ADDENDUM TO THE CHRONOLOGICAL SUMMARY OF ROWLANDSON'S CARICATURES.

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 introduction fully explains: 'This second tour is, like the former one, a work of suggestions from the plates by Mr. Rowlandson, though not with such entire reserve as the first. Some few of the subjects may have been influenced by hints from me; and I am willing to suppose that such are the least amusing of them.'—Introduction to the second volume, 1820.
• Dr. Syntax—unable to pull up at the Land's End—is fearful of being carried to the World's End. 10 × 7. View on the coast during a storm, with the vivid flashes of lightning frightening the people, and the heavy waves dashing on the shore.
• Dr. Syntax taking wine with a lady in a drawing-room, while the daughter of his hostess and her lover exchange caresses on a rustic seat under the verandah.
• Dr. Syntax thrown off his horse while hunting. 7×8.
  
  Your sport, my lord, I cannot take, For I must go and hunt a lake.—Vol. i. p. 108.
• Mr. Combe no doubt thought it as well, although availing himself of the hint that hunting was not suited to the Doctor's taste, to mention the fact of the Doctor being asked to join the sport, and his declining the invitation, as he was about to make some drawings on the lake.
• Dr. Syntax leading a lady to the entrance of a grand mansion: most probably giving the idea of the Doctor escorting Lady Bounty from the garden to her mansion on their first interview. 9×5.
  
  For while he sojourns he will be The object of all courtesy.—Vol. ii. p. 217.
• Dr. Syntax gazing at some ruins; a man and boy in attendance. 8×4. One plate was probably thought sufficient to illustrate 'Sketching the Ruins, and Tumbling into the Water,' through his seat giving way, the latter one being used.
  
  But now, alas! no more remains Than will reward the painter's pains. Vol. i. p. 71.
• Dr. Syntax in the Jail; a young fellow and three dogs on the left. 7×4.
• Boarding a Man-of-war. 8×5. A boatload of people awaiting their turn to ascend a rope ladder, on which a gentleman of the party is fixed in rather an uncomfortable position. Vide 'Naples and the Campagna Felice,' 1815, ante, pp. 301–2.
• Dr. Syntax frightened by the appearance of a large fish having a form resembling that of a whale; his companion and some fishwives are also greatly alarmed, and a few of them lie sprawling on the ground. 8×4.
• Dr. Syntax drawing the waterfall at Ambleside, while his man Patrick is eating voraciously. 8×5.
  
  Bold sketches from the very scene Where, with his neighbours, he had been. Vol. ii. p. 64.
• A Lady repulsing with the poker her guests, consisting of eight gentlemen, among whom is the Doctor; her dog by her side appears to be equally pugnacious. 8×5.
• Dr. Syntax riding and chatting with a lady, under an avenue of trees; a footman behind them. 8×5.
• Dr. Syntax playing at cards with a young lady; an old wooden-legged officer seated near, apparently not in the best of tempers; three other young ladies seated on the sofa take much interest in the game. 8×5.
• Dr. Syntax gently opens the door of a garret, and is horrified to find a woman of the pavé reclining back in her chair dead; a dog is seen on the left playing with her wig. 8×4.
• Dr. Syntax skating and saluting three ladies who stand on the bank of the frozen river. 8×5.

The following drawings by Thomas Rowlandson, with several engravings of his London views, already described under the accounts of his prints in this work, were exhibited (1879) in the western portion of the Exhibition Galleries, South Kensington, in the valuable and interesting series of

• Entrance to Blackwall Docks, 1801.[31]
• Perry's Dock, Blackwall, 1801.
• View of the Reservoir in the Green Park, looking south (towards Westminster), 1810.

Original drawing of Brooks's Subscription Room, in the possession of

HENRY BANDERET, ESQ. BROOKS'S CLUB.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN POSSESSION OF W. R. BAKER, J.P., ESQ., OF BAYFORDBURY PARK, HERTFORD.

At Bayfordbury Park—where, it will be remembered, the celebrated collection of the Kit Cat Club, a national gallery of portraits, by Sir Godfrey Kneller, of the most interesting character, has its home—the choice examples of Rowlandson's skill appear to have been secured by the family at one time, and that at what may be considered the artist's best period—a little before the production of Vauxhall Gardens, and the series contributed to the exhibitions of the Royal Academy.

• The Bath Coffee House. A highly amusing interior, representing the various fashionable characters to be met with on the Great Bath and Bristol Road a century back.
• Rustic Scene. Carters' horses watering.
• Scene outside a Lodge in a London Park, crowded with animated groups of folks of bon ton, as they might be seen disporting themselves in the fashionable resorts, where the 'best company' of the day was to be encountered in 1785.
• The Waggoner's Halt.
• Sailors Soliciting Charity. A party of Rodney's 'old salts,' disabled, and reduced to appeal to charity; a model of a ship-of-war is dragged about on wheels to attract the attention and sympathies of the passers-by.
• French Barracks, 1786. A highly finished example of one of Rowlandson's most famous subjects (exhibited at the Royal Academy, 1787). It probably preceded the exhibited drawing, since it is executed on a somewhat reduced scale to that of the engraving. A full description of this admirable design is given under the list of subjects belonging to 1791 (Aug. 12).
• Death and the Apothecary. This subject is drawn in Rowlandson's most careful method. In the writer's opinion it is one of the earliest examples of the artist's finished works which have come under his attention, and is probably of the same date as the School of Eloquence, mentioned under 1780, which, as he has noted, has suffered at the hands of the anonymous etcher. Death, as a grim skeleton, is intruding into the apartment of an invalid by the window; the patient has armed himself with a gruelspoon to ward off this sudden attack from the unassailable foe, while a corpulent apothecary, standing in ambush behind his client, has snatched up a gigantic syringe, which he is pointing, by way of a great gun, at the bony framework of the ghastly actor who has dropped in to complete the quack's handiwork and snatch away a profitable customer. The whole of the background is worked out like a fine etching, in a fainter line than the figures, much in the style which distinguishes the etchings of Mortimer.
• Hertford Market Place (market day). This view of the old county town of Hertford is one of the finest and most interesting of those drawings which Rowlandson has left of the quaint towns of his day. It is altogether of an important character, being nearly 30 inches in length. It represents the Town Hall, the market-place, and certain picturesque ancient houses, faced with carved scroll-work, which front the corner hard by. The traveller will find these buildings exactly as Rowlandson viewed them a century ago; and, on a market-day, he will see the dealers' stalls, the country people busying themselves about their purchases, and the gentry passing or riding by, called to the town on local affairs, in some respects the same as a century ago. This scene, animated in itself as it is presented in our day, falls very far short of the prospect the artist has preserved, for the antique costumes have disappeared; and, comfortable as may be those of the generation who occupy themselves on the spot, the attractions found in the caricaturist's picture are looked for in vain; for the light flowing robes, the hats and feathers which aided the winning graces of the fair, the nodding plumes, and the scarlet and gold of the military bucks, the rustling silk cassocks, shovel-hats, and full-bottom wigs of the Church dignitaries, and all such characteristic accessories of the scene, no longer display themselves to assist the observer's sense of the picturesque.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION OF W. T. B. ASHLEY, ESQ., DECEASED.)

