Chapter XV: Part 15

_The Family Picture._--'My wife and daughters, happening to return a visit to neighbour Flamborough's, found that family had lately got their pictures drawn by a limner who travelled the country and took likenesses for fifteen shillings a head. As this family and ours had long a sort of rivalry in point of taste, our spirit took the alarm at this stolen march upon us; and notwithstanding all I could say, and I said much, it was resolved that we should have our pictures done too. Having, therefore, engaged the limner--for what else could I do?--our next deliberation was to show the superiority of our taste in the attitudes. As for our neighbour's family, there were seven of them, and they were drawn with seven oranges, a thing quite out of taste--no variety in life, no composition in the world. We desired to have something in a brighter style; and after many debates at length came to a unanimous resolution of being drawn together in one large historical family piece. This would be cheaper, since one frame would serve for all, and it would be infinitely more genteel, for all families of any taste were now drawn in the same manner. As we did not immediately recollect an historical subject to hit us we were contented each with being drawn as independent historical figures. My wife desired to be represented as Venus, and the painter was desired not to be too frugal of his diamonds in her stomacher and hair. Her two little ones were to be as Cupids by her side; while I, in my gown and band, was to present her with my books on the Whistonian controversy. Olivia would be drawn as an Amazon, sitting on a bank of flowers, dressed in a green joseph, richly laced with gold, and a whip in her hand. Sophia was to be a shepherdess, with as many sheep as the painter could put in for nothing; and Moses was to be dressed out with a hat and white feather. Our taste so much pleased the Squire that he insisted on being put in as one of the family, in the character of Alexander the Great, at Olivia's feet. This was considered by us all as an indication of his desire to be introduced into the family; nor could we refuse his request. The painter was therefore set to work; and as he wrought with assiduity and expedition, in less than four days the whole was completed. The piece was large, and it must be owned he did not spare his colours, for which my wife gave him great encomiums. We were all perfectly satisfied with his performance; but an unfortunate circumstance had not occurred till the picture was finished, which now struck us with dismay. It was so very large that we had no place in the house to fix it. How we all came to disregard so material a point is inconceivable; but certain it is we had been all greatly remiss. The picture, therefore, instead of gratifying our vanity, as we hoped, leaned in a most mortifying manner against the kitchen wall, where the canvas was stretched and painted, much too large to be got through any of the doors, and the jest of all our neighbours. One compared it to Robinson Crusoe's longboat, too large to be removed; another thought it more resembled a reel in a bottle; some wondered how it could be got out, but still more were amazed how it got in.'

* * * * *

THE DANCE OF LIFE: A POEM.

_By the Author of 'Doctor Syntax' (William Coombe)._

ILLUSTRATED WITH TWENTY-SIX COLOURED ENGRAVINGS BY THOMAS ROWLANDSON.

LONDON: PUBLISHED BY R. ACKERMANN, REPOSITORY OF ARTS, 101 STRAND. 8vo.

'_Advertisement._--The eight monthly numbers to which this work was limited being completed, it is presented to the public in an accumulated volume. Though an acquaintance has taken place between the artist and the writer, the same principle has in a great degree, if not altogether, predominated in the originality of the designs and attendant illustrations of them as produced the _Tour of Doctor Syntax_ and the _Dance of Death_.'

ILLUSTRATIONS.

Frontispiece.--_The Dance of Life_; a panoramic scroll, on which Rowlandson's pictures which illustrate the series are represented in miniature. Father Time, with his accessories of scythe, hourglass, and globe, is acting as showman and pointing out the subjects of the work to a group of spectators, whose faces and attitudes are expressive of the admiration and interest which the pictorial history is exciting.

Titlepage.--The vignette of a lightly touched and gracefully drawn female dancing figure, with a scarf airily floating from her shoulders. The nymph is encircled by a ring of pretty children, hand in hand, who are dancing round her; while roses are scattered at the feet of the group.

1. _Infancy._--The hero is introduced to the world as an infant.

The Dance of Life begins, with all its charms
In the fond dandling of the nurse's arms.

2. _Childhood._--The first tutor.

The tender nurse's care is now resign'd
To the first grave instructor of the mind.

3. _Boyhood._--The public school.

The stern preceptor, with his threat'ning nod,
Calls in the wise correction of the rod.

4. _Youth._--An undergraduate at Oxford.

Wine makes the head to ache; but will the art
Of the grave, solemn lecture reach the heart?

5. _Foreign Tour._--Setting forth on his Continental travels. The
parting from home.

To part with thee, my boy, how great the pain!
How great the joy to see thee once again!

6. _Foreign Tour._--Posting in France.

'Tis hop'd, midst foreign scenes some power he'll find
To mend his manners and improve his mind.

7. _Foreign Tour._--A scene in the Palais-Royal.

He pays his lively court, as 'tis the _ton_,
To the fat Princess of the Mille Colonnes.

8. _The Return._--The traveller hurries home on the death of his
father.

The widow'd mother hastens forth to meet
Her son, Sir Henry, at his ancient seat.

9. _The Chase._--A fatal fall; his affianced bride is thrown and
killed.

The hounds the flying stag pursue;
But Dian does the hunting rue.

10. _Fashionable Life._--Plan for new buildings. The architect, &c.

At the first step in folly's wanton waste
He pulls his mansion down, to show his taste.

11. Coaching on Hounslow Heath.

Of four-in-hand he gains the vulgar rage:
Wields his long whip, and overturns a stage.

12. The Midnight Masquerade.

The mask, that scene of wanton folly,
May convert mirth to melancholy.

13. The Billiard-table and its votaries.

By gamblers link'd in Folly's noose,
Play ill or well, he's sure to lose.

14. The Ring, Newmarket Heath.

The victim of the betting-post:
His bets as soon as made are lost.

15. A Mistress _à la mode._

For such a wild and placid dear
Me pays two thousand pounds a year.

16. The Election: close of the poll: chairing the member.

For my own good, and yours, I'm bent,
My worthy friends, tow'rds Parliament.

17. Imprisoned for debt, the hero resists the temptations held out by
a Jew and a scrivener.

In his oppress'd and adverse hour
Virtue assumes its former power.

18. A change of circumstances: coming into an unexpected fortune, left
the hero by the father of his affianced bride, whose death is shown
(plate 9).

The wild exuberance of joy
May reason's sober power destroy.

19. A social gathering in the new mansion. Ladies and a musical
evening.

Sweet is the voice whose powers can move
And call the vagrant heart to love.

20. The hero selects a wife. The nuptial ceremony.

Blest Hymen, whose propitious hour
Restores to Virtue all its power.

