Chapter I: Part 1

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ROWLANDSON THE CARICATURIST

_SECOND VOLUME_

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

ROWLANDSON THE CARICATURIST

_A SELECTION FROM HIS WORKS_

WITH ANECDOTAL DESCRIPTIONS OF HIS
FAMOUS CARICATURES

AND

A Sketch of his Life, Times, and Contemporaries

BY

JOSEPH GREGO

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

_WITH ABOUT FOUR HUNDRED ILLUSTRATIONS_

IN TWO VOLUMES--VOL. II.

London
CHATTO AND WINDUS, PICCADILLY
1880

[_The right of translation is reserved_]

CONTENTS

OF

THE SECOND VOLUME.

(1800-1825.)

1800.

PAGE

'Le Brun Travestied, or Caricatures of the Passions'--Dr.
Botherum the Mountebank--Humbugging--Hocus-pocus, or Searching
for the Philosopher's Stone--Hogarthian Novelist--Britannia's
Protection, or Loyalty Triumphant--A Silly--A Sulky--Beef à la
Mode--Collar'd Pork--The Pleasures of Margate--Summer Amusements,
or a Game at Bowls--Cockney Outings--Beauties of Sterne:
'The Sentimental Journey'--Series of 'Attributes'--'Country
Characters'--'Matrimonial Comforts'--Preparations for the
Academy; Old Nollekens and his Venus--'Remarks on a Tour to North
and South Wales in the year 1797' 1

1801.

A Money Scrivener--A Counsellor--The Union--A Jew Broker--The
Brilliants--Undertakers Regaling--Symptoms of Sanctity--Single
Combat in Moorfields, or Magnanimous Paul O! Challenging All
O!--The Emperor Paul of Russia, a Mad Autocrat--Series of
'Prayers' and 'Journals'--The Union Head-dress--An Old Member on
his Way to the House of Commons--Minor works--Subjects after the
designs of G. M. Woodward 22

1802.

Series of 'Journals'--Special Pleaders--La Fille mal
Gardé, or Jack in the Box--A Lady in Limbo, or Jew Bail
Rejected--Slyboots--A Snip in a Rage--The Corporal in Good
Quarters--Sorrow's Dry, or a Cure for the Heart-ache--Hunt
the Slipper; Picnic Revels--Who's Mistress Now?--'Compendious
Treatise on Modern Education'--'Bardic Museum' 35

1803.

A Catamaran--Billiards--A Diver--John Bull Listening to the
Quarrels of State Affairs--Flags of Truth and Lies--Minor
subjects 42

1804.

A French Ordinary--Volunteering--The Imperial
Coronation--Theatrical Leapfrog--Melpomene in the Dumps--Death of
Madame République--A New French Phantasmagoria--The Eight Stages
of Man's Schooling--Letter from the Caricaturist to Heath, the
engraver 44

1805.

Quarterly Duns, or Clamorous Tax-gatherers--The famous
Coalheaver, Black Charley--The Modern Hercules Cleansing the
Augean Stable--A Scotch Sarcophagus--John Bull's Turnpike
Gate--The Scotch Ostrich Seeking Cover--Recovery of a Dormant
Title--Antiquarians à la Grecque--John Bull at the Italian
Opera--Napoleon Buonaparte in a Fever on Receiving the
Extraordinary Gazette of Nelson's Victory over the Combined
Fleets--A Boarding School--Illustrations to Fielding's 'Tom
Jones'--Illustrations to Smollett's 'Peregrine Pickle'--Views in
Cornwall, Devon, Dorset, &c. 49

1806.

'The Sorrows of Werter'--A Cake in Danger--Falstaff and his
Followers Vindicating the Property Tax--A Maiden Aunt Smelling
Fire--Recruiting on a Broad-Bottom'd Principle--Daniel Lambert,
the Wonderful Great Pumpkin of Little Britain--A Diving Machine
on a New Construction--The Acquittal--Experiments at Dover, or
Master Charley's Magic Lantern--Butterfly-Hunting--Anything will
do for an Officer--Interior of St. Brewer's Church--A Prize Fight 57

1807.

