May 26. This is the House in Gloucester Place. Plate 1.
Do. do. do. " 2.
(The York and Clarke Scandal. See 'The Delicate
Investigation,' vol. ii. pp. 135-162.)
July 18. An Old Catch newly revived. 'York and Clarke
Scandal.' (See 'The Delicate Investigation,'
vol. ii. pp. 135-162.)
APPENDIX
APPENDIX.
ADDITIONAL SOURCES OF REFERENCE UPON ROWLANDSON'S CARICATURES.
CATALOGUE OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.
Further information is open to enquirers who are interested in
tracing the works of the caricaturist. The important catalogue of
the satirical prints and drawings in the British Museum, now in
course of publication, will include all the examples found in that
institution, if the Trustees decide to continue it beyond the limit
originally settled (about 1770). The preparation of the catalogue in
question, which has been placed in the hands of probably the very
ablest authority on the subject of satire who has ever lived, is of
necessity a work of time. The elucidation of the earlier graphic
satires has occupied years of patient industry, by which alone the
social and political pictorial 'skits' could be made intelligible--an
undertaking which the lapse of time annually makes more complicated as
regards the interpretation of those lighter trifles of bygone times,
which, in spite of their triviality, often possess an historical value,
unintelligible to the majority of students, because hidden away in the
obscurity of allusions beyond the vision of the present generation.
The task of tracing and explaining the intentions of the graphic
satirists, commenced by Mr. Edward Hawkins, original owner of an
immense collection of their works, is being continued and successfully
carried out for the Trustees of the British Museum by Mr. Frederic
George Stephens. The catalogue, an important contribution to the
history of the subject, has, as we have said, already been years in
hand, and is slowly but surely advancing through the comparatively lost
paths of the past. A new light has been thrown upon the satires of the
times of the Tudors, the Stuarts, the Commonwealth, the Restoration,
the accession of the Prince of Orange and of the House of Hanover.
The results of the editor's painstaking researches are completed and
open for consultation up to the conclusion of the Hogarth period; the
notices upon the works of the great luminary of the school, which are
included in the volume published in the present year, will be found
of so thoroughly exhaustive a character, that the interest generally
felt in Hogarth is likely to be increased, especially as a considerable
amount of entirely new and curious matter has been discovered by Mr.
Stephens in the course of his investigations.
CATALOGUE OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.
Div. 1. Political and Personal Satires. Prepared for publication by
Frederic George Stephens, and containing many descriptions by Edward
Hawkins, late Keeper of the Antiquities, F.S.A. Printed by order of the
Trustees. With an introduction by George William Reid, Esq., Keeper of
the Prints and Drawings in the British Museum.
* * * * *
A selection of subjects, treated by Rowlandson with more freedom than
is consonant with the taste of the latter half of the nineteenth
century, is also given by PISANUS FRAXI, in his elaborate and
exhaustive work CENTURIA LIBRORUM ABSCONDITORUM (1879). Pisanus Fraxi
has set down (pp. 346-398) descriptions of over one hundred and twenty
subjects of more or less erotic tendency. The major part of the
etchings included by this authority are of necessity inadmissible in
the present work, owing to their licentious suggestiveness; but a few
of the subjects described in the 'Centuria Librorum Absconditorum,'
restricted exclusively to social caricatures by Rowlandson, the
originals of which maybe consulted in the Print Room and Library of the
British Museum, are also instanced in the foregoing pages.
* * * * *
ORIGINAL DRAWINGS BY T. ROWLANDSON IN THE PRINT ROOM OF THE BRITISH
MUSEUM.
Blood Royal. Duke of Cumberland, with spyglass, followed by his
footman. A back view of the Prince Regent, shown in the distance,
talking to some officers.
A Drunkard. An inebriated figure has fallen, in a state of partial
insensibility, on his back, in a spirit-cellar, leaving the liquor
running; a stout and by no means elegant female, of evidently Dutch
construction, is trying to bring the toper to consciousness by the
use of a birch-broom.
The Trout Fisher Rising.
Rowing for the Coat and Badge.
A Prize Fight.
Domestic Tranquillity.
Portsmouth Harbour, 1816.
Landscape (in Gainsborough's manner).
A Market Town in Cornwall.
A Continental Scene, 17th century. Lady in coach, running footman
before; piazza in distance.
Landscape in Cornwall.
'Putting up Horses.' A country scene.
Portrait of George Morland, full length, standing before a fireplace
in a well-appointed apartment. (About 1787, when Morland was living
in considerable style at a handsome new house, the corner of Warren's
Place, Hampstead.) The person of the artist is carefully studied, and
the items of his dress are most characteristically noted, this being
the time of Morland's most marked foppishness.
Guildhall Association.
Portrait of a Lady.
A Beau and his Chronometer.
ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE POSSESSION OF GEORGE
WILLIAM REID, ESQ., KEEPER OF THE PRINTS AND DRAWINGS IN THE BRITISH
MUSEUM.
View of a Castle.
View near Bridgport, Dorsetshire.
View in Devonshire.
* * * * *
WINDSOR CASTLE. THE ROYAL COLLECTION.
An English Review. Purchased by George IV.
A French Review. Ditto.
* * * * *
ORIGINAL WORKS BY THOMAS ROWLANDSON IN THE SOUTH KENSINGTON MUSEUM.
