A few examples of the caricatures published by Rowlandson during the famous contested election for Westminster in 1784 were included by the present writer in his account of the works of James Gillray the Caricaturist, as certain prints issued on this occasion were doubtless due to a combination on the part of the two caricaturists; however, those plates which bear special indications of Rowlandson's style were set down to their proper author.

January 1, 1784. The Pit of Acheron, or the Birth of the Plagues of England.—This plate bears the initials F. N., 1784, in the right-hand corner, but there is no doubt, judging from the evidence of the style of execution, that the chief merit is due to Rowlandson. During the progress of the struggle, in 1784, plates innumerable were published anonymously, or with varying initials. Collectors who have devoted time and observation to the subject, and such well-qualified writers as the compiler of The History of Caricature and Grotesque in Art, The Caricature History of the Georges, &c., seem agreed upon the proportion of prints which are due to the skill of our artist, whose handiwork is very prominent amongst the series of electioneering and political satires which appeared on the occasion of Fox's renowned campaign at the Westminster hustings, when the Champion of the People contended successfully against the second Ministerial candidate, Sir Cecil Wray, although the latter received all the assistance which Pitt, with the influence of the King as well, unscrupulously exercised as it was, could bring into play, legitimately or otherwise, to defeat the popular Whig chief, and to inflict the mortification of a lost election upon 'the party' and on their leader, who was at that time the pet aversion of George the Third and idol of the people.

It will be remembered that Rowlandson was by no means a party satirist; unlike Sayer, who was notoriously in the Ministerial pay, he lavished his satire on both sides alternately, utterly regardless of partisanship, and, often at the expense of consistency, we find his cartoons alternately espousing and ridiculing the same section, Whig or Tory, Ministerialist or Opposition, in plates of whimsically opposite tendencies, which not infrequently bear the same date.

The Pit of Acheron, if we may trust the satirist, is not situated at any considerable distance from Westminster; the precincts of that city appear through the smoke of the incantations which are carried on in the Pit. Three weird sisters, like the Witches in 'Macbeth,' are working the famous charm; a monstrous cauldron is supported by death's-heads and harpies; the ingredients of the broth are various; a crucifix, a rosary, Deceit, Loans, Lotteries, and Pride, together with a fox's head, cards, dice, daggers, and an executioner's axe, &c., form portions of the accessories employed in these uncanny rites. Three heads are rising from the flames—the good-natured face of Lord North, the spectacled and incisive outline of Burke, and Fox's 'gunpowder jowl,' which is drifting Westminster-wards. One hag, who is dropping Rebellion into the brew, is demanding, 'Well, sister, what hast thou got for the ingredients of our charm'd pot?' To this her fellow-witch, who is turning out certain mischievous ingredients which she has collected in her bag, is responding, 'A beast from Scotland called an Erskine, famous for duplicity, low art, and cunning; the other a monster who'd spurn even at Charter's Rights.' Erskine is shot out of the bag, crying, 'I am like a Proteus, can turn to any shape, from a sailor to a lawyer, and always lean to the strongest side!' The other member, whose tail is that of a serpent, is singing, 'Over the water and over the lee, thro' hell I would follow my Charlie.'

January 4, 1784. The Fall of Dagon, or Rare News for Leadenhall Street. Published by William Humphrey, 227 Strand.

The image of Dagon, which in this case is borrowed to typify the Coalition Ministers, has fallen from the overset Broad Bottom pedestal, and is in the posture described by the quotation; its double-faced head wears the profiles of North and Fox. Tower Hill is represented in the background; a scaffold is erected, and the public executioner is just bringing down his axe on the neck of a traitor—a delicate compliment to the heads of the late Administration. John Bull has changed the sign of his house to The Axe, and he is composedly enjoying his pipe under its shadow.

January 7, 1784. The Loves of the Fox and the Badger, or the Coalition Wedding. Published by W. Humphrey, 227 Strand.—Nine small compartments, very neatly executed upon one plate, are employed to portray the unpopular Coalition Ministry between Fox and North. (1) The Fox beats the Badger in the Bear Garden. The unwieldy form of the Badger (Lord North) lies, apparently asleep, on the floor of 'the House;' the Fox, with his brush erect in triumph, is in command of the situation. (2) The Fox has been throwing dice on Hounslow Heath, and he has a dream; the vision seems to indicate a choice between a prison or a traitor's head on a spike. (3) The Badger, with his riband, tucked up comfortably on a sofa, also indulges in a dream; the objects offered for his selection are seemingly the gallows or an executioner's block. (4) Satan unites them; the arch-fiend, in person, is joining their paws and pronouncing the magic spell, 'Necessity.' (5) They quarter their arms. Their new escutcheon is symbolical; above a scroll marked 'Money' the twin supporters are holding up a well-filled Treasury-bag, borne by John Bull, above whose head flourishes a pair of donkey's ears. (6) The priest advertises the wedding. The Devil, presiding at the pay-table, is enlisting the advocacy of the press, and three editors, in return for substantial considerations, are respectively promising: 'I'll Chronicle the Coalition,' 'We will Post them,' 'Harry will take both sides.' (7) The Honeymoon or Eddystone Lighthouse; the pair are making up a flaming beacon. (8) The New Orator Henley, or the Churching. The happy pair are now in their glory, seated on a throne in the 'Bear Garden,' and surrounded at a respectful distance by the heads (stuck on poles) of the members of their new Parliament, and described as a 'Mopstick majority.' The churching is proceeding; the original pastor is still present, and is prompting Orator Henley, whose tub stands on a block, labelled, 'Honest Jack Lee;' the Orator is holding forth a parchment, and declaring, 'A charter is nothing but a piece of parchment with a great seal dangling to it;' to which pious deduction his clerk mounted on 'A Seat for Portsmouth,' is crying, 'Necessity. Amen.' (9) The Wedding Dance and Song. The pair, now led by the nose by their Satanic friend, are perforce compelled to execute a pretty lively dance, as their conductor wills. They are singing this appropriate epithalamium:—

It seemed, at the beginning of 1784, as if Fox were completely master of the political situation, and indeed he approached much nearer to an absolute control of the Administration than he was ever destined to reach again during the lifetime of his great opponent. The bold manoeuvres of Pitt, backed by the royal favour—the King and his friends condescending to dissimulation and subterfuge where honest policy would not suffice their turn—were crowned with unexpected success, and the Cromwell of the hour fell suddenly from his influential eminence. Up to the famous Westminster Election, Fox was paramount, both in Parliament and out of doors; for although Pitt was actually Crown-Minister, both he and his party were almost powerless when arrayed against the members of the ex-Coalition Ministry, their opponents, led by Fox, and his strong following, who were the real masters of the situation; thus we find a very characteristic portrait of the Friend of Liberty and of the People introduced, with an allusion to Cromwell.

