The English Spy | Page 3

House 305

METROPOLITAN SKETCHES. Heartly, Echo, and Transit start for a
Spree--Scenes by Daylight, Starlight, and Gaslight--Black Monday at
Tatter-- sail's--The first Meeting after the Great St. Leger--Heroes of
the Turf paying and receiving--Dinner at Fishmongers' Hall
--Committee of Greeks--The Affair of the Cogged Dice--A Regular
Break--down--Rules for the New Club--The Daffy Club, or a Musical
Muster of the Fancy: striking Portraits-- Counting the Stars--Covent
Garden, what it was and what it is--The Finish--Anecdotes of
Characters--The Hall of Infamy, alias the Covent Garden Hell 327
VISIT TO WESTMINSTER HALL. Worthies thereof--Legal Sketches
of the Long Robe--An Awkward Recognition--Visit to Banco
Regis--Surrey Col-- legians giving a Lift to a Limb of the Law--Out of
Rule and in Rule--"Thus far shalt thou go, and no further"--Park
Rangers personified--Visit to the Life Academy, Somerset House--R.
A--ys of Genius reflecting on the true Line of Beauty--Peep into the
Green Rooms of the two Theatres Royal, Drury Lane and Covent
Garden--Bernard Blackmantle reading his new Play and Farce--The
City Ball at the Mansion House--The Squeeze--Civic
Characters--Return to Oxford-- Invite to Cambridge--Jemmy Gordon's
Frolic--Term ends 355

ILLUSTRATIONS IN THE ENGLISH SPY.
(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