Let me have good proof of your greediness to devour my labours, and I will dish up such a meal for you in my next volume, as shall go nigh to produce extermination by surfeit. One favour, alone, I crave—give me abuse enough; let no squeamish pretences of respect for my bookseller, or disguised qualms of apprehension for your own sacred persons, deter the natural inclination of your hearts. The slightest deviation from your usual course to independent writers—or one step towards commendation from your gang, might induce the public to believe I had abandoned my character, and become one of yourhonourable fraternity-the very suspicion of which would (to me) produce irretrievable ruin. Your masters, the trading brotherhood, will (as usual) direct you in the course you should pursue; whether to approve or condemn, as their 'peculiar interests may dictate. Most sapient sirs of the secret bandit' of the screen, inquisitors of literature, raise all your arms and heels, your daggers, masks, and hatchets, to revenge the daring of an open foe, who thus boldly defies your base and selfish views; for, basking at his ease in the sunshine of public patronage, he feels that his heart is rendered invulnerable to yourpoisoned shafts. Read, and you shall find I have not been parsimonious of the means to grant you foodand pleasure: errors there are, no doubt, and plenty of them, grammatical and typographical, all of which I might have corrected by an errata at the end of my volume; but I disdain the wish to rob you of your office, and have therefore left them just where I made them, without a single note to mark them out; for if all the thistles were rooted up, what would become of the asses? or of those "Who pin their easy faith on critic's sleeve, And, knowing nothing, ev'ry thing believe?" Fully satisfied that swarms of literary blow flies will pounce upon the errors with delight, and, buzzing with the ecstasy of infernal joy, endeavour to hum their readers into a belief of the profundity of their critic erudition;—I shall nevertheless, with Churchill, laughingly exclaim—"Perish my muse"

This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.