FOOTNOTES:

[1] The preparation of The Works of James Gillray, the Caricaturist, with a Story of his Life and Times (376 pp. quarto), was in itself no bagatelle; and three working years of steady application were invested in its pages and illustrations.

[2] The Editor, among other special subjects, of a descriptive catalogue of the works of George Cruikshank. 3 volumes quarto. Published by Messrs. Bell and Sons, 1871. (Only 130 copies printed.)

[3] Vauxhall Gardens (503), [An Italian Family] (462), The Serpentine River (511); vide Catalogue of the Royal Academy (1784), Fourteenth Exhibition.

[4] In the early Exhibition Catalogues, studies in water-colours, where the primitive sepia or Indian ink was supplemented by other tints, are described as Stained Drawings.

[5] The artist's name frequently occurs upon his plates as his own publisher, and, as might be anticipated, the prints produced under this sponsorship are invariably of his most popular description.

[6] The original sketches of this series were recently bequeathed to the South Kensington Museum, where they are attributed to Bunbury: a contemporary advertisement (1786) announces the designs to the forthcoming Journal of a Tour in the Hebrides to be furnished by Collings and Rowlandson.

[7] A somewhat different version of the origin of this caricature is given in the Memoirs of John Bannister, Comedian, by John Adolphus (8vo., 1839): 'His friend and fellow-student Rowlandson was, unhappily, much addicted to games of chance, and Bannister used to remonstrate with him on the subject with amiable but ineffectual perseverance. On one of these occasions John Raffaelle Smith, the engraver, admonished Bannister on the inutility of his efforts. "You may spare your sympathy and advice also," he said; "for that Tom Rowlandson was, is, and ever will be incurable." The artist, in merry revenge, brought out a print called Hawks and a Pigeon, in which Smith, endowed for the occasion with a most villanous aspect, the very personation of a sharper and a knave, exhibited conspicuously.

'By way of reprisal, Smith produced a well-known and popular engraving, in which Rowlandson and some others are represented as confederates in fleecing an innocent. Bannister lent his aid in forming the group, and, putting on for the occasion a face from which all appearance of sense was effectually banished, sat for the young dupe. Parsons on seeing the production said: "Why, Jack! you are the last of your fraternity that I should have selected for the model of a flat. Why, when you were a little Cupid in the green-room, Kitty Clive, who was not apt to mince matters, used to say you looked as innocent as a little sucking devil."'

[8] This was written in 1830.

[9] A correspondent to Notes and Queries, who signs S. R. (4th Series, IV., September 11, 1869, p. 224), while alluding to this drawing, also mentions having seen a portrait of George III. by Rowlandson, which possessed great art merit; and adds: 'I possess early drawings by him, executed with a fine quill pen, and most tenderly tinted, which are highly refined in style, excellent in drawing, and in elegance and grace may be classed with the productions of Stothard.'

[10] According to the Royal Academy Catalogue, Rowlandson removed from 133 Wardour Street to 50 Poland Street, Pantheon, between 1786 and 1787.

[11] The drawing of the four ruffians is now, we understand, in the possession of Mr. William Bates, B.A., &c., and forms one of an interesting collection of caricatures by Rowlandson held by that admirer of his works. See Account of Original Drawings in the [Appendix].

[12] The main characteristics of this subject belong to Careless Attention, 1789: a dashing son of Mars taking the place of the black flunkey.

[13] Mr. Henry G. Bohn, the well-known publisher, informed the writer that at one period he had a collection of drawings by Rowlandson, chiefly fine Continental views, such as the Series in Holland and Flanders, made for the artist's patron Mitchell the banker, numbering nearly a hundred.

[14] Sitting magistrate at Bow Street.

[15] See Boswell (the Elder). Twenty Caricatures by Collings and Rowlandson in Illustration of Boswell's 'Journal of a Tour in the Hebrides, 1786.'

[16] These cross-readings obtained such celebrity that the inventor was tempted to distribute amongst his friends specimens, which 'he had been at the expense of printing upon small single sheets.' We quote a couple of examples from a slip, which was in the possession of J. T. (Antiquity) Smith's family, and, being considered something of a curiosity, is given in the pages of Nollekens and his Times.

