Abstract

REVIEWS 193 (1808) as a starting point. Baker points out that satires like this one that depicted large, diverse crowds in front of print shops did not reflect the commercial reality of the trade: caricatures were aimed at those who could afford them, and ‘a crowded, bustling print-shop window did not sustain a business’ (150). Because the cost limited the market for graphic satires, print sellers often offered a variety of other commodities as well, including books, artists’ paints, and stationery supplies. The final chapter ‘Satiric Stock’ identifies significant patterns and trends in the satires produced by specific artists and publishers, and applies the technique of network visualisation graphing to examine changes in content evident in the prints Cruik- shank and his publishers published between 1789 and 1810. As with any scholarly book, there are some deficiencies. Despite Baker’s repeated emphasis on the importance of location and geography, he includes no map of London to help the reader visualise these connections. Similarly, this book would have benefitted from a more judicious selection of illustrations; although Baker produces seven network visualisation graphs, he includes no caricatures to show how worn-out plates created imperfect prints, or how artists changed the copper