahmin  stands 
behind  Hastings  (1.);  another  prostrates  himself  before  the  image  of  a  sacred 
cov^^  before  w^hich  a  lamp  is  burning.  The  vision  (of  the  future)  is  contained 
in  seven  circles  placed  on  a  disk  of  (?)  fire,  which  is  connected  by  lines  vv^ith 
the  eye-piece  of  Hastings's  glass.  The  circles  enclose  little  scenes  each  within 
an  inscribed  border,  six  of  these,  all  inscribed  Retribution,  surround  [i]  a 
central  circle  inscribed  God  save  the  Queen  May  the  Queen  live  for  ever.  The 
Princess  of  Wales  (now  Queen)  sits  on  a  throne,  holding  a  sceptre,  with 
courtiers  on  the  r.  and  1.  [2]  View  at  Calcutta,  a  large  building,  evidently  the 
Residency,  is  in  flames.  [3]  View  at  Bombay.  A  similar  conflagration.  [4] 
View  at  Tower  Hill.  Hastings  kneels  at  the  block,  the  headsman  raises  his 
axe;  a  monk  stands  by  with  an  open  book.  [5]  View  at  the  War  Office.  An 
open  book:  Army  List  181 5  L.S.  [Lionel  Smith,  see  No.  12718],  out.  Above: 
By  Authority.  [6]  View  at  Bombay;  a  man  hanging  from  a  gibbet.  [7]  Viezo 
at  Charing  Cross,  an  officer  and  woman  sit  side  by  side  in  the  stocks,  evidently 
Sir  John  and  Lady  Douglas,  punished  for  supposed  perjury,  see  No.  12026,  &c. 

The  seven  prophecies  conspicuously  reverse  the  course  of  events.  Hastings, 
as  in  No.  12725,  is  pilloried  for  his  conduct  in  the  Delicate  Investigation  and 
in  181 3.  The  subject  of  [6]  may  be  Sir  Evan  Nepean,  see  No.  12739. 

Copy,  Grego,  Rowlandson,  ii.  300. 
4^  X  7f  in. 

12733  PHANTASMAGORIA  A  VIEW  IN  ELEPHANTA. ' 

See  No.  12718.  P.  196.  Scene  in  a  bare  room.  A  man  standing  on  a  paper 
inscribed  Fidelity  puts  a  slide  in  a  magic-lantern  inscribed  Liberality  which 
is  on  a  base  inscribed  Retrospection.  The  Devil  stands  by  the  lantern  holding 
up  by  the  coat-collar  Col.  Lionel  Smith,  see  No.  12718,  &c.,  forcing  him  to 
look  at  the  scene  thrown  by  the  lantern  on  the  wall :  two  short  ungainly  men 
stand  beside  a  tall  and  elegant  lady;  she  puts  her  hand  on  the  shoulder  of 
one  who  holds  a  paper  inscribed  Sorties;  the  other  (?  Smith)  holds  a  key. 
Smith,  who  wears  a  belt  inscribed  Vice  as  in  No.  12729,  sees  some  incident 
of  his  past  life.  Above  his  head  hovers  an  owl.  On  the  ground  below  him 
is  a  pile  of  large  books :  Retribution ;  Charlotte  Smiths  Works ;  Art  of  Torment- 
ing; Don  Quixote.  Two  men  sit  together  watching  the  vision  on  the  wall. 
One  is  an  officer,  with  a  seat  inscribed  Avarice,  the  other  has  been  transformed 
by  the  colourist  into  a  civilian;  his  seat  is  Misery.  There  are  four  standing 
and  inconspicuous  spectators  on  the  extreme  1.  One  of  these  is  seized  round 
the  neck  by  Death,  a  skeleton  with  a  javelin  raised  to  strike.  Through  an 
open  doorway  on  the  extreme  r.,  and  in  deep  shadow,  is  seen  a  nude  and 
muscular  man,  much  larger  than  the  other  figures.  Close  to  the  ceiling  is  a 
row  of  framed  pictures:  [i]  buildings;  [2]  Parel,  a  view  of  a  French  chateau; 
[3]  Poetical  Tour  in  France  (above  Smith's  head),  figures  near  a  small  cottage 
or  wayside  chapel,  probably  intended  for  Charlotte  Smith,  her  husband,  and 
two  children;  [4]  Dungaree,  men  on  galloping  horses  with  a  background  of 
buildings  and  palm-trees,  see  No.  12737. 

An  attack  on  Col.  Lionel  Smith  with  obscure  allusions.   Charlotte  Smith 

*  Imprint  as  No.  12722. 
648 


POLITICAL   SATIRES    1816 

and  her  family  lived  for  a  time  in  a  dilapidated  French  chateau.  For  phantas- 
magoria cf.  No.  9962. 
4^X7iin. 

12734  THE  MODERN  PHAETON  OR  THE  HUGELY  IN  DANGER.^ 

See  No.  12718.  P.  198.  Hastings  (r.)  sits  in  profile  to  the  1.,  in  a  chariot 
drawn  through  the  air  by  three  horses  abreast,  out  of  control  and  snorting 
fire  and  lightning,  which  is  joined  by  darts  from  a  sun  on  the  extreme  1., 
inscribed  London.  One  barbed  shaft  is  aimed  at  Hastings,  who  clutches  his 
chariot  in  terror,  saying.  That  cursed  Lightning — and  from  that  quarter  too, 
there  is  no  Alternative  I  must  Fall.  His  chariot  is  inscribed  Fear ;  Incapacity ; 
Weakness.  From  his  feet  a  label  inscribed  Interest  is  about  to  fall.  The  horses 
are  Anger,  Rage,  and  Impetuosity,  the  names  on  their  saddle-cloths.  They 
and  the  chariot  are  supported  on  heavy  clouds  of  smoke  rising  from  blazing 
buildings  which  border  the  river  Hooghly,  in  which  floats  a  scroll.  River 
Huguly,  to  show  that  the  burning  buildings  are  in  Calcutta.  On  the  water 
which  forms  the  base  of  the  design  float  two  Indian  bodies  on  rafts,  each 
being  devoured  by  a  \ailture.  The  head  of  a  crocodile  rises  from  the  water,  a 
label  inscribed  Anticipation  issuing  from  its  jaws,  which  are  ready  to  receive 
Hastings. 

A  repetition  of  the  theme  of  No.  12729. 
4^X71  in. 

12735  QUI  HI  ARRIVES  AT  THE  BUNDER-HEAD.^ 

See  No.  12718.  P.  205.  A  stone  jetty  stretches  across  the  design.  On  this 
are  many  Indians,  landing  trunks  and  bales,  and  a  British  sentry.  'Qui  Hi', 
in  civilian  dress,  stands  beside  a  palanquin,  with  an  Indian  holding  an 
umbrella  over  his  head.  He  has  arrived  by  sea  in  Bombay  and  his  trunks, 
marked  /.  N  (John  Newcome),  are  being  landed.  Small  boats  lie  in  the  fore- 
ground against  the  jetty.  Behind  it  (1.)  is  a  fortified  wall  with  cannon.  Vessels 
lie  at  anchor  in  the  background. 
4fX7|in. 

12736  QUI  HI  IN  THE  BOMBAY  TAVERN^ 

See  No.  12718.  P.  206.  In  a  well  but  sparsely  furnished  room  the  hero,  in 
civilian  dress,  sits  in  a  chair  holding  up  a  tumbler  of  wine.  An  Indian  servant 
stands  by  with  a  decanter.  The  master  of  the  tavern,  Duncan,  a  Scot,  in  shirt 
and  breeches,  draws  a  cork.  Across  a  landing,  where  an  Indian  carries  a  trunk 
upstairs,  is  seen  a  billiard  room  with  two  men  playing.  The  room  is  lit  with 
hanging  lamps  in  inverted  glass  shades.  Three  pictures  are  on  the  wall,  a 
landscape,  seascape  with  men-of-war,  and  a  reclining  Venus. 
4fX7^in. 

12737  PAYS  A  NOCTURNAL  VISIT  TO  DUNGAREE.^ 

See  No.  12718.   P.  215.   A  group  of  small  houses  shaded  by  palm-trees,  in 
moonlight;  in  the  open  space  in  front  of  them  are  courtesans,  sailors,  soldiers, 
couples,  &c.,  with  a  palanquin  and  women  in  a  covered  ass-cart.   Dungaree 
is  described  as  a  place  of  brothels  near  Bombay. 
4fX7win. 

'  Imprint  as  No.  12722.  *  Imprint  as  No.  12719. 

649 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

12738  ATTENDS  GENERAL  KOIR  WIGS  LEVEE' 

See  No.  12718.  P.  220.  A  stout  general  with  gouty  legs  (r.)  stands  in  profile 
to  the  1.,  shaking  hands  with  an  officer  who  heads  an  irregular  string  of 
officers,  some  advancing  from  the  door,  others  walking  away.  One  short 
paunchy  man  holds  a  paper:  Sold  by  Authority.  A  tall  officer,  apparently 
Col.  Lionel  Smith,  holding  a  paper.  New  Art  of  Tormenting  to  be  submitted, 
walks  off  arm-in-arm  with  a  very  small  man.  Outside  an  arched  doorway 
a  sentry  is  walking.  The  room  or  hall  has  an  arcaded  wall.  In  the  recesses 
hang  pictures :  an  architectural  view  of  Recorders  Court  [Bombay] ;  an  ass : 
The  Ass  Natural  History;  View  of  Goree  coast  of  Africa;  a  man  flogs  a  negro. 
On  the  shelf  are  books:  Johnston  Spelling  Book;  Oeconomy.  A  board  on  the 
wall  is  headed  Memorandum  for  Myself. — Eighteen  Manue^'"^ ;  below,  in  two 
columns,  are  the  figures  j  to  18. 

The  general  is  the  Commander-in-Chief,  Bombay;  his  levee,  consisting  of 
military  officers  only,  should  be  compared  with  the  much  larger  levee  at 
Government  House,  Calcutta,  see  No.  8162.  Sir  Miles  Nightingale  had  been 
appointed  Commander-in-Chief  on  10  Jan.  181 5,  but  did  not  arrive  in  Bombay 
until  24  Feb.  181 6.  His  predecessor,  having  been  captured  at  sea,  had  been 
transferred  to  Madras;  the  identity  of  'Koir  Wig'  is  thus  uncertain.  'Goree' 
is  an  imputation  of  murderous  cruelty  exemplified  by  Governor  Wall,  see 
No.  9845. 
4fX7^in. 

12739  QUI  HI'S  INTRODUCTION  &  COOL  RECEPTION.' 

See  No.  12718.  P.  225.  In  a  plainly  furnished  room,  the  hero  in  civilian 
dress  bows  to  an  elderly  man,  who  faces  him,  holding  up  in  a  questioning  and 
unfriendly  manner  a  sheaf  of  papers,  letters  of  introduction  just  presented  by 
the  visitor.  There  are  pictures  on  the  wall :  (?)  Indian  topography,  a  reclining 
nude,  two  views  of  buildings. 

Newcome  (Qui  Hi)  calls  on  the  Governor  of  Bombay,  Sir  Evan  Nepean 
(1751-1822),  but  is  not  asked  to  sit,  much  less  to  dine. 
4^X7fin. 

12740  QUI  HI  SHEWS  OFF  AT  THE  BOBBERY  HUNT.' 

See  No.  12718.  P.  229.  A  disorderly  hunt,  the  quarry  being  a  dog;  while 
a  bull  and  an  Indian  also  run  off  to  the  r.,  and  an  Indian  woman  carrying 
an  infant  hastens  to  get  away  from  the  horses.  One  man  is  kicked  from  his 
horse;  a  horse  and  rider  (the  hero)  fall.  There  are  no  hounds  or  professional 
huntsmen.  A  scene  near  Bombay.  A  bobbery  (cf.  No.  12727)  pack  =  naval 
slang,  'borrowed  from  the  sportsmen  ashore',  for  a  heterogeneous  squadron, 
c.  1820-90.  F.  Bower's  Sea  Slang,  1929. 
4TOX7T|in. 

12741  QUI  HI  AT  BOBBERY  HALL.' 

See  No.  12718.  P.  230.  Young  sportsmen  in  regimentals  and  top-boots  sit 
or  stand,  or  fall  to  the  ground,  drinking  toasts  at  a  long  dinner-table  on  which 
is  dessert.  Hunting-caps  and  whips  hang  on  the  wall  or  lie  on  the  floor. 
There  are  three  Indian  servants.  The  room  is  high  and  bare;  on  the  wall  are 
three  pictures  of  horses :  Macgill,  Rothimurches,  and  John  Bull,  with  one  of 
a  horse-race,  Byculla  Turf. 
4fX7i|in. 

'   Imprint  as  No.  127 19. 

650 


POLITICAL  SATIRES   1816 

12742  ALL  ALIVE  IN  THE  CHOKEE.' 

See  No.  12718.  P.  237.  Three  young  Englishmen  in  a  debtors'  prison  in 
Bombay.  They  sit  at  a  table,  drinking  spirits;  two  rollick,  but  the  hero 
registers  distress.  He  is  ill,  and  his  Indian  mistress  is  seated  on  a  trunk 
marked  /.  N  (as  in  No.  12735)  nursing  her  infant.  An  Indian  servant  takes 
bottles  from  a  canteen. 
4fX7fin. 

12743  LAST  VISIT  FROM  THE  DOCTORS  ASSIST  ANT.' 

See  No.  12718.   P.  242.    Qui  Hi  lies  on  a  couch,  dying,  in  the  prison  room 
depicted  in  No.  12742.    His  Indian  mistress  weeps  with  her  hand  on  his 
forehead.  The  infant  plays  by  a  chair.  A  Mahometan,  the  doctor's  emissary, 
watches  the  dying  man  with  raised  hands. 
4|X7|  in. 

12744  QUI    HI'S    LAST   MARCH   TO    PADREE   BURROWS'S    GO 
DOWN.2 

See  No.  12718.  P.  250.  A  funeral  procession  passes  along  the  shores  of  a  bay 
towards  a  cemetery  whose  gate  is  on  the  extreme  r.  A  plumed  hearse  is  drawn 
by  two  bullocks.  A  file  of  seven  soldiers  marches  in  front,  headed  by  a 
drummer.  A  palanquin  carried  by  four  men  follows  the  hearse,  with  the 
Indian  mistress  and  child  seated  inside.  By  the  roadside  (r.)  a  body  burns 
on  a  funeral  pyre,  attended  by  three  mourners. 

The  senior  chaplain  at  Bombay  was  the  Rev.  Arnold  Burrowes. 
4^x7-1  in. 

12745  STRANGE  FIGURES  NEAR  THE  CAVE  OF  ELEPHANT  A— 
1814.^ 

See  No.  12718.  P.  252.  Above  the  design:  Auspicio-Regis.  et  Senatus 
Angliae.  Three  fragments  of  frieze  in  high  relief,  burlesque  carvings  in  the 
Elephanta  caves,  the  figures  being  caricatures  of  officials  at  Bombay,  [i]  The 
Governor,  Sir  Evan  Nepean,  sits  cross-legged  on  the  floor  between  two  mem- 
bers of  his  Council.  [2]  Three  H.L.  portraits  of  civilians,  above  four  bust 
portraits.  The  centre  figure  has  a  Janus-like  double  profile,  with  ass's  ears 
and  small  horns.  [3]  A  long  strip  with  nineteen  H.L.  figures  crowded 
together,  wearing  regimentals,  and  apparently  representing  the  Commander- 
in-Chief,  his  staff,  and  other  officers  at  Bombay,  see  No.  12738.  Only  Col. 
Lionel  Smith  can  be  identified,  see  No.  12718;  he  is  one  of  two  with  ass's 
ears. 
4^X71  in. 

12746  THE  PALL  MALL  APOLLO,  OR  R TY  IN  A  BLAZE!!! 

G.  Cruikshank  fee' . 

Pu¥  by  M  Jones  5  Newgate  S'  March  i"  1816 

Aquatint  (coloured  impression).  PI.  from  the  Scourge,  xi,  before  p.  161.  The 
Regent  is  Apollo,  with  his  hair  on  fire;  he  drops  his  lyre,  terrified,  while 
McMahon  as  Mercury  stands  on  a  table  to  pour  the  contents  of  a  big  chamber- 
pot over  his  flaming  head.  The  Regent  is  naked  except  for  scanty  drapery 
and  Roman  sandals.  McMahon,  smaller  in  scale  than  the  Regent,  wears  his 
ordinary  dress  with  top-boots,  but  with  wings  attached  to  shoulders  and 

'   Imprint  as  No.  12719.  ^  Imprint  as  No.  12722. 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

boots,  and  wearing  a  winged  cap.  He  has  dropped  a  caduceus  from  which 
flames  emerge.  On  the  1.  are  two  Hfe-size  and  realistic  statues  on  pedestals: 
the  Belvedere  Apollo,  in  profile  to  the  r.,  faces  the  Regent  as  if  to  challenge 
comparison  with  his  ungainly  bulk  and  agitated  movements.  On  the  extreme 
1.  the  stout  Lady  Hertford,  in  back  view,  holds  up  a  lorgnette  to  gaze  at  the 
Venus  de'  Medici,  saying.  Well,  I  think  I  may  compare  notes  with  her!  She 
wears  a  scanty  gown,  revealing  bare  shoulders  and  legs,  with  Roman  sandals. 
On  her  head  is  a  small  crown.  There  is  a  dark  background  with  heavy  clouds 
to  the  1.  and  centre  of  the  design.  On  the  r.  of  the  table  on  which  McMahon 
stands  crouches  a  man  (.?  Castlereagh)  wearing  a  long  frogged  and  braided 
overcoat,  registering  consternation,  his  hair  on  end.  Beside  him  is  the  royal 
footstool,  decorated  with  the  Prince's  feathers,  kicked  away  and  overturned 
by  the  Regent.  On  the  extreme  r.,  at  some  distance  from  the  Regent,  sits 
Brougham  as  Hercules,  in  profile  to  the  1.,  resting  his  hands  on  his  club.  He 
is  naked  except  for  a  lion's  skin  draped  round  him,  the  head  resting  on  his 
barrister's  wig.   He  gazes  with  a  reflective  scowl  at  the  conflagration. 

A  scene  in  a  small  theatre  forms  a  background  to  the  r.  part  of  the  design. 
A  fat  Neptune  (probably  the  Duke  of  Clarence)  holding  a  trident,  seated  in 
a  large  floating  chamber-pot  (emblem  of  Mrs.  Jordan),  is  drawn  by  a  calf 
whose  head  and  tail  appear  above  the  water.  On  a  distant  shore  (r.)  a  winged 
and  naked  man,  wearing  a  ribbon,  gleefully  takes  the  hand  of  a  man  who  runs 
up,  also  naked,  who  has  stag's  antlers  and  a  sack  on  his  back.  Suspended 
above  the  sea  is  a  large  hammock-shaped  cloth  decorated  with  sun,  moon, 
and  stars.  A  ladder  leans  against  its  1.  end:  a  pretty  almost  naked  woman  is 
about  to  step  from  it  into  the  hammock,  helped  by  a  naked  satyr,  resembling 
the  Regent,  and  holding  a  bottle.  Just  below  her  on  the  ladder  is  a  Cupid 
{}  Prince  Leopold,  see  No.  12748,  &c.)  with  bow  and  arrows,  youthful  except 
for  a  hint  of  whisker,  and  naked  except  for  knee-breeches.  In  the  centre  of 
the  hammock  is  a  large  punch-bowl,  at  which  presides  a  thin  woman  (?  Queen 
Charlotte),  crowned  and  holding  a  ladle.  On  the  r.  of  the  bowl  are  Eldon, 
crowned  and  with  a  trident,  Ellenborough  fiercely  holding  out  a  sheaf  of 
thunderbolts,  with  (.'')  Wellington  on  the  extreme  r.  holding  a  baton.  There 
are  other  subordinate  figures,  including  three  women  behind  the  punch-bowl 
and  a  man  with  antlers,  holding  a  hammer  against  his  shoulders.  They  seem 
to  be  the  Regent  and  Ministers,  &c.,  represented  as  gods :  Silenus,  Neptune, 
Jupiter,  Mars,  and  Vulcan. 

An  obscure  allegory.  The  Belvedere  Apollo  was  in  the  public  eye,  see 
No.  1 26 1 9,  and  there  had  been  reports  that  it  was  to  be  acquired  by  the 
Regent.  From  the  opening  of  the  session  on  i  Feb.  Brougham  showed  that 
he  intended  to  take  the  leading  part  in  opposition.  See  his  letter  to  Creevey 
of  14  Jan.  with  its  'plan  of  campaign'.  Creevey  Papers,  1912,  pp.  247-9; 
Aspinall,  Brougham  and  the  Whig  Party,  1927,  pp.  49  ff. 

Reid,  No.  567.   Cohn,  No.  732. 
7|xi8iin. 

12747  SICK   OF  THE   PROPERTY  TAX   OR   MINISTERIAL   IN- 
FLUNZA  [sic] 

G.  Cruikshank  fed 

Pu¥  by  S,  W,  Fores,  March  8  1816  at  N°  50  Piccadilly  London 

Engraving  (coloured  and  uncoloured  impressions).  On  the  r.  is  a  group  of 
Ministers  vomiting  taxes.  On  the  1.  the  Regent  stands  directed  to  the  r., 
supported  on  crutches,  one  inscribed  More  Money,  the  other  Increase  of 
Income.  The  swathing  of  his  gouty  leg  is  tied  above  the  knee  by  his  Garter, 

652 


POLITICAL   SATIRES   1816 

inscribed  Honi  .  .  .  Pense.  Under  each  arm  are  large  rolled  documents 
inscribed  Expences  of  Pavillion,  d°  of  Thatch'd  Cottage,  D°  of  Furniture,  D°  of 
Pall  Mall,  Pulling  down  Rebuilding  &c  Pulling  down  again  for  New  Street!, 
Drinking  Expence.  Beside  him  and  on  the  extreme  1.  is  the  end  of  a  cloth- 
covered  table  on  which  are  balls ;  one  larger  than  the  others  is  Economy,  and 
is  labelled :  This  bolus  to  be  taken  immediately.  Beside  it  are  four  others,  all 
inscribed  Petition  against  Property  Tax.  The  Regent,  ill  and  melancholy, 
says :  Aye,  this  comes  of  your  cursed  Pill  economy  which  you  forced  me  to  take 
a  Month  back,  no  one  knows  what  I  have  suffered  from  this  Econmical  [sic] 
Spasm  ;  I  am  afraid  we  shall  all  be  laid  up  togather. 

Six  Ministers  stand  over  a  low,  wide-mouthed  sack  inscribed  Budget, 
the  edge  of  which  is  held  by  Vansittart  (r.),  wearing  his  Chancellor  of 
the  Exchequer's  gown  and  a  large  wig.  Facing  him,  and  with  his  back  to  the 
Regent  is  Castlereagh,  his  hands  on  his  stomach.  These  and  two  others 
vomit  streams  inscribed  Property  Tax,  Economy,  Standing  Armies,  increase  of 
Salaries,  Cock  Bugs  provi[sion'\.  The  contents  of  the  full  sack  are  similarly 
inscribed.  Another  Minister  (.-'  Liverpool)  stands  behind  Vansittart,  with 
open  mouth  and  distressed  expression. 

A  satire  on  the  agitation  against  the  Income  Tax,  see  No.  12750,  &c., 
supported  by  mass  petitioning.  The  Opposition  demanded  economy;  the 
military  establishment  was  especially  attacked,  and  contrasted  with  that  from 
1783  to  1792;  'standing  armies'  were  denounced.  The  Army  Estimates  were 
debated  for  ten  nights.  'Cock  Bug'  is  probably  Prince  Leopold,  see  No.  12758, 
possibly  Sir  George  Cockburn,  whose  expenses  involved  the  St.  Helena  estab- 
lishment, see  No.  12786.  The  Regent's  extravagance  was  attacked,  including 
the  street  improvements  by  which  the  'New  Street',  afterwards  Regent  Street, 
was  planned  to  lead  from  Carlton  House  to  Marylebone  (afterwards  Regent's) 
Park.  Pari.  Deb.  xxxii.  576  f.  Sir  R.  Heron  said  (12  Feb.):  'the  Prince  Regent 
expends  as  great  a  sum  for  a  thatched  cottage  as  another  monarch  would  on 
a  palace;  ...  he  cannot  endure  to  see  the  same  furniture  .  .  .  for  two  successive 
years  ...  he  pays  6000 1  for  a  Chinese  Cabinet'.  Ibid.  p.  409.  On  29  Feb. 
Brougham  and  others  moved  for  accounts  of  the  increased  staff  of  tax-collectors 
and  of  their  salaries  since  25  Mar.  18 15,  because,  he  alleged,  they  impeded 
petitions  against  the  Property  (Income)  Tax.  Ibid.  pp.  1021-5.  The  first  of 
many  allusions  to  the  Thatched  Cottage  (Royal  Lodge)  in  Windsor  Great 
Park,  designed  by  Nash,  begun  in  18 12,  first  lived  in  by  the  Regent  for  the 
Ascot  Races  of  1815.  Fulford,  George  IV,  1935,  p.  157  f.  The  Regent's 
words  refer  to  his  speech  at  the  opening  of  the  Session  on  i  Feb.,  when  he 
professed  'a  disposition  ...  to  concur  in  such  measures  of  economy  as  may 
be  consistent  with  the  security  of  the  country  and  with  that  station  which  we 
occupy  in  Europe'.  See  Nos.  12754,  12756,  12762,  12766,  12787,  12793, 
12802,  12804,  12806,  12875,  12987. 

Also  a  state  in  which  'Influnza'  is  corrected  by  the  addition  of  an  'e'  with 
a  caret.    ('Caricatures',  xii.  66.) 

Reid,  No.  568.   Cohn,  No.  1978. 
8|xi3iin. 

12748  R L  ADMONITION. 

Marks  fec^  [Mar.  1816] 

Pub'^  by  S.  Knight 

Engraving  (coloured  impression).  The  Regent  (1.),  his  gouty  leg  (cf.  No. 
1 27 1 4)  supported  on  a  stool,  sits  beside  a  table  facing  Prince  Leopold,  who 
wears  ornate  Hussar  uniform.  On  the  table  by  the  Regent,  who  holds  a  large 

653 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

full  goblet,  is  a  decanter  in  a  wine-cooler,  its  neck  in  the  form  of  a  Chinese 
pagoda.  He  wears  a  night-cap  terminating  in  a  bell  (symbol  of  folly  and  of 
chinoiserie),  and  a  dressing-gown  patterned  with  mandarins,  &c.  His  slipper 
is  also  Chinese.  He  holds  up  an  admonishing  finger,  saying:  You  are  certainly 
a  very  fortunate  young  man  to  have  form' d  an  Alliance  with  a  Magnificent  Prince 
who  now  advises  you  how  to  act  in  your  future  state  from  his  own  Experience!! 
j^'  Be  cautious  not  to  forsake  your  Wife!!!  2"^  Not  to  addict  yourself  to  Drunken. 
nessH! —  and  3^'^  Not  to  associate  in  Evil  Company  such  as  lew'd  Women  &c!!! 
Prince  Leopold :  I  Am  happy  to  think  I  am  to  be  Allied  to  so  Virtuos  a  Prince 
who's  wise  Councils  appear  to  be  the  result  of  his  own  Experience!!  Behind  him 
and  on  the  extreme  r.  Princess  Charlotte  looks  in  through  an  open  window; 
she  says:  May  he  act  well  from  Dictates  witout  [sic]  any  Experience!!!  She 
wears  a  simple  but  decolletee  white  dress  with  a  necklace  to  which  a  small 
heart  is  attached.  The  woodwork  round  the  window  is  decorated  in  the 
Chinese  manner.  The  Regent's  chair  and  footstool  are  supported  on  squatting 
(gold)  mandarins ;  others  decorate  the  chair-back,  one  leaning  forward  to  hold 
out  a  bottle  and  glass.  A  bottle  is  introduced  in  the  decoration  of  the  chair. 
For  Princess  Charlotte's  acceptance  of  Prince  Leopold  see  Corr.  of  George 
IV,  1938,  ii.  140  f.  He  arrived  in  London  on  21  Feb.,  went  to  Brighton, 
23  Feb.,  and  met  the  Princess  there  on  27  Feb.  Fulford,  George  IV,  p.  240. 
For  the  Regent  and  his  wife  cf.  No.  12028.  The  marriage  was  on  2  May.  See 
Nos.  12749,  12753,  12754,  12755,  12758,  12759,  12760,  12761,  12764,  12765, 
12767,  12769,  12770,  12771,  12773,  12774,  12775,  12776,  12785,  12793. 
8|-xi2f  in. 

12749  THE  COURT  AT  BRIGHTON  A  LA  CHINESE!! 

G  Cruikshank  fec^ 

London  Pu¥  by  J.  Sidebotham  N°  g6  Strand  [Mar.  1816] 

Engraving  (coloured  impression).  The  Regent,  immensely  obese,  sits  on  a 
divan  holding  the  mouthpiece  of  an  oriental  pipe,  and  holding  out  a  document 
to  Lord  Amherst  (r.),  who  bows  to  receive  it.  Both  are  in  (burlesqued) 
Chinese  costumes  and  have  finger-nails  elongated  into  talons.  Both  wear 
round  Chinese  hats  (of  varying  design)  with  a  central  peak,  that  of  the  Regent 
is  surmounted  with  antlers,  a  little  Union  Jack  waves  from  that  of  Amherst. 
The  Regent  has  a  very  long  drooping  moustache  ending  in  little  spirals,  that 
of  Amherst  is  comparatively  small.  On  the  Regent's  paunch  his  feathers  are 
embroidered,  with  a  star  at  their  base ;  on  the  stocking  or  trouser  that  defines 
an  enormous  leg,  a  pagoda  is  embroidered;  his  feet  are  thrust  into  ornate 
Chinese  shoes.  A  looped  tube  extends  from  the  long  mouthpiece  to  a  vessel 
in  the  form  of  a  squatting  mandarin  with  smoke  rising  from  the  hat.  The 
document  has  pendent  seals,  is  headed  with  quasi-Chinese  characters,  and  is 
inscribed :  Instructions  for  L*^  Amherst  to  get  fresh  Patterns  of  Chinese  deformities 
to  finish  the  decorations  of  y^  Pavillion — GPR.  Amherst  wears  a  tunic  above 
loose  trousers  and  Chinese  shoes.  A  sword  is  slung  from  a  ribbon,  and  a  huge 
Garter  star  is  embroidered  on  the  back  of  his  tunic;  his  hair  is  tied  and  from 
it  hangs  a  long  bag,  reaching  below  the  skirt  of  his  tunic.  Lady  Hertford  (see 
No.  1 1853,  &c.)  sits  on  a  cushion  on  the  divan,  on  the  Regent's  r.;  she  rests 
an  elbow  on  his  shoulder,  while  she  turns  to  Lord  Hertford,  who  leans  against 
her  (1.);  she  arrogantly  holds  up  two  fingers  above  his  (bald)  head  to  signify 
that  he  is  a  cuckold  (Lord  and  Lady  Jersey  were  similarly  depicted  by 
I.  Cruikshank  in  No.  8809).  She  is  not  dressed  in  the  Chinese  manner,  but 
wears  a  simple  decolletee  gown  defining  her  fat  curves ;  curious  braces  project 

654 


POLITICAL   SATIRES    1816 

above  her  shoulders  in  large  loops.  Hertford  is  in  Chinese  dress,  with  a  tiny 
pigtail  projecting  from  a  bald  head  and  terminating  in  a  little  bag.  He  wears 
a  long  robe  over  vest  and  trousers,  embroidered  with  a  pattern  of  antlers.  As 
Lord  Chamberlain  he  holds  a  long  wand ;  this  terminates  in  a  tiny  stag's  head 
with  antlers  from  which  hang  little  bells.  He  looks  complacently  towards  the 
Regent.  Beside  the  Regent  (r.)  stands  Princess  Charlotte,  putting  a  hand  on 
his  1.  arm;  she  points  to  Amherst,  saying.  Papa  had' nt  you  better  tell  him  to 
bring  me  over  a  China  Man  instead  of  getting  me  a  Husband  among  our  German 
Cousins!  The  Regent  gazes  impassively  before  him,  disregarding  her.  The 
Princess  wears  a  decolletee  high-waisted  dress,  with  three  feathers  in  her  hair. 
Prince  Leopold  stands  close  behind  her,  tall  and  handsome,  looking  down  at 
her  with  quizzical  complacency.  He  wears  hussar  uniform,  with  a  large 
plumed  busby.   He  stands  on  a  paper:  To  Prince  Leopold. 

This  large  central  group  is  flanked  on  the  r.  and  1.  by  figures  standing  against 
the  wall.  On  the  1.  are  Lords  Eldon  and  Ellenborough,  both  in  judge's  wig 
and  robes,  standing  close  together  and  looking  sideways  at  the  Hertfords. 
They  wear  Chinese  hats,  that  of  Eldon  (Scott)  inscribed  Scotia,  that  of  Ellen- 
borough,  Banco  Regis.  On  the  extreme  r.  are  tv\^o  mandarins  standing  rigidly 
with  dropped  arms ;  they  have  drooping  Chinese  moustaches,  round  hats  with 
central  peak,  long  gowns,  each  with  a  ribbon  and  star.  The  ribbon  of  one 
is  inscribed  A  Sly  Go!,  of  the  other  (r.)  A  Blooming  Field,  to  show  that  they 
are  the  Marquis  of  Sligo  and  Sir  Benjamin  Bloomfield.  On  the  extreme  1. 
the  profile  head  of  Castlereagh  projects  into  the  design;  his  dress  is  not 
Chinese. 

In  the  foreground  (1.)  Queen  Charlotte,  much  caricatured,  and  grinning 
broadly,  pours  coins  from  a  bag  shaped  like  a  big  stocking,  and  inscribed  Pin 
Money  &  Royal  Saveings,  into  a  huge  netted  purse  held  open  by  McMahon, 
a  grotesque  little  Chinese,  who  looks  up  at  her  with  an  answering  grin.  He 
wears  a  short  belted  tunic  over  wide  trousers,  a  pen  projects  like  a  pigtail  from 
his  bald  head  to  show  that  he  is  Private  Secretary  to  the  Regent,  see  No. 
1 1 861,  &c.;  he  bestrides  the  purse  which  extends  along  the  ground  and  is 
labelled  Privy  Purse  [see  No.  11874].  The  Queen  wears  a  bonnet,  and  high- 
heeled  shoes  of  antique  pattern.  Beside  her  on  the  ground  is  a  large  snuflP-box 
inscribed  Queens  Mixture,  cf.  No.  12066.  Behind  Amherst,  and  in  the  fore- 
ground on  the  r.,  are  gifts  from  the  Regent  to  the  Emperor  of  China.  From 
an  open  chest  placarded  Presents  for  the  Emperor  of  China  project  two  portraits 
of  the  Regent,  the  heads  only  being  visible :  Front  &  back  view  of  myself. 
Beside  these  are  large  volumes  inscribed  Fanny  Hill  and  Pretty  books  [cf. 
No.  12763],  Against  the  chest  leans  a  portfolio  of  Curious  Prints.  A  basket 
of  bottles  is  labelled  Cordials.  Next  this  are  two  books :  The  Art  of  making 
Punch  in  2  vols.  A  round  band-box  contains  Wigs  &  Whiskers;  next  it  are 
curling-tongs  and  a  hair-brush.  In  front  of  the  Regent's  divan  lie  papers,  &c. : 
Message  to  Par''  to  provide  for  the  Marriage  &  Maintenance  of  Prince  Leopold 
&  Charlotte  of  Wales ;  Petition  from  the  Strand  Bridge  Comp^  for  a  free  grant 
of  the  Site  of  the  ruinous  pallace  of  the  Savox  which  at  present  impedes  the  the 
[sic]  further  progress  &  completion  of  that  grand  &  important  National  Improve- 
ment; an  open  book:  Royal  Rantipoles  or  the  Humours  of  Brighton  by  Peter 
Pinder;  Proposal  to  continue  the  Property  Tax  for  ever,  to  pay  off  Arrears  of 
y^  Civil  List  occasion'^  by  y'^  Regency  Whims,  Fairs,  Carnivals,  &  other  Royal 
Fooleries. 

Behind  the  royal  divan  are  curtains  shading  an  alcove  which  are  flanked 
by  statues,  one  a  life-like  representation  of  the  Hottentot  Venus  (see  No. 
1 1577),  in  profile  to  the  1.,  inscribed  Regency  Taste!!!!!  The  other  is  the 
British  Adonis,  the  Regent  in  profile  to  the  r.,  walking  like  a  dancing-master 

655 


CATALOGUE  OF  POLITICAL   AND   PERSONAL   SATIRES 

with  chest  thrown  out,  and  a  strongly  marked  waist  at  the  back,  with  coat- 
tails  hanging  grotesquely  over  his  projecting  posterior,  a  corseted  figure  con- 
trasting with  the  corpulent  monstrosity  on  the  divan.  From  the  roof  hangs 
a  large  bronze  dragon  holding  in  one  claw  a  pagoda-shaped  lantern.  The  wall 
is  divided  into  panels  by  narrow  strips  of  Chinese  decoration;  there  is  a 
cornice  of  small  overlapping  gold  tiles  or  scales,  from  which  hang  little  bells. 

A  satire  conceived  after  the  establishment  for  Princess  Charlotte  was 
announced  in  Parliament  on  15  Mar.,  see  No,  12754,  ^'^^  probably  before  the 
defeat  of  the  Income  Tax  on  18  Mar.,  see  No.  12750,  &c.  Lord  Amherst  left 
(Feb.  181 6)  as  envoy  to  the  Emperor  of  China  with  propitiatory  gifts  which 
were  received  with  the  same  contempt  as  those  delivered  by  Macartney,  see 
No.  8121.  For  the  impending  storm  on  the  Civil  List  see  the  letter  from 
Ministers  to  the  Regent  of  15  Mar.,  Corr.  of  George  IV,  1938,  ii.  158  f.,  and 
No,  12756,  For  the  Queen's  supposed  miserliness.  No,  7836,  &c.  The 
Morning  Post  had  called  the  Regent  an  'Adonis  of  Loveliness'  in  18 12.  For  the 
Strand  Bridge  see  No,  12787,  &c.  The  Chinese  decor  may  reflect  a  speech 
of  Lord  Stanley  against  the  Income  Tax  on  12  Mar,  'He  hoped  they  should 
have  no  more  of  that  squanderous  and  lavish  profusion  which  ,  ,  ,  resembled 
more  the  pomp  of  a  Persian  satrap,  seated  in  the  splendour  of  oriental  state, 
than  the  sober  dignity  of  a  British  prince,  seated  in  the  bosom  of  his  subjects.' 
Pari.  Deb.  xxxiii.  201.  Cf.  Moore's  Morning  Chronicle  verses  Fum  and  Hum, 
the  two  birds  of  Royalty,  reprinted  Fudge  Family,  181 8.  A  phase  of  lavish 
expenditure  on  the  Pavilion  began  in  181 5.  Dragons,  pagodas,  and  bells  were 
the  principal  motifs  of  the  chinoiserie  there,  see  H.  D.  Roberts,  Hist,  of  the 
Royal  Pdvilion  Brighton,  1939,  pp.  45,  51,  52-5,  &c. 

Reid,  No.  583.   Cohn,  No.  1026. 
9|X  14^  in.   With  border,  lofx  14^  in. 

12750  STRONG  SNUFF  OR  37  DISCARDED  FOR  PRINCES  MIX- 
TURE 

[?W.  Heath.] 

Pub  March  2j  1816  by  S  Knight  Sweetijig  alley  Cornhill 

Engraving  (coloured  impression).  Vansittart  stands  at  the  counter  of  a  snufF- 
shop,  resting  one  hand  upon  it  (as  if  it  was  the  table  of  the  House  of  Com- 
mons), to  address  John  Bull,  who  leans  forward  across  the  counter.  He  says : 
No  M^  Bull  ril  have  no  more  J7  its  too  Strong  for  me  and  makes  me  Sneese 
I  intend  now  to  discard  it  &  take  once  again  to  Princes  Mixture.  A  paper 
inscribed  Vansi[ttart]  projects  from  his  coat-pocket.  He  wears  pantaloons 
and  Hessian  boots.  John  Bull  is  hideous,  with  carbuncled  nose,  and  spikes 
of  hair  projecting  from  under  an  ill-fitting  wig;  he  wears  over-sleeves  and  an 
apron,  and  holds  a  small  scoop;  an  open  snuff^-box  lies  on  the  counter.  He 
says :  Why  really  Sir  I  am  sorey  I  cannot  serve  you  I  have  been  in  such  a  bustle 
about  this  new  mixture  of  57  that  I  have  Turn'd  the  Princes  Mixture  up  side 
down  and  its  all  run  out.  On  a  shelf  behind  him  are  four  large  round  snuff- 
jars,  three  inscribed  jy;  the  fourth  (r.).  Princes  Mixture,  is  upside  down 
(though  the  inscription  is  not).  On  the  wall  below  the  shelf  is  a  bill:  A 
Pleasant  Mixture  of  jy  Just  arrived  from  S^  Stephenss.  Outside  the  street- 
door  (1.)  is  a  crowd,  with  men  waving  their  hats;  a  woman  with  broadsides 
cries  Last  Dicing  Speach  of  the  Property  Tax. 

On  18  Mar.  Vansittart  brought  in  a  motion  for  the  continuance  of  the 
Income  Tax  at  a  reduced  rate  (5  per  cent.)  and  with  especial  abatements  and 
exemptions  for  farmers,  to  defray  'the  extraordinary  charges  occasioned  by 
the  war  in  the  first  years  of  the  peace'.  To  the  general  surprise  (a  majority  of 

656 


POLITICAL   SATIRES    1816 

40  was  expected),  it  was  defeated  by  238  to  201  and  'loud  cheering  .  .  .  con- 
tinued for  several  minutes'.  The  result  was  attributed  to  the  petitions  against 
the  tax ;  it  was  influenced  by  resentment  at  the  Army  Estimates  and  impatience 
for  the  reduction  of  war  establishments  (see  No.  12756,  &c.):  party  agitation 
exploited  an  'ignorant  impatience  of  taxation'  and  some  real  grievances.  The 
Examiner  (24  Mar.)  said  'The  victory  has  been  gained  by  the  many  and /or 
the  many'.  Pari.  Deb.  xxxiii.  391-455;  Memoirs  of  Horner,  1843,  ii.  317-19; 
Smart,  Econ.  Annals  of  the  Nineteenth  Century,  i.  461-70;  A.  Hope-Jones, 
Income  Tax  in  the  Napoleonic  Wars,  1939,  ch.  vii.  This  defeat  did  not  prevent 
subsequent  abuse  of  the  Ministry  for  abandoning  the  tax.  See  Nos.  12452,  &c., 
12715, 12717,  12747,  12749,  12751,  12752,  12754,  12756,  12757,  12758,  12786, 
12863,  12864, 13004,  13269, 
7|xi2f  in. 


12751  DEATH  EXTRAORDINARY. 

[W.  Heath.]  [Mar.  1816] 

Engraving  (coloured  impression)  with  printed  title  and  text.  A  tiger-like 
monster  sprawls  on  a  couch  (r.),  turning  huge  eyes  up  at  Vansittart  who 
stands  beside  it,  putting  a  paper  between  its  teeth,  and  saying.  Take  a  little 
more  old  Rag  yon  may  yet  recover.  He  wears  a  mob-cap,  long  quasi-feminine 
gown,  slit  to  show  a  leg  in  knee-breeches,  and  with  sleeves  like  that  of  the 
Chancellor  of  the  Exchequer;  a  paper  addressed  Vansi  .  .  projects  from  his 
pocket.  The  monster  says:  That  Curst  Draught  of  Opposition  made  me  so  sick 
I  shall  never  recover  no  I  can  Live  No  Longer.  Behind  the  couch  and  on  the 
extreme  r.  the  ghost  of  Pitt  emerges  from  clouds,  his  hair  on  end,  his  arms 
raised.  He  exclaims:  Oh  my  poor  lost  Child  [cf.  No.  12452].  Five  women 
stand  on  the  1.  behind  Vansittart,  watching  the  dying  beast.  The  first  couple 
are  Castlereagh  and  Croker,  the  latter  wearing  a  large  poke-bonnet.  They 
say :  /  never  zoill  resign  my  Castle  while  a  single  Ray  of  hope  remains  and  Now 
I  may  Croak  Indeed.  A  fat  woman  in  back  view  exclaims  Oh  zvhat  will  become 
of  us;  one  with  clasped  hands  (Liverpool)  says:  This  is  too  deep  a  Pool  for  us 
[to]  ford.  The  fifth  is  poorly  characterized.  Below  the  title :  'Died,  on  Monday 
night,  in  St.  Stephens  Chapel,  .  .  .  that  singular  phenomenon,  the  Property 
Tax.  ...  It  was  a  monster  that  resembled  the  Vulture  in  its  claws — the  Hawk 
in  its  eyes — and  the  Tiger  in  its  appetite.  Mr.  P — tt,  that  great  quack  Doctor, 
.  .  .  brought  it  into  the  world,  and  found  the  birth  extremely  difficult.  It  was 
generated  in  the  French  Revolution,  and  attained  its  full  vigour  in  the  course 
of  the  wars  that  succeeded  that  event.  In  its  infancy  its  diet  was  principally 
a  species  of  yellozv  earth,  but  the  supplies  .  .  .  having  failed,  it  fed  latterly 
upon  old  rag,  which  it  devoured  in  amazing  quantities.  ...  It  was  in  a  very 
low  and  declining  way  about  a  year  ago,  but  its  existence  was  prolonged  by 
Mrs.  V — ns — tt — rt,  an  old  Dutch  Lady,  whose  skill  in  bleeding  [cf.  No.  12756] 
had  brought  her  into  some  repute  .  .  .  but  in  spite  of  all  her  efforts,  added 
to  those  of  some  other  old  women  .  .  .,  who  administered  wish-wash,  palaver, 
and  humbug  in  large  doses,  the  monster-patient  languished  under  repeated 
attacks,  and  died  of  a  suffocation,  having  lived  about  sixteen  years — and  no 
longer!!!' 

See  No.  12750,  &c.  For  Pitt  and  the  tax,  first  imposed  in  1799,  see  No. 
9363,  &c.  After  the  suspension  of  cash  payments  in  1797,  see  No.  8990,  &c., 
gold  was  little  seen,  but  notes  did  not  obviously  depreciate  till  1809,  after 
which  the  disappearance  of  gold  became  a  subject  of  satire,  see  No.  1 1576,  &c. 
7|X  12J  in.    Sheet,  9|x  I2|  in. 

657  uu 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 
12752  THE  DEATH  OF  THE  PROPERTY  TAX!!! 

G  Cruikshank  sculp 

London  Pub'^  by  J  Sidebotham  g6  Strand —  [Mar.  1816] 

Engraving  (coloured  impression).  The  title  continues:  or  57  Mortal  Wounds 
for  Ministers  &  the  Inquisitorial  Commissioners!!!  !!!  !!! —  Brougham,  John 
Bull,  and  the  British  Lion  attack  a  hydra  representing  the  Income  Tax.  The 
monster  has  large  savage  heads,  with  fanged  and  gaping  jaws,  horns,  and 
writhing  serpents  for  hair,  a  serpent's  body  with  a  barbed  tail.  One  head  is 
being  devoured  by  Leo  Britannicus  (1.);  two  others  lie  on  their  long  scaly 
necks;  two  still  rear  up  in  savage  frenzy.  Brougham  stands  in  back  view, 
raising  a  great  rolled  document  to  smite,  saying:  "Down!  Down  to  h — //.'  & 
say  I  sent  thee''!!  His  parchment  club  is  inscribed:  Glorious  Majority  of  jy 
against  the  Renewal  of  a  most  oppressive  &  Obnoxious  Tax  its  existance  hav^ 
Violated  &  threatened  the  total  overthrow  of  British  Liberty.  He  is  in  back 
view  and  is  identified  only  by  inscriptions ;  at  his  feet  lies  a  scroll :  A  Nation's 
Gratitude  to  M^  Brougham  &  the  other  Patriots,  that  deliver' d  England  from 
the  Property  Tax.  Facing  him  (r.)  stands  John  Bull  holding  a  similar  weapon 
inscribed  Petitions  from  every  Town  in  the  United  Kingdom  ag^  the  Property 
Tax — .  He  is  a  stout  'cit',  in  waistcoat  and  shirt-sleeves,  with  a  cap  of  Liberty 
inscribed  Libertas  and  encircled  with  a  laurel- wreath.  In  the  foreground  (1.) 
behind  the  lion  lies  a  paper :  Last  Will  &  Testament  of  the  Property  Tax  who 
Died  of  27  Mortal  Wounds  given  in  the  House  of  Commons  18 16 — /  give  & 
bequeath  to  y^  British  people  all  my  Expectancy  to  future  Riches  togather  with 
their  liberties  &  privileges  that  I  have  unjustly  deprived  them  of  in  my  life  time — 
Behind  this,  Britannia  reclines  half-seated  on  the  ground,  her  shield  beside 
her.  Tierney  stands  over  her,  pointing  to  the  monster,  and  saying, 
Rise  Britannia!  the  Monster  that  so  long  oppress'd  &  trampled  on  you  is 
at  last  Subdued.  He  is  identified  by  a  paper  in  his  pocket  directed  to  M'^ 
Tierney. 

This  scene  is  bordered  inconspicuously  by  rock  indicating  the  mouth  of  a 
cave.  In  the  background  (1.)  four  men  hasten  up  a  slope  from  r.  to  1.,  beside 
a  sign-post  pointing  to  Economy.  Their  very  thin  leader  is  evidently  Liverpool ; 
next  comes  the  Regent  hopping  on  crutches  (cf.  No.  127 14),  looking  appre- 
hensively towards  the  monster,  Castlereagh  follows  with  outstretched  arms; 
last  comes  Vansittart  in  his  gown,  his  hair  on  end.  In  the  upper  margin  is 
written  in  pen :  This  Monster  was  Bred  in  a  PiTT  suckled  by  a  Fox  cherish' d 
in  a  ruinous  CASTLE  &  swept  out  by  a  BroomH  According  to  Cohn  this 
inscription,  when  engraved,  ends  with  'Fox!'. 

See  No.  12750,  &c.  Brougham  led  the  attack  on  the  tax:  on  22  Feb.  he 
rose  to  speak  with  a  huge  petition  in  his  arms.  The  (financially  unsound) 
campaign  depended  on  outside  agitation  and  on  organized  petitioning;  there 
were  about  400  petitions,  130  being  from  Devonshire  and  Middlesex.  Smart, 
Econ.  Annals  of  the  Nineteenth  Century,  i.  467  n.  Tierney  made  himself  con- 
spicuous by  demanding  that  the  whole  of  each  petition  should  be  read  instead 
of  the  title  only :  'it  was  the  least  thing  the  House  could  do  to  listen  to  the 
prayers  of  the  people'.  Pari.  Deb.  xxxii.  837.  The  tax  was  'suckled  by  a  Fox', 
in  that  the  Talents  Ministry  in  1806  raised  the  rate  from  6^  to  10  per  cent, 
(which  Fox  said  disposed  of  his  great  objection  to  the  tax),  and  reduced  the 
exemption  limit;  see  No.  10557,  ^^• 

Reid,   No,  569.    Cohn,   No.   1047.    Reproduced,   G.  T.   Garratt,  Lord 
Brougham,  1938,  p.  86. 
8il  X  13^  in.   With  border,  9|x  13!  in. 

65S 


POLITICAL   SATIRES    1816 

12753  THE  INTERVIEW— OR— MISS  OUT  OF  HER  TEENS. 

[Williams.] 

PuM  March  1816  by  Johnston  Cheapside 

Engraving  (coloured  impression).  In  a  room  at  the  Pavilion  Prince  Leopold 
is  introduced  to  Princess  Charlotte,  a  bashful  girl  holding  a  skipping-rope  in 
her  gloved  hands.  She  is  pushed  forward  by  Queen  Charlotte  (r.),  lean,  ugly, 
and  wearing  court  dress  with  a  tiara.  The  Queen  holds  a  large  snuff-box 
inscribed  Strasbo[urg\  (see  No.  12066)  and  says:  Go  along  Scape  grace  speak 
kindly  to  him.  The  Regent  in  the  doorway  on  the  extreme  1.  propels  the 
prince  forward  with  the  end  of  a  crutch,  using  the  other  as  a  support  to  his 
gouty  1.  leg.  He  says:  Courage  Man!  don't  be  bashfull!  A  garter  inscribed 
Honi  soit  holds  up  the  bulky  covering  of  his  gouty  leg.  Prince  Leopold  wears 
a  braided  and  fur-bordered  hussar  tunic  with  tight  pantaloons  and  spurred 
Hessian  boots.  His  1.  hand  is  on  the  hilt  of  a  large  sabre,  and  he  holds  his 
heavily  plumed  and  tasselled  shako  before  his  face.  He  says :  Madam  I  have  no 
money,  but  I'm  of  the  right  breed,  true  German,  an  blood  Royal.  The  Princess 
answers :  /  had  rather  you  zcas  English!  but  a  German  husband  is  better  than 
none.  Both  stand  with  flexed  knees  and  lowered  eyes. 

Behind  Princess  Charlotte  is  a  much-festooned  window  looking  on  to  the 
sea.  Dragons  dominate  the  decorations  of  the  room,  and,  as  in  No.  12754, 
the  Regent's  crutches.  They  support  the  curtains,  a  window-seat,  and  a 
console-table  (r.)  where  a  large  china  mandarin  sits  with  his  back  reflected  in 
a  wall-mirror;  below  it  is  a  large  Chinese  jar.  Bells  dangle  from  the  curtain 
draperies. 

See  No.  12748,  &c.  Princess  Charlotte  was  taken  to  Brighton  by  the  Queen 
and  the  Princesses.  Her  twentieth  birthday  was  on  7  Jan.  1816.  For  the 
Chinese  decor  at  the  Pavilion  see  No.  12749,  ^^-  The  dragons  in  this  and 
other  prints  resemble  those  in  the  Pavilion,  see  H.  D.  Roberts,  The  Royal 
Pavilion,  1939,  plates  43,  52,  56,  57.   Cf.  No.  12749. 

Reproduced,    H.    D.    Roberts,    'Brighton   Caricatures',    Print   Collector's 
Quarterly,  xxiii.  114. 
9fXi2|in. 

12754  LEAP  YEAR,  OR  JOHN  BULLS  PEACE  ESTABLISHMENT— 

[Williams.] 

Pub'^  March  1816  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  John  Bull,  a  fat  'cit',  bridled  and  heavily 
burdened,  crawls  on  his  hands  and  knees  towards  a  sign-post  (I.)  pointing  (1.) 
To  Camelford  House.  He  carries  two  large  panniers  marked  with  G  R  and 
a  crown;  he  exclaims:  Oh!  niy  Back!  I  never  can  bear  it — .'  this  mil  finish  me. 
Though  respectably  dressed  his  breeches  are  unobtrusively  patched  and  the 
soles  of  his  shoes  are  worn.  Prince  Leopold  sits  in  the  near  pannier,  looking 
up  at  Princess  Charlotte  who  stands  in  front  of  him  holding  the  reins 
and  flourishing  a  heavy  whip  above  John  Bull's  head.  He  looks  up  at  her, 
saying.  Oh  mine  dear!  you  drive  so  fast  I  shall  be  off!!!  She  turns  her  head 
to  answer:  Never  fear!  Fll  teach  you  an  English  Waltz.  Prince  Leopold 
wears  hussar  uniform  with  a  tasselled  and  plumed  shako.  Round  his  waist 
is  a  bulky  sash  in  which  two  large  money-bags  are  tucked,  each  labelled 
12.000  Pocket  money.  His  heavy  sabre  dangles  to  the  ground  and  is 
inscribed  German  Steel.  Beside  him  in  the  pannier  is  a  large  money-bag 
labelled  50.000  P^  An'".  His  r.  hand  rests  on  John's  saddle,  inscribed  G  R 
with  a  crown,  which  is  slipping  sideways  and  has  a  broken  strap.  In  the  other 

659 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

pannier  are  huge  bundles  of  documents  inscribed  Army  for  Peace  Establish- 
ment 1 30.000;  Assessed  Taxes;  Increase  of  Salaries;  Bill  for  pulling  down  and 
rebuilding  Lond[on];  Plans  for  Thatched  Cottages.  Two  bundles  have  fallen  to 
the  ground:  Economy  and  Income  Tax.  Behind,  the  Regent  hurries  towards 
them  from  the  r.  He  has  a  gouty  leg,  the  swathing  tied  to  the  knee  by  his 
Garter,  inscribed  [Honi  soit]  qui  Mai.  He  walks  with  two  ornate  golden 
crutches,  one  inscribed  from  Pekin,  the  other  from  Canton,  the  arm-pieces 
formed  of  dragons  and  decorated  with  bells.  He  calls  out:  Push  on!  Preach 
Economy!  and  when  you  have  got  your  money  follow  my  example —  On  the  sky- 
line behind  the  Regent  is  the  fa9ade  of  the  Pavilion.  A  tiny  sign-post  in  the 
Chinese  taste  (see  No.  12749),  inscribed  Brighton,  points  towards  it.  After 
the  title :  When  two  ride  upon  a  Horse,  one  must  ride  behind. 

Prince  Leopold  was  introduced  to  Princess  Charlotte  at  the  Pavilion,  see 
No.  12748,  &c.  On  15  Mar.  the  marriage  establishment  was  propounded  to 
Parliament:  ^^60,000  a  year  of  which  ^^  10,000  was  for  the  personal  expenses 
of  the  Princess.  If  the  Prince  should  survive  his  wife  he  was  to  have  the 
remaining  ^50,000  for  life.  There  was  to  be  a  grant  of  £60,000  for  dress, 
jewels,  and  furniture.  The  house  had  not  then  been  selected;  it  was  soon 
afterwards  decided  to  lease  Camelford  House  from  Lord  Grenville  at  ;^2,700 
a  year.  Pari.  Deb.  xxxiii.  378-9,  1064-78.  For  the  discarded  Income  Tax 
see  No,  12750,  &c.;  for  the  attack  on  the  Army  Peace  Establishment,  No. 
12756,  &c.;  for  'Thatched  Cottages'  and  the  rebuilding  of  London  see 
No.  12747.  I^  th^  Regent's  Speech  on  the  opening  of  Parliament  on  i  Feb. 
there  was  a  pledge  to  economy  [Pari.  Deb.  xxxii.  3);  on  20  Mar.  it  was  referred 
to  as  'discarded  by  Ministers'  (ibid,  xxxiii.  477);  see  No.  12747,  ^^-  ^^^ 
national  distress  see  No.  12779,  ^^-  That  the  Princess  intended  to  dominate 
her  husband  is  the  theme  of  several  prints,  see  Nos.  12770,  12771,  12772, 
12774,  12780.  Queen  Charlotte  wrote  7  Feb.:  'if  it  is  possible  to  make  her 
feel  before  marriage  that  tho'  the  Prince  becomes  an  object  of  consequence 
by  marrying  her,  he  must  be  the  head  of  the  family  ...  all  will  do  well'. 
Corr.  of  George  IV,  1938,  ii.  146.  For  the  Princess's  establishment  see  ibid, 
ii.  150  f.  and  Nos.  12756,  12758,  12760,  12762.   See  No.  12987,  &c. 

Copy,  Everitt,  p.  50. 
8|Xi2|in. 

12755  A  GERMAN  SUITOR  AT  THE  COURT  OF  WALES. 

[Williams.] 

London  Pu¥  by  J  Sidebotham  N°  g6  Strand  [Mar.  1816] 

Engraving  (coloured  impression).  The  introduction  of  Prince  Leopold  to 
Princess  Charlotte,  differing  from  No.  12753  in  spirit  as  well  as  in  details: 
the  young  couple  are  eager  not  bashful.  The  Regent  (r.),  supported  on 
crutches,  stands  behind  the  suitor  with  extended  hand,  saying.  Here's  my 
consent,  so  shew  her  your  Credentials  and  the  Job's  done.  He  holds  a  paper 
with  two  pendent  seals :  Royal  assent  to  the  Marriage  &  for  a  Marriage  &  for  a 
Settlement  In-tail.  Prince  Leopold,  bold,  stalwart,  and  muscular,  stands  with 
r.  hand  on  his  breast,  and  holding  in  his  1.  hand  a  large  cylindrical  document 
which  is  directed  towards  the  Princess:  Full  powers  for  the  connexion  of  Prince 
Leopold  with  the  house  of  Hanover.  On  the  two  seals  are  double-headed  eagles. 
He  says :  Fortune  has  not  made  me  Rich,  but  I  have  one  thing  Madam  that  may 
recommend  me  to  your  favor,  a  faithfull  heart,  which  has  inclined  me  to  forsake 
my  own  Country  that  I  might  enjoy  the  felicity  of  spending  with  you  the  remainder 
of  my  days.  Under  his  r.  arm  are  three  other  cylindrical  documents :  Marriage 
Contract,  Outfit  60,000,  Grant  from  Parliament  60,000  P^  An.  The  Queen, 

660 


POLITICAL   SATIRES    1816 

skinny  and  ugly,  pushes  the  Princess  forward,  saying.  Go  &  take  him  my 
Dear! — Dont  be  afraid  of  him  tho'  he  is  so  terrible  large!  The  Princess  advances, 
saying.  Bless  me  he  is  Two  Yards  Long.  In  place  of  the  simple  white  dress 
of  No.  12553,  sh^  wears  a  trained  over-dress,  patterned  and  fringed.  Behind 
the  Queen  and  on  the  extreme  1.  stand  Princess  Charlotte's  aunts,  three 
spinsterish  princesses,  who  gaze  at  Prince  Leopold  with  prurient  and  envious 
astonishment.  He  wears  a  high  busby  with  plume  and  tassels,  with  braided 
tunic,  tight  pantaloons,  and  Hessian  boots.  His  cheeks  are  almost  covered 
with  heavy  whiskers.  Dragons  and  bells  are  introduced  in  the  decorations 
of  the  room,  as  in  No.  12753,  ^^^  i^  place  of  the  window  is  a  curtained  alcove 
containing  a  couch.  See  No.  12748,  &c. 
8f  X  i2|  in. 

1 2756  STATE  PHYSICIANS  BLEEDING  JOHN  BULL  TO  DEATH !  !— 

G.  Cruikshank  fec^ 

London  Pub'^  by  J.  Sidebotham  g6  Strand  [Alar. -Apr.] 1816 

Engraving  (partly  coloured  and  uncoloured  impressions).  John  Bull  sits  four- 
square in  an  arm-chair,  between  two  surgeons,  his  arms  extended  horizontally 
and  supported  by  the  vertical  poles  which  he  clutches;  these  are  spirally 
striped,  like  the  barber's  pole,  and  are  such  as  were  used  by  practisers  of 
phlebotomy.  The  one  in  his  r.  hand  is  inscribed  Additional  Military  Staff  to 
support  the  Peace;  the  other:  Wellingtons  Staff.  The  surgeon  on  the  1.  is 
Vansittart,  in  his  Chancellor  of  the  Exchequer's  gown,  triumphantly  holding 
up  his  lancet  as  guineas  spout  from  the  incision  in  John's  r.  arm.  The  coin 
is  collected  by  Prince  Leopold  in  a  warming-pan  inscribed  60,000  per  Ann. 
[see  No.  12754]  ^^'^  ^Y  Princess  Charlotte,  who  holds  out  a  large  receptacle 
inscribed  For  Wedding  Garm\ents^  Diamond  Trinkets  &  Baubles.  She  looks 
sideways  at  the  warming-pan;  her  ver)'  decolletee  dress  has  a  train,  and  she 
wears  a  small  crown  or  coronet.  His  military  tunic  is  covered  with  stars,  and 
he  stares  intently  at  the  golden  shower.  Castlereagh,  with  a  cynical  smile, 
operates  on  the  1.  arm.  A  tiny  McAIahon  swarms  up  the  pole  and  holds  out 
his  Trivy  Purse',  see  No.  11874,  ^^  catch  a  trickle  from  the  wound.  The 
main  shower  of  guineas  falls  into  the  enormous  jaws  of  a  squatting  and 
grotesque  Chinese  mandarin  (see  No.  12749)  whose  obese  body,  in  the  form 
of  a  large  bag,  is  inscribed  To  pay  off  Arrears  of  the  Civil  List.  Over  this  bag, 
the  biggest  of  the  receptacles  depicted,  the  gouty  Regent  stoops  forward,  sup- 
ported on  crutches,  his  head  turned  to  the  1.,  staring  with  apprehensive 
malevolence  at  Brougham  who  stands  on  the  extreme  1.,  not  caricatured. 

John  Bull,  a  stout  'cit',  wears  patched  and  ragged  waistcoat  and  breeches. 
His  empty  pockets  are  inside  out.  He  registers  alarm,  and  exclaims:  Pray 
good  folks  have  a  little  mercy  &  spare  the  Vital  stream  which  sustains  me! — 
Consider  what  Oceans  I  have  spilt  in  the  late  Wars! — /  am  too  much  exhausted 
to  Bleed  as  freely  as  formerly — You  have  Opend  so  many  veins  &  drain'd 
me  so  incessantly  that  I  fear  my  Constitution  is  impair' d  for  ever!  My  Friends, 
say  that  I  am  Declining  fast  &  zcill  certainly  Die  of  a  Galloping  Consumption!!! 
Two  hussars  with  drawn  sabres  stand  on  guard  behind  his  chair,  watching 
the  operation  with  pleased  surprise.  Behind  them,  the  middle  distance  and 
background  are  filled  with  soldiers  standing  at  attention  with  drawn  sabres 
or  fixed  bayonets,  wearing  braided  tunics  and  high  hussar  caps.  They  have 
British  flags,  faintly  indicated,  one  being  a  Union  flag,  another  the  Royal 
Standard,  and  a  fringed  banner  inscribed  Standing  Army  For  the  Peace 
Establishment.    On  the  r.,  behind  the  Regent,  the  Tsar  walks  oflF  to  the  r., 

661 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

looking  over  his  shoulder  with  a  pleased  smile;  he  carries  a  sack  across  his 
shoulder  inscribed  Subsidies  Russia.  With  him,  but  less  conspicuous,  are 
Francis  I  and  Frederick  William;  each  carries  a  basket  on  his  head  heaped 
with  coins,  one  Subsidies  For  Austria,  the  other  Subsidies  for  Prussia.  All  three 
wear  uniform. 

Brougham,  who  wears  a  long  loose  coat,  with  trousers,  and  holds  a  top-hat, 
stands  in  profile  to  the  r.,  his  r.  arm  extended  with  admonitory  finger  pointing 
at  John  Bull.  He  says:  Retrench!  Johnny,  Retrench! — practise  a  little  more 
Economy  in  your  present  Wretched  State,  or  you'll  never  Recover! — you  have 
too  many  Physicians  &  their  constant  Employtnent  is  very  Expensive  they  will 
not  leave  you  till  they  have  the  last  Shilling! — Kick  out  the  Doctors  &  a  fig 
for  the  Disease!!  At  his  feet  and  in  the  foreground  is  a  neat  box  inscribed 
J7  Styptics  [see  No.  12750,  &c.]  for  Curing  John  Bull's  Dreadful  Disorder 
by  Brougham  &  C°.  Near  it  are  the  fragments  of  a  broken  tub  inscribed: 
Property  Tax  receiver  rendered  useless  by  the  "ignorant  impatience"  of  John  Bull. 
In  front  of  John  are  ajar  of  Leeches  and  a  book :  The  Red  Book  or  or  [sic]  a  list  of 
Persons  Holding  Sinecures.  Three  tubs  heaped  with  coin  stand  on  the  r.,  each 
progressively  larger  in  size,  inscribed:  [i]  Regency  Presents  &  Yearly  Allow- 
ance to  Bonaparte  &  the  Govenors  [sic]  Establish  at  S'  Helena ;  [2]  To  Support 
the  Allied  Army  in  France;  [3]  Extra  Allowance  for  Commissi  ^  of  Dockyards  & 
other  fresh-water  Agents  of  the  Navy  who  will  on  the  Peace  Establishment  of  18 16 
greatly  exceed  in  expence  the  War  Estab^  of  1804  when  the  British  Navy  with 
140,000  seamen  Covered  the  Ocean. 

A  comprehensive  satire  on  the  burdens  of  taxation  with  especial  reference 
to  the  Army  Estimates  and  the  supposed  danger  of  militarism.  The  Opposi- 
tion repeatedly  attacked  the  size  of  the  General  Staff,  and  the  extent  of  the 
'standing  army'.  In  the  prolonged  debates  on  the  Estimates  the  Government 
defeated  the  Opposition  motions,  but  brought  forward  (5  Apr.)  reduced  esti- 
mates in  deference  to  public  opinion,  the  reductions  being  in  the  Staff^  and 
the  Ordnance.  Pari.  Deb.  xxxiii.  958-78.  It  was  urged  that  the  expenses  at 
St.  Helena  should  be  shared  with  the  other  Powers.  Ibid.,  pp.  94,  254  (see 
No.  12786).  The  especial  application  is  to  Brougham's  speech  of  20  Mar., 
demanding  retrenchment,  and  attacking  the  Regent  as  one  of  those  who 
'unable  to  trust  to  the  attachment  of  the  nation  for  their  security  yet  desired 
the  House  of  Commons  to  enable  them  to  lavish  on  their  favourites  the  money 
extracted  from  the  suffering  people  of  England.'  Ibid.,  pp.  490-7.  The  speech 
was  cheered,  and  was  acclaimed  by  the  Radicals,  praised  by  Cobbett  {Pol.  Reg., 
30  Mar.),  defended  in  the  Examiner,  but  outraged  many  Whigs  and  destroyed 
the  Opposition  hopes  of  office,  raised  by  the  defeat  of  the  Income  Tax  (see 
No.  12750);  it  was  satirized  in  a  squib  in  the  Courier,  29  Mar.,  reprinted  in  the 
New  Whig  Guide.  See  Aspinall,  Brougham  and  the  Whig  Party,  1927,  pp.  60-7, 
and  No.  12766.  The  allusion  to  the  peace  establishment  of  the  Navy  is  to 
the  famous  and  crucial  debate  of  25  Mar.  The  Opposition  had  determined 
to  defeat  the  Navy  Estimates,  but  were  foiled  by  Croker,  who  showed  that 
for  administrative  reasons  on  the  return  of  peace  the  estimates  for  seamen 
were  much  reduced,  and  the  establishment  estimate,  commonly  called  the 
Navy  Estimates,  proportionately  increased,  and  that  this  had  been  so  on  every 
occasion  since  the  Peace  of  Ryswick.  Corr.  of  George  IV,  1938,  ii.  161 ;  Croker 
Papers,  1884,  i.  79-84;  Pari.  Deb.  xxxiii.  567  ff.  'Ignorant  impatience  of 
taxation'  was  a  phrase  used  by  Castlereagh  and  quoted  against  him,  e.g.  18  and 
20  Mar.  Ibid,  xxxiii.  394,  458.  The  perennial  subject  of  arrears  on  the  Civil 
List  (see  Nos.  12749,  12864),  involving  the  Regent's  extravagance  (see  No. 
12747,  ^^0  ^"^^  ^is  debts  was  debated  on  many  occasions  from  28  Feb., 

662 


POLITICAL  SATIRES   1816 

Tierney  being  the  Opposition  speaker,  Castlereagh  expounding  the  intricate 
accounts  and  defending  the  Regent.  Ibid,  xxxii,  953,  &c.;  xxxiii.  1034,  &c.; 
xxxiv.  255  (6  May),  &c.;  see  No.  12786.  For  the  Red  Book  see  No.  12781,  &c.; 
for  subsidies  to  Allies,  now  past  histor>%  No.  12542,  &c.  The  Allied  Army 
of  Occupation,  30,000  being  the  British  quota,  was  paid  by  France.  The 
print,  like  others,  illustrates  the  position  of  Brougham  as  a  radical  leader  after 
Whitbread's  death.  The  theme  is  that  of  I.  Cruikshank's  Doctor  Sangrado  .  .  ., 
No.  8620,  and  cf.  Nos.  9986,  10965,  11732,  12110,  12812.  For  the  Army 
Estimates  and  militarism  see  also  Nos.  12747,  ^^754'  12762,  12778,  12786, 
12805.    Cf.  No.  13288. 

Reid,  No.  582.    Cohn,  No.  2005. 
95  X  14J  in.   With  border,  10^  x  14^  in. 

12757  THE  PRI\^  COUNCIL,  OR  NECESSARY  ARRANGEMENTS 
TO  SUPPLY  A  SUBSTITUTE  FOR  THE  PROPERTY  TAX!!! 

[G.  Cruikshank.]^ 

London  Pu¥  by  J,  Sidehotham  g6  Strand  [Mar.-Apr.  1816]. 

Engraving  (coloured  impression).  Above  the  design  in  large  letters:  House  of 
Office.  The  Regent  and  his  advisers  are  seated  as  if  in  a  latrine.  He  is  bulkier 
than  the  others,  his  seat  has  a  Gothic-shaped  back  and  is  surmounted  by  his 
coronet,  feathers,  and  motto:  Ich  Dien.  On  his  1.  hand  is  McMahon,  much 
smaller  in  scale,  on  a  similarly  shaped  seat,  inscribed  Privy  Purse  (see 
No.  1 1874],  and  surmounted  by  an  ink-pot  with  three  pen-feathers  (see 
No.  11861).  The  Regent,  holding  a  crutch  and  with  a  swathed  and  gouty  r. 
leg  resting  on  a  mat,  turns  to  McMahon :  Mac!  zee  tnust  Strain  hard  &  practise 
a  little  Economy  &  endeavour  to  fill  the  Privy  purse  with  our  oicn  Exertions  & 
not  call  upon  John  Bull.  McMahon  looks  up  at  his  master  with  an  agonized 
stare.  On  the  Regent's  r.  is  Eldon  (Scott),  his  seat  inscribed  Wool  Sack.  He 
wears  his  Chancellor's  wig  and  gown;  both  feet  are  planted  on  the  Purse  of 
the  Great  Seal;  a  roll  of  Chancery  Bills  lies  beside  him.  He  says:  Oh!  szceet 
Edinboro'  I  smell  thee  now!  [cf.  No.  7034] — /  feel  a  pleasure  in  Doing  yny 
Business  among  such  worthy  Colleagues! — Tax  any  thing  but  Scotch  Snuff  as 
I  doubt  whether  our  present  proceedings  may  not  stink  in  the  nostrils  of  the 
Nation! —  Next  him  sits  the  more  massive  Ellenborough  (Law),  his  seat 
inscribed  Kings  Bench.  He  holds  bulky  rolls  of  paper  inscribed  Waste  paper 
and  Lord  Cochran's  Charges! —  He  says  with  a  fierce  scowl:  Oh  Laze!  Oh 
Law! — /'//  Grunt  &  Strain  as  much  as  any  of  you  in  favor  of  Retrenchment 
Therefore  abridge  Bonapartes  princely  allowance  at  S'  Helena  in  Short  do  any 
thing  except  abolishing  the  Sinecures  in  Banco  Regis!!  Castlereagh  and  Vansit- 
tart  sit  on  the  extreme  1.  and  r.,  facing  each  other,  and  at  r.  angles  to  the  other 
four.  Castlereagh  writhes  with  pain;  beside  him  is  a  snuff-box  inscribed  Irish 
Blaguard.^  He  exclaims :  The  expence  of  restoring  the  Bourbons  &  keeping  them 
on  the  Throne  has  given  us  the  Gripes  &  brought  us  to  a  Stool — of  repentance! — 
The  People  {with  their  usual  ignorance  &  impatience  [see  No.  12756])  say  there 
is  a  terrible  Looseness  in  our  Operations  &  that  we  are  Privy  to  the  present 
Disorders  in  the  Intestines  of  Frarue — Our  Bowels  are  too  tender  to  bear  such 
insinuations  zcithout  great  pain  Oh! — Oh! — Oh!— Oh!  oh!  &c. —  Vansittart 
is  on  a  seat  inscribed  Treasury  Bench,  too  high  for  him,  as  his  Chancellor  of 

'  The  Douglas  impression  was  autographed  'Geo.  Cruikshank  is  now  sorry  that  he 
should  have  anything  to  do  with  such  a  dirty  affair'.    Cf.  No.  5479,  &c. 

^  Blackguard  is  a  name  for  a  kind  of  snuff,  also  called  Irish  blackguard.   See  O.E.D. 

663 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

the  Exchequer's  gown  is  too  large.  At  his  feet  is  a  paper:  To  ikf  Vansh — ttart 
C — r  Ex — r.  He  registers  pain,  saying,  My  bowels  yearn  for  the  loss  of  the 
Property  Tax!  we  shall  be  fore' d  to  lay  a  Tax  on  the  Necessaries  of  the  People  & 
purge  the  State  from  all  useless  Offices! —  On  his  r.  is  a  great  stack  of  bulky 
rolled  documents  inscribed :  4000  Petitions  ag^  the  Property  Tax  destined  for 
the  use  of  Privy  Councellors  in  the  Temple  of  Cloacina.  On  the  floor  is  a  paper: 
J7  Cathartics  for  Ministers — from  the  Majority  ag'  the  Property  Tax. 

The  defeat  of  the  Ministry  over  the  Income  Tax,  see  No.  12750,  &c.,  raised 
a  cry  against  extravagance  and  a  demand  for  economy  by  which  it  was  hoped 
the  Ministry  would  be  forced  to  resign,  see  Bagot,  Canning  and  His  Friends, 
1909,  ii.  13  ff^. ;  cf.  No.  12766.  On  5  Mar.  1816  Lord  Cochrane  laid  thirteen 
lengthy  charges  against  Ellenborough  for  his  conduct  of  his,  Cochrane's,  trial 
(see  No.  12209,  &c.);  these  were  ordered  to  be  printed;  on  30  Apr.  he  moved 
that  they  should  be  referred  to  a  committee  of  the  House,  as  a  preliminary 
to  impeachment,  but  his  sole  supporter  was  Burdett.  Pari.  Deb.  xxxii. 
1 145  ff.;  xxxiv.  103  ff.;  Lord  Ellenborough,  The  Guilt  of  Lord  Cochrane,  1914, 
pp.  180  ff.  Cf.  Nos.  12788,  12864.  For  the  expenses  of  St.  Helena  see 
No.  12786;  for  the  restoration  of  the  Bourbons  see  No.  12609,  &c. 

Reid,  No.  571.    Cohn,  No.  1873. 
8f  X  i2f  in.   With  border,  9JX  13^  in. 

12758  NOCES  ROYALES 

G.  Cruek  [sic]  Fee' 

Pub'^  April  J''  1816  by  J.  Johnston  Cheapside. 

Engraving  (coloured  impression).  Above  the  design:  Caricature  Anglaise. 
A  copy  of  Royal  Nuptials  (not  in  B.M.)  with  the  same  date  and  imprint.  The 
inscriptions  are  in  English  followed  by  literal  translations,  only  one  of  which 
is  transcribed.  Prince  Leopold  (1.),  much  caricatured,  approaches  John  Bull 
from  the  shore.  Princess  Charlotte,  coyly  eager,  gazes  at  him  from  the  r.; 
she  stands  below  a  balcony  from  which  the  Queen  delightedly  watches  the 
arrival.  Between  John  and  the  Princess  stand  Vansittart  and  the  Regent,  dis- 
cussing the  situation.  Prince  Leopold  wears  ragged  hussar  uniform  without 
breeches.  His  short  fur-bordered  tunic  is  worn  over  a  smart  stock  and  shirt- 
frill  and  a  tattered  shirt.  On  his  bare  legs  are  spurred  Hessian  boots,  John, 
a  squarely  solid  countryman  in  a  smock,  holds  out  to  him  a  pair  of  embroidered 
breeches.  Prince  Leopold  says :  M^  Bull  me  no  come  here  to  spy  de  Jiaked  ness 
of  your  land  but  to  cover  my  own  me  help  to  cross  de  breed — Tkf  Bull,  moi  pas 
fenir  ici  pour  epier  la  nudite  defotre  pays,  mais  pour  couvrir  la  mienne.  moi  aider 
a  croiser  la  Race.   John  answers :  Why  look  ye  Master  Foreignear  in  my  own 

opinion  we  could  very  well  have  dispenced  with  your  visit  altogather — However 
since  you  are  come  heres  a  pair  of  Breeches  for  you  that  you  may'nt  put  the 
Ladies  to  the  blush —  Next  (r.)  stands  Vansittart,  in  his  Chancellor  of  the 
Exchequer's  gown,  facing  the  Regent  with  an  expression  of  puzzled  dismay, 
and  pointing  behind  him  to  the  visitor.  He  says :  Lack  a  day!  where  shall  we 
find  lirings  [sic]  now  the  Property  Tax  is  abolishd?  The  Regent:  D — n  the 
linings — he  may  think  himself  devilish  well  off  to  get  the  breeches  to  cover  his 
nakedness  &  a  bed-fellow  into  the  bargain.  He  is  in  back  view,  turning  to 
Vansittart,  with  a  much  swollen  gouty  r.  leg,  supported  on  a  crutch.  His  1. 
hand,  holding  a  crutched  stick,  is  on  his  hip.  The  Princess  wears  a  very 
decoUetee  and  short-waisted  dress,  slightly  trained,  showing  ankles  with  cross- 
gartered  shoes ;  a  small  crown  and  three  feathers  decorate  her  hair.  She  partly 
screens  her  face  with  a  fan,  and  holds  a  small  reticule.  She  says :  A  promising 

664 


POLITICAL  SATIRES    1816 

youth  upon  my  word,  though  rather  lank  about  the  Thighs  hut  good  feed  de  warm 
covering  will  soon  put  all  that  to  rights.  The  Queen,  a  witch-like  old  woman, 
wearing  an  apron,  takes  snuff,  goggling  delightedly.  She  says :  Oh  dare  be  de 
boar  from  my  Country  to  improve  de  breed  he  look  very  well —  Like  Prince 
Leopold  she  speaks  French  with  a  German  accent.  Behind  her  stands  a 
smiling  Princess  ( }  Sophia),  registering  surprise.  Below  the  imprint :  Extrait 
d'un  Journal  {Panorama  d' Angleterre)  [cf.  No.  12811]. 

See  No.  12748,  &c.  No  demur  was  made  to  the  request  on  15  Mar.  for 
a  provision  for  Princess  Charlotte  (see  No.  12754),  *^^  Opposition  being 
anxious  for  the  favour  of  the  Princess,  but  on  9  Apr.  there  were  demands 
that  the  ^30,000  which  her  establishment  had  cost  before  marriage  should 
revert,  not  to  the  Civil  List,  but  to  the  public,  and  Tierney  complained  that 
Camelford  House  was  not  fit  for  the  heiress  of  the  Crown,  and  did  not  justify 
an  annual  expense  of  ;;^6o,ooo.  Pari.  Deb.  xxxiii.  1064-78.  Cobbett  attacked 
Brougham  and  Tierney  for  their  approval  of  the  grant,  and  expressed  his  own 
unprintable  opinion  in  asterisks.  Pol.  Reg.,  23  Mar.  1816.  The  grant  was 
very  unpopular,  see  Aspinall,  Brougham  and  the  Whig  Party,  1927,  p.  68. 
For  the  abolition  of  the  Property  Tax  see  No.  12750,  &c. 

Copy  of  Reid,  No.  573. 
8-^Xi2|  in. 

12759  A  GERMAN  PRESENT— OR— THE  LOVERS  TOKEN. 
[Williams.] 

Puh"^  April  1816  by  S  W  Fores  N"  50  Piccadilly 

II  Engraving  (coloured  impression).  The  Regent  sits  in  an  arm-chair,  one  gouty 

"  leg  supported  on  a  stool,  and  holding  a  crutch,  between  Princess  Charlotte  (1.) 

and  Prince  Leopold,  who  stand  facing  each  other.  The  Prince  wears  hussar 
uniform  with  a  large  busby  and  sabre,  and  holds  out  a  big  German  sausage, 
saying,  Dere  mine  Frow,  dere  is  de  best  part  of  a  Yarmany  Man,  dat  is  vat  de 
Yarmany  Ladies  love  so  veil!  She  bends  forward  eagerly,  arms  outstretched, 
saying,  O  dear  me  it  is  the  longest  and  the  thickest  I  ever  saw,  do  let  me  taste  it. 
The  Regent  looks  up  at  her  with  a  pained  expression,  saying.  There's  for  you! 
— /  told  him  you  liked  a  good  thing  as  well  as  your  Father,  its  all  scetited,  per- 
fumed, curry' d  &  spiced,  but  you  must  not  take  too  much  of  it  at  a  time,  you'll 
find  it  very  hot.  She  wears  a  white  high-waisted  decolletee  dress,  slightly 
trained,  and  is  scarcely  caricatured.  Behind  her  is  the  end  of  a  cloth-covered 
dinner-table,  with  decanters  and  a  bird.  Over  this  hangs  a  W.L.  picture 
of  a  Chinese  sage,  inscribed  Confucius.  The  chimney-piece,  partly  visible  on 
the  extreme  r.,  is  supported  by  the  carved  figure  of  a  standing  mandarin;  on 
it  are  a  Chinese  vase  of  flowers  and  a  squatting  mandarin. 

A  coarse  satire  on  the  approaching  marriage  of  Princess  Charlotte,  see 
No.  12748,  &c.   For  chinoiserie  at  the  Pavilion  see  No.  12749. 
8ii-Xi3^  in. 

12760  THE  NUT-CRACKER— A  GERMAN  TOY. 

[Williams.] 

Pub'^  April  1816  by  J,  Johnston  g8  Cheapside 

Engraving  (coloured  impression).  A  dinner-table  scene  at  Cranborne  Lodge. 
Princess  Charlotte  (1.)  sits  beside  the  table,  directed  to  the  r.,  her  r.  foot  on 
a  footstool.  The  Bishop  of  Salisbury  sits  on  the  extreme  r.,  with  two  ladies 
on  the  farther  side  of  the  small  table.  The  Princess  plays  with  a  model  of 
Prince  Leopold,  standing  on  a  dish,  whose  wide  jaws  form  a  nut-cracker;  she 

665 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

puts  into  its  mouth  a  large  'nut'  inscribed  60.000  and  off-set.  The  'nut- 
cracker' wears  mihtary  uniform  and  holds  a  paper  inscribed  Commission  £800 
p.  A.  She  says:  Now  my  Lord!  you  shall  see  how  well  my  New  Toy  can  crack 
a  Nut. —  The  Bishop,  who  is  helping  himself  to  wine,  smiles  broadly,  saying, 

/  should  not  be  surprised  your  H ss;  if  after  a  little  time  he  was  able  to  swallow 

a  Plumb!  Between  them  is  a  dish  of  plums,  inscribed  John  Bull  Plums ;  each 
is  inscribed  100.000.  In  the  Bishop's  pocket  is  a  paper:  View  of  Salisbury. 
Beside  the  Princess  is  a  dish  of  nuts,  inscribed  respectively  £10 .000  for  Jewels, 
10,000  for  plate,  50,000  P^  An'".  The  lady  on  the  Bishop's  r.  says  to  him 
with  a  knowing  smile :  We  can  soon  find  plenty  of  expert  ones  at  that  Trick — 
my  Lord!!  The  other,  who  is  younger,  stares  amiably  at  the  Princess,  saying, 
What  a  usefull  Toy!  Dessert  and  decanters  are  on  the  table,  which  is  covered 
with  a  cloth.  There  is  a  centre-piece  of  gold  plate,  a  column  supporting  a  dish 
containing  a  pine-apple,  and  encircled  with  vine-branches  from  which  hang 
(gold)  baskets  of  bon-bons.  Behind  the  Princess  is  a  heavily  draped  French 
window  in  which  stands  a  jardiniere  with  pot-plants. 

See  No.  12748,  &c.  For  the  income  settled  on  Prince  Leopold  see  No.  12754. 
He  was  given  the  rank  of  General  in  the  British  Army.  A  plum  means  a  for- 
tune of  j(^ioo,ooo,  or  a  man  with  that  amount.  The  ladies  are  probably  Lady 
Ilchester,  her  governess,  and  Lady  Rosslyn,  both  widows,  who  were  appointed 
when  her  former  ladies  were  dismissed  by  the  Regent,  see  No.  12292, 
Dr.  Fisher  being  present. 
8|xi3  in. 

12761  THE  MOTHERS  GIRL,  PLUCKING  A  CROW,  OR— GERMAN 
FLESH  &  ENGLISH  SPIRIT! 

[L  R.  and  G.  Cruikshank.]" 

Pub'^  by  S  W  Fores  N°  30  Piccadilly  April  28^''  1816 

Engraving  (coloured  impression).  Princess  Charlotte  has  risen  from  a  writing- 
table  (1.),  overturning  her  chair;  she  takes  a  stride  towards  Queen  Charlotte 
(r.),  lunging  at  her  with  outstretched  1.  fist;  her  pen  still  in  her  r.  hand.  A 
letter  on  her  desk  begins  My  dear  Mother.   The  Queen,  much  burlesqued, 

flinches  back  in  alarm.  The  Princess  says:  C e  me  if  you  shall, — Have  her 

present  I  will:  &  Fll  soon  convince  you  that  Pll  think  &  speak,  &  act  for  myself 
and  I  have  no  fear  of  finding  plenty  of  Friends.  &  no  German  shall  ever  govern 
me,  if  they  think  to  do  it  they  will  be  devilishly  mistaken.  The  Queen,  witch- 
like, in  old-fashioned  dress,  with  pointed  stomacher,  answers:  You  think 
indeed?  Fll  let  you  know  Miss,  that  you  shall  do  as  I  order ;  Have  no  one  about 
you  but  those  I  shall  choose  for  you;  Live  where  &  how  I  please ;  Keep  what 
company  I  like  &  conduct  yourself  exactly  in  my  way. — She  be  present  indeed!! 
I  say  she  sha'nt  that  she  sha'nt;  Pray  who  are  you  writing  to} — /  will  see —  The 
Princess  wears  a  white  decolletee  dress,  with  an  ermine-bordered  robe  hanging 
from  her  shoulders,  and  a  small  crown.  Prince  Leopold,  a  grotesque  'foreigner' 
in  hussar  uniform,  peeps  in  round  the  door,  dismayed  at  the  fracas ;  he  says : 
She  does  not  take  her  lesson  so  quiet  as  I  did  I  suppose  we  must  have  two  pair 
of  Breeches.  On  the  wall  is  a  pair  of  bust  portraits,  side  by  side:  the  Princess 
of  Wales,  young,  comely  and  serene,  the  Queen  ugly  and  antique.  The  frames 
are  respectively  surmounted  by  coronet  and  feathers,  and  by  a  royal  crown, 
the  glass  of  the  latter  being  badly  starred. 

Princess  Charlotte's  attitude  towards  and  correspondence  with  her  mother 
were  under  the  influence  of  her  revelations  to  the  Regent  in  Dec.  18 14  of  her 

■  An  impression  in  the  collection  (i  931)  of  Mr.  W.  T.  Spencer,  is  annotated  'By  my 
Brother  I.R.C.  assisted  by  me.  G.  Cruikshank'. 

666 


POLITICAL   SATIRES   1816 

mother's  attempt  to  compromise  her,  and  the  consequent  reconciliation 
between  father  and  daughter.  See  Corr.  of  George  III,  1938,  i.  514-23,  ii.  73. 
The  Princess  of  Wales,  amusing  herself  in  Italy,  was  not  an  element  of  discord 
in  the  marriage  arrangements. 

Reid,  No.  575.   Cohn,  No.  1764. 
9  X  13  in. 

12762  ECONOMICAL  HUMBUG  OF  1816  OR,  SAVEING  AT  THE 
SPIGGOT  &  LETTING  OUT  AT  THE  BUNGHOLE 

Des'^  by  an  Amateur  Etchd  by  G  Cruikshank 

Pu¥  by  S  W  Fores  50  Piccadilly  April  28^''  1816. 

Engraving  (coloured  impression).  A  huge  vat,  inscribed  The  Treasury  of 
J.  Bulls  vital  spirits,  receives  six  streams  of  golden  liquid  from  tubs  resting 
on  cross-beams  high  above  the  heads  of  those  who  surround  the  vat.  The 
four  most  prominent  streams  are  Assessed  Taxes,  Property  Tax,  Customs, 
Excise.  A  trickle  runs  out  at  the  spigot  (r.)  into  a  small  tub  inscribed  Public 
Service.  Vansittart  stands  over  this  in  his  Chancellor  of  the  Exchequer's  gown, 
his  arms  extended,  displaying  it  to  John  Bull,  a  fat  'cit',  who  stands  (r.)  w^atch- 
ing  the  flow,  and  scratching  his  head  in  perplexity.  He  says :  You  see  AP  Bull, 
I  am  not  a  quibbling  Petty  fogger  ;  I  am  a  man  of  my  word ; — for  you  see  I  have 
thrown  away  the  Great  War  Spiggot  &  have  substituted  a  small  peace  one  in 

its  stead — which  will  cause  an  unknown  saving  to  you.  A  huge  spigot  lies  at 
John's  feet.  On  the  opposite  side  of  the  vat  a  copious  stream  gushes  from 
a  bung-hole  into  a  much  larger  tub  than  that  on  the  r.,  inscribed  Deficiences 
of  the  Civil  List!!  The  stream  is  inscribed:  King  Tax  [sic].  Assessed  Taxes, 
Property  Tax,  Excise,  Customs,  Malt  Tax;  coins  splash  over  on  to  the  ground. 
The  Regent  squats  beside  the  tub,  holding  the  hammer  with  which  he  has 
knocked  out  the  bung;  he  beckons  slyly  with  1.  forefinger  to  those  behind 
him,  who  hasten  up  to  share  the  golden  flood.  A  crutch  lies  beside  his  gouty 
r.  leg.  He  says :  come  my  friends  make  haste  &  fill  your  Buckets,  whilst  Van 
is  keeping  noisy  Johnny  quiet  with  fine  speeches  &  promises  of  Economy,  which 
I  am  determined  not  to  practise  as  long  as  I  can  get  anything  to  expend;  &  while 
he  is  saving  at  the  spiggot  we  will  have  it  out  of  the  Bung-hole.  A  man  holding 
a  tub  inscribed  For  Cottages  &  Pavillions  resembles  John  Nash,  then  employed 
by  the  Regent  on  both  buildings;  next  him  is  Prince  Leopold,  with  a  small  cask 
inscribed  60,000  for  Fun.  Both  grin  broadly.  Looking  over  the  shoulders 
of  the  Regent  and  Prince  Leopold  is  Princess  Charlotte,  wearing  a  miniature 
crown.  The  two  behind  carry  their  tubs  on  their  heads:  that  of  (.'')  Liverpool 
is  For  Sinecures  Places  &  Pensions,  that  of  Castlereagh,  who  defended  the 
Army  Estimates  and  the  debt  on  the  Civil  List  in  the  Commons,  is  For  House- 
hold Troops  &  Standing  Army. 

A  satire  on  the  Regent  and  the  Ministry  illustrating  the  attacks  of  Opposi- 
tion, sometimes  supported  by  the  country  gentlemen,  since  the  opening  of 
the  Session  on  i  Feb.,  and  ignoring  the  repeal  of  the  Income  Tax,  see 
No.  12750,  &c.  On  this  defeat  the  Government  gave  up  the  malt  tax.  Ministers 
thinking  it  'better  to  add  two  millions  to  the  amount  of  the  loan,  than  to  make 
perhaps  an  ineffectual  attempt  to  force  this  tax  upon  the  agriculturists  and 
upon  the  poor,  when  the  rich  had  deliver'd  themselves  from  the  property  tax'. 
(Castlereagh  to  the  Regent,  20  Mar.)  Corr.  of  George  IV,  1938,  ii.  161.  For 
the  contest  over  the  Army  Estimates  see  No.  12756,  &c.  Castlereagh  wrote 
to  the  Regent  7  Mar.  1816:  'In  the  present  state  of  the  country,  the  three 
great  measures  of  the  Session,  viz  the  Army — the  property  tax,  and  the  Civil 

667 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

List  Bill  will  all  be  severely  contested,  and  we  must  expect  to  encounter  more 
serious  difficulty  than  when  we  were  engaged  in  war.'  Ibid.  ii.  154.  For 
attacks  on  extravagance  see  No.  12747,  ^^-5  ^'^^  *^he  establishment  of  Princess 
Charlotte  see  No.  12754,  ^^-  The  theme  of  spigot  and  bung-hole  is  that  of 
No.  7842  (1791). 

Reid,  No.  576.   Cohn,  No.  1080. 
9iXi3|in. 

12763    SMUGGLERS    IN    HIGH    LIFE!       BLOWN    UP    BY    M^ 
BROUGHAM  &  THE  CONGREVE  ROCKETS! 

[?I.  R.  Cruikshank.] 

London  Pu¥  by  J.  Sidebotham^  N"  g6  Strand  [Apr.  18 16] 

Engraving  (coloured  impression).  The  title  continues:  or  the  Sham  Ordnance 
Stores  brought  to  Light!!  NB  These  Contraband  Articles  were  Shipped  at  Rouen 
as  returned  Ordnance  Stores  &  pack'd  by  British  Artillerymen  under  the  Inspec- 
tion of  the  Commissary  &  the  bases  mark'd  with  the  Ordnance  Seal  &  the  whole 
consign' d  to  Sir  W"  Congreve  at  Woolwich!  The  hull  of  a  vessel.  The  Assiduous, 
lies  against  a  quay  (1.),  where  Brougham  stands  in  back  view  holding  a  fire- 
brand towards  the  ship  which  is  in  violent  explosion.  At  his  feet  is  a  placard : 
M^  Brougham's  Motion  in  the  house  of  Com^  To  Inquire  into  the  Smuggling  Affair 
at  Woolwich  &  to  publish  the  Names  of  all  the  parties  Concern' d.  Flames  and 
smoke  rise  into  the  air,  carrying  with  them  a  mast  and  many  packing-cases 
on  each  of  which  its  owner  sits  or  sprawls.  The  Regent  bestrides  the  largest 
and  central  case;  he  has  gouty  swathed  legs  and  holds  out  a  crutch  in  each 
hand,  the  arm-piece  being  a  dragon  (cf.  No.  12754).  Behind  him  sits  a  tiny 
and  agitated  McMahon.  The  case  is  inscribed:  Fanny  Hill  improved  or  a 
choice  collection  of  obscene  Books  &  prints  &cfor  the  R — g — t  sent  as  Ordnance 
Stores  &  mark'd  Bombs  &  Shells!  [cf.  No.  12749].  Just  above  and  behind 
this  case  is  that  of  an  officer  (Congreve).  He  extends  his  arms,  saying, 
Oh  Billy  Congreve,  Billy  Congreve! — /  Grieve  that  thou  should' st  be  caught  in 
thine  own  Trap  &  Blozvn  up  with  thine  own  Combustibles!!!  His  case  is 
inscribed  Congreve  Rockets  and  Gloves  &  Jewellery  for  sir  William  Congreve. 
This  obscures  the  head  of  an  officer  seated  on  a  chest  inscribed  Lace  for 
Ladies  Liv  .  .  p  .  .  I  &  Cas  .  .  I .  .  .  .  h.  Close  to  Brougham  an  officer  is  head 
first  among  flame  on  a  chest  of  Snuff  Boxes  with  pretty  pictures  in  them  for 
Cap"  Rudyard  mark'd  Stores.  Just  above  him  Sir  W.  Robe  bestrides  a  chest 
inscribed  Models!  or  plans  for  Smuggling  Porcelain  &  Books  for  Sir  W  Robe. 
A  leg  bestrides  a  chest  which  is  partly  cut  off  by  the  1.  margin :  Silks  & 
for  Colonel  Qiiish  [Lt.-Col.  Charles  A.  Quist]  mark'd  Stores.  In  the  opposite 
corner  (r.)  a  fat  parson  is  about  to  fall  from  a  chest  of  Delicate  Books  &  prints 
to  improve  the  Morals  for  the  Rev*^  M'^  Arnold  mark'd  Stores.  Below  him 
Lady  Derby,  in  an  evening  gown,  with  feathers  in  her  hair,  sits  on  a  chest, 
displaying  stocking  and  bare  thigh ;  her  chest  is  prints  &  Silk  Stockings  for 
Lady  Derby,  mark'd  Bombs.  She  appears  much  younger  than  as  Eliza  Farren 
(b.  ?  1759),  see  vols,  v,  vi,  vii.  An  officer,  head  downwards,  sits  on  a  falling 
chest  of  Congreve  Rockets  &  Gloves  for  Lieu^  Colquhoun ;  another  sits  on  one 
of  Watches  &  Seals  for  Sir  G  A  Wood  marked  Shot.  The  heads  of  both  are 
concealed.  Other  chests  are  inscribed:  Shot  &  Lace  for  M^  Jarvis;  Stores 
W"*  Stace  Esq'';  Gloves  &cfor  AP  Tibbs  Stores;  Prints  &c  for — Trotter  Esq'^ 
mark'd  — Stores.  From  the  last  a  flamboyant  young  woman  has  fallen;  she 
is  just  above  the  heads  of  four  men  in  an  open  boat  (r.)  marked  Revenue  Cutter. 

'  Name  erased. 

668 


POLITICAL   SATIRES    1816 

They  surround  an  open  chest  filled  with  bottles  and  inscribed  French  Brandy 
for  Lady  Dickson  &  Lady  Frazer  marked  Grape  Shot!!!  One  of  the  four  holds 
up  a  bottle  of  Brandy,  another  drinks  from  a  bottle.  Between  cutter  and  vessel 
the  legs  of  an  officer  project  from  the  water  beside  his  chest  of  Shells  &  Shot. 
On  29  Mar.  1816  Brougham,  who  was  carrying  on  an  aggressive  campaign 
against  official  abuses,  cf.  No.  12756,  moved  for  copies  of  all  correspondence 
between  the  Boards  of  Customs  and  Treasury  on  the  seizure  of  the  transport 
Assiduous  at  Woolwich,  and  for  the  names  of  the  persons  to  whom  the  packages 
were  addressed,  with  the  actual  goods  in  each,  together  with  their  alleged 
contents.  He  said  goods  had  been  smuggled  in  as  rockets  or  returned  ordnance 
stores.  Pari.  Deb.  xxxiii.  716  f.  The  motion  was  agreed  to,  but  nothing  more 
is  recorded  in  the  Debates.  Congreve  was  Controller  of  the  Royal  Laboratory 
at  Woolwich  1814-28 ;  he  was  in  the  public  eye  as  the  inventor  of  the  Congreve 
Rocket,  the  friend  of  the  Regent,  and  director  of  the  fireworks  of  Aug.  18 14, 
see  No.  12301,  &c.  The  assignees  are  notorieties,  soldiers,  distinguished  and 
othersvise,  and  persons  of  (apparently)  little  note.  Col.  William  Robe,  R.A., 
Lt.-Col.  Jeremiah  Dickson,  A.Q.M.S.,  Lt.-Col.  Augustus  Simon  Fraser, 
R.A.,  all  received  the  K.C.B.  in  1815.  Col.  Sir  George  Adam  Wood,  R.A., 
knighted  in  18 12,  commanded  the  artillery  at  Waterloo.  Quist  (temporary 
Lt.-Col.)  was  a  Captain  Commissary  of  Royal  Artillery  Drivers.  Stace  was 
a  Chief  Commissary  of  the  Field  Train,  Department  of  Ordnance.  Army 
List,  18 16.  For  Trotter  see  No.  12837. 
8Jx  12^  in.   With  border,  9|x  13!  in. 


12764  THROWING  THE  STOCKING. 

[Williams.] 

Pub'^  April  1816  by  S  W  Fores  30  Piccadilly. 

Engraving  (coloured  impression).  Princess  Charlotte  lies  in  a  heavily  draped 
four-poster  bed  holding  back  a  curtain  to  watch  her  four  aunts  who  hold  up 
their  arms  to  catch  a  stocking.  The  Queen,  small,  witch-like,  and  ugly,  more 
decolletee  than  her  daughters  and  with  a  shorter  petticoat  under  her  train, 
watches  them  with  her  back  against  the  door  (r.),  which  the  Regent  and  Prince 
Leopold  are  trying  to  push  open.  She  says :  Aye  Girls  this  reminds  me  offor/ner 
times,  I  could  wish  for  it  to  come  over  again — Oh  dear  what  can  the  matter  be. 
The  head  of  Prince  Leopold,  wearing  a  busby,  is  seen  through  the  crack  of 
the  door;  he  says  Do  let  me  come  in  now.  The  Regent,  holding  a  crutch,  is 
pressing  his  back  against  the  door,  saying.  Do  let  the  Man  in,  have  you  no 
feeling  for  the  poor  fellow  who  has  been  kept  in  sight  of  roast  beef  full  of  gravy 
for  these  three  months  without  being  permitted  to  touch  a  bit  would  you  like  to 
be  served  so.  His  gouty  leg  is  visible.  One  of  the  Princesses  (1.)  is  a  little  apart 
from  the  others,  and  out  of  reach  of  the  stocking :  she  seems  to  be  the  oldest, 
i.e.  Princess  Augusta.  She  says:  Thats  your  sort  [see  No.  8073]  we  are  all  of 
the  same  flesh  &  blood,  but  stolen  bread  is  always  sweetest,  Johnny 's  so  long  at 
the  fair!  The  next  says :  Here  we  go  up  up  up!  Dear  how  hot  I  am.  The  third, 
probably  Princess  Mary,  who  is  about  to  catch  the  stocking,  says:  It's  my  turn 
next,  so  ril  make  sure  of  it  now.  The  fourth  (r.)  says:  Push  on  keep  moveing!, 
a  catch-phrase  of  1797,  see  No.  9010,  &c.  All  wear  feathers  in  the  hair,  a 
trained  over-dress  over  a  flounced  petticoat,  short  puffed  sleeves,  and  long 
gloves.  On  the  extreme  1.  is  a  draped  dressing-table  with  a  draped  mirror; 
on  it  stand  two  lighted  candles.    After  the  title: 

At  night  our  brisk  neighbours  the  stocking  would  throw, 

But  I  must  not  tell  Tales  tho  I  know  what  I  know. — An  old  Song 

669 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

For  the  approaching  marriage  of  Princess  Charlotte  see  No.  12748,  &c. 
The  old  custom  of  flinging  the  bride's  (or  bridgegroom's)  stocking  is  variously 
described,  see  W.  C.  Hazlitt,  Faiths  and  Folklore,  1905,  ii.  564  f .  That  the 
four  Princesses  were  pining  for  husbands  and  cruelly  secluded  was  a  popular 
belief:  cf.  Examiner,  9  June  181 6,  'A  princess  is  a  political  nun'.  Princess 
Augusta  (1768-1840)  had  in  1812  entreated  the  Regent  to  consent  to  her  secret 
marriage  with  a  man  to  whom  she  had  been  attached  for  twelve  years.  D.  M. 
Stuart,  The  Daughters  of  George  III,  pp.  109-21.  Princess  Mary's  marriage 
followed  that  of  Princess  Charlotte,  see  No.  12783.  Princess  Elizabeth  (1770- 
1840)  married  in  1818,  see  No.  12986,  &c.  Princess  Sophia  (1777-1848)  may 
have  been  secretly  married  to  General  Garth,  by  whom  she  had  a  son  in  1800. 
Ibid.  272  ff.  Cf.  Nos.  1 1023,  1 1386. 
8fxi3iin. 

12765  A  BRIGHTON  HOT  BATH,  OR  PREPARATIONS  FOR  THE 
WEDDING!! 

[G.  Cruikshank.] 

London  Pu¥  by  J  Sidebotham  N°  g6  Strand—  [Apr.  i8i6] 

Engraving  (coloured  impression).  Prince  Leopold,  in  an  oval  bath-tub  filled 
with  water  and  surrounded  by  steam,  undergoes  treatment  by  the  Queen,  the 
Regent,  Lord  Eldon,  and  McMahon.  Queen  Charlotte  (1.),  a  large  kettle  in 
each  hand,  pours  boihng  water  upon  the  sufferer,  saying,  ''Aye  theres  the  Rub" ; 
she  grins  delightedly  and  is  much  burlesqued ;  she  wears  a  short  petticoat  and 
apron,  and  a  hat  with  a  curtain-frill.  Behind  her  is  a  kitchen  fire,  on  which 
stand  a  third  kettle  and  a  boiler  with  a  tap.  Eldon  uses  his  Chancellor's  wig 
to  scrub  the  victim,  saying,  ''out!  out!  damnd  spot  out  I  say!''  On  his  own 
head  is  a  turban.  The  Regent  stands  behind  Prince  Leopold's  head  pouring 
into  his  mouth  the  contents  of  a  tube-shaped  bottle  labelled  Quintessence  of 
Roses  to  sweeten  the  Breath ;  he  says :  More  hot  Water!!  Fm  afraid  he 's  not 
half  clean,  I  recollect  I  was  served  this  way  myself  some  twenty  years  ago.  He 
has  a  gouty  leg  and  supports  himself  on  a  crutch.  Prince  Leopold  exclaims: 
For  heaven's  sake  Gentlemen  Try  all  you  can  to  help  me  out  of  this  unpleasant 
business  &  send  me  to  WALES  as  soon  as  possible  I  have  had  Rubbing  enough. 
His  words  obscure  the  head  of  a  statue  of  Mercury  pointing  his  caduceus 
towards  the  Regent  (cf.  No.  7592).  Beside  the  Regent  a  tiny  McMahon  stands 
on  a  stool  combing  the  Prince's  lank  hair;  he  exclaims:  Delay  the  Marriage 
he's  not  yet  ready!  Behind  and  on  the  extreme  r.  stand  three  huge  bottles; 
one  with  a  funnel  in  the  mouth  is  labelled  Sarsaparilla  Decoction,  another 
Decoction.  Beside  them  is  a  gigantic  box  of  Pills.  Various  objects  are  strewn 
in  the  foreground.  A  cat  stands  on  the  bridegroom's  breeches,  which  lie  on 
the  ground  beside  his  busby  and  coat.  Three  papers  are  inscribed  respectively : 
Ovids  Art  of  Love;  Aristotles  master-Piece;  Royal  assent  to  the  marriage  of 
Prince  Leopold  with  Charlotte  of  Wales — Grant  of  60,000  Per  ann^  from  Parli^ 
[see  No.  12754].  ^  large  German  sausage  on  a  dish  with  a  chain  of  small 
sausages  is  labelled:  A  German  Sausage  for  my  intended  Wife  Newly  dress' d  & 
Cook'd  up  in  the  best  manner.  Beside  this  are  the  Prince's  (Hessian)  boots  and 
stockings.  On  the  wall  (1.)  is  a  picture:  Battle  Royal:  Prince  Leopold,  using 
a  German  sausage,  and  Princess  Charlotte,  retaliating  with  a  pair  of  bellows, 
fight  for  a  pair  of  breeches  (cf.  No.  1277 1). 

A  coarse  satire  on  the  approaching  marriage,  see  No.  12748. 

Reid,  No.  579.   Cohn,  No.  955. 
8f  X  13!^  in.   With  border,  9|x  13!  in. 

670 


POLITICAL  SATIRES   1816 

12766  ECONOMY— 

[G.  Cruikshank.] 

Pu¥  by  J.  Johnston  May  J*'  1816  g6  Cheapside  London — 

Engraving  (coloured  impression).  PI.  to  the  Scourge,  xi.  321,'  one  of  two 
designs  placed  side  by  side,  see  No.  12767.  Brougham,  in  the  guise  of  John 
Bull,  wearing  top-boots  and  a  round  hat,  appears  to  the  Regent,  holding  up 
a  broom  which  points  towards  a  small  scene  surrounded  by  clouds,  in  the 
upper  r.  corner  of  the  design.  The  Regent,  who  has  been  revelling  over  a 
large  bowl  of  punch,  falls  back  terrified,  overturning  his  chair.  Brougham, 
his  1.  arm  extended  towards  the  Regent,  declaims:  Retrench!  Retrench 
{debauched  Prince^],  reflect  on  the  distressed  state  of  your  Country,  &  remember 
the  Security  of  y^  Throne  rests  on  the  happyness  of  y^  People  ;  that  its  lusture  {s\c\ 
does  not  consist  in  finery,  or  five-Clazved  Dragons — neither  is  its  stability  con- 
sulted, by  treating  its  supporters  with  contempt. — "Venienti  Occurrite  Morbo" — 
meet  the  evil;  take  timely  warning,  &  retrench,  before  it  be  too  late.  The  Regent 
falls  on  to  McMahon,  a  tiny  figure  on  hands  and  knees,  gazing  up  at  Brougham ; 
he  supports  himself  with  his  r.  hand  on  the  knee  of  Lady  Hertford  (see 
No.  1 1853,  &c.)  who  is  seated  beside  him.  All  three  register  astonishment 
and  terror.  The  Regent  exclaims :  D — n  such  Economy  say  I,  why  I  might  as 
well  turn  to  eating  husks  at  once!  What  the  Devil  do  You  want?  have  I  not 
recommended  Economy  [in  my  speech^]?  have  I  not  enforced  precept,  by  Example? 
Have  I  not  discharged  four  of  my  footmen?  What  ?nore  would  you  have?!! 
Behind  the  Regent  and  Lady  Hertford  are  the  fringed  curtains  of  a  canopy. 
Four  terrified  heads,  on  the  extreme  1.,  peep  round  the  curtain,  one  above  the 
other.  The  lowest  resembles  John  Nash,  the  next  (?  Lord  Hertford,  Lord 
Chamberlain)  says:  Have  we  not  turn"  d  away  a  number  of  petty  clerks  &  super- 
numeraries? what  other  retrenchments  wo'^  these  Grumblers  wish  for?  A  pair  of 
legs  from  a  prostrate  courtier  projects  into  the  design  (1.).  Another  pair 
belongs  to  a  man  who  crawls  under  the  table-cloth  of  the  round  table  on 
which  are  punch-bowl,  decanters,  and  dessert.  From  behind  the  punch- 
bowl looks  an  angry  face  (?  Castlereagh),  saying:  curse  that  Broom  'tis  always 
conjuring  up  something  to  frighten  us. 

The  vision  above  Brougham's  head  is  of  the  Regent  and  McMahon,  both 
ragged,  seated  facing  each  other  at  a  plain  wooden  table  on  which  are  a  jar  of 
Spring  Water  and  a  hghted  candle-end  stuck  in  a  bottle.  The  Regent  gnaws 
a  bare  bone;  McMahon  (in  miniature)  takes  up  a  small  fish  by  the  tail. 

For  Brougham's  speech  on  20  Mar.  see  No.  12756.  He  called  the  Regent 
one  of  those  'who  in  utter  disregard  of  the  feelings  of  an  oppressed  and 
insulted  nation,  proceeded  from  one  wasteful  expenditure  to  another,  who 
decorated  and  crowded  their  houses  with  the  splendid  results  of  their 
extravagance  [see  No.  12747,  &c.],  who  associated  with  the  most  profligate 
of  human  beings  .  .  .  [&c.]'.  Pari.  Deb.  xxxiii.  497.  Castlereagh  informed 
the  Regent  that  the  debate  would  probably  have  ended  in  a  ministerial 
defeat  'upon  the  principle  of  economy',  'if  Mr.  Brougham  had  not  made 
a  most  violent  speech  .  .  .'.  Corr.  of  George  IV,  1938,  ii.  161.  See  also 
Memoirs  of  Romilly  (20  Mar.)  who  calls  the  speech  'very  injudicious  as  well 
as  very  unjust'  and  'in  terms  not  too  strong  to  have  described  the  latter 
days  of  Tiberius'. 

Reid,  No.  577.   Cohn,  No.  732. 
7|X9^  in. 

*  One  impression  is  not  folded,  showing  that  it  was  issued  separately. 

*  These  words  are  almost  obliterated. 

671 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

12767  ANTICIPATION. 

G  Cruikshank  fed 

See  No.  12766.  Scene  in  a  small  ante-room  used  as  a  breakfast-parlour,  lead- 
ing from  the  garden  to  Princess  Charlotte's  bedroom  (r.).  The  Princess  sits 
with  folded  arms  and  crossed  legs,  gazing  at  the  ground,  her  back  to  the 
table,  abandoning  her  tea-cup  and  (overturned)  egg-cup.  She  wears  a  small 
crown  or  coronet,  and  a  high-waisted  decoUetee  gown  with  long  sleeves. 
Prince  Leopold,  his  chair  tilted  forward,  holds  an  egg-cup  and  spoon;  he 
looks  up  with  an  expression  of  anxious  surprise  at  his  wife.  In  the  centre  of 
the  round  table  is  an  urn,  the  water  pouring  from  the  tap  into  a  tea-pot  which 
overflows  into  a  sugar-basin.  By  Prince  Leopold  are  a  coffee-pot  and  coffee- 
cup.  On  the  table  is  a  portion  of  German  sausage,  cf.  No.  12759.  ^  dialogue 
floats  above  both  heads:  Husband.  ''My  dear  Vife  vat  make  you  so  solky  dis 
morning?''  Wife — ''Nothing.'" —  Husb^. — "Is  any  ting  de  matter?"  Wife — 
"Nothing;" —  Husb^ — "You  vare  in  de  verry  good  humours  last  night; — if  I 
have  offended  you!  Vat  have  I  done?!!!' '  Wife — ' '  You  have  done  Nothing" .  He 
is  much  caricatured  and  very  thin,  with  an  expression  of  grotesque  alarm. 
He  wears  a  round  flat  cap  with  a  tassel,  a  dressing-gown  and  slippers  with  shirt 
and  breeches.  Through  the  doorway  (r.)  is  seen  part  of  the  bed,  a  night-cap 
on  the  pillow;  on  the  ground  lie  a  pair  of  boots,  spurs  upwards.  The  Princess 
faces  a  large  French  window.   See  No.  12748,  &c.;  cf.  No.  12775. 

Also  another  impression  (51^x71  in.),  cut  on  the  upper  and  r.  margins, 
removing  the  dialogue  and  the  bedroom. 
7IX9J  in.   Page,  with  No.  12766,  8^X  19^  i^^- 

12768  ROYAL  METHODISTS 

[Williams  ty 

Aquatint  (coloured  impression).  PI.  to  the  Busy  Body,  i.  97,  i  May  1816. 
The  Dukes  of  Kent  and  Sussex,  in  quasi-clerical  dress,  with  a  (Garter)  star, 
stand  together  at  the  corner  of  a  high  brick  wall,  inscribed  City  Road.  It 
encloses  trees,  with  a  notice-board :  Beware  of  Man  Traps.  A  placard  on  the 
wall  points  to  {Clolliers  Chapel.  The  Duke  of  Kent  holds  his  hat  in  one 
hand,  in  the  other  is  a  book:  The  New  Road  to  Salvation.  The  Duke  of 
Sussex,  very  stout,  holds  a  large  book:  A  Shove  for  Heavy  [word  obscured] 
Christians,  an  allusion  to  W.  Huntington,  see  No.  11704. 

For  the  Dukes  and  CoUyer,  a  Congregationalist  minister,  see  No.  12624. 
They  are  viciously  attacked  in  the  text  by  'the  Craniologist'.  Cf.  No.  12776. 
6^X4i  in.  B.M.L.  C.  117.  bb.  26/3. 

12769  PREPARING  FOR  THE  MATCH— OR— MAY  2ND  I8I6— 

G.  Cruik'^  fec*^ 

Pub^  by  y.  Johnston  Cheapside  London.  May —  1816 — 

Engraving  (coloured  impression).  Two  designs  side  by  side:  [i]  Prince 
Leopold  sits  in  a  chair,  wearing  only  a  shirt,  while  four  Germans  complete 
his  toilet.  One  foot  is  in  a  steaming  foot-bath,  the  other  is  being  dried  by 
a  kneeling  valet  who  pulls  a  wry  face.  An  old  officer  (r.),  wearing  jack-boots 
and  an  apron  over  his  uniform,  paints  his  1.  cheek  with  rouge.  A  barber 
stands  behind  him  curling  his  hair.  A  grotesquely  thin  man  holds  out  a  pair 
of  embroidered  pantaloons.  The  Prince  holds  (upside-down)  an  open  book: 
Holy  Matrimony.  He  says  with  a  complacent  smile :  Scrub  &  Scratch  away  you 

'  His  signature  seems  to  have  been  erased. 

672 


POLITICAL   SATIRES    1816 

dogs  for  the  honor  of  Germany  &  you  shall  all  have  preferment — Bring  me  my 
crimson  plush  galligaskins,  my  Opera  glass — my  stays — my  chapeau — my  Sword 
— my  insignia,  &  to  night — but  my  courage  fails — for  what  perils  have  I  to 
encounter  this  very  night!  On  the  wall  are  two  pictures :  A  German  [Stall];on — 
a  heavy  prancing  horse  in  the  foreground,  a  mare  in  the  background.  Cobourg 
Castle,  a  small  castle  beside  a  narrow  river.  On  the  floor  in  the  foreground 
are  shoes,  toilet  appHances,  &c. 

[2]  Two  ladies  dress  Princess  Charlotte  who  stands  in  back  view,  turning 
her  head  in  profile  to  see  her  reflection  in  a  cheval-glass  (r.).  One  adjusts  her 
head-dress,  a  coronet  with  triple  ostrich  plume ;  the  other  laces  a  pair  of  short- 
waisted  stays  over  a  plain  short  petticoat  or  long  chemise.  The  Princess 
touches  the  mirror,  saying.  Aye  let  me  have  one  more  look  at  my  self  &  bid 
farewell  to  my  Virgin  featiirs  [sic]  Oh!  dear  Oh  dear,  I  wonder  hozc  the  fellow 
will  behave  himself — Heigho!  to  wed  &  thus  to  brave  the  countless  ills  of  life — 
hut  then  not  to  wed  &  to  live  &  die  an  old  maid,  &  then  to  lead  apes,  my  ?ninds 
made  up  to  wed  &  then  for  a  hop,  skip  &  a  jump  into  bed.  On  the  wall  is  a 
picture  almost  hidden  by  a  curtain,  bur  showing  the  Princess  in  bed.  The 
furniture  of  the  room  is  a  wash-stand  (1.)  and  a  bidet  behind  the  mirror.  On 
the  floor  is  a  dish  containing  a  German  sausage  (cf.  No.  12759,  &c.). 

See  No.  12748,  &c.  Old  maids  were  said  to  lead  apes  in  Hell,  cf.  Beatrice 
in  Much  Ado  about  Nothing,  ii.  i. 

Reid,  No.  578.   Cohn,  No.  1865. 
Each  design,  8|x6|  in.   PI.,  g^X  13I  in.  'Caricatures',  xi.  119. 

12770  THE  ■  BATTLE  •  R L 

[?W.  Heath.]'  [May  1816] 

Engraving  (coloured  impression).  Frontispiece  from  The  Co — gh  Honeymoon.^ 
Prince  Leopold  (1.)  and  Princess  Charlotte  (r.)  tug  hard  at  a  pair  of  breeches, 
the  Prince  is  helped  by  the  Regent  who  puts  his  arms  round  his  son-in-law's 
waist,  the  Princess  by  the  Queen  who  is  in  a  similar  attitude.  A  tiny  McMahon 
behind  the  Regent  tugs  at  the  Garter,  inscribed  Ho[ni  soit\,  at  his  knee;  both 
the  latter's  legs  are  gouty  and  have  clumsy  swathings.  From  the  former's 
pocket  hangs  a  purse:  Privy  Purse,  see  No.  11874.  '^^^  bridegroom  wears 
a  plumed  cocked  hat  with  jack-boots  and  British  uniform,  in  place  of  the 
hussar  uniform  and  Hessian  boots  of  earlier  prints,  doubtless  on  account  of 
his  new  rank  in  the  British  army,  see  No.  12783.  Princess  Charlotte  wears 
a  petticoat  or  under-dress  with  slippers;  three  feathers  are  in  her  hair.  In 
weight  and  height  the  two  men  overwhelm  the  women,  who  are  more  aggres- 
sive and  hold  their  own.   Leopold  says,  without  animosity:  Vat  Shall  I  do  she 

vill  Tear  my  best  C ge's.   The  Regent  says :  Pull  away  my  hoy  pull  azcay! 

tny  Rib  wanted  to  zvear  mine  hut  they  would  not  Fit  her!!  holdfast  M'cH!  The 
Princess  says :  /  will  have  them  Granny  says  I  inust.  The  Queen :  yes!  yes!  you 
shall  have  them  your  Granf other  allways  let  me  wear  his  never  give  up  holdfast. 
Under  her  foot  is  a  paper:  And  that  old  Scratchim^  hen  of  Strife  That  hatchd 
the  Royal  Chick  to  Life.  The  face  of  John  Bull,  bloated  and  larger  in  scale 
than  the  others,  looks  in  through  a  window  (r.),  angry  and  alarmed.  He  says: 
by  Goles  they  he  at  it  they  Tear  them  and  I  shall  have  to  buy  a  new  pair. 

See  No.  12748,  &c.    The  Queen  took  a  different  attitude,  cf.  No.  12754. 
By  the  same  artist  as  No.  12772. 
8|xi2|in. 

'  The  script  is  not  in  his  hand. 

^  According  to  E.  Hawkins,  but  not  in  the  B.M.L.  copies;  see  No.  12771. 

673  XX 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

12770  a  a  reissue,  Pub  June  5"^  18 16  by  T  Tegg  11 1  Cheapside,  serial 
number  jGg. 

12771  SCENE  IN  THE  R L  BED-CHAMBER;  OR,  A  SLIT  IN  THE 

BREECHES!! 

[G.  Cruikshank.] 

[Published  by  John  Fairburn,  2  Broadway,  Ludgate  Hill]  [May  18 16] 
Engraving  (coloured  impression).  Heading  to  printed  verses,  with  the  note: 
'See  Peter  Pindar's  Poem  of  the  Co — gh  Honeymoon;  or,  R — 1  Love  Lyrics, 
Price  IS.  6d.'  Prince  Leopold  (r.)  sits  up  in  bed,  angrily  holding  out  a  clenched 
fist  towards  Princess  Charlotte,  who  stands  (1.)  with  her  back  to  the  bed,  legs 
astride,  putting  on  a  pair  of  breeches,  her  nightgown  or  negligee  raised;  on 
one  leg  is  a  stocking,  the  other  is  bare.  A  small  cap  is  tied  over  her  curls. 
A  seam  splits.  She  says:  Fm  resolved  to  wear  the  Breeches  \  Although  I  burst 
ten  Thousand  stitches :  Prince  Leopold  exclaims:  Vare  is  she  gone?  \  Got  dam, 
she's  got  my  Breeches  on!!  On  the  wall  (1.)  is  a  picture :  the  Prince  and  Princess 
tugging  hard  at  a  pair  of  breeches  (as  in  No.  12765).  From  the  frame  hangs 
a  German  sausage  (cf.  No.  12759).  Under  the  bed-valance  appears  a  chamber- 
pot on  its  side,  decorated  with  a  grinning  face  inscribed  What  do  I  see?  The 
last  two  of  fourteen  verses : 

"Throughout  my  life,  I've  had  my  will, 

"And  you  shall  find  I'll  have  it  still; 

"Yes,  spite  of  Father,  Grandmamma, 

"Whate'er  I  said  was  always  law. 

"Then  think  you.  Sir,  I  will  be  check'd, 
"By  one  whom  I've  with  all  things  deck'd 
"Given  a  wife,  house,  food,  and  riches, 
"No;  curse  me,  but  /'//  wear  the  breeches. 

See  No.  12754,  &c.  Verses  58  and  60  of  121  verses.   B.M.L.  G.  18981/14. 

Reid,  No.  581. 
7f  X9f  in.    Broadside,  15X10^  in. 

12772  TRYING  ON  THE  BREECHES!! 
[?W.  Heath.]! 

Pub  ij  May  1816  by  Sidebotham  Strand 

Engraving  (coloured  impression).  After  the  title:  The  New  made  General 
taking  a  lesson  from  the  White  Serjeant.  Prince  Leopold,  tall  and  handsome, 
in  the  uniform  of  a  British  general,  wearing  a  plumed  cocked  hat,  and  holding 
his  sword,  looks  down  at  Princess  Charlotte,  who  stands  beside  him,  her  head 
on  the  level  of  his  waist.  In  his  pocket  is  a  Map  of  Coburg.  She  is  very 
decolletee  and  has  turned  back  a  petticoat  to  display  masculine  breeches, 
embroidered  like  those  of  the  Prince's  hussar  uniform.  In  her  hair  are  three 
ostrich  feathers,  and  at  her  knee  a  garter  inscribed  Honi  Soit.  Her  husband 
touches  her  lightly  on  the  shoulder.  She  says :  Your  Breeches  Fll  wear  \  For 
they  fit  to  a  hair!!  On  the  ground  are  papers :  Miss  Lump  &  the  Grenadier 
a  Poem  by  Peter  Pindar;  Just  published  The  progress  of  a  German  Traveller  in 
Wales!;  Road  to  Wales;  Just  pub^  Battle  Royal  or  Who  wears  the  Breeches 
[cf.  No.  12770];  Theatre  Royal — Royal  Nuptials  [cf.  No.  12758] — Honeymoon 
[by  John  Tobin,  1805]  &  Three  Weeks  after  7?iarriage!  [by  Murphy,  1776]. 

See  No.  12754,  ^^-  '^  ^^^^  fetched  from  the  tavern  by  his  wife,  is  said  to  be 
arrested  by  the  white  Serjeant',  cf.  No.  8220.  By  the  same  artist  as  No.  12770. 
I2X8|  in.   With  border,  13^X9^  in.  'Caricatures',  xi.  113. 

*  The  script  is  not  in  his  hand. 

674 


POLITICAL   SATIRES    1816 

12773  THE  CONTRAST!  OR  THE  CI-DEVANT  GERMAN  CAPTAIN 
IN  GOOD  QUARTERS! 

[Attributed  to  G.  Cruikshank,  ?  by  W.  Heath.] 

London  Pub"^  by  J  Sidebotham  N°  g6  Strand  [May  1816] 

Engraving  (partly  coloured).  Two  designs,  each  with  a  heading:  [i]  A  Single 
Life  on  the  Continent  starving  on  Sour  KrontH  Prince  Leopold  sits  on  a  stool 
at  a  rough  table  in  a  miserable  room,  shovelling  greenstuff  into  his  mouth, 
bending  forward  towards  the  only  dish,  a  broken  platter  of  sausages  and  green- 
stuff, standing  beside  a  broken  pitcher  of  Water.  He  wears  fashionable  but 
ragged  uniform  with  plumed  cocked  hat,  and  jack-boots  through  which  his 
toes  project.  Behind  his  back  a  bearded  and  barefooted  soldier  (1.),  wearing 
Turkish  trousers  and  a  high  fur-bordered  cap  stands  at  attention.  The  sloping 
roof  is  raftered ;  on  the  wall  is  a  bill  headed  The  Poor  Soldier  [comic  opera  by 
O'Keefe].  On  the  ground  lies  a  paper:  Thoughts  on  a  Journey  to  Wales  to  seek 
my  fortune  &  better  my  Condition.  Beside  this  is  a  Map  of  the  principality  of 
Coburg  800  square  feet!  A  rat  nibbles  at  a  corner  of  it.  There  is  also  a  barrel 
(r.)  of  Sour  Krout. 

[2]  Comes  to  England,  Is  made  a  General  &  Marry's  a  Lady  of  £60.000 
per  annum.  Prince  Leopold  leans  back  in  his  chair,  one  arm  thrown  over  its 
back,  reflectively  holding  up  a  glass  of  wine.  His  r.  foot,  in  an  elegant  Hessian 
boot,  rests  regally  on  a  footstool.  He  wears  many  stars  and  orders.  The  table 
is  almost  covered  by  an  enormous  round  of  beef  and  a  plum-pudding. 
Princess  Charlotte's  contented  face  appears  above  the  steam  rising  from  the 
beef.  Two  decanters  are  labelled  Burgundy  and  Champaigne.  On  the  ground 
are  two  wine-coolers,  one  inscribed  Hock,  and  a  number  of  bottles,  with  two 
open  books :  Love  makes  a  man,  a  play  ['.  .  .  or  The  Fop's  Fortune',  by  Gibber] 
and  Billing  &  Cooing  or  the  R —  Wedding  a  poem.  An  attendant  stands  behind 
the  Prince's  chair;  the  profile  of  a  second  is  on  the  extreme  r.  On  the  wall 
is  a  picture  of  Camelford  House  [see  No.  12754]. 

See  No.  12748,  &c.;  cf.  No.  12778.  For  the  needy  German  officer  cf. 
No.  9510;  for  the  German  eating  sauerkraut,  No.  10170,  both  by  Gillray.  By 
the  same  artist  as  No.  12770. 

Reid,  No.  580. 
Each  design  8ix  5^  in.;  8ix  6  in.   Whole  design  with  border,  9^  X  13I  in. 


12774  SPLASH— DASH— BANG   UP!!— OR   C E   TAKING   THE 

WHIP  HAND  OF  C G.  [?  May  181 6] 

Engraving.  Princess  Charlotte  drives  with  aplomb  a  phaeton  and  four,  flick- 
ing her  whip  over  the  head  of  a  leader.  Prince  Leopold,  wearing  uniform  with 
a  cocked  hat,  sits  beside  her  in  profile,  with  folded  arms,  and  an  expression 
of  melancholy  apprehension.  Between  his  feet  is  a  large  German  sausage 
(cf.  No.  12759).  "^'"^^  Princess  wears  decoUetee  dress  with  short  sleeves, 
feathers  streaming  from  her  bonnet,  and  gauze  from  her  shoulders.  The  four- 
wheeled  carriage  is  on  high  springs,  the  galloping  horses  leave  a  cloud  of  dust 
behind  them.  She  says :  /  soon  gained  the  Whip  hand  of  my  Jockey!!  and  I  am 
determined  to  keep  it  to.  He  reflects:  She  drives  zvith  a  Vengeance  to  it!!  She 

has  taken  the  Reitis  entirely  out  of  my  hands,  and  makes  me  look  a Ninny. 

They  drive  towards  a  sign-post  (1.)  pointing  (r.)  To  Claremount,  where  an 
outrider  rides  towards  the  large  house,  among  trees,  and  in  a  wooded  landscape. 
See  No.  12754,  ^^-   ^^^  decision  to  buy  Claremont  was  announced  in  the 
Examiner  of  26  May.   For  'Bang  up'  cf.  No.  11700,  &c. 
8f  X  12^  in.   With  border,  91^  X  13I  in. 


675 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12775  A  HOW-DO-YOU-DO— OR  THE  INTERVIEW  AFTER  MAR- 
RIAGE. 

[Williams.] 

Puh'^  May  1816  by  J  Johnston  g8  Cheapside 

Engraving.  Scene  in  a  breakfast  parlour  at  Claremont  (see  No.  12774),  with 
Princess  Charlotte  seated  in  an  arm-chair  beside  the  round  table,  facing  the 
empty  seat  of  her  husband,  who  hides  behind  a  screen  (r.).  The  gouty  Regent 
hobbles  in  from  the  1.  accompanied  by  the  Queen.  The  latter  stands  over 
the  Princess  with  raised  hands,  exlaiming :  Well  child  how  do  you  do!  I  allways 
feel  compassion  for  young  married  Females,  it  was  my  own  case  once  you  know! 
but  come  you  don't  look  so  knocked  up  as  I  expected  it's  nothing  when  we  are  used 
to  it.  Princess  Charlotte  coyly  holds  up  the  edge  of  her  morning  gown  to 
screen  herself  from  the  Queen ;  she  answers :  Oh!  dear  Gratiny  dont  make  me 
blush  so!  you  talk  so  funny.  She  wears  a  mob-cap  over  loose  hair.  Prince 
Leopold  holds  a  piece  of  bread  with  a  bite  out  of  it,  and  a  pamphlet :  Oeconomy 
of  Love  Book  I^K  He  wears  (for  the  first  time  in  these  prints)  civilian  dress, 
with  long  coat,  knee-breeches,  and  slippers.  The  Regent,  poised  on  one  toe 
and  on  crutches,  with  his  gouty  leg  in  a  bulky  swathing,  calls  to  him:  Ah!  ha 
I  see  you  behind  the  skreen!  I  was  just  such  a  modest  young  man  myself  once, 
come  shew  your  face  and  let  me  see  how  you  look,  after  your  labours!!  Prince 
Leopold  answers:  /  am  noting  now  but  de  little  Greek  in  my  Back.  The  small 
breakfast-table  is  almost  covered  by  a  tray  on  which  is  a  large  heavily 
embossed  urn  with  tea-things.  There  are  also  a  coffee-pot,  two  boiled  eggs, 
and  two  jellies  in  glasses.   After  the  title: 

''He  talk'd  and  kiss'd  and  lov'd" 

"And  made  me  shame  the  morning  zvith  my  blushes". 

Cf.  No.  12767. 
8f  X  i2|  in. 


12776  CHIEF  PILLARS  OF  AN  ILLUSTRIOUS  HOUSE. 

[Williams.] 

Aquatint  (coloured  impression).  PI.  from  the  Busy  Body,  i.  145,  i  June  181 6. 
Princess  Charlotte  and  Prince  Leopold  (see  No.  12748,  &c.),  on  hands  and 
knees  on  a  cobbled  pavement,  support  the  Regent  who  stands  full-face  with 
a  foot  on  each  back.  His  gouty  1.  leg  and  his  crutch  rest  on  his  son-in-law. 
He  is  in  a  narrow  gateway  and  touches  the  arch  over  his  head  with  the  butt 
end  of  his  r.  crutch,  saying,  /  will  uphold  the  Brunswick  line!  |  /  will  support 
the  Throne!  Prince  Leopold  says :  /  zcill  assist  thee!  \  most  illustrious  Prince. 
Princess  Charlotte  exclaims:  Yes  Yes!  we'll  support  Father ;  |  we'll  keep  up  the 
line  of  Brunswick,  never  fear  us.  He  wears  uniform  with  orders,  she  wears 
evening  dress  with  long  gloves.  The  doorway,  with  heavy  iron-studded  doors 
folded  back,  is  flanked  by  sentry-boxes  and  bracket  lamps  which  frame  the 
design.  Within,  a  screen  of  seven  columns  recedes  in  perspective. 

The  title  should  be,  according  to  the  text.  Chief  Pillar  ....  The  'Seven 
Pillars'  (in  the  background)  are  the  House  of  Brunswick,  the  Regent  and  his 
brothers,  all  attacked  (the  Regent  violently)  except  the  Dukes  of  Kent  and 
Sussex,  who  are  described  as  sound  and  respectable,  though  less  ostentatious 
than  the  others;  they  would  support  the  House  if  the  other  pillars  should 
decay.  Cf.  No.  12768. 
6fX4in. 

676 


POLITICAL   SATIRES    l8l6 

12777  A  SPIRITED  DEBATE  UPON  POTEEN  SHEWING  THE  AD- 
VANTAGES OVER  YE  LEGAL  IRISH  WHISKEY!!* 

[Williams.] 

London  Pu¥  by  J.  Sidehotham.  N°  g6  Strand  June  1816. 

Engraving  (coloured  impression).  Below  the  title:  Vide  the  speech  of  the 
Tipperrary  Member  in  the  House  of  Commons  22  May  1 8 16.  A  realistic 
representation,  with  the  Speaker's  Chair  slightly  to  the  1.,  the  Opposition 
benches  nearer  the  spectator,  and  more  crowded.  On  the  table,  across  the 
mace,  lies  a  paper:  Motion  to  put  dozvn  illicit  Distillation  in  Ireland.  General 
Mathew,  senior  M.P.  for  Tipperary,  stands  in  profile  to  the  1.,  both  hands 
raised.  He  says :  It  is  impossible  to  put  down  illicit  Distillation  in  Ireland  because 
all  the  great  people  encourage  it  by  drinking  the  Poteen  in  preference  to  the  Legal 
whiskey,  it  is  calVd  Poteen  because  it  is  made  in  a  little  Iron  pot,  over  a  turf  fire 
in  a  mud  Cabin — The  Marquis  of  Abercorn  &  Lord  Chancellor  Manners  are 
both  very  fond  of  it  ^  so  icas  the  late  Duke  of  Rutland!  I  am  also  very  fond  of 
it  ynyself.  I  never  go  to  bed  without  taking  the  fidl  of  a  Quart  Noggin!!* — The 
present  Duke  of  Richmond  zohen  Lord  Lieutenant  of  Ireland  always  preferred  the 
illicit  Whiskey,  &  would  never  smoke  his  pipe  without  a  pint  of  it  made  i?ito 
Punch  ;  in  short,  it  is  the  most  wholesotne  drink  imaginable  &  the  finest  Diuretic 
in  the  world,-\.  The  tiumerous  military  Parties  onployed  in  Ireland  to  hunt  out 
&  destroy  unlazcfull  Stills,  only  multiply  their  number  &  increase  the  Consump- 
tion of  the  prohibited  Spirit,  Tetifold,  as  it  is  notorious  that  all  the  time  they  are 
out  upon  Duty  they  do  nothing  else  but  drink  the  Poteen  from  Morning-\-\  to 
Night!!!—*.  An  arrow  from  Mathew's  mouth  points  to  his  speech  and  to  a 
final  asterisk.  After  the  bill  are  notes:  *  a  laugh — ■\ Several  members  laugh' d  so 
immoderatly  that  they  soon  found  by  woeful!  Experience  that  the  speech  of  the 
Gallant  Gen[eral]  was  as  violent  a  Diuretic  as  Poteen  could  possibly  be  WHere 
the  General  having  exhausted  his  Spirits  sat  down  amid  peals  of  laughter.  In  the 
hat  on  Mathew's  seat  is  a  paper:  lis  not  in  Mortals  to  command  Success. 
Opposition  listen  with  broad  grins.  On  the  Ministerial  front  bench  above  the 
gangway  are  four  members ;  only  Castlereagh  being  recognizable ;  he  holds  a 
document  and  listens  stonily;  his  colleagues  are  not  amused.  The  M.P.  next 
but  one  may  be  Peel  (Chief  Sec.  for  Ireland),  who  answered  Mathew.  Mathew 
has  a  powdered  queue  resting  on  his  shoulders  as  in  No.  10 163.  He  wears 
wide  trousers  gathered  at  the  ankle,  cf.  No.  1283 1. 

On  22  May  Benjamin  Shaw,  a  London  merchant,  M.P.  for  \Vestbury, 
presented  a  petition  from  the  distillers  of  Dublin  for  reduction  of  duties,  to 
enable  them  to  compete  with  illicit  distillers.  Part  of  Mathew's  speech 
resembled  that  of  the  print;  he  declared  his  preference  for  poteen  over 
inferior  whisky,  that  all  the  soldiers  who  enforced  the  excise  laws  increased 
the  consumption,  because  there  was  nothing  else  to  drink,  that  Lord  Manners 
found  it  'the  finest  diuretic  in  the  world'.  He  maintained  that  the  only  way 
to  destroy  the  evil  was  to  alter  the  Irish  magistracy  who  connived  at  the 
offence,  and  were  intolerable.  Pari.  Deb.  xxxiv.  704-7.  Cf.  No.  12788. 
8i|xi3  in. 

12778  A  FRONTISPIECE  TO  THE  NEW  RED  BOOK 

[?W.  Heath.] 

Pub  June  13  1816  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).    A  procession  of  John  Bull's  pensioners 
walks  from  r.  to  1.,  headed  by  Napoleon.   It  is  watched  by  a  lean  and  ragged 

677 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

John  Bull  standing  on  the  extreme  r. ;  his  clothes  hang  in  folds  and  only  his 
bulbous  nose  and  his  wig  recall  his  wonted  appearance ;  he  shouts :  Well  you 
have  got  it  all,  Pray  what  do  you  all  do  for  it.  Napoleon,  short  and  plump, 
his  hands  behind  his  back,  wearing  jack-boots  and  petit  chapeau  with  uniform, 
answers :  /  have  my  money  for  being  a  Prisoner  in  stead  of  haveing  my  Head  cut 
off.  He  is  followed  by  the  much  taller  Wellington,  also  in  uniform,  wearing 
orders,  cocked  hat  without  a  plume,  tight  pantaloons,  and  smart  Hessian 
boots,  who  marches  along,  a  drawn  sword  in  his  hand ;  in  his  pocket  is  a  paper : 
Titles  &  Money.  He  says:  my  money  is  for  beating  your  Enemies.  On  his  1. 
and  slightly  behind  walks  Castlereagh,  stooping  and  very  thin,  laden  with 
money-bags,  one  inscribed  Cash;  a  paper  in  his  pocket  is  addressed  to  Lord 
Castle  mar.  He  says :  and  mine  for  Robing  your  Friends.  On  Wellington's  r. 
walks  Ellenborough  in  wig  and  gown,  carrying  money-bags  and  scowling  in 
silence.  Behind  Castlereagh  the  Regent  walks  on  crutches,  both  legs  gouty  and 

enormous.  He  says:  the  cash  I  have  is  for  Drinking  Eating  Sleeping  &  W eing. 

Next  him  walks  a  tiny  McMahon  carrying  across  his  shoulder  a  vast  Privy 
Purse  [see  No.  11874]  which  trails  behind  him  on  the  ground.  He  says:  You 
cannot  M''  Bull  think  much  of  my  Little  considering  the  weight  I  have  on  my 
back.  Behind  the  Regent  are  Prince  Leopold  and  Princess  Charlotte;  he  is 
in  British  uniform  with  plumed  cocked  hat  and  high  jack-boots.  He  wears 
more  orders  than  the  Duke,  and  has  a  pinched  waist  which  gives  him  a  foreign 
appearance ;  under  each  arm  are  two  large  money-bags,  one  inscribed  6o.oo[d\ ; 
he  says :  Vot  I  got  vas  for  takeing  a  vife  and  all  the  Troubles  with  her.  The 
Princess  has  no  money-bags  but  holds  a  paper :  Milliners  Bill  for  John  Bull 
to  pay — 6.600.  She  says:  Mine  M''  Bull  was  for  takeing  a  poor  Man  for  a 
husband  to  make  him  rich  [see  No.  12773].  She  wears  a  short- waisted  decolletee 
dress  with  bishop  sleeves  hanging  from  below  the  shoulder  and  a  skirt  reach- 
ing only  to  the  calf.  Behind  her  is  Queen  Charlotte,  ugly  and  sly ;  she  holds 
an  open  snuff-box  and  says :  /  would  not  take  my  Little  TVf  Bull  but  the  Times 
are  so  hard  &  Strasburge  [see  No.  12066,  &c.]  so  Dear.  Behind  her,  less 
characterized,  are  two  bishops.  The  vast  procession  curves  so  that  those  in 
the  background  walk  from  1.  to  r.  Soldiers  marching  with  fixed  bayonets  are 
Gentlemen  of  the  Army  on  the  Peace  Establishment;  they  have  their  money-bags, 
and  follow  fat  lawyers  and  judges,  one  with  a  bag  inscribed  Cost;  these  are 
Gen^  of  the  Gown  Loaded. 

One  of  many  satires  on  the  burdens  of  taxation,  see  No.  12756,  &c.  For 
the  St.  Helena  expenses  see  No.  12786,  &c.  On  news  of  Waterloo  Parliament 
added  a  sum  of  ^^200, 000  to  previous  (and  larger)  grants  to  Wellington. 
Castlereagh's  foreign  policy  was  much  attacked  by  Opposition  and  the 
radicals;  Cobbett  wrote  of  'The  united  howl  of  the  French  Protestants,  the 
Spanish  Patriots,  and  the  English  Landlords  and  Farmers',  Pol.  Reg.,  16  Mar. 
1816.  For  the  Establishment  of  Princess  Charlotte  see  No.  12754,  ^c.;  for 
the  Army  Estimates,  No.  12756;  for  the  Red  Book,  No.  12781,  &c. 
S^X  12^  in.   With  border,  9^  x  13  J  in. 

12779  NATIONAL  BANKRUPTCY  OR  lOHN  BULL  TAKEING  THE 
BENEFIT  OF  THE  INSOLVENT  ACT.  372 

[Elmes.] 

Pub"^  June  15  1816  by  T'  Tegg  N°  ill  Cheapside 

Engraving  (coloured  impression).  John  Bull  stands  in  a  court  of  law,  in  profile 
to  the  r.,  facing  the  judge,  who  sits  in  a  high  carved  chair  of  Gothic  design. 
He  is  a  *cit'  with  a  gouty  foot  in  a  large  shoe;  his  crutch  and  hat  are  under 
his  r.  arm,  his  r.  hand  deep  in  his  coat  pocket.  He  wears  old-fashioned  dress 

678 


POLITICAL   SATIRES   1816 

with  an  ill-fitting  wig,  and  scratches  his  forehead,  saying,  My  Name  Your 
Worship — is  John  Bull  my  buisness  here  is  to  give  notice  to  my  Creditors  to  avail 
myself  of  the  benefit  of  the  Insolvent  Act.  His  short,  broad,  and  over-dressed 
wife  stands  behind  him,  saying,  /  long  thought  it  zcould  come  to  this,  I  told  him 
over  and  over  a  gain  what  would  be  the  end  of  his  Mad  career.  John's  bull- 
dog is  at  his  feet,  morose  and  aggressive.  The  judge,  counsel,  and  attendants 
look  at  John  with  pained  surprise.  The  judge,  perhaps  intended  for  Lord 
Ellenborough,  says:  hozvever  such  a  Circumstance  might  be  looked  forward  to, 
it — certainly  was  not  expected  Just  now.  Clerks  sit  in  the  foreground  (r.) 
writing.  On  their  table  is  a  paper  with  the  Royal  Arms  and  the  words  London 
Gazette.   Behind  is  a  Gothic  window. 

A  satire  on  the  distressed  state  of  the  country  due  to  a  crisis  in  agriculture, 
stagnation  in  trade,  home  and  foreign,  with  many  bankruptcies.  Cobbett 
wrote:  'that  "national  ruin"  which  is  no  longer  a  rhetorical  figure  but  a  literal 
and  naked  reality'.  Pol.  Reg.,  23  Mar.  1816.  See  Ann.  Reg.,  1816,  pp.  91-6; 
Smart,  Economic  Annals  of  the  Nineteenth  Century,  19 10,  i.  460  f.  The 
Bankruptcy  Laws  were  fundamentally  unsound,  giving  opportunities  for 
fraud.  For  national  distress  see  also  p.  630  and  Nos.  12754,  12786,  12787, 
12794,  12798,  12802,  12806,  12812,  12818,  12863,  12873,  12875,  13497- 
8|x  12^  in.   With  border,  9-|x  13I  in. 

12780  HERCULES  AND  OMPHALE,  OR  MODERN  MYTHOLOGY. 

[Williams.] 

Pub'^  June  1816  by  Tho'  Teg  [sic]  iii  Cheapside 

Engraving  (coloured  impression).  Prince  Leopold  sits  on  a  chair  holding  a 
distaff;  he  is  in  uniform  and  jack-boots,  but  without  breeches,  his  shirt  form- 
ing a  short  petticoat.  Princess  Charlotte  (1.)  stands  beside  him,  supporting 
a  large  crowned  club  in  the  form  of  a  German  sausage  (cf.  No.  12759).  ^^ 
raises  her  long  skirt  to  touch  the  knee  of  his  breeches  which  she  is  wearing; 
he  wears  her  rose-trimmed  turban,  she  wears  his  cocked  hat.  He  savs:  Come 
now!!  let  me  have  my  Breeches,  I  shall  get  cold.  She  looks  down,  touching  his 
chin,  and  answers :  Can't  spare  them  yet  love!  I  must  use  tnyself  to  thein  so  that 
they  may  sit  easy  zchen  I  am  obliged  to  zvear  them  for  good  jny  dear!  Queen  Ann 
did  so  before  me!   Below  the  title : 

The  Lidian  Queen  fair  Omphale,  as  Poets  tell  of  old. 

Tamed  Hercules  to  spirting  set,  tho  he  was  stout  &  bold. 

What  are  we  to  imply  from  this?    Thtis  far  my  judgement  reaches 

Had  they  but  been  in  fashion  then,  she  would  have  worn  the  breeches 

Tis  much  the  same  these  modern  times  for  Beauty  so  bewitches. 

With  married  pairs,  tis  ten  to  one  the  Wife  zcill  wear  the  Breeches. 

See  No.  12754,  ^^^ 
iiix8iin.  'Caricatures',  xii.  64. 

12781  lOHN  BULL  READING  THE  EXTRAORDLNARY  RED  BOOK. 

205 

[Elmes.] 

[Pub.]  by  Th'—  Tegg—  iii  Cheapside.  [?  1816] 

Engraving  (coloured  impression).  John  Bull,  a  spectacled  citizen,  sits  by  the 
table  in  the  Commons  reading  an  Extraordinary  Red  Book  and  registering 
frantic  anger.  He  shouts:  Oh!! — Monstrous!!! — that  twenty  six  State  Cormo- 
rants shoidd  swallow  annually  an  aggregate  sum:  under  the  name  of  salaries,  inde- 
pendent of  the  indefinible  emoluments  which  result  from  other  sources  of  gain 

679 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

amounting  to — £4^3,6g2.  Can  we  any  longer  wonder  that  the  love  of  Place  in 
these  men  should  supersede  every  more  exalted  consideration.  The  mace  rests 
on  a  scroll  which  hangs  from  the  table:  Plac\es^  Earl  of  Liverpool  14,000, — 
Af  Vansittart  £7,500,  & — G^  Rose  £16,551 — Vis^  Melville  £11,000 — 
ilf  Wellesley  Pole  £10,000.  On  the  floor  is  a  paper:  Droits  of  Admiralty 
[see  No.  10967].  On  the  r.  behind  John's  chair  Ministerial  members  sit  in 
a  close  row,  with  a  second  row  standing  behind  them.  One  stands  on  the 
extreme  r.  holding  a  long  scroll  whose  coiled  end  is  under  John's  chair.  It 
is  A  List  of  Placemen  Pensiofis  and  Sinecures — Lord  Arden  £38,574  [cf. 
No.  12802] — Earl  Bathurst  and  C — £37,225 — Lord  Castlereagh  for  Two 
Years  Service  £71,000 — L^  Ellenhorough  £24,100 — L'^  Eldon  £40,000 
&  &  &c — Marquis  Camden  £23,000.  The  members  are  burlesqued;  four 
of  them  say:  /  swallow — £10,000  and  do  very  little  for  it;  and  I  £16,000 — 
for  doing  next  to  nothing;  and  I  40, 000 £ — for  doing  less;  and  I  [Castlereagh] 
£71,000 — for  doing  nothing  at  all.  A  fifth,  wearing  tartan  with  a  Scots  cap 
and  taking  snuff  from  a  ram's  horn  mull  (evidently  Melville),  says:  and  I 
18,000 — for  doing  worse! 

A  recurrent  theme:  the  names  show  that  the  print  is  after  1810,  when  the 
agitation  against  the  'Red  Book'  [Royal  Kalendar),  i.e.  against  placemen  and 
sinecurists  was  active,  see  No.  11537.  In  1816  'The  Extraordinary  Red  Book' 
by  'A  Commoner'  appeared  (4th  ed.  1821).  Castlereagh's  large  sum  probably 
connotes  his  expenses  as  plenipotentiary  in  18 14  and  1815,  cf.  No.  12778. 
Arden  (elder  brother  of  Perceval)  heads  a  list  of  sinecurists  in  the  Examiner 
of  18  Aug.;  he,  Camden,  with  a  Tellership  of  the  Exchequer  (see  No.  12867), 
and  Bathurst  were  the  arch-sinecurists  from  the  Whig  and  Radical  stand- 
point (the  Grenville  family  being  the  corresponding  target  of  Tories).  Rose, 
cf.  No.  12800,  was  a  special  butt  of  Cobbett.  Wellesley-Pole  was  Master  of 
the  Mint,  see  No.  12865.  The  words  of  Melville  (First  Lord  1812-27)  reflect 
his  father's  reputation,  cf.  No.  10377.  ^^^  the  'Red  Book'  see  Nos.  5657, 
10745.  1 1537.  12756,  12778,  12798,  12818,  13277. 
8|Xi2|  in. 

12782  HOW  ARE  YOU  OFF  FOR  SOAP  375 

[Elmes.] 

PuM  June  21 1816 — by  Tho^  Tegg — iii  Cheapside 

Engraving  (coloured  impression).  A  young  woman  stands  over  a  wash-tub 
raising  her  hands  in  astonishment  to  see  a  little  man  standing  waist-deep  in 
the  soapsuds,  saying  with  a  smile :  here  am  I!!  Betty!!  how  are  you  off  for  Soap. 
She  answers :  Lord!!  Tlf  Vansittart!! — who  could  have  thought  of  seeing  You 
in  the  Washing  Tub.  She  wears  a  mob-cap  and  pattens.  Two  tubs  stand  on 
a  bench,  with  a  basket  beside  it  on  which  lies  a  pair  of  breeches.  Through 
a  window  (r.)  are  seen  clothes  on  a  line,  and  trees.  A  fire  burns  under  a  large 
copper  (1.)  from  which  rise  clouds  of  steam.  Against  the  wall  are  coal-box, 
shovel,  and  broom. 

A  satire  on  the  Act  for  altering  the  excise  on  hard  soap,  brought  in  unob- 
trusively in  May  as  a  regulating  Act  only  (to  protect  the  whale  fisheries),  but 
producing  an  estimated  revenue  of  3^150,000  and  an  increase  in  excise  duty 
of  8  and  9^.  a  cwt.,  or  a  charge  per  annum  of  3  J.  a  head.  It  was  attacked  by 
Brougham.  Pari.  Deb.  xxxiv.  773  f.,  &c.  See  No.  12812.  Cf,  No.  5968, 
Lord  No — h  in  the  Suds,  1782,  a  similar  satire  on  an  increase  in  the  soap  duty. 

Mentioned,    Smart,   Economic  Annals  of  the  Nineteenth   Century,    1910, 
i.  487,  &c. 
8|x  i2|  in. 

680 


POLITICAL  SATIRES   1816 

12783  FARMER  GEORGE'S  DAUGHTER  POLLY,  LONGING  FOR 
A  SLICE  OF  SINGLE  GLOUCESTER!  377 

G  Cfec' 

Pu¥  by  T.  Tegg  iii  Cheapside  June  21'^  1816 

Engraving  (coloured  impression).  Scene  in  a  dairy.  The  Duke  of  Gloucester, 
wearing  an  apron  over  his  uniform,  embraces  Princess  Mary,  a  fat  dair)^- 
maid.  She  stands  in  profile  to  the  r.,  her  back  to  a  churn  and  tubs  which  are 
under  a  casement  window.  Against  the  wall  is  a  dresser  on  which  are  cheeses 
and  a  cream-bowl.  A  large  pile  of  cheeses  is  on  the  ground  (r.).  A  lean  cat 
drinks  from  a  dipper.  A  miniature  McMahon,  much  burlesqued,  enters  from 
the  r.,  carrying  a  huge  Field  Marshalls  Batoon ;  from  his  pocket  hangs  a  large 
Privy  Purse  [see  No.  11 874].  He  says  with  a  grin:  Please  Sir  my  Master  has 
sent  you  this  Churning  Stick  as  you  are  so  ki?id  as  to  Work  in  his  Sisters  Buttery. 
Princess  Mary  says:  Oh!  My  dear  Coz,  I  do  so  long  for  a  Slice  of  your  Single 
Gloucester,  I  shall  never  be  easy  'till  my  cravings  are  satisfied — and  if  as  you 
said  you  will  take  me  into  partnership — All  I  have  shall  be  thi?ie  &  you  Know 
Pve  an  excellent  Dairy  &  good  Strong  Chees  press  &  a  capital  Churn,  so  if  you 
like  you  may  Swim  i?i  Milk!  in  Cream!  in  Butter  Milk!  &  Curds  &  Whey!! 
The  Duke,  his  hand  on  his  breast,  answers:  My  dear  Poll,  I  have  felt  all  you 
have  said  to  be  true.  Therefore  as  to  my  single  &  double  Gloucester  you  may 
have  your  belly  full  of  'em  whenever  you  please  &  I  dare  say  zvith  our  Joint 
exetions  [sic]  &  our  Joint  Stock  we  shall  get  into  a  large- Concern — we'll  Milk 
the  Cow  zve'll  make  the  Curd.  You'll  mould  them  &  thus  merrily  we  II  make 
lots  of  little  Gloucester  Cheeses!!! 

Princess  Mary  (1776-1857)  married  her  cousin  on  2  July  1816;  like  Prince 
Leopold,  he  had  been  made  a  Field-Marshal  in  May  (Ann.  Reg.,  1816, 
Chron.  p.  208).  Negotiations  for  the  marriage  were  opened  in  Dec.  1815. 
D.  M.  Stuart,  The  Daughters  of  George  III,  1939,  pp.  227-30.  The  Duke 
(1776-1834)  was  known  as  'Slice  of  Gloucester'  or  'Slice',  a  name  perhaps 
deriving  from  Gillray's  caricature-portrait:  A  Slice  of  Glo'ster  Cheese,  No.  8716 
(1795).  According  to  the  Queen  of  Wiirtemberg  (Princess  Royal)  the  Duke 
had  shown  her  steady  attachment  .  .  .  for  near  twenty  years.  Corr.  of  George 
IV,  1938,  ii.  166,  He  was  'Silly  Billy',  regarded  as  the  nincompoop  of  the 
family.   See  Nos.  12764,  12784,  12789,  12792,  12793,  12996,  13278. 

Reid,  No.  586.    Cohn,  No.  1104. 
8^X  i2|  in.   With  border,  9|x  13^^  in. 

12784  MISS    MARY    &    HER    LOVING    COUSIN!    OR— SINGLE 
GLOUCESTER  PREFER'D  TO  GERMAN  SAUSAGE!!!—  N"  jS 

Inv'  by  Yedis    Etchd  by  G  C^ 

Pii¥  June  1816  by  J.  Sidebotham  g6  Stra?id. 

Engraving  (coloured  and  uncoloured  impressions).  The  Duke  of  Gloucester, 
wearing  uniform  with  the  plumed  cocked  hat  of  a  field-marshal  and  gauntlet 
gloves,  sits  on  an  upright  chair  with  Princess  Mary  on  his  knee.  Her  arm 
is  round  his  shoulder,  her  (plump)  cheek  against  his.  Her  dress  resembles  that 
of  Princess  Charlotte  in  prints  of  this  year:  very  decoUetee  with  long  bishop 
sleeves.  She  wears  feathers  and  a  wreath  of  roses,  and  gloves.  Beside  them  (1.) 
is  a  table  on  which  is  a  cheese-dish  holding  a  disk  of  cheese  inscribed  Single 
Gloucester  from  which  a  large  portion  has  been  cut.  On  a  side-table  (r.)  behind 
Princess  Mary's  back  is  a  large  dish  of  German  sausages  (cf.  No.  12759)  Partly 
covered  by  a  dish-cover  inscribed:  German  Sausages  to  be  sent  back  again 

681 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Untasted  as  some  of  the  Female  branches  of  the  family  are  beginning  to  be  Sick  of 
the  Article  &  prefer  Native  Commodities.  Under  the  dish  is  a  piece  of  music: 
The  Coburg  Waltz.  The  Duke: 

Bread,  Cheese  &  Kisses  with  good  will 
Is  better  than  Sour  Krout  or  Cabbage 
So  live  with  me  &  take  your  fill 
And  never  ask  for  German  Sausage!! 


She  answers: 


What^s  German  Sausages  to  me? 


Such  foreign  things  I  will  not  foster 
And  when  I  wed,  the  World  shall  see 
I  love  a  bit  of  Single  Gloucester!! 

On  the  ground  is  a  Field  Marshals  Batoon  with  a  paper:  A  present  from  my 
Cousin  George  for  Kissing  his  Sister.  Also  a  paper :  Mary's  Dream  a  Song.  The 
Duke's  chair  is  decorated  with  coronets;  one  jack-booted  foot  is  planted 
regally  on  a  footstool. 

See  No.  12783,  &c.  The  Duke,  son  of  Lady  Waldegrave,  the  illegitimate 
daughter  of  Sir  Robert  Walpole,  always  insisted  on  his  royal  status,  but 
became  a  Royal  Highness  only  on  his  marriage.  Diary  of  Lady  Shelley,  1912, 
i.  28  f.   For  bread,  cheese,  &c.,  cf.  No.  12400. 

Reid,  No.  584.    Cohn,  No.  1739. 
12^x8^  in.   With  border,  132  X9I  in. 

12785  BALANCIG  [sic]  ACCOUNTS— I  E  PROVING  THE  WEIGHT 
OF  A  CROWN 

[Williams.] 

Pub'^  June  1816  by  T.  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impresoion).  John  Bull,  on  hands  and  knees,  supports 
a  plank  serving  as  see-saw  for  Prince  Leopold  and  Princess  Charlotte.  The 
Princess  (r.)  weighs  down  the  plank,  resting  her  1.  elbow  on  a  huge  tasselled 
bolster  on  the  ground  behind  her,  inscribed  Amor  Patriae.  In  her  1.  hand  is 
a  bunch  of  flowers:  a  rose  and  thistle.  Her  r.  hand  rests  on  a  crown  which  is 
on  a  document  inscribed  .  .  .  Succession  lying  on  the  end  of  the  see-saw,  and 
weighing  it  down.  She  and  her  husband  gaze  amorously  at  each  other.  She 
wears  a  decolletee  dress  with  short  puff^ed  sleeves;  he  is  in  British  uniform 
with  jack-boots.  The  Prince  leans  forward,  resting  his  hands  on  a  gold  baton 
inscribed  Field  [Marsha]/  which  lies  across  a  paper  inscribed  Duke  of  Saxe; 
from  between  his  arms  a  large  G[er]?«a«  [Saus]«_§'^  is  slipping  from  the  plank 
(cf.  No.  12759,  &c.).  John,  a  prosperous-looking  citizen,  kneels  on  a  large 
document:  Magna  Charta;  in  his  r.  hand  is  a  big  club  inscribed  Heart  [of] 
Oak;  on  his  shoulders  is  a  sack.  Supplies  for  Contingencies,  on  which  the  plank 
rests;  a  bag  inscribed  £60,000  [see  No.  12754]  stands  on  the  plank  at  the 
point  of  contact.  The  Regent,  with  a  vast  gouty  leg  (see  No.  127 14)  and 
supported  on  a  crutch,  places  three  bottles  of  wine  on  the  plank  above  this 
bag,  looking  up  to  his  son-in-law  to  say :  /  told  you  she'd  outweigh  you,  and 
if  these  eight  bottles  won't  bring  you  to  a  balance  I  can  do  no  more,  they  have 
overbalanced  me  sometimes!  McMahon  is  hurrying  up  from  the  r.  with  a  bottle 
in  each  hand,  while  three  others  stand  against  a  bank  behind  him.  He  says: 
/  question  wether  a  Crown  bowl  of  Punch  would  mak  any  difference.  From  his 
pocket  hangs  a  small  purse  inscribed  P  P.  [see  No.  11 874].  On  the  bank  is 
a  flag-staff  with  the  Royal  Standard;  at  its  base  lies  the  British  Lion. 

John  turns  his  head  with  an  affectionate  smile  towards  the  Princess,  saying, 

682 


POLITICAL   SATIRES    1816 

Never  mind  my  dear!  here 's  a  Knight  at  my  right  hand  and  my  switch  will  bring 
the  balance  in  your  favour  again.  He  refers  to  his  club  and  to  a  dish  on  the 
ground  (I.)  inscribed  Sir  Loin,  and  containing  a  large  joint  of  beef.  She 
answers :  This  Thank  you  Johnny  [sic]  /  know  you'll  always  be  ready,  but  this 
only  a  trial,  and  I  shall  get  heavier  in  time  you  [sic],  so  I'll  let  him  down  before 
he  is  giddy!  The  Prince  says :  /  give  up  &  acknowledge  your  superior  zveight 
of  metal,  there 's  the  sausage  falling  off!  now  I  shall  lose  weight!!  There  is  a 
landscape  background.  By  the  Princess  lies  a  pile  of  broadside-ballads:  The 
tight  little  Island,  The  Days  of  Queen  Bess,  The  Brittania  the  Pride  of  the  Sea. 
Mter  the  title : 

''What  tho  his  heart  be  great  his  Actions  Gallant" 
''He  zvants  a  Crown  to  poise  against  a  Crown" 
"And  pozver  to  balance  power —         Dryden 

A  print  reflecting  the  popularity  of  Princes  Charlotte  and  of  a  marriage 
which  gratified  'the  wishes  and  hopes  of  this  nation  .  .  .  [for]  the  third  instance 
in  our  histor}^  of  the  wisdom  and  glory  of  the  reign  of  a  British  queen'. 
The  Times,  quoted  Examiner,  5  May.   See  No.  12748,  &c.   Cf.  No.  12894. 
8|xi3  in. 

12786  THE  BRITISH  ATLAS,  OR  JOHN  BULL  SUPPORTING  THE 
PEACE  ESTABLISHMENT. 

[Williams.]  [c.  June  1816] 

Engraving  (coloured  impression).  John  Bull  stands  almost  full-face,  bend- 
ing under  the  weight  of  the  military  establishment,  represented  by  two  tiers 
of  castellated  fortifications,  manned  by  tiny  soldiers,  and  with  cannon  in 
embrasures.  The  bayonets  of  the  soldiers  on  the  upper  and  smaller  tier  sup- 
port a  platform  on  which  Louis  XVIII  is  enthroned.  The  massive  lower  tier, 
projecting  beyond  John's  broad  shoulders,  is  inscribed:  Standing  Army  of 
150.000  Men  I  a  Jiumerous  &  extravagant  Military  Staff.  From  the  upper 
tier  a  large  Royal  Standard  flies,  with  the  fleur-de-lis  (abandoned  in  i8oi). 
The  platform  above  this  is  inscribed  The  Cause  of  the  Bourbons.  Louis  XVIII 
seated  on  the  throne  turns  his  head  in  profile  to  the  1.;  his  gouty  legs  have 
clumsy  swathings,  one  is  thrust  forward  on  a  footstool.  In  his  r.  hand  is 
a  sceptre,  in  his  1.  a  small  cross.  From  the  back  of  the  throne  flies  the 
Bourbon  flag. 

John  is  a  'cit'  with  patched  and  ragged  clothes;  his  hands  are  on  his  hips, 
in  both  pockets  is  a  sheaf  of  Bills  wipaid.  He  stands  on  the  shore  with  his 
back  to  the  sea,  where  floats  a  torn  paper  inscribed  Prop  \  rty  Tax.  Behind 
one  foot  is  a  thick  roll  of  Bills  unpaid.  The  ground  at  his  feet,  in  the  fore- 
ground, is  covered  with  papers:  [i]  Irish  Economy —reducing  the  number  of 
Clerks  &  Commissioners  in  the  public  departments  to  a  peace  Establishment  by 
turning  adrift  all  the  wretched  &  necessitous  Drudges  of  50^  a  Year  [see  No. 
12802]  &  at  the  same  time  augmenting  the  already  enormous  Salaries  of  those 
who  remain,  thereby  rendering  the  different  Govermnent  Offices  more  burthensome 
&  expensive  than  they  were  in  time  of  War.  [2]  Civil  List.  [3]j4  Fact — The 
enormous  Sum  of  £10.000  a  year  charged  to  the  Nation  for  Dining  half  a  dozen 
Officers  belonging  to  the  Guard  at  S'  James's  for  perfortning  the  important  service 
of  Watching  the  Crozvs  in  the  Park.    [4]  Expenc  of  keeping  Bonaparte  in 

S'  Helena  300.000— Military  Guard,  10.000  Cruisers  10.000,  Table  10.000. 
[5]  J^^^i  Published.  [6]  An  open  book:  The  Age  of  Wonders  or  the  Blessings 
of  Peace  more  desructive  [sic]  to  the  English  than  the  horrors  of  War.  Near  the 
horizon  (1.)  is  the  tiny  island  of  St.  Helena,  with  Napoleon  as  a  colossus 

683 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Striding  across  Jamestown  Bay,  from  peak  to  peak  (cf.  No.  12611,  &c.).   His 
hands  are  on  his  hips.  A  ring  of  ships  surrounds  the  island. 

A  satire  on  the  burdens  of  peace;  for  national  distress  cf.  No.  12779;  ^^^ 
the  Army  Estimates  see  No.  12756,  &c.  Special  complaints  were  made  of  the 
expense  of  the  Staff  (and  this  was  reduced,  see  No.  12756)  and  of  the  Household 
Troops;  for  dinner  in  the  mess-room  at  St.  James's  see  No.  9037,  by  Gillray. 
For  Louis  XVHI  supported  on  British  bayonets  cf.  No.  12623 ;  for  the  defeat 
of  the  Income  Tax  see  No.  12750,  &c.  The  allusion  to  'Irish  Economy'  echoes 
Tierney's  speech  on  the  appointment  of  a  Deputy  Vice-Treasurer  for  Ireland 
on  14  June :  'How  many  poor  clerks  must  be  dismissed  to  make  up  the  salary 
of  this  officer  .  .  .'.  Pari.  Deb.  xxxiv.  11 17.  The  Civil  List  Bill  was  acri- 
moniously debated  on  3,  6,  and  24  May.  Ibid.  185  ff.,  255  ff.,  789  fi.  Demands 
were  made  on  5  Apr.  for  a  return  of  the  annual  expenses  of  St.  Helena,  and 
an  estimate  was  presented  on  8  May:  a  total  of  j^i  17,854  from  which  the 
average  previous  expense  of  the  garrison,  ^(^80,384,  was  to  be  deducted  (though 
this  had  been  paid  by  the  East  India  Co.).  Of  this  total  the  estimated  annual 
expense  of  Napoleon  and  his  suite  was  £8,000.  The  squadron  on  the  Cape 
of  Good  Hope  station  was  estimated  to  cost  ^(^  13 1,275,  Ll^'H'^'^  ^^  which 
would  be  incurred  without  the  St.  Helena  establishment.  Pari.  Deb.  xxxiv. 
362  f.   See  Nos.  12700,  12756,  12757,  ^'^ll^y  12875. 

Broadley  lists  The  British  Atlas  as  published  by  Sidebotham  in  1818,  when 
this  print  was  perhaps  reissued, 
iif  X8|-in. 

12787  THE  ELGIN  MARBLES!  OR  JOHN  BULL  BUYING  STONES 
AT  THE  TIME  HIS  NUMEROUS  FAMILY  WANT  BREADM^ 


Yedis  Inv^     G.  Cruikshank  fee' 

Pub^  by  Sidebotham,  g6  Strand  London.  [?  June  1816] 

Engraving  (partly  coloured).  Castlereagh  stands  like  an  insinuating  salesman, 
displaying  to  John  Bull  a  collection  of  broken  statues.  John,  a  stout  'cit',  in 
patched  but  neat  clothes,  stands  directed  to  the  1.,  his  hand  deep  in  his  coat- 
pocket,  gazing  in  dismay  at  a  battered  and  broken  Hercules  to  which  Castlereagh 
points.  Three  starving  children  tug  at  his  coat;  an  elder  boy,  emaciated  and 
ragged,  stands  behind;  an  infant  in  the  arms  of  a  plump  Mrs.  Bull  is  sucking 
a  bare  bone.  An  older  boy  and  girl  stand  behind,  the  latter  holds  by  the  frock 
a  screaming  child  who  tries  to  run  forward.  They  exclaim  together :  Don't  buy 
them  Daddy!  we  don't  zvant  Stones.  Give  us  Bread!  Give  us  Bread!  Give  us 
Bread!  Castlereagh,  who  has  a  star  on  his  coat,  and  wears  long  full  trousers 
gathered  at  the  ankle  (cf.  No.  12840),  says:  Here's  a  Bargain  for  you  Johnny! 
Only  £35.000!!  I  have  bought  them  on  purpose  for  you!  Never  thinJz  of  Bread 

when  you  can  have  Stones  so  wonderous  Cheap!!  At  his  feet  is  a  paper :  Mini- 
sterial Economy  a  Farce  of  1816  by  ...  &  Castlereagh.  John  answers:  I  don't 
think  somehow  that  these  here  Stones  are  perfect!  &  had  rather  not  buy  them 
at  present — Trade  is  very  Bad  &  provision  very  Dear  &  my  family  can't  Eat 
Stones! — Besides  they  say  it  will  cost  £40,000  to  build  a  place  to  put  them  in — 
As  the  Turks  gave  them  to  our  Ambassador  in  his  official  Capacity  for  little  or 
Nothing  &  solely  out  of  compliment  to  the  British  Nation — /  think  he  should 
not  charge  such  an  Enormous  price  for  packing  and  Carriage!!  At  his  feet : 
Good  News  for  J  Bull — In  consequence  of  the  Glorious  Peace — Increase  of  Taxes 
&  Decrease  of  Trade,  the  Quartern  Loaf  zvill  be  sold  in  future  for  one  Shilling 
&  Sixpence.  An  enormously  fat  and  disreputable  woman  of  the  Billingsgate 

684 


POLITICAL   SATIRES   1816 

or  St.  Giles  type,  stands  on  the  r.,  scowling  towards  Castlereagh ;  she  says: 
Let  him  take  his  Sto?ies  back  agaiyi  to  the  Turks  zee  dont  want  them  in  this 
Country!!  Beside  her  is  a  little  ragged  boy.  At  her  feet  is  a  large  document : 
The  Grand  National  Stone  Build^  of  the  Strand  or  Waterloo  Bridge  impeded 
&  delayed  by  an  Enormous  &  illiberal  Demand  for  the  purchase  of  the  Crown 
land  in  the  Savoy.  On  the  wall  is  a  bill :  Just  Published  Speculation!!  or  Travels 
in  the  East  in  search  of  ruinous  fragments  of  Stone  by  Lord  Elgin.  The  more 
prominent  statues,  a  Hercules,  a  much  mutilated  Venus,  and  Mercury  holding 
a  caduceus  have  no  relation  to  the  marbles;  a  fragment  from  waist  tc  thighs 
is  mere  burlesque ;  behind  these  are  fragments  of  frieze  based  on  the  originals 
which  had  been  displayed  to  the  public  by  Lord  Elgin  on  account  of  the  con- 
troversy on  their  merits.  There  are  also  a  shattered  capital  of  a  pillar,  and 
small  fragments  of  ornament. 

After  a  prolonged  controversy  a  Committee  of  the  Commons  reported  in 
favour  of  buying  the  Elgin  marbles  for  ;(^3 5,000,  the  cost  to  Lord  Elgin  having 
been  about  ^^74,000.  The  grant  was  opposed  on  the  ground  that  the  country 
could  not  afford  such  a  sum.  Peter  Moore,  ]\LP.  for  Coventry,  said  (7  June) 
he  would  claim  the  £35,000  on  behalf  of  his  constituents,  rather  than  give 
such  a  sum  to  look  at  broken  legs,  arms,  and  shoulders  {Examiner,  1816, 
p.  357,  not  in  Pari.  Deb.);  Brougham  brought  forward  the  cost  of  housing  the 
marbles  and  voted  against  their  purchase  to  redeem  his  share  of  the  pledge 
to  economy.  Pari.  Deb.  xxxiv.  1027-40.  On  10  June  the  sum  was  voted.  For 
the  pledge  to  economy  see  No.  12747,  &c.  A  bad  harvest  in  18 16  increased 
the  distress,  see  No.  12779,  ^^-  The  completion  of  the  Strand  Bridge  (the 
name  already  changed  to  Waterloo  Bridge)  had  been  delayed,  and  the  shares 
in  the  Company  had  fallen.  Cf.  the  complaint  of  a  'ruined  Proprietor'. 
Examiner,  18  Aug.  1816;  see  Nos.  11439,  12749. 

A  pencil  drawing  for  this,  in  reverse  (9! X  13!  in.),  is  in  the  Print  Room, 
with  a  preliminary  study  on  the  reverse.    Binyon,  i.  281,  No.  4. 

Reid,  No.  565.    Cohn,  No.  1086. 
8f  X  13!  in.   With  border,  9^  x  13I  in. 

12788  SITTINGS  AT  WESTMINSTER  HALL  IN  THE  COURTS  OF 
KINGS  BENCH      COMMON  PLEAS      CHANCERY      EXCHEQUER 

London.  Pub'^  by  J.  Sidebotham  g6  Strand,  June  1816. 

Aquatint  (coloured  impression).  A  design  divided  by  vertical  lines  into  four 
sections,  each  having  as  heading  the  name  of  one  of  the  four  courts.  In  each 
sits  the  judge  of  the  court.  In  the  first  three  the  judge  sits  on  the  bench,  at 
a  small  desk  in  front  of  him,  with  the  Royal  Arms  enclosed  in  a  circle  behind 
his  head,  quartering  the  fleur-de-lis  discarded  in  1801 .  Below  each  is  a  motto, 
[i]  Lord  Ellenborough  stares  to  the  1.,  holding  in  his  r.  hand  a  paper:  King  v. 
Lord  Cochrane  Judgment  of  the  Court  £lOOO  fine  &  Imprisonment  [cf.  No. 
12757].   Below:  Magistratus  indicat  Virum. 

[2]  Sir  Vicary  Gibbs,  C.J.  of  the  Common  Pleas,  is  writing,  his  hand  on 
a  book,  his  keen  profile  turned  to  the  r.;  in  his  1.  hand  is  a  paper:  King — v. — 
Home  Tooke  &c.  Below:  Disponendo  me,  non  mutando  me.  He  assisted 
Erskine  in  the  defence  of  Home  Tooke  and  others  in  the  famous  trial  of  1794, 
see  No.  8491,  &c.,  the  acquittal  being  due  to  his  forcible  exposition  of  the 
law  and  to  Erskine's  eloquence.  As  Attorney-General  (1807-12)  he  had  been 
a  subject  of  satire,  cf.  No.  11717,  &c. 

[3]  Lord  Eldon  stares  straight  at  the  spectator.  Over  his  desk  hangs  a  bulky 
document,  partly  rolled:  The  130"'  application  to  the  Chancellor  upoti  the 
affairs  of  the  opera  house  &  that  his  Lordship  may  direct  the  manager  what  sum 

685 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

of  money  shall  he  given  to  madanie  Cata-squallini  to  sing  one  night  in  a  week  for 
a  season  of  3  months  she  having  considered  5.000  Guineas  not  a  sufficient 
equivalent  for  her  Notes.  Below :  Mquanimiter.  The  opera  house  was  insolvent 
and  the  subject  of  much  litigation,  see  No.  12133,  &c. ;  for  Catalani's  demands 
see  No.  12132,  &c. 

[4]  Sir  Alexander  Thomson  (or  Thompson),  Chief  Baron  of  the  Exchequer 
from  Feb.  1814  to  his  death  in  Apr.  1817,  sits  full-face  at  a  table  covered  with 
a  green  rloth,  a  sloping  writing-desk  before  him,  holding  a  paper.  Behind 
him,  below  three  small  rectangular  windows  with  leaded  frames,  hangs  a  green 
curtain  in  straight  folds.  On  the  table  are  documents,  &c.,  one  inscribed 
Information  and  ^30.000  penalty  for  illicit  Distillation  [cf .  No.  12777] .  Below : 
Vestigia  nulla  retrorsum  [abridged  from  Horace,  Epistles,  i.  i.  74-5  (no  foot- 
steps lead  back  from  his  Court)]. 

Each  section,  6hxc.  3 J  in.  Whole  design,  6IX135  in.  With  border, 
8ixi3iin. 

12789  GLOUCESTERSHIRE  GLORY. 

[Williams.] 

Aquatint  (coloured  impression).  PI.  from  the  Busy  Body,  i.  193,  i  July'  18 16. 
Princess  Mary  carries  on  her  back  the  Duke  of  Gloucester;  they  are  framed 
in  an  archway  leading  to  the  Horse  Guards;  St.  James's  Park  with  the  Chinese 
bridge  (see  No.  12301)  is  in  the  distance  (r.).  He  wears  uniform  and  holds 
up  in  one  hand  a  cocked  hat,  in  the  other  a  field-marshal's  baton,  over  which 
is  draped  a  military  coat  with  many  chevrons.   She  says:  He  is  not  very  heay 

[sic]. — Well,  C [Charlotte]  may  crack  of  her  German  hop-o-my-thumb, 

but  a  bit  of  true  English  flesh  &  blood  for  me!!!   Below  the  title: 

Dear  double  inducement 

Of  baton  and  bed 
For  such  sweet  amusement 

Oh! — who  would  not  wed!! 

See  No.  12783,  &c. 
6|X4  in. 

12790  THE  WIMBLEDON  HOAX!  OR  WATERLOO  REVIEW!!!   !!! 
JUNE  18TH  1816— 

G.  Cruikshank  fee' 

Pub'^  by  J,  Johnston  Cheapside  July  i^*  18 16 

Engraving  (coloured  impression).  Frontispiece  to  the  Scourge,  xii.^  Holiday- 
making  'cits'  drive,  ride,  and  walk  (r.  to  1.)  on  a  dusty  road,  in  the  direction 
of  a  sign-post  (r.)  pointing  To  Wimbledon  (1.);  the  opposite  arm  points  (r.) 
to:  a  near  Cut  to  Battersea.^  On  the  extreme  1.  is  the  back  of  a  coach,  with 
outside  passengers,  one  with  a  huge  frothing  tankard.  A  fat  man  trudges 
between  two  women,  followed  by  a  bloated  dog.  A  'cit'  on  a  bucking  horse 
follows.  Next  is  a  family  party:  a  fat  w^oman  carrying  an  infant,  her  lean 
husband  holding  a  bag  and  a  telescope,  and  dragging  a  go-cart  in  which  sit 
four  young  children,  while  a  chimney-sweep  stands  on  the  back  of  the  cart, 
followed  by  another  hanging  to  his  coat;  a  child  angrily  threatens  them  with 
a  coral  and  bells.  Two  meretricious-looking  women  walk  arm-in-arm,  closely 

'  The  magazine  is  mis-dated  i  June. 

^  One  impression  is  not  folded,  showing  that  it  was  separately  issued. 
^  An  allusion  to  the  retort  to  a  simpleton:  'You  must  go  to  Battersea  to  get  your 
simples  cut.'    E.  C.  Brewer,  Diet,  of  Phrase  and  Fable.    Cf.  No.  1283 1. 

686 


POLITICAL   SATIRES    1816 

followed  and  ogled  by  two  absurd  men  in  extravagant  dandy  costume,  also 
arm-in-arm.  These  have  enormous  bell-trousers  as  in  No.  12840.  Driving 
beside  these  two  groups  is  John  Bull  with  his  wife  and  four  children  in  a  two- 
wheeled  cart  drawn  by  a  lean  horse,  flogged  into  a  gallop.  The  cart  is  inscribed 
y.B  Tax  Cart  N°  1816.  Behind  him  a  would-be  dandy  drives  a  lady  in  a  gig. 
In  the  background  is  the  front  of  the  procession  which  has  turned  to  the  r. 
on  to  open  common,  where  are  tents,  a  swing,  with  a  large  bonfire  to  which 
men  are  dragging  a  whole  tree,  just  cut  down. 

A  false  report  of  an  intended  review  at  Wimbledon  drew  a  great  crowd  and 
booths  were  erected.  The  heath  on  Combe  Wood  was  fired,  and  it  was  feared 
that  this  might  incite  the  disappointed  mob  to  set  the  wood  on  fire.  The  two 
inns  could  supply  drink  but  not  eatables,  which  added  to  the  disorder.  The 
arrival  of  the  Guards  restored  tranquillity.  Actually,  a  Waterloo  commemora- 
tion banquet  was  held  in  Windsor  Park.  Ann.  Reg.,  1816  (Chronicle),  p.  80; 
Examiner,  23  June.   For  the  burden  of  taxation  cf.  No.  12762,  &c. 

Reid,  No.  588.    Cohn,  No.  732. 
7|xi8|in. 

12791  GENT,     NO  GENT,     &  RE-GENT!! 

G  Cruikshank  fec^ 

Pu¥  by  T.  Tegg  N°  iii  Cheapside.  July  5  1816-- 

Engraving  (coloured  impression).  A  sequence  of  three  designs  placed  side 
by  side,  [i]  As  a  'Gent'  the  Prince  is  a  handsome  and  stalwart  young  officer 
in  the  uniform  of  the  loth  Light  Dragoons  of  which  he  was  Colonel,  after- 
wards converted  to  a  hussar  regiment  (see  No.  10629).  ^^  stands  in  a  land- 
scape, the  cloudy  sky  behind  him  irradiated  by  a  rising  sun.  Cf.  No.  8800 
by  Gillray. 

[2]  In  the  squalid  room  of  a  low  tavern  the  Prince  revels  with  Mrs.  Fitz- 
herbert  and  his  boon  companions.  He  sits  on  her  lap,  tipsily  holding  up  a 
wine-glass;  Fox,  standing  behind  them,  drunkenly  empties  a  bottle  over  the 
glass.  George  Hanger  sits  on  a  chair,  holding  bottle  and  glass,  his  bludgeon 
and  a  watchman's  broken  lantern  beside  him.  Sheridan  stands  behind.  A 
table  beside  the  Prince  tilts  so  that  cards  and  dice  fall  off.  Below  it  grovels 
Norfolk,  vomiting  into  a  tub,  beside  which  is  a  paper:  Dean  SzvifVs  Maw 
Wallop  [filthy  dish  of  food].  A  wall-clock  lit  by  a  single  candle  shows  that 
it  is  4  or  5  a.m.  On  the  wall  arc  pasted :  [i]  a  ballad.  Black  Joke;  [2]  The  Last 
Dying  Speech  for  High  Treason ;  [3]  Cock  &  Hen  Club  S^  Gilse's— Chairman 
George  Whelp  Deputy  Charley  Wag  members  Hanger — Sherry — Norfolk — 
Barrymore  [see  No.  7993,  &c.] — Slender  Billy —  He  is  fat  and  dishevelled, 
his  loosened  garter  is  inscribed  Honi  ^o[it].   (8|  X  3I  in.) 

A  repetition,  exaggerated,  of  the  imputations  of  caricature  from  the  Prince's 
marriage  to  Mrs.  Fitzherbert  in  1785,  see  No.  6924,  &c.,  to  his  temporary 
breach  with  the  Foxites  in  1792.  For  the  Cock  and  Hen  Club  of  the  London 
underworld  see  No.  9309.  (8J  x  4I  in.) 

[3]  As  Regent  he  sits  enthroned  under  a  canopy,  grossly  fat  and  supported 
on  crutches  (cf.  No.  127 14),  his  vast  gouty  legs  resting  on  a  cushion.  Lady 
Hertford  (see  No.  11853,  Sec),  seated  beside  him  (1.),  proffers  a  glass  from 
a  bowl  of  punch,  while  McMahon,  tiny  as  usual,  and  standing  on  a  stool, 
hands  a  glass  of  brandy  from  decanters  (r.)  on  a  table,  below  which  bottles  are 
stacked.  His  Trivy  Purse',  see  No.  11874,  hangs  from  his  pocket.  The 
Regent  sits  impassively,  his  eyes  turned  to  the  lady,  who  has  huge  breasts 
but  is  not  otherwise  caricatured.  He  wears  uniform  with  the  Garter  ribbon 
and  a  great  display  of  orders.   On  his  head,  resting  on  a  pyramid  of  curls,  is 

687 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

a  Chinese  head-dress,  surmounted  by  a  cone  decorated  with  bells;  his  shoes 
are  Chinese.  A  hint  of  whisker  in  [2]  has  developed  into  a  furry  border  to  his 
bulging  cheeks.  Above  his  head  hangs  one  of  the  dragons  of  the  Pavilion  (see 
No.  12749),  much  burlesqued  and  with  a  tongue  inscribed  Taste.  (SJx  4^  in.) 

Reid,  No.  589.    Cohn,  No.  1153. 
PI.  9|Xi3f  in. 

12792  CUPID  EN  MILITAIRE  OR  LOVERS  SUITED.' 
[Williams.] 

Pu¥  July  1816  by  T.  Tegg  iii  Cheapside. 

Engraving  (coloured  impression).  Princess  Mary,  directed  to  the  r.,  sits  at 
a  table  cutting  a  thin  slice  from  the  remains  of  a  round  cheese.  Two  whole 
cheeses  inscribed  Gloucester  are  on  a  dish  beside  her,  with  a  book:  Economy 
of  Love.  The  Duke  of  Gloucester  (1.)  is  behind  her  chair,  eagerly  stretching 
both  arms  towards  a  cupid  who  sails  towards  him  astride  a  field-marshal's 
baton.  Cupid  wears  a  plumed  cocked  hat,  and  a  military  tunic  with  five 
chevrons  on  the  coat-tail,  too  large  for  his  bare  chubby  limbs;  two  small  wings 
are  on  his  shoulders.  Princess  Mary,  unconscious  of  Cupid  in  the  air  above 
her,  says :  Dear  me  it  is  delicious!  I  am  really  afraid  I  shall  surfiet  myself! 
She  is  comely  and  plump.   Cupid  says: 

His  Highness  greets  and  sends  you  these, 
Equivalent  to  Gloucester  Cheese, 
And  hopes  he'll  nee'r  recieve  the  shock. 
To  hear  that  you  have  faiVd  in  stock. 
Remember! — for  I'm  not  loquacious. 
Long  fasting  makes  us  all  voracious. 
The  Duke: 

I  greet  his  Highness  in  return 
Pray  say  with  gratitude  I  burn, 
And  as  for  Cheese  my  stock  is  this, 
Pd  surfeit  Widow,  Wife,  or  Miss. 
This  is  what  one,  can't  say,  in  twenty, 
I  would  his  Highness  had  such  plenty 

On  the  floor  (r.)  beside  the  Princess's  table  are  heaped  together  a  bottle, 
Eau  Miraculeuse  de  Ninon,  and  books :  The  Companion  to  the  Toilet  or  the  art 
of  .  .  .;  Ninon  ou  L  art  de  Plaire  a  jamais ;  Midsummer  Night,  with  a  paper, 
Birth  Days  of  the  R'^  Family  ....  Duke  Feb  [i.e.  15  Jan.] —  Mary  25  Ap  iyy6. 
After  the  title : 

"For  Love  in  all  his  a'm'rous  battles 

"N' Advantage  finds  like  goods  and  chattels.   Hud^ 

See  No.  12783,  &c.   The  Duke  was  made  a  field-marshal  on  his  marriage 
to  his  (mature)  cousin. 
i2-|X9^  in.  'Caricatures',  xii.  65. 

12793  HOBBIES— THE   CHEAPEST  RIDEING   IN  THE   FAIR  OR 
JOHNNY  BULLS  ROYAL  ROUNDABOUT.  382 

[Williams.] 

Pub^  July  1 8 16  by  Tho^  Tegg  ill  Cheapside 

Engraving.  A  roundabout  or  merry-go-round  revolves  round  a  centre  pole 
topped  by  a  royal  crown  on  a  cushion.   The  motive  force  is  given  by  John 

'  Serial  number  cropped. 

688 


POLITICAL  SATIRES   1816 

Bull  who  runs  inside  the  circle,  pushing  at  a  cross-bar.  In  the  foreground 
are  three  riders  on  the  roundabout:  in  front  (r.)  the  Regent  mounted  on  a 
Chinese  dragon,  a  crutch  in  each  hand,  his  gouty  legs  thrust  out,  his  coat- 
tails  flying.  He  looks  over  his  shoulder  to  say  to  John  Bull,  who  is  just  behind 
him :  Thats  right  Johny  keep  us  going!  dont  flag  Man  &  you  shall  never  know 
what  I'll  do  for  you!  Princess  Charlotte  rides  the  British  Lion  whose  head 
is  just  behind  John  Bull;  she  holds  the  mane  and  looks  over  her  shoulder 
at  her  husband,  holding  up  a  German  sausage  (cf.  No.  12759).  ^he  says: 
Well!  how  do  you  come  on  with  your  old  German  Boar!  I  zvarrant  you  would 
like  to  mount  my  Hobby  Leo,  but  I  would  not  change  for  Dads  five  claw'd 
Dragon.  Behind  her  on  the  lion  stands  a  money-bag:  50.000  P''  An.  John 
looks  up  at  her,  saying,  Stick  to  that  young  Mistress!  and  tho  I  am  pretty  near 
stript  to  the  skin,  egad  I'll  off  with  my  shirt  to  keep  you  going  to  the  last!  He  is 
in  his  shirt-sleeves,  his  wig,  hat,  coat,  and  cudgel  lie  on  the  ground  (1.), 
together  with  a  detached  pocket,  inscribed  M.  T.  (empty),  and  a  paper: 
Joh  Bull,  caterer  in  general  to  the  [Roya]/  Family— ]\B  provides  Jnusic  &  pays 
the  Piper.  Prince  Leopold's  boar  is  at  the  Lion's  heels,  he  holds  it  by  the 
ears,  his  long  legs  reaching  nearly  to  the  ground.  He  wears  British  uniform 
with  plumed  cocked  hat  and  many  stars,  and  says :  Ah  Air  Bull,  too  fast  I 
giddy!  The  rest  of  the  circle  which  is  the  base  for  the  hobbies  is  behind  the 
centre  pole.  A  seat  behind  the  Princess  is  in  the  form  of  a  disk-shaped  cheese 
placed  vertically  and  inscribed  Gloucester.  Behind  the  circle,  directed  to  the 
1.,  are  Princess  Mary  and  the  Duke  of  Gloucester,  both  resting  their  hands 
on  a  horizontal  pole  (a  baton)  inscribed  Feild  Marshal.  He  shouts :  Holla  stop 
a  minute  Johnny  this  place  is  for  me  I  know!  She  exclaims :  And  here 's  a 
Gloucester  for  me  so  Pll  stride  that! 

In  the  middle  distance  (1.),  the  new  Duchess  of  Cumberland,  in  an  advanced 
state  of  pregnancy,  is  weeping;  in  her  hand  is  a  book  inscribed  Psabns 
[Salms].  Her  husband,  in  hussar  uniform,  embraces  her,  saying,  Dont  cry 
my  Princess  weell  be  off  to  Kent  &  Sussex  Salms  will  be  welcoyne  there.  On  the 
extreme  r.  and  facing  the  Regent  stands  McMahon,  very  small,  holding  up 
a  huge  frothing  tankard ;  he  says :  a  snug  little  Family  Party  so  here 's  a  pleasant 
ride  to  you  all!  Behind  him  is  a  tent  flying  a  flag  inscribed  Syllabubs  and 
Trifle.  On  the  1.  are  other  tents  of  a  fair  with  inscribed  flags:  Emporium  for 
Genuine  German  Sausage  [cf.  No.  12759];  ^vithin  it  a  crowd  of  women  eagerly 
stretch  out  their  arms  for  a  sausage  held  above  their  heads  by  a  man.  Next 
is  The  Booth  for  Wellington  Brown  Stout.  On  the  ground  (r.)  is  a  paper 
lying  across  another  inscribed  lohn  Bulls  Fair:  "This  zcorld  is  a  fair  "wher 
the  crozvd  is  bent  wholly  "on  gezigas  [sic]  &  rattles  noise  nonscetice  and  folly 
"Where  titles  &  honors  are  trades  most  prolific.  And  gold  is  the  one  universal 
styptic. 

A  satire  on  the  burdens  on  John  Bull  imposed  by  the  marriages  of  Princess 
Charlotte  (see  No.  12748,  &c.)  and  Princess  Mary  (see  No.  12783,  &c.),  and 
the  Regent's  extravagance,  see  No.  12747,  &c.  As  in  No.  12785,  the  popu- 
larity of  Princess  Charlotte  is  stressed.  In  discussions  on  the  Civil  List  Bill 
in  May  the  Opposition  had  attacked  the  expenditure  on  the  'fantastical  furni- 
ture' of  the  Pavilion  and  its  Chinese  decor.  Pari.  Deb.  xxxiv.  840,  &c.  See 
No.  12749.  For  the  refusal  by  Parliament  to  make  an  allowance  to  the  Duke 
of  Cumberland  on  his  marriage  to  the  Princess  of  Solms,  and  her  ostracism  by 
Queen  Charlotte  (but  not  by  the  Dukes  of  Kent  and  Sussex)  see  No.  12591,  &c. 
Cf.  No.  12987,  &c. 
8|x  12II  in.   With  border,  9I  X  13I  in. 


68q  Yy 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12794  JOHN  BULL'S  LAST  KICK! 

IRC  Fecit  [assisted  by  G.  Cruikshankji 
Pub^  July  21^'  1816  by  J  Johnstone  g8  Cheapside. 

Engraving  (coloured  impression).  John  Bull  (r.)  dies,  stabbed  to  the  heart  by 
Death,  personified  by  Castlereagh  who  stands  on  his  shoulders  and  gleefully 
dispatches  him  with  his  long  javelin.  John,  a  fat  'cit',  is  in  an  arm-chair, 
wearing  night-cap  and  dressing-gown,  the  only  sign  of  his  invalid  state.  In 
dying  he  falls  back,  throwing  up  his  r.  leg,  which  overturns  the  Regent's 
chair  (1.).  The  latter,  on  his  back  in  the  falling  chair,  flings  up  arms  and  legs 
and  clutches  at  the  canopy  over  his  head,  dragging  it  down,  so  that  the  pelmet 
with  the  Royal  Arms  and  crown  are  falling.  Cloud  or  smoke  surrounds  the 
royal  chair.   John  exclaims: 

Take  waring  [sic]  by  my  hapless  fate, 
You  that  in  health  still  revel, 
And  mind  and  Kick,  before  too  late 
Quack  Doctors  to  the  Devil. 

The  Regent,  whose  face  is  concealed  except  for  a  whiskered  cheek,  exclaims  : 
Why  the  devil  cant  you  die  quietly.  Had  I  known  there  would  have  been  this 
f{ss  Fd  have  cut  your  legs  off  long  ago.  Castlereagh,  the  quack  doctor,  is  a 
skeleton  with  the  head  of  a  man,  except  for  skull-like  teeth,  displayed  by  his 
grin;  he  wears  trousers  and  an  open  coat,  showing  ribs  and  vertebrae,  and 
the  bones  of  feet  and  hands.  From  his  neck,  in  place  of  a  monocle,  hangs 
an  hour-glass. 

A  satire  on  the  widespread  distress  and  unrest,  increased  by  a  bad  harvest, 
see  No.  12779,  ^c.  Castlereagh's  prominent  position  in  this  and  other  prints 
is  partly  due  to  his  leadership  of  the  House  of  Commons,  and  to  his  friend- 
ship with  the  Regent,  cf.  No.  12501;  his  grisly  form  may  connote  the  Wal- 
cheren  Expedition,  cf.  No.  11897. 

Reid,  No.  590.    Cohn,  No.  1261. 
i2|X9i  in. 

12795  THE  TRIUMPH  OF  THE  DEY  OF  ALGIERS   OVER  THE 
NAVAL  GLORY  OF  ENGLAND! 

Yedis  inv^ —   G  Cruikshank  fecK 

London  Pu¥  July  1816  by  J  Sidebotham  N°  10  S^  James  S^ 

Engraving.  The  title  continues :  or  the  late  boasted  Defenders  of  Freedom  driven 
into  Slavery  by  a  piratical  Banditti!! — Dedicated  {without  permission)  to  the 
Government  that  pride  themselves  on  the  Abolition  of  the  Slave  Trad  the 
brilliant  Victories  of  Trafalgar  &  Waterloo  &  the  Downfall  of  the  Corsican 
Tyrant!!!!!!  The  Dey  of  Algiers,  seated  in  triumph  in  an  open  state  car,  is 
dragged  (1.  to  r.)  by  a  file  of  five  heavily  shackled  Britons  who  tug  at  a  rope. 
An  Algerian  sits  on  the  shoulders  of  the  first  and  third,  both  sailors,  each 
gashing  his  victim  with  spurs  and  using  a  heavy  scourge.  The  second  in  the 
line  is  a  naval  officer,  the  third  a  military  officer  (his  coat  coloured  blue) ;  the 
last  is  a  sailor,  resembling  John  Bull,  who  turns  his  head  to  scowl  fiercely  at 
the  Dey,  who  is  savagely  wielding  a  scourge  with  lashes  inscribed  Robbery — 
Perjury,  Tyranny,  Murder,  Treachery.  The  Dey  wears  a  jewelled  turban  with 
an  aigrette,  and  a  scimitar.  To  the  wheels  of  his  carriage,  which  is  decorated 
with  the  crescent,  is  tied  a  British  Flag.  Behind  the  carriage  is  an  inscription : 
British  Condescension  &  Acknowledgment  of  the  Barbary  Powers!  or  the  late 
'  The  Douglas  impression  autographed  'Very  little  by  me,  G.  Ck.'. 

690 


POLITICAL   SATIRES    1816 

visit  of  the  Princess  of  W — s  to  the  Bey  of  Tunis.  Beside  the  carriage  lie  papers : 
[i]  Maritime  Powers  insulted,  [2,  under  a  wheel]  Law  of  Nations  trampled  on, 
[3]  Treaty  with  Lord  Exmouth  Violated,  [4]  Horrible  Massacre  of  an  English 
Vice  Consul  &  400  British  Subjects!!!!  From  the  mouths  of  the  miserable 
prisoners  issues  a  long  scroll  inscribed  Rule  Britannia!  Britannia!  Rides  the 
Waves  &  Britons  never  will  be  Slaves!  The  two  Algerians  grin  diabolically. 
On  the  r.  is  a  sign-post,  pointing  (r.)  To  the  Slave  Bazar.  The  scene  is  the 
sea-shore;  off  the  coast  (1.)  are  large  ships  at  anchor  inscribed  Prizes  for  the 
Dey  of  Algiers;  of  three  flags  one  is  British,  one  French;  a  striped  flag  is 
presumably  Dutch.  On  the  r.  is  a  rocky  island,  on  which  Britannia  stands, 
holding  spear  and  shield,  and  dramatically  addressing  her  angry  lion :  revenge 
your  Country's  cause  &  preserve  my  Honon! 

A  report  that  Lord  Exmouth  had  made  a  treaty  with  the  Dey  of  Algiers 
stipulating  for  the  ransom  (instead  of  the  unconditional  release)  of  Sardinian 
and  Neapolitan  prisoners,  powers  under  the  protection  of  Great  Britain, 
caused  indignation.  Pari.  Deb.  xxxiv.  1043,  1147  (10  and  18  June).  Exmouth 
was  then  returning  to  discuss  a  treaty  with  the  Dey  of  Algiers,  who  although 
he  had,  like  Tunis  and  Tripoli,  agreed  to  release  all  British  subjects,  was 
unwilling  to  agree,  like  them,  to  the  abolition  of  Christian  slavery.  Meantime, 
on  20  June,  news  was  received  of  another  Algerian  outrage,  a  massacre  of 
Italian  fishermen  (under  the  British  flag)  at  Bona  on  23  May.  Exaggerated 
accounts  appeared  in  the  Press  (see  Examiner,  1816,  pp.  394,  407,  454,  471), 
but  there  was  a  justified  demand  for  summary  punishment,  and  Exmouth 
sailed  from  Plymouth  on  28  July.  On  27  August  he  demanded,  among  other 
points,  the  abolition  of  Christian  slavery-  and  the  release  of  all  Christian  slaves. 
No  answer  being  sent,  the  bombardment  of  Algiers  followed.  This  led  to  an 
agreement  to  all  demands;  about  3,000  slaves,  mostly  Italians  and  Spaniards, 
were  released.  See  Ann.  Reg.,  t8i6,  pp.  97-105;  D.N.B.,  s.v.  Sir  Edward 
Pellew.  The  Princess  of  Wales,  during  the  travels  which  scandalized  Europe, 
visited  the  Dey  of  Tunis,  see  Nos.  12808,  12810,  12890. 

Also  a  later  impression  (coloured),  *N°  10  S*  James  S*'  removed,  the  spelling 
of  'trad'  and  'Honon'  corrected. 

Reid,  No.  587.    Cohn,  No.  2049. 
8^X  13^  in.    With  border,  9^  X  13I  in. 

12796  PROGENY  IN  PERSPECTIVE  OR— A  ROYAL  ACCOUCHE- 
MENT!! 

G  C  [Cruikshank]  1816 

Pub'^  August  i^'  by  J.  Johnston — Cheapside  Londdon  [sic] 

Engraving.  PI.  from  the  Scourge,  xii.  81.  While  Princess  Charlotte,  lying  in 
bed  (r.),  is  handed  a  steaming  bowl  by  Princess  Mary,  the  Regent  (1.)  displays 
the  infant  to  Ministers  (1.),  and  Prince  Leopold  dances  with  delight.  The 
father,  just  behind  the  Regent,  has  kicked  off  his  jack-boots  to  dance ;  he  snaps 
his  fingers,  his  hands  held  above  his  head.  He  says:  Dis  is  de  first  fruit  of 
mine  German  graft  on  de  English  Stock,  we  shall  have  de  Crops  Pll  undertake 
Tol  de  rol  lol  lol.  The  Regent,  who  is  only  slightly  caricatured,  and  has  well- 
shaped  legs  in  place  of  gouty  ones  (cf.  No.  12714),  says:  See!  My  Lords  a 
bouncing  boy — all  square  &  above  board  tiot  a  trick  throughout  the  business— 
a  fine  bouncing  boy  you  see!!!  The  infant  urinates  strongly  towards  the  Min- 
isters :  Castlereagh  draws  back,  saying,  A  fine  boy  indeed  your  Highness.  Oh 
dear!  Lord  Eldon,  in  Chancellor's  wig  and  gown,  runs  off  to  the  1.,  saying, 
Oh  My  Wig.  The  third,  a  grinning  fellow  who  does  not  resemble  Lord 
Liverpool,  says:  Bless  his  little  highness  he  is  giving  us  a  proof  of  it.  The  Queen, 

691 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

an  ugly  old  witch,  makes  caudle  in  a  huge  saucepan  on  a  fire  before  which 
napkins  are  airing.  She  holds  a  bottle,  and  says,  grinning:  It  is  a  long  time 
since  I  tasted  Caudle  but  I  ought  to  be  a  good  Judge  of  it.  Let  me  put  in  some 
English  Brandy,  we  must  encourage  British  Manufactories!  She  and  Princess 
Mary,  like  the  infant,  wear  crowns  on  their  caps.  The  latter,  whose  profile 
is  a  less  ugly  version  of  her  mother's,  seems  pregnant.  Princess  Charlotte, 
who  is  not  caricatured,  says  to  her:  Well  Aunt  I  hope  I  shall  have  the  pleasure 
of  waiting  on  you  soon. 

In  the  foreground  sits  John  Bull,  holding  cudgel  and  hat;  his  1.  elbow  rests 
on  a  round  table  on  which  are  medicine-bottle  and  glass.  He  is  a  stout  citizen 
wearing  top-boots.  He  says,  scowling  towards  the  Regent  and  Ministers: 
Aye,  Aye  Dance  away  I  shall  have  to  pay  the  piper!  I  suppose  there  will  be 
a  dozen  or  thirteen  in  time,  at  6000  a  year  each — Zounds  what  a  New  pros- 
pect!!! Over  the  fireplace  is  a  large  framed  picture,  a  family  tree  in  a  land- 
scape :  a  building.  House  of  Brunswick,  rests  on  the  back  of  a  bellowing  bull 
(John  Bull)  with  tipped  horns.  From  this  rises  the  tree,  with  many  circles 
hanging  from  its  branches,  the  centre  and  highest  being  surmounted  by  a 
crown. 

The  papers  reported :  'The  Princess  Charlotte  has  been  again  indisposed — 
but  her  Royal  Highness  is  going  on  well,  though  ordered  "to  be  kept  quiet".' 
Examiner,  14  July.  One  of  many  satires  on  the  burden  of  taxation  due  to  the 
Royal  Family,  cf.  No.  12754. 

Reid,  No.  591.    Cohn,  No.  732. 
8|xi3  in. 

12797  THE  ROYAL  SHAMBLES  OR  THE  PROGRESS  OF  LEGITI- 
MACY &  REESTABLISHMENT  OF  RELIGION  &  SOCIAL  ORDER 

— !!! .Ml 

G.  Cruikshank  fec^  Margate  1816 

Pub'^  August  1816  by  W  Hone  55  Fleet  S^ 

Engraving  (coloured  and  uncoloured'  impressions).  A  burlesque  procession: 
Louis  XVIII,  led  by  monks  (1.)  and  followed  by  acolytes  (r.),  crushes  prostrate 
bodies.  In  the  centre  is  a  large  cannon  on  wheels,  inscribed  Jure  Divino,  on 
which  Louis  with  his  fat  gouty  legs  sits  astride.  The  cannon  is  dragged  along 
by  Wellington,  very  martial,  in  plumed  cocked  hat,  long  cavalry  coat,  and 
gauntlet  gloves,  planting  the  spiked  sole  of  his  jack-boot  on  the  head  of  a 
prostrate  man.  He  holds  out  his  sword  to  the  King,  who  grasps  the  (sheathed) 
point,  and  also  pulls  at  a  long  sealed  parchment  inscribed  Credentials  which 
is  twisted  round  the  knob  (cascabel)  at  the  rear  end  of  the  cannon.  He  says: 
Holdfast  &  never  fear — but  if  you  let  go  my  swoard  you' II  fall  head  foremost. 

Louis  XVIII  flings  behind  him  a  large  document,  shouting:  Petition  me  no 
Petitions,  the  King  wills  it.  The  paper  is  inscribed  Spare  my  Husbands  life! 
Spare  his  mutilation! ,  and  is  signed  Mad"'  Pleignier.  It  falls  towards  the 
petitioner,  a  fainting  woman  in  black  supported  by  a  stern  and  angry  French 
soldier,  wearing  the  Legion  of  Honour,  one  of  a  group  guarding  the  route 
and  having  a  standard  inscribed  Natio?ial  Guard.  Two  small  children  in  black 
beside  Mme  Pleignier  make  gestures  of  agonized  supplication  towards  the 
King,  whose  back  is  turned  to  them.  The  wheels  of  the  cannon  are  spiked, 
and  pass  over  bodies,  including  those  of  a  woman  and  child.  Beside  it  march 
four  men,  each  carrying  the  standard  of  his  country:  on  the  farther  side  is 
the  Emperor  of  Austria,  followed  by  the  King  of  Prussia  (the  eagle  is  incor- 

'  Without  title  but  with  signature  and  imprint. 

692 


POLITICAL   SATIRES    1816 

rectly  double).  On  the  nearer  side,  John  Bull,  distressed  and  angry,  marches 
over  a  prostrate  woman  and  child,  lifting  his  foot  so  as  not  to  crush  them; 
he  is  followed  by  the  Tsar  who  has  a  complacent  expression.  A  little  acolyte, 
trampling  on  bodies,  faces  John,  squirting  from  a  syringe  a  strong  jet  of  Holy 
Water  into  his  face.  John  is  a  stout  'cit'  in  patched  clothes. 

A  long  garland  of  lilies  joins  the  muzzle  of  the  cannon  to  the  head  of  a 
fantastic  donkey,  with  a  crown  between  its  long  erect  ears.  On  its  back,  on 
a  saddle-cloth  inscribed  Legitimacy,  sit  two  couples,  both  embracing:  the 
due  d'Angouleme  and  the  due  de  Berry  sit  back  to  back.  The  former's  wife 
sits  against  the  ass's  head ;  she  says :  My  dear — am  I  never  to  have  y^  Silver 
Image?  [see  No.  12700].  He  answers  Pho!  Pho!  leave  such  thoughts  to  my 
brother  Berrie's  tcife.  The  due  de  Berry  jauntily  answers :  Aye,  Aye  Angouleme 
We'll  do  our  best  for  the  right  line.  Their  ass  snorts  flames  and  brays  out  a  blast 
of  fire  and  smoke  inscribed :  Right  lines — no  breaks — Right  lines  the  only  lines 
of  beauty — No  curves — Right  lines.  The  young  duchesse  de  Berry  holds  the 
ass's  tail,  from  under  it  smoke  inscribed  Odour  of  Sanctity  rises,  and  flames 
radiate,  inscribed:  Pere  Elyzee,  Castlereagh,  Chateaubriand  [see  No.  10614], 
Pasquier.  The  ass's  hooves  in  heavily  spiked  shoes  trample  the  bodies  of 
Frenchmen.  This  ass  of  'Legitimacy'  is  followed  by  acolytes  with  lighted 
candles  who  swing  censers.  The  foremost  holds  a  piece  of  music,  and  they 
sing :  Salvum  fac  Regem,  Te  Deu?n ;  but  one,  pointing  slyly  to  a  tricolour 
cockade  on  his  breast,  sings :  Salvum  fac  Imperatorem  [Napoleon] .  Unlike 
the  others  he  is  not  trampling  on  Frenchmen. 

The  leaders  of  the  procession  (1.)  are  elderly  and  fanatical  monks  holding 
up  tall  crosses;  with  heavily  spiked  shoes  they  trample  on  their  victims.  They 
chant:  Make  zoay  for  our  Friends.  Te  Deuni,  and  are  followed  by  a  frantic 
priest,  elevating  the  Host,  who  shouts  Down!  down!  as  he  tramples  viciously. 
Between  this  man  and  Wellington  another  priest  walks  backwards,  using  (as 
in  No.  10404)  an  aspergill  to  sprinkle  the  advancing  procession  with  the  con- 
tents of  a  large  chamber-pot  inscribed  Holy  Water  which  is  slung  from  his 
neck.   He  looks  round  with  a  sly  smile,  saying,  see  how  we  get  on.   He  treads 

more  quietly  than  the  others  upon  the  prostrate  men,  and  his  shoes  are  flat. 
The  route  is  bordered  (1.)  by  a  barricade  behind  which  stand  alternately 
soldiers  with  crosses,  and  priests  with  bayonets.  Behind  and  above  them  is 
a  tall  scaff^old  bordered  by  vertical  daggers  (blood-stained)  and  crosses,  placed 
alternately.  On  this  are  two  blocks  at  each  of  which  kneels  a  man  in  a  shirt 
with  his  head  veiled.  Two  executioners  smite  off  the  hands  of  these  victims. 
On  the  r.  a  mutilated  man  walks  away;  a  chain  is  attached  to  his  ankle,  by 
this  he  is  led  off^  by  an  acolyte  along  a  plank  leading  to  the  second  scaffold  (r.). 
A  fourth  man,  heavily  shackled,  waits  on  the  1.  to  take  the  place  which  will 
be  vacant  at  the  block.  A  cardinal  presides,  standing  full-face  at  a  desk  above 
the  two  victims,  an  open  book  before  him.  He  chants  with  outstretched  arms : 
Sul  a  baw  la  Sid  a  haw  la.  On  the  second  scaffold,  a  man  whose  arms  and 
feet  have  been  cut  off  (on  the  first  scaffold)  kneels  with  his  neck  in  position 
for  a  huge  axe  which  works  on  a  pivot,  the  rope  being  pulled  by  the  executioner. 
The  axe  is  surmounted  by  a  fleur-de-lis,  and  the  blade  is  inscribed  L  XVIH. 
An  elderly  priest  (I.)  reads  prayers;  two  baskets  are  filled  with  heads,  legs, 
and  hands.  On  the  r.  is  a  gibbet;  an  executioner,  with  an  axe  thrust  through 
his  belt,  hauls  at  a  rope  over  a  pulley  by  which  a  man  is  hanged  after  having 
his  arms  and  legs  chopped  off.  In  the  gaps  between  and  beyond  the  scaffolds 
are  the  heads  of  cheering  crowds  watching  the  procession;  they  shout  Vive 
VOie,  except  for  one  who  shouts  the  orthodox  Vive  I'Roi.  In  the  distance, 
behind  the  plank  bridge,  is  a  mountain  on  which  stands  a  guillotine.    The 

693 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

landscape  continues  behind  the  r.  scaffold,  and  on  the  r.  of  the  design  is  a 
grassy  plateau  above  the  chanting  acolytes.  On  this  stand  four  dejected 
(Imperial)  grenadiers,  with  a  dismantled  and  broken  cannon.  One  has  a 
furled  tricolour  flag  surmounted  by  a  cap  of  Liberty;  an  officer  (1.)  addresses 
him :  Unfurl  that  Banner  &  to  the  right  about  face!  The  man  answers :  Not 
Time  yet!   The  other  three  say  to  each  other :  Have  we  no  men  in  France? — 

No  they  all  died  with  y^  Republic! — Who  is  that  dragging  the [King].'' — 

He  is  of  a  nation  that  once  put  their  Tyrant  to  death  but  they  forget! 

A  satire  on  ultra-royalism  in  France  and  on  Allied  support  to  the  Bourbons, 
see  No.  12609,  &c.  It  burlesques  the  celebration  on  8  July  of  the  anniversary 
of  the  entry  of  Louis  XVIII  to  Paris,  when  the  King  was  received  with  shouts 
of  *vive  le  roi';  it  is  here  suggested  that  they  actually  shouted  'vive  I'oie' 
(goose);'  cf.  the  shouts  of  'd'Ulysse'  in  place  of  'de  lis'  in  No.  12707.  During 
the  procession  the  wife  of  Jacques  Pleignier,  implicated  in  the  conspiracy 
'des  patriotes',  with  her  tv/o  children,  presented  a  petition  to  Louis  XVIII 
which  he  refused  to  receive;  she  sank  to  the  ground  and  was  assisted  by  a 
humane  National  Guard.  Examiner,  14  July  181 6.  The  men  executed  stand 
for  Pleignier  (a  tanner),  Carbonneau,  and  ToUeron;  on  27  July  they  were 
decapitated  after  having  the  right  hand  cut  off  on  a  block.  Ibid.  4  Aug.  The 
nephews  of  Louis  XVIII  represented  legitimacy  as  opposed  to  the  constitu- 
tional monarchy  and  the  Charter ;  the  marriage  of  the  due  de  Berry  to  Maria 
Carolina  of  Naples  on  17  June  1816  gave  hopes  of  an  heir  in  the  direct  line. 
Internal  order  in  France  in  1816  depended  on  the  army  of  occupation:  there 
were  Republican,  Bonapartist,  and  Orleanist  conspiracies;  unrest  was  in- 
creased by  the  bigotry  of  the  ultras,  who  had  a  majority  in  the  Chamber  and 
were  hostile  to  Louis  XVIII.  Wellington  and  the  Russian  Ambassador,  far 
from  supporting  the  ultras,  induced  the  King  to  dissolve  the  Chamber;  this 
was  agreed  to  on  16  Aug.,  and  decreed  on  5  Sept.  Charlety,  La  Restauration, 
1921,  pp.. 1 02-7.  Pere  filysee  (Talochon,  1753-1817)  was  an  emigre  of  1792, 
devoted  to  the  Bourbons,  a  gifted  surgeon  and  frere  de  la  Charite,  who  in 
18 1 5  had  drawn  up  a  reactionary  report  on  the  organization  of  medicine  in 
France.  Pasquier  (1767-1862),  a  Baron  of  the  Empire  who  held  important 
offices  under  Louis  XVIII,  appears  perhaps  as  a  renegade;  he  was  opposed 
to  the  ultras.   For  Hogarth's  line  (curve)  of  Beauty  cf.  No.  3217. 

Advertised  on  No.  12804:  'Price  4s  Handsomely  and  appropriately  coloured 
[i.e.  heavily  splashed  with  sanguinary  red],  A  New  Grand  Elaborate  Pro- 
cessional Caricature  on  a  Plate  22  inches  wide,  by  Mr.  George  Cruikshank 
entitled  .  .  .  [ut  supra].'  In  Hone's  Second  Trial,  1818,  advertised  'hand- 
somely coloured.  Three  Shillings'. 

Reid,  No.  594.    Cohn,  No.  1930. 
7|X2iiin. 

12798  THE  MODERN  JOB!  OR  JOHN  BULL  AND  HIS  COMFORTS! 

Marks  Del  et  Sc. 

Pu¥  by  J.  Johnston  Aug.  18 16  No  335  Oxford  S^'  London 

Engraving  (coloured  impression).  John  Bull,  a  'cit',  coatless  and  in  tattered 
clothes  which  hang  on  his  shrunken  frame,  sits  on  a  stool,  full-face,  hands 
on  knees,  gazing  gloomily  at  a  book  on  the  ground :  The  Extraordina[ry]  Red 
Book  Containing  a  List  of  Sinecars  [sic]  &c  &c.  He  says :  Terrors  are  turned 
upon  me:  they  pursue  my  soul  as  the  wi?id:  and  my  welfare  passeth  away  as  a 

'  Cf.  the  'Bob  [the  guillotine]  shave  a  King',  sung  by  English  Jacobins  c.  1793 
(No.  8365). 

694 


POLITICAL  SATIRES    l8l6 

cloud*  Below  the  title:  *Job.  C.  xxx,  v.  Jj.  His  comforters  are  grouped 
on  each  side  of  him.  The  most  prominent  is  the  Regent,  in  profile  to  the  r., 
with  two  gouty  legs  supported  on  crutches.  He  points  at  the  book,  saying, 
Have  Patience,  John  Bull,  see  how  dangerous  it  is  to  live  on  the  Fat  of  the  Land! 
what  heavy  Affliction  it  causes  me  which  you  need  be  under  no  Apprehention  of 
enduring.  Content  yourself  with  Bread  and  Water!!!  and  you'l  never  suffer  the 
Pain  of  the  Gout!  I  must  know  what  is  best  for  you.  The  crutches  have  short 
coverings  of  ermine  where  they  are  gripped  by  the  hands.  A  (brandy)  bottle 
projects  from  his  coat-pocket.  Close  behind  him  and  on  the  extreme  1.  are 
Liverpool  and  McMahon,  the  former's  r.  hand  resting  on  the  little  man's 
shoulder.  Both  look  apprehensiveh^  at  John  Bull ;  Liverpool  says :  Patience 
is  a  virtue ;  McMahon :  How  sulky  the  beast  looks  altho  my  Master  does  every 
thing  to  serve  him.  Opposite  the  Regent  is  Canning,  in  profile  to  the  1.,  saying. 
No  man  has  a  thorough  taste  of  prosperity,  to  whom  adversity  never  happened. 
Sidmouth,  very  thin,  bends  towards  John  Bull  in  silent  concern.  Behind  him 
and  on  the  extreme  r.  is  Ellenborough,  saying,  It  is  no  part  of  zcisdom  to  be 
miserable  today,  because  we  may  happen  to  be  so  to  morrozv. 

For  the  distress  of  1816  see  No.  12779,  ^^-  ^^  gave  rise  to  a  renewed 
campaign  against  sinecures,  the  starting-point  being  an  important  meeting 
at  the  London  tavern  on  29  July  to  consider  the  Report  of  the  Association 
for  the  Relief  of  the  Manufacturing  and  Labouring  Poor,  with  the  Duke  of 
York  in  the  Chair,  Ministers  and  the  Dukes  of  Kent  and  Cambridge  being 
present.  The  Duke  of  Kent  moved  the  first  resolution,  attributing  'stagna- 
tion of  employment  and  a  revolution  in  trade'  to  the  transition  from  war  to 
peace.  Cochrane  intervened  and  said  that  the  distress  was  due  to  profligate 
expenditure,  much  of  it  on  compliant  placemen,  as  well  as  on  the  large  mili- 
tary establishment.  See  Cobbett,  Pari.  Reg.  xxxi.  134-59,  174-7;  Examiner, 
4  Aug.  1816;  Halevy,  Hist,  of  the  English  People  181J-1S30,  1926,  p.  12  f. 
Lord  Holland  wrote,  28  Sept.  1816:  'I  think  sinecures  will  not  be  able  to 
stand  the  clamour.'  Metrwirs  of  Horner,  ii.  342;  see  also  pp.  385-7,  395-6. 
For  the  Red  Book  see  No.  12781,  &c.  Canning  had  returned  to  office  after 
an  interval  of  nearly  seven  years  (President  of  the  Board  of  Control  20  June 
1816). 
8^X  I2|  in.   With  border,  9I  X  13I  in. 

12799  HONE'S  VIEW  OF  THE  REGENT'S  BOMB,  NOW  UN- 
COVERED, FOR  THE  GRATIFICATION  OF  THE  PUBLIC,  IN 
ST  JAMES'S  PARK,  MAJESTICALLY  MOUNTED  ON  A  MON- 
STROUS NONDESCRIPT,  SUPPOSED  TO  REPRESENT  LEGITI- 
MATE SOVEREIGNTY. 

[G.  Cruikshank  del.] 

Published  by  W.  Hone,  5^  Fleet  Street  [Aug.  18 16] 

Woodcut  (coloured).  A  companion  broadside  to  Nos.  12802,  12804.  Heading 
to  broadside  printed  in  three  columns.  A  huge  mortar,  in  profile  to  the  1., 
is  supported  at  an  angle  of  c.  45  degrees  on  the  back  of  a  winged  monster 
with  two  coiled  and  scaly  tails.  At  the  base  two  dogs'  heads  project  to  the  r. 
This  rests  on  a  rectangular  block  with  the  Prince's  feathers  in  high  relief  at 
one  end  (1.),  the  whole  being  mounted  on  a  slab.  Below  the  title:  To  the 
Admirers  and  Supporters  of  Louis  XVHL  the  Hottentot  Venus  [see  No. 
1 1 577,  &c.],  and  other  strange  productions,  and  to  Lord  Castlereagh,  this  View 
of  the  Fundamental  Features  of  the  Prince  Regent's  Bomb,  is  particularly  Dedi- 
cated. Two  columns  of  the  text  are  an  explanatory  description  of  the 
monster,  the  third  contains  54  lines  on  the  uncovering  of  the  bomb  on 

695 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

12  Aug.  1816,  the  Regent's  birthday,  on  Horse  Guards  Parade  (where  it 
remains);  11.  27-42: 

Oh,  what  a  Bomb!  Oh,  Heaven  defend  us! 

The  thought  of  Bombs  is  quite  tremendous! 

What  crowds  will  come  from  every  shore 

To  gaze  on  its  amazing  bore! 

What  swarms  of  Statesmen,  warm  and  loyal, 

To  worship  Bomb  so  truly  royal  1 

And  first  approach  three  'secret  hags'. 

Then  him  the  R 1  calls  'Old  Bags  [Eldon]'; 

Methinks  I  see  V 1  [Vansittart]  come. 

And  humbly  kiss  the  royal  Bomb! 

While  T y  W y  [Tylney  Wellesley],  (loyal  Soul) 

Will  take  its  measure  with  a  Pole; 

And  C h  [Castlereagh]  will  low  beseech 

To  kiss  a  corner  of  the  breech ; 

And  next  will  come  old  G y  R e  [Georgy  Rose] 

And  in  the  touch-hole  shove  his  nose! 

These  lines  are  illustrated  in  No.  12800.  The  Spanish  Regency  had  pre- 
sented to  the  Prince  Regent  an  enormous  mortar  (or  bomb)  which  had 
bombarded  Cadiz  from  the  unprecedented  distance  of  three  and  a  half  miles, 
and  had  been  abandoned  by  Soult  after  Salamanca.  It  was  presented  in 
memory  of  Wellington's  victory  as  a  token  of  respect  and  gratitude  from  the 
Spanish  nation,  with  a  request  that  it  might  be  placed  in  one  of  the  royal 
parks.  A  stand  for  it  in  the  form  of  a  monster  intended  for  Geryon,  on 
account  of  his  connexion  with  Gades  (Cadiz),  was  designed  by  Lord  Mul- 
grave  and  cast  at  Woolwich  Arsenal,  Geryon  symbolizing  Napoleon  over- 
come by  Hercules  (Wellington).  The  text,  however,  explains  'the  Bomb' 
(pronounced  to  rhyme  with  come),  as  'an  elegant  and  appropriate  compliment 
to  Louis  XVHL  and  Ferdinand  VH.;  in  short,  it  is  a  justly  admired  and 
spirited  personification  of  Legitimate  Sovereignty'  (cf.  No.  12797).  ^^^ 
Europ.  Mag.  Ixx.  177  f. ;  Gent.  Mag.  Ixxxvi.  2,  271  f.,  and  Nos.  12800,  12801, 
12802,  12803,  12804,  12806,  12811,  12842,  12868,  12897,  13058,  13232,  13280. 

Reid,  No.  2813.    Cohn,  No.  1209. 
c.  6|x6^  in.   Broadside,  17IX  11^  in. 

12800  SALUTING   THE   R TS   BOMB    UNCOVERED    ON   HIS 

BIRTH  DAY  AUGUST  12TH  I8I6 

[G.  Cruikshank.] 

Pub  by  W.  Hone  55  Fleet  S^  Aug'  1816 

Engraving  (coloured  impression).  An  illustration  to  the  lines  below  No.  12799. 
A  scene  in  Horse  Guards  Parade,  the  Horse  Guards  forming  a  background 
on  the  1.  The  mortar,  shorter  and  wider  than  the  original,  stands  in  the 
foreground;  the  Regent  takes  the  place  of  the  monster  as  its  support;  he 
kneels  in  a  crouching  attitude,  his  posterior  covered  by  the  mouth  of  the 
mortar  (1.),  his  face  forms  its  base,  resting  on  two  small  heads  which  take  the 
place  of  the  dogs  (the  watch-dogs  of  Geryon)  in  the  original.  These  are 
Lord  Yarmouth,  full-face,  and  McMahon,  in  profile;  the  touch-hole  is  on  the 
crown  of  his  head ;  his  arms,  resting  on  the  base,  issue  from  the  cylinder  and 
take  the  place  of  the  serpents ;  webbed  wings  resembling  those  of  the  original 
project  from  behind  his  arms. 

On  the  extreme  1.  stands  Lord  Eldon,  holding  the  mace  and  the  Purse  of 
the  Great  Seal,  with  three  ladies,  the  largest  and  most  prominent  being  Lady 

696 


POLITICAL   SATIRES    1816 

Hertford,  much  decolletee  and  with  a  festooned  skirt  displaying  her  legs;  the 
others  are  Mrs.  Fitzherbert  and  Lady  Jersey,  standing  on  a  Map  of  Jersey. 
From  their  mouths  float  up  the  words : 

we  come — let  who  dare  call  us  Hags — 
Tcome—I,  Eldon  I— ''Old  Bags"— 

Vansittart,  in  his  Chancellor  of  the  Exchequer's  gown,  stands  on  tiptoe  on 
a  block,  peering  with  pursed  lips  into  the  muzzle  of  the  mortar.   He  says : 

/,  A'^ c s  V 1  come 

To  humbly  Kiss  the  Royal  Bomb 

Wellesley  Pole  stands  on  the  base  of  the  mortar,  leaning  over  it  to  push 
a  pole  down  its  mouth : 

/  T y  W ly,  loyal  soul — 

Will  take  its  measure  with  a  Pole 

At  the  lower  end  (r.)  George  Rose,  holding  a  rose,  pokes  a  long  nose  at 
the  touch-hole : 

Behold  I  come— Old  G y  R- 


And  in  the  touchhole  thrust  my  Nose 

Castlereagh  stands  on  the  extreme  r.,  bowing  with  ingratiating  deference 
towards  the  Regent's  head: 

/,  C h  will  low  beseech 

To  kiss  a  corner  of  the  breech 

He  wears  long  wide  trousers,  gathered  at  waist  and  ankle,  see  No.  12840. 
Behind  the  'bomb'  is  a  cloud  of  opaque  smoke. 

See  No.  12799,  ^^-  ^^^  Lady  Hertford  see  No.  11853,  ^^-  ^^^  Regent's 
liaison  with  Lady  Jersey  ended  in  1796,  see  No.  8983,  &c.  He  deserted 
Mrs.  Fitzherbert  in  181 1.  Rose  (1744-1818)  was  regarded  as  an  arch- 
sinecurist,  cf.  No.  12781 ;  for  the  agitation  against  sinecures,  &:c.,  cf.  No. 
12781,  &c. 

Advertised,  'Price  2s.  .  .  .  handsomely  coloured  .  .  .'  on  No.  12804. 

Reid,  No.  593.    Cohn,  No.  1953. 
8^X13  in. 

12801  A  REPRESENTATION  OF  THE  REGENTS  TREMENDOUS 
THING  ERECTED  IN  THE  PARK. 

[Williams.] 

Pub'^  Aug'  1816  by  S  W  Fores  50  Piccadilly— 

Engraving  (coloured  impression).  The  Regent's  Bomb,  see  No.  12799,  &€., 
is  surrounded  by  an  astonished  crowd  of  all  classes.  It  is  seen  in  profile,  the 
giant  cylinder  pointing  upwards  and  to  the  1.  A  dandy  grasping  an  umbrella 
gazes  through  an  eyeglass,  saying,  O!  ho  I  see  it  has  not  escaped  the  Wars 
without  a  scar!  A  stout  market-woman,  arms  akimbo,  exclaims:  Well!  it  is 
a  thing  and  a  good  thing  too  by  G — .  A  farmer  in  a  smock  and  gaiters  turns 
to  his  wife,  saying,  /  say  Nan!  Eight  feet!  what  do  you  think  of  that!  She 
answers:  Whoy  I  do  think  it  be  a  wapper  Jhan.  Similar  remarks  are  made  by 
a  stout  citizen  and  his  smartly  dressed  daughter,  by  a  pretty  girl  and  her 
aunt,  by  a  fat  parson,  by  a  woman  of  fashion  and  her  husband  (dressed  as 
a  dandy),  by  a  fat  trollope,  &c. 
9^Xi3i|  in.  .  'Caricatures',  vii.  157. 

697 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

12802  THE  APPEARANCE  OF  AN  APPARITION 

March  sc   [G.  Cruikshank  del.] 

London:  Printed  for  W.  Hone,  ^^  Fleet  Street. — Price  Sixpence. 

[22  Aug.  18 1 61] 

Woodcut  (coloured  impression).  Heading  to  a  broadside  in  three  columns. 
Below  the  title :  To  James  Sympson,  of  Huddersfield  in  Yorkshire,  an  elderly 
Broad-cloth  Weaver,  commanding  him  to  do  strange  Things  in  Pall  Mall,  .  .  . 
To  which  is  added  The  Woodpecker  Travestie  ;  or  the  Tax-gatherer  Knocking.  .  .  . 
A  lean  grotesque  man  (1.)  sits  in  a  hooded  arm-chair  by  the  fireside,  addressing 
with  raised  forefinger  the  weaver,  who  stands  facing  him,  wearing  his  shirt 
with  an  old  flannel  petticoat  (his  wife's)  round  his  neck.  The  grate  is  empty. 
Tea-things  and  a  bottle  are  on  the  chimney-piece.  The  text  relates  that  the 
ghost  ordered  him  to  go  to  Carlton  House  and  fix  a  paper  inscribed  'Retrench- 
ment' on  the  wall  of  the  Regent's  closet,  to  which  he  would  miraculously  be 
admitted.  The  ghost  tells  the  weaver's  wife  that  'the  people  are  perishing 
for  lack  of  bread  [see  No.  12779,  &c.],  while  sinecurists  and  pensioners  are 
wallowing  in  abundance'.  There  are  allusions  to  a  discarded  Treasury  Clerk 
of  5(^50  a  year  who  had  died  of  starvation  (cf.  No.  12786)  and  to  Lord  Arden's 
pension  [sic)  of  ;^38,566  (cf.  No.  1278 1).  At  Carlton  House  Sympson  finds 
only  'a  pair  of  stays,  and  a  bottle  of  noyeau— dragons  with  tails  [cf.  No. 
12749],  ^^d  t^^  heads  of  a  divorce  [see  No.  12028] — a  French  clock  and  some 
Roman  fiddle  strings  [emblem  of  Nero]'.  He  affixed  the  word  'Retrench- 
ment', and  learnt  that  when  the  Regent,  Castlereagh,  George  Rose,  Mr.  Croker 
(names  not  given  in  full)  entered  they  were  upset  and  Lord  Eldon  was  sent 
for;  one  of  the  gold-sticks  tore  down  the  off^ensive  placard,  and  the  party 
became  'more  determined  than  ever  to  pursue  their  plans  of  expenditure  .  .  . '. 
The  second  of  three  verses  of  The  Woodpecker  .  .  . : 

And  here,  in  Pall  Mall,  near  the  Park,  I  exclaim'd, 

With  a  B — m  oh!  how  big,  and  how  gay  to  the  eye! 
And  a  Yacht,  down  at  Deptford,  new  gilt  and  be-famed. 
What  a  strange  mode  of  life! — and  I  groan'd  out  a  sigh — 
Whilst  the  shops  are  half  shut  and  we  scarce  hear  a  sound. 
But  the  Tax-gath'rers  knocking  whilst  going  their  dull  round! 

A  companion  broadside  to  Nos.  12799,  12804.   For  the  Regent's  extrava- 
gance see  No.  12747,  ^^-  5  ^^r  his  yacht.  No.  12804,  ^'^• 

Reid,  No,  2815.    Cohn,  No.  892. 
c.  4|x  5^  in.  (vignette).    Broadside,  17!  X  11  j  in. 

12803  A  VIEW  OF  THE  R— G— T'S  BOMB. 

[Williams.]  [?Aug.  1816] 

Engraving  (coloured  impression).  A  close-up  view  of  the  Regent  standing  in 
back  view,  apparently  based  on  No.  9846  by  Gillray,  with  the  Regent's  bomb 
(see  No.  12799,  ^^0  i'^  the  background  surrounded  by  sightseers.  His 
posterior,  spherical  in  form  and  partly  covered  by  narrow,  pointed  coat-tails, 
is  exaggerated  like  his  shoulders  and  calves;  the  bulky  form  is  supported 
on  small  feet.  He  has  a  curled  and  powdered  wig  with  a  small  pigtail,  and 
curled  (false)  whiskers  bulging  symmetrically  on  each  side  of  his  coat-collar. 
He  wears  two  blue  ribbons,  crossed;  his  garter  is  inscribed //ow/  soit.  Under 
his  1.  arm  is  a  large  crescent-shaped  cocked  hat.  His  coat  is  wrinkled  at  the 
tightly  corseted  waist. 
9ix6|in. 

'  Date  from  Cohn. 

698 


POLITICAL   SATIRES    1816 

12803  a  a  reissue  (?  1820),  Pu¥  by  S.  W.  Fores,  50,  Piccadilly,  and 
312,  Oxford  iS',  with  altered  title :  A  — Royal  Dandy. 

12804  THE  YACHT  FOR  THE  R T'S  B— M— . 

[March]  I 

Price  Sixpence  Coloured — Printed  for  William  Hone,  ^^,  Fleet  Street, 
London 

Woodcut  (coloured).  Heading  to  a  printed  broadside,  see  Nos.  12799,  12802. 
Below  the  title :  'A  Poetical  Epistle,  from  Brother  John  in  England,  to  Brother 
Pat  in  Ireland  [cf.  Nos.  9517,  looii,  &c.]. — To  the  Copper-Gilt  Fringe  of 
Mr.  Pitt's  old  Mantle  [cf.  No.  10992] — to  the  Brazen  Projects  and  Gilt 
Pockets  of  his  Admirers — to  the  Manufacturers  and  Consumers  of  Gilt 
Gingerbread.  .  .  .  this  View,  peculiarly  befitting,  and  forming  a  Counterpart 
to  his  "Bomb  Uncovered"  [see  No.  12800],  is  dutifully  Dedicated'.  The  hull 
of  a  three-masted  vessel,  showing  the  stern  and  the  port  side.  It  is  elaborately 
decorated  with  allegorical  figures  and  with  a  large  Garter  star.  The  verses 
describe  the  luxurious  fittings,  gilding,  and  furniture.  The  second  of  seven- 
teen verses: 

If  you  knew  how  immense 

Was  the  building  expence — 
And  this  when  the  nation  was  failing — 

Of  a  place  for  this  B — in — - 

You  would  think  it  a  hum, 
That  it  must  have  a  vessel  to  sail  in. 

A  prose  description  of  the  'Royal  Sovereign'  follows,  launched  from  Dept- 
ford  Yard  on  8  Aug.  1816  'having  been  newly  copper-bottomed  and  entirely 
new  gilt  and  fitted  up  throughout  ...  at  an  estimated  expence  of  upwards 
of  Sixty  Thousand  Pounds  .  .  .!' 

One  of  many  attacks  on  the  Regent's  extravagance  at  a  time  of  national 
distress,  see  No.  12747,  ^^-  "^^^  Royal  Sovereign,  278  tons,  was  launched 
in  1804.  In  181 5  a  new  yacht,  the  Prince  Regent,  282  tons,  was  built.  Gavin, 
Royal  Yachts,  1932,  pp.  94,  99.    See  Nos.  12802,  12805,  12987,  13259. 

Cohn,  No.  21 1 1. 
c.  35X5^  in.    Broadside,  17IX  io|  in. 

12805  CONSULTATION  ON  THE  BEST  CURE  FOR  THE  GOUT 
I— E  MULTUM  IM  [sic]  PARVO!! 

Piib'^  by  R  A.  Fores,    ji.  Leadenhall  Street  [?  Aug.  1816] 

Lithograph  (coloured  impression).  The  Regent,  wearing  uniform  with 
gorget,  sash,  and  jack-boots,  stands  directed  to  the  r.;  he  puts  an  immensely 
enlarged  1.  hand,  inscribed  Army,  behind  the  head  of  Wellington,  who  kneels 
on  one  knee,  putting  up  both  arms  to  support  the  hand.  The  Regent's  r. 
hand,  inscribed  Navy,  is  too  small  for  his  bulky  figure.  He  says:  Confound 
this  d — d  Gout  I  shall  not  be  able  to  attend  Reviews  much  longer  if  it  goes  on 
at  this  rate.  Wellington  says:  Order  the  YACHT  [see  No.  12804]  and  ship  it 
off  to  the  Isle  of  Wight  immediately.  Sidmouth,  as  a  wizened  doctor  (cf. 
No.  9847),  stands  in  profile  to  the  1.  on  an  apothecary's  mortar,  in  order 
to  inspect  the  gigantic  hand.  He  touches  it,  saying.  Oh  Derry  do  come 
and  look  We  must  supply  some  speedy  remedy  for  the  infection  is  spreading  fast!! 

'  'The  engraving  above  is  by  James  March,  from  a  Correct  View  .  .  .  taken  by  hirn, 
expressly  for  this  Pubhcation,  on  .  .  .  the  26th  of  August,  1816.'  The  Douglas  copy  is 
autographed  'Drawn  by  Me.   G.  C 

699 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

A  clyster-pipe  hangs  from  his  pocket,  a  pestle  lies  beside  the  upturned  mortar. 
Behind  him  (r.)  is  Castlereagh  in  profile  to  the  r.,  grasping  Vansittart;  he 
says :  Do  VAN — Levy  more  Taxes  to  pay  off  and  satisfy  this  Cursed  Gout  to 
prevent  its  spreading  any  further.  A  scourge  hangs  from  his  pocket.  Vansittart, 
in  his  Chancellor  of  the  Exchequer's  gown,  answers:  Levy  the  Devil  I've 
levied  more  than  they  can  pay  already.  On  the  1.  is  John  Bull,  in  profile  to  the 
r.,  a  sturdy  citizen  holding  a  cudgel;  he  extends  his  1.  arm  to  the  Regent, 
saying,  /  told  you  long  ago  and  now  again  tell  you  that  if  you  take  away  the 
CORRUPTION  you  may  reduce  it  to  its  natural  size  with  safety.  Behind  him  (1.) 
stands  a  dejected  naval  officer;  he  says:  Ah  lohnny  the  Case  is  altered  now 
When  poor  NELSON  was  alive  we  were  not  on  this  side. 

For  the  attack  on  the  Army  Estimates  see  No.  12756,  &c.  The  Regent's 
costume  symbolizes  the  militarism  which  was  a  common  subject  of  attack, 
cf.  (e.g.)  the  new  Military  Club,  'the  military  mania',  and  'the  ridiculous 
parade  of  troops'.  Pari.  Deb.  xxxiii.  241-7  (Mar.  1816),  xxxiv.  493  ff.,  &c. 
(May  1816).)  For  'Corruption'  cf.  No.  12781,  &c.;  for  the  great  decrease  in 
the  naval  establishment  in  1816  see  James,  Naval  History,  1902,  vi.  399; 
for  'Derry'  cf.  Nos.  10572,  13301.  Perhaps  later  than  1816,  as  Wellington's 
presence  suggests. 
7|xi3iin.    With  border,  8fx  13 1  in. 

12806  THE  YORKSHIREMAN'S  SLAP  AT  THE  R T'S  BOMB: 

[G.  Cruikshank.] 

Published  by  John  Fairburn,  2,  Broadway,  Ludgate-Hill. 
Engraving  (coloured  impression).  Heading  to  ''A  Bomb-as-tical  Song.  Tune 
— Rump  ti  iddity.',  nine  eight-line  (printed)  verses.  A  second  state  of 
No.  1 1922.  The  whiskers  have  been  replaced  on  the  Regent's  cheeks,  in  a 
curving  line,  and  he  holds  up  a  print  of  the  Regent's  Bomb,  see  No.  12799,  &c. 
The  seventh  verse  ends : 

They  say  it  cost  Ten  Thousand  Pounds ; 

Now  I  really  do  think  such  a  sum.  Sir, 
Had  much  better  fill'd  tett  thousand  mouths. 

Than  been  laid  out  on  one  single  Bomb,  Sir. 

Rump  ti  iddity,  &c. 

One  of  many  satires  on  princely  extravagance  at  a  time  of  national  distress, 

see  Nos.  12747,  ^c-'  i2799>  ^'^• 

Reid,  No.  595.   Cohn,  No.  21 12. 
Broadside,  15IX7  in. 

12807  THE  ENTRY  OF  THE  BLUE  CANDIDATE  INTO  GLO- 

CESTER!!! 

G  Cruikshank  fee* 

Pub'^  Sepr  1816  by  W.  Hone  33  Fleet  S'  London 

Engraving  (coloured  impression).  A  burlesqued  election  procession.  The  Tory 
candidate,  in  oriental  dress,  and  heavily  whiskered  and  bearded,  sits  on  a  donkey, 
which,  refusing  to  move,  is  dragged  and  pushed  by  his  supporters,  who  wear 
large  blue  favours.  The  candidate,  in  profile  to  the  1.,  smokes  a  long  pipe;  he  is 
bearded,  wears  a  jewelled  turban,  and  trousers  gathered  at  the  ankle;  Loaves  & 
Fishes  project  from  a  pannier  so  placarded.  The  ass,  which  is  decked  out  with 
blue  bows,  excretes  a  blast  inscribed  God  save  the  King!!  Two  men  push  the 
ass  from  behind.  One  says:  Push  away  little  Iron  Sides  dont  let  him  retreat — 
I'll  hold  hi?n.  The  other,  identified  as  Will  Montague,  answers:  why  don't  you 
push  I'm  almost  exhausted.    Four  men  drag  at  the  rope  attached  to  the  ass's 

700 


POLITICAL   SATIRES    1816 

nose.  The  leader,  who  wears  smart  top-boots,  has  a  (blue)  flag  inscribed 
Madam  Catherine  s  Interest — No  Popery — Loaves  &  fishes  my  lads ;  he  says : 
You  refused  me,  but  what  say  you  to  Don  WhiskerandosH!  Above  his  head 
a  grotesque  figure  of  Fame  strides  through  the  air  with  two  trumpets;  one 
he  blows :  Heres  a  just-ass  [justice]  for  ye  at  last ;  the  other  he  holds  behind 
him:  He  comes.  He  comes  the  Hero  comes!!  The  next  man  has  a  pen  behind 
his  ear ;  he  shouts  Ho  Ho — he,  he — Ha  Ha — Bl — Bl—Blue.  The  next,  identi- 
fied as  Tom  Davis,  says:  True  Blue  in  Peals  of  Thunder  Huzza.  The  last  man: 

Dont  strain  the  Rope  too  tight  D ^.   Cheering  bystanders  wave  their  hats. 

Behind  is  the  extensive  front  of  the  Bell  Inn,  with  Marsh  Bell  In[n]  over  the 
doorway. 

At  a  by-election  for  Gloucester  in  181 6,  owing  to  the  retirement  and  death 
of  Robert  Morris,  there  was  a  contested  election  between  Robert  Bransby 
Cooper  (author  of  theological  pamphlets,  1820-33)  and  Edward  Webb,  the 
book  of  the  poll  being  printed.  The  electors  were  the  freemen,  estimated  at 
2,000.  Webb  was  elected  (i  Oct.),  but  Cooper  (here  depicted)  was  returned  at 
the  general  election  in  1818,  and  again  in  1826.  For  the  loaves  and  fishes  cf. 
(e.g.)  No.  10697. 

Reid,  No.  597.    Cohn,  No.  1092. 
8f  xi2i|  in. 

12808  PAVING  THE  WAY  FOR  A  ROYAL  DIVORCE. 

[Williams.] 

Pub'^  October  i^'  18 16  by  Johnston  g8  Cheapside 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  xii.  241.  The  Regent 
at  the  head  of  a  table  (1.)  on  which  are  decanters  and  dessert,  holds  a  consulta- 
tion with  five  advisers.  He  sits  on  a  dais,  with  his  r.  leg  thrown  over  an  arm 
of  his  chair;  the  r.  arm  over  the  back,  spilling  a  glass  of  wine.    He  saj^s 

jocosely:  Well  my  boys,  I  think  now  we  shall  succeed  D dfiiie  evidence  from 

the  states  of  Barbary  {if  that  cursed  Hedgehog  dont  get  hold  of  it ;  the  very  man 
that  says  he  acted  as  Accoucheur  I  have  got  over  every  thing  as  clear  as  the  Sun 
at  noon  day,  I  knew  what  fellozvs  those  Turks  were,  only  once  get  her  over  there 
&  the  thing  was  accomplished, — now  for  a  divorce  as  soon  as  possible,  I  have 
a  tit  bit  in  my  eye,  &  if  I  dont  yet  get  a  son,  say  that  I  afn  not  a  chip  of  the 
old  Block!!  At  his  r.  sits  Castlereagh,  with  the  Prince's  feathers  and  motto  on 
the  back  of  his  chair.  He  turns  his  head  in  profile,  saying,  Pm  an  unmatched 
negociator  [see  No.  12501]  and  Pll  enter  into  a  treaty  with  the  House  of  comtnons 
to  secure  your  suit.  In  his  pocket  is  a  paper:  Negociat  .  .  with  the.  Lord  Eldon 
faces  Castlereagh;  he  wears  his  Chancellor's  wig  and  gown;  the  Purse  of  the 
Great  Seal  hangs  on  the  wall  behind  him.  He  says:  Pll  stick  to  your  highness 
through  thick  and  thin  or  never  call  me  Old  Bags  again  as  long  as  I  live!!  At 
the  foot  of  the  table  sits  Ellenborough,  in  wig  and  gown,  towards  whom  the 
other  two  members  of  the  Cabinet  turn  in  alarm.  Liverpool  (a  poor  portrait) 
sitting  opposite  Vansittart,  says :  /  have  my  doubts  and  qualms  of  conscience 
your  highness  what  say  you.  Van?  Vansittart,  in  his  Chancellor  of  the  Ex- 
chequer's gown:  Oh  my  Lord  I  have  some  strange  touches  of  feeling  on  the 
subject!  He  sits  on  a  sack  inscribed  Budget;  from  a  rent  in  it  projects  a  paper: 
to  ,  .  .  6.000000.  Ellenborough  shakes  his  fist  at  Vansittart,  rising  from  his 
chair  which  overturns :  Dont  put  me  in  a  passion  with  your  qualms  and  your 

touches,  they  are  all  "false,  false  as  HelV  Pll  blow  you  all  to  the  D /  if  you 

dont  stick  to  your  Master  manfully!!  On  the  floor  beside  him  lie  three  large 
volumes.  Law  of  Divorce  [Vol.  I].  Vol  HI,  Vol  H.   Behind  the  Regent  hangs 

701 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

a  portrait  with  the  feet  only  showing :  [Henjry  VIII.  Beside  him  are  a  full 
wine-cooler,  with  empty  bottles  lying  by  it,  and  an  open  book:  The  Secret 
Memoirs  of  a  Prince  By  Humphry  Hedgehog  Esq^  i8io  [or  1816]. 

