Читать книгу The English Spy: An Original Work Characteristic, Satirical, And Humorous - C. M. Westmacott - Страница 5

Table of Contents

(By R. CRUIKSHANK unless otherwise attributed)

We hope it will be generally admitted that few volumes have

a more decided claim upon the public patronage, in respect

to the novelty and variety of design, as well as the number

of illustrations, than the one here presented to the reader.

To speak of the choice humorous talent engaged in the work

would only be to re-echo the applauding sentiments of the

reviewers and admirers of rich graphic excellence.

Cruikshank and Rowlandson are names not unworthy a space

upon the same roll with Hogarth, Gilray, and Bunbury: to

exhibit scenes of character in real life, sketched upon the

spot, was an undertaking of no mean importance;

particularly, when it is remembered how great the difficulty

must have been in collecting together accurate portraits.

The work, it will be perceived, contains thirty-six Copper-

Plates, etched, aquainted, and coloured, by and under the

direction of the respective artists whose names appear to

the different subjects, the principal part of which are the

sole production of Mr. Robert Cruikshank. The Wood

Engravings, twenty-eight in number, besides the Vignettes, (which are numerous), are equally full of merit; and will be found, upon examination, to be every way worthy the superior style of typographical excellence which characterises the volume, I. THE FRONTISPIECE Is intended to convey a general idea of the nature of the work; combining, in rich classic taste, a variety of subjects illustrative of the polished as well as the more humble scenes of real life. It represents a Gothic Temple, into which the artist, Mr. Robert Cruikshank, has introduced a greater variety of characteristic subject than was ever before compressed into one design. In the centre compartment, at the top, we have a view of a Terrestrial Heaven, where Music, Love, and gay Delight are all united to lend additional grace to Fashion, and increase the splendour of the revels of Terpsichore. In the niches, on each side, are the twin genii, Poetry and Painting; while the pedestals, right and left, present the protectors of their country, the old Soldier and Sailor, retired upon pensions, enjoying and regaling themselves on the bounty of their King. In the centre of the Plate are three divisions representing the King, Lords, and Commons in the full exercise of their prerogatives. The figures on each side are portraits of Bernard Blackmantle (the English Spy), and his friend, Robert Transit (the artist), standing on projecting pedestals, and playing with the world as a ball; not doubting but for this piece of vanity, the world, or the reviewers for them, will knock them about in return. On the front of the pedestals are the arms of the Universities of Oxford and Cambridge; and in the centre armorial shields of the Cities of London and Westminster. The picture of a modern Hell, in the centre, between the pedestals, has the very appropriate emblems of Misery and Death, in the niches on each side. Crowning the whole, the Genius of Wit is seen astride of an eagle, demonstrative of strength, and wielding in his hand the lash of Satire; an instrument which, in the present work, has been used more as a corrective of we than personal ill-nature.

II.

THE FIVE PRINCIPAL ORDERS OF SOCIETY.

The King-Corinthian; an elegant Female-Composite; the

Nobleman-Doric; a Member of the University-Ionic; and the

Buck of Fashion-Tuscan. On the left hand may be seen a

specimen of the Exquisite, a new order in high estimation at

the west end of the Town; and on the right hand stands an

old order of some solidity in the eastern parts of the

Metropolis. Fashion, Taste, and Fame, are emblematical of

the varied pursuits of life; while the Army and Navy of the

country are the capitals that crown the superstructure,

combining the ornamental with the useful.

III.

FIRST ABSENCE, OR THE SONS OF OLD ETONA

ANSWERING MORNING MUSTER-ROLL. 25

A view of the school-yard, Eton, at the time first Absence

is called, and just when the learned Doctor Keat is reviewing

the upper school. (Portraits.)

IV.

THE OPPIDAN'S MUSEUM, OR ETON COURT OF

CLAIMS AT THE CHRISTOPHER. 49

Bernard Blackmantle and Robert Transit sitting in judge-

ment after Election Saturday, apportioning the remuneration

money to the different claimants of the surrounding trophies.

V.

ETON MONTEM, AND THE MOUNT, SALT HILL. 96

An accurate sketch of this ancient customary procession

made upon the spot.

VI.

THE FIRST BOW TO ALMA MATER. 113

Bernard Blackmantle's Introduction to the Big Wig on his

Arrival at Oxford.

