Inspire Me

Satire and Scandal: Media in
18th-Century England

Satire print by James Gillray on loan to English Heritage from a private collection.

Satire print by James Gillray on loan to English Heritage from a private collection.

News sharing and gathering has been in existence, in one form or another, as long as communication itself. But a boom in 18th-century publishing launched a new media culture that saw the news disseminated in a way that hadn't been possible before.

In this article author and historian Tim Clayton explores the evolution of 18th-century media in England and how it paved the way for the international media empire we know today.

media, noun

/ˈmiːdiə/

the main ways that large numbers of people receive information and entertainment, that is television, radio, newspapers and the internet.

- Oxford Learner's Dictionary -

Long before Bridgerton...

At the centre of the Netflix series Bridgerton, set in the early 19th century and partly filmed at both Ranger's House and Wrest Park, is a scandal sheet that is read by all the 'ton' – the fashionable world. The mysterious author is a 'Lady Whistledown' who remains anonymous – for the first two series of Bridgerton at least – to the frustrated dismay of the English society at the centre of her exposés.

Although Lady Whistledown's gossip sheet is fictional, there were plenty of similar columns in both magazines and newspapers in the 18th and 19th centuries.

Their heyday was actually not the Regency when Bridgerton is set, but rather the wilder 1780s when Seymour Worsley of Appuldurcombe House became an instant scandalous celebrity, and Maria Fitzherbert took refuge at Marble Hill from the merciless lash of the press.

Read on, and discover historical truths that are perhaps stranger (and more scandalous!) than Bridgerton's fiction.

Media control and the first English newspaper

The earliest surviving English printed pamphlet reported the Battle of Flodden in 1513.

But Tudor rulers preferred news to be delivered controllably via the pulpit in church.

Things were even more heavily regulated during the reign of Elizabeth I, when a Star Chamber decree of 1586 forbade the publication of news entirely.

Star Chamber decrees were set by the Star Chamber who were a court made up of judges and privy councillors as a supplement to the regular justice of the common-law courts.

Printers, however, evaded this 1586 ruling by smuggling sheets in from Amsterdam. By the time of the Civil War and the Interregnum in the 17th century, when government was suspended, news sheets and pamphlets proliferated.

This continued well into the following century.

Following the restoration of the monarchy, a printing act of 1662 sharply restricted news publications. It was not until this finally lapsed in 1695 that newspapers began to thrive again.

This culminated with the first daily paper in 1702, The Daily Courant, which was a single sheet, printed only on one side and news focussed.

Front page of The Daily Courant, the first daily paper © Chronicle and Alamy Stock Photo.

Front page of The Daily Courant, the first daily paper © Chronicle and Alamy Stock Photo.

Front page of The Daily Courant, the first daily paper © Chronicle and Alamy Stock Photo.

Front page of The Daily Courant, the first daily paper © Chronicle and Alamy Stock Photo.

Boom! An 18th-century printing cultural explosion

The 18th century saw the print industry boom, with annual newspaper circulations of 2.4 million copies in 1713, and 16 million in 1801.

The boom was chiefly down to the expanding numbers and wealth of a literate urban middle-class with an interest in current affairs and disposable income.

Early English newspapers

Newspapers usually consisted of four pages, two being advertisements, while the middle pages would usually cover foreign, domestic, parliamentary and commercial news. Newspapers were only a part of the printed expression of topical news.

Early English pamphlets

Pamphlets, on the other hand, responded at greater length.

The pictures of prominent people also appeared as printed portraits and newsworthy episodes were depicted in topical prints and satires.

Pamphlets were usually less than a hundred pages long, sold stitched in a soft cover.

La Belle Assemblee publication © ART Collection and Alamy Stock Photo.

La Belle Assemblee publication © ART Collection and Alamy Stock Photo.

Satirical prints

Meanwhile, satirical prints were sold as single sheets of various sizes, the standard being 250mm x 350mm (somewhere between modern-day A4 and A3).

They were all sold by specialists in news to an ever-increasing audience of the literate and curious at prices that shopkeepers and master tradesmen could afford.

Coffee houses and inns bought a range of papers, pamphlets and prints to attract customers and topical prints were displayed in shop windows.

Meanwhile, advertisements in newspapers alerted audiences to prints, pamphlets and an expanding range of magazines. These publications attracted orders from provincial booksellers and their patrons.

The Spectator magazine newspaper 1747 © Colin Waters and Alamy Stock Photo.

The Spectator magazine newspaper 1747 © Colin Waters and Alamy Stock Photo.

In the first half of the century the production of political prints increased, especially in wartime.

The first ‘prime minister’, Robert Walpole, attempted to impose censorship but soon discovered that explaining why a satire was offensive in a court of law could be more embarrassing than was worthwhile.

For now 'celebrity scandals' were rarely made into satirical prints: royal mistress Henrietta Howard, mistress to the Prince of Wales (later George II), for example, had her portrait published but without satire.

Lloyd's Coffee house in London, by William Holland © CPA Media Pte Ltd and Alamy Stock Photo.

Lloyd's Coffee house in London, by William Holland © CPA Media Pte Ltd and Alamy Stock Photo.

