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+The Project Gutenberg EBook of English Caricaturists and Graphic
+Humourists of the Nineteenth Century., by Graham Everitt
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: English Caricaturists and Graphic Humourists of the Nineteenth Century.
+       How they Illustrated and Interpreted their Times.
+
+Author: Graham Everitt
+
+Release Date: February 6, 2010 [EBook #31195]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH CARICATURISTS ***
+
+
+
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+Transcriber's notes:
+
+(1) Letters following a carat (^) were originally printed in superscript.
+
+(2) Side-notes were moved to their respective paragraph's start, and
+    treated as titles. for the exact locations see the html version.
+
+(3) The following typographical errors have been corrected:
+
+   Page i: "are useful in themselves, and are neatly and clearly."
+   'clearly' amended from 'cleary'.
+
+   Page 8: "I have seen the ghastly illustrations to the licentious
+   Contes Drolatiques of Balzac." 'Drolatiques' changed from
+   'Diolatiques'.
+
+   Page 100: "Arrogance or Nonchalance of the Tenth Reported."
+   'Nonchalance' changed from 'Nonchalence'.
+
+   Page 114: "In common fairness some credit should be conceded."
+   'conceded' changed from 'conceeded'.
+
+   Page 115: "with a threat of further inquiry into its truth." 'further'
+   changed from 'furthur'.
+
+   Page 116: "This extraordinary work presents us with pictures." 'work'
+   amended from 'works'.
+
+   Page 117: "The King at Home, or Mathews at Carlton House." 'The'
+   amended from 'the'.
+
+   Page 206: "Professor Bates would assign as one of the principal
+   causes of the sterility which befel the genius of Cruikshank."
+   'befell' amended from 'befel'
+
+   Page 246: "who however is too firmly seated on his shoulders to be
+   dislodged." 'dislodged' amended from 'disloged'.
+
+   Page 330: "While at Whitby, a deputation from the Institute of that
+   town waited on John Leech." 'Whitby' amended from 'Whity'.
+
+   Page 349: "which does not show the care and thought which he bestowed
+   upon its elaboration." Comma removed after 'upon'.
+
+   Page 376: "stated anywhere, we shall now proceed to relate them.
+   Thackeray was in London when Seymour shot himself in 1836." Comma
+   after 'them' changed to period.
+
+   APPENDIX V.: "Charles Lever's 'Harry Lorrequer.' 1839. (A pirated
+   edition was published at Philadelphia, 1840.)" '1840' amended from
+   '1804'.
+
+
+
+
+ENGLISH CARICATURISTS.
+
+
+
+
+SOME OPINIONS OF THE PRESS.
+
+  "At last we have a treatise upon our caricaturists and comic
+  draughtsmen worthy of the great subject.... An entertaining history of
+  caricature, and consequently of the events, political and social, of
+  the century; in fact, a thoroughly readable and instructive book....
+  And what a number of political occurrences, scandals public and
+  private, movements political and secular, are passed in review! All
+  these events Mr. Everitt describes at length with great clearness and
+  vivacity, giving us a view of them, so to speak, from the
+  inside."--_Pall Mall Gazette._
+
+  "It is a handsome and important volume of 400 pages; the letterpress
+  being a brightly written commentary, abounding with illustrative
+  gossip, on the caricature of the century and the merits of its graphic
+  humourists.... It includes a great deal of the more stirring social
+  and political history of the time. The illustrations so plentifully
+  strewn through Mr. Everitt's volume give it a peculiar
+  interest."--_St. James's Gazette._
+
+  "The work, which contains a large amount of information and some
+  valuable lists of publications, is illustrated with about seventy wood
+  engravings."--_Literary World._
+
+  "A real contribution to the history of the social life of the century.
+  The book is very fully and well illustrated, forming in fact quite a
+  gallery of nineteenth century caricature."--_Truth._
+
+  "The plates with which it is illustrated are remarkably well produced,
+  and are useful in themselves, and are neatly and clearly printed, so
+  that they give a capital idea of the originals from which they are
+  prepared."--_Saturday Review._
+
+  "Gives an elaborate estimate of the merits of the later caricaturists
+  and a complete account of their lives."--_Graphic._
+
+
+[Illustration:
+  _Published 21st October, 1812, by_ S. W. FORES, 50, _Piccadilly_.
+
+  "A BUZ IN A BOX, OR THE POET IN A PET."
+
+  _Frontispiece._]
+
+
+
+
+  ENGLISH CARICATURISTS AND GRAPHIC HUMOURISTS
+           OF THE NINETEENTH CENTURY.
+
+  How they Illustrated and Interpreted their Times.
+
+  _A Contribution to the History of Caricature from the Time of the First
+  Napoleon Down to the Death of John Leech, in 1864._
+
+
+        BY
+
+  GRAHAM EVERITT.
+
+  SECOND EDITION.
+
+  [Illustration]
+
+
+            London:
+
+     SWAN SONNENSCHEIN & CO.
+             1893.
+
+
+       BUTLER & TANNER,
+  THE SELWOOD PRINTING WORKS,
+      FROME, AND LONDON.
+
+
+
+
+PREFACE.
+
+
+The only works which, so far as I know, profess to deal with English
+caricaturists and comic artists of the nineteenth century are two in
+number. The first is a work by the late Robert William Buss, embodying
+the substance of certain lectures delivered by the accomplished author
+many years ago. Mr. Buss's book, which was published for private
+circulation only, deals more especially with the work of James Gillray,
+his predecessors and contemporaries, treating only briefly and
+incidentally of a few of his successors of our own day. The second is a
+work by Mr. James Parton, an American author, whose book (published by
+Harper Brothers, of New York) treats of "Caricature, and other Comic Art
+in all Times and many Lands." It is obviously no part of my duty (even
+if I felt disposed to do so) to criticise the work of a brother scribe,
+and that scribe an American gentleman. Covering an area so boundless in
+extent, it is scarcely surprising that Mr. Parton should devote only
+thirty of his pages to the consideration of English caricaturists and
+graphic humourists of the nineteenth century.
+
+Under these circumstances, it would seem to me that, in placing the
+present work before the public, an apology will scarcely be considered
+necessary.
+
+Depending oftentimes for effect upon overdrawing, nearly always upon a
+graphic power entirely out of the range of ordinary art, the work of the
+caricaturist is not to be measured by the ordinary standard of artistic
+excellence, but rather by the light which it throws upon popular opinion
+or popular prejudice, in relation to the events, the remembrance of
+which it perpetuates and chronicles. While, however, a latitude is
+allowed to the caricaturist which would be inconsistent with the
+principles by which the practice of art is ordinarily governed, it may
+at the same time be safely laid down that it is essential to the success
+of the comic designer as well as the caricaturist, that both should be
+_artists_ of ability, though not necessarily men of absolute genius.
+
+It may be contended that Gillray, Rowlandson, Bunbury, and others,
+although commencing work before, are really quite as much nineteenth
+century graphic satirists as their successors. This I admit; but
+inasmuch as their work has been already described by other writers, and
+the present book concerns itself especially with those whose labours
+commenced after 1800, I have endeavoured to connect them with those of
+their predecessors and contemporaries, without unnecessarily entering
+into detail with which the reader is supposed to be already more or less
+familiar.
+
+I am in hopes that the character in which I am enabled to present George
+Cruikshank as the leading caricaturist of the century; the account I
+have given of his hitherto almost unknown work of this character;
+together with the view I have taken of the causes which led to his
+sudden and unexampled declension in the very midst of an artistic
+success almost unprecedented, may prove both new and interesting to some
+of my readers.
+
+I have to acknowledge the assistance I have derived from the 1864 and
+1867 MS. diaries of the late Shirley Brooks, kindly placed at my service
+by Cecil Brooks, Esq., his son; my thanks are likewise due to Mr.
+William Tegg for some valuable information kindly rendered.
+
+
+
+
+PREFACE TO THE PRESENT EDITION.
+
+
+Having been called on to write a Preface to a popular edition of this
+book, I seize the opportunity which is now afforded me of correcting an
+error which occurred in the original edition. By some unaccountable
+accident the printer omitted my sub-title; and it was not unnatural that
+some of my reviewers should inquire _why_, in a work dealing with
+English Caricaturists of the Nineteenth Century, no mention should be
+made of the graphic humourists who succeeded John Leech. This question
+is answered by the restoration of the original title, from which it will
+be seen that the work is simply "a _contribution_ to the history of
+caricature from the time of the first Napoleon _down_ to the death of
+John Leech, in 1864." To take in the later humourists, would be to carry
+the work beyond the limits which I had originally assigned to it.
+
+One word more, and I have done. My intention in writing this book was to
+show how the caricaturist "illustrated" his time,--in other words, how
+he "interpreted" the social and political events of his day, according
+to his own bias, or the views he was retained to serve. While exhibiting
+him in the light of an _historian_--which he most undoubtedly is--I had
+no idea (as some of my too favourable critics seem to have imagined) of
+writing a history of caricature itself. For this task, indeed, I am not
+qualified, nor does it in the slightest degree enlist my sympathy.
+
+     G. EVERITT.
+
+  _11th August, 1893._
+
+
+
+
+CONTENTS.
+
+
+  CHAPTER I.
+
+  Dr. Johnson's definition of the word _Caricatura_.--Francis Grose's
+  definition.--Modern signification of the word.--Change in the Spirit
+  of English Caricature during the last Fifty Years.--Its
+  Causes.--Gillray.--Rowlandson.--Bunbury.--Influence of Gillray and
+  Rowlandson on their immediate Successors.--Gradual Disappearance of
+  the Coarseness of the Old Caricaturists.--Change wrought by John
+  Doyle.--We have now no Caricaturist.--Effect of Wood Engraving on
+  Caricature.--Hogarth, although a Satirist, not a
+  Caricaturist.--Gustave Doré misdescribed a Caricaturist.--Absurdity of
+  comparing him with Cruikshank.--"Etching Moralized."
+     _pp._ 1-11.
+
+
+  CHAPTER II.
+
+  Connection of Gillray and Rowlandson with Nineteenth Century
+  Caricaturists.--Napoleon Bonaparte.--The Causes of English
+  Exasperation against him explained.--Sketch of his Policy towards
+  England.--The "Berlin Decree."--English Caricatures brought to the
+  notice of Bonaparte.--"A Political Fair."--The "Gallick Storehouse for
+  English Shipping."--"Spanish Flies, or Boney taking an Immoderate
+  Dose."--"Boney and his New Wife, or a Quarrel about Nothing."--Birth
+  of the young King of Rome.--"British Cookery, or Out of the Frying-pan
+  into the Fire."--"General Frost Shaving Boney."--"Polish Diet with
+  French Dessert."--"The Corsican Blood-hound beset by the Bears of
+  Russia." "Nap nearly Nab'd, or a Retreating Jump just in
+  time."--"Boney Returning from Russia covered with Glory."--"Nap's
+  Glorious Return."--Rowlandson's Anti-Bonaparte Caricatures.--French
+  Contemporary Satires.--Gillray's Anti-Bonaparte Caricatures.--His
+  Libels on Josephine.--Madame Tallien.--Robert Dighton.--Consequences
+  of a Pinch of Snuff.--Master Betty--Impeachment of Lord
+  Melville.--Introduction of Gas.--Mary Anne Clarke.--Imbecility and
+  Death of James Gillray
+     _pp._ 12-33.
+
+
+  CHAPTER III.
+
+  Re-opening of Drury Lane.--Dr. Busby's "Monologue."--"A Buz in a Box,
+  or the Poet in a Pet."--"Doctors Differ, or Dame Nature against the
+  College."--Joanna Southcott.--Flight of the Princess
+  Charlotte.--"Plebeian Spirit, or Coachee and the Heiress
+  Presumptive."--"Miss endeavouring to Excite a Glow with her Dutch
+  Plaything."--American War of 1812-1815.--Hostile Temper of the
+  Americans.--Disastrous Results of their Invasion of Canada.--English
+  Retaliatory Measures.--Burning of Washington.--Expedition against
+  Alexandria.--"The Fall of Washington, or Maddy in Full
+  Flight."--British Defeated at Baltimore and New Orleans.--"Romeo
+  Coates."--Marriage of the Princess Charlotte.--"Leap Year, or John
+  Bull's Establishment."--Troubles of 1817.--Narrow Escape of the Prince
+  Regent.--"More Plots!!! More Plots!!!"--Edmund Kean and Lucius Junius
+  Booth.--"The Rival Richards."--Congress of the Allied Sovereigns at
+  Aix-la-Chapelle.--"A Russian Dandy at Home: a Scene at
+  Aix-la-Chapelle."--"A Peep at the Pump Room, or the Zomerzetshire
+  Folks in a Maze."--Death of Queen Charlotte.--"The Hambourg
+  Waltz."--Invention of the Kaleidoscope.--"Caleidoscopes, or Paying
+  for Peeping."--The Velocipede or "Hobby."--"The Spirit Moving the
+  Quakers upon Worldly Vanities."--"John Bull in Clover," and "John Bull
+  Done Over."--Birth of the Princess Victoria.--"A Scene in the New
+  Farce, called The Rivals, or a Visit to the Heir Presumptive."
+     _pp._ 34-61.
+
+
+  CHAPTER IV.
+
+  Caroline of Brunswick.--Levity of her Character.--Result of the
+  Commission to Inquire into her Conduct in 1806.--Her Letter to the
+  Regent.--Result of the Commission of 1813.--Caroline rebels.--Wrath of
+  Lord Ellenborough.-"A Key to the Investigation, or Iago distanced by
+  odds."--Refusal of the Regent to meet her in 1814.--Her
+  Protest.--Applies for Permission to Travel Abroad.--Rumours
+  prejudicial to her Moral Conduct.--"Paving the way for a Royal
+  Divorce."--The Milan Commission.--Ministers averse to the Prosecution
+  of the Queen.--Their False Step.--Arrival of Caroline in
+  London.--Opening of the "Green Bag."--Arrival of the
+  Witnesses.--Strange Appearance of Caroline at the Trial.--Satire upon
+  Her and her Supporters.--"City Scavengers Cleansing the London Streets
+  of Impurities."--Practical Failure of the Prosecution.--"The Queen
+  Caroline running down the Royal George."--"The Steward's Court of the
+  Manor of Torre Devon."--Popularity of the King.--"Grand Entrance to
+  Bamboozlem."--Public Events of 1822-1825.--Greek War of
+  Independence.--Battle of Navarino.--"Russian Bear's Grease, or a Peep
+  into Futurity."--"The Descent of the Great Bear, or the Mussulmans in
+  a Quandary."--"The Nest in Danger."--"The Porte presenting a Bill of
+  Indemnification."--"Burking old Mrs. Constitution, aged
+  141."--Caricature Declines after 1830, and why.--William Heath and
+  other Caricaturists of the Period.--Theodore Lane.
+     _pp._ 62-88.
+
+
+  CHAPTER V.
+
+  Caricatures of Robert Cruikshank.--Forgotten, and why.--Artistic
+  Training--"The Mother's Girl Plucking a Crow, or German Flesh and
+  English Spirit."--"The Horse Marine and his Trumpeter in a
+  Squall."--Queer Fashions of the early part of the
+  Century.--Thackeray's Difficulty.--Caricatures on the "Dandies" of
+  1818.--Robert and his Fellow-Caricaturists ridicule the sham
+  "Corinthians" and "Corinthian Kates" of their day.--Hollow Pretensions
+  of the "Dandies."--"The Dandy Dressing at Home" and "The Dandy
+  Dressed."--"A Dandyess."--Robert's Satires on the "Dandies" of
+  1819.--"The Mysterious Fair One, or the Royal Introduction to the
+  Circassian Beauty."--Other Caricatures of his of 1819.--His Satires on
+  the Trial of Queen Caroline.--His Caricatures of 1821.--Duel between
+  the Dukes of Bedford and Buckingham.--Other Satires by him in
+  1822.--Interference of Louis XVIII. in Spanish Affairs.--Robert's
+  Satires on Louis and his Son.--"The Golden Ball."--Other Caricatures
+  by Robert in 1823.--The Tenth Hussars.--Maria Foote and "Pea-green
+  Hayne."--Other satires by Robert in 1824.--Colonel Fitz-Bastard and
+  Mr. Judge.--Cox _v._ Kean.--Sir Walter Scott.--"The Living
+  Skeleton."--Popple and Stockdale.--Other Subjects of
+  1825.--"Cruikshankiana."
+     _pp._ 89-108.
+
+
+  CHAPTER VI.
+
+  Book Illustrations of Isaac Robert Cruikshank.--The "Life in
+  London."--Injustice done to Robert with reference to this Book.--The
+  "Life" Dramatized.--Excitement it Occasioned.--The Portly Stranger in
+  the Duke's Box.--Queer Visitors at Rehearsal.--Horror of the Serious
+  People.--The Mistake which they made.--"The Finish."--Pierce Egan's
+  Position with reference to the "Life."--Origin of "Bell's Life in
+  London."--Charles Molloy Westmacott.--"The English Spy."--"The
+  Oppidans' Museum."--The "King at Home."--Rowlandson's contribution to
+  "The English Spy."--Westmacott and the Literature of Foote and
+  Hayne.--Robert's Carelessness.--"Points of Misery."--"Doings in
+  London."--"Cruikshank's Comic Album."--"Monsieur
+  Nong-tong-paw."--Three Books Illustrated by Robert.--Death.
+     _pp._ 109-124.
+
+
+  CHAPTER VII.
+
+  Caricatures of George Cruikshank.--"No Plan, no Ambition."--The
+  Assertion Disproved.--Why George's Caricatures possess so remarkable
+  an Interest.--"The Scourge."--Lord Sidmouth's Bill to amend the
+  Toleration Act.--Opposition to the Measure by the
+  Nonconformists.--George's Satire upon them.--Satire upon the Medical
+  Profession.--"The Satirist, or Monthly Meteor."--"Fashion."--"The
+  Loyalists' Magazine."--An Early Satire.--"Meditations amongst the
+  Tombs."--Other Satires of 1813.--"Little Boney gone to
+  Pot."--Alexander of Russia and the Duchess of Oldenburg.--The Princess
+  Caroline.--Joanna Southcott.--The Obnoxious Corn Laws of
+  1815.--Satires thereon.--Escape of Napoleon.--Outlawed by the
+  Powers.--Excitement caused by this Event.--George's Satires
+  thereon.--Napoleon endeavours to Establish Friendly Relations.--Silent
+  Hostility of Europe.--He Sets out for the Army.--George's Satire
+  thereon.--Surrender of Bonaparte.--The _Bellerophon_ off the English
+  Coast.--Other Satires of 1815.--The Regent's Repugnance to
+  Retrenchment and Reform.--Marriage of the Princess Charlotte.--Satire
+  on the Purchase of the "Elgin Marbles."--Other Satires of 1816.--John
+  Bull's Bankruptcy Proceedings.--Remanded for Extravagance.--His
+  "Schedule."--Seditious Troubles of 1817.--A Satire on the Princess
+  Caroline.--Death of the Princess Charlotte.--Other Satires of 1817--of
+  1818.--The "Bank Restriction Note."--Satires of 1819.--Queen Caroline
+  and other Caricatures of 1820 and 1821.--Death and Funeral of the
+  Queen.--The Populace force the Procession to go through the City.--The
+  Military fire on the People.--Alderman Sir William Curtis in Highland
+  Costume.--Indignation of the King.--Satires on both.--Statue of
+  Achilles.--Other Caricatures of 1822.--Satires of 1823 and
+  1824.--Joint Stock Company Mania of 1825.--Undated Satires.--Amazing
+  value of George Cruikshank's Caricatures.
+     _pp._ 125-166.
+
+
+  CHAPTER VIII.
+
+  George Cruikshank as a Book Illustrator.--Defects and
+  Excellencies.--Women, Horses, Trees.--"Greenwich Hospital."--Sikes and
+  the Dog.--Jonathan Wild.--Simon Renard and Winwike.--"Born a Genius
+  and Born a Dwarf."--Its History.--Randalph and Hilda at
+  Ranelagh.--Sale of the Shadow.--Sailors Carousing.--Paying off a
+  Jew.--Simpkin Dancing.--The Last Cab Driver.--Dominie
+  Sampson.--Dumbiedikes.--Fall of the Leaf.--Taurus.--Libra.--Revolution
+  at Madame Tussaud's.--Theatrical Fun Dinner.--"Gone!"--Duke of
+  Marlborough's Boot.--The Two Elves.--Witches' Frolic.--Ghosts.--Jack
+  o' Lantern.--Devils.--The Gin Shop.--Redgauntlet.--Fagin in the
+  Condemned Cell.--Murder of Sir Rowland Trenchard.--Xit Wedded to the
+  Scavenger's Daughter.--Mauger Sharpening his Axe.--Massacre at
+  Tullabogue, etc.--His Genius.
+     _pp._ 167-188.
+
+
+  CHAPTER IX.
+
+  The Sleep of Thirty Years.--Causes of George Cruikshank's Decadence
+  Insufficiently Understood.--Professor Bates' Theory.--Charles
+  Dickens's Nervousness (?).--Why Cruikshank was Unfitted to Illustrate
+  his Novels.--The Rejected Illustration to Oliver Twist.--Quarrel with
+  Bentley.--Guy Fawkes Illustrations.--"Ainsworth's Magazine."--Progress
+  of the Cruikshank _versus_ Bentley Campaign.--Cruikshank's Declaration
+  of War.--His Tactics.--"Our Library Table."--Quarrel with Harrison
+  Ainsworth.--Cruikshank's Claim to be Originator of Two of his Stories
+  Considered.--A word for Harrison Ainsworth.--Popularity and Success of
+  his Novels.--Charles Lever's "Arthur O'Leary."--Cruikshank's final
+  Leap in the Dark.--Its Fatal Consequences.--Crusade against
+  Drink.--"Worship of Bacchus."--His Work Falls away.--Thirty Years of
+  Artistic Sterility.--Fairy Stories turned into Temperance
+  Tracts.--Forgotten!
+
+     _pp._ 189-207.
+
+
+  CHAPTER X.
+
+  Birth of Robert Seymour.--Starts as a Painter in Oils.--Death of
+  George IV.--His Contemptible Character.--Sale of his Wardrobe.--Order
+  for General Mourning.--"The Adelaide Mill."--Revolution of
+  1830.--Dismissal of the German Band.--St. John Long the
+  Quack.--Administering an Oath.--The "Humorous Sketches."--"Book of
+  Christmas."--"New Readings of Old Authors."--"Figaro in London."--À
+  Beckett's Editorial Amenities.--Feud between him and Seymour.--Seymour
+  Caricatures À Beckett.--"Figaro" passes into the hands of
+  Mayhew.--Re-engagement of Seymour.--Origin of the "Pickwick
+  Papers."--The Rejected Etching.--Suicide of Seymour.--His Claim to be
+  the "Inventor" of "Pickwick" considered.
+     _pp._ 208-234.
+
+
+  CHAPTER XI.
+
+  The Agitation for Reform in 1830-32.--The Marquis of Blandford's
+  Scheme of Reform.--Strange State of the English Representative System
+  of those Days.--O'Connell's Scheme.--Lord John Russell's "Resolutions"
+  Rejected.--Dearth of Political Caricaturists at this
+  Time.--HB.--Secret of the Success of his "Political Sketches."--His
+  Style a Complete Innovation.--"I'll be your Second."--Unpopularity of
+  the Duke of Cumberland.--"My Dog and my Gun."--Lord John Russell
+  Introduces a Reform Bill.--Second Reading Carried by a Majority of
+  One.--General Election.--Lord John Russell's Second Reform Bill Passes
+  the House of Commons.--Deputation to the Lords.--"Bringing up our
+  Bill."--The Lords Throw it Out.--Lord John Russell again brings in a
+  Bill.--Ministers again in a Minority in the Lords.--Earl Grey tenders
+  certain Alternatives.--Excitement caused by the Opposition of the
+  Lords.--Perplexity of the King.--How he Overcame the Opposition of the
+  Peers.--William IV. as Johnny Gilpin.--The King as Mazeppa and Sinbad
+  the Sailor.--Outrage on the Duke of Wellington.--"Taking an Airing in
+  Hyde Park."--"Auld Lang Syne."--"A Hint to Duellists."--"A Great
+  Subject Dedicated to the Royal College of Surgeons."--Sir Francis
+  Burdett.--"Following the Leader."--"The Dog and the Shadow."--"A Race
+  for the Westminster Stakes."--"A Fine Old English Gentleman."--"Jim
+  Crow Dance and Chorus."
+     _pp._ 235-253.
+
+
+  CHAPTER XII.
+
+  Political Sketches of HB. (continued).--Lord John
+  Russell.--"Jonah."--Reduction of the Stamp on Newspapers.--How it was
+  evaded.--Arguments of the Opponents of the Measure.--Hard and Soft
+  Soap _versus_ Newspapers.--Strange Arguments of the Newspaper
+  Proprietors of the Day.--"The Rival Newsmongers."--Brougham Watches
+  for the Door of Preferment being Opened.--"The Gheber Worshipping the
+  Rising Sun."--Made Lord Chancellor.--"A Select Specimen of the Black
+  Style."--A Scene in the House of Lords.--"The Duel that Did Not Take
+  Place."--Dissolution of Parliament in 1834.--Brougham's Royal
+  "Progress" through Scotland.--Annoyance of William IV., who Determines
+  to Get Rid of Him.--"The Fall of Icarus."--"The Vaux and the
+  Grapes."--The Irish Coercion Bill of 1833.--Irish Disaffection which
+  led Up to It.--List of Irish Crimes for One Year.--Scenes between
+  English and Irish Members.--"Prisoners of War."--Good Effects of the
+  Coercion Bill.--Irish Agitators of 1833 and 1883 Compared.--O' Connell
+  and the Irish Peasant.--Unscrupulous Political Conduct of
+  O'Connell.--"The Comet of 1835."--"Doctor Syntax [_i.e._ Peel] on his
+  Faithful Steed in Search of the Picturesque."--Amazing Number of HB's
+  Political Sketches.--His failings.--His Imitators and their Fate.
+     _pp._ 254-276.
+
+
+  CHAPTER XIII.
+
+  John Leech.--Birth.--At Charterhouse.--The "Coach Tree."--Early
+  Efforts in Drawing brought to the notice of Flaxman.--Apprenticed to
+  Whittle, an Eccentric Medical Man.--Transfer of Leech's
+  Indentures.--Early Work.--Applies to Illustrate "Pickwick."--Style not
+  Matured till 1840.--An Attack on Dickens.--Attack on "Phiz."--Attack
+  on D'Israeli.--"Bentley's Miscellany."--Joins _Punch_.--Marriage.--The
+  "Right-hand Man in Punch's Cabinet."--"Illuminated
+  Magazine."--Portraits of Leech in _Punch_.--Douglas Jerrold and Albert
+  Smith.--Douglas Jerrold and À Beckett.--Leech at a Fancy Ball.--Albert
+  Smith and the Wide-awake Innkeepers at Chamounix.--George Cruikshank
+  Borrowing from Leech.--Influence of Cruikshank on Leech.--The Two
+  Compared.--Abhorrence of Frenchmen.--Mistake in "The Battle of Life."
+     _pp._ 277-293.
+
+
+  CHAPTER XIV.
+
+  John Leech's _Punch_ Cartoons.--The "Albert" Hat.--O'Connell.--Sir
+  James Graham.--"Peel's Dirty Little Boy."--"How do you Like the New
+  Whig?"--"The Premier's Fix."--"The Railway Juggernaut."--Between Free
+  Trade and Protection Sir Robert Peel falls through.--"Dombey and
+  Son."--Lord Brougham "in order."--Smithfield.--Louis Philippe.--The
+  Year of Unrest, 1848.--French Expedition to Rome.--"A Bright
+  Idea."--General Haynau and Barclay & Perkins' Draymen.--"Joe"
+  Hume.--The "Papal Aggression" Cartoons.--"The Boy who Chalked up 'No
+  Popery' and then Ran Away."--Great Exhibition of 1851.--The _Coup
+  d'état_.--The Peace Society.--"The Old 'Un and the Young 'Un."--War
+  with Russia.--Evils of the Purchase System.--Generals _Janvier_ and
+  _Fevrier_.--"The Return from Vienna."--Incapacity of English
+  Generals.--"Urgent Private Affairs."--"Staying Proceedings."--The
+  Royal Levées.--The French Colonels.--"Religion _à la mode_."--Fête at
+  Cremorne.--Plots against the French Emperor, and their
+  Consequences.--"Invasion of French Light Wines."
+     _pp._ 294-314.
+
+
+  CHAPTER XV.
+
+  Exhibition of Leech's "Sketches in Oil" at the Egyptian Hall in
+  1862.--What Thackeray said of them.--Gradual Decrease in the Numbers
+  of his Cartoons for _Punch_.--Overwork.--Goes to the Continent with
+  Mark Lemon in 1862.--"A day at Biarritz."--Returns with no
+  Benefit.--Leech and Thackeray at Evans's in December, 1863.--Thackeray
+  and Leech at Charterhouse on "Founder's Day."--Thackeray at the
+  Wednesday _Punch_ Dinner, 15th of December, 1863.--Death of
+  Thackeray.--Death of Mr. R. W. Surtees.--The _Punch_ Council
+  Dinners.--John Leech a faithful Attendant.--"Moses Starting for the
+  Fair."--John Leech's Illness described.--No Falling off in the Quality
+  of his Designs.--"St. Genulphus."--Starts off for Homburg with Mr.
+  Alfred Elmore.--Death of Thomas Frederick Robson.--His Wonderful
+  Powers Wasted.--Leech goes to Whitby.--Shirley Brooks joins him.--"The
+  Weinbrunnen Schwalbach."--Reminiscences of the Whitby Visit.--Opening
+  of Fechter's Season at the Lyceum.--John Leech at a Party at Mr. W. P.
+  Frith's, 13th of October--At the Weekly _Punch_ Dinner, 26th of
+  October.--Serious Change for the Worse.--His Death.--Shock caused by
+  his Death in London and the Provinces.--His Funeral.--Shirley Brooks'
+  Memorial in _Punch_.
+     _pp._ 315-335.
+
+
+  CHAPTER XVI.
+
+  Hablot Knight Browne ("Phiz").--Invincible Tendency to
+  Exaggeration.--Charles Lever's Opinion.--Weakness and Attenuation of
+  his Figures.--Compared with John Leech.--Tendency to Reproduce.--All
+  his Heroes closely Resemble One Another.--Charles Lever's Complaint on
+  this Score.--Great Ability of the Artist.--"Ralph Nickleby's Visit to
+  his Poor Relations."--Newman Noggs.--Squeers.--Mrs. Nickleby's Lunatic
+  Admirer.--"Pecksniff's Reception of the New Pupil."--"Pleasant Little
+  Family Party at Mr. Pecksniff's."--"Warm Reception of Mr. Pecksniff by
+  his Venerable Friend."--Quilp and Samson Brass.--Quilp and the
+  Dog.--Mrs. Jarley's Waxwork Brigand.--Capture of Bunsby by Mrs.
+  Macstinger.--"Sunday under Three Heads."--The Jack Sheppard Mania of
+  1840.--"The Way to the Gallows made Easy and Pleasant."--"Phiz" not a
+  Born Comic Artist.--Excellence in Depicting Graver Subjects.--"The
+  Dombey Family."--"Mrs. Dombey at Home."--"Abstraction and
+  Recognition."--"The Dark Road."--"Carker in his Hour of
+  Triumph."--"Bleak House."--Why Browne suited Charles Dickens's
+  Requirements.--Coolness between Artist and Author.--One of Browne's
+  Finest Illustrations.--Decline of Book Etching.--Browne without an
+  Idea of his Own.--Powerful Assistance rendered to Novelists by Book
+  Illustrators of his day.--Sketches and Studies.--Death of the Artist.
+     _pp._ 336-354.
+
+
+  CHAPTER XVII.
+
+  Kenny Meadows.--"Portraits of the English."--A Thoroughly Useful
+  Man.--Some Works Illustrated by Meadows.--His Merits Unequal.--His
+  Contempt for Nature.--An Early Illustrator of _Punch_.--His
+  Illustrated Shakespeare.--Some Excellent Work of Meadows.--His
+  Death.--Robert William Buss.--Recommended to Illustrate "Pickwick" on
+  Seymour's Death.--Etchings Suppressed.--The "Buss Plates" not his at
+  all.--His Paintings.--Lectures on Caricature and Graphic
+  Satire.--Comic Publications which preceded or ran side by side with
+  _Punch_.--Alfred William Forrester (Alfred Crowquill).--"A General
+  Utility Man."--Crowquill a Caricaturist.--His Talent and
+  Cleverness.--Some of His Paintings.--Charles H.
+  Bennett.--"Shadows."--"Shadow and Substance."--"Origin of
+  Species."--Taken on the _Punch_ Staff.--Early Death.--Theatrical
+  Performances for the Benefit of his Family.--Kate Terry.--Thackeray as
+  a Comic Artist.--Satire on Charles Lever.--Unfitted to Illustrate his
+  own Novels, and why.--His Genius Displayed in Literature not in
+  Art.--Illustrations to "Vanity Fair" Considered.--Anthony Trollope on
+  this Subject.
+     _pp._ 355-380.
+
+
+  CHAPTER XVIII.
+
+  First Work of Richard Doyle.--Receives his Art Training from his
+  Father.--Joins _Punch_.--The Peace-at-any-Price Party.--The Troubles
+  of 1848.--The Sea-Serpent of Revolution Upsetting the Monarchical
+  Cock-boats.--Lord Brougham.--Richard Doyle's Dream of the Future of
+  Ireland.--The Window Tax.--"Manners and Customs of Ye Englishe."--"The
+  Month" upon Exeter Hall.--Establishment of the Papal Hierarchy in
+  England.--The Causes of Doyle's Retirement from _Punch_
+  Explained.--Unselfishness of His Conduct.--Ultimate Consequences on
+  his Prospects.--Number of his _Punch_ Illustrations.--Caricatures of
+  Richard Doyle.--"Brown, Jones, and Robinson."--Works Illustrated by
+  Doyle.--Mr. Hamerton's Criticism on his Illustrations to "The
+  Newcomes."--His Death.--John Tenniel.--Joins _Punch_ at the
+  Commencement of Troublous Times.--Death of the Duke of
+  Wellington.--Battle of Oltenitza.--Lord Aberdeen as the "Courier of
+  St. Petersburg."--Lord Aberdeen tries to Hold in the British
+  Lion.--England the Unready.--"Peace" Seated on the Garrison
+  Gun.--_Punch's_ Low Estimate of the Third Napoleon.--An "International
+  Poultry Show."--"The Eagle in Love."--"Playing with Edged Tools."--"An
+  Unpleasant Neighbour."--Louis Closes his Firework Shop "to please
+  Johnny."--Miss Britannia Refuses to Dance again with Louis.--Mr.
+  Tenniel one of the most Versatile of Modern Designers.--Examples of
+  his Graphic Satire.--Notice of his Cartoons Closes with 1864, in
+  Accordance with the Plan of the Work.--His Comic Powers.
+     _pp._ 381-400.
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+  ANONYMOUS.
+
+                                                              PAGE
+    A BUZZ IN A BOX      _Frontispiece_
+    _From Woodcut Reproduction of the Original Caricature._
+
+    GRAND ENTRANCE TO BAMBOOZLEM                                81
+    _From Woodcut Reproduction of the Original Caricature._
+
+    LEAP YEAR; OR, JOHN BULL'S PEACE ESTABLISHMENT              50
+    _From Woodcut Reproduction of the Original Caricature._
+
+    A PEEP IN THE PUMP ROOM                                     57
+    _From Woodcut Reproduction of the Original Caricature._
+
+
+  BENNETT, CHAS. H.
+
+    "CREEPING LIKE A SNAIL"                                    371
+    _From Original Woodblock in possession of the Publishers._
+
+    OLD ENOUGH TO KNOW BETTER                                  372
+    _From Original Woodblock in possession of the Publishers._
+
+
+  BROWNE, HABLOT K. ("PHIZ").
+
+    THE DEPARTURE                                              336
+
+    DICK SWIVELLER AND THE LODGER                              340
+
+    THE RIOTERS                                                346
+
+    SAM WELLER AND HIS FATHER                                  352
+    _Woodcut Reproductions of the Original Sketches._
+
+
+  BUNBURY, W. H.
+
+    INTERIOR OF A BARBER'S SHOP                                  5
+
+    SALUTATION TAVERN                                           11
+
+    STREPHON AND CHLOE                                          11
+    _By Permission of Messrs. Chatto & Windus._
+
+
+    CROWQUILL, ALFRED.
+
+    FROZEN OUT GARDENERS                                       368
+
+    "SWEARING THE HORNS" AT HIGHGATE                           369
+    _Both by permission of Messrs. W. & R. Chambers._
+
+
+  CRUIKSHANK, GEORGE.
+
+    ABSENT-MINDEDNESS                                          175
+
+    BAT BOROO                                                  175
+
+    THE BRAINTREES                                             171
+
+    THE DEAF POSTILION                                         171
+
+    THE DENTIST                                                175
+
+    THE ELVES AND THE COBBLER                                  180
+    _Above six by permission of Messrs. Geo. Bell & Sons._
+
+    THE GIN SHOP                                               184
+    _From Woodcut Reproduction of the Original Caricature._
+
+    THE OLD COMMODORE                                          182
+    _By permission of Messrs. Geo. Routledge & Son._
+
+    RUSSIAN CONDESCENSION                                      133
+    _From Woodcut Reproduction of the Original Caricature._
+
+    A SCENE IN KENSINGTON GARDENS                              152
+    _From Woodcut Reproduction of the Original Caricature._
+
+    "A TALL FIGURE HER SIGHT ENGROSSED"                        182
+    _By permission of Messrs. Geo. Routledge & Son._
+
+    THE TÊTE-A-TÊTE                                            175
+
+    THE WAITS OF BREMEN                                        180
+
+    THE WITCH'S SWITCH                                         175
+    _Above three by permission of Messrs. Geo. Bell & Sons._
+
+
+  CRUIKSHANK, ROBERT.
+
+    JOHN BULL FLOURISHING                                       99
+    _Woodcut Reproduction of the Original Caricature._
+
+    CUTS FROM "THE UNIVERSAL SONGSTER"                         110
+    _By permission of Messrs. Geo. Routledge & Son._
+
+
+  DORÉ, GUSTAVE.
+
+    THE ABBOT OF MARMOUSTIERS                                    8
+
+    THE LANDLORD OF THE THREE BARBELS                            9
+
+    MONSEIGNEUR HUGON                                            9
+
+    SERJEANT-OF-THE-JUSTICE TAUPIN                               8
+    _Above four by permission of Messrs. Chatto & Windus._
+
+
+  GILLRAY, J.
+
+    A CONNOISSEUR                                               24
+
+    THE GOUT                                                     5
+
+    A LESSON IN APPLE DUMPLINGS                                 24
+
+    NAPOLEONIC CARICATURES                                  18, 20
+
+    THE NATIONAL ASSEMBLY                                       26
+
+    A PEEP AT CHRISTIE'S                                        14
+
+    ROYAL AFFABILITY                                            24
+    _Above seven by permission of Messrs. Chatto & Windus._
+
+    SHAKESPEARE SACRIFICED                                      12
+    _Woodcut Reproduction of the Original Caricature._
+
+    TWOPENNY WHIST                                              16
+    _By permission of Messrs. Chatto & Windus._
+
+
+  HOGARTH, W.
+
+    MARRIAGE À LA MODE                                           7
+    _Woodcut Reproduction of the Original Sketch._
+
+
+  LANE, THEODORE.
+
+    THE GALLERY                                                 85
+
+    THE NON-PAYING AUDIENCE                                     85
+    _Woodcut Reproductions of the Original Sketches._
+
+
+  LEECH, JOHN.
+
+    THE ELECTION                                               286
+
+    "I HOPE, MR. SMUG, YOU DON'T BEAT YOUR BOYS!"              292
+
+    THE MAYOR AND CORPORATION OF SWINESTEAD                    278
+
+
+  ROWLANDSON, T.
+
+    "ALL THE TALENTS"                                            3
+
+    "ANYTHING WILL DO FOR AN OFFICER"                            2
+
+    THE COBBLER'S CURE FOR A SCOLDING WIFE                      29
+
+    DESIRE                                                      11
+
+    SPITFIRES                                                   28
+
+    TRUMPET AND BASSOON                                          2
+    _Above six by permission of Messrs. Chatto & Windus._
+
+
+  SANDBY, PAUL.
+
+    A MOUNTEBANK PAINTER                                         7
+    _By permission of Messrs. Chatto & Windus._
+
+
+  SEYMOUR, ROBERT.
+
+    THE ADELAIDE MILL                                          213
+    _Woodcut Reproduction of the Original Caricature._
+
+    THE DYING CLOWN                                            233
+    _Woodcut Reproduction of the Original Sketch._
+
+
+  THACKERAY, W. M.
+
+    ANGELICA ARRIVES JUST IN TIME                              379
+    _By permission of Messrs. Smith, Elder & Co._
+
+    BROWN, JONES, AND ROBINSON                                 392
+    _By permission of Messrs. Bradbury, Agnew & Co._
+
+    GRUFFANUFF                                                 378
+    _By permission of Messrs. Smith, Elder & Co._
+
+    MARGINAL SKETCHES (2)                                      375
+    _By permission of Messrs. Chatto & Windus._
+
+    MONKS OF THE ORDER OF FLAGELLANTS                          378
+
+    PRINCE BULBO                                               378
+    _Both by permission of Messrs. Smith, Elder & Co._
+
+
+  WOODWARD, G. M.
+
+    DESIRE                                                      11
+
+    "GENERAL COMPLAINT"                                         11
+    _Both by permission of Messrs. Chatto & Windus._
+
+
+
+[Illustration:
+  "_The Farthing Rushlight._"
+
+  THE PRINCE OF WALES, WITH FOX, SHERIDAN, AND HIS WHIG ASSOCIATES, TRYING
+  IN VAIN TO BLOW OUT POOR OLD GEORGE.]
+
+
+  The author desires to express his sense of obligation to the several
+  publishers who have courteously granted him permission to reproduce
+  drawings, the copyrights of which are vested in themselves; and at the
+  same time to state his regret that other publishers, similarly
+  situated with respect to other works, have not seen their way to
+  render it possible for him to supply specimens of the style of certain
+  artists, two of whom in particular, John Leech and H. K. Browne, must
+  needs be conspicuous by their comparative absence.
+
+  Such Caricatures and Book Illustrations as have seemed specially
+  desirable--of which the copyrights have lapsed and no editions are at
+  the present day in print--have been engraved for this work by MR.
+  WILLIAM CHESHIRE.
+
+
+
+
+ENGLISH CARICATURISTS.
+
+
+
+
+CHAPTER I.
+
+_OF THE ENGLISH CARICATURE AND ITS DECAY._
+
+
+  DEFINITION OF CARICATURE
+
+If you turn to the word "_caricatura_" in your Italian dictionary, it is
+just possible that you will be gratified by learning that it means
+"caricature"; but if you refer to the same word in old Dr. Johnson, he
+will tell you, with the plain, practical common-sense which
+distinguished him, that it signifies "an exaggerated resemblance in
+drawings," and this expresses exactly what it _does_ mean. Any
+distinguishing feature or peculiarity, whether in face, figure, or
+dress, is _exaggerated_, and yet the likeness is preserved. A straight
+nose is presented unnaturally straight, a short nose unnaturally
+depressed; a prominent forehead is drawn unusually bulbous; a
+protuberant jaw unnaturally underhung; a fat man is depicted
+preternaturally fat, and a thin one correspondingly lean. This at least
+was the idea of _caricature_ during the last century. Old Francis Grose,
+who, in 1791, wrote certain "Rules for Drawing Caricaturas," gives us
+the following explanation of their origin:--"The sculptors of ancient
+Greece," he tells us, "seem to have diligently observed the form and
+proportions constituting the European ideas of beauty, and upon them to
+have formed their statues. These measures are to be met with in many
+drawing books; a slight deviation from them by the predominancy of any
+feature constitutes what is called character, and serves to discriminate
+the owner thereof and to fix the idea of identity. This deviation or
+peculiarity aggravated, forms caricatura."
+
+As a matter of fact, the strict definition of the word given by Francis
+Grose and Dr. Johnson is no longer applicable; the word caricature
+includes, and has for a very long time been understood to include,
+within its meaning any pictorial or graphic satire, political or
+otherwise, and whether the drawing be exaggerated or not: it is in this
+sense that Mr. Wright makes use of it in his "Caricature History of the
+Georges," and it is in this sense that we shall use it for the purposes
+of this present book.
+
+[Illustration:
+  ROWLANDSON.
+
+  THE TRUMPET AND THE BASSOON.]
+
+[Illustration:
+  ROWLANDSON. _January 1st, 1796._
+
+  "ANYTHING WILL DO FOR AN OFFICER."
+
+  "What shall we do with him?"
+
+  "Do with him? Why, make an officer of him!"
+
+  _Face p. 2._]
+
+
+  CHANGE IN THE SPIRIT OF ENGLISH CARICATURE.
+
+Since the commencement of the present century, and more especially
+during the last fifty years, a change has come over the spirit of
+English caricature. The fact is due to a variety of causes, amongst
+which must be reckoned the revolution in dress and manners; the
+extinction of the three-bottle men and topers; the change of thought,
+manners, and habits consequent on the introduction of steam, railways,
+and the electric telegraph. The casual observer meeting, as he sometimes
+will, with a portfolio of etchings representing the men with red and
+bloated features, elephantine limbs, and huge paunches, who figure in
+the caricatures of the last and the early part of the present century,
+may well be excused if he doubt whether such figures of fun ever had an
+actual existence. Our answer is that they not only existed, but were
+very far from uncommon. Our great-grandfathers of 1800 were jolly good
+fellows; washing down their beef-steaks with copious draughts of "York
+or Burton ale," or the porter for which Trenton, of Whitechapel, appears
+to have been famed,[1] fortifying themselves afterwards with deeper
+draughts of generous wines--rich port, Madeira, claret, dashed with
+hermitage--they set up before they were old men paunches and
+diseases which rendered them a sight for gods and men. Reader, be
+assured that the fat men who figure in the graphic satires of the early
+part of the century were certainly _not_ caricatured.
+
+[Illustration:
+  T. ROWLANDSON. _April 13th, 1807._
+
+  "ALL THE TALENTS."
+
+  The "Broad-Bottom Administration," known as "All the Talents," showing
+  the several qualifications of the Ministry.
+
+  _Face p. 3._]
+
+
+  THE THREE GREAT CARICATURISTS OF THE LAST CENTURY.
+
+In connection with the subject of graphic satire, the names of the three
+great caricaturists of the last century--Gillray, Rowlandson, and
+Bunbury--are indispensable. The last, a gentleman of family, fortune,
+and position, and equerry to the Duke of York, was, in truth, rather an
+amateur than an artist. Rowlandson was an able draughtsman, and
+something more; but his style and his tastes are essentially coarse and
+sensual, and his women are the overblown beauties of the Drury Lane and
+Covent Garden of his day. George Moutard Woodward, whose productions he
+sometimes honoured by etching, and whose distinguishing characteristics
+are carelessness and often bad drawing, follows him at a respectful
+distance. The genius of James Gillray has won him the title of the
+"Prince of Caricaturists," a title he well earned and thoroughly
+deserved. The only one of the nineteenth century caricaturists who
+touches him occasionally in _caricature_, but distances him in
+everything else, is our George Cruikshank.
+
+Commencing work when George the Third was still a young man, Gillray and
+Rowlandson necessarily infused into it some of the coarseness and
+vulgarity of their century. With Gillray, indeed, this coarseness and
+vulgarity may be said to be rather the exception than the rule, whereas
+the exact contrary holds good of his able and too often careless
+contemporary. As might have been expected, every one who excites their
+ridicule or contempt is treated and (in their letterpress descriptions)
+spoken of in the broadest manner. Bonaparte is mentioned by both artists
+(in allusion to his supposed sanguinary propensities) as "Boney, the
+carcase butcher;" Josephine is represented by Gillray as a coarse fat
+woman, with the sensual habits of a Drury Lane strumpet; Talleyrand, by
+right of his club foot and limping gait, is invariably dubbed "Hopping
+Talley." The influence of both artists is felt by those who immediately
+succeeded them. The coarseness, for instance, of Robert Cruikshank, when
+he displays any at all, which is seldom, is directly traceable to the
+influence of Rowlandson, whom (until he followed the example of his
+greater brother) he at first copied.
+
+
+  INFLUENCE OF GILLRAY ON CRUIKSHANK.
+
+Gillray wrought much the same influence upon George Cruikshank. I have
+seen it gravely asserted by some of those who have written upon him,[2]
+that this great artist never executed a drawing which could call a blush
+into the cheek of modesty. But those who have written upon George
+Cruikshank--and their name is legion--instead of beginning at the
+beginning, and thus tracing the gradual and almost insensible formation
+of his style, appear to me to have plunged as it were into _medias res_,
+and commenced at the point when he dropped caricature and became an
+illustrator of books. Book illustration was scarcely an art until George
+Cruikshank made it so; and the most interesting period of his artistic
+career appears to us to be the one in which he pursued the path
+indicated by James Gillray, until his career of caricaturist merged into
+his later employment of a designer and etcher of book illustration, by
+which no doubt he achieved his reputation. In answer to those who tell
+us that he never produced a drawing which could call a blush into the
+cheek of modesty, and never raised a laugh at the expense of decency, we
+will only say that we can produce at least a score of instances to the
+contrary. To go no further than "The Scourge," we will refer them to
+three: his _Dinner of the Four-in-Hand Club at Salthill_, in vol. i.;
+his _Return to Office_ (1st July, 1811), in vol. ii.; and his
+_Coronation of the Empress of the Nares_ (1st September, 1812), in vol.
+iv.
+
+
+  REVOLUTION EFFECTED BY H. B.
+
+As the century passed out of its infancy and attained the maturer age of
+thirty years, a gradual and almost imperceptible change came over the
+spirit of English graphic satire. The coarseness and suggestiveness of
+the old caricaturists gradually disappeared, until at length, in 1830,
+an artist arose who was destined to work a complete revolution in the
+style and manner of English caricature. This artist was John Doyle,--the
+celebrated H. B. He it was that discovered that pictures might be made
+mildly diverting without actual coarseness or exaggeration; and when
+this fact was accepted, the art of caricaturing underwent a complete
+transition, and assumed a new form. The "Sketches" of H. B. owe their
+chief attraction to the excellence of their designer as a portrait
+painter; his successors, with less power in this direction but with
+better general artistic abilities, rapidly improved upon his idea, and
+thus was founded the modern school of graphic satirists represented by
+Richard Doyle, John Leech, and John Tenniel. So completely was the style
+of comic art changed under the auspices of these clever men, that the
+very name of "caricature" disappeared, and the modern word "cartoon"
+assumed its place. With the exception indeed of Carlo Pellegrini (the
+"Ape" of _Vanity Fair_), and his successors, we have now no caricaturist
+in the old and true acceptation of the term, and original and clever as
+their productions are, their compositions are timid compared with those
+of Bunbury, Gillray, Rowlandson, and their successors, being limited to
+a weekly "exaggerated" portrait, instead of composed of many figures.
+
+[Illustration:
+  JAMES GILLRAY. _May 14th, 1799._
+
+  "THE GOUT."]
+
+[Illustration:
+  W. H. BUNBURY, _etched by_ GILLRAY. _1811, pubd. May 15th, 1818._
+
+  "INTERIOR OF A BARBER'S SHOP IN ASSIZE TIME."]
+
+  _Face p. 5_]
+
+But caricature was destined to receive its final blow at the hands of
+that useful craftsman the wood-engraver. The application of
+wood-engraving to all kinds of illustration, whether graphic or comic,
+and the mode in which time, labour, and expense are economised, by the
+large wood blocks being cut up into squares, and each square entrusted
+to the hands of a separate workman, has virtually superseded the old and
+far more effective process of etching. Economy is now the order of the
+day in matters of graphic satire as in everything else; people are no
+longer found willing to pay a shilling for a caricature when they may
+obtain one for a penny. Hence it has come to pass, that whilst comic
+artists abound, the prevailing spirit of economy has reduced their
+productions to a dead level, and the work of an artist of inferior
+power and invention, may successfully compete for public favour with the
+work of a man of talent and genius like John Tenniel, a result surely to
+be deplored, seeing there never was a time which offered better
+opportunities for the pencil of a great and original caricaturist than
+the present.[3]
+
+
+  MISTAKE OF THOSE WHO COMPARE MODERN CARICATURISTS WITH HOGARTH.
+
+It is a common practice, and I may add mistake, with writers on comic
+artists or caricaturists of our day, to compare them with Hogarth. Both
+Hogarth and the men of our day are graphic satirists, but there is so
+broad a distinction between the satire of each, and the circumstances of
+the times in which they respectively laboured, that comparison is
+impossible. Those who know anything of this great and original genius,
+must know that he entertained the greatest horror of being mistaken for
+a _caricaturist_ pure and simple; and although he executed caricatures
+for special purposes, they may literally be counted on the fingers. "His
+pictures," says Hazlitt, "are not imitations of still life, or mere
+transcripts of incidental scenes and customs; but powerful _moral_
+satires, exposing vice and folly in their most ludicrous points of view,
+and with a profound insight into the weak sides of character and
+manners, in all their tendencies, combinations, and contrasts. There is
+not a single picture of his containing a representation of mere
+pictorial or domestic scenery." His object is not so much "to hold the
+mirror up to nature," as "to show vice her own feature, scorn her own
+image." "Folly is there seen at the height--the moon is at the full--it
+is the very error of the time. There is a perpetual error of
+eccentricities, a tilt and tournament of absurdities, pampered with all
+sorts of affectation, airy, extravagant, and ostentatious! Yet _he is as
+little a caricaturist_ as he is a painter of still life. Criticism has
+not done him justice, though public opinion has."[4] "A set of severer
+satires," says Charles Lamb, "(for they are not so much comedies, which
+they have been likened to, as they are strong and masculine satires),
+less mingled with anything of mere fun, were never written upon paper or
+graven upon copper. They resemble Juvenal, or the satiric touches in
+Timon of Athens."
+
+[Illustration:
+  W. HOGARTH. "_Mariage à la Mode._"]
+
+[Illustration:
+  PAUL SANDBY. _Anti-Hogarthian Caricature._
+
+  "A Mountebank Painter demonstrating to his admirers and subscribers
+  that crookedness is y^e most beautifull."
+
+  _Face p. 7._]
+
+
+  CHARACTER OF HOGARTH'S SATIRES.
+
+Hogarth was a stern moralist and satirist, but his satires have nothing
+in common with the satires of the nineteenth century; such men as the
+infamous Charteris and the quack Misaubin figure in his compositions,
+and their portraits are true to the life. Although his satire is
+relieved with flashes of humour, the reality and gravity of the satire
+remain undisturbed. The _March to Finchley_ is one of the severest
+satires on the times; it shows us the utter depravity of the morals and
+manners of the day, the want of discipline of the king's officers and
+soldiers, which led to the routs of Preston and Falkirk, the headlong
+flight of Hawley and his licentious and cowardly dragoons. Some modern
+writers know so little of him that they have not only described his
+portrait of Wilkes as a _caricature_, but have cited the inscription on
+his veritable contemporary _caricature_ of Churchill in proof of the
+assertion. Now what says this inscription? "The Bruiser (Churchill, once
+the Reverend), in the character of a Russian Hercules, regaling himself
+after having killed the monster _Caricatura, that so severely galled his
+virtuous friend_, the heaven-born Wilkes." Hogarth's use of the word
+_caricatura_ conveys a meaning which is not patent at first sight;
+Wilkes's leer was the leer of a satyr, "his face," says Macaulay, "was
+so hideous that the caricaturists were forced in their own despite to
+flatter him."[5] The real sting lies in the _accuracy_ of Hogarth's
+portrait (a fact which Wilkes himself admitted), and it is in this
+sarcastic sense that Hogarth makes use of the word "caricatura."
+
+
+  GUSTAVE DORÉ.
+
+Turning from Hogarth to a modern artist, in spite of his faults of most
+marvellous genius and inventive faculty, I frequently find critics of
+approved knowledge and sagacity describing the late Gustave Doré as a
+caricaturist. It may seem strange at first sight to introduce the name
+of Doré into a work dealing exclusively with English caricature art,
+and I do so, not by reason of the fact that his works are as familiar to
+us in England as in France, not because he has pictorially interpreted
+some of the finest thoughts in English literature, but because I find
+his name so constantly mentioned in comparison with English
+caricaturists and comic artists, and more especially with our George
+Cruikshank. Now Gustave Doré is, if possible, still less a caricaturist
+than our English Hogarth. I have seen the ghastly illustrations to the
+licentious "Contes Drolatiques" of Balzac cited in proof of his claims
+to be considered a caricaturist. I will not deny that Doré did try his
+hand once upon a time at caricature, and if we are to judge him by these
+attempts, we should pronounce him the worst French caricaturist the
+world ever saw, which would be saying a great deal; for a worse school
+than that of the modern French caricaturists (and I do not except even
+Gavarni, Cham, or Daumier), does not anywhere exist. That this man of
+marvellous genius had humour I do not for one moment deny; but it was
+the grim humour of an inquisitor or torturer of the middle ages--of one
+that revels in a perfect nightmare of terror.[6] Genius is said to be
+nearly allied to madness; and if one studies some of his weird
+creations--such, for instance, as _The Judgment Day_ in the legend of
+"The Wandering Jew"--the thought involuntarily suggests itself that a
+brain teeming with such marvellous and often morbid conceptions, might
+have been pushed off its balance at any moment. Gustave Doré delights in
+lofty, mediæval-gabled buildings, with bartizans and antique galleries;
+in steep streets, dominated by gloomy turrets; in narrow entries,
+terminating in dark vistas; in gloomy forests, crowded with rocky
+pinnacles; in masses of struggling, mutilated men and horses; in
+monstrous forms of creeping, crawling, slimy, ghastly horror. By the
+side of the conceptions of Gustave Doré--_teste_ for instance the weird
+pictures of "The Wandering Jew" already mentioned--George Cruikshank
+sinks at times into insignificance; and yet side by side with
+George Cruikshank, as a purely comic artist or caricaturist, Doré is
+beneath mediocrity.
+
+[Illustration:
+  GUSTAVE DORÉ. _From "Contes Drolatiques."_
+
+  "SERGEANT-OF-THE-JUSTICE TAUPIN."]
+
+[Illustration:
+  GUSTAVE DORÉ. _From "Contes Drolatiques."_
+
+  "THE ABBOT OF MARMOUSTIERS."
+
+  _Back to p. 8._]
+
+
+[Illustration:
+  GUSTAVE DORÉ. _From "Contes Drolatiques."_
+
+  "THE LANDLORD OF THE THREE BARBELS."]
+
+[Illustration:
+  GUSTAVE DORÉ. _From "Contes Drolatiques."_
+
+  MONSEIGNEUR HUGON.
+
+  _Back to p. 9._]
+
+
+  MR. HAMERTON'S OBSERVATIONS ON CARICATURE.
+
+Artists and art critics not unnaturally regard caricature with some
+disfavour. "Art," says Hamerton, "with a great social or political
+purpose, is seldom pure fine art; artistic aims are usually lost sight
+of in the anxiety to hit the social or political mark, and though the
+caricaturist may have great natural facility for art, it has not a fair
+chance of cultivation." Writing of Cruikshank's "etchings" (and I
+presume he refers to those which are marked with comic or satirical
+characteristics), he says: "They are full of keen satire and happy
+invention, and their moral purpose is always good; but all these
+qualities are compatible with a carelessness of art which is not to be
+tolerated in any one but a professional caricaturist."[7] Now all this
+is true, and moreover it is fairly and generously stated; on the other
+hand, Mr. Hamerton will probably admit that no artist is likely to
+succeed in graphic satire, unless he be a man of marked artistic power
+and invention.
+
+While treating incidentally of the etchings of artists who have
+distinguished themselves as graphic satirists or designers, with etching
+itself as an _art_ this work has no concern. For those who would be
+initiated into the mysteries of etching and dry point, negative and
+positive processes, soft grounds, mordants, or the like, the late Thomas
+Hood has left behind him a whimsical sketch of the process, which,
+imperfect as it is, will not only suffice for our purpose, but has the
+merit probably of being but little known:--
+
+  "Prepared by a hand that is skilful and nice,
+  The fine point glides along like a skate on the ice,
+        At the will of the gentle designer,
+  Who, impelling the needle, just presses so much,
+  That each line of her labour _the copper may touch_,
+        As if done by a penny-a-liner.
+
+       *       *       *       *       *
+
+  Certain objects however may come in your sketch,
+  Which, designed by a hand unaccustomed to etch,
+        With a luckless result may be branded;
+  Wherefore add this particular rule to your code,
+  Let all vehicles take the _wrong_ side of the road,
+        And man, woman, and child be _left-handed_.
+
+  Yet regard not the awkward appearance with doubt,
+  But remember how often mere blessings fall out,
+        That at first seemed no better than curses:
+  So, till _things take a turn_, live in hope, and depend
+  That whatever is wrong will come right in the end,
+        And console you for all your _reverses_.
+
+       *       *       *       *       *
+
+  But the acid has duly been lower'd and bites
+  Only just where the visible metal invites,
+        Like a nature inclined to meet troubles;
+  And behold as each slender and glittering line
+  Effervesces, you trace the completed design
+        In an elegant bead-work of bubbles.
+
+       *       *       *       *       *
+
+  But before with the varnishing brush you proceed,
+  Let the plate with cold water be thoroughly freed
+        From the other less innocent liquor;
+  After which, on whatever you want to protect,
+  Put a _coat_ that will act to that very effect,
+        Like the black one which hangs on the vicar.
+
+  Then the varnish well dried--urge the biting again,
+  But how long, at its meal, the _eau forte_ may remain,
+        Time and practice alone can determine:
+  But of course not so long that the mountain, and mill,
+  The rude bridge, and the figures--whatever you will--
+        Are as black as the spots on your ermine.
+
+  It is true, none the less, that a dark looking scrap,
+  With a sort of Blackheath and Black Forest, mayhap,
+        Is considered as rather Rembrandty;
+  And that very black cattle and very black sheep,
+  A black dog, and a shepherd as black as a sweep,
+        Are the pets of some great _dilettante_.
+
+       *       *       *       *       *
+
+  But before your own picture arrives at that pitch,
+  While the lights are still light, and the shadows, though rich.
+        More transparent than ebony shutters,
+  Never minding what Black-Arted critics may say,
+  Stop the biting, and pour the green blind away,
+        As you please, into bottles or gutters.
+
+  Then removing the ground and the wax _at a heat_,
+  Cleanse the surface with oil, spermaceti or sweet--
+        For your hand a performance scarce proper--
+  So some careful professional person secure,
+  For the laundress will not be a safe amateur,
+        To assist you in _cleaning the copper_.
+
+       *       *       *       *       *
+
+  Thus your etching complete, it remains but to hint
+  That with certain assistance from paper and print,
+        Which the proper mechanic will settle,
+  You may charm all your friends--without any sad tale
+  Of such perils and ills as beset Lady Sale--
+        With a fine _India Proof of your metal_."[8]
+
+[Illustration:
+  WOODWARD, _engr. by_ ROWLANDSON. _"Desire," Jan. 20th, 1800._
+
+  DESIRE.]
+
+[Illustration:
+  W. H. BUNBURY. _"Strephon and Chloe," July 1st, 1804._
+
+  SENTIMENTAL COURTSHIP.]
+
+[Illustration:
+  W. H. BUNBURY. _"The Salutation Tavern," July 21st, 1801._
+
+  A FASHIONABLE SALUTATION.]
+
+[Illustration:
+  G. M. WOODWARD. _"General Complaint," May 5th, 1796._
+
+  "Don't tell me of generals raised from mere boys,
+  Though, believe me, I mean not their laurel to taint;
+  But the general, I'm sure, that will make the most noise,
+  If the war still goes on, will be General Complaint."
+
+  _Face p. 11._]
+
+
+FOOTNOTES:
+
+
+  [1] "Nor London singly can his porter boast,
+       Alike 'tis famed on every foreign coast;
+       For this the Frenchman leaves his Bordeaux wine,
+       And pours libations at our Thames's shrine;
+       Afric retails it 'mongst her swarthy sons,
+       And haughty Spain procures it for her Dons.
+       Wherever Britain's powerful flag has flown,
+       there London's celebrated porter's known."
+
+    --_The Art of Living in London_ (6th edition 1805).
+
+  [2] One quotation shall suffice. Mr. William Bates tells us in his
+    admirable "Maclise Portrait Gallery":--"He _never_ transgressed the
+    narrow line that separates wit from buffoonery, pandered to
+    sensuality, glorified vice or raised a laugh at the expense of
+    decency. Satire _never_ in his hands degenerated into savagery or
+    scurrility. A moral purpose _ever_ underlaid his humour; he sought
+    to instruct or improve when he amused." Mr. Bates will, we hope,
+    pardon us if we say that this is not quite the fact. George
+    Cruikshank in truth was no better or worse than his satirical
+    brothers, and his tone necessarily improved from the moment he took
+    to illustrating books.
+
+  [3] Since the above was written, strange to say, caricature appears
+    to be showing symptoms of revival.
+
+  [4] "The Fine Arts," by William Hazlett, p. 29.
+
+  [5] "Critical and Historical Essays," vol. iii., p. 574.
+
+  [6] We can scarcely call the wonderful series of historical cartoons
+    which he executed at sixteen _caricatures_, even in the modern sense
+    of the word. Whatever humour they possess is neutralized by the grim
+    irony which, even at this early period, characterized his work.
+
+  [7] "Etching and Etchers," by Philip Gilbert Hamerton, third edition,
+    p. 246.
+
+  [8] Thomas Hood's "Etching Moralized," in _New Monthly Magazine_, 1843,
+    vol. lxvii. p. 4, and _seq._
+
+
+
+
+CHAPTER II.
+
+_MISCELLANEOUS CARICATURES AND SUBJECTS OF CARICATURE, 1800-1811._
+
+
+  PROPOSED METHOD OF ARRANGEMENT.
+
+Although Gillray began his work in 1769,--thirty years before our
+century commenced, and Rowlandson five years later on, in 1774, their
+labours were continued some years after 1799, and are so interwoven, so
+to speak, with the work of their immediate successors, that it is almost
+impossible in a work dealing with nineteenth century caricaturists to
+omit all mention of them. In collecting too materials for the present
+treatise, we necessarily met with many anonymous satires, without
+signature, initials, or distinguishing style, which may be, and some of
+which are probably due to artists whose pencils were at work before the
+century began. Even if equal in all cases to the task of assigning these
+satires to the particular hands which designed and executed them, we
+submit that little real service would be rendered to the cause of
+graphic satire. It appears to us therefore that the most convenient
+method will be to indicate in this and the following chapters _some_ of
+the leading topics of caricature during the first thirty years of the
+century, and to cite in illustration of our subject such of the work of
+anonymous or other artists, for which no better place can be assigned in
+other divisions of the work.
+
+[Illustration:
+  JAMES GILLRAY. _June 20th, 1789._
+
+  SHAKSPEARE SACRIFICED, OR THE OFFERING TO AVARICE.
+
+  Alderman Boydell, as High Priest within the magic circle, preparing an
+  oblation to Shakspeare; the demon of Avarice, seated upon the List of
+  Subscribers, hugging his money-bags; Puck on his shoulders blowing
+  bubbles of "immortality" to the promoter of the "Gallery" about to be
+  published. Shakespeare himself, obscured by the Aldermanic fumes.
+  Figures of Shakspearean characters above.
+
+  _Face p. 12._]
+
+The attention of the public during the first fifteen years of the
+century was mainly directed to the progress and fortunes of the great
+national enemy, Napoleon Bonaparte. The hatred with which he was
+regarded in this country can scarcely be appreciated in these days; and
+in order that the cause of this bitter antipathy may be understood,
+it will be necessary for us to consider Bonaparte's general policy in
+relation to ourselves.
+
+
+  18TH BRUMAIRE.
+
+The close of the century had been signalized in France by the memorable
+revolution of "the eighteenth Brumaire." The Directory had ceased to
+exist, and a provisional consular commission, consisting of "Citizens"
+Sieyes, Ducos, and Bonaparte, was appointed. On the 13th of December,
+the legislative committees presented the new constitution to the nation,
+the votes against it being 1,562 as against 3,012,659 in its favour.
+Bonaparte was nominated first consul for ten, and Cambacères and Lebrun
+(nominal) second and third consuls for five years.
+
+Although Bonaparte, as soon as he was appointed First Consul, made
+direct overtures to the king of England with a view to peace, he had
+himself to thank if his overtures met with no corresponding return. To
+accomplish the revolution of the "eighteenth Brumaire," he had found it
+necessary to quit Egypt. The English knew the French occupation of Egypt
+was intended as a direct menace to British interests in India. Lord
+Granville, therefore, in his official reply, without assuming to
+prescribe a form of government to France, plainly but somewhat
+illogically intimated that the "restoration of the ancient line of
+princes, under whom France had enjoyed so many centuries of prosperity,
+would afford the best possible guarantee for the maintenance of peace
+between the two countries." This New Year's greeting on the part of Lord
+Granville put an end, as might have been expected, to all further
+communications.
+
+
+  THE FRENCH DRIVEN OUT OF EGYPT.
+
+The French, however, had no business in Egypt, and England was resolved
+at any cost to drive them out of that country. With this object in view,
+the armament under the command of Sir Ralph Abercrombie effected its
+disembarkation at Aboukir on the 8th of March, 1801. A severe though
+indecisive action followed five days afterwards. On the 20th was fought
+the decisive battle of Alexandria. General Hutchinson, on the death of
+the English commander, followed up the victory with so much vigour and
+celerity, that early in the autumn the French army capitulated, on
+condition of being conveyed to France with all its arms, artillery, and
+baggage. The capitulation was signed just in time to save French honour;
+for immediately after the conclusion of the treaty, a second British
+force, under the command of Sir David Baird, arrived from India by way
+of the Red Sea. Bonaparte's favourite project of making Egypt an
+_entrepôt_ for the conquest of Hindostan was thus most effectually
+checkmated.[9]
+
+On the 1st of October, 1801, _preliminaries_ of peace between France and
+Great Britain were signed in Downing Street; on the 10th, General
+Lauriston, aide-de-camp to the First Consul, having arrived with the
+ratification of these preliminaries, the populace took the horses from
+his carriage and drew it to Downing Street. That night and the following
+there was a general illumination in London.
+
+The "preliminaries" referred to were those of the very unsatisfactory
+"Peace of Amiens," as it was called. Its terms, by no means flattering
+to this country, were shortly these: France was to retain all her
+conquests; while, on the other hand, the acquisitions made by England
+during the war were to be given up. Malta and its dependencies were to
+be restored (under certain restrictions) nominally to the Knights of St.
+John of Jerusalem; the French were to evacuate Naples and the Roman
+States; and the British Porto Ferrago, and all the ports possessed by
+them in the Mediterranean and the Adriatic.
+
+[Illustration:
+  JAMES GILLRAY. _Sept., 1796._
+
+  A PEEP AT CHRISTIE'S, OR TALLY-HO AND HIS NIMENEY PIMENEY TAKING THE
+  MORNING LOUNGE.
+
+  A study of Lord Derby and Miss Farren (the actress), a few months
+  before their marriage, enjoying the Fine Arts, he studying "The Death
+  of Reynard," she "Zenocrates and Phryne."
+
+  _Face p. 14._]
+
+
+  BONAPARTE ESTABLISHES AN ENGLISH NEWSPAPER IN PARIS.
+
+All this time a violent paper war had been maintained between the
+English press and the _Moniteur_, the official organ of the Consular
+Government. In the month of August, 1802, Bonaparte prohibited the
+circulation of the English newspapers, and immediately after the issue
+of the order, the coffee houses and reading rooms were visited by his
+police, who carried away every English journal upon which they could lay
+their hands. By way of answer to English abuse (to which Napoleon was
+singularly sensitive), the First Consul now established an English
+newspaper in Paris, which was thenceforth unceasingly occupied in
+vilifying the Government and people of England. This paper was called
+_The Argus_, and an Englishman, one Goldsmith,--whilom proprietor of the
+_Albion_ newspaper in London,--was actually found mean enough to
+undertake the peculiarly dirty office of its editor.
+
+The _denouement_ was not long delayed. On the 13th of March, 1803,
+occurred the extraordinary and well-known scene between the First Consul
+and the English ambassador, Lord Whitworth. Bonaparte, in the presence
+of a numerous and astonished Court, vehemently accused England of breach
+of faith in not carrying out the provisions of the treaty, by still
+remaining in possession of Malta. The episode appears to have been of an
+extraordinary character, and the violence and ferocity of Bonaparte's
+language and behaviour, maintained till the very close of the interview,
+must have contrasted strangely with the coolness of the English
+ambassador.
+
+The restoration of Malta to the Knights of St. John was of course a mere
+nominal restitution, for, except in name, the Knights of St. John had
+ceased to exist. The First Consul really wanted the island for himself;
+and while he accused us of breach of faith, was himself acting all the
+while contrary to the spirit of the treaty of Amiens. While requiring
+that we should drive the royalist emigrants from our shores, he demanded
+that the English press should be deprived of its liberty of speaking in
+such frank terms of himself and his policy. His unfriendly conduct did
+not end here. At this very time he was actively employed in fomenting
+rebellion in Ireland, and in planting (under the nominal character of
+consuls) spies along our coast, whose treacherous objects were
+accidentally discovered by the seizure of the secret instructions issued
+to one of these fellows at Dublin. "You are required," said this
+precious document, "to furnish a plan of the ports of your district,
+with a specification of the soundings for mooring vessels. If no plan of
+the ports can be procured, you are to point out with what wind vessels
+can come in and go out, and what is the greatest draught of water with
+which vessels can enter the river deeply laden."
+
+Still there was no actual breach of the nominal peace between the two
+countries until the 12th of May, on which day Lord Whitworth left Paris.
+He landed at Dover on the 20th, meeting there General Audreossi,
+Napoleon's minister to the English Court, on the point of embarking for
+France.
+
+
+  ENGLAND DECLARES WAR.
+
+For two days before, that is to say on the 18th of May, 1803, England
+had issued her declaration of war against France. In this document, our
+government alleged that the surrender of Malta to the knights of St.
+John of Jerusalem had been rendered impossible by the action of France
+and Spain, who had destroyed the independence of the Order itself.
+Reference was made to Bonaparte's attempts to interfere with the liberty
+of the English press, and the indignities he had offered to our
+ambassador; but the real ground of quarrel was to be found in an
+official gasconade of Bonaparte's, in which he declared that "Britain
+could not contend single handed against France," a vainglorious boast,
+which (in those days at least) touched a chord which thrilled the
+patriotic feelings of every Englishman that loved his country.
+
+Napoleon's next step--a simply detestable action--was quite in
+accordance with the faithless policy which he pursued towards this
+country. The treaty of Amiens had induced crowds of English to cross the
+Channel, and on the specious pretext that two French ships had been
+captured prior to the actual declaration of war, he issued a decree on
+the 22nd of May, 1803, for the arrest and imprisonment of all Englishmen
+in France, over eighteen and under sixty years of age, all subjects of
+the king of England between those ages being considered, for the purpose
+of this outrageous order, _as forming part of the English militia_. This
+measure was carried out with the utmost rigour, and the eleven thousand
+English who thus became prisoners of war were deprived of their liberty
+fifteen years, and regained it only in 1814.
+
+[Illustration:
+  JAMES GILLRAY. _January 11th, 1796._
+
+  TWOPENNY WHIST.
+
+  Mistress Humphrey and Betty, of St. James' Street, their neighbour
+  Mortimer (a well-known picture dealer) and a German guest.
+
+  [A satire, by contrast, on the high stakes of "White's" and
+  "Boodle's."]
+
+  _Face p. 16._]
+
+
+  ENGLISH ENTHUSIASM.
+
+The feeling of the nation at this time may be judged by the debates in
+the Houses of Parliament. In the Commons, Mr. Grey moved an
+amendment, which, while it assured His Majesty of support in the war,
+expressed _disapprobation of the conduct of Ministers_. This amendment
+was rejected by 398 to 67. The unanimity in the Lords was still greater.
+The official statement that England was unable to contend single-handed
+with France produced a violent outburst of indignation, and the
+amendment moved by Lord King, to omit words which charged France with
+the actual guilt and responsibility of breaking the treaty, was
+negatived by 142 to 10. This was on the 23rd of May. On the 20th of June
+a great meeting was held at Lloyds, for the purpose of promoting a
+subscription for carrying on the war. Six days later on, five thousand
+merchants, bankers, and other persons of position met at the Royal
+Exchange, and unanimously agreed to a declaration which expressed their
+determination to "stand or fall with their king and country." This
+resolution or declaration was seconded by the Secretary to the East
+India Company, and the meeting did not separate until "God save the
+King" and "Rule Britannia" had been sung, and nine cheers had been given
+for England and King George. On the 26th of August, His Majesty reviewed
+the London volunteers in Hyde Park, in the presence of the French
+princes, General Dumouriez, and two hundred thousand spectators; this
+military spectacle being followed on the 28th by a review, in the same
+place, of the Westminster, Lambeth, and Southwark corps. The number of
+volunteers actually enrolled in the metropolis and outparishes at this
+time was forty-six thousand.
+
+The following year saw the final end of the great French Revolution; the
+names of the puppet "second" and "third" consuls had been long omitted
+from the public acts of the French Government. The motives of this
+omission were soon abundantly apparent; and in the month of May, 1804,
+Bonaparte was proclaimed Emperor of the French.
+
+Some writers have doubted whether Napoleon entertained any serious
+intention of invading this country; but to doubt such intention would be
+really to doubt whether Nelson fell at Trafalgar, for that crushing
+defeat was simply the sequel and outcome of the collapse of the
+emperor's plans. The details of the invasion scheme were fully explained
+to General Sir Neil Campbell by Napoleon himself at Elba, in 1814, and
+afterwards confirmed by him in precisely similar terms to O'Meara at St.
+Helena. Those plans were defeated by the suspicions and vigilance of
+Lord Nelson; by his habit of acting promptly upon his suspicions; by the
+alacrity with which the Admiralty of the day obeyed his warnings; by the
+prescience of Lord Collingwood; and by the consequent intercepting of
+the combined French and Spanish fleets off Ferrol by Sir Robert Calder,
+in July, 1806. The moment this happened, Napoleon saw that his game--so
+far at least as England was concerned--was at an end; and fertile in
+resources, he immediately carried out the second part of his programme.
+Then followed, as we know, the campaign of Austerlitz, the treaty of
+Presburg, the war with Prussia, and finally the battle of Jena, in
+October, 1806.
+
+
+  BERLIN DECREE.
+
+Ever bent on humiliating and crippling the resources of England,
+Napoleon on the 1st of November, 1806, issued his memorable "Berlin
+Decree," containing eleven clauses, of which this country formed the
+exclusive topic. By it, all trade and correspondence with the British
+Isles was prohibited; all letters and packets at the post office,
+addressed to England, or to an Englishman, or "written in English," were
+to be seized; every subject of England found _in any_ of the countries
+occupied by French troops or those of their allies, was to be made
+prisoner of war; all warehouses, merchandise, and property belonging to
+a subject of England were declared lawful prize; all trading in English
+merchandise forbidden; every article belonging to England, or coming
+from her colonies, or of her manufacture, was declared good prize; and
+English vessels were excluded from every European port.[10] This
+outrageous "decree" Bonaparte imposed upon every country that fell under
+the iron sway of his military despotism.
+
+[Illustration:
+  NAPOLEON FORTY-EIGHT HOURS AFTER LANDING.
+
+  "Ha, my little Boney! what dost think of Johnny Bull now? Plunder Old
+  England, hay? Make French slaves of us all, hay? Ravish all our wives
+  and daughters, hay? O, Lord help that silly head! To think that Johnny
+  Bull would ever suffer those lanthorn jaws to become King of Old
+  England's Roast Beef and Plum Pudding!"]
+
+[Illustration:
+  JOHN BULL OFFERING LITTLE BONEY FAIR PLAY.
+
+  BONAPARTE--"I'm a-coming! I'm a-coming!"
+
+  JOHN BULL--"You're a-coming!
+            If you mean to invade us, why make such a route?
+            I say, Little Boney,--why don't you come out?
+            Yes, d---- you, why don't you come out?"
+
+  FIGURES FROM GILLRAY'S NAPOLEONIC CARICATURES.
+
+  _Face p. 18._]
+
+
+  BASE POLICY OF BONAPARTE.
+
+The policy, therefore, of the emperor towards England, which was
+contrary to all the usages of civilized warfare, will explain the
+bitter animosity with which he was regarded in this country. The English
+were molested everywhere; they were made prisoners at Verdun and in
+Holland; their property was confiscated in Portugal; Russia was cajoled,
+Prussia forced into a league against them, and Sweden menaced, because
+she persisted in maintaining her alliance with this country. The "Berlin
+Decree" was an infamous document, worthy rather the policy of a bandit
+chief than of a fair and honourable antagonist. It proclaimed war not
+against individuals, but against private property, and specially
+appealed to the cupidity of those to whom it was addressed. This base
+policy towards English subjects recoiled inevitably against its
+perpetrator; and its effects were soon felt in the fields of the
+Peninsula, the banishment to Elba, and above all, in the final
+consignment to the rock of St. Helena. We, on our part, ignored
+Bonaparte's right to the title of emperor. With us, he was invariably
+"General Bonaparte," and nothing more; and in the graphic lampoons of
+Gillray, Rowlandson, and Cruikshank, he was exhibited under the most
+ludicrous circumstances in connection with the divorce, the defeats of
+Russia and the Peninsula, and even the paternity of his son the young
+king of Rome. These caricatures were brought to his notice by his spies
+and emissaries in England; they rendered him furious; and one of
+them--Gillray's admirable and, as it subsequently proved, prophetic
+satire of _The Handwriting on the Wall_--is said to have given him not
+only offence, but even serious uneasiness.
+
+The tone of the English caricaturists may be gathered from one of the
+best of Woodward's satires, published in 1807. It is entitled _A
+Political Fair_, in which the various shows are labelled Russian,
+Danish, Swedish, Westphalian, Austrian, Dutch, Spanish, and even
+American. The best show in the fair is kept of course by John Bull &
+Co., whilst Bonaparte is the proprietor of a humble stall, whereat
+gingerbread kings and queens are sold wholesale and retail by his
+Imperial Majesty.[11] The same artist, in another but distinctly
+inferior satire (published in November, 1807), gives us _The Gallick
+Storehouse for English Shipping_: on one side we see Napoleon
+accumulating vast stores of Spanish, Danish, Dutch, and Swedish vessels,
+intended to annihilate the naval power of England--the shipbuilder,
+however, shrugs his shoulders and suggests it is but time thrown away,
+for as fast as the ships are built, John Bull "claps them into his
+storehouse over the way." The satire was suggested of course by the
+victory of Trafalgar in October, 1805; by Sir J. Duckworth's capture of
+French shipping in January, 1806; and by the surrender of the Danish
+fleet after the bombardment of Copenhagen, in September, 1807.[12]
+
+
+  BATTLE OF BAYLEN.
+
+In a caricature published by Walker in 1808, we see Joseph Bonaparte
+(one of these Imperial ginger-bread monarchs) driven from Madrid by
+Spanish flies; the satire is entitled _Spanish Flies, or Boney taking an
+Immoderate Dose_, and has reference to the results of the Battle of
+Baylen, in Andalusia, one of the _very_ few victories ever obtained by
+the Spaniards against the French, where a division of 14,000 men
+surrendered to Castanos. This was on the 20th of July, and nine days
+afterwards Joseph retreated to Burgos with the crown jewels. The
+wretched Spaniards, however, were incapable of improving their victory;
+and General Castanos instead of following up the retreating enemy, went
+to Seville to fulfil a vow he had made of dedicating his unexpected
+victory to St. Ferdinand, on whose tomb he deposited the crown of laurel
+presented to him by his grateful countrymen. Of the Bonaparte
+caricatures of this year, no less than nineteen are due to the pencil of
+Thomas Rowlandson, and will be found fully described in Mr. Joseph
+Grego's exhaustive work[13] upon that artist and his works.
+
+[Illustration:
+  THE KING OF BROBDINGNAG AND GULLIVER.]
+
+[Illustration:
+  TALLEYRAND, KING-AT-ARMS, BEARING HIS MASTER'S GENEALOGICAL TREE,
+  SPRINGING FROM BUONE, BUTCHER.]
+
+[Illustration:
+  NAPOLEON IN HIS CORONATION ROBES.
+
+  FIGURES FROM GILLRAY'S NAPOLEONIC CARICATURES.
+
+  _Face p. 20._]
+
+The year 1809 witnessed the divorce from Josephine, and the marriage of
+the emperor to Marie Louise. The purposes for which this matrimonial
+alliance was effected were made no secret of by the emperor, and were
+indicated of course in the plainest possible terms by the English
+contemporary caricaturists, who were certainly not troubled with any
+unnecessary scruples of prudery or delicacy. One of these satires,
+published by Tegg, on the 16th of August, 1810, is entitled _Boney and
+his New Wife, or a Quarrel about Nothing_, and indicates in the plainest
+possible terms that the purposes for which the divorce had been effected
+were as distant as ever. The result of this union, however, was the
+birth of the young king of Rome on the 20th of March, 1810, an event
+which set the pencils of our pictorial satirists once more in motion,
+and the young heir and his father were complimented by Rowlandson in a
+rough caricature, published by Tegg on the 9th of April, 1811, as _Boney
+the Second, the little Babboon [sic] created to devour French Monkies_.
+
+
+  BATTLE OF BAROSSA.
+
+In March, 1811, was fought the battle of Barossa; while the same month
+Massena, finding it difficult to maintain his army in a devastated
+country, instead of fulfilling his vain-glorious boast of driving "the
+English into their native element," began his own retreat from Santarem,
+abandoning part of his baggage and heavy artillery. Marching in a solid
+mass, his rear protected by one or two divisions, he retired towards the
+Mondego, preserving his army from any great serious disaster, though
+watchfully and vigorously pursued by Lord Wellington. The skilful
+generalship of the French marshal elicited of course no encomiums from
+the English caricaturists. On the contrary, we see (in "The Scourge" of
+1st May, 1811) Wellington in the act of basting a French goose before a
+huge fire, a British bayonet forming the spit. While basting the goose
+with one hand, the English general holds over the fire in the other a
+frying-pan filled with French generals, some of whom--to escape the
+overpowering heat--are leaping into the fire; another British officer
+(probably intended for General Graham) blows the flames with a pair of
+bellows labelled "British bravery." Napoleon appears in a stew-pan over
+an adjoining boiler, while we find Marshal Massena himself in a
+pickle-jar below. This satire is entitled, _British Cookery, or Out of
+the Frying-pan into the Fire_.
+
+
+  NAPOLEON'S STAR BEGINS TO WANE.
+
+The star of Napoleon was beginning to wane in 1812. The snow made its
+first appearance in Russia on the 13th of October of that year, and the
+French emperor already commenced his preparations for retreat. This is
+referred to in a very clever caricature published by Tegg on the 1st of
+December, 1812, wherein we find _General Frost shaving Boney_ with a
+razor marked "Russian steel." Napoleon stands up to his knees in snow,
+and out of the nostrils of the snow fiend [General Frost] issue blasts
+labelled "North," "East," "Snow," and "Sleet." Seven days later on, we
+meet with a roughly-executed cartoon, _Polish Diet with French Dessert_,
+wherein we see Napoleon basted by General Benningsen, the spit being
+turned by a Russian bear. This caricature, no doubt, has reference to
+the disastrous defeat by Benningsen of the French advanced guard, thirty
+thousand strong, under Murat, on the 18th of October, 1812, when fifteen
+hundred prisoners, thirty-eight cannon, and the whole of the baggage of
+the corps, besides other trophies, fell into the victors' hands.
+
+The retreat from Moscow is referred to in a satire published by Thomas
+Tegg on the 7th of March, 1813, labelled, _The Corsican Bloodhound beset
+by the Bears of Russia_; wherein Napoleon is represented as a mongrel
+bloodhound with a tin kettle tied to his tail, closely pursued by
+Russian bears. Various papers are flying out of the kettle, labelled
+"Oppression," "Famine," "Frost," "Destruction," "Death," "Horror,"
+"Mortality," "Annihilation." "Push on, my lads," says one of the
+pursuers. "No grumbling; keep scent of him; no sucking of paws this
+winter, here is food for the bears in all the Russias." The emperor, in
+truth, had the narrowest escape from being made a prisoner by the
+Cossacks, a fact alluded to in another caricature published by Tegg in
+June, 1813, entitled, _Nap nearly Nab'd, or a Retreating Jump just in
+time_. Here, the emperor and one of his marshals are depicted leaping
+out of window, at the very moment when a Cossack with his lance appears
+outside the palings. "Vite," says the marshal, in the peculiar _patois_
+adopted by the English caricaturists of the early part of the century,
+"Courez, mon Empereur, ce Diable de Cossack, dey spoil our dinner!!!"
+
+
+  THE BULLETIN.
+
+Napoleon collected his marshals around him at Smorgoni, on the 5th of
+December, 1812, and dictated a bulletin which developed the horrors of
+the retreat, and explained to them his reasons for returning to Paris.
+"I quit you," he said, "but go to seek three hundred thousand men." He
+then proceeded to lay the blame on the King of Westphalia, and his
+trusted and tried friend the Duc d'Abrantes; alleged that English
+torches had turned Moscow into a heap of ashes; and added (with greater
+truthfulness) that the cold had done the rest of the mischief. He
+entrusted the command to Murat, and bidding them farewell set out,
+accompanied only by Generals Coulaincourt, Duroc, and Mouton, the
+Mameluke Rustan, a captain of the Polish lancers, and an escort of
+Neapolitan horsemen. This event is referred to in a caricature,
+published by S. W. Fores on the 1st of January, 1813, entitled, _Boney
+returning from Russia covered with Glory, leaving his army in
+comfortable winter quarters_. Napoleon and Coulaincourt are seated in a
+sleigh driven by another general in jack boots, with a tremendous cocked
+hat on his head, a huge sword by his side, and a formidable whip in his
+hand. Coulaincourt inquires, "Will your Majesty write the bulletin?"
+"No," replies Napoleon; "you write it. Tell them we left the army all
+well, quite gay; in excellent quarters; plenty of provisions; that we
+travelled in great style; received everywhere with congratulations; and
+that I had almost completed the _repose_ of Europe" (a favourite
+expression of his). By way of contrast to these grandiloquent phrases,
+the eye is attracted to the surroundings. The ground is thickly coated
+with snow; in the foreground, two famished wretches cut and devour raw
+flesh from a dead horse. On all sides lie dead and dying men and
+animals, while in the distance we behold the flying and demoralized
+troops chased by a cloud of Cossacks. The English caricaturists follow
+the emperor into the sanctity of his private life; they depict in their
+own homely but forcible fashion the astonishment of the empress at his
+unexpected return, and the disgust of young "Boney the Second," who not
+only expresses surprise that his imperial sire had forgotten his promise
+to "bring him some Russians to cut up," but suggests that they seem to
+have "cut _him_ up" instead. These incidents are described in a satire
+entitled, _Nap's Glorious Return; or, the Conclusion of the Russian
+campaign_, published by Tegg, in June, 1813.
+
+The crushing defeat of Vitoria, the crowning disaster of
+Leipzig--sustained the same year, the subsequent abdication of
+Bonaparte, the return from Elba, the brief incident of the "hundred
+days," the catastrophe of Waterloo, and the subsequent consignment of
+the great emperor to St. Helena, form of course the subjects of a host
+of graphic satires. Foremost amongst them (for Gillray's intellect was
+gone), must be mentioned the caricatures of Thomas Rowlandson and of
+George Cruikshank. The first being fully described in Mr. Grego's work,
+we are not called on to mention them here, while the last will be fully
+set out when we come to treat of the caricature work of George
+Cruikshank.
+
+
+  FRENCH ROYALIST SATIRES.
+
+The French royalist satirists of course expressed their views on the
+situation. A French royalist caricature, published after Waterloo,
+represents Napoleon as a dancing bear forced to caper by England, his
+keeper, who makes an unsparing use of the lash, whilst Russia and Prussia
+play pipe and drum by way of music. A good answer, however, to this is
+found in a French caricature (published in the Napoleon interest), like
+most of the French satires of that period without date, entitled,
+_L'après dinée des Anglais, par un Français prisonnier-de-guerre_, which
+satirizes the after-dinner drinking propensities of the English of the
+period. The caricature, although neither flattering nor altogether
+decent, is probably not an exaggerated picture of English after-dinner
+conviviality while the century was young.