VII.

FLOORING OF MERCURY, OR BURNING THE OAKS. 131

A scene in Tom Quadrangle, Oxford.

"If wits aright their tale of terror tell,

A little after great Mercurius fell,

***

Gownsmen and Townsmen throng'd the water's edge

To gaze upon the dreadful sacrilege:

***

———there with drooping mien a silent band

Canons and Bedmaker together stand:—

***

In equal horror all alike were seen,

And shuddering scouts forgot to cap the Dean."

VIII.

COLLEGE COMFORTS. 151

Taking possession of your rooms. Bernard Blackmantle

taking possession of his rooms in Brazennose. Scout's list of

wants. Standing the quiz of the Togati Visible propensities

of your predecessor. The day of purification.

IX.

CAP-ING A PROCTOR, OR OXFORD BULL-DOGS

DETECTING BRAZENNOSE SMUGGLERS. 152

Tom Echo and Horace Eglantine lowering the plate-basket,

after the College-gates are closed, to obtain a supply of fresh

provision, are detected by the Proctor and Town Marshal with

their Bull-Dogs: in their alarm the basket and its contents are

suddenly let fall upon the Proctor, who is not able to under-

stand the joke.

X.

THE ARRIVAL, OR WESTERN ENTRANCE INTO

COCKNEY LAND. 164

Portrait of high and low life Dandies and Dandysettes.

XI.

THE GREEN-ROOM OF THE KING'S THEATRE, R

NOBLE AMATEURS VIEWING FOREIGN CURIOSITIES. 198

Portraits of ten noble and distinguished patrons of the

opera, with those of certain daughters of Terpsichore.

XII.

THE ROYAL SALOON IN PICCADILLY, OR AN HOUR

AFTER THE OPERA. 205

Heartly, Lionise, and Transit in search of Character—The

gambling Parsons—Legs and Leg-ees-Tats men and touters—

Moll Raffle and Bang.

XIII.

OXFORD TRANSPORTS, OR UNIVERSITY EXILES. 235

Albanians doing penance for past offences. A Scene sketched

from the Life. Horace Eglantine is proposing "the Study of

the Fathers," a favourite College toast, while Tom Echo is

enforcing Obedience to the President's proposition by finishing

off a Shirker. Dick Gradus having been declared absent, is

taking a cool nap with the Ice-pail in his arms and his head

resting upon a Greek Lexicon: in the left hand corner may

be seen a Scout bearing off a dead Man, (but not without hope

of Resurrection). Bob Transit and Bernard Blackmantle

occupy the situation on each side of Dick Gradus; in the

right-hand corner, Horace's servant is drawing the last Cork

from the parting bottle, which is to welcome in the peep o' day.

Injustice to the present authorities it should be stated,

that this is a Scene of other limes.—Vide A.

XIV.

SHOW SUNDAY, A VIEW IN THE BROAD WALK,

CHRIST CHURCH MEADOWS, OXFORD. 244

Portraits of the Togati and the town, including big wigs,

nobs, and dons. Among the more conspicuous are Dr. Kett,

Lord G. Grenville, Dr. Grovesnor, Alderman Fletcher, and

Mr. Swan.

XV.

TOWN AND GOWN. 246

Battle of the Togati and Town Raff of Oxford, a night scene.

—Bernard and his Friends, Horace and Tom, distributing

among the Bargees of St. Clement's.

XVI.

BLACK MATINS, OR THE EFFECTS OF LATE

DRINKING UPON EARLY RISERS. 269

A Most Imposing Scene.-Time seven o'clock in the Morn-

ing, the last bell has just tolled, and the University Men have

just turned out, while the hunting-frock, boots, and appear-

ance of some of the party, proclaim that they have just turned

in; all are eager to save fine and imposition, and not a few are

religiously disturbed in their Dreams. The admirable disorder

of the party is highly illustrative of the Effect produced by an

Evening Wine Party in College Rooms.

XVII.

GOLGOTHA, OR THE PLACE OF SCULLS. 272

Tom Echo receiving sentence of Rustication. The Big Wigs

in a Bustle. Lecture on disobedience and chorus of the

Synod. Reports from the Isle of Bull dogs. Running foul

of the Quicksands of Rustication after having passed Point

Failure and The Long Hope. Nearly blown up at Point

Nonplus, and obliged to lay by to refit.