The power and politics of satire

The turbulent politics, scandals and controversies of the 1760s encouraged an appetite for political satire that was exploited most successfully by Mary Darly.

She was the most prominent of a number of women printsellers at this time – her leading position in the trade was eventually inherited by Hannah Humphrey who first set up shop in 1779.

'The City Rout' published by Matthew and Mary Darly in 1776 © Heritage Image Partnership Ltd and Alamy Stock Photo.

'The City Rout' published by Matthew and Mary Darly in 1776 © Heritage Image Partnership Ltd and Alamy Stock Photo.

'My Lord Tip-Toe Just Arrived from Monkey Land' published by Matthew and Mary Darly in 1771 (Monkey Land in this context is France) © agefotostock and Alamy Stock Photo.

'My Lord Tip-Toe Just Arrived from Monkey Land' published by Matthew and Mary Darly in 1771 (Monkey Land in this context is France) © agefotostock and Alamy Stock Photo.

The birth of the English cariacature

Around this time we also start to see caricature drawings with exaggerated features, which was a fashion imported from Italy.

By the 1770s ladies and gentlemen who had been taught to draw caricatures were contributing ideas to Mary Darly. Fashionable society became as much a subject for satirical prints as politics had been.

'Oh Heigh Oh or A View of the Back Settlements' published by Matthew and Mary Darly in 1776 © CMA/BOT and Alamy Stock Photo.

'Oh Heigh Oh or A View of the Back Settlements' published by Matthew and Mary Darly in 1776 © CMA/BOT and Alamy Stock Photo.

By the time the talented James Gillray took up caricature, around 1780, certain celebrities were readily identifiable both from serious portraits in print shops and caricature portraits that one artist copied from another.

'Maniac-raving's-or-Little Bony in a strong fit Cartoon' (Cartoon showing Napoleon in a fury over relations between France and England) by James Gillray published in 1803 ©  Photo 12 and Alamy Stock Photo.

'Maniac-raving's-or-Little Bony in a strong fit Cartoon' (Cartoon showing Napoleon in a fury over relations between France and England) by James Gillray published in 1803 ©  Photo 12 and Alamy Stock Photo.

Caricature and colour

This period was notable for two other developments: a few printsellers began to specialise in caricature, some attracting custom through exhibitions of their products, and colour became much more common.

This was probably a result of the invention in 1780 by William Reeves of hard cakes of soluble watercolour, so that artists no longer had to grind and mix their own pigments.

'The Macaroni Print Shop' by Edward Topham and published by Matthew and Mary Darly © Album and Alamy Stock Photo.

'The Macaroni Print Shop' by Edward Topham and published by Matthew and Mary Darly © Album and Alamy Stock Photo.

'Advantages of wearing muslin dresses!' by James Gillray published 1802 © RKive and Alamy Stock Photo.

'Advantages of wearing muslin dresses!' by James Gillray published 1802 © RKive and Alamy Stock Photo.

Victims of satire
01. Richard Worsley

One of Gillray’s first targets was Sir Richard Worsley who in 1782 had sued Captain Bissett for adultery with his wife Seymour.

In court it emerged that not only was Bissett the latest in a long line of lovers who Richard had permitted to court his wife, but that on one occasion at Maidstone Baths, Richard had lifted Bisset onto his shoulders to gaze through a window at Seymour bathing naked.

'Sir Richard Worse-than-sly, exposing his wife's bottom; - o fye!' by James Gillray published by William Humphrey in 1782 © VTR and Alamy Stock Photo.

'Sir Richard Worse-than-sly, exposing his wife's bottom; - o fye!' by James Gillray published by William Humphrey in 1782 © VTR and Alamy Stock Photo.

The court found Bissett guilty but awarded Richard only one shilling in damages. Gillray etched two versions of this story.

'A Peep into Lady W!!!!!y's Seraglio' featuring the trial between Sir Richard Worsley and George Bissett by James Gillray published by William Humphrey in 1782.

'A Peep into Lady W!!!!!y's Seraglio' featuring the trial between Sir Richard Worsley and George Bissett by James Gillray published by William Humphrey in 1782.

Hannah Humphrey published The Shilling and this was closely reported in the newspapers and in the racier magazines.

This incident also spawned scurrilous pamphlets such as Genuine Anecdotes and Amorous Adventures of Sir Richard Easy, and Lady Wagtail.

Victims of satire
02. George, Prince of Wales (later King George IV)

In December 1785 the Prince of Wales secretly married Maria Fitzherbert, a Catholic widow a few years older than him.

The wedding was illegal on two counts – the heir could not marry a Catholic and nor could he marry without his father, the King's permission.

When news leaked out a few months later, some 34 caricatures followed within weeks.

The one that hurt most seems to have been The Royal Toast: Fat, Fair and Forty, since it drew a reply a week later, Tender, Trim and only Thirty.

'The Royal Toast: Fat, Fair, and Forty.' featuring Maria Fitzherbert in 1786.

'The Royal Toast: Fat, Fair, and Forty.' featuring Maria Fitzherbert in 1786.

'Tender, Trim and Only Thirty' featuring Maria Fitzherbert published in 1786.