Rumours  and  reports  that  the  Regent  intended  to  seek  a  divorce,  see 
No.  12028,  became  increasingly  explicit  from  July  to  September.  See 
Examiner,  1816,  pp.  424,  491,  551,  568,  577,  &c.  On  28  Sept.  the  Morning 
Herald  (the  Carlton  House  paper,  see  No.  12082)  asserted  that  the  'State 
Process'  was  suspended,  owing  to  the  intercession  of  Princess  Charlotte ;  the 
Sun  alleged  that  reports  of  a  contemplated  divorce  were  unfounded.  Ibid., 
p.  615.  The  Prince  was  attempting  to  obtain  evidence  against  his  wife,  whose 
life  in  Italy  was  causing  scandal,  see  Castlereagh's  letter  of  18  Feb.  1816: 
'In  the  flagrant  abandonment  of  the  present  menage  some  explosion  will 
happen.  ..."  C.  K.  Webster,  Foreign  Policy  of  Castlereagh,  ii.  580.  Castle- 
reagh  laid  the  reports  before  Eldon,  Ellenborough,  and  Sir  William  Scott, 
and  reported  to  the  Prince  (13  Mar.)  that  'he  perceives  a  considerable  diver- 
gence of  opinion  .  .  .  both  upon  the  law  and  the  prudential  considerations 
affecting  the  case'.  Corr.  of  George  IV,  1938,  ii.  156.  Brougham  was  on 
the  alert;  though  uncertain  (14  July)  of  his  information  that  a  divorce  was 
intended  (ibid.,  p.  164)  he  was  better  informed  a  month  later.  Creevey  Papers, 
1912,  p.  259  f.  See  Nos.  12028,  12041,  13 241,  13242.  When  the  Princess 
visited  Tunis,  see  No.  12795,  a  report  was  circulated,  doubtless  humorously, 
that  she  had  been  'brought  to  bed  of  a  fine  boy  in  the  harem  of  the  Dey  .  .  .'. 
Diary  of  Benjamin  Newton,  1933,  p.  5.  For  the  comparison  of  the  Regent  with 
Henry  VIII  cf.  No.  12041,  &c.  'Humphrey  Hedgehog'  connotes  John  Agg, 
see  No.  12338,  who  published  satires  on  the  Regent  under  these  two  names 
and  also  as  Peter  Pindar  Junior  and  Jeremiah  Juvenal.  Liverpool  and  Van- 
sittart,  pious  evangelicals,  are  ill  at  ease  in  such  a  conference. 
8-^  X  i2|  in.   With  border,  9|x  13I  in. 

12809  THE  CITY  GLEE. 

[Williams.]  [Oct.  1816] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  Below 
the  title:  {As  Sung  at  Guildhall  by  Aldermen  Wood,  Combe,  and  Smith.) — 
Tune — ''we  be  three  poor  Mariners".  The  three  candidates  for  the  mayoralty 
on  28  Sept.  1 81 6  stand  against  a  background,  apparently  representing  the 
wall  at  the  back  of  the  platform  in  Guildhall.  In  the  centre  behind  Wood, 
the  Mayor  elect,  is  a  door  surmounted  by  the  City  arms,  and  flanked  by  the 
City  Sword  and  mace,  on  the  1.  and  r.  are  large  boards  for  the  result  of  the 
poll,  one  (1.)  being  blank.  Wood,  wearing  his  gown  and  chain,  stands  with 
his  r.  hand  on  his  heart  addressing  the  electors:  Gentlemen,  this  is  a  honor 
I  have  not  sought  but  if  it  is  your  wish,  I  will  conscientiously  discharge  my  Office! 
Combe  (1.)  stands  chapeau  bras,  pointing  to  Wood;  he  says:  Gentlemen  tho 
ill  health  obliges  me  to  decline  the  honor  you  have  a  second  time  intended  me,  yet 
I  feel  happy  it  will  fall  to  one  who  has  already  shewn  so  much  zeal,  perseverance 
&  Humanity.  Christopher  Smith,  in  a  court  suit  with  a  sword,  frowns 
gloomily.  Behind  him  is  the  list  of  the  poll:  Lord  Mayor  2221,  Coombe 
2032,  Smith  g^o,  [Atk]ins  8,  Goo[dbehe]re  5.  The  verses  (six)  and  chorus 
begin : 

We  be  three  furl'd  Aldermen, 
Newly  come  from  the  Court, 
We  spend  our  lives  in  feast  and  sport 
While  half  the  nation  starves. 

702 


POLITICAL   SATIRES    1816 

The  third,  fourth,  and  fifth  verses  are  sung  in  turn.   Wood  begins: 

I  have  served  you  faithfully; 
Property  protected;  .  .  . 
Combe :  I,  for  years,  in  Parliament 

All  your  rights  defended;  .  .  , 
Smith :  I  am  hand  and  glove,  my  boys 

With  men  of  highest  station —  .  .  . 

The  Livery  in  Common  Hall  met  on  28  Sept.  to  nominate  the  Mayor,  to 
be  chosen  by  the  Court  of  Aldermen.  By  custom  the  next  on  the  list  was 
nominated;  this  was  Smith,  a  Ministerialist.  On  a  show  of  hands  there  was 
a  large  majority  for  the  present  Mayor,  Wood,  but  Smith  demanded  a  poll. 
The  Livery  voted  for  Wood  till  reminded  that  the  Court  could  choose  either 
of  the  two  at  the  head  of  the  poll.  They  then  voted  also  for  Combe  (Whig 
M.P.  for  the  City,  Mayor  1800-1).  At  the  close  of  the  poll  on  5  Oct.  the  votes 
were  the  Mayor  2,635,  Combe  2,357,  Smith  1,059.  Examiner,  29  Sept.,  6,  13, 
20  Oct.  This  was  the  first  instance  of  an  election  for  a  second  term  since  that 
of  Sir  Thomas  Pilkington  (also  an  opponent  of  the  Court)  in  1691 .  It  was  the 
subject  of  the  leading  article  in  the  Examiner  on  20  Oct.  acclaiming  the  return 
as  a  victory,  not  for  party,  but  for  the  people  of  England  and  Europe  against 
selfish  ill-treatment  by  their  rulers.  For  Matthew  Wood,  the  champion  of  the 
Princess  of  Wales,  see  (e.g.)  Nos.  11909,  12813,  &c. 
6^X9^  in.    Broadside,  14IX  10  in. 

12810  A  TRIP  FROM  WALES,  TO  BARBARY OR  THE  BASHAW 

WITH  THREE  TAILS         SMOAKING  AN  EASY  PIPE. 

[Elmes.]  [?c.  Oct.  1816] 

Engraving.  The  Bey  of  Tunis  sits  on  a  mattress,  with  the  Princess  of  Wales 
on  his  knee.  He  smokes  a  hookah,  emitting  two  big  puffs  of  smoke;  his  1. 
arm  is  round  her  waist.   He  wears  a  large  jewelled  turban,  with  aigrette  and 

three  drooping  horse-tails  to  show  his  rank.    He  asks :  What  is  your  R / 

H s^  opinion  of  our  Barbary  Fashionables  do  the  Cut  of  our  Mustachoes 

differ  from  those  of  the  Princes  in  Europe.  She  holds  his  beard,  saying,  The 
Cut  of  Your  Princely!!  Whiskers  can  not  but  Create  the  Admiration  of  every 
Lady  in  the  Seraglio. — and  for  My  part  I  am  delighted  beyond  measure  with 

your  Three  Tails!!    She  wears  a  decolletee  high-waisted  dress 

with  jewels.  On  the  r.  lies  a  goat  suckling  two  lion  cubs.  These  are:  Lions — 

Cubs,  a  present  for  the  E r  of  Austria. 

For  the  Princess's  visit  to  Tunis  see  No.  12795,  ^c. 
8|x  12^  in.   With  border,  9|x  13I  in. 

12811  THE  CEREMONY  OF  KISSING  THE  BADGE  AT  THE  IN- 
STALLATION OF  THE  KNIGHTS  OF  THE  BOMB. 

[Williams.] 

Pub'^  Nov''  i^'  1816  by  Johnston,  g8  Cheapside 

Engraving  (coloured  impression).  PI.  to  the  Scourge,  xii.  321.'  A  satire  on 
the  reconstitution  of  the  Order  of  the  Bath  (2  Jan.  1815)  and  on  the  'Regent's 
Bomb'  or  mortar,  see  No.  12799,  ^c.  The  Regent  sits  in  back  view  on  a 
Grand  Mortar  raised  on  a  dais  of  two  steps  at  the  base  of  which  is  a  tasselled 
cushion.  The  mortar  is  shaped  like  that  of  an  apothecary,  inverted,  and  resting 

'  Not  folded,  showing  that  it  was  issued  separately. 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

on  ball-feet,  forming  a  commode.  He,  and  all  the  attendant  knights  are  in 
the  dress  of  the  order:  a  white  surcoat,  belted,  a  hat  like  a  flower-pot  (of. 
No.  11219)  with  the  Prince's  feathers,  and  the  badge  of  the  order  suspended 
from  the  neck.  The  Prince  wears  a  special  badge  hanging  down  his  back, 
with  a  representation  of  the  bomb  (see  No.  12799).  Two  young  men,  wearing 
badges  inscribed  B  C  [Companion  of  the  Bomb],  standing  on  each  side  of  the 
dais,  with  long  staves,  hold  out  the  corners  of  the  surcoat,  while  a  knight 
advances,  bending  low  and  doffing  his  hat,  prepared  to  kiss;  his  movements 
are  superintended  by  a  courtier  with  a  staffs  who  holds  a  cloth  to  the  bowing 
man's  lips.  His  badge  is  inscribed  K  G  B;  a  ribbon  hangs  round  his  posterior 
inscribed  Necessitas  Non  Habit  [sic]  L[egem] .  He  is  followed  by  a  second,  and, 
extreme  r.,  a  third.  Behind  is  the  profile  of  McMahon.  Two  knights  with  the 
KGB  badge  who  have  performed  the  ceremony  are  seated  on  mortars  on 
the  1.  The  wall  which  forms  a  background  is  arcaded  in  a  quasi-Gothic, 
quasi-Chinese  manner,  the  decoration  above  the  Regent  being  inscribed 
Chapel  of  Ease. 

For  the  reconstitution  of  the  Order  of  the  Bath  see  Ann.  Reg.,  1815, 
pp.  134-7.  ^^-  ^°-  ^3247-  An  engraving  of  a  'gross  caricature  of  the  order 
of  the  bomb',  probably  this  print,  'which,  God  knows,  seems  intelligible 
enough',  appeared  in  Panorama  d  Angleterre  .  .  .  [cf.  No.  12758],  1817,  by 
Charles  Malo,  who  absurdly  explained  it  as  a  quiz  upon  the  insignificant  part 
which  the  bomb-vessels  played  against  Algiers.  Quarterly  Review,  xviii.  228 
(Oct.  1817). 
8|xi3in. 

12812  THE  CRISIS— OR— BRITANNIA  IN  DANGER. 

[Williams.] 

Pu¥  Nov''  1816  by  S  W  Fores  N°  50  Piccadilly 

Engraving  (coloured  impression).  Britannia  lies  on  her  back  on  the  ground, 
attended  by  two  doctors,  Vansittart  (1.)  and  Castlereagh  (r.).  Both  wear  bushy 
white  wigs  and  old-fashioned  dress  with  wide  cuff's.  Vansittart  wears  his 
Chancellor  of  the  Exchequer's  gown.  On  Britannia's  body  is  piled  a  great 
heap  of  docketed  papers :  Shop  Tax,  Land  Tax,  House  Tax,  Stamp  Tax,  Soap 
Tax  [see  No.  12782],  Iron  Tax,  Leather  Tax,  Tea  Tax,  Tobacco  Tax,  Horse 
Tax,  Spirit  Tax,  Malt  Tax,  Sugar  Tax,  Hop  Tax,  Window  Tax,  Salt  Tax, 
Servants  Tax.  Her  helmet  has  fallen  off  and  five  huge  leeches  with  human 
heads  (sinecurists)  have  fastened  on  her  forehead ;  three  are :  Croak  in  Leach 
[Croker],  Green-vile  Leach  [Grenville],  Aren-t  Leach  [Arden].  She  clutches 
her  spear;  her  r.  foot  rests  on  her  shield  and  is  about  to  be  bitten  by  a  serpent. 
Vansittart  raises  her  1.  arm  to  hold  her  pulse,  looking  at  his  watch  with  a 
scared  expression ;  he  says :  It  ^s  only  a  slight  fever,  accompanied  by  delirium, 
copious  Bleedings  &  a  strait  Waistcoat  will  soon  cure  her!  Castlereagh  bends 
forward  in  profile  to  the  1.,  holding  out  an  enormous  cylindrical  box,  inscribed 
Patent  and  Vatisweatem's  [so]porific  pills  He  says :  Aye!  Aye!  Brother,  that 
is  plenty  of  Pensions,  and  a  standing  Army,  with  a  few  of  these  Soporific  Pills. 
In  his  pocket  are  three  papers:  Speeches  on  my  reception  at  Belfast,  Speech  for 
my  reception  at  Newry,  Speech  .  .  .  Behind  him  is  the  stump  of  a  decayed  tree ; 
on  a  branch  sits  also  a  croaking  raven.  They  have  not  noticed  a  furious  but 
much  emaciated  British  Lion  standing  on  the  1.,  pulling  the  leeches  from 
Britannia  with  a  paw,  and  shedding  tears ;  the  head  of  a  deceased  leech  floats 
in  a  pool  by  his  side.  Two  ballads  lie  on  the  ground,  one  being  Alley  Croaker 
[an]  Old  Song  [cf.  No.  123 10].  Behind  him  is  a  rising  {}  or  setting)  sun  illumi- 
nating the  gaps  between  heavy  clouds. 

704 


POLITICAL   SATIRES    1816 

See  No.  12756,  a  similar  subject.  For  national  distress  see  No.  12779,  ^c. 
Lord  Arden  was  the  sinecurist  par  excellence,  see  No.  12781.  Croker's  salary 
as  Secretary  to  the  Admiralty  had  been  questioned ;  for  Grenville  as  sinecurist 
cf.  (e.g.)  Nos.  8061  (1792),  10543  (1806).  Actually,  the  Malt  Tax  had  been 
withdrawn  after  the  defeat  of  the  Income  Tax,  see  No.  12750.  Castlereagh's 
visit  to  Ireland  and  his  reception  by  his  family  and  political  supporters  was 
the  subject  of  a  leading  article  in  the  Examiner  for  10  Nov.  1816,  where  he 
is  called  'the  statesman  of  Walcheren',  the  seat-selling  legislator,  the  'smooth 
talking  and  shallow  Diplomatist',  who  has  'done  his  utmost  to  maintain 
parliamentary  corruption'.  His  speech  at  Belfast  was  printed. 
8|xi3|in. 


12813  IMPROEMENT  [sic]  IN  THE  CITY  •  OF  LONDON 

Marks  Del  et  Sc 

London  Pub.  by  J  Johnston  g8  Cheapsid  [sic]  [c.  Nov.  1816] 

Engraving  (coloured  impression).  A  design  divided  into  five  compartments, 
each  with  its  title :  [i]  In  the  centre :  The  Man  of  the  People?  Double  ChaindU! 
Wood  stands  looking  to  the  1.,  holding  a  large  broom  which  rests  on  a  paper 
at  his  feet:  .  .  .  abuse,  Corruption,  Tyranny.  Despotism;  the  broom-stick  is 
surmounted  by  a  large  Cap  oi  Liberty.  He  holds  in  his  1.  hand  Magna  Charter, 
and  wears  a  long  gown  with  two  mayoral  chains  symbolizing  his  second  term. 
Under  his  1.  foot  is  a  paper:  Discovery  of  Conspiraters  By  M.W.  Near  this 
are  a  pamphlet:  Life  of  Wittington,  and  a  paper:  Wilks.  Above  his  head  are 
two  cherubs,  irradiated,  holding  up  a  crown  between  them;  one  holds  a  cross, 
the  other  the  balanced  scales  of  Justice.  Below  the  title,  as  if  on  a  tablet  on 
the  front  of  a  platform  on  which  Wood  stands :  Scornful  Man  [sic]  bring  a  City 
into  a  Snare  \  But  wise  Men  turn  away  Wrath — Pro.  C  2gv  8.  This  design  is 
flanked  by  Wood's  activities  as  a  City  magistrate : 

[2]  An  approve^  plan  for  the  correction  of  Prostitutes.  A  young  woman  is 
suspended  by  ropes  round  her  waist  which  pass  over  two  pulleys  and  are  held 
by  Wood,  who  is  seated  (r.)  in  his  mayor's  robes.  Her  hands  are  confined 
in  a  solid  set  of  stocks  decorated  with  the  City  Arms,  and  she  is  being  birched 
by  a  sturdy  fellow  resembling  John  Bull.  She  says:  /  wish  my  fancy  man 
Bill  turtle-nose  [Curtis]  was  here  to  take  my  Part!! 

[3]  The  Children  of  Israel,  Driven  from  the  Bank —  Wood  (r.),  with  his  gown 
looped  over  an  arm,  stands  at  a  street  corner,  pointing  with  angry  severity 
at  Jewish  hawkers  of  fruit,  who  hasten  away.  The  principal  hawker,  old  and 
bearded,  says:  D — n  him  I  should  like  to  smash  him. 

[4]  Disturbing  the  guardian  of  y'^  night  from  his  Repose.  Wood,  wearing  a 
top-hat,  and  without  his  gown,  approaches  the  box  of  a  sleeping  watchman, 
taking  the  (broken)  lantern  from  the  side  of  the  box.  The  watchman,  with 
closed  eyes,  says:  D — n  it  how  I  am  trouble' d  with  the  Night  Mare!!  (see 
No.  12817).  Across  the  road,  beside  a  shuttered  bow-.vindow,  is  another 
watchman's  box  (r.)  with  its  occupant  alarmed,  and  holding  up  his  lantern. 
(For  the  watchman  sleeping  in  his  box  cf.  No.  9687.) 

[5]  Cleansing  the  City  of  Prostitutes.  Scene  at  a  street  corner.  Wood  (r.), 
wearing  his  gown,  kicks  vigorously  at  a  group  of  fleeing  women,  saying.  Get 
along  you  nasty  Whores.  On  the  1.  Sir  William  Curtis,  wearing  sailor's  dress, 
as  in  No.  11353,  in  profile  to  the  r.,  his  bottle-nose  much  exaggerated.  He 
says:  Thats  your  sort  [cf.  No.  8073,  &c.].  Matt,  go  it  we  will  Cleanse  the 
Strets  [sic]  Speedy  &  soon  [cf.  No.  11 306]. 

705  zz 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

When  Wood  was  elected  Lord  Mayor  for  a  second  term,  see  No.  12809, 
he  was  hailed  not  only  as  an  opponent  of  the  Ministry  but  as  an  active  City 
magistrate :  'At  one  time  we  find  him  arresting  offenders  in  person ;  at  another 
advocating  the  interests  of  constitutional  liberty;  at  another  detecting  and 
investigating  horrible  conspiracies,  and  saving  the  lives  of  simple  men  .  .  ,'. 
Examiner,  20  Oct.  1816.  The  'Discovery  of  Conspiraters'  relates  to  a  gang 
that  had  been  inciting  persons  to  burglary  to  obtain  rewards  for  their  con- 
viction. The  Mayor  took  an  active  part  in  the  investigation.  They  were 
sentenced  on  21  Sept.  Ibid.,  pp.  464,  479,  495,  621.  He  was  also  and  more 
directly  concerned  in  investigating  a  similar  conspiracy  by  which  persons  were 
induced  to  pass  bad  bank-tokens  and  shillings,  the  Bank  giving  a  reward  of 
los.  for  each  person  convicted.  Ibid.,  p.  685  (28  Oct.).  These  gave  rise  to 
Hone's  Hist,  of  the  Memorable  Blood  Conspiracy  .  .  .in  1756,  1816,  for  which 
Cruikshank  engraved  a  frontispiece,  copied  from  the  original  of  1756  (Reid, 
No.  596);  cf.  Nos.  12887,  12985,  13358.  See  also  Nos.  12814,  12816,  12817. 
[i]  8i-X4|  in.;  [2-5]  3if  X4f  in.;  whole  design,  8|x  13^  in. 

12814  CITY  SCAVENGERS  CLEANSING  THE  LONDON  STREETS 
OF  IMPURITIES!! 

[Williams.] 

London  Pub''  by  J,  Sidebotham  g6  Strand  [c.  Nov.  1816] 

Engraving  (coloured  impression).  The  Lord  Mayor  and  others  are  forcibly 
removing  prostitutes  from  the  streets  of  the  City.  On  the  1.  is  a  cart,  inscribed 
Magdalen  and  Female  Penitentiary  Asylum  1816  and  filled  with  straw,  into 
which  women  are  being  pitched.  An  elderly  alderman  lifts  up  a  pretty  girl 
while  her  ankles  are  seized  by  Waithman  (1.),  identified  by  a  letter  at  his  feet: 
To  Af  Waithman.  She  says  to  him:  Come  M^  Dimity  mouth!  what  are  you 
squinting  at,  be  modest  I  beg  of  you.  He  says:  Bundle  her  over!  but  be  carefull 
of  her  Linnen  Drapery  as  we  prevent  her  from  getting  another  yard.  Curtis, 
wearing  the  sailor's  dress  of  No.  11353,  &c.,  uses  a  long-handled  shovel  to 
throw  a  young  woman  on  to  the  cart;  she  lands  on  her  back,  exclaiming  O!  you 
Wretch.  He  says:  P II  pick  a  couple  for  my  own  private  use  D — w  me!  A  paper 
projects  from  his  pocket:  Corporat  .  .  Dinner  on  Thu^.  A  woman  in  the  cart 
scowls  down  at  him,  saying.  Bad  luck  to  your  Turtle  Nose.  Another  says: 
/  say  you  there  with  the  garnish!  we  are  all  in  the  Straw  here,  so  I  hope  you' II  take 
care  to  supply  us  with  caudle  we  can  get  some  at  Spillers!  as  we  pass.  The 
principal  figure  is  the  Lord  Mayor,  Wood,  wearing  his  gown  and  chain,  who 
is  vigorously  pushing  a  woman  towards  the  cart  with  a  broom,  saying.  Go 
along  you  little  Devil  you  nasty  beast,  you  bad  girl,  Pm  resolv'd  to  have  none 
of  your  fornication  in  the  City!  Shove  her  up  Billy  [Curtis].'  {what  Popularity 
this  will  give  me!).  She  exclaims:  O!  you  Barbarian  to  treat  a  poor  Thing  in 
this  manner  you  must  be  Stone  or  Wood  Pm  sure.  On  the  ground  is  a  paper : 
By  particular  desire  of  the  Society  for  the  suppression  of  Vice  D  of  K — t  in  the 
chair  Ordered — that  City  Officers  do  keep  the  Streets  clear  of  common  Prostitutes 
&  other  disorderly  persons — Wood  Mayor. 

In  the  background  (r.)  is  part  of  the  facade  of  the  Mansion  House.  On 
the  balustrade  in  front  of  the  steps  stands  the  Recorder,  Sir  John  Silvester, 
reading  the  Riot  Act.  Behind  him  is  a  bill :  Theatre  Royal — Busy  Body  .  .  . 
The  laughable  Farce  of  Silvester  Dagger  Wood.  The  'riot'  is  being  made  by 
some  constables  just  below  him,  who  provoke  the  resistance  of  women  whom 
they  try  to  arrest.  One  has  seized  a  fat  constable's  staff",  and  shakes  him  by 
the  collar,  saying,  O!  D — n  you.   A  burly  woman  shakes  her  fist  in  a  con- 

706 


POLITICAL  SATIRES   1816 

Stable's  face,  saying:  you  may  be  D — d.  He  says:  Fm  a  City  Constable  you 
B — h.  Another  accosts  a  woman  approaching  from  the  1.:  Fm  a  Constable!! 
pray  who  are  you  Miss!!  She  answers :  Fm  a  modest  Woman  &  be  D — d  to 
you!  The  corner  houses  on  the  1.  are  placarded  respectively  Corn[hill]  and 
Lombard  Street. 

An  attack  on  Wood's  campaign  against  prostitutes  in  the  City,  see  No. 
12813,  &c.  Curtis  the  Tory,  like  Waithman  the  Radical,  are  both  attacked. 
For  the  Duke  of  Kent,  'Joseph  Surface'  to  his  sisters,  cf.  No.  12624.  The 
Recorder,  John  Silvester,  had  notoriously  harsh  and  reactionary  views  on 
crime  and  punishment,  cf.  his  evidence  to  the  Committee  on  the  Police  of 
the  Metropolis,  Examiner,  181 6,  p.  829.  Wood  and  Silvester  are  combined 
in  'Sylvester  Daggerwood'  (the  'ham'  actor),  under  which  name  Colman's 
New  Hay  at  the  Old  Market  was  acted,  see  No.  11715.  The  Society  for  the 
Suppression  of  Vice  was  founded  in  1802;  it  was  satirized  by  Byron  in 
English  Bards  and  Scotch  Reviewers,  1809, 
9|x  14I  in.   With  border,  lox  15  in. 

12815  ROYAL  FISHMONGERS   OR  A  WELCOME  TO  BILLINS- 
GATE— ' 

C  PF  [Williams]. /mY— 

Pub'^  Novem''  1816  by  Tho^  Tegg  iii  Cheapside. 

Engraving  (coloured  impression).  The  three  members  of  the  Royal  family 
who  had  recently  been  given  the  Freedom  of  the  City  as  members  of  the 
Fishmongers'  Company  are  represented  as  Billingsgate  porters,  carrying 
baskets  of  fish  on  their  heads,  and  being  kissed  by  Billingsgate  women.  All 
wear  flat  round  hats  and  aprons.  Prince  Leopold  has  a  German  sausage  (cf. 
No.  12759)  projecting  from  his  coat-pocket,  and  another  is  in  his  basket. 
A  comely  woman  puts  her  arms  round  his  neck,  saying.  My  dear  Boy  you 
are  Welcome  to  Billinsgate,  come  give  us  a  buss!!  Charlotte  wont  be  angry.  He 
answers :  Stop  my  Dear  I  lay  down  my  Sole,  and  give  you  bit  de  german  saucage. 
Two  women  (1.)  hurry  up  from  the  1.,  eagerly  wiping  their  mouths  on  their 
aprons.  They  say:  By  Goles  he's  a  nice  fellow  Come  do  make  haste  Poll,  and 
That 's  right  Bet!  if  you  dont  look  sharp  we  shantget  a  taste.  The  Duke  of  Sussex, 
fat  and  good-natured,  is  beset  by  two  women,  one,  an  Irishwoman,  kisses  his 
mouth.  He  says:  You  Hussey  you'll  upset  my  Cod!  She  answers:  By  the 
Powers  if  I  care  about  that  my  Jewel!  Fll  have  a  taste  of  your  Jowl,  and  a  rare 
Jolly  one  it  is!!  A  paper  projects  from  his  pocket:  Freedom  of  the  City  of 
London.  In  the  middle  distance  (r.)  stands  the  Duke  of  Gloucester,  silent 
between  three  women  who  say :  Nozv  let  me  have  the  first  an  Fll  carry  your 
fish ;  Give  me  the  first  and  Fll  carry  you  and  fish  too  my  heart  Fll  have  such 
a  smack,  and  You  have  a  smack  indeed  Fm  the  girl  for  smacking  &  know  the 
true  Gloucester  go.  A  woman  sitting  by  her  basket  (r.)  drinking  gin  says: 
you  may  smack  there  Fll  smack  here!  so  God  Bless  the  Royal  Fishmongers. 
Behind  are  masts  and  sails  with  (r.)  the  colonnade  of  Billingsgate  Market  on 
the  quay-side.  After  the  title: 

"They  printed  melting  Kisses 

"Balmy  as  Burnetts  Gin,  Chaste  as  Drurys  Maids 

"And  keen  as  longing  Mothers. — 

On  26  Oct.  a  dinner  at  the  London  Tavern  was  given  to  celebrate  Wood's 
re-election,  see  No.  12809.  The  Duke  of  Sussex  toasted  two  brother  fish- 
mongers. Prince  Leopold  and  the  Duke  of  Clarence.    The  dinner  was  a 

'  Serial  number  cropped. 

707 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

political  one,  the  toasts  including  'Brougham  and  the  Liberty  of  the  Press'. 
Examiner,  28  Oct.    Ministers  registered  their  disapproval  of  the  Mayor's 
politics  by  not  attending  the  Lord  Mayor's  Day  dinner.   Ibid.,  17  Nov. 
8|x  13  in.  'Caricatures',  xii.  68. 

12816  YOR 

THE  NIGHT  MAI^^— OR  MAGISTRATICAL  VIGILANCE— 

[198] 

[Williams.] 

by  Tho'  Tegg  Cheapside  [?  Nov.  1816] 

Engraving  (coloured  impression).  The  interior  of  a  thieves'  kitchen  or  cellar 
into  which  a  steep  flight  of  steps  (1.)  descends.  All  the  inmates  have  seen 
Matthew  Wood,  the  Mayor,  followed  by  constables,  coming  quietly  down 
the  stairs  except  for  a  sleeping  woman  and  a  watchman  seated  with  his  back 
to  the  stairs  and  holding  up  a  glass  of  gin.  He  says,  with  a  grin,  to  a  terrified 
woman  who  falls  over  backwards,  kicking  his  hand :  You  had  liked  to  have 
kick'd  the  Blue  Ruin^  out  of  my  hand,  come  let 's  have  our  Old  toast!  Industrious 
Thieves,  and  Idle  Magistrates.  The  woman  screams:  Oh  the  Night  Mare!! 
we're  ruind  by  the  Lord.  A  man  wearing  top-boots  crouches  behind  her  chair, 
trying  to  hide  his  plunder,  a  watch,  seals,  &c.,  under  his  hat.  He  says:  We 
are  disKd  Bet  by  G —  if  I  escape  I'll  live  honestly  as  long  as  this  chaps  in  Office 
— for  he'l  ruin  the  Consarn!  Two  men  and  a  woman  try  to  escape  through 
a  door :  she  says :  D —  his  Eyes  when  does  he  sleep!!  The  watchman  wears  a 
helmet-like  hood,  a  long  coat  with  his  rattle  thrust  through  the  belt,  his  staff 
and  (smoking)  lantern  lie  on  the  floor.  Wood  is  handsome  and  fashionably 
dressed  in  a  long  frogged  overcoat.  He  says  to  the  constables:  Here's  a  pretty 
fellow  for  a  Guardian  of  the  Night — Blue  Ruin  shall  bring  him  to  the  Black  hole! 
After  the  title:  "Seest  thou  a  Man  diligent  in  his  business?  he  shall  stand  before 
Kings.  Prov.  xxii.  2g  If  you  enquire  not  attentively  and  diligently,  you  shall 
never  be  able  to  discern  a  member  of  mechanical  motions — Bacon. 

For  Wood  as  a  magistrate  see  No.  12813,  &c.   For  the  pun  on  Mayor  see 
No.  12817. 
8|xi3  in. 

12817  RE 

THE  NIGHT  MA¥8i^. 

Painted  by  Fuzely   [G.  Cruikshank.] 

Pu¥  Novem''  25^''  1816  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  A  travesty  of  Fuseli's  The  Nightmare,  see 
No.  6543.  In  place  of  the  elegant  female  is  a  burly  prostitute  in  a  drunken 
sleep  on  a  truckle  bed.  As  in  the  original  one  arm  hangs  to  the  floor,  but 
in  the  hand  is  a  (broken)  gin-glass,  the  bottle  lying  beside  it.  On  her  body 
squats  Matthew  Wood,  in  his  mayor's  gown,  holding  the  City  mace  and  grasp- 
ing his  knees;  he  gazes  at  her  with  prominent  eye-balls.  Through  a  doorway 
partly  covered  by  a  garment  or  scrap  of  curtain  peers,  in  place  of  Fuseli's 
horse,  a  huge  grinning  head,  that  of  Silvester,  the  (City)  Recorder,  see 
No.  12814,  in  a  judge's  wig,  with  large  blank  eye-balls.  He  says:  Thy  deeds 
shall  be  Recordeded.    On  a  low  round  table  (1.)  are  medicine-bottle,  pill- 

■  Gin,  generally  bad  gin,  from  c.  1810.    Partridge,  Slang  Diet.,  1938. 

708 


POLITICAL   SATIRES    1816 

box,  &c.  The  room  is  squalid;  a  tattered  stocking  hangs  from  a  make-shift 
curtain  at  the  head  of  the  bed.  A  rat  chases  another  down  a  hole.  On  the 
dilapidated  wall  are  two  large  prints,  both  of  nightmares:  (i)  A  demon  hold- 
ing up  a  birch-rod  and  scourge  bestrides  the  sleeping  forms  of  a  man  in  bed 
between  two  women  in  a  wretched  room.  (2)  A  demon  squats  on  a  man  lying 
in  irons  in  a  prison  cell,  holding  up  a  lantern  and  some  instrument  of  torture. 
Below  the  design : 

The  Night  Mayor  flitting  thro'  the  Evening  fogs 
Traverses  Alleys,  S trees  [sic]  Courts  Lane  &  bogs 
Seeking  some  Love  bezvilder'd  Maid  by  Gin  oppres'd 
Alights — &  Ogling  sits  upon  her  her  [sic]  downy  Breast. 

For  Wood's  campaign  against  the  City  underworld  see  No.  128 13,  &c. 
One  of  several  burlesques  of  Fuseli's  picture,  see  No.  12455,  ^^-  ^^  was 
instanced  by  Hone  in  his  defence  against  a  charge  of  blasphemy  to  show  that 
it  ridiculed,  not  Fuseli's  picture,  but  Wood.  First  Trial,  1817,  p.  39;  Third 
Trial,  p.  34  f. ;  see  No.  12899,  ^^^ 

Also  a  later  impression  with  the  redundant  'her'  removed. 

Reid,  No.  599.   Cohn,  No.  1789. 
7|XI3^  in. 

12818  THE  SPA  FIELDS  HUNT-ER  OR  A  PATRIOT  MOUNTED. 

[Williams.]  [c.  Nov.  1816] 

Aquatint  (coloured  impression).  PI.  from  a  book  or  pamphlet  (perhaps  the 
Busy  Body).  Henrj'  Hunt  stands  full-face  on  a  carriage-roof  which  forms  the 
base  of  the  design.  He  harangues  the  mob,  who  are  represented  by  a  few 
men  clinging  to  the  back  of  the  coach  and  by  top-hatted  heads  below  seen 
through  the  coach-windows.  He  holds  out  a  large  (red)  book  inscribed  The 
Splendid  Paupers  in  one  hand,  and  holds  up  his  top-hat  in  the  other.  He 
shouts :  /  have  a  little  Book  printed  by  order  of  the  House  of  Commons,  it  is 
one  of  their  reports,  but  they  did  not  order  that  I  should  have  it  bound  and  bring 
it  here — nor  do  they  title  it  as  I  do;  I  call  it  in  my  library  "The  Splendid 
Paupers''  Here  my  fellow  countrymen  is  the  cause  of  all  your  Misery.  He  is 
dressed  in  riding-breeches,  top-boots,  red  waistcoat  (like  Cobbett),  and  loose 
coat.  Behind  him  are  the  first-floor  windows  of  an  inn,  from  which  his  sup- 
porters lean  to  cheer.  Over  the  doorway  below  are  the  words  De[al]er  in 
[H]OME  .  .  . 

Hunt's  words  are  from  his  Spa  Fields  speech  on  15  Nov.  at  'a  meeting  of 
the  distressed  manufacturers,  mariners,  artizans  and  others  .  .  .'.  He  spoke 
from  a  window  of  the  public  house  called  Merlin's  Cave;  a  previous  speaker 
had  addressed  the  mob  from  the  roof  of  a  hackney  coach.'  He  denied  that 
misery  was  due  to  the  transition  from  war  to  peace.  It  was  caused  by  'sup- 
porting the  establishments  and  expenditure  of  war  during  a  peace  and  in 
filling  this  little  book  .  .  .  [the  Red  Book,  see  No.  12781,  &c.]  in  pensioning 
the  fathers,  the  brothers,  the  mothers,  the  sisters,  the  cousins  and  bastards 
of  the  borough  mongers'.  Resolutions  and  an  Address  to  the  Regent  were 
voted  and  the  meeting  adjourned  for  a  fortnight  in  order  to  report  on  the 
reception  of  the  Address.  Some  bakers'  shops  were  after\\'ards  looted. 
Examiner,  1816,  pp.  730-2.  See  No.  12819,  &c.  For  national  distress  see 
No.  12779. 
6i^  X  3I  in. 

'  According  to  the  publican  of  the  Merlin's  Cave  Hunt  had  first  addressed  the 
crowd  from  a  coach  in  the  field.   State  Trials,  xxxii.  75. 

709 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12819  HENRY  HUNT  ESQR. 

[?  I.  R.]  Cruikshank  fed 

London  Pub  by  S  W  Fores  41  Piccadilly  [over  an  almost  obliterated 

inscription  which  was:  .  .  .  Watson  &  Co.,  55  Maryle-bone  Street 

Piccadilly,  Dec''  4  1816] 

Engraving.  A  portrait  of  'Orator  Hunt'  standing  directed  to  the  1.,  with 
folded  arms,  holding  in  his  r.  hand  a  rolled  document:  Petition  of  Right.  He 
is  dressed  much  as  in  No.  128 18,  but  with  a  tail-coat  instead  of  a  great- 
coat; he  is  less  burly  and  truculent  and  more  gentlemanly  looking.  Above 
the  design :  November  15^^  Spa  Fields,  Dec''  2'"^  18 16.  Below  the  title :  "/  well 
know  the  superiority  of  mental  over  physical  force ;  while  we  have  the  power  of 
exercising  the  former  we  cannot  be  justified  in  resorting  to  the  latter"  (his  speech 

Nov''  15"'.) 

From  an  original  Drawing  taken  by  permission  at  Cooper's  Hotel,  Bouverie 
Street. 

On  15  Nov.  Hunt,  in  the  course  of  a  long  speech,  spoke  to  this  effect,  but 
is  also  reported  as  saying  '.  .  .  nor  would  he  counsel  any  resort  to  the  latter 
till  the  former  had  been  found  ineffectual.  Before  physical  force  was  applied 
to,  it  was  their  duty  to  petition  .  .  .'.  Examiner,  1816,  p.  730.  He  said  at 
Watson's  trial  (14  June  1817)  that  his  speech  'was  not  that  speech  that  was 
reported  in  The  Times  and  other  newspapers  .  .  .  nor  anything  like  it'.  State 
Trials,  xxxii.  473.  The  Spa  Fields  meeting  on  2  Dec.  (at  which  a  cap  of 
Liberty  on  a  pike  and  a  tricolour  flag,  red  white  and  green  for  the  British 
Republic,  were  displayed)  was  followed  by  riots  (promoted  by  Thistlewood 
and  the  Watsons)  when  gunsmiths'  shops  were  looted  by  a  party  (Spenceans) 
from  the  meeting  who  had  collected  a  mob  with  the  wild  idea  of  attacking 
the  Tower  and  the  Bank.  Hunt,  by  accident  or  design,  did  not  arrive  till  the 
riotous  section  had  departed,  and  then  addressed  the  meeting  at  great  length. 
See  Halevy,  Hist,  of  the  English  People  1815-1830,  1926,  pp.  15-18;  O.  D. 
Rudkin,  Thomas  Spence,  1927,  ch.  vii.  For  the  Spa  Fields  meetings  see  also 
Nos.  12818,  12864,  12867,  12869,  12870.  Cf.  No.  12887. 

Reid,  No.  600.   Cohn,  No.  1194. 
ii|X7fin.   With  border,  13^X9  in. 

12820  THE    OLDENBURG    PROCESSION    THROUGH    OXFORD. 

May  1814 

y.  H  [Hughes]  del'  &  sculp'  1816 

Engravmg,  evidently  by  an  amateur.  The  names  of  the  four  Russians  who 
advance  from  the  r.  in  profile  are  etched  below  the  design.  A  hugely  broad 
and  fat  don  at  the  head  of  a  procession  of  senior,  and  very  ugly,  members  of 
the  University  takes  with  his  1.  hand  the  1.  hand  of  the  Duchess  of  Oldenburgh 
who  is  straight  and  thin,  her  head  entirely  concealed  in  a  huge  'Oldenburgh 
bonnet',  and  wearing  long  hanging  sleeves  resembling  those  of  the  dons' 
gowns.  Behind  him  (1.)  is  a  don  holding  a  (?)  Bible.  The  duchess  is  followed 
by  two  hideous  old  women,  broad  and  squat,  Mesd^  Aladensky  &  Volochousky 
[?  the  wife  of  Prince  Nikita  Volkonsky,  A.D.C.  to  the  Tsar].  Behind  them 
walks  Prince  Gagarin,  hat  in  hand,  very  broad  and  tall,  and  heavily  whiskered. 
In  the  middle  distance  is  a  crowd  of  slim  undergraduates,  some  of  whom 
throw  their  caps  into  the  air,  with  a  few  ladies.  Behind  is  the  dome  of  the 
RadclifTe  Camera  with  the  towers  and  spires  of  Oxford. 

For  the  visit  (in  June),  see  No.  12283,  ^^' 
6|xi3iin. 

710 


POLITICAL  SATIRES   l8l6 

12821  [AN  UNEXPLAINED  SATIRE.] 

[G.  Cruikshank.]  [?  1816] 

Engraving.  Under  the  direction  of  demons  from  flaming  pits  a  bee-hive  is 
being  attacked.  The  large  hive  is  supported  on  an  oblong  rectangular  block, 
but  tilts  as  two  large  bears  grab  at  it,  and  a  bear-cub  pokes  it  with  a  stick. 
The  hive  is  also  on  fire  and  a  man  composed  of  a  tea-canister  and  sugar- 
loaves  applies  a  firebrand.  On  one  bear's  shoulders  (1.)  sits  a  woman,  vigor- 
ously applying  a  syringe  to  the  hive;  this  damages  it,  but  does  not  affect  the 
flames.  A  hideous  man  on  the  other  bear  (r.)  gleefully  hurls  the  contents  of 
a  tankard  at  the  flames.  Round  this  bear's  waist  is  a  heavy  iron  band,  to  which 
a  chain  is  attached  held  by  a  demon.  Fitted  into  the  band,  and  covering  part 
of  the  bear's  back  is  a  curved  board  on  which  is  a  swan.  The  bear  tramples 
on  an  overturned  pillory.  Both  bears  wear  breeches,  and  on  one  (1.)  is  a  saddle. 
One  of  the  Furies,  with  snaky  locks  and  a  body  terminating  in  a  barbed 
serpentine  tail,  holding  a  dagger  and  poison-cup,  turns  savagely  upon  a 
skeleton.  Death,  holding  his  javelin,  who  emerges  from  a  flaming  pit  on  the 
extreme  1.  and  points  upwards  at  a  young  man  with  butterfly  wings,  who 
flies  away  from  a  demon  who  pursues  him  through  the  air,  holding  out  a 
constable's  staff'  and  a  warrant.  On  the  extreme  r.  a  grotesque  man  riding 
a  horse  with  the  head  of  an  old  woman,  approaches  the  hive  with  a  raised 
axe,  inscribed  Law.  Behind  him  is  a  gibbet,  and  in  the  background  a  prison 
on  a  hill;  on  the  roof  is  another  (tiny)  gibbet. 

Since  the  print  is  without  date,  title,  or  inscription  any  interpretation  must 
be  conjectural.  The  hive  may  represent  British  industry  or  property  (as  in 
Nos.  10079,  12863),  equally  assailed  by  those  with  firebrands,  the  Spenceans 
and  rioters,  and  by  the  forces  of  order,  who,  intent  on  selfish  plunder,  ^nly 
increase  the  destruction.   Cf.  No.  12863. 

Reid,  No.  556. 
4fX7f  in. 


711 


i8i6 
PERSONAL  AND  SOCIAL  SATIRES 

12822  [A  VIEW  TAKEN  AT  OXFORD] 

Pu¥  by  R'^  Dighton  1816. 

Engraving  (coloured  impression).  Title  from  Hake,  Print  Collector's  Quarterly, 
xiii.  242.  A  middle-aged  don  in  doctor's  black  robe  with  scarlet  hood,  wear- 
ing a  mortar-board  cap  and  buckled  shoes,  walks  in  profile  to  the  1.  He  is 
heavily  built,  with  short  grey  hair  and  whisker  and  a  humorous  smile.  Proof 
before  title, 
lof  X8^  in. 

12823  A  VIEW  TAKEN  AT  EATON. 

by  R''  Dighton  [1816.] 
Pub'^  by  T  McLean  Haymarket  [reissue] 

Engraving.  Dr.  Keate,  stout  and  formidable,  stands  in  profile  to  the  I.  holding 
a  paper  in  both  (gloved)  hands.   He  wears  a  gown,  bands,  and  tricorne  hat. 
Keate  (1773-1852)  was  headmaster  of  Eton  1809-34. 
9iX7f  in.  (pi.). 

12824  A  VIEW  OF  GREAT  TOM— THE  CHRIST  CHURCH  BELL^ 
[?  Williams.] 

Pub"^  Feby  14^''  1816  by  SW  Fores  N"  50  Piccadilly 

Engraving  (coloured  impression).  A  scene  in  the  quad  of  Christ  Church 
Oxford,  the  gateway  being  on  the  extreme  1. ;  through  this  two  undergraduates, 
one  with  a  gold  tassel  to  his  cap,  are  fleeing  to  escape  a  young  woman  who 
approaches  from  the  r.;  she  is  stout  and  plainly  dressed.  Over  the  gateway 
is  a  bell  (Great  Tom).  The  last  letter  of  the  title  is  scored  through  to  stress 
the  pun.  With  the  pi.  is  a  printed  song.  Burton  Ale.  The  first  of  five  verses: 

Of  all  the  belles  who  Christ  Church  bless 

None  like  the  Doctor's  daughter 
Who  Ashworth  hates,  and  his  success. 

Almost  as  much  as water. 

The  girl  is  Miss  Rachael  Burton,  daughter  of  the  Canon  of  Christ  Church, 
nicknamed  by  undergraduates  Jack  Burton.  She  was  a  wit  who  wrote  verse 
squibs  and  held  her  own  in  encounters  with  Canning,  Lord  Dudley,  and 
others.  She  was  conspicuous  at  the  declaration  of  the  poll  in  favour  of  Lord 
Grenville  in  1809  (see  No.  11384),  embracing  the  doctors  of  his  party.  See 
Notes  and  Queries,  4th  s.  vii.  321,  350,  442,  518.  Thomas  Henry  Ashworth, 
son  of  the  judge,  matriculated  at  Christ  Church  in  1801,  D.C.L.  in  1813. 
2|X4f  in. 

12825  FASHIONABLES  OF  1816  TAKING  THE  AIR  IN  HYDE  PARK! 
[?L  R.  Cruikshank.] 

London  Pub''  by  J  Sidebotham  N°  g6  Strand 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  12826.  Byron  is 
the  centre  of  a  promenade  scene  resembling  No.  12840;  he  walks  (1.  to  r.) 

712 


PERSONAL  AND   SOCIAL  SATIRES    1816 

with  a  lady  on  each  arm ;  they  have  some  resemblance  to  two  of  the  women 
in  No.  12826,  and  one  may  be  Mrs.  Mardyn.  Both  frown  angrily;  one  holds 
a  huge  muff.  Byron  wears  a  bell-shaped  top-hat  on  projecting  curls,  with 
a  high  collar  and  stock,  and  a  coat  buttoned  to  the  waist,  and  sweeping  the 
ground,  with  baggy  trousers  gathered  at  the  ankle.  They  meet  a  third  lady, 
apparently  pregnant,  both  arms  in  a  muff,  who  stares  angrily  at  Byron.  All 
wear  flaunting  hats  or  bonnets  with  high  cylindrical  crowns,  short  full 
skirts.  Behind  them  walks  a  stout  ugly  woman  who  passes  a  letter  to  a  man 
behind  her,  grinning  slyly,  while  he  leers  grotesquely  and  thrusts  papers  into 
a  reticule  hanging  from  her  wrist.  He  is  an  absurd  dandy  with  very  wide 
trousers,  shock  of  hair,  small  hat,  and  high  neck-cloth.  In  the  background 
is  a  high  phaeton  driven  by  a  man  of  fashion.  In  the  foreground  (1.)  is  an 
amateur  coachman  in  back  view,  holding  a  coach-whip,  and  wearing  a  volumin- 
ous multi-caped  coat  resting  on  the  ground  (cf.  No.  12375). 
8^X  15^  in.   With  border,  9|x  16  in.  'Caricatures',  vii.  92. 

12826  LOBBY    LOUNGERS,    (TAKEN    FROM    THE    SALON    OF 
DRURY  LANE  THEATRE) 

[?  I.  R.  Cruikshank.] 

London  PuM  by  J  Sidebotham  N°  g6  Strand 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  12825.  Byron  and 
other  men  of  fashion  ogle  pretty  actresses  or  courtesans,  who  stand  in  a  group, 
as  if  on  show.  Byron  (1.),  head  in  profile  to  the  r.,  wears  a  double-breasted 
coat  (with  a  star)  buttoned  to  the  waist  and  with  tails,  a  high  collar  and  stock, 
and  loose  trousers.  His  loosely  curling  hair  parted  at  the  side  is  in  contrast 
with  the  ugly  shock-headed  appearance  of  the  other  men.  In  his  pocket  is 
a  paper:  Corsair  [1814]  Farewell  &c  by  Lord  Byron.  He  gazes  fixedly  at 
Mrs.  Mardyn,  a  handsome  woman,  holding  a  large  muff.  Near  him  is  a 
foreign-looking  man  in  a  tight- waisted,  heavily-braided  coat  with  baggy 
trousers.  A  hump-backed  man  in  evening  dress,  with  very  small  legs  (r.), 
also  looking  through  a  glass,  may  be  Lord  Kirkcudbright  (see  No.  9905).  The 
women  display  much  bosom  and  have  short  petticoats,  and  either  bare  arms 
or  bishop  sleeves  set  below  bare  shoulders.  On  the  extreme  1.  is  an  old  woman 
with  a  basket  of  oranges  and  ballads.  There  is  a  gas  chandelier,  the  jets  in 
glass  chimneys. 

For  Byron,  Mrs.  Mardyn,  and  Fare  thee  Well  see  No.  12827,  ^^-   Also, 
like  No.  12825,  ^  satire  on  costume.   For  'Lobby  Loungers'  cf.  No.  8254. 

Reproduced,  Quennell,  Byron,  The  Years  of  Fame,  1935,  p.  326. 
8^X15^  in.   With  border,  9ix  15I  in. 

12827  FARE  THEE  WELL. 

[G.  Cruikshank.] 

Published  by  y.  Johnston,  Cheapside  [c.  Apr.  1816] 

Engraving  (coloured  impression).  Heading  to  a  broadside,  Byron's  poem 
printed  in  full  in  two  columns.  A  boat  in  which  Byron  is  standing  is  rowed 
from  the  shore  (r.)  to  a  vessel,  a  corner  of  whose  stern  is  on  the  extreme  1. 
Byron  stands  up,  his  r.  arm  round  the  bare  shoulders  of  a  pretty  woman  whose 
1.  arm  is  round  his  waist.  Two  other  women  seated  in  the  boat  look  up  at 
him  admiringly,  each  clasps  one  of  his  legs.  He  wears  a  loose  (Byronic)  collar, 
tail-coat,  and  pantaloons.  He  turns  his  head  in  profile  to  the  r.,  waving  his 
hat  towards  the  cliffs  of  Dover,  where  his  wife,  holding  an  infant,  stands  on 

713 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

a  low  cliff,  watching  the  departure.    Lines  from  his  poem  issue  from  his 
(slightly  smiling)  mouth: 

All  my  faults  perchance  thou  knowest — 

All  my  Madness — none  can  know; — 

Fare  thee  well! — thu^  disunited — 

Torn  from  every  nearer  Tie, 

Seared  in  heart — &  lone — &  blighted — 

More  than  this  I  scarce  can  die!!!!!! 

The  woman  he  embraces  is  labelled  Beauteous  M''^  Mardyn.  One  of  the 
other  women  says :  Come  sit  on  my  knee  my  love  Fm  afraid  you' II  fall  overboard. 
In  the  stern  is  a  basket  of  bottles,  one  labelled  Old  Hock,  and  a  goblet  made 
out  of  a  skull  (as  in  No.  11711)  and  inscribed  Lord  Byron.  The  sailor  who 
rows  looks  at  the  group  with  a  grimly  quizzical  expression.  Three  sailors 
watch  from  the  poop  of  the  vessel.  One  says:  /  say  Jack  I  hopes  he's  got 
enough  o?t  'em  aboard!  The  other  answers :  Yes!  &  may  I  never  take  another 
bit  of  Shag  if  they  an' t  fine  vessels. 

Byron,  after  the  separation  from  his  wife,  wrote  two  poems,  'Fare  thee 
weir,  dated  17  Mar.,  and  'A  Sketch  .  .  .',  dated  29  Mar.  Both  were  printed 
for  private  circulation  by  Murray,  but  both  appeared  on  14  Apr.  in  the 
Champion,  with  disparaging  comment.  See  D.  Raymond,  The  Political  Career 
of  Lord  Byron  [1925],  pp.  91-3.  Byron  left  England  on  24  Apr.  (with  Polidori 
and  three  servants).  The  women  in  the  print  are  Drury  Lane  actresses; 
Byron  had  a  share  in  the  management  of  Drury  Lane,  cf.  No.  11936,  and 
boasted  to  his  wife  of  his  mistresses  there.  E.  C.  Mayne,  Life  of  Lady  Byron, 
1929,  p.  189.  Scandal  raged,  and  Charlotte  Mardyn  wrote  a  letter  to  the 
Morning  Chronicle  protesting  against  'a  persecution  the  most  unprovoked  and 
unaccountable  that  the  records  of  slander  can  supply',  falsely  associating  her 
'with  the  recent  domestic  disagreements  of  a  Noble  Family'.  See  Examiner, 
23  June  1816.   See  Nos.  12825,  12826,  12828. 

Reid,  No.  574.  Cohn,  No.  971.   Reproduced,  Quennell,  Byron,  The  Years 
of  Fame,  1935,  p.  372. 
7IX9I  in.   Broadside,  i5^x  io|  in. 

12828  THE  SEPARATION,  A  SKETCH  FROM  THE  PRIVATE  LIFE 
OF  LORD  IRON  WHO  PANEGYRIZED  HIS  WIFE,  BUT  SATIRIZED 
HER  CONFIDANTE!! 

[?L  R.  Cruikshank.] 

London  Pub:  by  J.  Sidebotham  N"  g6  Strand  [c.  Apr.  18 16] 

Engraving.  Byron  takes  leave  of  his  wife  in  the  house  in  Piccadilly  Terrace, 
in  a  small  ante-room  with  open  doors  on  the  1.  and  r.  Byron,  with  his  r.  arm 
round  the  waist  of  Mrs.  Mardyn,  walks  off  to  the  1.  towards  a  staircase,  looking 
over  his  shoulder  at  his  wife;  he  extends  his  1.  arm  towards  her,  saying  with 
a  gesture  of  dismissal:  ''Fare  thee  well!  and  if  for  ever — "Still  for  ever  fare 
thee  well!  He  wears  a  Byronic  collar,  double-breasted  tail-coat  with  loose 
trousers.  Mrs.  Mardyn,  very  decolletee  in  a  short,  high-waisted  dress,  has 
an  expression  of  triumph.  Lady  Byron,  wearing  a  hat  and  holding  her  infant, 
is  about  to  leave  by  the  door  on  the  r. ;  she  looks  towards  Byron,  and  is  sup- 
ported by  Perry  who  puts  an  arm  round  her  in  a  protecting  manner.  He  is 
identified  by  a  letter  in  his  pocket:  Letter  to  M^  Perry  Morn^  Chronicle. 
A  hideous  elderly  woman,  Mrs.  Clermont,  walks  towards  Lady  Byron,  scowl- 
ing over  her  shoulder  at  Byron.  She  wears  a  large  hat  with  flaunting  feathers, 

7H 


PERSONAL   AND   SOCIAL   SATIRES    l8l6 

and  a  dress  like  that  of  Mrs.  Mardyn,  but  shorter,  displaying  misshapen  legs. 
On  the  wall  between  the  doors  are  a  draped  book-case  and  a  picture  of  a 
reclining  (?)Venus  (1.).  Beneath  this  is  a  settee  heaped  with  books  and  papers : 
Corsair  a  Poem  by  Lord  Byron ;  Lord  Byrons  New  poems  Farewell  & ;  a  play- 
bill: Theatre  Royal  Drury  Lane — The  Jealous  Wife  [Colman]  after  which 
Lovers  Vows  [Mrs.  Inchbald]  Amelia  Wildenhain  by  Af  ^  Mardyn!  At  Mrs. 
Clermont's  feet  is  a  paper:  ''A  Sketch  from  private  life''  &  "Farewell"  Two 
New  poems  by  Lord  Byron  on  his  Departure  for  Italy  &  Greece.  Between  her 
and  Byron  the  carpet  is  covered  with  lines  from  'A  Sketch',  beginning: 

"With  Eye  unmov'd  &  forehead  unabashd 
"She  dines  from  off  the  plate  she  lately  wasKd. 
"Quick  with  the  tale  &  ready  with  the  Lie, 
"The  Genial  Confidante  &  General  Spy. 

See  No.  12827,  &c.  Lady  Byron  and  the  child,  maid,  and  nursemaid  left 
the  London  house  on  15  Jan.  1816.  Byron  did  not  leave  his  room  to  see  them 
go.  He  attributed  her  decision  to  seek  a  legal  separation  to  the  influence  of 
Lady  Noel  and  her  companion,  Mrs.  Clermont,  who  had  been  Lady  Byron's 
nurse  and  later  her  governess.  He  therefore  attacked  her  savagely  in  A  Sketch, 
which  was  published  with  Fare  thee  well.  The  position  of  Perry  is  curious : 
he  defended  Byron  in  the  Chronicle.  D.N.B. 

Reproduced,  Quennell,  Byron,  the  Years  of  Fame,  1935,  p.  344. 
8^X12^  in.   With  border,  9fx  1 3I  in. 

12829  THEATRICAL  JEALOUSY— OR— THE  RIVAL  QUEENS  OF 
COVENT  GARDEN. 

[Williams.] 

Pub'^  by  y.  Sidebotham  g6  Strand  June  1816 

Engraving  (coloured  and  uncoloured  impressions).  The  title  continues:  vide 
the  late  extroardinary  Re-appearance  of  AP^  Siddons  after  saying  "Farewell" — 
and  taking  a  formal  leave  of  the  Stage  some  Years  ago —  Mrs.  Siddons  (1.), 
with  sour,  irate  expression  and  extended  arms,  walks  towards  Miss  O'Neill  (r.) 
who  stands  in  a  dignified  but  theatrical  pose,  r.  arm  raised,  directed  to  the  1. 
They  are  dressed  in  a  similar  fashion  which  becomes  the  younger  actress  but 
not  the  older;  both  wear  jewelled  fillets  in  their  hair,  with  three  erect  feathers 
and  hanging  drapery.  Both  are  decolletee,  with  looped  and  trained  over- 
dresses; Mrs.  Siddons,  stout  and  ravaged  by  time,  has  a  more  ornate  dress, 
which  appears  tawdry  beside  that  of  her  rival.  The  lines  are  adapted  from 
Lee's  tragedy.   Mrs.  Siddons  (Roxana): 

Return  fair  Insolent!   Return  I  say, 

Darst  thou  presumptuous  to  invade  my  rights? 

/  will  resume  my  sphere 

Or  falling  spread  a  general  ruin  round  me 
O'N — /  and  S — d — s!  they  are  names 
That  must  for  ever  Jar !    [Rival  Queens,  i'li.  i.] 
When  they  Encounter,  Thunder  must  ensue!! 

Miss  O'Neill  (Statira): 

Rival  I  thank  thee — thou  has' t  fir' d  my  Soul 
And  rais'd  a  storm  beyond  thy  power  to  lay 
Soon  shalt  thou  tremble  at  the  dire  effects 
And  curse  too  late  the  folly  which  undid  thee 


715 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

On  Eagles  zdngs  my  rage  shall  urge  her  flight 
And  hurl  thee  headlong  from  thy  topmost  height 
There  like  thy  fate  superior  will  I  sit 
And  view  thee  falVn  and  Groveling  at  my  feet! 

The  1.  corner  of  the  stage  is  shown,  with  the  glass  chimneys  of  the  foot- 
lights along  the  base  of  the  design.  Behind  a  pillar  (1.)  the  profiles  of  John 
and  Charles  Kemble  look  out  anxiously  at  their  elder  sister.  A  woman's  hand 
holding  a  fan  and  a  play-bill  hanging  over  the  front  of  the  box  indicate  the 
occupant  of  a  stage-box  (1.);  her  words  float  upwards  in  a  label:  All  Envy! 
Spite  and  Envy,  by  the  Gods!  A  voice  from  the  pit  floats  (r.)  towards  Miss 
O'Neill :  Erin  go  Bragh!  There  is  an  architectural  background,  with  a  curtain 
hanging  in  straight  folds  from  an  archway  (r.).  After  the  title: 

"Oh  Jealousy! 

How  does  thy  Rancour  poison  all  our  softness 
And  turn  our  gentle  natures  into  bitterness 
See  where  she  comes!'' 

On  6  and  22  June  Mrs.  Siddons,  who  had  retired  from  the  stage  in  1812, 
see  No.  11935,  played  Lady  Macbeth  at  the  request  of  Princess  Charlotte. 
This  was  deplored  in  the  Examiner,  16  June,  in  an  article  beginning:  'Players 
should  be  immortal,  if  their  own  wishes  or  ours  could  make  them  so ;  but  they 
are  not.'  Eliza  O'Neill  (1791-1872),  a  much-admired  tragic  actress,  made  her 
debut  at  Covent  Garden  in  1814.  Mrs.  Siddons  made  occasional  appearances 
in  benefit  performances,  &c.,  in  1813,  1815,  1817,  1819,  as  well  as  in  1816. 
Cf.  No.  6126. 
8^X  13  in.   With  border,  9|x  13I  in. 


12830  A  BARRISTERIAL  DUEL  OR  WHO'S  SENT  TO  COVENTRY 
NOW. 

[Williams.]  [c.  Oct.  1816] 

Aquatint  (coloured  impression).  Perhaps  a  pi.  from  the  Busy  Body.  A  street 
scene.  An  officer  in  regimentals,  stands  between  two  barristers,  both  in  wig 
and  gown.  Alley  and  Adolphus,  offering  the  latter  (r.)  a  pair  of  large  pistols, 
saying.  Apologize  or  fight.  Adolphus,  who  is  heavily  built  and  timorous,  rejects 
the  pistols,  saying.  Would  you  have  me  go  out  and  be  butcher'  d!  for  merely  saying 
he  was  at  Coventry  with  the  Bench!!  He  holds  a  paper  inscribed  Sessio\ns 
Old]  Bailey  Octob''  1816.  Alley  (1.),  standing  behind  the  officer,  holds  a  purse, 
and  says:  Who  steals  my  purse  steals  trash.  .  .  .  But  he  that  filches  from  me  my 
good  name  .  .  .  [&c.,  Othello,  iii.  iii].  Behind  them  are  the  doorway  and  two 
curved  windows  of  Slaughter's  Co\^tt  House] . 

A  squabble  between  Peter  Alley,  Counsel  for  the  prosecution,  and  Adolphus, 
Counsel  for  the  prisoner,  took  place  at  the  Old  Bailey  on  5  Oct.;  Adolphus 
remarked:  'I  have  not  been  in  Coventry  with  the  Bench  for  two  years',  allud- 
ing to  an  incident,  according  to  Alley,  of  twenty  years  ago.  Alley  sent  a 
challenge  by  a  relative,  one  Captain  W.  H.  Alley,  which  was  evasively  received. 
Angry  letters  were  exchanged  (and  published  in  the  newspapers)  and  Adolphus 
made  a  statement  to  the  Press.  Captain  Alley  wrote  from  Slaughter's  Coffee- 
house. Alley  was  bound  over  at  Bow  Street  to  keep  the  peace.  Examiner y 
1816,  pp.  665-9  (20  Oct.).  On  16  Nov.,  on  a  challenge  from  Adolphus,  they 
fought  at  Calais.  New  Ann.  Reg.,  1816,  p.  47.  Cf.  No.  12916. 
6|X4  in. 

716 


PERSONAL  AND  SOCIAL  SATIRES  1816 

12831  TOO  LONG  AND  TOO  LOOSE!!  OR  LORD  SHAM-PETER 
THE  AMATEUR  TAILOR. 

[Williams.] 

Pub'^  June,  1816  by  J.  Sidebotham  g6  Strand 

Engraving  (coloured  impression).  Below  the  title:  Shewing  a  specimen  of  his 
Cossack  Pantaloons!!  Lord  Petersham  stands  directed  to  the  1.,  looking  at 
himself  in  a  cheval-glass.  He  has  hea\y  whiskers  and  moustache  with  a  small 
imperial.  He  wears  a  double-breasted,  tight-waisted  tail-coat,  the  sleeves 
gathered  at  the  arm-hole  and  projecting  above  the  shoulders,  a  collar,  very 
high  at  the  back,  enclosing  a  stock,  and  a  high-collared  waistcoat.  His  very 
loose  trousers  hang  in  festoons  and  rest  on  the  floor,  his  toes  only  emerging. 
From  his  pocket  hangs  a  strip  of  (tailor's)  Patterns  for  the  Nobility.  He  says : 

ril  prove  these  Cossack  pantaloons 
(To  one  who's  not  a  Goose) 
Are  like  Two  continental  Towns 
CalVd  Too  long  and  Too  loose!! 

In  the  last  line  words  are  scored  through,  and  above  them  is  etched  (Toulon) 
and  (Thoulouse).  The  room  has  been  turned  into  a  tailor's  workroom  and  two 
servants  sit  cross-legged  on  a  shop-board,  working  on  their  liveries.  A  fat 
coachman,  trying  to  thread  a  needle  says :  Curse  the  Needle!  I  shall  never  make 
a  Tailor.  Fd  sooner  drive  four  in  hand  thro'  the  Highlands  of  Scotland  than 
sit  crampt  in  this  manner.  His  companion  says :  Have  patience  you  Goose — 
arn't  you  larning  a  genteel  trade  and  paid  for  your  prentiship!  I  like  it  mainly, 
I  shall  be  able  to  stick  with  any  maid  in  the  house  in  another  week.  On  the  wall 
is  a  picture  of  A  Goose,  the  bird  cackling  towards  Petersham;  the  frame  is 
decorated  with  emblems  of  tailordom,  cabbage  and  cucumbers  (see  No.  1 1824). 
Two  prints  of  coats  are  pinned  up :  one,  18 16  with  pointed  coat-tails,  high 
collar,  and  shoulders,  the  other,  broad  and  clumsy,  is  in  the  style  of  1715. 
On  a  small  table  in  the  window  lies  a  coat  with  one  coat-tail  cut  short.  On 
it  lie  shears,  yard-stick,  and  a  paper:  Mem[oTand]um  Skirt  too  long  lapel  too 
short.  Under  the  table  is  a  Cabbage  Basket  filled  with  pieces  of  cloth.  The 
dandy's  hat,  with  a  deeply  curved  brim  and  flower-pot  crown,  and  cane  are 
on  a  chair  (r.).  In  the  foreground  books,  papers,  &c.  lie  on  the  floor:  Stays 
&  Corsets  for  the  Masculine  Gender  by  Sham  Peter;  An  Essay  on  Fashion  by 
Tom  Tinsel  Esq  Dedicated  to  Lord  Sham  Peter  by  the  Author;  Plan  for  Cutting 
out  &  altering  your  own  Cloaths  to  cheat  the  Tailor  of  his  Cabbage ;  a  goose 
and  ironing-board  lie  on  an  illustrated  paper  headed:  Stays  &  Corsets 
masculine;  a  book:  Cutting  Out  on  Arithmetical  Principles  Illustrated  with 
some  curious  Cuts  Part  i^'  Simple  Cutting;  A  nezv  plan  to  keep  your  Servants 
from  the  Ale-house  by  learning  them  how  to  make  and  repair  their  own  Liveries 
by  Sham  Peter;  Hints  from  Toulong  &  Thoulouse. 

Petersham  was  a  dandy  and  an  eccentric,  'a  Maecenas  among  the  tailors'. 
Gronow,  Reminiscences,  1892,  i.  284-6.  He  gave  his  name  to  coats,  breeches, 
and  cloth,  and  to  the  ribbon  still  called  petersham.  O.E.D.  The  new  loose 
trousers  were  called  'Cossack  pantaloon',  see  verses  in  Morn.  Chron.,  19  July 
1 8 16,  printed  New  Tory  Guide,  18 19,  p.  150.  'Simple  Cutting'  is  a  pun,  cf. 
No.  12790,  n. 
10^x8^  in.   With  border,  ii^x8|  in. 


717 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

12832  A  PEEP  INTO  THE  BLUE  COAT  SCHOOL!!!!!!!!! !!!!!— 

[G.  Cruikshank.] 

Pu¥  hyjjohston  [sic]  Cheapside  SepV  i'^  1816 

Engraving  (coloured  impression).  PI.  from  the  Scourge,  xii.  161.  Scene  in 
a  bare  schoolroom,  with  a  map,  &c.,  on  the  wall.  A  pig  in  military  uniform, 
wearing  a  plumed  cocked  hat  and  a  ribbon  (incorrectly  coloured  blue),  stands 
on  its  hind-legs,  its  fore-feet  resting  against  a  wall,  to  be  birched  by  three 
Christ's  Hospital  boys,  in  their  long  blue  gowns  and  yellow  stockings.  From 
his  pocket  hangs  a  purse  labelled  Secret  Service  Money.  At  his  feet  lie  his 
sword  and  a  document:  Bill  to  promote  Floging  in  the  Army  .  .  .  \C\oote. 
Against  this  lies:  An  Ode  to  the  Birch  Tree  by  T  Tickletoby  Esq''.  He  says: 
/  have  had  enough,  you  hurt  me.  The  boy  who  is  flogging  says:  I'll  give  him 
Eighteen  penny  worth  he  may  depend,  I'll  make  him  sing  out.  Another  boy: 
Flog  away  bob,  you  have  not  had  two  shillings  worth  yet!  On  a  form  in  the 
foreground  lies  a  book:  Hist^'  of  Birds  &  Beasts — The  Coote,  indicating  that 
the  pig  is  Sir  Eyre  Coote.  A  plainly  dressed  woman  stands  in  the  doorway 
with  Sir  W.  Curtis  (dressed  as  in  No.  11353),  and  the  Lord  Mayor  (Wood) 
in  his  gown.  She  says:  There's  the  curious  beast!  Curtis:  Shocking!  Shocking! 

you  shall  hear  of  this  Sir Speedy  &  soon  [see  No.  11 306].   Wood: 

Is  it  possible!! 

General  Sir  Eyre  Coote,  K.B.  (i762-?i824,  nephew  and  heir  of  Sir  Eyre 
Coote,  1726-83),  M.P.  for  Barnstaple,  who  had  suff"ered  from  the  climate  of 
the  W.  Indies,  was  eccentric  to  the  point  of  insanity.  He  was  tried  at  the 
Mansion  House  on  25  Nov.  181 5  on  a  charge  of  indecent  behaviour.  Though 
the  charge  was  dismissed,  the  aff'air  was  referred  to  three  generals,  who 
reported  that  his  conduct  had  been  unworthy  of  an  officer  and  gentleman, 
and  he  was  cashiered.  See  A  Plain  Statement  of  Facts  relating  to  Sir  Eyre 
Coote  .  .  .,  1816. 

Reid,  No.  598.   Cohn,  No.  732. 
8|x  i2|  in. 


12833  THE  ATTEMPT  TO  WASH  THE  BLACKAMOOR  WHITE. 
IN  THE  WHITE-HALL.  CITY  OF  LAPUTA: 

[Rowlandson.]  [18 16] 

Engraving  (coloured  impression).  A  slim  hussar  officer  stands  between  two 
other  officers  who  are  whitewashing  him  with  large  brushes.  He  wears  white 
pantaloons,  and  on  his  posterior  a  foot-print  stands  out,  which  a  stout  officer 
in  Highland  dress  is  treating.  This  officer,  who  wears  a  star  with  the  red 
ribbon  of  the  Bath,  says:  De'el  o  Mi  Saul,  Mon, — but  the  Stain  0'  the  foot  will 
Ne'er  Come  oot.  The  'blackamoor'  exclaims:  Oh  save  my  honor!  Rub  away 
my  Friend  rub  it  Home!  Oh  tis  the  Phantom  of  a  horrid  dream.  He  holds  out 
a  paper  inscribed  Defence.  The  whitewasher  facing  him  plies  his  brush  on 
his  chest,  saying.  We'll  say  nothing  about  your  Honor.  Under  his  foot  is  a 
paper  inscribed  Oath.  An  arm  descends  from  the  ceiling  in  a  heavily  chevroned 
sleeve,  holding  in  the  hand  a  cane  inscribed  31^^  of  March  1816.  This  is 
extended  towards  the  hussar. 

The  hussar  is  apparently  an  officer  called  Home  or  Hume.  The  arm  is 
probably  that  of  the  C.-in-C,  the  Duke  of  York,  and  the  date  may  refer  to 
an  order  from  the  Horse  Guards. 

Grego,  Rowlandson,  ii.  309  f. 
7x9!  in. 


718 


PERSONAL   AND   SOCIAL   SATIRES    1816 

12834  1ST   SCENE  OF  A  NEW  PLAY  PREPARING   FOR  REPRE- 
SENTATION ENTITLED  THE  PERJURED  WIFE,  OR  THE  UN- 
FORTUNATE MARRIAGE:  ACT  THE  1ST_ 
[G.  Cruikshank.] 

Pub'^  1816  Price  6^  Coloured  by,  I,  Downes.  Hackney  [name  in  pen]. 
Engraving.  Below  the  title:  The  Novel  mode  adopted  by  the  Family  of  the 
Mushrooms  in  the  Parish  of  Mary  Bare  Bone  [Marylebone]  at  the  West  end 
of  a  large  metropolous  to  tame  an  injured  Husband.  A  street  scene  on  a  road 
facing  a  row  of  small  terrace  houses  with  iron  balconies  on  the  first  floor; 
a  notice  (1.)  points  to  the  1.:  To  Edge-zuay  [Edgeware]  Road  accomodation 
Feilds.  On  the  r.  a  good-looking  young  man  is  being  arrested  by  a  bear  holding 
a  constable's  staff,  who  says:  Come  along  till  I  pick  your  Bones  &  dink  [sic]. 
your  Blood  in  our  Marrow  bone  den  &  watch  house.  A  dog  (the  size  of  a  man) 
on  its  hind-legs  in  quasi-fashionable  but  vulgar  dress  stands  in  profile  to  the 
1.,  facing  man  and  bear.  He  says:  Bow  wow  zvow,  well  done  Bruin:  give  him 
another  Russian  Hug,  I  shall  douse  the  Scoundrel  &  Blackguard  a  Cribber  &  a 
Chopper  for  Sisters  sake.  The  man  exclaims:  hi  a  few  days  I  lost  a  Wife  \ 
The  Cause  of  all  my  ills  in  life.  A  man  comes  up  to  the  bear  from  the  1.,  saying, 
Take  him  away  in  a  Gale  \  Or  unto  all  the  Town  he'll  tell  the  Tale.  From  his 
pocket  issues  a  label :  A  Rotten  Tooth  taken  from  a  Son  in  Law ;  he  holds  out 
a  placard:  List  of  New  Publications  Trials — Perjury — Assaults — Common  Pleas 
—  Verdict  Guilty — Treatise  upon  Matrimonial  Swindling  or  Female  Art  Ex- 
posed!!! He  is  evidently  the  father  of  the  'perjured  wife'  and  the  occupant  of 
the  house  immediately  behind  him,  with  Tooth  Drawer  on  the  door.  A  long 
placard  hangs  down  the  front  of  the  house:  A  Cow  &  Calf  to  be  Sold  at 
Smithfield'  Husbands  Provided  for,  Pregnant  Daughters,  Articles  of  Peace  writ; 
with  dispositions  at  Public  Offices  .  .  .  The  Art  of  Swearing  Safe  taught — Wives 
starved  in  9  days — Sons  taught  Pugilism,  Husbands  confined.  Lies  prepared  for 
the  Public  Journal,  Nauseous  Draughts  to  Purify  Stinking  Breaths  &c  &c.,  By 

the  31^'  Cozen  of  Rear  Auther  O'B y  Oh — late  a  livery  Servant  Now 

an  eminent  Medical  Gentleman,  Furnished  Lodgings. 

Back  to  back  with  the  Tooth  Drawer  is  his  wife,  addressing  a  young  woman 
who  hurries  up  to  her:  Make  haste  Daughter  dont  let  him  see  you — We  have 
diddled  him  out  of  the  £35.  The  girl  hurries  forward  holding  a  small  arch- 
topped  box ;  she  says :  /  have  all  Sisters  fortune  but  the  6  penny  Cracked  Pitcher 
— /  hope  he  zvont  send  me  to  Bow  Street.  On  the  extreme  1.  Mr.  Serjeant  Best, 
in  barrister's  wig  and  gown,  stands  in  profile  to  the  1.,  holding  up  an  eye- 
glass and  addressing  a  bill-sticker :  Best  pull  them  down  2000  of  'em  by  God 
stuck  all  about  the  parish  oh  dear!  oh  dear!  The  man  answers :  Aye  Aye  Serjeant 
&  500  in  Portman  Square.  Best  holds  a  paper:  Breif  Standwell  v  Badly  Son 
&  Co.  On  the  house  on  the  extreme  1.,  divided  from  the  terrace  by  a  narrow 
passage,  are  two  posters:  one  pictorial,  with  St.  George  killing  the  dragon  is 
inscribed :  S'  George — thus  I  trample  on  Perjury  Polution  &  Perfidy ;  the  other : 
Elopement — to  Tradesmen  &  the  publick  This  is  to  give  Notice. 

A  pictorial  lampoon,  perhaps  commissioned  by  the  (alleged)  victim  of 
attack  from  his  wife  and  her  relatives,  as  part  of  a  publicity  campaign  (indi- 
cated by  the  bill-poster).  The  bear,  and  the  allusion  to  Bow  Street,  suggest 
the  Brown  Bear  in  Bow  Street,  which  was  used  as  an  annexe  to  the  police 
office,  and  a  place  of  temporary  confinement. 

Reid,  No.  557. 
S^Xiofin. 

'  Added  in  pen.  Perhaps  an  allusion  to  the  sale  of  wives  which  the  populace  believed 
to  be  a  legal  form  of  divorce,  see  No.  1 1838. 

719 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

12835  ENCLOSING  THE  FLATS— OR— ESSEX  GUDGEON  FISH- 
ING. 

[Williams.] 

Pu¥  OcV  1816  by  S  W  Fores  N°  50  Piccadilly. 

Engraving  (coloured  impression).  Essex  landowners  discuss  a  projected 
Enclosure  Bill,  over  dessert  at  a  long  dinner- table,  unconscious  of  the  fact 
that  a  net  is  about  to  be  flung  over  them.  A  man  stands  at  each  end  supporting 
this  net,  one  (r.)  with  two  rakes,  the  other  (1.)  with  a  pole.  The  latter  says: 
How  the  Gudgeons  bite.  The  chairman  at  the  head  of  the  table  (r.)  says :  Now 
we  have  secured  the  flats,  we  can  turn,  and  stop,  as  we  like.  A  money-bag 
, projects  from  his  pocket  inscribed  Mint  Sauce.  The  man  on  his  r.  says: 
Right — Chair!  Old  Wit  and  new  Wine.  On  the  chairman's  1.  is  a  dissenting 
minister  with  lank  hair,  a  psalm-book  inscribed  Sternh[old]  and  Hopkins  pro- 
jects from  his  coat-pocket;  he  says  gloomily :  If  my  piece  is  secure  I'll  say  Amen 
to  the  rest!  Next  him  are  two  men  in  close  conversation;  one,  with  a  sausage 
inscribed  Germ-Saus  .  .  (cf.  No.  12759,  ^^•)  projecting  from  his  pocket,  says: 
/  shall  sign  the  bill  with  pleasure,  George  thinks  it  will  do ;  the  other  answers : 
Egad!  Egad!  Fm  afraid  they'l  coop  us  up.  Opposite  sits  a  red-nosed  fellow 
who  says :  If  I  have  a  good  slice  I'll  bake  it  at  the  3  C's.  The  next  man  says : 
/  must  follow  in  the  course.  The  next  two  on  the  farther  side  of  the  table  say 
to  each  other :  Why  this  should  be  secured  by  a  patent,  and  Ay  but  shall  I  gain 
any  thing  by  it.  Opposite  them  is  a  doctor  with  a  medicine-bottle  labelled 
Opening  Draught  in  his  pocket;  he  says:  /  have  felt  their  pulse  they' I  do.  The 
two  others  on  the  nearer  side  of  the  table,  evidently  Scott  and  Bush,  say: 
Tho  I  neither  pay  Scott  or  lot,  I'll  have  a  path  to  IllfordU  and  I  must  quit  the 
Bush.  Their  vis-a-vis,  the  parson,  says :  80  Acres  of  Glebe,  will  do  for  me.  The 
man  at  the  foot  of  the  table,  the  only  one  in  top-boots  (Plank)  says :  With  the 
help  of  a  Plank  we  shall  get  over.  The  man  on  his  1.  (Turner):  Not  without 
a  Turner. 

A  satire  on  an  enclosure  scheme  for  the  neighbourhood  of  Ilford  with  a 
purely  local  and  personal  application. 
8i|xi5^in. 


12836  GENIUS,  OF  BAZAAR  ARRIVED  AT  LONDON  366 

pub  2g  May  1816  by  T.  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  fierce  monster  in  quasi-oriental  dress, 
with  webbed  wings,  hoofs,  and  tail,  strides,  across  clouds,  from  a  dome  among 
minarets,  inscribed  Turkey,  to  the  dome  of  St.  Paul's  in  London.  He  holds 
up  in  his  1.  hand  a  fool's  bauble,  in  the  r.  a  paper:  Plan  for  turning  5'  Pauls 
to  a  Bazaar.  Clouds  of  smoke  inscribed  Bazaar  issue  from  his  mouth  and 
spread  all  round  him,  from  which  rays  descend  on  London  inscribed  Bazaar 
in  large  letters.  His  turban  is  inscribed  Bazaar.  In  his  sash  are  two  papers: 
Destruction  to  Poor  Shopkeep  .  .  .  and  List  of  Places  Intended  for  Bazaar  House 
of  Lords,  House  of  Commons,  Carlton  House,  St  Jame's,  the  Monument,  British 
Meseum  [sic].  Bullocks  Meseum  [see  No.  12702],  Drury  Lane  &  Covent  Garden 
Theatres  &c  &c  &c.  At  the  base  of  the  Monument,  which  he  bestrides,  is 
a  building  inscribed  Excambrean  Baza  .  .  Below  the  design:  This  Monster 
who  is  a  Native  of  Turkey  has  lately  made  his  appearance  in  London  &  such 
is  his  power  that  by  first  appearing  in  Soho  he  got  Acquainted  with  M*"  Tr-t-r 
sinse  which  he  has  Spread  Destruction  through  all  the  best  houses  in  Town  to  the 
Great  anoyance  of  all  poor  Shop-keepers. 

720 


PERSONAL   AND   SOCIAL   SATIRES    1816 

For  the  Bazaar  see  No.  12837,  &c.  It  was  praised  in  the  Examiner,  31  Mar. 
1816,  as  'a  judicious  and  Uberal  plan'  for  giving  employment  to  women:  'The 
very  sight  of  the  place  is  a  treat  for  its  neatness,  order,  and  general  attention.' 
Lady  Williams  Wynne  described  and  praised  it,  see  Corr.,  ed.  R.  Leighton, 
1920,  p.  194  f. 
iij|x8in. 

12837  A  BAZAAR. 

G.  Cruikshank  fed 

Puh'^  June  j^'  i8i6  by  J.  Johston  [sic]  Cheapside 

Engraving  (coloured  and  uncoloured'  impressions).  PI.  to  the  Scourge,  xi.  401. 
A  large  room  or  hall  with  counters  and  show-cases  on  the  1.  and  r.  is  crowded 
with  customers,  most  of  whom  are  intent  on  clandestine  flirtation.  In  the 
middle  stands  John  Bull  with  his  family,  a  stout  'cit'  wearing  top-boots  and 
low-crowned  top-hat;  his  plump  wife  takes  his  1.  arm,  and  holds  up  a  shopping- 
bag  or  basket,  saying,  O  John  I've  bought  such  pretty  things,  now  don't  look  so 
cross.  He  is  scowling  at  his  very  plain  daughter  who  puts  her  1.  hand  on  his 
r.  arm,  pointing  behind  her  to  a  picture  of  a  Venus  pudica  on  the  wall  (1.); 
she  says :  O!  Pa!  that  nice  young  Hofficer  told  me  I  was  just  like  that  picture 
of  Wenus.  O  dear  Pa  what  a  sweet  place  every  thing  so  cheap!  He  answers: 
Yes — and  your  poor  father  &  all  his  honest  industrious  family  will  be  bankrupts 
Hussey — Curse  such  innovations  I  say.  A  little  boy  faces  him,  riding  a  hobby- 
horse to  which  a  drum  is  attached.  The  officer  is  a  rakish  but  bogus-looking 
hussar  behind  Mrs.  Bull,  ogling  through  a  lorgnette. 

On  the  extreme  1.  a  fashionably  dressed  man  wearing  tight  trousers  strapped 
over  boots,  stands  over  a  case  of  watches  and  seals,  pocketing  a  seal ;  a  smartly 
dressed  sheriff's  officer,  wearing  top-boots,  holding  a  writ  and  cane,  takes  his 
shoulder  and  says :  /  have  a  little  demand  Sir  of  six  hundred  Pounds  for  jewellery 

due  to  M^  J ies  [JeflPerys,  see  No.  10592].   The  other  answers:  P II  attend 

you  directly,  and take  the  benefit  of  the  Act.   Pvi  d — d  glad.    A  hideous 

fop  wearing  loose  trousers  gathered  and  tied  at  the  ankles,  bends  towards 
a  much-decolletee  woman  who  takes  a  book.  Innocent  Adultery  [cf.  No.  9942], 
from  a  book-stall.  He  says:  Dear  Countess  your  husband's  gone  into  the  other 
room  ;  I've  slipped  a  letter  into  that  book  naming  time  &  place.  She  leers  at  him, 
saying,  Very  well — you  rogue  be  punctual.  By  the  next  counter,  where  ices  are 
sold,  a  lady  eats  an  ice  from  a  tall  glass;  an  Irishman,  his  hand  on  his  breast, 
says:  Och  give  me  some  ice  by  the  powers  my  flame  consumes  me.  She  answers: 
/  shall  be  at  the  Opera  this  evening.  The  heads  of  the  assistants  are  seen,  each 
behind  his  counter:  a  man  turning  his  back,  two  women,  the  first  wearing 
spectacles. 

On  the  r.  a  pretty  shopwoman  shows  her  goods  to  an  absurd  fop  who 
lounges  against  the  counter,  seated  on  a  stool ;  he  wears  knee-breeches  on  thin 
misshapen  legs,  with  high  gaiters  falling  in  festoons.  He  says :  /  say,  you  know 
Cousin  Toms  in  Soho  Square?  She  answers :  Pshaw!  that  an  Old  Story,  Now 
do  Sir,  admire  this  Article  you  shall  have  it  uncommonly  cluap.  A  good-looking 
young  man,  resembling  G.  Cruikshank,  probably  a  self-portrait  as  in  No. 
1 1764,  looks  over  his  shoulder  at  them,  saying,  /  dare  say,  for  I'm  sure  it's 
second  hand,  &  common  enough.  A  hideous  old  crone,  with  petticoats  above 
her  knees,  leans  on  the  next  counter,  speaking  confidentially  to  the  sales- 
woman :  /'//  take  this  packet  of  rouge — but  have  you  no  little  article  for  a  young 
woman  who  has  unfortunately  lost  her  teeth.   The  woman  answers  with  a  sly 

'  Not  folded,  showing  that  it  was  issued  separately;  imprint  obliterated. 

721  3  A 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

grin :  we  do  not  sell  these  things  publickly  but  here  Ma'am  is  some  Paste  Pearls 
with  directions — but  &  do  Madam  try  this  bloom  de  VEnclos  you  will  look  so 
young  with  it.  Next,  a  young  woman  is  choosing  parasols  beside  an  absurd 
admirer;  she  holds  up  an  open  one,  screening  their  heads,  saying,  somebody 
told  Aunt  you  was  a  footman,  but  I  don't  believe  it,  &  if  you  are  Fve  Ten 
Thousand  pounds  independent  of  them  all.  The  would-be  man  of  fashion :  Have 
you  indeed!  Oh!  you  sweet  creature!!  An  ugly  woman  watches  them  sourly 
over  her  shoulder. 

Behind  these  foreground  figures  heads  and  hats  indicate  a  crowd  of 
customers.  There  are  pictures  on  the  wall,  and  shelves  with  jars,  &c.  On 
the  r.  is  a  stand  for  ribbons  and  scarves.  In  an  inner  room,  seen  through  a 
wide  arch,  is  a  milliner's  display,  a  cap  and  a  bonnet  each  on  its  stand.  The 
print  is  also  a  satire  on  costume,  the  dresses  resembling  that  of  No.  12840, 
though  having  more  realism.  All  the  women  have  short  petticoats  and  feather- 
trimmed  bonnets  except  Mrs.  Bull.  Apart  from  the  hussar,  the  men  wear 
top-hats  of  varying  shapes,  with  projecting  shocks  of  hair  (except  for  John 
and  the  sheriff's  officer,  who  wear  wigs,  and  Cruikshank,  who  has  neat  short 
hair).  The  trousers  are  of  widely  different  types;  all  wear  very  high  stocks 
with  collars  projecting  over  the  cheeks. 

A  satire  on  the  Soho  Bazaar,  with  an  allusion  to  the  Insolvent  Debtors'  Act, 
cf.  No.  12779.  Many  petitions  were  presented  against  the  Act  from  London 
and  other  towns;  it  had  been  grossly  abused,  enabling  debtors  to  defraud  their 
creditors.  See  Romilly,  Memoirs  of  Romilly,  under  dates  13  Mar.,  13  June 
1816;  Pari.  Deb.  xxxiv.  1131-2.  The  Bazaar  was  established  by  John  Trotter 
(cf.  No.  12763)  in  181 5,  intended  primarily  to  enable  the  widows  and  daughters 
of  Army  officers  to  dispose  of  their  handiwork.  Counter-space  was  rented  at 
3</.  a  foot  a  day,  the  only  recommendation  required  being  'an  irreproachable 
character'.  The  Bazaar,  the  first  of  its  kind,  extended  from  the  west  side  of 
Soho  Square  to  Oxford  Street  and  proved  a  source  of  great  wealth  to  Trotter. 
See  Gent.  Mag.,  1816,  i.  272;  Hindley,  Life  and  Times  of  James  Catnach, 
1878,  p.  193  f.;  D.N.B.  Cf.  Humphrey  Hedgehog  (John  Agg),  The  London 
Bazaar,  or  where  to  get  cheap  Things.  A  Humourous  Pindaric  Poem  [18 16]. 
See  also  Nos.  12836,  12873. 

Reid,  No.  585.    Cohn,  No.  732. 
7i|xi8i^  in. 


12838  THE  DOUBLE  MOUTHPIECE  OR  A  FUNDAMENTAL 
DUETTO  ON  THE  TRUMPET  &  OBOE 

Peter  del — Williams  Sculp' 
Pu¥  1816  by  Fores  50  Piccadilly 

Engraving  (coloured  impression).  A  stout  man  stands  in  profile  to  the  1., 
blowing  a  trumpet.  From  between  his  coat-tails  projects  an  oboe.  From  both 
issues  a  phrase  of  music,  one  inscribed  The  Trumpet  shall  be  heard  on  high. 
Dry  den's  Ode  on  S'  Cecilia's  day.  The  other:  Now  give  the  Hautboy's  breath, 
Drydens  Alexanders  Feast.  Below  the  title :  Among  the  numerous  attempts  to 
improve  Musical  Instruments  the  new  Art  of  playing  the  Oboe  invented  by  the 
celebrated  Professor  Schmidt  of  Lousa,  is  mentioned  as  one  of  the  mos  [sic] 
Scientific.  It  consists  merely  in  reversing  the  Tube  when  blozving,  by  which  simple 
method  the  Tone  is  not  only  produced  with  greater  force ;  but  the  effect  is  more 
nature!  and  much  Sweeter.:  vide  Morning  Chronicle  June  10'^  181 3. 
I2^X8|  in. 

722 


PERSONAL   AND   SOCIAL   SATIRES    1816 

12839  A  CRANIOLOGICAL  EXAMINATION. 

R.  Cocking,  del.    J.  Kennerly,  sculpt  [1816] 

[Pub.  Effingham  Wilson,  88  Royal  Exchange.] 

Aquatint  (coloured  and  uncoloured^  impressions).  Frontispiece  to  Craniology 
burlesqued,  in  three  serio-comic  lectures,  humbly  dedicated  to  the  patronage  of 
Drs.  Gall  and  Spurzheim,  by  a  friend  to  Common  Sense.  The  consulting  room 
of  a  phrenologist,  with  many  busts  and  skulls.  The  client,  an  elderly  man, 
quite  bald,  sits  in  an  arm-chair,  behind  which  stands  the  practitioner,  measur- 
ing the  (very  corrugated)  scalp  with  a  pair  of  dividers,  a  ruler  in  his  1.  hand. 
The  latter  has  strongly  marked  features,  and  is  dressed  in  black,  with  con- 
spicuous shirt-frill  and  ruffles;  he  wears  old-fashioned  buckled  shoes,  and  is 
of  rather  foreign  appearance.  A  barber  stands  in  the  doorway  holding  bowl, 
razor,  and  towel;  he  registers  astonished  dismay.  The  room  is  well  furnished; 
book-shelves  fill  a  recess.  In  an  open  cupboard  is  a  calf's  head  on  a  dish. 
There  is  a  landscape  over  the  chimney-piece. 

Spurzheim  (1776-1832)  is  probably  depicted;  his  visit  to  England  (181 3-17) 
popularized  what  he  called  the  Physiognomical  system  ofD.  Gall  and  Spurzheim 
(pub.  1815).  'The  word  craniology  is  an  invention  of  Spurzheim's  enemies, 
it  is  not  of  the  bone  he  treats  .  .  .'.  Blackwood's  Mag.,  1817  {O.E.D.). 
'Phrenology'  dates  from  1815.  For  Gall  cf.  No.  10449. 
4|X7|in. 

12840  "MONSTROSITIES"  OF   1816     scene,  Hyde  Park. 
G.  Criiikshank  fee' 

Pub'^  by  II.  Humphrey,  zj  S'  James's  S' — March  12'^  1816 — 

Engraving.  Persons  dressed  in  burlesques  of  the  latest  fashions  promenade 
in  Hyde  Park.  On  the  extreme  1.  a  hussar  officer  wearing  an  extravagantly 
furred  and  braided  jacket,  cloak,  and  shako,  and  with  a  projecting  moustache, 
walks  in  profile  to  the  r.,  holding  up  his  sabre,  the  sabretache  dangling  to  his 
(high)  spurred  heels.  He  returns  the  much  lower  bow  of  a  couple  who  walk 
towards  him  arm-in-arm,  the  man  raising  a  hat  too  small  for  his  head.  The 
latter  wears  a  very  high  stock,  which  swathes  a  collar  resting  against  the 
cheeks,  tight-waisted  coat  with  a  long  full  skirt  reaching  to  the  ground.  An 
eyeglass  dangles  from  a  ribbon.  His  companion  is  very  decoUetee;  her  short- 
waisted  dress  reaches  barely  below  the  knee  and  projects  behind  in  a  curve. 
She  walks  with  the  stoop  which  is  accentuated  in  later  caricatures,  see 
No.  12939.  She  has  a  bonnet  with  flaunting  feathers,  holds  a  large  muff,  and 
wears  cothurnes.  On  the  r.  a  woman  bows  insinuatingly  to  two  absurd  fops 
who  walk  arm-in-arm.  The  hem  of  her  short  wide  skirt  has  an  open  trellis- 
work  border,  through  which  her  knees  are  visible.  She  holds  a  reticule  and 
wears  very  short  ankle-boots  of  (.'')  silk  edged  with  swan's-down.  One  of  the 
two  men  wears  a  tight-waisted  coat  with  very  long  skirts,  over  full  trousers 
tied  in  at  the  ankle,  a  very  small  low-crowned  hat,  and  stock  and  collar  like 
the  man  on  the  1.  His  companion  wears  a  heavily  braided  coat  reaching  to  the 
ground  w4th  high  collar  and  deep  cuffs  of  fur;  his  spiky  hair  is  pushed  up 
grotesquely  by  his  coat-collar.  Behind,  a  couple  walk  in  back  view.  The 
woman  is  immensely  fat  and  very  decolletee,  skirts  above  the  knee.  The  man 
wears  wasp-waisted  coat  with  tiny  tails  which  hang  between  very  wide  and 
short  trousers  worn  with  spurred  boots.  A  very  small  hat  rests  on  hair 
brushed  out  at  each  side.  In  the  background  a  man  similarly  and  even  more 
grotesquely  dressed  but  with  trousers  tied  at  the  ankle  leans  on  the  rails 

'   In  Print  Room  copy.    First  edition  1816.   Only  the  second  edition,  1818,  is  in  the 
British  Museum. 

723 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

watching  promenaders.  All  the  men  have  padded  shoulders  and  very  tight 
sleeves.  In  the  foreground  is  an  inverted  pipe-bowl  with  a  broken  stem  (of. 
No.  1 2841)  placed  there  to  show  its  identity  of  contour  with  that  of  the  stoop- 
ing lady  beside  it,  whose  skirt  curves  from  shoulders  to  hem. 

A  satire  on  attitudes  as  well  as  fashions,  especially  on  the  slouching  stoop 
of  the  women.  The  women's  short  full  skirts,  which  hang  from  immediately 
below  the  busts  and  shoulders  are  contrasted  with  the  men's  tight  waists  and 
long  coats  or  full  trousers,  which  often  resemble  skirts  reaching  to  the  ground. 
These  are  fashions  associated  with  the  dandy  in  caricature,  though  the  name 
was  not  current  till  1818,  see  No.  13029.  Byron  used  the  word  in  1813  for 
a  man  of  fashion.  Letter  to  Moore,  25  July.  An  imitation  of  Gillray's 
"Monstrosities"  of  lygg — ,  No.  9454.  The  first  of  an  annual  series  to  1825, 
1817  being  omitted,  the  gap  probably  filled  by  No.  13055  A.   Cf.  No.  12825. 

Reid,  No.  570.   Cohn,  No.  1747. 
95X13^  in. 

12840  a  LONDON  DANDIES— OR— "MONSTROSITIES"  .  .  .  [etc.] 
A  second  state  (coloured)  with  the  addition  of  a  border;  in  this,  above  the 
design,  is  the  addition  to  the  title  and  P'  I. 

Reissued,  Cruikshankiana,  1835. 
With  border,  9|x  131!  in. 

12840  b  a  lithographic  copy  (coloured  impression),  without  imprint. 
Signature  and  title  as  No.  12840  A.  The  three  figures  beyond  the  rails  and 
the  bowl  of  the  pipe  are  omitted.   The  trees  have  less  detail. 

Reid,  No.  2734.    Cohn,  No.  1748. 
9x13!  in. 

12841  WALTZING!  OR  A  PEEP  INTO  THE  ROYAL  BROTHEL 
SPRING  GARDENS  DEDICATED  WITH  PROPRIETY  TO  THE 
LORD  CHAMBERLAIN 

/.  R.  Cruikshank  fec^ 

London  Published  by  J  Sidebotham  g6  Strand  [18 16] 

Engraving  (coloured  impression).  Three  couples  dance  immodestly  in  a  space 
bordered  by  a  red  rope  behind  which  are  many  spectators.  The  breasts  and 
shoulders,  and  sometimes  the  arms,  of  the  women  are  bare,  their  skirts  short 
and  edged  with  transparent  lace.  A  fourth  couple  stand  arm-in-arm  on  the 
extreme  r.,  inspecting  a  lady  seated  on  a  bench.  A  corner  of  the  musicians' 
gallery  is  on  the  1.  The  men's  costume  also  is  caricatured.  All  wear  tail-coats 
and  high  collars;  one  wears  very  tight  and  short  pantaloons,  another  loose 
baggy  trousers  resembling  plus-fours  (cf.  No.  12825).  There  is  a  carpet  with 
a  large  lyre  for  centre-piece  (or  perhaps  this  represents  the  designs  then 
chalked  on  ball-room  floors).  Above  is  a  gas-chandelier  with  many  jets.  On 
the  wall  are  three  pictures,  (i)  Nakedy  but  not  ashamed:  three  women  with 
bare  breasts  and  short  petticoats,  two  wearing  hats,  and  two  having  a  grotesque 
stoop  (cf.  No.  12840).  (2)  Two  men  raising  their  hats;  one  wears  short  loose 
trousers,  the  other  tight  breeches  with  top-boots.  (3)  Tobacco  Pipe  imitations 
of  Female  Dress — or  Smoking  the  Fashions  of  1816.  The  bowls  of  pipes, 
reversed,  represent  two  women,  walking  1.  to  r.  and  meeting  two  others,  all 
bowing;  their  contour  ridicules  the  curved  back  and  forward  stoop,  as  in 
No.  12840,  &c.,  and  the  short  projecting  petticoat,  supported  on  stick-like 
legs;  a  railing  and  trees  indicate  Hyde  Park. 
8i|x  13^  in.   With  border,  9! x  i\%  in.  'Caricatures',  vii.  72. 

724 


PERSONAL   AND   SOCIAL   SATIRES    1816 

12842  THOSE  THAT  WISH  TO  SEE  A  FULL  MOON!  MUST  VISIT 
HYDE  PARK  ON  A  WINDY  AFTERNOON  385 

Marks  fecit 

London  Pu¥  Septem''  1816  by  T.  Tegg  iii  Cheapside 
Engraving  (coloured  impression).  A  plump  young  woman  stands  with  feet 
together  bending  before  the  wind,  and  holding  down  the  short  (muslin)  skirt 
of  her  high-waisted  decolletee  dress.  The  wind  makes  it  define  her  plump 
posterior  and  she  says,  La,  Bless  me  how  cool  it  is.  Her  brightly  coloured 
ankle-boots  have  a  border  of  swan's-down.  Two  absurd  fops  walking  close 
behind  inspect  her  with  amusement,  one  using  an  eyeglass  says :  It  is  certainly 
more  gratifying  to  view,  than  the  Regents  Bomb!!!!!!  [see  No.  12799,  &c.].  The 
other  says :  /  think  she  intends  it  as  an  opposition,  to  that  in  S'  James's  Park. 
One  wears  a  long  braided  coat  to  the  ground,  the  other  loose  trousers  and 
narrow  coat-tails  which  blow  round  his  legs.  Both  wear  stocks,  collars,  small 
hats,  and  fluffed-out  hair  like  those  of  the  dandies  in  No.  12840.  On  the  r. 
a  couple  walk  off  to  the  r.,  in  difficulties  with  an  umbrella.  The  woman's 
dress  is  well  above  her  knees;  the  man  wears  wide  trousers  tied  in  at  the 
ankle,  and  coat-tails  like  streamers  of  ribbon.  Farther  from  the  spectator, 
and  walking  from  r.  to  1.  is  a  young  woman  followed  by  a  little  negro  foot- 
boy.  She  holds  on  her  bonnet,  and  holds  down  her  very  short  skirt  in  front, 
saying.  What  a  rude  wind  this  is,  old  [sic]  fast  behind  Miing.  He  holds  down 
the  hem  of  her  skirt,  and  carries  her  reticule;  he  answers:  Yes,  Miss'e  I  wont 
let  Loose  if  you  dont.  In  the  background,  behind  the  rails,  a  man  chases  his 
hat,  a  woman  holds  an  umbrella  which  is  inside  out,  and  sees  her  bonnet 
blow  away. 
8i|xi3^in.    With  border,  9^X131  in.  11593. 

12843  MY  BROTHER'S  BREECHES— OR  NOT  QUITE  THE  THING. 
[Williams.] 

Pu¥  March  1816  by  S  W  Fores  50  Piccadilly. 

Engraving  (coloured  impression).    Scene  in  a  well-furnished  dressing-room. 

One  buxom  young  woman  raises  her  skirt,  hands  on  hips,  to  show  another 

that  she  is  wearing  a  pair  of  knee-breeches,  rather  too  tight.   She  says :  There 

Maria  I  think  I  make  as  good  a  Man  as  my  Brother.   Maria  leans  towards  her 

impressively:  No  indeed  Cousin!  I  should  think  not  Quite. 

12-^X91  ^^-  'Caricatures',  vii.  177. 

12844  A  NECK  OF  LAMB— A  ROUND  OF  BEEF— AND  A  SCRAG 
OF  MUTTON.  3S8 

C  W  [Williams]  Fecit. 

Pub'^  Novem''  1816  by  T.  Tegg  N"  in  Cheapside  London 
Engraving  (coloured  impression).  The  title  indicates  the  three  figures  in  the 
design.  A  young  woman,  elegantly  dressed,  with  a  long  round  neck,  looks 
down  through  an  eyeglass  at  a  fat  butcher,  spherical  in  contour,  who  gazes 
up  with  an  admiring  smile.  Behind  him  (r.)  his  wife  sits  primly  on  a  chair, 
watching  her  husband  with  a  sour  and  menacing  expression.  All  are  in  front 
of  the  butcher's  shop.  Over  the  door,  where  a  carcass  hangs  behind  the 
seated  woman:  Roger  Gibbs  But[cher].  A  bull-dog  lies  in  the  foreground 
intently  watching  the  younger  lady;  his  collar  is  inscribed  Gibbs.  Joints  of 
meat  hang  in  the  open  shop-front,  with  a  butcher's  block  in  front  of  it.  The 
lower  parts  of  two  casement  windows  suggest  a  modest  establishment  as  does 
a  bunch  of  hearts,  &c.,  hanging  from  a  nail. 
I2|x8^  in. 

725 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

12845  ALL  EMPLOYED— OR— THE  IRISH  VIS-A-VIS.    vide  Dublin 
Harbour. 

C.W.  fecit.    [Williams.]  [?  1816] 

Engraving  (coloured  impression).  A  roughly  made  jaunting-car  on  the  sands 
of  Dublin  Bay  proceeds  towards  the  Pigeon  House  (r.)  at  the  end  of  the  jetty 
(the  South  Bull).  A  young  and  an  old  woman  sit  back  to  back  with  an  elderly 
man  and  a  young  one.  The  young  people  turn  their  heads  to  kiss,  unobserved 
by  their  elders :  the  woman  absorbed  in  snuff-taking,  the  man  looking  through 
a  telescope.  The  head  and  shoulders  of  the  driver,  in  back  view,  form  the 
apex  of  the  design;  his  hair  projects  through  his  battered  hat. 
8|x  12^  in.   With  border,  9|x  13!  in.  'Caricatures',  iv.  16. 

12846  A  FASHIONABLE  FOP. 

Williams  fed 

Aquatint  (coloured  impression).  PI.  to  the  Busy  Body,  i.  i.  Mar.  i,  1816. 
The  fop,  tall  and  handsome,  walks  (r.  to  1.)  in  a  London  street  with  his  hands 
in  his  trouser-pockets.  He  has  a  small  moustache,  wears  a  small  flower-pot 
shaped  top-hat,  a  much-braided  overcoat  cut  away  in  front  and  reaching  to 
the  ground,  with  large  fur  collar  and  cuffs;  trousers  with  stripe.  His  dress 
shows  the  influence  of  hussar  uniform,  and  the  title  suggests  that  'dandy'  was 
not  yet  in  common  use  (cf.  No.  12840  a).  The  text  by  'The  Craniologist' 
(cf.  No.  12839),  i^  ^^  attack  on  the  'elaborate  and  useless'  fop.  A  companion 
pi.  to  No.  12847. 
6|X4  in.  B.M.L.  C.  117.  bb.  26/3. 

12847  A  FASHIONABLE  BELLE. 

Williams  fec^ 

Aquatint  (coloured  impression).  PI,  to  the  Busy  Body,  i.  49,  Apr.  i,  1816. 
A  lady  crosses  a  street  with  a  suburban  background,  raising  her  dress.  She 
wears  a  bonnet  with  high  feathers,  a  pelisse  with  vandyked  lace  collar,  cuffs, 
and  full  slashed  sleeves,  over  a  dress  with  an  embroidered  edge,  and  laced 
boots;  she  carries  a  reticule.  Her  dress  shows  the  influence  of  the  French 
fashions  of  1815-16.  She  is  a  heartless,  empty-headed  coquette  and  licentious 
female.  Cf.  No.  12859. 
6^X4^  in.  B.M.L.  C.  117.  bb.  2/3. 

I 2848-1 2858 

Aquatints  (coloured)  by  Rowlandson  to  Combe's  Dance  of  Death  con- 
tinued from  No.  12691.  B.M.L.  C.  59.  f.  7. 

12848  THE  GALLANT'S  DOWNFALL.  [ii.  241] 

Pub.  Jan''  I.  1816,  at  R.  Ackermann's  loi  Strand. 

P.  241.  The  corner  of  a  house  seen  from  a  walled  garden.  Death  throws 
down  a  ladder  which  gave  access  to  a  window  from  which  a  distraught  girl 
looks  out;  her  lover,  a  young  lieutenant,  falls  from  it  towards  a  pond,  while 
an  elderly  colonel,  the  father,  fires  a  blunderbuss  towards  cats  on  the  wall, 
the  charge  being  intercepted  by  the  falling  man.  A  prancing  dog  barks. 
Below : 

The  Assailant  does  not  feel  a  wound: 

But  yet  he  dies,  for  he  is  drown' d. 

726 


PERSONAL  AND   SOCIAL   SATIRES    1816 

12849  THE  CHURCH  YARD  DEBATE.'  [ii.  250] 

P.  250.  Seated  on  two  tombs  facing  each  other  are  (r.)  Death,  beside  an  obese 
doctor  and  a  bloated  vicar,  and  (1.)  a  barrister  in  wig  and  bands  gleefully 
flourishing  a  pipe,  next  an  old  grave-digger  drinking  from  a  glass.  All  are 
jovial.  Death  and  the  doctor  are  smoking.  Behind  (1.)  is  the  doonvay  of  a 
Gothic  church  within  which  is  a  man  pulling  a  bell-rope.  A  plumed  hearse  (r.) 
is  driving  up;  the  driver  waves  his  hat.  Skulls,  bones,  and  coffins  lie  in  the 
foreground.  All  profit  from  the  death  of  the  Squire  for  whom  the  bell  is 
toUing.    Below : 

Tis  strange  but  true,  in  this  zvorld's  Strife. 

That  Death  affords  the  means  of  Life. 

12850  THE  GOOD  AND  GREAT'  [ii.  256] 

P.  256.  A  funeral  procession  issues  from  the  gate  of  an  ancient  Gothic 
mansion.  Death  heads  the  procession,  carrj'ing  on  his  head  a  board  covered 
by  funeral  plumes.  Coffin-bearers  follow;  on  the  pall  is  a  large  Garter  star. 
Mourners  with  a  fat  bishop  follow.  Tenants,  &c.,  watch  and  weep  (r.).  Below : 

What  heart-felt  Tears  bedew  the  Dust 
Of  Him  whose  ev'ry  thought  was  just. 

12851  THE  NEXT  HEIR.  [ii.  259] 

Pub.  Feby  I.  1816,  .  .  .  [ut  supra] 

P.  259.  Death,  javelin  in  hand,  rides  a  horse  harnessed  tandem  to  the  gig 
of  the  dissolute  spendthrift  who  drives  in  at  the  gate  of  No.  12850,  above 
which  is  the  hatchment  of  the  dead  peer.  Next  the  heir,  who  drives  with  a 
flourish,  sits  his  'Aspasia'.  They  are  followed  by  a  rollicking  band  on  horse- 
back, one  blowing  a  hunting-horn.  Tenants  gape  in  astonishment.  He  is 
about  to  be  killed;  his  gig  is  too  high  for  the  gateway.   Below: 

Tis  not  the  time  to  meet  one's  fate. 
Just  entering  on  a  large  Estate. 

12852  THE  CHAMBER  WAR.^  [ii.  266] 

P.  266.  Death  bends  over  the  aged  invalid  who  from  his  arm-chair  watches 
in  astonished  terror  a  violent  aff^ray  with  fists  and  canes  between  three  elderly 
and  obese  doctors,  in  which  an  angry  nurse  joins.   Below: 

When  Doctors  three  the  Labour  share. 
No  wonder  Death  attends  them  there. 

For  Death  and  doctors  cf.  Nos.  5457,  7608  (by  Rowlandson),  7609,  8590. 

12853  DEATH  AND  THE  ANTIQUARIES.'  [ii.  271] 

P.  271.  Scene  in  a  Gothic  side-chapel  in  which  are  tombs  with  recumbent 
figures,  wall-tablets,  &:c.  Grave-diggers  have  opened  a  vault  in  the  floor  and 
taken  out  a  coffin  which  is  surrounded  by  elderly  antiquaries  in  old-fashioned 
dress.  Three  peer  in  at  the  embalmed  figure  of  a  king  in  crown  and  robes. 
Death  stands  on  an  adjacent  tomb,  his  javelin  poised,  ready  to  strike  if  the 
body  is  disturbed.    Below: 

Death,  jealous  of  his  rights,  stands  sentry 
Over  this  strange,  burglarious  entry. 

Cf.  No.  1 204 1. 

'   Imprint  as  No.  12848.  ^  Imprint  cropped  or  absent. 

^   Imprint  as  No.  12851. 

727 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

12854  THE  DAINTY  DISH.  [ii.  275] 

Pu¥  March  i.  18 16  .  .  .  [ut  supra] 

P.  275.  A  banquet  in  a  palatial  room  decorated  with  paintings,  sculpture,  &c. 
All  the  guests  are  ugly,  elderly  gormandizers.  Cooks,  male  and  female,  bring 
to  the  room  steaming  dishes  which  are  taken  from  them  by  menservants. 
Death  has  taken  a  dish  and  bears  it  in  both  hands  towards  the  table.  In  the 
foreground  is  a  litter  of  bottles.  A  servant  draws  corks  at  a  sideboard.  Below: 

This  fine,  hot,  feast 's  a  preparation 
To  some,  for  Death's  last,  cold.  Collation. 
Death  striking  down  the  glutton  or  drunkard  was  a  favourite  theme,  cf. 
Nos.  5172,  5513,  9472,  9614. 

12855  THE  LAST  STAGE.'  [ii.  283] 
P.  283.  Scene  in  the  courtyard  of  an  old-fashioned  coaching  inn  in  London, 
the  sign  of  a  dolphin  over  the  archway.  Luggage  is  being  piled,  horses 
harnessed,  while  Death  helps  up  into  the  coach  a  fat  woman  (destined  to  die 
from  a  coach  accident).   Bystanders  watch.   Below: 

From  Hour  to  Hour,  from  Youth  to  Age. 
Life's  Traveller  takes  th'  uncertain  Stage. 

12856  TIME,  DEATH,  AND  ETERNITY.'  [ii.  290] 
P.  290.  Above  chaotic  masonry  Eternity  flies,  blowing  a  trumpet  and  holding 
in  her  r.  hand  her  emblem,  a  circle  formed  of  a  serpent,  tail  in  mouth.  Time 
falls  on  his  back  dropping  his  hour-glass  and  (broken)  scythe.  Death,  clutch- 
ing a  broken  javelin,  falls  headfirst  into  a  chasm,  into  which  his  crown  drops. 
Below : 

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

12857  DEATH'S  DANCE 

Frontispiece.  Death  sits  in  deep  meditation  on  a  terrestrial  globe,  his  feet 
on  the  circular  rim  of  the  stand,  on  which  the  signs  of  the  Zodiac  are  inscribed. 
He  supports  his  jaw  on  his  r.  hand,  elbow  on  knee,  1.  hand  on  his  knee,  hold- 
ing his  javelin.  At  the  base  of  the  globe  are  an  open  book,  on  which  the  title 
is  inscribed,  bottle  of  Drugges,  decanter  of  Compounds,  boxes  of  Opium  and 
Mercury,  goblet  of  Arsenic,  cask  of  Gun  Powder,  axe,  pistols,  dagger,  gun, 
cards,  and  dice.  There  is  a  background  of  cloud  against  which  three  bats  are 
flying  and  pipe  and  tabor  are  suspended. 
7^X4:^  in. 

12858  THE  I  ENGLISH  |  DANCE  OF  DEATH  | 

London,  Published  March  i.  1816,  by  R.  Ackermann,  loi,  Strand. 

Title-page.  Vignette  (c.  5jX3|  in.).  Scene  in  the  churchyard  of  a  ruined 
and  roofless  Gothic  church.  Death  capers  and  pipes  to  two  groups  of  four 
skeletons,  who  dance,  some  holding  up  tabors.  He  has  laid  javelin  and  hour- 
glass on  a  tomb.  Below:  Pallida  Mors  aequo  pulsat  pede  pauperum  tabernas,  \ 
Regumque  turres.  Hor:  Lib.  i.  Od.  4 —  |  Vol.  i. 

12859  L'ANGLAISE.  |  LE  BON  GENRE  No  96 

[Lantedel.]^  [?  1816] 

Engraving  (coloured  impression).  An  open-air  performance  in  Paris.  An 
acrobat  stands  on  his  head  on  a  table,  while  a  man  seated  on  a  tree-stump 

'  Imprint  as  No.  12854.  *  Colas,  No.  2242. 

728 


PERSONAL   AND   SOCIAL   SATIRES    1816 

fiddles  and  a  boy  dances  a  jig.  The  spectators  are  (1.)  a  Parisienne  holding 
a  little  girl  by  the  hand,  a  pretty  Englishwoman  (r.),  wearing  a  striped  shawl 
over  white  dress  and  dark  spencer.  Her  bonnet  or  hat  trimmed  with  roses 
distinguishes  her  from  the  Frenchwoman,  whose  hat  has  a  towering  plume  of 
feathers.  The  dress  of  both,  however,  shows  some  assimilation  of  national 
fashions  since  1814.    Cf.  No.  12847. 

Colas,  No.  2238. 
8f  X  io|  in.  169.  e.  6. 

12860  LES  PATINEURS  ANGLAIS. 

a  Paris  chez  Basset  rue  S'  Jacques  N*^  64.   Depose  a  la  Direction  de  la 
Librairie.  [?  1816] 

Engraving  (coloured  impression).  Five  skaters  are  in  the  foreground,  one,  a 
fat  John  Bull,  has  fallen  grotesquely  on  his  back,  losing  hat  and  wig.  All  the 
others  are  young,  slim,  and  athletic,  but  in  outre  and  dandified  dress ;  one  is 
an  officer  in  uniform.  One  wears  a  long  coat  to  the  ankles,  with  civilian  dress 
and  a  plumed  cocked  hat;  he  skates  arm-in-arm  with  a  man  wearing  a  coat 
with  long  tails,  breeches,  and  gaiters.  One  in  back  view  wears  a  caped  tail- 
coat over  tight  pantaloons,  the  seams  of  which  are  edged  with  buttons.  Their 
hats  are  flower-pot  shaped.  All  have  hair  resting  in  loose  curls  on  their 
collars.  They  skate  with  ease,  and  in  general  with  nonchalance,  except  for 
the  officer,  who  seems  to  be  cutting  figures.  Two  others  in  the  background 
have  their  arms  on  each  other's  shoulders. 

A  satire  on  English  costume  connected  with  the  English  army  of  occupation 
in  France. 
7f  X  iif  in. 


729 


i8i7 
POLITICAL  SATIRES 

12861  FEE    FAA    FUM— FALSE    ALARMS— OR    THE    FUGITIVE 
P A  FARCE  BY  THE  AUTHORS  OF  WAYS  AND  MEANS 

[Williams.] 

Pub'^  jfany  J^'  i8iy  by  E  Brooks  Panton  S'  Haymarket — Late  Holland's 
Engraving.  A  scene  in  Carlton  House;  an  open  door  (r.)  showing  a  section 
of  the  pillared  screen.  The  Regent  rushes  wildly  towards  the  door,  with  the 
stride  of  a  ballet-dancer,  while  Eldon  and  others  register  consternation  at  the 
sight  of  the  stuffed  effigy  of  a  Jacobin,  presented  to  them  by  Castlereagh  (1.). 
On  the  extreme  1.,  the  Duke  of  Cumberland  in  hussar  uniform,  and  the  Duke 
of  York,  peep  through  a  doorway;  the  latter  says:  Blessings  on  such  inventive 
Geniuses!  Keep  up  the  Joke  for  our  sakes.  Castlereagh  stoops  forward  in  profile 
to  the  r.,  holding  the  stuffed  figure  erect,  with  the  toes  just  above  the  floor. 
It  wears  a  mask  with  mouth  wide  open  as  if  shouting,  a  bonnet  rouge  and 
cloak;  to  one  hand  is  tied  a  knife,  to  the  other  a  pistol;  he  says,  with  a  slight 
smile :  The  Plot  takes  admirably,  this  will  keep  up  the  Army,  let  off  another 
Cracker!  His  companion  (Canning),  who  shouts  Fee  Faa  FumH,  holds  up 
a  spluttering  firework.  Eldon,  in  Chancellor's  wig  and  gown,  holds  up  both 
arms  in  terror,  and  steps  back  from  the  bogy,  saying,  Treason!  Plot!  Three 
men  behind  him,  simulating  fear,  exclaim  respectively:  Insurrection!  more 
Troops;  Murder!  Plot!  and  Call  out  the  Troops!!  Treason!!  The  last  (cynically) 
puts  his  finger  to  his  nose.  They  are  poorly  characterized  and  cannot  be 
identified. 

The  Regent,  in  his  haste  to  reach  the  door,  where  a  coach  and  mounted 
escort  are  waiting,  has  overturned  his  chair  and  a  round  table  beside  it.  On 
the  floor  are  shattered  decanters  and  glasses;  two  open  books:  Treatise 
on  Jiggs  and  The  Patriot  King  A  Novel  by  F  Fudge,  a  Plan  of  a  new  Thatched 
Cottage  [see  No.  12747],  and  Patterns  for  New  Furniture.  McMahon,  his 
'Privy  Purse'  (see  No.  11874)  hanging  from  his  pocket,  stands  (r.)  in  the 
doorway,  addressing  the  escort  with  raised  arms;  he  cries:  Plot  Plot  charge 
the  nine  Pounders.  Above  the  design :  Avaiint!  thy  bones  are  marrowless,  thou 
has't  no  speculation  in  thine  eyes  which  thou  dost  glare  with  [Macbeth,  iii.  4]. 

A  satire  on  the  Ministerial  attitude  towards  the  Spa  Fields  riots,  see 
No.  12819,  &c.;  the  Jacobin  may  represent  the  Spenceans,  who  had  been 
chalking  up  in  London  'Spence's  plan  and  soon'.  New  Ann.  Reg.,  181 6, 
p.  302.  The  Regent's  departure  to  spend  Christmas  at  Brighton  is  attributed 
to  this  scare.  Actually,  the  riot  was  easily  quelled,  and  the  year  'closed  with 
general  tranquillity  through  this  island'.  Ann.  Reg.,  1816,  p.  95.  For  the  fear 
of  militarism,  which  Castlereagh,  who  defended  the  Army  Estimates,  was 
supposed  to  embody,  see  No.  12756,  &c. 
8|xi3|in. 

12862  No    I.       BLESSINGS    OF    BRITTAIN— OR    A    FLIGHT    OF 
LAWYERS—  3S4 

[Williams.] 

Pw6^  Ja«y  1817  by  T,  Tegg,  iii.  Cheapside. 

Engraving  (coloured  impression).  The  Lord  Chancellor  (Eldon),  preceded 
by  his  mace-bearer  holding  a  sword,  is  about  to  alight  on  the  pavement  out- 
side Westminster  Hall  (1.),  having  flown  diagonally  down  from  the  r.;  next 

730 


POLITICAL   SATIRES    1817 

him  is  (?)  the  Vice-Chancellor  Plumer,  close  behind  are  eight  other  judges 
followed  by  a  closely  packed  swarm  of  barristers  who  recede  in  perspective. 
All  are  in  wig  and  gown.  Behind  the  barristers  are  their  clerks,  wearing  top- 
hats  and  carrying  (green)  brief-bags  over  their  shoulders.  Three  men  stand 
outside  the  door  of  Westminster  Hall  waiting  obsequiously  to  receive  the 
Chancellor  and  his  swarm;  one  is  a  constable  holding  his  staff,  the  others 
wear  black  gowns,  the  foremost  having  cloven  hoofs.  In  the  street  below  (r.) 
a  few  terrified  pedestrians  look  up  at  the  monstrous  flight.  Above  the  design: 
First  Day  of  Term.  After  the  title:  ''A  Darksome  cloud  of  Locusts  swarming 
down." 

The  other  judges  are  Sir  Vicary  Gibbs,  EUenborough  (both  recognizable), 
with  (presumably)  the  Chief  Baron,  Thomson,  (see  No.  12788),  and  the  three 
other  Barons  of  the  Exchequer,  Sir  Robert  Graham,  Sir  George  Wood, 
Sir  Richard  Richards,  and  the  Recorder,  Silvester,  see  No.  12814.  In  the 
first  flight  of  the  barristers  are  probably  the  Attorney-  and  Solicitor-Generals, 
Garrow  and  Shepherd.  Cf.  No.  11411,  The  First  Day  of  Term — or,  the  Devil 
among  the  Lawyers. 

A  companion  pi.  to  No.  12863,  ^^'i^^  the  same  imprint. 

Also  a  reissue,  the  date  removed,  leaving  Tegg's  imprint,  the  serial  number 
altered  to  200.  ('Caricatures',  xii.  12.) 
8|xi3|in. 

12863  No   II,   BLESSINGS   OF   BRITAIN— OR— SWARM   OF  TAX 
GATHERERS.  389 

See  No.  12862.  British  households  are  represented  by  large  straw  bee-hives; 
these  are  assailed  by  tax-collectors  and  their  satellites  who  run  through  the 
air  in  a  swarm.  One  hive  is  in  the  foreground  (r.),  the  two  next  are  in  the 
middle  distance,  with  a  line  of  little  hives  in  the  distance,  curving  to  the  1. 
margin.  John  Bull,  ragged  but  chubby,  stands  defiantly  on  the  step  of  his 
hive,  defending  it  with  a  stake  shaped  like  a  rough  pitchfork  and  inscribed 
Prop  of  Reform;  with  this  he  prods  the  foremost  collector,  who  drops  book 
and  pen  in  dismay.  Behind  him  in  the  doorway  is  his  wife,  brandishing  a 
poker,  while  three  ragged  and  terrified  small  children  cluster  round  the  door. 
Other  tax-gatherers  assail  the  upper  part  of  the  hive;  one  has  made  a  hole 
in  the  straw  and  puts  in  his  hand;  he  has  already  seized  honey.  Another  man 
departs  with  chunks  of  honeycomb,  but  his  coat-tails  are  clutched  by  a  man 
who  leans  from  a  hole  in  the  hive.  Another  collector  runs  through  the  air, 
laden  with  spoil.  More  of  the  swarm  are  still  advancing,  holding  pen  and 
book  or  paper.  One,  holding  up  a  constable's  staff,  holds  out  a  Warrant  [of] 
Distress  .  .  John  Bull  [scarcely  legible] ;  another  has  a  huge  book  inscribed 
Poor's  Rate.  Other  books  are  inscribed  Kings  Tax  and  Assessed  Taxes.  One 
man  holds  out  a  paper  inscribed  Snatch  Broker  &  Sworn  Appraiser.  The 
men  recede  in  perspective  towards  the  upper  1.  corner  of  the  design,  from 
which  the  swarm  is  descending  upon  the  hives.  A  tax-gatherer  enters  the 
door  of  the  second  hive,  while  another  stands  on  the  upper  part  nailing  on 
it  a  placard:  Kings  Taxes.  In  the  foreground  (r.)  beside  the  hive  a  broken 
cord  drops  from  a  clothes-prop  weighted  down  with  tattered  garments.  On 
the  1.  is  a  smoking  manure-heap  inscribed  Ministrial  Dung-hill;  on  this  lies 
a  paper,  Prope[rty]  Tax  [now  removed,  see  No.  12750,  &c.],  and  from  it  grow 
toadstools  inscribed  Place,  Pension,  and  Sinecure.   After  the  title : 

"All  with  united  force  combine  to  Drive," 

"The  lazy  Drones  from  the  laborious  Hive."    Virgil 

Above  the  design:  Quarter  Day. 

731 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

A  satire  on  heavy  taxation  and  the  distress  of  1816  (see  No.  12779,  &C-)» 
which  greatly  increased  the  burden  of  poor  rates:  John  Bull's  only  defence 
is  Reform,  The  chief  topics  at  numerous  meetings  in  England  and  Ireland 
were  Reform  of  Parliament,  i.e.  manhood  suifrage  and  annual  parliaments, 
and  retrenchment,  especially  the  abolition  of  sinecures  and  pensions,  cf. 
No.  12781,  and  the  reduction  of  army  expenditure,  cf.  No.  12756, 

Also  a  worn  impression  (coloured)  with  imprint  removed,  and  the  serial 
number  altered  to  ig^. 
8|x  i2|  in. 

12864  HUNT-ING  THE  BULL!! 

G  Cruikshank 

London  Puh^  Febv  8"'  i8iy  by  J.  Sidebotham  i,  5'  James's  S'' 

Engraving  (coloured  impression).  A  fiercely  snorting  bull,  John  Bull,  is 
chased  from  the  r.  by  the  radicals  and  the  radical  Press,  and  baited  by  the  dogs 
of  his  (ministerial)  butchers.  The  scene  is  outside  the  gate  and  screen  of 
Carlton  House,  with  a  sentry-box  (r.)  in  front  of  which  Ellenborough,  the 
Chief  Justice,  stands  at  attention,  the  word  Law  on  his  bayonet;  he  wears 
uniform  and  bearskin,  with  a  judge's  wig.  The  radical  mob  is  led  by  three 
men.  Cobbett,  in  the  centre,  with  a  pitchfork  inscribed  Political  Register, 
draws  blood  from  the  infuriated  bull.  On  his  r.,  and  on  the  extreme  1.  is 
Lord  Cochrane,  wearing  his  long  blue  overcoat,  as  in  No.  125 14;  he  flourishes 
a  club  inscribed  Cochrane' s  Charges  [see  No.  12757].  On  Cobbett's  1.  is 
'Orator'  Hunt,  raising  in  both  hands  an  enormous  club  inscribed  Spa  Fields 
Resolutions  [see  No.  128 18].  Close  behind  them  is  Major  Cartwright  (see 
No.  6474)  brandishing  a  club  which  though  not  large  has  a  vicious  spike,  and 
is  inscribed  Cartwright  on  the  .  .  .  An  undifferentiated  mob  follows  armed 
with  pikes;  two  of  these  are  labelled:  Stateman  [sic]  and  Mor^  Chronicle. 
Missiles  are  hurled,  including  a  wig  labelled  Independant,  representing  the 
'Independent  Whig'. 

The  Regent  and  his  supporters  are  dressed  as  butchers,  with  aprons,  over- 
sleeves, and  steels.  Vansittart,  on  the  extreme  r.,  wearing  his  Chancellor  of 
the  Exchequer's  gown,  is  releasing  two  more  dogs,  inscribed  New  Taxes,  from 
a  bag  inscribed  Budget.  The  Regent  takes  a  flying  leap  (as  in  No.  12861)  from 
the  bull's  lowered  horns,  holding  his  cocked  hat  to  protect  his  posterior. 
Eldon  has  fallen  on  his  face,  dropping  the  mace;  Liverpool  is  in  full  flight, 
as  is  another  Minister  whose  head  is  behind  the  sentry-box.  Castlereagh  alone 
stands  firm,  and  raises  a  headsman's  axe  to  smite  the  bull  on  the  neck.  The 
dogs,  rushing  furiously  at  the  bull  are:  Civil  List  [see  No.  12756],  Assessed 
Taxes,  Stamp  [duties].  Customs;  one  has  been  gored  and  tossed,  and  falls  from 
a  height:  Property  Tax  [see  No.  12750,  &c,].  Only  one  gateway  and  a  frag- 
ment of  the  pillared  screen,  monumental  rather  than  realistic,  are  depicted. 
The  design  perhaps  derives  from  Gillray's  John-Bull,  baited  by  the  Dogs  of 
Excise,  No,  7640  (1790), 

John  Bull  is  a  victim  of  demagogy,  taxation,  and  reaction  (personified  by 
Castlereagh),  The  title  indicates  the  part  taken  by  Hunt  in  the  Reform  agita- 
tion. The  bull's  threat  to  the  Regent  represents  the  mobbing  of  his  coach 
(see  Nos.  12871,  12887)  after  the  opening  of  Parliament  on  28  Jan.,  when  a 
stone  or  bullet  pierced  two  panes  of  glass  (called  the  Pop  Gun  Plot,  after  the 
farcical  affair  of  1796,  see  No.  9035).  The  Convention  of  Delegates,  bringing 
petitions  said  to  have  500,000  signatures,  met  in  London  on  23  Jan.  18 17, 
with  Cartwright  as  chairman,  in  default  of  Burdett,  who  was  withdrawing 

'  The  address  is  added  in  a  different  hand. 


POLITICAL   SATIRES    1817 

himself  from  the  movement.  For  Cobbett's  cheap  edition  of  the  Political 
Register  see  No.  12870.  The  Statesman  and  Independent  Whig  were  Whig- 
Radical  papers  (see  vol.  viii).  Perry's  Morning  Chronicle  opposed  the  excesses 
of  the  Reformers  as  damaging  to  the  Whigs.'  Halevy,  Hist,  of  the  English 
People  1825-1830,  1926,  p.  24;  Wallas,  Life  of  Place,  1918,  pp.  119-21. 
Cf.  No.  12867. 

Reid,  No.  627.   Cohn,  No.  1221. 
8|xi3iin. 


12865  THE  NEW  COINAGE— OR— JOHN  BULLS  VISIT  TO  MAT 
OF  THE  MINT!! 

[Williams.] 

Ptib'^  Feb^  18 1 y — hy  J  Sidehotham  y2  New  Bond  Street 

Engraving  (partly  coloured).  The  interior  of  the  Mint;  Wellesley-Pole, 
Master  of  the  Mint,  is  shovelling  (new  silver)  coins,  from  a  great  heap  (piled 
up  like  coal)  on  the  1.,  into  a  large  sack  held  open  by  John  Bull;  he  says: 
There  Johnny!  see  how  I  have  been  zvorking  for  you  for  Months  past.  You  can't 
say  I  get  my  Money  for  nothing.  He  wears  the  apron  (marked  with  G  R  and 
crown),  breeches,  and  gaiters  of  a  workman,  with  a  fashionable  coat  and  stock, 
John,  registering  cynical  melancholy,  answers:  You  be  a  very  industrious  Man 
indeed  Master  Mat  and  the  prattyest  Cole  [money,  ci.  No.  10370]  Merchant.  I 
have  dealt  with  this  mony  a  day!!!  He  has  the  battered  hat,  lank  hair,  and  gaiters 
of  a  poor  countryman,  and  is  out-at-elbows.  His  sack  is  inscribed :  Ne^v  Silver  to 
enable  the  people  to  give  intrinsic  value  for  Bank  rags  &  worthless  Tokens.  Behind 
him  are  his  wife,  carrying  an  infant,  and  three  ragged  bare-footed  children; 
the  eldest  boy  crawls  forward  to  seize  some  of  the  coins  on  the  floor.  Behind 
this  family  party  men  with  bags  and  baskets  crowd  into  the  room  from  an 
open  door  which  frames  a  background  of  buildings  and  masts  of  ships.  Pole 
stands  between  the  heaped  coin  and  a  counter  on  which  are  a  pair  of  sacks, 
a  banker's  scoop,  and  a  pair  of  shears  (for  cutting  light  coin,  by  the  Coin  Act 
of  1773,  see  No.  5128,  &c.).  A  drawer  in  the  counter  is  inscribed  Mint  Seed 
[cf.  No.  9544].  On  the  wall  are  a  small  proclamation  with  the  Royal  Arms: 
Current  Price  of  Silver  &  Gold  and  a  large  bill  headed  New  Silver  Coinage 
and  signed  W,  W,  Pole  Master  &  Worker  of  his  Majestys  Mint. 

The  shocking  state  of  the  silver  currency  had  aggravated  the  distress  of 
1816;  Grenfell  alleged  that  change  for  a  pound  note  would  consist  half  of 
French  coins,  half  of  counterfeit  coins  from  Birmingham.  An  entirely  new 
coinage  was  decided  upon,  the  silver  to  be  put  in  hand  first.  By  a  Proclama- 
tion of  18  Jan.  the  old  silver  coin  was  to  be  brought  to  the  Mint  between 
3  and  17  Feb.  and  exchanged  for  the  new  crowns,  half-crowns,  shillings,  and 
sixpences.  Text  in  Ann.  Reg.,  Chron.,  p.  6  f.  The  public  took  their  coin 
to  a  large  hall  in  the  Bank  of  England.  Ibid.,  p.  13.  See  Smart,  Economic 
Annals  of  the  Nineteenth  Century,  i.  477  f.,  563.  According  to  the  Examiner, 
16  Feb.,  the  workmanship  of  the  coins  and  the  'plan  of  delivery'  were  very 
clumsy.  The  Proclamation  was  'from  our  Court  at  Brighton'  (cf.  Nos.  12749, 
12861),  and  doggerel  verses  were  circulated.  See  Bagot,  Canning  and  his 
Friends,  1909,  ii.  31  n.   Wellesley-Pole  was  Master  of  the  Mint,  with  a  seat 

'  But  according  to  the  Examiner,  26  Jan.  1816:  'the  Chronicle  and  other  papers  in 
London  have  risen  in  strength  of  writing  in  proportion  to  the  spirit  of  occasion'. 
Cobbett  writes  {Pol.  Reg.,  i  Feb.  1817)  of  'the  base  and  foul  calumnies  [on  the  Regent] 
of  place  hunters  and  factious  writers  like  the  Morning  Chronicle,  who  have,  for  years, 
been  dealing  in  such  calumnies'. 

733 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

in  the  Cabinet,  1814-23;  he  refers  to  the  campaign  against  sinecures,  see 
No.  12781,  &c.  Mat  of  the  Mint  is  one  of  the  thieves  in  Gay's  Beggar's  Opera. 
For  paper  money  and  bank  tokens  see  No.  11716. 

Described,  Bagot,  op.  et  loc.  cit. 
8|xi3  in. 


12866  ADVOCATES  FOR  REFORM  SHEWING  THE  WHITE 
FEATHER!!  OR  A  NEW  WAY  TO  HUNT  OUT  A  TROUBLESOME 
CUSTOMER!! 

Yedis  inv'  Cruikshank  fec^ 

London  Pu'^  by  J  Sidehotham  N°  i  S^  James's  S^  24'''  Feb^  i8iy 

Engraving  (partly  coloured).  After  the  title:  (vide  a  late  fracas  at  the  British 
Coffee  house  between  the  host  &  his  Guest).  Hunt  and  Cobbett,  both  with  large 
white  feathers  erect  in  their  top-hats,  flee  towards  an  open  door  beyond  which 
the  head  of  a  staircase  is  indicated.  They  are  pursued  by  a  good-looking  man 
with  clenched  fists  and  in  the  attitude  of  a  boxer,  who  is  in  the  centre  of  the 
design.  Behind  him  (1.)  are  four  supporters,  one  a  bottle-holder.  Hunt's 
feather,  the  larger,  is  The  Emblem  of  Cowardice.  At  his  feet  is  a  paper:  Hunt 
hiss'd  out  of  Bristol —  He  registers  cowardice,  exclaiming,  I  can't  fight  &  I 
wont  fight — /  can  only  talk  about  fighting  if  my  Speeches  don't  strike  &  my 
arguments  can't  knock  you  down — /  have  no  other  remedy  left  but  to  run  away!! 

— so  here  goes!  Cobbett,  who  is  nearer  the  door,  clutches  a  paper :  Cobbetts 
Register.  He  cries :  Run  for  your  life  my  Boy!  Shew  them  a  Real  Hunt!! — 
fighting  zvillonly  degrade  your  high — Political  Character!  the  fellow  is  only  hire'd 
by  the  Magistrates  to  thrash  us  Pll  expose  the  Rascals  in  my  two-penny  Register!! 
— /'//  dip  my  pen  in  Gall  &  damme  work  'em  all.  Hunt's  antagonist,  Morley, 
keeper  of  the  British  Hotel  in  Cockspur  Street,  says:  "Look  at  the  white 
feather"!  Two  of  the  seconds  say:  Put  his  head  in  Chancery  &  stop  his  jaw, 
talking  won't  do  here  and  ha!  ha  look  at  the  white  feather .  Below  the  title: 

"He  that  fights  &  runs  away" 
" May  live  to  fight  another  day ." 

Orator  Hunt,  finding  on  10  Feb.  that  his  baggage  had  been  removed  from 
his  room  at  Morley's,  said  to  be  'engaged  to  an  officer',  had  an  altercation 
with  Morley,  whom  he  called  a  vagabond,  while  Morley  called  him  a  dema- 
gogue. A  fight  was  arranged  for  15  Feb.  at  Jackson's  rooms  in  Bond  Street 
(see  No.  12917).  Hunt  arrived  (late)  with  Cobbett,  who  asserted  that  Morley 
ihad  been  paid  by  the  magistrates  to  provoke  Hunt  so  that  he  should  be 
prevented  from  speaking  at  Spa  Fields  on  10  Feb.  (see  No.  12869)  and 
informed  the  company  that  he  attended  in  order  to  prevent  any  fighting. 
Morley  declared  he  had  not  been  the  challenger,  and  cried  out  as  the  pair 
left:  'There  goes  a  white  feather!'  Examiner,  16  Feb.  1817,  citing  the  Morning 
Herald  '(which  has  for  some  time  ceased  to  be  a  Court  Newspaper)'.  Accord- 
ing to  Hunt,  bills  asserting  that  he  had  been  turned  out  of  the  City  of  Bristol 
(cf.  No.  1 1907),  and  'other  gross  falsehoods  and  infamous  calumnies'  had 
been  posted  up,  whereas  he  had  addressed  a  great  public  meeting  there,  at 
which  a  petition  (presented  to  the  House  of  Commons)  was  signed  by  over 
20,000  men. 

Reid,  No.  658.   Cohn,  No.  870. 
7|x  i2|  in.   With  border,  g^X  13I  in. 

734 


POLITICAL   SATIRES    1817 

12867  A    PATRIOT    LUMINARY    EXTINGUISHING    NOXIOUS 

GAS!!!— 

A  B  [Beugo]  inv^  Tom  Tickle  del^  G  Cruikshank  sculps 

PuM  by  A.  Beugo  Print  dealer  j8  Maiden  lane  Cov^  Garden  Feby  26 

1817 

Engraving.  Brougham  (1.)  directs  the  jet  from  a  fire-hose  on  gas  flames  issu- 
ing from  the  mouth  of  Cochrane,  who  stands  astride  the  summit  of  the  gas- 
container,  an  oddly-shaped  urn,  round  which  two  pipes  are  symmetrically 
twined,  having  the  heads  of  serpents  and  forming  two  loops  or  handles 
which  Cochrane  supports  on  his  shoulders.  The  heads  of  the  serpents  are 
supported  by  Cobbett  who  forms,  in  profile  to  the  1.,  a  figure-head  for  the 
container.  Lighted  gas-jets  issue  from  the  mouths  of  Cobbett  and  of  the 
serpents;  from  his  pocket  hangs  a  fat  purse  inscribed  My  Politics.  Burdett, 
his  back  to  Cobbett  and  Cochrane,  with  folded  arms,  is  in  a  similar  position, 
but  lower  down,  against  the  back  of  the  container.  Two  shorter  serpent-pipes 
are  looped  against  the  sides  of  the  container,  terminating  in  the  profile  heads 
of  Hunt,  wearing  a  hunting-cap,  and  (presumably)  Thomas  Evans,  whose 
pipe  is  inscribed  Spencean  Plan  (see  No.  12868).  These  two  are  behind  and 
slightly  below  Cobbett,  in  profile  to  the  1.  Over  Evans's  pipe  hang  little 
serpents,  darting  their  fangs  towards  Brougham.  The  second  pipe  is  not 
visible,  being  on  the  farther  side  of  the  urn,  but  is  represented  by  Hunt's 
head,  parallel  with  that  of  Evans.  From  the  mouths  of  all  issue  flames  of  gas. 
Cochrane's  1.  foot  (and  presumably  his  r.)  rests  on  the  edge  of  a  large  tricolour 
disk  (a  cockade)  which  ornaments  the  side  of  the  urn  and  is  supported  upon 
crossed  daggers.  He  leans  against  the  head  of  a  (?)  golden  calf  which  rests 
on  the  upper  cur\^e  of  the  urn.  The  container  rests  on  a  low  stand  of  four 
curved  legs,  round  and  below  which  are  adders,  toads,  and  a  lizard,  all  dis- 
charging venom  against  the  low  rocky  platform  on  which  Brougham  stands. 

The  urn  is  filled  with  gas  by  a  pipe  issuing  from  a  furnace  on  the  extreme  r., 
which  a  kneeling  and  simian  demon,  wearing  a  bonnet  rouge,  is  stoking  with 
newspapers,  while  he  blows  at  the  flames.  In  his  r.  hand  is  CobbeltVs]  Political 
Register;  in  his  1. :  Examiner  J  any  26  Page  53  a  continued  experim[ent]  at  exciting 
an  insurrection.  d°  P  82  Feb  g"'.  At  the  ape-like  creature's  feet  are  other 
papers:  Statesman,  Morning  C[hronicle],  Black  Dzcarf,  Independent  Whig, 
Hones  Reformers  Register,  Spa  Fields  Resolutions  [see  No.  12869,  ^<^-]>  -^^ — ^^^^ 
Club  for  Keeping  new  members  out  of  Westminster.  Behind  the  furnace  and  the 
urn  are  black  clouds;  from  these  (r.)  a  Fury  emerges,  with  snakes  for  hair, 
holding  in  the  r.  hand  a  firebrand,  and  in  the  1.  writhing  serpents.  Above 
are  many  night-birds,  owls,  bats,  &c. 

Brougham's  fire-hose  issues  from  a  fire-engine,  inscribed  Parlaimetary  [sic] 
Expositor,  a  box  on  wheels  with  two  handles  for  pumping  at  which  Eldon  (1.) 
in  wig  and  gown,  and  Castlereagh  (r.)  are  working.  On  this  is  a  (carved) 
British  Lion  trampling  on  a  crowned  eagle,  to  represent  the  defeat  of  Napo- 
leon. Behind  and  on  the  extreme  1.  is  the  trunk  of  an  aged  oak,  wreathed  with 
roses.  On  the  ground  at  Brougham's  feet  are  papers:  [i]  His  Royal  Highness 
has  enjoyed  prosperity  with  his  people  he  will  prove  himself  ready  to  share  their 
privations  his  royal  Highness  relinquish^  £50,000  a  year  of  his  income  &  fears 
not  but  it  will  be  rec'^  as  intended  House  of  Commons  Dec''  [i.e.  Feb.]  7  18 ly. 
[2]  Marq^  Camden  10,000.  [3]  Ponsonby  400.  In  the  background  (1.),  between 
the  oak  and  the  gas-urn,  is  the  sea-shore  with  small  trading  vessels  collecting 
casks,  &c.,  and,  in  front,  a  man  leading  his  horse  to  a  plough,  and  others  sheep- 
shearing.  Partly  hidden  by  the  tree  is  a  disk  or  a  rising  sun,  containing  the 
bewigged  head  of  the  Regent  (cf.  No.   12867  ^)-    Below  the  design  are 

735 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Brougham's  words:  "Sir,  I  will  not  show  my  friendship  for  the  people  by  telling 
them  falshoods. — (a  loud  cry  of  hear,  hear!) — /  zoill  not  be  party  in  practising 
delusion  on  the  people. — (hear,  hear!) — I  do  not  blame  the  petitioners,  but  I  blame 
the  fabricators  of  the  petitions  for  having  y^  assurance  to  declare  that  universal 
suffrage,  was  a  right  for  which  our  Ancestors  shed  their  blood. — (hear  hear) — 
Sir  I  would  not  be  a  party  in  telling  the  people  (monstrous  assertion!)  that  twelve 
hund'^  years  ago,  this  Country  enjoyed  a  perfect  Constitution. — (hear,  hear!) 
Twelve  hund'^  years  ago!! — in  what  history  is  it  to  be  found,  that  this  Country 
enjoyed  a  free  &  perfect  Constitution  at  all,  at  that  period  ?  what  do  we  know 
of  the  state  of  this  Country  in  that  respect,  in  y^  year  6i8  two  hund'^  years  before 
y^  dijf^  Kingdoms  of  the  Saxon  heptarchy  were  united  under  one  Monarch — (hear 
he")  these  Sir,  are  they  who  after  poring  for  days  &  nights  &  brooding  over  their 
wild  &  tnischievous  schemes,  rise  up  with  their  little  nostrums  &  big  blunders  to 
amend  the  British  Constitution!  (laughter  &  loud  aplause)  vide  M''  Br — gh — ms 
reply  to  L'^  C — ch — ne  Feb^  14'^  i8iy. 

On  14  Feb.  various  petitions  for  Reform  were  presented  to  the  Commons, 
one  by  Brougham,  who,  however,  spoke  of  'the  absurd  and  impracticable 
doctrine  of  universal  suffrage'.  He  was  answered  by  Cochrane;  the  passage 
quoted  is  an  abridged  quotation  from  Brougham's  retort  to  Cochrane.  Pari. 
Deb.  XXXV.  358  ff.  Brougham  was  violently  attacked  for  this  speech  by  Hone 
in  his  Register,  in  a  passage  read  by  Cochrane  in  Parliament  on  17  Feb.  (ibid., 
pp.  368  ff.;  Aspinall,  Brougham  and  the  Whig  Party,  1927,  p.  75;  Wallas, 
Life  of  Place,  19 18,  pp.  120-6.  The  allegedly  seditious  passages  from  the 
Examiner  are  (i)  from  an  article  on  the  approaching  Session :  'Persons  however 
in  the  situation  of  Parliament  may  be  compelled  without  manual  force,  and 
will.  Swords  may  be  answered  with  swords,  at  least  for  a  time;  but  there  is 
no  withstanding  the  universal  will  of  a  nation. . . .  [The  people]  are  too  strong, 
too  enlightened,  and  too  angry,  to  suffer  themselves  to  be  duped  again.' 
(2)  A  protest  against  the  measures  of  repression,  see  No.  12871,  &c.:  'the 
personal  sufferings  and  irritability  of  the  people  are  infinitely  greater  than  they 
were  in  95  and  .  .  .  will  not  endure  violent  treatment'.  Wooler's  Black  Dwarf 
(29  Jan.  1817-Dec.  1824)  and  Hone's  Reformist's  Register  (i  Feb.-25  Oct.  1817) 
were  two  of  the  unstamped  weekly  papers  that  contributed  to  the  agitation 
for  manhood  suffrage,  and  were  more  radical  than  Cobbett's  Register.  See 
J.  H.  Rose,  'The  Unstamped  Press  1815-1836',  Eng.  Hist.  Rev.,  Oct.  1897; 
Aspinall,  'Circulation  of  Newspapers  in  the  early  Nineteenth  Century', 
Review  of  English  Studies,  Jan.  1946.  Burdett  was  holding  aloof  from  the 
extremists,  cf.  No.  12869,  and  was  denounced  by  Hunt;  Burdett  and  Cobbett 
wavered  between  manhood  suffrage  and  household  suffrage.  On  7  Feb. 
Castlereagh  announced,  among  items  of  retrenchment,  that  the  Regent, 
'desirous  to  share  the  privations  and  sufferings  of  his  majesty's  subjects', 
wished  to  surrender  ^(^50,000,  about  a  fifth  of  his  income,  and  on  11  Feb. 
(in  answer  to  a  question)  that  Lord  Camden  had  surrendered  his  sinecure 
Tellership  of  the  Exchequer  in  return  for  an  income  of  ;^2,50o.  Pari.  Deb. 
XXXV.  267,  324  f.  (This  had  brought  in  a  maximum  income,  according  to  the 
sums  issued  from  the  Exchequer,  of  over  ,(^23,000.)  Ponsonby  opposed  Castle- 
reagh's  proposal  that  holders  of  public  office  should  surrender  a  tenth  of  their 
salaries,  the  equivalent  of  what  they  would  have  paid  in  income  tax,  but 
surrendered  10  per  cent,  of  his  own  pension.  Ibid.,  p.  306;  Examiner,  1816, 
p.  105.  The  unwonted  praise  of  the  Regent,  Castlereagh,  and  Eldon  illustrates 
the  extent  of  the  reaction  from  the  demagogy  of  Hunt  and  others,  leading  to 
disturbances,  which  is  seen  also  in  Cobbett's  protest  against  attacks  on  the 
Regent,  and  his  warning  to  the  Reformers  against  'Political  Clubs',  'Secret 
Cabals',  and  'Correspondences'.   Pol.  Reg.  xxxii.  209,  220  (15  Feb.  18 17), 

736 


POLITICAL   SATIRES    1817 

cf.  No.  12864,  &c.  'Br — kes's  Club'  is  probably  a  punning  reference  to  Samuel 
Brooks  of  the  Westminster  Committee  which  managed  Westminster  elections. 
Cf.  No.  12633  on  gas-lighting  as  a  noxious  innovation. 

Reid,  No.  659.    Cohn,  No.  1831. 
8fxi3iin. 

12867  a  a  second  state,  coloured:  the  Prince's  disk  has  been  moved  up- 
wards, and  is  an  unmistakable  sun  irradiating  the  gap  in  the  clouds  above 
Castlereagh's  head;  the  enclosed  head  is  smaller  with  no  element  of  caricature. 
A  fourth  paper,  apart  from  the  others,  has  been  added  to  those  at  Brougham's 
feet:  Folly  of  y^  Middling  classes  supporting  their  Goverment  Bl^  Dwarf.  (The 
chief  article  in  Wooler's  paper  on  12  Feb.  was  on  'The  Folly  of  the  Middle 
Classes,  In  supporting  the  present  System'.)  The  water  from  Brougham's 
hose  in  inscribed  Wesf  Cordial. 

12868  A  PEEP  IN  TO  THE  GREEN  BAG  OF  THE  SECRET  COM- 
MITTEE OF  MAGNIFIERS. 

Marks  fec^ 

Pu¥  by  y.  Johnston  g8  Cheapside  Feb  2j  iSiy 

Engraving  (partly  coloured).  Members  of  Parliament,  some  with  large  magni- 
fying glasses,  are  grouped  round  a  cloth-covered  table  on  which  exhibits  are 
displayed ;  they  are  grotesquely  drawn  and  poorly  characterized.  One  (?  Liver- 
pool) superintends  two  witnesses  at  the  foot  of  the  table  (1.),  a  negro  servant 
and  a  woman,  fat,  jolly,  and  disreputable,  on  whose  shoulder  he  puts  a  hand; 
in  his  1.  hand  is  a  large  stuffed  stocking  inscribed  Powder  Magazine.  She  says : 
/  assure  you  (Sir)  on  my  Honour!!  all  I  say  is  true,  I  know  a  great  deal  more, 
but  cannot  think  of  it  at  Present!!!   Her  interrogator  says:  /  belive  all  you  say 
and  more  too!  The  negro :  When  Misse  know  more  I  shall.   A  man  beside  him 
stares  at  the  woman  through  a  huge  magnifying  glass,  saying.  She  is  a  Wapping 
Landlady.    Objects  on  the  table  are  a  row  of  toy  soldiers  wearing  caps  of 
liberty  placarded:  Army  for  taken  [sic]  the  Bank  &  Tower.   Other  objects  are 
a  large  mortar  resting  on  a  pestle,  ticketed  Z)''  Watso?i's  Morter;  a  pair  of 
braces:  Evans's  Gallowses  [cf.  No.  8039],  a  syringe  or  squirt,  an  awl,  a  bottle 
of  opium,  a  saw,  a  model  of  a  small  vessel  or  yacht,  with  ink-pots  and  an 
hour-glass.    One  of  the  committee  {}  Castlereagh),  sitting  opposite  the  ship 
and  holding  up  his  glass,  turns  to  say  to  a  colleague:  No  doubt  this  Ship  zvas 
intended  to  convey  Buanaparte  from  S'  Helena  [cf.  No.  12592].    The  other, 
staring  through  his  glass,  exclaims  angrily :  D — m  this  Glass  it  do  not  Magnify 
half  big  enotigh.   A  sixth  member  sits  looking  through  his  glass  with  his  hand 
on  a  paper :  Gagging  Bill.  He  has  some  resemblance  to  Canning  w  ho  defended 
the  Bill.   On  the  extreme  r.  an  ugly  and  bloated  member  of  the  Committee 
(Curtis)  stands  on  a  stool  holding  the  shoulders  of  a  little  man  (Wilberforce) 
who  stands  in  front  of  him,  using  an  even  bigger  glass  than  the  others.    He 
exclaims :  Lord!  what  a  Monstrous  Morter  the  Regent  Bomb  [see  No.  12799,  &c.] 
is  ?iothing  to  compare  to  it.    Curtis  says:  Oh  what  a  dreadful  sight.    On  the 
ground  on  the  extreme  1.  is  a  large  Green  Bag  from  which  papers  project,  one 
inscribed  Spencean  Plan;  beside  this  is  a  book:  the  History  of  Jack  The  Giant 
Killer. 

After  the  attack  on  the  Regent  (see  No.  12864),  Sidmouth,  the  Home 
Secretary,  placed  papers  (in  a  green  bag)  relating  to  sedition  and  unrest,  and 
a  Secret  Committee  (also  called  the  Green  Bag  Committee)  was  chosen  by 
ballot  in  each  House  to  report  on  them.    That  of  the  Commons  included 

737  3  B 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Castlereagh,  Canning,  Wilberforce,  Curtis,  and  members  of  the  Opposition. 
The  Report  (19  Feb.)  referred  to  societies  with  delegates,  inflammatory 
placards  and  speeches,  the  Spencean  doctrines  (corporate  land-tenure), 
designs  on  the  Tower  and  Bank  (as  grotesquely  attempted  by  the  Watsons 
on  2  Dec),  and  attempts  to  seduce  the  army.  The  Spa  Fields  rioters  (Spen- 
ceans)  had,  according  to  Castle,  see  No.  12885,  ammunition  consisting  of 
60  or  70  bullets  in  an  old  stocking.  [State  Trials,  xxxii.  275.)  Thomas  Evans 
(see  vol.  vii),  arrested  9  Feb.  [Examiner,  181 6,  p.  iii),  was  Librarian  to  the 
Society  of  Spencean  Philanthropists,  an  associate  of  the  Watsons,  and  one  of 
a  projected  Committee  of  Public  Safety.  Pari.  Deb.  xxxv.  438  ff.,  590  ff.,  765 ; 
Bamford,  Passages  in  the  Life  of  a  Radical,  1905,  ii.  27-30;  Life  of  Wilberforce, 
1839,  iv.  308,  314-16;  Wallas,  Life  of  Place,  1918,  pp.  120-6;  State  Trials, 
xxxii.  212.  On  24  Feb.  Sidmouth  presented  the  Habeas  Corpus  Suspension 
Bill  (valid  to  i  July)  in  the  Lords  and  Castlereagh  the  (temporary)  Seditious 
Meetings  Bill  (Gagging  Bill)  which  revived  the  restrictions  of  1795  (see 
No.  8687,  &c.).  Cf.  No.  9369  by  Gillray  on  the  Secret  Committee  of  1799. 
For  the  Green  Bag  see  also  Nos.  12871,  12876,  12887,  13000.  A  more 
notorious  Green  Bag  contained  the  case  against  Queen  Caroline  in  1820. 
8fxi3j  in. 

12869  THE  SPA  FIELDS  ORATOR  HUNT-ING  FOR  POPULARITY 
TO  DO-GOOD!!— 

Yedis  inv^   G  Cruikshank  fec^ 

Printed  &  Pu¥  by  J.  Sidehotham  S'  James's  Street  March  i'^  181J — 

Engraving  (partly  coloured).  Hunt  leans  from  a  first-floor  window  (1.)  of  a 
public  house,  addressing  a  crowd  below.  He  holds  out  his  hat,  decorated  with 
a  tricolour  cockade,  and  a  placard:  Petition  for  Reform — Universal  Suffrage, 
Annual  Parliaments  No  Sinecurists — No  Taxes — No  Monarchy  No  Laws  No 
Religion.  From  the  sill  hangs  another  placard:  Petition  to  Parli[afnent]  to 
Redress  the  Boy  Dogood  who  was  z7W/)r[isoned]  for  tearing  down  a  Bill  entitled 
Himt  hiss'd  out  of  Bristol.  Hunt's  words  fill  a  label  against  the  upper  margin : 
Friends  &  Associates! —  You  are  the  only  people  that  care  for  me! — every  body 
else  has  forsaken  me  &  Do-Good! — Sir  Francis  Burdett  &  all  other  respectable 
advocates  for  Reform  will  have  nothing  to  Do  with  me  &  Do-Good.  The  lying 
newspapers  call  me  an  ignorant  Demagogue  and  an  Imposter  &  Do  Good  also! 

but  with  some  assistance  Fll  make  my  enemies  shake  in  their  shoes  let  'em  look 
to  their  Windozvs! — /  am  very  sorry  for  the  late  attack  on  the  Regent — very 
sorry!  (hum!)  but  when  such  temperate  &  respectful  petitions  as  ours  are  unavail- 
ing, he  must  expect  us  to  adopt  Bidlets  &  Brickbats! — Farewell  my  Friends! — 
we'll  meet  every  month  to  keep  me  from  sinking  to  my  primitive  insignificance  & 
Obscurity! — Don't  let  any  body  speak  here  but  myself  lest  you  should  change  your 
opinion  of  me  &  think  I  am  a  stupid  lying  Incendiary — Knock  off  all  the  hats 
you  can  get  at  zvhereever  I  pass  in  token  of  respect  &  Draw  me  to  my  lodgings 
in  my  own  Tandem!!!  [see  No.  12870]  &  now  then  give  me  three  cheers!!!  The 
windows  behind  Hunt  are  filled  with  men  drinking  and  smoking.  A  ragged 
boy  (Dugood)  sits  on  a  projecting  lamp-bracket  close  to  Hunt.  The  dis- 
reputable crowd  have  a  few  clubs,  and  makeshift  tricolour  bonnets;  hats 
decorated  with  tricolour  cockades  are  waved,  with  shouts  of  Huzza  and  Hunt 
for  ever.  A  little  chimney-sweep  with  a  large  favour  in  his  cap  begs  for  an 
apple  from  a  ragged  apple-woman.  Two  men,  rather  better  dressed  than  the 
others,  stand  together;  one  points  to  Hunt's  placard  while  he  picks  his  com- 
panion's pocket.    Two  grotesque  ragamuffins  bestride  a  horse  in  blinkers; 

738 


POLITICAL   SATIRES    1817 

one  holds  a  banner.  A  dejected  man  holds  tw^o  ragged  children  by  the  hand; 
his  wife,  holding  an  infant,  turns  to  look  at  a  preacher,  ragged  but  wearing 
clerical  bands,  who  attracts  the  attention  of  the  crowd  on  the  r.  He  towers 
above  them  with  raised  arms,  yelling:  Reform  the  Church!  Down  with  the 
Bishops!  we  are  strong  enough  now  to  take  away  their  Loaves  &  fishes  &  D — n 
them  all.  In  the  foreground  on  the  extreme  1.,  leaning  against  the  wall  of  the 
house,  is  a  stout  and  disapproving  John  Bull,  holding  a  constable's  staff. 
Above  the  ground-floor  window  in  large  letters :  Merlin's  Cave  Fine  Cordial 
Gin  & Dealer  in  Toba[cc6\ .   Below  the  title : 

'^The  State  is  out  of  tune,  distracting  fears 
And  jealous  doubts,  jar  in  our  public  Councils 
Amidst  the  wealthy  City,  murmurs  rise 
Loud  railings  &  reproach  on  those  that  rule 
With  open  scorn  of  Government — hence  credit 
And  public  trust,  'twixt  man  &  tnan  are  broke 
The  golden  streams  of  commerce  are  with-held 
Which  feed  the  wants  of  needy  hinds  and  artisans 
Who  therefore  Curse  the  Great  and  Threat  Rebellion' — 

Below,  and  across  the  plate-mark,  verses  are  printed  in  five  columns : 

Blythe  Harry  Hunt  was  an  Orator  bold! 

Talk'd  away  bravely  and  blunt; 
And  Rome  in  her  glory  and  Athens  of  old. 
With  all  their  loud  talkers  of  whom  we  are  told, 

Couldn't  match  Orator  Hunt! 

Blythe  Harry  Hunt  was  a  sightly  man, 

Something  'twixt  giant  and  runt; 
His  paunch  was  a  large  one,  his  visage  was  wan, 
And  to  hear  his  long  speeches  vast  multitudes  ran. 

O  rare  Orator  Hunt! 

He  hated  a  pension,  he  hated  a  place; 

Gave  them  a  groan  and  a  grunt; 
Call'd  Ministers  Villains,  and  Crowns  a  Disgrace; 
And  wish'd  to  cut  short  the  monarchical  race. 

O  rare  .  .  .  [&c.] 

Orator  Hunt  he  could  both  read  and  write. 

Meagre  his  mind  tho'  and  stunt; 
His  knowledge  of  grammar  indeed  was  so  slight, 
That  a  sentence  of  English  he  couldn't  indite. 

O  rare  .  .  .  [&c.] 

How  Orator  Hunt's  many  speeches  will  close. 

Tedious,  bombastic,  and  blunt. 
In  a  halter  or  diadem,  God  only  knows; 
The  sequel  might  well  an  arch-conjuror  pose. 

O  rare  .  .  .  [&c.] 

Hunt's  third  Spa  Fields  meeting  (see  No.  12819)  was  held  on  10  Feb.  He 
blamed  Burdett,  who  had  ignored  the  request  that  he  should  present  the 
petition  of  2  Dec.  and  had  renounced  universal  suffrage  and  the  ballot.  He 
spoke  at  length  on  his  attempts  to  obtain  justice  for  Dugood,  and  appealed 
for  a  penny  subscription  for  him.  Hunt  had  petitioned,  3  Feb.,  for  the  dis- 
missal of  a  magistrate  who  had  imprisoned,  10-22  Jan.,  Dugood,  a  boy  who 
had  torn  down  a  bill  attacking  himself,  Pari.  Deb.  xxxiv.  183  ff.  He  spoke 
of  the  Green  Bag  Committee,  see  No.  12868,  and  of  a  'trumped  up  story  of 

739 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

the  Regent's  having  been  shot  at'  (see  No.  12864),  but  regretted  the  stone- 
throwing  'because  all  violence  would  do  harm  to  their  cause'.  He  moved  a 
string  of  resolutions  (see  No.  12867)  ^^^  ^  Petition  for  the  abolition  of  all 
Sinecure  Places  and  Pensions.  All  was  quiet,  the  meeting  was  large  but  less 
so  than  on  2  Dec.  Soldiers  and  constables,  special  and  ordinary,  'were  out 
in  every  possible  direction'.  Hunt  'mixed  up  a  number  of  unfortunate  truths 
v/ith  his  usual  common-place  and  vulgarity'.  Examiner,  16  Feb. 

Reid,  No.  661.   Cohn,  No.  1994. 
ylx  13-8  in.    Sheet,  ii^X  17I  in. 

12870  WILL'    OF    THE    WHISPS— OR— GLIMMERINGS    OF    RE- 
FORM. 

[G.  Cruikshank.] 

London  Pu¥  March  11^''  [18 17  or  18 18]  by  J  Sidehotham  N"  i  S^  James's 
Street. 

Aquatint  (coloured'  and  partly  coloured  impressions).  Men  flounder  in  a  bog 
in  which  is  a  notice-board :  Quagmire  or  [sic]  Sedition ;  a  moon  is  partly  covered 
by  clouds.  The  drowning  men  have  been  pursuing  three  cylindrical  lanterns 
(1.),  large  luminous  cylinders,  one  being  held  out  on  a  pole  by  Lord  Cochrane, 
in  his  accustomed  long  coat  and  broad-brimmed  hat;  this  is  inscribed 
Cochrane' s  Improved  Lamp.  Another  is  tied  to  the  back  of  a  high  gig,  inscribed 
H.,  driven  by  Henry  Hunt  who  lashes  two  galloping  horses  harnessed  tandem 
(cf.  No.  12869),  but  turns  to  look  over  his  shoulder.  It  is  inscribed :  A  flaming 
Oration  to  illuminate  Merlins  Cave  borr[owed]  by  H  Hunt  for  the  use  of  the 
[?]  Public.  Beside  the  gig  trudges  Cobbett  with  the  third  lantern,  inscribed 
CobbetVs  twopenny  Regis[ter'\,  slung  from  a  pole  across  his  shoulder;  under 
his  r.  arm  is  a  large  sack  inscribed  Pence.  They  look  behind  them,  but  are 
making  for  a  sign-post  (1.)  pointing  to  the  1.,  inscribed  To  Chaos.  One  of  the 
men  floundering  on  his  back  in  the  water  holds  up  a  small  packet :  2  oz  Gun- 
powder. Another,  up  to  his  neck  in  mire,  looks  despairingly  to  the  r.;  round 
his  neck  is  a  placard :  Treasonable  Papers  &  \)^  warrants  for  imprisonment  in 
y"  Tower  ag^  Wilson  &  others.  The  foot  of  a  drowning  man  projects  from  the 
bog.  In  the  foreground  and  on  the  extreme  r.  is  John  Bull,  much  larger  than 
the  others,  and  in  full  light,  a  countryman  in  a  smock,  flourishing  a  cudgel 
inscribed  Sprig  of  Reflection,  and  shouting  in  angry  alarm  at  the  'Will  of  the 
Whisps'.  All  the  others  look  towards  him.  Yi^  cries:  Dang  you!  Pll  follow 
you  no  longer  in  your  dirty  zvays —  You  bewilder  me!  I  am  up  to  the  knees  already 
&  shall  be  still  more  bespattered  if  I  go  on  any  further  in  this  way! — The  Road 
to  Reform  can  never  be  shewn  by  such  Glozo-Worms, — /  see  you  all  in  your 
True  light  at  last,  &  will  sooner  Blunder  on  in  the  dark  than  be  led  away  by  such 
Jack  0'  Lanterns!!  These  words  are  conspicuous  in  a  large  uncoloured  label 
against  dark  clouds. 

For  Hunt's  meetings  at  Merlin's  Cave  see  No.  12819,  &c.  Cochrane  had 
invented  a  lamp,  cf.  No.  12995.  Cobbett  issued  a  twopenny  edition  ('Two- 
penny Trash')  of  his  Register  from  16  Nov.  1816,  selling  such  quantities  that 
he  made  large  profits.  They  were  the  three  chief  advocates  of  manhood 
suff'rage  at  this  time.  Cochrane  left  England  in  August  1818,  see  No.  12881. 
The  allusion  to  Wilson  may  satirize  the  outcry  over  the  Blackheath  walk,  see 
No.  12616. 

Reid,  No.  976.    Cohn,  No.  2105. 
9X  13I  in.   With  border,  9I-X  13^  in. 

'  'Caricatures',  xi.  89. 

740 


POLITICAL   SATIRES    1817 

12871  LIBERTY  SUSPENDED!  WITH  THE  BULWARK  OF  THE 
CONSTITUTION! 

London  Pu¥  March  [date  erased]  i8iy  by  J  Sidebotham  N°  i  S^ 
James's  S^ 

Engraving,  slightly  aquatinted  (coloured  and  uncoloured  impressions).  On 
a  solid  platform,  the  base  of  a  dismantled  printing-press,  BRITISH  PRESS, 
Castlereagh,  Eldon,  and  Ellenborough  display  to  armed  ranks  of  Sinecurists 
below,  the  body  of  Liberty,  gagged  and  bound,  hanging  from  a  gibbet  which 
projects  to  the  r.  from  the  press,  which  suggests  a  guillotine.  She  holds  a 
document:  Magna  Charta,  Bill  of  Rights,  Habeas  Corpus;  her  gag  is  labelled 
Gagging  Bill.  A  three-legged  stool  has  been  kicked  from  under  her  feet. 
Castlereagh,  wearing  a  court  suit  and  Garter  robes,  stands  at  the  edge  of  the 
platform  and  in  front  of  his  colleagues,  holding  up  Liberty's  broken  staff  on 
which  is  a  Cap  of  Liberty.  He  declaims,  with  an  oratorical  gesture :  It  is  better 
to  do  this,   than  "Stand  Prostrate"  at  the  feet  of  Anarchy.    Eldon  stands 

impassively,  with  the  Purse  of  the  Great  Seal  suspended  from  his  neck,  hold- 
ing the  mace  with  its  head  resting  on  the  ground.  With  his  1.  hand  he  supports 
a  large  'Green  Bag',  grasping  its  neck;  it  rests  on  two  cloven  hoofs  and  above 
the  neck  are  folds  representing  a  grotesque  sub-human  face.  It  is  inscribed: 
Evidence  ags  LIBERTY — Spencean's  Plan  Spa  fields  Plot  An  Old  Stocking  full 

of  Gunpowder  [see  No.  12868]  3  or  4  rusty  fire  arms  &  a  few  bullets  too  large 
to  fit  the  barrels!!  On  the  1.  of  the  platform,  separated  from  the  others  by  the 

upright  printing-press,  stands  the  Archbishop  (Manners-Sutton),  enclosed  by 
wooden  rails,  intoning  from  a  large  open  book :  Prayers  &  thanksgiving  for 
the  Escape  of  the  Regent  front  the  Madness  of  the  People"  28^^  Jam'  last.    He 

holds  a  crosier  and  wears  a  mitre  inscribed  Canterbury,  with  a  grotesque 
clerical  wig;  his  mouth  is  wide  open  and  his  eyes  turned  upwards. 

The  audience  (H.L.  figures)  surround  the  platform;  paunchy  civilians, 
wearing  ribbons,  gaze  up  delightedly,  the  centre  figure  (in  back  view)  is 
placarded  Muster  Roll  of  Gentlemen  Sinecurists.  They  are  surrounded  by 
mounted  Life  Guards  with  plumed  helmets  and  drawn  swords,  at  attention, 
with  a  banner  (1.)  Band  of  Gentlemen  Pensioners.  In  the  background  (r.)  is 
a  hill  beside  a  road  on  which  a  man  drives  towards  the  gibbet  a  plumed  hearse 
inscribed :  For  the  Funeral  of  British  Liberty  who  died  near  S'  Stepens  [sic] — 
March  iSiy —  On  the  hill  sits  John  Bull  weeping,  four  men  in  mourning 
cloaks  and  scarves  stand  round  him:  Cochrane  (caricatured)  on  the  extreme  r., 
Cobbett,  Hunt  (wearing  a  hunting-cap),  and  Burdett. 

A  radical  print  in  contrast  with  No.  12870;  a  satire  on  the  Report  of  the 
Green  Bag  Committee,  see  No,  12868,  &c.,  and  on  the  temporary  Seditious 
Meetings  Bill  (Gagging  Act),  passed  25  Mar.,  with  the  suspension  of  the 
Habeas  Corpus  Act  (i  Mar.)  till  the  end  of  the  Session  (extended  to  i  Mar. 
1818),  in  cases  of  persons  committed  for  treason  or  suspicion  of  treason 
under  a  warrant  of  the  Secretary  of  State  or  six  Privy  Councillors.  The 
Gagging  Act  was  more  clearly  directed  against  the  Press  by  Sidmouth's 
circular  of  27  Mar.  See  Pellew,  Sidmouth,  iii.  174.  Castlereagh's  words  seem 
to  ridicule  his  speech  of  26  Feb.:  'He  would  put  it  to  the  House,  whether 
on  the  eve  of  an  insurrection,  .  .  .  they  wished  the  executive  to  sit  with  arms 
folded  and  make  no  effort  to  arrest  it  till  it  exploded  against  the  state.'  Pari. 
Deb.  XXXV.  754.  The  awkwardness  of  his  phraseology  was  a  favourite  theme 
of  his  enemies,  cf.  'Recipe  for  Lord  Castlereagh's  Speeches',  including  'Two 
or  three  metaphors  warring  on  sense'  (cf.  No.  12879).  Morn.  Chron.,  16  May 

741 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

1816  {New  Tory  Guide,  18 19,  p.  63).  A  form  of  prayer  and  thanksgiving  for 
the  Regent's  escape,  see  No.  12864,  was  read  on  15  Feb.,  and  was  attacked 
in  the  Examiner  (16  Feb.)  as  a  gross  and  fooHsh  insult  to  the  nation,  with 
especial  reprobation  for  the  phrase  'madness  of  the  people'.  For  the  campaign 
against  sinecurists  see  No.  12781,  &c.;  for  the  two  Acts  see  Nos.  12868,  12874, 
12875,  12876,  12879,  13000,  13247. 
Reid,  No.  660.  Cohn,  No.  1318. 
8|x  13^  in.   With  border,  9^X  13!  in. 


12872  THE  HORSE  MARINE  &  HIS  TRUMPETER  IN  A  SQUALL! 
i8iy   I.  R.  Cruikshank  fecK 

Pu¥  by  Jn"  Sidebotham  N°  i  S^  James's  Street  March  14  i8iy 

Engraving  (coloured  impression).  After  the  title:  (Dedicated  to  the  United 
Service  Club!!).  The  Marquis  of  Worcester  in  hussar  uniform  rides  a  white 
horse  with  a  large  dolphin-like  tail  through  curling  waves  in  the  teeth  of  a 
gale  produced  by  three  angry  heads  in  the  clouds  (1.),  representing  winds. 
The  three  blasts  from  their  mouths  directed  against  horse  and  rider  are 
Popular  Storm ;  Tempest  of  Reform ;  Opposition  Squall  against  the  Military  Lord 
of  the  Admiralty.  The  horse,  which  snorts  and  prances,  is  inscribed  The 
Amphibious  Animal  of  Worcester.  Worcester  clutches  the  mane  and  holds  on 
his  busby;  he  has  a  holster  with  the  Beaufort  arms.  In  front  of  him  (1.) 
Canning,  dressed  as  Harlequin,  bestrides  a  floating  beam,  inscribed  Walcheren 
Log,  and  blows  a  conch-shell  inscribed  Ministerial  Mouth  peice.  He  wears 
a  collar  round  his  neck  inscribed  Lisbon  Chain  to  which  a  chain  from  the 
beam  is  attached,  and  a  belt  inscribed  .  .  .  D—Ha{h]ker.  Behind  him  and 
beside  Worcester  swims  a  Water  Rat  with  a  human  head  in  back  view,  evi- 
dently Croker.  The  blasts  from  the  mouths  are  opposed  by  rays  from  the 
face  of  the  Regent,  with  his  feathers  suspended  above  his  head.  They  are 
inscribed  Sunshine  of  Royal  Patronage  &  Favour,  and  reach  to  Worcester's 
back  and  to  the  clouds  surrounding  the  winds. 

On  25  Feb.  Opposition  moved  a  reduction  in  the  number  of  Lords  of  the 
Admiralty  as  part  of  the  campaign  for  retrenchment  and  against  sinecures, 
cf.  No.  12781.  Worcester,  the  sixth  Lord,  was  especially  attacked.  Brougham 
called  him  an  'amphibious  animal',  a  'sea-horse' :  'At  least  a  cornet  of  dragoons 
seemed  to  him  quite  as  little  fitted  for  the  naval  department  as  a  sea-captain.' 
Canning  opposed  the  motion  (defeated  by  208  to  152)  as  the  first  of  a  series 
of  attacks  on  'that  established  system  of  political  office'  by  which  the  country 
was  governed.  After  the  failure  of  Walcheren  (see  No.  11364,  &c.)  and  his 
duel  with  Castlereagh  (see  No.  11370)  he  had  been  out  of  office  till  1816 
except  for  his  mission  to  Lisbon.  This  was  a  standing  subject  of  reproach; 
it  was  attacked  as  a  job  in  a  motion  by  Lambton,  defeated  after  a  brilliant 
speech  by  Canning.  See  Bagot,  Canning  and  his  Friends,  ii.  44  f.;  Pari.  Deb. 
xxxvi.  160  if.  (6  May  1817).  The  Harlequin  dress  connotes  buffoonery,  cf. 
Lamb  in  his  'Sonnet  to  Mathew  Wood  Esq.'  (1820):  'Saint  Stephens' 
fool,  the  Zany  of  Debate.'  Croker  as  Secretary  of  the  Admiralty  also 
spoke.  Worcester  was  a  Lord  of  the  Admiralty  from  May  181 6  to  Mar. 
1819.  For  the  'Popular  Storm'  cf.  No.  12867.  The  United  Service  Club 
was  attacked  in  Parliament  in  181 6  as  an  outcome  of  growing  militarism,  cf. 
No.  12756. 
8|xi3iin. 

742 


POLITICAL   SATIRES    1817 

12873  THE   HAPPY   PROGRESS   OF   NOBODY,    OR   A   HINT   TO 
EVERY  BODY!!! 

Marks  jec^ 

London.  Puh  by  Sidebotham  N"  i  S^  James  Street  March  i8  i8iy. 
Engraving  (coloured  impression).  A  sequence  of  six  designs  arranged  in  two 
rows.  In  all  'Nobody'  has  a  large  head  on  small  shoulders  placed  on  his  legs 
so  that  he  has  no  body,  cf.  No.  12438,  &c.  [i]  Nobody  Rejoicing  at  Peace!! 
Peace,  an  emaciated  winged  figure  in  a  tattered  garment  (cf.  No.  9852)  blows 
her  trumpet:  Peace  and  Plenty — of  Taxes!!  Nobody  capers  delightedly; 
behind  is  the  Chinese  bridge  and  pagoda  of  the  Regent's  fete,  see  No. 
12301,  &c.  [2]  Nobody  laying  out  money!  Dressed  as  a  dandy.  Nobody  hands 
a  coin  to  a  meretricious-looking  woman  behind  a  counter  on  which  are  sloping 
show-cases.  A  beadle  stands  in  a  palatial  archway  inscribed  London  Bazar; 
just  inside  is  a  couple,  arm-in-arm,  who  have  evidently  not  come  to  buy,  see 
No.  12837,  ^c.  [3]  Nobody  gets  plenty  of  Trade!  Nobody,  a  dandy  in  Hessian 
boots,  is  a  draper,  displaying  his  goods  to  eagerly  competitive  women  who 
crowd  his  shop.  Bales  inscribed  A'^  B  and  rolls  of  textiles  are  piled  up. 
[4]  Nobody  at  Home!  In  dressing-gown  and  slippers,  Nobody  lounges  in  a 
chair  beside  a  decanter  on  a  table,  registering  gloom;  he  says  to  a  negro  foot- 
man :  Mind  tell  all  those  who  come  for  Money  Nobodys  at  home!!  The  man 
answers :  O'yes  Massa.  [5]  Nobody  pays  his  Way!  As  a  merchant,  in  a  bag-wig 
and  dressing-gown  and  slippers,  he  stands  by  a  desk  round  which  is  a  screen, 
cheerfully  handing  bank-notes  to  two  spruce  and  deferential  men.  [6]  Nobody 
out  of  Prison!!!  As  a  dandy  in  baggy  trousers  he  stands  outside  a  prison, 
where,  through  a  large  grated  window,  debtors  are  begging  for  alms.  x\bove 
it  is  a  notice-board:  Poor  Debtors  zvifh  only  standing  Room. 

For  the  post-war  distress  see  No.  12779,  ^^■ 
8f  X  13!  in.   Each  design  c.  4-^g^  X4i^  in.  'Caricatures',  xi.  79. 

12874  OUR  TOUGH  OLD   SHIP  STEERED  SAFELY   INTO  HAR- 
BOUR. 

A  B  [Beugo]  inv'  G  Cruikshank  fee' 

Pub'^  March  ig"*  i8iy  by  A  Beugo  Print  Dealer  38  Maiden  Lane  Gov' 

Garden 
Engraving  (coloured  impression).  After  the  title:  Maugre ;  the  Dreams  of 
Folly  &  Madness — .  The  ship  Constitution.  G.P.R.  Comma?ider.,  steers  a 
slanting  course  to  the  1.,  between  a  low  cliff  (1.)  and  a  lighthouse  on  a  rock  (r.), 
pursued  by  impotent  sea-monsters  with  human  heads.  The  stern  is  decorated 
with  a  book  inscribed  Laws,  resting  on  a  cushion  and  surmounted  by  crown, 
sceptre,  and  sword ;  two  large  cannon  project  from  it  towards  a  monster  with 
the  head  of  Burdett  who  spouts  a  towering  cascade  of  water  which  falls  close 
to  the  ship  and  is  inscribed :  Daring  Misrepresentations  and  My  Imitations  of 
Old  Declaimers.  Castlereagh  holds  the  helm,  and  points  at  the  monster,  say- 
ing, Look'ee  M'  Golumpus  if  you  dont  belay  y''  Jazcing  tackle  &  call  all  hands 
from  y''  pumps  ;  shiver  my  timbers,  if  I  dont  send  you  to  Old  Davy  with  one  of 
my  Stern  Chasers!  Behind  him  is  a  pyramid  of  cannon-shot:  Composing  Pills. 
The  ship  flies  the  Royal  Standard  and  Union  Jack;  some  of  her  sails  are 
furled.  Beside  her  (1.)  and  nearer  the  spectator  is  a  ship's  boat  rowed  by 
Liverpool  and  Canning.  Sidmouth  stands  in  the  stern,  fiercely  aiming  a 
harpoon  at  the  head  of  Cobbett,  who  spouts  water  at  the  boat.  Cartwright, 
just  behind  Cobbett,  spouts  a  small  ineffective  jet,  as  does  Hunt,  wearing  a 
hunting  cap,  and  some  way  behind  (r.).  Behind  Burdett  is  Cochrane,  much 
caricatured,  spouting  a  stream  of  Political  Hoaxing,  see  No.   12209,  &c. 

743 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Burdett,  Cartwright,  and  Cochrane  have  serpentine  bodies  and  resemble 
whales  or  dolphins;  in  the  background,  lying  on  its  back,  is  a  (dead)  shark- 
like creature,  with  the  head  of  Evans,  inscribed  Spences  Plan  [see  No.  12868]. 
Two  rocks  emerge  from  the  waves :  Treasonable  Machinations  and  Libel. 

On  the  cliff  and  on  the  extreme  1.  is  the  gable-end  of  a  rustic  inn  with  a 
sign  of  figures  dancing  round  a  wheatsheaf :  Good  Old  Times  New  Revived. 
In  front  of  it,  leaning  against  a  rail  that  borders  the  cliff,  are  John  Bull  (the 
landlord)  and  his  family;  two  boys  wave  their  hats  to  the  ship;  John  waves 
hat  and  wig,  saying,  Come  my  hearty s  let  us  give  'em  three  cheers — see!  one 
of  the  sharks  [Evans]  is  dead,  &  gone.  &  the  others  are  pretty  well  smoaked  on 
all  hands  already.!  Huzza!  huzza! — huzza! — Old  England  Honor  &  Security 
for  ever!  Rays  from  the  lighthouse,  which  is  inscribed  Integrity,  illuminate 
dark  clouds  against  one  of  which  birds  are  flying.  A  colossal  figure  in  high 
relief  of  a  man  ( }  Pitt)  wearing  Roman  draperies  and  a  laurel-wreath  covers 
much  of  the  tall  building. 

A  satire  approving  the  measures  against  sedition.  Castlereagh's  'Stern 
Chasers'  are  evidently  the  Seditious  Meetings  Act  and  the  suspension  of  the 
Habeas  Corpus  Act,  see  No.  12871,  &c.  For  the  theme  cf.  No.  8320,  Britannia 
between  Scylla  and  Charybdis,  and  No.  10762,  British  Tars  .  .  .,  both  by 
Gillray. 

There  is  a  second  state,  not  in  B.M.,  dated  25  Mar.  1817,  title  altered  to 
.  .  .  Maugre  Sharks  of  the  Day,  in  place  of  'the  Dreams  .  .  .'. 

Reid,  No.  665.    Cohn,  No.  1819. 
9X13!  in. 

12875  JOHN  BULL  BROUGHT  UP  FOR  HIS  DISCHARGE  BUT 
REMANDED  ON  ACCOUNT  OF  EXTRAVAGANCE  &  FALSE 
SCHEDULE— 

[L  R.  and  G.]'— CV^^' 

Puh'^  March  2g  i8iy  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  A  printed  broadside  entitled  John  Bull's 
Examination  is  pasted  to  the  lower  margin  of  the  print.  The  Regent,  a 
dejected  elderly  roue,  with  a  large  paunch  and  gouty  leg,  stands  on  a  low 
platform  (r.)  holding  his  hat  and  cane  behind  him,  listening  to  the  clamours 
of  his  creditors  who  are  behind  a  low  barrier  on  the  1.  Between  them  is  the 
table  in  front  of  the  judge's  chair,  which  is  surmounted  by  a  crown  and  the 
evenly  balanced  scales  of  Justice.  Counsel  for  the  bankrupt  stand  between 
him  and  the  judge  who  looks  to  the  r.  with  a  stern  expression.  Castlereagh, 
holding  a  brief-bag,  is  speaking;  he  bends  forward  in  profile  to  the  1.,  handsome 
and  insinuating.  Beside  him  stands  Canning,  also  in  wig  and  gown.  Behind 
Castlereagh  is  the  bevvigged  head  of  Eldon.  A  fourth  is  EUenborough;  three 
others  are  uncharacterized.  A  large  document  hangs  from  the  table  in  the 
centre  of  the  design : 

Amount  of  Income  24,000,000 

Expenditure  80,000,000 

D^  Nick  Frog         10,000,000 

Paul  Bruin  1,000,000 

Frank  Force  Child    8,000,000 

Will  Eagle  Eye    .      6,000,000 

Ferd^  Faithless    .    30,000,000 

Except  Brougham,  in  wig  and  gown,  who  sits  grimly  in  the  front  row,  the 
creditors,  men  and  women,  are  poor  and  ragged ;  two  hold  out  papers  of  their 

'  The  Douglas  impression  was  autographed  'By  my  brother  I.  R.  Cruikshank, 
assisted  by  me,  G.Ck'.    Cohn,  p.  291. 

744 


POLITICAL   SATIRES    1817 

claims,  two  clasp  infants.  Their  words  are  above  their  heads  in  four  labels: 
Oh  you  extravagant  Rascal,  I  told  you  long  ago  what  it  wo'^  come  to ;  This  comes 
of  your  foreign  partnerships,  you  old  fool  in  teaching  themy^  business  &  now  they 
have  set  up  against  you ;  Curse  your  propensity  in  teaching  &  showing  them  all 
y^  Manufactorys  Haven't  we  setit  you  a  Thousand  Letters  praying  of  you  not 
to  go  on  so ;  Yoii  Villin  after  engageing  us  for  life  to  turn  us  off  without  work  & 
without  money.  The  usher  of  the  Court,  with  a  skull  for  head,  and  wearing 
the  uniform  of  a  military  officer  (emblem  of  militarism,  cf.  No.  12756),  stands 
threateningly  over  the  speakers,  holding  out  a  mace  inscribed  Habeas  Corpus 
and  saying  Silence  in  Court.  The  barrier  enclosing  the  seats  is  fringed  with 
bayonets  pointing  inwards  so  that  they  seem  to  be,  not  creditors,  but  prisoners. 
The  Regent  (John  Bull)  listens  impassively;  he  is  meanly  insensitive. 

A  satire  on  distress  and  discontent,  see  No.  12779,  &c.,  which  attacks  the 
whole  policy  of  war  with  France  as  well  as  subsidies  to  allies.  The  printed 
text  is  an  imitation  of  Arbuthnot's  History  of  John  Bull,  cf.  No.  5541,  the 
war  being  'a  very  expensive  lawsuit  for  upwards  of  twenty-five  years'  against 
Mr.  Frog  (Napoleon)  for  keeping  a  disorderly  house.  His  counsel  are 
Counsellors  Blarney  (Castlereagh)  and  Cunning.  He,  Mr.  Bull,  had  got  a 
decree  in  his  favour  'before  Lord  Chancellor  Wellington,  and  for  the  costs, 
but  not  a  farthing  had  been  paid  nor  was  it  likely  to  be;  on  the  contrary 
Mr.  Frog  had  surrendered  himself  and  gone  to  prison,  where  he  now  was 
living  ...  at  his  (Mr.  Bull's)  expense'  (see  No.  12786,  &c.).  Other  allusions 
are  to  the  Regent's  personal  extravagance  (see  No.  12747,  ^^•)  ^^^  ^^  ^^^ 
suspension  of  cash  payments  (see  No.  8990,  &c.)  by  'Mr.  Pitt  his  father's  late 
head  clerk'.  The  items  of  expense  in  the  print  are  expenses  of  the  war  and 
subsidies.  The  other  debtors  are  Paul  of  Russia  (see  vols,  vii,  viii)  (oddly 
substituted  for  Alexander),  Francis  I,  Frederick  William  HI,  and  Ferdinand 
Vn  (who  is  made  responsible  for  the  expenses  of  the  Peninsular  War).  An 
indemnity  of  700,000,000  fr.  was  imposed  on  France  in  1 8 1 5,  of  this  200,000,000, 
including  the  whole  of  the  British  share,  was  allotted  to  the  erection  of  border 
fortresses.  For  the  measures  of  repression,  indicated  by  the  fringe  of  bayonets, 
see  No.  12871,  &c. 

Reid,  No.  666.    Cohn,  No.  1260. 
8f  X  i3j  in.    Broadside,  19!  X  i4y|  in. 

12876  THE  GREEN  BAG,  FILLED  WITH  CORRUPTION! 
Marks  Del- 
pub^  by  J.  L.Marks — Sandy  s  Row  Artillery  S'  Bishopsgate—  [Mar.  1817] 

Lithograph  (coloured  impression).  The  Devil,  hairy  and  grinning,  stands  on 
the  edge  of  the  pit  of  Hell  holding  up  a  tall  trident,  from  the  prongs  of  which 
Curtis,  in  a  green  bag,  and  in  profile  to  the  1.,  is  suspended.  The  tape  which 
ties  up  the  bag  serves  as  a  halter  for  Curtis;  from  it  hangs  a  loop  on 
which  is  affixed  a  large  red  seal  on  a  square  of  parchment,  showing  that  the 
bag  is  secret.  His  head,  grossly  carbuncled,  and  wearing  the  sailor's  hat  of  the 
Walcheren  prints,  see  No.  11353,  is  framed  by  the  mouth  of  the  bag;  from 
the  bottom  of  the  bag  his  legs  dangle.  The  Devil  has  webbed  and  barbed 
wings  and  a  barbed  tail;  he  prances  delightcdlv.  At  his  feet  is  a  large  scroll 
headed:  A  List  of  the  Committee  of  Secrecy,  that  Voted  for  the  Suspending  of 

the  Habeas  Corpus  Act! Aid.  Sir  W m  C s.  Flames  and  smoke  form 

a  background. 

Before  the  first  reading  of  the  Habeas  Corpus  Suspension  Bill  (see  No. 
12871,  &c.)  on  26  Feb.,  petitions  against  it  were  presented,  one  being  from 
the  City,  when  Curtis  (M.P.  for  the  City)  and  a  member  of  the  Secret  Com- 

745 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

mittee,  see  No.  12868,  &c.)  declared  that  'he  disapproved  of  every  sentiment 
and  expression  of  the  petition'.  He  was  challenged  for  this,  and  answered: 
'You  heard  me  very  right  [a  laugh]',  and  again  had  to  defend  himself  on  a 
charge  of  levity.  Pari.  Deb.  xxxv.  699-701.  For  his  phraseology  cf.  No.  1 1306. 
For  the  Green  Bag  see  No.  12868,  &c. 
14x8^  in. 

12877  A  POET  MOUNTED,  ON  THE  COURT-PEGASUS. 

[Williams.] 

Pub'^  April  j^'  i8iy  by  J  Johnston  g8  Cheapside 

Engraving  (coloured  impression).  Southey,  the  poet  laureate,  sits  astride  a 
cask,  the  official  butt  of  sack,  inscribed:  G.  R.  (with  a  crown).  Sack.  From 
the  tap  gushes  a  flow  of  liquid  inscribed  Adulation,  which  expands  over  the 
floor  in  the  foreground  as:  Sycophancy,  Flattery,  Servility,  Meaness  [sic], 
Apostacy.  The  spigot  lies  on  the  ground.  Southey,  handsome  and  athletic- 
looking,  wears  a  laurel-wreath  and  a  sleeveless  coat  which  is  inside  out;  in 
his  pocket  is  a  paper,  Recantat[ion].  He  looks  to  the  1.,  exclaiming  GOD 
save  the  KING/!,  holding  up  a  goblet,  his  1.  arm  flung  out  in  a  dramatic 
gesture.  In  front  of  him  on  the  cask  rests  a  money-bag,  £100  P''  An"', 
standing  on  a  large  paper  headed  Birth-Day  Ode.  Behind  him,  a  heavy 
fringed  and  festooned  curtain  hanging  from  a  pillar  partly  hides  the  throne, 
with  cushion,  crown,  and  sceptre  on  its  seat.  From  behind  the  cask  (r.)  the 
Devil  peers  out  at  Southey  with  sly  malignity;  he  holds  up  a  wreath  of 
nettles  tied  with  a  ribbon  inscribed  Net  \  tie;  in  his  other  hand  is  a  bulky 
MS.  or  unbound  book:  Wat  Tyler  A  Dramatic  Poem.  Four  large  volumes 
flank  the  cask:  (1.)  Duty  of  Self  Interest  [supporting  inkpot  and  pens]  and 
Consistency  no  Virtue;  (r.)  Virtue  of  Sack-Posset  and  Court  Guide.  His  works, 
in  pamphlets  or  in  sheets,  lie  on  the  ground:  (1.)  Ode  to  the  P  .  .  .  Regent; 
Ode  to  the  Emperor  Alexander,  Ode  to  the  King  of  Prussia,  which  lies  on 
Cha\ttertor{\  In  his  steady  way  as  Learn  thou  to  tread.  [The  three  odes  were 
published  in  181 4  and  reprinted  in  1821  as  Carmen  Triuniphale  for  the  Com- 
mencement of  the  Year,  18 1 4;  Southey  was  joint-editor  of  the  works  of 
Chatterton,  1803.]  On  the  r.:  Anual  [sic]  Anthol[ogy,  edited  and  partly 
written  by  Southey,  1799-1801];  Joan  of  Arc  [an  epic  in  celebration  of  the 
French  Revolution,  1796];  Thalaba  the  Destroyer  [1801];  Amad[is  of  Gaul, 
trans.  1803].   Below  the  title: 

Aye,  aye,  hear  him — 
He  is  no  mealy  mouthed  court  Orator 
To  flatter  vice,  and  pamper  lordly  pride!! 

vide  Wat  Tyler. 

Southey 's  transition  from  Republican  to  Laureate,  see  No.  12082,  was  given 
publicity  by  the  appearance  of  Wat  Tyler,  written  in  1794,  which  had  long 
passed  from  his  hands  and  his  mind;  this  was  published  early  in  18 17  by 
Sherwood,  when  Southey  failed  to  get  an  injunction  from  Eldon,  on  the  ground 
that  the  law  could  not  countenance  'unhallowed  profits  of  libellous  publica- 
tions' (thus  ensuring  the  wide  circulation  of  a  work  which  Southey  wished 
to  suppress).  Memoirs  of  Romilly,  under  date  21  Mar.  1817;  Wickwar,  The 
Struggle  for  the  Freedom  of  the  Press,  i8ig-i8j2,  1928,  p.  259  f.  Four  other 
editions  appeared  in  1817.  Hazlitt  attacked  Southey  in  the  Examiner  (9  Mar.), 
publishing  long  extracts  from  Wat  Tyler  and  contrasting  the  former  'Ultra- 
Jacobin'  with  the  present  'Ultra-Royalist'.  On  14  Mar.  William  Smith,  M.P. 
for  Norwich,  quoted  a  violent  passage  from  the  poem  in  defence  of  Reformers 
and  the  inhabitants  of  Norwich,  traduced  in  the  Report  of  the  Secret  Com- 

746 


POLITICAL   SATIRES    1817 

mittee,  see  No.  12868.  Pari.  Deb.  xxxv.  1088-94.  Southey  thereupon  pub- 
lished as  a  25.  pamphlet  A  Letter  to  William  Smith  Esq.  .  .  .  which  was  savagely 
ridiculed  in  the  Examiner  by  Hazlitt  in  three  long  articles  (4,  11,  i8  May), 
reprinted  in  Hazlitt's  Political  Essays,  1819.  Southey's  transition,  according 
to  Hazlitt,  is  from  'frantic  demagogue'  to  'servile  court-tool'.  He  is  attacked 
in  the  Black  Book;  or,  Corruption  unmasked!,  1820,  p.  78.  Southey  appears 
as  a  revolutionary^  poetaster  in  Gillray's  New  Morality,  No.  9240. 
8|X7^  in.   With  border,  io|x8|  in. 

12878  A  PATRIOTIC  MIRROR!!! 

Lunar  Caustic  inv'  <Sf  [?  De  Wilde] 

Published  April  26.  181  j,  by  A  Buego  [sic],  Printseller,  j8,  Maiden  Lane, 
Covent  Garden   'Price  i^'' 

Engraving  (coloured  impression).  Cobbett,  dressed  as  Harlequin  and  with 
small  wings  on  the  back  of  his  head  and  his  ankles,  springs  from  the  English 
coast  (r.)  over  a  narrow  piece  of  water  towards  a  small  boat  whose  bows  are 
on  the  1.  This  is  the  Stink  Sol  \  of  \  Philadelphia  \  Yankee  Doo  \  Com  .  .  . 
Under  each  arm  is  a  large  bag  labelled  loooo  and  inscribed  Peter  Porcupines 
Savings.  His  hat  is  an  inkpot,  decorated  with  two  erect  peacock's  feathers, 
emblem  of  vanity,  and  by  a  goose-feather  (pen).  From  behind  his  1.  ankle 
projects  a  marine  creature  with  a  large  head  and  monstrous  fanged  jaws  from 
which  issue  flame  and  smoke  inscribed  Deceit  Canting  &  Sedition.  On  the 
shore  (r.)  stands  a  bailiff  holding  out  a  sheaf  of  bills  and  shouting:  Stop  Stop 
your  Debt  Billy  a  little  Honesty  would  brighten  You  amazitigly!  Behind  him 
is  a  small  one-storied  building  with  a  single  window  from  which  looks  a  head 
shouting  towards  Cobbett:  AP  Hunts  at  Coventry.  On  the  1.  (but  on  the 
English  shore),  is  a  pair  of  stocks  supporting  a  gibbet  with  a  noose,  and 
inscribed :  Bold  Finishing  Touches  for  our  Patriots  Portrait.  Above  the  design : 
''and  as  to  moral  offences,  there  is  more  deliquancy  in  Office  There  are  more 
public  defaulters  more  acts  of  swindling  more  fraudulent  debtors,  more  \  ''bastards 
begotten,  more  divorces,  more  eloped  wives  more  runaway  apprentices  in  the  single 
state  of  Pensylvania  which  contains  not  200  000  Souls  \  "than  there  are  in  the 
whole  kingdom  of  Great  Britain  which  contains  above  11,000,000,"  vide 
Porcupines  works  vol  1 1  Page  426. 

On  27  Mar.,  leaving  behind  a  twopenny  pamphlet,  Mr  Cobbett's  Taking 
Leave  of  his  Coufitrymen,  to  be  published  on  5  Apr.,  Cobbett  sailed  for 
America.  This  was  the  result  of  the  suspension  of  the  Habeas  Corpus  Act, 
and  the  Gagging  Act  (aimed  at  Cobbett),  see  No.  12871,  and  also  of  his  debts 
(nearly  ^20,000  and  a  mortgage  of  ^^  16,000  on  his  farm).  He  had  recently 
made  much  money  by  the  twopenny  edition  of  his  Register  (see  No.  12870) 
and  alleged  in  Taking  Leave  the  sacrifice  of  'a  profit  of  more  than  ten  thousajid 
pounds  a  year  from  my  works'.  While  in  America  (i 792-1 800)  Cobbett,  con- 
genitally  oppositionist,  had  violently  assailed  persons  and  institutions  there 
from  the  anti-Jacobin  standpoint.  The  allusion  to  'Hunt'  is  probably  to 
Leigh  Hunt,  whom  Cobbett  often  attacked,  recently  calling  him  a  'paid 
paragrapher'  (see  Examiner,  1816,  pp.  140,  201  f.)  on  account  of  a  hostile 
allusion  in  the  Examiner  to  Henry  Hunt  with  whom  Cobbett  had  not  yet 
quarrelled.  For  Cobbett  as  'Porcupine'  cf.  No.  11049.  See  E.  I.  Carlyle, 
William  Cobbett,  1904,  pp.  195-202;  Cole,  Life  of  Cobbett,  1924,  pp.  215-17. 
For  Cobbett's  return  see  No.  13283. 
4^1  X  8|  in. 

■  Altered  in  pen  to  2/-. 

747 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

12879  A  MINISTER  .  OF  STATE  .  TRYING  ON  HIS  NEW  LIVERY. 

[Williams.]  [?Apr.  1817] 

Aquatint  (coloured  impression).  Perhaps  a  pi.  from  the  Busy  Body.  Castle- 
reagh  tries  on  a  long  robe  fringed  with  fur,  the  wide  sleeves  and  the  hem 
terminating  in  points  to  which  bells  are  attached  (as  a  symbol  of  folly).  He 
strikes  an  attitude  with  his  hands  on  his  hips  and  looks  over  his  1.  shoulder 
at  his  reflection  in  a  tall  mirror;  the  tailor  stands  beside  him  in  a  deprecating 
attitude;  his  book  of  patterns,  inscribed  CC  18 ly,  projects  from  his  pocket. 
Documents  lie  on  the  ground,  the  most  prominent  being  headed  Gagging  Bill 

lying  across  another  inscribed  S ment.  Castlereagh  asks :  How  do  I  look 

Snip?  shall  I  command  more  respect?  will  the  opposition  treat  me  with  a  little 
more  ceremony  when  I  get  up  to  speak?  apropos  Snip!  you  have  not  sign'd  any 
of  the  Petitions  I  hope.  The  tailor:  Why — my — Loi'd — /  did  just  put  down 
Christopher  Cabbage  amongst  twenty -thousand  others,  but  they  will  scratch  it  out 
again  I  dare  say.  for  several  observed  that  Cabbage  must  belong  to  the  other  party 
— bless  me  I  can't  look  at  your  Lordship  without  makeing  my  Heart  Ache.  (Eyes 
I  mean)  why  it  fits  you  magnificently — /  am  correct  in  my  measures  at  any  rate. 
A  satire  on  Castlereagh's  speeches  and  the  two  Bills  against  sedition,  see 
No.  12871,  &c.,  against  which  there  were  many  petitions.  'Cabbage'  is  the 
cloth  pilfered  by  the  tailor  from  his  customers,  see  (e.g.)  No.  11824. 
6^X4i  in. 

12880  [FRONTISPIECE  TO  THE  STATE  LOTTERY,  A  DREAM, 
BY  SAMUEL  ROBERTS.  ALSO  THOUGHTS  ON  WHEELS,  A  POEM 
BY  JAMES  MONTGOMERY.  1817.] 

[G.  Cruikshank.]  [c.  Apr.  1817]' 

Engraving  (coloured  impression).  A  lottery  wheel  stands  on  a  high  platform 
against  the  wall  of  the  Gui'dhall.  Four  Christ's  Hospital  boys  in  their  long 
gowns  and  yellow  stockings  stand  round  it;  other  blue-coat  boys  are  in  the 
street  below,  round  the  platform.  One  displays  a  ticket:  N°  225  Blank, 
another  puts  his  hand  into  the  opening  in  the  centre  of  the  wheel.  Below, 
a  boy  waving  a  winning  ticket,  A*^"  2560  Prize  is  carried  on  the  shoulders  of 
a  friend.  Another  angrily  tears  a  Blank;  other  boys  traffic  in  tickets  among 
themselves.  On  the  extreme  1.  a  poor  woman  wearing  a  ragged  apron  weeps 
into  a  handkerchief;  beside  her  are  a  little  barefooted  girl  and  a  blue-coat  boy 
with  a  book  and  a  ticket:  Lottery  No  .  .  On  the  extreme  r.  is  a  stout  dis- 
reputable ballad-singer,  holding  an  infant  and  a  basket  with  ballads :  New  Song 
for  the  New  Lottery,  which  a  blue-coat  boy  is  slyly  pilfering.  Beside  her  stands 
a  man  holding  out  lottery  puffs  inscribed  Lottery  20  000.  A  placard  hanging 
from  his  neck  is  headed  To  the  Public,  and  he  holds  up  a  pole  on  which  is 
an  elaborate  notice-board  topped  by  a  crown  and  two  cornucopias  from  which 
coins  pour  out;  in  large  letters:  The  Grand  State  Lottery  Begins  Draws 
To  Morrow. 

On  a  balcony  in  front  of  a  window  in  Guildhall  (at  this  time  the  drawings 
took  place  in  Cooper's  Hall)  just  behind  the  lottery  platform  stands  Vansittart 
in  his  Chancellor  of  the  Exchequer's  gown,  holding  out  a  wand  or  baton  in 
each  hand,  like  a  conjuror.  The  head  of  the  adjacent  statue  of  a  Guildhall 
giant,  Gog  or  Magog,  is  covered  with  a  black  veil.  On  the  wall  of  the  hall 
are  many  lottery  bills  including:  Now  or  Never!  To  Morrow;  All  the  Capital 
Prizes  in  the  Wheel  Fortune  Smile;  Ticket^s]  &  Share[s\  are  selling  by  Blank 

'  The  imprint  of  the  first  issue,  cut  off  in  the  third  issue,  here  described,  is  Pub. 
Shenoood  &  Co.,  16  Dec.  1816. 

748 


POLITICAL   SATIRES    1817 

&  C°.  h  bill-poster  stands  on  a  ladder  placing  a  large  lottery  advertisement 
over  a  bill  advertising  a  Meeting  of  the  Bible  Society.  The  adjacent  building 
in  the  background  (r.)  is  Newgate  Prison,  outside  which  is  a  platform  with 
a  man  dangling  from  a  gibbet;  spectators  crowd  round. 

The  pamphlet  illustrated  is  a  plea  for  the  abolition  of  the  State  Lottery, 
with  allusions  to  the  debate  in  the  Commons  on  18  Mar.  1817.  On  17  Mar. 
the  City  of  London  presented  a  petition  for  abolition  on  the  ground  of  the 
misery,  vice,  and  fraud  which  it  occasioned.  Among  the  many  arguments 
used  were  the  demoralizing  effect  on  the  boys  of  Christ's  Hospital  who  drew 
the  tickets,  and  the  disgraceful  misrepresentations  of  lotter}^  advertisements 
(puffs  and  bills).  Pari.  Deb.  xxxv.  1 132  f.,  1 169-90,  1314-16.  For  many  years 
Vansittart  was  President  of  the  Bible  Society.  The  print  is  in  the  vein  of 
Cruikshank's  (later)  campaign  against  drink,  but  he  was  himself  a  prolific 
designer  of  lotter)'  puffs.  The  lottery  survived  till  1826,  despite  attacks.  See 
No.  13236. 

There  is  a  second  state  lettered  New  State  System  of  Education. 

Reid,  Nos.  622,  4696.  Cohn,  No.  696 ;  A  Few  Notes  on  Rare  Cruikshankiana, 
1915,  p.  18. 
9|X7  in.  184.  c.  10. 

12881  BAILIFFS    SMOKING   OUT   THE   COPPER   CAPTAIN,   TO 
RECOVER  LOST  POSSESSION. 

Designed  &  Engraved  by  D.  Regnereb  [Berenger] 
London  Pub'^  May  the  2g^''  i8iy.  by 

Engraving  (coloured  impression).  Above  the  design:  A^"  JJJ.  Series  of 
Degradations.  Scene  outside  a  neo-Gothic  cottage  orne,  one  end  of  which 
is  within  the  design.  Two  bailiffs  under  a  verandah  (r.)  have  lit  a  fire  over 
which  one  holds  a  square  tray  or  board,  the  other  an  open  book.  Behind  them 
are  heavily  boarded-up  windows  from  which  dense  smoke  pours  out.  One 
says :  Brimstone  you  fool — ?  he  is  used  to  that — No — no, — tip  him  only  the  smell 
of  De  Berengers  Book  &  he'll  holt  to  a  dead  Sartanty.  Lord  Cochrane  descends 
a  rope-ladder  from  a  small  balcony  over  a  massive  Gothic  doorway ;  from  the 
balcony  a  rough-looking  sailor  looks  out  to  say :  Avast  ratting  ?ny  Lord  it's  only 
paper  burning! — Why,  he  sculks  by  Goles.  Smoke  curls  from  the  small  window 
giving  on  to  the  balcony.  Cochrane,  who  is  out-at-elbows,  carries  a  huge 
document.  Affidavit.  He  turns  his  head  in  profile  to  address  one  of  a  group 
of  four  standing  in  the  gravel  sweep  below,  who  calls  up  to  him:  We,  the 
Electors  of  W — t — r,  charge  you  to  return  to  your  Parliamentary  duty.  We,  who 
so  indefatigably  laboured  to  whitewash  you,  however  dirty  the  Job!, — We,  who 
obeyed  your  catch-penny  Call ;  We,  zvho  bolstered  up  your  fruitless  efforts  at 
Dunghill  [deleted  and  followed  by]  slippery  Popularity!!!  Cochrane  answers: 
Your  Popularity  is  all  Stuff;  my  own  Dunghill  zvill  ever  be  dearer  to  me.  If  you 
zvant  my  Services  subscribe  2  pence  each  to  pay  off  these  Executions .  An  artisan 
in  an  apron  addresses  the  Westminster  elector,  holding  out  to  him  a  large 
bill :  Instead  of  defying  the  Laws  of  his  Country  his  duty  is  to  defetid  them! — Will 
you  pay  my  bill?  A  dwarfish  colleague  of  the  Westminster  spokesman  claps 
the  debtor  on  the  shoulder,  saying.  Trust  to  my  Lords  Honor,  as  the  bailiffs 
did,  &  tnayhap  he  will  pay  you.  The  two  electors  wear  spurred  top-boots  and 
hold  riding-whips.  A  fourth  man,  holding  a  brush,  says  to  them:  Only  tell 
him  that  Cornelius  Cochrane  who  whitezvashed  him  in  the  Bench  [King's  Bench 
Prison]  is  here.  Brush  &  all.  Beside  the  cottage,  and  backed  by  shrubs  and 
trees  is  a  large  notice-board:  Wanted  on  Mortgage  £10,000  hav^  Occasion  for 
the  same,  to  avoid  [an]  Indictm'  &  to  trick  [the]  Execut^ .  In  the  foreground  (r.) 

749 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

is  a  large  square  box  with  a  slit  for  coins  inscribed  Strong  Box  N°  i.  expected 
to  be  filled  with  Pence,  and,  seized  by  Us  . .  .  &  found  full  of — Cobwebs.  Between 
this  and  one  of  the  bailiffs  is  a  large  bundle  of  papers  docketed  Execut" 
Warrants  May  i8iy.  The  house  is  thatched;  on  the  ridge-pole  a  cat  arches 
its  back.   A  flower-bed,  opposite  the  door,  is  in  the  middle  of  the  gravel. 

An  alternative  title  is  written  in  pencil:  'The  Adventures  of  "the  great  Ass" 
or  Bailiffs  smoking  out  a  Penny  Patriot  [&c.,  ut  supra].'  The  print  is  endorsed 
in  the  same  hand:  'The  price  of  this  plate,  which  has  only  had  two  proofs 
taken  from  it,  is  6  Guineas,  Money,  but  to  induce  M'^^  Humphrey  who  is 
particularly  wished  as  the  publisher,  that  price  will  be  taken  out  in  Carica- 
tures of  her  own  publishing  of  course  reckoning  such  at  a  Trade  price  2/-  for 
3/  to  make  them  [.'']  Money,  and  from  6  to  12  Imp^  coH  for  the  Designer.' 

A  savage  attack  on  Cochrane,  who  in  May  18 17  accepted  the  invitation  of 
the  Chilean  Government  to  command  their  navy  (but  did  not  leave  England 
till  1818):  he  prepares  to  bilk  his  creditors.  For  De  Berenger  see  No.  12209, 
&c.;  he  published  The  Noble  Stockjobber  .  .  .  ,  1816,  incriminating  Cochrane. 
For  the  penny  subscription  raised  by  the  electors  of  Westminster  to  pay  his 
fines  see  No.  12995.  For  'copper-captain'  cf.  No.  11533. 
7|X  6i  in.   With  border,  8  X  6|  in. 

12882  A  PAIR  OF  STATE  PORTERS. 

[Williams.]  [?  June  1 817] 

Aquatint  (coloured  impression).  Perhaps  a  pi.  from  the  Busy  Body. 
Castlereagh  (1.)  and  Sidmouth  (r.),  with  porters'  knots  on  their  shoulders 
and  carrying  on  their  heads  large  sacks,  stand  facing  each  other  at  a  door  of 
Westminster  Hall,  in  which  they  are  about  to  enter.  Each  wears  the  badge 
of  a  licensed  porter,  that  of  Castlereagh  hangs  from  his  neck,  Sidmouth's  is 
on  his  sleeve  (the  Royal  Arms).  The  former's  sack  is  inscribed  Effervecing 
Powders;  the  latter's.  Detonating  Balls.  A  clyster-pipe  hangs  from  the  pocket 
of  Sidmouth,  'the  Doctor'.  Within  the  hall  are  two  barristers  in  back  view. 
Allusions  to  the  Gagging  Act  and  suspension  of  Habeas  Corpus  seem 
intended,  see  No.  12871;  possibly  the  pair  are  providing  evidence  against 
Watson,  see  No.  12887. 
6^X4^  in. 

12883  BAGS  NODLES  FEAST;  OR,  THE  PARTITION  &  RE-UNION 
OF  TURKEY  A  New  Ballad;  founded  on  Fact. 

G.  Cruikshank  fec^ 

Published  hy  W.  Hone,  55  Fleet  Street,^  and  6y  Old  Bailey  .  .  .  Price  2s. — 

i8iy  [  ?  June] 

Two  engravings  (uncoloured)  are  head-  and  tail-piece  to  a  ballad  (by  Hone) 
printed  in  four  columns : 

[i]  "And  y^  Turkeycock  burst  right  in  twain" — see  Ballad —  Eldon  (1.),  in 
wig  and  gown,  sits  at  a  round  dinner-table,  facing  his  guest,  a  barrister  in 
wig  and  gown.  The  Purse  of  the  Great  Seal  hangs  from  the  back  of  his  chair 
and  the  cushion  on  its  seat  is  inscribed  Wool  Sack.  He  weeps,  in  shocked 
consternation.  The  barrister  (Hugh  Leycester)  drops  carving-knife  and  fork, 
facing  a  dish,  empty  except  for  a  wisp  of  string.  Lady  Eldon,  an  elderly 
virago  in  old-fashioned  dress,  seated  between  the  two  men,  screams  at  him 
with  clenched  fists;  he  registers  terror.  Meanwhile  a  thin  lap-dog  devours 
one  half  of  a  turkey,  a  cat  the  other.  An  emaciated  footman  behind  Eldon's 
chair,  also  terrified,  drops  a  tumbler  and  salver.    A  single  bottle  stands  in 

'  Hone  left  55  Fleet  Street  at  Midsummer,  1817.   First  Trial,  1817,  p.  6. 


POLITICAL   SATIRES    1817 

a  wine-cooler.  The  dinner  is  meagre  and  ill-served.  On  the  wall  behind 
Eldon  is  a  picture  of  a  feast ;  behind  Lady  Eldon  is  one  of  Starvation  Farm 
Yard  Islington,  with  a  skeleton  horse  and  other  starving  animals.  Behind 
Leycester  is  a  map  showing  Turkey  in  Europe  and  Turkey  in  Asia  with  the 
Black  Sea.   (5 J  x  9I  in.) 

The  verses  relate  that  Lord  Eldon,  bringing  home  an  unexpected  guest, 
the  uncooked  half  of  a  turkey  (a  gift)  was  tied  to  the  cooked  half  for  the  sake 
of  appearances.  The  visitor,  'luckless  old  fop',  insisted  on  carving ;  catastrophe 
followed.  Lady  Eldon  explains  and  accuses,  Leycester  retorts.  The  ballad 
ends: 

"She  divides  without  law, 
"Then  unites  boil'd  and  raw, 
"As  my  Lord  joins  the  Flemings  and  Dutch." 
(An  allusion  to  the  formation  of  the  Kingdom  of  Holland  by  the  Congress 
of  Vienna.) 

A  pencil  sketch,  in  reverse,  with  studies  for  the  heads  of  Eldon  and 
Leycester.    Binyon,  i.  281. 

[2]  On  y^  half  that  was  hot — The  raw  half  fast  &  closely  I  tied''  see  Bal'^ 
A  sordid  kitchen  scene.  Lady  Eldon,  witch-like,  with  a  huge  bunch  of  keys 
at  her  waist,  and  a  scarecrow  cook-maid,  tie  up  the  turkey.  Two  dogs  and 
a  cat,  all  starving,  watch  hungrily.  There  is  a  wide  kitchen  grate,  partly 
bricked  up,  and  a  smoky  fire  is  produced  by  large  rolled  parchments  and  a 
docket  of  papers  inscribed  In  Chancery.  Other  papers  lie  by  the  fire.  The 
Mace  is  thrust  between  the  bars  as  a  poker.  Beside  the  fireplace  notices  are 
pinned:  Domestic  Cooking  by  a  Lady — Rich  Eggshell  Broth — Bone  Soup — 
Gristle  Haricot.  The  kitchen  is  dilapidated,  chipped  dishes  and  cobwebs  are 
conspicuous.  A  cupboard  for  Coals  &  Wood  is  heavily  padlocked  and  marked 
with  a  coronet,  as  are  a  wall-box  for  Grease  &  Dripping  (traditionally  the 
cook's  perquisite),  a  Salt-hox  and  (?)  a  small  flour-bin.  A  mouse  looks  from 
a  hole  in  the  floor.  A  fiddle  (the  footman's)  with  a  broken  string  leans  against 
the  table:  it  has  supplied  cat-gut  to  tie  up  the  turkey.   (sVXQi  i^^O 

Hone  repeatedly  attacked  Eldon  as  'Old  Bags'  (the  Regent's  name  for  him 
being  Bags). 

Reid,  No.   618.    Cohn,  No.  902.    Advertised,  price  2s.,  as  one  of  four 
'Coloured  Caricatures'  by  Mr.  G.  Cruikshank,  in  Hone's  Second  Trial,  1818. 
The  others  are  Nos.  12614  (2^.),  12617  (i^.),  12797  (3'^-)- 
Broadside,  i6Jx  10^  in. 


12884  WALKING  THE  FAIR  ON  THE  29™  OF  MAY  1817. 

Lunar  Caustic  inve"^  &c  [?  De  Wilde] 

Publish'^  by  Me  in  spite  of  ye  w[ithout']  any  leave  asked  at  all 

[?  June  1817] 
Engraving.  A  procession,  apparently  in  a  cathedral  city,  is  headed  by  two 
trumpeters  in  long  gowns  and  biretta-like  caps,  with  G.R  and  crown  on  the 
sleeve;  from  their  trumpets  issue  the  words  here  he  Comes.  They  are  followed 
by  a  bellman  in  a  cocked  hat,  ringing  his  bell  and  holding  out  papers;  he 
shouts  Behind  Great  John!!!  A  constable  is  next,  his  crowned  staff  in  his 
coat-pocket;  he  holds  the  end  of  a  rope  which  is  wound  round  the  shoulders 
of  'John',  a  fashionably  dressed  man  who  walks  with  jaunty  complacency, 
chapeau  bras,  one  hand  supporting  the  rope.  He  is  followed  by  an  elderly 
man  wearing  a  bag-wig,  who  picks  his  pocket,  taking  a  handkerchief.   Behind 

'  Cropped. 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

him  walks  a  man  who  holds  up  two  hoops  over  John's  head,  which  is  faintly 
irradiated,  perhaps  indicating  a  large  burlesque  halo.  Beside  John  walk  two 
spectators,  lean  and  melancholy.  Behind,  and  faintly  drawn,  boys  or  men 
with  badged  sleeves  carrying  on  their  shoulders  a  platform  on  which  is  a  large 
empty  throne,  the  back  surmounted  by  a  cross.  In  the  foreground  (1.)  walks 
a  bishop,  with  a  sanctimonious  expression,  one  hand  placed  on  his  breast. 
Behind  him,  and  on  the  extreme  1.,  is  the  Devil,  who  holds  up  the  end  of  his 
robe,  revealing  the  bishop's  cloven  hoofs.  He  stoops  towards  the  bishop, 
saying  with  a  grin.  This  is  Praiseworthy  Lovely  &  of  Good  Report.  A  banner 
projects  into  the  design  from  the  1.,  carried  on  a  pole;  on  it  is  an  octagonal 
building  (?  a  baptistery)  with  an  adjacent  spire,  Italian  in  general  character. 
In  the  background  (1.)  is  a  cathedral,  in  the  middle  distance  a  statue  on  a  high 
pedestal,  partly  obliterated  by  cross-hatching;  on  the  r.  a  street  of  uniform 
houses,  roughly  sketched,  recedes  in  perspective. 

The  subject  is  obscure;  a  bishop  seems  to  be  accused  of  leanings  to  Popery. 
7^Xi2|  in. 

12885  CASTLES  IN  THE  AIR,  OR  VILLAINY  REWARDED, 
[Williams.]  \c.  June-July  1817] 
Aquatint  (coloured  impression).  Perhaps  a  pi.  from  the  Busy  Body.  The 
Devil,  a  hairy  creature  with  webbed  wings,  hoofs,  and  tail,  flies  upwards, 
holding  a  terrified  man  (Castle)  by  a  noose  of  rope.  Below  on  the  r.  is  the 
upper  part  of  the  gable-end  of  Westminster  Hall,  flying  a  large  flag  inscribed 
Trial  By  Jury,  and  on  the  1.  the  summit  of  an  exploding  volcano,  covered  with 
streams  of  burning  lava.  Heavy  clouds  form  a  mountain-like  background; 
on  these  are  three  castles.  Castle,  clutching  the  Devil's  barbed  tail  to  relieve 
the  strain  on  his  neck,  exclaims:  Is  this  the  reward  for  all  my  services  I  have 
built  Castles  in  the  Air  then?  The  Devil  answers :  Yes  and  I  am  Takeing  you 
to  survey  them!  But  you  are  a  bungling  Villain  and  [.''  have  brought]  me  into 
disgrace,  however  III  appoint  you  Stoker  to  Vesuvius  and  thats  next  to  a 
Sinecure.  Rocks  flying  upwards  from  Vesuvius  are :  Effrontery,  Slander,  Lies, 
Perjury,  Craft;  papers  are:  Eviden[ce^  aga[inst^  Watson;  Evidence  against 
Davis;  Evidence  against  Greenaway;  Mother  Toms  List  of  Lodgers.  Below  the 
title : 

"T"©  swear  he  saw  three  inches  thro  a  door, 
"As  Asiatick  evidences  swore ;  Juv^  Sat^ 
Castle  or  Castles  gave  evidence  against  James  Watson,  see  No.  12887;  it 
was  elicited  in  cross-examination  that  on  being  committed  for  uttering  forged 
notes  he  had  turned  king's  evidence,  his  two  accomplices  being  convicted: 
Davis  was  hanged  and  Greenaway  transported.  'Mother  Thoms'  was  a  bawd 
with  whom  Castle  had  lived.  State  Trials,  xxxii.  292-301;  Crabb  Robinson, 
Diary,  1869,  ii.  52  f.  See  Nos.  12887,  12888.  For  sinecures  see  No.  12781,  &c. 
6|X4iin. 

12886  FOR  SALE,  .  .  .  THIS  DEFECTIVE  (HONE) 
D  Regnereb  inv'^ 

Designed  &  engraved  by  D:  Regnereb  [Berenger];  [c.  June-July  18 17] 
Engraving  (coloured  impression).  An  engraved  inscription  simulating  a  small 
poster  or  advertisement  in  which  the  word  'Hone'  is  represented  by  a  hone: 
a  (cracked)  rectangular  slab,  with  a  wooden  base  and  handle  supported  on 
the  back  of  a  crocodile  with  long  jaws  merging  into  the  head  of  Cochrane, 
shedding  tears  (see  No.  12995).  On  the  wooden  handle  (r.)  is  a  face  intended 
for  that  of  Hone,  with  a  round  hole  above  the  eyes  through  which  the  tip 

752 


POLITICAL   SATIRES    1817 

of  the  crocodile's  tail  passes.  The  crocodile  extends  across  the  design  with 
three  lines  of  the  text  above  it,  and  fourteen  below.  The  portion  covered  by 
the  text  is  divided  into  six  vertical  strips,  coloured  alternately  yellow  and 
pale  brown.  The  text:  Kings  Bench  Prison,  Staircase  N°  7.  |  For  Sale,  at  a 
price  infinitely  below  that  delicately  hinted  at  C — It — n  House,  a  cracked  &,  it 
must  be  con-\-fessed,  rather  dirty  article,  mounted  on  a  brazen  Crocodile  lately 
thrown  out  of  the  Nelsonian  Collection  as  blemished  \  {see  the  tail)  but  which 
now  serves  as  a  very  becoming  appendage  &  supporter  to  this  defective 

(Hone) 
This  article,  certainly  contemptible  as  to  intrinsic  Value,  nevertheless  is  greatly 
esteemed. — . — . —  by  barbers  \  &  the  frequenters  of  barbers  shops  ;  some  of  these 
even  reprobate  its  use,  for  the  Thing  itself  is  soft,  \  dull,  liable  to  woeful  scratches, 
&  void  of  every  thing  like  Keenness,  still  it  possesses  the  singular  power  of  \ 
giving  a  more  cutting  edge,  to  substances  of  superior  solidity  even,  that  are  made 
to  rub  against  \  this  otherwise  clumsy  &  vulgar  article,  provided  always  that  it 
frequently  is  spit  upon*,  for  which  it  seems  \  purposely  formed. 

It  was  found  at  Botley  after  iVf  Cobbet's  departure,  &"  altho'  the  latter  had 
consigned  it  among  some  \  useless  rubbish  (for  satisfactory  proof  see  Hone's  two- 
penny publication  N°  20,)  persons  may  value  it,  on  \  account  of  the  particular  &, 
"for  aught  is  known",  perhaps  only  use*  to  which  that  industrious  writer  \  may 
have  devoted  it — Fond  hopes  had  been  cherished,  that  the  black  Dwarf  zvould 
avail  him-\-self  of  this  Lump  of  stone  (or  rather  Wood  petrified,)  but  on  trial 
it  became  manifest,  that  that  sly  &  \  skilful  workmans  cutting  tools  were  so  keenly 
tempered,  that,  instead  of  being  improved  by  the  contact,  \  they  inflicted  such 
depreciating  marks  on  its  soft  surface,  that  it  senms  [sic]  more  than  probable 
that  this  poor  \  mutilated  Hone,  &  which  just  nozv  goes  begging,  zvill  have  to  be 
sent  to  Dorchester  to  be  new  faced! 

Both  (visible)  legs  of  the  crocodile  are  inscribed  Affidavit,  Perjury.  The 
sections  of  the  tail  are  Ava[rice],  Hypoc[risy],  Falshoo[d],  Treacher[y],  Bribery, 
Oppres[sion],  Perjury,  Blasphemy;  the  last  word  is  on  the  tip  of  the  tail  which 
has  pierced  Hone's  forehead. 

A  satire  on  Hone,  see  No.  12899,  ^^-i  ^^*^  ^^  Cochrane,  convicted  of  a 
fraud  involving  perjury,  in  association  with  Berenger,  see  No.  12209,  for 
which  he  was  removed  from  the  Navy  List  ('Nelsonian  Collection').  Cochrane 
repeated  in  Parliament  (17  Feb.  18 17)  the  substance  of  an  attack  in  Hone's 
Register  on  Brougham  after  his  reactionary  speech,  see  No.  12867,  to  show  his 
inconsistency,  the  information  in  both  cases  being  supplied  by  Francis  Place. 
Wallas,  Life  of  Place,  p.  124  f.  The  date  should  be  between  21  June,  when 
No.  20  of  Hone's  Reformist's  Register  appeared,  and  5  July  when  he  was 
released  on  his  own  recognizances  from  the  King's  Bench,  having  been 
arrested  on  5  May  on  an  ex  officio  information,  see  No.  12898.  Wooler  was 
Hone's  neighbour  in  the  King's  Bench  and  was  tried  on  5  and  6  June  on 
two  charges  of  seditious  libel  in  his  Black  Dwarf,  a  twopenny  weekly  more 
radical  than  Hone's  paper,  in  which  he  had  defended  Hone,  see  No.  12982. 
Hackwood,  William  Hone,  1912,  pp.  iii  ff.  For  Cobbett's  departure  see 
No.  12878;  for  Dorchester  prison.  No.  133 19. 

12887  CONSPIRATORS;  OR,  DELEGATES  IN  COUNCIL 

[G.  Cruikshank.] 

Pub''  July  i'^  18 ly  by  S  W  Fores  N°  30  Piccadilly 

Engraving  (coloured  and  uncoloured  impressions).   Three  Ministers  sit  at  a 
council  tabic  on  which  is  a  large  green  bag,  from  which  docketed  papers 

753  3c 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

project;  the  bag  has  folds  making  it  resemble  a  grotesquely  sly  face.  With 
them  are  three  ruffianly  looking  agents  or  spies.  On  the  extreme  1.  sits  Sid- 
mouth  in  profile  to  the  r.;  thin,  elderly,  and  angular,  his  hands  resting  on 
a  tall  cane;  his  queue  terminates  in  a  clyster-pipe  instead  of  a  bag  (cf.  No. 
9849).  Opposite  him  sits  Thomas  Reynolds,  indicated  by  a  paper  beside  him: 
Reynolds  Ireland.  He  shows  Sidmouth  a  paper:  List  of  Victims  in  Ireland. 
Beside  him  is  a  bag  inscribed  Blood  Money.  At  the  opposite  end  of  the  table 
sits  Castlereagh,  also  very  thin  but  elegant  and  fashionable;  he  sits  forward, 
his  hands  on  his  crossed  knees,  holding  a  paper  To  Mr  Reynolds,  the  name 
scored  through  but  just  legible.  On  his  r.  hand  is  Canning,  who  covertly 
points  to  two  ruffians,  one  on  each  side  of  the  table,  saying.  Don't  you  think 
my  Lord  that  our  friends,  Castle  &  Oliver  should  be  sent  to  Lisbon  or  somewhere 
as  Consul  Generals,  or  Envoys?  Castlereagh  answers :  Can't  you  negotiate  for 
some  boroughs —  The  two  men,  who  grin  expectantly,  are  indicated  by  papers 
addressed  respectively  to  Oliver  Leeds  and  Castle  Spafields;  in  the  latter's  hat 
is  a  bundle  of  Forged  notes  (see  No.  12885).  Papers  in  the  green  bag  are 
docketed:  An  Oath  to  be  Proposed  to  the  distressed;  Plan  for  the  Attack  on 
the  Regents  Carraige  [see  No.  12864];  Treasonable  papers  to  be  sliped  into  the 
pockets  of  some  duped  artisans;  Plans  for  a  General  Row.  On  the  table:  Toast 
to  be  given  in  the  Company  of  moderate  men  &  then  Swear  they  drank  them 
[Castle's  evidence];  Every  means  to  be  taken  to  implicate  S''  F.  Burdett  L'^ 
Cochrane  &  — .  On  the  floor  beside  Sidmouth:  Instructions  for  Entraps  the 
poor  &  needy,  and  under  santion  [sic]  of  Government.  Beside  Castlereagh  lie 
flags  and  favours  labelled  Tricolord  Flags  &c  &cfor  Spa  Fields,  with  a  stuffed 
stocking  (see  No.  12868)  labelled:  A  Waggon  Load  of  Ammunition!!!  Vide 
M*"  Cannings  Speech  in  y"  House  of  Com^.  Through  a  window  on  the  extreme 
r.,  and  just  behind  Castlereagh,  John  Bull,  registering  horror,  gazes  into  the 
room ;  he  exclaims :  Oh!  Oh  I  have  found  out  the  Conspirators  at  last,  poor 
Starving  John  is  to  be  enslaved  into  Criminal  acts  &  then  the  Projectors  & 
perpetrators  are  brought  forward  as  principal  evidences!  This  is  another  Vaughan, 
Brock  &  Pelham  business,  and  I  suppose  they  are  to  be  made  Consuls  too,  the 
high  road  to  L*^  CastlereigK s  particular  favor — Canning  travelled  it. 

A  satire  on  the  employment  of  spies  by  the  Government  to  obtain  informa- 
tion on  unrest  in  industrial  districts,  based  on  debates  in  Parliament  in  June, 
and  on  the  trial  of  James  Watson  for  high  treason  (9-16  June).  Watson  was 
acquitted  because  the  chief  evidence  was  that  of  an  accomplice  of  infamous 
character,  John  Castle  or  Castles,  who  had  acted  as  an  agent  provocateur,  see 
No.  12885.  Oliver,  also  an  agent  provocateur,  was  a  paid  spy  who  toured  the 
industrial  districts,  pretending  to  be  a  delegate  from  a  revolutionary  body  in 
London.  He  was  exposed  in  an  article  in  the  Leeds  Mercury  of  14  June  (styling 
him  'a  green  bag  maker'),  read  by  Burdett  to  the  House  on  16  June;  Burdett 
then  accused  the  Government  of  hiring  people  to  excite  sedition.  He  instanced 
Thomas  Reynolds  as  'a  notorious  spy'  pensioned  by  the  Government,  who 
had  been  one  of  the  Grand  Jury  in  Watson's  case.  On  19  June  Burdett  again 
attacked  Castlereagh:  'If  justice  were  done,  the  Noble  Lord  and  his  allies, 
Castles  Oliver  and  the  rest,  ought  to  be  punished  for  that  which  had  proved 
to  be  the  only  conspiracy,  a  conspiracy  against  the  security  and  happiness  of 
the  subjects  of  this  kingdom.  .  .  .  He  wished  to  know  if  Oliver  had  been 
authorized  ...  to  use  his  (Sir  F.  Burdett's)  name.'  Examiner,  1817,  p.  391 
(toned  down  in  Pari.  Deb.).  Reynolds,  a  United  Irishman,  revealed  the 
designs  of  the  'Directory'  in  Dublin  in  1798,  see  No.  9228,  &c.,  causing  their 
arrest.  He  was  pensioned,  and  in  1810  was  appointed  postmaster  in  Lisbon, 
returning  to  England  in  18 14.  He  had  recently  been  appointed  consul-general 
in  Malta  {Pari.  Deb.  xxxvi.  1020,  16  June;  according  to  the  D.N.B.  in  Ice- 

754 


POLITICAL   SATIRES    1817 

land,  eventually  leaving  for  Copenhagen).  The  papers  delivered  to  the  second 
Secret  Committee,  were  (as  before,  see  No.  12868)  in  a  green  bag.  For 
Canning  and  Lisbon  see  No.  12872;  for  Castlereagh  and  boroughs.  No. 
11581  [5].  For  Vaughan,  &c.,  see  No.  12985.  For  Oliver  see  also  J.  L.  Ham- 
mond, The  Skilled  Labourer,  1919,  pp.  341  ff. ;  F.  O.  Darvall,  Popular  Dis- 
turbances .  .  .  in  Regency  England,  1934,  ch.  xiv;  for  Castle,  State  Trials, 
xxxii.  65  ff.;  see  also  New  Ann.  Reg.,  1817,  pp.  297-306.  'The  Delegates  in 
Council  .  .  .'  (No.  9021)  is  a  print  by  I.  Cruikshank  on  the  Naval  Mutiny 
of  1797,  and  a  sardonic  comparison  with  that  crisis  is  perhaps  intended.  See 
Nos.  12888,  12994,  13001.   Cf.  No.  12819. 

Reid,  No.  679.    Cohn,  No.  1012. 
8fxi3jin. 

12888  MORE  PLOTS!!!  MORE  PLOTS!!! 
Pub'^  by  Fores,  50  Piccadilly,  Aug'  9,  i8iy 

Engraving.^  Below  the  title:  Dedicated  to  the  Inventors,  Lord  S [Sid- 
mouth],  &  Lord  C [Castlereagh].    Four  designs  separated  by 

intersecting  lines,  [i]  Unsuspecting  geese  are  watched  by  four  foxes,  one  of 
whom  says  to  the  others :  Tis  plain  there  is  a  Plot  on  foot,  let 's  seize  them  Brother 
Oliver.  Oliver :  /  have  no  doubt  of  it  I  can  smell  it  plainly.  [2]  Two  ferocious 
wolves  watch  a  group  of  lambs;  one  (Castle)  says:  those  Bloodthirsty  Wretches 
mean  to  destroy  Man,  Woman,  &  Child,  I  know  to  a  certainty  ;  for  they  carry 
Sedition,  Privy  Conspiracy  &  Rebellion  in  their  looks.  The  other  answers:  atid 
Pll  swear  it  Brother  Castle  let's  dash  at  them.  [3]  A  cat  watches  a  group  of 
frisking  mice,  saying,  theres  a  pretty  collection  of  Rogues  gathered  together,  if 
there  is  not  a  Plot  amongst  them  burn  my  Tail  &  Whiskers.  [4]  A  hawk  swoops 
upon  a  fluttering  hen  and  chickens,  saying.  The  Worlds  over-run  with  Iniquity, 
&  these  troublesofne  Miscreants  zvill  not  let  honest  Hawks  sleep  in  security. 

A  satire  on  the  Crown  prosecutions  of  1817  following  the  reports  of  the 
'Green  Bag  Committee',  see  No.  12868,  and  especially  on  Oliver  and  Castle, 
see  No.  12887.   ^^-  Lamb's  poem  The  Three  Graves. 
7i|Xiii  in. 

12889  A  R— Y— L  VISIT  TO  A  FOREIGN  CAPITAL  OR,  THE  AM- 
BASSADOR NOT  AT  HOME— !!— 

G.  Cruikshank  fee' 

Pub'^  Sepf  15  i8iy  by  S  W  Fores  50  Piccadilly 

Engraving.  The  Princess  of  Wales  and  her  suite  in  a  carriage  drawn  by  six 
horses  arrive  at  the  porte-cochere  of  the  British  Embassy  in  Vienna.  At  the 
gate  and  in  front  of  the  horses  is  a  mounted  groom  or  outrider  blowing  a 
trumpet,  from  which  issue  the  words :  Vite!  ViteU  7  Lits  de  Maitre — JJ — 
de  Domestique — .'.'  Facing  him  is  a  fat  porter,  who  keeps  one  leaf  of  the  gate 
shut,  and  answers :  Sein  Excellenz  ist  nich  zu  haus — .'.'.'  Over  the  archway  are 
the  Royal  Arms,  the  lion  (burlesqued)  and  unicorn  look  down  scandalized  at 
the  carriage,  in  which  the  Princess  turns  to  Pergami  who  sits  on  her  r.,  saying, 
This  Palace  will  lodge  us  well  Sir  Bergamot.  Her  plump  breasts  are  displayed, 
and  she  wears  a  turban  with  a  jewelled  aigrette.  Pergami  wears  hussar 
uniform  with  a  furred  dolman,  and  a  bunch  of  orders  hanging  from  his  tunic. 
Facing  the  Princess  sits  little  Willy  Austin  (see  No.  12027)  wearing  a  round 
peaked  cap;  a  lady  wearing  a  tasselled  cap  like  a  smoking-cap  sits  next  him. 
On  the  box  are  a  foreign  servant  in  quasi-military  uniform  and  cockaded  top- 

'  Also  a  coloured  impression. 

755 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

hat  and  a  turbaned  negro,  with  two  big  pistols  in  his  sash.  The  negro  puts 
his  arm  across  the  other's  shoulders;  both  grin,  as  do  two  negro  servants 
seated  in  the  rumble  with  drawn  swords;  these  also  wear  turbans,  and  are 
armed  with  pistols.  Two  postilions,  French  in  type,  flourish  their  whips;  they 
wear  huge  jack-boots  and  large  plumed  cocked  hats;  the  spirited  horses  have 
received  a  sudden  check.  The  door-panel  of  the  carriage,  an  open  barouche, 
is  covered  with  the  Royal  Arms  with  the  Prince's  feathers.  A  stout  peasant 
woman  and  a  little  boy  (1.)  watch  the  cavalcade  with  astonishment;  two  dogs 
bark.  Part  of  the  Embassy  forms  a  background:  two  rows  of  windows,  the 
lower  ones  heavily  barred. 

One  of  the  duties  of  the  British  Ambassador  at  Vienna,  Lord  Stewart 
(Castlereagh's  half-brother),  was  to  collect  information  on  the  scandalous 
behaviour  of  the  Princess,  especially  in  relation  to  the  courier,  Pergami, 
whom  she  made  her  Chamberlain;  when  she  created  the  order  of  St.  Caroline 
she  appointed  him  Grand  Master.  His  name,  originally  Bergami,  was  altered 
by  the  Princess  into  what  she  thought  a  more  aristocratic  form.  His  vis-a-vis 
is  probably  his  sister,  'Countess'  Oldi,  who  was  her  lady-in-waiting.  Francis  I 
acquired  the  Regent's  gratitude  by  refusing  to  receive  the  Princess  in  Vienna. 
See  No.  12890,  a  companion  pi.  with  the  same  signature  and  imprint. 

Reid,  No.  686.   Cohn,  No.  1934.   De  Vinck,  No.  10405. 
9^X  15^  in.   With  border,  lof  X  15!  in. 

12889  a  a  second  state,  Pl^  i  added  in  the  upper  margin,  — April  18 ly 
after  the  title.  It  is  altered  by  the  addition  of  drapery  over  the  Princess's 
bosom,  and  of  aigrettes  to  the  turbans  of  the  three  negroes. 

12890  PI-',  2  royal  CONDESCENSION— OR  A  FOREIGN  MIN- 
ISTER ASTONISHED!— ^ijn7j<?/ 7— 

See  No.  12889.  'The  Princess,  in  oriental  dress,  sits  regally  on  a  low  settee, 
knees  apart,  1.  foot  on  a  stool,  with  Pergami  at  her  r.  hand,  and  others  of  her 
suite  behind  her.  She  addresses  Metternich  (r.),  pointing  to  Pergami,  and 
saying :  Pennit  me  Sir  Prince,  to  present  to  you  my  sweet  [scored  through  and 
replaced  by]  suite —  Pergami,  bold,  florid,  and  handsome,  stands  erect,  r. 
hand  on  his  hip,  holding  his  busby  and  the  hilt  of  his  sword.  He  wears  hussar 
uniform  as  in  No.  12889,  with  spurred  Hessian  boots.  Metternich,  slim  and 
elegant,  wearing  embroidered  court  dress  with  a  sword,  makes  a  courtier's 

bow,  answering:    Your  R /  H s  is  really  too  Condescending?!    The 

Princess  is  a  grotesque  obese  figure  in  Turkish  trousers,  short-waisted  bodice 
grossly  decolletee,  Turkish  slippers,  and  large  turban  with  crescent  and 
aigrette,  wearing,  like  Pergami,  a  bunch  of  orders.  At  her  r.  knee  and  between 
her  and  Metternich  is  little  Willy  Austin,  cap  in  hand,  and  holding  a  riding- 
switch.  He  wears  a  short  braided  jacket  with  trousers,  and  a  childish  frill 
round  the  neck.  Behind  him  is  a  stout  lady-in-waiting  (probably  'Countess' 
Oldi),  oddly  dressed,  in  round  cap,  decolletee  high-waisted  bodice  and 
(apparently)  breeches  or  trousers.  Two  gentlemen-in-waiting  behind  Pergami 
wear  braided  tunics  with  trousers  gathered  at  the  ankle.  All  the  suite,  includ- 
ing the  boy,  wear  orders;  the  three  men  are  whiskered  and  moustached. 
Along  the  wall  forming  a  background  are  pictures  illustrating  the  persons 
beneath.  Behind  Pergami  is  a  prancing  stallion  with  a  girth  inscribed  Ich 
Dien :  Cock  horse  a  favourite  Stallion.  Behind  the  Princess  is  A  View  in  Wales, 
the  frame  decorated  with  the  Prince's  feathers :  a  mountainous  sea-shore  with 
goats.  Behind  the  boy  is  a  scraggy  mule  with  a  plume  of  ostrich  feathers,  and 
its  tail  decorated  with  ribbons.  At  its  feet  Black-heath  (see  No.  12027) :  This 

756 


POLITICAL   SATIRES    1817 

is  Billy  A —  favourite  Mule — ///  Above  Metternich  is  the  W.L.  portrait  of 
a  courtier,  cocked  hat  in  hand :  Met — her — nick — // 

The  allegations  of  the  print  reflect  the  stories  reaching  England  and  the 
temporary  popularity  of  the  Prince  (according  to  Sir  T.  Lawrence,  June  1817, 
the  people  were  then  'very  well  disposed  to  the  Regent.  Farington,  Diary, 
viii.  134).  The  oriental  costume  connotes  the  visit  to  Tunis,  see  No.  12795,  &c. 
The  scandals  of  the  'trial'  in  1820  are  anticipated. 

Reid,  No.  687.   Cohn,  No.  1914.   De  Vinck,  No.  10406. 
9^X  Hil  in-   With  border,  10^  X  15^  in. 

12891  A  PEEP  INTO  THE  CITY  OF  LONDON  TAVERN  .  BY  AN 
IRISH  AMATEUR— on  the  21'^  of  August  1817— 

y  L  R  Esq''  del'  G.  Cruikshank  sculpt. 

Published  OcV  i8iy  by  J  J  Stockdale  41  Pall  Mall  London- 
Engraving.  The  title  continues:  Or — A  Sample  of  the  Co-Operation  to  be 
expected  in  one  of  M''  Ozveti's  Projected  Paradises — Vide  The  Titnes  &  all  the 
Papers.  Robert  Owen  stands  on  a  table,  his  back  to  the  Chairman  of  his  meet- 
ing, and  directed  to  the  1.;  he  holds  a  paper:  New  Views  of  Society  by  OWEN 
his  r.  arm  curves  above  his  head,  the  hand  drooping  in  a  curious  gesture. 
Some  of  the  audience  sit  on  the  1.  and  r.  of  the  table,  others  crowd  behind; 
many  interrupt  him.  He  says,  with  a  complacent  expression:  There  is  not  a 
single  Individual  in  existance  who  can  even  partially  comprehend  my  Plan — /  am 
not  of  your  Politics — /  am  not  of  your  Religion,  nor  of  any  Religion  yet  taught 
in  the  World — /  move  for  a  committee  to  consider  the  Subject — .  The  chairman 
sits  behind  him  impassively,  but  the  words  Chair!  Chair  No  Politics  No 
Politics  rise  into  the  air  from  his  closed  lips.  He  holds  a  paper  addressed: 
To  the  Member  for  Dover — Port  Jackson.  [Sir  John  Jackson,  M.P.  for  Dover, 
a  London  merchant  and  a  Director  of  the  E.I.  Co.,  was  in  the  chair.]  On  the 
extreme  1.  stands  Waithman,  clutching  a  document  inscribed  Amendment,  and 
saying,  Af  Chairman — /  rode  on  my  Hobby^  horse  to  town  this  morning  for  the 
purpose  of  opposing  the  worthy  &  benevolent  Gentleman's  Plans  which  (notwith- 
standing the  observation  zchich  has  so  Szvifiy  flown  from  the  opposite  Tower) — 
Is  in  my  opinion  entirely  Political — /  hold  in  my  hand  a  bale  of  soft  goods  by 
way  of  amendment — a  String  of  Resolutions  some  Yards  long  but  zchich  being 
Manufactured  in  the  Old  popular  Machine  are  so  zcell  knozvn  to  my  customers 
I  need  not  read  them — Being  a  Man  of  Weight  here  I  am  sure  to  carry  them. 
Swift,  the  man  alluded  to,  answers  from  the  extreme  r.,  where  he  stands 
behind  the  bench  against  the  table :  Yes  I  do  hold  a  place  in  the  Tower!  am 
I  on  that  account  not  to  be  heard  here,  or  among  Englishmen!! — The  Plan  before 
us  is  one  of  much  Philanthropy,  &  has  therefore  nothing  to  do  zvith  Politics. 
He  is  a  good-looking  man,  and  holds  a  paper:  Waterloo  &  other  Poems — vide 
Swifts  zvorks.  On  the  1.  of  the  table  in  the  foreground,  and  in  front  of  Waith- 
man, sits  Hone,  not  caricatured,  holding  a  paper  docketed :  Hone's  Reformists 
Register — iVf  Owens  Plan.  He  looks  up,  saying  quietly :  Let  us  alone  Af  Owen! 
Next  him,  a  man  dressed  as  a  Quaker  and  wearing  a  very  broad-brimmed  hat, 
stands  on  the  bench,  with  clasped  hands,  saying,  What ;  not  even  a  Quaker!!! — 
would' st  thou  Inoculate  us  with  a  pestilence  like  unto  that  experienced  by  those 
who  sit  cross  legged  on  the  shores  of  the  Levant  &  amongst  whom  I  have  been. 
In  his  pocket  is  a  paper :  Report  on  Vaccination  by  Dr  Walker.  Next  him  sits 
a  large,  coarse-featured  fellow,  clasping  a  paper  inscribed  Black  Dwarf  to 

'  This  may  be  an  early  allusion  to  the  velocipede,  see  No.  13399,  patented  in  England 
in  1818. 