21. Dragging the lake.

Rural sports are better far
Than all his former pleasures were.

22. A case of poaching. Sir Henry is sitting as magistrate at Graceful
Hall. His wife is pleading for the unfortunate prisoners (poachers).

To soothe the rigours of the laws
Let beauty plead the culprits' cause.

23. Worshipping on the Sabbath. The Squire in his pew.

By piety's due rights 'tis given
To hold communion with Heaven.

24. Sir Henry, surrounded by his children and his friends, is
tranquilly passing his declining years.

Here Virtue views, with smiling pride,
The pleasures of her fireside.

1817. _Grotesque Drawing Book; the World in Miniature, consisting of groups of figures for the illustration of landscape scenery._ Forty plates, 8vo. London.

1817. _Journal of Sentimental Travels in the Southern Provinces of France._ Illustrated with eighteen plates by T. Rowlandson. 8vo. Published by R. Ackermann. (See 1821.)

1817. _World in Miniature._ Containing fifty-eight etchings. 4to. (See 1816.)

1817. _Pleasures of Human Life._

1818.

_January 20, 1818._ _The Last Jig, or Adieu to Old England._ Published by T. Tegg.

1818. _Wild Irish, or Paddy from Cork, with his coat buttoned behind._ Designed, etched, and published by T. Rowlandson, 1 James Street, Adelphi. Republished 1818.--One of the series published by the artist, to the finish, execution, and colouring of which he devoted extra care. The scene pictures a haymaking festivity. Paddy from Cork, hayfork in hand, has literally turned his coat hind part before; he is dancing in company with another swain, who is holding a whisky-jug, and a fellow Patlander, fiddling and capering for very life, beside two buxom lasses, who are flourishing hayrakes and throwing themselves into the most attractive attitudes. Groups suggestive of both rural felicity and a terrific combat in combination are figured in the distance, as the true Patland ideal of finishing a day's pleasure.

1818(?). _Doncaster Fair, or the Industrious Yorkshire Bites._ Designed, etched, and published by T. Rowlandson, 1 James Street, Adelphi.--The principal figure in the foreground group is a buxom but hardly gentle keeperess of a _knock-'em-down_ stand. The lady, clad in a soldier's old jacket, with ragged skirts and defective hose, is holding in one arm an instalment of sticks--'three throws a penny'--and is demanding her fee, a trifle boisterously, from a smock-clad yokel, who is diving into his short-clothes pocket for the coppers which do not appear to be forthcoming. Other rustics are taking their pastime at the same amusement, and one, in perplexity, is scratching his head. The bustle of a country fair is set forth in the distance; there is the usual display of booths and mountebanks, countrymen on horseback, love-making in carts, stalls, and struggling groups of sightseers.

1818. _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. Published by W. Simpkin and R. Marshall, Stationers' Court, Ludgate Street.

Dulce Bellum Inexpertis.

Frontispiece.--Asleep on the Masthead.
Leaving Home.
'The Admiral has made it sunset, sir!'
Turning in--and out again.
Seasick.
Sent to hear the dog fish bark.
Seized up in the Rigging.
Cobbed--Watch! Watch!
Crossing the Line.
Sheerness Boat.
Plymouth Playhouse.
Going to Ivy Bridge.
In the Grocer's Shop.
Johnny and Maria.
Mast-headed.
'The Captain's going out of the ship, gentlemen!'

1819.

_May 9, 1819._ _A Rough Sketch of the Times, as delineated by Sir Francis Burdett._ Published by T. Tegg (15).--Sir Francis Burdett is shown standing in the centre of the picture, a scarf thrown over his shoulders is marked _Magna Charta_ and _Bills of Rights_; he holds the Genius of _Honour_ and _Integrity_ firmly clasped by the hand, and, pointing to _The Monster of Corruption_, observes: 'Look here upon this picture, and on this, and then judge for yourselves.' The persons of both patriot and monster are mapped out with inscriptions, their several parts being typically labelled: '_The Genius of Honour_ rejoices in a sound mind;' 'An eye ever watchful to the welfare of his fellow-citizens;' 'A tongue that never belied a good heart;' 'An upright breast and an honest heart;' 'A shoulder that never shrinks in trouble;' 'A plain liver and a lover of peace and plenty;' 'Pockets ever open to the necessities of fellow-creatures;' 'A knee to religion;' 'Legs ever steady in his country's cause;' and 'Feet to crush tyranny;' while in his 'Hand of Justice' is displayed a declaration of these principles: 'A staunch supporter of the Bill of Rights; an advocate for a fair representation of the people, and an enemy to bribery and corruption.' The attributes of the corrupt candidate are less flattering. The head of the monster is marked 'Professions and promises;' his nose has 'a scent for Interest;' his huge eye is devoted to Interest, and his mouth to Guile; he bears the 'Collar of Corruption;' 'a cringing soul,' 'a pampered appetite;' 'a rotten borough,' and 'secret service money' mark his trunk; his 'arms of power' end in 'hands of extortion,' which grasp 'pensions, reversions, perquisites of office, and bags of bribery;' he is supported on 'legs of luxury and feet of connivance.'

1819. _Who killed Cock Robin? A Satirical Tragedy, or Hieroglyphic Prophecy on the Manchester Blot!!!_ (Pamphlet.) London: Printed and published by John Cahnac, 8vo., p. 23. Plate of _Manchester Massacre_, by T. Rowlandson.

1819. _Female Intrepidity, or the Heroic Maiden._ (Chap-book) With a folding frontispiece by T. Rowlandson.

1820.

1820 (about). _Chemical Lectures._ Designed and published by T. Rowlandson, 1 James Street, Adelphi.--Sir Humphrey Davy is exhibiting experiments at the Royal Institution before a highly respectable audience of visitors and members of both sexes. An antiquated fogey, who has evidently no opinion of the brilliant young lecturer, is snarling at the demonstrations. A treatise of the period, _Accum's Lectures_, is shown in his coat-pocket.

1820. _Rowlandson's Characteristic Sketches of the Lower Orders, intended as a companion to the New Picture of London. Consisting of fifty-four plates, neatly coloured._ Printed for Samuel Leigh, 18 Strand, London.

'_Advertisement._--The British public must be already acquainted with numerous productions from the inimitable pencil of Mr. Rowlandson, who has particularly distinguished himself in this department.

'There is so much truth and genuine feeling in his delineations of human character, that no one can inspect the present collection without admiring his masterly style of drawing and admitting his just claim to originality.

