Bull's Vital Spirits." Vansittart, Chancellor of the Exchequer, is carefully drawing off what he requires into a small bucket for the "Public Service." "You see," he says to Mr. Bull, who looks admiringly on, "I am not a quibbling pettifogger, I am a man of my word; for you see I have thrown away the great _war_ spiggot, and have subst.i.tuted a small _peace_ one in its stead, which will cause an unknown saving to you." This is all very well; but the gouty Regent has also tapped the vat on the other side, and draws off the supplies in a copious stream into a receptacle labelled, "Deficiencies of the Civil List." His friends and boon companions are bringing up a fresh supply of empty vessels to be filled in their turn; one carries a barrel marked, "For household troops and standing army"; another is labelled, "Sinecures, places, and pensions"; a third, "For cottages and pavilions"; and a fourth, "60,000 for fun." "Come, my friends," says the prince, "make haste and fill your buckets, whilst Van is keeping noisy Johnny quiet with fine speeches and promises of economy, which I am determined not to practise as long as I can get anything to expend; and while he is saving at the spiggot, we will have it out of the bunghole."[73]

_Preparing for the Match, or the 2nd of May, 1816_, has reference to the marriage of the Princess Charlotte of Wales, who, as we have already seen, was on that day united to Prince Leopold of Saxe-Coburg. It had been preceded by a well-designed but most indelicate satire, labelled _Royal Nuptials_, published by J. Johnstone on the 1st of April, in which the prince is seen landing on our sh.o.r.es in a state of dest.i.tution, with a pitiable lack of certain necessary articles of clothing, which are being handed to him by John Bull in the guise of a countryman. The _dramatis personae_ are seven in number: Prince Leopold, John Bull, the Chancellor of the Exchequer, the gouty Regent, the Princess Charlotte, old Queen Charlotte, with her snuff-box, and, behind her, an old woman intended, I believe, for the poor old king himself.

The same year we find two other indelicate subjects: _A Bazaar_, a skit upon the immorality and costume of the period, comprising thirty figures; and another, in allusion to the marriage of the Princess Mary with her cousin, the Duke of Gloucester, on the 22nd of July, 1816. To those who have a.s.serted that George Cruikshank "never pandered to sensuality ... or raised a laugh at the expense of decency," that "satire in his hands never degenerated into savagery or scurrility," I would commend the serious consideration of the three satires I have last named.

THE ELGIN MARBLES.

At the time Egypt was in the power of the French, during the early part of the century, Lord Elgin had quitted England upon a mission to the Ottoman Porte. A great change has taken place in the att.i.tude and bearing of the Turks towards other European nations during the last half century; but even at this time the contempt and dislike which had characterized them in their behaviour towards every denomination of Christians still prevailed in full force. The success, however, of the British arms in Egypt, and the expected rest.i.tution of that province to the Porte, seem to have wrought a wonderful and instantaneous change in the disposition of that power and its people towards ourselves;[74] and Lord Elgin, availing himself of these favourable circ.u.mstances, obtained in the summer of 1801, access to the Acropolis of Athens for general purposes, with a concession to "make excavations and to take away any stones that might appear interesting to himself." The result (shortly stated) was the excavation of the once celebrated "Elgin marbles," about which, if we are to credit the report from which we glean this information, his lordship would seem to have expended (including the interest of capital) some 74,000. The committee recommend the House, under these circ.u.mstances, coupled with the valuations which they had obtained from competent authorities, that 35,000 was "a reasonable and sufficient price to be paid for the collection," and their purchase appears to have been completed on the basis of these figures, a fact which forms the subject of the artist's undated and admirable satire of _John Bull Buying Stones at the Time his Numerous Family Want Bread_.

Unsigned, and under date of 25th of November, 1816, I find a caricature published by Fores, which seems to me due to the hand of George Cruikshank. It is ent.i.tled, _The Nightmayor_, "painted by Fuzeley," and represents a debased woman in the stertorous sleep of drunkenness, whose muddled dream-thoughts revert to the experiences with which her evil habits have made her so frequently familiar. The gin drinker has been brought before the Lord Mayor any number of times for being "drunk and disorderly," and accordingly her _nightmare_ a.s.sumes the form of the city official, who sits upon the body clothed in his robes and invested with the insignia of his office. Appended to the satire are the following lines:--

"The night mayor flitting through the evening fogs, Traverses alleys, streets, courts, lanes, and bogs, Seeking some love-bewilder'd maid by gin oppress'd, Alights--and sits upon her downy breast."

