[100] Knightsbridge, as the principal entrance to London from the west, was full of inns.
[101] The method of engraving called mezzotinto was very generally adopted in England in the earlier part of the last century for prints and caricatures. It was continued to rather a late period by the publishing house of Carrington Bowles.
[102] It was translated into English by Richard Haydocke, under the title of “The Artes of Curious Paintinge, Carvinge, Buildinge,” fol. 1598. This is one of the earliest works on art in the English language.
[103] His death is usually placed, but erroneously, in 1732.
[104] Sandby etched landscapes on steel, and in aquatinta, the latter by a method peculiarly his own, besides painting in oil and opaque colours. But his fame rests mainly on being the founder of the English school of water-colour painting, since he was the first to show the capability of that material to produce finished pictures, and to lead the way to the perfection in effect and colour to which that branch of art has since attained.
[105] In the library of the British Museum there is a collection of John Kay’s works bound in two volumes quarto, with a title and table of contents in manuscript, but whether it is one of a few copies intended for publication, or whether it is merely the collection of some individual, I am not prepared to say. It contains 343 plates, which are stated to be all Kay’s works down to the year 1813, when this collection was made. “The Craft in Danger” is not among them. I have before me a smaller, but a very choice selection, of Kay’s caricatures, the loan of which I owe to the kindness of Mr. John Camden Hotten, of Piccadilly. I am indebted to Mr. Hotten for many courtesies of this description, and especially for the use of a very valuable collection of caricatures of the latter part of the eighteenth century and earlier part of the present, mounted in four large folio volumes, which has been of much use to me.
Transcriber’s Note
In general, spelling is retained as printed. On occasion, apparent printer’s errors, however, are corrected, where the author uses a more standard spelling elsewhere (e.g., ’acknowleges’ on p. 283). Where the printer simply missed a word (e.g.,‘hand’ on p. 151), it is added.
This table summarizes the various issues detected, and their resolution.
| p. xii | LE MONDE BESTORN[E/É] | Corrected. |
| p. 6 | as 1185[,] B.C. | Removed. |
| p. 57 | and trepidation[.] | Added. |
| p. 76 | fat flesh and their platter;[”] | Missing, probable placement |
| p. 107 | i[t] is evident from many allusions | Added. |
| p. 151 | luxury went hand in [hand] | Added. |
| p. 153 | a playful character[./,] or sometimes | Added. |
| p. 155 | N[u/ü]remberg | Corrected. |
| p. 160 | and [meats] with a courteous reception | sic. |
| p. 162 | [“]should not be jougleurs, goliards, or buffoons;” | Missing, probable placement |
| p. 163 | de [famila] Goliæ | sic. |
| p. 173 | [“/‘]Adam, Adam ... | Corrected. |
| p. 201 | received by the [the ]emperor Hugo | Removed. |
| p. 230 n. 74 | Here [beginneht] a merye jest | sic. |
| p. 243 | “Cent Nouvelles Nouvelles,” [“]Poggio,” “Straparola,” | Added. |
| seventee[n]th | Added. | |
| p. 254 | the early book-hawkers[,/.] | Corrected. |
| p. 289 | acknowle[d]ged | Added. |
| p. 335 | aspired to be P[l]antagruelists | Removed. |
| p. 344 | Florent Chr[e]stien | Added. |
| p. 396 | who jilts her husband that way, a very ——[.]” | Added. |
| p. 445 | were [two/too] numerous | Corrected. |