757 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

show  that  he  is  Wooler.  He  says :  what  an  incomparable  yet  incomprehensible 
plan!  what  great  Co-Operation!  why  it  will  Remoralize  Man!  I  hope  that 
certain  Great  people  May  partake  of  it.  Next,  and  at  the  corner  of  the  table,  sits 
Major  Cartvvright,  with  his  spectacles  pushed  up  on  a  wig  simulating  a  thatch 
of  natural  hair.  He  says :  If  I  know  any  thing  of  Politics  this  is  all — Politics  & 
nothing  but  Politics!!  He  clutches  a  paper :  Reform  in  Parliament,  and  beside 
him  are  two  papers :  Petetion  ag^^  486  members  and  Westminster  Meeting.  The 
next  man,  on  the  Chairman's  r.,  is  hidden  by  Owen.  Before  the  Chairman 
is  a  paper:  Majority  for  M^  Waithmans  amendment.  All  these  figures  appear 
to  be  careful  portraits.  Another  prominent  figure  is  a  negro,  in  front  of  Swift, 
who  stands  with  one  foot  on  the  table,  one  on  the  bench,  shaking  his  fist  at 
Owen ;  he  says :  /  understand  Slavery  well!  my  mother  was  a  slave!  This  would 
be  an  improved  system  of  Slavery — &  without  the  solace  of  ReveaVd  Religion 
&  Faith —  From  his  pockets  project  books  or  papers :  Wilbeforce  [sic]  on  the 
Slave  Trade  and  New  Testament.  Beside  him  on  the  bench  is  a  young 
(.?)  Quakeress  who  flinches  away  from  him,  shocked  or  frightened.  Behind 
on  1.  and  r.  are  the  heads  of  standing  listeners,  absorbed  and  in  general  dis- 
mayed. The  profile  of  a  parson  is  on  the  extreme  r.,  next  it  is  a  lady  wearing 
a  fashionable  feathered  bonnet.  A  large  window  topped  with  carving  and 
festooned  drapery  fills  most  of  the  background  wall. 

Owen  had  advertised,  at  a  cost  of  ,(^4,000,  a  'Plan  of  Amelioration  and 
Reformation  without  Revolution',  for  curing  distress  in  'villages  of  unity  and 
co-operation'  and  held  two  meetings  in  London,  one  on  14  Aug.,  adjourned 
to  21  Aug.,  at  which  he  made  a  declaration  against  the  abuses  of  all  religions, 
which  'was  received  with  the  loudest  cheers'.  These  meetings  were  preceded 
by  lengthy  letters  to  The  Times.  Owen's  motion  for  appointing  a  committee 
to  consider  it  was  negatived  by  Waithman's  amendments,  which  declared  the 
plan  impracticable  and  the  distress  to  be  due  to  unemployment  caused  by 
heavy  taxation  and  poor  rates.  His  sparring  with  Swift  was  substantially  as 
represented  here.  Walker  (see  No.  11953)  'contended  that  the  destruction 
of  science  and  mechanism  would  bring  destruction  on  a  country'.  Cartwright 
said  the  plan  was  'politics  and  nothing  but  polities'.  He  opposed  Owen  for 
making  'light  of  the  liberties  of  the  people  of  England,  and  urged  that  the 
people  should  petition  'for  a  radical  Reform  as  the  only  means  of  reducing 
pauperism  and  crime'.  He  stated  that  'no  fewer  than  486  Members  had  no 
right  to  sit'.  Wooler  agreed  with  the  objections  to  the  plan:  the  evils  were 
due  to  excessive  expenditure  by  the  Government,  and  the  want  of  control 
over  expenditure  by  the  people.  The  meeting  is  reported  at  length,  Times, 
22  Aug.,  with  no  mention  of  the  negro.  Hone  attacked  Owen's  doctrines  in  his 
Reformist's  Register.  Examiner,  18 17,  pp.  535  f.,  541  f. ;  Owen,  Life,  1857, 
pp.  129  ff.;  Owen,  New  View  of  Society,  1927,  pp.  170-220;  Hackwood, 
William  Hone,  1912,  p.  no. 

Reid,  No.  691.  Cohn,  No.  1836.  Advertised,  price  55.  coloured,  in  Fashion 
(see  No.  12970)  as  'the  best  caricature  since  the  time  of  Gillray,  and  is  by 
J.  L.  R.  Esq.  who  furnished  that  Artist  with  some  of  his  best  sketches'. 
14^X13^  in. 

12892  FUN  AT  SEA— THE  SHAM  FIGHT  OFF  BRIGHTON,  with 
the  capture  of  the  Knight  of  the  Larder  Privateer — or  the  Alderman  in  Chains — 

[Williams.] 

Pub'^  Octo''  i8iy  by  J.  Johnston  g8  Cheapside 

Engraving.  A  scene  on  the  deck  of  the  royal  yacht.  Curtis,  much  caricatured 
and  in  the  sailor's  dress  of  the  Walcheren  prints,  see  No.  1 1353,  kneels  before 

758 


POLITICAL   SATIRES    1817 

the  Regent,  offering  him  a  carving-knife  and  ladle.  Round  him  is  a  chain  of 
sausages,  the  ends  of  which  are  held  by  sailors;  other  sailors  bring  forward 
delicacies  to  present  to  the  Regent.   Curtis  says: 

Great  conquer er,  see  your  Captive  kneel 
Your  clerriency  now  let  him  feel! 
Here 's  all  my  arms,  upon  my  life 
My  Ladle  and  my  Carving  Knife. 
My  Vessel— Fame- — the  Larder  calls 
My  Ammunition  Forc'd  Meat  Balls 
My  Pozvder  ;  Curry  ;  Whole  Pepper  Shot. 
All  by  my  capture  going  to  Pot: 
Then  let  me  hope  you' I  grant  this  Boon, 
Release  me  speedily  and  soon!  [see  No.  11306] — 
Vm  a  bit  of  a  Poet  you  see  this  is  rare  fun. 

The  Regent,  who  wears  a  naval  cocked  hat  with  civilian  dress,  is  scarcely 
caricatured ;  he  bends  forward  eagerly  towards  Curtis,  saying,  What  we  have 
caught  you  have  we!  and  in  arms  against  your  Sovereign  Weel  just  drench  you 
with  Grog  and  Keel  haul  you — and  then  release  you  my  old  buck,  you  love  Fun! 
A  naval  officer  stands  behind  him  with  other  sailors,  one  of  whom  (1.)  holds 
a  large  bowl  of  Grog.  Above  their  heads  is  a  flag  with  the  Royal  Arms. 
Behind  Curtis  one  man  holds  on  his  head  a  large  pan  labelled  Forcd  Meat, 
another  has  a  basket  heaped  with  trussed  birds,  a  third  has  a  turtle,  a  fourth 
a  steaming  tureen  of  Turtle  Soup.  Beside  Curtis  an  officer  holds  out  a  large 
scroll,  the  end  of  which  lies  curled  on  the  deck :  Amtnunition  &  Stores  taken 
in  the  Larder  Sloop — Ammutiition  ^00  Forced  Meat  Balls,  5  Barrels  Curry - 
Powder,  2  Casks  whole  pepper.  200  Bottles  sauce  Picquant — Stores.  I  Whole 
Calf,  25  Sheep,  12  dozen  Capons,  50  [}  haunches]  of  Ve?iison,  Westphalian 
Hams,  200  Weight  of  Sauceages,  100  Rounds  of  Beef,  100  Sir  Loins,  150  doz 
of  Pigeons,  50  Sucking  Pigs,  ^o  Sa  .  . 

A  sailor  (1.)  who  holds  one  end  of  the  sausage-chain,  says:  By  the  time  we 
have  each  had  a  link  or  two  for  a  Lunch  heeH  soon  get  rid  of  his  Chains.  Dam 
Eyes  but  this  is  fun! 

From  8  to  13  Sept.  the  Regent  went  to  sea  in  his  new  yacht,  the  Royal 
George,  witnessing  manoeuvres,  making  several  cruises,  anchoring  off  Dieppe, 
and  spending  three  nights  at  sea.  He  announced  his  intention  of  wearing  the 
full  dress  of  an  admiral  at  his  levees,  alternately  with  military  dress.  Gent. 
Mag.  Ixxxvii.  271.  Curtis,  a  popular  butt,  and  a  friend  of  the  Regent,  was 
famous  for  his  luxurious  yacht  and  his  lavish  hospitality,  especially  in  con- 
nexion with  the  Walcheren  Expedition,  see  No.  1 1354.  An  alderman  in  chains 
was  a  slang  or  underworld  term  for  a  turkey  garnished  with  sausages. 
8fxi3  in. 

12893  JEREMIAH  BRANDRETH,  THE  NOTTINGHAM  CAPTAIN. 

Ckfec'' 

Derby.    Published  Oct''  24,  i8iy. 

Engraving  (coloured  impression).  Brandreth,  heavily  ironed,  stands  looking 
to  the  r.,  smoking  a  short  pipe.  He  has  the  appearance  of  a  handsome  stage 
pirate,  with  a  black  beard,  moustache,  and  whiskers  and  curly  hair  resting  on 
his  shoulders.  He  wears  a  top-hat,  a  short  jacket  like  a  sailor's  over  a  striped 
shirt,  and  trousers;  a  pouch  is  slung  from  the  shoulder.  Below  the  title: 
A  correct  likeness  C  Ward. 

'  Autographed  'By  my  Brother  Robert  &  self  Geo  Cruikshank'. 

759 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Brandreth  headed  a  march  of  Derbyshire  peasants  and  stockingers  upon 
Nottingham  on  9  June,  with  about  300  men,  some  forcibly  recruited,  expect- 
ing concerted  risings  elsewhere,  but  the  only  other  overt  move  was  a  similar 
one  on  8  June  against  Huddersfield.  He  was  tried  for  treason  by  special 
commission  at  Derby,  16-18  Oct.,  and  sentenced  to  death.  There  is  pre- 
sumptive evidence  that  the  men  had  been  incited  by  Oliver,  see  No.  12887, 
and  Brandreth  asserted  it  on  the  scaffold,  but  this  was  no  part  of  the  able 
defence  by  Denman.  See  State  Trials,  xxxii.  755  ff. ;  Pari.  Deb.  xxxvii.  35-7, 
42;  Darvall,  Popular  Disturbances  and  Public  Order  in  Regency  England,  1934, 

pp.  163-5,  174.  275- 

Reid,  No.  699.    A  portrait  of  Brandreth  seated  in  chains  with  the  same 
title  and  imprint  is  Cohn,  No.  1252. 
9wX5*in.  (pi.). 

12894  ENGLAND'S  ONLY  HOPE  DEPARTING— 

Pu¥  by  S  W  Fores  50  Piccadilly  Dec''  2'^  i8iy 

Engraving  (coloured  impression).  Princess  Charlotte  lies  in  bed.  Prince 
Leopold  kneels  at  her  side,  on  a  footstool,  taking  her  hand;  he  says:  Courage 
jny  dearest  Princess,  trust  in  God  &  all  will  be  well.  She  asks :  Is  there  any 
danger?  A  nurse  standing  at  the  foot  of  the  bed  turns  aside  to  weep.  Below 
the  title:  A  Specimen  of  Conjugal  affection  &  attention  in  Exalted  life — a 
Lesson  to  Princes — 

Princess  Charlotte  died  after  the  birth  of  a  still-born  son  on  5  Nov.  See 
G.  J.  Renier,  The  Ill-fated  Princess,  1932,  ch.  xvi.  Title  and  inscription, 
besides  recording  England's  sorrow,  are  an  attack  on  the  Regent;  cf.  No.  1 1897, 
and  Byron:  'The  love  of  millions!  how  we  did  entrust  |  Futurity  to  her.' 
Cobbett  {Pol.  Reg.,  25  Apr.  1818)  scoffed  at  the  national  grief.  Cf.  No,  12984. 

Reid,  No.  706.   Cohn,  No.  1089. 
8|X  13II  in.   With  border,  lofx  14I  in. 

12895  OFFICIAL  ACCOUNT  |  OF  THE  |  NOBLE  LORDS  |  BITE! 
[G.  Cruikshank.] 

London:  Printed  by  and  for  W.  Hone,  6y,  Old  Bailey  .  .  .  i8iy.   Price 

Four -pence. 
Woodcut  vignette  on  title-page  of  a  pamphlet  by  Hone.   Lord  Castlereagh, 
with  large  head,  small  body,  and  tiny  legs,  is  attacked  by  a  savage  bull-dog 
which  bites  his  very  long  nose. 

An  attack  on  Castlereagh,  Ministers,  and  others.  The  dog  is  'Honesty', 
'supposed  to  have  entered  his  hotise  [of  Commons]  with  Sir  F — 's  B — d — t 
[Burdett]  and  his  friends'.  As  a  result  of  the  bite  Castlereagh  wishes  to  'send 
for'  Burdett  and  Brougham,  but  is  overruled  and  overwhelmed  by  Ministers 
who  announce  his  approaching  death.   See  No.  12896. 

Reid,  Nos.  2855,  4687.    Cohn,  No.  614. 
c.  i|X2i  in.  184.  a.  i/i. 

12896  THE  I  TRIAL  |  OF  |  THE  DOG  |  FOR  |  BITING  THE  NOBLE 
LORD  ;• 

[G.  Cruikshank.] 

Woodcut  vignette  on  title-page  of  a  pamphlet  by  Hone.    The  dog,  heavily 

shackled,  stands  full-face  with  his  paws  resting  on  the  bar.  He  wears  spectacles 

'  Imprint  as  No.  12895,  but  Price  Two-Pence. 

760 


POLITICAL    SATIRES    iSiy 

and  a  padlocked  muzzle  (cf.  No.  12037,  &:c.);  under  each  paw  is  a  spray  of 
rose,  thistle,  and  shamrock.   Above  the  title:  Another  Ministerial  Defeat! 

A  satire  on  Castlereagh,  and  on  state  trials,  with  allusions  to  Canning, 
Oliver,  and  Reynolds,  see  No.  12887.   The  dog  is  acquitted. 

Used  as  an  illustration  to  Hone's  Every  Day  Book,  1825-6. 

Reid,  Nos.  2856,  4688.   Cohn,  No.  806. 
c.  2jx  i|  in.  184.  a.  1/2. 

12897  BARTHOLOMEW  FAIR   |   INSURRECTION;   |   AND  THE   | 
PIE-BALD  PON"i"  I  PLOT!  | 

[G.  Cruikshank.] 

London:  Printed  by  and  for  William  Hone  Reformists'  Register  Office, 
6y,  Old  Bailey,  i8iy.   Price  Two-Pence 

Woodcut  vignette  on  title-page.  Punch  (1.)  and  an  aged  Mother  Shipton 
(symbolizing  an  old  maid)  sit  back  to  back  on  a  spotted  rocking-horse,  the 
latter  facing  the  (elevated)  tail.  He  flourishes  a  rattle  and  holds  a  long  spear; 
she  holds  up  a  bottle  of  Gin  and  a  pole  surmounted  by  a  cock  in  a  pair  of 
breeches.  They  are  attacked  by  tiny  soldiers  and  by  the  Regent's  bomb  (1.), 
see  No.  12799.  From  the  animal's  tail  come  the  words  Treason!!  Ginger  B'^ 
Nuts!!  Conspiracy!!  After  the  title :  Official  Account. 

Illustration  to  a  satirical  account  of  a  hoax  on  Sidmouth :  information  was 
given  that  armed  rioters,  the  ringleaders  being  'Preston,  Thistlewood  and 
their  gang',  were  to  assemble  on  6  Sept.  at  Bartholomew  Fair  for  a  'General 
Insurrection';  'Friends  of  Reform'  were  to  sup  at  the  Piebald  Horse,  Chiswell 
Street. 

Reid,  Nos.  2857,  4689.   Cohn,  No.  59. 
c.  2|X4  in.  184.  a.  1/3. 

12898  LAW  VERSUS  HUMANITY  OR  A  PARODY  ON   BRITISH 
LIBERTY. 

[Williams.] 

Pu¥  Decemb''  26  i8iy  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).'  Above  the  design  (as  a  second  title): 
A  Suprising  Hone  for  smoothing  the  rugged  edge  of  Legal  Oppression — Ut 
Prosim —  Hone  (a  good  portrait)  leans  against  a  barrier  in  profile  to  the  1., 
addressing  Ellenborough  who  is  seated  behind  a  higher  barrier.  Hone,  who 
supports  himself  by  one  hand  on  the  barrier,  says :  Pray  may  I  be  allowed  to 
S — it?  Ellenborough,  on  the  extreme  1.,  inflates  his  cheeks  to  utter  a  furious 
N0,0  00000  .  .  .,  the  ciphers  extending  across  the  court  and  breaking  a 
window  on  the  extreme  r,  A  barrister  stands  in  the  narrow  space  between 
judge  and  accused;  he  holds  an  ear-trumpet  to  his  ear,  directing  it  towards 
the  judge,  and  exclaims  with  an  outraged  expression:  Not  S — tH  Three  men 
stand  behind  Hone,  all  astonished  at  EUenborough's  pronouncement;  they 
exclaim  Oh  LohH!  and  O  LohH  Above  the  barrister's  head  is  a  child-angel, 
holding  a  book  and  weeping;  he  is  supported  on  clouds  and  is  flying  away 
from  Ellenborough,  having  dropped  a  pen.  At  Hone's  feet  are  papers :  Society 
of  the  Poor  Mans  Friend  and  The  Beggar  Girl — Pity,  kind  Gentlemen  friends 
of  Humanity.  After  the  title:  And  the  Recording  Angel  let  fall  a  tear, — stern^ 
[Tristram  Shandy,  bk.  vi,  ch.  8,  misquoted,  cf.  No.  8014]. 

Hone  began  his  long  defence  in  his  first  trial  (18  Dec.)  with  an  account 

'  On  one  impression  is  an  inscription  in  pen  below  the  title:  'Frontispiece  to  Hone's 
Trials — Price  i/-';  spelling  of  'Suprising'  corrected. 

761 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

of  the  inhumanity  of  his  arrest  and  treatment  on  5  May :  'at  a  moment  when 
he  was  retiring  for  the  purposes  of  nature  he  was  put  into  a  coach',  and  taken 
to  Westminster  Hall  to  plead  to  the  information.  Feeling  ill,  he  asked  to  be 
allowed  to  sit:  'The  answer  of  Lord  Ellenborough  was  "No"  and  it  was  pro- 
nounced with  an  intonation  that  might  have  been  heard  at  the  further  end 
of  the  hall.'  First  Trial,  1817,  p.  12  f.  The  barrister  should  be  Garrow,' 
then  Attorney-General,  who  informed  Hone  'with  great  humanity'  that  he 
might  leave  the  Court.  But  the  ear-trumpet  indicates  Shepherd.  See 
No.  12899,  ^c- 

Reproduced,  Hackwood,  William  Hone,  1912,  p.  174. 
Sfxiof  in. 

12899  [ILLUSTRATION  TO  GREAT  GOBBLE  GOBBLE,  AND  TWIT 
TWITTLE  TWIT,  OR  LAW  VERSUS  COMMON  SENSE,  .  .  .] 

Ge"  Cruikshank  fec^   [Pub.  Hone,  67  Old  Bailey,  c.  Dec.  1817.] 

Engraving.  PI.  to  four  pages  of  music  and  words,  the  title  of  which  continues : 
Being  a  Twitting  Report  of  Successive  Attacks  on  a  Tom  Tit,  his  Stout  Defences 
and  Final  Victory;  a  New  Song,  With  Original  Music,  By  Lay  Logic  Esq^^ 
Student  in  the  Law  of  Libel  [folio  (with  coloured  pi.),  B.M.L.  1852.  b.  9/89]. 
A  farmyard  scene.  A  turkey-cock  with  the  head  of  Ellenborough  stands  out- 
side a  ramshackle  shed  (r.)  facing  a  tiny  tit  with  the  head  of  Hone  perched  on 
a  rail  resting  against  an  aged  oak  on  the  extreme  1.  A  rooster  beside  Ellen- 
borough is  an  usher  saying  Silence  in  the  Court.  The  jury  are  twelve  cockerels 
standing  in  an  open  box  in  the  foreground  (1.),  the  box  being  addressed  to: 
John  English,  Old  Jury  [a  pun  on  Jewry]  A-""  12  London.  The  Attorney- 
General,  Shepherd,  with  a  shepherd's  crook  lying  beside  him,  is  the  largest 
of  a  group  of  geese  representing  Counsel ;  other  geese  and  goslings  form  a  row 
of  spectators  in  the  foreground.  Above  Ellenborough's  head  an  owl  (Mr. 
Justice  Abbott)  flies  off,  saving.  This  Light  is  too  glaring  for  Learned  Eyes 
I  shant  stay  here  to  be  made  A  Butt  of.  Hone  says :  Let  me  remind  you  Gentle- 
men! of  your  Own  vile  Nonsense.  Tzvit,  Twittle  Twit:  Twit,  Twittle  Tzvit. 
Ellenborough :  This  is  not  to  be  borne — what  are  we  to  be  twitted  to  our  faces ; 
&  must  I  stay  here  for  ever  the  Object  of  profane  Diversion?  Fellow! — /  charge 
then,  no  more ;  Gobble,  Gobble,  Gobble  Shepherd  exclaims:  O  Law!  O  Law! — 
shocking!  horrible!  This  twitting  is  most  blasphemous,  nay  worse,  illoyal — 
Cackle,  Cackle  Cackle.  Against  the  shed  hangs  a  wicker  cage  containing  birds 
which  chatter  back  at  Hone,  thrusting  out  their  heads.  In  the  background 
is  a  dilapidated  church  with  birds  flying  round  the  spire. 

Hone,  conducting  his  own  case,  secured  a  verdict  from  a  sympathetic 
London  jury  in  each  of  his  three  trials  for  blasphemous  libel,  i8,  19,  20  Dec, 
against  the  summing  up  of  Abbott  in  the  first  trial,  and  of  Ellenborough  (who 
came  from  a  sick  bed  to  secure  a  verdict)  in  the  second  and  third.  The 
Attorney-General  and  his  son  conducted  the  prosecution.  Hone  quoted 
parodies  and  produced  prints  to  show  that  his  parodies  [The  late  John  Wilkes's 
Catechism  ,  .  .;  The  Political  Litany;  the  Sinecurist's  [Athanasian]  Creed)  were 
not  blasphemous  but  political,  and  were  not  intended  to  ridicule  the  words 
parodied.  He  produced  (e.g.)  Gillray's  Apotheosis  of  Hoche  (No.  9156)  in 
which  the  Commandments  are  parodied :  Abbott  called  it  'a  wicked  publica- 
tion'. Hone  replied:  'It  was  on  the  right  side — that  made  all  the  difference.' 
He  also  quoted  Canning's  New  Morality,  producing  Gillray's  print  (No.  9240) 

'  Garrow  had  been  appointed  a  Baron  of  the  Exchequer,  and  took  leave  of  the  bar 
on  that  day,  making  a  farewell  address  in  Court.   Examiner,  1817,  p.  304. 

762 


POLITICAL   SATIRES   1817 

showing  that  two  Hnes  parodied  Genesis  and  others  the  148th  Psalm.  This 
line  of  defence  derived  from  Grey's  speech  of  12  May,  when  he  read  a  passage 
from  The  New  Morality,  and  violently  attacked  Canning.  Pari.  Deb.  xxxvi. 
511-16.  EUenborough  was  defeated  by  Hone's  wit,  courage,  and  irrelevance, 
using  arguments  despite  the  judge's  rulings  in  a  way  impossible  to  a  barrister. 

Cf.  NOS.  8655  A,  9184  A,  9240  A,  9261  B,  9345  A,  10072  A,  IO283  C,  IO992, 

1 1384  A,  reduced  copies  by  Cruikshank  for  illustrations  to  a  'History  of 
Parody',  arising  out  of  his  trial,  that  Hone  intended  to  publish.  See  also 
Nos.  12886,  12898,  12900,  12901,  12980,  13328.   Cf.  No.  12988. 

Reid,  No.  709.    Conn,  No.  363.    Reproduced,  Hackwood,  William  Hone, 
1912,  p.  172. 
4|X7^in. 

12899  a  a  close  copy  (coloured)  by  Pailthorpe,  signed  Ge°  Cruikshank  fee' , 
'N°  12'  is  omitted  from  the  jury-box. 

41^X7  in. 

12900  THE  THREE  HONEST  JURIES :  A  PARODY  ON  "THE  ROAST 
BEEF  OF  OLD  ENGLAND." 

Printed  and  Published  by  John  Fairburn,  2,  Broadway,  Ludgate-Hill. 
Price  Two-pence.  [c.  Dec.  18 17] 

Engraving  (coloured  impression).  Heading  to  a  printed  broadside.  A  grin- 
ning head  enclosed  in  a  circle  with  the  inscription :  Laugh  like  me! I!   Below : 

Oh!  the  Big  Wigs  of  Old  England! 
Laugh  at  the  English  Big  Wigs!! 

The  first,  fourth,  and  fifth  of  six  verses : 

Come,  listen  awhile,  all  ye  mirth-loving  Wags 
And  I'll  tell  how  the  Doctor,  the  Late  and  Old  Bags 
Had  their  politics  baffled,  or  blown  into  rags, 

By  the  Verdicts  of  three  Honest  Juries — 

Oh,  the  three  Honest  Juries,  huzza! 

How  majestic  is  Law!  how  it  swells  and  looks  big; 
How  tremendous  its  brow!  and  how  awful  its  wig! 
But  the  frown  of  a  judge  was  not  valued  a  fig — 
By  the  Verdicts,  &c. 

So  the  Law  was  confounded — the  Doctor  was  sick! 

And  C ng,  and  C r,  and  Bags,  and  Old  Nick, 

And  Lord  Derrydowntriangle,  touch' d  to  the  quick, 
By  the  Verdicts,  &c. 

Hone's  trials,  see  No.  12899,  ^^->  were  an  appeal  from  the  law  to  public 
opinion.  The  allusions  in  verse  i  are  to  Sidmouth,  EUenborough  (Law),  and 
Eldon.  The  third  verse  begins:  'a  sad  sorry  Shepherd  was  first  in  the  fray'. 
To  these  allusions  are  added  in  verse  5  others  to  Canning,  Croker,  and  Castle- 
reagh.  Hone's  SinecurisVs  Creed  (cf.  No.  12781,  &c.)  was  an  attack  on  'Old 
Bags'  (the  Regent's  name  for  Eldon),  'Derry  Down  Triangle'  (an  allusion  to 
atrocities  supposed  to  have  been  countenanced  by  Castlereagh  in  Ireland  in 
1798,  cf.  No.  10426),  and  'the  Doctor'  (cf.  No.  9849).  The  second  and  third 
trials  were  contests  between  Hone  and  EUenborough,  after  which  Ellen- 
borough,  who  was  ill,  never  sat  again.  On  21  Dec.  he  wrote  to  Sidmouth  that 
'the  disgraceful  events  ...  at  Guildhall'  impelled  him  to  resign  as  soon  as  a 
successor  could  be  appointed.    Hone  became  a  celebrity  and  a  subscription 

763 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

of  ;^3,ooo  was  raised  for  him.  Hone,  Three  Trials,  1818;  Hackwood,  William 
Hone,  1912,  pp.  154  ff.;  CobbetVs  Pol.  Reg.,  30  May  1818;  New  Ann.  Reg., 
1817,  pp.  309-11;  Ann.  Reg.,  1817,  pp.  171-5.  For  the  juries  see  No.  12901. 
Diam.  2^  in.   Broadside,  I5ix6|  in. 

12901  OUT  WITTED  AT  LAST— OR  BIG  WIG  IN  THE  WRONG 
BOX— 

Cruikshank  fec*^  [c.  Dec.  18 17.] 

Engraving  (coloured  impression).  The  scales  oi  Justice  are  suspended  from 
the  upper  margin,  the  r.  scale  being  nearer  the  spectator;  this  hangs  from 
heavy  chains,  and  is  surmounted  by  a  crown.  The  1.  scale  hangs  from  ropes 
and  is  topped  by  a  cap  of  Liberty  and  a  scroll :  Liberty  of  the  Press ;  this  rests 
on  the  ground,  weighed  down  by  a  large  stone  inscribed  Trial  by  Jury,  on 
which  stands  the  little  figure  of  Hone,  in  an  attitude  of  conscious  rectitude, 
the  r.  elbow  resting  on  the  handle  of  a  huge  Hone  (see  No.  12886),  the  1.  hand 
on  his  hip.  A  monstrous  Ellenborough,  on  a  much  larger  scale  than  Hone, 
attempts  to  pull  down  the  r.  scale,  putting  his  r.  foot  on  it,  and  holding  one 
of  the  chains.  On  the  scale  are  papers  inscribed  Law,  My  own  Opinion;  Rule 
of  Court.  In  his  1.  hand  he  holds  up  a  sword  with  the  blade  broken  off.  He 
has  two  heads,  one  that  of  an  ass,  the  other  that  of  a  bewigged  owl.  In  the 
r.  corner  of  the  design  and  in  the  foreground  is  a  barrister,  much  smaller  than 
Ellenborough  but  larger  than  Hone,  looking  towards  the  judge  and  holding 
a  long  ear-trumpet  to  his  ear;  in  his  r.  hand  is  a  crook  to  show  that  he  is 
Shepherd,  the  deaf  Attorney-General.  From  his  gown  hang  two  papers :  Ex 
Officio  and  An  Old  Song  to  a  new  tune.  Four  tiny  (and  scandalized)  barristers 
perform  antics  in  front  of  Ellenborough.  One  runs  off  to  the  1.,  saying,  /  shall 
withdraw  my-self.!!!;  another  exclaims:  What  Sights  my  Lord!!;  a  third 
kneels,  his  brief-bag  dangling  from  his  arm.  Ellenborough  says,  the  words 
issuing  from  the  ass's  mouth : 

Can  such  things  be. 
And  overcome  us  like  a  summer's  cloud. 
Without  our  special  wonder?    You  make  me  strange 
Even  to  the  disposition  that  I  owe, 
When  now  I  think  you  can  behold  such  sights. 
And  keep  the  natural  ruby  of  your  cheecks  [sic] 
When  mine  are  blanch' d  with  fear. 

From  Hone  float  the  words : 

Oh!  Gentle  Shepherd  do  Jiot  start 
Although  you  hate  him  to  your  heart 
Three  Juries  now  have  made  him  gainer 
'Gainst  whom  for  Lazv  you  took  retainer; 
And  as  the  matter  now  is  ended 
You  have  this  hated  Hone  bef rinded  [sic] . 

On  the  extreme  1.,  in  the  stone  doorway  which  denotes  the  Treasury,  stands 
Liverpool  making  an  aggressive  gesture  with  a  large  rolled  document  inscribed 
Treasury.  A  bull-dog  with  a  collar  inscribed  /.  Bull  befouls  his  leg.  Facing 
him  defiantly  is  a  little  man  holding  up  to  him  an  open  book  with  New  Jury 
Book  in  large  capitals  across  both  pages;  in  his  1.  hand  is  a  pen  and  from  his 
arm  hangs  a  brief-bag.  He  says :  /  would  advise  you  my  Lord  Muddl  pool  to 
give  your  Neddy  a  fat  sinecure — for  in  my  opinnion  he  has  put  his  foot  in  it. 
Liverpool  answers:  Really  young  Parchment  y''  advice  is  very  Pearseifi-ing  (the 
n  being  scored  through). 

764 


POLITICAL   SATIRES    1817 

For  Hone's  trials  see  No.  12899,  ^^-  Liverpool's  opponent  is  Charles 
Pearson,  the  solicitor  who  helped  Wooler  to  show  that  Special  Jury  Lists  for 
the  City  of  London  were  both  defective  and  selective,  i.e.  packed.  The  List 
was  accordingly  reformed  in  1817,  and  Hone's  acquittals  followed.  Pearson 
was  toasted  at  the  Birmingham  Reform  Meeting  on  4  Aug.  181 8  as  'the 
destroyer  of  that  hydra-headed  monster  the  old  special  jur^'-list'.  Black 
Dwarf,  12  Aug.  See  Crabb  Robinson,  Diary,  1869,  ii.  70-2,  76-81 ;  Wickwar, 
The  Struggle  for  the  Freedom  of  the  Press  i8ig-i8j2,  1928,  pp.  43-5. 

Reid,  No.  710.    Cohn,  No.  1828. 
7^  X  I2|  in.  'Caricatures',  xii.  80. 

12902  THE  PROGRESS  OF  BONEY!!! 

y.  L.  Marks  del.  1/6 

{London)  Pub  by  J.  L.  Marks  N°  2  Sandy's  Row  Artillery  S^  Bishopsgate. 

J  Harrison  G'  Queen  S^  Drury  Lane^  [?  18 17]^ 

Engraving  (borders  coloured).  A  design  in  lines  and  dots.  A  series  of  twenty 
tiny  scenes,  arranged  in  four  rows,  divided  by  borders  on  which  the  captions 
are  engraved,  one  scene  merging  into  the  next  in  a  continuous  frieze.  Napoleon 
is  distinguished  throughout  by  a  cocked  hat  which  he  wears  in  all  but  [3]  where 
he  holds  it,  and  [11]  where  it  is  on  the  ground.  This  is  a  plumed  bicorne  till 
St.  Helena,  where  it  is  the  petit  chapeau.  Except  for  the  three  last,  almost 
all  are  based  on  the  corresponding  illustrations  by  G.  Cruikshank  to  the  Life 
of  Napoleon,  see  No.  12454,  ^^-  {A  Blowing  up  his  Comrades.  See  No.  12456. 
[2]  Massacre  at  Toulon.  See  No.  12458.  [3]  Marriage  to  Josephine.  The  pair 
do  not  kneel  as  in  No.  12459,  ^^^  stand.  [4]  Forceing  the  Bridge  of  Lodi. 
See  No.  12460.  [5]  Blindfolding  the  Austrian  officer.  See  No.  12462.  [6] 
Massacre  in  Egypt.  See  No.  12463.  [7]  Siege  of  Acre.  See  No.  12467. 
[8]  Flight  from  Egypt.  See  No.  12468.  [9]  Crossing  the  Alps.  A  mountain 
scene  without  the  bridge  of  No.  12470.  [10]  Duke  d'Enghien  Shot.  See 
No.  12472.  [11]  Crotvned  Emperor.  No.  12473  i^  altered:  Napoleon  kneels 
and  is  crowned  by  the  Pope.  [12]  Meeting  the  Emperor  of  Russia  on  a  Raft. 
See  No.  12474.  [13]  i^'  hiterview  with  Maria  Louisa.  See  No.  12475. 
[14]  Nursing  the  King  of  Rome.  A  terrestrial  globe  replaces  the  cradle  of 
No.  12476.  [15]  Burning  of  Moscow.  Napoleon  is  on  a  horse  instead  of  on 
foot  as  in  No.  12477.  [16]  Flight  from  Russia.  Napoleon  is  in  a  sledge  (see 
No.  11991,  &c.),  and  the  scene  is  unlike  No.  12478.  [17]  Prisoner  at  Elba. 
Unlike  No.  12483 :  Napoleon  stands  with  folded  arms  on  the  summit  of  a 
rocky  islet.  [i8]  Escape  from  Elba.  Napoleon  steps  ashore  from  an  open  boat 
with  a  single  sail;  a  man  takes  him  respectfully  by  the  hand.  Infantry  stand 
at  attention  to  receive  him  (see  No.  12506,  &c.).  [19]  Battle  of  Waterloo. 
Napoleon  gallops  off  while  infantr\'  are  still  fighting  in  good  order  (see 
No.  12557,  &c.).  [20]  Prisoner  at  S'  Helena.  He  sits  in  profile  to  the  1.,  hold- 
ing a  book,  poised  on  the  two  rocky  summits  flanking  Jamestown,  his  legs 
making  an  arch  over  the  bay  (see  No.  12611,  &c.). 

For  the  title  cf.  No.  11053. 
8gX  13^  in.   Each  strip  c.  i|x  13!  in.  'Caricatures',  x.  247. 

12903  CfiSAR  DANS  SON  PALAIS  [?c.  1817] 

Engraving  (coloured  impression).  A  French  print.  In  an  enclosure  belonging 
to  the  Maison  du  Gouverneur  de  VIsle  is  a  dog-kennel  (r.)  in  which  sits  a  dog 

'  Almost  obliterated. 

^  The  line  and  dot  caricature  became  popular  in  1817,  see  No.  12955. 

765 


CATALOGUE   OF   POLITICAL    AND   PERSONAL   SATIRES 

with  the  face  of  Napoleon,  and  heavily  chained.  He  faces  Sir  Hudson  Lowe 
who  stands  outside  the  door  of  his  house  (1.)  holding  out  a  whip,  and  saying, 
Coquin  si  tu  sort  de  laje  te  secourai  les  puces.  Napoleon  exclaims  with  melan- 
choly resignation :  Ah!  qu'elle  [sic]  niche  on  m'a  fait  la.  Lowe  wears  the 
uniform  of  a  British  officer  (as  depicted  in  French  prints  of  British  officers 
in  Paris,  see  No.  12386,  &c.),  with  a  plumed  cocked  hat,  but  is  not  caricatured. 
By  the  kennel  (Longwood)  are  a  bowl  inscribed  Nourriture  and  a  rectangular 
dish  for  Boisson ;  within  the  former :  Soucis,  Ennuis,  Remors ;  within  the  latter 
Amertume.   Behind  is  a  low  crenellated  wall  inscribed  Fort  S'  Hellene. 

Sir  Hudson  Lowe  arrived  at  St.  Helena  in  April  18 16.  His  sixth  and  last 
interview  with  Napoleon  was  on  18  Aug.  181 6,  after  which  the  exile  refused 
to  meet  him.  Much  odium  was  thrown  upon  him  for  his  strict  enforcement, 
9  Oct.  1816,  of  the  new  regulations  from  England.  These  were  exaggerated 
in  'The  Montholon  Remonstrance'  (to  Lowe),  part  of  the  legend  of  ill-treat- 
ment, carefully  built  up  by  Napoleon,  and  itself  the  basis  of  a  motion  by 
Lord  Holland  on  'the  personal  treatment'  of  the  prisoner,  on  18  Mar.  1817, 
which  was  effectively  answered  by  Lord  Bathurst.  Pari.  Deb.  xxxv.  1137  ff.; 
J.  H.  Rose,  'The  Detention  of  Napoleon',  in  Napoleonic  Studies,  1904; 
N.  Young,  Napoleon  in  Exile  at  St.  Helena,  1915,  i.  227  ff.,  ii.  322-30; 
O.  Aubry,  Sainte-Helene,  1935,  i.  183  ff.   Cf.  No.  12592,  &c. 

Broadley,  ii.  85. 
7x10^  in. 


766 


i8i7 
PERSONAL  AND  SOCIAL  SATIRES 

12904  A  VIEW  FROM  KNIGHTSBRIDGE  BARRACKS. 

Drawn  Etc¥  &  Pu¥  by  Richard  Dighton,  May  i8iy.  Plate  2"'^ 

Engraving  (coloured  impression).  A  portrait  of  Captain  Horace  Beauchamp 
Seymour  (1791-1831),  3rd  son  of  Admiral  Lord  Hugh  Seymour.  He  walks 
in  profile  to  the  1.,  with  a  green  umbrella  in  the  crook  of  his  1.  arm;  he  wears 
a  cylindrical  hat  with  narrow  brim,  high  white  neck-cloth  to  the  chin,  with 
an  arc  of  white  collar  pressed  against  his  cheek  (cf.  No.  13029),  tight- waisted 
coat  with  high  collar,  tight  trousers,  and  boots. 

A  reduced  version,  A  Revised  Edition  of  Horace,  is  one  of  forty-five  Dighton 
portraits  on  two  large  plates  published  in  1825  by  McLean,  see  vol.  x. 
ii|X9  in. 

12905  A  VIEW  FROM  THE  HORSE  GUARDS 

Drawn  Etc¥  [&  Pu¥  erased]  by  Ric¥  Dighton.  i8iy  July  i6th. 
Pub^  by  T  M'^Lean  Hay  market  [reissue] 

Engraving.  A  portrait  of  Lt. -General  Sir  Robert  Bolton,  K.C.H.  1816, 
knighted  20  Feb.  1817,  G.C.H.  1834,  d.  1836.  His  whisker  curves  across  the 
middle  of  his  cheek.  He  walks  in  profile  to  the  r.,  and  wears  a  cylindrical 
hat  with  curved  brim,  double-breasted  tail-coat,  trousers,  and  spurred  boots. 
For  a  reduced  version,  1825:  A  General  View  of  Bolton,  cf.  No.  12904. 
ii^x8|  in. 

12906  A  VIEW  FROM  THE  ROYAL  EXCHANGE. 

Drawn  Etc¥  Sf  Pu¥  by  R'^  Dighton.  Oct"  18 ly 

Engraving  (coloured  impression).  A  portrait  of  Nathan  Meyer  Rothschild 
(1777-1836)  standing  in  profile  to  the  r.,  holding  a  cheque  or  bill  in  the  1. 
hand,  his  r.  hand  in  his  breeches  pocket.  He  is  obese,  alert,  and  erect;  is 
dressed  in  black  with  high  shirt-collar,  white  stock  and  shirt-frill,  top-hat 
with  wide  curved  brim,  double-breasted  coat,  and  tied  shoes.  This  portrait 
is  used  in  several  caricatures,  see  vol.  x.  For  a  reduced  version,  1825  :  A  Portu- 
guese Loan,  cf.  No.  12904. 

Rubens,  No.  233.   A  German  copy,  Seyd  umschlungen  Millionen!    W  sc,  is 
reproduced  Corri,  Rise  of  the  House  of  Rothschild,  1928,  p.  176. 
9  X  6f  in. 

12906a  A  later  state  with  additional  inscriptions:  Mr.  Rotchchild  and 
London  Piib'^  by  Tho^  McLean.  26.  Haymarket,  1824.  Reproduced,  Balla, 
Romance  of  the  Rothschilds,  1913,  frontispiece.  There  is  also  (not  in  B.M.) 
a  state  with  McLean's  imprint  but  without  'Mr.  Rotchchild'. 

12907  A  VIEW  FROM  THE  ROYAL  EXCHANGE. 

Drawn  Etc¥  &  Pub'^  by  Ric¥  Dighton,  i8iy.  Oct\ 

Engraving  (coloured  impression).  A  portrait  of  Lee  La  Chamette  standing 
in  profile  to  the  r.,  r.  hand  in  coat-pocket,  gloved  1.  hand  with  forefinger 
extended  as  if  to  enforce  an  argument.  He  wears  spectacles,  top-hat,  double- 

767 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

breasted  tail-coat,  low  neck-cloth  with  shirt-frill,  tight  trousers,  and  boots. 
For  a  reduced  version,  1825,  ^  Peep  into  Warnford  County,  cf.  No.  12904. 
9^X7 A-  in. 

12907  a  a  later  state  with  the  additional  inscriptions  ikf  Lee  La  Chamette 
and  London  Pub'^  by  Tho^  M'^Lean  26  Haymarket  1824. 

12908  [MR.  RIPLEY.] 

Drawn  Etch'^  &  Pub'^  by  R'^  Dighton.  i8iy.  Nov''  5"^ 

Engraving  (coloured  impression).  A  portrait  of  a  stout  elderly  man  standing 
in  profile  to  the  1.,  holding  a  wallet  and  pencil.  He  has  grey  hair,  short  except 
for  a  tiny  pigtail,  and  wears  top-hat,  short  buttoned  coat  '(or  long  spencer) 
over  a  tail-coat,  with  high  boots. 

Also  identified  as  Levy  Barent  Cohen  (1740-1808),  father-in-law  of  N.  M. 
Rothschild.  Identified  as  Mr.  Ripley  (a  name  which  occurs  on  some  im- 
pressions) by  H.  M.  Hake,  Print  Collectors  Quarterly,  xiii.  242. 

Rubens,  No.  69. 
8^X5#  in. 

12908  a  a  later  state  with  additional  inscriptions:  AP  Cohen  and  London 
Pub'^  by  Tho^  M'^Lean,  26  Haymarket,  1824.  There  is  also  (not  in  B.M.)  a 
state  with  McLean's  imprint  but  without  the  identification. 

12909  SELL  and  REPENT. 

Drawn  Etch'^  &  Pub'^  by  Rich^  Dighton  i8iy  Nov''  2g"* 

Engraving  (coloured  impression).  Portrait  of  Thomas  Hall,  a  very  obese 
middle-aged  man  standing  in  profile  to  the  1.  He  has  a  gloomy  expression 
and  wears  a  top-hat  with  a  slightly  sloping  crown,  an  overcoat  to  the  ankles, 
open  and  showing  double-breasted  waistcoat,  and  short  jacket,  knee-breeches, 
and  tied  shoes.  His  1.  hand  is  in  his  waistcoat  pocket. 
8|X5i|in. 

1 2909  A  A  later  state  with  the  additional  inscription  M''  Hall  with  McLean's 
imprint  obliterated,  leaving  only  1824. 

12910  A  VIEW  OF  HILL  NEAR  DOWNSHIRE 
Drawn  Etch''  [&  Pub''  erased]  by  Richard  Dighton  i8iy. 
Pub''  by  T  M'^Lean  Haymarket 

Engraving  (coloured  impression).  Equestrian  portrait  in  profile  to  the  r.  of 
the  Marquis  of  Downshire  (1788-1845).  His  r.  hand  is  on  his  hip;  the  single 
rein  and  an  upward  pointing  cane  are  in  the  1.  hand.  He  wears  top- hat,  with 
a  slightly  sloping  crown,  swathed  neck-cloth,  single-breasted  coat,  loose 
trousers,  and  spurred  boot;  the  1.  leg  is  not  indicated.  For  a  reduced  version, 
1825,  A  Hill  .  .  .,  cf.  No.  12904. 

Copied  in  a  pi.  by  Grego  to  Gronow's  Reminiscences,  1892,  i.  320  (with 
copies  of  Nos.  13026,  13348. 
c.  13X9!^  in.  (cropped). 

12911  [HON.  ARTHUR  UPTON.] 

Drawn  Etch''  &  Pub''  by  Rich''  Dighton.  181J. 

Engraving.  No  title.  Portrait  of  Major  (General  1851)  Arthur  Percy  Upton, 
C.B.,  ist  Foot  Guards,  3rd  son  of  ist  Baron  Templeton,  M.P.  Bury  St. 

768 


PERSONAL   AND   SOCIAL   SATIRES    1817 

Edmunds  1818-26.  He  walks  in  profile  to  the  r.,  his  gloved  r.  hand  on  his 
hip.  A  whisker  extends  across  his  cheek  which  is  partly  hidden  by  the  pointed 
collar  projecting  from  his  neck-cloth.  He  wears  a  cylindrical  hat  with  tight- 
waisted  single-breasted  coat,  and  full-skirted  coat,  long  tight  pantaloons  with 
spurred  Hessian  boots.  For  a  reduced  version,  Up-Tozvn,  1825,  cf.  No.  12904. 
Copied  by  Grego  with  three  other  Dighton  portraits  in  pi.  to  Gronow, 
see  No.  13018, 
loJxSI  in. 

12912  A  GENERAL  PORTRAIT. 
y.  L.  R.  Esq''  deU   G  Criiikshank  sculp 

Pubd  byjy  Stockdale  N"  41  Pall  Mall  Nov"  5"'  i8iy— 
Engraving  (coloured  impression).  Caricature  portrait  of  General  Sir  Robert 
Wilson  walking  along  a  countr\'  road  in  profile  to  the  r.,  his  shoulders  thrown 
back,  a  riding-switch  in  his  r.  hand.  He  wears  a  low-crowned  broad-brimmed 
hat,  a  long  frogged  single-breasted  coat,  and  short  trousers  with  spurred 
boots,  his  dress  resembling  (though  with  a  shorter  coat)  that  of  Lord  Cochrane 
in  these  prints.  There  is  a  landscape  background.  A  sign-post  (1.)  points 
To  Barton  (r.). 

Wilson  (1777-1849)  was  a  distinguished  officer  of  strong  Whig  views,  who 
persistently  and  perversely  disparaged  the  Peninsular  campaign  in  a  corre- 
spondence with  Lord  Grey.  He  was  with  the  Russian  Army  in  1812.  See 
Nos.  9998,  12706. 

Reid,  No.  702.    Cohn,  No.  1151.    Advertised,  price  35.,  in  Fashion  (see 
No.  12970). 
io^x6i  in.    With  border,  11^X7!  in. 

12913  ONE  OF  THE  LIONS— OR  THE  LIVING  STATUE  AT  THE 
LONDON  MUSEUM—' 

Engraving.  A  broad  obese  man,  the  showman  or  door-keeper  at  Bullock's 
Museum  (see  No.  12702),  stands  full-face  on  the  doorstep  of  the  Museum, 
both  hands  resting  on  a  tall  cane.  He  wears  top-hat,  single-breasted  coat, 
unbuttoned,  breeches,  and  top-boots.  On  the  1.  is  an  Egyptian  pillar,  with 
a  lotus  base. 

A  pencil  study  is  in  the  B.M.   Binyon,  i.  284  (12). 

Reid,  No.  701.    Cohn,  No.  1810.    Advertised,  price  3^.,  as  The  Lions  of 
London,  in  Fashion  (see  No.  12970). 
io^x6|  in.    Border  cropped. 

12914  JAMES  GORDON  OF  CAMBRIDGE. 

Published  Nov''  i8iy.  by  W.  Mason,  near  the  Hospital,  Cambridge. 
Engraving.  Jemmy  Gordon  stands  in  profile  to  the  r.,  r.  hand  under  his  coat- 
tails,  from  which  his  stick  projects,  resembling  a  tail,  1.  hand  thrust  in  his 
waistcoat.  He  wears  a  plumed  cocked  hat  on  the  back  of  his  head,  fore- 
shortened so  as  to  resemble  a  conical  hat  or  fool's  cap,  and  pantaloons  tucked 
into  short  top-boots.  He  holds  a  stick;  an  eyeglass  dangles  on  a  ribbon. 
Below  the  title : 

Who  to  save  from  Rustication 
Crams  the  Dunce  ziith  Declamation. 
Gordon  (1762-1825),  wit,  eccentric,  and  drunkard,  son  of  the  chapel  clerk 
of  Trinity  College,  was  educated  as  an  attorney. 
7|x6|in. 

'  Signatures  and  imprint  as  No.  12912. 

769  3D 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12915  THE  SPECIAL  RETAINER .  OR  A  PATRIOTIC  COUNCELLOR 
PLEADING  TO  THE  POINT!!! 

[Williams.]  [?  1817] 

Aquatint  (coloured  impression).  Perhaps  a  pi.  from  the  Busy  Body.  A  bed- 
room scene,  the  corner  of  an  ornate  four-post  bed  being  on  the  extreme  r. 
Brougham,  in  wig  and  gown,  carries  an  elegant  young  woman  towards  the 
bed,  saying.  Your  husband  is  absent.  She  extends  her  arms,  saying.  And  so 
is  my  Guardian  Angel  and  I  fall.  The  door  (1.)  is  slightly  open;  a  middle- 
aged  man  in  old-fashioned  dress  peers  round  it,  saying,  So  Madam  this  is 
what  you  mean  by  sending  your  Maid  for  a  Broom.  If  there  is  no  blood  in  stones, 
ril  draw  some  from  a  brush. 

Brougham's  friendships  with  married  women  attracted  attention,  especially 
that  with  Mrs.  George  Lamb  (Caroline  Jules,  daughter  of  the  Duchess  of 
Devonshire)  in  1816-17,  who  is  perhaps  depicted.  See  Lady  Airlie,  In  Whig 
Society,  1921,  pp.  186-8,  and  Lady  Palmerston  and  her  Times,  1922,  i.  26. 
Cf.  No.  1303 1.  The  husband  depicted  has  no  resemblance  to  the  fashionable 
Lamb. 
6^X4i  in. 

12916  THE  LEARNED  A S  OR  A  LEGAL  CONSTRUCTION  OF 

ROGUES  AND  VAGRANTS  393 

[?W.  Heath.] 

Pub  June  8  i8iy  by  T  Tegg  iii  Cheapside 

Engraving.  Two  barristers  in  wig  and  gown  fight  furiously  with  umbrellas. 
The  aggressor  (r.),  with  outstretched  1.  fist,  rushes  at  his  enemy  with  a  closed 
umbrella  which  terminates  in  a  long  spike.  The  other,  Adolphus,  with  legs 
wide  astride,  uses  an  open  umbrella;  his  brief-bag  swings  from  his  arm.  From 
a  door  on  the  r.  a  constable  rushes  forward,  holding  out  his  crowned  staff. 
The  lower  part  of  a  staircase  is  on  the  1.  Above  the  combatants: 

Full  often  we're  Told  &  true  it  may  be 
That  two  of  a  Trade  can  never  agree 

Adolphus  and  Andrews  were  opposing  counsel  in  an  appeal  to  the  Middle- 
sex Sessions  (26  May)  on  the  construction  of  the  Police  Act  with  regard  to 
Vagrants  or  Rogues  and  Vagabonds.  They  left  the  court  together  and  at  the 
bottom  of  the  stairs  Andrews  gave  Adolphus  a  violent  blow  with  his  umbrella, 
which  Adolphus  returned  with  his.  A  fight  with  umbrellas  and  fists  followed, 
till  they  were  separated  by  Humphreys,  a  Bow  Street  constable,  and  others. 
Andrews  was  held  to  bail  by  the  Sessions,  and  later  appeared  in  court  with 
nose  and  eye  damaged.  'The  animosity  arose  from  some  personal  allusions 
as  to  the  Gentleman's  origin.'   Examiner,  1817,  p.  342.   Cf.  No.  12830. 

Also  a  later  impression  (coloured),  with  the  same  imprint,  serial  number 
altered  to  igi. 
8x  i2f  in. 

12917  SPARRI NG     Dedicated  to  the  Fancy. 

I.  R.  Cruikshank,  fecit. 

London,  Pub^  by  Sidebotham,  Feb^  iSiy.  38,  Burlington  Arcade 

Engraving.  Two  men  in  shirts  and  breeches  fight  with  boxing-gloves.  The 
slighter  man  (1.)  gives  his  burly  opponent  a  blow  on  the  nose  from  which 
blood  spurts.  The  spectators  sit  on  chairs  or  stand;  most  register  satisfaction 
at  the  blow,  a  few  are  concerned.  One  or  two  are  fashionably  dressed,  notably 

770 


PERSONAL   AND   SOCIAL   SATIRES    1817 

a  Jew  wearing  Hessian  boots.  Like  other  spectators  he  has  a  long  pipe;  most 
smoke  and  drink,  and  are  rough-looking  fellows.  In  the  foreground  (1.)  sits 
a  man  with  a  bull-dog,  in  ragged  clothes  of  fashionable  cut;  a  bunch  of  hooks 
for  picking  locks  hangs  from  his  pocket.  On  the  r.  stands  a  knock-kneed  negro 
pugilist  holding  boxing-gloves;  a  book,  Boxiana,  is  at  his  feet.  Two  dogs 
behind  the  fighters  face  each  other  aggressively.  Over  the  (empty)  fireplace  is 
a  portrait  of  Jackson,  placing  his  hat  on  the  pedestal  of  a  statue  of  a  gladiator,' 
copied  from  Marshall's  portrait.  It  is  flanked  (1.)  by  portraits  of  Molme[ux] 
(see  No.  11927)  and  Belcher  [Tom  or  James]  and  (r.)  by  Crib  and  Dutch  Sam 
[Elias],  all  stripped  and  in  sparring  attitudes.  On  the  extreme  1.  is  a  print 
of  fighting  cocks.  Game  Chickens. 

A  scene  at  a  sparring  club,  or  perhaps  at  Jackson's  Rooms,  Bond  Street, 
cf.  No.  12866.  A  copy,  reversed  and  coloured,  without  signature,  published 
by  McCleary,  is  reproduced.  Lynch,  The  Prize  Ring,  1925,  pi.  xx.^  Four 
background  figures  are  omitted  from  an  otherwise  close  copy. 

The  original  drawing,   almost  identical  in  size,   is  in  the  Print  Room. 
(201*.  b.  2.) 
9X13^  in.   With  border,  9|x  13!  in. 

12918  THE  RIVAL  RICHARDS!!! 

G  PW 

Pu¥  by  S  W  Fores  50  Piccadilly  i8iy 

Engraving.  In  a  broad  space  between  a  temple  of  Fame  (1.),  composed  of 
volumes  lettered  Shaks[pt2irt\  and  Nezv  Readings,  and  the  Theatre  Royal  Drury 
Lane  (r.)  is  a  violently  kicking  donkey  on  which  sits  a  large  figure  with  three 
faces  representing  Folly.  Under  the  ass's  fore-feet  are  three  prostrate 
Richards;  one  of  them,  lying  on  his  back,  exclaims:  Perdition  catch  Thy  arm 
the  chance  is  Thine.  The  ass  directs  upon  him  a  flood  of  urine  inscribed 
Damnation.  From  the  animal's  heels  two  other  Richards  flee  to  the  r.;  above 
both  is  etched  Shade  of  Oblivion.  One  exclaims :  would  he  were  wasted,  marrow 
bones  and  all  [3  Henry  VI,  iii.  2.  125]  O!  O!  My  AitchesH  (showing  that  he 
is  Kemble  who  so  pronounced  'aches',  see  No.  11424).  The  other  cries:  So 
wise  and  yet  so  Young  [cf.  'so  wise  so  young,  they  say,  do  never  live  long', 
Richard  III,  iii.  i],  showing  that  he  is  C.  M.  Young.  Yet  another  Richard 
(H.L.)  emerges  from  the  ground  under  the  ass's  hind-legs,  resting  an  elbow 
on  a  wine-bottle,  and  saying:  to  me  this  restless  world's  but  hell.  Folly  has  an 
elaborate  conical  cap  decorated  with  bells  and  a  cock,  and  holds  out  in  his 
r.  hand  a  bauble  (jester's  baton),  in  the  other,  evenly  balanced  scales,  the 
beam  inscribed  Folly.    The  base  of  each  scale  is  a  large  volume,  one  (1.) 

inscribed  B TH,  the  other  K       N.   On  each  stands  a  Richard  III,  much 

alike:  Booth  holds  a  baton  (in  one  of  Kean's  poses)  and  says:  /'//  climb  be 
times  without  remorse  or  dread;  Kean,  resting  his  hand  on  his  sword,  which 
is  held  vertically,  says:  Why'jiow  my  Golden  dream  is  out. 

On  the  r.  is  the  facade  of  The  Theatre  Royal  Drury  Lane,  with  a  crowd 
struggling  to  enter.  Next  it,  but  farther  from  the  spectator,  is  the  Theatre 
Royal  Covent  Garden;  on  the  steps  before  the  pediment  is  one  tiny  figure, 
evidently  Harris,  holding  up  both  arms  in  a  frantic  gesture.  In  the  background 
(1.),  a  pendant  to  Covent  Garden,  are  two  provincial  threatrcs  of  barn-like 
construction,  both  inscribed  Theatre  Royal  and  evidently  representing  the 

'  From  its  size  this  is  the  mezzotint  by  C.  Turner;  a  smaller  copy  was  engraved 
in  stipple. 

^  Mr.  Lynch  describes  a  copy  in  reverse  of  the  McClearj'  version  in  which  back- 
ground figures  are  omitted. 

771 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

theatres  of  Worthing  and  Brighton.  In  front  of  them  another  Richard  (Booth 
again)  postures  violently,  and  exclaims :  My  Souls  in  arms  and  eager  for  the 
Fray.  One  of  many  actors  standing  behind  him  says :  But  then  tis  placed  on 
such  a  fearful  height.  A  tiny  figure  rushes  from  one  of  these  theatres  making 
gestures  towards  Booth. 

In  the  foreground  (r.),  close  to  the  spectator,  is  a  (large)  man  (head  and 
shoulders  only),  representing  the  public,  looking  towards  the  ass.  His  mouth 
is  extended  by  a  substance  inscribed  Puffs  which  a  man  (on  a  much  smaller 
scale)  is  ramming  down  his  throat  with  a  (?  paviour's)  cylinder  inscribed 
Management  (of  Drury  Lane).  The  victim  is  blindfolded,  the  end  of  the 
bandage  being  held  by  a  boy  who  carries  on  a  pole  a  large  placard  inscribed : 
Theatre  Royal  \  Drury  Lane  \  Richard  \  the  \  Third  \  Kean  \  Booth.  At  his  feet 
are  the  letters  F  S.  A  fashionably  dressed  man  sits  on  a  pile  of  New  Pieces, 
crouching  over  a  block  inscribed  Box  Office  on  which  he  writes.  Behind 
him  (1.)  is  a  Patent  Clapping  Machine:  two  sticks  terminating  in  hands  pivot 
on  a  block.  On  the  extreme  1.  in  the  foreground  the  heads  and  shoulders  of 
little  figures,  serving  as  stalks  for  large  mushrooms,  emerge  from  the  ground, 
which  is  inscribed  Bed  of  Ambition. 

A  satire  on  Booth's  rivalry  with  Kean  in  the  part  of  Richard  III;  Folly 
exalts  both  at  the  expense  of  Kemble,  Young,  and  other  actors.  After  acting 
in  leading  parts  at  Worthing  (where  he  was  Acting  Manager)  and  Brighton, 
Booth  was  engaged  at  Covent  Garden  to  rival  Kean.  He  played  Richard  III 
on  12  Feb.  1817,  with  success,  but  with  opposition  from  partisans  of  Kean. 
He  quarrelled  with  Harris  over  his  meagre  salary  and  accepted  an  engagement 
on  liberal  terms  from  Kean  for  Drury  Lane,  appearing,  20  Feb.,  as  lago  to 
Kean's  Othello.  Finding  that  he  was  not  allowed  to  compete  with  Kean,  he 
returned  to  Covent  Garden  on  the  Drury  Lane  terms,  disappointing  the 
Drury  Lane  audience  (22  Feb.)  as  he  had  done  that  of  Covent  Garden,  and 
having  signed  a  three  years'  engagement  with  both  theatres.  His  reappearance 
at  Covent  Garden  was  met  with  a  storm  of  opposition  and  with  demands  that 
Young  should  play  Richard.  Apologies  and  loss  of  reputation  followed,  and 
he  sank  from  the  place  temporarily  reached  by  publicity  and  his  rivalry  with, 
and  resemblance  to,  Kean.  After  the  storm  had  subsided  it  was  suggested  in 
the  European  Magazine  that  he  should  retire  to  some  provincial  theatre  instead 
of  remaining  where  better  actors  'must  render  his  attempts  at  new  readings 
and  extravagant  distortions  more  apparent'.  See  Europ.  Mag.  Ixxi.  145-51, 
244  f.,  342;  Examiner,  1817,  16  Feb.-9  Mar.  (Hazlitt,  Works,  ed.  Howe, 
v.  354  ff.);  G.  Playfair,  Kean,  1939,  pp.  170-6.  Young  (1777-1856)  succeeded 
Kemble  as  the  leading  English  tragedian  until  supplanted  by  Kean.  See 
Nos.  12326,  12919,  13370. 
8|-Xi3i  in. 

12919  RICHARD  HARRIS'D  OR  THE  WOLVES  TOO  KEEN!!!— 

Etchd^  by  G  Cruikshank — 

Pu¥  March  8^''  i8iy  by  J.  Sidebotham  N°  i  S^  James's  S^ 

Engraving  (coloured  and  uncoloured  impressions).  The  stage  at  Covent 
Garden  Theatre  is  indicated  by  a  stage-curtain  draping  the  upper  and  r. 
margins  of  the  design  and  by  the  facade  of  the  theatre  (1.)  as  part  of  the 
scenery;  a  tent  inscribed  Z)/^m  et  Mon  Droit  shows  that  the  play  is  'Richard  III'. 
Booth,  in  fashionable  modern  dress,  clutching  a  large  rolled  document 
inscribed  Previous  Treaty,  grasps  the  cloak  of  a  second  Booth,  dressed  as 
Richard  III,  who  has  fallen  to  the  ground  between  two  overturned  stools,  one 
inscribed  Covent  Garden,  the  other  Drury  Lane.    Both  Booths  are  terrified 

772 


PERSONAL   AND   SOCIAL  SATIRES    1817 

at  three  wolves  which  are  chmbing  on  to  the  stage  (r.) ;  the  former  declaims : 
In  spite  of  Hisses,  Groans,  or  Law,  \  I'll  tnanage  Richard  ivith  eclat.  The  other, 
frantically  waving  arms  and  legs,  exclaims:  Give  me  a  horse — bind  up  my 
wounds ;  Have  mercy  heaven!  [Richard  III,  v.  3,  misquoted].  Behind  them 
stands  a  lawyer  in  wig  and  gown  with  the  face  of  an  owl ;  he  holds  up  both 
hands,  saying,  "^  plague  o'  both  your  houses''  Gentlemen  this  is  a  dirty  actio?!, 
but  I  think  zve  can  show  cause,  to  over  rule  it,  it  being  a  Minor  offence —  Above 
his  head  and  on  the  fafade  of  Covent  Garden  is  a  bill :  A  Lyi?ig  Affidavit  by 
a  lying  Lawyer.  The  three  wolves,  wearing  fashionable  tail-coats  on  which 
is  the  word  Opposition! ,  advance  with  savage  gestures;  one  cries:  That's  right. 
Go  it  my  Boys!  I'ts  all  Dickie  with  Jack  0'  both  sides.  By  them  lies  a  paper: 
Principles  of  the  Wolf  Club  at  one  view. 

The  tent  is  filled  by  a  large  couch  from  which  a  crown  and  sceptre  are 
falling;  beside  it  are  a  shield  with  the  Royal  Arms,  corslet,  and  helmet.  From 
behind  the  tent  another  Richard  (Kean)  looks  furtively  out  at  the  wolves, 
saying,  '''What!  will  the  aspiring  blood  of  Lancaster  sink  into  the  Ground?" 
[3  Henry  VI,  v.  6.  61-2,  Gloucester's  words  after  murdering  Henry  VI].  In 
the  middle  of  the  stage  stands  a  pole  supporting  a  placard:  M'^  Booth  has 
Acted  wrong.  In  front  of  the  two  Booths  lie  papers:  Junius' s  Letters  or 
M''  Booth's  appeal  to  the  Public — ;  Theatre  Royal  Covent  Garden  Richard  y'^ 
Third  Gloster  by  AP  Booth  with  y^  Farce  of  the  Weathercock;  A  Bundle  of 

Proverbs — Between  two  Stools  the  goes  to  y^  ground;  [Theatre]  Royal 

Drury  Lane  Othello  lago  AP  Booth  with  the  new  Farce  Frightn'd  to 

Death— a 

A  satire  on  the  riot  at  Covent  Garden  on  25  Feb.  when  Booth  attempted 
to  play  Richard  III,  having  disappointed  a  packed  audience  at  Drury  Lane 
on  22  Feb.,  where  he  was  billed  to  play  lago  to  Kean's  Othello,  see  No.  12918. 
At  the  end  of  the  (inaudible)  play  Booth  came  forward  with  a  placard  begin- 
ning :  /  have  acted  wrong  .  .  .  The  Wolves  Club  was  a  tavern  society  founded 
and  presided  over  by  Kean,  see  No.  13367.  Among  the  letters  to  the  news- 
papers relating  to  the  affair  was  one  asserting  that  the  Wolves  had  pledged 
themselves  to  drive  Booth  from  the  stage ;  Kean  asserted  that  the  Wolves  had 
ceased  to  exist  and  defied  anyone  to  prove  that  he  had  directly  or  indirectly 
instigated  any  opposition  to  Booth.  Playfair,  Kean,  p.  175.  Henry  Harris, 
Manager  of  Covent  Garden,  also  wrote  to  the  papers.  An  information  was 
filed  in  Chancery  by  the  Drury  Lane  Management  to  restrain  Booth  (b.  1  May 
1796)  from  performing  at  Covent  Garden,  but  withdrawn  on  the  ground  that 
he  was  a  minor, 

Reid,  No.  664.    Cohn,  No.  1902. 
8fxi3iin. 

12920  TRAVELLING  BY  STEAM. 

[Williams.]  [1817] 

Aquatint.  Perhaps  a  pi.  from  the  Busy  Body.  Two  Thame's  watermen  stand 
on  the  river  bank  gaping  at  the  explosion  of  a  steam  packet-boat,  whose  stern 
is  inscribed  For  Richmond.  Wreckage  flies  into  the  air  carrying  with  it  a 
number  of  passengers,  men  and  women,  who  are  flung  about  in  a  dense  cloud 
of  steam  high  above  the  boat.  A  lady  falls  near  an  elegant  wooden  seat,  a  boy 
sits  astride  a  funnel.  Against  the  bank  lies  the  watermen's  wherry,  the  carved 
back  behind  the  cushioned  seat  is  inscribed:  The  Szviftsure  T.  Tugg  Lambeth. 
One  says :  Aly  Eye  Ned  there  they  go!!  The  other :  Aye  and  a  going  rather  out 
of  the  Road!  d — ce  they  are  got  into  Airshire  insead  [sic]  of  Surry!! 

773 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

On  28  June  18 17  the  boiler  of  the  'Richmond  Steam  Yacht'  burst  near 
Westminster  Bridge  while  she  was  being  taken  up  the  river  after  repairs. 
There  were  no  passengers,  but  three  men  were  injured.    Ann.  Reg.,  1817, 

P-54- 
6|X4|  m. 

12921  SONS  OF  NEPTUNE  SHAVING  A  LANDSMAN!— 
[/.  R.  Cruikshank  fee. 

Pu¥  by  J.  Sidebotham,  i  St.  James's  Street  March  4,  iSiy.y 
Engraving  (coloured  impression).  After  the  title:  a  humorous  ceremony  per- 
formed by  Sailors  upon  every  person  when  first  crossing  the  Line!  The  victim 
sits  in  a  large  tub,  a  bucket  emptied  on  him  from  above,  a  man  puts  a  brush 
in  his  mouth,  holding  his  whitewash  in  a  Tar  Bucket,  while  a  sailor  in  an 
enormous  cocked  hat  brandishes  a  huge  notched  razor.  Neptune  watches 
from  his  car  (1.),  holding  trident  and  can  of  grog.  Most  of  the  officiating  sailors 
are  stripped  to  the  waist,  some  have  fish  attached  to  hat  or  person.  Passengers 
and  a  naval  officer  watch  from  the  poop  (1.).  Among  those  on  a  raised  plat- 
form above  the  victim  are  a  marine  and  a  lascar  or  negro.  A  bucket  is  inscribed 
(?)  Thunder[er]  74.  Cf.  No.  12612. 

Reid,  No.  663. 
8|x  i3j  in.  'Caricatures',  viii.  162. 

12922  LE  RETOUR  DE  PARIS  OR,  THE  NEICE  PRESENTED  TO 
HER  RELATIONS  BY  HER  FRENCH  GOVERNESS. 

E  H  L  del  1816 — Etched  by  G.  Cruikshank — 

Pub'^  by  H.  Humphrey  S^  James's  S^  January  j'^ — i8iy — 

Engraving  (coloured  and  uncoloured  impressions).  An  elderly  couple  (1.), 
plainly  dressed  in  a  very  old-fashioned  manner,  watch  with  shocked  dismay 
an  over-dressed  Frenchwoman  who  takes  by  the  wrist  an  equally  over-dressed 
girl,  making  her  curtsey,  as  she  does  herself.  Their  dresses  are  high-waisted, 
flounced,  and  vandyked,  with  neck-ruffles  and  short  puffed  sleeves.  Both 
wear  huge  bonnets  with  erect  cylindrical  crowns,  grotesquely  trimmed,  long 
gloves,  each  with  a  reticule  dangling  from  the  arm.  A  French  servant  in 
livery  (r.)  stands  chapeau-bras,  a  band-box  slung  from  his  arm,  shrugging 
his  shoulders  to  express  horrified  surprise.  A  plainly  dressed  young  girl 
standing  behind  her  aunt  grins  in  astonishment  at  the  visitors.  A  dog  and 
cat  register  hostility  towards  a  cringing  lap-dog  shaved  in  the  French  manner, 
which  is  attached  to  the  servant  with  a  string.  The  room  is  panelled  and 
carpeted,  with  one  side-table,  and  is  probably  a  hall  or  ante-room  in  a  country 
house.  A  dialogue  is  etched  below  the  design.  The  young  girl:  Well-a-day 
Aunt!  what  Monstrosities  are  these?  The  uncle:  In  the  name  of  all  that's 
Christian  speak  &  say  what  you  are,  &  where  you  come  from,  you  Hottenpots 
[sic] — ,  The  governess:  Madame  j' ai  Vhonneur  de  vous  presenter  votre  Neice, 
elle  est  tout-a-fait  Franfoise,  parle  notre  langue  a  la  perfection,  Chante  comme 
un  Ange,  danse  comme  Terpsichore  elle  meme  mange  les  Grenouilles.  The  niece : 
Ma  chere  Tante  Mon  Oncle  ma  Seeur  [sic],  ne  connoissez  vous  pas  votre  petite 
Emilie?  The  aunt :  Aye  dont  talk  to  me  of  Turpuschore  &  Green-Owls  or  any 
of  your  Hocus-pocus  nonsense — Speak  plain  English  you  Mountebanks  do — or 
ril  make  you  answer  before  my  Husband  one  of  his  Majesty's  Justices — /  will. 
The  servant:  Oh  Diable!  comme  je  tremble  quandje  regarde  le  visage  menacant 
de  ce  grand  Monsieur  Bull,  et  quand  j'entend  [sic]  la  voix  barbare  de  cette 

From  Reid. 
774 


PERSONAL   AND   SOCIAL   SATIRES    1817 

Grenadiere  je  suis  pret  a  mourir — maisje  me  cacherai  autant  que  je  peux  derriere 
Madame.  A  companion  pi.  to  No.  12923.  No.  13434  is  a  reduced  and  altered 
version. 

Reid,  No.  625.   Cohn,  No.  1314.   Reissued,  Cruikshankiana,  1835. 
9X  141  in.   With  border,  lof  X  14!  in. 

12923  A  CURIOUS  JUNTO  OF  SLANDERING  ELVES, 

— OR— LIST'NERS  SELDOM  HEAR  GOOD  OF  THEMSELVES. 

E  H  L  del   G  Cruikshank  Sculp — 

PuM  JarV  2^^^  i8iy  by  H  Humphrey  2y  S'  James's  Street 
Engraving  (coloured  impression).  A  companion  pi.  to  No.  12922.  Three 
elderly  women  seated  at  a  round  tea-table  listen  avidly  to  scandal  which  the 
fourth  gloatingly  reads  from  a  pile  of  letters.  The  latter's  gouty  foot  rests  on 
a  footstool ;  a  parroquet  sits  on  the  back  of  her  chair ;  a  cat  and  three  kittens 
disport  themselves  at  her  feet  and  under  the  table.  One  of  her  listeners  uses 
an  ear-trumpet,  another  lets  the  hot  water  from  the  urn  overflow  the  tea- 
pot and  flood  the  table,  whence  it  will  reach  the  gouty  foot.  The  table  is 
enclosed  by  a  curtain  on  a  curved  rod  which  serves  as  screen.  Behind  it  (r.) 
a  fifth  woman  who,  unlike  the  others,  wears  youthful  and  quasi-fashionable 
dress,  with  curls,  frills,  and  flowers,  listens  in  dismay.  Behind  her  is  the  open 
door  and  the  head  of  a  staircase.  Over  the  door  is  a  Cupid,  blindfolded  and 
asleep,  his  bow  unstrung.  Books,  together  with  the  Morning  Post,  lie  on  the 
floor :  The  History  of  a  Totoishell  Male  Cat  in  3  Vols,  illustrated  with  a  print 
of  a  cat  (see  No.  11 126);  The  Golden  Dream;  Sermons  against  [the]  Sin  of 
Lying;  Moor's  Almanack. 

One  of  many  satires  on  old  maids,  see  (e.g.)  No.  9619,  Virginia. 

A  copy.  Pub  by  M'^Cleary,  jg  Nassau  Street,  in  J.L.D. 

Reid,  No.  626.   Cohn,  No.  1032.   Reissued,  Cruikshankiana,  1835. 
8|x  I2|  in.   With  border,  gfx  13I  in.  'Caricatures',  vii.  41. 

12924  DOS  A  DOS— ACCIDENTS  IN  QUADRILLE  DANCING 
inv^   G  Cruikshank  fec^ 

Pub'^  March  4'^  18 ly  by  H.  Humphrey  2y  S^  James's  ^^^^[et] 

Engraving.  Four  couples  are  in  position  for  a  quadrille,  on  a  boarded  floor. 
A  lady  curtseys,  a  man  bends  forward,  their  posteriors  collide.  From  a  gallery 
the  musicians,  harp,  'cello,  French  horn,  and  flute,  look  down  amused.  The 
ladies  wear  high-waisted  dresses  slightly  below  the  knee;  the  men,  coats  with 
narrow  tails  and  tight  pantaloons,  or  short  loose  trousers  or  knee-breeches. 
Two  gas  chandeliers  hang  symmetrically,  the  jets  issuing  from  a  hoop. 

The  quadrille  was  introduced  at  Almack's  from  Paris  by  Lady  Jersey  in 
1815  and  became  the  rage.  It  was  known  in  England  by  1773.  Gronow, 
Reminiscences,  1892,  i.  32  f.;  Private  Letters  of  Lord  Malmesbury,  i.  269.  One 
of  a  set  with  the  same  signatures,  see  Nos.  12925-7.   Cf.  No.  12933. 

Reid,  No.  662.    Cohn,  No.  1069. 
6f  X  98  in.   With  border,  8  X  95  in. 

12925  LES      GRACES— INCONVENIENCES      IN      QUADRILLE 
DANCING. 

Pub''  April  g"'  i8iy  by  H  Humphrey  2y  S'  James's  S' 

Engraving.  See  No.  izgz^.  An  informal  dance  (or  practice),  with  a  stout  lady 

at  the  piano  (1.) ;  one  of  the  dancers,  a  thin  man,  speaks  to  her  over  his  shoulder. 

775 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

In  the  foreground  a  short  man  strains  to  hold  up  the  hands  of  two  taller  ladies, 
who  stoop  to  turn  under  the  arch  thus  made.  This  amuses  a  taller  man  who 
stands  between  two  ladies  on  the  r.  A  man  lounges  against  the  chimney- 
piece,  and  a  couple  stand  with  their  backs  to  the  fire.  A  tiny  lap-dog  barks 
from  a  chair.  A  large  mirror  is  over  the  chimney-piece,  which  is  flanked  by 
large  bell-pulls  terminating  in  lyres.  On  it  are  candelabra  in  the  form  of 
Egyptian  figures.  The  floor  is  boarded.  There  are  two  pictures:  one  of  two 
very  thin  ballet-dancers,  the  other  of  fat  peasants  dancing  to  pipe  and  tabor. 
Cf.  No.  12935. 

Reid,  No.  669.   Cohn,  No.  13 16. 
6|X9t^  in.   With  border,  8^Xio|  in. 

12925  A  A  later  state,  aquatinted  and  coloured,  P.  3.  in  the  upper  margin. 

'Caricatures',  vii.  69. 

12926  MOULINET— ELEGANCIES  OF  QUADRILLE  DANCING. 

Pu¥  April  ii""  i8iy  by — H.  Humphrey  2y  S'  James's  S^ 

Engraving  (coloured  and  uncoloured  impressions).  See  No.  12924.  Two  sets 
of  four  dance  vigorously  holding  hands,  the  ladies  together,  but  turning 
towards  their  partners.  Two  men  talk  in  front  of  the  fireplace,  a  third  bows 
to  a  seated  lady.  All  are  dandified,  their  dress  more  burlesqued  than  in 
Nos.  12924,  12925.  The  room  is  lit  by  fantastic  gas  chandeliers  in  the  form 
of  Chinese  mandarins.  On  the  chimney-piece  is  a  statuette  of  an  athlete  hold- 
ing up  a  lighted  candle ;  a  clock  surmounts  the  mirror  above  it ;  on  this  is  a 
figure  of  Time  seated  on  a  single  feathered  wing,  and  holding  a  winged  hour- 
glass.  Cf.  No.  12936. 

Reid,  No.  670.    Cohn,  No.  1765. 
6|x8^  in.   With  bordei,  8JX9I  in. 

12927  VIS  A  VIS— ACCIDENTS  IN  QUADRILLE  DANCING.  P.  2 
Pu¥  April  J5'''  i8iy  by — H.  Humphrey  S'  James's  Street 

Engraving.  See  No.  12924.  Eight  dancers  stand  aghast  at  a  fifth  man,  wearing 
spurs,  who  is  falling  with  violence,  in  a  horizontal  position  just  above  the 
floor,  clutching  the  dress  of  a  lady  whom  he  is  knocking  backwards.  One  spur 
is  caught  in  a  lady's  dress  which  it  has  gashed  from  waist  to  flounce.  A  man 
holds  a  damaged  leg,  registering  fury.  A  hat  and  cane  fall  to  the  floor.  A 
dumpy  woman  turns  her  back  to  laugh.  Harpist  and  fiddler  watch  from  a 
low  platform.  The  room  is  boarded  and  bare,  with  a  single  (gas)  chandelier. 
All  the  men  are  dandified.   Cf.  No.  12934. 

Reid,  No.  671.   Cohn,  No.  2084. 
6f  X  8|  in.   With  border,  8^  X  9!  in. 

12927  a  a  later  state,  aquatinted  and  coloured.  'Caricatures',  vii,  68. 

12928  LA  POULE. 

^^^    (etched  by  G.  Cruikshank) 

Pub^  June  4^'^  i8iy  by  H  Humphrey  2y  S^  James's  Street  London — 
Engraving.    One  of  a  pair,   with  the    same    signatures    and   imprint,    see 
No.  12929.    Two  couples  dance  with  vigour,  holding  hands  in  a  line,  the 
ladies  facing  r.,  the  men  1.    Other  couples  stand.    Fashionable  dress  is  bur- 
lesqued, the  ladies  with  very  decolletee  and  short-waisted  dress,  with  short 

776 


PERSONAL   AND   SOCIAL   SATIRES    1817 

skirts,  ver)'  wide,  flounced,  and  projecting.  One  has  a  grotesque  coiflFure,  hair 
strained  into  a  pyramid,  bound  with  ribbon,  and  topped  by  an  absurd  flower. 
The  dandified  men  wear  knee-breeches  or  tight  pantaloons  with  high  collars ; 
hair  cropped  on  the  neck  and  projecting  like  an  inverted  basin.  The  room 
is  bare  except  for  festooned  curtains. 

La  Poule  is  a  figure  of  the  quadrille,  cf.  No.  12924. 

Reid,  No.  675.    Cohn,  No.  1314. 
8|x  i2|  in.   With  border,  9JX  13^  in. 

12929  SPECIMENS  OF  WALTZING. 

Engraving  (coloured  impression).  See  No.  12928.  Four  grotesque  couples 
waltz :  three  hideous  women  face  their  partners,  putting  their  hands  on  their 
shoulders.  The  men  grasp  the  women  by  shoulders,  waist,  or  hips.  A  fourth 
couple  dance  side  by  side,  the  free  arm  extended.  One  man  wears  uniform 
with  long  spurs.  The  women's  coiflfure  is  a  sugar-loaf  erection  variously 
decorated.  The  room  is  bare  except  for  festooned  window-curtain  and  two 
pictures:  (i)  two  ragged  fiddlers  with  a  boy  who  begs;  (2)  dogs  dancing. 

Perhaps  Wilson's  Rooms,  see  No.  12952.  Cf.  T.  Wilson,  The  Correct 
Method  of  German  and  French  Waltzing,  1816  (illustrated).  The  waltz  became 
fashionable  at  the  same  time  as  the  quadrille  according  to  Gronow,  see 
No,  12924;  actually  rather  earlier,  cf.  Byron,  English  Bards  .  .  .,  Mar.  1809, 
'Now  in  loose  waltz  the  thin-clad  daughters  leap'.   See  No.  9583  (1800). 

Reid,  No.  676.    Cohn,  No.  1997. 
8^X12^  in.    With  border,  9^  X  13^  in. 

12930  LA  BELLE  ASSEMBLI^E  OR  SKETCHES  OF  CHARACTER- 
ISTIC DANCING— 

G.  Cruikshank  inv'  &  sculp'. 

Pu¥  August  31"  18 ly  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  Eight  groups  or  couples  display  diff^erent 
dances,  the  names  of  which  are  in  the  lower  margin.  On  the  extreme  1.  stands 
[i]  a  Dancing  Master,  thin,  dandified,  stooping,  arms  dropped,  fiddle  and 
bow  in  1.  hand,  feet  turned  out.  [2]  Country  Dance.  Three  couples,  'hands 
across'.  [3]  Scots  Reel —  A  man  in  Highland  dress  dances  between  two 
women  in  a  six-hand  reel.  [4]  Irish  Jig.  Three  bandy-legged  peasants  jig: 
man  (holding  up  a  Whiskey  bottle),  woman,  and  small  boy  who  drinks  from 
a  glass  and  holds  a  large  shillelagh.  [5]  The  centre-piece:  La  Minuet.  A  very 
slim  man  in  court-dress,  with  powdered  queue,  dances  with  a  lady  who  holds 
up  the  train  of  a  limp  gown.  Behind  them  is  the  musicians'  gallery  supported 
on  two  palm-tree  pillars,  round  which  serpents  are  twined  from  whose  mouths 
gas-flames  issue.  A  life-like  Terpsichore  supports  the  draper}'  of  the  box, 
which  is  inscribed  On  the  light  fantastic  toe.  The  front  of  the  box  is  decorated 
with  fantastic  dancing  figures,  including  a  Red  Indian,  a  Harlequin,  a  Punch; 
some  are  in  lines  and  dots  (cf.  No.  12955).  ^^^  instruments  are  flutes,  bag- 
pipes, harp,  violins,  'cello,  oboe,  French  horn. 

On  the  r. :  [6]  German  Waltz,  an  ugly  couple,  her  hands  on  his  shoulders, 
his  on  her  waist.  [7]  French  Quadrille.  One  man  and  three  ladies  face  three 
men  and  one  lady.  [8]  Spanish  Boliero.  A  couple  dance,  clicking  castanets, 
the  man  wears  slashed  doublet  with  knee-breeches.  [9]  Ballet  lialienne.  Two 
dancers,  each  poised  on  a  toe,  leg  extended,  holding  between  them  a  long 
garland  of  roses.   Beside  them  dances  a  little  Italian  greyhound. 

777 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

The  wall  which  forms  a  background  is  covered  with  pictures,  flanking  the 
gallery.  Dancing  Dogs:  a.  man  with  a  whip  directs  five  dressed-up  dogs  on 
their  hind-legs.  Dancing  Bear.  A  man  holds  the  muzzled  bear  on  a  chain; 
a  dressed-up  monkey  capers  on  the  bear's  head;  a  boy  plays  pipe  and  tabor. 
Dancing  Horse.  On  the  stage  of  an  equestrian  theatre  a  man  in  light  horse 
uniform,  a  clown  behind  him,  directs  the  movements  of  a  horse.  Rope 
Dancing.  A  woman  ascends  a  slanting  tight-rope,  while  rockets  explode 
around  her.  S^  Vitus's  Dance.  A  fat  doctor,  smelling  his  cane,  holds  the 
pulse  of  a  capering  and  emaciated  invalid.  Dancing  Mad.  Two  men  leap  or 
prance  frantically  in  rage  or  despair,  while  a  third  capers  at  the  end  of  a  rope 
by  which  he  hangs  from  a  gibbet. 

The  title  is  from  Bell's  illustrated  monthly,  cf.  No.  11479. 

Reid,  No.  684.    Cohn,  No.  1298. 
7^X20^  in. 

12931  INCONVENIENT  PARTNERS  IN  WALTZING. 

[?I.  R.]  Cruikshank  fec^ 

London  Pub:  by  T.  Tegg.  Cheapside.  [PiSiy] 

Engraving  (coloured  impression).  Three  grotesquely  ill-matched  couples 
dance  facing  each  other:  an  enormously  obese  man  with  a  thin  and  deter- 
mined partner,  a  dwarfish  man  with  a  gigantic  and  corpulent  partner  whose 
petticoats  he  grasps;  a  very  tall  thin  man  stoops  over  a  short  woman.  All  are 
burlesqued.  Two  men  and  a  lady  in  the  background,  less  caricatured,  register 
horror.  The  bare  room  is  lit  by  two  pendent  gas-brackets,  each  with  twin 
globes;  on  one  wall  (1.)  is  a  large  mirror  surmounted  by  a  lyre. 

The  scene  suggests  a  dancing-master's  rooms  rather  than  a  ball-room,  cf. 
No.  12952.   The  costume  is  that  of  c.  1817-19. 

Reid,  No.  99.   Cohn,  No.  123 1. 
8^X  i2|f  in.  'Caricatures',  vii.  10. 

12932  BOBBIN  ABOUT  TO  THE  FIDDLE— A  FAMILLY  RE- 
HERSAL  OF  QUADRILLE  DANCING,  OR  POLISHING  FOR  A 
TRIP  TO  MARGATE.  390 

[Williams.] 

London  Pub^  May,  i8iy,  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  dancing-master,  playing  his  small  fiddle 
or  kit,  dances,  facing  a  stout  'cit'  who  dances  between  wife  and  daughter,  hold- 
ing their  hands ;  another  grown-up  daughter  dances  opposite  them  beside  the 
dancing-master.  The  'cit's'  leg  is  extended  stiffly.  The  first  daughter  says: 
Law  Pa  that 's  just  as  zohen  you  was  drilling  for  the  Whitechaple  Volunteers — 
only  look  how  Ma  and  I  &  sister  Clementina  does  it?? — Pa:  I  say  Mounseer 
Caper!  don't  I  come  it  prime?  Ecod  I  shall  cut  a  FigorH  The  man  answers : 
Vere  veil  Sar,  Ver  Veil  you  vil  dame  a  merveille  vere  soon!  On  the  1.  a  tiny 
child  imitates  her  father's  step,  supported  by  a  little  sister,  while  three  rather 
older  children  dance  in  a  ring.  A  plainly  dressed  maiden  aunt  sits  in  an  arm- 
chair (r.).  A  handsomely  furnished  drawing-room  is  suggested.  The  curtains 
are  drawn,  candles  burn  on  the  chimney  piece.  On  the  wall  is  a  bust  portrait 
of  an  austere-looking  man.  For  Margate  as  the  'cit's'  watering-place  cf. 
No.  6758,  &c. 
8f  X  13  in.   With  border,  9^X  13I  in. 

778 


PERSONAL   AND   SOCIAL   SATIRES    1817 

12933  DOS  A  DOS  OR  RUMPTI  IDDITO  IDO 

NATURAL  ACCIDENTS  IN  PRACTISING  QUADRILLE  DANCING. 

iV"  J. 
[Williams.] 
London  PuM  May  iSiy  by  S  W  Fores  iV"  50  Piccadilly 

Engraving  (coloured  impression).  An  imitation  of  No.  12924,  drawn  with 
greater  freedom,  the  two  dancers  collide  more  violently,  and  register  surprised 
indignation.  Five  figures  have  been  added  behind  the  eight  dancers.  A  man 
sleeps  on  a  cushioned  bench  leaning  against  the  wall  (1.).  A  couple  take 
refreshments  at  a  buffet  introduced  under  the  musicians'  gallery,  which  has 
been  lowered.  A  couple  sit  on  a  bench  (r.),  the  man  offering  the  lady  snuff. 
Gas-lamps  stand  on  each  side  of  the  gallery :  pillars  with  snakes  coiled  round 
them,  triple  gas-flames  issuing  from  the  snakes'  mouths  and  from  an  urn 
surmounting  each  pillar.  On  the  wall  is  a  pair  of  dragons  with  coiled  snakes, 
emitting  gas-jets.  One  of  a  set  (coloured)  by  Williams,  all  with  the  same 
imprint,  see  Nos.  12934-6. 
85X12^  in.    Border  cropped.  'Caricatures',  vii.  182. 

12934  WRONG  CONTRE  OR  VIS  A  VIS. 

NATURAL  ACCIDENTS  IN  PRACTISING  QUADRILLE  DANCING. 

N°  2. 

See  No.  12933.  An  imitation  of  No.  12927;  the  falling  man  lies  on  the  ground, 
his  foot  (without  a  spur)  gashes  a  lady's  dress  from  waist  to  hem;  the  lady 
whom  he  clutches  falls  forward,  kicking  a  man  behind  her.  All  the  figures 
are  altered  in  pose  and  character  and  two  have  been  added.  The  two  musicians 
are  on  a  cloth-covered  table,  the  violinist  stands  instead  of  sitting.  In  the 
centre  of  the  back  wall  between  two  heavily  draped  windows  is  a  large  mirror 
above  a  console  table  with  ajar  of  flowers.  The  round  chandelier  is  decorated 
with  dragons  emitting  flames  of  gas.  There  is  a  rolled  up  carpet  (r.)  showing 
that  the  dancing  is  impromptu. 
8jx  i2y  in.   With  border,  9^  x  13  in.  'Caricatures',  vii.  183. 

12935  LES  GRACES  DE  CHESTERFIELD. 

OR,  QUADRILLE  DANCING— POUR  LA  PRATIQUE—  N"  3 

See  No.  12933.  An  adaptation  of  No.  12925.  The  stout  man  dancing  between 
two  ladies  is  in  military  uniform  with  a  large  sabre.  The  room  is  altered  by 
the  addition  of  a  side  wall  (1.)  to  which  the  fireplace  is  transferred.  In  its  place 
is  the  square  piano  under  a  large  mirror.  All  the  figures  are  altered;  a  lady 
in  an  arm-chair  with  a  man  leaning  over  her  has  been  added.  Elaborate  gas 
or  oil  lighting  replaces  candles :  a  hanging  chandelier  with  a  circle  of  globes 
with  chimneys,  with  similar  lamps  in  brackets  on  a  glass  over  the  chimney- 
piece,  which  is  surmounted  by  a  standing  lamp.  There  are  three  W.L. 
portraits  of  dancers  striking  attitudes,  two  being  A/"^^  H[i]llisbnrgh  and  A/o'"" 
Vestris. 
8xi2|  in.    Border  cropped.  'Caricatures',  vii.  184. 

12936  LE  MOULINET. 

OR— PRACTISING  QUADRILLE  DANCING  AT  HOME  FOR  FEAR 
OF  ACCIDENTS  AT  THE  BALL,  N°  4 

See  No.  12933.  ^^  adaptation  of  No.  12926.  Two  sets  of  four  dance  as 
before  but  the  ladies  and  their  partners  stand  alternately,  instead  of  two  ladies 
being  together  in  the  middle  of  each  row.  A  lady  playing  a  harp  sits  on  the 
settee,  a  man  stands  beside  her.   A  man  facing  the  fireplace  ties  his  cravat; 

779 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

another  reaches  up  with  a  cane,  perhaps  to  adjust  the  gas  which  issues  from 
two  serpents  decorating  the  top  of  the  mirror,  on  which  stand  also  two  lamps 
with  globes  and  chimneys.  In  place  of  the  chinoiserie  chandeliers  against  the 
wall  are  two  pictures,  one  of  a  couple  turning  together  (as  in  No.  12925) 
against  an  architectural  background,  one  of  three  naked  savages  posturing 
outside  their  tents.  There  is  a  hanging  chandelier  with  gas  or  oil  lamps  with 
globes  and  chimneys. 
8x12^  in.    Border  cropped.  'Caricatures',  vii.  185. 

12937  WAITING  ON  THE  LADIES  136 

[I.  R.]  Cruikshank  fec^ 
[Pub.  Tegg,  21  June,  18 17.] 

Engraving  (coloured  impression).  A  satire  on  costume  and  manners.  Dandies 
(see  No.  13029)  eagerly  offer  refreshments  to  ladies  at  a  reception  or  ball. 
An  elderly  fright  stands  in  the  centre,  between  a  thin  (I.)  and  a  fat  (r.)  dandy, 
one  proffering  a  large  goblet  on  a  salver,  the  other  a  plate  of  patties,  one  of 
which  is  stuffed  into  his  grinning  mouth.  She  eagerly  turns  to  the  1.  with  an 
ogling  grin.  On  the  1.  a  footman  spills  a  tray  of  goblets  and  ices  over  an 
elderly  lady  seated  on  a  chair  which  tilts  backward.  He  has  been  knocked  off 
his  balance  by  the  bow  of  the  thin  dandy.  On  the  r.  a  dandy  seated  by  a  fat 
ugly  lady  offers  her  a  goblet.  Her  short  skirt  displays  fat  shapeless  legs, 
defined  by  cross-gartering.  All  are  much  decoUetee.  A  dandy  drinks,  while 
admiring  himself  in  a  mirror.  A  candle-sconce  hangs  between  two  oval 
mirrors,  but  in  an  adjacent  room  seen  through  an  archway  is  a  hanging 
chandelier  with  chimneys  which  probably  indicate  gas.  Violinist,  'cellist,  &c., 
play  in  a  musicians'  gallery  in  the  background  (1.). 

An  impression  in  the  collection  of  Mr.  W.  T.  Spencer  (1931)  is  auto- 
graphed: 'This  is  by  my  Brother  I.  R.  C.  not  any  of  it  by  me  G  C^.' 

Reid,  No.  58.    Cohn,  No.  2088. 
8j^X  12^^  in.  (cropped). 

12938  •  MINUET  •  LA  •  COUR-  391 

[?W.  Heath.] 

Pub  June  6"'  i8iy  by  T  Tegg  III  Cheapside  London 

Engraving  (coloured  impression).  A  satire  on  costume,  showing  the  unsuit- 
ability  of  modern  dress  to  the  minuet.  A  grotesque  man  bends  towards  his 
partner,  taking  her  1.  hand  in  his  r.  The  other  guests  stand  or  sit.  He  has 
a  large  moustache,  a  shock  of  hair,  high  shirt-collar,  short-waisted  coat  with 
long  tails,  and  loose  striped  trousers,  tied  in  above  the  ankle.  His  partner  has 
short  skirt  hanging  from  just  below  the  breast  which  she  holds  up  by  the  hem; 
towering  feathers  rise  from  a  wreath  of  flowers  on  her  head.  A  man  in  back 
view  (r.)  wears  tight  pantaloons  tied  below  the  calf,  others  wear  loose  trousers. 
There  is  a  hanging  chandelier  with  candles. 
7|Xi2|in. 

12939  BELLE'S  AND  BEAUS  OR  A  SCENE  IN  HYDE  PARKE  392 
[?W.  Heath.] 

Pub  Aug  12"'  i8iy  by  T  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  The  principal  belle  (r.)  stoops  from  the 
waist  with  dropped  arms  (the  fashionable  attitude),  a  reticule  dangling  from 
her  r.  hand,  towards  a  beau  who  is  arm-in-arm  with  a  Life  Guards  officer; 

780 


PERSONAL   AND   SOCIAL   SATIRES    1817 

the  latter  looks  over  his  shoulder  with  an  insolent  stare.  A  dog  shaved  in  the 
French  manner  barks  at  the  lady's  short  petticoats.  The  women's  dress 
resembles  that  of  other  caricatures  of  this  date  except  that  it  is  high  to  the 
neck.  The  men  wear  short-waisted  tail-coats  with  loose  and  short  trousers, 
generally  striped,  high  collars,  and  swathed  neck-cloths.  Below  the  design: 
The  Little  Dog  Bark'd  to  see  such  sport. 
7i|Xi2iin. 

12940  A  •  CHANGE  •  IN  THE  PETTICOATS  OR  THE  YEARS  1780 
&  1817  187 

[?W.  Heath.] 

[Pub.  Tegg.]  [1817] 

Engraving  (coloured  impression).  A  lady  wearing  an  enormous  hooped  petti- 
coat, long  pointed  stomacher,  a  calash  hood  (see  No.  5434,  &c.)  over  a  large 
plain  cap,  stands  with  a  small  nosegay  in  her  1.  hand,  and  with  a  closed  fan 
held  to  her  cheek.  She  looks  down  at  a  young  woman  (r.),  who  bends  forward 
in  profile  to  the  1.,  with  the  stoop  of  1817,  see  No.  12939.  ^^^  modern 
woman  wears  a  flaunting  bonnet  with  a  cylindrical  crown,  a  scoop  turned  up 
from  the  face,  trimmed  with  flowers  and  many  feathers.  She  has  bare  breasts 
and  shoulders,  a  very  high  waist,  and  projecting  skirt  (above  the  knee),  and 
large  bishop  sleeves;  her  arms  hang  downwards  in  the  fashionable  pose;  in 
her  r.  hand  is  a  large  reticule.  Her  flat  slippers  are  bound  to  the  ankles  and 
legs  with  ribbons,  en  cothurne.   Below  the  upper  margin: 

The  London  Modest  Ladies  once  hoop  petticoats  zvoud  Wear 
But  now  forsooth  they  are  not  Dress' d  unless  their  B 5  Bare 

The  old-fashioned  dress  has  a  slightlv  Elizabethan  character,  with  a  vague 
resemblance  to  that  of  the  mid-eighteenth  century.  For  similar  contrasts 
cf.  Nos.  4820  (1772),  71 13  (1786),  8904  (1796). 

A  copy,  Wright,  Caricature  History  of  the  Georges. 
8|xi2^  in. 

12941  [SCENE  IN  THE  MESS-ROOM  WITH  THE  OFFICERS  AT 
THEIR  DESERT.]' 

[G.  Cruikshank.]  [?  1817] 

Engraving,  with  monochrome  watercolour.  A  young  officer  angrily  leaves  the 
room,  scowling  back  at  the  officers  seated  at  dessert  (r.),  who  ridicule  him, 
laughing  and  pointing.  A  dog  barks  at  him.  He  has  a  very  long  nose  and 
hair  brushed  outwards  in  the  dandy  manner  (cf.  No.  13029),  unlike  the  more 
military  cut  of  the  others.  See  No.  12942;  both  seem  to  be  proofs  before 
aquatint  and  letters. 

Reid,  No.  620. 
4|X7iiin. 

12942  [BARNEY  FIGHTING  A  DUEL]^ 

Engraving,  as  No.  12941.  The  young  officer  stands  under  a  tree,  terrified; 
his  pistol  flies  upwards  from  his  trembling  hand.  His  opponent,  also  in  uni- 
form, and  also  frightened,  supports  himself  against  a  rustic  rail  to  take  aim. 
Two  officers  in  the  background  are  much  amused  at  the  more  timorous 
duellist.   A  haystack  and  the  hindquarters  of  a  cow  complete  the  scene. 

Reid,  No.  621. 
4|X7iin. 

'  Title  from  Reid. 

*  Title  from  Reid  who  adds  a  signature:  G.  Cruikshank  feet . 

781 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12943  TWO  HEADS  BETTER  THAN  ONE  OR  THE  GOVERNESS 
OUTWITTED. 

[Williams.] 

Pu¥  Jany  i8iy  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  A  pretty  and  elegant  young  woman  kneels 
on  a  bed  supporting  her  elbows  on  the  pillow.  A  woman  stands  beside  her, 
raising  the  girl's  skirt  in  order  to  birch  her,  but  finds  her  posterior  covered 
by  a  life-sized  mask  which  is  a  close  portrait  of  herself.  She  says:  Oh  ma  foil 
dat  is  mine  own  Head  in  t'oder  place. 
9fxi2|in.  'Caricatures',  vii.  133. 

12944  CURIOSITY 
[Williams.] 

London  Pub  April  i8iy  by  S.  W.  Fores  50  Piccadilly 

Engraving  (coloured  impression).  A  pretty  lady's  maid  stoops  in  profile  to 
the  r.  to  gaze  with  prurient  eagerness  through  a  key-hole.  She  holds  a  salver, 
letting  two  jelly-glasses  slide  off  it.  A  lady's  bonnet  and  gloves  and  a  cocked 
hat  and  sword,  carelessly  laid  down,  show  the  object  of  her  curiosity.  She 
wears  a  graceful  white  gown  and  a  lace  cap  over  her  curled  hair, 
iif  XqI  in.  'Caricatures',  vii.  219. 

12945  THE  MORALIST. 
[Williams.] 

London  Pub'^  by  S  W  Fores  N°  50  Piccadilly.  [?i8i7] 

Engraving  (coloured  impression).  Scene  in  a  handsomely  furnished  dressing- 
room.  A  comely  young  woman,  wearing  a  short,  decolletee  dress,  stands  full- 
face  near  her  dressing-table  on  which  is  a  book :  Goldsmith  Works,  kept  open 
by  curling-tongs.  Her  arms  are  dropped,  the  fingers  interlaced;  she  says, 
adapting  Goldsmith's  words :  Man  wants  that  [altered  to]  but  little  here  below 
nor  wants  that  little  long!  then  turn  tonight  and  freely  share — heigh  ho! 

On  the  floor,  discarded,  are  other  books,  one  being  Sturm's  Reflections  (a 
devotional  work  for  daily  reading  (many  English  translations,   1788-1867) 
from  Unterhaltung  mit  Gott  .  .  .,  1768,  by  C.  C.  Sturm).   On  an  ornate  sofa 
a  cat  rolls  on  its  back.   Apparently  a  companion  pi.  to  No.  12944. 
ii^x8|  in.   With  border,  125X9^  in.  'Caricatures',  vii.  218. 

12946  POT  LUCK,,  THE  DISADVANTAGE  OF  COMING  WITH- 
OUT AN  INVITATION 

Pub'^  by  S  W  Fores  50  Piccadilly  i8iy 

Engraving  (coloured  impression).  A  woman,  standing  in  chemise  and  night- 
cap at  an  open  casement  window,  discharges  the  contents  of  a  chamber-pot 
at  a  man  wearing  a  shirt  only  who  has  fallen  backwards  from  the  window  on  to 
a  (breaking)  skylight.  His  hair  stands  on  end.  A  cat  on  the  tiles  arches  its  back. 
io|X9|in.  'Caricatures',  viii.  II. 

12947  THE  DOG  DAYS.  1  LE  BON  GENRE  OR  FRENCH  MANNERS 
FREE  AND  EASY. 

Pub  by  W.  S.  Fores  50  Piccadilly  May  18 ly. 

Engraving  (coloured  impression).  A  stout  young  woman  walks,  r.  to  1.,  in 
a  park-like  landscape,  fanning  herself;  large  drops  fall  from  her  forehead.  She 

782 


PERSONAL   AND   SOCIAL   SATIRES    1817 

puffs  a  blast  from  her  mouth,  another  issues  from  behind,  raising  her  skirt. 
She  wears  a  decolletee  dress  with  short  sleeves,  a  high  cyHndrical  hat  which 
does  not  shade  her  face.  A  dog  pants  behind  her.  She  says:  Bless  me  how 
prodigos  hot  the  Veather  his,  there  his  not  a  breath  of  Hair  stiring  but  vat  I  makes 
myself.  In  the  background  is  St.  Paul's. 
I2^x8|  in.  'Caricatures',  viii.  208. 

12948  MIDDLING  HEAT  IN  THE  WEST  INDIES— 

[G.  Cruikshank  f.] 

Pub'^  by  S  W  Fores  50  Piccadilly  London — Dec''  16""  iSiy — 

Engraving  (coloured  impression).  A  room  with  a  large  window  and  open  door 
leading  directly  to  flat  country  close  to  the  sea,  where  negroes  are  carrying 
bundles.  A  negro  servant  holds  three  saddle-horses  by  the  door.  Three  pretty 
young  women,  dressed  for  riding  and  holding  riding-switches,  stand  or  sit, 
talking  to  a  stout  young  planter  who  stands  by  the  window,  his  r.  hand  in  his 
pocket.  A  negro  servant  (1.)  enters  with  decanter  and  glasses.  One  asks: 
Pray  Sir  is  this  considered  a  hot  situation?  He  answers :  O!  no  Madam  this  is 
I  assure  you  quite  a  h — airy  spot — a  very  h — airy  spot  indeed.  The  other  two 
visitors  say :  It  is  warm  indeed  and  Good  Heavens  what  a  warm  day. 

Cruikshank  autographed  the  J.  B.  Townsend  impression:  'Etched  by  me, 
G.  C,  from  a  design  by  some  blackguard.' 

Reid,  No.  708.    Cohn,  No.  1780. 
9^Xi2|  in. 

12949-12953 

Lithographs  (coloured)  by  or  after  G.  Cruikshank  from  a  set  issued 
c.  1817  to  1819;  (see  No.  13085,  &c.). 

12949  FASHIONABLES  OF  1817 

G.  Cruikshank  fee'  [Capt.  Hehl  del.] 

Pub"^  by  S  W  Fores  50  Piccadilly  Aug'  4"'  18 ly 

A  burlesqued  couple  walk  r.  to  1.,  and  slightly  towards  the  spectator.  The 
man  bends  from  the  waist  with  crooked  elbows,  a  thin  cane  in  one  (gloved) 
hand.  His  head  emerges  from  a  swathed  cravat  and  collar  covering  the  cheeks; 
his  neck  is  shaved,  the  (curled)  hair  projects  above  it.  The  hat  has  a  low 
crown,  the  coat  is  tight  and  high-waisted  with  small  tails;  wide  white  trousers 
are  strapped  over  boots  with  high  heels  to  which  large  spurs  are  attached. 
The  lady  wears  an  enormous  bonnet  with  high  cylindrical  crown,  much 
trimmed,  a  projecting  scoop  and  a  chin-strap.  She  takes  the  man's  r.  arm, 
pokes  her  head  and  bust  forward,  and  carries  a  reticule.  Both  are  affectedly 
inane. 

There  is  an  earlier  state,  not  in  B.M.,  without  signature,  dated  June  1817. 
The  features  are  less  ugly. 

Reid,  No.  2735.    Cohn,  No.  mo. 
io|X7f  in. 

12950  MAY  I  DIE  IF  THERE  IS'NT  SIR  GEORGE!!— CHARMING 
MAN!!  AS  I  LIVE  HE'S  LOOKING  THIS  WAY— O!  THE  DEAR 
FELLOW ! !     Vide  the  Opera  boxes 

[G.  Cruikshank.] 

London  Published  by  W.  S.  Fores  50  Piccadilly  Aug^  9'*  18 ly 

A  lady,  caricatured,  stands  in  an  opera-box,  bending  forward  in  profile  to  the 
1.,  gazing  through  a  levelled  opera-glass.  Tiers  of  boxes  in  which  tiny  figures 

783 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

are  indicated  form  a  background.  Her  breast,  shoulders,  and  arms  are  bare. 
Her  short,  scalloped,  and  much-trimmed  skirt  projects  from  just  below  bust 
and  shoulders.  A  wreath  of  flowers  encircles  a  topknot  of  hair.  A  companion 
pi.  to  No.  1 295 1  with  the  same  imprint. 

Reid,  No,  682.   Cohn,  No.  1720. 
io|x8f  in, 

12951  D— D  ANGELIC  PON  HONOR— FASCINATING  CREATURE 
MONSTROUS  HANDSOME!!  D— M  ME  IF  SHE  ISN'T  A  DIVIN- 
ITY ! !  for  further  particulars  enquire  of  the  Original. 

[G,  Cruikshank,] 

See  No,  12950.  A  slim  dandy  with  a  head  too  large  for  his  body,  stands 
directed  to  the  r.,  looking  complacently  downwards,  an  eyeglass  held  opposite 
his  eye.  In  his  r.  hand  is  a  low-crowned  top-hat.  He  has  a  thatch  of  curled 
hair ;  his  face  emerges  from  high  collar  and  deep  swathed  neck-cloth  above 
a  shirt-frill.  His  high-shouldered  short-waisted  coat  with  narrow  tails,  and 
tight  pantaloons  ending  above  the  ankle  are  black.  His  low  flat  shoes  have 
ribbon  bows.   Behind  him  are  pilasters  and  a  shallow  arch. 

Reid,  No.  683.    Cohn,  No.  1036. 
iixSil  in. 

12951  A  A  copy  without  imprint,  with  the  same  title,  no  stop  after 
'Original'. 

ioJx8J  in. 

12952  WALTZING— VIDE  WILSONS  ROOMS 
[G.  Cruikshank  f.,  Capt.  Hehl  del.] 

Pu¥  by  S  W  Fores  50  Piccadilly  Sep""  15.  i8iy 

A  plump,  plainly  dressed,  and  very  ugly  man  faces  his  partner,  holding  her 
under  the  arms.  She  aisc  is  plump  and  grotesque  and  dances  with  fierce  con- 
centration, her  arms  hanging  down.  She  wears  a  sleeveless  and  very  decolletee 
ball- dress;  a  wreath  of  roses  encircles  a  topknot  of  hair. 

Thomas  Wilson  (perhaps  depicted)  was  a  famous  dancing-master,   cf. 
Nos.  12929,  1293 1. 

Reid,  No.  2736.   Cohn,  No.  2091, 
10X7I  in, 

12953  WALTZING  AT  ALMACKS. 

[?  G.  Cruikshank  f.,  Capt.  Hehl  del.]  [?  1817] 

A  caricature  of  Lord  Kirkcudbright  (1.)  dancing  with  (.'')  Lady  Jersey.  They 
face  each  other  in  profile,  her  hands  on  his  shoulders,  his  at  her  waist.  Her 
short  skirts  fly  up  at  the  back,  showing  a  garter.  Her  hair  is  piled  in  loose 
curls,  with  a  fillet,  pearls,  and  tall  feathers. 

Kirkcudbright  with  his  hump  and  concave  profile,  see  No.  9905,  &c.,  is 
unmistakable;  his  partner's  profile  suggests  Lady  Jersey  (1785- 1867),  one  of 
the  chief  patronesses  of  Almack's.  She  was  the  Zenobia  of  Disraeli's  Endymion, 
and  the  Lady  St.  Julians  of  Coningsby.  See  Gronow,  Reminiscences,  1892, 
i.  31-3.  Cf.  No.  12630. 
ii^x8f  in. 

12954  THE  WEDDING  NIGHT  [?  1817] 
Engraving  (coloured  impression).  Two  young  Quakers  sit  primly  side  by  side 
in  bed.  The  woman  (1.)  holds  her  thumbs  and  fingers  wide  apart,  the  hands 
almost  touching  at  the  finger-tips.    The  man's  thumbs  are  in  the  same 

784 


PERSONAL   AND   SOCIAL   SATIRES    1817 

position,  but  the  fingers  are  interlaced.  They  sit  squarely,  their  heads  shghtly 
turned,  looking  sideways  at  each  other.  He  asks :  Beloved  Ruth — shall  We  go 
to  sleep — or  how?  She  answers :  Why  Obidiah  if  the  Spirit  moveth  us  zee  zvill 
how  first — arid  go  to  sleep  afterwards.  The  treatment  is  decorative,  the  heads 
slightly  caricatured,  the  necks  thin  and  elongated.  A  white  tufted  coverlet 
forms  the  base  of  the  design,  which  is  framed  by  curtains. 

Either  the  original  or  a  copy  (reversed)  of  a  French  print :  Jus  primae  noctis, 
reproduced  (colour),  Fuchs,  p.  192,  and  attributed  to  1810.  In  this  the 
inscriptions  are  omitted,  the  Quaker  element  is  absent  and  demureness  is 
altered  to  coy  expectation,  but  the  prim  position  of  the  hands  is  the  same, 
suggesting  that  the  English  is  the  original :  this  position  is  characteristic  of 
the  Quaker  in  English  caricature.  In  the  manner  of  etched  versions  of  litho- 
graphs by  G.  Cruikshank,  cf.  p.  852,  n.  2. 
8^X  12^  in.  'Caricatures',  x.  179. 

12954  a  the  wedding  night 

[Pub.  .  .  .]  18 ly  by  Fores. 

Engraving  (coloured  impression).    Another  version,  reversed,  with  altera- 
tions.  A  table  with  a  broken  candle  is  introduced  on  the  1.   The  inscriptions 
are  the  same,  with  the  spelling  of  Obadiah  corrected. 
6x9j  in.  'Caricatures',  x.  222. 

12955-12958 

Designs  in  lines  and  dots,  attributed  to  G.  Cruikshank.  Tiny  figures, 
composed  of  lines,  one  each  for  trunk  and  limbs,  with  small  dots  for  head, 
hands,  and  feet,  are  generally  in  violent  action.  Women  are  denoted  by  petti- 
coats. Animals  and  accessories  are  as  a  rule  more  realistically  drawn.  The 
genre  was  perhaps  originated  by  Woodward  (d.  1809),  who  designed  two 
plates  of  acrobatic  feats,  &c.,  entitled  Multum  in  Parzo,  or  Lilliputian  Sketches 
shewing  what  may  be  done  by  lines  and  dots.  A.  de  R.,  xiv.  164,  165.  See  also 
Nos.  12902,  12930  [5]. 

12955  [TWELVE  COMICAL  SUBJECTS  ...  IN  TWO  ROW^S.]' 

London.  Piib'^  June  14"'  i8iy  by  G:  Blackman  Juyf  362  Oxford  S' 

Engraving,  [i]  Heads  up.  Drill  sergeant,  using  a  cane  to  a  recruit.  [2]  Vice 
Versa.  A  man  standing  on  his  head.  [3]  A  Broad  hint.  One  man  kicks 
another.  [4]  Good  Friends.  Three  men,  arm-in-arm,  their  attitudes  suggest- 
ing men  of  fashion.  [5]  Dissolving  Partnership.  A  man  chases  off  with  a  pair 
of  shears  a  man  holding  a  (?)  cloth-dresser's  comb.  [6]  Two  Pennyworth  of 
decency.  A  barber  shaves  a  customer.  [7]  Take  care  there.  A  man  wearing 
a  sword  fires  a  musket.  [8]  /  see  it  now  bless  my  Stars.  A  man  looks  through 
a  telescope  while  another  points.  [9]  Can  t  you  see.  A  man  is  knocked  on  the 
head  by  a  large  chest  carried  on  the  head  of  a  porter.  [10]  O'  how  lovely. 
A  man  bows  low  to  a  lady  holding  up  a  fan.  [i i]  Don't  teaze  me:  the  lady  so 
answers  the  man.   [12]  Pray  believe  me.   He  kneels  at  her  feet. 

Reid,  No.  677. 
c.  6x8|in.  'Caricatures',  X.  220. 

12956  [NINE  SIMILAR  SUBJECTS  IN  THREE  ROWS.]' 
Published  July  ig,  i8iy,  by  G.  Blackman  362,  Oxford  6"'  London. 
Engraving,    [i]  Double  quick  time  Charge  Bayonet.    A  man  flees  before  a 
bayonet  levelled  at  his  posterior.  [2]  Cut  six  no  bodys  afraid.  A  mounted  man 

'  Title  from  Reid. 

785  3E 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

slashes  at  six  men;  two  make  off,  the  others  resist.  [3]  Prodigious.  A  man 
carrying  a  long  staff  and  (?)  portfolio.  [4]  Skittle  Playing.  One  man  takes  aim 
at  nine  skittles;  a  second  stands  by  the  pins,  two  others,  smoking,  sit  on  a 
bench.  [5]  Stag  Hunt.  This  fills  the  second  row.  The  stag  (r.)  is  closely 
pursued  by  hounds,  huntsmen  leap  a  fence,  others  ride  up  from  the  1.  Some 
riders  fall  or  have  fallen.  [6]  Jack  in  the  Green.  Round  the  conical  figure 
dance  a  man  with  a  little  chimney-sweep  wearing  a  cocked  hat  and  holding 
a  brush,  and  a  woman  flourishing  a  bottle.  [7]  A  Wipping  [sic]  Post.  One 
man  flogs  another  savagely.  [8]  Dot  &  go  One.  A  ball  from  a  cannon  strikes 
a  man  on  the  chest,  knocking  him  backwards.  [9]  Chalk  Foot  first  March. 
A  man  with  a  cane  directs  the  marching  action  of  two  men.  'Chalk  Foot'  is 
obscure,  perhaps  recruit  or  novice,  on  the  analogy  of  chalk-jockey,  for  un- 
known and/or  incompetent  jockey.  Racing  slang,  c.  1870-90.  Partridge, 
Slang  Diet. 

Reid,  No.  678. 
c.  6|x  loj  in.  'Caricatures',  x.  221. 

12957  PI  2  STRIKING  EFFECTS  PRODUCED  BY  LINES  &  DOTS— 
FOR  THE  ASSISTANCE  OF  YOUNG  DRAFTSMEN— 

G.  Cruikshank  fec^ 

London  Pu¥  Sepf  23*^  i8iy  by  S  W  Fores  N°  50  Piccadilly — 

Engraving.  The  little  designs  are  in  four  rows,  [i]  Making  Play.  Two 
jockeys  gallop  to  the  winning  post  where  a  man  shouts :  Cock  tail  for  a  hund'^. 
[2]  Broke  down.  A  fallen  horse  in  the  shafts  of  a  broken  gig,  the  driver  stand- 
ing in  a  despairing  attitude.  [3]  a  Kick-up.  A  horse  kicks  over  a  table  and 
a  woman  seated  at  it,  the  rider  is  about  to  fall.  [4]  Done!. —  Two  fashionably 
dressed  betting  men;  one  exclaims  Ten  to  one.  [5]  Done — .'.'  The  carcass  of 
a  horse  with  birds  of  prey.  [6]  Dot  &  go  one.  Two  duellists  fire,  one  is  fatally 
hit.  [7]  Tkf  Dit  ikf^  Dit  &  all  the  little  Dits.  A  tall  couple  embrace,  quoting 
Sheridan's  'Duenna' :  sure  such  a  pair  were  never  seen  so  justly  formed  to  meet  by 
nature.  At  their  feet  are  eight  children.  [8]  Toes  up  &  Toes  down— Setting — 
Reeling.  Three  skaters,  one  falls  through  the  ice  in  a  sitting  position,  legs 
above  head,  one  has  fallen  without  breaking  the  ice,  one  skates  tipsily,  holding 
a  bottle  and  glass.  [9]  Coming  well  into  the  field —  A  horse  after  leaping  a 
five-barred  gate  has  fallen  on  its  back,  the  rider  lies  prone;  the  hounds 
surround  them,  one  injured.  [10]  Topping  a  fence.  A  huntsman's  horse  is 
suspended  on  shrubs  by  its  belly.  [11]  In  at  the  death —  A  horse  falls  on  its 
head,  the  rider  lands  on  his.  [12]  ^  Drop  too  much.  A  man  hangs  by  the 
neck  in  a  rectangular  enclosure :  The  Sink  of  Infamy.  Beside  the  hangman 
are  musical  notes :  a  Ketch  [catch]  but  no  Glee.  [13]  A  Vip-ing  Post.  A  woman 
flogs  a  man  who  exclaims:  Oh!  My  Vig!  I  shall  have  a  Vale  in  my  belly. 
[14]  Watch!  Watch!!  A  man  chases  a  thief  who  has  stolen  his  watch.  [15]  Dick 
Dock  sea  sick—  A  one-armed  sailor  walks  with  a  crutch.  [16]  Out  of  the 
Frying  pan  into  the  Fire.  Men  leap  from  a  blazing  ship.  [17]  Going  dowti  to 
a  Watering  place  by  Steam.  A  steam-packet  explodes,  men  climb  up  the  tall 
tilting  funnel  or  plunge  into  the  water.  (Cf.  No.  12920.)  [18]  Going  to 
Gravesend  by  the  Sail^  boat.  A  small  vessel  sinks  by  the  bows,  men  climb  on  to 
the  stern.  [19]  A  skuller.  The  occupants  of  two  Thames  wherries  fight  with 
oars.  [20]  Backing  Water.  A  man  falls  from  one  of  the  boats  on  his  back. 
[21]  Rowing  with  a  pair  of  Oars  [whores].  A  dandy  rows  two  women  with 
feathered  hats  and  a  bottle  of  wine,  saying,  Dont  I  Feather  my  Oars  well? 
[22]  Fishing  with  a  Float.  A  gaily  dressed  woman  fishes  from  a  bank  opposite 
two  bathers.  Her  female  friend  says :  see!  see!  there's  a  fine  cock  salmon!!!  She 

786 


PERSONAL  AND  SOCIAL  SATIRES  1817 

answers,  looking  through  a  lorgnette,  Pll  have  it.  [23]  Archers  shooting  at  the 
Bulls  eye.  Two  archers  aim  at  a  target,  one  hits  the  hind-quarters  of  a  bull ; 
angry  rustics  rush  up  with  pitchforks,  &c. 

Reid,  No.  688.  {PL  i,  with  the  same  title,  pub.  4  Aug.,  is  No.  681.)   Cohn, 
No.  2008. 
c.  lojx  14!  in.  (pi.). 

12958  THE  COCKNEY'S  AMUSEMENTS,  &  SPORTS. 

Engraving.  A  sequence  of  six  designs  in  two  rows,  divided  by  intersecting 
lines,  each  with  a  caption,  a  number  showing  the  cockney's  age,  and  inscrip- 
tion. Fishing  at  16  for  Turbot,  &  Salmon,  in  the  New  River  Islington.  He 
sits  on  the  bank,  his  line  hanging  vertically.  A  sign-post  points  (1.)  To 
Sadlers  Wells;  behind,  St.  Paul's  dominates  houses  and  spires.  Cf.  No.  8939. 
Spouting  18  Performing  the  Part  of  Romeo  before  the  Cook  &  Errand  Boy 
in  the  Kitchen.  He  rants  to  a  fat  cook  and  boy.  Shooting  20  In  practising 
Sparroiv  Shooting  at  Hornsey  Wounds  a  Young  Porker.  He  fires  point-blank 
at  a  pig  beside  a  cottage ;  birds  fly  off.  St.  Paul's  is  in  the  background.  Hunting 

22         at  the  Easter  Hunt,  getting  on  at  a  Good  rate, not  at  all  behind! 

His  horse  leaps  a  low  fence,  he  flies  over  its  head,  not  far  from  the  stag. 
Cf.  No.  1 0813.  Sporting  30  In  Attempting  to  kill  Game  Shoots  his  Faithful 
Pompey.  He  fires  at  his  dog,  which  rolls  on  its  back,  birds  fly  off.  Stuffing 
40  At  a  Civic  Feast  very  lucky  indeed!  hits  the  Mark  every  time.  He  carves 
a  plum-pudding,  a  waiter  behind  his  chair  holds  two  bottles.  Two  other 
guests  are  depicted. 

For  the  cocknev  sportsman  see  (e.g.)  No.  9586,  &c. 

Reid,  No.  689." 
5i^x8^  in.  'Caricatures',  vii.  loi 

I 2959-1 2964 

Plates  (coloured)  by  G.  Cruikshank  to  The  Greeks:  A  Poem  "  Venu  de  France 
d'une  maniere  inconnue ;''  Dedicated  to  all  the  Legs!  [blacklegs]  by  the  Author 
of  The  Pigeons,  Fashion,  &c.  .  .  .  Twentieth  Edition.  London:  Printed  for  J.  J. 
Stockdale,  41,  Pall-Mall .  18 1 y.  The  first  ten  editions  were  without  the  plates 
which  were  also  sold  separately.  The  verses  are  spoken  by  a  ruined  'Greek' 
(card-sharper  or  gambler),  and  are  filled  with  personal  allusions.  Titles  (not 
indexed)  from  the  'Directions  for  the  Plates',  p.  viii.  Reid,  Nos.  601-6,  4680. 
Cohn,  No.  365.    Plates,  3^x6  in.  184.  d.  22. 

12959  I   [A  TANDEM  OF  DONKIES]  Page  28 

Published  21  Aug^  i8iy  by  I.  I.  Stockdale,  41  Pall  Mall. 

A  dandy,  languid  and  fashionable,  drives  two  restive  donkeys  in  a  two- 
wheeled  gig  in  a  landscape  with  palm-trees  (at  Botany  Bay).  He  wears  a  long 
many-caped  coat  and  low-crowned  broad-brimmed  hat,  a  very  high  neck- 
cloth and  shirt-collar. 

He  is  identified,  p.  75,  as  'Sir  Wyndham  Lathrop  Murray  Browne-Clarke, 
Bart,',  convicted  at  the  Old  Bailey. 

12960  2  [MYSELF  AND  MY  GROOM]  Page  33 

A  young  man,  absurdly  dandified,  in  high  cravat,  top-hat,  short  white 
trousers,  and  spurred  boots,  drives  a  courtesan  in  a  fashionable  gig  with  a 
spanking  pair.  A  groom  rides  behind.  A  scene  in  Hyde  Park,  with  pedestrians 
on  the  farther  side  of  rails. 

787 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

12961  3  [POOR  P— T]  Page  65 
Scene  in  Bond  Street.  A  man  dives  under  a  standing  coach  pursued  by  a 
bailiff  who  clutches  his  coat-tails,  holding  out  a  writ.  He  hoped  to  shelter  in 
's  Hell;  but  a  banker's  clerk  points  him  out. 

12962  4  [PRACTISING  AT  ACE  OF  DIAMONDS]  Page  67 

Three  dandified  'Greeks'  practice  with  duelling-pistols  at  a  card  nailed  to  a 
barn-door. 

12963  5  [INSIDE  OF  A  HELL]  Page  132 

Fashionably  dressed  men  sit  or  stand  at  an  oval  table  marked  for  rouge  et  noir. 
A  croupier  with  a  rake  sits  on  a  raised  chair  behind  a  pile  of  notes. 

12964  6  [VENUS]  Page  147 

A  plump  courtesan,  fashionably  dressed,  sits  in  a  shell-shaped  car  drawn  by 
six  plucked  pigeons  (see  No.  12965,  &c.),  two  others  perch  behind.  A  rook 
with  a  croupier's  rake  directs  the  car,  two  others  perch  beside  her.  She  is  the 
favourite  of  a  gambling  hell  at  40  Pall  Mall. 

I 2965-1 2970 

Plates  (coloured)  by  G.  Cruikshank  to  The  Pigeons.  Dedicated  to  all  the 
Flats,  and  Showing  the  Artifices,  Success  and  Crimes  of  Gaming,  Gamesters,  and 
Gambling  Houses.  .  .  .  By  the  Author  of  the  Greeks.  Ninth  Edition.  London: 
Printed  for  J.  J.  Stockdale  No.  41  Pall-Mall .  18  ly.  The  verses  are  professedly 
by  a  plucked  pigeon.  Titles  (not  indexed)  from  'Directions  for  placing  the 
Plates',  p.  167.  Reid,  Nos.  607-12,  4681.  Cohn,  No.  648.  Plates,  31x61  in. 

184.  d.  23. 

12965  Plate  I  [AWAY  BEAUTY  GOES]  Page  4 

G  Cruikshank  fec^ 

Published  21  Aug^  18 ly  by  I.  I.  Stockdale,  41  Pall  Mall. 

A  courtesan  waves  farewell  to  a  dandified  man  who  sits  holding  a  limp  purse, 
dismayed  at  the  departure.  She  trips  to  the  door  preceded  by  a  grinning  maid- 
servant with  box  and  bundle.  On  the  wall  is  a  picture  of  King's  Bench  Prison 
with  men  playing  fives  against  the  high  wall. 

12966  2  [THROWS  DOWN  HIS  PURSE  IN  A  RAGE]  29 

G.CfecK 

A  rouge-et-noir  table  is  partly  cut  off  by  the  1.  margin;  a  croupier  rakes  in 
notes.  Three  men  sit  at  it  while  a  'Greek',  holding  the  arm  of  a  plucked  and 
distressed  'pigeon',  makes  a  bogus  scene,  overturning  his  chair  and  flourishing 
an  empty  purse.  On  the  wall  are  pictures :  (i)  Hell,  with  the  Devil  and  flames, 
&c.   (2)  Birds  of  prey  in  a  wintry  landscape.   (3)  A  pigeon-house  on  a  pole. 

12967  3  [HE  THREW  OUT  OF  LIFE  AS  HE  CALL'D  HIS  LAST 
MAIN]  Page  38 

The  dying  man  propped  on  pillows  drops  dice  and  box,  an  astonished  doctor 
sits  on  the  bed,  dice-box  in  hand,  a  fashionable  companion  stands  by.  On 
a  table  are  medicine-bottles,  decanter,  and  cards ;  on  the  ground,  wine-cooler 
with  bottles,  cards,  and  coins. 

He  is  'Lord  F — d'  with  clues  pointing  to  Viscount  Falkland,  1766-96,  a 
rake  and  gambler  who  died  at  the  White  Lion,  Bath. 

788 


PERSONAL   AND   SOCIAL   SATIRES    1817 

12968  4  [A  BRIDE  WITH  A  SUICIDE  HUSBAND]  39 
G  Cfec' 

A  man  lies  on  a  couch,  his  face  covered  with  a  blood-stained  cloth,  a  pistol 
on  the  floor.  A  despairing  woman  kneels  beside  him, 

12969  5  [THE  LAST  LOSING  TRICK]  47 

A  funeral  procession  from  a  church  to  an  open  grave  in  the  foreground.  The 
coffin,  that  of  a  Greek,  is  carried,  preceded,  and  followed  by  rooks.  On  it  are 
cards  and  dice-box.  Beside  the  grave  a  two  of  spades  leans  against  a  skull. 
A  warning  to  Greeks:  'And  the  last-losing  trick  that  turns  up — is  the  spadeV 

12970  6  [RARE  AVIS  NIGRO  SIMILLIMA  CYGNO]  Page  116 

A  bookseller's  shop-front;  over  the  open  door  Stockdale,  this  is  flanked  by 
windows  with  the  inscription :  Publisher  &  |  Bookseller.  The  panes  are  filled 
with  books,  including  Greeks  and  Pigeons.  There  is  also  a  very  large  Knave 
of  Clubs  ('Pam').  In  the  doorway  stands  a  huge  black  swan,  apparently 
representing  Stockdale. 

Stockdale  (i  770-1 847),  to  be  notorious  as  Harriette  Wilson's  publisher,  see 
vol.  X,  was  son  and  successor  of  the  John  Stockdale  caricatured  in  Nos.  6609, 
9186. 

12971-12976 

Plates  (coloured)  by  G.  Cruikshank  to  Fashion.  Dedicated  to  all  the  Town. 
By  the  Author  of  the  Greeks — The  Pigeons — Modern  Belles — Fashionable 
Anecdotes,  &c.  .  .  .  Fifth  Edition  [first  three  editions  181 7].  Lo?idon:  Printed 
for  J.  J.  Stockdale,  No.  41,  Pall-Mall.  1818.  Similar  verses  to  those  illustrated 
in  Nos.  12959,  12965,  &c.  Reid,  Nos.  692-7,  4682.  Cohn,  No.  305.  Plates, 
c.  5^X3^  in.  B.M.L.  C.  117.  bb.  28. 

12971  THE  RUFFIAN. 

GCfec'. 

Pub.  23  Oct.  i8iy,  by  1 1  Stockdale,  iV"  41  Pall  Mall. 

Frontispiece.  A  fashionable  amateur  whip,  stalwart  and  smiling,  stands  with 
legs  astride,  arms  akimbo.  He  wears  a  rakish  bell-shaped  top-hat,  long  coat 
with  triple  capes  looped  over  an  arm,  tail-coat,  breeches,  and  top-boots.  Behind 
him  are  a  hound  and  a  bull-dog.  He  seems  to  be  Lord  Mountcharles  (1795- 
1824),  see  pp.  54-7. 

12972  THE  EXQUISITE. 

G  Cruikshank  fec*^ 

P.  49.  A  dandy,  absurdly  slim  and  elongated,  makes  a  drooping  bow  with 
lowered  eyelids,  opera-hat  in  dropped  1.  hand,  eyeglass  in  r.  dangling  from 
a  chain.  He  wears  collar  against  his  cheeks,  shirt-frill,  high-waisted  coat  with 
very  tight  sleeves,  narrow  tails  from  which  a  large  handkerchief  dangles,  tight 
pantaloons  to  the  ankle.   He  is  rouged,  has  a  tiny  moustache  and  imperial. 

12973  THE  USEFUL  MAN.— 

GC^fed 

P.  66.  Elderly,  slim,  and  spectacled,  with  short  powdered  hair,  dressed  in 
black,  with  knee-breeches,  he  leans  against  a  writing-table  in  profile  to  the  r. 
He  puts  his  learning,  library,  and  pen  at  the  service  of  noble  friends  and 
patrons. 

789 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

12974  THE  MERVEILLEUSE. 

GCruik'^fec' 

P.  8i.  A  fashionably  dressed  woman  sits  simpering  on  a  sofa,  her  knees 
crossed,  a  closed  fan  in  her  gloved  hands.  Her  breasts  and  arms  are  much 
displayed,  she  wears  a  wreath  on  her  sleek  hair,  surrounding  a  topknot,  and 
long  ear-rings. 

12975  THE  INTRIGUANTE. 

P.  82.  An  elegante,  older,  more  studied  in  dress  and  more  artful  in  manner 
than  No.  12974,  stands  holding  out  a  tiny  note  with  an  insinuating  smile. 
Cf.  No.  13072. 

12976  THE  SAVANTE. 

P.  83.  A  stout  woman  with  cropped  hair  and  high-waisted  dress  of  extreme 
severity  and  masculine  cut  stands  inspecting  a  book  through  a  lorgnette. 

I 2977-1 2978 
From  series  of  'Drolls' 

12977  PETER  SNOUT,  OR  A  SHIFT  TO  MAKE  A  SHIRT,  533 

G  Cruikshank 

Published  the  i^^  of  April,  1821  by  R.  H.  Laurie  N°.  53,  Fleet  Street, 
London.^  [18 17] 

Engraving.  Heading  to  a  (printed)  song:  Sung,  with  universal  Applause,  by 
Mr.  Sloman  and  Mr.  Munden.  A  would-be  dandy,  wearing  a  short  frilled  shirt 
and  ragged  stockings,  rushes  furtively  from  a  bedroom  carrying  shoes,  coat, 
and  pantaloons  with  an  ankle-string,  as  in  No.  12825,  &c.  A  parson  with  a 
carbuncled  face  sleeps  in  the  curtained  bed.  The  verses  relate  that  Snout, 
having  only  one  shirt,  which  his  wife  had  just  washed,  goes  out  to  dinner 
wearing  a  cravat  and  a  coat  buttoned  to  the  chin.  Owing  to  bad  weather  he 
shared  the  bed  of  a  parson,  who  'always  changed  his  shirt  at  night'.  Snout 
appropriated  his  shirt,  and  outfaced  the  parson  at  breakfast. 

Reid,  No.  1028.    Cohn,  No.  1839.    Reproduced,  Cruikshankian  Momus, 
p.  104. 
6x7!  in.    Sheet,  c.  ii|X9|  in. 

12978  PADDY  CAREY'S  FORTUNE.  534 

G.  Cruikshank  fec*^ 

Published,  February  i^\  i8iy,  by  Jatnes  Whittle  and  Richard  Holmes 
Laurie,  No.  5J,  Fleet  Street,  London. 

Engraving.  Heading  to  a  (printed)  song:  (Sung,  with  great  Applause,  by 
Mr.Fitzwilliams  and  Mr.  Webb.).  A  burly  stage-Irishman,  in  officer's  uniform 
with  Hessian  boots  and  shako,  stands  astride,  grinning  down  at  a  hump- 
backed old  woman,  who  takes  his  arm  and  leers  up  at  him.  Behind  them  are 
two  pairs  of  ladies,  envious  at  the  old  woman's  success,  and  an  amused 
recruiting  sergeant,  who  has  just  enlisted  Paddy.  In  the  background  is 
Limerick  race-course  with  a  race  in  progress.  The  widow  proposed  to  Paddy, 
the  recruit,  who  thereupon  donned  'a  large  cockade'  and  'captains'  boots'. 
The  subject  of  an  illustration  by  G.  C.  to  The  Universal  Songster,  1825,  i-  ^^S- 
Reid,  No.  624.  Cohn,  No.  1821.  Reproduced,  Cruikshankian  Momus,  p.  92. 
6x8^  in.   Sheet,  c.  1 1  ig-  X  9I  in. 

'  The  serial  number  shows  that  it  has  been  reissued. 

790 


i8i8 
POLITICAL  SATIRES 

12979  TWO  WELL  KNOWN  OFFICERS,  ON  FULL  AND  HALF  PAY. 

[?  Williams.]  [Jan.  1818] 

Aquatint  (coloured  and  uncoloured  impressions).  PI.  from  the  Busy  Body} 
A  fashionable  officer  in  hussar  uniform,  with  a  star  on  his  frogged  and 
embroidered  coat,  has  just  swaggered  past  a  gaunt  officer  wearing  an  old- 
fashioned  tricorne  hat,  and  with  a  mourning-scarf  tied  to  his  1.  arm.  The  side 
of  an  archway  (1.)  suggests  the  Horse  Guards.  The  half-pay  officer  stands 
erect,  gazing  before  him  with  a  tragic  expression;  his  toes  project  from  his 
boots.  He  holds  a  paper :  Half  Pay  Bill  of  Fare — Potaetoes,  Potaetos,  Potaetoes. 

A  recurring  post-war  tragedy,  cf.  No.  6170  (1783). 
6fX4i  in. 

12980  WILLIAM  THE  CONQUEROR.  OR  THE  GAME  COCK  OF 
GUILDHALL 

G  Cruikshank  fed 

Pub.  by  S.  W  Fores  50  Piccadilly  Jany  lo'^- 1818. 

Lithograph  (coloured  impression).  A  game-cock,  with  the  head  of  William 
Hone,  stands  directed  to  the  r.,  wings  extended,  the  1.  claw  resting  on  a  small 
rectangular  block  inscribed  Trial  by  Jury.  The  two  black  and  bewigged  birds 
he  has  conquered  lie  on  their  backs  on  each  side  of  him.  One  (1.)  has  the  head 
of  EUenborough;  the  other.  Shepherd  (r.),  with  a  bird's  beak  and  eye,  clasps 
an  ear-trumpet.  Hone's  r.  claw  rests  on  EUenborough,  whose  cheek  is  being 
punctured  by  the  spur;  the  judge  frowns  fiercely  at  his  enemy.  By  the 
prostrate  birds  lie  white  feathers,  the  sign  of  a  cross-bred  game-cock  (cf. 
No.  12613).  Beside  Shepherd  is  a  paper  (a  song)  headed  Gentle  Shepard  [sic] 
/  have  lost.   Above  Hone:  Cock  a  doodle  dooU! 

For  Hone's  trials  before  EUenborough  see  No.  12899,  ^^-  They  took  place 
after  term  in  Guildhall. 

There  is  a  second  state,  not  in  B.M.,  with  the  imprint  of  W^m.  Hone, 
Ludgate  Hill. 

Reid,  No.  2738.    Cohn,  No.  2106. 
7X  iif  in. 

12981  THE  DISCONCERTED  HYPOCRITE:  A  Scene  from  a  Dramatic 
Entertainment  lately  performed,  with  great  applause,  in  London. 

[G.  Cruikshank.] 

Printed  and  Published  by  John  Fairburn,  2,  Broadway,  Ludgate-Hill. 

Price  Three-pence  [Jan.  1818] 

Engraving.  The  figure  of  Pitt's  ghost,  the  pi.  cut  from  that  of  No.  11895, 
is  the  heading  to  a  broadside,  a  verse  satire  in  dramatic  form,  signed  W.  R.  H.^ 
and  dated  'Bishops-Stortford,  Jan.  7,  i8i8'.  Pitt's  words  (as  in  No.  1 1895)  are 
List!  Oh  list!! .  The  Dramatis  Personae  are  Lord  Sadmouth  [Sidmouth],  Lord 
Hellborough  [EUenborough],  Old  Bags  [Eldon],  Derrydown  Triangle  [Castle- 
reagh,  see  No.  12900],  George  Cunning  [Canning],  The  Ghost,  and  a  valet  who 
enters  with  a  razor  for  Sidmouth  'Just  whetted  too  upon  an  English  Hone!'. 

'  Note  by  E.  Hawkins. 

^  W.  R.  Hawkes,  author  of  other  poHtical  satires,  &c. 

791 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

All  deplore  the  three  acquittals  of  Hone.  Sidmouth  relates  his  dream:  he  was 
denounced  by  the  ghost  of  Brandreth,  see  No.  12893;  Oliver  cried  from  a 
gibbet  'hang  the  Doctor  (cf.  No.  9849);  he's  as  bad  as  I'.  A  'million  voices 
bawl'd — Reform!'.   Pitt's  ghost  appears  to  the  Ministers,  whom  he  calls: 
Vulgar  employers  of  the  meanest  arts 
Made  up  of  shallow  heads  and  flinty  hearts. 

He  is  expiating  his  errors  in  purgatory,  and  warns  them  to  repent:  'reform 
must  come'. 

The  nicknames  of  Eldon  and  Castlereagh  are  those  used  by  Hone  in  the 
parodies  for  which  he  was  tried,  see  No.  12899,  ^^• 

Cohn,  No.  13 19.   Cf.  Reid,  No.  167, 
8JX4^  in.    Broadside,  i9|X7|in. 

12982  [FRONTISPIECE  TO  THE  FIRST  VOLUME  OF  THE  BLACK 
DWARF. 

Published  by  T.  J.  Wooler  58  Sun  Street.y  [Jan.  18 18]^ 

Engraving.  A  satyr,  muscular  and  almost  nude,  takes  by  the  hand  a  little 
black  dwarf  (r.)  while  he  points  with  1.  forefinger  at  a  group  of  emblems  (1.) 
surrounded  with  smoke,  at  which  he  looks  with  a  fierce,  sardonic,  and  exulting 
grin.  The  dwarf  capers  delightedly,  1.  hand  on  hip;  he  has  fierce  aquiline 
features,  wears  a  turban  decorated  with  three  pen-feathers,  and  doublet  and 
hose  of  quasi-Spanish  type.  The  emblems,  apparently  about  to  be  burned, 
are:  two  judge's  wigs  on  wig-blocks,  one  erect  and  in  back- view,  the  other 
overthrown;  a  sceptre,  erect,  serving  as  prop  for  a  crown  on  which  is  a  fool's 
cap;  neat  bundles  of  papers,  a  fetter.  Near  the  dwarf  lie  torn  papers  and  a 
scroll  headed  Ex  Officio  and  Tell  me  gentle  Shepherd  zvhere. 

Wooler  (1786  ?-i853)  was  tried  before  Justice  Abbott  and  a  special  jury  on 
5  June  1817  on  Ex  Officio  Informations  (see  No.  11717,  &c.)  for  two  libels 
in  the  Black  Dwarf  for  2  Apr.,  and  conducted  his  own  defence  by  impassioned 
appeals  to  the  jury.  He  was  acquitted  of  the  first  libel,  convicted  of  the 
second,  but  owing  to  doubt  as  to  the  unanimity  of  the  jury  owing  to  the  haste 
with  which  the  judge  accepted  the  verdict,  he  was  granted  a  second  trial,  and 
was  then  acquitted  on  the  plea  that  he  could  not  be  said  to  write  articles 
which  he  set  up  in  type  without  MS.  'Tell  me  gentle  Shepherd  .  .  .'  indicates 
the  Attorney-General  with  whom  Wooler  had  a  contest  in  court.  The  line 
from  the  old  song  (by  Samuel  Howard)  was  well  known  from  its  quotation 
by  the  elder  Pitt  in  an  attack  on  Grenville  in  Mar.  1763,  after  which  Grenville 
was  long  known  as  the  'Gentle  Shepherd'.  Walpole,  Memoirs  of  George  III, 
i.  251.  Wooler  was  repeatedly  caricatured  as  the  Black  Dwarf  of  this  print, 
which  is  parodied  in  No.  12988,  his  blunt  negroid  features,  very  different 
from  those  of  this  dwarf,  lending  themselves  to  caricature.  The  satyr  prob- 
ably derives  from  the  (ancient)  confusion  between  satyr  and  satire, 
c.  9x8  in.  (vignetted  and  cropped). 

12983  A  PEEP  INTO  THE  PUMP  ROOM  OR  THE  ZOMERSETSHIRE 
FOLK  IN  A  MAZE. 

[Williams.] 

Piib^  Feby  1818  by  SW  Fores  N"  50  Piccadilly 

Engraving  (coloured  impression).  The  Pump  Room  at  Bath  is  crowded  with 
people  striving  to  see  Queen  Charlotte,  who  sits  in  an  arm-chair  facing  the  low 

'  From  B.M.L.  P.P.  3612.  ac. 
-*  Wooler  announced  in  the  Black  Dwarf  for  14  Jan.  (ii.  23)  that  title-page,  index, 
and  'A  Humourous  Frontispiece'  for  vol.  i  (which  began  29  Feb.  1817)  were  now  ready. 

792 


POLITICAL   SATIRES    1818 

barrier  surrounding  the  pump.  She  holds  a  goblet,  and  puts  a  hand  to  her 
waist,  exclaiming  Oh!  my  belly!  my  belly!  Oh  the  water  the  water!  She  wears 
a  fashionable  bonnet  with  a  fringed  shawl  over  her  long  limp  gown,  with 
high-heeled  shoes  of  antique  pattern.  Her  snuff-box  is  on  the  ground.  Two 
women  stand  by  her,  one  with  a  bottle  of  Old  Tom  saying  Here  Madam  Here's 
Old  Tom  [strong  gin],  they  say  he's  a  famous  Docter  for  the  Belly  Ache;  the 
other  says:  let  me  advice  you  to  put  Old  Tom  in.!  The  Duke  of  Clarence  in 
naval  uniform  leans  on  the  back  of  the  Queen's  chair,  saying,  Brandy  the 
specific  for  the  Belly  Ache  George  &  I  always  recomend  Brandy.  A  man 
pumps  (r.);  an  elderly  woman  hands  glasses  to  the  company  who,  with  the 
Queen,  are  all,  with  two  exceptions,  behind  a  red  rope  attached  to  the  barrier. 
Those  behind  stand  on  tables  and  chairs  to  see  the  Queen.  A  doctor  looks 
towards  her,  saying,  Three  seconds  more  will  produce  a  Motion.  Others  say: 
Well  I  declare  I  see  nothing  extroardinary  to  look  at!! ;  Well  Jhan  she  doant  look 
a  bit  better  than  Oul  Granny;  Who  said  she  did?  Eh  Dame. 

The  Queen  went  to  Bath  to  take  the  waters  in  Nov.  1817,  the  Duke  of 
Clarence  being  there  during  part  of  her  visit.  Ann.  Reg.,  1817,  Chron.,  p.  123 ; 
Corr.  of  George  IV,  ii.  227. 
9|xi3|in. 

12984  A  NEW  MODE,   OF  PRESENTING  TWO  ADDRESSES  AT 
ONCE 

[Williams.] 

Pub'^  Feby~i8i8  by  S.  W.  Fores  N"  50  Piccadilly. 

Engraving  (coloured  impression).  Prince  Leopold  (1.)  and  Queen  Charlotte 
(r.)  sit  facing  each  other  on  similar  chairs  of  state,  each  on  a  fringed  carpet, 
the  Queen  with  her  r.  foot  regally  on  a  footstool.  A  large  map  hangs  on  the 
wall  between  them,  showing  two  roads  leaving  London,  one  N.W.  To  Clar- 
mont  [sic],  the  other  N.E.  To  Bath,  indicating  that  the  Prince  is  at  Claremont, 
the  Queen  at  Bath.  Between  them  stands  a  handsome  man  in  court  dress; 
he  faces  Prince  Leopold,  bowing  low,  to  present  a  rolled  document  headed: 
Address  of  condoletice  without  one  dissenting  voice,  the  Universal  and  Heartfelt 
feeling  of  the  Nation.  Behind  his  back  he  holds  out  a  similar  scroll  to  the 
Queen,  headed :  /  think  the  Ayes  have  it!  She  clutches  it  with  avid  anxiety, 
staring  at  it  through  a  lorgnette.  She  is  ugly  and  emaciated,  elegantly  dressed 
except  for  old-fashioned  shoes.  In  her  lap  is  a  large  open  snuff-box  inscribed 
Rappee;  under  her  chair  stands  a  large  jar  of  Stasburg  [sic]  snuff  (cf.  No. 
12066).    Below  Prince  Leopold: 

When  Scenes  of  Affliction,  of  Sorrozv  and  Pain, 
Affect  our  dear  Relatives,  Neighbours,  or  Friends, 
We  hasten  to  sooth  them,  relieve,  or  sustain. 
Nor  cease  our  attentions  'till  nature  amends. 

Below  the  Queen: 

But  those  in  high  rank,  zchose  Affections  &  Feeling, 
Forbid  them  to  follozv  the  old  trodden  Path, 
Their  Relations  may  suffer  in  Tears  Unavailing, 

Be  dying  at  C while  they  Dance  to  Bath. 

a  Man  of  Feeling. 

When  Princess  Charlotte  died,  see  No.  12894,  ^^^  Queen  was  at  Bath;  on 
6  Nov.  she  received  the  x^ddress  of  the  Bath  Corporation ;  almost  at  the  same 
moment  a  messenger  brought  news  of  Princess  Charlotte's  death.  Examiner, 
1817,  p.  714.    It  is  also  suggested  that  she  interfered  in  politics.    Cf.  an 

793 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

obituary  article  in  the  Examiner  (to  which  she  had  been  a  subscriber),  22  Nov. 
1 818:  'The  pretence  of  some  of  her  eulogists,  that  she  did  not  interfere  in 
politics  and  intrigue,  is  refuted  not  only  by  all  probability,  but  by  what 
politicians  themselves  have  shewn.' 
7J|  X  i2f  in.   With  border,  9X  i2|  in. 

12985  BLOOD    HOUNDS    LET    LOOSE.    ON   THE    OPINION    OF 
(TWELVE)  GOOD  JUDGES.!!!— !!!—!!! 

y  L  Marks  Del  [c.  Mar.  1818] 

Engraving  (coloured  impression).  Twelve  judges  and  serjeants-at-law  stand 
at  the  open  gate  of  a  prison  (1.)  from  which  four  savage  dogs  have  rushed  out 
and  streak  forward,  urged  on  by  the  judges.  Two  dwarfish  youths  are  the 
quarry,  one  with  the  bent  shin-bones  of  rickets;  they  run  wildly  past  a 
notice-board:  Beware  of  Man  Traps.  The  dogs  have  spiked  metal  collars 
inscribed  respectively  Pelham,  Vaughan,  Brock,  P[ower].  The  foremost  judge 
says,  pointing  to  the  fugitives :  Seize  them  Boys.  Two  talk  together :  one  says : 
We  encourage  those  who  betray  their  freitids!  The  other:  Such  language, 
brother,  anywhere  else  might  turn  to  our  prejudice.  Learn  to  be  more  guarded 
I  beg  you.  In  the  background  four  bodies  hang  from  a  gibbet.  The  lawyers 
are  burlesqued  rather  than  characterized :  Ellenborough  (r.)  can  be  identified, 
with  (probably)  Eldon  in  back  view.  The  beak-like  nose,  puffed  cheeks,  and 
pursed  mouth  of  one  lawyer  suggest  Shepherd,  the  Attorney-General. 

On  17  Feb.  four  young  men  and  women  were  hanged  for  forgery;  according 
to  a  paragraph  in  the  Examiner,  15  Feb.:  'with  the  death-warrant  for  the 
execution  .  .  .  was  sent  a  Free  Pardon  for  Messrs  Brock,  Pelham,  Power,  and 
Johnston,  and  they  were  immediately  liberated — Has  not  Vaughan  a  situation 
at  the  Milbank  Penitentiary'.  This  was  the  subject  of  leading  articles  on 
8  and  15  Mar.  on  'Blood  Conspirators  and  their  Victims'.  They  were  police- 
officers  who  had  been  convicted  of  misprision  of  felony  by  acting  as  agents- 
provocateurs  to  induce  persons  to  commit  crimes.  Vaughan  was  a  Bow  Street 
officer  who  incited  to  crime  to  obtain  a  reward  for  conviction  of  the  offender. 
The  fugitives  are  doubtless  Kelly  and  Spicer,  wretched  youths  of  the  under- 
world, victims  of  a  bad  police-system.  Cf.  Nos.  12813,  12887. 
7|X  12^  in.   With  border,  8^X  14^  in. 

12986  MORE   HUMBUGS,— OR— ANOTHER   ATTACK   ON   JOHN 
BULLS  PURSE. 

[Williams.] 

Pub'^  April  1818  by  S  W  Fores  50  Piccadilly. 

Lithograph  (coloured  impression).  Princess  Elizabeth  (b.  1770)  walks  posses- 
sively with  her  husband,  the  Prince  of  Hesse-Homburg,  his  r.  arm  in  the 
crook  of  her  elbow,  her  hands  clasped;  they  follow  John  Bull  (r.),  a  stout 
man  wearing  gaiters  and  carrying  a  knotted  stick,  who,  with  his  hands  deep 
in  his  coat-pockets,  looks  at  them  over  his  shoulder  with  glum  suspicion. 
Both  are  dressed  for  the  wedding,  the  Princess  with  feathers  and  diamonds 
in  her  hair,  many  jewels,  and  a  train,  the  Prince  in  a  court  suit;  he  has  a 
bristling  moustache,  a  crest  of  hair  like  a  cockatoo's,  and  smokes  a  long  Ger- 
man pipe  with  a  carved  bowl.  He  bows,  holding  out  his  cocked  hat  insinu- 
atingly, and  says :  Now  M^  Bull!  I  try  my  best,  I  erect  my  Crest  And  at  your 
expence  I  shall  be  blest.  The  Princess  is  pretty  but  very  stout,  bland  and 
propitiatory ;  she  says :  Yes  Johnny  you  know  me  before  to  Day,  be  assured  I  am 
no  chicken   And  you  shall  see  that  merry  Bess,  In  concert  join'd  with  Humbug 

794 


POLITICAL   SATIRES    1818 

Hesse  With  Heirs  old  England  soon  shall  Bless,  But  you  must  find  the  Money. 
John  says :  Bless!!  did  you  say?  hem,  then  I  suppose  I  may  expect  a  dozen  more 
such  blessings,  and  that  will  quite  empty  my  Pocketts.  The  Prince  says:  Why 
I  be  com  for  your  goods — John  retorts :  Aye  and  my  Chatties  too,  I  suspect!!! 
Behind  Princess  EUzabeth  walk  her  two  unmarried  sisters,  arm-in-arm,  elabo- 
rately dressed  with  lace  veils  hanging  from  their  heads.  Princess  Augusta 
(b.  1768)  says:  Now  sister  for  a  trip  to  Yarmany,  we  shall  there  see  Relations 
of  all  descriptions  zvithout  number.  Princess  Sophia  (b.  1777)  answers:  ajid 
plenty  of  Husbands  Sister.  The  scene  is  the  Green  Park,  with  part  of  the  east 
front  of  the  Queen's  House  (where  Princess  Elizabeth  was  married  on  7  Apr.) 
on  the  extreme  1. 

The  Prince  was  regarded  in  English  societ}'  as  vulgar  and  ineligible;  his 
moustache  and  his  pipe-smoking  were  especially  condemned,  and  he  was 
nicknamed  Humbug.  D.  M.  Stuart,  The  Daughters  of  George  HI,  1939, 
pp.  181-3.  See  Nos.  12764,  12987,  12989,  12990,  12991,  12992,  12993,  ^2994, 
12996,  12998,  13017,  13499. 
8^X  i2f  in. 

12987  THE    MATRIMONIAL    MANIA— OR— POOR    JONN^'    RID- 
DEN TO  DEATH. 

[Williams.l 

Pub'^  April  1818  by  S  W  Fores  N"  50  Piccadilly. 

Engraving  (coloured  impression).  John  Bull,  a  fat  'cit',  walks  on  hands  and 
feet,  overburdened  with  panniers  containing  royal  dukes  and  their  wives.  He 
raises  the  1.  leg  to  propel  the  Duke  of  Clarence  from  his  back  into  a  pond  (r.); 
on  the  Duke's  shoulders  sit  two  young  women,  who  are  also  about  to  land 
in  the  pond  in  which  is  a  notice-board:  Slough  of  Jordan.  Three  pairs  of 
feminine  legs  and  one  pair  in  trousers  emerge  from  the  pond,  where  their 
owners  have  fallen  head  first;  two  chamber-pots  inconspicuously  floating 
among  the  legs  show  by  a  coarse  pun  that  these  belong  to  FitzClarences,  the 
Duke's  children  by  Mrs.  Jordan,  cf.  Xo.  7908,  &c.  The  Duke  who  flourishes 
a  cat-o' -nine-tails,  exclaims  Curse  him  he  has  kick'd  tne  off,  take  [sic]  we  shall 
be  in  the  slough  by  G — .  In  the  near  pannier  on  John's  1.  stands  the  Duke 
of  Kent,  one  arm  round  his  betrothed,  the  other  flourishing  a  long  whip,  with 
his  r.  leg  raised  and  resting  on  John's  shoulder,  which  his  spur  gashes.  Beside 
the  Princess  of  Leiningen  stands  the  Duchess  of  Cumberland  extending  her 
arms  towards  her  husband  who  lies  on  the  ground,  clutching  a  whip  with  a 
long  weighted  lash.  She  says :  Oh  mine  dear  why  you  Tomble  out  make  hase  [sic] 
haste  you  get  up  again!  He :  Xo!  Xo!  mv  dear  this  is  the  second  fall  I  have 
had,  I  shall  not  venture  a  third  time,  so  you  must  e'en  ride  without  me!  In  the 
other  pannier  stands  the  Duke  of  Cambridge,  raising  his  heavy  whip  to  lash 
John  Bull ;  his  betrothed,  the  Princess  Augusta  of  Hesse-Cassel,  stands  behind 
him  with  her  hands  on  his  shoulders.  He  says:  Come  up  you  lazy  Animal  zvhy 
you  are  as  sluggish  as  a  Jack  Ass!  spur  him  up, — zvhy  the  stupid  Animal  is  totally 
ignorant  of  the  honor  done  him,  Aye  and  of  the  grandeur  and  brilliance  we  shall 
display. — beside  Johnny  its  the  Money  we  want  not  the  Wives,  consider  the 
number  of  Bastards  we  have  to  keep, — .  She  says :  Ah  so  you  whip  de  Monies 
from  Johnny  Bull.  John,  looking  up  towards  his  tormentors,  says :  Curse  the 
honor,  the  Brilliance,  the  Luxury,  extravagance,  the  Debauchery  and  all  the  rest, 
give  me  but  a  little  ease,  and  allow  me  to  keep  a  little  of  my  hard  earnings,  and 
then  I  will  trudge  on,  but  I  cannot  labour  without  Victuals,  or  pay  without  Money, 
Vis  too  much  for  any  Animal  to  bear.  All  the  brothers  wear  uniform;  Clarence 
that  of  an  admiral,  Cumberland  that  of  a  hussar,  with  furred  dolman.  Princess 

795 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

Elizabeth  and  her  husband,  see  No.  12986,  &c.,  stand  together  in  the  back- 
ground (1.)  in  travelling  dress,  watching  John  Bull.  Near  them  and  on  the 
extreme  1.  is  Castlereagh  standing  on  a  mounting-block  with  three  steps 
inscribed  respectively:  Conceit,  Importance,  Effrontery.  He  takes  from  a  man 
whose  hand  and  foot  only  are  visible  (as  in  other  representations  of  the  Regent) 
a  great  pile  of  new  burdens  for  John  Bull,  saying,  Fll  put  it  on!  he  will  bear 
it,  and  more  still.  These  bulky  packages  are :  New  fasioned  [sic]  Loans,  New 
export  Duties,  New  Yachts,  New  Madhouses,  Nezv  Palaces,  New  Streets,  New 
Jails,  New  Churches. 

The  marriages  of  the  Dukes  of  Clarence,  Kent,  and  Cambridge,  were  hastened 
by  the  death  of  Princess  Charlotte,  see  Creevey  Papers,  1912,  pp.  268-71, 
667.  The  print  reflects  the  debates  of  15  and  16  Apr.  on  a  provision  for  the 
dukes  on  their  marriages,  ^12,000,  out  of  which  ^(^4,000  would  be  deducted 
as  pin-money  for  their  brides,  with  a  jointure  of  j(^8,ooo  for  the  Duchess  of 
Clarence,  and  ;^6,ooo  for  the  other  consorts.  Each  was  also  to  have  ^6,000 
for  an  outfit.  The  Duke  of  Cumberland  was  to  be  included  in  this  arrange- 
ment. Opposition  carried  an  amendment  reducing  the  grant  to  the  Duke  of 
Clarence,  on  which  he  announced  that  he  should  not  marry.  The  grant  to 
Cumberland  was  again  rejected  as  in  1815,  see  No.  12591,  &c.,  this  being  his 
'second  fall'.  Pari.  Deb.  xxxviii.  76  ff. ;  Ann.  Reg.,  1818,  pp.  84  ff.  The  Duke 
of  Clarence  had  stipulated  that  provision  must  be  made  for  his  children  and 
his  debts,  see  Corr.  of  George  IV,  1938,  ii.  227,  236-8.  The  allusion  to 
bastards  comes  oddly  from  the  model  Duke  of  Cambridge.  Cambridge 
married  on  7  May,  Kent  on  29  May,  Clarence  on  11  July,  see  Nos.  13004, 
13227.  The  burdens  to  be  imposed  by  Castlereagh  include  the  non-contro- 
versial grant  of  ^(^  1,000, 000  for  new  churches  (cf.  No.  13347),  and  the  proposal 
in  the  budget  to  raise  ,(^3,000,000  by  a  conversion  of  ^27,000,000  of  3  per  cents, 
to  3^  per  cents,  on  a  payment  of  £11  per  cent,  from  those  accepting  the  con- 
version. Smart,  Econ.  Annals  of  the  Nineteenth  Century,  i.  629  f.  'New  jails' 
were  not  an  item  in  the  national  expenditure,  being  provided  by  local  authori- 
ties. 'New  Streets',  'New  Palaces',  and  'New  Yachts'  connote  the  Regent's 
extravagant  expenditure,  see  No.  12747.  After  one  of  the  Royal  yachts  had 
been  lavishly  reconditioned,  see  No.  12804,  a  new  yacht  was  launched  on 
17  July  i8i6.  Ann.  Reg.,  1816,  Chron.,  p.  61.  For  the  burdens  imposed  on 
John  Bull  by  royal  marriages,  cf.  Nos.  12754,  12793,  12986,  12989,  13004. 
8|x  13  in.   With  border,  9X  13^  in. 

12988  ONE  MORE  PARODY!!!  ON  THE  FRONTISPIECE   TO    1ST 
VOL  OF  BLACK  DWARF— 

Knahskiurcegroeg  fec^ 

Piib'^  April  1818  by  A  Beiigo  N  38  Maiden  Lane  Cov^  Garden 

Engraving.'  Heading  to  a  broadside  with  a  printed  title  in  large  letters: 
A  Recipe  for  A  Dashing  Patriot!!!  or  an  assisting  Spadeful,  to  cover  Putrescence, 
followed  by  Beugo's  imprint,  March  2y,  1818.  The  etched  title  continues: 
— Drawn  &  Etch'^ ;  but  Cleansed  of  Sedition  &  Libel,  from  an  Unique  Print  by 
T  J  Lawless  [Wooler];  "least  of  all:  the  reform,  such  could  bring  us".  The 
satyr  of  No.  12982  holds  a  rope  encircling  the  neck  of  a  little  Black  Dwarf 
with  Wooler's  features,  and  an  emaciated  body  (burlesquing  the  original).  In 
place  of  the  turban,  the  Dwarf  wears  a  fool's  cap  decorated  with  pen-feathers 
and  pulled  over  his  eyes,  as  if  in  preparation  for  the  hangman.  In  the  satyr's 
r.  hand  is  a  scroll:  "Folly  of  Loyalty  in  the  Middling  Classes"  Vide  Blk  Dwarf 

'  Also  a  coloured  impression  without  the  broadside. 

796 


POLITICAL   SATIRES    1818 

Vol.  J^'.   Above  his  head,  etched  on  cloud:  O!  by  all  means — give  him  rope 

enough,  &  he'll .   The  Dwarf  capers  with  r.  arm  extended  as  if  asking 

for  mercy.  In  his  1.  hand  he  holds  downwards  a  firebrand,  which  is  burning 
a  document  at  his  feet  inscribed  Poor  Poor  Com"  Place.  Near  his  feet  is 
inscribed  Wishy  Wash. 

The  wig-blocks  and  other  emblems  on  the  1.  in  No.  12982  are  replaced  by 
a  slope  leading  to  the  summit  of  a  precipitous  rock  on  which  sits  EUenborough, 
in  wig  and  gown,  resting  an  arm  on  a  pedestal  ornamented  with  fasces  and 
lictor's  axe,  against  which  leans  the  sword  of  Justice.  Burdett,  as  Sisiphus, 
tries  to  push  up  the  slope  a  huge  bundle  inscribed  Libelous  Petitions  from 
Manchester — Palace  Yard  Resolutions.  Near  him  (I.)  the  head  of  Home  Tooke 
projects  from  the  ground  surrounded  by  smoke;  he  says:  On  Sisi—on! 
[parodying  Marmion\.  Burdett  calls  out:  Come  dozen — do  come  dozen.  Ellen- 
borough  answers:  No  Sisiphus,  another  1^0  Trials  first;  above  his  head,  and 
in  the  upper  1.  corner  of  the  design,  is  a  circle  enclosed  by  a  serpent  (symbol 
of  eternity)  inscribed:  Wellington  .Portugal  Spain  Pyrenees  &  Waterloo.  It 
is  wreathed  in  palm  and  olive  and  topped  by  the  Prince  of  Wales's  feathers. 

A  satire  on  Wooler's  paper  and  on  the  many  petitions  for  Reform  presented 
by  Burdett.  For  Home  Tooke  (1736-1812)  as  his  mentor  see  No.  10731,  Sec. 
An  article  on  'The  Folly  of  the  Middle  Classes  In  supporting  the  present 
System'  appeared  in  the  Black  Dzearf,  12  Feb.  1817,  arguing  that  they  were 
being  ruined  by  taxation,  while  having  to  support  increasing  millions  of 
paupers,  under  a  system  by  which  'all  the  wealth  of  the  country  would  be 
entirely  transferred  to  the  ministers  of  the  crown  or  the  directors  of  the  Bank'. 
Print  and  broadside,  which  have  little  relation  to  each  other,  were  probably 
also  published  separately.  The  title  of  the  former  relates  to  Hone's  parodies, 
see  No.  12899. 

Reid,  No.  770.    Cohn,  No.  1889. 
5^x81  in.    Broadside,  20  J  x  11^  in. 

12989  JOHN  BULL  SUPPORTING,  THE  NUPTIAL  BED!!! 

Drawn  &  Printed  from  Stone,  by  J.  L.  Marks  N°  2  Sandy's  Row  Artillery 
S'  Bishopsgate  [c.  Apr.  1818] 

Lithograph  (coloured  impression).  John  Bull,  a  stout  'cit',  stoops  in  profile 
to  the  1.,  supporting  on  his  head  and  shoulders,  in  a  horizontal  position,  a 
large  ornate  bed  with  a  tent-shaped  canopy ;  he  says :  This  is  a  Piece!!  [altered 
to]  Peace  of  heavy  Burdens  [cf.  No.  12705].  A  ladder  in  front  of  John's 
shoulder,  reaches  from  the  carpeted  floor  to  the  bed.  Members  of  the  royal 
family,  on  a  smaller  scale  than  John,  are  grouped  on  1.  and  r.  Princess 
Elizabeth,  drawing  aside  a  curtain,  looks  down  at  the  Queen  who  stands 
below  (r.)  looking  up  and  taking  snuff.  The  Queen  asks:  Well  my  dear  Bess, 
how  do  you  Feel?  .  .  .  [See.].  The  Princess:  I  feel  much  Exhausted,  Mamma 
but  Fm  resolved  to  pursue  the  Point  as  far  as  it  zcillgo.  The  Prince  looks  through 
another  gap  in  the  curtains  to  the  Regent,  who  stands  on  the  extreme  1.  say- 
ing. Plague  Oil  it  zehat  are  you  about  all  this  time,  you  are  a  long  zdiile  Hum- 
bugging!  .  .  .  [&:c.]  (see  No.  12986,  &c.).  Next  the  Regent,  the  Duke  of  York,  in 
regimentals  with  cocked  hat,  stands  beside  his  wife  who  holds  one  of  her  many 
dogs  (see  No.  13226,  Sec).  He  says:  Alas!  my  Sporting  days  are  over  there 
was  a  Time  when  with  the  assistance  of  Mv  Clarke!! — /  might  have  done  the 
Thing  [see  No.  11216,  Sec.].  The  Duchess  says:  /  cant  get  an  Heir!  but  I  can 
give  the  Old  Bull  Dog  a  prime  Puppy.  Beside  them  stands  the  Duke  of  Cam- 
bridge with  tils  arm  round  his  betrothed.  Princess  Augusta  of  Hesse-Cassel 

797 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

(see  No.  13022) ;  she  says :  /  wish  we  was  in?  He  answers :  Do  not  he  Impatiant 
my  Love,  we  shall  soon  get  in!!! — Ah,  with  Rapture  we'll  melt  like  Cambridge 
Butter  [cf.  No.  13 105]  in  a  German  Stove!  On  the  extreme  r.  the  Duke  of 
Cumberland  in  hussar  uniform  walks  sulkily  off  to  the  r.  with  his  wife  on  his 
arm,  saying,  Fll  be  d — d  if  I  move  a  Yard  to  get  an  Heir. — one  bad  turn  deserves 
another. — Fm  Earnest. 

In  the  debates  on  marriage  grants  for  the  Royal  Dukes,  see  No.  12987, 
these  were  urged  on  the  ground  that  the  marriages  were  to  provide  for  the 
succession.   The  Duke  of  Cumberland  alludes  to  the  two  refusals  of  a  grant 
to  himself,  see  No.  1295 1,  ^^• 
8f  X  13I  in.   With  border,  9|x  14^  in. 

12990  OLD    SNUFFY    INQUIRING    AFTER    HER    DAUGHTER 
BETTY. 

Marks  fec^^  [c.  Apr.  181 8] 

Lithograph  (coloured  impression).  A  large  four-post  bed  extends  across  the 
greater  part  of  the  design.  The  Prince  of  Hesse-Homburg  (r.)  lies  on  his  back 
asleep.  Princess  Elizabeth  sits  up,  leaning  forward,  towards  the  Queen  (1.) 
who  stands  by  the  side  of  the  bed  taking  a  pinch  of  snuff  and  asking :  Well 

Betty  how  have  you  Come, on,  has  he  found  It  Out!  She  answers :  Found 

it  out  indeed — what  Stuff,  upon  my  Honour  he  has  never  offered.  He  is  a  poor 
Easy  Humbug.  You  may  Tell  George  that  there  is  not  much  likelehoods  of  us 
getting  an  Heir — .  An  ornate  flight  of  steps  decorated  with  vases  of  flowers, 
and  serving  as  a  recess  for  a  chamber-pot,  leads  to  the  bed.  On  a  table  (r.) 
are  decanter,  glass,  candle  with  extinguisher,  and  the  Prince's  long  pipe. 

See  No.  12986,  &c.   The  title  appears  in  No.  12992. 
8^X  I2f  in.  With  border,  io|x  14^  in. 

12991  FOUND  IT  OUT;  OR,  A  GERMAN  P HUMBUGED. 

Inv'^  Drawn,  &  Printed  from  Stone!  by  J.  L.  Marks  A^"  2  Sandy's  Row 

Artillery  Stt.  Bishopsgate —  [c.  Apr.  1818] 

Lithograph  (coloured  impression).  The  Prince  of  Hesse-Homburg,  in  disha- 
bille, rises  from  a  sofa  and  tries  to  walk  off  to  the  r.,  but  is  clutched  by 
Princess  Elizabeth  (1.),  and  stopped  by  the  diminutive  Queen,  who  faces  him 
angrily,  attempting  to  scratch  his  face.  He  is  larger  in  scale  than  the  women. 
He  exclaims:  Oh!  deer,  Oh!  deer,  (Got  dam)  I  Vound  it  out?  I  ben  Ruin'd 
I  ben  Ruin'd  (I  mean)  She  be  Ruined.  The  Princess,  fat  and  comely  in  a  night- 
gown and  cap,  puts  her  hands  on  his  shoulders,  saying,  In  deed  In  deed  my 
Love  you  made  a  Mistake! — .  The  Queen,  a  virago,  says :  Dont  tell  me  (Sir) 
you  Found  it  out?  I  tell  you  my  Daughter  was  a  Maid  and  may  he  yet  for  ought 
I  know,  so  lets  have  none  of  your  Humbugs!  D — n  me  Fm  up  to  Snuff.  A  door 
(r.)  is  wide  open,  showing  a  hall  with  a  door  leading  to  open  country.  In  this 
stands  a  smart  groom,  just  dismounted  from  a  horse  whose  head  looks  in  at 
the  door.  He  is  addressed  by  an  elderly  woman  who  holds  a  basket  inscribed 
Belts  Chickens,  and  containing  two  infants.  She  says  with  a  sly  gesture:  Tell 
her  to  Keep  them  out  of  the  way  till  Humbug  is  gone  to  Germany. 

For  the  Princess's  marriage  and  the  Prince's  nickname  see  No.  12986,  &c. 
There  was  a  persistent  legend  that  she  had  secretly  married  an  obscure 
member  of  the  royal  household,  and  that  her  frequent  illnesses,  c.  1786-8, 
were  due  to  confinements,  see  No.  11023.  The  title  appears  in  No.  12992. 
9w  X  14I  ^^-   With  border,  10^  x  i$\  in. 

*  Imprint  erased. 

798 


POLITICAL   SATIRES    1818 
12992  [PRINCE  OF  HESSE-HOMBOURG  AND  THE  PRINCESS'] 

Drawn  &  Printed  from  Stone  by  J.  L.  Marks  N°  2  Sandy's  Row  Artillery 
iS"  Bishopsgate —  [c.  Apr.  1818] 

Lithograph  (coloured  impression).  The  Prince  (1.)  stands  looking  down  avidly 
at  his  bride,  one  hand  on  her  shoulder.  She  looks  up  at  him,  in  profile  to  the 
1.  He  wears  a  long  frogged  coat,  breeches,  and  spurred  jack-boots;  in  his 
pocket  are  two  rolled  prints  inscribed  Old  Snuffy  inqui  .  .  [see  No.  12990] 
and  Found  it  out  [see  No.  12991].  She  wears  an  ornate  decolletee  dress, 
strained  over  her  plump  contours,  with  feathers  in  her  hair.  He  says: 

"Let  Aldermen  on  turtles  doat, 
And  with  their  green  fat  gorge  their  throat ; 
No  turtle  I  shall  zvish  to  get, 
but  my  lusty  Bet. 


She  answers : 


A  glorious  consummation! 


What  joy  to  be  humbugged  by  thee  ; 
While  both  humbug  the  nation!'' 

The  last  three  lines  are  part  of  a  duo,  sung  while  dancing  by  the  Prince 
and  his  bride,  in  a  satire  in  the  Black  Dwarf,  8  Apr.  1818,  illustrated  in 
No.  12994. 
9|X7x|  in.   With  border,  io|x8^  in.  'Caricatures',  xi.  114. 

12993  THE  NEW  GERMAN  WALTZ. 

Designed  by  [Captain  Hehl]^ 

Pub:  by  S.  W.  Fores  50  Piccadilly  [c.  Apr.  181 8] 

Engraving  (coloured  impression).  The  Prince  of  Hesse-Homburg  waltzes 
indecorously  with  his  wife,  throwing  her  into  the  air.  He  stands  in  profile 
to  the  r.,  one  leg  thrown  out;  they  face  each  other  in  profile,  smiling;  her 
1.  hand  is  on  his  shoulder,  her  r.  on  his  head,  with  two  fingers  extended, 
signifying  horns,  as  in  No.  8809,  &c.  She  wears  a  dress  like  a  ballet-dancer's, 
with  a  skirt  above  the  knee  bordered  with  roses,  and  roses  and  feathers  in  her 
hair.  Her  garter  is  inscribed  Honi  soi  .  .  .  Pense.  He  is  plainly  dressed.  The 
boards  of  the  floor  are  decorated  with  a  bold  garland  pattern,  probably  in 
chalk.  See  No.  12986,  &c. 
I2^x8|  in.  'Caricatures',  xii.  62. 

12994  THE  R— L  MASQUERADE. 

[G.  and  L  R.  Cruikshank.]^ 

Printed  and  Published  by  John  Fairburn,  2,  Broadway   Ludgate  Hill. — 
Price  Threepence  plain,  or  Sixpence  coloured.  \c.  Apr.  181 8] 

Engraving  (partly  coloured  and  uncoloured  impressions).  Heading  to  a  broad- 
side printed  in  three  columns  below  the  (printed)  title,  which  is  transcribed 
from  a  'Letter  of  the  Black  Dwarf  in  London  to  the  Yellow  Bonze  in  Japan', 
in  the  Black  Dzvarf,  ii.  214-19,  8  Apr.  1818,  see  No.  12982.  The  principal 
figures  have  numbers  referring  to  the  text.    Persons  at  a  masquerade  are 

'  Title  from  MS.  index. 

^  Name  erased  but  traces  remain.  The  manner  resembles  that  of  such  etchings  after 
lithographs  as  No.  13008  b,  see  p.  852,  n.  2. 

'  Douglas  impression  inscribed  'Designed  by  G.  C.  and  part  of  the  etching  by  his 
brother,  I.  R.  C.    Cohn. 

799 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

closely  grouped,  the  centre  figure  being  the  Regent,  i,  as  Nobody,  with  head, 
arms,  and  legs  but  no  body,  as  in  No.  12438,  &c.;  he  raises  his  glass.  Beside 
him  (r.)  stands  the  Duke  of  York,  2,  as  a  bishop,  holding  a  crosier,  and  wearing 
a  mitre,  and  bishop's  robes  over  military  boots  and  breeches.  The  Duke  of 
Clarence,  j,  on  the  extreme  1.,  in  uniform  as  'an  Admiral  on  shore',  holding 
a  mask,  is  ridiculed  for  'his  method  of  making  love'.  He  sang  'Young  froggee 
would  a  wooing  go  .  .  .'  (cf.  No.  11525,  &c.).  Beside  him  are  Princess  Eliza- 
beth, 5,  preparing  to  dance  with  the  Prince  of  Hesse-Homburg,  4;  they  are 
a  'Dutch-looking  damsel'  and  'A  Fortune  Hunter',  who  sing  and  dance,  end- 
ing with  the  last  three  lines  quoted  in  No.  12992:  from  their  mouths  float 
the  words :  What  joy  to  be  humbugged  by  thee!!  and  We'll  both  Humbug  the 
Nation!!!  Behind  the  Duke  of  Clarence  is  6,  'A  Principal  of  the  Inquisition, 

by  Lord  S [Sidmouth]',  with  the  profile  of  Castlereagh.  He  was  attended 

by  members  of  the  Inquisition,  not  depicted:  'M""  W — b — e  [Wilberforce] , 

the  Att y-G [Shepherd],  and  several  great  legal  characters.'   Behind 

the  Regent  (1.)  stands  Canning,  8  (unrecognizable),  as  'A  Mountebank',  grin- 
ning and  gesticulating.  In  front  of  him  is  to,  a  little  man,  his  body  hidden 
by  an  open  book  covered  with  meaningless  figures:  'An  Account  Book,  by 

Mr.  V 1  [Vansittart]',  containing  only  'a  few  unintelligible  reckonings,  all 

supposed  to  be  wrong'.  A  pendant  to  this  is  a  tombstone  inscribed  Hicjac\ti\ 
Leges  Ang  [sic]  Angltae,  representing  'The  Laws  of  England'.  Behind  the 
Duke  of  York  is  9,  'A  Villain,  by  the  Worst  Man  in  his  Majestys  dominions  .  .  . 
the  apostate,  the  renegade,  the  parricide,  the  traitor,  the  tyrant,  the  cheat,  the 
bully,  and  the  ingrate  were  equally  conspicuous'.  He  is  (perhaps  intentionally) 
unrecognizable,  but  is  evidently  the  Duke  of  Cumberland.  A  little  man  in 
old-fashioned  dress  (r.)  runs  in  profile  to  the  r.,  holding  up  a  dark  lantern 
and  clutching  a  newspaper:  Nezv  Times.  He  is  '"The  New  Times",  by 
Dr.  Slop  (7)',  i.e.  Stoddart.  Behind  him  is  a  wretched-looking  man,  perhaps 
representing  'English  Liberty,  by  a  Lancashire  Weaver  .  .  .  dressed  in  a  com- 
plete suit  of  heavy  irons,  from  the  manufactory  of  Sidmouth,  Castles,  and  Co.'. 
On  the  extreme  r.  stands  a  little  negro.  Black  Dwarf,  registering  amused 
astonishment  as  a  spectator  of  the  scene,  and  representing  Wooler,  as  in 
No.  12982.  On  the  extreme  1.  is  a  post  inscribed  Morning  Post.  Heads  of 
other  masqueraders  are  suggested  in  the  background.  A  chandelier  with 
lighted  candles  hangs  from  the  upper  margin. 

A  comprehensive  satire  on  the  Regent,  his  brothers,  and  his  Ministers,  with 
references  to  the  marriage  of  Princess  Elizabeth,  see  No.  12986,  &c.,  the 
suspension  of  the  Habeas  Corpus  Act,  see  No.  12871,  the  State  Trials  of  1817, 
see  No.  12887,  &c.,  and  the  newspaper  Press.  Other  allusions  in  the  text  are 
to  'a  group  of  borough-mongers'  representing  the  Nation,  to  the  House  of 
Commons  as  'a  walking  ledger,  with  a  great  majority  of  cyphers',  the  House 
of  Lords  as  a  grown-up  baby  with  a  rattle  inscribed  'Hereditary  .Legislation'. 
A  song  of  twenty  lines  is  attributed  to  Dr.  Slop;  the  third  verse: 

Yet  curse  the  unmannerly  fools!  they  wont  pay. 

Though  I  laboured  so  hard  to  get  rid  of  the  Day! 
My  "new  times"  is  the  toast  and  the  boast  of  the  wise, 

So  no  light,  truth,  or  reason!  friends,  put  out  your  eyes! 

Having  quarrelled  with  The  Times  Stoddart  ('Slop')  started  the  New  Times 
in  1817,  shortly  afterwards  incorporating  with  it  The  Day.  The  Duke  of  York 
had  been  titular  Bishop  of  Osnabriick,  cf.  No.  11227,  &c.  The  Duke  of 
Clarence's  attempts  to  marry  were  many  and  varied,  see  (e.g.)  No.  11748. 

Reid,  No.  954.  Cohn,  No.  1923.  Reproduced,  Cruikshankian  Momus,  p.  96. 
5^  X  8  in.    Broadside,  15x8!  in. 

800 


POLITICAL   SATIRES    1818 

12995  BELISARIUS  THE  COUNTERFEIT  AND  BELISARIUS  OF 
THE  ANCIENTS  CONTRASTED, 

Painted  by  De  Berenger  the  Outline  of  Belisarius  in  part  after  David. 

Engraved  by  Maile  &  Sutherland 

Published  May  i,  1818,  for  the  Proprietor,  at  48,  Strand. 

Aquatint.  The  title  continues :  For  the  purpose  of  Exhibiting  to  Unsuspecting 
Compassion  the  Great  difference  between  [1.]  The  Hypocritical  Complaints  and 
ungrateful  Disloyalty  of  a  fallen  and  Catch-penny  Patriot,  zvhose  greater  guilt 
remains  yet  unpunished,  zvhilst  his  services  always  experienced  splendid  rewards — 
meanly  intercepting  that  Charity,  more  properly  belonging  to  the  Poor  \  And  |  [r.] 
The  dignified  sorrozv  and  calm  submission  to  ingratitude  &  oppression,  of  a  Loyal 
Soldier,  who  after  ruining  his  health  &  circumstances  in  acts  of  disinterested 
fidelity,  was  abandoned  to  encounter  the  most  cruel  neglect  and  poverty —  Each 
inscription  is  under  the  relevant  half  of  the  design.  On  the  extreme  1.  Lord 
Cochrane  leans  out  from  a  structure  rather  like  a  sentry-box,  open  in  front 
except  for  a  cross-bar  against  which  he  leans ;  he  holds  out  to  a  ragged  wooden- 
legged  sailor,  a  collecting-can  on  which  is  a  baron's  coronet,  saying,  /  am  truly 
deserving,  &  Fll  prove  it  by  Affidavit.  He  wears  his  long  coat  and  broad- 
brimmed  hat,  cf.  No.  1 25 14.  In  his  r.  hand  is  a  rolled  document:  Address  to 
mislead  the  generous  and  unwary ;  across  his  chest  is  a  placard :  Pray  bestow 
One  Penny  on  a  poor  &  wretched  Object.  His  shelter  is  inscribed  King's  Bench 
Poor  Box,  and  is  stacked  with  money-bags,  some  on  a  shelf,  others  heaped 
on  a  chest  inscribed:  Stock-jobbing  Profits  undetected, — Gains  on  Omnium. 
Sold  by  Y.  Z  .  .  .  £2090,  on  D"  by  O.K.  1684,  on  D"  by  P.O.  3960,  on  D° 
by  Z.A. — 57 JO —  on  Consols.  141 9 — £14863  [commas  inserted].  The  money- 
bags are  Prize  Money  £32,800,  and  £40  .  .  .  ;  Saving  out  of  my  Income 
£y 5,600;  Pension  to  my  aged  Father  promised  on  Honor!  NB  not  to  be  delivered; 
Profit  made  by  flinging  his  Books  ^c  Overboard;  \Pr\omised  .  .  .  hoarded  up, 
never  to  be  paid.  A  large  notice-board  supported  on  posts  extends  above  the 
roof  of  the  shelter,  headed :  A  Schedule  of  my  Grievous  Losses  and  which  must 
entitle  me  to  the  universal  support. —  [In  two  columns] :  [i]  Heavy  Losses,  i  My 
Box  of  Jack  Knives!  JSB.  this  was  a  boyish  speculation,  replete  with  Loss,  Grief 
and  Disgrace.  2  My  Mercantile  Cruises  to  BarbaryU  3  Heavy  Bribes  at 
Malta!  &c.    4  Failure  of  my  Agricultural  Scheme  (CobbeVs  fault  entirely) 

5  £500,000,  which  I  might  have  cleared  by  Stock-jobbing!!!!  (oh  dear!  oh  dear!) 

6  Tremendous  expenses,  viz  Trials,  Fines,  Affidavits,  Bribing  the  Press,  Puffs 
&c!!!!  7  "My  Housekeepers"  extravagant  Hospitality  in  the  country  whilst 
poor  I  "lay  in  durance  vile!'' 

[2]  Mijior  Losses —  8  Fatal  Loss,  Lamp  Scheme,  all  Smoke.  9  My  Knights 
Banner,  Plume  &c.  10  My  Ship,  Rank  &  Equipment!!  1 1  Public  Confidence!! 

12  My  Parliamentary  seat  AS  recovered  for  the  present  moment,  but — Alas!!! 

13  My  Reputation  (N'importe)  14  My  Conscience  (long  wormeaten)  JJ  My 
Credence  on  Oath  (voluntary  Affidavits  excepted)!!!  16  ^Iy  Loyalty  &  Honor!! 
(had  been  Turned,  Scoured  &  seated,  besides  many  Patches — ).  A  bird  (of  ill- 
omen)  perches  on  the  board. 

The  lame  sailor  approaches  the  begging-can  with  a  finger  to  his  nose,  but 
holding  a  coin  in  his  1.  hand;  his  face  is  twisted  to  show  he  is  not  deceived; 
on  his  hat  is  inscribed  in  a  border  of  oak-leaves  H.^LS.  Tonnante.  He  says: 
Hilloh  Shipmate!  what  have  your  old  tricks  brought  you  to  this  sort  of  mooring 
at  last? — Well,  well,  belay  your  Sniveling,  for  poor  and  hungry  as  Jack  is,  he'll 
spare  you  "a  Penny"  desarving  or  not,  for  I  loves  to  be  Charitable  even  to  the 
wicked.  Another  sailor,  less  ragged,  takes  him  by  the  arm  to  restrain  him, 
saying :  Avast,  heaving  away  your  ballast!   Dont  you  see  as  how  he 's  hoisted 

801  3  F 


CATALOGUE   OF   POLITICAL  AND   PERSONAL    SATIRES 

false  Colours  again,  to  sink  and  ruin  the  soft-hearted,  as  he  did  many  others 
besides  poor  Berenger? — About  Jack  I  say,  as  you  would  from  a  quick  Sand. — 
How  did  he  sarve  poor  Vancouver^  [see  No.  8823],  when  he  wanted  the  money 
he'd  lent  him  in  Charity,  to  rig  him  for  a  Midshipman?  why  just  as  he  sarved 
his  poor  old  Father,  for  thd"  his  lockers  were  well  stored,  he  only  jeered  and  denied 
him.  A  woman  stands  just  behind  the  two  sailors,  saying:  A  curse  on  such 
friends  to  the  poor! — It 's  all  my  eye,  for  do  you  ever  see  his  name  in  a  Subscrip- 
tion for  Charity?  No  that  wont  do  as  well  as  puffs,  or  his  speeches  which  he 
affords  us  free  enough  ;  for  tho'  the  beggar  is  as  rich  as  a  Jew,  he 's  mean  enough 
to  pick  the  pockets  of  us  poor  folk,  even  of  "a  Penny"  in  these  hard  times.  Behind 
this  group  is  the  sea,  from  which  a  crocodile  wearing  a  baron's  coronet 
advances  over  the  sand  (see  No.  12886).  In  the  foreground  of  the  Cochrane 
part  of  the  design  four  realistic  tombstones  are  closely  grouped :  [i]  Here  rests 
the  Body  of  Lord  George  Gordon,  whose  Insanity  misled  an  unthinking  Populace, 
&  wantonly  caused  the  Sacrifice  of  several  hundred  Lives,  still  lamented  by  many 
distressed  Widows  &  Orphans—He  died  in  Newgate,  Mercy  having  saved  him 
from  a  severer  Punishment.  [2]  The  Dissected  Remains  of  the  executed  Jonathan 
Wild  of  infamous  Memory,  are  Buried  here  A  Wretch  whose  diabolical  & 
ferocious  policy  zvas  to  mislead  &  then  to  sacrifice  those  zvho  had  served  him. 
[3]  [Here]  lies  the  Body  of  Earl  Ferrers  who  was  Hanged  [in  1760]  for  the 
Murder  of  a  faithful  Servant.  [4]  To  the  Memory  &  in  Pity  of  the  unfortunate 
Lord  William  Murray,  who  endured  close  custody  in  Newgate  where  he  Died  for 
merely  preparing  to  escape  from  The  King's  Bench  Prison. 

On  the  r.  are  figures  from  David's  Belisarius.  He  sits  at  the  base  of  a 
massive  pillar,  blind  and  holding  between  his  knees  a  child  who  holds  out 
a  helmet  to  ask  alms  from  a  Roman  soldier  who  exclaims  in  horror:  Shame 
on  that  Country,  zvhich  zvholly  forgetting  the  faithfid  and  zealous  Services  of  a 
Servant,  can  thus  abandon  him  to  misery,  zvant,  and  cruelty!  Beside  Belisarius 
and  on  the  extreme  r.  h  a  block  of  stone  inscribed  Date  Obolum  Belisario — 
Bestow  a  Trifle  on  Belisarius. 

On  Cochrane's  sentence  in  181 6  to  a  fine  of  ^(^  100  for  his  escape  from  the 
King's  Bench,  see  No.  125 14,  he  refused  to  pay,  saying  that  the  sentence 
amounted  to  perpetual  imprisonment.  The  ;^ioo  was  quickly  raised  by  a 
penny  subscription,  which  was  continued,  and  the  fine  of  ^^  1,000  previously 
paid,  together  with  a  further  contribution  to  his  law  expenses  over  the  Stock 
Exchange  trial,  see  No.  12209,  &c.,  was  also  raised  in  pence.  In  1818  there 
were  many  discharged  sailors  in  London  in  great  distress  and  Cochrane  spoke 
in  favour  of  a  subscription  for  them,  but  also  said  that  the  Government  could 
eff'ectually  give  relief  by  using  the  Droits  of  Admiralty  (see  No.  10967);  a 
lengthy  speech  by  him  was  interrupted  by  cries  of  'No  Polities'.  It  was  also 
reported  that  he  attended  a  Committee  Meeting  in  order  to  prevent  relief 
until  applicants  should  be  found  deserving  (it  was  afterwards  denied  that  this 
was  Cochrane).  Cochrane  took  many  lucrative  prizes  in  his  brilliant  cruises 
off  the  French  and  Spanish  coasts,  and  among  the  many  naval  abuses  which 
he  denounced  in  the  Commons  was  that  of  jobbery  in  the  Malta  Prize  Court. 
He  resented,  however,  the  reform  of  1808  reducing  the  proportion  of  prize- 
money  going  to  captains  in  favour  of  the  seamen:  he  said  on  24  Mar.  1812: 
'it  was  the  diminution  of  the  prize  money  by  recent  regulations  which  princi- 
pally induced  him  to  leave  his  profession  for  the  last  two  years'.  The  Tonnant 
was  the  ship  to  which  he  was  nominated  at  the  end  of  1813,  over  the  outfit 
of  which  he  met  De  Berenger.  His  use  of  affidavits  in  his  defence  was 
adversely  commented  on  at  the  trial  in  181 5.  The  statement  of  his  'Grievous 
Losses'  deserves  comparison  with  the  authentic  statement  by  him  in  1847 

*  Partly  obliterated. 

802 


POLITICAL   SATIRES   l8l8 

when  he  computed  his  losses  owing  to  the  trial  at  ^^240,000.  Observations  on 
Naval  Affairs,  quoted  Ellenborough,  The  Guilt  of  Lord  Cochrane,  1914, 
pp.  296  f.  For  his  'Lamp  Scheme'  cf.  No.  12870.  For  Lord  George  Gordon 
and  Lord  William  Murray  in  Newgate  see  No.  8342  (1793).  Murray  (like 
Gordon)  died  there,  Dec.  1796,  after  an  imprisonment  of  three  years  for  aiding 
riotous  attempts  to  blow  up  the  King's  Bench  Prison.  Gent.  Mag.  Ivi.  2, 
p.  1 1 18.  The  story  that  Belisarius  was  reduced  to  beggary  is  a  medieval 
legend,  cf.  No.  12272. 
II  X  16^  in. 

12996  THE     HOMBOURG     WALTZ,     WITH     CHARACTERISTIC 
SKETCHES  OF  FAMILY  DANCING! 

Knahskiurc  fee' 

London  Published  May  4  18 18  by  G.  Hiunphrey  2y  S'  Jatnes^s  S'  nephew 
&  successor  to  the  late  M''^  H.  Humphrey. 

Engraving  (coloured  impression).  Members  of  the  Royal  Family  at  an 
informal  dance,  the  centre  couple  being  Princess  Elizabeth,  grotesquely  stout, 
and  the  Prince  of  Hesse-Homburg,  who  grasps  her  dress,  unable  to  reach  her 
waist.  They  face  each  other;  he  says:  You  do  it  very  easy  my  love!!!  is  dis 
de  first  time  you  dance  dis  Valtz.  She  answers:  First  time  'pon  honour  but  'tis 
a  delightful  dance  and  I  Knew  ice  should  soon  get  into  it  [see  No.  12991].  On 
the  1.  the  Regent  (scarcely  caricatured),  with  his  hands  behind  his  back,  partly 
concealed  by  a  slim  pillar  with  his  feathers  as  capital,  stands,  with  one  toe 
elegantly  pointed,  facing  the  Duke  of  Clarence.  The  latter,  with  folded  arms 
and  wearing  admiral's  uniform,  says  to  his  brother :  D — d  hard  lines  that  I 
can  t  get  a  partner.  The  Regent  answers :  '  Tis  hard  indeed!  but  I  dare  say  you'll 
soon  get  one  nozv — /  unfortunately  engaged  a  partner  in  the  early  part  of  the 
Evening  but  I  found  she  had  been  da?icing  before!  &  so  I  did'nt  much  like  her, 
soon  let  her  see  it — and  after  she  had  sat  here  some  time,  left  the  room — So  far 
I  got  rid  of  her!,  but  you  knozv  there  is  a  certain  Etiquette  which  one  can't  very 
well  do  away  zcith—so  you  see  it  has  spoild  my  Waltzing: — '  Beside  and  behind 
the  Regent,  partly  cut  off  by  the  1.  margin,  stands  Lady  Hertford,  concealing 
her  face  with  a  fan.  She  says:  Not  altogather your  Dancing  tho'  I  Fancy.  Her 
short  and  scalloped  skirt  is  decorated  with  hearts  and  coronets.  Between 
Clarence  and  Princess  Elizabeth  is  the  Duke  of  York,  in  profile  to  the  r., 
taking  a  marching  stride,  with  paunch  thrown  out;  he  holds  a  goblet  inscribed 
Bishop  [cf.  No.  1 1227].  ^^  s^ys  ^o  ^o  dwarfish  Grenadiers  seated  against 
the  wall  beside  him  who  are  playing  fife  and  drum,  and  constitute  the  band : 
Play  Paddy  Carey  [see  No.  12978]  &  be  d — d  to  you  ye  bandy  legg'd  rascals! 
At  their  feet  are  a  book:  Duke  of  Yorks  March,  and  paper:  List  of  Discarded 
Clarke's  [an  e  written  above  the  a]  in  the  Comm  .  .  .  Department  Signed 
J  Richmond.  Seated  against  the  wall,  her  head  hidden  behind  the  Duke,  whose 
back  is  towards  her,  is  the  Duchess  of  York,  dancing  up  and  down  on  her 
knee  a  small  dog  clipped  in  the  French  manner.  Her  tiny  pointed  toes  (see 
No.  7930,  &c.)  touch  the  floor.  She  says:  And  Johnny  Bull  who  pays  for  all 
will  pay  I  do  not  doubt  it  Fal  lal  de  riddle  diddle  [cf.  No.  12987,  &:c.].  The 
dog  breaks  in:  Bow  woo!  zvoo  Bow  zcoo  woo.  As  a  pendant  to  the  Duke  of 
York  are  the  Duke  of  Gloucester,  indicated  by  his  splayed-out  legs  (see 
No.  8716)  dancing  with  Princess  Mary  (see  No.  12783,  &c.).  Against  the  wall, 
directed  to  the  1.  and  watching  Princess  Elizabeth  and  her  husband,  are  the 

'  Other  words  in  the  speech  are  stressed  by  dotted  lines. 

803 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Dukes  of  Sussex  and  Kent.  The  former  smokes  his  accustomed  long  German 
pipe  and  wears  Highland  uniform  with  a  flat  cap.  Above  their  heads  are  two 
prints;  one  of  the  Duke  of  Sussex,  grotesque  in  a  very  short  kih,  smoking, 
and  striding  away  from  a  woman  and  boy  (evidently  Lady  Augusta  Murray 
and  Augustus  d'Este);  he  says:  Fll  be  d — d  if  I  dance  with  you  any  longer. 
Behind  Kent  is  a  Kentish  Hop,  little  figures  dancing  in  a  ring  round  a  pole 
wreathed  with  foliage,  to  indicate  a  hop-pole.  A  small  door  on  the  r.  is  open 
showing  the  Duke  of  Cumberland  in  hussar  uniform  waltzing  with  his  wife 
and  scowling  peevishly.  In  the  foreground  on  the  extreme  r.,  sits  Queen 
Charlotte,  old  and  shrunken,  and  in  shadow,  both  feet  resting  on  a  footstool. 
She  looks  towards  the  open  door,  saying :  This  is  rather  late  in  the  Evening  to 
begin  Waltzing  my  little  dears  but  better  late  than  never— so  make  yourselves 
merry — as  to  Master  Earnest  he  may  Waltz  to  his  P  Salm  grinding  tune  out 
of  doors  but  he  shant  bring  his  partner  to  dance  in  my  room. 

On  the  wall  forming  the  background  is  a  pair  of  large  pictures  relating  to 
the  central  couple.  One  (1.)  is  a  Royal  Salute  on  the  7"'  of  April  1818 —  (the 
date  of  their  marriage);  the  other,  warming  the  Nuptial  Bed!!  In  the  former 
the  Prince  of  Hesse-Homburg  embraces  a  grossly  fat  princess,  who  stands 
on  the  tips  of  her  toes.  Cupids  with  torches  fire  oflp  mortars  which  make  an 
arch  of  flame  above  the  pair  from  which  hearts,  arrows,  and  coins  descend 
upon  their  heads,  with  the  inscriptions  Dotvery  [sic]  and  10  000,  &c.  In  the 
other  a  blindfolded  Cupid  dances  on  the  great  curtained  bed,  on  which  he 
has  dropped  his  flaming  torch,  playing  a  tune  with  his  bow  and  arrow;  another 
Cupid  holds  a  torch  under  the  bed-valance,  a  third  puts  in  a  warming-pan. 
On  the  floor  in  the  foreground  (1.)  lies  a  large  paper:  Plan  for  the  Erection 
of  a  Country  Ball  room  in  the  County  of  Cambridge  the  Whole  to  be  conducted 
under  the  direction  of  His  R.  H — ss  AS  The  premises  to  be  entred  in  upon 
immediatly.  Beside  this  is  an  open  book :  Elizabeth — a  favourite  Waltze  of 
The  Prince  Hombug. 

A  satire  on  the  marriages  of  the  Princes  and  Princesses,  with  that  of  Princess 
Elizabeth,  see  No.  12986,  &c.,  as  its  centre-piece.  For  the  Regent  and  Lady 
Hertford  see  No.  11853.  ^^^  ^he  attempts  of  the  Duke  of  Clarence  to  find 
a  wife  see  (e.g.)  No.  1 1748.  The  Duke  of  York  is  shown  neglecting  his  wife, 
who  consoled  herself  at  Oatlands  with  her  pets,  see  No.  13226,  &c.;  other 
allusions  are  to  Mrs.  Clarke,  see  No.  11216,  &c.,  and  Mrs.  Carey,  see 
No.  1 1050.  For  the  Queen's  refusal  to  receive  the  Duke  of  Cumberland's 
wife  see  No.  12700,  &c. 

Reid,  No.  773.    Cohn,  No.  1205. 
8|xi3|in.   With  border,  9|x  1 3I  in. 


12997  UN  GOURMAND!! 

[?  G.  Cruikshank.]  [Pub.  Fores,  15  June  181 8] 

Lithograph  (coloured  impression).  Louis  XVIII  sits  at  table  in  a  low-backed 
arm-chair  which  is  unobtrusively  a  commode.  A  vast  gouty  leg,  swathed,  and 
draped  with  the  end  of  a  shirt,  is  pushed  forward.  He  has  a  cod-fish  profile 
and  leans  forward  with  lowered  eyelids,  tilting  his  soup-plate  and  awkwardly 
putting  his  spoon  to  eager  lips.  On  the  table  are  a  steaming  tureen,  a  bird, 
fruit,  and  wine.  The  fringed  cloth  is  decorated  with  a  crowned  escutcheon 
of  crossed  knife,  fork,  and  spoon,  flanked  by  fleurs-de-lis.  On  the  wall  are 
two  pictures:  (1.)  a  pelican  trying  to  swallow  a  large  fish;  (r.),  behind  the 
King,  a  guillotine,   Cf,  No.  13008, 

804 


POLITICAL   SATIRES   1818 

One  of  a  set  of  lithographs  by  or  after  G.  Cruikshank,  see  No,  13085,  &c. 

De  Vinck,  No.  9664  (attributed  to  10  Jan.  1820,  date  of  an  altered  copy,  see 
vol.  x). 
9|x  12-8"  in.   With  border,  9|x  I2|g^  in. 

12997  a  a  proof  with  title  and  publication  line  in  pen  (without  marks  of 
exclamation).  Tub.  [.''  Fores]  Piccadilly  15  June  1818'. 

12997  b  An  etched  copy.    Cf.  No.  12954. 

8|x  ii|  in.  'Caricatures',  xi.  46. 

12998  A  PAIR  OF  LOVING  HUMBUGS 
[?  I.  R.  Cruikshank.] 

Published  June  iS^''  1818  by  E.  Brooks  Panton  S'  London 

Engraving  (coloured  impression).  The  Prince  of  Hesse-Homburg  (1.)  and 
Princess  Elizabeth  embrace;  she  stands  on  tiptoe  to  put  her  cheek  against  his; 
they  smile  at  each  other,  slyly  amorous.  The  Prince  looks  very  German  in 
a  flat  peaked  cap  and  long  braided  coat  over  jack-boots  and  embroidered 
breeches.  He  says:  May  Dear  Af^  Humbug  zchere  ive  go  to  Cool  ourselve  dis 
hot  Weader?  dos  make  vone  so  Melt  moy  Loavely  little  Girl.  She  answers: 
My  Love  we  must  go  to  the  Old  place  at  Bushey,  and  there  %ve  shall  find  plenty 
of  h  [scored  through]  air.  Oh!  Dear — you  are  all  my  Humbug  every  inch.  Her 
dress  has  a  short  transparent  embroidered  skirt,  a  watch  with  hands  pointing 
to  12.15  hangs  from  her  waist;  in  her  hair  is  a  wreath  of  roses  round  a  plume 
of  feathers.  The  clocks  of  her  stockings  terminate  in  crowns.  Behind  (r.)  is 
a  rustic  paling  enclosing  a  wood  with  a  notice :  Who  eve[r'\  breaks  through  this 
Thickit  zvill  be  Put  in  the  Stocks.  On  the  1.  a  sign-post  pointing  (1.)  To  Bushey 
s  surmounted  by  antlers.  Behind  this  is  a  road  leading  to  a  thicket  in  a 
curiously  hummocked  (and  apparently  symbolical)  landscape;  along  it  drives 
a  travelling  carriage. 

At  this  date  the  couple  were  staying  at  Brighton  en  route  for  Germany. 
Their  open  pleasure  in  each  other's  society  has  given  a  new  turn  to  the  scurri- 
lous prints  on  the  marriage,  see  No.  12986,  &c. 
ii|X9  i^- 

12999  THE  FREEDOM  OF  ELECTION  OR  HUNT-ING  FOR  POPU- 
LARITY AND  PLUMPERS  FOR  MAXWELL. 

[I.  R.]  Cruikshank  del'  &  fee' 

Pub:  June  22'^  1818,  by  G.  Humphrey  2j  S'  James's  Street  London 

Engraving  (coloured  impression).  Above  the  design:  Westminster  Election 
June  18'^  18 18.  Across  the  design  extends  a  section  of  the  hustings  at  Covent 
Garden  with  a  central  upright  on  which  is  a  placard:  J^'  Day  \  State  of  Poll  \ 
Romilly — iSg  \  Maxwell — iy6  \  Burdett — 8y  \  Kinnaird  25  \  Hunt  14  |  Cart- 
wright  10.  At  the  base  of  the  design  is  a  fringe  of  upturned  proletarian  heads, 
their  words  ascending  in  labels  which  cover  the  wooden  barrier  in  front  of 
the  hustings.  Two  candidates  address  the  crowd:  Hunt  (1.)  and  Maxwell  (r.). 
Hunt,  wearing  a  large  red  favour,  stands  beside  his  son,  a  little  boy  on  the 
extreme  1.  who  shouts  Hunt  for  ever;  behind  them  is  a  large  red  flag  sur- 
mounted by  a  cap  of  Liberty  in  the  form  of  a  fool's  cap  with  a  bell  and 
inscribed :  Hunt,  Liberty.  On  the  flag  in  huge  letters :  Uneversal  Suffrage  Hunt 
and  Liberty  [cf.  No.  13252].  He  says:  /  atn  a  plain  Englishman,  I  approve  of 
the  Conduct  of  Sir  Murray  Maxwell,  in  coming  forward  as  he  has  done —  Why 
should  you  send  Sir  Samuel  Romilly  to  Parliament?  he  can  find  his  way  into  the 

805 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Den  of  Corruption.  You  Know  the  Hero  of  the  Tower  as  well  as  I  do,  who  ran 
out  at  the  Back  Door,  when  his  Friends  were  waiting  for  him  at  the  Front. — /  have 
hoisted  the  Cap  of  Liberty.  Maxwell,  in  naval  uniform  and  wearing  a  black 
patch  over  the  r.  eye,  says :  Gentlemen — M^  Hunt  is  anxious  you  should  hear 
me  now.  I  am  sure  you  will  hear  him  presently  with  pleasure,  I  am  certain  my 
cause  is  as  popular  as  his,  for  I  see  many  Pretty  Girls  pressing  forward  to  hear 
me.  Of  all  the  Days  in  the  Year  none  appear  more  favorable  for  a  British 
Officer  to  receive  your  Support  than  the  Anniversary  of  Waterloo.  Immediately 
below  him  is  a  placard  headed  by  a  royal  crown  held  up  by  one  of  the  men 
facing  the  hustings :  Who  is  Sir  M.  Maxwell?  he  is  a  brave,  learned,  loyal  & 
Constitutional  Man.  he  hoists  only  the  Colors  of  his  King  &  Country,  Not  the 
Bloody  Flag.  He  has  engaged  to  pay  his  Share  of  the  Hustings  to  prevent  new 
levies  on  the  People.  The  other  men  standing  on  the  hustings  in  the  front 
rows  are  well  characterized  and  probably  portraits.  On  Hunt's  1,  is  Gale 
Jones  (identified  from  No.  13001),  the  only  man  besides  Hunt  and  his  son 
wearing  a  red  favour.  A  good-looking  man  beside  the  central  upright  may 
be  Kinnaird;  he  holds  a  riding-switch  to  his  mouth.  Maxwell  stands  between 
a  stout  man  holding  a  green  umbrella  and  a  naval  officer.  On  the  extreme  r. 
a  sly-looking  man  with  a  Jewish  profile  holds  a  card  inscribed  Max;  he  may 
be  intended  for  Yarmouth,  who  plumped  for  Maxwell.  The  shouts  ascending 
from  the  spectators  are  (1.  to  r.):  Hunt  for  ever;  No  Sovereigns;  No  Regents; 
No  Churches;  No  Lawyers;  Spa  fields  Row  for  ever;  Hunt  &  Olliver  for  ever 
[from  a  man  wearing  a  bonnet  rouge  with  tricolour  cockade];  No  Sham 
Patriots;  Hunt  &  Liberty;  Hunt  &  Revolution;  Burdett  for  ever;  No  Weather 
Cocks;  No  Coalition;  The  Spenceans  for  ever  [see  No.  12868];  Napoleon  for 
ever;  No  Spafields  Rioters  [see  No.  128 19];  Kinnaird  for  ever;  Cartzvright  for 
ever;  No  Old  Wo?nan  in  Parliament;  Romilly  for  ever;  Justice  for  ever;  Romilly 
&  Reform;  Maxwell  for  ever;  No  Maxwell;  No  Captain  Flog  'em;  Maxwell 

6  the  British  Navy ;  Let  every  Man  do  his  Duty ;  Max  [gin]  for  ever. 
Parliament  was  dissolved  on  lo  June;  Cochrane,  having  accepted  the  com- 
mand of  the  Chilian  Navy,  retired,  making  it  necessary  to  find  a  Reform  candi- 
date to  stand  with  Burdett,  who  was  regarded  as  established  in  Westminster. 
The  Westminster  Committee  (see  No.  11 41 4,  &c.)  chose  Douglas  Kinnaird, 
friend  of  Byron.  The  Ministerial  candidate  was  Sir  Murray  Maxwell,  captain 
R.N.,  see  No.  13000.  Romilly,  M.P.  for  Arundel,  was  invited  by  a  group  of 
Whigs  to  stand;  he  consented  on  condition  that  he  should  take  no  personal 
part  in  the  contest  (the  same  arrangement  was  made  with  Burdett  in  1807, 
see  No.  10732)  and  he  and  Burdett  did  not  appear  on  the  hustings.  Small 
groups  put  forward  Hunt  (who  displayed  a  red  flag)  and  Cartwright.  Polling 
began  on  18  June;  the  results  of  the  first  day  are  correctly  given.  Murray 
was  hit  on  the  eye  by  a  stone,  and  appeared  next  day  wearing  a  shade.  His 
stout  supporter  with  the  umbrella,  conspicuous  also  in  No.  13003,  may  be 
John  Willock,  auctioneer,  chairman  of  his  committee,  see  Examiner,  181 8, 
pp.  477,  490-2.  The  two  speeches  are  abridgements  of  those  actually  made; 
Hunt  savagely  attacked  Burdett;  for  the  Tower  incident  see  No.  11567.  He 
said  'the  gallant  officer  and  myself  are  the  only  real  candidates'.  Maxwell 
recommended  Cartwright,  who  withdrew  after  four  days,  when  the  West- 
minster Committee  withdrew  Kinnaird  to  prevent  the  defeat  of  Burdett  by 
Maxwell,  concentrating  on  an  attempt  to  return  Burdett  at  the  head  of  the 
poll.  The  poll  closed  on  4  July;  the  result  is  given  in  No.  13006.  Examiner, 

7  June-i2  July;  Memoirs  of  Romilly  under  dates  8  June-27  July ;  Wallas,  Life  of 
Place,  pp.  128-32 ;  Patterson,  Sir  Francis  Burdett,  193 1,  ii.  457-61 ;  Memoirs  of 
H.  Hunt,  1822,  iii,  pp.  526  ff.  See  Nos.  13000,  13001,  13002,  13003,  13006. 
9X  13^  in.   With  border,  10^ X  14^  in. 

806 


POLITICAL   SATIRES    1818 

13000  OURANG  OUTANG  CANDIDATE  FOR  WESTMINSTER. 

[June  1 81 8] 

Engraving  (coloured  impression).  A  large  ape,  very  ill-drawn,  and  with  a 
quasi-human  profile,  sits  directed  to  the  1.,  holding  up  a  green  bag  with  a  red 
seal  inscribed  Oliver  Castles  &  C°  For  Ever.  In  the  1.  hand  is  a  rolled  paper 
inscribed:  Habeiis  [sic]  Corpu\s\  Suspension  Act  Gagging  Bill  &c.  [see  No. 
12871,  &c.].  He  sits  on  a  rectangular  block  and  on  two  papers:  Bill  of  Rights 
and  Magna  Charter. 

See  No.  12999,  ^^-  ^  placard  with  this  device,  intended  to  represent 
Sir  Murray  Maxwell,  was  nailed  on  one  of  the  stands  for  spectators  erected 
opposite  the  hustings  at  Westminster  (cf.  No.  8815).  Maxwell,  a  conspicu- 
ously gallant  resourceful  and  amiable  officer,  was  violently  attacked  with 
missiles  and  abuse  as  a  'flogging  rascal'  and  (as  a  Ministerial  candidate)  a 
colleague  of  Oliver  and  Castles  (see  No.  12885).  Examiner,  1818,  p.  402, 
28  June;  Greville  Memoirs,  1938,  i.  55  f.  For  the  Green  Bag  see  No.  12868.  &c. 
i2|X9^  in. 


13001  MODERN    REFORMERS     IN    COUNCIL,— OR— PATRIOTS 
REGALING. 

G  H  [Humphrey]  inv.  . — /.  R.  Cruikshank, — fec^ 
Pu¥  by  G.  Humphrey  2j  S^  James  s  S'  July  3  1818 

Engraving  (coloured  impression).  After  the  title:  — vide  the  Resolutions  of 
the  Spa  Fields  &  Spencean  Societies.  Henry  Hunt  presides  at  a  meeting  of 
revolutionary  conspirators,  giving  the  toast:  Damnation  to  the  House  of  Bruns- 
wick. He  stands  in  the  centre  of  the  design  behind  the  table  round  which  the 
men  are  grouped,  looking  to  the  1.,  holding  up  a  goblet  made  from  a  skull 
and  inscribed  Blood;  in  his  1.  hand  he  supports  a  pole  surmounted  by  a  cap 
of  Liberty  with  tricolour  cockade.  He  wears  a  bonnet  rouge  with  tricolour 
favour  (probably  intended  to  represent  his  red  election  favour),  a  double- 
breasted  blue  coat  with  tricolour  cockade  and  a  tricolour  belt  in  which  are 
thrust  pistols  and  a  dagger.  As  chairman  he  has  the  only  chair;  behind  its 
back  is  a  guillotine,  inscribed  To  be  Put  in  Motion  Soon,  and  topped  by  two 
headsman's  axes  centred  by  a  skull  wearing  a  bonnet  rouge.  Behind  it  are 
t\vo  large  tricolour  flags,  the  red  predominating  and  forming  a  background 
to  Hunt's  head.  The  toast  is  received  with  silent  ferocity.  On  the  extreme  1. 
Thistlewood  sits  in  profile  to  the  r.  on  a  powder-barrel,  against  which  leans 
a  Challenge  to  L''  Sidmouth;  he  grasps  a  skull-goblet  inscribed  Venom  and 
holds  a  blunderbuss  inscribed  with  his  name.  He  wears  a  bonnet  rouge  with 
tricolour  cockade,  a  sailor's  jacket  (as  at  the  trial  for  high  treason  in  1817), 
and  striped  trousers.  He  fLxes  Hunt  with  a  ferocious  scowl.  Beside  him  is 
a  bull-dog  with  Caleb  Baldzcin  on  its  collar.  Behind  his  head  is  a  placard  on 
the  wall :  S'  Hellcna  The  Escape  of  the  French  Emperor.  Next  him  a  fat  ruffian, 
hairy  and  ragged,  sits  on  a  barrel  of  [G]w«  Pozcder  To  blow  up  .  .  .  House  of 
Lords;  under  his  arm  is  a  spiked  bludgeon.  He  wears  a  red  election  favour 
on  the  back  of  his  shirt  or  jacket  and  Hunt  for  ever  is  inscribed  on  the  back 
of  his  breeches.  Beside  him  are  bullets  and  metal  balls  covered  with  spikes. 
Opposite  him,  and  on  the  farther  side  of  the  table,  stands  Gale  Jones,  melan- 
choly and  cadaverous,  his  head  in  profile  to  the  r.,  holding  up  a  skull-goblet 
inscribed  Gall.  He  is  ragged  and  wears  a  red  election  favour.  On  the  wall 
behind  him  is  a  placard :  Gale  Jones  his  Speech  .  .  the  last  me[eting'\ .  Facing 
Hunt,  in  profile  to  the  1.,  and  a  prominent  figure  is  a  cobbler,  presumably 
Thomas  Preston,  seated  on  a  stool.   He  is  burly  and  ragged,  with  bare  arms 

807 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

and  blood-stained  hands,  and  smokes  a  pipe;  he  raises  a  skull-goblet  in  his 
1.  hand,  and  extends  his  r.  arm,  holding  a  hammer.  Under  his  feet  are  pikes; 
under  his  stool  is  a  last,  and  against  it  leans  a  book :  Trial  for  Treason  of  Watson 
Prest"  &  .  .  .;  through  this  a  knife  is  thrust.  Next  him,  his  head  in  profile 
to  the  1.,  is  James  Watson,  lean,  barelegged,  and  ragged,  seated  on  an  apothe- 
cary's upturned  mortar.  He  smokes  a  pipe  with  grim  malevolence.  Various 
objects  are  tied  to  his  back :  an  Old  Stocking  full  of  Gunpowder  Spa  Fields, 
a  clyster-pipe  inscribed  A  Clyster  for  the  Regent,  a  syringe /or  the  Horse  Gua'^^. 
At  his  feet  is  a  large  bottle  inscribed  Poison  of  Contention.  Behind  him  are 
medicine-bottles,  two  labelled /or  Olliver  and  Casels  [Castles].  Next  him  and 
on  the  extreme  r.  is  a  butcher  seated  on  a  box  of  Arms  from  which  weapons 
project.  He  has  a  pipe  in  his  mouth,  and  scowls  fiercely,  raising  a  skull-goblet 
inscribed  Blood.  Under  his  arm  is  a  chopper.  Three  others  are  close  together 
on  the  farther  side  of  the  table  and  on  Hunt's  1.  The  most  prominent  is 
Wooler,  much  caricatured,  as  a  negro,  and  with  Black  Dwarf  on  his  bonnet 
rouge  (see  No.  12982).  On  Hunt's  r.  is  a  man  clutching  a  dagger.  The  bonnet 
rouge  is  worn  by  all  present.  On  the  table  are  an  ink-pot  and  papers:  Plan 
of  Attack.  Place  of  Rendezvous;  Plan  of  the  Tozver  Treasurey  Resolut[iofis]; 
Corres  .  .  .  ence  Proceedings  against  Church  &  State;  Key  to  the  Royal  Bed 
Cham[her]  Calton  [sic]  //o[use] ;  More  Blood. 

Pictures  and  prints  are  on  the  dilapidated  wall.  On  the  1.  above  Thistle- 
wood  and  Gale  Jones  are  two  bust  portraits  framed  in  bones:  one  of  Tom 
Payne  as  a  Jacobin,  shouting;  one  of  Napoleon  with  the  drawn  profile  char- 
acteristic of  prints  of  18 14.  He  wears  a  bonnet  rouge.  Between  the  portraits 
a  bleeding  corpse-head  fixed  to  the  wall  supports  a  candle.  On  the  r.  are  two 
prints,  one  of  the  burning  and  plundering  of  the  Bank  of  England,  the  other 
of  a  judge  hanging  from  a  gibbet-shaped  lamp-post,  Gas  Light  Gibbet. 

A  satire  on  the  Spa  Fields  revolutionaries  and  their  association  with  Hunt 
in  relation  to  the  latter's  candidature  for  Westminster,  see  No.  12999,  ^^-y 
where  he  obtained  a  majority  by  a  show  of  hands  on  18  June  (from  the  voteless 
crowd)  but  was  hopelessly  beaten  at  the  poll,  see  No.  13006.  Gale  Jones 
(see  vols,  vii,  viii)  seconded  Hunt's  nomination,  Preston  supported  it.  Caleb 
Baldwin  had  been  arrested  during  the  election  for  'an  outrage'  against  one 
of  the  friends  of  Burdett.  Examiner,  1818,  28  June,  p.  406.  On  2  Dec.  1817 
Thistlewood  and  Watson  had  called  on  the  soldiers  in  the  Tower  to  surrender, 
and  a  plan  of  the  Tower  and  of  the  contemplated  operations  had  been  found 
at  Watson's  lodgings.  On  Watson's  acquittal  on  a  charge  of  high  treason,  see 
No.  12887,  proceedings  against  Thistlewood,  Preston,  and  Hooper  were 
dropped.  Thistlewood  continued  to  conspire,  but  was  in  prison  for  sending 
a  challenge  to  Lord  Sidmouth.  Hunt  was  more  demagogue  than  revolution- 
ary, at  times  quarrelling  with  and  avoiding,  at  times  co-operating  with  Thistle- 
wood and  his  group.  Hooper  and  the  two  Evanses  are  presumably  among  the 
four  unidentified  figures.  Theme  and  treatment  recall  Gillray's  London 
Corresponding  Society,  Alarm'd,  see  No.  9202.  (The  elder  Evans  links  the 
two  scenes.) 
8|X  13^  in.   With  border,  g^Xi;^^  in. 

13002  THE  CHAMPION  OF  WESTMINSTER,  DEFENDING  THE 
PEOPLE  FROM  MINISTERIAL  IMPS,  &  REPTILES. 

/  R.  Cruikshank.  Inve' :  &  Fee' 

Pub'^  July  7'^  1818  Panton  Street  Hay  Ma'  London 

Engraving  (coloured  impression).    Burdett,  in  quasi-Roman  dress,  stands 
with  legs  astride,  raising  a  sword  of  flame  with  which  he  threatens  a  swarm 

808 


POLITICAL   SATIRES    1818 

of  monsters  (r.)  on  whom  he  directs  the  beam  of  a  dark-lantern  inscribed 
Truth.  His  head  is  turned  in  profile  to  the  r.,  and  he  tramples  on  a  serpent 
with  a  barbed  tail  which  spits  flame  at  him  and  is  inscribed  Corruption.  He 
wears  a  corslet  inscribed  Independence  Honor  Magna  Charta  and  a  cap 
inscribed  Liberty.  The  defeated  monsters  are  descending  into  a  flaming  pit: 
The  Pit  of  Infamy.  The  flame  of  the  sword  is  inscribed:  Hone,  Kinnaird, 
Wood,  Wooller,  Cartzvright,  Thorp,  Waithman.  The  two  most  prominent  imps 
are  Hunt  and  Maxwell,  both  just  defeated  at  Westminster.  Hunt  has  a  large 
head  wearing  a  cap  of  Folley,  a  body  covered  by  the  words  PERGER  Y  HUXTer, 
webbed  wings  inscribed  Cowardice  and  Treachery,  a  barbed  tail ;  in  one  hand 
is  a  dagger  inscribed  Blood,  in  the  other  a  bag  of  Government  Pay.  Two  small 
serpentine  creatures  fly  near  him;  one  is  Castles,  the  other  Oliver.  Below 
Hunt  is  Maxwell,  floating  through  the  air  with  scaly  legs;  he  wears  naval 
uniform,  with  a  black  shade  over  his  eye  as  in  No.  12099,  and  grins  slyly  at 
Burdett  holding  out  a  bottle  inscribed  Mcux  [i.e.  gin],  and  holding  a  sack  of 
Government  Pay  under  his  1.  arm;  between  his  legs  is  a  sword.  A  monster 
wearing  a  judge's  wig  and  bands  consists  of  an  owl's  head  with  ass's  ears  and 
webbed  wings,  and  is  labelled  Hell-Borough,  indicating  Ellenborough.  Below 
Maxwell  is  Sir  William  Curtis,  dressed  as  a  sailor  as  in  No.  11353,  &c.  He 
steps  into  the  pit  with  a  melancholy  expression,  a  little  'blue  devil'  (cf. 
No.  8745)  seated  on  his  shoulder.  His  paunch  is  inscribed  Blubber  and  under 
his  r.  arm  are  a  long  spoon  and  a  large  bag :  M.  T.  [empty]  Bag.  Two  other 
creatures  are  sinking  into  the  pit :  a  goblin  with  limbs  inscribed  Debaucliery, 
Gluttony,  and  Drunkenness,  and  a  large  serpent  with  a  fantastic  head,  its  body 
inscribed  Cruelty  Luxury  Pride  Indolence  Malice.  The  flames  of  the  pit  are 
surrounded  with  heavy  clouds  above  which  is  a  sun  inscribed  Royal  Favor  and 
centred  by  an  eye. 

On  the  1.,  a  pendant  to  the  pit  and  behind  Burdett,  are  the  people  in  The 
Land  of  Misery  and  Oppression  whom  he  is  defending.  They  are  grouped 
under  the  wide  trunk  of  a  decaying  tree  inscribed :  The  Withered  Oak  Englnd 
[sic]  the  Pride  &  Glory  of  the  World.  Beside  it  stands  an  aged  and  emaciated 
man,  while  a  handsome  young  sailor  leans  against  it,  wearing  tattered  clothes 
and  a  hat  with  a  ribbon  inscribed  Victory,  and  is  probably  a  self-portrait  of 
the  artist.  On  his  1.  hand  a  ship  is  tattooed.  Crouching  on  the  ground  are  two 
women,  three  children,  one  dying  of  Starvation,  and  a  man,  all  in  despair. 
In  the  background  are  the  masts  of  a  ship  with  a  broom  at  the  mast-head, 
signifying  that  she  is  for  sale. 

A  satire  primarily  on  the  elections  in  Westminster,  see  No.  12999,  &:c.,  and 
the  City,  with  a  tribute  to  the  two  radical  journalists  Hone  and  Wooler.  In 
the  City,  Waithman  (cf.  No.  13024)  and  Wood,  the  radicals  defeated  in  18 12, 
were  returned,  the  sensation  of  the  election  being  the  defeat  of  Curtis  by 
Alderman  Thorpe,  while  Atkins,  also  a  Tor}^  M.P.  for  the  City  in  the  last 
parliament,  was  defeated  also,  see  Greville  Memoirs,  1938,  i.  55  f.,  the  result 
being  the  return  of  four  new  City  M.P.'s,  and  a  triumph  for  the  Reformers. 
The  results  are  correctly  given  in  No.  13006.  The  print  is  in  the  interests 
of  the  Westminster  Committee,  which  had  worked  'to  fight  up  Burdett  to 
the  popularity  he  had  lost'  and  had  been  abused  by  Hunt  and  Cobbett  as 
a  rump  of  Burdett's  personal  followers.  Wallas,  Life  of  Place,  p.  129.  Hunt 
was  assailed  on  the  hustings  as  a  colleague  of  Oliver  the  spy.  The  print 
illustrates  the  bitter  antagonism  between  Burdett  and  Hunt  and  the  extrem- 
ists, who  are  here  distinguished  from  Hone  and  Wooler.  A  revival  of  trade 
had  relieved  distress  (see  No.  12779)  to  a  considerable  extent. 
9f  X  14I  in.   With  border,  10  x  14I  in. 

809 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13003  WESTMINSTER  ELECTION. 

/.  R.  Cruikshank.  deV  &  fee* 

London  Pu^  by  I.  I.  Stockdale,  41  Pall  Mall,  16"'  July  1818. 

Engraving  (coloured  impression).  Frontispiece'  to  The  Poll  Book,  for  electing 
Two  Representatives  in  Parliament  for  .  .  .  Westminster  ...  A  realistic  view 
of  the  hustings,  the  top  of  the  portico  of  St.  Paul's  Covent  Garden  appearing 
above  the  pent-house  roof.  Seven  divisions,  divided  by  posts,  for  the  different 
parishes  are  shown,  each  with  its  placard,  that  for  St.  John's  being  omitted 
(see  No.  13006).  On  a  centre  post  is  the  board  for  the  state  of  the  poll :  3'^^  Day, 
Maxwell,  Romilly,  Burdett,  Kinnaird,  Cartwright,  Hunt.  On  the  1.,  in  front 
of  the  section  for  <S'  George,  is  a  small  projecting  platform  from  which  Hunt 
harangues  the  crowd.  He  wears  a  large  red  favour,  as  does  Gale  Jones,  who 
stands  conspicuously  in  the  next  section  (for  S^  James).  His  large  red  flag, 
surmounted  by  a  cap  of  Liberty  and  inscribed  Hunt  &  Liberty,  flies  above 
the  1.  end  of  the  hustings.  The  scale  is  much  smaller  than  in  No.  12999,  with 
many  more  figures.  Maxwell  (r.)  is  under  the  section  for  S*  Anne  (r.),  four 
sections  separating  him  from  Hunt.  He  smiles  (cf.  No.  13023),  wearing  his 
black  patch,  and  the  star  of  the  Bath.  The  stout  man  (.''  Willock),  the  naval 
officer,  and  (.'')  Yarmouth,  still  on  the  extreme  r.,  are  all  conspicuous,  as  is 
(?)  Kinnaird,  close  to  the  centre  post.  A  young  man,  standing  above  the 
others,  hat  in  hand,  may  be  Michael  Bruce,  see  No.  12706,  whom,  like 
Kinnaird,  T.  Grenville  calls  Burdett's  bottle-holder.  H.M.C.,  Dropmore 
MSS.,  X.  439.  An  elderly  man  on  the  1.  of  the  centre  post  resembles  Cart- 
wright.  Constables  stand  in  the  alley-way  in  front  of  the  hustings,  with  a  man 
holding  up  a  tankard  to  Hunt.  The  heads  and  shoulders  of  the  front  rows 
of  the  crowd  form  the  base  of  the  design. 

See  No.  12999,  &c.  According  to  Stockdale's  'Advertisement'  to  the  Poll 
Book,  dated  15  Aug.  181 8,  he  had  received  many  threatening  letters  to  deter 
him  from  publication. 

Reid,  No.  776  (attributing  the  greater  part  to  G.  Cruikshank).    Cohn, 
No.  669. 
71^X9^  in.  184.  f.  20. 

13004  "AND  HENRY  TOLD  A  FLATTERING  TALE." 

Marks  fee* 

London  Piib'^  by  E.  Brooks  Penton  [sic]  Street  Leicester  Fields 

[c.  July  1818] 

Engraving  (coloured  impression).  The  Duke  of  Clarence,  in  admiral's  uni- 
form, introduces  to  John  Bull  (r.)  Princess  Adelaide  of  Saxe-Meiningen  (1), 
who  takes  his  r.  arm.  John  is  a  stout  'cit'  wearing  an  ill-fitting  wig,  who  sits 
at  a  plain  wooden  table  on  which  is  an  overturned  and  empty  tankard,  his 
arm  rests  on  a  paper  headed  Tax  upon  Income  [repealed,  see  No.  12750];  he 
looks  over  his  shoulder  with  angry  suspicion  at  the  couple  who  bow  ingra- 
tiatingly. The  Duke  says:  ''Clarence  is  Come",  nozvs  your  time  to  rejoice  John 
Bull  for  Pm  the  boy  that  can  do  it  {Jordan  for  that)  I  will  exert  every  nerve  to 
produce  an  Heir,  Pll  Spend  all  my  time  in  Bushey  Park? — you  know  I  am  no 
Humbug.  [In  much  smaller  script :]  /  hope  you' II  not  forget  me  next  Parliament! 
Princess  Adelaide,  pretty  and  amiable,  holding  a  reticule,  says :  On  my  part 
nothing  to  that  end  shall  fail.  Pll  not  leave  a  Stone  unturned.  Behind  the  pair 

'  Also  an  impression,  not  folded,  in  Grace  Coll.  xviii,  sheet  50,  No.  loi. 

810 


POLITICAL   SATIRES    l8l8 

on  the  extreme  1.  stands  a  woman  with  a  Jewish  nose,  who  must  be  the  bride's 
mother  (see  No.  13005).  She  registers  cunning  satisfaction,  saying.  Bless  me 
how  easy  ikf  Bull  is  Humbugged!  Over  John's  table  is  a  picture :  tw'o  con- 
trasted figures  holding  out  frothing  tankards  towards  each  other.  One,  New 
Times,  in  modern  dress,  is  thin  and  melancholy,  his  tankard,  though  large, 
is  smaller  than  that  of  the  other  and  is  inscribed  6^;  Old  Times  is  a  stout 
John  Bull  in  old-fashioned  dress,  with  a  tankard  inscribed  3^,  After  the 
title : 

''Quoth  C e  heav'n  inspired''  I'll  wed, 

ril  live  no  more  in  fornication. 
But  take  a  Virgin  to  my  bed, 

And  serve  and  gratify  the  nation. 

The  Duke  of  Clarence,  despite  his  assertion  that  he  had  given  up  his  pro- 
jected marriage  on  the  refusal  of  Parliament  to  make  him  an  adequate  grant, 
see  No.  12987,  married  on  11  July  1818  at  Kew  Palace.  They  retired  to 
Hanover  for  reasons  of  economy,  leaving  London  on  3  August.  The  word 
'Humbug'  was  associated  with  royal  marriages  by  the  nickname  of  the  Prince 
of  Hesse-Homburg,  see  No.  12986,  &c.  The  Duke's  opening  words  imply 
the  rest  of  the  quotation:  'false,  fleeting,  perjured  Clarence  .  .  .',  Richard  III, 
I.  iv.  For  the  Fitzclarences  see  (e.g.)  No.  9009;  for  the  abandonment  of 
Mrs.  Jordan,  No.  11744.  ^^^  ^^^  sensitiveness  of  John  Bull  to  the  price  of 
porter  cf.  No.  9430,  &c.  See  also  No.  13005. 
8hx  12^  in. 


13005  JANUARY AND MAY.  OR  FRESH  ARRIVALS. 

[Williams.]  [c.  July  18 18] 

Aquatint.  Perhaps  a  pi.  from  the  Busy  Body.  The  Duke  of  Clarence  bends 
forward,  holding  out  both  arms,  to  receive  Princess  Adelaide  who  is  led 
forward  by  her  mother,  the  duchess-dowager  of  Saxe-Meiningen.  Both 
ladies  wear  trimmed  pelisses,  with  large  and  much-trimmed  bonnets.  The 
duchess  holds  an  eyeglass  to  her  eye,  inspecting  the  Duke  with  a  startled 
expression.  She  says :  Here  I  av  brought  you  my  Young  ting  for  de  cood  of  de 
countre!  The  Duke,  who  wears  admiral's  uniform,  answers:  Yes!  Yes!  for 
my  Countrys  good!!  Fll  die  with  pleasure  for  my  Countrys  good!!  Princess 
Adelaide  reflects  demurely :  /  hope  you'll  make  haste  then  for  I  shall  like  to 
have  a  Younger  one.  A  servant  (r.)  who  places  an  arm-chair  for  the  Princess 
says :  And  you  II  soon  do  him  over  I' II  bet  odds!!  Queen  Charlotte  (1.),  emaciated 
and  grotesque,  capers  absurdly  in  a  doorway  behind  the  Duke;  she  takes 
snuff,  saying,  — Ah!  the  right  sort  I  see!  Treue  Yarmony  young  and  not  too 
fat  like  me!  if  Billy  was  not  quite  so  old  John  Bull  would  be  blessed  with  another 
lumping  dozen  or  two.  The  room  is  a  modest  parlour.  Against  the  wall  is  a 
sofa  on  which,  with  a  volume  of  Aristotle,  lies  a  piece  of  music,  a  song  headed 
Will  you  come  to  the  Bower;  across  this  lies  a  long  flute. 

See  No.  13004.  When  the  Government  proposed  a  grant  for  the  Duke  on 
his  marriage,  see  No.  12987,  Canning  said:  'his  royal  highness  would  not 
have  thought  of  contracting  this  marriage,  it  never  would  have  entered  into 
his  contemplation  to  engage  in  this  alliance,  if  it  had  not  been  pressed  upon 
him  as  an  act  of  public  duty'.  Pari.  Deb.  xxxviii.  107  (15  Apr.  1818). 
4^X71  in. 


811 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

13006  REPRESENTATION  OF  THE  ELECTION  OF  MEMBERS  OF 
PARLIAMENT  FOR  WESTMINSTER.  1818.  !  REPRESENTATION 
DES  ELECTIONS  DES  MEMBRES  DE  PARLEMENT  POUR  WEST- 
MINSTER.   1818. 

Drawn  &  Etched  by  G.  Scharf 

Engraved  by  Ro¥  Havell  &  Son.  j,  Chapel  S^  Tottenham  Court  Road 

London,  Published  Nov^  i8i8,  by  G.  Scharf,  j  S'  Martins  Lane,  Charing 

Cross,  and  Mess''^  Colnaghi  &  C°  Printsellers,  Cockspur  Street. 
Aquatint  (printed  in  colour,  with  watercolour  additions).  The  scene  in  Co  vent 
Garden  realistically  depicted,  showing  the  characters  and  humours  of  the 
election  with  delicate  precision.  In  the  foreground  is  the  crowd,  in  the  middle 
distance  St.  Paul's  Church,  the  fa9ade  receding  in  perspective  from  1.  to  r., 
with  the  polling  booth,  a  timber  structure,  in  front  of  the  portico,  raised 
above  the  heads  of  the  crowd.  Two  men  hold  up  framed  posters  on  poles; 
on  one  (1.):  Westminster  \  Election  \  The  Jj"'  Day  \  State  of  the  \  Poll  |  July  4. 
1818  I  Romilly  ^jjg  \  Burdett  5238  \  Maxzvell  4808  j  Hunt  84]  .  On  the 
other  (r.) :  City  \  Election  \  1818  \  Last  Day's  j  Poll  \  Wood  Sjoo  \  Wilson  482g  \ 
Waithman  4603  |  Thorp  4335  \  Curtis  4224  \  Atkins  1688.  In  the  foreground 
(1.)  a  woman  sells  strawberries,  resting  her  basket  of  pottles  on  a  stone  and 
holding  up  a  pottle  invitingly.  Beside  her  is  a  paper:  To  the  Independent 
Electors  of  Westminster.  A  boy  with  the  badge  of  a  charity-school  holds  by 
the  hand  a  little  girl  who  gazes  at  the  basket.  Two  men  sell  pies  or  cakes 
from  a  basket-tray  slung  from  the  shoulders.  Among  the  many  individual 
characters  are  a  man  on  a  pony,  a  man  in  Highland  dress,  a  badged  water- 
man; a  negro  servant,  fashionably  dressed  but  wearing  apron  and  over- 
sleeves, advances  with  an  empty  basket.  Well-dressed  men  and  women  are 
on  the  extreme  1.  A  ballad-singer  (1.),  suckling  an  infant,  bawls  her  wares. 
Towards  the  hustings  the  crowd  becomes  a  sea  of  heads,  densely  packed. 
Banners  emerge  from  it,  inscribed  respectively:  Maxwell  for  Ever,  Burdett 
and  Purity  of  Election,  Romilly  and  the  Constitution,  Magna  Charta,  Hold  to 
the  Law.  A  band  is  in  full  blast  near  Burdett's  flag,  with  drum,  cymbals, 
trumpets,  and  horn.  An  open  carriage  and  pair  drives  (1.  to  r.)  towards  the 
hustings,  containing  five  ladies  wearing  large  bonnets. 

The  front  of  the  hustings  is  divided  by  posts  with  placards  showing  where 
the  electors  of  the  different  parishes  poll  (I.  to  r.):  S^  Margaret,  S'  lohn  the 
Evangelist,  S'  George  Hanover  Square,  S'  James,  S'  Martin  in  the  Fields, 
S'  Clement  Danes,  S'  Paid  Covent  Garden,  S'  Ann.  Men  standing  on  the 
hustings  hold  placards  inscribed  with  the  candidates'  names:  Hunt  on  the 
extreme  1.,  Burdett,  Kinaird  [sic],  Romilly,  Cartwright,  Maxwell.  Poll-clerks 
are  writing  in  the  gangway  below  the  platform  and  voters  or  spectators  are 
in  a  second  gangway  between  the  clerks  and  the  crowd.  Election  posters  are 
scattered  over  the  gable-end  (1.)  of  the  hustings  for  all  the  candidates  except 
Hunt,  two  being :  Burdett  and  Kinaird  for  Westminster,  and  Burdett  and 
Freedom.  From  the  dense  crowd  hats  are  waved,  and  one  man  supported 
above  it  eagerly  addresses  a  speaker  on  the  hustings  who  seems  to  be  Hunt. 

Facing  the  hustings  (r.)  is  the  timber  stand  which  was  by  custom  erected 
so  that  spectators  could  watch  crowd  and  hustings  from  a  higher  level.  It 
is  a  sea  of  heads  and  tiny  figures,  with  a  few  parasols ;  a  large  Union  flag  flies 
from  it.  There  is  a  steep  side  staircase,  up  which  a  man  is  climbing,  while 
another  helps  up  a  lady.  In  front  of  this,  and  in  the  foreground,  is  a  more 
plebeian  stand  supported  on  a  large  wagon,  with  the  shafts  resting  on  the 
ground;  on  this  is  the  inscription  G.  Scharf  Pinx  .  .  A  man  climbs  up  a  wheel 
to  hand  a  large  tankard  to  one  of  the  occupants.  From  an  adjacent  stand  flies 
Hunt's  red  flag  inscribed  Universal  Suffrage,  surmounted  by  a  cap  of  Liberty. 

812 


POLITICAL   SATIRES    1818 

On  the  extreme  r.,  behind  the  wagon,  the  business  of  Covent  Garden  Market 
is  going  on.  There  are  baskets  of  vegetables,  the  comer  of  a  vegetable  stall, 
a  man  carrying  a  pile  of  baskets  on  a  porter's  knot,  a  woman  with  a  yoke  and 
pails.  The  buildings  in  the  background,  on  the  1.  of  the  church  and  beyond 
it  on  the  r.,  are  drawn  with  minute  precision.   See  No.  12999,  ^'^• 

A  pencil  sketch  for  this  is  in  the  Print  Room,  showing  the  hustings,  the 
crowd,  the  wagon,  the  man  with  the  tankard,  and  the  side  of  the  high  stand. 
Hunt's  flag  flies  from  a  high  staff  on  the  1.  of  the  hustings,  and  is  inscribed 
'Hunt  for  ever'.   (Drawings  by  Scharf,  i,  fo.  23.) 
I2|x  17^  in.  Grace  Goll.  Portfolio  xviii.  Sheet  51,  No.  102. 

13007  A  KISS  AT  THE  CONGRESS,  A  LEGITIMATE  EMBR,\CE  AT 
AIX  LA  CHAPELLE,  BETWEEN  ALEX.\NDER  THE  GREAT  AND 
LOUIS  THE  LARGE,  &  OTHERS  OF  THE  DRAMATIS  PERSONA 

[W.  Heath.] 

Pub  Nov  18  1818  by  S  W  Fores  50  Piccadilli,  &  114  Oxford  Street 

Engraving  (coloured  impression).  Above  the  design  as  an  alternative  title: 
Political-Dandies.  Louis  XVHI,  grotesquely  obese  (1.),  and  the  Tsar  kiss, 
their  lips  touching.  Louis,  whose  head  is  much  the  larger,  grasps  the  back 
of  Alexander's  head;  the  Tsar  bends  from  the  waist  to  reach  beyond  the 
King's  paunch.  Louis,  with  the  gouty  legs  and  old-fashioned  gold-embroidered 
coat  and  waistcoat  of  Enghsh  caricature,  wears  the  order  of  the  Saint  Esprit. 
The  Tsar,  in  uniform,  has  the  high  pinched  waist  and  bulging  breast  of  the 
dandy  (cf.  No.  13029)  with  enormous  cavalry  boots  to  the  thigh,  huge 
epaulets,  and  a  sash,  but  no  sword.  He  says:  My  Dear  Legitimate  Brother 
(tho  I  believe  I  call  Bonev  the  same)  I  am  happy  to  serve  you  tho  your  cursed 
Country  Men  almost  destroyed  my  country —  Louis  answers:  Ma  Chere  [sic] 
Ami,  I  am  so  rejoiced  at  your  Brotherly  Kindness  in  putting  off  our  payment  & 
takeing  off  your  Troops  that  I  could  Devour  you.  The  embrace  is  watched  by 
two  Frenchmen  on  the  1.,  and  on  the  r.  by  the  King  of  Prussia,  the  Emperor 
of  Austria,  and  a  young  man  ( ?  Napoleon's  son).  Frederick  William  wears  dandi- 
fied uniform  like  that  of  the  Tsar  but  with  long  trousers ;  he  supports  a  large 
sword  hanging  from  a  belt,  and  holds  a  huge  cocked  hat;  he  watches  the 
embrace  with  distaste,  saying,  /  am  obliged  to  follozc  the  Leaders  at  Present. 
Francis  I  says:  /  must  agree  for  the  mojnent  but  I  have  a  Grandson.  One 
Frenchman  wears  uniform  with  top-boots;  he  says:  De  Legitimate  francais 
be  too  much  for  John  Bull  de  manoeuvre  by  Gar  ve  want  de  Time  &  we  show 
dem  vat  ve  intend.  His  companion,  an  elderly  man  wearing  a  court  suit  with 
a  powdered  wig  (Richelieu  attended  the  Conference  on  behalf  of  France)  says 
delightedly :  Ah-ha  he  do  him  vid  Compliments  &  den  we  do  them  out  of  the 
Money.   Behind  them  is  a  row  of  melancholy  knock-kneed  Grenadiers. 

The  Conference  (so-called  Congress)  of  Aix-la-Chapelle  met  on  30  Sept. 
1818,  shadowed  by  rumours  that  the  Tsar  was  meditating  a  separate  under- 
standing with  France.  (This  was  averted.)  Its  first  object  was  an  agreement 
on  the  evacuation  of  France  by  the  Allies  together  with  a  financial  arrange- 
ment for  the  payment  by  France  of  the  remainder  of  the  war  indemnity;  its 
second  the  admission  of  France  to  the  concert  of  Europe.  Both  were  achieved. 
Alexander,  Francis  I,  and  Frederick  Wilham  HI  were  present.  See  Camb. 
Hist,  of  British  Foreign  Policy,  ii.  21  ff.;  W.  A.  Phillips,  The  Confederation  of 
Europe,  19 14,  pp.  159  if.;  H.  Nicolson,  The  Congress  of  Vienna,  1946,  pp.  262- 
6.    See  No.  13010. 

De  Vinck,  No.  103 14. 
8^Xi2|  in. 

813 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

13008  A  FRENCH  ELEPHANT.  PL:  XVHI 

Puhl'^  by  SW  Fores  50  Piccadilly  [Nov.  i8i8]i 

Lithograph  (coloured  impression).  Louis  XVIII  caricatured  as  an  elephant, 
seen  from  behind.  His  broad  bowed  shoulders  are  the  animal's  hind-quarters, 
with  an  arc  of  bald  head  between  side-pieces  of  powdered  hair  which  serve 
as  elephant's  ears.  A  very  narrow  pointed  coat-tail  hangs  between  the  pillar- 
like legs  of  the  gouty  king.  Across  the  back  is  a  ribbon  from  which  dangles 
a  fleur-de-lis.   Cf.  No.  12997. 

One  of  a  set  of  lithographs  by  and  after  G.  Cruikshank  (see  No.  13085,  &c.), 
who  repudiated  this  on  the  Broadley  impression.  Probably  from  a  French 
original:  cf.  a  chalk  drawing  'Elephant  vu  par  derriere',  De  Vinck,  No.  9102, 
and  the  three  silhouettes  of  No.  9101 :  L  .XVIII.  \  le  Desire  (attributed  to 
1814).   The  print  appears  in  No.  13449. 

Reid,  No.  718.   Cohn,  No.  1133.   Broadley,  ii.  16.   Hennin,  No.  13871. 
ioJx8  in. 

13008  a  a  FRENCH  ELEPHANT. 

[?  G.  Cruikshank^.] 

Lithograph  (coloured  impression).  Another  version  of  No.  13008;  the  figure 
is  approximately  the  same  size,  with  more  ground  below  and  behind  the  feet, 
plants  and  grass  being  added.  There  is  more  shading  on  the  figure,  and  more 
verisimilitude.  'PI.  XVIII'  may  have  been  cropped,  but  is  also  absent  in 
No.  13008  B. 
I2|x8|  in. 

13008  b  a  FRENCH  ELEPHANT 

An  etched  version  of  No.  13008  A.  Cf.  p.  852,  n.  2. 
ii|x8^  in. 

13009  THE  CURSE  OF  SPAIN— 
[G.  Cruikshank.] 

Washington — Pu¥  Nov''  1818  [London,  c.  Dec,  181 8.] 

Engraving.  Ferdinand  VII  sits  enthroned  on  a  low  platform  (for  a  dais), 
inscribed  TYRANNY,  and  resting  on  skulls,  and  also  supported  at  the  corners 
on  cross-hilted  daggers.  He  has  ass's  ears  and  hoofs,  his  crown  ascends  in  a 
fool's  cap  inscribed  Superstitio?i.  He  holds  a  long  sceptre  inscribed  Iron,  and 
(for  orb)  a  skull  inscribed  Spain.  The  footstool  on  which  his  1.  hoof  rests  is 
a  large  book:  Political  Constitution  of  the  Spanish  Monarchy  18 12.  Round 
his  neck  is  a  chain  (the  collar  of  an  order)  of  skulls,  bones,  and  daggers.  His 
seat  is  decorated  with  heavy  shackles.  He  sits  between  his  two  advisers :  the 
Devil  (1.),  nude  and  hairy,  whose  barbed  tail  is  twisted  round  the  King's  r.  leg, 
and  a  barefooted  friar,  whose  tonsure  is  inscribed  Father  Cirilo.  The  Devil 
holds  a  headsman's  axe;  three  nooses  are  hung  over  his  r.  arm,  his  1.  arm  is 
round  the  King's  neck,  crossing  the  r.  arm  of  the  monk  whose  hand  is  on 
the  King's  r.  shoulder.  He  wears  a  rosary  and  cross  on  his  bare  torso.  He 
says:  Prisons,  Chains,  Halters — &  the  Tortures  of  the  Holy  Inquisition  for  every 
friend  to  Constitutional  Liberty  &  the  Cortes — eternal  war  against  Literature 
&  Liberty!  1 1  A  snake  is  coiled  round  the  monk's  neck,  whispering  in  his  ear; 
in  the  hood  of  his  robe  crouch  four  little  grinning  demons ;  two  of  them  hold 
up  tridents,  two  hold  crosses  (or  swords).   He  points  behind  him  to  the  r., 

*  So  dated  by  E.  Hawkins. 

*  One  of  a  set  of  lithographs  by  G.  C.  purchased  from  Mr.  Pailthorpe. 