The only other caricature of George I have to notice under date of 1816 is ent.i.tled, _State Physicians Bleeding John Bull to Death_. (*)

1817.

In our third chapter we referred to the distress which prevailed amongst the industrial cla.s.ses during the two years which followed the fall of Bonaparte.[75] We meet with an exceedingly rare pictorial satire by George Cruikshank, which relates to this state of things; it bears the t.i.tle of, _John Bull Brought up for a Discharge, but Remanded on Account of Extravagance and False Schedule_, and was published by Fores on the 29th of March, 1817. John Bull, a bankrupt, is being publicly examined as to the causes of his failure: "Being desired by the court to give some explanation [on the subject of the prodigious difference between his debts and his a.s.sets], he said that he had been persuaded originally to join with some of the parishioners in indicting his neighbour, Mr.

Frog, for keeping a disorderly house; that they had engaged to bear their part of the expenses, but had all sneaked off one by one, and left him to pay the whole, and carry on the proceedings. It had at last, after being moved from one court to another, become a suit in Chancery; and he had been advised by the gentleman whom he had always consulted on these matters, and who was now dead, to go on and persevere, for that he would be sure to get a final decree in his favour, and all the costs. He had at last, in fact, got a decree in his favour, about two years since, before Lord Chancellor Wellington, and for the costs; but not a farthing had ever been paid, nor was it likely to be; on the contrary, Mr. Frog had surrendered himself, and gone to prison, where he was now living at this moment, at his [Mr. Bull's] expense. Besides, the house in question was now opened again under a new license, granted by the magistrates of the district ... or rather, a renewal of the old one, in favour of the brother of the person who had kept it formerly, ... and the new landlord had taken down the late sign of the Bee Hive, and put up the old one of the _Fleur-de-lis_; but it was nearly as disorderly as ever, and the magistrates were obliged to keep up a great number of special constables to preserve the peace of the neighbourhood."[76]

John Bull, in his best blue coat and white waistcoat, and suffering under an attack of gout is going through the ordeal of his public examination before the judge. In front of this functionary is the bankrupt's schedule, on which we read the following items:--

"Amount of Income 24,000,000 Expenditure 80,000,000 Dr. Nick Frog 10,000,000 Paul Bruin 1,000,000 Frank Force-child 8,000,000 Will Eagle Eye 6,000,000 Ferd. Faithless 30,000,000."

In the body of the court, and separated from the commissioner by a wooden enclosure, the upper edge of which is lined with bayonets pointing inwards, are a number of the bankrupt's wretched creditors, whom Death, clothed in a red coat and armed with a mace, vainly strives to keep quiet. "Ck. fect." in such faint letters that they might easily escape detection, is appended to this remarkable composition.

In our third chapter we also referred to the serious disturbances which followed and were the consequences of the public discontents of 1817, and the fact that the names of four informers, Castle, Oliver, Edwards, and Franklin were identified with those of the chief fomenters of sedition in the metropolis and the northern counties.[77] In further ill.u.s.tration of the satires in which these fellows put in an appearance, we have one by George Cruikshank (published by Fores on the 1st of July), and labelled, _Conspirators, or Delegates in Council_. We may here mention that on the 9th of June, one Watson, a surgeon, was tried for high treason at Westminster Hall, and acquitted on the 16th, whereupon the Attorney General abandoned the prosecution against Thistlewood, Preston, and Hooper, who were also indicted under a like charge. All the accused were in indigent or humble circ.u.mstances, and the chief witness against them appears to have been Castle. Among the five persons sitting round the table, we recognise Castle (whose villainous face is turned towards us) and Oliver. The others we cannot identify. The aristocratic looking gentleman receiving them so blandly is my Lord Castlereagh. "Don't you think, my lord," says the person next him, "Don't you think that our friends Castle and Oliver should be sent to Lisbon or somewhere, as consul-generals or envoys?" "Can't you," says his lordship to the beetle-browed ruffians by way of rejoinder, "Can't you _negotiate_ for some boroughs?" John Bull, looking through the window at these negotiations, with much indignation, and recognising in these fellows the rascals by whom he has been "ensnared into [committing] criminal acts," hints in very plain terms that the conduct pursued by such men was the high road to political favour in 1817. Among the papers on the table we notice a "Plan for the attack on the Regent's carriage;"[78] a bundle of "treasonable papers to be slipped into the pockets of some duped artisans;" another, indicating the "means to be taken to implicate Sir Francis Burdett, Lord Cochrane," and other popular agitators of that day; "A list of victims in Ireland," and so on. On the floor at his lordship's feet lie some of the tri-coloured flags unfurled at the Spafields meeting; the obvious inference intended to be conveyed being of course that the Government were really at the bottom of the popular disturbances.

