his own party to power, changed his
political opinions--that is to say "jumped Jim Crow,"--and was made
Attorney General by the Duke of Wellington. Next him is Lord Stanley,
who commenced life as a Whig and was a member of Lord Grey's Reform
administration, but unprepared to go the lengths which his party seemed
disposed to take, he too "jumped Jim Crow," deserted them, and joined
the ranks of the Opposition. Lord Stanley's _vis-a-vis_ is Sir James
Graham; in his early days he had distinguished himself by the strength
of his radical opinions, but as a member of Lord Grey's cabinet, he
suppressed these sentiments, and "jumped Jim Crow" by confining himself
more strictly within Whig limits. Conspicuous amongst the performers is
Lord Melbourne! When in office under Mr. Canning he had made several
anti-Reform speeches, but afterwards became a member of the Government
of Lord Grey by which Reform was carried;--as Prime Minister he went far
nearer to the principles of absolute democracy than either Lord Grey or
Lord Althorp. Lord Melbourne's face, however, shows unmistakable
repugnance at finding that his numerous "wheels about" have brought him
face to face with O'Connell, and he turns in disgust from the famous
agitator, who, with his thumb to his nose and his left arm stuck in his
side, shows that he has no intention of permitting him to enjoy a _pas_
all to himself. O'Connell of course shows himself complete master of the
figure which he had danced so frequently; one of the most shifty,
unstable men of his day, he can scarcely be called a politician, for
like all agitators, the person he really sought to serve was himself
alone. He chopped and changed just as it suited his purpose, and is
properly introduced by the artist amongst the most adroit and vigorous
of the political double shufflers.

The Duke of Wellington and Sir Robert Peel find themselves _vis-a-vis_,
in allusion to their conduct with reference to Catholic Emancipation.
Both had originally been consistent opposers of the measure, which was
at last carried by the influence of the very men who before had been its
most persistent adversaries.

But, if any one had "turned about and wheeled about," it was Sir Francis
Burdett, and accordingly the artist introduces him as indulging in a
very flourishing _pas seul_; he wears a self-satisfied smirk, and
carries his thumbs in his waistcoat, in allusion to his own contention
that he had been always consistent. Yet thi