• The Faro Table at Devonshire House. 1797.
• Bricklayers' Arms on a Race Day.
• Rape of the Sabines.
• Nymphs of King's Place.
• Prize Fight between Cribb and Molyneux.
• Portrait of a Pugilist.
• Tilbury Fort. The Stile.
• Windy Weather.
• Female Portrait.
• 'Thus, whatsoever course we bend, at every mess we find a friend.'
• Exhibition of Baboons at the Tower Menagerie.
• Going from Market.
• Rag Fair in 1802.
• The Punch Bowl, or the Loving Cup, with Commodore Regaling. (Grog on Board.)
• The Peasant Girl and Amorous Dignitary.
• Village, with old Inn and Church. Market Day.
• The Coal Hole. (Figures eating oysters, drinking punch, &c.)
• The Family Supper.
• The Sick Man, surrounded by his Family.
• Napoleon, on his return from Elba, Surveying Paris from the Window of the Tuileries.
• The Old English Drinking Club, with effects of alcohol after free libations to Bacchus. 1798.
• The Mischievous Urchin and the Blind Fiddler.
• Man Selling Images. Man Selling Fowls. Man Selling Cakes. (Cries of London.)
• An Enthusiastic Itinerant Preacher: the Adventures of Thomas Wildgoose.
• The Town Crier.
• Mutual Recriminations, and Plymouth Dock.
• The Oyster Wench.
• The Pic Nic.
• Anatomical Lecture.
• The Chelsea Stage Coach.
• The Squire's Kitchen.
• Barrow Women Basting the Beadle.
• Militia Meeting.
• Drawing from Life at the Academy. 'Given to my old friend, John Thomas Smith.'
• Nymphs Bathing. Satyr and Nymphs. Nymphs and Tritons.
• Scene at a Steeple Chase.
• Figures Carousing, Death in Waiting. (Deadly-lively.)
• Milk Seller. The Unsuspicious Husband.
• An Artist Painting a Portrait.
• Villagers Dancing to a Fiddle.
• Interior of a Church during a Sermon.
• William Hill, the Blind Sexton at Cambridge.
• The Burglars.
• Sale by Auction of Old Materials at Westminster; with view of the Abbey and old houses.
• Greenwich, with view of the Old Salutation Tavern.
• The Studio.
• Bathing.
• Sitting out a Long Sermon.
• The Milkmaid.
• The Old Commodore, Admiral Paisley.
• Harlow Bush Fair.
• Rooks Waiting for Pigeons.
• Posting in Scotland. Posting in Ireland.
• Saving the Old China from Fire.
• Hunting Party, with Hounds, at the door of an Inn.
• Funeral Ceremony.
• Group of Soldier and Sweetheart.
• An Auctioneer.
• Specimens of Comparative Anatomy, and Illustrations of the Pythagorean Doctrine. (A series.)
• Peace and Plenty.
• How to get rid of a troublesome Customer.
• A Catchpenny.
• Interior of an Eating House.
• The Vicar Removed.
• Delineations of the Passions and various phases of Character. (A series.)
• Teetotal Feast.
• Monkey Island.
• Scene by the River.
• The Magic Lantern.
• Village, with Procession of Dignitaries of the Church to the Tavern.
• Drunken Pensioner in a Critical Position.
• Mrs. Sturt and her Pupils.
• Stock Jobbers.
• Sepulchres.
• Domestic Jars.
• Cranbourn Alley.
• The Gourmand.
• Nobleman Cutting down his Timber to Pay his Debts of Honour.
• Tax Gatherers.
• The Reading Room.
• Evening Party.
• Leaving Home.
• Wayside Inn.
• Parties at an Inn-door.
• The Post Chaise.
• Apothecary's Shop.
• The Old Gentleman and his Young Wife.
• Groups of Human Heads. (A series.)
• The Broken Pitcher.
• Jupiter and Leda.
• Tender Appeal.
• Petition.
• Skating Scene.
• Wrestling Match.
• Balloon Hunting.
• 'We three Cunning Dogs be.'
• THE APPARITION.
• Three Dignitaries of the Church.
• The Special Pleader.
• Scene in the Opera.
• Horns to Sell.
• Selling the Elixir of Life.
• The Meat Market Evacuated, or the Sans-Culottes in Possession.
• Flea-Catching.
• A Turk and a Tartar.
• Neapolitan Tricks.
• Interior of a Pawnbroker's Shop.
• A Scold.
• The Shipwreck.
• Robbing the Miser of his Gold.
• The Bachelor's Bitter Cup.
• The Vicar at Dinner.
• The Old Husband and Young Wife.
• The Apothecary's Shop. Death at the Mortar.
• Selling Signor Puffado's Sauce à la Russe.
• Portsmouth Point.
• A Woolcomber at Work.
• Elopement from School.
• The Hurdy-Gurdy Player.
• Connoisseurs Looking at a Picture.
• An Old Hag Looking out of Window, with a Cock and Breeches Below.
• An Elderly Lady at her Toilet, holding a Rose and viewing herself in a Mirror, &c.
• Good News—Bad News.
• A Pig's Whisper.
• A Waiting Maid's Insinuation.
• Scene with Highwaymen.
• Halfway House.
• Mishaps.
• One Tree Hill, Greenwich Park.
• Rural Recreation.
• Cottages near Buckingham.
• The Laboratory.
• Money-Changers.
• Nuns at Devotion.
• Nuns at a Window, Selling their Wares to Admiring Cavaliers. ('Pastime in Portugal.')
• Launceston, Cornwall, an Auction Proceeding.
• Sea Coast, with Fishermen.
• Eating Oysters, a First Course.
• Market Day.
• Landscape, with Figures Dancing before a Country Alehouse. Skittle-Playing, &c.
• Landscape, with Sportsmen and Cottage.
• View on the River, 1791.
• Sketches of Two Female Figures.
• Rural Courtship.
• The Old Debauchee Carried to Bed.
• The Unequal Match.
• Hulls of Men-of-War Ready to be Launched.
• 'Sculls? Oars?'
• The Market-Mishap.
• Landscape, with Monks at Devotion.
• Farm-shed: Children at Play.
• The Sick Patient, the Doctor, and the Enraged Wife.
• Divinities and Divines.
• Surgeon and Apothecary.
• Mrs. Grant's Bagnio.
• Watchmen Taking an Unprotected Female to Prison.
• Country House. Figures at Table.
• Dr. Accum Lecturing at the Surrey Institution.
• Funeral Procession from a Country Mansion.
• The Old Bailey during a Trial.
• Departure of a Bride and Bridegroom in a Post-Chaise.
• Levée Day at St. James's—Going to Court.
• Hull of a Man-of-War.
• Interior of a Kitchen—Family at Dinner.
• The Apparition.
• Blacksmith's Shop.
• Old Alehouse Door.
• Clearing the Premises without Consulting your Landlord.
• 'Be cautious upon what you fix your affections, and withdraw your neck from the yoke.'
• The Old Commodore.
• The Apothecary in Adoration.
• Heads of Doctor Gosset, Governor Wall, and Doctor Gall, 'drawn by T. Rowlandson, and given to his old friend, Mr. John Thomas Smith.'

