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:

• THOMAS ROWLANDSON (1756–1827)

ROWLANDSON (1756–1827)  , See also:

• ENGLISH

English caricaturist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in Old Jewry, See also:

• LONDON

London, in See also:

• JULY

July 1756, the son of a tradesman or See also:

• CITY (through Fr. cite, from Lat. civitas)

city See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

merchant . On leaving school he became a student in the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of sixteen he resided and studied 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 in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and he afterwards made frequent See also:

• TOURS

tours on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

Continent, enriching his portfolios with numerous jottings of See also:

• LIFE

life and See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . In 1775 he exhibited at the Royal Academy a See also:

• DRAWING

drawing of " See also:

• DELILAH

Delilah visiting See also:

• SAMSON (1135-1211)
• SAMSON (cf. Heb. shemesh, " sun ")
• SAMSON, JOSEPH ISIDORE (1793-1871)

Samson in See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

Prison," and in the following years he was represented by various portraits and landscapes . Possessed of much facility of See also:

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

execution and a ready command of the figure, he was spoken of as a promising student; and had he continued his See also:

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

early application he would have made his See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark as a painter . But by the See also:

• DEATH

death of his aunt, a See also:

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

French See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady, he See also:

• FELL
• FELL, JOHN (1625-1686)

fell See also:

• HEIR (Lat. heres, from a root meaning to grasp, seen in heres or erus, master of a house, Gr. xeip, hand, Sans. hat ana, hand)

heir to a sum of 7000, plunged into the dissipations of the See also:

• TOWN

town and was known to sit at the gaming-table for See also:

• THIRTY

thirty-six See also:

• HOURS, CANONICAL

hours at a stretch . In time poverty overtook him; and the friendship and example of See also:

• GILLRAY, JAMES (1757-1815)

Gillray and See also:

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

Bunbury seem to have suggested See also:

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

caricature as a means of filling an empty See also:

• PURSE (Late Lat. bursa, adapted from Gr. Gupta, hide, skin; possibly O. Eng. pusa, bag, has influenced the change from b to p)

purse . His drawing of See also:

• VAUXHALL

Vauxhall, shown in the Royal Academy See also:

• EXHIBITION

exhibition of 1784, had been engraved by See also:

• POLLARD, EDWARD ALBERT (1828–1872)

Pollard, and the See also:

• PRINT

print was a success . See also:

• ROWLANDSON, THOMAS (1756–1827)

Rowlandson was largely employed by See also:

• RUDOLPH
• RUDOLPH (d. 1o8o)
• RUDOLPH, or RAOUL

Rudolph See also:

• ACKERMANN, JOHANN CHRISTIAN GOTTLIEB (1756–1801)
• ACKERMANN, RUDOLPH (1764-1834)

Ackermann, the See also:

• ART

art publisher, who in 1809-I1 issued in his Poetical See also:

• MAGAZINE

Magazine "The Schoolmaster's Tour "—a See also:

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

series of plates with illustrative verses by Dr See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William Coombe . They were the most popular of the artist's See also:

• WORKS

works . Again engraved by Rowlandson himself in 1812, and issued under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of the " Tour of Dr Syntax in See also:

• SEARCH, or VISIT AND SEARCH

Search of the Picturesque," they had attained a fifth edition by 1813, and were followed in 182o by " Dr Syntax in Search of See also:

• CONSOLATION (Fr. consolation, Lat. consolatio, from consolari, to assuage, comfort, console)

Consolation," and in 1821 by the " Third Tour of Dr Syntax in Search of a Wife." The same Collaboration of designer, author and publisher appeared in the English " See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

Dance of Death," issued in 1814—16, one of the most admirable of Rowlandson's series, and in the " Dance of Life," 1822 . Rowlandson also illustrated See also:

• SMOLLETT, TOBIAS GEORGE (1721-1771)

Smollett, See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

Goldsmith and See also:

• STERNE, LAURENCE (1713-1768)
• STERNE, RICHARD (c. 15gb-1683)

Sterne, and his designs will be found in The Spirit of the Public See also:

• JOURNALS

Journals (1825), The English See also:

• SPY
• SPY (from " to spy " or " espy"; 0. Fr. espie, espier, to spy, watch; cf. Ger. spdhen, Lat. specere, to look; the Fr. term " espionage "is of course from the same source)

Spy (1825), and The Humourist (1831) .

He died in London, after a prolonged illness, on the 22nd of See also:

• APRIL

April 1827 . Rowlandson's designs were usually executed in outline with the See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed-See also:

• PEN (Lat. penna, a feather, pen)

pen, and delicately washed with See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . They were then etched by the artist on the See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper, and afterwards aqua-tintedusually by a professional engraver, the impressions being finally coloured by See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . As a designer he was characterized by the utmost facility and ease of draughtsmanship, and the quality of his art suffered from this haste and over-See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production . He was a true if not a very refined humorist, dealing less frequently than his fierce contemporary Gillray with politics, but commonly touching, in a rather See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle spirit, the various aspects and incidents of social life . His most See also:

• ARTISTIC

artistic See also:

• WORK

work is to be found among the more careful drawings of his earlier See also:

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

period; but even among the exaggerated caricature of his later time we find hints that this See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the humorous might have attained to the beautiful had he so willed . See J . Grego, Rowlandson the Caricaturist, a Selection from his Works, &c . (2 vols., r88o) .