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"Madame Tallien," we are here informed, "is a beautiful woman, tall and elegant: Josephine is smaller and thin, with bad teeth"; in which case she must be the figure nearest Buonaparte, and must have gone up in weight in Gillray's view before she appears in his "Handwriting on the Wall."
In the earlier age Hogarth is ready to present the very London of his time in the levée and drawing-room, in the vice and extravagance of the rich, in the industrious and thriving citizen, and those lowest haunts where crime hoped to lurk undisturbed. In the century's close Gillray's pencil notes every change of the political kaleidoscope.
It would be impossible within the limits of this series to give a detailed list of all the superb series of Gillray's satires on the Napoleonic struggle. Of course the threatened invasion of England finds its echo in Gillray's prints. James Street, on December 23, 1805.
Joseph Grego, a known authority on our artist, relates that Fox and Burke once walked into the shop together, alarming the worthy proprietress by this sudden invasion of Gillray's favourite subjects. But Burke reassured her with a smile: "Were I to prosecute you it would be the making of your fortune; and that favour, excuse me, Mrs. Humphrey, you do not entirely merit at my hands."
If he remained in Russia his mother sneered and showed hatred of him; if he journeyed in Western Europe crowds gathered about his coach to jeer at his ugliness. Most of those who have seen Gillray's caricature of him, issued in the height of English spite at Paul's homage to Bonaparte, have thought it hideously overdrawn; but those who have seen the portrait of Paul in the Cadet-Corps of St.
To the same class and subject of satire belongs the "Pic Nic Orchestra" and "Dilettante Theatre" this last a Green-room scene which seems reminiscent of Hogarth's print of a similar subject. Interesting, however, though much of Gillray's social satire certainly is, it scarcely reaches the same level as his political work.
James Gillray's political caricatures are so interesting and so important, they form such a priceless commentary on the history of the time, that I have given them the priority of space over his amusing social satires, which scourge without mercy the follies of dress and fashion.
Again, later, we have traced briefly Gillray's supreme talent, both as engraver and draughtsman, more especially in his magnificent series of contemporary political cartoons.
If he remained in Russia, his mother sneered and showed hatred to him; if he journeyed in Western Europe, crowds gathered about his coach to jeer at his ugliness. Most of those who have seen Gillray's caricature of him, issued in the height of English spite at Paul's homage to Bonaparte, have thought it hideously overdrawn; but those who have seen the portrait of Paul in the Cadet-Corps at St.
Perhaps to the average student the period of Gillray's work which we are here approaching will be of most interest, because a fairly exact knowledge of English party politics is necessary to follow with enjoyment his earlier prints on home affairs.
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