+
+[Illustration:
+  GILLRAY. _"Royal Affability," Feb. 10th._
+
+  "Well, friend, where a' you going, hay? What's your name, hay? Where
+  do you live, hay?--hay?"]
+
+[Illustration:
+  GILLRAY. _Connoisseur examining a Cooper June 18th, 1792._
+
+  A CONNOISSEUR IN ART.]
+
+[Illustration:
+  GILLRAY. _"A Lesson in Apple Dumplings."_
+
+  "Hay? hay? apple dumplings?--how get the apples in?--how? Are they
+  made without seams?"
+
+  _Face p. 24._]
+
+By far the most biting, the most sarcastic, the most effective, and the
+most popular of the anti-Bonaparte caricatures are those by James
+Gillray, which commence before the close of the last century, and end in
+1811, the year when the lurid genius of this greatest and most original
+of satirists was quenched in the darkness of mental imbecility. James
+Gillray, however, like his able friend and contemporary, Thomas
+Rowlandson, does not fall within our definition of a "nineteenth
+century" satirist; and I am precluded from describing them. I have
+before me the admirable anti-Bonaparte satires of both artists; and
+inseparably linked as they are with the men who began work after 1800,
+the almost irresistible tendency is to describe some of them in
+elucidation of the events to which I have occasion to refer. To do so,
+however, although fascinating and easy, would be not only to wander from
+my purpose, but to invade the province of the late Thomas Wright and of
+Mr. Grego, which I am not called upon to do; to refer to them, however,
+for the purpose of this chapter, I have found not only necessary, but
+unavoidable.
+
+
+  INJUSTICE OF THE CARICATURISTS.
+
+  THEY MISTAKE THE CHARACTER OF BONAPARTE.
+
+Caricature, like literary satire (as we all know from the days of the
+"Dunciad" downwards), has little concern with justice; but we who look
+back after the lapse of the greater part of the century, and have
+moreover studied the history and the surroundings of Napoleon Bonaparte,
+may afford at least to do him justice. Gillray is a fair exponent of the
+intense hatred with which Bonaparte was regarded in this country, when
+not only the little "Corsican," but those about him, were held up to a
+ridicule which, oftentimes vulgar, partook not unfrequently of absolute
+brutality. Who would imagine, for instance, that the fat blousy female
+quaffing deep draughts of Maraschino from a goblet, in his famous satire
+of the _Handwriting on the Wall_, was intended for the refined and
+delicate Josephine? Occasionally, however, James Gillray descended to a
+lower depth, as in his _Ci Devant Occupations_ (of 20th February, 1805),
+in which we see this delicate woman, with the frail but lovely Spaniard,
+Theresa de Cabarrus (Madame Tallien), figuring in a manner to which the
+most infamous women of Drury Lane would have hesitated to descend.
+Josephine de la Pagerie, as we all know, was anything but blameless;
+which indeed of _les Déesses de la Revolution_ could pass unscathed
+through the fiery furnace of the Terror?[14] But this miscalled satire
+of James Gillray, which he dubs "a fact," is nothing less than a
+poisonous libel. As for _le petit Caporal_ himself, everyone now knows,
+that while he viewed the carnage of the battlefield with the
+indifference of a conqueror, he shrank in horror from the murderers of
+the Swiss; from Danton and his satellites, the Septembrist massacrists;
+from the mock trials and cold-blooded atrocities of the Terrorists.
+Standing apart from these last by right of his unexampled genius, with
+Danton, Marat, Robespíerre, Couthon, Carrier, Napoleon Bonaparte has
+nothing whatever in common. Looking back upon the ruins of his empire,
+the mistakes he had made, the faults he had committed, Napoleon, with
+reference at least to his own personal elevation, might say with truth:
+"Nothing has been more simple than my elevation. It was not the result
+of intrigue or _crime_. It was owing to the peculiar circumstance of the
+times, and because I fought successfully against the enemies of my
+country. What is most extraordinary is, that I rose from being a private
+person to the astonishing height of power I possessed, without having
+committed a single crime to obtain it. If I were on my death-bed I could
+make the same declaration."[15]
+
+To these facts, of course, James Gillray (if indeed he knew them) closed
+his eyes. In his sketch of the 12th of May, 1800, he shows us the young
+lieutenant at the head of tattered legions directing the destruction of
+the royal palaces. Blinded by the prejudice of his times, he seems
+apparently ignorant of the fact that Napoleon although a _spectator_ of
+the attack on the Tuileries, had no power; that if he had, he would (as
+he himself expressed it at the time) have swept the sanguinary
+_canaille_ into the gutters with his grape shot. Again, in his satires,
+he connects him repeatedly with the guillotine, to all appearance
+unconscious of the fact that between Napoleon and the guillotine no
+possible sympathy existed.
+
+       *       *       *       *       *
+
+[Illustration:
+  JAMES GILLRAY.  _June 28th, 1791._
+
+  THE NATIONAL ASSEMBLY PETRIFIED, AND THE NATIONAL ASSEMBLY REVIVIFIED.
+
+  1. BARBER--"De King is escape! de King is escape!"
+
+  2. COOK.--"Aha! be gar, de King is retaken!! Aha! Monsieur Lewis is
+  retaken, aha!!"
+
+  [_The French Revolution._]
+
+  _Face p. 26._]
+
+
+  ROBERT DIGHTON'S SKETCHES.
+
+A good idea of the appearance and costume of "the general" and
+notables of the early part of the century, is given by the sketches of
+the last century artist, Robert Dighton. His etchings are not
+caricatures, as may be supposed, but likenesses of the _oi polloi_--the
+university dons--the prize-fighters--the butchers--the
+singers--actors--actresses--the men about town ("Corinthians," as they
+were termed in the slang of the Regency)--the "upper ten"; and what
+amazingly queer folks were these last! The Duke of Grafton, with his
+tremendous beak, wig, and cocked hat, his mahogany tops and spurs, his
+long coat with the flapped pockets and his star; the Marquis of
+Buckingham, with his red fat face and double chin, which told tales of
+nightly good cheer, his cocked hat, military coatee, and terrific
+paunch, which resisted all attempts to confine it within reasonable
+military compass; John Bellingham--the murderer of Spencer
+Perceval,--with his retreating forehead, long pointed nose, drab cloth
+coat and exuberant shirt frill; "What? What? What?"--Great George
+himself, as he appeared in 1810, in full military panoply--huge
+ill-fitting boots, huge blue military coat, collar, lappets, and star, a
+white-powdered bob surmounting a clean-shaved unintellectual face, the
+distinguishing characteristics of which were a pair of protruding eyes
+surmounted by ponderous eyebrows.
+
+A well-drawn caricature published by S. W. Fores on the 11th of May,
+1801, gives us an admirable idea of the male and female costume of the
+period. It contains sixteen figures, and is entitled _Tea just Over, or
+the Game of Consequences begun_. "Consequences" would appear to have
+been a fashionable game at this time; but the "consequences" here
+alluded to are the immediate results of a pinch of snuff. The
+"consequences" of one gentleman sneezing are the following: he jerks the
+arm of the lady next him, the result being that she pours her cup of
+scalding hot tea over the knees of her neighbour, a testy old gentleman,
+who in his fright and pain raises his arms, jerking off with his cane
+the wig of a person standing at the back of his chair, who in the
+attempt to save his wig upsets his own cup and saucer upon the pate of
+his antagonist Another guest, with his mouth full of tea, witnessing
+this absurd _contretemps_ is unable to restrain his laughter, the
+result of which is that he blows a stream of tea into the left ear of
+the man who has lost his wig, at the same time setting his own pigtail
+alight in the adjoining candle. All these disasters, passing in rapid
+succession from left to right, are the direct "consequences" of one
+unfortunate pinch of snuff.
+
+
+  MASTER BETTY.
+
+The year 1804 witnessed the advent of a performer whose theatrical
+reputation, notwithstanding the wonderful sensation it created for a
+couple of seasons, was not destined to survive his childhood. The brief
+_furore_ he excited, enabled his friends to lay by for him a
+considerable fortune, which enabled him to regard the memory of his
+immature triumphs and subsequent failures with resignation. Master
+Betty, "the Young Roscius," was not quite thirteen years of age when he
+made his first appearance at Covent Garden on the 1st of December, 1804,
+as Achmet in _Barbarossa_. He played alternately at the two great
+houses; twenty-eight nights at Drury Lane brought £17,210 into the
+treasury, whilst the receipts at Covent Garden during the same period
+are supposed to have been equally large. A rough caricature of 1804,
+bearing the signature "I. B.," depicts the child standing with one foot
+on Drury Lane and the other on Covent Garden, with a toy whip in one
+hand and a rattle in the other, while two full-grown actors of real
+merit bemoan the decadence of public taste on the pavement below. Some
+years later on the pair might have said with Byron,--
+
+  "Though now, thank Heaven! the Rosciomania's o'er,
+   And full-grown actors are endured once more."[16]
+
+The leading home political incident of 1806 was the impeachment and
+acquittal of Lord Melville, an event which is dealt with by Gillray, and
+also by Rowlandson in his graphic satire of _The Acquittal, or Upsetting
+the Porter Pot_, both artists alluding to Whitbread, the brewer, the
+head of the advanced Liberals, and one of the principal movers of Lord
+Melville's impeachment.
+
+[Illustration:
+  T. ROWLANDSON. _October 25th, 1810._
+
+  "SPITFIRES."
+
+  _Back to p. 28._]
+
+[Illustration:
+
+  T. ROWLANDSON. 1813.
+
+  "THE COBBLER'S CURE FOR A SCOLDING WIFE."
+
+  _Back to p. 29._]
+
+
+  INTRODUCTION OF GAS.
+
+Gas, which now promises to be superseded in its turn by electricity, was
+introduced into Boulton & Watts' foundry, at Birmingham, as early as the
+year 1798, and the Lyceum Theatre was lit with gas (by way of
+experiment) in 1803; it met however with much opposition from persons
+interested in the conservation of the oil trade, and made no real
+progress in London until 1807, when it was introduced into Golden Lane
+on the 16th of August. Pall Mall, however, was not lighted with gas
+until 1809, and it was really not finally and generally introduced into
+London until the year 1820. We meet with an excellent satire published
+by S. W. Fores, in 1807, wherein a harlequin is depicted sitting on a
+rope suspended between a couple of lamp posts. The lamps and the hat of
+the figure are garnished with lighted burners; the neighbours in the
+windows of the adjoining houses, the people on the pavement below, the
+fowls, the dogs, the cats on the roofs, are suffocated with the noxious
+vapour. The figure holds in his hand a paper, whereon we read, "This is
+the speculation to make money, £10,000 per cent. profit all in
+_Air_-light air. 'Tis there, 'tis here, and 'tis gone for ever." This
+caricature bears the title of _The Good Effects of Carbonic Gas_. A
+caricature of Woodward, engraved by Rowlandson, and published by
+Ackermann on the 23rd of December, 1809, gives us _A Peep at the Gas
+Lights in Pall Mall_, the interest of which chiefly centres in the
+eccentric form of the early street lamps. Among the groups looking on
+are a wondering "country cousin" and a "serious" companion. "Ay,
+friend," says the latter, anxious of course, in season and out of
+season, to turn the occasion to profitable account, "verily it is all
+vanity! What is _this_ to the _inward light_?" Some more disreputable
+members of the community are expressing their fears that the new light
+will interfere with their own peculiar modes of livelihood.
+
+A clever and somewhat remarkable woman succeeded in achieving an
+unenviable notoriety in 1809. The daughter of a printer residing in Bowl
+and Pin Alley, near White's Alley, Chancery Lane, the remarkably
+intelligent girl had early attracted the notice of friends, one of whom
+placed her at a boarding school, where she picked up an education (such
+as it was) sufficient to sharpen her natural abilities. Her commencement
+in life was scarcely a hopeful one. Mary Anne Thompson eloped at
+seventeen years of age with one Joseph Clarke, the son of a builder on
+Snow Hill, and after living with him three years married him. The
+marriage was not a happy one. The pair after some years separated, and
+Mary Anne was thenceforth driven to trust for her support to her own
+resources and attractions.
+
+
+  MARY ANNE CLARKE.
+
+These proved fully equal to the occasion. Somewhat small in stature,
+nature had nevertheless endowed her with a remarkably well turned
+figure, well shaped arms, comely features, a singularly clear
+complexion, and blue eyes full of light and vivacity. Dressing with
+considerable taste and elegance--utterly shameless--without principle or
+character, with nothing to lose--everything to gain, the woman was
+eminently fitted to succeed in the peculiar path in life she had elected
+to follow. Throwing her line with all the dexterity of an accomplished
+angler, she succeeded almost at her first cast in hooking a very large
+fish indeed--his Royal Highness Frederick Duke of York,
+Commander-in-chief, Prince-bishop of Osnaburgh, who had attained at this
+time the respectable age of forty-six years.
+
+Mary Anne proved, as might have been expected, an expensive plaything.
+In the short space of two years, the duke seems to have handed his
+mistress upwards of £5,000, besides expending on her in payments to
+tradesmen for wine, furniture, and other "paraphernalia," at least
+£16,000 or £17,000 more. In time, as is not unusual in matters of this
+kind, the duke seems to have grown tired of his enslaver, and
+endeavoured to pension her off with an annuity of £400 a year; but with
+the niggardliness which was so distinguishing a characteristic of his
+family, payment was not only withheld, but when the woman applied for
+payment, the duke was mean and foolish enough to threaten her with
+prison and the pillory. Mrs. Clarke, a woman of genius and resource,
+instead of being frightened, straightway betook herself to Messrs.
+Wilberforce and Whitbread, the supporters of the impeachment of Lord
+Melville, and confessed to them certain irregularities of which she had
+been guilty.
+
+Into the unsavoury revelations of Mary Anne Clarke, her traffic in the
+sale of military commissions, and still worse, in a system of
+ecclesiastical patronage in which she alleged his Royal Highness
+connived, we need not enter. They are set out as far as is necessary in
+Mr. Grego's book, and also in Mr. Wright's treatise on James Gillray and
+his works. Suffice it to say, that all these miserable exposures would
+have been saved, had the duke, instead of seeking to save his pocket,
+paid the annuity to which the woman was entitled. If by resigning, he
+thought to silence his unscrupulous persecutor, he was quickly and
+unpleasantly undeceived. The clever, unscrupulous woman had reserved her
+trump-card to the last. All this time she had been engaged in preparing
+her "Memoirs," comprising not only the history of her transactions with
+his Royal Highness, but a series of his letters, containing, it is said,
+anecdotes of illustrious personages of the most curious and _recherché_
+description. The immediate publication of these "Memoirs" having been
+announced to his Royal Highness, the duke was driven in spite of himself
+to effect an arrangement. For a payment of £7,000 down, an annuity of
+£400 for her own life, and one of £200 for each of her daughters, the
+printed "Memoirs" (eighteen thousand copies) were destroyed, the
+publication suppressed, and above all the terrible private
+correspondence duly surrendered.
+
+The mover of the committee of inquiry was one Wardle, colonel of a
+militia regiment, who for a very brief space of time was permitted to
+figure as a patriot; that he was a mere instrument in the hands of other
+persons seems now abundantly clear. No sooner had Mary Anne Clarke
+landed his Royal Highness, than she fixed her hook in the jaws of the
+luckless colonel, who, tool as he was, proved to be by no means a sharp
+one. It is obvious a woman of Mrs. Clarke's character would be the last
+person to open her lips, unless it was made clear to her that it would
+be worth her while to do so. Her go-between in the transaction was a
+certain "Major" Dodd. Wardle gave Mrs. Clarke £100 for present
+necessities, and by way of earnest of more liberal promises which seem
+afterwards to have been repudiated by his employers. Through Major Dodd,
+the clever, unprincipled woman secured a house in Westbourne Place,
+which she furnished in a style of comfortable elegance, and succeeded by
+her blandishments in swindling Wardle into becoming security for her
+furniture. The inevitable result of course followed. On the 3rd July,
+1809, Wright, the upholsterer, brought his action against Wardle and
+recovered £1,400 damages,[17] besides costs, "for furniture sold to the
+defendant to the use of Mary Anne Clarke." The colonel, like the
+commander-in-chief, thus found himself not only out-manoeuvred by his
+clever and unscrupulous ex-ally, but reaped the obloquy attendant on
+exposure and ridicule, instead of the glorification which had at first
+greeted his patriotic exertions.
+
+Mary Anne Clarke and the Duke of York, afforded (as might have been
+expected) plenty of employment to the caricaturists. The theme, however,
+is treated too grossly for description, a subject to be regretted, as
+most of the satires, containing as they do admirable portraits of the
+principal personages, are exceedingly clever. The subject suited an
+artist who delighted in delineating the immodest and full-blown beauties
+of Drury Lane; and accordingly, more than forty caricatures on the
+subject of "The Delicate Investigation," as it was called, are due to
+the pencil of Thomas Rowlandson.
+
+
+  THE END OF MARY ANNE CLARKE.
+
+In order to show the character of this infamous woman, we must follow
+her progress a little farther than either Mr. Grego or Mr. Wright appear
+to have done. In February, 1814, she once more made a public appearance:
+this time in the Court of Queen's Bench. She seems to have got the Right
+Hon. William Fitzgerald, Chancellor of the Irish Exchequer, by some
+means or other into her clutches, in connection with the proceedings of
+1809. By this time, however, she had descended so low, that exposure was
+threatened unless a sum of money was deposited under a stone. In her
+threats, she announced her intention of "submitting to the public in a
+very short time _two or three volumes_, which might be followed by
+others as opportunity should suit or circumstances require." This
+threat, instead of extorting money, consigned Mary Anne to the custody
+of the marshal of the King's Bench Prison for the space of nine calendar
+months, at the end of which period she was ordered to find securities to
+keep the peace for a space of three years. It might have gone harder
+with the brazen woman if the proceedings had taken any other form than
+that of an indictment for libel, and if she had not admitted her fault,
+and in some measure thrown herself upon the mercy of the court. The
+pages of history do not appear to be sullied with the intrusion of Mary
+Anne Clarke's name after this period.
+
+The year 1811 is marked by an event which claims special record in a
+work treating of English caricatures and caricaturists of the century.
+In that year, James Gillray executed the last of his famous etchings;
+and although mere existence was prolonged for nearly four years
+afterwards, till the 1st of June, 1815, he sank in 1811 into that
+hopeless and dreary state of mingled imbecility and delirium from which
+the intellect of this truly great and original genius was destined never
+to recover.
+
+
+FOOTNOTES:
+
+  [9] "If it had not been for you English, I should have been Emperor
+    of the East; but wherever there is water enough to float a ship, we
+    are sure to find you in our way."--_Napoleon to Captain Maitland._
+    See Maitland's "Narrative of the Surrender of Bonaparte," p. 99.
+
+  [10] _London Chronicle_, December 6th, 1806.
+
+  [11] See also Gillray's previous satire of the 23rd of January, 1806
+    (which probably suggested this), _Tiddy Doll, the Great French
+    Gingerbread Baker, drawing out a new batch of kings_.
+
+  [12] See also Gillray's cartoon of 1st October, 1807, _British Tars
+    towing the Danish Fleet into Harbour_.
+
+  [13] See vol. ii., p. 92, _et seq._
+
+  [14] In a loose age, Madame Tallien, notwithstanding such virtues as
+    she possessed, was a loose character. Between 1798 and 1802 she had
+    three children, who were registered in her family name of
+    _Cabarrus_. On the 8th of April, 1802, at her own request a divorce
+    was pronounced from Tallien, and with two husbands still alive she
+    married (14th July, 1805,) Count Joseph de Caraman, soon after heir
+    of the Prince de Chimay. She died in the odour of sanctity, on the
+    15th of January, 1835.
+
+  [15] O'Meara, vol. i, p. 250.
+
+  [16] "English Bards and Scotch Reviewers."
+
+  [17] According to Mr. Grego, £2,000.
+
+
+
+
+CHAPTER III.
+
+_MISCELLANEOUS CARICATURES AND SUBJECTS OF CARICATURE, 1812-1819._
+
+
+  1812. REBUILDING OF DRURY LANE THEATRE.
+
+Drury Lane Theatre, which was burnt down in 1811, was rebuilt the
+following year, and the committee, anxious to celebrate the opening by
+an address of merit corresponding to the occasion, advertised in the
+papers for such a composition. Theatrical addresses, however, as we all
+know by reference to a recent occasion,[18] are not always up to the
+mark; and whether the result of their appeal was unsatisfactory, or
+whether--as appears not unlikely--they were appalled by the number of
+competitors, which is said to have been upwards of one hundred, not one
+was accepted, the advertisers preferring to seek the assistance of Lord
+Byron, who wrote the actual address which was spoken at the opening on
+the 10th of October, 1812. Among the competitors was a Dr. Busby, living
+in Queen Anne Street, who apparently unable to realize the fact that
+competent men could have the effrontery to reject his "monologue,"
+refused to accept the verdict of the committee. A few evenings
+afterwards, the audience and the company were electrified by an
+unexpected sensation. Busby and his son sat in one of the stage boxes;
+and the latter, to the amazement of the audience, stepped at the end of
+the play from his box upon the stage, and began to recite his father's
+nonsense, as follows:--
+
+  "When energizing objects men pursue,
+   What are the prodigies they cannot do?"
+
+
+  DR. BUSBY'S "MONOLOGUE."
+
+The question remained unanswered; for Raymond, the stage manager,
+walked at this moment upon the stage accompanied by a constable, and
+gave the amateur performer into custody. It is said that his father, not
+content with this failure, actually made an attempt to recite the
+"monologue" from his box, until hissed and howled down by the half
+laughing, half indignant audience. The circumstance is commemorated by
+an admirable pictorial satire entitled, _A Buz in a Box, or the Poet in
+a Pet_, published by S. W. Fores on the 21st of October, in which we see
+the doctor gesticulating from his box, and imploring the audience to
+listen to his "monologue." Young Busby, seated on his father's Pegasus
+(an ass), quotes one of the verses of the absurd composition, while the
+animal (after the manner of its kind) answers the hisses of the audience
+by elevating its heels and uttering a characteristic "hee haw." By the
+side of Busby junior stands the manager (Raymond), apologetically
+addressing the audience. Certain pamphlets lie scattered in front of the
+stage, on which are inscribed (among others) the following doggerel:--
+
+  "A Lord and a Doctor once started for Fame,
+     Which for the best poet should pass;
+   The Lord was cried up on account of his name,
+     The Doctor cried down for _an ass_."
+
+  "Doctor Buz, he assures us, on Drury's new stage
+   No horses or elephants there should engage;
+   But pray, Doctor Buz, how comes it to pass,
+   That you your own self should produce there an ass?"
+
+Dr. Busby was a person desirous of achieving literary notoriety at any
+amount of personal inconvenience. He translated _Lucretius_, and is said
+to have given public recitations, accompanied with bread and butter and
+tea; but in spite of these attractions, the public did not come and the
+book would not sell, facts which a wicked wag of the period ridiculed,
+by inserting the following announcement in the column of births of one
+of the newspapers: "Yesterday, at his house in Queen Anne Street, Dr.
+Busby of a stillborn _Lucretius_."
+
+
+  1813.
+
+The medical profession is ridiculed in a satire published in 1813:
+_Doctors Differ, or Dame Nature against the College_.[19] Four
+physicians have quarrelled in consultation over the nature of their
+patient's malady, and the proper mode of administering to his relief.
+Unable to convince one another, they wax so warm in argument that they
+speedily proceed from words to blows. "I say," shouts one (beneath the
+feet of the other three), "I say it is an exfoliation of the glands
+which has fallen on the membranous coils of the intestines, and must be
+thrown off by an emetic." "_I_ say," says another, raising at the same
+time his cane to protect his head, "I say it is a pleurisie in the
+thigh, and must be sweated away." "You are a blockhead!" cries a third,
+furiously striking at him with his professional cane. "I say it is a
+nervous affection of the cutis, and the patient must immediately lose
+eighteen ounces of blood, and then take a powerful drastic." "What are
+you quarrelling about?" asks a fourth, arresting the downfall of his
+professional brother's cane. "You are all wrong! I say it is an
+inflammation in the os sacrum, and therefore fourteen blisters must be
+immediately applied to the part affected and the adjacents." The table
+is down, and the prescriptions of the learned doctors covered with the
+ink which flows from the ruined inkstand. The amused patient (whom
+nature has meanwhile relieved of the cause and effect) watches the
+combat from the adjoining bedroom, and makes preparations to retreat and
+save both his "pocket and his life."
+
+
+  1814. JOANNA SOUTHCOTT.
+
+The year 1814 was marked by the bursting of one of the most
+extraordinary religious bubbles with which England has ever been
+scandalized. The person identified with and responsible for the craze to
+which we allude, was Joanna Southcott, the daughter of a farmer residing
+at the village of Gettisham, in Devonshire, where she herself was born
+in the month of April, 1750. At the time, therefore, the imposture was
+made patent to such of her deluded followers as retained any remnants of
+the small stock of common sense with which nature had originally
+endowed them, Joanna was sixty-four years of age.
+
+The village girl appears to have been a constant reader of the
+Scriptures, which she studied with so much enthusiasm, that a strong
+religious bias was established, which took almost entire possession of
+her mind. Still, no marked peculiarity was manifested until after she
+had attained forty years of age, at which time we find her employed as a
+workwoman at an upholsterer's shop at Exeter. The proprietor being a
+Methodist, the shop was visited by ministers of that persuasion, and
+Joanna, with her "serious turn of mind," was not only permitted to join
+in their discussions, but was regarded by these harmless folk somewhat
+in the light of a prodigy. To a mind predisposed to religious mania (for
+it would be unjust to stigmatize Joanna altogether as a wilful impostor)
+the result was peculiarly unfortunate; she was visited with dreams,
+which she quickly accepted as spiritual manifestations, instead of
+being, as they really were, indications of a disordered digestion.
+
+Two years afterwards Joanna retired from secular business, and set up as
+a prophetess at Exeter. She declared herself to be the woman spoken of
+as "the bride," "the Lamb's wife," the "woman clothed with the sun." The
+county lunatic asylum might have done good at this point; but its
+wholesome discipline, unfortunately, was not resorted to. She published
+in 1801 her first inspired book, "The Strange Effects of Faith," which
+absolutely brought five "wise men of Gotham" to inquire into her
+pretensions from different parts of England. Three of these learned
+pundits were Methodist parsons, and these three parsons declared
+themselves satisfied that the mission of Joanna was a divine one. It is
+needless to add that in England, no matter how absurd the nature of a
+so-called divine mission, it is safe and certain to attract believers;
+and by the year 1803 the doctrines of Joanna Southcott were eagerly
+swallowed by numerous simpletons in various parts of the country.
+
+Thus fortified, Joanna issued a manifesto, in which she stated her
+calling and pretensions: we set it out in all the original baldness of
+its composition:--
+
+"I, Joanna Southcott, am clearly convinced that my calling is of God,
+and my writings are indited by His Spirit, as it is impossible for any
+spirit but an all-wise God, that is wondrous in working, wondrous in
+wisdom, wondrous in power, wondrous in truth, could have brought round
+such mysteries, so full of truth, as is in my writings; so I am clear in
+whom I have believed, that all my writings came from the spirit of the
+most high God."
+
+Joanna was clear in whom she believed, and her followers were equally
+"clear" in their belief in Joanna. This incoherent nonsense was signed
+in the presence of fifty-eight simpletons, all of whom expressed their
+confidence in the inspired mission of their precious prophetess.
+
+Her disciples rapidly increased, and she visited in her apostolic
+character, Bristol, Leeds, Stockport, and other large centres, obtaining
+numerous converts everywhere. Among them was the celebrated engraver,
+William Sharp; and to the last this man, who out of his calling was the
+veriest simpleton living, and who had swallowed successively the
+doctrines of Richard Brothers, Wright, Bryan, and Joanna, believed in
+the divine mission of this unincarcerated lunatic.
+
+Although Joanna did not (like Joseph Smith) discover a book, she
+discovered a seal, which one of her disciples is said to have picked up
+in a dust-heap at Clerkenwell. With this miraculously acquired talisman
+the spirit ordered her to "seal up the people," and as "the people" were
+limited to one hundred and forty-four thousand, and each of the elect
+had to pay a sum varying at different times from a guinea to twelve
+shillings, or even lower, for the privilege of being "sealed up," the
+scheme promised at first to turn out a comfortably profitable one. Into
+the details of the "sealing" it is unnecessary for us to enter. Suffice
+it to say that the numbers of the "sealed," up to 1808, when for some
+unexplained reason the process appears to have been discontinued,
+exceeded six thousand simpletons; the numbers of her deluded followers
+in the metropolis and its vicinity alone, are supposed at one time to
+have amounted to a hundred thousand.
+
+Joanna was a coarse, common-place, and somewhat corpulent woman; she
+dressed in a plain, quaker-like garb, in a gown of Calimancoe, with a
+shawl and bonnet of drab colour. The three leading preachers in her
+chapel in Southwark (her great stronghold), were a Mr. Carpenter, who,
+after learning his business, set up as a prophet on his own account; a
+Mr. Foley, and a lath-render named Tozer. She had chapels also in
+Spitalfields, Greenwich, Twickenham, and Gravesend.
+
+The scribblings in prose and verse of this illiterate creature, instead
+of being committed to the waste paper basket, were solemnly preserved
+and received as prophecies. Attacked at last with dropsy, her delusions
+assumed the following objectionable form: she prophesied, and Sharp and
+his fellow-disciples--some of whom were men of fair education--actually
+believed, that Christ was to be born again under the name of "Shiloh,"
+and that she, Joanna, at the age of sixty-five, was to be the mother.
+The revelation which proclaimed the miraculous _accouchement_ was worded
+as follows: "This year [1814], in the sixty-fifth year of thy age, thou
+shalt have a son by the power of the Most High; which if they (the
+Hebrews) receive as their prophet, priest, and king, then I will restore
+them to their own land, and cast out the heathen for their sakes, as I
+cast out them when they cast out Me, by rejecting Me as their Saviour,
+Prince, and King, for which I said I was born, but not at that time to
+establish My kingdom."
+
+One might have imagined that this gibberish would open the eyes of some
+at least of her votaries: their insane enthusiasm, on the contrary,
+increased. Joanna was absolutely inundated with the "freewill" offerings
+of the faithful--a costly cradle, white robes, pinafores, shoes of satin
+and worsted, flannel shirts, napkins, blankets, silver spoons,
+pap-boats, mugs, silver tea-pots, sugar-basins, tongs, and
+corals,--absolutely without number. The absurdity of the simpletons who
+sent these offerings was severely criticised, both in England and on
+the Continent; and by way apparently of answering her traducers, Joanna
+inserted an apostolical advertisement in the _Morning Chronicle_ of
+Thursday, 22nd September, 1814, and in the _Courier_ of Friday, 23rd, in
+which she stated that, in consequence of the false and malicious reports
+in circulation respecting herself, she was desirous of treating for "a
+spacious and ready-furnished house to be hired for three months, in
+which her _accouchement_ may take place in the presence of such
+competent witnesses as shall be appointed by proper authority to prove
+her character to the world." The appointed day--the 29th of
+October--however passed by, and the prophecy remained of course
+unfulfilled, although, in the manufacturing towns of the north, crowds
+of the faithful assembled to wait the arrival of the coaches, in
+expectation of tidings of the great manifestation. The satire entitled,
+_Delivering a Prophetess_ (in vol. 8 of "The Scourge"), has reference to
+the actual event which occurred on the 27th of December, 1814, when
+death relieved Joanna of her delusions and her dropsy; the wretched
+creature declaring on her deathbed that, "if she had been deceived, she
+had at all events been the sport of some spirit, good or evil." Joanna
+forms the subject of one of Rowlandson's caricatures of 1814, _Joanna
+Southcott, the Prophetess, Excommunicating the Bishops_, published by
+Tegg on the 20th of September, 1814. We shall also have to refer to her
+again when we treat of the caricatures of George Cruikshank.
+
+
+  FLIGHT OF THE PRINCESS CHARLOTTE.
+
+This year (1814) the Princess Charlotte, heiress presumptive actually
+ran away in a hackney coach, to avoid being affianced to the Prince of
+Orange, to whom Her Royal Highness evinced an invincible repugnance. The
+event is referred to in a caricature entitled, _Plebeian Spirit, or
+Coachee and the Heiress Presumptive_ (published by Fores on the 25th of
+July), which shows us the princess emerging from Warwick House, followed
+by Britannia (who raises her hands in a suppliant attitude), and the
+dejected British lion. "Coachman, will you protect me?" she appeals to
+the driver. "Yes, yes, your Highness," replies the fellow, "to the last
+drop of my blood!" A servant in the royal livery holds up his hands in
+amazement and horror, while another spurs off in hot haste to apprise
+the Regent of the flight of his daughter. But a satire of far superior
+merit, entitled, _Miss endeavouring to excite a glow with her Dutch
+Plaything_,[20] was issued by the same publisher a few days previously,
+in which the rejected prince figures as a Dutch top, which the princess
+has kept spinning for some time. "There," she says to her father at
+last, "I have kept it up for a long while; you may send it away now, I
+am tired of it; mother [_i.e._ the Princess Caroline] has got some
+better plaything for me." "What! are you tired already?" exclaims the
+Regent. "Take another spell at it, or give me the whip." "No, no,"
+replies Her Royal Highness; "you may take the top, but I'll keep the
+whip." Behind her is a picture representing an orange falling with Cupid
+headlong into space. The Regent was so incensed at his daughter's
+refractoriness, that he went at once to Warwick House and dismissed all
+her attendants, and never forgave the Duke of Sussex for his supposed
+share in breaking off the connection. It was immediately after this
+event that her mother, the Princess Caroline, contrary to the advice of
+her friends and well-wishers, applied for permission to make that tour
+on the Continent which, owing to her own obstinate folly and contempt
+for the duties of her high station, was destined--as we shall afterwards
+find--to end in such disastrous consequences to herself.
+
+
+  1812 1815. AMERICA AND ENGLAND.
+
+In the course of the year 1812, England had become involved--scarcely
+through any fault of her own--in a war with the United States of
+America. The causes of difference were mainly due to the obnoxious
+Orders in Council, which had been _forced_ upon us in consequence of the
+Berlin and Milan Decrees of Napoleon. As an evidence, however, of our
+own friendly intentions, it may be mentioned that the Regent had issued
+a declaration on the 23rd of April, that if at any time the obnoxious
+decrees should by _an authentic act be absolutely_ repealed, thenceforth
+the Orders in Council of 7th January, 1807, and 26th April, 1809, should
+be revoked; and the American representative, having, on the 20th of
+May, transmitted to the English Court a copy of a French decree of the
+20th of April, by which the decrees of Milan and Berlin were declared to
+be no longer in force, _so far as American vessels were concerned_, the
+Regent declared that, although he could not accept the terms of the
+decree as satisfying the conditions of his own declaration of the 23rd
+of April, yet, with the view of re-establishing friendly relations, _he
+revoked_ the Orders in Council of 7th January, 1807, and April 26th,
+1809, so far as regarded American vessels and American cargoes. Of this
+repeal, be it observed, the United States Government took no notice, it
+might be in consequence of the very reasonable proviso annexed to the
+Regent's concession, that unless the Government of the United States
+revoked their exclusion of British armed vessels from their harbours,
+while those of France were admitted, and their interdiction of British
+commerce, while that of France was allowed, the order was to be of no
+effect.
+
+A very old English proverb tells us that "a stick is never wanting to
+beat a dog;" and where one nation wishes to fasten a quarrel on another,
+and the opportunity be favourable, there will be no difficulty in
+finding an excuse. There were other causes of discontent; in particular
+our claim to search not only for English goods, but for British seamen
+serving on board neutral vessels; and as the sovereignty of the seas
+depended on upholding these assumptions, our Government was as strenuous
+in enforcing them as the French emperor was bent on the maintenance of
+his continental system.
+
+
+  HOSTILE SPIRIT OF THE AMERICANS.
+
+The Americans, however, were anxious for a war with this country, and in
+particular, the opportunity seemed eminently favourable for attempting
+the conquest of Canada. A motion in the House of Representatives, for
+the indefinite postponement of a bill for raising 25,000 additional
+troops, was rejected by a majority of 98 to 29. An outrageous bill,
+specially intended as an insult to England, was introduced into the same
+House about the end of April, "for the protection, recovery, and
+indemnification of American seamen," the first clause of which declared
+that every person who, under pretence of a commission from a foreign
+power, should impress upon the high seas a native seaman of the United
+States, should be adjudged a pirate and a felon, and should upon
+conviction suffer death. Another of its articles gave to every such
+seaman impressed under the British flag, the right of attaching in the
+hands of any British subject, or in the hands of _any debtor of any
+British subject_, a sum equal to thirty dollars per month for the whole
+time of his detention. This monstrous bill was actually allowed to pass
+a third reading. The temper of the Americans may be judged by the result
+of the voting on Mr. Randolph's motion in the same House, on the 29th of
+May. That gentleman submitted "that, under the present circumstances, it
+was inexpedient to resort to a war with Great Britain." The question
+being then put, that the House do proceed to the consideration of the
+said resolution, it was negatived by 62 votes against 37. Under the
+overpowering influence of these feelings, war was declared against
+England on the 18th of June, 1812; our own declaration was not issued
+until the 13th of October following.
+
+"Our American cousins," did not wait for this joinder of issue; they had
+invaded Canada early in July. On the 11th of that month, the American
+General Hull, with a body of 2,500 men--regulars and militia--crossed
+the river above Detroit with most disastrous consequences to himself. He
+was speedily forced to retreat, and on the 16th of August to surrender
+the important fort of Detroit itself, with his 2,500 men and
+thirty-three pieces of artillery. Although this disaster seriously
+disconcerted the American plans of invasion, the design was by no means
+abandoned. A considerable force was assembled in the neighbourhood of
+Niagara, and on the 13th of October, the American General Wadsworth,
+with some 1,400 men, made an attack on the British position of
+Queenstown, on the Niagara river. Wadsworth, with 900 men and many
+officers, was speedily compelled to surrender to British forces not
+exceeding the number of his own following.
+
+
+  AMERICAN NAVAL SUCCESSES.
+
+On the other hand, the losses of the Americans on land were to some
+extent balanced by their naval successes. On the 19th of August, the
+English frigate _Guerriere_, Captain Dacres, was forced after a gallant
+but (as we shall see) unequal fight, to strike her colours to the
+American frigate _Constitution_, Captain Hull. Under similar conditions,
+the English frigate _Macedonia_, Captain Carden, was forced on the 25th
+of October, after an hour's hard fighting, in which the English lost 104
+men killed and wounded, to yield to the American frigate _United
+States_, Commodore Decatur. These successes were due to the following
+causes: the rate of the American frigates corresponded to the largest
+British; but in size, weight of metal, and number of men, were almost
+equal to line-of-battle ships; the American navy too, at this time, was
+manned by sailors many of whom were unfortunately British tars, while
+many more had been trained in British service.
+
+
+  THE ENGLISH ASSUME THE OFFENSIVE.
+
+Although we do not profess to give a history of the Anglo-American war
+of 1812-14, some slight sketch of its more remarkable incidents seems
+necessary for the purpose of enabling the reader to understand what has
+to follow. Having named some of the American naval successes, we can
+scarcely pass over the well-known fight of the 1st of June, 1813.
+Captain Broke, of the British frigate _Shannon_, 330 men, burning with
+indignation at the naval defeats of his countrymen, having diligently
+perfected his crew in discipline, offered battle to the United States
+frigate _Chesapeake_, for which he had long been watching. The
+_Chesapeake_ was a fine ship, carrying forty-nine guns (18- and
+32-pounders) and a complement of 440 men. The American captain, nothing
+loth, bore down on his antagonist off Boston light-house. The ships were
+soon in close contact; but the gallant English captain, discerning his
+opportunity, gave orders for boarding, himself setting the example; and
+after a sanguinary fight of only fifteen minutes, hauled down his
+adversary's flag and carried off the _Chesapeake_ in triumph. The
+invasion of Canada was still persevered in by the Americans, with
+varying successes and defeats; but the results of the campaign of 1813
+were in the end disastrous to them; and by the 12th of December, both
+provinces of Canada were freed from the invaders, who retired to winter
+quarters within their own territory. Another determined attempt to
+penetrate into Canada was made by them in July, 1814, the British
+troops in the first instance being obliged to fall back: this was on the
+5th. Their triumph, however, was of brief duration. Veteran troops, who
+had served under Wellington in Spain, had meanwhile arrived at Quebec;
+General Drummond arrested the further retreat of Riall's division, and a
+decisive battle ensued, which terminated in the defeat of the Americans,
+who were obliged to retire with precipitation beyond the Chippewa. On
+the following day they abandoned their camp, threw the greater part of
+their baggage and provisions into the rapids, and after destroying the
+bridge over the Chippewa, continued their retreat in great disorder to
+Fort Erie. Out of a force of 5,000 men, they had lost in killed,
+wounded, and prisoners at least 1,500. This defeat, and the timely
+arrival of veteran troops from Europe, appear to have decided the
+British commanders to change the defensive warfare they had hitherto
+adopted, and the small operations they had conducted on the coast of the
+southern States, for offensive movements of greater vigour.
+
+A large naval force was despatched under the command of Vice-Admiral
+Cockrane, having on board a powerful land force commanded by General
+Ross. The latter landed on the 20th of August at Benedict; marched to
+Nottingham on the 21st, and to Upper Marlborough on the 22nd, Admiral
+Cockrane in the meanwhile, with the barges, armed launches, and other
+boats of the fleet, having the marines on board, proceeding up the
+Patuxent on the flank of the army. The American Commodore blew up his
+vessels, seventeen in number, with the exception of one which fell into
+the hands of the British. The troops reached Bladensburg (about five
+miles from Washington) on the 24th.
+
+
+  BURNING OF WASHINGTON.
+
+About 9,400 Americans (400 of whom were cavalry) drawn up to oppose
+them, were speedily routed, with the loss of ten pieces of artillery and
+the capture of their commanding officer, General Barney. It appears to
+have been General Ross's first intention to return to his ships after
+laying the capital under contribution; but the Americans having fired
+upon the bearer of the flag of truce who was sent forward with the
+conditions, all thoughts of an arrangement were dissipated. The
+soldiers pressed into the city, and after burning a frigate and sloop of
+war, the President's residence, the capitol--including the Senate House
+and House of Representatives, dockyard, arsenal, war office, treasury,
+and the great bridge over the Potomac, re-embarked on the 30th of
+August.
+
+A part of the operations against Washington consisted in despatching a
+force against Fort Washington, situate on the Potomac below that city.
+Captain Gordon, the commander of this expedition, proceeded with the
+_Sea Horse_ and several other vessels up the river on the 17th of
+August, but was unable to reach the fort till the 27th. The place being
+rendered untenable by the explosion of a powder magazine, the garrison
+spiked their guns and evacuated it next day. The populous and commercial
+town of Alexandria, situated higher on the river, thus lost its sole
+protection; and Captain Gordon, having no obstacle to oppose his
+progress, buoyed the channel, and placed his ships in such a position as
+to enforce compliance with his terms. The town (with the exception of
+public works) was not to be destroyed nor the inhabitants molested on
+compliance with the following articles:--All naval and ordnance stores,
+public and private, were to be given up, together with all the shipping,
+the furniture of which was to be sent on board by their owners; the sunk
+vessels to be delivered in their original condition; the merchandise of
+every description to be immediately delivered up, including all removed
+from the town since the 19th; and the British squadron to be supplied
+with refreshments at the market price. This capitulation was signed on
+the 29th; the whole of the captured vessels--twenty-one in number--were
+fitted, loaded, and delivered, by the 31st; and Captain Gordon had got
+back with all his ships and prizes, and anchored in safety in the
+Chesapeake by the 9th of September.
+
+These events are referred to in a pictorial satire (published by Fores
+on the 4th of October, 1814), entitled, _The Fall of Washington, or
+Maddy_ [_i.e._, President Madison] _in full flight_:--
+
+  "Death of thy soul those linen cheeks of thine
+   Are counsellors to fear."
+
+
+  FLIGHT OF PRESIDENT MADISON.
+
+James Madison and one of his ministers, habited as Quakers (a then
+popular mode of ridiculing the Americans), are seen in full flight,
+carrying under their arms bundles of compromising papers. By the "Bill
+of fare of the Cabinet Supper at President Madison's, August 24th,
+1814," which has fallen at his feet, the flight would really seem to
+have been of the most hasty character. "I say, Jack," says an English
+tar, pointing at the same time to the flying President, "what, is _that_
+the man of war that was to annihilate us, as Master Boney used to say?"
+"Aye, messmate," answers his companion; "he is a famous fighter over a
+bottle of Shampain; why, he'd have played ---- with us if we had let him
+sit down to supper." Five Americans (all Quakers) meanwhile make their
+own observations on the situation: "Jonathan," says one, "where thinkest
+thou our President will run to now?" "Why, verily," answers Jonathan,
+"to Elba, to his bosom friend." "The great Washington," remarks a third,
+"fought for liberty; but we are fighting for shadows, which, if
+obtained, could do us no earthly good, but this is the blessed effects
+of it." "I suppose," observes a fourth, "this is what Maddis calls
+benefitting his country." "Why," answers his friend, "it will throw such
+a light on affairs, that we shall find it necessary to change both men
+and measures." The popular notion of the day that there had been some
+understanding between "Boney" and the Yankees, was scarcely unnatural
+under the circumstances we have narrated. The President himself is made
+to say to his companion, "Who would have thought of this man, to oblige
+us to run from the best cabinet supper I ever ordered? I hope you have
+taken care of Boney's promissory notes; the people won't stand anything
+after this." "D--n his notes," answers the other; "what are they good
+for now? We should get nothing but iron; he hasn't any of his stock of
+brass left, or some of _that_ would have helped us through this
+business."
+
+The caricaturist simply reflected the opinion of his countrymen in
+insinuating that the Yankees had some understanding or sympathy with
+Bonaparte; but in this they were mistaken. With Napoleon and his system
+the Americans had no sympathy or feelings in common. Probably all that
+the satirist intended to convey was the fact that they had brought the
+retaliatory measure (severe as it was) upon themselves, and in this
+undoubtedly he was right. The Americans would never have dreamed of
+invading Canada had they not supposed that we were so hampered with our
+struggle with Bonaparte in 1812. It was perhaps well for America that we
+were not actuated by the same embittered feelings as themselves; that
+our generals were incompetent, and their plans both badly conceived and
+most inefficiently carried out.
+
+
+  THE CARICATURISTS TOO JUBILANT.
+
+Notwithstanding these successes, the caricaturists proved a trifle too
+jubilant. On the 11th of September, a British naval force--consisting of
+a frigate, a brig, two sloops of war, and some gunboats--attacked the
+American flotilla before Platsburg, on Lake Champlain, and after a
+severe conflict were all captured, with the exception of the gun-boats,
+Captain Downie, the English commander, being killed at the very
+beginning of the engagement. Sir G. Prevost, in consequence of this
+disaster, began his retreat, leaving his sick and wounded to the mercy
+of the enemy. The Americans having now collected from all quarters, the
+British retired to their lines, and relinquished all idea of penetrating
+into the State of New York. On the 12th, however, an attempt was made to
+enter Baltimore, and although in the engagement which followed the
+American troops were broken and dispersed in the course of fifteen
+minutes, the victory was dearly purchased by the death of General Ross,
+while the defensive arrangements of the harbour were so perfect and so
+formidable, that the attempt was obliged to be given up.
+
+Although peace was concluded in the following December, the intelligence
+unfortunately did not reach the belligerents in time to prevent further
+mistakes and bloodshed. A series of operations of the British army in
+the neighbourhood of New Orleans occupied the last week of December and
+a part of January. An army had been collected for an attack on that town
+under the command of General Kean, which, with the assistance of Admiral
+Cochrane, was disembarked without resistance on the 23rd December. On
+the 25th, General Sir Edward Pakenham arrived and assumed the chief
+command. On the 27th, the enemy's picquets were driven in within six
+miles of the town, where their main body was found most strongly posted,
+and supported by a ship of war moored in such a position as to enfilade
+the assailants. The result was that the assault of the British was
+delivered under so withering a fire from every part of the enemy's line,
+that General Pakenham was killed, Generals Keane and Gibbs wounded,
+while over 2,000 men and officers were killed, wounded, or made
+prisoners. Colonel Thornton, indeed, had crossed the river during the
+previous night and captured a flanking battery of the Americans on the
+other side; but the report made by him to General Lambert was of so
+discouraging a character that he decided not to persevere with the
+attempt, and in the end the whole army re-embarked, leaving a few of the
+most dangerously wounded behind them, but carrying off all their
+artillery, ammunition, and stores. The concluding operation of the war
+was the capture of Fort Mobile, which surrendered to the British on the
+11th of February.
+
+
+  1815. ROMEO COATES.
+
+A remarkable figure puts in an appearance in the caricatures of the
+early part of the century. This was the renowned "Romeo" Coates, a vain,
+weak-minded gentleman, who had an absolute passion for figuring on the
+boards as Romeo, Lothario, Belcour, and other romantic characters, for
+which his personal appearance and lack of brains altogether unfitted
+him. His "readings," like himself, being of the most original character,
+his vagaries afforded endless amusement to the coarse public of his day.
+The gods befooled him "to the top of his bent;" his overweening vanity
+failing to show the poor creature that he was exciting ridicule instead
+of applause. The fun (?) culminated in the tragic scene, Romeo, to their
+delight, responding to the encores of his audience, by repeating the
+dying scene so long as it suited the managers to prolong the sorry
+exhibition. Macready, whose dramatic genius and refined sensibilities
+revolted at a spectacle so degrading, describes him as he appeared at
+Bath, in 1815: "I was at the theatre," says the tragedian, "on the
+morning of his rehearsal, and introduced to him. At night the house was
+too crowded to afford me a place in front, and seeing me behind the
+scenes, he asked me, knowing I acted Belcour, to prompt him if he should
+be 'out,' which he very much feared. The audience were in convulsions at
+his absurdities, and in the scene with Miss Rusport, being really 'out,'
+I gave him a line which Belcour has to speak, 'I never looked so like a
+fool in all my life,' which, as he delivered it, was greeted with a roar
+of laughter. He was 'out' again, and I gave him again the same line,
+which, again being repeated, was acquiesced in with a louder roar. Being
+'out' again, I administered him the third time the same truth for him to
+utter, but he seemed alive to its application, rejoining in some
+dudgeon, 'I have said that twice already.' His exhibition was a complete
+burlesque of the comedy and a reflection on the character of a
+management that could profit by such discreditable expedients." Poor
+"Romeo" Coates lived to get over his theatrical weakness, and died (in
+1848), in his seventy-sixth year, from the results of a street accident.
+
+[Illustration:
+  _Published March, 1816, by S. W. FORES, 50, Piccadilly._
+
+  LEAP YEAR, OR JOHN BULL'S PEACE ESTABLISHMENT.
+
+  "When two ride upon a horse, one must ride behind."
+
+  _Face p. 50._]
+
+
+  1816. MARRIAGE OF THE PRINCESS CHARLOTTE.
+
+The Princess Charlotte of Wales, having successfully thrown over her
+royal Dutch suitor, was married at Carlton House to Prince Leopold of
+Saxe-Coburg, afterwards King of the Belgians, on the 2nd of May, 1816.
+Prior to the marriage, Parliament had voted a provision for an
+establishment for the pair of £60,000, while in the event of the
+princess's death, £50,000 was settled on the prince during his life.
+_Leap Year, or John Bull's Establishment_ (S. W. Fores, March, 1816)
+shows us John Bull with a bit in his mouth, driven by Her Royal
+Highness, who lashes him unmercifully with a tremendous horse-whip.
+Miserable John is saddled with a pair of panniers, one of which carries
+the prince and his money bags, the other being filled with heavy
+packages labelled with different impositions or items of expenditure of
+which John is the victim. "Plans for thatched cottages," "Plan for
+pulling down and rebuilding," "Assessed taxes," "Increase of salaries,"
+"Army for peace establishment," and so on. Says Leopold to the princess,
+"You drive so fast, I shall be off!!!" "Never fear," she replies; "I'll
+teach you an English waltz." The gouty Regent hobbles after them on his
+crutches, the supports of which are formed of dragons from his famous
+Brighton Pavilion. "Push on!" he shouts to his daughter and future
+son-in-law, "Push on! Preach economy! and when you have got your money,
+follow my example." "Oh! my back," groans poor John, crawling with the
+greatest difficulty under the weight of his heavy burdens. "I never can
+bear it! This will finish me."
+
+
+  POPULAR DISCONTENT.
+
+The two years which succeeded the fall of Bonaparte were remarkable for
+the distress which prevailed amongst the industrial classes in England.
+The glory we had reaped in our long struggle with France was forgotten
+in the consideration of the almost insupportable burdens which it
+necessarily entailed. The sufferings of the masses prompted them to seek
+relief by bringing their grievances before Parliament; but the reception
+their petitions met with, served only to show the little sympathy which
+existed between the national representatives, as then elected, and the
+people of England. Petitions were next presented to the Regent himself,
+while the popular discontent found expression in large meetings convened
+in London, Leeds, Manchester, Birmingham, and other industrial centres.
+These meetings, it was observed, were convened, attended, and addressed
+almost exclusively by the working classes, the middle and upper ranks
+taking no share in the proceedings. The speakers pointed out in
+impressive and forcible language the various evils which they said had
+brought about their altered condition; the waste of public money in
+perpetual wars, in unearned pensions, sinecures, and other unjust
+expenditure. The high price of provisions provoked riots at Brandon,
+Norwich, Newcastle, Ely, Glasgow, Preston, Leicester, Merthyr, Tredegar,
+and other places; a large number of the populace assembled in Spafields
+in December to receive the Regent's answer to their petition. While
+waiting the arrival of "orator" Hunt, one of the most popular of the
+agitators of the day, a band of desperadoes appeared on the scene with a
+tri-coloured flag, and headed by a man named Watson, who, after
+delivering a violent harangue from a waggon, led them into the city. The
+rioters pillaged several gunsmiths' shops, but the prompt action of Lord
+Mayor Wood, the strong party of constables at his back, who seized
+several of the rioters, and the appearance on the scene of the
+military, soon induced the rioters to disperse. In January, 1817, John
+Cashman, one of the Spafields rioters, was tried for burglariously
+entering the shop of Mr. Beckworth, a gunsmith, and hanged opposite the
+scene of his depredations.
+
+
+  1817. REGENT OPENS PARLIAMENT.
+
+The Regent opened Parliament on the 28th of January, 1817. In his
+address, he said that "the distress consequent upon the termination of a
+war of such universal extent and duration, had been felt with greater or
+less severity throughout all the nations of Europe, and had been
+considerably aggravated by the unfavourable state of the season."
+Alluding to the proceedings of the popular agitators, he added: "In
+considering our internal situation, you will, I doubt not, feel a just
+indignation at the attempts which have been made to take advantage of
+the distresses of the country, for the purpose of exciting a spirit of
+sedition and violence.... I am determined to omit no precautions for
+preserving the public peace, and for counteracting the designs of the
+disaffected." Whether this statement was the cause or not, the Regent
+had a narrow escape on his return from the House; for, while passing at
+the back of the gardens of Carlton House, the glass of his window was
+broken, either by a stone or (as was supposed) by two balls from an
+air-gun, which appeared to have been aimed at His Royal Highness.
+
+On the 6th of February, Lord Cockrane presented to the House of Commons
+the petition of the Spafields meeting, signed by 24,000 persons. It
+prayed for annual parliaments, universal suffrage, and reduction in the
+public expenditure. He presented at the same time a petition from
+Manchester, signed by 30,000 persons, praying for reform in Parliament
+and economy in the public expenditure. Sir Francis Burdett also
+presented a Leeds petition for the same objects, containing 7,000
+signatures. These were of course only legitimate modes of expressing the
+wants of the people; but, unhappily, quite independent of the action of
+the popular leaders, the country in some parts was so disturbed, so
+closely on the brink of insurrection, that ministers found themselves
+obliged twice during the course of the year to resort to the almost
+unprecedented measure of suspending the Habeas Corpus Act, on the first
+occasion at the end of February, and on the second in June.
+
+At a meeting held at Manchester in March, for the purpose of petitioning
+the Regent against the suspension of the Act, it was proposed and agreed
+that another meeting should be held on the following Monday (the 10th of
+March), with the professed intention that ten out of every twenty
+persons who attended it should proceed to London with a petition to His
+Royal Highness. The meeting took place accordingly; many thousands
+actually attended in full marching order (_i.e._ provided with a bundle
+and a blanket); and a considerable body appear to have made some advance
+on their way before their further progress was arrested. Expeditions of
+a similar character were simultaneously planned, attempted, and
+frustrated in other parts of the country.
+
+
+  GOVERNMENT SPIES.
+
+Meanwhile, there were trials for high treason at Westminster Hall;
+trials of rioters at York and Derby; and at the latter town, on the 7th
+of November, three miserable men were hung. Among the witnesses at these
+trials appear to have been two men named Castle and Oliver: and it came
+out that these fellows, with two other Government spies, named Edwards
+and Franklin, had been among the chief fomenters by speeches and
+writings of the seditions in the Metropolis and northern counties. The
+disclosures made by these scoundrels produced of course a great
+sensation and numerous satires. One of these, entitled, _More Plots!!!
+More Plots!!!_ published by Fores in August, 1817, is "dedicated to the
+inventors, Lord S [idmouth] and Lord C [astlereagh]." It is divided into
+four compartments. In the first we see four foxes (typifying no doubt
+the four informers) watching the movements of a flock of geese. "'Tis
+plain," says one of the former, "there is a plot on foot; let's seize
+them, Brother Oliver." "I have no doubt of it: I can smell it plainly,"
+answers his companion. In the second, a couple of fierce nondescript
+beasts are regarding a number of innocent lambs: "These bloodthirsty
+wretches," remarks one of the two, "mean to destroy man, woman, and
+child, I know it to a certainty; for they carry sedition, privy
+conspiracy, and rebellion in their looks." "And I'll swear it, Brother
+Castle," says his companion; "let's dash at them." In the third, a cat
+watches the movements of some unsuspecting mice: "There's a pretty
+collection of rogues gathered together," observes Grimalkin; "if there
+is not a plot among them, burn my tail and whiskers." In the last, we
+behold a Kite just about to pounce on some chicken: "The world's
+over-run with iniquity," says the bird of prey; "and these troublesome
+miscreants will not let honest hawks sleep in security." We shall return
+to the subject of these Government spies and the troubles of 1817 in the
+graphic satires of George Cruikshank.
+
+
+  EDMUND KEAN AND BOOTH.
+
+In 1817, the rivalry between the two national theatres ran so high, that
+the Covent Garden management employed agents to scour the provinces in
+search of a rival to Edmund Kean at Drury Lane. After a time one was
+found in the person of Lucius Junius Booth, who in stature, _rôle_ of
+characters, and (as it was imagined) style of acting, closely resembled,
+if he did not equal, the great original. He made his _début_ at Covent
+Garden, in the character of Richard the Third. Whether it was a success
+or not seems doubtful; for the manager being out of town, those deputed
+to act as deputies did not care to undertake the responsibility of
+engaging the new star. In this dilemma, overtures were made to him by
+the rival house, which he accepted, and made his appearance as "Iago" to
+Kean's "Othello" to a densely-packed audience at Drury Lane. So great
+was the likeness between the two actors, that strangers were puzzled to
+know which was Kean and which was Booth, until the tragedy reached the
+third act, when the genius of Kean made itself felt, and no doubt
+remained in the minds of the audience which was master of his art.
+
+Booth, in fact, discovered that he had made a mistake, and the day after
+his trial at old Drury, signed articles to return to Covent Garden for
+three years. Here he proved a great attraction; he must have been in
+truth an actor of no ordinary merit; his rendering of the character of
+Lear, in particular, met with universal approbation, and in this tragedy
+he was supported by actors of the ability of Charles Kemble and William
+Macready, both of whom he threw into the shade. At the end, however, of
+his engagement, feeling that he was incapable of meeting Kean on
+anything like equal terms, he set sail for America.
+
+The appearance of Edmund Kean and Lucius Junius Booth at Drury Lane is
+referred to in a satire entitled, _The Rival Richards_, published by S.
+W. Fores in 1817. The sketch (evidently the work of an amateur) shows us
+Folly seated on an ass, holding in one hand a pair of scales, in one of
+which stands Booth, and in the other Edmund Kean. To the mind of the
+satirist there appears to be no difference in the abilities of the two
+performers, as the scales exactly balance. On the right, the portico of
+Covent Garden is overshadowed by the inelegant but massive proportions
+of Drury Lane; the intervening space being occupied by various figures
+and details, among which is a "patent clapping machine." An
+advertisement board carried by one of the figures clearly shows that the
+satire--an elaborate idea badly worked out--has reference to the period
+when both actors were engaged at "old Drury."
+
+
+  1818. EVACUATION OF FRANCE.
+
+Undoubtedly the most important event of the year 1818 was the congress
+of the allied sovereigns at Aix-la-Chapelle, and the evacuation of
+France which followed. By the second treaty of Paris, the stay of the
+occupying armies had been fixed at a period of five years; but by an
+official note, dated the 4th of November, 1818, the ministers of
+Austria, Great Britain, Russia, and Prussia, referring to the
+engagements entered into by the French Government with the subscribing
+powers to that treaty, stated that such Government had fulfilled all the
+clauses of the treaty, and proposed, "with respect to those clauses, the
+fulfilment of which was reserved for more remote periods, arrangements
+which were satisfactory" to the contracting parties. Under these
+circumstances the sovereigns resolved that the military occupation of
+France should forthwith be discontinued.
+
+On the 7th of November, the Duke of Wellington, commander-in-chief of
+the army of occupation, issued an order of the day, taking leave of the
+troops under his command, which concluded in the following terms:--
+
+"It is with regret that the general has seen the moment arrive when the
+dissolution of this army was to put an end to his public connections and
+his private relations with the commanders and other officers of the
+corps of the army. The field marshal deeply feels how agreeable these
+relations have been to him. He begs the generals commanding in chief to
+receive and make known to the troops under their orders, the assurance
+that he shall never cease to take the most lively interest in everything
+that may concern them; and that the remembrance of the three years
+during which he has had the honour to be at their head, will be always
+dear to him."
+
+Wellington appears to have received particular marks of distinction from
+the Emperor Alexander; but what may have been the particular tittle
+tattle which led up to the caricature we shall next describe, we are now
+unable to fathom. That it grew out of the event which we have attempted
+to describe will be sufficiently obvious. It is entitled, _A Russian
+Dandy at Home; a scene at Aix-la-Chapelle_, and was published by Fores
+in December, 1818. In it, the satirist shows us the Duke arrayed in the
+regimentals of a Russian general, part of which comprise a pair of
+jack-boots considerably too large for him, a fact which amuses the
+Emperor and certain English and Cossack officers at his back. The
+following doggerel appended to the satire affords an explanation of its
+meaning:--
+
+  "It is said that the head of the forces allied,
+     Not having a coat to his back,
+   A generous monarch the needful supplied;
+   And when thus equipped, they sat down side by side,
+     To drink their champagne and their sack.
+   Now, doubtless this hero of wonderful note,
+     Had the monarch allowed him to choose,
+   Would have bartered the honour to sit in his coat,
+     For the pleasure to stand in his shoes."
+
+
+  QUEEN CHARLOTTE.
+
+A well-drawn caricature, published by Fores in February, 1818, and
+entitled, _A Peep at the Pump Room, or the Zomersetshire Folks in a
+Maze_, shows us a singularly ugly old woman habited in a wonderful
+bonnet, and clothes of antiquated make and fashion, drinking the Bath
+waters in the midst of a circle of deeply interested and curious gazers.
+This poor old woman, who looks very like an old nurse, is no less a
+person than Charlotte of Mecklenburg-Strelitz, Queen of George the
+Third, who, in failing health and rapidly drawing towards the close of
+her earthly pilgrimage, had been recommended by her physicians to try
+the effect of the Bath waters. The excitement which this event
+occasioned in the then gay, but now decayed western city, is thus
+referred to by Mrs. Piozzi in two of her contemporary letters to Sir
+James Fellowes: "The queen has driven us all distracted; such a bustle
+Bath never witnessed before. She drinks at the Pump Room, purposes going
+to say her prayers at the Abbey Church, and a box is making up for her
+at the theatre." And again: "Of the clusters in the Pump Room who
+_swarm_ round Queen Charlotte, as if she were actually the queen bee,
+courtiers must give you an account." At the back of Her Majesty's chair
+stands the portly figure of the Duke of Clarence, who recommends the old
+lady to qualify the water (which is evidently very distasteful to her)
+with a little brandy. "George and I," he adds, "always recommend
+brandy." A fat, well favoured woman in a flower-pot bonnet, with a gin
+bottle in her hand, on the other hand recommends the old queen to
+qualify the Bath water with a dash of "Old Tom," advice which is
+seconded by the old woman next her. Behind this last stands the
+physician, watch in hand, watching, and moreover predicting in very
+plain terms, the expected action of the medicated water. The folks
+behind make their observations on the old lady's appearance. "Well, I
+declare," says one, "I see nothing extraordinary to look at." "Why, she
+doant look a bit better than oul granny," remarks a country joskin. "Who
+said she did, eh, dame?" replies her companion. Poor old Queen Charlotte
+was never a beauty, and those who remember her exaggerated likenesses in
+the satires of Gillray, will not fail to recognise her in the present
+satire. One of her well-known habits is referred to by the snuff-box
+which lies at her feet.
+
+[Illustration:
+  _Published February, 1818, by_ S. W. FORES, _50, Piccadilly_
+
+  A PEEP INTO THE PUMP-ROOM, OR THE ZOMERSETSHIRE FOLK IN A MAZE.
+
+  _Face p. 57._]
+
+The poor old lady was beyond the help of the Bath waters or of any
+earthly assistance. We find Mrs. Piozzi writing a few months later on:
+"Nothing kills the queen, however. It is really a great misfortune to be
+kept panting for breath so, and screaming with pain by medical skill:
+were she a subject, I suppose they would have released her long ago; but
+diseases and distresses of the human frame must lead to death at
+length," which was the case with the poor old queen, who died nine
+months after the date of the satire (in November, 1818).
+
+The announcement of the marriages of four of her children this year,
+viz.: of the Princess Elizabeth to Frederick, Landgrave of Hesse
+Homburg; of Edward Augustus, Duke of Kent, to Victoria, daughter of the
+Duke of Saxe-Coburg (and mother of Queen Victoria), on the 29th of May;
+of Adolphus Frederick, Duke of Cambridge, to Augusta, daughter of the
+Landgrave of Hesse, on the 1st of May; and of William Henry, Duke of
+Clarence (afterwards William the Fourth), to Adelaide, daughter of the
+Duke of Saxe-Meiningen, on the 11th of July, gave rise to a coarse
+though admirably executed caricature entitled, _The Homburg Waltz, with
+Characteristic Sketches of Family Dancing_, in which all these royal
+personages, with the Regent at their head, are seen prominently figuring
+amongst the dancers.
+
+
+  INVENTION OF THE KALEIDOSCOPE.
+
+A forgotten but ingenious instrument, the kaleidoscope, was invented by
+Sir David Brewster in 1818. The leading principles of the toy appear to
+have been accidentally discovered in the course of a series of
+experiments on the polarization of light by successive reflections
+between plates of glass. The invention of this now despised toy made a
+tremendous sensation at the time, and the inventor was induced to take
+out a patent for its protection; but he had, it appears, divulged the
+secret of its construction before he had secured the invention to
+himself, and the consequence was that, although "it made a hundred
+shopmen rich," it brought the inventor himself but little substantial
+benefit. This is explained by the fact that it was so simple in
+construction, that even when made without scientific accuracy, it served
+to delight as well as to amuse. So largely was it pirated, that it was
+calculated that no fewer than two hundred thousand were sold in three
+months in London and Paris alone. Judging by a caricature of
+Williams's, published by Fores in June, 1818, and its doggerel
+explanation, the toys would appear even at this time to have been made
+and sold by every street boy. The satire is called, _Caleidoscopes, or
+Paying for Peeping_. In it, we see the pertinacious vendors pushing the
+sale of their wares upon the passengers in the streets--many of them
+women. A bishop resolves to buy one because the coloured glass reminds
+him of a painted window in his cathedral, another person has paid dearly
+for "peeping," and discovers that while gratifying his curiosity, his
+"pocket-book has slipped off with two hundred pounds in it." Williams
+was a satirist of the old school, and the allusions made by some of the
+vendors render this otherwise interesting satire wantonly coarse and
+indelicate. Attached to this rare and curious production is the
+following doggerel:--
+
+  "'Tis the favourite plaything of school-boy and sage,
+   Of the baby in arms and the baby of age;
+   Of the grandam whose sight is at best problematical,
+   And of the soph who explains it by rule mathematical.
+
+   Such indeed is the rage for them, chapel or church in,
+   You see them about you, and each little urchin
+   Finding a sixpence, with transport beside his hope,
+   Runs to the tin-man and makes a caleidoscope!"
+
+
+  1819. THE HOBBY.
+
+Another invention made its appearance in 1819: this was the
+_velocipede_, or as it was then called "the hobby," the grandfather of
+the bicycle and tricycle of our day. A tall gawky perched on the summit
+of a lofty bicycle, with an enormous wheel gyrating between a couple of
+spindle shanks capped with enormous crab-shells, is a sufficiently
+familiar and ridiculous object in our times; but the appearance
+presented by the people of 1819, who adopted the spider looking thing
+called a "hobby," was so intensely comical that it gave rise to a
+perfect flood of caricatures. The best of these we have personally met
+with is one entitled, _The Spirit Moving the Quakers upon Worldly
+Vanities_, a skit upon the Society of Friends (published by J. T.
+Sidebotham). The scene is laid in front of a "Society of Friends Meeting
+House," and numerous "Friends" of both sexes are busily engaged in
+exercising their hobbies. In the foreground, a broad-brimmed young
+"Friend" gives ardent and amorous chase to a lovely Quakeress, who,
+apparently disinclined to encourage his advances, urges her steed to its
+utmost speed, and makes frantic endeavours to get out of his way.
+
+
+  DEPRESSION IN TRADE.
+
+The internal condition of the country this year (1819) gave cause for
+much anxiety. Pecuniary distress, owing to the depression in trade, was
+almost universal. This state of things, as might have been expected, was
+taken advantage of by the popular agitators for their own purposes; and
+the people, under their encouragement, as in the two previous years,
+continued to give audible expression to their dissatisfaction at
+meetings, and through the medium of publications more or less of a
+seditious character. The miserable outlook gave rise (among others) to a
+pair of caricatures, published by Fores on the 9th of January, _John
+Bull in Clover_, and (by way of contrast), _John Bull Done Over_. In the
+first, fat John is enjoying himself with his pipe and his glass; the
+sleek condition of his dog shows that it shares in the comforts of its
+master's prosperity. John, in fact, has what our Transatlantic cousins
+call "a good time;" scattered over the floor lie invoices of goods
+despatched by him to customers in Spain, in Russia, in America. Beneath
+a portrait of "Good Queen Bess," John has pinned several of his
+favourite ballads: "The Land we live in," "Oh, the Roast Beef of Old
+England!" "May we all live the days of our life." In _John Bull Done
+Over_, a very different picture is presented to our notice. The whole of
+John's fat is gone; he sits, a lean, starving, tattered, shoeless object
+in a bottomless chair, the embodiment of human misery. In place of his
+invoices lie the _Gazette_, which announces his bankruptcy, and a number
+of tradesmen's bills; on the back of his chair is coiled a rope, and on
+the table before him a razor lies on a treatise on suicide,--John in
+fact is debating by what mode he shall put an end to his existence. An
+onion and some water in a broken jug are the only articles of sustenance
+he has to depend on. The tax gatherer, who has made a number of
+fruitless calls, looks through the broken panes to ascertain if John is
+really "at home." On the wall, in place of the picture of "Good Queen
+Bess," hangs a portrait of John Bellingham, the assassin of Spencer
+Perceval; and in lieu of his once joyous ballads, such doleful ditties
+as "Oh, dear, what can the matter be!" "There's nae luck about the
+house," and so on. The poor dog, grown like his master a lean and
+pitiable object, vainly appeals to him for food.
+
+"England's hope"[21]--the darling of the nation--the amiable and
+interesting Princess Charlotte, whose loss is still lamented after the
+lapse of more than half a century, died in childbirth on the 6th of
+November, 1817; but on the 24th of May, 1819, was born, at Kensington
+Palace, another amiable and august princess, whose life has been most
+happily spared to us--her present Majesty Queen Victoria. To show that
+the influence of the last century caricaturists had not yet left us,
+this auspicious event immediately gave rise to a coarse caricature,[22]
+published by Fores, and labelled, _A Scene in the New Farce called the
+Rivals, or a Visit to the Heir Presumptive_, in which the scurrilous
+satirist depicts the supposed mortification and jealousy of other
+members of the royal family. Her Majesty's father, the Duke of Kent,
+died nine months afterwards, on the 23rd of January, 1820.
+
+
+FOOTNOTES:
+
+  [18] The new Alhambra.
+
+  [19] A caricature entitled _Doctors Differ_, according to Mr. Grego
+    (published in 1785) is due to Rowlandson. It is possible, therefore,
+    that the present one, although not in Rowlandson's style, may be a
+    reproduction.
+
+  [20] This admirable satire appears to me very like the handiwork of
+    George Cruikshank; but not being able positively to identify it, I
+    have given it its place in this chapter.
+
+  [21] See the caricatures of George Cruikshank, 1817.
+
+  [22] Apparently by Williams.
+
+
+
+
+CHAPTER IV.
+
+_MISCELLANEOUS CARICATURES AND SUBJECTS OF CARICATURE, 1820-1830._
+
+
+  CAROLINE OF BRUNSWICK.
+
+As in 1809 a revengeful and unscrupulous woman had succeeded in exposing
+the reputation of a member of the Royal family to public opprobrium, so,
+in like manner, in 1820, a woman, and no less a person in this instance
+than a titular queen of England, was the means of dragging the crown
+itself through the mire of a disreputable scandal. That Caroline of
+Brunswick was an uncongenial and unfitting consort; that she was an
+utterly unfit and improper person to occupy the exalted position of
+Queen of England, there can be no manner of doubt. But to the question
+whether it was wise, politic, or dignified to subject her conduct
+(however morally criminal) to the reproach of a public investigation,
+there can be but one answer.
+
+The marriage of Caroline, daughter of Charles, Duke of
+Brunswick-Wolfenbüttel, with George, Prince of Wales, was solemnized on
+the 8th of April, 1795. Exactly one year afterwards, and three months
+after the birth of their child, the Princess Charlotte, the pair
+separated. The separation was effected at the instance of the prince,
+and the reasons for his wishing to live apart from her are assigned in a
+letter which he sent her Royal Highness through Lord Cholmondeley: "Our
+_inclinations_," he told her, "are not in our own power; nor should
+either be answerable to the other because nature has not made us
+suitable to each other. Tranquil and comfortable society is, however, in
+our power; let our intercourse therefore be restricted to _that_."
+
+Sixty years have elapsed since this miserable woman died, and we who are
+no longer biassed by the political leanings which more or less
+influenced those who regarded her with favour or prejudice, are enabled
+to consider the circumstances from a fair and dispassionate point of
+view. In order that the reader may form his own conclusions of her
+character and disposition, we prefer to quote authorities whose
+political sympathies were distinctly favourable to her cause. Writing of
+his grandmother, Lady de Clifford (governess of the Princess Charlotte),
+Lord Albermarle tells us: "She [Lady de Clifford] used often to recount
+to me the events of her court life. The behaviour of the Princess of
+Wales (this was before she left England) naturally came under review. I
+fear that the judgment she formed of the conduct of this much sinned
+against and sinning lady coincides but too closely with the verdict that
+public opinion has since passed upon her. To Lady de Clifford she was
+the source of constant anxiety and annoyance. Often, when in obedience
+to the king's [George III.] commands, my grandmother took her young
+charge to the Charlton Villa, the Princess of Wales would behave with a
+_levity of manner and language that the presence of her child and her
+child's governess were insufficient to restrain_. On more than one
+occasion, Lady de Clifford was obliged to threaten her with making such
+a representation to the king as would tend to deprive her altogether of
+the Princess Charlotte's society. These remonstrances were always taken
+in good part, and produced promises of amendment."[23] The Hon. Amelia
+Murray tells us in her "Recollections from 1803 to 1837": "There was
+about this period an extravagant _furore_ in the cause of the Princess
+of Wales. She was considered an ill-treated woman, and that was enough
+to arouse popular feeling. My brother was among the young men who helped
+to give her an ovation at the opera. A few days afterwards he went to
+breakfast at a place near Woolwich. There he saw the princess, in a
+gorgeous dress, which was looped up to show her petticoat covered with
+stars, with silver wings on her shoulders, sitting under a tree, _with a
+pot of porter on her knee_; and as a finale to the gaiety, she had the
+doors opened of every room in the house, and selecting a partner, she
+galloped through them, desiring all the guests to follow her example! It
+may be guessed whether the gentlemen were anxious to clap her at the
+opera again." Now this was the personage whom certain classes of the
+community persisted in regarding, sixty years ago, as a royal martyr.
+Small as is the respect or esteem which we owe to the memory of George
+the Fourth, we may almost sympathise with him when he calls such a
+consort "uncongenial."
+
+A person so little fitted for the high position which she occupied was
+certain to give trouble; and as far back as 1806, her indiscreet conduct
+had induced the king [George III.] to grant a commission to Lords
+Spencer, Grenville, Erskine, and Ellenborough, to examine into the truth
+of certain allegations which had been made against her; and, although
+their report expressed the most unqualified opinion that the graver
+charges were utterly destitute of foundation, such report, nevertheless,
+concluded with some strictures made by the commissioners "on the levity
+of manners displayed by the princess on certain occasions."[24] In
+consequence of this official report, the intercourse between the
+Princess of Wales and her daughter, the Princess Charlotte, was
+subjected to regulation and restraint; they were allowed at first a
+single weekly interview, which, for some doubtless sufficient reason,
+was afterwards reduced to a fortnightly meeting.[25]
+
+While pitying the mother, we seem scarcely justified in assuming, with
+our present knowledge of her obstinate nature and disposition, that
+these restrictions were imposed without some just and sufficient reason.
+It would seem to have come to the knowledge of the Princess Caroline in
+1813, that the interdiction was intended "to be still more rigidly
+enforced,"[26] for on the 14th of January of that year we find that she
+wrote a letter to the Prince Regent, in which she complained that the
+separation of mother and daughter was equally injurious to her own
+character and to the education of her child. Adverting to the
+restricted intercourse between them, she observed that in the eyes of
+the world, "this separation of a daughter from her mother would only
+admit ... of a construction fatal to the mother's reputation. Your Royal
+Highness," she continued, "will pardon me for adding that there is no
+less inconsistency than injustice in this treatment. He who dares advise
+your Highness to overlook the evidence of my innocence, and disregard
+the sentence of complete acquittal which it [_i.e._ the inquiry of 1806]
+produced--or is wicked and false enough still to whisper suspicions in
+your ear, betrays his duty to you, sir, to your daughter, and to your
+people, if he counsels you to permit a day to pass _without a further
+investigation of my conduct_.... Let me implore you to reflect on the
+situation in which I am placed, without the shadow of a charge against
+me, without even an accuser after an inquiry that led to my ample
+vindication, yet treated as if I were still more culpable _than the
+perjuries of my suborned traducers represented me_, and held up to the
+world as a mother who may not enjoy the society of her only child."
+
+No possible objection can be taken to this letter; indeed, by whomsoever
+it was penned, taken altogether it was an admirable composition. If,
+however, we are to credit the statement of Mr. Whitbread, made in the
+House on the 5th of March, 1813, it was thrice returned to the writer
+unopened. But the princess, as we shall find, was not a person to be
+intimidated by any amount of rebuffs. "At length that letter [we quote
+Mr. Whitbread] was read to him [the Prince Regent], and the cold answer
+returned was, that ministers had received no commands on the
+subject."[27] The letter found its way into the public prints, and then,
+and not till then, if we are to believe Mr. Whitbread, his Royal
+Highness directed that the whole of the documents, together with her
+Royal Highness's communications to himself, should be referred to
+certain members of the Privy Council, who were to report to him their
+opinion, "whether under all the circumstances ... it was fit and proper
+that the intercourse between the Princess of Wales and her daughter ...
+should continue to be, subject to regulations and restrictions."[28]
+
+In their report, which was presented on the 19th of February, the
+commissioners stated that "they had taken into their most serious
+consideration, together with the other papers referred to by His Royal
+Highness, all the documents relative to the inquiry instituted in 1806 ...
+into the truth of certain representations respecting ... the Princess of
+Wales; and, that after full examination of all the documents before them,
+they were of opinion, that under all the circumstances of the case, it was
+highly fit and proper, with a view to the welfare of ... the Princess
+Charlotte ... and the most important interests of the State, that the
+intercourse between ... the Princess of Wales and the ... Princess
+Charlotte should continue to be subject to regulation and restraint."
+
+It was only natural, of course, that Caroline should rebel; and she
+accordingly wrote on the 1st of March a letter to the Speaker,
+protesting against the mode in which this second inquiry had been
+conducted. Motions on her behalf were afterwards brought forward
+successively in the House by Mr. Cockrane Johnson and Mr. Whitbread,
+both of which, however, fell to the ground. The remarks made by Mr.
+Whitbread provoked a speech in the House of Lords from Lord Ellenborough
+(who had been a member of both commissions), which is singularly
+illustrative of the habits and manners of the time. After an
+introduction of great solemnity, his lordship said, "that, in the case
+alluded to, the persons intrusted with the commission [of 1806] were
+charged with having fabricated an unauthorised document, purporting to
+relate what was not given in evidence, and to suppress what was given.
+This accusation," said his lordship, "is as false as h---- in every
+particular." He then proceeded to give an account of the mode in which
+everything had been taken down from the mouth of the witness, and
+afterwards read over to and subscribed by her.[29] He concluded his
+peculiarly energetic speech by again denying, in the most positive
+terms, the truth of the imputation which had been cast upon the
+commissioners.
+
+The inquiry of 1813 set the pencils of the caricaturists in motion, and
+among the satires it occasioned, I find a series of eight pictures on
+one sheet, representing the witnesses, the commissioners, Mr. Whitbread,
+and other persons connected with that and the previous investigation of
+1806. It is called _A Key to the Investigation, or Iago Distanced by
+Odds_; and the most amusing of the series is the seventh, which
+represents the furious Lord Ellenborough, attired in his official robes
+of Lord Chief Justice of the King's Bench. The following doggerel
+clearly identifies it with the speech from which we have already
+quoted:--
+
+  "This is the Chief J---- who, as the Lords tell,
+   Swore that the reflections were false!--black as h----!
+   _And though such bad words no man can use fewer_,
+   In his rage it was fear'd he would pistol the Brewer[30]
+   For moving the senate, who all cried, oh fie!
+   That the Lady and B----[31] had told a d----d lie,
+   And were unworthy credit the oaths they did try;
+   And lamented the witness, whose answer when penn'd,
+   Without questions which drew them, appear'd to portend
+   More reproach than she meant against her good friend.
+   While the hireling servants examined by law,
+   Who thought by a stretch to gain some _éclat_,
+   While before the commissioners named by the King,
+   To investigate matters and witnesses bring," etc., etc.
+
+The eighth of the series is "the spring that set all in motion," the
+satirist's meaning being indicated by a throne, on which lies a cocked
+hat adorned with the Prince of Wales' feathers, and beneath it, as is
+usual in a large proportion of the satires which allude to the
+prince-regent, a number of empty bottles.
+
+The Regent seems never to have lost an opportunity of insulting his
+uncongenial and unfortunate wife. In anticipation of the expected visit
+of the allied sovereigns in June, 1814, the prince conveyed an
+intimation to his royal mother that, as he considered his presence could
+not be dispensed with at her ensuing drawing-rooms, he desired it to be
+distinctly understood, "for reasons of which he alone could be the
+judge, to be his fixed and unalterable determination not to meet the
+Princess of Wales upon any occasion, either in public or private."[32]
+Queen Charlotte was bound of course to give an official intimation to
+that effect to the Princess Caroline, which, on the 24th and 26th of
+May, 1814, brought from her letters to the queen and the Regent. In the
+first of these communications she intimated her intention of "making
+public the cause of her absence from Court at a time when the duties of
+her station would otherwise peculiarly demand her attendance"; while her
+letter to her husband contained the following intimation: "Your Royal
+Highness may possibly refuse to read this letter; but the world must
+know that I have written it, and they will see my real motives for
+foregoing in this instance the rights of my rank. Occasions, however,
+may arise (one, I trust, is far distant) when I _must_ appear in public,
+and your Royal Highness must be present also. Can your Royal Highness
+have contemplated the full extent of your declaration? Has your Royal
+Highness forgotten the approaching marriage of our daughter [to the
+Prince of Orange] and the possibility of our coronation?" These words
+show that from the first Caroline had decided, _coûte que coûte_, when
+the time came to assert her position, in spite of the opposition of her
+husband and any obstacles which might be raised by his friends and
+advisers.
+
+We have entered rather fully into this matter, because it seemed to us
+necessary, in order that the reader might understand the temper of
+Caroline, and the motives which influenced her in the extraordinary
+course of conduct which she afterwards thought fit to pursue. She was
+treated, we have seen, with the most cruel and studied insult; excluded
+from ceremonials at which her rank and position entitled her to be
+present. "Sir," said the unfortunate woman in the letter to her husband
+to which we have alluded, "the time you have selected for this
+proceeding is calculated to make it peculiarly galling. Many illustrious
+strangers are already arrived in England; among others, as I am
+informed, the illustrious heir of the house of Orange, who has announced
+himself to me as my future son-in-law. From their society I am unjustly
+excluded. Others are expected, of rank equal to your own, to rejoice
+with your Royal Highness in the peace of Europe. My daughter will for
+the first time appear in the splendour and publicity becoming the
+approaching nuptials of the presumptive heiress of this empire. This
+season your Royal Highness has chosen for treating me with great and
+unprovoked indignity; and of all his Majesty's subjects, I alone am
+prevented by your Royal Highness from appearing in my place, to partake
+of the general joy, and am deprived of the indulgence of those feelings
+of pride and affection permitted to every mother but me." Poor mother!
+who may help pitying her! Her most prejudiced enemy will admit that this
+was an eloquent and noble protest. Had she only maintained this language
+and attitude, we should justly assign to her a place amongst the royal
+martyrs of history. Naturally this barbarous, impolitic treatment soured
+her, as it would sour even the sweetest disposition. In an evil hour for
+her, and we may add for this country, she solicited and obtained
+permission to travel abroad.
+
+No sooner was she freed from the restraints which had surrounded her at
+home, than her conduct not only makes us doubt whether she had any hand
+in the composition of this maternal appeal, but appears to justify the
+conclusions at which the commissioners of 1806 and 1813 seem to have
+arrived. Her temper was obstinate and wilful. She knew that she was
+watched; and from a spirit apparently of wanton mischief, designed with
+the view doubtless of annoying her enemies, she indulged in a series of
+the most extraordinary and undignified vagaries. She took into her
+service and received into her closest confidence and favour persons of
+the lowest position. It was impossible for rumours of her extraordinary
+eccentricities not to reach, not only the ears of those who detested
+her, but in an imperfect and incorrect degree those of the general
+public. That this was the case is shown by a caricature entitled,
+_Paving the way for a Royal Divorce_, published by Johnston on the 1st
+of October, 1816, in which we see the corpulent Regent at table with
+Lord Liverpool, "Old Bags"[33] (Chancellor Eldon), Lord Chief Justice
+Ellenborough, Vansittart, Chancellor of the Exchequer, and another,
+probably intended for Viscount Sidmouth. His Royal Highness is made by
+the caricaturist to say that he and his sympathizers think "we shall now
+succeed, having secured some evidence from the coast of Barbary.... I
+have got everything as clear as the sun at noon-day.... Now for a
+divorce as soon as possible." Lord Chancellor Eldon says, "I'll stick to
+your Highness through thick and thin, or never call me 'Old Bags' again
+as long as I live." Lord Liverpool supports him by the assurance, "I'm
+an unmatched negotiator, and I'll enter into a treaty with the House of
+Commons to secure your suit." The temper of the Commons is shown by the
+doubts expressed by the individual we take to be intended for Viscount
+Sidmouth. "I have my doubts," says this person, at the same time laying
+his hands on the port wine decanter, "I have my doubts and qualms of
+conscience, your Highness; what say you, Van?" "Oh, my lord," replies
+Vansittart, who is seated on the "Budget," "I have some strange touches
+of feeling on the subject." Up rises the hot-tempered Lord Chief
+Justice, upsetting a decanter of port wine, and at the same time the
+chair on which he has been sitting, "Don't put me in a passion with your
+'qualms' and your 'touches'; they are all false, false as h----! I'll
+blow you all to the d----l if you don't stick to your master manfully!!"
+By the side of the prince we see, as usual, a pailful of wine bottles,
+and at his feet, in allusion to his notorious infidelities, an open
+volume entitled, "The Secret Memoirs of a Prince, by Humphrey Hedghog,
+Esq., 1815." By the side of the Lord Chief Justice lie three portly
+volumes labelled, "The Law of Divorce." It will be evident from the
+foregoing, that from an early period, the satirists on the popular side
+gave credit to the prince and his advisers for being members of a secret
+conspiracy for compassing the ruin of the erring and unfortunate woman.
+
+Now what was the "evidence" to which the corpulent Regent is made to
+refer in the sketch before us? It was not of course _evidence_, but
+rumour; and rumour said the strangest things of the Princess Caroline.
+It associated her name with that of a courier,--a low Italian, named
+Bartolomeo Bergami; it said that she had enriched and ennobled this man
+and other members of his family; procured for him a barony in Sicily;
+decorated him with several orders of knighthood; and asserted in the
+plainest terms that she was living with him in a state of open and
+notorious adultery. These reports rendered it necessary to ascertain on
+what foundation they rested, and the result was that in 1818, Mr. Cooke,
+of the Chancery Bar, and Mr. Powell, a solicitor, were despatched into
+Germany and Italy to collect evidence with respect to her conduct. This
+inquiry, which is generally known as the "Milan Commission," seemed
+certainly preferable to an investigation of a more public and notorious
+character; and upon the evidence these gentlemen obtained was founded
+the "Bill of Pains and Penalties," which we shall presently have to
+consider.
+
+
+  1820.
+
+It is quite clear that the ministers of 1820 were strongly averse to the
+introduction of the "Bill of Pains and Penalties," which is now known to
+us as the "Trial of Queen Caroline." The whole odium indeed of the
+proceedings rested upon them at the time; but we have no reason to doubt
+the statement of Mr. Charles Greville, under date of 20th February,
+1820, that they had offered to resign, "because the king would not hear
+reason." It seems at any rate tolerably certain that, although they
+brought forward the "Bill of Pains and Penalties" under pressure of the
+Crown, they did not do so until they had well-nigh exhausted every
+effort short of actual resignation (this dignified position they did
+_not_ take) to avoid it. Mr. Wade tells us that "their first
+indiscretion consisted in commencing hostilities against the queen by
+the omission of her name in the liturgy, thereby provoking her claim to
+legal rights;"[34] but this omission, which appears to us justifiable
+under the circumstances, Mr. Greville shows us was due to the action of
+the king himself.[35] In the month of June, 1819, a communication
+appears to have been received from Mr. Brougham, the professional
+adviser of the princess, and understood to be charged with the
+confidential management of her affairs. The proposal contained in this
+communication was in substance, that her then income of £35,000 a year
+should be secured to her for life, instead of terminating with the
+demise of the crown: and that she should undertake upon that arrangement
+being made to reside permanently abroad, and not to assume at any time
+the rank or title of Queen of England. This proposal, however, being
+stated to be made without any authority from the princess, or knowledge
+of it on her part, the Government at that time replied that there would
+be no indisposition at the proper time to entertain the principle on
+which the proposal was grounded, if it met with the approbation of her
+Royal Highness on the king's accession. The ministers, reverting to Mr.
+Brougham's proposal, offered to raise the already handsome allowance to
+£50,000 a year, subject to the conditions before mentioned. Caroline,
+however, peremptorily declined the proposal, alleging that it had been
+made without her knowledge or sanction. Unfortunately, too, this offer
+when made to Caroline herself, was coupled with the intimation that if
+the queen should "be so ill-advised as to come over to this country,
+there must be _an end to all negotiations and compromise_."[36]
+Considering the temper and disposition of the woman, the fact that she
+had demanded the insertion of her name in the liturgy, the haughty
+assertion of her claim "to be received and acknowledged as the Queen of
+England," and the communication made at the same time of her desire that
+a royal yacht should be in readiness to receive her at Calais,[37] it
+appears to us a greater mistake on the part of the ministry could
+scarcely have been made. It aroused her woman's nature, and flaming with
+the anger and resentment which she had nourished for so long a course
+of years, she boldly took up the gauntlet her enemies had flung at her
+feet, and crossed the Channel almost as soon as the astonished
+Government messenger himself.