Sunday night many noble families were alarmed— By the constable of the watch, who apprehended them at cards.

Wanted, to take care of an elderly gentlewoman— An active young man, just come from the country.

[17] Caleb Whiteford was Vice-President of the Society for the Encouragement of Arts, Manufactures, and Commerce.

[18] Somerset House Gazette and Literary Museum, No. 26. By Ephraim Hardcastle (W. H. Pyne). 1824.

[19] The reader may observe a similar chariot in the Museum at South Kensington; it might readily be mistaken for the one referred to above, and is of the most elaborate character. It is described as 'built for the Lord Chancellor of Ireland (1780), the panels painted by W. Hamilton, R.A.'

[20] According to Mr. Jerdan, the first missive printed on stone (drawings having been printed by this process some while before), was an invitation to one of Ackermann's conversaziones: 'Mr. Ackermann has the honour to inclose a card of invitation to a Literary Meeting at his Library, on Tuesday, the 20th February, at seven o'clock in the evening; and on the same evening in each week, until the 10th day of April inclusive.

[21] Notes and Queries, August 1869. See article signed W. P.

[22] From Malcolm's Manners and Customs of London during the Eighteenth Century (1810). 'Mr. Carlton, Deputy Clerk of the Peace, and Clerk to the Justices of Westminster, stated to a Committee of the House of Commons, in 1782, that E O Tables were very numerous; that one house in the parish of St. Anne, Soho, contained five, and that there were more than three hundred in the above parish of St. James's: those were used every day of the week, and servants enticed to them by cards of direction thrown down the areas.'

[23] Lord North's Administration, which had the onus of conducting the American War, was daily growing weaker and losing popularity; it resigned in March of the year following, and the Rockingham Ministry came into office. The first condition of this more liberal Administration had obtained, through the negotiations of Lord Shelburne, the consent of the King to 'peace with the Americans, and the acknowledgment of their independence.' In a later caricature by Gillray, which appeared on the resignation of Lord North—Banco to the Knave, April 12, 1782—the figure of Sir Grey Cooper, one of the Treasury Secretaries, is introduced, exclaiming, 'I want a new master.' On this gentleman's chair is the name 'Sir Grey Parole,' because, it is understood, he usually sat on the left of Lord North on the Treasury Bench; and when that statesman, who trusted to his memory for the principal points elicited in the debates, had been overcome by the constitutional somnolency which was a favourite subject of ridicule with the satirists, the Secretary aroused his chief, and supplied the deficiency of notes by suggesting the thread of argument, or parole, as required.

[24] 'General Johnson reminded Mr. Fox that he had undertaken to bring in another East India Bill. Mr. Fox did not deny that he had said he could have his Bill ready within a day or two—he said so still; but, as there was not, at present, any Government—any strong, and efficient, and constitutional Government—he thought it would be absurd to enter on the discussion of any measure; since, whatever it might be, it would not be carried into execution.'—Morning Post, Feb. 9, 1784.

[25] Lord Thurlow, whose private life, if we may believe the caricaturists, was not of the purest.

[26] In several of the caricatures directed against Wray the discomfited candidate is invoking the assistance of Churchill, who was, however, apparently unable to offer his patron any effectual aid.

[27] 'The present Orchestra (1809) was first exhibited to the public on the 2nd June, 1735. It was built by an ingenious mechanic, named Maidman, a common carpenter employed in the gardens, from a design of his own. The composition with which it is ornamented was also his own discovery. This elegant orchestra is calculated to contain fifty performers, with an organ, &c. It is illuminated by about four thousand lamps, and presents an object of unparalleled brilliance. The same ingenious artisan erected the rotunda, which is seventy feet in diameter, and represents a magnificent pavilion. Within it is placed another orchestra, where the musical part of the entertainment is performed in unfavourable weather. Adjoining the saloon, with its scagliola columns, and its paintings by Hayman, is a supper room, one hundred feet long and forty feet wide, with a double row of columns. On the walls are represented paintings of rural scenery, which answer to the intercolumniations. At the end of the room was the statue of Handel, in white marble, and in the character of Orpheus singing to his lyre; but it is now removed behind the orchestra in the garden. This fine piece of sculpture first introduced the abilities of Roubiliac to the notice of the public. It was begun and completed in the place of which it was the ornament, while the noble subject and the superior artist were enjoying the friendly and protecting hospitality of Mr. Jonathan Tyers, who purchased the place in 1730, and opened it with an attractive entertainment which he called a Ridotto al Fresco.