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE POSSESSION OF THE EDITOR OF THE PRESENT VOLUMES.

• The Tuileries at Paris.
• A Celebration at the Great Room of the 'Crown and Anchor' Tavern.
• Love and Dust.
• Large Landscape—View in Wales: Fishing, Netting, &c.
• Summer Amusement, or a Game at Bowls.
• Large Classic Landscape—Water Nymphs, &c.
• A Press Gang.
• Dissolution of Partnership, or Striking a Balance.
• Une Bonne Bouche! (A Titanic gourmand with an entire sucking-pig impaled on his fork.)
• A Turk and a Tartar (the Tartar in this instance being a high-spirited nymph, a flower-girl).
• A Cry for a Cat. (A beadle going round with his bell, &c.)
• A Travelling Princess, and an Indifferent Ambassador. (Caroline of Brunswick, &c.)
• Sortie from a Levée.
• New Flora.
• Awkward Attendant—'Hints to Footmen.' (On the reverse the sketch of 'a Masquerade.')
• Private Amusement—Noble Science of Boxing. 'Nobility and Gentry taught.'
• Fashionable Beauties. (A pair of Nymphs of St. James's.)
• A Nincompoop, or Henpecked Husband.
• Ram Inn at Newmarket—Card-Sharpers and Countrymen.
• SORTIE FROM A LEVÉE.
• A Little Tighter.
• Sly Boots.
• The Apparition.
• How to Treat a Refractory Member.
• A Finishing School.
• Luxury and Avarice.
• Lust and Desire.
• 'The Vicar of Wakefield.'
• 'The Vicar of Wakefield': The Family Picture.
• The Old Bailey.
• Hunting Scene in a Park.
• A Park—Horses and Figures.
• View of Clifton.
• Garden Pastimes.
• Rocky Landscape:—Bathers at a Stream.
• Hussar taking Refreshment at a Cottage Door.
• John Thomas Serres. The Husband of the Princess (The 'Princess' Olive of Cumberland).
• Miseries of Reading and Writing:—'Losing the post when you would as willingly lose your life.'
• Syrens Catching a Porpoise.
• Rag Fair, 1801.
• Landscape Scene.
• A Mad Dog in a Dining Room. (See 1809, page 133.)
• Clifton from the Heights.
• A TOAD-EATER.
• The Quay.
• A Shipping Scene.
• Greenwich Geese.
• A Wild Landscape.
• A Toad-Eater.
• Incantations.
• The Dolphin Inn.
• Bob Derry of Newmarket.
• Buy my Strawberries.
• An Old Sinner.
• Stolen Kisses.
• The Highwayman betrayed.
• A Prize Fight.
• Contrasts: The Long and the Short of it.
• A Clockmaker's Shop.
• A Neapolitan Ambassador. (Lady Hamilton, &c.)
• Seeking among the Slain after the Fall of Troy.
• Forget and Forgive, or Honest Jack shaking hands with Mynheer.
• Playing Tricks upon Travellers; or, Disturbed by Sham Spectres.
• Veteran Topers.
• A Jew Family.
• Lethargy.
• A Nun of Winter's Sisterhood.
• The Butterfly Fancier on the Wing, or the Tulip Fancier's Flower Beds Sacrificed.
• Pair of Female Figures.
• Smoking a Customer.
• Preparing to Start.
• Landscape, Sea-Shore, Boat-Building.
• Monmouth.
• Entrance to the Town of Carnarvon, Wales. 1804.
• Poets' Corner, Westminster Abbey.
• Cottage in Devonshire.
• Lord Fitzwilliam's seat near Malton, Yorkshire. 1803.
• Oxford Jockeys, or the Landlord in Trouble for his Cattle.
• SMOKING A CUSTOMER.
• Dutch Market Women landing at the Brill.
• View on the Maeze, Holland.
• Dock Head.
• Yarmouth, in the Isle of Wight.
• Market Place at Yarmouth, Norfolk.
• Mode of Travelling in Holland.
• Travelling in Germany.
• Travelling in the Prussian Dominions.
• The Market Place, Dusseldorf.
• View of a Post House in the Emperor of Germany's Dominions.
• Inn Yard at Cologne.
• Brighton Downs.
• Blackheath.
• View of the Thames from Blackheath.
• Diana in the Straw, or the Squire, a treat for the Quornites.
• Trying on her Mistress's Clothes, or a peep into the Kitchen. 1801.
• The Castatrophe, or Crash to the Grandmother's old China.
• A Visit from Houndsditch to Pall Mall.
• Admiral Nelson recruiting with his brave Tars after the Battle of the Nile.
• Views of Oxford and Cambridge:—
  • North View of Friar Bacon's Study at Oxford.
  • View of Oxford Castle.