+
+The queen (for she was titular Queen of England now) arrived in London
+on the 7th of June: "the road was thronged with an immense multitude the
+whole way from Westminster Bridge to Greenwich. Carriages, carts, and
+horsemen followed, preceded, and surrounded her coach the whole way. She
+was everywhere received with the greatest enthusiasm. Women waved
+pocket-handkerchiefs, and men shouted wherever she passed. She travelled
+in an open landau, Alderman Wood sitting by her side, and Lady Ann
+Hamilton [the Duke of Hamilton's sister] and another woman opposite....
+The queen looked exactly as she did before she left England, and seemed
+neither dispirited nor dismayed."[38] In one of the popular satires of
+the day we see her standing on the balcony of Alderman Wood's house in
+South Audley Street, receiving and acknowledging the enthusiastic
+plaudits of her admirers. The very day she arrived at Dover, a royal
+message was sent down to Parliament, by which the king commended to the
+Lords an inquiry into the conduct of the queen; while on the following
+day, Mr. Brougham read in the House of Commons a message or manifesto
+from his client, declaring that her return was occasioned by the
+necessity her enemies had laid upon her of defending her character and
+conduct.
+
+
+  THE BILL OF PAINS AND PENALTIES.
+
+Both parties now stood irrevocably committed to the fatal measure. A
+secret committee of the House of Lords proceeded to open the celebrated
+_green bag_, which contained the reports of the Milan Commission; and on
+the 4th of July they made their report, recommending a solemn inquiry
+into the conduct of the queen. Next day the Earl of Liverpool presented
+a "bill of pains and penalties" entitled, "An Act to deprive Her Majesty
+Queen Caroline Amelia Elizabeth of the title, prerogative, rights,
+privileges, and exemptions of Queen Consort of this realm, and to
+dissolve the marriage between His Majesty and the said Caroline Amelia
+Elizabeth" on the ground of the grossly immoral conduct therein alleged
+against her.
+
+The ill-advised proceedings once commenced, no time was lost in carrying
+them through. On the 7th of July the Italian witnesses in support of the
+bill (twelve in number) landed at Dover. The object of their visit soon
+became known, and on emerging from the custom house they were set upon
+and badly beaten by a furious crowd, composed principally of women. They
+were lodged in a building then separating the old houses of Parliament,
+which, with its enclosure, was called Cotton Garden; the front faced the
+abbey, the rear the Thames. "The land entrance was strongly barricaded.
+The side facing Westminster Bridge was shut out from the public by a
+wall run up for the express purpose at a right angle to the Parliament
+stairs. Thus the only access was by the river. Here was erected a
+causeway to low-water mark; a flight of steps led to the interior of the
+inclosure. The street was guarded by a strong military force, the water
+side by gunboats. An ample supply of provisions was stealthily (for fear
+of the mob) introduced into the building; a bevy of royal cooks was sent
+to see that the food was of good quality, and to render it as palatable
+as their art could make it. About this building, in which the witnesses
+were immured from August till November, the London mob would hover like
+a cat round the cage of a canary. Such confinement would have been
+intolerable to the natives of any other country, but it was quite in
+unison with the feelings of Italians. To them it realized their
+favourite '_dolce far niente_.' Their only physical exertion appears to
+have been the indulgence in that description of dance that the
+_Pifferari_ have made familiar to the Londoner."[39] Such was the
+residence of the Italian witnesses against the queen, and it is certain
+that if they had ventured beyond its precincts they would have been torn
+in pieces.
+
+The appearance which Caroline of Brunswick presented at her trial was
+an outrageous caricature, and is thus described by one then distinctly
+friendly to her cause--the Earl of Albemarle: "The peers rose as the
+queen entered, and remained standing until she took her seat in a
+crimson and gilt chair immediately in front of her counsel. Her
+appearance was anything but prepossessing. She wore a black dress with a
+high ruff, an unbecoming gipsy hat with a huge bow in front, the whole
+surmounted by a plume of ostrich feathers. _Nature_ had given her light
+hair, blue eyes, a fair complexion, and a good-humoured expression of
+countenance; but these characteristics were marred by _painted
+eyebrows_, and by a _black wig_ with a profusion of curls, which
+overshadowed her cheeks and gave a bold, defiant air to her features."
+The names of the witnesses, and possibly the precise nature of the
+testimony against her, would seem to have been unknown to the queen, for
+we have it on record that when the first witness (Teodoro Majoochi, the
+celebrated "Non Mi Ricordo") was placed at the bar, on the 21st of
+August, Her Majesty, "uttering a loud exclamation, retired hastily from
+the House, followed by Lady Ann Hamilton."[40] She evidently laboured
+under some strong emotion, whether of surprise or displeasure, or both,
+seems never to have been ascertained.
+
+Among the general public, and even in the House of Commons itself, the
+falsehood of all that had been alleged on oath against the queen was
+assumed as an undeniable axiom; the witnesses were loaded with the most
+opprobrious epithets, while those who had been concerned in collecting
+or sifting evidence were represented as conspirators or suborners. We
+shall see, when we come to speak of the caricatures of Robert
+Cruikshank, the light in which these unhappy witnesses were regarded by
+the graphic satirists on the popular side.[41] Nevertheless, if their
+testimony is carefully read over by any unprejudiced person having any
+knowledge of the law of evidence, in spite of the badgering of Mr.
+Brougham, the admirable speech of that gentleman, and the testimony of
+the witnesses on the other side, I think he cannot fail to come to any
+other conclusion than that expressed by the then Lord Ellenborough, that
+Her Royal Highness was "the last woman a man of honour would wish his
+wife to resemble, or the father of a family would recommend as an
+example to his daughters. No man," said his lordship, "could put his
+hand on his heart and say that the queen was not wholly unfit to hold
+the situation which she holds."[42] He will see too, by reference to the
+report of the proceedings in the "Annual Register," that of the peers
+who decided to vote against the second reading of the bill on the ground
+of _inexpediency_, a large majority gave it as their deliberate opinion
+that the case had been proved against the queen.[43] In a very clever
+pictorial satire, published by S. Humphrey in 1821, the queen, Bergami,
+and a third figure (possibly intended for Alderman Wood) are represented
+as standing on a pedestal forming the apex of a slender stem labelled
+"Mobility," which rests on a base marked "Adultery." The whole structure
+depends for support on a broom (in allusion of course to Mr. Brougham)
+and two frail pieces of wood, labelled respectively, "Sham addresses,"
+and "Sham processions," which in turn rest on a slender railing, while a
+ladder on either side, marked "Brass" and "Wood," lend a further slight
+support to the very insecure fabric. The superincumbent weight of the
+queen and Bergami breaks the frail stem in pieces, and the three figures
+tumble to the ground together. The back of the design is occupied with
+scenes and incidents detailed in the evidence. A very clever caricature,
+without date (published by T. Sidebotham), I am inclined to assign to
+this period; and if so, it is one of the most plain spoken and telling
+satires ever published. It is entitled, _City Scavengers Cleansing the
+London Streets of Impurities_; a placard which has fallen in the street
+sufficiently explains its meaning: "By particular desire of the Society
+for the Suppression of Vice, D-- of K--t in the chair, ordered that the
+city officers do keep the streets clear of common prostitutes.--Signed,
+Wood, Mayor."[44]
+
+A more foolish and undignified proceeding, however, than this "Bill of
+Pains and Penalties" can scarcely be conceived. Its fate might almost
+have been predicted from the first. The second reading was carried on
+the 6th of November, by a majority of twenty-eight, but the third (for
+the reasons already given) by a majority of nine only; whereupon, the
+Earl of Liverpool said that, "had the third reading been carried by as
+considerable a number of peers as the second had been, he and his
+colleagues would have felt it their duty to persevere with the bill and
+to send it down to the other branch of the legislature. In the present
+state of the country, however, ... they had come to the determination
+not to proceed further with it."[45] The victory will be acknowledged by
+us now-a-days as damaging as a defeat; but the result, curious to
+relate, was hailed by the queen and her party as if her innocence had
+been triumphantly vindicated. In signing a document prepared by her
+counsel on the 8th of November, she wrote, "Carolina Regina," adding the
+words, "there, _Regina_ still, in spite of them." The abandonment of the
+bill was followed by three nights of illumination; but it was observed
+that they were of a very partial character, wholly unlike those which
+had greeted the great victories by sea and land, in which the public
+sympathy was spontaneous and universal. The mob in some cases testified
+its disapproval when these signs of satisfaction were wanting; and one
+gentleman in Bond Street, on being repeatedly requested to "light up,"
+placed a single rushlight in his two-pair-of-stairs window. Some of the
+transparencies were, as might have been expected, of a singular
+character. A trunk maker in the same street displayed the following new
+reading from Genesis: "And God said, It is not good the King should
+reign alone." A publican at the corner of Half Moon Street exhibited a
+flag whereon, in reference to the unpopular witness Teodoro Majoochi,
+was depicted a gallows with the following inscription:--
+
+  "_Q._ What's that for?
+   _A._ Non Mi Ricordo."
+
+An enthusiastic cheesemonger at the top of Great Queen Street displayed
+a transparency on which he had inscribed the following verses:--
+
+  "Some friends of the devil
+   With mischief and evil
+     Filled a green bag of no worth;
+   But in spite of the host,
+   It gave up the ghost
+     And died 53 days after birth."
+
+The caricaturists of course were not idle, and the trial of Queen
+Caroline provoked a perfect legion of pictorial satires. The queen's
+victory is celebrated in one of the contemporary caricatures (published
+by John Marshall, junior) under the title of _The Queen Caroline Running
+down the Royal George_; while on the ministerial side it is recorded
+(among others) by a far more elaborate and valuable performance
+(published by G. Humphrey), called, _The Steward's Court of the Manor of
+Torre Devon_, which contains an immense number of figures, and wherein
+the queen is seated on a black ram[46] in the midst of one of the
+popular processions, the members of which carry poles bearing pictorial
+records of the various events brought out in evidence against her.
+
+It is one of the peculiarities of our "Glorious Constitution," that
+while the ministers who acted under his direction incurred all the
+blame, the prime instigator of all these exposures was enabled to
+shelter himself behind the backs of his "advisers." The ministers were
+unpopular,--they deserved to be so, for, whatever might have been the
+consequences to themselves so far as loss of office was concerned, they
+should have refused from the first to lend themselves to the publication
+of a scandal so utterly grievous. The king himself at this time was far
+from unpopular; the odium he had incurred the previous year by the
+thanks he had caused to be conveyed to Major Trafford, "and the
+officers, non-commissioned officers, and privates" of the yeomanry who
+had signalized themselves in the massacre at Manchester (an outrage
+which, by the way, led to a number of pictorial satires), seemed to have
+wholly passed away. He was at Ascot only two days before the queen's
+arrival, and "was always cheered by the mob as he went away. One day
+only a man in the crowd called out "Where's the Queen?"[47] Again, we
+find on the same authority, that on the night of the 6th of February,
+1821: "The king went to the play (Drury Lane) for the first time, the
+Dukes of York and Clarence and a great suite with him. He was received
+with immense acclamations, the whole pit standing up, hurrahing and
+waving their hats. The boxes were very empty at first, for the mob
+occupied the avenues to the theatre, and those who had engaged boxes
+could not get to them. The crowd on the outside was very great.... A few
+people called 'The Queen!' but very few. A man in the gallery called
+out, 'Where's your wife, Georgy?'[48] His reception at Covent Garden the
+following night appears to have been equally loyal and gratifying.
+
+The truth was, that the numerous and truly honest people who sympathized
+with Queen Caroline, did so from little admiration for herself, but
+because she had been the victim of twenty-five years' persecution;
+because, however great her follies, they had been grievously provoked;
+and above all, because they felt that the man who was her most powerful
+and relentless persecutor, was the very last who was justified in
+casting a stone against her. The ministerialists and their supporters,
+however, attributed the sympathy which was shown by her professed
+admirers exclusively to a political origin, and thus stigmatized the
+motives of their opponents (with more justice than poetry) in one of the
+jingling rhymes of the day:--
+
+  "What's the Queen to Reformists? as Queen was to France,
+   Round her head and her consort's they'd equally dance.
+   They care not for Caroline, nor king, nor for queen,
+   A pretext they want their intentions to screen,
+   'The Queen!' is the Radicals' rallying cry;
+   A queen bears the standard the king to defy."
+
+How entirely unfitted this mistaken woman was to figure in the august
+position of a queen of England may be judged from her subsequent
+conduct. Instead of contenting herself with her victory, such as it was,
+she had the ill taste, in spite of the remonstrances of her friends and
+advisers, to communicate to the Lord Mayor, through the medium of her
+"vice chamberlain," her intention to proceed to St. Paul's in a public
+manner on Wednesday, the 29th of November, there and then to offer up
+her thanksgivings for the result: and this resolution she actually
+carried out. The details of her procession, which really reminds us of
+the entry of a company of equestrians into some provincial town, need
+not be entered into here; suffice it to say that it comprised trumpeters
+without number, stewards' carriages, gentlemen on horseback, the
+corpulent queen herself, with her attendant, Lady Ann Hamilton, and the
+indispensable Alderman Wood, the whole closing with "the various trades
+with flags and banners." It would appear to us that one of the rarest of
+the caricatures on the ministerial side has reference to this triumphal
+entry. It is labelled, _Grand Entrance to Bamboozlem_, and was published
+by Humphrey shortly afterwards. The queen is represented at the head of
+a procession, all the members of which (herself included) are mounted on
+braying "jackasses." A figure, intended no doubt for Alderman Wood,
+habited in a fool's cap and jester's dress, holds her by the hand; the
+lady who follows him, playing on the fiddle and wearing a Scotch bonnet,
+is meant for Lady Ann Hamilton (she is named "Lady Ann Bagpipe" in the
+sketch); Bergami (immediately behind) carries a banner inscribed
+"Innocence"; and next him, his fat sister, whom the queen had dignified
+with the title of a countess; Venus and Bacchus appear amongst the
+crowd, and are labelled "Protégés and bosom friends of Her M----y." She
+is welcomed by an enthusiastic body of butchers with marrow-bones and
+cleavers; while among the crowd waiting to receive her we notice Orator
+Hunt and the other popular leaders of the day.
+
+[Illustration:
+  _Face p. 81._]
+
+And here we drop for the present the subject of Queen Caroline, a
+subject we have approached with caution, although conscious that it can
+be by no means omitted from a work treating of graphic satires of the
+nineteenth century. That she should now accept the £50,000 per annum
+which she had previously refused, will probably not surprise the reader.
+The end of a career so strangely undignified will be seen when we come
+to treat of the caricatures of George Cruikshank.
+
+The duel between the Dukes of Buckingham and Bedford; the erection of
+the statue of Achilles in Hyde Park; the new Marriage Act; the second
+French invasion of Spain under the Duc d'Angoulème; the Tenth Hussars;
+Miss Foote, the celebrated actress; Edmund Kean; and the commercial
+distress of 1825-6, afford subjects for the pencils of the
+caricaturists, and will be mentioned in the chapters which relate to the
+graphic satires of the brothers Cruikshank.
+
+
+  GREEK WAR OF INDEPENDENCE.
+
+The pictorial satirists were kept fully employed by the political events
+of 1827 and 1828. The former year beheld the sanguinary Greek war of
+independence. Things turned out badly for the over-matched Greeks, until
+at last Great Britain, France, and Russia interposed with Turkey on
+their behalf. The proposals offered were such as the Turks refused to
+entertain. The Porte, in refusing them, maintained that, though
+mediation might be allowable in matters of difference between
+independent states, it was utterly inadmissible as between a power and
+its revolted subjects. The allied powers then proposed an armistice,
+demanding a reply within fifteen days, plainly intimating that in the
+event of refusal or silence (which would be construed into a refusal),
+they should resort to measures for _enforcing_ a suspension of
+hostilities.
+
+
+  BATTLE OF NAVARINO.
+
+In the meantime arrived at Navarino the Egyptian fleet, consisting of
+ninety-two sail, including fifty-one transports, having on board 5,000
+fresh troops. Ibraham Pacha's attempt to hoodwink the British, and to
+land these troops at Patras, was foiled by the vigilance and
+determination of the English admiral. Disappointed in these attempts, he
+proceeded, in the teeth of the warnings which had been given him, to
+execute his orders to put down the insurrection on land, and carried
+them out with merciless atrocity,--ravaging the Morea with fire and
+sword. Resolved now to bring matters to an issue, the combined fleets in
+October, 1827, entered the harbour. As was expected would happen, the
+Turks fired upon them, and then ensued the famous battle of Navarino, in
+which, after a four hours' engagement, the Turkish and Egyptian fleets
+were annihilated, and the bay strewed with the remains of their ruined
+vessels.
+
+Russia declared war against Turkey the following year, and we meet with
+many miscellaneous caricatures having reference to the conflict which
+followed. In one, published by Maclean (without date) entitled, _Russian
+Bears' Grease, or a Peep into Futurity_, we see the Russian bear running
+off with Greece in spite of England, France, and Austria. Another (also
+without date), is labelled _The Descent of the Great Bear, or the
+Mussulmans in a Quandary_. In a third (also without date), called _The
+Nest in Danger_, we see Turkey sitting on a nest marked "Greece"
+disturbed by Russia, whilst the British lion stands looking on at no
+great distance, discontentedly gnawing a bone labelled "Navarino." By
+the time peace was concluded between the belligerents in 1829, England
+would seem to have realized the fact that she had been made the tool of
+Russia, and this is the obvious idea intended to be conveyed by the
+satirist in another caricature (also without date, but bearing obvious
+reference to the same subject). The Porte is represented in the act of
+_presenting a bill of indemnification_ to George the Fourth.
+
+
+  CATHOLIC RELIEF BILL.
+
+The principal political topic remaining to be noticed is the Catholic
+Relief Bill of 1829, a measure forced upon the king, the ministry, the
+church, and the aristocracy by the imperative force of circumstances,
+directed by the prescience of a minister who, sharing at first all the
+objections of his colleagues, felt nevertheless that a large portion of
+his Majesty's subjects were labouring under disabilities and fettered by
+restrictions inconsistent with the boasted liberties of a free people;
+and that such a measure, in the face of the political changes which had
+been loudly demanded for a long time past, could no longer be delayed.
+It is not surprising, however, that Wellington and his colleagues,
+following out the maxims of a Whig policy, should be viewed by their own
+party somewhat in the light of traitors. Accordingly we see them
+figuring in this character in some of the caricatures of the day, one of
+which (one of the "Paul Pry" series), published by Geans in 1829, may be
+cited as an example of the rest, and shows them to us in the act of
+_Burking Old Mrs. Constitution, aged 141_.
+
+In this and the two preceding chapters we have attempted to give an
+account of some of the leading events of the first thirty years of the
+century, illustrating them by reference to a _few_ of the miscellaneous
+caricatures of the period. We have adopted this method of arrangement
+because, if our theory be correct, it was during this period that the
+art of caricature continued to flourish, and it is from this period that
+we date its speedy decline and downfall. We think that the prime cause
+of this decline may be traced to the fact that George Cruikshank, the
+best of nineteenth century satirists, had by this time resigned the art
+to follow his new employment of an illustrator of books; we think, too,
+that caricature received an additional impetus in its downward progress
+by the secession from the ranks of its professors of the veteran Thomas
+Rowlandson, who, although he did not die until 1827, had virtually
+given up caricature in favour of book illustration[49] many years
+before. Further illustration of some of the events already related, and
+of others to which we have no occasion at present to refer, will be
+found in the chapters devoted to the work of Isaac Robert Cruikshank and
+his brother George.
+
+A considerable number of the caricatures which belong to the first
+quarter of the century have an anonymous origin; whilst a large
+proportion are due to William Heath, who, either in his own name, or
+often under the distinguishing hieroglyphic of "Paul Pry," contributed
+largely to the political and social satires of his day. Other
+caricaturists of the period were H. Heath (hundreds of whose comic
+sketches were collected and published by Charles Tilt), Theodore Lane,
+and his friends Isaac Robert and George Cruikshank. To these names we
+must add those of the last century men who continued their work into the
+present, James Gillray, Thomas Rowlandson, George Moutard Woodward, C.
+Williams, Henry William Bunbury, Robert Dighton, and others. Some idea
+of the industry of the nineteenth century satirists may be gathered from
+the fact that the "Paul Pry" series of political satires of 1829-30,
+alone number some fifty plates, which in our day can rarely be purchased
+at three times their original cost.
+
+       *       *       *       *       *
+
+[Illustration:
+  THEODORE LANE. _From "Life of an Actor," 1824._
+
+  "THE GALLERY.--POWERFUL ATTRACTION OF TALENTS!"]
+
+[Illustration:
+  THEODORE LANE. _From "Life of an Actor," 1824._
+
+  "THE NON-PAYING AUDIENCE."
+
+  _Face p. 85._]
+
+
+  THEODORE LANE.
+
+On the walls of some old-fashioned dining-rooms, and the parlours of
+provincial inns, may still be seen an engraving, called _The
+Enthusiast_, which some of my readers may remember to have seen in the
+print shops of some twenty or five-and-twenty years ago. It represents
+an old disciple of Izaac Walton, whom the gout has incapacitated from
+following his favourite pursuit, so devoted to the sport, that we see
+him fishing for minnows in a water-tub, instead of the rippling
+stream out of which he has been accustomed to whip his favourite
+speckle-backed beauties. The painting from which this engraving was
+taken was the work of Theodore Lane, who, although his work is limited
+to the short space of five or six years, seems to call for special
+mention by virtue of his tragic ending, the short span allotted to his
+life and labours, and the superiority of his talent and genius to those
+of many of his contemporaries. Lane was literally a comic artist of the
+nineteenth century, having been born at Isleworth in 1800. He was
+apprenticed to a colourer of prints at Battle Bridge, named Barrow; and,
+shortly after completing his time, produced (in 1822) six designs
+illustrative of "The Life of an Actor," and with these in a small
+portfolio under his arm, went out into the world to seek his fortune as
+other comic artists have done before him and since. Pierce Egan, at this
+time, was the most popular man in town; his name (on very insufficient
+literary merits) was identified with the success of the most famous book
+of the century--we allude to the "Life in London." To his residence in
+Spann's Buildings, St. Pancras, Lane betook himself; showed him his
+sketches, and said if Egan would only undertake the letterpress, he
+should find no difficulty in getting Ackermann, Sherwood, or any of the
+art publishers of the day, to undertake its publication. But Egan's
+hands were full, and he declined the offer. Two years later on, author
+and artist again met, and the result was that "The Life of an Actor,
+Peregrine Proteus," made its appearance, "illustrated by twenty-seven
+coloured scenes and nine woodcuts, representing the vicissitudes of the
+stage". The publisher was Arnold, of Tavistock Street, Covent Garden,
+who paid the young artist one hundred and fifty pounds fifteen shillings
+for his share of the work. "The Life of an Actor" was published at a
+guinea, and dedicated to Edmund Kean; and a contemporary critic
+describes it as "one of the best exemplifications of Mr. Egan's peculiar
+talent. It is impossible for us," he continues, "to do justice to the
+spirit of the designs, many of which would [of course] not discredit the
+pencil of Hogarth." Lane's association with one of the most noted
+sporting characters of the day opened the way to him for further
+engagements, and for another work, entitled, "A Complete Panorama of
+the Sporting World," he executed thirteen original etchings, and an
+equal number of designs on wood.
+
+Among the number of Theodore Lane's social satires may be mentioned
+_Scientific Pursuits, or Hobbyhorse Races to the Temple of Fame_, four
+folio plates; _The Parson's Clerk_ (a comic song), four illustrations in
+ridicule of cant and hypocrisy; _Legal Illustrations_ (seventy humorous
+applications of law terms); _The Masquerade at the Argyll Rooms_ (a
+large plate full of vigour, life, and character); _New Year's Morning:
+the Old One out, and the New One coming in_, a party of topers, one of
+whom--the chairman, with the empty punch-bowl on his head (representing
+"the old one out")--merrily points at the waiter bringing a full bowl
+("the new one") in; _Sunday Morning--the Barber's Shop_; _Shilling Fare
+to a Christmas Dinner, or Just in Pudding Time_; _The Rival Whiskers_;
+and _Amorous, Clamorous, Uproarious, and Glorious_ (a pair of admirable
+and amusing satires of the prevailing features, vices, and follies of
+the day); _Crowding to the Pit_ and _Contending for a Seat_ (two capital
+theatrical subjects). Lane also made a sketch entitled, _Paul Pry's
+First Night in a Boarding House_, intended to be succeeded by eleven
+others, the publication of which was however prevented by the death of
+Liston. McLean published a large and clever design, bearing the somewhat
+lengthy title of _Law Gorging on the Spoils of Fools and Rogues, and
+Honest Men among Knavery, producing Repentance and Ruin; or, the Fatal
+Effects of Legal Rapacity_,--wherein the highway of Law conducts to Ruin
+through a series of toll-gates labelled respectively, "Opinion of
+Counsel," "Injunction," "Filing the Bill," "Consultation,"
+"Procrastination," etc.
+
+Like his contemporaries the Cruikshanks, with whom he was familiar,
+Theodore Lane mixed freely with the young bloods of his day, termed in
+the slang of his time "Corinthians," and the results are shown in his
+designs. He might often be seen at the "Craven's Head," in Drury Lane,
+kept by a host known to his patrons by the familiar title of "Billy
+Oxberry"; at the Saturday night harmonic meetings held at the "Kean's
+Head," in Russell Court, Drury Lane; at "The Wrekin," in Broad Court,
+Long Acre, at that time frequented by gentlemen of the Press; at "The
+Harp," in Russell Street, Drury Lane, a well known house of call for
+actors, and appropriately immortalised in one of his illustrations to
+"The Life of an Actor"; at the "Cider Cellar"; at the "Fives Court"; at
+the numerous "Masquerades" of the day; at any place of resort, in fact,
+which offered studies of life and character or subjects of social
+satire. He figures in his own sketch of _The Masquerade at the Argyll
+Rooms_, where we recognise him (in one of the right hand boxes) in a
+white sheet, a tall paper cap on his head, and a staff in his hand. His
+impersonations were sometimes singularly original. At one of these
+"masquerades," for instance, he represented a "frozen-out gardener"
+soliciting charity, and holding in his hand a cabbage covered with
+icicles; at another, he appeared as a hospital "out-patient," wearing a
+hideous mask (designed by himself) representing some dreadful disease,
+from which the bystanders recoiled in horror and amazement. With all
+this drollery Lane kept himself well out of mischief, and was moreover,
+in days when young and old were more or less inclined to be topers, a
+strictly temperate man.
+
+But Lane's talents were not confined to comic etching or designs on
+wood. He was also an artist in oil and water colour. He painted in oils
+_The Drunken Gardener_; _The Organ of Murder_, a clumsy, nervous
+craniologist feeling his own head in doubt and perplexity to ascertain
+whether the dreadful "organ" is developed in himself; _An Hour before
+the Duel_ (exhibited at the Institution in Pall Mall). Other subjects of
+his pictures were: _The Poet reading his Manuscript Play of Five Acts to
+a Friend_; _Too many Cooks Spoil the Broth_; _The Nightmare_; _The
+Mathematician's Abstraction_ (the latter purchased by Lord Northwick).
+His most ambitious work in oils (upwards of seventeen feet in length)
+was called _A Trip to Ascot Races_. His last work, _The Enthusiast_ (the
+first we have mentioned), was exhibited at Somerset House at the time of
+his death.
+
+The fate of this clever young artist and satirist was both singular and
+tragical. It appears that on the 21st of February, 1828, Theodore Lane,
+who then resided in Judd Street, Brunswick Square, called upon his
+brother-in-law, Mr. Wakefield, a surgeon of Battle Bridge, intending to
+proceed in the latter's gig to Hampstead, to join a party of friends who
+had gone there to spend the day. Mr. Wakefield having to visit a patient
+in Manchester Street, Gray's Inn Lane, drove there with his
+brother-in-law, and this was the last time he was seen alive. Close to
+the place was a horse bazaar, which the artist appears to have entered
+by way of passing the time. The horse and trap were there, but no trace
+of poor Lane; and on search being made, his body was found lying
+lifeless at the foot of the auctioneer's stand. He appears to have
+wandered into the betting-room, and by some unexplained means or other
+fallen backwards through an insufficiently protected skylight. The
+clever head was battered so completely out of recognition that he was
+only identified by his card-case. That Lane was a man of unusual promise
+is shown by the fact that amongst the subscribers for the benefit of the
+widow and children of the deceased, we find the names of Sir Thomas
+Lawrence, president of the Royal Academy; F. Chantrey, R.A.; George
+Westmacott; Cooper, the celebrated animal painter; and Leahy, the
+painter of the celebrated picture of "Mary Stuart's Farewell to France."
+The remains of this ill-fated, talented young fellow lie in the burial
+ground of old St. Pancras.
+
+
+FOOTNOTES:
+
+  [23] "Fifty Years of my Life," by George Thomas, Earl of Albemarle,
+    vol. i. p. 270.
+
+  [24] "Annual Register," 1813.
+
+  [25] _Ibid._ (Chronicle), 342.
+
+  [26] See the letter of the Princess of Wales, "Annual Register," 1813
+    (Chronicle), 342.
+
+  [27] See speech of Mr. Whitbread, "Annual Register," 1813 (20).
+
+  [28] "Annual Register," 1813 (Chronicle), 345.
+
+  [29] "Annual Register," 1813, p. 24.
+
+  [30] Whitbread.
+
+  [31] Sir John and Lady Douglas.
+
+  [32] Letter from the queen to the Princess of Wales of 23rd May,
+    1814.--"Annual Register," 1814, p. 349.
+
+  [33] So called because he carried home with him, in sundry bags, the
+    cases pending his judgments.
+
+  [34] Wade's, "British History," p. 765.
+
+  [35] See "Greville Memoirs," vol. i. p. 24 (February 24th).
+
+  [36] "Annual Register," 1820, p. 135.
+
+  [37] _Ibid._, pp. 131, 132.
+
+  [38] "Greville Memoirs," vol. i. p. 28.
+
+  [39] "Fifty Years of my Life," by George Thomas, Earl of Albemarle,
+    vol. ii. p. 123.
+
+  [40] "Annual Register," 1820, p. 986.
+
+  [41] See caricatures of Robert Cruikshank, 1820.
+
+  [42] "Annual Register," 1820, p. 1149; see also the impartial opinion
+    of the Duke of Portland, "Greville Memoirs," vol. i. p. 56.
+
+  [43] See "Annual Register," 1820, p. 1139 _et seq._
+
+  [44] This of course may not be the case. The Duke of Kent, we know,
+    was dead at the time, and Wood, we believe, was not Lord Mayor. He
+    had been Lord Mayor some time before, and the satire may possibly
+    allude to some order made at that time. At the same time, I find the
+    caricature amongst those assigned (in the large but badly arranged
+    collection to which I have present access) to this particular period.
+
+  [45] "Annual Register," 1820 [190].
+
+  [46] There is a custom in the Manor of Torre Devon, that when a
+    copyhold tenant dies, his widow has her free-bench in his land, but
+    forfeits her estate on committing the offence with which the queen
+    was charged; on her coming however into court riding backward on a
+    black ram, and repeating the formula mentioned in the design, the
+    steward is bound to reinstate her. Without this explanation the
+    meaning of this telling satire would not be understood. For the
+    formula (which cannot be repeated here) I must refer the reader to
+    Jacob's Law Dictionary, ed. 1756, title, "Free Bench."
+
+  [47] "Greville Memoirs," vol. i. p. 27.
+
+  [48] _Ibid._, p. 43.
+
+  [49] Unlike George Cruikshank, Rowlandson seldom dropped caricature
+    in his book illustration. When he does so, as in his designs to
+    "Naples and the Compagna Felice," he shows (as in his water colour
+    drawings) his wonderful graphic powers. His illustrated books are
+    rare, and command good prices. William Coombe's English "Dance of
+    Death" and "Dance of Life" (I refer of course to first editions) can
+    only now be purchased at £14.
+
+
+
+
+CHAPTER V.
+
+_THE CARICATURES OF ISAAC ROBERT CRUIKSHANK._
+
+
+  THE BROTHERS CRUIKSHANK.
+
+It was the misfortune of the brothers Cruikshank that they outlived
+their popularity: in the case of the younger brother, this result (as we
+shall presently see) must be attributed in a certain measure to his own
+fault; but as regards Robert, his efforts as a caricaturist were
+destined to be eclipsed by the greater novelty and attractions of HB,
+whilst a tendency to carelessness, and the absence of actual genius,
+prevented him from attaining lasting celebrity in the line of book
+illustration which George made so peculiarly his own. The final result,
+however, was the same in both cases; and the brothers might have said
+with truth, that, in suffering both to die poor and neglected, the
+British public treated both with the strictest impartiality. Here,
+however, the impartiality ended; for whilst over two hundred articles
+have been penned in praise of the brilliant man of genius, poor Robert
+Transit[50] (a name strictly appropriate to his memory) reposes in his
+nameless grave still unregarded and still forgotten. Few writers indeed
+have wasted pen and ink about Robert Cruikshank or his work: Robert
+William Buss, in his book on "English Graphic Satire" (a work published
+for private circulation only), devotes exactly a line and a half to his
+memory; his friend, George Daniel, gives him a few kindly words _in
+memoriam_; Professor Bates's essay on his brother George contains
+several pages of valuable information in relation to some of his book
+illustrations; whilst Mr. Hamilton presents us with a dozen specimens of
+work of this kind which are nothing less than libels on his graphic
+powers. To the general public of to-day the name of Robert Cruikshank is
+so little known, that comparatively few are cognizant of the fact that
+he was one of the most popular and successful graphic satirists of his
+time. It is the misfortune of the caricaturist that his wares attain
+only a transitory popularity, whilst it is their peculiarity that after
+he is dead their value is increased fourfold. It is by no means uncommon
+for five and even seven shillings to be demanded and obtained for one of
+the impressions of Robert's plates, which in his lifetime could have
+been purchased at the cost of a shilling. It is the design of this
+chapter to rescue the memory of a clever artist from undeserved
+oblivion, and restore him to that place in comic art which he once
+occupied, and which it seems to us he deserved to fill not only on
+account of his own merits, but by reason of being associated in
+illustrations of a different character with such men as his brother
+George, Robert Seymour, Thomas Rowlandson, John Leech, and other artists
+of genius and reputation.
+
+Isaac Robert, or rather Robert Cruikshank (as he usually styled
+himself), was born in 1790. He had as a boy acquired the groundwork of
+his technical education as an artist and etcher under the direction of
+old Isaac his father; but we personally have met with little of his work
+prior to 1816, which is accounted for by the fact that he followed for a
+short time a sea life in the service of the East India Company, and
+after having thrown this up in favour of a calling more congenial to his
+tastes, he devoted himself for some years almost exclusively to
+miniature and portrait painting, by which he earned not only a fair
+livelihood, but a certain amount of fashionable patronage. Gradually,
+however (George tells us), he abandoned this occupation, and took almost
+exclusively to designing and etching. He occasionally alternated his
+work with water-colour drawing, in which he is said to have greatly
+excelled. His works in this line are extremely rare, for Robert had
+neither the means nor the patience to wait for the tardy patronage to be
+commanded by a higher walk in art; there was a demand for caricatures
+and comic etching in his day, which afforded a present means of
+livelihood, and Robert's water colours were executed more by way of
+relaxation than in the way of actual artistic pursuit. Among his early
+caricatures we may mention a rough and coarsely coloured affair engraved
+by him after the design of an amateur, published by Fores on the 28th of
+April, 1816, entitled, _The Mother's Girl Plucking a Crow, or German
+Flesh and English Spirit_. The Princess Charlotte, as we have seen, had
+an undoubted will of her own, and could, as we have also seen, assert it
+when occasion demanded. Here she is presented to us at the moment when a
+hideous German duenna, catching her in the act of writing to her mother
+abroad, orders her at once to desist. The princess, however, in plain
+terms, enforced with a clenched fist, gives her clearly to understand
+that she fully intends to have her own way. Another caricature,
+published by T. Sidebotham, in 1817, bearing the title of _The Horse
+Marine and his Trumpeter in a Squall_, is dedicated to the United
+Service Club.
+
+
+  STRANGE FRENCH FASHIONS.
+
+Subjects for the pencil of a clever graphic satirist were not wanting
+sixty years ago. France in those days set the fashion both in male and
+female attire, and the strangest eccentricities had marked the
+emancipation of that country from the thraldom of the Terror. There were
+the _incroyables_, a set of young dandies who affected royalist
+sympathies, and paraded the streets of Paris when young Napoleon was yet
+a general in the service of the Directory. They wore short-waisted coats
+with tails of preposterous length, cocked hats of ponderous dimensions,
+green cravats, powdered hair plaited and turned up with a comb, while on
+each side of the face hung down two long curls called dogs' ears
+(_oreilles de chien_). These charming fellows carried twisted sticks of
+enormous size, as weapons of offence and defence, and spoke in a
+peculiarly affected manner.[51] Some fourteen or fifteen years later on,
+when we had driven Joseph Bonaparte and his brother's legions out of
+Spain, the fashions had not improved. The biographer of Victor Hugo
+gives us the picture of one Gilé, a Parisian dandy of that period, whose
+coat of olive brown was cut in the shape of a fish's tail, and dotted
+all over with metal buttons even to the shoulders. Young men who went to
+moderate lengths in fashion were content to wear the waists of their
+coats in the middle of their backs, but the waist of this Gilé intruded
+on the nape of his neck. His hat was stuck on the right side of his
+head, bringing into prominent notice on the left a thick tuft of hair
+frizzed out with curling irons. His trousers were ornamented with
+stripes which looked like bars of gold lace; they were pinched in at the
+knees and wide at the bottom, giving his feet the appearance of
+elephant's hoofs. Our own costume had been strange enough, in all
+conscience; but when Napoleon's continental system had been broken up
+after Leipzig, and a free market had been once more opened out between
+this country and foreign nations, fashions more strange and eccentric,
+if possible, found their way into England. Thackeray, when writing his
+"Vanity Fair," the scenes of which are laid prior and subsequent to the
+battle of Waterloo, was fain to confess that he had intended to depict
+his characters in their proper costumes; "but when he remembered the
+appearance of people in those days, he had not the heart to disfigure
+his heroes and heroines by costumes so hideous," and thenceforth he
+habited these men and women of 1815 in the costume of the men and women
+of 1848. George Cruikshank's "Monstrosities" are familiar to all
+acquainted with his works; and his brother Robert and his contemporaries
+were equally fond of ridiculing the preposterous fashions of their time.
+We find in the year 1818 a pictorial satire by Robert, which shows us a
+pair of _Dandies at Tea_, habited in the short-waisted, long-tailed
+coats, tight breeches, terrific stocks, shirt collars, and top boots of
+the period. "My dear fellow, Mr. Sim," one of them, asks, "is your tea
+agreeable?" to which the other answers, "Charming, my dear Lollena;
+where do you buy it?" They are seated in an attic, which, like that of
+the cobbler, serves "for parlour and bedroom and all," and the washing
+of the tenant hangs suspended on a line above the heads of the
+interesting pair. We find another the same year, entitled, _Dandies
+having a Treat_, wherein we are shown a couple of eccentricities in a
+confectioner's shop; one of them, who eyes himself with much complacency
+in the glass, has his back to us, and is habited, _à la Gilé_, in a very
+tight coat, whose tail commences just below its collar and narrows to a
+very fine point when it reaches its extremity; short wide trousers
+terminate at the knees, at which points they are met by a pair of
+Wellington boots. He entreats his equally strangely dressed companion to
+pay no attention to the uncomplimentary remarks of certain rude people
+who stand at the door and seem strongly inclined to subject them to the
+discipline of the pump. The pretty girl in attendance expresses to
+herself a hope that "the creatures will leave the shop," as she fears
+the exasperated people will do some mischief. Another caricature of the
+same year shows us _A Dandy Shoemaker in a Fright, or the Effects of
+Tight-lacing_. In stooping to measure a lady's foot, the fellow's stays
+have given way, and he evidently fears he shall tumble to pieces. In
+another subject, Robert shows us a couple of _dandies diving_ into a
+countryman's pockets, in the neighbourhood of St. James's Palace; others
+are entitled respectively, _A Dandy put to his Last Chemisette, or
+Preparing for a Bond Street Lounge_; _A Dandy Cock in Stays_; and _The
+Hen-pecked Dandy_. Besides those already mentioned, I find four or five
+other coarse caricatures of Robert's, published by Fores in 1818.
+
+Robert Cruikshank was "a man about town" in those days, and the
+"dandies" whom he and his fellow caricaturists satirized and ridiculed
+were the sham "Corinthians" of his time. Apart from the idea of
+caricature they must have been queer fellows--these men with the large
+eye-glasses, squat broad-brimmed hats, huge cravats and collars,
+cauliflower frills, tight coats, short bell-shaped trousers, and
+well-spurred Wellington boots! In one of the satires of the time (which
+I take to be Robert's) we see five of them preparing for conquest in a
+hairdresser's shop; and the "make up" comprises, in addition to the
+tremendous neckties, cauliflower frills, and top-boots of the period,
+false calves and stays, a pair of which the Frenchman hairdresser is
+lacing for one of his customers. Another of the party, who has
+completed the upper part of his toilet, is so hampered with the
+voluminous folds and stiffening of his cravat that he cannot wriggle
+into his unmentionables. The caricaturists take us into the garrets of
+these fellows, abodes of squalor and wretchedness, and show us that
+beneath their exterior magnificence there is nothing, or next to
+nothing. In a pair of rough anonymous satires--_The Dandy Dressing at
+Home_ and _The Dandy Dressed Abroad_--the former shows us how the
+completed figure is built up. The absence of a shirt is concealed by an
+amply frilled "dickey," the dirty feet protrude from the well-nigh
+footless stockings, the bare arms are clothed at the extremities only by
+the cuffs, while a pair of huge seals dangling from a ribbon guard form
+pendants to a latch-key instead of a gold watch. The fellow's washing
+bill, which lies on the dressing-table before him, comprises four
+items--all of them collars. On the ground, side by side with the
+Wellington boots, which he himself has just been cleaning, lie the open
+pages of "The Beau's Stratagem." In a sketch by the always coarse
+satirist Williams, two of these fellows have been decoyed into an
+infamous house and drugged, and the indignation of the bully and his
+female assistants is intense when they find that their watches are not
+even pinchbeck, but only pincushions.
+
+The "Corinthian Kates" who figure in the satirical sketches of this
+period are members of the _demi monde_. An excellent undated sketch,
+signed "J. L. M. fect.," entitled, _A Dandyess_, is divided into two
+compartments. The first scene shows us the completed figure (a most
+absurd one), and the second (which is laid in the lady's garret) how the
+magnificent result has been attained. We find her engaged in ironing her
+chemisette; over the fire are suspended her stockings; on a stool near
+her stand her bottles of cosmetic and a pot of rouge; on the floor her
+"artificial hump"; while her preposterous bonnet and other articles of
+costume hang from different articles of the scanty furniture.
+
+
+  1819.
+
+Robert Cruikshank continues his attacks upon the fops in 1819. In that
+year we meet with _A Dandy Sick_; _Dandies on their Hobbies_, and
+_Female Lancers, or a Scene in St. James's Street_, chiefly remarkable
+on account of the costume of the two men who figure therein. Besides
+these we meet with a sort of pictorial allegory, entitled, _The
+Mysterious Fair One, or the Royal Introduction to the Circassian
+Beauty_, in which a foreign fair one is supposed to be introduced to the
+Regent's harem. The veil being removed discovers to him the well-known
+features of his neglected wife, from whom he recoils in abhorrence. The
+bulky figure of the Regent who, under the influence of copious port wine
+libations and general good living, had grown preposterously fat, is
+admirably preserved by both the Cruikshanks. The head and wig, tapering
+to an apex, remind one somewhat of the French _poire_ caricatures which
+disturbed the serenity of Louis Philippe, and preceded the revolutionary
+period of 1848.
+
+Other caricatures by Robert of this year (1819) are labelled
+respectively, _The Political Champion turned Resurrection Man_, having
+reference to Cobbett and "Orator Hunt"; _The Master of the Ordnance
+Exercising his Hobby_; _A Steward at Sea in a Vain Tempest, or Gaining
+the Point of Matrimony in Spite of Squalls_; _A New Chancery Suit
+Removed to the Scotch Bar_; _The Ladies' Accelerator_ (two women on
+hobbies); _Collegians at their Exercises, or Brazen Nose Hobbies_; _A
+New Irish Jaunting Car_; and a satire entitled _Landing at Dover and
+Overhauling the Baggage_, which would appear to refer to some
+incivilities on the part of the custom house authorities to the Persian
+ambassador and his suite. The subject was probably only etched by the
+artist from the design of another, and is so grossly treated that in
+spite of the admirable workmanship we cannot further describe it.
+Besides these we have the now well-known _Going to Hobby Fair_ (the only
+caricature of Robert which would seem to be known to those who have
+troubled themselves about him), and a far better one of contemporary
+date, entitled, _Cruising on Land, or Going to Hobby Horse Fair_.
+
+
+  1820. THE QUEEN'S TRIAL.
+
+Among the caricatures on the popular side in connection with the queen's
+trial in 1820, we find one by Robert, entitled, _The Secret Insult, or
+Bribery and Corruption Rejected_, which has reference to the overtures
+which, as we have seen in the previous chapter, were made to her by the
+ministers in the hope of avoiding, if possible, a public exposure; and
+here Lord Liverpool is represented in the act of offering to Her
+Majesty a purse. "Abandon," he says, "your claim to the throne, change
+your name and the livery, and retire to some distant part of the earth,
+where you may never be seen or heard of any more; and if £50,000 per
+annum will not satisfy you--what will?" To which the queen (who assumes
+an appearance of virtuous indignation) replies, "Nothing but a crown."
+Brougham turns his back, saying, "I turn my back on such dirty work as
+this," the fact being, as we have seen, that he had really entered into
+negotiations with the ministers on the queen's behalf, which she
+afterwards angrily repudiated. The devil pats him on the back. "Well
+done, Broom," he says; "you have done your business well." By the side
+of the queen stands a figure, possibly meant for Alderman Wood, carrying
+"a shield for the innocent," and "a sword for the guilty"; behind her in
+the distance is a ship, bearing the title of "The Wooden Walls of Old
+England."
+
+In our last chapter we mentioned the estimation in which the witnesses
+against Caroline of Brunswick were held by her sympathizers and the
+general public, and Robert's political views naturally inclined him to
+take the popular side. Those who saw them before they were housed in
+Cotton Garden, describe them as swarthy, dirty looking fellows, in
+scanty ragged jackets and greasy leathern caps; at the bar of the House,
+however, they looked as respectable as fine clothes and soap and water
+could make them. To this a caricature of Robert's, entitled, _Preparing
+the Witnesses--a View in Cotton Garden_, refers. Three dirty foreigners
+are being washed, with no satisfactory result, in a bath labelled,
+"Waters of Oblivion," "Non Mi Ricordo," and "Ministerial Washing Tub."
+One of the operators (probably the Attorney-General, Sir Robert Gifford)
+remarks that "he never had such a dirty job in his life"; seated around
+are a number of equally dirty foreigners awaiting their turn. On the
+same theme and in the same year we find _The Milan Commission_ (a very
+rough affair); _The Master Cook and his Black Scullion composing a Royal
+Hash_; and a satire on the alderman, who, in spite of his Carolinian and
+popular sympathies, figures therein under the familiar title of "Mother
+Wood."
+
+
+  1821.
+
+The following year gives us _All My Eye_ (a skit upon Hone's "Eulogium
+on the Radical Press"), representing a large eye, within the pupil of
+which we see a printing press, whereon rests a portrait of Queen
+Caroline; and also an admirable work, divided into two compartments,
+bearing respectively the titles of _The Morning after Marriage_, and
+_Coke upon Albemarle--not Coke upon Littleton_.
+
+
+  1822. DUEL BETWEEN THE DUKES OF BUCKINGHAM AND BEDFORD.
+
+A somewhat ludicrous affair of honour took place in 1822. In consequence
+of some words used by the Duke of Bedford in reference to the Duke of
+Buckingham at the Bedfordshire county meeting, a hostile meeting took
+place in Kensington Gardens between the two noblemen on the 2nd of May.
+The seconds were Lord Lynedock and Sir Watkin Williams Wynn. Both
+parties fired together at a distance of twelve paces, but without
+effect; when the Duke of Buckingham, observing that the Duke of Bedford
+fired into the air, advanced to his grace, and remarking that for that
+reason the affair could go no farther, said: "My Lord Duke, you are the
+last man I wish to quarrel with; but you must be aware that a public
+man's life is not worth preserving unless with honour." The Duke of
+Bedford replied, that "upon his honour he meant no personal offence to
+the Duke of Buckingham, nor to impute to him any bad or corrupt motive
+whatever"; and here this somewhat absurd event terminated. Robert
+commemorates it in a caricature, entitled, _A Shot from Buckingham to
+Bedford_, which cannot be said to be complimentary to either of the
+principals, one of the walls bearing the inscription in very large
+letters of "Rubbish may be shot here." Another admirable caricature of
+the year is entitled, _The Treadmill, or Stage-struck Heroes, Blacklegs,
+and Cadgers stepping it to the tune of Mill, Mill O!_ a sort of general
+satire; card-sharpers, decayed "Corinthians," and other vagabonds, are
+undergoing a course of hard labour upon the wheel, which was then a
+comparatively new invention,[52] their movements being accelerated by a
+gaoler armed with a heavy whip, who bears some resemblance to, and is
+probably intended for, the artist himself. A third excellent pictorial
+satire of the same year bears the title of _Pope Mistaken_.
+
+
+  1823. FRENCH INTERPOSITION IN SPAIN.
+
+The year 1823 is remarkable for the interposition of the French Bourbon
+king into Spanish politics. The Spanish military, under the influence of
+Riego and other officers, and encouraged by the discontent of the middle
+classes, had revolted in 1820 against the despotism of Ferdinand, and
+succeeded in establishing a constitution, which, in spite of its
+imperfections, was preferable to the absolute and irresponsible
+government of the Spanish monarchy. This state of things was peculiarly
+distasteful to Louis XVIII., on account of the evil example it afforded
+to his subjects; and, fortified by the sympathy of the "Holy Alliance"
+(which may be shortly described as a sort of trades union of sovereigns
+to resist all political changes not originating with themselves), he
+determined to put it down. In his speech to the chambers on the 28th of
+January, he announced that, "the infatuation with which the
+representations made at Madrid had been rejected, left little hope of
+preserving peace. I have ordered," he said, "the recall of my minister;
+one hundred thousand Frenchmen, commanded by a prince of my family [the
+Duc d'Angoulème]--by him whom my heart delights to call my son--are
+ready to march, invoking the God of St. Louis, for the sake of
+preserving the throne of Spain to a descendant of Henry the Fourth, of
+saving that fine kingdom from its ruin, and of reconciling it with
+Europe." The real cause of interposition, however, is indicated a few
+sentences afterwards: "_Let Ferdinand the Seventh be free to give to his
+people institutions which they cannot hold but from him_, and which, by
+securing their tranquillity, would dissipate the just inquietudes of
+France, [and] hostilities shall cease from that moment."
+
+We have neither time, space, nor inclination to relate the events of
+this invasion; suffice it to say that, owing to the cowardice of the
+Spaniards, it was a complete "walk over" for the French, who, in five
+months after they had crossed the Bidassoa, had penetrated to Cadiz,
+dispersed the Cortes, and restored the despotism of Ferdinand.
+
+[Illustration:
+  R. CRUIKSHANK _fecit_. A. G.--_Published May, 1823._
+
+  "JOHN BULL FLOURISHING IN A DIGNIFIED ATTITUDE OF STRICT
+  NEUTRALITY!!!!"
+
+  _Face p. 99._]
+
+The contemplated crusade had aroused a certain amount of sympathy in
+favour of Spain in England, but it did not go farther than the giving of
+a splendid entertainment to the Spanish and Portuguese ambassadors at
+the London Tavern on the 7th of March, under the presidentship of Lord
+William Bentinck. The truth was that John Bull had not forgotten the
+ungrateful and cowardly conduct of the Spaniards when we drove the
+French out of their country in Napoleon's time; added to which England
+was saddled with a heavy national debt, which made us still less
+inclined to intermeddle with the affairs of our neighbours. Robert
+Cruikshank produced a caricature in reference to our position, called,
+_John Bull Flourishing in an Attitude of Strict Neutrality_, wherein he
+shows us Spain in the act of imploring his assistance, which, however,
+poor John is in no position to render, seeing that he wants help
+himself, being placed in the stocks and heavily burdened with the weight
+of "last war's taxes." In the distance appears fat Louis, mounted on a
+cannon, driven by the Pope, Russia, Austria, and Prussia, in allusion,
+of course, to the "Holy Alliance" (the three latter powers had recalled
+their ambassadors from Madrid on the 5th of January), while the devil
+condescends to lend his assistance by pushing on behind. This caricature
+is probably the best that Robert ever designed. Another satire on the
+same subject bears the title of _King Gourmand XVIII. and Prince
+Posterior in a Fright_.
+
+
+  HUGHES BALL.
+
+One of Robert's satires of this year, entitled _The Golden Football_,
+has obvious reference to Hughes Ball, known at Eton by his surname of
+Hughes only, but who took the further name of _Ball_ on coming into a
+fortune of forty thousand a year left him by his uncle, Admiral Sir
+Alexander Ball, and thenceforth received his appropriate nickname of the
+"Golden Ball." He was considered a great catch by all the mothers in
+London; but, notwithstanding his money, was unfortunate in love, being
+jilted by Lady Jane Paget, rejected by Miss Floyd (afterwards the wife
+of Sir Robert Peel), and then by Lady Caroline Churchill. The young
+ladies hearing of his numerous disappointments, were disinclined to
+encourage a man so proverbially unfortunate. By way, perhaps, of
+revenge, Hughes Ball this year ran off with and married Mademoiselle
+Mercandotti, _première danseuse_ at His Majesty's Theatre, a beautiful
+girl of sixteen, reported in the scandal of the day to be a natural
+daughter of the Earl of Fife. The incident of Lady Jane Paget we have
+mentioned is thus referred to by Charles Molloy Westmacott, the Ishmael
+of the press of his day, in the _English Spy_, a work which, as we shall
+presently see, was also illustrated by the artist:--
+
+  "Now, by my faith, it gives me pain
+   To see thee, cruel Lady J----,
+     Regret the _Golden Ball_.
+   'Tis useless now: 'The Fox and Grapes'
+   Remember, and avoid the apes
+     Which wait an old maids' fall."
+
+Other of Robert's satires of the same year bear the title of _The
+Commons versus the Crown of Martyrdom, or King Abraham's Coronation
+Deferred_; and _A View in Cumberland_, that is the royal duke of that
+name--a most unpopular personage, and of course proportionately fertile
+subject of satire in his time.
+
+
+  1824. THE TENTH HUSSARS.
+
+Among Robert's pictorial satires of 1824, I find one entitled _Arrogance
+or Nonchalance? of the Tenth Reported_,--the "tenth" here referred to
+being the Tenth Hussars. This distinguished regiment set the pencils of
+the Brothers Cruikshank and their fellow caricaturists in motion at this
+period, and I find an amazing number of caricatures of the date of 1824,
+of which they form the subject. The officers would seem to have acquired
+considerable unpopularity by the exclusive airs they gave themselves in
+society, refusing to dance, declining introductions at public and
+private balls, and otherwise assuming an arrogant and exclusive tone
+which made them supremely ridiculous. So far did they carry these
+absurdities, that they even declined to associate with an officer of
+their own regiment unless he previously submitted to them the
+particulars of his birth, parentage, and education, and general claim to
+be admitted to the privilege of their august society. A certain Mr.
+Battier, who seems to have been ignorant of the peculiar arrangement
+they had established in opposition to the rules and policy of the
+service, had obtained from the Duke of York a cornetcy in the regiment,
+but not having submitted himself to the examination referred to, or
+possibly not answering to the exclusive requirements of the regiment,
+was forthwith sent to Coventry by his courteous brother officers. The
+result, of course, was that the unlucky gentleman, finding no one to
+speak to him, was forced to retire on half pay, which he was unfortunate
+enough afterwards to forfeit by not unnaturally sending a challenge to
+the colonel of the regiment.[53]
+
+
+  MISS FOOTE.
+
+Maria Foote at this time was one of the most popular actresses in
+London. Some years before she had come on a starring tour to Cheltenham,
+a town much affected by the notorious Colonel Berkeley, who being
+passionately devoted to the stage, and possessed moreover of some
+histrionic ability, gallantly offered to perform for her benefit. The
+colonel was notorious for his gallantries; under a promise of
+marriage--which could not then, he said, be carried into effect,
+inasmuch as he was then petitioning the Crown to grant him the dormant
+peerage, which a marriage with an actress could not fail to
+prejudice--he succeeded in accomplishing her seduction, and she
+continued to live under his "protection" till, on the birth of her
+second child, she arrived at the true conviction that he never had any
+intention of fulfilling his promise. There was at this time a silly
+fellow about town, Mr. Joseph Hayne, of Burderop Park, Wiltshire,
+familiarly known (in reference to the colour of his coat) as "Pea Green
+Hayne," who fell in love with and proposed to the fascinating actress.
+There was no attempt at concealment on her part: it was stated at the
+trial which followed that she herself wished to communicate to him the
+circumstance of her connexion with Colonel Berkeley, when this gallant
+gentleman saved her the trouble of doing so, and one night when they
+were in the pit of the opera together, took the characteristic course of
+making Hayne acquainted with the liaison, and the fact that it still
+existed. Hayne immediately broke off the engagement; but soon afterwards
+not only renewed it, but fixed the day of marriage. Again he broke it
+off, again yielded to the fascinations of his enslaver, and this time
+not only was the wedding-day fixed and the license obtained, but "Pea
+Green Hayne" took a solemn vow that nothing should separate him from the
+object of his affections. Believing that all was safe, Miss Foote now
+threw up her engagement and disposed of her theatrical wardrobe, but the
+weak-minded, vacillating creature, who could not summon up resolution
+either to have or to leave her, let matters go on to the very day, and
+again failed to put in an appearance. Some preliminary letters having
+passed between the parties, Maria then issued a writ, and recovered
+£3,000 damages in the action which followed. The plaintiff, who seven
+years afterwards became Countess of Harrington, died in 1867.
+
+"Pea Green" Hayne was also known as the "Silver Ball," in allusion to
+his large income, which was smaller however than that enjoyed by his
+friend and contemporary, Hughes Ball. After his exposure in the action
+Foote _v._ Hayne, he received the far more appropriate nickname of
+"Foote-Ball."
+
+The opportunity of course was improved by the caricaturists, and
+Robert's contributions on the subject (1824 and 1825) are labelled
+respectively, _Miss Foote in the King's Bench Battery_; _Miss Foote
+putting her Foot in it_; and _A Foot on the Stage and Asses in the Pit,
+or a New Year's Piece for 1825_. Other pictorial satires of Robert's
+bearing the date of 1824, are: _A Civic Louse in the State Bed_; _A Cut
+at the City Cauliflower_; _The Corinthian Auctioneer_; two very coarse
+but well drawn subjects--_Moments of Prattle and Pleasure_ and _Moments
+of Parting with Treasure_; and an exquisitely drawn sketch bearing the
+title of _Madame Catalani and the Bishop of Limbrig_, having reference
+to some musical festival at Cambridge, the point of which has been lost,
+but which is remarkable for the admirable likeness of the popular
+singer.
+
+
+  1825.
+
+The conduct of Colonel Berkeley in reference to the case Foote _v._
+Hayne, called forth, as might have been expected, some severe strictures
+from the press, and in particular Mr. Judge, editor of the _Cheltenham
+Journal_, which place the colonel honoured with his patronage and
+society, had occasionally indulged in animadversions on his conduct. In
+one of the numbers of his paper an article appeared, in which some
+satirical observations were made with reference to the annual "Berkeley
+Hunt" ball. On the afternoon of that day Colonel Berkeley accompanied,
+by two of his friends, called at Mr. Judge's residence, and being
+invited to walk in, the colonel asked Mr. Judge if he would name the
+author of the papers which had appeared in the _Journal_. Mr. Judge said
+he did not know whom he had the honour of addressing, and on learning
+who he was, proposed that he should call at the office of the paper,
+"where he would give him every satisfaction." Colonel Berkeley replied,
+"No, sir! Now, sir! Now, sir!" and without further notice commenced a
+cowardly attack on the unarmed man by beating him _over the head_ and
+face with the butt-end of a heavy hunting whip. To make the dastardly
+affair more dastardly if possible, one of the two fellows with him stood
+at the door, and the other near the fire place, so as to prevent Judge
+from seizing any weapon or calling any one to his assistance. For this
+ruffianly assault, which placed poor Judge for some time in considerable
+danger of his life, he subsequently recovered substantial damages
+against his cowardly antagonist. The Colonel got a far worse dressing
+from Robert Cruikshank who, in a severe contemporary skit, named (in
+allusion to the colonel's notorious illegitimacy) _Colonel Fitz
+Bastard_, depicted him and his friends in the act of assaulting the
+editor of the _Cheltenham Journal_.
+
+
+  EDMUND KEAN.
+
+The artist's tastes and sympathies threw him much in the society of
+actors. The following year his thoroughly Bohemian friend, Edmund Kean,
+was mulcted in £800 damages, in consequence of a disgraceful liaison
+with the wife of Alderman Cox; and while audiences thronged the one
+theatre to testify their sympathy for a favourite and popular actress,
+they crowded the other to howl and hiss at the thoroughly disreputable
+and disgraced tragedian. The episode is referred to by the artist in
+three of his contemporary caricatures, labelled respectively, _Wolves
+Triumphant, or a Fig for Public Opinion_; _A Scene from the Pantomime of
+Cock-a-Doodle-Doo, lately performed at Drury Lane with unbounded
+applause_; and the _Hostile Press, or Shakespeare in Danger_, all of
+which contain perhaps the best theatrical portraits of the popular
+tragedian which are extant.
+
+Sir Walter Scott also figures in one of Robert's satires of this year
+entitled, _The Great Unknown lately discovered in Ireland_, wherein he
+is represented in Highland costume, with the Waverley novels on his
+head, holding by the hand a small figure in hussar uniform, intended for
+his son, Captain Scott of the 18th hussars, who this year had married
+Miss Jobson, of Lochore. The pair after their marriage returned to
+Ireland, where the captain was quartered, and where he and his wife were
+visited by Sir Walter in August of this year. Although the fact was
+pretty well known, the authorship of the novels was not avowed until
+February of the following year, when with Sir Walter's consent it was
+proclaimed by Lord Meadowbank at a theatrical dinner on the 27th of
+February.
+
+
+  THE LIVING SKELETON.
+
+A very curious personage makes his appearance in Robert's sketches of
+this year, who would seem at first sight to be the most outrageously
+caricatured of any of his subjects, and yet this in truth is not the
+case. This person was the celebrated Claude Ambroise Seurat, "the living
+skeleton," who was exhibited at the Chinese saloon in Pall Mall, and
+whose portrait from three different points of view was taken by Robert
+Cruikshank, and afterwards appeared in the first volume of Hone's
+"Every-day Book," where a full account of this very singular personage
+will be found. The repulsive object, who (with the exception of his
+face) presented all the appearance of an attenuated skeleton, was
+exhibited in a state of complete nudity with the exception of a fringe
+of silk about his middle, from which (out of two holes cut for the
+purpose) protruded his dreadful hip bones. Seurat, as might have been
+expected, forms the subject of numerous contemporary caricatures; and in
+one of these, by way of comical contrast, the worthy but corpulent
+alderman, Sir William Curtis, distinguished by a similar scantiness of
+attire, figures with the living skeleton in a lively _pas de deux_.
+William Heath, in another of contemporary date, represents the fat
+alderman standing on a map of England, and Seurat on a map of France.
+Says Sir William: "I say, friend, did you ever eat turtle soup?" to
+which Claude Ambroise replies, "No, sare; but I did eat de soupe
+maigre." In another (also I think by the same artist), labelled,
+_Foreign Rivals for British Patronage_, the living skeleton and a
+favourite male Italian singer of the time are represented in the act of
+preparing for mortal combat.[54]
+
+A number of the caricatures of 1825 (and among them many by Robert) are
+singularly illustrative of the morals of the time. About this year had
+been published a work professing to contain the memoirs of an apt
+disciple of Mrs. Mary Anne Clarke, which was made the vehicle of
+extorting money. The _modus operandi_ appears to have been as follows.
+In the month of March, 1825, a well-known M.P. of that day received a
+letter from this creature in the following terms:--
+
+  "NO. 111, RUE DU FAUBOURG ST. HONORÉ,
+    À PARIS.
+
+  Sir,--People are buying themselves so fast out of my book, ...[55]
+  that I have no time to attend to them; should be sorry not to give
+  each _a chance_, if they _chuse to be out_. You are quizzed most
+  _unmercifully_. Two noble dukes have lately taken my word, and I have
+  never named them. I am sure ---- would say you might trust me never to
+  publish, or _cause_ to be published, aught about you, if you like to
+  forward £200 directly to me, else it will be too late, as the last
+  volume, in which you _shine_, will be the property of the editor, and
+  in his hands. Lord ---- says he will answer for aught I agree to; so
+  will my husband. Do _just as you like_--consult only yourself. I get
+  as much by a small _book_ as you will give me for taking you out, or
+  more. I attack no poor men, because they cannot help themselves.
+
+  "Adieu. Mind, I have no time to write again, as what with writing
+  books, and then altering them for those who _buy out_, I am done
+  up--_frappé en mort_.
+
+  "Don't trust to bag[56] with your answer."
+
+That this extraordinary communication was no idle threat was proved by
+the fact that a respectable statuary, carrying on business in
+Piccadilly, who had refused to pay _black-mail_, brought an action for
+libel in the King's Bench on the 1st of July against a man named
+Stockdale, publisher of the infamous production referred to, and
+recovered £300 damages. The same year Popple, the printer, brought his
+action against this fellow; but Mr. Justice Best directed him to be
+nonsuited, on the ground that he was not entitled to remuneration for
+printing a work of such a character.
+
+The Catholic Relief Bill, which was thrown out this year, is the subject
+of several of Robert's satires, bearing the titles of _John Bull versus
+Pope Bull_; _Defenders of the Faith_; _The Hare Presumptuous, or a
+Catholic Game Trap_; _A Political Shaver, or the Crown in Danger_. _The
+Catholic Association, or Paddy Coming it too Strong_, has reference to
+Mr. Goulburn's motion to suppress the Catholic Association of Ireland,
+which was carried by 278 to 123, and the third reading by a majority of
+130. The language used by Mr. O'Connell on the occasion was so strong
+that an indictment was subsequently preferred against him, which,
+however, was thrown out by the grand jury. _Matheworama_ for 1825
+depicts that celebrated impersonator in thirteen of his characters.
+_Duelling_ deserves particular mention by reason of the admirably
+designed landscape and figures. It represents one of the principals (who
+looks very far from comfortable) waiting, with his second and a doctor,
+the advent of the other parties. _The Bubble Burst, or the Ghost of an
+old Act of Parliament_, has reference to the speculation mania of 1825.
+Others of his satires for the year are labelled respectively, _Frank and
+Free, or Clerical Characters in 1825_; _A Beau Clerk for a Banking
+Concern_; _The Flat Catcher and the Rat Catcher_; and _A Pair of
+Spectacles, or the London Stage in 1824-5_, which, although unsigned
+and bearing no initials, I have no hesitation in assigning to Robert
+Cruikshank.
+
+I am unable to indicate the dates of the following: _Football_, very
+clever, and probably earlier than any of those already mentioned;
+_Waltzing_, "dedicated with propriety to the lord chamberlain," a very
+coarse and severe satire upon the immoralities of the Prince Regent.
+Besides those we have already mentioned, we have others with which the
+volume miscalled "Cruikshankiana" (so often republished) has made the
+general public probably more familiar, such as the _Monstrosities of
+1827_; _A Dandy Fainting, or an Exquisite in Fits_; _The Broom Sold_
+(Lord Brougham); _Household Troops_ (a skit on domestic servants); and
+_A Tea-party, or English Manners and French Politeness_, all of which
+may be dismissed with the remark that they are the worst specimens of
+Robert's work which could probably have been selected.
+
+
+  SCARCITY OF ROBERT'S SATIRES.
+
+With the year 1825, our record of Isaac Robert Cruikshank's caricature
+work somewhat abruptly terminates. We cannot assert that after that date
+it wholly ceased, but, inasmuch as we have selected those we have named
+from a mass of some of the rarest pictorial satires published between
+the years 1800 and 1830, I think we are fairly justified in assuming
+that after this period his contributions to this branch of comic art
+became fewer. If this be the fact, it confirms the conclusion at which
+we have arrived, that at this time caricature had begun its somewhat
+hasty decline. Those I have named comprise over seventy examples; and
+their value, which is great on account of their scarcity, will be
+increased by the possibility that in the conception and execution of
+some of them the mind and hand of Robert might have been assisted by
+those of the more celebrated brother. "When my dear brother Robert,"
+says George in writing to the compiler of the famous catalogue of his
+own works, "when my dear brother Robert (who in his latter days omitted
+the Isaac) left off portrait painting, and took almost entirely to
+designing and etching, I assisted him at first to a great extent in some
+of his drawings on wood and his etchings." If this be the case, it is at
+least possible that he lent the assistance of his cunning hand and
+original fancy to the preparation of some of these contributions to
+pictorial satire. It appears to us, therefore, that a just idea of
+George's own work as an artist can scarcely be arrived at (especially
+his share of the famous "Life in London") until we have first considered
+the early work of himself and his brother Robert as graphic satirists
+and caricaturists. They were closely associated in artistic work during
+their early career; and it was not until both had given up social and
+political satire, and devoted themselves to the then comparatively new
+field of book illustration and etching on copper, that the superiority,
+originality, and genius of the younger brother became so manifest and
+incontrovertible.
+
+
+FOOTNOTES:
+
+  [50] The name given him by Bernard Blackmantle.
+
+  [51] Further particulars of them will be found in the "Memoirs of the
+    Duchess d'Abrantes" (Madame Junot). The fashions of the years which
+    immediately preceded the Revolution appear to have been almost as
+    funny. I have somewhere seen a French semi-caricature depicting
+    fashionables of the Palais Royal in 1786, and the people who had
+    their heads cut off in '93 were almost as queer as the dandies of the
+    Directory and the Consulate.
+
+  [52] The treadmill was the invention of Mr. (afterwards Sir William)
+    Cubitt, of Ipswich. It was erected at Brixton gaol in 1817, and was
+    afterwards gradually introduced into other prisons.
+
+  [53] The Marquis of Londonderry.
+
+  [54] What became of Seurat we do not know, but we lately came across
+    the following: "the Siamese twins married; the _living skeleton_ was
+    crossed in love, but afterwards consoled himself with a corpulent
+    widow." The authority is George Augustus Sala in "Twice Round the
+    Clock." We strongly suspect that the wit extracted the information
+    out of his own "inner consciousness."
+
+  [55] We purposely omit the title.
+
+  [56] Presumably post "bag."
+
+
+
+
+CHAPTER VI.
+
+_ROBERT CRUIKSHANK_ (_Continued_).
+
+_"LIFE IN LONDON" AND OTHER BOOK WORK._
+
+
+In perusing various articles on George Cruikshank in which reference is
+made to the "Life in London," we have been struck with the almost utter
+absence of Robert Cruikshank's name; further than this, it seems to have
+been the almost universal impression that it was his association with
+George on this memorable book which secured such reputation as Robert
+himself enjoyed. So far, however, was this from being the case, that not
+only was Robert, in 1821, a caricaturist and satirist of acknowledged
+reputation, but he was believed at this very time by the general public
+to be the cleverer artist of the two. Robert, indeed, has been treated
+with curious injustice in relation to this famous book, which owes its
+very existence (as we shall presently see) to him alone. While according
+to George (as in effect they do) the whole merit of the performance,
+many of the writers of the articles referred to acknowledge that they
+find it impossible to assign to him his share of the illustrations; and
+that difficulty will be largely increased to any one who has studied
+Robert Cruikshank's caricature work. The fact is that few of these
+famous plates will bear comparison with the best of Robert's pictorial
+satires; while the kindred book of the "English Spy," which was
+illustrated (with the exception of one plate) by Robert alone, contains
+designs quite equal to those which adorn the "Life in London." When it
+is admitted that Robert executed three parts of these illustrations,
+while those who have written upon him say that they are unable to
+identify George's share of the work,[57] it seems unjust (to say the
+least of it) that the credit of the _whole_ performance should be
+assigned to him alone. Let us be just to Robert, even though his merit
+as a draughtsman has been lost sight of in the fame which the younger
+brother achieved by virtue of his greater genius.
+
+
+  POPULARITY OF "LIFE IN LONDON."
+
+The reader need not be told--and we are not going to tell him what he
+knows already--that the "Life" was dramatized by four writers for
+different theatrical houses. The most successful version was the one
+produced at the Adelphi, previously known as the _Sans Pareil_ theatre.
+The first season of this house, which Messrs Jones and Rodwell had
+recently purchased for £25,000, was only moderately successful; but the
+fortune of the second was made by "Tom and Jerry." Night after night
+immediately after the opening of the doors, the theatre was crowded to
+the very ceiling; the rush was tremendous. By three o'clock in the
+afternoon of every day the pavement of the Strand had become impassable,
+and the dense mass which occupied it had extended by six o'clock far
+across the roadway. Peers and provincials, dukes and dustmen, all grades
+and classes of people swelled the tide which night after night rolled
+its wave up the passage of the Adelphi. It was a compact wedge; on it
+moved, slowly, laboriously, amid the shouts and shrieks, the justling
+and jostling of the crowd which composed it, leavened by the
+intermixture of numbers of the swell mob, who plied their vocation with
+indefatigable industry and impunity. Nevertheless, the reader will be
+surprised to learn (and it is probably little known) that in spite of
+this amazing popularity, the first night of "Tom and Jerry" met with
+such unexpected opposition that Mr. Rodwell declared it should never be
+played again. Luckily for himself and his partner he was induced to
+reconsider this decision. The tide was taken at the flood, and it
+led--as the poet assures us that it will lead when so taken--to an
+assured fortune.
+
+[Illustration:
+  ROBERT CRUIKSHANK. _From "The Universal Songster."_
+
+    "By this take a warning, for noon, night, or morning,
+     The devil's in search of attorneys."]
+
+[Illustration:
+  ROBERT CRUIKSHANK. _From "The Universal Songster."_
+
+  "With her flames and darts, and apple tarts, her ices, trifles,
+  cherry-brandy, O, she knew not which to choose, for she thought them
+  both the Dandy."
+
+  _Face p. 110._]
+
+One night a stranger entered the private box of the Duke of York at the
+Adelphi, and seated himself immediately behind his Royal Highness,
+who took but little notice of the intruder. The mysterious stranger had
+been brought in and was fetched by a plain green chariot; and the few
+that saw him said that he was a portly gentleman, wrapped in a long
+great coat and muffled up to the eyes. Keeping himself well behind his
+Royal Highness, the portly stranger took a deep but unostentatious
+interest in the performance. In his Haroun al-Raschid character he had
+been present, with his friend Lord Coleraine (then Major George Hanger),
+at some of the actual scenes represented; and in particular, by virtue
+of the fact of his wearing "a clean shirt," had been called upon by the
+ragged chairman at a convivial meeting of the "Cadgers" to favour them
+with a song, which had been sung for him by his friend and proxy the
+Major. The mysterious stranger in fact, as the reader has already
+guessed, was his gracious Majesty King George the Fourth, and his visit
+_incognito_ having been made by previous notice and arrangement, the
+passages were kept as clear of the general public as possible.
+
+The scenery of the Adelphi version was superintended by Robert
+Cruikshank himself. "Tom and Jerry" brought a strange mixture of
+visitors to attend the rehearsals. Corinthians (men of fashion)--members
+of the turf and the prize ring, who found a common medium of
+conversation in the sporting slang which Mr. Egan has made so familiar
+to us. Naturally there was a mixture. Tom Cribb, whom the Cruikshanks
+had temporarily elevated into the position of a hero, was indispensable;
+and the silver cup which figures in Robert's sketch was every night made
+use of in the scene depicting the champion's pot-house sanctum. Among
+the frequenters at these rehearsals was a quiet man of unusually
+unobtrusive deportment and conversation,--this man was Thurtell, the
+cold-blooded murderer of Mr. Weare.
+
+Since the days of the "Beggars' Opera," a success equal to that which
+attended the "Life in London," and its several dramatized versions by
+Barrymore, Charles Dibdin, Moncrieff, and Pierce Egan, had been unknown.
+The exhausted exchequers of four or five theatres were replenished; and
+as in the days of the "Beggars' Opera" the favourite songs of that piece
+were transferred to the ladies' fans, and highwaymen and abandoned
+women became the heroes and heroines of the hour, so, in like manner,
+the Cruikshanks' designs were now transferred to tea-trays, snuff-boxes,
+pocket-handkerchiefs, screens, and ladies' fans, and the popular
+favourites of 1821 and 1822 were "Corinthian Tom," "Jerry Hawthorn,"
+"Bob Logic," "Bob the dustman," and "Corinthian Kate."
+
+The success of "Life in London" was not regarded with equal satisfaction
+by all classes of the community; the serious world was horribly
+scandalized. Zealous, honest, fervid, and terribly in earnest, these
+good folks, in their ignorance of the world and of human nature, only
+added to the mischief which it was their honest wish to abate. They
+proclaimed the immorality of the drama; denounced "Tom and Jerry" from
+the pulpit; and besieged the doors of the play houses with a perfect
+army of tract droppers. Anything more injudicious, anything less
+calculated to achieve the end which these good people had in view, I can
+scarcely imagine; for it is a well-known fact that the best method of
+making a book or a play a "commercial success," in England, is to throw
+doubts on its moral tendency.[58] The more respectable portion of the
+press did better service to their cause by showing that, in spite of
+their popularity, "Tom and Jerry" were doing mischief, and that the
+theatres lent their aid to disseminate the evil, by nightly regaling the
+female part of society "with vivid representations of the blackest sinks
+of iniquity to be found in the metropolis." Called on to defend his
+drama, Moncrieff, strange to say, proved himself no wiser than his
+assailants. All he could allege in its behalf was that "the obnoxious
+scenes of life were only shown that they might be avoided; the danger of
+mixing in them was strikingly exemplified; and every incident tended to
+prove"--what? why,--"_that happiness was only to be found in the
+domestic circle_"! This was special pleading with a vengeance! Of course
+all that the theatres really cared to do was to fill their exhausted
+exchequers; while as for Bohemian Robert and his friend Egan, the idea
+of making the "Life in London" a moral lesson never once entered their
+heads. The artist however was shrewd enough to take note of the
+observation for future use; and seven years later on, when he and Egan
+produced their "Finish to the Adventures of Tom, Jerry, and Logic in
+their Pursuits through Life in and out of London," endeavoured to profit
+by the storm which had been raised by the good people of 1821, by
+tagging a clumsy moral to the sequel.
+
+By this time, however, the excitement which had attended the original
+work had evaporated; by this time, too, the public had learnt to
+discriminate between the pencils of the brothers Cruikshank; and the
+"Finish," as compared with the original "Life," fell comparatively flat.
+It made however some sort of sensation in its day, but has become not
+only a scarce book, but one that is little sought after. The genius and
+reputation of George and the pen of Thackeray have kept alive the
+popularity of the "Life,"[59] while the "Finish"--left to the unaided
+but clever hand of Robert--has like himself been almost forgotten.
+
+And yet it scarcely merits this fate. It contains thirty-six etchings by
+Robert Cruikshank, some of them of singular merit. Among them may be
+mentioned, _The Duchess of Dogood_; _Splendid Jim_; _Logic Visiting his
+Old Acquaintance on Board the Fleet_; _Corinthian Kate in the Last Stage
+of Consumption, Disease, and Inebriety_; and if not the production of a
+genius, the hand of an artist of singular merit, ability, and power is
+manifest in the etchings entitled, _The Hounds at a Standstill_;
+_Logic's Upper Storey_; and _The End of Corinthian Kate_.
+
+
+  PIERCE EGAN.
+
+Although modestly claiming for himself the merits of this book, Pierce
+Egan stands in relation to it in the position of a showman, and nothing
+more. He is not even entitled to the credit of being the
+originator,--for the originator and suggestor was Robert Cruikshank, who
+informs us of the fact (after his own characteristic fashion) by way of
+footnote to his frontispiece to the "Finish."[60] But Egan is
+undoubtedly a clever showman; if he displays rather more vulgarity than
+we altogether like, we must not forget the audience to whom he addresses
+himself, and for whom indeed his show is specially intended. We cannot
+admit that the popularity of this book was _entirely_ due to the merit
+of the artists whose canvas he elucidates and (after his own fashion)
+explains. In common fairness some credit should be conceeded to Egan
+himself. Of literary talents he had not a particle; and if he lacked
+taste and refinement, it may at least be urged in his behalf that the
+age was not one of refinement, and that sixty years ago we had scarcely
+emancipated ourselves from the barbarism and vulgarity some remnants of
+which had descended to us from the time of George the Second. The bent
+of his taste and the scope of his abilities may be guessed from the fact
+that his "account of the trial of John Thurtell, the murderer," passed
+into at least _thirteen_ editions. A man of this stamp could scarcely be
+expected to recognise the true value of the work with which he had the
+honour to be associated; he never looked beyond his patrons of the day,
+and as a natural consequence posterity has troubled itself little about
+him. You will search the biographical dictionaries in vain for any
+account of him;[61] and this oblivion he scarcely deserves, for not only
+was he one of the most popular men of sixty years ago, but he would
+scarcely have attained that position without a fair share of merit. He
+was not deficient in energy, and his talent is shown by the fact that he
+understood and (in a measure) led the taste of his day, taking advantage
+of his knowledge to raise himself to a position unattainable had such
+taste been of a more elevated and refined character. His descriptive
+powers (such as they were) were sufficient to procure him the post of
+recorder of the "Doings of the Ring" on the staff of the _Weekly
+Dispatch_, which post he occupied at the time he officiated as literary
+showman to "Tom and Jerry." He had however tried many trades,--had been
+in turn a compositor, bookseller, sporting writer, newspaper reporter,
+and even secretary to an Irish theatrical manager. The success of "Life
+in London," which he arrogated to himself, raised up a crop of enemies
+as well as friends, and he soon afterwards received his _congé_ from the
+proprietors of the _Dispatch_. Pierce Egan, however, was not a man to be
+daunted by any such discouragement; he was found equal to the occasion,
+meeting his employers' _coup d'état_ by starting a sporting paper of his
+own, to which he gave the name of his successful book,--_Pierce Egan's
+Life in London, and Sporting Guide_. This counter movement proved the
+germ of a great enterprise. Probably his venture was no very great
+success; it ran only for three years from its commencement on the 1st of
+February, 1824. On the 28th of October, 1827, _Egan's Life in London_
+was sold by auction to a Mr. Bell, and thenceforth assumed its well
+known and now time honoured title of _Bell's Life in London_.
+
+
+  CHARLES MOLLOY WESTMACOTT.
+
+Another friend of the artist was Charles Molloy Westmacott, as he called
+himself, but who is supposed to have been--_filius nullius_ or _filius
+populi_--the child of Mrs. Molloy, a pretty widow who kept a tavern at
+Kensington. Westmacott was one of a class of writers who not only
+existed but thrived in the early part of our century by the levying of
+literary black-mail. The _modus operandi_ (as given by Mr. William
+Bates, from whom we derive our information respecting this man) appears
+to have been as follows: "Sometimes a vague rumour or hint of scandal,
+accompanied perchance by a suggestive newspaper paragraph, was conveyed
+to one or more of the parties implicated, with a threat of further
+inquiry into its truth, and a full exposure of the circumstances which
+excited the sender's virtuous indignation. This, if the selected victim
+was a man of nervous, timid temperament, often produced the desired
+effect; and although possibly entirely innocent of the allegation, he
+preferred to purchase silence, and escape the suspicion which publicity
+does not fail to attach to a name. If, on the other hand, no notice was
+taken of the communication, the screw received some further turns. A
+narrative was drawn up, and printed off, in the form of a newspaper
+paragraph, and was transmitted to the parties concerned, with a letter,
+intimating that it had been 'received from a correspondent,' and that
+the publisher thought fit, prior to publication, to ascertain whether
+those whose names were mentioned desired to correct, modify, or cancel
+any part of the statement. There is no doubt that very large sums have
+been extorted by these scoundrelly means, and a vast amount of anxiety
+and misery occasioned."[62] This was "the sort of man" that Charles
+Molloy Westmacott appears to have been; and I learn on the same
+authority that by these means he was enabled in one instance alone to
+net not much less than a sum of £5,000. "Pulls" of this kind enabled
+this fellow to live at his ease in a suburban retreat situated somewhere
+between Barnes and Richmond, which he fitted up (for he considered
+himself, as some others of his more modern class appear to do, a "man of
+letters") with books and pictures.
+
+
+  "THE ENGLISH SPY."
+
+In 1825 this man brought out, under his pseudonym of "Bernard
+Blackmantle," a veritable _chronique scandaleuse_ of the time, entitled,
+"The English Spy," the title page of which describes it as "an original
+work, characteristic, satirical, and humorous, containing scenes and
+sketches in every rank of society; being portraits of the Illustrious
+Eminent, Eccentric and Notorious, drawn from the Life by Bernard
+Blackmantle." This extraordinary work presents us with pictures of
+"life" at Eton, at Oxford, and in fashionable society in London,
+Brighton, Cheltenham, Bath, and elsewhere; and the seventy-two admirable
+copperplate aqua-tinted etchings, with one exception (which is by the
+veteran Rowlandson), are the work of Isaac Robert Cruikshank. This is a
+far rarer and more valuable book than the "Life in London." In place of
+"Corinthian" hook-nosed Tom, rosy-cheeked Jerry, and the vulgar
+_gobemouche_ Logic, we find figuring amongst the interesting groups,
+scenes, and characters all the notabilities of the day: celebrities such
+as George the Fourth and his favourite sultana the Marchioness of
+Conyngham, the Princess Augusta, Charles Kemble, Matthews, Fawcett,
+Farren, Grimaldi, Macready, Young, T. P. Cooke, Elliston, Dowton,
+Harley, Munden, Liston, Wallack, Madame Vestris, Townsend (the Bow
+Street "runner"), "Pea Green" Hayne, Lord William Lennox, Colonel
+Berkeley, Hughes Ball, and others. The etchings are singularly clear and
+distinct, and the colouring bright and pleasing. Among the illustrations
+which specially deserve notice are: _The Oppidans' Museum_; _The Eton
+Montem_ (an admirable design); _The First Bow to Alma Mater_; _College
+Comforts_ (a freshman taking possession of his rooms); _Kensington
+Gardens Sunday Evenings, Singularities of 1824_ (woodcut); _The Opera
+Green-room, or Noble Amateurs viewing Foreign Curiosities_; _Oxford
+Transports, or Albanians doing Penance for Past Offences_; _The King at
+Home, or Mathews at Carlton House_; _A Visit to Billingsgate_;
+_Characters on the Steyne, Brighton_; _The Cogged Dice, Interior of a
+Modern Hell_; _City Ball at the Mansion House_; _The Wake_; _The
+Cyprians' Ball at the Argyle Rooms_; _The Post Office Bristol, Arrival
+of the London Mail_; _The Fancy Ball at the Upper Rooms, Bath_; and
+_Milsom Street and Bond Street_, containing portraits of Bath
+fashionables.
+
+The so-called _Oppidans'[63] Museum_ is composed of the signs stolen by
+Eton scapegraces from the local tradesmen; a mock court is in progress,
+at which the injured parties attend and either claim or receive
+compensation for their stolen property. The tradesmen in the plate
+before us look anything but injured persons, and as a matter of fact the
+award is sufficiently ample to make amends for all damage. The two
+persons officiating as assessors and apportioning compensation to the
+various claimants, are Westmacott and "Robert Transit" (the artist
+himself). The illustration is full of life and character. Among the
+groups may be noticed a young fellow holding a bull-terrier suspended by
+its teeth from a handkerchief; a bet depends on the dog's patience and
+strength of jaw, and an interested companion watches the result,
+chronometer in hand. _The King at Home_, represents a scene which is
+said to have actually taken place when Mathews was giving his
+entertainment at Carlton House. The performer was imitating Kemble, when
+the king started up, and to the surprise of every one, particularly of
+Mathews, interrupted the performance by a personal and very clever
+imitation of the actor, who, by the way, had taught him elocution.
+This, indeed, was one of George's strong points, who, if not a good
+king, was at least an admirable mimic. Says old Dr. Burney (writing to
+his daughter on the 12th of July, 1805), "He is a most excellent mimic
+of well-known characters; had we been in the dark, any one would have
+sworn that Dr. Parr and _Kemble_ were in the room."[64] In this plate we
+find likenesses not only of the king and of Mathews, but also of the
+Princess Augusta and the too celebrated Marchioness of Conyngham.
+
+Thomas Rowlandson's single pictorial contribution to the "English Spy,"
+_R---- A----ys of Genius Reflecting on the True Line of Beauty at the
+Life Academy_, is described by Mr. Grego under date of 1825. This is not
+the only time in which the artist was associated in work with
+Rowlandson. There is a rare work (one of an annual series)--"The Spirit
+of the Public Journals," for the year 1824, with explanatory notes by C.
+M. Westmacott, a collection of whimsical extracts from the press, which
+appeared in print in the previous season, which has illustrations on
+wood by four distinguished coadjutors: Thomas Rowlandson, George
+Cruikshank, Isaac Robert Cruikshank, and Theodore Lane.
+
+
+  "FITZALLEYNE OF BERKELEY."
+
+The Foote _v._ Hayne affair mentioned in our last chapter afforded grist
+for the kind of mill driven by literary blacklegs of the class of
+"Bernard Blackmantle." The black-mail system was tried at first, and
+when that failed he produced the now rare _FitzAlleyne of Berkeley: a
+Romance of the Present Times_, a pair of libellous volumes, the
+_dramatis personæ_ of which comprise the persons whose names were
+mentioned in connection with the case. "Maria Pous" was of course Maria
+Foote; Samuel Pous, her father; Lord A----y, Alvanley; Major H----r,
+Major George Hanger, afterwards Lord Coleraine; Optimus, Mr. Tom Best
+(who shot Lord Camelford in a duel); the Pea-green Count and FitzAlleyne
+of Berkeley speak for themselves; while "Mary Carbon" is the butcher's
+daughter of Gloucester, mother of the Colonel, and afterwards Countess
+of Berkeley. Such a character as Molloy, otherwise Westmacott, was
+bound to get sometimes into trouble (in these days he would probably
+receive his reward for "endeavouring to extort money by threats"); and
+if he did not get exactly what he deserved, he did get, on the tenth of
+October, 1830, a tremendous thrashing from Charles Kemble. References to
+the memorandum books of this Ishmaelite of the press, in which he
+entered (for future use) some of the scandalous chronicles of his time,
+and which were offered for sale at his death in 1868, will be found in
+Mr. Bates's interesting book, from which we have already quoted.
+
+
+  "POINTS OF HUMOUR."
+
+Returning to his friend and coadjutor, Robert Cruikshank, the best of
+the artist's coloured illustrations to the "English Spy" are contained
+in the first volume; in the second he falls into those habits of
+carelessness which, with all his ability and artistic talent, were a
+besetting weakness. Robert lacked the genius, the fine fancy, the
+careful, delicate handling of George. Up to the publication of the
+"Life," the brothers as we have seen had worked together frequently, but
+after this period they separated. George had already achieved one of his
+earliest triumphs in book illustration--"The Points of Humour," which
+provoked the universal admiration of the critics, and proclaimed him one
+of the most original geniuses of the time. The "Life," however, had made
+both brothers famous, and the general public had scarcely yet learnt to
+distinguish between the pencils of George and Robert. This confusion was
+taken advantage of by unscrupulous publishers (a practice at which
+Robert himself seems to have connived) to trade upon the popularity of
+the Cruikshank name. We frequently find, for instance, in literary
+advertisements of the time, that a forthcoming book is illustrated by
+"Cruikshank," and the work we have just named is a case in point. No
+sooner had the "Points of Humour" appeared and made their mark, than
+they were followed by an announcement by Sherwood, Jones & Co., of the
+"Points of Misery," the letterpress by Charles Molloy Westmacott, and
+the designs by "Cruikshank," that is to say--Robert. Although this
+publication is marred by the slovenliness of execution which
+characterised the artist in his careless moods, a few of the designs
+are excellent, and the tailpieces--_A Six Inside_, at page 36; _Cleaned
+Out_, at page 88; and the _Pawn Shop_, at page 87--suffice to show of
+how much better work Robert Cruikshank was capable. George, as was usual
+with him on these occasions, was horribly annoyed, and loudly and (as it
+seems to us) unnecessarily proclaimed to the world that he had no
+connection with the work. Probably this manifesto did no good to a book
+little calculated either by its literary or pictorial merits to command
+success; and as the copy before us remained uncut from the date of the
+publication until the present, the inference is that the speculation of
+Messrs. Sherwood, Jones & Co., proved scarcely a remunerative one.
