Engraving after the original caricature by James Gillray. Re-engraved on a smaller copper plate by John Miller.
Gillray's cartoon, "Advantages of wearing muslin dresses!" is a satirical print from 1802 that mocks the fashion trend of white, loose-fitting, neoclassical muslin dresses by depicting a woman's dress catching fire from a falling poker by the fireplace, leading to a chaotic scene of a burning dress and alarmed people. The cartoon highlights the extreme fire hazard of the thin, sheer fabric that was popular at the time, turning a fashionable garment into a dangerous risk for the wearer.
A lady's dress catches fire: A hot poker falls from the fire, landing on the leg of a fat woman wearing a white muslin dress. The reaction: The woman reacts in horror, and the dress is shown to be quickly engulfed in flames. A chaotic scene: A man and another woman react in shock, the table is upset, and a butler drops a tray of muffins. A subtle nod to danger: A painting of Mount Vesuvius (an active volcano) hangs over the fireplace, a symbolic reminder of potential destruction and eruption. Satirical intent: The cartoon sarcastically points out the disadvantages of wearing thin, easily flammable muslin dresses.
At the time, white muslin dresses, inspired by ancient Greek and Roman statues, were a popular fashion trend among wealthy women. The danger was recognized: Newspapers published warnings about the increased danger of house fires due to these thin, lightweight fabrics in January 1802, around the time Gillray's print was released. Gillray's commentary: Gillray's cartoon directly addressed this dangerous trend, highlighting the folly of the fashionable ladies of Great Britain.
Gillray was one of five children, and the only one to survive to maturity. In 1770 he was apprenticed to Harry Ashby, a London writing in engraver, and five years later W. Humphrey published a few of Gillray's illustrations including satirical works. By the time Gillray commenced his career satire was old, but personal caricature was in its infancy. Other exponents in this form of art were soon overshadowed by Gillray's superior craftsmanship. His figures were full of vitality, titillating and reflective of some political crisis or private scandal. As his popularity increased so did demand by the public to see more of his work. In the rapidly changing politics of the late 18th century he would produce a plate in twenty-four hours. Although sometimes overlooked his speech bubbles were elaborate and Gillray would spend considerable time composing and redrafting the text.
Between 1791 to 1807 his career continued successfully in association with William and Hannah Humphrey. There after Gillray's health began to suffer. He eventually slipped into madness and died shortly before the Battle of Waterloo on June 1st 1815.
After Gillray's death, Miller and his Edinburgh-based publishing partner, William Blackwood, produced one of the major posthumous editions of Gillray's prints. The nine-volume set, titled The Caricatures of Gillray, was published between 1824 and 1827.
The Miller and Blackwood edition is unique because it was produced using new engravings rather than Gillray's original copper plates, a distinction from other posthumous collections.
The publisher offered different hand-coloring options for the prints, ranging from basic color washes to more detailed colouring.