_R-y-l Condescension, or a Foreign Minister Astonished_, published by Fores on the 15th of September, 1817, is one of George Cruikshank's most finished but at the same time indelicate compositions. It refers to the rumours affecting the Princess Caroline's reputation which preceded the "bill of pains and penalties," to which we have already alluded. It appears to us to have originated out of the following circ.u.mstance. It was a.s.serted that at a masked ball which the princess had given shortly after she left England to the then King of Naples, Joachim Murat, she appeared in three different disguises; that in one of these, "The Genius of History," she had appeared in so unclothed a state as to call for particular observation; her third disguise was a Turkish costume. It was further a.s.serted that in her changes of dress she had been a.s.sisted, not by her female attendants, but by the person with whom her name was so familiarly a.s.sociated. In the sketch before us, Her Royal Highness's corpulent and redundant figure is clothed in a tight-fitting Turkish dress and trousers, her head being covered by a ponderous turban. The five figures composing her "suite" are the Courier Bartolomeo Bergami, his brothers Louis and Vollotti Bergami, his sister, and William Austin, the youth she had adopted,[79] and who, it was proved, slept in her bed-chamber. The whole are decorated with the crosses and ribbons of the absurd order which she was said to have inst.i.tuted. The courtly, well dressed foreign gentleman to whom she is introducing these vulgar persons appears to be intended for Metternich, who, while thanking Her Royal Highness for her "condescension," looks the very picture of unfeigned but well-bred astonishment.

DEATH OF PRINCESS CHARLOTTE.

In the evening of the 18th of November, 1817, a mournful procession, at which all the great officers of state attended, quitted Claremont House _en route_ for Windsor. At the impressive ceremony which followed, Garter King at Arms proclaimed its melancholy purport in the following words: "Thus it has pleased Almighty G.o.d to take out of this transitory life, unto His Divine mercy, the late most ill.u.s.trious Princess Charlotte Augusta, daughter of His Royal Highness, George, Prince of Wales, Regent of the United Kingdom." It was even so. The pride and hope of the nation, the heiress of the crown, was on the 6th of November delivered of a still-born child, and within a very few hours afterwards had succ.u.mbed to the unlooked-for and fatal exhaustion which followed.

The grief which this occasioned was so universal that every one seemed to realize the fact that he or she had sustained an individual loss; scarcely perhaps in English history had the death of a member of a royal family been more sincerely and truly regretted. The mournful event is referred to by the artist in a more than usually touching sketch, ent.i.tled, _England's Hope Departing_. Among the medical attendants of Her Royal Highness who followed her to the grave, was the accoucheur, Sir Richard Croft, Bart. This distinguished gentleman was so deeply affected with the unlooked-for result, that his mind refused to recover its tone, and within a month afterwards he committed self-destruction.

Other pictorial satires of George Cruikshank, bearing the date of 1817, are: _Fashionables of 1817_, two figures--a male and female--outrageously caricatured, a rough affair, altogether differing from his usual style; the well-known _double entendre_, _A View of the Regent's Bomb_, which, with our knowledge of his sensitiveness on the subject of his personal appearance, must have given the exalted personage thus outrageously satirized the greatest possible mortification; _The Spa Fields Orator Hunting for Popularity to do Good_, (*) a punning satire on "Orator" Hunt; _A Patriot Luminary Extinguishing Noxious Gas_ (etched from the design of another artist); and two admirable designs bearing the t.i.tles of _Vis-a-Vis_ and _Les Graces_. The same year we meet with one of the earliest of his alliterative satires, afterwards so frequently to be seen among the famous ill.u.s.trations to the "Comic Almanack": _La Belle a.s.semblee, or Sketches of Characteristic Dancing_, miscellaneous groups, comprising in all thirty figures (exclusive of the orchestra), engaged in a country dance, a Scotch reel, an Irish jig, a minuet, the German waltz, a French quadrille, the Spanish bolero, and a ballet "Italienne." The walls are hung with pictures of dancing dogs, a dancing bear, a dancing horse, rope dancing, the dance of St. Vitus, and "Dancing Mad." Besides this, we find the same year two large sheets showing the _Striking Effects produced by Lines and Dots, for the a.s.sistance of every Draughtsman_, suggested by, but a very vast improvement on, G. M. Woodward's _Multum in Parvo, or Liliputian Sketches, showing what may be done by Lines and Dots_.