814 


POLITICAL   SATIRES    1818 

where  the  tortures  of  the  Inquisition  are  in  progress,  saying,  Behold  Sire!  the 
Torments  prepared  for  the  Constitutional  Spaniards  who  oppose  your  Arbitrary 
power;  The  Friars  &  the  Inquisition  swear  to  support  you  as  an  absolute  Monarch!! 
Ferdinand,  looking  to  the  1.,  Hstens  intently  with  a  savage  scowl,  saying,  Fear 
not!  they  are  in  my  power,  The  Church  is  my  Mother,  The  Inquisition  is  my  best 
beloved,  the  Monks  are  my  Children,  the  People  are  my  Slaves — My  will  is  the 
Law.  Below  the  skulls  are  names  associated  with  Spanish  resistance  to  Napo- 
leon: 2*^  of  May,  Madrid  [see  No.  11058],  Zargoza,  Gerona,  Ciudad-Rodrigo, 
Talavera,  Medellin  &c. 

At  the  friar's  feet  (r.)  and  in  the  foreground  a  little  demon  burns  news- 
papers with  a  firebrand ;  he  holds  El  Espanol  Constitucional;  the  other  papers 
are  Examiner,  Morning  Chronicle,  Minerve.  On  the  r.  behind  the  demon  is 
a  battlemented  Gothic  building,  The  Infernal  Inquisiton  [sic]  (the  F  and  E  of 
'Infernal'  being  without  cross-bars),  surrounded  by  a  moat  of  Human  Blood 
in  which  bodies  are  floating.  At  the  base  of  the  building  is  a  wide  arch  through 
which  the  interior  is  seen.  Here  Jesuits  (wearing  birettas)  are  directing 
tortures  which  monks  carry  out:  one  man  is  being  roasted  on  a  gridiron, 
another  is  being  crucified  by  being  nailed  to  the  floor.  From  the  battlements 
project  three  spikes,  on  each  of  which  a  body  is  impaled;  heavy  smoke  issues 
from  two  chimneys.  Other  bodies  hang  from  the  battlements  by  neck,  feet, 
or  wrists.  On  the  facade  an  irradiated  cross  with  cherubs'  heads  separates  two 
barred  windows,  from  one  of  which  corpses  hang  out,  in  the  other  prisoners 
are  seen.  Below  the  cross  is  a  wheel  to  which  one  body  is  bound,  while  another 
is  crucified  head  downwards.  Three  decollated  heads  surmount  it.  Skeletons 
lie  on  the  summit  of  the  supporting  arch  and  gibbets  lean  against  the  building. 
On  the  sky-line  behind  are  two  gibbets;  from  one  hangs  an  ofiicer:  Gen' 
Porlier;  from  his  head  ascend  the  words  Liberty  or  Death!  From  the  other 
hangs  ComnfJ  Richard.  As  a  pendant  to  this  on  the  1.  are  three  soldiers  who 
stab  an  officer  with  their  bayonets;  at  his  feet  is  a  paper  inscribed  Lacy.  He 
cries:  Tremble  Vile  slaves  of  an  Usurping  Parricide.  The  Blood  of  Porlier 
Richard  &  Lacy,  cries  to  Heaven  for  Vengeance!  The  Liberty  of  their  Country 
will  reascend from  their  ashes!   Below  the  design: 

To  prompt  his  cruel  mind  Hell  sends  his  fiends  ; 
Despots  their  Minions ;  Holy  Church  her  friars  ; 
And  thus  he  reigns — in  spite  of  good  men's  prayers — 
The  Finger-post  of  scorn ;  the  People's  hate  ; 
A  maudlin  Bigot,  on  a  bloody  throne! —    Shadrach. 

A  satire  on  a  decree  of  19  Nov.  1818  against  heretical  and  seditious  publica- 
tions, and  the  possession  of  works  against  the  Inquisition,  works  advocating 
the  re-establishment  of  the  Constitution,  and  foreign  newspapers  'containing 
matter  against  the  Government  and  Institutions  of  Spain',  the  punishment 
to  be  not  less  than  three  months'  solitary  imprisonment  under  the  Holy  Office 
and  a  fine.  This  was  signed  by  the  Grand  Inquisitor,  Francisco  Xavier  Meir 
y  Campillo.  The  print  illustrates  the  interpretation  of  the  decree  in  the 
Examiner,  13  Dec:  'Any  man  who  has  a  Chronicle,  Examiner,  Minerve,  or 
Espanol  Constitucional  in  his  possession  .  .  .  shall  be  dreadfully  punished.' 
The  date  of  the  imprint  is  evidently  that  of  the  decree.  'Washington'  may 
refer  to  the  boundary  dispute  (18 15-19)  between  Spain  and  the  United  States. 
Fray  Cirilo  was  the  General  of  the  Franciscans.  La  Minerve  franfaise, 
Feb.  i8i8-Mar.  1820,  was  a  liberal  and  anti-clerical  periodical  of  note,  see 
De  Vinck,  No.  10301.  For  Ferdinand  as  'parricide'  cf.  No.  10990  (1808). 
His  persecutions,  and  a  profound  belief  in  the  Constitution  of  1812  rejected 
by  him,  led  to  repeated  military  insurrections,  one  in  1814,  that  of  Porlier  in 

815 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

1815,  Richard  who  tried  to  assassinate  the  King  in  18 16,  Lacy  in  1817;  most 
of  the  leaders  suffered  death. 

Reid,  No.  784.    Milan,  No.  2773.    Described  (as  'Spanish  Caricature'), 
Examiner,  21  Mar.  1819. 
7#X"2  in. 

13009  a  a  later  state  (coloured)  with  the  defective  letters  in  'Infernal' 
completed;  on  one  of  two  impressions  the  date  has  been  erased. 

13009  b  TIRANIA,  a  close  copy  (coloured'  and  uncoloured^  impressions) 
with  the  same  imprint  and  Spanish  inscriptions,  some  literal  translations  of 
the  English,  the  titles  of  newspapers  as  in  No.  13009.  Variations:  Ferdinand: 
Nadie  puede  quitarme  el  ser  senor  de  vidas  y  haciendas  —  Mi  voluntad  [&c.]. 
The  Devil's  speech  ends :  Guerra  abierta  a  los  sabiosy  a  las  ciencias.  The  friar's 
speech  ends:  Nada  temdis.   Porlier:  Vive  la  Constitucion.   Below  the  design: 

En  tanto  que  los  bravos  espanoles 

Derramaban  su  sangre  por  Fernando  [cf.  No.  11003,  1808], 

El  a  Napoleon  felicitaba 

Por  las  victorias  que  en  el  suelo  hispano 

Sus  satiguindrias  huestes  conseguian  .... 

Ved  las  hazanas  de  este  Monstnio  infando. 

La  Ferdinanda.  Lib.  i.  v.  129. 
The  only  title  is  the  inscription  on  the  dais. 
Cohn,  No.  1033. 
7i^Xii^in. 

1 3009  c  A  lithographed  version  (uncoloured)  with  Spanish  inscriptions 
as  No.  13009  B,  except  for  torturas  in  place  of  tortura,  but  without  the  quota- 
tion from  La  Ferdinanda. 

7i^Xii^  in. 

13010  A  RUSSIAN  DANDY  A  SCENE  AT  AIX  LA  CHAPELLE 
[W.  Heath.] 

Pub  Dec  8^''  1818  by  SW  Fores  50  Picadilli  &  Oxford  Street 

Engraving  (coloured  impression).  Wellington  and  the  Tsar  stand  facing  each 
other,  the  former  wearing  grotesque  uniform  like  that  of  the  Tsar,  more 
exaggerated  than  in  No.  13007,  with  his  own  towering  cocked  hat  with  field- 
marshal's  plume.  The  boots  of  both  reach  to  the  hips,  and  being  wrinkled 
at  the  ankles  suggest  the  trousers  of  the  dandies.  Wellington  is  erect  and 
dignified,  Alexander  bends,  grasping  his  wasp-waist  to  control  his  laughter. 
Behind  him  is  a  row  of  caricatured  Russian  officers,  in  burlesqued  uniforms. 
Wellington :  One  may  be  allowed  a  Variety  of  Mistresses ;  but  I  have  such  a 
Variety  of  Masters,  I  shall  not  know  which  to  serve  first!!!  Alexander :  /  think 
you  will  be  a  little  Straitened  in  it.  One  of  the  Russians :  Our  Master  has  put 
him  in  a  strait  coat  now  ;  it  will  be  well  if  he  does  not  get  a  Strait  Waistcoat  by 
&  by.    Below  the  design: 

Tis  said  that  the  Head  of  the  Forces  allied 
Not  having  a  Coat  to  his  Back 
A  generous  Manarch  [sic]  the  needful  supplied 
And  when  thus  equip  d  they  sat  down  side  by  side 
To  drink  their  Champaign  &  theire  Sack 

'  On  the  back  is  a  rough  sketch  called  'Retributive  Justice  or  the  Grand  ato  de  f^  of 
1823'  [auto  da  fe]  in  which  Louis  XVIII  takes  part. 
^  Printed  on  the  back  of  No.  13009. 

816 


POLITICAL   SATIRES    1818 

Now  doubtless  this  Hero  of  wonderful  note 
Had  the  Monarch  allozved  him  to  choose 
Would  have  bartered  his  honor  to  sit  in  his  Coat 
For  the  Pleasure  to  stand  in  his  Shoes 

See  No.  13007.    It  is  (incorrectl}^)  suggested  that  the  Tsar  imposes  his 
policy  on  Wellington,  who  attended  the  Conference  as  C.-in-C.  of  the  allied 
forces,  Castlereagh  being  the  British  plenipotentiary. 
ii^xSf  in. 

13011  TERM  BELOW— OR— THE  ROAD  TO  RETRIBUTION.    183 

[Williams.] 

London  Pub  1818  by  T.  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Judges  and  barristers,  variously  mounted, 
and  bunched  together,  are  galloping  towards  Hell,  where  flames  rise  from  a 
pit  (r.).  They  are  led  by  the  Devil,  black  and  naked,  with  webbed  wings, 
who  rides  the  skeleton  of  a  horse  and  grasps  a  sceptre  inscribed  P.  In  front 
two  demons,  dressed  as  postilions,  act  as  outriders  riding  together  on  a  smaller 
horse's  skeleton.  The  foremost  flourishes  two  rolled  documents:  B\iir\  of 
Indictment  and  Exparte  Information,  and  shouts :  D — n  your  lazy  bones  make 
haste,  do'nt  you  see  what  company  we  have  got.  The  other  has  a  document 
inscribed  Declaration  and  cries :  Come  Gentlemen  do'nt  be  chop  fallen  tho'  we 
have  no  juries  you  will  have  justice  done  ye — .'  Nearest  the  spectator  is  Ellen- 
borough  mounted  on  a  tiger,  his  head  concealed,  but  identified  by  his  wig 
and  gown,  his  bulk,  and  his  words  (to  the  Devil):  You  infernal  Imp  zchat  are 

you  grining  at   an  be  d d  to  you!!  [cf.  No.   12808].    Next    him  is  the 

Chancellor,  Eldon,  on  a  horse;  he  says:  Throzv  it  into  Chancery,  and  III 
warrant  it  will  lay  there  long  enough.  Beside  these  two  are  two  barristers 
(perhaps  the  Attorney-General  and  the  Solicitor-General,  Shepherd  and 
Giff^ord) ;  one  holds  his  nose,  saying.  Curse  it  what  a  smell  of  Brimstone,  one 
would  think  we  were  all  going  to  Hell.  The  other,  who  rides  a  {})  fox,  leans 
forward,  to  address  the  Devil :  I  say  Friend  do  you  think  we  can  put  off  the 
trial  till  next  term.  The  Devil  answers:  Indeed  Friend  Bother  em  we  have  no 
put  ojf's  in  our  court,  Justice  and  Dispatch  is  the  Laze  that  guides  us.  A  third 
barrister  (1.)  sits  facing  his  horse's  tail,  addressing  a  miserably  emaciated  and 
ragged  man  who  is  at  the  back  of  the  procession  on  a  wretched  horse;  he  holds 
a  Writ  of  Error  and  says :  Egad  I  am  afraid  I  shall  not  be  up  to  the  practice  of 
this  court,  but  with  your  assistance  zee  shall  have  time  to  breathe  a  little.  The 
other,  who  personifies  the  Long  Vac[aUon],  the  name  being  on  a  scarf  round 
his  hat,  answers :  Yes!  yes!  the  long  Vaccation  has  given  many  a  poor  fellow 
time  to  breathe,  and  brought  their  Tormentors  to  their  last  gasp! 

In  the  background  (1.)  a  crowd  of  pedestrians  advances  with  a  banner 
inscribed  Supaena  [sic] ;  above  them  hovers  a  demon.  Below  the  design  are 
eight  lines  from  Drydens  Virg^,  beginning: 

These  are  the  realms  of  unrelenting  Fate, 
And  azcfull  Radatnanthus  rules  the  State, 

The  theme  is  the  traditional  one  of  'the  Lawyer's  last  Circuit',  cf.  No.  13451 . 
Ellenborough  (noted  for  unseemly  language)  died  on  13  Dec.  1818,  a  month 
after  his  retirement  from  office.    For  ex  officio  Informations  see  No.  11717. 
Portraiture  is  avoided. 
8^X  i2j|  in.   With  border,  9JX  13I  in.  'Caricatures',  x.  38. 

817  3  G 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13012  A  LAWYER  &  A  SAWYER. 

[?.  G.  Cruikshank.]  [c.  1818] 

Lithograph  (coloured  impression).  The  jaws  and  shoulders  of  a  crocodile 
project  across  the  design  from  the  1.  margin,  about  to  crunch  a  despairing 
barrister  who  grasps  a  paper  inscribed  B  Brief.  Under  the  monster's  claws 
is  a  cjdinder  inscribed  Ellenborough's  Act.  The  creature  is  advancing  towards 
a  sheet  of  water  (r.). 

EUenborough's  Act,  42  Geo.  IIL  c.  58,  created  ten  new  capital  felonies. 
In  1 81 8  Romilly  was  continuing  his  campaign  for  the  abolition  of  capital 
punishment  for  relatively  minor  offences.   One  of  a  set  of  lithographs  by  or 
after  G.  Cruikshank,  see  No.  13085,  &c. 
7|X  iif  in.   With  border,  8x  12  in.  'Caricatures',  x.  83. 

13013  EVERY  DOG  HAS  HIS  DAY.— OR,  BLACK  DEVILS  AMUSING 
THEMSELVES  WITH  A  WHITE  NEGRO  DRIVER. 

[?.G.  Cruikshank.]      '  [1818] 

Lithograph  (coloured  impression).  A  naked  man  is  bound  to  a  stake  and 
surrounded  by  flames,  while  demons  gleefully  torment  him.  One  prods  him 
with  a  trident,  others  use  barbed  scourges. 

On  20  May  18 18  Romilly  spoke  on  the  cruel  treatment  of  slaves  in  the 
W.  Indies,  especially  mentioning  the  atrocious  conduct  of  one  John  Huggins. 
Pari.  Deb.  xxxviii.  841-55;  see  also  pp.  298  ff.,  1201-7.    One  of  a  set,  see 
No.  13085,  &c. 
iiXQgin.   With  border,  1 1  ^  X  9!^  in,  'Caricatures',  viii.  177. 

13014  A  VISIT  TO  THE  COTTAGE  WINDSOR. 

London  Pub.  by  Keys  23  Upper  Mary-le-bone  S^  Portland  Place.  [  ?  1 8 1 8] ' 

Engraving  (coloured  impression).  The  Regent  makes  a  gesture  of  welcome, 
poised  on  one  toe,  to  a  lady  who  leans  from  a  closed  carriage  (1.),  extending 
a  bare  arm.  She  is  in  profile  to  the  1.,  displaying  her  much  rounded  bust. 
A  feather  projects  from  the  coronet  of  hair  on  the  crown  of  her  head.  The 
coachman  is  on  the  box,  a  liveried  footman  holding  a  cane  stands  behind,  look- 
ing with  amusement  at  the  Regent,  who  says:  Welcome  as  the  morn  to  this 
lonely  Cot  is  My  darling  C — n — tess  [cf.  No.  12 173].  He  stands  in  front  of 
a  narrow  door  of  a  small  single-storied  house  with  thatched  roof  and  shuttered 
windows,  the  r.  part  of  which  is  cut  off  by  the  margin. 

For  the  Cottage  see  No.  12747. 
8|x  13 J  in.   With  border,  9^  x  13!  in. 

'  Perhaps  later.   Dated  18 18  by  E.  Hawkins,  seemingly  on  account  of  a  watermark  of 
that  year. 


818 


i8i8 
PERSONAL  AND  SOCIAL  SATIRES 

13015  A  GREAT  MAN  ON  CHANGE. 

Drawn  Etc¥  &  Pub  by  R'^  Dighton  1818  Jany 

Engraving  (coloured  impression).    Portrait  of  Samuel  Samuel  (1775-1873). 

He  stands  in  profile  to  the  1.,  hand  in  his  breeches  pocket;  he  wears  a  slightly 

bell-shaped  top-hat,  spectacles,  breeches,  and  tasselled  Hessian  boots. 

For  a  reduced  version,  1825,  cf.  No.  12904. 

Rubens,  No.  264. 
9tc  X  7i  in. 

13015  A  A  later  state  (coloured)  with  the  additional  imprint:  London,  Pu¥ 
by  Tho^  M'^Lean.  26,  Haymarket,  1824,  and  identified  (incorrectly)  as 
Mr.  Thornton. 

13016  VERY  LIKE  A  WHALE. 

Drawn  Etc¥  &  Pub'^  by  Ric¥  Dighton.  1818.  Feb^ 

Engraving  (coloured  impression).  Portrait  of  a  man  in  hat,  overcoat,  trousers, 
and  muffler  standing  in  profile  to  the  r.,  clasping  gloved  hands.  He  wears 
spectacles. 

Title  from  Hamlet,  ill.  ii.  Identified  in  pencil  as  Mr.  Vale;  by  Sir  H.  Hake 
conjecturally  as  Mr.  Hilbers.   For  a  reduced  version,  1825,  ^^-  ^^-  12904. 
ii|x8|  in. 

13016  a  A  later  state  with  McLean's  imprint,  as  in  No.  13015  a. 

13017  AN  ILLUSTRIOUS  VISITER  FROM  HOMBOURG. 
Drawn  Etc¥  by  Ric¥  Dighton.  1818  March 

Engraving  (coloured  impression).  Portrait  of  the  Prince  of  Hesse-Homburg 
standing  in  profile  to  the  r.,  r.  hand  on  hip,  riding-switch  held  in  1.  hand  and 
resting  on  the  1.  shoulder.  He  is  stout,  has  whisker  and  moustache,  wears  a 
cylindrical  top-hat,  long  buttoned  greatcoat  showing  spurred  boots. 

On  his  arrival  in  England  in  Feb.  18 18,  see  No.  12986,  &c.,  he  was  described 
by  W.  H.  Fremantle  as  a  'vulgar-looking  German  Corporal'.    Buckingham, 
The  Court  of  the  Regency,  1856,  ii.  226. 
io|X7|in. 

13018  ONE  OF  THE  R.\KE'S  OF  LONDON. 
Drazon  Etc¥  &  Pub"^  by  Rich  Dighton.  1818.^  March 

Engraving  (coloured  impression).  Thomas  Raikes  (1777-1848),  the  'city 
dandy',  walks  in  profile  to  the  1.,  his  hands  together.  His  face  is  conspicuously 
pock-marked  (as  it  was).  He  wears  cylindrical  hat,  double-breasted  coat,  and 
narrow  trousers.   For  a  reduced  version,  1825,  cf.  No.  12904. 

Copy  in  Raikes's  Journal,  1858,  frontispiece,  H.  Allard  sc.  Copied  as  one  of 
four  portraits  (others  being  Nos.  10293,  12911,  and  Westmorland  (1821))  by 
the  Dightons  in  'Public  Characters',  Gronow,  Reminiscences,  1892,  ii.  240. 
ii^xSil  in. 

13018a  A  later  state,  with  the  addition  of  Tlf  Raikes  and  Pub^  by  T.  McLean 
Haymark',  'Pub*^'  erased  from  the  original  imprint. 

*  Watermark  1819. 

819 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13019  [?  CHARLES  OR  HUGH  GRANT.]' 

Drawn  Etc¥  &  Pu¥  by  Rtc¥  Dighton  April  i8i8^ 

Engraving  (coloured  impression).  Portrait  of  a  man  standing  in  profile  to  the 
r.,  his  gloved  hands  resting  on  a  closed  green  umbrella  with  white  lining  or 
border.  He  wears  a  cylindrical  top-hat,  high  collar  and  stock,  long  single- 
breasted  overcoat,  and  high  boots.  In  the  shadow  below  the  waist  is  an 
inscription,  reversed,  inconspicuous,  and  illegible.  (He  does  not  resemble  the 
future  Lord  Glenelg.) 
io^x8|  in. 

13019  a  a  later  state  (coloured)  with  McLean's  imprint  as  in  No.  13015  A 
and  Af  Grant. 

13020  A  VIEW  FROM  ST  JAMES'S  STREET. 

Drawn  Etc¥  by  Rich'^  Dighton  1818  May. 

Ptib^  by  T  M'^Lean  Haymarket  [reissue] 

Engraving.  Lord  Harrowby  (who  lived  in  Grosvenor  Square)  walks  in  profile 
to  the  r.  He  has  very  sloping  shoulders  and  wears  a  cylindrical  top-hat,  a 
double-breasted  coat,  open  to  show  a  wrinkled  waistcoat,  with  narrow  trousers. 
9fX7|in. 

13021  [MOSES  MONTEFIORE.] 

Drawn  Etc¥  <Sf  Pub'^  by  Ric¥  Dighton.  1818  June 

Engraving  (coloured  impression).  Montefiore  (1784-1885)  stands  in  profile 
to  the  1.,  his  hands  under  the  skirts  of  his  open  double-breasted  tail-coat.  He 
wears  a  top-hat  with  rather  broad  brim,  high  collar,  shirt-frill,  and  narrow 
trousers.   For  a  reduced  version,  A  View  on  Change,  cf.  No.  12904. 

Rubens,  No.  211.    Reproduced,  A.  M,  Hake,  Print  Collector's  Quarterly, 
xiii.  242;  Adler,  Jews  in  London;  Jewish  Encyclopaedia. 
iifX7|in. 

13021  A  A  later  state  (coloured)  with  the  addition  of  M'  Montefure  and 
McLean's  imprint  as  in  No.  13015  A. 

13022  AN  ILLUSTRIOUS  CONSORT. 

Drawn  Etch^ by  Rich'^  Dighton  1818  July. 

Pub^  by  T  M'^Lean  Haymarket  [reissue] 

Engraving  (coloured  impression).  The  profile  head  (r.)  of  a  handsome  girl 
cut  off  above  the  (bare)  shoulders,  and  with  a  gloved  r.  hand  holding  an  opera- 
glass.  She  has  a  strongly  marked  eyebrow,  and  wears  a  wreath  of  roses  on 
closely  curled  hair  which  shows  the  shape  of  a  charming  head.  Probably 
sketched  at  the  Opera. 

Princess  Augusta  of  Hesse-Cassel,^  Duchess  of  Cambridge,  see  No.  12987. 
A  previous  identification  with  the  stout  and  elderly  Queen  of  Wiirtemberg 
(see  vol.  vii),  who  did  not  return  to  England  till  1827,  is  impossible. 
7iX7|in. 

'  A.  M.  Hake,  Print  Collector's  Quarterly,  xiii.  242. 

^  Watermark  1824. 

^  Identification  by  Mr.  JaflFe. 

820 


PERSONAL   AND   SOCIAL   SATIRES    1818 

13023  SIR  MURRAY  MAXWELL  KT  CB. 

Drawn  &  Etc¥  by  Ric¥  Dighton  [?  i8i8]i 

Pub'^  by  T  M'^Lean  Haymarket  [reissue] 

Engraving  (coloured  and  uncoloured  impressions).  Maxwell,  in  naval  uniform 
with  sword,  long  white  breeches,  and  tasselled  Hessian  boots,  stands  in  profile 
to  the  r.,  holding  his  cocked  hat.  He  is  dressed  as  in  election  prints,  wearing 
the  order  of  the  Bath  (conferred  May  181 8)  on  a  short  red  ribbon.  The  lines 
of  his  face  are  creased  in  a  permanent  smile,  that  explains  the  smile  in 
No.  13003. 

Probably  first  published  during  the  Westminster  Election,  see  No.  12999,  ^^• 
For  a  reduced  version,  A  Late  Candidate  for  Westminster,  1825,  of.  No.  12904. 
This  title  is  added  to  later  impressions, 
iif  X8f  in. 

13024  ROBERT  WAITHMAN  ESQR 

Drawn  Etc¥  &  Piib'^  by  Ric¥  Dighton  July  1818 

Engraving  (coloured  impression).  Waithman  stands  in  profile  to  the  1.,  r. 
forefinger  extended,  paper  in  1.  hand,  as  if  making  a  speech.  He  is  plainly 
dressed,  without  a  hat,  wears  an  open  double-breasted  coat,  rather  long  waist- 
coat, knee-breeches,  and  shoes. 

Evidently  an  election  portrait,  see  No.  13002.    For  a  reduced  version,  An 
Ell  wide  Orator,  1825,  cf.  No.  12904.   Cf.  his  portrait  by  Dighton  as  Sheriff- 
Double  Hue  .  .  .,  1 82 1. 
ii|X7|  in. 

13025  A  GOOD  WHIP. 

Drawn  Etch''         by  Rich''  Dighton  1818. 
Pub''  by  T  M'^Lean  Haymarket  [reissue] 

Engraving.  Lord  Sefton  (i 772-1838)  walks  in  profile  to  the  r.,  holding  a  cane. 
He  wears  a  low-crowned  top-hat,  high  white  collar,  long  greatcoat  buttoned 
to  the  waist,  and  narrow  trousers. 

For  a  reduced  version,  1825,  cf.  No.  12904.    For  his  portrait  by  Robert 
Dighton  see  No.  9743. 
io|x8|  in. 

13025  a  a  family  portrait. 

Pu¥  Dec'  1822  by  S  W  Fores  41  Piccadilly. 

Engraving  (coloured  impression).   A  close  copy  of  No.  13025. 
ii^X7f  in. 

13026  A  VIEW  OF  YARMOUTH. 

Drawn  Etch''  &  Pub''  by  Rich''  Dighton  1818. 

Engraving.  Lord  Yarmouth  (1777-1842)  walks  vigorously  in  profile  to  the  1., 
using  a  walking-stick.   His  famous  whiskers  reach  to  his  chin. 

Reproduced  (McLean  reissue),  G.  S.  Layard,  Suppressed  Plates,  1907,  p.  24. 
For  a  reduced  version,  A  View  from  Yarmouth  to  Hertford,  1825,  cf.  No.  12904. 
A  copy  by  Grego  is  one  of  three  portraits  by  Dighton  in  a  pi.  to  Gronow, 
Reminiscences,  1892,  i.  320,  see  No.  12910. 
iif  X8|  in. 

'   Dated  Nov.  1823  (probably  a  reissue)  in  a  collection  listed  in  N.  &  Q.,  3rd  s.  x.  13. 

821 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13026  a  from  YARMOUTH  TO  HERTFORD. 
Publ'^  Dec''  2^  1822  hy  S  W  Fores  41  Piccadilly 

Engraving  (coloured  impression).  A  close  copy  of  No.  13026, 
iiixyfin. 

13027  MR  KEAN  AS  LUCIUS  JUNIUS,  IN  BRUTUS. 
Drawn  Etch'^        by  RicM  Dighton  1818. 

Publ'^  by  T  M'^Lean  Haymarket  [reissue] 

Engraving.  Kean  stands  in  profile  to  the  1.,  wearing  Roman  costume,  with 
curiously  curled  hair. 

Howard  Payne's  Brutus,  or  the  Fall  of  Tarquin,  was  first  played  at  Drury 
Lane,  3  Dec.  1818,  'with  success  vastly  beyond  its  merits'.  Genest,  viii.  679. 
11^X7!  in. 

13028  A  CONTRACT. 

Drawn  Etc¥  &  Pu¥  by  R'^  Dighton  1818. 

Engraving  (coloured  impression).  Two  men  face  each  other  in  profile;  one 
(1.)  small,  wizened,  and  elderly,  listens  with  a  sly  expression,  the  other  is  tall 
and  bulky,  with  extended  forefinger.  Both  wear  wrinkled  gaiters  and  have 
not  the  fashionable  appearance  of  other  Dighton  portraits.  See  No.  13028  A. 
9¥X5fin. 

13028  A  A  later  state,  1824,  with  the  smaller  man  identified  as  ilf'  Daming- 
ton,  the  other  as  M''  Tremloe. 

13029  THE  DANDY  LION  AN  EXOTIC 
/.  R.  Cruikshank  del  &  fecit 

Pub  Dec"^  8'''  1818  by  S  W  Fores  30  Piccadilly. 

Engraving  (coloured  impression).  Below  the  title:  lately  discovered  in  a 
Stable  Yard  [i.e.  Lord  Harrington's  house,  St.  James's,  cf.  No.  5033].  Lord 
Petersham  (1.),  dressed  as  a  dandy,  stands  on  the  pavement  (1.)  turning 
towards  a  groom  in  livery  (r.);  he  asks:  Jack  do  the  Ladies  Ogle,  eh,  ha,  ha, 

ha,  ha.  The  groom  answers  with  a  grin :  Oh  Yes ,  they  stare  very  much, 

at  both  you,  and  the  Horse.  The  question  evidently  relates  especially  to 
Petersham's  moustache  and  the  whisker  which  is  extended  into  a  short 
upturned  beard,  projecting  from  his  high  collar.  He  has  the  dandy  figure 
of  tight  high  waist,  bulging  breast,  with  arms  hanging  outwards  in  tight 
sleeves ;  his  full  trousers  are  gathered  at  the  ankle  and  strapped  under  spurred 
boots.  He  wears  his  peculiar  hat,  evidently  that  known  as  a  Petersham :  low 
flower-pot  crown  with  upturned  brim,  making  a  peak  back  and  front.  Behind 
is  a  horse  and  two-wheeled  gig,  in  front  of  a  house  adjoining  a  park-wall  above 
which  trees  appear. 

The  moustache  was  worn  by  the  Prince  of  Hesse-Homburg,  see  No.  12986, 
by  hussar  officers,  shortly  afterwards  by  other  officers,  and  occasionally 
appears  in  prints  of  civilian  dandies,  cf.  No.  13250.  The  dandy,  of  all  ranks, 
is  the  chief  subject  of  caricature  in  18 18.  Cf.  the  epilogue  to  Brutus  (Drury 
Lane,  3  Dec): 

France  gave  his  step  its  trip,  its  tongue  its  phrase. 
His  head  its  peruke,  and  his  waist  its  stays;  .  .  . 
Now  for  the  compound  creature — first  the  wig, 
With  every  frizzle  striving  to  look  big; 

822 


PERSONAL   AND   SOCIAL   SATIRES    1818 

On  the  roug'd  cheek  the  fresh-dyed  whisker  spread, 

The  thousandth  way  of  dressing  a  calf's  head. 

The  neckcloth  next,  where  starch  and  whalebone  vie 

To  make  the  slave  a  walking  pillory. 

The  bolster'd  bosom  ah!  ye  envying  fair. 

How  little  dream  you  of  the  stuff  that's  there! 

What  straps,  ropes,  steel,  the  aching  ribs  compress, 

To  make  the  Dandy — beautifully  less!  .  .  .  Examiner,  1818,  p.  773. 

Cf.  also  T.  Moore,  The  Fudge  Family  in  Paris,  1818,  p.  5.  The  Drury  Lane 
pantomime  (26  Dec.)  was  Harlequin  and  the  Dandy  Club;  or,  18 18.  Cf. 
No.  1303 1.   Petersham  was  eccentric  as  well  as  dandy,  cf.  No.  11925. 

Copied  by  Grego  (with  a  portrait  of  Sir  L.  Skeffington)  in  a  pi.  to  Gronow, 
Reminiscences,  1892,  i.  144. 
ii|x8^  in.   With  border,  12^x8^  in. 

1 3029  A  A  later  issue  (coloured),  &  312  Oxford  Street  added  to  the  publica- 
tion line. 


13030  A  GENUINE  DANDY. 

G.C''  [.?i8i8] 

Engraving  (coloured  impression).  Caricature  of  a  tall  man,  a  closed  umbrella 
in  the  r.  hand,  his  head  turned  in  profile  to  the  r.  He  stands  by  a  sign-post. 
To  Worcester,  showing  that  he  is  the  Marquis  of  Worcester.  He  wears  a  high 
collar  rising  above  a  swathed  neck-cloth,  short-waisted  high-shouldered  coat 
with  a  narrow  tail  showing  between  his  legs  which  are  in  tight  pantaloons  to 
the  ankle.  His  shoes  are  as  flat  as  heel-less  mules.  His  small  low-crowned 
hat  rests  on  hair  brushed  outwards.  An  eyeglass  hangs  from  his  neck,  a  seal 
and  watch-key  dangle  from  his  waist. 

According  to  Reid,  the  frontispiece  to  Dandiana;  but  this  should  have  the 
title  The  Dandy  Exquisite  and  the  signature  'Cruikshank  fecit'.  Dandymania  .  .  . 
should  have  the  frontispiece  Likeness  of  a  Genuine  Well-knozvn  Dandy  which 
is  either  unsigned  or  signed  'Cruikshank  fecit'.   Cohn,  Nos.  220,  222. 

Reid,  No.  616. 
6x31  in. 

13031  THE  DANDY  CLUB. 

Drazvn  Etch''  [  ?  'and  published'  erased]  by  Rich''  Dighton.  Dec'^  2g,  1818 
Pub''  by  T.  McLean  Hay  market  [reissue.] 

Engraving  (coloured  impression).  Twenty-three  caricature  portraits,  T.Q.L., 
H.L.,  or  bust,  a  few  on  a  smaller  scale  than  the  others.  Many  are  elaborately 
shock-headed,  with  hair  swept  upwards  and  outwards,  or  over  the  face,  some- 
times in  rat-tail  curls.  Three  have  moustaches,  some  are  whiskered,  but  the 
cheeks  of  many  are  hidden  by  their  collars.  All  have  the  high  collar  and 
elaborate  cravat,  in  great  variety,  of  the  dandy.  The  coat-collar  generally  pro- 
jects outwards  from  the  neck,  the  waist  is  pinched,  the  bust  bulges.  One 
smokes  a  cheroot  beside  a  small  table  on  which  is  a  bottle  of  Best  Dandy, 
flanked  by  tube-like  glasses  (like  eau-de-cologne  bottles).  One  off"ers  his  snuff- 
box, inscribed  Dandy  Mixture,  to  a  friend.    Cf.  No.  13029. 

Reproduced,  L.  Melville,  Beau  Brummell,  1924,  p.  240. 
6yXii^in.   With  border,  7|x  11^  in. 

823 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13032  NOBLESSE  ANGLAISE  MODERNE,   1818. 
H  Aiken 

London  Pub  Nov''  2  1818,  by  S  &  J.  Fuller,  34  .  .  .  [cropped] 

Engraving  (coloured  impression).  A  dandy  (cf.  No.  13029)  rides  (r.  to  1.) 
a  well-bred  high-stepping  horse  with  a  docked  tail.  He  holds  the  single  rein 
in  both  hands,  and  has  a  round-shouldered  stoop;  the  point  of  his  toe  is  in 
the  stirrup,  the  r.  leg  is  not  drawn.  He  wears  a  large  bell-shaped  top-hat 
resting  on  eyebrows  and  coat-collar,  high  shirt-collar,  shirt-frill,  white  cuffs, 
tail-coat,  and  wide  trousers.  Probably  a  portrait, 
c.  6Jx8  in. 

13033  MADAME  GIRADELLI  .  THE  CELEBRATED  FIRE  PROOF 
FEMALE. 

C.  W.  [Williams]  fecit 

Pub''  by  S  W.  Fores  N°  50  Piccadilly  and  N"  312  Oxford  Street  near 

BondS'  [?i8i8] 

Engraving  (coloured  impression).  A  comely  young  woman  stands  composedly, 
full-face,  wearing  an  elaborately  trimmed  decolletee  dress,  but  with  bare  feet. 
She  puts  her  1.  hand  in  the  flames  rising  from  an  ornate  tripod  (r.),  holds 
behind  her  head  a  small  red-hot  shovel,  and  puts  her  r.  foot  on  a  small  flaming 
brazier.  Other  shovels  are  heating  in  the  tripod.  On  the  1.  is  a  round  table 
on  which  are  a  jug  of  Oil,  a  jar  of  Aquafortis,  and  a  plate  with  fragments  of 
(.'')  lead.  Behind  the  table  stands  a  larger  brazier  on  which  is  a  steaming  oval 
cistern  inscribed  Boiling  lead  in  zvhich  she  emmerges  [sic]  her  feet.  Her  skirt 
is  heavily  trimmed  at  the  bottom,  and  is  short,  showing  similarly  trimmed 
pantaloons  or  drawers  above  the  ankles.  She  stands  under  a  festooned  and 
fringed  canopy,  with  a  curtain  behind  her.  All  the  accessories  of  her  display 
are  ornate. 

Signora  Josephine  Gir?.rdelli,  a  'Great  Phenomenon  of  Nature',  came  to 
England  in  1814,  advertising  that  she  would  bite  melted  lead,  swallow  boiling 
oil,  tread  on  hot  iron,  and  wash  her  hands  in  aqua-fortis.  Examiner,  28  May 
i8i4(p.  555).  See  Some  Account  of .  .  .  Madame  Girardelli  .  .  .  known  as  the 
wonderful  fireproof  phenomenon.  Carlisle,  1818.  Imprint  and  costume  point 
to  the  year  1818  or  1819.  Cf.  No.  12134,  &c. 
iij|x8|^  in.  'Caricatures',  viii.  197. 

13034  A  MASTER  IN  THE  GRAND  STYLE  &  HIS  PUPILS. 
J.  B  [Bailey]  del  et  sculp* 

Published  for  the  Annals  of  the  Fine  Arts  N°  8.  by  Sherwood,  Neely  & 

Jones,  Paternoster  Row,  April  i,  1818. 
Engraving.  Haydon's  pupils  (identifications  in  pen  by  E.  Hawkins)  work  at 
large  canvases  on  copies  of  one  of  the  Raphael  cartoons  from  Hampton  Court 
which  extends  across  the  wall  forming  a  background.  A  bird  (.^  a  magpie) 
with  the  (portrait)  head  of  Haydon  wearing  hat  and  spectacles  flies  (1.  to  r.) 
in  the  upper  part  of  the  design;  he  blows  a  trumpet  (his  own)  which  is  sup- 
ported by  two  pens,  and  from  which  hangs  a  banner  inscribed  Director  of  the 
Public  Taste.  Behind  him  fall  palette,  brushes,  and  ink-pots.  On  the  large 
cartoon  are  figures  showing  that  the  subject  can  only  be  Elymas  struck  by 
blindness.  The  pupils'  canvases  are  at  r.  angles  to  the  cartoon.  One  (unidenti- 
fied) draws  in  charcoal  on  the  canvas  on  the  extreme  1.,  standing  on  the  lower 
rungs  of  a  tall  double  ladder.  Next  him,  on  a  board  supported  on  a  ladder, 
is  Thomas  Landseer  (1795-1880)  in  profile  to  the  1.,  wearing  a  fur-trimmed 
overcoat  to  the  ankles.    The  centre  figure  is  William  Bewick  (1795-1866), 

824 


PERSONAL   AND   SOCIAL   SATIRES    1818 

Standing  on  a  board  supported  on  steps  and  stools;  he  stands  in  profile  to 
the  1.,  leaning  back,  and  sketching  at  arm's  length,  supporting  his  arm  with 
his  1.  hand.  His  canvas  is  inscribed  5^zt'c^  Pupil  .  .  B.  Hay\don\.  Standing 
in  profile  to  the  r.  is  Christmas,  laboriously  using  a  compass.  He  wears  large 
shapeless  shoes  to  imply  that  he  is  down  at  heel.  His  canvas  is  signed  Christ- 
mas Pupil  R.  B.  H.  Working  at  a  portfolio  which  leans  against  Christmas's 
canvas,  Charles  Landseer  (1799-1879)  stands  on  a  board  raised  on  steps, 
measuring  with  compasses  the  design  on  the  cartoon.  The  hands  of  a  sixth 
pupil  holding  compasses  against  the  cartoon  projects  from  behind  a  canvas. 
All  the  pupils  but  T.  Landseer  wear  tail-coats  and  narrow  trousers;  all  but 
the  first  described  have  hair  resting  in  curls  on  their  collars.  Below  the  design : 
A  Painter  zvho  relies  on  his  compass,  leans  on  a  prop  which  will  not  support  him: 
Vide,  Sir  Joshua  Reynolds. 

Haydon  (see  No.  11 599)  managed  to  have  two  of  the  Raphael  cartoons  at 
Hampton  Court,  'The  Miraculous  Draught  of  Fishes',  and  'Paul  at  Athens', 
sent  to  his  studio  to  be  copied  by  his  pupils.  According  to  himself  this  made 
a  sensation  and  enraged  his  enemies,  the  Academicians.  John  Bailey  visited 
the  studio,  making  the  caricature  which  was  published  by  Elmes  in  the  Annals 
of  the  Fine  Arts  (a  platform  for  praise  and  advertisement  of  Haydon  by  himself 
and  the  editor).  Haydon  denied  that  his  pupils  used  compasses,  if  so  it  was 
against  his  rules.  Thomas  C.  Christmas  exhibited  animal-paintings  1819- 
25.  Other  pupils  who  drew  from  the  cartoons,  besides  those  identified,  were 
William  Harvey  (1796- 1866)  and  Edward  Chatfield  (1800-39);  one  is  probably 
depicted,  the  other  indicated  by  hands.  See  No.  13364.  Haydon,  Auto- 
biography, 1926,  i.  256. 

Reproduced,  E.  George,  Life  .  .  .  of  B.  R.  Haydon,  1948. 
6i|X7iin. 

13035  A  GERMAN  MOUNTEBANK  BLOWING  HIS  OWN  TRUM- 
PET AT  A  DUTCH  CONCERT  OE  500  PIANO  FORTES!! 

Yedis  inv'     G  Cruikshank  fee' 

London  Pub.  April  i.  1818,  by  Sidebethem  &  Sold  at  27  S'  James's  S' 
Engraving  (coloured  impression).  The  title  continues :  or  A  natural  [followed 
by  A  natural  in  musical  notation] /rowi  the  "Scale  of  Nature"  according  to  the 
Logier  [altered  to  Logger]-head — ian  System!!  PI.  on  the  first  page  of  a  doubled 
folio  sheet,  the  two  inner  pages  having  an  engraved  text  headed :  A  Flourish 
of  Trumpets!  \  or  \  an  address  to  the  Public  by  the  Musical  Shezv  Man!!  Logier, 
the  music-master,  is  delivering  one  of  his  musical  lectures  with  demonstrations 
by  his  pupils.  He  capers  vigorously  on  a  grand  piano,  r.  leg  extended,  1.  arm 
raised,  blowing  a  trumpet  inscribed  Made  by  Logier  at  his  Brass  Manufactory — 
Dublin.    From  it  issue  the  words  (parodying  Burns): 

"0/  all  the  airs  the  Wind  can  blow 
There's  none  that  puffs  like  Self  C-f  C^" 

Below  are  three  bars  of  music :  air  harfnonized  by  M^  Log.  On  the  piano  are 
a  book :  a  Companion  to  the  Chiroplast,  and  a  paper :  M^  Log-Ears  Impositions 
and  derangements  [altered  to  compositiom  and  arrangements]  in  Music  adapted 
as  a  Handel  for  Pupils.  The  room  is  filled  with  pianos  at  which  pupils  are 
playing ;  the  patent  Chiroplast  for  training  the  hands  is  fixed  to  the  keyboards, 
so  that  each  finger  of  the  performer  is  under  one  of  a  set  of  adjacent  hoops. 
A  young  woman  (1.)  plays  at  the  grand  piano,  looking  up  at  the  trumpet- 
blower.  A  little  girl  (r.)  plays  at  a  square  piano  placed  against  the  end  of  the 
grand  piano.  In  front  and  in  the  foreground  a  tiny  child  in  back  view  plays 
at  a  miniature  square  piano,  a  little  boy  and  girl  standing  by.    The  most 

82  q 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

prominent  foreground  figure  is  an  obese  man  of  Germanic  appearance 
(?  Kalkbrenner)  who  gazes  in  admiring  astonishment  at  Logier's  antics. 
Behind  the  grand  piano  rows  of  square  pianos  recede  in  perspective,  each 
with  its  player,  man  or  woman,  in  back  view.  Spectators  stand  round  the 
room,  hstening  and  gazing,  some  astonished,  some  amused,  some  holding 
their  hands  to  their  tortured  ears.  Against  the  wall  forming  a  background  is 
a  large  notice:  Scale  of  Nature  with  aflat  y'^'^l  above  a  line  of  music  showing 
a  succession  of  chords  in  consecutive  5ths,  with  the  inscriptions :  Generators 
to  produce  the  Scale  derived  from  the  Lord  knows  what;  The  Scale  thus  deduced 
is  harmonized  with  consecutive  5"'  &  8^'^^!!\  Query — how  is  the  Minor  Scale 
produced  on  these  principles? —  Below  the  title :  Dedicated  to  his  Countryman 
The  Prince  of  Humbug  [Hesse-Homburg,  see  No.  12986]  and  all  those  double 
flats  that  are  not  sharp  enough  to  secure  their  Notes  from  being  transposed  into 
the  pockets  of  an  ignorant  Pretender.  (Musical  puns  are  introduced  by  the 
repetition  of  'double  flats'  and  by  'sharp'  in  musical  notation.) 

The  text  is  an  elaborate  attack  on  Logier  interspersed  with  words  in  musical 
notation  (deed,  fee,  &c.).  Logier  (1777-1846),  a  German  of  French  extraction, 
came  to  London  from  Ireland;  after  being  bandmaster  to  the  Kilkenny 
Militia  he  had  opened  a  music  shop  in  Dublin.  He  invented  the  chiroplast, 
a  device  for  training  the  hands  in  piano-playing,  and  taught  on  a  system  of 
making  a  number  of  pupils  play  simultaneously  at  different  pianos.  His  career, 
his  system  of  teaching,  and  of  harmonics,  deduced  from  a  supposed  'Scale  of 
Nature'  (which,  it  is  pointed  out,  does  not  apply  to  the  minor  scale,  and  is 
derived  from  the  fallacious  theories  of  Rameau  and  Tartini)  are  ridiculed. 
He  is  a  'Bubble-vender',  accused  of  taking  a  fee  of  100  guineas  from  teachers 
of  music  for  the  use  of  his  system,  though  what  was  good  in  it  was  'what  every 
goodxmisAC  Master  always  taughf,  Paddon  of  London  and  Clarke  of  Edinburgh 
being  instanced.  For  purposes  of  advertisement  he  is  said  to  have  imparted 
his  system  gratis  to  'Mess'^^  Kalkbrenner,  Cooke  &c.'. 

A  comprehensive  attack  on  Logier,  including  a  reasoned  criticism  of  his 
harmonics  which  is  a  contribution  to  the  pamphlet  war  (i 817-18)  on  the 
merits  of  the  system.  John  Paddon,  who  in  1818  published  A  System  of 
Musical  Education,  wrote  to  the  Examiner  (24  May)  protesting  that  he  had 
long  used  a  system  of  music  like  that  of  Logier,  apart  from  the  chiroplast. 
William  Clarke  (c.  1780-1825)  was  a  teacher  of  the  pianoforte  in  Edinburgh. 
Kalkbrenner  (1788-1849)  was  from  1814-23  a  performer  and  a  fashionable 
piano-teacher  in  London,  where  he  championed  Logier's  chiroplast  and 
system.  Thomas  Simpson  Cooke  (1782-1848),  afterwards  director  of  music 
and  conductor  at  Drury  Lane  and  Covent  Garden,  had,  like  Logier,  kept  a 
music  shop  in  Dublin.  The  foreign  charlatan  who  extracts  money  from  John 
Bull  is  a  recurrent  theme,  cf.  Nos.  6325,  6652.    See  also  No.  13036. 

Reid,  No.  771.    Cohn,  No.  350. 
9|x.8i  in. 

13036  THE   LOGIERIAN   SYSTEM,   OR   UNVEILING   THE   NEW 

LIGHT  TO  Y  MUSICAL  WORLD!!  WITH  THE  DISCOVERY  OF 
A  GENERAL  THORO  BASE  [altered  to]  BASS  DISCORD  IN  THE 
OLD  SCHOOL— 

Desig^  by  P  H —     G  Cniikshank  fec^ 

London  Pub^  April  2^'^ — 1818  by  G  Humphrey  Nephew  &  Successor  to 

the  late  M^^  H.  Humphrey — 27  S^  James's  Street — 
Engraving.  Logier,  with  two  supporters,  stands  on  a  platform,  drawing  aside 
a  curtain  from  an  irradiated  woman's  head,  with  classical  features  and  a  laurel 

826 


PERSONAL   AND   SOCIAL   SATIRES    1818 

wreath.  In  a  lozenge  on  her  forehead  are  the  figures  j,  5,  8.  The  rays  strike 
soHd  clouds  which  rise  from  a  part  of  the  audience  representing  'the  Old 
school',  and  on  which  their  words  are  inscribed.  Next  Logier  stands  a  hand- 
some young  man  wearing  a  long  coat  and  trousers,  who  resembles  Thomas 
Simpson  Cooke,  then  a  vocalist  at  Drury  Lane,  and  an  older  man  wearing 
knee-breeches,  who  points  to  the  centre  of  a  large  spider's  web  (1.),  showing 
that  he  is  Samuel  Webbe.  They  say  in  unison:  Honesty  is  the  best  policy! 
We  want  no  private  Consultation  or  inventions,  let  us  be  Judged  of  according  to 
our  works!  The  web  is  covered  with  tiny  men  with  flies'  wings,  struggling 
to  get  free :  Professional  flies  &  other  useless  imects  entangled  by  attacking  the 
Webb  of  Justice  &  Industry.  Under  the  web  are  papers:  Hints  from  C.  Sharp 
to  be  natural  &  aflat  for  the  rest  of  your  life  and  Dry  study — or  the  Old  System 
of  Keeping  pupils  in  the  Dark  [which  a  dog  is  befouling].  Under  Webbe's  foot 
is  an  open  music  book :  The  Devil  among  y^  Tailors  with  nezv  Variations — 
modulated  into  y^  Devil  among  the  Music  Masters  in  a  Minor  Key.  At  Logier's 
feet  is  a  scroll :  Glorious  Apollo  a  Glee  for  three  Voices  to  be  sung  by  Mes  .  .  . 
L  .  .  . 

The  platform  is  placed  at  an  angle,  so  that  one  side  faces  the  enthusiastic 
public,  the  other  (r.)  a  group  of  elderly  and  much  caricatured  music-masters, 
whose  bodies  are  composed  of  lyres.  All  but  a  small  group  on  the  r.  wear 
grotesque  old-fashioned  wigs,  showing  that  they  are  'big-wigs'.  On  the  1.  sits 
John  Bull,  a  fat  'cit',  with  carbuncled  face,  who  applauds  vociferously:  Bravo! 
Bravo!  Bravo!  I  alzcays  thought  we  zcere  fleeced  by  those  Musical  Scamps.  Two 
dandies,  a  tiny  child,  and  others  applaud ;  Bravo  is  repeated  and  hats  are  waved. 
The  old-fashioned  music-masters  turn  aside  from  the  platform  to  discuss  the 
situation,  registering  burlesqued  disgust.  One  with  a  small  trumpet  for  a  nose 
asks:  Can't  we  invent  some  Caricature  or  Satirical  tvork  to  turn  the  thing  into 
ridicule?  John  Bull  is  but  a  simple  fellozc  &  if  you  can  only  make  him  laugh  you 
get  the  weak  side  of  him.  His  friend  answers:  Aye!  Aye!  but  where  is  the  man 
of  genius  among  us?  (except  for  money  making) :  look  what  productions  have 
already  been  published ;  neither  zcit  nor  commoti  sense:  nor  even  grammar  or 
spelling!  they  have  done  the  cause  more  harm  than  good:  &  one  fool  so  proud 
of  his  Barbarisms  has  put  several  portraits  of  himself  {M^  Goose  the  Author)  in 
divers  attitudes.  The  other  speeches,  which  rise  above  the  speakers'  heads  on 
cloud  or  smoke  to  the  upper  margin:  [i]  Our  only  chance  is  now  to  keep  all 
the  Amateurs  as  much  in  the  dark  as  zee  have  very  wisely  done  before;  by  uniting 
firmly  to  persuade  them  that  this  new  discovery  is  all  a  take  in;  for  they  know 
so  little  that  they  cannot— dare  not, — form  their  opinions  zvithout  consulting  tjs^ 
[2]  Yes!  yes!  all  this  may  be  very  zcell,  but  zchen  John  Bull  finds  he  has  been 
imposed  upon  he  does'nt  want  for  pluck ;  &  zee  must  allow  zee  have  hitherto  made 
a  pretty  good  tool  of  him .  [3]  /  dont  knozv  zchat  my  friend  M^  Keepscholar  means 
by  his  vulgar  epithat  [sic]  of  "Tool"  but  I  beg  to  ask  whether  it  is  not  fair  that 
a  man  who  has  expended  the  half  of  his  life  in  a  laborious  study  should  not  at 
least  speculate  to  make  it  turn  to  the  most  profitable  harvest  for  the  other  half: — 
for  my  part  I  am  free  to  confess  that  I  never  wish  to  keep  a  scholar  for  less  than 
14  Years  tho'  I  know  as  well  as  Tkf  Low-jeer  that  the  business  may  be  done  in 
a  quarter  of  the  time  but  wo'^  a  conjurer  be  such  a  curst  fool  as  to  shew  his  Tricks 
before  he  had  filVd  his  purse  by  practicing  them  on  the  public?  or  wo'^  a  Doctor 
be  silly  enough  to  cure  his  patient  zvithout  making  a  good  Bill,  &  even  leaving 
him  in  a  fair  zvay  to  require  assistance  at  a  future  time?  No!  No!  No!!!  [4] 
Bravo!  Bravo!  Doctor  you  were  always  a  staunch  friend  to  the  drain-pocket 
system ;  &  tho'  y''  talent  in  Music  is  very  inferior  as  a  man  to  zchat  it  zvas  when 

827 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

a  boy  yet  you  have  displayed  nezv  genius  in  a  much  more  useful  way  by  advocating 
(&  even  sacrificing  yourself  as  an  example  of)  the  tedious  System,  so  well  calcu- 
lated to  support  our  families :  Let  us  unite  one  &  all  &  we  must  Blow  him 
For  D — me  if  any  man  can  resist  a  mob!  [5]  Nozv  after  all  that  has  passed  not 
one  word  has  been  or  can  be,  said  to  the  purpose!  we  have  pretty  well  pigeon' d 
John  Bull  &  at  last  he  has  hired  two  d — d  Germans  to  detect  us:  we  will  of  course 
boldly  plead  ''Not  Guilty"  but  I  fear  we  must  all  go  to  Pot!!!  [6]  Well!  Well! 
But,  every  attempt  against  such  a  serious  invasion  on  our  rights  &  secrets  is  truly 
laudable.  This  conference  is  watched  from  the  extreme  r.  by  a  group  of  thin 
and  melancholy  music-masters,  also  with  lyres  for  bodies.  They  say :  We  must 
trust  to  the  Big  Wigs  to  lie  thro  thick  &  thin  for  us  understrappers  &  if  they 
fail — why  D — me  we  must  earn  our  bread  honestly  as  this  man  does,  who  has 
exposed  all  our  Tricks. 

From  the  upper  margin  hangs  a  pair  of  scales,  illuminated  by  the  rays  of 
the  'New  Light',  and  above  the  heads  of  the  mercenary  professors.  In  the 
lower  (r.)  scale  stands  a  tiny  figure,  Logier,  reaching  out  towards  a  half  circle 
surmounted  by  a  crown  and  containing  the  numbers  j,  5,  8.  This  symbol  is 
above  a  chord  in  the  treble  clef:  f,  a,  c,  with  the  inscription  Gold  or  the  Root. 
The  other  scale  flies  upwards,  despite  the  attempts  of  a  number  of  antiquated 
professors,  one  wearing  a  mortar-board  cap  {}  William  Crotch),  to  pull  it  down. 
It  contains  large  open  books,  the  pages  sprinkled  with  musical  notes,  and  with 
the  inscription  Gilt  [altered  from  Guilt]  on  the  leaves. 

A  counter-blast  to  No.  13035  and  a  defence  of  Logier's  system  of  Har- 
monics, based  on  the  'Common  Chord'  or  'scale  of  nature'  in  consecutive 
5ths  and  8ths,  here  represented  by  '3,  5,  8'.  The  opposition  is  stigmatized 
as  that  of  an  antiquated  set  who  have  long  preyed  upon  the  public,  and  whose 
dishonest  methods  are  symbolized  by  the  lyre.  Samuel  Webbe  (c.  1770-1843) 
had  first  introduced  Logier's  system  in  London,  after  a  visit  to  Dublin,  and 
was  one  of  his  chief  supporters.  His  father  composed  the  glee  Glorious  Apollo^ 
the  first  glee  performed  at  every  meeting  of  the  Glee  Club,  cf.  No.  6913.  For 
Cooke's  use  of  Logier's  method  see  No.  13035.  The  other  'd — d  German' 
is  presumably  Kalkbrenner.  In  the  controversy  on  the  merits  of  Logier's 
system,  one  of  the  pamphlets  was  'published  by  a  committee  of  professors 
in  London',  among  whom  were  Attwood  (1765-1838),  Dr.  Crotch  (1775- 
1847),  Latour  (b.  Paris  1766,  pianist  to  the  Prince  of  Wales,  and  composer), 
and  Ries  (i 784-1 838,  composer,  pianist,  and  teacher,  one  of  the  most  con- 
spicuous figures  of  the  London  musical  world,  1813-24).  This  evoked  a 
Refutation  .  .  .  from  Logier,  which  was  countered  by  satirical  pamphlets 
attempting  to  ridicule  him.  The  publicity  resulting  from  these  attacks  estab- 
lished Logier  in  popular  favour.  Fetis,  Biographic  universelle  des  Musiciens; 
Grove,  Diet,  of  Music. 

Reid,  No.  772.    Cohn,  No.  1325. 
9|x  15^  in.   With  border,  io||^  x  15I  in. 

13037  THE  T  TRADE  IN  HOT  WATER!  OR,  A  PRETTY  KETTLE 

OF  ¥l^¥L\\\— Dedicated  to  T,  Canister  &  T,  Spoon  Esquires. 

G  Cruikshatik  fee* 

Pu¥  Nov''  14^''  1818  by  G  Humphrey  2j  S'  James's  Street 

Engraving  (coloured  and  uncoloured  impressions).  Along  the  upper  and  r. 
borders:  ''The  Nefarious  &  abominable  practice  of  mixing  teas  with  various 
cheap  ingredients  of  the  most  poisonous  qualities,  has  already  been  sufficiently 

828 


PERSONAL   AND   SOCIAL   SATIRES    1818 

exposed;  "/// — "  because  their  practices  are  calculated  to  produce  disease,  if  fiot 
death'' — vide  Observer.  Nov'  S^''  1818.  A  fantastic  scene  takes  place  in  a 
cobbled  street  between  two  buildings:  a  large  house  (1.)  with  the  words 
London  \  Coffee  |  House  in  huge  letters  above  the  ground,  first,  and  second 
floors  respectively;  and  (r.)  The  London  Tea  House  on  a  fa9ade  above  the 
shop-front  of  the  Genuine  Tea  Company  [at  23  Ludgate  Hill].  From  a  centre 
first-floor  window  of  the  latter  steps  a  winged  figure  resembling  Fame,  blow- 
ing a  trumpet  from  which  issue  the  words  No  Adidteratioji.  A  Chinese, 
resembling  the  figures  on  the  trade-cards  of  tea-dealers,  who  seems  to  have 
walked  out  of  the  shop,  holds  a  firebrand  inscribed  Pro  Bono  Publico  to  an 
open  tea-chest  inscribed  Chinese  Gunpowder,  the  contents  of  which  are 
exploding  in  flashes  inscribed  Genuine  Tea  and  terminating  in  black  clouds, 
so  as  to  tilt  over  a  huge  kettle  inscribed  Steam  Engine  (which  fills  the  greater 
part  of  the  design  and  against  which  also  Fame  directs  her  blast),  from  which 
rise  clouds  of  steam  surrounding  many  little  men  who  look  out  of  the  (lidless) 
kettle.  The  spout  is  inscribed  Exchequer  and  from  it  men  (tea-dealers)  are 
being  poured  head  first  into  a  china  tea-pot  (1.)  on  which  is  a  Chinese  pattern : 
a  tree  with  two  branches,  one  inscribed  To  the  K^  Bench,  the  other  (in  reversed 
characters)  To  Newgate.  One  exclaims:  There  was  No  Tea  in  the  composi- 
tion!!!!! yet  they  fined  me  £2j2o!!!  Another:  "It's  never  too  late  to  tnend." 
Round  the  tea-pot  lie  bundles  inscribed  respectively:  Clover  &  Ash;  Sloe 
leaves;  Verdigrease;  Potatoe  Parings;  Dutch  Pink;  Elder  leaves.  Behind  the 
spout  is  the  word  Bohea.  Other  tea-dealers  are  falling  from  the  kettle;  one 
says:  "/  zcish  to  retrieve  my  Character"  \  ''and  I  think  that  it  is  fair  zee  \  should 
All  be  Tarred"  \  with  the  same  Mop.!!"  vide  report  of  the  Meeting.  Another: 
We  have  been  togathe  [sic]  <Sf  we'll  go  togather.  In  the  centre  of  the  tea-dealers 
emerging  from  the  kettle  is  one  represented  by  a  chair  with  human  head  and 
arms,  showing  he  is  their  Chairman  (one  Bedwells)  and  that  a  meeting  of 
tea-dealers  is  represented :  he  holds  out  a  paper :  Tea  paper  Resolved — 00000 
Resolved — 00000.  He  says:  Gentle",  Unless  zee  can  make  our  Tea,  a  little 
better,  depend  upon  it,  we  shall  all  go  to  pot!  I  am  quite  affected  by  it  already — 
but  I  hope  I  shall  go  to  Bed-zcell.  Beside  him  is  a  canister  inscribed  Ludgate 
Hill  Gas;  on  this  sits  a  bird,  chirping  up  at  him.  One  of  his  audience  says: 
Aye,  aye,  we  shall  all  be  Dished;  another  asks:  who  calls,  me  a-ber-y.  A  man 
answers:  "/,  said  the  Sparrozv"  vide  Cock  Robin.  A  man  with  an  axe  for  head 
(.''  Axford):  /  wish  to  Ax,  if  anybody  can  afford  to  sell  cheaper?  The  other 
speakers  appear  also  to  indicate  their  names :  Sharps  the  zvord;  Vll  be  Secretary, 
for  Vm  the  Man  for  a  Brozcn  Study;  zvho  talks  about  sloes  &  black  Berries ; 
Come  dozen  zvithyour  Dust:  I'm  Treasurer;  This  is  a  bad  Day  for  us — O,  it  will 
play  the  devil  zcith  us  this  Winter;  Let's  Marshall  ourselves  against  this  new 
Tea  Compy ;  I  lament  this  exposure,  it  makes  mc  as  melancholy  as  a  Gibbs  [the  s 
scored  through]  Cat.  Some  look  from  the  r.  of  the  kettle  towards  the  new 
shop:  one  (?  Shaw)  says:  zcho  cares  a  Button? — 'Shazd;  others:  Let's  throw 
as  much  dirt  at  Concern  [sic]  as  zee  can;  Take  care  you  don't  splash  your  self; 
That's  right!  [.'  Wright]  pelt  azeay,  never  mind  dirtying  ourselves.  Other 
speeches  rising  in  the  steam  are :  M'  Chair  man  I  consider  this  a  Second  Gun- 
powder plot  it  is  evidently  so  as  they  opened  on  the  5"'  of  November;  Suppose 
we  meet  in  Holborn ;  Although  the  Names  of  certain  persons  have  been  suppressed 
in  the  public  prints  there  is  no  doubt  but  the  Commissioners  of  Excise  will  give 
facility  to  the  exposure  of  every  delinquent  coming  under  thier  notice — see  report 
of  the  Meeting.  A  little  boy  stands  below  looking  up  at  the  kettle;  he  says: 
My  eye!  how  the  scum  bubbles  up  to  the  top!   On  the  ground  (r.)  sits  a  street- 

829 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

seller  with  a  large  bundle  of  papers  under  her  arm  inscribed  Resolutions  of 
the  T.  Trade — &c  &c.  Beside  her  are  other  papers:  Resolutions,  &c.  and 
Tea  Paper.  She  holds  out  a  straw,  saying,  Who'll  buy  my  ha'porth  of  Straw? — 
for  my  part,  if  I  could  get  good  Tea  I  should  not  care  a  straw  who  I  bought  it  of! 
Customers  enter  the  shop  of  the  'Genuine  Tea  Company'.  One  lady  on  the 
pavement  meets  another,  saying,  /  am  gohig  to  mak  a  purchase  of  this  New 
tea  Company.  Her  friend  answers:  /  have  just  been  we  may  now  I  think  ask 
each  other  to  a  Cup  of  Tea!  A  grotesque  dandy,  in  short  loose  trousers  over 
high  boots,  inspects  the  shop  through  a  glass,  saying.  Excellent!  establishment 
pon  honor!!,  while  an  old  woman  in  a  red  cloak  hurries  in  at  the  door,  saying. 
Now  for  a  Good  Cup  of  Tea  once  more.  A  dog  of  dachshund  type  with  Tim 
on  its  collar  barks  at  this  group. 

On  22  May  1818  in  the  Court  of  Exchequer,  on  an  information  filed  by 
the  Attorney- General,  one  Palmer,  a  tea-dealer,  was  convicted  of  possessing 
imitation  tea  made  of  sloe-  and  whitethorn-leaves.  It  was  proved  that  he 
bought  it  from  a  regular  manufactory  where  whitethorn  and  blackthorn  leaves 
were  treated  to  resemble  tea.  They  were  coloured  with  logwood  for  black 
tea;  a  green  colour  was  given  by  'Dutch  pink',  made  of  white  lead  and  verdi- 
gris. The  Commissioners  of  Excise  dealt  with  adulteration.  Examiner,  18 18, 
p.  335;  Ann.  Reg.,  1818,  Chron.  pp.  342-6.  The  print  is  part  of  an  alleged 
campaign  to  use  the  scandal  to  persuade  the  public  that  all  the  tea-dealers 
were  dishonest  in  the  interests  of  a  new  business  styled  'The  Genuine  Tea 
Company',  founded  5  Nov.  181 8.  Shops  were  opened  at  23  Ludgate  Hill, 
148  Oxford  Street,  8  Charing  Cross,  where  the  'saloon'  was  decorated  with 
Chinese  scenes  by  Clarkson  Stanfield  and  David  Roberts.  D.N.B.,  s.v.  Gye. 
Sparrow  was  an  eminent  tea-dealer  whose  shop  was  reconstructed  by  J.  B. 
Papworth.  The  offer  of  a  straw  implies  that  the  woman  is  selling  libels,  see 
Mayhew,  Lotidon  Labour  .  .  .  ,  1851,  i,  239.    See  Nos.  13038,  13039. 

Reid,  No.  786.    Cohn,  No.  2020. 
8|x  12^  in.   With  border,  9^  X  13I  in. 

13038  THE  GENUINE,  HUMBUG  T.  COMPANY— OR  THE  INCEN- 
DIARIES GYE  [altered  to]  GUY  &  HIS  CREW,  BISH!  [the  'B'  struck 
through]  (NO  MATTER  WHO)  IN  THE  DISGUISE  OF  MERCHANTS 
OF  LONDON— ATTEMPTING  TO  DESTROY  THE  RESPECTABLE 
HIVES  OF  HONEST  INDUSTRY— 

[G.  Cruikshank.] 

Pub'^  Nov''  25  1818  by  S  Knight  Sweetings  alley  R'  Xchange 

Engraving  (coloured'  and  uncoloured  impressions).  Two  conspirators,  cloaked 
and  masked,  advance  with  furtive  ferocity  upon  a  collection  of  shops  in  the 
form  of  bee-hives  arranged  on  two  platforms  (r.).  A  post  supporting  the 
chief  platform  is :  Public  Support.  The  foremost  holds  a  dark  lantern  and  a 
match;  he  wears  a  black  mask  defining  his  features  and  a  Chinese  hat  with 
a  pointed  crown  and  Chinese  shoes.  On  both  cloaks  are  the  arms  of  the  City 
of  London  with  supporters  and  motto,  which  in  this  case  is  in  English :  The 
Lord  direct  us.  Both  have  a  black  heart  on  the  1.  breast.  The  second  man 
(Bish)  is  hooded  as  well  as  cloaked  and  his  face  is  covered  with  a  mask  in  the 
form  of  a  lottery- wheel,  showing  that  he  is  a  lottery  contractor.  The  motto 
on  his  cloak:  Dom[in]e  Dirge  [sic]  Nos.  He  puts  a  finger  to  his  nose  and  says: 
By  the  Frauds  of  the  roguish  Tea  dealers  &  Under  these  Cloaks  we  may  take 
advantage  of  the  Public,  &  if  we  have  good  luck,  you  &  I,  Guy,  may  play  the 

'  'Caricatures',  xi.  60. 

830 


PERSONAL   AND    SOCIAL   SATIRES    1818 

devil  zvith  the  respectable  Tea  dealers,  &  ruin  the  whole  Trade.  Gye  answers : 
Aye!  aye — B — h  this  is  a  good  plot  we  shall  get  all  the  public  for  Custamers  [sic] 
if  we  can  persuade  them  that  Tea  dealers  are  all  rogues — Hwill  be  a  terrible  lie 
to  be  sure  but  Bish!  [the  first  two  letters  struck  through]  that  is  no  more  than 
one  of  our  Lottery  puffs.  Behind  the  two  principals  are  assistants;  some  roll 
barrels  of  combustibles  under  the  platform  supporting  the  hives,  which  con- 
tain papers  inscribed  Lies  [twice],  Slander,  False  reports.  Libels,  Gunpowder 
20^  p''  lb.  One  says  to  his  companion :  This  is  a  Gallozvs  good  Scheme  Jack!!! 
The  other  answers :  Yes  ;  but  there  is  too  much  dirt  in  the  concern  to  do  the  trick 
nicely.  On  the  1.  are  two  men  holding  up  gibbets;  from  the  foremost  dangles 
a  stuffed  guy  wearing  a  Chinese  hat,  a  lantern  in  one  hand,  matches  in  the 
other;  he  is  labelled:  Pray  remember  Poor  Guy.  A  placard  hangs  from  the 
other:  Scheme  of  the  Genuine  Humbug  T,  Company — first — Violently  to  attack 
the  Reputation  of  all  the  Respectable  Tea  Dealers  &  &c — 2*^ — To  Humbug  the 
Public  by  calling  ourselves  Merchants  of  the  City  of  London — &c  &c.  j*^  To 
puff  a'  V  Lottery  [scored  through  after  'puff'],  To  puff  Oblique — /  To  puff 
Positive!  4'^  To  Humbug  as  much  as  possible — to  Humbug  as  many  as  possible 
and  To  Humbug  Alltogather.  The  straw  bee-hives  have  shop-windows  and 
doors,  with  three  tiers  of  diminishing  windows.  Bees  fly  round  them;  one 
says:  Brother  Tradesmen!  Let  us  stand  forth  to  defend  ourselves:  &  vindicate 
our  Characters — leave  the  rest  to  the  liberality  of  a  British  public.  In  the  fore- 
ground (r.)  lie  four  empty  and  broken  hives  placarded :  Drones — or  Bees  of 
bad  Character — turn'd  out  of  the  Comtnunity  [those  who  had  sold  sloe-tea,  &c.]. 

A  counterblast  to  No.  13037.  The  proprietors  of  the  new  'Genuine  Tea 
Company'  are  shown  to  be  Frederick  Gye  and  Thomas  Bish,  the  latter  the 
leading  lottery  contractor  for  whom  Cruikshank  etched  many  lottery  puffs. 
He  styled  himself  'T.  Bish,  Stock  Broker,  4  Cornhill  and  9  Charing  Cross'. 
He  and  Gye  (with  a  lotter}^  prize  of  ,(^30,000)  made  business  ventures  together 
on  a  large  scale  at  this  time,  besides  the  Tea  Company,  taking  over  Vauxhall, 
and  starting  the  London  Wine  Company  (see  No.  13236).  The  meeting  of 
tea-dealers  on  5  Nov.,  Guy  Fawkes  Day,  gave  point  to  the  pun  on  Gye;  the 
new  Tea  business  was  founded  on  that  date.  The  cloaks  may  imply  that  Bish 
and  Gye  pretended  to  be  free  of  the  City,  in  order  to  open  a  retail  shop  within 
its  precincts,  cf.  No.  13039. 

Reid,  No.  787.    Cohn,  No.  1155. 
8^X  I2|  in. 


13039    MR   JUSTIC    [sic]    BULLS    DECISION    IN   THE   CASE    OF 
GENUINE  TEA,  VERSUS— ANTI  GENUINE  [18 18] 

Drawing  in  pen  and  wash,  intended  to  be  engrav'ed.  John  Bull,  dressed  as 
a  judge,  sits  on  a  raised  dais  addressing  three  tea-dealers  (1.)  who  stand  at 
the  bar  at  his  r.  hand.  All  three  wear  conical  fool's  caps  (perhaps  sugar-loaves), 
one  inscribed  Sugar  Bags,  decorated  with  bells.  The  foremost  has  the  head 
and  tail  of  a  sparrow,  a  body  formed  of  a  canister,  thighs  of  Gas  Pipe,  with 
top-boots.  The  next  has  the  head  of  a  cock,  the  third  has  a  head  intended 
for  an  axe  and  holds  a  hatchet.  Other  caps  in  the  background  indicate  a 
numerous  body;  they  have  a  banner  inscribed  The  Worshipful  Company  of 
Grocers  or  Anti  Genuine  Tea  Dealers.  John  Bull  says  with  angry  dignity  and 
extended  forefinger  — Silence!  you  M'  Cock-Sparrow  or  Sparrow-hawk  or 
whatever  y^  name  is,  your  [sic]  are  devilish  impudent!  to  thrust  y''  self  before 
all  y^  fellow  tradesmen  in  this  manner! — And  I  must  tell  you,  since  you  have 
pushed  y^  beak  so  forward  that  it  appears  upon  the  evidence  before  me  as  how 

831 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

that  you  ilf  Cockscomb,  Hatchetface,  &  others,  have  just  been  doing  the  very 
thing  you  charge  this  Company  zcithi  viz  professing  y^  shops  to  be  the  only  places 
where  Genuine  Tea  is  to  be  got!  which  implys  of  course  that  all  the  rest  is  humbug. 
Now,  I  should  be  glad  to  know,  by  the  bye,  zvhat  sort  of  Tea  you  have  bee?i  selling 
before  you  have  been  obliged  to  sell  the  genuine  sort?!!!  precious  stuff  it  must  have 
been  truly!!  not  that  I  charge  you  {any  more  than  the  Comp  do)  with  Adulterating 
y^  Tea  with  poisonous  ingredients  &  such  like,  as  some  have  done,  but  I  really 
must  say,  that  the  cap  seems  to  fit  or  I  sh^  think  you  would  not  have  put  it  on. 
But  I  find  respectable  men  have  taken  no  notice  of  the  matter.  I  find  you  have 
raised  the  price  of  sugar  &  in  some  cases  refused  to  sell  for  fear  it  should  siveeten 
the  Compy^  Tea.  if  there  should  be  a  Genuine  Sugar  Comp^  as  well  what  will 
become  of  you  then?!!  but  I  see  the  word  genuine  sticks  in  y''  gizzard. — &  shall 
therefore  come  to  a  conculsion  [sic].  You  may  take  leave  to  "Abuseum  Black- 
guardum  Slanderum'\  I  have  no  pozver  to  refuse  as  the  Law  is  open  to  the  Compy 
to  put  in  plea  refutam  or  to  treat  it  "Injustiascontemptas",  as  toy''  other  applica- 
tion— hear  my  decision— In  primeis,  that  while  the  comp^  act  up  to  the  prof  essions 
they  have  made  I  cannot  stay  their  proceeding  secundus,  and  lastly.  That  the 
public  are  to  buy  thier  Tea  of  zohoni  they  chuse  &  where  they  chuse  &  when 
they  chuse — 

On  the  r.  is  the  facade  of  The  London  [Genuine  Tea]  Company,  as  in 
No.  13037,  partly  hidden  by  a  Chinese  woman  who  stands  on  a  low  dais  on 
John  Bull's  1.,  facing  the  angry  and  disconcerted  tea-dealers.  She  holds  out 
a  branch  of  tea-plant  labelled  Genuine,  saying  demurely.  This  is  our  offence. 
In  her  1.  hand  she  displays  a  scroll  inscribed  L.  G  T  C — 23 — Ludgate  Hill — 
The  public  may  depend  upon  having  Genuine  Tea  at  this  establishment.  A  throng 
of  customers  is  indicated  inside  the  shop.  Below  the  design:  Common  Pleas. 
{Before  M''  Justice  Bull.)  Genuine  Tea  Compy — versus  Cock  sparrozv  &  others 
"after  sentance  had  been  pronounced  upon  the  convicted  Tea  dealers  &  fresh 
informations  filed,  this  cause  came  on  which  excited  much  public  interest.  M'' 
Cocksparrow  prayed  the  court  to  stay  the  proceedings  of  the  L  G  T  Com^  &  also 
moved  for  an  order  of  the  court  to  shut  up  thier  shop.  &  also  for  leave  to  abuse, 
blackguard  &  otherzvise  slander  the  afors''  Compy . — leave  was  granted  to  abuse  &c 
as  afor'' — but  the  foregoing  applications  zvere  ref[used^]  for  further  particulars 
see  .  .  .' 

Like  No.  13037,  this  seems  to  be  an  effort  of  Gye  and  Bish,  see  No.  13038, 
to  puff  their  shop  and  disparage  rival  tea-dealers.  It  would  appear  that  the 
new  company  had  incurred,  or  was  threatened  with,  damages  for  selling  tea 
in  the  City  precincts  without  being  free  of  the  City  by  membership  of  the 
Grocers'  Company. 

This  sketch  (competently  and  freely  drawn)  is  endorsed  in  pen  (not  in  the 
draftsman's  hand)  'M"^  Williams,  8  Charing  Cross  London'  suggesting  that 
it  may  have  been  sent  to  C.  Williams  to  be  engraved. 
c.  io|x  13^  in.  201*.  b.  2. 

13040  THE  MARCH  OF  HONESTY!!!  OR,  OLD  NICK  HUM- 
BUGGING THE  COUNTRY  TEA  DEALERS!!!  A  FAITHFUL  EX- 
POSE. [?  i8i8]2 

Engraving  (coloured  impression).  A  mail-coach  with  four  galloping  horses 
has  just  passed  a  milestone  (1.):  LXXXVII  Miles  to  London  i  Mile  to  Ciren- 

'  Mutilated. 

^  Perhaps  later:  the  title  may  be  an  allusion  to  'The  March  of  Intellect',  a  catch- 
phrase  c.  1828. 

832 


PERSONAL   AND    SOCIAL   SATIRES    1818 

cester,  the  small  compact  town  being  on  the  extreme  r.  In  front  of  the  coach 
is  a  tilt-wagon  drawn  by  sLx  plodding  horses :  Btidds  Waggon  London  to  Ciren- 
cester. The  coach  is  the  Express.  Cirencester  to  London.  A  web -winged  Devil 
flying  in  the  upper  1.  corner  of  the  design  points  at  the  coach,  saying,  The 
Warrant!  The  Warrant.  A  man  in  quaker  dress  sits  next  the  coachman  read- 
ing from  a  paper:  ''Our  Terms  are,  to  charge  One  Penny  in  the  cost  price  on 
all  Teas'' — F  is  the  Sale  cost,  and  G  is  the  average  Cost  of  the  whole  Break^" . 
The  coachman :  Lord!  hotv  this  world  is  given  to  lying!  Tol-de-rol-de-ri-do- 
tol  de  rol,  &c.  Three  outside  passengers  sit  just  behind  them:  the  man  in 
the  middle  says :  What  the  deuce  could  my  maister  mean  by  packing  me  off  from 
Lu?inon  in  such  a  plaguy  hurry,  and  in  such  a  nation  expence  too — "Jack",  says 
he,  "you  must  bundle  off  by  the  coach  to  Cicester  arter  Budzes  waggon — there 
has  been  a  warrant  put  in  them  Black  Teas,  by  mistake ;  do'nt  wait  a  moment 
go  just  as  you  be — give  this  note  (says  he)  to  the  Book-keeper,  'twill  tell  him  your 
business — take  a  crow-bar  with  you — catch  the  waggon  you  must,  and  get_  the 
warrant  out,  if  you  goes  all  the  way  to  Abergenny."  Zounds!!  what  can  it  all 
mean? — Mistake!! — Oh!  oh!  I  think  I  smells  a  rat — the  Old  'jm  has  been  at  his 
tricks  again,  plucking  some  of  them  there  silly  Green  Geese  from  the  country,  I 
guesses.  The  man  on  his  r.  exclaims:  A  crow-bar!  as  "Fm  szcorn  of  the  peace" . 
A  London  rogue  Fll  venture — Proofs  are  stubborn  things!  "The  council  shall 
know  of  this."  The  third  says:  What  a  rate  we  are  going  at.  Three  men  sit 
on  the  back  of  the  coach,  facing  the  guard:  a  man  in  dandy  costume  says: 
/  buy  my  Teas  under  prime  cost — /  sell  them  the  same — and  yet  please  nobody. 
His  neighbour,  turning  to  the  passenger  on  his  1.,  says.  Live  and  let  live,  that's 
my  motto  tchat  say  you  Sir?  The  latter,  who  wears  old-fashioned  dress, 
answers:  Bravo!  so  I  say — so  Fve  always  said — and  Fm  not  a  chicken — Wlien 
I  was  in  trade,  I  relied  upon  judgment — sold  excellent  Teas,  got  a  good  profit, 
and  pleased  everybody.  Next  the  guard  on  his  seat  on  the  dickey  sit  an  old 
woman  in  a  red  cloak  and  a  man  in  a  smock;  she  says:  There's  no  getting  a 
good  dish  of  tea  in  the  country  now-a-days.  He  answers:  So  my  zcife  says,  ma'am. 
The  guard  turns  aside  to  blow  his  horn,  saying,  Oh!  alteration,  alteration! 
Wonderful  alteration!!! 

Subject  and  costume  suggest  that  the  date  may  be  1 8 1 8 ;  the  incident  satirized 
is  obscure.    For  the  dishonesty  of  tea-dealers  and  the  adulteration  of  tea  see 
No.  13037,  &c. 
8| X  15^  in.    With  border,  10 X  16J  in. 

13041  A  NEW  F  ARSE  AS  LATELY  PERFORMED  AT  COVENT 
GARDEN  FOR  THE  BENEFIT  OF  MR  LISTON  WITH  UNBOUNDED 
APPLAUSE,  BEING  M^  NEDDY'S  DE  BOUE 

[G.  Cruikshank.] 

Publish  by  S  Fores  50  Piccadilla  [sic]  June  2y  18 18 

Engraving  (coloured  impression).  Liston,  astride  an  ass,  faces  the  foot-lights, 
registering  dismay,  arms  flung  wide;  one  foot  touches  the  ground,  the  other 
leg  is  outstretched.  He  wears  a  large  wig  and  old-fashioned  dress.  The  ass 
excretes  and  urinates  violently,  against  two  liveried  ser\'ants  with  mops  (1.), 
and  against  three  musicians  in  the  pit  (r.).  Brandon,  the  box-oflice  keeper 
(see  No.  11430),  peeps  through  the  door  under  a  stage-box,  exclaiming:  We 
shall  all  be  Branded  [altered  from  Brandon]  with  Infamy.    What  a  Stroke!  at 

'   Break  =  lot  or  consignment  of  chests  of  tea.    Earliest  quotation  in  O.E.D.  1864. 

833  3H 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

the  Respectability  of  the  Theatre.  The  occupants  of  the  two  boxes  visible  on 
the  extreme  r.  register  amusement;  one  shocked  lady  is  offered  a  smelling- 
bottle;  a  man  behind  her  says:  Give  the  Lady  some  asses  Milk.  Above  the 
design:  If  Horses  won't  do,  Asses  will — 

On  9  June  1818  for  Liston's  benefit,  She  stoops  to  Conquer  was  played  with 
a  new  epilogue,  delivered  by  Liston  on  an  ass  in  the  character  of  Lord  Grizzle. 
Genest,  viii.  661.  For  horses  as  performers  at  Co  vent  Garden  see  No. 
1 1773,  &c. 

Reid,  No.  775.   Cohn,  No.  1782. 
9fxi2^  in. 

13042  SPIRITS  OF  THE  BRITISH  DRAMA.  [1818]' 

Engraving  (coloured  impression).  The  stage,  crowded  with  performers,  is 
seen  from  just  behind  the  foot-lights,  which  recede  slightly  in  perspective  to 
the  r.,  the  heads  and  shoulders  of  musicians  forming  a  base  to  the  design. 
Performing  dogs,  a  clown,  an  elephant,  and  a  camel  (canvas-covered  monsters 
as  in  No.  11079),  flying  demoniac  creatures,  a  slack-rope  performer,  an  acro- 
bat, two  pugilists,  are  among  the  performers.  A  monkey  wearing  spectacles 
sits  on  the  back  of  a  braying  ass,  holding  a  paper:  All  The  Worlds  A  Stage; 
he  is  probably  intended  for  Liston,  see  No.  13041 .  The  ghosts  of  Shakespeare 
and  {})  of  Rowe  wearing  shrouds  and  surrounded  by  smoke  flee  to  the  1.  and  r. 
Both  exclaim  Murder — Murder.  The  former  is  pursued  by  a  goose  from  whose 
beak  issue  the  words :  Hiss  Hiss. 

This  aspect  of  the  degenerate  theatre  is  a  recurrent  theme,  cf.  Nos.  5063, 
5064,  10796,  11598,  11773. 
8^  X  1 1|  in.  (cropped). 

13043  PUZZLED  WHICH  TO  CHOOSE!!  OR  THE  KING  OF  TOM- 
BUCTOO  OFFERING  ONE  OF  HIS  DAUGHTERS  IN  MARRIAGE 
TO  CAPT  

^^  Capt  E.  J.  del'  [Marryat]    G.  Cruikshank  sculp' 

Pii¥  OcV  10  1818  by  G  Humphrey  2y  S'  James's  Street 

Engraving,  slightly  aquatinted  (coloured  impression).  After  the  title:  antici- 
pated result  of  y''  African  Mission.  An  African  chief  displays  to  a  naval  officer 
three  negresses,  who  stand  together  (r.),  grinning  and  coy,  and  absurdly  squat 
and  obese,  with  huge  posteriors  like  those  of  the  Hottentot  Venus  (see 
No.  11577).  The  officer,  Lieut.  Lyon,  bows  in  profile  to  the  r.,  r.  hand  on 
his  breast,  staring  with  humorous  and  wary  appraisal  at  the  women.  The 
chief,  who  smiles  blandly,  seated  on  a  low  slab,  wears  a  huge  nose-ring, 
a  plume  of  ostrich  feathers,  and  a  sword  for  which  his  1.  ear  serves  as  hilt. 
Immediately  behind  him  is  a  bodyguard  of  four  warriors  holding  tall  spears 
on  each  of  which  a  skull  is  transfixed.  Two  grin,  one  looks  with  sour  posses- 
si  veness  at  the  women.  All  the  Africans  are  very  negroid,  and  naked  except 
for  small  aprons.  Behind  the  women  are  more  Africans,  much  amused. 
Behind  Lyon  stand  an  astonished  naval  officer  and  two  amused  military 
officers;  all  are  in  dress  uniform.  Behind  these  are  grinning  sailors  and  on  the 
extreme  1.  the  tips  of  the  bayonets  of  the  escort,  with  a  Union  flag. 

By  1818  the  British  Government  had  realized  the  importance  of  opening 
up  North  Central  Africa  to  legitimate  commerce.  An  expedition  was  to  start 
from  Tripoli  under  Joseph  Ritchie  and  Capt.  Marryat;  Lyon  (1795-1832) 

'   Cropped:  so  dated  by  E.  Hawkins. 
834 


PERSONAL   AND    SOCIAL   SATIRES    1818 

volunteered  to  replace  Marryat  who  was  unable  to  go.  Camb.  Hist,  of  the 
Br.  Empire,  ii.  619.  After  great  hardships  Lyon  reached  the  borders  of 
Fezzan  and  collected  useful  information  about  the  Sudan,  and  published  in 
1^21  A  Narrative  of  Travels  in  North  Africa  in  18 18, 18 1 g  and  1820  (illustrated 
by  himself).  This  caricature  is  said  by  Marr^'at's  daughter  to  have  induced 
Sir  J.  Banks  to  support  his  election  as  F.R.S.  in  1819;  a  copy  appears  in 
Nos.  13249,  13449. 

Also  a  state  with  the  anchor  which  is  Marry at's  signature  removed. 

A  copy,  reversed.  Pub.  by  M'^Cleary,  jg  [?]  Nassau  S^  Dublin,  in  J.L.D. 

Reid,  No.  781.   Cohn,  No.  1880. 
8|x  13^  iri-   With  border,  9|x  13!  in. 

13044  AN  INTERESTING  SCENE,  ON  BOARD  AN  EAST-INDIA- 
AIAN,  SHOWING  THE  EFFECTS  OF  A  HEA\^  LURCH,— aftey- 
dinner. — 

— ^*"  I — G.  Cruikshank  fec^ 

Pu¥  Nov""  9'*  1818  by  G  Humphrey  2y  S'  James's  St'  Loudon — 

Engraving  (coloured  impression).  Passengers  seated  at  a  table  in  the  state 
cabin  under  six  windows  in  the  stern,  are  flung  violently  about  as  the  ship 
slants  steeply  to  the  1.  There  is  much  humorous  incident.  A  naval  officer 
remains  seated  and  watches  with  amusement,  and  another  man  drinks  with 
determination  though  kicked  on  the  chin  by  a  man  who  falls  on  top  of  a  lady. 
A  man  spills  scalding  coffee  down  the  mouth  of  his  neighbour,  whose  leg  is 
being  bitten  by  a  frantic  bull-dog.  Two  small  children  have  been  flung  to 
the  floor  across  which  cannon-balls  roll  and  spirit-bottles  slide  (from  an  over- 
turned canteen),  as  do  plates  and  leg  of  mutton  (from  a  basket) ;  powder- 
flasks  and  a  rammer  fall  from  the  roof.  A  fashionably  dressed  negro  servant 
bringing  in  a  bowl  of  steaming  punch  falls  backwards.  A  sailor  leaning  against 
a  cannon  on  the  r.  exclaims:  My  precious  eyes  Tom!!!  heres  a  smash!!!! — hold 
on  my  hearties!!  hang  on  by  y''  eyelids.  He  speaks  to  a  sailor  behind  him  who 
drinks  from  a  bottle. 

A  copy.  Published  by  J.  le  Petit  20  Capel  S'  Dublin,  in  J.L.D. 

Reid,  No.  785.   Cohn,  No.  1238.   Reissued,  Cruikshankiana,  1835. 
8|x  13  in.    With  border,  9^  X  13I  in. 

13045  THE  SAILORS  PROGRESS— 5?c  transit  gloria  Mundi— 
J.  S  [Lieut.  John  Sheringham  R.N.]  &  G.  C^  del'—G  C"  sculp' 
Pu¥  Jany  10"'  1818  by  G.  Humphrey  27  S'  James's  5' 

Engraving.  A  sequence  of  six  designs  arranged  in  two  rows,  [i]  Entering  as 
Landsman —  He  stands  hat  in  hand,  grinning  and  alert,  on  the  deck  of  a 
man-of-war,  wearing  short  jacket  and  gaiters,  facing  a  naval  officer  who  takes 
down  particulars  in  a  note-book.  A  knock-kneed  yokel  in  a  smock  waits  his 
turn.  Amused  midshipmen  look  on.  [2]  Carousing  on  board —  He  dances  a 
jig,  between  two  women,  to  the  fife  and  drum  of  two  marines,  and  the  fiddle 
of  a  sailor.  He  has  a  long  tarry  pigtail.  Sailors  drink  from  large  tankards,  one 
smokes  a  cheroot.  A  negro  holds  a  bottle.  A  sailor  follows  a  woman  up  a 
companion-ladder.  Cf.  No.  11981.  [3]  In  Irons  for  getting  drunk — He  sits 
morosely  on  the  ground,  one  ankle  padlocked  to  the  deck,  beside  another 
prisoner.  A  marine  stands  on  guard  behind  them.  Two  midshipmen  are 
studying  at  a  table.  An  officer  hands  a  pair  of  breeches  to  a  cross-legged  tailor. 

'  Above  Cap*  .  .  Marryat,  erased. 
835 


CATALOGUE   OF   POLITICAL   AND    PERSONAL    SATIRES 

[4]  Boarding  a  French  brig —  He  leaps  fiercely  on  to  the  deck  of  the  ship, 
sword  in  hand,  ferociously  seizing  by  the  throat  an  elderly  French  sailor,  having 
already  disposed  of  others.  A  thin  cook  prepares  to  defend  himself  with  a  spit. 
[5]  Promoted  to  Boatswain  &  exercising  his  Authority —  He  clouts  and  kicks  a 
little  cabin-boy  holding  a  bottle ;  another  boy  runs  oflr,  while  a  marine  watches 
the  encounter.  He  has  short  hair  instead  of  pigtail,  and  wears  a  tail-coat  in 
place  of  a  striped  shirt  or  jacket.  [6]  Laid  up  a  Greenwich  pensioner — relating 
his  adventures —  He  sits,  with  a  patch  over  one  eye,  and  one  wooden  leg,  in 
an  arm-chair  by  the  fire  of  a  humble  room,  smoking  a  long  pipe,  and  gesticula- 
ting, while  a  countrified  man  listens  intently,  also  smoking.  They  have  a 
frothing  tankard  between  them.  He  wears  the  uniform  of  a  pensioner,  with 
three-cornered  hat.  Opposite  him  sits  a  woman,  absorbed  in  the  tale;  a  child 
sits  on  the  floor  rigging  a  toy-boat.  Over  the  crockery  on  the  chimney- 
piece  is  a  print  of  Greenwich  Hospital,  on  the  wall  is  a  ballad  headed  by  ships ; 
a  sea-chest  is  in  the  corner  of  the  room.   (He  is  evidently  an  out-pensioner.) 

Cf.  Nos.  7818,  9746,  13396. 

Pencil  studies,  in  compartments,  are  in  the  B.M.,  with  an  additional  sketch 
for  [4]  on  the  reverse.   Binyon,  i.  284  (13). 

Reid,  No.  766.  Cohn,  No.  1945.  Reproduced,  C.  N.  Robinson,  The  British 
Tar  in  Fact  and  Fiction,  191 1,  p.  290. 
Each  design  4|xc.  4I  in.  With  border,  loix  15^  in. 

13045  A  A  reissue  with  the  date  altered  tojan^  ig"'  i8ig.  There  is  a  third 
state  dated  July  19,  1821. 


13046  INCONVENIENCES  OF  A  CROWDED  DRAWING  ROOM— 

G.  Cruikshank  fec^ 

Pu¥  May  6"'  1818  by  G  Humphrey  2y  S^  James's  S^ 

Engraving  (coloured  impression).  The  scene  is  a  Drawing-room  in  the  court 
sense  held  at  the  Queen's  House  (now  Buckingham  Palace):  the  men  wear 
court-suits  with  gold  lace  and  bag-wigs  or  uniform ;  above  the  doorway  appears 
the  lower  part  of  a  portrait  of  the  Queen  enthroned,  with  one  foot  on  a  foot- 
stool. On  the  r.  is  a  portrait  of  the  Prince  Regent  in  hussar  uniform  standing 
by  a  charger.  In  the  doorway,  which  is  the  centre  of  the  design,  an  enormously 
obese  man  is  jammed  against  an  equally  obese  woman,  their  paunches  dove- 
tailing; she  stands  on  one  toe  on  his  gouty  foot.  Behind  them  is  the  inner 
room,  where  heads  are  seen  crammed  together.  In  the  foreground  an  officer 
steps  on  a  lady's  train  (1.)  slitting  her  gown.  A  hussar  officer  (r.),  amused  at 
the  struggle  in  the  doorway,  drives  his  sabre  against  a  much-distressed  lady. 
He  has  a  moustache,  and  is  perhaps  a  German  in  attendance  on  the  Prince 
of  Hesse-Homburg.  Behind  is  another  officer,  also  with  a  moustache  (cf. 
No.  13029).   On  the  floor  lie  fans,  a  shoe-buckle,  the  bag  from  a  wig,  &c. 

Lady  Susan  O'Brien,  contrasting  the  manners  of  1760  and  1818,  writes  of 
Drawing-rooms:  'The  crowds  are  so  great  &  so  little  decorum  attended  to, 
that  people's  clothes  are  litterally  torn  to  pieces.'  Life  and  Letters  of  Lady 
Sarah  Lennox,  1901,  ii.  290. 

A  copy,  reversed,  signed  Cruicshank  fecit,  no  imprint,  but  similar  to 
McCleary's  plates,  in  J.L.D. 

Reid,  No.  774.   Cohn,  No.  1229.   Reissued,  Cruikshanktana,  1835.   Repro- 
duced, R.  McLean,  George  Cruikshank,  1948,  p.  41. 
8f  X  12II  in.   With  border,  9i|x  13I  in. 

836 


PERSONAL   AND   SOCIAL   SATIRES    1818 

13047  LES  SAVOYARDS— 
G.  Criiikshank  fee' 

London  Published  SepV  18  1818  by  G  Humphrey  nepew  [sic]  &  successor 
to  the  late  M'^^  H.  Humphrey  2y  S^  James's  Street 

Engraving  (coloured  impression).  Above  the  design:  A  little  Music  a  la 
Franfoise —  A  street  scene,  with  the  raiHng  and  ground-floor  of  a  substantial 
London  house  as  background.  A  man  turns  the  handle  of  an  orgue  de  barbaric 
slung  from  his  neck,  while  he  sings;  with  him  are  two  women,  one  sings, 
a  tambourine  in  her  hands,  the  other  plays  a  fiddle.  All  are  neatly  dressed, 
the  women  have  coloured  scar\'es  round  their  high  coiffures,  and  wear  long 
ear-rings.  All  three  have  a  general  resemblance  to  the  Italian  witnesses  of 
prints  of  1820.  The  spectators  are  a  pugnacious-looking  butcher  with  meat- 
tray  and  bull-dog,  a  dustman  with  his  bell  under  his  arm,  a  fat  fishwoman 
with  a  basket  on  her  head,  a  ragged  boy  with  a  hoop.  Other  persons  walk 
along  the  pavement  behind  the  performers ;  an  apple-woman  looking  over  her 
shoulder  pushes  her  barrow  into  a  lady,  while  a  little  chimney-sweeper  steals 
her  apples.  Two  dandies  and  a  lady  are  on  the  extreme  r.  At  an  open  w indow 
a  fat  woman  listens  to  the  music  and  coquettes  with  a  dandy.  See  No.  13431, 
a  sequel. 

Drawing  in  pen-and-ink  in  the  Print  Room.   Binyon,  i.  281  (7). 

Reid,  No.  779.   Cohn,  No.  1323.   Reissued,  Cruikshankiana,  1835. 
8|x  13  in.   With  border,  9^X  13I  in, 

13048  THE  PICCADILLY  NUISANCE!   Dedicated  to  the  Worthy,  Acting 
Magistrates  of  the  district — 

G  Criiikshank  sculp' 

Pub'^  Dec''  2g  1818  by  G.  Humphrey  2j  S'  James's  S'  London 

Engraving.  A  disorderly  mass  of  pedestrians  fills  the  pavement  outside  the 
White  Horse  in  Piccadilly,  the  street  slanting  in  perspective  from  1.  to  r.  The 
pillared  porch  of  the  hotel  is  flanked  by  large  curved  windows,  above  which 
is  the  inscription  Coffee  House  &  Hotel.  The  porch  is  inscribed  Hatchetts, 
above  it,  against  the  wall,  is  the  (pictorial)  sign  of  a  white  horse,  inscribed : 
Coaches  &  Waggons  \  To  all  parts  \  of  the  \  Kingdom.  Above  the  area  railings, 
which  are  hidden  by  the  crowd,  is  a  placard  (over  the  entrance  to  the  base- 
ment): White  Horse  \  Cellar  \  Coaches  To  all  part[s].  In  the  foreground  (r.) 
a  coach  and  pair  with  outside  passengers  is  driven  recklessly  (r,  to  1.)  by  a 
driver  in  a  many-caped  coat;  an  angry  man  sprawls  by  the  horses'  hoofs, 
another  escapes  to  the  r.  A  box-like  coach  or  wagon  facing  in  the  opposite 
direction  is  on  the  off-side  of  the  first;  a  man  pushes  a  fat  woman  in  at  the 
back,  while  two  outside  passengers  are  about  to  fall  from  the  roof,  which  is 
open.  It  is  inscribed  T[0]  .  .  .  MERS  .  .  .  TURNHAM  [?  To  Amersham 
by  Turnham  Green].  At  the  edge  of  the  pavement  stands  a  tough-looking 
coach-tout  pointing  out  the  Amersham  wagon  to  an  oafish-looking  and  would- 
be  fashionable  countryman  whose  pocket  is  being  picked  by  a  little  Jewish 
boy;  a  Jewish  woman  with  a  basket  of  fruit  slung  from  her  neck  deftly  screens 
him.  A  rafiish  tout  dressed  as  a  coachman  assails  alarmed  pedestrians  with 
violent  gestures.  A  stout  John  Bull  pushes  violently  past  a  Jewish  fruit-seller, 
spilling  the  fruit,  while  the  Jew  takes  a  watch  from  his  fob.  A  boy  diving  for 
the  falling  fruit  upsets  a  man  carrying  on  his  head  and  porter's  knot  a  large 
corded  chest.  A  little  chimney-sweep  with  twisted  shin-bones  quizzes  an 
amused  negro  ser\'ant,  who  holds  a  band-box,  and  is  smartly  dressed,  but 
wears  an  apron.   Facing  the  coaches  stands  a  newsboy,  holding  up  his  papers 

837 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

to  the  passengers.  He  holds  his  horn;  in  his  hat  is  a  placard:  Great  News  from 
S^  Hel[ena] .  Below,  where  the  crowd  is  thickest  in  front  of  the  hotel  porch, 
men  fight  with  fists.   Two  dandies  stand  under  the  porch,  above  the  melee. 

A  satire  on  stage-coaches,  noise,  &c.,  see  No.  13430.  The  Examiner  of 
29  Mar.  18 1 8  recorded  'a  report  blown  about  our  streets  on  Friday  by  those 
vociferous  reprobates  the  News-horns,  that  Bonaparte  had  suddenly  died  , . .'. 
For  the  White  Horse  Cellar  as  the  terminus  of  coaches,  when  Piccadilly  in 
the  evening  was  a  'glorious  sight',  cf.  The  Piccadilly  Annual,  1870,  p.  96. 

A  pen-and-ink  sketch  is  in  the  Print  Room.   Binyon,  i.  281  (5). 

Reid,  No.  789.   Cohn,  No.  1841.   Reissued,  Cruikshankiana,  1835. 
8|X  13  in.   With  border,  9|x  13!  in. 

13049  THE  ART  OF  WALKING  THE  STREETS  OF  LONDON. 

Plate  i'^ 

G.  M.  Woodward  inv^^     G.  Cruikshank  fed 
Pu¥  Jany  J^'  1818  by  Tho'  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Four  designs  on  one  pi.  [i]  How  to  carry 
an  Umbrella —  A  pedestrian  slanting  his  umbrella  against  driving  rain  plants 
it  in  the  face  of  a  man  walking  towards  him.  Behind,  another  drives  the 
ferrule  into  the  face  of  a  blind  man  who  is  being  led  by  a  dog  across  the 
road  (r.).  A  short  lady,  passing  a  dandy  who  also  holds  an  umbrella,  raises 
hers  so  high  that  she  breaks  a  street  lamp,  [2]  Hozv  to  Turn  a  Corner —  A  dandy 
(cf.  No.  13029),  hands  on  hips,  swaggers  round  a  corner  knocking  down  a  fat 
fellow  in  old-fashioned  dress.  There  are  four  other  pedestrians,  a  dandy 
walking  with  two  ladies,  and  a  stout  elderly  man.  [3]  How  to  clear  the  Streets — 
Five  men  with  linked  arms,  would-be  fashionables,  have  overturned  one  man; 
one  of  them  kicks  a  fishwoman  behind ;  her  basket  falls  from  her  head  and  she 
is  falling.  A  woman  and  little  boy  flee  from  the  roisterers.  [4]  How  to  Attract 
public  Notice —  A  man  dressed  as  a  dandy,  wearing  grotesque  trousers  gathered 
in  at  the  ankle,  and  staring  through  an  eye-glass,  walks  with  a  fat  bedizened 
woman  wearing  a  gigantic  feathered  bonnet  and  holding  up  a  parasol.  Four 
passers-by  point  and  jeer,  or  stare  in  astonishment,  the  latter  being  a  yokel  and 
a  little  maidservant  hurrying  with  a  basket  of  vegetables  and  the  door-key. 

The  title  is  from  Gay's  Trivia.  Woodward  died  in  1809;  the  costume  of 
the  principal  figures  has  been  brought  up-to-date.  Both  plates  are  said  to  be 
from  the  Caricature  Magazine.  Cf.  Nos.  8931,  11 181. 

Reid,  No.  764.   Cohn,  No.  898. 
Each  design  c.  4x6^  in.   With  border,  8^X  13I  in.      'Caricatures',  vii.  48. 

13050  THE  ART  OF  WALKING  THE  STREETS  OF  LONDON. 

Plate  2"'^— 
G.  M.  Woodward  inv^^     G.  Cruikshank  fec*^ 
[Date  erased]  by  Tho^  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  See  No.  13049.  [i]  Hozv  to  stop  up  the 
Passage —  Five  men,  one  in  dandy  costume  with  trousers  gathered  at  the 
ankle,  stand  in  a  close  group  on  the  pavement,  laughing  slyly.  A  porter  (I.) 
carrying  a  burden  on  his  knot,  and  a  woman  (r.)  carrying  milk-pails  on  a  yoke 
who  has  just  come  from  the  arched  doorway  of  a  milk-cellar  both  yell  at  the 
obstructionists  without  attracting  attention.  Behind  the  latter  is  a  window 
with  B.  Block  above  it.  [2]  How  to  make  the  most  of  the  Mud —  A  stout 
pugnacious-looking  man  aggressively  stamps  on  a  loose  paving-stone  and  a 

'  Erased;  traces  remain. 

838 


PERSONAL   AND   SOCIAL   SATIRES    1818 

fountain  of  mud  splashes  a  fat  woman  from  head  to  foot.  From  his  other 
foot  a  black  stream  squirts  against  a  dandy.  In  the  background  (r.)  scavengers 
are  flinging  mud  from  the  cobbled  street  into  a  cart,  splashing  a  lady.  [3]  How 
to  carry  a  Stick —  A  pedestrian  walks  along  intently  reading  a  book,  the 
words  T.  Tegg  Cheapside  being  just  legible  at  the  foot  of  the  page.  Under 
his  arm  is  a  long  stick  held  horizontally;  it  is  about  to  ram  the  face  of  a  fat 
dismayed  parson.  Another  man  accosts  a  woman,  showing  her  a  letter,  his 
stick  held  between  his  knees.  Cf.  No.  8931.  [4]  How  to  get  into  the  Watch- 
House —  A  tipsy  blood  attacks  a  watchman  with  a  bludgeon,  while  a  second 
watchman  whose  lantern  has  been  broken  tackles  a  second  blood,  who  staggers 
in  drunken  helplessness.  The  first  watchman  springs  his  rattle,  and  two  more 
hobble  to  his  help.  Behind  the  foreground  figures  are  a  shuttered  shop-front 
and  an  empty  watch-box. 

Reid,  No.  765.   Cohn,  No.  898. 
Each  design  c.  4x6^  in.   With  border,  8f  X  i2{|  in.     'Caricatures',  vii.  49. 

13051  CALEIDOSCOPES  OR  PAYING  FOR  PEEPING. 

C  W  [Williams.] 

PuM  June  1818  by  S  W  Fores  50  Piccadilly  corner  of  sackville  Street 

Engraving  (coloured  impression).  A  street  scene,  with  the  shop-window  of 
an  OPTICI[AN]  sketched  on  the  1.  Men,  women,  and  children  look  through 
kaleidoscopes;  a  Jew  (r.)  with  a  basket  of  the  new  invention  offers  them  for 
sale:  Perhapshe  de  Lady  vould  like  von  little  bits  bigger sh.  A  little  boy  offers 
one  to  a  spectacled  old  woman,  who  says :  And  are  you  sure  my  Lad  your  zvhat 
d'ye  call  it  is  worth  a  Halfpenny  to  look  at.  A  pocket  is  picked  by  a  boy  who 
says:  This  is  a  pretty  invention  for  our  business.  The  outside  and  inside 
passengers  in  a  coach  look  through  them.  There  are  many  coarse  gibes  similar 
to  those  in  No.  12801,  &c.    Below  the  design: 

"Tis  the  favourite  plaything  of  schoolboy  and  sage 

''Of  the  baby  in  arms,  and  the  baby  of  age ; 

''Of  the  grandam  zvhose  sight  is  at  best  problematical 

"And  the  soph  zvho  explains  it  by  rule  mathematical. 
Such  indeed,  is  the  rage  for  them,  chapel  or  church  in, 
You  see  them  about  you,  and  each  little  urchin. 
Finding  a  si.xpetice,  with  transport  beside  his  hope. 
Runs  to  the  tinman,  and  makes  a  "Caleidoscope.I" 

Dr.  Uavid  Brewster  patented  his  kaleidoscope  in  1817;  the  invention  was 
at  once  pirated,  and  he  made  nothing  by  it.  'The  new  optical  instrument  .  .  . 
has  of  late  been  all  the  rage  in  the  Metropolis.  .  .  .  Such  is  the  amusement 
with  the  simple  instrument  that  the  Doctor's  patent  is  eluded,  and  tinmen 
and  glass-cutters  have  been  in  one  universal  requisition.'  Gent.  Mag.,  1818, 
i.  560  (June). 
9fXHife  in. 

13052  A  BEAUX  TRAP 

[?  I.  R.  Cruikshank.] 

Published  May  14,  1818  by  E.  Brooks,  Panton  S'  London. 

Engraving  (coloured  impression).  Scene  at  the  corner  of  a  street  leading  to 
Cavendish  Square,  which  is  indicated  by  the  equestrian  statue  of  the  Duke 
of  Cumberland  (erected  1770),  immediately  outside  a  ground-floor  window 
at  the  corner  of  Union  Street.  A  handsome  well-dressed  woman  holding  up 

839 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

a  parasol,  raises  her  skirt,  displaying  her  leg  above  the  knee,  at  the  same 
time  so  stepping  on  a  loose  paving-stone  that  a  shower  of  mud  is  directed 
against  a  footman  who  is  leering  up  at  her  through  the  bars  protecting  a 
basement  window.  An  elderly  man  stares  from  the  window  above.  Cf. 
No.  9559. 
9f  X7I  in.  'Caricatures',  vii.  175. 


13053  TRAVELING    IN    FRANCE— OR,— LE   DEPART    DU    DILI- 
GENCE— 

Etched  by  G.  Cniikshank. 

Pu¥  Ocf  ig""  18 18  by  G.  Humphrey  2y  S^  Jameses  Street 

Engraving  (coloured  and  uncoloured  impressions).  English  travellers  outside 
a  posting-inn  are  about  to  enter  a  clumsy  old-fashioned  diligence.  Two 
grotesquely  dressed  and  affected  dandies  assist  a  woman  wearing  a  huge 
bonnet  to  mount  the  steps ;  a  tiny  dog,  shaved  in  the  French  manner  (as  sold 
to  visitors  at  Calais,  &c.,  cf.  No.  8271)  tries  to  follow.  Two  English  travellers 
(r.)  are  amused  at  the  display  of  leg.  In  the  foreground  a  fat  and  vulgar-looking 
John  Bull,  in  profile  to  the  r.,  puts  his  hand  to  his  pocket  in  response  to  a  bare- 
footed, neatly  dressed  French  woman  who  begs,  an  emaciated  boy  beside  her. 
He  wears  a  long  many-caped  driving-coat,  broad-brimmed  hat,  and  top-boots, 
and  holds  a  bundle  in  a  flowered  handkerchief.  His  smartly  dressed  wife 
stands  beside  him,  laughing.  A  one-legged  French  officer  with  a  bandage 
over  an  eye  advances  on  crutches.  Behind  him  (1.)  are  the  four  miserable 
horses  for  the  coach,  harnessed  with  rope,  a  thin  but  foppish  and  alert  postilion 
smoking  a  cheroot  on  the  near  wheeler.  Peasant  women  stand  by  with  baskets 
of  fruit.  The  inn  is  on  the  1.  in  the  background;  a  foppish  maitre  d'hotel 
stands  before  the  doorway,  which  has  the  notice :  Ici  on  Loge  a  Pied  et  a  Cheval. 
A  vine  covers  the  building  which  has  a  projecting  sign:  Bonne  double  bierre 
de  Mars,  with  the  contents  of  a  bottle  cascading  into  a  glass.  Beside  the  inn 
are  poplars.   Cf.  No.  13429. 

A  copy,  reversed,  Dub.  Pub.  by  M'^Cleary,  32  Nassau  S^,  in  J.L.D. 

Reid,  No.  782.  Cohn,  No.  2043.   Reissued,  Cruikshankiana,  1835.   Repro- 
duced, R.  Nevill,  The  Man  of  Pleasure,  1912,  p.  218. 
8^X  i2|  in.   With  border,  9|x  13 1  in. 

13054  LE  PALAIS  ROYAL— DE  PARIS— 

Etched  by  G.  Cruikshank — 

London  Published  Sepf  18^''  1818 — by  G.  Humphrey,  nephew  ^successor 
to  the  late  M^^  H.  Humphrey — 27  S'  James's  Street — 

Engraving  (coloured  and  uncoloured  impressions).  Above  the  design:  A 
Peep  at  the  French  Monstrosities.  Two  English  tourists,  both  dressed  as 
dandies  (cf.  No.  13029),  walk  arm-in-arm  under  the  arcade  of  the  Palais 
Royal,  interested  in  the  promenading  courtesans.  Two  Frenchmen  make 
more  direct  overtures  to  two  women.  Their  dress  is  rather  similar  to  that  of 
the  Englishmen,  but  the  latter  wear  bell-shaped  top-hats,  while  the  Frenchmen 
have  flower-pot  shaped  hats.  An  officer  wearing  a  large  cocked  hat  addresses 
a  girl,  and  a  man,  said  by  Reid  to  be  Irish,  jovially  accosts  another.  Some 
of  the  women  are  in  evening-dress,  others  in  street-costume.  Behind  are  iron 
railings  between  the  supports  of  the  roof;  on  one  of  these  is  the  inscription 
Caveau  des  Sauvages.   Cf.  No.  13428. 

840 


PERSONAL   AND   SOCIAL   SATIRES    1818 

A  copy  reversed,  without  border,  Dub.  Pub.  by  M'^Cleary,  32  Nassau  S\ 
in  J.L.D. 

Reid,  No.  778.    Cohn,  No.  1835.    Reproduced,  R.  Nevill,  The  Man  of 
Pleasure,  191 2,  p.  192. 
8|x  i2|  in.   With  border,  9f  X  i3|f  in. 


13055  DANDIES— OR—  |  MONSTROSITIES  OF  1818—  PL  2 

G.  Cruikshajik  fee' 

Pub'^  OcV  3'^  1818  by  G,  Humphrey.  2y  S'  James's  Sir' 

Engraving.  A  Hyde  Park  scene  burlesquing  the  fashions  of  the  day.  Men 
walk  arm-in-arm,  so  do  two  ladies,  and  a  man  and  woman,  and  there  are 
solitary  figures,  one  of  whom  is  a  much-bedizened  elderly  woman  using  a 
sunshade  as  walking-stick,  and  followed  by  a  pompous  over-dressed  footman 
(1.)  carrj'ing  a  lap-dog  and  holding  a  cane.  Alterations  since  1816  include  a 
fashion  for  walking  on  tip-toe;  the  ladies'  stoop  (see  Nos.  12939,  ^3°^4) 
is  less  pronounced;  their  skirts  are  longer;  their  bonnets  much  higher;  their 
dresses  are  still  very  short- waisted  and  project  from  the  shoulders,  but  they 
are  less  decolletee.  The  men  no  longer  wear  trousers  gathered  at  the  ankle, 
but  two  wear  wide  short  trousers ;  two  wear  riding-breecheswith  top-boots .  All, 
including  an  officer  in  uniform,  have  the  high  waists,  projecting  busts,  high 
shoulders,  and  tight  sleeves  characteristic  of  the  dandy  (cf.  No.  13029) ;  collars 
are  still  high,  their  corners  are  more  often  pointed  than  (as  earlier)  round. 
A  Life  Guards  officer,  arm-in-arm  with  a  dandy  wearing  short  trousers  over 
spurred  boots,  is  conspicuous  on  the  extreme  r. 

In  1818  the  vogue  for  caricatures  of  dandies  was  at  its  height,  see  No.  12039. 
One  of  a  series,  see  No.  12840. 

Reid,  No.  780.    Cohn,  No.   1749.    Reproduced,  R.  Nevill,  The  Man  of 
Pleasure,  19 12,  p.  204. 
8|X  12  jl  in.   With  border,  9I-X  13^  in. 

13055  A  A  second  state  (coloured)  with  the  same  imprint,  the  title  altered 
to  Dandies — of — i8iy  \  &  Monstrosities  of  1818.   Reissued,  Cruikshankiana, 

1835- 


13056  A  NICE  GENTLEMAN  

Criiikshank  fec'^ 

Pub'^  SepV  12"'  i8i8—by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  A  grotesque  dandy  walks  in  a  landscape 
in  profile  to  the  r.,  bending  at  the  waist,  sucking  a  cane,  1.  arm  hanging  stiffly. 
His  features  and  dress  are  inscribed  with  the  names  of  food,  e.g.  his  red 
carbuncled  rose  is  Currant  Jelly,  his  shallow  broad-brimmed  hat  (an  eccen- 
tricity) is  Calves  Head  Jelly  and  Pancake;  the  cravat  which  covers  neck,  cheek, 
and  chin  is  Puff  Paste ;  his  loose  short  trousers  are  White  Sugar  Bags ;  his 
handkerchief  Blow  Monge;  his  long  spurs  Gilt  Gingerbread.  See  No.  13029. 
A  companion  pi.  to  No.  13057  with  the  same  signature. 

Reid,  No.  777. 
I2|x8i|in. 


'  Note  to  impression  in  the  collection  of  W.  T.  Spencer  (1931)  'By  my  brother 
I.  R.  C.  assisted  a  little  by  G.  C.   This  probably  applies  also  to  No.  13057. 

841 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13057  A  NICE  LADY  OR  AN  INCOMPARABLE!!!! 
Pu¥  OcV  20^''  1818  by  S  W  Fores  50  Piccadilly — 

See  No.  13056.  A  bedizened  hag  walks  to  the  1.  with  an  insinuating  leer,  with 
the  stoop  fashionable  in  1816  (see  No.  12840),  and  with  splayed-out  feet. 
Features  and  dress  are  inscribed  with  the  names  of  food  in  which  fish  pre- 
dominate: (e.g.)  her  skirt  is  covered  with  a  Fishing  Net  which  forms  a  trans- 
parent hem;  her  high  bonnet  is  a  Scollop  shell;  her  mouth  Tulips  [cf.  No. 
13058];  her  teeth  Pearl  Oyster,  or  Sweet  Meat;  her  hand,  in  which  she 
affectedly  holds  an  eyeglass :  Fish  hooks  or  Crabs  Claws.  There  are  many  other 
disparaging  inscriptions.  Behind  is  a  notice-board  among  trees:  Beware  of 
Men  Traps.  " 

Reid,  No.  783. 
i2||x8|  in. 

13058  VAGARIES   OF    NATURE    AND   ART— OR— CURIOSITIES 
OF  THE  PARADE.  184 

Williams  Sculps 

Pub''  1818  by  Tho'  Tegg  N°  iii  Cheapside  London — 
Engraving  (coloured  impression).  A  scene  on  Horse  Guards  Parade,  in  front 
of  the  Regent's  Bomb,  see  No.  12799,  ^c-'  burlesquing  costume,  military  and 
civilian.  Three  officers  stand  together  (1.);  an  infantry  officer  wearing  tight 
trousers  and  an  enormous  shako,  says :  What  ridiculous  uniforms  they  wear  on 
the  Continent!  d'ont  you  think  so  Major?  A  cavalry  officer  answers :  We  beat 
them  all  to  nothing  in  Uniforms!  our  R  .  .  .  .  t  has  such  exquisite  taste!  He  is 
in  back  view,  one  peak  of  his  cocked  hat  reaches  below  his  waist,  the  other 
is  high  above  his  head.  The  third,  a  hussar,  too  stout  for  tight  uniform,  wear- 
ing a  gigantic  busby  with  pendent  bag  and  heavy  metal  chin-strap,  answers : 
Monstrous!  enough  to  make  one  die  with  laughter.  A  civilian,  his  cheeks  gripped 
by  his  high  collar,  looks  over  his  shoulder  at  them,  saying,  Ha  Ha  what  a 
set  of  quizzes!!  His  fat  wife  is  in  back  view,  and  her  skirt  is  raised  high,  display- 
ing legs,  by  the  sabre  of  a  Life  Guards  officer  who  bows  low  to  a  fat  bedizened 
woman  who  takes  her  husband's  arm.  An  enormous  horse-tail  hangs  from 
his  helmet  which  is  surmounted  by  a  dragon  (resembling  that  of  the  'Bomb'). 
She  has  monstrous  lips,  and  wears  a  huge  bonnet  trimmed  with  roses,  &c. 
He  says:  Ah!  my  dear  M"  Bloom!  You  look  like  the  Godess  [sic]  Flora  this 
morning,  your  Roses  and  Lillies  are  beautiful  but  your  Two  Lips  [cf.  No.  13057] 
still  more  so!  I  prefer  your  Twolips  indeed  Madam.  She  answers :  Eh!  Eh!  Eh! 
Vy  ive  got  no  twolips  Captain!  law  zvhat  a  deal  of  hair  you  have  got  on  your  thing- 
umbob, if  I  had  met  you  behind,  I  shoidd  have  taken  you  for  Orson  the  wild  Man 
of  Voods.  Her  fat  husband,  who  is  dressed  as  a  dandy  (cf.  No.  13029)  except 
that  his  figure  makes  the  high-waisted  effect  impossible,  answers :  Come  thats  a 
good  one  Captain  but  Margery  don't  take  it.  He  holds  by  the  hand  a  gaping 
over-dressed  child  wearing  frilled  drawers  to  the  ankle.  Below  the  design: 
Democritus,  dear  droll  revisit  Earth 
And  with  our  follies,  greet  thy  heightend  mirth. 

For  the  Regent's  taste  in  uniforms  see  No.  13237,  &c. 
8f  X  13^  in.  'Caricatures',  vii.  156. 

13059  MILITARY  DANDIES  OR  HEROES  OF  1818 
[W.  Heath.] 

Published  Oct  26  1818  by  S  W  Fores  50  Piccadilli  and  312  Oxford  Street 
Engraving  (coloured  impression).  Officers  promenade,  swaggering  self- 
consciously; three  couples  are  arm-in-arm.  One  pair,  one  of  whom  is  a  lancer 

842 


PERSONAL   AND   SOCIAL   SATIRES    1818 

with  a  moustache,  arrogantly  stare  at  a  taller  and  more  dignified  Life  Guards 
ofiicer  wearing  a  huge  curling  plume  on  the  crest  of  his  helmet.  All  have 
small  high  waists  with  belts  or  sashes,  bulging  breasts,  high  collars,  and  stocks, 
narrow  and  sometimes  tiny  coat-tails,  tight  sleeves,  high  padded  shoulders; 
usually  a  bush  of  hair  projects  from  a  fantastic  shako  or  helmet.  The  two 
Life  Guards  officers  have  boots,  wide  at  the  top,  reaching  to  the  thigh.  Two 
officers  wear  fantastically  large  plumed  shakos.  An  officer  in  back  view, 
(?)  the  Duke  of  York,  wears  the  plumed  hat  of  a  field-marshal,  and  is  arm-in- 
arm with  a  very  tall  thin  officer.  For  dandy  costume  cf.  No.  13029. 
g^X  14I  in.  'Caricatures',  vii.  199. 

13060  THE  DANDY  DRESSING  THE  DANDY  DRESSED 

OR  AT  HOME  ABROAD 

[?  Marks.]  [?i8i8] 

Engraving  (coloured  impression).  Two  designs  divided  by  a  vertical  line, 
[i]  The  dandy  (cf.  No.  13029)  sits  in  a  squalid  room,  complacently  adjusting 
his  cravat  in  a  small  mirror  fixed  to  the  fire-jamb.  He  wears  high  collar,  stays, 
with  shirt-frill  tied  over  them,  short  wide  trousers,  remnants  of  socks.  His 
high-heeled  spurred  boots,  blacking-brush,  and  pot  stand  on  the  boarded  floor, 
with  an  open  book:  77ie  Beau[x]  Stratagem  [Farquhar's  comedy].  On  a  small 
table  is  a  paper :  M'"  Dandy  for  zcashing  &c  a  Collar  — ,  a  —  D°,  a  —  D°, 
a  —  Z)";  by  this  is  a  big  key  (substitute  for  a  watch)  with  dangling  ribbon 
and  seals.  A  bowl  of  water  stands  on  a  stool;  his  coat  hangs  from  his  chair, 
umbrella  and  caped  overcoat  (on  a  coat-hanger)  hang  against  the  wall.  The 
dandy  umbrella  in  this  and  other  prints  is  tightly  rolled,  unlike  the  gamp  of 
the  period.   On  the  chimney-piece  are  medicine-bottles. 

[2]  Completely  dressed,  with  seals  dangling,  he  bows  from  the  waist,  look- 
ing through  an  eyeglass  with  a  complacent  smile.    His  hat  conceals  a  bald 
crown.  Cf.  Nos.  13061,  13065,  13084,  13448. 
Each  design,  7-|x6|  in.;  7f  X5^  in.   With  border,  9^X  i2-|  in. 

'Caricatures',  vii.  94. 

13061  A  DANDY  PUT  TO  HIS  LAST  CHEMISETTE  OR  PREPAIR- 
ING  FOR  A  BOND  STREET  LOUNGE— 

7  R  [and  G]'  Cruikshank  fed 

Pu¥  OcV  26  1818  by  S.  W.  Fores  50  Piccadilly 

Engraving  (coloured  impression).  Scene  in  a  ramshackle  garret.  A  dandy  in 
a  late  stage  of  decay  crouches  over  the  fire  (where  an  iron  is  heating)  on  a 
small  stool,  holding  out  his  shirt,  befrilled  and  collared,  but  sleeveless.  He 
wears  tightly  laced  stays  over  bare  flesh,  which  is  ravaged  by  insects  or  skin- 
disease,  W'ith  ragged  drawers  and  socks.  Other  ragged  garments  hang  from 
a  string  across  the  fireplace,  others  project  from  a  crock  (r.)  where  they  are 
being  washed.  Boots,  blacking,  &c.,  are  on  the  floor.  Coat,  hat,  trousers,  and 
eyeglass  lie  on  a  makeshift  bed;  an  overcoat  hangs  on  a  coat-hanger.  His  hair 
is  brushed  upwards  from  the  neck  with  one  lock  arranged  over  the  forehead. 
His  whiskers  are  on  a  stand  on  the  table,  with  broken  combs,  tooth-brush,  &c. 
On  the  wall  hang  his  umbrella,  a  pair  of  bootsoles,  and  a  red  herring.  On 
the  chimney-piece,  with  medicine-bottle,  tea-pot,  &c.,  is  a  ballad  headed  by 
a  gibbet  with  corpses.  On  a  box  which  forms  a  head  to  the  bed  are  band-box, 
cane,  cracked  mirror,  &c. 

»  The  Truman  impression  is  autographed  'G.  C  Cohn.    The  manner  is  that  of 
I.  R.  C. 

843 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

Title  and  accessories  recall  Gillray's  The  Whore's  last  Shift,  No.  5604, 
and  The  Last  Shift,  No.  8234.   Cf.  No.  13060,  &c. 

Cohn,  No.  1044. 
8|x  i2|  in.  'Caricatures',  vii.  142. 


13062  DANDIES  DRESSING  319 

I  R  Cruikshank  fee'  '&  Geo:  Cruikshank'^ 
Pu'^  Nov''  2'^  1818  by  T.  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Six  dandies  dress  in  a  respectably  furnished 
dressing-room  (or  bedroom);  all  are  very  thin  and  have  grotesquely  high 
collars  reaching  to  or  above  the  ears.  One  holds  a  hand-glass  to  brush  up  his 
hair  from  the  back  of  his  neck;  he  has  a  small  but  projecting  moustache  (see 
No.  13029),  while  a  hair-dresser,  also  dandified,  tugs  at  the  laces  of  his  stays. 
His  drawers  are  stuffed  to  form  posteriors,  one  false  calf  is  attached  to  a  bare 
leg;  similar  artificial  aids  give  a  bulge  to  his  thighs;  bulging  pads  encircle 
the  arms  to  produce  the  high-shouldered  effect,  cuffs  are  attached  to  his 
wrists.  A  completely  dressed  dandy  stands  near  him,  taking  snuff  with  a 
gloved  hand;  he  says:  Pon  honor,  Tom  you  are  a  charmhig  figure!  You'll  capti- 
vate the  Girls  to  a  nicety!!  His  friend :  Do  you  think  so  Charles? — /  shall  look 
more  the  thing  when  I  get  my  other  calf  on.  A  third  dandy  sits  on  a  chair,  his 
head  forced  back  by  his  collar  and  cravat,  trying  to  insert  emaciated  legs  into 
voluminous  trousers ;  he  says :  D — n  it  I  really  believe  I  must  take  off  my  Cravat 
or  I  shall  never  get  my  trowsers  on.  At  a  dressing-table  a  dandy  winds  his  cravat 
over  his  collar,  another  standing  behind  him  on  a  chair  to  see  into  the  glass, 
is  doing  the  same ;  he  says :  Dear  me  this  is  hardly  stiff  enough  I  zvish  I  had 
another  sheet  of  foolscap.  The  other  says:  You'll  find  sotne  to  spare  in  my 
breeches  (artificially  puffed  out).  Toilet  accessories  and  clothes  are  scattered 
about,  including  a  false  calf,  boots,  boot-jack,  &c.,  two  bell-shaped  top-hats, 
an  umbrella  (see  No.  13060),  a  pot  of  pain[t],  a  wig-block  with  brushed- 
up  wig. 
8|xi2|in. 


13063  A  DANDY  COCK  IN  STAYS  OR—  |  A  NEW  THING  FOR  THE 
LADIES. 

/  R  Cruikshank  feeit 

Pub'^  Nov^  6'^  1818  by  S  W  Fores  50  Piccadilly  &  312  Oxford  Street 
Lofidon 

Engraving  (coloured  impression).  A  dandy,  much  burlesqued,  stands  full- 
face,  his  head,  which  has  a  bird-like  profile,  turned  to  the  1.;  his  hair  is 
brushed  up  at  the  back  behind  his  hat  to  resemble  the  tail-feathers  of  a  cock. 
He  wears  puffed-out  breeches  and  top-boots  with  enormous  spurs,  and  holds 
an  umbrella  (see  No.  13060).  A  narrow  coat-tail  hangs  between  his  stick-like 
legs.  His  thin  arms  in  tight  sleeves  project  awkwardly,  and  he  wears  short 
yellow  (chicken-skin)  gloves ;  a  broad  patterned  strip  hangs  from  his  fob,  with 
seals  and  watch-key.  A  sign-post  among  shrubs  points  To  Chalk  Farm 
[Hampstead].  The  dome  of  St.  Paul's  (1.)  appears  in  the  distance,  and  in  the 
middle  distance  (r.)  are  new  suburban  houses.  See  No.  13029. 
i2f  x8f  in. 

'  Added  in  pen. 

844 


PERSONAL   AND   SOCIAL   SATIRES    1818 

13064  THE  HEN-PECKED  DANDY.  320 

I.  R.  Cruikshank  fec^ 

Pu¥  Nov  7  1818  by  T.  Tegg  iii  Cheapside — 

Engraving  (partly  coloured).  Dressing-room  scene.  A  dandy  stands  by  the 
dressing-table  (r.)  making  a  gesture  of  rejection  towards  his  wife  (1.).  He  is 
lacing  a  pair  of  stays  over  his  shirt  and  puffed-out  breeches.  His  waist  is  very 
small,  his  bare  legs  emaciated,  his  mouth  a  small  irregular  aperture ;  a  set  of 
false  teeth  is  on  the  dressing-table.  She  is  plump  and  comely,  and  holds  out 
her  arms  to  him ;  she  wears  frilled  drawers  reaching  below  the  calf,  and  a  long 
pad  across  her  shoulders  to  give  her  short-waisted  dress  the  fashionable  line, 
cf.  No.  12939.  A  large  fire  is  burning;  on  it  is  an  iron;  kettle  and  coffee-pot 
are  on  the  hob.  Before  it  on  a  towel-rail  hang  stockings  and  other  garments; 
top-boots  are  warming  by  the  fender.  A  mirror  reflects  the  back  of  the  dandy's 
head,  with  its  grotesque  collar.  A  high-shouldered  coat  hangs  on  a  T-shaped 
stand.  On  a  shelf  above  the  wash-stand  a  pair  of  short  yellow  gloves  (cf. 
No.  1 3071)  is  drying  on  stands.  A  doonvay  (1.)  leads  to  a  bedroom.  Below 
the  design : 

The  Demofi  of  Fashion  Sir  Fopling  bezuitches — 
The  reason  his  Lady  betrays — 

For  as  she  is  resolved  upon  wearing  the  Breeches, 
In  revenge  he  has  taken  the  Stays! 

For  the  dandy  costume  cf.  No.  13029. 
84  X  i2t^  in,  'Caricatures',  vii.  151. 


J^7 


13065  DANDIES  AT  TEA. 
/.  R.  Criiikshank.  fecit — 

Pu¥  Nov'  1818  by  T.  Tegg.  iii  Cheapside— 

Engraving  (coloured  impression).  A  dandy  entertains  a  fellow-dandy  in  a 
small  ramshackle  room,  the  bed  turned  up  against  the  wall  to  give  space  for 
two  chairs  and  a  small  round  table.  Both  are  very  thin  and  have  the  high 
collars  and  cravats,  brushed-up  hair,  bulging  chests,  high  shoulders,  and  short 
waists  of  the  dandy,  with  ribbons  and  seals  hanging  from  the  fob ;  both  wear 
short  yellow  gloves.  The  host  (1.)  wears  tight  pantaloons  below  the  calf,  the 
guest  puffed-out  breeches  with  top-boots.  The  table-cloth  is  ragged,  the  fare 
scanty.  The  host  languidly  empties  a  tea-pot  into  a  broken  and  saucerless 
cup,  the  guest  elegantly  sips  his  tea,  holding  the  saucer.  Between  his  extended 
legs  is  an  umbrella  (see  No.  13060).  The  former  says:  My  Dear  Fellow, 
M''  Sim  is  your  Tea  agreeable?  Sim,  with  spectacles  on  his  forehead,  answers: 
Charming  my  Dear  Lollena  do  you  buy  it?  Ragged  garments  are  pegged  on 
a  line  stretching  across  the  room.  A  rat  looks  from  a  hole  in  the  floor;  beside 
it  is  a  smoothing-iron.  A  small  casement  window  shows  a  row  of  houses  and 
the  dome  of  St.  Paul's.  Cf.  No.  13060,  &c. 
iifxS^in. 

13066  A  DANDY  SHOE  MAKER  IN  A  FRIGHT  OR  THE  EFFECTS 
OF  TIGHT  LACING  321 

I  R  Cruikshank  fec^ 

Piib^  Dec'  3^  1818  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  shoemaker  in  dandy  costume  (cf.  No. 
13029)  grasps  the  leg  of  the  lady  whose  shoe  he  is  fitting;  he  exclaims:  O!  I 
shall  faint!  the  lacing  of  my  Stays  have  broke  and  I  shall  be  undone.   The  lady, 

845 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

who  is  pretty  and  very  decoUetee,  sits  on  a  sofa.  She  exclaims  to  a  maid  who 
stands  behind  the  shoemaker  (r.):  Susan  zvhat  is  the  Creature  about?  he^s 
taking  liberties  with  me!  She  answers :  Why  Madam  he  has  got  a  pair  of  Ladies 
Stays  on ;  stay-laces  are  flying  up  between  his  narrow  coat-tails.  On  a  table  (r.) 
are  a  pair  of  laced  boots  and  a  pair  of  flat  slippers.  Beside  a  window  draped 
with  curtains  stands  a  vase  of  cut  flowers  on  a  high  tripod. 
8|X  i2f  in.  'Caricatures',  x.  48. 

13067  THE  ENGLISH  LADIES  DANDY  TOY.  323 

I  R  Cruikshank  del  et  fecV 

Pu¥  Dec""  9'''  18 18  by  T  Tegg  11 1  Cheapside 

Engraving  (coloured  impression).  A  good-looking  young  woman,  looking 
down  and  to  the  r.,  holds  by  two  strings  a  jointed  puppet  (a  pantine,  a  toy  for 
ladies  in  vogue  in  the  mid-eighteenth  century,  cf.  No.  12280)  in  the  form  of 
a  dandy:  in  one  hand  is  an  umbrella,  cf.  No.  13060,  in  the  other  a  bell-shaped 
top-hat;  it  wears  top-boots  and  breeches.  She  sits  by  an  open  sash-window, 
through  which  flowers  are  seen,  wearing  a  becoming  evening-dress,  with  long 
gloves  and  feathers  in  her  hair.  On  a  table  is  a  book:  Quite  the  Dandy  set 
to  Music.  See  No.  13029. 
I2jx8|  in. 

13068  COMPARATIVE  ANATOMY— OR  THE  DANDY  TRIBE 

O  deV.     [I.R.]  Cruikshank  fecit 

Pub'^  Dec''  10^^  1818  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  Scene  in  Assembly  Rooms.  Three  dandies 
(cf.  No.  13029),  with  the  heads  respectively  of  ape,  ass,  and  dog,  walk  arm-in- 
arm towards  a  buffet  in  a  recess  (r.).  The  first  wears  tight  evening  pantaloons 
and  carries  an  opera-hat,  the  others  wears  hats,  trousers  (one  gathered  at  the 
ankle,  the  other  short  and  wide),  and  spurred  boots,  and  carry  canes.  Two 
pretty  and  elegant  ladies,  arm-in-arm  (1.),  watch  with  amused  contempt;  one 
looks  through  a  lorgnette,  saying.  What  things!  non  descripts,  brought  here  by 
the  Discovery  Ships,  Esquimeaux.   Below  the  title : 

Behold  ye  Dandies,  scum  of  manly  race 

An  Ape,  an  Ass,  a  Puppy,  dress' d  like  Beaux 

So  in  a  Glass,  Face  answers  unto  Face, 

That  here,  each  Dandy  his  own  Portrait  Shows. 

The  polar  exploration  stopped  by  the  war  was  renewed  in  1818  with  two 
expeditions,  one  under  John  Ross  and  Parry,  the  other  under  Franklin. 
7^X  12  in.   With  border,  8^X  12J  in.  'Caricatures',  vii.  141 

13069  A  DANDY  FAINTING  OR— AN  EXQUISITE  IN  FITS.   Scene 
a  Private  Box     Opera 

/  R  Cruikshank  inv^  &  fecit 

Pu¥  December  11.  1818  by  G  Humphrey  2y  S^  James's  S^ 

Engraving  (coloured  impression).  A  dandy  lies  back  fainting  in  a  chair,  his 
limbs  rigid,  supported  by  three  others  while  a  fourth  (1.)  draws  the  curtain, 
cutting  off  a  view  of  the  (distant)  stage  where  a  singer  is  posturing.  The  three 
supporters  say :  /  am  so  frighten' d  I  can  hardly  stand! ;  mind  you  dont  soil  the 
Dear's  linnen,  and,  /  dread  the  consequence!  that  last  Air  of  Signeur  Nonballenas 

846 


PERSONAL   AND   SOCIAL   SATIRES    1818 

has  throzvn  htm  in  such  raptures,  zee  must  call  a  Doctor '  immediately!  The 

last  holds  a  bottle  of  Eau  de  Colonge  [sic]  to  the  patient's  nostril.  The  fourth 
turns  to  say :  /  must  draw  the  curtai?i  or  his  screams  will  alarm  the  House — you 
have  no  fello  feeling  my  dear  fellos,  pray  unlace  the  dear  loves  Stays,  and  lay 
him  on  the  Couch.  The  box  is  large  with  couch  (r.)  and  table  with  decanters, 
dish  of  peaches,  and  two  candles.  On  the  floor  beside  a  low^-crowned  hat  is 
a  fan.  The  four  dandies  register  consternation.  All  are  dressed  in  the  usual 
manner,  two  wear  wide  short  trousers,  the  others  tight  breeches  or  panta- 
loons.  For  dandies  as  epicene  creatures  see  also  Nos.  13239,  13394,  ^3447- 

Reissued,  Cruikshankiana,  1835. 
8f  X  I2f  in.   With  border,  gfx  13!  in. 

13070  A  DANDY'S  DISASTER,  OR  A  FRIEND  IN  NEED! 

Marks  fee' 

London  Pu¥  by  J.  L.  Marks  N°  2  Sandy  s  Row  Artillery  Street.  Dec.  2g"' 

1818. 
Engraving  (coloured  impression).  Two  bailiffs  (1.),  with  bludgeons  and  a  writ, 
hasten  towards  a  dandy  (cf.  No.  13029)  who  has  fallen  on  his  back  on  the 
pavement.  Both  grin,  the  foremost  says:  We'll  take  you  up  and  you  shall  have 
a  Quad-reel  [altered  to]  -lie.  Beside  the  fallen  dandy  stands  another,  with  his 
glass  to  his  eye,  holding  out  a  constricted  arm  towards  the  bailiffs,  saying, 
Pon  Honor  my  Dear  Fellozv  I  can  not  help  you  my  Stays  are  so  cursedly  Tight, — 
those  Gentlemen  seem  not  to  be  very  Stiff  I  make  no  doubt  they  zcill  help  you  good 
morning.  The  other  holds  up  a  leg  to  ward  off  the  bailiffs,  shrieking.  Pray 
dont  let  those  nasty  fellows  touch  me,  they'll  soil  all  my  lin-en.  His  bell-shaped 
top-hat  is  beside  him  on  the  pavement,  a  little  boy  crouches  over  it,  delightedly 
taking  out  a  high  collar;  he  exclaims :  My  eyes  he's  got  a  Clean  Coluir  in  his  hat. 
8^X  i2|  in.   With  border,  9.^  >  13^  in.  'Caricatures',  x.  109. 

13071  A  DANDY 

C  W  [Williams]  Etched 

Pu¥  1818  by  S  W  Fores  N°  50  Piccadilly. 

Engraving  (coloured  impression).  An  English  dandy  in  Paris  (Moore's  Bob 
Fudge  whom  the  artist  has  confused  with  his  father,  Phil)  dresses  for  the 
evening,  staring  complacently  at  his  reflection  in  the  mirror  of  a  table  (r.) 
with  open  side-flaps  and  a  sunk  basin,  while  he  puts  on  one  of  several  rings. 
The  caricature  is  less  broad  than  in  other  dandy  satires;  he  has  a  small 
moustache  (see  No.  13029)  and  wears  long  tight  pantaloons  and  pumps.  An 
open  wardrobe  is  against  the  wall  surmounted  by  a  bust  of  Adonis ;  stays  are 
on  the  floor,  a  bidet  is  in  the  foreground  (1.),  its  tap  dripping  on  to  papers: 
bulky  bills,  headed  Stay  Mak[er];  P.  Fudge  Esq''  to  Staytape;  P.  Fudge  Esq'' 
to  Pump  [Maker] ;  P  Fudge  Esq''  for  Perfutnery ;  a  packet  of  Chicken  Gloves, 
w^ith  a  torn  Essay  on  Man  by  A.  Po[pe].  On  the  wall  hangs  a  pistol  labelled 
not  loaded.  Two  top-hats,  a  crescent-shaped  opera-hat,  and  a  fringed  scarf 
hang  on  a  rail,  with  shoes  and  top-boot  suspended  below.  The  dressing-table 
is  covered  with  stoppered  bottles:  Bergamot;  Lav[ender  Water],  Circassian 
Bloom;  Creme  de  Rose;  Eau  de  Ninon;  with  a  box  of  Patches,  &c.  Below  the 
design : 

A  lad  zvho  goes  into  the  zvorld  dick  like  me, 

Should  have  his  neck  tied  up,  you  knozc,  there 's  no  doubt  of  it ; 

Almost  as  tight  as  some  lads  who  go  out  of  it. 

'  A  name  has  been  erased. 
847 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Whith  Whiskers  zvell  oiVd,  and  boots  that  hold  up 
The  mirror  to  nature  ; — so  bright  you  could  sup 
Off  the  leather  like  china  ;  with  coat,  too  that  draws 
on  the  tailor,  who  suffers  a  martyr's  applause! — 
With  head  bridled  up,  like  a  four  in  hand  leader. 
And  stays — devils  in  them. — too  tight  for  a  feeder, 
I  strut  to  the  Old  caff  [Cafe]  Hardy. — 

vide  Fudge  Family  in  Paris  [p.  23  f.]. 

The  dandy  depicted  by  Williams  differs  from  that  of  the  Cruikshanks, 
Heath,  and  Marks  in  the  absence  of  the  ultra-short  waist  and  high  shoulders, 
A  companion  pi.  to  No.  13072. 
iifxSfin.   With  border,  1 2|x8|  in. 

13072  THE  INTRIGUANTE. 

[C.  Williams.]  [1818]' 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  13071.  A  hand- 
some woman  in  a  decolletee  dress  sits  on  a  sofa  beside  a  writing-table,  pen 
and  paper  in  hand,  composing  a  letter.  Papers  and  books  lie  on  sofa,  table, 
and  floor:  a  Court  Calendar,  Complete  Letter  Writer,  Conundrums  Riddles 
&c  &c.,  Machiavel,  with  an  open  casket  of  papers.  Above  her  hangs  a  picture 
of  a  masquerade,  another  called  Assignation  is  covered  by  a  curtain.  Flowering 
plants  in  a  tall  jardiniere  are  on  the  r.   Below  the  design: 

Of  the  crafty  Intriguante,  Fd  have  you  be  shy. 
And  beware  of  th'  artillery  that  speakes  [sic]  in  her  eye ; 
She  can  ogle  and  simper,  sigh  languish  and  leer. 
And  draw  like  a  loadstone  young  novices  near. 
Assignation  her  aim,  intrigue  her  delight. 
Her  employment  each  morning,  noon,  evening  and  night ; 
With  her  tongue,  and  her  pen,  she's  so  glib  and  so  handy. 
She'd  ensnare  a  philosopher  much  more  a  Dandy. 
Cf.  No.  12975. 
ii^X9i|in.  'Caricatures',  vii.  15. 

13073  THE  DELIGHTS  OF  WINDY  WEATHER. 
[Williams.] 

Pub'^  by  B  Brooks  Panton  Street  [.?  1818] 

Engraving  (coloured  impression).  A  scene  in  Hyde  Park.  A  man,  whose  long 
coat  and  wide  trousers  are  blown  sideways,  stands  with  his  hands  resting  on 
his  umbrella  addressing  a  handsome  woman  whose  dress  swirls  up  above  her 
knees.  He  says :  Faith  Maam  you  have  a  handsome  pair  of  legs  !  She  answers, 
with  a  bold  stare :  And  a  good  Thing  too  Sir.  In  the  background  men  chase 
their  hats ;  a  woman  tries  to  catch  her  large  bonnet  in  which  is  her  curled  wig ; 
another  has  lost  bonnet,  wig,  and  parasol.  The  (closed)  umbrellas  are  gamps 
encircled  by  rings,  and  with  sharply  pointed  ferrules. 
7f  X  I2f  in.  'Caricatures',  vii.  38. 

13074  SKAITING— DANDIES,  SHEWING  OFF. 
Williams  fecit. 

Pub''  by  Tho^  Tegg  ill  Cheapside  London.  [?  181 8] 

Engraving  (coloured  impression).  Ladies  stand  on  a  snow-covered  bank  in 
the  middle  distance  watching  the  skaters.  In  the  foreground  are  four  skaters 

'  Imprint  cropped. 
848 


PERSONAL   AND   SOCIAL   SATIRES    1818 

in  absurd  positions.  A  dandy  (cf.  No.  13029)  lies  on  his  back,  tiding  to  ward 
off  with  one  leg  another  who  reels  backward  striking  him  on  the  chin  with 
the  point  of  his  skate;  the  former  says:  What  are  you  at  there!  you  II put  my 
wig  out  of  Buckle.  The  other  exclaims:  O  Lord!  how  they  are  laughing  at  us! 
A  third  dandy  has  collided  with  a  fat  man  whom  he  clasps  round  the  waist; 
both  are  about  to  fall  heavily  on  the  prostrate  skater.  He  says :  Pon  honor  Sir 
I  beg  pardon!  you  must  thank  the  Ladies!  Men  in  the  distance  skate  w^ith  ease; 
some  play  (:)  hockey  with  sticks  and  a  cork, 
8^X  i2|  in.  'Caricatures',  vii.  62. 

13075  THE  HABERDASHER  DANDY. 
C  Williams  fec^ 

London  Pu¥  by  Tho'  Tegg  N°  iii  Cheapside.  [?  iSiS] 

Engraving  (coloured  impression).  Interior  of  a  shop.  The  dandy  (1.)  cuts  a 
length  of  material,  the  end  of  which  lies  in  folds  on  the  floor.  He  bends 
insinuatingly  to  a  woman  who  leans  with  her  elbows  on  the  counter,  saying : 
He!  He!  nothing  talked  of  but  Dandies  Mem  now  Mem!  what  is  the  next  thing 
I  shall  have  the  felicity  to  do  for  you  Mem!!  She  answers :  The  next  thing 
M^  Dandy  is  to  measure  that  over  again,  and  see  how  much  you  have  cut  Short. 
She  and  a  lady  seated  on  a  stool  beside  her  wear  huge  bonnets  in  the  fashion 
of  181 8.  The  dandy  (cf.  No.  13029)  wears  a  very  long  coat  over  wide  trousers; 
the  points  qf  his  collar  are  above  his  ears.  Across  the  window  stretches  a  line 
over  which  hang  ribbons  and  scarves.  Through  the  glass  panes  of  the  door 
a  dandy  is  seen  about  to  enter,  while  another  man  stares  at  him, 
8^X  i2|  in.  'Caricatures',  vii.  137, 

13076  A  RUSTIC  RETORT  OR  A  WIT  OUTWITED, 
Williams  fecit 

Pub'^  by  Tho'  Tegg  iii  Cheapside  London.  [?  1818] 

Engraving  (coloured  impression).  A  dandy  presents  a  clumsy  countryman  to 
three  ladies,  saying.  Ladies  this  is  my  Cousin!  and  tho  a  country  Bumkin,  I  can 
assure  you  he  is  not  so  foolish  as  he  appears  to  be!  The  countryman,  who  is 
shock-headed,  and  wears  old-fashioned  dress  with  wrinkled  gaiters,  adds: 
No  Ladies  and  that  is  the  precise  difference  between  my  Cousin  and  me!  Both 
men  bow,  hat  in  hand.  The  dandy  has  the  high  collar  and  tight  waist  of  the 
dandies,  with  long  tight  pantaloons,  and  has  an  air  of  fashion.  One  lady  looks 
through  a  lorgnette,  two  others  sit  together  on  a  sofa.  All  wear  evening-dress 
with  long  gloves.  A  comely  maidservant  places  a  chair  for  the  visitors.  The 
costume  is  that  of  c.  18 18.  On  the  wall  is  a  H.L.  portrait  of  a  lady  in  quasi- 
Elizabethan  dress.  After  the  title:  "7o  be  thought,  knowifig,  you  must  \  "First 
put  the  fool  upon  all  mankind.  Dry  dens  juvenal.  preface. 
8^X  12^  in.  'Caricatures',  vii.  23. 

13077  RECRIMINATION— OR  THE  MUTUAL  DISAPPOINTMEN 

[sic] 

[Williams.] 

Pub'^  by  S.  W.  Fores  N"  50  Piccadilly  [?  1818] 

Engraving  (coloured  impression).  A  man  in  dandy  costume  (cf.  No.  13029) 
with  a  large  nose  stands  pulling  on  his  glove,  looking  over  his  shoulder  at 
a  courtesan  who  sits  on  a  sofa  holding  bank-notes.  He  says:  Curse  your  little 
Mouth!  She  answers  and  Curse  your  large  Nose!  A  volume  of  Tristram  Shandy 
lies  on  the  floor;  above  the  sofa  is  a  picture  of  Slakenburgius  entering  Stras- 

849  31 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

burgh  (mounted  on  an  ass,  to  the  beating  of  drums).  After  the  title:  If  we 
hope  for  things  of  which  we  have  not  thouroughly  considered  the  value,  our  dis- 
appointment will  be  greater  than  our  pleasure  in  the  fruition  of  them!  Addison's 
Spectator. 

An  allusion  to  the  Rabelaisian  tale  at  the  opening  of  vol.  iv  of  Sterne's 
Tristram  Shandy. 
ii|X9  in.  'Caricatures',  vii.  176. 

13078  FIELD  PIECES. 
Woodward  deV     [Williams  f.] 

London.  Pub  by  S.  W.  Fores  50  Piccadilly  &  312  Oxford  Streef^  [?  1818] 
Engraving  (coloured  impression).  A  handsome  young  soldier  wearing  a  bear- 
skin and  long  gaiters  sits  on  a  bank  between  two  women,  each  holding  his 
arm;  his  epaulets  show  that  he  is  a  bandsman.  An  elderly  officer  (1.)  stoops 
towards  them  peering  through  a  monocle,  to  say :  A  pretty  way  this  of  doing 
your  duty  on  the  parade, — to  be  here  with  your  pieces  [cf.  No.  10668,  &c.]  in 
the  fields  at  noon  day!  I  shall  report  you  to  the  General  I  assure  you.  The 
soldier  answers:  What  I  am  doing  is  quite  Military,  Your  Honor  must  allow 
they  are  field  Pieces,  however.  One  of  the  girls  (r.)  (who  thinks  him  an  officer) 
says:  Hush!  hush!  he  dont  know  you,  he  takes  you  for  a  co?nmon  Man.  Behind 
the  officer  (1.)  is  a  stile.  The  west  front  of  Westminster  Abbey  appears  on 
the  horizon  across  the  fields. 
8|x  13^  in.  'Caricatures',  viii.  159. 

13079  THE  UNLUCKY  RETURN. 
[Williams.] 

Pub'^  June  1818  by  Brooks  Panton  Street 

Engraving  (coloured  impression).  A  kitchen  interior,  an  elderly  but  athletic 
woman,  wearing  hat  and  gloves,  threatens  with  a  red-hot  poker  a  man  and 
maidservant  who  are  sprawling  on  the  floor.  She  says :  Pack  off,  thou  damn'd 
dog  or  P II  give  thee  a  douse  \  And  you  to[o]  thou  Babylon  whore  ;  |  What,  when 
I  have  twenty  good  beds  in  my  house,  \  To  do  such  a  thing  on  the  floor!  The 
terrified  man  exclaims :  Mind  what  you  are  about.  You'll  do  me  a  Mischief ; — 
it's  all  her  fault  indeed  MistresH  The  girl  cries:  What  an  abominable  lie!  for 
says  I  to  Roger  we  had  better  go  up  stairs!  I  did  indeed  Ma'am.  On  a  table  (r.) 
are  an  open  book :  Ovids  Art  of  Love,  a  bottle  of  Old  Tom  [gin]  with  a  glass, 
two  crossed  pins.  On  the  floor  a  ladle  lies  across  a  book :  Whole  Duty  of  Man. 
After  the  title : 

As  Landlady  Dobbins,  a  Whitfieldite  pure. 

At  meeting  one  Sunday  delay' d 

Coming  home  unexpected,  she  caught  on  the  floor. 

Her  tapster  with  Dolly  the  maid. 

Vide  D^  Goldsmith 
8|xi2^  in.  'Caricatures',  x.  176. 

13080  THE    MERRY  SHIPS    CREW— OR    NAUTICAL    PHILOSO- 
PHERS. 315 
Williams  fecit. 
[Pub.  Tegg.]  [c.  1818] 

Engraving  (coloured  impression).    A  naval  officer  and  a  lady  holding  up  a 
parasol  walk  arm-in-arm  along  the  fortified  quay  of  a  naval  port.    He  is 

'  Another  imprint  has  been  erased. 
850 


PERSONAL  AND   SOCIAL   SATIRES    1818 

accosted  by  a  petty  officer,  hat  in  hand,  and  asks :  Well  Mate!  just  come  on 
shore?  how  did  you  leave  the  ships  crew?  The  mate :  Why  Captain,  I  have  left 
them  all  to  a  man  the  merriest  fellows  in  the  world — I  flogged  seventeen  of  them 
as  your  Honor  commanded,  and  they  are  happy  it  is  over  ;  and  the  rest  are  happy 
because  they  have  escaped.  Behind,  a  sentry  stands  at  attention.  On  the  r.  a 
sailor  wearing  a  top-hat  makes  a  boat  fast  to  the  quay.   After  the  title: 

"For  all  the  happiness  mankind  can  gain, 

"Is  not  in  pleasure,  but  in  rest  from  pain.   Dry  den. 

8f  X  I2|  in.  'Caricatures',  x.  100. 

13081  SCANDAL  REFUTED  OR  BILLINSGATE  VIRTUE. 
C  W  [Williams]  Fecit 

Puh'^  18 18  by  Tho'  Tegg  ill  Cheapside  London. 

Engraving  (coloured  impression).  Two  burly  Billingsgate  w^omen  confront 
each  other  on  the  quay  in  a  verbal  contest;  spectators  stand  round.  One  (1.) 
says :  Katty  you  had  better  hould  your  tongue  and  dont  make  me  spake  out,  for 
you  know  I  can  blow  you  up,  becase  I  know  what  myself  I  knozvU —  The  other 
retorts,  hands  on  hips:  To  the  Devil  I  bob  you  for  a  new  Year's  gift!  zchat  do 
I  regard  you  or  any  varmint  like  you  ;  I  know  I  am  both  a  Wh  .  .  .  and  a  thief; 
and  barring  that,  I  defy  you  to  say  black  is  the  white  of  my  eye!!! —  An  older 
woman  smoking  a  pipe  turns  to  another,  saying.  Ah  by  Jasus  Katty  may  say 
that!  for  excepting  my  poor  Judy,  that  was  hung  for  only  taking  care  of  a  gontle- 
man's  gould  zcatch,  there  is  not  a  better  girl  in  the  Markett!  Behind  (1.)  are  the 
masts  and  sails  of  fishing-smacks,  with  men  landing  baskets  of  fish  and  carry- 
ing them  from  the  waterside.  A  Dutchman  smoking  a  pipe  is  the  most 
prominent  and  interested  of  the  spectators.  On  the  r.  are  market  buildings. 
This  anecdote,  with  the  scene  in  Dublin,  is  the  subject  of  No.  13 159.  Cf. 
No.  13384.  Cf.  Billingsgate  Eloquence,  No.  8604  (1795). 
8|x  13  in.  'Caricatures',  vii.  181. 

13082  THE  INVISIBLES  TETE-A-TETE.  OR  PARISIAN-DANDIES— 

Pub<^  by  S.  W.  Fores  50,  Piccadilly  &  312,  Oxford  S'  [?  1818] 

Engraving  (coloured  impression).  Apparently  a  copy  or  adaptation  of  pi.  16 
of  Le  Supreme  bon  ton:  les  invisibles  en  tete-a-tete  (Colas,  No.  2837).  The 
invisibles  are  ladies  whose  enormous  bonnets  projecting  horizontally  com- 
pletely hide  their  faces.  Two  men  place  their  heads  inside  these  bonnets  in 
order  to  converse;  one  lady  (1.)  is  seated,  with  the  man  bending  towards  her, 
the  other  pair  stand.   In  the  background  two  'invisibles'  face  each  other. 

The  'invisibles'  were  contemporary  with  the  'incroyables'  who  first  appeared 
in  1796,  cf.  No.  8833. 
7^X  n|  in.   With  border,  iifx  i2|  in.  'Caricatures',  vii.  95. 

13083  A  GENUINE  DANDY  OR  WALKING  GUY.   Nov''  5"'  1818. 

Marks  fec^ 

Lithograph  (coloured  impression).  A  street  scene:  small  boys  carry  on  poles 
an  empty  chair,  designed  for  a  'guy';  they  have  sighted  an  ugly  dandy  (cf. 
No.  13029)  hurrying  towards  a  woman,  eyeglass  in  hand,  and  give  chase, 
thinking  he  will  supply  their  need.  The  woman  (1.),  stoops,  gazing  at  him 
in  astonishment;  she  says:  La'  bless  tne  what  a  Guy.  He  says:  D — d  fine 
Woman — pon  Honor.  He  wears  the  usual  costume  of  tight  waist,  high  collar, 

851 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

exaggerated  shirt-frill,  wide  and  short  white  trousers  over  spurred  boots  with 
high  heels.  His  hat  is  of  the  inverted  flower-pot  type.  The  boys  have 
bludgeons  and  cry:  Stop  that  runaway  Guy  and  Stop  that  Dandy  Pope.  A 
man  with  a  Jewish  profile  behind  the  boys  on  the  extreme  r.,  says:  Go  it  my 
Boys  D — n  me  burn  him.  A  little  boy,  hat  in  hand,  runs  up  to  a  pedestrian, 
saying,  Please  Sir  will  you  stop  that  Pope  for  me.  In  the  middle  distance  (1.) 
two  boys  carry  a  stuff^ed  Guy  in  clown's  costume ;  he  has  a  pipe  in  his  mouth 
and  holds  a  bundle  of  matches  and  a  lantern. 

Effigies  of  Popes  as  well  as  of  Guy  Fawkes  were  burned  on  5  November,  to 
celebrate  the  discovery  of  Gunpowder  Plot  (1605). 
8^X  145  in.   With  border,  9^X15^  in.  'Caricatures'  x.  107. 

13084  A  DANDYESS.  Lithography  N°  10 

J.L.M.fed'  [Marks]  [?  1818] 

Lithograph  (coloured  impression).  Two  designs  side  by  side,  both  having  the 
same  title,  [i]  A  comely  young  woman,  fashionably  dressed,  stands  on  the 
pavement,  stooping  forward  and  holding  up  an  eyeglass,  attached  to  her  neck 
by  a  long  chain.  She  uses  a  (rolled)  parasol  as  a  walking-stick,  and  wears 
a  large  flower-trimmed  bonnet,  high-waisted  decolletee  dress,  much  trimmed, 
scarf,  and  gloves.  [2]  The  same  woman,  wearing  a  patched  chemise,  and  with 
her  hair  in  curl-papers,  sits  at  a  table  cheerfully  ironing  her  gown.  A  pair 
of  bellows  forms  a  seat  for  the  broken  chair.  The  room  is  poverty-stricken, 
with  a  casement  window.  The  large  bonnet  hangs  on  a  leg  of  the  bedstead 
which  is  turned  up  against  the  wall;  stockings  dry  at  the  fire,  other  garments 
hang  from  a  cord.  The  coal  is  in  a  heap  on  the  floor,  beside  a  broken  pitcher. 
On  the  floor  is  also  an  Artificial  Hump,  a  curved  bolster  for  producing  the 
fashionable  high  shoulders  for  the  short- waisted  dress  which  accompanied  the 
forward  stoop  (see  No.  13055).  Beside  it  lies  an  open  book.  The  Belles 
Stratagem  [a  ballad  farce  by  H.  Carey,  1739].  On  a  clumsy  table  are  a  cracked 
mirror,  combs,  curling-tongs,  and  Rouge.  Cf.  No.  13060. 
Each  design  8|x6|  in.   With  border,  9x7^  in.  'Caricatures',  x.  iii. 

13085— 131452 

Lithographs  (coloured)  by,  after,  or  attributed  to  G.  Cruikshank,^ 
from  a  set  issued  c.  1817  to  c.  1819  (see  No.  12949,  &c.).  Nos.  12692  a, 
12997,  13008,  13012,  13013,  13421  belong  to  the  set. 

13085  A  CELEBRATED  PERFORMER  IN  THE  PHILHARMONIC 
SOCIETY. 

Pu¥  by  S.  W  Fores  50  Piccadilly.  10  May  1818. 

Portrait  of  a  violinist  whose  face  is  formed  by  the  violin  which  he  plays.  This 
is  held  to  his  forehead,  below  a  thatch  of  hair;  the  sound-holes  form  the  eyes 
and  nose.  He  is  fashionably  dressed,  wearing  long  tight  pantaloons  to  the 
ankle.  On  the  1.  is  a  music-stand.  Behind  are  two  tiers  of  boxes  (added  in 
the  second  state),  whose  occupants  are  slightly  sketched. 

Identified  as  P.  Spagnoletti  (1768-1834),  leader  of  the  orchestra  at  the 

'  Both  designs  are  signed. 

^  Nos.  131 II,  1 3 142,  1 3 145,  are  etched  versions  of  the  hthograph,  as  are  Nos.  12997  B, 
13008  B,  13105  b;  cf.  Nos.  12954,  12993- 

^  Many  were  closely  copied  and  unless  original  and  copy  can  be  compared  they  are 
difficult  to  distinguish.  Some  attributed  by  Reid  or  Cohn  to  Cruikshank  are  in  the 
manner  of  the  supposed  copyist.    Some  are  probably  by  I.  R.  Cruikshank. 

852 


PERSONAL    AND    SOCIAL   SATIRES    1818 

King's  Theatre  (Opera)  for  nearly  30  years,  and  one  of  the  first  Associates 
of  the  Philharmonic  Society  founded  in  181 3.   Cf.  No.  13086. 

Reid,  No.  2771  (second  state).   Cohn,  No.  982. 
10X7!  in.   With  border,  io|x8|  in. 

13086  SIGNIOR  VIOLONCELLO 

Pub  by  S  W  Fores  50  Piccadilly  No  .  .  1818 

Portrait  of  a  'cellist  whose  head  is  formed  by  the  head  of  the  'cello  which  he 
is  playing.  The  scroll  forms  his  (powdered)  hair,  the  pegs  are  transformed 
into  side-curls;  features  have  been  added,  so  that  the  strings  seem  to  issue 
from  his  mouth.  He  wears  knee-breeches  and  is  plainly  dressed.  Beside 
him  (r.)  is  a  table  with  a  decanter  of  Port  and  a  glass.   Cf.  No.  13085. 

A  copy:  Pub  by  M'^Cleary  34  Nassau  S',  is  reproduced,  Rubens  (No.  67), 
identified  as  Cervetto  (d.  1783).   Perhaps  his  son  James  (1758-1837). 
iifxSf  in.   With  border,  iifXQ  in. 

13087  BON  TON 

[Capt.  Hehl  del.] 

A  dandy  (1.),  opera-hat  in  hand,  bends  towards  a  lady  to  inspect  her  necklace 
through  his  glass.  He  has  the  short  waist,  high  collar,  and  conspicuous 
watch-ribbon  of  the  dandies,  with  long  tight  pantaloons  to  the  ankle  (cf. 
No.  13029).  She  wears  a  short  white  ball-dress,  and  holds  up  a  closed  fan, 
a  shawl  over  her  1.  arm.  She  stands  at  the  foot  of  a  staircase  on  which  are 
flowering  plants  in  ornamental  pots.  Below  the  title:  "Pon  honor  Lady 
Caroline,  You  appear  a  \  "divinity! — by  Jove  those  Jewels  are  of  the  premiere  \ 
^'qualite — did  Love  furnish  them?  |  "On  my  truth  Sir  William  You  are  a 
gay  Man. 

She  resembles  Lady  Caroline  Lamb,  the  most  conspicuous  Lady  Caroline 
of  the  day.   There  was  a  jeweller  named  Love. 

Reid,  No.  2748.    Cohn,  No.  938. 
10x9  in. 

13088  BEAU'S  OF   1818. 
[Capt.  Hehl  del.] 

Pub.  by  S.  W.  Fores  50  Piccadilly.  8""  May  1818. 

Three  dandies  stand  together,  two  shake  hands,  the  third  stands  between 
them.  They  wear  bell-shaped  top-hats  of  various  heights,  all  have  ultra-high 
collars  and  short  waists.  One  has  a  moustache,  and  wears  wide  and  short 
white  trousers,  one  wears  top-boots  and  riding-breeches,  and  has  a  monocle 
in  his  eye ;  the  third  has  very  full  trousers  gathered  above  the  ankle ;  all  wear 
long  spurs  and  yellow  gloves.   A  companion  pi.  to  No.  13089. 

Reid,  No.  2740.    Cohn,  No.  913. 
11x8^  in. 

13089  BELLES  OF  1818. 
[Capt.  Hehl  del.] 

Three  ladies  stand  together,  bending  forward  as  if  in  close  confabulation. 
Their  short  skirts  (reaching  to  their  calves)  project  (over  a  bolster,  see 
No.  13084)  from  the  high  waist,  but  not  from  the  shoulders  as  in  1816-17 
(see  No.  12939);  ^^^'^  wear  high  bonnets,  one  a  flat  round  cap,  of  quasi- 
Scottish  pattern  trimmed  with  feathers  and  flowers.  Two  are  very  decolletee, 
and  two  carry  large  mufl^s.  Their  hair  is  in  quasi-natural  curls  resting  on  neck 
and  forehead.   All  wear  flat  slippers,  two  with  cross-gartering. 

Reid,  No.  2741.   Cohn,  No.  922. 
iix8|  in. 

853 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

13090  FASHIONABLES  OF  1818. 
[Capt.  Hehl  del.] 

Pub.  by  S.  W.  Fores  $o  Piccadily  Nov.  i6^^  1818. 

A  couple  walk  arm-in-arm  (r.  to  1.)  on  a  pavement,  the  man  much  more 
caricatured  than  the  woman.  He  wears  dandy  costume  (cf.  No.  13029),  with 
bell-shaped  top-hat,  and  trousers  strapped  under  high-heeled  boots  without 
spurs.  His  elbows  stick  out,  his  cane  is  carried  jauntily,  slanting  upwards. 
The  much  shorter  lady  is  given  height  by  the  scoop  of  an  enormously  high 
bonnet  which  frames  her  attractive  face.  She  wears  a  striped  over-dress  over 
frilled  white  muslin,  the  skirt  above  her  ankles,  and  carries  a  large  ermine  muff. 

Also  an  impression  with  imprint  removed. 

Reid,  No.  2747.   Cohn,  No.  mi. 
I2jx8f  in. 

13091  A  DOUBLE-DISTILLED  DANDY. 
[Capt.  Hehl  del.] 

Pub.  by  S.  W.  Fores  i.  Oct  1818 

A  dandy  (cf.  No.  13029)  with  a  moustache,  a  pinched  waist,  ultra-high  collar, 
and  tightly  strapped  trousers,  stoops  slightly  towards  the  pavement  where  a 
little  ragged  boy  (1.)  picks  up  a  large  flowered  handkerchief,  holding  out  his 
hand  for  a  tip.  He  says:  /  say  my  fine  fellow — pick  up  my  handkerchief! — the 
rascally  Tailor  has  made  my  riding  belt  [i.e.  stays]  so  very  tight  I  cannot  stoop 
for  it — r II  give  you  some  coin  next  time  I  see  you  little  man.  His  long  spurs 
have  cock's  heads  for  rowels. 

Reid,  No.  2746. 
13!  x8|  in.   With  border,  14X9I  in. 

13092  A  PRETTY  PAIR  OF  PUPS. 

[?Capt.  Hehl  del.] 

T.Q.L.  studies  of  two  dandies  (cf.  No.  13029),  grinning  into  each  other's 
faces;  they  wear  bell-shaped  top-hats  of  different  types;  both  have  high 
pinched  waists,  bulging  breasts  and  hips,  with  high  collars  and  conspicuous 
watch-ribbons  with  seals.  The  shorter  (1.)  wears  green-glass  spectacles  (cf. 
No.  13 105)  and  has  a  moustache.  He  says:  Well  Tom! — /  am  station' d  in 
Abbots  Park  for  three  months — come  over  &  feed  in  my  Quarters.  Tom :  ha!  ha! 
ha!  I  quitted  the  Priory  only  last  week. 

Abbott's  Park  =  The  Rules  of  the  King's  Bench  Prison ;  Abbott's  Priory  = 
the  King's  Bench  Prison  (from  Sir  C.  Abbott,  Chief  Justice  of  the  K.B., 
2  Nov.  1818).   Partridge,  Slang  Diet. 
ii|x8fin.   With  border,  I  if  X9i  in. 

13093  CRIBBAGE  A-LA-DANDY. 

[Capt.  Hehl  del.] 

Two  ugly  dandies  (cf.  No.  13029),  with  the  air  of  men  of  fashion,  face  each 
other  across  a  round  table,  leaning  forward.  One  (r.)  wears  strapped  trousers 
with  a  stripe,  the  other  knee-breeches.  The  former  says:  Fifteen  six — a  flush, 
and  his  whig,  makes  me  out — pon  honor  [cf.  No.  13087]  His  really  astonishing — 
You  are  not  in  luck.  The  other  says :  Prodigious!!  then  I  am  diddled  again! — 
Monstrous!  Oblige  me  with  a  pinch  of  your  mixture  or  I  shall  expire!  Behind 
him  on  the  wall  is  a  bust  portrait  of  a  man  in  Roman  armour  inscribed  My 
Papa!  Behind  (r.)  is  a  French  window. 

Reid,  No.  2750. 
9fxi3|in.   With  border,  9  X  13!  in. 

854 


PERSONAL  AND   SOCIAL   SATIRES   1818 

13094  LANDLORD  &  TENANT. 

[Capt.  Hehl  del.] 

A  dandy  (cf.  No.  13029),  with  a  handsome  profile,  wearing  knee-breeches, 
advances  with  a  mincing  step  and  outstretched  hands  towards  an  ugly  farmer 
who  stands  facing  him  with  a  large  stick  and  wearing  top-boots  and  broad- 
brimmed  hat.  The  tenant  holds  a  money-bag  and  is  fiercely  prognathous. 
The  landlord :  My  dear  Sir — /  am  rejoiced  to  see  you — /  hope  your  lovely  fainily 
are  well — You  are  a  charming  Man — correct  in  every  point — m  short  your 
countenance  is  an  index  to  your  mind.  The  farmer:  You  certainly  are  flattering 
me — here  is  your  Re7it. — as  to  my  family — thanks  to  the  Lord,  my  Wife,  and 
all  the  brats,  be  gone  to  kingdome  come.   There  is  a  carpeted  floor. 

Reid,  No.  2761. 
12^X9^  in.   With  border,  i2|X9f  i^- 

13095  A  SLIGHT  FAUX-PAS! 

A  young  woman  in  evening  dress,  with  short  petticoats,  sits  on  the  knee  of 
a  burly  footman  in  livery,  her  cheek  against  his.  She  says:  My  dearest  John, 
the  old  Man  will  not  return  home  to  night.  The  husband,  much  burlesqued, 
his  hair  standing  on  end,  stoops  to  look  in  at  the  door,  holding  a  pistol;  he 
exclaims :  Mercy  on  me!  my  Wife!  I  must  discharge  this  fellow. 
ii|x8|  in.  'Caricatures',  x.  252. 

13096  POSITIVE  LOVE. 

A  plump  dissenter  kneels  on  the  ground,  his  fingers  outspread  against  his 
chest,  addressing  the  back  of  a  sour-looking  woman,  plainly  dressed,  who 
walks  away  from  him  to  the  r.  He  wears  a  broad-brimmed  hat  and  clerical 
bands,  and  says :  Cast  my  Friend  thine  eyes  around  |  and  view  thy  Charmer  on 
the  Ground!! 
ii^x8|in.  'Caricatures',  X.  254. 

13097  IS  THERE  A  HEART  THAT  NEVER  LOV'D? 

A  lean  knock-kneed  and  grotesque  quaker  in  a  very  broad-brimmed  hat 
stands  on  the  pavement  outside  a  door  with  glass  panes  (r.),  turning  to  look 
over  his  shoulder  at  a  short  fat  (})  cook  (1.),  whose  fingers  he  touches,  with 
goggling  eyes  and  protruding  tongue.  He  says:  Tarry  a  while  with  me  Love  \ 
into  the  House  of  my  Friend.  She  answers,  coyly  complacent:  Leave  me  alone  \ 
You  gay  deceiver. 
iixSgin.  'Caricatures',  X.  258. 

13098  THE  SPIRIT  MOVES!! 

[/.  R.  and  G.  Cruiks/iauk  fec'.^] 

Two  grossly  ugly  Quakers  waltz,  the  man  very  thin,  the  woman  fat.  In  the 
background  are  two  other  couples:  on  the  1.  the  woman  stands  on  the  points 
of  her  toes  with  folded  arms,  the  man  beside  her  with  hands  together,  they 
look  sideways  at  each  other;  caption:  The  Spirit  beginneth  to  move.  On  the 
r.  the  pair  face  each  other  glumly,  on  tiptoe  and  with  folded  hands;  caption: 
The  Spirit  moveth  not. 

Reid,  No.  2784.    Cohn,  No.  1999. 
7^X  ii|  in.   With  border,  7|x  iif  in.  'Caricatures',  x.  173. 

'  From  the  impression  listed  by  Cohn. 

855 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13099  O!  SHE  LOV'D  THE  BOLD  DRAGOON. 

[?Capt.  Hehldel.] 

An  officer  (1.)  embraces  a  pretty  young  woman  with  short  petticoats,  both 

wear  cloaks.   He  is  moustached,  wears  a  sabre,  plumed  helmet,  and  spurred 

boots. 

iif  X7i|^  in.   With  border,  12x8^  in.  'Caricatures',  x.  261. 

13100  A  SON  OF  MARS  &  HIS  CHERE  AMIE. 

[?  Capt.  Hehl  del.] 

A  pretty  young  woman,  fashionably  dressed  and  wearing  an  enormous  bonnet, 
puts  her  hand  on  the  shoulder  of  a  much  shorter  Life  Guards  officer  who  looks 
up  at  her  with  a  languishing  expression.  He  wears  a  helmet  with  metal  chin- 
strap,  and  a  huge  plume  curving  round  its  crest,  a  sword  and  sabretache.  He 
has  a  moustache  and  wears  a  (Waterloo)  medal.  The  stone  wall  of  a  building 
forms  a  background.  The  girl  resembles  in  features  and  costume  the  girl  in 
No.  13101. 
13!  X  9^  in.   With  border,  14X9!  in. 

13101  AN  INVITATION. 

[Capt.  Hehl  del.] 

A  lean  and  lascivious-looking  parson  accosts  a  pretty  girl  (cf.  No.  13 100), 
taking  her  by  the  elbow  and  leaning  over  her  shoulder,  his  hand  in  his  pocket; 
he  says:  /  say  my  dear!   She  is  coyly  alluring. 

Reid,  No.  2762.   Cohn,  No.  1243. 
Ii|x8|in.   With  border,  I  if  X9I  in. 

13102  HERE'S  A  HEALTH  TO  ALL  GOOD  LASSES. 

[Capt.  Hehl  del.] 

[Pub.  Fores,  4  June  181 8]' 

A  fat  toping  parson,  carbuncled  and  tipsily  jovial,  leans  back  in  his  chair, 
flinging  out  a  leg  and  holding  up  a  glass  of  wine  in  each  hand.  His  wig  is 
back  to  front.  On  the  table  (1.)  is  a  decanter.  On  the  floor  beside  him  is  a 
basket  filled  with  bottles.  By  it  is  a  newspaper  (or  ballad)  headed  Windsor 
and  Eton  exp  .  .  .  On  the  wall  are  two  pictures,  one  of  Windsor  Castle,  the 
other  of  three  T.Q.L.  figures:  a  grinning  parson,  spectacles  on  forehead, 
between  a  fat  negress  and  a  thin  white  woman ;  above :  How  happy  could  I 
be  with  either  [Gay,  Beggar's  Opera]. 

The  parson  is  from  Gillray's  Begone  dull  Care,  No.  9769,  reversed  and 
altered. 

Reid,  No.  2757.    Cohn,  No.  1196. 
io|X9|  in.   With  border,  ii^Xg^  in. 

13103  SHUN  BAD  COMPANY. 

Pub.  by  S.  W.  Fores  Nov'  1818 

Three  men  drink  together,  the  central  figure  being  a  fat  parson  who  clasps  the 
decanter  and  puts  a  glass  to  his  mouth.  Above  the  head  of  each  hangs  an 
appropriate  picture ;  in  the  largest  a  roofless  church  is  tilting  over  while  a  very 
few  people  listen  to  a  (dissenting)  preacher  declaiming  from  a  barrel.  On  the 
1.  sits  a  barrister  in  wig  and  gown  with  the  profile  of  a  bird  of  prey,  his  wig 
having  the  black  patch  of  a  serjeant  (cf.  No.  5900).   Above  his  head  hangs  a 

'  From  Cohn. 

856 


PERSONAL   AND    SOCIAL   SATIRES    1818 

picture  of  a  wolf  chasing  sheep.  Facing  him  is  a  small  paunchy  man  with 
a  large  bald  head  and  insignificant  features  (?  a  politician).  Above  his  head 
is  a  braying  ass.   On  the  table  are  snuff-boxes. 

Reid,  No.  2770.   Cohn,  No.  1976. 
7|x  1I5  in.   With  border,  7t|x  iif  in. 

13104  PLUCKING  A  CANDIDATE  FOR  HOLY  ORDERS. 

An  obese  parson  (H.L.),  fitted  snugly  into  his  arm-chair,  looks  up  at  the 
young  man  (1.)  who  stands  facing  him.  He  wears  spectacles  and  has  an 
expression  of  close-lipped,  appraising  contempt.  The  candidate  gapes  at  him 
in  complete  dejection.  He  is  thin,  with  a  broken  nose  and  wisps  of  lank  hair; 
he  wears  his  college  gown  over  dandy  costume  (see  No.  13029)  with  a  high 
pointed  collar.  On  the  wall  are  three  pictures :  bust  portraits  of  parsons  wear- 
ing surplices,  with  grotesque  expressions,  flank  a  large  (generalized)  view  of 
Oxford:  a  Gothic  tower,  college  building,  and  a  domed  building  are  sur- 
rounded by  trees,  with  three  characteristic  pedestrians  in  the  foreground. 
Below  this  hangs  a  framed  Oxford  Almanack,  with  an  engraving  of  a  pillared 
quadrangle. 

Reid,  No.  2767.    Cohn,  No.  1853. 
8|x  13-I  in.   With  border,  9|x  14-8-  in. 

13105  CAMBRIDGE  BUTTER.  OR,  THE  THREE  BOTTLE  DIVINE!! 

[Pub.  Fores,  i  June  1818]^ 

Bust  portrait  of  a  very  fat  parson,  looking  to  the  I.,  with  warts  on  his  chubby 
cheeks.  He  wears  a  wig,  green  spectacles  (cf.  No.  13092),  surplice,  and  bands. 
For  'Cambridge  butter',  perhaps  a  term  for  a  certain  type  of  fat  parson,  cf. 
Nos.  1 1535,  1 1707. 

Reid,  No.  2774.    Cohn,  No.  973. 
9^X71  in.   With  border,  io^x8|  in. 

13105  a  A  copy,  title  without  underlining  and  notes  of  exclamation.    A 
neck-band  and  strings  to  the  surplice  have  been  added,  together  with  buttons, 
to  the  strip  of  waistcoat  or  coat. 
iijx8^  in.   With  border,  I2X8|  in. 

13105  b  An  etched  copy  (coloured)  of  No.  13105;  title  as  No.  13105  A. 
9tc  X  l\  ''^-   With  border,  9^  x  7I  in. 

13106  FASHIONABLE  READING.    Vide  neiv  Church— Oxford. 
Pub  by  S.  W.  Fores  50  Piccadilly^  [date  erased,  Feb.  6,  181 8] 

A  foppish  parson,  directed  to  the  1.,  wearing  a  voluminous  surplice  over  a 
high  'dandy'  (cf.  No.  13029)  collar,  with  bands,  and  displaying  elegant 
be-ringed  hands,  preaches  from  a  pulpit,  the  upper  part  only  of  which  is 
depicted.  In  his  eye  is  stuck  a  monocle  with  short  handle  and  cord.  A  large 
book  is  on  his  pulpit-cushion,  which  is  elaborately  trimmed  with  gold  fringe, 
and  he  reads  with  a  complacent  smile :  "And  behold  in  these  times  the  Dan-dees 
were''  |  "arrayed  in  Garments  of  divers  fashions — and  in"  |  "fine  Linens 
curiously  wrought — and  jnoreover — "  |  "they  icere  gazed  upon  by  the  bretheren 
of  the  Land"  \  "in  which  they  dwelt — and  the  people  marvelled."  \  "Lib.  2 — 
ver  6.  7.  8" 

Evidently  a  caricature  of  an  Oxford  parson. 

Cohn,  No.  1 109. 
13^x8!  in.   With  border,  13^x9  in.  'Caricatures',  x.  125. 

■  A.  de  R.  xiv.  175. 

^  Cohn  describes  a  state  signed  G.  C.  Sculp.,  of  which  this  is  perhaps  a  copy. 

857 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13107  THE  ESTABLISHED  CHURCH.       THE  TRUE  DOCTRINE. 

Companion  designs  placed  side  by  side,  [i]  A  fat  parson,  similar  in  type  to 
No.  13 105,  stands  directed  to  the  r.  at  a  reading-desk,  preaching  with  calm 

complacency :  Dearly  beloved  Brethren [sic] .  He  wears  wig,  bands,  and 

a  surplice  reaching  to  the  ground,  and  open  to  show  coat  and  knee-breeches. 
Behind  (r.)  is  a  hassock. 

[2]  A  dissenter  stands  on  tiptoe  in  profile  to  the  1.  at  a  similar  reading-desk, 

shouting  with  extended  fist:  You'll  all  be  D d.  [cf.  No.  13109]. 

He  is  emaciated,  with  lank  spiky  hair,  and  angular  features.  He  wears  old- 
fashioned  dress,  with  clerical  bands  and  high-quartered  shoes.  Adapted  (in 
reverse)  from  The  Field  Preacher,  No.  9122. 

Also  an  impression  cut  to  make  two  prints. 

Reid,  No.  2781.    Cohn,  No.  1095. 
Each  design,  8f  X7^,  8f  x6|  in.  With  borders,  9|x  131I  in. 

'Caricatures',  x.  82. 

13108  LATH  AND  PLASTER.    FLESH  AND  BLOOD. 

[Capt.  Hehl  del.] 

Two  designs  placed  one  above  the  other,  [i]  The  elongated  head  and  narrow 
shoulders  of  an  ultra-melancholy  dissenting  preacher  with  lank  hair,  upturned 
eyes,  and  down-drawn  mouth.   He  wears  clerical  bands. 

[2]  The  head  and  shoulders  of  a  grossly  fat  and  jovial  parson,  carbuncled 
and  warty,  his  features  as  broad  and  distended  as  the  other's  are  elongated. 
He  wears  wig,  surplice,  and  bands.   Cf.  No.  13 105. 

Reid,  No.  2759. 
Each  design  5f  x8-|-  in.;  SaXSJ  in.   With  borders,  13^x81  in. 

'Caricatures',  x.  86. 

13109  YOU  WILL  ALL  BE  D D. 

A  field  preacher,  with  customary  lank  hair  and  clerical  bands,  stands  in  a 
cask,  shouting  atasmall  group  standing  below  (H.L.  figures),  chiefly  of  country 
people.  All  are  alarmed  or  perturbed;  one  man  squints  violently.  On  the  r.  is 
a  tree  with  a  bare  branch  projecting  towards  the  preacher;  from  this  hangs  a 
noose  of  rope.  Cf.  No.  13 107.  See  No.  11780. 
iif  x8|  in.   With  border,  I2x8j|  in. 

13110  THE  CELEBRATED  &  REVEREND  T.  SCREECH  ME  DEAD 
ATTACKING  THE  DEVIL  IN  HIS  STRONG  HOLD 

The  interior  of  a  dissenting  chapel.  On  the  extreme  r.  the  preacher  leans 
from  a  plain  pulpit  with  raised  r.  fist.  On  the  canopy  or  sounding-board  sits 
a  large  squirrel,  emblem  of  profitable  hoarding.  In  the  foreground  stand  the 
congregation  (T.Q.L.),  some  looking  up  at  the  pulpit,  others  slyly  exchanging 
amorous  glances.  Behind  are  others  crowded  together  and  similarly  engaged 
in  a  raised  pew  or  low  gallery,  at  r.  angles  to  the  pulpit.  A  lighted  chandelier 
hangs  from  the  upper  margin  beside  the  inscription:  My  friends  fear  nothing! 
follow  the  first  and  good  commandment— increase  &  multiply! — defy  as  I  do, 
Beelzebub  &  all  his  Crew — We  are  as  innocent  lambs  passing  our  evenings  here 
in  love  and  harmony — hearken  not  to  backsliders — attend  regularly  &  your  feel- 
ings shall  be  gratified. 
ii|x8|in.   With  border,  11^X9!  in.  'Caricatures',  x.  84. 

13111  FLEABITES  OR  THE  PSALM  SINGER 

Etched  version  (coloured)  of  a  lithograph  after  Capt.  Hehl.    A  lank-faced 
dissenter  with  squinting  upturned  eyes,  and  open  gap-toothed  mouth,  sits  up 

858 


PERSONAL  AND   SOCIAL   SATIRES   1818 

in  bed,  chanting:  O  Lord  what  makes  the  fleas  to  bite  \  I  never  did  them  harm  \ 
At  first  they  came  by  twos  &  three's  \  But  now  how  they  do  swarm.  His  shirt 
is  ragged  and  lank  hair  pokes  through  his  night-cap.  On  the  pillow  beside 
him  (1.)  is  the  sleeping  face  of  a  plump  woman,  framed  by  a  cap-frill. 

Original,  Reid,  No.  2764. 
ii|X9|in. 

13112  SUSANNA  &  THE  TWO  ELDERS. 

A  fat  bedizened  negress,  broadly  grinning,  stands  between  a  bearded  Jewish 
rabbi  in  profile  to  the  r.,  and  a  dissenting  preacher  who  wears  a  hat  and 
clerical  bands;  she  puts  her  arms  round  their  shoulders.  Both  men  register 
pleasure,  the  Jew  frankly,  the  other  sanctimoniously.  The  heads  are  large, 
the  figures  less  than  H.L. 

Reid,  No.  2779. 
8|x  12^  in.   With  border,  g^X  13I  in. 

13113  A  PEEP  INTO  A  CONFESSIONAL. 

An  elegant  young  woman  in  a  decoUetee  dress  with  bare  arms,  and  a  fat 
elderly  monk  (r.)  embrace.    Their  profiles  are  concealed  behind  the  pillar 
supporting  the  double  arch  through  which  the  confessional  is  seen.    Cf. 
Symptoms  of  Sanctity,  by  Rowlandson,  No.  9781. 
I2f  X9I  in.   With  border,  i2||X9|  ""'•  'Caricatures',  x.  124. 

13114  DEVOTION  IN  DUKES  PLACE— OR  CONTRACTORS  RE- 
TURNING THANKS  FOR  A  LOAN. 

A  small  section  of  the  Jewish  Synagogue  is  depicted,  with  two  rows  of  choir- 
boys singing  vigorously.  In  front  of  them,  in  a  pew  for  one  person,  stands 
the  most  conspicuous  figure,  T.Q.L.  in  profile  to  the  r.,  as  if  leading  the 
choir.  He  wears  a  fashionable  whisker  and  shirt-frill,  with  broad-brimmed 
tricorne  hat.  On  his  1.,  in  a  higher  pew,  are  seated  three  elderly  Jews,  all 
with  beards,  also  singing.  A  candelabrum  with  two  lighted  candles  hangs 
over  their  heads.  In  a  gallery  above  the  choir  is  a  row  of  women,  without 
hats.  All  the  men  wear  hats,  the  choir  wear  clerical  bands;  all  hav^e  exaggerated 
profiles,  and  many  have  negroid  lips. 

An  exceptionally  large  loan  was  raised  in  18 18  on  terms  attacked  as  too 
favourable  to  lenders.  Pari.  Deb.  xxxviii.  224  ff. 
8-^X  12  in.   With  border,  8|x  13I  in. 

13115  JEWS  KEEPING  THE  PASSOVER. 

[Capt.  Hehl.  del.] 

Four  Jews,  all  bearded,  at  a  round  dinner-table,  eagerly  prepare  to  eat  for- 
bidden food.  One  stands  to  carve  a  sucking-pig,  a  second  stands  leaning 
ecstatically  over  the  table,  saying.  Bless  my  heart! — /  vish  my  vife  vas  vid  us. 
The  two  others  sit  facing  each  other  in  arm-chairs.  One,  with  a  ham  before 
him,  leans  eagerly  forward  to  say  to  the  carver :  As  I  have  a  Soul  to  be  shavd 
but  it  is  a  pretty  little  Lamb  give  me  some  of  de  ribs  and  von  bit  of  his  tail.  The 
fourth,  holding  carving-knife  and  fork,  asks  for  the  ham:  Vil you  send  me  tip 
dat  jnutton  vid  de  tic  rine — /  vil  soon  slice  it  up.  On  the  table  are  also  oysters 
and  a  lobster  salad.   Two  wine-coolers  are  filled  with  bottles. 

A  favourite  theme,  cf.  No.  8536,  by  Rowlandson. 

Reid,  No.  2751.    Cohn,  No.  1254. 


9|xi3|m. 


859 


CATALOGUE   OF   POLITICAL  AND    PERSONAL    SATIRES 

13116  A  TROUBLESOME  CUSTOMER. 

A  fat  surly-looking  John  Bull  sits  in  an  arm-chair,  holding  a  long  pipe ;  a  froth- 
ing jug  and  a  glass  are  on  a  table  beside  him.  At  his  side  lies  a  savage-looking 
bull-dog  with  a  spiked  collar ;  at  his  feet  is  a  bulky  cat.  Man  and  dog  look 
up  aggressively  at  a  tax-collector  who  stands  before  him,  writing  in  a  large 
book,  with  his  hat  under  his  arm;  another  book  projects  from  his  coat-pocket. 
He  says :  /  beg  your  pardon  the  taxes  must  be  paid  immediately! — We  are  very 
much  in  arrear — have  large  Accounts  to  settle — and  the  Commissioners  are  very 
pressing.  The  seated  man  answers :  they  may  all  be  d — d.  He  sits  in  front  of 
the  fireplace,  above  which  hangs  a  blunderbuss :  Loaded. 

Reid,  No.  2769.   Cohn,  No.  2050. 
9^X  iij  in.   With  border,  9JX  12  in.  'Caricatures',  x.  75. 

13117  INTRODUCTION  OF  THE  GOUT. 
G.  C.  feet   ["Capt.  Hehl  del.] 

Pub'^  April  gt''  18 18  by  S  W  Fores  Piccadilly 

A  fat  and  carbuncled  gourmand,  in  the  old-fashioned  dress  and  wig  which 
denotes  the  *cit',  sits  in  an  arm-chair  in  profile  to  the  r.,  at  a  round  table  laid 
with  dessert:  decanters,  pineapple,  melon,  &c.  He  leans  back  to  drink,  with 
a  peach  speared  on  his  fork,  while  a  little  demon,  with  furtive  delight,  is 
about  to  drop  on  his  foot  a  burning  coal  from  a  pair  of  tongs.  On  the  wall 
is  a  picture  of  Vesuvius  in  eruption.   Cf.  No.  9448. 

Reid,  No.  2743.    Cohn,  No.  1241. 
8|x  I2|  in.   With  border,  8|x  13I  in.  'Caricatures',  x.  74. 

13118  A  GENTLE  HINT! 

[i  June  i8i8.]i 

An  old,  paunchy  doctor,  with  a  grotesque  profile,  his  cane  under  his  arm, 
holds  the  pulse  of  his  patient,  looking  at  his  watch ;  he  says.  You  are  bespoke!! 
The  patient,  emaciated  and  burlesqued,  wearing  dressing-gown  and  night- 
cap with  waistcoat  and  breeches,  capers  in  frantic  terror.  The  design  suggests 
an  adaptation  from  Rowlandson. 

Reid,  No.  2775.    Cohn,  No.  11 54. 
loixSfin.   With  border,  io|^x8|  in. 

13119  DROPSY  COURTING  CONSUMPTION. 

A  copy,  reversed,  of  No.  11635,  by  Rowlandson,  the  figures  closely  copied 
and  identical  in  size,  but  the  setting  altered  to  an  interior,  with  carpeted  floor, 
roses  in  a  tall  jardiniere,  and  a  Regency-pattern  sofa.    The  woman's  bonnet 
is  replaced  by  feathers. 
ii^x8|  in.   With  border,  I2|x8^  in. 

13120  A  LITTLE  BIGGER. 

A  copy  (reversed)  of  a  pi.  by  Rowlandson,  not  in  B.M.,  pub.  18  May  1791. 
An  enormously  fat,  drink-bloated  man  stands  in  profile  to  the  r.  holding  up 
his  coat-tails,  while  a  slim  tailor,  crouching  beside  him,  tries  to  encircle  his 
waist  with  his  measuring  tape.  The  tailor's  patterns  are  on  the  floor  (r.). 

A  French  copy  of  the  original  is  No.  8916  [3]. 

Reid,  No.  2782.    Cohn,  No,  1321. 
iiiB^Xyif  ill-   With  border,  ii||x8|  in.  'Caricatures',  x.  126. 

'  Cohn. 
860 


PERSONAL   AND   SOCIAL   SATIRES    1818 

13121  FAT  AND  LEAN. 

A  copy  of  No.  10632,  by  Williams,  of  Daniel  Lambert  and  a  thin  woman. 
12^X9^  in.    With  border,  i2jX9^  ^^' 

13122  A  CHANCERY  CASE' 

Two  pugilists,  stripped  to  the  waist,  are  fighting.   One  has  the  other's  head 
under  the  1.  arm,  and  is  punching  his  nose  with  r.  fist,  the  situation  known 
in  pugilistic  phrase  as  'in  chancery'. 
10^  X  8-|-  in.   With  border,  io||^  x  S-^  in. 

13123  A  SET-TO!! 

[Capt.  Hehl  del.] 

A  savage  pugilistic  encounter  between  two  burly  sailors,  stripped  to  the  waist 
and  astride  a  sea-chest.  Seconds  and  bottle-holders  are  represented  by  four 
men,  one  holding  bottle  and  glass,  one  seated  on  the  ground  holding  a  glass, 
one  flourishing  a  full  tankard,  and  a  very  pugnacious  elderly  man  with  bald 
head  and  wooden  leg.   See  No.  11981. 

Reid,  No.  2763.    Cohn,  No.  1971. 
8|x  13^^  in.   With  border,  8| X  13^  in.  'Caricatures',  x.  68. 

13123  a  A  close  copy  of  No.  13 123. 
8|x  13^  in.   With  border,  8^x  13I  in. 

13124  A  JIG  ON  BOARD. 

Cruikshank  fee'    [Capt.  Hehl  del.] 

A  sailor  and  a  young  worrian  dance  a  jig  on  the  deck  of  a  man-of-war,  watched 
bv  a  sailor  leaning  from  the  forecastle  roof  (r.).  They  dance  side  by  side, 
man's  1.  arm  raised,  holding  his  hat,  woman  with  hands  on  hips. 

Reid,  No.  2752.    Cohn,  No.  1255. 
9^X  i2|  in.   With  border,  9^x  I2|f  in. 

13125  A  TIPPERARY  JIG. 

An  Irishman  (r.)  and  a  plump  Irishwoman  dance  in  similar  attitudes  to  the 
couple  in  No.  13 124,  but  facing  each  other  and  with  more  energy.  Cf. 
No.  12930. 

Cohn,  No.  2034. 
11^X8^^  in.   With  border,  ii|-x8|  in, 

13126  TURNING  UP  THE  NATIVES. 

y  V  inv'   G.  C^  Sciip' 

A  snorting  bull,  whose  tail  is  held  by  an  alarmed  butcher,  goaded  to  fury  by 
the  butcher's  dog,  upsets  an  oyster-woman  seated  on  a  stool;  her  tub  of 
oysters  overturns  with  its  placard:  Fine  Native  &  Milton  Oyster\^\.  In  her 
alarm  she  holds  up  her  oyster-knife  in  such  a  way  that  it  will  pierce  the 
posterior  of  a  fat,  carbuncled  parson  who  has  been  tossed  by  the  bull. 

Reid,  No.  2776.    Cohn,  No.  2054. 
8Jx  i2|  in.    With  border,  8^X  I2|  in. 

13127  FAT  &  LEAN  OR  FEEDING  THE  HUNGRY— IN  S^  MARTINS 
COURT 

The  interior  of  a  cheap  ham  and  beef  shop;  two  fat  men  and  a  fat  woman 
behind  the  L-shaped  counter  serve  emaciated  customers.  A  man,  wearing 
quasi-dandy  costume  (cf.  No.  13029),  asks  a  shopman  carv^ing  a   ham  for: 

'  Imprint  erased.    Watermark  1816. 

861 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Two  ounces  of  very  lean  beef — and  one  of  ham  all  lean.  The  carver :  You  should 
try  and  eat  fat  my  friend — it  would  do  you  good — got  any  paper  to  put  it  in? 
we  cant  find  paper.  A  lean  dog  of  dachshund  type  hungrily  puts  its  paws 
against  the  counter.  The  other  shopman  slices  a  round  of  beef;  he  addresses 
an  elderly  woman  in  a  patched  dress  who  holds  out  a  bowl:  Come  mother 
whats  for  You?  She  answers :  a  quarter  of  a  pound  of  your  buttock  o'  beef — 
a  little  bit  of  fat  with  it  if  you  please  &  a  pen' north  of  Tatoes  or  carrot — & 
some  mustard.  A  little  ragged  girl  stands  on  tip-toe  against  the  counter  hold- 
ing up  a  coin,  saying,  a  pen' north  a  pudding  if  you  please.  On  the  extreme  r. 
a  fat  woman  with  her  back  to  a  window  rubs  a  coin  on  a  block,  saying  angrily : 
its  a  bad  un!  The  dilapidated  dandy  who  has  proffered  it  registers  dismay. 
A  small  and  clearly  famished  child  clambers  against  the  counter.  A  lean  grey- 
hound sniffs  cautiously  towards  a  large  bull-dog  with  a  bone.  Many  heads 
look  in  at  the  window  (r.).  A  large  wall-clock  points  to  12.5;  German 
sausages,  &c.,  hang  against  the  wall. 

Probably  an  authentic  picture,  despite  the  element  of  caricature. 
8Jx  12  in.   With  border,  8|x  i2|  in. 

13128  THE  SCENE  OF  ACTION. 

[Capt.  Hehl  del.] 

A  sequence  of  disasters  to  an  old  maid  at  tea-time ;  a  huge  cat  dashes  up  a 
set  of  shelves  (1.),  where  decanters  and  dinner-service  are  ranged,  to  chase 
a  mouse,  sending  crockery,  &c.,  crashing.  She  rises  in  agonized  alarm  from  her 
arm-chair,  overturning  the  round  table  and  all  the  tea-things,  scalding  water 
from  the  urn  falling  on  a  yelling  dog.  A  lighted  candle  falls  against  a  dressed- 
up  monkey  seated  on  a  low  stool  beside  its  mistress.  A  ferocious-looking 
parrot  has  left  its  cage  and  sits  on  the  back  of  the  chair. 

Reid,  No.  2755.   Cohn,  No.  1965. 
9f  X  i2|  in.  (border  cropped). 

13129  A  HIT  AT  BACGGAMMON. 

[Capt.  Hehl  del.    Cruikshank  f.]i 

A  copy  of  No.  1 1637,  by  Rowlandson,  with  the  omission  of  the  cat. 

Reid,  No.  2772.   (Cohn  lists:  A  Hitt  at  Backgammon,  No.  1202,  a  litho- 
graph pub.  Tegg  1 8 14.) 
8^-X  i2|  in.   With  border,  8|x  i2|  in. 

13130  AMAZING!— WELL  I'M  SURE!!— WHAT  AGAIN!!! 

[?Capt.  Hehl  del.] 

A  hideous  elderly  couple  play  cribbage  at  a  round  table,  both  in  profile.  The 
man  (1.)  has  gouty  swollen  legs;  he  presses  a  slashed  shoe  against  the  lady's 
ankle,  showing  her  the  ace  of  hearts  with  a  significant  glance ;  she  leans  forward 
in  delighted  astonishment  so  that  the  feathers  in  her  hair  burn  in  the  candle. 
Apparently  the  pi.  described  by  Reid,  No.  2754,  with  the  title  Surprising. 
8|xii|in.   With  border,  9^ X  12^  in. 

13131  SURE    SUCH   A   PAIR   WERE    NEVER    SEEN    SO   JUSTLY 
FORM'D  TO  MEET  BY  NATURE!!! 

G.C''— 

[Pub.  Fores,  10  Mar.  181 8.] 

Profile  busts  of  a  remarkably  ugly  pair,  whose  misshapen  features  dovetail 

'  According  to  a  note  in  pen, 

862 


PERSONAL  AND   SOCIAL   SATIRES    l8l8 

into  one  another,  bringing  close  together  their  broadly  smiling  lips.  The  man 
(1.)  is  dressed  like  the  dandy  of  1818,  with  upswept  shock  of  hair,  the  woman 
wears  a  wreath  of  flowers,  and  decolletee  dress. 

The  title  is  a  tag  from  Sheridan's  Duenna. 

Reid,  No.  2778.    Cohn,  No.  2015. 
9|Xioin.   Border  cropped. 

13132  GLEE  SINGERS 

Elderly  singers  crowd  round  the  keyboard  of  a  square  piano,  which  one  of 
their  number  is  playing,  his  (green)  spectacles  pushed  up.  One,  also  wearing 
green  spectacles,  uses  an  ear-trumpet;  an  aged  woman  (r.),  with  bearded  chin, 
places  a  hand  on  his  shoulder,  the  other  hand  rests  on  the  head  of  a  fat  man 
who  sleeps,  seated  beside  the  piano. 
8tB-  X  iz\  in.   With  border,  8J  X  I2|  in. 

13133  THE  GRACES  THEY  WERE  CULLING  POSIES 
AND  FOUND  YOUNG  LOVE  AMONG  THE  ROSES 

Three  grotesquely  ugly  old  maids  stoop  delightedly  over  a  Cupid  who  sleeps 
against  a  rose-bush,  arrow  in  hand,  his  unstrung  bow  beside  him.  On  the 
back  of  one  sits  an  ape;  a  lap-dog  is  beside  her.  A  parrot  sits  on  the  bonnet 
of  another,  the  third  kneels.  On  a  mound  (r.)  a  cock  stands  crowing:  Cock  a 
doodle  doo. 

Reid,  No.  2768.    Cohn,  No.  1168. 
Sig-  X  1 1  Ig-  in.   With  border,  8||  x  12  in. 

13134  CUTTING  CORNS. 

An  adaptation  of  Gillray's  Comfort  to  the  Corns,  No.  9585.   The  old  hag  is 
altered  to  a  rather  younger  woman,  the  wide  hearth  to  a  neat  fireplace.   The 
Gothic  chair  is  replaced  by  a  chair  with  a  high  cane  back  (of  Charles  II 
period).   A  cat  watches  the  operation. 
ii|x8^  in.    With  border,  ii|x8j|  in. 

13135  "SHE  NEVER  TOLD  HER  LOVE!"  |  "BUT  LET  CONCEAL- 
MENT LIKE  A  WORM  I'  THE  BUD"  |  —"FEED  ON  HER  DAMASK 
CHEEK!    [Twelfth  Night,  11.  iv.] 

A  hideous  old  apple-woman  sits  asleep  on  an  upturned  basket  by  her  rough 

table  where  her  apples  are  piled,  warming  her  bare  arms  under  her  apron, 

and  with  a  bottle  concealed  under  her  petticoats.  On  the  table  is  a  makeshift 

lamp. 

9|x8|  in.    Border  cropped. 

13136  THE  LOVELY  YOUNG  LAVINIA 

A  hideous  woman,  slyly  lascivious,  stands  in  profile  to  the  1.,  holding  a  small 
(gleaner's)  sheaf  of  corn  under  one  arm,  with  a  bottle  and  a  rough  pitchfork. 
She  wears  wide-brimmed  hat,  and  a  slovenly  dress  exposing  her  shoulders. 
There  is  a  rustic  background. 

A  travesty  of  the  story  of  Lavinia  and  Palemon  from  Thomson's  Seasons 
(Autumn),  also  burlesqued  by  Gillray,  see  No.  10480. 
i2f  X9f  in.   With  border,  i2|x  10  in. 

13137  JESSE,  THE  FLOWER  OF  DUNBLAINE. 

[Capt.  Hehl  del.] 

A  hideous  young  woman,  dressed  in  tartan  with  bare  legs  and  sandals 
en  cothurne,  sits  by  the  waterside  in  a  mountainous  Scottish  landscape.   She 

863 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

squints  violently,  wears  necklace  and  bracelets  on  her  bare  neck  and  arms, 
and  holds  a  rose  and  feathered  hat. 

Cf .  Jessie  the  Flower  of  Dunblane  ;  or,  The  Smugglers  of  the  Glen,  an  operetta 
first  played  at  Edinburgh  ii  June  1834. 

Reid,  No.  2766. 
11^x8^  in.   With  border,  i2gX9  i^-  'Caricatures',  x,  87. 

13138  BEAUTY  AND  THE  BEAST. 

A  copy,  reversed  and  altered,  of  The  Saracens  Head  on  Snow-Hill,  No.  11129. 
The  man  is  without  a  night-cap,  the  woman's  cap  and  the  curtains  are  altered. 
The  soft-ground  etching  of  the  original  is  closely  imitated  in  lithography. 

Reid,  No.  2777.   Cohn,  No.  917. 
iiJxSf  in. 

13139  LAUGH  AND  GROW  FAT. 

Head  and  shoulders  of  a  well-dressed  man  smiling  broadly,  head  tilted  to  the  1. 
He  wears  a  swathed  neck-cloth  without  the  high  collar  of  the  dandy. 
ii|X9^  in.   With  border,  iif  X9I  in.  'Caricatures',  viii.  171. 

13140  ZgPHIR. 

A  male  ballet-dancer,  very  muscular  and  energetic,  dances  with  head  in  profile 
to  the  1.,  r.  leg  extended  horizontally.  He  wears  a  short  semi-transparent 
tunic  bordered  with  roses,  leaving  the  breast  bare ;  he  has  an  ugly  and  ultra- 
Jewish  profile.   Copied  from  a  French  print,  Le  Doyen  des  Zephirs  (Cohn). 

Evidently  M.  Baptiste  in  the  part  of  Zephyr  in  his  ballet  The  Return  of 
Spring,  a  new  French  ballet  at  the  Opera  House  described,  Examiner,  i  Mar. 
1818. 

Reid,  No.  2773.   Cohn,  No.  21 14. 
lof  X  8 J  in.   With  border,  1 1  X  8f  in. 

13141  THE  BOLERO. 

Two  ballet  dancers  dance  in  Spanish  costume  on  a  boarded  floor.  The 
male  dancer  has  a  certain  resemblance  to  Baptiste  in  No.  13 140,  though  less 
caricatured  and  less  muscular. 

Probably  two  of  the  French  dancers  at  the  King's  Theatre  in  1818;  the 
chief  pair  being  Baptiste  and  Mile  Milanie.   Op.  cit.   Cf.  No.  13 142. 

Reid,  No.  2783.    Cohn,  No.  936. 
io^x8|  in.   With  border,  ioJx8|  in.  'Caricatures',  x.  127. 

13142  THE  GRACES. 

Engraving  (coloured  impression).  Three  ballerinas,  all  wearing  wreaths  of 
roses  and  flower-trimmed  dresses  below  the  knee  over  long  semi-transparent 
drawers.  One  (1.)  stands  holding  a  garland  of  roses,  looking  over  her  shoulder 
to  the  r.;  one  leaps  high  in  the  air,  with  arms  and  legs  extended;  the  third 
leans  to  the  r.,  poised  on  one  toe. 

They  seem  to  be  the  French  dancers  at  the  Opera  whose  dancing  was  criti- 
cized (in  1819)  in  the  Examiner  as  more  vigorous  than  graceful,  cf.  No.  13141- 
8|^X  i2f  in.  'Caricatures',  vii.  150. 

13143  OFF  HE  GOES 

A  very  fat  little  man  (1.)  is  about  to  plunge  head  first  into  a  sunk  bath  towards 
a  person  standing  in  the  water,  head  and  hands  emerging  with  an  encouraging 
smile  and  gesture. 

864 


PERSONAL   AND   SOCIAL   SATIRES    1818 

The  diver,  with  his  tiny  pigtail,  resembles  Lord  Derby,  and  the  head,  which 
might  belong  to  either  sex,  has  some  resemblance  to  Lady  Derby  (Miss 
Farren)  with  whom  he  had  often  been  caricatured,  see  vols,  v,  vi,  vii. 

Reid,  No.  2785. 
8f  X  13I  in.  'Caricatures',  x.  178. 

13143  A  A  copy  (or  the  original),  full-stop  after  title,  8|^X  13^  in. 

13144  LOUTHERBERGS  SERVANT. 

Caricature  portrait  of  a  tall  thin  elderly  woman  walking  1.  to  r.,  head  in  profile. 
She  wears  a  large  hat,  long  tight- waisted  gown,  with  elbow  sleeves  and  apron, 
and  high-heeled  shoes,  in  the  fashion  of  c.  1770.  An  enlarged  copy  of  From 
Soho,  P.I.  de  Loutherbourg  fecit,  Torre  ExcuK  Published  According  to  Act  of 
ParU  Feb^  10^^  ^775^^  oiie  of  a  series,  see  Nos.  5361,  9684. 
c.  II  X75  in.  (vignette). 

13145  AN  OLD  MAID  IN  A  FRIGHT  OR  THE  GHOST  OF  A  COCK 
&  BREECHES  [?  1818] 

Engraving  (coloured  impression).    An  old  maid  seated  in  a  chair  registers 
extreme  terror,  throwing  up  her  leg,  at  a  pair  of  breeches  supported  on  clouds 
(1.)  from  which  a  cock  emerges. 
Sfxiijl  in.  'Caricatures',  x.  174. 

13146— 13151 

Plates  (coloured)  by  G.  Cruikshank  to  Modern  Belles.   Dedicated  to  all  the 

Beaux.  By  the  Author  of  the  Greeks,  .  .  .  [&c.  as  No.  12971,  &c.]  Sixth  Edition 

.  .  .  London  Printed  for  J.  J.  Stockdale,  No.  41,  Pall-Mall.  1818.    Reid, 

Nos.  727-32,  4704.   Cohn,  No.  561.  Plates  c.  3^x6  in.  184.  b.  13. 

13146  NOBLE  &  COACHMAN. 

Puh  2y.  Dec''  i8iy  by  I.  I.  Stockdale  41  Pall. 

P.  26.  The  fashionable  driver  of  a  four-in-hand,  cf.  No.  1 1701,  and  a  hackney 
coachman  stand  side  by  side  regarding  each  other  quizzically.  Each  wears 
a  long,  many-caped  coat  and  holds  a  whip.  Their  respective  coaches  stand 
behind,  one  with  four  well-bred  horses,  the  other  with  a  pair  of  hacks.  In 
the  background  are  the  railings  of  a  London  square,  with  an  equestrian  statue 
(probably  in  Berkeley  Square). 

13147  BEGGAR  &  MISTRESS. 

P.  28.  A  blind  beggar  and  a  woman  sit  on  the  end  of  a  broken-down  bed  in 
a  ruinous  attic;  she  drinks  from  a  bottle.  Before  the  fire  a  fish  is  spiked  on 
a  tobacco-pipe  which  serves  as  spit;  a  dog  watches  it  hungrily. 

13148  ANTIENT  MOTHER. 

P.  80.  Scene  in  a  park;  a  lady  in  plain  old-fashioned  dress,  seated  on  an 
ornamental  bench  with  two  children,  watches  a  third  child  put  a  coin  into  the 
hat  of  a  beggar  who  stands  on  the  farther  side  of  a  railing. 

13149  MODERN  MOTHER. 

P.  82.  Scene  at  a  rout.  A  very  decolletee  lady  plays  cards,  her  partner  a  gouty 
old  man.  She  turns  to  display  her  hand  to  one  of  two  dandies  who  lean  over 
her  chair. 

'   In  the  collection  of  Dr.  Klingender. 

865  3K 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

13150  AFTER  DINNER. 

P.  150.  Six  people  at  dinner;  a  dandy  kneels  to  present  the  mistress  of  the 
house  with  'a  valuable  snuff-box  of  snowballs',  which  she  had  'made  love  to*. 
The  term  is  not  explained. 

13151  ANTIQUATED  BEAU. 

P.  163.  An  elderly  man,  wearing  gaiters  on  shrunken  legs,  hobbles  with  the 
help  of  a  stick  towards  his  mistress  with  an  ingratiating  gesture;  she  scowls 
at  him,  standing  stiffly  by  a  chair. 

Plates  (coloured)  by  G.  Cruikshank  and  Rowlandson,  The  \  Wits  Magazine  \ 
and  I  Attic  Miscellany,  \  Vol.  i.  |  Londofi.  Printed  for  Thomas  Tegg  iii,  Cheap- 
side  [18 18].  Each  part  has  frontispiece  and  vignette  (with  title  and  imprint 
as  above).  All  Irish  subjects.  The  text  is  a  reissue  of  Tegg's  Prime  Jest  Book, 
i.  1811-12,  illustrated  by  Rowlandson,  which  was  reissued  as  The  Spirit  of 
Irish  Wit  (Cohn,  No.  768).   Reid,  No.  4701,  Cohn,  No.  857.  184.  d.  27. 

13152  THE  TWO  IRISH  LABOURERS.     N°  i 

G.  Cruik  fec^ 

An  Irish  bricklayer's  labourer  ascends  a  ladder  supported  on  a  flimy  scaffold- 
ing.  On  his  hod  sits  another  Irish  labourer,  grinning  broadly. 

Reid,  No.  733. 
4f  X2f  in. 

13152  a  a  close  copy  (uncoloured)  G.  Cruik'^  fec\  F.W.P.  ScK 

13153  IRISH  GENTLEMAN  &  HIS  APPLE  TREE. 

G  Cfec' 

Vignette.    A  garden  scene.   An  Irishman,  saw  in  hand,  falls  to  the  ground 

astride  the  branch  he  has  sawn  off.  An  old  joke,  cf.  No.  8748. 

Reid,  No.  734. 
c.  3X2f  in. 

13153  a  a  close  copy  (coloured)  as  No.  13152  A. 

13154  A  CHEAP  BEATING.     N°  2 

G  Cruik'^  fed 

Street  scene.  A  stout  barrister  gives  a  lean  and  terrified  tailor  a  fierce  pugilistic 
blow  in  the  face. 
Reid,  No.  735. 
4f  X2|  in. 

13154  a  a  close  copy  (coloured),  as  No.  13 152  a. 

13155  LIEUTENANT  CONNOLLY. 

[G.  Cruikshank.] 

Vignette.   A  camp  scene  with  stars  and  stripes  flag.   An  Irish  officer  in  the 
American  service  during  the  Revolutionary  war,  displays  to  a  senior  officer 
three  Hessian  prisoners,  whom  he  has  captured  single-handed:  'By  Jasus! 
I  surrounded  them'  (p.  56). 
c.  2f  X3  in. 

866 


PERSONAL   AND   SOCIAL   SATIRES    1818 

13155  a  a  close  copy  (coloured),  unsigned,  by  Pailthorpe. 

13156  PETER    THE    BLIND     SHOEBLACK    AND    THE    LOUZY 
GLISTER  PIPE.     N^3 

[Rowlandson.] 

A  street  scene  in  Dublin  outside  a  public  house,  Marquis  of  Towndsend  [sic]. 
An  irate  doctor  with  raised  cane  points  out  to  Peter  his  blackened  white  stock- 
ings. Peter,  who  has  done  this  deliberately  after  a  dispute,  laughs.  The 
bystander  asks  him  if  he  knew  his  customer:  'Aye,'  says  Peter,  'he  is  only 
a  lousy  glister  pipe,  a  mere  foot  soldier  in  the  service  of  death'  (p.  104). 
On  the  wall  behind  him  is  a  placard :  Blind  Peter  Shoeblack  in  Ordinary  to 
his  Excellency  the  Viceroy  of  Ireland.  (Townshend,  Lord  Lieutenant  1767-72.) 
5X3?  in. 

13157  PAT  AND  THE  COOKMAID. 

[Rowlandson.] 

Vignette.  An  Irish  cook,  seizing  Pat,  her  lover,  by  the  hair,  furiously  brandish- 
ing a  ladle.   Illustration  to  verses,  p.  82  f. 
c.  2|X2^  in. 

13158  MODESTY  FOR  MONEY.     N"  4 
[Rowlandson.] 

Scene  in  the  fashionable  Na\y  Coffee  House,  Newcastle  Street,  London.  A 
young  Irishman,  well-dressed  but  penniless,  seated  at  dessert,  jovially  dis- 
putes with  the  proprietor,  Morris,  a  stout  elderly  man.  Partitions  with 
curtains  divide  the  tables;  a  woman  mixes  punch  in  the  bar  (r.).  There  is 
a  large  wall-clock  (time  5.50).  Illustration  to  anecdote,  p.  126  f. 
5^X3iV  in- 

13159  SCANDAL  DEFEATED 
[Rowlandson.] 

Vignette.  Scene  at  the  waterside.  Two  fishwives  are  disputing,  a  third 
watches,  basket  on  head.  Behind  are  two  fishing  smacks,  and,  in  the  back- 
ground, a  man  selling  fish  to  fishwives.  Below  the  title:  Two  ladies  in  the 
Dublin  fish-market,  were  one  day  disputing  "Katty''  said  one  .  .  .  [&c.,  as  in 
No.  13081]. 
c.  2iX3|  in. 

13160  A  PARADOX.     N°  5 
[Rowlandson.] 

A  young  woman,  in  shift  and  night-cap,  hides  her  lover  in  a  fireplace  (1.)  by 
putting  up  a  board  which  fits  into  the  chimney-piece.  Her  angry  husband 
is  in  the  doorway  (r.).  Below  the  title :  An  Hibernian  gallanting  with  a  married 
lady,  hearing  her  unexpected  husband  coming  up  stairs,  exclaimed— Oh  hide  me 
my  dear  dear  darling,  for  if  I'm  found  I  shall  be  lost. 
5X3:^  in. 

13161  A  TENDER  WISH. 
[Rowlandson.] 

Vignette.  An  obese  and  gouty  man,  walking  with  a  stick,  makes  a  gesture  of 
refusal  to  a  beggar  woman  with  two  children.   A  country  house  in  the  back- 
ground suggests  opulence.    Her  wish  (p.  147):  'I  wish  your  heart  were  as 
tender  as  your  toes' 
c.  2X3J  in. 

867 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13162  DEFINITION  OF  A  DRUNKARD.     N°  6 
[Rowlandson.] 

Street  scene.    A  grossly  fat  man  staggers  along;  bystanders  point  or  laugh. 
On  the  r.  is  a  gin-shop,  the  sign  of  The  Ton  (a  cask)  with  a  man  drinking 
outside  it.   Anecdote:  '.  .  ,  finding  I  could  neither  go  nor  stand,  I  walked 
away,  and  ran  home  as  fast  as  possible'  (p.  214). 
5wX3|in. 

13163  IRISH  RECRUITING 

[Rowlandson.] 

Vignette.   One  hussar  displays  to  another  a  young  girl  in  coat  and  breeches, 
baring  her  breast.  Below  the  title :  A  Sergeant  entered  a  recruit  who  .  .  .  turned 
out  to  be  a  woman  .  .  .he  said,  Please  your  honour  I  could  not  help  it.  I  enlisted 
this  Girl  for  a  Man,  and  now  he  turns  out  to  be  a  Woman. 
c.  2jX3iin. 

13164  IRISH  SERMON.     N'>  7 

G  Cruik'^  fed 

A  bottle-nosed  monk  (1.)  preaches  with  denunciatory  violence  in  a  country 
church,  the  heads  and  shoulders  of  a  terrified  congregation  forming  the  base 
of  the  design.  Illustration  to  'O'Brien's  Irish  Sermon'  .  .  .  'augh,  ye  carney- 
ing  thieves,  you'll  all  be  damn'd  for  it,  as  the  methodists  say,  .  .  .  for  who 
the  devil  is  to  find  you  in  absolutions  and  indulgences  for  nothing  at  all  at 
all  .  .  .',  pp.  220-2. 

Reid,  No.  737. 
4|X2fin. 

13164  a  a  close  copy  (coloured),  as  No.  13 152  A. 

13165  TIT  FOR  TAT. 

GCfec' 

Vignette.  An  officer,  wearing  cocked  hat  and  boots,  aims  a  pistol  at  a  lighted 
candle  held  out  by  a  trembling  footman.  The  footman  thereupon  turns  the 
tables  on  his  tipsy  master,  forcing  him  to  hold  out  a  candle  while  he  fires 
and  misses,  and  shoots  a  button  off  the  colonel's  coat  (p.  223  f.). 

Reid,  No.  738. 
c.  2fX3|in. 

13165  A  A  close  copy  (coloured),  as  No,  13 152  a. 

13166  MISTAKES  OF  A  NIGHT.     N°  8 

G  Cruik'^  fee' 

Scene  in  an  inn  bedroom.  An  Irishman  with  a  cudgel  threatens  an  old  woman, 
while  an  English  traveller  wearing  a  dressing-gown  stands  in  the  doorway, 
holding  up  a  lighted  candle.   Illustration  to  an  anecdote,  pp.  256-9. 

Reid,  No.  739. 
4|X2|in. 

13166  a  a  close  copy  (coloured),  as  No.  13152  A. 

13167  THE  SWEEP. 

G  Cruik  fee' 

Bedroom  scene:  a  little  chimney-sweeper,  with  his  brush,  steps  out  of  the 
fireplace,  upsetting  the  fender.  An  alarmed  man  prepares  to  get  out  of  bed. 

868 


PERSONAL   AND   SOCIAL   SATIRES    1818 

He  threatens  the  boy,  who  says :  'Sir,  my  master  will  come  for  you  presently' ; 
the  man  concludes  that  he  is  an  emissary  of  the  Devil  (p.  287). 

Reid,  No.  740. 
c.  2f  X3  in. 

13167a  a  close  copy  (coloured),  signed  as  No.  13 167,  without  Pailthorpe's 
initials. 

13168  THE  VEHICLE.     N°  9 

G  C  fecit 

A  peasant,  looking  verj'  ill,  sits  in  a  wheelbarrow  at  his  cottage  door;  he 
drinks,  supported  by  his  wife  who  holds  a  medicine-bottle  labelled  To  be 
taken  in  a  proper  vehicle.  The  woman  has  inquired  the  meaning  of  vehicle 
without  giving  the  context  (p.  291  f.). 

Reid,  No,  741. 
4TB:X2f  in. 

13168  a  a  close  copy  (coloured),  as  No.  13 152  A. 

13169  THE  REHERSAL. 

G  Criiik  fec^ 

Vignette.  A  man  stands  in  a  pond,  shouting,  and  holding  up  an  open  book: 
Richard  III.  Behind  is  a  house  among  trees.  Illustration  to  an  anecdote  of 
Burke  as  a  youth  (p.  305). 

Reid,  No.  742. 
c.  3x3  in. 

131  69  a  a  close  copy  (coloured),  signed  as  No.  13 169,  without  Pailthorpe's 
initials. 

13170  GIVING  UP  THE  GHOST.     N°  10 

G  Cruik'^  fed 

Theatre  scene.  The  ghost  in  Hamlet  who  has  been  hissed,  jovially  addresses 
a  laughing  audience,  telling  them  (p.  346)  *.  .  .  if  you  are  not  satisfied,  I  must 
give  up  the  ghost'. 
Reid,  No.  743. 
4fX2|in. 

13170  a  a  close  copy  (coloured),  as  No.  13 152  a. 

13171  a  HARD  HEAD. 

G  Cruik  fed 

Vignette.  A  kitchen  scene,  the  dresser  forming  a  background.  A  cook  chases 
a  boy,  threatening  him  with  a  ladle.  (Anecdote,  p.  347.) 

Reid,  No.  744. 
c.  2|X2|  in. 

13171a  a  close  copy  (coloured),  with  the  addition  of  Pailthorpe's  (almost 
invisible)  initials. 

13172-13175 

Copies  by  Pailthorpe  of  the  engravings  by  Cruikshank  to  The  Wits  Maga- 
zine, vol.  ii,  on  English  wit  (not  in  B.M.).  The  remaining  sixteen  plates  are 
by  Rowlandson.  All  but  No.  13 175  are  coloured.   Cohn,  No.  857. 

869 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

13172  THE  EPIGRAM  AND  RECEIPT. 

GCruik'^fed    F.P.W.  sc' 

Voltaire,  partly  dressed,  and  resembling  a  French  cook,  quails  before  a  tall 
Prussian  guardsman  (r.)  who  stands  over  him,  holding  a  cat-o'-nine  tails. 

Reid,  No.  747. 
4fX2f  in. 

13173  [LOGIC] 

G  Cruik  fed 

Vignette.  (No  title.)  Two  men  stand  at  the  foot  of  a  chestnut  tree.  A  man 
in  old-fashioned  dress  points  to  a  chestnut  on  the  ground  with  his  cane.  The 
young  man,  in  dandified  riding-dress,  holds  a  riding-switch  and  halter;  he 
gapes  in  astonishment  at  his  uncle  who  tells  him  to  ride  the  chestnut. 

Reid,  No.  748. 
c.  2|X2|  in. 

13174  PLEBEIAN  PLEASANTRY' 

A  fat  priest  on  a  stout  cob,  faces  a  lean  and  grinning  peasant,  pointing  to  a 
walled  city  in  the  background.  The  priest  asks  if  he  can  get  in  at  the  gate 
(as  it  is  late);  the  peasant  answers:  'I  believe  so  for  I  saw  a  waggon  of  hay 
get  in  there  this  morning.' 

Reid,  No.  745. 
4fX2f|  in. 

13175  AFFAIR  OF  HONOUR. 

GCfec'    FWPsd 

Vignette.  A  duelling  scene.  Weston  the  actor,  seriously  attacks  with  his 
rapier  a  man  with  his  r.  arm  in  a  sling  who  has  consented  to  a  bogus  duel 
in  which  he  has  just  been  given  a  flesh-wound. 

Reid,  No.  746. 
c.  2|X3  in. 

13176  LEAVING-HOME. 

Rowlandson  DeV  W.  Read,  Sculpt 

[Pub.  W.  Simpkin  and  R.  Marshall,  Stationers'  Court,  Ludgate  Street 
i8i8p 

Aquatint  (coloured).  Frontispiece  to  The  Adventures  of  Johnny  Newcome  in 
the  Navy ;  A  Poem  in  Four  Cantos:  with  Plates  by  Rowlandson  from  the  Author's 
Designs. — By  Alfred  Burton  [J.  Mitford] — Johnny,  i.e.  Mitford,  see  No.  12194, 
takes  leave  of  his  mother,  sisters,  and  dog  in  the  garden  of  a  cottage  ornee ; 
an  old  man  in  a  smock  carries  his  trunk.  At  the  gate  his  father,  a  parson, 
enters  the  mail-coach.  The  other  plates,  coloured  aquatints,  are  Nos.  13 177- 
91.  The  imprint  is  as  in  No.  13 178,  but  in  some  plates  has  been  cropped. 
For  a  so-called  second  edition  in  1819  see  No.  13457.^ 
4^X74  ^n-  B.M.L.  C.  116.  bb.  9. 

'  Signatures  as  No.  13 172. 

*  'Written  in  1816 — printed  and  advertised  in  1817 — and  would  have  appeared  long 
ago  but  for  a  variety  of  impediments  .  .  .  more  particularly  .  .  .  the  execution  of  the 
plates.' 

^  Sometimes  described  as  an  imitation  by  a  different  author.  Internal  evidence 
points  to  Mitford 's  authorship  in  both,  with  more  of  autobiography,  romance,  and  wish- 
fulfilment  in  the  second. 

870 


PERSONAL  AND   SOCIAL   SATIRES    1818 

13177  SHEERNESS  BOAT. 

See  No.  13 176.   P.  26.   A  bare  cabin  with  a  stove  in  the  centre  is  crowded 
with  'Shopmen,  Mud-larkers  and  Crimps,  The  lowest  class  of  Bawds  and 
Pimps'.    Johnny,  his  father,  and  the  captain  of  the  frigate  Capricorn  sit 
together,  going  to  the  Nore. 
4x71  in. 

13178  THE  ADMIRAL  HAS  MADE  IT  SUN-SET,  SIR! 

Drawn  and  Etched  by  Rowlandson  W.  Read  Sculps 

Publishdby  W.  Simpkin  &  R.  Marshall,  Stationers' -Court  Ludgate  Street. 

See  No.  13176.  P.  36.  Johnny,  his  father,  and  two  lieutenants  dine  with  the 
captain;  dessert  is  on  the  round  table.  An  officer  enters  followed  by  a 
marine,  bayonet  in  hand,  who  restrains  a  large  dog. 

Reproduced,  C.  N.  Robinson,  The  British  Tar  in  Fact  and  Fiction,  191 1, 
p.  272. 
4iX7iin. 

13179  TURNING  IN— AND  OUT  AGAIN.' 

See  No.  13 176.  P.  42.   Scene  in  the  gloomy  steerage.  Johnny  falls  head  first 
from  his  hammock,  watched  by  other  midshipmen  from  theirs.   A  man  sits 
below  sewing  at  breeches  by  the  light  of  a  lantern. 
4^X7iin. 

13180  SEA-SICK.i 

See  No.  13 176.    P.  52.    One  of  several  views  of  'the  Midshipmen's  birth', 
cf.  No.  13458.  A  large  table  almost  fills  a  small  low  room,  with  lockers  against 
the  walls,  and  an  arched  recess  for  crockery.   Johnny  vomits,  derided  by  six 
youths. 
4^X7iin. 

13181  SENT  TO  HEAR  THE  DOG-FISH  BARK.' 

See  No.  13 176.   P.  55.    Scene  on  deck  lit  by  a  waning  moon.   Two  sailors 
in  the  rigging  empty  buckets  over  Johnny,  watched  by  a  sentry  and  three 
other  men. 
4gX7iin. 

13182  THE  CAPTAIN'S  GOING  OUT  OF  THE  SHIP— GENTLE- 
MEN! 

Drawn  and  Etched  by  Rowlandson 

See  No.  13 176.    P.  57.    Young  men,  interrupted  at  a  meal  by  a  boy  at  the 
door,  rise  hurriedly.    The  cabin,  with  skylight  and  cloth-covered  table,  has 
little  resemblance  to  the  reputed  squalor  of  the  'midshipmen's  birth'. 
4|X7|in. 

13183  SEIZED  UP  IN  THE  RIGGING. 

W.  Read,  Sculp' 

See  No.  13 176.   P.  72.   Four  midshipmen  lash  Johnny,  spreadeagled,  to  the 
rigging,  several  feet  above  the  deck,  watched  by  two  others  and  an  officer. 
The  head  of  a  huge  barking  dog  is  seen  through  a  porthole,  seemingly  outside 
the  ship. 
4|X7in. 

*  Signatures  as  No.  13 176. 
871 


CATALOGUE   OF  POLITICAL  AND   PERSONAL   SATIRES 

13184  COBBED— WATCH!  WATCH!' 

See  No.  13176.  P.  77.  Five  midshipmen  hold  Johnny  face  downwards  on 
the  table  in  the  'midshipmen's  birth'  while  a  sixth  beats  him  with  a  long  ruler 
('a  Gunter's  scale').   Others  watch. 

Reproduced,  C.  F.  Walker,  Young  Gentlemen,  1928,  p.  88;  C.  N.  Robinson, 
op.  et  loc.  cit. 
4|X7|in. 

13185  CROSSING  THE  LINE. 

W.  Read  Sculp* 
See  No.  13 176.  P.  117.  A  boy  struggles  in  a  large  tub,  sluiced  by  sailors, 
one  a  negro,  with  water  from  buckets,  while  a  large  notched  razor  and  a  brush 
are  brandished  over  him.  Neptune  and  his  wife  sit  enthroned,  with  a  body- 
guard, all  fantastically  dressed.  Spectators  watch  from  an  upper  deck.  A 
favourite  subject,  cf.  No.  13476. 
4|X7|in. 

13186  PLYMOUTH-PLAY-HOUSE.i 

SeeNo.  13176.  P.  66.  Title  cropped.  In  a  gig  with  plunging  horses,  tandem, 
naval  officers  stand  or  sit  with  courtesans.    In  the  background  are  a  corner 
of  the  stage,  a  duel  in  progress,  and  the  opposite  side  of  the  house,  with  the 
curve  of  the  gallery  on  the  extreme  1. 
4|X7-ft-in. 

13187  [GOING  TO  IVY  BRIDGE.]' 

SeeNo.  13176.  P.  166.  Titlecropped.  A  gig  with  plunging  horses,  tandem,  is 
wrecked  against  a  post;  the  driver,  Newcome,  falls  across  a  pig,  his  female 
companion  falls  on  her  back,  a  mounted  officer  lashes  his  horse.  Pigs  scamper, 
a  yokel  stares. 
4^X7jin. 

13188  IN  THE  GROCER'S  SHOP.' 

See  No.  13176.  P.  173.  Watchmen  with  rattle,  lantern,  or  bludgeon,  chase 
Newcome  who  is  about  to  leap  into  a  big  cask.  The  grocer  watches,  a  dog 
barks.  In  a  shop-window  are  sugar-loaves,  jars,  &c.  There  are  a  counter, 
desk,  and  shelves  on  which  are  large  canisters,  &c.,  inscribed:  Oil,  Pickle, 
Sugar,  Hyson,  Parmasan,  Stilton. 
4iX7-^in. 

13189  JOHNNY  AND  MARIA.' 

See  No.  13 176.   P.  192.   A  drawing-room  by  candlelight.   A  young  couple 
converse  on  the  sofa,  watched  by  two  children.  Four  people  play  cards,  a  girl 
sits  at  a  square  piano. 
4gX7in. 

13190  MAST-HEADED.' 

See  No.  13 176.   P.  240.    A  small  section  of  the  deck  at  night.    A  foppish 
captain  orders  Newcome  to  the  mast-head. 
6|X4j  in. 

13191  A-SLEEP  AT  THE  MAST-HEAD. 

W.  Read,  Sculp. 
See  No.  13 176.  P.  241.  A  frigate  with  masts  and  rigging  silhouetted  against 
clouds  lit  by  a  waning  moon.  A  tiny  figure  reclines  at  the  mast-head;  two 
sailors  climb  the  rigging  towards  him. 

7^X4^  in- 

'  Signatures  as  No.  13 176. 

872 


i8i9 
POLITICAL  SATIRES 

13192  lOHN  BULL  IN  CLOVER.  lOHN  BULL  DONE  OVER. 

[Williams.] 

London.  Pub.  Jan^  g  i8ig  by  S.  W.  Fores  50  Piccadilly  &  312  Oxford  S^. 

Engraving  (coloured'  and  partly-coloured  impressions).  Two  designs,  side 
by  side,  each  with  title,  [i]  John,  a  very  fat  and  jovial  'cit',  leans  back  in 
an  arm-chair  holding  up  a  glass  of  port.  On  the  table  beside  him  (r.)  are  a 
decanter  of  Port,  round  of  beef  (pushed  aside),  pipe,  tobacco-box.  An  empty 
tankard  lies  on  the  floor.  He  says :  Well  a  glass  of  good  Port  cheers  both  Body 
and  mind  and  enables  one  to  gthrough  [sic]  the  fatigues  of  Business.  Here's  a 
bumper  to  the  great  Chatham  aye  he  was  a  statesman 

A  greater  in  England  there  never  zvas  known, 
A  friend  to  the  People,  a  friend  to  the  Throne. 

On  the  wall  is  a  framed  portrait  (T.Q.L.)  of  Good  Queen  Bess  above  three 
broadside  ballads:  The  Land  we  live  in;  Oh  the  roast  Beef  of  Old  England; 
May  we  Live  all  the  days  of  our  Lives.  A  fat  bull-dog  (1.)  gnaws  a  large  bone. 
On  the  floor  are  also  papers:  Orders  for  Russia;  Good  [sic]  ship' d  for  America; 
Ord  .  .  .;  Good  shipdfor  Spain. 

[2]  John,  lean,  ragged  and  starving,  sits  in  profile  to  the  1.,  on  a  broken  chair 
in  a  ruinous  garret,  contemplating  suicide.  The  head  and  shoulders  of  a  stout 
tax-collector  appear  outside  a  (broken)  casement  window;  he  says:  Oh  there 
you  are  enjoying  yourself!  I  have  been  kocking  [sic]  at  the  door  this  have  hour. 
I  want  your  property  Tax  I  had  a  deal  of  trouble  last  time  I  thought  you  had 
run  away.  John :  Why  there  is  very  little  of  me  left  sure  enough  you  need  not 
trouble  yourself  to  call  any  more,  for  that  will  be  go?ie  soon.  He  faces  a  table, 
with  an  open  drawer,  on  which  a  razor  lies  on  a  book :  Toughts  [sic]  on  suicide 
by  Dan^  Doleful;  there  are  also  a  broken  pitcher,  an  onion,  &c.  A  starving 
cat  looks  up  at  its  master.  On  the  floor  is  a  torn  and  discarded  Order  Book. 
A  Gazette  with  two  columns  headed  respectively  Bankrupts,  Promo[iions,  an 
attack  on  'placemen'],  lies  on  large  papers  headed  Butchers  Bill.  With  these 
are  an  empty  plate  and  spoon  and  burned-down  candle.  There  is  a  miserable 
bed  (r.);  laths  show  through  the  broken  plaster.  On  the  wall  is  a  large  H.L. 
print  of  lohn  Bellingham  above  broadside-ballads:  Oh  Dear  zvhat  can  the 
matter  be,  and  there's  nae  luck  about  the  House. 

The  period  of  past  prosperity  is  unspecified.  The  year  18 18  had  been  one 
of  abnormal  prosperity  with  speculation  and  over-production  leading  to 
reaction  and  bankruptcies  in  the  winter  of  i8i8-ig.  The  economic  crisis 
produced  a  political  crisis,  implied  in  the  portrait  of  Bellingham :  his  murder 
of  Perceval  had  been  justified  and  approved  by  Cobbett  in  his  Political 
Register,  see  No.  11885.  The  Property  (Income)  Tax  had  been  repealed,  see 
No.  12750,  &c.  Cf.  similar  comparisons,  Nos.  9714,  12502. 
Each  design  8|  X  6|  in. 

'  'Caricatures',  xi.  53. 
873 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

13193  THE  GENEROUS  MASTER  OR  AFRICAN  SINCERITY.    A 

West-India  anecdote 

Argus  del'   [C.  Williams.] 

London  Pub  Jan^  g  i8ig  by  S.  W.  Fores  50  Piccadilly  &  312  Oxford 

Street 

Engraving  (coloured  impression).  An  invalid,  propped  by  a  pillow,  sits  in 
an  arm-chair  in  night-cap  and  dressing-gown.  He  looks  with  dropping  jaw 
towards  a  negro  servant  (r.)  who  registers  frantic  terror ;  he  says :  Pompey!  by 
frequent  use  of  the  Cow-skin  I  have  made  an  Obedient  good  Servant  of  you,  and 
have  therefore  remembered  you  in  my  Will  I  have  desired  that  when  you  die,  you 
may  have  the  Honor  of  being  laid  in  the  same  Tomb  with  your  Old  Master. 
Pompey,  with  a  gesture  of  negation:  Oh!  tank  you  Massa!  but  rudder  not, 
Devil  come,  all  dark  you  know!  He  no  see  at  all,  makee  mistake  and  take  Pompey 
instead  of  Massa!!  At  the  invalid's  r.  hand  (1.)  is  a  table  with  a  bowl  and  spoon 
and  a  medicine-bottle  labelled  To  be  taken  at  Bed  time  by  S  Scourger.  On 
the  wall  hangs  a  bunch  of  heavy  scourges  labelled  Cow-skins.  Behind  (r.)  is 
a  four-post,  tent-shaped  bed. 

An  earlier  imprint  seems  to  have  been  erased :  re-publication  implies  a  plea 
for  the  philanthropists  in  their  acrid  controversy  with  the  West  India  Interest 
over  the  proposals  for  a  Slave-Registry  Bill,  &c.,  see  No.  13249. 
12^X9  ^^-   With  border,  13^X9^  in.  'Caricatures',  x.  119. 

13194  LANDING  THE  TREASURES,  OR  RESULTS  OF  THE  POLAR 
EXPEDITION.!!! 

3l>  [Marryat  del.]    G.  Cruikshank  fee* 

Pub'^  Jany  18  iSig  by  G  Humphrey  2j  S*  James's  Street  London — 

Engraving  (coloured  and  uncoloured  impressions).  A  procession  headed  by 
John  Ross  extends  from  the  coast  (r.),  where  Esquimaux  dogs  swim  ashore 
from  a  boat,  to  the  gate  of  the  British  Museum,  part  of  which  is  on  the  extreme 
1.  Sailors,  all  of  whom  have  lost  their  noses  (replaced  by  a  triangular  black 
patch)  carry  the  scientific  objects  brought  back  from  the  expedition  to  Baffin's 
Bay.  Ross,  very  stout,  and  wearing  a  large  false  nose,  goose-steps  pompously, 
ignoring  a  black  fiddler  with  a  wooden  leg  (Billy  Waters)  wearing  a  plumed 
cocked  hat,  who  leans  towards  him,  saying:  O,  Captain  he  is  come  to  Town, 
doodle  doodle  Dandy  Ho  \  How  you  do  Sir:  hope  see  you  well  Sir?!!  After  Ross 
marches  his  nephew,  a  dwarfish  boy,  in  naval  uniform,  supporting  the  fore- 
paws  of  an  enormous  (dead)  Polar  Bear,  carried  on  the  shoulders  of  six  sailors, 
the  hind-legs  resting  on  the  shoulders  of  a  seventh  who  says :  'tis  a  good  thing 
Fve  lost  my  Nose.  On  the  bear  are  stars  in  the  form  of  the  constellation  of 
the  Great  Bear  (as  in  No.  13289).  Behind  the  bear  walks  a  lean  military  officer, 
Capt.  Sabine,  who  holds  up  his  musket  with  a  gull  spiked  on  his  bayonet 

labelled: ?  Sabini.   Two  soldiers  follow  carrying  a  barrel  slung  from  a 

pole  and  inscribed  Red  Snow  for  B  M.  Beside  them  marches  a  naval  officer 
holding  in  gloved  hands  the  staff  of  a  Union  flag.  The  next  pair  carry  between 
them  a  tree-stump  labelled  Esquimaux  Wood  for  B  M.  One  of  them  looks 
round  at  a  negro  behind  him  to  say :  /  say  Snowball,  mind  you  don't  tread 
on  my  heels  [these  are  missing] .  The  negro  walks  on  stumps  and  has  also  lost 
a  hand.  He  answers:  No!  No,  Massa  Billy!  &  mind  you  no  tread  on  my  toes! 
He  wears  a  smart  short  jacket  and  shirt-frill,  showing  that  he  is  an  officer's 
servant.  He  carries  on  his  head  a  large  canister  inscribed  Worms  found  in  the 
Intestines  of  a  Seal  by  a  Volunteer — for  Brit.  Mu.   The  next  sailor  carries  a 

874 


POLITICAL   SATIRES    1819 

chest  on  his  head  inscribed  Moiuscce  for  the  British  Museum  and  points  a 
fingerless  hand  to  a  large  block  of  stone  on  the  ground  labelled  Granite  for 
BM,  to  which  a  pole  is  tied;  he  asks :  zvho  the  hell's  to  carry  the  big  stone — ?!! 
The  last  sailor  of  the  procession  holds  the  leads  of  four  fat  and  frightened 
Esquimaux  dogs  who  have  just  landed;  a  small  British  dog  expresses  its  con- 
tempt for  them.  Just  stepping  ashore  is  a  grotesque  Esquimaux,  'Jack  Frost', 
with  spiky  hair  and  beard,  wearing  below  the  waist  a  muff-like  garment  of 
fur.  He  resembles  a  Stone  Age  man  by  E.  T.  Reed.  He  holds  a  tall  spiralled 
pole  labelled:  Lance  made  of  Horn  of  y^  Sea  Unicorn,  used  in  common,  as  a 
walking  stick.  Under  his  1.  arm  is  a  portfolio.  Three  sailors  are  still  in  a  boat; 
one  leans  over  to  send  two  dogs  ashore;  another  with  a  boat-hook  asks  the 
third :  If  they  kill  the  Dogs  &  stuff  'em!  what  will  they  do  with  Jack  Frost. 
The  sailor  answers :  Cut  his  throat  &  stuff  him  also,  I  supposes.  In  the  back- 
ground is  Ross's  ship,  the  'Isabella',  at  anchor,  with  a  broom  at  the  mast- 
head to  show  that  she  is  for  sale. 

The  procession  is  bordered  by  a  cheering  crowd,  hats  are  frantically  waved, 
In  the  foreground  on  the  extreme  1.  is  a  stout,  disgruntled  'cit',  who  says: 
/  think  as  how  we  have  Bears  [speculators].  Gulls,  Savages,  Chump  zcood. 
Stones  &  Puppies  enough  without  going  to  the  North  Pole  for  them.  In  the 
background  (1.)  are  tiny  spectators  watching  from  the  high  wall  of  the  British 
Museum :  Sir  Joseph  Banks,  grasping  the  top  of  a  ladder,  stands  on  the  wall, 
waving  his  hat:  Huzza!  they  have  got  Bursa  Major  as  I  live!  Huzza!!  Leach 
(1790-1836),  the  naturalist,  leaps  high,  exclaiming:  I  see  it!  I  see  it!  the  North 
Pole  by  Jupiter!!  Fll  cling  to  it  like  a  leech  Huzza!  huzza!!  Huzza.  A  man 
standing  on  the  wall  shouts :  /  see  Jack  Frost!!  Huzza!  with  the  N  Pole  in 
his  hand!!  Huzza. 

Commander  John  Ross  (1777-1856)  returned  from  a  voyage  to  explore  the 
North-West  Passage  in  Nov.  181 8,  and  in  18 19  published  a  Voyage  of  Dis- 
covery .  .  .  He  found  hills  of  red  snow,  bringing  some  home,  dissolved  and 
bottled.  Europ.  Mag.  Ixxv.  ^1.^-16.  James  Clark  Ross  (1800-62)  accompanied 
his  uncle  in  the  Isabella.  Capt.  Sabine  (1788- 1883)  ^^as  astronomer  to  the 
expedition,  and  reported  on  the  biological  results:  of  twenty-four  species  of 
birds  from  Greenland,  one  was  entirely  new,  the  Larus  Sabini.  D.N.B.  For 
Sir  Joseph  Banks  (1743- 1820)  see  vols,  v,  vi,  vii.  See  also  Nos.  13 195,  13247, 
13289. 

Reid,  No.  868.    Cohn,  No.  1303. 
7|X2o|  in.   With  border,  8f  X2i|  in. 

13195  CURIOUS    DOGS,    FROM    THE    NORTH   POLE;   OR   THE, 
RETURN  OF  THE  ARCTIC  EXPEDITION!! 

Yedis  tnv'    [Williams  f.] 

London  Pub'^  by  J  Sidebetham  28y  Stratid.  [?  Jan.  1819] 

Engraving  (coloured  impression).  The  procession,  see  No.  13194,  is  passing 
small  old-fashioned  houses  (1.)  with  casement  windows,  and  the  ship,  which 
is  on  the  extreme  r.,  and  in  the  background,  is  on  wheels.  In  front  of  the  houses 
stand  spectators.  Ross  is  seated  in  a  sledge  drawn  by  four  dogs;  he  holds 
a  flag:  GPR  |  Sovereign  \  of  the  \  Pole.  He  sits  on  his  Log  Book  which  rests 
on  a  box  of  Grog.  Beside  him  is  a  large  rolled  Plan  of  the  Ice  .  .  .  The  accom- 
panying sailors  are  mounted  on  bears  and  are  noseless,  as  in  No.  13 194.  The 
first  has  a  basket  labelled :  Red  Snozv  balls  for  P.R  [Prince  Regent] ;  he  says, 
waving  his  hat :  Come  Push  on  M''  Bruin  or  we  shall  have  the  snow  balls  run 
through  the  basket.  Another  has  a  similar  basket  labelled  Blue  Snow  for  PR. 

875 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

A  third,  in  the  foreground,  chngs  jovially  to  the  neck  of  a  brown  bear  on  its 
hindlegs;  on  the  ground  lie  his  whip  and  basket,  filled  with  ice  and  labelled 
Polar  Ice  for  PR.  On  the  extreme  r.  is  a  fourth,  his  basket  labelled  Polar  Iron 
for  PR.  Beside  Ross's  sledge  is  a  covered  van,  with  dogs  poking  their  noses 
through  the  bars  which  form  the  front  of  the  van.  On  the  top  sits  a  sailor 
holding  a  flag:  Dogs  to  be  killed  to  save  the  Nation  the  expence  of  feeding,  and 
stuff' d  with  straw  for  the  British  Museum.  He  looks  round  to  say:  Why  Jack 
your  Bear  has  a  mind  to  turn  gentleman  and  walk  upon  two  legs  like  Christian 
Bears!  The  van  is  drawn  by  two  miserable  horses  led  by  a  wagoner  in  a  smock. 
In  front  of  the  procession  run  a  sailor  lashing  the  dog-team,  and  carrying  a 
huge  tusk  on  his  shoulder  labelled  Tooth  of  the  Mamoth.  A  huge  whale, 
labelled  Whale  for  Lord  Cas[tlereagh],  is  slung  horizontally  from  one  of  the 
masts  of  the  ship;  sailors  haul  it  up  (or  down).  There  is  also  a  basket  of 
Seals  for  L  .  ,  . 
8f  Xi2|  in. 