  • View of Queen's College, Oxford.
  • A View of the Theatre, Printing House, &c., Oxford.
  • Inside View of the Cupola in the public Library.
  • Merton College and Chapel, from the First Quadrangle.
  • Merton College. Oxford.
  • A Western View of All Souls' College. Oxford.
  • The Libraries and Schools from Exeter College Gardens.
  • A South View of the Observatory. Oxford.
  • St. Peter's House. Cambridge.
  • Trinity College. Cambridge.
  • King's College and part of Clare Hall. Cambridge.
  • View of Jesus College. Cambridge.
  • Trinity College and Library, and part of St. John's College, Cambridge.
• Views in Cornwall, Devon, &c.
  • View on Bodmin Downs. Cornwall.
  • Hamethothey Mill. Cornwall.
  • Hengar House, near Camelford, the seat of Matthew Mitchell, Esq.
  • Cornish Cottages.
  • Corn-mill in Cornwall.
  • Cornish Scene.
  • Collecting the Tythes.
  • Liskeard Moors. Cornwall.
  • St. Columb. Cornwall.
  • St. Kew Church near Wade Bridge. Cornwall.
  • View near Bodmin in Cornwall.
  • Treelile House, North Cornwall.
  • Cottage, near Landhearn. Cornwall.
  • The Barrow Sands. North Coast. Cornwall.
  • Stone Bridge. Cornwall.
  • Hengar Woods, near Camelford. Cornwall.
  • Hengar Woods. (Another view.)
  • Cottage on the Router Moor, near Camelford. Cornwall.
  • Vicarage of St. Udy, near Bodmin. Cornwall.
  • Stone Bridge. Cornwall.
  • Shipwreck. Cornwall.
  • Monastery. Cornwall.
  • Near Truro. Cornwall.
  • View of the Convent at Landhearn, near St. Columb. Cornwall. The seat of Lord Arundale.
  • Cottage in Cornwall.
  • Old Buildings. Cornwall.
  • Roadside and Bridge. Cornwall.
  • Cottage near Launceston. Cornwall.
  • The Disbanded Soldier.
  • Camelford Cattle Fair. Cornwall.
  • Cottage. Devonshire.
  • Near Plymouth.
  • A Travelling Tinker. View at Fair Point. Plymouth.
  • View near Taunton. Somersetshire.
  • Taunton Vale. Somersetshire.
  • A Wheelwright. Devonshire.
  • Country Carpenters. Devonshire.
  • Near Conway. North Wales.
  • Falls, Conway. North Wales.
• Wells.
• Bath.
• Bath Races.
• Pump Room. Bath.
• The Bath. Bath.
• City of Norwich.
• Ouse Bridge. York.
• York Cathedral.
• Entrance to the Town of York during the Races.
• Views on the Thames:—
• • Richmond.
  • Town Hall and Market Place at Kingston-upon-Thames.
  • Mr. Zoffany's House at Chiswick.
  • Greenwich.
  • Near Pyrfleet.
  • Fishing House at Chertsey.
  • Hampton Bridge.
  • Hampton Wick.
  • Near Richmond.
  • Near Datchett.
  • Near Bray.
• The Waggoner's Rest. Moonlight.
• War time. Gun, Horses, and Ammunition.
• Embarkation of Troops for La Vendée.
• Troops on the March; convoying Stores.
• The Surrey Fencibles dispersing the Rioters in St. George's Fields. June 13, 1795.
• Embarkation of Cavalry.
• Troops on the March; Bag and Baggage.
• Waggoners.
• The Passage Boat.
• The Serenade.
• Hunting Morning.
• Market Day at Aberystwith.
• Camp-followers.
• Near Lewes. Sussex.
• Disasters of the Streets. Chairmen in a Dilemma.
• Coach in a Slough.
• A Coach Wrecked.
• Turks.
• Returning from a Country Party.
• The Smithy.
• A Showery Day.
• Fireside at an Inn.
• A Bar Parlour.
• Devotion.
• Rag Fair. Pair of Views.
• Concerto Spirituale.
• The Dog Barber. La Francia.
• The Village Barber.
• An Unwelcome Visitor.
• New Shoes.
• Shot at a Hawk. Scene at Newmarket.
• Sunday Morning at Cambridge.
• Visit to the Camp.
• Patience in a Punt.
• A Town-bred Brat. 1802.
• A Wayside Meeting.
• College Service.
• Stock Jobbers.
• Loan Contractors.
• The Propagation of a Lie (in three slips).
• The Pleasures of the Country, or returning from a Visit across a Muddy Road.
• A Snug Rubber, or Playing for the Odd Trick.
• Making a Bowl of Punch.
• Old Age, Condolence on Crutches.
• Saved.
• Drowned.
• Jerry Sneak and Mr. Sullen. A Henpecked Husband.
• Scene from 'King John.'
  