January 19, 1784. His Highness the Protector.—The supplies are kept with a tight hand; and Fox, taking advantage of his power, has put a huge padlock on the door of the Treasury, the key of which he seems determined to retain in his own keeping; a small dagger, held in the popular champion's right hand, indicates that he is prepared to stand on the defensive. His colleague Lord North, with his star round his neck, appears as a bulldog, who is supporting his leader in keeping the supplies inviolate.

The apprehensions of the Pittites (whose chances of retaining the reins of administration in defiance of an Opposition too strong for their policy, now seemed desperate), pictured forth the total subversion of Throne and State; and it was under this influence that the King—whose stubborn will was strengthened by contradiction—indulged his threat of retiring to his German possessions, if he could not secure the return to office of his particular friends, whose hopes of recovering their lost control of the State were somewhat forlorn previous to the election; while Fox, on the other hand, was endeavouring to force the King to accede to the measures he had introduced for the restriction of the royal prerogative. A very complete, but necessarily over-coloured, view of the anticipations of 'the party' is thus pictured forth by Rowlandson.

January 23, 1784. The Times, or a View of the Old House in Little Britain,—with Nobody going to Hanover. Published by W. Humphrey, 227 Strand.—The Old House is seemingly in a bad way; the foundation is Public Credit; the Funds, represented as a grilled gate, are secured with a huge padlock; the Royal Crown and Sceptre are placed on a block, and marked for sale; seated on another block, labelled Protector, sits the fox, guarding the Treasury; round his waist is a chain secured to the Coalition-pillar, which is depicted as rather a twisted support. Lord North has perched his unwieldy person upon a turnstile, and is crying, indifferent to consequences, 'Give me my ease, and do as you please.' The upper part of the Old House is raising more cause for mistrust, since the old building is overweighted and crushed with a mass of Taxes, piled on the roof, the accumulated pressure of 'the accursed ten years' American war, fomented by the Opposition and misconducted by a timid Minister.' A light balcony has been thrown out, and therein things are proceeding in true showman style. Burke is officiating as exhibitor, and blowing through a trumpet; another statesman is doing the harlequin-business; merry-andrew 'Sherry' is flourishing his bottle and dancing round the corner of the balcony, on which is a placard announcing a wonderful combination of attractions: 'The Scarlet Woman of Babylon, the Devil, and the Pope.' 'The Man of the People' is pictured as a feather,—on the flag of the party. The sign of the Old House, Magna Charta, has fallen to tatters, and the board is dropping down; two lawyers, who appear at the window, are repairing the edifice according to their theories; one of the props of the edifice, the Lords, is spared, but the other, prerogative of the Crown, is being lopped off by one of the legal magnates. The King is turning his back on the place, and starting in a state coach on his way to Hanover, deaf and blind to the prayers of some of his subjects, who are imploring the royal compassion on their knees. The Sun of England's Glory is setting in the distance, and an eye of light, piercing through the clouds, is warning the retiring monarch to 'Turn out these robbers and repair the House.'

February 3. The Infant Hercules.—Another caricature was directed against the ex-Coalition Ministers, representing them as twin serpents whose tails ('American War' and 'East India Bill') are entwined; the heads of Fox and North appear on the shoulders of the monster. Pitt is figured as the infant Hercules; he has taken his seat on the 'Shield of Chatham,' and has grasped the throats of the serpents, the tails of which are already lopped off. 'These,' he cries, 'were your Ministers.'

February 3, 1784. Britannia Roused, or the Coalition Monsters Destroyed.—Britannia, the symbolical goddess, is fairly aroused, and her greatness and power are effectually asserted on the persons of the late Ministers. Her strong arm is throttling the lethargic Lord North, and she has seized the body of Fox, whose person she is dashing over her head, in a manner which threatens the extinction of the popular idol.

The East India Company and its Corporation became, for a time, the chief bone of contention. Fox had gone out of office on the rejection of his provisions for the proper regulation of our Eastern Empire,[24] and Pitt, on coming into power, introduced his own motion with the same object. The view of the public on this point was expressed by Rowlandson's satirical summary of the situation.

February 7, 1784. Billy Lackbeard and Charley Blackbeard Playing at Football.—Fox and Pitt are both kicking with a will; the football is the old House of John Company, Leadenhall Street; the edifice is turned upside down, and the rival players are succeeding in keeping the vast concern suspended in the air between them. Billy Lackbeard has just turned from the study of Blackstone,—an allusion to the youth of the Prime Minister. It is interesting to remember that Pitt had resigned his ambitious mind seriously to the study and practice of the law, in case the progress of events should deprive him of Parliamentary significance. The commencement of his career was somewhat troublous, especially during the 'Regency struggle,' when the state of the King's health rendered the accession of the Prince of Wales probable, in which case the governing power would have remained in the hands of his more experienced rival. Behind Fox is a dicebox, and at his feet lie packs of playing-cards, indicating that gambling was the only resource left him, if he could not succeed in regaining office.

The influence which was being brought to bear, through illegitimate channels, to strengthen the party of Pitt's followers, who found themselves in such a minority as to be powerless at first, was recognised and commented on out of doors. The satirists freely exposed the Ministerial manoeuvres; it was evident that the Court party, and especially the King, would count no sacrifice too great, could they but contrive to prevent the return of the members of the late Coalition Ministry to power, this hostility being intensified by the prejudices borne in the royal mind against Fox.

So strongly did this influence work that we find in The Morning Post and Daily Advertiser for February 10, 1784, the names of twenty-two members who had fallen under the spell of Ministerial beguilements. The advertisement is quite simple, and appears without either comment or explanation; the heading is pictorial, and represents a string of rats—such as might preface an ordinary rat-catcher's advertisement—it is placed above the name of Jack Robinson, in capital letters. Then follow, in three short columns, the names of the twenty-two Parliamentary rats who had gone over to the good pickings which the King was able to hold forth as a temptation in return for the allegiance of these renegades.

This curious advertisement is repeated in a satirical print which Rowlandson prepared on the same subject.