13196  JOHN  BULL'S  WATER  WORKS!  OR  UNFEELING  SPECU- 
LATIONS THREATENING  TO  CUT  OFF  ONE  OF  THE NECES- 
SARIES OF  LIFE!! 

Marks  fc^  Yedis  Inv^ 

London  pub'^  by  [Sidebotham]  28y  [Strand] '  i8ig. 

Engraving  (coloured  impression).  A  lead  cistern  (r.)  and  three  casks  represent 
the  metropolitan  water-companies.  All  have  projecting  taps  (cocks);  across 
each  straddles  a  person  anxious  to  protect  the  supply.  John  Bull,  a  'cit'  with 
Empty  pocket  hanging  inside  out,  bestrides  that  of  the  cistern  (r.)  in  the  fore- 
ground; this  is  inscribed  Dirty  Catial  Water  and  [An]«o  Domini  i8ig.  A  man 
stands  over  him,  raising  ar  axe  to  cut  off  the  tap;  the  blade  is  inscribed: 
N.R.*  Turn  Cock — *Query.  Do  these  letters  mean  Notorious  Rascals?  He  says : 
We  are  all  combined  to  raise  the  price  of  this  Necessary  Article — So,  down  with 
your  Cash,  or  F II  cut  your  Water  off!  John  tries  to  push  the  man  aside,  saying, 
For  G — d's  sake  don't  Cut  it  off!  I  shall  certainly  die  for  want  of  it — I'll  pay 
any  thing  in  reason  to  keep  it  on  ! 

A  buxom  young  woman  (1.)  bestrides  the  tap  of  a  cask  of  Ditch  Water,  and 
is  threatened  by  a  man  whose  axe-blade  is  inscribed  West  Middlesex  turn 
Cock!  She  exclaims :  It's  a  hard  Case  to  pay  so  very  dear  for  Our  Water  works! 
— I'm  determin'd  to  protect  my  husband's  Cock — You  sha7i't  cut  it  off  if  I  can 
help  it  so  be  off  M^  Turncock!  Behind,  each  cask  is  protected  by  a  little  boy. 
One  cask  is  Thames  Water;  the  child  holds  the  severed  tap,  wailing  O  Dear! 
he  has  cut  my  Cock  off!  Water  gushes  from  the  hole  in  the  cask.  The  satisfied 
man  is  A  City  Turn  Cock!  He  holds  his  axe  against  his  shoulder.  The  last, 
an  East  London  Turn  Cock,  his  axe-head  resting  on  the  ground,  addresses 
a  terrified  boy  leaning  against  a  cask  of  New  River  Water.  He  says :  Your 
Father  had  better  agree  to  our  terms  &  pay  any  thing  we  choose  to  rate  him  at — 
What's  to  be  done  if  I  cut  it  off.    You  can't  make  Water,  can  you? 

In  1818  the  four  London  Water  Companies,  who  had  been  competitively 
rate-cutting,  were  in  such  difficulties  that  they  were  almost  forced  to  stop 
their  cocks.  They  then  combined,  raising  their  rates  and  depriving  some 
districts  of  supply.  The  vestry  of  Marylebone  petitioned  for  leave  to  establish 
a  new  company.  See  Pari.  Deb.  xxxvii.  31,  11 83,  1210. 
8^X  13I  in.  'Caricatures',  x.  175. 

'  Erased  from  the  paper. 
876 


POLITICAL    SATIRES    1819 

13197  JOHNNY  BULL  AND  HIS  FORGED  NOTES!!  OR— RAGS  & 
RUIN  IN  THE  PAPER  CURRENCY!!!— 

Yedis  inv'  G  C  fec^ 

PuM  I  i8ig  by  J  Sidebotham  28j  Strand. 

Engraving  (coloured  impression).  John  Bull,  his  wife,  and  children,  are  dis- 
turbed by  the  irruption  of  a  dandified  clerk  (r.),  followed  by  a  posse  of  rough- 
looking  constables  with  staves.  The  scene  is  a  shop,  stripped  of  goods  and 
furniture  except  for  bales  of  Forged  Bank  Notes  (as  waste-paper)  and  a  three- 
legged  stool  on  which  John,  ragged  but  sturdy,  is  seated.  The  family  are 
trying  to  get  warm  by  burning  the  bank-notes  in  the  grate.  The  dandy  (cf. 
No.  13029)  rushes  in  with  outstretched  arms,  spectacles  on  his  sharp  nose, 
a  pen  behind  his  ear.  From  his  pocket  streams  a  long  scroll  inscribed:  List 
of  Bank  prosecutions  average  expence  p"  Ann'"  20,000  I — Dan^  Bowcleark 
Inspector.  He  exclaims :  /  say  Johnny!  where  did  you  get  all  these  Forged  Azotes 

—  You  must  come  along  zcith  us  &  take  care  you  are  not  hatig'd  for  Felony. 
John,  hands  on  hips,  and  fiercely  defiant,  turns  his  head  towards  the  intruder, 
saying :  /  may  as  well  be  hang'd  as  Starved — /  took  all  these  notes  in  the  way 
of  Trade— I  can't  tell  Bad  Good  ones  from  Good  Bad  ones.  Even  those  who 
issue  them  are  frequently  mistaken  &  have  been  deceived  by  Forgeries — If  the 
'^Gov''  &  Comp'^"  would  only  go  to  half  the  expence  of  Engraving  their  notes 
that  some  of  the  Provincial  Bankers  do,  they  would  be  more  secure  from  imitation 

—  Tradesmen  are  betzveen  two  Evils — if  they  refuse  paper  money  they  can't  sell 
their  Goods,  &  if  they  take  Notes  they  are  Ruind  with  what  the  Bank  calls 
"Forgeries"  whether  they  are  so,  or  not.  Nobody  else  can  tell — It  is  their  interest 
to  keep  that  sort  of  knozvledge  to  themselves!  histead  of  payment  therefore  they 
return  them  upon  us  mark'd  zcith  offensive  Characters  as  "Notes  of  Admiration 
to  be  stuck  up  in  our  Shop  Windows  for  Public  gaze!!!!!!  He  wears  a  (ragged) 
shirt,  waistcoat,  and  breeches;  a  terrified  little  boy  in  a  ragged  shirt  clutches 
his  knee,  staring  at  the  intruders;  another  child  sits  on  the  floor,  warming  his 
hands;  his  wife,  standing  behind  him,  clasps  her  hands  in  despair;  a  weeping 
little  girl  clutches  her  skirts.  Against  the  empty  counter  lie  bales  inscribed 
Forged  Bank  !!  Notes  to  be  sold  as  waste  paper;  £§  Notes  for  sale  as  Waste 
Paper;  j'  &  2'  Notes.  Other  bales  are  by  the  fireplace,  e.g.:  £100  worth  of 
zvaste  paper  to  be  sold  for  one  penny.  Loose  notes  inscribed  Forged  lie  on  the 
floor  and  others  are  pasted  on  the  window-panes  of  the  shop.  On  the  other- 
wise bare  chimney-piece  is  a  small  tea-pot.  Above  it  are  pasted  two  placards : 
Decision  of  Lord  Ellenboro'  against  the  Bank  as  to  their  right  of  detaining  Forged 
Notes  zvhen  they  dont  choose  to  pay  them,  and  Last  Dying  Speech  30  Malefactors 
Executed  for  Forgery;  a  row  of  pendent  corpses  is  indicated.   After  the  title: 

'Wo  Cash?— Oh  No 

''That's  Mai  apropos 

''We  pay  in  paper  &  that  is  merely — 

Fal  lal  de  ra/"— ("Vide  an  Old  Song") 

See  No.  13198,  &c.  John  Bull  is  a  new  type,  sturdy,  muscular,  and  aggres- 
sive, with  beetling  brows  and  frontal  baldness  that  give  him  an  air  of  intelli- 
gence, at  variance  with  the  typical  John  Bull.  Mackintosh,  in  his  motion  for 
a  Committee  on  the  forgery  of  bank-notes  (13  May  18 18)  said  that  the  expense 
of  prosecutions  by  the  Bank  for  1817  was  ^(^30,000  and  for  three  months  of 
1818  ;(^20,ooo;  that  the  chief  pecuniary  sufferers  from  forgeries  were  small 
tradesmen,  that  the  Bank  had  taken  measures  to  protect  themselves,  but  not 

'  The  date  has  been  erased  but  traces  oi  Jari"  6"'  remain,  suggesting  1 6  or  26  Jan. 
Reid  gives  7  Jan. 

877 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

the  public.  Pari.  Deb.  xxxviii.  671  fF.  For  the  case  against  the  Bank  see  the 
Black  Dwarf,  passim,  9  Sept.-Q  Dec.  181 8,  when  the  defeat  of  the  Bank  was 
announced  (failure  of  Bank  prosecutions  for  forgery,  5  Dec).  The  attack 
on  the  Bank  was  continued  by  the  paper  in  1819.  See  also  Nos.  13203,  13245. 

Reid,  No.  865.    Cohn,  No.  1265. 
8|x  i2|  in.   With  border,  8|x  13!  in. 


13198  BANK  RESTRICTION  NOTE. 

[G.  Cruikshank  f.,  ?  Hone  inv.] 

Published  by  William  Hone,  Ludgate  Hill,  Price  (with  the  Bank  Restriction 
Barometer)  One  Shilling.  [Jan.  18 19] 

Engraving.  Imitation  bank-note  printed  on  'Bank-post'  paper.  Below  the 
title,  which  is  engraved  along  the  1.  margin:  Specimen  of  a  Bank  Note — not 
to  be  imitated.  \  Submitted  to  the  consideration  of  the  Bank  Directors  and  the 
inspection  of  the  Public.  Below  this  a  border  of  shackles  at  r.  angles  to  the 
heading  of  the  note.  Bank  Restriction  in  Gothic  characters.  Below  is  a  long 
beam  from  which  eleven  bodies  dangle,  three  being  women ;  the  two  uprights 
of  this  gibbet  are  inscribed  Bank  Post.  Above  the  heads :  /  Promise  to  Perform, 
and  over-printed:  N"  AD  LIB  to  N"  AD  LIB.  Below:  During  the  Issue  of 
Bank  Notes  \  easily  itnitated,  and  until  the  Resump  \  tion  of  Cash  Payments,  or 
the  Abolition  |  of  the  Punishment  of  Death,  \  For  the  Gov''  and  Comp^  of  the  \ 
Bank  of  England.  \  [signed]  J.  Ketch.  On  the  1.  of  the  text,  within  an  irregular 
oval,  a  woman  seated  like  Britannia  with  spear  and  shield  is  devouring 
children.  Outside  the  oval  border  are  the  figures  of  despairing  women  and 
agonized  men,  two  with  their  heads  in  a  noose.  This  is  surmounted  by  a 
skull.  As  a  background  to  this  device  wavy  lines  represent  the  sea;  at  each 
of  the  four  corners  is  a  ship  with  a  pennant  inscribed  Transport.  Below  this 
in  place  of  the  sum  of  money  on  the  real  note,  is  a  large  L  made  of  rope, 
enclosing  on  a  black  ground  twelve  tiny  heads,  intended  to  represent  heads 
between  prison  bars.   Below:  Enf^  at  Stationers  Hall. 

Cruikshank  states  that  he  engraved  this  after  seeing  the  gibbet  at  the  Old 
Bailey  when  women  had  been  hanged  for  passing  forged  £1  notes,  that  its 
publication  stopped  the  issue  of  j^i  notes  by  the  Bank  of  England,  that  hang- 
ing for  forgery  ceased,  and  the  resumption  of  cash  payments  followed. 
Actually,  Romilly  raised  the  matter  on  25  Feb.  1818,  alluding  to  the  execu- 
tion of  two  women  (18  Feb.);  it  was  taken  up  by  Macintosh  who  associated 
the  forgeries  with  Bank  Restriction,  see  No.  13 197.  A  Royal  Commission 
was  agreed  to  on  13  May  181 8,  to  examine  methods  of  preventing  forgery 
by  the  better  printing  of  notes.  Many  notes  were  (optimistically)  submitted 
to  them  as  forgery-proof,  and  a  preliminary  report  was  made  on  22  Jan.  1819. 
Pari.  Deb.  xxxvii.  612  f.;  xxxviii.  272  flF.,  432-5,  555  f.,  671  ff.;  xxxix.  73-8. 
Examiner,  181 8,  pp.  92,  190,  267,  621,  802,  &c.  Executions  for  forgery  con- 
tinued: the  death  penalty  was  abolished  by  a  series  of  acts  from  1830  to  1837. 
The  agitation  relating  to  forged  notes  continued  throughout  i8i8  and  in  1819. 
This  plate  was  advertised  in  The  Times  as  published  26  Jan.;  a  description 
of  the  note  in  the  Examiner  of  24  Jan.  (p.  58)  suggests  a  slightly  earlier  issue. 
The  relatives  of  Hone  claim  that  he  designed  the  plate,  and  in  1878  a  dispute 
arose  between  him  and  the  Cruikshank  family :  Cruikshank  considered  it  the 
'great  event  of  his  artistic  life'.  A  rough  sketch,  supposed  to  show  Hone's 
pencillings,  and  dated  12  January  1819,  is  reproduced,  Hackwood,  William 
Hone,  1912,  p.  203.  See  Idem,  pp.  191,  198-205;  Jerrold,  George  Cruikshank, 
1882,  i.  90-4.  The  note  was  sold  with  No.  13 199.  Owing  to  the  great  demand 

878 


POLITICAL   SATIRES    1819 

a  second  plate  was  engraved,  impressions  from  both  are  in  the  Print  Room. 
SeeNos.  13 198  A,  13200,  13407.  For  other  imitation  notes  cf.  Nos.  10123,  &c., 
I 1780. 

Reid,  No.  965.    Reissued,  Hone's  Facetiae,  1827.    Reproduced,  Jerrold, 
op.  cit.,  i.  92;  Hackwood,  op.  cit.,  p.  200;  Acres,  The  Bank  of  England  from 
zoithin,  1931,  i.  342. 
<:.  5ix8|in. 

13198  a  An  imitation  of  No.  13 198,  with  the  same  title,  Published  by 
Duncombe,  Bookseller,  ig  Little  Queen  St.  Hoborn.  The  chief  variations: 
eight  bodies  instead  of  eleven  hang  from  the  gibbet;  the  ships  and  waves  are 
omitted.  In  place  of  twelve  heads  looking  through  prison  bars  is  the  word 
ROPE,  the  signature  is  Jack,  not  J,  Ketch. 

Reid,  p.  90  n. 
<^- 416X71  in. 

13199  BANK  RESTRICTION  BAROMETER;  OR,  SCALE  OF 
EFFECTS  ON  SOCIETY  OF  THE  BANK  NOTE  SYSTEIVI,  AND 
PAYMENTS  IN  GOLD.    By  Abraham  Franklin. 

[G.  Cruikshank.] 

London: — Published  by  William  Hone,  4^,  Ludgate  Hill;  zvith  the  "Bank 
Restriction  Note'\  .  .  .   One  Shilling. 

Broadside  with  woodcut  medallions:  two  designs  in  circles  at  the  top  and 
bottom  of  a  barometer,  on  which  degrees  from  31  to  27  are  marked,  divided 
into  tenths.  The  arrow  is  at  the  central  point,  2g,  opposite  the  words  The 
Bank  Restriction.  A  sequence  of  the  good  'Consequences,  if  taken  off  ...  is 
given,  numbered  i-io,  reading  upwards;  Consequences  of  its  Operation  .  .  ., 
numbered  i  to  10,  reading  downwards  (copied  in  Hone's  Facetiae,  1827; 
transcribed.  Acres,  Bank  of  England  from  zviihin,  193 1,  p.  344  f.).  In  the  upper 
circle  Britannia  sits  beside  her  lion,  holding  an  olive-branch  with  a  cornucopia 
and  bee-hive  as  emblems  of  plenty  and  industry.  Tiny  figures  dance  round  a 
may-pole  and  a  ship  approaches  the  shore.  Below,  a  tempest-tossed  Britannia 
weeps  beside  a  muzzled  lion,  the  cornucopia  is  empty,  the  bee-hive  absent, 
the  ship  is  a  wreck,  and  the  may-pole  is  replaced  by  a  gibbet  and  corpse.  The 
two  sets  of  consequences  are  headed  respectively  Natiojial  Prosperity  Pro?noted 
and  General  Distress  Increased.  A  Note  refers  to  Liverpool's  speech  of  21  Jan. 
1819  referring  to  the  report  of  the  Committee  (i.e.  Commission)  on  Bank 
Prosecutions  for  forgery. 

Issued  with  No.  13 198  and  described  as  an  envelope,  i.e.  wrapper  folded 
in  four  to  contain  the  note. 

Reid,  No.  3053.    Cohn,  No.  45. 
Diam.  of  circles  i^  in.    Broadside,  i7|X  iif  in. 

13200  [IMITATION  BANK  NOTE.] 

Published  as  the  Act  directs  by  S.  Knight,  j.  Sweetings  Alley,  Royal 
Exchange.   Price  i^ 

Engraving.  Heading:  House  of  Correction  18 ig.  Text:  /  Promise  to  pay  to 
all  Republicans,  Jacobins,  \  and  Knaves,  the  sum  of  a  Perpetual  Flagellation ; 
to  be  strictly  inflicted  \  and  most  judiciously  applied,  until  their  turbulent  spirits 
be  duly  expunged.  \  18 ig  Jan^  30  London  30  Jan''  i8ig  \  For  the  King  and  | 
Constitution,  j  John  Flogzvell  \  L  (H)  One.   Each  end  of  the  first  line  of  the 

879 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

text  is  over-printed  by  a  lion  with  a  coiling  tail  forming  N°,  and  a  row  of 
three  uniform  naked  figures,  kneeling  and  with  arms  held  above  the  head  and 
curved  forward  so  that  each  forms  the  figure  2.  These  little  men  are:  C — tt 
[Cobbett],  H — t  [Hunt],  and  H — e  [Hone],  with  the  caption  Quintessence  of 
Revolution.  In  the  upper  1.  corner  is  a  device  in  an  oval,  framed  by  a  devil's 
head  with  webbed  wings,  and  acanthus  leaves  surmounted  by  a  crown. 
Within  is  a  gibbet  with  a  ladder  against  it.  On  this  stands  a  devil  with  barbed 
tongue  and  tail,  adjusting  a  rope :  The  Knaves  desert  or  a  strong  bindifig  for 
a  Bookseller.  Caption :  A  Printer^ s  Devil.  Below  is  another  device :  the  curves 
of  the  L  (for  pound)  are  inscribed  A  Scourge  For  Rogues  With  Venomed  Stings, 
and  the  'H'  before  the  'One'  is  formed  of  a  set  of  stocks  in  which  a  man  sits, 
his  hands  tied  behind  him,  evidently  intended  for  Hone. 

Along  the  1.  margin,  at  r.  angles  to  the  text,  is  a  strip-design:  Pain  exempli- 
fied, Or  The  Age  Of  Reason  [see  No.  13274].  A  man,  H — e,  tied  to  a  cart's 
tail  is  being  scourged  by  Jack  Ketch.  The  cart  is  dragged  by  H — t  in  the 
shafts,  and  C — tt,  pulling  chains  attached  to  the  shafts.  Spectators,  men  and 
boys,  wave  their  hats. 

An  imitation  of,  and  counter-blast  to.  No.  13198.    Cobbett  was  still  in 
America,   see   No.    12878;   Hone  had  triumphed  over  EUenborough,   see 
No.  12899,  ^c->  ^^<^  ^^'^  received  a  handsome  subscription  from  'Friends  of 
the  Liberty  of  the  Press  and  Trial  by  Jury'. 
5^X8^  in. 


13201  JUSTICE  KICKING  LAW  OUT  OF  THE  MANSION  HOUSE! 

— Inscribed  to  the  Alderman  and  Deputy  of  Walbrook  by  an  Attorney  of  the 
Lord  Mayor's  Court 

Yedis  inv^    I  R  Cruikshank  fecit 

London  pu¥  [  ?  Jan.]  iSig  by  J  Sidebethem  N°  28y  Strand 

Engraving  (partly  coloured).  Above  the  design,  as  an  alternative  title:  The 
Difference  between  Law  and  Justice!!  A  corner  of  the  Mansion  House  forms 
the  background;  the  Lord  Mayor,  Atkins  (1.),  stands  on  an  exterior  stair, 
using  the  City  Sword  to  prod  the  posterior  of  a  visitor  who  takes  a  flying  leap 
over  a  parapet,  propelled  by  the  Mayor's  foot.  The  base  of  the  design  is 
formed  by  the  heads  and  shoulders  of  six  grinning  Mansion  House  footmen, 
wearing  bag-wigs  and  laced  liveries,  who  hold  up  a  blanket  to  catch  the  falling 
man.  On  the  wall  below  the  Mayor  is  a  placard:  Mansion  House — Atkins 
Mayor  Wanted  immediately  some  people  of  Temparate  Conduct  to  manage  the 
affairs  of  the  City.  The  Mayor,  in  profile  to  the  r.  and  in  violent  action,  his 
gown  flying  out  behind  him,  exclaims:  Take  that! — It  is  all  you  shall  get  here 
whilst  I  am  Master  of  the  house!  &  to  save  us  the  trouble  of  Turning  you  out 
every  day.  I'll  lock  up  the  Gates  and  Dine  at  a  Cook  Shop! — If  people  want 
a  Magistrate,  let  'em  go  to  Guildhall — /'//  not  be  insulted  by  you  or  any  of  your 
d d  Jacobin  party  that  clamour  for  Reform  and  always  oppose  the  Govern- 
ment!! Behind  him  stands  Thomas  Williams,  Deputy- Alderman  of  Walbrook 
Ward,  holding  an  evenly  balanced  pair  of  scales,  made  by  Dep'J  Williams 
Scalemaker  Cannon  S^;  one  side  is  behind  the  Mayor,  the  other  contains  a 
packet  of  Acc'^.  He  says :  /  will  not  produce  the  accounts  of  the  Ward — /  have 
Balanced  them  according  to  my  own  Scale  and  have  Weighed  the  consequences 
of  my  resolution!  The  ejected  man  has  dropped  a  Botheration  Bag,  from  which 
legal  documents  are  falling ;  he  is  surrounded  by  Writs  and  other  papers,  four 
being  inscribed  respectively :  Petition  to  the  Court  of  Aldermen  from  y"  Ward 
of  Walbrook  complaining  of  an  improper  influence  exercised  by  y^  Lord  May^  in 

880 


POLITICAL   SATIRES    1819 

Electing  the  members — ;  Indictment  against  Dep^  Williams  for  not  producing  y' 
accounts  of  the  Ward!;  Four  Actions  ag^  the  Lord  Mayor  and  his  servants  for 
Assaults!!;  Atkins  Bail  for  Dep^  Willia?ns.  He  says: 

Instead  of  Dinner  &  good  Wine 

I'm  treated  worse  than  common  Swine! 

And  "vi  et  armis"  put  to  flight 

In  trying  to  enforce  my  right — 

But  Red  Tape,  Sealing  Wax,  &  Writs 

Shall  fright  the  rascals  into  fits 

An  Ex  Officio  Information 

Shall  give  'em  cause  for  new  Vexation 

And  should  the  ^^ Capias  respondendum" 

And  such  like  remedies  not  mend  'em 
I'll  file  long  Bills  in  Chancery 
And  Teaze  the  Rogues  eternally!! 

On  19  Jan.  a  Court  of  Aldermen,  on  the  petition  of  one  Gibbons,  declared 
the  election  of  Common  Councilmen  for  Walbrook  Ward  illegal,  because  the 
Mayor,  as  Alderman  of  the  Ward,  had  refused  to  accept  a  candidate,  nominated 
by  Gibbons,  who  had  declared  that  he  would  not  serve  if  returned.  The  public 
were  excluded  during  part  of  the  meeting.  Examiner,  1818,  p.  62.  For 
Ex  Officio  Informations  see  No.  iijij,  &c.  The  Mayor  was  a  butt  of  the 
anti-Ministerial  party  in  the  City,  and  had  been  passed  over  for  the  Mayoralty 
in  1817  by  the  election  of  Wood  for  a  second  term,  see  No.  12809. 
8f  X12I  in. 


13202  ANCIENT  MILITARY  DANDIES  OF  1450—  Sketch' d  by  per- 
mission from  the  Originals  in  the  Grand  Armory  at  the  Gothic  Hall  Pall- 
Mall 

MODERN  MILITARY  DANDIES— OF  \U9—Sketch'd  without  permission 
from  the  Life — 

Etched  by  G  Cruikshank 

Pub'^  Feby  (?"'  i8ig  by  G  Humphrey  27  S^  James's  Street  London — 

Engraving.  Officers  in  uniform  and  others  are  inspecting  figures  in  armour 
standing  under  Gothic  alcoves  in  Carlton  House.  These  have  small  waists 
and  bulging  breasts,  like  officers  of  1 818-19,  but  are  taller  and  more  stalwart 
than  their  visitors.  They  have  helmets  with  heraldic  plumes;  one  with  open 
visor  has  a  life-like  face  with  moustache.  A  Life  Guards  officer  and  a  Lancer 
officer  walk  arm-in-arm,  both  wearing  elaborate  helmets.  Of  two  others,  one 
short  and  very  obese  Guards  officer  wearing  a  monstrous  bearskin  is  talking  to 
a  lady  who  confronts  him  with  a  Catalogue  of  the  Armour,  and  whose  bonnet 
completely  hides  her  face.  He  wears  the  Peninsular  medal,  and,  like  the  other 
two,  the  Waterloo  medal.  Another  lady  is  with  a  dandy  on  the  extreme  1.; 
both  ladies  wear  pelisses  reaching  to  their  feet. 

A  satire  on  the  Regent's  insistence  on  exotic  and  extravagant  uniforms, 
see  No.  13237,  and  on  the  Gothic  decor  of  Carlton  House.  A  similar  com- 
parison of  ancient  and  modern  is  No.  9136. 

Reid,  No.  869.   Cohn,  No.  884.   Reissued,  Cruikshankiana,  1835. 
9|x  13I  in.   With  border,  10^  X  14  in. 

881  3  L 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13203  SYMPTOMS  OF  CRIM.  CON.!!!— OR,  A  POLITICAL  VISIT 
TO  THE  HEIRESS  IN  THREADNEEDLE  STREET. 

/.  R.  C  fecit— 

Pu¥  Feby  12  i8ig  by  S  W  Fores  50  Piccadilly  &  112  Oxford  Street. 

Engraving  (coloured  impression).  Vansittart,  in  his  Chancellor  of  the  Ex- 
chequer's gown,  is  making  love  to  the  Bank  of  England,  personified  in  a 
handsome,  richly  dressed,  and  bejewelled  lady.  They  sit  on  large  sacks  of 
guineas,  that  of  Vansittart  inscribed  Treasury  Gold.  He  puts  his  r.  hand  rxi 
his  breast,  his  1.  arm  is  round  her  shoulders;  he  says:  My  dear  Lady  allO"^ 
me  to  prove  to  you  my  sincere  affection,  by  thus  devoting  myself  to  your  InteresU 
&  like  many  of  the  Nobility,  &  even  Royalty  itself,  who  permit  their  Protegees  ~ 
to  enrich  themselves  on  the  spoils  of  the  Public.  She  answers :  My  Szveet  Friend 
&  invaluable  Protector,  I  am  perfectly  sensible  of  your  unalterable  regard,  by 
the  many  proofs  of  your  attention  to  my  Interest,  &  tho  Johjiy  is  becoming  very 
clamorous,  &  dangerously  inqidsitive,  while  you  &  I  are  true  &  affectionate  to 
each  other,  zve  can  always  contrive  to  Cajole  him.  They  sit  in  a  strong-room 
filled  with  innumerable  money-bags  inscribed  with  large  sums  and  many 
cyphers;  there  is  also  a  large  chest  of  coin;  guineas  (or  sovereigns)  overflow 
on  to  the  floor.  Through  a  barred  opening  in  a  heavily  padlocked  door  John 
Bull  looks  in,  v/ith  a  frown  of  melancholy  anger;  he  says:  Oh,  ho,  now  I  see 
the  necessity  [of]  Secret  Committees,  I  think  this  smells  strong  of  a  Criminal  Con- 
nection. Sweet  indeed!  but  very  Dear  to  me.  Cajole' d  properly ,  but  I  have  now 
got  a  peep,  so  look  to  it  my  Patience  is  exhausted.  Beside  Vansittart  is  a  drawing 
of  a  gibbet  with  a  man  and  woman  hanging  from  it;  the  caption  is  Bank 
Restrictions.  On  the  ground  (1.)  are  torn  papers:  Plans  to  render  Ba?ik  Notes 
Inimitable;  a  rat  nibbles  them.  In  the  upper  1.  part  of  the  design  is  a  stack 
of  large  drawers  inscribed  respectively  Forged  Notes — at  least  suposed  so; 
Still  doubtful;  Our  own  Notes  which  have  been  refused  being  suspected,  since 
Paid;  Our  own  Notes  issued  with  Omissions.  Against  these  leans  a  board  headed 
Small  Profits.  [Items] :  Amount  of  Notes  lost  by  Fire  148, ygj,  Do  by  Sea — 
yg6,348,  Distroyed  by  Accidents— 64,2 2y,  Stolen  &  made  away  zvith  to  prevent 
detectiofi — 48,g6g,  Compound  Interest  on  Notes  kept  out  for  20,  30  &  40  years 
2,j6g,4'/5;  Secret  Profit  on  Guineas  for  which  Notes  have  been  Issued  863,g4y ; 
Use  of  Unclaimed  Devidends  i,364,g8y — [total]  £5656  y46.  Large  Projits  on 
Discount  advances  to  Gover?iment ;  Charge  for  government  busineness ;  Trade 
speculations  in  Omniums,  Foreign  Loans  &c  &c  &c  &c  &c.  too  much  to  meet 
the  Pubic  [sic]  Eye  ....  000  000  000  00. 

On  2  Feb.  18 19  Liverpool  moved  for  a  Secret  Committee  to  inquire  into 
the  State  of  the  Bank  of  England  with  reference  to  the  resumption  of  cash 
payments.  Pari,  Deb.  xxxix.  202.  A  justified  campaign  against  exorbitant 
profits  made  by  the  Bank  under  cover  of  the  restriction  of  cash  payments  and 
in  other  ways  was  begun  by  Pascoe  Grenfell  in  1815,  see  Smart,  Econ.  Annals 
of  the  Nineteenth  Century,  1910,  i.  433  f.,  &c.  In  1816  unclaimed  dividends 
on  Bank  stock  were  taken  by  the  Chancellor  of  the  Exchequer.  On  8  Mar. 
1 819  Vansittart  announced  a  restriction  on  the  perquisites  of  the  Bank,  secur- 
ing for  the  public  the  interest  on  the  Consolidated  Fund.  For  the  association 
of  Bank  Restriction  with  executions  for  passing  forged  notes  and  for  the 
'Plans  to  render  Bank  Notes  Inimitable'  see  No.  13 197.  The  print  per- 
haps derives  from  Gillray's  famous  satire  on  Pitt  ravishing  the  Old  Lady  of 
Threadneedle  Street,  No.  9016.  Cf.  also  No.  7838  (1791)  where  Pitt's  pro- 
posal to  use  unclaimed  dividends  is  represented  as  running  off^  with  the  Bank. 
Vansittart  alludes  to  the  Duke  of  York  and  Mrs.  Clarke,  see  No.  11216,  &c., 
and  to  the  Hertford  family.  For  the  title  cf.  No.  8925. 
9X  I2|  in. 

882 


POLITICAL   SATIRES    1819 

13204  A  MATCH  FOR  THE  KINGS  PLATE— BY  HACKS  !  THE 
COALITION  LAMB  CARRYING  DOUBLE  AGAINST  THE 
BARONET'S  RAT  TAILED  HOBBY— 

G  C.  etch'd 

Pu¥  Feby  2y^^  i8ig  by  G  Humphrey  2y  S'  James's  S^ 

Engraving  (coloured  impression).  Below  the  title :  NB  The  Old  Cart  Horse — 
rode  by  the  Huntsman — distanced — Odds  in  favor  of  the  Lamb.  The  West- 
minster candidates  are  racing  for  the  gate  of  the  Treasury,  a  stone  archway 
on  the  extreme  1.  In  front  is  a  lamb,  ridden  by  two  men,  with  linked  arms: 
George  Lamb,  wearing  the  Windsor  uniform,  sits  in  front  holding  up  a  (blue) 
flag  inscribed  Church  and  King,  implying  that  he  is  a  Tory ;  John  Cam  Hob- 
house  sits  facing  the  tail;  his  (red)  flag  is  inscribed  Glorious  Revolution  [of 
1688],  implying  that  he  is  a  Whig.  Just  behind  is  Burdett,  spurring  his  rat- 
tailed  horse  viciously.  Behind  him  on  the  animal's  hind-quarters  sit  an  ape 
and  a  little  monster  with  an  imbecile-looking  head.  The  former  holds  up  a 
tattered  tricolour  flag  inscribed  Radical  Reform,  the  latter  a  similar  flag 
inscribed  Universal  Suffrage.  Far  behind  gallops  a  grotesque,  emaciated,  and 
aged  cart-horse,  representing  Cartwright,  ridden  by  Hunt  as  a  hallooing 
huntsman. 

A  satire  on  the  by-election  for  Westminster,  caused  by  the  death  of  Romilly 
(2  Nov.).  Hobhouse  was  chosen  as  the  Reform  candidate  at  a  meeting 
(17  Nov.)  with  Burdett  in  the  chair;  though  a  Reformer  he  was  a  friend  of 
many  Whigs,  and  would  probably  have  been  unopposed  if  the  Westminster 
Committee  (see  No.  10732)  had  not  issued  a  report  attacking  Lord  Grey  and 
the  Whigs  as  apostates.  The  Whigs  therefore  decided  to  run  their  own  candi- 
date. Lamb.  On  nomination  day,  13  Feb.,  Hobhouse  declared  that  the  aim 
of  the  Reformers  could  be  attained  short  of  Universal  Suff^rage  and  Annual 
Parliaments,  and  was  supported  by  Burdett;  Lamb  avoided  explicitness  on 
Reform.  ?vlany  Radicals  therefore  repudiated  Hobhouse  as  a  political  hum- 
bug, and  accused  Burdett  of  trying  to  make  Westminster  a  close  borough. 
Hunt,  who  had  at  first  nominated  Cobbett,  supported  the  bogus  candidature 
of  old  Cartwright,  as  a  cover  for  abuse  of  Hobhouse.  The  Whigs  canvassed 
hard  for  Lamb.  The  result  (3  Mar.):  Lamb,  4,465;  Hobhouse,  3,861;  Cart- 
wright, 38.  The  theme  of  the  print  resembles  that  of  a  pamphlet  by  Place 
after  the  election :  'that  there  is  no  real  diff^erence  between  the  Whig  and  Tory 
factions,  except  the  difference  that  has  always  existed;  namely,  that  the 
Tories  would  exalt  the  Kingly  power  that  it  might  trample  upon  the  aris- 
tocracy and  the  people,  while  the  Whigs  would  establish  an  aristocratical 
oligarchy  to  trample  on  the  King  and  the  people'.  A  Reply  to  Lord Erskine  .  .  ., 
p.  4.  See  Examiner,  1819,  pp.  113-18,  129-33,  145-8;  Greville  Memoirs,  1938, 
i.  74-6,  77;  Wallas,  Life  of  Place,  pp.  132-9;  Patterson,  Sir  Francis  Burdett, 
1931,  ii.  477-85.   See  Nos.  13205,  13207,  13219,  and  No.  13252,  &c. 

Also  an  impression  with  the  'Universal  Suffrage'  flag,  its  holder,  and  part 
of  the  ape  cut  away,  leaving  a  hole. 

Reid,  No.  872.    Cohn,  No.  1717. 
7|x  13  in.   With  border,  9|x  13I  in. 

13205  A  CLOSE  QUESTION 

Pub'^  March  i  —i8ig  by  B  Taylor  9  Warwick  5'  Golden  Sq— 

Engraving  (coloured  impression).   Proof,  title  and  inscriptions  in  pen.  A  small 
section  of  the  hustings  in  Covent  Garden,  the  post  for  the  parish  of  5'  Jafnes 

883 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Westmi[nsteT]  being  on  the  extreme  r.,  that  of  S^  Martins  in  the  Feilds  rather 
to  the  1.  Heads  and  shoulders  of  the  crowd  form  the  base  of  the  design;  the 
words  spoken  are  enclosed  in  labels.  The  chief  figure  is  Burdett  speaking 
from  a  small  platform  projecting  from  the  hustings :  Now  Gentlemen  if  Tlf 
Lamb  should  be  the  successfull  candidate  what  will  he  do  for  you  let  him  answer 
that.  Hobhouse,  shorter  than  the  other  men  on  the  hustings,  stands  with  his 
r.  hand  grasping  the  St.  Martin's  post,  on  the  1.  side  of  which  stands  Lamb, 
with  the  head  of  a  sheep,  saying  Ba'a  Ba'a  Ba'a.  From  heads  in  the  crowd 
rise  the  words  (1.  to  r.):  No  Wigs  No  Torys.  Reform;  No  Coalition  No  Court 
Candidate ;  Come  M^  Sheep-face  tell  us  that. ;  No  Lamb  Hobhouse  for  Ever. 
See  No.  13204,  &c. 
ii^xSf  in.   With  border,  n^^XQ^  in.  'Caricatures',  xi.  151. 

13206  PRETTY  BOB.     POOR  BOB—     BANDY  BOB— 
G.  Cruikshank  sculps     [J.  Sneyd  del.] 

Pub'^  by  G  Humphrey  2y  S'  James's  March  J^'  i8ig. 

Engraving  (coloured  impression).  A  sequence  of  three  designs,  each  with 
title,  [i]  A  well-dressed,  healthy,  and  smiling  child  holds  a  hoop.  [2]  The 
same  child  transformed  into  a  climbing  boy,  'calling  the  streets',  with  his 
soot-bag  and  brushes.  He  is  a  black,  tragic  figure,  ragged,  with  bare  stick- 
like legs,  and  reddened  hands  and  feet.  Snow  is  on  the  ground.  [3]  He  stands 
gnawing  a  piece  of  bread  and  holding  his  brush.  His  soot-bag,  cap  (with  the 
statutory  brass  plate  for  his  master's  name),  and  shovel  are  on  the  ground. 
He  has  become  sturdier,  but  deformed,  with  bandy  legs  and  knock-kneed. 

A  plea  for  the  Chimney  Sweepers  Regulation  Bill  forbidding  the  use  of 
climbing  boys ;  it  was  brought  in  in  February,  passed  the  Commons  but  was 
defeated  in  the  Lords  by  Lauderdale  (see  vols,  vii,  viii).  A  second  Bill  not 
forbidding  the  use  of  boys  was  introduced  in  March,  again  defeated  in  the 
Lords.  Pari.  Deb.  xxxix.  426,  547,  899,  981,  &c.;  Smart,  Econ.  Annals  of  the 
Nineteenth  Century,  1910,  i.  713-16. 

The  drawing  was  sent  by  Sneyd  to  G.  Humphrey,  with  a  MS.  tale  by 
Maria  Edgworth,  apparently  never  published:  Humphrey  returned  the  MS., 
saying  he  would  put  the  matter  in  hand  immediately.  Bagot,  Canning  and  his 
Friends,  1909,  i.  226  f.  The  pi.  was  used  also  as  frontispiece  to  a  pamphlet: 
The  History  of  Poor  Bob,  the  Chimney  Sweeper,  pub.  G.  Humphrey,  18 19. 
(Cohn,  No.  670.) 

Reid,  No.  873.   Cohn,  No.  1868. 
Each  design,  6|  x  4j  in. 

13207  THE  FUNERAL  PROCESSION  OF  THE  RUMP.— 
G.  Cruikshank  inv^  et  fee' 

Pub^  March  22'^  i8ig  by  G  Humphrey  2y  S'  James's  S'  London — 

Engraving  (coloured  and  uncoloured  impressions).  After  the  title:  For 
Lamentable  ace'  of  Death  &c.  see  Rump  Chronicle  Extrao^^  March  3^  18 ig. 
Below  each  part  of  the  procession  are  explanatory  inscriptions  beginning  (1.): 
Order  of  Procession.  A  satire  on  the  defeat  of  Hobhouse  by  Lamb  at  the 
Westminster  Election.  The  Rump,  or  remnant  of  Reformers,  is  represented 
by  the  hind-quarters  of  a  cart-horse,  with  its  hoofs  in  the  air,  carried  on  a 
knacker's  cart,  the  front  of  which  is  formed  by  a  guillotine.  This  rump  is 
on  a  cofiin  inscribed  Hie  Jacit  Rumpibus.  Two  posts  at  the  back  of  the  cart 
form,  with  the  supports  of  the  guillotine,  four  uprights  connected  by  poles, 

884 


POLITICAL   SATIRES   1819 

each  topped  by  a  bonnet  rouge  with  tricolour  cockade,  and  hung  with  tricolour 
scarves  draped  in  black.  A  headsman's  axe  dripping  blood  projects  from  the 
top  of  the  guillotine.  The  cart,  inscribed  Peter  Knife  N acker  Tuthill  Fields, 
is  drawn  by  a  miserable  donkey  ridden  by  a  ragged  little  chimney-sweep  with 
a  bludgeon,  who  shouts :  Cm?«,  hup  ye  xxxxx  Warment  or  I'll  cut  your  xxxxx 
Rump  off!  This  is:  The  Rump  itself,  borne  on  ilf  Hobby's  Triumphal  Car  & 
drawn  by  an  Ass.  Two  hungry  dogs  eye  the  carcass,  towards  which  flock 
carrion  birds.  Beside  the  cart  walk,  two  a  side.  Pall  bearers,  Four  Bum-bailiffs, 
smartly  dressed  and  vulgar-looking,  whose  hat-scarves  are  formed  of  writs. 
Behind  the  cart  is  Hobhouse  riding  a  new  velocipede  or  hobby-horse  (see 
No.  13399).  ^^  weeps,  holding  up  a  handkerchief,  saying:  ''Fare  thee  zvell, 
&  if  for  ever,  Then  for  ever  Fare  thee  well,  words  appropriate  to  the  friend 
of  Byron,  see  No.  12827,  &c.  He  wears  a  large  tricolour  mourning-scarf 
round  his  hat;  a  long  cloak  or  train  hangs  from  the  collar  of  his  coat,  and  is 
held  up  by  Burdett  and  Francis  Place.  Captions:  Chief  Mourner,  IVP  Hobby- 
horse— suffering  y^  Tortures  of  the  D — dH — his  Train  supported  by  Bodkin!!  & 
the  Baronet — done  over!!!  Both  wear  mourning-scarves,  both  weep  copiously, 
stooping  forw'ard.  Place  has  a  cabbage  for  a  head,  emblem  of  tailordom,  cf. 
No.  1 1824,  and  holds  a  stiletto  or  bodkin,  as  if  it  were  a  dagger.  Burdett  says : 
To  think  that  I  should  have  eaten  salt  zvith  the  Lying  Chronicle!!  "tis  tlie  Only 
act  of  my  life,— I  am  ashamed  of ^"Afid,  yet,  it  can  not  be  for  that,  that  all  my  old 
friends  have  forsaken  me!!!!?  "yet  I  could  accuse  me  of  such  things,  &c" — • 
/  afn  very  "proud,  revengeful,  ambitious  ;  with  more  offences — at  my  back  than 
I  have  thoughts  to  put  them  in. — "  what  should  such  a  fellow  as  I  do  a-azding 
"between  earth  &  heaven?  we  are  "errant  Knaves  beleive  ?ione  of  us  ;"  At  his 
feet  is  a  paper:  Bombastes  Furioso.  Place  says:  "What!  can  daunt  the  soul  of 
a  master  Tailor?!!"  yet  "who  would  fardels  bear.  To  groan  &  sweat  under  a 
weary  life.  When  he  himself  tnight  his  own  quietus  make  zvith  a  bare  bodkin? 
Both  quote,  inaccurately,  Hamlet,  iii.  i. 

Behind  Burdett  walks  a  dwarfish  hunchback,  burying  his  face  in  the 
former's  coat-tails;  he  carries  a  pole  surmounted  by  ink-pot  and  empty  purse. 
Long  papers  hang  from  his  pocket:  Unpaid  Bills  Brooks  Sect'^  to  the  Rump 
and  Acc*^  of  money  paid  for  Bribery  &c.  He  sobs:  O!  Oh!  Oh!  OH!  The  day 
of  RecIioni?}g  is  at  hand!  Caption :  assis'  Mourn''  .Master  Brooke  full  of  Cutting 
panes.  He  is  followed  by  four  wig-blocks  resting  on  human  rumps,  and  having 
arms  in  which  they  hold  poles  with  black  and  tricolour  draperies  inscribed 
No  Wig.  They  are  The  Rump  Commit'^^  Blockheads  2  &  2 —  They  are 
followed  by  a  crowd  of  hideous  ruffians,  a  ferocious  mob  led  by  butchers 
holding  knives  and  choppers,  and  with  candles  stuck  in  their  bonnets  rouges 
(like  sewer- men).  Among  them  is  a  noseless  woman;  those  behind  have 
bludgeons  and  a  broom,  and  hold  up  a  (tricolour)  banner  inscribed :  No  King 
No  Lords  No  Com'  &  No  Clargy  No  Constitution  No  Lazes  No  Lamb  No 
Nothing  but  Burdett  &  Hobby  for  ever  &  ever.  They  shout:  Hob  for  ever!; 
Burdett  for  ever;  Hobhouse;  Hobhouse  for  ever  Burdett  for  ever;  Burdett  & 
Hobhouse  for  ever  no  Lamb.  Caption:  Phebotomizers  2  &  2 — The  rest  of  the 
followers — the  Scum  of  Earth. 

The  procession  (1.)  is  headed  by  the  hangman  carrying  a  pole  with  a  cross- 
piece  inscribed  Equality,  from  which  dangle  two  tiny  corpses;  this  is  sur- 
mounted by  a  bonnet  rouge.  He  is :  Mister  John  Ketch  Esq''.  After  him  march 
four  bow-legged  or  knock-kneed  ruffians;  two  carr^^  bundles  of  fetters,  two 
hold  banners  draped  with  ragged  black,  and  inscribed  respectively :  Hold  to 
the  Laws  i.e  take  'em  in  your  own  hands  •  No  •  Basteels,  and  Reform  [reversed] 
Freedom!!  and  No  Big  Wigs.  They  are:  Acquitted  Felons  two  &  two —  These 

885 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

four  wear  battered  hats  without  mourning-scarves.  Behind  them,  and  imme- 
diately in  front  of  the  ass,  walks  Thelwall,  wearing  a  hat  with  scarf  over  his 
bonnet  rouge;  he  holds  a  paper:  Champion  and  shambles  dejectedly,  saying, 
"//"  /  be  not  ashamed  of  my  company,  I  am  a  souc'd  Gurnet:"  "III  not  march 
through  Coventry  with  them  that's  flat".  He  is  M^  Thelwall  Esq^ .  Beside  him 
is  a  sign-post  pointing  (1.):  To  the  Bottom  less  Pit!!  To  this  a  rat  is  tied. 

In  the  foreground  (r.)  beside  the  procession  two  ragged  and  disreputable 
women,  apparently  ballad-singers,  sprawl  on  the  ground.  One  is  emaciated, 
under  her  hand  is  a  paper:  The  Rump  for  ever  to  the  tune  of  Rumpt — Bum — iti', 
from  her  mouth  stream  the  words:  Oh!  D — n  my  eyes  I  can't  stand  it  any 
longer;  in  her  bonnet  are  tricolour  ribbons:  Hothouse  for  ever.  The  other,  fat 
and  angry,  is  supported  by  a  hideous  scavenger  with  a  bottle  inscribed  Bribery 
&  Corruption.  She  kicks  a  little  ragged  boy,  who  exclaims:  Oh!  My  Rump! 
Caption :  ISB  The  fig^  in  y"  corner  represent  the  excessive  grief  of  some  Rumpti 
Tumti  female  Friends  of  the  Rump.  In  the  background  is  a  mound  with  a  sign- 
post: Tothill  Downs .  Down  the  slope  a  tiny  figure  of  Hunt,  wearing  hunting 
costume,  wheels  (r.  to  1.)  a  wheelbarrow,  A^"  38,  containing  the  carcass  of  a 
horse  (Cartwright)  inscribed  Universal  Suffrage  Annual  Parliament;  he  shouts 
cat's  meat!  In  front  walks  a  'Black  Dwarf,  Wooler,  as  in  No.  12988,  &c., 
dragging  the  barrow  by  a  rope. 

The  defeat  of  Hobhouse,  see  No.  13204,  &c.,  was  followed  by  outrages  by 
the  disgusted  mob  against  supporters  of  Lamb.  It  was  due  partly  to  Burdett's 
unpopularity ;  on  the  tenth  day  of  the  poll  he  attacked  the  Morning  Chronicle : 
'Out  of  the  many  accusations  which  that  paper  had  brought  against  him, 
there  was  one  to  which  he  must  plead  guilty  .  . .  "We  have  eat  salt  together". .  . 
he  had  indeed  once  dined  with  that  gentleman  [Perry],  but  he  could  assure 
them  that  it  was  the  only  act  in  his  life  of  which  he  was  ashamed.''  Examiner, 
1819,  p.  132.  See  Bagot,  Canning  and  his  Friends,  1909,  ii.  92.  For  'No 
Bastille'  as  Burdett's  election  cry  see  No.  9878.  'Acquitted  felon'  was  an 
epithet  applied  by  Windham  to  those  indicted  with  Hardy  (especially  Home 
Tooke,  Burdett's  mentor),  see  No.  9240.  Tothill  Fields  in  Westminster  was 
used  as  a  dumping-ground  by  scavengers.  For  the  funeral  procession  as  a 
symbol  of  defeated  political  hopes  see  No.  107 13  (from  which  this  print 
derives)  and  No.  11905,  &c. 

Reid,  No.  874.    Cohn,  No.  1142. 
7I X  23!  in.   With  border,  8|  X  24I  in. 

13208  HIGH  LIFE  BELOW  STAIRS! 

IRC  fecit 

London  piib^  by  S  W  Fores  $0  picadilly  March  25  i8ig 

Engraving  (coloured  impression).  After  the  title:  a  new  Farce  as  lately 
perform' d  at  the  Theatre  Royal  Brighton  for  the  edification  &  amusement  of 
the  Cooks,  Scullions,  Dishwashers,  Lick-trenchers,  Shoe-blacks,  Cinder-sifters 
Candle  Snuffers  &'^  &'^  of  that  Theatre,  but  zohich  zvas  unfortunately  Damn'd 
the  first  night  by  Common  Sense!  The  Regent,  very  drunk,  sups  in  the  kitchen 
at  the  Pavilion,  at  a  table  close  to  the  fire.  He  leans  back  in  his  chair  (r.), 
one  leg  on  the  table,  the  other  foot,  dragging  down  the  table-cloth,  rests  on 
broken  dishes  and  a  lobster,  and  is  deluged  by  wine  from  a  falling  goblet. 
He  jovially  holds  up  the  leg  of  a  bird  speared  on  a  carving-fork,  in  his  r.  hand 
is  a  broken  bottle;  his  waistcoat  is  unbuttoned,  his  neck-cloth  untied.  Stand- 

'  Place  wrote,  1819,  'there  is  not  a  meaner,  dirtier,  nastier,  filthier  lying  hypocrite 
in  all  the  world  than  [Perry]'.   Add.  MSS.  36,628,  fo.  37. 

886 


POLITICAL  SATIRES   1819 

ing  at  the  table,  in  back  view,  legs  astride,  his  chair  falling,  is  General  Bloom- 
field,  wearing  high  cavalry  boots,  and  tipsily  holding  up  bottle  and  goblet. 
A  French  cook,  presumably  Careme,  stands  at  the  foot  of  the  table  (1.),  his 
hands  raised  in  obsequious  mirth.  Two  maidservants,  one  holding  a  warming- 
pan,  watch  more  gravely  from  the  r.  Behind  them  two  menservants  look  in 
through  a  window  or  hatch. 

The  Regent  in  March  decided  one  night  to  sup  in  the  kitchen  of  the 
Pavilion;  a  red  carpet  was  spread  and  'the  good-humoured  Prince  .  .  .  with 
a  select  party  of  his  friends  .  .  .  spent  a  joyous  hour',  to  the  delight  of  the 
servants.  Brighton  Herald,  quoted  Examiner,  21  Mar.  1819,  with  the  com- 
ment: '"Kings",  says  Burke,  "are  fond  of  low  company".'  The  Prince  was 
fond  of  showing  guests  the  magnificent  kitchens  of  the  Pavilion.  Fulford, 
George  IV,  1935,  p.  177.  The  title  is  from  Townley's  popular  farce  (1759). 
See  Nos.  13209,  13210,  13211,  13212,  13215. 
8^X13^  in. 

13209  ROYAL  GEORGE  IN  THE  KITCHEN  OR  HIGH  LIFE  BELOW 

STAIRS. 

[Marks.] 

Pub.  by  y.  Johnston  Cheapside  \c.  Mar.  18 19] 

Engraving  (coloured  impression).  Beside  the  kitchen  table,  lit  by  one  candle, 
the  Regent  (1.)  sits  on  a  chair  with  a  fat  cook-maid  on  his  knee;  she  holds 
a  rolling-pin.   He  flourishes  a  goblet,  spilling  wine,  and  sings: 

You  may  baste  meat  at  leisure 

I'ts  my  will  and  pleasure 

Distinctions  betwixt  you  and  me. 

Hence  forward  shall  Cease 

In  Love  and  in  Peace 

The  P e  and  his  Cook  shall  agree. 

Yarmouth  (r.),  holding  a  negress  on  his  knee,  sings : 

How  sweet  and  bewitching 
Is  the  Queen  of  the  Kitchen 
So  here 's  to  your  health 
my  sweet  dear. 

Behind  the  table  another  courtier  kisses  a  woman.  A  jovial  footman  (r.)  brings 
in  a  bowl  of  punch.    On  the  floor  are  a  wine-cooler  and  bottles.    See  No. 
13208,  &c, 
8fxi3in. 

13210  HE  STOOPS  TO  CONQUER,  OR  ROYAL  GEORGE  SUNK!!! 

[Marks.] 

Pub"^  by  J.  L.  Marks.  Sandy's  Row,  Bishops  gate  [c.  Mar.  18 19] 

Engraving  (coloured  impression).  The  Regent,  bestriding  a  large  slanting 
spit,  inscribed  R — /  Spit,  kneels  on  one  knee,  addressing  a  fat  cook-maid  who 
screens  her  face  with  a  gridiron,  and  holds  a  Soup  Cover  against  her  apron. 
He  says :  By  my  R — /  Spit  I  szcear.  |  By  tny  pozcer  above  Declare.  \  (D — n  it 
I  hav'nt  zvords  enough)  \  I  Love  you  tho'  Kitchen  Stuff.  She  says  coyly :  Oh!  La! 
what  are  we  poor  things  below — /  can  not  resist — (jemminy  cracks)  if  he  should 
make  a  Countess  or  a  Lady  Mayoreass  of  me! — What  a  Stew  he's  in.  Behind 
the  Prince  (r.)  is  the  kitchen  fire  with  a  red-hot  poker  between  the  bars. 

887 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

Behind  (1.)  is  the  supper-table,  where  Yarmouth  and  (?)  Bloomfield  sit,  each 
amorously  toying  with  a  servant-maid.  The  former  says  to  the  not  unwilling 
girl  on  his  knee :  Cojne  Come  my  lass  you  must  not  be  modest  or  you  zoill  never 
do  for  High  life.  A  warming-pan  lies  beside  her.  The  other  woman  holds 
a  stick:  Hair  Broom  Stick.  On  the  floor  besides  broken  bottles,  &c.,  are  two 
papers:  Just  Published  The  Rape  of  Proserpine  [a  popular  Covent  Garden 
pantomime  by  L.  Theobald,  1725]  by  Jupiter — to  which  is  added  Love  a  la 
Mode  [a  farce  by  Macklin,  1760]  by  G.P.R.,  and  Love's  a  Tyrant.  Below  the 
title  I^:  — This  is  not  the  Royal  George  that  was  Sunk  at  Spithead  [in  1782]. 
this  was  Sunk  at  Brighton.  &  was  got  up  with  only  the  loss  of.  Bowsprit  and  that 
was  rotten  before!!!  See  No.  13208,  &c. 
8|Xi2|in7 

13211  ROYAL    KITCHEN    STUFF!— OR   A    GREAT    MAN    COME 
DOWN   TO   VISIT   HIS    MOST   OBEPT   HUMBLE    SERVANTS!!! 

{vide,  the  amusements  of  Brighton) 

LR.C.  fecit     Yedis  in^ 

Pub.  by  Sidebothmn  28y  Strand  i8ig 

Engraving  (coloured  impression).  The  Regent,  with  great  energy,  embraces 
a  very  fat  and  florid  cook.  A  pretty  young  maidservant  (1.)  tugs  at  his  coat- 
tails,  saying,  Baste  him  well!  Give  him  Goose  without  Gravy.  He  exclaims: 
Dont  be  alarm' d  my  dear!  I  only  zvant  to  see  how  my  private  affairs,  get  on 
below  here — So  shew  jueyour  Kitchen  Stuff.  She  answers,  flourishing  a  basting- 
ladle  :  La  Sir!  what  will  the  people  say  when  they  hear  of  your  meddling  so  often 
with  things  beneath  you! — Depend  on  it,  you'll  be  hauld  over  the  coals  &  finely 
Roasted  for  this!  On  the  extreme  1.  a  courtier  stoops  over  a  maidservant  who 
lies  on  the  ground,  saying.  What  a  dreadful  Stew  Pm  in!  He  adds:  Hold  your 
Sauce  you  Jade!  We  are  all  In  for  it!  so  you  had  better  take  it  quietly!  Two 
men  look  in  at  the  door,  grinning,  one  apparently  intended  for  Yarmouth. 
Behind  the  principal  couple  three  footmen  in  laced  coats  and  bag-wigs  are 
running  off;  one  (r.)  has  put  his  foot  in  a  fish-kettle;  he  says:  here's  a  pretty 
Kettle  of  Fish!  I'm  ahvays  getting  into  hot  Water.  On  the  extreme  r.  a  courtier 
(?  Bloomfield)  takes  by  the  shoulders  a  maidservant  with  an  apronful  of 
bottles,  &c.;  he  says:  Receive  him  civilly,  Molly  &  don't  hide  any  thing,  let 
him  Cover  it  himself  if  he  chooses,  he's  not  particular  at  a  Watering  place!  he'll 
thrust  his  Nose  any  where!  On  the  floor  are  two  papers : 

When  Bottle  the  eighth,  I  get  through 

I  make  Love  in  a  style  so  bewitching 

That  most  female  hearts  I  subdue 

From  the  Drawing  Room  down  to  the  Kitchen! 

and :  Theatre  Royal  Brighton  By  Command  of  the  P R*  High  Life  below 

Stairs  zvith  Animal  Magnetism  [farce  by  Mrs.  Inchbald,  1788,  cf.  No.  7748]. 

See  No.  13208,  &c. 
8fxi3in. 

1 32 1 2  BEAUTIES  OF  GREASE  [altered  to]  GREECE— OR— LUXURIES 
OF  THE  KREMLIN.    Vide  Brighton  Vagaries,   a  Kitchen  Frolic.  335 

[Williams.] 

Pub'^  by  T  Tegg  No  iii  Cheapside  London.  [c.  Mar.  1819] 

Engraving  (coloured  impression).  The  Regent,  very  tipsy,  one  leg  on  the 
supper-table,  leans  back  in  his  chair,  putting  a  hand  under  the  chin  of  each 

888 


POLITICAL   SATIRES    1819 

of  two  veiy  fat  maidservants  who  stand  one  on  each  side.  One  (1.)  stands 
with  her  back  to  the  fire  where  a  large  steak  is  grilHng;  she  holds  a  pair  of 
steak-tongs  and  a  glass  of  wine.  He  says  to  her:  Dolly  I  admire  your  Chops 
and  nozv  for  your  Rump  I  shall  find  out  the  beauties  of  the  Kremline  in  time! 
Dolly  I  have  a  great  mind  to  make  you  a  Dutchess  you"  II  make  a  nice  fat  Dutchess, 
and  Cis  here  shall  be  a  Countess.  Should  you  like  to  be  a  Dutchess  Dolly?  She 
answers :  A?iy  thing  your  Hiness  chuses  to  make  me!  General  Bloomfield  has 
risen  from  his  chair  (r.)  to  hand  a  glass  of  wine  to  the  other,  saying,  Come  Cis 
take  a  glass  of  Claret  my  girl  Countesses  [sic]  a  countess  should  drink  nothing 
but  Claret.  Men  cooks  and  soldiers  crowd  in  a  doorway  (r.)  to  watch.  One 
(?  Careme)  says:  Got  tarn!  vat  he  go  do  Dolly?  My  Dolly!  Another  says  to 
him:  Ah  ha!  I  think  you  are  done  with  Mon^  Fricasee.  On  the  table  are 
decanters,  &c.,  and  two  candelabra.  See  No.  13208,  &c.  The  Pavilion,  with 
its  onion  domes,  was  called  the  little  Kremlin. 
8fxi3  in. 

13213  EXERCISING  A  HOBBY  FROM  WALES  TO  HERTFORD!! 
[Marks.] 

London  Pu¥  by  J.  Sidebethem  28y  Strand.  March  30  i8ig 
Engraving  (coloured  impression).  The  Regent  and  Lady  Hertford  ride  one 
of  the  new  velocipedes,  see  No.  13399.  She  bestrides  and  grasps  the  pole,  but 
sits  on  his  knee,  he  leans  against  her  to  hold  the  handle-bar.  He  wears  military 
uniform  with  cocked  hat  and  pumps;  she  is  very  decolletee,  and  wears  a  triple 
ostrich  plume  in  her  hair.  Behind  them  (r.)  is  a  sign-post  pointing  (1.) 
To  Hertford  and  (r.)  to  Wales,  where  goats  stand  on  mountains.  In  the  back- 
ground (1.)  is  a  country  house. 

For  the  Regent  and  Lady  Hertford  see  No.  11853.    See  also  Nos.  13216, 
13220,  13221,  13222. 
8f  X  i2|  in. 

13214  MORE  ECONOMY  OR  A  PENNY  SAVED  A  PENNY  GOT' 
[W.  Heath.] 

Pub  April  8"'  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  The  Duke  of  York  rides  a  velocipede  (see 
No.  13399),  taking  long  strides,  on  a  country  road  from  London,  indicated 
by  St.  Paul's,  the  Monument,  &c.  in  the  background,  towards  Windsor 
Castle  on  a  hill  (1.).  He  wears  a  mitre  and  surplice  with  regimentals  and  jack- 
boots. He  turns  his  head  to  address  John  Bull  (r.),  a  paunchy  'cit'  who  stands 
stolidly,  his  hands  resting  on  a  stout  stick:  You  see  Johnny  I  dont  like  to 
Squajider  azvay  your  money  I  zvon't  have  any  more  Clarks  I  zvo?it  go  to  Valen- 
cienes  any  more  III  run  nothing  but  real  Dandies  there 's  a  Savei?ig  for  you 
Johnny  only  £10000  a  year  for  hearing  the  Doctors  Reports  &  pay  all  my 
Traveling  Expences  I  gave  M'^  Johnston  £8  for  this  Charger  the  Cheapest  I  could 
get  theres  Economy  for  you  you' I  live  iti  Clover  now.  John  answers,  with  pro- 
truding underlip :  Dang  it  Mistir  Bishop  thee  art  saveing  indeed  thee  used  to 
ride  in  a  Coach  and  Six  now  I  pay  thee  10.000  a  year  more  thee  art  Rideing 
a  zcooden  Horse  for  all  the  zvorld  Like  a  Gatepost. 

After  the  Queen's  death  the  Duke  of  York  was  requested  by  the  Regent 
(25  Jan.)  to  undertake  the  office  of  Gustos  Personae  Regis  at  a  salary  of  ;^  10,000. 
Embodied  in  the  Windsor  Establishment  Bill  (passed  30  Mar.)  this  was  hotly 
debated,  Opposition  and  some  independent  members  contending  that  the 

■  Serial  number  erased. 

889 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

salary,  if  any,  should  be  a  charge  on  the  Privy  Purse ;  that  the  only  expense 
entailed  would  be  for  four  horses  once  a  week  for  the  journey  to  Windsor. 
The  Duke,  who  was  hopelessly  in  debt,  see  Greville  Memoirs,  1938,  i.  83-4, 
incurred  unpopularity  by  the  appointment.  Corr.  of  George IV,  1938,  ii.  266-8 ; 
Pari.  Deb.  xxxix.  552  ff.,  &c.;  Ann.  Reg.,  1819,  ch.  ii;  Examiner,  1819,  28  Mar. 
For  the  Duke  of  York  as  (former)  titular  Bishop  of  Osnaburgh,  see  No.  1 1227; 
for  his  'Clark',  No.  11216,  &c.  'Valencienes'  is  an  allusion  to  the  Duke's 
first  campaign  in  Flanders,  ultimately  a  failure ;  but  at  the  fall  of  Valenciennes, 
28  July  1793,  the  French  garrison  hailed  him  as  King  of  France  and  the  way 
to  Paris  lay  open,  cf.  Nos.  8337,  11023.  For  the  Duke's  appointment  see  also 
Nos.  13215,  13217,  13220,  13221,  13222,  13223,  13224,  13226,  13229,  13235, 
13243,  13247,  13277,  13278,  13407. 
7||Xi2|in. 

13215  ROYAL  HOBBY'S.—  '341 

[G.  Cruikshank.] 

London  Pii¥  Ap^  g""  18 ig  by  T  Tegg  N°  iii  Cheapside 
Engraving  (coloured  impression).  Two  adjacent  designs,  [i]  The  Regent 
tipsily  bestrides  a  fat  and  ugly  cook,  who  is  on  her  hands  and  knees;  he 
flourishes  a  bottle  of  Royal  Max  [gin]  and  a  glass  and  shouts:  Ha!  ha! 
D — me!  this  is  glorious!  this  is  Princely!! — better  fun  than  the  Hertford  Hobby 
[see  No.  13213] — Kitchen  stuff  &  Dishclouts  for  ever  I  say  D — me!! — If  the 
rascals  caricature  me,  I'll  buy  em  All  up  d — me.  The  cook,  still  holding  the 
broken  dish  from  which  a  huge  cod's  head  has  fallen,  exclaims :  Oh!  Master 
do  let  me  alone  &  see!  you've  thrown  the  Cods  head  &  Shoulders  all  in  the  dirt! 
In  the  background.  Lady  Hertford,  wearing  a  coronet,  looks  angrily  from  a 
doonvay.  On  the  floor  in  the  foreground  are  a  Royal  Greas  Pot,  rolling-pin, 
and  a  ladle,  with  a  play-bill:  Brighton — under  the  Pub  \^2Ax\onage  of  {the 
Princ]e  Regent — High  Life  below  Stairs  Principle  Character — G  P  R.  See 
No.  13208,  &c. 

[2]  The  Duke  of  York,  very  erect,  rides  a  velocipede  (see  No.  13399)  ^^ 
profile  to  the  r.,  with  Mrs.  Carey  behind  him  in  a  little  seat  over  the  back 
wheel,  her  hands  on  his  shoulders.  He  wears  Windsor  uniform  of  military 
cut,  with  breeches,  spurred  top-boots,  and  a  top-hat,  which  he  raises.  Across 
the  pole  hangs  a  fat  purse  inscribed  10,000  p^  atin"'  Gustos  [Persotiae  Regis] 
which  serves  as  saddle.  He  says:  /  say  Carey:  this  Windsor  job,  is  a  devilish 
snug  concern  &  this  saddle  bag  makes  it  very  pleasant  riding! — /  wish  our  army 
had  been  mounted  on  these  Hobby's  in  Flanders ;— I  don't  mean  Waterloo — 
She  answers:  /  knozv  what  you  mean; — but  it  is  a  good  joke,  to  think  while  the 
Establishment  of  the  Father  is  redu'^  at  Windsor:  the  sons  Establish  is  increas'd 
at  Fulham — tis  properly  coming  York  over  John  Bull.  In  the  background 
John  Bull,  a  sturdy  fellow,  stands  with  folded  arms  outside  a  miserable 
thatched  hut  where  women  and  children  are  crouching.  He  says  fiercely: 
£10,000  a  year  for  a  son  to  do  his  duty  to  his  Father!!!!!!  whilst  my  Children 
are  starving!!! — '^Fie  out!  O  Fie  'tis  an  umveeded  garden  that  grows  to  seed 
things  rank  &  gross  in  nature posess  it  merely."  [Hamlet,  I.  ii.]  After  the  title: 
"De  gustibus  non  est  disputandum  :—that  is  ;  there  is  no  disputing  against  Hobby - 
Horses  ;" —  Tristram  Shandy . 

The  most  bitter  of  the  attacks  on  the  Duke  of  York's  grant,  see  No. 
13214,  &c.  Mrs.  Carey  lived  at  Fulham,  see  No.  11050.  The  pi.  is  depicted 
in  a  print  of  Jan.  1821  attacking  Tegg  for  support  of  George  IV. 

Reid,  No.  884.    Cohn,  No.  1920. 
Each  design,  8Jx6^  in. 

890 


POLITICAL   SATIRES   1819 

13216  A  P****E,  DRIVING  HIS  HOBBY,  IN  HERDFORD!!! 

[Marks.] 

Pub'^  April  g^^  i8ig,  by  E.  Brooks,  16,  Panton  Street,  Haymarket. 

Engraving  (coloured  impression).  The  Regent,  with  long  strides,  propels  a 
velocipede  with  a  seat,  facing  his  own  saddle,  on  which  Lady  Hertford  sits 
bestraddling  his  legs.  He  leans  forward,  in  profile  to  the  1.,  his  chin  resting 
between  her  spherical  breasts.  He  wears  military  uniform  with  cocked  hat 
and  pumps.  She  wears  a  crown-like  coronet  with  triple  ostrich  plume;  the 
Prince's  feathers  decorate  her  seat.  He  steers  by  straps  attached  to  the  handle- 
bar which  is  behind  his  passenger's  back.  There  is  a  landscape  background. 
One  of  many  prints  in  which  the  Regent  rides  with  Lady  Hertford  on  a 
velocipede,  see  No.  13213,  &c. 
8^Xi2f  in. 

13216  a  a  copy,  reversed  (or  the  original)  of  No.  13216,  with  the  same 
title,  without  underlining,  and  without  imprint.  The  figures  are  the  same  size. 
8^X11^  in. 

13217  MAKING  MOST  OF  £10,000  PER  ANN.  BY  SAVING  TRAVEL- 
LING EXPENCES. 

Marks  fed 

(Pub''  by  J.  L.  Marks  N°  2  Sandy  s  Row  Bishopsgate         [c.  Apr.  18 19] 

Engraving  (coloured  impression).  Below  the  title :  (That  is)  going  on  Monthly 
Visits  to  Windsor!  as  Appointed  by  ******  [George]  havitig  only  the  small  sum 
of  Ten  Thousand  Pounds  Per  Year  granted  for  that  Arduous  task,  has  tcisely 
procured  a  Pedestrian  Hobby  Horse. —  The  Duke  of  York  rides  (r.  to  1.)  a 
velocipede  (see  No.  13399),  taking  long  strides,  and  leaning  tensely  forward. 
He  wears  regimentals  with  cocked  hat  and  jack-boots.  In  the  background  (1.) 
is  Windsor  Castle;  on  the  r.  is  a  sign-post  pointing  (1.)  To  Windsor  and  (r.) 
to  Oatlands.  He  says:  Every  Man  has  his  Hobby  Horse  mi?ie  is  worth  Ten 
Thousand!!! 

See  No.  13214,  &c.   For  Oatlands  see  No.  13226. 
8|x  12J  in.   With  border,  8|x  I2|  in. 

13217a  A  close  copy  with  the  same  title,  without  signature;  imprint: 
London  pub:  by  Sidebethem  28  j  Strand  18 ig.  The  brackets  enclosing  'That  is' 
are  omitted,  the  words  'only'  and  'small'  are  underlined. 
8^Xii|in. 

13218  AMERICAN  JUSTICE!!  OR  THE  FEROCIOUS  YANKEE 
GENL  JACK'S  REWARD  FOR  BUTCHERING  TWO  BRITISH 
SUBJECTS!!!— 

Yedis  inv^    Etched  G  C^ 

London  Pub.  April  i8ig  by  J  Sidebetham  28y  Strand — 

Engraving  (coloured  impression).  President  Monroe  (r.),  seated  in  state, 
receives  General  Jackson,  offering  him  a  paper:  The  Government  of  the 
Floridas;  he  says:  There's  your  Reward!  Where  e'er  you  catch  the  English 
String  'em  up  like  Herrings! — Go,  Rob  the  Indians!  Seize  their  Country!  Sell 

891 


CATALOGUE   OF  POLITICAL  AND   PERSONAL   SATIRES 

^  em  for  Slaves!  Liberty  &  Equality  are  only  intended  for  the  inhabitants  of  the 
United  States!  We'll  take  care  Nobody  else  shall  etijoy  any!  The  scene  is  open 
country,  Jackson's  men,  ragged  and  ferocious  ruffians  like  the  Jacobin  soldiery 
of  English  caricature,  stand  at  attention  behind  him  and  on  the  President's  r. 
A  noseless  officer  holds  a  tattered  American  flag  topped  by  a  spray  of  olive. 
Some  have  muskets,  some  spears,  with  daggers,  pistols,  and  plunder,  repre- 
sented by  poultry  hanging  from  the  bundles  on  their  backs.  Monroe's  seat, 
raised  on  two  steps  and  flanked  by  curtains,  is  decorated  by  crossed  daggers 
dripping  blood,  and  supporting  a  cap  of  Liberty  with  tricolour  cockade ;  one 
dagger  is  inscribed  English  Blood,  the  other  Indian  Blood;  this  emblem  is 
above  a  motto:  American  Liberty.  At  his  feet  is  the  inscription:  American 
Liberty! — that  is  Liberty  to  make  Slaves  of  the  poor  unoffending  Indians.  Beside 
him  are  papers :  A  list  of  Frigates  &  warlike  Stores  now  getting  ready  to  make 
War  ag'  England  as  soon  as  zee  can  afford  it! — "our  poverty  not  our  Will  consents 
to  a  state  of  Peace!  and  Un-natural  &  Inveterate  hatred  of  all  Englishmen. 
Jackson  advances  delightedly  to  take  his  reward ;  his  belt  bristles  with  daggers, 
all  dripping  blood.  The  ground  at  his  feet  is  strewn  with  papers:  The  Frog 
&  the  Ox,  a  fable  applicable  to  American  Ambition;  A  plan  how  to  7tiake  a 
Frigate  carry  loo  Guns  &  looo  tuns  of  Scalding  Water  to  work  by  Steam 
while  the  Men  skulk  below!  AB — this  perhaps  will  make  us  a  Match  for  the 
English  seventy  fours!! — ;  Report  of  the  American  Committee  censuring  the  con- 
duct of  Gen^  Jack!;  The  brutal  &  unjustifiable  Murder  of  Ambrister  &  Arbuth- 
not,  English  subjects  by  the  Ruffian  Yankee  General,  even  ag^  the  sentence  of  his 
own  Court  Martial;  Injustice  Oppression  &  Cruelty!;  Yankee  Doodle's  come 
to  Town  Oh!  Yankee  Doodle  Dandy!;  The  Shannon  &  the  Chesapeake  or  a 
small  taste  of  flagellation  for  American  presumption  [see  No.  12080].  On  the 
extreme  1.,  behind  Jackson,  stand  two  dwarfish  ragamuffins;  one,  with  a  skull 
tied  on  his  head,  holds  a  horn ;  the  other  has  a  drum  and  two  bones  for  drum- 
sticks. Behind  these  is  an  oafish  man  leaning  on  a  headsman's  axe.  In  the 
background,  across  the  sea  (1.),  Britannia  sits  on  her  island  with  her  (angry) 
lion  beside  her.  She  extends  an  arm  to  the  ghosts  of  Ambrister  and  Arbuthnot, 
who  appeal  to  her  from  among  clouds,  for  Revenge!  Revenge!  After  the  title : 

"Britons!  strike  home" 
Revenge  your  Country's  wrongs" 

Andrew  Jackson  (President,  U.S.A.  1828-36),  who  had  acquired  fame  by 
the  repulse  of  the  British  at  New  Orleans  in  181 5,  was  sent  in  181 8  to  attack 
Seminole  Indians  from  Florida  who  were  making  trouble  on  the  frontier. 
He  followed  them  into  Spanish  territory,  and,  setting  aside  the  sentence  of 
a  court-martial,  hanged  two  British  subjects,  Robert  Christian  Ambrister  and 
Alexander  Arbuthnot,  who  had  been  exercising  hostile  influence  with  the 
Indians.  These  actions  were  challenged  in  the  Senate  and  Monroe  did  not 
overtly  defend  Jackson.  Later,  he  appointed  him  the  first  Governor  of 
Florida,  but  not  (Diet,  of  Am.  Biog.)  till  the  ratification  in  1821  of  the  treaty 
with  Spain;  the  print  is  thus  remarkably  prophetic.  The  Report  of  a  Com- 
mittee of  the  Senate  (21  Feb.  1819)  on  the  'Seminole  War'  blamed  Jackson 
for  the  execution  of  the  two  British  subjects  who  were  prisoners  of  war.  An?i. 
Reg.,  1819  (Chron.),  pp.  140-54.  The  Examiner  remarks,  16  Aug.  1818, 
apropos  of  'talk  of  an  approaching  war',  that  the  'principal  Government 
Journal  and  the  Opposition  one  seem  equally  agreed  not  to  discuss  this  appar- 
ent outrage'.  C.  K.  Webster  writes  'had  Castlereagh  been  compelled  to  take 
Parliament  into  his  confidence  war  would  have  been  bound  to  ensue'.  Cam- 
bridge Historical  Journal,  i.  163  (1924).  The  matter  was  raised  in  the  Lords  by 
Lansdowne  on  11  May.  Pari.  Deb.  xl.  287  ff.   See  also  Narrative  of  a  Voyage 

892 


POLITICAL   SATIRES    1819 

to  the  Spanish  Main  .  .  .  Appendix  on  the  Seminole  War  and  the  execution  of 
Ambrister  and  Arbuthnot,  18 19.  The  first  steam  warship  was  the  Fulton,  a 
paddle  steamer  of  38  tons,  constructed  for  the  U.S.  Navy  in  1814-15.  Cf. 
No.  12090. 

Reid,  No.  882.   Cohn,  No.  883. 
8^X13  J  in. 

13219  COVENT  GARDE?N,  3°  MARCH,   1819. 

A.  Beugo  Inv*     G  Cruikshank  fed 

[Published  April  20,  18 ig.  For  A.  Beugo  Print  Dealer,  Maiden  Lane, 
Covent  Garden.] 

Engraving.  Frontispiece  to  Patriotic  Allegory,  by  Peregrine  Castigator  (not  in 
B.M.).  The  design  is  framed  by  an  arch  supported  on  pillars,  a  royal  crow^n 
in  place  of  keystone,  and  on  each  side  a  portcullis  (the  badge  of  Westminster) 
in  a  wreath.  The  British  lion  stands  with  tail  erect,  one  paw  on  the  body  of 
a  serpentine  monster  with  four  moribund  heads :  Hobhouse,  the  words  Quack! 
quack!  quack!  issuing  from  his  mouth;  Burdett,  profile  downwards,  with  his 
bonnet  rouge  falling  off;  Hunt  wearing  a  hunting-cap,  and  Wooler,  black  and 
negroid  (as  the  Black  Dwarf,  see  No.  12988).  The  last  wears  a  Phrj'gian  cap 
terminating  in  the  neck  and  head  of  a  goose,  defiantly  emitting  the  words : 
Cariwright  and  38!!!  All  four  wear  Jacobin  cockades  in  their  caps.  Above 
the  design :  Annual  Parliafjients  &  Universal  Suffrage,  deceased. 

A  satire  on  the  defeat  of  the  Reformers  at  the  Westminster  Election,  see 
No.  13204,  &c. 

Reid,  No.  875.   Cohn,  No.  639  (reproduction). 
6|X4it  in. 

13220  ROYAL  HOBBY'S,  OR  THE  HERTFORDSHIRE  COCK- 
HORSE! 

[Cruikshank.] 

Piib'^  Ap^  20'^  i8ig  by  M.  Clinch  20  Princes  Str'  Soho — 

Engraving  (coloured  impression).  The  Regent  rides  (1.  to  r.)  a  velocipede 
(see  No.  13399)  ^^^^^  ^  ^o^^'  curved  bar  or  pole  on  which  he  lies  prone,  his 
chin  resting  on  a  pad  where  the  pole  curves  upwards  over  the  front  wheel, 
his  legs  extended  on  each  side  of  the  back  wheel.  Above  the  back  wheel  three 
ostrich  feathers  project  from  the  pole,  giving  the  contour  of  man  and  machine 
some  resemblance  to  that  of  a  cock.  His  paunch  fits  the  bar,  and  is  strapped 
to  it  by  a  girth.  He  steers  by  bars  projecting  from  the  hub  of  the  front  wheel, 
above  which  is  a  crown.  Lady  Hertford,  fat  and  decolletee  and  wearing 
a  coronet  (or  crown),  bestrides  his  back,  flourishing  a  knotted  whip  with  a 
sceptre  for  handle.  A  garter  inscribed  Ich  Dien  floats  round  her  much- 
exposed  knee,  and  from  her  neck  hangs  the  jewel  of  the  George.  She  holds 
reins  inscribed  Hertford  Leading  String  attached  to  the  Regent's  mouth  and 
digs  spurs  into  him,  exclaiming :  G  up!  G  O! — Oh!  dear!!  this  is  a  delightful 
way  of  Riding!!!  The  Regent :  Aye,  aye,  it  may  be  very  delightful  to  you  ;  but 
it  is  devilish  hard  work  for  me! — 7ny  legs  feel  so  tired  I  don't  think  I  shall  be 
able  to  stand  for  a  month  to  come:  Oh!  my  back!!  Oh  00...  Behind  (1.)  is  a 
sign-post  pomting  to  the  r.  To  the  Horns,  Inn.  Hertford.  On  the  ground  is 
a  paper :  Push  along  keep  Moving — an  old  Song  to  a  new  tune  [cf.  No.  9010,  &c.]. 
Behind,  and  on  a  smaller  scale,  the  Duke  of  York  (r.)  rides  a  velocipede  in 
the  opposite  direction,  near  a  sign-post  pointing  To  Windsor.  He  wears  field 

8q3 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

marshal's  uniform,  with  plumed  cocked  hat,  his  r.  arm  in  a  sling;  he  is  erect 
with  his  1.  hand  on  the  steering  bar.  He  says:  Although  my  Hobby  is  one  of 
10,000  yet  I  had  a  tumble  so  I  wo^  advise  you  both  to  mind  what  you  are  about. 

For  the  Regent  and  Lady  Hertford  on  a  velocipede  cf.  No.  13213,  &c.  The 
Duke  alludes  ostensibly  to  his  recent  accident,  see  No.  13226,  &c.,  actually 
to  the  Clarke  scandal,  see  No.  11216,  &c.,  which  caused  his  resignation  from 
the  office  of  C.-in-C.  (cf.  No.  11724).  For  the  grant  of  ^10,000  see  No. 
13214,  &c.  The  manner  resembles  that  of  Marks,  see  No.  13221. 

Reid,  No.  886.    Cohn,  No.  1921.    The  pi.  was  suppressed,  according  to 
Layard,  p.  75. 
8^X12-1  in. 

13221  R***L  HOBBY'S!!! 
Marks  fecit 

London  Pub^  by  J.  L.  Marks  N'^  2  Sandy's  Row  Bishopsgate.  i8ig 
Engraving  (coloured  impression).  An  imitation,  or  more  probably  the  original 
of.  No.  13220.  The  Regent  is  not  strapped  to  the  machine,  the  feathers  are 
more  erect  and  do  not  suggest  a  cock's  tail-feathers,  Lady  Hertford  does  not 
use  spurs  and  does  not  wear  the  jewel  of  the  George.  Her  garter  and  rein 
are  inscribed  as  in  No.  13220,  the  handle  of  her  whip  is  R — /  Sceptre.  The 
sign-post  points  To  Hertford.  The  Duke  of  York  runs  with  more  vigour. 
The  words  spoken  are  different.  Lady  Hertford :  Come  up  you  idle  fellow,  I'll 
make  you  Drive  it  Home! — you  shall  retnember  pushing  your  Hobby  in  Hertford!/! 
The  Regent :  Oh  dear  Fred. — this  is  tight  work  for  a  P — e  of  my  Constitution! 
I  do  not  think  I  shall  be  able  to  Push  it  Home.  The  Duke :  Ha!  ha!  it  is  rather 
troublesome  George. — but  my  Hobby  is  one  of  10,000!!!  See  also  No.  13223. 
9Xi3|in.  ~ 

13222  ACCIDENTS  IN  HIGH  LIFE  OR,  ROYAL  HOBBY'S,  BROKE 
DOWN!   Dedicated  to  the  Society  for  the  Suppression  of  Vice. 

[G.  Cruikshank.] 

Pub'^  Ap^  24^''  i8ig  by  E.  King  25  Chancery  Lane 

Engraving  (coloured  impression).  The  Regent  and  Lady  Hertford  fall  head 
first  from  a  velocipede  or  hobby-horse  (see  No.  13399),  the  pole  supporting 
the  saddle  having  broken.  The  end  of  the  bar,  curving  over  the  front  wheel, 
and  surmounted  by  a  coronet,  is  inscribed  Royal  Roley  Poley.  The  Regent 
has  (inconspicuous)  ass's  ears ;  his  coat-collar  is  inscribed  Royal  Horse  Collar. 
On  one  foot  is  a  buckled  pump,  on  the  other  a  sandal  adjusted  to  gouty  toes. 
He  says :  Oh  dear!  Oh  dear!  who  wo^  have  thought  the  Pole  had  been  so  rotten! 
— /  wish  I  had  a  new  one: — however  this  Hertford  Road  is  so  d — d  rough  Pll 
not  drive  on  it  any  more — Pll  go  the  Richmond  road  next  time.  Lady  Hertford 
(r.)  grasps  a  birch-road  in  her  r.  hand,  her  coronet  falls  off.  She  screams: 
Oh!  My  Back! — Oh!  My  Side!!  curse  you  &  the  Pole  too:  I  was  a  great  fool 
to  trust  myself  with  such  an  Old  Stick — Pve  got  into  a  pretty  mess  by  it!  zvhat 
will  the  M—q—s  say  to  it?!!!  !!!  !!! 

In  the  background,  on  a  grassy  slope  near  a  stone  inscribed  Mile  from 
Windsor,  the  Duke  of  York  falls  violently  from  his  velocipede ;  he  wears  boots 
with  huge  spurs;  his  1.  elbow  rests  on  a  cushion  inscribed  10,000  p^  ann'". 
He  exclaims:  Oh!  my  Arm!!! — D — n  the  Spurs!  'tis  a  d — d good  thing  I  did'nt 
break  my  Neck!!  indeed  it  would  have  been  a  hell  of  a  fall  as  it  is,  if  it  had  not 
been  for  this  Cushion. 

For  the  Regent  and  Lady  Hertford  on  a  velocipede  see  No.  13213,  &c. 

894 


POLITICAL  SATIRES   1819 

The  first  allusion  to  the  Regent's  alleged  infatuation  with  the  Duchess  of 
Richmond,  see  No.  1323 1,  &c.  For  the  Duke  of  York's  accident  see  No. 
13226,  &c.;  for  his  grant  of  ,(^10,000,  No.  13214,  &c. 

Reid,  No.  887.   Cohn,  No,  864.   The  Bruton  impression  was  autographed 
'Sorry  to  say  this  is  by  me,  G.  C   Layard,  p.  75  f. 
8fxi3in. 

13223  R— L  HOBBY'S!!! 

London  Pu¥  Apr:  2y — 18 ig — by  T.  F.  Flook;  yi  Leadenhall  Street. 

Engraving  (coloured  impression).  An  imitation  of  No.  13221.  The  Regent 
and  the  Duke  of  York  both  ride  velocipedes,  each  with  his  mistress  bestriding 
his  back.  The  machines  are  so  constructed  (as  in  No.  13220)  that  the  rider 
lies  prone,  his  chin  supported  on  a  cushioned  section  of  the  pole,  the  handle- 
bars projecting  from  the  hub  of  the  front  wheel.  The  Regent  is  in  the  fore- 
ground in  profile  to  the  r.,  a  sign-post  (1.)  points  To  Hertford.  His  fat  rider 
wears  a  marquis's  coronet;  she  uses  a  whip,  the  handle  a  R — L  Sceptre,  and 
reins  attached  to  the  Regent's  mouth,  and  inscribed  Hertford  Leadirig  Strings. 
At  her  knee  is  a  garter  inscribed  Ich  Dien ;  on  the  back  of  the  velocipede  is 
the  Prince's  plume  of  feathers  (these  details  being  as  in  No.  13220).  She  says : 
Come  up  you  idle  fellow,  you  get  so  lazy  that  Fred — u-ill  distance  us  at  this  rate 
— you'll  not  drive  your  Hobby  home  to  night.  The  Duke  is  in  the  middle 
distance,  riding  r.  to  1.,  near  a  sign-post  pointing  To  Windsor.  He  is  not  quite  so 
prostrate  as  his  brother,  to  whom  he  says :  Come  on  my  Boy  you  seem  to  slacken 
in  your  pace,  you  ca?inot  yet  be  tired  of  the  Road — mine  has  10,000  Charms!!! 
Mrs.  Carey  is  slight  and  simply  dressed,  she  uses  leading-strings  for  reins  and 
holds  out  a  scourge,  saying,  Well  done  Fred — you  are  yet  as  active  as  a  young 
Man  &  can  manage  your  Hobby  dexterously —  Behind  the  back  wheel  is  tied 
a  basket  containing  tiny  birds  and  labelled  Carey's  Chickens. 

For  the  Duke  and  Mrs.  Carey  see  No.  1 1050,  &c.,  for  his  grant  of  ,(^10,000, 
No.  13214,  &c. 
9X13-^  in. 

13224  PULL    DEVIL,    PULL    BAKER!    OR,    PASTORS,    VERSUS 
FLOCKS;  IN  THE  MATTER  OF  LOAVES  &  FISHES!!.—  342 

G.  C' 

London  Pu¥  by  T.  Tegg  iii  Cheapside  April  jo'*  i8ig 

Engraving  (coloured  impression).  The  title  continues:  "Is  it  meet  that  we 
should  take  the  Bread  from  our  Children  &  cast  it  unto  Dogs"?!!  In  the  centre 
is  a  large  bag  on  which  are  eyes,  nose,  and  mouth  registering  apprehension 
and  directed  to  the  r.  It  is  heaped  with  loaves  and  fishes,  and  from  the  upper 
edge  extends  to  1.  and  r.  a  long  strip  at  each  of  which  opposite  parties  are 
tugging  (1.):  sheep  on  their  hind-legs  and  (r.)  bloated  and  carbuncled  parsons 
from  whose  bulging  pockets  coins  and  fish  are  falling.  The  1.  strip  is  inscribed 
Petitions  from  Every  Parish  in  the  City — against  the  unjust  &'  Greedy  demands 
of  the  L:  Clergy.  The  r.:  Claims  of  the  London  Clergy.  The  sheep  (twelve) 
stand  on  dry  ground;  from  their  heads  ascend  nine  labels  inscribed  (r.  to  1.): 
"Woe  unto  you.  Scribes  &  Pharisees,  hypocrites!  for  ye  devour  Widows'  houses, 
&  for  a  pretence  make  long  prayers  therefor  ye  shall  receive  the  greater  damna- 
tion" [Mat.  xviii.  13-14] ;  "  Woe  loitoye  .  .  .  [ut  supra]/or  je  are  fidl  of  Extortion 
^  excess"  [ibid.  25] ;  ''For ye  are  like  unto  whited sepulchres  .  .  .  [&c.]  [ibid.  27] ; 
"They  are  not  in  trouble  as  are  other  men:  neither  are  they  plagued  like  other 
men"  [Ps.  Ixxiii.  5];  "Their  Eyes  stand  out  with  fatness:  they  have  more  than 

895 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

heart  could  wish:"  [ibid.  7];  "They  are  corrupt  &  speak  wickedly  concerning 
oppression:  they  speak  loftily"  [ibid.  8];  We  like  the  Parsons  very  well,  but  we 
like  ourselves  better — so  hold  firm ;  All  the  corruption  is  of  their  side  &  look  what 
a  Cur'tis  that  is  supporting  them — ;  To  attempt  to  drain  money  from  us  at  a  time 
like  this  is  shameful — 'tis  a  disgrace  to  the  Cloath.  The  parsons  (ten),  who  are 
as  uniform  as  the  sheep,  say  (1.  to  r.):  Dash  fny  wig!  who  would  have  thought 
the  Sheep  had  got  so  much  pluck  [of.  No.  10922],  as  to  oppose  us!!;  Pull  away 
ye  jolly  dogs!  &  hold  fast  behind  or  the  d — d  sheep  faced  Villians  will  certainly 
prevail  against  us;  as  the  Duke  [cf.  No.  13214]  got  10,000  a  year  for  doing 
nothirig  I  dont  see  why  we  may'nt  get  a  few  thousands  for  doing  nothitig  also — 
so  pull  away  fny  boys!!! ;  You  are  so  d — dfat,  I  can't  lay  hold  of  you ;  Hungary 
dogs:  (they  say)  will  eat  dirty  pudding  but  d — d  the  dirt  I  say  so  long  as  we  can  get 
the  pudding;  Stir  up  dirt  &  it's  sure  to  Stink!  we  had  better  have  been  cofitent 
with  what  we  had  which  you  know  was  quite  enough ;  Fve  a  great  mind  to  send 
my  beloved  flock  to  Everlasting!!!!  !!!!  Danmation!!!!^  for  their  cursed  opposi- 
tion. They  stand  in  a  pool  inscribed  Milk  &  Honey;  at  their  feet  are  loaves 
and  fishes,  those  in  the  bag  exclaim,  some  to  the  sheep  (1.):  Save  us  good 
Sheep ;  For  y^  Children's  Sake,  save  us;  Save  us  good  Alasters;  Help  help.  Others 
turn  to  the  r.,  saying:  Save  us  good  Priests!  Spare  m  good  Parsons!  and 
Ye  greedy  wolves!  what  the  devil  do  you  want?  have  ye  not  got  your  full  of 
us?  !!!!!!!!!!! 

In  the  foreground  lie  papers:  A  Quakers  toast.  "Confusion  to  the  Black 
Slugs  that  devour  the  10"'  part  of  the  poor  mans  property;  Jure  Divino;  Some 
acc^  of  a  desperate  attempt  to  obtain  the — Golden  Fleece ;  Sermons  ags'^  Covet- 
ousn[ess] ;  The  Beggars  Petition;  And  a  Begging  we  will  go — a  Catch  to  the  tune 
of  the  Vicar  of  Bray.  In  the  background  (centre)  is  a  pillar  supporting  a 
golden  calf;  round  this  little  fat  parsons  dance  in  a  ring  while  others  kneel 
or  grovel  in  obeisance.  They  are:  The  Fat  of  the  Land.  After  the  title:  "The 
Rev'^  &  very  Rev^  Mendicants  of  y^  City  must  be  a  little  sore  when  they  see  y^ 
Petitions  from  their  beloved  flocks,  who  come  forward  in  such  numbers  to  shozv 
how  little  they  deserve  what  they  are  begging." — Examiner  Ap^  11  i8ig  [p.  234, 
without  italics],  where  the  quotations  from  Ps.  Ixxiii  (above)  are  recommended 
to  the  petitioning  clergy. 

A  satire  on  the  London  Clergy  Bill,  for  augmenting  the  stipends  of  certain 
incumbents,  based  on  a  petition  signed  by  them,  see  Pari.  Deb.  xxxix.  1 143-53. 
This  was  violently  attacked  in  the  anti-clerical  Examiner,  on  28  Mar.,  4  and 
II  Apr.:  Sir  W.  Curtis  (a  Tory  banker  and  Alderman,  and  a  favourite  laugh- 
ing-stock), brother-in-law  of  Mr.  Roberts,  Rector  of  St.  Peter's  Cornhill,  had 
asserted  that  the  living  was  worth  not  ^^600  but  ^^300.  A  list  of  twenty-four 
pluralists  among  the  London  clergy  is  given.   Cf.  Nos.  13225,  13276,  13277. 

Reid,  No.  888.   Cohn,  No.  1878. 
8gXi3^  in. 

13225  PILLARS  OF  THE  CHURCH. 

[Williams.]  [?  1819] 

Engraving  (coloured  impression).  Perhaps  a  pi.  from  Tlie  Busy  Body.  A 
church  seen  from  the  west  front  is  supported  by  different  degrees  of  clergy 
and  laity.  A  fat  and  gigantic  bishop  sits  bestraddling  the  door,  his  legs  sup- 
ported by  three  little  men:  one  holding  a  book  of  P  .  .  .  Rates  (1.)  and  another 
with  a  book  of  Parish  Rates  stand  on  the  inner  sides  of  the  bishop's  calves ; 

'  'Damnation!!!!'  is  scored  through  and  barelj'  legible. 

896 


POLITICAL  SATIRES    1819 

seated  on  their  shoulders  is  the  third  who  supports  himself  by  two  identical 
volumes:  Parish  Ac'^.  His  hat  reaches  the  waist  of  the  bishop,  who  sits 
arrogantly,  a  hand  on  each  thigh.  On  the  bishop's  shoulders  stands  an  equally 
fat  but  slightly  smaller  (rich)  parson  who  forms  the  church  tower.  The  apex 
of  the  steeple  is  formed  of  a  thin  and  ragged  parson,  who  stands  with  hands 
together  as  if  in  prayer.  On  his  head  is  a  pig,  emblem  of  tithes,  round  which 
birds  are  flying.  The  gable-end  is  made  of  irregular  boards  inscribed  Sermons 
(ten  times),  Psalms  (four  times),  Hyjnns  (once),  Devotion  (once).  Two  large 
books  form  the  roof:  Testament  and  Bible.  The  eaves,  or  corners  of  the  books, 
are  supported  by  two  slim  young  men  in  academic  cap  and  gown  who  lounge 
against  the  building  with  folded  arms.  Cf.  Nos.  13224,  13248. 
6|X4|  in. 

13226  CONJUGAL  FELICITY  IN  HIGH  LIFE. 

PA^illiams.] 

Pub'^  [c.  April]  i8ig  by  S.  W  Fores  N°  50  Piccadilly. 

Engraving  (coloured  impression).  Two  designs,  side  by  side,  [i]  The  Duke 
of  York  sits  squarely  in  an  arm-chair  looking  up  amorously  at  a  comely  young 
woman  who  leans  on  his  shoulder  as  she  adjusts  a  sling  on  his  1.  arm.  She 
says :  Pll  carey  [altered  to  carrey^  you  home  to  the  stable  Yard  my  Dear!  where 
I  will  fiiirse  you  as  tenderly  as  I  zcoidd  my  own  Chickens ;  or  as  Kate  does  her 
dogs  ;  and  as  for  John  Bulls  Pll  [sic]  natured  assertions  of  its  being  a  Judgment ; 
never  mind  it,  who  cares  for  what  he  says,  or  what  he  thinks!!  He  exclaims : 
Oh!  you  dear  Angel!!  He  wears  uniform  with  very  wide  white  trousers  and 
huge  spurs.  His  sword  lies  on  the  ground  across  a  paper:  Physicians  Report. 
His  field-marshal's  cocked  hat  and  her  bonnet  and  shawl  are  on  a  sofa  (r.). 
Through  a  window  (1.)  is  seen  the  tower  of  Windsor  Castle  with  the  Royal 
Standard.  [2]  The  Duchess  of  York  sits  in  an  arm-chair,  bandaging  the  leg 
of  a  large  dog  who  lies  in  her  lap,  looking  up  at  her  sentimentally.  Just  behind 
her  is  a  door  round  which  a  man  looks;  he  wears  a  hat  and  puts  a  finger  to 
his  nose,  saying,  Broke  his  Neck!  She  answers,  without  turning  her  head: 
Indeed!  well  Pll  go  and  see  as  soofi  as  Pve  bound  up  dear  Fidells  pretty  toe! 
poor  dear  ting,  I  hope  you  haven't  hurt  yourself  my  dear,  dear  Cullene!  Beside 
her  is  a  table  covered  with  medicaments :  Riga  Balsam,  Opodel[doc],  7'wr7H[eric] 
Cere  .  .,  Friars  [Balsam],  Lint,  Dyachy[lon  plaster].  She  is  surrounded  by 
eight  dogs  of  different  breeds :  one  lies  on  a  cushion  suckling  puppies,  another 
fawns  on  the  man  at  the  door.  A  cupboard  with  an  open  door  contains  books 
on  dogs,  e.g.  History  of  Dogs,  History  of  King  Charles  Breed,  with  a  heap  of 
dog-collars  inscribed  York.  The  book-case  is  surmounted  by  a  statuette  of 
Tobit  &  his  Dog.  On  the  wall  are  pictures  of  famous  dogs:  Lezvellings  Dog 
[Gelert  who  saved  a  child  from  a  wolf],  Carlo  the  Drury  Lane  Roscius  [in  7'Ae 
Caravan,  who  saved  Sheridan  from  ruin,  see  No.  10172,  &c.].  The  Dog  of 
Montargis  [that  killed  his  master's  murderer]. 

On  12  April  the  Duke  of  York,  while  at  Windsor  to  receive  the  physician's 
report  on  George  HI,  see  No.  13214,  &c.,  broke  his  r.  arm  from  a  fall  caused 
by  a  spur  catching  in  'the  loop  at  the  bottom  of  his  pantaloons'.  Examiner, 
1819,  p.  250.  For  Mrs.  Carey  see  No.  1 1050.  'Dear  Angel'  is  from  the  Duke's 
letters  to  Mrs.  Clarke,  see  No.  11228,  &:c.  The  Duchess  devoted  herself  to 
dogs,  'at  least  forty',  besides  birds  and  monkeys,  at  Oatlands  Park.  See 
Greville  Memoirs,  1938,  i.  57-60;  Croker  Papers,  1884,  i.  122.  Cf.  Nos.  11023, 
12989,  12996,  13227.    For  the  accident  see  also  Nos.  13220,  13221,  13222, 

13247- 

Each  design,  8|x6|  in, 

897  3M 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13227  A  SCENE  IN  THE  NEW  FARCE  CALLED  THE  RIVALS— 
OR  A  VISIT  TO  THE  HEIR  PRESUMTIVE. 

[Williams.] 

London  Pu¥  [c.  April]  i8ig  by  S  W  Fores  50  Piccadilly — 
Engraving  (coloured  impression).  The  Duchess  of  Cambridge  sits  in  state, 
one  foot  regally  on  a  footstool,  with  her  infant  son  on  her  knee.  Her  husband 
leans  on  the  back  of  her  chair.  She  raises  a  lace  veil  from  the  child  to  show 
him  to  the  Duke  and  Duchess  of  Clarence,  who  advance  from  the  1.,  arm-in- 
arm, and  bending  forward.  The  Duke,  in  admiral's  uniform,  his  coarse  profile 
caricatured,  looks  displeased,  the  Duchess  envious.  He  says:  Fll  try  again! 
&  a  boy  too  Fll  warrant!  She  says :  Mine  was  a  much  finer  Child!  much  hand- 
somer and  more  like  his  Father.  Both  parents  look  at  them  in  silent  triumph. 
On  the  r.  stands  the  Duke  of  Kent  with  raised  forefinger,  with  the  Duchess 
holding  his  1.  arm.  She  is  in  an  advanced  state  of  pregnancy,  to  which  he 
points,  saying  to  the  Clarences,  Don't  be  in  haste!  I  shall  soon  put  you  all  out, 
my  Dear  Duchess  assures  me  it  will  be  a  Boy,  &  you'll  never  have  another,  it's 
all  over  at  your  house!!!  Behind  the  Duchess  of  Kent  stands  the  Duke  of 
Cumberland,  as  usual  in  hussar  uniform,  putting  a  glass  to  his  eye.  His  wife 
puts  her  hand  on  his  shoulder,  saying :  Fm  afraid  we  have  but  small  chance 
now!  our  labour  is  all  in  vain.  She  holds  a  paper  inscribed  Psalms  [Salms,  see 
No.  12591,  &c.].  Looking  up  at  her  is  the  tiny  Duchess  of  York  with  a  reticule 
on  her  arm  containing  a  book:  Complete  Dog  Fancier  [see  No.  13226,  &c.]. 
She  says :  That 's  right  tny  good  Sisters  at  it  again  the  race  is  for  a  Crown — 
for  my  part  I  never  had  any  chance,  or  indeed  very  littel  indeed!  so  littel  in 
comparison  to  a  Yard. 

For  the  royal  marriages  after  Princess  Charlotte's  death  see  No.  12987,  &c. 
On  26  Mar.  at  Hanover,  the  Duchess  of  Cambridge  had  a  son  (1819-1904) 
who  for  eight  weeks  was  heir  presumptive.  On  27  Mar.  the  Duchess  of 
Clarence,  also  at  Hanover,  had  a  daughter  who  survived  a  few  hours.  On 
24  May  the  Duke  of  Kent's  daughter  was  born,  and  on  27  May,  in  Berlin, 
the  Duke  of  Cumberland's  son  (King  of  Hanover  1851-66). 
8|Xi3  in. 

13228  ECONOMY— OR  A  DUKE  OF  TEN  THOUSAND,  TAKING 
A  MONTHLY  JOURNEY. 

[Williams.]  [?  i  May  181 9] 

Engraving.  PI.  from  the  Bon  Ton  Magazine.  The  Duke  of  York,  dressed  as 
a  field-marshal,  rides  (r.  to  1.)  a  velocipede  (see  No.  13399)  towards  Windsor 
Castle,  depicted  in  the  background.  A  sign-post  (1.)  points  To  Oatlands  (r), 
the  opposite  direction  to  \]S/i2\d'\enhead,  with  cross-posts  To  London  and  To 
Windsor.  He  looks  over  his  1.  shoulder  to  say:  This  Hobby  Horse  has  just 
come  in  the  nick  of  time,  I  shall  be  able  to  visit  my  Old  dad  at  little  expence — 

as  for  John  Bull  growling  at  my  taking  the  money — he  may  be . 

See  No.  13214,  &c.  A  companion  pi.  to  No.  13243. 
6f  X4t^  in.   With  border,  7^X4!  in. 

13229  SALES  BY  AUCTION!— OR  PROVIDENT  CHILDREN  DIS- 
POSING OF  THEIR  DECEASED  MOTHER'S  EFFECTS  FOR  THE 
BENEFIT  OF  THE  CREDITORS!!— 

Yedis  inv^     G  C  fee' — 

Pub'^  May  6^''  1819  by  J  Sidebetham  N°  28y— Strand— 

Engraving  (coloured  impression).   The  Regent  stands  in  profile  to  the  r.  on 

a  high  rostrum,  hammer  in  hand,  selling  by  auction  the  property  of  Queen 

898 


POLITICAL   SATIRES   1819 

Charlotte.  He  has  a  gouty  leg,  and  stands  on  tiptoe,  his  paunch  resting  on 
the  sloping  desk.  The  Duke  of  York,  his  r.  arm  in  a  sling  (see  No.  13226), 
sits  at  a  desk  below  the  rostrum,  pen  in  hand,  acting  as  auction  clerk.  On 
his  stool  is  a  cushion  inscribed  [£]io.ooo —  Under  the  stool  is  a  bundle  of 
papers :  Clarks  Charges.  A  footman  in  livery  holds  up  for  inspection  a  ragged 
petticoat  supported  on  a  pole.  The  Regent  holds  up  a  tattered  shawl,  saying: 
Here  are  some  genuine  articles  from  an  Indian  Prince  to  the  deceased  owner  & 
sav'd  Entirely  for  the  Moths  as  they  zcere  never  zvorn — poor  soul  she  died  very 
poor  having  given  azvay  all  her  money  in  Charity  So  pray  my  good  people  Bid 
Liberally  or  the  Children  zvill  be  destitute!.'  On  the  extreme  1.,  behind  the 
Regent,  stand  three  princesses  and  three  Royal  Dukes,  the  Duke  of  Cumber- 
land only,  with  his  one  eye  and  moustache,  being  clearly  characterized;  the 
others  seem  to  be  Clarence  and  Kent.  The  most  prominent  are  two  ver\' 
stout  ladies  wearing  small  crowns,  probably  the  Queen  of  Wiirtemburg  and 
the  Princess  of  Hesse-Homburg;  they  extend  their  hands  in  melancholy 
supplication.  At  the  table  in  front  of  the  rostrum  five  ladies  sit,  with  cata- 
logues. One  is  a  hideous  old  woman  with  a  pet  dog,  one  a  pretty  girl,  the 
others  are  concealed  under  bonnets  and  pehsses.  The  men  stand  together 
on  the  r.,  one  is  a  dandy.  A  very  ugly  old  man  peers  through  a  spy-glass. 
Behind  them  is  a  large  four-post  (ivory)  bed  decorated  with  elephants.  This 
is  A  bribe  [scored  through  and  replaced  by]  Gift  from  Governor  Hastings 
Lot  5 —  The  Queen's  gowns,  bonnets,  shawls,  stockings,  &c.,  hang  on  pegs 
on  the  wall  on  the  1.,  marked  Lot  4,  Lot  12,  &c.  On  the  floor  by  the  rostrum 
are  three  large  jars  of  snuff  (cf.  No.  12066):  Queens  Mixture  (with  the  Royal 
Arms),  Strasburg,  Princes  Mixture;  these  are  Lot  7,  Lot  8;  a  big  pile  of  snuff- 
boxes, and  a  set  of  china  tea-things.  On  the  wall  are  pictures:  one  is  of  the 
Queen  (her  head  concealed)  weighing  guineas  in  scales  (cf.  No.  81 17,  &c.) 
by  the  light  of  one  candle;  another,  behind  the  bed,  is  of  Danae  receiving  the 
golden  shower. 

The  last  of  a  long  series  of  attacks  on  the  Queen  for  miserliness  started  by 
Gillray  in  1786,  see  No.  6945 ;  it  is  here  associated  with  the  debts  and  financial 
difficulties  of  her  children.  The  Queen's  property  was  sold  by  auction  at 
Christie's,  between  7  JNIay  and  26  Aug.,  see  Clifford  Smith,  Buckingham 
Palace,  pp.  93-7.  She  had  no  money  to  leave;  her  jewels  were  estimated  at 
jr200,ooo.  Croker  Papers,  1884,  i.  120  f.  See  the  will.  Examiner,  1819,  p.  23. 
The  allusion  to  the  'Indian  prince'  is  to  the  jewels  given  to  the  Queen,  see 
No.  6978,  &c.  The  ivory  bed  presented  to  the  Queen  by  Mrs.  Hastings  was 
a  subject  of  the  Rolliad,  No.  viii,  cf.  No.  7324;  the  favour  shown  by  the 
rigidly  correct  Queen  to  the  divorced  wife  of  Imhoff  gave  rise  to  scandal. 
For  the  Duke  of  York  and  Mrs.  Clarke's  charges  see  No.  11216,  &c. ;  for  his 
^10,000,  No.  1 32 14,  &c.  Cf.  No.  6968  where  the  Prince,  as  Charles  Surface, 
sells  his  family  portraits  by  auction. 

Reid,  No.  889.    Cohn,  No.  1950. 
84  X  13!  in.   With  border,  8^X  13I  in. 

13230  A  ROUGH  SKETCH  OF  THE  TIMES  AS  DELENIATED  BY 
SIR  FRANCIS  BURDETT. 

[Row'landson.] 

Pub"^  May  9""  i8ig  by  Tho'  Tegg  .  .  . 

A  reissue  (coloured)  of  No.   11553,  the  date  altered  from   1810  to   1819. 
Burdett  between  The  Genius  of  Honour  and  Integrity  and  The  Monster  of 
Corruption.   A  plea  for  Reform. 
Grego,  Rowlandson,  ii.  365. 

899 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13231  THE— P****E'S— PRIVY— PIMP!!!, 

J.L.M.  [Marks] /ec' 

London  Pub^  by  E.  Brooks  N°  i6  Panton  S^  Haymarket — May.  12^'' 

1819 

Engraving  (coloured'  and  uncoloured  impressions).  Bloomfield,  in  regi- 
mentals and  wearing  a  gorget  inscribed  PR,  enters  a  room  with  a  rapid  step 
to  take  the  hand  of  the  fat  but  comely  Duchess  of  Richmond.  She  says  with 
a  calculating  and  complacent  smile :  But  if  Richmond  should  know  it.  Bloom- 
field,  in  profile  to  the  r.,  smiles  knowingly,  answering :  /  am  a  Colonel  in  bloom 

from  a  field  and  can  assure  you  the  P will  cover  all  that  with  a  good  Place 

only  Keep  your  counsel.  The  Duchess's  decolletee  dress  is  patterned  with  roses 
(the  family  motto  being  'En  la  rose  je  fleuris'),  the  carpet  is  (inconspicuously) 
patterned  with  antlers  and  stags'  heads.  On  the  wall  are  two  pictures:  one 
of  the  Duke  of  Richmond  seated  on  the  ground  under  a  tent  or  canopy 
receiving  two  negroes  who  kneel  before  him;  antlers  sprout  from  the  heads 
of  all  three.  This  is  Horned  Cattle  of  Canada.  The  other  is  of  the  Regent, 
grossly  caricatured,  seated  full-face,  with  his  gouty  legs  extended  on  foot- 
stools ;  he  grins,  holding  a  large  goblet  of  Punch ;  a  large  Punch  bowl  is  beside 
him,  his  chair  is  decorated  with  bottles.  He  sings  the  catch:  Punch  cures  the 
Gout!  [see  No.  9449]. 

One  of  many  prints  suggesting  a  liaison  between  the  Regent  and  the 
Duchess  of  Richmond  (married  in  1789,  see  No.  7594).  The  Duke  had  been 
made  Governor  of  British  North  America  in  May  1818;  he  died  in  Canada 
of  hydrophobia  in  Aug.  1819.  The  scandal  may  derive  from  little  more  than 
the  Duke's  appointment  and  the  Duchess's  tenancy  of  7  Waterloo  Place  (in 
place  of  Richmond  House)  close  to  Carlton  House.  The  Duchess  told  the 
Regent  that  Wellington's  'young  men  were  the  authors  of  the  caricatures  .  .  .'. 
H.M.C.,  Bathurst  MSS.,  1923,  p.  479.  Major-General  Bloomfield  succeeded 
McMahon  in  18 17  as  Keeper  of  the  Privy  Purse  (an  office  connoting  'Privy 
Pimp'  for  the  caricaturists,  cf.  No.  11874),  Private  Secretary,  and  factotum 
of  the  Regent.  See  Nos.  13222,  13232,  13234,  13235,  13241. 
8|Xi2^  in. 


13232  THE  MUNCHAUSENESS  OF  HERFORD!!! 

Marks  fec^ 

London  Pub^  by  E.  Brooks  N"  16  Panton  Street  Haymarket. 

[c.  May  1 81 9] 

Engraving  (coloured  impression).  Lady  Hertford  sits  astride  the  giant  mortar 
known  as  the  Regent's  Bomb,  see  No.  12799,  ^c.,  which,  realistically  depicted, 
is  flying  through  the  air,  its  muzzle  pointed  upwards  and  to  the  r.  She  is  very 
decolletee,  and  displays  her  leg  between  dress  and  stocking.  In  her  r.  hand 
is  a  match,  held  towards  the  touch-hole,  her  1.  forefinger  points  upward.  She 
wears  a  coronet  and  jewels;  between  her  spherical  breasts  is  a  miniature  of 
the  Regent.  She  says:  I'll  set  light  to  the  Touch-ole  and  see  if  it  will  give  the 
Bomb!  any  extra  motion,  and  should  a  couple  of  Balls  give  a  mortal  blow  to 

R d  [Richmond],  it  will  be  a  lucky  Stroke. 

For  the  Regent  and  Lady  Hertford  see  No.  11853,  &c.,  and  the  Duchess 
of  Richmond,  No.  1323 1,  &c. 
I2|x8|  in. 

'  'Caricatures',  xii.  94. 

900 


POLITICAL   SATIRES    1819 

13233  A  GENTLE  RIDE  FROM  CHARLTON  HOUSE  TO  WATER- 
LOO PLACE. 

[Marks.]  I 

London  Pub^  by  M.  Clinch  N°  20  Princes  Street  Soho.       [c.  May  18 19] 

Engraving  (coloured  impression).  The  Prince  Regent  rides  a  handsome  white 
horse  in  profile  to  the  r.,  past  the  corner  of  a  large  house  in  Waterloo  Place. 
He  doffs  a  large  bell-shaped  top-hat  to  the  Duchess  of  Richmond  who  stands 
under  an  Ionic  portico  above  the  ground  floor,  a  fairly  correct  representation 
of  the  facade  of  Waterloo  Place,  recently  built,  close  to  Carlton  House.  The 
Duchess  of  Richmond  was  one  of  the  first  tenants  (at  No.  7).  Summerson, 
John  Nash,  1935,  p.  206.  She  is  fat,  decolletee,  welcoming,  and  wears  a 
coronet.   He  sings: 

On  Richmond  Hill  there  lives  a  lass. 

More  brighte  than  May  day  morn, 
Whose  charms  all  other  maids  surpass 

A  Rose  without  a  thorn. 

This  lass  so  neat,  with  smils  so  swee  [sic] 

Has  wo?i  my  heart  complete, 
Pd  crown  resign  to  call  her  [altered  to]  you  mine. 

Sweet  Lass  of  Richmond  Hill  [altered  to]  Waterloo  Place. 

See  No.  1323 1,  &c.    Charlton  (for  Carlton)  House  connotes  the  former 
house  of  the  Princess  of  Wales  at  Charlton,  Blackheath,  actually  Montagu 
House.   'The  Lass  of  Richmond  Hill'  is  by  McNally,  but  see  A^.  &  O.  5th  s. 
ix.  495;  X.  169. 
ii|X9i  in. 

13234  A  VISIT  TO  RICHMOND— TO— ALLEVIATE  THE  GOUT. 

[Williams] 

London  Piib'^  by  S,  Sidebethem  28y  Strand  [c.  May  18 19.] 

Engraving  (coloured  impression).  The  Regent  sits  amorously  beside  the 
Duchess  of  Richmond  on  a  settee;  she  supports  his  gouty  r.  leg  which  rests 
on  her  knee.  He  says:  Try  zchat  you  can  do  zvith  my  Leg — /  can  do  no  good 
in  Town — it  don't  agree  zvith  me.  therefore  I  am  come  to  visit  &  take  a  Bed 
with  you — perhaps  a  change  of  place  will  revive  me — /  was  always  fond  of 
Richmond  if  you'll  undertake  it  Pll  endeavour  to  Stop!!—  She  answers:  You 
must  haze  patience,  that  is  the  only  remedy — you  have  had  it  too  long  about  you 
to  attempt  any  thing — you'll  get  rid  of  it  in  time!  and  nozc  I  feel  it  I  think  it  has 
decreased  in  size,  and  all  the  injlamation  has  subsided — hozcever  if  you  zvish  to 
spend  a  little  time  with  me  you  are  zeelcome  to  Exercise  yourself  up  &  down  in 
the  Inclosure,  in  front  of  my  premises — .'.'.'  The  Regent's  hat  and  crutches  are 
on  an  arm-chair.  Outside  a  French  window  giving  on  to  a  garden  court  are 
seen  two  couples  riding  velocipedes  (see  No.  13399),  ^^e  woman  straddling 
in  front;  one  triumphantly  flourishes  a  whip,  the  other  a  handkerchief.  On 
the  wall  behind  the  settee  are  six  pictures :  Exercise  oti  Richmond  Hill,  couples 
rolling  together  down  a  hill,  in  the  manner  traditional  on  Greenwich  Hill,  see 
No.  9303,  &c.;  A  LEaN  Ox  [Lennox],  symbolizing  the  Duke  of  Richmond; 
View  of  the  Royal  Cock  Pitt,  one  game-cock  standing  on  another  in  the  pit, 
surrounded  by  spectators;  Waterloo  Place,  view  of  a  large  town  house,  of, 

'  A  signature  has  been  erased. 

901 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

No.  13233;  a  picture  (without  title)  of  the  Duchess  of  Richmond  riding  on 
the  Prince,  and  holding  a  birch-rod;  Entering  Richmond  by  Water,  a  state 
barge  near  Richmond  Bridge.   See  No.  1323 1,  &c. 
8fxi3in. 

13235  A  MAD  BULL!  OR  UPSETTING  THE  ROYAL  HOBBIES! 

[I.  R.  Cruikshank.] 

London  pub.  by  Sidebethem  28y  Strand  \c.  May]  i8ig 

Engraving  (coloured  impression).  A  bull,  Furious  John  Bull!,  charges  the 
double  velocipede  (see  No.  13399)  on  which  the  Regent  and  the  Duchess  of 
Richmond  have  been  riding.  She  has  fallen  to  the  ground,  clutching  a  bunch 
of  foliage ;  he  falls  violently  on  top  of  her,  exclaiming :  Curse  the  Bull!  he 's 
upset  me  at  lastl^he  '5  provoked  at  seeing  so  many  Nezv  hobbies — Nothing  but 
ill  luck,  now  Fm  run  fotd  into  Richmond!  I  suppose  I  must  give  up  Riding  & 
and  [sic]  Driving  these  strange  things  as  I  feel  I  am  not  strong  enough  to  stand  it! 
He  wears  a  sandal  tied  to  a  gouty  foot,  and  a  buckled  pump  as  in  No.  13222. 
The  bull  has  already  upset  the  Duke  of  York,  who  sprawls  in  the  middle 
distance,  one  arm  on  a  sack  of  my  Mother' s  Jewels  [see  No.  13229] ;  a  large  sack 
falls  from  his  machine :  Admiralty  droits  perquisites  of  Office  &c ;  near  him  lie 
private  pickifigs  and  £10,000  a  year  for  seeing  my  father!  He  exclaims :  D — n 
him  he 's  always  at  me  whenever  he  sees  me  or  any  thing  that  belongs  to  me.  Even 
my  Clarke  could  not  Escape!  Now  I  suppose  he's  angry  at  the  load  I  am  carry- 
ing away. 

For  the  Regent  and  the  Duchess  see  No.  13231,  &c.;  for  the  Duke  and 
Mrs.  Clarke,  No.  11216,  &c.,  and  for  his  grant  of  ;^io,ooo.  No.  13214,  &c.; 
for  the  Droits  of  Admiralty  see  No.  10967. 
7|Xi2|  in. 

13236  THE  MINISTER  OF  VICE,  OR  THE  GREAT  GO,  PARENT 
OF  ALL  THE  LITTLE  GOES. 

Marks  fed^ 

London  Pub^  May  i^"'  i8ig  by  S.  W.  Fores  50  Piccadilly. 

Engraving  (coloured  impression).  Vansittart  stands  with  many  documents 
under  his  crooked  r.  arm,  inscribed  Lottery  Tickets;  Lotte  .  .;  Gould  Guinea 
Pipes;  Pipes  of  Wine;  Wine;  Puff  Puff  Puff ;  Puff.  Under  his  1.  arm  are  many 
books  inscribed  Bible.  He  wears  his  Chancellor  of  the  Exchequer's  gown, 
and  in  his  1.  hand  is  a  scroll  inscribed  Bible  Tea — &  Lottery  Puffs  for  Ready 
Money  only.  He  is  addressed  by  a  lean  quaker  (1.)  and  by  a  plump  lottery 
contractor  (r.).  He  looks  to  the  1.,  with  a  worried  frown,  extending  his  r.  palm 
in  a  deprecatory  gesture.  The  quaker,  much  caricatured,  stands  with  folded 
hands,  saying:  Now  do's'nt  thee  think  the  Sin.  of  Hypocrisy  is  the  greatest  of 
all  Sin,  zvhy  thee  pretendeth  to  be  Religious  by  Recommendation,  &  by  Law,  thee 
establisheth  a  system  of  Vice,  fraud,  &  even  of  Death  itself,  by  Lottery  gambling, 
&  that  full  of  deception,  &  Chicanery,  thee  sayest  I  do  it  not,  no  verily,  but  thou 
havest  others  to  do  it  for  thee.  Vansittart :  It  is  truely  astonishing,  what  a  quantity 
of  Vice  I  can  create  for  so  little  Money,  I  care  not  for  the  Immorality  of  the  thing, 
if  I  can  but  get  the  Money!  The  lottery  contractor  stands  with  r.  hand  extended 
1.  in  his  breeches  pocket;  he  exclaims:  Well  done  my  Religious  deciver  [sic], 
never  mind  what  that  fellow  says,  we  will  do  the  dirty  Work  for  you,  so  long  as 
we  are  allowed  by  Law  to  make  up  the  Lotteries  our  own  way,  and  so  artfully 
blind  &  decieve  the  People,  as  to  make  our  £400,000  a  Year  by  them,  while 
you  the  Propagator  of  the  Vice,  only  make  £300,000,  we  make  money  enough 

902 


POLITICAL   SATIRES   1819 

to  open  Tea  Shops,  Cheap  Shope  [sic]  and  to  gull  the  Public,  in  a  hundred  differ- 
ent way's  beside.  Papers  hang  from  his  coat-pocket:  Scheme  for  a  New  Lottery 
Puff;  Tea  and  Puff;  Genuine  Tea  Puff.  At  his  feet :  Tea  without  Sugar.  After 
the  title : 

Now  with  Religious  Zeal  the  Poor  with  Bible  Crams, 

Then  with  false  Lottery  Puffs,  the  Poor  he  tempts  &  Damns. 

Querie,  is  not  this  a  Subject  for  the  Society  for  the  Suppression  of  Vice?  tio, — 
they  never  meddle  with  the  Vices  of  the  great,  but  only  punnish  the  little  for 
immitating  them. 

On  4  May  W.  H.  Lyttehon  made  his  third  and  last  motion  against  State 
Lotteries  in  an  effective  speech.  He  denounced  the  trickery  of  the  lottery 
contractors,  their  profits  being  so  great  that  while  Government  received 
^^300, 000,  the  public  paid  from  j(^6oo,ooo  to  ^(^700, 000.  Private  (illegal) 
lotteries  were  called  little-goes;  according  to  Vansittart  these  were  checked 
by  the  State  Lottery :  according  to  Alderman  Wood  they  were  encouraged  by 
it.  The  demoralizing  advertisements  of  the  contractors  (see  No.  12880)  were 
denounced.  Ricardo  'quoted  the  resolutions  of  a  society  to  which  many  of 
the  Ministers  belonged,  deprecating  the  lottery',  presumably  the  Society  for 
the  Suppression  of  Vice.  Pari.  Deb.  xl.  79-107.  The  contractor  is  clearly 
Thomas  Bish,  the  chief  lottery  contractor  (cf.  No.  10991)  and  founder  of  the 
'Genuine  Tea  Company';  see  No.  13038,  &c.  Another  of  his  ventures  was 
the  London  Wine  Company  (J.  G.  Southworth,  Vauxhall  Gardetis,  New 
York,  1941,  p.  21),  and  in  1818  he  offered  to  lottery  insurers  twelve  pipes 
of  old  port  to  be  divided  among  drawers  of  blanks.  C.  L'E.  Ewen,  Lotteries.  .  . 
1932,  p.  277  n.  Vansittart  was  a  prominent  supporter  of  religious  and  philan- 
thropic societies,  and  President  of  the  Bible  Society,  founded  in  1804. 
8^Xi2|  in. 

13237  THE  DANDY  TAYLOR,  PLANING  A  NEW  HUNGRY  DRESS. 

[L  R.  Cruikshank.] 

Pub'^  May  15"'  i8ig  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  After  the  title:  What  a  pity  a  good  Taylor 
should  be  spoiled.  The  Regent  sits  cross-legged  on  a  tailor's  shop-board  (r.), 
sewing  a  coat,  while  General  Bloomfield  introduces  three  Hungarians.  The 
Regent  is  in  his  shirt-sleeves  and  wears  ungartered  stockings;  his  coat  and  the 
appurtenances  of  a  tailor  are  beside  him:  pattern-book,  goose,  pin-cushion, 
&c.  In  the  space  under  the  board,  traditionally  'the  tailor's  Hell',  are  pieces 
of  material  inscribed  Cabbage  and,  more  conspicuous,  pads  for  stuffing 
clothes  inscribed  Pads,  Calves,  Regent  Rump,  Hips,  Shoidders,  Bubbles,  Bottoms, 
Stuffing,  Thighes,  Stiffning.  The  Regent  looks  up  at  his  visitors,  singing : 

A  Taylor  there  was  and  he  lived  in  a  Stall 
Which  served  him  for  Palace  for  Kitchen  and  Hall 
No  Coifi  in  his  Pocket  no  Nous  in  his  Pate 
No  Ambition  has  he  Jior  no  wish  to  be  Great 
derry  down  down  down  derry  down 

On  the  wall  behind  him  hang  regimental  coats  of  dandified  cut,  each  with 
its  appropriate  head-dress;  these  are  inscribed:  All  my  invention.  All  have 
short  waists  and  high  shoulders.  Bloomfield  wears  uniform  with  monstrous 
stock  and  collar,  high  shoulders,  tight  sleeves,  bulging  breast,  with  breeches 
and  high  boots;  in  his  hand  is  a  tailor's  goose;  the  holder  is  inscribed  The 
Farmers  Boy  (by  Robert  Bloomfield)  to  show  his  identity.   He  says:  Here's 

903 


CATALOGUE   OF   POLITICAL   AND   PERSONAL    SATIRES 

your  Goose  Sir,  but  looks  towards  the  Hungarians.  They  are  headed  by  an 
officer  (Prince  Paul  Esterhazy,  Austrian  Ambassador,  see  No.  13238),  absurdly 
dressed  in  a  furred  and  embroidered  tunic  with  bust  projecting  far  beyond 
a  tight  waist,  long  strapped  trousers  gathered  at  the  ankle,  large  gauntlets,  and 
gigantic  spurs.  He  doffs  a  tasselled  and  plumed  head-dress,  saying,  Dese  men 
vill  teach  you  de  proper  way  to  make  de  Hungarian  Soldats  I  did  bring  Dem 
expres,  observe  des  grafids  Mustaches,  no  more  English  Soldats.  The  two  men 
are  tailors  in  quasi-military  (Hungarian)  dress;  one  is  knock-kneed,  and  holds 
large  shears  and  an  ironing-board.   All  are  ugly  grotesques. 

A  satire  on  the  exotic  uniforms,  particularly  of  hussar  type,  inflicted  by  the 
Regent  upon  certain  regiments,  cf.  No.  13202.   See  also  Nos.  13238,  13244, 

13305- 
8|xi2f  in. 

13238  NINE  TAILORS  MAKING  A  MAN!— OR  FOREIGN  HABITS 
FOR  A  NATIVE  PRINCE! 

(Yedis  inv*)     [I.  R.  C.  Cruikshank  f.] 

London  pub'^  by  Sidebethem  zSy  Strand  i8ig  [c.  May  18 19] 

Engraving  (coloured  impression).  The  Regent,  with  one  gouty  foot,  postures 
before  a  pier-glass  which  reflects  his  tight  waist  and  spherical  posteriors.  His 
wig  and  whiskers  are  much  exaggerated.  All  round  him  nine  grotesque 
German  tailors  are  at  work  or  register  admiration  of  the  Prince ;  most  of  them 
are  lean  and  moustached.  Some  sit  cross-legged  on  the  floor;  one  cuts  from 
a  roll  of  cloth  assisted  by  a  man  with  a  yard-stick  who  says :  D — n  de  English 
Taylor,  he  not  know  how  to  handle  de  yard  like  de  foreigner!  One  irons  a 
braided  hussar  jacket.    On  the  floor:  A  List  of  Foreign  Tailors  recommended 

by  Prince  Esther  Crazy  to  work  for  the  R 1!  Nearer  the  Regent  is  A  Goose! 

with  the  adjacent  inscription:  'To  waste  your  time  before  a  Glass  \  Exposes  oft 
a  monstrous  Ass!  The  Regent  recites : 

/  begin  to  think  that  I'm  a  marvellous  proper  Man! 
"Fll  have  my  Chambers  hung  with  looking  Glass 
And  entertain  a  score  or  two  of  Tailors 
To  study  fashions  to  adorn  my  Body — " 

See  No.  13237,  &c. 
8x  12^  in. 

13239  VISITING  THE  CIRCASSIAN  BEAUTY. 

Marks  fec^ 

London  Pub'^  by  E:  King  25  Chancery  Lane.  May  18^''  iSig — 

Engraving  (coloured  impression).  The  Persian  Ambassador's  beautiful  wife 
(supposed  slave)  reclines  on  a  sofa,  one  foot  regally  on  a  footstool.  She 
extends  her  hand  towards  three  ladies  who  advance  from  the  open  door  (1.) 
off^ering  gifts  and  making  coarse  remarks.  On  each  side  of  her  stands  a 
ferocious  black  eunuch,  one  with  a  drawn  scimitar,  the  other  grasping  a 
dagger.  At  her  feet  are  gifts  already  received:  a  doll,  a  book  Fanny  Hill, 
a  (dandy's)  umbrella  (cf.  No.  13060),  a  pair  of  short  black  boots,  and  a 
pot  of  Wawren  [sic]  Japan  Blacking,  with  a  box  of  Pills.  On  the  wall  is 
a  picture,  A  British  Seraglio ;  the  Regent  supported  on  crutches  faces  a  bevy 
of  ladies.  In  an  ante-room  (1.)  a  man,  followed  by  women,  tries  to  enter 
but  is  opposed  by  a  eunuch  with  a  scimitar.   A  woman  says :  You  may  let  it 

904 


POLITICAL   SATIRES   1819 

in  it  is  only  a  Dandy  M^  Youknocks.  In  the  upper  r.  corner  of  the  design  is 
a  notice:  "/i  is  necessary  to  state  that  this  fair  curiosity  receives  some  trifling 
present  from  every  one  admitted  to  her  presence,"  (Morning  Post) — N.B.  all 
kings  [sic]  of  Jetvels  with  Stones  are  prohibeted. 

The  newspapers  announced  that  the  Circassian,  see  No.  13391,  &c.,  had 
been  visited  by  'upwards  of  twenty  ladies  of  fashionable  distinction'  whom 
she  received  with  'great  affability'.  Examiner,  16  May.  For  the  epicene  dandy 
cf.  No.  13069. 
8|X  13  in.  'Caricatures',  xii.  89. 


13240  A  SECRET  PRESENT  FROM  PERSIA!  OR  A  PRIVATE  PEEP 
AT  THE  ClRCAQSlAl^l— Dedicated  to  a  Great  Foreign  Plenipo. 

C  PF  [Williams] /mY 

Pub'^  by  J  Sidebethern  28y  Strand  London  \c.  IVIay  18 19] 

Engraving  (coloured  impression).  The  Persian  Ambassador,  a  handsome  man 
in  quasi-oriental  dress,  displays  the  Circassian  (see  No.  13391,  &c.)  to  the 
Regent,  removing  her  draperies  to  show  her  charms.  The  Regent,  seated  on 
a  settee  (r.)  with  crossed  legs  and  hands  ecstatically  clasped,  turns  to  look  at 
the  men  standing  behind  his  settee,  who  all  gaze  avidly  at  the  lady,  except 
Bloomfield  who  looks  with  a  covert  scowl  towards  Yarmouth  (r.).  The  others 
are  (I.  to  r.)  Lord  Eldon  in  wig  and  gown,  Castlereagh,  the  Duke  of  York, 
and  a  man  only  partly  visible.  Over  their  heads  is  the  lower  part  of  a  large 
picture  of  Bathsheba  descending  into  the  bath.  The  door  is  open  (1.)  and  men 
and  women,  apparently  servants,  crowd  towards  it  to  peer  furtively  in. 
8Jx  I2|g^  in.    With  border,  9|x  13I  in.  'Caricatures',  xii.  91. 


13241  DISAPPOINTED  DANDIES  OR  A  VAIN  ATTEMPT  TO  GET 
A  PEEP  AT  THE  FAIR  CIRCASSIAN 

Pub'^  by  Fores  50  Piccadilly  [c.  May  1819] 

Engraving  (coloured  impression).  Two  little  black  eunuchs  stand  one  on  each 
side  of  a  partly  opened  door,  behind  which  is  seen  the  Circassian,  raising  her 
veil,  and  anxious  to  see  her  would-be  visitors.  From  the  1.  approach  two 
noted  dandies,  Lord  Yarmouth  and  Lord  Petersham.  The  former,  who  wears 
wide  white  trousers  with  a  red  stripe,  says :  /  say  Blackey  Pll  change  Places 
■with  you,  Poss —  The  boy  answers:  Den  Massa  you  be  Cut  for  the  Simples. 
Petersham,  in  trousers  strapped  and  gathered  at  the  ankles,  and  with  moustache 
and  small  beard  (see  No.  13029),  holds  an  eyeglass,  asking:  /  say  my  Buck  is 
She  fond  of  Dandies!  eh.  The  Regent  approaches  from  the  r.,  with  the  Marquis 
of  Vv'orcester.  He  is  not  dressed  as  a  dandy,  but  wears  a  hat  with  triple  ostrich- 
plume,  ribbon  and  star,  and  has  a  gouty  leg  on  which  is  a  garter  inscribed 
Honi.  He  proffers  a  coin  to  the  second  eunuch,  saying :  Oh  by  S'  George  I  burn 
to  have  a  bite  at  the  Nonpareil,  Pll  ne'er  go  to  Richmond  or  in  to  Hertfordshire 
again  until  I  have  seen  Her,  here  my  Beauty  keeper's  here's  a  Regent  for  you 
now  let  me  have  a  peep  and  you  shall  be  keepers  of  my  Harem  I  shall  be  able 
to  marry  her  soon.  Worcester  (cf.  No.  13030)  (r.)  clasps  his  hands,  saying. 
Let  me  take  her  to  Worcester  Pll  bet  all  my  Estate  (left)  to  a  Regent  I  win  her. 
He  wears  tight  pantaloons  to  the  ankle. 

See  No.  13391,  &c.  The  Regent's  determination  to  divorce  his  wife  is 
referred  to.  On  11  July  the  Examiner  quoted  a  report  from  the  Morning 
Chronicle  on  the  visit  of  the  Vice-Chancellor  (Leach)  to  Milan,  and  its  object. 

905 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

See  No.  12808,  &c.  For  'Richmond'  and  'Hertfordshire'  see  No.  13232.  The 
new  sovereign  or  20^.  piece,  ordered  by  proclamation  in  July  18 17,  was 
evidently  termed  a  regent  (not  in  O.E.D.). 
8^X13^  in. 

13242  THE  MYSTERIOUS  FAIR  ONE,  OR— THE  ROYAL  INTRO- 
DUCTION TO  THE  CIRCASSIAN  BEAUTY. 

/.  R.  C.  fecit 

Pu¥  May  18 ig.  by  S  W  Fores,  50  Piccadilly — 

Engraving  (coloured  and  uncoloured  impressions).  The  Persian  Ambassador 
presents  the  (supposed)  fair  Circassian,  actually  the  Princess  of  Wales,  to  the 
Regent,  who  rises  from  a  sofa,  with  a  gesture  of  welcome  frozen  into  aversion. 
The  (unrecognizable)  lady  (1.)  raises  a  transparent  veil  to  say:  /  am  indeed 
your  Wife.  The  Ambassador,  who  has  a  heavy  black  beard  and  wears  a  high 
astrakhan  cap,  with  trousers  and  zouave  jacket,  points  to  the  lady  and  grins 
at  the  Regent,  saying,  What  your  own  Wife  ha — ha —  The  Regent  declaims : 
Oh  what  a  form?  what  Symetry,  what  Elegance  of  manners ;  in  every  gesture 
dignity  and  Love. — Oh  how  I  long  to  have  my  Eyes  gratified  with  a  sight  of  that 
much  injured  fair  one — a  Slave  indeed — no  she  shall  not  be  a  Slave  to  any  Mans 
Passiofis,  ril  take  care  of  that ;  for  PR  Pll  Marry  her  myself!!! — What,  what, 
save  tne,  hide  me  from — from — from — Myself.  The  scene  is  a  garden  pavilion 
with  trellised  doorways.  On  the  back  of  the  Regent's  sofa  a  crown  rests  on 
a  cushion. 

The  Examiner  of  11  Apr.  printed  a  paragraph  from  'A  Correspondent': 
'As  a  certain  Personage  has  been  moving  from  Rome  into  Turkey  .  .  .  may 
she  not  have  travelled  into  Persia?  And  as  .  .  .  Royalty  can  be  facetious  at 
times,  it  may  be  that  the  King  of  Persia  .  .  .  has  sent  his  [the  Regent's]  wife 
home  under  the  charge  of  an  Embassy ;  and  .  .  .  has  given  out  the  expectancy 
of  a  Circassian  beauty.'  See  No.  13391,  &c.  For  the  expected  divorce  pro- 
ceedings. No.  13241. 
8^X  i2|  in. 

13243  A  R— L  HOBBY.  [?  June  181 9] 

Engraving.  PI.  from  the  Bon  Ton  Magazine.  The  Duke  of  York  rides  a 
velocipede  (r.  to  1.)  with  Mrs.  Carey  seated  astride  his  back.  He  looks  affec- 
tionately round  at  her;  she  takes  his  chin,  holding  out  over Jiis  head  his  field- 
marshal's  baton.  He  wears  uniform,  with  his  plumed  cocked  hat  hung  on 
the  pole  of  his  machine,  in  front  of  the  handle-bar.  On  the  back,  above  the 
back  wheel,  stands  a  basket  of  chickens,  labelled  Carey's  Chickens.  A  sign- 
post points  (r.)  To  Fulham  (where  Mrs.  Carey  lived),  whence  they  have  come; 
in  front  one  arm  points  To  Oatlands,  the  other  To  Windsor. 

The  Duke  is  on  an  official  visit  to  Windsor  as  in  No.  13223.  A  companion 
pi.  to  No.  13228. 
4-^x61^  in. 

13244  THE.  CHANCELLORS'  HOBBY,  OR  MORE  TAXES  FOR 
JOHN  BULL  328 

[W.  Heath.] 

Pub  June  ig  i8ig  by  T  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  Vansittart,  in  his  Chancellor  of  the  Ex- 
chequer's gown,  bestrides  a  large  green  bag,  representing  the  budget,  in  shape 

906 


POLITICAL   SATIRES    1819 

rather  like  a  gourd  or  cucumber,  which  rests  on  the  pole  of  a  velocipede  (see 
No.  13399)  with  two  small  and  solid  wheels,  one  inscribed  Pensions,  the  other 
Places.  The  bag :  Bugget,  Tea  Tax,  New  Malt  Tax,  New  Tobaco  Tax,  Coffee 
Tax.  A  smaller  bag  has  fallen  from  the  machine  (r.) :  a  few  Odd  Thousands 
for  the  New  Tailors  [see  No.  13237,  &c.].  Vansittart,  leaning  forward  almost 
horizontally,  steers  his  hobby-horse  straight  at  John  Bull  (1.)  w^hom  he  (acro- 
batically) kicks  in  the  mouth,  knocking  him  over.  He  says :  Take  care  John 
I  do'nt  rightly  know  how  to  manage  ?ny  new  Hobby  it  is  rather  a  Heavy  Machine 
if  you  dontgo  out  of  the  Road  to  Bottany  Bay  or  Amercia  [sic]  /  canH  answer  for 
the  Consequnce  [sic].  John,  a  fat  drink-blotched  'cit'  in  patched  clothes,  falls 
backwards,  exclaiming:  What  the  Devil  the  fellow  at  [sic]  are  you  goitig  to  cram 
all  this  Down  my  Throat  Zounds  you  will  choak  me.  Behind  John  and  on  the 
extreme  1.  is  the  sea-shore  with  a  large  sign-post  pointing  one  way  To  America, 
the  other  To  Starvation.  A  ship  lies  at  anchor;  tiny  figures,  including  a  w'oman 
clasping  an  infant,  flee  in  terror  from  Vansittart,  towards  'America'.  On  the 
r.  is  another  sign-post,  pointing  (1.)  To  Ruin. 

Additional  taxes  were  proposed  by  Vansittart  in  Resolutions  preliminary 
to  the  Budget  on  7  June,  with  great  misgivings,  which  appear  in  correspon- 
dence between  Liverpool  and  the  Regent.  The  Government,  after  two 
defeats  and  a  dangerously  small  majority  on  other  occasions,  was  prepared 
to  stake  its  existence  on  carrj'ing  the  new  taxes.  These  were  a  revision  of  the 
customs  duties  with  an  increased  (protective)  duty  on  wool;  an  increase  of 
50  per  cent,  on  the  excise  on  malt,  an  additional  excise  on  tobacco,  coffee, 
cocoa,  pepper,  and  an  additional  4  per  cent,  on  tea,  making  the  duty  100 
per  cent.,  and  additional  excise  on  British  spirits.  The  object  was  to  raise 
5(^3,000,000  to  secure  a  surplus  of  ^5,000,000  for  the  reduction  of  the  national 
debt.  They  passed  by  a  majority  of  197  but  were  violently  attacked  in  the 
Opposition  Press  as  burdens  on  the  poor  in  the  interest  of  the  privileged,  see 
also  No.  13269,  &c.  The  Budget  was  passed  on  9  June.  Corr.  of  George  IV, 
1938,  ii.  289-94;  Pari.  Deb.  xl.  912  ff.;  Examiner,  1819,  pp.  369-71,  385; 
Smart,  Econ.  Annals,  1910,  i.  683-8.  The  distress,  reduced  by  good  trade 
in  1818,  returned  in  the  spring  of  1819,  and  was  followed  by  much  emigration 
(see  No.  13267)  fostered  by  fears  of  over-population.  Ann.  Reg.  (Chron.), 
p.  25  f.  (Apr.).  See  Nos.  13246,  13268,  13269. 
8|Xi2|in. 


13245  THE  MEN  OF  PAPER  GOING  TO  POT  OR  THE  DIRECTORS 
IN  A  STEW—  356 

[?W.  Heath.] 

Pub  June  22  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  huge  pot  rests  directly  on  a  fierce  fire 
from  blazing  bank-notes.  The  scene  is  outside  the  Bank  of  England,  the 
facade  being  on  the  extreme  r.  From  it  porters  are  carrying  huge  stacks  of 
Notes  to  add  to  the  flames.  The  pot  is  inscribed  Batik  Pot  [twice],  and  Cash 
Payments  at  the  Bottom  of  this  Pot,  where  it  is  badly  cracked  owing  to  the  fire. 
The  pot  is  filled  with  Bank  Directors,  whose  heads  and  arms  emerge.  They 
shriek:  /  am  in  a  Stew,  I  am  sure  the  Pots  Crackd,  and  Take  care  it  don't 
Break.  A  fashionably  dressed  man  ascends  a  ladder  leaning  against  the  pot  (r.) ; 
he  shouts  to  those  inside  have  you  found  the  Gold.  The  fire  is  being  stirred 
up  by  (.?)  Peel;  Vansittart,  in  his  Chancellor  of  the  Exchequer's  gown,  uses 
a  mace  to  push  the  man  up  the  ladder.  Huge  clouds  of  smoke  ascend  from 
the  fire  covering  much  of  the  design;  they  are  inscribed  Stnoke  and  Cash 

907 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Payments  Smoke.  Two  spectators  stand  on  the  1.,  watching  the  hurly-burly. 
One,  a  'cit',  says:  There's  a  pretty  Kettle  of  Fish.  The  other,  a  countryman  in 
a  smock,  answers :  Lord  bless  you  they  han't  Fish  they  he  all  paper. 

For  the  Secret  Committees  on  the  affairs  of  the  Bank  cf.  No.  13 197.  They 
reported  in  favour  of  the  Resumption  of  Cash  Payments,  and  on  24  May  Peel 
removed  the  Resolutions  for  resumption  in  a  famous  speech.  Pari.  Deh. 
xl.  676  ff.  Resumption  was  to  begin  in  February  1820,  and  to  be  completed 
by  May  1823,  the  circulation  of  notes  being  periodically  reduced.  To  make 
this  possible  the  Government  was  to  repay  the  Bank  ^^lo, 000,000,  part  of 
^^19!  millions  of  outstanding  debt.  The  print  expresses  scepticism  as  to  the 
restoration  of  gold  payments;  actually  they  were  resumed  in  full  by  May  1821, 
instead  of  1823.  Cobbett  in  November  18 19  asserted  that  to  carry  out  resump- 
tion according  to  the  Bill  was  'impossible'.  Smart,  Econ.  Annals,  1910, 
i.  675-9. 
8^Xi2j  in. 


13246  THE  NEW  TAXES  PAYING  A  VISIT  TO  JOHN  BULL.     355 

[?W.  Heath.] 

Pub  June  22  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  John  Bull,  a  fat  drink-blotched  'cit',  his 
hair  standing  up  outside  his  wig,  shrinks  in  terror  from  apparitions  surrounded 
by  clouds  of  smoke  inscribed  Tax.  The  central  object  is  a  cask  resting  on 
a  bale  of  wool  inscribed  Wool  Tax;  from  its  front  projects  a  face  resembling 
that  of  John,  carbuncled,  frowning,  and  smoking  a  pipe.  On  the  cask  stands 
a  pot  with  melancholy  human  features,  inscribed  Malt.  This  is  flanked  by 
a  tea-chest  inscribed  Tea  Tax  (r.),  and  by  a  similar  chest  (1.)  inscribed  Cojfee 
Tax.  Each  is  surmounted  by  a  human  head.  On  the  former  is  that  of  a 
Chinese  with  long  pigtail  and  broad-brimmed  hat,  on  the  latter  the  grotesque 
head  of  a  bald  oriental.  John  exclaims:  Who  the  Devil  would  have  thought  of 
seeing  you  after  I  ve  paid  you  so  often  well  I  see  there  is  no  Trusting  any  body. 
See  No.  13244,  &c.  It  was  the  tax  on  malt  that  raised  most  misgiving  in 
official  quarters,  see  Corr.  of  George  IV,  loc.  cit. 
8^Xi2|  in. 


1 3247  THE  CEREMONY  OF  INVESTITURE  OF  MY  L**D  S**M**TH 
WITH  THE  ORDER  OF  CABBAGE-HOOD!!! 

Marks  fec^ 

Puh"^  by  T.  F.  Flook  N°  11  Leadenhell  [sic]  S^  [c.  June  181 9] 

Engraving  (coloured  impression).  In  a  tailor's  work-room  Sidmouth  kneels 
on  one  knee  while  a  dandified  tailor  (perhaps  the  Regent,  cf.  No.  13237, 
though  not  resembling  him)  puts  over  his  head  a  tape  from  which  dangle 
a  pair  of  shears  and  two  little  cabbages.  In  his  hand  is  a  scroll  inscribed 
Rejected  Petition;  he  kneels  on  a  cushion  inscribed  £y5oo  Per  An'"  Cabbage. 
The  tailor,  who  has  sharp  grotesque  features  and  wears  shears  suspended 
from  the  neck  and  a  large  cabbage  on  his  head,  says:  We  the  Honourable 
Cabbage  Company,  feel  ourselves  in  Duty  Bound  to  Dub,  your  Lordship,  Knight 
of  the  Shears,  knowing  your  Lordship  to  be  such  an  able  Cahbager,  and  for  the 
very  Able  manner  in  which  your,  Lordship  suspended  the  Habeas  Corpus!  and 
our  fellow  Country  Men.  Sidmouth  answers :  Depend  on  it  Pll  not  disgrace  your 
Cabbage  Company  for  Fll  stick  to  John  Bull's  skirt  he  shall  not  want  for  Basting 

908 


POLITICAL   SATIRES    1819 

he  shall  find  Fm  no  goose  at  Cabbage.  The  tailor  stands  on  a  fringed  carpet; 
with  him  are  Vansittart  and  Silvester,  both  with  shears  suspended  from  the 
neck,  and  an  unidentified  military  officer  who  says :  He  hangs  them  Scott — free. 
The  puny  Vansittart,  also  wearing  shears,  in  his  Chancellor  of  the  Exchequer's 
gown,  holds  a  scourge,  and  says :  Such  an  ornament  I  never  thought  loe  should 
have  in  our  Company  he  is  the  man  that  zoill  Punish  'etn  Hang  them  I'll  flog  them. 
The  Recorder,  in  wig  and  gov/n,  holds  a  document  inscribed  Cabbage  Record; 
he  says :  Thy  deeds  ought  to  be  Recorded  in  letters  of  Blood!  The  ceremony 
is  watched  by  the  Duke  of  York  and  Wellington,  both  in  uniform  with  jack- 
boots, who  stand  together  in  the  r.  foreground.  The  former's  r.  hand  is  in 
a  sling  inscribed  Reward  of  Cabbaging  10,000  £  per  An"'.  He  says:  /  have 
Cabbaged  10,000  frotn  Bull  P''  A"'  and  I  hope  to  Cabbage  ?nore  before  long. 
Wellington,  who  holds  his  (sheathed)  sword,  says :  /  think  I  have  Cabbaged 
well  for  I  have  got  45000  P''  An"*  from  Bull.  Behind,  against  the  wall,  is  a 
tailor's  shop-board  on  which  three  tailors,  wearing  the  order  of  the  shears, 
sit  cross-legged.  The  most  prominent  is  Eldon  seated  on  a  cushion  inscribed 
Wool  Sack.  In  the  foreground  on  the  floor  are  shears,  goose,  and  ironing- 
board. 

The  print,  perhaps  a  satire  on  the  Regent  and  Orders  of  Knighthood  (the 
Bath  and  the  Guelphic  Orders),  cf.  No.  12811,  can  be  approximately  dated 
from  the  accident  to  the  Duke  of  York,  see  No.  13226.  'Cabbage',  the  cloth 
pilfered  by  tailors,  cf.  No.  1 1824,  stands  for  salaries,  sinecures,  and  perquisites 
of  office,  see  No.  12781,  &c.  Sidmouth  received,  according  to  the  Black  Book 
(in  which  the  grants  to  Wellington  were  attacked),  see  No.  13277,  ;(^6,ooo  as 
Home  Secretary,  £1,^00  as  a  Commissioner  for  India.  He  and  Silvester  stand 
for  harsh  measures  against  those  suspected  of  sedition.  For  the  suspension 
of  the  Habeas  Corpus  Act  see  No.  12871,  &c.;  for  the  Duke  of  York's  ;(^io,ooo 
see  No.  13214,  &c. 
8|xi3  in. 

13248     UNIVERSAL     SUFFRAGE,      OR— THE     SCUM      UPPER- 
MOST—!!!!! 

Esq"  ^^  del'     G  C^  Etched 

Pub''  July  ij  i8ig  by  G.  Humphrey  27  S^  James's  Street 

Engraving.  Below  the  title:  An  Allegory  to  demonstrate  the  fatal  coiuequences 
of  ''Radical  Reform"  in  plain  English  Revolution —  A  many-headed  monster, 
Revolution,  stands  on  a  pile  of  emblems  which  rests  on  its  apex.  Clouds, 
as  if  ascending  from  below,  surround  the  pile.  At  the  base  are  sceptre  and 
crown,  reversed,  and  crushed  by  the  superstructure.  On  these  are  coronets 
jumbled  together,  with  a  mitre  and  mortar-board  cap,  all  upside-down. 
These  support  a  large  Bible  inscribed  /  H  S,  the  scales  of  Justice,  damaged, 
a  broken  sword,  and  two  documents:  Magna  Ch[artd\  and  Bill  of  Rig[hts]. 
Above  these  are  emblems  of  industry  and  commerce:  plough,  rudder,  a 
palette  and  brushes,  a  sextant,  two  drooping  flags.  The  pile  rests  on  a  shallow 
mound,  suggesting  an  arc  of  the  globe.  The  monster  has  the  claws  of  a  bird 
of  prey  and  webbed  wings.  The  principal  head  is  feline  with  fanged  jaws  and 
pointed  ears;  this  is  flanked  by  four  heads  on  serpentine  necks;  all  emit  flames. 
Above  its  heads  towers  its  serpentine  tail  topped  by  a  bonnet  rouge  with 
(tricolour)  cockade. 

In  1819  there  was  a  revival  of  revolutionary  agitation  associated  with 
attacks  on  the  clergy,  cf.  No.  13225,  inflamed  by  the  economic  crisis,  and 
expressed  in  the  formation  of  groups  and  'Unions',  see  No.  13257,  &c.   A 

Q09 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

concerted  campaign  of  mass-meetings,  especially  in  the  industrial  North  and 
Midlands,  began  in  June,  fostered  by  the  unstamped  Press.  On  7  July 
Sidmouth  issued  circulars  to  the  lord-lieutenants  of  'disturbed  districts' 
recommending  vigilance.  After  the  Smithfield  meeting,  see  No.  13252,  a 
proclamation  was  issued  on  30  July  against  seditious  meetings.  See  Ann. 
Reg.,  1819,  Preface  and  ch.  vii;  Halevy,  Hist,  of  the  English  People,  1815- 
1830,  1926,  pp.  54 ff.  For  Universal  Suffrage  see  No.  13204;  for  'the  Scum 
Uppermost',  No.  9883.    Cf.  No.  13271,  &c. 

Reid,  No.  896.    Cohn,  No.  2065. 
11^X9  in.   With  border,  i3|X9f  in. 

13249  THE  NEW  UNION  CLUB. 

^^  [Marryat]— G.  Cruikshank — sculps 

Piib'^  July  ig"^  iSig  by  G.  Humphrey  27  S'  Jameses  Street  London. 

Engraving  (coloured  impression).  A  design  based  on  Gillray's  The  Union 
Club,  No.  9699  (1801),  the  roistering  fraternizers  being  English  and  negroes, 
in  place  of  English  and  Irish.  The  chairman's  raised  throne  with  its  canopy 
is  on  the  extreme  1.,  at  the  head  of  the  table  which  extends  to  the  r.  across  the 
design.  The  throne  is  an  infant's  chair,  or  commode,  supported  on  a  round 
tray  based  on  two  casks,  one  above  the  other.  Wilberforce  has  risen  from  the 
chair,  so  far  as  the  front  bar  will  permit,  his  chairman's  hammer  held  between 
flexed  knees.  He  grasps  an  arm  of  his  chair,  and  raises  his  glass  high  in  his 
1.  hand  to  give  the  toast:  Brothers,  F II give  yon  the  ''Black  Joke'' I!  [a  lewd 
song]  with  three  times  Three!!!  up  standing  &  uncovered!!!  Below  him,  and 
on  his  r.  is  Stoddart,  bottle  in  one  hand,  a  broken  decanter  in  the  other,  seated 
on  the  lap  of  a  negress  who  leans  back  to  drink  from  a  decanter.  He  is  identi- 
fied by  a  paper  projecting  from  his  coat-pocket :  The  New  Times  by  D^  Slop — 
Rediant  [sic]  Saturnalia  regna.  His  legs,  in  fashionable  Hessian  boots,  rest 
on  the  head  and  shoulder  of  a  negro  seated  tipsily  on  the  floor.  Beside  him 
is  a  paper:  With  Black  Brown  &  fair  Fve  sported  'tis  true!!  Opposite  him, 
and  on  the  chairman's  1.,  is  a  negro  dressed  as  a  dandy,  smoking  a  cheroot 
and  turning  his  eyes  to  the  1.  He  is  identified  by  a  paper:  Prince  Saunder  .  .  . 
ABC  in  Black  [le]tter.  Standing  between  him  and  Wilberforce  are  a  grinning 
negro  and  a  white  woman,  holding  between  them  their  naked  infant,  divided 
vertically  into  halves,  black  and  white.  Behind  the  white  parent  is  a  hideous 
negress  smoking  a  pipe  and  suckling  an  infant  whose  (white)  body  is  dappled 
with  black  spots.  Beside  her  stands  a  man  like  a  quaker  in  caricature,  extend- 
ing his  r.  arm  and  shouting :  Hail!  piebald  pledge  of  Love.  Another  negress, 
wearing  a  broad-brimmed  hat,  clasps  him  amorously  from  behind,  grasping 
a  bottle.  Seated  at  the  table  with  his  back  to  the  negro  prince  is  James 
Stephen,  with  a  severe  and  dignified  expression,  but  with  black  smudges  on 
his  face  and  with  a  negress  seated  on  his  lap;  he  ladles  punch  while  she 
blackens  a  cork  in  a  guttering  candle.  She  grins  at  him,  saying.  Really  now 
Massa  Teven  you  right  say  be  sham'd  you  own  Color!  you  no  know  how  amsum 
you  bis  look  black  now!!  At  the  near  side  of  the  table  Zachary  Macaulay  is 
seated  with  his  back  to  Stoddart,  grasping  a  fat  negress  who  sits  on  his  knee ; 
he  wears  spectacles  and  looks  down ;  she  holds  a  full  glass,  and  holds  his  chin, 
trying  to  turn  his  face  up,  saying,  /  say  Massa'  Cauley  why  you  nebber  look 
a  body  in  a  face?  His  feet  rest  on  a  fat  negress  lying  on  her  back  and  across 
a  black  infant,  while  a  little  black  boy  pours  wine  into  her  mouth.  Behind 
Macaulay's  negress  a  well-dressed  negro  stands  on  the  table  making  a  speech 
to  which  no  one  listens,  except  a  man  whose  hair  and  coat-collar  are  being 

910 


POLITICAL   SATIRES    1819 

set  on  fire  by  one  little  black  boy,  while  another  picks  his  pocket  of  a  letter 
addressed  Smith  Esq''  MP,  showing  that  he  is  William  Smith  (1756-183 5), 
M.P.  for  Norwich,  a  leading  Abohtionist., 

In  the  r.  part  of  the  design,  round  the  lower  end  of  the  table,  wild  rollicking 
merges  into  riot,  and  fighting  replaces  amit}^  Billy  Waters,  a  negro  sailor 
with  long  flowing  white  hair  and  a  wooden  leg  and  wearing  a  cocked  hat, 
plays  a  fiddle  and  dances  on  the  top  of  a  cask  behind  and  above  the  table. 
Behind  him  are  other  black  musicians  with  cymbals,  tambourine,  and  trumpet. 
On  the  table  is  a  pyramid  of  piccaninnies  fighting  savagely  for  the  dessert. 
Behind  (r.),  a  confused  fight  is  in  progress.  A  (?  white)  sailor,  with  the  model 
of  a  ship  in  full  sail  fastened  on  the  crown  of  his  hat,  fights  with  a  negro 
whose  cap  is  decorated  with  a  double-headed  eagle;  each  uses  a  crutch  as 
weapon.  Two  furious  negroes  fight  each  other,  each  brandishing  an  infant, 
apparently  parti-coloured,  held  by  the  leg  as  a  weapon  of  offence.  A  tea-pot, 
a  broken  bottle,  and  a  bottle  of  Day  &  Martin  Blacking  fly  into  the  air. 
Regardless  of  the  battle  immediately  behind  him,  a  fat,  drink-blotched  parson 
(?  Dr.  Parr)  sits  at  the  table  smoking,  and  clapping  his  wig  on  to  the  head 
of  a  black  friend ;  he  says :  You  look  devilish  uell  in  it  I  assure  you.  Near  them 
and  on  the  extreme  r.  stands  a  fashionably  dressed  negro  wearing  a  top-hat; 
he  holds  a  paper :  Rodgers  on  rezceing  [sic].  In  the  foreground  (r.)  a  negro  sailor 
violently  assaults  an  elderly  English  sailor,  who  has  lost  both  arms  and  one  leg; 
he  kicks  him  violently  and  drives  a  broom  agamst  his  back.  Under  the  English- 
man's legs  two  negro  children  compete  for  bones  with  a  dog  whose  collar  is 
inscribed  Mungo.  Behind  (r.)  a  turbaned  Lascar  drinks  with  a  negress.  In 
front  of  the  table  and  under  it  are  the  completely  intoxicated :  a  negro  foot- 
man vomits  into  the  open  mouth  of  an  unconscious  (.'')  quaker.  Two  negresses 
fight;  one  lies  on  the  ground  holding  an  infant  which  sucks  at  the  pendent 
breasts  of  her  assailant  who  kneels  across  her. 

The  canopy  of  the  chairman's  seat  is  decorated  with  clasped  hands, 
irradiated  as  in  No.  9699,  but  one  is  black,  the  other  white.  Above,  in  place 
of  Britannia  and  Erin,  a  hideous  negress  kisses  a  white  woman.  A  projecting 
canopy  with  curtains  replaces  carved  pilasters;  on  this  is  a  fringe  of  grotesque 
little  creatures,  simian  negroes  in  relief;  they  carouse;  one  puts  on  a  mitre, 
another  wears  a  crown  and  holds  a  sceptre,  the  law  and  the  army  are  also 
represented.  One  of  the  casks  supporting  Wilberforce's  chair  is  labelled 
Sweetmeats  &cfrom  Hayti  WWMP  N"  66;  the  upper  cask  is  N°  65.  Behind 
the  chair  is  a  notice-board  headed  Ride,  but  with  the  text  blacked  out.  Beside 
it  is  a  List  of  Toasts  The  Ki?ig  the  Royal  Family  sitting ;  King  Henry  of  Hyti 
to  be  drunk  with  3  titnes  3.  On  the  ground  are  books :  [i]  Trial  of  John  Church 

for  a  Black  Act;  the  opposite  page  is  [scored  out]  Magazine.    [2]  an 

account  of  the  Black  Hole  in  Calcutta.  Candles  have  burned  low  in  a  cut-glass 
chandelier  which  indicates  the  middle  of  the  table.  The  wall  which  forms 
a  background  is  covered  with  pictures  (1.  to  r.):  [i]  (the  largest)  Apotheosis 
of  W-W.  Wilberforce,  puny  and  naked,  with  butterfly  wings,  and  arms 
ecstatically  extended,  is  borne  upwards  by  two  burly  negro  angels;  they  are 
irradiated  by  light  from  a  crown  and  surrounded  by  clouds  and  (black) 
cherubs'  heads,  winged,  chanting,  and  grotesque.  [2]  A  hand  emerges  from 
clouds  holding  a  pair  of  scales,  unevenly  balanced;  in  the  lower  sits  a  white 
planter  quietly  smoking  a  pipe;  in  the  other  sits  a  negro,  with  three  English- 
men (seemingly  Wilberforce,  Stephen,  and  Zachary  Macaulay)  trying  frantic- 
ally to  pull  it  downwards.  Below  this  is  [3]  the  Garden  of  Hesperides.  Four 
Englishmen  (probably  the  previous  three  and  William  Smith)  tread  on  the 
bowed  backs  of  negroes  forming  an  ascending  slope  against  the  trunk  of  a  tree, 
and  are  thus  able  to  reach  the  golden  apples.    [4]  Paul  Preaching  at  Athens 

911 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

before  the  Greeks  [cf.  No.  13478].  Paul  stands  above  his  audience,  declaim- 
ing :  But  if  any  provide  not  for  his  own  &  specially  for  those  of  his  own  house, 
he  hath  denied  the  faith  &  is  worse  than  an  infidel — J^'  Epistle  of  Paul  to 
Timothy  5^^  cap  8*''  v.  [5]  Street  scene;  a  coachman  on  his  box  is  assailed 
by  a  negro  woman  with  a  cascade  of  filth.  [6]  A  portrait  of  the  Hottentot  Venus 
(Sartje)  smoking  a  pipe  as  in  No.  11577,  &c.  [7]  Companion  designs  in  one 
frame:  (above)  a  negro  Devil  standing  among  the  flames  of  Hell  threatens 
with  his  trident  a  white  man  who  is  succoured  by  a  white  angel.  (Below) 
The  Devil  is  white,  the  man  and  the  angel  are  negroes.  [8]  Washerwomen 
(one  of  whom  resembles  Wilberforce)  try  to  wash  a  negress  in  a  tub  (a  usual 
symbol  of  labour  in  vain,  cf.  No.  11272).  [9]  A  tiny  copy  of  No.  13043. 
[10]  The  King  of  Hayti  &  his  Black-guards.  A  negro  monarch,  crowned  and 
holding  a  sceptre,  sprawls  across  the  laps  of  two  women.  His  throne  is  flanked 
by  two  files  of  negro  troops  facing  each  other  at  attention.  Below  the  title: 
Being  a  Representation  of  what  took  place  at  a  celebrated  Dinner,  given  by  a 

celebrated  Society. Vide — M''  M — r — fs  Pamphlet  entitled  ''More 

Thoughts''  &  &c  [i.e.  'still  on  the  State  of  the  West  India  Colonies  and  the 
proceedings  of  the  African  Institution  with  observations  on  the  speech  of 
J.  Stephen  at  the  meeting  of  that  Society  26th  March  1817'.   B.M.L.  8155. 

^-  39]- 

Despite  its  ribald  extravagance  this  is  a  serious  attack  on  the  Abolitionists 

from  the  standpoint  of  the  West  Indian  planters.  The  pamphlet  (a  printed 
extract  from  which  is  sometimes  found  with  the  print)  is  by  Joseph  Marryat 
(father  of  Frederick),  M.P.  for  Sandwich,  leader  of  the  West  India  Interest  in 
Parliament,  and  thus  the  chief  opponent  of  the  philanthropic  African  Institu- 
tion (founded  1807).  The  planters  and  the  Africa  merchants  maintained  that 
the  philanthropy  of  the  Abolitionists  was  a  mere  cloak  for  motives  of  gain  (the 
thesis  of  the  Hesperides  picture).  Stephen,  Wilberforce's  brother-in-law,  was 
the  most  vehement  of  the  Abolitionists.  See  Camb.  Hist,  of  the  British  Empire, 
ii,  1940,  ch.  ix,  &c.  Hayti  (San  Domingo),  the  negro  republic  which  had 
revolted  from  France,  here  stands  for  a  black  empire  founded  on  insurrection 
and  the  massacre  of  whites.  No.  8793  by  Gillray  is  a  similar  (ribald)  attack 
on  Wilberforce,  and  in  No.  9685,  Justice  a?id  Humanity  at  Home,  he  is  depicted 
as  ruthlessly  insensitive  to  abuses  in  England,  the  theme  of  picture  No.  4. 
Cf.  No.  13 193. 

Reid,  No.  898.    Cohn,  No.  1785. 
10^1x183^  in.   With  border,  12  X  18^  in. 

13250  GIANT  GRUMBO  &  THE  BLACK  DWARF,  OR,  LORD  G 

&  THE  PRINTER'S  DEVIL— 

G.  Cruik'^  fec^ 

Pub'^  by  G  Humphrey  27  S^  James's  S^  July  24^^  i8ig — 

Engraving  (coloured  impression).  Lord  Grantham,  in  military  uniform, 
wielding  the  club  of  Hercules,  inscribed  L  G  his  cane,  stands  with  legs  astride, 
threatening  Wooler  (1.),  a  tiny  'Black  Dwarf,  as  in  No.  12892,  who  registers 
extreme  rage  or  terror.  Grantham  has  enormous  moustaches,  which  fly 
upwards  on  each  side  of  his  head.  A  lion's  skin  hangs  from  his  shoulders, 
with  a  solid  head  which  snarls  savagely.  He  wears  a  bell-shaped  shako,  long 
tight  trousers  strapped  under  boots,  and  immense  spurs.  His  1.  arm,  termina- 
ting in  a  huge  fist,  is  extended  horizontally.  On  the  1.  a  knock-kneed  yokel 
with  bristling  moustaches  and  wearing  the  cap  of  a  Death's  Head  hussar, 
grins  in  oafish  delight,  saying.  Well  done  Col.!  well  done  our  zideH!  my  Zoul! 
what  Honnor  this  will  bring  upo?i  our  Corpse!!!  and  if  any  more  Dwarfs  or 

Q12 


POLITICAL   SATIRES    1819 

Devils  attaches  our  Regemunt  Lord  Granfthem  all  the  zamefate,  I  zayH  Wooler 
stands  among  piles  of  his  paper,  Black  Dzcarf,  some  of  which  have  various 
inscriptions:  Strictures  on  the  York  Hussars;  York  you  are  not  wanted;  The 
Devil  to  Pay ;  a  Lame  Story  to  the  Yellow  Bonze  at  Japan ;  universal  Suffrage ; 
and  (adapting  As  You  Like  It),  Then  a  Soldier,  full  of  Strong  Oaths  &  bearded 
like  the  Pard  Jealous  in  Honor  Sudden  &  quick  in  quarrel  seeking  the  bubble 
Reputation  Ev'?i  in  the  printing  office.  He  wears  an  ink-pot  for  hat,  with  three 
large  pen-feathers;  at  his  waist  is  a  tricolour  cockade.  On  the  wall  behind 
him  is  a  framed  picture  of  The  Yellow  Bonze,  a  grotesque  imp,  squatting  with 
outspread  fingers,  and  registering  surprise.  Below  is  a  broadside  headed  by 
figures  hanging  from  a  gallows. 

Grantham  was  Colonel  of  the  Yorkshire  Yeomanry  or  volunteer  cavalry 
who  had  recently  called  themselves  the  York  Hussars,  and  had  grown 
moustaches,  as  worn  by  hussar  regiments  (cf.  No.  13029).  Grantham,  while 
good-humouredly  praising  their  'right  feeling',  jokingly  recommended  them 
to  shave  their  upper  lips.  This  (recorded  in  the  Yorkshire  Gazette)  w^as  the 
occasion  of  a  scoffing  article  in  the  Black  Dwarf,  30  June  1819,  the  point 
being  that  the  Yeomanry  were  regarded  as  the  means  by  which  'one  position 
of  society'  was  'arrayed  against  the  other',  cf.  No.  13258,  &c.  Grantham 
thereupon  demanded  an  apology  from  Wooler  which  the  latter  made  the 
subject  of  his  weekly  letter  'From  the  Black  Dwarf  in  London,  to  the  Yellow 
Bonze'  at  Japan'  (ibid.  21  July),  which  is  here  illustrated:  'I  was  a  Dzvarfl 
alone,  unarmed,  in  the  presence  of  3.  gigantic  lordV 

Reid,  No.  899.    Cohn,  No.  1159. 
7^X9!  in.   With  border,  7|X9J|  in. 

13251  THE  BIRMINGHAM  NEW  MEMBER— A  MAN  OF  METTLE 
[altered  to]  METAL— OR  A  MATCH  FOR  MINISTERS.  360 

[Williams.] 

Pub'^  [c.  July]  i8ig  T,  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  Birmingham  brass-founders  have  cast  a 
large  brazen  head,  representing  Sir  Charles  Wolseley,  and  are  about  to  place 
it  upon  a  full-dressed  effigy  without  a  head,  which  two  men  hold  erect  under 
a  tripod.  Two  workmen  carry  the  head  from  a  furnace  (1.)  towards  the  tripod; 
a  third  who  stands  behind  says:  Say  what  they  will  of  our  Member  they  can't 
say  he  wants  Head!!  One  of  the  pair,  who  strain  under  the  weight,  answers : 
No  or  that  he  is  light  headed!  The  other  adds:  Faith  tJiey'll  soon  find  that  out 
if  they  should  come  to  logerheads.  The  (normal-sized)  body  is  under  the  tripod 
from  which  hang  ropes  by  which  the  head  is  to  be  hoisted  into  position.  One 
of  the  men  holding  the  ropes  looks  round  to  ask :  Have  you  put  Brass  enough 
in  the  [head]  he'll  soon  be  put  out  of  countenance  if  you  have  'nt.  Two  of  the 
others  say :  We  are  the  Body  and  shanks  when  they  are  wanted  you  know!  and 
Now  Lads  up  with  it!  never  mind  a  little  mistake  in  proportion — iVs  a  Head  we 
want!  Behind  them  (1.)  is  a  furnace.  From  the  r.  workmen  hurry  forward, 
one  carrying  two  large  cans  of  beer;  one  of  them  shouts:  Here  is  the  liquor 
and  the  Parson,  so  make  haste  that  we  may  Christen  him.  On  the  1.  lie  the 
moulds  in  which  the  head  and  limbs  have  been  cast.  Tools  and  tankards  are 
also  on  the  ground.  Through  an  opening  in  the  wall  behind  the  men  are  seen 
smoking  kilns. 

The  Reformers  in  18 19  adopted  the  device  of  electing  members  for  unrepre- 
sented towns.  On  28  June  Wolseley  made  an  inflammatory  speech  at  Stockton 

'  A  term  applied  by  Europeans  to  the  Buddhist  clergy  of  Japan. 

913  3  N 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

for  which  he  was  tried  and  sentenced  on  a  charge  of  sedition  in  Apr.  1820. 
On  12  July  the  Birmingham  reformers  in  his  absence  elected  him  as  their 
'legislatorial  attorney'  and  empowered  him  to  present  their  grievances  to 
Parliament.  See  Black  Dzoarf,  14  and  21  July  1819;  Examiner,  1819,  pp.  453, 
458;  Gent.  Mag.  Ixxxix.  2,  pp.  79,  174;  Langford,  A  Century  of  Birmingham. 
Life,  ii.  420  ff.  See  No.  1333 1. 
8JX  i2||^  in.   With  border,  9|x  13^  in. 

13252  THE  SMITHFIELD   PARLIAMENT,   i  e  UNIVERSAL  SUF- 
FRAGE—THE NEW  SPEAKER  ADDRESSING  THE  MEMBERS.   358 

[Williams.] 

Pub^  July  i8ig  by  T.  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  A  scene  in  Smithfield  Market.  Henry 
Hunt,  with  the  head  of  an  ass,  addresses  cattle,  horses,  sheep,  and  pigs,  all 
on  their  hind-legs,  from  a  large  open  cart.  He  stands  in  front  of  a  large  arm- 
chair placed  across  the  end  of  the  cart,  his  arms  raised  oratorically,  saying, 
/  shall  be  ambitious  indeed  if  I  thought  tny  Bray  coidd  be  heard  by  the  immense 
and  respectable  multitude  I  have  the  Honour  to  address—  At  his  r.  hand  flies 
a  large  red  flag  (see  No.  12999,  ^'^•)  inscribed  U?iiversal  Suffrage,  at  his  I. 
is  a  corresponding  blue  one,  inscribed  Peace  And  Goodzv[ill].  These  are  lashed 
to  the  back  of  his  chair.  Beside  each  flag-staff  is  a  smaller  pole  with  a  notice : 
Order.  The  animals  fill  the  square ;  from  their  heads  float  the  words :  Hear 
Hear ;  Hear!  Hear! ;  Bravo ;  Bravo!  Bravo! ;  Excellent!  The  windows  of  the 
adjacent  houses  are  filled  with  tiny  spectators;  others  watch  from  the  roofs. 
Under  the  cart  lies  a  drover's  dog  holding  a  baton  in  its  teeth  and  wearing 
a  ribbon  inscribed  Usher  of  the  Black  [Rod] . 

On  21  July  Hunt  presided  at  a  Reformers'  meeting  at  Smithfield;  disturb- 
ances were  expected,  but  did  not  occur.  Examiner,  25  July,  pp.  477-8;  Black 
Dwarf,  28  July  18 19.  Cf.  No.  13204,  &c.  For  the  meeting  see  also  Nos.  13253, 

13254.  13324.  13334- 

I2|x  i2f  in.   With  border,  9|x  13!  in. 

13253  FANATICAL  REFORMISTS.   OR  THE  SMITHFIELD  ASS- 
EMBLY OF  NEW  LEGISLATORS. 

[Williams.]  [c.  July  1819] 

Engraving.  Perhaps  a  pi.  from  the  Bon  Ton  Magazine.  Henry  Hunt  bestrides 
a  rearing  ass  on  a  small  platform  in  Smithfield  Market,  which  is  surrounded 
by  the  heads  of  cattle,  pigs,  asses,  sheep,  and  horses,  all  with  halters  round 
their  necks.  The  ass,  which  is  braying,  has  the  head  of  Cobbett,  and  its  neck 
is  covered  by  the  profiles,  directed  to  the  r.,  of  five  Reformers.  Hunt  is  making 
a  speech  with  arms  extended,  clutching  a  document  inscribed  Universal 
Suffrage  in  the  r.  hand.  He  declaims:  My  friends,  it  is  a  painful  sight  to  see 
you  in  this  situation  like  Cattle  in  a  Market,  or  met  to  compose  one  of  my  Lord 
Sidmouth  [sic]  shews,  be  patient,  keep  your  halters,  there  yet  may  be  use  for  them, 
not  that  I  mean  you  will  want  them  at  Newgate,  we  shall  have  no  New  Gates  or 
Old  Baileys  shortly  ;  therefore  you  have  nothing  to  fear  on  that  head — but  you 
may  want  them  to  scrag  the  overgrown  Paupers  [Ministers,  pensioners,  &c.] 
&c.  &c. — 

See  No.  13252,  &c.   The  first  profile  is  recognizably  Preston  the  cobbler, 
the  second  resembles  Watson,  the  fifth  may  be  Hone. 
6f  X4J  in.   With  border,  7IX4I  in. 

914 


POLITICAL   SATIRES    1819 

13254  THE  REHEARSAL  (IN  THE  GREEN  YARD  [altered  to]  ROOM) 
OF  A  NEW  FARCE,  CALLED  FIRE  AND  MURDER!! 

Marks  fec^  [c.  July  1819] 

Pu¥  by  J.  L.  Marks  N°  2  Sandy's  Row  Artillery  S^  Bishopsgate 

Engraving  (coloured  impression).  The  title  continues:  to  which  will  be  added 
the  Busy  Body  to  conclude  with  Much  Ado  about  Nothing. — Principle  Character 
by  Jack  Flog'em,  who  it  is  supposed  will  shortly  appear  as  Sir  lohnU!  ''Give 
me  another  Horse!'' —  the  Lord  Mayor  loudly  cry'd:  ''Give  us  another  Mare!" — 
the  Srnithfield  mob  reply' d.  John  Atkins,  the  Lord  Mayor  (1.),  a  puny  fellow, 
as  Walworth,  the  name  on  a  paper  at  his  feet,  reins  in  his  horse  to  speak  to 
three  villainous-looking  ragamuffins  who  face  him.  He  registers  terror,  and 
a  scourge  falls  from  his  hand;  in  his  1.  hand  is  the  City  mace.  He  wears  his 
mayoral  gown  and  chain  with  a  bag-wig  and  a  dragoon's  helmet  with  flowing 
horse-tail.  His  saddle-cloth  is  embroidered  with  G.R  and  crown.  Behind 
him  and  on  the  extreme  1.  are  three  dragoons  with  drawn  sabres.  The  first 
ruffian,  who  has  a  spiked  bludgeon,  says :  I'm  come  to  szvear  my  Lord,  all  the 
People  are  to  be  Murder' d  and  the  City  fir'd  (that 's  all  I  can  swear  for  half 
a  crown)  It 's  a  "Burning  lie!"  Second  ruffian  (holding  a  knife) :  You  had  better 
take  your  flight  or  there  will  be  a  Hunt,  after  you,  and  I  can  szvear  they'll  make 
game  of  you.  Third  ruffian  (with  a  bludgeon  but  not  ragged  like  the  others): 
D — n  me  my  Lord  if  I  hiow  what  to  swear!  If  you  will  be  so  good  to  invent 
something.  I'll  swear  to  any  thing  for  2''I6'^.  The  Mayor  says  (answering  the 
first  rascal) :  Dreadfidl!  I  do  not  doubt  it,  GeTitlemen  by  your  respectable  appear- 
ence,  I  might  as  well  believe  you  without  your  Oath! — "but  take  prisoner  That 
old  seditious  priest.,,  Harrison,  "Were  but  the  ringleaders  cut  off— the  rabble 
Would  soon  disperse.,.   On  the  extreme  r.  is  a  notice-board:  "All persons  that 

will  Swear  to  a  D nd  lie,  by  applying  to  Jack  Flog' em  will  Recieve  from 

One  shill'^  to  Two  and  Sixpence  each.  N.B.  ?io  higher  price  zvill  be  offered. . 

Under  the  notice  two  men  are  conferring.  One  asks:  /  say  Oliver  Cramwell 
hozv  goes  trade  in  the  Informing  line.  The  other :  little  doing  in  the  City  thank 
the  Lord  M  .  .  .  r  [scored  through]  but  Low  Price. 

The  timorous  Mayor  is  ironically  depicted  as  Walworth  the  Mayor  who 
killed  Wat  Tyler.  At  Hunt's  Srnithfield  Meeting,  see  No.  13252,  the  resolu- 
tions were  seconded  by  Joseph  Harrison  of  Stockport,  a  preacher,  who  at 
the  close  of  the  meeting  was  arrested  by  a  City  Marshal.  At  a  Common 
Council  on  23  July  Atkins  gave  an  account  of  the  measures  taken  to  preserve 
order,  and  of  an  inflammatory  bill  posted  about  the  streets,  which  he  called 
an  incitement  'to  fire  the  Metropolis  and  murder  the  inhabitants'.  The  City 
radicals.  Wood,  Waithman,  and  others,  attacked  the  Mayor:  they  suggested 
that  the  placard  was  the  work  of  agents-provocateurs  (such  as  Oliver  and 
Castles,  see  No.  12885,  &c.),  and  protested  against  the  introduction  of  horse- 
soldiers  into  the  Green-yard  (the  City  pound) :  according  to  the  Mayor  he 
only  ordered  the  horses  to  be  brought  there.  Examiner,  1819,  pp.  477-9.  It 
is  implied  that  he  will  be  knighted  (like  Walworth).  For  Atkins  as  scare- 
monger see  also  Nos.  13272,  13273. 
8fxi3|in. 

13255  ARRIVAL  AT  THE  NORTH  POLE 

Pub'^  by  Tho^  M'^Leati  26.  Haymarket,  Aug^  J^'  1^35  [Cruikshankiana.] 
Engraving.    Reissue  of  a  print  published  by  Humphrey,  25  June  1819.   An 
enormously  tall  pole  projects  from  a  rocky  mound  seen  against  a  background 

915 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

of  sea  and  icebergs.  A  sailor  with  a  Union  flag  has  chmbed  nearly  to  the  top ; 
at  the  base  is  a  little  group  of  sailors,  waving  their  hats,  who  have  just  scaled 
the  mound.  One,  a  stout  officer,  is  Ross;  climbing  up  the  rock  is  a  negro 
servant.    See  No.  13 194,  &c. 

Reid,  No.  894.    Cohn,  No.  896. 
7x4!  in.   With  border,  7^X  15-8-  in. 


13256  ROYAL  RED  BENGAL  TIGER— 

— Etched  by  G.  Cruikshank — 

London  PuM  August  2^^  i8ig  by  G  Humphrey  27  .S'  James's  S^ 

Engraving  (coloured  impression).  A  tiger  with  the  profile  head  of  General 
Sir  George  Adam  Wood  (i  767-1 831)  stands  directed  to  the  r.,  with  the  r. 
fore-paw  resting  on  a  skull.  There  is  a  background  of  jungle-grass,  in  which 
is  the  skeleton  of  a  horse.  In  the  foreground  (1.)  are  a  skull  and  bones.  In 
the  background  are  palm-trees.   The  print  is  annotated  'very  like'. 

Wood  received  many  allied  decorations  for  the  Waterloo  campaign,  and  was 
made  a  Commander  of  the  Royal  Guelphic  Order  in  1816.  Until  the  return 
of  the  Army  of  Occupation  from  France  in  1819  he  commanded  the  British 
artillery  there.  Probably  an  expression  of  the  dominant  fear  of  militarism 
(cf.  No.  13288):  Wood,  see  No.  12763,  had  no  connexion  with  India. 

Reid,  No.  908.    Cohn,  No.  1927. 
7IX9I  in.   With  border,  8|x  lof  in. 


13257  THE  BELLE-ALLIANCE',  OR  THE  FEMALE  REFORMERS 
OF  BLACKBURN!!!— 

G  Cruikfec^ 

Pub'^  by  G  Humphrey  2j  S^  James's  S'  August  12  i8ig 

*  Engraving  (coloured  impression).  A  file  of  (burlesqued)  female  reformers 
proceeds  (1.  to  r.)  along  a  platform  towards  the  chairman  of  a  Reform  Meeting, 
a  bow-legged  proletarian  wearing  fashionable  Hessian  boots.  Beside  him 
kneels  a  ragamuffin  holding  the  pole  of  a  banner  inscribed  Reform  towards 
the  leader  of  the  women,  a  stout  noseless  virago  with  petticoat  rolled  up  to 
show  breeches  (with  pockets  turned  inside-out)  and  tattered  stockings.  She 
places  a  large  cap  of  Liberty  with  cockade  and  favour  upon  the  pole,  holding 
up  in  her  1.  hand  a  rolled  document:  Adress  of  the  Female  Reform[ers] — 0/ 
Blackburn  July  5"'  i8ig.  She  shouts:  "Muster  Chairman  &  Brother — will 
you  accept  this  token  of  our  Love  &  by  placing  it  on  the  head  of  your  pole  [scored 
through]  Banner  you  will  confer  a  Obligation  on  us — &  will  you  read  the  adress 
which  I  holds  in  my  hand,  to  the  meeting,  it  embraces  every  thing  zve  want,  & 
my  apologise  [sic]  for  our  putting  on  the  breeches;  and  entreats  you,  &  every 
man  in  England,  to  stand  up  &  come  forward  &  join  the  general  Union,  that 
by  a  determined  Constitutional  resistance  to  our  oppressors  zve  may  obtain  the 
Great  end' ' .'.'.'  On  the  upper  border  of  the  print : ' '  The  presentation  of  the  Cap  of 
Liberty  was  accompanied  by  a  short  emphatic  speech  delivered  by  Af^  Kitchen"!!! 

The  Banner  was  then  lowered.  Crowned  by  y^  Cap  of  Liberty  &  re-hoisted 

amidst  the  continued  shouts  &  huzzas  of  y'^  meeting y   Three  men,  salaciously 
amused,  stand  behind  the  chairman;  two  wave  their  hats.   The  first  woman 

'  An  ironic  allusion  to  Waterloo;  cf.  'Peterloo'  (No.  13258,  &c.). 

916 


POLITICAL   SATIRES    1819 

is  followed  by  one  still  fatter,  similarly  dressed,  and  holding  a  dagger.  The 
third  is  younger  and  more  demure,  wearing  a  short  patched  petticoat,  the  only 
one  of  the  women  not  wearing  a  bonnet  rouge.  Behind  her  a  thin  woman 
holds  up  in  both  arms  a  child  wearing  a  bonnet  rouge  and  with  a  dagger  in 
each  hand;  she  declaims:  "zt;^  swear  to  instill  into  the  minds  of  our  children, 
a  deep  rooted  abhorrence  of  all  civil  or  religious  government  like  the  present"!! 
A  fat  disreputable  creature  follows,  holding  a  bottle  in  each  hand,  with  a  tiny 
neglected  infant  tucked  under  the  r.  arm.  She  winks  towards  the  men  below, 
saying,  we  are  some  of  the  right  sort  my  lads!  Below  her,  two  men,  one  a 
butcher,  hoist  a  fat  and  not  uncomely  woman  on  to  the  platform.  Above  the 
crowd  below,  on  her  way  to  the  platform,  is  a  woman  resembling  a  maenad 
of  the  French  Revolution  (cf.  Theroigne  de  Mericourt  in  No.  7560  by 
I.  Cruikshank).  She  holds  up  a  firebrand  in  one  hand,  a  dagger  in  the  other, 
and  shouts:  If  they  von't  grant  us  Libeties  vhy  d — me  ve'll  take  'etn.  Behind 
her  a  woman  holds  a  long  pole  with  a  cross-piece  of  daggers  from  which  hangs 
a  woman's  ragged  shift  with  a  notice :  The  Female  S'  George  over  coming  the 
Monster  Corruption.  On  the  shift  is  depicted  a  dragon  breathing  fire  at  a 
woman  who  bestrides  it  holding  a  dagger  and  shield.  Behind  the  women 
is  a  background  of  densely  packed  male  spectators  shouting:  God  bless 
the  Women!;  Bless  the  whole  of  them;  and  Huzza!  Petticoat  government  for 
ever. 

Across  the  lower  part  of  the  design  are  spectators,  much  caricatured  and 
generally  disreputable,  and  on  the  1.  a  number  of  dwarfish  Jacobin  children 
with  daggers  or  knives.  An  emaciated  man  wearing  a  petticoat  points  up  at 
the  second  woman  in  the  procession,  turning  to  a  sturdy  disgruntled  fellow, 
to  whom  he  points  out  the  rape  of  his  breeches.  Others  are  more  enthusiastic, 
including  a  knock-kneed  man  wearing  a  ragged  smock  and  short  gaiters  on 
bare  legs.  On  the  r.  of  the  platform  and  in  the  background  is  a  sea  of  heads; 
from  these  ascend  the  words :  Oh!  my  eyes  this  is  a  glorious  sight! — Huzza — 
and  /  think  it  is  high  time  some  of  the  Ladies  should  think  about  Reform.  After 
the  title:  "Liberty  or  Deat}i\  zcas  vociferated  from  every  Mouth — y^  tear  of 
zvelcome  sympathy  seem'd  to  trickle  from  every  eye — "God  bless  the  wome?i",  was 
uttered  from  every  tongue ;  in  fact,  imagijiation  can  only  do  justice  to  this  interest- 
ing scene.  Could  the  Cannibal  Castlereagh  have  witnessed  this  Noble  expression 
of  public  sentiment,  he  must  have  had  a  heart  of  brass  if  it  had  not  struck  him 
Dead  to  the  ground''!!! — !!! — !!!    \  'ide  Report  of  the  Meeting. 

The  words  after  the  title  are  quoted  from  the  Black  Dzvarf,  14  July  18 19, 
in  a  full  account  of  the  meeting  at  Blackburn  on  5  July,  when  the  Female 
Reformers  presented  a  cap  of  Liberty  with  a  short  emphatic  speech  by 
Mrs.  Alice  Kitchen.  Their  Address  was  read  by  the  chairman,  Mr.  J.  Knight, 
and  strongly  worded  resolutions  were  passed.  The  women's  address  con- 
tained a  passage  declaring  'the  avowed  determination,  of  instilling  into  the 
minds  of  their  offspring  a  deep-rooted  abhorrence  of  Tyranny,  come  in  what 
shape  it  may;  whether  under  the  mask  of  civil  or  religious  government  .  .  .*. 
This  was  one  of  many  mass  meetings  which,  with  the  Unions  and  Associa- 
tions formed  in  industrial  districts,  made  Ministers  fear  revolution,  see 
No.  13271,  &c.  For  the  Female  Reformers  see  Bamford,  Passages  in  the  Life 
of  a  Radical,  1905,  ii.  141  f.  See  also  Nos.  13260,  13262,  13263,  13264,  13275, 

^3279- 
A  drawing  in  pen  and  pencil  for  a  caricature  on  this  subject  is  in  the  Print 

Room  (201.  c.  6I85). 

Reid,  No.  905.    Cohn,  No.  921. 

8 il  X  13^  in.   With  border,  g^Xi^^  in. 

917 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13258  MASSACRE    AT    ST    PETER'S    OR    "BRITONS    STRIKE 
HOME"!!!  567 

[I.  R.  or  perhaps  G.  Cruikshank,] 

London  puM  August  16^''  [sic]  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Mounted  men,  all  fat,  wearing  yeomanry 
uniform,  with  the  over-sleeves  and  steels  of  butchers,  ride  savagely  over  men, 
women,  and  children,  slashing  at  them  with  blood-stained  axes.  Smoke,  as 
from  a  battle,  and  bayoneted  muskets,  form  a  background,  with  (1.  and  r.) 
houses  in  whose  windows  spectators  are  indicated.  They  have  a  Union 
flag  with  G  R  and  crown,  and  a  fringed  banner  inscribed  Loyal  Man\chester\ 
Yeomanry — "Be  Bloody,  bold  &  Resolute"  [Macbeth,  iv.  i] —  "Spur  your 
proud  Horses  &  Ride  hard  in  blood''  [Richard  III,  v.  iii] .  On  the  saddle-cloths 
are  the  letters  L  M  Y  above  a  skull  and  cross-bones  surmounted  by  a  crown. 
One  man  kicks  a  young  woman  who  kneels  beseechingly,  clasping  an  infant, 
raising  his  axe  to  smite.  The  man  behind  him,  his  arm  extended,  shouts: 
Down  with  'em!  Chop  'em  down!  My  brave  boys!  give  them  no  quarter,  they 
want  to  take  our  Beef  &  Pudding  from  us! — &  remember  the  more  you  Kill  the 
less  poor  rates  you'll  have  to  pay  so  go  it  Lads  show  your  Courage  &  your 
Loyalty! 

A  satire  on  the  'Manchester  Massacre'  of  16  Aug.  1819,  when  a  mass- 
meeting  in  St.  Peter's  Fields,  addressed  by  Hunt  and  others,  was  charged  by 
a  troop  of  Manchester  Yeomanry,  local  tradesmen  whose  horses  were  not 
under  control,  acting  on  the  instructions  of  the  local  magistrates.  They  were 
pressed  by  the  crowd  and  drew  their  sabres;  the  15th  Hussars  and  Cheshire 
Yeomanry  came  to  their  help.  Infantry  had  been  posted  in  the  adjacent 
streets.  The  intention  was  to  send  mounted  men  to  arrest  the  leaders  on  the 
hustings  when  it  was  thought  the  meeting  would  disperse.  A  storm  of 
indignation  followed,  helped  by  the  scathing  sobriquet  'Peterloo'  which 
appeared  as  early  as  21  Aug.  in  the  Manchester  Observer.  See  Pari.  Deb. 
xU.  9  ff.,  357  ff.,  &c.;  Ann.  Reg.,  1819,  ch.  vii;  State  Trials,  n.s.  i,  1888, 
pp.  171  ff.,  1371-84;  Carlyle,  Past  atid  Present,  Book  i,  ch.  iii;  Publications 
of  the  Mod.  Language  Association  of  America,  xl  (1925),  pp.  128  ff.;  Halevy, 
Hist,  of  the  English  People,  181 5-1830,  1926,  pp.  61-4  (authorities).  For  the 
function  of  yeomanry  cf.  No.  13250.    See  also  Nos.  13260,  13262,  13263, 

13266, 13267, 13270, 13300, 13336, 13341, 13342, 13343, 13345. 13500.  Cf. 

No.  13280. 

Reid,  No.  906.    Cohn,  No.  1716.    Reproduced,  Garratt,  Lord  Brougham, 
1935,  p.  128. 
8||^Xi2|  in. 

13259  ROYAL  EMBARKATION,  OR  BEARING  BRITTANIA'S  HOPE 
FROM  A  BATHING  MACHINE  TO  THE  ROYAL  BARGE  361 

[G.  Cruikshank.] 

Pu¥  Aug'  ig^'^  i8ig  by  T  Tegg  iii  Cheapside — 

Engraving  (coloured  impression).  The  Regent,  in  tight  and  dandified 
admiral's  full-dress  uniform,  wearing  a  cocked  hat,  is  carried  by  two  bathing 
women  (cf.  No.  8432)  from  a  bathing-machine  (r.)  to  the  barge  Royal  George, 
for  transit  to  the  royal  yacht.  Just  behind  is  the  machine,  inscribed  The  Best 
Machines  in  Brighton;  from  it  two  naked  girls  look  towards  the  departing 
prince.  A  sailor  standing  in  the  barge,  which  flies  the  Royal  Standard,  seizes 
the  Regent's  ankles ;  one  foot  is  gouty  and  swollen ;  he  says  to  the  man  stand- 

918 


POLITICAL   SATIRES    1819 

ing  behind  him  (1.) :  My  eyes  jack  this  here  craft  will  never  carry  him — we  should 
bring  the  sheers  and  reeve  a  tackle  for  him  in  the  long  boat — //  A  naval  officer 
stands  beside  the  sailor,  and  shouts  an  order  to  the  man  behind:  shove  the 
Barge  further  a  stern  &  be  d—d  to  you — what  you  about  a  head  there.  The 
Regent  has  an  arm  round  the  neck  of  each  woman  and  grasps  the  plump 
breast  of  the  nearer  one  who  is  comely.  He  says :  Do  my  dear  Girls  put  me 
on  board  safe,  I  shall  Tell  Paget  to  give  you  some  Grog — /  have  beefi  almost 
suffocated  in  that  i?ifernal  Bathing  Machine — mind  my  foot.  One  bathing- 
woman  says :  Faith  he 's  no  joke  Judy  the  devil  a  heavier  Burthen  in  all  the 
country ;  her  comelier  companion  answers :  By  my  ozcn  soul  Fd  rather  carry 
such  a  nice  neat  beautiful youtig  Gentleman,  than  the  best  basket  of  mackerel  that 
ever  was  at  Billingsgate .  The  sailor  on  the  1.  uses  a  pole  to  manipulate  the 
barge,  the  bow  of  which  is  cut  off  by  the  1.  margin.  He  wears  a  tight  blue 
jacket  to  the  (pinched)  waist,  with  red  collar  and  cuffs,  white  trousers,  and 
top-hat  with  a  badge:  Royal  George.  With  a  grimace  he  says:  D — n  these 
soldiers  jackets  I  can't  move  in  em — /  suppose  we  shall  all  be  lobsters  by  &  bye!! 
Behind  (r.)  are  the  chalk  cliffs  of  Brighton,  with  tiny  figures  waving  their  hats; 
one  woman  is  seated  on  a  donkey  holding  up  a  parasol. 

The  Regent  left  Brighton  for  the  Isle  of  Wight  in  his  yacht  on  7  Aug. 
Examiner,  1819,  p.  521 .  This  was  his  first  visit  to  the  Cowes  Regatta :  a  water- 
colour  of  the  Royal  George  at  anchor  off  Cowes  is  reproduced,  Gavin,  Royal 
Yachts,  1932,  after  p.  113.  See  Letters  of  Keats,  1935,  p.  371.  Charles  Paget, 
fifth  son  of  the  Earl  of  Uxbridge,  commanded  one  of  the  royal  yachts  (cf. 
No.  12804)  1817-19.    'Lobster'  =  British  soldier.  See  also  Nos.  13261,  13265. 

Reid,  No.  907.   Cohn,  No.  19 17. 
8^Xi2|  in. 

13260  THE    MASSACRE   OF   PETERLOO!    OR   A    SPECIMEN   OF 
ENGLISH  LIBERTY.    August  16"^  i8i'j 

Marks  fed 

[Pub.  J.  L.  Marks  i6  Aug.'  {sic)^ 

Aquatint  (coloured  impression).  The  Manchester  Yeomanry  ride  down  men, 
women,  and  children,  slashing  at  them  with  sabres.  The  centre  figure  is  a 
trumpeter,  brandishing  a  sabre  which  drips  blood;  from  his  trumpet  issue 
the  words : 

Raise  up  the  Trumpet  in  high-chearful  Strain! 

Fill  the  goblets  of  Rutn,  to  the  Loyal  Yeomen! 

How  Glorious  our  Ardour  to  lay  dozvn  the  Lives 

Of  defenceless  Children,  Husbands  &  Wives. 
Meagre!!! 

He  is  about  to  strike  down  a  woman  carrying  an  infant  who  falls  to  the  ground 
beside  him.  On  the  extreme  1.,  one  of  the  Yeomanry  leans  forward  to  thrust 
his  sabre  deep  in  the  breast  of  an  elderly  man  who  is  supported  by  a  well- 
dressed  younger  man ;  the  latter  says : 

"Oh!  stay  that  lifted  blade 
That  brandish' d  darts  a  crimson  gleam" — 
Oh!  spare  my  Father. 

The  assailant  exclaims :  D — n  the  fellow  he  has  not  tnade  my  Sword  half  sharp 
enough.  Just  behind  is  another  mounted  man  with  raised  sabre.  On  the  r. 
one  of  the  yeomanry  savagely  attacks  a  woman  and  child.   In  the  foreground 

'  A.  de  R.  xvi.  45.    Imprint  cropped. 

919 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

(r.)  a  ferocious  constable,  evidently  Joseph  Nadin,  brandishing  his  staff,  seizes 
by  the  throat  a  moribund  man  who  kneels  at  his  feet,  and  tramples  on  the 
head  of  a  desperately  wounded  woman;  he  says:  "What  a  Glorious  Day,  this 
is  our  Waterloo P'  A  little  boy  kneels  before  him  pleading  for  the  life  of  his 
mother.  From  an  adjacent  window  on  the  extreme  r.  a  magistrate  leans  out, 
holding  a  bottle  of  Rum  and  a  glass ;  he  says :  Cut  away  lads!  the  Riot  Act 
is  being  read  up  in  the  Corner —  In  the  room  behind  him,  with  his  back  to  the 
window,  a  magistrate  reads  the  Riot  Act.  In  the  background  (1.),  above  the 
heads  of  a  dense  and  struggling  crowd,  is  a  platform  on  which  among  others 
are  a  constable  with  his  staff,  Henry  Hunt,  and  a  woman  holding  a  (red)  flag 
surmounted  by  a  cap  of  Liberty. 

See  No.  13258,  &c.  The  magistrates  (see  No.  13281,  &c.)  watched  from 
a  first-floor  window;  they  ordered  Nadin  (deputy-constable  of  Manchester, 
see  D.N.B.),  who  had  a  force  of  constables,  to  arrest  Hunt;  he  said  military 
assistance  was  necessary.  There  was  a  dispute  as  to  whether  the  Riot  Act 
was  read :  it  was  probably  done  in  a  perfunctory  way  from  the  window.  The 
committee  of  the  Manchester  Female  Reformers  (cf.  No.  13257)  walked 
behind  Hunt's  carriage,  and  on  the  box-seat  was  Mrs.  E.  Mary  Fildes,  their 
president,  carrying  a  white  silk  flag. 
8^X  i2|  in.  'Caricatures',  xi.  106. 

13261  BEAUTIES  OF  THE  ISLE  OF  WIGHT. 

[Williams.]  [c,  Aug.  18 19] 

Engraving  (coloured  impression).  Probably  from  a  magazine.  The  Regent, 
enormously  stout,  sits  on  a  settee  in  a  room  or  pavilion  giving  on  to  a  terrace 
beside  the  Solent,  which  is  framed  in  a  trellised  arch  covered  with  roses. 
A  table  is  spread  with  dessert,  and  the  Prince  takes  wine  between  two  naval 
officers,  one  with  a  wooden  leg.  He  leans  back,  saying,  Charmi7ig!  delightfull 
scene!  O  its  Heavenly!  D — n  Brighton  what  lovely  zvomen — come  here's  the 
Beauties  of  the  Isle  of  Wight!  He  has  not  noticed  Lady  Hertford,  who  stands 
behind  him,  one  hand  on  his  shoulder;  she  says  with  raised  forefinger:  Come! 
come!  don't  you  see  I  am  here.  The  Solent  is  covered  with  yachts;  there  is 
also  a  state  barge. 

See  No.  13259;  for  the  Regent  and  Lady  Hertford,  No.  11853.  Mrs.  Nash 
was  an  attraction  to  the  Prince  at  Cowes. 
4ix6|in. 

13262  A  REPRESENTATION  OF  THE  MANCHESTER  REFORM 
MEETING  DISPERSED  BY  THE  CIVIL  AND  MILITARY  POWER, 
AUGT  16TH  1819. 

Slack  deV  &  sculpt  [c.  Aug.  18 19] 

Wood-engraving,  printed  on  coarse  calico,  as  a  handkerchief.  The  yeomanry 
slash  their  way  in  different  directions  through  a  dense  crowd,  among  whom 
are  a  few  women.  The  greater  part  of  the  (respectably  dressed)  crowd  is 
escaping  in  a  tightly  packed  mass  to  the  1.  The  platform,  surrounded  by 
sabres,  is  in  the  middle  distance,  indicated  only  by  the  banners  and  placards 
seen  above  the  heads  of  the  crowd.  Hunt  stands,  hat  in  hand,  near  a  placard 
inscribed  Order.  The  banners  (1.  to  r.)  are  Unite  and  be  Free;  Royton  Female 
Union  Society ;  Manchester  Female  Union  Society ;  Liberty  is  the  birth  right  of 
Man ;  No  Corn  Laws ;  Hunt  and  Liberty ;  Stockport  Oldham  Middleton  Union ; 
Universal  Suffrage  Annual  Parliaments  and  Election  by  Ballot ;  Taxation  with- 
out representation  is  unjust  and  tyrannical;  a  woman  holds  a  banner  on  which 

920 


POLITICAL   SATIRES    1819 

is  depicted  a  seated  woman  with  a  cap  of  Liberty  on  a  spear ;  another  banner 
is  Saddleworth  Lees  &  Morley  Union.  Most  banners  are  surmounted  by  a  cap 
of  Liberty.  There  is  a  topographical  background ;  some  buildings  have  figures 
referring  to  notes.  They  include  5 — Mess.  Pickfords  and  Co's  Warehouse  (where 
the  yeomanry  were  mustered)  and  5 — House  where  the  Magistrates  sat.  The 
title  and  notes  are  on  a  scroll  which  is  draped  across  the  upper  part  of  the 
design  among  heavy  clouds.  There  is  a  border  of  a  ribbon  intertwined  with 
palm-branches  and  laurel-wreaths.  On  the  ribbon  is  repeated:  Universal 
Suffrage  Annual  Parliatnents  and  Election  by  Ballot.  The  scene  resembles  the 
etching  by  Wroe,  A  View  of  St  Peter's  Place,  reproduced  Bruton,  Three 
Accounts  of  Peter  loo,  19 19,  p.  90,  but  extending  farther  to  1.  and  to  r.,  showing 
the  Society  of  Friends  School  and  St.  Peter's  Church,  and  (r.)  the  Windmill 
Public  House. 

See  No.  13258,  &c.   For  the  Female  Reformers,  No.  13257,  &c. 
21  X  24  in.  'English  History.' 

13263  TO  HENRY  HUNT  ESQR  AS  CHAIRMAN  OF  THE  MEETING 
ASSEMBLED  ON  S^  PETER'S  FIELD,  ON  THE  16TH  OF  AUGUST, 
1819. 

Aquatint.  The  title  continues :  and  to  the  Female  Refortners  of  Manchester  and 
the  adjacent  Towns  who  zvcre  exposed  to  and  suffered  from  the  Wanton  and 
Furious  Attack  made  on  them  by  that  British  Arined  Force  the  Manchester 
and  Cheshire  Yeomanry  Cavalry.  A  view  of  the  scene  round  the  platform 
on  16  Aug.  A  woman  holds  a  banner  inscribed  Manchester  Female  Reform 
on  which  a  female  figure  tramples  on  Coruption.  The  other  three  banners  on 
the  platform  are:  Universal  Suffrage;  Liberty  or  Death  [see  No.  13279]; 
Universal  Civil  and  Religious  Liberty.  In  the  foreground  a  man  with  a  banner 
on  which  is  a  female  figure  holding  a  sword  is  pursued  by  one  of  the  yeomanry. 
All  the  banners  are  topped  by  a  cap  of  Liberty.  Many  of  the  men  on  the 
ground  and  on  the  platform  wear  (green)  leaves  in  their  hats. 

See  No.  13258,  &c.;  for  the  Female  Reformers,  No.  13257,  &c. 
13  X  i8|  in.  'English  History.* 

13264  MUCH  WANTED  A  REFORM  AMONG  FEMALES!!! 
Marks  fec'^ 

Pub'^  by  J.  L.  Marks  N°  2  Sandy's  Row  Bishopsgate.         \c.  Aug.  181 2] 

Engraving  (coloured  impression).  Four  women,  all  eagerly  amorous,  look 
down  on  a  densely  packed  crowd  from  a  platform  (r.)  in  a  rural  setting.  The 
speaker  is  handsome  and  well  dressed;  she  leans  forward  with  1.  arm  raised, 
in  her  r.  hand  is  a  rolled  document :  Female — Resolutions  for  pushing  thifig^ 
forward.  She  says :  (Dear  Sisters)  I  feel  great  pleasure,  in  holding  this  thing  'um- 
bob  in  my  hand,  as  we  see  our  Szceethcarts,  and  Husbands,  are  such  fumblers 
at  the  main  thing,  we  must  of  course  take  the  thing,  in  our  own  hands, — we  must 
not  leave  a  stone  unturned — we  must  exert  every  limb, — we  must  pursue  the  point 
as  far  as  it  will  go,  a  REFORM  is  very  much  wanted  (among  us)  though  we  should 
not  put  on  Armour,  or  carry  Guns,  (it  is  my  opinion)  Though  zee  should  be  start 
[sic]  naked,  we  could  make  the  zvhole  Army  Stand! — It  is  our  duty  as  Wives 
to  assist  our  Husbands  in  every  Push  and  Turn,  by  that  meam  we  shall  Increase, 
and  Multiply,  in  our  under  takings.  At  her  r.  hand  stands  a  woman  who  is 
older  and  stouter,  and  more  plainly  dressed,  but  still  comely.  She  has  a  sheaf 
of  papers  inscribed  Petition  under  her  r.  arm,  and  holds  out  a  paper:  The 

921 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

Whole  Duty  of  Women.  In  her  1.  hand  is  a  cylindrical  roll  like  that  of  the 
first  speaker,  similarly  inscribed.  Behind  them  (r.)  stand  two  expectant  girls, 
one  holds  on  a  pole  a  cap  of  Liberty ;  a  spinsterish  old  woman  in  the  front  row 
of  the  crowd  eagerly  stretches  her  arms  towards  it.  The  heads  and  shoulders 
of  the  crowd  form  the  base  of  the  design  on  the  1.,  receding  in  perspective, 
row  after  row.  An  elderly  man  with  a  bottle-nose  hits  his  shrewish  wife  in 
the  face,  saying,  Come  home  and  get  Dinner  ready  you  Old  Baggage  I'll  Reform 
you.  A  young  man  puts  his  hand  on  the  bare  breast  of  a  pretty  milkmaid, 
saying,  I  feel  for  your  Sex  my  Dear. 

A  coarse  satire  on  the  Female  Reformers  who  appeared  at  Blackburn, 
Manchester,  and  elsewhere  in  the  summer  of  1819,  see  No.  13257,  &c. 
8|x  12  in.   With  border,  q^x  i2f  in.  'Caricatures',  xi.  147. 

13265  SUDDEN  ALARM;  OR,  ALL  BRITISH  SAILORS,  DO  NOT 
LOVE  THEIR  WIVES!!!    Scene  the  R—l  Yacht. 

Marks  fed 

London  Pu¥  by  J.  L.  Marks  N°  2  Sandy's  Row  Bishopsgate  SK 

[c.  Aug.  1 8 19] 

Aquatint  (coloured  impression).  The  Regent  and  Lady  Hertford,  seated 
amorously  together  on  a  settee  in  a  cabin  with  a  window  in  the  stern  (r.), 
register  consternation  at  the  news  brought  by  a  naval  officer  who  rushes 
forward  from  the  1.:  Fm  sorry,  to  Intrude  071  you  so  Abruptly  the  P — nc — 55 

of  W .y  is  in  sight.    Will  your  R — /  H — ss  please  to  Board  her!   He  holds 

a  telescope,  and  is  evidently  Paget,  see  No.  13259.  The  Regent  in  his  dismay 
kicks  over  a  table  from  which  fruit,  punch,  glasses,  and  a  decanter  of  Curac[oa] 
fall  to  the  ground ;  he  answers :  What!  I  Board  her!  no  D — n-?ne  if  ever  I 
Board  her.  Steer  another  course,  Hoist  false  colours,  do  any  thing  to  avoid  her, 
not  that  I  care  a  D — nfor  her!  but  I  feel  for  ?ny  Messmate,  I  Pr  est  from  Hert- 
ford!!! Lady  Hertford  exclaims :  O!  pray  do  not  Board  her  or  I  shall  be  in 
a  queer  Mess.  At  her  feet  is  a  pile  of  empty  wine-bottles.  A  sailor  behind 
Paget  scowls  over  his  shoulder  at  the  Regent,  saying.  He's  a  disgrace  to  the 
British  Navy!  to  hoist  false  colours  to  avoid  his  Wife!  D — n  me  he  deserves 
4  Doz"  on  his  [altered  to]  the  Poop!!!  There  are  two  pictures  on  the  wall, 
partly  obscured  by  labels  containing  the  inscriptions:  Blue  Beard  (a  Turk  with 
raised  scimitar)  and  Black  Beard  (a  pirate  on  the  deck  of  his  ship  in  action). 
In  Aug.  1819,  while  the  Regent  was  yachting,  see  No.  13259,  it  was  reported 
(falsely)  that  the  Princess  was  about  to  arrive  at  Dover.  Examiner,  15  Aug. 
1819,  p.  520. 
6|x8|  in.   With  border,  7^X9^  in.  'Caricatures',  xi.  144. 

13266  MANCHESTER  HEROES 

[?  L  R.  Cruikshank,  attributed  to  G.  C] 
Pub'^  Sepr  i8ig  by  S  W  Fores  50  Piccadilly. 

Engraving  (coloured  impression).  The  Manchester  Yeomanry  ride  down 
women,  children,  and  men,  making  for  a  platform  (r.)  in  the  background, 
where  Hunt  stands  with  three  supporters.  The  foremost  points  his  sabre  at 
a  fainting  woman  with  children  round  her,  who  is  supported  by  a  man ;  he  says 
None  but  the  brave  deserve  the  Fair.  A  little  boy,  holding  his  mother's  kerchief, 
exclaims :  Oh  pray  Sir,  doan't  Kill  Mammy,  she  only  came  to  see  Af  Hunt. 
Another  man  rides  up  furiously,  saying.  Cut  him  [the  boy]  down.  Cut  him 
down.  On  the  1.  the  yeomanry  ride  forward  in  close  formation.  Above  them 

922 


POLITICAL   SATIRES    1819 

the  head  of  the  Regent  (poorly  characterized)  emerges  from  clouds,  support- 
ing the  beam  of  a  pair  of  scales.  The  heavier  scale  is  inscribed  Peculators 
[Ministers  and  placemen],  the  other  Reformers.  He  says:  Cut  them  down, 
doari't  he  afraid,  they  are  not  Armed,  courage  my  boys,  and  you  shall  have  a  vote 
of  thanks,  &  he  that  Kills  most  shall  be  made  a  Knight  errant  [cf.  N0.1281 1,  &c.] 
and  your  exploits  shall  live  for  ever,  in  a  Song,  or  second  Chivey  Chace.  Hunt, 
hat  in  hand,  exclaims :  Shame,  Shame,  Murder,  Murder,  Massacree  [sic] .  Two 
others  echo  Shame.  They  have  banners,  one  surmounted  by  a  cap  of  Liberty. 

See  No.  13258,  &c.    The  thanks  of  the  Regent  to  the  Manchester  and 
Cheshire  Magistrates  and  Yeomanry  were  expressed  in  a  letter  from  Sidmouth 
to  the  Lord-Lieutenants  of  the  two  counties.    Text,  Ann.  Reg.  (Chron.), 
p.  125.  Cf.  No.  13280. 
Reid,  No.  915. 

8f  X  13  in. 

13267  A  STRONG  PROOF  OF  THE  FLOURISHING  STATE  OF  THE 
COUNTRY,  EXEMPLEFIED  IN  THE  PROPOSED  EMIGRATION  TO 
THE  CAPE  OF  FORLORN  [altered  to]  GOOD  HOPE!— OR  HONEY- 
MOUTH  (THE  MINISTER  FOR  FOREIGN  AFFAIRS)  BUILDING 
CASTLES  IN  THE  AIR  ON  THE  NEW  LAND  OF  PROMISE!!    365 

G  Criiik  fee' 

London  Publish' d  Sept''  7""  i8ig  by  T.  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Castlereagh  (r.),  dressed  as  a  dandy,  sits  on 
a  pile  of  large  money-bags,  all  inscribed  The  Fat  of  the  Land,  blandly  displaying 
one  of  two  large  pictures  to  a  group  of  ragged  and  starving  people,  represent- 
ing John  Bull  and  his  family.  The  picture  is  of  a  family,  all  immensely  fat, 
smiling  and  prosperous,  outside  a  thatched  hovel,  from  the  roof  of  which 
sprout  cabbages,  carrots,  &c.  Behind  it  is  a  tree  on  which  grow  loaves  of 
bread,  &c.  The  man  sits  on  a  bench  beside  his  wife,  smoking  a  long  pipe 
with  a  foot  supported  on  a  stool;  he  has  a  large  frothing  jug.  Two  bloated 
infants  seated  on  the  ground  cram  food  into  their  mouths.  In  front  are  two 
fat  pigs,  one  with  a  knife  and  fork  stuck  in  its  back;  there  are  also  a  trussed 
fowl,  fruit,  &c.  Castlereagh  says:  As  you  can't  get  any  zcork  Johnny :  you  can't 
expect  any  Victuals,  so  ive'll  transport,  (transplant  you  I  mean)  to  the  Cape  of 
Good  Hope,  zvhere  you'll  have  no  occasion  to  IVork  &  Victuals  zcill  run  into  your 
Mouth  ready  chew'd  as  I  may  say,  so  you'll  have  nothing  to  do  but  szcallozo  it! 
Look  at  this  picture  Johnny  it  is  made  on  purpose  to  give  you  an  idea  of  what 
you  may  expect  to  be  in  this  garden  of  Eden!  this  second  Paradise!.'  the  Land 
of  promise  described  by  Moses,  zvas  a  mere  humbug  to  it,  you'll  be  up  to  your  neck 
in  milk  &  honey  &  Strong  Beer!!  the  Rocks  are  all  Roast  Beef  &  the  hail-stones 
are  plumb  puddings  &  rain  zvater  is  as  strong  as  Gin!! — the  land  is  all  Sugar 
&  Brandy,  &  the  grass  is  all  lollepops  <Sf  Barley  sugar  &  the  Sticks  are  all 
Lickerish.  The  Bread  &  Milk  grazes  upon  Trees!  zchat  do  you  think  of  that 
Johnny?!!  indeed  the  Milk  is  all  cream  and  the  Cream  is  all  Butter,  in  fact  you 
may  live  like  a  Prine  [sic]  &  grow  as  fat  as  a  hog,  so  the  soofier  you  are  gone  the 
better  Johnny  &  joy  go  with  you  !  &  to  give  you  a  proof  of  our  attachment 
tozcards  you,  ZS  to  convince  you,  that  zee' II  never  leave  you  zee' II  allow  you  still 
the  pleasure  of  paying  Taxes!!  The  Regent's  face,  like  a  bloated  pear,  is  seen 
on  the  extreme  r.  behind  Castlereagh's  back;  he  says:  Thats  right  tell  a  good 
tough  one  while  you  are  about  it:  you  may  as  well  be  hung  for  a  sheep  as  a  lamb! 
D — Ji  'em  say  any  thing  to  get  rid  of  'em  but  keep  an  eye  on  the  Tribute  Money, 
send  them  to  H if  you  like  but  mind  they  pay  Taxes. 

923 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

A  little  boy,  thinner  than  a  skeleton,  stares  up  at  the  picture,  exclaiming, 
O!  O!  OH!  Father  look  at  the  Victuals!!!!!  &  see  see!!!  the  little  Boy  is  eating 
something!!!  John,  an  elderly  man  wearing  a  wig  and  holding  his  hat  and  a 
tall  stick  on  which  he  rests  both  hands,  looks  with  melancholy  anger  at  Castle- 
reagh;  he  says:  All  this  be  very  fine  palaver  but  I  don't  like  leaving  Old  England 
for  all  that — neither  do  I  want  to  grow  as  fat  as  a  Prince  or  live  like  a  Hog  I  do 
want  nothing  but  food  &  cloathing  in  return  for  my  labour,  as  to  Good  Hopes 
I've  lived  upon  them  long  enough!  but  I'll  go  any  where  to  save  my  Children  from 
starvation! ! — but  D — n  them  that  is  the  cause  of  [sic]  /  say —  Behind  him 
stands  his  eldest  son,  emaciated,  ragged,  and  prematurely  old,  but  taller  than 
his  father ;  he  exclaims :  O  dear!  O  dear!!  what  wo'd  my  Granfather  say  if  he 
were  alive  &  could  see  his  children  driven  from  their  Native  Country  by  Starva- 
tion &  the  point  of  the  Bayonet!  A  grown-up  daughter  holds  a  tiny  starving 
creature  on  her  arm;  she,  the  mother,  and  a  younger  girl  stare  tragically  at 
Castlereagh.  A  little  boy  clasps  his  stomach.  Two  still  younger  boys  on  the  1. 
gaze  in  astonishment  at  the  other  picture,  in  which  Peterloo,  see  No.  13258,  &c., 
is  depicted.  On  the  frame :  The  Manchester  Slaughter-men.  NB  This  matchless 
picture  is  intended  for  the— Grand  Drawing  Room  C — It — n  house.  Below : 
If  your  Children  ask  ye  for  Bread  will  ye  give  them  a  Bullet?!!!!!! —  Fat 
Manchester  Yeomanry,  savagely  slashing  and  firing  pistols  at  their  victims, 
gallop  over  the  heaped-up  bodies  of  men,  women,  and  children,  some  of 
whom  kneel  to  implore  mercy.  They  have  a  banner:  Yeomanry  of  xxxx 
After  the  title :  "/  can'  therefore,  contemplate  y^  proposed  emigration  to  y^  Cape 
of  Good  Hope  as  at  all  calculated  to  relieve  our  present  distresses,  Who  having 
the  Feelings  of  an  Englishman,  does  not  look  with  affection  on  the  land  of  his 
Nativity?"— Vide  M"  Holt's  Letter  to  Earl  of  Derby. 

On  12  July  Vansittart  proposed  a  grant  of  ^^50,000  to  assist  unemployed 
workmen  to  emigrate  to  the  Cape,  a  place  chosen  for  its  mild  climate  and 
fertile  soil.  Castlereagh  did  not  speak.  Joseph  Hume,  the  radical,  spoke  in 
favour  of  contributions  from  the  parishes,  and  said  that  if  men  were  unwilling 
to  go  'it  might  even  be  advisable  to  transport  them  without  their  consent'. 
Pari.  Deb.  xv.  1549-51.  The  proposal  here  satirized  was  attacked  on  similar 
grounds  in  the  Examiner,  18  July.  By  November  it  was  announced  that 
applications  had  been  so  numerous  that  the  lists  were  closed.  Distress  was 
caused  by  a  sudden  and  universal  stagnation  of  trade.  Smart,  Econ.  Annals 
of  the  Nineteenth  Century,  1910,  i.  689-91.  The  allusion  to  Carlton  House 
connotes  the  Regent's  thanks  to  the  magistrates  after  Peterloo,  see  No.  13266. 

There  is  a  companion  pi.  of  the  same  date  (not  in  B.M.):  ''All  among  the 
Hottentots  caperiyig  Ashore!!"  or,  the  Blessings  of  Emigration  to  the  Cape  of 
(Forlorn)  Good  Hope,  i.e.,  to  be  half  Roasted  by  the  Sun  &  Devoured  by  the 
Natives!!  Recommended  to  the  serious  consideration  of  all  those  who  are  about  to 
Emigrate.  The  family  is  being  exterminated  by  cannibals,  a  boa-constrictor,  a 
crocodile,  and  a  lion.   (Reid,  No.  911.) 

Reid,  No.  910.    Cohn,  No.  2010. 
8|xi3  in. 

13268     RETRENCHMENT— OR— JOHN     BULL     ROUTING     HIS 
RAPACIOUS  SERVANTS  359 

[Williams.] 

Pub'^  [c.  Sept.]  i8ig  by  T.  Tegg  iii  Cheapside,  London — 

Engraving  (coloured  impression).    John  Bull,  a  'cit'  wearing  (unfastened) 
shirt  and  breeches,  stands  in  a  bare  room  near  a  miserable  truckle  bed, 

924 


POLITICAL   SATIRES    1819 

furiously  waving  wig  and  a  night-cap  inscribed  Patent,  towards  objects  repre- 
senting malt,  tea,  tobacco,  and  coffee.  He  has  flung  at  them  his  hat,  coat, 
waistcoat,  and  shoes,  and  they  totter  backwards  under  the  impact  (r.).  All 
are  demanding  More  Wages,  except  malt,  which  asks  for  More  Profit.  John 
shouts :  More  Wages,  you  Scoundrels!  zvillyou  never  he  satisfied!  have'nt  I  given 
you  House  and  increased  your  wages  at  different  Times  for  Years  past,  and  now 
you  want  more!  But  Fll  dispeiise  zvith  ye  all,  so  out  of  my  House,  ye  pampered 
Knaves!  you  have  pretty  near  stript  me,  theres  my  wig  among  ye!  Fll  put  on 
this  patent  Narcotic  Night  cap  and  sleep  till  you  have  come  to  your  senses  again, 
so  take  yourself  off  to  your  advisers!  Off  with  you!  off!!!  The  objects  are 
constructed  of  utensils,  &c.,  as  in  No.  11822,  &c.;  they  are  closely  grouped 
and  delicately  poised;  they  totter  towards  the  open  door  (r.).  Tea  is  built 
up  on  sugar-tongs  for  legs,  supporting  two  cups  and  saucers  on  which  is  a 
tea-caddy;  on  this  rests  a  large  kettle,  spouting  steam,  and  itself  supporting 
a  pile  of  sugar-bowl,  tea-pot  (from  which  spouts  liquid  inscribed  More  Wages), 
cream-jug,  and  spoons.  A  solid  cask  of  Home  Brewed  is  supported  on  long- 
stemmed  glasses  for  legs ;  on  it  is  a  tankard  of  No  Mans  Entire  from  which 
issues  froth  inscribed  More  Profit.  This  is  flanked  by  two  bunches  of  barley. 
Two  long  tobacco-pipes,  one  broken,  are  legs  supporting  a  canister  of  Best 
Virginia;  on  this  is  a  triangular  spittoon,  supporting  a  guttering  candle-end 
in  a  flat  candle-stick;  the  smoke  from  this  is  inscribed  More  Wages.  Nearest 
the  door  (r.)  two  spoons  support  two  coffee-cups  and  saucers  on  which  is  a 
coffee-mill,  supporting  a  milk-jug  from  which  a  coffee-pot  is  falling,  spouting 
More  Wages.  On  the  bare  floor  (1.)  near  a  pitcher  of  Water  is  an  open  book, 
The  Life  of  Cornaro,  with  a  portrait  head. 

John  Bull  determines  to  defeat  the  additional  taxes,  see  No.  13244,  &c., 
by  abstaining  from  taxed  goods  (cf.  No.  9126).  It  was  the  avowed  policy  of 
the  Reformers  thus  to  defeat  'the  Borough-mongers'  and  reduce  the  revenue. 
It  was  urged  in  a  leading  article  in  the  Black  Dwarf,  8  Sept.  18 19.  Substitutes 
for  coffee,  &c.,  were  sold,  especially  by  Hunt.  Luigi  Cornaro  (1467-1566) 
attributed  his  longevity  to  an  abstemious  diet,  cf.  No.  81 12. 
8^X  i2|^  in.   With  border,  91^  X  13^  in. 

13269  THE  BLESSING  OF  NEW  TAXES!!! 

Marks  fee' 

Pu¥  by  T.  F.  Flook  71  Leadenhall  S^  [c.  Sept.  18 19] 

Engraving  (coloured  impression).  John  Bull,  seated  in  a  bare  room,  is  beset 
by  the  Regent  and  Ministers,  who  rob  him  of  his  last  comforts  and  enslave 
him.  He  sits  on  a  stool  at  the  end  of  a  table,  holding  a  pipe  and  a  frothing 
tankard  inscribed  6'^.  Sidmouth  furtively  takes  the  pipe  from  his  hand,  look- 
ing over  John's  head  at  the  Regent  who  extends  his  hand  to  seize  the  tankard. 
Sidmouth  says,  with  raised  forefinger :  Never  mind  if  they  dare  grumble  I  will 
suspend  the  Habeus  curpus  [sic]/  atid  have  another  Green  Bag  [see  No.  12868, 
&c.].  John,  dismayed,  puzzled,  and  angr}',  exclaims:  What  not  only  rob  me 
of  my  last  Shilling  but  take  the  Beer  from  my  mouth,  there  zvill  be  a  day  when 
I  will  pay  you  in  your  own  Coin.  The  Regent,  with  both  legs  gouty  and  swollen, 
says:  Yes  and  I  would  take  the  Blood  from  your  veins  if  I  could  get  any  thing 
for  it, — are  you  not  my  Slave  and  dare  you  say  a  word  to  it  for  look  at  the  Army!!! 
At  John's  feet,  in  profile  to  the  r.,  kneels  Vansittart,  ferociously  plying  a 
hammer  inscribed  Cannon  with  which  he  fixes  to  the  floor  a  heavy  chain 
riveted  to  an  iron  belt  round  John's  waist.  He  says:  Aye,  Aye,  never  fear  we 
will  keep  him  down  and  the  best  way  is  to  keep  him  poor — or  he  will  be  too  Strong 
for  us. 

925 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

At  the  Other  end  of  the  table  sits  Mrs.  Bull,  with  tea-pot,  cup,  &c.  She 
throws  up  her  arms  in  dismay  as  Castlereagh  (1.)  leans  forward,  taking  the 
tea-pot.  She  cries :  O  we  are  ruin'd,  if  you  take  the  little  Tea,  Coffee,  &c.  that 
we  have  left,  zvhy  not  take  it  from  the  Rich?  we  are  starving  already!!!  Castle- 
reagh's  hair  is  formed  of  writhing  serpents  spitting  flame  and  the  words: 
War,  Poverty,  Famitie,  Poison,  Pestelence.  He  answers :  Take  from  the  Rich  you 
fool  why  thay  will  not  pass  the  Act  if  it  touches  them  selves  the  Property  tax  for 
that.  In  the  foreground  (1.)  are  two  dwarfish  and  ragged  children ;  a  little  boy 
gnaws  a  bone,  a  younger  girl  pleads :  Give  me  a  hit  of  Bone  Jackey,  I  am  so 
hungry —  On  the  extreme  r.  Eldon,  in  Chancellor's  wig  and  gown,  walks  off 
with  the  Wool  Sack.  He  says :  /  will  have  this  and  if  they  want  clothes  let  them 
do  as  the  Children  of  Isreal  did  to  make  Bricks.  From  the  r.  John's  savage  bull- 
dog springs  forward  snarling  furiously  towards  Vansittart.  On  the  wall  are 
three  prints:  [i]  Louis  XVI  lies  prone  under  the  guillotine;  the  executioner 
pulls  the  cord  to  release  the  blade  (see  No.  8292,  &c.).  [2]  Charles  I  kneels 
at  the  block,  the  headsman  raises  an  axe  inscribed  Justice.  [3]  The  Regent 
and  Castlereagh  dangle  from  a  gibbet;  below  are  the  upturned  heads  of 
spectators. 

The  date  may  be  earlier  than  September:  for  the  new  taxes  see  No. 
13244,  &c.;  opposition  to  them  became  more  violent  after  Peterloo,  see 
No.  13258.  For  the  fear  of  militarism  see  Nos.  12756,  13288,  &c.  The 
Property  (Income)  Tax  was  repealed  at  the  demand  of  Opposition  backed  by 
popular  clamour,  see  No.  12750;  Tierney  called  it  'their  [Ministers']  darling' 
in  his  challenge  to  the  Government  on  18  May  181 6,  and  Castlereagh  was 
attacked  for  speaking  of  'ignorant  impatience  of  taxation',  see  No.  12756. 
8|xi3  in. 

13270  MANCHESTER  BULL-HUNT. 

Marks  deU     [Williams  f.]  [c.  Sept.  18 19] 

Engraving.  Perhaps  from  a  book  or  magazine.  A  bull  with  a  human  head, 
John  Bull,  has  just  tossed  one  of  the  Manchester  Yeomanry  and  attacks  a 
magistrate  whose  wig  falls  off  as  he  flees  in  terror,  saying:  Bless  me  how  fierce 
he  looks.  On  the  bull's  tail  and  horns  are  ribbon  favours;  he  says:  Now 
M''  Justice  ril  have  at  you — you  have  been  baiting  me  long  enough!!  The 
soldier,  gored  through  his  breeches,  falls  towards  the  bull's  horns,  shouting. 
Oh  save  me!  save  me!  He  has  dropped  his  sabre,  which  streams  with  Innocent 
Blood.  His  horse  gallops  off  in  the  background.  Behind  the  bull  and  urging 
him  on  with  clubs  and  a  pitchfork  is  a  body  of  Reformers,  some  wearing 
Liberty  caps.  They  are  led  by  Hunt  who  wears  a  top-hat  with  a  favour;  he 
holds  a  rolled  document:  Coron[er's'\  Inquest. 

A  satire  on  Peterloo,  see  No.  13258,  &c.    For  the  magistrates  see  No. 
1 328 1,  &c.   The  Coroner's  inquests  on  those  killed  at  first  gave  verdicts  of 
accidental  death  which  were  fiercely  resented  and  contested. 
4^X7!  in. 

13271  A    RADICAL  REFORMER,— (i  e)    A    NECK    OR    NOTHING 

MAN!    Dedicated  to  the  Heads  of  the  Nation.  368 

GC 

London  Pu¥  by  T  Tegg  iii  Cheapside,  SepV  if^'  i8ig — 

Engraving  (coloured  impression).  The  'Heads  of  the  Nation'  flee  in  terror 
from  a  huge  grotesque  monster  (1.)  whose  body  is  a  guillotine  from  which 

926 


POLITICAL   SATIRES    1819 

flames  stream  after  the  fugitives.  The  creature  wears  a  bonnet  rouge,  its  jaws, 
with  huge  teeth  and  dripping  blood,  extend  across  the  upper  edge  of  the 
guillotine  whose  curv^ed  blade  forms  a  vast  chin.  Arms  project  from  just 
below  the  jaws,  a  dagger  in  the  r.  hand;  blood  drips  from  the  dagger  and  from 
the  crisped  talons  of  the  1.  hand.  Grotesque  bowed  legs  in  ragged  breeches 
splay  from  below  the  guillotine,  centred  by  the  round  hole  for  the  victim's 
neck  from  which  blood  gushes,  and  through  which  peers  a  grinning  skull. 
From  the  vast  mouth  issue  the  words :  Pin  a  coming!  Ffti  a  coming!  I  shall 
have  you,  though  Fm  at  your  heels  now  Fll  be  at  your  Head's  presently,  ''come 
all  to  me  that  are  troubled  zvith  money  &  I  warrant  Fll  make  you  easy!!''  Behind 
and  on  the  extreme  1.,  supported  on  clouds,  daggers  march  for\vard,  followed 
by  tiny  guillotine- Reformers  who  chant:  ''and  a  Hunting  we  vill go" 

The  most  prominent  fugitive  is  Castlereagh,  who  looks  over  his  shoulder, 
saying,  Och!  by  the  powers!  &  I  don't  like  the  looks  of  him  atall!  atall!  He 
has  dropped  a  large  green  bag  inscribed  Castle[reag'\h' s  Bag,  from  which  gold 
coins  are  pouring.  Liverpool  falls  face  downwards  across  a  similar  bag: 
Liverpool's  Bag.  On  the  extreme  r.,  his  face  cut  off  by  the  margin,  is  the 
Regent  running  fast  despite  a  gouty  leg;  his  wig  flies  off,  and  he  exclaims: 
Oh!  My  Wig's  off!!  Eldon,  close  behind,  his  (Chancellor's)  wig  also  flying 
away,  answers:  Never  mind,  so  long  as  your  head's  on!  At  the  Regent's  feet 
lies  a  crown,  near  two  bags  1 00000  G  P  R  his  Bag  and  Old  Bag's  Bag.  Other 
figures  are  indicated;  behind,  a  bishop  with  a  grossly  bloated  nose  intended 
for  the  Archbishop  of  Canterbury  (cf.  No.  13276)  flees  in  wild  terror,  losing 
wig  and  mitre. 

In  18 19  their  opponents  styled  the  Reformers  (who  demanded  Universal 
Suffrage,  &c.)  Radical  Reformers,  or  Radicals  (a  new  term,'  cf.  Examiner, 
1819,  p.  563);  see  Halevy,  Hist,  of  the  English  People  1815-30,  p.  66  f. 
Before  16  Aug.  (see  No.  13268)  Ministers  believed  that  the  industrial  districts, 
especially  in  Lancashire,  were  on  the  verge  of  revolution.  Sections  of  the 
cheap  press  were  advocating  armed  resistance  to  the  Government.  See 
Wickw'ar,  The  Struggle  for  the  Freedom  of  the  Press,  i8ig-l8j2,  1928,  pp.  75- 
81.  The  Monster  may  derive  from  Gillray's  Genius  of  France  in  No.  8614 
(1795).  For  Radical  Reformers  see  also  Nos.  13248,  13274,  13275,  13279, 
13284. 

Reid,  No.  914.   Cohn,  No.  1886.  De  Vinck,  No.  4993. 
8fxi3iin. 


13272  SMOAK  JACK  THE   ALARMIST,   EXTINGUISHING   THE 
SECOxND  GREAT  FIRE  OF  LOxXDON  (A  LA  GULLIVER)!!!         369 

Pub''  Oct'  12  i8ig  by  T  Tegg  N°  iii  Cheapside. 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  13273.  The  Lord 
Mayor,  wearing  his  robes  and  a  fool's  cap,  stands  on  a  balcony  of  the  Mansion 
House,  with  the  long  nozzle  of  a  fire-hose  held  between  his  knees;  he  directs 
a  jet  of  water  on  little  Jacobins  below,  who  are  holding  brands  with  which 
they  have  fired  London.  The  City  is  on  fire:  flames  pour  from  the  dome  of 
St.  Paul's  (1.);  the  Monument  burns  like  a  gigantic  torch,  spires  and  roofs 
appear  in  gaps  between  the  smoke  and  flame;  the  Tower  of  London  (r.)  blazes 
furiously.  Atkins  the  Mayor  stands  in  profile  to  the  1.,  his  thin  knees  flexed, 
on  a  pile  of  books :  Burn' s  Justice  [cf.  No.  7422] ;  Wat  Tyler — ;  Life  of  W  Wal- 

'  Though  'Radical  Reform'  was  a  cr>'  of  1798,  see  No.  9190. 

927 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

worth  Lord  Mayor  of  London  [cf.  No.  13254];  a  treatise  on  Steam  Engines — 
The  Jacobins  (or  Radical  Reformers,  see  No.  13 271)  all  wear  bonnets  rouges, 
and  have  daggers ;  they  flee  in  terror  and  confusion  from  the  stream  of  falling 
water;  one,  probably  Hunt,  has  a  (red)  flag  inscribed  Universal  Suffrage, 
surmounted  by  a  cap  of  Liberty.  Among  them  stands  a  huge  bottle  from 
which  clouds  of  dark  smoke  ascend.  The  Mayor  says:  Fire!  Fire!  Murder!!! 
Curse  these  Radicals  they'll  frighten  me  to  Death  by  G — d! — O  Lord!  O  Lord! 
we  shall  all  be  Murdered  &  Burnt  to  death  in  our  beds  by  G — d!  I  see  Ten 
thousand  bloody  daggers  &  fire  brands  by  G — d!  Help!  Help!!  more  Engines,  more 
water!  or  zve  are  all  gone  by  G — d! — Devil  burn  the  VilliansJ  by  G—d  they'll 
set  the  Thames  on  fire  J!  &  then  how  shall  we  be  able  to  make  water  to  put  this 
d — d  great  fire  out?!!  Oh  Lord  our  ''God  arise  scatter  our  enemies''  ''Confound 
their  Politics,  frustrate  their  knavish  tricks — I'm  kept  in  continual  Hot  Water 
by  the  rascals  by  G — dH   God  bless  the  King  &  Save  the  crier  Fire!!   Fire! 

Fire!! 

On  29  Sept.,  when  the  Livery  met  for  the  election  of  a  Mayor,  Atkins  was 
hooted  outside  the  Guildhall,  and  there  were  cries  of  'Fire  Fire!',  'Smoke 
Jack'.  This  was  because  at  a  Common  Council  on  23  July  he  had  given  an 
account  of  the  measures  taken  to  prevent  riot  on  21  July,  see  No.  13252,  when 
(he  said)  the  plan  of  the  seditious  was  'to  fire  the  Metropolis  and  murder  the 
inhabitants'.  Examiner,  1819,  pp.  478,  637;  Sharpe,  London  and  the  Kingdom, 
1895,  iii.  311-12.  See  No.  13254,  &:c.  The  bottle,  from  which  issues  the 
smoke  of  false  alarms,  suggests  the  bottle-imp,  symbol  of  impudent  imposture, 
cf.  Nos.  3022-7,  5245,  &c.  A  letter  to  the  Lord  Mayor,  headed  'Another 
Horrible  Plot!!!',  Black  Dwarf,  20  Oct.,  may  derive  from  this  print.  See  also, 
ibid.,  27  Oct.  (pp.  706-7).  See  Leigh  Hunt's  verses,  'The  Lord  Mayor  and 
the  Butcher  .  .  .',  Examiner,  12  Sept.;  Poetical  Works,  1923,  p.  195  f.  For  his 
use  of  'By  God'  see  No.  13273;  for  Gulliver  and  the  extinction  of  fire  cf. 
No.  6919. 

Reid,  No.  916.    Cohn,  No.  199. 
8f  X  13  in. 

13273  TO  THE  RT  WORSHIPFUL  JOHN  SMOAK  ESQR  &c  &c 
WHOSE  WISDOM  &  PRUDENCE  HAS  SO  OFTEN  SAVED  THE 
CITY  FROM  FIRE  &  DESTRUCTION  BY  HIS  GREAT  SAGACITY 
IN  DISCOVERING  PLOTS  THIS  PRINT  OF  HUNTING  A  MAYOR 
[altered  to]  MARE  IS  HUMBLY  PRESENTED  TO  HIS  L— D— P  ON 
HIS  RETIRING  FROM  OFFICE      'GOOD  RIDDANCE"  &c—        370 

Pub'^  OcV  15^^  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  13272.  An  ass, 
with  the  terrified  profile  of  John  Atkins  inset  in  its  head,  gallops  away  from 
Henry  Hunt  and  a  crowd  of  jeering  and  delighted  followers.  The  animal 
wears  a  cap  with  long  twin  peaks  terminating  in  bells,  a  (double)  fool's 
cap  adjusted  to  ass's  ears.  A  cloak  marked  with  the  City  Arms  streams  from 
his  shoulders;  the  mayoral  chain  has  fallen  to  the  ground.  To  his  tail  is  tied 
a  large  pot  from  which  flames  issue;  seven  daggers,  dripping  blood,  are 
fastened  to  the  cord,  and  a  puppy  and  a  goose  are  tied  to  the  pot.  More  flames 
issue  from  the  creature's  rump,  covered  with  repetitions  of  the  word  Plots. 
From  the  ass's  mouth  rise  the  words :  /  smell  a  plot!  Hunt,  wearing  a  hunting- 
cap,  flourishes  a  huntsman's  whip,  and  shouts  Fire!  Fire!  The  foremost  and 
smallest  of  his  followers,  evidently  Samuel  Waddington,  brandishes  a  scourge 

928 


POLITICAL   SATIRES    1819 

with  three  lashes  inscribed:  a  Saddle  for  the  Mare;  a  Bridle  for  the  Ass;  and 
a  rod  for  the  Fool's  back;  the  next  man  is  about  to  hurl  a  stone;  they  shout 
Fire  Fire!  and  Fire  Murder.  At  their  feet,  besides  daggers  and  a  bonnet  rouge, 
is  a  paper :  Little  Waddingtons  Phamphlets.  Dead  rats,  a  cat,  and  other  missiles 
fly  through  the  air  from  the  pursuers  to  the  pursued.  In  the  foreground  is 
a  scroll :  London  Preserved  or  the  Plot  discoverd  a  Farce  Principal  Character 
Lord  Smoak  Jack  zcith  fire  Bloody  Daggers  &c.  By  the  ass's  head  is  a  large 
sign-post :  Another  Plot  by  *G — dUU  The  L — d  M — r  has  just  discovered  that 
during  the  Trials  of  Carlisle  the  Court  is  to  be  taken  possession  of  by  a  band  of 
Ruffians,  Armed  with  Bloody  Daggers!!! —  six  hundred  extra  Constables  have 
been  sworn  in  accordingly —  *  Smoak  Jacks  favorite  Oath,  first  brought  into 
public  notice  in  the  Common  Hall,  holden  on  the  Subject  of  the  Corn  Bill — 
Oh!  Johnny  Atkins!  Johnny  Atkins  Oh!   [Cf.  No.  13272.] 

An  attack  on  the  Mayor,  Atkins,  as  a  scare-monger,  see  No.  13254,  &c. 
Measures  were  taken  to  control  the  crowd  in  the  Guildhall  at  the  trial  of 
Richard  Carlile  on  12  Oct.,  see  No.  13274,  but  do  not  seem  to  have  gone 
beyond  prudence.  Samuel  Waddington,  said  to  be  four  feet  two  inches,  was 
acquitted  by  a  jury  on  a  prosecution  instituted  by  Atkins.  He  published  a 
report  of  his  trial,  entitled  A  whip  for  the  horse,  a  bridle  for  the  ass,  and  a  rod 
for  the  fool's  back,  which  he  presented  to  the  Mayor  at  Guildhall  on  12  Oct. 
See  Examiner,  1819,  p.  655  f.  Hunt  made  a  triumphal  entry  into  London 
on  13  Sept.  Waddington,  with  Thistlewood,  Watson  and  others,  took  part 
in  his  reception,  and  spoke  at  the  dinner  which  followed,  cf.  No.  13279. 
Ibid.,  pp.  605,  607.  He  was  convicted  of  blasphemous  libel  in  1822;  see 
State  Trials,  N.S.  i.  1339-44. 

Reid,  No.  917.    Cohn,  No.  1220. 
9IX13  in. 

13274  THE  AGE  OF  REASON   OR  THE  WORLD   TOPSYTURVY 
EXEMPLEFIED  IN  TOM  PAINES  WORKS!!  372 

G  Criiik^  fec^ 

Pu¥  Ocf  16  i8ig  by  T  Tegg  iii  Cheapside  Lofidon 

Engraving  (coloured  impression).  Below  the  title :  Dedicated  to  the  Archbishop 
of  Carlile .'.'.'  In  the  centre  of  the  design  Carlile,  helped  by  Radicals  wear- 
ing bonnets  rouges,  burns  emblems  of  Church  and  State ;  in  the  centre  of  the 
flames  is  a  tall  crucifix  which  a  chain  of  three  radicals  (1.)  is  pulling  down 
by  a  rope,  while  Carlile  (r.),  trampling  on  the  heaped  emblems,  pushes  with 
a  spear.  To  the  crucifix  is  tied  the  shaft,  topped  by  a  cap  of  Liberty,  which 
supports  a  placard :  No  Christianity!!! — No  Religion!!! — No  King!!! — No 
Lords!  No  Commons! — No  Laws!  Nothing  but  Tom  Paine  &  Universal 
Suffrage!!!  A  kneeling  Radical  (r.)  holds  a  brand  to  the  burning  pile  which 
consists  of  Bill  of  Rights,  Magna  Chart[a],  a  crown,  sceptre,  mitres,  crosier, 
and  books  among  which  are  a  Holy  Bible,  Prayer  Book,  and  The  Law. 
Murdered  women,  stabbed  to  the  heart,  lie  on  the  ground.  The  holocaust 
is  watched  from  the  extreme  1.  by  a  group  of  infidels,  from  the  r.  by  a  grin- 
ning Devil  looking  out  of  a  pit  and  holding  a  trident.  He  says:  Here's  your 
Works!!!  !!!  The  infidels  are  a  Jew,  with  a  paper  inscribed  Golden  Calf  hang- 
ing from  his  pocket,  who  claps  his  hands,  a  Turk  smoking  a  hookah,  a  negro, 
and  a  Chinese ;  all  grin,  saying  Ha!  ha!  ha! — ha!  ha!  ha — .  On  each  side  of 
the  fire  are  Radicals,  standing  on  their  hands,  each  with  a  bonnet  rouge  on 
one  of  the  feet  which  they  flourish  in  the  air.  All  cry  Huzza  or  Hurra. 
A  large  gibbet,  the  centre  obscured  by  the  smoke  from  the  fire,  stretches 

929  30 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

across  the  centre  of  the  design;  the  supports  are  two  guillotines,  one  (1.)  sur- 
mounted by  a  crown,  the  other  by  the  Prince  of  Wales's  feathers  and  motto, 
Ich  Dien.  From  both  emblems  projects  a  staff  supporting  a  bonnet  rouge. 
Nine  bodies  (others  being  obscured)  dangle  from  it :  three  bishops,  a  parson, 
Ministers  in  bag-wigs,  one  having  a  profile  that  suggests  Castlereagh.  The 
gibbet  is  flanked  by  a  church  (I.)  and  a  throne  (r.),  both  blazing  fiercely.  The 
tower  of  the  Gothic  church  is  tilting  to  its  fall,  pushed  at  by  three  radicals. 
The  throne  is  on  a  canopied  dais  with  the  Royal  Arms ;  the  whole  structure 
totters;  a  Jacobin  pushes  over  the  royal  chair,  another  tugs  at  the  canopy. 

Richard  Carlile,  the  free-thinker,  in  1818  re-published  the  theological, 
political,  and  miscellaneous  works  of  Tom  Paine,  who  had  been  found  guilty 
in  1792  (while  in  France)  of  seditious  libel  for  the  Rights  of  Man,  Part  II, 
see  No.  8137,  &c.  For  his  Age  of  Reason  see  No.  8646;  cf.  Nos.  13200,  13279. 
For  this  Carlile  was  tried  at  the  Guildhall  on  12-14  Oct.  on  a  charge  of 
blasphemous  libel  on  an  ex-officio  Information;  the  Archbishop  of  Canter- 
bury (subpoenaed  by  Carlile)  was  present  in  his  canonicals,  cf.  No.  13276. 
Another  trial  followed  on  15  Oct.,  on  a  prosecution  instituted  by  the  Society 
for  the  Suppression  of  Vice  (see  No.  10390).  He  was  convicted.  A  third 
prosecution  was  postponed  and  never  called.  Paine  stood  for  republicanism, 
ultra-radicalism,  and  religious  scepticism.  Cf.  No.  8146  (1792)  by  I.  Cruik- 
shank.  See  Examiner,  1819,  pp.  657-9,  666-77,  689-91 ;  Wickwar,  The 
Struggle  for  the  Freedom  of  the  Press,  i8ig-i832,  1928,  pp.  67-75.  For  the 
precautions  taken  at  the  trial  cf.  No.  13273.  Cf.  Nixon,  French  Liberty, 
No.  8334  (in  which  Paine  appears).   See  Nos.  133 18,  13322.   Cf.  No.  13347. 

Reid,  No.  918.   Cohn,  No.  875. 
8|xi3iin. 


