Chapter XXXI: Appendix: Bonnell Thornton’s Signboard Exhibition (1)

On the evening of Tuesday, 23d of March 1762, the ladies and gentlemen of London were informed at their tea-tables, by means of the _St James’s Chronicle_, of the following fact:--

“PROSCRIPT.”

INTELLIGENCE EXTRAORDINARY.

“_Strand._ The Society of Manufactures, Art, and Commerce, are
preparing for the annual Exhibition of Polite Arts, hoping by Degrees
to render this Nation as eminent in Taste as War; and that, by
bestowing Præmiums, and encouraging a generous Emulation, among the
Artists, the Productions of Painting, Sculpture, &c., may no longer be
considered as Exotics, but naturally flourish in the Soil of Great
Britain.”

Immediately under this notice was the following:--

“_Grand Exhibition._ The Society of Sign-painters are also preparing a
most magnificent Collection of Portraits, Landscapes, Fancy Pieces,
Flower Pieces, History Pieces, Night Pieces, Sea Pieces, Sculpture
Pieces, &c., &c., designed by the ablest Masters, and executed by the
best Hands in these kingdoms. The Virtuosi will have a new Opportunity
of displaying their Taste on this Occasion, by discovering the
different _Stile_ of the several Masters employed, and pointing out by
what _Hand_ each Piece is drawn. A remarkable _Cognoscente_ who has
attended at the Society’s great Room, _with his Glass_, for several
Mornings, has already piqued himself on discovering the famous Painter
of the _Rising Sun_, a modern _Claude Lorraine_, in an elegant
Night-piece of the _Man-in-the-Moon_. He is also convinced that no
other than the famous Artists who drew the _Red Lion at Brentford_,
can be equal to the bold figures in the _London ‘Prentice_, and that
the exquisite Colouring in the Piece called Pyramus and Thisbe must be
by the same hand as the _Hole-in-the-Wall_.”

Shortly after this advertisement, the Exhibition was opened. It was held in Bonnell Thornton’s chambers in Bow Street: the hours were from nine till four, admission one shilling. The tickets had a catalogue prefixed to them. The names of the signboard-painters given in this catalogue were those of the journeymen printers in Mr Baldwin’s office, where it was printed. Hagarty alone was a transparent variation on the name of Hogarth, who had largely contributed to the fun and humour of the Exhibition.

THREE NUNS.

(Banks’s Collection, 1814.)

ABEL DRUGGER.

(Banks’s Collection, 1780.)

WELSH TROOPER.

(From an old print, 1750.)

ELEPHANT AND CASTLE.

(Belle Sauvage Yard, circa 1668.)

BLACK PRINCE.

(Banks’s Collection, 1790.)]

The opening of the saloons was the signal for a perfect storm among the newspapers. The artists and their friends were terribly ruffled, and persisted in seeing in it a _persifflage_ of their exhibition just then opened in the Strand. To this animosity, however, we owe all the particulars of the signs exhibited. Catalogues, criticisms, and reviews of the Exhibition were daily brought before the public, giving full details. The most important of them we present to our readers:--

BY PERMISSION.

A CATALOGUE _of the Original Paintings, Busts, Carved Figures, &c.,
&c., &c., Now exhibiting by the Society of Sign-Painters, at the Large
Rooms, the Upper End of Bow Street, Covent Garden, nearly opposite the
Play-House Passage_.

_In the Large Passage Room._

[_N.B._--That the Merit of the Modern Masters may be fairly examined
into, it has been thought proper to place some admired Works of the
most eminent Old Masters in this Room, and along the Passage thro’ the
Yard.]

No.

1. [_Over the Door._] A Coach and Four, Supposed to be by _Stanhope_.

2. WINDSOR, or any other CASTLE. By _Mason_. The CENTINEL and GREAT
GUN by another Hand.

3. HAND and LOCK OF HAIR. Hand unknown.

4. A PANDOUR, or INDIAN PRINCE, uncertain which. _Stanhope’s_
undoubtedly.

5. A SHIP AND CASTLE. _Thomas Knife_ written under. But it is not
known whether this is the name of the Artist or the Publican.

6. A HEN AND CHICKENS. By _Lodge_.

7. THREE NUNS. The Drapery copied from a _Bas-Relief_ at Rome. By
_Soames_.

8. An original Whole-Length of GUY OF WARWICK. By _the same_.

9. A MAJOR WIG. By _Harrison_. [_N.B._--The Tails appear to have been
added.]

10. A BARGE, in Still-Life. By _Van der Trout_. [He cannot properly be
called an English artist; not being sufficiently encouraged in his own
Country, he left _Holland_ with William the Third, and was the first
artist who settled in _Harp Alley_.[723]]

11. The HERCULES PILLARS. The Architecture by _Young Soames_. THE
FIGURE (from the _Farnesian Hercules_) by the _Father_.

12. An HEROE’S HEAD, unknown. By _Moses White_. With the least
alteration, may serve for an Heroe past, present, or to come.

13. An original Three Quarters Length of KING CHARLES THE SECOND: a
striking Likeness. By _Ditto_.

_In the Passage through the Yard._

1. A FLYING SWAN,--by some supposed to be a Dying one. By _Goustry_.

2. An HALF-MOON. By _Masmore_.

3. An Original Half Length of CAMDEN, the great Historian and
Antiquary, in his Herald’s Coat. By _Van der Trout_. [As this Artist
was originally Colour Grinder to _Hans Holbein_, it is conjectured
there are some of the great Master’s Touches in this Piece.]

4. A BUTTOCK OF BEEF stuft. By _Lynne_.

5. An HAIR-CUTTER. By _the same_.

6. ADAM AND EVE. The first Attempt of that famous Artist, _Barnaby
Smith_.

7. A BLACK PRINCE. By _Hitchcock_.

8. [_Over the Entrance._] An HOLY LAMB; highly finished. By _the
same_.

GRAND ROOM.

[The Society of SIGN-PAINTERS take this Opportunity of refuting a most
malicious Suggestion, that their Exhibition is designed as a Ridicule
on the Exhibitions of the Society for the Encouragement of Arts, &c.,
and of the Artists. They intend theirs as only an Appendix, or (in the
Stile of Painters) a Companion to the others. There is nothing in
their Collection, which will be understood by any Candid Person as a
Reflection on any Body, or any Body of Men. They are not in the least
prompted by any mean Jealousy to depreciate the Merits of their
Brother Artists. Animated by the same Public Spirit, their sole View
is to convince Foreigners as well as their own blinded Countrymen,
that however inferior this Nation may be unjustly deemed in other
Branches of the Polite Arts, the Palm for SIGN-PAINTING must be
universally ceded to US, the _Dutch_ themselves not excepted.]

1. PORTRAIT of a justly celebrated PAINTER, though an Englishman and a
Modern.

2. A CROOKED BILLET, formed exactly in the _Line of Beauty_,[724] its
Companion. These by _Adams_.

3. The GOOD WOMAN. A Whole Length, but no Portrait. By _Sympson_.
[_N.B._--It is done from Invention, not being able to find one to sit
for it.]

