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entitled, Dandres having a Treat, wherein we are shown a couple of eccentricities in a confectioner's shop ; one of them, who eyes himself with much complacency in the glass, has his back to us, and is habited, à la Gilé, in a very tight coat, whose tail commences just below its collar and narrows to a very fine point when it reaches its extremity ; short wide trousers terminate at the knees, at which points they are met by a pair of Wellington boots. He entreats his equally strangely dressed companion to pay no attention to the uncomplimentary remarks of certain rude people who stand at the door and seem strongly inclined to subject them to the discipline of the pump. The pretty girl in attendance expresses to herself a hope that “the creatures will leave the shop," as she fears the exasperated people will do some mischief. Another caricature of the same year shows us A Dandy Shoemaker in a Fright, or the Effects of Tight-lacing. In stooping to measure a lady's foot, the fellow's stays have given way, and he evidently fears he shall tumble to pieces. In another subject, Robert shows us a couple of dandies diving into a countryman's pockets, in the neighbourhood of St. James's Palace ; others are entitled respectively, A Dandy put to his Last Chemisette, or Preparing for a Bond Street Lounge; A Dandy Cock in Stays; and The Hen-pecked Dandy. Besides those already mentioned, I find four or five other coarse caricatures of Robert's, published by Fores in 1818.
Robert Cruikshank was “a man about town” in those days, and the “ dandies" whom he and his fellow caricaturists satirized and ridiculed were the sham“ Corinthians” of his time. Apart from the idea of caricature they must have been queer fellows--these men with the large eye-glasses, squat broad-brimmed hats, huge cravats and collars, cauliflower frills, tight coats, short bell-shaped trousers, and well-spurred Wellington boots ! In one of the satires of the time (which I take to be Robert's) we see five of them preparing for conquest in a hairdresser's shop; and the “make up” comprises, in addition to the tremendous neckties, cauliflower frills, and top-boots of the period, false calves and stays, a pair of which the Frenchman hairdresser is lacing for one of his customers. Another of the party, who has completed the upper part of his toilet, is so hampered with the voluminous folds and stiffening of his cravat that he cannot wriggle into his unmentionables. The caricaturists take us into the garrets of these fellows, abodes of squalor and wretchedness, and show us that beneath their exterior magnificence there is nothing, or next to nothing. In a pair of rough anonymous satires—The Dandy Dressing at Home and The Dandy Dressed Abroad-the former shows us how the completed figure is built up. The absence of a shirt is concealed by an amply frilled “ dickey," the dirty feet protrude from the well-nigh footless stockings, the bare arms are clothed at the extremities only by the cuffs, while a pair of huge seals dangling from a ribbon guard form pendants to a latch-key instead of a gold watch. The fellow's washing bill, which lies on the dressing. table before him, comprises four items—all of them collars. On the ground, side by side with the Wellington boots, which he himself has just been cleaning, lie the open pages of “ The Beau's Stratagem.” In a sketch by the always coarse satirist Williams, two of these fellows have been decoyed into an infamous house and drugged, and the indignation of the bully and his female assistants is intense when they find that their watches are not even pinchbeck, but only pincushions.
The “Corinthian Kates” who figure in the satirical sketches of this period are members of the demi monde. An excellent undated sketch, signed “J. L. M. fect.,” entitled, A Dandy'ess, is divided into two compartments. The first scene shows us the completed figure (a most absurd one), and the second (which is laid in the lady's garret) how the magnificent result has been attained. We find her engaged in ironing her chemisette ; over the fire are suspended her stockings ; on a stool near her stand her bottles of cosmetic and a pot of rouge ; on the floor her “artificial hump”; while her preposterous bonnet and other articles of costume hang from different articles of the scanty furniture.
Robert Cruikshank continues his attacks upon the fops in 1819. In that year we meet with A Dandy Sick ; Dandies on their Hobbies, and Female Lancers, or a Scene in St. James's Street, chiefly remarkable on account of the costume of the two men who figure therein.
Besides these we meet with a sort of pictorial allegory, entitled, The Mysterious Fair One, or the Royal Introduction to the Circassian Beauty, in which a foreign fair one is supposed to be introduced to the Regent's harem. The veil being removed discovers to him the well-known features of his neglected wife, from whom he recoils in abhorrence. The bulky figure of the Regent who, under the inAuence of copious port wine libations and general good living, had grown preposterously fat, is admirably preserved by both the Cruik. shanks. The head and wig, tapering to an apex, remind one somewhat of the French poire caricatures which disturbed the serenity of Louis Philippe, and preceded the revolutionary period of 1848.
