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Updated: June 18, 2025
And thus I have attempted here not so much the history of the men, the catalogue of their achieved work interesting or valuable though such a history or catalogue might be as to show the spirit of the age itself reflected most faithfully, even when it seems most caricatured or burlesqued, by their brush or graver or pencil; to watch the grotesque visage and ignoble form of Vice traced by Hogarth's genius from the homes of London's luxury to her dens of hidden crime; to study the more refined, if somewhat weaker, social satire of Henry William Bunbury; to admire those magnificent political cartoons of James Gillray colossal and overwhelming, even in their brutality or obscenity; and finally, to lose ourselves in the luxuriant and living growth of Thomas Rowlandson's pencil, recreating for us the features of an age that was, like himself, vigorous, buoyant, and expansive, that true Age of Caricature, which is also known as the Eighteenth Century.
He said that he thought "that they might congratulate themselves that the style of caricature which found acceptation nowadays was very different from the lampoon of the old days." Continuing, he said, according to the newspaper report, "On looking back to the political lampoons of Rowlandson's and Gilray's time they would find them coarse and brutal.
Elizabeth Cotton's "Peculiar Treasure of the Almighty King Opened;" Elizabeth White's "Experience;" Mary Rowlandson's pathetic account of her captivity these are all. Hannah Adams was the first New England woman to adopt literature as a profession. Her husband being very loving and tender of her, was loath to grieve her; but he saw his error when it was too late.
Such houses as John's in Birchin Lane and the Jerusalem coffee-house, which was situated in a court off Cornhill, were typical places of resort for merchants trading to distant parts of the world. One of Rowlandson's lively caricatures, that of a "Mad Dog in a Coffee-House," is a faithful representation of the interior of one of those houses.
Every boy of imagination does his own pictures to Scott and the "Arabian Nights" best. Of funny pictures there were none especially intended for us children. There was Rowlandson's "Doctor Syntax": Doctor Syntax in a fuzz-wig, on a horse with legs like sausages, riding races, making love, frolicking with rosy exuberant damsels.
The unhappy inmates of the garrisons looked out through their port-holes upon the conflagration and plunder of their homes, the mutilated corpses of their friends, and the wretched band of captives strongly bound and awaiting their fate. There were forty-one persons in the Rev. Mr. Rowlandson's house.
Nor must I entirely neglect here Rowlandson's print called "Preparation for the Academy, or Old Joseph Nollekens and his Venus" . It is perhaps the Miss Coleman here upon the model-stand who nearly caused a domestic breach between old Nollekens and his jealous spouse the group on which he is at work being his "Venus Chiding Cupid," which was modelled for Lord Yarborough.
But it is time for us to betake ourselves to Rowlandson's social caricatures, which after all represent the best of his life work; and I am tempted to quote in seeking illustration of that wonderful sense of life which seems to stream upon us from his pencil some words of my own in an earlier work, in which I had occasion to treat of this artist.
His two years' residence in the midst of these appetising surroundings must have been the happiest of Rowlandson's career; the seeds sown amid these gayer scenes blossomed forth in later years, and influenced the artist in gradually devoting his gifts from the dull routine of portrait-painting to the indulgence of his fruitful imagination."
With these accommodations the English clergyman's wife felt that she was luxuriously entertained, and passed the night in comfort and sweet slumbers. The next day the journey was continued. As the Indians were binding a heavy burden upon Mrs. Rowlandson's shoulders, she complained that it hurt her severely, and that the skin was off her back.
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