But as I am quitting I think it is fitting My future pursuits you should know: When I leave the King's Bench I will live with the French; To the devil my country may go.
1784. John Stockdale, the Bookselling Blacksmith, one of the King's New Friends. (See Intrepid Magazine.)—Old Stockdale, the somewhat notorious publisher of his day, who, like the hero of the last picture, had the honour of standing in the pillory, is shown at his forge, surrounded by hammers and horseshoes, and with a tethered jackass waiting his attentions, as soon as the Bookselling Blacksmith shall have completed the work he has in hand, the somewhat incongruous occupation of hammering out folio volumes on an anvil.
SOCIAL CARICATURES.
January 24, 1784. A Sketch from Nature. Published by J. R. Smith, 83 Oxford Street.—This plate is apparently scarce, since the only impression the writer has seen is one in the French National Collection of Engravings, Paris, where the admirer of Rowlandson's works will be gratified to discover a very fair gathering of caricatures by this master, the collection containing certain scarce subjects which it is difficult to find elsewhere, besides several proofs of rare plates. The prints throughout are in capital preservation; in several instances an impression from a rare plate, and a coloured print from the same, are mounted side by side.
A Sketch from Nature, which is the first and perhaps the best print of the Paris series, is rendered, like most of the plates published by J. R. Smith, exceptionally interesting from the care and delicacy bestowed on the engraving, and the success with which the tender expressions, which Rowlandson knew so well how to throw into the faces of his female beauties, are preserved and transferred to the copper. The subject is engraved in stipple, and, as a print after Rowlandson, it exhibits unusual quality and finish. The subject is somewhat hazardous: a situation borrowed from that inexhaustible epic the Rake's Progress, presenting all the license of debauchery, but expressed without coarseness. A mixed party of nymphs and roysterers are performing bacchanalian orgies; the 'Lady Abbess' has succumbed to her potations, and is slumbering heavily in her armchair. Punch and wine are flowing indiscriminately; a poodle has come in for the contents of a punch-glass, which is overturned, and a man in tipsy wantonness is upsetting a punch-bowl over the dog's head. The arms of a sweetly pretty Bacchante are entwined round the neck of the maudlin reveller. Beside the well-filled table sits a youthful military 'blood;' another nymph, whose adolescent charms are liberally displayed, is seated on the knee of this son of Mars. The young lady is evidently disposed to be frolicsome, since she is flourishing in the air a full-bottomed wig, which she has snatched from the head of a corpulent Silenus, in whom age has failed to bring sober reason or to correct frivolity; this ancient buck is deservedly getting his face scratched and clawed in an amorous struggle with a handsome maiden, dressed in a hat and feathers, who is forcibly repelling the advances of the elderly rake.
1784. [English Curiosity], or the Foreigner Stared out of Countenance.—From this social caricature it seems that some distinguished foreigner was visiting this country in 1784, whose general appearance was exciting more public attention than would be considered polite. The foreigner is dressed in a gay military uniform, and has gone to enjoy himself at the theatre; but the eyes of the audience do little else but stare at his uniform. The identity of this bird of passage is not very positive at this date. The plate, as a whole, is as characteristic and well-drawn an example of Rowlandson's etchings as can be found; the countenances of the spectators are capitally filled in, the various types of theatre-goers are hit off with spirit, and the female faces and figures are rendered with remarkable sweetness.