4. A STAR. By * *

5. The LIGHT HEART. A Sign for a Vintner. By Hogarty. [_N.B._--This is
an elegant Invention of _Ben Jonson_, who in _The New Inn_ or _Light
Heart_, makes the Landlord say (speaking of his Sign:)--

_An Heart weighed with a Feather, and outweighed too:
A Brain-child of my own and I am proud on’t._]

6. The HOG IN ARMOUR. By _Thurmond_.

7. A BUTTOCK OF BEEF. By _Simmes_.

8. The VICAR OF BRAY. The Portrait of a Beneficed Clergyman, at _Full
Length_. By Allison.

9. The IRISH ARMS. By _Patrick O’Blaney_. [_N.B._--Captain _Terence
O’Cutter_ STOOD for them.]

10. The GENTLEMAN OF WALES. By _David Rice_.

11. BUTTER AND EGGS. By _Simmes_.

12. The SCOTCH FIDDLE. By _M^{c}Pharson_, done from HIMSELF.

13. The BARKING DOGS. A Landscape at Moonlight. The Moon somewhat
eclipsed by an Accident. _Whitaker._

14. THREE APOTHECARIES’ GALLIPOTS. _D’aeth’s_ first Attempt.

15. THREE COFFINS. Its Companion. Finished by _Shrowd_.

16. A MAN. By _Hagarty_.

17. The RISING SUN. A Landscape. Painted for _The Moon, alias_
THEOPHILUS MOON. By _Morris_.

18. The MAGPIE. By _Whitaker_.

19. NOBODY, _alias_ SOMEBODY. A Character.

20. SOMEBODY, _alias_ NOBODY. A Caricature. Its Companion. Both these
by _Hagarty_.

21. The WORLD’S END. By _Sympson_.

22. The STRUGGLERS. A Conversation. By _Ransbey_.

23. A FREEMASON’S LODGE, or the _Impenetrable Secret_. By a _Sworn
Brother_.

24. The BLACKAMOOR. By _Sympson_. [_N.B._--This is not intended as any
Reflection on the Gentlemen who have been lately Whitewashed.]

25. A MAN RUNNING AWAY WITH THE MONUMENT. By _Whitaker_.

26. DEVIL HUGGING THE WITCH. A Conversation. By _Ransbey_.

27. The SPIRIT OF CONTRADICTION. Ditto. By _Hagarty_.

28. The LOGGERHEADS. Ditto. By _Ditto_.

29. The MAN IN THE MOON DRINKS CLARET. By _Blackman_.

30. The DANCING BEARS. A Sign for N. Dukes, or A. Hart, or any other
Dancing-Master to Grown Gentlemen. By _Hagarty_.

31. MY A---- IN A BANDBOX. By _Sympson_.

32. A MAN STRUGGLING THROUGH THE WORLD. By _the same_.

33. ST JOHN’S HEAD in a Charger.

34. A DOG’S HEAD in the Porridge Pot. Its Companion. Both these by
_Blackman_.

35. A MAN IN HIS ELEMENT. A Sign for an Eating House.

36. A MAN OUT OF HIS ELEMENT. A Sign for a Publick House at Wapping,
Rotherhithe, or Deptford. Both these by _Stainsley_.

37. The BARLEY MOW. By _Whitaker_.

38. A BIRD IN THE HAND. A Landscape. By _Allison_.

39. ABSALOM HANGING. A Peruke-Maker’s Sign. By _Sclater_.

40. WELCOME CUCKOLDS TO HORN FAIR. By _Hagarty_.

41. The CAT O’ NINE TAILS. A Kit-Cat. By _Masmore_.

42. KING CHARLES IN THE OAK. A Land-schape. By _Allison_. The Face in
Miniature. By _Sclater_.

43. An OWL IN AN IVY BUSH. Its Companion. By _Allison_.

44. FOOTE in the Character of Mrs Cole. A Sign for a
_Boarding-School_. By _Stainsley_.

45. PEEPING-TOM. A Sign for a Shoemaker. By _the same_.

46.

47. A PAIR OF BREECHES.

48. A GREEN CANISTER. Its Companion. Both these by _Blackman_.

49. An HA! HA!

50. [_On a parallel line with the foregoing on the other side of the
chimney._] THE CURIOSITY. Its Companion. [These two by an unknown
Hand, the Exhibitors being favoured with them from an unknown
Quarter.] ⁂ Ladies and Gentlemen are requested not to finger them, as
Blue Curtains are hung on purpose to preserve them.

51. [_Over the Chimney._] A STAR of the first Magnitude.

52. The Renowned SEVEN CHAMPIONS OF CHRISTENDOM, from an entire New
Design. 1. St George for England. 2. St Andrew for Scotland. 3. St
Denis for France. 4. St Anthony for Italy. 5. St James for Spain. 6.
St David for Wales. 7. St Patrick for Ireland. This by _Bransley_.

53. An Original Portrait of the present EMPEROR OF RUSSIA.

54. Ditto of the Empress QUEEN OF HUNGARY. Its Antagonist. These by
_Sheerman_.

55. The SILENT WOMAN, or A GOOD RIDDANCE. A Family Piece. By
_Barnsley_.

56. The GHOST OF COCK LANE. By Miss _Fanny_ ----.[725]

57. THREE PORTRAITS IN ONE.

58. ALL THE WORLD AND HIS WIFE. By _Blackman_.

59. CAT AND BAGPIPES. By _Forster_.

60. A perspective view of BILLINGSGATE, or Lectures on Elocution.

61. The ROBIN HOOD SOCIETY, a Conversation; or Lectures on
Elocution.[726] Its Companion. These two by _Barnsley_.

62. AN AUTHOR IN THE PILLORY. By ----, Bookseller. First Attempt.[727]

63. _Liberty_ crowning _Britania_. By command of his Majesty.

64. View of the ROAD TO PADDINGTON, with a Presentation (_sic_) of the
Deadly Never-Green[728] that bears Fruit all the Year round. The Fruit
at full length. By _Hagarty_.

65. The SALUTATION, or French and English Manners. By _Blackman_.

66. GOOD COMPANY. A Conversation. Intended as a Sign for a
Tobacconist. By _Bransley_.

67. DEATH AND THE DOCTOR; in _Distemper_. By _Hagarty_.

68. HOGS NORTON.[729] A Sign for a Music Shop. By _Bransley_.

69. ST DUNSTAN AND THE DEVIL.

70. ST SQUINTUM[730] AND THE DEVIL. Its Companion. By ----.

71. SHAVE FOR A PENNY. LET BLOOD FOR NOTHING.

72. TEETH DRAWN WITH A TOUCH. A Caricature. Its Companion. These two
by _Bransley_.

73. A MAN LOADED WITH MISCHIEF. By _Sympson_.

74. ENTERTAINMENT FOR MAN AND HORSE. A Landscape. By _Bransley_.

75. FIRST AND LAST. By _Blackman_.

76. The CONSTITUTION; Alderman Pitt’s Entire. By _Hagarty_.

BUSTS, CARVED FIGURES, &c., &c., &c.

1. A BLUE BOAR. By _Lester_.

2. TWO INDIAN KINGS. By _Taverner_.

3. A FLAMING SWORD of Paradise.

4. ST PETER’S KEY. Both these by _Carey_.

5. A BUNCH OF GRAPES from _Portugal_. By _Pendred_.

6. A DIVIDED CROWN. By _Ward_.

7. BIRMINGHAM CASE OF KNIVES AND FORKS. [See at the other end of this
a SHEFFIELD CASE. Its Companion.] Both these by _Asgill_.