+
+Among the forgotten books of half a century ago, we meet with one whose
+title reminds us of the "Life in London." It is called, "Doings in
+London; or, Day and Night Scenes of the Frauds, Frolics, Manners, and
+Depravities of the Metropolis." It came out in threepenny numbers, in
+1828, and its professed object (in the queer language of George Smeeton,
+its compiler and publisher) was to "show vice and deception in all their
+real deformity, and not by painting in glowing colours the fascinating
+allurements, the mischievous frolics and vicious habits of the
+profligate, the heedless, and the debauchee, tempt youth to commit those
+irregularities which often lead to dangerous consequences, not only to
+themselves but also to the public." This shot of course was aimed at
+Pierce Egan, who, engaged at that time in bringing out the "Finish," not
+unnaturally considered these "Doings" an attempt to derive profit by an
+indirect infringement of his own title. The title in fact _was_ a
+misleading one, and the book a specimen of a class of useless literature
+of the time, by which paste-and-scissors information compiled from
+books, newspapers, and statistics by some one at best imperfectly
+acquainted with his subject, was attempted to be conveyed by means of
+questions and answers, supplemented by dreary and unnecessary remarks of
+a moralizing tendency. The persons in whose company Smeeton would send
+us round, in order that we may form a just conception of the "vice and
+deception in all their real deformity," of which he speaks, are a
+couple of idiots, one Peregrine Wilson, and an attendant mentor, whom we
+drop at the earliest convenient opportunity. Information combined with
+morality is all very well. The "History of Sandford and Merton" may have
+been, as Lord Houghton assures us it was, "the delight of the youth of
+the first generation of the present century." As one of the youth of the
+generation referred to, we refuse to admit it, and we are perfectly
+certain that the youth of the present generation would have nothing
+whatever to do with it. We resign ourselves preferentially to the
+guidance of Isaac Robert and George Cruikshank, sensible that they at
+least, while conversant with the scenes they so graphically describe,
+will not bore us with unnecessary moral reflections. We prefer, if the
+truth must be told, to "sport a toe among the Corinthians at Almack's"
+with hooked-nosed Tom and rosy-cheeked Jerry; to visit with these merry
+and by no means strait-laced persons, Mr. O'Shaunessy's rooms in the
+Haymarket; the back parlour of the respected Thomas Cribb, ex-champion
+of England; to take wine with them "in the wood" at the London Docks; to
+enjoy with them, if they will, "the humours of a masquerade supper at
+the opera house." The work which Smeeton designed with such indifferent
+success was subsequently carried out in a far more efficient manner by
+Mr. James Grant, in his "Sketches in London,"[65] and at a later date by
+Mr. Mayhew, in his well-known "London Labour and the London Poor."
+
+The "Doings in London" owe whatever value they possess to the
+thirty-nine curious designs on wood of Isaac Robert Cruikshank, engraved
+by W. C. Bonner, which, on the whole fair examples of his workmanship in
+this style, strongly remind us of the smaller woodcuts in Hone's
+"Every-Day Book."
+
+The best specimens, however, of Robert's designs on wood are those which
+will be found in two small volumes, known indifferently as "Facetiæ" and
+"Cruikshank's Comic Album," which contain a series of _jeux d'esprits_,
+published between the years 1830 and 1832, and comprising _Old Bootey's
+Ghost_ and _The Man of Intellect_, by W. F. Moncrieff; _The High-mettled
+Racer_ and _Monsieur Nongtongpaw_, by Charles Dibdin; _Margate and
+Brighton_; _The Devil's Visit_; _Steamers and Stages_; _Monsieur
+Touson_; _Monsieur Mallet_, by H. W. Montague; _Mathew's Comic Annual_
+(a miserable _mélange_ by our friend Pierce Egan); the famous _Devil's
+Walk_, by Coleridge and Southey, etc., etc. These little volumes, which
+are now rare, contain nearly one hundred excellent examples of Robert
+Cruikshank's workmanship, the woodcuts being executed after the artist's
+designs by W. C. Bonner and other wood engravers of eminence. We can
+stay only to describe one, which illustrates one of the many experiences
+of John Bull in his memorable visit to France. Struck with the
+appearance of a French lady, "young and gay," the stanza tells us--
+
+  "Struck by her charms he ask'd her name
+     Of the first man he saw;
+   From whom, with shrugs, no answer came
+     But, '_Je vous n'entends pas._'"
+
+Three other books (two of them exceedingly rare) must suffice to
+complete our survey of Robert's merits as a designer and book
+illustrator. These are "Colburn's Kalendar of Amusements" (1840), "Job
+Crithannah's Original Fables" (1834), and Eugene Sue's "Orphan." There
+is an Irishman sitting on a barrel in one of the woodcuts to the
+"Kalendar," who quite equals any of the Hibernians of George. The
+eighty-four designs to the "Fables" are admirable specimens of the
+artist's best manner, and George himself rarely executed better
+illustrations than those of the _Farmer and the Pointer_, at page 110,
+_The Cow and the Farmer_, at page 163, and _The Old Woman and her Cat_,
+at page 219. This rare and choice book abounds with admirable
+tailpieces; one of which exhibits a sufferer down in the agonies of
+gout, the treatment of which subject may even be compared with the more
+elaborate and admirable design by the brother described by Thackeray.
+Sue's "Orphan" has numerous carefully executed etchings by the artist,
+after the style and manner of his brother; in the very signature,
+"Robert Cruikshank," we trace a distinct copy of George's peculiar
+trademark or sign-manual. Mr. Walter Hamilton, in his essay on the
+brother, presents us with a dozen copies of Robert's designs, eight of
+which, although unacknowledged, are taken from Crithannah's "Fables,"
+and will bear as much comparison with the original and beautiful
+woodcuts as the work of a common sign-painter with a finished painting
+by Landseer. A detailed but probably imperfect list of the artist's book
+work will be found in the _appendix_.
+
+The name of Robert Cruikshank has slipped out of the place it once
+occupied in public estimation; and his good work and his poor work being
+equally scarce, his name and his claims to rank high among the number of
+English caricaturists and comic artists have been forgotten even by the
+survivors of the generation to which he himself belonged. In bringing to
+the remembrance of those who do know, and to the knowledge of those who
+do not know, some of the work which entitled him in our judgment to
+occupy a leading place amongst the number of those of whom we write, we
+have endeavoured to brush away the dust of oblivion which for so many
+years has obscured the name and reputation of an artist, who, in spite
+of much slovenliness and carelessness of execution, was both an able
+caricaturist and a skilful draughtsman. George writes of his dead
+brother in terms of affection, and describes him as "a very clever
+miniature and portrait painter, and also a designer and etcher;" his
+friend and coadjutor, the late George Daniel, gives him credit for
+genius, of which however (in the sense in which we use and understand
+the word) he did not possess a particle. He tells us that "he was apt to
+conceive and prompt to execute; he had a quick eye and a ready hand;
+with all his extravagant drollery, his drawing is anatomically correct;
+his details are minute, expressive, and of careful finish, and his
+colouring is bright and delicate." In the early part of his career, as
+we have seen, the two brothers had been so closely associated in life
+and in art, that the history of Robert is, to some extent, the history
+of George; but when they separated, when each was left to his own
+individual resources, George then struck into a path which neither
+Robert nor any of his contemporaries might hope to follow. By the time
+Robert had realized this fact, HB had appeared, and the art of
+caricaturing, as theretofore practised, received a blow from which it
+will never rally. Besides being an able water colour artist, he had at
+one time achieved some reputation as a portrait painter; but the latter
+pursuit he had long practically abandoned, while success in the former
+required a closer application and the exercise of a greater amount of
+patience than a man of his age and temperament could afford to bestow.
+He was, in fact, too old to commence life afresh; and so it came
+inevitably to pass that, as his brother did in after life (but from
+causes, as we shall see, widely different), Robert gradually dropped
+behind and was forgotten. He had not the genius or pride in his art of
+his brother, and looked rather to that art as a means of present
+livelihood than of acquiring a permanent and enduring reputation. If
+George--with all his pride in his art, with all his genius, with all his
+rare gifts of imagination and fancy--was destined to be left behind in
+the race of life, what could poor Robert hope for? It is sad to think
+that in later life, poor easy-going, thriftless, careless, Bohemian
+Robert sank into neglect and consequent poverty. He died (of bronchitis)
+on the 13th of March, 1856, in his sixty-sixth year.
+
+
+FOOTNOTES:
+
+  [57] In this I cannot agree. George designed about a third of the
+    plates, and those who know his workmanship thoroughly will not fail
+    to identify it.
+
+  [58] A fact which testifies to the curiosity and _not_ the immorality
+    of our people.
+
+  [59] I have known as much as £10 asked for a copy; but _a first
+    edition_ (a rarity) may be purchased sometimes of a respectable
+    bookseller for £8.
+
+  [60] "Fair Play! Robt. Cruikshank, invt. et fect., original suggestor
+    and artist of the 2 vols. Adieu!"
+
+  [61] A list of his works will be found in Dr. Brewer's "Handbook."
+
+  [62] "The Maclise Portrait Gallery," by William Bates (ed. 1883), p.
+    236.
+
+  [63] The name given to the students of Eton School who board in the
+    town.
+
+  [64] Diary of Madam d'Arblay.
+
+  [65] W. S. Orr & Co., 1838.
+
+
+
+
+CHAPTER VII.
+
+_THE CARICATURES OF GEORGE CRUIKSHANK._
+
+
+  SIXTY YEARS AGO.
+
+Just sixty years ago, a writer in _Blackwood_ spoke of the subject of
+the present chapter (then a young man who had already acquired an
+artistic reputation) in the following terms:--
+
+"It is high time that the public should think more than they have
+hitherto done of George Cruikshank; and it is also high time that George
+Cruikshank should begin to think more than he seems to have done
+hitherto of himself. Generally speaking, people consider him as a
+clever, sharp _caricaturist_, and nothing more; a free-handed, comical
+young fellow, who will do anything he is paid for, and who is quite
+contented to dine off the proceeds of a 'George IV.' to-day, and those
+of a 'Hone,' or a 'Cobbett' to-morrow. He himself, indeed, appears to be
+the most careless creature alive, as touching his reputation. He seems
+to have no plan--almost no ambition--and, I apprehend, not much
+industry. He does just what is suggested or thrown in his way, pockets
+the cash, orders his beef-steak and bowl, and chaunts, like one of his
+own heroes,--
+
+  'Life is all a variorium,
+  We regard not how it goes.'
+
+Now, for a year or two to begin with, this is just what it should be.
+Cruikshank was resolved to see _Life_,[66] and his sketches show that he
+has seen it, in some of its walks, to purpose. But life is short, and
+art is long; and our gay friend must pull up.
+
+"Perhaps he is not aware of the fact himself--but a fact it undoubtedly
+is--that he possesses genius--genius in its truest sense--strong,
+original, English genius. Look round the world of art, and ask, How many
+are there of whom anything like this can be said? Why, there are not
+half a dozen names that could bear being mentioned at all; and certainly
+there is not one, the pretensions of which will endure sifting, more
+securely and more triumphantly than that of George Cruikshank. In the
+first place, he is--what no living _caricaturist_ but himself has the
+least pretensions to be, and what, indeed, scarcely one of their
+predecessors was--he is a thoroughbred _artist_.[67] He draws with the
+ease and freedom and fearlessness of a master; he understands the figure
+completely; and appears, so far as one can guess from the trifling sort
+of things he has done, to have a capital notion of the principles of
+grouping. Now these things are valuable in themselves, but they are
+doubly, trebly valuable as possessed by a person of real comic humour;
+and a total despiser of that Venerable Humbug which almost all the
+artists of our day seem, in one shape or other, to revere as the prime
+god of their idolatry. Nobody, that has the least of an eye for art, can
+doubt that Cruikshank, if he chose, might design as many annunciations,
+beatifications, apotheoses, metamorphoses, and so forth, as would cover
+York cathedral from end to end. It is still more impossible to doubt
+that he might be a famous portrait painter. Now, these are fine lines
+both of them, and yet it is precisely the chief merit of Cruikshank that
+he cuts them both; that he will have nothing to do with them; that he
+has chosen a walk of his own, and that he has made his own walk popular.
+Here lies genius; but let him do himself justice; let him persevere and
+_rise_ in his own path, and then, ladies and gentlemen, _then_ the day
+will come when his name will be a name indeed, not a name puffed and
+paraded in the newspapers, but a living, a substantial, perhaps even an
+illustrious, English name. Let him, in one word, proceed, and, as he
+proceeds, let him think of Hogarth."[68]
+
+Now, although amused (and surely he cannot fail to be amused) at the
+curious incapacity of an art critic so strangely ignorant of his subject
+as to conceive _George Cruikshank_ an artist capable of designing
+_annunciations_, _beatifications_, _apotheoses_, and subjects so
+completely out of the range of his sympathies and abilities, the reader
+will, at the same time, be struck with the prescience of the intelligent
+writer who discerned in him the possession of true genius, and predicted
+for him, even at this early period of his career, the reputation--"living,
+substantial," and "illustrious"--which he afterwards so justly achieved
+for himself.
+
+In everything save the power to realize an annunciation, a
+beatification, or an apotheosis, George Cruikshank was, at the time this
+article was penned, exactly what Mr. Lockhart describes him. The most
+able and accomplished of the caricaturists of his time, he was
+nevertheless willing to etch the works of an amateur or of an artist
+inferior to himself, to whose work he has frequently imparted a vitality
+of which it would have been destitute but for the interposition of his
+hand. He was ready, moreover, to execute woodcuts for a song-book or the
+political skits of any scribbler of his time, whether on the ministerial
+or the popular side mattered little to him. It was therefore not
+unnatural that doing "just what was suggested or thrown in his way,"
+Lockhart should come to the erroneous conclusion that the artist had "no
+plan," "no ambition," and "not much industry." The assertion that he had
+"no ambition" has been amply disproved by his subsequent life, whilst so
+far from having "no plan," the sequel shows that all this time,
+unsuspected by the critic, he had been gradually developing the style of
+illustration by which he made his mark and reputation,--a style first
+displayed in the celebrated "Points of Humour," the publication of which
+served as the occasion for Lockhart's criticism.
+
+On this account, if for no other reason, the caricatures of George
+Cruikshank possess so remarkable an interest, that it is singular that
+this field of artistic labour has been left almost unexplored by the
+essayists, many of whom, with a somewhat imperfect knowledge of their
+subject, have essayed to give us information on the subject of this
+artist and his works. It is just this early period of his life, in which
+he first followed and then gradually emancipated himself from the
+artistic control and influence of Gillray, which seems to us to afford
+the most interesting study of the man's career. Nevertheless, nearly all
+the articles we have read on George Cruikshank would give us the idea
+that, with the exception of certain designs for woodcuts for Hone--such
+as the celebrated _Non Mi Ricordo_ and others--certain rough coloured
+engravings for "The Meteor," "The Scourge," and other periodicals of a
+kindred stamp, the artist executed but few caricatures properly so
+called. This at least is the impression which these articles have left
+on our own minds; and we can only account for the little notice taken of
+him as a caricaturist by the fact that, unlike the etchings which he
+produced when in the prime of his career, his caricatures are not only
+exceedingly scarce, but being in many cases unsigned, are capable only
+of being recognised by those intimately acquainted with his early
+handiwork.
+
+The caricatures of George Cruikshank may be divided into three classes:
+first, those which are wholly designed and etched by himself; secondly,
+those which he designed after the sketches or suggestions of his
+friends; and thirdly, those merely etched from the designs of other
+artists. We find the first, although frequently unsigned, more usually
+signed (on the left hand), "Geo. Cruik^k. fect." or "invt. & fect."; the
+second--"invt. G. Cruik^k. fect.;" while the third are indicated as
+merely _etched_ by him. Of the second class it may be remarked that with
+the exception of the mere sketch or suggestion, the drawing and the
+workmanship are oftentimes unmistakably George's own. In the description
+of his caricatures which follow, we shall indicate the designs which
+belong to _this_ class with an asterisk.
+
+Publications such as "The Scourge," although containing many caricature
+designs by George Cruikshank, are scarcely among those to which the
+present chapter was intended to be devoted. There are, however, two
+satirical compositions of his in this scurrilous publication,[69] which
+appear to us so exceptionally good, that we feel justified in drawing
+special attention to them. As the publication itself affords little or
+no clue to the subject of the illustrations, it seems necessary in order
+that the first may be understood, to explain the circumstances which
+appear to us to have led up to it.
+
+
+  1811.
+
+For several years prior to 1811, the established clergy had manifested
+considerable uneasiness on account of the rapid spread of Methodism. The
+readiness with which licenses for preaching could be obtained according
+to the usual interpretation of the Toleration Act, had tended to the
+multiplication of a class of preachers whose manners and language
+peculiarly fitted them for acquiring influence over the inferior ranks
+of the people; and by this means a great diminution had taken place in
+the congregations of parish churches. It is affirmed--with what truth we
+know not--that Lord Sidmouth in the measure (presently to be noticed)
+was encouraged to proceed in his design by letters from persons of high
+position in the Church.
+
+
+  LORD SIDMOUTH'S MOTION.
+
+On the 9th of May, 1811, Lord Sidmouth moved in the House of Lords for
+leave to bring in a bill for amending and explaining the Acts of William
+and Mary and 17th George III., so far as applied to dissenting
+ministers. According to the statement of his lordship, at most of the
+quarter sessions, when the oaths were taken and the declarations made
+requisite for enabling a person to officiate in a chapel or
+meeting-house, any person, however ignorant or profligate, was able to
+obtain a certificate which authorized him to preach. His lordship
+proposed that, in order to entitle any person to a qualification as a
+preacher, he should have the recommendation of at least six respectable
+householders of the congregation to which he belonged. Lord Holland, in
+opposing the bill, observed that he held it to be the inalienable right
+of every man who thought himself able to instruct others to do so,
+provided his doctrines were not incompatible with the peace of society.
+
+When the nature and provisions of the proposed measure were made known
+to the public, an alarm was excited among all those whom it was likely
+to affect. The Nonconformists generally regarded it as intended, not so
+much to add to the respectability of the dissenting ministers, as to
+contract the limits of toleration, and subject the licensing of
+preachers to the control of the magistracy. When therefore, on the 21st
+of May, the bill was to be read a second time, such a deluge of
+petitions was poured in against it, that the mover was left totally
+unsupported. The Archbishop of Canterbury said with truth, that the
+Dissenters were the best judges of their own concerns; and as it
+appeared from the great number of petitions against it, that they were
+hostile to the bill, he thought it unwise to press the measure against
+their manifest wishes. Under these circumstances the bill was, we need
+not say, thrown out.
+
+This would appear to be the subject which produced George Cruikshank's
+graphic satire of the _Interior View of the House of God_, in the first
+volume of "The Scourge." The pulpit is occupied by two fanatics, one of
+whom rants, while the other snuffs the candles; the devil, in the
+gallery above, ridicules the proceedings by rasping, _à la_ fiddle, the
+bars of a gridiron with a poker; among the numerous congregation present
+we notice some attentive and interested listeners, whilst others
+evidently attend from mere motives of curiosity. Above the composition
+appears the quotation, "Believe not every spirit, but try the spirits
+whether they are of God: because many false prophets are gone out into
+the world." The satire, _The Examination of a Young Surgeon_, which
+appears in the same volume, is aimed at the medical profession. One of
+the examiners is deaf, another has the gout, a third is asleep, while
+two others (unmistakable Scotchmen) discuss the merits of their
+respective snuff-mulls. The deaf man calls upon the frightened candidate
+to "describe the organs of hearing." The table is garnished with "The
+Cow Pox Chronicle," and a skull and bones, while the walls are decorated
+with pictures depicting a fight between death and a pugilist, the
+Hottentot Venus, a group of various nations worshipping the golden calf,
+and the lady without arms or legs. The hand of the clock points to the
+hour of eleven. Judging by the pile of money-bags lying at the foot of
+the president's chair, and the two members of the court who are busily
+engaged in counting coin, George would seem to insinuate that the
+fellows of the college of his time were a decidedly mercenary set.
+
+
+  "THE SATIRIST."
+
+Of character akin to "The Scourge" (the ten volumes of which were
+published between 1811 and 1815 inclusive); is "The Satirist, or Monthly
+Meteor," the thirteen volumes of which made their appearance between the
+years 1808 and 1813. Both publications, which now command prices very
+far beyond what they are intrinsically worth, contain a number of
+satires, of more or less merit (generally _less_), by various satirists,
+including George Cruikshank; so far as "The Satirist" is concerned, the
+designs of the latter are confined to the thirteenth and last volume,
+and his caricature contributions are of a vastly superior order of merit
+to any of those by which they are preceded. Besides those in "The
+Scourge" and "The Satirist," may be mentioned George Cruikshank's comic
+designs in "Fashion," printed for J. J. Stockdale, of Pall Mall, in
+1818; and his very admirable series of untinted etchings in "The
+Loyalist Magazine; or, Anti-Radical," a publication exclusively devoted
+to the ministerial side of the Carolinian scandal, and published by
+James Wright, of Fleet Street, in 1820.
+
+One of the earliest caricatures I have met with by George is entitled,
+_Apollyon_ [_i.e._, Napoleon]_, the Devil's Generalissimo, Addressing
+his Legions_; it is signed (contrary to his usual custom), "Cruikshank
+del.," and was executed (if I am right in assigning it to him) when he
+was sixteen years of age.
+
+
+  1813. DISCOVERY OF THE REMAINS OF CHARLES I.
+
+The attention of the public in 1813 was, as we have seen, attracted by
+the Regent's treatment of his miserable wife; and in April the sympathy
+of the Livery and Corporation of London, and other public bodies, found
+expression in an address which was presented to Her Royal Highness. On
+the 28th of March of that year, the remains of Charles the First had
+been discovered in the vault of Henry the Eighth, at Windsor, a
+circumstance which suggested to George Cruikshank his admirable satire
+entitled, _Meditations amongst the Tombs_. It shows us His Royal
+Highness gazing at the recovered bodies, and regretting that while Henry
+had managed to dispose of many wives, _he_ found it impossible to get
+rid of one. A figure behind him points to the headless corpse, and
+significantly remarks, "How rum King Charley looks without his head!"
+The Battle of Vitoria (fought this year) forms the subject of a pair of
+roughly executed caricatures, entitled respectively, _The Battle of
+Vitoria_, and _A Scene after the Battle, or More Trophies for
+Whitehall_. Other satires of the year, are _Double Bass_, and _A
+Venomous Viper Poisoning the R--l Mind_, the latter as coarsely and
+indelicately handled a subject as any caricaturist of the old school
+might possibly desire.
+
+
+  1814.
+
+_Little Boney gone to Pot_ (Thomas Tegg, May 12th, 1814), is one of the
+artist's contributions to the series of caricatures which followed the
+fall of Napoleon Bonaparte. Here the satirist has seated the emperor (a
+lean, ragged, forlorn, miserable, diseased object) on a huge article of
+bedroom furniture, labelled, "Imperial Throne." He is in a forlorn
+condition, suffering from itch, with large excrescences growing on his
+toes. He is all alone in his island prison (Elba), and tempted by a
+fiend, who tenders him a pistol--"If you have one spark of courage
+left," it says, "take this." "Perhaps I may," replies Napoleon, "if
+you'll take the flint out." By his side we find a pot of brimstone,
+numerous medicine bottles, and "a treatise on the itch, by Dr.
+Scratch."[70] One of the imperial boots, mounted on a tiny carriage,
+forms a dummy cannon. His back leans against a tree, to which is nailed
+the "Imperial Crow," while from the branches depends a ragged pair of
+breeches and stockings. It was a sorry libel on the unfortunate emperor,
+whose courage was undoubted, and who, at this time, instead of being the
+scarecrow the artist has represented him, had grown extremely corpulent.
+_Snuffing out Boney_ follows up the same subject, and represents a
+cossack snuffing out Napoleon, who figures as a candle; another
+caricature on the great subject of the year bears the title of _Broken
+Gingerbread_ (Napoleon selling images).
+
+[Illustration:
+  GEORGE CRUIKSHANK. _Published July 11th, 1814, by_ S. W. FORES,
+  _Piccadilly_.
+
+  RUSSIAN CONDESCENSION, OR THE BLESSINGS OF UNIVERSAL PEACE.
+
+  _Face page 133._]
+
+
+  VISIT OF THE ALLIED SOVEREIGNS.
+
+On the 8th of June, 1814, the Emperor of Russia, with his sister the
+Duchess Oldenburg, the King of Prussia, and his two sons, with Prince
+Metternich, Marshal Blucher, General Barclay de Tolly, the Hetman
+Platoff, and other persons of distinction, arrived in London. The
+strangers were splendidly entertained by the merchants and bankers of
+London at Merchant Taylors' Hall, and by the Corporation of London at
+Guildhall. On the 20th there was a grand review of regulars and
+metropolitan volunteers in Hyde Park; the ceremony of announcing to the
+inhabitants of the metropolis the conclusion of the definitive treaty of
+peace with France took place with all its ancient and accustomed
+solemnities. On the 25th of July a grand naval review was held at
+Portsmouth, and on the 27th the illustrious visitors embarked at Dover
+for the Continent. The handsome Russian emperor and his handsome sister
+acquired great popularity by the condescension and affability they
+displayed during their short visit. This is commemorated by George
+Cruikshank in a satire published by Fores on the 11th of July, entitled,
+_Russian Condescension, or the Blessings of Peace_, in which a coarse
+woman is represented as kissing the emperor, who is habited in English
+military uniform. "There, Sal," says she to her companion, "I can boast
+of what none of the ----s at Billingsgate can, having kissed the king's
+emperor of all the Russian bears, and he is the sweetest, modestest,
+mildest gentleman I ever kissed in all my life." On the other side a
+huge country gawky shakes hands with the duchess, whose vast bonnet is a
+study. "Dang it," he says, "when I goes back and tells the folks in our
+village of this, law! how they will envy I!" In the distance we see
+another female in pursuit of the frightened Hetman Platoff.
+
+The reader will remember, that from the state ceremonies and festivities
+which took place on this memorable occasion the miserable Caroline had
+been excluded, nor did she of course receive recognition or visits from
+any of her husband's illustrious visitors. The state of social isolation
+to which she was thus consigned is referred to by George Cruikshank in a
+very roughly executed caricature entitled, _The British Spread Eagle_,
+"Presented to the northern monarchs as a model for their national banner
+in consequence of the general peace." The Regent, holding in his hand a
+bottle of port wine, turns away from his neglected wife: "I'll go," he
+says, "to my bottle, my marchioness [of Conyngham], my countess" [of
+Jersey], who may be seen close at hand in an adjoining thicket; "and I,"
+answers Caroline, "to my child, my only comfort." The "only comfort" is
+seen coming to her mother's assistance in the distance, uttering the
+trite quotation, "The child that feels not for a mother's woes, can
+ne'er be called a Briton."
+
+_The Impostor, or Obstetric Dispute_, a still more roughly executed
+satire (published by Tegg in September, 1814), refers to the wretched
+impostor Southcott. Doctors called in to report on her condition
+"differed" according to their proverbial custom. Three of these learned
+pundits may be seen in consultation in the right-hand corner. A blatant
+and irascible cobbler, standing on a stool, loudly proclaims the woman
+to be "a cheat!" "a faggot!" "a bag of deceit!" "a blasphemous old hag!"
+The indignant Joanna, far advanced in her dropsical condition, rushes at
+him, brandishing a broom in one hand and her book of prophecies in the
+other, to the delight of certain members of the "great unwashed." The
+buildings at the back appropriately include "New Bethlehem," and the
+house which the reader may remember was engaged for the purposes of her
+miraculous _accouchement_. A rougher and coarser piece of workmanship,
+if possible, will be found in _Gambols on the River Thames, February,
+1814_ (published also by Tegg), which commemorates the memorable frost
+of that year.
+
+
+  1815. THE CORN LAWS.
+
+On the 17th of February, 1815, Mr. Frederick Robinson, vice-president of
+the board of trade, moved for the House of Commons to resolve itself
+into a committee of the whole house, for the purpose of considering the
+state of the corn laws. This having been done, he proceeded to lay
+before the House certain resolutions, three of which related to the free
+importation of grain to be warehoused and afterwards exported, or to be
+taken for home consumption when importation for that purpose was
+allowable. The fourth and most important stated the average price of
+British corn at which free importation was to be allowed, and _below
+which it was to be prohibited_, and this for wheat was fixed at eighty
+shillings per quarter. An exception was made in favour of grain produced
+in the British colonies, which might be imported when British grown
+wheat was at sixty-seven shillings. All the resolutions were read and
+agreed to, with the exception of the fourth, and this in the end also
+passed in the face of every amendment.
+
+On the 1st of March, Mr. Robinson brought in his bill "to amend the laws
+now in force for regulating the importation of corn." By this time very
+numerous petitions against the bill were coming in from the commercial
+and manufacturing districts; riotous proceedings also took place on the
+6th, 7th, 8th, and 9th of March, in the course of which the mob cut to
+pieces many valuable pictures belonging to Mr. Robinson, destroyed and
+pitched his furniture into the street, and did a variety of mischief to
+the property of other well-known supporters of the measure. The riots
+(which were of a most formidable character) were only quelled by the
+number and determined attitude of the military and constables. In spite,
+however, of the unmistakable unpopularity of the measure, and of the
+strenuous opposition to it both in and out of Parliament, the bill
+passed the House on the 10th of March, and the Upper House on the 20th.
+
+The consequences of this measure were not such as were expected either
+by its promoters or opposers. Former importations, or more probably the
+effect of two abundant harvests, combined with the greatly extended
+cultivation of grain, produced a gradual and steady reduction in prices;
+so that instead of approaching the limits at which alone importation was
+allowable by the Act, it sunk to a level below that of several years
+past. The farmers, who were labouring under exorbitant rents in addition
+to other increased expenses, were general sufferers, and the landlords
+found it necessary in many instances to make great abatements in their
+dues. In the result many leases were voided and farms left without
+tenants.
+
+To this most unpopular measure a satire, published by Fores on the 3rd
+of March, 1815, has reference. It is entitled, _The Blessings of Peace,
+or the Curse of the Corn Bill_, a very rough affair, etched by George
+(as it appears to me) from the design of an amateur whose hand may be
+recognised in more than one of his caricatures. A foreign vessel is
+approaching our shores laden with best wheat at 50_s._ a quarter. A
+figure with a star on his breast, emblematical of course of the
+aristocratic influence which was supposed to have dictated the unpopular
+corn law, forbids the sailors to land it: "We won't have it," he says,
+"_at any price_. We are determined to keep up our own to 80_s._, and if
+the poor can't buy at that price, why, they must starve. We love money
+too well to lower our rents again, tho' the income tax _is_ taken off."
+His sentiments are re-echoed by companions belonging to the same class
+as himself. A farmer and his starving family, however, come forward.
+"No, no, masters," he remonstrates; "I'll not starve, but quit my native
+country, where the poor are crushed by those they labour to support, and
+retire to one more hospitable, and where threats of the rich do not
+interpose to defeat the providence of God!" Behind the starving family
+is a warehouse absolutely bursting with sacks of grain at 80_s._ "By
+gar!" says the foreign captain, "if they won't have [the wheat] at all,
+we must throw it overboard," which they accordingly are depicted as
+doing. The subject is followed up by a still more slovenly affair by the
+artist himself, bearing the title of _The Scale of Justice Reversed_,
+published by Fores on the 29th of March. An eighteenpenny loaf in one
+scale is overmatched by the accumulated weight of taxes in the other.
+The overbalanced scale in its descent knocks down and crushes John Bull
+under its weight. "The bread," he cries, "is out of my reach, and those
+cursed taxes will break my back. That large one ['duty on
+manufactories,' which the chancellor is just putting into the scale]
+will do for me." Beyond, a usurer and four large landowners are seen
+rejoicing at the flight of the "Property Tax," an alleviation which is
+calculated to do no good to any one but themselves.
+
+
+  NAPOLEON RETURNS FROM ELBA.
+
+John Bull's trials, however, were in reality just commencing. Only seven
+months before he had held a grand "jubilee" in the parks, to celebrate the
+return of peace, treating his little difficulty with the Americans as a
+_bagatelle_ not worth serious consideration. Four months before that
+celebration, "his majesty the Emperor Napoleon" had formally "renounced
+for himself, his successors, etc., all right of sovereignty and dominion,
+as well to the French empire and the kingdom of Italy, as over every other
+country." In return for this concession, as if in absolute mockery, "the
+isle of Elba, adopted by his majesty the Emperor ... as the place of his
+residence," was formed during his life into a separate principality, to
+"be possessed by him in full _sovereignty and property_," besides a
+certain annual revenue mentioned in the articles of treaty of the 18th of
+April, 1814. Here the Regent and his very good friends the allied
+sovereigns had been content to leave him, dreaming apparently, that the
+man whose military genius had held Europe at defiance, was disposed of
+"for ever and a day;" disregarding the feeble capacity of the Bourbon who
+succeeded him; the magic influence wielded by the man who thought the
+world too small for his ambition over a soldiery he had created and
+trained into perfection, and who regarded him in the light of a demi-god.
+
+On the 26th of February, 1815, Bonaparte embarked at Porto Ferrago on
+board a brig, followed by four small vessels conveying about 1,000
+men--French, Poles, Corsicans, Neapolitans, and natives of Elba. On the
+1st of March the expedition anchored off the town of Cannes, in
+Provence, where these heterogeneous forces were landed. The small and
+motley force of filibusters was forthwith marched on Grenoble, which was
+reached on the 8th. The seventh regiment of the line, under Colonel
+Labedoyère, had meanwhile joined the adventurer; the rest of the
+garrison opened their gates, delivered their arsenal and magazine, and
+thus placed him at the head of a body of regular troops with a train of
+artillery. Only five short months afterwards, while the unfortunate
+emperor was on his way to St. Helena, poor Labedoyère was shot on the
+plain of Grenelle, for the "treason" of re-swearing fealty to the
+original master he had loved so well.
+
+On the 9th of March, Bonaparte appeared before Lyons, which he entered
+without resistance. Once in possession of this important city, and
+hailed Emperor by his beloved soldiery, Bonaparte assumed the
+"sovereignty and dominion" which he had "renounced" for ever.
+"Frenchmen!" he said, after his sententious but stirring manner, "there
+is no nation, however small it may be, which has not had the right, and
+which may not withdraw itself from the disgrace of obeying a prince
+imposed on it by an enemy momentarily victorious. When Charles VII.
+re-entered Paris, and overthrew the ephemeral throne of Henry V., he
+acknowledged that he held his throne from the valour of his heroes, and
+_not from a Prince Regent of England_."
+
+Although the troops assembled around him were comparatively a handful,
+Bonaparte had unquestionably obtained sufficient assurance of the
+general disposition of the army in his favour. Preparations indeed had
+been made for collecting a large body of troops at Melun for the
+immediate protection of Paris, while another was posted at
+Fontainebleau, so as to place the adventurer as it were between two
+fires. The greatest hopes were derived from the professed loyalty to the
+Bourbon cause of Marshal Ney, who had spontaneously presented himself at
+the Tuileries and proffered his services to the king. With the marshal,
+12,000 or 15,000 men were posted at Lons-le-Saulnier, whence it was
+understood that he would fall on the rear of Bonaparte. Instead of doing
+so, he joined him at Auxerre with his whole division, which had already
+hoisted (under his orders) the tri-coloured flag. This defection
+practically decided the contest; and Bonaparte entered Paris on the
+evening of the 20th as a conqueror, received everywhere by the military
+in triumph.
+
+Meanwhile, on the 13th of March, the powers who had signed the Treaty of
+Paris assembled in congress at Vienna, "being informed of the escape of
+Napoleon Bonaparte, and of his entrance into France with an armed
+force," issued a formal declaration, in which they stated that, "by thus
+breaking the convention which established him on the island of Elba,
+Bonaparte had destroyed the only legal title on which his existence
+depended; ... deprived himself of the protection of the law; and
+manifested to the universe that there could be neither peace nor truce
+with him. The powers consequently declared that he had placed himself
+without the pale of civil and social relations, and as an enemy and
+disturber of the tranquility of the world, rendered himself liable to
+public vengeance;" and, by a treaty concluded at Vienna on the 25th of
+March, Great Britain, Austria, Russia, and Prussia bound themselves to
+maintain the Treaty of Paris of 30th May, 1814, and for that purpose
+each was to keep constantly in the field a force of 150,000 men, and not
+lay down their arms until Bonaparte should have been rendered absolutely
+unable to create disturbance, and "renew his attempts for possessing
+himself of the supreme power in France."
+
+
+  REAPPEARANCE OF BONAPARTE.
+
+The excitement which this portentous event occasioned amongst the
+nations of Europe is admirably realized by a caricature of George
+Cruikshank's, published by Fores on the 6th of April, and entitled, _The
+Congress Dissolved before the Cake was Cut up_. Alexander, engaged in
+cutting up the cake (_i.e._ Europe), and apportioning to each
+nationality a share of the whole, drops the knife as Napoleon rushes in
+among them, with the tremendous cocked hat, huge sword, and boots
+assigned to him on the authority of James Gillray. Crushing under his
+feet the "Decrees of the Congress," "An Account of the Deliverance of
+Europe," "A Plan for the Security of Europe," and other documents of a
+similar character, he shouts to the affrighted company, "Avast! ye
+bunglers; the cake you have been these six months disputing about the
+cutting up, I will do in as many hours." Holland in his fright has
+dropped off his stool to the ground. "O Donner and Blixen!" he exclaims,
+"_my_ Hollands is all gone!" "I thought England had promised to guard
+him," says Saxony, alluding to the kind of naval supervision of Elba by
+English armed cruisers, which appears to have been exercised, so far as
+we can see, without any _direct_ claim on our part to control the
+movements of Bonaparte. "Hold him! seize him!" cries Austria. "Seize
+him! kill him!" re-echoes Prussia.[71] "Who'll begin?--There's the rub!"
+is the sensible observation of Sweden. "Oh dear! oh dear!" groans his
+holiness the Pope, crowned with a composite hat, the crown of which is
+composed of his mitre; "what will become of me?" The only one who says
+nothing, but seems prepared to act with determination and promptitude,
+is the representative of England, who is shown in the act of drawing his
+sword.
+
+Napoleon (we need not say) did not exactly act as the caricaturist
+describes: he endeavoured to re-establish relations with the foreign
+powers. On the 14th of April, however, Coulaincourt, the minister of
+foreign affairs, published his report to the emperor, giving an account
+of the result of the applications which had been made to foreign courts.
+From this it appeared that while no communication was permitted with the
+actual government of France, all the allied powers were diligently
+making preparation for war. "In all parts of Europe at once," said the
+minister, "they are arming, or marching, or ready to march." The powers,
+of course, were acting strictly within the terms of their expressed
+declaration to make "neither peace nor truce with Bonaparte." The
+emperor's practical reply to this declaration was made in the Champ de
+Mars on the 1st of June. Descending from his throne, he distributed the
+imperial eagles to the troops of the line and the national guards as
+they marched past, and swore to defend them at the hazard of their
+lives, and to suffer no foreigners to dictate laws to their country. All
+this time reinforcements were being despatched from England without
+intermission, and the Duke of Wellington had arrived to take command of
+the troops, native and foreign, in Belgium. There was nothing left for
+Napoleon except to fight. In the latter end of May, the headquarters of
+the French army of the north was established at Avesnes, in French
+Flanders; while, in the apprehension of an invasion by the allied armies
+on that part, Laon and the Castle of Guise were put in a defensive
+condition. On the 12th of June Bonaparte left Paris, accompanied by
+Marshal Bertrand and General Drouet, and proceeded to Laon.
+
+
+  TRI-COLOURED "EAGLES."
+
+At this point we meet with a piece of George Cruikshank's handiwork
+which is curious as indicative of the spirit which pervaded England at
+this momentous period. I am not at present in a position to refer to a
+newspaper of the period; but it would appear from the sketch referred to
+that, on or about the very day that Napoleon left Paris to join the
+splendid army which six days afterwards was so disastrously routed at
+Waterloo, a city fête was held at the Mansion House, at which that
+eccentric and sturdy nationalist, Sir William Curtis, whose face and
+figure were a fortune to the caricaturists of the period, covered the
+floor of the Mansion House with the tri-coloured eagles captured from
+the French in Peninsular battle-fields, while the banners of England
+domineered from the walls above. The exceedingly rare sketch which
+illustrates this incident is labelled appropriately by the artist,
+_Opening of Sir William Curtis's Campaign against the French Colours_.
+
+Six days afterwards, the star of Napoleon Bonaparte had set for ever in
+the lurid and ensanguined battle clouds of Waterloo. Scarcely one month
+later on--that is to say, on the 15th of July, 1815--he had surrendered
+to Captain Maitland, of his majesty's ship _Bellerophon_, under
+circumstances which, while they reflect no discredit on the honour of
+that gallant officer, seem to us, so far as England was herself
+concerned, scarcely to have justified her subsequent treatment of the
+great but unfortunate emperor. With this, however, we have nothing to
+do. The _Bellerophon_ on the evening of the 23rd, brought the
+distinguished exile within sight of the coast of England, a
+circumstance to which a subsequent caricature (_etched_ by the artist)
+has reference. On the 6th of September was published by Fores, _Boney's
+Threatened Invasion brought to bear, or Taking a View of the English
+Coast from ye Poop of the Bellerophon_. The little emperor, confined to
+the mast by a chain fastened to his leg, leaps on the breech of one of
+the _Bellerophon's_ guns, spy-glass in hand. "By gar, mon Empereur,"
+says Count Bertrand, "dey have erect von prospect for you." The
+"prospect" is far from encouraging--a fort with the English flag flying
+from the central tower, and a gibbet erected in front of it. No wonder
+that the emperor expresses himself dissatisfied with a "prospect" of so
+lugubrious a character. An English sailor seated on a neighbouring gun,
+delivers the sentiments of the day after the plain-spoken fashion of his
+countrymen. This design, which is by no means in the artist's usual
+style, was etched by him from the design of some one whose name or
+initials are not recorded.
+
+The actual circumstance to which the foregoing sketch refers is related
+to us by the commander of the _Bellerophon_:--
+
+"At daybreak on the 24th of July, we were close off Dartmouth. Count
+Bertrand went into the cabin and informed Bonaparte of it, who came upon
+deck about half-past four, and remained on the poop until the ship
+anchored in Torbay. He talked with admiration of the coast, saying, 'You
+have in that respect a great advantage over France, which is surrounded
+by rocks and dangers.' On opening Torbay, he was much struck with the
+beauty of the scenery, and exclaimed, 'What a beautiful country! It
+very, very much resembles the bay of Porto Ferrago, in Elba.'"[72]
+
+The same year, and on the same subject, the artist gives us _Boney's
+Meditations on the Island of St. Helena, or the Devil addressing the
+Sun_, in which the idea is manifestly borrowed from a design by James
+Gillray; _The Corsican's Last Trip under the Guidance of his Good Angel_
+[the devil]; _The Genius of France Expounding her Laws to the Sublime
+People_; and a very admirable and original design, _The Pedigree of
+Corporal Violet_; all of which are etched from the designs of other
+artists.
+
+Hardly was Napoleon despatched to the island prison which was so shortly
+to prove his grave, and replaced by the unwieldly Louis, than the latter
+came in for his full share of satire. In another of George Cruikshank's
+caricatures of the same year, he shows us _The Royal Laundress_ [Louis
+the Eighteenth] _Washing Boney's Court Dresses_, Napoleon watching the
+process the while from St. Helena. "Ha, ha!" he laughs, "such an old
+woman as _you_ might rub a long while before they'll be all white, for
+they are tri-coloured in _grain_." Another shows us fat Louis climbing
+the _mât de cocagne_ (soaped pole) and clutching the crown of France; he
+clambers up on the shoulders of Austria, Russia, and Prussia, his
+immediate supporter being England. Napoleon watches his progress from
+across the sea; "_I_ climbed up," he says, "twice, without _any_ help."
+Other subjects of the year are: _Friends in Need_, and _John's Dream, or
+the Prince and Old England for Ever!_
+
+
+  1816. AVERSION OF THE REGENT TO RETRENCHMENT.
+
+The repugnance of the Regent to the economical measures which were
+forced upon the ministry in 1816 is well-known. The people complained
+with every just reason of the pressure of taxes, which were levied, as
+they said, upon the industrious, to be squandered in extravagant
+salaries, sinecures, and unmerited pensions. They complained of the
+large standing army, which the Regent insisted to be necessary for the
+maintenance of "our position and high character among the European
+powers." The prince's aversion to the popular cry for retrenchment and
+reform is shown by one of George's caricatures entitled, _Sick of the
+Property Tax, or Ministerial Influenza_, published by Fores on the 8th
+of March, 1816, where we see the ministers vomiting into a huge
+receptacle labelled "Budget," the matter voided consisting of "Standing
+armies," "Property tax," "Increase of salaries," and so on. The gouty,
+self-indulgent prince hobbles up to his ministers on a pair of crutches
+marked respectively, "More economy" and "Increase of income." Under his
+arms he carries bundles of accounts, most of which relate to his own
+private expenditure, and are labelled, "Expenses of [Brighton]
+Pavilion," of "Furniture," "Drinking expenses." "Aye, this comes," he
+exclaims, "of your cursed pill economy, which you forced me to take a
+month back; no one knows what I have suffered from this economical
+spasm. I am afraid we shall all be laid up together." On the table
+behind him lie the medicines which have been prescribed for him, certain
+pills labelled "Petitions against the property tax," and a huge bolus
+ticketed "economy," "to be taken immediately." On the same subject a
+month later on is a sketch by an amateur, etched by the artist, bearing
+the title of _Economical Humbug of 1816, or Saving at the Spiggot and
+Letting Out at the Bunghole_. From a series of small vats, "Assessed
+taxes," "Property tax," "Customs," "Excise," and other streams of
+"supply," are pouring into a huge vat labelled "The Treasury of J.
+Bull's Vital Spirits." Vansittart, Chancellor of the Exchequer, is
+carefully drawing off what he requires into a small bucket for the
+"Public Service." "You see," he says to Mr. Bull, who looks admiringly
+on, "I am not a quibbling pettifogger, I am a man of my word; for you
+see I have thrown away the great _war_ spiggot, and have substituted a
+small _peace_ one in its stead, which will cause an unknown saving to
+you." This is all very well; but the gouty Regent has also tapped the
+vat on the other side, and draws off the supplies in a copious stream
+into a receptacle labelled, "Deficiencies of the Civil List." His
+friends and boon companions are bringing up a fresh supply of empty
+vessels to be filled in their turn; one carries a barrel marked, "For
+household troops and standing army"; another is labelled, "Sinecures,
+places, and pensions"; a third, "For cottages and pavilions"; and a
+fourth, "£60,000 for fun." "Come, my friends," says the prince, "make
+haste and fill your buckets, whilst Van is keeping noisy Johnny quiet
+with fine speeches and promises of economy, which I am determined not to
+practise as long as I can get anything to expend; and while he is saving
+at the spiggot, we will have it out of the bunghole."[73]
+
+_Preparing for the Match, or the 2nd of May, 1816_, has reference to the
+marriage of the Princess Charlotte of Wales, who, as we have already
+seen, was on that day united to Prince Leopold of Saxe-Coburg. It had
+been preceded by a well-designed but most indelicate satire, labelled
+_Royal Nuptials_, published by J. Johnstone on the 1st of April, in
+which the prince is seen landing on our shores in a state of
+destitution, with a pitiable lack of certain necessary articles of
+clothing, which are being handed to him by John Bull in the guise of a
+countryman. The _dramatis personæ_ are seven in number: Prince Leopold,
+John Bull, the Chancellor of the Exchequer, the gouty Regent, the
+Princess Charlotte, old Queen Charlotte, with her snuff-box, and, behind
+her, an old woman intended, I believe, for the poor old king himself.
+The same year we find two other indelicate subjects: _A Bazaar_, a skit
+upon the immorality and costume of the period, comprising thirty
+figures; and another, in allusion to the marriage of the Princess Mary
+with her cousin, the Duke of Gloucester, on the 22nd of July, 1816. To
+those who have asserted that George Cruikshank "never pandered to
+sensuality ... or raised a laugh at the expense of decency," that
+"satire in his hands never degenerated into savagery or scurrility," I
+would commend the serious consideration of the three satires I have last
+named.
+
+
+  THE ELGIN MARBLES.
+
+At the time Egypt was in the power of the French, during the early part
+of the century, Lord Elgin had quitted England upon a mission to the
+Ottoman Porte. A great change has taken place in the attitude and
+bearing of the Turks towards other European nations during the last half
+century; but even at this time the contempt and dislike which had
+characterized them in their behaviour towards every denomination of
+Christians still prevailed in full force. The success, however, of the
+British arms in Egypt, and the expected restitution of that province to
+the Porte, seem to have wrought a wonderful and instantaneous change in
+the disposition of that power and its people towards ourselves;[74] and
+Lord Elgin, availing himself of these favourable circumstances, obtained
+in the summer of 1801, access to the Acropolis of Athens for general
+purposes, with a concession to "make excavations and to take away any
+stones that might appear interesting to himself." The result (shortly
+stated) was the excavation of the once celebrated "Elgin marbles," about
+which, if we are to credit the report from which we glean this
+information, his lordship would seem to have expended (including the
+interest of capital) some £74,000. The committee recommend the House,
+under these circumstances, coupled with the valuations which they had
+obtained from competent authorities, that £35,000 was "a reasonable and
+sufficient price to be paid for the collection," and their purchase
+appears to have been completed on the basis of these figures, a fact
+which forms the subject of the artist's undated and admirable satire of
+_John Bull Buying Stones at the Time his Numerous Family Want Bread_.
+
+Unsigned, and under date of 25th of November, 1816, I find a caricature
+published by Fores, which seems to me due to the hand of George
+Cruikshank. It is entitled, _The Nightmayor_, "painted by Fuzeley," and
+represents a debased woman in the stertorous sleep of drunkenness, whose
+muddled dream-thoughts revert to the experiences with which her evil
+habits have made her so frequently familiar. The gin drinker has been
+brought before the Lord Mayor any number of times for being "drunk and
+disorderly," and accordingly her _nightmare_ assumes the form of the
+city official, who sits upon the body clothed in his robes and invested
+with the insignia of his office. Appended to the satire are the
+following lines:--
+
+  "The night mayor flitting through the evening fogs,
+   Traverses alleys, streets, courts, lanes, and bogs,
+   Seeking some love-bewilder'd maid by gin oppress'd,
+   Alights--and sits upon her downy breast."
+
+The only other caricature of George I have to notice under date of 1816
+is entitled, _State Physicians Bleeding John Bull to Death_. (*)
+
+
+  1817.
+
+In our third chapter we referred to the distress which prevailed amongst
+the industrial classes during the two years which followed the fall of
+Bonaparte.[75] We meet with an exceedingly rare pictorial satire by
+George Cruikshank, which relates to this state of things; it bears the
+title of, _John Bull Brought up for a Discharge, but Remanded on Account
+of Extravagance and False Schedule_, and was published by Fores on the
+29th of March, 1817. John Bull, a bankrupt, is being publicly examined
+as to the causes of his failure: "Being desired by the court to give
+some explanation [on the subject of the prodigious difference between
+his debts and his assets], he said that he had been persuaded originally
+to join with some of the parishioners in indicting his neighbour, Mr.
+Frog, for keeping a disorderly house; that they had engaged to bear
+their part of the expenses, but had all sneaked off one by one, and left
+him to pay the whole, and carry on the proceedings. It had at last,
+after being moved from one court to another, become a suit in Chancery;
+and he had been advised by the gentleman whom he had always consulted on
+these matters, and who was now dead, to go on and persevere, for that he
+would be sure to get a final decree in his favour, and all the costs. He
+had at last, in fact, got a decree in his favour, about two years since,
+before Lord Chancellor Wellington, and for the costs; but not a farthing
+had ever been paid, nor was it likely to be; on the contrary, Mr. Frog
+had surrendered himself, and gone to prison, where he was now living at
+this moment, at his [Mr. Bull's] expense. Besides, the house in question
+was now opened again under a new license, granted by the magistrates of
+the district ... or rather, a renewal of the old one, in favour of the
+brother of the person who had kept it formerly, ... and the new
+landlord had taken down the late sign of the Bee Hive, and put up the
+old one of the _Fleur-de-lis_; but it was nearly as disorderly as ever,
+and the magistrates were obliged to keep up a great number of special
+constables to preserve the peace of the neighbourhood."[76]
+
+John Bull, in his best blue coat and white waistcoat, and suffering
+under an attack of gout is going through the ordeal of his public
+examination before the judge. In front of this functionary is the
+bankrupt's schedule, on which we read the following items:--
+
+  "Amount of Income        £24,000,000
+   Expenditure              80,000,000
+   Dr. Nick Frog            10,000,000
+   Paul Bruin                1,000,000
+   Frank Force-child         8,000,000
+   Will Eagle Eye            6,000,000
+   Ferd. Faithless          30,000,000."
+
+In the body of the court, and separated from the commissioner by a
+wooden enclosure, the upper edge of which is lined with bayonets
+pointing inwards, are a number of the bankrupt's wretched creditors,
+whom Death, clothed in a red coat and armed with a mace, vainly strives
+to keep quiet. "Ck. fect." in such faint letters that they might easily
+escape detection, is appended to this remarkable composition.
+
+In our third chapter we also referred to the serious disturbances which
+followed and were the consequences of the public discontents of 1817,
+and the fact that the names of four informers, Castle, Oliver, Edwards,
+and Franklin were identified with those of the chief fomenters of
+sedition in the metropolis and the northern counties.[77] In further
+illustration of the satires in which these fellows put in an appearance,
+we have one by George Cruikshank (published by Fores on the 1st of
+July), and labelled, _Conspirators, or Delegates in Council_. We may
+here mention that on the 9th of June, one Watson, a surgeon, was tried
+for high treason at Westminster Hall, and acquitted on the 16th,
+whereupon the Attorney General abandoned the prosecution against
+Thistlewood, Preston, and Hooper, who were also indicted under a like
+charge. All the accused were in indigent or humble circumstances, and
+the chief witness against them appears to have been Castle. Among the
+five persons sitting round the table, we recognise Castle (whose
+villainous face is turned towards us) and Oliver. The others we cannot
+identify. The aristocratic looking gentleman receiving them so blandly
+is my Lord Castlereagh. "Don't you think, my lord," says the person next
+him, "Don't you think that our friends Castle and Oliver should be sent
+to Lisbon or somewhere, as consul-generals or envoys?" "Can't you," says
+his lordship to the beetle-browed ruffians by way of rejoinder, "Can't
+you _negotiate_ for some boroughs?" John Bull, looking through the
+window at these negotiations, with much indignation, and recognising in
+these fellows the rascals by whom he has been "ensnared into
+[committing] criminal acts," hints in very plain terms that the conduct
+pursued by such men was the high road to political favour in 1817. Among
+the papers on the table we notice a "Plan for the attack on the Regent's
+carriage;"[78] a bundle of "treasonable papers to be slipped into the
+pockets of some duped artisans;" another, indicating the "means to be
+taken to implicate Sir Francis Burdett, Lord Cochrane," and other
+popular agitators of that day; "A list of victims in Ireland," and so
+on. On the floor at his lordship's feet lie some of the tri-coloured
+flags unfurled at the Spafields meeting; the obvious inference intended
+to be conveyed being of course that the Government were really at the
+bottom of the popular disturbances.
+
+_R-y-l Condescension, or a Foreign Minister Astonished_, published by
+Fores on the 15th of September, 1817, is one of George Cruikshank's most
+finished but at the same time indelicate compositions. It refers to the
+rumours affecting the Princess Caroline's reputation which preceded the
+"bill of pains and penalties," to which we have already alluded. It
+appears to us to have originated out of the following circumstance. It
+was asserted that at a masked ball which the princess had given shortly
+after she left England to the then King of Naples, Joachim Murat, she
+appeared in three different disguises; that in one of these, "The Genius
+of History," she had appeared in so unclothed a state as to call for
+particular observation; her third disguise was a Turkish costume. It was
+further asserted that in her changes of dress she had been assisted, not
+by her female attendants, but by the person with whom her name was so
+familiarly associated. In the sketch before us, Her Royal Highness's
+corpulent and redundant figure is clothed in a tight-fitting Turkish
+dress and trousers, her head being covered by a ponderous turban. The
+five figures composing her "suite" are the Courier Bartolomeo Bergami,
+his brothers Louis and Vollotti Bergami, his sister, and William Austin,
+the youth she had adopted,[79] and who, it was proved, slept in her
+bed-chamber. The whole are decorated with the crosses and ribbons of the
+absurd order which she was said to have instituted. The courtly, well
+dressed foreign gentleman to whom she is introducing these vulgar
+persons appears to be intended for Metternich, who, while thanking Her
+Royal Highness for her "condescension," looks the very picture of
+unfeigned but well-bred astonishment.
+
+
+  DEATH OF PRINCESS CHARLOTTE.
+
+In the evening of the 18th of November, 1817, a mournful procession, at
+which all the great officers of state attended, quitted Claremont House
+_en route_ for Windsor. At the impressive ceremony which followed,
+Garter King at Arms proclaimed its melancholy purport in the following
+words: "Thus it has pleased Almighty God to take out of this transitory
+life, unto His Divine mercy, the late most illustrious Princess
+Charlotte Augusta, daughter of His Royal Highness, George, Prince of
+Wales, Regent of the United Kingdom." It was even so. The pride and hope
+of the nation, the heiress of the crown, was on the 6th of November
+delivered of a still-born child, and within a very few hours afterwards
+had succumbed to the unlooked-for and fatal exhaustion which followed.
+The grief which this occasioned was so universal that every one seemed
+to realize the fact that he or she had sustained an individual loss;
+scarcely perhaps in English history had the death of a member of a royal
+family been more sincerely and truly regretted. The mournful event is
+referred to by the artist in a more than usually touching sketch,
+entitled, _England's Hope Departing_. Among the medical attendants of
+Her Royal Highness who followed her to the grave, was the accoucheur,
+Sir Richard Croft, Bart. This distinguished gentleman was so deeply
+affected with the unlooked-for result, that his mind refused to recover
+its tone, and within a month afterwards he committed self-destruction.
+
+Other pictorial satires of George Cruikshank, bearing the date of 1817,
+are: _Fashionables of 1817_, two figures--a male and female--outrageously
+caricatured, a rough affair, altogether differing from his usual style;
+the well-known _double entendre_, _A View of the Regent's Bomb_, which,
+with our knowledge of his sensitiveness on the subject of his personal
+appearance, must have given the exalted personage thus outrageously
+satirized the greatest possible mortification; _The Spa Fields Orator
+Hunting for Popularity to do Good_, (*) a punning satire on "Orator" Hunt;
+_A Patriot Luminary Extinguishing Noxious Gas_ (etched from the design of
+another artist); and two admirable designs bearing the titles of
+_Vis-à-Vis_ and _Les Graces_. The same year we meet with one of the
+earliest of his alliterative satires, afterwards so frequently to be seen
+among the famous illustrations to the "Comic Almanack": _La Belle
+Assemblée, or Sketches of Characteristic Dancing_, miscellaneous groups,
+comprising in all thirty figures (exclusive of the orchestra), engaged in
+a country dance, a Scotch reel, an Irish jig, a minuet, the German waltz,
+a French quadrille, the Spanish bolero, and a ballet "Italienne." The
+walls are hung with pictures of dancing dogs, a dancing bear, a dancing
+horse, rope dancing, the dance of St. Vitus, and "Dancing Mad." Besides
+this, we find the same year two large sheets showing the _Striking Effects
+produced by Lines and Dots, for the Assistance of every Draughtsman_,
+suggested by, but a very vast improvement on, G. M. Woodward's _Multum in
+Parvo, or Liliputian Sketches, showing what may be done by Lines and
+Dots_.
+
+
+  1818. ADULTERATION OF TEA.
+
+A report of the House of Commons, showing how four million pounds weight
+of sloe, liquorice, and ash-tree leaves were annually mixed with Chinese
+teas in England, was supplemented by a trial in the Court of Exchequer,
+in which a grocer named Palmer was fined in £840 penalties, for the
+fabrication of spurious tea. It appeared that there was a regular
+manufactory of imitation tea in Goldstone Street, which was composed of
+thorn leaves, which, after passing through a peculiar process, were
+coloured with logwood; the same leaves, after being pressed and dried,
+were laid upon sheets of copper, coloured with verdigris and Dutch pink,
+and sold as _green_ tea. These revelations led, in 1818, to the artist's
+admirable caricature of _The T Trade in Hot-water, or a Pretty Kettle of
+Fish: dedicated to J. Canister and T. Spoon, Esquires_. Besides these,
+we have the same year: _An Interesting Scene on Board an East Indian_, a
+very coarse but admirable performance; _Introduction to the Gout_ (a
+fiend dropping a hot coal on the toe of a _bon vivant_); _A Fine Lady,
+or the Incomparable_, in which it appears to us that Robert had a hand;
+_Les Savoyards_ and _Le Palais Royal de Paris_; _Comparative Anatomy, or
+the Dandy Trio_; and _The Art of Walking the Streets of London_, eight
+subjects, etched by the artist after the design of George Moutard
+Woodward.
+
+[Illustration:
+  _Designed, Etched and Published by_ GEORGE CRUIKSHANK. _November 1st,
+  1829._
+
+  "A SCENE IN KENSINGTON GARDENS, OR FASHIONS AND FRIGHTS OF 1829."
+
+  _Face p. 152._]
+
+On the 4th of December, 1818, the number of convicts lying under
+sentence of death in his Majesty's gaol of Newgate, amounted to no less
+than sixty, of whom ten were females; probably not three of these
+unfortunate beings would have been hung now-a-days. Under the Draconian
+laws, however, then in force, people were hung in scores for passing
+forged one-pound Bank of England notes; and this barbarous state of
+things, disgraceful to a Christian country, led to the famous and
+telling satire of the _Bank Restriction Note_, one of the very few which
+seem to have escaped oblivion, and which, having been repeated and
+reproduced in all the latest essays which have been written on him,
+calls for no extra description from ourselves. It is said to have had
+the effect desired, and that "no man or woman was ever hanged after this
+for passing forged one-pound Bank of England notes."
+
+
+  1819.
+
+In 1819 we have one of George Cruikshank's severe and telling attacks
+upon the Prince Regent, in _Sales by Auction, or Provident Children
+disposing of their Deceased Mother's Effects for the Benefit of the
+Creditors_ (*), in which he shows us the prince knocking down (in his
+character of auctioneer) his dead mother's old hats, gowns, and
+clothing, and begging the bystanders to bid liberally. At the foot of
+the rostrum lie sundry snuff-boxes and pots, labelled "Queen's Mixture"
+and "Prince's Mixture" (in allusion to the old queen's habits),
+"Strasburg" (in reference to her German tastes and nationality),
+together with her old china tea-set.
+
+This year is remarkable for producing perhaps the most ambitious and
+admirable allegory which the artist ever designed; it bears the title of
+_Old Thirty-nine Shaking Hands with his Good Brother the Pope of Italy,
+or Covering Up_ versus _Sealing the Bible_. Old Thirty-nine (an English
+bishop) stands on a pile of volumes labelled, "Never-out-ism,"
+"Ante-biblism," "Never-the-same-ism," etc., whilst the pope, standing on
+the opposite side on a mass of books bearing similar suggestive titles,
+shakes hands with his "good brother." By the pope's side we find the
+devil busily engaged in sealing up the Bible. Behind him stands the
+Temple of Mammon, surrounded by a crowd of reverend worshippers. Two
+fiends standing by the side of "Old Thirty-nine" make preparations for a
+bonfire, to which sundry bundles labelled, "Articles of Faith,"
+"Athanasian Creed," "Catechism," "Liturgies," "Nicene Creed," and so on,
+will contribute materials. Out of a building in the rear, inscribed,
+"National School for Thirty-niners only," issues a procession of
+ecclesiastics and beadles carrying banners. In the foreground stands the
+figure of "Divine Truth," surrounded by little children, and perusing
+the pages of the "Holy Bible," held for that purpose by an angel. A
+roughly executed affair in two compartments, _Preachee and Floggee Too_,
+satirizes certain clerical magistrates who, while preaching mercy and
+forgiveness in the pulpit, distinguish themselves by the severity of
+their sentences for minor offences on the magisterial bench. The titles
+of other subjects of the year are: _The Hobby Horse Dealer_; _Johnny
+Bull and his Forged Notes, or Rags and Ruin in the Paper Currency_;
+_Smoke Jack, the Alarmist, Extinguishing the Second Great Fire of
+London_; _Love, Law, and Physic_ (*); _The Sailor's Progress_ (six
+subjects); _Dandies in France, or Le Restorateur_ (*); _A Match for the
+King's Plate_; _The Belle Alliance, or the Female Reformers of
+Blackburn_ (*); _Voila t'on mort_; and _Royal Red Bengal Tiger_ (etched
+from the designs of other artists); _Irish Decency_ (two caricatures);
+_Giant Grumbo and the Black Dwarf, or Lord G---- and the Printers
+Devil_; and _Our Tough old Ship Steered Safely into Harbour maugre
+Sharks of the Day_ (*).
+
+An unsigned caricature, published by Fores on the 15th of May, 1819,
+appears to me to be due to the hand of George Cruikshank. It bears the
+title of _The Dandy Tailor Planning a New Hungry Dress_, and would
+appear to have reference to some contemplated introduction of foreign
+mercenaries into the English service. The tailor, while stitching a
+military jacket, sings a song of which the following is a verse,--
+
+  "A tailor there was, and he lived in a stall,
+   Which served him for palace, for kitchen, and hall.
+   No coin in his pocket, no nous in his pate,
+   No ambition has he, nor no wish to be great.
+       Derry down, down, down, derry down!"
+
+A foreigner enters in military costume, introducing two foreign
+mercenaries. "Dese men," he says, "will teach you de proper vay to make
+de Hungarian soldats. I did bring dem expres'. Observe des grands
+mustaches. No more English soldats." A military figure in jack boots,
+standing by the side of the tailor, holds the "goose" in readiness for
+his master's use. The Prince Regent, especially as George the Fourth,
+was fond of inventing new military costumes, and Mr. Greville describes
+him in 1829 (the year before his death) as "employed in devising a new
+dress for the guards;" but by the mitre at his back, and the reference
+to his impecunious position, I should take this "tailor" to be intended
+for the Duke of York.
+
+
+  1820.
+
+_Ah! sure such a pair was never seen, so justly formed to meet by
+nature!_ (*) represents a couple of pears, in which we recognise
+likenesses of George the Fourth and Queen Caroline, the features of the
+king being expressive of strong disgust. After Lord Liverpool had
+decided not to send the "Bill of Pains and Penalties" to the Commons,
+for the reason stated in a previous chapter, the Lord Mayor, Aldermen,
+and Common Council of the City of London distinguished themselves by
+presenting, on the 10th of December, an address to their "most gracious
+sovereign," complaining of things in general, and of public expenditure
+in particular, the real cause of complaint, however, being "the alleged
+criminality" which, as the petitioners stated, had been "falsely
+ascribed" to the queen. This address, which was conceived in the worst
+possible taste, concluded with the following outrageous prayer: "We
+therefore humbly pray your Majesty to dismiss from your presence and
+councils for ever those ministers whose pernicious measures have so long
+endangered the throne, undermined the constitution, and blighted the
+prosperity of the nation." Now, only fancy any Corporation of London in
+our time signalizing itself by presenting a petition to "Her Most
+Gracious Majesty," complaining of the measures of Lord Beaconsfield or
+Mr. Gladstone, and praying her to dismiss them from her councils! The
+king returned the following answer: "It has been with the most painful
+feelings that I have heard the sentiments contained in the address and
+petition now presented to me by the Lord Mayor, Aldermen, and Common
+Council of the City of London. Whatever may be the motives of those by
+whom it is brought forward, its evident tendency is to inflame the
+passions and mislead the judgment of the unwary and less enlightened
+part of my subjects, and thus to aggravate all the difficulties with
+which we have to contend." This episode suggested to George one of the
+most admirable of his caricatures: _A Scene in the New Farce as
+performed at the Royalty Theatre_. The corpulent monarch, in the
+character and costume of Henry the Eighth, is receiving a number of
+deputations from all parts of England, Scotland, and Ireland, bearing
+petitions praying him to dismiss his ministry, the members of which
+stand on each side of the throne, one of the number being habited as a
+jester. This exceedingly rare plate carries on it the following
+explanation: "King Henry VIII. being petitioned to dismiss his ministers
+and council by the citizens of London and many boroughs, to relieve his
+oppressed subjects, made the citizens this sagacious reply: 'We, with
+all our cabinet, think it strange that ye who be but _brutes_ and
+inexpert folk, should tell us who be and who be not fit for our
+council.'"
+
+
+  1821.
+
+Another of George Cruikshank's rare and valuable contributions to the
+Queen Caroline series of pictorial satires is labelled _The Royal
+Rushlight_, which many people (among them the Chancellor and corpulent
+George) are vainly endeavouring to blow out. By way (it may be) of
+contrast, this excellent satire has appended to it the following
+miserable doggerel,--
+
+  "Cook, coachee, men and maids, very nearly all in buff,
+     Came and swore in their lives they never met with such a light;
+   And each of the _family_ by turns had a puff
+     At the little farthing rushlight.
+   But none of the family could blow out the rushlight."
+
+
+  DEATH OF QUEEN CAROLINE.
+
+With the year 1821 came the closing scene in the drama of Caroline's
+unhappy but singularly undignified career. On the occasion of the king's
+coronation she had applied to Lord Liverpool, desiring to be informed
+what arrangements had been made for her convenience, and who were
+appointed her attendants at the approaching ceremony. An answer was
+returned that, "it was a right of the Crown to give or withhold the
+order for her Majesty's coronation, and that his Majesty would be
+advised not to give any directions for her participation in the
+arrangements;" but with the obstinacy of purpose which was so fatal a
+blemish in her character, and which seems to have been the primary cause
+of all her misfortunes, she insisted on her right, and declared moreover
+her firm intention of attending the ceremony. A respectful but
+peremptory reply was returned, reasserting the legal prerogative of the
+Crown, and announcing that the former intimation must be understood as
+amounting to a _prohibition_ of her attendance. She was however so
+ill-advised as to present herself early on the morning of the day (the
+19th of July) at the doors of the Abbey of Westminster. The door-keepers
+refused to allow her to enter as queen; and she was forced to submit to
+the mortification of having to retire without having succeeded (as it
+was her evident intention to have done) in marring the arrangements for
+the splendid ceremony. By this time the enthusiasm in her favour had
+greatly evaporated, and she was received even coldly by her friends the
+assembled mob. The mortification proved fatal to her; very shortly
+afterwards she was taken ill, and died in less than three weeks after
+the unnecessary mortification to which she had thus insisted on exposing
+herself.
+
+It is probable that if the wishes of her executors had been allowed to
+be carried out, the unfortunate woman would have been carried to her
+grave in peace. She had directed that her remains should, three days
+after her death, be carried to Brunswick for interment; and had Lord
+Liverpool been wise, he would have left the executors to carry out the
+arrangements after their own fashion. Unfortunately, the Government
+decided to take the arrangements into their own hands, and to lay down
+the route (the shortest) by which the mournful procession should proceed
+to Harwich. No fault can be found with the arrangements themselves,
+which were intended to pay the greatest respect to the memory of the
+deceased; but the cautions they took brought about the very result they
+were anxious to avoid, and at once revived all the slumbering sympathies
+of the mob in favour of the unhappy queen. A squabble took place at the
+outset, Dr. Lushington, as one of the executors, protesting against the
+removal of the corpse; but, escorted by squadrons of Horse-guards Blue,
+the procession left Brandenburg House at eight o'clock in the morning of
+the 15th of August, in a drizzling rain. The cavalcade reached
+Kensington in solemn order; but on arriving at the Gravel Pits, and
+attempting to turn off to the left, its progress was instantly blocked
+by wagons and carts placed across the road, while a body of men formed
+across the streets twenty deep and evinced every disposition to dispute
+the passage. A severe conflict took place between them and the
+constables, several on both sides being hurt. For an hour and a half
+the procession waited for orders, and at length it moved towards London.
+On reaching Kensington Gore a squadron of the Life Guards, with a
+magistrate at their head, tried in vain to open the park gates, the
+crowd vociferating in the meantime, "To the city! the city!" On reaching
+Hyde Park Corner, the gate there was found barricaded with carts, and
+the procession then moved on to Park Lane, which being also blocked up,
+it turned back hastily and entered Hyde Park, through which it proceeded
+at a trot, the soldiers having cleared away the obstacles at the gate.
+On reaching Cumberland Gate, it was found closed by the populace, and in
+the conflict which ensued the park wall was thrown down by the pressure
+of the crowd, who hurled the stones at the soldiers, in return for the
+use the latter had made of their sabres in clearing the passage. Many of
+the military and their horses were hurt; and some of the soldiers,
+irritated by their rough usage, resorted to their pistols and carbines,
+and two persons (Richard Honey, a carpenter, and George Francis, a
+bricklayer) were unfortunately killed, and others wounded. The Edgeware
+Road was blockaded, but quickly cleared, and the procession moved on
+till it arrived at the turnpike gate near the top of Tottenham Court
+Road. There the mob made so determined a stand that further opposition
+was deemed unadvisable, and the popular will being at length acceded to,
+the cavalcade forthwith took its way into the city. Every street through
+which a turn could have been made in order to enter the New Road or the
+City Road was found barricaded. As the funeral passed through the city,
+the Oxford Blues doing duty there, who had not participated in the
+outrage, were cordially greeted by the populace on either side of the
+street. The inquests on the bodies of the dead men lasted for a
+considerable period. In the case of Francis, a verdict of "wilful murder
+against a life guardsman unknown" was returned; whilst in that of Honey,
+the verdict was manslaughter against the officers and men of the first
+regiment of Life Guards on duty at the time. This event is recorded by
+George in a caricature entitled, _The Manslaughter Men, or a Horse Laugh
+at the Law of the Land_,--two ghostly gory figures rising from their
+graves, which are respectively inscribed, "Verdict, wilful murder," and
+"Verdict, manslaughter"; a group of life guardsmen grin and point at the
+body, and one of them jeeringly remarks, "Shake not thy bloody locks at
+me; ye cannot say who did it." Another satire on the same subject bears
+the title of _The Horse Chancellor obtaining a Verdict, or Killing no
+Murder_.
+
+Other subjects of this year are the following: _And when Ahitophel saw
+that his Counsel was not followed, he Saddled his Ass, and arose and
+went and Hanged himself_; _O! O! there's a Minister of the Gospel_; _The
+Royal Extinguisher, or the King of Brobdingnag and the Liliputians_
+(etched after the design of Isaac Robert). Six subjects, _La Diligence_
+and _La Doriane_, _Venus de Medici and Mer de Glace_, _Visit to
+Vesuvius_ and _Forum Boarium_, and _Nosing the Nob at Ramsgate_, a
+coarsely executed satire aimed at his Majesty and his eccentric subject,
+Alderman Sir William Curtis.
+
+
+  1822. SIR WILLIAM CURTIS.
+
+Sir William Curtis, alderman, trader, and formerly member for the city,
+is one of the most prominent figures in the satires of his time. Making
+every allowance for caricature drawing, the likeness must have been on
+the whole a faithful though an exaggerated one; for in all the numerous
+comical sketches in which he makes an appearance, we never fail to
+recognise his ruby nose and ponderous figure. We have already seen him
+figuring by way of ludicrous contrast with Claude Ambroise Seurat, the
+"living skeleton," and we shall now find him associated by the
+caricaturists with no less a person than the king himself. When his
+majesty, in 1822, paid his visit to Scotland, and by way of compliment
+to the country and her traditions assumed the "garb of old Gael,"
+Alderman Sir William Curtis, who followed his sovereign at a respectful
+distance, out of compliment to the country, her traditions, "his most
+gracious majesty," and himself, put his own corpulent form into fancy
+costume, and likewise donned the Highland garb. The absurdly ludicrous
+result is told us by Lockhart. "The king at his first levee diverted
+many, and delighted Scott by appearing in the full Highland garb--the
+same brilliant _Stewart tartans_, so-called, in which certainly no
+Stewart, except Prince Charles, had ever before presented himself in
+the saloons of Holyrood. His majesty's Celtic toilette had been
+carefully watched and assisted by the gallant Laird of Garth, who was
+not a little proud of the result of his dexterous manipulations of the
+rough plaid, and pronounced the king 'a vara pretty man.' And he did
+look a most stately and imposing person in that beautiful dress; but his
+satisfaction therein was cruelly disturbed when he discovered, towering
+and blazing among and above the genuine Glengarries and Macleods and
+MacGregors, a figure even more portly than his own, equipped from a
+sudden impulse of loyal ardour in an equally complete set of the
+self-same conspicuous Stewart tartans:--
+
+  'He caught Sir William Curtis in a kilt--
+  While throng'd the chiefs of every Highland clan
+  To hail their brother, Vich Ian Alderman.'[80]
+
+In truth this portentous apparition cast an air of ridicule and
+caricature over the whole of Sir Walter's celtified pageantry. A sharp
+little bailie from Aberdeen, who had previously made acquaintance with
+the worthy Guildhall baronet, and tasted the turtle soup of his
+voluptuous yacht, tortured him as he sailed down the long gallery of
+Holyrood, by suggesting that after all his costume was not quite
+perfect. Sir William, who had been rigged out, as the auctioneer's
+advertisements say, 'regardless of expense,' exclaimed that he must be
+mistaken, begged he would explain his criticism, and, as he spoke, threw
+a glance of admiration on his _skene dhu_ (black knife), which, like a
+true 'warrior and hunter of deer,' he wore stuck into one of his
+garters. 'Oo ay! Oo ay!' quoth the Aberdonian; 'the knife's a' right,
+mon--but faar's your speen?' (where's your spoon?) Such was Scott's
+story; but whether he 'gave it a cocked hat and walking cane,' in the
+hope of restoring the king's good humour, so grievously shaken by this
+heroical _doppel ganger_, it is not very necessary to inquire."[81]
+
+Which indeed of the absurd pair looked the most ridiculous it would be
+hard to say: a great-grandson of George the Second in the Highland garb
+of "Bonnie Prince Charlie," was perhaps as absurd an anachronism as a
+fat cockney alderman in the same fancy costume. Our friends the
+caricaturists were fully alive to these puerilities. An anonymous
+caricature of the day celebrates the ludicrous event in a satire
+entitled, _Equipt for a Northern Visit_, which represents the fat king
+and the fat alderman in kilts, the point of the pictorial epigram lying
+in the fact that the corpulent king recommends his corpulent subject to
+lay aside the costume as unbecoming to a man of _his_ proportions.
+George has several pictorial satires on the same fertile theme; one of
+these, _Bonnie Willie_, depicts the huge man in Highland garb. A rare
+and most amusing caricature shows us the supposed unfortunate _Results
+of this Northern Excursion_. The fat king and his fat subject have
+caught the northern complaint vulgarly termed the "Scottish fiddle," and
+are vigorously going through the traditionary process of rubbing
+themselves against the post, blessing the while his grace the Duke of
+Argyle. An English acquaintance, not unnaturally afraid of infection,
+refuses the alderman's proffered hand.
+
+A caricature of altogether another kind commemorates a raid made by the
+Bow Street officers on the numerous gaming establishments of 1822. It is
+called, _Cribbage, Shuffling, Whist, and a Round Game_, is divided into
+six compartments, and is most humorously and admirably treated. The
+principal performers are the knaves of cards. One of the compartments
+shows us the knaves on the treadmill, which is marked "Fortune's Wheel;"
+while in another a knave is undergoing the discipline of the "cat," and
+calling out at every stroke "E. O.! E. O.! E. O.!"[82]
+
+
+  STATUE OF ACHILLES.
+
+Sir Richard Westmacott's statue of Achilles was executed in 1822. The
+nude, undraped colossal figure, which was subscribed for by the ladies
+of England in honour of the Duke of Wellington and his soldiers, was the
+occasion of numerous contemporary satires--most of them (in those
+plain-spoken days) of the broadest possible character. One of the most
+indelicate (*) (drawn by the artist from the sketch or suggestion of
+another) gives a burlesque front and back view of the figure, which is
+surrounded by a number of people (principally ladies), among whom we
+recognise a caricature likeness of the "Dook." The inscription runs as
+follows: "To Arthur à Bradley, and his jolly companions every one, this
+brazen image of Patrick O'Killus, Esq., is inscribed by their
+countrywomen."[83] Besides the foregoing, we meet this year with _A
+Lollipop-Ally Campagne and Brandy Ball_ (*); _Premium, Par, and
+Discount_; _Showing-off--Bang up--Prime_ (*); and _A Sailor's
+description of a Chase and Capture_ (*).
+
+
+  1823.
+
+A large proportion of his satires for 1823 are aimed at Louis the
+Eighteenth's Spanish expedition, the object of which we have already
+related. One of these shows us _France the great Nation driven by the
+North into the South_; in another, Ferdinand the Seventh and the Duc
+d'Angoulème figure respectively as a _Spanish Mule and a French
+Jackass_; _A French Hilt on a Spanish Rapier_, is likewise dedicated to
+the Duc d'Angoulème; another shows us _Old Bumblehead the 18th trying on
+Napoleon's Boots_; a fifth is entitled, _A Hint to the Blind and
+Foolish, or the Bourbon Dynasty in Danger_; while a sixth shows us
+_Louis the Fat troubled with Nightmare and Dreams of Terror_. In all
+these caricatures, the figure of Napoleon, already sleeping his last
+sleep at St. Helena--the place of his exile and of his grave--is
+represented by way of contrast to the unwieldly and incompetent Bourbon.
+Another caricature, the point of which I fail to see, bears the title of
+_The Tables Turn'd, or the Devil Outwitted and Cruelly Punished,--a
+Scene on the Portsmouth Treadmill_; this last, though said to be
+"designed by an amateur," and "etched by G. Ck.," is unquestionably all
+his own.
+
+
+  1824.
+
+_Drilling One-tenth of the Military in the Manual Exercise_, and _Saint
+Shela_ (two subjects), have reference to the Tenth Hussars and Battier
+scandal, mentioned in a previous chapter;[84] other subjects of 1824
+are: _Parisian Luxury_ (a man being shaved in a bath); _Preparing for a
+Duel_; and _The Ostend Packet in a Squall_; all etched by George from
+the designs of other artists. The mania for joint-stock companies in
+1825, was scarcely equalled by the speculation mania which inaugurated
+the passing in our own time of the "Limited Liability Act." In 1824 and
+the beginning of 1825, two hundred and seventy-six companies had been
+projected, of which the aggregate capital (on paper only) represented
+£174,114,050. Thirty-three of these were established for the
+construction of canals and docks, forty-eight of railroads, forty-two
+for the supply of gas, six of milk, and eight of water, four for the
+working of coal, and thirty-four of metal mines; twenty new insurance
+companies were started, twenty-three banks, twelve navigation and packet
+companies, three fisheries, two for boring tunnels under the Thames,
+three for the embellishment and improvement of the metropolis, two for
+sea-water baths, and the rest for miscellaneous purposes; it is a
+somewhat significant fact that two only had for their object the
+establishment of newspapers. Notwithstanding the manifest absurdity of
+many of these projects, the shares of several--especially of the mining
+adventurers in South America--rose to enormous premiums. Among the last
+may be mentioned those of the Real del Monte, the price of which,
+between the 10th of December and the 11th of January, rose from £550 to
+£1350, and the United Mexican during the same period from £35 to £1550.
+On these last shares only £10 had been paid, and on the former only £70.
+Speaking of this mania, the Rev. T. F. Dibdin (in his "Reminiscences")
+says, "If it did not partake of the name, it had certainly all the wild
+characteristics of the South Sea Bubble. To-day you had only to put your
+name down to a share or shares in the Rio de la Plata or other South
+American mines, and to-morrow a supplicant purchaser would give you
+fifty per cent. for every share taken. The old were bewitched ... the
+young were in ecstasies. Everybody made a rush for the city. A new world
+of wealth had been discovered. It was only to ask and have." George
+Cruikshank refers to this state of things in a caricature called, _A
+Scene in the Farce of Lofty Projects, as Performed with great success
+for the benefit and amusement of John Bull_. Besides these, he gives us
+_The Four Mr. Prices_ (High Price, Low Price, Full Price, and Half
+Price).
+
+I can assign no date to _Waiting on the Ladies_; _The Death of the
+Property Tax, or Thirty-seven Mortal Wounds for Ministers and the
+Inquisitorial Commissioners_; or to _The Court at Brighton, à la
+Chinese_, one of the most admirable of the whole series. In this last,
+the fat prince habited as a mandarin, is seated on a sofa between the
+Princess Charlotte and an enormously fat woman, probably intended for
+the Marchioness of Conyngham. He is handing to a Chinese official a
+paper inscribed "Instructions for Lord Amhurst, to get fresh patterns of
+Chinese deformities to finish the decorations of Pavilion G. P. R." A
+specimen of regency taste and sympathies stands on a pedestal in the
+form of the Hottentot Venus, while a statuette of the fat prince
+himself, habited in a red coat, white waistcoat, yellow inexpressibles,
+and silk stockings, is labelled the "British Adonis." The princess
+recommends her papa to order the officer to bring her over "a Chinaman,
+instead of getting her a husband among our German cousins." A variety of
+miscellaneous articles are strewn about the floor, among them a box
+containing the Regent's wigs and whiskers, a treatise on "The Art of
+making Punch," the indispensable hamper of champagne, and a pair of
+curling irons; while no one will fail to recognise the interior of the
+Brighton Pavilion as the scene where this admirable satire is laid.
+Another undated satire remains to be noticed: it represents a young man
+in a boat with three young women, one of them of considerable personal
+attractions, that is to say from a Cruikshankian point of view, and
+evidently a likeness. On the shore stands another young woman and her
+child, whom the young spark has evidently left behind him. In the stern
+of the boat is a hamper of wine and a goblet fashioned out of a skull; a
+noseless man rows the boat, while three sailors in an adjoining vessel
+make ribald observations in reference to the young man's female
+companions. By the star on his coat, the turned-down collar, profile,
+and the arrangement of the hair, we take it that the person thus
+satirized is Lord Byron. Any doubts we may have on the subject seem
+removed by the words of the song he is supposed to be singing while
+waving his hat to the disconsolate woman on the shore:--
+
+  "All my faults perchance thou knowest,
+    All my _madness_ none can know."
+
+And the concluding stanza:--
+
+  "Fare thee well! thus disunited,
+     Torn from every nearer tie,
+   Seared in heart, and lone, and blighted,
+     More than this I scarce can die"!!
+
+The foregoing contains a list and description of some of George
+Cruikshank's graphic satires, many of which we have reason to believe
+will be entirely new to the great majority of our readers. They support
+the description given of him by Lockhart at the opening of our chapter:
+"People consider him as a clever, sharp caricaturist, and nothing
+more--a free-handed, comical young fellow, who will do anything he is
+paid for, and who is quite content to dine off the proceeds of a 'George
+IV.' to-day, and those of a 'Hone,' or a 'Cobbett,' to-morrow." It must
+be remembered that these represent but a branch of his work; and that
+while content to design a satire as elaborate and as admirable as any
+which owe their origin to the hand of Gillray, or to dash off a rough
+and carelessly executed caricature, he was equally ready to etch the
+work of an inferior artist, or even of an amateur; to execute a drawing
+on wood for a ballad, or for one of the numerous political hits of the
+day, whether on the loyal or the popular side mattered but little to
+him; to do anything, in fact (to use the words of Lockhart), that "was
+suggested or thrown in his way." It is barely possible that the very
+imperfect series we have given may astonish those who have hitherto
+regarded George Cruikshank only as an illustrator of books, and supposed
+that, with the exception of the woodcuts for Hone's various _jeux
+d'esprits_, and the rough work which appears in "The Satirist," "The
+Scourge," and publications of a similar character, he executed but few
+pictorial satires. A perfect set of impressions from his caricatures
+probably does not exist; if it did it would command a high price indeed.
+We have seen a set of about seventy plates advertised by one
+enterprising bookseller at the price of seventy pounds. The specimens we
+have cited (exclusive of two from "The Scourge") 128 in number, were
+published between the years 1808 and 1825, by G. and H. Humphrey, S.
+Fairburn, Thomas Tegg, Ackermann, M. Jones, J. Fairburn, J. Dolby, W.
+Hone, S. W. Fores, A. Bengo, J. Sidebotham, S. Knight, and J. Johnstone.
+If to the foregoing we add the plates in "Cruikshankiana"--twenty-six in
+number, thirty in "The Scourge," six in "Fashion," nine in "The
+Satirist," and eight in the "Loyalists' Magazine," we get seventy-nine
+more, making a sum total of over two hundred in all. How many more have
+escaped notice--how many have disappeared for ever from public notice
+without a chance of recovery or revival--it would be, perhaps,
+impossible to say; for even George himself was sometimes at fault, when
+the long-forgotten work of his early years was presented to him for
+recognition or acknowledgment.
+
+
+FOOTNOTES:
+
+  [66] Alluding to the "Life in London."
+
+  [67] This certainly was not true; both Gillray and Rowlandson were
+    draughtsmen and artists of exceptionable ability.
+
+  [68] The article from which this is quoted is variously assigned to
+    Professor Wilson and Lockhart; it matters little which. Meanwhile, we
+    must have a name, let it be Lockhart's.
+
+  [69] The editor of "The Scourge" was one Jack Mitford. He received a
+    classical education, was originally in the navy, and fought under
+    Hood and Nelson. Besides "The Scourge," he edited "The Bon Ton"
+    magazine, and "Quizzical Gazette," and was author of a sea song once
+    popular, "The King is a true British Sailor." He was an irreclaimable
+    drunkard, thought only of the necessities of the hour, and slept in
+    the fields when his finances would not admit of payment of a twopenny
+    lodging in St. Giles's. His largest work was "Johnny Newcome in the
+    Navy," for which the publisher gave him the generous remuneration of
+    a shilling a day till he finished it. He died in St. Giles's
+    workhouse in 1831.
+
+  [70] The reader may remember that Napoleon once contracted a skin
+    disease from taking up a weapon which had been wielded by a dead
+    artilleryman, which gave him trouble at various periods of his life.
+    It may be that this suggested the subject.
+
+  [71] See the "Declaration of the Powers," from which we have already
+    quoted.
+
+  [72] "Narrative of Captain Maitland," p. 109.
+
+  [73] The Regent's selfish nature and expensive habits may be judged
+    by the following extract from the Greville Memoirs. Under date of
+    1830, Mr. Greville writes: "Sefton gave me an account of the dinner
+    in St. George's Hall on the King's [William IV.] birthday, which was
+    magnificent, excellent, and well served. Bridge came down with the
+    plate, and was hid during the dinner behind the great wine-cooler,
+    which weighs 7,000 ounces, and he told Sefton afterwards that the
+    plate in the room was worth £200,000. There is another service of
+    plate which was not used at all. The king has made it all over to the
+    crown. _All this plate was ordered by the late king, and never used;
+    his delight was ordering what the public had to pay for._"--_Greville
+    Memoirs_, vol. ii. p. 42.
+
+  [74] See Report of the Select Committee of the House of Commons on
+    the Earl of Elgin's Collection ... of Marbles ("Annual Reg.," 1816,
+    p. 447).
+
+  [75] See Chapter III. (1817).
+
+  [76] The idea of the letterpress description (a very long one), from
+    which the above is an extract, is borrowed of course from Dr.
+    Arbuthnot.
+
+  [77] See Chapter III. (1817).
+
+  [78] See Chapter III. (1817).
+
+  [79] She was fond of adopting children, and it was proved that she
+    had adopted a daughter of the man Bergami.
+
+  [80] Byron's "Age of Bronze."
+
+  [81] Lockhart's "Life of Scott," vol. v. p. 203.
+
+  [82] "E. O." was another name for roulette, and forms the subject of
+    one of Rowlandson's early and best caricatures.