  Arthur. Let me not be bound. Nay, hear me, Hubert, drive those men away.
• A Flat between two Sharps. Outside a Billiard Room. 1803.
• A Journeyman Tailor.
• Green and Large Cucumbers.
• The Dancing Bear; or, the Graces, the Graces, remember the Graces!
• Counsellor Humbug, or Guardians of our Property, here and hereafter.
• Quaker Courtship. Waiting for the Movement of the Spirit.
• Methodists broke Loose.
• Market Place, Richmond, in Yorkshire.
• Green Man near Nottingham. 1803.
• View of Nottingham.
• The Meal in the Shade.
• Labourers at Rest.
• Near Canterbury.
• Officers Holding a Review.
• Fish Market at Brighton.
• The Rising Sun. Halt at an Inn.
• Putting off to Sea. A Breezy Day.
• Cabin of a Man-of-War. Drinking a Toast.
• A Cottage Scene. Washing Day. Pigs Feeding.
• Exeter Gaol.
• A Man-of-War.
• Devon.
• Lincoln.
• Market Day. The Golden Fleece.
• View of Stamford, Lincolnshire.
• Cattle at a Waterfall.
• The Royal Oak.
• Country Courtship.
• Near Honiton. Devonshire.
• Farm Yard near Honiton. Devonshire.
• Sunday Morning.
• Returning from Work.
• The Waggoner's Inn.
• Waterside Inn. 'The Boatman's Rest.'
• Resting beside a Barn.
• Carnarvon Castle Gate.
• The Windmill.
• The Sailor Saved.
• Near Beverley. 1803.
• Ships Unloading.
• Driving Home Cargo.
• View of the River Itchen, near Southampton.
• Southampton Waters.
• Carisbrook Church and Castle, Isle of Wight.
• Soldiers Drinking.
• Troops stopping to Refresh on their Road to Join the Camp on Barham Downs. Aug. 20, 1799.
• Returning from a Race.
• Cottages and Park.
• The Road to the River.
• Waggon and Horses Climbing a Hill.
• Saturday Night. Repose from Toil.
• The Wounded Soldier. 1804.
• Horsemen Drinking outside an Inn.
• Newgate. Morning of an Execution.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION OF THOMAS CAPRON, ESQ., ARUNDEL HOUSE, RICHMOND.)

Mr. Capron's selection contains numerous subjects from the collections of Lord Farnham and the late W. T. Ashley, Esq. Besides being the owner of a very fine selection of the best prints after Rowlandson, many of considerable size, value, and importance, (for the loan of several choice examples, which are both rare and difficult to obtain, the writer begs to record his grateful acknowledgments to the fortunate possessor;) Mr. Capron has also collected quite a gallery of original drawings; among the number are some truly capital examples. The titles of a selection from the numerous subjects are as follow. (See also the collection of the late Mr. Ashley.)

• French Barracks.
• Cries of London.
• Plymouth Dock.
• Street Musicians.
• Portsmouth Point.
• The Love Letter.
• Grog Aboard.
• The Female Volunteer.
• Relief from Hard Study.
• Hen and Chickens.
• Late Hours at Mrs. Sturt's.
• Temptation.
• A Snooking Kenn.
• Fiez-vous à Filles: Stripping a Cully.
• Illustrations from Johnny Quæ Genus. Waiting on a Lady of Fashion.
• Unpleasant Reflections.
• State Pledges.
• Matrimony. (Dance of Life.)
• The Cobbler's Method.
• A Domestic Scrimmage.
• 'The Long wished-for Day come at Last.'
• All Souls.
• Beyond a Joke.
• Nuns at Devotion.
• Snow-balling the Blackamoor.
• Concert à la Catalini.
• Money Bags. A Golden Shower.
• Westminster Abbey.
• A Levee, St. James's Palace.
• Presence Chamber, St. James's Palace.
• Stock Exchange.
• Brewers' Horses.
• Arrival of the Post Boy.
• Epsom Downs, or More Downs than One. 1816.
• John Bull stuck in a bog in France.
• Jean Crapaud run away with in England.
• The Laboratory.
• A Duck. 1823.
• Humours of a Rustic Inn.
• The Club.
• The Coal Hole.
• The Cock Tavern, Fleet Street.
• Mutual Recriminations.
• Dragging the Pond.
• A Pic-Nic. The Social Day. 1812.
• Dinner at the Fair.
• Althorpe Wells, Discovered by Queen Anne's Physician.
• Leaving Home.
• Clearing the Premises without Consulting your Landlord.
• A British Tar, and Charitable Feelings.
• Trying to Move a Jew.
• Jew and Gentile, or Old Clothes and Doll Tearsheet.
• A Superannuated Beau.
• Ballet Master at the Opera House.
• A French Noble in his Shooting Dress Sketched at Boulogne, 1778. First September, Trying the Sight.
• Introducing a Pigeon to a Hazard Table.
• William Cussons, Shaver. John Street, Adelphi.
• The Walking Stewart, an Eccentric Character.
• Dirty Work, Levee Day, or Court Ceremony.
• Katharine and the Tailor.
• A Banker's. (The Spider's Web). A Ready Money Customer.
• A Banker's. (The Wasp). A Discount.
• A Lowland Family.
• Putting a Husband to Bed.
• Old Cronies.
• Recruiting.
• The Ménage.
• Billiards.
• Lost and Won. Red Wins.
• Saving the Old China from Fire.
• Posting in Ireland.
• Posting in Scotland.
• French War. Interior of a French Prison. (An Abbey.)
• A Cooper. A Farrier.
• Travelling Savoyard. An Itinerant Showman. Bear, Monkey, and Performing Dogs.
• Innocent Cause.
• The Magic Lantern. A Galantee Show.
• Sham Fits. 1802.
• Deadly-Lively.
• Doctor Graham's Cold Earth and Warm Mud Bath.
• Volunteer Foot. Westminster Light Horse.
• Admiral Paisley—'The Tough Old Commodore.'
  
