1792. Philosophy run Mad, or a stupendous Monument of Human Wisdom. Signed G. L. S.—As this print exhibits various indications of Rowlandson's handiwork, it has been thought advisable to include it amongst the present selection. The plate represents the general upset of affairs in France. On the wreck of a number of columns marked Humanity, Social Happiness, Security, Tranquillity, Domestic Peace, Laws, Order, Religion, Urbanity, &c., is balanced the seat of the republic of France, or rather that of Paris. A Fury yelling ça ira represents La République; in her hand is a picture of Religious Indifference graphically set forth as an auto da fè of Papish Bishops and Cardinals. Plenty is represented by a Fury extending her cornucopia of 'Assignats' to a group of hungry-looking half-starved Frenchmen. Peace is displayed firing a bomb marked Abolition of Offensive War; the gun carriage is inscribed Universal Benevolence; the Goddess of Order is blowing through a trumpet the tidings, Peace of Europe established.
Equality is travestied as an aristocrat kneeling in the dust, while a half-naked sansculotte is treading on his neck and beating his head with a club. Liberty is shown as a Jacobin, trampling on the Law, and holding the head of a Conventionalist on a dagger, to which the rulers of the state are compelled to bow their obeisance. Humanity is parodied by a female monster holding up the heart of a martyr to the new religion.
1792. [The Grandpapa]. Designed by H. Wigstead. (See January 1, 1784.)
1792. Cold Broth and Calamity.—This print has the reputation of being an unusually successful example of the artist's humorous powers of delineation, and the writer has seen several original designs on the same subject by Rowlandson's hand; in some cases the drawings are larger and more important in character than the etching of Cold Broth and Calamity; the subject seems to have been a favourite one.
The scene represents the waters of one of the parks, or of a frozen river; in the foreground is a scene of grotesque confusion, the ice has given way, and a party of skaters have fallen through; heads, arms, and skate-bound feet are waving over the hole, through which a group of unfortunates are engulphed. A little distance off the face of another unfortunate is thrust through a hole in the ice, wigless, and wearing the sort of alarm one could conceive under the circumstances; while further on half a face, with a wig and pig-tail attached, is visible, the owner of which is evidently shouting for assistance. Other skaters are disporting themselves in the distance; they, too, are getting themselves into difficulties. A stout parsonic-looking personage, in a full-bottomed wig, is falling forward, with the certainty of his body breaking through the ice: the upset of this capacious individual will involve a skater who is following him closely, whose hat and wig have already flown away from him. A party of snug old gentlemen in top-boots and ample great-coats are enjoying the sufferings of their fellow-creatures, comfortably on the banks, and in the distance is seen a large tent for the accommodation of visitors.
1792. [An Italian Family]. (See A French Family, 1790.) Drawing exhibited at the Royal Academy, 1784.
AN ITALIAN FAMILY.
November 5, 1792. The Hypochondriac. Designed by James Dunthorne; etched by T. Rowlandson; published by S. W. Fores, 3 Piccadilly.