'The great variety of countenance, expression and situation, evince an active and lively feeling, which he has so happily infused into the drawings, as to divest them of that broad caricature which is too conspicuous in the works of those artists who have followed his manner. Indeed, we may venture to assert that, since the time of Hogarth, no artist has appeared in this country who could be considered his superior, or even his equal.'

Frontispiece.--Menagerie. A Beef-eater exhibiting the Royal Wild Beast Show at the Tower.

Drayman.
Chairs to Mend.
Cherries.
Wine Cooper.
Cucumbers.
Singing Birds.
A Peep at the Comet.
Grinder.
Bagpipes.
Roasted Apples.
Distressed Sailors.
Sweeps.
Matches.
Coalheavers.
Oysters.
Cooper.
Sweet Lavender.
Last Dying Speech.
Old Clothes.
Curds and Whey.
'Pray remember the poor Sweeper.'
Butcher.
Itinerant Musicians.
Door Mats.
Earthenware.
Raree Show.
Images.
'All Hot.'
Strawberries.
Dog's Meat.
Rhubarb.
Baker.
Tinker.
Flounders.
Baskets.
Milk.
Hot Cross Buns.
Walnuts to Pickle.
Hackney Coachman.
'Buy my sweet Roses.'
Poodles.
Firemen.
Ballad Singer.
Shoeblack.
Placard. (Lottery Prizes.)
'Past One o'clock' (Watchman).
Postman.
_Billet-doux._
Bandboxes.
Great News.
Saloop. (Stall of Saloop-tea seller.)

1820. _The Second Tour of Doctor Syntax, in Search of Consolation._ Illustrated with twenty-four plates by T. Rowlandson. Royal 8vo. Published by R. Ackermann, Repository of Arts. (See description of _Doctor Syntax's Three Tours_, 1812.)

1821.

_May, 1821._ _A Smoky House and a Scolding Wife._ Published at 22 Marylebone Street, Portland Chapel.--A suffering mortal is seated at an unfurnished dinner-table; the man's hands are clasped, his brows are knit, and his lips tightly closed, in an effort to maintain his patience and his temper under two exasperating provocatives to violence. Placed before the bent-down martyr to domestic infirmities is a phantom bone of mutton; presumably the husband has taken exception both to the insufficiency of the joint and the superabundance of smoke, which is eddying round in volumes, and is filling the apartment with dense blackness; while his better half, sailing like a fury out of the gloom, is an object to inspire terror in the boldest heart, and the stings of the sharp tongue are apparently even more intimidating than her nails or her knuckles, all of which weapons of offence are enlisted against her pitiable helpmate.

1821. _Tricks on the Turf, or Settling how to Lose a Race._ Published by T. Rowlandson.--A scene on a racecourse; the race-horses, led round to be saddled, are seen in the background. A smart young jockey, with his saddle strapped across his own back, and whip in hand, in readiness to begin the race, is receiving the parting instructions of a wily old turfite, who wears a cocked hat, a pigtail, a triple-caped coat, top-boots and spurs. This shrewd trickster is evidently giving his rider certain secret instructions which he would probably not like to hear published abroad on his own authority. The subject of this satire, together with the scandals about the Prince of Wales's horse _Escape_ and his jockey, prove that even in the early days of the Turf its reputation was not immaculate nor its patrons above suspicion.

1821. _Journal of Sentimental Travels in the Southern Provinces of France shortly before the Revolution, embellished with seventeen coloured engravings from designs by T. Rowlandson, Esq._ London: Published by R. Ackermann, 101 Strand.

'We travellers are in very hard circumstances. If we say nothing but what has been said before us, we are dull and have observed nothing. If we tell anything new, we are laughed at as fabulous and romantic.'--_Lady M. W. Montague's Letters._

Frontispiece.--The Tribunal at Avignon.
_Table d'hôte._
Searched by Douaniers on the French Frontiers.
Consulting the Prophet.
The Prophet discovering himself and exposing the deception.
The Arrival in Paris. Offers of services.
Liberality to infirm Beggars on leaving Yvri.
Rural Happiness at Caverac.
Pleasures of a _poste aux Anes_.
The Embrace.
At Avignon. First Sight of Clara.
At the Tomb of Laura.
Auction of Relics at Avignon.
A Prisoner at Avignon.
Mistakes at Cavaillon.
A Tragic Story at Avignon.
The Sacred Page displayed.
The Inn at Marseilles.

_The Douaniers._--'No native of the German side of the Rhine can pass from the territory of Baden to that of France without carrying along with him a certain respect for his country, which he will act wisely to conceal, like any other contraband commodity. This precaution I impressed upon myself as soon as the four horses, whose neighing seemed to express the same feeling, were put to the carriage at the last post-station at Kehl.

'This little place, situated partly on one, and partly on the other side of the Rhine, possesses an equivocal sort of character, which, like the modest, innocent look of a frail fair one, is of great advantage in the way of its trade.

'The reflections on that extraordinary genius Voltaire, whom the mercantile spirit of Beaumarchais contrived to banish to this intermediate spot between Germany and France--excited as I passed the extensive printing office established here for promoting the circulation of his works--were too multifarious for the shortest of all stages; for the life of this extraordinary mortal would afford abundant matter for contemplation during a tour round the globe, without being even then exhausted. My mind standing before him, like a dwarf before a colossus, was about to measure his greatness, when I was under the disagreeable necessity of turning the looks of my admiration another way, in order to cast them with contempt upon the most miserable of all the _employés_ of the King, who waited my arrival at the barriers of Strasburg. The postilion seemed to be thinking no more about them than myself, but the cry of "Stop, scoundrel!" from the throats of ten of these varlets suddenly arrested the smart trot at which he was about to pass them. I was instantly surrounded by the rascals, who enquired what I would give to save my baggage from examination. "Nothing! nothing!" cried I, in a tone that would have scared the nymphs of the Rhine. "Nothing?" re-bellowed the incorruptible agents of the Custom House. "Nothing!" I reiterated. "I never make bargains with such fellows." With a profusion of curses and oaths they fell to work upon my baggage, which they ransacked with all the avidity of rats that have got scent of a savoury piece of bacon.

'Indeed, a small bribe would have prevented all this, but I was too much out of temper to submit to give alms to these beggars who had so rudely disturbed my meditations; for this reason my obstinacy--why should I not call the child by its right name?--had received a severe reproof.'

1821. _Le Don Quichotte Romantique, ou Voyage du Docteur Syntaxe à la Recherche du Pittoresque et Romantique._ 28 Illustrations drawn on stone (after the designs of Rowlandson) by Malapeau. Lith. de G. Engelmann. Paris. (See description of _The Three Tours of Doctor Syntax_, 1812.)