13275  THE  RADICAL'S  ARMS. 

G.  Cruikshank  fee' 

PuM  Nov""  13  i8ig  by  G.  Humphrey  N°  2j  S'  James's  Street  London 

Engraving.  A  guillotine  with  a  raised  triangular  blade  represents  the 
escutcheon.  On  the  blade  are  (1.  to  r.)  a  very  rampant  and  realistic  tiger, 
with  paws  dripping  blood,  a  shouting  mannikin,  a  fool's  cap,  a  dagger.  In 
the  space  below  the  blade  is  a  terrestrial  globe,  on  fire  and  topsy-turvy  (cf. 
No.  13274):  the  letter  S  where  the  North  Pole  should  be,  the  letter  A'^  below. 
The  letters  PlP^and  E  are  similarly  reversed  and  placed  upside  down.  A  male  (1.) 
and  female  (r.)  Radical  stand  one  on  each  side  of  the  guillotine,  as  supporters. 
Both  are  degraded  members  of  the  underworld.  Each  stands  under  a  noose 
suspended  from  a  cross-beam  of  the  guillotine,  projecting  on  both  sides  to 
form  gibbets.  The  man  has  a  long  distorted  neck,  encircled  by  a  rope,  as  if 
he  had  been  cut  down  from  a  gallows.  In  his  hat  is  a  tricolour  cockade.  He 
holds  up  a  knife  dripping  blood  and  a  glass  of  gin,  grinning  with  gap-toothed 
ferocity.  On  one  of  his  bandy  legs  is  a  broken  shackle.  A  pistol  and  two 
purses  project  from  his  coat-pocket,  and  two  bunches  of  ill-gotten  seals  hang 
from  his  waist.  He  tramples  on  a  book  of  The  Laws,  and  a  broken  pair  of 
scales,  emblem  of  Justice.  At  his  feet  are  also  Magna  Cha[rta],  [Bill]  of 
Rights,  a  broken  sword,  a  mitre,  and  coronet.  The  woman  is  a  fat  trollop, 
sturdier  but  if  possible  more  degraded  than  the  man;  she  holds  up  a  bottle 
of  Blue  Ruien  [sic,  =  gin]  and  a  glass.  Her  pocket  is  stuffed  with  purses,  her 
dress  is  torn,  her  legs  partly  covered  with  tattered  stockings;  she  tramples 
on  a  Bible  inscribed  I H  S,  beside  which  lie  a  crosier,  cross,  and  broken 
chalice.  At  her  feet  are  two  papers:  Social  Order  and  Virtue.  On  the  ground 

930 


POLITICAL   SATIRES   1819 

betAveen  the  Radicals,  and  immediately  below  the  neck  aperture  of  the  guillo- 
tine, from  which  blood  is  streaming,  lies  a  royal  crown,  reversed.  The 
guillotine  is  surmounted  by  the  crest :  two  headsman's  axes,  from  which  blood 
streams,  centred  by  a  large  cap  of  Liberty,  with  tricolour  cockade.  To  this 
two  lighted  candle-ends  are  fixed  (as  in  the  caps  of  sewer-men,  &c.).  The 
motto  is  A'o  God!  No  Religion!  No  King!  No  Constitution. 

One  of  several  prints  in  1819  identifying  'Reform'  with  Revolution  and  the 
underworld.  See  No.  13271,  &c.  For  the  female  Reformers  see  No.  13257. 
A  companion  pi.  to  No.  13395,  the  degraded  'Radical'  being  contrasted  with 
the  handsome  boxer. 

Reid,  No.  920.   Cohn,  No.  1884. 
laf  X9  in.   With  border,  1315- X9I  in. 

13276  OLD  THIRTY  NINE  SHAKING  HANDS  WITH  HIS  GOOD 
BROTHER  THE  POPE  OF  ITALY,  OR  COVERING  UP,  VERSUS 
SEALING  UP  THE  BIBLE. 

G  Cruikshank  fed 

Pu¥  Nov''  15  i8ig  by  G  Humphrey  2y  S'  James's  Street — 

Engraving  (coloured  impression).  An  elaborate  design.  In  the  foreground 
on  the  1.  the  Archbishop  of  Canterbury  and  the  Pope  stand  side  by  side,  each 
on  a  pile  of  slabs  (or  perhaps  books);  they  grasp  each  other's  hands,  and  each 
points  his  1.  forefinger  to  attendant  demons.  The  rest  of  the  design  is  devoted 
to  the  shortcomings  of  the  Anglican  Church  and  a  comparison  betw^een  the 
competing  societies  of  elementary  schools.  The  Archbishop,  grossly  fat, 
drink-blotched,  and  cheerful,  wears  a  mitre  resembling  the  Pope's  tiara,  but 
more  squat,  and  surmounted  by  a  crown.  He  wears  surplice  and  lawn  sleeves, 
on  his  breast  is  a  large  jg.  His  little  platform  is  rather  higher  than  that  of 
the  Pope,  composed  of  more  but  thinner  slabs:  Never -out-ism — Antiblism — 
Never-the-same-ism — Antinowianism — Arminiauism — Calvinism — Schism  [the 
base] — .  The  Pope  stands  on:  hifallihilism;  Anti-biblism;  Always — the  same- 
ism  [the  base].  Pius  VII  is  ascetic  and  aquiline;  he  points  to  two  demons 
on  the  extreme  1.  who  are  busily  sealing  up  a  large  Bible.  One  kneels  on  the 
book  impressing  a  seal  on  the  tape  by  which  it  is  tied ;  the  other,  much  smaller, 
holds  up  his  lighted  tail  which  is  the  taper  to  melt  the  wax;  he  is  also  a  support 
for  snuffers  and  extinguisher.  The  Archbishop  points  to  two  demons  wearing 
spectacles  and  each  with  a  pen  behind  each  ear;  one  is  Note,  the  other  Com- 
ment. They  are  burying  a  Bible  under  stacks  of  paper;  the  former  holds  up 
a  bundle  of  Articles  of  Faith,  the  other  a  bundle  inscribed  Athanasian  Creed; 
other  papers  are:  Liturgies  (twice),  Catechism,  Nicene  Creed.  A  paper  lies 
across  the  Archbishop's  platform:  Articles  of  Faith,  or  how  to  prevent  diversity 
of  Opinion.  Bat-like  creatures  hover  over  both  sets  of  demons,  together  with 
(on  the  papal  side)  an  owl. 

In  the  foreground  on  the  r.  is  the  corner  of  a  plain  building,  the  architrave 
of  the  open  door  inscribed  British  &  Foreign  Scho[ol  Society].  Above  this  is 
inset  a  cross  (irradiated)  and  anchor,  on  a  base  inscribed  Christianity  and 
Human  Kind.  On  the  rough  plank  door:  "Come  unto  me.  All" — "Search  the 
Scriptures" .  In  front  of  the  door  stands  Divine  Truth  (fully  draped)  with  an 
irradiated  star  on  her  forehead.  Facing  her  is  another  handsome  young 
w^oman  (Faith  or  Charity  ?)  with  large  feathered  wings  who  holds  out  to  Truth 
a  Holy  Bible.  Little  children  cluster  round  Truth  and  are  crowding  through 
the  door  behind  her  on  the  extreme  r.  The  last  little  boy  (1.)  holds  out  his 
hand  to  a  little  black  boy  who  has  fallen,  and  points  encouragingly  to  the 
open  door. 

931 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

In  the  background  (r.)  is  a  more  dignified  building  inscribed  National 
School — i.e.  For  Thirty -Niners  Only.  The  pilastered  door  has  a  pediment 
inscribed  Thirty-nine-ism  and  The  Sect—  The  lower  part  is  closed  by  a  barri- 
cade behind  which  stands  a  beadle  with  a  staff  refusing  admission  to  three 
children.  Above  the  pediment  a  large  crown  rests  on  a  set  of  shackles  draped 
round  an  empty  cornucopia.  In  front  of  the  building  a  procession  headed  by 
two  bishops  marches  from  r.  to  1.  Each  bishop  holds  a  banner  attached  to 
a  crosier;  one  is  inscribed:  Duce  take  your  Bible  Only  it  makes  nothing  but 
Socinians.  The  other:  Take  my  Word  for  it  your  little  Thirty  Nine  Only  is 
the  Only  only  after  all.  Behind  the  bishops  walk  fat  parsons,  followed  by 
others  wearing  academic  mortar-boards.  A  man  in  civic  robes  follows,  and 
the  procession  ends  with  two  beadles  carrying  staves.  Against  the  side  of  the 
building  rests  a  tall  ladder  up  which  boys  are  mounting  to  the  roof  whence 
a  man  leans  over  to  help  up  the  first  boy.  A  sign-post  pointing  to  the  build- 
ing is  inscribed  Baldwins  Gardens. 

On  the  1.  of  the  background  is  the  apse  of  a  building  apparently  intended 
for  Canterbury  Cathedral.  In  a  large  niche  inscribed  Temple  of  Mammon 
stands  the  Archbishop,  jp,  dressed  as  in  the  print,  but  arrogant,  and  holding 
a  crosier.  Clergymen  kneel  on  the  ground  with  upstretched  arms,  begging 
for  preferment.  A  very  thin  parson  exclaims:  Thirty  nine? yes.  three  hund''  & 
ninety!  only  £40  p^  ann^^  &  a  wife  &  six  small  children.  On  each  side  of  him 
is  a  fat  parson ;  the  fatter  of  the  two  exclaims :  A  Mitre,  please  your  Holiness, 
&  a  rich  Commendam  along  with  it.  The  other  more  modestly  asks  for  A  snug 
Prebend!  From  others  rise  the  cries :  200o£  a  year  in  a  Metropolitan  County; 
0  Baal  hear  us!! ;  Hear  us  O  Baal! 

An  attack  on  the  Church  and  on  Manners- Sutton,  the  Archbishop,  is  com- 
bined with  a  contrast  between  the  rival  educational  societies :  the  British  and 
Foreign  Schools  Society  deriving  from  the  Lancasterian  Schools,  see  No. 
1 1745,  which  stood  for  undenominational  Bible  Teaching,  and  the  National 
Society  for  Promoting  the  Education  of  the  Poor  in  the  Principles  of  the 
Church,  supported  by  the  Archbishop  who  had  shown  hostility  to  the  Lan- 
casterian school  in  Canterbury.  Binns,  A  Century  of  Education,  1908,  p.  61. 
Attacks  on  the  Archbishop  multiplied  in  18 19.  He  was  selected  for  abuse  in 
the  Black  Book,  see  No.  13277.  The  Black  Dwarf,  18  Aug.,  denounced  him 
for  'a  slanderous  attack  on  Reform'  (at  a  visitation,  reported  in  the  New  Times). 
The  Reformers,  he  said,  were  'not  by  their  confinement  in  education,  equal 
at  all,  if  it  were  necessary,  to  reform  any  part  of  the  Church  or  State  .  .  . 
[but  had]  poisoned  the  ears  of  the  still  more  uninformed  multitude'.  'There 
is  only  one  Archbishop  of  Canterbury  but  he  has  probably  four  or  five 
hundred  starving  curates  in  his  diocese.'  This  and  other  caricatures  are  com- 
pletely unlike  the  dignified  sharp-featured  Manners-Sutton.  Though  a  High- 
Churchman  he  opposed  all  concessions  to  Catholics  but  not  to  Protestant 
dissenters.   He  was  present  at  Carlile's  trial,  see  No.  13274.   Cf.  No.  13224. 

Also  a  later  state  (coloured  and  uncoloured),  with  'versus'  underlined  and 
a  comma  after  'Sealing-up'. 

Reid,  No.  921.   Cohn,  No.  1808. 
8f  X  13^  in.   With  border,  9!  x  1315-  in. 

13277  RATS,  IN  THE  HOUSE  THAT  JOHN  BUILT. 
JLM.f.    [Marks.] 
Pub^  by  Flook  Leadenhall  Street  [c.  Nov.  1819] 

Engraving  (coloured  impression).  Rats  with  human  heads  are  plundering  the 
coin  which  is  heaped  in  John  Bull's  storehouse  under  a  window  (r.)  through 

932 


POLITICAL   SATIRES    1819 

which  John  looks  in.  He  is  a  drink-blotched  'cit',  and  exclaims:  Oh!  Oh! 
I  see  it  is  quite  time  for  me  to  muster  up  all  my  Strength  and  Clear  my  self  from 
those  vermin  or  I  shall  be  destroyed  be  [sic]  theyn  before  Long.  The  rats,  with 
bags  on  their  backs  or  in  their  mouths,  run  off  to  the  1.,  except  the  three 
largest:  the  Duke  of  York  (r.),  with  a  bag  inscribed  10.000,  and  wearing  a 
cocked  hat,  runs  off  to  the  r.,  saying :  It  will  be  a  D — nd  bad  job  if  the  Old  Man 
should  pop  off  as  I  should  lose  my  10.000  Per  Ann ;  the  Regent,  wearing  a  ribbon 
inscribed  Ich  Dien,  sits  at  the  base  of  the  pile,  rolling  away  a  bag  inscribed 
Privy  Purse;  his  paws  are  swathed  in  wrappings  inscribed  Gout.  He  looks 
round  at  Castlereagh  who  sits  calmly  on  the  heap  of  coin,  throwing  to  the  1. 
bags  of  cash  and  showers  of  gold  after  the  departing  rats.  He  says:  For  G — 
sake  leave  off  C — r — h  for  I  atn  afrid  [sic]  zve  have  gone  on  too  far  already  for 
if  John  Bull  was  to  turn  rusty  it  zcould  be  all  over  with  us.  Castlereagh,  about 
to  throw  a  bag  inscribed  3000,  answers :  Hold  your  tongue  you  fool  do  I  not 
keep  a  Standing  Army  &  look  at  the  Extraordi?tary  Red  Book  what  a  List  of 
Paupers,  besides  the  Fat  Clergy  [cf.  No.  13225]  to  Suport  you  in  Idleness  & 
Debauchery.  On  the  extreme  1.  Lord  Eldon  carries  off  a  bag  of  £18,000;  two 
others  in  the  foreground  have  £13,100  and  £7500  respectively.  Just  behind 
is  one  (?  Charles  Arbuthnot)  with  £jOOO.  The  Persian  Ambassador,  wearing 
a  jewelled  turban,  has  £300;  he  says:  If  I  had  knozvn  this  the  Beauty  [see 
No.  13391,  &c.]  should  have  been  for  C — r — h  and  then  I  should  have  got  tzcice 
as  much,  for  I  see  that  he  is  Master  here  &  I  know  he  longs  to  see  Her.  A  bishop, 
bloated  and  brandy-faced  (Manners-Sutton,  see  No.  13276),  turns  to  face 
Castlereagh ;  he  says :  Ay  Ay  serve  it  out  never  ?nind  John  Bull  we  will  Preach 
up  the  Blessing  of  Meekfiess  as  long  as  you  Pay  us.  He  grasps  a  bag  of  10,000. 
Eight  less  conspicuous  rats  carry  off  bags  of  from  5000  to  £400.  In  the  fore- 
ground (r.)  lies  a  book:  The  Extraordinary  Red  Book. 

One  of  many  satires  on  sinecures  and  pensions;  for  the  'Extraordinary  Red 
Book'  see  No.  12781,  &c.  It  is  the  first  in  which  a 'list  of  paupers'  is  mentioned 
and  seems  to  be  based  on  Wade's  Black  Book  (see  Wickwar,  Struggle  for  the 
Freedom  of  the  Press  i8ig-l832,  p.  67)  which  came  out  in  parts  in  1819,  and 
stressed  the  many  (small)  pensions  to  widows,  women.  Sec;  cf.  No.  13247. 
For  the  Duke  of  York's  /^io,ooo  see  No.  13214,  &c. :  the  allusion  to  the  King's 
health  suggests  NovemlDcr  as  the  date  of  the  print,  see  No.  13278.  For  the 
rats  cf.  No.  10542.  The  House  that  Jack  built  was  much  parodied  in  1819, 
see  No.  13292,  &c. 
8|xi3in. 


13278  DUTIFUL  CHILDRExN  ON  A  VISIT  TO  THEIR  FATHER—! 
A  SCENE  ON  THE  WINDSOR  ROAD. 

[Williams.] 

London  Pub'^  by  J  Sidebethem  28y  Strand  [c.  Now]  i8ig 

Engraving  (coloured  impression).  The  Duke  of  York,  in  field-marshal's 
uniform,  rides  a  velocipede  towards  Windsor  Castle  (1.).  As  a  figure-head  to 
the  machine  is  a  head  of  Mrs.  Carey,  with  a  bunch  of  chickens :  Mother  Careys 
Chickens  [see  No.  11050].  To  the  back  of  the  machine  is  strapped  a  bundle 
of  Bread  &  Cheese;  two  (broken)  bottles  from  which  wine  gushes  are  tied 
on  behind.  From  his  breeches  pocket  projects  a  paper  inscribed:  10.000. 
Behind  (r.)  in  the  background  is  a  procession  of  tiny  carriages  in  which  other 
members  of  the  family  are  hurrying  to  Windsor.  The  Duke,  turning  his  head 
to  the  spectator,  says :  /'//  not  pay  a  Visit  for  nothing,  not  even  to  my  poor 
afflicted  aged  father!  People  knew  that,  so  they  gave  me  an  extra  10.000  a  year 

933 


CATALOGUE  OF  POLITICAL  AND   PERSONAL   SATIRES 

for  that  trouble — /  dont  know  what  my  Relations  get  for  this  Duty,  but  I  suppose 
it  is  something  more  than  I  have,  or  they  would  travel  as  cheap  as  I  do!!  Near 
him  (1.)  is  a  milestone:  To  Windsor  IV  Miles — London  XX. 

The  procession  of  carriages  is  headed  by  a  coach  in  which  the  face  of  the 
Regent  is  visible.  Behind  is  a  large  package  of  Curacoa;  hussars  with  drawn 
sabres  precede  and  follow.  Some  way  behind  a  man  in  regimentals  drives 
a  lady  in  a  one-horse  gig :  apparently  the  (impoverished)  Duke  of  Kent.  An 
open  barouche  and  four  has  luggage  inscribed  To  Gloucester,  and  a  partly  cut 
cheese  as  coat  of  arms;  the  Duke  and  Duchess  (see  No.  12783,  &c.)  sit  inside. 
Near  them  an  officer  with  a  lady  drives  a  pair  of  horses  in  a  phaeton ;  luggage 
behind  is  inscribed  Cambridge  (see  No.  12987).  Last,  a  lady  sits  alone  in  a  gig 
drawn  by  a  donkey,  ridden  by  a  hussar  officer,  the  Duke  of  Cumberland. 
She  declaims  from  an  open  book,  with  an  illegible  inscription,  but  presumably 
intended  for  Psalms  [see  No.  12591]. 

One  of  many  prints  of  the  Duke  of  York  riding  a  velocipede  to  Windsor, 
see  No.  13215,  &c.;  for  his  ^£10,000  see  No.  13214,  &c.    The  occasion  is 
probably  during  the  illness  of  the  King  for  five  days  in  November.   Eur  op. 
Mag.  Ixxvi.  547.   Cf.  No.  13277. 
8fXi3-|-in. 


13279  DEATH  OR  LIBERTY!  OR  BRITANNIA  &  THE  VIRTUES 
OF  THE  CONSTITUTION  IN  DANGER  OF  VIOLATION  FROM 
THE  CRT  POLITICAL  LIBERTINE,  RADICAL  REFORM! 

G  Cruikshank  inv^  etfec^ 

London  Pub'^  Dec''  J*'  i8ig  by  G  Humphrey  27  S^  Jameses  Street 

Engraving.  Death  wearing  the  mask  of  Liberty  attempts  to  ravish  Britannia, 
who  kneels  on  one  knee,  foot  and  elbow  braced  against  a  rock  inscribed 
Religion.  She  is  hard  pressed  but  raises  her  flaming  sword,  inscribed  The  Laws. 
Death,  with  a  skull  for  head  and  a  corpse-like  body  which  is  almost  a  skeleton, 
rushing  forward  from  the  1.,  grasps  Britannia's  1.  breast  with  one  bony  hand, 
putting  the  other  on  her  head,  and  forcing  her  backwards.  A  smooth-featured 
mask  partly  covers  the  skull,  a  javelin  and  hour-glass  hang  from  his  waist, 
the  javelin  directed  towards  his  victim.  He  wears  a  bonnet  rouge  in  which 
a  dark  lantern  is  fixed ;  against  his  shoulder  is  a  staff  supporting  a  large  bonnet 
rouge  terminating  in  a  fool's  cap;  from  this  issues  a  serpent.  Round  his 
shoulders  is  tied  a  long  cloak  inscribed  in  large  letters  Radical  Reform ;  this 
floats  out  behind  him,  making  a  canopy  for  an  escort  of  imps  and  demons, 
each  waving  a  scroll;  the  first  brandishes  Immorality;  the  second  breathes 
flames,  has  serpents  for  hair,  and  holds  up  in  one  hand  a  scroll  inscribed 
Blasphemy,  in  the  other  an  open  book :  The  Age  of  Reason  [Paine's  book,  cf . 
No.  13274].  Next  is  a  figure  formed  of  chains  and  fetters,  wearing  a  bonnet 
rouge  with  a  scroll  inscribed  Slavery.  The  next  creature  is  thinner  than  a 
skeleton,  it  waves  a  bonnet  rouge  and  a  scroll.  Starvation.  The  last  two  are 
Robbery,  wearing  heavy  fetters,  and  Murder  with  a  dagger;  they  are  linked 
by  a  rope  which  encircles  both  necks.  At  the  feet  of  Death  is  a  paper :  Radical 
Liberty  i  e — To  Take  Liberties.  Britannia  wears  a  Roman  corslet  with  a  belt 
inscribed  Dieu  Et  Mon  Droit,  her  shield  leans  against  her  protectively ;  on  it, 
besides  the  crosses  of  St.  George  and  St.  Andrew,  is  a  device  of  rose,  sham- 
rock, and  thistle.  Behind  her  in  the  middle  distance  (r.)  the  angry  British  Lion 
bounds  forward,  his  collar  inscribed  Loyalty.  In  the  upper  r.  corner  of  the 
design  an  irradiated  crown  rests  on  a  pedestal  inscribed  I H  S.  The  rays  are 

934 


POLITICAL   SATIRES    1819 

directed  against  Death  and  the  black  clouds  above  his  head.   In  the  opposite 
corner  are  flames. 

One  of  several  satires  of  181 9  identifying  Reform  with  Revolution,  see 
No.  13271,  &c.  At  Hunt's  triumphal  entry  into  London,  on  13  Sept.  (on  bail 
after  his  arrest  on  16  Aug.),  a  large  red  flag  was  waved  over  his  head  inscribed 
'Liberty  or  Death'.  Examiner,  1819,  p.  606.  The  mottoes  and  emblems  of 
the  Reformers  at  Manchester  on  16  Aug.  (see  No.  13258,  &c.)  attracted  much 
attention  and  figured  largely  at  Hunt's  trial,  especially  a  black  flag  inscribed 
Equal  Representation  or  Death.  On  this,  besides  other  inscriptions,  was  a  figure 
of  Justice  holding  scales,  and  two  clasped  hands.  The  Royton  Female  Union 
had  a  banner  inscribed  Let  tis  DIE  like  Men  and  Not  be  Sold  like  Slaves.  There 
were  several  caps  of  Liberty,  and  these  Scarlett  maintained  had  been  'a  revolu- 
tionary emblem  since  the  French  Revolution'  and  'a  badge  of  licentiousness'. 
One  flag-staff  was  topped  with  a  dagger,  another  with  a  pike,  both  painted 
red;  it  was  alleged  and  denied  that  a  bloody  dagger  was  an  emblem  on  one 
of  the  Peterloo  flags.  State  Trials,  N.S.  i,  pp.  334,  338,  366,  392,  429  f.; 
F.  A.  Bruton,  The  Story  of  Peterloo,  1919,  pp.  20-1.  Carlile  drove  with  Hunt 
to  the  hustings  and  the  imp  of  blasphemy  may  symbolize  this.  For  the  Female 
Reformers  see  No.  13257,  &c. 

Reid,  No.  924.    Cohn,  No.  1048. 
8^  X  13I  in.   With  border,  9^  x  13I  in. 

13280  LOYAL    ADDRESS'S    &   RADICAL   PETETIONS,    OR    THE 

R TS  MOST  GRACIOUS  ANSWER  TO  BOTH  SIDES  OF  THE 

QUESTION  AT  ONCE  373 

GC 

London  Pub.  Dec'^  4"'  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  The  Regent  stands  on  the  dais  before  the 
throne  facing  subjects  (1.)  who  kneel  obsequiously  to  present  loyal  addresses. 
On  the  r.  (on  the  1.  of  the  throne)  Radical  petitioners  stagger  back  from  a  blast 
issuing  (inconspicuously)  from  the  bulky  posterior  turned  towards  them.  The 
Regent,  pointing  a  toe,  and  holding  his  hand  to  be  kissed,  says:  My  Lords  & 
Gentlemen — /  am  zvell  satisfied  zcith  your  Loyalty  &  Attachment,  receive  my 
thanks — &  *  Kiss  my  hand  *  it  tvill  be  easy  to  guess  zohat  the  other  side  m\a]y 
Kiss!! —  The  three  addressors  in  the  front  row  kneel  holding  out  long  scrolls. 
Others  behind  kneel  or  bow.  One  scroll  in  the  1.  foreground:  may  it  please 
your  Royal  Highness  We  your  most  Loyal  and  Dutiful  Subjects  beg  leave  most 
humbly  to  assure  your  R — /  Higness  of  our  sincere  Attachment  &  Loyalty,  & 
our  rediness  to  support  your  R'  Hig^^  &  the  present  Order  of  things.  On  other 
scrolls  the  word  Loyalty  is  repeated. 

The  petitioners  wear  bonnets  rouges,  except  Hunt  who  wears  a  hunting- 
cap  and  top-boots  and  is  running  away  to  the  r.,  one  foot  on  the  chest  of  the 
prostrate  Dr.  Watson,  the  other  on  a  clyster-pipe  which  the  doctor  has 
dropped,  squirting  its  contents  towards  the  Regent.  Hunt  stoops  furtively, 
holding  a  Petition  for  Radical  Reform  presented  by  W  Hunt  Esq''.  Watson 
holds  a  Petition  for  Radical  Reform  presented  by  Dr  Watson.  The  most  promi- 
nent figure  is  Burdctt,  who  staggers  back  holding  his  nose,  and  letting  his 
scroll  fly  out  of  his  hand :  Westtninster  Petition  for  Reform  Presented  by  Sir 
Francis .  His  bonnet  rouge  resembles  a  fool's  cap.  On  his  r.  is  Alder- 
man Waithman  (a  draper)  who  also  staggers  back,  holding  up  a  long  petition: 
City  Petition  for  Reform  Three  Yards  long.  The  other  petitioners  arc  dim 
figures  in  retreat.  Beside  the  canopy  of  the  throne,  and  above  the  Radicals, 
hangs  a  picture  of  the  Regent's  Bomb,  see  No.  12799,  ^^y  ^^'it^^  ^  flaming 

935 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

touch-hole  and  a  blast  of  fire  issuing  from  the  muzzle.    Before  the  dais  is 
an  open  book :  The  Art  of  Killing  two  Birds  with  one  Stone  by  F  Fartardo. 

After  Peterloo,  see  No.  13258,  &c.,  many  mass  meetings  of  protest  were 
held,  at  some  of  which  petitions  to  the  Regent  were  voted,  for  inquiry  into 
the  arrests  at  Manchester,  and  for  Reform,  the  dismissal  of  Ministers,  &c., 
the  one  at  Westminster  on  2  Sept.  being  outstanding.  A  City  Address,  voted 
on  9  Sept.,  was  presented  to  the  Regent  on  17  Sept.;  the  answer  expressed 
'deep  regret'  at  their  action.  Many  loyal  addresses  were  also  voted  by  those 
who  feared  revolution.  Ann.  Reg.,  pp.  1 10-16;  Corr.  of  George  IV,  1938, 
ii.  301.  Hunt,  who  combined  self-regarding  prudence  with  demagogy,  was 
anxious  to  dissociate  himself  from  Watson  and  the  extremists  who  assumed 
a  prominent  part  in  his  reception  in  London  on  13  Sept.,  see  No.  13279. 
Waithman,  the  most  radical  of  the  Aldermen,  with  Hunt  and  others,  made 
a  disturbance  in  Guildhall  at  the  Mayoral  election  of  29  Sept.,  and  the  Court 
of  Aldermen  ordered  legal  proceedings  to  be  taken.  Sharpe,  London  and  the 
Kingdom,  1895,  iii.  311.   Cf.  Nos.  13266,  13344. 

Reid,  No.  925.    Cohn,  No.  1705. 
8fxi3|in. 

13281  PREACHEE  &  FLOGGY  TOO!  OR  HOT  &  COLD,  WITH  THE 
SAME  BREATH— EXEMPLIFIED  IN  THE  CLERICAL  MAGIS- 
TRATE! "  374 

G  Cruik^  fec^ 

Lond""  Pu¥  Dec'  5''"  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Two  designs,  side  by  side,  with  the  caption 

[i]  Religion  &  the  Laws or  [2]  Mercy  versus  Justice — ,  the  same 

plump  and  drink-blotched  parson  depicted  in  both,  [i]  He  stands  in  his 
pulpit,  in  profile  to  the  1.,  blandly  reading  the  sermon  which  lies  on  an  open 
Bible.  His  r.  hand  is  raised:  ''Dearly  beloved  bretheren!  I  shall  conclude,  by 
enumerating  a  few  of  the  leading  Chracteristics  [sic]  of  a  true  Christian — first ; 
''to  do  unto  all  men,  as  ye  would  that  they  shoud  do  unto  you,"  secondly ;  'Ho 
love  thy  Neighbour  as  thyself,  indeed  brotherly  love,  &  kindness  to  each  other, 
is  a  principal  point  in  Christianity, — a  Christian  should  also  be  merciful — 
Chirst  [sic]  himself  expressly  says,  "/  will  have  Mercy  &  not  sacrifice" ,  a  Christian 
must  also  be  charitable  {see  what  S^  Paul  says  on  that  head) — feeding  the 
hungary  [sic] — Cloathing  the  Naked — healing  the  sick, — visitijig  the  Captive,  in 
a  word  comforting  &  consoling  Affliction,  wherever  it  may  be  found — for  as  Jesus 
Christ  saith — "for  as  much  as  ye  have  done  it  unto  one  of  these  little  ones,  so 
shall  ye  have  done  it  unto  me" — a  Christian  must  also  return  good  for  evil,  & 
forgive  his  enemies:  as  zve  are  taught  to  pray  "Forgive  us  our  trespasses  .  .  .  [&c.] 
— he  must  walk  at  all  times  in  the  fear  of  God,  &  keep  his  commandments — 
lowly  &  meek  in  spirit — sober,  &  honest  in  all  his  dealings — these  my  dear  friends 
are  the  duties  of  a  true  Christian — Peace  &  good  will  unto  all  Men — Amen.  The 
lean  clerk,  sourly  sanctimonious,  sits  in  his  desk  below  the  pulpit.  The  con- 
gregation sit  with  their  backs  to  the  altar  on  which  is  Communion  plate.  They 
listen  intently,  one  young  man  (.?  George  Cruikshank),  frowns  sceptically.  On 
the  back  of  the  pulpit  behind  the  preacher's  head  are  an  irradiated  cross  and 
dove,  on  the  side  is  an  irradiated  lamb  holding  a  cross.  [2]  The  same  parson, 
his  features  transformed  by  an  angry  scowl,  sits  in  a  magisterial  chair  in  profile 
to  the  r.,  raised  on  a  dais  of  two  steps,  his  huge  paunch  no  longer  concealed 
by  gown  and  pulpit;  one  foot  is  gouty.  His  clerk,  in  more  secular  dress,  and 

936 


POLITICAL   SATIRES    1819 

more  congenially  employed,  writes  busily  at  a  table  on  the  magistrate's  1. 
Delinquents  are  ranged  behind  a  bar  or  wooden  rail,  which  extends  across 
the  design,  corresponding  to  the  pews  in  [i].  In  front  stand  two  little  fright- 
ened boys,  barelegged  and  ragged.  They  are  herded  by  a  burly  brandy-faced 
constable  with  a  tall  staff.  The  clerical  magistrate  says:  "You  M''  Constable 
take  the  Children  that  you  found  doing  nothing,  &  see  them  get  a  sound 
zvhiping,  &  take  those  Bunters  to  the  House  of  Correction  (Fll  see  them  privately 
zchip'd  myself,)  &  take  those  blackguard  Reformers,  also,  that  Fve  committed 
for  shouting.  Some  of  these  Reformers  uill  come  to  the  Gallozcs.  I  see  the  Rope 
already  round  their  necks — by  the  bye  tfiere  is  a  meeting  of  those  rascals  to  day 
(a  set  of  ungrateful  u-retches  for  three  parts  of  'em,  are  now  receiving  releif  from 
the  parish)  go  order  the  soldiers  out  to  disperse  them  with  the  point  of  the  swoard 
(there's  no  occasion  to  read  the  Riot  Act) — .1/''  Clark  make  out  those  warrants 
for  Distress  for  my  tithes,  on  Farmer  Hard-work  &  the  others.  Devil  take  'em, 
they  had  the  impudence,  to  tell  fne  (when  I  said  I  shou^  Distress,  that  they  were 
Distressed  enough  already!  'twas  a  Distressing  pun,  so  Fll  Distress  them  for  it! 
(The  widow  beg'd  time  &  pleaded  a  large  family,  but  thats  all  nonsense  I  must 
have  my  tithes — /  offer'd  to  take  it  out  in  her  way — but  she  would  not  consent 
to  that  so  she  must  take  the  cofisequences! — Hallo!  stop  that  fellow,  D —  him  he 
has'nt  paid  for  swearing — G — d  forgive  me  but  there  is  so  much  wickedness  in 
this  zvicked  world  that  D —  me  if  it  is'nt  enough  to  make  a  saint  swear! — O! — 
Constable  shew  that  little  Girl  zcith  the  big  belly  [erased]  bonnet  into  the  back 
parlour.  Fll  wait  on  her  directly  she  comes  on  parish  business  so  I  must  examine 
her  privately.   One  of  the  men  is  heavily  shackled. 

Under  the  magistrate's  seat  is  a  large  scroll:  Memorandum  Monday — to 
Dine  with  the  Squire — make  up  my  ?nind  to  4  bottles — AB  to  be  at  the  Hunt  in 
the  mor" — Tuesday — Tea  &  Cards  zcith  Lady  Scandal — Wednesday  attend  the 
hanging  match  of  y^  criminals  I  convicted  last  sessions^most  likely  come  in  for 
a  Dinner  with  the  Sherriff — Thursday — Dine  with  Lord  Suckland  [i.e.  an 
encloser  of  common  land]  i\B  to  traiisact  Private  Business  in  the  Eve^  if 
possible.  Friday  attend  the  private  Whiping  I\B  try  to  convert  one  of  the  girls — 
the  other  are  too — ugly — Saturday,  stay  at  home  all  day  to  pretend  Study  &  keep 
myself  Sober  for  Sunday — AB  Marriage's  Christings  [sic]  Burials  &c  &c  &c 
next  leaf.  A  paper  hanging  from  the  clerk's  table :  Defauters  in  poor  Rates  to 
be  levied  on  immediately — joo — Criminals  under  Sentance  of  Death  §0..  I\B 
to  be  executed  as  soon  as  possible  y*^  Prisons  being  so  full  of  Transports — 200.  On 
the  wall  behind  the  culprits,  corresponding  to  the  altar  in  [i],  are  two  pictures 
(obscured  by  the  parson's  speech) :  The  New  Jail  and  New  Barrack  to  hold 
10,000  men.  Other  emblems  are  equally  contrasted:  above  the  magistrate's 
head  and  surmounted  by  a  crown  are  a  gibbet  and  noose,  a  scourge  and 
shackles.  On  the  arm  of  his  chair  a  pair  of  scales  and  a  flaming  sword.  Lying 
beside  him  is  a  surly  dog  holding  against  its  shoulder  a  constable's  staflp,  con- 
trasted with  the  lamb  on  the  pulpit. 

A  satire  on  clerical  magistrates  and  especially  Charles  Wicksted  Ethelston, 
of  the  Collegiate  Church,  Manchester,  a  county  magistrate,  see  No.  13282. 
He  read  the  Riot  Act  on  16  Aug.  (see  No.  13260)  from  a  first-floor  window. 
State  Trials,  N.S.  i.  1184.  He  also  published  verses  and  controversial 
pamphlets,  see  B.M.L.  Catalogue.  At  the  New  Bailey  Sessions,  on  23  Sept., 
he  is  reported  to  have  said  to  a  man  charged  with  assault:  'I  believe  that  you 
are  a  downright  blackguard  Reformer.  Some  of  you  Reformers  ought  to  be 
hanged ;  and  some  of  you  are  sure  to  be  hanged — the  rope  is  already  round 
your  necks;  ...  I  will  have  no  bail  for  this  ruffianly  crew  unless  they  have 

937 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

some  money.'  Three  poor  boys  were  found  sleeping  in  brick  kilns;  he  said 
(to  the  mother  of  one  of  them) :  'What  do  you  think  of  a  good  whipping  for 
them  ?  Eh  ?  Is  not  that  a  good  scheme  .  .  .  Eh  ?  Eh  ?'  The  boys  were  dis- 
charged, A  leading  article  on  'Clerical  Magistrates'  followed  in  the  Examiner, 
3  and  lo  Oct.,  pp.  633  f,  661  f.  See  especially  Leigh  Hunt's  verses  (signed 
Harry  Brown),  Reverend  Magistracy.  Ibid.,  24  Oct.;  Poetical  Works,  1922, 
p.  198  f.  See  also  Black  Dwarf,  iii.  663  f.  (13  Oct.):  'This  reverend  animal 
is  only  one  of  the  corps  of  the  enemies  of  reform ;  but  so  accurate  a  specimen 
that  he  may  sit  for  all  his  comrades.'  For  barracks  as  threats  to  liberty  see 
Nos.  8805,  9286,  and  for  the  prevailing  fear  of  militarism,  No.  13288.  For 
'Preachee  &  Floggy'  (the  protest  of  a  negro  to  his  master),  see  No.  9636  (1800). 
See  also  Nos.  11933,  13282,  13287,  13288,  13295,  13303,  13342.  The  design 
either  derives  from,  or  is  imitated  by.  No.  13303. 

Reid,  No.  926.    Cohn,  No.  1862. 
Each  design,  8|  X  6J  in. ;  8|  X  6f  in. 


13282  THE  MODERN  JANUS,  OR  THE  TRUE  REASON  WHY  THE 
CHRISTIAN  RELIGION  SUFFERS  MORE  FROM  ITS  PRETENDED 
FRIENDS,  THAN  REAL  ENEMEIES. 

/  R.  C.  fecit— 

Pu¥  Dec''  i8ig  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured  impression).  Two  designs  separated  by  a  vertical  line, 
the  same  parson  depicted  in  both,  [i]  He  stands  in  his  surplice,  full-face,  his 
heels  together,  with  eyes  sanctimoniously  turned  up ;  in  the  r.  hand  is  a  large 
pulpit  Bible — The  Bible — with  marker;  in  the  1.  a  paper:  The  form  of  Ordina- 
tion for  a  Preist.  He  says :  Take  heed  lest  ye  meet  with  Wolves  in  Sheeps 
Cloathing  Mind  zvhat  I  say  not  what  I  do!! — Yorkshire  Parson — 7nark  those 
who  cause  contentions  among  you,  and  avoid  them. 

[2]  As  a  magistrate  he  sits  full-face  in  an  arm-chair,  legs  aggressively  apart, 
holding  up  at  arm's  length  a  sabre,  two  scourges,  and  two  constable's  staves, 
together  with  papers  inscribed  in  large  letters:  Riot  Act;  Command  Signia- 
tures  to  Loyal  Address  &c  &c  &c;  Orders  To  Tory  Yeomanry.  In  his  1.  hand 
is  Sidmoiiths  Circular.  At  his  feet  are  other  papers  on  which  he  tramples: 
Mercy;  Humility;  Forbearance;  Love;  quick  forgiveness;  Divine  Attributes; 
Long  Suffering;  Persuasion.    A  table  (r.)  is  covered  with  papers:  You  must 

protect  the  Aggressors — ;   The  Quorum  [of  J.P.'s]   meet  on  a  fine  fat 

Buck  &c.;  Barry's  method  of  Cheating  at  Cards;  Thoughts  on  Huting  [sic]  and 
Shooting;  Betting  at  Tatter  sals;  Boxing  to  take  Place.  Words  float  above  the 
magistrate's  head :  Why  is  it  that  whenever  a  Riot  Act  is  read  to  a  peaceful 
Meeting ;  whenever  a  political  prosecution  is  to  be  caried  on,  whenever  a  hawker 
is  to  be  held  to  bail,  not  under  the  Law,  but  under  Lord  Sidmouths  Circular,  we 
find  the  name  of  a  Clerical  Magistrate  concerned  ? 

A  satire  on  Ethelston  for  his  conduct  in  Manchester,  and  as  a  typical  clerical 
magistrate,  see  No.  13281,  &c.  On  7  July  Sidmouth,  the  Home  Secretary, 
sent  a  circular  to  the  Lord-Lieutenants  of  counties  in  which  disturbances  had 
occurred  calling  upon  them  to  adopt  all  measures  necessary  for  the  preserva- 
tion of  order,  to  place  themselves  in  communication  with  the  magistrates, 
and  to  keep  the  yeomanry  in  readiness.  Halevy,  Hist,  of  the  English  People 
181 5-1830, 1926,  p.  63.  See  Nos.  13301, 13346.  Cf.  Selden's  Table  Talk,  under 
'Preaching' :  'Preachers  say.  Do  as  I  say,  not  as  I  do',  and  No.  8524  (by 
I.  Cruikshank), 
Each  design,  6|x6g  in.;  6|x6|  in. 

938 


POLITICAL   SATIRES    1819 

13283  THE  POLITICAL  CHAMPION  TURNED  RESURRECTION 

MAN! 

/  R.  C  fecit 

Pub^  Dec''  i8ig  by  E  King  N°  25  Chancery  Lane  a  few  Doors  from 
Cursitor  Street — 

Engraving  (coloured  impression).  Cobbett,  astride  the  neck  of  a  diabolical 
monster,  and  followed  by  demons,  is  about  to  land  on  the  English  coast, 
where  a  crowd  hails  his  return.  Below  is  the  sea,  and  on  the  r.  the  American 
shore.  Cobbett  (a  good  portrait)  holds  out  a  pen  in  his  r.  hand;  the  1.  hand 
grasps  vertebrae  supporting  a  skull  and  projecting  from  a  box  which  rests  on 
the  monster's  back  and  is  inscribed:  Cobbett's  long  hidden  Treasures  or  the 
Relicts  of  Paine.  The  skull  wears  a  bonnet  rouge,  Cobbett  a  top-hat  with 
tricolour  cockade;  he  says:  How  to  delude  the  Populace. — An  advantageous 
distribution  of  the  Words  Liberty,  Tyranny,  Slavery  &c  does  wonders  zcith  the 
populace  Cobb  Vol  2.  p.  114 — /  now  say  Water  Water-Water!!!  The  monster 
breathes  fiery  smoke,  and  grips  Cobbett's  gaitered  legs  with  its  talons;  it  has 
webbed  and  barbed  wings  and  a  long  scaly  barbed  tail.  The  two  demons 
immediately  behind  Cobbett  carr^'  large  papers  inscribed  respectively :  Paines 
[Age  of]  Reason  [see  No.  13274]  and  Cobbetts  Pol.  Reg.  The  third  carries  a 
sheaf  of  spears  and  excretes  fire  inscribed  Revolution,  and  smoke  inscribed 
Corruption.  The  last,  a  bird-like  creature,  has  a  body  inscribed  Plague;  other 
monsters  are  advancing  from  a  distance. 

The  ragged  and  disreputable  crowd  wave  bonnets  rouges  to  the  approach- 
ing Champion,  shouting  Welcome  Welcome.  They  have  banners,  each  topped 
by  a  cap  of  Liberty :  a  large  red  flag  inscribed  Hunt  and  Cobbett  is  held  by 
a  knock-kneed  fellow.  A  butcher  holds  on  his  shoulders  a  little  black  boy 
representing  Wooler  (see  No.  12928,  &:c.)  who  holds  up  a  board  inscribed 
Black  Dwarf e.  He  shouts :  Welcome,  Welcome,  Brother  Scribe  all  our  differ- 
rences  are  ended.  On  another  flag,  in  large  letters.  Riot  Deb  .  .  .,  another  is 
inscribed  [Liber]/v.  Behind  are  pikes.  On  the  opposite  (American)  shore 
three  quakers  and  a  quakeress  dance  in  a  ring  round  a  stars  and  stripes  flag. 
One  chants :  Yea,  Verily,  Friends  we  rejoice,  that  the  Evil  spirit  hath  departed 
from  us! —  The  others  answer:  Yea  Yea  Yea.  On  the  shore  dismantled 
cannon  lie  pointing  seawards;  there  are  also  pyramids  of  cannon-balls.  On 
the  horizon,  midway  between  the  two  countries.  Napoleon  stands  with  folded 
arms  on  the  rocky  mountains  of  St.  Helena,  watching  the  scene  in  England; 
hesays:^^^.'  Qa  ira.  British  ships  surround  the  island.  After  the  title :  Om^ 
of  thy  own  Mouth  will  condemn  thee — /  am  well  assured  that  Paine  was  guided 
by  Villany  and  not  misguided  by  ignorance  or  error  Cobbett  Vol.  4.  p.  320 — 

Cobbett  (cf.  No.  12878)  landed  at  Liverpool  on  21  Nov.,  bringing  with  him 
the  bones  of  Tom  Paine.  He  received  an  enthusiastic  welcome  from  the 
Radicals,  and  on  reaching  London  was  given  (3  Dec.)  a  public  dinner  at  the 
Crown  and  Anchor,  here  satirized.  Only  water  was  drunk,  Cobbett  preaching 
abstinence  to  defeat  the  tax-collector,  cf.  No.  13244,  &c.,  and  on  other 
grounds.  Wooler,  with  whom  he  had  quarrelled,  took  a  prominent  part,  and 
Hunt,  whom  he  had  once  attacked,  and  was  shortly  to  neglect,  took  the  chair. 
Cobbett  in  his  speech  explained  that  he  brought  Paine's  bones  to  atone  for 
the  injustice  he  had  done  him;  he  had  found  that  he  had  been  refused  inter- 
ment in  a  quakers'  burial  ground,  'he  intended  to  erect  a  colossal  statue,  in 
bronze,  in  honour  of  his  memory'.  Wooler  said  he  would  like  Cobbett  side 
by  side  on  the  same  pedestal.  Black  Dwarf,  iii.  801-4.  The  references  are 
to  the  edition  of  Cobbett's  Works  published  in  1801,  reprints  of  pamphlets 
issued  in  America,  including  a  scurrilous  Life  of  Thomas  Paine,  1796.    For 

939 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

Cobbett's  Political  Register  see  (e.g.)  No.  11049.  Cobbett  writes  (i  Jan.)  to 
his  son  in  New  York:  'I  will  send  you  a  caricature  .  .  .  representing  me  as 
flying  over  the  sea  and  old  Isaac  Wright  dancing  with  the  Devil  on  the 
American  shore,  rejoicing  at  my  departure!'  Pol.  Reg.,  6  Jan.  1820.  The  first 
allusion  in  these  prints  to  the  Resurrection  men  who  traded  in  bodies;  see 
vol.  x;  but  cf.  No.  11800.   For  Cobbett  and  Paine  see  also  Nos.  13314, 13339- 

Listed  by  Broadley. 
QlXHin. 

13284  A  RADICAL  REFORMER. 
Crusic.  fecit     [L  R.  Cruikshank.] 

50  Piccadilly  Pub'^  by  S  W  Fores  Dec""  i8ig 

Engraving  (coloured  impression).  Cobbett,  very  ragged,  strides  along  a 
country  road  (1.  to  r.)  bending  under  the  weight  of  a  sack  from  which  bones 
project,  inscribed  The  Bones  of  Cujfee  the  Malefactor.  From  his  pocket  hangs 
a  paper :  Mem — since  I  find  I  cannot  succeed  in  Writing  against  Man  I  must 
follow  my  worthy  Predecesser  Paine  &  Write  against  God.  He  looks  towards 
the  spectator  with  a  meditative  scowl,  saying,  Men  will  learn  to  express  all  that 
is  base,  Malignant,  Treacherous,  Unatural  [sic]  &  Blasphemous,  by  the  single 
Monosyllable — Paine — written  by  me  W.  Cobbett — Intend  paying  my  Old  Debts 
by  raising  a  subscription  on  these  Relics,  must  be  doing  so?nething.  Cursed  World, 
Kicked  out  of  France,  driven  from  America  &  obliged  to  run  awy  [sic]  from 
England.  Carrion  birds  fly  towards  the  sack  and  hover  over  it.  In  the  middle 
distance  (r.)  is  a  gibbet  with  a  dangling  noose.  Below  the  title:  Just  arrived 
with  his  favorite,  &  precious  Relics.  The  zvord  Reform,  according  to  Cobbetts 
Ideas,  means  a  Conforming  to  existing,  circumstances  purely,  for  ones  own  advan- 
tage, witness  his  Life  and  contrdictory  [sic]  Writing. 

For  Cobbett  and  Paine  see  No.  13283.  When  Cobbett  was  about  to  give 
evidence  at  a  court-martial  demanded  by  himself,  he  fled  to  France  (Mar. 
1792),  see  No.  11377,  departing  for  America  on  news  of  the  attack  on  the 
Tuileries  on  10  Aug.  1793.  In  1800  (having  escaped  deportation  in  1799)  he 
returned  to  England,  a  violent  anti-Jacobin  and  Tory.  For  his  recent  flight 
to  America  see  No.  12878.  In  his  speech  on  3  Dec,  he  commented  at  some 
length  on  Reform,  and  expressed  his  surprise  that  the  new  term  of  Radicals 
should  be  applied  to  Reformers,  when  in  fact,  they  held  exactly  the  same 
principles  as  heretofore.  Black  Dwarf,  iii.  802.  See  No.  13271,  &c, 
iiixSfin.   With  border,  I  i|x  9  in. 

13285  A  DELICATE  DANDY 

London  Dec  [?]  10  i8ig  Pub  by  [S.  W.  Fores]  Piccadilly^ 

Engraving  (coloured  impression).  Below  the  title:  Powerfully  recommended 
to  the  Free  &  Independent  Electors  of  the  RenowJied  University  of  Cambridge 
as  a  fit  &  proper  Member.  A  scene  in  King's  Parade,  with  King's  College 
Chapel  in  the  background  and  a  corner  of  the  Senate  House  on  the  extreme  r. 
The  candidate  (r.)  for  the  borough  (not  University)  of  Cambridge,  dressed 
as  a  dandy,  ogles  through  his  glass  a  pretty  and  fashionably  dressed  young 
woman  on  the  1.  A  good-looking  well-dressed  man,  identified  as  the  Duke  of 
Rutland  (A.  de  R.  xvi.  41),  addresses  the  candidate:  Now  Sir  before  I  give 
you  my  Vote  my  duty  to  my  Country  compels  me  to  enquire  as  to  your  I?ite?itions, 

'   Imprint  partly  obliterated. 

940 


POLITICAL   SATIRES    1819 

pretentions  &  Abilities.  The  dandy :  Eh  h — h  my  dear  Sir  Should  be  particu- 
larly happy  to  do  any  thing  in  my  power  for a  D — d  fine  Girl  as  I  zvas 

saying — do  you  know  her  eh? — pon  honor  must  follow  her — can't  stay  now — be 
particularly  attentive  when  Elected, — akvays  mind  what's  told  me  by — by  the 

D s  [of  Rutland].   In  the  background  (r.),  crouching  against  the  railings, 

hands  on  knees,  is  a  man  in  cap,  gown,  and  bands,  watching  with  amusement; 
he  says :  ha-ha,  A  Dandy  Member  an  Excellent  Trench  er  Man  I  suppose  thoU! 
The  candidate  is  knock-kneed,  wears  a  bell-shaped  top-hat,  high  collar,  high- 
waisted  coat,  tight  pantaloons  with  stripe,  white  cuffs,  and  dangles  a  pair  of 
yellow  ('chicken')  gloves,  cf.  No.  13029. 

In  Dec.  1819  Lt.-Gen.  Edward  Finch  resigned  his  seat  for  Cambridge, 
and  was  succeeded  by  Lt.-Col.  Frederick  William  Trench,  A.Q.M.G.  (1775- 
1859).   Rutland  was  patron  of  the  borough. 
8f  X  i2|  in. 

13286  VILLAGERS  SHOOTING  OUT  THEIR  RUBBISH!!!  377 
G.  Criiikshank  fed 

Pub'^  Dec''  15^''  18 19  by  Tho'  Tegg  N°  iii  Cheapside  Londoji. 

Engraving  (coloured  impression).  Grinning  yokels,  burlesqued,  wheel  (r.  to  1.) 
three  wheelbarrows;  one  (r.)  contains  a  very  fat  parson  with  a  gouty  leg  and 
grog-blossom  nose,  who  lies  on  his  back,  registering  impotent  rage.  Next  is 
a  very  thin  apothecary,  holding  his  gold-headed  cane;  between  his  legs  is  a 
pestle  and  mortar  containing  medicine-bottles,  one  labelled  To  be  zvell  shaken. 
On  the  1.  is  an  angry  lawyer,  holding  a  bag  from  which  a  paper  projects. 
Villagers  stand  round  watching  the  procession,  cheering  delightedly.  Behind, 
from  among  trees,  appear  a  hay-stack,  an  antique  farm  or  cottage,  and  a  church 
tower  with  a  large  Union  flag  at  its  flag-staff. 

Though  more  a  comic  print  than  a  political  satire,  at  this  date  it  may  be 
regarded  as  political,  cf.  No.  13281,  &c. 

Reid,  No.  927.    Cohn,  No.  2082. 
8i^Xi3iin. 

13287  A  FREE  BORN  ENGLISHMAN!  THE  ADMIRATION  OF  THE 
Vv^ORLD!!!    AND  THE  ENVY  OF  SURROUNDING  NATIONS!!!!! 

Londoti  Dec  15  18 ig  Pub  by  S.  W.  Fores  41^  Piccadilly 
Engraving  (coloured  impression).  An  adaptation  of  No.  12037.  The  pad- 
locked and  shackled  man  is  of  a  different  type :  emaciated,  derelict,  with  a 
scalp  which  is  plucked  rather  than  bald,  and  on  which  carrion  birds  are  peck- 
ing. He  is  in  profile  to  the  r. ;  in  the  hands  tied  behind  his  back  are  a  pen  and 
a  paper  inscribed  Freedom  of  the  Press  Transportation.  His  feet  rest  on  the 
Bill  of  Rights  and  Magna  Charta  as  before,  but  the  latter  is  a  large  book. 
On  the  former  lies  a  headsman's  axe,  the  blade  inscribed  Law  of  Libel.  On 
the  ground  is  his  cap,  a  cap  of  Liberty.  In  place  of  the  three  tax-collectors 
at  Mr.  Bull's  house  are  a  woman  and  two  children,  one  apparently  dead,  and 
a  dead  dog;  she  sits  despairingly  on  the  ground  outside  the  shuttered  and 
dilapidated  house  which  is  placarded :  Mr  Bull  removed  by  the  Tax  Gatherers 
over  the  Way.  In  place  of  the  bankrupt  shop  'over  the  way'  is  a  debtor's  prison. 
A  man  walks  past  the  barred  window  and  the  begging-box,  where  wretched 
prisoners  thrust  their  hands  through  the  bars.  A  projecting  placard  is 
inscribed  Pray  Remember  the  poor  Debtors.  He  thrusts  his  hands  through 
his  empty  and  tattered  pockets,  registering  distress  at  the  appeal.    In  place 

'  The  number  '41'  seems  etched  over  '50'. 

941 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

of  the  list  of  'Bankrupts'  in  No.  12037  is  a  paper:  Free  discussion — a  farce — 
Right  of  Petitioning,  reserved  to  Families  only.  There  is  an  additional  inscrip- 
tion (r.) :  Tampering  at  Elections — allowed  to  Ministers  only!!  Lord  Lieutennants 
of  Counties  &  other  Local  Authorities  must  he  tools  of  Government — for  Neces- 
sary Purposes,  employ  Clerical  Magistrates  [see  No.  13281,  &c.J. 

A  cropped  impression  was  conjecturally  attributed  to  1795,  see  No.  871 1 ; 
it  derives  indirectly  from  No.  8710.  (The  device  of  the  padlocked  mouth 
appears  in  a  pi.  of  1742,  see  No.  2543.)  It  satirizes  the  Seditious  Meetings 
Prevention  Act  and  the  Blasphemous  and  Seditious  Libels  Act  (60  Geo.  Ill, 
c.  6  and  8),  two  of  the  'Six  Acts',  and  illustrates  the  relation  between  these 
statutes  and  the  Sedition  and  Treason  Acts  of  1795  (see  No.  8687,  &c.).  The 
Libels  Act  of  1819,  now  known  as  the  Criminal  Libel  Act,  is  still  valid,  with 
the  obnoxious  clauses,  including  that  of  transportation  for  a  second  offence 
(never  put  into  execution),  removed  in  1830.  The  other  Press  Act,  the  Publica- 
tions Act  (60  Geo.  Ill,  c.  9),  made  cheap  periodical  pamphlets  liable  to  Pitt's 
Newspaper  Act  (cf.  No.  9194),  and  the  Stamp  Duties,  and  forbade  their  sale 
for  less  than  sixpence,  see  No.  13290;  this  Act  was  without  effect.  See  Wick- 
war,  The  Struggle  for  the  Freedom  of  the  Press  i8ig-j8j2,  1928,  ch.  iv. 

Cobbett  evidently  cites  this  pi.  in  the  Pol.  Reg.,  15  Apr.  1820,  in  a  dialogue 
in  which  Canning  says:  'What!  Take  off  the  padlocks!  Suffer  them  to  tell 
lies  about  ladies  and  gentlemen,  who  to  uphold  a  constitution  which  is  "the 
envy  of  surrounding  nations  and  the  admiration  of  the  world",  .  .  .'  It  was 
mentioned  as  'an  indecent  caricature'  in  the  Attorney-General's  speech, 
3  July  1821  (New  Times  report).  See  No.  13287  a,  the  original,  or  a  copy  of 
this  pi. 

A  woodcut  copy  by  G.  Cruikshank,  with  altered  inscriptions,  illustrates 
A  Slap  at  Slop,  1821,  and  was  again  used  in  the  Political  Alphabet  [1832]. 
ii|x8|  in. 

13287  a  a  lithograph  (coloured)  with  the  same  title,  and  without  imprint, 
by  or  attributed  to  G.  Cruikshank,  is  either  a  copy  or  (more  probably)  the 
original  of  this  print.  The  victim's  hands  are  empty,  birds  approach  him, 
but  have  not  settled  on  his  head.  A  sword  (broken)  with  the  conventionally 
curved  blade  symbolizing  flame  lies  by  his  cap  of  Libe[rty].  The  placard  on 
the  house  is  TVf  Bull  rejnov'^  by  the  Collectors  Out  of  Doors.  The  two  inscrip- 
tions beginning  'Free  discussion'  and  'Tampering  at  Elections'  are  absent. 

Identified  by  Reid  with  No.  228,  an  etching  signed  'G.  Cruikshank  sculp.', 
with  the  imprint  'Pubd.  April,  1813,  by  H.  Martin,  27,  Fetter  Lane',  a  pi. 
not  in  the  B.M.   See  No.  12037. 
12^X9  in, 

13288  POOR  BULL  &  HIS  BURDEN— OR  THE  POLITICAL  MUR- 
RAION— III—  375 

G  Cruik^  fec^ 

Piib'^  Dec"^  15""  i8ig  by  T  Tegg  iii  Cheapside  London — 

Engraving  (coloured  impression).  A  bull,  John  Bull,  lies  on  the  ground  to 
which  he  is  stapled  by  heavy  chains,  one  attached  to  a  muzzle  inscribed 
Gagging  Bill.  He  is  weighed  down  by  a  pyramid  of  men  piled  high  above 
his  back,  topped  by  a  huge  royal  crown  on  which  weights  are  placed.  Castle- 
reagh,  in  profile  to  the  r.,  sits  astride  the  bull's  head,  grasping  the  wide  horns 
which  are  tipped  to  prevent  mischief.  Behind  him  sits  Sidmouth,  and,  sup- 
ported on  both  their  heads,  is  little  Vansittart,  in  his  Chancellor  of  the 

942 


POLITICAL   SATIRES    1819 

Exchequer's  gown,  with  a  money-bag  for  head  inscribed  Budget.  Six  tax- 
collectors,  each  with  ink-bottle  suspended  from  his  coat  and  grasping  a  paper 
inscribed  Tax's,  sit  in  a  row  behind  Sidmouth.  All,  like  Castlereagh,  wear 
jack-boots  with  heavy  spurs,  and  are  gashing  the  bull's  flank,  drawing  streams 
of  blood.  The  bull's  hind-quarters  and  tail  (1.)  are  covered  by  a  chain  of  seven 
men  wearing  the  striped  coats  and  hunting-caps  of  royal  grooms;  the  fore- 
most grasps  the  waist  of  the  last  tax-collector.  Above  the  row  of  tax-collectors 
and  Ministers  (eight,  without  Vansittart)  are  seven  soldiers  seated  on  the 
heads  of  those  below.  The  first  (r.)  is  a  lancer,  next  a  Life  Guard,  next  a 
hussar,  then  three  infantrymen,  and  last,  facing  1.,  a  second  lancer.  They 
hold  respectively  lance,  sabre,  or  bayoneted  musket.  These  soldiers  support 
on  their  helmets  six  officers  of  high  rank  or  courtiers,  the  foremost  having 
a  gouty  leg.  On  the  shoulders  of  these  six  are  five  men,  three  with  ribbons 
or  star,  the  first  and  fifth  holding  a  wand  of  office,  indicating  a  court  appoint- 
ment, and  the  first  three  holding  a  document  inscribed  respectively  Sinecure, 
Pension,  Place.  They  support  on  their  heads  and  shoulders  a  row  of  five  fat 
and  drink-blotched  parsons,  the  first  of  whom,  as  a  church  magistrate,  see 
No.  13281,  &c.,  holds  a  constable's  staff,  and  is  probably  Ethelston.  On  their 
heads  sit  three  bloated  bishops,  one  full-face,  being  probably  Manners- 
Sutton,  see  No.  13276.  On  the  tips  of  their  mitres  rests  the  hea\^-  crown. 
On  the  ground,  facing  the  bull,  stands  his  executioner,  Wellington,  in  uniform, 
with  the  apron,  over-sleeves,  and  steel  of  a  butcher.  He  stands  rigidly  hold- 
ing an  axe  erect.   The  human  pyramid  is  flanked  by  clouds.   Below  the  title: 

"And  the  land  statik — so  numerous  teas  the  fry.'" —  [on  the  Egyptian  plague 

of  frogs,  quoted  also  in  No.  13295]  — What  will  become  of  these  Vermin,  if  the 
Bull  should  Rise— ?!!!!!!!!!!! 

A  satire  on  taxation,  militarism,  and  corruption  in  the  vein  of  the  Reformers 
of  1 8 19  with  a  covert  threat  of  revolution,  then  implicitly  and  sometimes 
explicitly  advocated  in  the  more  extreme  Radical  Press.  'Gagging  Bill'  is  the 
Blasphemous  and  Seditious  Libels  Act,  see  No.  13287.  Wellington  joined 
the  Cabinet  at  the  end  of  18 18  as  Master  of  the  Ordnance,  and  embodies  the 
militarism,  fear  of  which,  like  suspicion  of  the  clergy,  was  aggravated  by 
Peterloo  (see  No.  13258,  &:c.),  and  by  the  levy  of  1,000  additional  troops  and 
2,000  marines  which  accompanied  the  Six  Acts.  For  the  'Vermin'  cf. 
No.  13295.  Cf.  No.  9046  (1797)  by  L  Cruikshank,  in  which  John  Bull  is 
a  muzzled  and  overburdened  bull. 

There  is  a  later  woodcut  adaptation  'altered  from  G.  C^  by  Grant'  on  a 
penny  broadside :  Present  State  of  John  Bull,  gii'ing  the  accumulations  of  the 
live  lumber  which  has  contrived  to  gain  a  settlement  on  his  back.  The  burden 
is  reduced  to  Wellington  and  his  relations  (Reid,  p.  354).  This  probably 
derives  from  No.  12  of  John  Bull's  Picture  Gallery,  1832,  also  a  penny 
broadside. 

Reid,  No.  928.    Cohn,  No.  1857. 
i2jX9i  i^- 


13289  CLERICAL  SHOW^FOLK  AND  WONDERFUL  LAYFOLK. 
Francis  Moore  inv'  G.  Cruikshank  fee' 

Published  by  W.  Hone  Ludgate  Hill.  [18 19] 

Aquatint.  Frontispiece  to  The  Age  of  Intellect,  [engraved  above  the  design] 
or  Clerical  Shozcfolk  .  .  .  [&c.].  A  Series  of  poetical  Epistles  between  Bob  Blazon 
in  Tozvn,  and  Jack  Jingle  in  the  Country.  Dedicated  to  the  Fair  Circassian  .  . 
[see  No.  13390,  &c.].   By  Francis  Moore,  Physician.  A  series  of  little  scenes 

943 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

receding  in  perspective  to  the  horizon  where  a  fringe  of  icebergs  borders  the 
Arctic.  In  the  foreground  (1.)  is  a  model  of  St.  Paul's  Cathedral,  into  which 
a  boy  peers  as  at  a  peep-show.  A  countryman,  with  a  younger  boy,  puts  a 
coin  into  the  hand  of  a  grossly  fat  bishop,  intended  for  the  Bishop  of  London 
(Howley).  Just  behind  (r.)  a  craniologist,  apparently  Dr.  Spurzheim,  lectures 
to  men  and  women  seated  on  a  bench  beside  his  table.  He  holds  a  skull, 
pointing  to  its  bumps;  beside  him  is  a  pile  of  skulls.  Behind  (r.),  on  sloping 
ground,  is  a  model  of  Westminster  Abbey,  at  which  a  boy  is  peering,  while 
a  seated  bishop  takes  a  fee  from  a  fashionably  dressed  couple  who  are  ascend- 
ing the  hill.  On  a  steeper  slope  behind  (1.)  a  man  falls  from  a  velocipede, 
while  another  rides  his  machine  up  hill.  In  the  Arctic  is  a  small  paddle  steamer, 
flying  a  Union  flag;  in  it  is  a  man  pointing  a  telescope  at  the  North  Pole, 
a  pole  projecting  from  the  icebergs  (r.)  on  which  is  poised  the  constellation 
of  the  Great  Bear  (a  bear  studded  with  stars,  as  in  No.  13 194)  In  the  sky 
a  balloon  supports  a  large  fish  from  which  smoke  issues;  the  sun,  a  disk 
with  features,  grins  at  it  from  behind  a  cloud. 

The  satirical  verses  are  directed  first  against  the  practice  of  taking  fees  from 
visitors  to  churches  (cf.  No.  10445),  turning  them  into  show-booths  in  order 
to  provide  luxuries  for  'Bishop  or  Canons,  or  Dean'  (cf.  No.  13225).  Other 
subjects  are  craniology,  velocipedes,  &c.,  see  No.  13399,  ^^•'  the  recent  Polar 
Expeditions,  see  No.  13 194,  and  new  inventions  in  general,  including  the 
project  of  one  Egg  for  (steam)  balloon  packets  between  London  and  Paris. 

Pencil  studies,  by  Cruikshank,  caption,  'Age  of  Intellect',  are  not  for  this  pi. 
Binyon,  i.  284  (16). 

Reid,  Nos.  843,  4720.    Cohn,  No.  574. 
5  3^X2^1  in.  184.6.5. 

13290  JACK  THE  GIANT  QUELLER;  OR  PRINCE  JUAN. 
London:  Printed  for  W.  Horncastle,  Shane  Street^  Chelsea^  i8ig. 

Engraving  (printed  in  red).  PI.  on  title-page  of  a  parody  of  Don  Juan,  attack- 
ing the  Regent.  Imitation  of  a  newspaper  stamp.  Two  heads,  back  to  back, 
like  Janus;  one  (1.)  a  profile  of  Castlereagh,  the  other  (r.)  of  Giff^ord,  the 
Attorney-General.  In  a  border  of  irregular  shape  are  the  words  Conscilio  [sic] 
Disputatur  (above)  and  (below)  Gululus  Vermes!  [?  Gulosus  Vermis,  a  greedy 
worm].  Printed  caption:  Model  of  a  New  STAMP,  for  the  Suppression  of 
Political  Publications . 

A  satire  on  the  Newspaper  Stamp  Duties  Bill,  see  No.  13287,  &c.,  which 
passed  29  Dec.  1819,  and  was  under  discussion  at  the  time  of  publication. 
4x8  (pi.).  B.M.L.  C.  116.  e.  6/9. 

13291  FINDING    OF    ARMS    OR    A    MIDNIGHT    DOMICILIARY 
VISIT  TO  THE  BOARDING  SCHOOL.  169 

[Williams.] 

[Pub.  Tegg.]  Ill  Cheapside  [c.  Dec.  18 19] 

Engraving  (coloured  impression).  Scene  in  a  dormitory  in  which  curtained 
four-post  beds  are  ranged  on  each  side  of  the  room  receding  in  perspective. 
Three  school-mistresses  encourage  resistance  to  a  police-officer  with  a  warrant. 
The  pupils  are  mature  young  women  in  plain  decolletee  nightgowns  with 
short  sleeves,  and  closely  fitting  caps.  The  governesses  are  distinguished  by 
more  elaborate  caps,  and  one,  'Mademoiselle',  wears  a  frilled  dressing-jacket. 
She  scratches  the  officer's  face,  saying.  Ah  you  come  for  de  Arms!  I  give  you 

944 


POLITICAL   SATIRES   1819 

de  Hands  and  de  Nails  in  de  bargain  you  great  big  Villaine.  He  holds  a  con- 
stable's staff  and  a  warrant  ending  .  .  .  shall  be  your  Warrant,  but  makes  no 
resistance ;  on  the  ground  are  his  hat  and  the  Information :  To  Peter  Pry  Police 
Officer,  you  will  find  several  pairs  of  Arms  conceald  under  the  bed  cloaths  every 
night  at  M^^  Bounces  boarding  school  in  Gunpowder  lane.  He  shouts :  Murder! 
I  am  come  to  search  for  Arms!  I  was  informed  you  had  some  concealed  under 
the  bed  cloaths  every  night,  look  at  my  warrant!  He  is  assailed  from  behind 
by  a  strapping  governess  holding  a  candle  and  a  large  poker.  She  stands  just 
inside  the  open  door  (1.),  kicking  him,  and  says :  He  shall  have  Arms,  Legs  and 
the  poker  too,  I  had  just  got  into  my  first  sleep.  Another  woman,  probably 
Mrs.  Bounce,  runs  up  from  the  r.  holding  up  a  candle.  She  exclaims:  Thats 
right  Mademoiselle  Mark  him  well  that  zve  may  know  him  again  by  day  light. 
The  officer  has  two  assistants;  one,  attempting  to  search  a  bed,  receives  in  the 
face  the  contents  of  a  chamber-pot  from  a  girl  kneeling  on  the  bed ;  she  says : 
There  sofne  eye  water  to  make  you  see  clear.  The  third  ransacks  a  trunk  in  the 
r.  foreground;  its  arched  top  is  marked  in  nails  J.  Manlo[ve].  He  has  thrown 
out  two  books :  Aristotle  Ma[sterpiece]  and  Juvenile  Indiscretions  a  Novel  in 
4  Vols,  and  holds  up  Ovids  Art  of  Love.  The  owner  grasps  his  short  pigtail 
and  raises  a  slipper  to  smite,  saying,  77/  teach  you  to  ransack  my  trunk  in  this 
manner  you  impudent  fellow  let  my  books  of  instruction  alone.  He  answers: 
Indeed  Miss  I  won't  take  one  away  I  would  rather  help  to  explain  them!  Two 
pupils  say :  Oh  dear  he  is  takeing  Miss  Manlove's  pretty  books,  that  she  read  of 
a  Night  to  us,  and  Fll  tear  his  eyes  out  if  he  comes  to  my  box.  A  stout  girl  runs 
forward  from  the  r.  with  raised  arms  and  crisped  fingers,  saying.  Governess 
I  can  scratch  rarely  let  me  help  you. 

A  satire  on  the  Search  for  Arms  Act  (60  George  HI,  c.  2),  one  of  the 
'Six  Acts',  brought  in  in  the  Lords  on  6  Dec,  and  passed  17  Dec.  Opposition 
to  it  was  limited  to  protests  against  searches  at  night,  and  to  an  attempt  to 
secure  that  the  search  warrant  (given  on  sworn  information  only)  should  be 
by  two  magistrates  instead  of  one.  Tierney  maintained  that  night  searches 
would  subject  our  'wives  and  daughters'  to  'all  kinds  of  insult  and  indignity'. 
Pari.  Deb.  xli.  1158  (14  Dec).  For  unsuitable  books  at  girls'  schools  cf. 
Nos,  8749,  1 341 6. 
8^X13  in.  'Caricatures',  xi.  148. 

13292  THE  POLITICAL  HOUSE  THAT  JACK  BUILT. 

[G.  Cruikshank.] 

London:  Printed  by  and  for  William  Hone,  Ludgate  Hill,  [Dec]  i8ig. 
One  shilling. 

Woodcut  on  title-page  of  Hone's  famous  parody.  Jack  being  John  Bull. 
Wellington  stands  bv  a  pair  of  scales,  throwing  his  sword  into  a  scale  heaped 
with  three  large  documents:  Ex-Officio  [Informations,  see  No.  11717,  &c.]. 
Bill  of  Indemnity,  Bank  Restriction.  These  are  outweighed  by  a  single  (feather) 
pen.   Below:  The  Pen  and  the  Szvord. 

The  fear  of  militarism,  aggravated  by  Wellington's  inclusion  in  the  Cabinet 
in  1818  and  by  'Peterloo',  see  No.  13258,  was  increased  by  the  Regent's 
speech  at  the  opening  of  Parliament,  23  Nov.  1819.  For  Bank  Restriction  see 
No.  13 198,  &c.  The  popularity  of  this  pamphlet,  which  started  a  vogue  for 
illustrated  verse  satires,  owed  much  to  G.  Cruikshank's  illustrations,  see 
Nos.  13293-13304'  (Reid,  Nos.  2897-2909).  The  tract  was  reissued  in  Hone's 
Facetiae,  1827.    The  blocks  of  all  but  Nos.  13292  (which  was  copied  and 

'  Each  cut  has  also  a  quotation,  abridged  examples  only  being  here  transcribed. 

945  3P 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

altered),  13297, 13299,  13301,  13302  were  used  in  The  Political  Alphabet,  1830. 
Hone  had  been  anticipated  by  recent  parodies  in  the  Examiner,  11  Oct.  1819, 
and  the  Black  Dwarf,  3  Nov.  18 19.  An  'Edition  with  new  readings',  The 
Reformers  House  that  Jack  built  for  1820,  appeared  in  the  latter,  26  Jan.  1820. 
See  Nos.  13306,  &c.,  133 18,  &c.,  1333 1,  &c.,  13370,  &c.   Cf.  No.  13277. 

This  cut,  one  of  many  on  the  power  of  the  Press,  is  adapted  in  No.  133 18; 
see  also  vol.  x. 

Reid,  Nos.  2897,  4713.    Cohn,  No.  663.    Hackwood,  Life  and  Times  of 
William  Hone,  1912,  pp.  220-3;  Wickwar,  Struggle  for  the  Freedom  of  the 
Press  i8ig-i832,  1928,  p.  132  f. 
c.  3fX3fin.  184.3.1/4. 

13293  THIS  IS  THE  HOUSE  THAT  JACK  BUILT. 

See  No.  13292.  The  Temple  of  the  Constitution  is  a  dome  supported  on 
three  columns :  Commons,  King,  Lords,  and  surmounted  by  a  figure  of  Liberty 
holding  a  cap  of  Liberty  on  a  staff.  Below:  "A  distant  age  asks  where  the 
fabric  stood." 

For  similar  temples  imitating  this  one,  see  Nos.  13307,  13333.  ^^  derives 
from  the  old-fashioned  emblematical  print,  cf.  (e.g.)  Nos.  4179  (1767),  5126 
(1773),  in  which  a  figure  of  Liberty  falls  from  the  roof. 

Reproduced,  Hackwood,  op.  cit.,  p.  230. 
c.  6iX3f  in. 

13294  This  is  THE  WEALTH  that  lay  In  the  House  .  .  . 

See  No.  13292.  An  open  chest  with  Gothic  panels  and  decorated  with  fasces 
contains  Magna  Charta,  Bill  of  Rights,  and  Habeas  Corpus.  Beside  it  are  coins, 
money-bags,  and  a  book.   Cf.  No.  13308. 

Reproduced,  Hackwood,  op.  cit.,  p.  221. 
c.  3fX3|in. 

13295  These  are  THE  VERMIN  That  Plunder  the  Wealth,  .  .  . 

See  No.  13292.  A  group  of  state  parasites.  In  the  centre  stands  a  clerical 
magistrate  (Ethelston,  see  No.  13281,  &c.),  fat  and  brandy-faced,  a  con- 
stable's staff  in  one  hand,  Bible  in  the  other,  as  in  No.  13282.  The  others 
are  a  Court  Chamberlain,  holding  a  wand  (Hertford),  a  hussar  officer,  a  tax- 
collector  with  a  savage  expression  holding  a  book  inscribed  Kings  Taxes,  a 
barrister,  probably  Gifford,  see  No.  13297,  and  (behind)  a  soldier  wearing 
a  fantastic  lancer's  helmet.  The  quotation,  seven  11.,  begins  ' — "A  race 
obscene, — '  and  ends:  'And  the  land  stank — so  num'rous  was  the  fry.',  as 
in  No.  13288.  Cf.  No.  13309. 
c.  3fX3f  in. 

13296  This  is  THE  THING,  that,  in  spite  of  new  Acts,  .  .  . 

See  No.   13292.    A  printing-press,  carefully  drawn.    The  text  continues: 
'And  attempts  to  restrain  it,  by  Soldiers  or  Tax,  will  poison  the  vermin.  .  .  .' 
For  the  Six  Acts  cf.  No.  13287.    Copies  or  adaptations,  symbolizing  the 
freedom  of  the  Press,  appear  in  many  prints. 
c.  3iX3|in. 

13297  This  is  THE  PUBLIC  INFORMER,  who  would  put  down  .  .  . 

See  No.  13292.    Gifford,  the  Attorney-General,  stands  in  profile  to  the  r., 
fiercely  malevolent,  a  brief  in  the  1.  hand,  in  the  r.  a  bag  containing  briefs 
marked  Ex  Officio  [see  No.  11717,  &c.].   Cf.  No.  13310.   Below:  "  'The  seals 
of  office  glitter  in  his  eyes;  .  .  .'. 
c.  4X2|in. 

946 


POLITICAL   SATIRES   1819 

13298  These  are  THE    REASONS   OF    LAWLESS   POWER   That   back 

the  Public  Informer,  .  .  . 

See  No.  13292.   A  jailor  holding  keys  and  shackles  stands  beside  a  cannon, 
with  its  artilleryman  holding  a  match,  a  grenadier  with  his  bayonet  ready  for 
attack,  and  a  mounted  Life  Guard,  sabre  in  hand. 
c.  3iX4in. 

13299  This  is  THE  MAN — all  shaven  and  shorn, 

See  No.  13292.  The  Regent,  heavily  whiskered,  stands  tightly  encased  in 
dandified  uniform,  his  body  covered  with  orders,  including  a  corkscrew  and 
the  Golden  Fleece.  In  his  cocked  hat  are  three  peacock's  feathers.  He  wears 
gauntlet  gloves  and  spurred  jack-boots,  highly  polished;  his  hand  is  on  his 
sword. 

For  the  text  see  No.  13305.    It  continues: 

'W^ho  spurn'd  from  his  presence  the  Friends  of  his  youth, 

Who  took  to  his  counsels  in  evil  hour. 

And  now  has  not  one  who  will  tell  him  the  truth; 

Who  took  to  his  counsels,  in  evil  hour, 

The  Friends  to  the  Reasons  .  .  .[&c.] 

For  the  spurned  friends  see   No.    11855,   &c.    The  peacock's  feathers 
(replacing  ostrich  feathers)  became  a  common  attribute  of  the  Regent  in 
caricature,  see  Nos.  13305,  13344,  ^^^  ^'o^-  ^-    Cf.  No.  13315. 
c.  6|X3iin. 

13300  These  are  THE  PEOPLE  all  tatter' d  and  torn, 

See  No.  13292.  In  the  foreground  is  a  despairing  family,  starving  and  ragged. 
In  the  background  yeomanry  ride  down  women  and  children,  slashing  with 
sabres.   The  text  continues : 

Who  curse  the  day  wherein  they  were  born. 

On  account  of  Taxation  too  great  to  be  borne,  .  .  . 

Who,  peacably  IVIeeting  to  ask  for  Reform, 

Were  sabred  by  Yeomanry  Cavalr}-,  who 

Were  thank'd  by  The  I\Ian  .  .  .  [&c.] 

For  Peterloo  see  No.  13258,  &c. ;  for  the  Regent's  thanks,  No.  13266. 
c.  2|X3|  in. 

13301  This  is  THE  DOCTOR  of  Circular  fatne, 

See  No.  13292.  Sidmouth,  holding  a  clyster-pipe  and  a  constable's  staff, 
Castlereagh  holding  a  scourge,  and  Canning,  stand  together.  The  first  is 
senile,  the  second  bland  and  dandified,  the  third  aggressive.  The  text 
continues : 

A  Driv'ller,  a  Bigot,  a  Knave  without  shame: 

And  that's  Derry  Down  Trl\ngle  by  name  .  .  . 

And  that  is  The  Spouter  of  Froth  by  the  Hour, 

The  worthless  colleague  of  their  infamous  power; 

Who  dubb'd  him  'the  Doctor'  whom  now  he  calls  'brother'. 

And,  to  get  at  his  Place,  took  a  shot  at  the  other;  .  .  . 

Their  Flash-man,  their  Bravo,  a  son  of  a ; 

The  hate  of  the  People  .  .  .  [&c.] 

These  phrases  on  'the  Guilty  Trio'  became  catchwords  and  were  used  in 
lampoons,  satires,  and  caricatures.  For  Sidmouth's  circular  see  No.  13282; 
for  'Derry  Down',  Nos.  10426,  12900;  for  Canning  and  'The  Doctor'  see 

947 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

No.  9849;  for  his  duel  with  Castlereagh,  No.  11370,  &c.   Canning's  mother, 
Mrs.  Hunn,  was  bitterly  attacked  in  the  Radical  press,  see  vol.  x. 
c.  3x3!  in. 

13302  This  WORD  is  the  Watchword — the  talisman  word, 
That  the  WATERLOO-MAN'S  to  crush  with  his  szvord; 

See  No.  13292.  A  fringed  banner  inscribed  reform  hangs  squarely  from  a 
cross-piece  on  a  vertical  shaft,  surmounted  by  a  laurel- wreath. 

The  culmination  of  the  parody;  the  device  was  much  copied  and  adapted. 
'The  Word',  if  protected  by  Norfolk,  Bedford,  Fitzwilliam,  Grosvenor,  and 
Albemarle  (a  Whiggish  set  for  the  radical  Hone,  but  see  Nos.  13335,  ^3338)> 
will  set  Wellington  and  his  sword  at  defiance.  'Waterloo-Man'  was  the  title 
of  a  song  bitterly  attacking  Wellington  and  the  war  in  the  Black  Dwarf, 
18  June  1817.  See  No.  13288;  cf.  No.  13346. 
c.  4|X3  in. 

13303  THE  CLERICAL  MAGISTRATE. 

See  No.  13292.  Heading  to  thirty-five  lines  of  verse  appended  to  the  parody, 
beginning  'This  is  a  Priest,  made  "according  to  Law"  '.  A  parson  (Ethelston) 
with  two  heads  and  two  pairs  of  arms,  emerges  Janus-like  from  a  double 
rostrum,  one  half  pulpit,  the  other  a  magistrate's  seat.  One  profile  is  bland, 
the  other  savage;  both  are  drink-blotched.  One  (1.)  holds  up  a  cross,  the  other 
(r.)  a  miniature  gallows.  The  latter  also  holds  blunderbuss,  scourge,  and 
shackles.  On  the  pulpit  I H  S  surmounts  an  irradiated  triangle;  on  the  other 
panel  is  an  irradiated  crown  surmounted  by  G  P  R.  Below  the  title  The 
Form  of  Ordiriation  for  a  Priest  is  quoted.   The  verses  end: 

On  God  turns  his  back,  when  he  turns  the  State's  Agent; 
And  damns  his  own  Soul,  to  be  friends  with  the [Regent]. 

Either  based  on,  or  the  original  of.  No.  13281.   Cf.  No.  133 16. 
^•4gX3Jin. 

13304  [TAILPIECE] 

See  No.  13292.    "'Tw  Liberty  alone,  that  grows  the  flow' r  .  .  .  [&c.].   A  cap 
of  Liberty,  irradiated,  and  encircled  with  a  laurel-wreath.   Cf.  No.  133 17. 
c.  2jX2|  in. 

13305  A  DANDY  OF  SIXTY 

London  Publish'^  for  the  Proprietor  18 ig. 

Engraving  (coloured  impression).  An  enlarged  copy  of  No.  13299.  Below 
the  title  are  lines  from  "The  Political  House  that  Jack  built': 

This  is  the  Man — all  shaven  and  shorn 

All  covered  with  Orders — and  all  forlorn; 

The  Dandy  of  Sixty,  who  bows  with  a  grace. 

And  has  taste  in  wigs,  collars,  cuirasses  and  lace 

Who  to  tricksters,  and  fools,  leaves  the  state  and  its  treasure. 

And  when  Britain's  in  Tears  sails  about  at  his  pleasure:^ 

For  the  visit  to  Cowes  see  No.  13259;  for  the  Regent  and  military  tailoring 
No.  13237. 
i3|X9i|in.  (pi.). 

'  The  four  last  lines  are  quoted  by  G.  W.  E.  Russell,  Collections  and  Recollections, 
Series  2,  ch.  xi,  as  a  verdict  on  George  IV. 

948 


POLITICAL   SATIRES    1819 

13306  THE  REAL  OR  CONSTITUTIONAL  HOUSE  THAT  JACK 
BUILT. 

London:  Printed  for  J.  Asperne,  Cornhill;  W.  Sams,  St.  James's  Street; 

and  J.  Johnston,  g8,  Cheapside.  i8ig.  Price  One  Shilling. 
Woodcut.  Vignette  on  title-page.  A  plan  of  the  solar  system,  inscribed  Order 
is  heaven's  first  laze  [Pope,  Essay  on  Man],  lying  on  a  rock,  is  the  base  of  a 
symbolical  pile :  first,  three  books :  a  Bible  with  an  anchor,  an  Ab'  of  Etiglish 
Laws,  Principles  of  the  British  Cofistitution.  On  this  is  a  cushion  supporting 
a  crown,  palm-branches,  and  a  lyre.  The  pile  is  flanked  by  sceptre  and  sword, 
with  oak-leaves.  There  is  also  a  pair  of  scales.  In  the  background  are  falling 
pillars  and  fragments  of  masonry. 

The  text  is  a  counter-blast  to  Hone's  parody,  see  No.  13292,  the  wood- 
cuts (see  Nos.  13307-17)  being  (more  or  less)  a  retort  to  G.  C.'s  illustrations. 
c.  3|X4  in.  184.  a.  6/1. 

13307  This  is  THE  HOUSE  THAT  JACK  BUILT. 

See  No.  13306.  A  temple  of  the  Constitution  with  three  pillars.  King,  Lords, 
and  Commons,  as  in  No.  13293.  Inside  is  a  throne,  empty  (signifying  George 
Ill's  supersession),  but  surrounded  by  women,  the  most  prominent  being 
Truth  and  Justice.  Behind  is  an  altar,  partly  hidden,  with  the  table  of  Com- 
mandments. The  quotation  begins:  'England,  with  all  thy  faults,  I  love  thee 
still  .  .  .'  [Cowper,  The  Task]. 
c.  5jX4in. 

13308  These  are  THE  TREASURES  that  lay  In  .  .  . 

See  No.  13306.  Emblems  of  religion,  commerce,  and  the  arts,  a  full  cornu- 
copia, caduceus,  and  sacks  being  the  most  prominent.  A  Holy  Bible  rests  on 
a  block  of  stone.  There  are  also  palette  and  brushes,  a  lyre,  a  scroll.  Behind 
is  the  sea  with  a  paddle  steamer  emitting  smoke,  and  a  sailing  vessel.  Cf. 
No.  13294. 
c.  4|X4  in. 

13309  These  are  THE  THIEVES  Who  would  plunder  .  .  . 

See  No.  13306.   Napoleon,  not  caricatured,  stares  in  dismay  at  a  paper  which 
he  holds  inscribed  Trafalgar  [see  No.  10442,  &c.].   Four  of  his  officers,  con- 
ventionally drawn,  stand  round  him.   Cf.  No.  13295. 
c.  4^X4  in. 

13310  This  is  "THE  PILOT  that  weatherd  the  Storm," 

See  No.  13306.  A  W.L.  portrait  of  Pitt  holding  a  rolled  document.  Behind 
is  a  table  with  papers,  book,  and  inkstand. 

For  Canning's  poem  see  No.  11713.   Cf.  No.  13297. 
c.  5|X3iin. 

1331 1  These  are  THE  PATRIOTS  of  high  renou-u  .  .  . 

See  No.  13306.  Oval  medallions  on  which  are  bust  portraits  suspended 
against  the  trunk  of  an  oak  tree.  The  three  most  prominent  are  Nelson, 
Wellington,  Burke.  Wellington  is  flanked  by  Duncan  and  C[astlere]agh;  below 
is  Canning.  Behind,  in  shadow  and  only  partly  visible,  are  Hozie  and  Percival. 
c.  4IX3I  in. 

13312  These   are    THE    HYPOCRITES,    shaven   and  shorn— The  broad- 
bottom' d  Whigs,  now  all  forlorn ; 

See  No.  13306.  A  wide-mouthed  bag  contains  medallions  on  which  are 
emblems  of  the  Foxite  Ministry  of  1806-7,  see  No.  10530,  &c.  It  is  inscribed : 
The  Talents  \  Mene  Mene  Tekel  Upharsin  [cf.  No.  10072,  &c.].   A  fox  is  the 

949 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

most  prominent.  Bogey  (his  nickname)  is  a  back  view  of  Lord  Grenville 
seated  on  a  stool.  A  barking  dog  is  Tier[ney].  Whitbread  is  represented  by 
a  tankard  marked  XX,  Sheridan  by  a  bottle  of  Sherr[y] .  A  naked  infant  on  a 
chair  may  ridicule  Lord  Derby  (cf .  No.  9076) ;  How . . .  connotes  Lord  Howick 
(Grey).  Behind  the  bag  are  a  pair  of  shears  (for  defacing  light  coin)  and  a  pair 
of  scales,  to  show  that  the  Ministers  are  weighed  in  the  balance.  The  lines 
illustrated  include : 

Who  rail'd  against  Placemen,  till  they  were  in  Place,  .  .  . 

Who  bragg'd  of  their  Talents,  and  pass'd  a  few  Acts; 

And  increas'd,  5  per  Cent,  the  vile  Property  Tax  [see  No.  10557,  &c-]- 

Cf.  No.  13300. 
c.  3|X4in. 

13313  These  are  THE  RADICALS— Friends  of  Reform, 

See  No.  13306.  Eight  men  surround  a  table  on  which  is  a  large  Petition  of 
the  unrepresented;  Major  Cartwright  is  signing  it.  Burdett  sits  in  back  view, 
with  the  'Black  Dwarf,  Wooler  (see  No.  12982),  on  his  knee.  Hunt  stands  (1.) 
with  his  hand  behind  his  back  dipping  into  a  box  inscribed  Penny  Subscription. 
The  other  four  may  be  Carlile,  Thistlewood,  Watson,  and  Preston,  all  men- 
tioned, together  with  'The  Lawyer'  (Pearson).  Over  the  door  is  a  crown  and 
anchor  (cf.  No.  7892).  On  the  wall  is  a  print.  Axe  to  root,  an  axe  against  a 
gashed  tree-trunk,  see  Nos.  8817,  11323.  Two  tattered  banners  lean  against 
the  wall,  one  inscribed  Liberty  or  Death,  see  No.  13279.  The  lines  illustrated 
include : 

A  mistaken  old  major  sits  hatching  Sedition, 

Yet  dreams  all  the  while  of  a  lawful  Petition ;  .  .  . 

These  are  all  ragged  radicals,  tatter' d  and  torn  .  .  . 

First  hatch'd  by  the  hypocrites,  .  .  .  [&c.]. 

f.  4jX3f  in. 

13314  This  is  "WILL  COBBETT,  with  Thomas  Paine' s  bones. 

See  No.  13306.  Cobbett  walks  to  the  r.,  bent  under  the  weight  of  a  coffin 
(see  No.  13283,  &c.)  with  a  partly  open  lid,  revealing  a  skull.  He  holds  his 
hat  and  two  bags.  In  his  pocket  are  two  pamphlets:  Weekly  Register  and 
Bloody  Buoy.  Behind  is  the  ship  from  which  he  has  landed.  The  lines 
illustrated  include: 

A  bag  full  of  brick-bats,  and  one  full  of  stones. 
With  which  he  intends  to  discharge  the  long  Debt 
He  owes  to  his  Friends,  and  Sir  Francis  Burdett :  .  .  . 
Who  comes  to  dispel  our  political  fogs,  .  .  . 
To  mix  with  the  Radicals,  .  .  .  [etc.] 

For  Cobbett's  abuse  of  Burdett,  and  the  debt  (^(^4,000),  never  repaid,  see 
Patterson,  Burdett  and  his  Times,  1931,  ii.  473-7. 

The  Bloody  Buoy,  thrown  out  as  a  Warning  to  the  Political  Pilots  of 
America  .  .  .  ,  Philadelphia,  1796,  was  an  anti-Jacobin  pamphlet  by  Cobbett. 
c.  4^x4  in. 

13315  This  is  THE  PRINCE  of  a  Generous  Mind, 

See  No,  13306.  A  flattering  W.L.  portrait  of  the  Regent  in  uniform.  The 
lines  illustrated  include : 

Who,  lending  his  Ear  to  the  dictates  of  Truth, 

Dismiss'd  from  his  presence  the  Friends  of  his  Youth  [see  No.  1 1855,  &c,] ; . . . 

950 


POLITICAL   SATIRES   1819 

Who  views  with  disdain,  or  a  good-humour'd  smile, 
The  hbellous  trash  of  the  base  and  the  vile 
And  all  such  as  Cobbett  .  .  .  [&c.]. 

Cf.  No.  13299. 

<:.  4|X3  in. 

13316  This  is  A  PRIEST  made  according  to  Truth, 

See  No.  13306.   A  H.L.  portrait  of  Rowland  Hill  in  a  pulpit.   He  is 

A  true  Revolutionist,  loving  a  storm: — 

A  storm  of  the  soul — a  Reform  of  the  heart, — 

For  Hill  (1744-1833),  refused  priest's  orders  owing  to  his  itinerant  preach- 
ing, see  Nos.  5493,  5494,  6677.    It  is  noteworthy  that  the  antithesis  of  the 
Clerical  Magistrate,  see  No.  13303,  is  not  in  Anglican  orders, 
c.  4|X3^in. 

13317  [TAILPIECE] 

See  No.  13306.  A  wreath  of  palm  and  olive,  irradiated.  Cf.  No.  13304. 

<^- 31X35  in. 

13318  THE  DORCHESTER  GUIDE;  OR,  A  HOUSE  THAT  JACK 
BUILT. 

London:  Printed  and  Published  for  the  Author,  by  Dean   <Sf  Munday, 
Threadneedle- street  [Dec.  181 9].   Price  one-shilling  and  six-pence. 

Woodcut.  Vignette  on  title-page.  A  pair  of  scales  in  which  a  Holy  Bible  (1.) 
outweighs  two  bulky  documents :  Age  of  Reason  [by  Paine]  and  Principles  of 
Nature  [by  Elihu  Palmer,  American] .    Below :  Truth  and  Falsehood. 

Carlile  was  convicted  of  publishing  both  works,  see  No.  13274,  the  latter 
in  weekly  numbers  in  the  Deist.  One  of  thirteen  cuts  illustrating  a  parody 
of  Hone's  parody,  see  No.  13292,  &:c.,  each  being  in  opposition  to  the 
corresponding  cut  by  Cruikshank.   See  Nos.  13319-30. 

Europ.  Mag.  xxxvi.  531. 
c.  3^X3  in.  184.  a.  6/12. 

13319  This  is  A  HOUSE  THAT  JACK  BUILT. 

See  No.  133 18.    The  facade  of  a  prison  decorated  with  shackles.    A  sign- 
post pointing  (1.)  to  Bridport  and  (r.)  to  Blandford  indicates  Dorchester  Gaol 
where  Carlile  was  imprisoned, 
c.  3|X3Un. 

13320  This  is  JOHN  BULL  who  does  nothing  by  halves, 

See  No.  13318.  A  W.L.  portrait  of  George  III  in  military  dress,  wearing 
cocked  hat  and  sword,  his  1.  hand  resting  on  a  cane. 

For  George  III  as  John  Bull  cf.  Nos.  8346,  10088,  &C. 
c.  3|X2|  in. 

13321  And  these  are  his  CHILDREN,  a  reprobate  pack, 

See  No.  133 18.  A  mob  of  ragamuffins,  who  wave  their  hats  and  shout.  One 
brandishes  a  spiked  club,  one  picks  a  pocket.  Behind  are  houses  and  the  dome 
of  St.  Paul's.   The  lines  include: 

Who  Blasphemy,  Treason,  Rebellion,  exhibit, — 

c.  4X3I  in. 

951 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

13322  And  this  is  A  CHIEF,  of  Deistical  Fame; 

See  No.  133 18.  A  W.L.  portrait  of  Carlile,  holding  his  hat  in  his  r.  hand, 
in  his  1.  a  sheet  (or  proof)  headed  Age  of  Reason.  The  hnes  relate  to  his  three 
years'  imprisonment  in  Dorchester  Gaol  and  his  rent  of  'five-hundred  a  year' 
to  the  King,  i.e.  the  fines  of  ^^i, 000  for  publishing  the  Age  of  Reason,  and  ^isoo 
for  Principles  of  Nature,  see  No.  13274,  &c. 
t.  3^X2|in. 

13323  And  this  is  AN  ORATOR  not  quite  from  Greece, 

See  No.  13318.   A  W.L.  portrait  of  Hunt  making  a  speech,  r.  hand  raised, 
cap  of  Liberty  in  his  1.  hand. 
c.  3|X2|  in. 

13324  And  this  is  THE  CART, /row  which  Radicals  spout. 

See  No.  133 18.  A  two-wheeled  cart  with  the  shafts  supported  on  Gin  barrels. 
It  is  covered  by  a  platform  from  which  fly  six  banners,  four  surmounted  by 
a  cap  of  Liberty,  one  by  a  wreath,  and  one  by  (?)  a  bundle  of  matches.  The 
three  banners  facing  the  spectator  are  respectively  inscribed  in  large  letters: 
\Un\iversal  Suffrage;  Hunt  and  [Li]berty;  [An]nual  [Parli]aments.  See 
No.  13252,  &c. 
c.  4X3|in. 

13325  And  this  is  CARTWRIGHT,  a  Radical  Player, 

See  No.  13318.  A  W.L.  portrait  of  Major  Cartwright,  arms  extended,  cocked 
hat  in  1.  hand,  as  if  addressing  an  audience.  He  is  dressed  half  as  naval,  half 
as  military  officer,  wearing  a  spurred  jack-boot  on  his  1.  leg.  The  lines  include : 

'Gainst  Placemen  and  Pensioners  thunders  away, 
But  still  (tho'  a  Sinecure)  fobs  his  half-pay : 
Amphibious  he,  as  well  as  seditious, 
A  jubilee  Captain,  a  Major  Militi'ous; 

For  Cartwright  as  'The  Drum  Major  of  Sedition'  see  No.  6474  (1784). 
He  had  been  a  naval  officer  before  becoming  a  major  in  the  Notts  Militia, 
c.  3|X2|in. 

13326  And  this  is  THE  PRIEST,  neither  shaven  nor  shorn, 

See  No.  133 18.  A  ranting  preacher,  wearing  a  hat  and  gloves,  raises  both 
arms.   The  lines  include : 

With  puritan  twang,  was  to  prelude  petition. 
But  had  it  cut  short  by  a  Writ  for  Sedition, 

He  is  perhaps  Harrison.    For  the  attitude  of  dissenting  ministers  to  the 
Reform  agitation  of  1819  see  Halevy,  Hist,  of  the  English  People  1815-1830, 
1926,  p.  62. 
c.  3|X2^  in. 

13327  And  this  is  WAT'S  SON,  ''all  tattered  and  torn," 

See  No.  13318.  A  W.L.  portrait  of  James  Watson  ('spawn  of  Wat  Tyler'), 
see  No.  12887.  He  holds  under  his  arm  a  huge  syringe;  in  his  pocket  is  a 
medicine-bottle.  In  1816  he  had  prepared  combustibles  for  blowing  up 
cavalry  barracks  in  Portman  Square,  and  after  his  acquittal  on  a  charge  of 
treason  continued  to  conspire  and  agitate,  welcoming  Hunt  in  London  after 
Peterloo,  see  No.  13273. 
c.  3iX2|  in. 

952 


POLITICAL  SATIRES   1819 

13328  And  this  is  A  HONE,  by  Subscription  'twas  oiled, 
[G.  Cruikshank.] 

See  No.  133 18.  Justice,  blindfolded,  and  holding  up  her  scales  in  her  1.  hand, 
places  her  sword  against  a  hone,  representing  William  Hone  as  in  No.  12886. 
The  lines  continue:  'Because  it  the  measures  of  Justice  had  foiled,' 

For  Hone's  defeat  of  Ellenborough,  and  the  large  subscription  raised  for 
him  see  No.  12899,  ^^'  The  cut  appeared  in  Sketches  of  the  Life  of  Billy 
Cobb-  (1820),  see  vol.  x. 

Reid,  No.  2868.    Cohn,  No.  247. 
c-  31X31  in. 

13329  And  this  is  THE  IDOL  Of  Far-in-Town-  [Farringdon]  Place, 

See  No.  133 18.   Waithman,  wearing  his  alderman's  gown  and  chain,  stands 
directed  to  the  1.,  making  a  speech.    He  is  (correctly)  represented  as  prime- 
mover  in  the  subscription  for  Hone. 
c.  3|X2|  in. 

13330  And  this  is  THE  DEVIL,  to  bring  up  the  rear, 

See  No.  133 18.  Byron,  wearing  peer's  robes  and  a  coronet,  stands  directed 
to  the  1.,  as  if  making  a  speech.  The  1.  leg  terminates  in  a  cloven  hoof.  The 
lines  include : 

His  verses  so  sweet  and  harmonious  appear. 
The  mind  is  corrupted  while  tickling  the  ear. 

An  antithesis  to  the  cut  on  the  Regent  (No.  13299)  reflecting  reactions  to 
Don  Juan,  cf.  especially  the  attack  in  Blackwood's  Magazine,  Aug.   1819: 
Byron  is  said  to  be  resolved  to  show  himself  as  'a  cool  unconcerned  fiend'. 
c.  3|X2j  in. 

13331  LIBERTY  &  EQUALITY  [c.  Dec.  1819] 
Engraving.  PI.  on  title-page  of  The  Radical-House  zvhich  Jack  would  bin  Id. 
Printed  by  &  for  S.  Hedgeland,  jj.  High-street,  Exeter ;  &  G  &  W.  B. 
Whittaker,  Ave-Maria-Lane,  London.  A  termagant  sits  on  a  barrel  of 
Smuggled  Gin.  She  waves  a  goblet  and  a  cap  of  Liberty  decorated  with  leaves; 
with  her  bare  feet  she  tramples  on  (torn)  papers :  [Bill  of]  Rights,  X.  Command- 
ments, [Magna]  Charta;  with  these  lie  a  crown,  coronet,  sceptre,  and  a  (con- 
stable's) crowned  staff.  Beside  her  (1.)  is  a  pillar:  The  Wolesley  Pillar,  on  a 
base  inscribed:  To  the  Sovereign  People.  In  the  background  a  mob  assail 
with  sticks  and  stones  a  blazing  building. 

The  text  is  a  verse-satire  against  Hone's  parody,  see  No.   13292.    For 
Wolseley  and  Reform  see  No.  13251 .  The  other  illustrations  are  etched  across 
the  upper  part  of  each  page,  see  Nos.  13332-40. 
5IX4I  in.  (pi.).  184.3.6/11. 

13332  UNIVERSAL  SUFFRAGE:  LIBERTY  OR  DE.^TH 

See  No.  1333 1.  No  title  except  the  inscriptions  on  the  two  banners  of  a 
revolutionary  mob  with  pikes,  bludgeons,  and  caps  of  Liberty.  One  man  is 
seated  astride  the  Wool  Sack.  Three  bodies  dangle  from  the  projecting  beam, 
inscribed  In  Place,  of  a  demolished  building  (r.).  In  the  background  one  man 
is  being  guillotined,  another  hanged.  In  the  foreground  lie  a  Holy  Bible, 
crown,  and  sceptre.  Magna  Charta,  and  fragments  of  pillars,  one  inscribed 
Law.   The  men: 

'.  .  .  would  pull  down  an  Old  House,  England's  Glory, 
In  order  to  live  in  its  uppermost  story,'. 


5|X4in. 


953 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13333  LORDS  KING  COMMON[S] 

See  No.  13331.  No  title  except  the  words  on  scrolls  entwining  the  three 
pillars  of  the  Temple  of  the  Constitution,  as  in  No.  13293,  the  dome  sur- 
mounted by  a  cross  in  place  of  the  figure  of  Liberty.  In  the  middle  are  three 
documents :  Magna  Charta,  [Bill]  of  Rights,  .  .  .  Press.  Three  ruffians  are 
attacking  the  Temple  with  pikes  and  bludgeons,  while  a  respectably  dressed 
man  in  a  top-hat,  evidently  Hunt,  urges  them  on. 
r.  5|X4in. 

13334  A  RADICAL  HUNT. 

See  No.  13331.    Hunt  (1.)  runs  off",  pursued  by  a  constable  (r.),  who  holds 
up  a  crowned  staff",  and  has  a  warrant  inscribed  Capias  .  .  .  Hunt  in  his  pocket. 
Hunt  holds  two  papers:  Radical  Reform  and  The  Orator  of  the  Smithfield 
Meeting.   See  No.  13252,  &c. 
c.  5X4  in. 

13335  .  .  .  WATCH  DOGS,  AND  WOLVES  OF  THE  STATE, 

See  No.  1333 1.  A  man  wearing  a  star,  evidently  Lord  Fitzwilliam,  raises  his 
hat  and  grasps  the  hand  of  a  ragamuffin  with  a  bludgeon;  a  second  ruffian 
stands  by;  and  a  man  wearing  a  top-hat  and  top-boots  holds  out  to  them  a 
pen  and  a  paper  headed :  Proceedings  at  the  Yorkshire  Meeting. 

At  a  meeting  of  Yorkshire  free-holders,  summoned  by  Fitzwilliam  and 
others,  resolutions  were  passed  demanding  an  inquiry  into  the  events  at 
Manchester,  see  No.  13258,  &c.  Bands  of  reformers,  'with  their  usual 
insignia',  were  present,  but  allowed  the  business  of  the  day  to  be  conducted 
by  the  gentry.  Fitzwilliam  was  at  once  dismissed  from  his  office  of  Lord- 
Lieutenant.  Ann.  Reg.,  1819,  p.  113.  Cf.  No.  13302. 
c.  5x4  in. 

13336  .  .  .  BRAVE  WATCH  DOGS  .  .  . 

See  No.  1333 1.  Yeomanry  (seven  men)  in  a  close  line,  with  horses  reined  in, 
confront  a  mob  who  attack  with  pikes,  bludgeons,  and  brick-bats.  The  former 
have  a  banner :  Our  God  &  Our  King,  the  latter  a  makeshift  flag :  The  Devil  & 
D'  W—ts—n. 

Evidently  an  allusion  to  Peterloo,  see  No.  13258,  &c.,  adapted  to  Ministerial 
interpretations  of  the  general  situation.   For  Watson  see  No.  13327,  &c. 
c.  5^X4  in. 

13337  [HOUSE  OF  COMMONS.] 

See  No.  1333 1.  A  debate,  the  Speaker  and  the  two  Clerks  being  the  centre 
of  the  design.  Tierney  is  speaking.  There  is  a  foot-note  referring  to  the 
speeches  of  Mr.  T— r— y  and  L— d  M— It— n  (Milton). 

Tierney,  leader  of  the  Opposition,  opposed  the  Address  on  the  Regent's 
Speech  in  the  November  Session  called  on  account  of  the  disturbances.  The 
verses  seem  (confusedly)  to  ridicule  the  embarrassments  of  the  Whigs  in 
defending  the  extremists,  while  dissociating  themselves  from  their  political 
views.  See  Olphin,  George  Tierney,  1934,  pp.  211-15. 
c.  5iX4in. 

13338  BEDFORDSHIRE  HEMP. 

See  No.  13331.  A  band  of  ruffians  is  hanging  from  a  lamp-bracket,  decorated 
with  a  cap  of  Liberty,  a  young  man  wearing  a  star.  The  one  holding  the  rope 
grins,  saying,  You  till — /  tie,  illustrating  the  line:  ']zck  one  day  will  say, — 
I  doubt  your  you  till — I  tie  [your  utility]'.    They  have  a  makeshift  flag 

954 


POLITICAL   SATIRES    1819 

inscribed  True  Liberty.  One  of  the  mob  rides  a  child's  wooden  hobby- 
horse; he  is  Hobhouse,  'the  W — stm — nster  hack',  see  No.  13204,  &c.  The 
corner  of  a  squalid  house,  from  which  the  lamp-bracket  projects,  is  Hob's 
Home. 

The  victim  is  evidently  Lord  Tavistock,  said  to  have  'left  his  fine  house 
of  nobility'  'to  ape  humility'.  He  took  a  leading  part  in  opposing  the  Six  Acts, 
and  he  and  his  father  the  Duke  of  Bedford  headed  the  subscription  to  Hone, 
see  No.  12899.   Cf.  No.  13302. 
c.  six 4  in. 

13339  .  .  .  THAT  DOG  COBBETT  ... 

See  No.  1333 1.  No  title.  A  big  dog  with  Cobbett's  head,  and  a  skeleton  tied 
to  its  tail,  is  chased  by  two  'Yankees'  with  sticks  and  stones  towards  the  sea 
where  there  is  a  ship  (r.)  with  a  flag  inscribed  For  England.  See  No.  13283,  &c. 
c.  5^x4  in. 

13340  [HONE] 

See  No.  1333 1.    No  title.    An  ape  sharpens  the  head  of  a  pike  on  a  hone, 
representing  William  Hone,  as  in  No.  12886. 
c.  3ixi|  in. 


13341  These  are  THE  MANCHESTER   SPARROWS,    Who  kilVd  Poor 
Robins,  with  Bows  and  Arrows. 

[Rowlandson.] 

Engraving.  PI.  to  Who  killed  Cock  Robin?  A  Satirical  Tragedy  .  .  .  on  the 
Manchester  Blot!!!  London  Printed  and  Published  by  John  Cahuac,  §J, 
Blackman  Street,  Southzcark,  18 ig.  Two  hussars  savagely  ride  down  and 
slash  at  a  man  and  woman  on  the  ground,  while  others  flee  to  the  r.,  one 
a  woman  carrying  an  infant. 

One  of  five  etchings,  by  Rowlandson,  to  a  verse-satire  on  Peterloo,  see 
No.  13258,  &c.,  the  captions  being  part  of  the  printed  text,  see  Nos.  13342-5. 

Grego,  Rowlandson,  ii.  365. 
f.  3iX4|in.  184.3.5/23. 

13342  These  are  THE  MAGISTRATE  RAVENS,  Who  saw  Cock  Robin  Die. 

See  No.  13341.  Two  bewigged  ravens,  'Birds  of  Prey',  face  each  other  in 
profile.  The  more  aggressive  (1.)  wears  clerical  bands,  one  claw  is  on  an  open 
book.  New  Laws  Not  Known ;  the  other  stands  on  a  paper :  Suspend  Ha — us 
[sic]  Cor — us  Fresh  Poicers.   They  are  copied  in  No.  13343. 

Two  Manchester  magistrates,  one  being  Elphinston,  see  No.  13281,  &c. 
c.  2|  X  5  in. 

13343  This  is  THE  BIG-WIG  CREW, 

See  No.  13341.  The  text  continues:  'who  decided,  At  Sight,  That  sparrows 
might  lawfully  kill  Robins  outright'.  Five  birds  and  a  winged  creature  with 
a  horse's  head  and  bird's  talons  stand  in  a  ring,  in  conclave.  The  dominant 
creature,  full-face,  is  a  bewigged  owl,  with  breast  flecked  with  ermine-tails, 
with  the  Royal  Arms  representing  the  Purse  of  the  Great  Seal ;  he  is  Lord  Bags 
[Eldon].  He  is  flanked  by  (1.)  a  duck.  Lord  Quack- Mouth  [Sidmouth]  and  (r.) 
a  hawk.  Lord  Castle  Hawk  [Castlereagh]  facing  each  other  in  profile.  The 
latter  stands  on  a  paper :  Magna  Charta  &  Habeas  Corpus  [letters  omitted  as 
in  No.  13345].  ^"  ^^^  extreme  1.  and  r.,  facing  each  other,  are  Duke  Mount- 

955 


CATALOGUE    OF   POLITICAL   AND    PERSONAL   SATIRES 

Horse,  the  winged  monster,  the  Duke  of  York,  and  a  crowing  cock  standing  on 
a  sword,  Duke  Crow-Well-In-Tune  [WeUington] .  Two  ravens  are  as  in 
No.  13342,  reversed. 

A  satire  on  repressive  measures  against  the  'Robins'  or  Radicals. 
c.  4^X5  in.  (pi.). 

13344  This  is  the  PRINCE  OF  BIRDS. 

See  No.  13341.  A  peacock  with  the  head  of  the  Regent,  the  bird's  neck  and 
head,  with  three  feathers,  forming  a  headdress.  He  wears  a  sword  and 
military  tunic  covered  by  a  cuirass,  which  is  plastered  thick  with  orders 
and  a  corkscrew,  as  in  No.  13299.  It  'struts  unconcern'd  at  Cock  Robin's 
sad  tale',  cf.  No.  13280. 
c.  4IX5  in. 

13345  This  is  the  ROBIN'S  GUARDIAN. 

See  No.  13341.  Justice  sleeps,  leaning  an  elbow  on  a  tombstone:  To  The 
Memory  of  Cock  Robin  Bill  Right  Ma — g — a  Ch — r — a  and  Ha — us  Cor — us. 
From  her  r.  hand  dangles  a  pair  of  scales:  a  sword  and  crown  outweigh  a 
crowd  of  tiny  figures  raising  imploring  arms.   Her  sword  lies  on  the  ground. 

A  satire  on  the  repressive  measures  of  1819,  cf.  No.  13287. 
c.  3|X5  in. 

13346  BLOCKHEADS 

[G.  C^  and  I.  R.  C'']' 

Engraving.  Folding  frontispiece  to  A  Political  Lecture  on  Heads,  alias  Block- 
heads!! A  Characteristic  Poem:  .  .  .Drazvnfrom  Craniological  Inspection,  after 
the  Manner  of  Doctors  Gall  and  Spurzheim,  of  Vienna.  By  Don  Juan  Asmodeus. 
London.  Printed  for  the  Author,  and  Published  by  John  Fairburn,  2,  Broadzvay, 
Ludgate-Hill  (Price  One  Shilling).  Ten  H.L.  caricature  portraits  arranged 
in  two  rows,  and,  except  for  the  last  two,  in  separate  compartments,  each 
illustrating  a  section  of  the  verse-satire.  The  date  is  after  Peterloo,  see 
No.  13258,  and  before  the  King's  death  (29  Jan.  1820).  For  the  original 
'Lecture  on  Heads'  by  Stevens  see  No.  11155.  [i]  Derry-Down-Triangle, 
Castlereagh,  with  ass's  ears,  his  head,  adorned  by  a  tiny  gibbet,  turned  in 
profile  to  the  1.,  holds  up  a  scourge.  On  a  scroll  is  the  motto  EIRENGOBRA  Y 
(see  No.  13301).  [2]  State  Jackal,  Canning,  directed  to  the  1.,  holds  a  pistol 
in  each  hand.  On  his  head  is  a  triangle,  bells  hanging  from  its  apex  as  from 
a  fool's  cap.  Behind  him  is  a  package  inscribed  Lisbon  20.000  weight.  For 
his  much-attacked  mission  to  Lisbon  see  No.  12872,  for  the  duel  with 
Castlereagh,  No.  11370,  &c.  [3]  Quack  Doctor  [cf.  No.  9849],  Sidmouth,  in 
profile  to  the  1.,  holds  a  pike  on  which  is  speared  a  ball  inscribed  Circular 
Pills  [see  No.  13282,  &c.].  On  his  head  is  a  pestle  and  mortar  inscribed  Drugs 
for  John  Bull.  At  his  back  is  a  large  Bible  (like  Liverpool  he  was  an  Evangeli- 
cal). [4]  Chancery  Jack,  the  shoulders  of  Eldon,  who  scowls  to  the  r.,  emerge 
from  a  Coal  Tub  (as  son  of  a  Newcastle  hoastman  or  coal-broker).  He  wears 
wig  and  gown,  across  his  forehead  is  a  bandage  inscribed  In  Chanceiy ;  from  his 
mouth  issues  the  word  Equity.  [5]  Liverpool,  in  profile  to  the  1.,  spoons  into 
his  mouth  liquid  from  a  bowl  of  Water  Gruel  for  the  Poor  held  in  his  1.  hand. 
On  his  head  is  a  round  tea-tray  inscribed  £4.000;  on  this  are  two  cups  and 
an  urn  inscribed  Cordial  Tea.  [6]  Croaking-Frog —  Croker  sits,  pen  in  hand, 
in  profile  to  the  1.;  on  his  head  is  a  frog.   At  his  shoulder  is  a  flag  inscribed 

'  Pencil  note  by  G.  C.  on  pamphlet. 


POLITICAL   SATIRES   1819 

Dry  .  Rot  .  In  .  Navy  above  tvvo  broken  anchors.  He  says  Fal  de  Raltit,  and 
before  him  is  a  paper:  Talavira  [sic]  Algiers  2000.  He  has  an  oddly  shaped 
seat,  resting  his  arm  on  a  Quarterly  Review,  above  a  longer  (curved)  block 
inscribed  Couriers.  (He  was  Secretary  to  the  Admiralty,  see  No.  123 10, 
author  of  Talavera,  a  leading  contributor  to  the  Quarterly,  and  (with 
Arbuthnot)  manager  of  the  Press  for  the  Ministry.)  [7]  Dunderass — Lord 
Melville  (First  Lord  of  the  Admiralty),  in  tartan,  is  in  profile  to  the  1.,  hold- 
ing a  pinch  of  snuff.  Across  his  chest  is  a  broad  band :  Pickings  of  Dad  60.000 
[see  No.  10377,  ^^0  Pi^(^^  10.000.  He  wears  a  curious  head-dress  topped 
by  a  man-of-war  surrounded  by  smoke.  [8]  Waterloo-Man — Wellington,  so 
styled  by  Hone,  see  No.  13302,  stands  in  profile  to  the  1.,  wearing  a  cocked 
hat  on  which  stands  a  cannon.  He  holds  a  dagger  transfixing  a  bleeding  heart; 
behind  his  back  is  a  bundle  inscribed  Iquisition  [sic],  across  his  chest  is  a 
placard :  Coruption  [sic]  Prize  .  Money  £60.000  Allowances  £200.000  &c  &c. 
The  text  is  a  savage  attack,  e.g.:  His  soldiers  sav'd  the  Spanish  nation;  \  Sav'd 
them — to  send  them  to  perdition  |  By  Ferdinand's  crust  [sic]  Inquisition  [see 
No.  13009]  and  (on  Waterloo) :  The  Gefieral  he'd  not  aught  to  do  |  But  scenes 
of  triumph  to  review  [having  lingered  in  Brussels].  For  the  campaign  against 
pensions  see  No.  12781,  &c.  [9  and  10]  Chere-Afnie,  Lady  Hertford  in  profile 
to  the  r.,  holds  a  sceptre  and  wears  a  crown-like  coronet.  She  off^ers  the 
Regent  a  large  goblet  of  Noyau,  saying.  Take  another  sup  my  Jezcel.  Grand- 
Lama — The  Regent  leans  back  tipsily,  his  eyes  almost  closed.  A  little  demon, 
holding  a  firebrand,  flies  towards  him,  flinging  a  noose  at  his  head.  See 
No.  1 1853. 

Reid,  Nos.  451,  4664.    Cohn,  No.  661. 
6fxiii|in.  184.3.3/7. 

13347  JOHN  BULL  ON  THE  RO.\D  TO  RUIN.!!! 
y.  B.  Inv'  et  Sculpt 

London  Published  by  R.  Carlile.  Fleet  Street  &  T.  Davison.  Duke  Street 
SmithfieldNoS  [?  1819]! 

Engraving  (coloured  impression).  John  Bull,  on  his  hands  and  knees,  and 
very  ragged,  supports  on  his  back  personifications  of  the  Church  of  England, 
the  Nonconformists,  and  (?)  the  Christian  faith.  Round  his  neck  is  an  eye- 
shade,  inscribed  Clerical  Blind,  which  has  fallen  from  his  eyes.  He  looks  up 
to  say  to  his  tormentors:  Pray  Gentlemen  Spare  me  Reason  Has  Slipt  off  your 
blind  and  I  can  See  and  Judge  for  myself.  Besides  you  have  more  than  a  Seventh! 
of  my  labour!  already.  The  greatest  burden  is  a  fat  carbuncled  parson  repre- 
senting the  Established  Church,  who  has  hung  a  hea\T  saddle-bag  covered 
with  the  word  Livings  on  John's  neck.  He  gashes  John  with  a  heavy  spur 
inscribed  Bigotry  and  Revenge.  The  parson,  one  hand  on  John's  head,  the 
other  raised  admonishingly,  exclaims:  Ah  Seditious  Villian!  who  told  you  It 
was  Reason?  'tis  dozvnright  Blasphemy!  See  and  Judge  for  yourself!  here's  a 
pretty  Rascal?  How  do  you  think  the  stupid  Sons  of  our  Nobility  are  to  live? 
ride  easy  or  we  must  Call  in  the  Military.  Behind  him  sits  a  lean  grotesque 
fanatic,  with  lank,  spiky  hair,  and  who  points  upward,  saying.  We  are  guiding 
you  right  Johnny  if  you  doubt  you  are  datnn'd  give  him  another  Spur  Brother  for 
the  love  of  G — d.  In  his  pocket  is  a  Brandy  bottle.  Buckled  to  his  waist  by 
a  strap  inscribed  Delusion  is  a  huge  bundle  inscribed  A'[fti']  Chapels  Love 
^f[f^y^[^S^]  Missionaries!  Bible  Societies!  Missionaries!  New  Chapels.  On  this 
stands  a  demon  supporting  a  limp  puppet  with  a  woman's  face  and  in  a  long 

'  Dated  1831  by  E.  Hawkins  when  it  was  perhaps  reissued. 

957 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

white  gown  covered  with,  a  cross  inscribed  Faith ;  he  holds  up  its  arms,  saying, 
That's  it  threaten  him  Brothers!  for  my  Phantom  seems  to  have  lost  its  Power. 
In  the  foreground  (1.)  is  a  huge  triple  bundle  bound  with  a  strap  inscribed 
Annual  Burden  to  support  Imposture.  The  last  three  words  are  almost  obUter- 
ated  by  pen.  The  bundle  is  covered  with  the  words  Publishing  Bonns  [sic] 
Marriages  &c  &c  Easter  Offerings  &c  &c  &c  Tithes  [four  times].  Christenings 
Churchings  Burials  &c  &c.  On  the  r.  is  a  bundle  of  corks  inscribed  Law 
Gags,  made  by  The  Society  of  Dupes. 

John  is  beside  a  road  inscribed  The  road  to  Ruin  which  leads  to  one  of  a 
number  of  steepled  buildings  inscribed  New  Churches  in  the  background.  On 
an  adjacent  steeple  stands  a  tiny  figure,  saying,  The  Lord  make  us  thankfull 
for  what  we  receive  and  Bless  the  Regent.  Similar  figures  on  other  steeples 
answer  Amen;  others  are  leaping  into  the  sky  or  falling  from  it.  Two  smaller 
buildings  are  inscribed  Chapels,  and  at  the  end  of  the  row  (r.)  is  one  inscribed 
College  For  Dissenters  to  Learn  to  Preach.   Below  the  design: 

Priest's  of  all  sects',  as  damn'd  contemn, 

The  Man,  who  dares,  dissent  from  them. 

To  propagate,  their  Idle  theme. 

They  wrangle!  torture!  and  Blaspheme! 

Attack  the  root,  of  Holy  trend. 

They  all  unite,  to  Serve  the  Lord! 

That  is;  they  Piously  agree, 

To  Cheat!,  Cajole!,  and  Plunder!  thee,  Johnny!!! 

The  allusions  to  'New  Churches',  see  No.  12987,  and  to  the  Regent  show 
that  the  print  is  not  earlier  than  1818  or  later  than  Jan.  1820.  Carlile  was  in 
prison  from  Nov.  1819  to  1825,  and  while  there  wrote  his  periodical.  The 
Republican,  published  like  other  of  her  husband's  works  by  Mrs.  Carlile. 
Such  comprehensive  anticlericalism,  that  of  Carlile,  see  No.  13274,  is  excep- 
tional in  these  prints. 
6|X9|in.   With  border,  7fx9|  in. 


958 


i8i9 
PERSONAL  AND  SOCIAL  SATIRES 

13348  GOING  TO  WHITE'S. 

Drawn  Etched  [&  Pub'^  erased]  by  Rich'^  Dighton  Jan^  i8ig 
Pub'^  by  T.  M'^Lean  Haymarket.  [reissue] 

Engraving.  Lord  Alvanley  walks  on  a  pavement  in  profile  to  the  r.  He  wears 
top-hat,  double-breasted  coat,  strapped  tousers,  and  the  high  collar  of  a  dandy. 

Alvanley  (1789-1849),  son  of  Pepper  Arden,  see  vol.  v,  was  the  chief  dandy 
and  wit  of  the  day,  in  succession  to  Brummell,  see  Gronow,  Reminiscences, 
1892,  i.  136-8,  319-23,  &c.   For  White's  (club)  see  No.  8826. 

Another  state  is  listed  by  H.  M.  Hake,  Print  Collector's  Quarterly,  xiii.  244, 
with  the  alternative  title:  A  spice  of  Pepper  from  the  stock  of  Arden;  for  a 
reduced  version,  1825,  cf.  No.  12904. 

A  copy  (with  Lord  Hill  and  Lord  Yarmouth)  is  in  a  pi.  by  Grego  to 
Gronow,  op.  cit.,  i.  320. 
io|x8in. 

13348a    GOING  TO  WHITES. 

London  Pub"^  by  S.  W.  Fores,  41  Piccadilly.  Jan^  J^'  182;^. 

A  copy  (coloured). 

Reproduced,  B.  Darwin,  British  Clubs,  1943,  P-  23. 
lOjXyJ  in.  'Caricatures',  vi.  14. 

13349  MR  HOBHOUSE 

Drawn  Etc¥  &  Pub''  by  Ric¥  Dighton  iSig 

Engraving  (coloured  impression).  Hobhouse  stands  in  profile  to  the  r.,  wear- 
ing an  overcoat  and  gloves  but  no  hat.  He  holds  a  paper  or  letter  and  a 
small  cane. 

Evidently  a  Westminster  election  portrait,  see  No.  13204,  &c. 

Another  state  is  listed  by  H.  M.  Hake,  op.  et  loc.  cit.,  with  the  alternative 
title:  A  Character  in  the  School  of  Reform. 

Reproduced,  Patterson,  Sir  Francis  Burdett  and  his  Times,  1931,  ii.  503. 
iiJxSf  in. 

13350  HIS  EXCELLENCY  THE  PERSIAN  AMBASSADOR. 

Drawn  Etc¥  &  Pub''  by  Rich''  Dighton  May  iSig. 

Engraving  (coloured  impression).  The  Ambassador  rides  in  profile  to  the  r. 
on  a  white  horse  with  gold  harness  and  fringed  and  embroidered  saddle-cloth. 
He  wears  Persian  costume,  with  a  long,  closely  curled,  black  beard  and  an 
astrakhan  cap. 

His  arrival  in  May  caused  a  sensation,  on  account  of  his  favourite  (or  wife) 
'the  fair  Circassian',  see  No.  13391,  &c. 

Another  state  is  listed  by  H.  M.  Hake,  op.  et  loc.  cit.,  with  the  alternative 
title:  Mirza  Abdul  Hassan  Khan. 
iiX  10  in. 

13350  a  a  reissue  (uncoloured).  Pub'' by  T.  McLean,  Haymarket,  '&  Pub'^' 
being  erased  from  the  original  imprint. 

959 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13351  A  VIEW  OF  ARGYLE. 

Drawn  Etch'^  &  Pu¥  by  Ric¥  Dighton  May  i8ig 

Engraving.   The  Duke  of  Argyll  walks  in  profile  to  the  r.,  (gloved)  r.  hand 
on  his  hip.  He  wears  top-hat,  single-breasted  overcoat,  and  strapped  trousers. 
For  a  reduced  copy,  1825,  title  Maccullomore,  cf.  No.  12904.   Also  copied 
by  G.  Cruikshank,  1825  (Reid,  No.  1297),  see  vol.  x. 
io|x6|  in. 

13351  A  A  copy  (coloured),  n.d.,  with  the  same  title. 

ii^Xy^in.  'Caricatures',  vi.  9 


13352  THE  GOLDEN  BALL. 

Drawn  Etch''  [&  Pub''  erased]  by  Rich''  Dighton.    May  i8ig 
Pub''  by  T.  M'^Lean  Haymarket  [reissue] 

Engraving  (coloured  and  uncoloured  impressions).  Edward  Hughes  Ball 
Hughes  stands  in  profile  to  the  r.,  1.  forefinger  extended.  He  is  dressed  as 
a  dandy  with  (cylindrical)  top-hat,  high  collar  and  white  neck-cloth,  tight- 
waisted  double-breasted  high-collared  coat,  and  flower  in  button-hole,  white 
cuffs,  yellow  gloves,  trousers  gathered  at  the  ankle  and  strapped  over  spurred 
boots.    Cf.  No.  13029,  &c. 

Ball  Hughes  (originally  Ball),  known  as  The  Golden  Ball,  was  a  social 
celebrity  who  inherited  a  fortune  from  his  uncle,  Admiral  Hughes,  see 
Gronow,  Reminiscences,  ii.  89-93,  &c.  For  a  reduced  copy,  1825,  cf.  No.  12904. 

13352  a  a  copy  (coloured)  with  the  same  title,  Pub^  DecenV  2''  1822  by 

S  W  Fores  Piccadilly. 

ii^xyjin.  'Caricatures',  vi.  13 


13353  THE  MASTER  GENERAL  OF  THE  ORDINANCE. 

Drawn  Etch''  [&  Pub''  erased]  by  Rich''  Dighton  1818  August 
Pub''  by  T  M'^Lean  Haymark^  [reissue] 

Engraving.  The  Duke  of  Wellington,  in  uniform,  with  cocked  hat  and 
tasselled  Hessian  boots,  stands  in  profile  to  the  1.,  slightly  smiling,  two  fingers 
extended,  as  if  about  to  shake  hands.  His  1.  hand  supports  his  sabre.  He 
wears  the  Waterloo  medal  and  star  of  the  Bath.  For  a  reduced  copy,  1825, 
title  The  best  Store  in  the  Ordnance,  cf.  No.  12904. 

The  original  water-colour  is  in  the  Royal  Collection  at  Windsor. 
11X7I  in. 


13354  MR  LISTON  IN  LOVE  LAW  &  PHYSIC. 

Drazmi  Etch''  &  Pub''  by  Rich''  Dighton  i8ig  August. 

Engraving.  Liston  stands  directed  to  the  r.,  his  hands  in  his  breeches  pockets. 
He  wears  a  figured  scarf  over  his  head  and  under  a  top-hat,  tail-coat,  and 
high  boots. 

The  farce,  by  Kenney,  was  first  played  at  Covent  Garden  on  20  Nov.  181 2, 
Liston  playing  Lubin  Log,  'a  great  flat',  with  much  success.  Genest,  viii.  372. 
io|X7iin. 

960 


PERSONAL   AND   SOCIAL   SATIRES    1819 

13355  A  WORTHY  ALDERMAN  OF  LONDON. 

Drawn  Etc¥  &  Pu¥  by  Ric¥  Dighton  i8ig  Oct" 

Engraving  (coloured  impression).  Sir  James  Shaw  (see  vol.  viii)  stands  stiffly 
in  profile  to  the  r.,  top-hat  in  1.  hand,  glove  in  (gloved)  r.  hand. 

Another  state  is  listed  by  H.  M.  Hake,  op.  et  loc.  cit.,  with  the  alternative 
title  Why  Shaw  he's  an  alderman;  for  a  reduced  copy,  1825,  ^^-  ^o.  12904. 
ii#X7|in. 

1 3355  A  A  reissue  (coloured),  with  the  additional  imprint,  London  Pub^  by 
Tho^  M'^Lean,  26,  Haymarket,  1824,  and  the  inscription  Sir  James  Shaw. 

13356  THE  HONBLE  GEOGE  LAMB. 

Drawn  EtcM  [&  Puh'^  erased]  by  Rich'^  Dighton  18 ig. 
Pub'^  by  T.  M'^Lean  Haymarket  [reissue] 

Engraving.  Lamb  stands  in  profile  to  the  1.  wearing  a  top-hat  and  long  single- 
breasted  overcoat.  He  holds  a  glove  in  his  (gloved)  1.  hand;  his  r.  hand  is 
in  the  breast  of  his  coat.  He  wears  trousers  slit  a  few  inches  to  allow  of  gaiters. 
For  Lamb's  return  for  Westminster  see  No.  13204,  &c.;  for  a  reduced 
copy,  1825,  title  Catullus,  cf.  No.  12904. 
ii|x8  in. 

13357  KANGKOOK. 

Drawn  Etch'^  Dec"^  i8ig  by  Rich  Dighton 

Pub'^  by  T.  M'^Lean  Haymarket  [reissue] 

Engraving.  Lt.-Col.  Henry  Frederick  Cooke,  'Kangaroo  Cooke',  stands  in 
profile  to  the  1.  He  wears  dandified  dress,  his  hair  and  whisker  curled  and 
brushed  forward,  and  with  the  high  collar,  linen  cuff^s,  and  full  trousers  of 
the  dandy.  He  wears  a  long  single-breasted  coat  and  oddly  shaped  top-hat. 
Cooke,  called  Kangaroo  Cooke,  brother  of  Sir  George  Cooke  who  com- 
manded the  first  battalion  of  Guards  at  Waterloo,  was  A.D.C.  to  the  Duke  of 
York;  he  was  noted  for  his  dandified  dress.  See  Gronow,  Reminiscences,  1892, 
i.  60-1.  He  was  made  a  Knight  Commander  of  the  Order  of  the  Guelphs 
in  1821,  and  knighted  in  1825.  For  a  reduced  copy,  1825,  cf.  No.  12904. 
iiiX7|in. 

13357  a  a  copy  (coloured),  with  slight  alterations  in  the  ground,  Blake  sc, 
imprint  London,  Pub'^  Dec'^  17,  1824  by  S,  W,  Fores  41  Piccadilly,  corner  of 
Sackville  Street. 

iif  x8  in.  (figure  the  same  size  as  original). 

13358  A  VIEW  IN  THE  JUSTICE  ROOM,  GUILDHALL. 

Drawn  Etc¥  &  Pub''  by  Rich''  Dighton,  i8ig 

Engraving  (coloured  impression).  Matthew  Wood  (H.L.),  in  his  alderman's 
gown,  sits  at  a  desk,  leaning  forvvard,  pen  in  hand,  as  if  interrogating,  his 
eyes  fixed  on  the  (invisible)  witness;  both  arms  rest  on  the  sloping  desk.  The 
upper  part  of  the  desk  and  a  corner  of  his  seat  form  the  base  of  the  design. 

See  Nos.  12813,  &c.,  13482. 
6|x8^in. 

13358  a  a  reissue  (coloured)  with  the  additional  imprint:  London  Pub''  by 
Tho^  McLean  26  Haymarket  1824  and  the  inscription  Alderman  Wood. 

961  3  Q 


w 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13359  A  DANDY  OF  ^19.  OR  A  STANDING  DISH  OF  THE  TON. 

[Williams.] 

Puh.  June  ig  i8ig  by  S  W  Fores  N°  50  Piccadilly  London 

Engraving  (coloured  impression).  Portrait  of  a  young  man,  directed  to  the  1., 
wearing  a  top-hat,  with  the  high  collar,  short-waisted  tail-coat,  and  yellow 
gloves  of  the  dandy,  with  tight  pantaloons  and  Hessian  boots.  Identified  as 
'F.  Standish  Esq'"e'  and  evidently  Frank  Hall  who  took  the  name  of  Standish 
in  1812  on  inheriting  the  estates  of  Sir  Frank  Standish  (see  No.  9563)  and 
died  in  1841  aged  42. 
13IX9I  in.  'Caricatures',  vi.  5. 

13360  THE  STAMFORD  DANDY  OR  A  MODERN  PEEPING  TOM. 

[?i8i9] 
Engraving  (coloured  impression).  Lord  Stamford  rides  past  a  row  of  houses, 
looking  through  his  glass  at  a  woman  who  stands  at  an  open  first-floor  window. 
Other  women  watch  him  from  the  two  other  windows  of  the  house,  the  1. 
part  only  of  which  is  depicted.  He  is  dressed  as  a  dandy  of  c.  1819,  wearing 
loose  white  trousers. 

George  Henry  Grey,  1765- 1845,  succeeded  as  6th  Earl  of  Stamford  on 
28  May  1 8 19.  The  woman  at  the  window  is  identified  as  Miss  Betts. 
6|X4f  in. 


13361  FEMALE  LANCERS— OR— A  SCENE  IN  ST  JAMES'S  STREET. 

I.R.C  [Cruikshank] /(?aY 

Pu¥  jfan^  i8ig  by  E  Brooks  Panton  Street  Haymarket 

Engraving  (coloured  impression).  Two  dandies  (1.)  walk  arm-in-arm,  meeting 
two  good-looking  ladies  with  plumed  and  tasselled  mortar-boards  on  their 
caps,  which  resemble  the  elaborate  helmets  worn  by  Lancer  officers.  The 
ladies  walk  arm-in-arm,  stooping  forward,  and  carry  long-handled  parasols 
whose  ferrules  terminate  in  spear-heads;  these  slope  forward,  the  handles 
resting  on  the  ground.  The  dandies  are  Lord  Yarmouth  (1.)  and  Lord 
Petersham ;  the  former  says :  Bravo  my  Girls  ha,  ha,  ha ;  the  latter,  eye-glass 
in  hand:  Who  the  Devil  are  you?  One  of  the  women  {}  Lady  Caroline  Lamb) 
answers  Ireland  for  Ever.  Both  wear  high  neck-frills,  very  short  high-waisted 
dresses  projecting  at  the  back,  and  long  frilled  drawers  above  laced  boots. 
For  spiked  and  dangerous  umbrellas  cf.  No.  13073. 
8||x  12^  in.  'Caricatures',  x.  108. 

13362  THE  BOXING  BARONESS. 

[Williams.]  [?  1819] 

Engraving.  A  woman,  fashionably  dressed  in  the  mode  of  1819,  stands  on 
the  pavement,  full-face,  in  an  aggressive  pugilistic  attitude,  with  fists  clenched, 
1.  foot  forward.  On  the  ground  are  her  cloak  or  shawl,  parasol,  and  gloves. 
Identified,  A.  de  R.  xix.  8,  as  Lady  Barrymore,  presumably  the  so-called 
Lady  Barrymore,  mistress  or  widow  of  the  7th  Earl  Barrymore,  a  famous 
amateur  boxer  (see  vol.  vi);  she  died  of  drink  30  Oct.  1832  in  Charles  Court, 
Drury  Lane.  G.  E,  C,  Peerage. 
6^X4^  in.  With  border,  7|X5  in. 

962 


PERSONAL   AND   SOCIAL   SATIRES    1819 

13363  BENT  ON  LOVE,  OR  LOVE'S  LAST  SHIFT. 
J  J   [?  March.] 

London.  Published  by  J.  J.  March,  i8ig,  at  48,  Strand. 
Engraving  (coloured  impression).  Robert  Owen,  much  caricatured,  with  a 
large  head  sunk  in  his  shoulders  so  that  he  resembles  a  hunchback,  walks 
beside  a  tall  handsome  and  elegantly  dressed  woman  who  takes  his  arm,  his 
head  being  below  her  waist.  He  is  dressed  as  a  dandy,  wearing  a  flamboyantly 
bell-shaped  top-hat,  and  walks  with  arms  akimbo,  holding  a  cane  under  the 
1.  arm. 

They  are  identified  as  (Robert)  Owen  and  Miss  Beaumont,  perhaps  the 
Miss  Beaumont  whose  acting  at  Covent  Garden  was  praised  by  H.  E.  Fox 
in  Dec.  1820.  Journal,  ed.  Lord  Ilchester,  1923,  p.  47. 
7^X7^  in. 

13364  ST   JAME'S    STREET    IN   AN   UPROAR   OR   THE    QUACK 
ARTIST  AND  HIS  ASSAILANTS.    Saturday  Morning  30  jfan^  1819 

Marks  fec^ 

London  Pub'^  by  S.  W.  Fores  Piccadilly. 

Engraving  (coloured  impression).  Fashionable  carriages  throng  the  west  side 
of  St.  James's  Street,  stopping  outside  a  house  with  a  pilastered  door  (r.) 
above  which  is  a  notice :  Chalk  Drawing.  A  dense  crowd  of  tiny  figures  enters. 
The  crowd  is  watched  intently  by  Haydon  who  stands  (1.)  on  the  opposite 
pavement;  a  taller  man,  probably  a  pupil,  takes  his  arm.  Haydon  wears 
spectacles  and  holds  a  small  portfolio.  A  goose  labelled  W  C  menaces  him 
from  behind.  At  the  bird's  feet  are  two  papers :  Cabal  2  Octavo  Volumes  W  C. 
and  Quack  Artist  Play  .W  C.  Weather  Cock.  There  are  two  placard  bearers; 
one  behind  Haydon  and  on  the  extreme  1.  holds  up  a  notice:  Chalk  Drawings 
by  Haydon[s\  Pupils  Landsers  &  Bewick — Private  Day.  The  other  is  a  small 
boy  (r.),  assailed  by  hissing  geese,  at  whose  feet  is  a  paper :  Catalogue  Raisonny. 
His  placard  is  inscribed  Exhibition  of  Drawings,  by  Haydons  pupils  Landseers 
and  Bewick  for  the  Cartoons  and  Elgin  Marbles.  The  street  recedes  in  per- 
spective to  the  gate  of  St.  James's  Palace.  Outside  the  first-floor  windows  of 
the  house  of  the  Exhibition  is  a  carved  lion. 

A  satire  on  an  exhibition  of  chalk  drawings  (eight  only)  from  Raphael's 
Cartoons,  see  No.  13034,  and  from  the  Elgin  Marbles,  see  No.  12787,  by 
Haydon's  pupils.  Haydon,  quack  artist  by  virtue  of  his  puffing  advertise- 
ments, secured  a  fashionable  crowd  for  'the  private  day'  by  invitations  to 
those  'in  high  life'  and  by  lavish  advertisement.  The  exhibition  was  said  to 
be  the  first  in  England  'ventured  upon  without  the  powerful  aid  of  colour'. 
Examiner,  7  Feb.  1819,  p.  93.  'W.  C  is  W.  P.  Carey  (see  Index  of  Artists, 
vol.  vi),  an  art  critic  who  after  praising  Haydon  roused  his  spleen  by  praising 
West,  Attacked  for  this  (in  Nos.  8  and  9  of  the  Fine  Arts)  he  retaliated  in 
Desultory  Exposition  of  an  Anti-British  System  of  Incendiary  Publication  .  .  . 
['Annals  of  the  Fine  Arts',  see  No.  13034]  intended  to  sacrifice  the  honor  and 
interests  of  the  British  Institution,  the  Royal  Academy,  and  the  whole  body  of 
British  Artists  .  .  .  to  the  passions  .  .  .  of  certain  disappointed  Candidates  for 
Prises,  &c.  Carey  visited  the  exhibition  (admission  i^.  catalogue  bd.)  and 
protested  against  the  charge  for  a  catalogue  of  eight  drawings.  The  Catalogue 
Raisonne  {1S16  or  1817)  was,  according  to  Haydon,  an  attack  on  the  exhibitions 
of  the  British  Institution,  inspired  by  the  Academicians'  jealousy  of  himself. 
Haydon,  Autobiography,  1926,  i.  262  f.  See  Letters  of  Keats,  1935,  p.  433; 
Whitley,  Art  in  England  1800-1820,  1928,  p.  299. 

Reproduced,  E.  George,  Life  .  .  .  of  B.  R.  Haydon,  1948. 
7i|xi2^in. 

963 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13365  A  MUSHROOM  FOR  THE  ROYAL  SOCIETY!  OR  A  VIEW 
OF  A  FUNGUS  LATELY  GROWN  ON  THEIR  OWN  BANKS 

Pub.  by  I.  Sidebotham  28y  Strand  &  Sold  also  at  N°  20  Princes  S^ 
March  i8ig 

Engraving  (coloured  impression).  Below  the  title:  — Dedicated  to  the  worthy 
President — Sir  Joseph  Banks  having  a  Cask  of  Wine  rather  too  sweet  for  use, 
he  directed  that  it  sho*^  be  placed  in  a  Cellar  that  the  Saccharine  matter  it  con- 
tained might  be  more  perfectly  decomposed  by  age — At  the  end  of  three  years  he 
directed  his  Butler  to  ascertain  the  state  of  the  Wine,  when  on  attempting  to  open 
the  Cellar  door  he  was  prevented  by  some  powerful  obstacle — the  Door  was  there- 
fore cut  down  &  the  Cellar  was  found  to  be  completely  fill' d  with  a  firm  fungus 
■  vegetable  production — the  Cask  was  Empty  &  carried  up  to  the  deling  where 
it  was  supported  by  the  surface  of  the  Fungus. — (vide  Monthly  Magazine) .  A 
giant  mushroom  reaches  the  upper  margin  of  the  design ;  in  its  summit  a  cask 
is  embedded.  The  butler  stands  on  a  ladder  (1.)  holding  out  the  spigot,  and 
saying  to  Banks  who  stands  below  (r.):  here's  a  pretty  "Tale  of  a  tub,  all  the 
Wine 's  gone!!  Sir  Joseph  stands  in  back  view,  capering  delightedly ;  he  holds 
up  both  arms,  a  stick  in  the  1.  hand,  and  says  with  head  thrown  back:  It  is 
a  most  Glorious  discovery  cut  it  down  &  send  it  to  the  Museum  had  the  Wine 
been  Bottled,  it  wo^  not  have  been  half  so  Interesting.  Against  the  wall  of  the 
cellar  are  wine-bins,  stacked  with  bottles,  four  inscribed  respectively  Curious 
Tinta;  Cypress;  Very  Curious;  Wine  dratik  by  the  Gr^  Mogul.  Flasks  on  the 
top  of  the  bins  are  Nile  Water  and  Water  from  Tombuctoo.  On  the  ground  (1.) 
is  a  two-handled  covered  vase :  A  small  portion  of  the  Sabine  left  by  Horace 
at  his  death  contained  in  this  Vase  preserved  for  dinners  of  the  R  S. 

For  Banks's  dinners  to  the  Royal  Society  cf.  No.  7431. 
9^x8|in.   PI.  isixSif  in. 


13366  NEW  READING— OR— SHAKESPEARE  IMPROVED. 

[Williams.] 

Pub'^  by  The'  Tegg  N°  iii  Cheapside  London  [1819]' 

Engraving  (coloured  impression).  After  the  title:  Humbly  Dedicated  to  the 
Keen  Critic  of  Drtiry  Lane,  by  a  poor  Author.  Kean  as  Richard  III,  in  the 
usual  costume  of  the  part,  see  No.  12325,  &c.,  postures  on  Bosworth  Field 
with  drawn  sword  and  declaims : 

Methins  [sic]  there  be  six  Richmonds  in  the  field; 

five  have  I  kill'd  to  day  instead  of  him;!!! 

A  Hobby!  A  Hobby  my  Kingdom  for  A  Hobby!!! 

Behind  him  (r.)  is  a  knight  (?  Catesby)  holding  erect  a  velocipede  or  hobby- 
horse (see  No.  13399,  &c-)-  ^^  says:  Here  my  Liege!  Here's  a  swift  Hobby 
will  convey  you  from  thefeild  as  fast  as  your  legs  will  permit.  He  wears  a  helmet 
with  horse's  tail,  corslet,  trunk-hose,  and  flat  strapped  shoes.  In  the  distance 
(1.)  the  battle  rages;  men  fight  or  flee  on  velocipedes.  The  ground  is  strewn 
with  shattered  velocipedes  and  the  debris  of  battle. 

The  dedication  refers  to  Kean's  conduct  to  Bucke,  the  'poor  author',  see 
No.  13367,  &c. 
8|xi2|  in. 

*  Serial  number  erased. 
964 


PERSONAL  AND   SOCIAL   SATIRES   1819 

13367  DERANGED  INTELLECT,  A  NEW  TRAGEDY  LATELY 
PERFORMED  WITH  IRRESISTIBLE  EFFECT— BY  CAESAR  THE 
LITTLE. 

Marks  fec^ 

London  Pu¥  by  S.  W.  Fores  50  Piccadilly  Mar.  2g"'  i8ig 

Engraving  (coloured  impression).    Kean  (r.)  dressed  as  Richard  III,  see 

No.  12325,  is  chairman  at  a  tavern-club  meeting,  evidently  the  Wolves,  the 

members  seated  at  a  long  table,  with  frothing  tankards  and  tobacco-pipes. 

He  holds  up  a  hammer  in  the  r.  hand,  a  tankard  in  the  1.,  and  say:  My  hours 

are  at  this  Moment  too  much,  and  I  am  proud  to  say,  too  well  occupied  to  be 

devoted  to  such  unzvorthy  Subjects  as  the  Italians  and  its Author A  Lie. 

an  Odious  damned  Lie.  Upon  my  Soul  a  Lie,  a  zvicked  Lie.  D — n  that  Porter 
it  has  turned  my  Brain!!!  His  five  companions  are  rakish-looking  plebeians 
in  dandified  dress.  They  applaud  Kean.  The  two  at  his  r.  and  1.  say:  Caesar 
for  ever.  One  on  the  extreme  1.  says:  /  am  veiy  Intimate  with  the  Gemman, 
and  I  knows  his  Motter  is.  Naught  Caesar  Naught  Nullus  and  I  says  Caesar 
for  ever. 

A  satire  on  Kean's  vanity  and  his  conduct  over  a  tragedy,  The  Italians, 
by  C.  Bucke,  which  he  had  undertaken  to  accept  for  Drury  Lane  from 
compassion  for  the  author,  and  then  rejected  on  the  ground  that  'unless  the 
entire  interest  centred  in  the  character  designed  for  him  it  would  neither  suit 
his  reputation  nor  the  interest  of  the  Theatre  .  .  .'.  A  pamphlet  war  and  a 
heated  correspondence  in  the  Press  followed;  Kean  headed  a  letter  to  the 
Editor  of  the  Examiner,  ' — A  lie —  .  .  .'  [ut  supra,  quoting  Othello,  v.  2].  In 
this  he  said  the  tragedy  was  known  in  the  Green  Room  as  Deranged  Intellect 
where  it  excited  'uncontroalable  laughter  and  pity  for  the  author'.  Examiner, 

28  Mar.  1 8 19,  pp.  202-4.   ^^^  ^^^°  ^^^  Wolves  Club  [by  Marks],  pub.  Fores 

29  Mar.  1819;  reproduced,  G.  Playfair,  Kean,  1939,  p.  146,  an  amusing 
caricature  of  Kean,  egotistically  presiding  at  a  tavern  table,  and  applauded 
by  illiterate  supporters.   See  No.  13368. 

8f  Xi2|  in. 

13368  THE  JUDGMENT  OF  BRUTUS— OR  THE— DRAMATIC 
CENSOR,    vide  Deranged  Intellect. 

Yedis  inv'    [Williams  f.] 

London  Pub^  on  April  fool  day  i8ig  by  jf  Sidebethem  28y  Strand. 
Engraving  (coloured  impression).  Kean  as  Brutus  (1.)  sits  in  a  (pseudo-) 
curule  chair  on  a  massive  platform  of  Roman  masonry  addressing  a  ragged 
and  emaciated  author  (r.)  who  faces  him  defiantly.  A  fat  man  in  modern  dress 
stands  behind  Kean's  chair,  leaning  over  his  shoulder  to  hold  the  chains 
attached  to  the  collars,  all  inscribed  Keen  Wolf,  of  three  wolves  at  Kean's  1. 
hand,  all  snarling  savagely  at  the  author.  At  Kean's  r.  hand  lies  an  absurd 
little  lion,  A  Keen  Lion,  emaciated  and  maneless.  The  fat  man  is  identified 
by  a  paper  in  his  pocket:  To  Manag[er]  Puff,  showing  that  he  is  Rae.  He 
and  Kean  are  surrounded  by  clouds  of  smoke  issuing  from  his  mouth,  and 
inscribed  a  stupid  Puff,  a  silly  Puff,  A  nonsensical  Puff,  A  queer  Puff,  An 
Ostentatious  Puff,  A  miserable  Puff,  A  contemptible  Puff,  A  stale  Puff,  A  fresh 
Puff,  A  Bombastic  Puff,  A  ridiculous  Puff.  Kean's  1.  foot  rests  arrogantly  on 
a  footstool.  He  extends  both  arms  towards  the  poet  in  a  gesture  of  negation, 
saying,  "I'owr  Play  wont  do — Its  worse  than  Bad  \  "theres  some  pretty  poetry 
in  it  to  be  sure,  but  \  ''altogether  it's  a  d — d  stupid  production!  the  \  "effects  of 
Deranged  Intellect".  At  his  feet  lies  a  scroll  inscribed:  ''A  lie — an  Odious 
d — d  Lie  [.  .  .  as  in  No.  13367]. 

96s 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

At  the  poet's  feet  is  a  paper:  Plays  by  an  Unfortuneate  Buck,  i.e.  Charles 
Bucke.  He  holds  out  his  play:  The  Italians  a  Rejected  Play,  saying  to  Kean: 
"  You  are  so  inflated  by  the  Managers  puffs  |  "that  you  forget  yourself  and  assume 
an  authority  \  "and  tone  of  arrogance  unbecoming  your  Situation —  |  "It  is  not 
fair  acting  for  a  player  to  presume  to  publish  \  "an  opinion  on  the  merits  of  a 
piece  before  it  is  performed  \  "it  is  a  consumate  piece  of  ignorance  and  \  "an  insult 
to  the  Public —  Under  his  1.  arm  are  other  papers:  The  Cherokee  Tragedy, 
Con5[olations  of  Boethius] .  From  his  pocket  hangs  a  paper  headed  Chandler 
Shop  Acc^  Roll  .  .  .  ^'^,  to  show  how  destitute  he  is.  The  clouds  of  smoke 
issuing  from  the  Manager  extend  behind  Bucke,  with  three  lengthy  inscriptions : 
[i]  That  wonderfull  and  astonishing  transcendant  Genius  ikf  Kean  has  again 
delighted  &  petrified  the  audience  by  his  powerfull  delineation  of  Brutus  &  last 
night  made  such  a  vast  addition  to  his  histrionic  fame  that  his  enthusiastic  admirers 
rose  up  with  a  simultaneous  motion  waving  hats  handkerchiefs  &  sticks  in 
hysterical  fits  of  rapture.  [2]  M*"  K — n  was  so  GREAT  in  the  DWARF  of  Naples, 
that  description  is  beggar'd  &  the  poverty  of  all  human  languages  made  palpable 
in  not  affording  terms  to  convey  the  very  smallest  particle  of  an  idea  of  his  super- 
naturel  Genius  (poor  Davy  Garrick  was  thy  panegyrist  ever  equal  to  this?)- 

[3]  That  prodigy  of  an  Actor  M^  K will  shortly  appear  in  a  New  Character 

as  the  Bully  in — "Bug-Bears  for  poor  Authors.    After  the  title:  "Hark  thee. 
Fellow  I  "How  art  thou  calVd  \  Brutus— A  FOOlU!  \  Brutus,  Act  i'^  Scene  3^. 

A  satire  on  the  dispute  between  Kean  and  Bucke,  see  No.  13367,  &c.  The 
play  was  performed  on  3  Apr.,  with  H.  Kemble  as  Manfredo,  the  part  which 
Kean  had  undertaken,  but  it  was  damned  by  Kean's  partisans  and  only 
played  twice  to  a  riotous  audience.  The  printed  version  went  through  many 
editions  with  (eventually)  four  prefaces  by  Bucke.  Genest,  viii.  686-7; 
Examiner,  1819,  pp.  222-3,  ^3^'  251-  On  3  Dec.  1818,  Brutus  or  the  Fall  of 
Tarquin,  a  plagiaristic  compilation  by  Howard  Payne,  was  acted  for  the  first 
time,  Kean  playing  Brutus,  and  according  to  Genest  'with  success  vastly 
beyond  its  merits'  (viii.  677-81).  Kean's  acting  was  extolled  in  the  Examiner 
(1818,  p.  774).  The  Dzvarf  of  Naples,  by  Soame,  with  Kemble  as  the  Dwarf 
was  first  played  on  15  Mar.  18 19,  a  play  written  for  Kean,  and  dedicated  to 
him  *in  a  stream  of  fulsome  flattery'.  Genest,  viii.  685  f.  For  'puffing'  at 
Drury  Lane  see  No.  12918;  for  the  Wolves,  No.  129 19. 
8|XI3  in. 


13369  THEATRICAL  MOTIONS!  OR  THE  PRIVATE  AFFAIRS  OF 
THE  OPERA  BOTHERING  THE  CHANCERY  LAWYERS!! 

[L  R.  Cruikshank.] 

London  pub.  by  Sidebethem  28y  Strand  i8ig 

Engraving  (coloured  impression).  The  Chancellor  and  three  barristers 
followed  by  the  mace-bearer  flee  in  terror  to  the  1.  from  three  opera-dancers 
who  pirouette  derisively  (r.),  two  making  high-kicks  towards  the  fugitives. 
The  Purse  of  the  Great  Seal  falls  to  the  ground.  In  the  background  (r.)  three 
other  lawyers  are  in  flight  to  the  r.  Eldon  ('Old  Bags'),  who  does  not  wear 
a  Chancellor's  wig,  but  has  a  green  bag  suspended  from  each  arm,  says,  look- 
ing over  his  shoulder  at  the  dancers:  These  Perpetual  Motions  only  Vex  & 
torment  me  &  "I  much  Doubt"  my  ability  to  Do  the  thing  any  Service — The 
Parties  had  much  better  Meet  in  Private  and  settle  their  Affairs  quietly  &  not 
Expose  them  in  Public  so  often!  On  the  ground  are  papers:  [i]  Norman-v- 
Humbug  Theatrical  Actions  Arbitratiojts  &c  for  Salaries  of  performers.  Scene 

966 


PERSONAL   AND   SOCIAL   SATIRES    1819 

painters.  [2]  Royal  Humbug  Theatre  Crouch-v-Gossip — the  theatrical  Wax 
Chandler,  alias  ''Count  Dip"  50  actions  for  performers  Salaries!  [3]  Actions 
for  the  Humbugerian  Manager's  Washing  Bilk.  [4]  Drury  Lane  Theatrical 
Suits,  under  the  Board  of  Mis-management,  looo  Actions  Squabbles  among  the 
Creditors,  Old  &  New  Renters  &c.  [5]  Opera  house  Suits  Waters  ag^  Taylor 
Affidavits,  Motions  Reports,  Costs  &c. 

Taylor  (see  No.  12133,  &c.),  here  styled  'Humbug',  Manager  of  the  King's 
Theatre  in  the  Haymarket  (the  Opera  House),  was  hopelessly  (and  fraudu- 
lently) bankrupt,  and  the  financial  position  of  the  theatre  caused  a  succession 
of  suits  in  Chancery.  A  suit  of  1829  was  against  Edmund  Waters  and  the 
executors  of  W.  Taylor.  For  the  management  of  Drury  Lane,  and  disputes 
between  old  and  new  renters  see  No.  11767,  &c.  The  mismanagement  of  the 
amateurs'  committee  ended  in  18 19  when  Elliston  became  the  'Great  Lessee'. 
For  the  danseuses  cf.  No.  9300  by  L  Cruikshank.  In  1819  the  (fashionable) 
violent  action  of  the  French  opera  dancers  was  criticized  in  the  Examiner 
(p.  299). 
8xi3t^  m. 


13370  THE  THEATRICAL  HOUSE  THAT  JACK  BUILT. 

London:  Printed  by  and  for  Joseph  Grove,  Library,  Hemming^ s  Row, 
St.  Martin's  Lane,  i8ig.^   One  Shilling. 

Woodcut  on  title-page.  Rival  Richards  (see  No.  12918)  stand  sword  in  hand, 
threatening  each  other,  on  the  ends  of  a  see-saw  balanced  on  a  book:  {Shaken- 
spear.   Below:  ''The  Great!  and  the  Little  Great." 

A  satire  on  Covent  Garden  Theatre  dedicated  to  'Manager  Puf!  .  .  .', 
imitating  in  text,  format,  and  woodcuts  Hone's  famous  parody,  see  No.  13292. 
Macready  first  played  Richard  III  on  25  Oct.  1819  challenging  comparison 
with  Kean,  a  performance  hailed  by  the  Examiner  (p.  699)  as  promising  to 
rescue  the  house  from  its  'pantomimic  degradation'.  MS.  identifications  in 
B.M.L.  C.  116.  e.  6/7.  The  other  woodcuts  are  Nos.  13371-81. 
c.  3^X4  in.  184.  a.  3/17. 

13371  THIS  IS  THE  HOUSE  THAT  JACK  BUILT. 

See  No.  13370.  The  fa9ade  of  Covent  Garden  Theatre  recedes  in  perspective 
from  1.  to  r.  On  the  roof  stands  Kemble  in  quasi-Roman  costume,  striking 
an  attitude. 

For  the  theatre  as  the  'House  that  Jack  [Kemble]  built'  see  No.  11415,  &c. 

(^-  5*X3|  in. 

13372  This  is  THE  BEAST  that  lay  .  .  . 

See  No.  13370.    An  elephant,  chief  example  of  'pantomimic  degradation', 
see  No.  11935,  &c. 
c.  3X4iin. 

13373  This  is  THE  MAN  Who  engaged  .  .  . 

See  No.  13370.    Fawcett,  fashionably  dressed,  sits  at  a  table  weeping  over 
a  book  with  blank  pages  headed  Box  Book, 
c.  2|X3f  in. 

'  Grove's  Theatrical  House  that  Jack  built,  price  is.,  or  coloured  2s.,  is  advertised 
in  the  Examiner,  16  Jan.  1820  as  'just  published'. 

967 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

13374  This  is  THE  RIDER,  That  ruin'd  the  Man, 

See  No.  13370.  An  actor  in  theatrical  costume  with  feathered  turban  stands 
with  legs  astride  and  arms  flung  wide.    Identified  as  Charles  Farley  (1771- 
1859);  he  superintended  Covent  Garden  pantomimes,  1806-34. 
c.  3fX3  in. 

13375  This  is  THE  BOX-BOOK  KEEPER,  who  Pockets  the  Pelf,  .  .  .  and 

prays  for  the  Tool  That  ruin'd  the  Man  .  .  . 

See  No.  13370.  A  portrait  of  Brandon,  seated  at  his  desk  with  a  large  pen 
behind  his  ear.  He  became  notorious  during  the  O.P.  riots,  see  No.  1 1430,  &c. 
c.  31X3  in. 

13376  These  are  the  COUNCIL  OF  COVENT  GARDEN  That  examine  the 
Book-Keeper,  who  .  .  . 

See  No.  13370.  Three  fashionably  dressed  men  stand  in  consultation: 
Robins  the  auctioneer  (1.),  hammer  in  hand,  turns  to  Harris,  while  Brandon 
(r.)  makes  a  propitiatory  gesture. 

Robins  (1778-1847)  had  in  1817-18  taken  a  leading  part  in  improving  the 
management  and  finances  of  Drury  Lane  and  was  later  to  do  a  similar  service 
to  Covent  Garden. 
c.  3x4  in. 

13377  This  is  THE  MAN  who  all  men  scorn  .  .  . 

See  No.  13370.   Fawcett,  fashionably  dressed,  stands  with  arms  extended  in 
a  rhetorical  gesture.    The  text  is  a  savage  attack  on  him:  'The  Manager- 
Author — the  Actor  of  Quotem  .  .  .'.    For  Fawcett  as  Caleb  Quotem,  parish 
clerk  and  general  factotum,  see  No.  10674. 
c.  3|X3  in. 

13378  These  are  THE  ACTORS  insulted — enraged. 

See  No.  13370.    Four  men  and  a  woman,  fashionably  dressed,  are  in  con- 
sultation.   One  man  sits,  the  others  stand.    They  'swear,  no  longer  to  play, 
if  not  paid,  And  that  they  will  never  be  I  am  afraid', 
c.  2|X4  in. 

1 3379  This  is  THE  BRIDE,  who  lately  married  That  she  in  a  much  finer  coach 
might  be  carried. 

See  No.  13370.  Margaret  Agnes  Somerv^ille  (1799-1883),  who  married  Alfred 
Brown  in  1819,  stands  between  'two  hot-headed  rivals',  Eliza  O'Neill,  who 
married  William  Becher  in  1819,  and  Miss  Macauley  (1787-1837). 
c.  2|X4  in. 

13380  This  is  THE  FLAG  all  tatter' d  and  torn,  &c. 

See  No.  13370.  A  banner,  imitated  from  No.  13302,  hangs  from  a  pole 
surmounted  by  the  head  of  Harris.  It  is  inscribed  Not  an  Order  can  be 
Admitted.  Orders  are  said  to  be  distributed  wholesale  by  Brandon  'upon  the 
usual  terms'.  The  tailpiece  is  an  Order:  Theatre  Royal  Covent  Garden 
On  .  .  .  1820 — Admit  Twelve  to  the  Pit  W  Brandon. 
c.  3|X3iin. 

13381  ENTERTAINMENT  EXTRAORDINARY,  FOR  THE  CHRIST- 
MAS HOLIDAYS,  AT  THE  HOUSE  THAT  JACK  BUILT, 

See  No.  13370.  An  auctioneer  (Robins)  on  his  rostrum,  with  hammer  raised, 
faces  three  fashionably  dressed  Covent  Garden  actors.   He  is  disposing  of 
the  theatre,  scenery,  &c. 
t.  3X4  in. 

968 


PERSONAL   AND   SOCIAL   SATIRES    1819 

13382  VOILA— T— |QN|   MORT|!!! 
Etch^  by  G  Cruikshank 

Pu¥  July  ly"'  i8ig  by  G  Humphrey  27  5'  James's  S'  London — 

Engraving  (coloured  and  uncoloured  impressions).  Heading  to  a  printed 
broadside:  Pugilism  Extraordinary.  Scene  in  a  neatly  furnished  room.  Lord 
Morton,  bleeding  at  the  nose,  lies  on  the  floor,  warding  off  a  stalwart  and 
dandyish  fellow,  also  with  a  bleeding  nose.  He  wears  a  ribbon  and  star,  his 
bag- wig  has  fallen  off.  A  writing-table  (1.)  is  overturned,  with  a  paper 
inscribed  Moncrief.  Through  a  doorway  (r.)  looks  a  man  in  top-boots  who 
drops  a  bottle  of  wine,  exclaiming,  Oh!  Mons^  Grief!!!  [Moncrief].  On  the 
wall  is  a  picture  of  a  canal  flanked  by  portraits  of  boxers  in  the  ring.  Above 
the  design  as  a  second  title :  Boxing  Extraordinary — or — a  NOBLE  fall — .'.'.'.'.'.' 

The  text  is  a  facetious  account  of  a  quarrel  between  Morton  (1761-1827) 
and  the  Manager  of  the  Union  Canal  Company  in  the  Company's  office, 
leading  to  blows.  His  appointment  as  High  Commissioner  of  the  Church  of 
Scotland  was  the  occasion  of  thanks  to  the  Regent  from  the  General  Assembly 
of  the  Kirk  on  account  of  'his  own  high  and  exemplary  character  .  .  .'.  See 
No.  13383. 

Reid,  No.  897.    Cohn,  No.  1877. 
7x9^  in.  With  border,  7if  X9I  in.   Broadside,  19  X  12  in. 

13383  THE  WAY  TO  SERVE  HIM.  [1819] 
Engraving  (coloured  impression).  Moncrief,  see  No.  13882,  stands  over 
Lord  Morton,  holding  his  cravat  and  raising  his  fist  to  strike.  Morton,  wear- 
ing a  ribbon  and  star,  kneels  on  one  knee,  bleeding  at  the  nose;  he  exclaims: 
Mercy — Mercy  in  the  Kings  name — ah  their  zvill  be  Law  upon  this  i  am  Afraid. 
Moncrief:  Yes  and  in  Proper  time  to,  You  shall  Have  it — zvith  all  the  Rigour 
of  Law, —  Office  stool,  papers,  ink-pots.  Sec,  are  overturned  and  on  the  floor. 
On  the  table  (r.)  is  a  Plan  of  the  Canal  with  books  inscribed  C.C  [Canal 
Company].  Over  the  chimney  piece  is  a  picture  of  a  canal.  A  crude  cheap 
print. 

13384  A  NEW  CHANCERY   SUIT  REMOVED  TO  THE  SCOTCH 
BAR  OR  MORE  LEGITIMATES.— 

LRC  fecit 

Pub"^  Feby  4"'  i8ig  by  S  W  Fores  50  Piccadilly  &  312  Oxford  Street 

Engraving  (coloured  impression).  A  (burlesque)  Gretna  Green  marriage  in 
an  open-fronted  smithy.  Erskine,  in  woman's  dress,  wearing  a  huge  feathered 
bonnet  over  a  barrister's  wig,  holds  the  r.  hand  of  a  demure-looking  woman, 
modishly  dressed  and  apparently  pregnant.  He  holds  a  paper:  Breach  of 
Promise.  With  them  are  three  young  children.  The  smith,  in  profile  to  the 
r.,  wears  Highland  dress;  he  holds  a  red-hot  bar  on  the  anvil  and  raises  his 
hammer,  saying,  /  shall  make  a  good  thing  of  this  Piece  [cf.  No.  10668]  at  last. 
Erskine  says :  /  have  bothered  the  Courts  in  London  many  times,  Pll  now  try 

my  hand  at  the  Scotch  Bar — as  to  Miss  C she  may  do  her  worst  since  I  have 

got  my  Letters  back.  The  woman  says:  Now  who  dare  say.  Blacks  the  White 
of  my  Eye,  showing  that  her  origin  is  low,  see  No.  13081,  &c.  In  the  back- 
ground (r.)  a  young  woman  rushes  down  a  slope  towards  the  smithy,  shouting. 
Oh  Stop  Stop  Stop,  false  Man,  I  zvill  yet  seek  redress  tho  you  have  got  back 
your  letters —  Beside  her  is  a  sign-post  pointing  To  Gretna  Green.  A  little 
boy  with  Erskine's  features,  wearing  tartan  trousers,  stands  on  tip-toe  to 

969 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

watch  the  smith;  on  the  ground  beside  him  is  a  toy  (or  emblem),  a  cock  on 
a  pair  of  breeches  (cf.  No.  13 145).  A  Uttle  girl  stands  by  her  mother  nursing 
a  doll  fashionably  dressed  as  a  woman,  but  with  Erskine's  profile.  Another 
boy  with  a  toy  horse  on  a  string  stands  in  back  view  watching  'Miss  C. 
Behind  the  smith  (1.)  is  the  furnace;  on  the  wall  hang  many  (large)  rings: 
Rings  to  fit  all  Hands. 

Erskine,  who  had  made  one  Gretna  Green  marriage  at  the  age  of  20, 
married  there,  secondly,  Sarah  Buck,  spinster,  whom  he  tried  to  divorce  in 
1820;  he  was  separated  from  her  21  June  1821,  a  son  being  born  5  Dec.  1821. 
G.  E.  C,  Complete  Peerage.  Lady  Williams  Wynn  records,  17  Jan.  1819: 
*A  strange  story  but  which  cannot  now  be  doubted  ...  of  the  Marriage  of 
Lord  Erskine  to  his  Mistress,  at  Gretna  Green  where  his  Lordship  went 
disguised  in  female  cloaths  with  a  large  Leghorn  Bonnet  &  veil  .  .  .  which 
legitamizes  in  Scotland  a  whole  tribe  of  Ci-devants.'  Corr.,  ed.  R.  Leigh, 
1920,  p.  234.  See  also  Farington,  Diary,  viii.  268. 
8|XI2|^  in. 

13385  THE    MASTER    OF   THE    ORDNANCE    EXERCISING    HIS 
HOBBY! 

LR.C.fecit  (Yedislnv') 

London  pub'^  by  J.  Sidebethem  28y  Strand  April  i8ig 

Engraving  (coloured  impression).  A  scene  in  St.  James's  Park.  Wellington 
(r.),  handsome  and  debonair,  wearing  uniform,  bestrides  a  cannon  on  a  gun- 
carriage,  taking  a  long  stride  as  if  riding  a  velocipede,  see  No.  13399,  &c.  The 
muzzle  is  pointed  towards  three  ladies  (1.),  two  of  whom  affect  alarm.  One 
runs  to  the  1.,  looking  round  from  behind  a  fan;  she  takes  the  arm  of  a  young 
woman  holding  a  large  muff,  and  wearing  a  pelisse  to  the  knee  above  long 
drawers,  who  says :  It  can't  do  any  harm,  for  he  has  fir  d  [sic]  it  so  often  in  various 
Countries,  that  it  is  nearly  wore  it  [sic].'  The  third  clasps  her  hands  ecstatically, 
saying,  Bless  us!  what  a  Spanker! — /  hope  he  wont  fire  it  at  me — /  could  never 
support  such  a  thing!  Two  other  ladies  watch  from  the  r.,  behind  the  Duke. 
In  the  background  are  Buckingham  House  (1.)  and  the  Chinese  bridge  (r.). 

For  Wellington's  appointment  see  No.  13288. 
8^X  13  in.  'Caricatures',  xi.  159. 

13386  A  STEWARD  AT  S  SEA  IN  A  VAIN  TEMPEST!  OR  GAIN- 
ING THE  POINT  OF  MATRIMONY  IN  SPITE  OF  SQUALLS! 

7.  R.  C  fecit—  (Yedis  Inv^) 

pu¥  by  Sidebethem  28y  Strand  iSig 

Engraving  (coloured  impression).  Lord  Stewart  stands  in  an  open  boat  hold- 
ing a  staff,  inscribed  The  Great  Plenipo  [cf.  No.  9023,  &c.]  with  which  he 
manipulates  the  rudder.  By  his  hands  is  inscribed :  Motions  ag^  a  Ward  in 
Chancery.  The  boat  has  a  mast  and  sail,  and  a  realistic  figurehead  of  a  pretty 
girl.  Stewart,  who  wears  regimentals  with  a  cocked  hat  and  a  star,  says:  Fve 
been  forty  years  in  the  Service  &  never  zvas  in  such  a  tight  little  Vessel  Before! — 
She  II  stand  any  thing  after  this — Fve  made  the  port  in  spite  of  the  Taylors  with 
good  Order  An'  trim!  [Antrim] .  The  boat  is  the  Frances  with  a  cargo  of  bundles 
of  documents :  Decision  of  the  Chan — r  in  favour  of  the  Marriage  and  The 
Taylors  done  over  a  New  Song.  The  sea  is  rough,  with  much  foam;  in  spite 
of  two  blasts  from  the  mouths  of  a  pair  of  Guardian  Angelo's  in  the  clouds  (r.), 
the  boat  is  being  towed  to  the  shore  by  Eldon,  in  Chancellor's  wig  and 

970 


PERSONAL  AND   SOCIAL   SATIRES    1819 

gown,  who  sits  on  two  bags  attached  by  ropes  to  the  bows,  and  rows  with 
the  mace.  A  bag  is  inscribed  Old  Bags  (see  No.  12883)  and  labelled  Decree 
in  favor  of  the  marriage!  The  hostile  blasts  are  inscribed:  Motions,  to  prevent 
the  Marriage  of  L — d  S — t  zuith  a  Ward  of  Chancery;  Suits — Bills — Answers — 
Demurrers, — Re-hearings;  Private  hearings — Reports,  Exceptions — Objections; 
Appeals  Remonstrances  &  Submission!  and  Rude  Boreas — a  design  by  Michael 
Angela's  Wife!!  The  shore  is  the  Harbour  of  Matrimony .  Hymen  with  a 
torch,  followed  by  grotesque  attendant  amoretti,  two  holding  arrows,  rushes 
towards  the  sea,  to  greet  the  approaching  boat.  Beside  them  is  a  post  sur- 
mounted by  antlers,  placarded  Cuckold's  point!  Against  this  is  a  target  with 
an  arrow  in  the  bull's  eye.  Behind  (r.)  is  a  Temple  of  Hymen,  a  heart  burns 
on  the  altar,  and  another  surmounts  the  dome  which  rests  on  four  pillars 
with  hearts  for  capitals.  The  'Angelo's'  are  evidently  Michael  Angelo  Taylor 
and  his  wife;  he  wears  a  Scots  cap,  she  a  tartan  bonnet. 

Stewart  (1778-1854)  (Castlereagh's  half-brother)  on  3  Apr.  1819  married 
as  his  second  wife,  after  a  Chancer^'  suit,  Frances  Anne  Emily  Vane  (1800-65), 
daughter  and  heiress  of  Sir  Henry  Vane  Tempest  (d.  1813).  Her  mother  was 
the  Countess  of  Antrim  in  her  own  right.  For  Michael  Angelo  Taylor  see 
vols.  V,  vi,  vii,  viii;  his  wife,  nee  Vane,  was  the  bride's  aunt.  See  Crabb 
Robinson,  Diary,  1869,  ii.  164.  The  disparity  of  age  is  satirized,  as  it  was 
by  Moore,  in  lines  quoted,  G.  E.  C,  Peerage,  s.v.  Londonderry: 

.  .  .  when  a  wealthy  young  lady  so  mad  is,  .  .  , 
As  to  marry  old  dandies  that  might  be  their  daddies. 
The  stars  are  in  fault,  my  Lord  Stewart,  not  they. 

8T^Xi2ii-in. 

13387  IDOLATERS  WORSHIPING  THE  GOLDEN  CALF!!! 

[G.  Cruikshank.] 

Pub'^  as  the  act  deserves  &  sold  in  Sweetings  Alley.  [18 19] 

Engraving  (coloured  and  uncoloured  impressions).  The  calf,  garlanded  with 
flowers,  stands  on  a  platform  (r.)  supported  on  two  tiers  of  large  money-bags 
inscribed  100  000,  10  000,  looo,  Sec.  It  licks  the  hand  of  a  young  woman 
who  kneels  beside  it,  saying.  My  Szveet  Calf!!  Below,  a  man  grovels  on  his 
knees,  grasping  one  of  the  bags,  while  three  other  men,  his  sons,  abase  them- 
selves just  behind  him  (1.).  All  wear  black  gowns  and  kneel  on  tasselled 
cushions.  The  chief  worshipper,  Clayton,  says:  Mighty  Calf  of  Gold  I  will 
give  unto  thee  my  fair  Daughter  in  Marriage  ;  if  thou  wilt  settle  on  her  £1^,000 
5  P''  Cents.  &  in  case  of  her  demise  that  my  three  sons  shall  have  £30,000 
devided  amongst  them  and  also  that  they  be  made  Trustees  to  the  Estate.  The 
calf  answers:  Worthy  preist  of  Clay  as  she  Stands  A  one  copperd  &  well  found 
it  shall  be  so — Pll  marry  the  whole  family — &  my  wife  shall  manage  my  Money 
bags.  One  of  the  sons  says :  /  say  Brothers  this  will  be  a  snug  thing  if  Sister 
kicks  the  Bucket  £10,000  a  piece  my  boys!!!!  Beside  the  worshippers  lie  two 
papers:  Thou  shalt  not  bow  dozvn  to  them  &  worship  them  &c.;  Thou  shalt  not 
make  Gods  of  Silver  .  .  .  [&c.]  Exodus  Chap  xx  ver  2J'^.  On  the  wall  (1.)  hangs 
a  broad-brimmed  hat  and  loose  coat  on  the  same  peg,  with  the  inscriptions : 
This  Hat  to  be  cut  for  the  Simples  and  This  Coat  to  be  turn'd.  There  are  also 
two  prints,  [i]  Ja^on  &  the  Golden  Fleece.  A  gouty  Jason  (Janson)  drives 
two  sheep  up  a  gangway  into  a  ship.  [2]  Methodists!!!!  Four  little  figures 
in  clerical  gowns  (the  Claytons)  dance  hand-in-hand  round  a  pillar  support- 
ing a  calf.  Inscription  on  the  wall:  We  eye  Natures  walks  &  Shoot  folly  as 
it  flies. 

971 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

Miss  Clayton,  daughter  of  an  eminent  nonconformist  minister  (see  No. 
10463),  married  Janson,  a  rich  elderly  Quaker.  For  the  family  see  T.  W, 
Aveling,  Memorials  of  the  Clayton  Family,  1867.   See  No.  13388. 

Reid,  No.  845.    Cohn,  No.  1223. 
8-|Xi2f  in. 


13388  A    WHIMSICAL    COURTSHIP    &    MARRIAGE— OR— THE 
GOLDEN  CALF!! 

[G.  Cruikshank.] 

Pub^  at  Bath  <Sf  sold  in  Cheapside  London. 

Engraving  (coloured  impression).  Two  designs  side  by  side,  [i]  A  calf,  on 
its  hind-legs  and  wearing  breeches,  with  a  purse  hanging  from  a  pocket,  bows 
towards  a  pretty  girl,  touching  her  hand  with  a  hoof;  an  eye-glass  dangles 
from  a  cord.  A  dialogue  ascends  from  both  heads:  Calf — "My  dear  Miss, 
I  lost  something  here  last  night — "  Lady — "Indeed  Sir!  I  will  enquire  of  the 
Servants, — "  Calf — 'Wo  My  Charmer  there  is  no  occasion  for  that  you  are  the 
finder''  Lady  ''Indeed  Sir!!!! —  Calf — ''Yes  my  Sweet  Angelic  you  are  in 
possession  of  what  I  lost  'tis  my  Heart. 

[2]  Clayton,  a  lean  elderly  minister,  and  three  strapping  sons,  all  four  wear- 
ing gown  and  bands,  dance  round  a  rectangular  altar  on  which  stands  a  golden 
calf  with  Miss  Clayton  seated  on  its  back.  The  altar  is  decorated  with  rams' 
heads,  and  with  tiny  eager  figures  on  whom  a  shower  of  gold  descends.  The 
father  waves  his  hat,  saying.  All  things  are  decreed  above — My  dear  Children 
this  is  the  true  principles  of  the  Christian  Relegion.  Two  of  the  sons  say 
respectively :  Go  along  my  boys!  we  shall  make  a  good  thing  of  it  there  is  not 
much  fear  of  the  Old  boy  gettitig  a  Child,  and  But  some  one  may  for  him  &  then 
we  shall  be  chous'd  out  of  the  £30,000.   See  No.  13387. 

Reid,  No.  846.   Cohn,  No.  2102. 
Each  design,  8|x6|  in.;  8f  x6|  in. 


13389  QUID  'EST?— WHY  BRIGHTON  DANDIES.!!! 

[Williams.] 

Pub'^  Jany  i8ig  by  S  W  Fores  50  Piccadilly. 

Engraving  (coloured  impression).  Captain  Augustus  d'Este  drives  a  high- 
stepping  horse  in  a  four-wheeled  phaeton  towards  the  Brighton  cliffs  (r.) 
He  wears  lancer's  uniform,  with  a  high  plumed  helmet,  with  streaming 
tassels,  short  tunic,  trousers,  and  sword.  At  his  side  sits  Mrs.  Coutts,  very 
plump,  wearing  a  large  bonnet  and  holding  up  a  parasol.  She  turns  to  him 
saying,  This  is  driving  with  Spirit  indeed,  to  what  I  have  been  used  to  lately!!! 
(a  reflection  on  her  elderly  husband).  He  says:  You  do  me  honor  I  am  sure, 
but  there  is  no  Man  of  Sussex  feels  more  pleasure  than  I  do  in  driving  the  Ladies.! 
Between  his  legs  is  a  large  band-box  oi  full  trim' d  petticoats  on  which  stands 
a  large  melon,  to  show  the  lady's  identity.  Behind  (1.)  is  the  end  of  a  row  of 
houses,  the  Steine.   On  the  shore  below  the  cliffs  are  bathing  machines. 

For  the  marriage  of  Harriot  Mellon  (1777  ?-i837)  to  Coutts,  see  No.  1 1940. 
D'Este  (1794-1848)  was  the  son  of  the  Duke  of  Sussex  and  Lady  Augusta 
Murray. 
8f  X13  in. 

972 


PERSONAL   AND   SOCIAL   SATIRES    1819 

13390  A   VIEW   OF  THE  READING   FLY  TO  PARIS,   TURNING 
SHARP  OUT.— 

C  W  [Williams.] 

London  Pu¥  i8ig  by  S  W  Fores,  50  Piccadilly 

Engraving  (coloured  impression).  A  young  woman  drives  (1.  to  r.)  a  stage- 
coach with  four  horses.  Behind  her  on  the  roof  is  a  Cupid  with  bow  and 
arrow,  saying  A  bos  Hymen.  In  the  dickey  behind  is  Hymen  with  his  torch 
whom  the  driver  is  flicking  with  her  whip.  A  coachman  holding  a  whip  stands 
beside  the  road  in  the  1.  foreground;  he  says:  By  Jenkin  Miss  but  that  sharp 
turn!  will  up  set  you!!  She  looks  round,  saying,  /  zvas  never  happy  till  I  had 
four  in  hand,  and  I  will  always  keep  the  same  number  by  Jenkin,  cost  me  what 
it  may.  Her  coach  is  the  Reading  Fly  to  Paris,  Licensed  to  Carry  Any  Number. 
Crest  (under  the  box-seat)  crossed  arrows ;  mottoes :  They  never  hurt  me  and 
Vive  V Amour.  Two  passengers  are  visible,  a  man  and  woman.  The  horses 
are  branded:  wheelers  S  and  H,  leaders  Cand  B  respectively.  A  sign-post  (r.) 
points  To  London  thro  Windsor  Park,  and,  at  r.  angles,  To  Reading,  beside 
a  paling  bordering  a  park  or  field  where  two  shepherds  stand  with  their  sheep, 
addressed  by  tw^o  officers  in  regimentals,  a  naval  officer,  and  a  civilian,  who 
sing  a  Glee  for  4  Voices  Arranged  by  those  eminent  composers  D''  Croft  [1677  ?- 
1727],  /)'■  Boyce  [1710-79],  and  D^  Hay  \}  Hayes,  William  (1706-77)  or 
Philip  (1738-97)]— 5e<  to  C  Sharp. 

Shepherd  zve've  all  lost  our  love 
Have  you  seen  our  Kitty 
Alas!  Alas!  we  fear  she'll  rove 
To  Paris,  wicked  City. 

One  shepherd  answers  Let  her,  let  her  go,  never  mind  her ;  the  other  points 
to  a  lady  in  the  background,  who  is  walking  off  towards  a  house,  and  who 
says:  When  I  cut  my  little  Croft  I  tried  to  get  Hay  but  could  not  succeed;  he 
says:  We  are  very  short  of  feed  here  Ma  am!  On  the  extreme  1.  behind  the 
coach  is  the  river,  and  the  corner  of  a  mill  with  a  water-wheel.  After  the  title : 
The  Reading  Fly  to  Paris  sets  out  from  the  Wifidmill  and  Tigress  in  Reading 
takes  in  Passengers  at  the  Water  Mill  on  the  Road,  calls  in  Chancery  Lane  for 
Passports,  zohere  alone  they  are  to  be  had  for  this  Reading  Fly — AB  changes 
Passengers  whenever  convetiient.  The  Horses  are  all  high  bred — The  Letters  on 
their  flanks  denote  the  Names  of  the  Breeders — the  Leaders  were  bred  in  the 
South  of  England,  the  Wheelers  in  Scotland. 

The  allusions  are  obscure.  The  clues  seem  to  indicate  an  elopement,  per- 
haps to  Paris,  by  (?)  a  Miss  Jenkin,  or  Reading,  a  ward  in  Chancery,  and 
rejected  suitors,  including  Croft,  Boyce,  Hay,  and  Sharp.    Paris  may  be  a 
personal  name. 
iif  X  18  in. 


13391  LANDING  AT  DOVER  &  OVERHAULING  THE  BAGGAGE! 
OR  CUSTOM  HOUSE  OFFICERS  RUMMAGING  FOR  FOREIGN 
COMMODITIES!    Dedicated  to  the  Persian  Ambassador. 

IRC  fecit  (Yedis) 

London  pub'^  by  Sidebotham  28y  Strand  i8ig —  [c.  May  18 19] 

Engraving  (coloured  impression).  A  scene  on  the  quay  at  Dover.  A  young 
woman  in  oriental  draperies,  with  a  high  gold  head-dress  with  aigrettes, 
struggles  between  two  raffish  customs  officers  who  search  her  improperly. 

973 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

Under  her  foot  is  a  paper :  An  Account  of  the  Baggage  of  the  Persian  Ambassador 
and  Entry  of  the  same  at  the  Custom  House.  Another  paper:  Custom  House 
Dover  Inwards!  Seizures  of  Foreign  things — Snuff  Boxes — Lace,  Jewellry  Funny 
prints.  One  says:  I  feel  something  here;  the  other:  ha!  ha!  You've  got  hold 
of  it  there  Jack!  We'll  Search  if  it's  fairly  Enter' d,  if  not,  We'll  Divide  it!  The 
Ambassador,  who  is  indicated  by  a  paper  at  his  feet :  To  his  Excellency  Mirza 
Abdul  Hassan  Khan,  furiously  draws  his  scimitar.  He  wears  quasi-Persian 
costume,  with  tall  astrakhan  cap,  and  enormous  moustaches;  his  trousers  and 
boots  are  influenced  by  hussar  uniform  and  English  dandy  fashions.  Behind, 
two  black  servants  register  impotent  horror.  On  the  r.  two  other  customs 
officers  are  rummaging  in  a  lady's  trunk;  one  deluges  the  other  with  a  syringe. 
Behind  are  the  masts  of  ships. 

Reports  of  a  'Circassian  beauty'  who  accompanied  the  Persian  Ambassador 
to  England  anticipated  her  arrival.  See  Gazette  de  France,  cited  Examiner, 
II  Apr.  1819,  She  was  apparently  his  wife.  The  Ambassador  and  the  lady 
(called  Dill  Arum),  closely  veiled  and  attended  by  two  black  servants  (falsely 
reported  to  be  eunuchs),  arrived  at  Dover  on  25  Apr.  Ibid.,  2  May;  Europ. 
Mag.  Ixxxvi.  221-4.  See  Nos.  13239,  13240,  13241,  13242,  13277,  13393. 
8|x  i2|  in.  'Caricatures',  xii.  88. 

13392  PERSIAN  CUSTOMS!  OR  EUNUCHS  PERFORMING  THE 
OFFICE  OF  LADY'S  MMT:>S\— Dedicated  to  the  Circassian  Beauty 

[?  I.  R.  Cruikshank  £.]  (Yedis  Inv') 

London  pub'^  by  Sidebethem  N"  28y  Strand  i8ig 

Engraving  (coloured  impression).  The  Circassian  reclines  on  a  sofa  at  the 
foot  of  a  large  curtained  bed.  One  burlesqued  eunuch  pulls  off  a  stocking, 
another  adjusts  her  head-draperies;  beside  the  former  Precious  Stones  are 
spread  on  the  ground.  They  make  coarse  remarks,  written  in  reversed 
characters.  See  No.  13391,  &c. 
8|x  i2|  in.  'Caricatures',  xii.  187. 

13393  BRITISH  GRACES,  ATTIREING  THE  CIRCASSIAN  VENUS 
IN  THE  ENGLISH  COSTUME.  357 

[Williams.] 

Pub'^  i8ig  by  T.  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  Three  fat  Englishwomen,  wearing  feathered 
bonnets,  are  dressing  the  fair  Circassian,  see  No.  13391,  &c.  One  laces  a 
corset-bodice,  which  covers  her  breasts  and  reaches  almost  to  the  knee.  The 
victim  throws  up  her  arms,  exclaiming.  Ah!  Ah!  me  no  bear  dat ;  too  tight ; 
nasty  tiff  ting  Me  no  eat  no  drink  no  do  noting  at  all  in  dat.  The  other  says: 
Poh!  Poh  Child  You  will  soon  be  used  to  them,  and  we'll  shew  you  what  You 
can  do  in  them.  A  second  woman  (1.),  much  more  decoUetee  than  the  Cir- 
cassian, holds  a  collar  with  vandyked  edging.  She  says:  And  then  she'll  like 
the  nasty  tiff  ting,  as  well  as  we  do  they  keep  us  in  shape!  Pray  what  would  the 
Dandys  do  without  them  [see  No.  13394].  On  the  r.  are  two  bearded  Persians 
wearing  scimitars  and  pistols,  the  so-called  eunuchs.  One  stoops  to  touch  the 
stiff  corset,  saying  to  his  companion :  Very  good  ting  Muley  No  want  us  guarde 
now!  The  other  answers :  Ah!  den  we  go  drink  de  brown  tout  Hamet!  A  woman 
stands  behind  them  holding  out  a  gown ;  she  says  over  her  shoulder :  Aye  and 
you  must  drink  a  rare  quantity  before  it  will  make  men  of  ye!!  The  Circassian's 
oriental  dress  and  jewelled  turban  lie  on  the  ground.   From  a  band-box  (1.) 

974 


PERSONAL   AND   SOCIAL   SATIRES   1819 

projects  an  enormous  bonnet  \nilgarly  trimmed  with  feathers  and  flowers. 
Behind  it  is  a  dressing-table. 

For  the  Circassian  see  No.  13391,  &c.   She  left  Gravesend  for  Constanti- 
nople in  a  brig  hired  for  the  purpose  on  30  Aug.,  in  English  costume,  with 
a  fashionable  Cashmere  shawl  draped  over  her  head.    Europ.  Mag.  Ixxvi. 
221-4. 
8f  X  i2|  in. 


13394  THE  DANDIES  COAT  OF  ARMS.  326 

G.  Cruikshank  fee* — 

Pu¥  March  28*^  i8ig  by  T.  Tegg,  iii  Cheapside 

Engraving  (coloured  impression).  The  shield  is  a  dandy's  tail-coat  with  a 
pinched  waist,  in  back  view,  the  sleeves  hooked  over  the  1.  arm  of  the  dexter 
supporter,  and  the  r.  arm  of  the  sinister  supporter,  these  being  dandies  with 
the  heads  of  apes  and  wearing  fool's  caps.  From  each  drooping  sleeve  hangs 
a  short  (yellow)  glove.  The  coat  is  divided  by  its  seams,  the  centre-seam 
bisects  the  small  figure  of  a  dandy  who  is  half-man,  half- woman.  The  coat 
is  further  decorated  by  butterflies,  stays,  shirt-frill,  &:c.  On  the  coat-tails  are 
a  (small)  pair  of  breeches  and  two  large  pins.  A  chain  is  slung  over  the  sleeves 
and  hangs  across  the  hips,  supporting  an  eye-glass.  The  crest  is  a  pair  of 
tightly  laced  stays  supporting  a  bulging  bust,  an  elongated  cravat,  and  high 
collar  framing  a  wig-block  with  blank  features  and  large  ass's  ears,  and  sur- 
mounted by  a  bell-shaped  top-hat.  Each  supporter  holds  a  tubular  bottle  of 
Eau  de  Cologne.  The  motto:  Dandi,  Dando,  Dandum  is  on  a  scroll  formed 
of  a  widely  extended  pair  of  (loose)  white  trousers;  from  this  hangs,  like  the 
Order  of  the  Fleece,  a  small  dog.  This  is:  Order  of  Puppyism  suspended  in 
French  Sijfener  [sic].  The  coat  is  also  held  erect  by  a  centre  pole,  and  by  two 
spurred  boots,  sole  upwards,  each  resting  on  a  toe  of  one  of  the  supporters 
who  are  poised  mincingly  on  the  trousers.  Below  the  design:  Coat  of  Arms. 
Azure.  The  Sexes  impaled  improper  beticeen  two  Butterflies — Tzio  flanches  ;  on 
the  dexter  [i.e.  sinister]  fianch  three  pair  of  Stays,  argent,  the  sinister  flanch 
charged  with  Rouge  Pomat"*  &  smell^  bottle,  On  the  Canton,  Dexter  [sinister] 
a  frill  rampant  in  the  sinister  Canton  a  false  collar  rampant — small  cloaths 
passive  in  pile  supported  by  pins — Supporters — Two  Monkies — proper —  Crest, 
a  p''  of  Stays  full  padded — supporting  a  Cravat  &  Collar  Rampant  proper, 
holding  a  blockhead  argent  &  gules,  winged  with  asses  ears  proper  the  whole  under 
cover  of  a  Sable  Bever. 

For  the  dandy  see  No.  13029;  for  the  epicene  dandy.  No.  13069.    Cf. 
No.  13395. 

Reid,  No.  880.    Cohn,  No-    1040.    Reproduced,  R.  Nevill,  The  Man  of 
Pleasure,  1912,  p.  28. 
I2^X8|  in. 


13395  THE  BOXER'S  ARMS.— 

G.  Cruikshank  fistit 

Pu¥  Nov''  I"  iSig  by  G.  Humphrey  27  S'  James's  Street— 

Engraving  (coloured  impression).  The  shield  is  represented  by  an  upright 
oval  with  a  green  border  on  which  are  posts,  inscribed  P  C  [Pugilistic  Club] 
supporting  an  encircling  rope.  Within  this  are  four  quarterings  separated  by 

975 


CATALOGUE   OF   POLITICAL   AND   PERSONAL    SATIRES 

a  superimposed  shield,  on  which  a  pugilistic  encounter  is  depicted  with  a 
windmill  in  the  background :  ist  quarter,  a  pair  of  boxing-gloves,  2nd  quarter, 
a  man  drawing  a  cork  from  a  bottle  held  between  his  knees,  3rd  and  4th,  a 
champion  supported  on  the  knee  of  his  second ;  the  pairs  face  each  other  and 
are  divided  by  a  winged  hour-glass.  The  Supporters  are  two  manly  and  hand- 
some bottle-holders.  The  crest  is  a  clenched  fist  between  sprays  of  laurel, 
with  the  motto  Nemo  .  Me  .  Impune  .  Lacessit  above  a  purse.  On  the  scroll 
below  the  arms  is  the  word  Bottom.   Below  the  title:  Deddicated  [sic]  to  the 

Pugilistic  Club,  to  Amateurs  &  the  Fancy  in  general Arms — within  a  border 

of  Ropes  parted  per  Chief  &  Base,  a  Mill  proper  between  two  Champions 
rampant  en  Combat,  on  the  Sinister  chief  a  Knight  of  the  Fist  drawing  Claret^ 
facing  a  pair  of  Gauntlets,  on  the  base, — time  proper,  between  two  Boxers  seyant 
supported  by  seconds. — Crest — a  Clench'd  hand,  encircled  by  laurel,  supported  by 
Purse  or,  with  Motto,  ^Supporters  two  Seconds  or  Bottle  holders  proper — ' 
Signed  Jackson  King  at  Arms. 

A  tribute  to  'Gentleman  Jackson'  (i 769-1 845),  Champion  of  England 
1795-1803,  see  No.  12917.  A  companion  pi.  to  No.  13275;  cf.  No.  13394. 

Reid,  No.  919.    Cohn,  No.  951. 
ii|x8|f  in.   With  border,  13!  X  9^  in. 


13396  THE  I  SAILORS  |  PROGRESS    Sic  tramit  \  gloria  Mundi— 

London — Pub'^  June  25^^  i8ig  by  G.  Humphrey  N"  2j  S'  James's  Street 

Engraving.  The  title  is  on  a  rectangular  timber  structure  placed  on  boards 
suggesting  the  deck  of  a  ship  with  an  opening  in  front  for  the  hold,  and  with 
a  background  of  clouds  of  smoke.  Against  each  side  of  the  erection  is  a  rope- 
ladder.  At  the  base  of  the  ladder  (1.)  stands  a  gaitered  yokel,  hat  in  hand, 
looking  up  admiringly  at  a  sailor  who  is  fiercely  mounting  the  ladder,  sabre 
in  hand,  and  pistols  in  belt,  as  if  about  to  board  an  enemy  ship.  On  the  top 
the  sailor  stands  triumphantly,  holding  the  staff  of  a  large  ensign  flag  which 
floats  behind  him,  and  waving  his  hat.  A  dismantled  cannon  is  at  his  feet. 
In  the  coat  of  a  petty  officer,  and  considerably  older,  he  smilingly  descends 
the  ladder  on  the  r.  At  the  base  of  the  ladder  he  sits  on  a  stool  jovially  hold- 
ing out  a  frothing  jug,  a  pipe  in  his  1.  hand.  He  is  dressed  as  a  Greenwich 
pensioner,  and  has  a  wooden  leg  and  a  patch  over  one  eye.   Cf.  No.  13045. 

On  the  reverse  is  a  sketch  of  Queen  Victoria  wielding  a  mop;  the  title: 
Mop  Squeezer  a  la  Victoria.   Also  a  rudimentary  sketch  with  small  figures. 

Not  in  Reid.  Cohn,  No.  1946.  The  pi.  was  used  as  the  frontispiece  to  the 
re-issue  in  Cruikshankiana,  1835,  of  The  Progress  of  a  Midshipman,  see  vol.  x. 
7x4^  in.   With  border,  7IX9I  in. 


13397  IRISH  DECENCY!!!     No  i  3^4 

Etched  by  G  Cruik 

Pu¥  August  25  i8ig  by  T,  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  A  magistrate,  identified  as  'the  Hon.  Sir 
Thomas  McKenny',  Mayor  of  Dublin,  sits  at  a  table  on  a  small  dais,  giving 
instructions  to  constables.  On  the  wall  behind  is  a  crowned  Irish  harp. 
Beside  him  sits  a  clerk,  pen  in  hand.    Two  ladies  watch  the  proceedings, 

'"'  Added  in  pen. 

976 


PERSONAL  AND   SOCIAL   SATIRES    1819 

seated  by  the  table.  The  two  constables  have  large  bludgeons;  their  clothes 
are  patched  and  ragged,  but  they  have  a  sanctimonious  air.  One  says:  Plaise 
your  Worship  it's  a  scandalous  shame  that  honest  Women  can't  take  a  bit  of  a 
walk  near  the  Royal  Canal  but  they  must  shut  their  eyes!  as  the  place  is  full  of 
Naked  blackguards;  cooling  themselves  this  hot  weather.  The  other  adds :  Upon 
my  Soul  your  Honor  it 's  all  true  they  are  standing  all  about  the  place  your 
■worship!  One  woman,  whose  breasts  are  immodestly  exposed,  says:  What 
a  Shame!!  The  other:  What  they  say  is  very  true  I've  seen  it  myself,  it's  a 
great  shame.  The  Mayor  rests  one  gouty  foot  on  a  stool ;  before  him  Ts"an 
open  book.  Burns  Justice;  its  r.  page  is  inscribed:  20  pence  is  i\8'^ — 6  &  4 

is  10.   He  answers  with  a  startled  expression:  Cooling  themselves  by  J .'.' 

in  the  Royal  Canal  too!!!  the  Devil  burn  'em!! — I'll  cool  the  Vagabonds — 
Paddy  O'Shaughnessy.  I  give  you  &  Old  O'Calahan  the  thanks  of  the  Corpora- 
tion for  your  Modesty,  go  to  the  canal  tottiorrow  &  take  away  all  their  cloaths, 
I'll  teach  the  rascals  Decency!  The  clerk  says:  By  the  Powers!  we'll  commit 
them.  Two  men,  barelegged  and  ragged,  look  in  at  the  door  (1.).  One  says: 
Sure  we  are  only  diverting  ourselves  your  Worship  becase  we  have  no  dinner; 
the  other:  Faith  &  sure  &  the' II  never  lave  us  to  go  home  Naked!  A  dandy 
stands  against  the  wall  looking  with  quizzical  amusement  at  the  Mavor.  See 
No.  13398. 

Reid,  No.  908.   Cohn,  No.  1244. 
8^X  i2|f  in. 


13398  IRISH  DECENCY!!!     N°  2  362 

Etc¥  by  G  Cruik. 

Pub^  Aug^  30"'  i8ig  by  T  Tegg  iii  Cheapside  London 

Engraving  (coloured  impression).  A  sequel  to  No.  13397.  The  Mayor  and 
clerk  sit  as  before.  The  two  constables  have  brought  in  three  naked  bathers, 
who  modestly  try  to  screen  their  persons  with  hat,  handkerchief,  and  a  basket 
inscribed  Sprats  from  the  Royal  Canal.  The  two  women  peep  in  at  the  door, 
scandalized;  their  place  near  the  table  is  taken  by  a  woman  in  a  red  cloak 
who  says:  Blood  &  Ouns  your  Worship  give  poor  pat  his  breeches!!!!  One 
constable,  with  coat  and  breeches  over  his  arm,  points  to  his  victims:  Here 
your  Worship,  I  have  brought  three  of  those  rebelious  Naked  Vagabonds  before 
your  Lordship  to  be  treated  your  honor  according  to  Law.  The  other,  also  hold- 
ing ragged  garments,  stands  smugly  silent.  The  men  say:  [i]  Please  your 
worshipful  Lordship  tell  the  Constable  to  give  me  my  Cloathes — sure  &  little 
enough  I  have  of  them ;  [2]  O!  your  honor!  for  the  decency  of  Ireland  don't  let 
the  Constable  sell  my  poor  rags!!!  [3]  By  my  soul  I  think  is  Lordship  is  going 
to  turn  us  all  into  Hottentots.  The  Mayor,  extending  a  clenched  fist,  shouts: 
You  rascals!  hozv  dare  you  presume  to  cool  your  selves  in  the  Royal  Canal — ? 
No  one  in  this  Country  must  tneddle  with  Royalty — /  think  I  have  prevented 
further  indecency  on  your  Parts — give  them  their  cloathes  Constable.  His  1.  hand 
rests  on  a  paper:  Plan  for  Reformitig  the  City  of  Dublin.  The  two  women  at 
the  door  say:  La  zchat  a  sight!!!!!!  and  /  think  it  is  a  greater  shame  than  it 
was  before — I'm  quite  shock' d  to  see  it.  The  dandy  (}  Archer)  looks  mockingly 
towards  the  Mayor,  saying.  Well!  I  think  an  Archer  Bull  is  not  to  be  found  in 
Joe  Miller. 

Reid,  No.  909.    Cohn,  No.  1244. 
8|xi3  in. 

977  3R 


CATALOGUE  OF   POLITICAL  AND   PERSONAL  SATIRES 

13399  MODERN  OLYMPICS 

London  Published  23  Feb^  i8ig  by  John  Hudson,  85,  Cheapside 

Engraving  (coloured  impression).   The  title  continues: 

Forth  from  the  Goal 

Starts  the  favorite  hob — and  on  his  back 

Firm  sits  light  load,  the  Dandy,  Jerkin' d  spruce 

Dandies  race  on  the  new  velocipede.  In  the  foreground  three  are  bunched 
together,  taking  enormous  strides.  The  foremost  holds  a  riding-switch  in  his 
teeth  like  a  jockey,  the  last  carries  a  rolled  umbrella  with  a  spiked  ferrule 
under  his  r.  arm.  A  handle-bar  connected  with  the  hub  of  the  front  wheel 
steers  the  machine;  a  saddle  is  placed  over  a  shallow  dip  in  the  main  bar  or 
pole,  on  which  is  also  fastened  a  horizontal  board  to  support  the  arms  of  the 
riders.  In  the  background  (1.)  a  rider  falls  head  first  from  his  machine,  which 
falls  across  the  front  wheel  of  another  rider.  On  the  r.  a  frightened  dandy, 
unable  to  stop,  rides  over  the  neck  of  a  prostrate  competitor,  while  behind, 
a  third  man  stops  by  digging  his  heels  into  the  ground.  On  the  extreme  r. 
is  a  mail-coach  with  the  guard  blowing  his  horn. 

The  earliest  caricature  in  the  B.M.  on  the  velocipede  or  pedestrian  hobby- 
horse, also  called  hobby-horse  (or  hobby),  dandy-horse,  dandy-hobby,  ac- 
celerator, and  (elaborated)  pedestrian  carriage.  The  forerunner  of  the  bicycle 
was  invented  by  Baron  Drais,  c.  1813,  and  called  the  Draisine,  first  shown  at 
Tivoli,  Paris.  An  improved  form  was  patented  by  Denis  Johnson,  a  London 
coach-maker  in  1818  (who  exhibited  it,  see  Examiner,  1819,  21  Feb.,  p.  123), 
see  No.  13400.  The  rider  ran  along  the  road  'with  light  touches  of  the  feet'  and 
at  a  rate  of  eight,  nine,  and  possibly  ten  miles  an  hour,  or  according  to  Keats, 
at  seven  miles.  They  cost  eight  guineas.  This  became  the  rage  early  in  18 19, 
and  is  described  in  the  February  issues  of  monthly  magazines ;  it  was  at  once 
associated  with  the  dandy.  The  police  magistrates  (by  March)  had  put  down 
its  use  in  London  on  account  of  the  crowded  streets,  but  in  caricature  it  filled 
the  print  shops.  A  print  of  January  1819  was  advertised  in  the  Amateur 
Trader  (O.E.D.,  s.v.  Hobby):  The  Nezve  Long  Back'd  Hobby  made  to  carry 
three  zvithout  bending.  On  13  May  the  Morning  Chronicle  advertised  the 
'Velocimanipede  or  Ladies  Hobby,  a  Machine  to  carry  One,  Two,  or  Three 
Persons'.  The  velocipedes  depicted  (with  apparent  accuracy)  in  this  and  the 
earlier  caricatures  differ  from  the  pi.  in  Encyc.  Brit.,  nth  ed.,  s.v.  Cycling, 
in  the  curved  rod  projecting  in  front  of  the  wheel  which  connects  the  steering- 
bar  with  the  hub.  See  Gent.  Mag.,  1819,  i,  pp.  176.  271;  Letters  of  Keats, 
1935,  p.  312  (13  Mar.  1819);  he  calls  it  'the  nothing  of  the  day'.  See  index, 
s.v.  Velocipede;  for  the  dandy  cf.  No.  13029. 
c.  9X14!  in.  (pi.). 

13400  [JOHNSON'S    PEDESTRIAN       HOBBYHORSE       RIDING 
SCHOOL,  AT  NO.  377  STRAND. 

Pub.  Ackermann,  n.d.J^ 

Photograph  (reduced)  of  an  engraving.  Fashionably  dressed  men  ride  veloci- 
pedes round  a  small  ring  sheltered  by  a  timbered  roof  supported  on  beams. 
Outside  the  ring  in  the  background  are  spectators,  men  and  women,  and  a 
little  boy.  Other  riders  are  practising  outside  the  ring.  In  the  foreground 
on  the  extreme  r.  a  dandy  walks  forward;  he  resembles  Lord  Petersham. 
Not  a  caricature.   See  No.  13399.   ^^r  Johnson,  No.  13421. 

Reproduced,  E.  B.  Chancellor,  Life  in  Regency  and  Early  Victorian  Times 
[1926],  pi.  53. 
5|X7f  m.  (photograph). 

'  A.  de  R.  xvi.  82. 

978 


PERSONAL   AND   SOCIAL   SATIRES    1819 

13401  MODERN    PEGASUS    OR    DANDY    HOBBIES    IN    FULL 
SPEED' 

[?W.  Heath.] 

Pub  Mar  24  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Two  men  run  furiously  on  velocipedes  on 
a  country  road.  A  fat  drink-blotched  fellow,  like  a  John  Bull,  is  slightly  in 
front,  he  wears  old-fashioned  dress;  his  paunch  rests  on  the  bar  of  the 
machine.  The  other  is  a  dandy,  with  grotesquely  high  collar  and  neck-cloth, 
his  coat-tails  flying;  he  wears  odd-shaped  breeches,  full  in  the  seat,  and 
spurred  top-boots.  See  No.  13399. 
7|Xi2f  in. 

13402  A  FAMILY  PARTY  TAKEING  AN  AIRING' 

[?W.  Heath.] 

Pub  March  24^*"  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  man  in  old-fashioned  (gold-laced)  dress 
rides  a  velocipede  in  front  of  which  on  the  pole  is  a  seat  with  arms,  for  a 
passenger,  occupied  by  an  elderly  woman  with  a  cat  on  her  knee.  Behind  her 
sits  a  monkey  who  stretches  backwards  to  clutch  the  man  by  the  nose,  while 
a  second  monkey  perched  on  the  back  of  the  machine  tugs  at  his  pigtail,  and 
waves  his  victim's  laced  cocked  hat.  From  the  front  of  the  pole,  under  the 
woman's  seat,  hangs  a  cage  containing  a  parrot.  A  lap-dog  tied  to  the  back 
of  the  machine  is  dragged  along  in  the  dust.  There  is  a  landscape  background. 
The  woman  is  the  typical  old  maid  of  caricature.  The  fider  is  probably  her 
footman  or  coachman.  See  No.  13399. 
8x  12^  in. 

13403  BUM  BAILIFF  OUT-DONEs  [sic]  OR  ONE  OF  THE  COM- 
FORTS ATTENDING  THE  PATENT  HOBBY-HORSES 

Marks  fee' 

London  April  i^'  i8ig  .  .  .  [cropped] 

Engraving  (coloured  impression).  A  dandy,  hat  flying  off^  and  coat-tails  flying, 
strides  on  a  velocipede,  running  over  a  dog,  but  escaping  easily  from  two 
bailiffs  (1.)  who  chase  him  with  bludgeons.  He  says:  Ha!  Ha!  Ha!  follow  me 
jny  fine  fellows  and  I  zcill  tip.  The  foremost  bailiflp,  who  holds  a  writ,  says 
persuasively :  Curse  your  tiping,  only  stop!  your  word  will  be  enough,  zve  are 
never  hard  zoith  Genunen.  The  other  says:  He's  not  to  be  gammojid  Dick, — 
those  d — d  Hobby  Horses  zcill  give  us  endless  trouble ;  I  wish  the  patentee  had 
broke  his  neck,  before  he  had  introduced  them — John  Bull  is  such  a  D — nd  fool 
that  any  new  plaything  is  sure  to  turn  his  brains.  In  the  background  a  yokel 
holding  a  pitchfork  grins  delightedly.  A  milestone  (r.)  is  inscribed  X  from 
Lon[don].  See  No.  13999. 
8|x  i2|  in.  'Caricatures',  vii.  136. 

13404  THE  EPPING  HUNT  OR  HOBBIES  IN  AN  UPROAR' 

[?W.  Heath.] 

Published  by  T  Tegg  ill  Cheapside  April  4'^  iSig 

Engraving  (coloured  impression).    All  hunt  on  velocipedes;  they  advance 
(1,  to  r.)  in  two  streams  on  each  side  of  a  grass  plot,  while  in  the  background 

'  Serial  number  erased. 
979 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

the  huntsmen  are  just  behind  the  dogs,  chasing  (r.  to  1.)  the  stag.  A  dandy, 
his  machine  in  the  air,  falls  head  first  on  a  woman  who  also  obstructs  a  lean 
tailor,  with  shears  and  card  of  patterns  in  his  pocket.  A  bare-legged  chimney- 
sweeper follows,  his  brush  tied  to  the  back  of  his  machine.  A  lean  barber 
and  a  grotesquely  fat  butcher  follow,  with  a  man  in  a  smock.  On  the  extreme 
1.  a  dustman  in  fan-tailed  hat  rides  with  a  woman  seated  behind  him  and 
ringing  his  bell.  The  figures  in  the  second  column  are  on  a  small  scale  but 
well  characterized.  Accidents  and  collisions  occur.  Two  dandies  (r.)  in  the 
middle  distance  (r.)  are  turning  to  follow  the  hounds. 

See  No.  13399.  London  'cits'  at  the  Easter  Epping  Hunt  were  a  favourite 
subject  of  caricature,  cf.  No.  10813,  &c. 
7i|xi2|in. 

13405  THE  •  PEDESTRIAN  •  HOBBIES  OR  THE  DIFFERENCE  OF 
GOING  UP  AND  DOWN  HILL' 

[?W.  Heath.] 

Pub  April  8  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  grotesquely  dressed  dandy  strides 
rapidly  (r.  to  1.)  on  a  velocipede,  see  No.  13399,  down  a  sloping  road,  as  does 
another  in  the  background  (1.  to  r.).  A  third  (r.)  is  thrown  into  the  air  from 
his  falling  machine.  In  the  middle  distance  a  fat  parson  trudges  up  hill 
carrying  his  machine  across  his  shoulder.  A  milestone  is  inscribed  xxi  From 
London.   Across  the  sky  is  etched: 

You  have  heard  of  old  Pegassus  flying  no  doubt 
But  our  Hobbies  nou  [sic]  Beat  him  good  lack 
For  when  you  are  tired  of  Rideing  about 
You  may  carry  your  Horse  on  your  Back 
7|Xi2jin. 

13406  HOBBIES  OR  ATTITUDE  IS  EVERY  THING    Dedicated  with 
permission  to  all  Dandy  Horsemen^ 

[?W.  Heath.] 

Pub  April  ly  iSig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  One  dandy  rides  forward  on  a  'hobby',  see 
No.  13399,  full-face,  legs  straddled,  elbows  akimbo.  Another  rides  r.  to  1., 
leaning  back,  just  avoiding  the  former's  back  wheel,  but  striking  the  pole  of 
his  machine  against  the  chest  of  a  pedestrian  who  has  tried  to  cross  the  road, 
and  who  screams  with  raised  arms.  In  the  background  a  third  dandy  (r.) 
rides  with  bent  knees  and  the  back  foot  pointing  upwards;  a  fourth  (1.)  coasts 
with  horizontal  legs. 
8ixi2|  in. 

13407  EVERY  ONE  HIS  HOBBY    plate  i'^' 

[?W.  Heath.] 

Pub  April  24  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  companion  pi.  to  No.  13408  with  the 
same  imprint,  by  the  same  artist.  A  procession  of  characters  riding  fantastic 
velocipedes  (see  No.  13399),  ^^  profile  to  the  r.,  each  an  isolated  figure^ 
arranged  in  two  rows  divided  by  a  horizontal  line.  Each  machine  is  an  appro- 

'  Serial  number  erased. 

980 


PERSONAL   AND   SOCIAL   SATIRES    1819 

priate  object  mounted  on  two  wheels,  [i]  The  Princes  Hobby.  The  Regent, 
with  elegantly  pointed  toe,  rides  a  cask  inscribed  Punch  Princes  Mixture. 
[2]  The  Dukes  Hobby.  The  Duke  of  York,  dressed  as  a  field-marshal,  bestrides 
a  large  green  bag,  inscribed  £10.000  for  Visiting  the  Sick  [see  No.  13214,  &c.]. 
[3]  The  Judges  Hobby.  A  judge  in  wig  and  gown  rides  a  gibbet,  the  upright 
placed  horizontally,  the  cross-bar  connected  with  the  steering  gear,  and 
inscribed  bivented  by  the  Bank;  a  noose  hangs  behind  [see  No.  13 198,  &c.]. 
[4]  Wellingtons  Hobby,  he  rides  a  cannon,  cf.  No.  13385.  [5]  The  Lawyers 
Hobby.  A  barrister  in  wig  and  gown  rides  a  long  cylinder  inscribed  Brief. 
[6]  The  Tailors  Hobby.  A  tailor,  wearing  a  flowered  dressing-gown,  cap,  un- 
gartered  stockings,  and  slippers,  rides  a  goose.  [7]  The  Parsons  Hobby.  A  fat 
parson  rides  a  Bible,  resting  vertically  on  tiny  wheels.  [8]  The  Fishmongers 
Hobby.  He  rides  a  fish. 
8^X  i2|  in. 


13408  EVERY  ONE  HIS  HOBBY    plate  2^^ 

See  No.  13407.  [i]  The  Aldermans  Hobby.  Fat,  drink-blotched,  and  with 
gouty  legs,  he  rides  a  turtle.  [2]  The  Sailors  Hobby.  He  vigorously  rides  an 
anchor,  despite  a  wooden  leg.  He  has  a  pugnacious  expression,  and  a  long 
pigtail.  [3]  The  Jezcs  Hobby.  He  has  a  beard  and  rides  a  bag  of  Old  Clothes. 
[4]  The  Doctors  Hobby.  A  very  thin  apothecar)%  a  medicine-bottle  in  his 
pocket,  rides  a  Mortar,  using  the  pestle  as  a  steering-rod.  [5]  The  Ireishmans 
Hobby.  A  peasant,  with  one  shoe  and  stocking,  a  straw  rope  twisted  round 
the  other  leg,  rides  a  bull,  holding  it  by  the  horns.  Cf.  (e.g.)  No.  5605,  by 
Gillray.  [6]  John  Bulls  Hobby.  A  jovial  and  paunchy  fellow  rides  a  huge 
round  of  beef,  inscribed  Rump  of  Beef  4  p.  lb.,  the  dish  being  on  rollers.  He 
holds  up  a  tankard  of  Porter  and  knife  in  his  r.  hand,  sticking  a  fork  into  the 
meat.  [7]  The  Welchmans  Hobby.  He  rides  a  goat  whose  legs  are  planted 
on  two  disks  inscribed  Cheese;  he  has  a  goat-like  profile  and  in  his  hat  is  a 
leek.  [8]  The  Real  Dandy  Hobby.  A  dandy  strides  along  on  a  correctly  drawn 
machine.  He  wears  breeches,  full  in  the  seat,  with  spurred  top-boots. 
83^X12^  in. 


13409  FOUR  &  TWENTY  HOBBY-HORSES  ALL  OF  A  ROW. 

[Pub.  Ackermann,  i  INIay  iSiq.]^ 

Photograph  of  an  aquatint,  the  original  having  verses  engraved  below  it.  The 
riders  (see  No.  13399),  arranged  in  four  rows,  proceed  in  single  file  from  r. 
to  1.  In  the  upper  1.  corner  [i]  is  a  fat  parson,  [2]  (?)  an  actor  in  trunk-hose 
carrying  a  spear.  [3]  A  dustman.  [4]  A  tailor,  holding  shears  and  with  a 
cabbage  (cf.  No.  11824)  tied  to  the  back  of  his  machine.  [5]  A  sailor  with 
a  wooden  leg  smoking  a  pipe.  [6]  A  coachman,  professional  or  amateur,  with 
a  whip.  [7]  A  quaker.  [8]  An  artist  with  palette,  brushes,  and  easel.  [9  and 
10]  Two  dandies  in  violent  collision.  [11]  A  butcher  with  a  tray  of  meat 
behind.  [12]  An  elderly  barrister.  [13]  A  chimney-sweeper,  with  soot-bag 
and  brush.  [14]  A  barber.  [15]  A  clown.  [16]  A  Harlequin.  [17]  A  Jew  old- 
clothes  dealer,  bearded,  wearing  two  hats,  and  with  a  sack  on  his  back. 
[18]  A  newsboy,  blowing  his  horn,  with  the  name  of  his  paper  on  the  front 
of  his  hat,  and  a  stack  of  papers  on  the  back  of  his  machine.  [19]  An  obese 
'cit'  with  a  turtle  tied  to  the  back  of  his  velocipede.   [20]  (?)  A  negro  servant 

'  Serial  number  erased.  ^  A.  de  R.  xvi.  74  f. 

981 


CATALOGUE  OF  POLITICAL  AND  PERSONAL  SATIRES 

in  livery,   [21]  (?)  A  zany.   [22]  A  cavalry  soldier  with  a  wooden  leg.   [23]  A 
watchman  with  his  lantern  tied  to  the  back  of  his  machine.  [24]  A  sportsman 
with  a  gun  under  his  arm. 
4f  X  7^  in.   Original  15  X  17  in. 

13410  GOING  TO  THE  RACES.' 

[?W.  Heath.] 

London  Published  May  ig"'  i8ig  by  T  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  dandy  (cf.  No.  13029)  sits  with  folded 
arms  in  a  four-wheeled  gig  on  high  springs,  with  a  (lowered)  hood,  a  coat  of 
arms  on  the  panel;  beside  him  sits  a  lady  eclipsed  by  an  enormous  bonnet. 
The  gig  is  drawn  (1.  to  r.)  by  men  riding  a  velocipede  (see  No.  13399)  ^^^  ^'^^y 
the  double  bar  converging  to  form  a  front  seat  for  a  single  rider.  Each  man 
holds  a  steering  handle.  They  wear  jockeys'  costume.  Two  liveried  grooms 
on  velocipedes  follow  the  carriage;  one  is  a  negro.  In  the  background,  the 
farther  side  of  the  course  is  lined  with  tiny  figures  riding  velocipedes. 

Reproduced,  E.  B.  Chancellor,  Life  in  Regency  and  Early  Victorian  Times 
[1926],  pi.  53. 
8|Xi3in. 

1341 1  THE  NEW  LONG  BACK'D  HOBBY  MADE  TO  CARRY  THREE 
WITHOUT  KICKING  332 

[?W.  Heath.] 

Pub  June  ig  i8ig  by  T  Tegg  Cheapside 

Engraving  (coloured  impression).  The  front  of  the  velocipede  (see  No.  13399) 
is  in  the  normal  shape,  and  is  ridden  by  a  dandy;  the  bar  is  elongated  and 
dropped  to  give  space  for  a  seat  on  which  a  lady  sits,  wearing  an  enormous 
bonnet.  At  the  back  is  a  much  lower  seat,  like  a  dickey,  behind  the  back 
wheel.  In  this  sits  a  groom,  with  his  feet  on  a  foot-rest,  working  the  wheel 
by  handles  attached  to  the  hubs.  In  the  background  (1.)  is  a  similar  machine, 
carrying  three. 

This  exactly  represents  the  description  of  an  improved  'pedestrian  carriage', 
called  a  Velocimanipede,  invented  by  Mr.  Birch  of  Great  Queen  Street. 
Examiner,  1819,  p.  315,  16  May.   See  also  No.  13425. 

In  the  lower  1.  corner,  reversed  and  upside  down,  is  the  imprint:  G  Harris 
I  Shoe  Lane  London. 
8|xi3  in. 

13412  ANTI-DANDY  INFANTRY  TRIUMPHANT  OR  THE  VELOCI- 
PEDE CAVALRY  UNHOBBY'D.' 

[Williams.] 

London  Pub^  i8ig  by  T.  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  Scene  on  a  high-road  passing  through  a 
village.  Those  who  see  their  livelihood  threatened  by  mechanical  transport 
(cf.  No.  13427)  attack  the  riders  of  velocipedes  (see  No.  13399).  ^^  the  fore- 
ground a  dismounted  dandy  lies  on  his  back,  while  a  fat  veterinary  surgeon 
stands  with  one  foot  on  his  chest,  squirting  a  syringe  into  his  mouth.  A  stalwart 
blacksmith  is  breaking  the  machine  into  small  pieces.  The  dandy,  who  is 
very  thin,  with  a  wasp  waist,  exclaims:  /  swear  by  my  stays  [cf.  No.  13394], 
/  never  zvill  mount  a  Hobby  again!  don't  now  you'll  take  all  the  stiffening  out 

'  Serial  number  erased. 

982 


PERSONAL   AND   SOCIAL   SATIRES   1819 

of  my  collar  and  frill.  The  man  answers :  77/  only  give  you  a  dose  to  make  you 
remember!  and  if  ever  I  catch  you  again  you  shall  swallow  all  the  contents  of  my 
shop!  The  smith  says:  That's  right  Doctor!  if  we  don't  exterminate  these 
Hobbies,  you'll  never  have  to  bleed  or  drench  or  I  to  shoe.  Behind  him  (1.)  are 
houses  bordering  a  village  street.  The  mistress  and  maid  of  an  inn,  with 
Man  and  Horse  taken  in  over  the  gate,  watch  delightedly.  Next  door  is  a 
smithy:  Anvil  Smith  and  Farrier  &'c.,  adjoining  the  thatched  and  gabled 
cottage  of  Drench  Veterinary  Surgeon  Cozvs  Asses  &  Dogs  cured.  In  the  middle 
distance  an  ostler  prises  a  dandy  out  of  his  seat  with  a  pitchfork ;  he  shouts : 
D — n  you  but  I'll  spoil  your  sitting!  if  the  Doctor  can't  get  horses  to  dose  he  shall 
have  asses  to  plaster!  D — n  me!  I  shall  never  have  an  opportunity  of  cheating 
a  horse  of  his  corn  any  more  if  these  Hobbies  come  in  Use.  The  road  curv^es  to 
the  1.  and  recedes  in  perspective,  a  sign-post  pointing  To  Coventry.  A  man 
eggs  on  a  dog  to  attack  a  retreating  hobby-rider;  and  a  tiny  fugitive  in  the 
distance  shouts :  Dick!  steer  clear  of  the  Blackstnitfis  in  the  next  village  and  put 
up  your  Hobby  where  there  is  no  stabling.  After  the  title : 

'^Then  beware  Hobby  Horsemen,  beware  of  y^  fate 
" Dismount  from  your  Hobbies  before  t'is  too  late, 
"For  Farmers,  horse  doctors  and  horses  providers, 
"Cry  down  wooden  horses  &  down  walking  riders, 
whoa  hobby,  down  hobby  down. 
8^Xi2|  in. 

13413  THE   PARSONS   HOBBY— OR— COMFORT   FOR  A  WELCH 
CURATE.  [34&Y 

Williams 

Pub'^  by  T.  Tegg  ill  Cheapside  London.  [18 19] 

Engraving  (coloured  impression).  A  tall  lean  parson  bestrides  a  velocipede 
(see  No.  13399)  outside  a  small  thatched  cottage  (1.)  built  against  the  slope 
of  a  mountain.  His  wife  with  four  children,  all  five  bare-legged,  watch  the 
(perilous)  departure ;  she  says :  Well  my  Dear  I  am  quite  pleased  you  have  got 
a  Hobby  ;  you  will  now  be  able  to  get  through  your  Duty  with  ease  and  cotnfort! 
He  looks  back  to  say :  Comfort  indeed  my  Dear!  it  is  only  ten  Miles  you  know, 
I  shall  now  perform  the  Service  and  be  back  by  the  time  the  kettle  boils! — /  hope 
they  will  build  some  more  Churches  in  Wales,  for  I  shall  be  able  to  undertake 
six  of  them!!!  In  his  pocket  is  a  paper:  Sermon  on  the  benefit  of  Poverty.  The 
rough  track  descends  towards  a  narrow  valley  (r.).  Beside  the  cottage  is  a 
ramshackle  shed  from  which  a  pig  looks  out. 

The  extreme  poverty  of  the  Welsh  clergy  was  a  traditional  theme,  cf. 
No.  7781.  The  parson  alludes  to  church  building  in  London,  see  No.  13287, 
and  to  clerical  absenteeism. 

Reproduced,  National  Library  of  Wales  Journal,  1945. 
8f  Xi2^  in. 

13414  THE  LADIES  ACCELERATOR. 

7.  7^.  C  fecit 

London  Pub'^  i8ig  by  S  W  Fores  50  Piccadilly 

Engraving  (coloured^  and  uncoloured  impressions).  Two  pretty  women  run 
towards  each  other  on  velocipedes,  see  No.  13399.  Their  short  full  skirts  do 
not  impede  their  action,  and  they  wear  long  frilled  drawers  above  neat  ankle- 

'  Serial  number  erased.  ^  'Caricatures',  vii.  197. 

983 


CATALOGUE   OF   POLITICAL   AND    PERSONAL   SATIRES 

boots.  Both  are  very  decolletee,  one  wears  a  round  cap  with  feathers  and 
tassels,  the  other  an  enormous  feathered  bonnet,  with  flowers  under  the  scoop. 
Behind  (1.)  is  a  country  house,  a  sign-post  (r.)  points  towards  it:  To  Lark 
Hall.  The  more  voluptuous  lady  (r.)  says :  /  do  not  see  why  Ladies  should  not 
have  a  Lark  as  well  as  the  Gentlemen. 
9XI3W  in. 

13415  THE  FEMALE  RACE!  OR  DANDY  CHARGERS  RUNNING 
INTO  MAIDENHEAD! 

[I.  R.  Cruikshank  f.]  (Yedis  Inv') 

London  Pub  by  Sidebethem  28y  Strand  i8ig 

Engraving  (coloured  impression).  Two  young  women,  gaily  dressed,  with 
ultra-short  skirts  and  long  drawers,  ride  velocipedes,  see  No.  13399,  towards 
a  toll-gate  (1.).  Each  has  the  (realistic)  head  of  a  dandy  on  the  front  of  the 
pole  as  a  figure-head;  a  pair  of  breeches  hangs  across  the  back  of  each  pole 
inscribed  Riding  Breeches,  and /or  Riding.  A  sign-post  points  To  Maidenhead 
thicket.  The  toll-keeper,  waving  his  hat  to  the  women,  opens  the  gate;  a 
grinning  yokel  stands  in  the  toll-house  door,  above  which  is  a  board :  A  table 
of  Tolls  to  be  paid  at  the  Gate  leading  to  Maidenhead — Every  Stallion  Ass  or 
Mule  &c  &c —  The  foremost  rider  says :  We  have  'em  in  Maiden  head  at  last! 
Who  would  have  thought  that  we  should  have  been  able  to  drive  them  so  far  into 
the  Country  on  the  first  trial?  The  other  says :  When  inclined  to  give  one's  Legs 
a  stretch  I  dont  know  a  more  delightful  Exercise!  I  like  New  things  &  for  my 
part,  I  am  determined  to  try  every  one  I  can  lay  hold  of! 
8^X  13  in.  'Caricatures',  x.  49. 

1 341 6  BOARDING  SCHOOL  HOBBIES !  OR  FEMALE  AMUSEMENT ! 

(Yedis  Inv^)    [I.  R.  Cruikshank  f.] 

London  pub:  by  J.  Sidebethem  28y  Strand  iSig. 

Engraving  (coloured  impression).  Governesses  and  pupils  bestride  giant 
cocks.  In  the  foreground  are  two  aged  women  whose  birds  are  collapsing. 
One  (1.)  says:  Ah  Diable!  Mine  vil  ?iot  Run!  It  is  not  Game  von!  The  other 
(r.),  bedizened  and  hideous,  says:  Mine  cant  Stand,  poor  thing  It's  quite  done 
over!  The  girls  at  the  back  of  the  bare  room  ride  spirited  birds,  with  the  steel 
spurs  of  game-cocks,  and  use  birch-rods  as  whips.  There  are  wall  decorations 
suited  to  a  school  and  other  (coarsely  punning)  inscriptions. 

See  No.  13399.   ^^-  •'^o-  13291,  a  boarding-school  scene. 
8|X  i2|  in. 

13417  DANDIES  ON  THEIR  HOBBIES! 
/  R  Cruikshank  fecit —  Yedis 
London  pub''  iSig  by  J.  Sidebethem  28y  Strand 

Engraving  (coloured  impression).  The  riders,  dandies,  see  No.  13029,  &c., 
in  the  foreground  all  have  a  female  partner  seated  facing  them,  in  a  little  seat 
behind  the  steering-bar.  These  machines,  see  No.  13399,  have  two  back 
wheels  placed  close  together,  anticipating  the  tricycle.  A  rider  falls  off^,  losing 
his  wig;  his  passenger  scratches  his  face,  saying.  You  are  not  Man  enough  to 
manage  such  a  thing  as  this!  You  are  always  tumbling  off.  A  second  woman 
says  to  her  dandy :  What  a  delightful  Sensatio7i!  What  a  charming  manner  of 
Riding! —  [.  .  .  &c.].  A  band-box  and  a  rolled  umbrella  are  strapped  to  the 
back  of  the  pole,  to  which  is  tied  a  small  dog,  who  is  under  the  back  wheels 

984 


PERSONAL   AND   SOCIAL   SATIRES    1819 

of  a  third  machine,  upsetting  it;  the  rider,  in  dandified  regimentals,  falls 
backwards,  clasping  his  passenger.  In  the  background  are  grass  slopes  on 
which  many  men  are  riding  singly ;  one  is  a  quaker  who  says :  Nozv  the  Spirit 
moves!  A  child  bestrides  a  stick,  saying.  Ride  a  Cock  horse  To  Banbury  cross! 
8|x  13I  in.  'Caricatures',  x.  64, 

13418  COLLEGIANS  AT  THEIR  EXERCISE!— OR  BRAZEN  NOSE 
HOBBIES!— 

[I.  R.]  Cruikshank  fee' 

(London  pub:  by  Sidebethem  28y  Stra?id  i8ig) 

Engraving  (coloured  impression).  Three  undergraduates  in  cap  and  gown 
ride  their  'hobbies',  see  No.  13399,  recklessly  against  or  over  prostrate  dons. 
One  has  a  female  passenger  on  his  back,  clinging  to  his  neck;  another  rides 
with  a  woman  poised  on  the  front  of  the  machine,  holding  his  shoulders. 
A  third  rides  over  the  neck  of  a  fat  don,  who  lies  on  his  back,  a  book.  Tutors 
Assistant,  beside  him.  A  thin  don  (1.),  thrown  to  the  ground,  holds  up  a  paper: 
Cockelorum  Jig;  while  the  legs  of  a  prostrate  figure  (r.),  projecting  into  the 
design,  indicate  an  unconscious  don.  Dons  and  undergraduates  alike  have 
red  drink-blotched  noses.  The  scene  is  a  curved  roadway  bordered  with 
stone  balustrades.  There  is  a  background  of  college  buildings,  with  a  dome 
suggesting  the  Radcliffe  Camera,  Oxford. 
8|x  i2|  in.  'Caricatures',  x.  65. 

13419  the  spirit  moving  the  quakers  upon  v/orldly 

vanitip:s!! 

Yedis  inv'   [G.  Cruikshank  f.] 

Pub'^  by  J  Sidebethem  28y  Strand — iSig 

Engraving  (coloured  impression).  Many  quakers  ride  velocipedes,  see 
No.  13399,  towards  a  plain  building,  with  Society  of  Friends  Meeting  House 
over  the  door.  All  wear  hats  with  enormously  wide  brims;  one  in  the  fore- 
ground wearing  a  dandified  collar  pursues  a  quakeress,  also  on  a  velocipede. 
Two  quakers  ride  with  their  wives  seated  pillion;  behind  a  third  is  a  chair 
for  three  children.  At  the  door  a  woman  dismounts.  On  the  wall  are  two 
tiers  of  hooks  for  supporting  velocipedes;  a  man  stands  on  a  ladder  to  hang 
his  machine  on  a  pair  of  hooks. 

Reid,  No.  863.   Cohn,  No.  2000. 
8f  X  i2f  in. 

'Caricatures',  x.  106. 

13420  A  new  IRISH  JAUNTING  CAR,  THE  DANDY'S  HOBBY, 
THE  VELOCIPEDE,  OR  THE  PERAMBULATOR,  BY  WHICH  YOU 
CAN  RIDE  AT  YOUR  EASE  &  ARE  OBLIGED  TO  WALK  IN  THE 
MUD  AT  THE  SAME  TIME. 

LR.  C.  fecit.  [1819]' 

Engraving  (coloured  impression).    Two  dandies  ride  velocipedes  (see  No. 
13399)  O"^'^^  muddy  grass.  In  the  background  a  third  strides  down  hill  waving 
his  hat,  a  fourth  plods  up  a  slope.   There  is  a  landscape  background  with  a 
lime-kiln,  suggesting  the  fields  round  London. 
6x9!  in.  'Caricatures',  vii.  61. 

'  Imprint  cropped. 

985 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13421  STOP  HIM  WHO  CAN!!— AN  ENGLISH  PATENTEE  INTRO- 
DUCING A  FRENCH  HOBBY-HORSE— OR  A  BIT  OF  A  PUSH 
DOWN  HIGHGATE-HILL  TO  LONG  ACRE. 

[?  By  or  after  G.  Cruikshank.]  [1819] 

Lithograph  (coloured  impression).  A  little  fat  man  on  a  velocipede,  with  his 
legs  bent  back,  is  coasting  down  a  country  road  at  a  speed  indicated  by 
his  back-blown  hair  and  flying  coat-tails;  he  holds  an  umbrella  against  his 
shoulder  which  is  blown  inside  out;  his  hat  flies  oflF.  He  has  just  run  over 
a  dog,  and  is  about  to  run  down  a  young  woman  (r.)  w^ho  flees  in  terror. 

He  is  presumably  Denis  Johnson,  see  No.  13399,  of  Long  Acre  and  the 
Strand.    For  Highgate  Hill  cf.  No.  8405.    One  of  a  set  of  Uthographs,  see 
No.  13085,  &c. 
8|x  14  in.  'Caricatures',  x.  70. 

13422  ENOUGH  TO  MAKE  A  HORSE  LAUGH!  OR  THE  WORLD 
UPON  WHEELS!! 

London  pub^  by  Sidebethem  28y  Strand  i8ig 

[?  I.  R.  Cruikshank  f.]  (Yedis) 

Engraving  (coloured  impression).  A  large  horse's  head  with  gaping  mouth 
projects  into  the  foreground  from  the  r.  margin.  Beneath  it  are  the  head  and 
shoulders  of  a  servant  in  livery,  holding  his  sides,  and  looking  up  to  laugh. 
Behind  and  on  the  1.  is  a  hill  up  and  down  which  velocipede  riders  (see 
No.  13399)  ^re  racing  or  tumbling;  one  is  kicked  off  his  machine  by  a  bray- 
ing ass.  Two  plod  uphill  carrying  their  machines  on  their  shoulders.  Cf. 
No.  13427,  &c. 
8x  13I  in.  'Caricatures',  x.  69. 

13423  A  LAND  CRUISE  ON  ONE  OF  THE  PATENT  HOBBY 
HORSES,  exhibiting  at  the  West  End  of  the  Town. 

[C.  Williams.] 

Pub^  by  J.  Johnston  g8  Cheapside  London.  [1819] 

Engraving  (coloured  impression).  Two  sailors  ride  (r.  to  1.)  a  velocipede  (see 
No.  13399)  ^^'ith  two  saddles  on  the  elongated  bar.  At  the  back  is  a  seat  for 
two  passengers  in  w^hich  are  two  gaily  dressed  women.  The  first  sailor  says 
over  his  shoulder :  D — n  it  Jack  this  is  rare  sailing  without  a  wind!  The  front 
wheel  collides  with  a  dandy  (1.),  who  has  dropped  his  steering-bar  (which 
has  dropped  to  the  ground)  and  is  about  to  fall  off.  Jack  answers:  A  very 
pretty  invention  Tom!  D — n  it  zve  shall  run  down  the  Dandy!  The  dandy 
(cf.  No.  13029)  shouts:  Curse  you  you  tarpaulins  Wy  don't  you  mind  how  you 
steer.  One  of  the  women  holds  a  bottle  and  glass;  she  looks  back  saying: 
Vy  Poll  this  beats  the  Dilly  [diligence].'.'  Vy  Poll  it's  capsized!!  Poll  sits  back 
with  folded  arms,  one  leg  resting  on  the  second  sailor's  shoulder.  She  answers : 
And  we  have  capsized  a  Dandy!!  In  the  background  (r.)  a  mail-coach  lies 
on  its  side;  men,  women,  and  luggage  from  the  outside  are  on  the  ground; 
an  inside  passenger  tries  to  climb  from  the  window. 

The  exhibition  was  at  Johnson's  the  coach-builder,  see  No.  13400. 
8|x  13  in.  'Caricatures',  vii.  196. 

13424  JACK  MOUNTED  ON  HIS  DANDY  CHARGER. 

Pub'^  by  I  Fairhirn  Broadway  Liidgate  hill.  [18 19] 

Engraving  (coloured  impression).   Folding  pi.  from  a  book.   A  naval  officer 
wearing  a  huge  cocked  hat  and  a  sword  rides  a  velocipede  (see  No.  13399). 

986 


PERSONAL   AND   SOCIAL   SATIRES    1819 

Behind  him  (1.)  a  grotesque  dandy  (cf.  No.  13029)  sits  on  the  ground,  support- 
ing himself  by  one  arm,  holding  up  a  tasselled  cudgel,  one  leg  in  the  air. 
A  tape-measure  indicates  a  tailor,  more  usually  depicted  as  shabby  and 
ungartered.   He  says: 

Oh!  you  damn'd  Sailor, 
You've  ruin'd  a  Tailor! 


The  officer  says : 


c.  7|x  10  in. 


The  Dandy  Charger 's  all  the  go, 
Ten  Knots  an  hour.  Yea,  heave,  ho 
I  send  along  on  this  Macliine, 
While  gaping  crowds  are  laughing  seen. 
And  every  Dandy  that  I  pass 
I'll  leave  sprawling  on  his  A . 


13425  GOING  TO  HOBBY  FAIR. 

I  R.  Cruikshank  Inv^  &  fecit 

Pub'^  by  G.  Humphrey  27  5'  Jajues's  S'  July  ig  iSig 

Engraving  (coloured  impression).  A  John  Bull  rides  a  'Velocimanipede',  see 
No.  13411,  round  the  basin  in  Bushey  Park,  which  is  realistically  depicted, 
with  its  baroque  centre-piece.  He  is  a  fat  'cit'  mopping  his  forehead;  his  wig 
and  hat  are  on  a  stick  fixed  in  front  of  the  steering-bar.  On  the  seat,  labelled 
J.B,  his  fat  wife  sits  holding  a  fan,  her  arm  round  a  thin  little  girl  holding  a 
doll.  In  the  dickey  behind  (r.)  is  a  little  boy  working  the  handles  which  turn 
the  back  wheel.  In  the  background  across  the  water  is  a  similar  machine, 
on  a  tiny  scale,  followed  by  a  dandy  (see  No.  13029)  on  his  'hobby'  (see 
No.  13399). 

In  the  manner  of  G.  C.    Reissued,  Cruikshankiana,  1835. 
4^x6^-  in.   With  border,  5^x7!  in.  'Caricatures',  vii.  241. 

1 3426  CRUISING  ON  LAND  OR,  GOING  TO  HOBBY-HORSE  FAIR— 

/  R  Cruikshank  fec^ 

Pub  Sep^  lo""  i8ig  by  G  Humphrey — 2y  S^  James's  5'. 

Engraving  (coloured  impression).  A  one-masted  naval  vessel  flying  an  Ensign 
flag,  sails  (1.  to  r.)  along  a  country  road  on  six  wheels.  Sailors  man  the  yards 
and  haul  at  the  sails,  an  officer  shouts  through  a  speaking-trumpet.  In  the 
background  are  three  similar  but  smaller  vessels  on  four  wheels. 

Cf.  No.  13399.   I^  t'^^  manner  of  G.  C. 

Reid,  No.  913.   Cohn,  No.  1029:  'Cruikshank  feet'. 
2|X5|  in.   With  border,  3x6^  in.  'Caricatures',  vii.  241. 

Hobby 

13427  THE  ^  HORSE  DEALER— 

y.  S  [Sheringham]  Esq''  del' G.  Cruik^  fee' 

Pub''  July  25"'  i8ig  by  G  Humphrey  2y  S'  James's  S' — 

Engraving.  Three  dandies  (see  No.  13029)  inspect  a  velocipede  (see  No. 
13399),  which  the  dealer,  bow-legged,  horsy,  and  flashy-looking,  holds  by 
the  steering-handle.  They  are  outside  a  stable  with  an  aperture  through  which 
look  three  hungry  and  startled  horses.  Above  the  closed  door  is  a  board: 
Stables  [scored  through]  Hobby  Horses  taken  in  to  mind  or  Stand  at  Livery 

987 


CATALOGUE   OF    POLITICAL   AND   PERSONAL   SATIRES 

JSB  a  Fine  Stud  of  Real  Horses  To  Be  Sold  as  cheap  as  dogs  meat — The  present 
proprietor  going  into  the  Hobby  Line.  A  lean  stable-hand  in  patched  clothes 
sits  against  the  wall  on  an  overturned  bucket,  curry-comb  and  broom  beside 
him.  He  glares  with  a  twisted  grimace  at  the  velocipede.  At  his  feet  is  a  book : 
Othello's  Occupation' s gone .  The  dealer  looks  slyly  at  a  dandy  (r.)  who  stands 
with  his  hands  on  a  cane:  Fit  warrant  him  sound  Sir  &  free  from  Vice.  The 
other  answers :  I  can  see  he  has  been  down  once  or  twice  though  my  lad.  A  second 
dandy  stoops,  hand  on  knees,  to  inspect  the  bar  or  pole :  He  seems  to  me  Jack 
not  to  have  quite  Barrel  enough.  The  third,  holding  an  eye-glass  to  his  eye, 
says:  Good  fore  hand  by  Jupiter.  They  wear  rakish  bell-shaped  top-hats.  In 
the  background  a  dandy  on  a  velocipede  follows  a  lady,  similarly  mounted; 
both  wear  top-hats;  behind  them  rides  a  sour-looking  groom.    Cf.  Nos. 

13412,  13422. 

Reid,  No.  900.   Cohn,  No.  1203. 
8f  X  13^  in.   With  border,  9|x  13!  in. 

13428  PICTURE  OF  THE  PALAIS  ROYAL— PARIS. 
GALLERIES  DU  PALAIS  ROY  PA..— Allans  voyons;  voulez  vous  monter?" 
Ipse  del.    G.  Cruikshank  fecit 

London.  Published  by  William  Hone,  Ludgate  Hill. 

Engraving  (coloured  impression).  Frontispiece  to  The  Englishman's  Mentor. 
The  Picture  . .  .  [&c.].  London:  Printed  for  William  Hone,  Ludgate  Hill — i8ig. 
A  scene  in  the  arcades  of  the  Palais  Royal,  whose  pillars  form  a  background. 
A  promenade:  courtesans  accost  and  are  accosted  by  dandies  (see  No.  13029), 
civil  and  military.  Men  seated  on  chairs  read  newspapers.  A  woman  with 
a  small  child  tries  her  luck  at  a  gambling  machine  (1.).  A  grotesque-looking 
man  performs  on  the  bladder  and  string,  an  instrument  burlesquing  the  'cello, 
see  (e.g.)  Hogarth's  Beggar's  Opera,  No.  1807,  and  Nos.  1866,  7067.  Cf. 
No.  13054. 

Reid,  Nos.  842,  4717.    Cohn,  No.  274. 
4IX15I  in.  184.  e.  12. 

13429  TRAVELLING  IN  FRANCE  OR,  LE  DEPART  DE  LA  DILI- 
GENCE.— 

G.  C^ 

Pub"^  June  14^''  i8ig  by  G  Humphrey  27  S^  James's  S^. 
Engraving.  The  clumsy  coach  is  drawn  (r.  to  1.)  by  five  horses  harnessed 
with  rope,  along  a  country  road  among  clouds  of  dust.  A  postilion  in  'milk 
churn'  boots  rides  the  near  wheeler.  A  passenger  sits  smoking  in  a  covered 
seat  behind  the  horses.  The  roof  and  a  large  basket  (or  boot)  are  covered 
with  straw  as  a  foundation  for  piled-up  baggage  covered  with  a  tarpaulin. 
There  is  a  landscape  background.    Cf.  No.  13053. 

Reid,  No.  892.   Cohn,  No.  2044.    Reissued,  Cruikshankiana,  1835. 
3ts-  X  5ig-  in.   With  border,  4|x  6|-  in. 

13430  TRAVELLING    IN    ENGLAND,    OR   A    PEEP    FROM    THE 
WHITE  HORSE  CELLAR. 

G  Cruik'^  fed 

Pub^  by  Tho'  M'^Lean  26  Haymarket,  Aug*  J^'  1835.^  {Cruikshankiana^ 
Engraving.  A  similar  scene  to  No.  13048,  the  foreground  being  the  pavement 
in  front  of  the  White  Horse,  Piccadilly,  the  background  the  opposite  houses. 

'  Second  state,  imprint  altered  from  Pub.  August  12^^,  i8ig  by  G.  Humphrey,  .  .  . 

988 


PERSONAL   AND   SOCIAL   SATIRES    1819 

Touts,  coachmen,  and  porters  try  to  force  passengers  and  luggage  into  the 
coaches  with  which  the  street  is  jammed.  A  coach  stands  by  the  pavement; 
a  coachman  pushes  a  fat  woman  up  the  steps.  On  the  box  a  dandy  (see 
No,  13029)  holds  the  reins;  two  others,  with  a  woman,  sit  in  the  rumble  into 
which  a  pigtailed  sailor  is  climbing.  Pavement  and  roadway  are  closely 
packed,  and  there  are  many  incidents.  In  the  1.  foreground  are  two  figures 
adapted  from  No.  13048:  a  bandy-legged  climbing-boy,  addressing  a  man 
with  a  bandbox,  who  is  not  a  negro  as  in  the  earHer  print.  The  tall  soldier 
who  towers  above  the  crowd  is  repeated  (r.). 

Reid,  No.  904.    Cohn,  No.  2042. 
3:^X5  in.   With  border,  4|X5i  in. 


13431  FRENCH  MUSICIANS  OR,  LES  SAVOYARDS— 

G.  C^fec' 

[Pub.  G.  Humphrey,  June  16,  1819.]' 

Engraving.  A  sequel  to  No.  13047.  The  three  musicians  walk  disconsolately 
across  the  cobbles  of  a  fashionable  London  square.  Behind  them  (1.)  is  a  large 
house  with  a  manservant  standing  truculently  in  the  pillared  porch,  watching 
the  departure;  a  lady  stands  on  the  veranda.  A  little  errand  boy  (r.)  with  a 
basket  on  his  shoulders  stares  at  them. 

Reid,  No.  5123.    Cohn,  No.   1137  (described  as  a  reduced  version  of 
No.  13047).    Reissued,  Cniikshankiana,  1835. 
3f  X4^  in.    Border  cropped. 


13432  AN  ELECTION  BALL. 

G.  Cruik  fee' 

Pu¥  July  31"  i8ig  by  G  Humphrey.  2y  S'  James  St'— 

Engraving.    A  reduced  and   reversed  version  of  No.    12138,   with  minor 
alterations. 

Reid,  No.  901.   Cohn,  No.  1084.   Reissued,  Cniikshankiana,  1835.   Repro- 
duced, Cruikshankian  Momiis,  (G.  Henischel  i"),  p.  98. 
4ix6|  in.    With  border,  5^x71  in. 