1818. ADULTERATION OF TEA.

A report of the House of Commons, showing how four million pounds weight of sloe, liquorice, and ash-tree leaves were annually mixed with Chinese teas in England, was supplemented by a trial in the Court of Exchequer, in which a grocer named Palmer was fined in 840 penalties, for the fabrication of spurious tea. It appeared that there was a regular manufactory of imitation tea in Goldstone Street, which was composed of thorn leaves, which, after pa.s.sing through a peculiar process, were coloured with logwood; the same leaves, after being pressed and dried, were laid upon sheets of copper, coloured with verdigris and Dutch pink, and sold as _green_ tea. These revelations led, in 1818, to the artist's admirable caricature of _The T Trade in Hot-water, or a Pretty Kettle of Fish: dedicated to J. Canister and T. Spoon, Esquires_. Besides these, we have the same year: _An Interesting Scene on Board an East Indian_, a very coa.r.s.e but admirable performance; _Introduction to the Gout_ (a fiend dropping a hot coal on the toe of a _bon vivant_); _A Fine Lady, or the Incomparable_, in which it appears to us that Robert had a hand; _Les Savoyards_ and _Le Palais Royal de Paris_; _Comparative Anatomy, or the Dandy Trio_; and _The Art of Walking the Streets of London_, eight subjects, etched by the artist after the design of George Moutard Woodward.

[Ill.u.s.tration: _Designed, Etched and Published by_ GEORGE CRUIKSHANK. _November 1st, 1829._

"A SCENE IN KENSINGTON GARDENS, OR FASHIONS AND FRIGHTS OF 1829."

_Face p. 152._]

On the 4th of December, 1818, the number of convicts lying under sentence of death in his Majesty's gaol of Newgate, amounted to no less than sixty, of whom ten were females; probably not three of these unfortunate beings would have been hung now-a-days. Under the Draconian laws, however, then in force, people were hung in scores for pa.s.sing forged one-pound Bank of England notes; and this barbarous state of things, disgraceful to a Christian country, led to the famous and telling satire of the _Bank Restriction Note_, one of the very few which seem to have escaped oblivion, and which, having been repeated and reproduced in all the latest essays which have been written on him, calls for no extra description from ourselves. It is said to have had the effect desired, and that "no man or woman was ever hanged after this for pa.s.sing forged one-pound Bank of England notes."

1819.

In 1819 we have one of George Cruikshank's severe and telling attacks upon the Prince Regent, in _Sales by Auction, or Provident Children disposing of their Deceased Mother's Effects for the Benefit of the Creditors_ (*), in which he shows us the prince knocking down (in his character of auctioneer) his dead mother's old hats, gowns, and clothing, and begging the bystanders to bid liberally. At the foot of the rostrum lie sundry snuff-boxes and pots, labelled "Queen's Mixture"

and "Prince's Mixture" (in allusion to the old queen's habits), "Strasburg" (in reference to her German tastes and nationality), together with her old china tea-set.

This year is remarkable for producing perhaps the most ambitious and admirable allegory which the artist ever designed; it bears the t.i.tle of _Old Thirty-nine Shaking Hands with his Good Brother the Pope of Italy, or Covering Up_ versus _Sealing the Bible_. Old Thirty-nine (an English bishop) stands on a pile of volumes labelled, "Never-out-ism,"

"Ante-biblism," "Never-the-same-ism," etc., whilst the pope, standing on the opposite side on a ma.s.s of books bearing similar suggestive t.i.tles, shakes hands with his "good brother." By the pope's side we find the devil busily engaged in sealing up the Bible. Behind him stands the Temple of Mammon, surrounded by a crowd of reverend worshippers. Two fiends standing by the side of "Old Thirty-nine" make preparations for a bonfire, to which sundry bundles labelled, "Articles of Faith,"