1822.

1822. _The History of Johnny Quæ Genus; the little Foundling of the late Doctor Syntax. A poem by the author of the Three Tours_ (William Combe). Embellished with twenty-four coloured engravings by T. Rowlandson. 8vo. London: Published by R. Ackermann, at the Repository of Arts.

What various views of our uncertain state
These playful, unassuming rhymes relate!--ANON.

Introduction to the history of _Quæ Genus_.--'The favour which has been bestowed on the different tours of Doctor Syntax has encouraged the writer of them to give a "History of the Foundling," who has been thought an interesting object in the latter of those volumes, and it is written in the same style and manner, with a view to connect it with them.

'This child of chance, it is presumed, is led through a track of life not unsuited to the peculiarity of his condition and character, while its varieties, as in the former works, are represented by the pencil of Mr. Rowlandson with its accustomed characteristic felicity.

'The idea of an English _Gil Blas_ predominated through the whole of this volume, which must be considered as fortunate in no common degree, if its readers, in the course of their perusal, should be disposed to acknowledge even a remote similitude to the incomparable works of Le Sage.

'THE AUTHOR.

'_Johnny Quæ Genus!_ What a name
To offer to the voice of Fame!

* * * * *

But howsoe'er the thing we view,
Our little Johnny's title's new:
Or for the child, or for the man,
In an old phrase, 'tis _spick_ and _span_.
Besides, as most folks do agree,
To find a charm in novelty,
'Tis the first time that grammar rule,
Which makes boys tremble when at school,
Did with the name an union crave
Which at the font a sponsor gave.
But whether 'twas in hum'rous mood
Or by some classic whim pursued,
Or as, in Eton's Grammar known,
It bore relation to his own,
Syntax, it was at Whitsuntide,
And a short time before he died,
In pleasant humour, after dinner,
Surnam'd, in wine, the little sinner.
And thus, amid the table's roar,
Gave him, from good old Lilly's store,
A name which none e'er had before.'

This quotation from the opening of Combe's Hudibrastic narrative will account for the originality of the hero's eccentric title.

Rowlandson's illustrations are as follows:--

_Quæ Genus_ on his Journey to London.
" in search of Service.
" relating his History to Sir Jeffery.
" at Oxford.
" Conflict with Lawyer Gripeall.
" with the Sheep-shearers.
" assisting a Traveller.
" in the Sports of the Kitchen.
" in the Service of Sir Jeffery Gourmand.
" with a Quack Doctor.
" with a Spendthrift.
" attending on a Sporting Finale.
" in the Service of a Miser.
" and the Money Lenders.
" officiating at a Gaming-table.
" with a Portrait Painter.
" gives a grand party.
" interrupts a _tête-à-tête_.
" committed, with a riotous dancing party, to the
Watchhouse.
" engaged with jovial friends, or who Sings best.
The party breaking up, and _Quæ Genus_ breaking down.
_Quæ Genus_ turned out of a House which he mistakes for his own.
" and Creditors.
" discovers his Father.

1822. _Rowlandson's Sketches from Nature._

A View near Richmond. Drawn and etched by Rowlandson. Stradler
aquatinta.

A View near Newport, Isle of Wight. Drawn and etched by
Rowlandson. Stradler aquatinta.

Temple at Strawberry Hill. Rowlandson del., 1822. Stradler
aquatinta.

Stamford, Lincolnshire. Drawn and etched by Rowlandson. Stradler
aquatinta.

Taunton Vale, Somersetshire. Drawn and etched by Rowlandson.
Stradler aquatinta.

The Seat of M. Mitchell Esq., Hengar, Cornwall. Drawn and etched
by Rowlandson. Stradler aquatinta.

West Loo, Cornwall. Drawn and etched by Rowlandson.

Village of St. Udy, Cornwall. Drawn and etched by Rowlandson.
Stradler aquatinta.

A view in Devonshire. Drawn and etched by Rowlandson. Stradler
aquatinta.

View near Bridport, Dorsetshire. Drawn and etched by Rowlandson.

Fowey, Cornwall. Drawn and etched by Rowlandson. Stradler
aquatinta.

View on the River Camel, Cornwall. Drawn and etched by Rowlandson.

A View in Camelford, Cornwall. Drawn and etched by Rowlandson.
Stradler aquatinta.

A Cottage in the Duchy of Cornwall. Drawn and etched by
Rowlandson. Stradler aquatinta.

View at Blisland, near Bodmin, Cornwall. Drawn and etched by
Rowlandson.

Clearing a Wreck on the north coast of Cornwall. Drawn and etched
by Rowlandson.

Rouler Moor, Cornwall. Drawn and etched by Rowlandson.

1822. _The Third Tour of Doctor Syntax. In Search of a Wife._ Royal 8vo., with 25 Illustrations by Thomas Rowlandson. Published by R. Ackermann. (See description of _Doctor Syntax's Three Tours_, 1812.)

1822. _Die Reise des Doktor Syntax, um das Malerische aufzusuchen. Ein Gedicht frei aus dem Englischen ins Deutsche übertragen._ Lith. v. F. E. Rademacher, Berlin. (See description of _The Three Tours of Doctor Syntax_, 1812.)

1822. _Crimes of the Clergy._ 8vo. Two plates by Thomas Rowlandson.

1823.

_June 13, 1823._ _Not at Home, or a Disappointed Dinner-hunter._ Published by John Fairburn. Broadway, Ludgate Hill.--The dinner-hunter, evidently a well-to-do but miserly person, to whom avarice dictates the pursuit of the victuals of his acquaintances, has called at the well-appointed house of a friend at the exact dinner-hour, since a boy from an adjacent public-house is handing in the beer; but the footman, who recognises the visitor's object, is prepared with the chilling information, 'Not at home.' On the opposite side of the street is represented an _à la mode_ beef shop, to which sundry stout diners are resorting. The execution of this plate is above the average, the etching being worked out with both care and spirit. A companion print, executed with similar finish, was issued by the same publisher.

_June 19, 1823._ _An Old Poacher Caught in a Snare._--The old poacher has evidently come on a dangerous quest, and is fairly trapped. The object of his snares, a handsome and elegantly-drawn lady, is thrusting the old sinner, suddenly disturbed by the unexpected return of the husband, into the embrasure of the fireplace, and endeavouring to conceal the marauder with the board which was used to close the chimneypiece. The injured spouse has evidently been out hunting, and has purposely returned on a more particular quest; whip in hand, he is bursting into the room. The hat and stick of the hoary poacher are thrown to the ground, and the hunter's hounds are tearing in on a good scent which promises fitting retribution to be dealt on the head of the detected evil-doer.