Miseries of London: A Street Blockade--The Captain's
Account-current of Charge and Discharge--At Home and
Abroad--Abroad and at Home--Mrs. Showell and Gen. Guise's
Collection of Pictures at Oxford--The Enraged Vicar--All the
Talents--A Henpeck'd Husband--John Rosedale, Mariner, Exhibitor
at the Hall of Greenwich Hospital--The Pilgrims and the
Peas--Song Headings--Monastic Fare--The Holy Friar--'I Smell a
Rat,' or a Rogue in Grain--The Old Man of the Sea and Sindbad the
Sailor--A White Sergeant giving the Word of Command--Miseries
Personal--More Scotchmen, or Johnny Maccree Opening his New
Budget--A View on the Banks of the Thames--The Double Disaster,
or the New Cure for Love--Miseries of the Country--A Mistake at
Newmarket, or Sport and Piety--Englishman at Paris--Symptoms
of Restiveness--A Calf's Pluck--Rusty Bacon--A Tour to the
Lakes--Thomas Simmons, the Murderer--Directions to Footmen--John
Bull Making Observations on the Coast--The Dog and the
Devil--More Miseries--Illustrations to 'The Pleasures of Human
Life' 64

1808.

Scenes at Brighton--Miseries of High Life--The Green
Dragon--Soldiers on a March--The Consultation, or Last
Hope--Volunteer Wit--The Anatomy of Melancholy--The Mother's
Hope--The Sweet Little Girl that I Love--Odd Fellows from
Downing Street Complaining to John Bull--A Snug Cabin, or Port
Admiral--Accommodation--The Welsh Sailor's Mistake--Wonderfully
Mended--Breaking Cover--Get Money--Doctor Gallipot Placing
his Fortune at the Feet of his Mistress--Rum Characters in a
Shrubbery--ROWLANDSON'S CARICATURES AGAINST BUONAPARTE: The
Corsican Tiger; Billingsgate at Bayonne; The Corsican Spider
in his Web; The Corsican Nurse Soothing the Infants of Spain;
The Beast as Described in Revelations; From the Desk to the
Throne; King Joe's Retreat from Madrid; King Joe on his Spanish
Donkey; A Spanish Passport to France; The Political Butcher;
The Fox and the Grapes; Prophecy Explained; Napoleon the Little
in a Rage with his Great French Eagle; A Hard Passage, or
Boney Playing Base on the Continent; King Joe and Co. making
the most of their time previous to quitting Madrid; Nap and
his Partner Joe; Nap and his Friends in their Glory; John Bull
arming the Spaniards; Junot disgorging his Booty; The Progress
of the Emperor Napoleon--Illustrations to 'An Academy for
Grown Horsemen' and 'Annals of Horsemanship,' communicated by
Geoffrey Gambado, Esq.--'The Caricature Magazine, or Hudibrastic
Mirror'--'Chesterfield Travestie, or School for Modern
Manners'--Behaviour at Table--'A Lecture on Heads,' by G. A.
Stevens--Plates to 'The Miseries of Human Life'--'The Microcosm
of London, or London in Miniature'--'An Essay on the Art of
Ingeniously Tormenting' 84

1809.