"Athanasian Creed," "Catechism," "Liturgies," "Nicene Creed," and so on, will contribute materials. Out of a building in the rear, inscribed, "National School for Thirty-niners only," issues a procession of ecclesiastics and beadles carrying banners. In the foreground stands the figure of "Divine Truth," surrounded by little children, and perusing the pages of the "Holy Bible," held for that purpose by an angel. A roughly executed affair in two compartments, _Preachee and Floggee Too_, satirizes certain clerical magistrates who, while preaching mercy and forgiveness in the pulpit, distinguish themselves by the severity of their sentences for minor offences on the magisterial bench. The t.i.tles of other subjects of the year are: _The Hobby Horse Dealer_; _Johnny Bull and his Forged Notes, or Rags and Ruin in the Paper Currency_; _Smoke Jack, the Alarmist, Extinguishing the Second Great Fire of London_; _Love, Law, and Physic_ (*); _The Sailor's Progress_ (six subjects); _Dandies in France, or Le Restorateur_ (*); _A Match for the King's Plate_; _The Belle Alliance, or the Female Reformers of Blackburn_ (*); _Voila t'on mort_; and _Royal Red Bengal Tiger_ (etched from the designs of other artists); _Irish Decency_ (two caricatures); _Giant Grumbo and the Black Dwarf, or Lord G---- and the Printers Devil_; and _Our Tough old Ship Steered Safely into Harbour maugre Sharks of the Day_ (*).

An unsigned caricature, published by Fores on the 15th of May, 1819, appears to me to be due to the hand of George Cruikshank. It bears the t.i.tle of _The Dandy Tailor Planning a New Hungry Dress_, and would appear to have reference to some contemplated introduction of foreign mercenaries into the English service. The tailor, while st.i.tching a military jacket, sings a song of which the following is a verse,--

"A tailor there was, and he lived in a stall, Which served him for palace, for kitchen, and hall.

No coin in his pocket, no nous in his pate, No ambition has he, nor no wish to be great.

Derry down, down, down, derry down!"

A foreigner enters in military costume, introducing two foreign mercenaries. "Dese men," he says, "will teach you de proper vay to make de Hungarian soldats. I did bring dem expres'. Observe des grands mustaches. No more English soldats." A military figure in jack boots, standing by the side of the tailor, holds the "goose" in readiness for his master's use. The Prince Regent, especially as George the Fourth, was fond of inventing new military costumes, and Mr. Greville describes him in 1829 (the year before his death) as "employed in devising a new dress for the guards;" but by the mitre at his back, and the reference to his impecunious position, I should take this "tailor" to be intended for the Duke of York.

1820.

_Ah! sure such a pair was never seen, so justly formed to meet by nature!_ (*) represents a couple of pears, in which we recognise likenesses of George the Fourth and Queen Caroline, the features of the king being expressive of strong disgust. After Lord Liverpool had decided not to send the "Bill of Pains and Penalties" to the Commons, for the reason stated in a previous chapter, the Lord Mayor, Aldermen, and Common Council of the City of London distinguished themselves by presenting, on the 10th of December, an address to their "most gracious sovereign," complaining of things in general, and of public expenditure in particular, the real cause of complaint, however, being "the alleged criminality" which, as the pet.i.tioners stated, had been "falsely ascribed" to the queen. This address, which was conceived in the worst possible taste, concluded with the following outrageous prayer: "We therefore humbly pray your Majesty to dismiss from your presence and councils for ever those ministers whose pernicious measures have so long endangered the throne, undermined the const.i.tution, and blighted the prosperity of the nation." Now, only fancy any Corporation of London in our time signalizing itself by presenting a pet.i.tion to "Her Most Gracious Majesty," complaining of the measures of Lord Beaconsfield or Mr. Gladstone, and praying her to dismiss them from her councils! The king returned the following answer: "It has been with the most painful feelings that I have heard the sentiments contained in the address and pet.i.tion now presented to me by the Lord Mayor, Aldermen, and Common Council of the City of London. Whatever may be the motives of those by whom it is brought forward, its evident tendency is to inflame the pa.s.sions and mislead the judgment of the unwary and less enlightened part of my subjects, and thus to aggravate all the difficulties with which we have to contend." This episode suggested to George one of the most admirable of his caricatures: _A Scene in the New Farce as performed at the Royalty Theatre_. The corpulent monarch, in the character and costume of Henry the Eighth, is receiving a number of deputations from all parts of England, Scotland, and Ireland, bearing pet.i.tions praying him to dismiss his ministry, the members of which stand on each side of the throne, one of the number being habited as a jester. This exceedingly rare plate carries on it the following explanation: "King Henry VIII. being pet.i.tioned to dismiss his ministers and council by the citizens of London and many boroughs, to relieve his oppressed subjects, made the citizens this sagacious reply: 'We, with all our cabinet, think it strange that ye who be but _brutes_ and inexpert folk, should tell us who be and who be not fit for our council.'"