1823. _Hot Goose, Cabbage, and Cucumbers._

_September 18, 1823._ _The Chance-seller of the Exchequer Putting an Extinguisher on Lotteries._ Published by Tom Brown, Peter Street, Westminster.--The Chancellor of the Exchequer is literally extinguishing Fortune, who is represented as a comely and youthful winged female holding a well-filled purse in one hand and a lottery prize for 2,000_l._ in the other. At her feet are caskets of gems and jewels; she is seated on well-filled sacks; behind her is the wheel of fortune. A crowd of Bluecoat Boys are urging their entreaties. 'Come, madam,' cries the Chancellor, 'put on your nightcap.' A chorus of cries of disappointment proceeds from a mob of persons in front. One agonised lady of elegant exterior is praying: 'Stop; let me get a prize first.' A laundress, pointing to the washing-tub, cries, 'Let her alone; take off the soap tax.' 'Shut up the subscription houses,' urges another. A cobbler shouts, 'Give us a lottery, and no leather tax;' another cries out, 'No tax on tallow,' and a parson denounces horse-racing. On the column behind Madame Fortune suggestive placards are pasted: 'Races, King's Cup,' 'Reform Parliament, Public Morals,' and '_Fudge: a Farce_.' Various Ministerial and Parliamentary critics are discussing the new measure. One is saying, 'Little Van [Vansittart] knew better than to abolish a voluntary tax;' another is pointing out, 'He's only a young Chancellor;' while a third, alluding to the popular outcry in relation to existing imposts, remarks, 'Hear, hear! I knew they'd grumble.' A less disinterested party is taking the opportunity to secure prize bags, gold-dust 'pickings and fillings' from the upset of Fortune's cornucopia; he cries, 'Persevere, and the saints shall praise you.'

1823. _Third Tour of Doctor Syntax._ Royal 8vo.

1823. _The Three Tours of Doctor Syntax._ Pocket edition, 3 vols. 16mo. (See description of _The Three Tours of Doctor Syntax_, 1812.)

1823. _Oliver Goldsmith. The Vicar of Wakefield._ 8vo. Illustrated with 24 plates by Thomas Rowlandson. (See 1817.)

1823. _C. M. Westmacott. The Spirit of the Public Journals for the years 1823-4-5._ 3 vols. 8vo. (See 1825.)

1823. _The Toothache, or Torment and Torture._--The village Jack-of-all-trades, a very imposing, grave, and learned professor in appearance, is drawn in the exercise of one branch of his multifarious vocations. A stout wench has called in to have an obstinate grinder dragged out of her head; '_torment and torture_' are mild terms for the operation. The patient is seated in the chair of agony. Factotum's assistant, a lad whose offices seem as diversified as those of his master, has brought an elegant pair of horse-pliers for the delicate process of extraction. A dog is setting up a sympathetic howl; this animal is one of the grotesque nondescripts which Rowlandson delighted to depict after his own theories, careless whether literal critics, unfamiliar with his admirable studies after nature, took upon themselves to assert that he could not master the drawing of animals. From the agonised expression which the artist has succeeded in throwing into the canine features it would appear as if Toby was also a patient attending the dentist's tender offices in his turn. An old country dame who is also distracted with a raging molar is waiting without. One branch of our friend's business is obviously flourishing. Although the rustic practitioner does not display his diploma from the College of Surgeons, or his licence to kill by authority, he has nailed up a certificate with which, it is probable, he is equally satisfied: '_Barnaby Factotum; Draws Teeth, Bleeds and Shaves; Wigs made here; also Sausages. Wash Balls, Black Puddings, Scotch Pills, Powder for the Itch, Red Herrings, Breeches Balls, and Small Beer by the Maker. 'In Utrumque Paratus.'_ There is an air of verisimilitude about this advertisement which reads like an actual transcript.

1825.

1825. _Bernard Blackmantle. The Spirit of the Public Journals for the Year 1824. With Explanatory Notes by C. M. Westmacott._ With illustrations on wood by T. Rowlandson, R. and G. Cruikshank, Lane, and Findlay. London: Published by Sherwood, Jones, & Co., Paternoster Row.

_Advertisement._--In the preliminary notice the editor, Mr. Westmacott, specially alludes to the assistance given by our artist: 'It is with some degree of pride the editor requests his reader's examination of the illustrations to this volume, combining as they do specimens of the first graphic humour of the time; not the least admirable of which are eleven original designs by the veteran Rowlandson, whose facetious pencil appears to acquire additional richness with his lengthened years. For these the editor is more indebted to _personal friendship_ than _motives of interest_, and they are therefore in his estimation doubly valuable.'

_Designs by T. Rowlandson._

Vignette to title.--A group of little Cupids, harnessed, and drawing a car of classic shape, loaded with contributions from the newspapers--

The choicest fancies, grave and gay,
They register'd from day to day.

Mrs. Ramsbottom in the Packet. ('Mrs. Ramsbottom's Tour,' _John
Bull_.)

Ill-requited Love, or Miss Hannah Maria Juliana Shum. ('Sketches
at Bow Street,' _Herald_.)

Two at a Time, or Irish Accidents. ('Sketches at Bow Street,'
_Bell's Life in London_.)

The Petticoat Whip, or a Lift for Love. ('Sketches at Bow Street,'
_Bell's Life in London_.)

The Charley's Mistake, or Royalty Doubly Endangered. (_Bell's Life
in London._)

Teddy the Tailor, or a Troublesome Customer. ('Sketches at Bow
Street,' _Bell's Life in London_.)

The Man-of-War's Man, or Sketches of Society. ('Greenwich
Hospital,' _Literary Gazette_.)

The Mayor of Portsmouth and the Horse Witness.

The Bold Dragoon, or the Adventure of my Grandfather. ('Tales of a
Traveller,' _News of Literature and Fashion_.)