The Head of the Family in Good Humour--The Old Woman's Complaint,
or the Greek Alphabet--Launching a Frigate--A Mad Dog in a Coffee
House--Disappointed Epicures--A Mad Dog in a Dining Room--The
Comforts of Matrimony--The Miseries of Wedlock--'Oh! you're
a Devil. Get along, do!' ROWLANDSON'S CARICATURES UPON THE
DELICATE INVESTIGATION, OR THE CLARKE SCANDAL: Particulars of the
Case; The Parliamentary Examination; The Principal Personages
Concerned; Mrs. Clarke's _Memoirs_; 'The Rival Princes'; 'Tegg's
Complete Collection of Caricatures relative to Mrs. Clarke, and
the Circumstances arising from the Investigation of the Conduct
of His Royal Highness the Duke of York before the House of
Commons, 1809'; Dissolution of Parliament, or the Industrious
Mrs. Clarke Winding up her Accounts; Mrs. Clarke's Levee; Days
of Prosperity in Gloucester Place; All for Love: a Scene at
Weymouth; An Unexpected Meeting; The Bishop and his Clarke; A
Pilgrimage from Surrey to Gloucester Place; The York Magician; A
Parliamentary Toast; Chelsea Parade; The Road to Preferment; The
York March; The Triumvirate of Gloucester Place; A Scene from the
Tragedy of 'Cato'; Yorkshire Hieroglyphics, pl. 182; The Burning
Shame; The Statue to be Disposed of; A General Discharge; The
Champion of Oakhampton; The Parson and the Clarke; Samson Asleep
on the Lap of Delilah; The Resignation; The Prodigal Son; Mrs.
Clarke's Last Effort; The York Dilly; Doctor O'Meara's Return to
his Family; Mrs. Clarke's Farewell to her Audience; Original Plan
for a Popular Monument to be Erected in Gloucester Place; A York
Address to the Whale; The Flower of the City; The Modern Babel;
The Sick Lion and the Asses; Burning the Books; A Piece-Offering;
The Quaker and the Clarke; John Bull and the Genius of
Corruption--Boney's Broken Bridge--Hell Broke Loose--The Tables
are Turned--More of the Clarke--The Plot Thickens--Amusement
for the Recess--The Bill of Wright's--Wonders, Wonders,
Wonders!--The Rising Sun, or a View of the Continent--The Pope's
Excommunication of Buonaparte--The Walcheren Expedition--Song
by Commodore Curtis--A Design for a Monument to be Erected
in Commemoration of the Glorious and Never-to-be-forgotten
Grand Expedition, so ably planned and executed in the year
1809--General Cheathem's Marvellous Return from his Exhibition of
Fireworks--Plan for a General Reform--This is the House that Jack
Built--A Lump of Impertinence--A Lump of Innocence--Preparations
for the Jubilee, or Theatricals Extraordinary--A Bill of Fare
for Bond Street Epicures--The Boxes--A Peep at the Gas Lights
in Pall Mall--Joint Stock Street--The 'Bull and Mouth'--A
Glee--Rowlandson's 'Sketches from Nature'--Sterne's 'Sentimental
Journey'--Butler's 'Hudibras'--'Surprising Adventures of the
Renowned Baron Munchausen'--'The Beauties of Sterne'--'Poetical
Magazine'--'The Schoolmaster's Tour' (Dr. Syntax)--The Mansion
House Monitor--'Annals of Sporting,' by Calib Quizzem--'Trial
of the Duke of York'--'Advice to Sportsmen' from the notes of
Marmaduke Markwell--'The Pleasures of Human Life,' by Hilari
Benevolus & Co.--Illustrations to Smollett's Miscellaneous
Works--'Beauties of Tom Brown'--Views in Cornwall, &c.--'Scandal;
Investigation of the Charges brought against H.R.H. the Duke of
York, by G. L. Wardle, Esq., M.P. for Devon, with the evidence
and remarks of the Members' 130

1810.

Winding up the Medical Report of the Walcheren
Expedition--Libel-Hunters on the Look-out, or Daily Examiners of
the Liberty of the Press--A New Tap Wanted--The Boroughmongers
Strangled in the Tower--Views of the Colleges of Oxford and
Cambridge--A Bait for Kiddies on the North Road--Kissing for
Love--Easterly Winds--Three Weeks after Marriage, or the Great
Little Emperor Playing at Bo-peep--A Bonnet Shop--Peter Plumb's
Diary--A Table d'Hôte, or French Ordinary in Paris--Paris
Diligence--Boxing Match between Dutch Sam and Medley--Smuggling
Out, or Starting for Gretna Green--Smuggling In, or a College
Trick--Procession of the Cod Company from St. Giles's to
Billingsgate--Rigging out a Smuggler--Dramatic Demireps at their
Morning Rehearsal--Sports of a Country Fair--Spitfires--An Old
Ewe Dressed Lamb Fashion--Dropsy Courting Consumption--Kitchen
Stuff--A Hit at Backgammon--Medical Despatch--Bath Races--Doctor
Drainbarrel--After Sweet Meat comes Sour Sauce--The Harmonic
Society--Sign of the Four Alls--Signs--The Rabbit Merchant--A
Sale of English Beauties in the East Indies--A Parody on
Milton--Cries of London 182

1811.

