The death of the property tax! Or 37 mortal wounds for ministers & the inquisitoral commissioners! / G. Cruikshank sculp.
Henry Brougham, John Bull, and the British lion (Leo Britannicus) attacking a hydra representing the property tax. At tail of the monster Mr. Tierney tells Britannia to rise. In the background, Liverpool, the Regent, Castlereagh, and Vansittart hasten up a slope with a sign-post pointing to "Economy."
Forms part of British Cartoon Prints Collection (Library of Congress).
Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 9, no. 12752
It wasn't really until the 1700s that caricature truly blossomed as a form of political criticism. In the late 1750s, a man named Thomas Townshend began using the techniques employed by earlier engravers and applying them towards a political model. This gave Thompson's cartoons a much greater feeling of propaganda than previous artistic critiques of the time. The intense political climate of the period, and often accusatory nature of most political cartoons forced many artists to use pseudonyms in order to avoid accusations of libel. Other artists took it a step farther, and left their cartoons completely unsigned, foregoing any credit they may have received. Political higher-ups were notoriously touchy about their reputations and were not afraid to make examples of offenders. Puck was the first successful humor magazine in the United States of colorful cartoons, caricatures and political satire of the issues of the day. It was published from 1871 until 1918.