8. A NAG’S HEAD, after the Manner of the Antient Bronzes. By
_Millwich_.

9. A BLOCK, done from the Life. By _Brown_.

10. An exact Representation of the famous RUNNING HORSE. _Black and
All Black._

11. Underneath, an Escutcheon, shewing his Pedigree, as warranted by
the Herald’s office. These by _Fishbourne_.

12. Bust of a celebrated Beauty. By _Edley_.

13. Head of the THOUGHTLESS PHILOSOPHER. By _Masmore_.

14. TAKE TIME BY THE FORELOCK. By _Clark_.

15. A DUMB BELL. By _the same_.

16. The BRITISH LION, and

17. UNICORN. [The Lion in excellent Condition.] By _Jones_.

18. A French _Fleur-de-Lys_ [tarnished.] By _Garthy_.

19. Two Bronzes. By _Millwich_.

20. A Gold Fish, considerably larger than the Life. By _Cook_.

21. A MITRE, and

22. CROWN. By _Hughes_.

23. A DOLPHIN, painted with the true _Verd Antique_. By _Quarterman_.

⁂ Several TOBACCO ROLLS, SUGAR LOAVES, HATS, WIGS, STOCKINGS, GLOVES,
&c., &c., &c., hung round the Room. By the above-mentioned Artists.

24. [_On the Left Hand of the Door, going out._] A Stand of Cheeses,
with a Bladder of Lard on the Top.

25. A _Westphalian_ Ham. These two by _Bricken_.

--_St James’s Chronicle_, Ap. 20-22. 1762.

The next number of the _St James’s Chronicle_ contained an article on the Exhibition from another journal, written with great animosity:--

“As your paper is always ready to expose any Abuses on the Publick, I
beg you will give place to the following Observations:--

“I acknowledge myself to have been one of the Curious who went
yesterday morning to see the Grand Exhibition, as it is called, of the
Sign-Painters, from which I did not indeed expect any great
Entertainment; however, I did not imagine any Set of Gentlemen would
have been concerned in a senseless Attempt at Satire, and along with
it the most impudent and pickpocket Abuse that I ever knew offered to
the Publick.

“The Exhibition is really of Signs, and those, in general, worse
executed than any that are to be seen in the meanest streets. The
Busts, carved Figures, &c., are of corresponding Excellence, all of
them being the very worst of Signpost Work, and such as seem collected
for an Insult on the Human understanding.

“But that your Readers may _All_ save their Time, Money, and Credit,
by not falling into this Hum-trap, I shall give them an Account of
some of the choicest Articles of this Collection as a sample that must
damp their Curiosity for seeing the Whole.”

GRAND ROOM.

1. Mr Hogarth, or a wretched Figure done for him drawing his five
orders of Periwigs.

2. A CROOKED BILLET, hung under it, on which is written, _The Exact
Line of Beauty_.

3. THE GOOD WOMAN. The old stale Device of a Woman without a Head,
badly executed.

5. THE LIGHT HEART. A Feather weighing down a Heart in a pair of
Scales.

9. THE IRISH ARMS. A great clumsy pair of Legs.

10. The GENTLEMAN OF WALES. A Taffey with a great Leek in his Hat.

19. NOBODY. A man all Legs.

20. SOMEBODY. A man all Belly, with a Constable’s Staff.

23. A FREEMASON’S LODGE. A new Member blinded and befouling himself.

27. THE SPIRIT OF CONTRADICTION. Two Brewers bearing a cask. The Men
going different ways.

30. THE DANCING BEARS. Bears in Men’s cloaths, learning to dance, a
great one amongst them, with a gold Chain round his Neck; the Dancing
Master a Monkey, holding a Kitten on his Breast with one hand, and
pincing its tail with the other.

31. BAND-BOX. An Ass standing in a great Band-box.[731]

32. A MAN STRUGGLING THROUGH THE WORLD. The Sign of a Pasteboard
Terrestrial Globe, with a Man creeping through it, his Head being out
at one End, and his Heels at the other.

35. A MAN IN HIS ELEMENT. A man gluttonizing.[732]

36. A MAN OUT OF HIS ELEMENT. A Sailor fallen off his Horse.

44. FOOTE in the Character of Mrs Cole. The wit lies in the writing
under it, which is, _Young Ladies educated here_.

45. PEEPING TOM.[733] A Shoemaker trying on a Shoe on a Woman.

BUT THE CREAM OF THE WHOLE JEST IS (49 and 50) two Boards behind two
Curtains, (one on each side of the Chimney,) which, when the Curtains
are lifted up, show the written Laughs of HA HA HA and HE HE HE.

53 and 54 are two old Signs of a SARACEN’S HEAD and a QUEEN ANNE’S,
with their Tongues lolling out at one another, designed to represent
the Czar and the Queen of Hungary. Over them is a great wooden Bill,
with this inscription, _The present State of Europe_.

64. A view of the ROAD TO PADDINGTON, with a Representation of the
Deadly Never Green that bears Fruit all the year round. This is
Tyburn, with three felons hanging on it.

65. The SALUTATION, or French and English Manners, which shows a
Frenchman cringingly bowing, and an Englishman taking him by the Nose.

66. GOOD COMPANY. Three Men drunk, and burning one another’s Faces
with their Pipes.

69. ST DUNSTAN AND THE DEVIL. The Saint taking the Devil by the Nose
with a Pair of Tongs.

70. Its Companion. Doctor Squintum doing the same.

71. SHAVE FOR A PENNY, LET BLOOD FOR NOTHING. A man under the hands of
a barber surgeon, who shaves and lets blood at the same time, by
cutting at every stroke of his razor.

73. A MAN LOADED WITH MISCHIEF. A Fellow with a Woman, a Monkey, and a
Magpie on his Back.

74. ENTERTAINMENT FOR MAN AND HORSE. A Woman and a Hay Mow.

75. FIRST AND LAST. A Cradle and a Coffin.

76. THE CONSTITUTION. Alderman Pitt’s Entire. A tall Grenadier and a
short Sailor.

“Such is the Entertainment that these wits have been able to prepare
for the curious, with all the assistance of the Virtuosi which they
have been long advertising to procure. If there is any Satyre in this
Design, it must be in humming their Customers. Wit or taste there is
certainly none; but there is a Magnitude of Imposition that is surely
deserving of Punishment.

It is well known that the Society for the Encouragement of Arts,
Manufactures, and Commerce, are at a great Expense for making their
elegant Exhibition, and give their Tickets all away. The Artists,
indeed, sell Catalogues there to those who chuse to buy them, and
dispose of the Money that is got by them to Charities.

The Body of Artists made their Catalogues Tickets to serve last year
for the whole Time of Exhibition in Spring Gardens, and sold them but
a shilling a-piece, the Profits of which were likewise distributed in
Charities.

The Society, as they call themselves, of Signpainters, or rather of
Bites who borrow that Name, have the Assurance to fix a Ticket to each
Catalogue, which they sell for their own Profit at a shilling; and, by
obliging the Ticket to be torn off at the Second Door, make the
Purchase of a New Catalogue absolutely necessary for a Second
Admission. It is true most Gentlemen do refuse to let their Catalogues
be torn; and many of those who had submitted to the tearing of them,
insisted upon their being exchanged for whole ones, resolving, like
Men of Spirit, not to be bubbled every Way.

In fine, this Mock Exhibition is a most impudent and scandalous Abuse
and Bubble. An Insult on Understanding, and a most pickpocket
Imposture. The best entertainment it can afford is that of standing in
the street, and observing with how much shame in their Faces People
come out of the House. Pity it will be, if all who are employed in the
carrying on this Cheat, are not seized and sent to serve the King. And
those who are Sharers in the Booty deserve likewise to be severely
chastised.

I am, SIR, yours, &c.,

A DESPISER OF ALL TRICKERY.”

