Wellington takes a flying stride from a braying ass (right) with tail erect and its feet firmly planted. His hair rises, his top-hat falls off, and he looks behind him to say: ‘Oh save me, save, Bob, run tell the King!’ The donkey (Key) brays ‘fe . fa . fum’. It wears a heavy chain and is draped by a furred livery gown marked with the City Arms.”–British Museum online catalogue.
Printmaker: Heath, Henry, active 1824-1850, printmaker.
Title: The great general frightened by Don Key [graphic] / H. Heath fe.
Caroline and Bergami sit together in an opera-box, frowning angrily at the occupants of the pit, all men, who look up at the box disapprovingly. Bergami holds a bottle labelled ‘Essence of Bergamot’ and wears a braided hussar uniform. Caroline is very décolletée, with loose black curls and a four-cornered headdress. The Arms of the Republic of Genoa are on the wall beside them with a harp and musical score below. The front of the box is decorated with two cupids holding a ribbon.
“Princess Caroline (left) sits in an ornate oval bath in a small boarded room. Bergami stands in the bath (right), draping himself in a towel from the waist down, and splashing water at his companion, who extends her arms towards him, with an encouraging smile. A man and woman, evidently Majocchi and Demont, peep from behind the door (right). On the bath is a Maltese cross (see British Museum Satires No. 13810), placed hatchment-wise between supporters, the Lion and Unicorn, who lie with closed and averted eyes. The Princess’s feathered hat and the miniature of Bergami (cf. British Museum Satires No. 14103) hang on the wall (left). Beside her on a camp-stool are a bottle of ‘Brandy’ [see British Museum Satires No. 14175] and a decanter of ‘Essence of Bergami’. His postilion’s boots and cap are on the floor.”–British Museum online catalogue.
Caricature of a coat of arms for Queen Caroline and Bergami with the central figure with a satyr’s face, a hat “Caroline Bergami gratia — Half a crown”, and white robes richly decorated with scenes from their life on an escutcheon with Chastity and Innocence as supporters, all surrounded by rich red robes lined with ermine. The scenes include: Adam and Eve, two heads peeping from a tent, a scene with Bergami kneeling before the Queen leaning in to kiss, a plump Queen jumping up like a jack-in-the box, the two in costume dancing, the Queen riding an ass. Other suggestive decorative details include ostrich plumes, ribbons with medals engraved “Night of the Dunghill” (Bergami) and Knight of the Thistle with a shield “The Times … Lies … Bribery”. At the base, Knight of the Bath with a scene with Bergami reaching towards the Queen in her bath above a medallion “Knight of St. Columbine and Penance” surrounded by a banner “My fancy’s so free, I rove like a bee.”
A broadside, anti-Jacobite, anti-Catholic and anti-French. The lilies of the French Royal arms changed to upside down frogs and the legitimacy of the Stewart line questioned by the inclusion of the bed-pan child over the priest’s shoulder.
Title: The traytorscoat of arms [graphic].
Publication: [London?] : [publisher not identified], publish’d September the 16th, 1746, according to act of Parliament.
A decree of the Common Council of Bristol signed: Cann.
The wood-engraved of the Bristol city arms is between “Civitas” and “Bristol.”
Author: Bristol (England)
Title: Civitas Bristol. Tempore Petri Day, ar’ major, XIVmo die Decembris anno Regni dom’ Georgii decimo tertio, annoq; domini, MDCCXXVI. Whereas there is and hath been, time out of mind, a good, antient, and laudable custom, had and used within the late borough, and now city of Bristol, and the liberties thereof, that no person (not being free of the said late borough, or now city) did or could keep any shop within the late borough, and now city of Bristol, or the liberties thereof …
Published: [Bristol] : [publisher not identified],