  Why, the bullets and the gout Have so knocked his hull about That he'll never like the sea any more!
• Rent Day. A Light Piece.
• An Apothecary.
• A Ridotto.
• A Pastoral Piper.
• A Fresh Graduate.
• Pomona, or Ripe Fruit.
• Life Academy, Somerset House. T. Rowlandson. With inscription by the Artist: 'Given to my old friend Smith.'[32]
• The Graces.
• Nicolas Poussin: Venus, Mars, and the Loves.
• Bellona.
• An Apotheosis. Prometheus.
• Nessus and Dejanira.
• Acis and Galatea pursued by Polyphemus.
• Etruscan Frescoes.
• Venus and Cupid.
• Neptune discovering Venus to the Tritons.
• Pan and Syrinx.
• Tritons and Nereids.
• Doctor Syntax and the Bees.
• 'Doctor Primrose Preaching to the Prisoners,' and numerous illustrations to the 'Vicar of Wakefield.'
• The major part of the Illustrations to 'The Dance of Life,' and a few Examples of the Designs for 'The Dance of Death.'
• Pair of Large Hunting Scenes.
• Diving Belles.
• The Introduction. Mrs. Sturt's.
• Mrs. Sturt and her Pupils (from Mr. Ashley's Collection).
• Tuileries Gardens.
• Stowe Gardens.
• Richmond Hill.

THE FOLLOWING DRAWINGS HAVE ALSO COME UNDER THE EDITOR'S ATTENTION.

• A Tailor's Wedding.
• The Unwelcome Intruder. (1803.)
• The Rival Butchers.
• The Cobbler.
• The Fishmonger.
• Animal Magnetism: the Centre of Attraction.
• The Alchemist.
• The Pavior's Joy.
• The Clamorous Tax-gatherer calling on the Doctor.
• The Old Admiral.
• Apples! a Street Cry.
• Alms. An admiral (with a wooden leg) and his family relieving an invalided old sailor.
• Mrs. Shevi in a Longing Condition (for a Little Pig).
• Chevalier D'Eon at Angelo's Rooms. 'Angelo's Fencing Academy, also the Broadsword Exercise, Boxing, &c. Terms for Fencing, Lessons, &c.'
• Washing in the Highlands.
• A Butcher's Shop.

COLLECTION OF JOHN COLE STOGDON, M.A., ESQ., 18 CLIFFORD'S INN.

This gentleman, amongst a rich gathering of drawings, caricatures, and social satires, has secured numerous good examples of prints executed by Rowlandson, including the rare series of the 'Stages of Man's Schooling' (1802). We have to instance a spirited drawing by the caricaturist, which is in the possession of Mr. Stogdon: 'Forbidden Fruit.'

FIGURE DRAWINGS AFTER THE OLD MASTERS BY THOMAS ROWLANDSON, IN THE COLLECTION OF COLONEL GOULD WESTON, THURLOE SQUARE.

• Venus: Carlo Marratti.
• Venus: Bouchér.
• Nymph Surprised by Satyr: Gerard Lairesse.
• Diana and Hunter: Gerard Lairesse.
• Diana and Nymphs: Giulio Romano.
• Leda and Swan: Giulio Romano.
• Venus Arranging her Hair: Andrea del Sarto.
• Venus and Cupid: Andrea del Sarto.
• Venus and Cupid: Palma Vecchio.
• Lucretia: Andrea del Sarto.
• Venus and Mars: Pietro de Cortona.
• Rape of the Sabines: Polidore.
• Leda and Swan: Canache.
• Venus and Man Playing Guitar: Titian.
• Susanna and Elders: Guercino.
• Venus Sleeping—back exposed: Guercino.
• Zulieka and Joseph: Domenichino.
• Venus and Loves: Domenichino.

The drawings mentioned above, like most of the caricaturist's fluent renderings of subjects after the Old Masters, are far removed from mere copies or servile imitations, being, in actual fact, free adaptations of the works in question, strongly characterised with the individualities of Rowlandson's style.

Colonel Weston, in addition to this unique series, possesses a collection of original drawings by the artist, which includes, among numerous interesting examples of varying importance, one of Rowlandson's most graceful and finished drawings, worked out with a taste and delicacy altogether remarkable. The subject is a domestic scene, introducing two charming figures (likenesses in all probability) executed after the style of the portrait of Morland (mentioned in the first part of this work, now in the Print Room, British Museum, see p. 412), and evidently executed at the same period.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION IN THE POSSESSION OF JOHN WEST, ESQ., BAYSWATER.)

• R. Moser, R.A., Keeper of the Royal Academy. A serious portrait, boldly executed, both outline and shadows put in with a reed pen, in the manner of Mortimer. Evidently a sketch made from life when Rowlandson was an Academy student.
• Colonel O'Kelly taking a Private Trial previous to his Making a Match. (See Racing Series, 1789: The Betting Post, The Mount, &c.)
• Race-horses arriving for a Spring Meeting.
• The Gambler Going to Bed. (See pp. 208–210).
• Congregation Leaving a Chapel. 1820. A large drawing, crowded with figures. (See collection belonging to William Bates, Esq.)
• 'As You Like It,' act ii. scene 7: Fifth Age. (Engraved.) The collection of Shakspearean subjects drawn by Rowlandson to illustrate the 'Seven Ages of Man' is in the possession of General Sir Henry de Bathe, Wood End, near Chichester.
• An Anatomical Lecture.
• The Morning Toilette. A fashionable beauty holding a levée under the hands of her perruquier.
• The Morning Meal.—
  

  The cup that cheers but not inebriates.

• The Tuileries Gardens, Paris. A small sketch for the larger drawing. (See collection in the Editor's possession.)
• An Out-of-door Scene in Paris. (Companion.)
• A Squabble in St. Giles's.
• The Awkward Servant. (See collection in possession of the Editor.)
• Horse-Racing: Introducing a Novice to a spirited Mount.
• Mrs. Clarke and the York Shop. Mrs. C. receiving bribes as a commission agent.
  

  'Tis woman that seduces all mankind.