“_The_ Signpainters _return their Thanks to the author of the above
most excellent Letter, which is seemingly abusive of their Design, but
is in Fact a most admirable Irony._

_The_ LEDGER _of this Morning, after having pillaged the_ CATALOGUE OF
SIGNPAINTING, _is candid enough to abuse it. But it is plain that the
author has not seen the Exhibition, or could not find out the Humour
of it._”

FROM THE GAZETTEER.--(_St James’ Chronicle_, Ap. 24-27, 1762.)--“The
Society of Signpainters, in their Catalogue, tell us they _take the
opportunity of refuting_ what they are pleased to call a _malicious
Suggestion_--viz., ‘Their Exhibition being designed as a Ridicule on
the Exhibition of the Society for the Encouragement of Arts, etc., and
the Artists,’ and that they intend theirs only as an Appendix or (in
the Style of Painters) ‘Companion’ to the others. What is that but
ridiculing, or an attempt towards it? They say ‘there is nothing in
their Collection which will be understood by any candid person as a
Reflection on any Body or any Body of Men.’ They might have spared
this Assertion, for no Person, endued with the least Share of common
Sense, can imagine so impotent and futile an Attempt at Satire or
Ridicule on any Thing except the few Spectators who go there; which
would have been better understood had it opened on the First of April.

“They also say, ‘They are not in the least prompted by any mean
jealousy to depreciate the Merits of their Brother Artists.’ Which is
owing to their Inability, not want of Assurance; for an Attempt in
them to depreciate the Merit of the Professors of Painting and
Sculpture, whom they are impudently pleased to call their Brother
Artists, would be (to borrow a Simile from one of their own
Productions) like Dogs barking at the Moon.

“_Their sole View_, etc., etc.--‘Their sole View’ (without any Breach
of Charity) we may infer is that of filling their own Pockets by
duping the Publick; for no private Men would by an Advertisement
invite People to their House, and place a Porter at the Door to take a
Shilling of them, with a Pretence of being animated by a public
Spirit, for any other Motive.

“_Bow Street, Covent Garden, April 27._

“_The Society of_ SIGN-PAINTERS are obliged to the GAZETTEER for the
_above Remarks_.”

Articles and letters abusive of the Exhibition appeared in most of the newspapers, and not a day passed but it was attacked in no very measured terms. The committee, however, generally reprinted the articles in their own organ, thanking the critics for so successfully advertising their efforts, after which no more was heard from them. The following review, having very similar annotations upon the signs to those in the letter signed “_A Despiser of all Trickery_,” may have come from one of their own pens. It appeared in a monthly sheet, entitled, “_The London Register_,” for April:[734]--

“Humour is confessedly one of the chief characteristics of the English
nation. There is no Country that delights in it so much, exerts it on
such various occasions, or shows it in so many Shapes. In
conversation, in Books, on the Stage, we meet with it every Day; and
it has sometimes been introduced, not without success, even into the
Pulpit. To an Artist of our own Country, and of our own Times, we owe
the Practice of enriching Pictures with Humour, Character, Pleasantry,
and Satire. Such an Artist could not fail of Applause in such a Nation
as ours, and his Fame is equal to his Merit.

The original Paintings, etc., the Catalogue of which now lies before
us, are the Project of a well-known Gentleman, in whose house they are
exhibited; a Gentleman who has, in several instances, displayed a
most uncommon Vein of Humour. His Burlesque Ode on St Cecilia’s
Day,[735] his Labours in the _Drury Lane Journal_, and other papers,
all possess that singular Turn of Imagination so peculiar to himself.
This Gentleman is perhaps the only Person in England (if we except the
Artist above mentioned) who could have projected, or have carried
tolerably into Execution, this scheme of a Grand Exhibition. There is
a whimsical drollery in all his Plans, and a Comical Originality in
his Manner, that never fail to distinguish and to recommend all his
Undertakings. To exercise his Wit and Humour in an innocent Laugh, and
to raise that innocent Laugh in others, seems to have been his chief
Aim in the present Spectacle. The Ridicule or Exhibition, if it must
be accounted so, is pleasant without Malevolence; and the general
Strokes on the common Topics of Satire are given with the most
apparent Good-humour. . . . . .

On entering the Grand Room, . . . . you find yourself in a large and
commodious Apartment, hung round with green Bays, on which this
curious collection of Wooden Originals is fixt flat, (like the Signs
at present in Paris,) and from whence hang Keys, Bells, Swords, Poles,
Sugar-Loaves, Tobacco-Rolls, Candles, and other ornamental Furniture,
carved in Wood, that commonly dangle from the Penthouses of the
different Shops in our streets. On the Chimney-Board (to imitate the
Stile of the Catalogue) is a large, blazing Fire, painted in
Water-colours; and within a kind of Cupola, or rather Dome, which lets
the Light into the Room, is written in Golden Capitals, upon a blue
Ground, a Motto from Horace, disposed in the Form following:--

From this short Description of the Grand-Room, (when we consider the
singular Nature of the Paintings themselves, and the Peculiarity of
the other Decorations,) it may be easily imagined that no Connoisseur,
who has made the Tour of Europe, ever entered a Picture-Gallery that
struck his Eye more forcibly at first Sight, or provoked his Attention
with more extraordinary Appearance.

We will now, if the Reader pleases, conduct him round the Room, and
take a more accurate Survey of the curious Originals before us. To
which End we shall proceed to transcribe the ingenious Society’s
Catalogue, adding (as we proposed before) such Notes and Illustrations
as may seem necessary for his Instruction or Entertainment.

8. _The Vicar of Bray: The Portrait of a Beneficed Clergyman, at Full
Length._ [The vicar of Bray is an Ass in a Feather-topped Grizzle,
Band, and Pudding Sleeves.--This is a much droller Conceit, and has
more Effect when executed, than the old Design of The Ass loaded with
Preferment.]

9. _The Irish Arms. By Patrick O’Blaney._ [_N.B. Captain Terence
O’Cutter stood for them._] [A Pair of extremely thick Legs in white
Stockings and black Garters.]

12. _The Scotch Fiddle. By M^{c}Pharson, done from Himself._ [The
Figure of a Highlander sitting under a Tree, and enjoying that
greatest of Pleasure of _scratching where it itches_.]

16. _A Man._ [Nine Taylors at Work; in Allusion to the old Saying of
_nine Taylors make a Man_.]

19. _Nobody, alias Somebody._ A Character. [The Figure of an Officer,
all Head, Arms, Legs and Thighs.--This Piece has a very odd Effect,
being so drolly executed that you don’t miss the Body.]

20. _Somebody, alias Nobody. A Caricature. Its Companion. Both these
by Hagarty._ [A rosy figure with a little Head and a huge Body, whose
Belly swags over, almost quite down to his Shoe-Buckles. By the Staff
in his Hand it appears to be intended to represent a Constable.--It
might also have been mistaken for an eminent Justice of Peace.]

22. _The Strugglers. A Conversation. By Bransley._ [Represents a Man
and Wife fighting for the Breeches.]

23. _A Free-Mason’s Lodge, or the Impenetrable Secret. By a Sworn
Brother._ [The supposed Ceremony and probable Consequences of what is
called _making a Mason_, representing the Master of the Lodge with a
red hot Salamander in his Hand, and the new Brother blindfold, and in
a comical Situation of _Fear and Good-Luck_.]

25. _A Man running away with the Monument. By Whitaker._ [This Picture
of a London Night, like the Farmer Returned, represents

---- the Watchmen in Town,
Lame, feeble, half blind.----

Two of these Cripples are pursuing the Thief, one crying out, Stop
Thief! and the other, I can’t catch him.]