Sporting Extraordinary, or Cockney Comicalities. By Charley
Eastup. (_Annals of Sporting and Fashion._)

1825. _Bernard Blackmantle_ (Charles Molloy Westmacott). _The English Spy._ The illustrations designed by Robert Cruikshank. In two volumes. London, 8vo. Plate 32. _R.--A.--ys of Genius Reflecting on the True Line of Beauty at the Life Academy, Somerset House._ By Thomas Rowlandson.--This plate, which is dated June 1, 1824 (published by Sherwood & Jones), was not, we fancy, designed expressly for the _English Spy_, as we cannot fail to recognise it as an adaptation of a very spirited caricature by the artist belonging to a considerably earlier period, and described as _Drawing from the Nude_. In the original the students are dressed in the costume of some forty years anterior to 1824; their quainter persons are delineated with more grotesque spirit and boldness of treatment. Be this as it may, whether Rowlandson has obliged his friend Westmacott by adding new figures, or whether the original design has been otherwise supplemented with later portraits, the female model remains much as she is found in the larger drawing. The artists, who are working from the life in this more modern version, are chiefly Royal Academicians, as far as the privileged circle is concerned, and the portraits are studied with care. M. A. Shee is seated on the ground; one of the Landseers is above him; the person of Benjamin West, arrayed in decorous black, with his knee-breeches, silk stockings, and laced frill, bears a resemblance to a Court physician; Westmacott, Jones, Chantrey, and half a dozen other artists, evident likenesses, are portrayed with a certain attention to securing resemblance. In the right-hand corner, standing at an easel, is the figure of B. R. Haydon; and seated between this unfortunate artist and the fair model is another student, on whose drawing-board are the initials 'C. W.,' which may be intended as a complimentary introduction of the person of Charles Westmacott, the author of the publication in question. This plate, which is a highly interesting addition to Blackmantle's _English Spy_, is the only full-page illustration due to the caricaturist; and Mr. William Bates, B.A., commenting on this contribution in an interesting sketch of Rowlandson's works, pronounces it decisively 'the best plate in the work.' The first volume contains numerous vignettes on wood, which the index describes as being 'from original designs by Cruikshank, Rowlandson, Gillray, and Finlay, engraved by Bonner and Hughes.' These engravings are neither signed nor ascribed to the respective designers mentioned in the index; but, as far as we can trace, very little is offered of Rowlandson's beyond the advertisement of his name.

1831.

THE HUMOURIST.

A COMPANION FOR THE CHRISTMAS FIRESIDE. BY W. H. HARRISON.

_Embellished by Fifty Engravings,
exclusive of numerous Vignettes from Designs by_

THE LATE THOMAS ROWLANDSON.

LONDON: PUBLISHED BY R. ACKERMANN, 96 STRAND;
AND SOLD BY R. ACKERMANN, JUN.,
191 REGENT STREET, 1831.

The author, in his preface, thus refers to the circumstances under which these illustrations by a deceased artist have been imported into an annual:--

'Of the embellishments to which, after the manner of annuals in general, the matter has been adapted, it will be a sufficient recommendation to state that the designs have been carefully selected from a great variety of original drawings by the late Mr. Rowlandson, the humour of whose pencil has been long universally acknowledged, and no expense has been spared to render the engravings worthy of the subjects.'

The principal illustrations are as follows:--

Frontispiece. _The Humourist and her Crew._--The model of a ship,
drawn by a donkey, followed by an escort of seamen, who have
severally lost a leg in the service of their country; they are
singing lustily, and appealing to the charitably inclined.

Vignette. _The Doctors Puzzled._--A circle of grave practitioners.

" " " A learned consultation.

" Death pounding a mortar, as the apothecary's assistant.
('Great allowance to dealers in quack medicines.') This subject
occurs in the _Dance of Death_ (1814).

I have a secret art to cure
Each malady which men endure.

_Uncle Timothy._--A fat equestrian trying to mount a restive steed.

Vignette. Umbrella flirtations on horseback.

_The March of Intellect._--A bibliophilist doctor rummaging a bookstall.

_The Man of Business._--A grave curmudgeon turning his back on the beguilements of certain pretty oyster-wenches at their stall.

_The Rivals._--A scene outside the premises of Dorothy Dump, clear-starcher, and the box of a tailor. The knight of the thimble has thrust his head out of his narrow window, while he listens in consternation to the railings of the elderly clear-starcher, who is jealously disputing the right of a young and buxomly-developed fair to the attentions of the 'snip' their neighbour.

_An Enemy bearing down: Hope in the distance._--An enraged bull is throwing various rural pedestrians into commotion. A stout lady is endeavouring to escape over a stile; a one-legged veteran is hurrying her movements, as his own position is becoming precarious; and a young damsel is left sprawling on the grass; meanwhile the infuriated brute is receiving a check from a dog, which he is endeavouring to toss.

_Too Hot and too Late._--Several stout Sunday excursionists, at various distances apart, are toiling up a hill in the broiling midday sun to reach a suburban tavern, where is held, as was the custom at that period, an ordinary on holidays for the benefit of Cockney travellers. A stout pedestrian, mopping his forehead, and followed by his panting dog, who takes after his master in obesity, is at the bottom of the hill; the pair are evidently epicures, and the prospect of the ascent with the probability of arriving only to find the viands swept away by the eager appetites of earlier arrivals is evidently filling their minds with dread.

_Fire and Water._--A riverside alehouse; customers on benches, indulging in pots and pipes. A waterman, who is probably indebted to the alewife, is receiving a warm reception on the ground of unliquidated scores of long standing which he has attempted to increase.

_Steering._--An old admiral, driving his wife in a curricle, has some difficulty in restraining the skittishness of a pair of badly-trained steeds, whose eccentric career is threatening the whole concern with annihilation.

_Bar Practice._--Interior of a tavern, guests at tables; in the front of the picture is the saloon; a showy counter-maid is compounding a bowl of punch for a brace of customers, a military and a sporting buck, who are leaning over the bar and exchanging pleasantries with the landlady.

_Getting Cash for Notes._--A blind Scotch bagpiper, going his rounds of the country, is passing a cottage; certain charitable damsels, who are clustered about the portal are acknowledging the piper's notes with coppers.

_A Timekeeper._--A Doctor of Music, in his robes, is beating time with a roll of music, and conducting a mixed choir of girls and lads; all the members of the party are evidently bawling their utmost and straining their tuneful throats.

_The Italian Scribe. An out-of-doors Amanuensis._--A similar subject to that represented in the _Letters from Italy_, republished as _Naples and the Campagna Felice_ (1809-13). (See _The Letter Writer_, 1815.)

_Love in a Box._--A Hebrew gentleman, evidently a Shylock, is gravely trudging along the ways of some Continental city--it may be Venice--with a bunch of keys in his hand; three picturesque and Masaniello-like looking porters are in his train, one is bearing a trunk, and two are carrying, suspended on a pole, a large square receptacle, the contents of which are implied to be of a romantic nature.

_The Pleasures of Solitude._--An old gourmand is solacing his solitary state of dining by an excess of creature-comforts; his servants are bringing in fresh courses to add to a selection of dishes already amply sufficient for the needs of an individual, and his butler is supplying him with wine on an excessive scale.