13433  GAME  OF  CHESS. 

G  Cruik^ 

London  Pu¥  August  i"  i8ig  by  G  Humphrey  2j  S'  James's  Street 

Engraving.  An  adaptation  of  No.  12392.  The  players  are  the  same,  but  one 
(r.)  has  become  gouty  and  sits  in  a  winged  arm-chair.  The  spectators  are 
altered,  but  are  perhaps  intended  to  be  the  same  persons,  transformed  by 
dress  and  pose.  One  (r.)  is  a  dandy  who  leans  against  the  chimney-piece 
warming  his  coat-tails,  and  watching  with  a  contemptuous  smile.  There  is 
a  picture  of  skittle-players,  as  in  No.  12392;  in  place  of  the  horse  (1.)  a  left- 
handed  cricketer  is  depicted. 

Reid,  No.  902.    Cohn,  No.  1148.    Reissued,  Cruikshankiana,  1835. 
Z'h  ^  si  ^^-   ^^  ith  border,  4I  x  6  in. 

"   Imprint  erased;  from  Cohn. 

989 


CATALOGUE  OF   POLITICAL  AND   PERSONAL   SATIRES 

13434  LE  RETOUR  DE  PARIS  OR,  THE  NEICE  PRESENTED  TO 
HER  RELATIVES  BY  HER  FRENCH  GOVERNESS— 

Etched  by  G.  C 

[Pub.  Sept.  27,  1819,  by  Humphrey]  A  reissue,  with  M'^Lean's  imprint: 
Aug^^  J^'  1835  [Cniikshankiana.] 

Engraving.  A  reduced,  reversed,  and  altered  version  of  No.  12922,  without 
the  dialogue.  A  certain  amateurishness  of  drawing  is  absent.  The  frenchified 
niece  advances  with  more  aplomb;  the  English  dog  is  omitted.  The  French 
servant  is  in  profile  to  the  r.,  bowing  complacently. 

Reid,  No.  5101.   Cohn,  No.  1315. 
SlXSiB-  ill-   With  border,  4f  x6^  in. 

13435  A   TAILOR    IN   A   HIGH   WIND— OR— L'EMBARRAS    DES 
RICHESSES— 

^*  [Marryat  del.]  Etc¥  by  G.  Cruikshank — 

Pub'^  by  G.  Humphrey  27  S^  James's  Street  March  JJ^'  i8ig — 

Engraving  (coloured  impression).  Below  the  title :  — Drazvnfrom  the  Life  on  the 
Cliff  Brighton.  A  burlesqued  tailor  with  a  huge  paunch  and  small  legs  stands 
in  profile  to  the  1.,  facing  a  gale  andrain,  encumbered  with  a  little  girl  clinging 
to  his  neck,  and  by  a  large  roll  of  cloth  under  the  r.  arm;  he  tries  to  open 
his  umbrella,  having  placed  his  cane  between  his  legs;  tied  to  the  handle  in 
a  handkerchief  are  books  of  patterns,  which  are  blowing  away,  like  his  wig, 
hat,  and  the  child's  bonnet;  his  coat,  with  tape-measure,  streams  behind  him. 
Sea-gulls  swoop  towards  him.  A  wind-swept  dog  turns  its  tail  to  the  wind, 
cowering  in  terror.  Behind  are  rails  along  the  cliff  and  (below)  the  sea;  three 
storm-tossed  ships  in  full  sail  show  how  sudden  was  the  squall.  Below  the 
title  five  lines  from  Byron's  Bride  of  Abydos — beginning : 

Though  rising  gale  &  breaking  foam  .  .  . 

Reid,  No.  881.   Cohn,  No.  2024. 
8^X7^  in.   With  border,  9if  X7^  in.  'Caricatures',  vii.  i. 

13436  THE  FRENCH  ARTIST— 

^^   [Marryat]  fec^  G.  Cruikshank  sculps 

Pub'^  Jany  10  iSig  by  G.  Humphrey  2y  S'  James's  Street  London 

Aquatint  (coloured  impression).  The  artist,  in  tatters  partly  covered  by  a 
picturesque  cape,  sits  at  an  easel,  painting  a  picture  of  Danae  receiving  the 
shower  of  gold;  he  paints  drapery  from  a  (?)  cravat  hung  over  the  corner  of 
his  canvas.  He  is  unshaven  and  has  a  smile  of  eager  satisfaction.  The  room 
is  a  boarded  garret,  with  a  door  heavily  barred  against  duns;  through  an 
opening  cut  in  it,  a  hand  appears,  holding  a  sheaf  of  Memoires  a  Payer;  at 
this  an  emaciated  dog  barks.  A  bulky  sheaf  of  Compte[s]  a  Payer  hangs  from 
a  nail,  beside  a  single  paper:  Regus.  Hanging  from  the  easel  are  a  bag-wig, 
sword,  and  ruffles,  while  on  the  window-sill  (1.)  a  skull  serves  as  stand  for 
a  laced  and  feathered  hat.  Drawn  on  the  wall  are  studies  of  reclining  nudes, 
&c.,  a  Venus  and  Cupid,  an  eye,  a  profile,  &c.  Against  this  is  horizontally 
suspended  a  long-stemmed  pipe.  In  front  of  it  is  a  rough  trestle-table,  on 
which  are  a  coat,  a  misshapen  top-boot  stuffed  with  straw,  &c.  The  corre- 
sponding boot  is  worn  by  the  artist,  with  his  bare  foot  projecting  from  it. 
On  the  floor  lie  books,  three  with  titles :  Meures  [sic]  des  Richesses,  Chantages 

990 


PERSONAL   AND   SOCIAL   SATIRES    1819 

de  la  Pauvrete,  Projets.  Beside  them  are  a  broken  candle  in  a  bottle,  a  bunch 
of  flowers  in  a  chamber-pot,  a  shaving-bowl  and  razor.  Books,  two  heads 
from  the  antique,  portfolios,  &c.,  stand  against  the  wall.   Cf.  No.  11963. 

A  copy,  without  aquatint,  no  imprint,  in  J.L.D. 

There  is  a  second  state,  not  in  B.M.,  fully  aquatinted  and  with  a  border. 

Reid,  No.  866.   Cohn,  No.  1131. 
61x81  in. 

13437  A  VISIT  TO  COCKNEY  FARM— VIEWING  THE  GROUNDS 

&c  &c  &c 

^^   [Marryat  del.]  — G.  Cruikshank  fec^ 

Pu¥  May  25'''  i8ig,  by  G  Humphrey  2y  S'  James's  Sir' 

Engraving  (coloured  and  uncoloured  impressions).  Below  the  title :  (i  e)  Being 
dragged  through  mud  &  Mire  by  your  Cockney  friend,  (ivho  has  lately  taken — 
a — seat  in  the  Country)  to  shozv  the  improvements!  &  his  ignorance  in  Farming. 
The  fat  'cit',  wearing  top-boots,  stands  deep  in  mire,  his  hand  resting  on 
a  heap  of  straw  and  dung  (1.);  he  turns  to  a  file  of  agonized  visitors  who  are 
picking  their  way  on  stones,  saying.  Here's  a  charming  lot  of  dung  for  you — 
Now  tho'  you  would  not  think  it  I  i7iade  every  bit  of  this  dung  myself  since  I  came 
here!  &  you  know  that's  not  long!  A  little  boy,  standing  on  the  heap  with 
a  pitchfork,  points  to  a  pool,  saying.  Yes  &  that  pond  was'nt  there  zvhen  papa 
first  came ;  Papa  made  all  that  zvater  too,  all  hifnself!  The  foremost  visitor 
registers  astonishment;  the  other  three  are  concerned  only  with  the  mud. 
A  frightened  boy  watches  the  procession.  On  the  r.  a  woman  tries  to  help 
her  husband,  a  dandy,  from  mire  that  is  sucking  off^  his  boot,  and  who  holds 
by  the  hand  (but  disregards)  a  small  child  who  has  fallen  deep  in  the  muck, 
terrified  at  the  onset  of  a  menacing  duck  followed  by  ducklings.  The  fat 
hostess,  standing  before  an  unmistakable  garden-latrine  (r.),  takes  his  shoulder, 
saying.  Never  mind  my  husbands  nasty  dung — come  this  zcay  AP  B,  &  Pll  show 
you  my  Grotto  &  Waterfall!  She  points  to  water  gushing  into  a  pool  from 
a  tiny  artificial  cave  on  which  stands  a  Venus  pudica.  This  is  flanked  by  little 
arbours  (each  surmounted  by  a  flower-pot  which  indicates  the  scale)  and  each 
containing  a  seat.  A  dove-cot  is  surmounted  by  the  figure  of  Harlequin  or 
Mercury  holding  a  purse.  Behind  are  small  trees,  a  haystack,  and  the  roof  of 
the  house. 

The  'cit's'  country  box  is  a  favourite  theme;  the  lay-out  seems  influenced 
by  the  London  tea-garden.  Cf.  (e.g.)  Nos.  8940-2.  According  to  Cohn  the 
'cit'  and  his  wife  are  (improbably)  Marryat's  parents  (cf.  No.  13249). 

A  copy,  reversed,  without  border,  Pub.  by  Le  Petit  20  Capel  S'  Dublin, 
in  J.L.D". 

Reid,  No.  890.   Cohn,  No.  2085.   Reissued,  Cruikshankiana,  1835. 
8^X  13 J  in.   With  border,  ()^X  13I  in. 

13438  THE  CHOLIC— 

^^    [Marryat  del] — G  Cruikshank  fee' 

Pub'^  Feby  12  i8ig  by  G  Humphrey,  2j  S'  James's  S' 

Engraving  (coloured  impression').  An  elderly  woman,  lean,  old-fashioned, 
and  spinsterish,  sits  on  a  settee,  shrieking  and  contorted  with  pain.  A  rope 
is  wound  tightly  round  her  waist,  the  ends  held  by  vicious  little  demons 

'  One  of  two  impressions  is  worn,  the  paper  is  watermarked  1829. 

991 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

(1.  and  r.),  who  tug  with  all  their  might.  Four  others  attack  her  with  spear, 
trident,  needle,  and  knife.  On  the  wall  (r.)  is  a  picture  of  a  fat,  disreputable- 
looking  woman  drinking,  bottle  in  hand,  by  a  bedroom  fire.  A  companion 
pi.  to  No.  13439,  with  the  same  signatures  and  imprint. 

Cf.  The  Gout  by  Gillray,  No.  9448,  the  most  famous  of  a  group  of  carica- 
tures on  disease. 

A  copy,  reversed.  Pub.  by  M^Cleary,  jg  Nassau  S^  Dublin,  in  J.L.D. 
Pattern  of  carpet  altered. 

A  crude  woodcut  adaptation  (political)  was  published  in  1832,  see  vol.  x. 

Reid,  No.  870.    Cohn,  No.  995.   Reissued,  Cruikshankiana,  1835. 
7X9^  in.   With  border,  8x9!  in. 


13439  THE  HEAD  ACHE— 

See  No.  13438.  A  man,  thin,  elderly,  and  bald,  leans  back  despairingly  in 
an  arm-chair  by  the  fire,  grimacing  with  upturned  eyes,  and  holding  a  (useless) 
medicine-bottle.  He  is  tormented  by  six  little  demons;  one  bores  into  his 
skull  with  an  auger,  another  with  a  bit.  A  third  raises  a  mallet  to  strike  a 
wedge  into  the  skull.  One  sits  on  his  victim's  shoulder,  holding  a  music-book 
and  bawling  into  his  ear,  another  blows  a  trumpet  against  his  cheek.  A  sixth 
runs  up  his  arm  to  bring  a  red-hot  poker  into  action. 

A  copy,  reversed.  Pub.  by  M'^Cleary  jg.  Nassau  S'  Dublin,  in  J.L.D. 

A  crude  woodcut  adaptation  (political)  was  published  in  1832,  see  vol.  x. 

Reid,  No.  871.   Cohn,  No.  1186.   Reissued,  Cruikshankiana,  1835. 
7^  X  9i  in.   With  border,  8x9!  in. 

13440  LACING   IN   STYLE— OR  A  DANDY  MIDSHIPMAN  PRE- 
PARING FOR  ATTRACTION!!  323 

[?  Marryat  del.]   Etched  by  G  Cruikshank 
Pub''  March  6""  i8ig  by  T.  Tegg  iii  Cheapside 

Engraving  (coloured  impression).  A  midshipman  (1.)  dressed  as  a  dandy  (cf. 
No.  13029)  braces  hands  and  feet  against  a  mast  on  the  extreme  1.,  while  four 
sailors,  standing  on  a  turn-table  (r.),  wind  up  by  a  windlass  a  rope  attached 
to  his  stays  (cf.  No.  13394),  compressing  a  wasp-waist.  His  coat,  bell-shaped 
top-hat,  with  belt  and  dirk,  are  on  a  chair  beside  him.  He  says:  Very  well 
my  hearties  very  i?ideed — 'pofi  honor.  This  lacing  is  not  very  agreeable,  but  it 
will  be  fully  compensated  by  the  grand  dash  I  shall  make  at  East  London  Theatre 
tonight — Oh!  I  shall  be  most  enchanting!  Oh,  charming!  Oh!  delightful!  after 
Ive  got  a  pint  of  Rowlands  Maccassar  Oil  [see  No.  12405]  on  my  head — Pull 
away!  heave  away!  pull  away  hearties!!  An  old  sailor  sits  on  a  gun  smoking; 
he  leans  against  the  side  of  the  ship,  looking  over  his  shoulder  to  say  with 
a  contemptuous  grimace :  /  say  Master  Midshipman,  I  always  thought  you  a 
little  crack-brained ;  now  Pm  convinced  of  it,  for  as  yoiive  turn'd  Dandy,  that's 

proof  positive — Pts  all  up  with  you  &  all  I  have  to  say  is  you're  not  worth  a 

quid  of  tobacco.  Another  midshipman,  wearing  a  cockaded  top-hat,  jeers  at  the 
dandy  with  flexed  knees  and  raised  arms :  My  Eyes!!  Oh  Murder!  Ha!  ha! 
ha!!  Jack  Greathead  the  cheesetnonger's  son  got  stays!!!  Well,  Pve  a  good  mind 
to  get  petticoats! — these  Dandies  are  a  disgrace  to  Great  Britan —  The  four 
sailors  pushing  hard  at  the  windlass  all  grin ;  one  asks :  /  say,  Mainmast,  do 
you  intend  to  get  Stays;  Mainmast:  Get  Stays!  Why  man  I  have  stays  already 
&  have  order'd  a  pair  of  Buckskin,  &  2  pair  of  Sealskin,  what  do  you  think 
of  that  eh?!!   The  third,  a  negro,  says:  Me  vid  tink  Massa  vid  soon  have  the 

992 


PERSONAL   AND   SOCIAL   SATIRES    1819 

Belly  ache!!  The  fourth :  Huzza!  don't  flinch  my  boys  thd  he  call  ''Stop"  don't 
do  so — Heave  away  my  lads  give  him  a  twitcher — heave  away  He,  Ho  He 

Ho // 

Reid,  No.  876.    Cohn,  No.  1299. 
Sfxisiin. 

13441  DANDIES  IN  FRANCE  OR,  LE  RESTAURATEUR. 
J.  S  [Sheringham]  inv^  G  Cruikshank  fec^ 

London  pub''  March  ii"'  i8ig  by  J  Sidebethem  28y  Strand 

Engraving  (coloured'  and  uncoloured  impressions).  Three  dandies  (see 
No.  13029)  swagger  vulgarly  in  a  restaurant,  while  a  better-bred  Frenchman 
scowls  at  them  as  he  bends  over  a  plate  of  soup  (r.).  One  lounges  against  the 
table  with  his  arm  thrown  over  the  back  of  the  chair  addressing  an  obsequious 
French  cook :  Holloa  Mons^  Crapaud  diner.  The  cook,  with  fashionable  cravat 
and  queue,  apron,  and  sabots  (cf.  No.  4516),  obsequiously  proffers  the  carte: 
Tenez  Monsieur  void  La  Carte.  Another,  who  is  knock-kneed,  takes  by  the 
chin  an  ugly  Frenchwoman  in  peasant  dress,  who  is  bringing  in  a  small  bird 
on  a  dish.  The  third  adjusts  his  throttling  cravat  with  a  complacent  grin. 
The  floor  is  tiled.  On  the  wall  is  a  large  painting  of  reapers  in  a  field  (or 
perhaps  this  is  a  view  seen  through  a  window). 

Reid,  No.  877.   Cohn,  No.  1041. 
8fxi3  in. 

13442  UNDEVIATING  RECTITUDE.  OR  A  HINT  FOR  THE  HOOD 
WINKED,  BY  ONE  OF  THE  STIFF  NECKED  GExNEILVnON— 

i8j^i8  Esq""   Etc¥  by  G  Criiikshank — 

London,  Pub'^  April  5""  i8ig — by  G  Humphrey — 2y  S'  James's  Street 

Engraving.  A  St.  James's  Park  scene,  with  Westminster  Abbey  in  the  back- 
ground. A  dandy,  cf.  No.  13029,  (r.)  and  a  fashionably  dressed  woman  whose 
face  is  hidden  by  her  huge  bonnet  have  collided,  the  former's  view  restricted 
by  the  brim  of  his  bell-shaped  top-hat.  She  lies  on  the  ground,  an  elbow  on 
her  yelping  lap-dog,  and  prods  him  in  the  waist  with  her  (closed)  parasol; 
he  treads  on  her  petticoats,  and  staggers  back,  with  imbecile  dismay,  holding 
cane  and  eye-glass. 

Reid,  No.  883.   Cohn,  No.  2063. 
8^xy{^  in.   With  border,  9|X7-Jf  in. 

13443  FOGGY  WEATHER.— 
^^  Esq'  del'—G  Cruik'^  sculp' 

London  Published  Dec"  2g"'  iSig  G  Humphrey  2y  S'  James's  Street 

Aquatint  (coloured  and  uncoloured  impressions).  A  wide  London  street  in 
a  dense  fog  is  depicted  with  (comic)  realism.  A  coach,  a  carriage,  and  startled 
horses  loom  out  of  the  darkness,  to  the  peril  of  pedestrians.  In  the  foreground 
a  boy  pushing  a  barrow  of  (?)  cat's  meat,  has  overthrown  a  lady  who  lies  on 
her  back,  kicking,  while  a  dandy  (see  No.  13029),  frightened  by  a  horse  (1.), 
steps  on  her  neck.  Another  dandy  is  struck  in  the  chest  by  the  ladder  of  a 
lamp-lighter.    A  Jew  pedlar  has  fallen,  scattering  his  wares.    Three  ragged 

'   In  'Caricatures',  x.  66. 

993  3S 


CATALOGUE  OF   POLITICAL   AND   PERSONAL   SATIRES 

link-boys  stand  on  the  r.;  one  picks  a  pocket.  Their  links  and  a  torch  held 
by  the  lamp-lighter  illuminate  the  gloom;  there  is  also  faint  radiance  from 
carriage-lamps. 

Reid,  No.  929.   Cohn,  No.  11 16. 
9X  13  J  in.   With  border,  9|x  13!  in. 

13444  FASHIONABLE  PORTRAITS 

A  E.  del'   G.  C^  Sculp' 

Pu¥  May  30""  i8ig  by  G  Humphrey — 27  S'  James's  S' — 

Engraving  (coloured  impression).  A  scene  in  Hyde  Park.  Two  dandies 
(see  No.  13029)  approach  a  woman  in  grotesquely  fashionable  dress,  one  from 
the  1.,  the  other  from  the  r.;  she  walks  in  back  view  through  an  opening  in 
the  rails,  in  the  direction  of  a  sign-post  pointing  To  the  Artillery  Ground,  but 
looks  alluringly  over  her  shoulder  at  the  man  on  the  1.  who  leans  eagerly 
towards  her.   The  other  stares  through  a  glass. 

Reid,  No.  891.    Cohn,  No.  1108. 
7X9^  in.   With  border,  7IX9I  in. 

13445  MONSTROSITIES  OF  1819.     PI'  3 
G.  Cruikshank  fee' 

London,  Pu¥  Nov''  2g"'  i8ig  by  G  Humphrey  27  S'  James's  Street 

Engraving  (coloured  impression).  A  Hyde  Park  scene  illustrating  develop- 
ments in  costume  since  the  pi.  for  1818  (No.  13055).  The  figures  seem  to 
be  portraits  as  well  as  types.  The  men's  hats  are  more  extreme,  some  being 
higher  in  the  crown;  one,  grotesquely  small,  is  worn  by  a  dandy  who  stands 
against  a  tree  (1.)  with  his  hands  in  his  trouser  pockets.  Collars  are  more 
pointed,  cravats  as  high  or  higher,  coat  collars  are  high  and  rolled  instead  of 
low  and  flat;  the  wide  snort  trousers  have  disappeared,  and  though  some  are 
full,  some  tight,  are  all  strapped  under  the  boot.  The  women's  dresses  are 
still  high-waisted,  but  reach  to  the  feet,  much  trimmed  and  bell-shaped. 
Bonnets  are  less  high,  the  scoop  being  more  horizontal  than  vertical.  Flat 
broad-brimmed  hats  are  also  worn.  Women  no  longer  walk  on  tip-toe,  and 
their  stoop  is  less  pronounced.  A  conspicuous  figure  is  a  very  dandified  lancer 
officer,  with  square-topped  plumed  helmet,  swaggering  with  legs  astride,  r. 
hand  on  hip,  supporting  his  large  sabre  with  the  1.  hand.  Those  riding  and 
driving  are  in  the  middle  distance  behind  the  pedestrians.  Lord  Petersham  (1.) 
drives  a  high  gig,  with  a  small  groom  beside  him,  see  No.  13029.  The  Persian 
Ambassador,  see  No.  13350,  &c.,  is  riding,  followed  by  two  of  his  suite  (r.). 

Reid,  No.  922.    Cohn,  No.  1750. 
9X135  in.   With  border,  9|x  13I  in. 

13445  a  a  second  state,  uncoloured,  with  &  1820  added  to  the  title. 
Reissued,  Cruikshankiana,  1835. 

13446  HUMMING-BIRDS— OR— A  DANDY  TRIO— 

J  S.  [Sheringham]  Esq''  del — G.  Cruik^  etch'd 

Pub'^  July  J5.  i8ig  by  G  Humphrey  27  S'  James's  Street 

Engraving  (coloured  impression).  Three  fashionable  dandies  (see  No.  13029) 
in  a  well-furnished  room.  One  (1.)  sings,  seated,  and  with  a  leg  resting  on 
a  second  (lyre-backed)  chair;  he  leans  sentimentally,  hand  on  heart,  towards 
a  lutanist  reclining  on  a  (Regency)  sofa  playing  an  ornate  curiously  shaped 

994 


PERSONAL   AND   SOCIAL   SATIRES    1819 

instrument.  The  third  stands  behind  the  sofa,  playing  a  flageolet,  and  admir- 
ing himself  in  a  mirror  above  the  ornate  fireplace.  The  vocalist  holds  an  open 
music-book:  Love  has  eyes.  On  the  floor  beside  him  are  two  others:  The 
Lovesick  Swain  set  to  Music  and  Our  Warbling  Notes  and  Ivory  lutes  Shall 
ravish  every  ear.  Two  W.L.  portraits  flank  the  mirror,  one  of  a  lady  in  quasi- 
Elizabethan  dress,  the  other  of  a  man  similarly  dressed,  both  having  pinched 
waists  and  full  busts.  Below  one  is  a  picture  of  Vacuna  [Goddess  of  rural 
leisure],  a  blowzy  woman  lying  under  a  tree;  below  the  other,  a  grotesque 
Narcissus  admires  his  reflection.  On  the  end  of  the  sofa  sits  a  grotesquely 
clipped  (and  dandified)  poodle  suckling  puppies. 

Reid,  No.  895.   Cohn,  No.  1216.   Reissued,  Cruikshankiana,  1835.  Repro- 
duced, Fuchs,  i.  260. 
8|x  i2|  in.   With  border,  9^  x  13I  in.  'Caricatures',  vii.  152. 

13447  THE  DANDY  SICK  O,  TIM  POOR  Y  O,  MORE  EASE  [o  tem- 
pera, o  mores]. 

/  R  Cruikshank.  fecit — 

Pu¥  Feby  i8ig  by  S  W  Fores  50  Piccadilly  and  112  Oxford  Street — 

Engraving  (coloured  impression).  A  bedroom  scene  suggesting  genteel 
poverty,  poorly  furnished  but  with  a  carpeted  floor.  An  emaciated  dandy 
(see  No.  13029)  wearing  a  woman's  beribboned  cap,  and  a  dressing-gown, 
with  high  collar,  frilled  shirt,  and  breeches,  droops  in  a  chair,  attended  by 
two  friends  and  a  visitor.  The  last  (1.)  bows,  holding  hat  and  rolled  umbrella, 
and  asks  Hoto  do?  Whats  matt.  The  invalid:  Not  Well — Ca-a-nt  tell.  One 
friend,  wearing  woman's  cap,  scarf,  and  a  dangling  pin-cushion,  with  dandy's 
dress,  proffers  a  glass  containing  Dandy  Water  from  an  effervescing  bottle; 
he  says :  Do  my  dear  fello  take  this  nice  cordial  &  this  pretty  Gilt  Pill,  it  will 
raise  your  delicate  drooping  spirits,  &  keep  off  the  Hysterics,  which  you  know 
distresses  your  tender  frame  so  umhercifully .  The  other  (r.),  who  wears  an  apron 
with  dandy  costume,  and  has  a  medicine-bottle  in  a  pocket,  proffers  the  pill, 
supporting  the  shoulders  of  the  patient.  He  says:  Aye  my  szveet  fellu  I  will 
torment  my  own  frame  to  death,  but  I  will  discover  some  nezu  Pectoral,  Balsamic 
envigorating  tonic  nervous  &  exhilerating  Cordial  for  your  exquisite  and 
effeminate  Constitution .  All  four  have  stick-like  limbs  and  debased  features. 
On  the  bed  beside  the  patient  lie  two  books :  Ovids  Art  of  Love  and  Ovids 
Metamoposis  [sic].  On  the  wall  hang  the  dandy's  coat,  top-boots,  riding- 
switch,  and  (on  a  shelf)  Wig  box,  spurs,  and  bell-shaped  top-hat.  On  a  bare 
table  (1.)  are  a  pin-cushion,  bottles,  one  of  Ruspinos  Styptic  (cf.  No.  10258). 
Under  it  is  an  open  trunk  heaped  with  articles  of  dress.  On  the  ground  (r.) 
are  chamber-pots  and  a  huswife. 

For  the  epicene  dandy  see  No.  13069,  &c. 
8|X  13!  in.  'Caricatures',  vii.  143. 

13448  DANDIES  SANS  SOUCI. 

[Williams.]  [c.  181 9] 

Engraving  (coloured  impression).  Two  dandies,  fast  asleep  in  upright  straw- 
bottomed  chairs,  and  with  careworn  frowns,  are  being  robbed  by  two 
courtesans  in  a  poorly  furnished  room,  where  the  men's  hats  and  gloves  lie 
on  a  sofa  (1.),  together  with  a  woman's  huge  bonnet.  One  sleeps  with  legs 
on  the  table ;  a  woman  hands  his  bunch  of  seals  (attached  to  a  heart-shaped 
pin-cushion)  to  a  man  who  stands  in  the  doorway.   She  says:  Here  is  the  tick 

995 


CATALOGUE   OF   POLITICAL  AND   PERSONAL   SATIRES 

however  if  we  find  nothing  else.  The  fellow  answers :  The  Tick!!  Why  D — n 
me  Bet  its  a  pincushion  and  I'll  bet  any  thing  the  seals  are  nothing  better  than 
Dutch  mettal.  The  other  woman  feels  a  pocket  of  her  victim,  and  says :  Curse 
ye  dont  make  such  a  noise!  I  feel  something  like  a  flimsy  [bank-note].  Bottles, 
jugs,  and  glasses,  with  pipe  and  tobacco-box,  are  on  the  table  and  floor.  A 
lighted  candle  is  on  the  mantelshelf. 

One  of  many  satires  on  the  poor  but  pretentious  dandy,  cf.  No.  13060,  &c. 
Dandies  sans  six  sous,  by  Williams,  was  published  by  Tegg  (n.d.).   A.  de  R. 
xvi.  31.  An  old  pun,  cf.  Nos.  6458,  9922. 
6|X9j  in.  (cropped).  'Caricatures',  vii.  149. 


13449  RAINY  WEATHER,  OR  THE  BATTLE  OF  THE  UMBRELLAS. ! 

y.  Baker  Fee' 

Pub'^  by  y.  Sidebethem  28y  Strand.  [c.  18 19] 

Engraving  (coloured  impression).  The  pavement  recedes  in  perspective  from 
1.  to  r.,  with  the  window  of  Sidebotham's  shop  as  a  background.  Pedestrians 
with  umbrellas,  all  with  sharply  pointed  ferrules,  are  colliding  to  their  mutual 
damage.  A  tall  Life-Guards  officer  with  a  high  plumed  helmet  walks  (r.  to  1.) 
holding  up  an  elegant  pagoda-shaped  umbrella  with  a  tasselled  handle.  A  very 
short  gaily  dressed  and  umbrella-less  woman  stands  on  tip-toe,  with  raised 
arm,  hailing  a  hackney  coach.  A  dandy  uses  his  umbrella  to  hook  off  the 
bonnet  of  a  pretty  young  woman,  who  distractedly  pokes  the  ferrule  of  hers 
into  the  eye  of  a  hussar  officer.  A  porter  carrying  a  large  package  on  his  knot 
collides  with  a  dandy,  forcing  the  latter's  umbrella  against  the  hat  and  umbrella 
of  a  dandy.  A  little  boy  wears  an  old  umbrella  cover  as  a  cape;  a  child  on 
pattens  is  eclipsed  by  an  enormous  umbrella.   There  are  other  incidents. 

Each  pane  of  a  large  window  is  filled  with  a  print,  as  in  earlier  print-shop 
plates,  see  (e.g.)  Nos.  5220,  moo;  one  pane  is  being  broken  by  an  umbrella. 
The  prints  are  slightly  sketched,  but  indicate  actual  publications.  Two  can 
be  identified:  Nos.  13008,  13043.  There  is  also  a  velocipede  print,  see 
No.  13399,  showing  that  the  date  is  not  earlier  than  1819.  Above  the  window: 
Sidebethem  Printseller  and  Publisher.  Above  the  door :  28y ;  above  the  window 
on  the  r.  of  the  door:  Literary  Chronicle  Office. 
8||  X  i2|  in.   With  border,  9|x  13-^  in.  'Caricatures',  x.  62. 


13450  A  DIFFERENCE  IN  TASTE— N  B  EVERY  MAN  MUST  HAVE 
HIS  WAY 

[Williams.] 

London  Pub  by  S.  W.  Fores  50  Piccadilly  &  312  Oxford  Street  [?  18 19] 

Engraving  (coloured  impression).  Two  men  of  contrasted  types  sit  with  a 
small  round  table  betw^een  them.  One  (1.),  young  and  handsome,  clasps  his 
hands  and  says  ecstatically :  Give  me  sweet  Nectar  in  a  Kiss,  |  That  I  may  be 
replete  zvith  Bliss.  The  other,  grossly  fat,  coarse,  and  drink-blotched,  has  a 
decanter  of  Claret,  and  holds  a  full  glass  in  one  hand,  a  pipe  in  the  other. 
He  looks  contemptuously  at  his  companion,  saying,  Give  me  but  Claret  in  a 

Glass  I  And  as  for  Kissing,  Kiss  my . 

A  similar  but  differently  drawn  print,  is  Contrasted  Lovers,  without  imprint, 
J.L.D. 
8f  X  i2|  in.   With  border,  9^X  i3t^  in.  'Caricatures',  viii.  96. 

996 


PERSONAL  AND   SOCIAL  SATIRES   1819 

13451  THE  LAWYERS  LAST  CIRCUIT. 

[Pub.  Fores,  July  i,  1819.]' 

Engraving  (coloured  impression).  Skeletons,  on  skeleton  horses,  gallop 
exultantly  towards  flames  rising  from  a  pit  (1.);  a  sign-post  points  To  Hell. 
On  the  two  most  prominent  horses  a  terrified  lawyer  is  tied  back  to  back  w^ith 
the  skeleton-rider.   Skulls  and  bones  lie  on  the  ground. 

This  seems  to  derive  from  No.  6128  (1782),  with  the  same  title,  after 
Rowlandson.   See  also  Nos.  10149,  10179,  13452. 
8|x  12J  in.  'Caricatures',  viii.  99. 


13452  THE  LAWYERS  LAST  CIRCUIT 

J.  Baker  fee' 

Published  by  E  King  Chancery  Lane  Printed  by  N  Chafer  [?  18 19] 

Engraving  (coloured  impression).  See  No.  13 451.  A  la\\yer,  holding  a  brief- 
bag,  rides  back  to  back  with  a  grinning  skeleton.  Death,  who  holds  a  scythe 
and  a  bone  and  points  to  a  grotesque  demon  seated  among  flames  (r.)  who 
beckons,  holding  up  an  hour-glass.  Demons  crouch  in  flames  bordering  the 
foreground;  they  hail  the  lawyer.  One,  with  money-bags,  holds  up  a  fat 
purse;  a  female  with  ram's  horns  flourishes  a  rattle  and  a  cap  with  a  large 
peacock's  feather.  A  third  smokes  an  elaborate  pipe.  On  the  extreme  1.  are 
the  three  baying  heads  of  Cerberus.  A  demon  flies  beside  the  horse's  head, 
pointing  downwards,  and  flourishing  a  comet-like  stream  of  fire  on  which  the 
title  is  etched.  Small  inconspicuous  demons  are  scattered  over  the  back- 
ground. The  skeleton-horse  is  urged  on  by  a  nude  demoniac  figure  riding 
a  white  horse  (the  Pale  Horse  of  'Revelation')  with  fire  shooting  from  its 
nostrils.  He  has  horns  and  talons,  and  holds  up  in  each  hand  a  bunch  of 
hissing  serpents.   Below  the  design  in  four  columns: 

In  his  Office  with  Writs  and  Parchments  hung  round, 
Midst  Letters  and  Lawsuits  Old  Justice  was  found. 
His  eyeballs  zvere  sunk,  zvhilst  his  hands  grasp' d  his  fees, 
For  Old  A'ick  tcoidd  no  more  be  put  off  with  sham  Pleas, 
On  shelves  Bills  in  Chaticry  zvere  rang'd  pile  o'er  pile. 
With  Demurrers,  Decrees,  and  Injunctions  to  file 
But  his  Petition's  answer' d — his  Orders  are  past, 
And  Death's  struck  a  Docket  against  him  at  last! 
No  more  he'll  declare,  or  for  Clients  e'er  plead. 
Though  Issue  zvasjoin'd,  his  Cause  did  not  succeed. 
His  Counsel,  'tzvas  plain,  could  not  lend  hitn  relief. 
Though  doubly  he  fee  d  him — he  threw  up  his  Brief, 
His  false  Witness  heard^to  gain  time  then  he  try'd, 
But  Chief  Justice  Death  afresh  Trial  denied; 
His  Costs  are  all  tax'd — final  judgment  is  past, 
And  Old  Nick  zvith  a  CA  SA^  has  got  him  at  last. 
The  nezcs  through  the  regions  of  Pluto  soon  fied. 
And  on  Earth  it  was  zvhisper'd  "Old  Justice  was  dead". 
Whilst  thousands  flock' d  round,  none  believing  the  tale, 
'  Till  they  saw  his  poor  Clients  their  sad  loss  bewail, 

»  A.  de  R.  XV.  180. 

^  Abbreviation  of  Capias  ad  satisfaciettduni ,  a  writ  to  take  into  custody  after  judge- 
ment till  the  plaintiff's  claim  is  satisfied. 

997 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

His  Creditors  met — hut  soon  clamorous  grew. 
For  his  Assents  [sic]  wouldn't  yield  e'en  the  Devil  his  due, 
To  find  him  they  swore — yet  the  road  none  could  tell, 
Though  'tis  said  that  the  Lawyer's  last  Circuit's  to  Hell. 

8fxi2fin.   Border  cropped.       '  'Caricatures',  iv.  125. 


13453  SATURDAY  NIGHT  AT  SEA  OR  NAUTICAL  NOTIONS  OF 
HONOR. 

Tom  Truelove  deV    [Williams  f.] 

London  Pub.  by  S.  W.  Fores  50  Piccadilly  &  312  Oxford  Street.  [?  1819] 

Engraving  (coloured  impression).  A  scene  between  decks.  Sailors,  seated  on 
sea-chests,  or  a  coil  of  rope,  smoke,  drink,  and  talk.  One,  who  holds  a  punch- 
bowl, says:  When  I  took  Peg  Block  in  tow.  Splinter  my  Mizzen  if  I  wan' t  fool 
enough  to  swear  by  my  Honor,  to  stick  to  her  as  long  as  she  had  a  plank  left,  or 
Pd  given  her  turnips  before  now,  but  if  a  man  forfeits  his  Honor,  de'  ye  mind  me 
he's  not  worth  a  fiddler's  D — n.  A  man  beside  him  says :  Why  now  de'  see  Jack, 
as  how  this  heres  my  zvay  ofthitiking  when  a  man  takes  a  girl  under  his  protection, 
she  should  be  all  as  one  of  a  piece  of  his  self,  and  she  should  share  his  last 
farthing.  A  third  says:  Why  what  tiow  de'  See's  the  use  of  all  this  here  sort  of 
stuff?  about  Honor  and  all  that  there:  if  a  man's  a  man  he' I  allways  do  whats 
right,  and  if  he  is  no  Man,  my  Eyes  and  limbs  throw  him  overboard,  that  there's 
my  zvay  0  thinking  D — ne.  The  fourth:  Why  that  there's  what  I  was  a  saying 
to  that  there  Yorkshireman,  you  know  who  I  mean?  Tom  Starboards  messmate, 
they  call  him  Isaac  Scarlet ; — the  Da — n'd  lubber  took  poor  Ann  under  his  pro- 
tection as  he  call'd  it,  and  made  the  poor  creature  pawn  her  Necklace,  and  all 
them  there  things  to  get  him  grogg  and  such  like  D — n  such  sort  of  Honor!!  All 
have  loose  hair  hanging  to  the  shoulders  and  wear  short  jackets,  wide  trousers, 
and  buckled  shoes.  On  the  deck  lie  ballads:  Ben  Buckstay,  Nancy  Dear,  and 
Bill  [B]obstay. 
S^X  13J  in.  'Caricatures',  viii.  136. 


13454  A  CURE  FOR  LOVE. 

London  pub:  Jan^^  9  18 ig  by  S.  W.  Fores  50  Piccadilly  &  312  Oxford  S^ 

Engraving  (coloured  impression).  A  fat  ugly  man  stands  in  a  dilapidated 
wash-house,  one  foot  on  a  rough  stool,  the  other  trampling  on  his  wig;  he 
gazes  up  at  a  noose  hanging  from  a  beam,  saying.  Oh!  my  hard  Fate!"  \  Why 
did  I  trust  her  ever?"  \  What  story  is  not  full  of  Womans  Falsehood?  At  his 
feet  is  a  letter:  You  old  Fool  if  you  ever  [?  trouble]  me  again  with  your  Stupid 
epistles  I  will  expose  you  in  the  public  Papers  Peggy  Perkins.  Below  the  title : 
No  Cure  no  Pay.  Below  the  design  are  eight  lines  of  verse,  beginning  and 
ending : 

The  one  end  of  a  Rope  fasten  over  a  beam 

And  make  a  slip  noose  at  the  other  extreme,  .  .  . 

The  cricket  [stool]  kick'd  down  let  him  take  a  fair  swing 

And  leave  all  the  rest  of  the  work  to  the  string. 

Last  MD  invK   [An  earlier  imprint  is  obliterated.] 

For  the  Englishman's  reputed  addiction  to  suicide  cf.  No.  12353. 
ii|X9in.   PI.  i3fX9^in. 

998 


PERSONAL   AND    SOCIAL   SATIRES    1819 

13455  [PROPERLY  MATCHED]' 

London  Nov  20  i8ig  Pub.  by  S.  W.  Fores  50  Picca[dilly\ 

Engraving  (coloured  impression).  Husband  and  wife  dressing  in  a  bedroom, 
the  tent-shaped  bed-curtains  forming  a  background.  The  woman  is  thin,  the 
man  broad,  but  their  deficiencies  are  similar.  She  stands  (1.),  about  to  raise 
her  shift  and  adjust  false  posteriors.  A  false  bust,  false  teeth,  and  wig,  simulat- 
ing natural  curls,  are  on  the  table  behind  her,  on  which  are  also  the  man's 
wig  and  an  eye  in  a  tumbler  of  water.  Both  are  bald.  He  sits  (r.)  in  shirt 
and  breeches,  about  to  put  on  a  pair  of  stockings  with  false  calves  of  fleece. 
Both  register  sour  dissatisfaction  with  themselves  and  each  other.  Below  the 
design : 

Ilfaut  des  Epoiix  assortis         Persons  in  Wedlock 
Dans  les  liens  du  Mariage        should  be  properly  Matched 
9IX7I  in.  'Caricatures',  ix.  90. 

13456  LA  TOILETTE 

London.  Dec.  i  i8ig  Pub  by  S.  W.  Fores  30  Piccadilly 

Engraving  (coloured  impression).  A  close  but  inferior  copy  of  Le  Bon  Genre 
N°  5  (cf.  No.  12380,  &c.).  Two  faded  beauties,  each  with  an  attendant, 
regard  themselves  in  a  mirror.  One  (I.),  lean  and  ravaged  but  handsome,  sits 
before  a  pier-glass,  holding  a  small  table-mirror,  while  a  meretricious-looking 
maid  adjusts  a  pair  of  false  breasts.  The  other,  grossly  fat  but  comely,  regards 
herself  in  the  mirror  of  a  folding  dressing-table  placed  against  the  back  of 
the  pier-glass;  she  wears  neglige,  and  puts  on  rouge,  while  a  coy  maid  adjusts 
a  decorative  boudoir-cap.  The  elegant  furniture  is  decorated  with  ormolu. 
6|x  lof  in. 

13457  THE  COCKPIT. 

Williams  fee' 

Aquatint  (coloured  impression).  Frontispiece  to  The  Adventures  of  Johnny 
Newcome  in  the  Navy.  .  .  .  By  John  Mitford,  Esq.  R.N.  The  second  edition.  .  .  . 
London:  Published  for  the  Author  and  Sold  by  Sherzvood,  Neely  and  Jones, 
Paternoster  -  Rozc ;  .  .  .  i8ig.  Midshipmen  and  others  carouse  in  the  space  at 
the  base  of  the  ladder,  between  (1.)  the  Middys  Birth  (see  No.  13458)  and 
a  hatch  inscribed  GR  Stewards  Room,  behind  which  a  hammock  is  slung. 
The  'Birth'  is  a  wooden  enclosure  with  an  open  side,  and  a  festooned  curtain. 
It  is  painted  green  and  yellow  and  inscribed  Indefatigables.  Midshipmen 
within  are  drinking.   There  are  other  inscriptions,  objects,  and  incidents. 

The  book  purports  to  be  the  second  edition  of  No.  13 176,  &c.  In  both, 
Johnny,  belonging  to  an  old  Northumbrian  family,  leaves  the  Navy  in  disgust. 
In  the  first,  because,  though  an  excellent  ofiicer,  he  is  bullied  and  abused 
by  a  worthless  captain,  in  this  (the  more  autobiographical),  because,  though 
the  friend  of  Nelson,  and  a  very  gallant  officer  (and  rake)  he  is  passed  over 
for  promotion  till  he  inherits  wealth  and  borough  influence.  Croker,  Min- 
isters, the  Admiralty,  and  the  conduct  of  the  war  with  America,  &c.,  are  attacked, 
cf.  No.  12310.  For  the  aquatints  (coloured)  by  WiUiams,  see  Nos.  13458-76, 
all  signed  except  No.  13472.^ 
4|X7iin.  B.M.L.  C.  116.  f.  3. 

'  From  MS.  index. 

^  The  signature  is  the  same  throughout  except  for  Nos.   13458:   WiUiams  Sculps 
13459.  13473.  13474:  C".  Williams  fee,  13472:  unsigned,  13476:  C.  Williams. 

999 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13458  MIDSHIP-MANS  BIRTH. 

See  No.  13457.  P.  12.  The  interior  of  the  'Birth',  much  more  commodious 
and  neat  than  the  'birth'  of  the  period  as  generally  described.  Midshipmen 
drink  at  the  table.  There  is  an  alcove  for  crockery  (r.)  against  which  stands 
a  negro-servant  drawing  a  cork.  The  roof  (absent  in  No.  13457)  i^  painted 
with  a  rose  and  motto  Under  the  Rose,  from  which  hangs  a  lantern,  and  with 
trophies  of  flag,  anchor,  and  axe.  Over  the  door  (1.)  is  painted:  Europes  Hope 
&  Britain's  Glory.  On  the  wall,  neatly  arranged,  are  sabres,  swords,  dirks, 
pistols,  telescopes,  two  books:  Articles  of  War  and  Order  Book,  prints,  and 
a  sheet  of  Rules.  A  case  of  spirit-bottles  is  inscribed  Grog. 

For  the  midshipman's  berth  (or  mess)  see  C.  F.  Walker,  Young  Gentlemen, 
1938,  pp.  70  ff.  and  Nos.  13 180,  13457,  13470. 
4|X7|in. 

13459  STATE  CABIN— NEWCOMES  EXIT— AFTER-DINNER. 

See  No.  13457.  P.  14.  Six  officers  at  dinner,  Newcome  stands  (1.)  bowing, 
hat  in  hand.  The  roof  is  painted  as  in  No.  13458,  but  more  elaborately;  the 
inscription  is  Vivant  Rex  [sic].  Flanking  the  windows  are  pilasters,  between 
them  are  portraits,  and  the  room  is  decorated  with  large  flowering  plants  in 
ornamental  pots. 
4fX7iin. 

13460  THE  QUARTER  DECK  BEFORE  BATTLE 

See  No.  13457.    P.  19.    Johnny  runs  up  to  the  captain,  w^ho  gives  him  his 
sabre  and  book  of  Signals.   The  guns  are  manned;  an  officer  looks  through 
a  telescope  at  a  distant  ship. 
4|X7-|in. 

13461  NEWCOME  CAPSIZING  THE  ADMIRAL. 

See  No.  13457.  P.  23.  A  scene  in  Portsmouth  in  front  of  the  Dock- Yard 
wall,  and  between  Turners  Slop  Shop  (1.)  and  the  Star  &  Gar[ter]  inn  (r.). 
Johnny,  driving  a  courtesan,  'famed  Poll  Raffle',  in  a  two-wheeled  gig,  upsets 
a  tandem;  the  admiral  and  his  wife  sprawl  on  the  ground  (r.);  a  crippled 
sailor  (1.)  begs. 

The  use  of  the  name  of  Wellesley's  mistress  for  a  Portsmouth  prostitute 
seems  to  be  an  insult  to  Wellesley,  cf.  No.  11864. 
4|X  7^in. 

13462  A  CRUISE  IN  PORTSMOUTH  AFTER  GAME. 

See  No.  13457.  P-  ^^-  Johnny  splashes  through  the  kennel  of  a  cobbled 
street  towards  the  outstretched  arms  of  Poll  Raffle,  standing  in  the  door  of 
a  small  house  facing  a  memorial  to  Sir  Cloudsly  [sic]  .SA[ovell].  Behind  is  a 
small  round  and  domed  building  backed  by  the  sea.  A  tramping  sailor  lies 
in  the  road  resting  against  his  sea-chest,  another  sits  smoking  beside  him. 
4|X7fin. 

13463  THE  CAPTAIN  IN  THE  NUNNERY  TURNING  THE  SPIT. 
See  No.  13457.  P.  36.  Scene  in  Poll  Raffle's  room.  The  captain,  in  uniform, 
turns  a  leg  of  mutton  which  roasts  on  a  string,  while  Poll  hands  him  a  glass 
of  champagne.  His  dismayed  wife,  followed  by  Johnny,  enters  the  room, 
which  has  two  other  (closed)  doors;  one:  Bedroom  GR,  the  other  Cozey 
Corner  Secret.  A  sabre  and  Book  of  Orders  hang  from  a  nail.  On  the  chimney- 
piece  are  three  busts:  Howe,  Hood,  and  Jarvis.  There  are  also  prints:  Battle 
of  La  Pique,  Crazey  Jane,  Nelson.  On  the  floor  is  baggage;  a  case  inscribed 
Newcome,  Victory  Bread  Bag,  &c. 

4|X7f  in 

1000 


': 


PERSONAL   AND    SOCIAL   SATIRES    1819 

13464  THE  GUN  ROOM— NEWCOME  IN  THE  BILBOES. 

See  No.  13457.  P.  48.  The  room  resembles  an  armoury  rather  than  a  mess- 
room.  Johnny,  guarded  by  a  marine,  sits  with  one  ankle  stapled  to  the  floor, 
leaning  against  the  mizzen-mast.  The  Master's  mate  speaks  to  him.  On  the 
wall  are  placards  headed  Orders  and  Articles  of  War  and  a  portrait  of  Nelson. 
4|X7iin. 

13465  GIBR.ALTER,  NEWCOME  IN  DISGRACE. 

See  No.  13457.   P-  5°-   Johnny  leaves  his  ship  (r.)  in  a  boat  rowed  by  four 
sailors.    In  the  foreground  are  two  small  boats  with  lateen  sails,  one  with  a 
man  selling  fruit,  the  other  with  a  Turkish  flag.   Behind  is  the  Rock. 
4fX7f  in. 

13466  MARKET-DAY— GIBR.\LTER. 

See  No.  13457.  P.  51.  Midshipmen  and  lieutenants  ride  huge  galloping  pigs, 
overturning  tables,  fruit,  wine,  and  bird-cages.    Onlookers  include  military 
officers  and  Turks.   In  the  middle  distance  are  buildings,  behind  is  a  corner 
of  the  Rock. 
4I-X7I  in. 

13467  GIBRALTER  SALLY-PORT,  NEWS  FOR  NEWCOME. 

See  No.  13457.  P-  61.  A  pinnace  lies  against  a  stone  quay,  before  the  Sally 
Port  (1.).  The  Master's  mate  plunges  from  it  through  the  water  towards 
Newcome  who  stands  on  a  wooden  jetty  (r.). 

4|X7|in. 

13468  THE  NAVY  TAVERN  GIBRALTER 

See  No.  13457.  ^-  ^2.  Johnny  and  the  Master's  mate  drink  at  a  table  outside 
the  Navy  Tavern  on  'Scud-hill',  attended  by  a  woman  wearing  a  feathered 
head-dress.  A  monkey  sits  on  a  cannon.   Below  (1.)  is  the  sea. 
4|X7i  in. 

13469  NEWCOME  AT  A  FOX  CHACE. 

See  No.  13457.   P.  90.   A  hunting  scene,  two  huntsmen  ahead  of  the  dogs. 

Johnny  lands  in  a  hedge,  his  horse  gallops  ofl^. 

4fX7|in. 

13470  THE  PARSON  AND  HIS  LASS  IN  THE  COAL  HOLE. 

See  No.  13457.  P.  108.  Scene  in  the  cockpit.  In  the  foreground  a  parson 
and  a  woman  fall  down  a  hatch  opening  into  the  coal-hole.  Spectators  watch 
from  the  Doctors  Mates  Birth,  an  enclosure  on  the  1.,  placarded  Hours  for 
Patients  Attendance,  and  from  the  midshipmen's  table  (r.)  divided  from  the 
main  cockpit  only  by  a  timber  archway  inscribed  Ho?iour  and  Glory  (cf. 
No.  13458).  Its  back  wall  is  decorated  by  weapons  and  two  prints:  Nelson 
and  Victory.  Two  midshipmen  in  the  foreground  watch  from  their  sea-chests. 
4|X7|  in. 

13471  THE  WARD  ROOM— NEWCOME  AND  CAPT  CLACKIT. 
See  No.  13457.  P.  125.  Johnny,  now  in  lieutenant's  uniform,  fells  a  captain 
of  marines  with  a  chair.  Along  the  wall  of  the  neat  room  are  five  cabin  door- 
ways inscribed  respectively  J^'  Lieu\  2"^  .  .  .  [&c.  &c.]  and  each  having  sword 
and  telescope  placed  above  the  door.  In  each  doorway  stands  a  lieutenant 
in  shirt  and  night-cap.  There  is  a  buffet  in  an  alcove  (1.);  a  pipe  of  port  is 
slung  from  the  roof.  The  roof  is  painted  and  pistols  (broadswords  in  the  text) 
form  a  rose,  radiating  from  a  painted  rose,  of.  No.  13458. 

4|X7|in. 

lOOI 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

13472  PALERMO  PIER     NEWCOME  VICTORIOUS. 

See  No.  13457.  P.  170.  Johnny  lands  from  a  boat,  and  mounts  stone  steps, 
towards  Nelson  and  Lady  Hamilton.  Sir  William  Hamilton  stands  behind 
looking  through  a  glass  (of.  No.  9752).  A  military  officer  stands  beside  them. 
Behind  and  at  the  water's  edge  is  a  large  building  decorated  with  crosses  and 
flowering  plants  in  pots  and  flying  the  Neapolitan  flag. 
4fX7^in. 

13473  JAMACIA  [«V]— NEWCOME  RUNNING  FROM  THE  BLACK 
SQUADRON. 

See  No.  13457.    P.  186.    Scene  in  Kingston.    Johnny,  pursued  by  negroes 
armed  with  clubs,  rushes  towards  the  sea,  hailing  a  ship's  boat  in  which  stands 
a  marine.   They  trample  over  two  prostrate  negresses. 
4wX7|in. 

13474  BARBADOES— NEWCOME  AND  MRS  SAMBO. 

See  No.  13457.  P.  188*.  Johnny  carries  a  well-dressed  negress  whom  he  is 
about  to  hand  to  a  sailor  in  a  ship's  pinnace,  at  the  end  of  a  wooden  jetty.  He 
is  closely  pursued  by  a  planter  with  stick  and  umbrella,  followed  by  two 
negroes  with  clubs:  Massa  and  his  Quashees\  cf.  No.  11 131.  There  is  a  hilly 
coast,  with  palm-trees  and  a  few  low  white  buildings. 
4fX7|  in. 

13475  CROSSING  THE  LINE. 

See  No.  13457.  P.  189.  Scene  on  deck.  Neptune  is  enthroned  on  a  gun- 
platform  drawn  by  sailors  blowing  horns.  An  officer  of  Marines  is  carried 
on  a  stretcher  towards  the  tub,  where  a  sailor  twirls  a  mop.  A  sailor  rushes 
up  with  a  notched  blade  in  each  hand.  Another  collects  contributions  in  a  hat 
from  officers.  All  the  sailors  taking  part  have  long  hair  (made  of  tow)  and 
rope  round  the  waist.  Cf.  No.  13 185. 
4fX7T^in. 

13476  GREENWICH— NEWCOMES  FAREWELL  TO  THE  NAVY. 
C.  Williams 

See  No.  13457.  P.  214.  Johnny,  post-captain  at  last,  but  about  to  leave  the 
Navy  (disgusted  at  the  Admiralty  Board  and  all  Ministers),  goes  to  Greenwich 
to  take  leave  of  Pensioners  he  had  known.  He  stands  on  the  terrace  by  the 
river,  grasping  the  hands  of  a  sailor.  Pensioners  stand  round,  most  with 
wooden  legs  and  crutches.  Behind  (1.)  is  a  corner  of  the  Hospital. 
4#X7|in. 

13477-13482 
Engraved  plates  (coloured)  by  G.  Cruikshank'  to  The  Ton:  Anecdotes,  Chit- 
Chat,  Hints  and  On  Dits  ;  Dedicated  to  all  the  Gossips.  By  the  Author  of  The 
Greeks,  the  Pigeons,  Fashion,  Modern  Belles,  Modern  Beaux.  To  Night,  Dress 
and  Address,  Life,  High  and  Low,  &c  .  .  .  London:  Printed  for  J .  J .  Stockdale, 
No.  41,  Pall  Mall.  i8ig.  Third  Edition.  Reid,  Nos.  830-5,  471 1.  Cohn, 
No.  800.  184.  b.  21. 

13477  ENGLISH  IMPUDENCE 

Frontispiece;  text  on  p.  50.    A  young  Irishman  in  regimentals,  wearing  a 
gorget,  stands  in  front  of  the  Duke  of  York,  who  is  seated  by  a  writing-table, 
and  addressing  him  with  assurance.    In  later  editions  'English'  is  altered  to 
'Irish'. 
5iX3jin. 

'  G.  Cruikshank  repudiated  these  plates  to  Mr.  Truman,  but  accepted  them  in 
other  copies. 

1002 


PERSONAL  AND   SOCIAL   SATIRES    1819 

13478  LADY  LUCINDA  LANGUISH. 

P.  II.  A  lady,  very  decolletee,  sits  beside  a  tea-table,  on  which  she  turns  her 
back,  eagerly  reading  a  paper,  S^  James  Chron  .  .  .,  for  news  of  a  divorce. 
Sixsiin. 

13479  OLD  HAG. 

P.   15.    An  aged  courtesan  stands  on  a  street  pavement,  grimacing  and 

beckoning. 

Sixsiin. 

13480  GREEK.     PIGEON. 

P.  47.  One  fashionably  dressed  lady  (1.)  inspects  another  through  a  lorgnette. 
Such  ladies  are  now  so  styled  from  their  transparent  drapery,  &c.,  and  'ample 
plumage  and  panting  bosom'.   For  the  titles  see  Nos.  12959,  12965. 

51X31  in. 

13481  PERFECT  GENTLEMAN. 

P.m.  A  high-collared,  high-shouldered,  high-waisted  dandy  (cf.  No.  13029), 
with  long  tight  pantaloons  moulding  (padded)  thighs  and  calves,  stands 
affectedly,  holding  a  two-peaked  opera-hat. 
5iX3iin. 

13482  THE  HANDY  DANDY. 

P.  163.  Scene  in  the  justice  room.  Mansion  House,  8  Sept.  1818.  The  Lord 
Mayor  (Wood),  as  magistrate,  faces  a  monkey  which  postures  on  his  table. 
His  clerks  sit  beside  him.    Three  men  watch.     He  decides  a  dispute  over 
the  ownership  of  the  monkey.  See  No.  13358. 
5iX3-^in. 


1003 


ADDENDA  1812-1819 

13483  LA  BROUILLE     FALLING  OUT 

London  Dec  24  i8ig  Pub  by  S.  W.  Fores  41  Piccadilly 

Engraving  (coloured  impression).    Probably  a  copy  of  a  French  print.    An 
elderly  and  ugly  couple  in  old-fashioned  dress,  stand  close  together,  but  turn- 
ing aside  with  expressions  of  angry  resentment.    There  is  a  companion  pi., 
Le  Raccamodement  Making  up. 
10X7^  in. 

13484  SEE   THE   CONQUERING   HERO   COMES,    SOUND   YOUR 
TRUMPETS,  BEAT  YOUR  DRUMS, 

[Williams.] 

Pub'^  Sepf  14*^  1812  by   Walker   &  Knight  Sweetifigs  Alley  Royal 
Exchange,  remove  from  N°  7  Cornhill 

Engraving  (coloured  impression).  After  the  title:  N^one  but  the  Brave  deserve 
the  Fair  |  Wellington's  welcome  to  Madrid.  Wellington,  on  a  white  charger, 
at  the  head  of  other  mounted  officers,  enters  Madrid,  surrounded  by  women 
who  kiss  his  hand,  his  boots,  and  the  horse's  foreleg.  Some  scatter  roses;  one 
holds  up  an  infant.  He  is  preceded  by  two  Spanish  trumpeters  and  a  drummer 
(1.).  A  woman  exclaims :  the  Name  of  Wellington  will  ever  be  revered  in  Spain. 
Another  says:  Saviour  of  our  Country  Welcome!!!  He  answers:  May  your 
Enemies  be  driven  hence  for  Ever. 

In  the  background  the  French  (tiny  figures)  are  being  chased  by  a  crowd  of 
women  with  brooms  out  of  the  city,  through  a  gate  in  the  wall.  The  last  is 
King  Joseph;  a  woman  tugs  at  his  cloak,  crying,  a  pretty  King  to  rob  the 
Churches  &  run  away.  Another  shouts  Stone  him  Stone  him.  See  No. 
11901,  &c. 
8|xi2^  in. 

13485  THE  ASS  IN  THE  LIONS  SKIN  OR  THE  INSURRECTION 
OF  THE  POLES,  EN  MASSE,  REALIZED 

[?Lt.  Col.  Braddyl.]  [1812] 

Watercolour.  George  III  sits  on  a  charger  which  stands  looking  down  at 
Napoleon,  who  with  the  body  of  an  ass  crouches  on  the  ground,  half  covered 
with  a  lion's  skin,  with  a  head,  which  has  been  pushed  back  to  reveal  the 
fallen  Emperor.  Napoleon  is  in  profile  to  the  r.,  gazing  up  at  the  King;  he 
has  a  military  collar  and  stock,  and  very  long  ass's  ears.  Two  Cossacks  (r.) 
ram  him  with  their  long  spears,  one  on  the  mouth,  the  other  on  the  neck. 
Three  other  soldiers  (Poles)  attack  him  from  behind  with  long  poles.  Two 
officers  (1.)  gaze  horror-struck,  each  having  dropped  a  (broken)  baton,  one 
inscribed  Francis,  the  other  F  W".  George  III,  in  profile  to  the  1.,  looks  down 
through  his  opera-glass  as  in  No.  10119;  he  is  in  uniform  with  jack-boots 
and  cocked  hat.  On  and  near  the  horizon  are  long  solid  lines  of  infantry, 
formed  of  tiny  soldiers,  those  on  the  1.  having  British  flags;  nearer  the 
spectator  are  French  soldiers  in  flight.  On  the  r.  is  a  similar  long  line  of 
soldiers,  towards  which  tiny  Cossacks  gallop  with  levelled  spears.  At  Napo- 
leon's feet  are  papers:  Manifesto  against  the  Russians;  Mem — To  be  at  Peters- 
burgh  in  May;  Cowardly  Cossacks  Dastardly  Russians  &c  & ;  Plan  for  restoring 
the  Kingdom  of  Poland  Mem  one  of  my  own  family  to  be  provided  for ;  Blockade 

1004 


ADDENDA    1812-1819 

of  the  Bntish  Isles  [see  No.  10623,  &c.];  Mem  Ships  Colonies  &  Commerce 
[see  No.  10439,  &c.] ;  Invasion  of  England  FRENCH  Flag  on  the  Tozver.  Below 
the  title :  Once  upon  a  time,  the  Inhabitants  of  a  large  tract  of  Country  were 
alarmed  by  the  frequent  incursions  of  an  ajiimal  resembling  a  tnonstrous  Lion., 
every  one  fled  at  its  appearance,  till  some  more  courageous  than  the  rest,  assembled 
their  neighbours,  &  having  armed  them  sallied  out  in  quest  of  the  nuisance,  when 
the  Beast  grown  confident  from  his  former  success  in  intimidating,  thought  to 
frighten  them  away  by  the  sound  of  his  voice,  but  the  vaiti  glorious  animal  begin- 
ning to  bray,  discovered  that  a  Lions  skin  served  to  conceal  under  it,  only  an  Ass 
who  soon  received  the  chastisement  due  to  his  presumption.    Vide  Esops  fable. 

A  satire  on  the  invasion  of  Russia,  see  No.  11896,  which  misjudges  the 
trend  of  events :  the  Poles  remained  faithful  to  Napoleon  and  the  retreat  from 
Moscow  proved  fatal  to  them,  while  Prussia  (see  No.  12048)  and  eventually 
Austria,  deserted  him. 
I5|x  13I  in.  201*.  b.  2. 

13486  FRENCH  CONSCRIPTS  FOR  THE  YEARS   1820,  21,  22,  23, 
24  &  25.  MARCHING  TO  JOIN  THE  GRAND  ARMY. 

G  Cruikshank 

Pub'^  by  S  Knight  Sweetings  Ally  R^  Exchange — March  i8"'  1813 
Engraving  (coloured  impression).  An  old  soldier,  on  two  wooden  legs,  with 
an  empty  1.  sleeve,  a  missing  eye  and  nose,  ragged,  and  otherwise  scarred, 
addresses  a  number  of  infant-conscripts :  Come  along  ?ny  pretty  little  Heros, 
I  zcill  lead  you  to  the  Horrible  Climate  [see  No.  120 14],  there  you  shall  see  the 
Dancing  Bears  &  play  at  snow  balls  &  you  shall  get  all  the  nice  Sugar  plumbs 
&  if  you  behave  yourself s  like  good  Children  you  may  perhaps  get  a  pair  of  pretty 
wooden  legs  &  your  heads  cover d  with  ?iice  patches  of  Glory.  The  conscripts 
behave  as  the  infants  they  are;  one  clad  only  in  a  shirt  stands  on  tiptoe, 
clasping  a  big  musket,  saying,  /  vant  to  do  hotne  to  my  jnamme.  Another, 
eclipsed  by  a  cavalry  helmet  and  boots,  stands  on  a  drum,  saying  Peep  bo 
to  the  veteran.  One  bestrides  a  mortar,  another  clambers  inside  it;  one 
urinates  against  the  soldier's  wooden  leg.  A  terrified  child  in  uniform  with 
a  huge  shako  and  a  pigtail  trailing  on  the  ground  (1.),  walks  off  to  the  1.,  scream- 
ing. Some  watch  those  who  are  already  on  the  march,  in  the  middle  distance, 
where  a  gibbet-sign-post  from  which  a  skeleton  dangles  points  To  Russia. 
Three  march  up  hill  (r.  to  1.)  led  by  an  old  soldier  in  a  huge  bicorne  and 
cavalry  boots.  Two  play  fife  and  drum:  Over  the  Hills  &  far  away;  two  carry 
between  them  an  Eagle  with  a  Leigion  of  Honor  banner. 

On  10  Jan.  the  Senate  agreed  to  a  levy  of  300,000  conscripts,  see  No. 
12087,  ^c. 

Reid,  N0.222.  Cohn,  No.  1132.  Broadley,  i.333  f.  Acopy,  pub.  McCleary, 
is  De  Vinck,  No.  8876. 
8|xi3iin. 

13487  NORWICH  BULL  FEAST  OR  GLORY  AND  GLUTTONY.  232 

[Rovvlandson.] 

Pub^  November  22  1813  by  Tho'  Tegg  N°  iii  Cheapside 

Engraving  (coloured  impression).  A  crowded  turbulent  scene  in  the  market 

square,  Norwich.  In  the  foreground,  on  trestles,  is  the  carcass  of  a  bull  which 

two  butchers  are  cutting  up.  Men  struggle  or  clamour  for  fragments,  or  gnaw 

and  fight  over  bones.   On  the  r.  a  huge  cask  has  been  broached;  women  fill 

pitchers  and  pails;  one  lies  senseless.    In  the  background  a  dense  crowd  is 

in  procession,  backed  by  the  houses  of  the  city;  a  bonfire  burns  unattended. 

1005 


CATALOGUE   OF   POLITICAL   AND   PERSONAL   SATIRES 

The  cheering  crowd  moves  from  r.  to  1.,  following  banners,  one  inscribed 
Downfall  of  the  Tyrant,  and  an  effigy  of  Napoleon  raised  high  on  a  pole  and 
surrounded  by  pikes. 

The  rejoicings  are  for  Leipzig,  see  No.  12093,  &c. 

Grego,  Rowlandson,  ii.  257.   Listed  by  Broadley. 
8j|x  ii|  in.  (cropped). 

13488  lOHN  BULL  COME  TO  THE  BONE  234 
[W.  Heath.] 

[Pub.  Tegg  1813.] 

Engraving  (coloured  impression).  A  Frenchman,  tall  and  gaunt,  his  thin  legs 
engulfed  in  post-boy's  boots,  addresses  John  Bull  (1.),  shrugging  his  shoulders 
and  extending  his  hands :  by  Gar  M^  Jean  Bull  you  Var  much  alter  Should  not 
know  you  var  Jean  I  was  as  big  as  you  now.  John,  an  elderly  cit,  still  paunchy, 
but  with  clothes  hanging  in  wrinkles,  turning  his  head  in  profile  to  the  1., 
contemptuously  smokes  a  short  pipe,  the  smoke  inscribed  Puff.  His  r.  hand 
rests  on  a  cudgel  inscribed  Wellington  Oake.  He  answers  with  a  fierce  scowl: 
why  look  you  Mounseer  Parley  Vou  tho  I  have  got  Thimier  my  Self  I  have  a 
little  Sprig  of  Oake  in  my  hand  thats  as  strong  as  ever  and  if  you  give  me  any 
of  your  Parlerver  Fll  be  D — d  if  you  shant  feel  the  wait  of  it. 

The   dearth  and  commercial   and   industrial   distress  of   181 2,   see   No. 
1 1876,  &c.,  have  reduced  John  Bull,  but  military  success  has  encouraged 
him. 
ii|x8^  in.   With  border,  12^X9!  ^^^ 

13489  BERNADOTTE, 
Drawn  &  Etchd  by  W  Heath 

Pub  March  4'^  1814  by  R  Akermann  Strand 

Engraving  (coloured  impression).  Bernadotte  rides  (r.  to  1.)  a  galloping  and 
snorting  charger,  without  reins  or  saddle,  seated  on  a  leopard's  skin;  the  horse 
tramples  on  a  serpentine  monster.  He  holds  shield  and  spear,  and  looks  to 
the  r.  On  his  breast  is  a  star  composed  of  an  eagle,  flags,  and  spears.  His 
shield  is  divided  into  quarters  by  a  cross  centred  by  a  sun;  in  the  quarters 
are  an  Austrian  and  a  Prussian  eagle,  a  bear,  and  a  lion.  His  thigh  is  decorated 
with  nude  figures,  in  imitation  of  No.  12 177,  &c.  Below  the  design:  Round 
the  head  is  a  wreath  of  Laurel,  which  alludes  to  the  brilliant  Victories  gain'd. 
over  the  Scourge  of  the  World,  the  Epaulette  head  of  a  lion,  the  Star  is  formed 
Of  the  Trophies  taken  from  the  Tyrant,  the  Thigh  is  a  figure  of  Liberty  holding 
in  Chains  the  Fiend  Slavery,  the  Shield  the  Swedish  Cross  with  the  Sun  Shining 
On  the  allies  who  are  represented  on  the  Shield,  the  Horse  is  in  the  act  of 
Trampling  on  a  Serpent  alluding  to  the  Fallen  State  of  Buonaparte. 

One  of  three  prints  advertised  by  Ackermann  as  'Three  Allegorical  Carica- 
tures, highly  finished — Alexander,  Napoleon  [No.  12195]  and  Bernadotte'. 
The  first,  Alexander  I,  on  lion  and  unicorn,  4  Mar.  1814,  is  listed  by  Broadley. 
Cf.  No.  12218. 
83^X12!  in.  (pi.). 

13490  A  HAPPY  DANCE  FOR  EUROPE  330 
Lewis  Marks  del 

Pu¥  May  ly  1814  by  T.  Tegg.  iii  Cheapside 

Engraving  (coloured  impression).  Napoleon  is  pushed  and  dragged  by  two 
winged  devils  into  the  flames  of  Hell,  while  a  fantastic  serpent  encircles  his 

1006 


ADDENDA    1812-1819 

body  and  darts  fangs  towards  his  face.  They  are  surrounded  by  clouds  and 
by  a  chain  of  little  dancing  hobgoblins.  Winged  monstrosities  hover  over 
him,  spitting  flame,  or  menace  him  with  gaping  jaws  and  glaring  eyeballs. 
Napoleon  is  burlesqued  and  ragged,  with  a  corvine  profile,  imitated  from 
G.  Cruikshank. 

One  of  many  satires  on  the  banishment  to  Elba,  which  is  represented  as 
Hell  in  several  prints,  see  No.  12231,  &c. 

Listed  by  Broadley. 
9ixi3^  in. 

13491  THE  BLESSINGS  OF  PEACE 

Published  July  4  1814  by  G  Thompson  N°  4J  Long  Lane,  Smithfield 

Engraving  (coloured  impression).  Below  the  design:  Jack  Jolly  jigging  to  the 
tune  of  Orange  Boven.  A  sailor,  waving  his  hat  in  which  is  an  orange  favour, 
dances  hand-in-hand  with  a  girl  (1.)  who  holds  up  a  basket  of  oranges.  A  dove 
with  an  olive-branch  flies  over  their  heads.  A  Dutchman  (r.),  seated  on  a  tub 
of  Dutch  Herrings  and  a  cask  of  Hollands  Gin,  fiddles  for  them,  smoking  a 
pipe.  A  stout  woman  just  behind  him  comes  from  an  ale-house  door  holding 
up  a  big  bowl  of  Hollands  Grog ;  over  the  door  flies  a  flag  inscribed  The  Sea 
is  Open  Trade  Free  Commerce  Revived,  a  slogan  of  the  liberation  of  Holland, 
see  No.  121 19.  A  pendant  to  the  Dutchman  is  a  keg  of  Dutch  Butter  on  which 
is  a  large  spherical  Dutch  Cheese.  The  scene  is  the  shore  (of  Holland).  A  boat 
from  a  man-of-war  at  anchor  is  in  the  middle  distance ;  it  flies  a  flag  inscribed 
Hollands  best  Hope.  The  Prince  of  Orange  is  landing  from  the  boat,  walking 
on  a  plank  leading  to  the  shore.   Dutchmen  receive  him  with  cheers. 

The  Prince  of  Orange  landed  at  Scheveningen  in  Nov.   18 13,  see  No. 
12102,  &c.   A  crude  cheap  print. 
5|x8|in. 

13491  A  SAILOR  BOY  CAPERING  ASHORE  ON  THE  RETURN  OF 
PEACE. 

Batchelar,  Publisher,  Hackney  Road,  Shoreditch. 

Woodcut  (slightly  coloured).    A  close  copy  of  No.  13 491,  with  the  same 

inscriptions. 

5i^x8iin. 

13492  THE  PROPERTY  TAX. 

C.  W  [Williams] 

Lo7idon  Pub'^  Dec'  i'^  1814  by  W'"  Holland  N°  ii  Cockspur  S'- 

Engraving  (coloured  impression).  John  Bull  (r.),  a  prosperous  citizen,  seated 
in  an  upright  chair  on  a  boarded  floor,  gazes  up  in  angry  consternation  at 
a  'blue  Devil'  with  webbed  wings  who  hovers  above  him  and  symbolizes  the 
Income  Tax.  It  holds  out  a  money-bag  and  a  small  horseshoe  magnet,  and 
says,  with  a  diabolical  grin.  Ha!  Ha!  Master  Bull,  I  knezv  I  would  hit  upon 
something  at  last  to  get  to  the  depth  of  your  property,  this  is  Billy  Pitts  tnagnet, 
and  it  will  extract  every  shilling!  so  no  grumbling  Johnny!!  Guineas  emerge 
from  John's  pocket,  and  from  a  large  bag  which  he  keeps  under  his  chair, 
and  make  their  way  into  the  open  bag.  Other  bags  are  tied  to  a  strap  over 
the  Devil's  shoulder,  and  one  is  attached  to  his  small  barbed  tail.  The  boards 
at  John's  feet  are  pushed  up  by  the  ghost  of  Pitt  (1.),  whose  head  and  shoulders 
emerge.  He  raises  his  shroud  to  look  at  John,  saying,  Johnny  shall  never  forget 

1007 


CATALOGUE    OF    POLITICAL   AND    PERSONAL    SATIRES 

me.  At  John's  feet  (r.)  is  a  rolled  document,  damaged,  inscribed  Heres  Old 
England  for  ever  The  brave  [?]  hoy  we  .  .  . 

For  John  Bull,  Pitt,  and  the  Income  Tax  see  No.  9363;  for  taxes  as  'Blue 
Devils',  No.  9391;  for  the  Tax  in  1814,  No.  12452.   'No  Grumbling'  was  a 
catch-phrase  of  1795  and  later,  associated  with  taxes,  see  No.  8646. 
"fX9^  in. 

13493  BOYS,  GENT— V— MISS  EDMUNDS, 

[G.  Cruikshank.] 

Engraving  (coloured  impression).  Below  the  title:  Tryed  before  Lord  Ellin- 
borough  at  Maidstone,  July  18,  181 5.  Frontispiece  to  'Substance  of  a  Report 
of  the  trial  .  .  .  between  John  Boys,  Attorney  and  Miss  Mary  Edmunds,  both 
of  Margate :  for  three  alleged  poetical  libels,  and  two  caricature  drawings,  .  .  . 
at  Maidstone  .  .  .  London:  Printed  for  the  Author;  and  may  be  had  of  all 
Booksellers'.  A  court  scene,  the  well  of  the  court  with  Counsel's  table  in  the 
foreground ;  Ellenborough  looks  down  at  Boys,  who  turns  to  him  exclaiming, 
what  only  Ten  Pounds.  Miss  Edmunds  (r.),  a  complacent  young  woman  with 
white  drapery  over  her  head,  is  behind  a  barrier  on  the  judge's  1.;  the  jury 
are  on  his  r.   Spectators  fill  a  gallery  stretching  across  the  design. 

Verses  with  illustrative  caricatures  had  been  circulated  in  Margate  attacking 
Boys,  an  attorney;  ^1,000  damages  were  claimed,  the  verdict  was  for  damages 
of  j^io.  The  pamphlet  contains  copies  (coloured)  by  G.  C.  (who  was  staying 
at  Margate)  of  the  original  caricatures,  see  Nos.  13494,  13496. 

Reid,  No.  496.    Cohn,  No.  807. 
4jX7|in.  B.M.L.  1414.  e.  6. 

13494  FIRST  CARICATURE  PRODUCED  BY  THE  PLTF  BOYS. 

See  No.  13493  •  Boys  kneels  on  the  summit  of  a  church  organ  blowing  through 
a  tube  which  he  has  inserted  in  one  of  the  centre  pipes.  The  Devil,  holding 
a  trident,  sits  behind  him,  urging  him  on,  at  the  top  of  the  ladder  by  which 
Boys  has  reached  his  place  on  the  organ.  Both  are  illuminated  by  rays 
inscribed  these  [sic]  is  an  eye  witness  which  radiate  from  a  large  eye.  The 
organ  is  inscribed  Etigland  triumphant  Over  Treachary. 

Having  quarrelled  with  England,  builder  of  the  organ,  Boys  is  alleged  to 
have  entered  the  church  at  night  and  choked  the  pipes.  The  organ,  built  by 
old  England  (George),  had  been  'harmoniz'd'  by  'his  offspring'  (George  Pike 
England). 
4|X7|in. 

13495  SECOND  CARICATURE  PRODUCED  BY  THE  PL^f  BOYS. 

See  No.  13493.  John  Boys  stands  in  profile  to  the  1.,  surreptitiously  taking 
a  paper  from  the  Devil  who  stands  behind  him  holding  a  trident.  He  points 
to  a  small  lime-kiln  from  which  clouds  of  smoke  pour  towards  a  mounted 
man,  E.  Boys,  on  a  hack  which  is  coughing.  In  the  air  above  J.  Boys's  head 
is  an  iron  Winch.  Inset  designs  are  a  gibbet  against  which  leans  a  ladder  (1.) 
and  a  large  garden-roller,  inscribed  Iron  Roll  (r.)  above  which  are  Nick  and 
Boys,  both  H.L.,  in  consultation. 

Two  allegations  against  Boys:  having  quarrelled  with  one  Winch,  the 
proprietor  of  a  lime-kiln.  Boys  brought  an  action  against  him  for  a  nuisance, 
on  faked  evidence  from  a  relative,  relating  to  smoke.    Having  borrowed  a 
roller  he  sold  it  for  seven  guineas. 
4-^X71  in. 

1008 


ADDENDA   1812-1819 

13496  LA  COURSE  ANGLAISE 

Dessine  par  C'^  Vernet,  [Debucourt  sc] 

a  Paris,  chez  Ch.  Bance,  rue  J.  J.  Rousseau,  N"  lo.  [?  1815] 

Depose  a  la  Direction  [6^""^  Liv°",  No.  5.] 

Engraving,  slightl}^  aquatinted  (coloured  impression).  An  Englishman,  in 
profile  to  the  r.,  with  a  bad  seat,  gallops  across  open  country,  with  a  single 
rein,  holding  a  stick  across  his  r.  shoulder.  He  wears  a  cylindrical  hat,  double- 
breasted  coat  with  long  tails,  tight  breeches,  and  gaiters;  a  bunch  of  huge 
seals  and  watch-key  bump  on  his  stomach  as  he  rides.  He  has  a  long  and 
heavy  chin,  cf.  No.  12361.  One  of  a  set,  see  No.  12376.  A  companion  pi. 
to  Le  Courrier  Anglais  (in  B.M.;  depot  3  July  1815). 

Fenaille,  No.  369. 
9lXi3iin.  293*. 

13497  POLITICAL  BALANCE— UNEXPECTED  INSPECTION— OR 
A  GOOD  OLD  MASTER  TAKEING  A  PEEP  INTO  THE  STATE  OF 
THINGS  HIMSELF.  204 

[Williams.] 

[Date  erased,  18 16]  by  T.  Tegg  11 1  Cheapside 

Engraving  (coloured  impression).  After  the  title:  Take  away  the  dross  from 
the  silver,  arid  there  shall  come  forth  a  vessel  for  the  fitter.  Proverbs.  A  pair 
of  scales  hangs  in  a  landscape,  suspended  from  a  hook  in  a  block  against  the 
upper  margin  inscribed  Constitutiori,  the  central  pivot  inscribed  (Equilibrium) . 
The  1.  scale  is  weighted  only  by  a  document  headed  Acts  for  the  more  effectually 
Sawing  [sic],  on  the  r.  scale,  inscribed  Prices  of  Provisions .,  are  a  leg  of  mutton, 
a  frothing  tankard,  and  a  loaf;  it  is  much  outweighed  by  the  other,  inscribed 
Old  England,  which  descends  below  the  level  of  the  ground  into  a  rocky  pit 
or  Abyss  of  Corruption.  On  the  ground  below  the  r.  scale  lies  a  starving  and 
half-naked  peasant  who  raises  his  arm  to  touch  it,  crying,  Oh!  I  shall  farnish 
if  you  don't  fall.  The  'Acts'  enumerated  on  the  scroll  are  Butter  and  Cheese 
Laws  56  G  3'^—3''  Corn  Bill  55"'  G  3'^—2'^  Corn  Bill  75"'  G  j^— j^'  Corn  Bill— 
A  well-dressed  man,  his  hands  on  his  knees,  stoops  in  profile  to  the  1.  over 
the  descending  scale,  saying,  Hozv  rich  I  shall  get  by  plundering  the  Poor,  ?io7v 
my  old  Master  is  blind  and  there  is  no  one  to  watch  me.  Over  his  head,  and 
hanging  from  the  beam  of  the  scales  is  a  ribbon  inscribed  Sir  Harry  Pare-nail. 
He  is  watched  by  George  HI  who  leans  from  a  crenellated  tower  inscribed 
Windsor,  on  the  extreme  1.,  with  his  spy-glass  to  his  eye  as  in  No.  10019,  &c. 
He  wears  a  round  hat  topped  by  a  small  crown,  and  shouts:  Heigh!  Heigh! 
Fellow!  pull  away  those  d — d  heavy  Corn  Laws,  and  Butter  and  Cheese  Laws  ; 
let  the  prices  find  the  level  &  come  within  the  reach  of  ?ny  distress' d  people  ;  I  say 
pull  them  of  directly  Fellow,  d'ont  you  see  Old  England  is  sunk  almost  out  of 
sight,  you  thought  I  could  not  see  did  you  Fcllozv  Heigh!  Heigh!  A  face  within 
a  sun  dipping  behind  the  skyline  sheds  tears. 

A  scale  of  (corn)  prices  explains  the  tilt  of  the  scales  by  lines  intersecting 
at  the  pivot,  representing  the  tilt  of  the  beam  of  the  scales,  downwards  or 
upwards;  the  r.  end  is  inscribed  with  the  price,  the  opposite  end  by  a  word 
expressing  its  result  in  social  conditions.  A  double  line  is  horizontal  at  the 
price  of  40^ ;  this  is  Well  Level.  Below  this  level  the  slanting  lines  are  pro- 
gressively (reading  downwards):  38^  36^  34^  32.  These  are  respectively 
Happily  [corresponding  to  385.]  Comfortaly  [sic],  Gloriously,  Princely,  at 
which  point,  325.,  the  'Prices  of  Provisions'  would  rest  on  the  ground  (and 
the  agricultural  interest  be  ruined).    Above  the  horizontal  level,  the  lines 

1009  3  T 


CATALOGUE    OF    POLITICAL    AND    PERSONAL    SATIRES 

slanting  upwards  from  1.  to  r.  are  inscribed  (reading  upwards)  6o\  80^,  100^, 
120^,  140^,  160^;  these  correspond  respectively  to  Inconvenience,  Distress, 
Want,  Misery,  Sarvation  [sic],  Total  Ruin.  The  actual  level  of  the  beam  is 
a  price  of  140^.,  just  short  of  'Total  Ruin'.  The  pointer  of  the  beam  is  along 
a  slanting  line  inscribed  Adversity;  with  a  price  of  345.  it  would  point  to 
Prosperity . 

The  occasion  of  the  print  is  the  passing  of  the  Butter  and  Cheese  Acts 
(56  George  III,  c.  25  and  26),  and  the  rapid  rise  of  the  price  of  corn  from 
an  abnormally  low  level  (52^.  dd.  in  January)  to  103s.  in  December,  at  a  time 
of  industrial  distress.  A  protective  duty  arising  out  of  the  'distressed  state' 
of  the  Irish  butter  trade  was  carried  without  dissent,  and  gave  rise  to  a 
demand,  supported  by  Ponsonby,  leader  of  the  Opposition,  for  the  protection 
of  English  cheese,  on  the  ground  that  the  Dutch,  driven  from  the  butter 
trade,  would  concentrate  on  cheese.  Only  one  member  spoke  for  the  con- 
sumer. See  Smart,  Econ.  Annals  of  the  Nineteenth  Century,  1910,  i.  483-6; 
Pari.  Deb.  xxxiii.  607,  983-5  (March- April).  Parnell  did  not  speak:  he  is 
apparently  pilloried  as  a  protagonist  of  the  Corn  Law  of  181 5,  see  No.  12503. 
The  scale  of  corn  prices  in  the  print  is  weighted  heavily  against  the  agricul- 
tural interest,  which  would  have  been  ruined  by  prices  of  405.  and  under,  and 
the  price  of  corn  is  far  above  the  highest  point  of  1816.  Cf.  No.  12779,  ^^• 
8fXi3|in. 

13498  THE  IRISH  DUEL;  OR,  THE  LOVES  OF  PADDY  WACK- 
MACRUCK  AND  MACKIRKINCROFT  THE  TAILOR.  532 

I  R  Cnnkskank  del  et  sculp. 

Published  15,  April  1816,  by  J.  Whittle  &  R.  H.  Laurie,  N°  53,  Fleet 
Street,  London — 

Engraving.  From  series  of  'Drolls'.  Heading  to  a  song:  Written  by  Mr.  T. 
Dibdin,  and  Sung  with  great  Applause  by  Mr.  Johnstone,  in  the  Comedy  of 
"Where  to  find  a  Friend",  at  the  Theatre  Royal,  Drury-Lane.  A  burly  Irishman 
flourishing  a  shillelagh  fires  a  pistol,  while  his  antagonist,  a  very  thin  and 
neat  tailor,  races  otf  to  the  r.  with  a  flying  stride,  a  pistol  in  the  1.  hand,  a 
large  pair  of  shears  in  the  r.  In  the  middle  distance  is  a  sign-post.  When 
the  duellists  stood  back  to  back  to  measure  their  paces,  the  tailor  rushed  oflF 
and  Paddy  shot  the  finger-post. 

Reid,  No.  4503. 
6x8^  in.   Sheet,  11JIX9I  in. 

13499  A  MATRIMONIAL  SCENE  AT  HOMBOURG! 

Marks  fec^ 

London  Published  by  H.  Brooks  N°  Panton  Street  Leister  [sic]  Fields 
[1818]— 

Engraving  (coloured  impression).  Brandishing  a  German  sausage  the  Prince 
of  Hesse-Homburg  tries  to  drag  off  his  wife's  (masculine)  breeches.  She 
stands  (1.),  her  skirt  turned  up.  She  shrieks:  /  will  wear  the  Breeches  It  [sic] 
a  Privelege  our  English  Ladies  have  Sir!  He  answers,  scowling,  /'//  be  D — d  if 
you  do!-^o  pull  'em  off  or  I'll  knock  you  down  with  my  German  Sausage.  Ft 
a  Privilege  our  German  Gentelmen  have.  Ma'am.  They  stand  on  a  boldly 
patterned  carpet,  on  which  lies  a  book :  Three  Weeks  after  Marriage  [Murphy's 
comedy,  1776].  See  No.  12986,  &c. 
8|X  i2|  in.   With  border,  9|X  13I  in.  'Caricatures',  vi.  26. 

lOIO 


ADDENDA    1812-1819 

13500  HUNT-ING    AT    MANCHESTER,    OR    JACOBINS    TURN'D 
OUT  ACCOMPANIED  BY  HUSSARS  &  HISSES. 

Drawn  Etch  and  Pu¥  by  Rich"^  Dighton.  i8ig. 

Engraving.  Three  tiers  of  cushioned  benches  extend  across  the  design, 
flanked  by  a  low  barrier  with  panels  which  are  decorated  by  crowns  and  by 
the  Prince's  feathers.  From  these  benches  four  hussars,  unarmed  and  bare- 
headed and  gloved,  try  to  drag,  push,  or  order  out  four  men  wearing  hats 
with  large  favours  and  bands  inscribed  Liberty.  A  hussar  takes  the  shoulder 
and  hat  of  a  man  wearing  a  patched  coat  who  clings  to  the  barrier.  Two 
spectators  stand  on  the  1.,  a  hussar  and  a  well-dressed  civilian.  Voices  float 
in  from  the  1.  margin:  Hats  off,  God  save  the  King  and  Turn  them  Out  to  to 
The  Pump  the  Pump.  Along  the  lower  margin,  representing  the  words  of 
unseen  spectators,  are  labels  inscribed :  God  save  the  King  [three  times,  once 
coming  from  the  mouth  of  a  trumpet].  Turn  them  Out,  God  save  the  King; 
Turn  those  Rebels  out.;  Take  them  to  the  Pump.  Behind  the  benches,  and 
forming  a  background  to  the  upper  part  of  the  design,  is  panelling,  in  which 
is  an  open  door. 

A  print  with  no  relation  to  Hunt's  arrest  at  Manchester,  where  the  scene 
was  an  open-air  meeting.  Hunt  being  removed  (without  difficulty)  from  a 
wagon  used  as  a  platform,  after  which  Cheshire  yeomanry  charged,  using 
their  sabres  on  the  crowd.   See  No.  13258,  &c. 
6|x  II  in.   PI.  7|-X  I  if  in. 


lOII 


INDEX  OF  PERSONS 

Persons  depicted,  mentioned,  or  alluded  to  in  the  prints  are  included,  but  not 

persons  mentioned  only  in  the  explanatory  notes  {other  than  conjectural  or 

alternative  identifications).    An  asterisk  denotes  a  foreign  print. 


ABBOT,  Charles  (Speaker,  cr.  Baron 
Colchester  1817)  1812:  11883, 
11912,  11915.  1813:  11990,  12031, 
12067.  1815:  12505,  12514,  12532, 
12538,  12591. 

ABBOTT,  Charles  (cr.  Baron  Tenter- 
den  1827)    1817:  12899,  12899  A 

ABDUL  HASSAN  (Mirza)  1819:  13240, 
13242,  13277,  13350,  13350  A,  13391, 

13445 
ABEL,  Mr.    1811  :  11753 
ABERCORN,    John    James    Hamilton, 

ist  Marquis  of   1816  :  12777 
ABERCROMBY,  James    1812:  11 916 
ABERDEEN,  Gcorge  Hamilton-Gordon, 

4th  Earl  of  1812  :  11952 
ABRAHAMS,     Elizabeth,     nee     Myers 

1812  :  1 1945,  1 1 946 
ABRAHAMS,  Moscs   1812  :  1 1 945,  1 1 946 
ACKERMANN,  Rudolph'    1813:  12093. 

1816 :  12700 
ADAIR,  Robert  (G.C.B.  1831)    1815: 

12540 
ADAM,  William,  K.C.    1811  :  11709 
ADDINGTON,    Henry,    see   sidmouth. 

Viscount 
ADDINGTON,  John  Hiley    1815  :  12532 
ADDISON,  Joseph    1812:11941 
ADELAIDE,    Princess,    of   Saxe-Mein- 

ingen,  Duchess  of  Clarence  (Queen 

Adelaide     1830-7)     1818:     13004, 

13005.    1819  :  13227 
adolphus  FREDERICK,  Duke  of  Cam- 
bridge   1811  :  11706.    1816:  12776. 

1818:  12987,  12989.    1819:  13227, 

13278 
ADOLPHUS,  John   1816:12830.    1817: 

12916 
AGG,  John    1814:12338.    1816:12808 
AIGREFEUILLE,     Marquis    d'      1814: 

12248* 
AKENSIDE,  Mark    1812:11941 
ALADENSKY,  Mme    1816:  12820 
ALBEMARLE,  William  Charles  Keppel, 

4th  Earl  of   1819:  13302 
ALBUT    1811 :  1 1704 


ALEXANDER  I,  Emperor  of  Russia 
1812:  11918.  1813:  11992,  12007, 
12020,  12069,  12079,  12096,  12098, 
12099,  12108,  12109,  12117,  12118, 


12120,   12120  A* 


I2I22,   12123. 


1814:  {See  under  12177*),  12183, 
12188*  12193, 12199, 12218, 12218A* 
12222,  12227,  12228,  12229,  12233, 
12237*,  12248*,  12274,  12277, 12278, 
12279,  12283*,  12287,  12289,  12290, 
12298,  12303,  12304.  1815:  12453, 
12474,  12499,  12500*,  12506,  12509, 
12515, 12518, 12519*, 12521*, 12522*, 
12522  A*,  12525, 12528, 12533,  12534, 
12537,  12542*,  12547,  12549*,  12555, 
12559, 12580, 12586*, 12587*, 12588*, 
12593,  12594,  12609,  12614,  12615, 
12618,  12620,  12622.  1816:  12700, 
12756,  12797.  1817:  12877,  12902. 
1818 :  13007,  13010 

ALFRED  THE  GREAT     1813  :  12124 

ALGIERS,  the  Dey  of   1816 :  12795 
ALi  (Saint-Denis),  Mameluke    1814: 

12232,  12256 
ALLEY,  Peter    1816:12830 
ALLEY,  Captain  W.  H.    1816  :  12830 
ALLPRESS  &  CO.    1816  :  12714 
ALVANLEY,  William  Arden,  and  Baron 

1819:  13348,  13348  A  (1823) 
AMBRiSTER,   Robert  Christian   1819: 

13218 
AMELIA,  Princess    1811  :  11707 
AMHERST,  William  Pitt  Amherst,  2nd 

Baron  (cr.  Earl  Amherst  of  Arakan 

1826)    1816:  12749 
ANDREWS,  Mr.    1817:i29i6 
ANGIOLINI,  Mme    1813:  12133 
ANGLESEA,  General  Sir  WiUiam  Henry 

Paget,  Marquis  of  (cr.  18 1 5)  1815: 

12593 

ANGOULEME,  Louis-Antoine  de  Bour- 
bon, due  d'  1815:  12614,  12615, 
12620.    1816:  12700,  12704,  12797 

ANGOULEME,  Marie-Therese,  duchesse 
d'      1811:    11729.      1815:    12528, 


'  See  Index  of  Printsellers. 


1013 


INDEX   OF   PERSONS 


12587*,  12614,  12615,  12620.    1816: 

12700, 12704,  12797 
ANHALT-DESSAU,  Leopold  III,  Prince 

of    1815 :  12549* 
ANNA,    Grand    Duchess    of    Russia 

1813 :  12020,  12047 
ARBUTHNOT,  Alexander   1819:  13218 
ARBUTHNOT,  Charles    1819:13277 
ARDEN,     Charles    George    Perceval, 

2nd    Baron     1816:    12781,    12802, 

12812 
ARGYLL,  George  William  Campbell, 

6th  Duke  of   1819:  13351,  13351  a 
ARMSTRONG,  John    1814:  12311 
ARNOLD,  (Rev.)  Mr.    1816  :  12763 
ARNOLD,  Samuel  James    1811  :  11772. 

1812:  11940,  11941.    1814:  12338 
ARTOis,     Charles-Philippe,     Cte     d' 

(Charles  X  1824-30)    1815  :  12620 
ASHLIN  (Butcher)    1813:12135 
ASHTON,  Mrs.  (of  Liverpool)    1812: 

11910 
ASHWORTH,    Thomas    Henry     1816: 

12824 
ATHOLL,  John  Murray,  4th  Duke  of 

1812:  11888 
ATKINS,     John    (Alderman)      1812: 

11906.    1816:  12715,  12809.    1818: 

13006.    1819:  13201,  13254,  13272, 

13273 
ATT  WOOD,  Thomas    1813:  12008 
AUGEREAU,     Pierre-Fran^ois-Charles, 

due  de  Castiglione    1814:  12235, 

1 227 1 
AUGUSTA,  Princess  1816  :  12755, 12764. 

1818:  12986 
AUGUSTUS  FREDERICK,  Duke  of  Sussex 

1811:  11706.    1812:  11856,  11916. 

1813:  12039,  12065,  12076,  12081. 

1814:12309.    1815:12624.    1816: 

12768,  12776,  12793,  12815.    1818: 

12996.    1819 :  13389 
AUSTIN,  Sophy    1813:  12027 
AUSTIN,  William   1813  :  12027,  12030. 

1814:12194.    1817:  12889,  12889  A, 

12890 


BACON,  John,  R.A.    1813  :  12065 
BALDWIN,  Caleb  1818:  13001 
BALLANTYNE,  John    1812:  1 1 941 
BANKES,  Henry   1811:11728 
BANKS,    Sir    Joseph    (Bart.)      1811: 

'  Date 


11820.    1812:11952.    1819:13194, 

13365 
BAPTiSTE    1818:  13140,  13141 
BARCLAY-ALLARDICE,    Robert     1811: 

1 1755 

BARHAM,  Joseph  Foster   1811:11728 

BARING,  Alexander  (cr.  Baron  Ash- 
burton  1835)   1815:  12536 

BARNARD,  Frederick  Augustus  1812  : 
1 1 952 

BARON,  John,  M.D.    1812:  11953 

BARRY,  (Rev.  and  Hon.)  Augustus 
1812:  11914.    1816:  12714 

BARRYMORE,  Henry  Barry,  8th  Earl  of 
1813  :  12129 

BARRYMORE,  'Lady'  (mistress  of  the 
7th  Earl)    1819:  13362 

BARRYMORE,  Richard  Barry,  7th  Earl 
of    1816 :  12791 

BATE-DUDLEY,  SBB  DUDLEY 

BATHURST,  Henry  Bathurst,  3rd  Earl 

1816:  12781 
BAXTER  (Coachbuilder)    1812  :  11 944 
BEAUHARNAis,  Eugenc  dc.  Viceroy  of 

the  Italian  Kingdom  1805-14  1811  : 

11715.   1814:12271.    1815: 12606*, 

12607,  12607  A 
BEAUMONT,  Miss    1819:13363 
BEDFORD,  John  Russell,  6th  Duke  of 

1812:  11916.    1815:  12624.    1819: 

13302 
BELCHER,  James  or  Tom   1817  :  12917 

BELISARIUS     1818:12995 

BELL,  (Rev.)  Andrew   1811  :  11745 
BELLiNGHAM,     John      1812:     11881, 

11882,11884,11885.    1819:13192 
BENJAMIN    (of    Heligoland)      1814: 

12317 
BENNIGSEN,  Cte  Levin  Auguste  Theo- 

phile  de    1812  :  11919 

BERENGER  See  RANDOM 

BERESFORD,  (Rev.)  James  1812:11933' 
BERESFORD,  William  Carr,  K.B.  (cr. 

Lord    Beresford  of  Albuera,   &c. 

1814,  Viscount  1823)   1811:11736. 

1812:  11862.    1815:  12593 
BERGAMi,  Bartolommeo    1817  :  12889, 

12889  A,  12890 
BERKELEY,   Col.   William  (cr.   Baron 

Segrave    1831,   Earl   Fitzhardinge 

1841)    1811 :  11760 
BERNADOTTE,  Jean-Baptiste,   Charles 

John,    Crown   Prince   of   Sweden 
uncertain. 


IO14 


INDEX   OF   PERSONS 


1810,  Charles  XIV  1818-44  1812: 
11921.  1813:  12007,  12063,  12077, 
12096,  12098,  12108,  12109,  12117, 
12118, 12120, 12120  A*,  12122.  1814 : 
12183,  12188*,  12193,  12199,  12206, 
12206  A*,  12218,  12218  A*,  12220, 
12229,  12318*.  1815  :  12453,  12509, 
12525,  12528,  12549*,  12559.  Ad- 
denda: 13489(1814) 

BERRY,  Charles-Ferdinand,  due  de 
1815:12620.    1816:12797 

BERRY,  Maria  Carolina,  duchesse  de 
1816 :  12797 

BERTHIER,  Louis-Alexandre,  Prince 
of  Wagram  and  of  Neuchatel 
1813  :  12123 

BERTRAND,  Comte  Henri-Gratien 
1814:      12255.        1815:      12599*, 

12599  A*,  12608,  12610 

BERTR\ND,  Mme   1815  :  12597*,  12608 
BEST,    William    Draper,    (or.    Baron 

Wynford  1829)    1816:  12834 
BETTS,  Miss    1819  :  13360 
BEWICK,  William   1818:13034.   1819: 

13364 
BiDGOOD,  Robert    1813:12026,12031 
BIDLAKE,  (Rev.)  John    1812  :  11 864 

BIGOTTINI,  Mile    1814:12363* 

BILLINGTON,  Elizabeth,  nee  Weichsel 
1812:  11856,  11899.  1813:  12039, 
12081.    1814:  12309,  12323 

BIRCH,  Samuel  (Alderman)  1813: 
12008.    1815:  12504,  12552 

BISH,  Thomas  1818:  13038.  1819: 
13236 

BLAIR,  William    1812:  11953 

BLANE,  Sir  Gilbert,  M.D.,  F.R.S.  (cr. 
Bart.  1812)  1812:  11841.  1813: 
12130 

BLICKE,  Sir  Charles    1811  :  11763 

BLOOMFIELD,  Benjamin  (Major- 
General  18 14,  Kt.  1815,  cr.  Baron 
1825)  1813:  12081.  1816:  12749. 
1819:   13208,   13210,   13211,   13212, 

13231,  13237,  13240 
BLiJCHER,  Gebhard  Leberecht,  Prince 
von  1813:  12122.  1814:  12206, 
12206  A*,  12208, 12214, 12215, 12216, 
12217,  12217  A*,  12218,  12218  A*, 
12220,  12222,  12227,  12263,  12266, 
12274,  12277,  12285,  12287,  12296, 
12297,  12303,  12304,  12318*.  1815: 
12509,  12547,  12551,  12555,  12557, 
12559,  12560,  12561, 12568*,  12573*, 


12574*,  12575*,  I2S75A*,  12580, 
12582*, 12585*, 12586*, 12593, 12594, 
12608,  12609,  12612,  12618,  12619, 
12620,  12621,  12622 

BOLTON,  Lt.-General  Sir  Robert 
1817 :  12905 

BONAPARTE,  Jerome,  King  of  West- 
phalia 1806-13  1814  :  12183, 12225, 
12230,  12255,  12256,  12276.  1815: 
12547,  12549*,  12606*,  12607, 
12607  A 

BONAPARTE,  Joseph,  King  of  Naples 
1806-8,  King  of  Spain  1808-13 
1812:  11903,  11921.  1813:  11991, 
12068,  12069,  12070,  12072,  12083, 
12102,  12106.  1814:  12179,  12183, 
12189, 12218, 12218  A*,  12222, 12225, 
12230,  12236*,  12255,  12256,  12276. 
1815  :  12498,  12547,  12549*,  12605*, 
12606*,  12607,  12607 A.  Addenda: 
13484(1812) 

BONAPARTE,  Letizia  (Madame  Mere) 
1814:  12308* 

BONAPARTE,  Louis,  King  of  Holland 
1806-10  1814:12183,12225,12230, 
12256.  1815:  12547,  12606*,  12607, 
12607  A 

BONAPARTE,  Lucien,  Prince  of  Canino 
1811:  11715.  1814:  12183,  12225. 
1815  :  12469,  12547 

BONAPARTE,  Maria  Annunciata  Caro- 
line, Queen  of  Naples  1808-15 
1813:  12012.    1815:  12555 

BONAPARTE,  Marianne  Elisa,  Grand 
Duchess  of  Tuscany    1813  :  12012 

BONAPARTE,  Marie  Pauline,  Princess 
Borghese    1813:  12012 

BONAPARTE,  Napoleon  see  napoleon 

BOOTH,  Junius  Brutus  1817:  12918, 
12919 

BOOTH,  Sarah  1811:  11771.  1814: 
12327 

BORUWLASKi,  'Count'  Joseph  1816: 
12702 

BORY  de  saint  VINCENT,  J.-B.-M.-G. 

1815:  12569* 
bosanquet,  Jacob    1813:  12017 
BOUGHEY,    Sir   John    Fenton,    Bart. 

1815  :  12590 
BOULTON,  Matthew    1811:11716 
BOWLES,  William  Lisle    1814:12338 
BOYCE,  William,  Mus.D.   1819  :  13390 
BOYDELL,  Josiah    1812:  11944 
BOYS,  E.   Addenda:  13495  (1815) 


1015 


INDEX   OF   PERSONS 


BOYS,  John    Addenda:  13493,  13494, 

13495  (1815) 
BRAHAM,  John    1811:   11828,   11840. 

1816:  12714 
BRANDON,  James  1818:13041,  1819: 

13375,  13376,  13380 
BRANDRETH,  Jeremiah    1817:   12893. 

1818:  12981 
BREWER  &  Co.    1811  :  11732 

BROCK     1817:12887.     1818:12985 

BRODUM,  William    1811  :  11704 

BROKE,  Captain  Philip  Bowes  Vere, 
R.N.  (cr.  Bart.  1813,  K.C.B.  1815) 
1813:  12080 

BROOCHOOFT,  Barnard    1815:12523 

BROOKS,  Samuel   1819:13207 

BROUGHAM,  Henry  (cr.  Baron 
Brougham  and  Vaux  1830)  1812: 
11910,  11916.  1813  :  12030,  12081. 
1814:  12301.  1816:  12746,  12752, 
12756,  12763,  12766.  1817:  12867, 
12867  A,  12875,  12895,  12915 

BROWN  (of  HeHgoland)    1814  :  12317 

BROWN,  Tim    1811  :  11732 

BROWNE-CLARKE,  Sir  Wyndham 
Lathrop  Murray  (bogus  name) 
1817  :  12959 

BROWNRIGG,  Elizabeth    1811  :  11763 

BRUCE,  Michael  1816  :  12706*,  12707, 
12707  A.    1818  :  13003 

BRUNTON,  John    1814:  12328 

BRYAN  or  BRAIN,  Ben  (Pugilist)  1815: 
12613 

BRYAN,  Hugh    1813:  12084 

BUCKE,  Charles  1819:  13366,  13367, 
13368 

BUCKINGHAM,  George  Nugent- 
Temple-Grenville,  ist  Marquis  of 
(2nd  Earl  Temple  to  1784)  1811  : 
11705,  11712,  11713,  11714,  11725, 
11750.  1812  :  11855,  11859, 11859  A, 
11861,  11866,  11868,  11888,  11898, 
11916 

BUCKINGHAM,  Richard  Temple 
Nugent  Brydges  Chandos  Gren- 
ville,  2nd  Marquis  of  (Earl  Temple 
to  18 13,  cr.  Duke  of  Buckingham 
and  Chandos  1822)  1811:  11705, 
11712,  11713,  11714,  11725-  1812: 
1 1859.  1 1859  A,  1 1866,  1 1868,  1 1877 

BUCKINGHAMSHIRE,  Albinia,  Countess 
of  (Hon.  Mrs.  Hobart  to  1793) 
1811:ii82o.    1812:11899,11940 

BUCKINGHAMSHIRE,    Robert    Hobart, 


4th  Earl  of    1813:  11999,  12005, 
12008,  12018 
BULLOCK,     William      1816:     12702, 

12836 
BURDETT,  Sir  Francis,  5th  Bart. 
1811:  11713,  11714,  11718,  11733, 
11734.  1812:  11845,  11846,  11848, 
11862,  11883,  11891,  11892,  11905, 
11909,  11912,  11915,  11916.  1813: 
11990,  12030,  12081,  12084,  12110. 
1814:  12207,  12209.  1815:  12514, 
12536,  12591.  1817:  12867, 12867  A, 
12869,  12871,  12874,  12887,  12895. 
1818:  12988,  12999,  13002,  13003, 
13006.  1819:  13204,  13205,  13207, 
13219,  13230,  13280,  13313,  13314 
BURDETT,  William  Jones  1812:  11 908 
BURKE,  Edmund  1818  :  13169, 13169A. 

1819:  13311 
BURROWES,     (Rev.)     Arnold      1816: 

12744 
BURTON,  Miss  Rachel    1816:  12824 
BUSBY,     George     Frederick      1812: 

1 1938,  1 1 939,  1 1 940 
BUSBY,  Richard,  D.D.    1812:11939 
BUSBY,    Thomas,     Mus.D.       1812 : 
11938,11939,11940.     1813:11993, 
12082 
BUSH  or  BUSHE,  Mr.    1816  :  12835 
BUTT,  Richard  Gathorne  1814  :  12209, 

12212.    1815 :  12523 
BUXTON,  Charles    1811  :  11761 
BYRNE,  Nicholas    1814:  12207 
BYRON,  Anna  Isabella,  nee  Milbanke, 

Lady  1816:  12827,  12828 
BYRON,  (Hon.)  Augusta  Ada  (m.  Lord 
King,  cr.  Earl  of  Lovelace)  1816  : 
12827,  12828 
BYRON,  George  Gordon,  6th  Baron 
1812:  11916,  11938,  11939,  11940, 
11941.  1813:  12081,  12082.  1816: 
12825,  12826,  12827,  12828.  1819: 
13330 

CADOUDAL,    Georges      1811:    11736. 

1814:  12234.    1815:  12580 
CALVERT,  Charles    1812:  1 1908 
CAMBACERES,   Jean-Jacques-Regis   de 

1814:12235,12248*.    1815:12581 
CAMBON,  Joseph    1815:  12569* 
CAMBRIDGE,    Duchess    of    (Priuccss 

Augusta  of  Hesse-Cassel)     1818: 

12987,  12989,  13022.    1819:  13227, 

13278 


ioi( 


INDEX   OF   PERSONS 


CAMBRIDGE,  Duke  of,  see  adolphus 

FREDERICK 

CAMDEN,  Sir  John  Jeffreys  Pratt,  2nd 
earl  and  ist  Marquis  of  (cr.  1812) 
1816:12781.    1817:  12867,  12867  A 

CAMPBELL,  Col.  Sir  Ncil  (Kt.  18 14) 
1815:  12506 

CANNING,  George  1811  :  11707, 11713. 
1812:  11846,  11861,  11877,  11888, 
11910.  1813  :  12009,  12081.  1816: 
12798.  1817:  12861,  12868,  12872, 
12874,  12875,  12887,  12896,  12900. 
1818:  12981,  12994.  1819:  13301, 
13311,  13346 

CARBONNEAU,  Nicolas-Charles-Leo- 
nard    1816  :  12797 

CAREME,  Marie- Antoine  1819  :  13208, 
13212 

CAREY  or  GARY,  Mrs.  1811:  11726. 
1812:  11856,  11864,  11899,  11914. 
1818:  12996.  1819:  13215,  13223, 
13226,  13243,  13278 

CAREY,  William  Paulet    1819  :  13364 

CARL  JOHANN,  See  BERNADOTTE 

CARLILE,  Richard'   1819  :  13273, 13274, 

13313,  13318,  13322 
CARLISLE,     Frederick    Howard,     5th 

Earl  of   1811:11705.    1813:12163 
CARLISLE,  Nicholas    1812:11952 

CAROLINE  AMELIA  ELIZABETH  of  BrUHS- 

wick-Wolfenbiittel,  Princess  of 
Wales,  Queen  Caroline  1 820-1 
1812:  11856,  11865,  11869,  11877, 
11893.  1813:  11990,  12011,  12026, 
12027,  12028,  12028  A,  12031,  12032, 
12039,  12057,  12066,  12076,  12081, 
12092.  1814:  12189,  12212,  12278, 
12279,  12288,  12291,  12292,  12294, 
12296,  12297,  12300,  12301.  1815: 
12578.  1816:  12725,  12732,  12761, 
12795,  12808,  12810.  1817:  12889, 
12889A,  12890.  1818:12996.  1819: 
13233,  13242,  13265 

CARPENTER,  Elias  1811:11764-  1814: 
12329 

CARR,  Sir  John  (Kt.  1806)  1814: 
12338 

CARTER,  Jack  (Pugilist)    1813  :  12129 

CARTER,  John    1812:  11952 

CARTWRIGHT,  John,  Major  of  militia 
1817:  12864,  12874,  12891.  1818: 
12999,  13002,  13003,  13006.  1819: 
13204,  13207,  13219,  13313,  13325 

'  See  Index 


CASTLE  or  CASTLES,  John  1817  :  12885, 
12887,  12888.  1818  :  12994,  13000, 
13001,  13002 

CASTLEREAGH,  Amelia  Anne,  nee 
Hobart,  Lady   1816  :  12763 

CASTLEREAGH,  Robert  Stewart,  Vis- 
count (2nd  Marquis  of  London- 
derry 1821-2)  1811  :  11707,  11713. 
1812:  11852,  11853,  11854,  11861, 
1 1862,  11877,  1 1887,  11888,  11897. 
1813:  11990,  12005,  12008,  12009, 
12076,  12081,  12110.  1814:  12184, 
12198,  12305.  1815:  12453,  12499, 
12500*,  12501,  12515,  12523,  12532, 
12533,  12533  A,  12537,  12538,  12550, 
12553,  12578,  12614,  12615,  12620, 
12626.  1816:  12717,  12746,  12747, 
12749,  12751,  12752,  12756,  12757, 
12762,  12766,  12777,  12778,  12781, 
12787,  12794,  12796,  12797,  12799, 
12800,  12802,  12805,  12808,  12812. 
1817:  12861,  12864,  12867,  12867  A, 
12868,  12871,  12874,  12875,  12879, 
12882,  12887,  12888,  12895,  12896, 
12900.  1818:12981,12987.  1819: 
13195,  13240,  13257,  13267,  13269, 
13271,  13274,  13277,  13288,   13290, 

13301,  13311,  13343,  13346 
CATALANI,  Angelica  (m.  Valabregue) 

1812:  11864.    1813:  11990,  12132, 

12133.    1816:  12788 
CATHCART,  William  Schaw  Cathcart, 

loth    Viscount    (cr.    Earl     18 14) 

1813:  12081 
CATHERINE,  Grand  Duchess  of  Russia, 

Duchess  of  Oldenburg,  afterwards 

Queen     of    Wiirtemberg      1814: 

12277,  12283*,  12287,  12289,  12290. 

1816:  12820 
CATHERINE  of  Wiirtemberg,   Queen 

of    Westphalia    1807-13.      1815: 

12549* 

CATTERFELTO  Or  KATTERFELTO,  GuS- 

tavus    1811  :  11716 
CAULAINCOURT,      Armand-Augustin- 

Louis  de,  Duke  of  Vicenza    1814  : 

12256,  12271.    1815:  12482,  12527, 

12581 
CERVETTO,  James    1818:13086 
CHAPLIN,  (Rev.)  William  1813  :  12103 
CHARLEMAGNE      (Empcror)        1815: 

12566*,  12621 
CHARLES     I       1813:     12041,     12056, 
of  Printsellers. 


IOI7 


INDEX   OF   PERSONS 


12056  A.    1815:12624.    1816:12797. 
1819:  13269 

CHARLES  II     1814  :  12300 

CHARLES  II,  Grand  Duke  of  Mecklen- 
burg-Strelitz    1816:12700 

CHARLES  IV,  King  of  Spain  1813: 
12079,  12112 

CHARLES  XII,  King  of  Sweden  1813  : 
12063 

CHARLES,  Grand  Duke  of  Baden 
1815:  12549* 

CHARLOTTE,  Princess  (Princess  Char- 
lotte of  Wales)  1812  :  11856,  11864, 
11897,  11899.  1813:  12011,  12052, 
12081,  12110.  1814:  12189,  12191, 
12273,  12279,  12280,  12282,  12288, 
12292,  12293,  12294,  12295,  12300, 
12303,12304.  1815:12453.  1816: 
12700,  12748,  12749,  12753,  12754, 
12755,  12756,  12758,  12759,  12760, 
12761,  12762,   12764,   12765,   12767, 

12769,  12770,  12770  A,  12771,  12772, 
12773,  12774,  12775,  12776,  12778, 
12780,  12785,  12789,  12793,  12796, 
12815.  1817:12894 

CHARLOTTE,  Queen  1811:  11707. 
1812:  11845,  11856,  11864,  "888. 
1813:  12066,  12081.  1814:  12180, 
12272,  12278,  12296,  12297.  1816: 
12700,  12746,  12749,  12753,  i2755» 
12758,  12761,  12764,  12765,  12770, 
12771,  12775,  12778,  12796.  1818: 
12983,  12984,  12989,  12990,  12991, 
12992,  12996,  13005,  13046.  1819: 
13229,  13235 

CHARLOTTE  AUGUSTA  (Princess  Royal), 
Queen  of  Wiirtemberg  1819: 
13229 

CHATEAUBRIAND,  Fran^ois-Auguste, 
Vicomte  de  1815:  12614,  12615. 
1816 :  12797 

CHATER  &  CO.     1811  :  11732 

CHATFiELD,  Edward    1818:13034 
CHATHAM,  Sir  John  Pitt,  K.G.,  2nd 

Earl  of    1813:  12081 
CHATHAM,  William  Pitt,   ist  Earl  of 

1819:  13192 
CHATTERTON,  Thomas    1817:12877 
CHAUCER,  Geoffrey    1812:11941 
CHETWODE,  Sir  John,  4th  Bart.   1815  : 

12590 
CHIA    ch'ing.    Emperor    of    China 

1816 :  12749 
child,  Mrs.    1811  :  11771 


10 


CHOLMONDELEY,  George  James  Chol- 
mondeley,  4th  Earl  of  1811  :  11709. 
1812:  11890 

CHRISTIAN,  Prince,  of  Denmark 
(Christian  VIII  1838-48,  King  of 
Norway  17  May  to  14  Aug.  18 14) 
1815 :  12525 

CHRISTIE,  James  (the  younger)  1813  : 
12167 

CHRISTMAS,  Thomas  C.    1818:13034 

CHURCH,  John    1819:  13249 

CIBBER,  Colley   1813:  12082 

CIRILO,  Fray,  General  of  the  Fran- 
ciscans 1818:  13009,  13009  A, 
13009  B,  13009  c 

CLARENCE,  Duchess  of,  see  Adelaide 

CLARENCE,    Duke    of,    see    william 

HENRY 

CLARK,  Thomas    1812:  11928 

CLARKE,    Mrs.    Mary    Anne  1811: 

11711,  11726,  11728,  11839.  1812: 

11844,  11856.    1813:  12081.  1814: 

12181,  12315.    1818:  12989,  12996. 

1819:  13203,  13214,  13220,  13229, 

13235 
CLARKE,  William    1818:  13035 
CLAYTON,    (Rev.)    John    (and    three 
sons.  Rev.  George,  Rev.  John,  Jun., 
and  Rev.  William)     1819:   13387, 
13388 
CLAYTON,  Miss  (Mrs.  Janson)    1819  : 

13387,  13388 
CLERMONT,  Mrs.    1816:12828 
COATES,     Robert    ('Romeo')      1811: 
1 1744,  1 1768,  1 1769,   1 1770,  11771- 
1812:  11844,  11934,  11935,  11950- 
1813:  12081,  12091,  12128,  12129, 
12133.    1814 :  12324 
COBBETT,  William  1811  :  11711, 11714, 
11722,  11724.    1812:  11915,  11916. 
1814:  12207.    1817:  12864,  12866, 
12867,  12867  A,  12870,  12871,  12874, 
12878,12886.    1818:12995.    1819: 
13200,   13253,   13283,   13284,   13314, 

13339 
COCHRANE,  Cornelius  1817:  12881 
COCHRANE,  Thomas,  Lord  (loth  Earl 
of  Dundonald  1831-60)  1812: 
11848,  11912,  11916.  1814:  12208, 
12209,  12212,  12300.  1815:  12514, 
12523,  12539,  12591.  1816:  12757, 
12788.  1817  :  12864,  12867,  12867  A, 
12870,  12871,  12874,  12881,  12886, 
12887.    1818:  12995 


18 


INDEX   OF   PERSONS 


COCKBURN,  Sir  George,  Rear- Admiral 

(K.C.B.    1815,    loth    Bart.    1852) 

1816 :  12747 
COCKER,  Edward    1813:  12163 
COHEN,   Levy  Barent     1817:   12908, 

12908  A 
COLERAINE,  Lord,  see  hanger,  George 
COLERIDGE,    Samuel    Taylor     1812: 

1 1 941 
COLLYER,     William     Bengo       1815: 

12624.    1816:  12768 
COLMAN,  George  1812:11941.   1814: 

12328 
cOlquhoun,  Lieut.    1816:12763 
COLSTON  (Boot-closer)    1814:12332 
COMBE,  Harvey    1812:  11 906,  11 940. 

1816:  12809 
CONGREVE,  William   1812:11941 
coNGRE\'E,    Sir   William,    2nd    Bart. 

1814:  12301,  12303,  12304.    1816: 

12763 
CONNOLLY,  Lieutenant    1818:13155 
CONSTABLE,  Mr.    1815  :  12616 
CONSTANTINE,  Grand  Duke  of  Russia 

1815:  12453 

CONWAY,  Suk     1812:11862,11949 

COOKE,     George     Frederick      1812 : 

11940 
COOKE,    Lt.-Coi.    Henry    Frederick 

(Kt.    1825)     1819:    13357,    13357  A 

(1824) 
COOKE,     Thomas     Simpson      1818: 

13035,  13036 
COOPER    1811 :  1 1732 
cooTE,  General  Sir  Eyre,  K.B.   1816  : 

12832 
COPELAND    1812:11937 
CORNARO,  Luigi    1819:13268 
CORTES,  Hernando(i585-i647)  1816: 

12724 
COTTERELL,  William    1815:  12552 
COTTON,  Joseph    1813:  120 17 
COUTTS,  Airs.,  see  mellon,  Harriot 
COUTTS,  Thomas    1812:  11940 
COVENTRY,  (Hon.)  John    1812  :  11 949 
COVENTRY,    (Hon.)    Thomas    Henry 

1812:  II 949 
COWPER,  William    1812:  11941 
COX  &  BAYLis  (Printers)    1811  :  11732 
CRANBORNE,  James  Brownlow  William 

Gascoyne-Cecil,     Viscount     (2nd 

Marquis    of    Salisbury     1823-68) 

1814:  12284 


CREEVEY,  Thomas  1812:11910,11916 
CRIBB,  Tom  (Pugilist)    1811:  11755, 

11786.    1812:11842.    1815:12613. 

1817:  12917 
CROFT,  William,  Mus.D.  1819  :  13390 
CROGAN    or    CROGGAN,    Thomas   (of 

Truro)    1813 :  12067 
CROKER,  John  Wilson    1811:  11707, 

12081.    1814:  12189,  12207,  12310. 

1815:  12552.    1816:  12751,  12802, 

12812.    1817:12872,12900.    1819: 

13346 
CROMWELL,    Oliver       1813:    12095. 

1815:  12624 
CROTCH,    William,    Mus.D.      1818: 

13036 
CRUIKSHANK,   George'     1811  :  11764. 

1814:  12185.    1817:  12837.    1819: 

13281 
CRUIKSHANK,    Isaac    Robert^     1811: 

11764.    1818 :  13002 

CUMBERLAND,     Duke    of,     See    ERNEST 
AUGUSTUS 

CUMBERLANT),  Frederica  of  Mecklen- 
burg-Strelitz  (Princess  of  Solms- 
Braunfels),  Duchess  of  1815: 
12591.  1816:  12793.  1818:  12987, 
12989,  12996.  1819:  13227,  13278 
CUMBERLAND,      William      Augustus, 

Duke  of    1812:  11893 
CURRAN,  John  Philpot    1812:  11911 
CURTIS,  Corporal    1811  :  11718 
CURTIS,  Sir  William,  ist  Bart.    1811 
11707,  11716.    1812:  11888,  11906 
1813:  12076,  12085,  12089.    1814 
12306.    1815:  12452,  12552.    1816 
12714,   12715,   12813,   12814,   12832 
1817:  12868,  12876,  12892.    1818 
13002,  13006.    1819:  13224 
CURWEN,  John  Christian   1812  :  11 916 

DABOS,  Laurent   1813:i2ii2 
DA  COSTA,  Solomon    1811  :  11 704 
DACRE,       Mrs.      Charlotte      ('Rosa 

Matilda')    1814:  12338 
DALBERG,  Kar'  Theodor  Anton  Maria 

von    1815  :  12549* 
DAMINGTON,  Mr.  1818  :  13028, 13028  A 
DANIELS  (Printseller)    1812:11944 
DANTON,     Georges-Jacques       1813: 

12084 
DARNLEY,   John   Bligh,   4th   Earl   of 

1812:  11916 


'   See  Index  of  Artists,  Index  of  Printsellers. 


^  See  Index  of  Artists. 


1019 


INDEX   OF   PERSONS 


DARTMOUTH,  George  Legge,  3rd  Earl 

of   1813 :  11990 
DARU,       Cte       Pierre-Antoine-Noel 

Bruno    1814 :  12318* 
DAVID,  Jacques-Louis'    1814:  12172 
DAVIS  (Forger)    1817:12885 
DAVIS,  Richard  Hart    1812:  11 907 
DAVIS,  Tom  (of  Gloucester)    1816: 

12807 
DAVOUT,  Louis  Nicolas,  Prince  d'Eck- 

miihl.  Marshal  1814  :  12235, 12271, 

12318*.    1815:12527,12529,12537 
DEERHURST,    George    William    Cov- 
entry, Lord  (8th  Earl  of  Coventry 

1831-43)    1812:11913,11949 
DENON,  Dominique-Vivant,  Baron  de 

1815:  12619 
DENYS,  Lady  Charlotte  nee  Fermor 

1812:  II 944 
d'eon      de      BEAUMONT,      Charles- 

Genevieve-Louis-Auguste-Andre- 

Timothee,  Chevalier   1811:11704 
DERBY,  Edward  Stanley,  12th  Earl  of 

1811:  11705,  11712,  11714.    1812: 

11855,11916.    1818:  13143,  13143  A. 

1819  :  13267,  13312 
DERBY,  Eliza,  nee  Farren,  Countess  of 

1816:12763.    1818:  13143,  13143A 
DESAix  DE  VEYGOUX,  Louis-Charles- 

Antoine,  General    1815:i247i 
DESHAYES  (Danseur)    1811:  11 7 1 1 
d'este,  Augustus  Frederick  (K.C.H. 

1830)    1818:12996.    1819:13389 
DEVONSHIRE,  William  George  Spencer 

Cavendish,    6th   Duke   of     1813: 

12052 
DIBDIN,     Thomas    Frognall      1812: 

1 1 952 
DIBDIN,  Thomas  John    1814:  12338. 

Addenda:  13498  (1816) 
DICKSON,  Lady  (wife  of  Sir  Jeremiah 

Dickson)    1816:12763 
DIDELOT,  Charles-Louis    1813:i2i33 
DIDELOT,  Mme  Rose    1813:i2i33 
DILL  ARUM  \sic\    1819:  13239,  13240, 

13241,  13242,  13277,  13391,  13392, 

13393 
DODD,  Major    1811  :  117 1 1 
DiMOND,  William    1812:  11940 
DOMVILLE,  William    1813  :  12095 
DONOUGHMORE,  Richard  Hely-Hutch- 

inson,  ist  Earl  of  (cr.  1800)    1812: 

11916 

'  See  Index 


DOUGLAS,  Alexander  Douglas,  Mar- 
quis of  (loth  Duke  of  Hamilton 
1819-52)    1813 :  12030 

DOUGLAS  (Charlotte),  Lady  1813: 
12011,  12026,  12027,  12028,  12028  A, 
12029,  12031,  12032,  12039,  12081. 
1814:  12189,  12194.    1816:  12732 

DOUGLAS,  Major-General  Sir  John 
1813:  12011,  12026,  12027,  12028, 
12028  A,  12029,  12031,  12032,  12039. 
1814:  12189.    1816:  12732 

DOUGLAS,  Sir  John,  M.D.  1812: 
11841 

DOWNSHiRE,  Arthur  Blundell  Sandys 
Trumbull  Hill,  3rd  Marquis  of 
1817  :  12910 

DREW,  George  Purdon    1811  :  11754 

DRUMGOOLE,  Thomas,  M.D.  1813: 
12073 

DRUMMOND,  Henry    1814:12327 

DRYDEN,  John  (not  including  quota- 
tions from)    1812  :  11 941 

DUBOIS  DE  CHEMANT     1811  :  I1798 

DUBOURG,    French    General      1814: 

12311 
DUDLEY,     (Rev.)     Sir    Henry     Bate 

(formerly    Bate,    cr.    Bart.     1813) 

1813:  12081,  12082.    1814:  12207, 

12338 
DUGOOD    1817 :  12869 
DUMOLARD,    Joscph-Vinceut     1815: 

12569* 

DUNCAN      OF      CAMPERDOWN,      Adam 

Duncan,  Viscount  (cr.  1797),  Ad- 
miral   1819  :  13311 
DUNCAN  (of  Bombay)    1816  :  12736 
DUNDAS,    David    (Surgeon)      1811: 

1 1763 
DUNDAS,    General    Sir   David,    K.B. 

1811  :  11728 
DUNDAS,  William    1814:i23io 
DUNDONALD,     Archibald     Cochrane 

9th  Earl  of    1818  :  12995 
DUNN,  Mrs.    1813:12132 
DUROC,    Geraud-Christophe-Michel, 

due  de  FriuH    1811:11736.    1813: 

1 206 1,  12064 

EDMUNDS,    Mary       Addenda:    13493 

(1815) 
EDWARD,  Prince  (afterwards  Edward 

VI)    1812:  11952 
EDWARD   AUGUSTUS,    Duke   of   Kent 
of  Artists. 


1020 


INDEX   OF   PERSONS 


1811:  11706,  11711.  1812:  11864. 
1813:  12065.  1815:  12624.  1816: 
12768,  12776,  12793,  12814.  1818: 
12987,  12996.  1819:  13227,  13229, 
13278 

EGREMONT,  Sir  George  O'Brien 
Wyndham,  3rd  Earl  of  1814: 
12182 

ELDON,  Elizabeth,  Baroness,  nee 
Surtees  1813:  12028,  12028  a. 
1817:  12883 

ELDON,  John  Scott,  Baron  (cr.  Earl  of 
Eldon  1821)  1811:  11707,  11712, 
11713,  11714,  11717.  1812:  11860, 
11860A,  11864,  11865,  11877,  11888, 
11890,  11897,  11912.  1813:  11990, 
12028,  12028  A,  12031,  12039,  12066, 
12081,  12110.  1814:  12184,  12189, 
12300,  12301,  12303,  12305.  1815: 
12578,  12613,  12746,  12765.  1816: 
12749,  12757,  12781,  12788,  12796, 
12799,  12800,  12802,  12808.  1817: 
12861,  12862,  12864,  12867,  12867  A, 
12871,  12875,  12883,  12900.  1818: 
12981,  12985,  13011.  1819:  13240, 
13247,  13269,  13271,  13277,  13343, 
13346,  13369,  13386 

ELGIN,  Sir  Thomas  Bruce,  2nd  Earl 
of   1814:  12202.    1816:  12787 

ELIAS,  Samuel  1814:  12339  1817: 
12917 

ELIZABETH,  Princcss  (Landgravine  of 
Hesse  Homburg,  1818-40)  1816: 
12755,  12764.  1818:  12986,  12987, 
12989,  12990,  12991,  12992,  12993, 
12994,  12996,  12998.  1819  :  13229. 
Addenda :  13499  (1818) 

ELIZABETH,  Queen  1812:  11952. 
1816:  12785.    1819:  13192 

ELIZABETH    FEODOROVNA,    EmprCSS   of 

Russia    1814 :  12290 
ELLENBOROUGH,    Edward    Law,     ist 

Baron    1811:  11716,  11717,  11732. 

1812:  11912.    1813:  11990,  12006, 

12031,  12039,  12042,   12066,  12081. 

1814:  12189,   12300,  12303,  12305, 

12523.    1815:  12539,  12552,  12591. 

1816:   12746,   12749,   12757,  12778, 

12779,   12781,   12788,  12798,  12808. 

1817:   12862,   12864,   12871,  12875, 
12898,  12899,  12899  A,  12900,  12901. 

1818:   12980,   12981,   12985,  12988, 

13002,  13011,  13012.    1819:  13197. 
Addenda:  13493  (1815) 


ELLIOT,  Hugh    1816:12725 

ELLIS  (Solicitor)    1816  :  12616 

ELLisTON,  Robert  William  1811: 
11715.    1812:  11935,  11940 

ELWES,  John  (1714-89)    1814  :  12272 

ELYSEE,  Pere  (Talochon)   1816  :  12797 

EMERY,  John    1814 :  12327 

ENGHiEN,  Louis-Antoine-Henri  de 
Bourbon,  due  d'  1811  :  11736. 
1813:  12112.  1814:  12171,  12202, 
12205,  12205  A,  12225,  12234,  12235, 
12235  A*,  12250*,  12256,  12271. 
1815:12472,12580.    1817:12902 

ENGLAND,  George,  and  George  Pike 
Addenda:  13494  (1815) 

ENGLEFIELD,  Sir  Henry  Charles, 
F.R.S.  1812    1812:  11952 

ERNEST  AUGUSTUS,  Duke  of  Cumber- 
land (King  of  Hanover  1837-51) 
1811:  11706.  1812:  11864,  11899, 
11914,  11924.  1813:  12063,  12067, 
12081.  1814:  12176,  12284.  1815: 
12591.  1816:12776,12793.  1817: 
12861.  1818:  12987,  12989,  12994, 
12996.    1819:  13227,  13229,  13278 

ERSKINE,  Henry,  Baron  Erskine  of 
Restormel  1811:  11705,  11712, 
11713,  11714,  11717-  1812:  11845, 
11853,  11855,  11859,  11859A,  11864, 
11865.  1813:  12031.  1815:12624. 
1816:12716,12717.    1819:13384 

ERSKINE,  Sarah,  Lady  {nee  Buck) 
1819:  13384 

ESTERHAZY,  Prince  Paul  1819  :  13237, 
13238 

ETHELSTON,  (Rev.)  Charles  Wicksted 
1819:  13281,  13282,  13288,  13295, 
13303,  13342,  13343 

EUGENE  BEAUHARNAIS,  see  BEAUHARNAIS 

EVANS,  Thomas  1817  :  12867, 12867  a, 
12868,  12874.    1818:  13001 

EXMOUTH,  Sir  Edward  Pellew  (ist 
Bart.  1796),  cr.  Viscount  (18 16) 
1816 :  12795 

FALKLAND,  H^^nry  Thomas  Cary,  8th 

Viscount    1817:12967 
FARLEY,  Charles    1819:13374 
FARQUHAR,    Sir    Walter,    M.D.,    cr. 

Bart.  1796    1812  :  11841 
FAWCETT,  John    1814:  12327.    1819: 

13373,  13377 
FAWKES,  Guy    1813:  12103 

FENNING,  Eliza     1815:12624 


I02I 


INDEX   OF   PERSONS 


FENTON     1811  :  I1732 

FERDINAND  I,  IV  of  the  Two  Sicilies 
1814:  12222.    1815:  12555,  12622 

FERDINAND  VII  of  Spain  (Prince  of  the 
Asturias  to  1814)  1812:  11901. 
1813:  12072,  12079,  12112,  12114, 
12117,  12118,  12123.  1814:  12193, 
12202,  12222,  12235,  12235  A*, 
12248*,  12298.  1815:  12453,  12508, 
12508  A,  12508  B  (1823),  12510, 
12525,  12528,  12580,  12606*,  12607, 
12607  A,  12622.  1816  :  12700,  12717, 
12799.  1817:12875.  1818:13009 
13009  A,  13009  B,  13009  c.  1819 : 
13346 

FERON,  Miss    1811  :  11771 

FERRERS,  Laurence  Shirley,  4th  Earl 
1818 :  12995 

FESCH,  Joseph  (Cardinal)  1811  :ii7i9, 
11721.    1814:12271.    1815:12473 

FIELDING,  Henry    1812:  11 941 

FIELDING,  William  (son  of  Henry) 
1816:  12716 

FILDES,  Mrs.  E.  Mary  1819:  13260, 
13263 

FINGALL,  Arthur  James  Plunkett,  8th 
Earl  of    1812:  11898 

FINNERTY,  Peter    1811  :  11724 

FISCHER,  Major  Christian  1812 : 
11871,  1 1873 

FISCHER,  Henry    1812:11871 

FISHER,  John,  Bishop  of  Salisbury 
1812:  11864.  1814:  12292,  12294, 
12295.    1816 :  12760 

FiTZCLARENCE,  family  of  (sons  and 
daughters  of  the  Duke  of  Clarence) 
1811:  11744,  11747,  11748.  1812: 
11844,  11914.    1818:  12987 

FITZCLARENCE,  Frederick  1814  :  12315 

FITZCLARENCE,  George  (cr.  Earl  of 
Munster  1831)    1814:12315 

FITZGERALD,  Lord  Edward  1813: 
12084 

FITZGERALD,  William  Thomas  1814: 
12338 

FITZHERBERT,  Mrs.  Maria  Anne,  nee 
Smythe  1812  :  11841,  11856,  11860, 
11860A,  11864,  11877,  11886,  11904. 
1816 :  12791,  12800 

FiTZV^iLLiAM,  William  Wentworth 
Fitzwilliam,  2nd  Earl   1819  :  13302, 

13335 
FiTzv^iLLiAMS,  Mr.    1817:12978 

■  See  Index 


FLAXMAN,  John,  R.A.    1812:  11952 
FLOOD,  Sir  Frederick  (cr.  Bart.  1780) 

1815 :  12505 
FOLKESTONE,   William  Pleydell-Bou- 
verie.  Viscount  (3rd  Earl  of  Radnor 
1828-69)      1811:     11714,     11717. 
1812 :  11915,  11916 
FOOT,  Jesse,  the  elder    1813:  12130 
FORES,  Samuel  William^    1813  :  12033 
FOSTER  (Borough  Surveyor  of  Liver- 
pool)   1812 :  11910 
Foucni,  Joseph,  due  d'Otrante  1815: 

12527,  12540,  12614,  12615,  12623 
FOURDRiNiER,  Henry  and  Sealy  1811 : 

1 1732 

FOX,  (Hon.)  Charles  James  1811: 
11740.  1812:  11856,  11869,  11889, 
11893.  1815:  12540,  12553.  1816: 
12791.    1819 :  13312 

FOX,  Mrs.  Elizabeth  Bridget,  nee 
Cane  (known  as  Mrs.  Armistead 
till  1802)    1812:  11899 

FRANCIS  I,  Emperor  of  Austria 
(Francis  H,  Emperor,  1792-1806) 
1812:  11921.  1813:  12007,  12069, 
12079,  12096,  12098,  12099,  12108, 
12109,  12114,  12117,  12120, 12120A*, 
12122.  1814:  12183,  12190,  12193, 
12199,  12206,  12206  A*,  12218, 
12218  A*,  12222, 12227, 12229, 12233, 
12248*,  12298.  1815:  12453,  12499, 
12500*,  12506,  12509,  12515,  12518, 
12519*,    12521*,    12522*,    12522  A*, 

12525,  12528,  12533,  12533  A,  12549*, 

12555,  12559, 12580, 12586*,  12587*, 
12588*, 12593, 12594, 12603*,  12609, 

12614,   12615,    12618,   12620,   12622. 

1816:  12756,  12797,  12810.    1817: 

12875.      1818:    13007.     Addenda: 

13485(1812) 
ERASER,  Lady  (wife  of  Sir  Augustus 

Simon  Eraser)    1816:  12763 
FREDERiCA,  Duchess  of  York    1811  : 

11729.    1812:  11841,  11843,  11864. 

1813:  12081.    1818:  12989,  12996. 

1819 :  13226,  13227 
FREDERICK  I,   King  of  Wiirtemberg 

1813:  12096,  12101,  12114,  12117, 

12122,  12123.    1815:  12453,  12499, 

12528,  12549* 
FREDERICK   II  (the   Great),   King  of 

Prussia  1813:12007,12063.  1814: 
12269* 
of  Printsellers. 


1022 


INDEX  OF  PERSONS 


FREDERICK  AUGUSTUS,  Duke  of  York 
1811:  11706,  11711,  11725,  11726, 
11728.  1812:  11844,  11855,  11856, 
11864,  11899,  11914,  12076,  12081. 
1814:  12173,  12180,  12181,  12220, 
12294,  12295,  12300,  12315.  1816: 
12776.  1817:  12861.  1818:  12989, 
12994,  12996.  1819:  13203,  13214, 
13215,  13217,  13217A,  13220,  13221, 
13223,  13224,  13226,  13228,  13229, 
13235,  13240,  13243,  13247,  13277, 
13278,  13343,  13407,  13477 

FREDERICK      AUGUSTUS      I,      King      of 

Saxony  1813:12096,12122.  1814: 
12256.   1815  : 12453,  12500*,  12549* 

FREDERICK  WILLIAM  III  of  Prussia 
1812:  11921.  1813:  12007,  12069, 
12079,  12096,  12098,  12099,  12108, 
12109,  12122,  12123.  1814:  12188*, 
12193,  12199,  12222,  12229,  12233, 
12248*,  12274,  12278,  12279,  12283*, 
12287,  12298,  12303,  12304.  1815: 
12453,  12499,  12500*,  12506,  12509, 
12515, 12518, 12519*,  12521*,  12522*, 
12522  A*,  12525,  12528,  12533, 
12542*, 12549*, 12559, 12580, 12587*, 
12588*,  12593,  12594,  12603*,  12609, 
12614,  12615,  12622.  1816:  12756, 
12797.  1817:  12875,  12877.  1818: 
13007.   Addenda:  124S6  (1812) 

FREMANTLE,  John  1815  :  12484,  12485, 
12486,  12487,  12488,  12489,  12490, 
12491,  12492,  12493,  12494,  12495, 
12496,  12497,  12498 

FUSELi,  Henry  (Johann  Heinrich 
Fuessli)    1816  :  12817 

GAGARIN,  Prince    1816:  12820 
GALL,  Francis  Joseph    1816:   12839. 

1819:  13346 
GARAT,     Dominique-Joseph       1815: 

12569* 
GARDEL,  Mme    1814:12363* 
GARDINER  (of  Leicester)    1811  :  11732 
GARRICK,  David    1819:13368 
GARROW,  Sir  William,  K.C.(Kt.  1812) 

1813:  12081.    1815:  12505,  12552. 

1817:  12862 
GASCOYNE,  Isaac    1812:11910 
GAY,  John  (not  including  quotations 

from)    1812  :  11 941 
GEORGE  II    1812  :  11952 
GEORGE  III    1811  :  1 1707,  1 1708,  1 1736, 

I  Date 


11738.    1812:  11856,  11870,  11909. 

1813  :  11990, 12016, 12016A,'  12031, 

12066.    1814:12305.    1815:12547, 

12552,12608.    1816:12770.    1817: 

12877.    1819:  13214,  13215,   13228, 

13235,  13249,   13272,   13277,  13278, 

13320.       Addenda:    13485,    (1812) 

13497(1816),  13500(1819) 

GEORGE,    Prince    of    Wales,    Prince 

Regent,     afterwards     George     IV 

1811:  11705,  11706,  11707,  11708, 

1709,  11712,  11714,  11716,  11725, 

1726,  11727,   11728,  11729,  11730, 

1746,  11775.    1812:  11841,  11842, 

1843,   1 1845,   1 1846,   11847,   1 1853, 

1855,  11856,  11858,  11859,  11859  A, 

i860,  11860  A,  11861,  11862,  11864, 
1865,  11866,  11867,  I1868,  I1869, 
1874,  11877,  11878,  11879,  11879  A, 

1886,  11887,  "888,  11889,  11890, 
1891,  11893,  11897,  11898,  11899, 
1904,  11914,  11922.  1813:  11936, 
1940,  11990,  12007,  12008,  12011, 

2016A,  12026,  12028,  12028  A,  12029, 
2031,  12032,  12039,  12041,  12042, 
2055,  12056,  12056  A,  12063,  12065, 
2066,  12076,  12081,  12082,  12091, 

2110,  12130.  1814:  12173,  12180, 
2181,  12182,  12184,  12188*,  12189, 
2202, 12203, 12204, 12204  A,  12204  B, 
2208,  12265,  12273,  12276,  12277, 
2278,  12279,  12283*,  12288,  12291, 
2292,  12294,  12295,  12296,  12297, 
2298,  12300,  12301,  12302,  12303, 
2304,  12305,  12306,  12309,  12315. 
815:  12498,  12501,  12504,  12519*, 
2522*,  12522A*,  12532, 12537, 12547, 
2550,  12556,  12578,  12580,  12592, 
2593,  12594,  12613,  12617,  12618, 
2621,12622,12626,12626  a.  1816: 
2700,  12714,  12717,  12719,  12746, 
2747,  12748,  12749,  12752,  12753, 
2754,  12755,  12756,  12757,  12758, 
2759,  12762,  12763,  12764,  12765, 

2766,  12770,  12770  A,  12771,  12775, 

2776,  12778,  12783,  12784,  12785, 
2791,  12793,  12794,  12796,  12798, 
2799,  12800,  12801,  12802,  12803, 

2803  A,  12804,  12805,  12806,  12808, 

2811,  12842.  1817:  12861,  12864, 
2867,  12867  A,  12869,  12871,  12872, 
2874,  12875,  12877,  12886,  12887, 
2892,  12897.  1818  :  12987,  12989, 
uncertain. 


1023 


INDEX  OF  PERSONS 


12990,  12994,  12996,  12999,  13001, 

13002,  13014,'  13046,  13058.  1819: 

13195,  13202,  13208,  13209,  13210, 

13211,  13212,  13213,  13215,  13216, 
13216A,  13217, 13217A,  13220, 13221, 

13222,  13223,  13229,  13231,  13232, 

13233,  13234,  13235,  13237,  13238, 

13239,  13240,  13241,  13242,  13247, 

13259,  13261,  13265,  13266,  13267, 

13269,  13271,  13277,  13278,  13280, 

13290,  13299,  13303,  13305,  13315, 
13344,  13346,  13347,  13407 

GEORGE  FREDERICK  WILLIAM  CHARLES, 

Prince  (2nd  Duke  of  Cambridge 
1850-1904,  Field  Marshal,  C.-in-C. 
1887-95)    1819:  13227 

GEORGES,  see  CADOUDAL 

GERAMB,  Ferdinand  de    1811  :  11740, 

11744,  II774-    1812:  11922,  11935, 

1 1 943 
GIBBONS,  Bill  (Pugilist)    1811  :  11786 
GIBBS,  Mrs.    1814:  12328 
GIBBS,  Sir  Vicary   1811:11711,11713, 

11714,  11716,  11717.    1813:  12081, 

12110.    1816:  12788 
GiFFORD,  Robert  (or.  Baron  Gifford 

1824)    1818:  13011.    1819:  13295, 

13297 
GiLLETT  or  GiLLET  (Printer)    1811: 

11732 
GiLLRAY,  James^    1811  :  11736 

GIRARDELLI,  Mme     1818:13033 

GLADSTONE,    John    (cr.    Bart.    1846) 

1812 :  11910 
GLENBERViE,  Sylvester  Douglas,  Baron 

(cr.  1800)    1813:  12081 
GLOUCESTER,  William  Frederick,  Duke 

of  1811:11706.   1812:11916.  1816: 

12783,  12784,   12789,   12792,  12793, 

12815.    1818:12996.    1819:13278 
GLOVER    1811 :  1 1704 
GODWIN,  William    1812:11941 
GOODBEHERE,      Samucl,      Alderman 

1816:  12809 
GOOLD,  Thomas    1812:11898 
GORDON,  Lord  George    1818:  12995 
GORDON,  James    1817:12914 
GORDON,  William    1812:  11913 
GRAHAM,  Sir  Robert  (Kt.  1800)  1817  : 

12862 
GRAHAM,  Thomas,  General  (cr.  Baron 

Lynedoch     1814)      1811:     11723, 

11736.    1812:  11862 

'  Date  uncertain. 


GRANBY,     George    John    Frederick, 

Marquis    of   (b.    1813,    d.    1814) 

1814:  12180,  12181 
GRANBY,  John  Manners,  Marquis  of 

1814:  12180 
GRANT,  Charles    1813:  12005,  12008, 

12017 
GRANT,   Charles  (cr.   Baron  Glenelg 

1831)    1812:  11889 
GRANT,    Charles    or    Hugh      1818: 

13019, 13019  A 
GRANTHAM,  Thomas  Philip  Weddell 

(formerly     Robinson,     afterwards 

de   Grey),    3rd   Baron  (2nd   Earl 

de  Grey  of  Wrest  1833-59)    1819  : 

13250 
GRATTAN,  Henry  1812:11915.    1815: 

12581 

GREEN,  Godfrey  1811  :  11756,  11757, 
1 1758,  1 1759 

GREENAWAY  (Forger)    1817  :  12885 

GRENViLLE,  Lord  George  Nugent 
(Baron  Nugent  1812-50)  1812: 
11916 

GRENVILLE,  William  Wyndham  Gren- 
ville.  Baron  (cr.  1790)  1811  :  11705, 
11709,  11712,  11713,  11714,  11725, 
11730.    1812:  11846,  11853,  11855, 

1 1856,  1 1859,  1 1859  A,  1 1866,  1 1867, 

n868,  1 1877,  11878,  1 1883,  1 1886, 
11887,  11888,  11889,  11890,  11898, 
11916.  1813:  12031,  12081,  12110. 
1814:  12283*,  12301.  1816:12812. 
1819:  13312 
GREY,  Charles  Grey,  2nd  Earl  (Vis- 
count Howick  1806-7)  1811: 
11705,  11709,  11712,  11713,  11714- 
1812:   11846,   11853,   11855,   11859, 

I 1859  A,  I i860,  I i860  A,  I 1866, 
1 1867,  1 1877,  1 1878,  1 1883,  1 1886, 
I1887,  I1888,  I1889,  I1890,  II916. 

1813:  12065,  12081,  12110.    1814: 

12301.    1819 :  13312 
GRiMALDi,     Joseph      1813:     12003. 

1815:  12698 
GROSE,  Sir  Nash    1813  :  12006 
GROSVENOR,  Robert  Grosvenor,  2nd 

Earl  (cr.  Marquis  of  Westminster 

1831)    1812:  11916,  11953.    1819: 

13302 
GULLY,  John  (Pugilist)    1811  :  11786 
GYE,  Frederick    1818:13038 
^  See  Index  of  Artists. 


1024 


INDEX   OF   PERSONS 


HALFORD,  Sir  Henry,  M.D.  (cr.  Bart. 

1809)    1813  :  12041,  12056,  12056  A, 

12066 
HALL,  Thomas    1817  :  12909,  12909  A 
HALLETT,  William  1812:11863,11875, 

11915,  11916 
HAMILTON,  Lady  Anne    1813  :  12030. 

1814 :  12194 
HAMILTON,  Emma  {nee  Lyon),  Lady 

1819:  13472 
HAMILTON,  Sir  William,  K.B.,  F.R.S. 

1819:  13472 
HANGER,  (Hon.)  George  (7th  Baron 

Coleraine  1814-24)    1811:  11709. 

1812: 11860,  11860  A,  11914.   1816: 

12791 
HARLEY,   one  of  the   Ladies     1813: 

12030 
HARLEY,  Edward  Harley,  Lord   1811: 

11733,  11734 
HARRIS,  Thomas   1811:11771.    1814: 

12326,12327.    1817:i29i8.    1819: 

13376,  13380 
HARRISON,     Joseph    (of    Stockport) 

1819:  13254,  13326 
HARROWBY,  Dudley  Ryder,   ist  Earl 

of      1811:     11716,     11717.      1815: 

12552.    1818  :  13020 
HARVEY,  William    1818:  13034 
HASE,  Henry    1811  :  11716,  11732 
HASTINGS,  Marquis  of,  see  moira 
HASTINGS,     Warren       1812:     11952. 

1813:  12066.    1819:  13229 
HAY,  Edward    1813:12073 
HAYDON,    Benjamin    Robert     1818: 

13034.    1819:  13364 
HAYES,  Philip  (1738-97,  Mus.D.)  or 

William  (1706-77,  Mus.D.)  1819: 

13390 
HAYLEY,  William    1812:11941 
HEADFORT,  Marquis  of    1812:  11 914. 

1813:  12042 
HELY-HUTCHiNSON,  John  (3rd  Earl  of 

Donoughmore     1832-51)      1816: 

12706*,  12707,  12707  A 
'henry  i'  of  Haiti  (Henri  Christophe) 

1819:  13249 
henry  V    1812 :  11887 
HENRY    VIII      1812:     11887,     11952. 

1813  :  12041,  12056,  12056  A.    1816: 

12808 
HERON,  Sir  Robert,  2nd  Bart.    1812: 

11952 
HERTFORD,  Francis  Ingram  Seymour, 


2nd  Marquis  of  Hertford  1812: 
1 1862,  1 1864,  1 1877,  1 1878,  1 1888, 
11889,  11890,  11897,  11899,  11904, 
11914.  1813  :  12039,  12081.  1814: 
12173,  12182,  12303.  1816:  12749, 
12766.  1819  :  1329s 
HERTFORD,  Isabella  Anne,  nee  Ingram 
Shepheard,  Marchioness  of  1812  : 
11853,  11856,  11858,  11859,  11859A, 
1 1860,  1 1860  A,  11861,  1 1862,  1 1864, 
1 1865,   1 1866,   11869,   1 1874,   1 1877, 

1 1878,  1 1879,  11879  A,  11886,  I1887, 
I1888,  I1889,  I1891,  11893,  I1897, 

11899,  11904,  11914,  11940.  1813: 
I 1990,  12028,  12039,  12042,  12066, 
12081.  1814:  12173,  12189,  12208, 
12279,  12291,  12301,  12303,  12309. 
1816:  12705,  12746,  12749,  12766, 
12791,12800.  1818:12996.  1819: 
13203,  13213,  13215,  13216,  13216  A, 
13220,  13221,  13222,  13223,  13232, 
13241,  13261,  13265,  13346 

HESSE,  Charles,  Captain  of  Hussars 
1812:  11899 

hesse-homburg,  Frederick,  Prince  of 
1818:  12986,  12987,  12989,  12990, 
12991,  12992,  12993,  12994,  12996, 
12998,  13004,  13017,  13035.  Ad- 
denda: 13499  (1818) 

higgins  (Governor  of  Lancaster  Jail) 
1812:  11892 

hilbers,  Mr.    1818:  13016,  13016  a 

HILL,  Lord  Arthur  William  1814: 
12315 

HILL,  Rowland  1812:11953.  1819: 
13316 

HILL,  General  Sir  Rowland,  K.B.  (cr. 
Baron  18 14,  Viscount  1842)   1815  : 

12593 
hilligsburg,  Mme    1817:12935 
HISLOP,    General    Sir    Thomas,    cr. 

Bart.  1813    1816  :  12725 
hobhouse,    John    Cam    (2nd    Bart. 

1 83 1,    cr.    Baron    Broughton    de 

Gyfford  1851)   1819:13204,13205, 

13207,  13219,  13338,  13349 
hoby  (Bootmaker)    1812:11952 
HODSON,    Frodsham,    D.D.      1811: 

1 1782 
HOFER,  Andreas    1813:  12112.    1814: 

12202,12234.    1815:12580 
HOLLAND,     Henr}^    Richard    Vassall 

Fox,  3rd  Baron  1811:11710,11713, 

11717.    1812  :  11853,  11859, 11859  A, 


1025 


3U 


INDEX   OF   PERSONS 


11916,  11936,  11937,  11940.    1813: 

12065,  12081,  12110.    1815:  12624 
HOLLAND,  Elizabeth  Fox  (nee  Vassall), 

Lady    1811:ii7io.    1812:ii9i6 
HOLLAND,  William'    1812:11944 
HOLT,  Mr.    1819:  13267 
HOME,    Everard,    F.R.S.    (cr.    Bart. 

1813)    1811:  11763.    1812:  11841, 

11864.    1813 :  12130 
HONE,  William'    1811:11764.    1815: 

12624.    1816:12799.    1817:12886, 

12891,  12898,  12899,  12899  A,  12900, 

12901.    1818 :  12980,  12981,  13002. 

1819:  13200,  13253,  13328,  13340 
HOOD,    Admiral    Sir   Samuel   Hood, 

Viscount    1819:13463 
HOOPER,  John    1818:  13 001 
HOPE,    George    Johnstone,    Admiral 

1814 :  12310 
HORTENSE  (me  Beauharnais),  Queen 

of  Holland  1806-10    1813:  12112. 

1815:  12569* 
HOWE,  Admiral  Richard,  4th  Viscount 

(cr.  Earl  1788)    1819:  13311,  13463 
HOWE  (of  Langar),  Sophia  Charlotte, 

Baroness  suo  jure  (m.  (i)  Viscount 

Curzon,  (2)  SirJ.  W.Waller)  1812: 

11864.    1813:  12081 
HOWLEY,  William,  Bishop  of  London 

1819:  13289 
HUGGINS,  John    1818:  13013 
HUGHES,  Edward  Hughes  Ball  (origin- 
ally   Ball)     1819:    13352,    13352  a 

(1822) 
HUME,  Joseph    1813:  12005 
HUMPHREYS,     Bow     Street     Officer 

1817:  12916 
HUNN,  Mrs.  Mary  Anne,  Jiee  Costello, 

widow  of  George  Canning  senior 

1819:  13301 
HUNT,   Henry     1812:    11915,    11916. 

1816:  12818,  12819.     1817:  12864, 

12866,  12867, 12867  A,  12869,  12870, 

12871,  12874,  12878.  1818:  12999, 
13001,  13002,  13003,  13006.  1819: 
13200,  13204,  13207,  13219,  13252, 
13253,  13254.  13260,  13262,  13263, 
13266,  13270,  13271,  13272,  13273. 
13280,  13283,  13313,  13323,  13324, 
13333,  13334-  Addenda:  13500 
(1819) 
HUNT,  James  Henry  Leigh  1811: 
11704.  1813 :  12037 

*  See  Index 


HUNTER,  Sir  Claudius,  Bart.  (cr.  Dec. 

1812)    1812:  11906,  11915,  11932, 

11945,11946.    1813:  12085 
HUNTINGTON,  William    1811:  11704. 

1813:  12135,  12136.    1815:  12624. 

1816:  12768 
HUNTLEY,  Francis    1811  :  11771 
HUTCHINSON,  John  Hely-Hutchinson, 

cr.  Baron  1801  (2nd  Earl  Donough- 

more  1825-32)  1812  :  11889, 11916. 

1813:  12084 
HURSTWAITE,  John    1814:  12323 
HUSKISSON,  William    1812:  11889 

IDLE,  Christopher    1814:12284 

ILCHESTER,  Maria,  nee  Digby,  Coun- 
tess dowager  of   1816  :  12760 

INCLEDON,  Charles  1814:  12327. 
1815  :  12699 

iNGLis,  Sir  Hugh  (ist  Bart.)  1813: 
12008,  12017,  12018 

JACKSON,  Andrew,  President  U.S.A. 

1828-36    1819:  13218 
JACKSON,  John  ('Gentleman  Jackson') 

1811  :  11746.    1817:  12917.    1819: 

1339s 
JACKSON,   Sir  John  (cr.   Bart.    1815) 

1817:  12891 
JACKSON,  Randle    1813  :  12005,  12008 
JANSON,  Mr.    1819:  13387,  13388 
jARVis,  Mr.    1816:12763 
JEFFERYS,  Nathaniel    1817:12837 
JENKIN,  Miss    1819:13390 
JENKINS  (Printseller)    1812:  11 944 
JENNER,  Edward,  F.R.S. ,M.D.  1811: 

11763.    1812:  11953 
JERDAN,  William    1812:11894 
JERSEY,  Frances,  nee  Twysden,  Coun- 
tess of   1816  :  12800 
JERSEY,    Sarah    Sophia,    nee    Fane, 

Countess  of    1817  :  12953 
JOHNSON  or  JOHNSTON,  Denis    1819: 

13214,  13400,  13421 
JOHNSON,  Samuel    1812:11941 
JOHNSTON,     Henry       1811:     11839. 

Addenda:  13498  (1816) 
JOHNSTON,     Mrs.     H.,     nee    Parker 

1811:11772.    1814:12327 
JOHNSTONE,  Andrew  Cochrane  1814: 

12208,  12209,  12212 
JOHNSTONE,    Sir   George    Frederick, 

7th  Bart.    1814  :  12284 
of  Printsellers. 


[O26 


INDEX   OF   PERSONS 


JONES,  John  Gale  1818:12999,13001, 
13003 

JONES,  M.I    1811  :  1 1764 

JONSON,  Ben    1812:11941 

JORDAN,  Mrs.  Dorothea  (nee  Bland) 
1811:  11744,  11747,  11748.    1812 
11844,  11856,  11899,  11914-    1813 
12020,  12081.    1816:  12746.    1818 
13004 

JOSEPHINE  (Marie-Rose- Josephine 
Tascher  de  la  Pagerie),  Empress 
Consort  of  Napoleon  1811  :  11715, 
11719.  1812:  11921.  1813:  12112. 
1814:  12183,  12189,  12255,  12256. 
1815:  12459,  12473,  12580.  1817: 
12902 

JOURDAN,  Comte  Jean-Baptiste,  Mar- 
shal 1813:  12068,  12070,  12071, 
12072.    1814:  12179,  12271 

JUNOT,  Andoche,  due  d'Abrantes, 
Marshal  1811:11720.  1812:11914, 
1813 :  12070 

JUNOT,  Laure,  duchesse  d'Abrantes 
1811 :  11720 


KALKBRENNER,  Friedrich  Wilhelm 
Michael    1818:  13035,  13036 

KEAN,  Edmund  1814:  12263,  12325, 
12326.  1816:12714.  1817:i29i8, 
12919.  1818:  13027.  1819:  13366, 
13367,  13368,  13370 

KEATE,  Thomas,  D.D.    1816:12823 

KELLY    1818  :  12985 

KELLY,  H.  (Saddler)    1812:  11944 

KEMBLE,  Charles    1816:12829 

KEMBLE,  John  Philip  1811:  11771, 
11772,  11773-  1812:  11935,  11941. 
1816:12829.    1817:  12918.    1819: 

13370,  13371 

KENMARE,  Valentine  Browne,  ist  Earl 
of  (or.  1801)    1812:  11898 

KENT,  Duchess  of,  Maria  Louisa 
Victoria  of  Saxe-Coburg,  widow  of 
Emich  Charles,  Prince  of  Leiningen 
1818:12987.    1819:13227,13278 

KENT,  Duke  of,  see  EDWARD  AUGUSTUS 

KEOGH,  Cornelius    1812:11898 

KEOGH,  John    1812:  11898 

KILWORTH,  Stephen  Moore,  Lord, 
(3rd  Earl  Mountcashell  1822-83) 
1811  :  11744.    1812:  11844 

KING,  Abraham  (Lord  Mayor  of 
Dublin)    1813:  12054,  12055 


KING,  John  (Jacob  Rey)   1811  :  11704, 

11731 
KING,    Peter    King,    7th    Baron   (of 

Ockham)  1811:11716,11731,11732 
KiNNAiRD,  Mr.    1815:i26i6 
KiNNAiRD,    (Hon.)    Douglas    James 

William  1818  :  12999, 13002, 13003, 

13006 
KIRKCUDBRIGHT,  Sholto  Henry  Mac- 

lellan,    9th    Baron     1813:    12125. 

1815:  12630.    1816:  12826.    1817: 

12953 
KITCHEN,  Mrs.  Alice    1819:13257 
KNIGHT,  Ellis  CorneHa    1814:  12292 
KNIGHT,  Mr.  J.  (of  Blackburn)   1819  : 

13257 

KNIGHT,  Richard  Payne    1812:  11 952 

KUTUSOFF,       Michael       Larivonitch 

Golenitchef    1812:   11920.     1813: 

1814  :  12220,  12318* 

(1637-1724)      1814: 


11992,  12033. 

KYRLE,      John 
12272 


LA^ 


LABEDOYERE,       Charlcs- Angcliquc- 

Frangois  Huchet,   Cte  de     1815: 

12569*.    1816  :  12707,  12707  A 
LA    CHAMETTE,    Lee      1817:    12907, 

12907  A 
LACY,  Luiz,  Spanish  general    1818: 

13009,  13009  A,  13009  B,  13009  c 
LAFAYETTE,  I\L-J.-P.-Roch-Yves-Gil- 

bert   Motier,   Marquis   de     1815: 

12569* 
AMB,  Lady  Caroline,  ne'e  Ponsonby 
818:  13087.    1819:  13361 
LAMB,  Hon.  Mrs.  George  (Caroline) 

1817  :  12915 
LAMB,  (Hon.)  George    1819:  13204, 

13205,  13207,  13356 
LAMBERT,  Daniel    1818:13121 
LANCASTER,  Joseph    1811  :  11745 
LANDAFF,   Francis  James  (Mathew), 

2nd  Earl  of    1813  :  12084 
LANDSEER,     Charles      1818:     13034. 

1819:  13364 
LANDSEER,  John    1812:  11952 
LANDSEER,    Thomas      1818:     13034. 

1819:  13364 
LANESBOROUGH,      Jane      (Rochfort), 

Countess  of   1811  :  11704 
LANGFORD   (Preacher   and    bigamist) 

1813:  12135 
LANSDOWNE,      Henry      Petty,      3rd 


'  See  Index  of  Printsellers. 


1027 


INDEX   OF   PERSONS 


Marquis  of    1811:   11705,   11712, 

11713,  11714,  11730-    1812:  11846, 

11916,  12280 
LAUDERDALE,    Jamcs    Maitland,    8th 

Earl  of   1811:11712.    1812:11855, 

11916 
LAURISTON,    Jacques-Alexandre-Ber- 
nard Law,  Marquis  de,  Marshal 

1813 :  12096 
LAVALETTE,  Antoine-Marie  Chamans, 

Ctede  1816: 12706*,  12707, 12707  A 
LAW,  John    1815  :  12632 
LAWLER,  Mr.    1811:11715 
LAWRENCE,    James,    Captain    of   the 

Chesapeake    1813:  12080 
LEACH,  William  Elford    1819:  13194 
LEEDS,    George    William    Frederick 

Osborne,  6th  Duke  of  1813: 12067 
LEFEBVRE,    Frangois-Joseph,   due   de 

Danzic,     Marshal      1815:     12527, 

12529,  12537 
LEiNiNGEN,    Princess    of,    see   rent, 

DUCHESS  OF 

LEOPOLD,  Prince  of  Saxe-Coburg- 
Gotha  (Leopold  I  of  the  Belgians 
1831-65)  1816:12746,12747,12748, 
12749,  12753,  12754,  12755,  12756, 
12758,  12759,  12760,  12761,  12762, 
12764,  12765,  12767,  12769,  12770, 

12770  A,  12771,  12772,  12773,  12774, 

12775,  12776,  12778,  12780,  12784, 
12785,  12789,  12793,  12796,  I28I5. 
1817:  12894.  1818:  12984 
LEOPOLD  III,  Prince  of  Anhalt-Dessau, 
1815:  12549 

LEPELLETIER DE SAINT-FARGEAU,  F.-L.- 

Felix,  Cte  de    1815:  12569* 
LE  SAGE,  Alain-Rene    1812:  11 941 
LETHBRiDGE,  Thomas  Buckler   1811 : 

1 1707 
LEWIS,   Matthew   Gregory  ('Monk') 

1811:  11773.    1812:  11940,  11941. 

1813:  12082 
LEYCESTER,  Hugh     1817:12883 
LISLE,  Mrs.  Hester    1813:i203i 
LISTON,  Mrs.,  nee  Tyrer   1814  :  12327 
LiSTON,   John     1811:   11840.     1814: 

12327,12395.    1815:12697.    1818: 

13041,  13042.    1819:  13354 
LIVERPOOL,  Robert  Banks  Jenkinson, 

2nd    Earl    of  (Lord    Hawkesbury 

1796-1808)     1811:    11707,    11714. 

1812:   11864,   11865,   11886,   11887, 

'  See  Index  of 


11888,  11889,  11890,  11900.  1813: 
11990,  12066,  12110.  1814:  12184, 
12207,  12208,  12301,  12305,  12523. 
1815:  12550,  12552,  12555,  12578, 
12626.  1816:  12717,  12747,  12751, 
12752,  12781,  12796,  12798,  12808. 
1817:  12864,  12868,  12874,  12901. 
1819:  13271,  13346 

LIVERPOOL,  Theodosia  Louisa,  nee 
Harvey,  Countess  of  1816  :  12763 

LOCKE,  John  1812 :  11 941 

LOGIER,  Jean-Barnard  1818:  13035, 
13036 

LOUIS  XVI  1813: 12112.  1814:12269*. 
1815:  12523,  12524,  12614,  12615. 
1816  :  13269 

LOUIS  XVIII  1811:  11729.  1814: 
12169,  12189,  12216,  12219,  12221, 
12222, 12225,  12230, 12242*,  12245*, 
12256,  12262,  12265,  12266,  12271, 
12277, 12298, 12299, 12299  A,  12308*. 
1815:  12453,  12509,  12515,  12516, 
12517,  12519*,  12520*,  12521*, 
12522*,  12522  A*,  12523,  12524, 
12528,  12531,  12534,  12537,  12542*, 
12543,  12547,  12550,  12551,  12553, 
12558,  12559, 12580,  12587*,  12588*, 
12594,  12609,  12614,  12615,  12617, 
12618,  12619,  12620,  12621,  12622, 
12623.  1816  :  12707,  12707  A,  12757, 
12786,  12797,  12799.  1818:  12997, 
12997  A,  12997  B,  13007,  13008, 

13008  A,  13008  B 

l'ouverture,  Toussaint  1811  :  11736. 

1814 :  12171 
LOVEGROVE,    William     1811:    11762, 

11838 
LOVELL,  Daniel    1811  :  11724 
LOWE,     Sir    Hudson,     Lt. -General, 

K.C.B.  1816    1817:  12903* 
LYON,  Dr.    1811  :  11829 
LYON,  George  Francis,  R.N.    1818: 

13043.    1819:  13249,  13449 
LYSONS,  Samuel    1812:11952 

MACAULAY,  Zachary    1819:13249 
MACAULEY,  Elizabeth  Wright    1819: 

13379 
MCCLEARY,    William'     1813:    12054, 

12055 

MCDONALD     1811:il732 

MACDONALD,  Sir  Archibald  (Kt.  1788, 

cr.  Bart.  1813)    1812:  11922 
Printsellers. 


1028 


INDEX   OF   PERSONS 


MACDONALD,  Donald,  Lt.-General 
1812  :  11929 

MACDONALD  Jacques- Etienne-Joseph- 
Alexandre,  due  de  Tarente,  Mar- 
shal   1813  :  12096 

MCKENNY,  Sir  Thomas  (Kt.)    1819: 

13397,  13398 

MCMAHON,    John    (cr.  Bart.     18 17) 

1811:  11709,  11730,  11746.    1812: 

11841,   11842,   11843,  11847,   11856, 

1 1860,  1 1860  A,  1 1864,  1 1865,  1 1868, 

11869,   1 1874,    1 1877,  1 1888,   1 1889, 

11891,  11904,  11914.  1813:  12039, 

12041,  12056,  12056  A,  12076,  12081, 

12082,  12091,  12110.  1814:  12173, 

12182,   12184,   12208,  12278,   12291, 

12303,  12306,  12309.  1815:  12501, 

12550,  12578,  12613.  1816:  12700, 

12714,   12746,   12749,  12756,  12757, 

12763,  12765,  12766,  12770,  12770  A, 
12778,  12783,  12785,  12791,  12793, 

12798,12800,12811.    1817:i286i 
MCMILLAN    1811  :  1 1732 
MACREADY,   William   Charles     1819: 

13370 
MADISON,    James,    President   of   the 

United     States     1809-17      1813: 

12043,  12077.    1814:  12169,  12281, 

12311.    1815  :  12540 
MADOCKS,  William  Alexander    1812: 

11915 
MAGEE,  John  (d.  1809)    1813  :  12084 
MAHMUD  II,  Ottoman  Sultan    1815: 

12453 

MAHON  (Dublin  bookseller)  1812: 
11851,  11852 

MAITLAND,  Captain  Frederick  Lewis, 
R.N.  (K.C.B.  and  Rear-Admiral 
1830)    1815:  12579,  12589* 

MALLARD  (Danseuse)    1811  :  11711 

MANNERS,  Lord  Charles    1811:11743 

MANNERS,  Thomas  Manners-Sutton, 
Baron  (cr.  1817)    1816:  12777 

MANNERS-SUTTON,  Charles,  Arch- 
bishop of  Canterbury  1813: 12028, 
12028  A.  1814  :  12180,  12181,  12300, 
12301.  1815:  12578,  12624.  1817: 
12871.  1819:  13271,  13276,  13277, 
13288 

MANSEL,  William  Lort,  Bishop  of 
Bristol    1812:  11877 

MANSFIELD  (originally  Manfield),  Sir 
James  (Kt.  1804)  1811  :  11777. 
1813:  12124 


MANUEL ,  Jacques  -  Antoine  1815: 
12569* 

MARAT,  Jean-Paul  1813:  12084. 
1814 :  12234 

MARDYN,  Mrs.  Charlotte  1816  :  12825, 
12826,  12827,  12828 

MARIE  ANTOINETTE,  Queen  of  France 
1816 :  12707  A 

i\Ly^iE-LOUiSE  (Arch-Duchess),  Em- 
press Consort  of  Napoleon 
(Duchess  of  Parma  1814-47) 
1811:  11715,  11719,  11721,  11722, 
11736,  11737,  11738,  11741.  1812: 
11920.  1813:  11998,  12012,  12034, 
12059,  12088,  12112,  12113,  12115, 
12123.  1814:  12169,  12178*,  12183, 
12190, 12218, 12218  A*,  12219, 12256, 
12270*.  1815:12475,12476,12509, 
12511*,  12512,  12513,  12515,  12528, 
12544,  12551,  12580,  12614,  12615. 
1816  :  12707,  12707  A.    1817:  12902 

MARKOFF  (Russian  Ambassador)  1814  : 
12175  (1803) 

MARMONT,  Auguste-F.-L.  Viesse  de, 
due  de  Ragusa,  Marshal  1813: 
12096.    1814:  12237*,  12271 

MARRY  AT,  Joseph    1819:13249 

MARSH,  Herbert,  D.D.  (Bishop  of 
Llandaff  1816,  of  Peterborough 
1819)    1811 :  11745 

MARTIN  (Lottery  Agent)  1814  :  12298, 
12299 

MARY,  Princess  (Duchess  of  Glou- 
cester 1816-57)  1816:12764,12783, 
12784,  12789,  12792,  12793,  12796. 
1818:  12996.    1819:  13278 

MASSENA,  Andre,  due  de  Rivoli, 
Prince  d'Essling,  Marshal  1811: 
11722,  11723 

MASTERSON,  William    1813:12132 

MATHEW,  (Hon.)  Montagu  (Major- 
General)  1813:12084.  1816:12777 

MATHEWS,  Charles  1814:  12324, 
12328 

MAXIMILIAN  I,  Joseph,  Kingof  Bavaria 
(Elector  to  1805)  1813:  12096, 
12109.    1814:12453.    1815:  12549* 

MAXWELL,  Capt.  Sir  Murray,  R.N. 
1818:  12999,  13000,  13002,  13003, 
13006,  13023 

MAY,  Job    1813  :  12119 

MEEKE,  Mrs.  Mary   1814:12338 

MELBOURNE,  Pcniston  Lamb,  ist  Vis- 
count   1812 :  11914 


1029 


INDEX  OF  PERSONS 


MELLON,  Harriot  (Mrs.  Coutts  1815- 
27,  Duchess  of  St.  Albans  1827-37) 
1812:11940.    1819:13389 

MELVILLE,  Henry  Dundas,  ist  Vis- 
count   1811  :  11709,  11713,  11880 

MELVILLE,  Robert  Saunders  Dundas, 
2nd  Viscount  1811:11709.  1812: 
11864,  11877,  11880,  11888.  1813: 
12005,  12008.  1814:  12301,  12310. 
1816:  12781.    1819:  13346 

MERLIN  (de  Douai),  Cte  Philippe- 
Antoine    1815:12569* 

METCALFE,  Sir  Thomas  (cr.  Bart. 
1802)    1813 :  12017 

METTERNiCH-wiNNEBURG,  Clemens 
Wenzel  Lothar,  Prince  1815: 
12542*.    1817:  12890 

MiDDLETON,  Thomas  Fanshaw,  D.D., 
F.R.S.,  Bishop  of  Calcutta  1814-22 
1816:  12719,  12721,  12723,  12724, 
12726 

MiLANiE,  Mile    1818:13141 

MiLLETT,  George    1813:i2oi7 

MiLON,  Louis- Jacques  Jesse  1814: 
12363* 

MILTON,  Charles  William  Wentworth 
Fitzwilliam  (3rd  Earl  Fitzwilliam 
1833-57)      1812:     11916.      1819: 

13337 

MILTON,  John  (not  including  quota- 
tions from)    1812  :  11 941 

MITFORD,  John    1814:  12194.  1818: 

13176,   13177,   13178,   13179,  13180, 

13181,  13183,  13184,  13187,  13188, 
13189,  13190,  13191-    1819:  13457, 

13458,   13459,  13460,   13461,  13462, 

13463,   13464,   13465,   13466,  13467, 

13468,   13469,   13471,   13472,  13473, 

13474.  13476 
MOIRA,  Francis  Rawdon-Hastings, 
2nd  Earl  of,  cr.  Marquis  of  Hast- 
ings 1817  1811  :  11705,  11706, 
11709,  11712,  11713,  11714,  11729, 
1 1730,  1 1888,  1 1889,  1 1 890,  11891. 
1812:  11853,  11859,  11859A,  11867, 
11900.  1813:  12005,  12032,  12081. 
1816:  12718,  12719,  12721,  12723, 
12724,  12725,  12727,  12729,  12731, 

12732,  12734,  12745 
MOIRA,    Countess   of     1816:    12727 
MOL^,    Louis-Mathieu,    Cte     1815: 

1 248 1 
moliere(J.-B.  Poquelin)  1812:11941 
MOLINEUX    (Pugilist)      1811:    11755, 


11786.    1812:11927.    1813:12129. 

1817:  12917 
MONCRIEF,  Mr.    1819  :  13382,  13383 
MONROE,    James,    President    U.S.A. 

1816-24    1819:  13218 
MONTAGUE,  Will    1816:  12807 
MONTEFiORE,    Moses     1818 1    1302 1, 

13021  A 

MONTESQUiou-FEZENZAC,  Comtesse  {nee 

Le  Tellier  de  Courtanvaux)    1811: 

11735,11737,11738.    1813:i2oi8 
MONTHOLON,  Charles-Tristan,  Mar- 
quis de    1815  :  12597* 
MOORE,  James    1812:11953 
MOORE,  Peter   1812:  11936,  11937 
MOORE,  Thomas   1812  :  11899.   1813  : 

12082 
MORDAUNT,    Sir   Charles,    8th    Bart. 

1812:  11876 
MOREAU,  Jean- Victor,  General   1814  : 

12234.  1815  :  12606*,  12607,  12607A 
MORGAN  (Upholsterer)    1813:12135, 

12136 
MORLEY  (Hotel-keeper)    1817:  12866 
MORRIS,  Captain  Charles  1811:11764. 

1816 :  12714 
MORTIER,  fidouard  Adolphe-Casimir 

Joseph,  due  de  Trevise,  Marshal 

1814 :  12271 
MORTON,  George  Douglas,  i6th  Earl 

of    1819:  13382,  13383 
MOUNTCHARLES,        Henry        Joseph 

Conyngham,  Earl  of   1817  :  12971 
MOUTON    DUVERNET,     Regis-Barthe- 

lemi.  Baron    1815:12569* 
MOZART,  Wolfgang  Amadeus    1813: 

12133 
MULGRAVE,  Henry  Phipps,  3rd  Baron, 

cr.    Earl   of,    1812     1812:    11952. 

1813 :  11990 
MUNDEN,    Joseph    Shepherd     1817: 

12977 
MURAT,    Joachim,    King    of   Naples 

1808-15  1813:12002,12007.  1814: 

12183,     12218  A*,     12225,     12248*. 

1815 :     12522*,     12252  A*,     12540, 

12547,  12548,  I2S55,  12606*,  12607, 

12607  A,  12622 

MURRAY,  Lady  Augusta   1812  :  11856. 

1818:  12996 
MURRAY,  Francis    1812:11895 
MURRAY,  Lord  William    1818:  12995 
MYERS,  Michael    1812:11945,11946 
MYERS,  Mrs.    1812:11945,11946 


1030 


INDEX   OF   PERSONS 


NADIN,  Joseph    1819:  13260 

NAPOLEON  I,  Emperor  of  the  French 

1811:  11710,   11715,  11719,  11721 

11723,   11732,   11735 

I 1738,  I 1739,   11741 

1812:  11855,  11876 

11898,  11901,  11902 

11919,  11920,  11921. 

11992,  1 1 994,  1 1 997 

12000,  12001,  12002 

12007,  12009,  12010 

12014,  12016,  12021 


1722 
1737 
1744 
1896 
1918 
1991 
1999 
2004 
2013 
2023 
2034 

204s 
2051 
2063 
2075 
2084 
2094 
2100 
2105 
2110 
2115 
2120 
814 

2175 
2185 
2190 
2196 
2202 
2205 
2208 
2215 
2218 
2223 
2228 
2233 


I*  I 


12023  A*,'  12024, 12025, 12033 


12035,  12036,  12040 

12046,  12048,  12049 

12058,  12059,  12061 

12064,  12068,  12069 

12077,  12078,  12079 

12086,  12087,  12088 

12096,  12097,  12098 

I2IOI,  I2I02,  12103 

12106,  I2IO7,  I2108 

I2III,  I2II2,  I2II3 

12116,  I2117,  12118 


I*  I 


1 1736 
1 1742 
1 1880 
II917 

1813 

1 1 998 
12003 
12012 
12022 


12044 
12050 
12062 
12070 
12083 
12093 
12099 
12 1 04 
12109 
12114 
12119 

12 120  A*,'  12 12 1,  121 22,  12 1 23 
I2169,  I217I,  12172,  12174 
I2177*,  I2178*,  I2179, I2183 
12186,  I2187,  I2188*,  I2189 
12192,  12192A*,  I2193,  I2195 
I2197*,  I2199,  12200,  I220I* 
12203,  12204,  12204A,  12204B 
12205  A,  12206,  1 2206  A*  12207 
12209,  I22I2,  12213,  12214 
I2216,  I2217,  I2217  A*,  I2218 
A*,  I2219,  12220,  12221,  12222 
12224,  12225,  12226,  12227 
12229,  12230,  12231,  12232 
12234,  12235,  12235  A*,  12236* 
2238*,  12239*,  12240*,  12241* 
2242*,  12243*,  12244*,  12245* 
2246*,  12247*,  12248*,  12249* 
2250*,  12251,  12252,  12253,  12254 
2255,  12256,  12257,  12258,  12560 
2561,  12562,  12566,  12267,  12268 
2269*,  12270*,  12274,  12276,  12277 
2281,  12286,  12296,  12299,  12299  A 
2307,  12308*, 12311,  12318*,  12319* 

2320*,  12342.  1815:12454,12455 
2456,  12457,  12458,  12459,  12460 
2461,  12462,  12463,  12464,  12465 
2466,  12467,  12468,  12469,  12470 
2471,  12472,  12473,  12474,  12475 
2476,  12477,  12478,  12479,  12480 

'  Date 


12481,  12482,  12483,  12506,  12509, 
12511*,  12512,  12513,  12515,  12516, 
12517, 12518, 12519*, 12521*, 12522*, 
12522A*,  12523,  12524,  12525,  12526, 
12527,  12528,  12529,  12530,  12531, 
12533,  12533  A,  12534,  12535,  12536, 
12537,  12538,  12540,  12541,  12541  A, 
12543,  12544,  12545,  12546,  12547, 
12548,  12549*,  12550,  12551,  12552, 
12553,  12554,  12555,  12557,  12558, 
12559,  12560,  12561,  12562*,  12563*, 
12564*,  12565*,  12566*,  12567*, 
12568*,  12569*,  12570*,  12571*, 
12572*,  12573*,  12574*,  12575*, 
12575  A*,  12576*,  12577*,  12579, 
12580,  I2581, 12582*, 12583*,  12584*, 
12585*, 12586*, 12589*, 12592, 12593, 
12594, 12595*,  12596*,  12597*  12598* 
12599*,  12599  A*,  12600*,  12601*, 
12602*,  12603*,  12604*,  12604  A*, 
12605*,  12606*,  12607, 12607  A,  12608, 
12609,  12610,  12611,  12612,  12613, 
12614,  12615,  12617,  12618,  12619, 
12620,  12621,  12622,  12623,  12625, 

12627*.  1816:  12700,  12701,  12702, 

12703, 12707, 12707  A,  12708*,  12709*, 

12710*, 12711*, 12712*, 12756, 12757, 
12778,  12786,  12795,  12797.  1817: 
12868,  12875,  12902,  12903*.  1818: 
12999, 13001, 13007, 13009  B,  13048. 
1819:  13283,  13309.  Addenda: 
13485  (1812):  13487  (1813):  13489, 
13490(1814) 

NASH,  John    1816  :  12762,  12766 

NASH,  R.  G.    1815:  12628 

NEEDHAM,  General  Francis  (12th 
Viscount  Kilmorey  1818-32,  cr. 
Viscount  Newry  and  Earl  of  Kil- 
morey 1822)    1812:  11911 

NELSON,  Horatio,  Viscount  Nelson 
1811:  11739.  1814:  12194,  12310, 
12341.  1816:12805.  1817:12886. 
1819:  13311,  13463,  13464,  13470, 
13472 

NEPEAN,  Sir  Evan  (cr.  Bart.  1802) 
1816  :  12732,  12739,  12745 

NERO,  Lucius  Domitius    1816:  12802 

NEWARK,  John,  6th  Baron  (self- 
styled)    1814:  12284 

NEWPORT,  Sir  John  (cr.  Bart.  1789) 
1812:  11916 

NEWTON,  Sir  Isaac    1812:  11941 

NEY,  Michel,  due  d'Elchingen, 
uncertain. 


IO31 


INDEX   OF   PERSONS 


Marshal  1811:11723,11739.  1815: 
12482,  12516,  12527,  12529,  12537, 
12546, 12623.  1816  :  12707,  12707  A, 
12711* 

NOLLEKENS,  Joseph,  R.A.  1811: 
11820 

NORBURY,  John  Toler,  Baron  (cr. 
1800,  Earl  of  1827)    1811  :  11753 

NORFOLK,  Bernard  Edward  Howard, 
i2th  Duke  of   1819  :  13302 

NORFOLK,  George  Howard,  nth  Duke 
of  1811:11705.  1812:11853,11859, 
11859  A,  1 1940, 1 1952.  1813:i2o8i, 
12082.    1814:12337.    1816:12791 

NOSWORTHY,  Bill    1814  :  12339 

NUGENT,  Lord,  see  grenville,  lord 

GEORGE  NUGENT 

o'cONNELL,     Daniel      1812:     11898. 

1813 :  12073,  12084 
o 'GORMAN,   Nicholas  Purcell     1813: 

12073 
'o'gormans,  the'   1812  :  11898 
OLDi,  'Countess',  nee  Bergami   1817  : 

12889,  12889  A,  12890 
OLIVER     1817:    12887,    12888,    12896. 

1818:  12981,  12999,  13000,  13001, 

13002.    1819 :  13254 
o'neill,    Eliza    (m.    1819,    William 

Becher,   afterwards   Bart.)     1816: 

12829.    1819 :  13379 
orange,  William,  Hereditary  Prince 

of  (William  H  of  the  Netherlands 

1840-9)   1814  :  12189,  12191, 12273, 

12280,  12282,  12288.    1815:  12453, 

1816 :  12700 
ORGER,  George    1812:11940 
ORGER,  Mary  Anne,  nee  I  vers    1812  : 

1 1940 
ORLEANS,  Louis-Philippe-Joseph,  due 

d'(figalite)    1813:  12084 
OVER  (Butcher)    1813:i2i35 
OWEN,  Robert    1817:  12891.    1819: 

13363 
OXBERRY,  William    1811  :  11772 
OXFORD,  Edward  Harley,  5th  Earl  of 

1813 :  12030 
OXFORD,  Jane  Elizabeth  {nee  Scott), 

Countess  of    1811:   11733,   11734. 

1813 :  12030 

PADDON,  John    1818:  13035 
PAGET,  (?  Hon.  Charles),  Lieut.,  R.N. 
1811:  11775 


PAGET,   Hon.   Charles,   R.N.  1819: 

13259,  13265 

PAINE,  Thomas    1818:13001.  1819: 

13200,  13274,  13283,  13284,  13314, 

13339 
PALM,    Johann    Philipp    P.      1811: 
11736.    1813:i2ii2.    1814:12171, 
12202,  12225,  12234.    1815:  12580 
PALMER,  Mr.  (of  the  Bank  of  Ireland) 

1812:  11852 
PALMER        (Razor-maker)  1815: 

12575  A*,  12604  A* 
PALMER,  Charles    1814:  12315 
PARKE,  William  Thomas   1813  :  12167 
PARNELL,  Sir  Henry  Brooke,  4th  Bart, 
(cr.  Baron  Congleton  1841)    Ad- 
denda: 13497  (1816) 
PARR,  (Rev.)  Samuel    1819:  13249 
PARRY,  Edward    1813:  12017 
PASQUIER,    Etienne-Denis,     due    de 

1816 :  12797 
PATERSON,   Elisa  (m.   Jerome  Bona- 
parte)   1814 :  12256 
PAUL  I  of  Russia   1817  :  12875 
PEACOCKE,  Sir  Warren  Marmaduke, 
Major-General  (Kt.  1815,  K.C.H. 
1832,  General  1838)    1815:  12496 
PEARSON,  Charles  1817:i29oi.  1819: 

13313 
PEEL,    Robert   (2nd    Bart.    1830-50) 

1816:  12777.    1819:  13245 
PELHAM    1817:12887.    1818:12985 
PELTIER,  Jean-Gabriel    1811  :  11736 
PEPYS,   Sir  Lucas,   M.D.  (cr.    Bart. 

1784)    1812:  1 1 953 
PERCEVAL,   Bridget,  nee  Wynn,  Vis- 
countess   (Countess    of    Egmont 
1822-6)    1814  :  12194 
PERCEVAL,   John   Perceval,   Viscount 
(Earl  of  Egmont  1822-35)    1814: 
12194 
PERCEVAL,    (Hon.)    Spencer      1811: 
11706,  11707,  11710,  11712,  11713, 
11714,   11716,   11717,   11728,   11731, 
1 1732,  1 1740.    1812:  11841,  1 1846, 
11848,  11853,  11860,  11860A,  11861, 
1 1864,   1 1865,   1 1866,   1 1877,   1 1878, 
11881,  11884,  11885.     1813:  11990. 
1814:12194.    1819:13311 

PERGAMI,  see  BERGAMI 

PERRY,   James     1814:    12207.     1816: 

12828.    1819:  13207 
PETERSHAM,  Charles  Stanhope,  Lord 

(4th  Earl  of  Harrington  1829-51) 


1032 


INDEX   OF   PERSONS 


1812  :  11925,  11925  A.   1813:12127. 

1816:  12831.   1818:  13029,  13029A. 

1819:  13241,  13361,  13400,  13445 
PEYTON,  Sir  Henry,  2nd  Bart.    1813  : 

12129 
PHILLIPS,    Sir    Richard    (Kt.    1808) 

1811  :  11711,  11732.    1814:  12207 
PiCHEGRU,   Charles,   General     1811: 

11736.   1814  :  12171, 12234, 12235  A*, 

12256.    1815:  12580,  12606*,  12607, 

12607  A 
PiCTON,   Sir  Thomas,   G.C.B.,   Lt.- 

General    1815  :  12593 
PIG,  Ikey  (Pugilist)    1815:12532 
PITT,  (Hon.)  William    1811:   11713, 

11716,  11740.    1812:  11889,  11895. 

1813:  12062,  12084,  12100,  12103. 

1815:  12452.    1816:  12751,  12804. 

1817:  12875.    1818:  12981.    1819: 

13310.   Addenda:  12492  (ISl'i) 
PIUS  VI    1812:  11898.    1813:  12112. 

1815:  12461 
PIUS  VII   1812:  1 1860,  1 1860  A.    1813 

II998,  12014,  12016,  12016  A,'  12117 

I2I22,  12123.    1814:  12202,  12205 
12205  A,  12222, 12256.   1815  :  12473 
12509,  12525,  12528,  12580,  I26I4 
12615,12622.    1817:12902.     1819 
13276 

PLACE,  Francis    1811:11724.    1819 
13207 

PLANK,  Mr.    1816  :  12835 

PLATOFF,  Count,  Hetman  of  Cossacks 
1813:  11992,  11994,  12094.  1814: 
12287,  12303,  12304.    1815:  12594 

PLATOFF,  daughter  of  1813:  11992, 
11994,  12001,  12010,  12033,  12094 

PLEIGNIER,  Jacques    1816:12797 

PLEIGNIER,  Mme    1816:12797 

PLUMER,  Sir  Thomas  (Kt.  1807) 
1817:  12862 

POMFRET,  George  Fermor,  3rd  Earl  of 
1812:  11926 

PONSONBY,  George  1811:  11705, 
11713.  1812:  11846,  11855,  11915, 
11916.  1813:i2o8i.  1817:12867, 
12867  A 

POPE,  Alexander  (not  including  quota- 
tions from)    1812  :  11 941 

PORLIER,  Juan  Diaz,  Marquez  de 
Montarosa  1818:  13009,  13009  a, 
13009  B,  13009  c 

'  Date 


POTTER,  Mrs.  (of  Liverpool)    1812 : 

11910 
POv^R    1818 :  12985 
PRATT,    Samuel   Jackson  ('Courtney 

Melmoth')    1812:  11941 
PRESTON,     Thomas      1817:     12897. 

1818:13001.    1819:13253,13313 
PRIOR,  Matthew    1812:11941 
PROCTOR,  Col.  Henry    1813:  12043 
PROTHEROE,  Edward    1812:11907 
PROVENCE,  Cte  de,  see  louis  xviii 
PUCCITTA,  Vincenzo    1813:i2i33 
PYE,    Henry    James      1811:    11772. 

1812:  11941 

QUEENSBURY,   William   Douglas,   4th 

Duke  of    1811  :  11752 
QUENTiN,     Col.     George     Augustus 

(K.C.H.   1821,  Lt.-General  1838) 

1814  :  12315. 
QUENTIN,  Harriet,  nee  Lawrell,  Mrs. 

1814 :  12315 
QUIN  (City  politician)    1813:  12089 
QUIST,   Lt.-Col.   Charles  A.      1816 : 

12763 

RABELAIS,  Francois    1812  :  11 941 
RACINE,  Jean-Baptiste   1812  :  11941 
RAE,  Alexander    1816:  12714.    1819: 
13368 

RAFFLE,  RAFFEL,   or  RAFFLES,  Polly  Of 

Molly    1812:11864.    1813:i2o8i 
RAIKES,  Thomas   1818  :  13018,  13018A 
RANDOM  DE  BERENGER,  Charles   1814  : 

12208,  12209,  12212,  12322.    1817: 

12881.    1818:  12995 
RAPP,  Cte  Jean  de,  General    1814: 

12318* 
RAYMOND,  James  Grant   1811  :  11 762. 

1812:  11938,  11939,  11940 
READ,  Alexander    1813  :  12132 
REDING,  Baron  Aloys  de   1814  :  12172 
REECE,  Richard,  M.D.    1814:  12330, 

12332,  12333,  12335,  12336 

REGNAUD    DE    SAINT    JEAN    d'aNGELY, 

Michel-Lcuis-fitienne,  Cte    1815: 
12569* 
REiCHSTADT,  Duke  of,  see  rome,  king 

OF 

REID,  Thomas    1813:  12017 
REY,  Jacob,  see  king,  John 
REYNiER,  Jean-L.-E.,  French  general 
1813 :  12096 
uncertain. 


1033 


INDEX   OF   PERSONS 


REYNOLDS,  Sir  Joshua,  P.R.A.    1818 : 

13034 
REYNOLDS,    Thomas      1817:    12887, 

12896 
RICHARD    (Spanish    insurrectionary) 

1818:      13009,     13009  A,.    13009  B, 

13009  c 
RICHARDS,    Sir    Richard   (Kt.    18 14) 

1817:  12862 
RICHELIEU,  Armand-Emmanuel- 

Sophie  Septemanie  du  Plessis,  due 

de     1815:    12614,    12615.      1818: 

13007 
RICHMOND,     Bill     (Pugilist)      1811: 

1 1 786 
RICHMOND,     Charles     Lennox,     4th 

Duke  of   1816  :  12777,  i323i>  ^3234 
RICHMOND,    Charlotte,   nee   Gordon, 

Duchess   of    1819:   13222,   13231, 

13232,  13233,  13234,  13235,  13241 
RIPLEY,  Mr.    1817  :  12908,  12908  A 
RIPPON,  John    1815  :  12624 
ROBARTS,  Abraham    1812:11913 
ROBARTS,  Lt.-Col.  G.  J.    1814  :  12315 
ROBE,  Col.  William,  K.C.B.     1816: 

12763 
ROBESPIERRE,    Maximilien-Marie-Isi- 

dore    1813:   12084,  12112.     1814: 

12234 
ROBINS,  George  Henry    1819:  13376, 

13381 

ROBINSON,  Mary  (Perdita)  1812 : 
1 1 899 

RODGERS,  John    1813:  12077,  12085 

ROMAIN,  Mme    1814:12410 

ROME,  King  of  ('Napoleon  IF), 
Fran^ois-Charles-Joseph  (Duke  of 
Reichstadt  1814-32)  1811:11715, 
11719,  11721,  11722,  11735,  11736, 
11737,  11738.  1813:  11998,  12007, 
12012,  12016,  12034,  12059,  12088, 
12108,  12113,  12122,  12123.  1814: 
12169,  12171,  12172,  12178*,  12183, 
12185,  12190,  12218,  12218A*,  12221, 
12225,  12243*,  12256.  1815:12476, 
12509,  12511*,  12512,  12513,  12515, 
12522*,  12522  A*,  12543,12544,12551, 
12567*,  12580,  12606*, 12607, 12614, 
12615.  1816  :  12707, 12707  A.  1817: 
12902.    1818 :  13007 

ROMILLY,  Sir  Samuel  1811:  11713. 
1813:  12081.  1818:  12999,  13003, 
13006 

'  See  Index 


ROSE,    George     1812:    11854,    11876, 

11880,11888.    1813:  12081.    1816: 

12781,  12799,   12800,  12802 
ROSS,  James  Clark  (Rear-admiral  1856, 

Kt.  1843)    1819:  13194 
ROSS,  John  (Post-captain  18 18,  K.C.B. 

1834)    1819:13194,13195,13255 
ROSS,  Robert,  Major-General    1814: 

12312*,  12313* 
ROSSLYN,   Charlotte,  nee  Courtenay, 

Countess  dowager  of   1816  :  12760 
ROTHSCHILD,   Nathan  Meyer    1817: 

12906,  12906  A 
ROUSTAN  (Mameluke)     1811:   11736. 

1813:  12012,  12051,  12077,  12087. 

1814:  12258,  12271.    1815:  12475, 

12482 
ROWE,  Nicholas   1812:  11935,  11941 
ROWLANDSON,  Thomas'    1811  :  11820 
ROWLES,  Henry    1812:11937 
ROWLEY,  Sir  Josias,  R.N.  (cr.  Bart. 

1813)    1814 :  12220 
RUD YARD,  Captain    1816:12763 
RUMBOLD,  Sir  George  Perriman,  2nd 

Bart.    1814 :  12202 
RUSPINI,     (Chevalier)     Bartholomew 

(Dentist)    1819:  13447 
RUTLAND,  Charles  Manners,  4th  Duke 

of    1816 :  12777 
RUTLAND,  John  Henry,  5th  Duke  of 

1814  :  12180,  12181.    1819  :  13285 
RUTLAND,  Duchess  of    1814:  12180, 

12181.    1819:  13285 
RYDER,  (Hon.)  Richard    1811  :  11713. 

1813 :  12124 


SABINE,  Edward  (K.C.B.  1869, 
General  1870)    1819:  13194 

SADLER,  James  1811:  11716,  11775. 
1812:  11955 

ST.  VINCENT,  John  Jervis,  Earl  of 
1819:  13463 

SALISBURY,  James  Cecil,  7th  Earl  and 
ist  Marquis  of    1814  :  12173 

SALISBURY,  Mary  Amelia,  nee  Hill, 
Marchioness  of    1814:  12173 

SAMUEL,  Samuel  1818  :  13015, 13015  A 

SANDERSON,  Lady,  wife  of  W.  Hunt- 
ington   1811  :  11704.    1813:  12135 

SANDOM,  Ralph   1814:  12209,  12212 

SARTJE  or  SARTJEE  (Hottentot)  1811: 
11748,  11763,  11765, 11765  A.  1815: 
of  Artists. 


1034 


INDEX   OF   PERSONS 


12636*.    1816:  12702,  12749,  12799. 

1819:  13249 
SAVAGE,  Richard    1812:11941 
SAVARY,  Anne-Jean-Marie-Rene,  due 

de  Rovigo,  General    1811:  11736. 

1814:  12235.    1815:  12527,  12569* 
SAXE-MEiNiNGEN,   Duchess  Dowager 

of    1818  :  13004,  13005 
SCHOLEY,  George  1813  :  12038, 12054, 

12057,  12076,  12089,  12095 
SCHWARZENBERG,  Karl  Philipp,  Prince 

von    1814:  12214,  12217,  12217A*, 

12218, 12218  A*,  12220, 12227, 12277. 

1815:  12594 
SCOTT    1812  :  1 1947' 
SCOTT,  Mr.    1816  :  12835 
SCOTT,  John    1814:  12207 
SCOTT,  Walter  (cr.  Bart.  1820)   1812  : 

11941.    1813 :  12082 
SCOTT,  William    1811  :  11733,  11734 
SCOTT,    Sir   William  (Kt.    1788,    cr. 

Baron  Stowell  1821)    1815:  12552 
SEBASTiANi,Horace-Fran9ois-Bastien, 

Comte    1814  :  12235 
SEFTON,    William   Philip    Molyneux, 

2nd  Earl  of   1818:  13025,  13025  A 
SELLis(Corsican)   1812:11914.   1813: 

12063.    1815  :  12591 
SENATE,  Edward    1811  :  11711 
SEYMOUR,  Captain  Horace  Beauchamp 

1817  :  12904 
SHAKESPEARE,  William  (not  including 

quotations    from)      1812:     11934, 

11935,  11941.    1818:  13042 
SHAW,    Sir   James   (cr.    Bart.    1809) 

1812:  11906,  11916.    1814:  12264, 

1816:12715.    1819:  13355,  13355  A 
SHEPHERD,    Sir    Samuel    (Kt.    18 14) 

1815:  12552.    1817:  12862,  12898, 

12899,  1 2899 A,  12900,  1 290 1.    1818: 

12980,  12982,  12985,  12994,  13011 
SHERIDAN,    Richard   Brinsley     1811: 

11705,   11706,   11709,   11712,   11713, 

11714,    11729,    11730,    "733,    11767- 

1812:   11846,   11853,   11855,   11859, 

1 1860,  1 1860  A,  1 1864,  1 1868,  1 1877, 

1 1879,  1 1879  A,  1 1887,  1 1888,  1 1889, 

I1890,  I1891,    I1897,    "904,    11914, 

"935,  11936,    "937,   "940,    "941- 

1813:  11993,   12039,   12065,   12081, 

12082,  12101.    1814:  12181,  12189. 

1815:  12514.    1816:  12791.    1819: 
13312 


SHERIDAN,    Thomas      1811  :     11767. 

1812  :  1 1936,  1 1940 
SHOVELL,    Sir   Clowdesley,    Admiral 

1819:  13462 
siBUE    1815 :  12569* 
siDDONS,Mrs.  Sarah,  neVKemble  1811: 

11773.    1812:  11935.    1816:12829 

SIDEBOTHAM,  J.2    1819:13449 

SIDMOUTH,  Henry  Addington,  ist 
Viscount  1811:11712,11713.  1812: 
11861,  11862,  11866,  11877.    1813: 

1 1990,  12005,  12008,  12028,  12028  A. 

1814:   12191,  12208,   12301,   12305. 

1815:  12501,   12552,  12578,  12626. 

1816:  12798,  12805.    1817:  12874, 

12882,   12887,   12888,   12897,   12900. 

1818:  12981,  12994,  13001.    1819: 

13247,  13253,  13269,  13282,   13288, 

13301,  13343,  13346 
SILV-ESTER,  John    1814  :  i22o8.    1815: 

12552.    1816  :  12715,  12814,  12817. 

1817:  12862.    1819:  13247 
SIMS,  John,  M.D.  1814  :  12332,  12333, 

12335 
SINCLAIR,  John    1811  :  11771 
SKEFFINGTON,  Sir  Lumley  St.  George, 

2nd    Bart.     1811:    11744.     1813: 

11993,  12081,  12082,  12091 
SLIGO,    Howe    Peter    Browne,    2nd 

Marquis  of,  K.P.    1816  :  12749 
SLOMAN,  Mr.    1817:  12977 
SMITH,    Dr.   and   Mrs.  (of  Chelsea) 

1812  :  11951,  11951  A 
SMITH,  Mrs.   Charlotte,  nee  Turner 

1816  :  12718,  12733 
SMITH,  Christopher,  Alderman  1816  : 

12809 
SMITH,  Lascelles    1812:  11940 
SMITH,  Lionel  (cr.  Bart.  1837,  K.C.B. 

1841,  Lt.-Gen.  1842)   1816:  12718, 

12729,   12731,   12732,   12733,  12738, 

12745 
SMITH,  William    1819:  13249 
SMITH,  William  Sidney,  Vice-Admiral 

1812:ii862.    1813:12027,12031 
SOLOMON,     Samuel    (quack    doctor) 

1813:  12143 
SOMERSET,    Edward    Adolphus    Sey- 
mour, nth  Duke  of    1811  :  11751 
SOMERSET,  John  Thomas  Henr}^  1814: 

12315 
SOMERVILLE,   Margaret  Agnes  (Mrs. 

Alfred  Brown)    1819:  13379 


Perhaps  William  Scott. 


*  See  Index  of  Artists,  Index  of  Printsellers. 


1035 


INDEX   OF   PERSONS 


SOPHIA,  Princess   1814 :  12272.   1816  : 

12755,  12758,  12764.    1818:  12986 
SOUHAM,  Cte  Joseph,  French  general 

1813 :  12096 
SOULT,  Nicholas-Jean-de  Dieu,  due 

de  Dalmatie,  Marshal  1814: 12206, 

12206  A*,     12208,     12271.      1815: 

12562* 
SOUTHCOTT,    Joanna      1811:    11764. 

1814:   12329,   12330,   12331,   12332, 

12333,  12334,  12335,  12336.    1815: 

12624 
SOUTHEY,  Robert  1812  :  11941.  1814  : 

12189.    1817:  12877 
SPAGNOLETTI,  P.  (Paolo  Diana)    1818: 

13085 
SPANKIE,     Robert    (Serjeant-at-Law 

1824,  K.C.  1832)    1816:  12716 
SPARROW  (Tea-dealer)    1818:  13037, 

13039 
SPENCE,  Thomas  1 8 1 7  : 1 2867, 1 2867  A, 

12868,  12871,  12874.     1818:  12999, 

13001 
SPENCER,    George    John,    2nd    Earl 

1813 :  12031 
SPENSER,  Edmund    1812:  11941 
SPICER    1818:  12985 
SPILLER,  T.    1813:  12137 
SPURZHEIM,  Johann  Christoph    1816  : 

12839.    1819:  13289,  13346 
STAGE,  William    1816:12763 
STAMFORD,  Gcorge  Henry  Grey,  6th 

Earl  of    1819:  13360 
STANDISH,     Frank     Hall    (originally 

Hall)    1819:  13359 
STANHOPE,    Charles    Stanhope,    3rd 

Earl    1811  :  11731,  11732 
STEPHEN,  James    1819:13249 
STEPHENS,    Catherine    (Countess    of 

Essex  1838-82)    1814:12327 
STEPNEY,    Sir    Thomas,    9th    Bart. 

1815  :  12629 
STERLING,     Edward      1813:     12009. 

1814 :  12207 
STEVENSON,  Sir  John  Andrew,  Mus. 

Doc.    1811  :  11778' 
STEWART  (Vane  from  18 19),  Charles 

William,  Major-general,  K.B.  1813 

(cr.     Baron     Stewart     18 14,     3rd 

Marquis  of  Londonderry  1822-54) 

1813  :  12096.   1817  :  12889,  12889  A. 

1819:  13386 

■  Date  uncertain. 


STEWART,  Frances  Anne  Emily,  nee 

Vane,  Lady    1819:  13386 
STIRLING,  Sir  Walter  (cr.  Bart.  1800) 

1812  :  11900 
STOCKDALE,     John    Joseph^      1817: 

12970 
STODDART,   John  (Kt.    1826)     1814: 

12207.    1815:  12545.    1818:  12994. 

1819:  13249 
STONE,  Mr.    1813:  12008 
STORAGE,  Nancy    1816:12714 
STREET,  Peter    1814  :  12207 
STUART,  (Hon.)  Sir  Charles,  G.C.B. 

(cr.    Baron    Stuart    de    Rothesay, 

1828)    1815:  12496 

STUART-WORTLEY-MACKENZIE,     James 

Archibald  (cr.  Baron  Wharncliffe 
1826)    1812:  11888 

SUMNER,  George  Holme   1814:12264 

SUSSEX,  Duke  of,  see  Augustus  Freder- 
ick 

SWIFT    1817 :  12891 

swift,  Jonathan  1812  :  11941.  1813  : 
12082.    1816 :  12791 

swift,  Theophilus    1813:  12082 

swiNTON,  Anthony  Daffy  1811: 
1 1704 

SYMPSON,  James    1816:  12802 


TAB ART  &  CO.     1811:iI732 
TALLEYRAND-PERIGORD,       CharlcS- 

Maurice  de.  Prince  de  Benevento 
1813:  11990,  12115.  1814:  12169, 
12190, 12205,  12205  A,  12216,  12221, 
12225,  12226,  12237*,  12271.  1815: 
12499.  12500*,  12509,  12515,  12518, 
12522*,  12522A*,  12530,  12542*, 
12550,  12609,  12614,  12615,  12619, 
12622,  12623 

TAPPE,  Charles  1812:  11871,  11872, 
1 1873 

TARDIEU  (Pierre- Alexander)  1813: 
12112 

TARLETON,  General  Banastre  (cr.  Bart. 
1815)    1812:  11910,  11915 

TAVISTOCK,  Francis  Russell,  Marquis 
of  (7th  Duke  of  Bedford  1839-61) 
1819:  13338 

TAYLOR,  Mr.  C.  (Vocalist)  1813: 
12167 

TAYLOR,  John  Bladen    1813  :  120 17 

TAYLOR,  Michael  Angelo   1819  :  13386 

^  See  Index  of  Printsellers. 


1036 


INDEX   OF   PERSONS 


TAYLOR,  Mrs.  Michael  Angelo  {nee 
Vane)    1819:  13386 

TAYLOR,  William  1811:11711,11766. 
1813:12132,12133.    1819:13369 

TEGG,  Thomas'    1812:  11916 

TELL,  William  (legendary  Swiss 
patriot)    1813  :  12096 

TEMPLE,  Earl,  see  Buckingham,  2nd 
Marquis  of 

TETTENBORN,  Friedrich  Carl,  General 
1813  :  12100 

THELWALL,  John    1819:  13207 

THIBAUDEAU,  Cte  Antoine-Claire  de 
1815:  12569* 

THISTLEWOOD,  Arthur  1817:  12897. 
1818:  13001.    1819:  13313 

THOMPSON  or  THOMSON,  Sir  Alex- 
ander   1816:12788.    1817:12862 

THORNTON,  Henry    1812:  1 1908 

THORNTON,  Robert  1813:  12008, 
12017 

THORPE,  John  Thomas,  Alderman 
1818  :  13002,  13006 

THURLOW,  Edward  Thurlow  (after- 
wards Hovell-Thurlow),  2nd  Baron 
1814:  12338 

TIBBS,  Mr.    1816  :  12763 

TICKELL,  Thomas    1812:  11941 

TIDSWELL,  Mrs.    1812:  11940 

TIERNEY,  George  1811:11705,11709, 
11713.  1812:  11855,  11916.  1814: 
12301.    1816:  12752.    1819:  13312, 

13337 
TIPU,  Sultan  of  Mysore    1814:  12272 
TOKELY  (Actor)    1814  :  12328 

TOLLERON     1816:12797 

TOOKE,  (Rev.)  John  Home  1811: 
11734.  1812:  11883.  1816:  12788. 
1818:  12988 

TOussAiNT,  see  l'ouverture 

TOWNSEND      or      TOWNSHEND,      John 

(Bow  Street  officer)     1811  :  11730. 

1812:  11947.    1813:  11993 
TOWNSHEND,     George     Townshend, 

4th    Viscount    and    ist    Marquis 

1818:  13156 
tozer,  William    1814:  12329,  12330, 

12332,   12333,   12334,   12335,   12336. 

1815:  12578 
tremloe,  Mr.    1818  :  13028,  13028  a 
TRENCH,  Lt.-Col.  Frederick  William 

(K.C.H.  1832,  General  1854)  1819: 

13285 

'  See  Index  of 


TROTTER,  John     1816:12763,12836 

TUNIS,  the  Bey  of  1816  :  12795, 12808, 

12810 
TURNER,  Mr.    1816:  12835 
TURTON,  Sir  Thomas  (cr.  Bart.  1796) 

1812  :  11915,  11916 

TUTCHiN  (Auctioneer)    1813:  12135, 

12136 
TWINING,  Richard    1813:i2oi7 
TYLER,  Wat   1819  :  13272,  13327 
TYLNEY-LONG,     Catherine    (m.     W. 
Wellesley-Pole)  1811:11744,11747, 
11748,  11774.     1812:  11844,  11947. 

1813  :  12020 

TYRWHiTT,  Sir  Thomas  (Kt.  1812) 
1813:  12081 

UPTON,   Hon.   Arthur  Percy     1817: 

1291 1 
URE,  Masterton    1814  :  12284 
ussHER,    Thomas,    R.N.   (Kt.    1831) 

1814 :  12319* 

valabregue   (husband    of    Catalani) 

1813 :  12132 
VALE,  Mr.    1818:  13016,  13016  a 
valentia,  George  Annesley,  Viscount 

(9th  Earl  of  Mountnorris  1826-44) 

1812  :  11952 

VANCOUVER,  Captain  George,  R.N. 
1818 :  12995 

vandamme,  Dominique-Rene,  Comte 
d'Unebourg,  General  1814  :  12235, 
12311,  12318*.    1815:  12527,  12529, 

12537 
VANSITTART,  Nicholas  (cr.  Baron 
Bexley  1823)  1812:  11886,  11889, 
11897.  1813:  12005,  12081.  1815: 
12452,  12501,  12507,  12523,  12542*, 
12550,  12552.  1816:  12747,  12750, 
12751,  12752,  12756,  12757,  12758, 
12762,  12781,  12782,  12799,  12800, 
12805,  12808,  12812.  1817:  12864, 
12880.  1818:12994.  1819:13203, 
13236,  132^4,  13245,  13247,  13269, 
13288 

VAUGHAN    1817:12887.     1818:12985 

VERNON,  Edward  Venables  (Harcourt 
from   1 831),  Archbishop  of  York 

1813  :  12028,  12028  A.    1815  :  12624 
VERY,  Mme    1814:  12368*,  12409 
v^RY    FIBRES    (restaurateurs)     1814: 
Printsellers. 


1037 


INDEX   OF   PERSONS 


12366*,  12366  A*  (1805),  12367*, 
12368* 

VESTRis  (or  Vestr'Allard),  Marie- 
Jean-Augustin  1812:11946.  1814: 
12323,12363*.    1817:12935 

VICTOR,  Claude  Perrin,  due  de  Bel- 
luna.  Marshal    1814:  12318* 

VICTOR  EMMANUEL  I,  King  of  Sar- 
dinia   1815 :  12500* 

VILLEFEUILLE     1814:12248* 

VOLOCHOUSKY,  ( ?  Wolkowsky)  Mme 

1816:  12820 
VOLTAIRE,  Fran9ois-Marie  Arouet  de 

1818:  13172 

VON  SCHOTTEN     1811  :  I1741 

WADDINGTON,  Samuel    1819:13273 
WAITHMAN,  Robert  (Alderman,  1818) 

1812:  11906,  11915,  11916.    1813: 

12038.    1815:  12452.    1816:  12814. 

1817:12891.    1818:   13002,13006, 

13024,  13280.    1819:  13329 
WALKER  (Cambridge  undergraduate) 

1811 :  11711 
w^ALKER,  John,  M.D.     1812:  11953. 

1817:  12891 
WALL,   Joseph,    Governor  of  Goree 

1811  :  11763.    1816:  12738 
WALTER,  John    1814  :  12207 
WALWORTH,    Sir   William  (d.    1385) 

1819:  13254,  13272 
WARBURTON  (Proprietor  of  a  lunatic 

asylum)    1814  :  12194 
WARD,  Joe  (Pugilist)    1811  :  11786 
WARDLE,     Gwyllym     Lloyd      1811: 

11711,   11713,   11714,   11718,   11726, 

11728.    1812:  11848,  11856,  11915, 

11916 
WARRENDER,   Sir   Gcorge,   4th   Bart. 

1814 :  12310 
WASHINGTON,   George,   President  of 

the  United  States    1814:  123 11 
WATERS,    Billy    (Negro    beggar   and 

fiddler)    1819:  13194,  13249 
WATERS,  Edmund    1819:13369 
WATKINS,  John    1815  :  12624 
WATSON,  James    1817:  12868,  12885. 

1818:  13001.    1819:  13253,  13280, 

13313,  13327,  13336 
WEBB,  Mr.    1817:  12978 
WEBBE,  Samuel    1818:13036 
WEBSTER,   Sir  Godfrey  Vassall,   5th 

Bart.    1811  :  11711,  11761,  11761  A 
WELLESLEY,  Richard  CoUey  Wellesley, 


ist  Marquis  1811  :  11706,  11707, 
11713.  1812:  11846,  11856,  11864, 
1 1866,  1 1877,  1 1888,  1 1889,  11916. 
1813:  12009,  12081.    1814:  12207 

WELLESLEY,  William  Pole  Tylney- 
Long  (Wellesley-Pole  to  1812,  4th 
Earl  of  Mornington  1845-57) 
1811:  11744,  11747.  1812:  11856, 
11947.  1813:  12020.  1816:12799, 
12800 

WELLESLEY-POLE,  (Hon.)  William  (cr. 
Baron  Maryborough  1821,  3rd 
Earlof  Mornington  1842-5)  1816: 
12781    1817:12865 

WELLINGTON,  Arthur  Wellesley,  Vis- 
count, 1809,  Marquis  of,  18 12, 
Duke  of,  1814  1811  :  11710,  11722, 
11723,  11736,  11749.  1812:  11862, 
11901,  11905.  1813:  12068,  12069, 
12070,  12071,  12072,  12077,  12078, 
12110,  12120,  12120  A*.  1814: 
12179,  12183,  12189,  12193,  12220, 
12206, 12206  A*,  12208, 12220, 12227, 
12233, 12236*, 12237*, 12248*, 12263, 
12266, 12298, 12318*,  12319*, 12342, 
12343,  12347,  12348,  12379*.  1815: 
12453,  12506,  12525,  12537,  12542*, 
12547,  12549*,  12551,  12552,  12555, 
12557,  12559,  12560,  12561,  12568*, 
12570*,     12573*,     12574*,     12575*, 

12575  A*,  12576*,  12580,  12582*, 
12583*,  12584*,  12586*,  12587*, 
i2588*,i2593, 12594, 12595*,  12596*, 
12600*,  12601*,  12602*,  12605*, 
12608,  12609,  12614,  12615,  12618, 
12619,  12620,  12621,  12622.  1816: 
127 I 3*,  12746,  12756,  12778,  12793, 
12797,  12805.  1817:  12875.  1818: 
12988,  13010.  1819:  13247,  13288, 
13292,  13302,  13311,  13343,  13346, 
I33S3, 13385, 13407-  Addenda:  13484 
(1812) 
WESLEY,  John  1816:12724 
WEST,  Benjamin,  p. R. A.  1814:  12185 
WESTON,  Thomas  (1737-76)    1818: 

13175 
WESTROP,  Mr.    1811  :  11760 
WESTROP,  Miss  Mary    1811  :  11760 
WHARTON,  Richard    1812:11857 
WHITBREAD,    Samuel     1811:    11705, 

11706,  11709,  11713,  11714,  11767- 
1812:   11845,   "846,   11848,   11855, 

11859,  I1859  A,  I i860,  I i860  A, 
11862,  I1891,  11895,  II915,  11916, 


[O38 


INDEX   OF   PERSONS 


H93S,  I1936,  I1937,  I1939,  I1940, 
11941.  1813:  11990,  11993,  12031, 
12065,  12066,  12081,  12099.  1814: 
12189,  12301,  12302,  12325,  12326. 
1815:  12452,  12532,  12533,  12538, 
12540,12546.    1819:13312 

WHiTMORE,  John    1811  :  11732 

WHITTINGTON,  Richard  (d.  1423) 
1816:  12813 

WHITTLE,  James    1815:  12699 

WIGRAM,  WilHam    1813:  12017 

wiLBERFORCE,  WilUam  1813:  12067. 
1815:  12553.  1817:  12868,  12891. 
1818:  12994.    1819:  13249 

WILD,  Jonathan    1818:  12995 

WILKES,  John    1816:  12813 

WILLIAM  I,  King  of  the  Netherlands 
(Prince  of  Orange  to  1815)  1813  : 
12114.  1814:  12218,  12218*,  12225, 
12298.  1815  :  12509,  12525,  12528, 
12537,  12559,  12593,  12609,  12620. 
Addenda:  13491,  13491  a  (1814) 

WILLIAM  II  of  the  Netherlands,  see 
ORANGE,  Prince  of 

WILLIAM,  Henry,  Duke  of  Clarence, 
afterwards  William  IV  1811: 
1 1706,  1 1744,  11747,  1 1748.  1812: 
11844,  11856,  11899,  11914.  1813: 
12020,  12047,  12076,  12081.  1814: 
12280,  12306.  1816:  12746,  12776. 
1818:  12983,  12987,  12994,  12996, 
13004,13005.    1819:13227,13229 

WILLIAM  IX,  Landgrave,  I  Elector  of 
Hesse    1815 :  12549* 

WILLIAMS  (Justice)    1815  :  126 16 

WILLIAMS,  John  ('Anthony  Pasquin') 
1812:  11941.    1814:  12338 

WILLIAMS,  Thomas  (Deputy-Alder- 
man)   1819 :  13201 

WILLIAMS  WYNN,  Charles  Watkin 
1812:  11916 

WILLOCK,  John    1818:  12999,  13003 

WILLS,  Frederick  (of  Wills,  Tap  & 
Morgan)    1812:11954 

WILSON,  George  1815:i26i6.  1817: 
12870 

WILSON,  Richard    1812:11856 

WILSON,  General  Sir  Robert  Thomas 
1816: 12706*, 12707, 12707  A.  1817: 
12912 

WILSON,  Thomas  (Dancing  master) 
1817 :  12952 

WILSON,  Thomas,  M.P.    1818  :  13006 

'  See  Index 


WINCHESTER,  James  (American  gene- 
ral)   1813 :  12043 

WINSOR  or  wiNZER,  Frederick  Albert 
1815:  12633 

WOLCOT,  John  (Peter  Pindar)  1812  : 
1 1 941 

WOLSELEY,  Sir  Charles,  7th  Bart. 
1819:  13251,  13331 

WOOD,  Mr.  (of  Chelsea)  1812  :  11 951, 
11951 A 

WOOD,  Sir  George  (Kt.  1807)  1817: 
12862 

WOOD,  Col.  Sir  George  Adam  (Kt. 
1812,  Major-General  1825)  1816: 
12763.    1819 :  13256 

WOOD,  Matthew,  Alderman  (cr.  Bart. 
1837)  1812:  11906,  11909,  11915, 
11916.  1813:12038,12089.  1815: 
12452,  12624.  1816:  12715,  12717, 
12809,  12813,  12814,  12816,  12817, 
12832.  1818:13002,13006.  1819: 
13358,  13358  A,  13482 

WOOLER,  Thomas  Jonathan'  1817: 
12886,  12891.  1818:  12982,  12988, 
12994,  13001,  13002.  1819:  13207, 
13219, 13250, 13283,  13313 

WORCESTER,  Henry  Somerset,  Mar- 
quis of  (7th  Duke  of  Beaufort 
1835-53)  1814:  12315.  1817: 
12872.    1818:13030.    1819:13241 

WORDSWORTH,  William    1812:11941 

WORONZOFF,  Michael  1814:  12206, 
12206  A* 

WRIGHT,  Mrs.    1816:  12714 

WT^iGHT,  Isaac    1819:13283 

WRIGHT,  John  Wesley,  R.N.  1811: 
11736.  1813:  12112.  1814:  12171, 
12202,  12205,  12234,  12235.  1815: 
12580 

WYATT,  Benjamin  Dean   1812:  11936 

WYNN,  see  WILLIAMS  WYNN 

YARMOUTH,  Francis  Charles  Seymour- 
Conway,  Lord  (3rd  Marquis  of 
Hertford  1822-42)  1811:  11746. 
1812:  11842,  11843,  11847,  11853, 
11858,  11861,  11862,  11865,  11878, 
11886,  11887,  "888,  11889,  11890, 
11891,  11897,  11904,  11914,  11922. 
1813  :  11990,  12056,  12056  A,  12076. 
1814:  12182,  12184,  12208,  12210, 
12278,  12291,  12296,  12297,  12301, 
12303,  12309.  1815:  12501,  12578, 
of  Printsellers. 


1039 


INDEX   OF   PERSONS 


12613.    1816:12800.    1818:12999, 

13003, 13026, 13026  A.   1819  :  13209, 

13210,  13240,  13241,  13361 
YARMOUTH,  Maria  Seymour-Conway, 

Lady  {nee  Fagniani)    1811  :  11746, 

11843.    1812  :  11914 
YORK,  Duchess  of,  see  frederica 
YORK,      Duke     of,      see  Frederick 

AUGUSTUS 


YORK  VON  wartenburg,  Hans  David 

Ludwig   1814:  12220 
yorke,  Charles  Philip,  F.R.S.    1811 : 

11713 
YORKE,   Sir  Joseph  Sydney  (K.C.B. 

1815)    1814:  12310 
YOUNG,  Charles  Mayne    1814:  12326 

1817:  12918 


1040 


INDEX   OF  TITLES 


Words  in  which  letters  are  omitted  are  given  in  full.    An  asterisk 

denotes  a  foreign  print. 


:t 


:MI 


agoing!  agoing!!!     12152 
accidents  in  high  life  or,  royal 

hobby's,  broke  down!     13222 
accomodation  ladder     i1809 

ACCOUCHEMENT  (an)  OR  LADY  HERT- 
FORD DELIVERING  THE  PRESENT  AD- 
MINISTRATION      1 1 86 1 

ACT  THE  2^  OR  NEW  DRURY  LANE 
BREWERY  .  .  .       1 1936 

*ACTE  ADDITIONEL  AUX  FOLIES  DU 
H^ROS  ...       12589 

ACTS  OF  ADHESION ! ! !       1 227 1 

ADMIRAL  (the)  HAS  MADE  IT  SUN-SET, 

sir!     13178 

ADMIRAL    IN    ST    PETERSBURGH    (tHE)  ; 

OR,      POOR      WILL      FOIL'd      AGAIN 

12020 
ADVENTURES     OF     JOHNNY     NEWCOME 

PL.  I       1 1983 

PL.  2       11984 

ADVENTURES     OF    JOHNNY     NEWCOME 

IN  THE  NAVY,  THE   (2)       13176-91, 

13457-76 
ADVOCATES   OF  REFORM  SHEWING  THE 

WHITE  feather!!  .  .  .     12866 

AFFAIR  OF  HONOUR       13175 

AFFECTIONATE  FAREWELL  (THE)  OR 
KICK  FOR  KICK       1 2226 

AFTER  DINNER       13150 

AFTERPEICE  TO  THE  TRAGEDY  OF  WATER- 
LOO (the)  .  .  .      12620 

AGE  OF  REASON  (tHE)  OR  THE  WORLD 
TOPSYTURVY  .  .  .       1 3274 


* 


ah!  PAPA, 
12243 


TU  T  ES  FAIT  BIEN  DU  MAL 


aimable  roue,  L      1 2 1 26 
alderman,  alias  commodore  curtis, 
mistaken  for  commodore  rogers ! 

12085 
ALL  ALIVE  IN  THE  CHOKEE       1 2742 
ALL  EMPLOYED — OR — THE  IRISH  VIS-A- 
VIS      12845 
ALL  THE  world's  IN  PARIS !       1 2698 
*ALLEZ  VOIR  BAUBECHE      12374 
ALLIED  BAKERS  (tHE)  OR,  THE  CORSICAN 

TOAD  IN  THE  HOLE       122o6 
ALLIES    ENTERING     PARIS     (tHE)     AND 
DOWNFALL  OF  TYRANNEY       1 2228 


AMATEURS  DREAM,  AN      II 934 
amazing! — WELL    i'm    SURE!! — WHAT 

again!!!     1 3130 

AMBASSADORS      RETURN      (tHE) — OR — 

A    NEW    ARRIVAL    FROM     CONGRESS 

12501 
AMERICAN  justice!!  OR  THE  FEROCIOUS 

YANKEE   GENL  JACK's   REWARD    .    .    . 

13218 

amusement  at  vienna,  alias  har- 
mony at  congress  .  .  .     1 2499 

♦amusements  des  anglais  a  londres 
12353 

*AMUSEMENTS    des    anglais    a    PARIS 

12354 

ANATOMIST,  THE      I1800 

ANCIENT   MILITARY   DANDIES   OF    I450 

.  .  .  MODERN  MILITARY  DANDIES — OF 

1819  .  .  .       13202 
"and     HENRY     TOLD     A     FLATTERING 

tale"  13004 
*anglais  a  la  promenade  12365 

*ANGLAIS  A  l'eSTAMINET,  LES       1 2369 
ANGLAIS  EN  HABIT  HABILLE      12377 
♦anglais  ET  son  MAiTRE  d'ESCRIME,  l' 

12360 
*ANGLAIS,  UN       12364 
*ANGLAISE,  l'       1 2859 
ANSWER    TO    JOHN    BULLS    COMPLAINT 

12556 

ANTICIPATION  (2)       11756,12767 

ANTICIPATION  FOR  BONEY  OR,  A  COURT 
MARTIAL  ON  THE  COWARDLY  DESER- 
TER .  .  .       12023 

ANTICIPATIONS  FOR  THE  PILLORY 
12027 

ANTI-DANDY  INFANTRY  TRIUMPHANT 
.  .  .       13412 

ANTIENT  MOTHER      13148 

ANTIQUARIAN  SOCIETY,  THE      II 95  2 

antiquary's  last  will  and  TESTA- 
MENT, THE       I 24 I 2 

ANTIQUATED  BEAU       1 3  1 5  1 

ANTI-ROYAL  MENAGERIE,  THE       II916 

APOLLO  IN  DANGER      11 772 

APPEARANCE  OF  AN  APPARITION,  THE 
12802 

*APRfes  DINEE  DES  ANGLAIS,  l'       1 235 1 


1 041 


3X 


INDEX   OF  TITLES 


ARRIVAL  AT  THE  NORTH  POLE      1 3255 
*ARRIVEE,  l'       12361,12361  a 
*ARRIVEE    DE    NAPOLIiON    DANS    l'iLE 

d'elbe     12247 

ART  OF  WALKING  THE  STREETS  (THE)!! 

13049 

PLATE  2^      13050 

[ARTHUR  UPTON]       1 29 1 1 

A-SLEEP  AT  THE  MAST-HEAD       1 3 1 9 1 

ASS  IN  THE  LIONS  SKIN  (tHE)  OR  THE 

INSURRECTION  OF  THE  POLES      1 3486 
ASSOCIATES  FOR  REFORM  SHEWING  THE 

WHITE  feather!!  .  .  .     12866 

ASTRONOMER,  THE      1 2668 

ATTEMPT  TO  WASH  THE  BLACKAMOOR 

WHITE  .  .  .       12833 
ATTENDS    GENERAL    KOIR    WIGS    LEVEE 

12738 

ausserordentliche       franzosische 

reitpost  .  .  .     12025 
* autant  en  emporte  le  vent     1 220 1 
awkward    squads    studying    the 

graces!!     11817 

bachelors  fare     1 1 836 

bacon  faced  fellows  of  brazen 
nose,  broke  loose     1 1782 

bad  billet,  a     1 2486 

bags  noodles  feast;  or,  the  parti- 
tion &  re-union  of  turkey !  1 2883 

bailiffs  smoking  out  the  copper 
captain,  to  recover  lost  posses- 
SION      1 288 1 

*BAISER  DE  JUDAS  (le),  OU  LA  BONNE 
FOI  ANGLAISE      1 23 1 2 

BAKER  KNEADING  SAMMYS  DOUGH, 
THE      12339 

*BALANCE  POLITIQUE,  LA      1 2542 

BALANCIG  ACCOUNTS — I  E  PROVING 
THE  WEIGHT  OF  A  CROVi^      1 2785 

*BALAN90IRE,  LA      12521 

BALL  ACE  OF  POWER,  THE      1 2558 

BANE  AND  ANTIDOTE      I1759 

BANG-UP  DINNER  OR  LO\'E  AND  LINGO 
II761 A 

BANK    RESTRICTION    BAROMETER    .    .    . 

13199 
BANK      RESTRICTION       NOTE        13198, 

13198 A 
BARBADOES — NEWCOME  AND  M'*^  SAMBO 

13474 
BARBERS-SHOP      IN     ASSIZE      TIME,      A 

11779 

BARE-FARE      I 2502  A 


[barney  FIGHTING  A  DUEL]       1 2942 
baronet's  bargain  (the)  a  SCENE  AT 

NEWCASTLE      12590 
BARRISTERIAL  DUEL  (a)  OR  WHO 's  SENT 

TO  COVENTRY  NOW      12830 
BARROW  NIGHT.  A  HIGH  BRED  HUNTER 

I1932 
BARTHOLOMEW  FAIR  INSURRECTION  .  .  . 

12897 
BASSOON  WITH  A  FRENCH  HORN  ACCOM- 

PANYMENT,  THE      I1807 
BATCHELOR'S  FARE,  BREAD  CHEESE  AND 

KISSES       12400 
BATTLE,  THE      12660 
BATTLE  OF  LEIPSIC  (tHE) — OR — BONEY 

GRIPED  .  .  .       12187 
BATTLE  OF  VITTORIA,  THE      1 2068 
BATTLE    ROYAL,     OR    WHICH     HAS     IT 

II713 
BATTLE  ROYAL,  THE      12770 
BAZAAR,  A      12837 
BEAR  &  RAGGED  STAFF,  THE      1 273 1 
BEAR   (the)   the   BULL   DOG   AND   THE 

MONKEY       1 1 896 

beau's  of  1818     13088 

beauties   of   grease — or — luxuries 

of  the  kremlin     1 32 1 2 
beauties    of    the    isle    of    wight 

13261 

BEAUTIFUL  MAID,  THE      I1840 

BEAUTY  AND  THE  BEAST       13138 

BEAUX  TRAP,  A      13052 

BEGGAR  &  MISTRESS      13147 

BEHOLD  AT  BROOKS's  STEP — NAy!  .  .  . 
12629 

BELISARIUS  THE  COUNTERFEIT  AND 
BELISARIUS  OF  THE  ANCIENTS  CON- 
TRASTED      12995 

BELL  AND  THE  DRAGON       1 1 745 

BELLE-ALLIANCE,  THE,  .  .  .       1 3257 

BELLE  ASSEMBL^E  (la)  OR  SKETCHES  OF 
CHARACTERISTIC  DANCING      12930 

BELLE  LIMINAUDIERE  (la)  AU  CAFFEE 
DE  MILLE  COLLONE      12410 

belle's  and  BEAUS  or  a  scene  in  HYDE 
PARKE      12939 

BELLES  OF  1818       13089 

BEL-VOIR  FROLICS  OR  PUNCH's  CHRIS- 
TENING     1 21 8 1 

BENEFITS  OF  A  PLENTIFUL  HARVEST 
12089 

BENGAL  KITCHEN,  A      1 21 65 

BENT  ON  LOVE,  OR  LOVE's  LAST  SHIFT 
13363 


1042 


INDEX   OF   TITLES 


BERKELEY  SLIP  (THE)  OR  A  LESSON  FOR 

SPINSTERS       1 1760 
BERNADOTTE      1 3489 
BILLY  DIP  THE  DYER       1 21  37 
BIRMINGHAM  NEW  MEMBER,  THE,   .   .   . 

13251 
BISHOP  (the)  and  death       1 2664 
BLEEDING  AND  WARM  WATER !  OR,  THE 

ALLIED    DOCTORS    BRINGING    BONEY 

TO  HIS  sense's      121 18 
BLESSING  OF  NEW  TAXES,  THE      1 3269 
BLESSINGS    OF    BRITAIN — OR — SWARM 

OF  TAX  GATHERERS       1 2863 
BLESSINGS  OF  BRITTAIN — OR  A  FLIGHT 

OF  LAW^'ERS       12862 
BLESSINGS  OF  PAPER  MONEY  (tHE),  OR 

KING  A  BAD  SUBJECT       1 1 73 2 
BLESSINGS  OF  PEACE,  THE      1 349 1 
BLESSINGS    OF    PEACE    (tHE)    OR,    THE 

CURSE  OF  THE  CORN  BILL       12503 
BLINDFOLDED  AUSTRIAN  OFFICER,  THE 

12462 
BLOCKHEADS       1 3346 

BLOOD  HOUNDS  LET  LOOSE  .  .  .       1 2985 
BLOODY  BONEY  THE  CARCASS  BUTCHER 

LEFT    OF    TRADE    AND    RETIRING    TO 

SCARECROW  ISLAND       1 22 1 9 
BLOWING   UP   THE   BRIDGE   AT   LIEPSIC 

12479 

blucher  greeted  by  his  numerous 
friends  in  the  park     1 2285 

blucher  the  bra\^  extracting  the 
groan  of  abdication  from  the 
corsican  bloodhound     1 22 1 6 

boarding  school  hobbies !  or  female 
amusement!     1 341 6 

bobbin  about  to  the  fiddle  . . .    1 2932 

bolero,  the     13141 

*bon  a  part  ou  le  jeu  des  quatre 

COINS   12586 

*BON  GENRE,  LE  12380-7,  1 2638, 
12859 

BON  TON   13087 

BONAPARTE      II715 

BONAPARTE  ADDRESSING  THE  LEGISLA- 
TIVE BODY      1 20 1 4 

BONAPARTE!  AMBITION  AND  DEATH !! 
12171 

BONAPARTE.  ON  THE  QUARTER  DECK  OF 
H,M,S,NORTHUMBERLAND       12701 

BONAPARTE  REVIEWING  HIS  CONSCRIPTS 
12013 

Bonaparte's  bridge  ...     12108 

BOND  OF  patriotism,  THE      1 1 73 3 


BONEY  AND  HIS  NEW  SUBJECTS  AT  ELBA 

12286 
BONEY    AND    MADDY — GONE    TO    POT 

12281 
BONEY   AND    THE   GAY   LADS   OF   PARIS 

CALCULATING    FOR    THE    NTIXT    TRI- 
UMPHANT    ENTRY     INTO     MOSCOW 

12033 
BONEY  AT  ELBA  OR  A  MADMAN'S  AMUSE- 
MENT     12229 
BONEY  CROSSING  THE  LINE       1 26 1 2 
BON^Y    FORSAKEN    BY    HIS    GUARDIAN 

GENIUS       1 22 1 3 
BON^Y  HATCHING  A  BULLETIN  OR  SNUG 

WINTER  QUARTERS ! ! !       1 1 9  2  O 
BON^EY  RECEIVING  AN  ACCOUNT  OF  THE 

BATTLE  OF  VITTORIA  ...       1 2069 
BONEY       RETURNING       FROM       RUSSIA 

COVERED  WITH  GLORY  ...      1 1 99 1 
BONEY    THE    SECOND    OR    THE    LITTLE 

BABOON  CREATED  TO  DEVOUR  FRENCH 

MONKIES      1 17 19 
BONEY  TURN^ED  MORALIST      1 2252 
BONEY'S        cavalry — A        RUSE         DE 

GUERRE  .  .  .       12044 
BONEY's  ELBA  CHAIR      1 2258 
BONEY'S  MEDITATIONS  ON  THE  ISLAND 

OF  ST  HELENA  .  .  .       1 2593 
BONEYS  return  from  ELBA — OR  THE 

DEVIL  AMONG  THE  TAILORS       12509 
BONEY'S      THREATENED      INVASION 

BROUGHT  TO  BEAR  ...       12610 
BONEY's  TRIAL,  SENTENCE  AND  DYING 

SPEECH  ...       12580 
BONFIRE  AT  THORPE  HALL  ...  5™  NOV'' 

1813  .  .  .       12103 
BONY's    VISIONS    OR    A    GREAT    LITTLE 

man's  NIGHT  COMFORTS      I1736 
BOROUGH  CANDIDATES,  THE      1 1908 
BOROUGH-MONGERING        TRIO,         THE 

12067 
boxer's  arms,  THE      1 3395 
*BOXEUR  BLESS^  (le)  ET  SES  PARIEURS 

CONSTERNES       12352 
BOXIANA — OR — THE  FANCY       1 26 1 3 
BOXING  BAROT.'ESS,  THE      1 3 362 
BOXING      EXTRAORDINARY — OR — A 

NOBLE  FALL — !!!!!!       13382 
BOYS,  GEN'T — V — MISS  EDMUNDS 

13493-5 
BREAKFAST  ROOM  AT  AN  INTSr      I1850 

BRE.\KING  UP  OF  THE  BLUE  STOCKING 

CLUB       12642 

BREED    AGAINST    BULK   OR   THE   BUCKS 


1043 


INDEX   OF   TITLES 


ATTACK  ON  THE  LEADENHALL  STREET 
ELEPHANTS       1 20o8 

BREWERS  ENTIRE  SALOON,  THE      1 1 993 

BRIDGE  OF  LODI       12460 

BRIGHTON  HOT  BATH  (a)  OR  PREPARA- 
TIONS FOR  THE  wedding!!       12765 

BRITISH  ATLAS  (tHE)  OR  JOHN  BULL 
SUPPORTING  THE  PEACE  ESTABLISH- 
MENT     12786 

BRITISH  COOKERY  OR  "OUT  OF  THE 
FRYING-PAN  INTO  THE  fire"      I1723 

BRITISH  GRACES  ATTIREING  THE  CIR- 
CASSIAN VENUS  IN  THE  ENGLISH 
COSTUME      13393 

BRITISH  LIBERTY  AT  BLACKHEATH.  OR, 
JUSTICE  shallow's  UNWARRANT- 
ABLE WARRANT  ...       12616 

BRITISH  SPREAD  EAGLE,  THE      1 2279 

BRITISH  VALOUR  AND  YANKEE  BOAST- 
ING OR,  SHANNON  VERSUS  CHESA- 
PEAKE     12080 

BRITISH  WELCOME  (tHE)  ;  OR,  A  VISIT 
FROM  THE  BANTAM  TO  THE  LION 
1 1902 

BRITTANNIA  AND  THE  SEVEN  CHAM- 
PIONS .  .  .       12298 

BROAB  BOTTOM  DYNASTY  (a),  THF- 
ORANGE  TRANSPLANTED  ...      12191 

BROAD  GRINS  ..  .       II963 

BROKEN  GINGERBREAD       12230 

BROUILLE,  LA  .  .  .       1 3483 

BUCKINGHAMSHIRE  BREEZE  (a) — OR  AN 
EAST  INDIAMAN  IN  DANGER      12018 

BUM  BAILIFFS  OUT-DONE^,  OR  ONE  OF 
THE  COMFORTS  ATTENDING  THE 
PATENT  HOBBY-HORSES       13403 

BUNDLE  OF  TRUTHS,  A       1 1839 

BUONAPARTE      12195 

*BUONAPARTE  AU  MONT  ST  JEAN  .  .  . 
12567 

BUONAPARTE  ON  THE  17TH  OF  JUNE  .  .  . 
ON  THE  1 7TH  OF  JULY — 1815     12592 

BUONAPARTE-PHOBIA, — OR  CURSING 
MADE  EASY  .  .  .       1 2545 

BURNING  OF  MOSCOW      1 2477 

BURNING  SYSTEM  ILLUSTRATED,  THE 
12723 

BURNING  THE  MOSQUES      1 2464 

BUZ  IN  A  BOX  (a)  or  THE  POET  IN  A 
PET  .  .  .       1 1938 

*CADUTA  DI  NAPOLEONE      1 2269 
CALEIDOSCOPES  or   PAYING  FOR  PEEP- 
ING     13051 


OR,    THE    THREE 
13105,    13105  A, 


CAMBRIDGE    BUTTER. 

BOTTLE  divine!! 

I3IO5  B 
CANDIDATE  FOR  BARKSHIRE  IN  DISMAY 

(the),    or    THE    ELECTORS    REVENGE 

I1863 
CANDIDATE    MISSING    (tHE)  ! !    OR    THE 

PUBLIC  ENTRY  OF  THE  "BACK  BONE" 

OF  LIVERPOOL       119 10 
CANDIDATES    CANVASSING"    FOR    SEATS 

IN  PARLIAMENT       1 1923 
CAPTAIN      IN      THE      NUNNERY      (tHE) 

TURNING  THE  SPIT       1 3463 
captain's   (the)  GOING    OUT   OF   THE 

SHIP — gentlemen!     1 3 182 

CAPTURE  OF  THE  PETTICOAT       1 1 849 
CAPUT     (a):     new     COLLEGE     OXFORD 

12030 
CARELESS     (the)     AND     THE     CAREFUL 

12687 
CART    LOAD    OF    YOUNG    PLAYERS    ON 

THEIR     JOURNEY     TO     LONDON,      A 

I1771 
CASTLES     IN     THE    AIR,     OR    VILLAINY 

REWARDED       12885 
CAT  IN  PATTENS,  A       1 1 973 
CATCHING  AN  ELEPHANT       II957 
CATCHPOLE,  THE      12428 
CATERERS — BONEY    DISh'd — A    BONNE 

BOUCIIE  FOR  EUROPE       12096 
CATHOLIC  GRATITUDE  FOR  PROTESTANT 

PROTECTION  &  RESTORATION ! !   1 2704 
CATHOLIC   HYDRA  (tHE)   WANTING  TO 

GET  LOOSE       1 1870 
cat's    ESCAPE    WITH    THE    FAVOURITE 

MAID,  THE       12395 
CATS    LET   OUT   OF  THE   BAG   (tHE)   OR 

THE  RATS  IN  DISMAY       I1714 
CELEBRATED    &    REVEREND    T.    SCREECH 

ME     DEAD     (the)     ATTACKING     THE 

DEVIL  ...       131 10 
CELEBRATED  PERFORMER,  A,  .  .  .      13085 
CENTAUR-IAN  MANAGER,  THE      1 1 773 
*CERBERUS       I  23  1 8 
CEREMONY    OF    INVESTITURE    (tHE)    OF 

MY     LORD     SIDMOUTH     WITH     THE 

ORDER  OF  CABBAGE-HOOD ! ! !      13  247 
CEREMONY     OF     KISSING     THE     BADGE 

(the)  at  the  INSTALLATION  OF  THE 

KNIGHTS  OF  THE  BOMB       1 28 1 1 
*CESAR  DANS  SON  PALAIS       1 2903 
CHAIR  BEFORE  THE  THRONE,  THE    1 2 1 84 
CHALLENGERS  OF  ALL  ENGLAND  CHOP- 
FALLEN,  THE  .  .  .       1 1776 


1044 


INDEX  OF  TITLES 


CHAMBER  OF  GENIUS,  THE      1 1962 
CHAMBER  WAR,  THE       1 285 2 
CHAMPAGNE,      SHERRY,      AND      WATER 

GRUEL       12666 
CHAMPION     OF     WESTMINSTER     (tHE), 

DEFENDING  THE  PEOPLE  FROM  MIN- 
ISTERIAL IMPS  .  .  .       13002 
CHANCELLORS,  HOBBY  (thE.),  OR  MORE 

TAXES  FOR  JOHN  BULL      1 3  244 
CHANCERY  CASE,  A      13  122 
CHANGE  IN  THE  PETTICOATS  (a)  OR  THE 

YEARS  1780  &  1817       12940 
*CHAPEAU  DE  PAILLE  .  .  .       1 264 1 
CHARIOTEER  SNIP   ON  RISING   GROUND 

12168 
[PCHARLES  OR  HUGH  GRANT]        13019, 

13019 A 
*CHATEAUX  EN  ESPAGNE,  LES       1 2236 
CHEAP  BEATING,  A       I  3  154,   13  154  A 
*CUtF  DE  LA  GRANDE  NATION  (le)  DANS 

UNE  TRISTE  POSITION  I2I20  A 
CHIEF     PILLARS     OF    AN     ILLUSTRIOUS 

HOUSE       12776 
CHOLIC,  THE       13438 
CHORISTERS       1 1 778 

CHRISTMAS-GAMBOLS,    OR    THE    PLEA- 
SURES OF  A  COURT       1 2 173 
CHURCH  YARD  DEBATE,  THE       1 2849 
*CHUTE  DU  TITAN  MODERNE,  LA    1 2238 
*CHUTE  DU  TYRAN       1 2598 
*CINQUIEME     ET     DERNIER     TOUR     DE 

PASSE-PASSE  .  .  .       12602 
CITY  GLEE,  THE       12809 
CITY      SCAVENGERS      CLEANSING      THE 

LONDON    STREETS    OF    IMPURITIES!! 

12814 
CLEARING  AWAY  THE  RUBBISH  OF  OLD 

DRURY       1 1767 
CLERICAL  MAGISTIL\TE,  THE       13303 
CLERICAL  MANCEUMIE  (a)  OR  THE  WAY 

TO  FINISH  A  CHARITY  SERMON    12652 
CLERICAL  SHOWFOLK  AND  WONDERFUL 

LAYFOLK       13289 
CLOSE  QUESTION,  A      13205 
CLOWN  &   GRASSHOPPER,    IN   THE  NEW 

COMIC  PANTOMIME  .  .  .  1 1 942 
COBBED — watch!  WATCH  !  13184 
COBLERS  CURE  FOR  A  SCOLDING  WIFE, 

THE      12148 
cockney's    AMUSEMENTS,     &     SPORTS, 

THE       12958 
COCKPIT,  THE       13457 
COLLEGE     GREEN     AFTER     THE     UNION 

I1852 


COLLEGE    GREEN,    BEFORE    THE    UNION 

I1851 
COLLEGE    PRANKS,    OR    CRABBED    FEL- 

LOW'S    TAUGHT    TO    CAPER    ON    THE 

SLACK  ROPE      1 1 78 1 
COLLEGIANS  AT  THEIR  EXERCISE !    .    .    . 