+
+  [83] The following are the words of the original inscription: "To
+    Arthur, Duke of Wellington, and his brave companions in arms, this
+    statue of Achilles, cast from cannon taken in the battles of
+    Salamanca, Vitoria, Toulouse, and Waterloo, is inscribed by their
+    countrywomen."
+
+  [84] See Chapter IV.
+
+
+
+
+CHAPTER VIII.
+
+_GEORGE CRUIKSHANK AT HIS PRIME._
+
+
+  ALTERATIONS IN CRUIKSHANK'S STYLE.
+
+Those who have studied the work of George Cruikshank from its
+commencement to its close (and those only can be said to have done so
+who are familiar with the satires described in the previous chapter),
+cannot fail to be struck with the alterations which took place in his
+style at different periods of the career we have already been
+considering. George Cruikshank's peculiar style and manner, which enable
+us to recognise his work at a glance, was the outcome of a very slow and
+gradual process of development. In the first instance he closely copied
+Gillray, but soon acquired a manner of his own, blending the two styles
+after a fashion which is both interesting and amusing to follow. Soon,
+however, the style of the master was discontinued, and gradually the
+artist began to discover that the bent of his genius lay in altogether
+another direction. Unlike Thomas Rowlandson, the moment Cruikshank
+became an illustrator of books, he realized the fact that the style
+adapted to graphic satire was unsuitable for the purposes of this branch
+of art, and thenceforth he adopted a style differing from anything which
+had gone before. The revolution thus accomplished (a singular proof of
+the genius of the man) was effected without effort, and is strikingly
+manifest in an early book illustration representing the execution of
+Madame Tiquet and her accomplice, in 1699. The design to which we refer,
+which we believe is rare and little known, was engraved by H. R. Cook,
+from a design by the artist for the frontispiece to a collection of
+narratives by Cecil, "printed for Hone," in 1819, and stands by virtue
+of its force and character apart from most of the book illustrations of
+the period. From the moment that the new style was adopted, the
+artist's services were brought into requisition for the purposes of book
+illustration; and from the time work of this kind began to come in, he
+relaxed and afterwards discontinued the practice of caricature. It is as
+an etcher and designer of book illustrations we shall henceforth have to
+consider him, and in this character one of his famous illustrations to
+"Greenwich Hospital" will be found superior to the whole series of
+Rowlandson's careless overdrawn designs to the three "Tours" of Syntax
+put together.
+
+This alteration in the man's style after he took to book illustration is
+known only to those familiar with his early caricatures. If you take,
+for instance, the etching of _St. Swithin's Chapel_, of the "Sketch
+Book," or _The Gin Shop_ in the "Scraps and Sketches"[85] (we are
+speaking of course of the early _coloured_ impressions), and show them
+together with any two of the caricatures we have named to a person who
+had never before seen either, we will venture to say that he would
+pronounce them without hesitation to be executed by entirely different
+hands.
+
+
+  GEORGE'S IDEAS OF FEMALE BEAUTY.
+
+After Lockhart's statement that George Cruikshank was capable of
+designing an _Annunciation_, a _Beatification_, or an _Apotheosis_, we
+must accept his assertion that he "understood the [human] figure
+completely" with a certain amount of reservation. Perhaps he did; and if
+he did, he certainly played some extraordinary tricks with the "figure"
+aforesaid. The truth is, that we forget the artist's weaknesses, many
+and glaring as they are, in the lustre of his unexampled _genius_. _The
+Times_, in an otherwise laudatory article which it published after his
+death, remarked that "there was not a single beautiful face or figure
+probably in the whole range of Cruikshank's work." Now, although this is
+not entirely true, there is at least so much of truth in it that we may
+admit that the cases in which he has produced a pretty face or figure
+are very few and far between, and even those cases seem rather to have
+been the result of accident than of design. There is no getting over
+the fact that George's ideas of female beauty were, to say the least of
+them, peculiar: his women are fearfully and wonderfully made; they are
+horse-faced; their eyebrows are black and strongly marked; their hair is
+plastered to the sides of their faces, and meet bobs of hair at the back
+of their heads; their waists are as thin as their necks; and they all
+bear a strong family likeness to one another. _The Times_ assertion is
+happily, however, so broad that it is easy to traverse and contradict
+it. George's handsome women are so few, that it is difficult at the
+moment to say where any of them may be found. I know at least of one
+amazingly handsome one--the _London Barrow Woman_ in Hone's "Every-Day
+Book." Some pretty servant girls will be found in the etching of _The
+Sergeant Introducing his Dutch Wife to his Friends_ in "St. James's, or
+the Court of Queen Anne," and I will undertake to point out at least
+half a dozen pretty faces in the course of illustrations to "The Miser's
+Daughter"; but after all, these are only exceptions to the general rule;
+and it may be safely conceded that as a delineator of female beauty,
+George could not hold a candle to John Leech, to John Tenniel, or even
+to his own brother, Isaac Robert.
+
+
+  THE CRUIKSHANKIAN STEED.
+
+As for the celebrated Cruikshankian steed, I give him up at once as an
+utterly irreclaimable and unmanageable brute. Thackeray, writing in
+1840, said, that "though our artist does not draw horses very
+scientifically, to use the phrase of the _atelier_; he feels them very
+keenly, and his queer animals, after one is used to them, answer quite
+as well as better." Even on this subject, however, the ablest critics
+have contradicted each other. George Augustus Sala tells us that the
+artist "could draw the ordinary nag of real life well enough," and cites
+by way of example the very horses of the celebrated _Deaf Postilion_, in
+"Three Courses and a Dessert," which Thackeray had previously held up to
+well-merited execration. He goes on to tell us that when George "essayed
+to portray a charger or a hunter, or a lady's hack, or even a pair of
+carriage horses, the result was the most grotesque of failures. The
+noble animal has, I apprehend, forty-four 'points,' technically
+speaking, and from the muzzle to the spavin-place, from the crest to
+the withers, from the root of the dock to the fetlock, George was wrong
+in them all. His fiery steed bore an equal resemblance to a Suffolk
+punch with the head of a griffin and the legs of an antelope, and that
+traditionary cockhorse on which the lady was supposed to ride to Banbury
+Cross with rings on her fingers and bells on her toes."[86] His
+peculiarities notwithstanding, George himself was in no wise conscious
+of them, and never hesitated to introduce "the fiery untamed" into any
+scene--battle or otherwise--in which the services of the eccentric
+animal might be turned to account. We find him assisting Washington in
+his triumphal journey to the capitol; astonishing the French squares in
+the character of a Mameluke charger at the Battle of the Pyramids; and
+leaping into the lake along with "Herne the Hunter," that peculiar
+creation of the late Mr. Harrison Ainsworth, on which supernatural
+occasion he comes out, as might have been expected, with peculiar force
+and vigour.
+
+Thackeray, moreover, says of his trees, that they were decidedly
+original, "being decidedly of his own make and composition, not imitated
+from any master;" another and a minor difficulty with the artist was a
+boot, which he invariably drew half a foot too long. George lived in the
+days of straps, and being strictly conservative in principle, when he
+met with a pair of trousers, his idea of the "fitness of things" was not
+satisfied until he pinned them to the wearer's feet with a pair of these
+most uncomfortable appendages.
+
+Against these shortcomings, which are a sufficient answer to those who
+would give him credit for possessing the faculty of designing
+"Annunciations, Beatifications, Apotheoses," and the like, we must set
+his excellencies, the power and brilliancy of his imaginative faculties,
+his extraordinary talents of conception and realization, the delicacy of
+his manipulation and execution: in a word, the strong original "genius"
+with which Lockhart credited him from the moment he had seen his "Points
+of Humour." Examples of this "genius" might be cited by the thousand.
+Look only at the famous "Sketch Book;" its recent republication has
+placed it within the reach of every one of our readers. Look at the
+_Sprig of Shelalegh_, the rollicking, whiskey drinking, fighting,
+devil-may-care _expression_ he has thrown into that _piece of wood_;
+turn to the sheet wherein he has recorded his _Recollections of the
+Court of Common Pleas_, and study the group of lawyers' and witnesses'
+faces therein contained. There is "genius" for you, if you will. If you
+are overworked, turn to them; they will do you good, for they will not
+only make you merry, but force upon you the conviction that the
+conception which created them was essentially original. It is this
+delightful originality of George Cruikshank which constitutes his
+_genius_.
+
+[Illustration:
+  GEORGE CRUIKSHANK. "_Three Courses and a Dessert._"
+
+  THE DEAF POSTILION.
+
+  (_See p. 169._)]
+
+[Illustration:
+  GEORGE CRUIKSHANK. "_Three Courses and a Dessert._"
+
+  THE BRAINTREES.
+
+  "I doan't want to hurt thee, zo I leaves thee wi' un, but, mind--he'll
+  hold thy droat a little tighter than I did, if thee wags a hair."
+
+  _Face p. 171._]
+
+"No plan!" "no ambition!" "not much industry!" so at least said
+Lockhart. We may doubt whether even at the time it was spoken this
+charge had any foundation of truth to rest upon; an answer to it at
+least will be found in the fact that, before the mysterious spell had
+fallen upon him we shall presently have to describe, this sterling and
+indefatigable genius had already produced thousands upon thousands of
+miraculous little drawings. From the mass of these wonderful creations
+we propose now to select a few examples, choosing them in the first
+instance from a graver type than some we shall presently have to
+consider.
+
+"Greenwich Hospital" gives us one of the very best drawings which
+Cruikshank ever designed. The scene of the _Point of Honour_ is laid on
+board the _Triumph_, at Spithead, at the time of the famous mutiny. A
+detachment of marines with shouldered arms are drawn up on the quarter
+deck, their drummer is beating to quarters, while all hands are
+assembled to witness a degrading and demoralizing spectacle,--a sailor,
+with his shoulders bare and his hands tied to the triangles, about to
+receive punishment for disobedience to orders. Conspicuous amongst the
+figures are two little middies, habited in the strange naval uniform of
+sixty years ago. The illustration to _The Braintrees_, at page 90 of the
+"Three Courses and a Dessert" is a marvellous specimen, not only of the
+graphic power of the artist, but a triumph of the wood-engraver's
+craft. In _The Gin Shop_ ("Sketches by Boz"), the artist selected a
+subject which invariably enlisted his sympathy and called into action
+the full power of his graphic satire. Mark the flaming gas, the huge
+spirit vats, the gaudily painted pillars and mouldings; above all, the
+strange people: the young man with his hat on one side who chaffs the
+young ladies behind the bar, the gin-drinking female by his side, the
+gin-loving cripple, the small boy who brings the family bottle to be
+filled with gin, whose head barely reaches the counter, the gin-drinking
+charwoman to the left, and the quarrelsome gin-drinking Irish customers
+at the back. Everything in this picture reeks of _gin_; the only persons
+not imbibing it are the proprietor and his dowdy barmaids, whom I have
+no manner of doubt the artist intended to look captivating.
+
+"What a fine touching picture of melancholy desolation," remarks
+Thackeray, "is that of 'Sikes and the dog.' The poor cur is not too well
+drawn, the landscape is stiff and formal; but in this case the faults,
+if faults they be, of execution rather add to than diminish the effect
+of the picture: it has a strange, wild, dreary, broken-hearted look; we
+fancy we see the landscape as it must have appeared to Sikes, when
+ghastly and with bloodshot eyes he looked at it." The etching of
+_Jonathan Wild Discovering Darrell in the Loft_ ["Jack Sheppard"]
+reminds one, in its treatment, of Rembrandt, for the work of Cruikshank,
+be it observed, distinctly shows in its results that he studied both
+Hogarth and Rembrandt. The effect the artist has produced is wonderful;
+the ray of light thrown through the gloom upon the figure of Darrell as
+he stands against the wall, sword in hand, is capitally managed, "while
+the intricacies of the tile-work, and the mysterious twinkling of light
+among the beams are excellently felt and rendered."[87] _Simon Renard
+and Winwike on the Roof of the White Tower_ ["Tower of London"] is
+another admirable drawing. The scene is laid on the platform of one of
+the antique guns which frown from the embrasures of the river face of
+the fortress. The head of Renard is not well drawn. The character of
+the ambassador gives one the idea of a Spanish Iago, a clever,
+calculating knave, whom we should credit with the possession of a broad
+and lofty forehead, indicative of deep and concentrated thought; in the
+etching, however, before us, he has none at all, a deficiency
+compensated by puffy cheeks and a preposterous beak. These
+imperfections, which in another artist would mar the drawing, serve only
+to throw its excellencies into prominent notice. The lights and shadows
+are most effectively rendered, and the setting sun throws a broad light
+upon the features of the warder, who has laid aside his arquebus while
+conversing with the wily Spaniard. Of the many who have noticed the
+well-known etching of _Born a Genius and Born a Dwarf_ ["Comic Almanack,
+1847"], not one (so far at least as we know) has ever mentioned its
+origin. The subject was prompted by one of the last entries in the diary
+of poor Benjamin Robert Haydon, who died by his own hand on the 22nd of
+June, 1846, his corpse being found at the foot of his colossal picture
+of _Alfred the Great and the First British Jury_. The entry runs as
+follows:--"Tom Thumb had 12,000 people last week, B. R. Haydon 133-1/2
+(the 1/2 a little girl). Exquisite taste of the English people!" In the
+etching which shows us _Randulph and Hilda Dancing in the Rotunda at
+Ranelagh_ ["Miser's Daughter"], he brings us face to face with our
+great-grandfathers and great-grandmothers; wherever he got his authority
+from, the huge circular hall with galleries and arches running round it,
+illuminated by a thousand lamps, and the curious orchestra with the
+old-fashioned sounding-board above, are no freak of the artist's
+imagination. The etching possesses a wondrous charm of reality. We find
+ourselves assisting, as it were, at one of the masquerades described in
+"Sir Charles Grandison"; many of the company are in fancy dresses, and
+we find it difficult to realize, in these broad-cloth days, that the
+gentlemen in the velvet coats, with gold-bound embroidered waistcoats,
+silk stockings, silver gilt rapiers, and laced hats, dancing minuets
+with Chinamen, harlequins, scaramouches, templars, and other
+fancifully-dressed persons, are simply wearing the every-day costume of
+men of fashion of the day.
+
+
+  MANNERISM.
+
+Perhaps more than any other comic artist of past or present time, George
+is distinguished by his mannerisms. His horses, his women, the costumes
+of his male and female characters, the cut of their garments and of
+their boots, the arrangement of their hair, will proclaim his
+individuality anywhere; and yet, if you look at any of the designs which
+he executed in his best and brightest days, before he took up with the
+mania which contributed, as we shall presently see, so largely to the
+ruin of his artistic genius, fame, and fortunes, we cannot fail to be
+impressed with the quaintness of his imagination. In this quaintness and
+originality lie the charm and freshness which is the peculiar
+characteristic of his designs. Unlike those of other artists, you may
+turn over volume after volume of his sketches, and be conscious of no
+sense of weariness. Much of this no doubt is due to their constant
+variety. Unlike the generality of modern illustrators, he is not limited
+to the costumes and incidents of the every-day commonplace life of the
+nineteenth century; he does not confine himself to humour; his fancy
+takes a wider range, and revels in subjects of wonder, diablery, and
+romance. Gnomes and fairies, devils and goblins, knights, giants,
+jesters, and morris dancers are continually passing before us; there is
+an endless succession of novelties, treated with a quaintness of fancy
+which distinguishes it above all others; there is a ceaseless variety in
+his _dramatis personæ_, while the characters are as various as the
+subjects. In these characteristics seem to lie the secret of the
+pleasure which his illustrations, whether they be drawn on wood or
+etched on the copper, never fail to inspire.
+
+The sale and purchase of Peter Schlemihl's _Shadow_ has been noticed by
+Thackeray. We see the Old Gentleman neatly packing up his purchase after
+the manner of an "old clo'" dealer; he has just "lifted the _shadow of
+one leg_; he is going to fold it back neatly, as one does the tails of a
+coat, and will stow it, without any creases or crumples, along with the
+other black garments that lie in that immense pocket of his."[88]
+Another illustration in the same book shows us Peter, after he has
+repented of his bargain (as vendors invariably do who indulge in
+mercantile transactions of this character) in ardent pursuit of his
+shadow, which the tantilizing purchaser has let out for the occasion.
+Can anything more ludicrous be imagined than this scampering piece of
+intangibility? The etching of _Sailors Carousing_ ["Greenwich
+Hospital"], executed in 1826, before the artist had altogether
+discontinued the style and manner of Gillray, would have delighted the
+heart of that accomplished caricaturist. An old one-eyed salt presides
+over a vast bowl of punch, the contents of which he is engaged in
+distributing to the company. One enthusiastic tar foots it with such
+vigour that he cannons against a potman, upsetting him and the measure
+of scalding liquor he carries over another angry, blaspheming sailor
+man; another sea worthy, snoring drunk, has converted his quart pot into
+an impromptu pillow, his own recumbent form serving the purposes of a
+footstool to a companion. The females are a combination of the styles of
+Gillray and Cruikshank, and, with one exception, are old, ugly, and
+preposterously fat. A comical illustration in the same book is called,
+_Paying off a Jew Pedlar_. The unhappy man (who had cheated the
+sailors), innocent of danger, is seated on a grating with his combs,
+spy-glasses, necklaces, ribbons, and all the rest of his "Brummagem"
+trumpery, spread out before him. The men, who have slily hitched a rope
+to the grating, suddenly give it a hoist, and away slides Moses, with
+all his wares and trumpery, into the hold together! How poor Seymour
+would have revelled in that admirable tailpiece in "Three Courses and a
+Dessert," where an unhappy wight, pursued by a bull, manages to scramble
+atop of a gate-post (the only part free from spikes), to find his escape
+cut off on one side by a couple of bull-dogs, and on the other by a
+_chevaux-de-frise_ terminating in a horse pond! We meet with a solemn
+piece of fun in _Simpkin Dancing to the Musicians_, one of the
+illustrations to the celebrated "New Bath Guide" of Christopher Anstey--
+
+  "And I thought it was right, as the music was come,
+   To foot it a little in Tabitha's room."
+
+[Illustration:
+  "THE WITCH'S SWITCH."
+
+  "ABSENT-MINDEDNESS."
+
+  "THE TÊTE-À-TÊTE."
+
+  "THE DENTIST."
+
+  "BAT BOROO."
+
+  SKETCHES FROM GEORGE CRUIKSHANK'S "THREE COURSES AND A DESSERT."
+
+  _Face p. 175._]
+
+_The Last Cab Driver_ ["Sketches by Boz"] deserves a passing notice,
+because it has preserved from oblivion a class of vehicles which has
+long since disappeared from the London streets. It looked for all the
+world like the section of a coffin set on end, the seat (which was
+intended to accommodate only one person besides the driver) occupying
+the centre. The cabman being a very _mauvais sujet_, we find the
+surroundings (after the artist's practice) in strict keeping with his
+character. The building past which he drives is marked "Old Bailey";
+whilst a snuff manufacturer in the street at the back advertises himself
+as the vendor of "Real Irish Blackguard."
+
+
+  WAVERLEY NOVELS.
+
+The dry, quaint humour of the author of "Waverley" exactly suited the
+quaint imaginings of our artist. Both Scott and Cruikshank delighted in
+the supernatural and the marvellous, and this is why some of the most
+characteristic of the artist's designs are to be found in his
+illustrations to the "Waverley Novels." In one of these he shows us the
+illustrious Dominie at the moment, when reaching over to gather a
+water-lily, he falls souse into the Slough of Lochend, in which he
+forthwith became bogged up to the middle, his plight drawing from him of
+course his favourite ejaculation of amazement. By the assistance of some
+women the luckless Dominie was extracted from his position, justifying
+the remark of one of his assistants, that "the laird might as weel trust
+the care of his bairn to a potato-bogle." Which was the most helpless of
+the two men--the Laird of Dumbiedikes, or the illustrious Dominie--it
+would be difficult to say; both these most original characters took a
+powerful hold on the artist's imagination, and as a natural consequence
+the ideas of Scott were completely realized. A very comical design is
+that in which he shows us the worthy but witless laird with his laced
+cocked hat and empty tobacco pipe,[89] and his hand extended "like the
+claw of a heraldic griffin," when he managed to utter something beyond
+his usual morning greeting, and frightened Jeannie into the belief that
+he had so far "screwed his courage to the sticking place" as to venture
+on a matrimonial proposal, to which unwonted effort of imagination his
+intelligence, however, proved altogether unequal.
+
+
+  ALLITERATIVE DESIGNS.
+
+In the "Comic Almanack" will be found many examples of George's tendency
+to graphic alliteration. _The Fall of the Leaf_ affords a capital
+specimen of the kind of design to which we allude. The leaf of the
+dinner-table has been so insecurely fastened that it falls, burying with
+it the mistress of the house, the fish, the champagne, a sherry
+decanter, a vase of flowers,--everything, in fact, to which it formed a
+treacherous and unreliable support; Gibbon's "Decline and Fall" lies in
+a corner of the room, and the walls are hung with appropriate subjects,
+such as the Fall of Foyers, the Falls of Niagara, Falls of the Clyde,
+and so on. An illustration of a similar kind will be found in _Taurus--a
+Literary Bull_. The animal has rushed into a printing office and
+scattered the compositors right and left; some seek shelter beneath
+their frames, one clambers wildly up the shelves of a paper case, while
+others scuttle over the frames, and one man, too wholly dismayed and
+bewildered to run, brandishes a stool in helpless imbecility. The bull
+is perhaps the most astonished of the _dramatis personæ_, and evidently
+wonders into what manner of place fate has brought him. The walls are
+pasted with appropriate advertisements: "Some Account of the Pope's
+Bull," "A Cock and Bull Story," "Theatre Royal, Haymarket--John Bull"
+"To be Sold by Auction, the Bull Inn," "Abstract of the Act against
+Bull-baiting," and so on. In _Libra Striking the Balance_ (same year), a
+dishonest tradesman has been detected in using false weights and
+measures. The beadle holds up a pair of scales, one of which weighs very
+much heavier than the other. The wretched culprit, conscious, all too
+late, that honesty would have proved "the best policy" for himself,
+leans against his shelves the picture of sullen and detected guilt. The
+window of the shop bears on it the painted _legend_ of "The cheapest
+shop in London." Leaning against the counter we find a programme of the
+"City Theatre," announcing the performance of "Measure for Measure": to
+conclude with "Honest Thieves"; an officer outside (surrounded by a
+deeply interested crowd) is engaged in breaking up a second pair of
+dishonest scales. Chronology, difference in politics, character, tastes,
+and disposition, are most amusingly set at defiance in the etching
+entitled _The Revolution at Madame Tussaud's_ [1847]: Mary Queen of
+Scots "treads a measure" with William Penn the Quaker; Fox and Pitt make
+long noses at each other from opposite sides of the room; O'Connell
+shakes hands with Freschi, to whom our old friend the elderly country
+gentleman offers a friendly pinch of snuff; William Shakespeare flirts
+with an almond-eyed Chinese woman; Henry the Eighth smokes a long
+churchwarden with Judge Jefferys; Lord Byron (with greater propriety)
+exchanges friendly greetings with Jean Jacques Rousseau; whilst the
+great Napoleon unbends, as chroniclers assert that he was wont to do,
+and waltzes round the room with Madame Tussaud, and Britannia (to the
+uproarious delight of Sir William Wallace) rasps her trident across her
+shield, by way of accompaniment to the fiddle of the Saturnine Paganini.
+
+The fun of these side splitting designs is only equalled by their
+variety. The "Almanack" of 1838 introduces us to the inevitable row
+which forms the wind-up of a Hibernian _festa_; chairs, sticks,
+shovels,--anything that comes to hand is used without fear or favour;
+men, women, children struggle together in inextricable confusion amidst
+the _débris_ of wrecked furniture, broken glass, and battered pewter;
+high above the din drone the nasal tones of the piper; while amidst the
+infernal clatter "the praist" vainly endeavours to re-establish order
+and make himself heard. _Theatrical Fun Dinner_ (1841) represents the
+close of the banquet. Hamlet is already too far gone to know what he is
+doing; Othello belabours Iago with a bottle; Shylock and Antonio
+fraternize; whilst a reconciliation is established between Macbeth and
+Macduff, who chink glasses by way of cementing their friendship; Sir
+John Falstaff lights his pipe at Bardolph's nose; whilst Romeo hands up
+a glass of something short and strong to his Juliet in the balcony. 1842
+gives us the celebrated etching of "_Gone!_" an auctioneer "knocking
+down" a bust of Socrates; at the word "_gone_" the flooring gives way,
+and auctioneer, buyers, and Socrates, with all their surroundings,
+descend with a simultaneous crash into the cellars below. Drowning men
+catch at straws, and the spectacled visage of the auctioneer, as he
+clings wildly to his rostrum, is a perfect study of terrified
+imbecility.
+
+In looking at these quaint designs, the mind of any one possessed of any
+imagination at all cannot fail to be impressed with a sense of the
+original train of thought which must have characterized the man who
+could conceive and realize them. How appropriately and admirably, even
+in trivial matters, the details of the design are worked out! If the
+reader will refer to the etching in "St. James'," where the sergeant
+places the boot of his master, the Duke of Marlborough, on a map of
+Flanders, he will at once see what we mean. The action is accidental;
+and yet where could the boot have been placed with greater propriety?
+for surely if any country was under the heel of the great English
+captain, it was Flanders. Nothing to equal these designs are ever seen
+in these days, perhaps nothing like them will ever be seen again. There
+are many excellent comic designs produced by our artists of to-day; but
+with the exception, perhaps, of Mr. Caldicott and Colonel Seccombe, they
+lack _character_. You pass them by, and straightway forget them. Not so
+with these admirable little designs; you turn to them again and again,
+and each time with a refreshing sense of pleasure. Herein seems to lie
+the power of true genius--that its productions give not only a sense of
+freshness and delight, but that the sensation so conveyed will not die.
+There are people, I believe, on whom they produce no such impression;
+such people, as regards comic art, are for all practical purposes "dry
+bones," and to dry bones such as these the pencil of "honest George"
+will appeal in vain.
+
+Some writers on the subject of Cruikshank and his work would have us
+believe that he developed his highest powers of imagination and fancy,
+and achieved his highest reputation, when depicting subjects of a fairy
+or supernatural order. Whether these scribes be right or whether they be
+wrong, there is no doubt that he discovered for himself an enchanted
+land of mountain and streamlet, of meadow and waterfall, of gnomes and
+fairies, of demons, witches, and of giants. The process by which he
+attained his excellence as an illustrator of fairy lore and legend has
+been related by himself in his own simple, unpolished words in the
+(so-called) "Fairy Library." Unquestionably the opportunity which these
+subjects afforded of exercising untrammelled his marvellous gifts of
+imagination and fancy, and of realizing objects which owe their being to
+the creative faculties of his mind, were eagerly embraced by the artist;
+but, although the results were singularly weird and often very
+beautiful, I find myself obliged to differ from those who would have us
+believe that in realizing subjects of this kind he attained his highest
+excellence. The charm of George Cruikshank's talent lies in the fact
+that notwithstanding his defects in drawing, _everything_ he took in
+hand is impressed with the stamp of a strong and original genius; it is
+like nothing we have seen before; every one of his designs is marked
+with distinctive features of beauty, quaintness, or originality peculiar
+to himself.
+
+[Illustration:
+  "THE ELVES AND THE COBBLER."
+
+  "THE WAITS OF BREMEN AND THE ROBBERS."
+
+  FROM GEORGE CRUIKSHANK'S EDITION OF "GERMAN POPULAR STORIES."
+
+  _Face p. 180._]
+
+The "German Popular Stories" probably contain the most striking specimens
+of Cruikshank's power as a designer of _fairy_ subjects. In reference to
+these illustrations, our great critic, Mr. Ruskin, says: "They are of
+quite sterling and admirable art, in a class precisely parallel in
+elevation to the character of the tales which they illustrate; and the
+original etchings, as I have before said in the Appendix to my 'Elements
+of Drawing,' were unrivalled in masterfulness of touch since Rembrandt, in
+some qualities of delineation unrivalled even by him." "_The Two Elves_,"
+says Hamerton, "especially the nearer one, who is putting on his breeches,
+are drawn with a point at once so precise and vivacious, so full of keen
+fun and inimitably happy invention, that I have not found their equal in
+comic etching anywhere ... the picturesque details of the room are etched
+with the same felicitous intelligence; but the marvel of the work is in
+the expression of the strange little faces, and the energy of the comical
+wee limbs."[90] In _The Witches' Frolic_ ["Letters on Demonology and
+Witchcraft"], we find a happy blending of the terrible and the grotesque.
+Look at the old hags floating out to sea in their tubs; and the strange,
+uncanny thing with dreadful eyes bobbing up and down midway between the
+foremost old woman and the distant vessel. The _thing_ may be a ship, it
+may be a fish, or it may be a fiend,--in the dim half light we cannot tell
+what,--but it is horribly suggestive of nightmare, and makes one laugh as
+well as shudder. Some ghostly goblins, the creations of George's weird
+fancy, will be found in "The Omnibus"; we see them following a ghostly
+ship manned by ghostly mariners, and we find in the same book ghostly
+Dutchmen playing a game of diabolical leap-frog with Australian kangaroos.
+In one illustration he introduces us to a cheerful assembly of ancestral
+ghosts: there is the ghostly saucer-eyed head of the family, with a
+ghostly hound peeping beneath his chair, a ghostly grandmother, half a
+dozen ghostly spinster aunts, a ghostly butler, a ghostly cook, a ghostly
+small boy, two ghostly candles; and lastly, a ghostly cat. Small wonder
+that under the influence of such ghostly surroundings the hair of the
+affrighted ghost-seer stands erect in the extremity of his terror.
+
+This same book contains, too, the celebrated etching of _Jack
+o'Lantern_, probably the best illustration of the supernatural which we
+owe to the pencil and weird imagination of the artist. "Talk of Fuseli
+and his wind-bag, there is real vivid imagination enough in this to make
+a whole academy of Fuselis. It is just an Egyptian darkness, with
+breaking through it, above a bog-hole, some black bulrushes, and above
+them a bending, leathery goblin exulting over some drowned traveller,
+the meteor lamp he carries casting a downward flicker on the dark water.
+Such darkness, such wicked speed, such bad, Puck-like malice, such
+devilry, Hoffman and Poe together could not have better devised. Many a
+May exhibition has not half the genius in all its pictures that focuses
+in that gem of jet." The description is admirable; but Walter Thornbury
+has altogether misconceived the artist's idea. _Jack o'Lantern_ is
+simply misguiding a belated traveller into a bog, and the elfin grin
+which pervades his countenance testifies to the delight he takes in his
+mischievous employment. The words of the song in Dryden's _King Arthur_
+convey the best possible description of this wondrous conception:--
+
+  "Hither this way, this way bend,
+   Trust not that malicious fiend;
+   Those are false, deluding lights,
+   Wafted far and near by sprights;
+   Trust 'em not, for they'll deceive ye,
+   And in bog and marshes leave ye,
+   If you step no danger thinking,
+   Down you fall, a furlong sinking;
+   'Tis a fiend who has annoyed ye,
+   Name but Heav'n, and he'll avoid ye."
+
+By way of contrast to all these, I would turn to the celebrated and
+much-too-often-described _Triumph of Cupid_, of the "Table Book"; but as
+the praises of this remarkable composition may already be counted by the
+ream, I have no intention whatever of contributing a further addition.
+
+[Illustration:
+  GEORGE CRUIKSHANK. _From "The Universal Songster."_
+
+  "THE OLD COMMODORE."]
+
+[Illustration:
+  GEORGE CRUIKSHANK. _From "The Universal Songster._"
+
+    "A tall figure her sight engross'd,
+     And it cried, 'I beez Giles Scroggin's Ghost.'"
+
+  _Face p. 182._]
+
+A notice, however, of George Cruikshank's supernatural work would be
+incomplete without some reference to his _devils_. From time immemorial
+our idea of His Satanic Majesty has been associated with the
+distinguishing appendages of horns, hoofs, and a cow's tail. "A conceit
+there is," says old Sir Thomas Browne, "that the devil commonly
+appeareth with a cloven hoof, wherein, although it seems excessively
+ridiculous, there may be somewhat of truth, and the ground thereof at
+first might be his frequent appearing in the shape of a goat, which
+answers the description." George Cruikshank too well apprehended the
+cunning nature of His Satanic Majesty to suppose him idiotic enough to
+introduce his hoofs, his horns, or his tail into the company of all
+sorts and conditions of men. It will be remembered that Fitz Dottrel
+takes leave to doubt the identity of the devil who waits upon him in the
+character of a body servant. "You cannot," he says, "cozen _me_. Your
+shoe's not cloven, sir; you are whole hoofed." But "Pug" simply and
+unaffectedly assures him, "Sir, that's a popular error,--deceives
+many."[91] Like "Pug," George Cruikshank's devils accommodate
+themselves, their appearance, and their costume to the prejudices of the
+persons they design to serve. With saints and perverse sinners it is
+obvious that any attempt at disguise would be futile; but with so
+respectable a person as a Dutch burgher, or so suspicious an individual
+as an English lawyer, the case is altogether different. We have
+specimens of the respectable devil in the "long-legged bondholder" who
+appears to his unfortunate Dutch debtor; the portly, well-dressed little
+man in the "Gentleman in black"; and the seedy looking old clothes
+dealer of "Peter Schlemihl." Quite a different devil to any of these is
+the devil that interviews St. Nicholas, the devil whom St. Medard
+circumvented, or the simple-minded and unfortunate devil that fell into
+the clutches of St. Dunstan. This last is probably the most comical
+_diabolique_ that Cruikshank ever designed. In an evil hour this
+miserable fiend had irritated the saint by mimicking his musical powers;
+and growing bolder with impunity, even ventured to challenge his skill
+as a mechanic, by doubting his ability to fit a shoe to his own
+diabolical hoof. The saint promptly whipped up the leg, and it was not
+until this simple devil found himself in the clutches of the saint, that
+he fully comprehended the prodigious powers of the holy personage he had
+ventured to chaff. In spite of his howls and frantic efforts to escape,
+the iron shoe is remorselessly fitted, and nail after nail driven into
+the quick. Imagine the sufferings of that poor devil; observe his
+comically distorted countenance as he bellows with agony and impotent
+rage; how his tail curls round his leg in the extremity of his anguish!
+The worst perhaps has to follow, for in spite of the agony of his
+crippled hoof, a deed will have to be "signed, sealed, and delivered,"
+by which his claim to a legion of sinful souls has to be for ever
+released and extinguished. It is worthy of remark that George
+Cruikshank's devils--simple-minded, weak creatures, more mischievous
+than really wicked, in all their contests with the saints (Saint Anthony
+excepted) invariably come off second best.
+
+In estimating his merits, the genius of George Cruikshank may not
+inaptly be compared to a diamond. One facet often emits more brilliant
+coruscations than any other; and if we may be permitted to compare his
+powers of realizing the grave, the comical, the supernatural, and the
+terrible to the facets of a diamond, we think the one which would be
+found to emit the most brilliant flashes of light would be the last.
+Thackeray, one of the most friendly and most competent of his critics,
+would seem to have considered that much of his power was shown in
+depicting subjects of this kind. "What a fine eye," he tells us, in his
+famous article which has supplied the backbone--the muscles--the very
+integuments of so many others,--"what a fine eye the artist has, what a
+skilful hand, and what a sympathy for the wild and dreadful!"
+
+[Illustration:
+  _Designed, Etched and Published by_ GEORGE CRUIKSHANK._November 1st,
+  1829._
+
+  THE GIN SHOP.
+
+    "--now, Oh dear, how shocking the thought is,
+     They makes the gin from aquafortis:
+
+     They do it on purpose folks' lives to shorten,
+     And tickets it up at two-pence a quartern."--_New Ballad._
+
+  _Face p. 184._]
+
+From an early period of his career as an etcher and designer, George had
+waged a deadly war with gin,--that potent, insidious, and evil spirit of
+London; the most priceless services he rendered to the cause of
+temperance being unquestionably given long before he had any notion of
+joining the ranks of the total abstainers. Like the _Triumph of Cupid_,
+the well-known _Gin Juggernaut_ of the "Sketch Book" requires nothing
+more than a passing allusion. An example less known but quite as
+admirable will be found in the "Scraps and Sketches." It is called _The
+Gin Shop_,[92] and shows us the interior of a London gin palace. In
+place of the usual barrels, around the walls are ranged coffins,
+labelled respectively: "Deady's Cordial;" "Blue Ruin;" "Gin and
+Bitters;" the largest (a huge one) being marked "Old Tom." Death,
+habited as a watchman, has baited a huge gin trap, wherein stand five
+persons (two of them children, besides a baby in arms), _all_ imbibing
+the deadly liquid. The wretched woman with the infant has actually
+placed her foot on the spring, and so great is the artist's power of
+realization, that we momentarily expect to see the horrible thing close
+with a snap! A skeleton, whose fleshless skull is masked with a pleasant
+female countenance, officiates as barmaid, and behind her yawns a pit,
+on the further side of which a circle of evil spirits curvet around a
+huge still. Just such a weird scene as would strike a sympathetic chord
+in the artist's fancy was found for him in Scott's novel of "Red
+Gauntlet." The episode selected for illustration is the frightful
+adventure of Hutcheon and Dougal MacCallum. "When midnight came, and the
+house was quiet as the grave, the silver whistle sounded as sharp and
+shrill as if Sir Robert was blowing it, and up got the two old
+serving-men and tottered into the room where the dead man lay. Hutcheon
+saw enough at the first glance; for there were torches in the room,
+which showed him the foul fiend in his ain shape, sitting on the laird's
+coffin! Ower he couped, as if he had been dead. He could not tell how
+long he lay in a trance at the door; but when he gathered himself, he
+cried on his neighbour, and getting nae answer, raised the house, when
+Dougal was found lying dead within twa steps of the bed where his
+master's coffin was placed. As for the whistle, it was lost ance and
+aye, but mony a time it was heard at the top of the house on the
+bartizan and among the auld chimneys and turrets, where the howlets have
+their nests." The coffin of the dead laird lies in state on a table
+covered with black cloth, richly ornamented with his armorial bearings;
+at the foot of the bier stands his black plumed helmet; while atop of
+the coffin crouches the grinning ape with the laird's whistle in his
+paw; on the ground, as they have been tossed about by the mischievous
+beast, lie his rapier, gauntlet, and other military trappings. The
+furniture, the fittings, the sombre hangings, the gloomy ancestral
+portraits, all are in keeping with the weird scene and its surroundings.
+_The Death of Sikes_, and _Fagin in the Condemned Cell_ (especially the
+latter) have been described any number of times, and the circumstances,
+moreover, under which the latter design was conceived, told invariably
+wrong. In the _Murder of Sir Rowland Trenchard_ ["Jack Sheppard"], we
+have a Rembrandtish etching, quite equalling in power and intensity that
+of _Fagin in the Condemned Cell_. The gloomy depths of the well hole are
+illumined only by the pine torch of the frightened Jew, as Wild hammers
+with his bludgeon on the fingers of the doomed wretch who, maimed and
+faint from loss of blood, clings with desperate tenacity to the
+bannister, from which his relaxing grip will presently plunge him into
+the black abyss below.
+
+The "Tower of London" introduces us to two scenes of a dismal and
+terrible character in the etching entitled _Xit Wedded to the
+Scavenger's Daughter_, the artist carries us to a gloomy torture
+chamber, dimly lighted by a solitary lantern. On the framework of the
+rack sits the dwarf Xit, his limbs compressed in the grip of the
+frightful instrument called the "Scavenger's daughter," while Simon
+Renard, scarcely able to repress a smile, interrogates the comical
+little figure at his leisure. Behind him stands Sorrocold, the surgeon;
+and in the farther corner Mauger (the headsman), Nightgall, and an
+assistant torturer, recline against the wall. The feeble rays of the
+lantern throw an obscure light upon the gloomy walls decorated with the
+stock in trade of the torturers, thumb-screws, gauntlets, collars,
+pinchers, saws, chains, and other horrible and suggestive implements.
+Affixed to the ceiling is a steel pulley, the rope which traverses it
+terminating with an iron hook and two leathern shoulder straps. Facing
+the gloomy door stands a brazier filled with blazing coals, in which a
+huge pair of pinchers are suggestively heating. Reared against the side
+of a deep dark recess is a ponderous wheel--broad as that of a wagon,
+and twice the circumference; and next it the iron bar with which the
+bones of those condemned to die by this most horrible torture were
+broken while alive. The etching of _Mauger Sharpening his Axe_ is nearly
+as celebrated as that of _Fagin in the Condemned Cell_. "A wonderful
+weird dusk, with no light but that which glimmers on the bald scalp of
+the hideous headsman, who, feeling the edge of his axe with his thumb,
+grins with a devilish foretaste of his pleasure on the morrow. I need
+scarcely say that all the poetry, dramatic force, mystery, and terror of
+the design is attributable to Cruikshank, and not to Ainsworth."[93]
+Scenes still more realistically terrible even than these, such as the
+_Massacre at Tullabogue_, _The Rebel Camp on Vinegar Hill_, and the
+_Executions at Wexford Bridge_, will be found in Maxwell's "History of
+the Irish Rebellion."
+
+Mr. Lockhart, we may remember, advised the artist in the early part of
+his career to "think of Hogarth," and throughout the whole of George
+Cruikshank's designs of the graver caste the influence of the study of
+Rembrandt and of Hogarth will be apparent to those acquainted with the
+characteristics of these great artists. In the case of Rembrandt it is
+manifest in the deep shadows, penetrated by broad but skilfully treated
+rays of light, throwing the salient parts of the design into prominent
+but pleasing relief; in the case of Hogarth it is shown in minute
+attention to details of a character singularly appropriate to the
+designs. Delineators of subjects of greater pretension are frequently
+content to throw all their sympathies, their energies, into the
+elaboration of their leading figure or figures: the attitude, the face,
+the features, the hands, the costume, leave nothing to be desired, while
+the rest of the composition is slurred or neglected. This is not the
+case with Cruikshank, every part of his work bears witness to his
+careful attention to detail; no part of it is elaborated at the expense
+of the rest; from the tenants of the room down to the smallest and most
+insignificant ornament on the chimney-piece, everything appears as
+distinct as it would appear in actual every-day life.
+
+But this study of Rembrandt and of Hogarth, this minute attention to
+detail, this careful and conscientious elaboration, would have done
+little for George Cruikshank if he had not possessed in an eminent
+degree that faculty of creation, otherwise of originality, which men
+call _genius_. Various descriptions of this gift have been attempted by
+eminent men, but the most felicitous seems to us to be that given by
+Robert William Elliston: "A true actor," says this distinguished
+comedian, "must possess the power of _creation_, which is _genius_, as
+well as the faculty of imitation, which is only _talent_." Substitute
+the word "artist" for the word "actor," and the remark will apply with
+equal felicity to the subject of our present chapter. It was this same
+gift of genius which, whilst it enabled the artist to lend a sentient
+expression to such unpromising subjects as a barrel, a wig-block, a jug
+of beer, a pair of bellows, or an oyster, imparted to his drawings a
+piquancy which has elevated these apparently insignificant designs into
+perfectly sterling works of art. The reader who is fortunate enough to
+number amongst his books the first half-dozen volumes of "Bentley's
+Miscellany" and "Ainsworth's Magazine," "The Omnibus," "The Table Book,"
+"The Comic Almanack," possesses a series of designs, drawn and etched by
+the hand of the master himself, the value of which is yearly increasing,
+not only because they are becoming scarcer and scarcer every day, but
+because nothing like them--under the conditions in which book
+illustration is now produced--will ever be seen again.
+
+
+FOOTNOTES:
+
+  [85] The "Sketch Book" and "Scraps and Sketches" have recently been
+    republished; but the impressions from the sadly worn plates give but
+    little idea of the exquisite originals.
+
+  [86] Sala, in _Gentleman's Magazine_, May, 1878.
+
+  [87] Thackeray, _Westminster Review_.
+
+  [88] Thackeray, in the _Westminster Review_, June, 1840.
+
+  [89] This idea of the empty pipe is splendid, there never is any
+    tobacco in it; a better notion of absolute forgetfulness--of
+    inability to exercise the most trifling effort of memory--could not
+    be conveyed.
+
+  [90] "Etching and Etchers."
+
+  [91] Ben Jonson's "The Devil is an Ass."
+
+  [92] This was written, of course, before the recent republication,
+    which lacks the colour and crispness of the early issue.
+
+  [93] "British Artists from Hogarth to Turner."
+
+
+
+
+CHAPTER IX.
+
+_GEORGE CRUIKSHANK_ (_Continued_).
+
+_THE SLEEP OF THIRTY YEARS._
+
+
+The artistic career of George Cruikshank presents probably one of the
+most singular problems to be met with in the history of satirical art.
+It may be divided into three portions, two of which we have already
+considered: the first represents that section wherein we have seen him
+described by Lockhart as "one of the most careless creatures alive,"
+having "no plan, almost no ambition," doing "just what was suggested or
+thrown in his way," "quite contented to dine off the proceeds of a
+'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to
+morrow!" the second may be said to be embraced between the years 1822
+and 1848, during which period we find this man without plan, ambition,
+or industry (to complete the charge of Lockhart), busily engaged in
+building up the reputation which the critic had so confidently and so
+truly predicted of him; the third and last section, the strangest surely
+of all, shows us this man of genius--in the full enjoyment of an assured
+and well-merited reputation, in the midst of his artistic vigour, at the
+height of a success altogether unexampled--deliberately throwing away
+his opportunities, and consigning himself to a slumber of thirty years,
+which might almost justify us in terming him the "Rip Van Winkle" of
+British art. The causes of this strange decadence, this singular mental
+inactivity, which seem to us to have been hitherto very little or at
+best very imperfectly understood, we now propose to consider.
+
+
+  PROFESSOR BATES' THEORY.
+
+Professor Bates, one of the ablest of the essayists who have written on
+George Cruikshank since the time when Thackeray penned his famous
+article, would have us believe that the causes which led up to his
+retirement from active life whilst yet in the enjoyment of his vigorous
+intellect, are due partly to the change which has befallen "the
+literature of fiction during the last thirty years," but principally to
+the fact of his embracing the temperance movement with more zeal than
+discretion. As a matter of fact, however, long before this step had been
+taken, there had been causes equally potent at work which seem to have
+escaped Mr. Bates' attention, and these causes, which appear to us the
+leading factors in the unfortunate final result, lay, as we shall
+endeavour to explain, in an entirely different direction.
+
+People who knew and judged of George Cruikshank (as the majority of his
+contemporaries necessarily did) by his work alone, formed altogether an
+erroneous judgment of the character and disposition of the man. Because
+his later designs showed or seemed to show a love of little children, a
+liking for home and homely subjects, a delight in fairy lore and legend,
+it seems therefore to have been assumed that the artist was almost
+child-like in simplicity, innocence, and guilelessness of heart. Some
+even of those who have written upon him, acting apparently upon this
+impression, have given us to understand that "he never raised a laugh at
+the expense of decency"; that "satire _never_, in his hands, descended
+into scurrility"; that "a moral purpose ever underlaid his humour"; that
+"he sought to instruct and improve whenever he amused." The absurdity of
+this statement we have already exposed. In reference to a supposed
+singleness of heart and honesty of purpose, some writers have termed him
+"honest George." All this was very well. We all know, of course, that he
+"never pandered to sensuality" or "glorified vice"; but in spite of
+these facts, "honest George" himself, so far at least as we personally
+know, never assumed or set up, or even aimed at assuming, that he was
+one whit better than his neighbours.
+
+In order that the reader may grasp the causes of his sudden decadence,
+it is important that he should understand the position and the
+peculiarities of the artist. As an illustrator of books he was
+dependent on a _clientèle_ composed exclusively of authors and
+publishers. "Honest George," however, laboured under a disadvantage
+common perhaps more or less to all men possessed of true genius. Hasty
+and hot-tempered, particularly in matters connected with his artistic
+labours, he was more than usually prone and ready to take offence.
+Almost invariably at war with some one or another of his employers, the
+story of George Cruikshank's skirmishes and quarrels with the authors
+and publishers with whom he was thrown in contact forms a most curious
+and interesting chapter in the history of artistic and literary
+squabbles.
+
+At the time when Charles Dickens began to write, George Cruikshank had
+already achieved his reputation; and so well assured was this
+reputation, that the young novelist in his preface to his "Sketches by
+Boz," speaks of the nervousness he should have experienced in venturing
+_alone_ before the public, and of his delight in securing the
+co-operation of an artist so distinguished as George Cruikshank. In
+1838, however, the author like the artist had made his mark: "Pickwick"
+and "Nicholas Nickleby," and "Oliver Twist" had been written; and every
+vestige of the nervousness of which he speaks in the preface to his
+"Sketches" had disappeared for ever.
+
+Mr. Sala has somewhere happily remarked that Charles Dickens wanted
+rather a scene painter for his novels than a mere illustrator of books,
+and the very last person to answer his requirements was George
+Cruikshank; for, while ready and willing to execute designs illustrative
+of Mr. Dickens's writings, he made it an implied condition of his
+retainer, that he should be free to design them in his own way and after
+his own fashion. It was an _essential_ condition of George Cruikshank's
+success as a draughtsman, not only that he should feel a sympathy for
+any subject he was called upon to design, but also that his genius
+should be left unfettered and untrammelled in his method of treatment.
+Hence it was that he found it impossible to co-operate with so exacting
+an employer of artistic labour as Charles Dickens. The latter argued,
+with some show of reason, that knowing what he intended to describe, he
+was the fittest and most competent person to explain how his meaning
+should be pictorially carried out. This sort of arrangement, however,
+did not suit the independent and somewhat impracticable spirit of the
+artist, and the result was almost a foregone conclusion. These two men
+of genius inevitably clashed; and the connection between Charles Dickens
+and Cruikshank was abruptly severed.
+
+A singular memorial of the quarrel between Dickens and Cruikshank will
+be found in the last illustration to the author's novel of "Oliver
+Twist," one of the worst that the artist ever executed. Although Mr.
+Forster does not say so--and possibly would not admit it,--Charles
+Dickens is directly responsible for this result, as the reader will
+agree when he learns the whole of the facts, which are only partly given
+in Forster's "Life," and in every other work which professes to tell the
+story.
+
+The reader will not require to be told that "Oliver Twist" made its
+appearance in the pages of "Bentley's Miscellany." The story of course
+had been written in anticipation of the magazine; and according to Mr.
+Forster, Cruikshank's designs for the portion which forms the third
+volume "having to be executed 'in a lump,' were necessarily done
+somewhat hastily." How far this statement is correct, the reader will be
+enabled to judge when we tell him that these so-called "hastily"
+prepared illustrations include the famous designs of _Sikes and his Dog_
+and _Fagin in the Condemned Cell_. "None of these illustrations," Mr.
+Forster goes on to tell us, "Dickens had seen until he saw them in the
+book on the eve of its publication [we assume in the three-volume form],
+when he so strongly objected to one of them that it had to be
+cancelled." "My dear Cruikshank," he at once wrote off to the artist, "I
+returned suddenly to town yesterday afternoon [October, 1838] to look at
+the latter pages of 'Oliver Twist' before it was delivered to the
+booksellers, when I saw the majority of the plates for the first time.
+With reference to the last one, _Rose Maylie and Oliver_, without
+entering into the question of great haste or any other cause which may
+have led to its being what it is, I am quite sure there can be little
+difference of opinion between us with respect to the result. May I ask
+you whether you will object to designing this plate afresh, and doing so
+_at once_, in order that as few impressions as possible of the present
+one may go forth. I feel confident you know me too well to feel hurt by
+this inquiry, and with equal confidence in you, I have lost no time in
+preferring it." At this point Mr. Forster leaves the story.
+
+
+  THE QUARREL WITH DICKENS.
+
+Probably very few of our readers have seen this despised and rejected
+plate of _Rose Maylie and Oliver_, for it is not the one which bears
+that title among the ordinary illustrations to the novel of "Oliver
+Twist." It is very rare, and we wish we could reproduce it here. If not
+one of the very best of the series, it is entirely in keeping with the
+rest; and so far from displaying "great haste," is in every respect a
+carefully finished book etching. Four figures are represented in it as
+sitting round the fire, among them the well known form of Oliver, with
+his turn-down collar and elaborately brushed hair. On the mantle-shelf,
+with other ornaments, are two hyacinths in glasses, thus fixing January
+as the date of the scene depicted. It would have been better for the
+book if Charles Dickens had left it alone. The artist did as he was
+requested, with anger at his heart; and as a consequence, Rose Maylie
+will go down to posterity as the ugliest of George Cruikshank's very
+ugly women, in an outrageous bonnet, with her hand resting on the
+shoulder of a youth wearing the singular coatee or boy's jacket of forty
+years ago. Differing altogether from the admirable designs which
+preceded it, there is an incongruity about the etching which cannot fail
+to impress the observer. The unfortunate letter and still more
+unfortunate result occasioned a coolness between the men which was never
+wholly removed. From that time forth George Cruikshank executed no more
+designs for Charles Dickens, and the illustrations to the long series of
+novels which afterwards followed from the pen of the talented but
+distinctly autocratic author were entrusted to other hands. However much
+this result must be deplored so far as the artist himself is concerned,
+the coolness between Charles Dickens and George Cruikshank is scarcely
+to be viewed in the light of a misfortune for English illustrative art.
+Only consider for one moment what might have followed had the artist
+executed the designs to the rest of Dickens's novels! Dick Swiveller
+would have suited him, and so would Quilp, or Sampson Brass, the
+Yorkshire schoolmaster, Newman Noggs, Lord Frederick Verisopht, Captain
+Bunsby, or even Mr. Pecksniff himself; but only fancy, on the other
+hand, the _horrors_ which would have been made of Dolly Varden, of Edith
+Dombey, of "Little Em'ly," of dear, gentle, loving little Nell! Happily
+for the fame of George Cruikshank, his imagination was not called into
+requisition for any one of these creations, and like the
+"annunciations," the "beatifications," and the "apotheoses" of Lockhart,
+they remain (we are thankful to say it) still unrealized!
+
+
+  THE FEUD WITH BENTLEY.
+
+The quarrel with Dickens was followed by a very bitter and very singular
+feud between the artist and Bentley. Into the causes of that quarrel we
+need not enter; suffice it to say that to the misunderstanding we owe
+some of the very worst etchings which Cruikshank ever designed, the
+series of illustrations to Harrison Ainsworth's novel of "Guy Fawkes."
+The worst of all is the _Vision of Guy Fawkes at Saint Winifred's Well_,
+and a very singular "vision" it is. The saint has all the appearance,
+with all the grace, expression, and symmetry of a Dutch doll arrayed in
+a pocket handkerchief; the sky is "machine ruled;" the pillars and
+tracery of the ruined chapel are architectural impossibilities; while at
+the very first snort, the slumbering figure of Guy Fawkes must roll
+inevitably into the well towards the brink of which he lies in dangerous
+propinquity. These illustrations provoked the ire of the publisher and
+the remonstrances of the author, both of which were disregarded with
+strict impartiality. In 1842, Harrison Ainsworth retired from the
+conduct of the "Miscellany," and set up a rival magazine of somewhat
+similar plan and conception, which he christened after his own surname.
+This opposition venture appears to have been the result of a
+misunderstanding between the editor and publisher, the most serious
+outcome of which was, that when Ainsworth left he carried with him
+George Cruikshank.
+
+The secession of George caused Mr. Bentley the greatest possible
+inconvenience. The straits to which he was reduced may be imagined by
+the fact that A. Hervieu (an artist of considerable ability), and the
+clever, well-known amateur, Alfred Crowquill (Alfred Henry Forrester),
+had to be pressed into the service, and contributed leading etchings.
+Meanwhile, the cover of the "Miscellany" showed that George Cruikshank
+was nominally retained on the pictorial staff; and before the quality of
+his illustrations became so villainously bad that the object he had in
+view--that of _forcing_ Bentley to cancel his engagement--had been
+attained, a draughtsman of unusual graphic power and versatility had
+come to the assistance of the magazine. This was a young man who had
+already executed many comic designs of a somewhat novel and original
+character, and was already forcing his way to the front: his
+name--familiar afterwards "in our mouths as household words"--was John
+Leech.
+
+The "Guy Fawkes" illustrations were the outcome of the first campaign
+between Bentley and Cruikshank; and as the history of the quarrel
+between the publisher and his unmanageable artist is a somewhat amusing
+one, we may be pardoned for describing it at length. The engagement from
+which he sought to free himself, and which he stigmatized as "a
+one-sided one," obliged Cruikshank to supply Mr. Bentley with at least
+one etching every month; and as Bentley continued to advertise him as
+the illustrator of the "Miscellany," George commenced the second
+campaign by issuing in the opening pages of the opposition venture the
+following characteristic manifesto:--"Mr. Bentley, the publisher," says
+the indignant George, "evidently wishes to create the supposition that
+_I_ illustrate his 'Miscellany.' On the contrary, I wish the public to
+understand that I do no such thing. It is true that, according to a
+one-sided agreement (of which more may be heard hereafter), I supply a
+single etching per month. But I supply _only that single etching_. And
+even that can hardly be called my design, since _the subject of it_ is
+regularly furnished to me by Mr. Bentley, and I have never even read a
+page of any of the stories thus '_illustrated_.'
+
+"Yet Mr. Bentley not only advertises me as the illustrator of his
+'Miscellany,' but he has lately shaped his advertisement thus, in the
+papers as well as on the wrapper of his magazine: 'Illustrated by Geo.
+Cruikshank, etc.' Are his other artists worthy only of being merged in
+an etc.? This is, indeed, paying them but a poor compliment; and one
+which I should hardly think they would submit to. In certain other
+announcements I observe mentioned, in addition to my own name, a
+'Cruikshank the Younger.' Who is he? The only Cruikshank the Younger I
+ever heard of as a designer, is myself. Would it not be supposed that
+there must be a third Cruikshank, etching, drawing, and 'illustrating,'
+as his two predecessors have done? Yet there is no such person! There is
+indeed a nephew of mine, who, as a _wood-engraver_, and a wood-engraver
+_only_, has been employed by Mr. Bentley to engrave 'Crowquill's
+designs;' just as in my 'Omnibus' he engraved my own drawings upon wood,
+and still does engrave them in 'Ainsworth's Magazine.' Now, can any one
+imagine it possible for any respectable publisher, especially 'Her
+Majesty's Publisher in Ordinary,' to be guilty of so miserable a trick,
+so wretched an expedient, as that of putting off the _engraver_ of a few
+of the drawings as the designer himself--as one of the 'illustrators' of
+the 'Miscellany'? Let Mr. Bentley but produce a single design for the
+'Miscellany,' by 'Cruikshank the Younger' (by him so-called), and I will
+retract this indignant disclaimer and apologise. If Mr. Bentley cannot
+do this, he stands self-convicted of an attempt to impose upon the
+public by a mystification, for purposes as apparent as the trick
+itself."
+
+What this strange declaration of war proposed to effect is not
+altogether manifest; if its author imagined it would produce the result
+of releasing him from his engagement, he was signally mistaken, for Mr.
+Bentley, as might have been expected, held him all the tighter to the
+_letter_ of his bond. What the artist thought and what he did are told
+us in the plainest language by the etchings which followed this singular
+manifesto. They tell us as plainly as could be expressed in words, that
+George reasoned after the following fashion:--"It is clear that under
+the terms of my engagement I am bound to supply 'Bentley's Miscellany'
+with one etching a month; but our agreement says nothing as to the
+_quality_ of the etchings, nor am I bound to see that they shall be
+strictly relevant to the subjects which I am called upon to illustrate."
+From that time, so long as he continued to design for the "Miscellany,"
+George tried to do his worst, and it must be admitted that he succeeded
+to admiration. Anything more outrageous than these wretched
+drawings--taking into account the talent, power, and skill of the
+artist, and the quality of the work which he was at this very time
+executing for Harrison Ainsworth--can scarcely be conceived. They are so
+ashamed of themselves, that his signature--usually so distinct, so
+characteristic, and so clear on other occasions--is illegible, in many
+cases wholly wanting. At length, in vol. xiii. (1843) appeared a story
+called "The Exile of Louisiana," "with an illustration by George
+Cruikshank" (for Bentley, probably by way of retaliation, was determined
+the public should know that these performances were due to the hand
+which had produced the famous etchings to "Oliver Twist," "Jack
+Sheppard," and the contemporaneous story of the "Miser's Daughter"). We
+should like to have seen the face of the author when this extraordinary
+conception dawned upon him. The tale (a serious and pathetic one) was
+burlesqued with one of the most grotesque caricatures the mind of comic
+artist ever conceived. It represents Marshal Saxe recognising the widow
+of a late Czaaravitch in the gardens of the Tuileries. The marshal, a
+most extraordinary personage, would make in actual life the fortune of
+any enterprising showman. He possesses a nose of Slawkenbergian
+proportions; his pig-tail reaches below his waist; and his sword,
+sticking out at right angles, gives him the appearance of a fly with a
+pin through its middle. Near him stands a courtier, with ankles of such
+fearful and wonderful construction that his legs will snap the moment he
+attempts to use them. As for the distinguished relict of the
+Czaaravitch, she is one of the most wonderful of the many wonderful
+people who figure in the sketch. Her figure is an anatomical
+impossibility; while her mouth reaches from ear to ear (the letterpress,
+by the way, informs us that her deceased husband had married her for her
+beauty!). The statue of Mercury, posed like a scaramouch at a
+masquerade, is matched by that of Neptune, who whirls his trident round
+his head in a state of the wildest hilarity, cutting at the same time a
+caper over the body of an attendant dolphin, who is so overcome with
+the whimsicality of the proceeding that he is making the most violent
+efforts to restrain his laughter. This last shot probably hit the mark,
+for only three etchings appear in vol. xiv., and not one afterwards.
+George was victorious; but there are victories and victories, and a
+triumph won at the cost of an artistic reputation is as disastrous as a
+defeat.
+
+
+  THE MISUNDERSTANDING WITH AINSWORTH.
+
+Harrison Ainsworth's long connection with the artist had taught him that
+he was one who would be neither driven nor led, and he was wise enough
+to accommodate himself to circumstances. The admirable woodcut design at
+the head of that division of the magazine which was known as "Our
+Library Table," shows us the artist and the handsome editor in
+consultation, and the attitude of the two men is indicative of the fact
+that Ainsworth is attentively listening to the advice or suggestions of
+his coadjutor, a fact to which Cruikshank himself has been particular to
+draw our attention. To the free and unfettered conditions under which
+Cruikshank co-operated with Ainsworth we owe a series of the most justly
+celebrated and valuable of his designs. In matters, however, connected
+with art, Cruikshank was, as we have seen, a difficult man to get on
+with, and it was fairly safe to predict that a quarrel between the
+author and artist was a mere question of time. The artist remained on
+the staff of "Ainsworth's Magazine" for three years, enriching its pages
+with some of the choicest efforts of his pencil. At the end of that
+period came the unfortunate but almost unavoidable misunderstanding; and
+George Cruikshank, as he had done with Bentley, withdrew from the
+concern. Unlike Bentley, however, Ainsworth appears not only to have
+foreseen, but to have made preparations for the inevitable; and
+accordingly, when George Cruikshank retired, his place was immediately
+taken by an artist of talent, destined to win for himself a considerable
+position among the ranks of designers and etchers: this was Hablot
+Knight Browne, then and now known to us under his monosyllabic
+_nom-de-guerre_ of _Phiz_.
+
+It seems to us fitting in this place to say a few words on the subject
+of George's pretension to be the originator of two of Ainsworth's
+stories, because the truth of his assertion has been questioned by a
+late commentator.[94] George's statements simply amount to this: that so
+far as the illustrations to the "Miser's Daughter" and "The Tower of
+London" are concerned, the author wrote up to _his_ designs. We have
+considered Ainsworth's answers to this statement, and find that although
+he fences with, he does not deny it. It was one essential condition of
+Cruikshank's success that his fancy should be free and untrammelled, and
+the truth of his statement appears to us to be proved by the
+illustrations to these works, which are certainly the finest which he
+ever designed; that he was therefore (as he stated) the originator of
+these tales in the sense in which he used the word, we can entertain no
+manner of doubt.
+
+Most of the Cruikshank commentators, whilst writing on the subject of
+the Harrison Ainsworth etchings, have thought fit to decry the author's
+share of the performance; but the fact that the pictures are so much
+better than the letterpress should not prevent us from dealing fairly
+with the veteran author, who, like the distinguished artist with whom he
+so long co-operated, has now gone to his rest. Even Mr. Ainsworth's
+detractors will, we think, admit that without him we should have lost
+the admirable illustrations to "Windsor Castle," "Jack Sheppard," and
+"St. James's"; it may even be doubted whether without him we should have
+had the still better series of etchings which adorn the "Tower of
+London" and the "Miser's Daughter." If this be the fact, it seems to us
+we owe a lasting debt of gratitude to this venerable writer, who
+experienced the vicissitudes which inevitably befall mere talent when
+allied with genius. He was a writer of the George Payne Ransford James
+school, dispensing, however, with the inevitable setting sun and two
+travellers, and received a price for his productions which many a better
+author might well envy. For his novel of "Old St. Paul's" (1841) he was
+paid by the proprietors of the _Sunday Times_ one thousand pounds; "The
+Miser's Daughter" attained an extraordinary success; and the same remark
+applies to "Windsor Castle." For "The Lancashire Witches" he received
+from the proprietors of the _Sunday Times_ one thousand pounds. Several
+of the works named had not the benefit of Cruikshank's illustrations;
+but in 1850-1, cheap editions of all such of Mr. Ainsworth's romances
+and tales as had appeared up to that period, were published by Messrs.
+Chapman and Hall without any illustrations at all. "Windsor Castle" was
+the first of the series, and upwards of thirty thousand copies were
+disposed of in a short time; while all the other works enjoyed a very
+large sale, and popular favour was so far from being exhausted, that
+another edition of his novels was called for in 1864-1868. He was a
+veritable literary rolling stone. In 1845 he disposed of his magazine to
+the publishers, and purchased the "New Monthly," previously edited by
+Theodore Hook and (after his death) by Thomas Hood; in 1854 he bought
+the far-famed "Miscellany" itself, becoming its proprietor and editor;
+in that year he seems also to have re-purchased "Ainsworth's Magazine,"
+which as a separate and rival publication thenceforth ceased to exist.
+
+The only work which Cruikshank illustrated for Charles Lever was "Arthur
+O'Leary," and the reason of this has been explained by himself in a
+letter which he wrote to Mr. Fitzpatrick, the author of Charles Lever's
+life: "I had the honour and the pleasure," he says, "of being personally
+acquainted with the late Charles Lever, and I regret that I was only
+able to illustrate one of his works, 'Arthur O'Leary,' my engagements on
+'Jack Sheppard,' etc., at that time prevented me from illustrating his
+other works, which he wished me to have done, but I do not remember ever
+having any written correspondence with him, as the MS. or printed matter
+was placed in my hands for illustration; and then I had entirely to deal
+with the publisher. Mr. Charles Lever was an author whom I held in high
+estimation." Lever himself was highly gratified with these
+illustrations.
+
+
+  THE FINAL LEAP IN THE DARK.
+
+By 1845, that is to say, at least two years before he had taken his
+final leap in the dark, Cruikshank had contrived to pick quarrels with
+the very class of men whom it was his special interest to conciliate,
+and had been driven to set up an opposition serial of his own--the
+celebrated "Table Book"--which, notwithstanding the superlative
+excellence of his own illustrations and the talent of his literary
+contributors, comprising such names as John Oxenford, Horace Mayhew,
+Shirley Brooks, Mark Lemon, W. M. Thackeray, and others, could not
+manage to prolong its existence beyond its first volume. In matters
+connected with his own interests he was not only impracticable, but
+seems to have been remarkably destitute of tact and even of discernment.
+It cannot be doubted that the estrangement from Bentley was unwise and
+impolitic, for as one of the greatest publishers of fiction of the day,
+his influence was both far-reaching and comprehensive. In quarrelling
+with Dickens, Ainsworth, and Bentley, three of the great artistic
+employers of labour of his time, and in face of the growing popularity
+of John Leech and Hablot Knight Browne, he was literally quarrelling
+with his bread and butter, and few men, even of genius, may afford to do
+that. He was essentially impulsive, and frequently acted under the
+influence of first impressions. Although fond of his pipe and his glass,
+as his famous _Reverie_,--_The Triumph of Cupid_, in the "Table Book,"
+will show, he had always evinced a horror of drink, and had, as we have
+seen, done his best at various times to expose its insidious and baneful
+influences. At last, in 1847, came a sudden and extraordinary impulse of
+enthusiasm, under the influence of which he not only produced his
+_Bottle_, but laid aside for ever his pipe and his bowl. To do any real
+good, he said he must practise what he preached: he joined the
+"teetotallers," and not being one of those who did things by halves,
+entered heart and soul into the crusade against drink by becoming a
+temperance advocate. This last was the one step needed to fill up the
+measure of the artist's folly, and to secure for him the reputation of
+being an incurably eccentric, self-willed man.
+
+Those who would charge the author with blaming George Cruikshank for
+joining the ranks of the teetotallers will do him grave injustice.
+Although very much of the opinion of Robert Burton, author of the
+"Anatomy of Melancholy," that, "No verses can please men or live long
+that are written by water-drinkers," and disposed to undervalue the tact
+and discretion of some of the advocates of total abstinence, for its
+abstract principles he can say and think nothing but what is good. But
+he is writing, be it remembered, of a great artist--one whose mission
+was that of an artist, not that of a _temperance orator_,--of one who
+had served the righteous and good cause of temperance _best_ when he
+remembered that genius had made him an artist and not a temperance
+orator,--of one who had rendered that cause yeoman's service long before
+he joined the total abstainers, in designing _The Gin Juggernaut_, _The
+Gin Trap_, and work of a kindred nature. The cause, too, so far as mere
+verbal advocacy was concerned, was better served by men of vastly
+inferior mark and ability. Before this fatal plunge was taken his genius
+had roamed in an absolutely uncontrolled range of freedom. He had
+travelled into the land of chivalry and romance, into the realms of
+fairy fancy, magic, and diablery; he had brought back with him pictures
+of the wondrous people, lands, and scenes which his fancy had visited.
+All this was at an end; this wonderful genius was now forced into a
+narrow groove, where it could no longer have the freedom of action which
+was essential to its very existence. From the moment that George
+Cruikshank turned temperance _orator_, the world of English art lost one
+of its brightest ornaments, and he himself both fame and fortune; for,
+as Mr. Bates observes, "some of his earliest friends were alienated, and
+remunerative work that might have been his was diverted, from sheer
+prejudice, into other hands." His style, too, as Mr. Bates further
+remarks, "suffered by the contraction of his ideas and sympathies, and
+his art became associated with that vulgarity and want of æstheticism
+which perhaps necessarily characterizes the movement." _The Bottle_ and
+_The Drunkard's Children_, although successful in a pecuniary point of
+view--compared with what had gone before,--can scarcely be called _art_
+at all; in these too he unconsciously put himself in competition with
+Hogarth, and as a matter of necessity failed.
+
+He had been a king among designers and etchers; he had been and was
+still an admirable water-colour artist, but knew comparatively little of
+the manipulation or management of oils. A new crusade had however to be
+preached, to be preached by means of an oil painting; and for this
+purpose George was to be inspired off hand (so to speak) with a new art,
+and to paint a picture in oils. We know the result--the lamentable
+result--in that most preposterous _Worship of Bacchus_. His motive was
+good, his ideas were vast, but the _genius_ which in his unregenerate
+days had enabled him to design _The Gin Trap_ and the _The Gin
+Juggernaut_, was no longer there. Unhappy Rip! There is more
+poetry--more fancy--more romance--more art--fire--genius in one of the
+little "bits," nine inches by six, executed in the days of his pipe and
+his glass, than in any one part or portion of this most gigantic
+failure.
+
+The mere fact of his joining the ranks of the total abstainers would
+have done him perhaps little professional mischief, had he been content
+simply to join them, and aid their cause, as he had once so graphically
+done by depicting the evils of gin drinking and intemperance; but it was
+one of the failings as well as one of the virtues of this impulsive,
+earnest man's character, that whatever his hand found to do, "he did it
+with his might." Desiring to aid them to the best of his power, he
+mistook the means by which that aid might best be applied, and forgot
+that his talents lay not in the tongue but in his hand and his head. We
+look upon George Cruikshank after 1849, no longer as an artist, but as a
+very indifferent temperance lecturer. The reign of Fancy was over.
+Thenceforth no "Reveries," no "Jack o' Lanterns," no "Gin Juggernauts,"
+would come from that indefatigable hand, that fertile brain, that
+wondrous and facile pencil. George Cruikshank took his _Worship of
+Bacchus_, and went out into the world (heaven save the mark!) as a
+temperance lecturer. His literary abilities were, however, small; he
+lacked even that "gentle dulness"[95] which characterizes the leading
+advocates of the movement, and kindles a certain amount of sympathetic
+enthusiasm in kindred breasts. The dull people who went to hear him,
+knew little about and cared less for art and genius than they did for
+the abstract doctrines of total abstinence. The result, so far as he
+personally was concerned, was curious, lamentable, and almost
+instantaneous. The work which had hitherto crowded upon him fell away
+like water from a leaking vessel; nay, on the authority of Mr. William
+Bates, when work was offered him he refused to take it. "When pressed by
+the late Mark Lemon to draw on his own terms for _Punch_," this man who
+had designed some of the broadest, coarsest, most personal of the
+satires of the nineteenth century, had grown so extremely particular
+that "he definitely refused to have anything to do with it on account of
+what he termed its personalities."[96] What could be done for such a man
+as this? Authors and publishers wholly ceased to employ him; and he was
+left without work in the very pride of his artistic career. He turned to
+oil painting; was taken by the hand by the influential few who
+appreciated, pitied, and loved him; but from the moment that he became a
+temperance advocate, to the literary world and to the general public
+this most singular and original genius was to all practical intents and
+purposes--dead.
+
+These observations, I repeat, are made in no spirit of hostility to the
+sincere and earnest men who would seek to reduce the crime and misery
+which owe their origin to the immoderate use of ardent spirits. So far
+from this being the case, I hold their cause to be so righteous, so
+sensible, that it seems to me as effectually advocated by a plain,
+simple, earnest man as by a great artist and man of genius. I say
+advisedly, that the cause of temperance had been better served had
+Cruikshank stuck to his pencil and his etching needle, instead of
+seeking the position of a temperance advocate, and stumping the
+provinces with his absurd panorama of _The Worship of Bacchus_.
+
+Thirty years of quite sterling and admirable work were now to be
+followed by thirty years of artistic sterility, for from this Rip Van
+Winkle slumber of thirty years' duration his reputation never once
+awoke. Out of the dreary desert of mental and artistic inactivity came
+forth at long distant intervals specimens of his handiwork, which
+served, it is true, to remind us of what he once was capable, but failed
+to restore him to the place he had for ever lost in public estimation;
+such were the illustrations to Angus Bethune Reach's "Clement Lorymer,"
+to Robert Brough's "Life of Sir John Falstaff," to Smedley's "Frank
+Fairleigh," to George Raymond's "Life and Enterprises of Elliston," to
+his own _so-called_ "Fairy Library." Good and excellent as this work
+was, it utterly failed to lend even a passing vitality to his departed
+reputation, a fact sufficiently and vexatiously proved when he essayed
+once more to start a magazine of his own, which met with such little
+encouragement that _only two parts were issued_.
+
+Nevertheless, the designs of the "Life of Falstaff" and his own "Fairy
+Library" showed that, when the subject took hold of his fancy, the hand
+of Cruikshank had not altogether lost the cunning which characterized it
+in days of yore. To illustrate the so-called fairy stories, he had to
+read them,--no longer, alas! with his former love of fairy lore and
+legend,--no longer with the mind of a man free, vigorous, elastic, but
+with a mind warped and prejudiced with the study of a theme which was
+intellectually depressing and uninspiring. No one knows the origin of
+these fairy stories, they come to us from our Danish and Saxon
+ancestors, but are interwoven with the literature of every civilized
+nation under the sun, and are altogether beyond the sphere of modern
+criticism. Their primitive style is singularly adapted to enlist the
+sympathies of the little folk to whom they specially address themselves:
+their highest aim and object is not to instruct, but to amuse. All this
+the artist, in the ardour of his new crusade, lost sight of, and so dead
+had he become to the fairy fancies and reveries of his youth, that he
+placed sacrilegious hands on these time-honoured and favourite legends
+of our childhood, and converted them (with most indifferent literary
+ability) into something little better than temperance _tracts_!
+
+But happily not without protest. Charles Dickens, the champion of the
+injured fairies, set his lance in rest, and speedily rolled hapless Van
+Winkle in the dust. Into the details of this very absurd and very
+unequal contest there is no necessity for us to enter. George was at
+home with his pencil, his etching needle, or his tubes of water colour;
+but put a pen in his hand, and he forthwith would cut the funniest of
+capers. He argued (with every appearance of comical gravity and
+earnestness), that because Shakespeare might alter an Italian story, or
+Sir Walter Scott use history for the purposes of the drama, poetry, or
+romance, therefore, "any one might take the liberty of altering a common
+fairy story to suit his purpose and convey his opinions." Aye, and so he
+might, honest Rip; but he would set about his task in a very different
+fashion to Shakespeare or Sir Walter Scott, and I fear too that the
+literary results and value would be vastly different. It never seemed to
+occur to the mind of the honest but simple casuist that in putting "any
+one" on a par with William Shakespeare and Sir Walter Scott, he was
+writing simple nonsense.
+
+It is clear, therefore, that the change which had come over the
+literature of fiction during the past quarter of a century, and which
+Professor Bates would assign as one of the principal causes of the
+sterility which befell the genius of Cruikshank, had really very little
+to do with it. This calamity--for a national calamity it undoubtedly
+was--did not fall upon him, be it remembered, when he was old, but in
+the very acme and pride of artistic success. His fall was distinctly due
+to causes which were within his own control, and might have been avoided
+by the exercise of qualities which (it seems to me) he did not
+possess,--forethought, tact, and judgment. During the rest of his long
+life, the place which George Cruikshank deliberately ceded to others he
+never once regained; when he dropped behind, he became as completely
+forgotten as if he had ceased any longer to exist; men whose childhood
+he had delighted with his quaint imaginings, his own friends and
+contemporaries, died off; and so it came to pass, that before he knew
+it, for time moves quickly after youth is over, the old man was left
+standing alone amongst the ranks of a generation that did not know him.
+So little was he known or regarded, that when his works were _first_
+exhibited, no one took the trouble to see them; and when a small circle
+of admirers, with the great English critic, John Ruskin, at their head,
+started a subscription for the forgotten artist, "the attempt was a
+failure--hundreds being received when thousands were expected." It will
+be remembered that in his best days the artist had executed a memorable
+etching, _Born a Genius and Born a Dwarf_: I wonder whether, in the
+bitterness of his spirit and the righteousness of his anger, George
+Cruikshank ever thought of that etching?
+
+
+FOOTNOTES:
+
+  [94] Mr. Blanchard Jerrold.
+
+  [95] "And gentle dulness ever loves a joke."--_Dunciad._
+
+  [96] "The Maclise Portrait Gallery," 1883, p. 195.
+
+
+
+
+CHAPTER X.
+
+_ROBERT SEYMOUR._
+
+
+Decidedly next in order of merit to George Cruikshank, amongst his own
+contemporaries, if we except only Theodore Lane, comes Robert Seymour.
+With a style and manner peculiar to himself, and a power of invention
+and realization which amounted almost to genius, Seymour was superior in
+every respect to Robert Cruikshank, with whom we find him not
+unfrequently associated in comic design. This style and manner were
+clearly founded on those of George Cruikshank; and when he selected (as
+he not unfrequently did) subjects which had been treated by the latter,
+the work of this most able draughtsman will bear even favourable
+comparison with that of the great original whom he chose as his master.
+That he drew his inspiration from and sought even to emulate Cruikshank,
+is shown by the fact that to some of his earlier caricatures he affixed
+the name of "Shortshanks," a practice which he discontinued on receiving
+a remonstrance from the irritable George.
+
+Robert Seymour was born in 1798. Henry Seymour, his father, a gentleman
+of good family in Somersetshire, meeting with misfortune, removed to
+London, and apprenticed him to Mr. Vaughan, a pattern designer of Duke
+Street, Smithfield. This Vaughan seems to deserve a passing notice here
+by reason of the fact that his father is said to have received proposals
+for partnership from the father of the late Sir Robert Peel, which were
+rejected, on the ground that the fortunes of the Peel family were not
+then considered particularly flourishing. How far this statement may be
+correct we know not. Assuming it to be true, the fortunes of the Peel
+family afterwards took a turn which probably frequently gave Vaughan
+_père_ (if he lived to ruminate thereon) some serious cause for
+reflection as well as of repentance.
+
+Like Hogarth, with whom this artist, like all other comic designers, has
+been frequently and improperly compared, young Robert Seymour declined
+to waste his abilities as a mere mechanical draughtsman, and used his
+technical education as a means of cultivating the artistic gifts with
+which nature and inclination had endowed him. He seems at first to have
+selected a walk in art which required for its ultimate success a larger
+amount of application and patience than he could well spare for the
+purpose. Shortly after the expiration of his indentures, he started as a
+painter in oils, and executed several pictures, one of which (a Biblical
+subject) included, it is said, no less than one hundred figures, whilst
+a no less ambitious subject than Tasso's "Jerusalem Delivered" was
+deemed of sufficient merit to be exhibited on the walls of the Royal
+Academy. Other pictorial subjects were taken from "Don Quixote,"
+"Waverley," "The Tempest," etc., besides which he executed numerous
+portraits and miniatures. These efforts, however, do not appear to have
+been sufficiently remunerative to encourage him to continue them, and
+after a time he resigned them to follow a branch of art more congenial,
+perhaps, to his abilities, and thenceforth very rapidly acquired fame as
+a social satirist and caricaturist.
+
+The coloured caricatures of Robert Seymour, besides being comparatively
+scarce and little known, seem hardly to call for any particular
+description; the titles of some of them will be found mentioned in our
+Appendix. One which has survived, and with which the public are probably
+most familiar, is one of the worst of the series. It is entitled, _Going
+it by Steam_, is signed "Short Shanks," and was published by King. Among
+rarer and better ones may be named two very excellent specimens, without
+date, published by Creed, of Chancery Lane, labelled respectively, _A
+Musical Genius_ (a butcher boy playing on the Pandean pipes and
+accompanying himself with marrow bone and cleaver), and _A Man of Taste
+and Feeling_ (a tramp caught in a trap while helping himself in a
+butler's pantry). Among the best of his coloured political caricatures,
+we may mention, _Greece and her Rough Lovers_ (_i.e._ Russia and
+Turkey), published by Maclean, in 1828. Lithography afforded greater
+facilities of execution than the old process, and much of Seymour's work
+in political as well as social satire was executed by himself on stone.
+
+
+  DEATH OF GEORGE IV.
+
+The year 1830 brought the life and reign of George the Fourth to a
+close. He had been breaking up for a long time past. The first entry of
+any moment occurs in Mr. Greville's diary, of 25th August, 1828: "The
+king has not been well; he goes fishing and dining at Virginia Water,
+stays out late, and catches cold." A year later, the diarist relates
+that the king had nearly lost his eyesight, and would be "couched" as
+soon as his eyes were in a proper state for the operation. On the 7th of
+December he attended a chapter of the Bath, "looked well," but was so
+blind that "he could not see to read the list, and begged [Mr. Greville]
+to read it for him." The Sangrado treatment was then in full force; and
+we find that in January, 1830, the king, being very ill, "lost forty
+ounces of blood." He grew at last so much worse that the preparations
+for the festivities with which the royal birthday was to have been
+celebrated were obliged to be postponed _sine die_. A victim to dropsy,
+the operation of puncturing the legs was resorted to, with the result of
+giving him temporary relief. The patient, however, became liable to
+violent fits of coughing, in one of which he ruptured a blood vessel,
+and expired early on the morning of Saturday the 26th of June, 1830.
+
+A more contemptible, selfish, unfeeling being as a _man_ than this king
+could scarcely have been found, "a mixture of narrow-mindedness,
+selfishness, truckling, blustering, and duplicity, with no object but
+self, his own ease, and the gratification of his own fancies and
+prejudices."[97] "A more despicable scene," continues Mr. Greville,
+"cannot be exhibited than that which the interior of our Court
+presents--every base, low, and unmanly propensity, with selfishness,
+avarice, and a life of petty intrigue and mystery."[98] George the
+Fourth as king and regent was recklessly extravagant, but his
+expenditure was always upon self or the gratification of self. A hundred
+examples of his selfish nature might be given, but _cui bono_?
+Everything he could get hold of, which could minister to his own
+personal gratification, he _grasped_ with avidity. In this spirit he
+appropriated the jewels and spent on himself the whole of the money
+belonging to his late father's estate, amounting to £120,000. His
+ministers did not dare to oppose his greed, or tell him that this money
+belonged to the Crown, and not to himself as an individual. He acted
+precisely in the same manner with regard to his mother's jewels, of
+which she possessed a large quantity. Those she received from George
+III. she left by will to the king; the rest she gave to her daughters;
+in spite of which bequest, her selfish son appropriated the whole to
+himself as his own personal private property.
+
+
+  PORTRAIT OF THE KING.
+
+An admirable likeness of this most selfish of royal or private
+personages has been drawn by a master hand. "To make a portrait of him,"
+says Thackeray, "at first seemed a matter of small difficulty. There is
+his coat, his star, his wig, his countenance simpering under it: with a
+slate and a piece of chalk, I could at this very desk perform a
+recognisable likeness of him. And yet after reading of him in scores of
+volumes, hunting him through old magazines and newspapers, having him
+here at a ball, there at a public dinner, there at races, and so forth,
+you find you have nothing--nothing but a coat and wig, and a mask
+smiling below it--nothing but a great simulacrum. His sire and
+grandsires were men. One knew what they were like: what they would do in
+given circumstances: that on occasion they fought and demeaned
+themselves like tough, good soldiers. They had friends whom they liked
+according to their natures; enemies whom they hated firmly; passions and
+actions and individualities of their own. The sailor king who came after
+George was a man; the Duke of York was a man, big, burly, loud, jolly,
+cursing, courageous. But this George, what was he? I look through all
+his life, and recognise but a bow and a grin. I try and take him to
+pieces, and find silk stockings, padding, stays, a coat with frogs and a
+fur collar, a star and blue ribbon, a pocket-handkerchief prodigiously
+scented, one of Truefitt's best nutty brown wigs reeking with oil, a
+set of teeth, and a huge black stock, under-waistcoats, more
+under-waistcoats, and then nothing." "Under-waistcoats, more
+under-waistcoats--and then nothing!" Yes, there was something besides
+the silk stockings--the padding--the stays--the coat with frogs and a
+fur collar, the star and the blue ribbon, although there might be
+nothing underneath which resembled a heart or which was capable of being
+inspired by a feeling which had not its origin in _self_. The wardrobe
+of this royal professor of deportment, who ten years before had been
+described to his own great personal annoyance as--
+
+  "The dandy of sixty, who bows with a grace,
+   And has taste in wigs, collars, cuirasses, and lace,"
+
+was sold on the 2nd of August, 1830, and is said to have been
+sufficiently numerous to fill Monmouth Street, and sufficiently various
+and splendid for the wardrobe of Drury Lane Theatre. The meanness of his
+disposition was exhibited even in the matter of his clothes, scarcely
+any of which he gave away except his linen, which was distributed every
+year. Here were all the coats which this monarch had had for fifty years
+before, three hundred whips, canes without number, every sort of
+uniform, the costumes of all the order of Europe, splendid fur pelisses,
+hunting coats and breeches; among other etcetera, a dozen pair of
+corduroy breeches made to hunt in when Don Miguel was in London. His
+profusion in these articles was explained by the fact that he never paid
+for them; but his memory in relation to them was nevertheless so
+accurate that he recollected every article of dress, no matter how old,
+and his pages were liable to be called on at any moment to produce some
+particular coat or other article of apparel of years gone by.
+
+The demise of this treasurer of royal antique raiment was followed by an
+order for general _mourning_, to which a caricature drawing by Seymour
+has reference, the satirical meaning of which will be apparent after the
+explanation previously given. A colossal military figure armed with a
+baton, on which is inscribed the word "fashion," encounters at dusk, in
+Hyde Park, a solitary pedestrian habited in a suit of grey clothing.
+"How dare you appear," says the apparition, "without a black coat?" to
+which the frightened pedestrian replies, "The _tailor_ would not trust
+me, sir." In August, 1830, he gives likenesses of the new king and
+queen, William the Fourth and Adelaide, surrounded by a halo of glory.
+The new king, in reference to his profession, and by way of obvious
+contrast to his predecessor, is subsequently depicted as an anchor
+labelled, "England's best bower not _a maker of bows_." From other
+contemporary pictorial skits by Seymour we learn that various changes
+were made in the royal establishment, and the new queen seems to have
+addressed herself specially to a reform in the dresses of the court
+domestics. On the 1st of October, 1830, Seymour represents her grinding
+an enormous machine, called the "Adelaide Mill," into which the women
+servants, dressed in the outrageous head-gear and leg-of-mutton sleeves
+of the period, are perforce ascending, and issuing from the other side
+attired in plain and more suitable apparel. "No silk gowns," says Her
+Majesty as she turns the handle. "No French curls; and I'll have you all
+wear aprons." The new queen seems also to have shown a disposition to
+encourage native manufactures and produce at the expense of French and
+continental importations. These changes were not particularly pleasing
+to the Conservative lady patronesses of Almack's, who were celebrated at
+this time for their capricious exclusiveness. One of Robert Seymour's
+satires, bearing date the 1st of November, 1830, shows us a conference
+of these haughty dames, who seriously discuss the propriety of admitting
+some lady (probably the queen) who proposed appearing at one of the
+balls "in some vulgar stuff made by the _canaille_ at a place called
+Kittlefields" [Spitalfields].
+
+[Illustration:
+  ROBERT SEYMOUR. _October 1st, 1830._
+
+  "THE ADELAIDE MILL."
+
+  _Face p. 213._]
+
+
+  FRENCH REVOLUTION OF 1830.
+
+Whilst England was thus peacefully passing through the excitement of a
+succession to a vacant throne, France was convulsed with one of her
+ever-recurring revolutions. Charles the Tenth, driven from his throne,
+had been replaced by one who in his turn, some three and twenty years
+afterwards, was doomed to give place to the Bonaparte whose sun we
+ourselves have seen set in the defeat and disaster of Sedan. We find
+portraits in September, 1830, of Louis Philippe, king of the French, of
+the queen, General Lafayette, the ex-king Charles the Tenth, and the Duc
+d'Angoulème. Besides these, we meet with several clever illustrations by
+the artist, on stone, of the stirring events of the time, which are
+interesting and valuable specimens of his versatile powers.
+
+Some of our readers may remember a passage in Peter Pindar, where the
+merciless satirist ridicules George the Third's German band, telling us
+(in allusion to his Majesty's well-known penurious habits) that,
+although they displaced native talent and expected "to feast upon the
+Coldstream regiments fat," their experience was altogether of another
+character:--
+
+  "But ah, their knives no veal nor mutton carved!
+   To feasts they went indeed, but went and starved!"
+
+The services of these foreign musical mercenaries had been retained by
+George the Fourth, but one of the very earliest acts of his successor
+was to dismiss them in favour of the guards' bands, "who," however, if
+we are to believe Mr. Greville, had no great reason to be thankful, but
+were on the contrary "ready to die of it," as they had to play every
+night without pay, and were moreover "prevented" from earning money
+elsewhere. This act of the new king is referred to in a sketch by
+Seymour, which shows us his Majesty in the act of "discharging the
+German band," who may be seen marching off headed by their ancient and
+crestfallen drum-major.
+
+
+  ST. JOHN LONG.
+
+The month of October, 1830, witnessed the trial of the notorious
+impostor, John St. John Long (whose real name was O'Driscoll) for the
+manslaughter of Miss Cushin. The success of this ignorant and notorious
+quack, who managed for a series of years to extract a magnificent income
+of some £10,000 or £12,000 per annum by trading on the credulity of his
+fellow-creatures, forms a curious commentary on the weakness of
+contemporary "society." It is said that he commenced life as a
+house-painter, and afterwards acquired some slight knowledge of art in
+the humble capacity of colour grinder to Sir Thomas Lawrence, and while
+colouring (on his own account) some anatomical drawings for a medical
+London school, picked up a slight and imperfect knowledge of anatomy.
