Engraving (coloured fashion). A satire on the fashion for dress projecting in front to give the effect of pregnancy. A promenade in a park. On the extreme left is a little girl holding a doll, both dressed in the prevailing fashion. Next walks (left to right) the Prince of Wales between Mrs. Fitzherbert (Ieft) and the Duchess of York (right), who both take his arm. Next and behind, an elderly hag taking the arm of a 'cit' travesties the fashion. The next couple are two ladies walking right to Ieft, young and good-looking, who wear their short-waisted dresses and clinging draperies with credit; the one in profile is probably Lady Charlotte Campbell. Next and in the middle distance is a group of three: Mrs. Hobart (?) and Lady Archer (the latter in a riding-habit) face each other angrily; a man stands between them. In the foreground Lady Cecilia Johnston stands in profile to the left, a paroquet sitting on the enormous protuberance below her waist; her companion (George Hanger?) wears a large cocked hat and holds a club. On the extreme right a couple walks off in back view. Elliot describes 'the modern fashion of dress for young ladies', worn at balls etc. The idea was to imitate the drapery of statues and pictures, the dress fastened immediately below the bust. The 'slight swell of the figure' was imitated by pads on the stomach, an exact representation of a state of pregnancy. This dress is accompanied by a complete display of the bosom-which is uncovered, and supported and stuck out by the sash immediately below it. 'Life and Letters of Sir G. Elliot', 11. 133 (25 Apr. 1793). See also 'Auckland Corr.' ii. 500 (30 Apr. 1793). Its introduction by Andrews to Reynolds's comedy 'How to grow Rich' (Covent Garden, 18 Apr. 1793), when a pad was produced. 'Life of Frederick Reynolds', ii. 162-4. A farce, 'The Pad' (Robert Woodbridge), was acted at Covent Garden, 27 May 1793. Partial description from Catalogue of Political and Personal Satires Vol. VII. 8388.