Titianus redivivus; -or- the seven-wise-men consulting the new Venetian oracle, -a Scene in ye Academic Grove. No 1.

Size 40cm x 56cm

Originally published by Hannah Humphrey etched by James Gillray from 'The Genuine Works of James Gillray, engraved by himself. Thomas McLean edition on heavy rag-paper from the original copper plates printed 1830.

An elaborate composition, divided by the arc of a rainbow which supports a woman who stands at a large dark canvas daubing at a goblin-like bearded figure intended for Titian. She holds a palette and brushes, but her paints are mixed together in an earthenware pot like those used by house - or sign-painters; this stands on the rainbow at her feet; an ass with the wings of Pegasus kneels to drink greedily from it. His wings are covered with words: 'Review', 'Magazines', 'Advertis[er]', 'Squib', 'Herald', 'Times', 'True Briton', 'Puff' [repeated many times], 'World', 'Morning Chronicle', 'Evening Post', 'Star', 'Sham Abuse', 'Squibbs', 'Oracle', 'Courier'. Above the canvas, and at the apex of the design, is an eagle surrounded with flames, and the centre of rays which illuminate black clouds in the upper part of the print; in its claws is a scroll: 'Venetian. Manuscript'. The artist is poised on high-heeled shoes, her quilted petticoat is ragged, but from her waist hangs a vast train which drapes the rainbow and terminates in peacock's feathers. This is held up by three naked Graces. Along the rainbow is etched: 'redeunt Titianica regna, jam nova progenies coelo demittitur alto'. Part of a reflected rainbow issues from the painting on the canvas, with a fainter version of the inscription '. . . va pro[gen]ies . . . demittitur alto', letters being concealed by the hair of the artist and by a flamboyant winged figure seated on the rainbow; he blows his trumpet, from which issue the words: 'You little Stars, hide your diminish'd Head[s].' These words terminate in thick clouds from which five stars fall like meteors, leaving trails inscribed: 'Rubens', 'Correggio', 'Michael Angelo', 'Raphael', 'Parmegiano'.
Beneath the rainbow is a paved floor. In the foreground (left) the head and shoulders of (the ghost of) Sir Joshua Reynolds emerge, pushing up one of the stones; he is draped in a shroud, but wears spectacles; in his right hand is his ear-trumpet, his left is raised admonishingly, and he says:

"Black Spirits & White; Blue Spirits & Grey. 
Mingle, mingle, mingle! - you that Mingle may."

