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].

[Illustration:
ROBERT SEYMOUR. _October 1st, 1830._

"THE ADELAIDE MILL."

_Face p. 213._]

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had been replaced by one who in his turn, some three and twenty years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 Philippe, king of the French, of
the queen, General Lafayette, the ex-king Charles the Tenth, and the Duc
d'Angouleme. Besides these, we meet with several clever illustrations by
the artist, on stone, of the stirring events of the time, which are
interesting and valuable specimens of his versatile powers.

S