College Pranks--A Sleepy Congregation--The Gig
Shop--Pigeon-Hole--A French Dentist--Bacon-faced Fellows
of Brazenose Broke Loose--She Stoops to Conquer--The
Anatomist--Sailors on Horseback--Pastime in Portugal--The Last
Drop--Boney the Second, or the Little Baboon Created to Devour
French Monkeys--A Picture of Misery--Puss in Boots, or General
Junot taken by Surprise--Nursing the Spawn of a Tyrant--The
Enraged Son of Mars and the Timid Tonsor--Rural Sports: A Cat
in a Bowl--A Dog Fight--Touch for Touch--The Bassoon, with a
French Horn Accompaniment--Easter Monday--Rural Sports--The
Huntsman Rising--The Gamester Going to Bed--Love Laughs at
Locksmiths--Masquerading--Accommodation Ladder--Looking at the
Comet--Life and Death of the Racehorse--A Milling Match between
Cribb and Molineaux--Smock-Racing--A Game at Quoits--How to
Show off a well-shaped Leg--Twelfth Night Characters--Cricket
Match Extraordinary--Minor Subjects--Six Classes of the
Horse--Distillers--Dinners Dressed in the Neatest Manner--A
Trip to Gretna Green--Balloon-Hunting--A Belvoir Leap--A Man of
Feeling--Bel and the Dragon--A Milk-sop--Royal Academy, Somerset
House--Travelling in France--Exhibition Starecase, Somerset
House--The Manager's Last Kick--Preparing to Start--Awkward
Squads Studying the Graces--Hiring a Servant--Anglers of
1811--Preparing for the Race--Patience in a Punt--A Templar at
His Studies--A Barber's Shop--Modern Antiques--'Munchausen at
Walcheren'--'Chesterfield Burlesqued' 199

1812.

Duke of Cumberland--Lord Petersham--Lord Pomfret--Wet under
Foot--Plucking a Spooney--Catching an Elephant--Description of
a Boxing Match between Ward and Quirk--A Spanish Cloak--Fast
Day--Sea Stores--Land Stores--The Chamber of Genius--Italian
Picture-Dealers Humbugging my Lord Anglaise--The Dog Days--A
Brace of Blackguards--Racing--Broad Grins--Watermen--A Seaman's
Wife's Reckoning--Setting out for Margate--Refinement of
Language--Bitter Fare--Raising the Wind--Christmas Gambols--The
Successful Fortune-Hunter--Hackney Assembly--The Learned
Scotchman--Preaching to some Purpose--A Visit to the Doctor--Puff
Paste--Mock Turtle--Off She Goes--A Cat in Pattens--'Petticoat
Loose; a Fragmentary Tale of the Castle'--Series of 'Views
in Cornwall'--'Tour of Doctor Syntax, in Search of the
Picturesque'--'Second Tour of Doctor Syntax, in Search of
Consolation'--'Third Tour of Doctor Syntax, in Search of a Wife' 225

1813.

Bachelor's Fare, or Bread and Cheese and Kisses--The Last Gasp,
or Toadstools Mistaken for Mushrooms--Summer Amusements at
Margate--Humours of Houndsditch--Unloading a Waggon--None but
the Brave Deserve the Fair--A Doleful Disaster, or Miss Tubby
Tatarmin's Wig Caught Fire--The Norwich Bull Feast--A Long
Pull, a Strong Pull, and a Pull all together--The Corsican Toad
under a Harrow--The Execution of two celebrated Enemies of Old
England, and their Dying Speeches, November 5, 1813--A Dutch
Nightmare--Plump to the Devil we boldly Kicked both Nap and his
Partner Joe--The Corsican Munchausen--Funking the Corsican--The
Mock Phoenix--Friends and Foes, up he Goes!--Political Chemists
and German Retorts--Napoléon le Grand--Mock Auction, or Boney
Selling Stolen Goods--How to Vault into the Saddle--Witches in
a Hayloft--The Quakers and the Commissioners of Excise--Doctor
Syntax in the Middle of a Political Squabble--A-going!
A-going!--Giving up the Ghost--Ghost of my Departed
Husband--'Letters from Italy,' by Lewis Engelbach--'Poetical
Sketches of Scarborough,' illustrated by Rowlandson from designs
by J. Green--'Dr. Syntax's Tour,' republished 253

1814.

