Original caricature by James Gillray, pulled from his original copper plate. Published for the Bohn Edition of 1851. With later hand colouring.
This caricature depicts the then-Prime Minister, William Pitt the Younger, in an arrogant and dominant light, towering over the House of Commons.
Pitt is shown as a monstrously tall figure, astride the Speaker's chair, symbolising his overwhelming power within Parliament. He is portrayed as a political "factotum" (a person having many diverse responsibilities) who treats the world as his plaything.
Pitt is amusing himself by playing "cup and ball" (or "spike and ball") with the globe of the world, on which "France" is disproportionately large. This highlights his focus on the ongoing war with France and his perception of global power dynamics.
His left foot crushes the prostrate leaders of the Opposition Whig party, including Charles James Fox, Richard Brinsley Sheridan, and Thomas Erskine, who raise their arms in dismay.
His right foot rests on the head of William Wilberforce (known for his efforts to abolish the slave trade) and the shoulder of Henry Dundas, showing his control over his own followers. George Canning is shown kneeling to kiss Pitt's shoe.
Pitt's pockets are stuffed with the "Resources for supporting the War," including guineas (gold coins) and lists of military assets like "200,000 Seamen" and "150,000 Regulars".
Originally published in 1797, the print is a potent example of 18th-century political satire. Gillray was known for his robust attacks on public figures, including the Royal Family and the Prime Minister.
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 late18th 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. Hannah, who had a close relationship with him nursed Gillray through out his final years and following his death the copper plates then formed part of Hannah's estate when she died in 1818. The executor's of Hannah's estate sold Gillray's painstakingly worked plates for there second hand copper weight. Hearing of this, the then publisher, Bohn who had previously expressed an interest in buying the plates set about purchasing them from a variety of different sources. Eventually acquiring over 500. In 1851 Bohn republished the engravings in a large folio volume, "The Works of James Gillray".