1821.

Another of George Cruikshank's rare and valuable contributions to the Queen Caroline series of pictorial satires is labelled _The Royal Rushlight_, which many people (among them the Chancellor and corpulent George) are vainly endeavouring to blow out. By way (it may be) of contrast, this excellent satire has appended to it the following miserable doggerel,--

"Cook, coachee, men and maids, very nearly all in buff, Came and swore in their lives they never met with such a light; And each of the _family_ by turns had a puff At the little farthing rushlight.

But none of the family could blow out the rushlight."

DEATH OF QUEEN CAROLINE.

With the year 1821 came the closing scene in the drama of Caroline's unhappy but singularly undignified career. On the occasion of the king's coronation she had applied to Lord Liverpool, desiring to be informed what arrangements had been made for her convenience, and who were appointed her attendants at the approaching ceremony. An answer was returned that, "it was a right of the Crown to give or withhold the order for her Majesty's coronation, and that his Majesty would be advised not to give any directions for her partic.i.p.ation in the arrangements;" but with the obstinacy of purpose which was so fatal a blemish in her character, and which seems to have been the primary cause of all her misfortunes, she insisted on her right, and declared moreover her firm intention of attending the ceremony. A respectful but peremptory reply was returned, rea.s.serting the legal prerogative of the Crown, and announcing that the former intimation must be understood as amounting to a _prohibition_ of her attendance. She was however so ill-advised as to present herself early on the morning of the day (the 19th of July) at the doors of the Abbey of Westminster. The door-keepers refused to allow her to enter as queen; and she was forced to submit to the mortification of having to retire without having succeeded (as it was her evident intention to have done) in marring the arrangements for the splendid ceremony. By this time the enthusiasm in her favour had greatly evaporated, and she was received even coldly by her friends the a.s.sembled mob. The mortification proved fatal to her; very shortly afterwards she was taken ill, and died in less than three weeks after the unnecessary mortification to which she had thus insisted on exposing herself.

It is probable that if the wishes of her executors had been allowed to be carried out, the unfortunate woman would have been carried to her grave in peace. She had directed that her remains should, three days after her death, be carried to Brunswick for interment; and had Lord Liverpool been wise, he would have left the executors to carry out the arrangements after their own fashion. Unfortunately, the Government decided to take the arrangements into their own hands, and to lay down the route (the shortest) by which the mournful procession should proceed to Harwich. No fault can be found with the arrangements themselves, which were intended to pay the greatest respect to the memory of the deceased; but the cautions they took brought about the very result they were anxious to avoid, and at once revived all the slumbering sympathies of the mob in favour of the unhappy queen. A squabble took place at the outset, Dr. Lushington, as one of the executors, protesting against the removal of the corpse; but, escorted by squadrons of Horse-guards Blue, the procession left Brandenburg House at eight o'clock in the morning of the 15th of August, in a drizzling rain. The cavalcade reached Kensington in solemn order; but on arriving at the Gravel Pits, and attempting to turn off to the left, its progress was instantly blocked by wagons and carts placed across the road, while a body of men formed across the streets twenty deep and evinced every disposition to dispute the pa.s.sage. A severe conflict took place between them and the constables, several on both sides being hurt. For an hour and a half the procession waited for orders, and at length it moved towards London.

On reaching Kensington Gore a squadron of the Life Guards, with a magistrate at their head, tried in vain to open the park gates, the crowd vociferating in the meantime, "To the city! the city!" On reaching Hyde Park Corner, the gate there was found barricaded with carts, and the procession then moved on to Park Lane, which being also blocked up, it turned back hastily and entered Hyde Park, through which it proceeded at a trot, the soldiers having cleared away the obstacles at the gate.