+This stimulated him to further superficial research; and after a few
+months' probation, his confidence enabled him to pretend that he
+possessed a cure for every disease under the sun--more especially
+consumption.[99]
+
+The origin and pretensions of this learned practitioner are thus
+referred to in one of the rhymes of the day:--
+
+  "You may talk of your Celsus, Machaons, and Galens,
+   Physicians who cured all incurable ailings,
+   But ne'er yet was doctor applauded in song
+   Like that erudite Phoenix, the great Doctor Long.
+
+   Such astonishing cures he performs, I assure ye,
+   Some think him a god--all a _lusus naturæ_:
+   The whole animal system, no matter how wrong,
+   Is set right in a moment by great Doctor Long.
+
+   Through all regions his vast reputation has flown,
+   Through the torrid, the frigid, and temperate zone;
+   The wretch, just expiring, springs healthy and strong
+   From his bed at one touch of the great Doctor Long.
+
+   His skill to experience, what potentates ran--
+   The Pope, the Grand Llama, the King of Japan!
+   The great Chinese autocrat, mighty Fon Whong,
+   Was cured of the 'doldrums' by famed Doctor Long!
+
+   In each serious case he considers as well as
+   Doctor Horace, '_naturam cum furcâ expellas_';
+   'Dame Nature' (_i.e._) 'you must poke with a prong.'
+   Pretty poking she gets from the great Doctor Long.
+
+   He cures folks _à merveille_, the French people cry;
+   The Greeks all pronounce him [Greek: theztagon tz]
+   Dutch and Germans adore him; the Irish among,
+   'To be sure he's the dandy!' Go bragh, Doctor Long!
+
+   King Chabert has proved, since restored from his panic,
+   There's small harm in quaffing pure hydrocyanic;
+   But he never found out it was good for the throng,
+   When scrubbed on their stomachs by great Doctor Long.
+
+   A machine he's invented, stupendous as new,
+   To sweep one's inside as you'd sweep out a flue;
+   No climbing boy, urged by the sound of the thong,
+   Can brush out your vitals like great Doctor Long.[100]
+
+       *       *       *       *       *
+
+   Garter King has assigned, like a sad 'fleering Jack,'
+   A duck for a crest, with the motto, '_Quack, Quack_'
+   To the proud name of St. John (it should be _St. Johng_,
+   Which would rhyme with the surname of great Doctor Long).
+
+   Great house-painting, sign-painting, face-painting sage!
+   Thou Raffaelle of physic!--thou pride of our age!
+   Alas! when thou diest, and the bell goes ding-dong,
+   Sure Hygeia herself will expire with her Long!
+
+   Then fill every glass, drink in grand coalition,
+   _Long life_, _long_ await this _long_-headed physician;
+   _Long_, _long_ may Fame sound, with her trumpet and song,
+   Through each nation the name of the great Doctor Long!"[101]
+
+"Dr. Long's" remedy ("the prong" referred to in the foregoing ballad)
+was of the simplest possible character, and--his dupes in nine cases out
+of ten being women--his success complete. He invented a wonderful
+liniment or lotion, by means of which he professed to diagnose and
+eradicate the virus of consumption. With many patients an inflammation
+followed its application, which (according to the quack) discovered the
+presence of disease, and which, after a plentiful crop of guineas had
+been extracted, nature was allowed to heal: the patient was then
+pronounced out of danger. With some persons the liniment was perfectly
+innocuous, and when this was the case the patient was informed that no
+disease need be feared. The secret of course lay in the fact that the
+quack used two liniments, apparently identical, one of which only
+contained the irritating medium. Many actually consumptive persons of
+course consulted him; but when this was the case he refused his
+assistance, on the ground that it had been invoked too late.
+
+He carried the imposition, as might have been anticipated, once too far,
+and, in the case of the beautiful and unfortunate Miss Cushin (a lady of
+highly nervous temperament), maintained the inflammation for so long a
+time that nature for once refused to assist him, and when Sir Benjamin
+Brodie was summoned, mortification had already set in. The trial
+resulted in a verdict of guilty, but the judge (Baron Parke), who summed
+up scandalously in his favour, instead of sending the fellow to hard
+labour, imposed a fine of £250, which was immediately paid.
+
+Seymour alludes to this event in a pictorial satire, in which he shows
+us St. John Long, with a vulture's head and beak, kneeling on the floor
+of a dungeon with a bottle by his side labelled "lotion," and (beneath)
+the words,--"Lost, £12,000 per annum, _medical practice_. Whoever will
+restore the same to Mr. St. J. L--g, shall receive the benefit of his
+advice."
+
+Miss Cushin's death was quickly followed by another fatal case, that of
+Mrs. Colin Campbell Lloyd, who also died from the effects of the
+corrosive lotion, and St. John Long the following year was again put on
+his trial for manslaughter; in this case the fellow was acquitted.
+Seymour's prediction was not destined to be verified. The _soi-disant_
+St. John Long, _alias_ O'Driscoll, in spite of these "mistakes," which
+in our day would receive a harsher term, retained his large "practice"
+to the last, and died--still a young man--of the very disease to which
+he professed to be superior, thus conclusively proving better than
+anything else could have done the utter impotency of his preparation.
+
+Anstey (son of the once celebrated author of the "New Bath Guide")
+amusingly describes the administration of an oath to a witness in a
+court of law:--
+
+  "Here, Simon, you shall (silence there!)
+   The truth and all the truth declare,
+   And nothing but the truth be willing
+   To speak, so help you G--d (a shilling)."[102]
+
+The artist possibly had this quotation in his mind when he designed the
+following:--The deponent is a country bumpkin, to whom an official
+tenders the Testament, at the same time extending his disengaged palm.
+"Pleas zur," says Hodge, "wot be I to zay?" (To him the officer), "Say,
+This is the truth and nothing but the truth, so help me God one and
+sixpence."
+
+The open and notorious bribery, corruption, and intimidation which
+prevailed in those days at parliamentary elections; Sir Robert Peel's
+"New Police Act" (which was received with extraordinary suspicion and
+dislike); the Reform Bill; the universal distress and consequent bread
+riots of 1830-31, form the subjects of other pictorial satires by Robert
+Seymour, which seem, however, to call for little notice.
+
+The artist's talent and services were constantly in demand as a designer
+on wood; but finding that the productions of his pencil suffered at the
+hands of the wood-engravers to whom they were entrusted, and the very
+inferior paper upon which the impressions were taken, he, in or about
+the year 1827, began to learn the art of etching on copper. We believe
+his earliest attempts in this direction will be found in a work now
+exceedingly rare, bearing the title of "Assisting, Resisting, and
+Desisting." A volume called "Vagaries, in Quest of the Wild and
+Wonderful," which appeared in 1827, was embellished with six clever
+plates after the manner of George Cruikshank, and ran through no less
+than three editions.
+
+The "Humorous Sketches," several times republished, perhaps the only
+work by which Seymour is now known to the general public, appeared
+between the years 1834 and 1836. They were first published at threepence
+each by Richard Carlisle, of Fleet Street, who is said to have paid the
+artist fifteen shillings for each drawing on the stone. Carlisle falling
+into difficulties shortly before Seymour's death, sold the copyright and
+lithographic stones to Henry Wallis, who in turn parted with the latter
+to Mr. Tregear, of Cheapside, but retaining his property in the
+copyright, transferred the drawings to steel, and published them in
+1838, with letterpress by Alfred Crowquill. Mr. Henry G. Bohn issued an
+edition in 1842, and another some twenty-three years later, with plates
+so sadly worn and blurred by over use that the best part of this last
+edition (issued by the Routledges in 1878) is the binding.
+
+The "Humorous Sketches" (we refer, of course, only to the early
+impressions), although affording fair examples of the artist's comic
+style and manner, are in truth of very unequal merit. They comprise some
+eighty subjects, which, owing to the frequent republications, are so
+well known that it would be superfluous to attempt a detailed
+description of them here. The best is unquestionably the one numbered
+XXV., "This is a werry lonely spot, Sir; I wonder you arn't afeard of
+being rob'd." The inevitable sequel is amusingly related by Crowquill:--
+
+  "Poor Timmins trembled as he gazed
+     Upon the stranger's face;
+   For cut-purse! robber! all too plain,
+     His eye could therein trace.
+
+   'Them's werry handsome boots o' yourn,'
+     The ruffian smiling cried;
+   'Jist draw your trotters out, my pal,
+     And we'll swop tiles beside.
+
+   That coat, too, is a pretty fit,--
+     Don't tremble so--for I
+   Vont rob you of a single fish,
+     I've other fish to fry.'"
+
+The "Sketches," with other detached works by the artist, reappeared in
+an edition published by the late John Camden Hotten, entitled "Sketches
+by Seymour," comprising in all 186 subjects, for the most part sadly
+worn impressions. Although there is nothing whatever "Hogarthian" about
+the originals, as the amiable publisher would have us (as usual)
+believe, we may admit that the faces in No. 24, _At a Concert_, are a
+perfect study, and that this sketch, with Nos. 45 and 46 (_Snuffing_ and
+_Smoking_), afford excellent examples of the artist's ability as a
+draughtsman.
+
+
+  "THE BOOK OF CHRISTMAS."
+
+But the work which contains probably some of the best specimens of the
+artist's style is one now exceedingly scarce. Christmas books, like
+Christmas cards, are practically unsaleable after the great Christian
+festival has come and gone; and this was the experience of Mr. T. K.
+Hervey's "Book of Christmas," which, owing to the author's dilatoriness,
+came out "a day after the fair," and despite its attractions proved
+unmarketable. This circumstance, we need not say, by no means detracts
+from its value, and as a matter of fact, the collector will now deem
+himself fortunate if he succeeds in securing a copy at a price exceeding
+by one half the original cost. Those who have formed their ideas of
+Seymour's powers from the oft republished and irretrievably damaged
+impressions of the "Humorous Sketches," will be astonished at the
+unaccustomed style, vigour, and beauty of these illustrations. A few of
+the earlier _etchings_ are somewhat faint and indistinct, as if the
+artist, even at that time, was scarcely accustomed to work on copper.
+They, however, improve as he proceeds with his work; the larger number
+are really beautiful, and are characterised by a vigour of conception
+and execution, of which no possible idea can be formed by those who have
+seen only the "Humorous Sketches." Noteworthy among the illustrations
+may be mentioned the finely executed head of _Old Christmas_, facing
+page 23; the _Baronial Hall_ (a picture highly realistic of the
+Christmas comfort and good cheer which is little better than a myth to
+many of us); _The Mummers_; _Christmas Pantomime_; _Market, Christmas
+Eve_; _Boxing Day_; and _Twelfth Night in the London Streets_. The
+cheery seasonable book shows us the _Norfolk Coach_ with its spanking
+team rattling into London on a foggy Christmas Eve, heaped with fat
+turkeys, poultry, Christmas hampers and parcels. William Congreve tells
+us--
+
+  "Music hath charms to soothe the savage breast,
+    To soften rocks, or bend a knotted oak."
+
+The irritable personage awoke from his slumbers by the music of the
+waits, certainly does not belong to any of the order of animate or
+inanimate subjects so softened, soothed, or bent, as aforesaid, for he
+opens his window and prepares to discharge the contents of his jug on
+the heads of the devoted minstrels. If the ancient ophicleide player,
+with the brandy bottle protruding from his great coat pocket, might but
+know of the impending cataract which more immediately threatens himself,
+he would convey himself from the dangerous neighbourhood with all the
+alacrity of which his spindle shanks are capable. A younger neighbour on
+the opposite side of the street awaits the catastrophe with amused
+interest, whilst a drunken "unfortunate" executes--under the elevating
+influences of music and drink--a _pas seul_ on the pavement below. In
+the etching of _Story Telling_, the deep shadows of an old baronial hall
+are illuminated solely by the moonbeams and the flickering flame of the
+firelight; a door opens into a gallery beyond, and one of the listeners,
+fascinated by the ghost story to which she is listening, glances
+fearfully over her shoulder as if apprehensive that something uncanny
+will presently issue out of the black recesses. The ghostly surroundings
+have their influences on the very cat, who looks uneasily about her as
+if afraid of her shadow. Besides the thirty-six etchings on copper, the
+book contains several charming woodcuts, impressed on paper of a very
+different quality to that on which the artist was accustomed to behold
+impressions from his wood blocks.
+
+Of a class entirely different to the foregoing may be mentioned the
+still rarer series of comicalities executed by the artist under the
+title of "New Readings of old Authors," of which we may notice the
+following: _Moved in Good Time_ (_Taming of the Shrew_, Act 2, Sc. 1), a
+tax-gatherer and other creditors bemoaning themselves outside the
+premises of a levanted debtor; _I am to get a man, whate'er he be_ (Act
+3, Sc. 2), disciples of Burke and Hare providing themselves with a
+living subject; _I do remember when the fight was done, when I was dry_
+(King Henry IV., Part 1, Act 1, Sc. 3), a victorious prize-fighter
+recruiting his exhausted frame by imbibing many quarts of strong ale;
+_He was much Feared by his Physicians_ (Act 4, Sc. 1), an irascible
+gouty patient flinging medicine bottles and nostrums at one of his
+doctors, and stamping a prostrate one under foot; _You are too great to
+be by me gainsaid_ (_King Henry_ IV., Part 2, Act 1, Sc. 1), a huge
+woman administering chastisement to a small and probably (in more senses
+than one) _frail_ husband; _My Lord, I over rode him on the way_ (Act 1,
+Sc. 1), a miserable huntsman who has ridden over and killed one of the
+master's fox-hounds; _He came, saw, and overcame_ (Act 4, Sc. 2), a
+wretched Frenchman, who, overbalancing himself, falls over the rails of
+a bear-pit amongst the hungry animals below; _Never was such a sudden
+scholar made_, (_King Henry_ V., Act 1, Sc. 1), in allusion to the
+installation of the Duke of Wellington as Chancellor of Oxford
+University; _A Midsummer Night's Dream_, a fat sleeper suffering under
+the agonies of nightmare, under the influence of whose delusion he
+fancies himself roasting before a vast fire, with a huge hook stuck
+through his stomach; and, _I beg the ancient privilege of Athens: as she
+is mine, I may dispose of her_ (Act 1, Sc. 1), an Englishman attempting
+to dispose of his ugly, wooden-legged old harridan of a wife by auction.
+The lithographic stones on which the drawings to these "New Readings"
+were made, and which comprised no less than three hundred drawings, were
+effaced before the artist's death, and impressions from them are now, of
+course, more than difficult to procure. The Shakespeare series were
+collected and republished in four volumes, in 1841-2, by Tilt & Bogue,
+of Fleet Street, and even these last are very seldom met with.
+
+On the 10th of December, 1831, there started into life a periodical of
+decidedly pronounced political bias and opinions, entitled "Figaro in
+London." Politics ran high in those days; it was the time of the great
+agitation for "reform," which in those days, as we shall presently see,
+was both loudly called for and imperatively necessary. A mob of boys and
+degraded women had taken complete possession of Bristol,--had driven its
+deformed little mayor over a stone wall in ignominious flight,--had
+burnt down the gaol and the mansion-house, and laid Queen Square in
+ashes, whilst the military and its very strangely incompetent officer
+looked on while the city was burning.[103] Every one in those days was
+either a rabid Tory or an ultra Radical. It was just the period for an
+enthusiastic youth to plunge into the excitement of political life; but
+the crude, unformed opinions of a young man scarcely of age are of
+little value, and the political creed of the proprietor and originator
+of this literary (?) venture does not appear to have been clearly
+defined even to himself. In his valedictory addresses written three
+years afterwards, when things were not altogether so rosy with him as
+when he started his periodical, he confesses that he belongs to no
+party, for "we have had," he says, "such a thorough sickener of the
+Whigs, that we do expect something better from the new government,
+_although it be a Tory one_."
+
+The price of "Figaro in London," one of the immediate predecessors of
+the comic publications of our day, was a penny, quite an experiment in
+times when the price of paper was dear, and periodical literature was
+heavily handicapped with an absurdly heavy duty. "Figaro" consisted of
+four weekly pages of letterpress illustrated by Robert Seymour. The
+projector, proprietor, and editor, was Mr. Gilbert à Beckett, whose
+name--with those of men of vastly superior literary attainments--was
+associated in after years with the early fortunes of _Punch_. The
+literary part of the performance was indeed sorry stuff,--the main stay
+and prop of the paper from its very commencement was Seymour, whose
+drawings however suffered severely at the hands of the engraver and
+paper maker. An eccentricity of the publication perhaps deserves notice.
+It professed to look with sovereign contempt upon advertisements, as
+occupying a quantity of unnecessary space--considering, however, that
+exception was made in favour of one particularly persevering hatter of
+the period, we are driven to the conclusion that the projector's
+contempt for a source of revenue which modern newspaper proprietors can
+by no means afford to despise, was nearly akin to that expressed by the
+fox after he had come to the melancholy conclusion that the grapes he
+longed for were absolutely beyond his reach.
+
+The new periodical assumed from the outset a position which cannot fail
+to amuse the journalist and reader of the present day. It professed to
+look down upon all other publications (with certain exceptions of
+magnitude, whom the editor deemed it prudent to conciliate) with
+supercilious contempt. The absurdity of these pretensions will strike
+any one who turns over its forgotten pages, and compares his pretensions
+with Mr. à Beckett's own share of the performance. The mode in which
+this young gentleman's editorial duties were conducted, gathered from
+extracts taken at random from the "Notices to Correspondents," were, to
+say the least, peculiar: "A. B., who has written to us, is a fool of the
+very lowest order. His communication is rejected." Poor Mr. Cox of Bath
+is told he "is a rogue and a fool for sending us a letter without paying
+the postage. If he wants his title page, let him order it of his
+bookseller, when it will be got as a matter of course from our
+publisher," and so on. The aristocracy are regarded with a disfavour
+which must have given them serious disquietude. The "coming out" of the
+daughter of the late Lord Byron, or a _soirée_ at the Duchess of
+Northumberland's town house, serve as occasions for indulging in
+splenetic abuse of what Mr. à Beckett was pleased to term "the beastly
+aristocracy." Authors, even of position, were not spared by this young
+Ishmael of the press, the respected Mrs. Trollope, for instance, being
+unceremoniously referred to as "Mother Trollope." The only excuse of
+course for this sort of thing is to be found in the fact that comic
+journalism being then in its infancy, personal abuse was mistaken for
+satire; while, so far as the bad taste of the editor is concerned,
+allowance must be made for an inexperienced young man who imagined that
+the editorship of a paper, wholly destitute of merit except that which
+Seymour brought to its aid, conferred upon himself a position which
+rendered him superior to the rules of literary courtesy.
+
+With all these pretensions, however, à Beckett was conscious of the
+powerful assistance he was receiving from the artist; and we find him,
+after his own peculiar fashion and more than questionable taste,
+constantly alluding to the fact; describing him at various times as
+"that highly gifted and popular artist, Mr. Seymour;" "our illustrious
+artist Seymour;" and so on. In the preface to his second volume, he
+indulges in the following flight of fancy, which will suffice to give us
+an idea of the literary merits of the editor himself: "In this our
+annual address," he says, "we cannot omit a puff for the rampant
+Seymour, in whom the public continue to _see-more_ and more every time
+he puts his pencil to the block for the illustration of our periodical."
+This was the sort of stuff which passed for wit in 1832.[104] As for
+Seymour himself, he was annoyed at these fulsome and foolish
+compliments, and in a letter which he wrote to À Beckett after the
+quarrel to be presently related, told him in the plainest terms that,
+"the engraving, bad printing, and extravagant puffing of his designs
+were calculated to do him more harm than good as an artist."
+
+But artist and editor jogged on together in perfect good will until the
+16th of August, 1834, when, for the first and only time, "Figaro in
+London" made its appearance without any illustrations at all. The two
+succeeding weekly issues contained each a single woodcut after Seymour's
+drawing, but from that time until the end of the year, when À Beckett
+himself retired from the proprietorship and disposed of his interest in
+the concern, the paper was illustrated by Isaac Robert Cruikshank; this
+change was due to the following circumstance.
+
+A special feature of "Figaro in London" was its theatrical leader. À
+Beckett had always taken an interest in dramatic matters, and was
+himself author of some thirty plays, the very titles of which are now
+forgotten. Not content with being proprietor and editor of a newspaper,
+he was concerned at this time in another venture, being proprietor and
+manager of a theatre in Tottenham Court Road, known at different times
+under the various designations of the Tottenham Street or West London
+Theatre, the Queen's, and latterly as the Prince of Wales' Theatre. The
+result was almost a foregone conclusion. A newspaper is a sufficiently
+hazardous speculation, but a theatre in the hands of an inexperienced
+manager is one of the most risky of all possible experiments; and the
+result in this case was so unfortunate, that À Beckett in the end had to
+seek the uncomfortable protection of the insolvent court. He was
+considerably indebted to Seymour for the illustrations to "Figaro," half
+of the debt thus incurred being money actually paid away by the artist
+to the engraver who executed the cuts from his drawings on the wood.
+Finding that À Beckett was in no position to discharge this debt or to
+remunerate him for his future services, Seymour did--what every man of
+business must have done who, like the artist, was dependent on his
+pencil for _bread_, refused any longer to continue his assistance. Apart
+from the bad paper and bad impressions of which he complained, and above
+all the bad taste displayed in fulsome adulation of his own merits,
+supremely distasteful to a man of real ability, Seymour appears hitherto
+to have entertained no bad feeling towards À Beckett personally.
+
+The result however was a feud. À Beckett was not unnaturally angry, and
+an angry man in his passion is apt to lose both his head and his memory.
+Forgetting the manner in which he had shortly before acknowledged the
+services and talent of the artist, he now attacked him and his abilities
+with a malice which would be unintelligible if we had not seen something
+of his nature and disposition. In his favourite "Notices to
+Correspondents" in the number of 13th September, 1834, he professes to
+account for the employment of Isaac Robert Cruikshank after the
+following disingenuous fashion: "Mr. Seymour, our ex-artist, is much to
+be pitied for his extreme anguish at our having come to terms with the
+celebrated Robert Cruikshank in the supplying the designs of the
+caricatures in 'Figaro.' Seymour has been venting his rage in a manner
+as pointless as it is splenetic, and we are sorry for him. He ought,
+however, to feel, that notwithstanding our friendly wish to bring him
+forward, which we have done in an eminent degree, we must engage
+_first-rate_ ability when public patronage is bestowed so liberally, as
+it now is upon this periodical. He ought therefore not to be nettled at
+our having obtained a superior artist." The public, however, were not to
+be _gulled_; they perfectly well knew that Isaac Robert Cruikshank was
+an inferior artist in every respect to Seymour, and had not forgotten
+the tribute which the foolish editor had previously paid to the talents
+and ability of the latter. Conduct like this could only recoil on the
+head of the person who was injudicious and spiteful enough to be guilty
+of it. The "Notices to Correspondents" in subsequent numbers continued
+to be filled with references and allusions to Seymour, dictated by a
+malice which was alike silly and childish. They are not worthy of
+repetition here, and we must refer the reader for them to the numbers of
+"Figaro in London" of 20th September and 15th November, 1834, or (if he
+have not access to its pages) to the short biographical notice prefixed
+to the latest edition of the "Sketches" by Mr. Henry G. Bohn. We have no
+doubt whatever that the interval between these dates was employed in
+fruitless endeavours on the part of À Beckett to arrange terms with the
+artist, who, however, steadily refused to give the failing publication
+the indispensable benefit of his assistance. Left as it were to its own
+resources, the circulation, in spite of the graphic help accorded by
+Robert Cruikshank, steadily declined, and À Beckett finally retired from
+the editorship and proprietorship on the 27th of December, 1834. Seymour
+wielded a far more effectual weapon of offence than any which À Beckett
+possessed, and dealt him blows which at this time and in his then
+circumstances must have been keenly felt. One of Seymour's satires is
+aimed specially at the "Notices to Correspondents" already mentioned,
+and shows us a heavy, vulgar fellow seated at his desk, habited in a
+barber's striped dressing-gown _à la Figaro_. His features are distorted
+with passion, for he has received a letter the contents of which are
+anything but flattering, addressed "To the Editor of the nastiest thing
+in London." This sketch bears the following descriptive title: "An
+editor in a _small way_, after pretending a great deal about his
+correspondents, is here supposed to have received _a_ letter." A second
+skit shows us a critic examining a picture representing "the death of À
+Beckett, Archbishop of Cant." A figure in armour, with its vizor down
+(obviously intended for the artist) is depicted in the act of cutting at
+the "archbishop" with a sword, the blade of which is inscribed "debts
+due." His first blow has severed the mitre labelled "assumption," and
+the pastoral staff, inscribed "impudence," with which the victim vainly
+endeavours to defend himself. "Don't," says À Beckett, as he falls
+prostrate amid a heap of "spoilt paper," among which we recognise,
+"Figaro," "The Thief," "The Wag," and other periodicals with which his
+name was associated. "Don't cut at me 'our own inimitable, our
+illustrious, our talented;' pray don't give me any more cuts; think how
+many I have had and not paid you for already:" a hand indicates the way
+"to the Insolvent Court."
+
+"Figaro," after the retirement of À Beckett, passed into the editorial
+hands of Mr. H. Mayhew, and conscious of the injury which the defection
+of Seymour had done to the undertaking, he lost no time in opening
+negotiations with a view to his return. In this he experienced little
+difficulty, for Seymour was glad to avail himself of the opportunity of
+giving to the public the most convincing proof which could have been
+adduced of the falsity of the libels which had been published by the
+retiring and discomfited editor. The fourth volume commenced 3rd of
+January, and from that time until his death (in 1836) he continued to
+illustrate the paper. Mayhew announces his return after the following
+curious fashion: "The generous Seymour, with a patriotic ardour
+unequalled since the days of Curtius, has abandoned all selfish
+considerations, and yielded to our request for his country's sake. Again
+he wields the satiric pencil, and corruption trembles to its very base.
+His first peace-offering to 'Figaro in London,' is the rich etching
+[woodcut] our readers now gaze upon with laughing eyes." Constant
+references of a laudatory kind are made to him in succeeding numbers.
+
+The woodcuts after Seymour's designs, which appear in "Figaro in
+London," are too small and unimportant to justify the title which the
+editor gives them of "caricatures;" and relating to political matters
+which at that time were far more efficiently chronicled by the pencil of
+H. B., they have lost any interest which they once might have commanded.
+The most interesting illustrations which Seymour contributed to
+"Figaro," are the brief series of theatrical portraits, which are not
+only clever but evidently excellent likenesses.
+
+It was not only in the case of "Figaro in London" that the slanders of À
+Beckett recoiled upon his own head. That gentleman in 1832 had started a
+sort of rival to Hood's "Comic Annual," under the title of the "Comic
+Magazine." It was cheaper in price than the former publication, and
+contained an amazing number of amusing cuts of the punning order, after
+Seymour's designs. After the quarrel with À Beckett, the artist withdrew
+his assistance from its pages, and the illustrations show a fearful
+falling off after 1833. Many of the wretched designs which follow bear
+the signature of "Dank," and so destitute are they of merit that the
+"embellishments" (as they are termed) for 1834, are altogether below
+criticism.
+
+At the opening of the present chapter we said that Robert Seymour was
+_almost_ a genius. Genius, however, he never absolutely touched; he was
+destitute of the inventive faculties which distinguished John Leech, and
+lacked the vivid imagination which enabled George Cruikshank to realize
+any idea which occurred to him, whether comical, grave, realistic, or
+terrible. His talents as an artist, though undoubtedly great, ran in a
+narrow groove, and their bent is shown by the well-known "Humorous
+Sketches," and the less known but far more admirable designs which he
+executed for the "Comic Magazine." He always had a fancy for depicting
+and satirizing cockneys and cockney subjects, and had conceived the by
+no means new or ambitious idea of producing a series of such pictures
+with an appropriate letterpress to be furnished by a literary coadjutor,
+whose work, however, was to be subservient to his own. The idea was not
+perhaps a very definite one, but the pictorial part of the work was
+commenced, and four plates actually etched at the time the artist was
+retained to execute the illustrations to the "Book of Christmas." Out
+of this undeveloped idea, and out of the four apparently unimportant
+drawings to which we have alluded, was destined to evolve the strange
+and melancholy story which will be associated for all time with the
+mirth-inspiring novel of the "Pickwick Papers."
+
+
+  ORIGIN OF "PICKWICK."
+
+The difficulty at the outset was to find an author to carry out the
+artist's idea, indefinite as it was. In this direction there was in
+1836, a very _embarras de richesses_, for, if comic artists were few,
+there was on the other hand no lack of humourists of the highest order
+of merit. Theodore Hook, Clark (the author of "Three Courses and a
+Dessert")--probably many others were suggested by the publishers who
+were taken into consultation by Seymour; but all were rejected. He
+himself seems to have inclined towards Mayhew, with whom it will be
+recollected he was associated at this time on "Figaro in London." The
+man of all others most fitted to carry out the artist's _own_ idea seems
+to us to have been John Poole, one of the most original of English
+humourists, whose productions, now forgotten, are worth searching for in
+the pages of the "New Monthly" and other periodical publications of a
+past day. It is a singular fact, too, that on the first appearance of
+the "Pickwick Papers," the authorship was by many ascribed to this very
+man. In the end, Mr. Chapman, of the firm of Chapman & Hall, introduced
+the artist to one of the most unlikely men for his own purpose that
+could possibly have been selected,--the man, as we have already seen, of
+all others the least fitted and the least disposed to act the part of
+William Coombe to Seymour's character of Thomas Rowlandson.
+
+At this time Charles Dickens was reporter on the staff of a newspaper;
+he had written a book which, although successful, had created no very
+intense excitement; he was moreover a young man, and consequently
+plastic, and fifteen pounds a month would be a small fortune to him; so
+at least argued the artist and his friends. How little they understood
+the resolute, self-reliant character of this unknown writer! The result
+was altogether different from anything they expected. Author and artist
+differed at the outset as to the form the narrative should take; but the
+man with the strongest power of mind and will took his stand from the
+first, and Charles Dickens made it a condition of his retainer that the
+illustrations should grow out of the text, instead of the latter being
+suggested (as Seymour desired) by the illustrations, and the artist had
+reluctantly to give way. No one can doubt that the author was right. By
+way however of a concession, and of meeting Seymour's original idea as
+far as practicable, he introduced the absurd character of Winkle, the
+cockney sportsman. The mode of publication followed was the artist's own
+suggestion, who, desiring the widest possible circulation, insisted on
+the work being published in monthly numbers at a shilling. Thus it was
+that "Pickwick" came to be written.
+
+We are not called on in this place to discuss the merits of "Pickwick";
+to compare Charles Dickens with the writers who had immediately preceded
+him; to enlarge upon the comic vein which he discovered and made so
+peculiarly his own; to show the influence which his humour exercised
+upon the literature of the next quarter of a century; to contrast such
+humour with his wonderful power of pathos; to marshal the shades of
+true-hearted, noble Nell, unhappy Smike, little Paul Dombey, world
+abandoned Joe, and compare them with the Wellers--father and son, Mr.
+Jingle, Tracy Tupman, Bob Sawyer, and the spectacled but essentially
+owlish founder of the "Pickwick Club." All this we fancy has been done
+in another place; our task is altogether of a simpler character. We have
+to trace the connection which subsisted between the artist and author;
+to show how this book--the creation of a writer in the spring-time of
+his genius--the essence of fun, the unfailing source of merriment to
+countless readers past, present, and to come, came to be associated with
+the memory of a terrible and still incomprehensible tragedy.
+
+We have seen that, contrary to his own wishes, Seymour had yielded to
+Charles Dickens' suggestion, or rather condition, that the illustrations
+should grow out of the text; but he does not seem to have abandoned (so
+far as we can judge) all idea of having a hand in the management of the
+story, and he never for one instant contemplated interference on the
+part of the author with any one of his own designs. If we are to believe
+his friends (and their testimony seems to us distinctly valuable in
+this place), he was extremely angry at the introduction into the plot of
+the "Stroller's Tale," and we may therefore fancy the spirit in which he
+would receive Charles Dickens' intimation, conveyed to him in the same
+manner that he afterwards communicated to Cruikshank his disapproval of
+the last etching in "Oliver Twist," that he objected to that etching "as
+not quite _his_ [Dickens'] idea;" that he wished "to have it as complete
+as possible, and would feel personally obliged if he would make another
+drawing." The letter (on the whole a kindly one) has been set out
+elsewhere,[105] and there is no occasion to repeat it here. What other
+causes of irritation existed will never be known. All that is still
+known is, that he executed a fresh design and handed it over to Dickens
+at the time appointed; that he went home and destroyed nearly all the
+correspondence relating to the subject of "Pickwick"; that he executed a
+drawing for a wood-engraver named John Jackson,[106] and delivered it
+himself on the evening of the 20th of April, 1836; that he then returned
+to his house in King Street, Islington, and committed self-destruction.
+He left behind him an unfinished drawing for "Figaro in London," which
+afterwards appeared (in the state in which it was found) in the pages of
+that periodical.
+
+Various reasons have been assigned for this rash act, all more or less
+contradictory. According to some he was a man of equable temperament;
+while others, who knew him personally, have told us that he was nervous
+and subject to terrible fits of depression. Some would trace the act to
+his quarrel with À Beckett; but this is simply absurd, seeing that it
+had occurred some two years before. We need not, as it seems to us,
+travel out of our course to seek the real cause, which was probably due
+to over-work. His energies had been tasked to the utmost to keep pace
+with the supply which his ever-increasing popularity brought him. The
+state of his mind appears to us clearly indicated by his design of _The
+Dying Clown_, one of the last drawings which he etched for the "Pickwick
+Papers," and for which we must refer the reader to the _original_
+edition only; anything more truly melancholy we can scarcely imagine.
+Entirely appropriate to the story, it seems to tell its own tale of the
+morbid state of mind of the man who designed it; it is a pictorial
+commentary on the sad story we have attempted to tell.
+
+[Illustration:
+  ROBERT SEYMOUR. "_Pickwick Papers._"
+
+  "THE DYING CLOWN."
+
+  _Face p. 233._]
+
+A too zealous application to work has destroyed many men both of talent
+and genius; it produces different effects in different individuals,
+according to their respective temperaments: while it drove Robert
+Seymour to frenzy, it killed John Leech--a man of far finer imaginative
+faculties--with the terrible pangs of _angina pectoris_. Differently
+endowed as they were, both belonged to the order of men so touchingly
+described by _Manfred_:--
+
+                 "There is an order
+  Of mortals on the earth, who do become
+  Old in their youth, and die ere middle age
+  Without the violence of warlike death;
+  Some perishing of pleasure, some of study,
+  Some worn with toil, some of mere weariness,
+  Some of disease, and some insanity,
+  And some of wither'd or of broken hearts;
+  For this last is a malady which slays
+  More than are numbered in the lists of fate."[107]
+
+The coadjutorship of distinguished artists and authors has led to more
+than one strange controversy. Those who have read Forster's "Life of
+Dickens" will remember the curious claim which George Cruikshank
+preferred after Dickens' death to be the suggester of the story of
+"Oliver Twist," and the unceremonious mode in which Mr. Forster disposed
+of that pretension. We have referred elsewhere to the edifying
+controversy between George Cruikshank and Harrison Ainsworth, in
+relation to the origin of the latter's novels of the "Miser's Daughter"
+and "The Tower of London." The republication of Seymour's "Humorous
+Sketches" in 1866, led to a very curious claim on the part of his
+friends, in which they sought to establish the fact that he was the
+originator and inventor of the incidents of "Pickwick." This claim
+happily was made while Dickens was yet alive, and was very promptly and
+satisfactorily disposed of by himself in a letter which he wrote to the
+_Athenæum_ on the 20th of March, 1866. Author and artist have long since
+gone to their rest; and the plan which the author of this work proposed
+when he sat down to write the story of Robert Seymour, was to place that
+artist in the position which he believes him to occupy in the ranks of
+British graphic humourists, and not to rake up or revive the memory of a
+somewhat painful controversy. Of the claim itself we would simply
+remark, that not only was it made in all sincerity by those who loved
+and cherished the memory of Robert Seymour, but that to a certain extent
+the claim has a foundation of fact to rest upon; for who will deny that
+had not Seymour communicated his idea to Chapman, and Chapman introduced
+the artist to Dickens, the "Pickwick Papers" themselves would have
+remained unwritten. In this sense, but in this sense only, therefore,
+Robert Seymour was the undoubted originator of "Pickwick." He was an
+artist of great power, talent, and ability; and it seems to us that
+those only detract from his fame who, in a kind but mistaken spirit of
+zeal, would claim for him any other position than that which he so
+justly and honestly earned for himself, as one of the most talented of
+English graphic satirists.
+
+
+FOOTNOTES:
+
+  [97] "Greville Memoirs." vol. i. p. 180.
+
+  [98] _Ibid._, p. 207.
+
+  [99] His theory, as stated in a book which he published, was this:
+    that as all men are born in moral sin, so they have about them a
+    physical depravity in the form of an acrid humour, which, flying
+    about the system, at length finds vent in diseases which afflict or
+    terminate existence. He professed by the means afterwards explained
+    to bring this acrid humour to the surface, and having thus expelled
+    the cause of disease, to put an end to every bodily ailment.
+
+  [100] In allusion to a complex piece of machinery he said (in his
+    book) he had invented, which when complete would cost him two
+    thousand guineas. This machine, said Long, _alias_ O'Driscoll, "will
+    search all the body, and cut away all the diseased parts, leaving the
+    patient perfectly sound and well."
+
+  [101] We found a curtailed copy of these amusing verses in one of the
+    _jeux d'esprit_ of the time, called "Valpurgis; or, the Devil's
+    Festival" (William Kidd, 6, Old Bond Street, 1831), illustrated by
+    Seymour. With the exception of one immaterial verse, we now give the
+    complete poem; in the ring of the verses the reader will have no
+    difficulty in recognising the hand of the Rev. Richard Harris Barham,
+    subsequently author of the "Ingoldsby Legends."
+
+  [102] Anstey's "Pleader's Guide," Bk. 2nd (1810).
+
+  [103] Colonel Brereton. His conduct afterwards formed the subject of
+    a court-martial, but the unhappy man forestalled the "finding" by
+    committing suicide.
+
+  [104] Mr. à Beckett's strong point was puns; in later days he found a
+    vehicle for these in the well-known "Comic Histories" of England and
+    Rome, illustrated by John Leech. It was his peculiar good fortune
+    always to be associated with artists of the highest ability.
+
+  [105] See Forster's "Life of Dickens."
+
+  [106] In one account of Seymour's death the name of the engraver is
+    given as _Starling_. This is a mistake. The engraving (probably one
+    of the best the unfortunate artist ever executed) represents a sailor
+    captain of Charles the First's time, showing a casket of pearls to a
+    lady of remarkable beauty.
+
+  [107] Act 3, Scene 1.
+
+
+
+
+CHAPTER XI.
+
+_THE POLITICAL SKETCHES OF_ HB.
+
+
+The years 1830-32 were full of political trouble; men's minds were
+unsettled; progress was the order of the day, and a reform in the
+election of the members who represented or who were supposed to
+represent the political opinions of the English constituencies was not
+only loudly called for, but had (as we have seen) for a very long time
+past been imperatively demanded. The question was shelved from time to
+time, but sooner or later it must be settled, and as Liberals and
+Conservatives alike will be amused and astounded at the state of English
+parliamentary representation half a century ago, we propose just to
+glance at matters as they existed in 1830.
+
+The Marquis of Blandford was a somewhat notable character in those days.
+He had been a violent opponent of the Catholic Relief Bill; but from the
+moment that measure was carried had become as fiery and reckless a
+reformer.[108] On the 18th of February, 1830, he proposed that a
+committee should be chosen by ballot to take a review of all boroughs
+and cities in the kingdom, and report to the Secretary of State for the
+Home Department those among them which had fallen into decay, or had in
+any manner forfeited their right to representation on the principles of
+the English constitution as anciently recognised by national and
+parliamentary usage. The Home Secretary was to be bound immediately to
+act on this report, and to relieve all such places from the burthen of
+sending members to parliament in future, and the vacancies were to be
+supplied by towns which had hitherto been unrepresented. All
+parliamentary representatives were to be elected by persons "paying scot
+and lot." He further proposed to extend the right of voting to all
+copyholders and leaseholders, and to place the representation of
+Scotland on an equal footing with that of England. The members were to
+be chosen from the inhabitants of the places for which they were
+returned, and were to be paid for their services according as they were
+borough or county members. The former were to receive two guineas a day
+each, and county members four guineas; why the latter were to be
+estimated at double the value of the former does not seem clear. Mr.
+Brougham, although ready to vote for this somewhat extraordinary
+measure, "because much of what it proposed to do was good," recommended
+that a merely general resolution that reform was necessary should be
+substituted in its place. Lord Althorp moved an amendment accordingly on
+the terms suggested; but both the amendment and the original motion were
+negatived.
+
+On the third reading of what was then known as the "East Retford" bill,
+the first attempt was made in parliament by O'Connell to introduce a new
+principle into the representative system of the country, viz., that the
+votes of the electors should be taken by ballot. Only twenty-one members
+voted for O'Connell's motion, among whom the names now most familiar to
+us are those of Lord Althorp, Sir Francis Burdett, and Mr. Hume.
+
+The most ultra-Conservative, however, of our day, who thinks that the
+representation of the people has already been carried far enough, will
+scarcely credit the fact, that in those days constituencies such as
+Leeds, Manchester, and Birmingham were absolutely unrepresented. Yet
+such was the case. The motion for transferring the franchise of East
+Retford to Birmingham having been lost, Lord John Russell, on the 23rd
+of February, brought the matter of the great unrepresented
+constituencies before parliament by moving for leave to bring in a bill
+"to enable Leeds, Manchester, and Birmingham to return members to the
+House of Commons." It seems scarcely credible to us now-a-days, that
+this reasonable motion was _negatived_ by 188 to 140.
+
+On the 28th of May, O'Connell brought in a wilder scheme. He moved for
+leave to bring in a bill to establish triennial parliaments, universal
+suffrage, and vote by ballot; the simple foundation of his system being
+that every man who pays a tax or is liable to serve in the militia is
+entitled to have a voice in the representation of the country. Only
+thirteen members were found to join him in a house of 332. Lord John
+Russell, who took advantage of this motion to introduce certain
+resolutions of his own, embracing a wider scheme of reform than that
+included in his former programme, could not consent to any part of
+O'Connell's scheme. Dismissing the subject of triennial parliaments as a
+subject of comparative unimportance, and passing on to the other
+propositions, universal suffrage and vote by ballot, he contended that
+both were incompatible with the principles of the English Constitution.
+Mr. Brougham, while he thought that the duration of parliaments might be
+shortened with considerable advantage, provided that other measures for
+removing improper influence were adopted, declared himself both against
+universal suffrage and against vote by ballot; and he entered into a
+full statement of the grounds on which he held that the secresy of
+voting supposed to be attained by the ballot would produce most
+mischievous consequences without securing the object which it professed
+to have in view. The resolutions moved by Lord John Russell (after
+O'Connell's motion had been negatived) were as follows: (1) "That it was
+expedient the number of representatives in the House should be
+increased;" (2) "That it was expedient to give members to the large and
+manufacturing towns, and additional members to counties of great wealth
+and population." Under the second of the resolutions, it was proposed to
+divide large and populous counties, such as Yorkshire for instance, into
+two divisions, and to give to each of them two members. Among the towns
+proposed to be benefited were such important centres as Macclesfield,
+Stockport, Cheltenham, Birmingham, Brighton, Whitehaven, Wolverhampton,
+Sunderland, Manchester, Bury, Bolton, Dudley, Leeds, Halifax, Sheffield,
+North and South Shields; while it was stated that the same principle
+would apply to extend the representation to cities of such importance as
+Edinburgh, Glasgow, and Belfast. All the resolutions, however
+(comprising a third which we have considered it unnecessary to refer
+to), were negatived by the amazing majority of 213 to 117. The fact that
+this was a much larger majority than that which had thrown out the
+previous and more limited proposal for extending the franchise to three
+only of the manufacturing towns, will suffice to show the spirit in
+which the unreformed parliament of 1830 was accustomed to receive any
+suggestion of improvement and reform, reasonable or otherwise.
+
+It may perhaps seem strange that at this stirring period there was an
+absolute dearth of political caricaturists, but the fact we have already
+attempted to account for. George Cruikshank, the finest caricaturist of
+his day, as well as his brother Robert, neither of whom can be described
+as purely political satirists, had now practically retired from the
+practice of the art, and were employed on work of a totally different
+character. Political caricature languished; indeed, if we perhaps except
+William Heath, oftentimes better known by his artistic pseudonym of
+"Paul Pry," there was not a political caricaturist of any note in
+1829-30.
+
+At this juncture there arose a graphic satirist--if indeed we are
+justified in so terming him--of genuine originality. Before 1829, he had
+been known only as a miniature painter of some celebrity; but he
+possessed a taste for satiric art, and had essayed several subjects of
+political character which he treated in a style and manner differing
+altogether from the mode in which satirical pictures had hitherto been
+treated. These he showed to Maclean, one of the great caricature
+publishers of the day, who had sufficient discernment and prescience to
+recognise in them the work of a man of unquestionable original ability.
+He prevailed on the artist to publish these specimens, and their
+success was so genuine and unmistakable that both publisher and artist
+decided to continue them. Thus commenced a series of political pictures
+which ultimately numbered almost a thousand, and ran an uninterrupted
+course of prosperity for a period of upwards of two and twenty years.
+
+The enormous success and reputation which the "sketches," as they were
+called, achieved, was due not only to the cleverness and originality of
+the artist himself, but also in a great measure to the mystery which
+attended their publication and appearance. Both parties concerned in
+their production preserved an inviolable secrecy on the subject of the
+identity of the artist and the place whence the "sketches" originated.
+Mr. Buss tells us,[109] "the drawings were called for in a mysterious
+hackney coach, mysteriously deposited in a mysterious lithographic
+printing office, and as mysteriously printed and mysteriously stored
+until the right day of publication." The HB mystery was most religiously
+preserved for a great number of years, both by the artist and the
+publisher. The initials afforded no clue to those not immediately
+concerned in preserving the secret; and yet in this very original
+monogram lay the key to the whole of the mystery. The origin of this
+signature was simply the junction of two I's and two D's (one above the
+other), thus converting the double initials into HB. The single initials
+were those of John Doyle, father of the late Richard Doyle, who
+afterwards made his own mark as a comic artist in the pages of _Punch_
+and elsewhere.
+
+The "sketches" of HB were a complete innovation upon pictorial satire.
+The idea of satirizing political subjects and public men without the
+exaggeration or vulgarity which the caricaturists had more or less
+inherited from Gillray, was entirely new to the public, and took with
+them immensely; and herein lies their peculiarity, that whilst the
+subjects are treated with a distinctly sarcastic humour, there is an
+absence of anything approaching to exaggeration, and the likenesses of
+the persons represented are most faithfully preserved. Whilst claiming
+for himself the character of a pictorial satirist, the artist is all
+throughout anxious to impress upon you the fact that he repudiates the
+notion of being considered a caricaturist in the Johnsonian meaning of
+the word. This _idea_ seems also to have struck Thackeray, who, writing
+at the time when the sketches were appearing, says of him, "You never
+hear any laughing at 'H.B.'; his pictures are a great deal too genteel
+for that,--polite points of wit, which strike one as exceedingly clever
+and pretty, and cause one to smile in a quiet, gentlemanlike kind of
+way."[110] Throughout the series of sketches we know but of one instance
+where the artist suffers any comparison to be established between
+himself and the political caricaturists who had preceded him, and that
+is the one entitled _Bombardment Extraordinary_ (having reference to the
+indictment for libel against the _Morning Journal_, which was shortly
+followed by the collapse of that paper), which is treated to the full as
+coarsely as Gillray himself might desire. The fact of this being among
+the earliest sketches would seem to show that the artist had not then
+quite made up his mind whether to follow in the footsteps of his great
+predecessor or not. We think the result must have convinced him that,
+whilst having distinct merits of his own as a satirist, and indeed as an
+artist, he was very far behind Gillray; and the rest of the sketches
+seem to show that their designer had made up his mind that no middle
+course was possible;--in other words, that he must be HB or nothing.
+
+The faithfulness of the likenesses of the persons who appear in these
+"sketches" is simply marvellous. Not only has the artist preserved the
+features of the subjects of his satires, but he has caught their
+attitude--their manner, almost their tricks and habits,--and the
+drawings being, as we have said, wholly free from exaggeration, the very
+men stand before you, often, it is true, in absurd and ridiculous
+positions. The persons who figure in these lithographs comprise among
+names of note many whose reputations were too ephemeral to preserve
+them from oblivion. On the other hand, amongst the various groups we
+recognise Prince Talleyrand, the Dukes of Cumberland, Gloucester,
+Wellington, and Sussex, George the Fourth, William the Fourth, Louis
+Philippe, her present Majesty, Lord Brougham, Colonel Sibthorpe, Count
+Pozzo di Borgo, Daniel O'Connell, Lord John Russell, Sir Robert Peel,
+Mr. Hume, Lord Melbourne, Lord Palmerston, Sir Francis Burdett, Mr.
+Roebuck, Sir James Graham. Persons with no political reputation or
+connection are occasionally introduced to serve the purposes of the
+artist: doing duty for him in this manner we find the Rev. Edward
+Irving; Townsend the "runner," of Bow Street notoriety; George Robins,
+the auctioneer; Liston, the comedian; and others.
+
+Ever on the alert for comic subjects, John Doyle was remarkably prompt
+and ready to catch an idea. Frequently these ideas were suggested to him
+by a phrase--a sentence--a few words in a speech; occasionally he takes
+a hint from his Lempriére; whilst not unfrequently his happiest
+conceptions are derived from a character or scene in one of the popular
+operas or farces of the time. Thus, in one of the debates on the Reform
+Bill in the House of Lords, some very high words passed between Lords
+Grey and Kenyon, the latter applying the words "abandoned" and
+"atrocious" to the conduct of the former, who on his part declared in
+reply that he threw back the expressions with scorn and indignation. In
+the midst of the confusion the Duke of Cumberland rose, and implored
+their lordships to tranquillize themselves and proceed with the debate
+in a temperate and orderly manner, advice which, after taking time to
+cool, they thought it prudent to follow. The farce of "I'll Be Your
+Second" was then running at the Olympic, Mr. Liston taking the part of
+"Placid," who, having a pecuniary interest in one of the characters who
+has a weakness for duelling, is kept in a state of nervous anxiety, and
+constantly interposes with the question, "Can't this affair be
+arranged?" In one of his "sketches," HB gives us _A Scene from the Farce
+of "I'll Be Your Second,"_ in which the Duke of Cumberland is
+represented as Placid, endeavouring to arrange matters amicably between
+my Lords Kenyon and Grey.
+
+
+  DUKE OF CUMBERLAND.
+
+The duke himself was one of the most unpopular personages of his time,
+and evinced on his part a contempt for public opinion which did nothing
+to lessen the prejudice with which he was generally regarded. We dislike
+a man none the less for knowing that he is conscious of and indifferent
+to our good or bad opinion; and so it was with the Duke of Cumberland.
+He followed his pleasure (field sports amongst the rest) with a serene
+and happy indifference to all that the world might think or say about
+him. This characteristic of his Royal Highness is satirized in another
+of the "sketches," where he is supposed to sing "My Dog and My Gun," as
+"Hawthorn," in the then popular opera of "Love in a Village." His Royal
+Highness made himself a remarkable character in those smooth-faced days
+by wearing a profusion of whisker and moustache perfectly white. A
+rumour somehow got abroad and was circulated in the tittle-tattle
+newspapers of the time, that at the instance of some fair lady he had
+shaved off these martial appendages. The cavalry for some unexplained
+reason were the only branch of the service who were then permitted to
+wear moustaches, and in one of his sketches, the artist places the
+smooth-shaved duke in the midst of his brother officers, who regard him
+with the greatest horror and amazement.
+
+The Ministry which succeeded that of the Duke of Wellington had entered
+office under express declaration that they would forthwith apply
+themselves to the reform of the representation of the people; and
+accordingly, on the 1st of March, 1831, a bill for that purpose was
+actually introduced by Lord John Russell; but the strength and violence
+of the opposition which could still be mustered against it may be judged
+by the fact, that the second reading was carried by the hopeless
+majority of _one_ in the fullest house that had ever been assembled. A
+dissolution took place shortly afterwards, and the avowed intention of
+such dissolution had been to obtain from the people at the general
+election (which followed) a House of Commons pledged to support the
+Reform Bill; indeed, the only test by which candidates were tried, was
+their expressed pledge to support this particular measure. On the 24th
+of June, 1831, Lord John Russell again moved for leave to bring in a
+bill to amend the representation of England, and the difference in the
+result obtained by the election is conclusively shown by the fact, that
+the votes for the second reading were 367 against 231. On the 13th of
+July it passed into Committee, and on the 7th of September, the bill as
+amended in Committee was reported to the House; the majority in favour
+of the motion for passing it was found to be 109, the ayes being 345,
+and the noes 236.
+
+
+  THE REFORM BILL THROWN OUT BY THE LORDS.
+
+The Reform Bill next day was carried up to the Lords by Lord John
+Russell, attended by about a hundred of its staunchest supporters in the
+lower House. These gentlemen appear to have adopted the unusual mode of
+exciting the attention of the peers and giving to the function they were
+performing a striking and theatrical character, by accompanying the
+delivery of the bill to the Lord Chancellor with their own
+characteristic "Hear, hear." A cry of "order" recalled them to a sense
+of the presence in which they stood. In Doyle's contemporary sketch of
+_Bringing up our Bill_, this incident is referred to. Lord Chancellor
+Brougham stands at the bar of the House to receive it from the hands of
+the member who leads the deputation (Lord John Russell); behind him we
+see Lord Althorp, the Marquis of Chandos, and the Right Hon. John Wilson
+Croker, who exchange signs with their fingers, showing that the
+proceeding does not altogether meet with their approval. In the
+background may be seen Sir Charles Wetherell, hated of the reformers of
+Bristol, looking as opposed to the measure as ever; the bill, as we
+know, was thrown out by the Lords in October, by a majority of 41. The
+same month, its enthusiastic advocate, the Rev. Sydney Smith, at a
+reform meeting at Taunton, compared the attempt of the House of Lords to
+stop the progress of reform to a certain fictitious Dame Partington of
+Sidmouth, who had essayed during the progress of the great storm to
+arrest the progress of the Atlantic with her broom. "The Atlantic was
+roused," said the wit; "Mrs. Partington's spirit was up; but I need not
+tell you that the contest was unequal. The Atlantic Ocean beat Mrs.
+Partington." Immediately after this speech appeared the sketch of _Dame
+Partington and the Ocean of Reform_, in which the character of the
+apocryphal and obstinate dame is sustained by that vigorous opponent of
+the Reform Bill, his grace the Duke of Wellington.
+
+
+  A DEAD LOCK.
+
+As the Lords had thrown out the Reform Bill, it was necessary to begin
+_de novo_. Accordingly, on the 12th of December, Lord John Russell again
+moved for leave to bring in a new Reform Bill, which passed the third
+reading by a majority of 116 on the 23rd of March, 1832, and its second
+reading in the House of Peers, by a majority of nine, on the 14th of
+April. Then the fighting and opposition became once more as strenuous
+and as sustained as ever. On a subsequent division the ministry were
+left in a minority of thirty-five, whereupon Earl Grey proceeded to the
+king, and tendered to his Majesty the alternative either of arming the
+ministers with the powers they deemed necessary to carry through their
+bill (which really meant a power to create whatever new peers they might
+deem requisite for the purpose), or of accepting their own immediate
+resignation. In the course of the following day the king informed his
+lordship that he had determined to accept his resignation rather than
+have recourse to the only alternative which had been proposed to him;
+and accordingly, on the 9th, Earl Grey announced in the House of Lords,
+and Lord Althorp in the Commons, that the ministry was at an end, and
+simply held office till their successors should be appointed. The Duke
+of Wellington attempted to form an administration, and failed--and his
+failure left matters, the ministers, and the perplexed monarch, of
+course exactly "as they were."
+
+The excitement occasioned by the Lords was tremendous. At London,
+Birmingham, Manchester, and other large centres, simultaneous meetings
+were held to petition the Commons to stop the supplies. In the
+metropolis placards were everywhere posted, recommending the union of
+all friends of the cause; the enforcement of the public rights at all
+hazards; and a universal resistance to the payment of taxes, rates,
+tithes, and assessments; the country in fact was on the brink of
+revolution. At the meetings of the political societies, even in the
+leading journals, projects were openly discussed and recommended for
+_organizing_ and _arming_ the people; the population of the large towns
+was ready to be launched on the metropolis. "What was to be done--peers
+or no peers? A cabinet sat nearly all day, and Lord Grey went once or
+twice to the king. He, poor man, was at his wits' end, and tried an
+experiment (not a very constitutional one) of his own by writing to a
+number of peers, entreating them to withdraw their opposition to the
+bill."[111] The letter to which Mr. Charles Greville refers is evidently
+the following circular:--
+
+  "ST. JAMES'S PALACE, _May 17th, 1832_.
+
+  "MY DEAR LORD,--I am honoured with his Majesty's command to acquaint
+  your lordship, that all difficulties to the arrangements in progress
+  will be obviated by a declaration in the House to-night from a
+  sufficient number of peers, that in _consequence of the present state
+  of affairs_, they have come to the resolution of dropping their
+  further opposition to the Reform Bill, so that it may pass without
+  delay, and as nearly as possible in its present shape.
+
+  "I have the honour to be yours sincerely,
+
+     "HERBERT TAYLOR."
+
+Such a request, coming from such a quarter, was not only weighty in
+itself, but necessarily implied after all that had taken place, that his
+Majesty suggested this course as the only means of avoiding the creation
+of a large number of additional peers. The majority of the House were
+thus placed in the unenviable position of being compelled to choose
+whether they would see a hundred members added to the number of their
+opponents to carry a measure which was hateful to them, or to abandon
+for a time their rights, privileges, and duties as legislators. They
+chose the latter alternative, and during the remainder of the discussion
+on the bill, not more than between thirty and forty attended at any one
+time. By this means, and this only, the bill was eventually carried.
+
+On these grounds John Doyle appears to have founded his theory that
+William the Fourth was a sincere convert to Reform.[112] In one of the
+"sketches" he shows us his Majesty in the character of Johnny Gilpin
+carried along at headlong speed by his unmanageable _grey_ steed
+"Reform." He flies past the famous hostelry at Edmonton, where his wife
+and her friends (represented by the Duke of Wellington and a party of
+Tories) are anxiously awaiting his arrival. The turnpike-keeper (John
+Bull) throws open the gate to let him pass, too delighted with the fun
+to think of any personal expense to himself, and conscious that if the
+gate is shut the inexpert horseman must come to unutterable grief. The
+bottles dangling at Gilpin's waist are filled with "Birmingham froth"
+and "Rotunda pop," in allusion to the stump oratory of the Birmingham
+Political Union and the Rotunda in Blackfriars Road. Hume and O'Connell,
+the ardent supporters of the bill, cheering with might and main, closely
+follow John on horseback; while Sir Francis Burdett and Sir T. C.
+Hobhouse, equally ardent advocates of Reform, join the cry on foot. The
+frightened geese with coroneted heads represent, of course, the peers,
+who had offered such determined opposition to the measure, while the old
+apple woman rolling in the mud is no other than poor Lord Eldon. The
+bird of ill-omen foretelling disaster is Mr. Croker, Secretary to the
+Admiralty. Later on the same year (1832), we find his Majesty
+represented as Mazeppa bound to the _grey_ steed Reform, several of the
+Conservative members of either houses of Parliament doing duty as the
+wolves and "fearful wild fowl" that accompany the rider in his perilous
+course. In another satire, the king, supposed to have discovered his
+mistake, figures as Sinbad the Sailor, vainly endeavouring to shake
+himself free of the old man of the sea (Earl Grey), who however is too
+firmly seated on his shoulders to be dislodged.
+
+
+  UNPOPULARITY OF THE DUKE OF WELLINGTON.
+
+The Duke of Wellington's political convictions having prompted him to be
+among one of the leading opponents to the Reform Bill, he narrowly
+escaped serious injury at the hands of the London rabble. On the 18th of
+June, 1832, having occasion to pay a visit to the Mint, a crowd of
+several hundred roughs collected on Tower Hill to await his return; and
+on making his appearance at the gate he was hissed and hooted by the
+crowd, who followed him along the Minories yelling, hooting, and using
+abusive language, their numbers and threatening demeanour momentarily
+increasing. About half-way up the Minories he was met by Mr. Ballantine,
+the Thames police magistrate, who asked him if he could render him any
+assistance; but the cool, courageous soldier simply replied that he did
+not mind what was going on. When his grace had got to about the middle
+of Fenchurch Street, one of the cowardly ruffians rushed out of the
+crowd, and seizing the bridle with one hand attempted to dismount the
+duke with the other, in which he would have succeeded but for the
+courageous conduct of the groom and a body of city police, who
+opportunely made their appearance at the time. The mob had now grown as
+numerous as it was cowardly; but by the exertions of the police, his
+grace was escorted through it and along Cheapside without sustaining
+personal injury. In Holborn, however, the rabble, growing bolder, began
+to throw stones and filth, and the duke, followed by the _canaille_,
+rode to the chambers of Sir Charles Wetherell, in Stone Buildings,
+Lincoln's Inn, where he remained, till a body of police arrived from Bow
+Street, by whom he was escorted in safety to Apsley House. To make the
+outrage more disgraceful, if possible, it happened on the anniversary of
+the crowning victory of Waterloo; the mob, forgetting in their
+unreasoning wrath the priceless services the great soldier had rendered
+to the nation, whilst the cowardly rascals who composed it were the very
+persons who could by no possibility be benefited by the provisions of
+the bill in which they professed to take so great an interest. On the
+night of the illumination which followed the passing of the Act, they
+broke the windows of his grace and other opponents of the measure; and
+in one of the contemporary HB sketches, _Taking an Airing in Hyde Park_,
+the duke is seen looking out of one of his broken window-panes. Before
+the end of the year he was visited by serious illness, and the angry
+feelings his opposition to the measure had provoked, and which had been
+gradually subsiding, were suddenly followed by a complete reaction in
+his favour. HB commemorates this in his sketch of _Auld Lang Syne_,
+which shows the happy reconciliation between John Bull and the hero of
+Waterloo.
+
+
+  DUEL BETWEEN THE DUKE OF WELLINGTON AND LORD WINCHELSEA.
+
+Consistently and conscientiously as the great duke had opposed what he
+considered the revolutionary tendency of the Reform Bill, it must not be
+forgotten that it is to him that the Catholics owe the benefits of the
+Act of 1829, which relieved them of the disabilities under which they
+had so long suffered; and it must not be forgotten too, that in this
+measure he had not only to contend with his own repugnance to Catholic
+emancipation, but also with that of his chief colleagues,--of the great
+majority of the House of Lords, and of the king himself. With the latter
+indeed his task had been a very difficult one; and it was only a few
+days before the meeting of Parliament in the early part of 1829, that
+the consent of George the Fourth had been obtained. Among the most
+strenuous of the duke's opponents to the Catholic Relief Bill was the
+Earl of Winchelsea, who, in the unreasoning bitterness of his anger,
+shut his eyes to the injustice under which the Catholics had so long
+suffered, and most unwarrantably charged his grace with an intention "to
+introduce Popery into every department of the State." These words led to
+a hostile meeting in Battersea Fields on the 21st of March, 1829. Lord
+Winchelsea, after receiving the duke's fire, discharged his pistol in
+the air, and there the affair ended, his second delivering a written
+acknowledgment expressing his lordship's regret for having imputed
+disgraceful motives to the conduct of the duke, in his pro-Catholic
+exertions. Twelve months afterwards, on the 2nd of April, 1830, Richard
+William Lambrecht was indicted at Kingston assizes for the murder of
+Oliver Clayton, whom he had shot in a duel in Battersea Fields on the
+preceding 8th of January. Lambrecht had a narrow escape, for the judge
+in his summing up told the jury that if they were of opinion that the
+accused met Clayton "on the ground with the intention, if the difference
+could not be settled, of putting his life against Clayton's, and Mr.
+Clayton's against his," the prisoner was guilty of wilful murder; and
+the jury, finding on application to the learned judge that there were no
+circumstances in the case to reduce the crime to manslaughter, by way
+apparently of getting out of the difficulty, returned a verdict of _not
+guilty_. This incident suggested the sketch entitled _A Hint to_
+_Duellists_, in which the unsparing satirist places the duke in
+Lambrecht's unenviable position before Mr. Justice Bailey, from whose
+lips are proceeding a portion of the charge which he actually delivered
+to the jury at the trial at Kingston assizes. Even the duke, impassive
+as he appeared, must have felt the justice of this unsparing but
+admirable sarcasm.
+
+Another member of the royal family who frequently figures in the
+"sketches" is the Duke of Sussex. He was a man of large frame, and as
+remarkable for the blackness of his whiskers as the Duke of Cumberland
+was conspicuous for the bleached appearance of these hirsute adornments.
+At a meeting of the council of the London University, he is reported to
+have said that for the promotion of anatomical science he should have no
+personal objection to dedicate his own body after death to the College
+of Surgeons for the purposes of dissection. This hint was enough of
+course for HB, and his royal highness accordingly figures in a
+contemporary satire as _A great Subject_ "_Dedicated to the Royal
+College of Surgeons_."
+
+
+  SIR FRANCIS BURDETT.
+
+Another prominent personage of HB's time, and a singular instance of the
+change which frequently takes place in the political convictions of
+public men, was Sir Francis Burdett. Commencing his career as an ardent
+radical and reformer intolerant of abuses, he finished it and astonished
+his former supporters by being returned for Westminster in the
+Conservative interest. The political conduct of this once celebrated man
+is of so unusual a character that a short recapitulation of his career
+seems necessary, in order that the reader may understand the satires we
+are about to describe. Notwithstanding his expressed views in support of
+absolute purity of election, his own election for Middlesex in 1802-4,
+is said--what with the expenses and subsequent litigation--to have cost
+him upwards of one hundred thousand pounds. On the 5th of May, 1807, he
+was challenged by and fought a duel with Mr. James Paull, on Wimbledon
+Common, the cause of quarrel being Sir Francis's refusal to act as
+chairman at a gathering of Paull's supporters at the Crown and Anchor
+Tavern, Westminster, in April. The duel terminated in both the
+principals being seriously wounded. The same year he was returned to
+Parliament to serve as member for Westminster, which constituency he
+continued to represent for nearly thirty years. Perhaps the greatest
+event of his life was his committal to the Tower under the Speaker's
+warrant for a libellous letter published in _Cobbett's Political
+Register_, of 24th March, 1810, in which he questioned the power of the
+House to imprison delinquents. He at first resisted the execution of the
+warrant, and being a favourite with the mob, a street contest ensued
+between the military and the people, in which some lives were lost. In
+1818, we find him moving for annual parliaments and universal suffrage,
+when the House divided with the result of 100 to 2, the minority being
+composed of the mover and seconder--that is to say, himself and Lord
+Cochrane. In 1820, he was found guilty at Leicester of a libel on
+Government in a letter to his constituents reflecting on the Manchester
+outrage of the preceding year; a new trial was moved for by himself, but
+this was refused, and he was sentenced the following February to three
+months' imprisonment, and to pay a fine of £2,000. In March, 1825, his
+resolutions for the relief of the Irish Catholics were carried by a
+majority of 247 to 234; but in later life his restless spirit gradually
+calmed down, and after the appointment of the Melbourne Ministry in
+1835, he surprised and disgusted his party by going into opposition,
+principally (as he alleged) on account of the court which they paid to
+O'Connell and his followers in their agitation against the Irish
+Established Church. For some time previous to the sketch we are about to
+describe he had absented himself from the House, and otherwise shown his
+distaste for the persons and principles of the leading men of the party
+to which he had formerly belonged. The busy-bodies who professed to be
+the exponents of public opinion in Westminster, pressed him for an
+explicit statement of his views, and eventually called upon him to
+resign, and he took them directly at their word. The person brought
+forward to oppose him was John Temple Leader, then member for
+Bridgwater, a name which suggested to the artist the pictorial pun of
+_Following the Leader_, the "followers" being Lord Melbourne, Lord John
+Russell, Lord Palmerston, Mr. O'Connell, Sir J. Hobhouse, Mr. Hume, and
+Sir William Molesworth. Notwithstanding the exertions of the ministers
+and their friends to secure the election of Mr. Leader, that gentleman
+was not only beaten by a very considerable majority, but lost as a
+natural consequence his seat for Bridgwater, a fact which suggested to
+the artist another able sketch, _The Dog and the Shadow_. The election
+itself forms the subject of _A Race for the Westminster Stakes_, in
+which the aged thoroughbred (Sir Francis), ridden by Lord Castlereagh,
+beats the young horse Leader, jockey Mr. Roebuck. Among the backers of
+the losing horse, Daniel O'Connell and Joseph Hume may be easily
+detected by the lugubrious expression of their faces. The sketch of _A
+Fine Old English Gentleman_ was suggested by a remark made by the
+_Times_ during the progress of the contest, in which it described Sir
+Francis as "a fine specimen of the old English gentleman." In the
+left-hand corner of this sketch the artist has placed a picture of the
+Tower of London, by way of reminder of the days when the baronet was
+regarded not so much in the light of "a fine old English Gentleman" as a
+radical of the most advanced type, and as a martyr in the cause of
+public liberty.
+
+
+  CHANGES IN POLITICAL OPINION.
+
+A change of opinion however is obviously a necessary incident of
+political life, and we have ourselves witnessed some remarkable
+instances of such versatility in our own days. In some cases these
+changes are only temporary or partial, in others they are radical and
+complete; sometimes they are dictated by conviction, at others by
+necessity; occasionally they seem to be the result of absolute caprice;
+while in not a few instances, I fear, we should not be very far wrong in
+assigning them to feelings of disappointment or personal or political
+pique. This tergiversation in public men forms the subject of one of
+HB's happiest inspirations. In 1837 there appeared at the Adelphi
+Theatre an American comedian named Rice, the forerunner of the Christies
+and other "original" minstrels of our day, who sang in his character of
+a nigger a comic (?) song, which, being wholly destitute of melody, and
+even more idiotic than compositions of that kind usually are, forthwith
+became exceedingly popular, being groaned by every organ, and whistled
+by all the street urchins of the day. This peculiar production, which
+was known as "Jim Crow," was accompanied by a characteristic double
+shuffle, while every verse concluded with this intellectual chorus:--
+
+  "Turn about, and wheel about,
+     And do just _so_;
+   And every time I turn about,
+     I jump Jim Crow."
+
+In _Jim Crow Dance and Chorus_ (the title of the sketch referred to), we
+find the leading men of all parties assembled at a ball, engaged in the
+new saltatory performance initiated by Mr. Rice. In the left-hand corner
+we notice Lord Abinger, formerly Sir James Scarlett, a Whig, who growing
+tired of waiting for the advent of 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-à-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-à-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 this self-satisfied
+aristocratic-looking personage not many years before had distinguished
+himself as the most prominent of radical malcontents, and had been drawn
+by his enthusiastic dupes through the city of Westminster in a triumphal
+car, decorated with the symbols of liberty, and preceded by a banner
+bearing the inscription, "Westminster's Pride and England's Glory."
+
+The queer figure in the cocked hat is Sir de Lacy Evans, who figures as
+one of the dancers in allusion to his practice as compared with his
+professions. In 1833 he obtained a seat for Westminster, triumphing over
+his opponent Sir J. C. Hobhouse, who for fifteen years had represented
+that constituency, both candidates professing to be zealous advocates
+for the abolition of flogging in the army. Sir de Lacy nevertheless,
+when commanding the British Legion at St. Sebastian, "jumped Jim Crow"
+by flogging his soldiers without mercy. Lord John Russell once sneered
+at every project of Reform, but his Lordship, as we have seen, "jumped
+Jim Crow" by repeatedly introducing the Reform Bill into the House of
+Commons, which was mainly passed by his persistent exertions; very
+properly, therefore, Lord John figures in HB's clever sketch among the
+most prominent of "Jim Crow" double shufflers.
+
+
+FOOTNOTES:
+
+  [108] These political changes, as we shall presently see, are by no
+    means uncommon. William Cobbett, for instance, in 1801 supported the
+    principles of Pitt, but in 1805, from a "Church and King" man, he
+    became and continued an ardent liberal.
+
+  [109] "English Graphic Satire," by R. W. Buss.
+
+  [110] _Westminster Review_, June, 1840.
+
+  [111] Greville's "Memoirs," ii. p. 303.
+
+  [112] This was the idea of all Tories of the day. The terrible effects
+    of the Reform Bill were amusingly predicted by John Wilson Croker to
+    the king himself; they have not of course been fulfilled. See
+    "Journal of Julian Charles Young" (Memoir of Charles Mayne Young,
+    vol. i. p. 231).
+
+
+
+
+CHAPTER XII.
+
+_THE POLITICAL SKETCHES OF_ HB (_Continued_).
+
+
+  LORD JOHN RUSSELL.
+
+Sydney Smith said of little Lord John Russell, that he was "ready to
+undertake _any_thing and _every_thing--to build St. Paul's,--cut for the
+stone,--or command the Channel fleet," and this satire of the wit was
+true. He tried politics and he tried literature, and few people will say
+that he was entirely successful at either. As a politician, for
+instance, his general capacity for getting himself and his party into a
+mess, earned from the most intellectually powerful of his political
+opponents the enduring title of "Lord Meddle and Muddle." He has not
+been dead very long, yet what reputation has he left behind him as a
+dramatist--novelist--historian--biographer--editor--pamphleteer, all of
+which _rôles_ he essayed at some time or other of his long and eventful
+career? His _Nun of Arronca_ (1822) fetches it is true an exceedingly
+high price, because having been rigidly suppressed by its author it is
+now exceedingly rare. The best that can be said of Lord John--and that
+is saying a great deal--is, that he was a consistent Liberal according
+to his lights, and that to him belongs the honour and glory of bringing
+about the great measure of Reform, which, as we have seen, was, mainly
+through his instrumentality, accomplished in 1832.
+
+Lord John, as might have been expected, frequently appears in the
+"political sketches" of HB. He cuts an amusing figure in one where
+_Jonah_ (Lord Minto) is about to be thrown overboard by Lords Lansdowne,
+Palmerston, and Duncannon, by order of the captain (Lord Melbourne), to
+appease the storm raised by Lords Brougham and Lyndhurst in reference to
+a rumour that Lord Minto (First Lord of the Admiralty), had instructed
+British cruisers to stop all Sardinian vessels carrying warlike stores
+for Don Carlos. Lord John, while clinging to the mast behind, and
+viewing with terror the impending fate of his colleague, evidently
+solaces himself with the conviction that his own weight is too
+insignificant to have any material effect upon the safety of the ship.
+Minto owed his safety to the Duke of Wellington, who therefore figures
+in the sketch as the whale; for, although convinced that his lordship
+had been imprudent, he successfully resisted Brougham's motion for a
+copy of the instructions, and thereby succeeded in lodging poor Jonah on
+dry land.
+
+
+  STAMP DUTY ON NEWSPAPERS.
+
+One of the "sketches" in which Lord John Russell figures reminds us of a
+remarkable discussion which possesses considerable interest for every
+reader of the cheap newspapers of to-day. The Chancellor of the
+Exchequer (the Right Hon. Thomas Spring Rice) in opening his budget on
+the 6th of May, 1836, showed a disposable surplus of £662,000 only,
+which he proposed (in the usual way) to apply towards the reduction of
+taxation. He proposed, in the first place, to consolidate the paper
+duties and to reduce their amount in a manner which he proceeded to
+explain; and after accounting for £200,000, the balance of the surplus
+he intended to apply to the reduction of the stamp on newspapers. The
+duty minus the discount was fourpence, which he proposed to reduce to a
+penny, and to give of course no discount. The reader must not suppose
+from the foregoing, however, that all the proprietors of newspapers of
+that day paid the duty; on the contrary, the large majority evaded it in
+every possible way. The measure in fact was intended as much as a
+protection to the revenue as anything else, for the sale of unstamped
+newspapers throughout the country had become so extensive that no series
+of prosecutions was found effectual to put them down. Every sheet, it is
+true, professed to bear on it the printer's name; but the name so
+appended was in six cases out of eight a false one. Exchequer processes
+were issued; all the power of the law was set in motion; in the course
+of three weeks three hundred persons had been imprisoned for selling
+unstamped papers in the streets, but without in the slightest degree
+repressing the illegal sale. The Chancellor argued that the loss which
+the revenue would sustain in the first instance would be more than
+compensated by the enormous increase of duty to be obtained from the
+enlarged circulation; from the additional duty arising from the greater
+consumption of paper; and from the very large increase which might be
+expected from the produce of the duty on advertisements.
+
+The opponents of the measure were of three classes: first, those who
+looked upon the proposal as radical and subversive; secondly, those who
+because a reduction is suggested in one quarter invariably consider it
+the correct thing to propose it in another; and lastly, the owners of
+the established newspapers of the day. The arguments of the first class
+assumed the following form: "In proportion as any political party
+approaches more or less towards pure democracy and the right divine of
+mere numbers, its interests will require that the means should be
+increased of disseminating among the lower classes, and as nearly
+gratuitously as possible, the exciting and poisonous food which is at
+last to end in the revolutionary fever."[113] The second class, strange
+to say, rested their hopes in this instance on the singularly slippery
+basis of _soap_. Sir C. Keightley moved (on the 20th of June) that
+instead of diminishing the stamp duty on newspapers, the duty on hard
+and soft soap should be reduced. The reduction of such duty would, he
+argued, by aiding cleanliness, promote the health and comfort of the
+people, while the lowering of newspaper stamps would do nothing of the
+kind, but would tend rather to introduce a cheap and profligate press,
+"one of the greatest curses which could be inflicted on humanity." He
+contended, moreover, that it was absurd to argue that the poor were
+debarred from reading the public prints, when in a coffee shop, for
+three-halfpence, they could obtain a cup of coffee and a sight of every
+newspaper published in London. Mr. Barclay, one of the members for
+Surrey, thought it impossible for any reasonable being to hesitate
+between the relative virtues of newspapers and soap; and as for the
+Chancellor of the Exchequer, he could not believe for one moment that if
+left to his own unaided judgment he would hesitate to give his
+preference to the latter. The Chancellor nevertheless avowed in the
+plainest terms his preference for newspapers, and his conviction of the
+advisability of an immediate reduction in the stamp duty; the result,
+after the lapse of less than forty years, has conclusively proved the
+wisdom of the measure which he succeeded in carrying.
+
+
+  CURIOUS ARGUMENTS OF THE NEWSPAPER PROPRIETORS.
+
+Newspaper proprietorship was then a monopoly; and the argument by which
+the rich proprietor, the representative of the third class of opponents,
+sought to maintain his monopoly cannot fail to amuse the newspaper
+reader of to-day. The monopoliser who, to maintain the character of his
+paper and to supply the public with the best and earliest information,
+incurred the expense of procuring parliamentary reports, obtaining
+foreign intelligence, anticipating the arrival of the post by expresses,
+and by having correspondents in every quarter of the world where matters
+of interest were going forward, said, that should the measure pass, he
+must thenceforth either be content to lower the tone of the public press
+by not giving the same amount of accurate intelligence, or must carry on
+the contest with those who went to no expense at all. "The result would
+be not only the ruin of the property of the newspaper proprietors and
+the destruction of their property, but it would be something much more
+fatal to the general interests of the country, for the editors of the
+present respectable papers would not be able to compete with these
+predatory publications, and would be compelled to forego that extent of
+information which was then so accurately given. We should have the
+newspaper press"--mark this, ye omnivorous readers of to-day, who
+commence with _The Times_, adjourn to the _Telegraph_, peruse the pages
+of the _Morning Post_, wander through the columns of the _Daily News_,
+and finish off with the express edition of the _Globe_ or _Evening
+Standard_, reserving your _Saturday Review_, your _Truth_, and your
+_Vanity Fair_ for Sunday solatium--"we should have the newspaper press
+simply reduced to this state: that no longer would there be a regular
+and correct supply of information to the public respecting the debates
+of Parliament or _other important matters, but there would be only such
+an amount and such a description of information as could be furnished
+upon the inaccurate data of a man who would not go to any expense in the
+use of the means at present employed_." These were the views of the
+newspaper proprietors of 1836, as expounded by that respectable but
+distinctly Tory authority, "The Annual Register."[114]
+
+The measure of the Chancellor of the Exchequer, of which we have
+attempted the foregoing explanation, appears to have suggested to John
+Doyle his sketch of _The Rival Newsmongers_, in which the leading men of
+all parties are represented in the act of endeavouring to force the sale
+of their own journals. The scene is supposed to be enacted in front of
+the Elephant and Castle, where we find the "Union Coach" waiting to take
+up passengers,--the three who occupy the roof being a Scotchman,
+indicated by his bonnet and plaid, Paddy by his shocking bad hat, while
+in the portly, jolly-looking party next him we have no difficulty
+whatever in recognising honest John Bull. The three are listening to the
+appeals of O'Connell, close to whom is Mr. Roebuck, and behind him again
+Mr. Hume. Sir Roger Gresley addresses himself to the insides, and the
+person holding up his paper to the special notice of John Bull is the
+Marquis of Londonderry. The driver of the coach is Lord Melbourne, and
+the ostler little Lord John Russell.
+
+
+  LORD BROUGHAM.
+
+The public man who perhaps of all others earned and deserved his place
+in the pictorial satires of the nineteenth century was emphatically
+Brougham. The verdict of posterity on this restless but unquestionably
+brilliant man of genius must of necessity be a somewhat disappointing
+one; he aimed at being nothing less than an Admirable Crichton, and such
+a character in the nineteenth century, when every public man must be
+more or less talented, more or less brilliant, would be an impossibility
+even to a genius. A rival lawyer and political opponent, Sir Charles
+Wetherell is reported to have said of him that he knew a little of
+everything but law; and although this statement was spiteful and untrue,
+there is no doubt of the truth of Mr. Greville's remarks, that his duty
+as Chancellor was confined to appeals which _must_ come before him,
+lunacy and other matters over which he had sole jurisdiction, and that
+"nobody ever thought of bringing an original cause into his court."[115]
+We think we may even go farther than this, and say that no lawyer of the
+present day would dream of relying on Lord Brougham's decisions.
+O'Connell said of him, "I pay very little attention to anything Lord
+Brougham says. He makes a greater number of foolish speeches than any
+other man of the present generation. There may be more nonsense in some
+one speech of another person, but in the number, the multitude of
+foolish speeches, Lord Brougham has it hollow. I would start him ten to
+one--ay, fifty to one--in talking nonsense against any prattler now
+living."
+
+Some amusing examples of his restless anxiety to figure on all occasions
+in the character of an Admirable Crichton are given by Mr. Charles
+Greville, whose "Memoirs" stand in much the same relation to the graphic
+satires of the nineteenth century as the "Odes" of Dr. Walcot do towards
+the caricatures of James Gillray. "Dined," says Mr. Greville (under date
+of 7th June, 1831), "with Sefton yesterday, who gave me an account of a
+dinner at Fowell Buxton's on Saturday to see the brewery, at which
+Brougham was the _magnus Apollo_. Sefton is excellent as a commentator
+on Brougham; he says that he watches him incessantly, never listens to
+anybody else when he is there, and _rows_ him unmercifully afterwards
+for all the humbug, nonsense, and palaver he hears him talk to
+people.... They dined in the brewhouse and visited the whole
+establishment. Lord Grey was there in star, garter, and ribbons. There
+were people ready to show and explain everything. But not a bit.
+Brougham took the explanation of everything into his own hands; the mode
+of brewing, the machinery, down to the feeding of the cart-horses.
+After dinner the account books were brought, and the young Buxtons were
+beckoned up to the top of the table by their father to hear the words of
+wisdom which flowed from the lips of my Lord Chancellor. He affected to
+study the ledger, and made various pertinent remarks on the manner of
+book-keeping. There was a man whom Brougham called 'Cornelius' (Sefton
+did not know who he was), with whom he seemed very familiar. While
+Brougham was talking he dropped his voice, on which 'Cornelius' said,
+'Earl Grey is listening,' that he might speak louder and nothing be
+lost. He was talking of Paley, and said that 'although he did not always
+understand his own meaning, he always made it intelligible to others,'
+on which 'Cornelius' said, 'My good friend, if he made it so clear to
+others, he must have some comprehension of it himself;' on which Sefton
+attacked him afterwards, and swore that 'he was a mere child in the
+hands of "Cornelius;" that he never saw anybody so put down.' These
+people are all subscribers to the London University,[116] and Sefton
+swears he overheard Brougham tell them that 'Sir Isaac Newton was
+nothing compared to some of the present professors,' or something to
+that effect. I put down all this nonsense because it amused me in the
+recital, and is excessively characteristic of the man, one of the most
+remarkable that ever existed. Lady Sefton told me that he went with them
+to the British Museum, where all the officers of the Museum were in
+attendance to receive them. He would not let anybody explain anything,
+but did all the honours himself. At last they came to the collection of
+minerals, when she thought he must be brought to a standstill. Their
+conductor began to describe them, when Brougham took the words out of
+his mouth, and dashed off with as much ease and familiarity as if he had
+been a Buckland or a Cuvier. Such is the man, a grand mixture of moral,
+political, and intellectual incongruities."[117]
+
+If the part which Brougham's position as attorney-general to Queen
+Caroline obliged him to take at the memorable period of the "Bill of
+Pains and Penalties" had not closed the door of professional advancement
+against him, he had most effectually locked it against himself so long
+as her husband lived by the intemperate and ill-judged language in which
+he alluded to that event in the speech which he delivered at Edinburgh
+on the 5th of April, 1825.[118] But Brougham was constantly on the watch
+for its being opened, and on the very day when George the Fourth died,
+that is to say on the 20th of June, 1830, he spoke in the House of
+Commons in eulogistic terms of the new sovereign, praising him for
+allowing the Speaker to take the oaths at an unusually early hour in
+order to suit the convenience of members, a graceful act, which Mr.
+Brougham declared he hailed as a happy omen of the commencement of an
+auspicious reign. The astute K. C.'s object did not escape the
+penetrating eye of HB, who forthwith represented him as _The Gheber
+Worshipping the Rising Sun_, in whose smiling face we recognise the
+unmistakable lineaments of William the Fourth. The sun proved not
+unmindful of the attention; for, on the formation of Earl Grey's
+ministry in 1830, Mr. Brougham was made Lord Chancellor, with the title
+of Baron Brougham and Vaux. The appointment took the nation by surprise;
+for although a consistent upholder of Whig principles, he had always
+maintained a peculiar and independent position with his party, and was
+expected to prove rather an embarrassment than otherwise. These
+expectations were fully realized, and there can be no doubt that the
+sentiments which Lord Brougham's bearing as Chancellor excited among his
+colleagues and contemporaries, excluded him for the remainder of his
+life from all official life and employment.
+
+With all his wonderful powers, however, Lord Brougham could make, as
+O'Connell asserted of him, as inconsiderate a speech as any man. One of
+these speeches, which was delivered on the 14th of August, 1833, in a
+debate on the bill for the abolition of slavery in the West Indies,
+suggested to HB a happy subject. His lordship is reported to have said
+that, "the object of the clause [then under discussion] was to make the
+black, from the moment that he arrived on the shores of this country, a
+free man in all respects: to make him eligible to sit in Parliament,
+either in the House of Lords, if it should be his Majesty's pleasure to
+give him a title to a seat, or in the other House if he should be
+elected." HB, with his usual facility for seizing an idea, took his
+lordship at his word, and forthwith elevated the emancipated "nigger" to
+the woolsack, clothing him in the wig and gown of Lord Chancellor
+Brougham, and giving him the features of the noble and learned lord
+himself: this sketch bears the title of _A Select Specimen of the Black
+Style_.
+
+The House of Lords was a lively place whilst my Lord Chancellor Brougham
+was in office, and in the "scenes" in which he figured, and which drew
+down upon him the hatred and resentment of his contemporaries, he not
+unfrequently displayed a want of judgment which was nothing less than
+lamentable. We might give many instances of these regrettable scenes,
+but one shall suffice. On the 29th of September, 1831, the Lord
+Chancellor made the following answer to a question put by the Marquis of
+Londonderry:--"My lords," he said, "I beg to state to you once for all,
+that I will not sit here to be _bothered_ with questions which emanate
+from the ridiculous ideas of certain absurd individuals who cannot or
+will not see anything, however clear, and seem lamentably incapacitated
+by nature from comprehending what is going on. Moreover, I beg to state
+to the noble marquis, that for the future I will answer no question of
+his,--will give him no information whatever." The amazed patrician said
+in reply, "As to the language which the noble and learned lord has
+ventured to apply to me here, I will only say that I shall wish those
+words to be repeated in another place." The Lord Chancellor rejoined
+that he had said nothing which he was not prepared to repeat elsewhere;
+and here the matter appears to have ended, for strange to say it was the
+Marquis of Londonderry and not the irascible Brougham who subsequently
+apologised, a circumstance which occasioned the artist's satirical and
+telling sketch of _The Duel that did Not Take Place_. These scenes do
+not appear to have been the result of any mere ebullition of temper; on
+the contrary, Brougham would seem to have delighted in these
+undignified exhibitions. "The Chancellor, who loves to unbosom himself
+to Sefton, because he knows the latter thinks him the finest fellow
+breathing, tells him that it is nuts to him to be attacked by noble
+lords in the Upper House, and that they had better leave him alone if
+they care for their own hides. Since he loves these assaults, last
+night," continues Mr. Greville, "he got his bellyful, for he was baited
+by a dozen at least, and he did not come out of the _mêlée_ so chuckling
+and happy as usual."[119]
+
+Parliament was dissolved on the 15th of August, 1834, and by that time
+his party, the king, and everybody else, had grown pretty well tired of
+Lord Chancellor Brougham. His head would seem to have been almost turned
+by his success; for he employed the recess which followed the
+prorogation in making a sort of royal progress through Scotland,
+parading the Great Seal on his way, to the great disgust of the king,
+who seriously thought he had taken leave of his senses, and protested
+against it being carried across the border. In the course of this
+strange progress he reached Inverness in the beginning of September,
+1834, and was presented by the magistrates with the freedom of their
+city. In returning thanks for this honour, Lord Brougham said he was
+conscious "that it was not owing to any personal merits that he had
+received this mark of distinction at their hands. First of all he owed
+it to the circumstance that he had the honour of serving a monarch who
+lived in the hearts of his subjects. He had enjoyed the honour of
+serving that prince for nearly four years, and during that time he had
+experienced from his Majesty only one series of gracious condescension,
+confidence, and favour. To find that he lived in the hearts of his loyal
+subjects in the ancient and important capital of the Highlands, as it
+had afforded him (Lord Brougham) only pure and unmixed satisfaction,
+would, he was confident, be so received by his Majesty, when he (Lord
+Brougham) told him, _as he would by that night's post_ (cheers), of the
+gratifying circumstances."[120] So far, however, from being gratified,
+the bluff sailor king was tremendously annoyed. These fulsome
+adulations, and the ridiculous manner in which his eccentric and
+embarrassing Chancellor tortured any personal attention to himself
+(Brougham) into a personal compliment to his royal master, thoroughly
+disgusted him. For some weeks previously _The Times_ had attacked the
+eccentric Chancellor with a constancy and vigour of satire quite
+unexampled; the tide of ridicule was swelled by contributions from the
+London and provincial press; Brougham made some foolish speeches at
+Aberdeen and Dundee, which excited the laughter of his enemies and the
+alarm of his friends. "Those who are charitably disposed," remarks the
+unfriendly Greville, "express their humane conviction that he is mad,
+and it probably is not very remote from the truth."
+
+Intellectually strong as he was, a Chancellor so eccentric as this was
+an _incubus_ to be got rid of at the first convenient opportunity. In
+May, 1834, Mr. Stanley, Sir James Graham, the Earl of Ripon, and the
+Duke of Richmond, seceded from the ministry; but the Whig party, in
+spite of these resignations and the subsequent one of Lord Grey in July,
+continued in office under Lord Althorp till the following November, when
+the latter being called (by the death of his father) to the Upper House
+as Earl Spencer, the king seized the opportunity which he had so long
+desired of placing a less embarrassing and self-willed Chancellor on the
+woolsack. This circumstance prompted the clever sketch of the _Fall of
+Icarus_. Icarus in this instance is of course Brougham, who, flying in
+defiance of the injunctions of Dædalus too near the sun--that is to say,
+William the Fourth--the wax of his mechanical wings melted and he fell
+into the sea. That there may be no mistake as to the artist's meaning,
+the wings aforesaid are labelled with the titles of various publications
+which were loudest in sounding the praises of the King and of the "noble
+and learned lord," and to which he himself, with the questionable taste
+which distinguished him, was reputed (with justice) to be a contributor.
+
+Whether my Lord Chancellor Brougham caught the infection from his
+client, Queen Caroline, we know not; but his conduct, whether in or out
+of office, appears to have been of the most undignified character.