_Rich and Poor._--A pensioner, minus a leg, and otherwise under the 'slings of adverse fortune,' has called to solicit some trifling assistance from a wealthy sybarite; the poor man's exertions in the representation of his case seem thrown away, as the person solicited is so deaf to his eloquence that, even with the assistance of a trumpet, he fails to hear the appeal of the suitor.

_Village Politicians._--The wiseheads of the hamlet are portentously discussing the contents of a news sheet in the vicinity of the sign of the 'Bugle Horn.'

_A Disciplinarian._--A Zantippe of a wife, with a flood of invective, is driving her cowed husband before her, whose advance is further accelerated by the liberal exercise of a stout cudgel, which is raining strokes on the bent back of the unmanned and overawed victim.

_An Admirer._--A comely maiden, standing with her pitcher beside a pump, is asking assistance to raise her load of an idiotic rustic dandy, who is staring and grinning his imbecile admiration with a face marvellously well fitted to fill a horse-collar, but who does not otherwise respond to the girl's request.

_The Cow Doctor._--A consultation over the condition of a suffering cow.

_Taking a Horse to Water._--In this case, it rather seems, the steeds are taking their riders there and leaving them--soused in the brook.

_Lost and Won._--A gaily-apparelled nymph is leaning over the palings of a waterside landing-stage. A waterman is looking on in dudgeon; he is evidently the 'loser;' whilst the fickle fair is making tender demonstrations in favour of a dashing young soldier, whose uniform and martial trim have evidently won the changeable lady's heart.

_A Man of Colour._--At the portico of a villa stands the black butler, who is emptying a plateful of victuals into the apron of a comely female tramp, with a child slung on her back; the _darkie_ is evidently moved by the attractions of the gipsy, since his face expresses the most unqualified admiration for her personal allurements.

_Civic Enjoyments._--A dinner party assembled in a Guildhall. The health of the entertainer is being uproariously received as a 'standing toast' with full-charged bumpers.

_A Siege._--A highly genteel, youthful, and elegantly clad lady--whether maid or widow it is difficult to determine--is surrounded by a crowd of suitors, recruited from pretty nearly all the professions, and of all ages and sizes. The object of this profuse idolatry, perfectly unmoved, is waving off her too presumptuous assailants, whose assiduities interfere with her comfort.

_Recruiting._--A party of soldiers on ''listing' service in a country town have secured certain volunteers. One of the new recruits, a sprightly damsel, is creating no little consternation in the breasts of the villagers by joining the troopers' march; a cobbler and a tailor, armed with the implements of their trade, are offering some show of resistance to the abduction of this Helen by a smart young Paris 'in the line;' but these deserted swains are kept at a respectful distance by the bayonet of the gay Lothario's comrade.

_Knowledge of the World._--A village pedagogue is instructing his pupils in that elaborate branch of fashionable education (according to school prospectuses at the beginning of the century), 'the use of the globes.' Certain mischievous urchins are taking advantage of the preceptor's preoccupation to insert quill pens into the 'Busby' wig of the learned Doctor.

_Modern Antiquities._--A variation of the larger engraving on this subject published (by Tegg) under the same title.

_A Man of Taste._--A fat old voluptuary, in a 'nautical rig,' in person not unlike (and probably expressly designed for) the convivial and yachting alderman, Sir William Curtis, is critically inspecting through his eyeglass a small selection of shellfish held out for his gratification by a pretty shrimper-maid of pronounced personal graces.

_Looking a Broadside._--A stout party of the old school, of great breadth and solidity, is looking daggers at a dandified fop of the period, a mere scarecrow of a figure, who is 'quizzing' the substantial piece of antiquity through a spyglass. The indignation of the old boy is barely appeased by the soothing caresses of a tender and pretty maiden who is clinging to the incensed veteran.

_Credulity._--A fashionable, elegant, and good-looking lady is seated at her breakfast-table, while her maid is arranging the apartment. A messenger or letter-carrier has just brought a _billet-doux_, which the confiding beauty is eagerly perusing.

_Indecision._--An obese prebendary, his gouty limb supported on cushions, is in all the perplexities of _embarras de choix_; one maiden is bringing in poultry, as appropriate to the day's dinner, shortly to follow in due course; and a fish-girl has offered an equally attractive choice of fish. The arrival of these luxuries and the necessity of selecting between them is vexing the soul of the good man.

_Spoiling a Cloak and Making a Fortune._--Another version of the traditional episode of the gallant Raleigh laying down his mantle at the feet of his sovereign lady Queen Elizabeth to bridge over an undesirable crossing.

_A Military Salute._--A gallant officer engaged in amorous dalliance with a tender-hearted fair, who is leaning out of a cottage window to receive the courtesies of the dashing warrior. Another version of _Kissing for Love, or Captain Careless Shot Flying by a Girl of Fifteen, who unexpectedly popped her Head out of a Casement_ (May 1810).

_A Bagman._--A tired commercial traveller, cloaked, booted, and spurred, is alighting at the 'Woolpack;' his horse is taken to the stable; his saddle-bag is under his arm; and the buxom and broadly-expanded hostess of the inn is standing at the portal to bid the weary pilgrim welcome.

_Obtaining the Countenance of the Minister._--An Italian itinerant vendor of 'images' is offering a citizen the chance of purchasing the head of the Government on easy terms, as far as his plaster bust is concerned.

_Training._--A jockey, with his saddle strapped on his back, ready to mount for the race, is receiving the final and special instructions of his patron, a venerable and evidently deep file, well versed in the iniquities of the turf, whose face wears an expression of experienced and long-trained cunning. Another version of _Tricks of the Turf, or Settling how to Lose a Race_ (1821).

_An Exhibition._--The fashionable attendants at a gallery of pictures. All the spectators are lost in wonder and admiration at the collection of paintings. The figure of the Duke of Gloucester is 'taken off,' with that of other visitors. A partial transcript of the _Portrait Painters Gallery.--Adventures of Johnnie Quæ Genus_.

_A Banquet._--Three _convives_ are enjoying their soup, seated in a sort of supper-box; the French _chef_ is prominently shown before his cooking-range, busied in the compounding of some extensive _pot au feu_.

_The Ratcatcher._--As the title expresses, the figure of a professional ratcatcher, with a cage full of prisoners, which he is exhibiting to a venerable couple--probably his employers; his dogs are excited at the prospect of the sport. Another version of Rowlandson's _London Characters_.

_A Court Day._--A small rendering of _A Levée at St. James's Palace_. The Beef-eaters are on duty, and crowds of courtiers and distinguished representatives, clerical, military, diplomatic, civil, foreign, &c., are proceeding through the reception-room for the privilege of making their bow to royalty.