27. _The Spirit of Contradiction. Ditto. By Hagarty._ [Two Brewers
with a Barrel of Beer, pulling different Ways.]

28. _The Logger Heads. Ditto. By Ditto._ [Underwritten, the old Joke
of _We are Three_. Shakespeare plainly alludes to this sign in his
Twelfth Night, where the Fool comes between Sir Toby Belch and Sir
Andrew Aguecheek, and, taking each by the Hand, says, “How now, my
Hearts, did you never see the Picture of _We Three_?”]

30. _The Dancing Bears. By Hagarty._ [Most drolly conceived and
comically executed.--Represents Four Bears on their hind Legs, drest
in different Characters, one with a gold Chain round his Neck, giving
Right Paw and Left, gravely practising Country-Dances, under the
Tuition of a Monkey, drest like a Dancing-Master, and fiddling on a
KIT-ten.--The Seriousness and Solemnity of each of these Figures is
incomparable. Underneath is written, “Grown Gentlemen taught to
Dance.”]

31. _Band Box. By Sympson._ [Hieroglyphically expressed . . . . an Ass
standing in a Bandbox.]

33. _St John’s Head in a Charger._ [The dead Saint’s Eyes, like those
in most Portraits, seem to be looking at you.]

35. _A Man in his Element. A Sign for an Eating-House._ [A Cook
roasted upon a Spit at the Kitchen-Fire and basted by the Devil.]

36. _A Man out of his Element._ [A Sailor fallen off his Horse, with
his Skull lighting against the ten mile Stone from Portsmouth.]

38. _A Bird in the Hand, a Landscape. By Allison._ [A common sign in
various Parts of England, which has usually this Inscription,

A Bird in Hand is better far
Than two that in the Bushes are.

But these Lines are much improved in the Inscription that is under
this Sign in the Exhibition:

A Bird in Hand far better ’tis
Than two that in the Bushes is.]

39. _Absalon Hanging, a Peruke Maker’s Sign. By Sclater._ [Underneath
is written--

If Absalon had not worn his own Hair
Absalon had not been hanging there.]

40. _Welcome Cuckholds to Horn-Fair. By Hagarty._ [Whimsically
imagined, and drolly executed--Being a Picture of Horn-Fair containing
various Figures of Cuckholds in different Characters; some with large
staring Bulls’, Goats’-Horns, &c., others with their Horns just
budding. The center Figure is that of a fine Gentleman (copied from
the fine Gentleman in Lethe) with Rams’-Horns. On a Bank, fast asleep,
sits a Citizen-like Figure, with large branching antlers, and on the
other side of the Picture, is a jemmy Figure in Boots, who has no
Horns upon his Head, but carries them in his Pocket, out of which the
tops appear tipt with Gold. This last Gentleman’s Horse (to make the
Picture complete) is also represented as a Cuckhold, having a Horn in
his Forehead like an Unicorn’s.]

49. _An Ha! Ha!_

50 [_On a parallel Line with the foregoing on the other Side of the
Chimney_] _The Curiosity, its Companion._ [_These two by an unknown
Hand, the Exhibitors being favoured with them from an unknown
Quarter._] ⁂ _Ladies and Gentlemen are requested not to finger them,
as blue Curtains are hung over in purpose to preserve them._ [Behind
the blue Curtains on one of these Boards is written _Ha! Ha! Ha!_ and
on the other _He! He! He!_ At the first opening of the Exhibition the
Ladies had infinite Curiosity to know what was behind the Curtain, but
were afraid to gratify it. This _covered Laugh_ is no bad satire on
the indecent Pictures in some Collections, hung up in the same Manner
with Curtains over them.]

52. [_Over the Chimney_] _The Renowned Seven Champions of Christendom,
from an entire New Design._ [A Capital Piece. The Seven Champions are
represented in the following Manner. 1. St George is an English Sailor
mounted on a Lion, with a Spit (by Way of Lance) bearing a Sirloin of
Beef in one Hand, and a full Pot of Porter marked _only Three Pence a_
QUART in the other. By the Lion’s Foot are two Scrolls, like Ballads,
the one inscribed O the Roast Beef of Old England: the other, Hearts
of Oak are our Men. 2. St Andrew is a Highlander mounted on a Scotch
Galloway, with a Broad Sword, bearing an Oat Cake at the End of it in
one Hand, and a Flask of Whisky in the other. 3. St Dennis is a
Frenchman, mounted on a Deer, a timorous swift-footed Animal with a
small Sword in one Hand on which a Frog appears to be spitted, and a
Dish of Soupe Maigre in the other. 4. St Anthony is the Pope, mounted
on a _Bull_, with a Crosier and a Vessel of Holy Water dangling from
it, in one Hand, and a Cod-Fish inscribed Food for Lent in the other.
From his Right Foot hangs a Scroll inscribed Kiss my Toe, and on the
Ground several Rolls of Paper, on which are written, Pardons,
Indulgencies, &c. &c. 5. St James is a Spaniard mounted on a Mule with
an Ingot of Gold in one Hand and a _Padlock_ in the other. 6. St David
is Taffy mounted on a Goat brandishing a Leek in one Hand, and bearing
a Cheese, by Way of Target, in the other. 7. St Patrick is an Irish
Soldier, mounted on a large Stone-Horse, at whose Feet is a kind of
Bill with this Inscription--To cover this Season Black and All Black.
He has a Sword, bearing a Potatoe on the End of it in one Hand, and a
three-square Bottle, inscribed _Green Usquebaugh_ in the other.]

53. _An original Portrait of the present Emperor of Russia._

54. _Ditto of the Empress Queen of Hungary, its Antagonist._ [These
are two old signs of the Saracen’s Head and Queen Anne. Under the
first is written THE ZARR, and under the other the EMPRES QUEAN. They
are lolling their tongues out at each other, and over their heads runs
a wooden label, inscribed, _The present State of Europe_.]

56. _The Ghost of Cock Lane. By Miss Fanny ----._ [The figure of two
hands, one bearing a hammer, the other a curry-comb, in allusion to
knocking and scratching.]

58. _All the World and his Wife. By Blackman._ [The figure of a
foolish-looking fellow, with the globe round his body, (like Orbis in
the Rehearsal,) and his wife cudgelling him.]

60. _A Prospective View of Billingsgate, or Lectures on Elocution._

61. _The Robin Hood Society, a Conversation; or Lectures on Elocution.
Its Companion. These two by Barnsley._ [These two Strokes at a famous
Lecturer on Elocution,[736] and The Reverend Projector of a Rhetorical
Academy, are admirably conceived and executed: and (the latter more
especially) almost worthy the Hand of Hogarth. They are full of a
Variety of droll Figures, and seem indeed to be the Work of a great
Master, struggling to suppress his Superiority of Genius, and
endeavouring to paint down to the common Stile and Manner of the
School of Sign-painting.]

64. _View of the Road to Paddington, with a Presentation of the
Deadly-Never-Green, that bears Fruit all the year round. The Fruit at
full Length. By Hagarty._ [Tyburn with three Felons on the Gallows.
This _Piece_ is remarkable for the _Execution_.]

65. _The Salutation, or French and English Manners. By Blackman._ [An
English Jack Tar, kicking, and taking a tawdry Mounseer, cringing and
bowing, by the Nose.]