Behind him (left) is a headless statue of Apollo on a pedestal against which leans a pile of portfolios inscribed: [1] 'Cosway', 'Sandby', 'Bartolozzi', 'Rooker', 'Turner', [2] 'Loutherbourg', [3] 'Beechey Pinxt', [4] 'Fuselli'. A grinning ape crouches at the feet of the Apollo, urinating upon the portfolios and supporting himself on a large volume: 'List of Subscribers to the Venetian Humbug at Ten Gs each Dupe'; he wears a jacket and a fool's cap. On the right three men run off furtively to the right: nearest to the spectator is a small man carrying on his head an open sack inscribed 'Lottery 5 Gs a dip'; this sheds its contents: small papers inscribed 'Ticket', 'Picture' or '2 Pict[ures]'. From his coat-pocket projects a large book: 'Bible by Mack[lin]'. He says: "Damn their secrets, I say! - I've got a fine Load of them here! - come who'll have a Dip in my Lucky bag! - all Prizes here!" Next him is Alderman Boydell in his furred gown, a large 'Shakespeare' under his right arm. He says: "How? - What? - another Gallery? - Mr President! I'd see them all starve first, the Villains! O my money! my Money!!!" On the extreme right is West, President of the Academy, holding palette and brushes; he says slyly to Boydell: "Charming Secret Friend, for thee to dash out another Gallery with! - but I'm off!!"
These foreground figures are in shadow; behind them, in the light of the rainbow, is a crowd of artists. In the front seven painters sit close together, as if in an art school, each on a stool or box, each with palette and brushes and holding on his knees a canvas, whose back faces the spectator. On the right, and most conspicuous, is Farington, good-looking and gentlemanly, directed to the left, saying: "Will this Secret make me Paint like Claude? - | - will it make a Dunce, a Colourist at once? -" From his coat-pocket hangs a paper: 'Method of Eating ones Way into the Academy'. In his right hand is a rolled paper: 'Filchings from Wilson'. The back of his canvas is inscribed: 'Specimen of Faringtonian Taste, the Sepulchre of Common-Sense'. He has a sheaf of small brushes. Next him sits Opie, a loutish fellow with unlatched shoes and the wrinkled gaiters of a countryman; he has three large brushes and in his right hand is a trowel. He says: "Will it Paint Thick & Fat, d'ye see? - | If not, why, D------n my Es twont do for me!" On his canvas: 'Specimen of Opiean Delicacy Flesh-Hills & Blankets'. Next is Westall, with a jovial expression; in his right hand is a pen; he asks: "When I have Flourish'd, can I Scumble down, | & Glaze? to hide my Blunders from ye Town?" His canvas is 'Specimen of Westalian Sublimity Human Nature à la Monboddo'. The faces of the remaining four are concealed by their canvases. Hoppner holds a palette-knife; his breeches and stockings are tattered; he asks: "As I in Reynolds style my works Begin; | Wont Titian's Finish, hoist on me the grin?" His canvas: 'Spec[imen] of Hopnerian-Truth
a d------d Black Sketch'. Next is Stothard, with thin and clumsy legs, his
foot protruding through a shoe. He holds a porte-crayon and under his right hand is a print of two nude figures. He asks: "Will it on White Grounds equal shine? | For when I Trace from Ancient works Divine | I use no other". On his canvas: 'Speci[men] of Stothardian Originality. Shadows of Shades.' Next is Smirke, wearing half-boots of fashionable intention but with one spotted and one striped stocking. He has a very small palette and a few brushes, and asks: "Will it begin & finish well a Part? - | For d------n the Whole, that's no criterion of ye Art." He holds a [?] magnifying-glass and brushes; his canvas is inscribed: 'Specimen of Smirk-ing - Humour. Children at Sh------e.' The stout Rigaud sits at the left end of the row, with a large array of brushes, a brush in his clumsy hand. He asks: "Can I make Alterations, & load one Colour | Over t'other? - without a Hotch-potch altogether". His canvas: '[Specimen] of Rigaudian Harmony Nothing at all at all.'
Behind these seven, who have already obtained the Secret, are crowds of others who clamour for it. They are increasingly simian in appearance as they recede in perspective; they look towards the girl on the rainbow, holding up brushes and palettes. Three hold portfolios: 'Downman del.', 'Edridge del.', and 'Hamilton'. A few are identified by names on their palettes: 'Northcoate', 'Tresham', 'Lawrence', 'Devis', 'O. Humphries', 'Daniel', 'Risin[g]', 'Bigg'. Some of these, as tiny ape-like creatures, swarm up the rainbow, and one is just visible behind the feet of the purveyor of the Secret. Four little naked infants fly above the artists among clouds, puffing blasts from their posteriors. Their wings are inscribed respectively: 'Ventus Beaumontinus', 'Ventus Malonicus', 'Ventus Humianus', 'Ventus Rub. Bolusius'. The three first appear to represent critics or connoisseurs: Sir George Beaumont, Malone, Hume. In the background are (right) the 'Royal Academy', its façade dangerously cracked, and (left) the temple of Fame surrounded with scaffolding. Above the design: 'Ah! ha! - Ah! ha! Messrs Van-Butchell! - Ireland! - Charles! - Lane & Lackington! - what are you now? - ah! ha! - ah! ha! - ha! ha! ha!!!' 2 November 1797