_A Dark Prospect._--A master-sweeper and his lad are seated, on their soot-bags, by the can of a pretty and picturesquely-attired dairymaid, who has supplied the dark customers with cups of 'clean milk from the cow.'

_Symptoms of a Dinner._--A meeting of dignified prelates of the Church; amongst the company are certain bigwigs, bishops, who are received with flattering deference by the lower clergy. Two eager members of the cloth, more set on the serious gratifications of a Convocation festival than the empty ceremonial courtesies of the hour, are examining a sun-dial in the foreground and comparing it with their watches, in expectation of dinner-time.

_The Studio._--A painter, in Court costume, is daubing away boldly at his picture, surrounded at a respectful distance by a circle of _dilettanti_ connoisseurs, all of whom sport spectacles or eyeglasses; these critical spectators are engaged in cold contemplation of the work before them.

_Vignette._--A second group of _cognoscenti_, whose faces in this case express more interest and admiration, and justly so, since the work before them appeals to their tenderest susceptibilities; it is one they can all appreciate--a lively turtle, ready to be converted into real soup. A number of clergymen are following the lead of their bishop, who, excellent man, is evidently longing to bless the good things which beneficent Nature has here provided for the faithful.

_Hydrophobia: the Church in Danger._--A pastor is running his hardest, pursued by a dog, which we are to suppose is suffering from _rabies_; the venerable prelate is doing his best to keep in advance of his pursuer, who in turn is followed by a _possé_ of eager philanthropists, armed with pitchforks, flails, spits, pokers, choppers, shovels, and even pistols and guns, which are being discharged ineffectually, as the dog is managing to keep ahead of his would-be executioners.

_The Way to Fill a Wherry._--A party, including the fair, have secured their places in a wherry at the riverside; the waterman is taking in one more customer before starting, an elephantine and venerable gentleman, whose advent has filled the occupants of the bark with alarm, the aquatic party evidently anticipating that they will be swamped at the very least by the ponderous weight of the last comer, who is vainly trying to find a seat in the boat without capsizing it.

_A View of the Coast._--A village inn, with a blind fiddler and his daughter stationed upon the green outside; almost identical with the subject published by Ackermann in Rowlandson's _World in Miniature_ (see April 1, 1816).

_Operatives._--The title of this plate goes by contraries. _Inoperatives_ should be the description. A pair of soakers are sunk in heavy slumber over the table of the taproom; a brace of industrious working-men, whose ambitions in the direction of exertion are limited to 'raising their elbows,' 'tilting measures,' 'reducing the liquid contents of receptacles for intoxicants,' and similar performances of an anti-temperance order.

_Home, Sweet Home._--A drunken convivialist is, pipe in hand, unconsciously approaching the spot whose praises he is tipsily chaunting, quite unprepared for the reception that is awaiting his roystering at the hands of his outraged and furiously indignant wife, who is anticipating his arrival with a cane prudently provided in advance for further arguments upon the _douceurs_ of his rooftree.

The last print in Volume I. of _The Humourist_ is a vignette representing a bench of fox-hunting justices, who have gone fast asleep in their respective armchairs, their legs on the table; bottles and bowls strewing the floor, and their dogs, scattered around, sunk in sleep as heavy as that indulged in by their masters. A transcript of the plate _Johnny Quæ Genus Attending on a Sporting Finale--Adventures of Johnny Quæ Genus_ (1832).

The illustrations to Volume II. of _The Humourist_ are supplied by another hand. It does not contain any further rendering of subjects after Rowlandson.

CHRONOLOGICAL SUMMARY OF SUBJECTS

SOCIAL AND POLITICAL CARICATURES,

ENGRAVED BY OR AFTER

THOMAS ROWLANDSON.

_WITH HIS CONTRIBUTIONS TO BOOK ILLUSTRATION

IN THE ORDER OF PUBLICATION._

SUMMARY OF ROWLANDSON'S CARICATURES.

1774.

June 8. A Rotation Office. Pub. by H. Humphrey, Bond St.

" The Village Doctor. Do.

1780.

Mar. Special Pleading. Pub. by A. McKenzie, 101 Berwick
Street, Soho.

July 18. The School of Eloquence. Probably designed by
Rowlandson, and badly etched by some one unknown.
Pub. by Archibald Robertson, Savile
Passage.

Scene at Streatham. Bozzi and Piozzi.

Sept. 1. Italian Affectation. (Real characters.) Pub. by T.
Rowlandson and J. Jones, at 103 Wardour Street,
Soho.

How happy could I be with either
Were t'other dear charmer away.--_Brookes._

18. Sir Samuel House. Do.

Do. Do.

Nov. 13. Naval Triumph, or Favours Conferred.

1781.

June 30. The Power of Reflection. I. Harris, Sweeting's
Alley, Cornhill.

Oct. 28. E O, or the Fashionable Vowels.

Nov. 27. Brothers of the Whip. A. Grant del.

27. Charity Covereth a Multitude of Sins. H. Humphrey,
18 New Bond Street.

Dec. The State Watchman Discovered by the Genius
of Britain Studying Plans for the Reduction of
America.

(N.D.) Luxury.

(N.D.) Bob Derry of Newmarket.

1783.

Feb. 11. Long Sermons and Long Stories are apt to Lull the
Senses. Pub. by W. Humphrey.

Oct. 17. Amputation. Republished. (See 1793.)

(N.D.) The Rhedarium. (1783?)

(N.D.) Interior of a Clockmaker's Shop. (1783?)

The Discovery. (Political.)

Dec. 22. Great Cry and Little Wool.

The Times. Regency of the Prince.

Scene in a farce called the Quaker.

Two New Slides for the State Magic Lantern.

1784.

Jan. 1. The Pit of Acheron, or the Birth of the Plagues
of England.

4. The Fall of Dagon, or Rare News for Leadenhall
Street.

7. The Loves of the Fox and the Badger, or the
Coalition Wedding.

19. His Highness the Protector.

23. The Times, or a View of the Old House in Little
Britain.

24. A Sketch from Nature.

Feb. Long Sermons and Long Sieges are apt to lull the
senses.

Feb. 3. The Infant Hercules.

" Britannia Roused, or the Coalition Monsters
Destroyed.

7. Billy Lackbeard and Charley Blackbeard Playing
at Football.

Mar. 1. The Apostate Jack Robinson, Political Ratcatcher.

3. A Peep into Friar Bacon's Study.

8. Master Billy's Procession to Grocers' Hall.

11. The Champion of the People.