March 1, 1784. The Apostate Jack Robinson, the Political Rat-catcher. N.B. Rats taken alive.—Before the door of the Treasury, from whence the converter of rats draws his supply of baits and lures, travelling cautiously on all fours and feeling his way, the political rat-catcher is slily augmenting his captures. Round the apostate Jack's waist hangs the cestus of corruption, in his pocket is a little aide-de-camp, who is made to cry, 'We'll ferret them out!' On his back is a double trap, baited with miniature coronets, places, &c.; one or two rats have been secured in this; golden pieces strew the floor, and with these the rats to be captured are playing and coquetting. A large bait of pension is held to the nose of one grave old veteran, probably intended for Edmund Burke, and the other rats are watching the bait with longing looks. A placard is pinned on the wall, 'Jack Robinson, Rat-catcher to Great Britain. Vermin preserved.' Under the heading of 'Rats of Note' is given the very list of apostates as published in the Morning Post, beneath Jack Robinson's patronymic.

March 3, 1784. A Peep into Friar Bacon's Study.—A spectacle of conjuration, which discloses matters of some historical moment. In the centre of the picture stands the brazen head which is giving forth its oracles. King George the Third, who has thrown a conjuror's cloak over his star and riband, is holding out two divining-rods, and questioning the head—'What is this?' To this the magic bust is giving forth these oracle-like phrases: 'Time is, Time was, Time is past;' while three luminous circles, each bordered with the word Constitution, help to illuminate the obscurity of the revelation. The first view of the Constitution, 'Time is past,' displays the King on his throne, with a radiance like the sun; the other bodies of the State barely come within the charmed circle; the Houses of Lords and Commons appear mere 'air balloons.' 'Time is' offers another view of the Constitution; the King's circle has diminished, that of the House of Peers is increasing in magnitude and becoming bound up with the royal circle; the House of Commons, without infringing on either, has arrived within the circumference of the Constitution; and in the third view we find the three circles assimilated in size and working one within the other—the Constitution in its perfected form, in fact. Behind the King the members of the late Ministry are appearing at a door. Fox, North, and Burke are in the front rank; they bid the monarch 'Beware!' The King's friends, led by an imp of Satan, or, perhaps, by the Devil in person, are finding their way down the back-stairs. Foremost is a figure bearing a lantern, which is throwing a light on the movements of the Opposition. Lord Temple, and other influential supporters of the Ministry, are making their entry on the scene, and crying, 'We must destroy this coalition,' 'A fig for the resolutions,' &c.

March 8, 1784. Master Billy's Procession to Grocers' Hall.—Pitt has, according to the picture, supplemented his Parliamentary tactics by flattering the citizens, and bidding for the Corporation influence. He is drawn going to Grocers' Hall in state to receive the freedom of the City in a gold box, which is carried at the head of the procession. Great enthusiasm prevails, as a liberal gentleman, in the uniform of a naval officer, is distributing handfuls of coin amongst the mob. Banners are carried in the procession with the party watchwords, 'Pitt and prerogative,' and 'Youth is a most enormous crime.' The car of Sir Watney, drawn by satyrs comes first; then, in the middle, perched up in a triumphal car, and with a feather in his hat, comes Master Billy, drawn, of course, by King's men. Sir Barney follows, drawn by his admirers, and shouting, 'Pitt and plum-pudding for ever!' The show is passing the shop of 'Tommy Plume, grocer to his Majesty;' this worthy, who is crying, 'O what a charming youth!' is seen at his window, surrounded by shouting spectators. At the sign of the Lord Chatham is gathered another party of sightseers; they are enthusiastically declaring that 'Master Pitt is very like his father!'

March 11, 1784. The Champion of the People.—The sturdy figure of Fox, clad in somewhat theatrical armour, and protected by the Shield of Truth, is resolutely combating the overgrown Hydra of patronage, whose growing and unconstitutional power—it was hinted—would shortly destroy the liberty of the subject. The monster, a compound of the Pittite party and its royal supporter, is hissing and spitting venom with all its various heads, Tyranny, Assumed Prerogative, Despotism, Oppression, Secret Influence, and Scotch Politics; while three heads have been already lopped off by the champion's sword, Duplicity and Corruption are laid in the dust. The foreign Powers are represented in alliance, and dancing round the Standard of Sedition. Natives, of the subject East Indian races, are kneeling and blessing their champion; and a compact array of English and Irish supporters is drawn up under the standard of 'Britannia and Universal Liberty.' Fox's followers are respectively declaring, 'While he protects us, we will support him;' and 'He gave us a free trade, and all we asked; he shall have our firm support!'

March 26, 1784. The State Auction.—This print illustrates the pass to which, as it was assumed, the Constitution was coming under the evil effects of the undue extension of the royal prerogative. The 'State Auction' is held, under high patronage, in the 'Commission warehouse; money advanced on all sorts of useless valuables, by Pitt and Co., Auctioneers. N.B. Licensed by Royal Authority.' Pitt, seated on his rostrum, under the royal arms, is knocking down 'State property' in the capacity of auctioneer. The first lot is, it seems, the most interesting one in the sale: 'The Rights of the People, in 558 volumes.' Pitt's friend Dundas is acting as sale porter. 'Show the lot this way, Harry,' cries the auctioneer. 'Agoing, agoing; speak quick, or it's gone. Hold up the lot, ye Dund ass!' To which invitation the Scot, Dundas, who has been doing his best to help Master Pitt, responds, 'I can hould it na higher, sir!' Pitt is favouring the biddings of the 'Hereditary Virtuosi,' a compact knot of Peers and 'the King's friends;' at their head stands Lord Chancellor Thurlow, who is disparaging the Opposition. 'Mind not the nonsensical biddings of those common fellows.' The 'chosen representatives' of the people are standing by themselves, apart from the bidders; their backs are turned upon the entire proceedings, and they are apparently leaving the sale-room en masse, by way of protest, at the same time exclaiming, 'Adieu to Liberty!' 'Despair not!' and 'Now or never!' Fox alone is making a resolute stand; he cries, 'I am determined to bid with spirit for lot 1—he shall pay dear for it that outbids me.' The lots are of general interest. Lot 2 is Magna Charta; lot 3 is 'Obsolete Public Acts;' lot 4, the Sword of Justice; lot 5, the Mace; lots 6 and 7, legal wigs and gowns, &c. The sale-clerk, recording the biddings on the parchments of 'sundry Acts,' is declaring gleefully, 'We shall get the supplies by this sale!'