The Double Humbug--Death and Buonaparte--Transparency
exhibited at Ackermann's on the victory of Leipzig--Madame
Véry, Restaurateur, Palais Royal, Paris--La Belle Limonadière
au Café des Milles Colonnes--Quarter Day, or Clearing the
Premises--Kicking up a Breeze, or Barrow-women Basting a
Beadle--The Progress of Gallantry--A Tailor's Wedding--Head
Runner of Runaways from Leipzig Fair--Crimping a Quaker--The
Devil's Darling--Blucher the Brave Extorting the Groan of
Abdication from the Corsican Bloodhound--Coming in at the Death
of the Corsican Fox--Bloody Boney, the Carcase Butcher, left off
Trade and Retiring to Scarecrow Island--The Rogue's March--The
Affectionate Farewell, or Kick for Kick--A Delicate Finish to a
French Usurper--Nap Dreading his Doleful Doom, or his Grand Entry
into the Isle of Elba--The Tyrant of the Continent is Fallen;
Europe is Free; England Rejoices--Boney Turned Moralist--What I
was! what I am! what I ought to be!--Peace and Plenty--Macassar
Oil--A Pleasant Way of Making Hay--Portsmouth Point--The Four
Seasons of Love--Joanna Southcott, the Prophetess--Buck-Hunting 271

1815.

Female Politicians--Breaking up the Blue Stocking
Club--Defrauding the Customs--Hodge's Explanation of a Hundred
Magistrates--Tailors Drinking the Tunbridge Waters--Flight
of Buonaparte from Hell Bay--Hell Hounds Rallying round
the Idol of France--Vive le Roi! Vive l'Empereur! Vive le
Diable!--Scene in a New Pantomime to be Performed at the
Theatre Royal, Paris--The Corsican and his Blood Hounds at
the Window of the Tuileries--Ackermann's Transparency on the
Victory of Waterloo--Boney's Trial, Sentence, and Dying Speech,
or Europe's Injuries Avenged--Ackermann's Transparency on the
General Peace, Nov. 27, 1815--The Cockney Hunt--Measuring
Substitutes for the Army of Reserve--A Journeyman Tailor--An
Eating House--Neighbours--Banditti--Virtue in Danger--Slap
Bang Shop--Accidents will Happen--Sympathy--Despatch, or
Jack Preparing for Sea--Deadly-Lively--Illustrations to 'The
Military Adventures of Johnny Newcome'--Illustrations to 'The
Grand Master, or Adventures of Qui Hi in Hindostan'--Hindoo
Incantations--Illustrations to 'Naples and the Campagna Felice,'
in a series of letters by Lewis Engelbach--The Letter-Writer--Don
Lugi's Ball 289

1816.

Exhibition at Bullock's Museum of Buonaparte's Carriage
taken at Waterloo--The Attempt to Wash the Blackamoor
White--Lady Hamilton--'Relics of a Saint,' by Ferdinand
Farquhar--Rowlandson's 'World in Miniature'--Illustrations to
'The English Dance of Death' 309

1817.

Illustrations to Goldsmith's 'Vicar of Wakefield'--Illustrations
to 'The Dance of Life'--'Grotesque Drawing Book,' &c. 356

1818.

Wild Irish, or Paddy from Cork, with his Coat Buttoned
Behind--Doncaster Fair, or the Industrious Yorkshire
Bites--Illustrations to 'The Adventures of Johnny Newcome in the
Navy' 363

1819.

A Rough Sketch of the Times, as delineated by Sir Francis
Burdett--'Who Killed Cock Robin?' (chap-book on the Manchester
Massacre)--Female Intrepidity (chap-book) 365

1820.

Chemical Lectures (Sir Humphrey Davy)--Rowlandson's
'Characteristic Sketches of the Lower Classes'--'The Second Tour
of Doctor Syntax' 366

1821.

