See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

JAMES See also:

• JAMES GILLRAY (1757-1815)

GILLRAY (1757-1815)  , See also:

• ENGLISH

English caricaturist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• CHELSEA

Chelsea in 1757 . His See also:

• FATHER

father, a native of See also:

• LANARK

Lanark, had served as a soldier, losing an See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm at See also:

• FONTENOY

Fontenoy, and was admitted first as an inmate, and afterwards as an outdoor pensioner, at Chelsea See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital . See also:

• GILLRAY, JAMES (1757-1815)

Gillray commenced See also:

• LIFE

life by learning See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter-See also:

• ENGRAVING

engraving, in which he soon became an See also:

• ADEPT (if used as a substantive pronounced adept, if as an adjective adept; from Lat. adeptus, one who has Attained)

adept . This employment, however, proving irksome, he wandered about for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time with a See also:

• COMPANY

company of strolling players . After a very checkered experience he returned to See also:

• LONDON

London, and was admitted a student in the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, supporting himself by engraving, and probably issuing a considerable number of caricatures under fictitious names . See also:

• HOGARTH, WILLIAM (1697–1764)

Hogarth's See also:

• WORKS

works were the delight and study of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early years . " Paddy on Horseback," which appeared in 1779, is the first See also:

• CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature which is certainly his . Two caricatures on See also:

• RODNEY, GEORGE BRYDGES RODNEY, BARON (1718—1792)

Rodney's See also:

• NAVAL

naval victory, issued in 1782, were among the first of the memorable See also:

• SERIES (a Latin word from serere, to join)

series of his See also:

• POLITICAL

political sketches . The name of Gillray's publisher and printseller, See also:

• MISS

Miss See also:

• HUMPHREY (or HUMFREY), LAWRENCE (1527?-1590)

Humphrey—whose See also:

• SHOP

shop was first at 227 Strand, then in New See also:

• BOND
• BOND, SIR EDWARD AUGUSTUS (1815-1898)

Bond See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, then in Old Bond Street, and finally in St See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James's Street—is inextricably associated with that of the caricaturist . Gillary lived with Miss (often called Mrs) Humphrey during all the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of his fame . It is believed that he several times thought of marrying her, and that on one occasion the pair were on their way to the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church, when Gillray said: " This is a foolish affair, methinks, Miss Humphrey . We live very comfortably together; we had better let well alone." There-is no See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence, however, to support the stories which scandalmongers invented about their relations .

Gillray's plates were exposed in Humphrey's shop window, where eager crowds examined them . A number of his most trenchant satires are directed against See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George III., who, after examining some of Gillray's sketches, said, with characteristic See also:

• IGNORANCE (Lat. ignorantia, from ignorare, not to know); want of knowledge, a state of mind which in law has important consequences. A well-known legal maxim runs: ignorantia juris non excusat ("ignorance of the law does not excuse")

ignorance and See also:

• BLINDNESS

blindness to merit, " I See also:

• DON
• DON (anc. Tanais)

don't understand these caricatures." Gillray revenged himself for this utterance by his splendid caricature entitled; " A Connoisseur Examining a See also:

• COOPER
• COOPER (or COUPER), THOMAS (c. 1517-1594)
• COOPER, ABRAHAM (1787—1868)
• COOPER, ALEXANDER (d. i66o)
• COOPER, CHARLES HENRY (18o8-1866)
• COOPER, JAMES FENIMORE (1789-1851)
• COOPER, PETER (1791-1883)
• COOPER, SAMUEL (1609-1672)
• COOPER, SIR ASTLEY PASTON (1768-1841)
• COOPER, THOMAS (1759–1840)
• COOPER, THOMAS (1805–1892)
• COOPER, THOMAS SIDNEY (1803–1902)

Cooper," which he is doing by means of a See also:

• CANDLE (Lat. candela, from candere, to glow)

candle on a " See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save-all "; so that the See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch satirizes at once the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king's pretensions to knowledge of See also:

• ART

art and his miserly habits . The excesses of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French Revolution made Gillray conservative; and he issued caricature after caricature, ridiculing the French and See also:

• NAPOLEON

Napoleon, and glorifying See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• BULL
• BULL, GEORGE (1634–1710)
• BULL, JOHN (c. 1562–1628)
• BULL, OLE BORNEMANN (18ro-188o)

Bull . He is not, however, to be thought of as a keen political adherent of either the Whig or the Tory party; he dealt his blows See also:

• PRETTY

pretty freely all See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round . His last See also:

• WORK

work, from a See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design by See also:

• BUNBURY
• BUNBURY, HENRY WILLIAM (1750-1811)

Bunbury, is entitled " Interior of a See also:

• BARBER (from Lat. barba, beard)

Barber's Shop in See also:

• ASSIZE

Assize Time," and is dated 1811 . While he was engaged on it he became mad, although he had occasional intervals of sanity, which he employed on his last work . The approach of madness must have been hastened by his intemperate habits . Gillray died on the 1st of See also:

• JUNE

June 1815, and was buried in St James's See also:

• CHURCHYARD
• CHURCHYARD, THOMAS (c. 152o-16o4)

churchyard, Piccadilly . The times in which Gillray lived were peculiarly favourable to the growth of a See also:

• GREAT

great school of caricature . Party warfare,was carried on with great vigour and not a little bitterness; and personalities were freely indulged in on both sides . Gillray's incomparable wit and See also:

• HUMOUR (Latin humor)

humour, knowledge of life, fertility of resource, keen sense of the ludicrous, and beauty of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, at once gave him the first See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place among caricaturists . He is honourably distinguished in the See also:

• HISTORY

history of caricature by the fact that his sketches are real works of art .

