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Cartoon, Wife & No Wife, or, A trip to the Continent

Cartoon, Wife & No Wife, or, A trip to the Continent


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Cartoon, Wife & No Wife, or, A trip to the Continent

Cartoon, Wife & No Wife, or, A trip to the Continent, by James Gillray. Showing the secret marriage believed to have taken place between the Prince of Wales (later George IV) and Mrs Fitzherbert. Also present are Lord North (asleep, left), Charles James Fox (giving away the bride) and Edmund Burke (performing the ceremony dressed as a Jesuit). Date: 1786

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Media ID 14229722

© The Sharp Illustration Collection / Mary Evans Picture Library

1780s 1786 Asleep Bride Burke Ceremony Continent Criticism Edmund Fitzherbert Georgian Gillray Harsh Jesuit Satire Satirical Secret Sleeping Trip


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A trip to the Continent

EDITORS COMMENTS
by James Gillray is a satirical print from 1786 that offers a scathing critique of the political and social scandal surrounding the Prince of Wales, later King George IV, and his secret marriage to Catherine "Kitty" Fitzherbert. The print depicts a clandestine wedding ceremony, with the Prince and Mrs. Fitzherbert standing before an altar, exchanging vows. The scene is presided over by Edmund Burke, dressed as a Jesuit priest, and Charles James Fox, who is giving the bride away. Lord North, the Prime Minister at the time, is shown dozing off in the background, oblivious to the events unfolding before him. The print's title, "A trip to the Continent," is a reference to the common belief that the couple had traveled to Europe to elope and marry in secret, as the Church of England would not sanction a marriage between a royal and a commoner. The print is a harsh criticism of the Prince's behavior and the hypocrisy of the political establishment. The inclusion of Edmund Burke, a prominent anti-Catholic figure, as a Jesuit priest is a particularly pointed jab at the Prince and his perceived lack of moral fiber. The print's satirical tone and intricate detail make it a fascinating window into the political and social climate of the late 18th century, and a testament to the power of cartoons as a form of political commentary. The print was produced during the 1780s, a time of great political upheaval in Britain, and reflects the public's fascination with the personal lives of the royal family and the political elite. Today, it remains an important historical artifact, shedding light on the complex web of power, politics, and scandal that defined the Georgian era.

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