March 29, 1784. The Drum-Major of Sedition.—The portrait of Major John Cartright, one of the most energetic and disinterested Reformers, is given under this title. The Major is firmly grasping a pole of Liberty in his right hand, and is holding forth in front of the hustings erected for the election, round which are gathered numerous voters and a crowd of others, who are being addressed from the platform. Admiral Lord Hood is introduced, shouting, 'Two faces under a Hood!' The speech made by the Drum-Major of Sedition has a strong ironical tendency. 'All gentlemen and other electors for Westminster who are ready and willing to surrender their rights and those of their fellow-citizens to secret influence, and the Lords of the Bedchamber, let them repair to the prerogative standard, lately erected at the Cannon Coffee House, where they shall be kindly received—until their services are no longer wanted. This, gentlemen, is the last time of asking, as we are determined to abolish the power of the House of Commons, and in future be governed by Prerogative, as they are in France and Turkey. Gentlemen, the ambition of the enemy is now evident. Has he not, within these few days past, stole the Great Seal of England, while the Chancellor[25] was taking a bottle with a female favourite, as all great men do? I am informed, gentlemen, that the enemy now assumes Regal Authority, and, by virtue of the Great Seal (which he stole), is creating of peers and granting of pensions. A most shameful abuse, gentlemen, of that instrument. If you assist us to pull down the House of Commons, every person who hears me has a chance of becoming a great man, if he is happy enough to hit the fancy of Lord Bute and of Mr. Jenkinson. Huzza! God save the King!'

March 30, 1784. Sir Cecil's Budget for Paying the National Debt.—Sir Cecil Wray, in spite of his Ministerial friends, does not seem to have been a popular candidate after he had deserted the Liberal party; indeed, he became the mere puppet of the hour, the Ministerial struggles of the 'King's friends' being not so much directed to bringing in their nominee, as to inflict the mortification of a defeat on Fox. Two unfortunate projects, which Sir Cecil Wray had originated, were perpetually used against him by his opponents; these were his proposals to abolish Chelsea Hospital and to tax maid-servants. In the print 'Sir Cecil's Budget for paying the National Debt' has been accepted, and Chelsea Hospital is brought to the ground, involving in its destruction all the disabled veterans for whom the country was bound to provide. Sir Cecil is shown in the distance, exposed to very humiliating treatment; a pensioner, who has escaped the downfall of the Hospital, is whipping him forward with his crutch, while a group of female servants, with pails and brooms, are visiting on his person, the injustices they anticipated. 'Tax servant-maids, you brute, and starve poor old soldiers—a fine Member of Parliament!' While in office Fox had proposed a tax upon receipts, which was loudly cried down by his Tory opponents; it was now written of Wray:—

March 31, 1784. The Hanoverian Horse and the British Lion. A scene in a new play, lately acted in Westminster with distinguished applause. Act ii., scene last.—The faithful Commons are still suffering from the aggressive tendencies of the White Horse of Hanover, which is trampling on 'Magna Charta,' 'Bill of Rights', and 'Constitution,' kicking, rearing, and driving the members of the 'faithful Commons' forth with his heels. The brute is neighing out 'Pre-ro-ro-ro-ro-rogative;' while Pitt, a remarkably light jockey, is encouraging the excitement of the brute: 'Bravo! go it again; I love to ride a mettle steed. Send the vagabonds packing.' The sturdy person of Fox is safely astride the British Lion; the royal beast has quitted his place in the army of England, leaving the notice, 'We shall resume our situation here at pleasure.—Leo Rex.' He is keeping a watchful eye on the Hanoverian Horse, and protesting, 'If this horse is not tamed he will soon be absolute king of our forest.' Fox has come on the scene prepared to render efficient assistance; he is provided with a bit and bridle, and a stout riding-whip, to tame and control the high-mettled Hanoverian steed. 'Prithee, Billy,' he is crying to Pitt, 'dismount before ye get a fall—and let some abler jockey take your seat!'

April 3, 1784. The Two Patriotic Duchesses on their Canvass; requesting the favour of an early poll.—The zealous canvassers for 'the Champion of the people' are enlisting the sympathies of possible voters. Their mode of procedure is shown at a butcher's stall, according to the satirist's view of their patriotic exertions. The Duchess of Devonshire, wearing the Prince of Wales's plume in her hat, above an immense favour for Fox, has placed one arm round the waist of a young butcher, and, with her left hand, is pushing a well-filled purse into his pocket; at the same time she is cementing the compact with a chaste kiss. Farther on is seen the Duchess of Portland, who is attempting to beguile another butcher's apprentice; but she is less successful, probably because her personal attractions will not bear comparison with the graces of the winning Georgiana.

April 4, 1784. The Incurable.—Fox, in a strait-jacket, with straw disposed in his hair, is represented as mad beyond recovery; he is singing in forlorn despair:—

Doctor Munro, the King's physician, in his court-dress, is examining the patient through his eyeglass, and attesting, 'As I have not the least hope of his recovery, let him be removed amongst the Incurables.' Below the print the following lines occur:—

The poll was opened on April 1, and continued without intermission until May 17.

April 8, 1784. The Rival Candidates.—The three candidates who were contesting the 'great fight' for the representation of Westminster are represented according to their supposititious characteristics. Fox, with his hand on his heart, and his arm held out in a declamatory attitude, stands for Demosthenes; Hood is introduced as Themistocles; and Wray is less flatteringly served up in the character of Judas Iscariot. It must be remembered that 'the Knight of the Back-stairs' had been nominated for the previous Parliament by Fox, with whom he had shared the representation of Westminster, but Wray thought fit to desert to the Tories and oppose his political leader, forsaking his friends and his principles for the sake of promised Ministerial patronage.

April 10, 1784. The Parody, or Mother Cole and Loader. (See Foote's 'Minor,' page 29.)—The broad-spread figure of Lord North, with a capacious hood round his head, is parodied as the sanctimonious Mother Cole; a bottle of 'Constitution Cordial,' to sustain her sinking spirits, is placed by her side. Fox, as Loader, with his dicebox thrown to the ground, is listening, handkerchief in hand, to Old Moll's lamentations. 'Ay, I am going, a-wasting, and a-wasting. What will become of the House when I am gone Heaven knows. No, when people are missed, then they are mourned. Sixteen years have I lived in St. Stephen's Chapel comfortably and creditably; and, tho' I say it, could have got bail any hour of the day! No knock-me-down doings in my House—a set of regular, sedate, sober customers—no rioters. Sixteen did I say? Ay, eighteen years have I paid Scot and Lot, and during the whole time nobody has said, "Mrs. North, why do you say so?"—unless twice that I was threatened with impeachment, and three times with a halter!' Fox is moved to respond, 'May I lose deal, with an honour at bottom, if Old Moll does not bring tears in my eyes.'