The ideas embodied in some of them are See also:

• SUBLIME (Lat. sublimis, exalted)

sublime and poetically magnificent in their intensity of meaning; while the coarseness by which others are disfigured is to be explained by the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general freedom of treatment See also:

• COMMON

common in all intellectual departments in the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . The See also:

• HISTORICAL

historical value of Gillray's work has been recognized by accurate students of history . As has been well remarked: " See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• STANHOPE, EARLS
• STANHOPE, LADY HESTER LUCY (1776-1839)

Stanhope has turned Gillray to See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account as a veracious reporter of speeches, as well as a suggestive illustrator of events." His contemporary political See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence is See also:

• BORNE, KARL LUDWIG (1786–1837)

borne See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness to in a letter from Lord See also:

• BATEMAN, HEZEKIAH LINTHICUM (1812–1875)

Bateman, dated See also:

• NOVEMBER (Lat. novem, nine)

November 3, 1798 . " The Opposition," he writes to Gillray, " are as See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low as we can wish them . You have been of See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite service in lowering them, and making them ridiculous." Gillray's extraordinary See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry may be inferred from the fact that nearly r000 caricatures have been attributed to him; while some consider him the author of 1600 or 1700 . He is invaluable to the student of English See also:

• MANNERS, CHARLES (1857– )

manners as well as to the political student . He attacks the social follies of the time with scathing See also:

• SATIRE (Lat. satira, satura; see below)

satire; and nothing escapes his See also:

• NOTICE

notice, not even a trifling See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion in See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress . The great tact Gillray displays hitting on the ludicrous See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of any subject is only equalled by the exquisite finish of his sketches—the finest of which reach an epic grandeur and Miltonic sublimity of conception . See also:

• OCTOBER

October 1, 183x, which was successfully refuted by J . See also:

• LANDSEER, SIR EDWIN HENRY (1802-1873)

Landseer in the See also:

• ATHENAEUM

Athenaeum a fortnight later . In 1851 See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry G . See also:

• BOHN, HENRY GEORGE (1796-1884)

Bohn put out an edition, from the See also:

• ORIGINAL

original plates; in a handsome See also:

• FOLIO (properly the ablative case of the Lat. folium, leaf, but also frequently an adaptation of the Ital. foglio)

folio, the coarser sketches being published in a See also:

• SEPARATE

separate See also:

• VOLUME

volume .

For this edition See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• WRIGHT, CARROLL DAVIDSON (1840-1909)
• WRIGHT, CHAUNCEY (1830-1875)
• WRIGHT, JOSEPH (1734-1797)
• WRIGHT, SILAS (1795-1847)
• WRIGHT, THOMAS (1809–1884)
• WRIGHT, THOMAS (1810—1877)
• WRIGHT, WILLIAM ALDIS (1836– )

Wright and R . H . See also:

• EVANS, CHRISTMAS (1766-1838)
• EVANS, EVAN HERBER (1836-1896)
• EVANS, OLIVER (1755–1819)
• EVANS, SIR GEORGE DE LACY (1787–1870)
• EVANS, SIR JOHN (1823-1908)

Evans wrote a valuable commentary, which is a See also:

• GOOD, JOHN MASON (1764-1827)

good history of the times embraced by the caricatures . The next edition, entitled The Works of James Gillray, the Caricaturist: with the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

Story of his Life and Times (Chatto & Windus, 1874), was the work of Thomas Wright, and, by its popular exposition and narrative, introduced Gillray to a very large circle formerly ignorant of him . This edition, which is See also:

• COMPLETE

complete in one volume, contains two portraits of Gillray, and upwards of 400 illustrations . Mr J . J . See also:

• CARTWRIGHT, EDMUND (1743–1823)
• CARTWRIGHT, JOHN (1740–1824)
• CARTWRIGHT, PETER (1785–1872)
• CARTWRIGHT, SIR RICHARD JOHN (1835– )
• CARTWRIGHT, THOMAS (c. 1535–1603)
• CARTWRIGHT, WILLIAM (1611–1643)

Cartwright, in a letter to the Academy (Feb . 28, 1874), See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to the existence of a MS. volume, in the See also:

• BRITISH

British Museum, containing letters to and from Gillray, and other illustrative documents . The extracts he gave were used in a valuable See also:

• ARTICLE (from Lat. articulus, a joint)

article in the Quarterly See also:

• REVIEW (Fr. revue, from revoir, to see again, Lat. re and videre)

Review for See also:

• APRIL

April 1874 . See also the Academy for Feb . 21 and May 16, 1874 .

There is a good account of Gillray in Wright's History of Caricature and See also:

• GROTESQUE

Grotesque in Literature and Art (1865) . See also the article CARICATURE .