A Smoky House and a Scolding Wife--Tricks of the Turf, or
Settling how to Lose a Race--Illustrations to 'Journal of
Sentimental Travels in the Southern Provinces of France'--'Le Don
Quichotte Romantique, ou voyage du Docteur Syntaxe' 368

1822.

Illustrations to 'The History of Johnny Quæ Genus'--Rowlandson's
'Sketches from Nature'--'Third Tour of Doctor Syntax, in Search
of a Wife'--'Die Reise des Doktor Syntax'--Crimes of the Clergy 371

1823.

Not at Home, or the Disappointed Dinner-hunter--An Old Poacher
Caught in a Snare--The Chance-seller of the Exchequer putting an
Extinguisher on Lotteries--Westmacott's 'Spirit of the Public
Journals for 1823'--The Toothache, or Torment and Torture 374

1825.

'Bernard Blackmantle' (C. M. Westmacott), 'Spirit of the Public
Journals for the year 1824'--'The English Spy,' by Bernard
Blackmantle 377

1831.

Posthumous Publication--'The Humourist, a Companion for the
Christmas Fireside,' by W. H. Harrison, 'with fifty engravings
and numerous vignettes from designs by the late Thomas
Rowlandson' 380

_SUMMARIES._

Chronological summary of subjects, social and political,
published caricatures, plates, and book illustrations, engraved
by or after Thomas Rowlandson, 1774 to 1831 387

Addendum to the chronological summary of Rowlandson's published
caricatures 406

_APPENDIX._

ADDITIONAL SOURCES OF REFERENCE UPON ROWLANDSON'S CARICATURES:

Catalogue of pictorial satires in the Print Department of the
British Museum, from the notes of Edward Hawkins, prepared by
Frederic George Stephens 411

'Centuria Librorum Absconditorum (Pisanus Fraxi)' 412

Original drawings by Thomas Rowlandson in the Department of
Prints and Drawings, British Museum 412

In the Royal Collection, Windsor Castle 413

In the collection of water-colour drawings of the English school,
Science and Art Department, South Kensington Museum 413

Dyce collection of water-colour drawings of the English school,
Science and Art Department, South Kensington Museum 413

Private collections of original drawings by Thomas Rowlandson 415

_INDICES._

Index of names, persons, &c. 435

Index of titles, subjects, published caricatures, illustrations,
&c. 440

_ROWLANDSON THE CARICATURIST._

1800.

_January 1, 1800._ _A French Ordinary._ Published by S. W. Fores. (See January 2, 1804.)

_January 20-3, 1800._ _Washing Trotters._ Published by Hixon, 355 Exeter Change, Strand.--As the title indicates, an etching of a curious couple engaged in the domestic operation of tubbing.

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

_January 20, 1800._ _Attention_, No. 2. Woodward del., Rowlandson sculp. Published by R. Ackermann.

_January 20, 1800._ _Hatred or Jealousy_, No. 3. Woodward del., Rowlandson sculp. Published by R. Ackermann.

_January 20, 1800._ _Admiration with Astonishment_, No. 4. Woodward del., Rowlandson sculp. Published by R. Ackermann.

_January 20, 1800._ _Veneration_, No. 5. Woodward del., Rowlandson sculp. Published by R. Ackermann.

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

_1800._ _Desire_, No. 7. Woodward del. Etched by Rowlandson.--'Female attraction is frequently the cause of this passion, as represented in the delineation of the Old Beau and the Sleeping Lady.' A fair young female, fashionably attired, has dropped asleep in an inviting attitude, leaning on a cushion, an old buck, spyglass in hand, is ogling the unconscious beauty.

_January 21, 1800._ _Joy with Tranquillity_, No. 8. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Laughter_, No. 9. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

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

_January 21, 1800._ _Acute Pain_ (2nd plate), No. 19. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Simple Bodily Pain_, No. 11. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

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

_January 21, 1800._ _Weeping_, No. 13. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Compassion_, No. 14. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

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

_January 21, 1800._ _Horror_, No. 16. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Terror_, No. 17. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Anger_, No. 18. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

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

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

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

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

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

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

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

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

_April 1, 1800._ _A Ghost in the Wine Cellar._ Published by T. Rowlandson, 1 James's Street, Adelphi.