+Ignoring the fact that his party were no longer in power, there is no
+doubt whatever that he wrote a letter to his successor, Lord Lyndhurst,
+actually suggesting his own nomination to Lyndhurst's vacant office of
+Chief Baron of the Exchequer, thereby (as he pointed out) saving to the
+public his own pension of ex-Chancellor. What his real motive may have
+been is of little consequence; it was certainly a most undignified
+proceeding, made the more undignified, if possible, because the proposal
+was not accepted. It suggested to the artist one of his pictorial puns,
+_The Vaux and the Grapes_, and to the Rev. Richard Harris Barham the
+following amusing verses, which we have extracted from a contemporary
+poetical skit:--
+
+      "Then in Great Stanhope Street
+      The confusion was great
+  In a certain superb habi-tation,
+      Where seated at tea,
+      O'er a dish of Bohea,
+  Brougham was quaffing his 'usual potation'
+  (For you know his indignant ne-gation,
+  When accused once of jollifi-cation),
+      Down went saucer and cup,
+      Which Le Marchant picked up,
+  Not to hear his lord mutter 'd--n-ation.'
+
+      But this greatest of men
+      Soon caught hold of a pen,
+  And, after slight delibe-ration,
+      No longer he tosses
+      His flexile proboscis
+  About in so much exci-tation;[121]
+  But scribbling with great ani-mation,
+  He sends off a communi-cation:--
+      'Dearest Lyndhurst,' says he,
+      'Can't you find room for me
+  When constructing your adminis-tration?
+
+      Though the _Times_ says I'm mad,
+      And each rascally Rad
+  Abuses my tergiversation;
+      Though those humbugs, the Whigs,
+      Swear that my "thimble-rigs"
+  Were the cause of all their vacill-ation;
+  The whole story's a base fabri-cation
+  To damage my great reputa-tion;
+      So now to be brief,
+      _Only make me Lord Chief_,
+  And I'll serve without remuner-ation!'
+
+      When he found 'twas 'no go,'
+      And that Lyndhurst and Co.
+  Were deaf to all solici-tation,
+      As 'twas useless with Lyndy
+      To kick up a shindy,
+  He resolved upon peregrin-ation.
+  Not waiting for much prepa-ration,
+  He bolted with precipi-tation;
+      A sad loss, I ween,
+      To Charles Knight's magazine,
+  And to Stinkomalee edu-cation."
+
+Lord Brougham, indeed, by his despotic, intractable conduct, had
+thoroughly shut himself out from all chance of office. Sir Robert Peel's
+Conservative ministry lasted till April, 1835, when a second Whig
+government came into power, under the premiership of Lord Melbourne, and
+from the re-constructed cabinet, Brougham--much to his own surprise, but
+to the surprise of no one else--was excluded.[122]
+
+
+  IRISH DISAFFECTION.
+
+Irish disaffection was, unfortunately, as stale a subject in 1833 as in
+1883. For what particular sins of her own England has been cursed with a
+neighbour so bloodthirsty, so unreasonable, and so troublesome as
+Ireland, it would be difficult to say. Although we had no Irish
+Americans--no cowardly "dynamitards"--in those days, Ireland was
+nevertheless in a state of chronic disaffection, and an "Irish Coercion
+Bill" was found just as necessary to restrain the excitement of Irish
+political malcontents in 1833 as in 1883. Irish history, in this respect
+at least, has a method of repeating itself which is singularly
+embarrassing, and the student of the history of Irish disaffection
+cannot fail to be interested in the statement with which Lord Grey
+introduced his measure fifty years ago. We learn from this statement
+that a state of things existed little short of actual rebellion. Bodies
+of men were collected and arrayed by signals, evidently directed by a
+system of organization in which many were combined, and such system was
+conducted in a manner which had hitherto set at defiance all the
+exertions of law and order. The disturbers of the peace prescribed the
+terms on which land was to be let, and any one who presumed to disobey
+their orders was subject to have his property destroyed or be put to
+death. The reign of terror was complete. The organization which supplied
+the place of the Land League of to-day dictated what persons should
+employ and be employed; and while they forbad labourers from working for
+obnoxious masters on the one hand, they prevented a master on the other
+from employing as labourers any but those who were obedient to their
+orders. They enforced their decrees by acts of cruelty and outrage; by
+spoliation, murder, attacks on houses in the dead of night; by dragging
+the inmates from their beds and so maltreating them that death often
+ensued, or by inflicting cruelties which were sometimes worse than
+death. The persons belonging to this organization assembled by signals,
+made concerted movements, watched the movements of the troops, and by
+information received so avoided them that the military were rendered
+practically useless.
+
+The ordinary tribunals were powerless to arrest this iniquitous
+organization of murder and terror, which the Irish disaffectants and
+their advisers even in that day appear to have brought to a system of
+execrable perfection. Witnesses and jurors were terrified into silence.
+In one case the master of a female servant was commanded to dismiss her
+because her _mother_ had given evidence against a person brought to
+trial for a capital crime, and similar cases were of almost daily
+occurrence. Five armed men went to the house of Patrick Lalor, a man of
+nearly seventy years of age, and shot him through the body. His crime
+had been disobedience to a mandate to give up some ground which he held
+contrary to the will of the Terrorists. The same system prevented a son
+of Lalor, and an eye-witness of his murder, from giving evidence against
+his murderers. On the trial of these miscreants at Kilkenny assizes, the
+jury not being able to agree was dismissed. It had been arranged in the
+jury-room that nothing should transpire as to the opinions of individual
+jurymen, and yet, in _half an hour_, the names of those in favour of an
+acquittal or of a conviction were printed--the former in black, and the
+latter, or as they were designated the "jurors who were for blood," in
+red ink. The result was that those whose names were printed in red were
+obliged to leave the country. At the Clonmel assizes the previous
+October (1832), when a person was to be tried for resisting the payment
+of tithe, only 76 jurors out of 265 who had been summoned made their
+appearance. A gentleman had been murdered in sight of his own gate in
+consequence of some dispute in connection with tithes. The answer of his
+son-in-law, summoned by the coroner to give evidence against the
+supposed murderer, was this: "That he would submit to any penalty the
+crown or the law would impose upon him, but he would not appear at the
+trial, because he knew that if he stood forward as a witness his life
+would inevitably be forfeited." The Irish Government received a notice
+from Kilkenny "that many gentlemen who had always" most conscientiously
+discharged their duties, "would not attend at the next assizes. They
+cared not what penalty was imposed upon them. They refused to attend,
+because they knew that death" awaited them if they dared to do their
+duty. "It is the boast of the prisoners," continued this document, "that
+they cannot under existing circumstances be found guilty." Under such a
+disgraceful state of things, outrage had become of course triumphant.
+The sickening catalogue of Irish cruelty and crime during the previous
+year comprised 172 homicides, 465 robberies, 568 burglaries, 455 _acts
+of houghing of cattle_, 2,095 illegal notices, 425 illegal meetings, 796
+_malicious injuries to property_, 753 _attacks on houses_, 280 arsons,
+3,156 serious assaults, making an aggregate of crimes of every
+description during the year, connected with the disturbed state of the
+country, exceeding 9,000 in number, and the number was evidently still
+on the increase.
+
+
+  EFFECT OF THE IRISH COERCION BILL OF 1833.
+
+The third reading of the Coercion Bill was carried in the Commons on the
+29th of March, by 345 to 86, and the Act was to continue in force till
+the 1st of August, 1834. It led of course to many scenes in the House
+between English and Irish members, although the Irish members of that
+day, to do them simple justice, had not graduated in the aggravated
+system of obstruction they have since developed, and thereby earned for
+themselves the character of political nuisances. One of these scenes led
+to the sketch entitled _Prisoners of War_, which has reference to a
+serio-comic interlude, in which the principal performers were Lord
+Althorp and Mr. Shiel, member for Tipperary. On the 5th of February,
+1834, Lord Althorp charged (without naming them) certain Irish members
+who had particularly distinguished themselves by violent opposition to
+the Bill in the House, with using very different language in reference
+to it in private conversation. Up then rose one Irish member after
+another, inquiring if he was the person alluded to. To Mr. O'Connell and
+Mr. Finn the answer was in the negative, while Mr. Shiel was given
+directly to understand that _he_ was one of the members intended, his
+lordship declining at the same time to name his authority, but avowing
+his belief in the truth of the story, and his willingness to take upon
+himself the full responsibility. The result of course was a "scene." Mr.
+Shiel, after the manner of fire-eating Irishmen of that day, having
+hinted his intention to demand satisfaction elsewhere, Sir Francis
+Burdett arose and said that, unless the "honourable members pledged
+themselves to preserve the peace, he should instantly move that they be
+committed to the custody of the Serjeant-at-arms." As neither of the
+parties would give such assurance, the motion was put from the chair and
+carried. The _Prisoners of War_ portrayed in the sketch are of course
+Mr. Shiel and Lord Althorp. After a brief absence from the House, each
+having given the required assurance was discharged from custody, and
+there the matter ended. The benefits of the Act were almost immediately
+made apparent. The association, which called itself, by the way, "The
+Irish Volunteers" (the Land League of 1833), was promptly suppressed by
+the Lord Lieutenant; and the list of offences during the month of March
+which preceded and the month of May which followed the passing of the
+Act most conclusively proved its efficiency, for, while in the former
+month the records of crime in eleven counties reached a sum total of
+472, they had declined in the latter month to 162.[123]
+
+
+  O'CONNELL.
+
+Irish agitators of the nineteenth century are all more or less "tarred
+with the same brush," but the conditions under which an Irish agitator
+of 1883-4 must be content to figure in that character are, it must be
+remembered, widely different from those which influenced the agitators
+of 1833. The Irish "Home Rulers" have sown the wind and have reaped the
+whirlwind which carries them along in its progress, and we doubt whether
+if they wished to stop the hideous Frankenstein they have created, it
+would allow them to do so. The Home Rulers, however, are not in any way
+to be pitied. Not content with Land League terrorism, they sought to
+force their measures upon John Bull himself by an unheard-of system of
+parliamentary obstruction, which has inevitably recoiled upon
+themselves. O'Connell was far too sharp-sighted--far too intelligent and
+clever a man to make so grave a mistake as this. By the sheer force of
+his genius he exercised for many years of his life a most powerful
+influence on English politics. He figures in one of John Doyle's
+sketches in the character ascribed to him probably by most of his
+contemporaries. In the sketch referred to, the Governor of Barataria is
+represented by the typical Irish peasant; O'Connell appears in the
+character of the Doctor; and Lord John Russell as the attendant and
+amused servitor. Pat's eagerness to enjoy the good things he has been
+led to expect, and his mortification at their being removed out of reach
+and out of sight are ridiculously rendered.
+
+We must not be misunderstood; although O'Connell had far greater
+personal influence over the Irish than his successors, he was for all
+that in political matters eminently unscrupulous.[124] At the general
+election of 1835, the avowed principles on which he stood forth as a
+candidate were: repeal of the union,--universal suffrage, vote by
+ballot,--triennial parliaments,--and the abolition of tithes. "I am," he
+said, "decidedly for the vote by ballot. Whoever votes by ballot votes
+as he pleases, and no one need know how he votes." Yet, in spite of
+these avowed principles, he controlled the election of Irish candidates
+after the following fashion:--The Knight of Kerry started as a candidate
+for his native county, but dared to avow his intention to take an
+independent course. He had spent all his life in resisting Orangemen,
+and yet O'Connell said, "Every one who dares to vote for the Orange
+knight of Kerry shall have a death's head and cross-bones painted on his
+door." The voters at the Irish elections were collected in the chapels
+by the priests, and led forth to the poll under threats of being refused
+all the rites and visited with all the punishments of their Church.
+Under these influences, the Knight of Kerry, supported by nearly all the
+property, intelligence, and respectability of the county, was defeated.
+Of a candidate for New Ross who had refused to enlist under his banner,
+O'Connell said, "Whoever shall support him his shop shall be deserted,
+no man shall pass his threshold; put up his name as a traitor to
+Ireland; let no man speak to him; let the children laugh him to scorn."
+His example was followed of course by his lieutenants. It says something
+for Irish independence that these unscrupulous "dodges" were not always
+successful; and O'Connell himself, and his colleague, Mr. Ruthven,
+secured their own seats by comparatively small majorities. At the
+previous election O'Connell had obtained a majority of 1,549, and Mr.
+Ruthven of 1,490 above the highest Conservative candidate: at the
+election in 1835, O'Connell's majority had fallen to 217, and Mr.
+Ruthven's to 169. The "Irish agitator" was manifestly no favourite with
+HB, who depicted him as the comet of 1835. Comets being supposed by the
+vulgar to portend disaster, it is represented as leaving Ireland in a
+flame, and passing over St. George's Channel to exercise a malign
+influence on peaceful England. The head of course is that of O'Connell,
+while the tail is studded with the countenances of the Irish members who
+made up his "following." In a previous sketch he had figured as the Wolf
+to Lord John Russell's "Little Red Riding Hood," in allusion to a
+statement made by the opposition journals that the Government had made a
+league with the restless agitator with the view of securing his support
+in the House of Commons. We have heard something very like this lately,
+in relation to what is now known as the "Kilmainham Treaty."
+
+
+  SIR ROBERT PEEL.
+
+The rapidity with which John Doyle caught an inspiration from a few
+chance words in a speech, may be aptly illustrated by the manner in
+which he served Sir Robert Peel. On the occasion of his being installed
+Lord Rector of Glasgow University, in November, 1836, the distinguished
+statesman made a speech to his patrons, in which he meant to tell them
+that, admiring Scotland and Scottish scenery, he thought the best mode
+of seeing both was on horseback instead of travelling in a public or
+private conveyance. He expressed the idea, however, in the following
+round-about fashion:--"I wished," he said, "to see something of Scotland
+which I could not have seen from the windows of a luxurious carriage; I
+wished to see other habits and manners of life than those which the
+magnificent hospitable castles of the nobility presented. Yes," he
+continued, "in Glasgow I hired an _humble but faithful steed_; I
+travelled partly on horseback and partly on foot through almost every
+county that lies southern of Inverness; I have read the map of Scotland
+upon the great scale of nature, from the summits of Ben Nevis and Ben
+Lomond; I have visited that island whence savage and roaming bands
+derived the benefits of knowledge and the blessings of religion. Yes,
+amid the ruins of Iona I have abjured the rigid philosophy which would
+conduct us indifferent and unmoved over any ground that has been
+dignified by wisdom, by bravery, and by virtue. I have stood on the
+shores of Staffa,--I have seen the temple not built with hands,--I have
+seen the mighty swell of the ocean,--the waves of the great Atlantic
+beating in its inmost recesses, and swelling notes of praise nobler than
+ever pealed from human organs." Well, other tourists besides the
+statesman have stood on the summit of Ben Nevis and Ben Lomond,--have
+visited Staffa and Iona,--and yet, the rigid philosophy which Sir Robert
+credited himself for abjuring, has unconsciously conducted them
+comparatively "indifferent and unmoved" over much ground that may have
+been "dignified by wisdom, by bravery," and even "by virtue." The
+stilted remarks of Sir Robert will serve to remind some of us of the
+very original sentiments we find recorded in "visitors' books" of sundry
+home and continentals hotels much affected by members of the gushing
+order of travellers. Some such idea seems to have struck the artist; for
+in his next satire Sir Robert very deservedly figured as _Dr. Syntax
+setting out on his Humble but Faithful Steed in Search of the
+Picturesque_.
+
+As a rule the titles of these sketches, which reach the amazing number
+of nine hundred and seventeen, afford no clue whatever to their subject
+matter. Here are the titles of a few, taken at random from the general
+bulk:--_An Affair of Honour_; _A Group of Sporting Characters at Epsom_;
+_A Nice Distinction, or a Hume-iliating Rejoinder to a Warlike Ap-Peel_;
+_A Political Ruse_; _Swearing the Horatii_; _Retaliation_; _Goody Two
+Shoes turned Barber_; _State Cricket Match_; _Taking an Airing in Hyde
+Park_;--and so on. A description, however short, of the events to which
+these "Political Sketches" refer, would occupy probably a couple of
+volumes; and, following the course which we have hitherto adopted, we
+have preferred to make selection of a few which seemed to us--either
+from the persons satirized or the scenes in which they figure--likely
+to interest the general reader. Thackeray said of them at the time they
+were appearing, "You never hear any laughing at HB, his pictures are a
+great deal too genteel for that,--polite points of wit which strike one
+as exceedingly clever and pretty, and cause one to smile in a quiet,
+gentlemanlike kind of way." Forty-two years have elapsed since this was
+written;--the sketches fail now almost to provoke the "gentlemanlike
+kind" of smile mentioned by the humourist, for the events and the
+persons which caused it and to which they relate have alike passed away
+out of sight and out of memory.
+
+
+  FAULTS OF THE "SKETCHES."
+
+The number which they attained is due no doubt in a large measure to the
+facility with which they were produced. They were all drawn on stone,
+and exhibit the faults so often to be found in the productions of
+artists who confine themselves to this material, which, owing to the
+comparative facility of the process, has a tendency to induce a
+slovenliness in execution unusual with artists accustomed to the careful
+discipline under which a successful etching on steel or copper can alone
+be produced. A writer in _Blackwood_[125] says with much truth that HB
+"would have been a greater artist had he worked on the same material and
+with the same tools as Gillray and Cruikshank, but we should probably
+not have possessed so complete a gallery of portraits, comprising all
+the men of note who took part in political affairs from before the
+passing of the Catholic Relief Bill until after the repeal of the Corn
+Laws, a period more eventful than any of a similar length since the
+Revolution of 1688." John Doyle, too, had no great powers of sarcasm,
+and he was timid in design, contenting himself with as few figures as
+were possible for the purposes of his drawings. Robert William Buss,
+himself a comic artist of ability, in his brief notice of him charges
+him with a certain feebleness in the attitude of the persons who figure
+in his sketches, and gives us to understand that to balance a figure
+properly requires a knowledge and practice in drawing to which HB was a
+stranger; and further, that by reason of the absence of such knowledge
+and practice, he falls far behind Hogarth, Gillray, Bunbury, Rowlandson,
+or the Cruikshanks. With these artists indeed, as we have endeavoured to
+show, John Doyle has nothing in common, and he evidently designed that
+no comparison should ever be instituted between any one of them and
+himself. His chief merits are to be found in the facility with which he
+grasped an idea; the harmlessness and playfulness of his satire, which
+wrought a complete revolution in the style and manner of caricaturists;
+and above all in the excellence of his likenesses. The best and most
+graceful of the series was produced just after the wedding of her
+Majesty, and is a transcript (as it were) of Stothard's beautiful design
+of _The Procession of the Flitch of Bacon_, the leading personages being
+the young Queen and the late Prince Consort, whose portraits are
+admirably executed. Towards the close of the series they show signs of
+failing power, not unnatural in an artist who during a course of twenty
+years had produced upwards of a thousand drawings. I have seen it
+somewhere stated that this deterioration dates from the period when the
+identity of HB was discovered; but inasmuch as this secret had been
+practically revealed long before the decadence commences, there is no
+just ground for any such assumption.
+
+The reputation of the "Political Sketches" was, however, ephemeral, and
+considering their popularity and the eagerness with which they were
+bought up at the time, it is surprising how completely they have passed
+into oblivion. The name of HB, or of John Doyle, is now not only
+"caviare to the general," but it is amazing how little until lately he
+was known even to men not altogether ignorant on the subject of
+satirical art. A gentleman to whom I am indebted for some valuable
+information, tells me that some three or four years since "a large
+number of _original_ sketches (not the engravings) were catalogued and
+announced for sale at Christies'. I went," he says, "possibly to buy
+several, but (and it is curious as showing the decadent interest in the
+pictures) no sale took place, because I was told there was no one to
+buy. I think," my informant adds, "that I was the only person, or
+nearly the only person, in the room." Distinguished people, however, had
+been to look at the drawings, and among them the late Lord Beaconsfield.
+
+The success of the artist produced, of course, a number of imitators.
+Their productions were of various degrees of merit; but like most
+imitations they generally accentuated the faults without reproducing the
+excellencies of the model. Some of them are entitled "Political Hits,"
+"Royal Ramblings," "The Belgian Trip," "Parisian Trip," and so on; some
+are signed "Philo H. B.," "H. H.," "B. H.," while others have neither
+initials or signature. They comprise some eighty or a hundred plates at
+least, many of which were probably suppressed, whilst others no doubt
+served the useful purposes of the greengrocer, the bookbinder, or the
+trunk-maker; and if, as we are told--
+
+  "Imperial Cæsar, dead and turned to clay,
+   Might stop a hole to keep the wind away;"
+
+there can be nothing after all very dishonourable or very surprising in
+their ultimate destination.
+
+The artist died in 1868.
+
+
+FOOTNOTES:
+
+  [113] Annual Register, 1836, p. 237.
+
+  [114] 1836, p. 244. Mr. Baldwin (one of the proprietors of the
+    _Standard_ newspaper) stated that "if the bill passed in its present
+    shape, it would deteriorate his property fifty per cent., and would
+    operate in the same way with all property of that
+    description."--_Ibid._, p. 247.
+
+  [115] Greville's "Memoirs," pp. 3, 71.
+
+  [116] In which Lord Brougham took a special interest.
+
+  [117] Greville's "Memoirs," ii., p. 148.
+
+  [118] For the silly and spiteful observations made in this speech,
+    see "Annual Register," 1825, p. 43.
+
+  [119] Greville's "Memoirs," iii. p. 85.
+
+  [120] _Inverness Courier_, Sept. 3rd (quoted in "Annual Register,"
+    1854, p. 129).
+
+  [121] From a nervous habit he had contracted of twitching his nose
+    Lord Brougham was known to his contemporaries by the nickname of
+    "Jemmy Twitcher."
+
+  [122] On this occasion the Great Seal was reserved and for the time
+    put in commission, the commissioners being Sir Charles Pepys (Master
+    of the Rolls), Vice Chancellor Shadwell, and Mr. Justice Bosanquet.
+    Eventually it was presented to Sir Charles Pepys (Lord Cottenham),
+    and the slight produced such a stunning effect on Brougham that he
+    retired from active public life for a time, and sought solace in the
+    pursuit and study of literature and philosophy.
+
+  [123] For this interesting table, see "Annual Register," 1833, p. 83.
+
+  [124] "One whose name is unconnected with any honourable action,
+    whose whole life has been one scene of skulking from dangers into
+    which he had drawn others, and who is occupied from one end of the
+    year to the other in devising plans of drawing enormous fortunes from
+    squalid beggary."--_Dr. Maginn._
+
+  [125] Vol. xciv., August, 1863.
+
+
+
+
+CHAPTER XIII.
+
+_JOHN LEECH._
+
+
+John Leech, "born in Bennett Street, Stamford Street, 29th August, 1817,
+and baptized (son of John Leech, vintner) 15th November, at Christ
+Church, Blackfriars Road." Such is the entry I find in the manuscript
+diary of his friend the late Shirley Brooks, now before me, written a
+few days after the death of the gifted and lamented artist. The "John
+Leech, vintner," his father, here referred to, was at one time
+proprietor of the London Coffee House on Ludgate Hill. A late
+commentator says he "was an Irishman, a man of fine culture, a profound
+Shakespearian scholar, and [presumably by way of apology--as if any such
+were needed] a thorough gentleman." Be this as it may, he was not
+successful as a landlord, and as a matter of fact depended in a great
+measure for his support upon the talents of his remarkably gifted son.
+
+
+  EARLY DAYS.
+
+Leech was only seven years old when his father sent him to the
+Charterhouse. His arm had been broken by a fall from a pony, and the
+effects of this accident debarred him from taking an active part in the
+athletic sports of cricket, hockey, or football; but his nature inclined
+him nevertheless to manly exercises, and despite his excellence with the
+pencil, which was manifested at a remarkably early age, he is said to
+have preferred the lessons of Angelo the fencing, to those of Burgess
+the drawing, master. He was not distinguished at school as a classical
+scholar, and Latin verses in particular proved so serious a
+stumbling-block that he always got a schoolfellow to do them for him.
+His famous friend and fellow-pupil, Thackeray, carried an indelible
+personal reminiscence of the Charterhouse about him in the shape of a
+broken nose, a mark of distinction which was earned in a pugilistic
+encounter with another schoolfellow.
+
+A reminiscence of John Leech's schoolboy days will be found in one of
+his illustrations to "Once a Week,"[126] which represents a schoolboy
+perched in the topmost branches of a tree overlooking the walls of the
+Carthusian playground. As the mail coaches bound to the north passed the
+Charterhouse walls in the old coaching days, the boys not seeing any
+just reason why they should be debarred from the exhilarating spectacle,
+notched the trees and drove in spikes at ticklish points, which enabled
+them to mount to the upper branches, whence they could watch the coaches
+at their leisure. The illustration referred to is labelled, _A Coach
+Tree_, but without this explanation the reader would scarcely suspect
+(the letterpress being of course silent on the subject) that the
+schoolboy represented in the illustration is the artist himself. Leech
+always retained a pleasant recollection of his old Carthusian
+school-days, and frequently attended the festivities of the
+Charterhouse.
+
+His early aptitude for the pencil was developed when he was only three
+years of age. One of his early efforts attracted the attention of
+Flaxman the sculptor, who advised that he should "not be cramped with
+lessons in drawing; let his _genius_," he said, "follow its own bent,
+and he will astonish the world." This advice was so far followed, that
+we believe we are justified in saying that beyond the ordinary
+perfunctory drawing lessons obtained at school, he received no other
+artistic education during the rest of his life. His father, the
+"profound Shakesperian scholar" and "perfect gentleman," so little
+encouraged the bent of the boy's genius, that if he had had his way he
+would have driven this square peg into a very round hole. At sixteen
+years of age he took his son from the Charterhouse, and shortly
+afterwards apprenticed him to an eccentric person at Hoxton, nominally
+carrying on the profession of a surgeon, and rejoicing in the name of
+Whittle.
+
+[Illustration:
+  JOHN LEECH. "_Illuminated Magazine._"
+
+  THE MAYOR AND CORPORATION OF SWINESTEAD WAIT UPON MR. BAGGES.
+
+  _Face p. 278._]
+
+This Whittle proved a perfect study to the young artist, and it is
+possible that his connection with this eccentric personage had some
+influence in deciding him not to follow a profession for which he had
+but little sympathy. Whittle was a man of large frame and muscular
+development, so far at least as the upper part of his body was
+concerned, but the development extended no farther, his legs being
+formed on much more slender proportions. His tastes were decidedly
+athletic; he had rings let into the wall for the purpose of practising
+gymnastics, and delighted in posing before his amused pupils in the
+character of "The Dying Gladiator," "Hercules," and other antique
+statues. The few patients he possessed had small chance of professional
+attendance when Mr. Whittle was in training for a walking or running
+match, or any other amateur athletic engagement. "When," says Shirley
+Brooks, "lady patients, taking a walk, are suddenly surrounded by a
+hurrying and shouting crowd, in the middle of which, as they escape,
+they behold their medical adviser, in quaint attire, rushing to pick up
+stones with his mouth, an early termination of the relations between the
+healer and his patients is not impossible."[127] A person of this kind
+was obviously out of his element in a _learned_ profession, and this
+Whittle eventually recognised, and descended to his level by marrying
+one of his patients, a widow who kept a neighbouring public. He found
+himself more "at home" behind the bar in his shirt sleeves, and with
+ready facility adapted himself to circumstances by drawing beer for his
+former pupils and patients. Various stories have been told of this
+eccentric personage, who is said (with what truth we know not) to have
+commenced life as a Quaker, and ended it eventually as a missionary.
+
+
+  "RAWKINS."
+
+Whittle the eccentric was afterwards immortalized by Leech as "Rawkins"
+in Albert Smith's "Adventures of Mr. Ledbury," which made their
+appearance in "Bentley's Miscellany." We cannot advise those who would
+enjoy a hearty laugh to do better than refer to Leech's comical etchings
+of _The Return of Hercules from a Fancy Ball_ (on a wet night, without
+his latchkey), and the _Last Appearance of Mr. Rawkins in Public_, in
+which the _rencontre_ of Mr. Whittle and some of his female patients
+already referred to is superbly realized.
+
+When Mr. Whittle and his practice had finally parted company in the
+manner we have described, John Leech's indentures were transferred to
+Dr. John Cockle, afterwards physician to the Royal Free hospital. During
+part of his spasmodic medical course, he went through the mystic
+performance at one time known as "walking the hospitals," and at St.
+Bartholomew's varied his attendance at the anatomical lectures of Mr.
+Stanley--where he met other square pegs intended for round holes, Albert
+Smith and Percival Leigh--with sketches of his fellow-pupils and their
+medical lecturers. Many of these, the earliest of his sketches, were in
+the possession of his friend, the late Mark Lemon. Before his time was
+out, Leech luckily resolved to throw his medical studies to the winds,
+and to live wholly by the practice of his art.
+
+His first work, published when he was eighteen years of age, was
+entitled "Etchings and Sketchings by A. Pen, Esq.," and consisted of
+four quarto sheets, containing slightly caricature sketches of oddities
+of London life, such as cabmen, policemen, street musicians, and the
+like. He next tried his hand at lithography, and produced some political
+satires not without ability; but these at best were merely the tentative
+efforts of an artist who had not yet discovered the bent of his genius,
+in consequence of being compelled to accommodate himself to the standard
+of his early patrons--the printsellers. Having drawn his design, Leech
+has been known in those early times to spend a weary day in search of a
+buyer, by carrying the heavy stone about with him from publisher to
+publisher. The style of these tentative efforts may be judged by the
+work which first brought him into notice, a poor caricature of
+Mulready's envelope in commemoration of the establishment of Sir Rowland
+Hill's cheap postage system, a reproduction of which will be found in a
+late "Biographical Sketch" by Mr. Kitton.[128] Although the pecuniary
+reward of this early effort was small, people began to ask by whom it
+was executed; thus it was that his subsequently well-known mark, the
+leech-bottle, first came into public notice.
+
+Specimens of these tentative efforts are of course scarce, but
+occasionally the reader may fall in with odd numbers of the
+"Comicalities," issued some half century ago by the proprietors of
+"Bell's Life," in which may be found specimens of his early work among
+impressions from the designs on wood of Kenny Meadows, "Phiz," and even
+Robert Seymour.[129] Among these early efforts may also be named "The
+Boys' Own Series"; "Studies from Nature"; "Amateur Originals"; the "Ups
+and Downs of Life, or the Vicissitudes of a Swell"; and other etcetera.
+
+When poor Seymour shot himself in 1836, the artist who was at first
+selected to fill his place as illustrator of "Pickwick" was Robert
+William Buss, who, failing however to supply the requirements of Charles
+Dickens, was (as we shall afterwards see) quickly discarded. Others,
+however, had applied to supply the place of the deceased artist, and
+among them were Hablot Knight Browne ("Phiz"), W. M. Thackeray, and John
+Leech; although the latter failed to secure the appointment, he appears
+to us of all others the one best fitted to pictorially interpret the
+author's creations. Thackeray was so little conscious of the bent of his
+own genius that he seems at this time to have had some thoughts of
+following the profession of an artist, but happily failed so completely
+that he was induced to follow up his alternative art of authorship, by
+which he achieved his fame and reputation. Notwithstanding his failure,
+his implicit faith in his own artistic powers remained unshaken to the
+end, in which belief he has been followed by one or two writers who
+might have known better.
+
+It is not until 1840 that we find Leech had matured the style and manner
+which afterwards made him famous; and accordingly, in this year we find
+designs which are thoroughly worthy of his reputation. Among these may
+be named "The Children of the Mobility," seven lithographs (reproduced
+in 1875) dealing with the humorous and pathetic episodes of the London
+street arabs; "The Comic Latin Grammar"; "The Comic English Grammar";
+and a now exceedingly rare _jeu d'esprit_, bearing the full title of
+"The Fiddle-Faddle Fashion Book and Beau Monde a la Française, enriched
+with numerous highly coloured figures of lady-like gentlemen,"[130] a
+most amusing skit upon the absurd fashion books of the period,
+containing four coloured plates of gentlemen (more than fifty figures)
+in male and female costume, posed in the ridiculous and well-known
+simpering style of those periodicals. All these works were produced in
+conjunction with Percival Leigh, one of the artist's fellow-students at
+St. Bartholomew's, and led directly to his engagement on the pages of
+_Punch_, which was started the following year.
+
+Among the rarer works published in 1840, to which John Leech contributed
+the benefit of his assistance, may be mentioned a publication, entitled
+"The London Magazine, Charivari, and Courier des Dames" (Simpkin,
+Marshall & Co.), in which we find some portraits and other work
+altogether out of the range of his usual style of illustration. The tone
+of this publication was personal in the extreme. Charles Dickens had
+produced (among other publications) his "Pickwick Papers," "Oliver
+Twist," "Nicholas Nickleby," and at this time was engaged on the most
+touching and pathetic of his stories, "The Old Curiosity Shop," which
+was, however, so little appreciated by the editor of this scurrilous
+publication, that we find him perpetrating the following sorry libel on
+the writer and three of his contemporaries: "To cheesemongers and
+others! Ready for delivery, at a halfpenny per pound, forty tons of
+foundered literature; viz., Mrs. Trollope's 'Unsatis-factory Boy,'[131]
+'Master Humphrey's Clock' (refer to the second meaning in 'Johnson's
+Dictionary': 'an unsightly crawling thing'!), Captain Marryat's 'Alas,
+Poor Jack'! and _Turpis_ Ainsworth's 'Guy _Fox_':--
+
+  'An animal cunning, unsavoury, small,
+  That will dirty your hands if you touch it at all.'"
+
+So little merit had this critical periodical itself, that some rare
+etchings by Hablot Knight Browne and Leech to a novel entitled "The
+Diurnal Revolutions of David Diddledoff," which appeared in its pages,
+failed to keep the dreary serial alive, and a quarrel ensuing between
+the proprietors and himself, Browne was dismissed and Leech supplied his
+place. Leech's caricature of Mulready's postage envelope, already
+mentioned, appears to have led to others, and among them one by "Phiz,"
+a circumstance which is referred to in the following attack: "Phiz has
+found a lower deep in the lowest depths of meanness. When Leech's
+admirable caricature of Mulready's postage envelope was pirated by every
+tenth-rate _sketcher_, Phiz steps in to complete the work of injustice,
+and advertises his caricature of the same subject at _sixpence_, thus
+both borrowing the design and underselling the artist upon whose brains
+he is preying as the fly upon the elk's. Well might Leech exclaim, 'Et
+tu, Brute!' (and you, you brute!) Leech is a genuine artist, while Phiz
+is only a bad engraver." By way of answer to this vulgar abuse, Phiz
+almost immediately afterwards produced his admirable illustration of
+_Quilp and the Dog_, in No. 18 of "Master Humphrey's Clock."
+
+In the pages of this defunct periodical we find a long and virulent
+article on Benjamin D'Israeli, the late Lord Beaconsfield, from which we
+have disinterred the following remarkable prophecy. After referring to
+his celebrated parliamentary _fiasco_, and his own prophetic words on
+that memorable occasion: "You won't hear me now; but the time will come
+when you _shall_ hear me!" the writer goes on to say: "That time has
+never since arrived. In vain did Benjamin parody Sheridan's celebrated
+saying ('It's in me, and by G---- it shall be out of me!'). He renewed
+his efforts repeatedly.... But though, in consequence of his (_sic_)
+moderating his tone into a semblance of humility, he is sometimes just
+listened to, he has never made the slightest impression in the house,
+_and we may fairly predict he never will_." The article is illustrated
+by a remarkable semi-caricature likeness of the late Lord Beaconsfield,
+then in his thirty-second year, which, although unsigned and altogether
+different from his well-known style, we can assign to no other hand than
+that of John Leech. We found our opinion on the fact that the previous
+portrait is by him; that none but his etchings appear in the latter
+portion of the book; and because the bird represented following the
+footsteps and mimicking the walk of the young statesman, is own brother
+to the celebrated Jackdaw of Rheims immortalized by Thomas Ingoldsby. So
+remarkable is the likeness, that the shadow of D'Israeli's follower and
+that of Saint "Jem Crow" of the Legends are identical.
+
+
+  ARTISTIC POSITION SECURED.
+
+In 1840 some of John Leech's sketches were brought to the notice of the
+Rev Thomas Harris Barham, which led to his engagement on the pages of
+"Bentley's Miscellany," from which moment his artistic position was
+secured. His first illustration was _The Black Mousquetaire_. Barham in
+describing the scene, regretted, oddly enough, that he had neither the
+pencil of Fuseli or Sir Joshua Reynolds at command, or had himself taken
+lessons in drawing:--
+
+        "Had I done so, instead
+        Of the lines you have read,
+  I'd have given you a sketch should have filled you with dread!
+  François Xavier Auguste squatting up in his bed,
+        His hands widely spread,
+        His complexion like lead,
+  Ev'ry hair that he had standing up on his head,
+  As when, Agnes des Moulins first catching his view,
+  Now right and now left, rapid glances he threw,
+  Then shriek'd with a wild and unearthly halloo,
+        _Mon Dieu! v'là deux!!_
+        By the Pope there are two!!!"
+
+Leech continued on the pictorial staff of "Bentley's Miscellany" ten
+years; his etchings therein commence with vol. viii. (1840) and
+(practically) end with vol. xxv. (1849).[132] Altogether he contributed
+to this sterling periodical some one hundred and forty etchings,
+illustrating (amongst numerous scattered papers) "The Ingoldsby
+Legends" (with Cruikshank); Henry Cockton's "Stanley Thorn"; Charles
+Whitehead's "Richard Savage"; Albert Smith's "Adventures of Mr.
+Ledbury," "Fortunes of the Scattergood Family," and "The Marchioness of
+Brinvilliers"; W. H. Maxwell's "Brian O'Linn," etc., etc.
+
+From the time that he joined the _Punch_ staff, in 1841, the life of
+John Leech was one of well-earned prosperity and happiness. His income
+at first gradually and then rapidly increased, and he moved from the
+attic which he occupied in the vicinity of Tottenham Court Road, into a
+house of his own at Notting Hill. Shortly after this he married. Miss
+Ann Eaton was one of those English beauties that Leech delighted to
+draw; and it is related of him that he first met her walking in London,
+and, following her home, noted the house in which she lived, ascertained
+her name, procured an introduction, and straightway married her. The
+issue of this marriage was two children--a boy and a girl. The
+former--John George Warrington Leech, the miniature counterpart of his
+father in appearance and dress, and inheriting in a marvellous degree
+his talent for drawing--was unfortunately drowned at South Adelaide in
+1876.
+
+Leech's hand appears for the first time in the fourth number of _Punch_
+(7th August, 1841),[133] to which he contributed the well-known
+full-page illustration of _Foreign Affairs_. His first cartoon, _A
+Morning Call_, will be found at page 119 of vol. ii., and the reader
+will find it worth his while to refer to it for the purpose of comparing
+it with the later and better work with which he afterwards enriched the
+pages of this famous serial, which mainly through his instrumentality
+was steered into the current of prosperity which carried it--after a
+time of considerable doubt and perplexity--[134] steadily onwards. One
+of _Punch's_ most celebrated contributors has borne testimony to the
+value of his services. "Mr. Punch," says Thackeray in reviewing his
+friend's contributions in 1854, "has very good reason to smile at the
+work and be satisfied with the artist. Mr. Leech, his chief contributor,
+and some kindred humourists with pencil and pen, have served Mr. Punch
+admirably.... There is no blinking the fact that in Mr. Punch's cabinet
+John Leech is the right-hand man."[135] That this was true is proved by
+the fact that during his connection with _Punch_, extending over a
+period of three and twenty years, he executed no less than three
+thousand pictures, of which at least six hundred are cartoons.[136] No
+wonder that when he lay dead, Shirley Brooks--another valued
+contributor, and afterwards editor of _Punch_--mournfully acknowledged
+that the good ship had lost its "mainsail."[137]
+
+
+  THE "ILLUMINATED MAGAZINE."
+
+Most admirable examples of his designs on wood will be found in the
+first three volumes of "The Illuminated Magazine," a delightful serial
+which appeared in 1843-4, which also contains a series of etchings on
+copper of unusual size and brilliancy. Associated with him on the pages
+of this periodical, which is now seldom met with, were his friends
+Thomas Hood and Mark Lemon, Douglas Jerrold and Laman Blanchard, Albert
+Smith and Angus Bethune Reach, Samuel Lover and Kenny Meadows. The world
+was young with authors and artists alike in those days; the youngest of
+the band were William Hepworth Dixon, then aged twenty-two; John Leech,
+twenty-six; and Wilkie Collins, literally not "out of his teens," one of
+whose earliest literary productions we find here under the title of "The
+Last Stage Coachman," illustrated by Hine. In these volumes appeared
+Douglas Jerrold's delightful allegory of the "Chronicles of Clovernook,"
+to which the veteran Kenny Meadows contributed some of the most quaint
+and original of his sketches.
+
+[Illustration:
+  JOHN LEECH. "_Illuminated Magazine._"
+
+  THE ELECTION.
+
+  _Face p. 286._]
+
+John Leech's portrait appears in three of the _Punch_ sketches--two only
+of which are due to his own hand; the first in January, 1846, in one
+wherein a servant maid is depicted as saying, "If you please, sir,
+here's the printer's boy called again;" again, in January, 1847, where
+we find him playing the clarionet as one of the orchestra at _Mr.
+Punch's Fancy Ball_. Other performers are--Mayhew, cornet; Percival
+Leigh, double bass; Gilbert à Beckett, violin; Richard Doyle, clarionet;
+Thackeray, piccolo; Tom Taylor, piano; while Mark Lemon, the conductor,
+appeals to Jerrold to somewhat moderate his assaults on the drum.
+Another hand portrays him seven years later, as armed with a porte
+crayon he rides his hobbyhorse at an easel which does duty for a hurdle,
+Jerrold is playing skittles, Thackeray holds the bat at a game of
+cricket, and Mark Lemon is engaged at rackets.
+
+
+  DOUGLAS JERROLD.
+
+Amongst the early _literary_ contributors to _Punch_ were Mark Lemon,
+Horace Mayhew, Gilbert à Beckett, Stirling Coyne, W. H. Wills, H. P.
+Grattan, Douglas Jerrold, Percival Leigh, and Dr. Maginn. Albert Smith
+joined the staff through the introduction of his friend Leech; Thackeray
+was a later acquisition, in 1844. It was scarcely to be expected that
+the brilliant and the lesser wits who shed their lustre on the early
+volumes of _Punch_, and were brought together at the weekly council
+dinners, would invariably agree;--Jerrold and Thackeray, for instance,
+entertained a sort of constitutional antipathy to one another, and the
+latter, it must not be forgotten, was (in the words of Anthony Trollope)
+"still struggling to make good his footing in literature" at the time he
+joined the ranks of the _Punch_ parliament. Jerrold could not veil his
+contempt for Albert Smith, angrily asking Leech at one of the _Punch_
+gatherings, with reference to the former's free and easy method of
+addressing his friend, "Leech, how long is it necessary for a man to
+know you before he can call you 'Jack'?" When À Beckett announced his
+"Comic History of England," in 1846, the strong mind of Jerrold recoiled
+in horror from what he deemed a sacrilege. Writing to Charles Dickens in
+reference to the announcement, he said, "After all, life has something
+serious in it. It cannot be _all_ a Comic History of Humanity. Some men
+would, I believe, write the Comic Sermon on the Mount. Think of a Comic
+History of England! The drollery of Alfred! the fun of Sir Thomas More
+in the Tower! the farce of his daughter begging the dead head, and
+clasping it in her coffin, on her bosom! Surely the world will be sick
+of this blasphemy!" "The Comic History of England" appeared,
+notwithstanding, and was followed afterwards by the "Comic History of
+Rome;" and however we may sympathize with the honest indignation of
+Jerrold, and condemn the questionable taste of À Beckett, we have at
+least to thank the latter for some of the drollest and most original
+designs which ever emanated from the pencil of John Leech.
+
+The eccentric and original costumes in which he draped the classical
+characters of Rome appear to have been a favourite idea with the artist.
+Shirley Brooks relates that he first made his acquaintance at a fancy
+ball given at the house of their mutual friend, the late John Parry.
+"Leech's costume," says the late editor of _Punch_, "I well remember. It
+was something like Charles Mathews, as chorus to Medea. The black
+trousers and patent leather boots of decorous life were below; but above
+was the classic tunic. Then in addition he wore a fine new hat, round
+which, instead of around his head, was the laurel wreath; and the Greek
+ideal was brought into further discomfiture by a pair of spectacles and
+an exceedingly neat umbrella." This comical idea will be found
+ridiculously amplified in his amazing designs to "The Comic History of
+Rome."
+
+
+  ALBERT SMITH.
+
+Medical student, novelist, dramatist, humourist, and showman--for some
+of us still remember his diorama of "The Overland Route"--the most
+fortunate venture of Albert Richard Smith (to give him his full name)
+was his ascent of Mont Blanc, which formed the theme of a
+well-remembered lecture, in which his perils amid rocky pinnacle,
+snow-field, and glacier lost nothing by the graphic mode in which they
+were related. This "ascent," by the way, proved a source of profit to
+others besides himself; and we should be curious to know the number of
+Chamounix guides and hotel-keepers who were enabled through his indirect
+means to retire into private life. The memory of Albert Smith is
+deservedly cherished by the inhabitants of the distant Savoyard valley,
+for he made the ascent of the "Monarch of Mountains" popular among his
+countrymen, and thereby sowed the seed of a succession of golden
+harvests, of which the primitive but thoroughly wide-awake peasantry
+were by no means slow to profit. Dissimilar in many respects, Albert
+Smith and John Leech had this bond of sympathy between them, that both
+were old friends, and both had nominally studied for the medical
+profession; and whilst Leech attained at St. Bartholomew's that
+practical knowledge of anatomical drawing which did him such good
+service in his artistic career, Albert Smith at Middlesex Hospital and
+the _Hotel Dieu_ appears to have picked up that intimate acquaintance
+with London and Parisian student life which he displays in the
+"Adventures of Mr. Ledbury."
+
+The "New Monthly" for 1844 contains two etchings by Leech to "The Lord
+of Thoulouse" and "The Wedding Day," which seem to call for notice,
+because they are not to be found in the collected edition of the
+"Ingoldsby Legends." In the collected edition he shows us little Jack
+Ingoldsby _before_ he entered the fatal cellar, while in the "New
+Monthly" we see him lying dead at the feet of the weird buccaneer, who
+points with grim irony at the little corpse by way of caveat to those
+who would broach his wine. From the "New Monthly" etching George
+Cruikshank borrowed the idea for his illustration of the same subject in
+the 1864 edition. There is a difference, of course, but the fact will
+become ridiculously patent to any one who has an opportunity of
+comparing the two designs. This, by the way, is not the only instance in
+the '64 edition in which Cruikshank borrowed his idea from John
+Leech,[138] which at one time he would have scorned to do, a fact which
+affords the strongest possible evidence of the decadence of George's
+once unrivalled powers of invention, imagination, and fancy.
+
+Leech it will be remembered obtained a footing on the staff of
+"Bentley's Miscellany" at the time when George Cruikshank was leaving
+it. Cruikshank, however, was an admirer of the genius of Leech, and when
+they laid him in his untimely grave in Kensal Green Cemetery, on the 4th
+November, 1864, the veteran artist was among the crowd of distinguished
+men who looked sorrowfully on. The influence which George Cruikshank
+exercised upon the genius of Leech will be apparent to any one who has
+given attention to the early etchings of the latter. This influence will
+be particularly discernible in the illustrations to "Richard Savage" and
+"The Marchioness of Brinvilliers." Both were men of genius, but Leech's
+fancy was of a tamer kind, and little inclined him in the direction of
+the supernatural or the terrible. Leech, for instance, never produced
+anything which equalled _Fagin in the Condemned Cell_; _The Murder of
+Sir Rowland Trenchard_; _Xit Wedded to the Scavenger's Daughter_; _Jack
+o' Lantern_; or the reverie of the _Triumph of Cupid_. We shall find but
+few diabolicals in his gallery of pictorial subjects, notwithstanding
+which there is not a fiend in the whole of Cruikshank's demon ranks who
+equals Leech's devil in Thomas Ingoldsby's legend of "The
+House-warming."
+
+It may seem invidious to institute a comparison between the two men.
+Some, indeed, may hold that a comparison is impossible; but we will
+quickly show that such a comparison is not only possible but
+unavoidable. George Cruikshank, for instance, might or might not have
+illustrated the "Comic Histories" of England and of Rome better than
+John Leech; we may fancy, however, his hand on the Surtees' novels, the
+odd men, the strange coats, the eccentric women, the podgy "cockhorses,"
+the wonderful dogs that would have put in an appearance in the various
+sporting scenes and incidents which form the subject of these "horsey"
+romances; we should like, for instance, to see what he would have made
+of the pretty serving woman who figures in the frontispiece of "Ask
+Mamma;" how he would have treated the fair "de Glancey"; how he would
+have grouped and dressed his figures at _The Handley Cross Ball_; how he
+would have treated poor old Jorrocks when he fell into the shower bath.
+But, admirable as are Leech's book illustrations and etchings, it is in
+the minor designs which he executed for _Punch_ during the short quarter
+of a century allotted to him that we must seek for Leech's _genius_: it
+is these little drawings which place him in the front rank of nineteenth
+century graphic satirists. They are characterized by genuine humour and
+satire, unalloyed with a single trace of ill-humour, exaggeration, or
+vulgarity. It was in this direction that the artistic instincts of poor
+Robert Seymour inclined him; but his imagination and invincible tendency
+to exaggerate, inherited from the caricaturists who preceded him, failed
+to bear him beyond the limited sphere of cockney sports and cockney
+sportsmen in which his soul delighted. Here, we have the swells and
+vulgarians, the flunkies and servants, the old men and maidens, the
+soldiers, the parsons, the pretty women of English everyday life, placed
+in situations more or less embarrassing, but presenting nevertheless
+perfect types of the respective classes thus harmlessly and admirably
+satirized. In this lies their chief value, and as years roll on and the
+_Punch_ volumes become scarce, this value will necessarily increase.
+
+
+  ABHORRENCE FOR FRENCHMEN.
+
+A shy and unobtrusive member of the society in which he moved, and which
+delighted in the enjoyment of his friendship, John Leech was the keenest
+of observers, noting and satirizing as no one before his time had
+attempted, or indeed had been able to do, the cant and hypocrisy, the
+pride and selfishness, the upstart and arrogant exclusiveness, the
+insular prejudices and weaknesses, which form a part of our national
+character; but doing this, he loved his countrymen and countrywomen for
+their finer qualities, and hated the bungling foreigners who presume to
+caricature them without the barest knowledge of their subject. This is
+the secret of the hearty abhorrence which Leech always testified for
+Frenchmen. The ignorance of his countrymen on the subject of English
+women has been amusingly ridiculed by one of the most distinguished of
+their own writers--Eugene Sue, in his novel of "Mathilde":--"_That_ an
+Englishwoman! Nonsense; there is nothing more easy to recognise than an
+Englishwoman; you have only to look at her dress; it is simple enough,
+in all conscience! A straw bonnet all the year through; a pink spencer;
+a Scotch plaid petticoat, and bright green or lemon-coloured boots; you
+may see the costume any day in _Les Anglaises pour rire_, at the
+_Variétés_. We all know it is a Vaudeville, and it would not be publicly
+acted unless it were authentic. I repeat it once more, ever since this
+world has been a world, Englishwomen--real genuine Englishwomen--have
+never been differently dressed." M. Taine, who devoted himself to the
+study of our language and literature, and spent much time amongst us,
+has (if I remember rightly) admitted the errors which prevail amongst
+his countrymen and women with reference to ourselves; but such observers
+as M. Taine and M. Sue are unfortunately rare in France, and many have
+essayed to depict us, with as much knowledge of their subject as our Sir
+John Maundeville possessed when he sat down to write his absurd but
+quaint and amusing "Book of Voiage and Travaile." John Leech resented
+this deplorable ignorance on the part of our neighbours; and the _Punch_
+volumes are filled with biting sarcasms on French habits, manners, and
+sentiments, which were keenly felt, because, unlike the English who
+figure at the Variétés or in French caricatures, in the dirty men who
+regard with astonishment the English washstand at the exhibition, the
+cabs full of hirsute monstrosities, the "Flowers of the French army,"
+the grimy Revolutionists of Leicester Square--the hundred and one
+Frenchmen who figure in the satires of John Leech, the Parisian
+recognises compatriots whose ridiculous lineaments have been too
+faithfully reproduced to render identification a matter of doubt or
+difficulty.
+
+Leech executed very few illustrations for Dickens; and the amusing
+blunder which he perpetrated in "The Battle of Life," in allowing the
+lady to elope with the wrong man, and the "horror and agony" of the
+author in consequence thereof, have been set forth in Forster's "Life."
+The mistake was discovered too late for correction, and remains a
+curious proof of the carelessness with which distinguished artists will
+sometimes read the manuscript of an author however illustrious.
+
+[Illustration:
+  JOHN LEECH. "_Illuminated Magazine._"
+
+  "I HOPE MR. SMUG, YOU DON'T BEAT YOUR BOYS?"
+
+  _Face p. 292._]
+
+The Surtees' novels afford singular evidence of the keenness of John
+Leech's critical observation. An ardent lover of sport himself, and a
+frequent attendant at the "Pytchley," when he went a day's hunting it
+was his custom to single out some fellow disciple of Nimrod that
+happened to take his fancy, keeping behind him all day, noting his
+attitudes in the saddle, and marking every item of his turn-out, to the
+last button and button-hole of his hunting coat. It was in this way that
+he obtained the correctness of detail which renders his famous sporting
+etchings so wonderfully true to nature. Strange to say, notwithstanding
+his knowledge of every detail of the huntsman's dress, even to the
+number of buttons on his coat, he himself, with reference to his own
+outfit, invariably presented in the hunting field a somewhat incongruous
+appearance. Either he would wear the wrong kind of boots, or would
+dispense with some detail which on the part of an enthusiast would be
+considered an unpardonable omission. Leech, however, was not what is
+called a "rough rider," his constitutional nervousness prevented him
+indeed from making a prominent figure in the hunting field, and his
+friends attributed this want of attention to detail in dress to his
+sensitiveness to criticism, and his unwillingness to place himself in
+any position which would be likely to incur it.
+
+
+FOOTNOTES:
+
+  [126] Vol. iii., 1860.
+
+  [127] Shirley Brooks in the _Illustrated London News_, 19th Nov.,
+    1864.
+
+  [128] George Redway, 12, York Street, Covent Garden.
+
+  [129] They include also some (pirated) impressions from the designs
+    of George Cruikshank, which set that irritable genius, as might have
+    been expected, in a fume.
+
+  [130] Chapman & Hall, 186, Strand, 1st November, 1840.
+
+  [131] "Adventures of Michael Armstrong, the Factory Boy."
+
+  [132] He subsequently returned to it for a short time only.
+
+  [133] The serial commenced 17th July, 1841.
+
+  [134] That this was the case, see Mr. Joseph Hatter's "With a Show in
+    the North;" see also a remarkable letter of Mr. William Tegg in the
+    _Athenæum_ of 16th October, 1875.
+
+  [135] Thackeray in the _Quarterly_.
+
+  [136] I calculate that the minor drawings number about 2,500; if to
+    these we add 638 cartoons, we get a sum total of over 3,100
+    illustrations for _Punch_ alone. If we say nearly 1,000 for Mr.
+    Surtees' sporting novels, without taking into account Leech's other
+    work, we may form some notion of his untiring industry.
+
+  [137] MS. Diary of Shirley Brooks (October 31st, 1864).
+
+  [138] Compare, for instance, Leech's _Black Mousquetaire_ in the
+    original edition with Cruikshank's reproduction of the same subject
+    in the '64 edition.
+
+
+
+
+CHAPTER XIV.
+
+_THE "PUNCH" CARTOONS OF JOHN LEECH._
+
+
+We have seen that at the time John Leech commenced work as a comic
+artist, the art of caricature was practically dead; it was not therefore
+at all surprising, under the circumstances, that he should reverse, as
+it were, the order of things: commence as an illustrator of books, and
+finish his career as a graphic humourist. Although his first
+contribution to _Punch_ commences in the fourth number, his cartoons so
+called (from which, in accordance with the plan of this work we now
+proceed to select a few examples) seem to us to call for little mention
+before the year 1843.
+
+
+  PRINCE ALBERT.
+
+His Royal Highness Prince Albert, who held high rank in the British army
+by virtue of his exalted position, was most unjustly suspected in those
+early _Punch_ days of a desire to interfere unduly with its
+administration. He took, however, much interest in the dress and comfort
+of the British soldier; and those who remember what military costume was
+in 1843, will admit that there was room for improvement. Changes were
+made indeed, but these changes can hardly be said to have been made in
+the direction of either comfort, convenience, or good taste. The "Albert
+hat" (as it was called), one of the ugliest, most ungainly, and
+preposterous of military shakoes that was ever invented, made its
+appearance about this time, and the idea was credited (rightly or
+wrongly) to the amiable prince. Constant reference to this preposterous
+invention is made in the pages of _Punch_, and the prince's questionable
+taste in the matter of military costume is specially satirized in
+Leech's amusing cartoon entitled _Prince Albert's Studio_.
+
+Mr. O'Connell, at a great Repeal meeting held in September, 1843, had
+expressed a hope that he should be able to give his dupes "as a new
+year's gift a parliament on College Green." No one knew better than
+himself the absurdity of such a promise. Had he named the first of April
+for the presentation instead of the first of January, it would have been
+more appropriate, and at least equally veracious. A great Repeal meeting
+was intended to be held in October at Clontarf, three miles from Dublin,
+at which certain supporters of the movement were to have attended on
+horseback and paraded in the character of the "Repeal Cavalry." This
+meeting the Irish executive prohibited by proclamation, and on the 14th,
+O'Connell and other prominent leaders were arrested, and held to bail on
+a charge of conspiracy. On the 24th of May, 1844, the Irish judges
+sentenced him to twelve months' imprisonment, and a fine of £2,000. The
+cartoon of _The Probable Effects of Good Living and no Exercise_ refers
+to this result; but _Punch_ on this occasion was wrong. O'Connell proved
+"too many" for the Irish lawyers. He appealed by writ of error to the
+Lords, and on the 4th of September the judgment was reversed.[139] Sir
+James Graham, the Home Secretary, and the government to which he
+belonged, had encountered much odium in consequence of the opening of
+certain letters which had passed through the post office. The result was
+the appointment of a Committee of Secrecy by both Houses to inquire into
+the official practice, and it would appear from their report that every
+administration had been in the habit of exercising this espionage under
+the authority of a warrant of the Secretary of State. The sins of the
+past as well as of the present were visited on the head of Sir James,
+who sought to throw the responsibility on higher powers; and in
+reference to this, Sir James Graham and Sir Robert Peel figure
+respectively as _Sairey Gamp_ and _Betsey Prig_, after Phiz's well-known
+drawing. Sir James indeed seemed to have had rather a facility for
+getting himself into trouble. There was much excitement in and out of
+the House with reference to the additional grant to Maynooth College. In
+the course of the debates, Sir James Graham retracted an expression
+which he said had fallen from him in the heat of debate, viz. that
+concession in favour of Ireland had reached its utmost limit, and hoped
+that his actions had proved better than his words. Among the subsequent
+cartoons by Leech, he figures as _Peel's Dirty Little Boy_. "Drat the
+boy," says Dame Peel (as she chastises him), "he's _always_ in a mess."
+Towards the close of the debate two remarkable speeches were delivered
+by Lord John Russell and Sir Robert Peel, both of whom concurred in the
+necessity of a conciliatory policy towards Ireland. This _rapprochement_
+between the two leaders of the opposite camps, and the leanings of Sir
+Robert in the direction of a Liberal policy, are referred to in Leech's
+cartoons of _How do you Like the New Whig?_ and the _Premier's Fix_
+(Peel between Free Trade and Protection), the last borrowed from one of
+Cruikshank's drawings. _The Railway Juggernaut of 1845_ (also suggested
+by Cruikshank's well-known etching), refers to the then mania for
+dabbling in railway shares.
+
+Between the two stools of Free Trade and Protection, Sir Robert, as
+might have been anticipated, ultimately fell through; an event which is
+chronicled in vol. x., the idea in this instance being taken from the
+celebrated drawing in the late Mr. Clarke's "Three Courses and a
+Dessert," the cartoon of Peel driving the vehicle of Protection, which
+has broken down, bearing the title of _The Deaf Postilion_. A change of
+ministry took place in 1846, little Lord John replacing Sir Robert Peel
+as "First Lord of the Treasury." He cuts an amazingly queer figure (in
+vol. xi.) in the ex-premier's huge hat, vast coat, and voluminous
+waistcoat and inexpressibles. Little Lord John was an enduring subject
+of _Punch's_ satire during that statesman's somewhat unsatisfactory
+political career, and Leech was never weary of comparing him with his
+far more brilliant and able contemporary. Here we have the pair figuring
+as _Dombey and Son_ (Dombey being Sir Robert, and the son Lord John),
+"Mr. Dombey was in a difficulty. He would like to have given him (_the
+boy_) some explanation involving the terms circulating medium, currency,
+depreciation of currency, paper, bullion, rates of exchange, value of
+precious metals in the market, and so forth." The _Portrait of a Noble
+Lord in Order_ refers to one of those exhibitions of want of tact,
+taste, and temper in which Lord Brougham would seem to have
+delighted.[140] "Who calls _me_ to order?" cries the "noble and learned"
+lord, "Who calls _me_ to order? Pooh! Pooh! Fiddle-de-dee! I never was
+in better order in my life. Noble lords don't know what they are about;"
+a conspicuous and aggressive appurtenance of the "noble and learned," by
+the way, is his preposterous umbrella. One of the most barbarous and
+disgraceful of London neighbourhoods in 1847, and for many years
+afterwards, was Smithfield; the present generation can form no idea of
+the state of things thirty years ago, which is referred to in the
+cartoon of _Punch and the Smithfield Savages_, the artist borrowing his
+idea from West's well-known picture of "Penn's Treaty with the Indians."
+The odious matrimonial swindle perpetrated by Louis Philippe with the
+idea of ultimately seating a member of his family on the Spanish throne,
+which has cast an indelible stain on his memory, had now been found out,
+and attracted universal indignation. We find him, in reference to this
+shameless piece of business, figuring as the _Fagin of France after
+Condemnation_, the idea being suggested of course by Cruikshank's famous
+etching in "Oliver Twist." Retribution overtook the mercenary monarch in
+the year of disquietude and national unrest--1848; foreign kings and
+potentates were sent flying in all directions, and Louis Philippe, who,
+like the rest of his family had learnt nothing by misfortune, was among
+the first to go. _Put Out_, one of the best of the artist's political
+cartoons, represents an armed _ouvrier_ clapping the cap of _liberté_ by
+way of extinguisher on the French candle (King Louis). Uneasy were the
+heads which wore crowns in that year; and to the throned and unthroned
+sovereigns, the former of whom watched these untoward events with
+nervous interest, John Leech presented a seasonable gift in the form of
+_A Constitutional Plum Pudding_, served up by Mr. Punch on Magna Charta,
+and curiously compounded of "Liberty of the Press," "Common Sense,"
+"Order," "Trial by Jury," "Religion," and "True Liberty of the Subject."
+
+Among the sovereigns who had a peculiarly insecure seat at this period
+was Mastai Ferretti, better known as Pope Pius IX. His temporal power
+was weak, whilst his spiritual dominion, as might have been expected,
+had never been much stronger. To bolster up the former, and at the same
+time find employment for his troops, Louis, Prince President of the
+French Republic, sent an army to Rome, thus affording matter for the
+speculation of his countrymen, who were puzzled to know what possible
+concern a French Republic could have with the affairs of the Papacy.
+Allusion to this is made in Leech's cartoon of _The French Cock and the
+Roman Eagle_, in which the bird of higher caste, chained and fettered,
+is unable to offer anything like fair resistance to his unwilling
+antagonist. In a _Bright Idea_, we have the apostle of peace (whose
+uncompromising arguments in its favour have driven us before now in the
+direction of war) figuring as a recruiting sergeant, and endeavouring to
+enlist the "Iron Dook."
+
+
+  GENERAL HAYNAU.
+
+In no country perhaps are women more cruelly used than among the poorer
+classes of England, while in no country under the sun is greater
+sympathy expressed for the weaker sex; a paradox which was strikingly
+exemplified in 1850. The Austrian General Haynau in that year paid a
+visit to this country. Some time before he had earned unenviable
+notoriety by his treatment of the wives and daughters of Hungarian
+insurgents who fell into his hands, and it was reported, probably with
+much exaggeration, that regardless of sex and condition he had subjected
+these hapless fugitives to the indignity of corporal punishment. The
+rising had been however some time repressed, and there was every reason
+to believe that in this country at least the rumour had been forgotten.
+Among the sights the General had been recommended to visit in London was
+the celebrated brewery of Messrs. Barclay & Perkins, and no sooner was
+his presence discovered, than he was simultaneously attacked by the
+draymen, and narrowly escaped with his life. He got small sympathy from
+_Punch_, who, in vol. xix., presented Leech's _Sketch of a Most
+Remarkable Flea found in General Haynau's Ear_. "_Who's Dat Knocking at
+de Door?_" is a question put by Johnny Russell to old Joe (Hume), who
+once in every session in those days stood knocking at the door with his
+banjo labelled, "Extension of the Suffrage."
+
+
+  THE "PAPAL AGGRESSION."
+
+Macaulay, writing in 1840,[141] referred to the progress of what he
+happily termed "The Catholic Revival of the Nineteenth Century." This
+revival was never more clearly exemplified than at the very time the
+temporal power was most seriously endangered. Such of the temporal
+power, indeed, as was left to it has gone, probably for ever; while the
+spiritual power of the Papacy, at least in Protestant England, as must
+be patent to any one who has given the subject the smallest attention,
+has unostentatiously but enormously increased, especially within the
+last twenty years. The year 1850 was remarkable for what was then known
+among us as the "Papal Aggression," and _Punch_ and his "right-hand man"
+were exceedingly angry. Among the cartoons which they fulminated on the
+occasion were the following: _The Guy Fawkes of 1850_ [_i.e._ the Pope]
+_Preparing to Blow up all England_; _The Thin End of the Wedge_ [the
+Pope trying with his jemmy, labelled "Roman Archbishopric of
+Westminster," to force the doors of the English Church]. It is both a
+singular and significant circumstance, that at this time the Ritualists,
+or rather Puseyites, were helping on the work of Rome by promoting, if
+not schism, at least dissension in the Church of England by advocating
+the strictest attention to the letter instead of the spirit of the
+rubric and liturgy. We find, in special reference to the assistance
+thus, in some cases we believe unconsciously, rendered to the Romish
+Church, _The Puseyite Moth_ flying into the Roman Catholic candle; and
+_Fashion in 1850, or a Page for the Puseyites_, in which we see the
+Bishops of Lincoln, Oxford, and Exeter dropping the hot poker of
+Puseyism, and the Pope, as monkey, making a _catspaw_ of _poor
+Pus(s)ey_ [the Doctor lately deceased]; again, in vol. xx., Punch (a
+boy) inquires of an episcopal showman, who holds the model of a church
+on his stand, "Please, Mr. Bishop, which is Popery and which is
+Puseyism?" To which the episcopal showman replies, "Whichever you like,
+my little dear"; another cartoon represents a Puseyite parson who has
+received "warning" from his cook. Inquiring the reason of her
+dissatisfaction, he receives the following reply: "Well, sir, the fact
+is I aint equal to them Fast days; for what with a hegg here, and a hegg
+there, and little bits of fish for breakfastes, and little bits of fish
+for dinners, and the sweet omelicks, and the fried and stewed hoysters,
+and the Bashawed lobsterses, and one think and the hother, there's so
+much cooking that I aint even time to make up a cap!" Another
+influential person besides Mr. Punch was terribly indignant at this
+aggressive movement on the part of the Papacy, and loudly avowed his
+determination to go any length to put a stop to it. This was my Lord
+John Russell, who, after vapouring like "ancient Pistol," quietly
+sneaked off after his usual fashion, and did nothing. He got, however, a
+well-merited dressing from Leech, who showed him up in his true
+character in a contemporary number as _The Boy who Chalked up "No
+Popery," and then Ran Away_. It was these Papal satires (as we shall
+afterwards see) which led to the secession from _Punch_, and the
+consequent loss to satiric art, of one of its most genial and capable
+professors, the late Richard Doyle;[142] a loss followed (if we may so
+term it) by a compensating gain. Richard Doyle's place was almost
+immediately taken by an artist of great and exceptional power, for more
+than twelve years the friend and coadjutor of John Leech--Mr. Tenniel,
+who makes his first appearance in _Punch's_ twentieth volume.
+
+The long peace which followed the national and European struggle with
+Napoleon had produced a curious effect upon ourselves. While Russia took
+advantage of the lull to recruit her colossal forces, and Prussia to
+perfect the military system which took us so much by surprise half a
+century afterwards, we, on the other hand, wearied with our long and
+arduous struggle, had fallen asleep, and dreamed pleasantly that the
+"Millennium" was at hand. With this idea apparently in our minds, we
+inscribed on the walls of the Great Exhibition of 1851, the Scriptural
+text which tells us that "swords shall be beaten into ploughshares and
+spears into pruning hooks, neither shall they learn war any more." A
+significant commentary on the text was found in the fact that many of
+the exhibits at the "World's Fair" consisted of cannon, rifles, and
+other lethal instruments of improved method and construction, intended
+for the wholesale destruction of the human race. We read the Scriptural
+text, and viewed these exhibits as relics of a barbarism which had
+existed six and thirty years before, oblivious of the circumstance that
+an incompetent general had "wiped out" a British army in Afghanistan,
+and that we had crushed the empire of Runjeet Singh on the banks of the
+Sutlej not so many years before. The closing of the Exhibition is
+commemorated by a cartoon, in which Leech shows us the famous Amazon
+putting on her bonnet and shawl, chatting the while with Hiram Power's
+Greek Slave, who, habited in "bloomer" costume, prepares likewise to
+take her departure. Allusion to the bribery and corruption prevalent at
+a notorious borough of that day is made in a sketch which depicts the
+_Horror of that Respectable Saint, St. Alban's, at Hearing the
+Confession of a St. Alban's Elector_.
+
+
+  THE COUP D'ÉTAT.
+
+Remarkable results were destined to follow the year of unrest--1848.
+Louis Philippe had been replaced in France by Louis Napoleon, who seems
+to have been elevated to the Presidency of the Republic because he was
+considered to be so absolutely harmless, the principle followed being
+analogous to that observed at the election of a Pope, which has resulted
+more than once in an unpleasant surprise for the cardinal electors.
+Those who had formed a low estimate of his abilities, found that Louis
+was no longer the "half-saved" youth of Boulogne and Strasburg; that he
+had learnt some stern lessons in the hard school of adversity; that he
+had developed, moreover, a firm and decided will of his own. We thought
+it a hazardous experiment on the part of French Republicans, for Louis
+held a craze on the subject of his uncle's "ideas," and the craze had
+sufficient "method" to induce us to believe that he was the last man who
+would have been selected to fill the presidential chair. As a refugee in
+England, we had given him small credit for sagacity; and as an emperor
+and a man, history has already said of him that he was cunning,
+unreliable, and thoroughly unscrupulous. Although a comparison between
+the two men is impossible, there was at least this similarity between
+the two Napoleons, that both were indebted for their elevation to the
+imperial purple to a revolution; here, however, all resemblance ceased.
+The first Napoleon relied upon himself alone, while Louis was advised by
+counsellors and adventurers wiser and more unscrupulous than himself,
+and who were prepared to back his fortunes with a view of advancing
+their own. At the close of 1851, Europe was electrified by the
+unexpected and dastardly blow delivered by these men, and by means of a
+"great crime," the history of which has been so graphically related by
+Victor Hugo, Louis Napoleon, Prince President of the Republic, found
+himself master of the destinies of France. The event is referred to by
+John Leech in the cartoon of _France is Tranquil!!!_ which she cannot
+well fail to be, seeing that we find her bound hand and foot; a
+chain-shot fastened to her foot, and a sentry menacing her with his
+bayonet. The next volume shows us the Prince President in the act of
+being measured by his military tailor, while he offers money to his
+cast-off mistress _Liberté_, her mother (France) looking indignantly on.
+Immediately behind, a priest (in allusion to the support which the Papal
+party were receiving from this "eldest son of the Church") helps himself
+from a plate of money which stands by the President's side; the floor is
+littered with miscellaneous articles,--bayonets, knapsacks, imperial and
+other crowns, crosses of the legion of honour, the _code
+Napoleon_,--and, in reference to Louis's craze on the subject of his
+uncle and his "ideas," one of Napoleon's old boots. On a stool stands a
+bust of the first Napoleon, and on a chair to the right a roll of
+"Imperial purple."
+
+By the year 1853, the only persons who steadily shut their eyes to the
+signs of the times, and continued steadfastly to believe in the
+immediate advent of the "Millennium," were the peace-at-any-price party
+(represented by Messrs Bright and Cobden), the members of the Peace
+Society, and the very strange people who obstinately opposed any attempt
+on the part of England to provide for her national safety by putting her
+defences in order. To the Peace Society, Leech especially addressed his
+cartoon of _No Danger_, which represents a donkey braying in front of a
+loaded cannon; while to the mischievous lunatics who opposed any scheme
+of national defence, he dedicated an appropriate gift in the shape of _A
+Strait Waistcoat Worked by the Women of England_.[143] By this time John
+Bull had awoke from his dreams, and tacitly admitting that the time for
+conversion of his swords into ploughshares and his spears into pruning
+hooks had scarcely arrived, adopted the far more sensible method of
+sending his troops to the camp at Chobham by way of getting them
+acclimatized to the trials and vicissitudes of wind and weather. This
+step leads of course to a number of little pleasantries. In one cartoon
+we see an officer of household cavalry parting his hair in front of his
+cuirass, whilst a soldier servant brings him his shaving water in a
+bucket; another, entitled _A Cold in the Head_, represents an officer in
+this melancholy condition, who requests his servant to bring him his
+bucket of gruel as "sool as he has tallowed his loze." John, in fact,
+had been aroused from his slumbers by the Emperor Nicholas, who,
+thinking it a good time to appropriate Turkey, was suspected of having
+offered a slice to Austria. The rumour is referred to in the cartoon of
+_The Old 'Un and the Young 'Un_, in which we see the Russian and
+Austrian Emperors at table with a bottle of port between them, "Now
+then, Austria," says Nicholas, "just help me to finish the Port(e)." In
+another cartoon, John Bull nails the Russian eagle to his barn door,
+remarking to his French friend the while, that _he_ "wouldn't worry the
+Turkeys any more." Lord Aberdeen, who, notwithstanding the signs of the
+times, refused like Nicholas to believe in a war with England, is
+represented placidly smoking the _Pipe of Peace_ over a barrel of
+gunpowder.
+
+Thanks to Messrs Bright and Cobden, who obstinately persisted in
+opposing the popular feeling which had set in steadily in the direction
+of war,--thanks to the exertions of the Peace Society, who were not
+restrained from sending certain zealous members of their body to the
+Emperor Nicholas, who not unnaturally supposed that these broad-brimmed
+gentlemen represented the sentiments of the great English people,--but
+thanks above all to the French Emperor and his astute advisers, who were
+enabled to take advantage of the state of English feeling to hoodwink
+the "great nation" by the prospect of an alliance with a great and
+respectable power, the year 1854 found us in actual conflict with
+Russia, starting off after our usual fashion with a handful of men to
+attack the strongest fortress in Europe, provided with an unlimited
+supply of men and metal and inexhaustible stores of warlike _materiel_
+of all kinds. In vol. xxvi. we see Her Majesty _Throwing the Old Shoe_
+after her Guards, who, for the first time since 1815, are seen setting
+out on foreign service. Another cartoon, which has reference to our
+_Bombardment of Odessa_, is divided into two parts, in one of which we
+see Lord Aberdeen (whose dream of peace had been so rudely dissipated),
+and in the other Nicholas of Russia, both reading the newspaper. Says
+Aberdeen, "Bombardment of Odessa! Dear me, this will be very
+disagreeable to my imperial friend!" Says the Emperor, "Bombardment of
+Odessa! Confound it! this will be very annoying to dear old Aberdeen!"
+In November, 1854, occurred our disastrous victory of Inkermann, in
+which scarcely four thousand English troops found themselves opposed by
+forty thousand Russians and drove them into flight. No thanks, however,
+to our allies, who--with the exception of sixty brave Zouaves and their
+lieutenant, who played truant from their regiment to give us timely
+assistance--either looked on or absolutely ran away.[144] Spectators of
+this battle were two of the Imperial family, a circumstance alluded to
+in vol. xxvii. by Leech's cartoon of _The Russian Bear's Licked Cubs,
+Nicholas and Michael_.
+
+
+  THE PURCHASE SYSTEM.
+
+Picton remarked of our officers, when _en route_ to Waterloo, that with
+fifty thousand of his own men, and _French_ officers at their head, he
+would march from one end of Europe to the other. But both the quality of
+French officers and soldiers had deteriorated at the time of the Crimean
+War, and was destined still further to deteriorate until the utter
+unsoundness of their military discipline was laid bare years afterwards by
+Prussia. The French had no generals, while we had _one_ general and an
+excellent body of soldiers. Unquestionably the Russian war did us the
+service of thoroughly exposing the rottenness of our military system so
+far as concerned the officering of the army. The principle followed was
+precisely that complained of by Sir Thomas Picton forty years before;
+there was no actual test of fitness until it came to be subjected to the
+practical test of emergency; money invariably had the advantage of merit,
+not only in the appropriation of first commissions, but in the purchase of
+subsequent regimental grades, which were given in exchange for pecuniary
+value, and not as a reward for military efficiency. The material thus
+obtained was splendid as regards manliness and bravery, but something more
+than these were wanted in the absence of a leader like the great Duke; and
+although the type selected is an extreme one, the result may be indicated
+by my Lord Cardigan, who, though equal to any amount of endurance and
+heroism, proved himself incapable of the exercise of the smallest particle
+of common sense. The scandal of the then existing system of purchase was
+aptly exposed by the artist in vol. xxviii., where we find a rich titled
+old lady in a shop served by military counter-jumpers, one of whom,
+wrapping up a lieutenant-colonelcy for her boy, inquires, in the
+well-known jargon of the trade, "What is the next article?" in answer to
+which she expresses a wish to have "a nice majority for his little
+brother"; a wounded officer with his arm in a sling timidly inquires the
+price of a captain's commission, and turns wearily away on finding the
+preposterous price (£3,694) is wholly beyond his means. Fortunately for
+us (for events proved that in trusting to French assistance we were
+leaning on a broken reed indeed!) the Russian rank and file, besides being
+badly led, were as inferior to our own in endurance and pluck as they were
+superior to us in the mere matter of numbers. Justly wondering why forty
+thousand men, supported by twenty thousand reserves, had failed to hold
+their own against a mere handful of British infantry, Nicholas
+nevertheless treated the result apparently in a philosophical spirit, and
+calmly asked his people to wait for "Generals _Janvier_ and _Fevrier_."
+But the brave man's heart was broken, and when February came it found the
+Imperial prophet a corpse.[145] The death of this great and disappointed
+man is forcibly commemorated by Leech's memorable cartoon of _General
+Fevrier Turned Traitor_. Lord John Russell, true to his character of "Lord
+Meddle and Muddle," had done nothing for us at the Congress, and in _The
+Return from Vienna_, Her Majesty catches the frightened little statesman
+by the collar and angrily asks him, "Now, sir, what a time you have been!
+What's the answer?" To her Lord John--"Please 'M--there
+is--is--is--is--isn't any answer."
+
+An English general in those days was so scarce a commodity that in Lord
+Raglan we seemed absolutely to have exhausted the supply: one old
+incapable was replaced by another, until the dearth of English military
+ability became at length nothing less than an absolute scandal. In _What
+we must Come to_, reference is made to this lamentable state of things,
+wherein an old woman in bonnet and shawl, with a capacious umbrella,
+applies for a post to Lord Panmure (the Minister of War), "Oh, if you
+please, sir, did you want a sperity old woman to see after things in the
+Crimea? No objection to being made a Field Marshal, and glory not so
+much an object as a good salary"; in another (_A Grand Military
+Spectacle_) we find the heroes of the campaign engaged in inspecting the
+Field Marshals, a pair of decrepid, purblind, old men seated in arm
+chairs; in the third we recognise the amiable Prince Consort, who was
+most unjustly suspected in those days of a desire to interfere in the
+administration of our military matters--it would be moonshine to term it
+military _system_, as we had none. _The New Game of Follow my Leader_ is
+a palpable hit at a practice common enough too in those days.
+Applications were frequently made by officers for leave to return home
+on the plea of "urgent private affairs," and you were astonished to see
+gentlemen walking about whose duty it was to be with their regiments in
+the Crimea. In the cartoon referred to, a long line of soldiers is drawn
+up in front of the general's tent; a little drummer boy steps out of the
+ranks, and making the usual salute inquires, "Please, general, may me
+and these other chaps have leave to go home on _urgent private
+affairs_?"
+
+A more unsatisfactory state of things for the belligerents all round
+than this miserable Crimean conflict can scarcely well be imagined. Lord
+Raglan, who had learned war by practical experience under the eye of the
+great Duke himself, speedily realized the fact that he had been made the
+victim of French military jealousy and imbecility, the leaders having
+been selected not on account of their military efficiency, but solely
+for attachment to the cause of the Emperor. The battle of the Alma had
+been won without the assistance of the French, who for all practical
+purposes might just as well have been away.[146] Marshal St. Arnaud,
+who, to do him simple justice, was at this time dying literally by
+inches, had refused to follow up the defeated Russians,[147] whose
+retreat a _competent_ French general must have converted into an
+absolute rout; whilst, had he followed the advice and wishes of Lord
+Raglan, we should probably have entered Sebastopol in a fortnight,
+instead of having to wait three years for an event which was afterwards
+accomplished at a ruinous waste of time, men, _materiel_, and
+money.[148] We had defeated the Russians at Inkerman without French
+assistance,[149] whilst the timidity and professional jealousy on that
+occasion of Marshal Canrobert had again failed to turn _our_ success
+into a crushing disaster for the enemy.[150] If England was
+dissatisfied, Russia was still more discontented, and her strength
+moreover at this time well-nigh exhausted. Efforts in the direction of
+peace were being made by Austria, which are referred to in the cartoon,
+_Staying Proceedings_ (vol. xxx.), wherein plaintiff John Bull instructs
+his solicitor Clarendon (who is setting off for Paris bag in hand),
+"Tell Russia," says angry John, "tell Russia if he doesn't settle at
+once I shall go on with the action;" but so unprofitable to us in the
+end was the arrangement effected by the solicitor, that the action was
+settled after all on the terms of each party having to pay their own
+costs. This preposterous result is referred to in the admirable sketch
+entitled _Swindling the Clarendon_, wherein landlord Bull angrily
+expostulates with his two waiters (Louis Napoleon and Palmerston),
+"What!" says John, "_quite the gentleman_! Why he has left nothing but a
+portmantel of bricks and stones, and gone off without paying the
+bill."[151]
+
+Just complaints were made in the papers of 1857 of the arrangements, or
+rather want of arrangements, at the Royal _levées_. The space was
+circumscribed and the crush frightful, and ladies returned from the
+ceremony with torn dresses and dishevelled hair, just as if they had
+been engaged in some feminine battle-royal. To accustom them to this
+uncomfortable but apparently inevitable ordeal, John Leech, in one of
+the very best of his sketches (vol. xxxii.), suggested a _Training
+School for Ladies about to Appear at Court_, where we see charming women
+in court dresses leaping over forms, crowding beneath barriers, and
+going through a vigorous course of saltatory exercises, to prepare them
+for what they might expect at the ceremony; the floor is strewn with
+broken fans, gloves, feathers, watches, and jewellery; while one fat old
+lady, who, in attempting to scramble beneath the barrier has become a
+permanent fixture, presents a truly comical appearance.
+
+
+  THE ENGLISH DISSATISFIED.
+
+The war was at an end; the "Eastern Question," as it was called in the
+political jargon of that day, had been settled for the next twenty
+years, and John Bull had now leisure to sit down to count the cost, and
+consider the value of the French alliance, and the quality of the
+assistance he had derived from French generalship and the French army.
+The result of John's calculation was eminently unsatisfactory to
+himself, for he felt that while he had done all the hard work and nearly
+all the fighting, the French, as might have been expected, had arrogated
+to themselves all the praise. John in his secret heart was angry; he
+felt he had been drawn into a contest from which he personally derived
+little advantage, and from which he emerged nominally triumphant at a
+ruinous waste of men and money; the Frenchman, on his part, was doubtful
+of the reality of the _gloire_ he claimed for himself, and distinctly
+conscious, moreover, that the English soldiers looked coldly on the
+French army and its achievements.[152] The result was a feeling of
+secret dissatisfaction on both sides, which found, however, no actual
+expression until an unexpected circumstance afforded opportunity for its
+manifestation. The war had been succeeded by a period of inaction, a
+state of things always dreaded by Louis, who was now harassed by plots
+and conspiracies, and a certain foreigner connected, or supposed to be
+connected, with one of these had sought and found an asylum on our
+shores. Certain valorous French colonels, desirous of displaying their
+loyalty at a cheap cost, presented an address to his Majesty, which
+contained the following intemperate passage:--"Let the miserable
+assassins--the subaltern agents of such crimes--receive the chastisement
+due to their abominable attempts; but also, let the _infamous haunt_
+where machinations so infernal are planned _be destroyed for ever_....
+Give us the order, sire, and we shall pursue them even to their places
+of security." French military composition, even in the time of the first
+Napoleon, was never of the highest order of merit, and the third
+Napoleon, whose policy it was to distract the attention of his people
+from reflecting on the questionable means by which he had attained his
+position, never lost an opportunity of earning popularity with any class
+of his subjects, particularly with the army. He suffered this
+quintessence of bombastic absurdity to appear in the pages of the
+official _Moniteur_, whence it was duly copied by the English
+newspapers, and afforded us the most intense amusement. _Punch_ answered
+this valorous appeal with Leech's celebrated cartoon (in vol. xxxiv.) of
+_Cock-a-doodle-do!_ wherein the French cock, habited in the uniform of a
+French colonel, crows most lustily on his own dunghill. This remarkable
+caricature possesses a singular historical interest, as it exactly
+expresses the feeling which pervaded England for some time after the
+close of the Crimean war. The hostile spirit towards Frenchmen which
+formed a part of John Leech's nature, once aroused was not easily
+allayed, and in the same volume he gives us specimens of _Some Foreign
+Produce that Mr. Bull can very well Spare_, in which he angrily includes
+French conspirators, vile French women, organ grinders (the artist's
+peculiar abomination), and other foreign refuse of an objectionable
+character. Further on, he follows up the subject in _A Discussion Forum
+(!) as Imagined by our Volatile Friends_, which represents a party of
+English conspirators from a French point of view. They wear the peaked
+hats, long cravats, long hair, boots, and inexpressibles peculiar to the
+Reign of Terror, and carry knives, revolvers, axes, and other weapons of
+destruction; a speaker occupies the rostrum, and below him sits the
+registrar with a bowl of blood, in which sanguinary fluid the
+proceedings are supposed to be recorded. The opposite picture, _A
+Discussion Forum (!) as it is in Reality_, shows us a number of foolish,
+ignorant, harmless youths, smoking pipes, drinking brandy and water, and
+discussing politics (so far as they are capable of understanding them)
+in a tavern club-room. Returning once more to his attacks on what he
+justly deemed the Romanizing tendency of the practices of certain
+members of the English Church, he gives us the cartoon of _Religion à la
+Mode_, in which a handsome woman is about to "confess" to a truculent
+and knavish looking ritualist. In the distance appears John Bull with
+his horsewhip, "No, no, Mr. Jack Priest," says he; "after all I have
+gone through, I am not such a fool as to stand any of _this_ disgusting
+nonsense." Some sensation was created this year by a private fête which
+was given by a member of the aristocracy at Cremorne Gardens. It
+occasioned considerable talk at the time, and as Ritualism was then in
+the ascendant amongst certain female leaders of fashion, Leech gives us
+(in vol. xxxv.) a powerful picture, entitled _Aristocratic Amusements_,
+in which John Thomas asks his mistress (a magnificent specimen of the
+artist's handsome women) as he puts up the steps of her carriage,
+whither she would wish to be driven,--"Confession or Cremorne, my lady?"
+
+Misfortune, the proverb tells us, makes us acquainted with strange
+associates. The Emperor Louis, during his early exile, had picked up
+certain undesirable acquaintances, who were in the habit in after life
+of forcing themselves on his notice after a peculiarly disagreeable and
+dangerous fashion. His unfaithfulness to the principles of the
+brotherhood of which he and they had been members, had seriously
+exercised the minds of certain of these quondam acquaintances, who had
+given forcible expression to their feelings by attempting his
+assassination. The pear-shaped hand grenades of Orsini and his
+fellow-conspirator were the fruit of Louis's early connection with the
+secret societies of the Carbonari. They indicate the forces which
+controlled the policy of the Third Napoleon, and obliged him constantly
+to pick quarrels with his neighbours for the double purpose of employing
+his army and of keeping the attention of his restless subjects and
+quondam acquaintances distracted from himself. As the advisers upon
+whom he depended were removed by death, the absence of military capacity
+which his habitual reticence had concealed was manifested by his
+extraordinary ignorance of the weakness of the force which he had at his
+disposal, and the utter rottenness of its organization. Meanwhile
+Italian assassins warned Louis's advisers of the desperate insecurity of
+the tenure by which they held their own position, and of the necessity
+of distracting the attention of the restless spirits who made it their
+business to inquire into their master's title. Within a year, therefore,
+of the execution of Orsini and his friend, a quarrel was fastened on the
+Austrian ambassador, which reminded us of the first Emperor's insult to
+our own Lord Whitworth, and the Imperial word went forth that Italy was
+to be freed "from the Alps to the Adriatic."[153] Although Louis was
+unable to accomplish this programme, he was enabled by great good
+fortune, the aid of Sardinia, the execrably bad generalship of the
+Austrians, and the military _prestige_ which still attached to the
+French name, to pave the way for this result; and Austria was not only
+humbled, but had moreover to surrender Venetia to Sardinia. No sooner
+was the war over, than Louis was suspected of casting longing eyes at
+the territories of his brave little ally,[154] and in _A Scene from the
+New Pantomime_, he figures as clown, holding a revolver in his hand,
+with a goose marked "Italy" in his capacious pocket, assuring Britannia
+(a stout elderly woman who looks suspiciously on) that his intentions
+were of the most honourable description.
+
+In the sketch entitled _The Next Invasion, Landing of the French (Light
+Wines), and Discomfiture of Old General Beer_ (vol. xxxviii.), we have a
+pictorial prophecy which has not borne fulfilment. Although the
+so-called _vin ordinaire_ made some progress among us for a time, it was
+soon discovered that a low class of wine, which the French themselves
+would not drink, was being manufactured for the English market, and that
+good sound claret remained (as might have been anticipated) as dear, if
+not dearer, than ever. The climate and constitution of John Bull do not
+enable him to appreciate the merits of "red ink" as a table beverage,
+and in the end old General Barleycorn rallied and drove the invaders out
+of the popularity they had for a time achieved.
+
+       *       *       *       *       *
+
+And here we break off--for reasons which will be apparent in our next
+chapter--the further consideration of the graphic satires of the late
+John Leech. Before passing on to other matters, we are bound to say that
+we regard them rather for what they might have been than for what we
+actually find them. Had they been executed with the same materials and
+under the same conditions as the graphic satires of Gillray or
+Cruikshank, or still better, in the manner in which the sporting
+pictures to the late Mr. Surtees' novels were produced, we have no
+hesitation in saying that they would have distanced anything in the
+nature of caricature which had gone before. Unfortunately, the
+productions of the modern caricaturist (if, indeed, we may term him one)
+have no reasonable chance, it being apparently taken for granted that a
+modern public will not invest in caricatures of an expensive
+character.[155] Moreover, he has no longer any hand in the completion of
+his picture, the wood-block being cut up into segments, each entrusted
+to a different hand, and executed with materials with which the older
+caricaturists had nothing to do, and under conditions of pressure and
+haste to which they were happily strangers. Hence it is, that while the
+admirable satires of John Leech enhance the value of the _Punch_ volumes
+themselves, taken _singly_, not only will they not command a fiftieth
+part of the price asked and given for the coloured but inferior
+productions of an earlier school, but they are to all intents and
+purposes valueless. Leech himself has often been known to say to friends
+who admired his composition on the wood block:--"Wait till Saturday, and
+see how the engraver will have spoiled it." We will subject the justice
+of these observations to a practical test. Let the reader compare an
+ordinary _Punch_ cartoon with one of the tinted lithographs issued from
+the _Punch_ office during the artist's lifetime under the title of _The
+Rising Generation_, and he cannot fail to be struck with the enormous
+advantages possessed by the latter. These last have their price, and
+command, by reason of their scarcity, a comparatively high one.
