Rowlandson the Caricaturist; a Selection from His Works. Vol. 2

1817

THE VICAR OF WAKEFIELD.

1817–1823. The Vicar of Wakefield, a Tale, by Doctor Goldsmith. Illustrated with twenty-four designs by Thomas Rowlandson. Etchings dated May 1, 1817. London, published by R. Ackermann, at the Repository of Arts. Republished 1823.

Sperate Miseri, Cavete Felices.

Frontispiece.—The Vicar of Wakefield, a character eminently calculated to inculcate
benevolence, humanity, patience in sufferings, and reliance on Providence.
2. The Social Evening.
3. The Departure for Wakefield.
4. Sophia Rescued from the Water.
5. The Welcome.
6. The Squire's Intrusion.
7. Mr. Burchell's First Visit.
8. The Dance.
9. Fortune-telling.
10. The Vicar's Family on their Road to Church.
11. Hunting the Slipper.
12. The Gross of Green Spectacles.
13. The Vicar Selling his Horse.
14. The Family Picture.
15. The Vicar in company with Strolling Players.
16. The Surprise.
17. The Stage. George Primrose as 'Horatio.'
18. Attendance on a Nobleman.
19. A Connoisseur Mellowing the Tone of a Picture.
20. The Scold, with News of Olivia.
21. The Fair Penitent.
22. Domestic Arrangements in Prison.
23. The Vicar Preaching to the Prisoners.
24. The Wedding.

THE FAMILY PICTURE.

The Family Picture.—'My wife and daughters, happening to return a visit to neighbour Flamborough's, found that family had lately got their pictures drawn by a limner who travelled the country and took likenesses for fifteen shillings a head. As this family and ours had long a sort of rivalry in point of taste, our spirit took the alarm at this stolen march upon us; and notwithstanding all I could say, and I said much, it was resolved that we should have our pictures done too. Having, therefore, engaged the limner—for what else could I do?—our next deliberation was to show the superiority of our taste in the attitudes. As for our neighbour's family, there were seven of them, and they were drawn with seven oranges, a thing quite out of taste—no variety in life, no composition in the world. We desired to have something in a brighter style; and after many debates at length came to a unanimous resolution of being drawn together in one large historical family piece. This would be cheaper, since one frame would serve for all, and it would be infinitely more genteel, for all families of any taste were now drawn in the same manner. As we did not immediately recollect an historical subject to hit us we were contented each with being drawn as independent historical figures. My wife desired to be represented as Venus, and the painter was desired not to be too frugal of his diamonds in her stomacher and hair. Her two little ones were to be as Cupids by her side; while I, in my gown and band, was to present her with my books on the Whistonian controversy. Olivia would be drawn as an Amazon, sitting on a bank of flowers, dressed in a green joseph, richly laced with gold, and a whip in her hand. Sophia was to be a shepherdess, with as many sheep as the painter could put in for nothing; and Moses was to be dressed out with a hat and white feather. Our taste so much pleased the Squire that he insisted on being put in as one of the family, in the character of Alexander the Great, at Olivia's feet. This was considered by us all as an indication of his desire to be introduced into the family; nor could we refuse his request. The painter was therefore set to work; and as he wrought with assiduity and expedition, in less than four days the whole was completed. The piece was large, and it must be owned he did not spare his colours, for which my wife gave him great encomiums. We were all perfectly satisfied with his performance; but an unfortunate circumstance had not occurred till the picture was finished, which now struck us with dismay. It was so very large that we had no place in the house to fix it. How we all came to disregard so material a point is inconceivable; but certain it is we had been all greatly remiss. The picture, therefore, instead of gratifying our vanity, as we hoped, leaned in a most mortifying manner against the kitchen wall, where the canvas was stretched and painted, much too large to be got through any of the doors, and the jest of all our neighbours. One compared it to Robinson Crusoe's longboat, too large to be removed; another thought it more resembled a reel in a bottle; some wondered how it could be got out, but still more were amazed how it got in.'

THE DANCE OF LIFE: A POEM.

By the Author of 'Doctor Syntax' (William Coombe).

ILLUSTRATED WITH TWENTY-SIX COLOURED ENGRAVINGS BY THOMAS ROWLANDSON.

LONDON: PUBLISHED BY R. ACKERMANN, REPOSITORY OF ARTS, 101 STRAND. 8vo.

'Advertisement.—The eight monthly numbers to which this work was limited being completed, it is presented to the public in an accumulated volume. Though an acquaintance has taken place between the artist and the writer, the same principle has in a great degree, if not altogether, predominated in the originality of the designs and attendant illustrations of them as produced the Tour of Doctor Syntax and the Dance of Death.'

