File:Strange symptoms as to the final nature of the late bill. (BM 1868,0808.12319 1).jpg

English: Lithographic caricature magazine of four pages on two leaves, in the form of a (monthly) newspaper; illustrations as follows. 1 July 1832

Page 1.
STRANGE SYMPTOMS AS TO THE FINAL NATURE OF THE LATE BILL. (17165)
Four men haul at a rope, pulling down the tower of an ancient country church (right), where a startled bishop looks up from the porch at the stones which crash down, shouting, 'Thieves! Murder! Thieves!!!' First on the rope is (?) Burdett, who says: 'Let us pull this old place down first, and then we'll see what's next to be done'. Hume, close behind, says: 'Oh then we'll strip the throne of its splendour'. Attwood (a good portrait) adds: 'Extirpate the nobility, and dictate who shall be ministers and who not'. O'Connell (left), his back to the others, hauls at the end of the rope, saying with a grin, 'Aye, aye, and then repeal the Union'. (A satire on the Radicals and on the illusions of those Whigs who called the Reform Bill a 'permanent' or 'final measure'. See Croker, Corr., 1880, ii. 200, and W. M. Praed's article, Morning Post, 1 Jan. 1833, a collection of the declarations of finality made by eminent Reformers. For Attwood and his Birmingham Political Union see No. 16070, &c. Cf. No. 16633, &c.)
A SOLILOQUY. (17167)
Grey sits dejectedly, directed to the left, leaning his head on his hand. He reflects: 'Now the giddy multitude have got their toy, they seem to cast it aside, no general rejoicings, no triumph, no idolising, as I was led to expect'.
AN EXCELLENT REPUBLICAN KING. (17166)
An effigy or statue of a king in crown and robes, rudely carved, sits full-face, stiffly holding out crown and orb. It is on a broad pedestal at the base of which are five rough proletarians (half-length) wearing caps of Liberty. A Minister looks from behind the effigy to ask: 'Now gentlemen, which does your supreme voice direct?—that I should pull the string to make him shake his head or nod it'. A prophecy of the consequences of Reform, passed under the threat of insurrection, cf. No. 16633, &c.
AN AMBASSADOR ABOUT TO VISIT THE COURT OF PETERSBOURG. (17168)
Durham, directed to the right, writes with a meditative scowl. His paper is headed 'Sedition'. On the table is a bulky roll: 'Plan for a free Press in Russia'. Other papers are heaped on the floor: 'Sedition; Plan of Revolt; Reform Bill for the Russian Empire; Reform for Poland; Whigism'.
Page 2.
ZOOLOGICAL SKETCHES. (heading to page)
[1] THE CHAMELEON. (17169)
A chameleon clings to a branch with its prehensile feet, its tail encircling the tree, its tongue extended. Inset in its head is the upturned profile of Lyndhurst. Below the title: 'Has a most ridiculous appearance of gravity, from the creature seeming never to lift up one foot until secure of his hold with others. It is indeed so tenacious of its place, that when opposing objects approach, it does not retreat, but assimulates [sic] its color to them, and so escapes detection. It has a most extraordinary tongue'. (The superbly eloquent Lyndhurst had accepted the office of Chief Baron from Grey on being succeeded as Chancellor by Brougham. Cf. No. 15705, &c.)
[2] THE CROCODILE (17170)
A crocodile stands on its hind-legs in profile to the right; the head of Eldon shedding tears, is inset behind its gaping jaws; it holds a handkerchief. Below the title: 'This most insiduous [sic] animal beguiles its prey with a sound resembling the human voice in affliction, and even sheds tears to deceive. It would be most destructive, were it not, providentially, so sluggish and inactive'. (Eldon is often depicted as a lachrymose old woman.)
[3] THE RATTLE SNAKE. (17171)
A much-coiled rattlesnake has O'Connell's head in profile to the left inset behind its jaws. Below the title: 'This dreadful reptile is the scourge of the country where it is found; breaking in with the horrid sound of the rattle upon the peace and quiet of every rural scene. It is spared by the peasantry, as they superstitiously suppose it to clear the land of other corruptions'. Cf. (e.g.) No. 15662. Fox is a rattlesnake in No. 8684.
[4] THE BUTCHER BIRD. (17172)