_April, 1800._ _Caricature Medallions for Screens._ Published by R. Ackermann, Strand.

_April 20, 1800._ _Hearts for the year 1800._ Woodward inv., Rowlandson sculp. Published by R. Ackermann, Strand.

_May 1, 1800._ _Cash_. Published by R. Ackermann.

_May 1, 1800._ _Bills of Exchange._ Published by R. Ackermann.

_May 12, 1800._ _Melopoyn haranguing the prisoners in the Fleet. Hogarthian Novelist._ Plate 5.

_May 12, 1800._ _Captain Bowling introduced to Narcissa. Hogarthian Novelist._ Plate 6.

_May 20, 1800._ _A Skipping Academy._ G. M. Woodward inv., Rowlandson sculp. Published by R. Ackermann, Strand.

_June, 1800._ _Sketches at the Oratorio._ G. M. Woodward inv., Rowlandson sculp.

_June 4, 1800._ _Pictures of Prejudice._ Designed by Woodward. Etched by Rowlandson. Published by R. Ackermann.

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

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

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

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

_July 25, 1800._ _The Pleasures of Margate_, in four compartments. Published by R. Ackermann.

_Morning._--Breakfasting at _Michiner's Grand Hotel_.
_Noon._--Dining at _Michiner's Grand Hotel_.
_Evening._--A drive on the sands.
_Night._--At the bazaars. Raffling for prizes, flirtation, &c.

_August 20, 1800._ _Sailors Regaling._ Published by T. Rowlandson, 1 James's Street, Adelphi.

1800. _The Tuileries in Paris._--_Original Drawing._

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

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

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

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

_August 30, 1800._ _Gratification of the Senses à la mode Française._--(Seeing, Tasting, Hearing, Smelling, Feeling.)

_October 1._ _The Newspaper._ G. M. Woodward invt., Rowlandson sculp. Published by R. Ackermann.

_October 29, 1800._ _Grotesque borders for Rooms and Halls._--Published October 25 and 29, 1800, by R. Ackermann, 101 Strand. Woodward del., Rowlandson sculp.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

_Lawyerorum_ very significantly closes the series of emblematical heads. The counsel is a hard-featured, sharp, close, shrewd, and long-headed looking individual, attired in his horsehair wig, and festooned around with the sweets of his profession--_Affidavits_, _Subpoenæ_, _Perjuries_, _Bankrupts enlarged_, '_Wills made on the shortest notice_,' _Writs of Error_, _Clausum Friget_, _Bills of Costs_, _Declarations_, _Actions between John Doe and Richard Roe_, _Warrants for assaults_, _Habeas Corpus_, _Suits in Chancery_, _Lists of Informations_, _Quirks_, _Quibbles_, _Briefs_, _Title-deeds_, _Statutes at large_, bags of _causes_, ponderous legal volumes; the emblemata are significantly supported by a well-filled brief bag, plethoric with 'cash received on clients' accounts, not paid over.'

1800. _A Peep into Bethlehem._

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1800. _Matrimonial Comforts._ No. 2, _Late Hours_. Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.

1800. _Matrimonial Comforts._ No. 3, _An Anonymous Letter_. Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.

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

1800. _Matrimonial Comforts._ No. 5, _Killing with Kindness_. Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.--The victim to ill-directed matrimonial attentions is a stout countrified old gentleman; he is seated in his arm-chair, very much at the mercy of two fair and youthful tormentors, whose exertions on his behalf are probably _not_ disinterested. The wife, a very stylish damsel, seemingly young enough to be the daughter of her embarrassed spouse, is leaning on his chair and pressing him to partake of a dish of fruit, and insisting, 'You must have some apricots, my love!' while her sister, patting the husband affectionately on the shoulder, is forcing a bunch of grapes into his mouth, which he has incautiously opened, to express his dissent: 'Just take these grapes, brother-in-law, you never eat finer!' The old gentleman, who shrewdly values this devotion at its worth, is crying: 'I wo'nt eat anything more, I tell you--I shall be choked--got an eye to the estate, I suppose!'

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

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

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

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

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