Illustrations.

Frontispiece.—The Dance of Life; a panoramic scroll, on which Rowlandson's pictures which illustrate the series are represented in miniature. Father Time, with his accessories of scythe, hourglass, and globe, is acting as showman and pointing out the subjects of the work to a group of spectators, whose faces and attitudes are expressive of the admiration and interest which the pictorial history is exciting.

Titlepage.—The vignette of a lightly touched and gracefully drawn female dancing figure, with a scarf airily floating from her shoulders. The nymph is encircled by a ring of pretty children, hand in hand, who are dancing round her; while roses are scattered at the feet of the group.

1. Infancy.—The hero is introduced to the world as an infant.

The Dance of Life begins, with all its charms
In the fond dandling of the nurse's arms.

2. Childhood.—The first tutor.

The tender nurse's care is now resign'd
To the first grave instructor of the mind.

3. Boyhood.—The public school.

The stern preceptor, with his threat'ning nod,
Calls in the wise correction of the rod.

4. Youth.—An undergraduate at Oxford.

Wine makes the head to ache; but will the art
Of the grave, solemn lecture reach the heart?

5. Foreign Tour.—Setting forth on his Continental travels. The parting from home.

To part with thee, my boy, how great the pain!
How great the joy to see thee once again!

6. Foreign Tour.—Posting in France.

'Tis hop'd, midst foreign scenes some power he'll find
To mend his manners and improve his mind.

7. Foreign Tour.—A scene in the Palais-Royal.

He pays his lively court, as 'tis the ton,
To the fat Princess of the Mille Colonnes.

8. The Return.—The traveller hurries home on the death of his father.

The widow'd mother hastens forth to meet
Her son, Sir Henry, at his ancient seat.

9. The Chase.—A fatal fall; his affianced bride is thrown and killed.

The hounds the flying stag pursue;
But Dian does the hunting rue.

10. Fashionable Life.—Plan for new buildings. The architect, &c.

At the first step in folly's wanton waste
He pulls his mansion down, to show his taste.

11. Coaching on Hounslow Heath.

Of four-in-hand he gains the vulgar rage:
Wields his long whip, and overturns a stage.

12. The Midnight Masquerade.

The mask, that scene of wanton folly,
May convert mirth to melancholy.

13. The Billiard-table and its votaries.

By gamblers link'd in Folly's noose,
Play ill or well, he's sure to lose.

14. The Ring, Newmarket Heath.

The victim of the betting-post:
His bets as soon as made are lost.

15. A Mistress À la mode.

For such a wild and placid dear
Me pays two thousand pounds a year.

16. The Election: close of the poll: chairing the member.

For my own good, and yours, I'm bent,
My worthy friends, tow'rds Parliament.

17. Imprisoned for debt, the hero resists the temptations held out by a Jew and a scrivener.

In his oppress'd and adverse hour
Virtue assumes its former power.

18. A change of circumstances: coming into an unexpected fortune, left the hero by the father of his affianced bride, whose death is shown (plate 9).

The wild exuberance of joy
May reason's sober power destroy.

19. A social gathering in the new mansion. Ladies and a musical evening.

Sweet is the voice whose powers can move
And call the vagrant heart to love.

20. The hero selects a wife. The nuptial ceremony.

Blest Hymen, whose propitious hour
Restores to Virtue all its power.

21. Dragging the lake.

Rural sports are better far
Than all his former pleasures were.

22. A case of poaching. Sir Henry is sitting as magistrate at Graceful Hall. His wife is pleading for the unfortunate prisoners (poachers).

To soothe the rigours of the laws
Let beauty plead the culprits' cause.

23. Worshipping on the Sabbath. The Squire in his pew.

By piety's due rights 'tis given
To hold communion with Heaven.

24. Sir Henry, surrounded by his children and his friends, is tranquilly passing his declining years.

Here Virtue views, with smiling pride,
The pleasures of her fireside.

1817. Grotesque Drawing Book; the World in Miniature, consisting of groups of figures for the illustration of landscape scenery. Forty plates, 8vo. London.

1817. Journal of Sentimental Travels in the Southern Provinces of France. Illustrated with eighteen plates by T. Rowlandson. 8vo. Published by R. Ackermann. (See 1821.)

1817. World in Miniature. Containing fifty-eight etchings. 4to. (See 1816.)

1817. Pleasures of Human Life.

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