Eighteenth-Century Life Volume 35, Number 3, Fall 2011 doi 10.1215/00982601-1336790 Copyright 2011 by Duke University Press 29 R “Like as My Profile”: Of Monuments, Money, and Political Caricature in Spring  Bradford Mudge University of Colorado Denver In the preface to his Reminiscences (1828), Henry Angelo famously remarks on the English love of portraiture: “Of all civilized nations, ancient or mod- ern, England perhaps has manifested the greatest fondness for portraiture, whether the human character was to be depicted with the pencil, the chisel, or the pen.” 1 This “great fondness for portraiture,” however, is not without qualifcation: English enthusiasm for depictions of “the human character,” for portraits in oils, stone, or print, may well exceed that of all “civilized nations,” but, Angelo insists, there is no way of actually knowing whether this “national propensity may be ascribed to the good, or the bad taste of the country.” There is no way of knowing, in other words, to what degree the English love of portraiture can be attributed to a refned and ennobling interchange between character and viewer, or to something else entirely, something dangerous like vanity or pride, or something frivolous like idle curiosity. Angelo explains that if the love of portraiture originated in that amor patriae, and social afection, which sculptured the veritable efgies upon the tomb, to perpetuate, by these silent resemblances, the fond memory of the illustrious dead, rather than load