• Also in the collection of Thomas Capron, Esq.—
• Portrait of a Foreigner.
• Portrait of an Old Gentleman. The face of this figure may be a caricatured representation of the artist's appearance late in life.
• Portrait of an Old Lady.
• An Equestrian Military Portrait. (German officer.)
• Portrait of a Quaker.
• Looking at a Procession in the Park.
• An Allegorical Design.
• Carisbrooke Castle.
• Hunting Scene.
• The Thames at Twickenham.
• The Social Day.
• Interior of Exeter Cathedral (during sermon time).
• View in the Environs of London.
• Continental View, in Rowlandson's early manner (a cloister).
• Yeomanry Cavalry Refreshing at an Inn.
• Cattle Watering.
• Scene at a Seaport.
• Chatham: View of the Medway and Men-of-war; Troops and Military Train riding along the shore.
• Waterside Scene, near a port on the South coast; Passengers landing, &c.
• Views of Cornwall, Devonshire, Somerset, &c.

ORIGINAL DRAWINGS BY THOS. ROWLANDSON IN THE POSSESSION OF JOHN CHESTER, ESQ., OF OLD SQUARE, LINCOLN'S INN.

• Toilette of an Antiquated Belle. A large and fine drawing, after the school of the old masters.
• The Village Festival. Figures dancing in a ring on the green, skittle-players, &c. Important subject, somewhat in the manner of Teniers the Younger.
• Interior of a Pawnbroker's Shop. 'The Last Shift' (engraved and published November 1, 1808).
• Taste, or Milord Anglais and Italian Picture-Dealers. (Engraved 1812. See p. 234.)
• A Scold.—

  A smoking chimney, and a scolding wife.

• A Breezy Day.
• Death at the Door. An upright subject, earlier than the series entitled the 'Dance of Death.'
• An Old Miser and a Young Wife.
• An Old Woman and her Cat at a Window.
• Original frontispiece to the collected series of 'Miseries of Human Life.'
• Designs for illustrations to the 'Dance of Death.'
  
  • The Squire.
  • The Shipwreck.—
    
    The dangers of the ocean o'er, Death wrecks the sailors on the shore.

ORIGINAL DRAWINGS BY THOS. ROWLANDSON IN THE POSSESSION OF A. H. BATES, ESQ., EDGBASTON, BIRMINGHAM.

• An Old Soldier's Widow. 6×5½ inches.
• A Fat Man and Death. 5×4.
• The Widower's Consolation. 6×4½.—
  Two bores all at once have taken a trip: I've buried my rib, and got rid of the hip.
• Woman on a rock by a stormy sea, on which is an empty boat, &c. 7×4½.
• Doctor Syntax at a Bookstall. Folio. (Engraved on a reduced scale in the 'Humourist,' by W. H. Harrison.)
• A Nobleman Cutting Down his Timber to Pay his Debts. 10 inches in length.
• A sheet of grotesque heads formed of vegetables, &c.
• Death and the Glutton. Large 8vo.
• Exterior of a Public House. 8vo.
• Sepulchres. 8vo.
• Doctor Eady and his Patients. 8vo.
• Execution Dock. 5×6.
• The Old Blind Sexton. Folio.
• Three figures seated at table; one said to be the portrait of Hamilton, the artist. 8vo.
• The Milkmaid's Tempter. 5×4.
• Drawing-room scene. Milliner displaying a dress. Numerous figures, probably designed as frontispiece for a magazine of fashions.
• Domestic Jars. 9×4 in. Man and woman quarrelling; the former seated in a chair, with a large bass-viol beside him.

LIST OF ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE COLLECTION OF WILLIAM BATES, ESQ., B.A., M.R.C.S, &c., BIRMINGHAM.[33]

