February 1783. Long Sermons and Long Stories are apt to lull the Senses. Published by W. Humphrey.

1783. Amputation. Republished by S. W. Fores, October 17, 1793.

1783 (?). The Rhedarium, for the Sale of all sorts of Carriages, by Gregory Gigg.—The auctioneer is in his pulpit, employed in knocking down an assortment of vehicles to a small but sufficiently eccentric-looking audience. A gouty individual, propped on crutches, is making a bid for an antiquated kind of cabriolet, which the groom is trotting up for inspection; around are curricles, travelling carriages, and a general assemblage of the machines on wheels representative of the past.

1783. The Discovery.—A small political print, a parody on Shakespeare's 'Macbeth.' Lord North, who is the principal agent of the 'Witches' Incantation,' is crying:—

December 22, 1783. Great Cry and Little Wool. Published by Humphrey, Strand.—Somewhat in Sayer's style, the principal figures giving indications of his manner. The personification of Evil, with his horns, hoofs, pointed claws, and forked tail, has a firm hold of Fox, and is shearing the 'Protector's' chest and clawing at his profuse locks. The India Bill, under the Evil One's arm, indicates the source of the satire. The surroundings are more especially in Rowlandson's free handling; the India House is in the background, and the members of the East India Corporation are performing a gleeful dance around a memorable pile—the funeral pyre in effigy of their arch-enemy, treated as a fox roasting on a gibbet.

1783 (?). The Times.—This caricature represents the situation, from a popular point of view, at the period of the struggle for the Regency which occurred on the first illness of the King. According to Rowlandson's print, right is prevailing and everything is to be settled for the future happiness of the kingdom by the Prince of Wales's accession to the throne; as will be remembered, it was for a short period doubtful whether the King's health would ever be sufficiently restored to enable him to resume the control of the State.

The heir-apparent is shown as the virtuous prince we read of in fairy tales, endowed with all the graces both of mind and person. The Prince is supported, at the foot of the throne, by such protection as Liberty and Justice are placing at his disposal; his foot is on the first step, the Voice of the People; the other steps are Public Safety, Patriotism, and Virtue; the crown remains suspended over his head, his right hand is on his heart, and Britannia is leading him to his place, while she is waving back the party which opposed his assumption of an ad interim Regency. The symbolical Ruler of the Waves is declaring: 'I have long been deceived by hypocrisy, but have at last discovered an intention of sacrificing the rights of my people to satisfy a private ambition.' The Queen and her German friends, Madame Schwellenberg and others, are represented as disconcerted Furies, waving hissing snakes, and begirt with Falsehood, Envy, &c.

Queen Charlotte combined with Pitt to oppose, by every stratagem within their power, the assumption of the Regency by her eldest son. The Queen is brandishing the torch of Rebellion; Pitt is thrown into despair, and he is 'bidding a long farewell to all his greatness,' before his retirement from public life, as reasonably might have been his case, if the Prince's party had come into power. Commerce, allegorically represented as a fair female, is applauding the elevation of the Prince to the vacant throne, and a deputation from the Corporation of the City is expressing these encouraging sentiments through the Lord Mayor:—'Whilst we mourn the occasion, we must feel ourselves happy in reflecting that we are blessed by a prince whose wisdom will protect our liberties, whose virtues will afford stability to our empire.'