13418 
COMEDY      1 2065 
COMET,  THE.!!!       I1740 
COMET  OF  181I,  THE      I1705 
COMFORTS  OF  AN  IRISH  FISHING  LODGE 

II975 
COMING    IN    AT    THE    DEATH    OF    THE 

CORSICAN  FOX       I2220 
COMME  CE  CORSE  NOUS  jVIENe!       12075 
*COMMENCEMENT  DU  FINALE      12549 
*C0MMENCEMENT      ET      LA      FIN,      LE 

12249 

committee  of  taste  or  the  punish- 
ment of  a  modern  midas     1 1 937 

comparatrt:  anatomy,  or  BONE-YS 
ntw  conscripts  filling  up  the 
skeletons  of  the  old  regements 

12087 
COMPARATIVE        ANATOMY — OR       THE 

DANDY  TRIBE      1 3068 
COMPLEMENTS   &   CONGEES   OR   LITTLE 

BON^EY'S  SURRENDER  TO  THE  TARS  OF 

OLD  England!!!     12579 

*CONDUITE  IMPERIALE      1 2568 
CONFESSIONAL    (tHE)    OR    CONFESSION 

WITHOUT  THE  VETO       1 1 898 
*CONGRES,  LE      12500 
CONGRESS  (the)  DISOLVED  BEFORE  THE 

CAKE  WAS  CUT  UP       1 2525 
CONGRESS  FOR  PEACE,  A       1 2079 
CONJUGAL     FELICITY     IN     HIGH     LIFE 

13226 
CONSPIRATORS;      OR,      DELEGATES      IN 

COUNCIL       12887 
CONSULTATION  ON  THE  BEST  CURE  FOR 

THE  GOUT  .  .  .       12805 
CONTRACT,  A       13028,13028  A 
contrast!    (the)    or    the    CI-DEVANT 

GERMAN    CAPTAIN    IN    GOOD    QUAR- 
TERS!      12773 
CONUNDRUM,  THE      1 2626 
COOL    SUMMER    QUARTERS,    OR,    GOING 

ON  SWIMMINGLY ! ! ! !       1 2o86 
COQUETTE,  THE      1 243 1 
CORONATION  OF  THE  EMPRESS  OF  THE 

NAIRS,  THE       1 1899 
CORPORAL  VIOLET      1 25  1 3 
CORPORAL  VIOLETTE      1 25  1 2 


1045 


INDEX   OF   TITLES 


CORSICAN  (the)  and  HIS  BLOOD 
HOUNDS  AT  THE  WINDOW  OF  THE 
THUILLERIES  ...       12529 

CORSICAN  BLOODHOUND,  BESET  BY  THE 
BEARS  OF  RUSSIA,  THE      12024 

CORSICAN  MAD  DOG  (tHE)  OR  THE 
HOPEFULL  SITUATION  OF  THE  DE- 
STROYER OF  THE  HUMAN  SPEICE 
I2IOO 

CORSICAN  MUNCHAUSEN  (tHE) — HUM- 
MING THE  LADS  OF  PARIS      121 13 

CORSICAN  SHUTTLECOCK  (tHE)  OR  A 
PRETTY  PLAY  THING  FOR  THE  ALLIES 
12217 

CORSICAN  TOAD  UNDER  A  HARROW,  THE 
12104 

corsican  whipping  top  in  full  spin 
(the)!!!     12218 

CORSICAN' S  LAST  TRIP  (THE)  UNDER 
THE  GUIDANCE  OF  HIS  GOOD  ANGEL 
12530 

cossack  extinguisher,  the     12097 
cossack    sports — or    the    platoff 

hunt  in  full  cry  .  .  .     12094 
Cossack's  returning  from  the  field 

of  battle  .  .  .     i20i0 
*costumes  anglais     12380,    1 238 1, 

12383,   12385,   12387 
*COSTUMES  ANGLAIS  &  FRANgAIS   12384 
*COSTUMES    FRAN^AIS    ET    UNIFORMES 

ANGLAIS       12386 
*COULISSES  DE  l'oP^RA,  LES       1 2363 
COUNCIL  OF  FIVE  HUNDRED       I  2469 
COUNSELLOR     NODEE,     OR,     A     BROW- 
BEATER  BADGER'd       1 1 980 
COUNTRY  INFIRMARY,  THE      12142 
COUNTRYMAN  IN  LONDON,  THE      1 2393 
*COUP  DE  PEIGNE  (le),  OU  LA  TOILETTE 
AVANT  LE  DEPART  POUR  STE  H^LENE 
12596 
*COUR     MARTIALE     ASSEMBLEE     POUR 
JUGER  UN  DESERTEUR  DE  LA  GRANDE 
ARMEE,         12023  A 
*COURIER  DU  RHIN,  LE      1 21 92  A 
*COURSE  ANGLAISE,  LA      1 3496 
COURT  AT  BRIGHTON  A  LA  CHINESE!!, 

THE      12749 
COURT  OF  LOVE  (tHE)  OR  AN  ELECTION 
IN  THE  ISLAND  OF  BORNEO       II914 
COURTSHIP,  THE      1 2685 
COVENT     GARDEN,     3°     MARCH,     1819 

13219 
COW  POX  TRAGEDY,  THE,  ...       1 1953 
CRACKING  A  JOKE      12154 


CRANIOLOGICAL      EXAMINATION,      A 

12839 
CREAM  OF  THE  JOKE  (tHE)  OR  BONEY's 

LAST  BULLETIN      1 2257 
CRIB  UNCORKING  BLACKSTRAP      1 1 75 5 
CRIBB  AGE- A-L  A-D  AND  Y      1 3  09  3 
CRIMPING  A  QUAKER      12404 
*CRISE  SALUTAIRE,  LA      1 2239 
CRISIS        (the) — OR — BRITANNIA        IN 

DANGER       I  28 1 2 
CROSSING  THE  ALPS      12470 
CROSSING  THE  LINE  (2)      13185,1 3475 
CROWN      CANDIDATES      (tHE)      OR      A 

MODEST  REQUEST  POLITELY  REFUSED 

12543 
CROWNING      HIMSELF      EMPEROR      OF 

FRANCE      12473 
CRUCE  DIGNUS  THE  GRAND  MENAGERIE 

.  .  .       12267 
CRUISING     ON    LAND     OR,     GOING    TO 

HOBBY-HORSE  FAIR      1 3426 
CRUIZE  IN  PORTSMOUTH  AFTER  GAME,  A 

13462 
CUPID  EN  MILITAIRE  OR  LOVERS  SUITED 

12792 
CURE  FOR  LOVE,  A      1 3454 
*CURIEUX,    LES,    (OU    LES   CORDONS   DE 

SOULIERS)       12636 
CURIOSITY      12944 
CURIOUS     DOGS,     FROM     THE     NORTH 

POLE  .  .  .       13195 

curious  junto  of  slandering  elves 

(a)  .  .  .     12923 
curse  of  spain,  the     13009,  13009a 
cutting  corns     13134 


DAINTY  DISH,  THE      1 2854 

*DAMES  ANGLAISES  APRES-DINE,  LES 
12350 

D D    ANGELIC    PON    HONOR    .     .    . 

12951, 12951 A 

DANDIES  AT  TEA      13065 

DANDIES  COAT  OF  ARMS,  THE      1 3394 

DANDIES  DRESSING       13062 

DANDIES  IN  FRANCE  OR,  LE  RESTAURA- 
TEUR     1 3441 

DANDIES — OF — 1817  .  .  .       13055  A 

DANDIES  ON  THEIR  HOBBIES !       13417 

DANDIES — OR — MONSTROSITIES  OF 
1818       13055 

DANDIES  SANS  SOUCI       13448 

DANDY,  A      1 307 1 

DANDY  CLUB,  THE   13031 


[O46 


INDEX  OF  TITLES 


DANDY  COCK  IN  STAYS  (a)  .  .  .       13063 
DANDY  DRESSING  (tHE)  .  .  .  THE  DANDY 

DRESSED  .  .  .       13060 
DANDY  FAINTING  (a)  OR  AN  EXQUISITE 

IN  FITS       13069 
DANDY  LION  (tHE)  AN  EXOTIC      1 3029, 

13029  A 
DANDY  OF  ^19,  A,  .  .  .       I  3359 
DANDY  OF  SIXTY,  A      13305 
DANDY  PUT  TO  HIS  LAST  CHEMISETTE, 

(a)  .  .  .      13061 
DANDY    SHOE   ^L\KER   IN   A   FRIGHT,    A 

13066 
DANDY   (the)  sick  O,   TIM  POOR  Y  O, 

MORE  EASE      1 3447 
DANDY     TAYLOR,      PLANING     A     NEW 

HUNGRY  DRESS,  THE       I  3237 
DANDYESS,  A      13084 
dandy's  DISASTER  (a),  OR  A  FRIEND  IN 

need!     13070 

*DANSE  IMPERIALE,  LA       1257O 
DASII'd  WITH  HIS  SUITE  FOR  SANTAREM 

THAT  NIGHT      1 2496 
DAW  STRIPT,  OF  HIS  BORROWED  PLUMES, 

THE      12098 
DAY  OF  FASHION,  A       1 2167 
DE  BERENGER  ...       1 2322 
DEATH  AND  THE  ANTIQUARIES       1 285  3 
DEATH  AND  THE  PORTRAIT       I  2426 
DEATH  BLOW,  THE      1 243 5 
DEATH  EXTRAORDINARY       1 275  I 
DEATH  OF  THE  PROPERTY  TAX!!!,   THE 

12752 
DEATH    OR   liberty!    OR  BRITANNIA  & 

the  virtues  of  the  constitution 

in  danger  .  .  .     1 3279 
death  turned  pilot     1 2673 
death's  dance     12857 
death's  door     12676 

DEBUTEYS  APOINTED  by  the  LEGISLA- 
TIVE body  (the)  DOING  HOMAGE  TO 
THE  KING  OF  ROME  .  .  .       I1735 

DEERHURST's  DEFEAT  OR  THE  END  OF 
UNQALIFIED  AMBITION      I1913 

DEFINITION  OF  A  DRUNKARD,  A      1 3 1 62 

DEFRAUDING  THE  CUSTOMS  ...       1 2645 

DELICATE  DANDY,  A      1 3  285 

DELICATE  FINISH  TO  A  FRENCH  [CORSI- 
CAN]  USURPER,  A       12227 

DELICATE  INVESTIGATION  (THE)  OR 
SECRETS  OF —      12039 

DELIGHTS    OF    WINDY    WEATHER,    THE 

13073 
DELILAH      DEPRIVEING      SAMPSON      OF 


THOSE  LOCKS   IN  WHICH  CONSISTED 

HIS  STRENGTH       11853 
DELIVERING  A  PROPHETESS       1 2335 
*DEPART,  LE      12362,   12362 A 
*DEPART  POUR  l'iLE  d'elBE       1 2244 
DEPARTURE   OF   APOLLO   &   THE   MUSES 

(the) — OR — FAREWELL      TO      PARIS 

12619 
DERANGED  INTELLECT,  A  NTEW  TRAGEDY 

•  •  •       13367 
*DERNIER  ELAN  d'uN  GRAND  HOMME, 

LE      12599,   12599  A 
*DERNIERE  CHUTE,  LA      1 25 66 
*DERNIERE  CUVEE,  LA      1 2573 
*DESERTEUR,  LE      1 2564 
*DESESPOIR  DE  MME  BERTRAND      12597 
DEVIL  TO  PAY  (tHE)  OR  BONEY'S  RETURN 

FROM  HELL-BAY      1 25 1 6 
DEVIL  TO  PAY  (tHE)  OR  PAM  BE  CIVIL 

1 1 900 
DEVILS   AMONG  THE   FLATS    OR   BONEY 

GETTING  INTO  HOT  WATER      1 1739 
DEVILS  DARLING,  THE      1 2196 
DEVONSHIRE  MINUET,  THE      12052 
DEVOTION  IN  duke's  PLACE — OR  CON- 
TRACTORS   RETURNING   THANKS    FOR 

A  LOAN       131 14 
*DIEU    SOIT    LOU^!    LE    DIABLE    l'eM- 

PORTE!       1 260 1 
DIFFERENCE    BET^\TEN    LAW    AND    JUS- 
TICE!!, THE       13201 
DIFFERENCE  IN  TASTE,  A,  .  .  .       13450 
DINNER   OF   THE   FOUR-IN-HAND   CLUB 

AT  SALTHILL      1 1 76 1 
DISAPPOINTED     DANDIES     OR     A     VAIN 

ATTEMPT    TO    GET    A    PEEP    AT    THE 

FAIR  CIRCASSIAN      1 3 24 1 
DISCONCERTED  HYPOCRITE,  THE    1 298 1 
DISCONSOLATE   SAILOR   (tHE)    OR   MISS 

LONG  ING  FOR  A  POLE      1 1 747 
DISPATCH  FROM  MAJOR  FISCHER,  A,  .  .  . 

I1873 
DISPUTE     BETWEEN     MONOPOLY     AND 

POWER      1 20 1 7 
DISSOLUTION  OF  PARLIAMENT       II915 
DISTILLERS  LOOKING  INTO  THEIR  OWN 

BUSINESS       1 1 8 1 3 
DIVINE    (the)    and    THE    DONKEY — OR 

PETWORTH  FROLICKS       1 21 82 
DOCTOR  BLUCIIER      1 2287 
DOCTOR  DRUM  LETTING  THE  CAT  OUT 

OF  THE  BAG  .  .  .       12073 
DOCTORS     DIFFER     OR     DAME     NATURE 

AGAINST  THE  COLLEGE      12141 


1047 


INDEX  OF  TITLES 


doctor's  dream,  the     12163 

DOG  DAYS  (the)  .   LE  BON  GENRE  .  .  . 

12947 
DOLEFUL  DISASTER  (a)  OR  MISS  FUBBY 

fatarmin's     wig     caught     fire 

12147 
DORCHESTER  GUIDE  (tHE)  ;  OR,  A  HOUSE 

THAT  JACK  BUILT      13318-30 
DOS  A  DOS — ACCIDENTS  IN  QUADRILLE 

DANCING      12924 
DOS    A    DOS    OR    RUMPTI    IDDITO    IDO 

12933 
DOUBLE  BASS      1 1765 
DOUBLE-DISTILLED  DANDY,  A      13091 
DOUBLE  HUMBUG  (tHE)  OR  THE  DEVILS 

IMP  PRAYING  FOR  PEACE       12169 
DOUBLE    MOUTHPIECE    OR    A    FUNDA- 
MENTAL  DUETTO   ON  THE  TRUMPET 

&  OBOE      12838 
DOWNFAL  OF  TYRANNY  (tHE)  &  RETURN 

OF  PEACE      1 225  I 
DRAMATIC    ACTION    ILLUSTRATED, 

hamlet's  ADVICE  TO   PLAYERS   . 

1 1770 
DRAMATIC    EFFECT    OR  THE    DEATH 

GENi- DUROC       1 206 1 
DRAM  SHOP,  THE       1 2658 
DREAMS  OF  TERROR!  OR  THE  VISION  OF 

LOUIS  XVIII — !!     12707,  12707  A 

DREW     FROM     LIFE — JULY     13™     181I 

I1754 
DROPSY      COURTING 
13119 

drumming 

army!!!  12274 
*du  bas  en  haut  .  .  . 
*du  haut  en  bas  .  .  . 

DUEL,  THE      12663 

DUTCH  APOLLO  (tHE)! 

DUTCH  NIGHT-MARE  OR  THE  FRATERNAL 

HUG     RETURNED     WITH     A     DUTCH 

SQUEEZE      12105 
DUTCH  TOY,  THE      12273 
DUTCH     TOY     (a)!!!— OR,     A     PRETTY 

PLAY-THING  FOR  A  YOUNG  PRINCESS 

12280 
DUTIFUL    CHILDREN     ON    A    VISIT 

THEIR  FATHER — !  ...       1 3278 


OR 


OF 


CONSUMPTION 


OUT      OF      THE      FRENCH 


12242 
12241 

12282 


TO 


ECONOMICAL 

12762 
ECONOMY 
ECONOMY 

SAND  . 


HUMBUG    OF    18 1 6 


12766 

OR — A  DUKE  OF  TEN  THOU- 
13228 


*^COSSAIS  A  PARIS  (lES)  OU  LA 
CURIOSITE  DES  FEMMES      1 2635 

EFFECTS  OF  THE  ARRIVAL  OF  FRENCH 
EAGLES  IN  ENGLAND       II905 

1 812  OR  REGENCY  A  LA  MODE      1 1 847 

ELBA      12307 

ELBA  FLAG      1 25 36 

ELBARONIAN  EMPEROR  (tHE)  GOING  TO 
TAKE  POSSESSION  OF  HIS  NEW  TERRI- 
TORY     1 223 1 

ELECTION  BALL,  AN  (2)      12138,  13432 

*^LEGANS  ANGLAIS  A  PARIS,  LES     1 2372 

ELGIN  marbles!  (THE)  OR  JOHN  BULL 
BUYING  STONES  .  .  .       1 2787 

EMBLEMATIC  REPRESENTATION  OF 
PEACE      12275 

EMPIRE  A  \^NDRE  (un)  ...       1 2 1 1 5 

*en  fin  bonaparte  met  a  execution 
son  projet  de  descente  ...  1 2595 

enclosing  the  flats — or — essex 
gudgeon  fishing     1 2835 

*endliches  schicksaal     12320 

England's  only  hope  departing 
12894 

ENGLISH   &   FRENCH   TASTE   OR  A   PEEP 

INTO  PARIS       12384  A 
ENGLISH  DANCE  OF  DEATH,  THE    12411- 

37,  12656-91,  12848-58 

ENGLISH     GENERALS     ON     THE     PEACE 

establishment!!!,     p.  630 

ENGLISH  IMPUDENCE       I  3477 
ENGLISH     LADIES     DANDY     TOY,     THE 

13067 
ENGLISH        MANNERS       AND       FRENCH 

PRUDENCE     OR     FRENCH     DRAGOONS 

BROUGHT  TO  A  CHECK  BY  A  BELVOIR 

LEAP       11743 
ENIGMATICAL    DESIGN    OF    THE    SITUA- 
TION OF  BUONAPARTE  IN  MARCH  AND 

APRIL  1 8 14      1 22 1 5 
ENOUGH  TO  MAKE  A  HORSE  LAUGH !  OR 

THE  WORLD  UPON  WHEELS ! !       1 3422 
ENRAGED     SON     OF    MARS     (tHE)    AND 

TIMID  TONSOR      I1805 
*ENTldE   (l')   TRIOMPHANTE    DU    PERE 

LA  VIOLETTE  .  .  .       12605 
ENTRY  OF  THE  BLUE  CANDIDATE  INTO 

GLOCESTER  (tHE)  ! ! !       1 2807 
*ENVIE  Rl^CIPROQUE,  l'       1 2368 
EPIGRAM  AND  RECEIPT,  THE      13172 
EPPING  HUNT  (the)  OR  HOBBIES  IN  AN 

UPROAR      13404 
ERUPTION  OF  MOUNT  VESUVIUS  (AN)  .  .  . 

12555 


1048 


INDEX   OF   TITLES 


#-r> 


ESCAPE    OF    BUONAPARTE    FROM    ELBA 

12518 
ESTABLISHED  CHURCH  (tHE)  .  THE  TRUE 

DOCTRINE      1 3 167 
ETEIGNOIR  DES  ALLIES       I2I20  A 
EUROPE      12234 

EUROPEAN  PANTOMIME,  THE      1 25  1 5 
EVERY  DOG  HAS  HIS  DAY  .  — OR,  BLACK 

DEVILS  AMUSING  THEMSELVES  WITH 

A  WHITE  NEGRO  DRIVER      1 30 1 3 
EVERY  ONE  HIS  OWN  HOBBY     Plate  I^t 

13407 

Plate  2ND     J  3408 

EX  NIHILO  NIHIL  FIT       1 2438 
EXAMINATION,  OF  A  YOUNG  SURGEON, 

THE       1 1763 
EXCURSION      TO      RAGLEY      HALL,      AN 

1 1904 

execution  of  the  two  celebrated 
enemies  of  old  england     12103 

ex-emperor  in  a  bottle,  the     1 2594 

exercising  a  hobby  from  wales  to 
Hertford!!     132 13 

exhibition  at  bullocks  museum  of 
boneparte's  carriage  .  .  .     12702 

exhibition  stare  case     i1820 

EXILE  OF  ST  HELENA  (THE)  OR  BONEY'S 

meditations!!  12611 

explanation  of  the  arms  of  napo- 
leon bonaparte,  .  .  .  1 2235 

*explication  des  armes  de  buona- 
PARTE  12235  A 

EXPORTING  CATTLE  NOT  INSURABLE 
12158 

EXQUISITE,  THE       1 2972 

EXTIXGUISH'd  is  HER  BLOOM  AND 
NATIVE  FIRE  .  .  .       1 1 987 

EXTRAORDINARY  ECLIPSE,  AN       1 2725 

FALL  OF  FOUR  IN  HAND,  THE       12670 
FALL      OF      WASHINGTON      (tHE) — OR 

MADDY  IN  FULL  FLIGHT      1 23  1 1 
FAME-OUS  ENIGMA,  A       1 1749 
*FAMILLE  ANGLAISE  A  PARIS,  LA     1 2370 
FAMILY  OF  CHILDREN,  THE      1 2675 
FAMILY  PARTY  TAKEING  AN  AIRING,  A 

13402 
FAMILY  PORTRAIT,  A       13025  A 
FANATICAL  REFORMISTS.  OR  THE  SMITH- 
FIELD  ASS-EMBLY  OF  NEW  LEGISLA- 
TORS      13253 
FARCE   AT   ST   STEPHENS    (tHE)    OR   SIR 
FRANCIS     DIPPING     BUCKETS     INTO 
EMPTY  WELLS       II912 


FARE  THEE  WELL      1 2827 

FARMER  George's  daughter  polly, 
longing  for  a  slice  of  single 
Gloucester!     12783 

FASHION,  Plates  to     1 297 1 -6 

fashionable  belle,  a     12847 

fashionable  fop,  a     1 2846 

fashionable   FRAILTY   OR  JOHN   PRE- 

FERD  TO  HIS  MASTER  .  .  .       1 1948 
FASHIONABLE  PORTRAITS       1 3444 
FASHIONABLE  READING       13106 
FASHIONABLES    OF    1816    TAKING    THE 

AIR  IN  HYDE  PARK  I       1 2825 
FASHIONABLES  OF  1817       1 2949 
FASHIONABLES  OF  1818       13090 
FAST  COLOURS  (2)      1 26 1 7,   1 26 1 8 
FAST  DAY       1 1959 
FAST  STAGE,  THE      1 2855 
FAT  AND  LEAN      1 3 121 
FAT  &  LEAN  OR  FEEDING  THE  HUNGRY 

13127 
FATHER  OF  THE  FAMILY,  THE      1 2669 
FEE  FAA  FUM— FALSE  ALARMS — OR  THE 

FUGITIVE  PRINCE  .  ,  .       1 286 1 
FEMALE     LANCERS — OR — A     SCENE     IN 

sT  James's  street     13361 

FEMALE  RACE  (tHE)!  OR  DANDY 
CHARGERS  ...       1 34 1 5 

FIELD  PIECES      13078 

FINANCIAL  SURVEY  OF  CUMBERLAND  (a) 
OR  THE  BEGGARS  PETITION       1 259 1 

FINDING  THE  ARMS  OR  A  MIDNIGHT 
DOMICILIARY  VISIT  TO  THE  BOARD- 
ING SCHOOL       1 3  29 1 

FIRE,  THE       12677 

FIRST    GLORIOUS    EXPLOIT    (tHE)    .    .    . 

I1739 
FIRST  INTERVIEW  WITH  MARIA  LOUISA 

12475 

FIRST  REMARKABLE  ADVENTURE  &  CAUSE 
OF  PROMOTION,  THE,  .  .  .      1 1872 

I^T  SCENE  OF  A  NEW  PLAY  .  .  .       1 2834 

FIVE  WIVES  AT  A  TIME  OR  AN  IRISHMAN 
TAKEN  in!!       1 1978 

FLEABITES  OR  THE  PSALM  SINGER    1 3 1 1 1 

FLIGHT  FROM  EGYPT      1 2468 

FLIGHT  OF  BONAPARTE  FROM  HELL- 
BAY,  THE       12526 

FLINT,  A      1 1824 

FLOGING,  A  NAUGHTY  BOY       12560 

FOGGY  WEATHER      1 3443 

FOR  SALE,  .  .  .  THIS  DEFECTIVE  HONE 
12886 

FORTUNE  TELLER,  THE      1 2689 


1049 


INDEX   OF  TITLES 


FOUND  IT  out;  or  A  GERMAN  PRINCE 
HUMBUGED       1 299 1 

FOUR  &  TWENTY  HOBBY-HORSES  ALL  OF 
A  ROW      13409 

*FOUR  DES  ALLIES  (le)  .  ,  .       l22o6  A 

FOUR  SEASONS  OF  LOVE,  THE      12407 

FOX  &  THE  GOOSE  (tHE)  ;  OR,  BONEY 
BROKE  LOOSE      12506 

FREE  BORN  ENGLISHMAN!  (a) — THE 
PRIDE  OF  THE  WORLD !  AND  THE 
ENVY  OF  SURROUNDING  NATIONS!!! 
12037 

FREE  BORN  ENGLISHMAN!  (a)  THE  AD- 
MIRATION OF  THE  world!!!  .  .  . 
13287,   13287  A 

FREEDOM  OF  ELECTION  (THE)  OR  HUNT- 
ING FOR  POPULARITY  .  ,  .       1 2999 

FRENCH  ARTIST,  THE      1 3436 

FRENCH  CONSCRIPTS  FOR  THE  YEARS 
1820,  21,  22,  23,  24  &  25  .  .  . 
13486 

FRENCH  DENTIST  (a)  SHEWING  A  SPECI- 
MEN OF  ARTIFICIAL  TEETH  AND  FALSE 
PALATES      1 1798 

FRENCH  ELEPHANT,  A  1 3008,  1 3008  A, 
13008  B 

FRENCH  GENERALS  RETREATING      12053 

FRENCH  MUSICIANS  OR,  LES  SAVOYARDS 

1 343 1 

FRENCH  POST  EXTRAORDINARY  FROM 
MOSCOW  TO  PARIS       12025 

FRENCH  RECRUITS,  OR  A  BIRD's  EYE 
VIEW  OF  THE  NEW  CONSCRIPTION 
12088 

FRIENDS  AND  FOES — UP  HE  GOES  .  .  . 
12117 

FROM  YARMOUTH  TO  HERTFORD    1 3026  A 

FRONTISPIECE  EXHIBITING  CORRECT 
LIKENESSES  OF  OUR  HERO  ...     1 1 87 1 

[frontispiece  FROM  ROYAL  LOGGER- 
heads! or  the  congress  of  state 
tinkers!!]     12533 

frontispiece.  starting  to  join  his 
regiment     i 2484 

[frontispiece  to  a  set  of  twelfth- 
NIGHT  characters]     12004 

[FRONTISPIECE  TO  THE  FIRST  VOLUME 

OF  THE  BLACK  dwarf]       1 2982 
[frontispiece       TO       THE       MODERN 

dunciad]     12338 
frontispiece  to  the  new  red  book,  a 

12778 
[frontispiece  to  THE  STATE  LOTTERY, 
A  dream]       12880 


FRONTISPIECE    TO    TRADING     BEGGARS 
EXPOSED      1 263 1 

[frost  fair]     12345 

frost  fair  held  on  the  thames  .  .  . 

12344 
FROST    FAIR    ON    THE    RIVER    THAMES 

12347 
FROST  FAIR  OR  RURAL  SPORTS  ON  THE 

RIVER  THAMES       1 2342 
FUN  AT  SEA — SHAM  FIGHT  OFF  BRIGHTON 

12892 
FUNCKING  THE  CORSICAN      121 14 
FUNERAL    PROCESSION    OF    THE    RUMP, 

THE      13207 

GAFFER  GOODMAN       1 267 1 
gallant's  DOWNFALL,  THE      1 2848 
GALLIC    MAGI    LED    BY    THE    IMPERIAL 

COMET,  THE       1 1737 
GAMBLING  IN  THE  STOCKS       12209 
GAMBOLS  ON  THE  RIVER  THAMES    12341 
GAME    AT    CRIBBAGE    (a),    OR    BONEY's 

LAST  SHUFFLE       1 2277 
GAME  CHICKEN,  THE  (2)       11768,11950 
GAME  OF  CHESS  (2)       1 2392,   1 3433 
GAMING  TABLE,  THE      1 2659 
*GARDE    (la)    MEURT    FT    NE    SE    REND 

PAS,  MAIS  BUONAPARTE  SE  REND  .  .  . 

12600 
GASCONADEING— ALIAS— THE  RUNAWAY 

EMPEROR    HUMBUGING    THE    SENATE 

121 1 1 
GASCONADERS    OR    THE    GRAND    ARMY 

RETREATING  FROM  MOSCOW      12050 
*GASTR0N6mE  APRES  DINER,  LE    1 2366, 

12366  A 
*GATEAU  DES  ROIS  (le),  TIRE  AU  CON- 

gres  .  .  .     12522 

*GATEAU  DES  ROIS  (le),  TIR^  A  VIENNE 

.  .  .   12522  A 
GAY  LOTHARIO,  THE,  ...   1 21 28 
GENEALOGIST,  THE   1 2427 
GENERAL   FROST   SHAVEING   LITTLE 

BONEY   I I 917 
*GEN^RAL  JACOT  (le)  AYANT  JURE 

QU'ON  NE  l'eMMENERAIS  PAS  VIVANT 

A  STE  HELENE  .  .  .   12604,  12604  A 
GENERAL  JAIL  DELIVERY   1 1 724 
GENERAL  NAP   TURNED   METHODIST 

PREACHER  .  .  .   12546 
GENERAL  PORTRAIT,  A   I  29 1 2 
*GENERAL  SANS  PAREIL   12606 
GENERAL  SANS  PAREIL  12607,  12607  A 
GENERAL  SUNFLOWER   1 23 2 1 


1050 


INDEX   OF   TITLES 


GENEROUS    MASTER,    THE,    OR   AFRICAN 

SINCERITY      1 3 193 
GENIUS  OF  BAZAAR  ARRI\^D  AT  LONDON 

12836 
GENIUS  OF  FRANCE  (tHE)  EXPOUNDING 

HER  LAWS  TO  THE  SUBLIME  PEOPLE 

12524 
GENIUS  OF  THE  TIMES,  THE      1 1 94 1 
GENT.  NO  GENT  &  RE-GENT !!       1 279 1 
GENTLE  HINT !,  A      1 3 1 1 8 
GENTLE  RIDE  FROM  CHARLTON  HOUSE 

TO  WATERLOO  PLACE,  A       1 3 23  3 
GENTLE  RIDE  FROM  EXETER  'CHANGE  TO 

PIMLICO,  A       1 1928 
GENUINE  DANDY,  A      13030 
GENUINE  DANDY  (a)  OR  WALKING  GUY 

13083 
GENUINE,   HUMBUG  T.  COMPAN^Y,  THE, 

.  .  ,       13038 
GERMAN    MOUNTEBANK    (a)    BLOWING 

HIS  OWN  TRUMPET  .  .  .       13035 
GERMAN  PRESENT  ( a) — OR — THE  LOVERS 

TOKEN       12759 
GERMAN    SUITOR    AT    THE    COURT    OF 

WALES,  A      12755 
GHOST  OF  MY  DEPARTED  HUSBAND,  THE 

12155 
GHOST  OF  PITT  (tHE)!!  .  .  .       1 1  895 
GIANT  GRUMBO&THE  BLACK  DWARF  .  .  . 

13250 
GIBRALTER,     NEWCOME     IN     DISGRACE 

13465 
GIBR^\LTER     SALLY-PORT,     NEWS     FOR 

NEWCOME       13467 
GIG,  THE      12683 
GIG    SHOP    (the)    or    KICKING    UP    A 

BREEZE  AT   NELL  HAMMILTONS   HOP 

1 1796 
GIVING  UP  THE  GHOST     1 3 1 70,  1 3 1 70  A 
GIVING    UP    THE    GHOST    OR    ONE    TOO 

MANY       1 2153 
GLEE  SINGERS      13132 
GLOUCESTERSHIRE  GLORY       1 2789 
GLUTTON,  THE       124 1 8 
GOD  SA\TE  Y^  king!!       1 2262 
GOING  SICK  TO  THE  REAR      1 2494 
GOING  TO  HOBBY  FAIR      1 3425 
GOING  TO  IVY  BRIDGE       13187 
GOING  TO  THE  RACES       13410 
GOING  TO  white's       1 3  348,   1 3348  A 
GOLDEN  BALL,  THE       13352,  13352A 
GOOD  (the)  and  GREAT      12850 
GOOD    MAN    (the),    DEATH,    AND    THE 

DOCTOR       12425 


GOOD  WHIP,  A      13025 

GOURMAND,      UN         1 2997,      1 2997  A, 

12997  B 
*GOUT  DU  JOUR,  LE      1 2366 
GOVERNOR    OF    THE    ISLAND    OF    ELBA 

12204  B 
GRACES    DE    CHESTERFIELD,    LES,    .    .    . 

12935 

GRACES  (lES) — INCONVENIENCES  IN 
QUADRILLE  DANCING    12925,12925  A 

GRACES,  THE      1 3 142 

GRACES  (the)  they  \VEKE  CULLING 
POSIES  ...       1 3 133 

*GRADUATION  DE  LA  FAMILLE  ECOS- 
SAISE,  LA      12639 

GRAND  BUBBLE,  THE      1 1 999 

GRAND  emperor's  GRAND  CAMPAIGN, 
THE      12036 

GRAND  ENTERTAINMENT,  THE  (2) 
12303,   12304 

GRAND  MANOEUVRE  (a)  !  OR,  THE  ROGUES 
MARCH  TO  THE  ISLAND  OF  ELBA 
I222I 

GRAND  MASTER  (tHE)  OR  THE  ADVEN- 
TURES OF  QUI  HI?  .  .  .      12718 

GRASP  ALL  LOOSE  ALL — ATLAS  EN- 
RAGED ...       I 2107 

GREAT  &  GENEROUS  NATION.  BRITONS 
HAS  TRIUMPHANTLY  REACH'd  THE 
SUMMIT  OF  TRUE  GLORY       1 223  3 

[great  GOBBLE  GOBBLE  .  .  .]  1 2899, 
12899  A 

GREAT  MAN  ON  CHANGE,  A  13015, 
13015 A 

GREEK.    PIGEON      13480 

GREEKS,  THE,  Plates  to     12959-64 

GREEN  BAG  (tHE),  FILLED  WITH  COR- 
RUPTION!      12876 

GREEN  TURNED  YELLOW.  OR  REFLEC- 
TIONS ON  EMBARKING  FOR  THE 
CONTINENT      1 1 75 8 

GREENWICH — NEWCOMES  FAREWELL 
TO  THE  NAVY       1 3476 

GRETNA  GREEN      1 2679 

GRIEVANCES  OF  LONDON       1 1985 

GRIM  JOEY  DASHING  LITTLE  BONEY 
INTO  THE  JAWS  OF  A  RUSSIAN  BEAR 
12003 

*GROSSE  CAISSE  DE  l'eUROPE,  LA 
12571 

GUDGEON  FISHING  A  LA  CONSERVATORY 
I1729 

GUN  ROOM,  THE, — NEWCOME  IN  THE 
BILBOES       13464 


IO5I 


INDEX   OF  TITLES 


HABERDASHER  DANDY,  THE       13075 
*HABITANTS      DE      S^E     HELENE     (lES) 

PRENNENT  LA  FUITE  ...       1 27 1 1 
HALF  RATIONS      1 249 1 
HALLET's   hint   or   cheap   TRAVELING 

for  berkshire  electors     1 1 875 
handy  dandy,  the     13482 
happy  dance  for  europe,  a     13490 

HAPPY  PROGRESS  OF  NOBODY  (tHE),  OR 

A  HINT  TO  EVERY  BODY !! !       12875 
HARD  HEAD,  A      13171,13171  A 
HARD  TIMES  OR,  o!  DEAR  WHAT  WILL 

BECOME  OF  US  .  .  .       12185 
HE  HAS  PUT  HIS  FOOT  IN  IT       1 1887 
HE    STOOPS    TO    CONQUER,    OR    ROYAL 

GEORGE  sunk!!!       13210 
HEAD  ACHE,  THE       1 3439 
HEAD  OF  THE  GREAT  NATION  (THE),  IN  A 

QUEER  SITUATION !       I2I20 
HEAD    RUNNER    OF    RUNAWAYS,    FROM 

LEIPZIG  FAIR       I  2  192 
[heads  OF  THE  MUTINY  ACT,  the]    1 1883 
HELBA  FLAG       1 2536 
HELL  BROKE  LOSE,  OR  THE  JOHN  BULLS 

MADE  JACK  ASSES       1 25  1 7 
HELL   HOUNDS   RALLYING   ROUND   THE 

IDOL  OF  FRANCE       1 25  27 
HELL     I-GO-LAND    AUCTIONEER    (tHE) 

•  •  .       12317 
HELLBARONANIAN  .  .  .  See  ELBARONIAN 
HEN-PECKED  DANDY,  THE      13064 
HENRY  HUNT  ESQ«      1 28 1 9 
HER  ROYAL  HIGHNESS  THE  PRINCESS  OF 

WALES       12092 

hercules  and  omphale,  or  modern 

mythology     12780 
here's  a  health  to  all  good  lasses 

13102 
hero's  RETURN,  THE       I20I2 
*HERR  NOCH  JEMAND  AUF  ELBA      1 23  1 9 
HIGH  LIFE  BELOW  STAIRS !       13208 
HIGH  WINDS  OF  MARCH  BLOWING  FROM 

ALL  QUARTERS,  THE      1 2523 
HINDOO     INCANTATIONS     A     VIEW     IN 

ELEPHANTA       1 27  3  2 
HINDOO  PREJUDICES       1 2727 
HIRING  A  SERVANT       1 1 8 1 5 
HIS     EXCELLENCY     THE     PERSIAN     AM- 
BASSADOR     13350,  13350  A 
HIT  AT  BACGGAMMON,  A      1 3 1 29 
HOAX  AT  THE  PAVILION,  SLOANE  STREET 

1 1944 
HOBBIES  OR  ATTITUDE  IS  EVERY  THING 
13406 


HOBBIES — THE    CHEAPEST    RIDEING    IN 
THE  FAIR  OR  JOHNNY  BULLS  ROYAL 
ROUNDABOUT       1 2793 
HOBBY  HORSE  DEALER,  THE      13427 
HOCUS  POCUS ;  OR,  CONJURORS  RAISING 

THE  WIND      12328 
HODGES  EXPLANATION  OF  A  HUNDRED 

MAGISTRATES       1 2643 
HOMBOURG  WALTZ,  THE,  ...       1 2996 
hone's  view  of  THE  REGENT'S  BOMB 

.  .  .       12799 
HONEY  MOON,  THE       1 2423 
HON«"  GEO^"^  LAMB,  THE       1 3356 
HORSE  MARINE  (tHE)  &  HIS  TRUMPETER 

IN  A  squall!       12872 
HORSE  RACE,  THE      12657 
HOW  ARE  YOU  OFF  FOR  SOAP       12782 
HOW-DO-YOU-DO  (a) — OR  THE  INTER- 
VIEW AFTER  MARRIAGE      12775 
HOW  TO  CATCH  A  GREEN  LINxNET    1 1 757 
HUMMING  BIRDS — OR — A  DANDY  TRIO 

13446 
HUMOURS  OF  HOUNDSDITCH  ...     1 2 1 46 
HUNTER  UNKENNELLED,  THE       12424 
HUNT-ING  AT  MANCHESTER  .  .  .     13500 
HUNT-ING  THE  BULL ! !       I  2864 


i  be  a  grocer       1 1954 
idolaters  worshiping  the  golden 

calf!!!     13387 
*il  revient  plus  puissant  que  jamais 

12588 
ILLUSTRIOUS  CONSORT,  AN      13022 
ILLUSTRIOUS  VISITER  FROM  HOMBOURG, 

AN       1 30 1 7 
*ILS  VIENNENT  SE  BRULER  A  LA  CHAN- 

DELLE       12569 

[imitation    bank    note]        1 1780, 

1 1854,   13200 

IMPEARIAL,  BOMB,  OR  .  NAP  .  THE  . 
GREAT  .  IN  .  A  .  HOBBLE       1 2224 

IMPERIAL  BOTANY — OR  A  PEEP  AT 
JOSEPHINE'S  COLLECTION  OF  ENG- 
LISH EXOTICKS      1 21 89 

IMPERIAL  COMET  SHEDING  ITS  BANE- 
FUL INFLUENCE,  THE      1 1738 

IMPERIAL  FAMILY  (tHE)  GOING  TO  THE 
DEVIL       1 2190 

IMPERIAL  NURSERY  (tHE)  OR  NEWS 
FROM  THE  ARMY       1 1722 

IMPERIAL  SHAVING  SHOP,  THE      12007 

IMPERIAL  TYGER  HUNT,  THE      12109 

IMPERIAL  VOMIT,  AN       1 2276 


1052 


INDEX   OF   TITLES 


IMPLEMENTS  ANIMATED  PL,  I        11822 

PL.  2       1 1823 

IMPOSTER  (the),  or  OBSTETRIC  DISPUTE 
12332 

IMPROEMENT  [sic]  IN  THE  CITY  OF  LON- 
DON     12813 


IN  THE  GROCER  S  SHOP 


;i88 


INCON'MENIENCES  OF  A  CROWDED  DRAW- 
ING ROOM      13046 

INCONVENIENT  PARTNERS  IN  WALTZING 
12931 

INDELICATE     IN^TISTIGATION     OR     THE 

SPYING  Douglass's     12026 

INDIAN  JUGGLERS       1 2134 
INFANT  RICHARD,  THE       1 2 1 72 
INOCENCE  TRIUMPHANT       12032 
INSCRIPTION  FOR  A  MONUMENT,  ON  A 

FORMER  MINISTER ! !       1 2062 
INSIDE  OF  A  NEWLY  REFORMD  V>ORK- 

HOUSE,  THE,  ...       1 195  I 
INSURANCE  OFFICE,  THE       I  2429 
INSURRECTION    OF    THE    PAPERS,    THI. 

1 1 869 
INTERESTING  SCENE  ON  BOARD  AN  EAST 

INDIAMAN,  AN,  .  .  .       13044 
INTERIOR  OF  A  PACKET,  THE      1 2349 
INTERIOR  VIEW  OF  THE  HOUSE  OF  GOD, 

THE       I  1764 
INTERVIEW    (the) — OR — MISS    OUT    OF 

HER  TEENS       1 2753 
INTRIGUANTE,  THE  (2)       12975,   13072 
INTRODUCED  TO  HIS  COLONEL       1248S 
INTRODUCTION  OF  GAS!!  OR  THROWING 

A     NEW     LIGHT     ON     THE     SUBJECT 

12633 
INTRODUCTION  OF  THE  GOUT       13117 
INVISIBLES      TETE-A-TETE      (tHE) — OR 

PARISIAN-DANDIES       13082 
INVITATION,  AN       13101 
lOIIN,  see  JOHN 
IRISH    BINDING    FOR    THE    CARICATURH 

MAGAZINE      1 1976 
IRISH  BOG  TROTTERS       1 1 982 


IRISH  DECENCY 


III 


NO  I       13397 


NO  2       13398 

IRISH  DUEL,  THE,  .  .  .       1 3498 

IRISH    GENTLEMAN   &   HIS   APPLE   TREE 

13153,  13154A 
IRISH  HOSPITALITY       1 2699 
IRISH     PILOT     (an)    OR    STEERING    BY 

CHANCE       1 1 977 
IRISH  RECRUITING       1 3 163 
IRISH    ROADS    OR    LIFE'S    FINGER    POST 

1 21 60 


IRISH  SERMON      1 3 164,  1 3 164  A 
IS  THERE  A  HEART  THAT  N'EVER  LOV'd  ? 
13097 

JACK  FROST  ATTACKING  BONY  IN  RUSSIA 

II918 
JACK,     HOVE     DOWN — WITH     A     GROG 

BLOSSOM  FEVER       1 1 825 
JACK  IN  A  WHITE  SQUALL  .  .   .       1 1 826 
JACK  JOLLY  STEERING  DOWN  WAPPING 

.  .  .       12159 
JACK  MOUNTED  ON  HIS  DANDY  CHARGER 

13424 

JACK  THE  GIANT  QUELLER;  OR  PRINCE 
JUAN       13290 

JAMACIA — N^EWCOME  RUNNING  FROM 
THE  BLACK  SQUADRON      1 3473 

JAMES  GORDON  OF  CAMBRIDGE      1 29 1 4 

JANUARY — AND  MAY  .  .  .       13005 

*JE  FUME  EN  PLEURANT  MES  PECHES 
12710 

*JE  MANGE  UN  FAMEUX  FROMAGE 
12709 

JEREMIAH  BRANDRETH,  THE  NOTTING- 
HAM CAPTAIN       12893 

JESSE  THE  FLOWER  OF  DUNBLAINE    13 1 37 

*JEU  DU  LAPIN,  LE      1 2583 

JEW  KING  DEPRECIATING  BANK  NOTES 

II731 
JEWS  KEEPING  THE  PASSOVER      I  3 1 1 5 
JIG  ON  BOARD,  A       I  3  I  24 
JOANNA    SOUTHCOTT    THE    PROPHETESS 

EXCOMMUNICATING      THE      BISHOPS 

12334 
JOHN  BELLINGHAM  .  .  .       1 1 882 

JN°  BELLINGHAM  SHOOTING  THE  RIGHT 
HON  SPENCER  PERCEVAL       1 1 884 

JOHN  BULL  AND  THE  COSSACKS  IN  LON- 
DON      1 2040 

lOHN  BULL  AND  THE  REGENT.  FROM 
THE  FABLE  OF  THE  FOX  AND  THE 
SWALLOW      11712 

lOHN  BULL  BRINGING  BONYS  NOSE  TO 
THE  GRINDSTONE      1 2 199 

JOHN  BULL  BROUGHT  UP  FOR  HIS  DIS- 
CHARGE BUT  REMANDED  ON  ACCOUNT 
OF  EXTR.WAGANCE.  .  .  .       12875 

lOHN  .  BULL  COME  TO  THE  BONE    1 3488 

JOHN  BULL  CONVERTING  THE  INDIANS 
12728 

JOHN  BULL  IN  ALARM;  OR,  BONEY's 
ESCAPE  .  .  .       12534 

lOHN  BULL  IN  CLO\TiR.  lOHN  BULL 
DONE  OVER      1 3 192 


1053 


INDEX  OF  TITLES 


lOHN     BULL     IN     THE     CELLAR — THE 

BURSTING  OF  THE  HOOP  ...       12019 
JOHN  BULL  IN  THE  COUNCIL  CHAMBER 

12066 
lOHN    BULL   MAD   WITH  JOy!   OR,   THE 

FIRST  OF  AUGUST  1814      12302 
JOHN  BULL  .  ON  THE  ROAD  TO  RUIN.!!! 

13347 

lohn  bull  reading  the  extraordi- 
nary red  book     1 278 1 

john  bull  supporting,  the  nuptial 
bed!!!     12989 

JOHN  BULL  TEAZED  BY  AN  EAR-WIG!!! 
12000 

JOHN  bull's  last  kick!     12794 
JOHN      bull's      patent      MEDECINE 

12078 
JOHN  bull's  three  STAGES  OR,   FROM 

GOOD  TO  BAD  .  .  .       12502 
JOHN     bull's     water     WORKS !    .    .    . 

13196 
JOHN  HOBBS,  JOHN  HOBBS       1 1 83  8 
JOHNNY  AND  MARIA       1 3 189 
JOHNNY  BULL  AND  HIS  FORGED  NOTES ! ! 

•  •  •       13197 
JOHNNY  NEWCOME  GOING  TO  LAY   IN 

STOCK      12485 
JOHNNY    ON    DUTY    WITH    HIS    CHIEF 

12497 
JOHNNY  SAFE  RETURNED  TO  HIS  MAMA 

12495 
JOHNNY  WRITES  AN  ACCOUNT  OF  THE 


ACTION 


12490 


PRINCE    & 
12504 


john  s   dream — or. — the 

old  england  for  ever 
Johnson's   pedestrian    hobbyhorse 

riding  school  .  .  .     13400 
josephs  flight     ii903 

*JOUR  DE  BARBE,  LE   1 25  76 

[*JOUR  DE  BARBE,  LE]   1 2575 

*JOUR  DE  BARBE  (le)  OU  LA  MINE 

allongee  12577 
jourdan  and  king  joe  or  off  they 

GO  .  .  .       12070 
JOURNEY  TO  BRIGHTON  .  .  .  TIM  &  THE 

GIPSY      I 239 I 

.  .  .  TIM  &  THE  OWL      12390 

JUDGMENT  OF  BRUTUS  (tHE) — OR  THE 

— DRAMATIC  CENSOR      1 3368 
[JULIET  &  THE  nurse]       1 2692 
JULIET  AND  THE  NURSE      1 2692  A 
JUSTICE    KICKING    LAW    OUT    OF    THE 

MANSION  house!!       13201 

[justice  PUNISHES  napoleon]     1 25  8 1 


KANGKOOK      13357,  13357  A 

KEY  TO  THE  INVESTIGATION  (a)  OR  lAGO 
DISTANCED  BY  ODDS      12031 

KICK  FROM  YARMOUTH  TO  WALES  (a); 
OR  THE  NEW  ROWLY  POWLY      1 1 843 

KICKING  UP  A  BREEZE  .  .  .       12401 

KING  JOEY  TAKING  LEAVE  OF  HIS 
CAPITAL  ...       1 1 90 1 

king's  statue  at  GUILDHALL  (tHE), 
OR  FRENCH  COLOURS  AND  FRENCH 
PRINCIPLES  PUT  DOWN  .  .  .       1 2552 

KISS  AT  THE  CONGRESS  (a),  A  LEGITI- 
MATE EMBRACE  AT  AIX  LA  CHAPELLE 
.  .  .       13007 

KITCHEN,  THE       1 2682 

KITTY  CARELESS  IN  QUOD  .  .  .       11802 


LABOUR    IN    VAIN    OR    HIS    REVERENCE 

CONFOUNDED       1 2726 
LACING  IN  STYLE — OR  A  DANDY  MID- 
SHIPMAN .  .  .       13440 
LADIES  ACCELERi\TOR,  THE      1 34 1 4 
[lady  SEATED  BY  THE  fire]       1 2397 
LADY  LUCINDA  LANGUISH       1 3478 
LADY     P     ARAGRAPH     CHAMPIONIZING 
12194 

lady   squabb   shewing   off,   or  a 
punster's  joke     1 1 828 

lady's  DRESSING  ROOM  IN  CALCUTTA,  A 

1 2 164 
LAMB  AND  MINT  SAUCE      I1830 
LAMENTABLE    CASE   OF   A   JURYMAN,    A 

12647 
LANCASTER  CALEB  QUOTEM,   THE,   .    .   . 

I1892 
LAND  CRUISE  ON  ONE  OF  THE  PATENT 

HOBBY  HORSES,  A       1 3423 
LAND  OF  PROMISE  (tHE)  ! ! !       1 1 7 1 6 
LAND  STORES       1 1 96 1 
LANDING    AT    DOVER    &    OVERHAULING 

THE  BAGGAGE  .  .  .       1 339 1 
LANDING  IN  ELBA      1 2483 
LANDING  THE  TREASURES,   OR  RESULTS 

OF  THE  POLAR  expedition!!!     13194 
LANDLORD  &  TENANT      13094 
LAST  CHASE,  THE      1 24 1 3 
LAST  GASP  (the).  OR  TOADSTOOLS  MIS- 
TAKEN FOR  MUSHROOMS      1214S 
LAST  MARCH  OF  THE  CONSCRIPTS  (THE) 

— OR    SATAN    AND    HIS    SATELLITES 

HURLED  TO  THE  LAND  OF  OBLIVION 

12225 
LAST  STAGE,  THE      1 285 5 


1054 


INDEX   OF   TITLES 


LAST  VISIT  FROM  THE  DOCTOR  S  ASSIS- 
TANT     1 2743 
LATE  LORD  MAYOR !  (tHE)  OR  ABRAHAM 
IN  THE  LAND  OF  PROMISE ! ! !       1 205  5 
LATH  AND  PLASTER  ...       13108 
LAUGH  AND  GROV/  FAT      13 1 39 
LAUGHABLE  SONGSTER,  THE,  .   .  .   1815 

12694 
LAW  OVERTHROWN,  THE       1 2688 
LAW  VERSUS  HUMANITY  OR  A  PARODY 

ON  BRITISH  LIBERTY       I  2898 
LA\\^ER  (a)  &  A  SAWDER       I  30 1 2 
LAWYER  (a)  &  HIS  CLIENT       1 1 93  I 
LAWYERS    ADVICE    (a)    AFTER    LEAVING 

OFF  PRACTICE ! !       1 265 3 
LAWYERS      LAST      CIRCUIT,      THE      (2) 

13451,   13452 

LEAP  YEAR,  OR  JOHN  BULLS  PEACE 
ESTABLISHMENT      1 2754 

LEARNED  ADOLPHUS,  THE,  ...      1 29 1 6 

LEARNED  SCOTCHMAN  (tHE)  OR  MAGIS- 
TRATES MISTAKE. ! !       1 1 97 1 

LEARNING  TO  SMOKE  AND  DRINK  GROG 
12492 

LEAVING-HOME      13176 

LECTURE  ON  HEADS  (a).  AS  DELI\^RED  BY 
MARSHALLS  WELLINGTON  &  BLUCHER 

12557 
LESSON  ON  MILLING  (a),  OR  A  HINT  TO 

RAKES       1 1 842 
LEVEE  DAY,  A       I22o8 
LIBERTY    suspended!    WITH   THE  BUL- 
WARK OF  THE  CONSTITUTION !    1 287 1 
LIEUTENANT  CONNOLLY    13155,  13155A 
LIEUTENANT       GENERAL       MACDONALD 

1 1929 
LIFE  AND   DEATH   OF  THE  RACE  HORSE 

I1811 
LIFE    OF    NAPOLEON     (tHE)    A    HUDI- 

BRASTIC  POEM  .  .  .       1 2454 
[lines  and  DOTS,  DESIGNS  IN]      1 295 5, 

12956,  12957,   12958 
LITTLE  BIGGER,  A      13120 
LITTLE  BONEY  GONE  TO  POT      1 226 1 
LITTLE  BONEY  SNEAKING  INTO  PARIS  .  . . 

1 1997 
LOBBY  LOUNGERS  ...       1 2826 
LODGINGS  TO  LET       1 2398 
LOGGERHEAD    QUARREL    (a) 

the  city  and  surrey  .  . 
[logic]     1 3 173 

LOGIERIAN  SYSTEjM,  THE,  .  . 


BETWEEN 
12264 


13036 


LONDON   DANDIES — OR- 


MONSTROSI- 


TIES"  OF  1816       12840  A,   12840  B 


LONG  PULL  (a)  a  STRONG  PULL  .  .  . 
I2I02 

LONGITUDE  &  LATITUDE  OF  ST  PETERS- 
BURGH      12047 

LOOKING  AT  THE  COMET  TILL  YOU  GET 
A  CRIEK  IN  THE  NECK      I1810 

LORD  KNOWS  WHO,  THE      12125 

LORD  MAYOR  (tHE)  TURNING  THE 
LIVERY  off!  AT  TYBURN !!       12038 

LORD  PETERSHAM      1 2127 

LOTHARIO,  AS  PERFORMED  BY  MR. 
COATES  .  .  .       1 1769 

LOTTERY  OFFICE,  THE      12690 

LOUIS  XVIII  CLIMBING  THE  MAT  DE 
COCAGNE      1 26 14 

LOUTHERBERGS  SERVANT      1 3 144 

LOVE  AND  LAW  IE  A  VENIAL  MISFOR- 
TUNE .  .  .       12042 

LO\'ELY  YOUNG  LAVINIA,  THE      13136 

LOYAL  address's  &  RADICAL  PETETIONS 
.  .  .       13280 

LUMPS  OF  PUDDING      1 1 834 


MACASS.AR  OIL  .  .  .       12405 

MAD    BULL    (a)!    OR    UPSETTING    THE 

ROYAL  hobbies!       1 3235 
MAD    NAP    BREAKING    THE    ARMISTICE 

12179 
*MME  ESTURGION,  MONS..  VA  DE  BON- 

COEUR  CAPORALE      12270 
MADAME   GIRADELLI.   THE  CELEBRATED 

FIRE  PROOF  FEMALE       13033 
MADAME    MiRY    RESTAURATEUR     .     .     . 

12409 
MAIDEN  LADIES,  THE       12420 
MAKING   MOST   OF   j(^IO,000   PER  ANN. 

BY    SAVING    TRAVELLING    EXPENCES 

13217,   13217 A 
MAN  OF  FEELING,  A      1 1783 
MANAGEMENT — OR — BUTTS     &     HOGS- 
HEADS      1 1 940 
MANAGER  (tHE),  AND  THE  BUZ-BEE  IN 

A  doctor's  WIG      1 1939 
MANAGERS  LAST  KICK  (tHE).  OR  A  NEW 

WAY  TO  PAV  OLD  DEBTS      1 1814 
MANCHESTER  BULL-HUNT      13270 
MANCHESTER  HEROES       1 3266 
MANCHESTER     SQUARE     CATTLE     SHEW 

1 1878 
*MARCHANDE  DE  MARONS,  LA      1 2637 
MARCH    OF   HONESTY    (tHE)!!    OR    OLD 

NICK    HUMBUGGING    THE    COUNTRY 

TEA  dealers!!!  .  .  .     13040 


1055 


INDEX   OF   TITLES 


*MARCHE  CONCLU  (le),  OU  LA  CAPITU- 
LATION     12237 
*MARCHE  d'oFFICIERS  ANGLAIS      1 2378 

*marionnettes  du  jour,  les     1 2587 
market-day — gibralter     1 3466 
marriage  to  josephine     12459 
masquerade     i1808a 
[masquerade]     1 1989 
masquerade,  the     1 2434 
masquerading     1 1 808 

MASSACRE  AT  ST  PETER's  OR  " BRITONS 

STRIKE  home" !! !     13258 

MASSACRE  AT  TOULON      1 245  8 
MASSACRE  IN  EGYPT      1 2463 
MASSACRE    OF    PETERLOO    (tHE)!    OR   A 

SPECIMEN  OF  BRITISH  LIBERTY  13260 
MASTER  GENERAL  OF  THE  ORDINANCE, 

THE      13353 
MASTER  IN  THE  GRAND  STYLE  (a)  &  HIS 

PUPILS      13034 
MASTER     OF      THE      ORDNANCE      (tHE) 

EXERCISING  HIS  HOBBY !       13385 
MASTER  PARSON  (a)  &  HIS  JOURNEYMAN 

II930 
MAST-HEADED       1 3  1 90 
MAT  DE  COCAGNE  (le)  OR  LOUIS.   i8tH 

SUPPORTED  BY  Y^  allies!!       1 26 1 5 
MATCH  FOR  THE  KING'S  PLATE  (a) — BY 

HACKS  .  .  .       13204 
MATERNAL  TENDERNESS       1 268 1 
MATRIMONIAL      MANIA      (tHE) — OR — 

POOR     JONNY     RIDDEN     TO     DEATH 

12987 
MATRIMONIAL  SCENE  AT   HOMBOURg!, 

A      13499 
MAUSOLEUM,  THE       1 2684 
MAY  FASHIONS,  OR  HINTS  FOR  A  FOUR 

IN  HAND  EXHIBITION       121 29 
MAY  I  DIE  IF  THERE  IS'nT  SIR  GEORGE !! 

.  .  .       12950 
MEDICAL  INSPECTION  (a).  OR  MIRACLES 

WILL  NEVER  CEASE      1 2333 
MEDICAL  MUSHROOMS      12130 
MEDITATIONS     AMONGST     THE     TOMBS 

1 204 1 
MEETING    OF     DOODLE     AND     NOODLE 

(the)      at     the      MANSION      HOUSE 

12054 
MEMOIRS      OF      BUONAPARTE        12204, 

12204  A 
MEN  OF  BOTTOM  OR  MEMBERS  OF  THE 

TRIBUNAL   OF  THE  FIRST   ORDER,  AT 

AMSTERDAM, — DOING     HOMAGE     TO 

BONYPARTE  ...       1 1 74 1 


MEN  OF  PAPER  (tHE)  GOING  TO  POT  OR 
THE  DIRECTORS  IN  A  STEW      1 3245 

MERCHANTS  MEMORIAL  TO  ALLEY 
CROKER,  THE       12310 

MERE  BUBBLES      1 1 7 1 1 

MERRY  SHIPS  CREW  (tHE) — OR  NAUTI- 
CAL PHILOSOPHERS       13080 

MERRY  THOUGHT  (tHE)  OR,  THE  CATHO- 
LIC QUESTION  RESOLVED  12016, 
12016  A 

*MERVEILLEUSE  .  .  .       1 264 1 

MERVEILLEUSE,  THE      1 2974 

METEOR  DISCOMFITING  VICE  AND  EX- 
POSING FOLLY,  THE       12091 

METEOR  (the);  OR  MONTHLY  CENSOR 
1 2170 

MIDDLING  HEAT  IN  THE  WEST  INDIES 
12948 

MIDSHIP-MANS  BIRTH       1 3458 

MIDSUMMER  NIGHTS  DREAM,  A      1 1 893 

MIDWIFE     GOING     TO     A     LABOUR,     A 

1 1795 
MILITARY     ADVENTURES     OF     JOHNNY 

NEWCOME      12484-98 
MILITARY  DANDIES  OR  HEROES  OF  1818 

13059 
MILK  SOP,  A      1 1784 
MILLING    MATCH    BETWEEN    DECKS,    A 

II981 
*MILORD  POUF,  CHEZ  COUPON  TAILLEUR 

12356 
*MILORD    POUF    MONT  ANT    A    CHEVAL 

12355 
*MILORDS   POUFFES  A  PARIS   (lES)  .  .  . 

12357 
MINISTER.    OF    STATE    (a).   TRYING  ON 

HIS  NEW  LIVERY       1 2879 
MINISTER     OF     VICE     (tHE),     OR,     THE 

GREAT     GO,     PARENT     OF     ALL     THE 

LITTLE  GOES       1 3236 
MINISTERIAL  R.\CES       1 1889 
MINUET.  LA.  COUR      1 2938 
*MIROIR  DE  LA  VERITE  (le)  OU  LE  TIGRE 

^CRASS^      12585 
MISERIES  IN  INDIA      1 27  30 
MISERIES  OF  LONDON      1 1 964 
MISERIES  OF  THE  FIRST  OF  THE  MONTH 

12722 
miser's  end,  THE      1 2678 
MISS  ENDEAVOURING  TO  EXCITE  A  GLOW 

WITH      HER     DUTCH      PLAY      THING 

12288 
MISS  MARY  &  HER  LOVING  COUSIN !  .  .  . 

12784 


[O56 


INDEX   OF   TITLES 


MISSIONARY    INFLUENCE    OR    HOW    TO 

MAKE  CONVERTS      1 2724 
MISTAKES  OF  A  NIGHT      1 3  1 66,  1 3 1 66  A 
*M"  GARRICK  INTRODUCTEUR  DE  MODES 

12375 

mr  hobhouse     13349 
[mr  hurstwaite]     12323 

MR  JUSTIC  [sic]  BULLS  DECISION  IN  THE 
CASE  OF  GENUINE  TEA,  .  .  .       13039 

MR.  KEAN  AS  LUSCIUS  JUNIUS,  IN  BRUTUS 
13027 

M«    LISTON    IN    LOVE    LAW    &    PHYSIC 

13354 
MR  PERCEVAL  ASSASSINATED       1 188 1 

[mr  RIPLEY]       12908,   1 2908  A 

*M"  TOUPET  OU  LE  COURTIER  d'aMOUR 

12640 
jViRS   TOPPERS    DREAM,    OR,   0\'ERBOARD 

SHE  VENT      1 1988 
MOCK    AUCTION    OR    BONEY    SELLING 

STOLEN  GOODS      12123 
MOCK    DELIVERY    OF   JOANNA    (tHE)!!! 

12336 
MOCK  PHCENIX!!!  (tHE)  ...       121 16 
MODERN  ANTIQUES      1 1 8 1 9 
MODERN  BELLES      1 3 1 46-5  I 
MODERN      CALYPSO      (tHE)  ;      OR     THE 

MATURED  ENCHANTRESS       1 1 879 
MODERN  DON  QUIXOTE  (tHE)  OR,  THE 

fire  king     1 2301 
[modern  dunciad,  the]     12338 
modern  idol  juggernaut,  the  i  272 1 
modern  idolatry — or — editors  and 

IDOLS       12207 

MODERN  JANUS  (tHE),  OR,  THE  TRUE 
REASON  WHY  THE  CHRISTIAN  RE- 
LIGION SUFFERS  MORE  FROM  ITS 
PRETENDED  FRIENDS  .  .  .       1 3282 

MODERN  job!  (tHE)  OR  JOHN  BULL  AND 

HIS  comforts!     12798 

MODERN  MOTHER      13149 
MODERN  OLYMPICS —      13399 
MODERN   PEGASUS   OR   DANDY   HOBBIES 

IN  FULL  SPEED       1 3 40 1 
MODERN      PHAETON      (tHE)      OR      THE 

HUGELY  IN  DANGER      1 2734 
MODERN  PROMETHEUS  (tIIE),  OR  DOWN- 
FALL OF  TYRANNY       12299,   1 2299  A 
MODERN   QUIXOTTE   (tHE),   OR   ALDER- 
MAN SAP  .  .  .       1 1 909 
MODERN  REFORMERS  IN  COUNCIL  .   .   . 

130OI 
*MODES  ANGLAISES  k  PARIS,  LES     1 2358 
MODESTY  FOR  MONEY      1 3 1 5  8 


molineaux     1 1927 

monkeys    allowance    more    kicks 

than  dumplings     1 25  5 9 
"monstrosities"  of  1 8 16     12840 
monstrosities  of  1819     13445 
monstrosities    of     1819    &     1820 

13445  A 

MORALIST,  THE      1 2945 

more  economy  or  a  penny  SAVED  A 
PENNY  GOT      1 32 14 

MORE  HUMBUGS, — OR — ANOTHER  AT- 
TACK ON  JOHN  BULLS  PURSE      1 2986 

MORE  INCANTATIONS  OR  A  JOURNEY  TO 
THE  INTERIOR      1 2729 

MORE  plots!!!  more  plots!!!     12888 
[moses  montefiore]     1 302 1,  1 302 1  A 

MOTHERS     GIRL     (tHE),     PLUCKING     A 

CROW,        OR — GERMAN        FLESH       & 

ENGLISH  spirit!       1 276 1 
MOULINET — ELEGANCIES  OF  QUADRILLE 

DANCING      12926 
MOULINET,  LE,  .  .  .       1 2936 
MOUNTEBANKS   (THE),    OR   OPPOSITION 

SHOW  BOX      1 1 846 

much  wanted  a  reform  among 
females!!!     13264 

MUNCHAUSENESS    OF    HERFORd!!!,    THE 

13232 
MURAT        REVIEWING        THE        GRAND 

ARMY !!!!!!     1 2002 

MURDER  OF  DESSAIX      1 247 1 
MURDER     OF     THE     DUKE     d'eNGHIEN 
12472 

mushroom  for  the  royal  society! 
(a)     13365 

MY  ASS       12654 

MY  brother's  BREECHES — OR  NOT 
QUITE  THE  THING      1 2843 

MYSTERIOUS  FAIR  ONE  (TIIE),  OR — THE 
ROYAL  INTRODUCTION  TO  THE  CIR- 
CASSIAN BEAUTY      13242 

MYY  LORDDE  YARREMOUTH  EQUIPPEDDE 
FORRE  IIISSE  TRAUELL  ...       I22IO 

NAP  AND  HIS  FRIENDS  IN  THEIR  GLORY 

12083 
NAP  DREADING  HIS  DOLEFUL  DOOM  OR 

HIS   GRANT)   ENTRY   IN   THE   ISLE   OF 

ELBA      12232 
NAP  NEARLY  NAb'd  OR  A  RETREATING 

JUMP  .  .  .       12058 
NAP      OMNIPOTENT      OR      THE      ACME 

OF    ARROGANCE    AND    PRESUMPTION 

12048 


1^57 


3Y 


INDEX   OF  TITLES 


NAP  REVIEWING  THE  GRAND  ARMY  .  .  . 

I203S 
nap's  glorious  RETURN  OR  THE  CON- 
CLUSION OF  THE  RUSSIAN  CAMPAIGN 

12059 
NAPOLEON      12202 
NAPOLEON  &  ALEXANDER  ON  THE  RAFT 

12474 
NAPOLEON  BLOWING  UP  HIS  COMRADES 

12456 
NAPOLEON  BONAPARTE     AS   OVERCOME 

BY    MARQUIS    \\^LLINGTON    &    THE 

ALLIES,  1814      12186 
NAPOLEON       BONAPARTE.       CHEF       DE 

BRIGANDS;  AT  HIS   POST   OF  HONOR 

I2I2I 
NAPOLEON  DANCE  IN  HOLLAND       1 2 1 74 
NAPOLEON  DREAMING  IN  HIS  CELL  AT 

THE  MILITARY  COLLEGE      1 245  5 
NAPOLEON  LE  GRANDE      121 12 
NAPOLEON,     THE     CORSICAN     PHCENIX 

12535 
NAPOLEON     WORKING     THE     GUN     AT 

TOULON      12457 

NAPOLEONS  FAME      12045 

NAPOLEONS  TRIP  FROM  ELBA  TO  PARIS, 
&  FROM  PARIS  TO  ST  HELENA      1 2608 

NARROW  ESCAPE  (tHE),  OR,  BONEYS 
GRAND  LEAP  A  LA  GRIMALDI ! !    1 200 1 

NATIONAL  BANKRUPTCY  OR  lOHN  BULL 
TAKEING  THE  BENEFIT  OF  THE  IN- 
SOLVENT ACT      12779 

NATIONAL  PHRENZY,  OR,  JOHN  BULL 
AND  HIS  doctors!       121  IO 

national  pursuits     1 1 862 

navy  tavern  gibralter,  the     1 3468 

Nebuchadnezzar's  dream     12578 

NECK  OF  lamb,  A,  .  .  .       1 2844 
need's      must      WHEN      \VELLINGTON 

drive's  or  Louis's  return  ! !    1 2266 
neighbourly  refreshment     1 2646 

NEPTUNE'S  LAST  RESOURCE  OR  THE 
FORTUNE  HUNTER  FOILED      1 1 748 

NEW  BROOMS  FOR  JOHN  BULL,  OR 
SWEEPING  MEASURES  RECOMMENDED 
BY  THE  LATE  CHANCELLOR      12717 

NEW  CHANCERY  SUIT  (a)  REMOVED  TO 
THE  SCOTCH  BAR  OR  MORE  LEGITI- 
MATES     13384 

NEW  COINAGE  (THE) — OR — ^JOHN  BULLS 
VISIT  TO  MAT  OF  THE  mint!!      1 2865 

NEW  F  ARSE  (a)  AS  LATELY  PERFORMED 
AT  CO  VENT  GARDEN  ...       1 3  04 1 

NEW  GERMAN  WALTZ,  THE      1 2993 


NEW  IRISH  JAUNTING  CAR  (a),  THE 
dandy's  HOBBY       1342O 

NEW  LONG  BACK'd  HOBBY  MADE  TO 
CARRY  THREE,  THE      1 34 1 1 

NEW  MAP  OF  INDIA,  A,  .  .  .       1 27 1 9 

NEW  MODE,  OF  PRESENTING  TWO  AD- 
DRESSES AT  ONCE,  A      12984 

NEW  READING OR — SHAKESPEARE  IM- 
PROVED     13366 

NEW  ROADS  TO  THE  TEMPLE  OF  FORTUNE 
1 1704 

NEW  TAXES  PAYING  A  VISIT  TO  JOHN 
BULL,  THE      13246 

NEW  union:  club,  the     13249 
new  way  to  enforce  an  argument 
(a)!!!!!     12538 

NEWCOME  AT  A  FOX  CHACE      1 3469 
NEWCOME     CAPSIZING     THE     ADMIRAL 

13461 
NEWRY  ELECTION       1 1 9 1 1 
NEXT  HEIR,  THE      1 285  I 
NIC   ALIAS   nap's   MARCH   TO   ELBA   OR 

THE   DOWNFALL   OF   THE   NAPOLEAN 

DYNASTY       12256 
NICE  GENTLEMAN,  A      13056 
NICE  LADY  (a)  OR  AN  INCOMPARABLE! ! ! ! 

13057 

*nicolas  coeur  de  tigre     1 2572 
*nicolasdansantl'anglaise!  12603 

NIGHT  MAYOR  (THE) — OR  MAGISTRATI- 

cal  vigilance     1 28 1 6 

NIGHT  MARE  (tHE)       1 28 1 7 

NINE    TAILORS    MAKING    A    MAn! — OR 

foreign    habits    for    a    native 
prince!     13238 
noble  &  coachman     13146 

NOBLE  pedlar!  (tHE)  OR  THE  LATE 
CHANCE-SELLER  &  PRESENT  BROOM- 
SELLER !!      1 27 1 6 

NOBLESSE  ANGLAISE  MODERNE,  1818 
13032 

NOBODY  ARRESTED  IN  HIS  MINORITY 
12440 

NOBODY  AT  THE  DOOR      1 2447 

NOBODY  DIES  FOR  LOVE      1 245 1 

NOBODY  DOES  SO       12198 

NOBODY  HEARS  IT       1 2444 

NOBODY  KNOWS  WHAT  IS  BECOME  OF 
ALL  THE  GUINEAS      1 2449 

NOBODY  KNOWS  VmEN  TO  LEAVE  OFF 
AT  MY  LORD  MAYOR's  FEAST     1 2443 

NOBODY  LAUGHS  AT  A  TOUCH  OF  THE 
GOUT      12445 

NOBODY  LAUGHS  AT  A  TRAGEDY     1 2450 


1058 


INDEX   OF   TITLES 


NOBODY  SCENTS  IT      1 2442 

NOBODY  see's  IT      1244 1 

NOBODY 'S  AFFRAID  OF  HIM       1 2448 

nobody's  at  HOME      1 2446 

NOCES  ROYALES      12758 

NONE  BUT  THE  BRAVE  DESERVE  THE  FAIR 

12149 
NORFOLK  DUMPLINGS  OR  GRACE  BEFORE 

MEAT       12337 
NORTHERN   DEPUTIES    ON   AN   EASTERN 

SURVEY      I 202 if 
NORW^ICH  BULL  FEAST  .  .  .       1 3487 
*NOUVEAU  DIOGENE,  LE       1 27  I  3 
*NOUVEAU     ROBINSON     DE    l'iSLE    S^e 

helene,  le     12708 
*nouvelle  farce  qui  a  ^TE  REPRE- 

SENTE  A  PARIS  AVEC  ECLAT      12178 
NOVICE  (a)  ENTERING  THE  CONVENT  OF 

S'T  GEORGE !       12294 
*NUOVA     BOTTEGA     DEI     BARBIERI     IN 

EURO PA,  LA       I 21 88 
NURSERY,  THE      1 2667 
NURSING  THE  KING  OF  ROME       1 2476 
NURSING  THE  SPAWN  OF  A  TYRANT,  OR 

FRENCHMEN     SICK     OF     THE     BREED 

1 1721 
NUT-CRACKER   (tHE) — A    GERMAN   TOY 

12760 

O!    SHE    LOV'd    the    BOLD    DRAGOON 

13099 
OATH  OF  ALLEGIANCE  TO  THE  INFANT 

KING  OF  ROME,  THE      1 1 998 
ODDS  &  ENDS  FOR  FEBUARY   [sic]    1816 

12714 

off  he  goes     13143,  13143a 

off  she  goes     1 1974 

official    account    of    the    noble 

lord's  bite!     12895 
oh  ma  sophie !  ma  sophie"!     1 1 943 
old  blucher  beating  the  corsican 

BIG  DRUM       1 22 1 4 
OLD  HAG      13479 
OLD    MAID    (the)    AND    HER    TOM    CAT 

12695 
OLD    MAID     IN    A    FRIGHT,    AN,    .    .    . 

13145 
OLD  Q       1 1752 

OLD  SNIP  ;  OR,  THE  DOCK  SHARK      1 2696 
OLD     SNUFFY     INQUIRING    AFTER    HER 

DAUGHTER  BETTY       1 2990 
OLD     THIRTY-NINE     SHAKING     HANDS 

WITH  HIS  GOOD  BROTHER  THE  POPE 

OF  ITALY  .  .  .       13276 


OLDENBURG  PROCESSION  THROUGH  OX- 
FORD, THE,  .  .  .       12820 

*OLIVE  DE  LA  PAIX  (l')  ENVAIN  LUI 
FUT  OFFERTE       12240 

ONE  MORE  PARODY ! ! !  ON  THE  FRONTIS- 
PIECE TO  I  ST  VOLUME  OF  BLACK 
DWARF      1 2988 

ONE  OF  THE  LIONS — OR — THE  LIVING 
STATUE  AT  THE  LONDON  MUSEUM 
12913 

ONE  OF  THE  RAKE's  OF  LONDON 
13018,   13018  A 

OPENING  OF  pandora's  BOX,  THE 
1 1 897 

"^ORIGINE  DE  l'eTOUFFOIR  IMPERIAL 
12582 

OTIUM  cum  DIGNITATE,  or  a  VIEW  OF 
ELBA      12255 

OUR  TOUGH  OLD  SHIP  STEERED  SAFELY 
INTO  HARBOUR      1 2874 

OURANG  OUTANG  candidate  for  WEST- 
MINSTER     13000 

[out-ports  (the)  and  the  east  INDIA 

company]     1 202 1 
out  witted  at  last — or  big  wig  in 

THE  WRONG  BOX      12901 

PADDY  Carey's  fortune  12978 

PAIR  OF  LOVING  HUMBUGS,  A      1 2998 
pair  of  state  PORTERS,  A      1 2882 
PALAIS  ROYAL — DE  PARIS,  LE      13054 
PALERMO  PIER    NEWCOME  VICTORIOUS 

13472 
PALL  MALL  APOLLO  (tHE)  OR  ROYALTY 

IN  A  blaze!!!     12746 

PANTOMIME,  THE      1 2656 

PARADICE  for  FOOLS  (a); — A  NOC- 
TURNAL TRIP  .  .  .       1233  I 

PARADISE  REGAINED ! ! !      1 1 726 

PARADOX,  A      1 3 160 

PARSON  AND  HIS  LASS  IN  THE  COAL 
HOLE,  THE      13470 

PARSON  AT  HIS  STUDIES  (tHE)  .  .  , 
12651 

parson's  hobby  (the) — OR — COMFORT 
FOR  A  WELCH  CURATE      1 34 1 3 

PARTING  OF  HECTOR-NAP  AND  ANDRO- 
MACHE OR  RUSSIA  THREATENED  12034 

PASTIME  IN  PORTUGAL  OR  A  VISIT  TO 
THE  NUNNERYS      I1803 

PAT  AND  THE  COOKMAID      1 3 157 

*PAT^  INDIGESTE,  LE      1 25  19 

PATENT  PUPPETS  ALIAS  THE  HERTFORD 
FANTOCCINI       1 1866 


1059 


INDEX   OF  TITLES 


*PATINEURS  ANGLAIS,  LES       12860 
PATRIOT  LUMINARY  (a)  EXTINGUISHING 

NOXIOUS  gas!!!     12867 

PATRIOT  PUZZLED  (tHE) — OR  THE 
TRUSTY  SCOT  PRODUCING  HIS 
VOUCHERS      1 1734 

PATRIOTIC  mirror!!!,  a     12878 

PATTERN  OF  DIGNITY  AND  GRACE  (tHE) 
OPENING  THE  WEDDING  BALL    1 1 946 

PAVING  THE  WAY  FOR  A  ROYAL  DIVORCE 
12808 

PAYS  A  NOCTURNAL  VISIT  TO  DUNGAREE 
12737 

PEACE  AND  PLENTY      1 2259 

PEACE   &  PLENTY  OR  GOOD   NEWS   FOR 

JOHN  bull!!!     12265 

PEALING  ORGANS      1 1 83 1 

PEASANT  (a)  CARRYING  OFF  A  FRENCH 

CANNON  INTO  THE  RUSSIAN  CAMP  .  .  . 

12060 
PEDDIGREE  OF  CORPORAL  VIOLET,  THE 

12551 
PEDESTRIAN     HOBBIES    (tHE)    OR    THE 

DIFFERENCE  OF  GOING  UP  AND  DOWN 

HILL      13405 
PEEP  INTO  A  CONFESSIONAL,  A      1 3 1 1 3 
PEEP  INTO  THE  BLUE   COAT  SCHOOL!!! 

.  .  .  ,  A      12832 
PEEP     INTO     THE     CITY     OF     LONDON 

TAVERN,  A,  .  .  .       1 289 1 
PEEP    IN   TO   THE    GREEN   BAG   OF   THE 

SECRET  COMMITTEE  OF  MAGNIFIERS, 

A      12868 
PEEP  INTO  THE  PUMP  ROOM  (a)  OR  THE 

ZOMERSETSHIRE    FOLK     IN    A    MAZE 

12983 
PERFECT  GENTLEMAN      1 348 1 
PERSIAN    customs!    OR  EUNUCHS    PER- 
FORMING    THE     OFFICE     OF     LADY's 

maids!     13392 
peter  snout,  or  a  shift  to  make  a 

SHIRT       12977 
PETER  THE  BLIND  SHOEBLACK  AND  THE 

LOUZY  GLISTER  PIPE      13156 
*PETIT    HOiVIME    ROUGE    (le)    BER9ANT 

SON  FILS       1 2 197 

PETTICOAT  LOOSE,  Plates  to    11849-52 

PHANTASMAGORIA     A     VIEW     IN     ELE- 
PHANT A      12733 
PHENIX   OF   ELBA   (tHE)   RESUSCITATED 

BY  TREASON       1 2537 
*PHILANTH0PIE  MODERNE       1 23 1 3 
PHYSICIANS  FRIEND,  THE       12648 
PICCADILLY  NUISANCE,  (the)  !       13048 


PICTURE  OF  LONDON      1 1986 
PICTURE  OF  MISERY,  A      11804 
PICTURE  OF  THE  PALAIS  ROYAL — PARIS 

13428 
PIDGEON  HOLE      1 1797 

PIECE  (a)  and  plenty!!     12705 

PIG  FACED  LADY  OF  MANCHESTER 
SQUARE,  THE      12508 

PIGEONS,  THE,  Plates  to     12965-70 

PILLARS  OF  THE  CHURCH       1 3225 
PISTOL  EATING  FLUELLENS  LEEK    1 1 835 
PLANNING  THE  GRAND  NAVAL  EXPEDI- 
TION      12306 
PLEASENT  DRAUGHT  FOR  LOUIS  OR  THE 
WAY  TO  GET  RID  OF  A  TROUBLESOME 
FELLOW       12268 
PLEBEAN  SPIRIT  OR  COACHEE  AND  THE 

HEIR  PRESUMPTIVE      12293 
PLEBEIAN  PLEASANTRY       13174 
PLUCKING    A    CANDIDATE     FOR     HOLY 

ORDERS       1 3 1 04 
PLUMP     TO     THE    DEVIL     WE     BOLDLY 
KICK'd  BOTH  NAP  AND  HIS  PARTNER 
JOE      12106 
PLYMOUTH-PLAY-HOUSE      1 3 1 86 
POET    MOUNTED    (a),    ON    THE    COURT 

PEGASUS       12877 
POISONING  THE  SICK  AT  JAFFA       1 2466 
POLAR  STAR,  THE      1 1 708 
POLISH    DIET,    WITH    FRENCH    DESERT 

II919 
POLITENESS       1 1 82 1 
POLITICAL  BALANCE  .  ,  ,       1 3497 
POLITICAL  BULLBAITING       1 1 845 
POLITICAL  CHAMPION  TURNED  RESUR- 
RECTION man!,  THE       13283 

political  chemist  and  german 
retorts  or  dissolving  the  rhen- 
ish confederacy     i  21 22 

political  chess  players,  or  boney 
bewilder'd  ...     1 2193 

political-dandies     13007 

political  house  that  jack  built, 

THE      13292-304 

POLITICAL  MEDLEY  (THE)  OR  THINGS 
ASTHEYAVTiREINJUNE  1812       1 1 88 8 

POLITICAL  SPIDER,  THE      1 1848 

POLLY  &  LUCY  TAKEING  OFF  THE  RE- 
STRICTIONS      1 1 860 

POOR  BULL  &  HIS  BURDEN — OR — THE 
POLITICAL  MURRAION — !!! —    1 3 288 

POOR     JOHNNY     ON     THE     SICK     LIST 

12493 
POOR  M«  SPRIGGS       1 1 837 


1060 


INDEX  OF  TITLES 


PORTABLE  PURIFICATOR  OF  OUR  COURTS 

OF  LAW  &  EQUITY,  THE   1 2 1 24 
porter's  CHAIR,  THE   1 2437 
PORTRAIT,  A  (3)   1 1924,  1 1925,  1 1926 
PORTSMOUTH  POINT   12408 

POSITIVE  lo\t;     13096 

POT  LUCK,    OR  THE   DISADVANTAGE  OF 

COMING    WITHOUT    AN    INVITATION 

12946 
POULE,  LA      12928 
*POUPARD  ANGLO-FRANgOIS  (le)  HAR- 

ANGUANT  SON  ETAT  MAJOR      1 2520 
PREACHEE  AND  FLOGGY  TOO !  OR  HOT  & 

COLD  .  .  .       1 328 1 
PREACHING  TO  SOME  PURPOSE       1 1972 
PREPARATIONS       FOR      THE       HUMBUG 

12330 
PREPARING     FOR     THE     MATCH — OR — 

MAY  2^°  1816       12769 
PREPARING  FOR  WAR      12550 
PREPARING   JOHN    BULL    FOR   GENERAL 

CONGRESS       12077 
PRESENT    STATE    OF    FRANCE    EXEMPLI- 
FIED, THE       12623 
PRESENTING  THE  TROPHIES       1 2498 
*PRiTEXTE,  LE      1 2634 
PRETTY   BOB.    POOR  BOB — BANDY    BOB 

13206 
PRETTY  PAIR  OF  PUPS,  A       13092 
PRIME  BANG  UP  AT  DRUMCONDRA,   OR 

A  PEEP  AT  THE  BALLOON       1 1955 
PRIME    BANG    UP    AT    HACKNEY    OR    A 

PEEP  AT  THE  BALLOON  .  .  .       1 1 775 
PRINCE    (a),    DRIVING    HIS    HOBBY,    IN 

herdford!!!     13216,13216  a 
[prince  of  hesse-hombourg  and  the 

princess]     12992 
prince   of   whales    (the)    or    the 

fisherman  at  anchor     1 1 877 
princely  agility  or  the  sprained 

ANCLE      1 1 84 1 
princely  AMUSEMENTS  OR  THE  HUMORS 

of  THE  FAMILY      1 1 856 
PRINCELY  MEETING  AT  STARLSUND,  THE 

12063 
PRINCELY  PIETY,  OR  THE  WORSHIPPERS 

AT  WANSTEAD       I  1744 
PRINCELY  PREDILECTIONS  OR  ANCIENT 

MUSIC  AND  MODERN  DISCORD     1 1 864 
prince's— PRIVY— pimp!!!,  THE    13231 
PRISONER  DISCHARGED,  THE      1 269 1 
PRIVY  COUNCIL  OF  A  KING,  THE      12510 
PRIVY    COUNCIL    (the)    OR    NECESSARY 

ARRANGEMENTS  TO  SUPPLY  A  SUBSTI- 


TUTE    FOR     THE     PROPERTY     TAX!!! 

12757 
PRIVY    PURSE    (the)    AND     POLITICAL 

BEGGARS      1 1868 
PROCESSION    FROM    WALES    TO     MAN- 
CHESTER SQUARE,  A      1 1 865 
PROGENY  IN  PERSPECTI\^  OR — A  ROYAL 

ACCOUCHEMENT ! !      1 2796 
PROGRESS  OF  BONEY  (tHE) !! !       1 2902 
PROGRESS   OF   DISAPPOINTMENT    (tHE) 

OR,  THE  HOPES  OF  A  DAY      12632 
PROGRESS   OF   GALLANTRY,   OR  STOLEN 

KISSES  SWEETEST      12402 
*PROMENADE  ANGLAISE      1 2376 
*PROMENADE  d'aNGLAIS      1 237 1 
*PROMETHEE  DE  l'iSLE  STE  HELENTi,  LE 

12627 

*prompte  arrrtie  des  denrees  co- 

loniales     1 23 16 
[properly  matched]     13455 
property  tax,  the     1 3492 

property  TAX  (the) — CIVIC  CHAM- 
PIONS— OR  THE  DARLING  IN  DANGER 
12452 

PROPERTY  TAX  FOR  E\^R  (tHE)1!1  OR  A 
CITY  M.P,  ...       1 27 1 5 

^PROPOSITION   DE   CONSTITUTION  AUX 

habitans  DE  l'ile  s^  h^lent:  .  .  . 

1 27 1 2 
PROTECTOR   (the) — ROGUES    IN    GRAIN 

— A      LESSON      FOR     MONOPOLIZERS 

12095 
PUBLIC  EXECUTION  OF  A  TYRANT   1 2200 
PUGILISM  EXTRAORDINARY       13381 
PULL  DEVIL,  PULL  BAKER !  OR,  PASTORS, 

VERSUS  FLOCKS  .  .  .  1 3 224 
PURSUED  BY  COSSACKS  12480 
PURSUITS    OF   LITERATURE.    N"    I.    THE 

BUSINESS  OF  THE  STUDY      1 21 39 

N"  2  FRIENDS  IN  NEED !       12140 

N°  3  LAW  OF  LIBEL      1 2388 

N^  4  THE  POETS  GRAVE      1 23 89 

PUSS    IN    BOOTS.    OR    GENERAL    JUNOT 

TAKEN  BY  SURPRISE      II720 
PUZZLED  WHICH  TO  CHOOSE !  I  OR  THE 
KING  OF  TOMBUCTOO  OFFERING  ONE 
OF  HIS  DAUGHTERS  ...       I  3043 


QUACK  DOCTOR,  THE      1 242 1 
QUADRUPEDS   OR  LITTLE  BONEYS   LAST 

KICK      1 1992 
QUADRUPEDS  ;  OR,  THE  MANAGER'S  LAST 

KICK      1 1762 


IO61 


INDEX   OF  TITLES 


QUAKER  (the),  AND  THE  COMMISSION- 
ERS OF  EXCISE      121 51 

QUAKER  (the),  PLEADING  HIS  OWN 
CAUSE  .  .  .       1 1777 

QUARTER  DAY,  OR  CLEARING  THE 
PREMISSES  WITHOUT  CONSULTING 
YOUR  LANDLORD       1 2399 

QUARTER  DECK  BEFORE  BATTLE,  THE 
13460 

QUI  HI  ARRIVES  AT  THE  BUNDER-HEAD 

12735 

QUI  HI  AT  BOBBERY  HALL       1 274 1 

QUI  HI  IN  THE  BOMBAY  TAVERN      1 2736 

QUI  HI  SHEWS  OFF  AT  THE  BOBBERY 
HUNT      12740 

QUI  Hi'S  INTRODUCTION  &  COOL  RECEP- 
TION     12739 

QUI  Hi's  LAST  VISIT  TO  PADREE 
BURROWS'S  GO  DOWN       1 2744 

*QUI  TROP  EMBRASSE,  MAL  ETREINT! 
12246 

quid'  est? — WHY  BRIGHTON  DAN- 
DIES.!!!      13389 

QUIZICAL  SONGS  FOR  1815       1 2693 


R.  ACKERMANNS  TRANSPARENCY  ON  THE 

VICTORY  OF  WATERLOO       1 256 1 
RADICAL-HOUSE    WHICH    JACK    WOULD 

BUILD,  THE      13331-40 
RADICAL  REFORMER,  A      1 3284 
RADICAL  REFORMER  (a), — (ie)  A  NECK 

OR  NOTHING  MAN  1  1 3  27 1 
radical's  ARMS,  THE  13275 
RAINY   WEATHER,    OR   THE   BATTLE    OF 

THE  UMBRELLAS. !       1 3449 
RARE-FARE      12502  A 
RATIFICATION  OF  PEACE  (tHE)  OR  THE 

MILITARY  MEDIATOR      12295 
RATS,  IN  THE  HOUSE  THAT  JOHN  BUILT 

13277 
READING  THE  LETTER,  OR,  THE  BROAD - 

BOTTOMITES  NONSUITED      I1855 
REAL  OR  CONSTITUTIONAL  HOUSE  THAT 

JACK  BUILT,  THE      1 3 306- 1 7 
*RECEPTION    OF    DOCTORS    (a)    AT    OX- 
FORD'S UNIVERSITY  .  .  .       12283 
RECRIMINATION — OR  THE  MUTUAL  DIS- 

APPOINTMEN  [sic]       13077 
RECRUIT,  THE      1 24 1 9 
RED  MAN,  THE      1 248 1 
REFINEMENT  OF  LANGUAGE       1 1969 
REGENCY  FETE  OR  JOHN  BULL  IN  THE 

CONSERVATORY       I 1727 


REGENCY  PARK,  THE      12081 

REGENT  KICKING  UP  A  ROW  (THE),  OR, 

WARWICK   HOUSE    IN   AN   UPROAr!!! 

12292 
regent's  HACK,  THE      1 1859 
REGENT  VALENTINE      12011 
REHEARSAL   (iN  THE  GREEN  ROOM)   OF 

a  new  farce  called  fire  and 
murder!!,  the  13254 

REHEARSAL  (THE)  OR  THE  BARON  AND 
THE  ELEPHANT      1 1 93 5 

REHERSAL,  THE      13169,   13169A 

REJECTED  TRIFLE  (a)  FROM — CUMBER- 
LAND TO  HANOVER      12176 

RELICS     OF     A     PROPHET     (tHE);     OR, 

Huntingdon's  sale     12136 
*rencontre  a  la  sortie  du  museum, 

LA      12373 
*RENCONTRE  d'aNGLAIS  A  PARIS    12359 
*RENCONTRE       d'oFFICIERS       ANGLAIS 

12379 
REPRESENTATION  OF  THE  ELECTION  OF 

MEMBERS  OF  PARLIAMENT  FOR  WEST- 
MINSTER I 81 8      13006 
REPRESENTATION  OF  THE  MANCHESTER 

REFORM  MEETING  (a)  DISPERSED  BY 

THE  CIVIL  AND  MILITARY  POWER  .  .  . 

13262 
REPRESENTATION      OF      THE      REGENTS 

TREMENDOUS  THING,  A,  .  .  .      12801 
REPRESENTATION  OF  YE   GULL  TRAP — 

&  Y^  PRINCIPAL  ACTORS  OF  Y^  NEW 

FARCE  CALL'd  Y^  HOAX  ...       1 22 1 2 
*RESTITUTION  (la)  OU  CHAQU'UN  SON 

COMPTE       12248 
*RETOUR  DE  l'iLE  d'eLBE,   IL  RAMENE 

LA  LIBERTIi!       1 2563 
RETOUR  DE  PARIS  (le)  OR,  THE   NEICE 

PRESENTED  TO  HER  RELATIONS  ...  (2) 

12922,   13434 
RETREAT  FROM  MOSCOW       1 2478 
RETRENCHMENT — OR — JOHN       BULL 

ROUTING    HIS    RAPACIOUS    SERVANTS 

13268 
RETURN  OF  THE  PARIS  DILIGENCE — OR 

— ^BONEY  RODE  OVER      1 2609 
RETURN  TO  OFFICE,  THE       1 1728 
REVD  DOCTOR  SYNTAX,  THE       12161 
[rEV^  MR  BERESFORD]       1 1933 
REVIEW    OF    THE    FRENCH    TROOPS    ON 

THEIR  RETURNING  MARCH  THROUGH 

SMOLENSKO       12051 
REVIEW  OF  THE  NEW,  GRAND,  ARMY,  A 

12548 


1062 


INDEX  OF  TITLES 


RICHARD  HARRIS'd  OR  THE  WOLVES  TOO 

keen!!!     12919 

RIDICULE   (a);    or   a    NEW   i^RA,    NEW 

MANNERS  ,  .  .       1 1874 
RIGHT  HON^LE  SPENCER  PERCEVAL,  THE 

I1885 
RISE    AND    PROGRESS    OF    BUONAPARTE 

12205 
RIVAL    CANDIDATES    FOR    THE    VACANT 

BAYS      12082 
RIVAL  PUBLICANS,  THE      11 829 
RIVAL  RICHARDS  (tHE)!!!       129 1 8 
RIVAL  RICHARDS  (tHE)  OR  SHEAKSPEAR 

IN  DANGER       1 2326 
RIVAL    ROMEOS     (tHE)    OR    COATES    & 

MATHEWS      12324 
ROBEING  THE  REGENT  OR  THE  ROAD  TO 

PREFERMENT      1 1 709 
ROBERT  WAITHMAN  ESQ«      13024 
*ROBINSON  DE  l'iLE  d'eLBE,  LE      1 2250 
ROGUES  MARCH,  THE       12222 
ROSE  AND  THE  VIOLETS,  THE      1 2544 
ROSEY  PICTURE  OF  THE  TIMES,  A     1 1 880 
ROUGH   SKETCH   OF  THE  TIMES  AS  DE- 

LENIATED  BY  SIR  FRANCIS  BURDETT, 

A      13230 
ROYAL  ADMONITION       1 2748 
ROYAL  ADVICE      1 2278 
ROYAL    ALLIED    OAK    (tHE)    AND    SELF 

CREATED  MUSHROOM  KINGS      1 2547 
ROYAL  BEGGARS,  THE      12183 
ROYAL    CHRISTMAS    BOXES    AND    NEW 

YEARS  GIFTS  .  .  .       12700 
ROYAL  CONDESCENSION — OR  A  FOREIGN 

MINISTER  astonished!       12890 

ROYAL  DANDY,  A 12803  A 

ROYAL     DOCK    YARD     (THE),     OR    THE 

WALNUT-SHELL  SQUADRON      12305 
ROYAL  EMBARICATION  .  .  .       1 3259 
ROYAL    FISHMONGERS    OR   A   WELCOME 

TO  BILLINSGATE       1 28 1 5 
ROYAL   GEORGE  IN  THE   KITCHEN   .    .    . 

13209 
ROYAL  HOBBY,  A       1 3243 
ROYAL  hobby's       13215 

ROYAL  hobby's!!!  (2)     13221,  13223 

ROYAL  hobby's,  OR  THE  HERTFORD- 
SHIRE cock-horse!     13220 

ROYAL  KITCHEN  STUFF ! — OR  A  GREAT 
MAN  COME  DOWN  .  .  .       13211 

ROYAL  LOVER  (tHE),  OR,  THE  ADMIRAL 
ON  A  LEE  SHORE      1 1 844 

ROYAL  MASQUERADE,  THE      1 2994 

ROYAL  METHODISTS       1 2768 


ROYAL  METHODISTS  IN  KENT  &  SUSSEX 

.  .  .       12624 
ROYAL  MILLING  MATCH,  THE      1 1 746 
ROYAL — MUNIFICENCE.  HEm!!       1 2272 
ROYAL     PEDAGOGUE     (tHE)     AND     HIS 

USHERS      12300 
ROYAL  RED  BENGAL  TIGER      1 3256 
ROYAL  SHAMBLES   (tHE)  OR  THE  PRO- 
GRESS OF  LEGITIMACY  .  .  .       1 2797 
ROYAL  SPONGERS  (tHE)  A  PEEP  IN  BEL- 

VOIR  CASTLE      12180 
ROYAL  VISIT  TO  A  FOREIGN  CAPITAL  (a) 
OR  THE  AMBASSADOR  NOT  AT  HOME 

—I!—     12889,  12889  A 

ROYAL  WHISKERS      1 1 9  2  2 

RUFFIAN,  THE      1 297 1 

RULER    RULED    OVERRULED    &    ROUTED, 

THE,  .  .  .       12132 
RURAL     SPORTS,     A     MILLING     MATCH 

11786 

BALLOON  HUNTING      1 1 79 1 

BUCK  HUNTING      1 1793 

CAT  IN  A  BOWL      I1785 

OR     A    CRICKET    MATCH    EXTRA- 
ORDINARY     1 1790 

OR    AN    OLD    MOLE    CATCHER    IN 

FULL  SCENT      1 1 792 

OR  A  PLEASANT  WAY  OF  MAKING 

HAY      I 2406 

OR  GAME  AT  QUOITS      1 1 788 

OR   HOW  TO   SHOW  OFF  A  WELL 

SHAPED  LEG      1 1 789 

SMOCK  RACING      1 1 787 

RUSSIAN  AMUSEMENT  OR  THE  CORSICAN 

FOOT  BALL      12175 
RUSSIAN    BOOR    RETURNING    FROM    HIS 

FIELDS  SPORTS,  A      1 1 996 
RUSSIAN  CONDESCENSION  OR  THE  BLES- 
SINGS OF  UNIVERSAL  PEACE      1 2289 
RUSSIAN  DANDY  (a)  A  SCENE  AT  AIX  LA 

CHAPELLE      1 3010 
RUSSIAN    PEASANT    LOADING    A    DUNG 

CART,  A      1 20 1 5 
RUSSIANS  TEACHING  BONEY  TO  DANCE 

12046 
RUSTIC    RETORT    (a)    OR    A    WIT    OUT- 

WITED       13076 

*SABOT  CORSE  EN  PLEINE  DEROUTE,  LE 

12218  A 
♦sacrifice  DE  NAPOLEON  BUONAPARTE 

12562 
SAILOR    BOY    CAPERING    ASHORE   .    .    . 

13491 A 


1063 


INDEX   OF  TITLES 


SAILORS    DRINKING    THE    TUN-BRIDGE 

WATERS       12644 
SAILORS  ON  HORSEBACK      I1801 
SAILORS    PROGRESS,    THE   (2)        13045, 

13045  A,   13396 
ST  JAME's  STREET  IN  AN  UPROAR  OR  THE 

quack  artist  ...  1 3364 
st  vetus's  dance  or  the  panegyrist 

&  the  patron  .  .  .  12009 
sale    of    the    coal.  he  avers.  scraps 

(the)!!     12 1 35 

SALES  BY  auction! — OR  PROVIDENT 
CHILDREN  DISPOSING  OF  THEIR 
DECEASED  MOTHER'S  EFFECTS  .  .  . 
13229 

SALUTING  THE  REGENTS  BOMB  .  .  . 
12800 

SATURDAY  NIGHT  AT  SEA  .  .  .       1 3453 

*SAUTE  POUR  LE  ROI       1 2245 

*SAUTEUR  IMPERIAL,  LE       12574 

SAVANTE,  THE       1 2976 

SAVOYARDS,  LES       13047 

SCALE  OF  JUSTICE  REVERSED,  THE   1 2507 

SCANDAL  DEFEATED       13159 

SCANDAL  REFUTED  OR  BILLINSGATE 
VIRTUE      I 308 I 

SCENE  AFTER  THE  BATTLE  OF  VITTORIA, 
A  .  .  .       1 207 1 

SCENE  AT  BOULOGNA  (a)  OR  NEEDS  MUST 
WHEN  THE  DEVIL  DRIVES       iI742 

SCENE  AT  THE  LONDON  MUSEUM  PICCA- 
DILLY (a), — OR — A  PEEP  AT  THE 
SPOILS  OF  AMBITION  .  .  .       12703 

SCENE  BEFORE  CARLTON  HOUSE  OR  A 
LAST  STRUGGLE  TO  GET  IN       1 1730 

SCENE  IN  A  NEW  PANTOMIME  TO  BE 
PERFORMED  AT  THE  THEATRE  ROYAL 
PARIS       12528 

SCENE  IN  THE  CHANNEL,  A       12720 

SCENE  IN  THE  COMIC  OPERA  OF  THE 
LORD  OF  THE  MANOR      1 2697 

[scene  IN  THE  mess-room]       1 294 1 

SCENE  IN  THE  NEW  FARCE  CALLED  THE 
RIVALS,  A,  .  .  .       13227 

SCENE  IN  THE  ROYAL  BED-CHAMBER  .  .  . 
12771 

scene  in  the  writer's   buildings 

Calcutta!     11833 
scene  of  action,  the     1 3 1 28 
schoolmaster,  the     12430 

SEA    (the)    IS    OPEN.     TRADE    REVIVES 

12119 
SEA  STORES       1 1960 
SEA-SICK       1 3 1 80 


SEAMANS  WIPES  RECKONING,  A      1 1965 
SECRET    HISTORY    OF    CRIM    CON,    THE 
FIG^  I       I I 966 

FIG  2       1 1967 

SECRET  PRESENT  FROM  PERSIA!,  A,  .  .  . 

13240 
SEE  THE  CONQUERING  HERO  COMES  .  .  . 

13484 
SEIGE  OF  ACRE      1 2467 

SEIZED  UP  IN  THE  RIGGING      13183 

SEIZING  THE  ITALIAN  RELICS      1 246 1 

SELECT  CIVIL  COMMITTEE,  A      11857 

SELL  AND  REPENT      12909,12909  A 

SENT    TO    HEAR    THE    DOG-FISH    BARK 

13181 
SEPARATION  (THE),  A  SKETCH  FROM  THE 

PRIVATE   LIFE    OF    LORD    IRON    .    .    . 

12828 
SEPULCHRAL    ENQUIRY    INTO    ENGLISH 

HISTORY,  A      12056 
SETTING  OUT  FOR  MARGATE      1 1968 
SET-TO !!,  A      13123,   13123A 
"she    never    told    HER    LOVE"    .    .    . 

13135 
SHE  STOOPS  TO  CONQUER      1 1 799 

SHEERNESS  BOAT       1 3 177 

SHIELD  OF  LAW  (tHE).  OR  THE  MODERN 

QUIXOTE      12006 
SHIPWRECK,  THE      12416 
SHOOTING    THE    PRISONERS    IN    EGYPT 

12465 
SHREWD    GUESS    (a)    OR    THE    FARMERS 
DEFINITION  OF  PARLIAMENTARY  DE- 
BATES      12143 
SHUN  BAD  COMPANY       13103 
SHUTTLECOCKS  &  MACKAREL,  OR,  MEM- 
BERS GOING  TO  VOTE  ON  THE  CORN 
BILL       12505 
SIC  TRANSIT  GLORIA  CITY  .  .  .       1 1827 
SICK  OF  THE  PROPERTY  TAX  OR  MINIS- 
TERIAL INFLUNZA      12747 
SIEGE  OF  ST  QUINTIN,  THE      1 23 1 5 
SIGNING  HIS  ABDICATION       1 2482 
SIGNIOR  VIOLONCELLO       13086 
SIR  MURRAY  MAXWELL  K^  CB      13023 
*SIR  ROBERT  THOMAS  WILSON  GENERAL 

ANGLAIS  .  .  .       12706 
*SIRE-CONSCRIT  DANS  l'iLE  d'eLBE,  LE 

12308 
SITTINGS  AT  WESTMINSTER  HALL   .    .    . 

12788 
SIX  CLASSES  OF  THAT  NOBLE  AND  USE- 
FUL ANIMAL  A  HORSE      1 1 8 1 2 
SKAITERS,  THE       1 2662 


1064 


INDEX   OF   TITLES 


SKAITING — DANDIES,       SHEWING      OFF 

13074 
SKETCH  FOR  A  PRIME  MINISTER  OR  HOW 

TO  PURCHASE  A  PEACE      I1710 
SLAP-BANG  SHOP      1 265  5 
SLEEPY  CONGREGATION,  A      1 1 794 
SLIGHT  FAUX-PAS!,  A      13095 
SMELLS   PO^^T)ER  FOR  THE  FIRST  TIME 

12489 
SMITHFIELD    PARLIAMENT     (tHE).     i  e 

UNIVEPvSAL  SUFFRAGE  ...       1 3  25  2 
SMOAK    JACK    THE    ALARMIST,    EXTIN- 
GUISHING   THE    2°    GREAT    FIRE    OF 
LONDON  ...       13272 
SMUGGLERS  IN  HIGH  LIFe!  BLOWN  UP 

by  m"*  brougham  &  the  congreve 
rockets!     12763 
smuggling  in  high  life     12340 

SNUFFING  OUT  BON'EY!       1 2254 

SNUFFY  HOAX  (a),  OR  A  N'EW  WAY  OF 
OPENING  MEMBERS  EYES!!!       12514 

soldier's  WELCOME  HOME  (tHE).!!! 
11725 

SOMEBODY  &  NOBODY      1 2439 

SOMETHING  CONCERNING  NOBODY 
12438-451 

SON  OF  MARS  (a)  &  HIS  CHERE  AMIE 
13100 

SONS  OF  NEPTUNE  SHAVING  A  LANDS- 
MAN!      1 292 1 

SORROWS  OF  BONEY  (THE)  OR  MEDITA- 
TIONS IN  THE  ISLAND  OF  ELBa!!! 
12223 

SOT,  THE      12422 

SPA  FIELDS  HUNT-ER  (THE)  OR  A 
PATRIOT  MOUNTED       1 28 1 8 

SPA  FIELDS  ORATOR  (tHE)  HUNT — ING 
FOR  POPULARITY  TO  DO-GOOD !! 
12869 

SPANISH  CLOAK,  A       II958 

SPANISH  MULE  OF  MADRID,  THE      1 2508 

SPANISH    PASS-PORT    TO     FRANCE!!,    A 

P-  303- 
SPARE-FARE       12502  A 

SPARRING       1 29 1 7 

SPECIAL  RETAINER  (tHE).  OR  A  PATRIOTIC 

councellor    pleading    to    the 
point!!!     12915 
specimen     of     russian     chopping 

BLOCKS       1 1995 
SPECIMENS  OF  WALTZING       1 2929 

SPIRIT  (the)  moves!!     13098 

SPIRIT  MOVING  THE  QUAKERS  UPON 
WORLDLY  VANITIES,!!  THE      13419 


SPIRIT  OF  THE  BOOK  (THE) — OR  ANTICI- 
PATION OF  THE  YEAR  1813       II990 

SPIRITED  DEBATE  UPON  POTEEN,  A,  .  .  , 
12777 

SPIRITS  AT  WORK — JOANNA  CONCEIV- 
ING .  .  .       12329 

SPIRITS  OF  THE  BRITISH  DRAMA      1 3042 

SPLASH — DASH— BANG  UP ! ! — OR  CHAR- 
LOTTE TAKING  THE  WHIP  HAND  OF 
COBURG      12774 

STAMFORD  DANDY,  THE,  OR  A  MODERN 
PEEPING  TOM       13360 

STATE   CABIN — NEWCOME's   EXIT    .    .    . 

I34S9 
STATE  MINERS       I1707 
STATE    MYSTERIES    A    VISION    OF    PALL 

MALL      12028,  12028  A 
STATE  OF  POLITICKS  AT  THE  CLOSE  OF 

THE  YEAR  1815       1 2622 
STATE      PHYSICIANS     BLEEDING     JOHN 

BULL  TO  DEATH ! !       12756 
STATESMAN,  THE      1 24 1 4 
STEWARD  AT  SEA  IN  A  VAIN  TEMPEST !,  A 

13386 
STOP  HIM  WHO  can!!  .  .  .       1 342 1 
STORMING  MONOPOLY  FORT  (tHE)  OR 

THE  DIRECTORS  IN  DISMAY       12005 
STRANGE   FIGURES   NEAR  THE   CA\^   OF 

ELEPHANTA — 1814       1 2745 
STRIKING  EFFECTS  PRODUCED  BY  LINES 

&  DOTS      12957 
STRONG    PROOF    OF   THE    FLOURISHING 

STATE    OF    THE    COUNTRY,    A,    .    .    . 

13267 
STRONG   SNUFF  OR   37   DISCARDED   FOR 

prince's  MIXTURE      12750 
SUCCESSFUL  FORTUNE  HUNTER,  THE  .  .  . 

1 1970 
SUDDEN     alarm;     OR,     ALL     BRITISH 

SAILORS,  DO  NOT  LOVTi  THEIR  WIVES!!! 

13265 
SUICIDE,  THE      12665 
SUMMER  AMUSEMENT  AT  MARGATE  .  .  . 

1 2 144 
*SUPREME    BON    TON       1 2358,     1 2359, 

12367,   12368 
SUPRISING  HONE,  A,  .  .  .  .       1 2898 
SURE  SUCH  A  PAIR  WEP^  NEVER  SEEN 

13131 

SUSANNA  &  THE  TWO  ELDERS       1 3  1 1 2 

SWEEP,  THE      13167,  13167A 
SYMPTOMS    OF    CRIM.    CON.!!! — OR,    A 
POLITICAL  VISIT  TO  THE  HEIRESS  IN 
THREADNEEDLE  STREET       13203 


1065 


INDEX   OF  TITLES 


T  TRADE  IN  HOT  WATER !  (tHE)   .... 

13037 
TABITHA    GRUNT,     OR    THE    WALKING 

HOSPITAL      12 166 
TAILOR  IN  A  HIGH  WIND,  A,  ..  .      13435 
TAILORS  WEDDING,  A      12403 
TAKING  HIS  BREAKFAST      1 2487 
TAMEING  A  SHREW  .  .  .       12650 
TAYLOR  (the)  SHEERING  THE  GEESE  OR 

THE    PROTESTANTS    IN    THE    WRONG 

BOX      1 1766 
TEMPLAR  AT  HIS  STUDIES,  A      I1816 
TENDER  WISH,  A      13161 
*TENEZ  LE  BIEN       12584 
TERM      BELOW — OR — THE      ROAD      TO 

RETRIBUTION       1 30 1 1 
THEATRICAL  ATLAS,  THE      12325 
THEATRICAL  FAUX  PAS       1 23  27 
THEATRICAL  HOUSE  THAT  JACK  BUILT, 

THE      13370-81 
THEATRICAL        JEALOUSY — OR — THE 

RIVAL    QUEENS   OF   COVENT    GARDEN 

12829 
THEATRICAL  MOTIONS'.  OR  THE  PRIVATE 

AFFAIRS   OF  THE   OPERA   BOTHERING 

THE  CHANCERY  LAWYERS!!       1 3369 
THERE   IS   GALLANTRY   FOR   YOu!    .    .    . 

12074 
THEY      STOOP — BUT      NOT      CONQUER 

I1858 
THINGS  AS  THEY  HAVE  BEEN  ...  AS  THEY 

NOW  ARE       12539 
36  PER  CENT  AT  CALCUTTA       1 1 832 
THOSE    THAT    WISH    TO    SEE    A    FULL 

moon!  must  VISIT   HYDE  PARK  .  .  . 

12842 
THREE   BEST    PHYSICIANS,    THE —    .    .    . 

12157 
THREE  GREAT  ACTORS  .  .  .       1 2263 
THREE  HONEST  JURIES,  THE,       12900 
THREE  OUTS  (tHE)  OR  PATRIOTS  IN  HIGH 

GLEE      1 1 867 
THREE  ROOMS  ON  A  FLOOR  OR  CLERICAL 

COMFORT  AT  AN  INN       1 2396 
THREE    WEEKS    AFTER    MARRIAGE    .    .    . 

12394 
THROWING  THE  STOCKING      1 2764 
THUNDER  BOLT  FOR  BONEY,  A      1 2554 
*TIGRE  ENCHAIN]^,  LE      1 25 65 
TIME  AND  DEATH       1 24 1 1 
TIME   &    DEATH,    AND    GOODY    BARTON 

12432 
TIME,  DEATH,  AND  ETERNITY       12856 
TIPPERARY  JIG,  A      13125 


TIRANIA      13009  B,  13009 C 
TIT  FOR  TAT      13165,  13165  A 
TIT-BIT    FOR   A    COSSACK    (a)    OR    THE 

platoff  prize     1 1 994 
to  henry  hunt  esq«  as  chairman  of 
the    meeting    assembled    in    st 
Peter's  fields  .  .  .     13263 

TO  THE  RT  worshipful  JOHN  SMOAK 

ESQ«  .  .  .       13273 
TO    WILLIAM    WILBERFORCE    ESQ.    M  P 

.   ,   .  THIS    PORTRAIT    OF    NAPOLEON 

12553 
TOASTMASTER,  THE      1 2686 
TOGETHER   LET   US   RANGE   THE   FIELDS 

12309 
TOILETTE,  LA       I 3456 
TOLER — ABLE  HORSEMEN ! !       1 1 75 3 
TOM  HIGGINS      12415 
TOM    THUMB    AND    THE    GIANT    OR    A 

FORCED      MARCH      TO      FRANCKFORT 

I2IOI 
TON,  THE      13477-82 
TOO  LONG  AND  TOO  LOOSE!!!  OR  LORD 

SHAM-PETER   THE   AMATEUR   TAILOR 

12831 
TOUCH  FOR  TOUCH  OR  A  FEMALE  PHYSI- 
CIAN IN  FULL  PRACTICE      1 1806 
TOUR  OF  D"*  syntax  IN  SEARCH  OF  THE 

PICTURESQUE,  THE,  ...       1 21 62 
TOWN.  TALKS  A  GREAT  LIAR       1 1 949 
TOWNSEND  THE  UMPIRE  OF  LOVE  .   .   . 

1 1947 
TRAGEDY       12064 
TRANSPARENCY  EXHIBITED  AT  R  ACKER- 

MANN'S    THE    27TII    OF    NOV"*    1815 

12621 
TRAVELLING   BY   STEAM       12920 
TRAVELLING   IN   ENGLAND,    OR  A   PEEP 

FROM    THE    WHITE    HORSE    CELLAR 

13430 

TRAVELLING  IN  FRANCE  OR,  LE  DEPART 
DE  LA  DILIGENCE   1 3429 

TRAVELING  IN  FRANCE — OR — LE  DE- 
PART DU  DILIGENCE   13053 

TREACHERY — TREACHERY — TREACHERY 

— !!!     12540 

TRIAL    OF   THE    DOG    FOR    BITING    THE 

NOBLE  LORD,  THE      1 2896 
TRIP  FROM  WALES  TO  BARBARY,  A,  .  .  . 

12810 
TRIP  TO  GRETNA  GREEN,  A      I1818 
*TRIUMPH  DES  JAHRES,  1813       12177 
[triumph     DES     JAHRES     1813     .     .     .] 

12203 


1066 


INDEX   OF   TITLES 


TRIUMPH  OF  THE  DEY  OF  ALGIERS  (THE) 
OVER    THE    NAVAL    GLORY    OF    ENG- 
LAND!      12795 
TRIUMPHAL    ENTRY    INTO    ST.    JAMES's 
(the),    OR   THE   DOWNFALL    OF   THE 
MODERN  COLOSSUS      I1706 
*TROUBADOUR  JOUANT  DE  SIX  INSTRU- 
MENTS, LE      12638 
TROUBLESOME  CUSTOMER,  A      1 3 1 1 6 
TRUE  DOCTRINE,  THE      13107 
TRUTH      IN      JEOPARDY,      OR      POWER, 

VERSUS  FREEDOM      I1717 
TRYALLE  FORRE  LIBELLE  ...       1 22 1 1 
TRYING  ON  THE  BREECHES ! !       1 2772 
TURNING  IN — AND  OUT  AGAIN      1 3 1 79 
TURNING     OFF     AT     TYBURN     OR     THE 

LIVERY,  RE-SPITED      12057 
TURNING  UP  THE  NATIVES       1 3 1 26 
TWELFTH  NIGHT  OR,  WHAT  YOU  WILl! 

12453 
TWO    CANDIDATES    FOR    THE    CITY    OF 

BRISTOL  .  .  .       1 1907 
TWO  HEADS  BETTER  THAN  ONE  OR  THE 

GOVERNESS  OUTWITTED       1 2943 
TWO    IRISH    LABOURERS,   THE       13152, 

13152A 
TWO     JOURNALS,      THE     (2)  12290, 

12291 
TWO  KINGS  OF  TERROR,  THE       I  2093 
TWO     VETERANS,     THE     (2)  1 2296, 

12297 
[two    views    of    NAPOLEON    ON    THE 

NORTHUMBERLAND]       12625 
TWO  WELL  KNOWN  OFFICERS,  ON  FULL 

AND  HALF  PAY      1 2979 
TYPE  OF  THE  NEW  SERIES  OF  THE  SATIR- 
IST     1 1894 
TYRANT   OF  THE   CONTINENT   (THE)   IS 

FALLEN  .  .  .       12253 
TYRANT  0\^RTAKEN  BY  JUSTICE  (tHE) 

IS     EXCLUDED     FROM     THE     WORLD 

12260 

UNDERTAKER  (the)  &  THE  QUACK    1 243  3 

undeviating  rectitude.  or  a  hint 
for  the  hoodwinked  .  .  .     1 3442 
[unexplained  satire]     1 282 1 
*uniformes  anglais     1 2382 

universal   SUFFRAGE,    OR — THE   SCUM 

UPPERMOST — !!!!!     13248 

UNLUCKY  RETURN,  THE      13079 
UPROAR  HOUSE  (tHE)  ! ! !       1 2 1 3  3 
URCHIN  ROBBERS,  THE       1 2672 
USEFUL  MAN,  THE      1 2973 


VAGARIES  OF  NATURE  AND  ART — OR — 

CURIOSITIES  OF  THE  PARADE      13058 

VALLEY  OF  THE  SHADOW  OF  DEATH,  THE 

II921 
VAUXHALL  FETE      12076 
VEHICLE,  THE      13168,  13 168  A 
VENEMOUS  VIPER  POISONING  THE  ROYAL 

MIND,  A      12029 
VERY  LIKE  A  WHALE      13016,13016  A 
VIEW  FROM  KNIGHTSBRIDGE  BARRACKS, 

A      12904 
VIEW    FROM    ST.     JAMES's     STREET,     A 

13020 
VIEW    FROM    THE    HORSE     GUARDS,     A 

12905 
VIEW  FROM  THE  ROYAL  EXCHANGE,  A  (2) 

12906,  12906  A,   12907,   12907  A 
VIEW    IN   THE   JUSTICE   ROOM,    GUILD- 
HALL, A      13358,  13358  A 
VIEW    OF    A    TEMPLE    NEAR    BUCKING- 
HAM, A      I 1750 
VIEW  OF  ARGYLE,  A      13351,   13351  A 
VIEW  OF  FROST  FAIR  (a)  .  .  .       1 2343 
VIEW  OF  FROST  FAIR  (a)  AS  IT  APPEARED 

ON  THE  ICE  .  .  .       12348 
VIEW     OF     GREAT     TOM — THE     CHRIST 

CHURCH  BELLE       1 2824 
VIEW    OF    HILL    NEAR    DOWNSHIRE,    A 

12910 
VIEW  OF  SOMERSET,  A       1 175  I 
VIEW     OF     THE     GRAND      TRIUMPHAL 

PILLAR,  A       1 254 1,   1 254 1  A 
VIEW  OF  THE  READING  FLY  TO  PARIS  (a), 

TURNING  SHARP  OUT —      1339© 

VIEW  OF  THE  regent's  BOMB,  A     1 2803 

VIEW  OF  THE  STARTING  POST  (a)  AND 

LIST   OF  THE   HORSES   .    .    •   FOR  THE 

CITY  PLATE      1 1906 

VIEW  OF  THE  THAMES  OFF  THREE  CRANES 

WHARF,  A      12346 
VIEW      OF      WINCHESTER      IN      NORTH 

AMERICA,  A,  .  .  .       12043 
VIEW  OF  YARMOUTH,  A      13026 
VIEW  TAKEN  AT  EATON,  A      1 2823 
VIEW  TAKEN  AT  OXFORD,  A       1 2822 
VILLAGERS  SHOOTING  OUT  THEIR  RUB- 
BISH!!!      13286 
*VIOLETTES  DU  20  MARS  1815       1 25 1 1 
VIRAGO,  THE      1 24 1 7 
VIS    A   VIS — ACCIDENTS    IN    QUADRILLE 

DANCING      12927,   12927  A 
VISION  OF  SKULLS,  THE      1 2436 
VISIT     TO      COCKNEY     FARM,     A,    .    .    . 

13437 


1067 


INDEX   OF   TITLES 


VISIT  TO  RICHMOND  (a) — TO — ALLE- 
VIATE THE  GOUT      13234 

VISIT  TO  THE  COTTAGE  WINDSOR,  A 
13014 

VISITING      THE      CIRCASSIAN      BEAUTY 

13239 
VIVE  LE  ROI ! — VIVE  l'eMPEREUR  .  VIVE 

LE  DIABLE       12531 
*V0ILA  LE  BOUQUET      12605 
VOILA — T — ON  MORT ! ! !       1 3  3  82 
*VOLANT     CORSE     (le)     OU     UN     JOLI 

JOUJOU  POUR  LES  ALLIES       12217  A 

WAGS  OF  PARIS  (THE)  OR  THE  DOWN- 
FALL OF  NAP.  THE  GREAT       I2022 
*WAHRE    ABBILDUNG    DES    EROBERERS 

12177 
WAITING  ON  THE  LADIES       1 2937 
WALKING,  COMMITTEE,  THE      II718 
WALKING  THE   FAIR  ON  THE  29TH  OF 

MAY  1817       12884 
WALTZ,  THE       12680 
WALTZING  AT  ALMACKS       1 295  3 
WALTZING  IN  COURTSHIP       12630 
waltzing!  or  A  PEEP  IN  THE  ROYAL 

BROTHEL  ...       1 2841 
WALTZING — VIDE      WILSON's       ROOMS 

12952 
WARD     ROOM     (the)     NEWCOME     AND 

CAPT  CLACKIT      1 347 1 
WARM  WINTER  QUARTER'S  OR  MOSCOW 

WELL  AIRED  FOR  NAP  .  .  .       12049 
WAY  TO  KEEP  HIM,  THE      1 21 56 
WAY  TO  SER\nE  HIM,  THE       13383 
WE     SPARE     THE     HUMP     &     CROOKED 

NOSE  .  .  .       12628 
WEDDING,  THE      1 266 1 
WEDDING  DINNER  (tHE)  OR  MOSES  AND 

THE  MAGISTRATE      1 1945 
WEDDING  NIGHT,  THE    1 2954,  1 2954  A 
WELLINGTON     AND     GLORY,     OR     THE 

VICTORY  OF  VITTORIA  .  .  .       12072 
WESTMINSTER  ELECTION      13003 
WESTMINSTER  PUGILISM,  AN  INTEREST- 
ING   BATTLE    FOUGHT    NEAR    WEST- 
MINSTER BRIDGE  ...       12532 
WET  UNDER  FOOT      1 1 956 
WHAT  A  HARD  THING  IT  IS  SUCH  A  GOOD 
LOOKING  ELF  .  .  .       12131 


WHICH  DROWNS  FIRST,  OR,  BONEY's 
IMPR0\T:D  BUCKET      1 1876 

WHIG  PATRIOTISM  OR  THE  STRUGGLE 
FOR  THE  KITCHEN  STUFF.  1 8 1 2    1 1 890 

WHIMSICAL  COURTSHIP  &  MARRIAGE  (a) 
— OR — THE  GOLDEN  CALf!!!      1 3388 

who  killed  cock  robin  ?  a  satirical 
tragedy,  ...  on  the  manchester 
blot!!!     1 3341-5 

whole  family  lost,  a     1 23 1 4 

will'  of  THE  WHISPS — OR— GLIMMER- 
INGS OF  REFORM       12870 

WILLIAM  THE  CONQUEROR,  OR  THE 
GAME  COCK  OF  GUILDHALL      1 2980 

WIMBLEDON  HOAX  (tHE)  !  OR  WATERLOO 

review!!!!!!  .  .  .  12790 
winding  of  the  clock,  the  1 2674 

wit's  MAGAZINE  AND  ATTIC  MISCEL- 
LANY, VOL.  I,       1 3 152-71 

wit's  MAGAZINE,  VOL.  II       13172-5 

WITCH  OF  ENDOR  (THE)  AND  THE  UN- 
EXPECTED GHOST       12084 

WITCHES  IN  A  HAY  LOFT       12150 

WITH  RAGE  THE  BOLD  BARON  TURNED 
PALE  .  ,  .      1 1 774 

WORKING  OF  THE  PROPHECIES  OF 
SAMUEL  THE  PROPHET,  THE,  .  .  . 
12099 

WORKING  OVER  THE  FLATS  IN  TROUBLE'd 
WATER      1 1 89 1 

WORSE  AND  WORSE  OR  THE  SPORTS  OF 
THE  1 9TH  CENTURY       I1886 

WORTHY    ALDERMAN    OF    LONDON,    A 

13355.  I33S5A 
WRONG  CONTRE  OR  VIS  A  VIS       1 2934 
WRYMOUTH  CANDIDATES  (tHE)  OR  THE 

STRANGERS  AT  HOME      1 2284 

YACHT  FOR  THE  REGENT'S  BOMB,   THE 

12804 
YANKEY  TORPEDO,  THE      12090 
YORKSHIRE     BUMKINS     MISTAKE,     THE 

1 1979 
YORKSHIRE  JOCKEY  (tHE)  .   .  .       1 2649 
YORKSHIREMAn'S  SLAP  AT  THE  REGENT'S 

BOMB,  THE      12806 
YOU  WILL  ALL  BE  D — D       13109 

ZEPHIR      1 3 140 


1068 


INDEX  OF  SELECTED  SUBJECTS 


The  subject-index  is  supplementary  to  the  Index  of  Persons  and  to  the  cross- 
references  in  the  text.  For  countries  see  also  their  respective  sovereigns  and 
notables.  Political  events  are  not  indexed;  they  will  be  found  under  the  ap- 
propriate date  and  from  the  cross-references  there  given.  An  asterisk  denotes 

a  foreign  print. 


ACCIDENTS,  see  MISHAPS 

AFRICA     1816:   12795,   12810.     1819 
13249,  13267 

AMERICA  AND  THE  AMERICANS     1812 

11862,  1 1876,  11921.  1813:  12043 
12077,  12085,  12090,  12113.  1814 
I2I69,  I228I,  I23IO,  12311,  I23I2* 
12313*.  1815:  12452,  12453,  12579 
1817:  12878.  1818:  13155,  13155A 
1819:  13218,  13244,  13283,  13284 

ANTIQUARIANS,      CONNOISSEURS,     AND 

COLLECTORS  1811:ii8i9.  1812: 
11952.  1814:12412.  1816:12853. 
1819:  13365 

ARCHERY    1817 :  12957 

ART,     ARTISTS,     AND     WORKS    OF    ART 

1812:  11962.  1814:  12185,  12411, 
12426.  1815:  12606*,  12607,  12619. 
1816:  12746,  12787.  1818:  13034. 
1819:  13364,  13436.  See  pictured, 
exhibitions  of 
ASS  riding   1815:12654 

ASTROLOGY      .\ND      FORTUNE-TELLING 

1815:  12689.    1816:  12732 

ASTRONOMY,  BURLESQUE  OR  SYMBOLI- 
CAL 1811  :  11705,  1 1708,  11737, 
11738,  11739,  11740.  1815:  12668. 
1816:12725.   See  COMETS, 

AUCTIONS    AND    AUCTIONEERS      1813: 

12135,  12136,  12167.  1819:  13229, 

I338I 

AUSTRALIA   1817:12959.    1819:13244 

AU.STRIA  AND  AUSTRIAN'S  1813  :  12033, 
12093,    12098,    12100,    12102,    12109, 

12113,  12114,  12122.  1814:  12169, 
12187,  12200,  12201*,  12202,  12203, 

12204,  12204  A,  12204  B,  12214, 
12215,  12227,  12229,  12238*,  12248*, 
12269*,   12299,   12299  A,   12320*. 

1815:  12453,  12460,  12462,  12541, 

12541  A,  12537, 12558, 12565*, 12588*, 

12589*,  12608,  12617,  12618,  12619, 
12620,  12621,  12623.    1816:  12756. 


1817  :  12889,  12889  A,  12890,  12902. 
Addenda:  13485  (1812),  13489 
(1814).   See  Bohemia 


BALLOONS  1811  :  11716,  11728,  11775, 
11791.  1812:11955.  1814:12301, 
12304.    1819 :  13289 

BANK     OF     ENGLAND       1811:      I1716, 

11732.    1818:  13001.    1819:  13197, 
13198,  13198A,  13199,  13203,  13245, 

13407 
banking   1811 :  11716 
barbers  and  barbers '  shops 

11779,  11805.    1812 : 

12007.  1814:  12188*. 


1811: 
11956.  1813: 
1815:12575*, 

12575  A*,    12576*,    12577*,     12596*. 

1816:  12839,    1817:  12955 
BATH     1812:    11970.      1813:    12147. 

1818:  12983,  12984 
BATHING  (sea  or  river)    1813:  12144. 

1819:  13397,  13398 

BAVARIA  AND  BAVARIANS    1813  :  12033, 
12098,    12099,    I2114,    I2117,    12123. 

1814:  12248* 
BEER,   adulteration  of,    1813:  12019, 

12038,  12089.    1815:  12502,  12502  A 
BELGIUM      1814:     12192,     12192  A*, 

12234.    1815:12537,12542*.    1816: 

12704 

BIRMINGHAM       1812:      I1876,      I1880. 

1819  :  13251.  See  wolseley,  sir  c. 

BOHEAHA    1813:  12098,  12099 

BOW  STREET  OFFICERS,  See  HUMPHREYS ; 

TOWNSEND 
BRABANT,  see  BELGIUM 
BRIGHTON    1814:12390,12391.    1815: 

12654.    1816:  12714,  12717,  12748, 

12749,  12753,  12755,  12759,  12765. 

1817:  12892,  12918.     1819:  13208, 

13209,  13210,   13211,   13212,  13215, 
13259,  13261,  13389,  13435 

BRISTOL    1813:  11999,  12005,  12017, 

12018,  12021.  See  ELECTIONS 


[069 


1818 
1819 

1816 


CAMBRIDGE     1811 
TIONS 

CAMBRIDGE  UNIVERSITY,  members  of, 
&c.     1811  :   11707,   117"-     1818: 

13105,  13105  A,  13105  B.  1819: 
13285 

CANADA   1819 :  13231 
CARD  PLAYING    1812:  11978.    1814: 
12277.    1818:  13093,  13130,  13189 

CARICATURES       AND       COMIC       PRINTS 

1811:  11736,   11746,   11758,  11759. 

1812:  11976,  11985.    1814:  12208, 

I22S4,  12317.    1815:  12617,  12618. 

1818:  13036.  1819:  13249,  i3449- 
Adde?ida:  1 24^2,  i3494, 1 3495  (1815) 

CHESS  1814:  12193,  12392.  1819: 
13433 

CHIMNEY-SWEEPS    1811:11765,11795. 

1812:  11985.    1815:  12613.    1816 
12790.    1817:  12869,  12956. 
13047,  13048,  13167,  13167A. 
13206,  13409,  13430 

CHINA     1813:    12018,   12021. 
12749 

CHINOISERIE  (Chinese  architecture, 
furniture,  and  decor)  1814  :  12300, 
12301,  12302,  12304.  1816:  12714, 
12748,  12749,  12753,  12754,  12755, 
12756,  12759,  12766,  12791,  12793. 
1817:  12873,  12933,  12934 

CLERGY,  nonconformist  and  irreg- 
ular 1811:  11780.  1812:  11972, 
1213s,  12136.  1815:  12624.  1816: 
12726.    1817:12869.    1818:13096, 

13103,  13107,  13108,  13109,  13110, 
13111,  13112.     1819:  13326,  13347- 

See  CARPENTER,  ELIAS;  CLAYTON, 
JOHN;  HARRISON,  JOSEPH;  HILL, 
ROWLAND;  HUNTINGTON,  WILLIAM; 
SOUTHCOTT,  JOANNA 

CLERICAL,  the  church  and  clergy 
1811:  11707,  11745,  11778,  11780, 
11781,  11784,  11789,  11794.  1812: 
11930,  11933,  11959,  11963.  1813: 
12016,  12016  A,  12161,  12163.  1814: 
12181,  12182,  12334,  12396,  12441. 
1815:  12624,  12651,  12652,  12664. 
1816:  12714,  12849.  1817:  12869, 
12884.  1818:  13101,  13102,  13103, 

13104,  13105,  13105  A,  13105  B, 

13106,  13107,  13108,  13126.  1819: 
13224,  13225,  13274,  13275,  13276, 
13281,  13282,  13286,  13288,  13289, 
13295,  13303,  13316,  13347,  13407, 


INDEX   OF   SELECTED   SUBJECTS 
11713.    See  ELEC- 


13413,  13470.  See  UNIVERSITIES; 
BISHOPS,  &c.,  in  Index  of  Persons 

CLUBS 

Almack's  1817:  12953 
Brooks's  1815:12629 
White's   1819  :  13348,  13348  A 

COCKNEYS      AND      COCKNEY      DIALECT 
1812:11968,11988.     1816:12837. 

1817:  12947,  12957.    1819:  13257, 

13423 
COFFEE  HOUSES   1818  :  13158 
COMETS    1811  :  11705,   11737,   11738, 

11740,  II8I0 
COMMERCE    1811:11736.    1812:11869, 

11876,  11880,  11886.  1813:  11999, 
12000,  12005,  12008,  12009,  12017, 

12018,  12021,  I202lf,  12037,  12II2, 

12113,  12119.  1814:  12191,  12251, 
12265,  12269*,  12275,  12290,  12298, 
12307,  12310, 12316*,  12317,  12318*. 
1815:  12502,  12502  A,  12507,  12527, 
12546,  12606*,  12607.  1816:  12719. 
1817:  12867,  12867  A,  12869,  12873. 
1818:  13037,  13038,  13039.  1819: 
13308.  Addenda:  13485  (1812): 
13491,  13491  A  (1814).  See  in- 
dustry 

COSTUME     1812:11922.     1813:12127. 

1814  :  12210, 12316*,  12354* 
12356*,     12357*,     12358*, 

12361*,  12361  A*,  12362* 
12364* 


12355*, 
12359*, 


12363*, 
12369*, 
12373*, 


12362  A*, 
12365*,   12368*, 


12370*,   12371 


12372*, 
12376*, 


12377*, 
12382*, 


12381*, 
12384  A, 


12374*,  12375*, 
12378*,  12380*, 
12383*,  12384*, 

12385*, 12386*, 12387*, 12397.  1815: 
12641*.  1816:  12825,  12826,  12831, 
12837, 12840,  12840  A,  12840B,  12841, 
12842,  12846,  12847,  12859*,  12860*. 
1817:  12922,  12937,  12938,  12939, 
12940,  12947,  12949,  12950,  12971, 
12974,  12975,  12976.  1818:  13055, 
13055  A,  13057,  13058,  13073,  13082, 
13084,  13087,  13089,  13090,  13099, 
13100.  1819:  13202,  13237,  13393, 
13444,  13445,  13445  A,  13455,  13456, 
13480.  See  DANDIES ;  paris,  visitors 
to 

COUNTRYFOLK  AND  FARMERS  1811: 
11727,  I1771,  I1779,  II785,  II786, 
11787,    11788,    II789,    11790,    II791, 

11792.  1812:11923,11982.  1813: 
12143,  12150.    1814:  12289,  12393, 


1070 


INDEX   OF   SELECTED   SUBJECTS 


12406,  12415,  12419.    1815:  12503, 
12643,  12671.    1818:  12983,  13076, 
13094,  13136.    1819:  13286,  13412 
COUNTRY  LIFE    1812:  11975.    1815: 
12651.    1819:  13437 

COURTESANS        1811:      I1783,      I1796, 

11802,  11806,  11809,  11826,  11830. 
1812:  11913,  11914,  11949,  "957, 
11960,  11961.  1813:  11993,  12158, 
12159.  1814:  12185,  12294,  12337, 
12404.  1815 :  12640*.  1816 :  12700, 
12737,  12813,  12814.  1817:  12964, 
12965.  1818:  13054,  13077,  13186. 
1819:  13461,  13462,  13463,  13479 

CRICKET    1811  :  1 1790 

CRIM.  CON.,  suits  of  1812:  11966, 
11967,    1813:12006,12042 

CURRENCY    1811  :  I1713,  I1716,  I1731, 

11732.  1812:  11900.  1814:  12314, 
12449.  1816:12751.  1817:12865, 
12875.  1819:  13197,  13198,  13198A, 
13199,  13203, 13245 

DANCING  1811:  11711,  11817,  11834. 
1812:  11849,  11856,  11946,  11984. 
1813:  12046,  12047,  12052,  12133, 
12138.  1814:  12363*,  12403.  1815: 
12499,  12500*,  12603, 12630,  12680. 
1817:  12924,  12925,  12925  A,  12926, 
12927,  12927  A,  12928,  12929,  12930, 
12931,  12932,  12933,  12934,  12935, 
12936,  12938,  12952,  12953.  1818: 
12996,  13098,  13124,  13125,  13140, 
13141,  13142.  1819:  13369,  13432 

DANDIES  1816:  12904,  12937.  1817: 
12873,  12972,  12977.  1818:  13007, 
13010,  13029,  13029  A,  13030,  13031, 
13032,  13048,  13049,  13050,  13053, 
13054,  13055,  13055  A,  13056,  13058, 
13059,  13060,  13061,  13062,  13063, 
13064,  13065,  13066,  13067,  13068, 
13069,  13070,  13071,  13072,  13074, 
13075,  13076,  13077,  13082,  13083, 
13087,  13088,  13090,  13091,  13092, 
13093,  13094,  13104,  13106,  13127, 
13131,  13150.  1819:  13202,  13237, 
13239,  13241,  13249,  13393,  13394, 
13397,  13398,  13399,  13400,  13401, 
13403,  13404,  13405,  13406,  13408, 
13409,  13410,  13411,  13412,  13417, 
13420,  13423,  13424,  13425,  13427, 
13428,  13430,  13440,  13441,  13442, 
13444,  13445,  13446,  13447,  13448, 
13449,  13481 


DEATH  (personified)  1812:  11864, 
11888,  11921.  1813:  12062,  12083, 
12090,  12093,  12110,  12153,  12157, 
1814  :  12171, 12190, 12206, 12206  A*, 
12235, 12235  A*,  12411, 12412, 12413, 
12414,  12415,  12416,  12417,  12418, 
12419,  12420,  12421,  12422,  12423, 
12426,  12427,  12428, 
12431,  12432,  12433, 
12436,  12437.  1815: 
12523,  12529,  12541, 


12424,  12425, 

12429,  12430, 

12434,  12435, 

12516,  12518, 


12541  A,  12558,  12562*,  12563*, 

12572*,  12656,  12657,  12658,  12659, 

12660,  12661,  12662,  12663,  12664, 

12665,  12666,  12667,  12668,  12669, 

12670,  12671,  12672,  12673,  12674, 

12675,  12676,  12677,  12678,  12679, 

12680,  12681,  12682,  12683,  12684, 

12685,  12686,  12687,  12688,  12689, 

12690,  12691.  1816:  12729,  12794, 

12821,  12848,  12849,  12850,  12851, 

12852,  12853,  12854,  12855,  12856, 

12857,  12858.  1819:  13279,  13451, 
13452 
DEBT,  arrest  or  imprisonment  for 

1811:  11802,  11814.  1812:  n86o, 

I1860  A,  II914.  1813:12132,12133, 

12140.  1814:  12209,  12328,  12428, 
12440.  1816:  12742,  12743.  1817: 
12873,  12878,  12881,  12961,  12965. 
1818:  12995,  13070,  13092.  1819: 

13287,  13287  A,  13403 
DENMARK    1814:  12169,  12234,  12238*. 

1815:  12538 

DENTISTS      AND      DENTISTRY        1811: 

1 1798.    1816:  12834 

DISSENTERS,  See  CLERGY,  nonconform- 
ist and  irregular;  Quakers 

DREAMS  1811:  11736.  1812:  11893, 
11898,  11988.  1813:  12105,  12163. 
1814:  12291.  1815:  12455,  12504, 
12578.    1816:  12707,  12707  A,  12817 

DRINKING    TO    EXCESS      1811:     I1761. 

1812:  11879,  11879  A,  11897.  1813: 
12039.  1814:  12181,  12182,  12291, 
12296,  12297,  12351,  12367,  12422. 
1815:  12686,  12699.  1816:  12741, 
12791.  1818:  13102,  13162.  1819: 
13249.  Addenda:  1'^^^']  {XSIV) 
DRIVING,  coaches,  carriages,  and  carts 
1811:  11711,  11761,  11768,  11811, 
11812.  1812:11943,11950.  1813: 
12129.  1815:  12670,  12683,  12694. 
1816:  12774,  12845,  12851.    1817: 


1071 


INDEX   OF   SELECTED   SUBJECTS 


12959,  12960.    1818 : 

13040, 

13048, 

13053,  13146,  13187. 

1819: 

13389, 

13430 

DUBLIN    1811 :  1 1778. 

1812: 

1 1849, 

11851,  11852,  11976. 

1813: 

12017, 

12021.     1819:    13397 

,    13398 

.     See 

KING,  ABRAHAM 

DUELS    AND    DUELLING 

1811: 

I 1744. 

1815:  12663.    1816: 

12830. 

1817: 

12942,  12957,  12962. 

1818: 

13175- 

Addenda:  13498(181 

6) 

EAST  INDIES,  Missionaries  in    1816: 
12719,  12721,  12724,  12726,  12728 

EAST  INDIES  AND  EAST  INDIA  COMPANY 

1812:  11832,  11833,  11888,  11889. 

1813:  11999,  12005,  12008,  12009, 
12017,  12018,  12021,  i202it,  12077, 

12081,  12164,  12165.  1816:  12718, 

12719,  12721,  12722,  12723,  12724, 

12725,  12726,  12727,  12728,  12729, 

12730,  12731,  12732,  12733,  12734, 

12735,  12736,  12737,  12738,  12739, 

12740,  12741,  12742,  12743,  12744, 
12745.  1819:  13249 

EATING  AND  DRINKING     1811  :    1 1 815. 

1812:  11945,  11959.  1813:  12143. 
1814:  12265,  12272,  12290,  12350*, 
12354*,  12361*,  12361  A*.  12362*, 
12362  A*,  12366*,  12366  A*,  12367*, 
12368*,  12369*, 12418, 12443.  1815: 
12502, 12502  A,  12655,  12666, 12760, 
12773.  1816:12854.  1817:12883, 
12892,12937.  1818:  12997,  12997  A, 
12997  B,  i3"5-    1819:  13192,  13441- 

See  DRINKING  TO  EXCESS 

EDUCATION  1811:11745,11763.  1816: 
12704.  1817:12922.  1818:13104. 
1819:  13276,  13434.    See  schools, 

UNIVERSITIES 

EGYPT     1811:    11736.     1814:    12205, 

12205  A,    12235  A*,    12244*,    12249*, 

12267.  1815:  12463,  12464,  12465, 
12468,  12569*,  12602*,  12606*, 
12607.  1817 :  12902 

ELECTIONS    1812:11923.    1813:12138, 

1819:  13287,  13432 
Berkshire    1812:11863,11875 
Bristol   1812:11907.    1817:12866, 

12869 
Cambridge   1819:  13285 
Gloucester   1816:12807 
Helston    1813 :  12067 
Liverpool    1812:ii9io 


London  1812:11906,11909,11915. 

1818 :  13002,  13006 
Newcastle-under-Lyme         1815: 

12590 
Newry   1812:  11911 
Old  Sarum   1812:  11886 
Southwark   1812:  11 908 
Stafford    1812:  11941 
Tregony    1813:  12067 
Westminster    1812:ii9i2.    1818: 

12999,     13000,     13001,     13002, 

13003,13006.  1819:13204,13205, 

13207,  13219 
Weymouth     1813:    12067.     1814: 

12284 
Worcester   1812:11913 

EMIGRATION    1819:13244,13267 

ENCLOSURES  1816:12835.   1819: 13281 
EXPLORATION    1818  (African):  13043 

(Polar):  13069.  1819(Polar) :  13194, 

13195,  13255,  13289 

FAIRS  1811:  11787.  1814:  12341, 
12342,  12343,  12344,  12346,  12347, 
12348 

FENCING    1814:12360* 

FINANCE,  National  Debt,  Loans 
1811  :  11713,  11716.  1812:  11886, 
11912.  1815 :  12502,  12502  A,  12578. 
1816:  p.  630,  12717.  1818:12987, 
13114.      1819:    13203,    13236.     See 

CURRENCY 
FISHING    1817:12957,12958 

FOOD  (including  porter),  price  of 
1813:  12089,  12095,  12110,  12265. 
1815:  12502, 12502  A,  12503,  12507, 
12523.  1816:12714.  1818:13004. 
1819:  13268,  13269.  Addenda: 
13497(1816) 

FRANCE  AND  THE  FRENCH  181 1  :  1 1735, 
I 1737,    I 1738,    I 1739,    I 1742,    I 1743, 

11798,  11817.  1812:  11876,  11880, 
II896,  II90I,  11903,  II917,  II9I8, 
11919,  11920,  11921.  1813:  11991, 
11992,  11994, 11995,  11996,  11996  A, 
1 1 997,  11998,  12001,  12002,  12004, 
12013,  12014,  12015,  12022,  12023, 

12023  A*,  12025,  12033,  12034,  12035, 

12036,  12044,  12048,  12049,  12050, 

12051,  12053,  12058,  12060,  12061, 

12068,  12069,  12070,  12071,  12072, 

12074,  12075,  12086,  12087,  12088, 

12093,  12094,  12096,  12097,  12100, 

I2IO7,  12108,  12110,  I2I1I,  12II2, 


1072 


INDEX  OF  SELECTED  SUBJECTS 


12113,  12114,  12115,  12118,  12119, 
12123.  1814:  12169,  12171,  12172, 
12174,  12177*,  12178*,  12179,  12186, 
12189, 12190,  12192,  12192A*,  12193, 
12195,  I220I*,  12202,  12203,  12204, 
12204  A,  12204  B,  12205,  12205  A, 
12213,  12214,  12215,  12216,  12217, 
12217  A*,  12218  A*,  12219,  I222I, 
12225,  12226,  12227,  12228,  12229, 


12233, 

12236*, 

12240 

12245^ 


12234,   12235,   12235  A' 


* 


12237' 
12241^ 
12246* 


12238*, 
12242*, 
12248*, 


12239'', 
12244*, 
12250*, 


I2251,  12252,  12255,  12256,  12257, 
12262,  12266,  12269*,  I2271,  12274, 
12283*, 12296, 12297, I2316*, I2361*, 
12361  A*,  12362,  12362  A*,  12409, 

12410.  1815:  12454,  12455,  12456, 

12457,  12458,  12459,  12460,  12461, 

12462,  12463,  12464,  12465,  12466, 

12467,  12468,  12469,  12470,  12471, 

12472,  12473,  12474,  12475,  12477, 

12478,  12479,  12480,  I 248 I,  12482, 

12489,  12499,  12503,  12506,  12512, 

12515,  12516,  12517,  12518,  12520, 

12522*,  12522  A*,  12523,  12524, 
12525,  12527,  12528,  12529,  12530, 

12531,  I2S34,  12535,  12537,  12541, 
12541A,  12543,  12544,  12546,  12547, 
12548,  12550,  12555,  12557,  12558, 
12561,  12562*,  12564*,  12566*, 
12567*,  12569*,  12573*,  12577*, 
12579,  12580,  12581,  12583*,  12588*, 
12592,  12594,  12606*,  12607,  12608, 
12609,  12612,  12613,  12614,  12615, 
12619,  12620,  12621,  12622,  12623. 
1816:  12700,  12703,  12704,  12706*, 
12707,  12707  A,  12712*,  12713*, 
12751,  12786,  12797.  1817:  12902, 
12922.  1818:  13007,  13053.  13082. 
1819:  13284,  13429,  13431,  i3434» 
13441.  Addenda  (1812):  13484, 
13485,  13486.  (1813):  13488.  See 
PARIS,  English  visitors  to 

GAME  LAWS    1812:11923 

GAMING  AND  GAMESTERS    1812  :  I1862. 

1815:  12659.    1817:  12963,  12964, 
12966, 12967,  12968,  12969 

GARDENERS    1811:il822.    1812:il892. 

1814:  12185,  12189,  12191.    1815: 
12672 


DISTILLERS 
12658.     1816 


1813: 

12225, 
12707, 

1811: 

12777. 


11999,  12005,  12009, 
1818:   13045, 
1815: 


12190, 

12235,      12235  A*, 

*     1815 


GAS,  lighting  by   1813:12093.    1815: 

12633.    1817:  12867,  12867  A 
GENOA   1815:  12500*,  12540,  12552 

GERMANY '  AND  GERMANS    1812:iIQ2I, 

1813:  12086,  12122.    1814:  12218, 
12234,  12246*,  12272,  12286,  12318*, 
12319*,     12320*,      1815:     12569*, 
12602*,  12606*,  12607,  12608 
GHOSTS    1812:  11893,  11895. 
11990,  12084,  12155.    1814 
12234.    1815:12452.    1816 
12707  A 

GINSHOPS      AND 

11813.    1815: 
1818:  13162 

GLASGOW    1813 

12017,  12018,  12021 

GREENWICH    HOSPITAL 

13045  A.    1819:  13476 

GRETNA   GREEN     1811:    I1818 

12679.    1819:  13384 

GUILLOTINE        1814  :      12172, 
12205,      12205  A, 

12255,12277,12319-".  1»15:  12454 
12523,  12537,  12541,  12541  A.  1818  : 
12997,  12997  A,  12997  B.  1819: 
13207,  13271,  13274,  13275,  13332 


HANOVER     1813:   12063,   12077,   I2I10, 

12114,  12117.    1814:  12234.    1815: 
12499,  12533,  12537 

HELIGOLAND    1814:12317 

HERALDRY  (burlesque)    1814 

12205  A,      12235,      12235  A*. 

12731.  1819:  13275,  13394,  13395 

HOLLAND  AND  THE  DUTCH   1811 

11741.  1813:  12013,  12033, 
12096,  12100,  12102,  12104, 

12106,  12107,  12110,  12II2, 
12114,  12115,  12116,  12117, 
12119,  12120,  12120  A*,  12122, 12123. 

1814:  12169,  12172,  12174,  12188*, 

12191,   12192,   12192  A*,   12199, 
12200, 12218, 12218  A*,  12227,  12234, 

12256,  12273,  12276,  12282,  12288, 
12342,  12347.  1815:  12453,  12506, 
12525,  12558,  12606*,  12607,  12619, 
12620.  Addenda  (1814):  13491, 
13491  A 
HORSE-DEALERS  1815:  1 2649.  1819: 

13427 

'  'Germany'  often  connotes  Austria;  it  is  also  used  more  generally,  and  for  minor 
German  states.    See  rhine. 


12205, 
1816: 


12076, 
12105, 
12113, 
12118, 


1073 


3Z 


INDEX   OF   SELECTED    SUBJECTS 
I 1999,     12005,     12009, 


HULL      1813: 

I2017,   I202I 
HUNGARY     1812:11921 

HUNTING  1811  :  11811,  11812.  1812: 

11982.  1814:  12413,  12424.  1816: 

12740.  1817:  12956,  12957,  12958. 
1819:  13404,  13469 

INDIA  see  EAST  INDIES 

INDUSTRY    1812:  11869,  11876,  11880. 
1813:  12021.    1817:  12875.    1819: 

13 1 99.    See  COMMERCE 
INNS,  TAVERNS,  ALEHOUSES,  &C.    1811  : 
I1829.     1812:11850.     1814:12396, 

12400.  1816:  12736,  12855.  1818: 

13 166,  1 3 166  A.    ^ee  COFFEE-HOUSES, 
RESTAURANTS 
IRELAND  AND  THE  IRISH    1812  :  I1839, 
I 1846,    I 1849,    I 1850,    I 185 I,    I 1852, 
I1888,    I1893,    I1898,    II905,    II911, 

1 1 955,  1 1 970,  "975,  1 1 976,  11977, 
11978,11982.  1813  :  12016, 12016A,' 
12021,  12071,  12073,  12077,  12081, 
12084,  12160.  1814:  12191,  12285, 
12396.  1815:  12499,  12505,  12699. 
1816:  12757,  12777,  12786,  12804, 
12812,  12815,  12829,  12845,  12887. 
1817:  12978.  1818:  13081,  13125, 
13152,  13152A,  13153, 13153  ^,  13154, 
13154A,  13155, 13155  A,  13156,  13157, 
13158,  13159,  13160,  13161,  13162, 
13163,  13164, 13164A,  13165,  13165A, 
13166,  13166A,  13167,  13167A,  13168, 
13168A,  13169,  13169  A,  13170, 
13170A,  13171,  13171  A.  1819: 
13346,  13397,  13398,  13408,  13420, 
13477.  ^(ifi?e«</a:  13498(1816).  See 

DUBLIN 

ITALY  (not  including  Elba)  and 
ITALIANS  1813: 12033, 12100, 12107, 
12112.  1814:  12169,  12188*,  12192, 
12192  A*,  12218,  12218  A*,  12222, 
12225,  12227,  12234,  12238,  12244, 
12246*,  12248*,  12249*,  12256, 
12269*.   1815:  12499,  12500*, 

12522*,   12522  A*,   12525,   12533, 

I2S33A,  12542*,  12589*,  12606*, 
12607,  12619.  1816:  12713*.  See 

GENOA,  NAPLES,  ROME,  SICILY 

JAFFA  1811:  11736.  1813:  12112. 
1814:  12195,  12202,  12205,  12205  A, 


12225,   12235,   12235  A*,   12250*, 

1815:  12465,  12466,  12546 
JEWS  1811:11704,11716,11802.  1812: 
11932,  11945,  11946,  11969,  11986. 
1813:  12146.  1814:  12198,  12256, 
12301,  12315,  12329,  12339,  12429. 
1815:  12517,  12632,  12691.  1816: 
12813.  1818:  13048,  13051,  13112, 
13114,  13115.  1819:  13408,  13409, 
13443 

JOHN     BULL     AS     BROUGHAM       1816: 

12766 
JOHN    BULL    AS    BULL      1812:     I1845. 

1814:  12550.    1816:12796.    1817: 
12864.    1819:13235,13270,13288 

JOHN     BULL     AS     DOG       1811:     II714. 

1812:  11896,  11921.    1814:  12277. 
1817 :  12901 

JOHN  BULL  AS  GEORGE  III    1819  :  13320 

JOHN  BULL  AS  GEORGE,  Prince  Regent 
1817:  12875 

JOHNBULLASMAN    181 1  :  I1712,  I1726, 

11727,  11728.    1812:  11841,  11846, 

1 1862,  1 1865,  11866,  11870,  11 870  A, 

11878,  II888,  11889,  11894,  11897, 
11905,  II9I4,  II940,  12000,  12005, 
12009, 12016, 120I6A,'  12019, 12037, 
12040,  12066,  12067,  12068  (soldier), 
12074,  12077,  12078,  12089,  12099, 
12102,  12110,  12114,  12117,  12118, 
12122,  12123  (sailor).  1814:  12169, 
12183,  12191,  12193,  12199,  12207, 
12258,  12265,  12267,  12292,  12302, 
12304,  12313*,  12439.  1815:  12452, 
12499,  12501,  12502,  12502  A,  12503, 
12504,  12507,  12509,  12517,  12523, 
12534,  12540,  12556,  12592,  12608, 
12614,  12615,  12620.  1816:  12700, 
12704,  12714,  12717,  12728  (mis- 
sionary), 12750, 12752, 12754,  12756, 
12758,  12762,  12766,  12770,  12770  A, 
12778,  12779,  12781,  12785,  12786, 
12787,  12790,  12793,  12794,  12796, 
12797,  12798,  12805,  12837.  1817: 
12863,  12865,  12869  (constable), 
12870,  I 287 I,  12874,  12875,  12887. 
1818:  12986,  12987,  12989,  13004, 
13036,  13039  (judge),  13116.  1819: 
13192,  13196,  13197,  13203,  13214, 
13215,  13244,  13246,  13267,  13268, 
13269,  13277,  13287,  13287  A,  13347, 
13408,  13425.  Addenda:  13488 
(1813):  13492(1814) 


'  Date  uncertain. 


1074 


INDEX   OF   SELECTED   SUBJECTS 


JOHN     BULL     AS     MAN-BULL         1814: 

12209 
JOHN  BULL  MENTIONED    1811  :  I1715, 

1 1729, 1 1739  (sailors),  11780.    1812  : 

11852,  11856,  11867,  11920,   II935- 

1813:  11991,  11994,  12022,  12063, 
12069,  12096,  12124.    1814:  12194, 

12281,  12305,  12314.    1815:  12506, 

12517.  1816:  12703,  12757,  12760, 

12804.  1818:  12996,  13005,  13007. 

1819:  13226,   13228,   13247,   13292, 

13293,  13306,  13307,  13318,  13319, 
13346 

LEGAL,    LAWYERS,    &C.      1811:    I1704, 

11708,  11777,  11816.  1812:  11931, 
11980,  11989.  1813:  12006,  12042, 
12124.  1815:  12580,  12647,  12653, 
12688,  12695.  1816:  12788,  12830. 
1817:  12862,  12875,  12882,  12885, 

12898,  12899,  12899  A,  12900,  12901, 

12916.  1818:  13011,  13012,  13154, 
13154A.  1819:  13201,  13286,  13451, 
13452.  See  libel;  penal  code; 
judges,  &c.  in  Index  of  Persons 

LIBEL,  law  of,  &c.  1811  :  11713, 11714, 
11716,  11717.  1812:  11893.  1813: 
12037,  12081,  12110.  1814:  12198, 
12211,  12388.  1817:  12886,  12898, 
12899, 12899  A,  12900, 12901.  1818: 
12980,  12982.  1819  :  13287,  13287  A, 
13297.  Addenda:  13493,  i3494, 
13495  (1815) 

LISBON  1817:  12872,  12887.  1819: 
13346 

LITERARY  :  AUTHORS,  BOOKSELLERS,  &C. 

1812:  11894,  11941.  1813:  12082, 

12091,  12139,  12140,  12163.  1814: 

12338,  12388,  12389.  1816:  12826, 

12827,  12828.  1817:  12877,  12970. 

See  NEWSPAPERS,  NOVELS 
LIVERPOOL   1812:11869.    1813:11999, 
12005,    12009,    I2OI7,    I2018,    I202I, 

i202if.    1814 :  12314 

LONDON,  Corporation  of.  Aldermen, 
&c.  1811  :  11716,  11827.  1812: 
11866,  11869,  11887,  11906.  1813: 
I 1999,  12017,  12038,  12054,  12057, 
12089,  12095.  1815:  12452,  12552. 
1816:  12715,  12809,  12813,  12814, 
12815,  12816,  12817.  1818:  13039. 
1819:  13201,  13254,  13272,  13273 

LOTTERIES   1811:ii7i6.   1814:12298, 


12299, 12299A.  1817: 12880.  1819: 
13236 
LOW  life:  1811  :  11796,  11826.   1812: 
11956,  11981,  11985,  11986,  11987, 

11988,  12057,  12289.  1814:  12394, 
12401,  12403.  1815:  12631,  12654, 
12658,  12667.  1816:  12815,  12816, 
12817.  1818:  13081,  13147,  13159, 
13177.     1819:    13207,    13448.     See 

CHIMNEY  sweeps,  GIN-SHOPS 

MAGISTRATES  (justices  of  peace  in- 
cluding aldermen)  1812:  11892, 
11971.  1815:  12616,  12643.  1819: 
13260,  13281,  13282,  13287,  13291, 
13295,  13303,  13342,  13358,  13358  A, 
13397,  13398,  13482 

MALTA  1815:  12606*,  12607.  1818: 
1299s  (Prize  Court  of) 

MAN,  ISLE  OF    1812  :  I1888 
MANCHESTER       1812:      I1869,      I1876. 

1818:  12988.  1819:  13258,  13260, 
13262,  13263,  13266,  13267,  13270, 
13300,  13336,  13341,  13342,  13343- 
Addenda:  \2Soo{\M9).  S^e  ethel- 
STON,  c.  w. 

MARGATE  1812:11968.  1813:12144. 
1817:  12932.  Addenda:  13494, 
13495(1815) 

MARRIAGE  1811  :  11744,  II747,  1 1748, 
11810,  11819,  11821.  1812:  11837, 
11838,  11899,  11914,  11945,  11946, 
1 1 948,  11962,  11965,  11966,  1 1 967, 
11970,  11974,  1 1 978,  1 1 984,  1 1988, 

11989.  1813:  12006,  12042,  12148, 
12156,  12160.  1814:  12173,  12198, 
12394,  12407,  12417,  12423,  12432. 
1815:  12650,  12661,  12671,  12679, 
12684,  12685.  1816:  12780,  12834. 
1817:  12954,  12954  A.  1818: 
13095,  13129,  13160.  1819:  13386, 
13387,    13388,    13389,    13455-     See 

GRETNA  GREEN 
MASQUERADES     1811:    I1808,    I1808A. 

1812:  11989.  1814:  12434 
MEDICAL :  doctors,  surgeons,  patients, 
and  diseases  1811:  11763,  11800, 
11825.  1812:  11951,  11951  A,  11953. 
1813:  12110,  12118,  12130,  12141, 
12142,  12145,  12152,  12153,  12157, 
12160,  12166.  1814:  12185,  12208, 
12330,  12332,  12333,  12335,  12336, 
12425,  12445.  1815:  12466,  12492, 
12493,  12644,  12648,  12669.  1816: 


1075 


INDEX   OF   SELECTED   SUBJECTS 


12756,  12812,  12849,  12852.    1818: 

13117,    13118,    13119,    13156,    13168, 

13168A.     1819:13286,13438,13439 

MENAGERIES        1812:      I1878,      II916. 

1814:  12267 
military:  the  army,  militia,  and 
soldiers  1811  :  11720,  11722,  11743, 
11803.  1812:  11871,  11872,  11873, 
11903,  11917,  11918,  11919,  11920, 
11958,  11961.  1813:  11991,  11992, 
11994,  11995,  11996,  12001,  12002, 
12004,  12010,  12013,  12015,  12024, 
12025,  12033,  12035,  12036,  12043, 
12044,  12045,  12048,  12049,  12050, 
12051,  12053,  12058,  12059,  12060, 
12061,  12064,  12068,  12069,  12070, 
12071,  12072,  12086,  12087,  12088, 
12093,  12094,  12096,  12097,  121 00, 
12108,12109.  1814: 12192,  X2192A*, 
12206,  12206  A*,  12259,  12308*, 
12311, 12312*,  12313*,  12315,  12396, 
12402,  12419.  1815:  12457,  12458, 
12460,  I 246 I,  12462,  12463,  12464, 
12465,  12466,  12467,  12468,  12469, 
12470,  12471,  12472,  12474,  12477, 
12478,  12479,  12480,  12482,  12484, 
12485,  12486,  12487,  12488,  12489, 
12490,  12491,  12492,  12493,  12494, 
12496,  12497,  12520*,  12529,  12531, 

12541,  12541  A,  12546,  12548,  12550, 
12554,  12555,  12557,  12561,  12562*, 
12564*,  12566*,  12567*,  12573*, 
12588*,  12594,  12595*,  12608,  12609, 

12623, 12660.  1816  :  12707,  12707  A, 
12718,  12729,  12738,  12756,  12763, 
12786,  12789,  12790,  12797,  12833, 
12840,  12840  A,  12840  B.  1817: 
12902,  12941,  12978.  1818:  12979, 
13010,  13058,  13059,  13078,  13099, 
13100,  13155,  13155A,  13163,  13165, 
13165  A,  13173.  1819:13202,13218, 
i3237>  13250,  13258,  13260,  13262, 
13263,  13266,  13267,  13270,  13288, 

13295,  13298,  13300,  13336,  13341, 
13477.  Addenda:     13484,  13486 
(1812):  13487(1813) 
MISERS  1811:11804  1815:12678 

mishaps    and    CATASTROPHES      1811: 

11791,11820.  1812:11974.  1813: 
12147.  1815:  12642,  12670,  12674, 
12677,  12683.  1817:  12927,  12934, 
12937,  12955.  1818:  13044,  13046, 
13049,  13050,  13052,  13070,  13126, 
13128,  13153,  13153A,  13179,  13187. 


1819:    13442,    13443,    13449-      See 

HUNTING,  SKATING 
MONEYLENDERS     1811:11832,11833. 

1816 :  12722 
MUSICAL  1811  :  11765,  11765  A,  11778, 
11828.  1813:  12133.  1814:12309. 
1815:  12508,  12508  A,  12572*. 
1816:  12714,  12838.  1818:  13035, 
13036,  13047,  13085,  13086,  13132. 
1819: 13428, 13431, 13446.  Addenda: 
13494(1815) 


NAPLES      AND      NEAPOLITANS        1813: 

12033.  1814:12169,12248*.  1815: 
12555,  12622 
naval:  navy,  mercantile  marine, 
sailors  1811:  11708,  11739,  11742, 
11801,  11809,  11825,  11826.  1812: 
11960,  11965,  11977,  11981.  1813: 
12077,  12090,  12102,  12158,  12159. 
1814:  12212,  12305,  12306,  12310, 
12396,  12408,  12416.  1815:  12539, 
12579,  12589*,  12597*,  12599*, 
12599  A*,  12600*,  12610,  12612, 
12644,  12645,  12673.  1816:  12720, 
12756,  12795,  12804,  12805,  12827. 
1817:  12921.  1818:  12995,  13044, 
13045, 13045  A,  13080, 13123, 13123  A, 
13124,  13177,  13178,  13179,  13180, 
13181,  13182,  13183,  13184,  13185, 
13186,  13190,  13191.  1819:  13194, 
13195,  13249,  13261,  13396,  13408, 
13409,  13423,  13424,  13426,  13440, 
13453,  13457,  13458,  13459,  13460, 
13461,  13462,  13463,  13464,  13465, 
13466,  13467,  13468,  13470,  13471, 

13472,  13473,  13474,  13475,  13476. 
Addenda:    13491,  13491  A  (1814). 

See  PACKET  BOATS,  YACHTS 

NEGROES  1812:  11948,  11961,  11963, 
11973,  11981,  11983,  11984.  1814: 
12312*,  12313*,  12350*.  1815: 
12613.  1816:  12842.  1817:  12868, 
12873,  12891,  12948.  1818:  13013, 
13043,  13044,  13048,  13102,  13112. 
1819:  13193,  13209,  13249,  13255, 
13409,  13473,  13474-  See  'henry  i', 
l'ouverture,  molineux,  sartje, 
waters 

netherlands,  see  belgium,  holland 

newspapers,    periodicals,    and    THE 

PRESS  1814:  12170,  12207,  12302, 
12318*,  12338.   1815:  12545. 


1076 


INDEX   OF   SELECTED   SUBJECTS 


1817:12864,12871,12901.  1818: 
12995,  13009  A,  13009  B,  13009  c. 
1819:  13290,  13292.    See  libel, 

PRINTING-PRESS 

Ambigu,  V    1811  :  11736 

Black  Dwarf  1817  :  12867,  12867  A, 

12886.   1818:12982,12988,12994, 

13001.    1819:13250,13283 
Champion      1814:    12338.      1819: 

13207 
Courier  1811  :  11736.   1813  :  12022. 

1814: 12207.  1815:12545.  1819: 

13346 
Day,  The   1818:  12994 
Edinburgh    Review     1811  :    11710. 

1814:  12338 
Espanol  Constitucional,  El    1818: 

13009,  13009  A,  13009  B,  13009  c 
Evangelical  Magaziiie  1815:  12624 
Examiner      1811:     11704.      1817: 

12867,     12867  A.      1818:    13009, 

13009  A,  13009  B,  13009  c 
Journal  de  L" Empire    1815  :  12543 
Journal  des  Debats    1815  :  12543 
Independent    Whig     1813:    12091. 

1817:  12864,  12867,  12867  A 
Literary    Chronicle     1819:    13449 

[Country  Literary  Chronicle  1819- 

23,  Literary  Chronicle  and  Weekly 

Rev.,    1823-8,   then  merged  in 

Athenaeum] 
London  Gazette  and  Gazette  Extra- 
ordinary     1811:    11716,     11728. 

1813:  12074.  1816:  p.  630,  12779 
Meteor^  1813:i209i.   1814:i2i7o, 

12208,  12338 
Minerve  fra?ifaise,  La  1818  :  13009, 

13009  A,  13009  B,  13009  c 
Moniteur      1813:     12000,     12075. 

1814  :  12319* 
Monthly  Magazine     1814:   12207. 

1819:  13365 
Morning   Chronicle     1812:    1 1 905 . 

1813:12043.  1814: 12207.  1815: 

12545,  12581.   1816  :  12828,  12838. 

1817:     12864,     12867,     12867  A. 

1818:   13009,   13009  A,   13009  B, 

13009  c.    1819 :  13207 
Morn  ing     Herald      1813:     1 2  08 1 , 

12082.    1814:12207,12338 
Morning  Post   1811:11736.    1812: 

11857,11869,11905.  1814:12207. 

1817:  12923.    1818:  12994 

'  See  Index  of 


New   Times    1818:   12994.    1819: 

13249 
News   1814:  12194 
Political  Register  (Cohhett's)  1811 : 

11718,11724.  1814:12207.  1816: 

12864,     12866,     12867,     12867  A, 

12870.    1819  :  13283,  13314 
Quarterly  Review    1819:13346 
Reflector   1811  :  11704 
Reformist's    Register   and    Weekly 

Commentary  1817: 12867, 12867  A, 

12886,  12891 
St.  James's  Chronicle   1819  :  13478 
Satirist^  1811  :  11736.  1813  :  12091. 

1814:  12338 
Scourge^   1811:11744.   1813:i209i. 

1814:  12338 
Star   1814:12194.    1815:12490 
Statesman      1811:     11718,     11724. 

1814: 12207.   1817:12864,12867, 

12867  A 
Sun   1813 :  12093 
Theatrical  Inquisitor    1814:  12338 
The    Times     1811:    11725.     1813: 

12009,     12081.       1814:     12207. 

1815:  12545.    1817:  12891 
Town  Talk'    1812:  11949.    1813: 

12091.    1814 :  12338 
True  Briton   1813  :  12000 
NORWAY    1812:  11921.    1815:  12453, 
12525,  12537,  12552 

NO\TLS    AND    NOVEL-READING      1812  : 

II978.     1814:12338.     1819:13291 
NURSES  AND  MIDWIVES     1811  :    II795, 

11827.      1816:     12852 

OLD  MAIDS    1812:11973.    1813:12137, 

12166.  1814:  12420.  1815:  12642, 
12695.  1817:  12923.  1818:  13128, 
13133,  13145.    1819:  13402 

OXFORD    1818 :  13106 

OXFORD  UNIVERSITY,  members  of,  &c. 
1811  :  11782,  11783.  1814:  12283*, 
12287,  12396.  1816:  12820,  12822, 
12824.    1818:13104.    1819:i34i8 

PACKET   BOATS     1814:    12349,    12361*, 

12361  A*,  12362,  12362  A*.  1816: 
12720.  1817:  12920,  12957.  1818: 
13177 

PANTOMIME        1811:      I1771.       I1773, 

11814.    1812:  11935,  11942.    1813: 
Printsellers. 


1077 


INDEX   OF   SELECTED   SUBJECTS 


12003.  1815:12515,12528,12549*, 
12656,  12698 

PARIS,    English    visitors    in  1814: 

12316*,     12354*,     12355*,  12356*, 

12357*,     12358*,     12359*,  12360*, 

12363*,     12364*,     12365*,  12366*, 

12367*,     12368*,     12369*,  12370*, 

12371*,     12372*,     12373*,  12374*, 

12375*,     12376*,     12377*,  12378*, 

12379*,     12380*,     12381*,  12382*, 

12383*,  12384*,  12384  A,  12385*, 
12386*,  12387*.  1815:12506,12517, 
12634*,  12635*,  12636*,  12637*, 
12638*,      12639*,      12640*,      12641*, 

12698.  1816:12859*, 12860*.  1818: 
13054,  13071.  1819:  13428.  Ad- 
denda: 13496*  (1815) 

PARISH  OFFICERS    1812  :  II951,  II951  A. 

1817:  12863 

PARLIAMENT  (not  including  mere 
allusions  to  debates)  1811 :  11716. 
1812:  11881,  11883,  11884,  11885, 
11915.  1813:  12031,  12067,  12143. 
1814:  12264.  1815:  12505,  12514, 
12532,  12538,  12539,  12591.  1816: 
12717,  12719,  12777.  1817:  12868, 
12876.    1818:12994.    1819:13337 

PAST  AND  PRESENT,  contrasts  between 
1817:  12940.  1818:  13004,  13148- 
9.    1819  :  13192,  13202 

PENAL    CODE      1811:    11718.     1814: 

12208.  1818:  12985,  13012.  1819: 
13197,  13198, 13198  A,  13199,  13203, 
13281,  13287,  13287  A,  13407 

PHRENOLOGY     1816:    12839.     1819: 

13289,  13346 
PICTURES,  exhibitions  of   1811  :  11820 
PICTURES,  travesties  of    1813:  12105, 

12112.    1814:12325.    1816:12817 
PILLORY    1813:  12026,  12027.    1814: 

12209,  12300.  1815:  12591.  1816: 
1 282 1 

PLACEMEN,  pensioners  and  sinecurists 
1811:  11706,  11707,  11710,  11712, 
11713.  1812:  11846,  11854,  11862, 
1 1868,  1 1877,  1 1886,  1 1888,  1 1889, 
11890,  11910,  11912,  11916,  12110, 
12160.  1814:  12198.  1816:  12717, 
12756,  12762,  12778,  12781,  12798, 
12802,  12807,  12812,  12818.  1817: 
12863,  12865,  12869,  12871,  12872. 
1819:  13192,  13244,  13247,  13253, 
13263,  13266,  13271,  13277,  13288, 
13295,  13312,  13325,  13346 


PLAYS,  titles  of  1811:  11715,  11716, 
11772,  11773,  11799,  11814.  1812: 
11865,  11866,  11878,  11887,  11893, 
11900,  11910,  11949.  1813:  12031, 
12039,  12156.  1814:  12273,  12288, 
12300.  1815:  12453,  12608,  12633. 
1816:  12772,  12773,  12814,  12828, 
12829.  1817:12919.  1818:13060, 
13084.  1819:  13208,  13209,  13210, 
13211,  13215,  13227,  13250,  13254 

POLAND  AND  THE  POLES    1812:  II919. 

1813:  12025,  12098,  12112,  12117, 
12122.  1814:  12192,  12192  A*, 
12227,  12234,  12248*.  1815:  12453, 
12499,  12501,  12518,  12522*, 
12522  A*,  12525,  12533,  12537, 
12542*,  12552,  12606*,  12607.  Ad- 
denda: 13486(1812) 

PORTUGAL  1811 :  11723,  1 1736,  11803, 
1812:  11845,  11871,  11872,  11873, 
11905,  11916.  1813:  12070,  12102, 
12113.  1814  :  12186, 12218, 12218A*, 
12227,  12234, 12246*, 12248*.  1815  : 
12484,  12485,  12486,  12487,  12494, 
12496,  12606*,  12607.  1818:  12988. 
See  LISBON 

PRINTING-PRESS  1817:12871.  1819: 
13296 

PRISONS  AND  PRISONERS    1811  :  I1704, 

11724,  11799,  11802.  1812:  11892. 
1813:  12067,  12132,  12133.  1814: 
12205, 12205  A,  12235, 12235  A*.  1815: 
12508, 12508  A,  12508  3(1823),  12523, 
12539,  12572*,  12591,  12620,  12623, 
12691.  1816:12706*.  1818:12995. 
1819:  13253,  13281,  13319 

PRUSSIA  AND  PRUSSIANS  1813:  12033, 
12048,  12078,  12093,  12098,  12100, 
12102,  12104,  12107,  12109,  I2I10, 
12II3,  12114,  12117,  12122,  12123. 

1814:  12177*,  12187,  12201*,  12202, 

12203,   12204,   12204  A,   12204  B, 

12215,  12227,  12229,  12234,  12237*, 
12238*,  12248*,  12269*,  12283*, 

12286,  12287, 12299,  12299  A,  12318*, 
12320*.  1815:12453,12534,12537, 
12558,  12565*,  12606*,  12607,  12608, 

12609,  12619,  12620,  12621.  1816: 
12756.  Addenda:  13486  (1812), 
13489(1814) 

PUGILISM   AND   BOXING     1811:    11746, 

11755,  11786,  11796.  1812:  11842, 
11981.  1814:  12339,  12352*,  12435. 
1815:  12532,  12613.  1817:  12866, 


1078 


INDEX   OF   SELECTED   SUBJECTS 


12917.  1818  :  13122,  13123, 13123  A, 
13154.  1819:  13362,  13382,  13383, 
13395 

PUPPET-SHOWS    1812:11839,11866 

PUZZLE  PRINTS  (concealed  profiles, 
&c.)  1811:ii749.i  1814:12215, 
12321.'  1815:  12511,  12512,  12513, 
12544,  12547,  12551 

QUACKS  AND  CHARLATANS  1811  :  1 1704, 

11711,  11716.    1814:  12421,  12433 
QUAKERS    1811:  11745,  11777.    1812: 

I1951,  I1951  A,  12089.  1813:12151. 

1814:12404.  1817  :  12954,  12954  A. 
1818:  13097,  13098.  1819:  13224, 
13236,  13283,  13409,  13419 

RACING  AND  THE  TURF     1811  :    llSlI,    1 

11812.    1812:11889,11906.    1815: 

12657.    1816:12741.    1817:12957 
REFORM,  economical,  see  placemen 
REFORM,  parliamentary    1812:  11846, 

11886,  11910,  11912,  11915.    1813:   ; 

12067,  12081,  12110.     1814:  12198,   ; 

12284.    1816:12863.    1817:12867, 

12867  A,  12869,  12870,  12872,  12891. 

1818:  12994,  13006.  1819:  13201, 
13204,  13205,  13207,  13219,  13230, 
13248,  13250,  13251,  13252,  13257, 
13262,  13263,  13264,  13266,  13271, 
13274,  13279,  13280,  1 3281,  13284, 
13300,  13302,  13324,  13331,  13332, 

13334 
restaurants,  cafes,  &c.  (French) 

1814:  12361*,  12361  A*,  12362*, 

12362  A*,  12366*,  12366  A*,  12367*, 

12368*,  12369*,  12409, 12410.  1819  : 

13441 
RHINE,  Confederation  of  the  1813: 

12119,  12122.  1814:  12169,  12177*, 

12192, 12192A*,  12202, 12203, 12204, 

12204  A,  12204  B,  12222,  12244*, 

12249*,  12276.  1815:  12459* 

RIDING  AND  HORSEMANSHIP,  including 

equestrian  portraits  1811:  11 743, 
11751,  11811,  11812.  1812:  11928, 
11932.  1813:  12126.  1814:  12210, 
12355*,  12364*.  Addenda:  13496* 
(1815).    See  HUNTING,  racing 

ROMAN   catholics  AND  CATHOLICISM 

1811  :  11713.  1812:  11846,  11860, 
11860A,  11867,  11868,  11869,  11870, 


11870A,  11898,  11903.  1813  :  12016, 
12016A,'  12054,  12055, 12065, 12066, 
12073,  12077,  12081,  12084,  12099, 
1815  :  12453,  12508,  12508 A,  12508B 
(1823),  12510,  12609,  12614,  12615, 
12618,  12620,  12622.  1816:  12700, 
12704,  12724,  12797.  1818:  13009, 
13009  A,  13009  B,  13009  c,  13113, 
13164,  13164  A.  1819:13276 

ROMANCE  AND  SENTIMENT  TRAVESTIED 

1811:11807.    1814:  12400.    1818: 

13133,  13135,  13136,  13137 
ROME     1813:    12100.     1814:    12436. 
1815  :  12606*,  12607 

ROUTS,  RECEPTIONS,  AND  BALLS    1812  : 

11946.  1813:12138.  1817:12937. 
1819:  13432 

ROYAL  SOCIETY    1819  :  1 3365 

RUSSIA    AND    RUSSIANS      1811:    II738. 

1812:  11896,  11916,  11918,  11919, 

11920,  11921.  1813:  11991,  11992, 

11994,  11995,  11996,  11997,  12001, 

12002,  12003,  12004,  12007,  12009, 

12010,  12012,  12014,  12015,  12020, 

12022,  12024,  12025,  12033,  12034, 

12035,  12036,  12040,  12044,  12045, 

12046,  12047,  12049,  12050,  12051, 

12053,  12058,  12059,  12060,  12069, 

12070,  12078,  12088,  12093,  12094, 

12097,  12098,  12100,  12102,  12104, 

12107,  12110,  12111,  12112,  12113, 

12114,  12116,  12117,  12118,  12120, 
12120A*,  12122, 12123.  1814:12169, 

12175,  12187,  12200,  12201*,  12202, 

12203, 12204,  12204  A,  12204  B,  12205, 
12205  A,  12206,  12209,  12214,  12215, 
12225,  12227,  12228,  12229,  12231, 
12233,  12234,  12235  A*,  12238*, 
12239*,  12240*,  1224I*,  12244*, 
12248*,  12250*,  12254, 12255, 12256, 
12257,  12267,  12269*,  12283*,  12286, 
12287,  12289,  12299,  12299  A,  12318*, 
12319*, 12320*, 12343, 12347, 12448. 

1815:  12453,  12474,  12477,  12478, 
12480,  12528,  12534,  12540,  12541, 
12541  A,  12558,  12565*,  12569*, 
12579,  12580,  12602*,  12603*, 
12606*,  12607,  12608,  12613,  12617, 
12618,  12620,  12621,  12622,  12623. 
1816:  12700,  12756,  12820.  1817: 
12902.  1818:  13010.  Addenda: 
13486  (1812),  13487  (1813),  13489 
(1814) 


'  Date  uncertain. 


1079 


INDEX   OF   SELECTED   SUBJECTS 


SAXONY  AND  SAXONS  1813: 
12088,  12099,  121 14,  12123. 
12227,  12234,  12248*,  12256. 


12033, 

1814: 
1815: 


1816: 

13276, 

12832. 


I 1707. 

12085. 

12621, 

12637*, 


12499,     12500*,      12501,      12522*, 

12522  A*,     12525,      12533,      12533  A, 

12537,  12542*,  12552,  12606*,  12607 

SCHOOLS,  SCHOOLMASTERS,  &C.     1814: 

12430.    1815:  12624,  12645. 
12717,  12823,  12832.    1819; 
13291,  13416 
Christ's    Hospital      1816: 

1817:  12880 
Eton  College    1816:  12823 

SCOTLAND  AND  SCOTS   1811: 

1812:  11905,  11971.    1813; 
1814:  12191,  12382*.    1815 
12634*,     12635*,     12636*, 
12638*,  12639*.    1818:  13137 

SERVANTS  1811:11815,11823.  1812: 
1 1840,  1 1 890,  1 1 948,  1 1973,  1 1 979, 
11983,  11984.  1813:  12038,  12145, 
12147,  12164,  12165.  1814:  12395, 
12437,  12441,  12447.  1815:  12648, 
12682.  1816:  12831.  1817:  12883. 
1818:  13079,  13095,  13157,  13165, 
13165A,  13171, 13171A.  1819: 13208, 
13209,  13210,  13211,  13212,  13215 

SHOOTING  1811:ii8i2.  1812:11983. 
1817:  12958 

SHOOTING  (military)    1811  :  11776 

SHOPS     AND     STALLS       1812:      I1976, 

11985.  1813:  12022.  1814:  12401, 

12405,  12421.  1815:  12485,  12655. 

1816:  12750,  12844.  1817:  12873, 

12970.  1818:  13037,  13038,  13039, 

13075,  13127,  13188.  1819:  13449. 
See  SOHO  bazaar 

SICILY    AND    SICILIANS      1812 

1813:  12077,  12102,  12104. 
12248* 
SKATING   1815:12662.    1816: 
1817:  12957.    1818:  13074 

SLAVERY  AND  THE  SLAVE  TRADE    1812: 

11910,  11983,  11984.  1813:  12021, 
12067.  1814  :  12312*,  12313*,  12314. 
1815:  12541,  12541  A,  12546,  12553, 
12558.  1816:12795.  1817:12891. 
1818:  13013.    1819:  13193,  13218, 

13249 
SMUGGLING      1814:     12340.      1816: 

12763 
SOHO  BAZAAR,  the   1816  :  12836,  12837, 

12873 
SPAIN     1811  :    11716,    11720,    11722, 


;   I 1845. 
1814: 

12860*. 


11723,  11736,  II743-  1812:  11845, 
11862,  11897,  11901,  11903,  11905, 
11921.  1813:  12014,  12033,  12068, 
12069,  12070,  12071,  12072,  12073, 
12074,  12075,  12076,  12077,  12078, 
12079,  12083,  12098,  12099,  12100, 
12102,  12104,  12106,  12107,  12112, 
12113,  12114,  12117,  12118,  12122, 
12123.  1814:  12169,  12174,  12179, 
12186, 12200, 12201*, 12205, 12205  A, 
12218, 12218  A*,  12222, 12227, 12234, 
12235,  12235  A*,  12236,  12241*, 
12244*,  12246*,  12248*,  12250*, 
12255,  12256,  12271,  12277.  1815: 
12453,  12488,  12489,  12490,  I 249 I, 
12492,  12493,  12497, 12508,  12508  A, 
12508  B  (1823),  12510, 12539, 12549*, 
12569*,  12589*,  12602*,  12606*, 
12607,  12608,  12620,  12622.  1818: 
12988,  13009,  13009  A,  13009  B, 
13009  c.  1819:  13346.  Addenda: 
13484(1812) 

STEAM,  travel  by,  &c.  1817:  12920, 
12957.    1819:  13218,  13289,  13308 

STOCK  EXCHANGE,  Stocks,  speculation 
1811:  11716,  11804.  1814:  12198, 
12207,  12208,  12209,  12212.  1815: 
12632.  1817  :  12909,  12909  A.  1818: 
12995.    1819:  13203 

STOCKS  (penal)  1811:  11756.  1814: 
12209,  12212.  1815:  12591.  1817: 
12878.    1819:  13200 

STREET-SELLERS,  barrow-women,  &c. 
1814:  12401.  1815:12654.  1816: 
12716,  12717,  12813 
13048,  13051,  13126,  13135 

SUICIDE    1814:  12353*. 
1819:  13454 

SWEDEN  AND  SWEDES 
12077,  12093,  12098, 
12109,  12110,  12113, 
12118,  12122.  1814: 
12203,  12204,  12204  A,  12204  B, 
12229,  12234,  12238*,  12286,  12299, 
12318*.     1815:12525,12537,12541, 

12541  A,    12558,    12620.     Addenda: 
13489(1814) 

SWITZERLAND   AND  THE   SWISS     1813: 

12096,  12122,.    1814:  12169,  12172, 

12192,  12192  A*,  12202, 12227, 12234, 


1818: 

13047, 

3135 

1815: 

12665. 

1813: 

12063, 

12100, 

12104, 

12114, 

12117, 

12187, 

12202, 

12239' 


12244*,  12248*,  12276 


TABLE      MANNERS, 
DRINKING 


see     EATING     AND 


1080 


INDEX   OF   SELECTED    SUBJECTS 


TAILORS     1811: 

I 1762, 

I 1766, 

I 1824. 

1813:  12168. 

1814: 

12208, 

12356*, 

12403.    1815: 

12509, 

12696. 

1816: 

12831.    1817: 

12879. 

1818: 

13120. 

1819:   13237, 

13238, 

13247, 

13409, 

13435-   See  place,  Francis 

TAXATION    AND 

TAXES 

1811: 

I 1740. 

1812:  11845,  11862,  11865,  11886, 
11897,  11910,  11912.  1813:  11990, 
12037,  12062,  12151.  1814:  12191. 
1815:  12452,  12501,  12502,  12502  A, 
12504,  12507,  12523,  12550,  12556. 
1816:  12715,  12717,  12747,  12749, 
12750,  1275 1,  12752,  12754,  12756, 
12757,  12758,  12762,  12766,  12778, 
12782,  12786,  12787,  12790,  12793, 
12802,  12812.  1817:  12863,  12864, 
12873.  1818:  12987,  13004,  13116. 
1819:  13192,  13244,  13246,  13267, 
13268,  13269,  13287,  13287  A,  13288, 
13295,  13300,  13312,  13347.  Ad- 
denda: 13492  (1814) 
theatrical,  the  stage,  actors,  audience 
1811  :  11715,  11762, 11766, 11767, 
11769, 11770, 11771,  11772,  11773, 
11814.  1812:11934,11935,11936, 

1 1 937,  1 1 938,  1 1939,  1 1 940,  1 1 942. 

1813  :  12003, 12128,  12132,  12133. 

1814  :  12263,  12309, 12324,  12325, 
12326, 12327,  12328,  12450.  1815: 
12453,  12549*,  12697.  1817: 
12918,12919.  1818:13041,13042, 
13170,  13170A.  1819:  13354, 
13366,  13367,  13368,  13369-    See 

pantomime,  PUPPET-SHOWS 

Boulevard  du  Temple,  Paris  1814 : 
12374* 

Brighton    1817:  12918 

Covent  Garden  Theatre  1811  : 
11771,11772,11773,11797.  1812: 
1814:12326,12327.  1816:12829. 
1817:12918,12919.  1818:13041. 
1819:  13370,  13371,  13372,  13373. 
13374,  13375,  13376,  13377,  13378, 
13379,  13380,  13381 

Drury  Lane  Theatre  1811  :  11729, 
11767.  1812:11846,11855,11868, 
11897,  11935,  11936,  "937,  11938, 
11939,11940.  1813:11993,12065. 
1814:12325,12326.  1816:12714, 
12826.  1817:12918,12919-  1819: 
13366,  13367,  13368,  13369-  Ad- 
denda: 13498  (1816) 

Haymarket    1814:12328 


King's  Theatre  in  the  Haymarket 
(Opera  House)  1811:  11711. 
1813:12132,12133.  1817: 12950, 
12951,  1295 1  A.  1818:  13140, 
13141,  13142.    1819:  13369 

Lyceum  Theatre  1811:  11762. 
1812:  11838,  11942 

Opera,  Paris   1814:12363* 

'  Plymouth-Play-House '  1818: 

13186 

Surrey  Theatre   1811  :  11715 

Worthing    1817:  12918 
TRA\TL    1814:  12349.     1816:  12720, 

12735.    1818:  13048,  13053,  13176. 

1819:    13429,    13430.     See    inns, 

PACKET-BOATS,  STEAM 
TUNBRIDGE  W^LLS    1815  :  12644 
TURKEY     AND     TURKS       1811:     II736. 

1813:  12107,  12113.  1814:  12187, 
12225,  12235,  12235  A,  12256.  1815: 
12463,  12464,  12465,  12467,  12546. 
1817:  12836 
TYROL  1814:  12172,  12215 

UNITED  PROVINCES,  See  HOLLAND 
UNITED  STATES,  see  AMERICA 

UNIVERSITIES,  members  of,  &c.   1811: 
11781,    11784.     1819:    13225.     See 

CAMBRIDGE,  OXFORD 
VAUXHALL    1813:12076 

VELOCIPEDES     1817:    12891.      1819: 
13207,  I32I3,  I32I4,  I32I5,  I32I6, 

13216  A,  13217,  13217  A,  13220,  13221, 

13222,  13223,  13228,  13234,  13235, 

13243,  13244,  13278,  13289,  13366, 

13385,  13399,  13400,  I340I,  13402, 

13403,  13404,  13405,  13406,  13407, 

13408,  13409,  I34IO,  I34II,  I34I2, 

I34I3,  I34I4,  I34I5,  I34I6,  I34I7, 

I34I8,  I34I9,  13420,  I342I,  13422, 
13423,  13424,  13425, 13426, 13427 


1183s, 

1813 
1816 
1818 


WALES  AND  THE  WELSH     1812  : 

11905.    1819:  13408,  13413 
WATCH,  the,   and  watchmen 
12124,  12131.    1814:  12417. 
12813,  12816.    1817:  12957. 
13050 

WATER  SUPPLY    1819:13196 

WATERMEN  (Thames)  1811:  ii747- 
1812:11964.    1817  :  12920,  I29S7 

WEATHER  1814:  12185,  12341,  12342, 
12343,  12344,  12345,   12346,   12347, 


1081 


INDEX  OF   SELECTED   SUBJECTS 


12348.    1816:  12842.    1819:  13435, 

13443,  13449 
WEST    INDIES      1812:     1 1 983,     1 1 984. 

1813:  12077.    1817:12948.    1819: 
13249,  13473,  13474 

WESTPHALIA  AND  WESTPHALIANS  1813  : 

12033,  I2II2,  12123.    1814:  12276. 
1815 :  12606*,  12607 


WITCHES   1813:  12150 

WORTHING    1817:i29l8 


YACHTS  AND  YACHTING     1813:  12085. 

1816:  12802,  12804,  12805.  1817: 
12892.  1818:12987.  1819:13259, 
13261,  13265,  13305 


1082 


INDEX  OF  ARTISTS 


No  distinction  is  made  between  draughtsman  and  engraver.   Doubtful  and 
conjectural  attributions  are  included.    An  asterisk  denotes  a  foreigri  print. 


A.,  V.    1814:12375* 

ALKEN,     Henry    (worked     1816-31) 

1818:  13032 
'argus'    (pseudonym    of    Williams) 

1811:  11747.    1812:  11936.    1813: 

12005,  12019.    1819  :  13193 
ATKINSON,  John  Augustus  (b.  1775) 

1812 :  11910 

B.,  A.,  see  beugo 

B.,  C.  Esq.    1811 :  11751 

BAILEY,  John    1818:13034 

BAKER,  J.    1819:  13449,  13452 

BEUGO,  A.^      1817:    12867,    12867  A, 

12874.  1819:  13219 
BLAKE  (?  William,  1757-1827)    1819: 

13357  A 

BRADDYLL,  Lt.-Col.  Thomas  Rich- 
mond Gale  (1776- 1 862)  Addenda 
13485  (1812) 

BROOKE,  William  Henry  (d.  i860) 
1812:  11894,  11898,  11905,  11915, 
11916.  1813:  11993,  12007,  12017, 
12030,  12040,  12064,  12065,  12079, 
12109,  12133,  12134 

BUNBURY,  Henry  William  (1750- 
1811)  1811:  11779,  11834,  11835.2 
1812:  11975 

C,  G.,  see  cruikshank,  george 

C,    I.    R.,   see   cruikshank,    isaac 

ROBERT 

C,  J.    1813:  12081,  12082,  12135 

C,  W.    1814:  12233 

CANU,    Jean-Dominique-fitienne   (b. 

1768,    worked    c.    1816)       1815: 

12511*,  12512 
CARi,    Godissart   de     1814:    12361*, 

12362*,  12364* 

'caricaturist    GENERAL,    THE*,    1811: 

1 1736,  1 1773.  1 1774-  1812:  11848, 
1 1855,  1 1863,  1 1875,  1 1890,  1 1934 

CAWSE,  John  [c.  1779-1862)  1814: 
12268 

CHARLES   1816:  12713 

'  See  Index  of  Printsellers. 


COCKING,  R.  (worked  c.  1816-39) 
1816:  12839 

CRUIKSHANK,  George  (1792-1878)^ 
1811:  11707,  11715,  11716,  11726, 
11728,  11732,  11744,  11761,  11762, 
11763,  11764,  11765,  11765  A 
(1813),  11777,  11837,  11839,  11840. 
1812:  11841,  11843,  11846,  11856, 
11857,  11860,  11864,  11865,  11877, 
11884,  11885,  11888,  11895,  11899, 
11900,  11904,  11908,  11909,  11914, 
11920,  11922,  11935,  ii939>  11940. 
11951,  11951  A,  11952,  11953,  11985, 
11986,  11987,  11988.  1813:  11992, 
11995,  11996,  12001,  12002,  12003, 
12004,  12011,  12012,  12015,  12016, 
12016  A,  12020,  12023,  12025,  12026, 
12029,  12037,  12041,  12045,  12046, 
12047,  12051,  12053,  12056,  12057, 
12060,  12062,  12066,  12067,  12068, 
12069,  12071,  12076,  12077,  12080, 
12084,  12085,  12086,  12087,  12088, 

12091,  12092,  I2I10,  12118,  12120, 
I2124,  12127,  I213O,  12131,  12132, 
I2136,  12137,  12138,  12139,  12140, 

12166,  12167,  12168.  1814:  12170, 
12171,  12172,  12176,  12178*,  12181, 
12183,  12184,  12185,  12190,  12205, 
12206,  12208,  12209,  12210,  12211, 
12212,  12214,  12217,  12218,  12221, 
12225,  12230,  12231,  12251,  12254, 
12255,  12258,  12261,  12262,  12264, 
12265,  12271,  1227s,  12277,  12279, 
12280,  12287,  12289,  12292,  12294, 
12296, 12297,  12298,  12299, 12299  A, 
12301,  12303,  12304,  12305,  12310, 
12322,  12324,  12325,  12327,  12332, 
12337,  12338,  12339,  12341, 
12389,  12390,  12391,  12392, 
12394,  12395.  1815:  12453, 
12455,  12456,  12457,  12458, 
12460,  12461,  12462,  12463, 
12464,  12465,  12466,  12467,  12468, 
12469,  12470,  12471,  12472,  12473, 
12474,  12475,  12476,  12477.  12478, 
^  Date  uncertain. 


12336, 
12388, 

12393, 
12454, 
12459, 


3  See  Index  of  Persons,  Index  of  Printsellers. 

1083 


INDEX  OF  ARTISTS 


12479,  12480,  12481,  12482,  12483 

12502,  12503,  12504,  12505,  12506 

12507,  12508,  12509,  12514,  12517 

12518,  12523,  12524,  12525,  12530, 

12533,  12534,  12536,  12537,  12538 

12540,  12541,  12546,  12550,  12551 

12552,  12555,  12573*,  12578,  12579 

12591,  12592,  12593,  12608,  12609 

12610,  12614,  12616,  12617,  12619 

12620,  12622,  12623,  12624,  12625 

12626,  12628,  12629,  12631,  12632 
12633,  12653,  12692,  12692  A,  12693 

12694,  12695,  12696,  12697,  12698 

12699.  1816:  12700,  12703,  12704 
p.  630,  12707,  12714,  12715,  12716 
12746,  12747,  12749,  12752,  12756 
12757,  12758,  12761,  12762,  12765 
12766,  12767,  12769,  12771,  12773 
12783,  12784,  12787,  12790,  12791 
12794,  12795,  12796,  12797,  12799 
12800,  12802,  12804,  12806,  12807 
12817,  12819,  12821,  12827,  12832 

12834,  12837,  12840,  12840  A 
12840  B.  1817:12864,12866,12867 
12867  A,  12869,  12870,  12871,  12874 
12875,  12880,  12883,  12887,  12889 
12889  A,  12890,  12891,  12893,  12894 
12895,  12896,  12897,  12899,  12901 
12912,  12913,  12919,  12922,  12923 
12924,  12925,  12926,  12927,  12928 
12929,  12930,  12931,  12941,  12942 
12948,  12949,  12950,  1295 1,  12952 
12953,  12955,  12956,  12957,  12958 
12959,  12960,  12961,  12962,  12963 
12964,  12965,  12966,  12967,  12968 
12969,  12970,  12971,  12972,  12973 
12974,    12975,    12976,    12977,    12978 

1818:  12980,  12981,  12988,  12994 

12996,  12997, 13003, 13008  A,  13009 

13012,  13013,  13030,  13035,  13036 

13037,  13038,  13041,  13043,  13044 

13045,  13046,  13047,  13048,  13049 

13050,  13053,  13054,  13055,  13056 

13057,  13061,  13062,  13085,  13086 

13087,  13088,  13089,  13090,  13091 

13092,  13093,  13094,  13095,  13096 

13097,  13098,  13099,  13100,  13101 

13102,  13103,  13104,  13105,  13106 

13107,  13108,  13109,  13110,  13112 

13113,  13114,   13115,  13116,  13117 

13118,   13119,  13120,   13121,  13122 

13123,  13124,   13125,   13126,  13127 

13128,   13129,  13130,  13131,  13132 
'  Date  uncertain. 


I3I33, 

13134, 

13135, 

13136, 

13137, 

I3I38, 

13139, 

1 3 140, 

13141, 

13 142, 

I3I43, 

I 3 144, 

13145, 

13 146, 

13 147, 

13 148, 

1 3 149, 

13150, 

13151, 

13 152, 

I3I53, 

13154, 

13155, 

13 164, 

13165, 

13 166, 

13167, 

13168, 

13169, 

13 170, 

I3I7I, 

13172, 

13173, 

13 174, 

13175- 

1819: 

13 194, 

13 1 97, 

13198,  ] 

[3199, 

13202, 

13204, 

13206, 

13207, 

13215, 

13218, 

13219, 

13220, 

13222, 

13224, 

13229, 

13248, 

13249, 

13250, 

13255, 

13256, 

13257, 

13258, 

13259, 

13266, 

13267, 

13271, 

13272, 

13273, 

13274, 

13275, 

13276, 

13279, 

13280, 

13281, 

13286, 

13287  A 

,  13288 

13289, 

[3292, 

13293, 

13294, 

13295, 

13296, 

[3297, 

13298, 

13299, 

13300, 

13301, 

[3302, 

13303, 

13304, 

13346, 

13382, 

13387, 

13388, 

13394, 

13395, 

13396, 

[3397, 

13398, 

13419, 

13421, 

13427, 

13428, 

13429, 

13430, 

13431, 

13432,  ] 

[3433, 

13434, 

13435, 

13436, 

13437, 

t3438. 

13439, 

13440, 

13441, 

13442, 

13443, 

13444, 

13445, 

13446, 

13477, 

13478, 

13479, 

134B0,  I 

3481,13482.  Addenda 

13486  ( 

:i8i3). 

13493, 

13494, 

13495 

(1815) 

CRUiKSHANK,     Isaac    (1756?-! 

8n?) 

1812: 

11954' 

CRUIKSHANK,  Isaac  Robert,  or  Robert 

(1789- 

1856) 

1814: 

12288,    I 

2299, 

12339- 

1815: 

12699. 

1816:  ] 

[2707, 

12761, 

12763, 

12794, 

12819, 

12825, 

12826, 

12828, 

12841. 

1817: 

[2872, 

12875, 

12893, 

12917, 

12921,  ] 

2931, 

12937. 

1818: 

12994, 

12998,  I 

2999, 

13001, 

13002, 

13003, 

13029,  ] 

3052, 

13056, 

13057, 

13061, 

13062,  ] 

[3063, 

13064, 

13065, 

13066, 

13067,  ] 

3068, 

13069, 

13098. 

1819: 

13201,  I 

3203, 

13208, 

13211, 

13235, 

13237,  J 

3238, 

13242, 

13258, 

13266, 

13282,   ] 

3283, 

13284, 

13346, 

13361, 

13369,  1 

[3384, 

13385, 

13386, 

13391, 

13392,  1 

[3414, 

13415, 

13416, 

13417, 

13418,  1 

3420, 

13422, 

[3425,1 

3426, 13/147.  Addenda 

13498  ( 

1816) 

CRUSic   1819:  13284 

DAVID,  Jacques- Louis^  (1748-1845) 
1815:12545.    1818:12995 

DEBUCOURT,  Philibert-Louis  (1755- 
1832)  1814:  12376*,  12377*, 
*  See  Index  of  Persons. 


[084 


INDEX   OF   ARTISTS 


12378*,  12379*.      Addenda  13496* 
(1815) 
DELACROIX,      Eugene      (1798-1863) 
1815:  12542* 

DELANEY,  E.'     1811  :  1 1708 

DELPiNi(?  pseudonym)   1813:i202i* 

DE  WILDE,  Samuel  (1748- 1 83  2)  1811: 
11704,  11710,  11711,  11713,  11717. 
See  'lunar  caustic',  'luigi  sen- 
zanome',  'scarpione' 

DiGHTON,  Dennes(i792-i827)  1812 : 
1 1 882 

DIGHTON,  Richard'  (1795-1880) 
1816:  12822,  12823.  1817:  12904, 
12905,  12906,  12907,  12908,  12909, 
12910,  12911.  1818:  13015,  13016, 
13017,  13018,  13019,  13020,  13021, 
13022,  13023,  13024,  13025,  13026, 
13027,  13028,  13031.  1819:  13348, 
13349.  13350,  13351,  13352,  13353, 
13354,  13355,  13356,  13357,  13358. 
Addenda  13500  (1819) 

DIGHTON,  Robert'  (i752?-i8i4) 
1811  :  11750,  11751.  1812  :  11927, 
11^28,11929,11930,11931.  1813: 
12074,  12075 

E.,  A.    1819:  13444 

EDMUNDS,  Mary  L.^  Addenda  13494, 
13495(1815) 

ekoorb,  see  brooke 

elmes,  W.  1811  :  11735,  11737,  11738, 
11741,  11755,  11775,  11825,  "826. 
1812:  11869,  11880,  11891,  11912, 
11917,  11918,  11919,  11921,  11923, 
11981,  11982,  11983,  11984.  1813: 
1 1994,  1 1997,  11998,  12013,  12014, 
12024,  12090,  12094,  12097,  12128, 
12158,  12159.  1814:  12199,  12342. 
1816:  12779,  12781,  12782,  12810 


P.,  H.    1814:  12356* 
field,  J.    1815:  12547 
FINUCANE,  Mathias    1811 

FORCEVAL    1815:12500* 


1 1838 


GATINE,      Georges- Jacques      (1773- 
1831)    1815:  12641* 

GAUTHIER  or  GAUTIER     1815:    12521*, 
12586* 

GILLRAY,  James  (<:.  1757-1815)  1811 : 
11779 
'  See  Index  of  Printsellers. 


GODEFROY,  Adrien  fils  (i  777-1 865) 
1814:  12358*,  12359* 

GODISSART,  see  CARI 
GRAINGER,  W.     1811  :  I1837 
GULLAN,  E.     1816:12718 

H.,  G.,  see  Humphrey,  george 

H.,  J.    1814:  12365* 

H.,  P.    1818:  13036 

H.,  P.,  Esq^    1815:  12506 

H.,  T.    1814:  12200 

H.,  T.  (?T.  Humphrey)  1815: 
12536 

HACKETT,  I.     1812:ii87oA 

HAULER  ( ?  Haller  von  Hallerstein 
1771-1839)    1814:12307 

HA\TLL,  Robert  (worked  1800-40), 
and  son  (William,  worked  1820-50) 
1818:  13006 

HEATH,  William  (1795  ?-i  840)  1811 : 
11712,  11746,  11757,  11766,  11834. 
1812:  11847,  11858,  11870,  11896, 
11947,  1 1 948,  1 1 949,  11989.^  1813: 
12032,  12036,  12098,  12099,  12100, 
12115.  1814:  12195,  12224,  12228, 
12263,  12281,  12326,  12384  A  (1818). 
1815:  12547,  12548,  12556,  12557, 
12558,  12559,  12560.  1816:  12750, 
12751,  12770,  12772,  12773,  12778. 
1817:  12916,  12938,  12939,  12940. 
1818:  13007,  13010,  13059.  1819: 
13214,  13244,  13245,  13246,  13401, 
13402,  13404,  1340S,  13406,  13407, 
13408,  13410,  13411-  Addenda 
13488(1813).    13489(1814) 

HEHL,  Captain  Simon  1814:  12337. 
1817:  12949,  12952,  12953.  1818: 
12993,  13087,  13088,  13089,  13090, 
13091,  13092,  13093,  13094,  13099, 
13100,  13101,  13102,  13108,  13111, 
13115,  13117,  13123,  13124,  13128, 
13129,  13130,  13137 

HIRSCHMANN,  Fr.    1814:i2307 

HONE,  William    1819:  13198 

HUGHES,  John  (1790-1857)  1816: 
12820 

HUMPHREY,  George'  1814:  12193, 
12206,  12212,  12218,  12230,  12231, 
12265,  12277.  1815:  12508,  12509, 
12538,  12541,  12551,  12555,  12558, 
12593,12609,12617.    1818:13001 

IBBETSON,  Denzil    1815:  12625 

3  Date  uncertain. 


^  See  Index  of  Persons 
1085 


INDEX   OF   ARTISTS 


J.,  C,  see  C,  J. 

J.,  E.,  Captain  (pseudonym  of  Mar- 
ryat)    1818 :  13043 

J.,  J.    1819:13363 

JAIME,  Ernest  {c.  1802-84)  1814 
(1838):  12361A*,  12362  A*.  1815 
(1838): 12520*,  12588*,  12599  A* 

KAY,  John  ( 1 742- 1826)  1814:i2204B 
KENNERLY,   J.     1815:   12545.     1816: 
12839 

KNAHSKIURC,  See  CRUIKSHANK 
KNIGHT,  S.^     1814:12262 

L.,  E.  H.   1817:  12922,  12923 
LANT^,  Louis-Marie  (b.  1789)    1814: 
12380*,     12381*,     12382*,     12383*, 
12384*  12386*, 12387*.  1816: 12859* 
LEE  (wood-engraver)    1814:12267 

LEHMANN,  C.  A.     1814:i22I5 

LOUTHERBOURGH,  Philip  James(  1 740- 

1812).    1818:  13144 
'luigi    senzanome'    (?De    Wilde) 

1811 :  11730,  11772 
'lunar  caustic'  ( ?  De  Wilde)  1817  : 

12878,  12884 

M.,  J.  L.,  see  marks 

maile     (with     Sutherland)       1818: 

12995 

malbranche  1814:  12369*.  1815: 
12637* 

maleuvre   1814:12240* 

MARCH,  James  (or  J.  J.)'  1816:12802, 
12804.    1819:  13363 

MARKS,  Lewis'  (or  J.  L.)  1814  :  12260, 
12266,  12278,  12285,  12286,  12306, 
12438,  12439,  12440,  12441,  12442, 
12443,  12444.  12445,  12446,  12447, 
12448,  12449,  12450,  12451.  1815: 
12515,  12516,  12611,  12612.  1816: 
12748,  12798,  12813,  12842.  1817: 
12868,  12873,  12876,  12902.  1818: 
12985,  12989,  12990,  12991,  12992, 
13004,  13060,  13070,  13083,  13084. 
1819:  13196,  13209,  13210,  13213, 
13216,  13217,  13221,  13231,  13232, 
13233,  13236, 13239, 13247,  13254. 
13260,  13264,  13265,  13269,  13270, 

13277. 13364, 13367, 13403-  Addenda 
13490(1814).    13499(1818) 
MARRYAT,  Frederick,  Captain,  R.N. 
(1792-1848)    1814:   12392.    1818: 
'  See  Index  of  Printsellers. 


13043,  13044-     1819:  13194.  13249, 
1343s,   13436,   13437.   13438.   13439, 
13440 
mayhew   1814:  12330 
MOORE,  Francis   1819:13289 

nelson,  C.    1812:11836^ 

NEWTON,   Richard  (1777-98)    1803: 

12152,  12153 
NiAWS,  E.,  see  swain 
NIXON,  John  (d.  1818)    1814:  12227, 

12409,  12410 

P.,  J.  B.    1813:  12026 

PAILTHORPE,  F.  W.  1812:  11885, 
11986.  1814: 12205  A.  1815: 12626  A, 
12631.  1817:  12899A.  1818:13152  A, 
13153A,  13154A,  13155A.  13164A, 
13165  A,  13166A,   13167A,  13168A, 

13169A,  13170A,  13171  A,  13172, 

I3I73.  I3I74.  I3I75 

PETER  1816:  12838 

'quiz'  1816:  12718,  12719,  12720, 

12721,  12722,  12723,  12724,  12725, 

12726,  12727,  12728,  12729,  12730, 

12731,  12732,  12733,  12734.  12735, 

12736,  12737,  12738,  12739.  12740, 

I 274 I,  12742,  12743,  12744,  12745. 

R.  1814:  12320* 

R.,  J.  L.  1815:12628,12629.  1817: 
12891,  12912,  12913 

READ,  W.  1818:  13176,  13178,  13183, 
13185,  13191 

ROBERTS,  P.  1814:  12175  (1803) 

ROWLANDSON,  Thomas'  (1756-1827) 
1811:  11719,  11720,  11721,  11743, 
1745,  11781,  11782,  11783,  11784. 
1785,  1 1786,  1 1787,  1 1788,  1 1789. 
1790,  11791,  11792,  11793,  11794, 
1795,  11796,  11797.  11798,  11799. 
1800,  11801,  I 1802,  I 1803,  I 1804, 
1805,  1 1806,  1 1807,  1 1808,  1 1809, 
1810,  11811,  11812,  11813,  11814, 
1815,  11816,  11817,  11818,  11819, 
1820,  11849,  11850,  11851,  11852, 
1924,  11925.  11926,  11956,  1 1957. 
1958,  11959,  11960,  11961,  11962, 
1963,  11964,  11965,  11966,  11967. 
1968,  11969,  11970,  11971,  11972, 
1973,  11974,  II975-  1813:  12083, 
[2093,  12102,  12103,  12104,  12105, 
^  Date  uncertain. 


1086 


INDEX   OF   ARTISTS 


12106 
12117 
12146 
12151 
12161 
12196 
12226 
12253 
12400 
12405 
12410 
12415 
12420 

12425 
12430 

12435 
12485 
12490 

12495 
12526 
12561 
12644 
12655 
12660 
12665 
12670 
12675 
12680 
12685 
12691 
12720 
12725 
12730 

12735 
12740 

12745 
1 285 1 
12856 
13129 
13160 

13177 
13182 

13187 
1819: 

13342, 
denda 


12112 
12122 
1 2 147 
12152 
12163. 
12216 
12227 
12259 
1 240 1 
12406 
12411 
12416 
1 242 1 
12426 
1243 1 
12436 
12486 
1 249 1 
12496 
12527 
12580 
12645 
12656 
12661 
12666 
1 267 1 
12676 
12681 
12686 
1816 
1 272 1 
12726 
12731 
12736 
1 274 1 
12833 
12852 
12857 
13156 
13161 
13178 
13183 
13188 


12113, 
12123, 
12148, 

12153, 
1814: 

12219, 

12232, 

12333, 
12402, 
12407, 
12412, 
12417, 
12422, 
12427, 
12432, 

12437- 
12487, 
12492, 

12497, 
12528, 
12621, 
12646, 
12657, 
12662, 
12667, 
12672, 
12677, 
12682, 
12687, 
12702, 
12722, 
12727, 
12732, 

12737, 
12742, 
12848, 
12853, 
12858. 

13157, 
13162, 

13179, 
13184, 
13189, 


13230(1810,  re 

13343,  13344, 
13487(1813) 


2114 

2144 
2149 

2154 
2169 
2220 
2235 
2334 
2403 
2408 

2413 
2418 

2423 
2428 

2433 
1815 

2488 

2493 
2498 

2529 
2642 

2647 
2658 
2663 
2668 
2673 
2678 
2683 
2689 
2718 

2723 
2728 

2733 
2738 

2743 
2849 

2854 
1818 

3158 

3163 

3180 

3185 

3190 

ssue), 

3345- 


12116, 

12145, 
12150, 

12155, 
12192, 
12222, 
12252, 

12399, 
12404, 
12409, 
12414, 
12419, 
12424, 
12429, 

12434, 
12484, 
12489, 
12494, 
12510, 

12531, 
12643, 
12654, 
12659, 
12664, 
12669, 
12674, 
12679, 
12684, 
12690, 
12719, 
12724, 
12729, 
12734, 
12739, 

12744, 
12850, 

12855, 

13120, 

13159, 
13176, 
13181, 
13186, 
13191. 

13341, 
Ad- 


S.,  J.,  see  SHERINGHAM,  JOHN 

'scARPiONE'(?De  Wilde)  1811: 
SCHADOW,  Johann   Gottfried  ( 

1850)    1815:  12549* 
SCHARF,  George'  (1788-1860) 

13006 

'  See 


SHERINGHAM,    John,     Lieut.,     R.N. 

1818:  13045.    1819:  13427,  13441, 

13446 
siDEBOTHAM,  J.'     1815:  12619.    See 

'yedis' 
SLACK   1819:  13262 
SMART,  R.    1814:  12234 
SNEYD,  (Rev.)  John    1819  :  13206 
sutherlant)    (with    Maile)      1818: 

12995 
SWAINE   1815:  12539 

TAW,  S.  T.,  see  watts 
'timothy  lash 'em'   1814:  12234 
'tom  truelove'   1819 :  13453 

v.,  A.    1814:  12375* 

v.,  J.    1818:  13126 

VENi  viDi  (pseudonym  of  WilHams) 
1813 :  12009 

' Veritas'  (pseudonym  of  Williams) 
1811:  11758,  11759 

vernet,  Antoine  -  Charles  -  Horace 
(Carle)  ( 1 758-1 839)  1814:12376*, 
12377*,  12378*,  12379*.  1815: 
12641*.    Addenda  13496*  (1815) 

VOLTZ,  Johann  Michael  (1784-1858) 
1814:  12177*,  12186,  12202,  12203, 
12204.   1815  : 12549*, 12606*,  12607 


W.,  C,  see  WILLIAMS 
watts   1815:  12539,  12543 

williams,   c.  1811:   1 1706,   1 1709, 

11725,  11727,  11729,   11731, 

I 1739,  I 1740,  I 1747,  I 1748, 

11759,  11760,  11767,  11769, 

11771,   11776,  11821,   11822, 

I 1827,  I 1828,  I 1829,  I 1830, 

1812:   11842,  11853,  11859, 

1 1862,   1 1866,  1 1867,   1 1868, 

11876,   11878,  11879,   11881, 

1 1886,  1 1887,  1 1889,  1 1892, 

11897,  11901,  11902,  11903, 

11907,  11913,  11936,  11937, 

11941,   11943,  "944,   11945, 

11950,  1 1 976,  1 1 977,  1 1 978, 
11980.    1813:  11990,  11991, 

12000,  12005,  12006,  12008, 

11714  12010,  12018,  12019,  12027, 

1764-  12031,  12033,  12034,  12035, 

12042,  12044,  12048,  12049, 

1818:  12052,  12058,  12059,  12061, 

12072,  12089,  12095,  12096, 

Index  of  Printsellers. 


,  "734. 

>,  1 1758, 

,  1 1770, 

,  11823, 

),  11831. 

f,  11861, 

,  "874, 

,  11883, 

,  11893, 

,  11906, 

',  11938, 

,  11946, 

,  "979, 

,  "999, 

,  12009, 

,  12028, 

,  12039, 

,  12050, 

,  12070, 

,  12101, 

1087 


INDEX  OF  ARTISTS 


I3I07, 

12108, 

12111, 

I2I2S,  ] 

[2129, 

I2I4I, 

I 2 142, 

12143, 

12156, 

f2i57. 

I2I60. 

1814: 

12173, 

12174, 

12182, 

I2I87, 

12189, 

12191, 

12193,  ] 

2194, 

131 98, 

12207, 

12213, 

12229, 

[2256, 

12257, 

12272, 

12273, 

12274, 

[2276, 

12282, 

12284, 

12290, 

12291,  1 

2293, 

12295, 

12300, 

12302, 

12309,  ] 

[2311, 

123 14, 

12315, 

12317, 

12328,  ] 

2329, 

12331, 

12335, 

12340, 

12396,  ] 

[2397, 

12398. 

1815: 

12452, 

12499,  ] 

2501, 

12532, 

12544, 

12613, 

12630, 

12648, 

12649, 

12650, 

1265 1, 

12652. 

1816: 

I2701, 

12705, 

12753, 

12754,  1 

[2755, 

12759, 

12760, 

12764, 

12768,  ] 

[2775, 

12776, 

12777, 

12780, 

12785, 

[2786, 

12789, 

12792, 

12793, 

12801,  ] 

2803, 

12808, 

12809, 

12811, 

12812, 

[2814, 

12815, 

12816, 

12818, 

12824,  ] 

[2829, 

12830, 

1283 1, 

12835, 

12838, 

12843, 

12844, 

12845, 

12846, 

12847. 

1817: 

I2861, 

12862, 

12863, 

12865, 

12877, 

12879, 

12882, 

12885, 

12892,  ] 

12898, 

I2915, 

12920, 

12932, 

12933,  J 

2934, 

12935, 

12936, 

12943, 

12944,  i 

[2945- 

1818: 

12979, 

12983, 

12984,  ] 

[2986, 

12987, 

13005, 

13011, 

13033,  1 

3051, 

13058, 

13071, 

13072, 

13073,  1 

3074, 

13075, 

13076, 

13077, 

13078,  1 

3079, 

13080, 

13081, 

13121. 

1819:  1 

[3192, 

13193, 

13195, 

13212, 

13225, 

13226, 

13227, 

13228, 

13234, 

13240, 

13251, 

13252, 

13253, 

I 3261, 

13268, 

[3270, 

13278, 

13291, 

13359, 

13362, 

13366, 

13368, 

13389, 

13390, 

13393, 

13412, 

13413, 

13423, 

13448, 

13450,  1 

[3453, 

13457,  13458,  13459,  13460,  I346I, 

13462,  13463,  13464,  13465,  13466, 

13467,  13468,  13469,  13470,  13471, 

13472,  13473,  13474,  13475,  13476 

Addenda     13484     (1812).       13492 
(1814).    13497(1816) 
WOODWARD,  George  Moutard(i76o?- 
1809)    1811:  11801,  11817,  11821. 
1812:  11965,  11966,  11967,  11968, 

11969,  11971,  11974,  11976,  11977, 
11978,  11979.  1813:  12150,  12151, 
12154,  12155,  12156.  1814:  12396. 
1815:  12644,  12653.  1818:  13049, 
13050,  13078 
Wt,  G.  P.    1817:  12918 

X  Y  z  ( .?  pseudonym  of  Elmes)  1811: 
11825,  1 1826 

'yedis'(?=  Sidebotham')  1816:12784, 

12787,  12795.  1817:  12866,  12869. 

1818:  13035.  1819:  13195,  13196, 

13197,  13201,  13211,   13218,  13229, 

13238,   13368,  13385,   13386,  13391, 

13392,  13415,  13416,  13417,  13419, 
13422 

^^  see  Marryat 
^j     1817:  12928,  12929 

1817:     12872,    12924,    12925, 


12926,  12927.    1819:  13204,  13248, 

13442,  13443 
O     1818:13068 


See  Index  of  Persons,  Printsellers. 


1088 


INDEX  OF  PRINTSELLERS  AND  PUBLISHERS 


ACKERMANN,  R.,  loi  Strand'  1813: 

12083,  12093,  12103,  12104,  12105, 

12112,  12113,  12114,  12116,  12117, 

12119,  12122,  12123,  12161,  12162, 

12163.  1814:  12169,  12192,  12195, 

12196,  12202,  12220,  12226,  12235, 

12252,  12253,  12307,  12411,  12412, 

12413,  12414,  12415,  12416,  12417, 

12418,  12419,  12420,  12421,  12422, 

12423,  12424,  12425,  12426,  12427, 

12428,  12429,  12430,  12431,  12432, 

12433,  12434,  12435,  12436,  12437. 

1815:  12526,  12527,  12528,  12529, 

12531,  12561,  12580,  12621,  12656, 

12657,  12658,  12659,  12660,  12661, 

12662,  12663,  12664,  12665,  12666, 

12667,  12668,  12669,  12670,  12671, 

12672,  12673,  12674,  12675,  12676, 

12677,  12678,  12679,  12680,  12681, 

12682,  12683,  12684,  12685,  12686, 

12687,  12688,  12689,  12690,  12691. 

1816:  12702,  12848,  12849,  12850, 

1285 1,  12852,  12853,  12854,  13855, 

12856,  12857,  12858.  1819:  13400, 
13409.  Addenda  134S9  (1814) 

ALLASON,  William,  31  New  Bond 

Street  (with  Tegg  and  Dick)  1815  : 

I24S4,  12455,  12456,  12457,  12458, 

12459,  12460,  1 246 1,  12462,  12463, 

12464,  12465,  12466,  12467,  12468, 

12469,  12470,  12471,  12472,  12473, 

12474,  12475,  12476,  12477,  12478, 

12479,  12480,  1 248 1,  12482,  12483 

ASPERNE,  J.,  32  Cornhill  1814: 

12227,  12267.  1819:^  13306,  13307, 

13308,  13309,  13310,  13311,  13312, 
13313,  13314,  i33i5»  13316,  13317 

BALDWYN,  Catherine  Street  1813: 

12121.  1815 :  12581 
BANCE,  rue  J.  J,  Rousseau,  No.  10, 

Paris  1814:  12376,  12377,  12378, 

12379  Addenda  \2^()(i  {\S\S) 
BASSET,  Rue  St.  Jacques,  No.  64, 

Paris  1814:  12355,  12363,  12369. 

1816:  12860 
BATCHELAR,   Publisher,   Hackney 


Road,    Shoreditch    Addenda 
13491  A(1814) 
BATCHELAR,  T.  Printer,  115  Long 
Alley,  Moorfields  1814:  12275, 

12394 

BECKiTT  &  HUDSON,  85  Cheapside, 
London    1814 :  12346 

BEUGO,  A.,3  38  Maiden  Lane,  Covent 
Garden  1815:  12504.  1817: 
12867,  12874,  12878 

88  Maiden  Lane    1818:  12988. 

1819:  13219 

BLACKMAN,  G.,  Jun.,  362  Oxford 
Street   1817:12955,12956 

BROOKS,  E.,  16  Pan  ton  Street,  Hay- 
market  (or  Leicester  Fields)  1817  : 
12861.'*  1818:  12998,  13004,  13052, 
13073,  13079-  1819:  13216,  13231, 
13232,  13361.  Addenda  13499  (H. 
Brooks)  (1818) 

CAHUAC,  John,  53  Blackman  Street, 
Southwark      1819:    13341,    13342, 

13343,  13344,  13345 
CARLiLE,  R.'    Fleet  Street  (w'ith  T. 

Davison)    1819:13347 
CHAPELL,  John,  Successor  to  R.  Har- 

rild,  41   Haydn  Square,   Minories 

?1814:  12395 
CLINCH,  Princes  Street,  Soho    1812: 

11900 
CLINCH,  M.,  20  Princes  Street,  Soho 

1819:  13220,  13233 
COLNAGHI,  or  Colnaghi  &  Co.,  Cock- 
spur  Street     1812:   11834.     1818: 

13006  (with  Scharf) 
CRUiKSHANK,  G.,^  117  Dorset  Street, 

City    1815 :  12692 

DAVISON,  T.,  8  Duke  Street,  Smith- 
field,  see  CARLILE 

DEAN  &  MUNDAY,  Threadneedle  Street 
1819:  13318,  13319,  13320,  13321, 
13322,  13323,  13324,  13325,  13326, 
13327,  13328,  13329,  13330 

DELANEY,  E.^    1811  :  II708 

DICK,  J.,  Edinburgh  (with  Tegg  and 


'   See  Index  of  Persons. 

'  See  Index  of  Artists. 

5  See  Index  of  Persons,  Index  of  Artists 


^  Nos.  13306-17  with  W.  Sams  and  J.  Johnston. 

*  'Late  Holland's.' 


1089 


4A 


INDEX   OF   PRINTSELLERS   AND   PUBLISHERS 


AUason)  1815 :  12454, 12455, 12456, 
12457,  12458,  12459,  12460,  12461, 
12462,  12463,  12464,  12465,  12466, 
12467,  12468,  12469,  12470,  12471, 
12472,  12473,  12474,  12475,  12476, 
12477,  12478,  12479,  12480,  12481, 
12482,  12483 

DIGHTON,  Spring  Gardens'  1811: 
11750,  11751.  1812:  11882,  11927, 
11928,  11930,  11931 

DIGHTON,  Richard'  1816:  12822. 
1817:  12904,  12906,  12907,  12908, 
12909,  12911.  1818:  13015,  13016, 
13017,  13018,  13019,  13020,  13021, 
13022,  13023,  13024,  13025,  13026, 
13027,  13028,  13031.  1819:  13348, 
13349,  13350,  13351,  13352,  13353, 
13354,  13355,  13356,  13357,  13358. 
Addenda  13500(1819) 

DOWNES,  I.  or  J.,  Hackney  1817: 
12834 

DUNCOMBE,  Bookseller,  19  Little 
Queen  Street,  Holborn  1819: 
13198 A 

EAGLESFORD,  G,,  Market  Street, 
Leicester   1812:  1 1870  a 

FAiRBURN,  John  (or  W.  J.),  2  Broad- 
way, Ludgate  Hill  1811:  11837, 
1812:  11895,  11922.  1813:  12003, 
12029,  12062.  1814:  12264.  1815: 
12533,  12533  A,  12535  (J-  F.  Junior). 
1816:  12771,  12806.  1817:  12900. 
1818:  12981,  12994.    1819:  13346, 

13424 

FLOOR,  T.  F.  1819:  71  Leadenhall 
Street.  13223,  13247(11  Leadenhall 
Street),  13269,  13277  (no  number) 

FORES,  R.  A.,  71  Leadenhall  Street 
1816:^  12805 

FORES,  S.  W.,  50  Piccadilly,  or  corner 
of  Sackville-street,  Piccadilly 
1811:  11706,  11712,  11727,  11729, 
11731,  I 1734,  I 1746,  I 1760,  I 1766, 
11776,  11780,  11827,  11828.  1812: 
11844,  11854,  11858,  11861,  11879, 
1 1883,  1 1887,  1 1 901,  1 1 938,  1 1 947, 
11948,  11949.  1813:  11991,  12009, 
12031,  12033,  12099,  12100,  12115, 
12141.   1814:   12194,   12198,   12214, 

*  See  Index  of  Artists. 

3  .  .  .  and  312  Oxford  Street. 

5  .  .  .  and  Oxford  Street. 


12225,  12228,  12229,  12257,  12279, 
12281,  12288,  12289,  12293,  12311, 
12384  a3  (1818).  1815:12503,12507, 
12514,  12517,  12525,  12540,  12610. 
1816:  12704,  12747,  12754,  12759, 
12761,  12762,  12764,  12801,  12803  A,3 
12812,  12817,  12819  (41  Piccadilly), 
12824,  12835,  12838,  12843.  1817: 
12875,  12887,  12888,  12889,  12890, 
12894,  12898,  12918,  12930,  12933, 
12934,  12935,  12936,  12943,  12944, 
12945,  12946,  12947,  12948,  12949, 
12950,  12952,  12954  A,  12957.  1818  : 
12980,  12983,  12984,  12986,  12987, 
12993,     12997,      12997  A,     13007,-* 

13008,  13010,5  13025  A,  13026  A, 
13029,  13033,3  13041,  13051,  13056, 
13057,  13059,^  13061,  13063,3  13068, 
13071,  13077,  13078,3  13082,3  13085, 
13086,  13088,  13090,  13091,  13102, 
13103,    13105,    13106,    13117,    13131- 

1819:  13192,3 13193,3 13203,^  13208, 
13226,  13227,  13236,  13237,  13241, 
13242,  13266,  13282,  13284, 13285 (no 
number) 

41  Piccadilly  13287,  13348  A, 


(1823),   13352  A  (no   number), 

13357  A   50  Piccadilly  13359, 

13364  (no  number),  13367,  13384,3 
13389,  13390,  13414,  13447,* 
13450,^      13451,      13453,^     13454,^ 


13455,     13456 
13483 


41    Piccadilly 


FULLER,  S.  &  J.,  34  .  .  .    1818  :  13032 

GENTY,  Rue  St.  Jacques,  No.  14,  Paris 
1814:  12236,  12360,  12370,  12371, 
12373.  1815:  12562,  12565,  12583, 
12585,  12635,  12639,  12640.  1816: 
12710 

GROVE,  Joseph,  Library,  Hemming 's 
Row,  St.  Martin's  Lane  1819: 
13370,  13371,  13372,  13373,  13374, 
13375,  13376,  13377,  13378,  13379, 
13380,  13381 

HARRILD,    R.,    20    Great    Eastcheap 

1814: 12297,  12304,  12393 
HARRISON,   J.,   Great   Queen   Street, 

Drury  Lane  1817:  12902 
HEDGELAND,     S.,    53     High    Street, 

^  Date  uncertain. 

*  50  Piccadilly  and  114  Oxford  Street. 

*  and  112  Oxford  Street. 


1090 


INDEX   OF   PRINTSELLERS   AND   PUBLISHERS 


Exeter  (with  G.  &  W.  B.  Whittaker, 
Ave-Maria  Lane,  London)  1819: 
13331,  13332,  13333,  13334,  13335, 
13336,  13337,  13338,  13339,  13340 

HITCHCOCK,  H.,  Love  Lane  1813: 
12156 

HOLLAND,  William,  II  Cockspur 
Street  1811:  11725,  11740,  11752, 
11768,  11769,  11771,  11829,  11830, 
11831,  11832,  11833.  1812:  11859, 
11868,  11876,  11896,  11902,  11944, 
11950.  1813:  12000,  12052,  12061, 
12125,  12142,  12164,  12165.  1814: 
12174,  12273,  12274,  12276,  12282, 
12302,  12309,  12396,  12397,  12398. 
1815  :  12630.   Addenda  13492(1814) 

HOLLAND,   A.   C.  (ut  supra)     1815: 

12544 

HONE,  William,'  55  Fleet  Street 
1815:  12545,  12552,  12553,  12614, 
12617,  12620.  1816:  12715,  12797, 
12799,  12800,  12802,  12804,  12807 

55    Fleet    Street    and    67    Old 

Bailey    1817:  12883 

67    Old    Bailey     12895,    12896, 

12897,  12899 

45  Ludgate  Hill    1819:   13 198, 

13199,  13289,  13292,  13293,  13294, 
13295,  13296,  13297,  13298,  13299, 
13300,  13301,  13302,  13303,  13304, 
13428 

HORNCASTLE,  W.,  Sloane  Street, 
Chelsea    1819 :  13290 

HUDSON,  John,  85  Cheapside    1819: 

13399 
HUGHES,  T.,  35   Ludgate  Street  (or 

Ludgate  Hill)    1813:  12091,  12127, 

12139.    1814:  12170,  12190 
HUMPHREY,  G.,^  27  St.  James's  Street 

1811  :  11779(1818).'    1814:12349. 

1818:  12996,^  12999,  13001,  13036,^ 

13037,  13043,  13044,  13045,  13045  A, 
13046,  13047,3  13048,  13053,  13054,3 
13055,  13069.  1819:  13194,  13202, 
13204,  13206,  13207,  13248,  13249, 
13250,  13255,  13256,  13257,  13275, 
13276,  13279,  13382,  13395,  13396, 
13425,  13426,  13427,  13429,  13430, 
13431,  13432,  13433,  13434,  13435, 
13436,  13437,  13438,  13439,  13442, 
13443,  13444,  13-145,  13446 


HUMPHREY,  H.,  27  St.  James's  Street 
1811:  11743,  ii765A(1813),  11779. 
1812:  11924,  11925,  11926,  11956, 
11975.  1913:  11995,  11996,  12012, 
12015,  12025,  12045,  12046,  12047, 
12051,  12053,  12060,  12126,  12132, 
12138.  1814:  12193,  12206,  12212, 
12218,  12230,  12231,  12265,  12277, 
12322,  12325,  12392.  1815:  12453, 
12508  A,  12509,  12524,  12530,  12536, 
12538,  12541,  12551,  12555,  12593, 
12609,  12628,  12629.  1816:  12703, 
12840,  12840  A.  1817  :  12922,  12923, 
12924,  12925,  12926,  12927,  12928, 
12929 

JENKINS,  J.,  48  Strand    1815:  12547, 

12594 
JOHNSTON,  J.,  87  Bishopsgate  Street 

1811 :  11707, 11716 

loi     Cheapside     11726,    11765. 

1814:  12180 

98  Cheapside  (or  no  number) 

1812:  11841,  11843,  11860.  1813: 
12016, 12016  A,"*  12020, 12041.  1814  : 
12180,12295.  1815  :  12501, 12502  A, 
12579,  12612.  1816:  12753,  12758, 
12760,  12766  (96  Cheapside),  12769, 
12775,  12790,  12794,  12796,  12798 
(335  Oxford  Street),  12808,  12811, 
12813,  12827,  12832,  12837.  1817: 
12868,  12877,  12892.  1819:  13209, 
13306,5  13307,  13308,  13309,  13310, 
13311,  13312,  13313,  13314,  13315, 
13316,  13317,  13423 

JONES,  M.  or  W.  N.,  5  Newgate  Street 

1811:  11704,  11711,  11713,  11717, 
11723,  11728,  11732,  11744,  11761, 
11762,  11763,  11764.  1812:  11846, 
11856,  11864,  11865,  11877,  11888, 
11899,  11904,  11914,  11935,  11940, 
11952,  11953-  1813:  11992,  12005, 
12019,  12028,  12039,  12056,  12066, 
12077,  12081,  12082  (N.  Jones), 
12089,  12135  (N.  Jones),  12182, 
12189.  1814:  12207,  12256,  12272, 
12300,  12315,  12328,  12329,  12331, 
12335,  12340.  1815:  12452,  12499, 
12502,  12523,  12537,  12550,  12578, 
12591,  12608,  12613,  12622,  12632. 
1816:12700,    12714,12746 

^  See  Index  of  Artists. 


'   See  Index  of  Persons,  Index  of  Artists. 

3  'Nephew  and  successor  to  the  late  Mrs.  Humphrey.' 

■*    Date  uncertain.  ^  Nos.  13306-17  with  Aspeme  and  Sams. 


4A2 


IO91 


INDEX   OF   PRINTSELLERS    AND   PUBLISHERS 


KEYS,  23  Upper  Marylebone  St., 
Portland  Place    1818:  13014 

KING,  E.,  25  Chancery  Lane  1819: 
13222,  13239,  13283,  13452 

KNIGHT,  S.'  (late  Walker  &  Knights, 
removed  from  7  Cornhill),  3  Sweet- 
ings Alley,  Cornhill,  1813:  12001, 
12008,  12010,  12011  CJ.  Knight, 
late  Walker's'),  i202if,  12022, 
12023,  12026,  12036,  12038,  12043, 
12069,  12086,  12095,  12096,  12098, 
I2I20.  1814:  12217,  12224,  12258, 
12262,  12263,  12266,  12294,  12314, 
12326,  12339.  1815:  12532,  12557, 
12558,  12592.  1816:  12748,  12750. 
1818:  13038.  1819:  13200  Ad- 
denda 13487(1813) 

LAURIE,  R.  H.    1817:  12977  (reissue, 

1821) 
LAURIE  &  WHITTLE,  53  Fleet  Street 

(see  Whittle)    1811:  11715,  11838, 

I 1839, I 1840 

M^CLEARY,  32  Nassau  Street,  Dublin. 
1811:  11778.  1812:  11850A, 
11866,  11955.    1813:  11996A 

MCLEAN,  T.,  Haymarket  (reissues). 
1816:12823.  1817  :  12905,  12906  A, 
12907  A,  12908  A,  12909  A,  12910. 
1818:    13015  A,    13016  A,    13018  A, 

13019  A,   13020,   13021  A,   13022, 

13023,  13025,  13027,  13031.  1819: 
1325s,  13348,  13350  A,  13352,  13353, 
13356,  13357,  13358  A,  13430,  13434, 

13445  A 

MARCH,    J.    J.,^    48    Strand.     1819: 

13363 

MARKS,  J.  L.,"  Sandy's  Row,  Artillery 
Street,  Bishopsgate.  1817:  12786, 
12902.  1818:  12989,  12991,  12992, 
13070.  1819:  13210,  13217,  13221, 
13254,  13260,  13264,  13265 

MARTIN,  H.,  27  Fetter  Lane  1813: 
12037 

MARTIN,  Patrick,  198  Oxford  Street 
1815:  12484,  12485,  12486,  12487, 
12488,  12489,  12490,  12491,  12492, 
12493,  12494,  12495,  12496,  12497, 
12498 

MARTINET,  Libraire,  Rue  du  Coq,  No. 
15,    Paris      1814:     12240,     12350, 

'  See  Index 


12351,  12352,  12353,  12354,  12357, 
12358,  12359,  12361,  12362,  12366, 
12375.    1815:12634.    1816:12713 

MASON,  W.,  near  the  Hospital,  Cam- 
bridge   1817 :  12914 

MOON,  T.  ( ?  pseudonym),  West- 
minster    1811  :   1 1705 

o'cALLAGHAN,    J,,    II    Bride    Street, 

DubHn    1812  :  11911 
ORME,  Edward,  Bond  Street,  corner 

of  Brook  Street    1814  :  12 186 


FALSER,  Thomas,  Surrey  side,  West- 
minster Bridge  1814:  12215. 
1815:12554.    1816:12701 

PERIODICALS 

Black  Dwarf  {see  Wooler)  1818: 
12982 

Bon  Tofi  Magazine  1819:  13228, 
13243,  13253 

Busy  Body  1816:  12768,  12776, 
12789,  12846,  12847.    1818:  12979 

Meteor,  The  (pub.  T.  Hughes) 
1813:  12091,  12092,  12110,  12127, 
12136,12139,12140.  1814:i2i7o, 
12171,  12176,  12181,  12184,  12190, 
12208,  12210,  122X1,  12251,  12324, 
12388,  12389,  12390,  12391 

Nain  Jaime,  Le    1815:12542 

Satirist  1811  :  11710,  11714,  11718, 
11722,  11724(1812),  11730,  1 1733, 
11736,  11742,  1 1772,  11773,  1 1774- 
1812:  11848,11855,  11863,11875, 
11890, 11894, 11898, 11905,  11915, 
11916,11934.  1813:11993,12007, 
12017,  12030, 12040, 12064, 12065, 
12079,  12084, 12087, 12109, 12133, 
12134.  1814:12172,12183,12209, 

12255,12271,12327.    iSeg  TRIPOD 

Scourge,  see  M.  and  W.  N.  Jones 
(No.  11865  excepted)  1816: 
12766 

Town  Talk;  or,  Living  Manners 
1812:  11857,  11862,  11878,  11886, 
11889, 11893, 11897,  11903, 11913, 
11941.  1813  :  11990, 12006, 12018, 
12027, 12057,  12067,  12076, 12080, 
12085,12088,12111,12129.  1814: 
12173,  12191 

Tripod    or    New    Satirist     1814: 
12287,  12301 
of  Artists. 


/ 


1092 


INDEX   OF   PRINTSELLERS   AND   PUBLISHERS 


PITTS,  J.,  Great  St.  Andrew  Street, 

Seven  Dials  1814:12348 
PLANCHER,    Rue    Serpente,    No.    14, 

Paris  1814:  12367,  12368 
PRATT,  R.,  12  Broad  Street,  Golden 

Square    1815 :  12611 

REDFORD,  A.,  London  Road,  South- 
wark   1812:  11845 

ROBINS,  Joseph,  57  Tooley  Street, 
Southwark   1812:  11 988 

ROBINSON,  5  Margaret  Street,  Caven- 
dish Square    1812:  11834 

ROWLANDSON,  T.,'  I  James  Street, 
Adelphi  1811:ii8i8.  1812:11959, 
1 1962,  1 1 964 

SAMS,    W.,    St.    James's    Street,    see 

ASPERNE 

SCHARF,  G.,'  3  St.  Martin's  Lane, 
Charing  Cross  1818:  13006  (with 
Colnaghi) 

SCHOLEY,  Robert,  46  Paternoster- 
Row  1814:  12438,  12439,  12440, 
12441,  12442,  12443,  12444,  12445, 
12446,  12447,  12448,   12449,  12450, 

1 245 1 

SHERWOOD  &  CO.    1817  :  12880 

SHERWOOD,  Neely  &  Co.,  Paternoster 
Row    1818  :  13034 

SHERWOOD,  Neely  and  Jones,  Pater- 
noster Row  1819:  13457,  13458, 
13459,  13460,  13461,  13462,  13463, 
13464,  13465,  13466,  13467,  13468, 
13469,  13470,  I 347 I,  13472,  13473, 
13474,  13475,  13476 

SIDEBOTHAM,^  J.,  2  A  Sackville  Street, 
Dublin  1811:11753.  1813:  12054, 
I20S5 

74  Newgate   Street  and  at  20 

Capel  Street,  Dublin  1815:  12615 
(without  address),  12616,  12619 

96  Strand   126 18,  12624 

96  Strand  and  20  Capel  Street, 

Dublin     12633 

96  Strand  12654  1816:  p.  630, 

12707,  12716,  12717,  12749,  12752, 
12755,  12756,  12757,  12763,  12765, 
12772,  12773,  12777,  12784,  12787, 
12788 


10  St.  James's  Street   12795 
96  Strand    12814,  12825,  12826, 


12828,  12829,  1283 1,  12841 
—  I    St.    James's    Street 


1817 


12864 

—  72  New  Bond  Street  12865 

—  I  St.  James's  Street  12866, 
12869,  12870,  12871,  12872,  12873 

—  '38'  Burlington  Arcade   12917 

—  I  St.  James's  Street  12919, 
12921.  1818  :  13035  (sold  at  [Hum- 
phrey's] 27  St.  James's  Street) 

—  287  Strand    1819:13195,13196, 


13197,  13201,  13211,  13213,  13217A, 
13218, 13229, 13234(8.  Sidebotham), 
1323s,  13238,  13240,  13278,  13365, 
13368,  13369,  13385,  13386,  13391, 
13392,  13415,  13416,  13417,  13418, 
13419,  13422,  13441,  13449 

SIMPKIN,      W.,      &      MARSHALL,      R., 

Stationers'  Court,  Ludgate  Hill 
1818:  13176,  13177,  13178,  13179, 
13180,  13181,  13182,  13183,  13184, 
13185,  13186,  13187,  13188,  13189, 
13190,  13191 

SMEETON,  139  St.  Martin's  Lane 
1812:  11985 

17  St.  Martin's  Lane,  Charing 

Cross  1814  :  12204,  12204  A,  12205, 
1815:  12512,  12518,  12607 

STOCKDALE,  J.  J.,'  41  Pall  Mall  1811: 
11745.  1812:  11849,  11850,  11851, 
11852.  c.  1815-16:  12626.  1817: 
12891,  12912,  12913,  12959,  12960, 
12961,  12962,  12963,  12964,  12965, 
12966,  12967,  12968,  12969,  12970, 
12971,  12972,  12973,  12974,  12975, 
12976.  1818:  13003,  13146,  13147, 
13148,  13149,  13150,  13151-  1819: 
13477,  13478,  13479,  13480,  13481, 
13482 

TAYLOR,  B.,  9  Warwick  Street, 
Golden  Square    1819:13205 

TEGG,  Thomas,  iii  Cheapside  1811 : 
11719,  11720,  11721,  11735,  11737, 
1 1738,  1 1749,  1 1755,  1 1770,  1 1775, 
11781,  11782,  11783,  11784,  11785, 
1 1786,  1 1787,  1 1788,  1 1789,  1 1790, 
11791,  11792,  11793,  11794,  11795, 
1 1796,  11797,  "798,  1 1799,  "800, 


'  See  Index  of  Persons. 

*  Sometimes  spelt  Sidebethem  or  Sidebetham. 
Artists. 


See  Index  of  Persons,  Index  of 


1093 


INDEX   OF   PRINTSELLERS   AND   PUBLISHERS 


I1801,  1 1802,  1 1803,  1 1804,  1 1805, 
I1806,  I1807,  11808,  I1809,  I1810, 
I1811,  I1812,  I1813,  I1814,  11815, 
I1816,  I1817,  I1819,  I1821,  11822, 
11823,  11824,  11825,  11826.  1812: 
1 1869,  1 1874,  1 1880,  11891,  1 1892, 
11912,  11917,  11918,  11919,  11921, 
11923,  11957,  11958,  11960,  11961, 
11963,  11965,  11966,  11967,  11968, 
11969,  11971,  "974,  11976,  11977, 
11978,  11979,  11980,  11981,  11982, 
11983,  11984.  1813:  11994,  11997, 
I 1998,  12013,  12014,  12024,  12034, 
12035,  12042,  12044,  12048,  12049, 
12050,  12058,  12059,  12068,  12070, 
12071,  12072,  12090,  12094,  12097, 
12102,  12106,  12107,  12108,  12118, 
12128,  12143,  12144,  12145,  12146, 
12147,  12148,  12149,  12150,  12151, 
12152,  12153,  12154,  12155,  12157, 
12158,  12159,  12160.  1814:  12175, 
12185,  12199,  12216,  12219,  12221, 
12222,  12232,  12254,  12259,  12260, 
12261,  12268,  12278,  12280,  12290, 
12291,  12292,  12296,  12303,  12310, 
12332,  12333,  12334,  12341,  12399, 
12400,  12401,  12402,  12403,  12404, 
12405,  12406,  12407,  12408,  12409, 
12410.  1815:  12454,  12455,  12456, 
12457,  12458,  12459,  12460,  12461, 
12462,  12463,  12464,  12465,  12466, 
12467,  12468,  12469,  12470,  12471, 
12472,  12473,  12474,  12475,  12476, 
12477,  12478,  12479,  12480,  12481, 
12482,  12483,  12505,  12556,  12560, 
12642,  12643,  12644,  12645,  12646, 
12647,  12648,  12649,  12650,  12651, 
12652,  12653,  12693,  12694,  12695. 
1816:  12718,  12719,  12720,  12721, 
12722,  12723,  12724,  12725,  12726 
12727,  12728,  12729,  12730,  12731, 
12732,  12733,  12734,  12735,  12736, 
12737,  12738,  12739,  12740,  12741 
12742,  12743,  12744,  12745,  12770  A, 
12778,  12779,  12780,  12781,  12782, 
12783,  12785,  12791,  12792,  12793, 
12815,  12816,  12836,  12842,  12844. 
1817:  12862,  12863,  12916,  12931, 
12932,  12937,  12938,  12939,  12940. 
1818:  13011,  13049,  13050,  13058, 
13062,  13064,  13065,  13066,  13067, 
13074,  13075,  13076,  13080,  13081, 
13152,  13153,  13154,  13155,  13156, 
'  No  address. 


13157,  13158,  13159,  13160,  13161, 
13162,  13163,  13164,  13165,  13166, 
13167,  13168,  13169,  13170,  13171. 
1819:  13212,  13214,  13215,  13224, 
13230,  13244,  13245,  13246,  13251, 
13252,  13258,  13259,  13267,  13268, 
13271,  13272,  13273,  13274,  13280, 
13281,  13286,  13288,  13291,  13366, 
13393,  13394,  13397,  13398,  13401, 
13402,  13404,  13405,  13406,  13407, 
13408,  13410,  13411,  13412,  13413, 
13440.  Addenda:  13487,  13488 
(1813),  13490(1814),  13497(1816) 
THOMPSON,  G.,  43  Long  Lane  West, 
Smithfield  1814:12347  Addenda 
13491  (1814) 

VALLARDi,  Boulevard  Poissoniere,  No. 
5  1814 :  12270 

WALKER  &  KNIGHT,  7  Comhill  1811  : 

II709,  1 1739,  1 1747,  1 1748,  11767- 

1812:  11842,  11853,  11936 

3  Sweetings  Alley,  Comhill  (or 

Royal  Exchange)  11867,  11881,' 
11906,  11920,  11945,  11946.  1813: 
12002,  see  KNIGHT:  S.  Knight 
(late  Walker's)  3  Sweetings  Alley. 
Addenda  13484  (1812)  13486  (1813) 

WALLis,  John,  42  Skinner  Street, 
London    1814:12223 

WATSON  &  CO.,  35  Marylebone  Street, 
Piccadilly    1816:  12819 

WEISS,  Caspar,  Berlin    1818:  12549 

WEST,  W.,  Theatrical  Print  Ware- 
house, 13  Exeter  Street,  Strand 
1812:  11942 

WHiTTAKER,  G.  &  W.  B.,  Ave-Maria 
Lane,  London,  see  hedgeland 

WHITTLE,  James,  &  Richard  Holmes 
Laurie,  53  Fleet  Street,  London 
1813:  12166,  12167,  12168.  1815: 
12506,  12697,  12698,  12699.  1817: 
12977,  12978  Addenda  13498  (1816) 

WILSON,  Royal  Exchange  1814: 
12328 

WILSON,  Effingham,  88  Royal  Ex- 
change   1816 :  12839 

wooLER,  T.  J.,^  58  Houndsditch 
1815:  12623 

58  Sun  Street   1818  :  12982 

Y.   z.    1812:  11900 

^  See  Index  of  Persons. 


1094 


INDEX   OF   PRINTSELLERS   AND   PUBLISHERS 


Corner  of  Chapel   Court,    Swallow 

Street   1813:  12124 
98  Cheapside  (address  of  J.  Johnston) 

1812:      11908,      11951  A,       1815: 

I2S34 
Little  Compton  Street,  Soho    1815: 

12539 
7  Compton  Street   1815:  12543 
Rue   St.   Jacques,   29,   Paris     1815: 

12511 


Rue  du  Coq,  No.  4   1816 :  12713 
Derby  (place)   1817:12893 
At  48  Strand   1818:12995 
Panton  Street,   Haymarket  (address 

of  Brooks)    1818 :  13002 
20  Princes  Street  (address  of  Clinch) 

1819:13365 
Sweetings  Alley  (address  of  Knight) 

1819:  13387 


1095 


PRINTED  IN 

GREAT  BRITAIN 

AT  THE 

UNIVERSITY  PRESS 

OXFORD 

BY 

CHARLES  BATEY 

PRINTER 

TO  THE 
UNIVERSITY 


NE 

55 

L7A3 

3870 

V.9 


British  Museum.   Dept.  of 
Prints  and  Drawings 
Catalog:ue 


PLEASE  DO  NOT  REMOVE 
CARDS  OR  SLIPS  FROM  THIS  POCKET 


UNIVERSITY  OF  TORONTO  LIBRARY