Other caricatures by Robert of this year (1819) are labelled respectively, The Political Champion turned Resurrection Man, having reference to Cobbett and “Orator Hunt"; The Master of the Orinance Exercising his Hobby; A Steward at Sea in a Vain Tempest, or Gaining the Point of Matrimony in Spite of Squalls; A New Chancery Suit Removed to the Scotch Bar; The Ladies' Accelerator (two women on hobbies); Collegians at their Exercises, or Brazen Nose Hobbies ; A New Irish Jaunting Car; and a satire entitled Landing at Dover and Overhauling the Baggage, which would appear to refer to some incivilities on the part of the custom house authorities to the Persian ambassador and his suite. The subject was probably only etched by the artist from the design of another, and is so grossly treated that in spite of the admirable workmanship we cannot further describe it. Besides these we have the now well-known Going to Hobby Fair (the only caricature of Robert which would seem to be known to those who have troubled themselves about him), and a far better one of contemporary date, entitled, Cruising on Land, or Going to Hobby Horse Fair.
Among the caricatures on the popular side in connection with the queen's trial in 1820, we find one by Robert, entitled, The Secret Insult, or Bribery and Corruption Rejected, which has reference to the overtures which, as we have seen in the previous chapter, were made to her by the ministers in the hope of avoiding, if possible, a public exposure; and here Lord Liverpool is represented in the act of
1920. Tue QUEEN'S
offering to Her Majesty a purse. “Abandon,” he says, “your claim to the throne, change your name and the livery, and retire to some distant part of the earth, where you may never be seen or heard of any more ; and if £50,000 per annum will not satisfy you—what will?” To which the queen (who assumes an appearance of virtuous indignation) replies, “Nothing but a crown.” Brougham turns his back, saying, “I turn my back on such dirty work as this,” the tact being, as we have seen, that he had really entered into negotiations with the ministers on the queen's behalf, which she afterwards angrily repudiated. The devil pats him on the back. “Well done, Broom," he says; “ you have done your business well.” By the side of the queen stands a figure, possibly meant for Alderman Wood, carrying “a shield for the innocent," and "a sword for the guilty”; behind her in the distance is a ship, bearing the title of “The Wooden Walls of Old England."
In our last chapter we mentioned the estimation in which the witnesses against Caroline of Brunswick were held by her sympathizers and the general public, and Robert's political views naturally inclined him to take the popular side. Those who saw them before they were housed in Cotton Garden, describe them as swarthy, dirty looking fellows, in scanty ragged jackets and greasy leathern caps, at the bar of the House, however, they looked as respectable as fine clothes and soap and water could make them. To this a caricature of Robert's, entitled, Preparing the Witnesses-a View in Cotton Garden, refers. Three dirty foreigners are being washed, with no satisfactory result, ir: a bath labelled, “Waters of Oblivion," "Non Mi Ricordo," and "Ministerial Washing Tub.” One of the operators (probably the Attorney.General, Sir Robert Gifford) remarks that "he never had such a dirty job in his life"; seated around are a number of equally dirty foreigners awaiting their turn. On the same theme and in the same year we find The Milan Commission (a very rough affair); The Master Cook and his Black Scullion composing a Royal Hash; and a satire on the alderman, who, in spite of his Carolinian and popular sympathies, figures therein under the familiar title of “Mother Wood.”
1822. DUEL BETWEEN
THE DUKES of BUCKINGHAU AND BEDFORD.
The fullowing year gives us All Ny Eye (a skit upon Hone's "Eulogium on the Radical Press "), representing a large eye, within the pupil of which we see a printing press, whereon rests a portrait of Queen Caroline ; and also an admirable work, divided into two compartments, bearing respectively the titles of The Morning after Marriage, and Coke upon Albemarle—not Coke upon Littleton.
A somewhat ludicrous affair of honour took place in 1822. In consequence of some words used by the Duke of Bedford in refer. ence to the Duke of Buckingham at the Bedfordshire county meeting, a hostile meeting took place in Kensington Gardens between the two noblemen on the end of May. The seconds were Lord Lynedock and Sir Waikin Williams Wynn. Both parties fired together at a distance of twelve paces, but without effect; when the Duke of Buckingham, observing that the Duke of Bedford fired into the air, advanced to his grace, and remarking that for that reason the atfair could go no farther, said: "My Lord Duke, you are the last man I wish to quarrel with; but you must be aware that a public man's life is not worth preserving unless with honour.” The Duke of Bedford replied, that “upon his honour he meant no personal offence to the Duke of Buckingham, nor to impute to him any bad or corrupt motive whatever"; and here this somewhat absurd event terminated. Robert commemorates it in a caricature, entitled, A Shot from Buckingham to Bedford, which cannot be said to be complimentary to either of the principals, one of the walls bearing the inscription in very large letters of “Rubbish may be shot here.” Another admirable caricature of the year is entitled, The
Treadmill, or Stage-struck Heroes, Blacklogs, and Cadgers stepping it to the tune of Mill, Mill 01 a sort of general satire; card-sharpers, (lecayed “Corinthians," and other vagabonds, are undergoing a course of hard labour upon the wheel, which was then a comparatively new invention,* their movements being accelerated by a gaoler armed with a heavy whip, who bears some resemblance to, and is
* The treadmill was the invention of Mr. (afterwards Sir William) Cubiti, of Ipswich. It was erected at Brixton gaol in 1817, and was afterwards gradually introduced into other prisons.