'The grove, principal entrance, and other parts of the gardens are furnished with a number of small pavilions, ornamented with paintings, chiefly by Hogarth and Hayman; each containing a table and seats, to which the company retire to partake of refreshments.'—Microcosm of London.

[28] 'Mrs. Hartley was an actress of some popularity; more celebrated, however, for her beauty. She was one of those ladies whose career on the stage was without reproach. She was painted by several of the first artists, and among others by Sir Joshua Reynolds, in one of her best characters. No female, perhaps, that ever appeared on the stage looked more lovely than she in Fair Rosamond. Mr., afterwards Sir Bate Dudley, married the sister of this lady.'

[29] A letter of severe remonstrance was sent to Mr. B., who, in consequence, omitted, in the second edition of his Journal, what is so generally pleasing to the public, viz., the scandalous passages relative to this nobleman.

[30] The words taken exception to were: 'I say the Prince of Wales has no more right to assume the government without the consent of the Parliament, who represent the people, than any other person,' &c.

[31] It must be remembered that in 1788 the public were flocking to the performances of a famous stone-eater.

[32] The caricaturist is said to be the hero of the sparring roysterer in his unflattering delineation of A Brace of Blackguards, introducing George Moreland the painter and himself under a situation little complimentary to the softening influences of the fine arts. The plate is given in this work under the date May 30, 1812, when it was re-issued by the artist, but the original etching properly belongs to a much earlier period, and was probably executed about a quarter of a century anterior.

[33] 'Colonel Dennis O'Kelly, the celebrated owner of Eclipse (this racehorse won everything he ran for), amassed an immense fortune by gambling and the turf, and purchased the estate of Canons, near Edgware, which was formerly possessed by the Duke of Chandos, and is still remembered as the site of the most magnificent mansion and establishment of modern times. The Colonel's training stables and paddocks, at another estate near Epsom, were supposed to be the best-appointed in England.'—Hone's 'Table Book.'

[34] A clever drawing, which has never, apparently, been engraved, Colonel O'Kelly Enjoying a Private Trial previous to his Making a Match, belonging to John West, Esq., is noticed in the [Appendix].

[35] Sévigné, vol. vi. pp. 98–157.

[36] Place des Victoires. A circular open space, surrounded by houses, forming together one design, built by Mansard, 1686. Portions of the original statue of Louis XIV., raised by the Duc de la Feuillade, in the middle, which was destroyed during the Revolution, are now in the Louvre: it was replaced by a statue of General Desaix, which, in its turn, was removed for the present one of Louis XIV. in the costume of a Roman emperor, by Bosio.

[37] Wooden Gun. See Public Characters, 1806, p. 99.

[38] 'Lord Barrymore's phaeton was a very high one; and after our midnight revels in town I have often travelled in it with him to Wargrave. One very dark night, going through Colnbrook, in the long street called Featherbed Lane, he kept whipping right and left, breaking the windows, delighted with the noise as he heard them crack—this he called fanning the daylights.'—Angelo's Memoirs.

INDICES

(As Printed in Volume 2)

INDEX OF NAMES, PERSONS, &c.

[A] [B] [C] [D] [E] [F] [G] [H] [J] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Y]

INDEX OF TITLES, SUBJECTS, PUBLISHED CARICATURES, ILLUSTRATIONS, &c.

[A] [B] [C] [D] [E] [F] [G] [H] [I] [J] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [U] [V] [W] [Y]