66. _Good Company. A Conversation. Intended as a Sign for a
Tobacconist. By Bransley._ [The Conceit and Execution are admirable.
It represents a Common-Council-Man, and two Friends, drunk, over a
Bottle and a Pipe. The Common-Council-Man is fallen back on his Chair
as asleep. One of the Friends, an officer, is lighting a Pipe at his
red Nose, while the other, a Doctor, is using his Thumb for a Tobacco
Stopper.]

68. _Hogs-Norton. A Sign for a Musick-Shop. By Bransley._ [Represents
(in allusion to the old saying concerning Hog’s Norton) an Hog drest
in a Laced Suit, and an enormous Tye Wig, playing upon the Organ.]

69. _St Dunstan and the Devil._ [The Saint Taking the Devil by the
Nose.]

70. _St Squintum and the Devil, its Companion. By ----._ [Dr W----d
doing the same. The Portrait is not unlike the Doctor.[737]]

71. _Shave for a Penny, Let Blood for Nothing._ [A Man under the Hands
of a Barber-Surgeon, who shaves and lets Blood at the same Time, by
cutting at every Stroke of his Razor.]

72. _Teeth Drawn with a Touch. A Caricature. Its Companion._ [A Man in
much the same circumstances, mutatis mutandis, under the Hands of a
Tooth-Drawer.]

“Such,” says the _London Register_, “are the Original Paintings in the Society’s Collection.” It may be remarked that there is some humour in placing many of the signs, which of themselves would not be very striking: for instance, THE THREE APOTHECARIES’ GALLIPOTS, with THE THREE COFFINS as its companion; KING CHARLES IN THE OAK, and by its side THE OWL IN THE IVY BUSH. Some of the signs are very indelicate, but this objection does not appear amongst the many charges brought against Mr Thornton and his friends. The opinion of society upon this point was very different in the last century from what it is now.

Besides the official catalogue there also appears to have been a comic or satirical guide, for the newspapers of the day advertise--

_This Day was published, Price 6d._,

HA! HA! HA! Or the Laugher’s Companion to the GRAND EXHIBITION of the
SIGN PAINTERS. Also He! He! He! Or the Artist’s Guide to the Society’s
Exhibition.

Printed for W. Nicholl, at the Papermill, in St Paul’s Churchyard.

We shall close this subject with a paper in favour of the much abused exhibition, a weak, but well meant, effusion in doggerel rhyme:--

_To the_ PRINTER _of_ THE ST JAMES’S CHRONICLE.

SIR,

As the Sign Painters in this Catalogue have directed any Essays on
their Exhibition to be sent to you, I have troubled you with the
enclosed Trifle, by inserting which in your Chronicle, you will oblige

Your humble Servant

And constant Reader

A FRIEND TO THE SIGN PAINTERS.

_Addressed to the Gentlemen of the Society of_ SIGN PAINTERS.

Though Malice darts around malignant Rays
And pow’rful Envy all its Spleen displays:
Go on, great Chiefs, pursue your noble Play,
And nobly end, what nobly you began.
Spite of Detraction shall your Mirth rise
With odorif’rous Flavour to the Skies,
And _Masmore’s_, _Lester’s_, _Ward’s_, and _Fishbourne’s_ Name,
With thine, Van Dyke, shall live to endless Fame;
For your Collection Wit and Skill combine,
And Humour flows in ev’ry well chose Sign;
To you the Palm, th’ admiring World must give,
To you the Honour ev’ry Artist leave.
Regard not they the little-minded’s Rage,
Nor dread the snarling Critic’s angry Page;
For conscious Worth shall be your safest Guard,
And Immortality your sure Reward.

April 27-29, 1762. E. N.

[723] In Farringdon Street; the head-quarters of the London Sign-Painters.

[724] In allusion to a well-known art-theory of Hogarth’s.

[725] Fanny Parsons was the girl who played such an active part in the Cock Lane ghost performances, Jan. and Feb. 1762.

[726] A famous discussion club held at the Robin Hood Tavern, Essex Street, Strand.

[727] Evidently an allusion to Edmund Curll, the notorious bookseller, who stood in the Pillory at Cheapside.

[728] The gallows at Tyburn.

[729] A corruption of _Hook-Norton_, the name of a small village in Oxfordshire, where the hogs formerly played upon the church organ. So, at least, the story runs.

[730] “St Squintum” was probably intended for John Whitfield, the famous preacher, whose personal appearance was the subject of numerous lampoons and caricatures at this time.

[731] This seemed to be a sort of slang phrase equivalent to the present--“It’s all my eye;” it occurs in “Tom Brown,” vol. ii., p. 13, 1708. See also p. 467 of this work.

[732] 35. From another source we learn that this was very different:--“No. 35. A Man in his Element, a sign for an Eating-house,”--a cook roasted on a spit at a kitchen fire, and basted by the devil.

[733] In allusion to Peeping Tom, the shoemaker of Coventry.

[734] Under the title of--“PARTICULAR ACCOUNT of the GRAND EXHIBITION in Bow Street, with Remarks and Illustrations of it.”

[735] Bonnell Thornton composed an ode on St Cecilia’s Day, which was set to music by Dr Burney, and performed by the aid of those national instruments, the marrow bones and cleavers. The affair came off at Ranelagh, and gave general satisfaction. In a former chapter we have given full particulars of this event. Thornton was born in London 1724, educated at Westminster School and Christ Church, Oxford. In connection with Geo. Colman the elder he started the _Connoisseur_, the _St James’ Chronicle_, and other periodicals. He died May 9, 1768, and was buried in Westminster Abbey.

[736] Orator Henley is doubtless intended.

[737] The celebrated preacher, George Whitfield, who was chaplain to Selina, Countess of Huntingdon.

INDEX.

A. B. C., 476.
Abel Drugger, 85.
Abercrombie, Sir Ralph, 58.
Abraham Offering his Son, 259.
Absalom, 263.
Acorn, 246.
Adam’s Arms, 136.
Adam and Eve, 257, 258.
Addison’s Head, 68.
African Chief, 432.
Air-Balloon, 486.
Airesdale Heifer, 190.
Albemarle, Duke of, 59.
Albion, 329.
Ale-stakes, 6.
Ale-pole, 233.
Alfred’s Head, 45.
Almond Tree, 245.
Anchor, 332.
Anchor and Castle, 333.
Anchor and Can, 333.
Anchor and Shuttle, 333.
Ancient Briton, 415.
Andrew Marvel, 63.
Angel, 266, 267, 268.
Angel and Bible, 270.
Angel and Crown, 270.
Angel and Gloves, 271.
Angel and Still, 271.
Angel and Stilliards, 271.
Angel and Sun, 272.
Angel and Woolpack, 272.
Angel on the Hoop, 504.
Angler, 361.
Annunciation, 279.
Anodyne Necklace, 405.
Antelope, 110.
Antigallican, 485.
Antigallican Arms, 136, 485.
Antwerp, 425.
Anvil, 346.
Anvil and Blacksmith, 346.
Anvil and Hammer, 346.
Ape, 161.
Ape and Bagpipes, 438.
Apollo, 69.
Apple-tree, 239.
Apple-tree and Mitre, 239.
Arabian Horse, 175.
Archimedes, 62.
Arethusa, 329.
Arrow, 326.
Artichoke, 250.
Ash-tree, 246.
Ass in the Bandbox, 467.
Atlas, 71.
Auld Lang Syne, 81.
Australian, 436.
Ave Maria, 280.
Axe, 346.
Axe and Cleaver, 346.
Axe and Compasses, 346.
Axe and Saw, 346.
Axe and Tun, 475.

