Page:English Caricaturists and Graphic Humourists of the nineteenth century.djvu/299

From Wikisource
Jump to: navigation, search
This page has been validated.
213
THE ADELAIDE MILL."

habited in a suit of grey clothing. "How dare you appear," says the apparition, "without a black coat?" to which the frightened, pedestrian replies, "The tailor would not trust me, sir." In August, 1830, he gives likenesses of the new king and queen, William the Fourth and Adelaide, surrounded by a halo of glory. The new king, in reference to his profession, and by way of obvious contrast to his predecessor, is subsequently depicted as an anchor labelled, "England's best bower not a maker of bows." From other contemporary pictorial skits by Seymour we learn that various changes were made in the royal establishment, and the new queen seems to have addressed herself specially to a reform in the dresses of the court domestics. On the 1st of October, 1830, Seymour represents her grinding an enormous machine, called the "Adelaide Mill," into which the women servants, dressed in the outrageous head-gear and leg-of-mutton sleeves of the period, are perforce ascending, and issuing from the other side attired in plain and more suitable apparel. "No silk gowns," says Her Majesty as she turns the handle. "No French curls; and I'll have you all wear aprons." The new queen seems also to have shown a disposition to encourage native manufactures and produce at the expense of French and continental importations. These changes were not particularly pleasing to the Conservative lady patronesses of Almack's, who were celebrated at this time for their capricious exclusiveness. One of Robert Seymour's satires, bearing date the 1st of November, 1830, shows us a conference of these haughty dames, who seriously discuss the propriety of admitting some lady (probably the queen) who proposed appearing at one of the balls "in some vulgar stuff made by the canaille at a place called Kittlefields" [Spitalfields].

French Revolution of 1830.Whilst England was thus peacefully passing through the excitement of a succession to a vacant throne, France was convulsed with one of her ever-recurring revolutions. Charles the Tenth, driven from his throne, had been replaced by one who in his turn, some three and twenty years afterwards, was doomed to give place to the Bonaparte whose sun we ourselves have seen set in the defeat and disaster of Sedan. We find portraits in September, 1830, of Louis