April 12, 1784. The Devonshire, or most approved method of securing votes.—The Duchess of Devonshire has taken to her arms the person of a fat and greasy butcher, whom she is favouring with a salute in the zeal of patriotism; another fair canvasser (possibly the Duchess of Gordon), rejoicing in proportions more expanded than those of the beautiful Georgiana, is seconding the proceeding; while, shouting 'Huzza, Fox for ever!' a lusty butcher, with his tray under his arm, is cheering and hurrying up to share his possible reward.

April 12, 1784. The Westminster Watchman.—Charles James Fox is represented as the trusty guardian, standing unmoved and at his ease amidst the 'Ministerial thunderbolts;' he wears on his head the cap of Liberty, and his support is the staff of 'uprightness;' his dog, the faithful companion of his rounds, is Vigilance; and his lamp, which sheds its light on everything around, is Truth. A pair of superannuated and useless watchmen are shuffling off—Hood 'for Greenwich,' and Wray 'for Chelsea.'

The plate is inscribed to Fox's supporters—'To the independent Electors of Westminster this print of their staunch old watchman, the guardian of their rights and privileges, is dedicated by a grateful Elector. N.B. Beware of counterfeits, as the Greenwich and Chelsea Watchmen are upon the look-out!'

April 12, 1784. The Poll.—The scene is still the polling-booth, Covent Garden; the canvassers, committees, and mobs are giving their entire attention to the performance carried on for their entertainment between the fair rival advocates, who are balanced at either end of a plank laid across a stone post. The Duchess of Devonshire is sent up into the air; her end of the poll is carried over Fox's head; 'Duke and no Duke, a play,' is placarded above her.

The opposite extreme of the poll is weighed down effectually by the weight of a corpulent lady, described in these election squibs as Madame Blubber, the Honourable Mrs. Hobart (Lady Buckinghamshire), of Pic-Nic notoriety. Hood is cheating by kneeling down and clinging to the skirts of the Ministerial championess, he lends an additional weight to his side of the balance; behind them is Wray, defying his opponent. Over the heads of this group flutters a placard, 'The Rival Candidates, a farce.'

The Opposition party dwelt mainly upon Sir Cecil Wray's renegade want of principle in turning against his leader, Fox. His liberality was severely called in question, and there was a satirical story of his keeping nothing in his cellar but small beer. The old symbolism of slavery and France—wooden shoes—was revived for the occasion; much stress was laid on the extensive polling of soldiers for Hood and Wray at the beginning of the election, when on one occasion two hundred and eighty of the Guards were sent in a body to give their votes as householders. This, Horace Walpole observes, was legal, 'but which my father (Sir Robert) in the most quiet sessions would not have dared to do.' All dependents on the Court were commanded to vote on the same side as the soldiers. The following placard, which was put out early in the canvass, is a fair example of the courtesies with which the Ministerial manoeuvres were acknowledged by their opponents:—

'All Horse Guards, Grenadier Guards, Foot Guards, and Black Guards that have not polled for the destruction of Chelsea Hospital and the tax on maid-servants are desired to meet at the Gutter Hole, opposite the Horse Guards, where they will have a full bumper of knock-me-down and plenty of soapsuds, before they go to the poll for Sir Cecil Wray or eat.

'N.B. Those that have no shoes or stockings may come without, there being a quantity of wooden shoes provided for them.'

April 14, 1784. Lords of the Bedchamber.—The Duchess of Devonshire, in her morning gown and cap, is favouring two privileged visitors with a cup of tea in her boudoir.

The Duchess is attending to the tea urn; above her head hangs the Reynolds portrait of her liege lord. Sam House, in his publican's jacket, is seated, stirring a cup of tea, on the sofa beside Fox, who is familiarly patting his friend and indefatigable ally on his bald head by way of friendly encouragement.

Sam House was one of the most popular figures of his day, and he came into especial prominence, as we have seen, during the Fox's canvass. He is said to have kept open house during the Westminster Election at his own expense, and was honoured by entertaining the great Whig nobility. He was an indefatigable supporter of Fox, and his assistance was, as may be supposed, of no trifling moment to the cause.

April 20, 1784. The Covent Garden Nightmare.—This subject is a parody on a painting by Fuseli. Rowlandson has taken the idea and fitted it to the purpose of an electioneering squib. Fox is represented stretched in an uneasy slumber, nightmare-ridden. An unearthly incubus oppresses his body and haunts his repose; a corpulent imp is crouched on his hams pressing the great man's chest, while the head and shoulders of a supernatural mare are shown making their appearance through the bed-curtains. On a table by Fox's side are shown the dice and dicebox, the satirist's inevitable resource when dealing with the frailties of the 'man of the people,' who, it must be confessed, had in his day committed sufficient excesses in the way of gambling; a vice he absolutely renounced in after-life, but not before it had ruined his purse, imperilled his reputation, and proved a fruitful source of recrimination in the mouths of his enemies.

April 22, 1784. Madame Blubber on her Canvass.—We find the Duchess of Devonshire and the Honourable Mrs. Hobart—the most prominent of the fair electioneering agents who threw the power of their personal charms into the political arena—scandalised alternately; her Grace the fascinating Georgiana was represented as a softening influence by which the votes of the butchers were secured; we find Pitt's fair champion, Madame Blubber (Lady Buckinghamshire), endeavouring to cajole the same classes in identical fashion. The lady, who, it must be acknowledged, was somewhat stout, is trying her hand amongst the rough sellers of meat; she is holding out a purse as a bait, saying, 'Hood and Wray, my dear butcher;' the butcher's dogs are regarding the canvasser suspiciously; their master, at ease in his armchair, without moving his pipe from his mouth, is puffing out bluntly, 'I'm engaged to the Duchess!' 'Pho! give her a glass,' suggests the butcher's friend, who is drinking punch with him from a bowl on which is the figure of a fox, the chopping-block serving as their table. Madame Blubber has a train of appreciative butcher's men in her wake; one is declaring that she is 'the fattest cattle he ever handled!' a drover is observing, 'Lincolnshire, dammee!' and a lad with a tray pronounces her a 'plumper!'