(COLLECTION OF WATER-COLOUR DRAWINGS OF THE ENGLISH SCHOOL.)
The Parish Vestry, 1784. Bequeathed by William Smith, Esq.
Brook Green Fair (about 1800). Bequeathed by William Smith, Esq.
The Elephant and Castle Inn, Newington. The gift of G. W. Atkinson,
Esq.
* * * * *
DYCE COLLECTION, SOUTH KENSINGTON MUSEUM.
Landscape. 11 × 8. A roadside inn, where three officers have stopped
for refreshment; one is seated by his mistress and gives alms
to a beggar woman; another, likewise seated, is absorbed by the
bottle and wine; the third is standing at the door and using his
eyeglass. Signed 'T. Rowlandson, 1784.' Engraved in this work. See
_Benevolence_, vol. i. p. 316.
View on the Thames off Deptford, with a large number of vessels near
the Dockyard. 16 × 10. Men who have been bathing scramble into a boat
on the left, very near the holiday parties which are passing to and
fro.
Hampton Bridge, on the left; boats on the river, two of which are
pleasure ones; a stout old fellow is on the left, with his wife on
his arm, and a long pipe in his mouth. 16 × 10.
Hampton Court Palace. 16 × 10. View of the open space in front,
with a carriage and four horses, and its military escort, leaving
the gate; a carter with horses on the left, and, on the right, four
idle fellows amusing themselves by teaching a dog to 'beg.' Signed
'Rowlandson,' and dated 1820.
Landscape. 16 × 10. Timber waggon drawn by eight horses crossing a
bridge, which spans a rapid stream struggling between high rocks;
cottages are on the left, one by the roadside, and another on the
hill.
Portsmouth Harbour.[29] 13 × 8. Lord Howe's victory: the French
prizes brought into the harbour. The people assembled on the ramparts
cheering, a group in front scrambling to get possession of the top
of a wall. Signed 'Rowlandson.'
Portsmouth Harbour. 17 × 11. A repetition of the last, with numerous
additional figures introduced, and more highly finished than the
other. Signed 'Rowlandson,' and dated 1780.
Exterior of Strawberry Hill. 14 × 9. A gouty old gentleman, his
wife and dog, promenade near the walls; another old fellow either
enraptured by a glance of the building or making love to two
servant-girls who look over the wall. A donkey braying across the
fence to the left.
Landscape, with a large flock of sheep browsing on downs, and guarded
by a young shepherd, whose wife is working at his side; a dog is
looking at him. 9 × 5.
Bridge at Knaresborough, Yorkshire. 13 × 9. 'The World's End' inn on
the left, and the landlord directing persons in a cart, who have
probably stopped for refreshments. Signed 'Rowlandson,' and dated,
1807.
'Sir Henry Morshead felling his timber to settle his play debts.'
9 × 5. Three men chop and fell trees, a fourth takes instructions from
a soldier on guard; a parson stands near. Signed 'Rowlandson,' and
dated 1816.
St. Austell, Cornwall. 9 × 5. View, looking up the principal street,
the church in the distance; groups of persons in the foreground are
scrutinised by a hairdresser who stands at his door.
Kew Palace. 16 × 11. Seen across the river; a boatman steadying
his boat for three stout persons to enter it; two ladies already
apparently occupy all the spare room; other pleasure boats are on the
water, some with sails.
Landscape. 15 × 11. An approach to a village across a bridge, a woman
carrying a bundle; a horseman and other figures are in the foreground.
Museum of Ancient Paintings in the Palace of Portici, near Naples.
8 × 5. Three gallants, including two military officers, attend a young
lady; her father is behind, accompanied by the custodian. _Vide_
'Naples and the Campagna Felice,' 1815, _ante_, pp. 301-2.
Glastonbury, Somersetshire. 9 × 5. View, up the principal street,
with a church in the distance; a carriage, with post-horses at full
gallop, frightening a woman riding on a donkey near; women gossiping
while getting water at the conduit. The subject etched by the artist
as plate 24 of 'Rowlandson's World in Miniature,' No. 2, 1816.
'Betting Post.' 8 × 5. View on a racecourse. A crowd of ruffians on
horseback surround a man who is about to read a list of the names
of the favourite horses, but is interrupted by the impatience of
his companions, whom he endeavours to prevent riding over him; a
gouty old fellow, also on horseback, carries his crutches with him.
Engraved in this work. See description, vol. i. p. 257.
ILLUSTRATIONS TO 'THE TOUR OF DR. SYNTAX IN SEARCH OF THE
PICTURESQUE.'[30]
Dr. Syntax pursued by a bull. 7 × 4.
Syntax, still trembling with affright,
Clung to the tree with all his might.
Vol. i. p. 40.
Dr. Syntax drawing from Nature. 7 × 4.
The Doctor now, with genius big,
First drew a cow, and then a pig.
Vol. i. p. 121.
Dr. Syntax at a card party. 8 × 4.
The comely pair by whom he sat,
A lady cheerful in her chat.--Vol. iii. p. 163.
The remainder of the series appear to have been designed for the
work, but not etched nor used as suggestions to Mr. Combe, excepting
those noted. It may not be generally known at the present time that
the Tours were written to elucidate the designs, which the following