Babes in the Wood, 76.
Bacchus, 69.
Bag o’ Nails, 347.
Baker and Basket, 348.
Baker and Brewer, 348.
Balaam’s Ass, 261.
Balcony, 375.
Bald Face, 165.
Bald Hind, 164.
Bald-faced Stag, 164.
Ball, 482.
Ball and Cap, 483.
Ball and Raven, 483.
Balloon, 355, 486.
Barrel, 349.
Bang Up, 355.
Bank of Friendship, 434.
Banner, 322.
Baptist Head, 273.
Barber’s Pole, 341.
Barber’s signs, 344, 345.
Barley Broth, 384.
Barleycorn, Sir John, 79.
Barley Mow, 244, 327.
Barley-Stack, 244.
Bat and Ball, 484.
Battered Naggin, 468.
Battle of the Nile, 61.
Battle of Pyramids, 61.
Battle of Waterloo, 61.
Bay Childers, 175.
Bay Horse, 171.
Beadle, 336.
Beagle, 194.
Bear, 152, 153, 154.
Bear and Bacchus, 155.
Bear and Harrow, 155.
Bear and Ragged Staff, 136.
Bear and Rummer, 155.
Bear’s Paw, 144.
Bear’s Head, 155.
Bedford Head, 99.
Beech-tree, 246.
Beef Steaks, 378.
Beehive, 231, 472.
Bee’s Wing, 384.
Bel and Dragon, 256.
Bell, 473, 477, 478, 479.
Bell and Anchor, 480.
Bell and Black Horse, 174.
Bell and Bullock, 480.
Bell and Candlestick, 480.
Bell and Crown, 480.
Bell and Cuckoo, 480.
Bell and Horse, 174.
Bell and Lion, 480.
Bell and Mackerel, 230.
Bell and Talbot, 165.
Bell in the Thorn, 475.
Bell Savage, 480, 481.
Benbow, Admiral, 57.
Bess of Bedlam, 370.
Bible, 253.
Bible and Ball, 256, 483.
Bible and Crown, 103.
Bible, Crown, and Constitution, 254.
Bible and Dial, 256.
Bible and Dove, 255.
Bible and Harp, 473.
Bible and Key, 285.
Bible and Lamb, 255.
Bible and Peacock, 255.
Bible and Sun, 256.
Bible and Three Crowns, 127.
Bible, Sceptre, and Crown, 255.
Birch-tree, 246.
Bird and Bantling, 138.
Birdbolt, 361.
Bird in the Bush, 449.
Bird in Hand, 446, 447, 448, 449.
Bishop Blaize, 283.
Bishop Blaize and Two Sawyers, 252.
Bishop of Canterbury, 64.
Bishop’s Head, 315.
Blackamoor’s Head, 485.
Black Ball and Lillyhead, 64.
Black Bell, 479.
Blackbird, 202.
Black Boy, 432.
Black Boy and Camel, 433.
Black Boy and Cat, 105.
Black Boy and Comb, 433.
Black Bull and Looking-Glass, 187.
Black Cock, 209.
Black Crow, 203.
Black Dog, 193.
Black Dog and Still, 483.
Black Doll, 486.
Black Girl, 433.
Black Friar, 319.
Black Goat, 192.
Black Greyhound, 195.
Black Jack, 384, 385, 386.
Black Lion, 120.
Blackmoor’s Head and Woolpack, 347.
Black Posts, 373.
Black Prince, 46.
Black Ram, 190.
Black Spread Eagle, 139.
Black Swan, 215, 216, 473.
Blaize, Bishop, 283.
Bleeding Heart, 300.
Bleeding Horse, 175.
Bleeding Wolf, 143.
Blind Beggar of Bethnal Green, 73.
Blink Bonny, 175.
Block, 363.
Blossom’s Inn, 297.
Blue Anchor, 333.
Blue Anchor and Ball, 333.
Blue and Gilt Balcony, 376.
Blue Balls, 483.
Blue Bible, 253.
Blue Boar, 116, 288.
Blue Bowl, 395.
Blue Boy, 510.
Blue Bull, 195.
Blue-coat Boy, 509.
Blue Cock, 209.
Blue Cow, 195.
Blue Dog, 194, 195.
Blue Flower Pot, 377.
Blue Fox, 195.
Blue Garland, 236.
Blue Greyhound, 195.
Blue Helmet, 326.
Blue Horse, 170.
Blue Lion, 146.
Blue Man, 195.
Blue Peruke and Star, 404.
Blue Pig, 116, 195.
Blue Posts, 373.
Blue Pump, 397.
Blue Ram, 195.
Blue Stoops, 406.
Board, 377.
Boar’s Head, 378, 379, 380.
Boat, 334.
Boatswain, 332.
Boatswain’s Call, 332.
Bœuf à la Mode, 475.
Bolt in Tun, 471.
Bombay Grab, 328.
Bonny Cravat, 406.
Book in Hand, 446.
Booksellers’ Signs, 6, 7.
Boot, 409.
Boot and Slipper, 409.
Bosom’s Inn, 297, 298.
Bottle, 387.
Bottle and Glass, 387.
Bowman, 363.
Bowls and Candle-poles, 362.
Boy and Barrel, 349.
Boy and Cap, 349.
Brace, 473.
Brandy Cask, 349.
Brass Knocker, 376.
Brawn’s Head, 381.
Brazen Serpent, 7, 261.
Breeches and Glove, 409.
Britannia, 415.
British Oak, 246.
Brood Hen, 178.
Broughton, 87.
Brown Bear, 152.
Brown Bill, 336.
Brown Cow, 190.
Brown Jug, 387.
Brown Lion, 150.
Brunswick, The, 50.
Buchanan Head, 63.
Buck, 471.
Buck and Bell, 165.
Bucket, 397.
Buck in the Park, 127.
Buckthorn Tree, 246.
Buffalo Head, 186.
Bugle, 188.
Bugle Horn, 340.
Bull, 182, 183.
Bull and Bedpost, 187.
Bull and Bell, 165.
Bull and Bitch, 187.
Bull and Butcher, 187.
Bull and Chain, 182.
Bull and Dog, 187.
Bull and Gate, 62.
Bull and Garter, 252.
Bull’s Head, 185.
Bull Inn, 92.
Bull and Magpie, 187.
Bull and Mouth, 61.
Bull and Oak, 188.
Bull and Stirrup, 116.
Bull and Swan, 188.
Bull and Three Calves, 177.
Bullen Butchered, 47.
Bull in the Oak, 188.
Bull in the Pound, 188.
Bull’s Neck, 186.
Bumper, 390.
Bunch of Carrots, 243.
Bunch of Grapes, 243.
Bunch of Roses, 236.
Burdett, Sir Francis, 63.
Burnt Tree, 246.
Bush, 3, 4, _note_, 233, 234.
Bushel, 347.
Butler’s Head, 63.
Butt and Oyster, 381.