April 22, 1784. Wit's Last Stake, or the Cobbling Voter and Abject Canvassers.—Every stratagem which could secure the popular voice for either candidate was freely put in practice; but while the Pittites resorted to threats and force, Fox and his adherents relied mainly on persuasion and good humour. Wit's last Stake shows the exertions made in the canvassing department. Fox is in the centre of the picture, giving his knee as a seat for his fair advocate, the Duchess of Devonshire, who is resorting to a subterfuge commonly employed as a precaution against actions for bribery at elections, by the stall of a cobbler, who happens to be a voter: her Grace has discovered that her shoe requires a stitch; the cobbler, with his tongue thrust out at the side of his mouth, is working at the supposititious repairs with pantomimic energy; meanwhile his wife is receiving in payment for the job a handful of sovereigns from her Grace's purse. The scene takes place in Peter Street, and the cobbler's board announces, 'Shoes made and mended by Bob Stichett, cobbler to her Grace the tramping Duchess.' A fox's brush is being waved overhead out of the first-floor window by a supporter, who has been provided with pipe and pot at the Whig expense. Fox is giving his right hand to another voter, a tattered and stupified-looking scavenger, to whom Sam House is also administering comfort in the shape of a pot of porter. Among other followers of the 'Man of the People' Rowlandson has introduced a chimney-sweeper and his boy.

Fox's canvass was enlivened by the rough humours of the various classes whose favour he required to enlist; his own good-nature was equal to every emergency. One blunt tradesman, whose vote he solicited, replied, 'Mr. Fox, I cannot give you my support; I admire your abilities, but d—— your principles!' To which the candidate smartly responded, 'My friend, I applaud you for your sincerity, but d—— your manners!'

In another instance Fox's application to a saddler in the Haymarket for his interest was met with a practical joke—the man produced a halter, with which he expressed his willingness to oblige the statesman. Said Fox, 'I return you thanks, my friend, for your intended present; but I should be sorry to deprive you of it, as I presume it must be a family piece.'

April 22, 1784. King's Place, or a View of Monsieur Reynard's Best Friends.—Another gathering of Fox's fair adherents. The Prince of Wales, surrounded by fashionably-dressed nymphs, wearing one of Fox's favours below his plume, and with a fox-brush in his hand, is speaking in his friend's favour: 'He supported my cause!' A pleasingly-drawn female—probably intended to suggest Mrs. Robinson, the Perdita of the Prince's early love-story—is asserting, 'He is as generous as a prince, and a prince should not be limited!' A group of Lady Abbesses are also saying 'good things' in their candidate's favour: 'He introduced his Royal Highness to my house!' 'I have taken many a pound of his money. Fox for ever. Huzza!'

April 22, 1784. Political Affection.—The Duchess of Devonshire is still slandered by the satirists; according to the present unjust version her 'political affection' is causing her to neglect her infant, the heir of the Cavendishes, to lavish her tenderness on a hybrid prodigy, a fox dressed up in the robes of an infant. By the side of a neglected cradle is seen a cat, forgetting her kitten to lick the face of a poodle.

This coarse hostility to the Duchess was probably popular in its day, as we find a long series of allusions conceived in the same spirit.

April 23, 1784. Reynard put to his Shifts.—The artists always took care to draw the Duchess of Devonshire as handsome and graceful as possible, even when their satires were most reckless and unsparing; while they descended to outrage the lady's fair reputation by innuendoes which were utterly unwarrantable. The beauteous Devon is standing in the middle of the picture, filled, as usual, with animation for the Whig cause; she is offering the shelter of her protection to a panting and frightened fox, whose pursuers are following fast on his brush. A huntsman is encouraging his hounds: 'Tally O! my good dogs!' 'No Coalition,' 'No India Bill,' and other party utterances are put into the mouths of the pack.

April 29, 1784. The Case is Altered.—The election has gone against Sir Cecil Wray, and he has to turn elsewhere; Fox, it will be remembered, in addition to his return for Westminster, was elected for Kirkwall (Scotland), and in the print he is shown driving his discomfited opponent to Lincoln.

The Ministerial candidate is not travelling with a flourish of trumpets, but is smuggled off in the 'Lincolnshire caravan for paupers;' the knight is reflecting over his reverses: 'I always was a poor dog, but now I am worse than ever.' Fox is acting as charioteer; he is saying, over his shoulder, 'I will drive you to Lincoln, where you may superintend the small beer and brickdust.'

Lord Hood, who has come upon this conveyance suddenly, is moved with pity for his late colleague; he cries, 'Alas! poor Wray.'

As the increasing number of votes gave fresh spirit to the Foxites, satirical squibs, and songs exulting over Wray's possible downfall and his future fate, were plentifully put forth by the wits of the Opposition. The following specimen will illustrate the nature of some of the placards which were scattered about towards the close of the election:—

April 29, 1784. Madame Blubber's Last Shift, or the Ærostatic Dilly.—This caricature pictures the hustings at Covent Garden, with a distant view of Richmond Hill. Madame Blubber has patriotically contrived to convert herself into an air-balloon, for the collection and conveyance of outlying voters, crying, 'This may save him,' an allusion to some incident in the canvass. A brace of voters have been secured in the parachute of this novel Ærostatic Dilly; these favoured gentlemen are enabled to take a flying view from their elevation of the hustings below. Wray and Hood are anxiously looking forward to the arrival of their balloon. According to the inscription given on the plate, in the artist's hand, the print represents 'The grand political Balloon, launched at Richmond Park, on the—March, 1784, and discharged by secret influence with great effect in Covent Garden at 12 o'clock on the same day.

'As it may be necessary to explain to the public upon what principles a body was conveyed twelve miles with so great velocity, it must be understood that the lady, though ponderous, being of a volatile disposition, out of decency sewed up her petticoats, which, being filled with gas, immediately raised her to a considerable height in the atmosphere, and, by the attraction of secret influence, was conveyed to her desired object—the support of Hood and Wray and the Constitution—and descended happily to the hustings with two outlying and dependent voters.'

