A fat lady, sitting with a man and woman at a tea table, reacts in horror as a hot poker from the fire falls on her dress and sets it on fire. The man sits helplessly while the second woman upsets the table in her alarm. A butler, entering the room, drops a plate of muffins, and a cat scampers away from the fire. A painting of Mt. Vesuvius hangs over the fireplace. James Gillray, active around the late 18th and early 19th centuries, is celebrated as one of England’s most influential caricaturists. His satirical engravings, often executed with biting wit, laid the groundwork for modern political cartoons. Gillray’s art thrived during a turbulent time in British history, marked by the Napoleonic Wars, social upheaval, and significant political intrigue. With his sharp eye for exaggeration and absurdity, he lampooned figures like King George III, Prime Minister William Pitt, and even Napoleon Bonaparte, casting them in grotesque and humorous forms that skewered their policies and personalities. Not confined to politics, Gillray also explored social satire, vividly portraying the eccentricities of Georgian society with a mixture of scorn and humor. His works, created using copperplate engraving and hand-coloring, showcased exceptional technical skill, blending dynamic composition with meticulous detail. Pieces such as “Advantages of Wearing Muslin Dresses” and “Harmony Before Matrimony” became iconic, illustrating his ability to encapsulate complex themes in a single image. Though he often faced criticism for the cruelty of his depictions, Gillray’s incisive commentary resonated widely, shaping public opinion and earning him a lasting legacy as the “father of the political cartoon.” His influence endures, embodying the power of satire in art and communication.