XVIII.

THE EVENING PARTY AT THE PAVILION,

BRIGHTON. (BY O. M. BRIOHTY.) 296

Interior of the Yellow Room—Portraits of His Majesty,

the Duke of York, and Princess Augusta, Marquis and

Marchioness of Conyngham, Earl of Arran, Lord Francis

Conyngham, Lady Elizabeth and Sir H. Barnard, Sir H.

Turner, Sir W. Knighton, Sir E. Nagle, and Sir C. Paget,

sketched from the Life.

XIX.

THE KING AT HOME, OR MATHEWS AT CARLTON

HOUSE. 298

A scene founded on fact; including Portraits of the King,

Mathews, and other celebrated persons.

XX.

A FROLIC IN HIGH LIFE, OR, A VISIT TO BILLINGS-

GATE. 303

A very extraordinary whim of two very distinguished

females, whose Portraits will be easily recognised.

XXI.

CHARACTERS ON THE STEYNE, BRIGHTON. 309

Portraits of illustrious, noble, and wealthy Visitors—The

Banker's Widow—A Bathing Group—The Chain Pier, &c.

XXII.

TOM ECHO LAID UP WITH THE HEDDINGTON

FEVER, OR AN OXONIAN VERY NEAR THE

WALL. 323

Symptoms of having been engaged too deeply in the study

of Hie fathers. Portrait of a well-known Esculapian chief.

XXIII.

MONDAY AFTER THE GREAT ST. LEGER, OR

HEROES OF THE TURF PAYING AND RECEIVING

AT TATTERSALL'S. 329

This sketch was made upon the spot by my friend Transit,

on the Monday following the result of the last Great St. Leger

in 1823, when the Legs were, for the most part, in mourning

from the loss of their favourite Sherwood. Some long faces

will be easily recognized, and some few round ones, though

Barefoots, not easily be forgotten. The Tinkers were many

of them Levanters. Here may be seen the Peer and the Prig,

the Wise one and the Green one, the Pigeon and the Rook

amalgamated together. It is almost unnecessary to say, the

greater part of the characters are portraits.

XXIV.

EXTERIOR OF FISHMONGERS'-HALL, ST. JAMES'S

STREET, WITH A VIEW OF A REGULAR BREAKDOWN. 331

Portraits of the Master Fishmonger, and many well-

known Greeks and Pigeons.

XXV.

INTERIOR OF A MODERN HELL. (Vide the affair of

the cogged dice.) 334

Portraits of upwards of twenty well-known Punters and

Frequenters—Greeks and Pigeons, noble and ignoble—The

Fishmonger in a fright, or the gudgeon turned shark—Expose

of Saint Hugh's Bones—Secrets worth knowing. (See work.)

XXVI.

THE DAFFY CLUB, OR A MUSICAL MUSTER OF

THE FANCY. 339

Interior of Tom Belcher's Parlour. Heartly and Bob in

search of Character. Striking likenesses of Boxers, Betters,

&c.—with a pen and ink Sketch of a Noted—one—a fine

School for Practical Experience. (For key to Portraits-

see work.)

XXVII.

PEEP 0' DAYS AND FAMILY MEN AT THE FINISH. 342

A Night Scene near Covent Garden—Coffee and comical

company.

XXVIII.

FAMILY MEN AT FAULT, OR AN UNEXPECTED

VISIT FROM THE BISHOP AND HIS CHAPLAINS. 345

A Scene near Covent Garden, in which are introduced

certain well-known Characters and Bow-street Officers: in-

cluding Messrs. Bishop, Smith, Ruthven, and Townshend.

XXIX.

THE HALL OF INFAMY, ALIAS OYSTER SALOON,

IN BRYDGES-STREET, OR NEW COVENT GARDEN HELL. 354

Portraits of the old Harridan and her Flask man Tom.

Sketches of Sharps and Flats, Green ones and Impures.

Done from the Life.

XXX.

WESTMINSTER HALL. 361

Portraits of well-known Worthies of the Bar.—The Maiden

Brief.—Dick Gradus examining a Witness.

XXXI.

SURREY COLLEGIANS GIVING A LIFT TO A LIMB

OF THE LAW. 364

Interior of the King's Bench Prison—Rough-drying a Lawyer.

XXXII.