• 'Cornish Peasantry.' 10¼×6½. Five peasants, admirably grouped, seated on a sort of timber-cart, drawn by two oxen. Woody background. Signed 'Rowlandson.'
• Acis and Galatea. 8½×6.
• Apollo and Daphne. 8½×6. Companion to the above. A vigorously-drawn recollection of the antique.
• The Cottage Door. 11½×8½. A group of rustics seated at the door of a cottage. On the right hand a man with a donkey laden with vegetables. In the manner of Morland.
• 'The Road to Ruin.' 13½×9½. The young squire is seated at a round table, with his mistress on his knee. Opposite to him is a 'led-captain,' dealing out cards and inciting the squire to bet. In the centre, standing at the table, is a plethoric chaplain, wholly intent upon the manufacture of a bowl of punch, the ingredients for which he is pouring simultaneously from two bottles into the bowl. The complete absorption of each of these personages in his own special object is admirably depicted.
• Brentford Market Place. 17½×12. An admirable drawing, exhibiting hundreds of market-people disposed in groups, with the Town House in the central background and the 'Three Kings' inn on the right hand. The grouping is excellent, the scene full of animation and bustle, the sense of space and general keeping perfect, and the whole equal in power and effect to the works of the Dutch painters.
• Shepherd and Sheep. 17¼×4½. A standing figure in the middle of a group of five sheep; something in the manner of Gainsborough.
• The Funeral. 7×4½. The parson advances, reading the burial service. Next comes the clerk, carrying a child's coffin, and followed by a group of female mourners, wringing their hands, holding handkerchiefs to their eyes, and some carrying umbrellas. To the right a female gravedigger, holding a spade in one hand and tolling the bell with the other. To illustrate the old song of 'The Vicar and Moses':—
  When come to the grave the clerk humm'd a stave, Whilst the surplice was wrapped round the priest; When so droll was the figure of Moses and Vicar, That the parish still laugh at the jest. Singing tol de rol, &c.
• An Oriental Scene. 8½×5½. In the foreground a gibbet, from which is hanging in chains the headless body of a woman. By the side an impaling-stake and wheel. Two men in foreign garb are looking on. In the distance a city, with towers and minarets.
• 'The Industrious Wife and Idle Husband.' 5½×4. The wife is busily engaged at the washtub; a cradle, with twins asleep, at her back; while the husband, with pipe, glass, and jug, sits over the fire with a boon companion. Full of Hogarthian humour.
• Burglars Alarmed. 11×9½. A drawing of extraordinary vigour. A brutal-looking ruffian, in a frieze coat, holding a bloody knife in one hand and enjoining attention with the other, is striding over the corpses of two women, both with their throats cut. A second ruffian, with alarm depicted on his countenance, holds a candle in his right hand and grasps a bloodstained coal-hammer in his left. In the background a fate is seen peeping through a window. A piece that can hardly be looked at without a subsequent attack of nightmare.
• Landscape. Lake scene, hilly background. 9×7. Very broad in treatment.
• Commodore Trunnion and Lieut. Hatchway on their way to the Wedding. 14½×8. (See Smollett's 'Peregrine Pickle,' vol. i. chap. 8.)
• Jolly Companions. 11×8. A group of five, heads and shoulders. A man is apparently singing from a ballad-sheet. A woman at his right hand is blowing with the bellows, and the other faces are on the broad grin.
• The Pipe Dance. 4½×3. Two Punch-and-Judy-like figures dancing, and holding a pipe over head. Small, but very spirited.
• The Forge. 9½×6½. A group of four horses outside a forge. The blacksmith holds up the hoof of one; the farmer stands by, and a woman advances holding a cup of ale. Signed 'Rowlandson, 1791.' As fine as Morland.
• Maternal Solicitude. 6½×4¾. A mother bends over her child on a couch, both entirely nude.
• Nymph and Cupid. 7¼×5½. A naked nymph recumbent; a winged cupid, bow in hand, descends towards her.
• Henpecked Husbands. 10×6¼. A woman has hold of the greatly elongated nose of her husband in one hand, and belabours him with a whip in the other. On the left a group of women toss a husband in a blanket, and on the right a wife is thrashing her husband on the ground, whom she also holds by the nose.
• Death in the Pot. 6×3½. A plethoric figure drinks from a bowl, while a skeleton figure is about to strike him from above.
• Zion Chapel. 13½×8¼. A congregation of over fifty persons, who have just emerged from the portal of 'Zion Chaple' (sic), are passing slowly along. The door is blocked up by the departing worshippers; a fish-woman standing by indulges in some ribald observations, and a pious old lady holds up her hands in horror.
• The Table d'Hôte. 13¾×9. A spirited and characteristic drawing, exhibiting a numerous company of both sexes seated at a dinner-table. French waiters, pig-tailed and nightcapped, are drawing corks, filling glasses, and flying to and fro with dishes, &c. One of the guests is teaching a dog to beg; a woman and girl, with tambourine and triangle, appear on the left to amuse the company.
• Interior of a Prison. 9½×6. From the collection of the celebrated Henry Angelo, the professor of fencing, who in his 'Reminiscences' (vol. ii. p. 324) gives an account of its production. Rowlandson, it appears, had been robbed one night, and went next day in search of the thief. 'We first repaired,' says the reminiscent, 'to St. Giles's, Dyott Street, and Seven Dials. In one of the night-houses four ill-looking fellows, des coupes-jarret, so attracted our attention that, whilst we sat over our noggins of spirits, as he (Rowlandson) always carried his sketch-book with him, he made an excellent caricature group of them for me, introducing a prison in the background.... He afterwards finished it for me in his best style, superior to the greater part of his works. This is now (1830) about forty years ago. The coloured drawing was once included in my collection.' Here we have the four thieves sitting and lying in various positions. Prisoners in another group are playing cards. Another ruffian is stretched at full length asleep in the foreground. The drawing, grouping, and colouring are alike admirable, and would have done honour to Salvator Rosa.
• 'The Miser Lying in State: the Prodigal Heir-Apparent.' 14×9½. The 'heir-apparent,' with his profligate companions, male and female, is seated at a table, on which we see a punchbowl, &c. A coffin occupies an elevated position in the background, and from it appears to be struggling to emerge the supposed defunct miser, while an allegorical figure above seems to be nailing down the lid.
• The Fire. 9½×6. On the right a house on fire, flames issuing from the windows, the doorway crowded with watermen, and persons carrying out bedding and other effects. On the left firemen manipulating the hose and directing the stream against the flaming windows, in ridiculously suggestive attitudes. The central figure is an enormously fat woman, whose night-dress, drawn up to support a mass of crockery, displays her Rubensesque and redundant charms to the watermen, who turn their grinning faces to gaze upon the spectacle.
• 'Leaving the Premises without Consulting the Landlord.' 11×8½. A cart, seen at the back, heaped up with furniture, occupies the centre. A woman on the left laden with gridirons, warming-pans, &c. On the right a girl, graceful as one of Stothard's female figures, places in the cart a birdcage. In the foreground miscellaneous articles of minor furniture, and two children playing with the house-cat.
• Outside the Court-House. 14½×10½. The scene is apparently the Magistrate's Court and the Town Hall in some county town. The ground in front is crowded with various individuals waiting for the cases in which they are interested to be called on. We see the farmer, the parson, a jockey, a huntsman, a footman, a butcher, a soldier, an actor, and many others. The beadle is seated on a step, making love to an old woman, who holds a tankard in her hand. Dogs are scattered about, attendant on their masters.
• Interior of Eating-House. 7¼×5. A dining-table, at which are seated some seventeen people, male and female. One of the guests, a stout, portly man, has left the table, and is seizing his hat, as if offended. A neighbour attempts to restrain him, while the waiters appear amused.
• Bridewell. 9×6. A procession of fifteen female prisoners are escorted through the courtyard of Bridewell from one department of the prison to another, in pairs, in charge of turnkeys, female warders looking on. Penitence, grief, and hardened impudence are admirably depicted on the several faces.
• Returning from a Voyage. 9½×6. A sea beach, with a schooner and sloops at anchor. A boat has just landed a group of passengers, among whom is a girl with a cockatoo on her wrist.
• Pickaback. 4½×3½. A man, carrying a woman on his back, is fording a brook.
• Picture Exhibition. 9×5½. Connoisseurs at an exhibition of pictures.
• Gaming House. 9×5½. A drawing similar to that which serves as frontispiece to the 'Beauties of Tom Brown.'
• Nymphs Bathing. 8¼×5¼. Eight female figures, entirely nude, sporting in a stream, or seated on its banks. Leafy background.
• Nymphs Attiring. 8¼×5¼. Five female figures, entirely nude, seated on the banks of a stream, dressing their hair.
• The Village Politicians. 15×9¾. Dated 1821.