The bird, with Wellington's profile behind its beak, stands on a severed tree-trunk inscribed 'Unholy Alliance', facing its victim, a dead bird of similar size with the upturned profile of (?) Hunt; this is spiked on a thorn-like branch. On another branch is spiked a paper, 'The Bill of Reform'. Below the title: 'For its size, one of the most warlike, killing more than it eats, and hanging it on a thorn often to be devoured by others. It has, like some great conquerors of the human species, little but its courage to recommend it'. Cf. No. 17059, &c.
Page 3.
SCENE IN A VESTRY AFTER A CHARITY SERMON. (17173)
Vestrymen entertain the visiting preacher in the vestry, where there is a table for four: two fat fellows guzzle, a leaner one (right) carves a bird, facing the parson, in gown and bands, who rises from his chair, glass in hand. The carver asks: 'Shall I send your Reverence a Mitre'. A fifth man, standing, asks, holding out his glass, 'Will your Reverence do me the honor?' The fat and bloated parson: 'Sir with pleasure I never flinch from my duty'. Two men drink by the fire, exchanging their views: 'What a charming Sermon!; Beautiful! where he spoke of enjoyment as a duty; And the obedience the poor owe to the wealthy'. On the wall hang 'Rules & Regulations'; a view of a church; surplices. Above the door is the word 'Victory', a wall-clock points to 1.50. (This is a select vestry, see No. 16367, &c, the dinner at the parish expense.)
GOING TO THE RACES. (17378)
Scene at a toll-gate. A misshapen and moribund horse is in the shafts of a two-wheeled gig, which blocks the way for well-mounted riders. The toll-keeper (left) addresses the scared-looking driver who is with an over-dressed wife and small son: 'Come, be quick we y er money there's no bellows mender here'. The boy asks: 'Ma! what makes the horse what pulls us cough so every step?' The terrified woman: 'Now do be careful, Mr Jones; suppose the horse was to run away. I'm sure he's very spirited'.
Page 4.
THE ROYAL ASSENT. (17174)
Grey takes the hand of a miserably reluctant King in both his and makes him sign the Reform Bill (see No. 17134), while Brougham (right) sits facing them, raising a monitory finger.
THE RACE OF LIBERTY OR A MAN OF THE MOVEMENT GOING EVEN BEFORE THE TIMES. (17175)
In the foreground is a top-hatted crowd, behind is the royal box at Ascot where the King staggers at the impact of a stone. Bystanders, including a woman, seize the ragged stone-thrower.
A SCHISM AMONGST THE REFORMERS. (17176)
Street scene. A tallow-chandler, with a basket inscribed 'J Dip' and holding a bunch of candles, addresses a fat butcher with a laden tray on his shoulder: 'An illumination, Sir is the old English way of rejoicing. It would give me pain to see a pane without a candle'. Butcher: 'I say if a Man has tender feelings, he must be for a general feast'. (For the non-illumination of London to celebrate Reform see No. 17167. Many suggestions were made for suitable celebrations (The Times, 22 June). Cobbett (Pol. Reg., 16 June) denounced the 'guttlers and guzzlers of Portsoken Ward'.)
THE BIRMINGHAM NIGHT MARE. (17177)
With head and arms thrown back Britannia lies on a low bed, her shield, spear, and helmet beside her. Seated on her chest and staring at her face is Thomas Attwood, cloaked in black. A horse puts its head in at the window, glaring and snorting savagely at the dreamer. (The disturbing potentialities of the Birmingham Political Union, see No. 16070, &c. (and its many imitations), horrify Britannia. A closer travesty of Fuseli's picture than No. 15497.)
SCENE AT BARNES, OR A NEW REFORMER. (17178)

A cheering crowd surrounds a carriage and pair which has been stopped by a barrier across the road. Wellington, raising his hat, stands in the carriage to address the crowd, which is partly bucolic, partly proletarian: 'Ladies and Gentlemen, when an unoffending individual is stopt in the King's highway, and made to utter words against his will, or thrown into the Thames, I certainly can have no objection to join you in exclaiming Reform for ever'. Beyond the barrier (right) is a (tricolour) flag inscribed 'Reform', and the corner of a cobbler's house with the cobbler in the doorway, which is placarded 'Boots & Shoes Mended on a Reform Principle'. The background is a rural reach of the Thames.