R-A-YS OF GENIUS REFLECTING ON THE TRUE

LINE OF BEAUTY AT THE LIFE ACADEMY,

SOMERSET HOUSE. (BY T. ROWLANDSON.) 365

Bob Transit's first appearance as a student. Sketching

from the Life. Outlines of character. How to grow rich but

not great. Secrets worth knowing, and Portraits of all the

Well-known.

XXXIII.

BERNARD BLACKMANTLE READING HIS PLAY IN

THE GREEN-ROOM OF COVENT GARDEN THEATRE. 366

Portraits of Messrs. C. Kemble, Fawcett, Farley, Jones,

Farren, Grimaldi, Macready, Young, T. P. Cooke, Chapman,

Blanchard, Abbott, Cooper, Yates, and the English Spy;

Mrs. Davenport, Miss Chester, Miss M. Tree, Miss Love, and

Mrs. Davison.

XXXIV.

BERNARD BLACKMANTLE READING HIS FARCE IN

THE GREEN ROOM OF THE THEATRE ROYAL,

DRURY LANE. (by T. Wageman.) 367

Portraits of Elliston, Dowton, Harley, Munden, Knight,

Liston, Oxberry, Sherwin, Gattie, Wallack, Terry, G. Smith,

and Barnard, Miss Stephens, Mrs. Orger, Madame Vestris,

Mrs. Harlowe, and the English Spy. The Likenesses are all

studies from the life.

XXXV.

THE CITY BALL AT THE MANSION HOUSE. 368

Portraits of the Duke of Sussex, the Lord Mayor (Waith-

man) and Lady Mayoress, the Sheriffs Laurie and Whittaker,

Aldermen Wood and Curtis, Sir Richard Phillips, Messrs.

Hone, Patten, with other well-known Characters.

XXXVI.

JEMMY GORDON'S FROLIC. 369

A Cambridge tale. Vide Peter House.

ILLUSTRATIONS ON WOOD

FROM ORIGINAL DESIGNS BY CRUIKSHANK, ROWLANDSON,

GILRAY, AND FINLAY, ENGRAVED BY BONNER AND HUGHES.

VIGNETTE ON TITLE PAGE.

Old Father Time borne away on the shoulders of the Genii,

Frolic, Mirth, and Fancy.

1. The Author's Chamber—Index, the bookseller, and Ber-

nard Blackmantle, projecting a new work

2. Horatio Heartly reading the "English Spy" to Lady

Mary Oldstyle 17

3. A correct view of Eton College from the playing-fields 32

4. The five principal orders of Eton—Doctor, Dame,

Colleger, Oppidan, and Cad. A Sketch taken opposite the

Long Walk 42

5. The Cloisters, Eton College 58

6. Herbert Stockhore, the Montem Poet Laureate, a Sketch

from the Life as he appeared in the Montem Procession of

May, 1823 59

7. Accurate View of the Interior of Eton College Hall 96

8. Interior of Eton School Room 105

9. The Oxonian reclining, an emblematical design 111

10. Five characteristic orders of Oxford 113

11. Portrait of Mr. B—the classical Alma Mater Coachman

of Oxford 128

12. View of Christchurch College 129

13. A Bachelor of Arts drinking of the Pierian Spring 136

14. View of Bagley Wood with the Gipsy party. An

extraordinary fine specimen of art, by Bonner. 157

15. Mother Goose, a portrait 162

16. Kensington Gardons, Sunday Evening. Portraits of

well-known fashionable eccentricities 164

17. Vignette.—he Subject and the Resurrection Jarvey,

or "Kill him when you want him" 220

18. Albanians starting for a spree, or Tom Tick on the road

to Jericho 233

19. Waiting for bail 240

20. The Don and the fair of St. Clement's. An Oxford

scene 243

21. The University Rake's Progress 273

22. The newly invented Steam Coach 274

23. View of the Pavilion, Brighton, from the London Road 286

24. A Night Scene, or, a rum start near B—— H——l 304

25. The Widow's ultimatum. A cutting joke, with a most

affecting catastrophe 313

26. College Frolics, or catching Urals at Ch. Ch. 325

27. Roues rusticating in Surrey, or, the first glimpse of

Banco Regis 363

28. Term, ends—Adieu to fagging—The High-street, Oxford

—The Togati in a bustle—The merry good bye 370