On reaching c.u.mberland Gate, it was found closed by the populace, and in the conflict which ensued the park wall was thrown down by the pressure of the crowd, who hurled the stones at the soldiers, in return for the use the latter had made of their sabres in clearing the pa.s.sage. Many of the military and their horses were hurt; and some of the soldiers, irritated by their rough usage, resorted to their pistols and carbines, and two persons (Richard Honey, a carpenter, and George Francis, a bricklayer) were unfortunately killed, and others wounded. The Edgeware Road was blockaded, but quickly cleared, and the procession moved on till it arrived at the turnpike gate near the top of Tottenham Court Road. There the mob made so determined a stand that further opposition was deemed unadvisable, and the popular will being at length acceded to, the cavalcade forthwith took its way into the city. Every street through which a turn could have been made in order to enter the New Road or the City Road was found barricaded. As the funeral pa.s.sed through the city, the Oxford Blues doing duty there, who had not partic.i.p.ated in the outrage, were cordially greeted by the populace on either side of the street. The inquests on the bodies of the dead men lasted for a considerable period. In the case of Francis, a verdict of "wilful murder against a life guardsman unknown" was returned; whilst in that of Honey, the verdict was manslaughter against the officers and men of the first regiment of Life Guards on duty at the time. This event is recorded by George in a caricature ent.i.tled, _The Manslaughter Men, or a Horse Laugh at the Law of the Land_,--two ghostly gory figures rising from their graves, which are respectively inscribed, "Verdict, wilful murder," and "Verdict, manslaughter"; a group of life guardsmen grin and point at the body, and one of them jeeringly remarks, "Shake not thy b.l.o.o.d.y locks at me; ye cannot say who did it." Another satire on the same subject bears the t.i.tle of _The Horse Chancellor obtaining a Verdict, or Killing no Murder_.

Other subjects of this year are the following: _And when Ahitophel saw that his Counsel was not followed, he Saddled his a.s.s, and arose and went and Hanged himself_; _O! O! there's a Minister of the Gospel_; _The Royal Extinguisher, or the King of Brobdingnag and the Liliputians_ (etched after the design of Isaac Robert). Six subjects, _La Diligence_ and _La Doriane_, _Venus de Medici and Mer de Glace_, _Visit to Vesuvius_ and _Forum Boarium_, and _Nosing the n.o.b at Ramsgate_, a coa.r.s.ely executed satire aimed at his Majesty and his eccentric subject, Alderman Sir William Curtis.

1822. SIR WILLIAM CURTIS.

Sir William Curtis, alderman, trader, and formerly member for the city, is one of the most prominent figures in the satires of his time. Making every allowance for caricature drawing, the likeness must have been on the whole a faithful though an exaggerated one; for in all the numerous comical sketches in which he makes an appearance, we never fail to recognise his ruby nose and ponderous figure. We have already seen him figuring by way of ludicrous contrast with Claude Ambroise Seurat, the "living skeleton," and we shall now find him a.s.sociated by the caricaturists with no less a person than the king himself. When his majesty, in 1822, paid his visit to Scotland, and by way of compliment to the country and her traditions a.s.sumed the "garb of old Gael,"

Alderman Sir William Curtis, who followed his sovereign at a respectful distance, out of compliment to the country, her traditions, "his most gracious majesty," and himself, put his own corpulent form into fancy costume, and likewise donned the Highland garb. The absurdly ludicrous result is told us by Lockhart. "The king at his first levee diverted many, and delighted Scott by appearing in the full Highland garb--the same brilliant _Stewart tartans_, so-called, in which certainly no Stewart, except Prince Charles, had ever before presented himself in the saloons of Holyrood. His majesty's Celtic toilette had been carefully watched and a.s.sisted by the gallant Laird of Garth, who was not a little proud of the result of his dexterous manipulations of the rough plaid, and p.r.o.nounced the king 'a vara pretty man.' And he did look a most stately and imposing person in that beautiful dress; but his satisfaction therein was cruelly disturbed when he discovered, towering and blazing among and above the genuine Glengarries and Macleods and MacGregors, a figure even more portly than his own, equipped from a sudden impulse of loyal ardour in an equally complete set of the self-same conspicuous Stewart tartans:--