April 30, 1784. Procession to the Hustings after a Successful Canvass. (No. 14.)—Fox's supporters, a body of highly respectable householders, wearing huge Fox favours in their hats, are walking in procession to the hustings, cheered by the mob, and preceded by a marrowbone-and-cleaver accompaniment. At the head of the train marches the famous Duchess, with a somewhat novel standard; the other fair canvassers, whose portraits occur in the previous prints, are following in the footsteps of their illustrious leader; one is carrying a placard, 'Fox and the Rights of the Commons;' another has a mob-cap and an apron, borne fluttering on a pole, with the words, 'No tax on Maid-servants.' Behind follows a monster key—the key of the back-stairs—carried to deride the defeated candidate and the Court influence which had vainly been brought into play for his support.

May 1, 1784. Every Man has his Hobby-horse.—The successful candidate is chaired in a novel and agreeable fashion; his noble supporter, the Duchess of Devonshire, has taken him 'pick-a-back,' and, with staff and scrip, is bearing the victor on his triumphant progress; she is pausing at the door of Mungo's Hotel, dealer in British spirits, and soliciting the hospitality of the proprietor, a black man: 'For the good of the Constitution, give me a glass of gin!'

Various bacchanalian revels are proceeding around, on the strength of Fox's triumphant return; the mob are huzzaing around two monster standards, which are topped by the cap of Liberty, and inscribed, 'Rights of the Commons. No prerogative,' 'Fox and Liberty all over the world.' An ensign is introduced, as appropriate to the occasion, significantly figuring forth a pair of executioner's axes, bound with a wreath of laurel.

May 6, 1784. Wisdom Led by Virtue and Prudence to the Temple of Fame.—This print is ascribed to Rowlandson, and in various points it offers a close resemblance to his style of execution. Wisdom in the present case is personified by the successful candidate for Westminster; the Duchess of Devonshire and Lady Duncannon, wearing Fox cockades in their head-dresses, are represented as Virtue and Prudence. The former lady is also carrying a fox's-brush; she is crying:—

To which Lady Duncannon is adding:—

Britannia is seated, in an attitude of expectation, at the portal of the Temple of Fame; she is bidding her patriotic son 'welcome to her arms.' Sir Cecil Wray, represented as a disappointed Fury, is seen in the distance; he is soliloquising:—

May 11, 1784. A Coat of Arms. Dedicated to the Newly-created Earl of Lonsdale.—There is no publisher's name to the plate, which offers a fanciful and by no means flattering design for an appropriate coat of arms and supporters, gratuitously presented for the use of Sir James Lowther, the newly-created Earl of Lonsdale. Two ragged and semi-clad Volunteers, the one minus his culottes, the other without shoes, with the initials W. M. on their crossbelts, form the supporters of a shield, above which figures the earl's coronet. There are six quarterings, each filled in with paper scrolls: 'False Musters,' 'False Certificates for Volunteer Companies,' 'False Returns,' 'Retention of Clothing,' 'Contract for building a man-of-war (cancelled and money returned),' and 'Retention of Bounty.' The motto of this suggestive escutcheon is, 'Who doubts it?'

Pitt had obtained his first seat in Parliament (1781) through the influence of Sir James Lowther, described by 'Junius' as 'the contemptuous tyrant of the North.' In 1784, when the King and his Prime Minister deemed it prudent to reward the adherents of their party, and at the same time strengthen the Court influence, by creating a new batch of peers, Pitt repaid his obligation to Lowther (the Duke of Rutland, Pitt's fellow-student at Cambridge, had enlisted Lowther's influence in his favour), by raising him to the House of Peers, under the title of the Earl of Lonsdale, thus overleaping the two inferior stages of the peerage. It might be supposed that this reward would have been commensurate with his pretensions, but Earl Lonsdale's name appearing at the bottom of the list of the newly-created earls published in the Gazette, he threatened to reject the earldom, and means were with difficulty found to appease his irritation.

The wits of the 'Rolliad' made the most of the circumstance: 'Hints from Dr. Prettyman to the Premier's Porter.—Let Lord Lonsdale have my Lord and your Lordship repeated in his ear as often as possible; the apartment hung with garter blue is proper for his reception.'

May 11, 1784. The Westminster Mendicant.—The rejected candidate for Westminster has been sent forth a wanderer. The figure of Sir Cecil Wray is represented as a blind beggar; he is resting his head and shoulders on a long staff; under his left arm is held a Subscription Scrutiny Box, in allusion to the vexatious scrutiny set on foot by his party; and he holds a spaniel by a string; a second begging-box is attached to the dog's collar. The mendicant is issuing a doleful appeal to the public:—

Above the head of the blind man's dog is the following:—

Below the title is engraved:—

The Irish chairmen—who had played such a conspicuous part in the early riots, where they routed the sailor-mob brought up by Hood to intimidate Fox's voters—had a fling at their discomfited enemy in a 'new' ballad, 'Paddy's Farewell to Sir Cecil':—

May 18, 1784. The Westminster Deserter Drumm'd out of the Regiment.—This caricature brings the election scenes in Covent Garden to an end; the Court party is defeated, and the Man of the People has triumphed. Sir Cecil Wray is handcuffed as a deserter, and is being drummed away from the hustings; he is exclaiming, 'Help, Churchill! Jackson, help! or I am lost for ever!' It is worthy of record that Sir Cecil Wray's figure disappears from the caricatures until 1791, when we meet him again with a barrel of small-beer under his arm, assisting the members of the Opposition (whose ranks he rejoined) to carry out the 'hopes of the party,' as set forth in a famous pictorial satire by Gillray (July 14, 1791).

In the Westminster Deserter 'honest Sam House' is drumming away with a will, and Wray is obliged to run the gauntlet of a line of exasperated Chelsea Pensioners, who are expressing a wish that 'all public deserters may feel public resentment;' a body of maid-servants are marching in the rear, with shovels, mops, and brooms, brought out in readinesss to sweep forth their antagonist. The electioneering mob is divided between hooting the 'Deserter' and applauding the success of the 'Champion of the People,' who is planting the standard of Britannia and manfully acknowledging his gratitude to his supporters: 'Friends and fellow-citizens, I cannot find words to express my feelings to you upon this victory.'

Fox's difficulties, as regarded his seat for Westminster and the hostilities of his opponents, the Court party, did not end with the election; the Ministerialists had from the first declared their intention of demanding a scrutiny if Fox succeeded, because it was known that, under the circumstances, this would be a long, tedious, and expensive affair. The returning officer acted partially, and upon Sir Cecil Wray's application for a scrutiny declined to make his return pending the investigation. Fox had secured a seat for Kirkwall, so that he was not hindered from taking his place in the House; and after some months' delay, and a great deal of fighting on both sides, the High Bailiff, Thomas Corbett, was ordered to duly return Charles James Fox as Member for Westminster, as is set forth in a caricature by Rowlandson (see March 1, 1785). Fox subsequently thought proper to bring an action against the High Bailiff, and that functionary in return for his perfidy was cast in heavy damages—a fresh triumph for the Opposition.