Cabbage, 251.
Cabbage Hall, 251.
Cabinet, 393.
Cæsar’s Head, 45.
Camden Arms, 68.
Camden Head, 68.
Camden House, 416.
Camel, 162.
Camel’s Head, 162.
Canary House, 384.
Cannon Ball, 327.
Canute Castle, 45.
Cap and Stocking, 402.
Cape of Good Hope, 422.
Cardinal’s Hat _or_ Cap, 315.
Case is Altered, 460.
Castle, 130, 417, 487.
Castle and Banner, 488.
Castle and Falcon, 487.
Castle and Wheelbarrow, 488.
Castles in the Air, 488.
Castor and Pollux, 70.
Cat, 197.
Cat and Bagpipes, 438.
Cat and Cage, 198.
Cat and Fiddle, 438.
Cat and Kittens, 177.
Cat and Lion, 198.
Cat and Parrot, 198.
Cat and Wheel, 299.
Caterpillar Hall, 251.
Catherine Wheel, 298, 357.
Cat in the Basket, 198.
Centurion’s Lion, 151.
Chaffcutter’s Arms, 352.
Chained Bull, 182.
Chaise and Pair, 176.
Chapel Bell, 321.
Charing Cross, 416.
Charles the First’s Head, 48.
Charles the Second’s Head, 49.
Charter about signs granted by Charles I., 10.
Chase, 361.
Chelsea Waterworks, 416.
Chequers, 488.
Cherry Garden, 240.
Cherry Tree, 240, 472.
Cheshire Cheese, 383.
Chestnut, 246.
Child-Coat, 407.
Chiltern Hundred, 418.
China Hall, 435.
Church, 321.
Church Gates, 321.
Church Stile, 321.
Cinder Oven, 346.
Circe, 329.
Civet, 162.
Cleaver, 358.
Clog, 410.
Clown, 85.
Coach and Horses, 355, 356.
Coach and Dogs, 357.
Coble, 334.
Cock, 205, 206, 207, 208, 209.
Cock and Anchor, 212.
Cock and Bear, 212.
Cock and Bell, 211.
Cock and Blackbird, 202.
Cock and Bottle, 207, 211.
Cock and Breeches, 212.
Cock and Bull, 212.
Cock and Crown, 212.
Cock and Dolphin, 212.
Cock and House, 212.
Cock and Key, 471.
Cock and Lion, 151.
Cock and Magpie, 382.
Cock and Pie, 382.
Cock and Pynot, 383.
Cock and Trumpet, 211.
Cock and Swan, 212.
Cockatrice, 161.
Cock in Boots, 442.
Cocoa Tree, 248.
Cock on the Hoop, 504.
Cock’s Head, 209.
Coffee-house, 249.
Coffee-pot, 394.
Colt and Cradle, 445.
Complete Angler, 80.
Comus, 70.
Copper Pot, 396.
Corner Pin, 505.
Cottage of Content, 434.
Cotton Breeches, 409.
Cotton-tree, 248.
Coventry Cross, 418.
Cow and Calf, 177.
Cow and Hare, 449.
Cow and Snuffers, 444.
Cow and Two Calves, 177.
Cow in Boots, 442.
Cow Roast, 378.
Cow’s Face, 186.
Crab and Lobster, 381.
Crab-tree, 247.
Cradle, 130, 393.
Cradle and Coffin, 464.
Craven Arms, 59.
Craven Head, 59.
Craven Heifer, 190.
Craven Ox, 188.
Craven Ox Head, 188.
Crawfish, 381.
Crescent and Anchor, 500.
Cricketers, 39.
Cricketers’ Arms, 484.
Cripples’ Inn, 468.
Crispin and Crispian, 281.
Crocodile, 162.
Cromwell, 46.
Cromwell, Oliver, 121.
Crook and Shears, 353.
Crooked Billet, 489.
Cross, 275, 276.
Cross Axes, 346.
Cross Bullets, 327.
Cross Foxes, 142.
Cross Guns, 322.
Cross Hands, 493.
Cross in Hand, 493.
Cross Keys, 131.
Cross Keys and Bible, 131.
Cross Lances, 322.
Cross o’ the Hands, 493.
Cross Pistols, 322.
Cross Scythes, 353.
Cross Swords, 322.
Crow in the Oak, 203.
Crown, 101, 239, 258.
Crown and Anchor, 103.
Crown and Can, 106.
Crown and Column, 103.
Crown and Cushion, 102.
Crown and Dove, 105.
Crown and Fan, 105.
Crown and Glove, 102.
Crown and Halbert, 106.
Crown and Harp, 126.
Crown and Leek, 126.
Crown and Last, 105.
Crown and Mitre, 103.
Crown and Punchbowl, 388.
Crown and Rasp, 105.
Crown and Rolls, 337.
Crown and Sceptre, 103.
Crown and Tower, 103.
Crown and Trumpet, 106.
Crown and Woolpack, 103.
Crown and Woodpecker, 103.
Crowned Q, 476.
Crowned Fan, 412.
Crown of Thorns, 275.
Crown on the Hoop, 504.
Crow’s Nest, 178.
Cumberland, Duke of, 54.
Czar’s Head, 52.

Dagger, 325.
Dairymaid, 353.
Daisy, 238.
Dancing Dogs, 444.
Dancing Goat, 439.
Dandie Dinmont, 81.
Dapple Grey, 171.
Darby and Joan, 79.
David and Harp, 263.
Davy Lamp, 346.
Defiance, 355.
Denmark House, 436, 437.
Devil, 291, 294, 295.
Devil and Bag of Nails, 347.
Devil and St Dunstan, 291, 292, 293.
Devil in a Tub, 460.
Devil’s Head, 295.
Dick Tarleton, 83.
Digby, Captain, 99.
Dirty Dick, 90.
Dr Johnson’s Head, 68.
Doctor Syntax, 81.
Dog, 192.
Dog and Bacon, 378.
Dog and Badger, 197.
Dog and Bear, 196.
Dog and Crock, 444.
Dog and Duck, 196, 197.
Dog and Gun, 197.
Dog and Hedgehog, 162.
Dog and Partridge, 197.
Dog and Pheasant, 197.
Dog and Punchbowl, 388.
Dog in Doublet, 443.
Dog’s Head in the Pot, 443, 444.
Dolphin, 227, 228.
Dolphin & Anchor, 228, 229.
Dolphin and Bell, 165.
Dolphin and Comb, 229.
Dolphin and Crown, 129.
Don Cossack, 99.
Don John, 68.
Don Juan, 68.
Don Saltero, 93, 94.
Donkey Playing on Hurdy Gurdy, 439.
Doublet, 407.
Dove, 219.
Dove and Rainbow, 259.
Dovecote, 219.
Dover Castle, 417.
Dragon, 111, 158.
Drake, 218.
Drake, Admiral, 56.
Dray and Horses, 349.
Drovers’ Arms, 136.
Drover’s Call, 355.
Druid and Oak, 100.
Druid’s Head, 99.
Drum and Trumpet, 323.
Dryden’s Head, 67.
Duck and Mallard, 218.
Duke’s Head, 59.
Dunciad, 67.
Dun Cow, 74.
Durham Heifer, 190.
Durham Ox, 188.
Dust Pan, 397.
Dusty Miller, 348.
Dwarf, 89.

Eagle, 199.
Eagle and Ball, 199.
Eagle and Child, 138.
Eagle and Serpent, 198.
Eagle’s Foot, 139.
Early Christian signs, 3, 4.
East India House, 415.
Edinburgh Castle, 418.
Eight Bells, 478.
Eight Ringers, 478.
Elephant and Castle, 155, 156.
Elephant and Fish, 156.
Elephant and Friar, 156.
Elisha’s Raven, 264.
Elliott, General, 58.
Elm, 246.
Elysium, 73.
England, Scotland, and Ireland, 415.
English Arms, 129.
Essex Arms, 60.
Essex, Earl of, 60.
Essex Head, 60.
Essex Serpent, 80.
Exchange, 415.
Exmouth, Lord, 57.
Experienced Fowler, 361.
Express, 355.
Ewe and Lamb, 177.