'Tender, Trim and Only Thirty' featuring Maria Fitzherbert published in 1786.

The Prince lived with Maria until 1794 when his debts had reached £600,000.

His father, King George III, made it clear that the debts would only be paid if the Prince married his cousin Charlotte. The Prince of Wales took Lady Jersey as mistress and abandoned his 'wife'.

Gillray celebrated the Prince's acceptance with The Lover's Dream, showing Maria and the Prince’s other friends and pleasures in full flight. Maria took refuge at Marble Hill.

'The Lover's Dream' featuring the Prince of Wales by James Gillray and published by Hannah Humphrey in 1795.

'The Lover's Dream' featuring the Prince of Wales by James Gillray and published by Hannah Humphrey in 1795.

James Gillray © Chronicle and Alamy Stock Photo.

James Gillray © Chronicle and Alamy Stock Photo.

The rise and fall of caricatures

Gillray's main 'victims' and those of other caricaturists – depending on who was paying them or sometimes on conviction – were the king or queen, prime minister Pitt and his allies on one side of the opposition; and politicians and personalities grouped around the Prince of Wales on the other.

After the French Revolution of the late 18th century took a republican turn, fears of a revolution in Britain became acute, especially in the light of aristocratic overindulgence.

The most pro-French caricature printseller was locked up for selling radical pamphlets.

Eventually hostile treatment of the royal family was banned.

'Madam Blubber On Her Canvass' featuring r: Hannah Humphrey (London)Subject: Samuel Hood, 1st Viscount Hood; Sir Cecil Wray and Georgiana, Duchess of Devonshire by Thomas Rowlandson and published by Hannah Humphrey in 1784 © Artokoloro and Alamy Stock Photo.

'Madam Blubber On Her Canvass' featuring r: Hannah Humphrey (London)Subject: Samuel Hood, 1st Viscount Hood; Sir Cecil Wray and Georgiana, Duchess of Devonshire by Thomas Rowlandson and published by Hannah Humphrey in 1784 © Artokoloro and Alamy Stock Photo.

Satirists were often cruel and Hannah Humphrey picked repeatedly on certain elderly, sour or overweight ladies – notably Albinia Hobart, another Marble Hill connection, known as ‘Madam Blubber’.

Newspapers said – probably untruthfully – that Albinia tried to buy up the whole edition of certain caricatures of her.

This was a standard method adopted by the rich to suppress unwanted publications, but it invited blackmail.

'A sphere, projecting against a plan' featuring William Pitt and the Honorable Albinia Hobart, later Countess of Buckinghamshire by James Gillray published by Hannah Humphrey in 1792 © Picture Art Collection and Alamy Stock Photo.

'A sphere, projecting against a plan' featuring William Pitt and the Honorable Albinia Hobart, later Countess of Buckinghamshire by James Gillray published by Hannah Humphrey in 1792 © Picture Art Collection and Alamy Stock Photo.

'At church' featuring Albinia Hobart, Countess of Buckinghamshire by James Gillray and published by Hannah Humphrey in 1791 © The Picture Art Collection and Alamy Stock Photo.

'At church' featuring Albinia Hobart, Countess of Buckinghamshire by James Gillray and published by Hannah Humphrey in 1791 © The Picture Art Collection and Alamy Stock Photo.

The victim of satire: better than being ignored?

Others took a more thick-skinned view of being caricatured.

The opposition leader Charles James Fox was simultaneously one of Humphrey's principal victims and one of her best and best-liked customers.

George Canning asked to be caricatured, because being caricatured was a sign of celebrity and many politicians preferred being mocked to being ignored.

'Charles James Fox ('Frontispiece')' by James Sayers and published by Hannah Humphrey in 1794 © ART Collection and Alamy Stock Photo.

'Charles James Fox ('Frontispiece')' by James Sayers and published by Hannah Humphrey in 1794 © ART Collection and Alamy Stock Photo.

This was not true of the Prince Regent.

Although he collected caricatures, he became increasingly sensitive as his popularity sank and he supplanted Napoleon as the most caricatured person alive, memorably depicted by George Cruikshank as the 'Prince of Whales'.

After failing to obtain convictions when he prosecuted his victims, he resorted to bribery, spending thousands of pounds to suppress hostile prints and secure promises of future silence.

Fashion changed too as the prevailing tone in society became more sober and earnest.

Eventually the single sheet caricature almost disappeared, replaced by the jocularity of the cartoonists working for magazines such as Punch

'Madam Blubber On Her Canvass' featuring r: Hannah Humphrey (London)Subject: Samuel Hood, 1st Viscount Hood; Sir Cecil Wray and Georgiana, Duchess of Devonshire by Thomas Rowlandson and published by Hannah Humphrey in 1784 © Artokoloro and Alamy Stock Photo.

'Madam Blubber On Her Canvass' featuring r: Hannah Humphrey (London)Subject: Samuel Hood, 1st Viscount Hood; Sir Cecil Wray and Georgiana, Duchess of Devonshire by Thomas Rowlandson and published by Hannah Humphrey in 1784 © Artokoloro and Alamy Stock Photo.

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