May 18, 1784. Secret Influence Directing the New Parliament.—King George III. is complacently seated on his throne; once more reassured on the subject of his Parliament, he is remarking, with self-congratulation, 'I trust we have got such a Parliament as we wanted.' Secret Influence is represented on one side by a huge serpent whispering secret counsel to the monarch. The head of the reptile is that of Lord Temple. Lord Thurlow, on the other side of the throne, still wearing his Chancellor's wig, his body represented as that of a monstrous bird of prey, is observing, with his usual overbearing roughness, 'Damn the Commons! the Lords shall rule,' while the Scotch influence, in the person of Lord Bute, partially concealed behind the throne, is echoing, 'Very gude, very gude; damn the Commons!'

Britannia, unconscious of her danger, is calmly reposing, with her elbow resting on her shield, while Fox, who has recognised the dangers which are threatening the liberty of the people, is trying to rouse the slumberer, and crying, 'Thieves, thieves! Zounds, awake, madam, or you'll have your throat cut!'

May 18, 1784. Preceptor and Pupil.

The Prince of Wales, wearing his plumed hat, has fallen asleep; Fox, now represented as a toad, with a fox's brush for a tail—who has crept from the concealment of some neighbouring sedges—is insinuating pernicious counsel into the ear of the slumberer—

May 18, 1784. The Departure.—This affecting scene is taking place outside the Prince of Wales's residence; his Royal Highness is watching the departure of his friend from the window. Fox is mounted on a patient ass, ready to ride the road to 'Coventry;' the High Bailiff, having unlawfully refused to make his return until the conclusion of the scrutiny which Sir Cecil Wray thought proper to instigate, the caricaturist hints that, for the time, the Whig leader will be 'left out in the cold' until the question of his return is finally settled. Fox has accordingly rolled up his India Bill, and is taking a doleful farewell of his fair champions, the Duchess of Devonshire and Lady Ducannon, on either side of his steed; the sorrowing ladies are grasping his hand and crying—

Fox is observing, before his departure—

Burke is standing, equipped as a postilion, in readiness to drive off his ally, with a plan of economy under his arm.

May 25, 1784. Liberty and Fame Introducing Female Patriotism to Britannia.

This print has nothing of the caricature about it, excepting, perhaps, the unusual spirit, lightness, and ease of execution. All the figures are graceful and elegant, and the attitudes leave nothing to be desired. Britannia is on her throne, the British lion is at her feet, and the ocean, with her ships riding triumphant, is extending as far as can be seen; the figures of Liberty and Fame, with their respective attributes, are tripping up to the throne, leading the beautiful Georgiana forward to receive the laurels of victory.

May 20, 1784. For the Benefit of the Champion. A catch, to be performed at the New Theatre, Covent Garden. For admission apply to the Duchess. N.B. Gratis to those who wear large tails.

The 'catch' is performed by the Duchess of Devonshire, Fox, and Lord North; the grief expressed by the singers is, of course, apocryphal. The Duchess is leading; she wears a Fox favour in her hat, which is further garnished with a fox's brush; she is pointing to a tombstone topped with the death's head and crossbones, and inscribed, 'Here lies poor Cecil Ray.' 'Look, neighbours, look! Here lies poor Cecil Wray.' 'Dead and turned to clay,' sings Fox; to which Lord North adds, 'What! old Cecil Wray?' The sharp profile of Burke is thrust through the door. The pictures hanging round the room are appropriate to the subject: a committee of foxes are wondering over 'The Fox who has lost his tail;' 'The Fox and the Crow,' in which sly Reynard is represented as gazing longingly at the cheese held in the crow's beak; 'Fox and the Grapes,' and 'Fox and Goose.'

May 28, 1784. The Petitioning Candidate for Westminster.—Designed according to a note on the plate, by Lord James Manners, and executed by Rowlandson. As we stated in an earlier caricature, due precautions were employed that Fox should not be left without a place in the newly-constituted Parliament, and accordingly in the present print—nearly the last of the series put forth on the Westminster Election for 1784—Fox, with a fox's head and brush, completely dressed in a suit of tartan, is speeding along, on a Highland pony, away from Kirkwall (for which he took his seat) back to London, flourishing his plaid, and crying, 'From the heath-covered mountains of Scotia I come.'

We can now take leave of the caricatures called forth on the Westminster Election and continue our review of the remainder of the satirical prints issued by Rowlandson in the course of 1784.

November 2, 1784. The Minister's Ass. Vide Gazetteer, November 11, 1784. Published by S. W. Fores, 3 Piccadilly.—Three mounted figures are shown crossing Wimbledon Common; one gentleman's donkey is speeding along briskly; a gallant lady, mounted on a grey horse, is riding between the two cavaliers and their donkeys; she is giving a friendly cut with her whip at the animal bestridden by her left-hand neighbour—the minister's ass, in fact, which is refusing to gallop forward; the rider is wearing his blue riband. A figure in the rear is endeavouring to reduce the refractory beast to reason with a scientifically administered kick.

December 10, 1784. Anticipation of an intended Exhibition, with an excellent new ballad to be sung by a High Character, to the tune of 'The Vicar and Moses.' Mark Lane, delin. and fecit. Published by T. Harris, High Street, Marylebone.—This caricature sets forth by anticipation the fate of Christopher Atkinson, M.P., who was sentenced on November 27, 1784, and pilloried November 25, 1785. A print by Gillray (August 12, 1782) gives a view of the trial under the title of 'The Victualling Committee Framing a Report.' Peter Pindar also makes a poetical allusion to the circumstances. Christopher Atkinson, M.P. for Heydon, Yorkshire, was convicted of peculation in his semi-official capacity as corn-factor to the Victualling Board. He was finally tried at the King's Bench for perjury, found guilty, and expelled from the House of Commons.

In Rowlandson's view of the novel situation of the contractor the pillory is raised on the Corn Exchange, and the criminal is standing with his head and hands enclosed in a board, with two dwarf corn-sheaves on either side; the Sheriffs, with a numerous crowd of citizens, are attending the exhibition, which Atkinson does not find to his taste. The sentiments of the pilloried contractor are expounded in a ballad:—

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.