+
+
+FOOTNOTES:
+
+  [139] The prosecution, however, answered its purpose. The funds of
+    the Repeal Association were nearly exhausted by the contest, the
+    influence of the "Liberator," as he was called, was destroyed, and he
+    himself was more guarded and circumspect in his language. He died
+    three years afterwards.
+
+  [140] See the "Political Sketches of HB."
+
+  [141] _Edinburgh Review_, October, 1840.
+
+  [142] See Chapter xviii.
+
+  [143] The national defences, such as they are, being an accomplished
+    fact, these strange people are now making themselves active in the
+    promotion of the last suicidal mania--the Channel Tunnel!
+
+  [144] _Vide_ Kinglake's "Invasion of the Crimea."
+
+  [145] There are of course curious stories about as to the _cause_ of
+    the Emperor's death: for one of these see "Journal of the Rev. J. C.
+    Young," vol. ii. p. 331.
+
+  [146] Figures will conclusively prove who bore the burden and heat of
+    the day. The English loss was: killed, 25 officers, 19 sergeants, 318
+    rank and file; 81 officers, 102 sergeants, and 1,438 rank and file
+    wounded. The French loss was simply 60 killed and 500 wounded. The
+    Russian loss in killed and wounded was 5,709.
+
+  [147] Kinglake's "Invasion of the Crimea," 6th edition, 1877, vol.
+    iii. p. 305.
+
+  [148] Kinglake's "Invasion of the Crimea," 6th edition, 1877, vol.
+    iii. p. 349.
+
+  [149] At 8.30 a.m. the Russians had 17,000 infantry and 100 guns
+    opposed to 3,600 English with 36 guns and 1,600 French infantry and
+    12 guns [_Ibid._ vol. vi. p. 321]. Three hours later on, Canrobert
+    had under his orders 9,000 fresh men, who remained inactive: "So far
+    as concerned any active exertion of infantry power, our people were
+    now left to fight on _without any_ aid from the French"--_Ibid._ pp.
+    416, 417.
+
+  [150] _Ibid._ vol. vi. pp. 439, 440.
+
+  [151] A more telling commentary on our useless waste of blood and
+    treasure could scarcely be found. Truly they manage these things
+    better in Germany.
+
+  [152] See the remarkable expressions of dissatisfaction _wrung_ from
+    the placid Lord Raglan on various occasions, and the very free manner
+    in which the English officers expressed themselves when the 7th
+    French _leger_ regiment ran away from the Russians at Inkerman for
+    the second time.--_Kinglake's_ "_Invasion of the Crimea_," 6th
+    edition, 1877, vol. vi. pp. 327-8, 344-5.
+
+  [153] Louis was fond of these theatrical announcements, which answered
+    the purpose he designed, of attracting the sympathy of the
+    impressionable French people. The following is a short summary of the
+    mode in which Italy was _really_ freed "from the Alps to the
+    Adriatic":--Lombardy was surrendered to Sardinia 11th July, 1859; the
+    treaty ceding Savoy and Nice to France was signed 24th March, and
+    approved by the Sardinian Parliament 29th May, 1860. The French
+    troops retired from Italy the same month. Garibaldi landed at Marsala
+    11th May, 1860, and entered Naples on the 18th of August. The kingdom
+    of Italy was recognised by Great Britain 31st March, 1861. In 1864
+    Florence was declared the capital of Italy. The French troops left
+    Rome in November, 1865. Venetia was ceded to France by Austria 3rd
+    July, 1866. They retired from the Quadrilateral in October, 1866;
+    Venice was annexed to Italy the same month; the Italian troops
+    entered Rome in September, 1870, when Napoleon III. was no longer
+    able to interpose, and it was incorporated in the Italian kingdom in
+    October.
+
+  [154] See previous note.
+
+  [155] Since the above was written, a weekly paper has been
+    established, which promises to promote the revival of caricature art.
+
+
+
+
+CHAPTER XV.
+
+_JOHN LEECH_ (_Continued_).
+
+
+  _Giovanni._ What do the dead do, uncle?--do they eat,
+    Hear music, go a hunting, and be merry,
+    As we that live?
+
+  _Francesco de Medicis._ No, Cuz; they sleep.
+
+  _Giov._ ... When do they wake?
+
+  _Frances._ When God shall please.
+
+     WEBSTER'S _White Devil; or, Vittoria Corombona_ (1612), Act 3.
+
+Many of our readers will remember the exhibition at the Egyptian Hall,
+in 1862, of John Leech's "Sketches in Oil," the subjects being enlarged
+reproductions from selected examples of his minor drawings for _Punch_.
+To his friend Mark Lemon is due the credit of this idea, which was
+carried out after the following manner:--The impression of a block in
+_Punch_ being first taken on a sheet of india-rubber, was enlarged by a
+lithographic process; the copy thus obtained was transferred to stone,
+and impressions obtained on a large sheet of canvas. The result was an
+outline groundwork, consisting of his own lines enlarged some eight
+times the dimensions of the original drawing, which the artist then
+proceeded to fill up in colour. His knowledge of the manipulation of oil
+colours was, however, slight, and his first crude attempts were made
+under the guidance of his friend Mr. Millais. The first results can
+scarcely be said to be satisfactory; a kind of transparent colour was
+used, which allowed the coarse lines of the enlargement to be distinctly
+visible, and the finished production presented very much the appearance
+of an indifferent lithograph slightly tinted. In a short time, however,
+he conquered the difficulty; and, instead of allowing the thick, fatty
+lines of printer's ink to remain on the canvas, he removed
+them--particularly as regards the outlines of the face and figure--by
+means of turpentine. These outlines he re-drew with his own hand in a
+fine and delicate manner, and added a daintiness of finish, particularly
+in flesh colour, which greatly enhanced the value and beauty of the
+work. He nevertheless experienced some difficulty in reproducing in
+these enlargements the delicacy of touch and exactness which
+characterized the original drawings, and would labour all day at a
+detail--such as a hand in a certain position--before attaining a result
+which entirely satisfied himself. The catalogue of this exhibition may
+be cited in evidence of Leech's characteristic modesty. "These
+sketches," it said, "have no claim to be regarded or tested as finished
+pictures. It is impossible for any one to know the fact better than I
+do. They have no pretensions to a higher name than that I have given
+them--'Sketches in Oil.'"
+
+Popular and eminently successful as this exhibition proved to be, it was
+undeniably rendered more popular and successful by his staunch friend
+Thackeray's article in the _Times_ of 21st June, 1862:--"He is a natural
+truth-teller," said the humourist, "as Hogarth was before him, and
+indulges in as many flights of fancy. He speaks his mind out quite
+honestly, like a thorough Briton.... He holds Frenchmen in light esteem.
+A bloated 'Mossoo' walking in Leicester Square, with a huge cigar and a
+little hat, with 'billard' and 'estaminet' written on his flaccid face,
+is a favourite study with him; the unshaven jowl, the waist tied with a
+string, the boots which pad the Quadrant pavement, this dingy and
+disreputable being exercises a fascination over Mr. Punch's favourite
+artist. We trace, too, in his work a prejudice against the Hebrew
+nation, against the natives of an island much celebrated for its verdure
+and its wrongs; these are lamentable prejudices indeed, but what man is
+without his own?" Thackeray's kindly article delighted Leech; he said
+"it was like putting £1,000 in his pocket." The exhibition, indeed, was
+so splendid a success that it is said to have brought in nearly £5,000.
+
+Those who, like ourselves, have found it necessary to examine the
+_Punch_ volumes from their commencement in 1841, down to the 31st of
+December, 1864, cannot fail to be struck by the steady decrease in the
+number of cartoons which the artist annually designed and executed for
+the periodical. In 1857 the number contributed was 33; in 1858, 30; in
+1859, 21; in 1860, 15, in 1861 the number had fallen as low as 10; while
+in 1862 it did not exceed 4.[156] This decrease (which is confined, be
+it observed, to the cartoons which he contributed to _Punch_) was due to
+failing health consequent on the strain of incessant production. Of the
+coming evil he himself was distinctly cognizant. It is said of him that
+Lord Ossington, then Speaker, once met him on the rail, and expressed to
+him his hope that he enjoyed in his work some of the gratification which
+it afforded to others. His answer was a melancholy one:--"I seem to
+myself to be a man who has undertaken to walk a thousand miles in a
+thousand hours." It was certainly not such a reply as one would exactly
+look for, looking only at the joyous character of the pictures he
+executed for _Punch_. He complained in 1862--the year at which we have
+arrived--of habitual weariness and sleeplessness, and was advised to try
+rest and change of air. He acted upon the suggestion, and, accompanied
+by his old friend Mark Lemon, proceeded in that year on a short tour to
+Paris, and from thence to Biarritz. Leech's pencil was not idle on this
+holiday, as two of his pictures will testify. The first, _A Day at
+Biarritz_, appears in the Almanack of 1863, and among the figures he has
+introduced into this delightful sketch is that of the grave and
+saturnine Louis, snapping his fingers in the highest _abandon_ and
+skipping off with his friend _Punch_ to enjoy his ocean bath. "The
+other," says Mr. Shirley Brooks, "is a very remarkable drawing. It
+represents a bull-fight as seen by a decent Christian gentleman, and for
+the first time since the 'brutal fray' was invented the cold-blooded
+barbarity and stupidity of the show is depicted without any of the flash
+and flattery with which it has pleased artists to treat the atrocious
+scene. That grim indictment of a nation professing to be civilized will
+be a record for many a day after the offence shall have ceased."[157]
+
+Leech returned from this brief visit with no appreciable benefit.
+Charles Mackay tells us that he met him and his constant friend,
+Thackeray, at Evans' supper-rooms in December, 1863. "They both
+complained of illness, but neither of them looked ill enough to justify
+the belief that anything ailed them beyond a temporary indisposition,
+such as all of us are subject to. Leech was particularly despondent, and
+complained much of the annoyances to which he was subjected by the
+organ-grinders of London, and by the dreadful railway whistles at the
+stations whenever he left town. His nerves were evidently in a high
+state of tension, and I recommended him, not only as a source of health
+and amusement, but of profit, to take a voyage across the Atlantic, and
+pass six months in America, where he would escape the organ-grinders,
+street-music, and the railway-whistles, and bring back a portfolio
+filled with sketches of American and Yankee character. 'I am afraid,' he
+replied, 'that B. & E. [Bradbury & Evans] would not like it. Besides, I
+should not like to be absent from _Punch_ for so long a time.'
+'Nonsense,' said Thackeray, 'B. and E. would highly approve, provided
+you sent them sketches. _I_ think it a good idea, and you might put five
+thousand pounds in your pocket by the trip. The Americans have never
+been truly portrayed, as you would portray them. The niggers alone would
+be a little fortune to you.' Leech shook his head dubiously, and I
+thought mournfully, and no more was said upon the subject."[158]
+
+Nevertheless, the end of one at least of these steady friends and men of
+genius was drawing near with sure and rapid strides. Both were present
+at the anniversary of the death of the founder of the Charterhouse,
+"good old Thomas Sutton," on the 12th of that same month of December,
+1863. At the celebration of Divine service at four o'clock, Thackeray
+occupied his accustomed back seat in the quaint old chapel; from thence
+he went to the oration in the Governor's room; and as he walked up to
+the orator with his contribution, the great humourist, Mr. Theodore
+Taylor, tells us, was received "with such hearty applause as only
+Carthusians can give to one who has immortalized their school."[159] At
+the banquet which followed he sat by the side of John Leech, who was one
+of the stewards, and proposed the time-honoured toast, _Floreat Æternum
+Carthusiana Domus_, in a speech which was received with three times
+three and one cheer more. John Leech replied to the toast of the
+stewards. The day is memorable as the last "Founder's Day," which either
+of these men--so eminently distinguished in art and letters--was ever
+permitted to attend.
+
+Three days afterwards Thackeray was present at the usual weekly _Punch_
+dinner on the 15th of December, for, although he had long ceased to be a
+regular contributor to the periodical, he not only continued to aid the
+staff with his suggestion and advice, but was a constant member of the
+council.[160] But ever since the time he was writing "Pendennis," a
+dozen years before, he had been visited periodically by attacks of
+sickness, attended with violent retching. One of these occurred on the
+morning of Wednesday, the 23rd of this same month of December, and he
+was in great suffering all day. About midnight of that day, his mother,
+Mrs. Carmichael Smith,[161] who slept in the room above his own, had
+heard him get up and walk about; but as this was his habit when visited
+by these fell visitations, she was not alarmed. The man, however, was
+in his mortal agony; and when his valet, Charles Sargent, entered his
+master's chamber on the morning of Christmas Eve, and tried to arouse
+him, he found that he answered not, neither regarded, having passed into
+the slumber from which the spirit of man refuses to be awakened.
+
+Dying Jerrold had time vouchsafed to him to whisper, "Tell the dear
+boys," meaning his associates in _Punch_, "that if I have ever wounded
+any of them, I've always loved them," and so he went his way. To
+Thackeray no such grace was given; the hands peacefully spread over the
+coverlet, which stirred not when Sargent bent anxiously over his master,
+proclaimed that true hearted noble Thackeray had gone the long journey,
+leaving no word of message for those who had loved him. "We talked of
+him," said Mr. Edmund Yates, "of how, more than any other author, he had
+written about what is said of men immediately after their death--of how
+he had written of the death-chamber, 'They shall come in here for the
+last time to you, my friend in motley.' We read that marvellous sermon
+which the week-day preacher delivered to entranced thousands over old
+John Sedley's dead body, and 'sadly fell our Christmas Eve.'" That same
+Christmas Eve, the melancholy tidings were conveyed to Mark Lemon by his
+sorrowing friend, John Leech. The artist was terribly affected, and told
+Millais of his presentiment that he also should die suddenly and soon.
+
+In March, 1864, we notice the death of another author, whose almost
+unrecorded name is, nevertheless, intimately associated with that of the
+artist. This was Mr. R. W. Surtees, author of the sporting novels which
+the genius of Leech has made for ever famous. Mr. Surtees for some years
+practised as a London solicitor; but the death of an elder brother
+improved his position, and enabled him to quit a profession which he
+disliked, in favour of the more congenial employment of literature.
+Those of his works best known (he published several others) are, of
+course, "Handley Cross," "Sponge's Sporting Tour," "Plain or Ringlets,"
+"Ask Mamma," and "Mr. Facey Romford's Hounds." Notwithstanding a
+decidedly horsey and somewhat vulgar tone,--a tone which by the way
+certainly did not characterize Mr. Surtees himself,--they possess a
+certain original humour, which will render their perusal productive of
+amusement. He died suddenly on the 16th of March, 1864, in his
+sixty-second year.
+
+It has been the habit of the contributors to _Punch_, almost from the
+commencement of the periodical, to dine together every Wednesday. In the
+winter months the dinner was usually held in the front room of the first
+floor of the business premises of the proprietors, Messrs. Bradbury &
+Evans, in Bouverie Street, Whitefriars. Sometimes these dinners were
+held at the Bedford Hotel, Covent Garden. During the summer months it
+was customary to hold ten or twelve dinners at Greenwich, Richmond,
+Blackwall, and other places in the neighbourhood of London. On these
+occasions the programme (if we may so term it) of the forthcoming number
+was arranged and settled, papers were brought out, and the latest
+intelligence discussed, so as to bring the "cartoon" down to the latest,
+or rather one of the latest subjects of current interest. At the weekly
+council dinner John Leech was a faithful attendant. These meetings,
+indeed, "he thoroughly enjoyed, and his suggestions, not merely as to
+pictorial matters, but generally, were among the most valuable that were
+offered, as may be inferred from his large knowledge of the world, his
+keen sense of the ludicrous, and his hatred of injustice and
+cruelty."[162] One of the most regular attendants of the _Punch_
+dinners--I think that in 1864, at least, he scarcely missed one--was the
+most indefatigable of the literary staff, Mr. Shirley Brooks. One was
+held at The Bedford on the 13th of April, 1864, just about the time when
+Lord John Russell was setting out as our representative at the
+Conference, and the outcome of this particular _Punch_ dinner, at which
+were present Messrs. Mark Lemon, Shirley Brooks, Tom Taylor, John Leech,
+and Percival Leigh, was Leech's admirable cartoon of _Moses Starting for
+the Fair_. "Let us hope," adds the pictorial satirist, in special
+reference to his lordship's unfortunate capacity for getting himself
+into a mess, that "he won't bring back a gross of green spectacles." It
+was one of the last of Leech's political shafts, and the subject was
+suggested (we have his own authority for stating it) by his friend and
+literary colleague, Mr. Shirley Brooks.[163]
+
+"Clearly ill," is Mr. Brook's record of the state of John Leech's health
+on this same 13th of April, 1864. He no longer found pleasure in
+hunting, of which he had been exceedingly fond, and had even
+discontinued, at the order of his medical attendant, riding on
+horseback. He was affected with nervous irritability, the effect of
+incessant application. The ordinary noise of the streets--musicians,
+organ-grinders, street vendors, and the like--worried him beyond
+endurance. Long before the period at which we have arrived these
+annoyances had driven him from his residence in Brunswick Square to seek
+shelter from his enemies at No. 3, The Terrace, Kensington. His nervous
+irritability is manifested in the designs which he continued to draw for
+_Punch_. In one of his illustrations to vol. xlv. (1863), depicting
+certain familiar sea-side nuisances, he asks, "Why a couple of conceited
+fanatics should be allowed to disturb the repose of a Sunday afternoon
+by the sea-side?" and "Why the authorities at Brighton, so sensible and
+considerate in keeping the place free from the _detestable_ organ
+grinders, should permit the terrible nuisance indicated [in the
+illustration] to exist?" "Fresh prawns, whiting, oysters, or
+watercresses," remonstrated the persecuted artist, "are capital things
+in their way, and we should think that the jaded man of occupation, or
+the invalid, would very much rather send to a respectable shop for such
+delicacies, than have them 'bellowed' into his ears morning, noon, and
+night." His illustrations of this character are so numerous that the
+ordinary observer would probably suppose that they were part only of a
+series; to the observer, however, who knew Leech, they clearly indicate
+the nervous irritability under which he suffered, and which was probably
+caused, and certainly intensified, by the nuisances of which he
+complained.
+
+The state of Leech's health in May, 1864, seems to me best explained in
+the letter which Mark Lemon at this time wrote to Mr. Bass, in relation
+to his proposed bill for the regulation of street music. After showing
+how he himself was obliged to quit London to escape the nuisance of
+street music, the then editor of _Punch_ continues: "A dear friend of
+mine, and one to whom the public has been indebted for more than twenty
+years for weekly supplies of innocent amusement, and whose name will
+find a place in the future history of art, has not been so fortunate. He
+lived in Brunswick Square, and remained there until the nervous system
+was so seriously affected by the continual disturbance to which he was
+subjected while at work, that he was compelled to abandon a most
+desirable home, and seek a retreat at Kensington. After expending
+considerable sums to make his residence convenient for his
+art-work,--placing double windows to the front of his house, etc.,--he
+is again driven from his home by the continual visitation of street
+bands and organ-grinders. The effect upon his health--produced, upon my
+honour, by the causes I have named--is so serious that he is forbidden
+to take horse exercise, or indulge in fast walking, as a palpitation of
+the heart has been produced--a form of _angina pectoris_, I believe--and
+his friends are most anxiously concerned for his safety. He is ordered
+to Homburg, and I know that the expatriation will entail a loss of
+nearly £50 a week upon him just at present.
+
+"I am sure I need not withhold from you the name of this poor gentleman.
+It is Mr. John Leech.
+
+"If those gentlemen who laugh at complaints such as this letter contains
+were to know what are the natural penalties of constant brain-work, they
+would not encourage or defend such unnecessary inflictions as street
+music entails upon some of the benefactors of their age. Such men are
+the last to interfere with the enjoyments of their poorer
+fellow-labourers; but they claim to be allowed to pursue their callings
+in peace, and to have the comfort of their homes secured to them. All
+they wish is to have the same immunity from the annoyances of street
+music as the rest of the community have from dustmen's bells,
+post-horns, and other unnecessary disturbances."
+
+The terrible nature of poor Leech's sufferings will be shown by another
+anecdote of Dr. Mackay's. Just about this time he met Mr. F. M. Evans,
+one of the proprietors of _Punch_, and asked him how Leech was. "Very
+ill," was the reply; "the sufferings he endures from noise are painful
+to think of. I took him down into the country a little while ago to stay
+a week, or as much longer as he pleased, promising him that he should
+hear no organ-grinders there, nor railway whistles, nor firing of guns.
+The next morning on getting up to breakfast, I found that he had packed
+up his portmanteau and was ready to depart. 'I cannot stay any longer
+here,' he said, 'the noise drives me frantic!' 'What noise?' 'The
+gardener whetting his scythe. It goes through my ears like a corkscrew.'
+And nothing that I could say could prevail upon him to prolong his
+visit."
+
+But there was no falling off in the quality of the work which Leech
+executed for _Punch_ or other employers at this time; on the contrary,
+his drawings seemed to me marked by more than their usual excellence.
+Witness more especially the few etchings he lived to finish for "Mr.
+Facey Romford's Hounds," and the coloured etching to "Punch's Pocket
+Book" of the year. One of the illustrations which he designed for the
+1864 edition of the "Ingoldsby Legends," and which shows us one of his
+stalwart servant girls drawing up the trunkless head of "St. Genulphus"
+from the bottom of the well, appears to me to call for special notice. I
+would ask the reader to observe the details of that perfectly marvellous
+drawing, executed with all the effect and at a fifth of the labour which
+George Cruikshank in his best days would have bestowed upon it. I would
+entreat him to mark that wicked, graceless, bald-pated old head, with
+its port wine nose resting on the rim of the bucket, and its wicked old
+eye suggestively winking unutterable things at the perplexed and
+astounded maiden. I would ask him to look at that drawing; to take into
+account the health of the genial, failing artist who designed it; and to
+tell me, whether in all the range of English comic art he remembers to
+have met with anything more intensely comical?
+
+We find John Leech and his able coadjutor, Mr. John Tenniel, present at
+the _Punch_ dinner of Wednesday, the 15th of June; but shortly
+afterwards he started on the journey ordered by his medical advisers,
+and set off for Homburg in the company of his friend, Mr. Alfred Elmore,
+sojourning afterwards for a time at Schwalbach. He was absent altogether
+about six weeks. A record in the diary to which I am indebted for so
+much information in relation to him tells me, under date of 10th August,
+"Leech has returned from Germany, but I am sorry to say I don't think he
+is stronger." The sole result, in fact, obtained was that his mind was
+amused by his visit to new scenery, while his sketch-book was filled
+with valuable memorials of the sojourn for future use. He was present at
+the _Punch_ dinner on Wednesday, the 17th of August, and suggested to
+his colleagues by way of cartoon the subject of _The American
+Juggernaut_.
+
+
+  THE DEATH OF ROBSON.
+
+Just at the time when Leech came back from Germany, unbenefited by the
+change which it was hoped would recruit his exhausted strength, a great
+artist in another and a different walk in art, one who had not used his
+_genius_ (we will not say his opportunities, for we doubt whether they
+were really given him) to the best advantage, took his departure from
+the scene of many triumphs and greater disappointments: this was Thomas
+Frederick Robson, the actor. He had been so long absent from the boards,
+that the event failed to create the sensation which might have been
+expected from the sudden fall of a theatrical star of such
+unquestionable magnitude. Full justice has been done to his remarkable
+genius elsewhere; and all united in regret that a man who was so great
+an artist, and might have been a greater, had been prematurely lost to
+the theatrical world. Those who remember Robson and his marvellous
+powers,--the lightning-like flashes of energy he was wont to throw into
+his parts,--his startling transition from passion to passion,--will
+agree with us that, if circumstances had led him to study the higher
+drama, his name would probably have occupied a place side by side with
+the more prominent names of George Frederick Cooke, Edmund Kean, and our
+own Irving. The remarkable power wasted on burlesque, or thrown away in
+the delineation of low life character, must assuredly have made itself
+felt in tragedy; and the _genius_ manifested in the _mock_ Shylock of
+Robson, would have enabled him to offer a splendid presentment of the
+real Hebrew, and as perfect a realization of the character of Richard
+the Third as has ever perhaps been seen. His comedy--when opportunity
+was given him of displaying it--was full of true humour. He had in fact,
+in a remarkable degree, all the qualities of a splendid actor; but it
+was his peculiar misfortune that he had never a proper opportunity given
+him of displaying them. The fact that he was enormously popular was
+nothing, for many men are popular with not a tithe of the gifts or power
+which distinguished Robson. The favour of the "general," except in a
+sordid sense, is not worth much in these days. A proof of this is to be
+found in the fact that the name of Robson--after the lapse of twenty
+years--is scarcely known to the ordinary playgoer; but his genius, while
+he lived, was recognised by those whose applause is not easily earned,
+and was therefore worth the earning.
+
+Within a week or ten days after his return from the Continent, Leech
+went with his family to Whitby, in the hope that the fresh Yorkshire sea
+air would invigorate and brace up his shattered system. Some friends
+were staying there at the time, and among them a young artist then
+comparatively new to _Punch_, but who has been for years past one of its
+leading pictorial supporters[164]--Mr. Du Maurier. During his sojourn
+here, I find him writing to his friends the Brookses, that if they would
+join him, it would induce him to prolong his stay. They went
+accordingly, and remained at Whitby until the artist returned to town on
+the 3rd of October. "Leech, when we could induce him to leave the
+painting in oil, to which he devoted too many hours, enjoyed the drives
+into the wild moors, and up and down the terrible but picturesque
+roads; and he was still more delighted with the rich woods, deep glades,
+and glorious views about Mulgrave Castle. I hoped," continues Shirley
+Brooks, in the touching memorial which he contributed to the
+_Illustrated London News_ only a few weeks afterwards, "I hoped that
+good was being done; but it was very hard to stir him from his pictures,
+of which he declared that he must finish a great number by Christmas. It
+was not for want of earnest and affectionate remonstrance of those close
+by his side, nor lack of such remonstrance being seconded by myself and
+others, that he persevered in overlabour at these paintings, which he
+had undertaken with his usual generosity, in order to enable himself to
+provide a very large sum of money for the benefit of his relatives, not
+of his own household. It need hardly be said that he was never pressed
+for work by his old friend the editor of _Punch_." For a long time past
+his contribution to that periodical had not exceeded one half-page
+engraving each week; but at Whitby he elaborated a large sketch,
+originally taken at Schwalbach, which is worthy of mention as being the
+last of his cartoons. It will be found in vol. xlvii. (1864), and is
+labelled _The Weinbrunnen Schwalbach_, and among the company drinking
+the waters he has introduced the late Emperor Louis, the late King of
+Italy, the late Pope, and other notable political personages. The light
+esteem in which he held everything French is notable in this drawing.
+Conspicuous in the foreground are several dogs belonging to the English
+turnspit breed, one of which views a yapping French poodle with the most
+unmitigated disdain. The landscape and surroundings in this composition
+deserve particular attention, as they are charming examples of Leech's
+oft-admitted talent as a landscape artist.
+
+In the diary I find several reminiscences of the Whitby visit, and of
+the walks and drives and dinners with the Leeches. Shirley Brooks and
+his wife drove with them to Mulgrave Castle and its "glorious woods," on
+the 29th of September; the former afterwards went to a concert at St.
+Hilda's Hall, in reference to which I find the following entry:--"Grisi,
+Mario, Sainton and his wife. I wrote to the latter, and went round to
+see them between the parts. Introduced to Grisi, who was in a vile
+temper, something about rooms." Shirley Brooks sent also the following
+characteristic account of the entertainment to the _Musical World_:--
+
+  "MY DEAR SIR,--
+
+  "Owls, like other quadrupeds, must have holidays, and I have flown
+  hither. But the wind has changed, and the owl, for all his feathers,
+  is a-cold, as the poet observes. I shall return to the
+  Metropolis--_templa quam dilecta_--as Plautus might have said in his
+  _Owlowlaria_, if he had liked. I never thought much of these Latin
+  dramatists, and indeed I never would read any of their works. For that
+  matter, the works of few dramatists are worth reading. And while on
+  the subject, I may add, that few writings of any kind are worth
+  reading. Herein I am at one with Thomas Carlyle, and show my
+  admiration of what he says by absolutely declining to read his
+  'Frederick the Great.'
+
+  "Possibly I might not have expended the postage stamp affixed to this
+  letter had I intended only to offer you the above interesting
+  information. I could have given you this at the Keppell's Arms during
+  one of those many refections which I hope to partake with you at that
+  hostelry. But I wish to record something that may have an immediate
+  interest. There is a hall here called St. Hilda's Hall, and it is used
+  for public purposes. It is furnished with a large scene-like painting
+  of Whitby, is very hot, and is near the harbour, which at low tide
+  emitteth odours which are odious; and I think that it is always low
+  tide.
+
+  "There was a concert in this hall in the afternoon, and also in the
+  evening, of the Feast of S. Michael and All Angels. Two of the latter
+  came here to sing. You know them in London as Madame Grisi and Madame
+  Sainton-Dolby. With them came Signor Mario and M. Sainton, and also
+  Herr M. Lutz and Mr. Patey. They all sang or played. Verily, my friend
+  and pitcher (for thou pitchest stones deftly, as it were), it was a
+  refreshment, yea, and a consolation, to hear their voices and their
+  instruments. I will not give you a catalogue of their musical deeds,
+  for I had a bill, but it was borrowed from me by a large Yorkshireman,
+  and he was so very large that I did not like to demand it again.
+  Nevertheless, _La Diva_ sang "The Last Rose of Summer," _a la Flotow_,
+  and made me think of many things--are they not written in the book of
+  the Chronicles of Benjamin, whose name is Lumley? Likewise she sang
+  something out of _Faust_, with il Signor, and other matters, whereof
+  no matter--is it not enough to have seen and heard her? But commend
+  me, (not that I need your commendation) to Madame Sainton-Dolby,
+  inasmuch as that lady sang Handel's 'Lascia ch'o pianga,' and sang it
+  nobly, and sang Smart's 'Lady of the Lea,' and sang Claribel's
+  'Maggie's Secret,' and sang it divinely. You know what M. Sainton can
+  do with his violin, but you do not know what he cannot do with it, nor
+  do I. Il Signor Mario put forth his powers chivalrously, and broke
+  many hearts among the fair York roses. _La Diva_ was dressed in white.
+  Madame Sainton-Dolby was dressed in pink. I was dressed in a black
+  coat, waistcoat, and trowsers, white cravat, lavender gloves, and
+  patent leather boots, and the little boys of Whitby, unaccustomed to
+  such splendour, cheered me as I came out, privately and alone, to dip
+  my beak in the gascon wine, that is, in some excellent beer, in which
+  I now drink your health.
+
+  "If you have another reporter, your own special, in the town (I saw
+  two or three persons who looked disreputable and enthusiastic enough
+  to be musical critics--or even dustmen), and he has kept sober and
+  sent you a report, you need not print this. I do not care a horse's
+  mamma whether you print it or not. But I had a delightful evening, and
+  I do not care who knows it; in fact, I wish everybody to know it, and
+  that is why I write to your widely circulated (and widely yawned-over)
+  journal. You have not been over civil to me of late, which is very
+  ungrateful. You may say, with an attempt at wit, that the owl was a
+  baker's child, and therefore crusty. I believe that you could win the
+  prize for the worst conundrum in any circus in Yorkshire.
+
+  Receive the assurance of my profound respect.
+
+    "Ever yours,
+
+    "WHITBY.
+        "ZAMIEL'S OWL."
+
+While at Whitby, a deputation from the Institute of that town waited on
+John Leech, to ask him to attend at a meeting and speak in promotion of
+the interests of their association. On that day he happened to be too
+ill to bear an interview with more than one of the gentlemen who
+composed the deputation, and was obliged in consequence to refuse the
+request. But the refusal gave the kindly, failing man serious
+disquietude, and fearing it might be thought ungracious, he forthwith
+sent for all his sketches of character from London and presented them to
+the Institute.
+
+Fechter was the leading dramatic star of that time, and his opening
+night differed from the commencement of other theatrical seasons in the
+fact that it invariably attracted together some of the best known men in
+literature and art. At the opening of the Lyceum on Saturday, the 22nd
+of October, were present Messrs. Charles Dickens, Shirley Brooks,
+Hollingshead, Oxenford, Horace Mayhew, Edmund Yates, W. P. Frith, R.A.,
+Creswick, R.A., Marcus Stone, Mr. Burnand (the present editor of
+_Punch_), and Serjeant Ballantine. "The new piece," said Mr. Yates, "was
+splendidly mounted, and never, even in Paris, have I seen Mr. Fechter
+play so perfectly."[165] The said piece was called "The King's
+Butterfly," and Mr. Brooks says of it that, barring the "splendid
+scenery," it was "rubbish" pure and simple.
+
+The Leeches left Whitby on the 3rd of October, breaking their journey at
+York. The artist seemed somewhat better, and ten days after their return
+we find them at a party at the house of Mr. W. P. Frith, R.A., among the
+company being Messrs. Elmore, Creswick, Yates, George Cruikshank,
+Solomon Hart, and others. Between the date of this party, on Thursday
+the 13th, and that of the usual _Punch_ dinner, on Wednesday the 26th of
+October, at which the artist was present, a visible change had, however,
+taken place in the appearance of John Leech. Shirley Brooks afterwards
+had occasion to notice that at this _Punch_ dinner he "complained of
+illness and pain, and I saw that it was difficult to make him
+completely grasp the meaning of things that were said to him without two
+or three repetitions. He left early with Tom Taylor."[166] On the 28th
+of October, the artist himself was conscious that something was wrong.
+He visited Dr. Quain, who assured him that his only chance lay in
+complete and entire rest; and, on returning home, he wrote a note in
+pencil addressed to his old friend, Mr. Frederick Evans, in which he
+mentioned his interview with the medical man, and added that he hoped to
+complete a cut for which a messenger was to be sent, but that he was not
+sure of being able to finish it. A messenger was sent in obedience to
+his desire, but he returned empty-handed. We return at this point to the
+diary of Mr. Shirley Brooks. "I called," he says (29th of October), "at
+27, Bouverie Street, and heard from Evans that he was very ill. We went
+off to the Terrace, Kensington. He was in bed, but no one seemed
+frightened, and there was a child's party--a small one. Mrs. Leech was
+in tears, but certainly had no reason to apprehend the worst. He would
+have seen us. We remained three-quarters of an hour or so, but an opiate
+had been given, so it was of course felt that he ought not to be
+disturbed. Arranged to meet Evans at three next day;" but the fatal
+messenger, who will call for each and every of us, had already delivered
+his summons, and never more (in life) were either of the friends fated
+to see John Leech again. "At seven o'clock that night," continues the
+narrator (in another place[167]), "it pleased God to release him from
+sufferings so severe as even to make the brave, patient, enduring man
+say that they were almost more than he could bear."
+
+Mr. Evans called on Brooks the following day (Sunday, 30th October).
+"After hearing all he could say, I went with him to telegraph to Mark
+Lemon, and also to Leech's. Millais and Leigh at the door--heard much
+from them. Mrs. Chester came up--Charles Eaton, Mrs. Leech's brother and
+best friend, had come. We went in and saw him ... and the poor mother,
+and two of the sisters, and afterwards to the chamber of death. He
+looked noble in his calm; the hair and whiskers put back, gave up his
+fine forehead and handsome features--and the eternal stillness gave his
+face an elevated expression. I looked a very long time on my old
+friend's face. We have known one another many years, and he has been
+engaged with me in business as well as in pleasure. He was very
+kind--very good--and is in heaven, whatever that means."
+
+London was, perhaps, more shocked at the sudden and unexpected death of
+John Leech than even when Thackeray was smitten. The shock radiated all
+over the country; for there was not a household in the land in which his
+name was not familiar as a household word. His personal friends were
+deeply affected--none more so than his attached friend, Charles Dickens.
+Writing at the time to Forster, in reference to his coming book, "Our
+Mutual Friend," he said, "I have not done my number. This death of poor
+Leech (I suppose) has put me out woefully. Yesterday, and the day
+before, I could do nothing; seemed, for the time being, to have quite
+lost the power; and am only by slow degrees getting back into the track
+to day." Mr. John Tenniel heard of the loss of his valued _confrère_
+that same Sunday, 30th October, and "was stunned at the news, totally
+unexpected by him."[168] A special meeting of the _Punch_ staff was
+called by Mark Lemon on the following day; himself, Messrs. Percival
+Leigh, Shirley Brooks, F. C. Burnand, Tom Taylor, Charles Keene, H.
+Silver, John Tenniel,--all were present with the exception of Horace
+Mayhew. With the particulars of that meeting we of course have nothing
+to do; its melancholy character the reader may well imagine.
+
+On Friday, the 4th of November, 1864, they laid John Leech to rest in
+Kensal Green Cemetery, "in the next grave but one to W[illiam]
+M[akepeace] T[hackeray]. When Annie Thackeray heard of the death, she
+[had] said to Mrs. Millais, 'How glad my father will be to meet him!'
+'And he will,'" adds the friend whose note we have transcribed.[169] We
+take the account of his burial from Mr. Edmund Yates's impressive and
+touching account in the _Morning Star_ newspaper. "The scene round the
+grave was a most impressive one. There, ranged round the coffin, stood
+the remnant of that famous body of wits who had caused the name of
+_Punch_ to be famous at the ends of the earth; there, in the coffin, lay
+all that was earthly of him who, more than any of them, had helped to
+spread its renown, and to win for himself a name familiar as a household
+word in all our English homes. By its side stood Mark Lemon, who, for
+two and twenty years has presided over the weekly dinner where the good
+things are suggested, and the weekly sheet whereon they are inscribed;
+who has seen comrades fall out of the ranks in the march of life, and
+perish by the wayside. And such comrades! Gone the brilliant, meteoric
+A'Beckett; fiery, impulsive, scathing Jerrold; playfully cynical
+Thackeray; and now--_John Leech_! There stood Shirley Brooks, who since
+Jerrold's death has been _Punch's_ literary mainstay; Tom Taylor,
+working now in other channels, but still attached to the staff; Horace
+Mayhew and Percival Leigh, old colleagues of the dead man; F. C. Burnand
+and H. Silver, the youngest of the corps; and John Tenniel, who had
+taken Mr. Doyle's place on his secession, and worked in thorough amity
+with Leech. Over the coffin bowed the handsome head of Millais in
+overwhelming grief. All round one caught glimpses of well-known people.
+There, in the front rank of the crowd, was the frank, earnest face of
+Charles Dickens; by him Alexander Munro, the sculptor; there a group of
+artists--Messrs. Creswick, O'Neil, and Elmore;[170] Messrs. Mowbray,
+Morris, Dallas, and W. H. Russell, of the _Times_. At the back of the
+grave, by the canopy, Mr. W. P. Frith, R.A.; near him a group of
+journalists--Messrs. Friswell, Halliday, Gruneison; Mr. Swain, the
+engraver, who had had for years the engraving of Mr. Leech's drawings;
+Richard Doyle; Mr. Orridge, the barrister; the Rev. C. Currey, preacher
+of the Charter House; Lieutenant-Colonel Wilkinson, who had had John
+Leech for his school-fellow and fag at Charter House; while amateur art
+was worthily represented by Messrs. Arthur Lewis, M. F. Halliday, and
+Jopling. And there, in the bright autumn sunshine, they laid him to his
+rest. Sir T. N. Talfourd relates that at the burial of Charles Lamb,
+'the true-hearted son of Admiral Burney refused to be comforted.' It is
+our task to record that round the grave of John Leech there was not a
+dry eye, and that some of his old companions were very painfully
+affected. The most beautiful part of the service was read by Mr.
+Hole,[171] in an earnest manner, broken occasionally by convulsions of
+grief which he had some difficulty in repressing, while here and there
+among the crowd loud sobs told of hearty though humble mourners."
+
+On the 12th of November, 1864, there appeared in the pages of the
+periodical he had so well served, whose pages he has permanently
+enriched with some of the choicest specimens of graphic satire, and with
+whose fortunes he had been associated from the commencement, the
+following touching notice from the pen of his friend, the late Shirley
+Brooks:--
+
+           JOHN LEECH,
+  OBIIT OCTOBER XXIX, MDCCCLXIV,
+           _Ætat 46._
+
+"The simplest words are best where all words are vain. Ten days ago a
+great artist, in the noon of life, and with his glorious mental
+faculties in full power, but with the shade of physical infirmity
+darkening upon him, took his accustomed place among friends who have
+this day held his pall. Some of them had been fellow-workers with him
+for a quarter of a century, others for fewer years; but to know him well
+was to love him dearly, and all in whose name these lines are written
+mourn as for a brother. His monument is in the volumes of which this is
+one sad leaf, and in a hundred works which at this hour few will
+remember more easily than those who have just left his grave. While
+society, whose every phase he has illustrated with a truth, a grace,
+and a tenderness heretofore unknown to satiric art, gladly and proudly
+takes charge of his fame, they, whose pride in the genius of a great
+associate was equalled by their affection for an attached friend, would
+leave on record that they have known no kindlier, more refined, or more
+generous nature than that of him who has been thus early called to his
+rest.
+
+  NOVEMBER THE FOURTH."
+
+
+FOOTNOTES:
+
+  [156] I estimate the number of his cartoons as nearly as possible as
+    follows:--
+
+    1842    3      1850   37      1858   30
+    1843   11      1851   42      1859   21
+    1844   42      1852   35      1860   15
+    1845   43      1853   32      1861   10
+    1846   35      1854   34      1862    4
+    1847   35      1855   41      1863    3
+    1848   38      1856   33      1864    4
+    1849   37      1857   33
+
+  [157] Shirley Brooks in _Illustrated London News_ of 19th November,
+    1864.
+
+  [158] Charles Mackay's "Forty Years' Recollections."
+
+  [159] "Thackeray the Humourist and the Man of Letters," p. 12.
+
+  [160] MS. Diary of the late Shirley Brooks, 1st January, 1864.
+
+  [161] Died on the 18th of December, 1864, exactly within a year from
+    the date of her son's death.
+
+  [162] Shirley Brooks in _Illustrated London News_ of 19th November,
+    1864.
+
+  [163] "I suggested the cut, Moses being dressed for the Fair, Johnny
+    Russell for the Conference." MS. Diary of the late Shirley Brooks.
+
+  [164] The first time I find mention of his name is on the 22nd of
+    March, 1864, when the late Shirley Brooks met him at a party at Mr.
+    Ernest Hart's, 69, Wimpole Street. Some years afterwards, he adds in
+    a note, "Met him next at Whitby." I first meet with his name at a
+    _Punch_ council, 7th November, 1864: "Dumaurier first time."
+
+  [165] Mr. Yates in _Morning Star_.
+
+  [166] MS. Diary of Shirley Brooks: 29th October, 1864.
+
+  [167] _Illustrated London News_, 19th November, 1864.
+
+  [168] MS. Diary of Mr. Shirley Brooks.
+
+  [169] _Ibid._
+
+  [170] H. K. Browne ("Phiz"), T. Landseer, George Cruikshank, Marcus
+    Stone, Sir John Gilbert, and Mr. Philips, R.A., were also present.
+
+  [171] The Rev. J. Reynolds Hole, author of "A Little Tour in
+    Ireland," to which his friend, John Leech (who accompanied him),
+    contributed some of the most charming of his illustrations.
+
+
+
+
+CHAPTER XVI.
+
+_A BOOK ILLUSTRATOR: HABLOT KNIGHT BROWNE._
+
+
+In a work dealing with comic artists and caricaturists, one is somewhat
+puzzled to decide what place to assign to the distinguished draughtsman
+who died a year and a half ago. _Ultimus Romanorum_, the last of the
+great trio of designers, Cruikshank, Leech, and Browne, his career
+offers to us a singular paradox; for although not born a comic artist
+(as we shall endeavour presently to show), he executed a vast number of
+comic illustrations; and while, so far as we know, never guilty of a
+caricature in his life, the larger portion of his drawings are
+caricatures pure and simple.
+
+We might cite a hundred examples of this tendency to exaggeration, but
+one shall suffice. In the etching wherein Miss Nickleby is introduced to
+her uncle's objectionable friends, Miss Nickleby as well as the
+"friends" are remarkable for the largeness of their heads and the
+flimsiness of their bodies; while the men, if not exactly like those
+described by Pliny, or quoted from him (without acknowledgment) by our
+Sir John Mandeville, are at any rate too grotesque for human beings. If
+humanity offers to our study in daily life a variety in form, face, and
+feature, comprising eccentricities as well as excellencies, such
+specimens, nevertheless, as poor Smike or Mr. Mantalini were never
+designed in its _atelier_.
+
+[Illustration:
+  PHIZ. "_Master Humphrey's Clock_," 1840-1.
+
+  THE DEPARTURE.
+
+  _Face p. 336._]
+
+The artist's invincible tendency to exaggeration, that is _caricature_
+(in the Johnsonian definition of the word), was observed by his friend
+and ally, the late Charles James Lever, who remarked with reference to
+his illustrations of the novel of "Jack Hinton," "Browne's sketches are
+as usual _caricatures_; they make my scenes too riotous and
+disorderly. The character of my books for uproarious people and incident
+I owe mainly to Master Phiz."[172] When Samuel Lover was sent over to
+Brussels by McGlashan, the publisher, to take a likeness of the
+novelist, he was accompanied by Browne, the object of whose visit was to
+confer with the author on the subject of these very illustrations. Lever
+was so anxious to restrain him from caricaturing his countrymen, that he
+even begged Browne to accompany him to Dublin for the purpose of seeing
+the _natives_, instead of the wretched specimens of Milesian humanity to
+be met with in London.
+
+
+  LACK OF VITALITY.
+
+Another fault of this artist, which will be apparent to any one
+acquainted with his work, is the weakness of his outline, and the
+singular absence of solidity, stability, and even of _vitality_ in his
+figures. There is no lack of powerful situations in Frank Smedley's
+novel of "Lewis Arundel," but Browne's illustrations are characterised
+by an utter absence of vitality, while shadow usurps the place of
+substantial bone and muscle. There are the usual thread-paper men in
+tail hats, with trousers so tightly strapped to their feet that they
+must go through the tedium of existence in intolerable discomfort. In
+one picture he shows us a fragile, attenuated man holding another
+fragile, attenuated man over the well of a staircase by the waistband of
+his trousers, a feat which, difficult of performance to a Hercules,
+would be absolutely beyond the power of a person so fragile, so
+absolutely destitute of bone and muscle, as the hero of this particular
+episode.
+
+The weakness of which we now speak becomes strikingly apparent when he
+enables us to compare him with either of the distinguished trio to which
+he himself belonged. Such an opportunity offers itself in Mr. R. W.
+Surtees' novel of "Mr. Facey Romford's Hounds." Compare John Leech's
+illustration, _Fresh as a Four-Year Old_ (the last he executed for the
+novelist before his firm, free hand was paralysed by death), with Hablot
+Knight Browne's first etching in the same book. A better subject,
+surely, could scarcely have been selected: the hounds have just been
+let out of the kennel, and in actual life would, of course, be
+scampering over the place in all the exuberant consciousness of canine
+freedom; the scene, in fact, would be redolent of life and excitement,
+which is wholly wanting to Browne's illustration. "Phiz," from boyhood,
+had been accustomed to horses, and frequently hunted with the Surrey
+hounds, and to this circumstance is due the facility with which he
+usually delineated horses in the hunting field. In the delineation of
+hunting scenes, however, he falls far behind John Leech, and this
+inferiority is strikingly manifested in the illustration to which we are
+now referring. If you compare the fragile men, horses, and hounds, with
+those in Leech's last etching, you cannot fail to be struck with the
+vigour and life-like reality of the latter drawing. Browne's women as a
+rule are delicate, fragile, consumptive-looking creatures. The one in
+the etching referred to is both physically weak and a bad horsewoman to
+boot--sitting her horse with all the ungracefulness of a sack of flour.
+
+Another weakness of Hablot Knight Browne is a tendency to reproduce. If
+you look at any of his "interiors," it will be apparent to you that the
+men and women--the furniture and fittings--the room itself, you have
+seen any number of times before. Charles Chesterfield becomes Nicholas
+Nickleby, and Nicholas Nickleby Harry Lorrequer; and with the slightest
+possible rearrangement, the scenes in which these gentlemen figure from
+time to time are so much alike, that we are reminded for all the world
+of the set scenes and artificial backgrounds of a photographer's,
+"studio." Take "Nicholas Nickleby," by way of example: the room in which
+old Ralph Nickleby first finds his poor relations, does duty (with the
+slightest possible rearrangement) for the Yorkshire schoolmaster's room
+at the Saracen's Head; while a room in Kenwig's house becomes
+successively an apartment in Mr. Mantalini's residence, a green-room,
+Mr. Ralph Nickleby's office, Mr. Charles Cheeryble's room, a
+hairdresser's shop, and so on. The illustrations to a novel may not
+inaptly be compared to the scenery and characters of a drama, and a
+theatre furnished with such a dearth of scenery and "properties," would
+be a poor affair indeed. This tendency to reproduction becomes
+strikingly apparent wherever a romantic hero puts in an appearance.
+Thus, Mrs. Trollope's Charles Chesterfield in a frock coat, becomes in a
+tailcoat Charles Dickens's Nicholas Nickleby; in another frock coat,
+Martin Chuzzlewit; while a military surtout converts him, with equal
+facility, into Charles Lever's Jack Hinton or Harry Lorrequer, according
+to the exigencies of the costume. The strange part of it is that this
+peculiarity is shown almost exclusively in the delineation of heroes of
+fiction. The imagination of the artist is evidently impressed by marked
+and clearly defined characters such as Squeers, Pecksniff, Gamp, Dombey,
+Macstinger, Quilp, or Carker, and their identity as a rule is admirably
+preserved. If pressed for an explanation, it is possible that Browne
+might have pleaded that heroes of romance present for the most part,
+with a few notable exceptions, a strong family likeness, being little
+better than dummies, introduced by their authors for the purpose of
+setting off personages possessed of greater force of character and
+decision of purpose. Be this as it may, the singular failing we refer to
+is certainly no mere fancy of our own. Charles Lever himself complained
+that in the supper scene of his second number, Lorrequer bore so
+striking a resemblance to his contemporary, Nicholas Nickleby; while his
+biographer, Mr. Fitzpatrick, observes that the identity of Harry
+Lorrequer is never maintained throughout the novel, that mercurial hero
+being alternately represented old, young, good-looking, and ugly. So
+much indeed was Lever impressed with the fact, that he actually besought
+the artist to represent O'Malley the _same person throughout the book_.
+A knowledge of Irish physiognomy was essential to any illustrator of
+Lever's novels, and Hablot Knight Browne was so innocent of this
+knowledge that the author begged him to go down to the House of Commons
+and study the faces of the Irish members there, as the only accessible
+method of obtaining the necessary insight in England.
+
+Hypercriticism, happily, would be out of place in a work dealing with
+caricaturists and graphic humourists of the nineteenth century. Faults
+such as those the author has ventured to indicate appear to him faults
+indeed of a grave character; but, while conscious of defects which
+cannot fail to be patent to the most ordinary observer, he is conscious
+at the same time of the great abilities of the artist, who like those of
+whom he has already treated, has passed over to the ranks of "the great
+majority." If the scenery and properties are sometimes poor,--if there
+is no genius, and oftentimes a lack of decision and reality, there is on
+the other hand no lack of talent; and there are many designs of Hablot
+Knight Browne which place him in the very first rank of English book
+illustrators. His etching of _The Goblin and the Sexton_ (the eccentric
+yew-tree notwithstanding), _Mr. Pickwick in the Pound_, and the very
+admirable little etchings which we find in that rare _Paper of Tobacco_
+by "Joseph Fume," may be favourably compared with some of the best comic
+illustrations of George Cruikshank himself.
+
+[Illustration:
+  PHIZ. "_Master Humphrey's Clock_," 1840-1.
+
+  DICK SWIVELLER AND THE LODGER.
+
+  _Face p. 340._]
+
+
+  "NICHOLAS NICKELBY."
+
+Can any picture tell its story better than that first illustration to
+"Nicholas Nickleby," where old Ralph pays his "visit to his poor
+relations"? Mark the supercilious air with which the vulgar moneylender
+hands his hat to Nicholas, and the unveiled contempt with which he
+receives the attentions of poor Mrs. Nickleby and her daughter. A no
+less admirable illustration is the one wherein we see the Yorkshire
+schoolmaster nibbing his pen, whilst Snawley consigns his wretched
+step-sons to the tender mercies of the principal of Do-the-boys Hall.
+Observe the extraordinary anatomical proportions, hat and toggery, of
+Mr. Newman Noggs, as he stretches up to the top of the coach to hand a
+letter to Nicholas. Regard the nightcap and head-gear of the detestable
+Mrs. Squeers, as she administers matutinal brimstone and treacle to the
+starving pupils of Do-the-boys Hall. Mark the astonishment of Squeers
+and his victim, as the savage goes down under the thundering blows of
+Nickleby's cane. Look at the old imbecile declaring his passion for the
+foolish Mrs. Nickleby. Behold his knee-breeches and shorts protruding
+from the chimney, when his benighted intellect prompted him, at the
+imminent hazard of strangulation, to pay a visit to the object of his
+affections _via_ that unusually circuitous route. Look at the fatal
+brawl between Sir Mulberry Hawk and his hopeful pupil; and rejoice at
+the final retributive justice which overtakes Mrs. Squeers, when she
+falls into the hands of her late victims, and is drenched in her turn
+with the loathsome brew she had so long administered to themselves.
+
+
+  "MARTIN CHUZZLEWIT."
+
+Specially noteworthy is the bright little picture on the title-page,
+where the coach, with its spanking four-in-hand, gallops on its distant
+journey after depositing Martin Chuzzlewit at his destination. The
+guard, as he mounts up behind, watches with curious interest Pecksniff's
+unctuous reception of the new pupil. Nothing can well be cleverer than
+his realization of the _Pleasant Little Family Party at Mr.
+Pecksniff's_, where that hypocritical personage, surrounded by foes,
+assumes a look of persecuted benevolence, and gravely requests his
+daughter, when he takes his chamber candlestick that night, to remind
+him to be more particular in praying for Mr. Anthony Chuzzlewit, "who
+had done him an injustice." _The Warm Reception of Mr. Pecksniff by his
+Venerable Friend_ gives us the liveliest satisfaction. If old
+Chuzzlewit's face is one of the "caricatures" referred to, it must be
+remembered that it is distorted with passion, and the fact is forgotten
+in the satisfaction with which we hail the detection and punishment of
+the whining rascal, the sting of which is envenomed by the astounding
+revelation that all the while he has been weaving his web of falsehood
+around his intended victim, he himself has been the dupe of the man he
+had schemed so long to hoodwink and deceive.
+
+
+  "THE OLD CURIOSITY SHOP."
+
+Regard again Quilp, the dwarf, and his elfin errand boy (in the "Old
+Curiosity Shop"), enjoying the agonies of Sampson Brass as he essays to
+smoke a long churchwarden. Behold Quilp upon his back taunting the large
+fierce dog with hideous grimaces, triumphant in the consciousness that
+the shortness of his chain will not permit him to advance another inch.
+Look at Mrs. Jarley's wax-work brigand, "with the blackest possible head
+and the clearest possible complexion," going his rounds in the company
+of little Nell, his eyes fixed on the miniature of his lady-love, and
+his hand pressed to his stomach instead of his heart. Behold the dwarf
+once more, as he entertains Sampson and his sister Sally in the ruined
+outhouse overlooking the river; the rain pours down on the head of the
+hapless attorney, who, with coat buttoned up to the chin, and evidently
+suffering from severe influenza, looks the picture of shivering
+discomfort. Although in no better plight herself, Sally rejoices in the
+sufferings of her brother, and as she sips her tea, her repulsive
+features are distorted with a hideous grin of satisfaction. Quilp,
+seated on his barrel beneath the only remnants of a roof, occupies a
+comparatively dry corner, and looks the very picture of rollicking fun
+and enjoyment.
+
+
+  "BUNSBY."
+
+But incomparably one of the best of Browne's comic illustrations is the
+one in "Dombey," wherein Captain Cuttle encounters Mrs. Macstinger in
+charge of Bunsby, bent on rivetting matrimonial chains upon that
+confused and ancient mariner. Bunsby is one of the happiest of Dickens's
+creations; stupid as an owl, he has nevertheless an oracular mode of
+delivering himself, and the simple-minded Cuttle places as much reliance
+upon this wooden-headed sailor as the ancients did on the mysterious
+utterance of the Delphic Apollo. That the powerful will of Macstinger
+should hold himself in subjugation so long as he was under the dominion
+of her eye was a matter of course; but that this man of wisdom should be
+so easily boarded and captured by the enemy, is so absolutely beyond his
+simple comprehension that he scratches his head in sheer amazement. As
+for poor Bunsby, the cup of his humiliation is full. So far as his
+wooden features are capable of expression, they indicate two distinct
+trains of thought: a conviction that his own pretensions have been
+detected and exposed, and a desire to run,--an inclination repressed by
+the powerful clutch of his strong-minded bride, who retains his wrist in
+a grasp of iron. Compare the look of bewilderment on Cuttle's face with
+the look of mingled contempt and triumph on the features of Macstinger;
+and then look at poor Bunsby!
+
+"Phiz" began etching when he was seventeen, and was in full work when he
+was twenty-one. It was his three drawings on the wood for Dickens's rare
+tract, "Sunday Under Three Heads,"[173] which introduced him first to
+public notice. This was intended as a protest against the cant and
+narrow-mindedness of the bigots whose ignorance of the sacred writings
+is so dense that they confound the Jewish Sabbath (_i.e._ the Saturday)
+with the English Sunday; misunderstand (which in their ignorance of
+Hebrew may be excusable) the directions to _his own people_ of the
+Jewish law-giver,--and ignore (which is absolutely inexcusable) the
+dictates of common sense, and the plain directions of our Saviour and of
+the Gentile Apostle. The strong common sense of Charles Dickens, and of
+many good Christian men after him, have striven in vain to expose an
+error due to the narrow-mindedness of our Puritan forefathers, to whom
+are due also the impurities of Dryden and of the dramatic writers of the
+Restoration. Cant, however, has prevailed; and the English Sunday--to
+the delight of these fanatics, and the absolute terror of their
+children--remains the most unrefreshing and most doleful of the seven
+days of the week.
+
+
+  THE "JACK SHEPPARD" MANIA.
+
+Theatrical London in 1840 was visited by an excitement second only to
+the "Tom and Jerry" mania of 1821. The mania of 1840, if occupying a
+narrower area, was more morbid in its character, and certainly not less
+mischievous in its results. Harrison Ainsworth had brought out his
+peculiar romance of "Jack Sheppard," which, resting on its own merits,
+might have achieved perhaps a mild popularity and done but little harm.
+Thanks, however, to the genius and fancy of George Cruikshank, the
+public became for a time Sheppard mad; the heroes presented to admiring
+and applauding audiences at the theatres were murderers, housebreakers,
+highway robbers, thieves, and their female companions. The morbid taste
+of the populace had in fact been thoroughly roused, a condition of
+things which was satirized by the artist's little-known etching of _The
+Way to the Gallows made Easy and Pleasant_, which appeared in "The New
+Monthly Magazine" of 1840.[174] The inventive powers of the artist were
+almost _nil_, and the rare and able etching referred to was suggested to
+him by John Poole, the author of "Paul Pry," to whom we are indebted for
+the descriptive letterpress: "At the foot of a gently sloping path
+strewed with flowers, stands a gibbet decorated, not with a halter, but
+wreaths of roses. Around it are many tombs of elegant construction,
+supposed to enclose the ashes of the illustrious departed. Upon one is
+inscribed, 'Here repose the mortal remains of the ever-famed Jerry
+Abershaw'; upon another, 'Sacred to the memory of Poor Johnny
+Greenacre.' A third is remarkable for its touching simplicity--'Alas!
+Poor Thurtell!' Another, somewhat more elaborate, gives us 'Burke and
+Hare! As they were loving friends in life, so in death are they
+undivided! Erected by their affectionate disciples, Bishop and May.'
+Besides these there are many others all bearing names of mark and fame.
+The whole is surrounded by a pretty arabesque composed of crowbars and
+other implements of burglary, pistols, knives, death's heads and
+cross-bones, halters, handcuffs, and fetters, ingeniously disposed and
+prettily intertwined with wreaths of roses."
+
+We said at the opening of this chapter that "Phiz" was not _born_ a
+comic artist. He possessed a certain amount of humour, which was evoked
+in the first instance by the example of Cruikshank, and his abilities
+and desire to emulate the greater artist have enabled him unquestionably
+to realize many humorous designs. It is impossible, however, to examine
+the numerous etchings of this draughtsman, without coming to the
+conclusion that he is always seen at his best when not called on to
+exercise his purely comic powers. Take by way of example, _The Venice
+Glass_, in Ainsworth's romance of "Crichton"; you will need no reference
+to the letterpress to understand it, for the artist tells his story far
+better than the novelist. Observe Crichton as he raises the goblet, and
+the poisoned wine bubbles and boils, and finally shivers the chalice
+into a thousand fragments; regard the agitation of Marguerite de Valois;
+the keen attention of Henri and his attendants. Where shall we find a
+finer illustration than the one in this book in which Esclairmonde is
+presented to Henri? The meeting of Mr. Tigg and Martin Chuzzlewit at the
+pawnbroker's shop is full of pathos. Look at the poor, wasted but still
+handsome mother waiting her turn whilst the gin-drinking laundress pawns
+her flat-irons to gratify her passion for the deadly drink; note the
+_insouciance_ of the thoughtless musician as he twangs the guitar which
+he is about to pledge, though probably dependent on it for bread. Notice
+the pictures above,--the Bacchante pressing grapes into a wine cup,--the
+bailiff distraining for rent. Hablot Knight Browne has no powers which
+would enable us to compare him with Hogarth, and yet the grim reality of
+this picture Hogarth himself might almost admire.
+
+Regard again that wondrous tailpiece at page 96 of "The Old Curiosity
+Shop," where Quilp, the odious dwarf, sits up all night smoking and
+drinking, his countenance every now and then "expanding with a grin of
+delight" as his patient, long-suffering wife makes some involuntary
+movement of restlessness or fatigue. Look at poor, wasted, shoeless
+Nell, as she reclines on the settee of the public-house, surrounded by
+sympathisers,--the kind-hearted motherly landlady administering mental
+and bodily solace to the motherless child,--the poor, foolish, gambling
+grandfather gazing into her face with wistful anxiety. Lastly, look at
+the ghastly corpse of old Quilp as he lies dead amid the mud and slime
+of the river, which, after playing with the ugly, malicious, ill-shapen
+thing until it was bereft of life, flung it contemptuously high and dry
+upon the swamps at low tide.
+
+
+  "DOMBEY AND SON."
+
+"Dombey and Son" called for comparatively little exercise of Browne's
+_comic_ power, and consequently we shall find in this book examples of
+some of his finest book etchings. The pompous London merchant, the
+frigid influence he exercises on those about him, the distrustful look
+of the nurse as she brings baby Paul into his presence, the shrinking
+form of little Florence as the frightened child cowers with folded hands
+behind her repellent father's chair, are finely depicted in the etching
+of _The Dombey Family_. In _Mrs. Dombey at Home_, the proud, haughty
+beauty chafing under the consciousness that she has been sacrificed to
+the wealth of the heartless merchant, takes no pains to veil the
+contempt she feels for the admiring men who surround her. These men (by
+the way) are scarcely men at all, they are all grossly exaggerated; but
+"Phiz," like many artists of greater pretensions, has sacrificed
+everything to his central figure, and the presence and bearing of the
+disdainful beauty makes the _coup d'oeil_ delightful. _Abstraction and
+Recognition_ is a wonderful etching; both man and horse are admirably
+drawn, whilst the figures scowling out of the dark entry on the passing
+and unconscious horseman require no reference to the letterpress. In his
+etching of _The Dark Road_, Mr. Browne developed a style of etching of
+which he afterwards frequently availed himself, and by which (as in
+"Bleak House" and "Roland Cashel") he sometimes succeeded in producing
+remarkable effects. It shows us a postilion driving a team of horses
+over a dark and dreary road bordered on either hand by dismal moorland;
+the streaks of the approaching dawn illuminate the edges of the
+landscape; the single occupant of the berlin, unable to control his
+agitation, stands upright, and gazes anxiously around him. So realistic
+is the drawing, that as we look at the flying team we may almost hear
+the jingle of the splinter-bars and harness as the horses rattle along
+the dismal road. Cruikshank, to save his life, could draw neither a
+horse, a tree, or a pretty woman; when he did so it was rather by
+accident than by design. "Phiz" (with all his faults) could draw all
+three, and impart to them a grace, a beauty, and a poetry peculiar to
+himself. Look at that etching of _Carker in his Hour of Triumph_, where
+Edith, after using the villain as a tool to revenge herself upon her
+husband, turns upon her miserable dupe with all the force of her
+superior intellect, and laughs in the face of the man she has so
+egregiously befooled. This really is an admirable drawing; the anger and
+humiliation on the face of the dumbfounded villain, who feels himself
+absolutely powerless in the hands of the scornful, resolute woman, are
+powerfully depicted. A more perfect realization of Edith Dombey it seems
+to us could scarcely be imagined. Leech, _perhaps_, might have reached
+the idea. He would certainly have put more breadth and solidity into the
+figure of Carker; but the woman he could scarcely have improved upon--I
+doubt if he could have matched her. As for Cruikshank, he would have
+given her an impossible waist, a puffy face surmounted with bandeaux of
+raven hair scrupulously plastered to each side of her lofty forehead;
+whilst Carker would have been presented to us in an uncomfortable
+coat, hair parted and dressed after the Cruikshankian fashion, and a
+pair of boots at least half a yard in length.
+
+[Illustration:
+  PHIZ. "_Master Humphrey's Clock_," 1840-1.
+
+  THE RIOTERS.
+
+  _Face p. 346._]
+
+
+  "BLEAK HOUSE" AND "ROLAND CASHEL."
+
+"Bleak House" (1852-3) has been described as the most successful of
+"Phiz's" illustrated work; but although it contains some of the best
+etchings he ever designed for Charles Dickens, the rest are in truth of
+unequal merit. Among the best may be mentioned _Consecrated Ground_;
+_The Old Man of the name of Tulkinghorn_; _Morning_; _Tom All Alone's_;
+and the sunset scene in the _Long Drawing-room at Chesney Wold_. In the
+dreary twilight of the _Ghost's Walk_ and of the room in which the
+murder was consummated we have a pair of drawings unsurpassed by any of
+the illustrations he executed for Charles Lever's "Roland Cashel," which
+last contains unquestionably the finest of his designs.
+
+Of all his illustrators, Hablot Knight Browne was the one who best
+suited the requirements of Charles Dickens. A man of talent without a
+single idea of his own, he was found more malleable and manageable than
+Cruikshank, who, as we have seen, would have had a hand (if he could)
+not only in the illustrations, but also in the management of the story.
+The conditions under which "Phiz" illustrated "Pickwick" were wholly
+different from those which poor Seymour had endeavoured to impose upon
+his author. "It is due to the gentleman," says Dickens, in his preface
+to the "Pickwick Papers," "It is due to the gentleman whose designs
+accompany the letterpress, to state that the interval has been so short
+between the production of each number in manuscript and its appearance
+in print, that the greater portion of the illustrations have been
+executed by the artist from the author's _verbal description of what he
+intended to write_." Cruikshank would certainly not have done this, and
+we doubt whether John Leech would have consented to work under such
+conditions. But as regards Browne, the case was entirely different. He
+had no _genius_ or ideas of his own, and could only work from the
+suggestions of others. The interest and anxiety which Dickens felt in
+the character of the illustrations to his novels, is shown by reference
+to the illustrations to "Dombey." "The points for illustration, and the
+enormous care required, make me," he says, "excessively anxious! The man
+for Dombey, if Browne could see him, the class of man to a T, is Sir
+A---- E----, of D----s. Great pains will be necessary with Miss Tox. The
+Toodle family should not be too much caricatured, because of Polly." As
+the story unwinds itself, he proceeds, "Browne is certainly interesting
+himself and taking pains;" and again, in another letter, "Browne seems
+to be getting on well." Still "Browne," with all his pliability, found
+it a hard matter to please him. He made a particular point of Paul, Mrs.
+Pipchin, and the cat by the fire; and the result to himself was so
+eminently unsatisfactory that it produced a characteristic protest. "I
+am really distressed by the illustration of Mrs. Pipchin and Paul. It is
+so frightfully and wildly wide of the mark. Good heaven! in the
+commonest and most literal construction of the text, it is all wrong!
+She is described as an old lady, and Paul's 'miniature arm-chair' is
+mentioned more than once. He ought to be sitting in a little arm-chair
+down in a corner of the fireplace, staring up at her. I can't say what
+pain and vexation it is to be so utterly misrepresented. I would
+cheerfully have given a hundred pounds to have left this illustration
+out of the book. He never could have got that idea of Mrs. Pipchin if he
+had attended to the text. Indeed, I think he does better without the
+text; for then the notion is made easy to him, a _short description_,
+and _he can't help taking it in_." This last sentence exactly describes
+the man: a personal description with him did more than any amount of
+letterpress, however lucid.
+
+One may readily understand this almost nervous anxiety of Charles
+Dickens with reference to the _character_ of his illustrations. He
+worked, be it remembered, under conditions entirely different to the
+novelist of a later date. The etched illustrations of his day formed a
+most important--in some cases (the works of inferior men, such as Albert
+Smith, for instance) by far the most important--portion of the work
+itself. Under the charm of the illustrations and the mode of issue, the
+tale was protracted to a length which would be impossible in a novel of
+Charles Reade or Wilkie Collins, which depends for its success upon the
+skill of the novelist alone. The novel issued in monthly numbers
+depended on two sources of attraction--the skill of the novelist and the
+skill of his artistic coadjutor. Dickens' requirements, however, were of
+so exacting a nature that they proved in the end too exacting even for
+the patience of the accommodating artist, and the reader will not be
+surprised to learn that a coolness was ultimately established between
+artist and author, the outcome of which was the employment of Marcus
+Stone and Luke Fildes on the later novels of "Our Mutual Friend" and
+"Edwin Drood."
+
+Those who would find fault with Charles Dickens for the mode in which he
+controlled his artists quite fail to understand the man himself.
+Although he had no knowledge of the pencil, although he himself had no
+knowledge of drawing, he was nevertheless a thorough artist in heart and
+mind. There is scarcely a character in his books which does not show the
+care and thought which he bestowed upon its elaboration. Ralph Nickleby,
+Squeers, Smike, little Nell, Quilp, Barnaby Rudge, Steerforth, Paul
+Dombey, Lady Dedlock, Joe, each and all show how carefully they were
+elaborated; how distinctly they presented themselves to the retina of
+the mind of their distinguished creator. When this is borne in mind, it
+will be at once understood why the Mrs. Pipchin of Hablot Browne was not
+_the_ Mrs. Pipchin with whose outward appearance and mental
+peculiarities the author himself was so intimately acquainted.
+
+
+  "AURIOL."
+
+Notwithstanding the exhibition, after his death, of water-colours and
+other works, which took the public by surprise, Hablot Knight Browne
+will continue to be known to most of us as an illustrator of books, and
+nothing more. "Oh! I'm aweary, I'm aweary," he said himself in a letter
+to one of his sons, "of this illustration business." Some of these
+illustrations, however, are wonderfully graceful, and one in particular
+seems to call for special notice. It will be found in the "New Monthly
+Magazine" for 1845, and is undoubtedly one of the best examples of the
+artist's work which may be found anywhere. It represents a prisoner in a
+dungeon lying at the foot of a pillar, which, except in a ghastly carved
+work running round it of skulls and cross bones, reminds us somewhat of
+Bonneval's pillar at Chillon. The lights and shadows are wonderfully
+rendered, and the work is characterized by a softness, a beauty, and a
+finish only to be observed in work which took the artist's fancy. This
+etching is entitled, _Rougemont's Device to Perplex Auriol_; and
+Ainsworth's story which it illustrates--a peculiarly unsatisfactory
+one--commenced, I think, in "Ainsworth's Magazine," passed into the "New
+Monthly," when its author purchased that periodical in 1845, and
+(whether the novelist got himself into an intellectual fix or otherwise
+I know not) finished, I believe, eventually nowhere.
+
+Browne indeed finds a place here more by virtue of his book
+illustrations than by reason of any just pretensions to be considered a
+graphic humourist. His comic powers appear to us more the result of
+education and emulation than natural gifts, and the consequence is, that
+in attempting to be funny, his work too often degenerates into absolute
+exaggeration. His excellencies must be sought for in his serious
+illustrations, which fall more within the province of the art critic
+than the scope and purpose of a work which treats of graphic satirists
+and comic artists of the nineteenth century. Some of his finest
+illustrations of a serious character will be found in the pages of the
+"Illuminated Magazine"; in Charles Lever's admirable story of "St.
+Patrick's Eve"; in the "Fortunes of Colonel Forlogh O'Brien"; in
+Augustus Mayhew's "Paved with Gold"; in Ainsworth's "Mervyn Clithero";
+and "Revelations of London"; and above all, in Charles Lever's novel of
+"Roland Cashel."
+
+Hablot Knight Browne lived to see the decline and fall of that peculiar
+and powerful art of book illustration which was introduced by
+Cruikshank; was fostered and encouraged by Charles Dickens, Charles
+James Lever, their imitators and contemporaries; and died, so to speak,
+with these distinguished men. His work in later years, as might
+naturally have been expected, shows a woeful decline of power; and when
+the suggestors from whom he derived inspiration were no longer at his
+back, the poverty of invention which characterized the man when left to
+his own devices becomes painfully apparent.
+
+"Phiz" drew in later years for _Judy_ and other comic papers, and it is
+simple justice to say that his designs are characterized by an utter
+absence of comic power. The true comic inspiration possessed in so
+wonderful a degree by Cruikshank, by John Leech, and even by Robert
+Seymour, he never indeed possessed. Some fifteen years before his death
+he suffered from incipient paralysis, and furthermore injured his thumb,
+which obliged him to hold his pencil between his middle and
+fore-fingers. Gradually this great and graceful artist dropped so far
+behind in the race of life that he yielded latterly to proposals to
+illustrate boys' literature of a very inferior class.
+
+In addition to an absence of comic inspiration, the _creative_ faculty
+of Cruikshank and Leech was wanting to Hablot Knight Browne. In order to
+carry out an idea, it was necessary that it should be put into his head;
+for leave him to himself, and he could do absolutely nothing.[175]
+George Cruikshank and John Leech after receiving instructions would
+proceed to realize them in their own way and after their own fashion;
+but this was not the case with Hablot Knight Browne. While he could
+realize the idea of another with peculiar success when the subject took
+his fancy, he could neither enlarge nor improve upon it, and in this
+lies the difference between _genius_ and mere ability. Lacking an
+inherent sense of humour, he copied Cruikshank, and hence his
+exaggerations and failures as a _comic_ designer; but he was _ultimus
+Romanorum_,--the last representative of the famous men whose art was
+fostered and encouraged by Charles Dickens, by Charles Lever, by
+Harrison Ainsworth, and by Richard Bentley. The services which these
+eminent men rendered to the novelists who like them are dead and gone
+can scarcely be appreciated; for we presume few will deny that their
+labours lent a charm, a beauty, and an interest to their works, which
+largely tended to promote their sale. The fortunes of "Jack Sheppard,"
+of "The Miser's Daughter," of "The Tower of London,"--the success
+obtained by nearly all the stories of Ainsworth which obtained any
+success at all, was mainly due to the pencil of Cruikshank. The
+reputation of "Oliver Twist"--a morbid novel--was made in a great
+measure by _him_; but for John Leech, neither "Mr. Ledbury," "The
+Scattergood Family," "The Marchioness of Brinvilliers," or "Richard
+Savage," would have survived to our day. To him the novels of Mr. R. W.
+Surtees owe their entire popularity; while his genius has conferred
+vitality on the rubbish of À Beckett. It is curious, however, how little
+these facts were recognised at the time, and what little credit was
+given in contemporary reviews and by contemporary critics to the artists
+who rendered to successful novelists the priceless aid and assistance of
+their pencils.
+
+How far the needle of "Phiz" contributed to the ultimate success of the
+great _raconteur_, Charles James Lever, we are in no position to state;
+that it proved a very large factor in that result there can be no manner
+of doubt. That success was not achieved immediately. Lever commenced
+life as a struggling country doctor, and "Harry Lorrequer," first
+brought out in the "Dublin University Magazine," before it appeared in
+illustrated shilling numbers, was almost wholly ignored by the London
+press, the criticisms and favourable remarks coming almost wholly from
+provincial journals. There was one exception by the way, a military
+paper, the critic of which went into such ecstacies over this sparkling
+military medley, that he asserted he would rather be author of
+"Lorrequer" than of all the "Pickwicks" or "Nicklebys" in the world.
+This notice (unknown to Lever) was published with the advertisements of
+the book, and (strange to say) gave so much annoyance to Dickens that he
+sent an angry reply to a civil letter which came to him shortly
+afterwards from the Irish novelist, and their friendly intercourse was
+for some years suspended in consequence.
+
+[Illustration:
+  PHIZ. "_Master Humphrey's Clock_," 1840-1.
+
+  SAM WELLER AND HIS FATHER.
+
+  _Face p. 352._]
+
+The decline of Hablot Browne's popularity was painfully apparent to
+himself. Although our chapter was written long before the appearance of
+Mr. Kitton's pamphlet, we may be permitted to re-open it to extract from
+the latter the following melancholy observations which we find in a
+letter to his son, Dr. Browne: "I am at present on a sporting paper,
+supported by some high and mighty nobs; but I fear, _like everything I
+have to do with, now a-days_, it will collapse, for some of the
+proprietors of the paper are also shareholders, etc., etc., in the
+Graphotype Company, so they want to work the two together. I hate the
+process; it takes quite four times as long as wood, and I cannot draw
+and express myself with a nasty, finicking brush, and the result when
+printed seems to alternate between something all as black as my hat, or
+as hazy and faint as a worn-out plate. If on wood, I should like it well
+enough; as it is it spoils four days a week, leaving little time for
+anything else. Oh! I'm aweary, I'm aweary! of this illustration
+business."[176] This seems to us inexpressibly sad. We hear nothing of
+it in earlier days, when he was drawing the excellent designs for
+"Roland Cashel," for "Dombey," or for "Bleak House."
+
+Of the works and sketches in water colour and oils exhibited in
+Liverpool after the artist's death, personally we have seen nothing.
+They took the public by surprise, for few at least of the outer world
+suspected that this shy, retiring illustrator of books was a persevering
+and accomplished water-colour artist. We ourselves were aware of the
+fact, and had seen some thirty original and highly characteristic
+sketches, some of them studies of characters in novels of Charles
+Dickens and Lever; all executed prior to 1846, some in Indian ink, some
+in crayon, a few in pencil. Among them was a small but highly finished
+water-colour drawing, representing a group of seven knights in full
+martial panoply, and a striking effect is produced by the glint of the
+sun on the burnished armour of the central figure. The author of a
+recent sketch would cite these water colours as a complete answer to
+those who like ourselves maintain, in no mere spirit of detraction, that
+the artist possessed not one particle of _genius_. Surely he cannot be
+in earnest. If so, we have only to say, that if painting subjects in
+oils or water colour from the thousand and one hints to be gathered from
+history, fiction, or every-day life, be a test of _genius_, the walls of
+every summer and winter exhibition--to say nothing of the Royal
+Academy--would be furnished annually with examples from end to end.
+
+Leech died in the meridian of his fame at the early age of forty-six.
+Hablot Browne when he died had not only survived his talents, but his
+peculiarly shy and retiring nature had caused him at the age of
+sixty-seven to be absolutely forgotten. The famous men of letters whose
+works he had illustrated were dead and gone; the world of literature and
+of art took such small note of him that his funeral was the funeral of a
+private individual, and not of one who, if he did not partake in, had
+contributed in no considerable degree to the success of Charles Dickens
+and of Charles James Lever. When his passing-bell rang out upon the
+summer air, journalists remembered that a great artist was gone to his
+rest, and _Punch_ inserted in his number of the 22nd of July, 1882, to
+the memory of the last of the book etchers of the nineteenth century the
+following graceful tribute:--
+
+  "The lamp is out that lighted up the text
+     Of Dickens, Lever--heroes of the pen.
+   _Pickwick_ and _Lorrequer_ we love, but next
+     We place the man who made us see such men.
+   What should we know of _Martin Chuzzlewit_,
+     Stern _Mr. Dombey_, or _Uriah Heap_?
+   _Tom Burke of Ours_?--Around our hearts they sit,
+     Outliving their creators--all asleep.
+   No sweeter gift ere fell to man than his
+     Who gave us troops of friends--delightful Phiz.
+
+   "He is not dead! There, in the picture-book,
+     He lives with men and women that he drew;
+   We take him with us to the cozy nook,
+     Where old companions we can love anew.
+   Dear boyhood's friend! We rode with him to hounds;
+     Lived with dear _Peggotty_ in after years;
+   Missed in old Ireland, where fun knew no bounds.
+     At _Dora's_ death we felt poor David's tears.
+   There is no death for such a man,--he is
+     The spirit of an unclosed book! immortal Phiz!"
+
+
+FOOTNOTES:
+
+  [172] Fitzpatrick's "Life of Charles Lever."
+
+  [173] Now lately republished.
+
+  [174] And republished in "Poole's Miscellany."
+
+  [175] As I notice a similar remark in one of the obituary notices of
+    the artist's death, I think it necessary to observe that this chapter
+    was written while "Phiz" was yet living.
+
+  [176] Mr. Kitton's "Memoir," p. 19.
+
+
+
+
+CHAPTER XVII.
+
+_A BATCH OF BOOK ILLUSTRATORS:_
+
+_KENNY MEADOWS; ROBERT WILLIAM BUSS; ALFRED CROWQUILL; CHARLES H.
+BENNETT; W. M. THACKERAY._
+
+
+In old and second-hand bookshops, and in booksellers' catalogues, may
+often be found a book which is gradually becoming a literary rarity. It
+dates from 1840, and is a curiosity in its way, not only on account of
+the "portraits" which adorn its pages, but as a specimen of the literary
+padding on which men of letters (some of them distinguished) were
+content to employ their talents fifty years ago. It was published by
+Robert Tyas, of 50, Cheapside; professed to give "Portraits of the
+English" of the period, but served as a means of introducing certain
+characteristic pictorial sketches, more or less true to nature, by Kenny
+Meadows, an artist whose name and reputation, although he has been dead
+scarcely ten years, are already forgotten. Connected with these
+portraits are "original essays by distinguished writers," including,
+amid names of lesser note, literary stars such as Douglas Jerrold, Leman
+Rede, Percival Leigh, Laman Blanchard, Leigh Hunt, William Howitt, and
+Samuel Lover. These essays, or rather letterpress descriptions, were
+written to the pictures, which were not drawn (as is generally supposed)
+in illustration of the text. The portraits are taken from almost every
+grade in life: from the dressmaker to the draper's assistant, and from
+the housekeeper to the hangman; the last, by the way, being perhaps the
+most characteristic sketch of the series. The best of these forty-three
+"pictures" is the one which faces the title-page, a gathering of the
+company which individually take part in this "gallery of illustration."
+The designs are characteristic of the artist's style, but possess little
+power of attraction, being destitute of any claim to originality either
+of conception or treatment. The artist's share of the work is by far the
+best part of the somewhat lugubrious entertainment, which the
+performances of his literary associates scarcely serve to enliven. The
+book, however, was a success in its day, for, if we mistake not, it was
+followed by a second series, is even now sought after by the "collector"
+(not bibliomaniac), and possesses some historical value by reason of the
+fact that national types, such as _The Diner-out_, _The Stockbroker_,
+_The Lion of the Party_, _The Fashionable Physician_ (that is to say, of
+1840), _The Linen Draper's Assistant_, _The Barmaid_, _The Family
+Governess_, _The Postman_, _The Theatrical Manager_, _The Farmer's
+Daughter_, and _The Young Lord_, no longer live and move and act their
+part amongst us. A change comes over the people in the course of forty
+years, and some years hence our grandchildren may well smile at the
+extraordinary monstrosities (female) who figure in the graphic satires
+of 1883-4.
+
+Kenny Meadows was the son of a retired naval officer, and was born at
+Cardigan on the first of November, 1790. You will look in vain for any
+notice of him, or of his services in the cause of illustrative art, in
+any of the biographical dictionaries of his own or a subsequent period;
+and this appears to us an unaccountable omission, for he achieved in his
+time considerable celebrity as an artistic illustrator of books. His
+work will be found bound up with that of most of his artistic
+_confrères_ in nearly all the illustrated periodicals of his day; he was
+one of the first to introduce wood-engraving among English publishers as
+a means of cheap and popular illustration; he was employed by the late
+Mr. Ingram, in the designs for the early Christmas numbers of the
+_Illustrated London News_; he will be found amongst the number of the
+artists who illustrated the early volumes of _Punch_; he was in
+universal request as a designer of drawings to fairy and fanciful
+stories; among his intimate friends were men of mark; such as Leigh
+Hunt, Douglas Jerrold, Charles Dickens, W. M. Thackeray, Clarkson
+Stanfield, David Roberts, and the Landseers; he did as much for
+illustrative art as, perhaps, any artist of his time; and yet, amongst
+men whose abilities scarcely exceeded his own in the same particular
+walk in art, no place is to be found in any biographical dictionary, so
+far at least as we know, for any mention of poor, kindly, genial, Kenny
+Meadows.
+
+Besides the popular illustrated periodicals of his day, in most of which
+his familiar initials may be recognised, Kenny Meadows was in almost
+universal request both amongst authors and publishers of the time. We
+find him in 1832 illustrating, with Isaac Robert Cruikshank, a
+periodical bearing the somewhat unpromising title of "The Devil in
+London." To an 1833 edition of "Gil Blas," illustrated by George
+Cruikshank, he contributed a frontispiece; and we find his hand in the
+following: the late J. B. Buckstone's dramas of "The Wreck Ashore,"
+"Victorine," "May Queen," "Henriette," "Rural Felicity," "Pet of the
+Petticoats," "Married Life," "The Rake and his Pupil," "The
+Christening," "Isabella," "Second Thoughts," and "The Scholar" (1835,
+1836); Whitehead's "Autobiography of Jack Ketch" (1835); "Heads of the
+People, or Portraits of the English" (1841); Mr. S. C. Hall's "Book of
+British Ballads" (1842-44); an 1842 edition of Moore's "Lalla Rookh";
+Leigh Hunt's "Palfrey, a Love Story of Old Times" (1842); "The
+Illuminated Magazine" (1843); Shakespeare (1843); "Whist, its History
+and Practice"; "Backgammon, its History and Practice," by the same
+author; "The Illustrated London Almanacks" (from 1845 upwards); Sir
+Edward Lytton Bulwer's "Leila," and "Calderon" (1847); W. N. Bailey's
+"Illustrated Musical Annual," "The Family Joe Miller, a Drawing-room
+Jest Book" (1848); "Puck," (a comic serial, 1848); Laman Blanchard's
+"Sketches from Life" (1849); Samuel Lover's "Metrical Tales and Poems;"
+"The Magic of Kindness," by the brothers Mayhew; Mrs. S. C. Hall's
+"Midsummer Eve;" "Punch," up to and including the seventh volume; and
+(some time afterwards) its able opponent "The Man in the Moon" (now
+exceedingly scarce).[177] In these and very many other works we find him
+associated not only with George Cruikshank, John Leech, Hablot Knight
+Browne, and Richard Doyle, but with artists occupying the position of
+Sir John Gilbert, Frank Stone, Maclise, Clarkson Stanfield, Creswick, E.
+M. Ward, Elmore, Frost, Sir J. Noel Paton, Frederick Goodall, Thomas
+Landseer, F. W. Popham, Fairholt, Harrison Weir, Redgrave, Corbould, and
+Stephanoff. He was a thoroughly useful man; and a thousand examples of
+quaint imaginings--oftentimes of graceful workmanship--might be culled
+from the various works and serials in which his hand may be readily
+recognised.
+
+But the merits of Kenny Meadows as an illustrator of books are very
+unequal. His friend, Mr. Hodder, who gives us in his pleasant "Memories"
+an occasional note of some of the artists with whom he was thrown in
+contact, says of him: "The quiet, unostentatious way in which he worked
+at his art, too often under the most adverse and discouraging
+circumstances, and the pride which he displayed when he felt he had made
+a 'happy hit,' was somewhat like the enthusiasm of a youth who had first
+attained the honour of a prize. As a draughtsman he never cared to be
+guided by those practical laws which regulate the academic exercise of
+the pictorial art; for he contended that too strict an adherence to
+nature only trammelled him, and he preferred relying upon the thought
+conveyed in his illustrations, rather than upon the mechanical
+correctness of his outline or perspective." George Cruikshank showed, as
+we know, a tolerable contempt for nature when he undertook the
+delineation of a horse, a woman, or a tree; but it was one of the
+conditions of his _genius_ that it should be left free and untrammelled
+to follow the dictates of its own inspiration, and the quaint effect
+which somehow or other he managed to impart to a design which, in its
+details might offend the educated taste of the art critic, made us
+forget the contempt too often displayed for those "practical laws" to
+which Mr. Hodder refers. To constitute a good comic artist, not only is
+it necessary that he should be a good draughtsman, but certain special
+gifts are indispensable,--a keen sense of the ridiculous, an inherent
+appreciation of humour, a quick and ready invention, qualities which no
+amount of artificial training will bestow. They were possessed in an
+eminent degree by Gillray, by Cruikshank, by John Leech, but were wholly
+wanting to Kenny Meadows. He could draw on occasion a queer face--for
+that matter his faces, intentionally or otherwise, were generally
+queer--and an eccentric figure, and so can many persons who have a
+natural taste for drawing, and have learnt to handle the pencil; but the
+caricaturist, like the poet, _nasciiur non fit_, and a hundred or even a
+thousand queer faces or eccentric figures, without the gift of invention
+or originality, will not of themselves constitute the designer a comic
+artist. The truth is that with Kenny Meadows mannerism takes the place
+of genius. You will recognise his hand anywhere without the familiar
+"K.M." appended to it, for all his faces are chubby (not to say puffy),
+and their arms and legs look for all the world as if the hand that
+designed them had been guided by a ruler. The delusion which led him to
+imagine that his "genius" would enable him to soar superior to nature is
+no doubt responsible in some degree for this latter eccentricity, for
+the artist who would be bold enough to despise the laws "which regulate
+the exercise of the pictorial art," would be prepared to view Hogarth's
+line of beauty with like indifference and contempt.
+
+Kenny Meadows was one of the early illustrators of _Punch_, and
+contributed moreover to the first volume some of the best of the
+cartoons. Good specimens of his work will be found in _Young Loves to
+Sell_, and _The Speculative Mama_ (_sic_), second vol.; in the third
+volume he illustrated "Punch's Letters to His Son," and the first of the
+almanacks contains six of his designs. In the fourth volume we find six
+of his cartoons, among them _The Milk of Poor Law Kindness_, and _The
+First Tooth_ (the Queen and infant Prince of Wales); the doctor's legs
+and shoes are thoroughly characteristic of his style, and look for all
+the world as if they had been drawn by a ruler. The cartoon, _Punch
+Turned Out of France_ in this volume is, if we mistake not, the work of
+Kenny Meadows. _The Christian Bayadere Worshipping the Idol Siva_, has
+reference to the tolerance which "John Company" wisely conceded to
+Hindoo religious ceremony, so long as its traditions were found
+consistent with the ordinary dictates of humanity. "The Story of a
+Feather" in this volume has five illustrations, two of which are very
+clever. Among the other cartoons we find _The Modern Macheath_ (the
+Captain being Sir Robert Peel). The fifth volume contains eight of his
+illustrations, six being cartoons; among them, _The Irish Frankenstein_
+(badly imagined and atrociously drawn), _The Water Drop_ and the _Gin
+Drop_ are characterized by much poverty of invention, but the former is
+the best of the two. _The Battle of the Alphabet_ (cartoon) is a better
+specimen of his work, although the legs and arms look as usual, as if
+drawn with a ruler. The sixth volume contains three of his cartoons,
+while the almanack of the year (1844) has several of his illustrations.
+To the seventh volume he contributed no less than thirty-one
+illustrations, some very good, one of the best being that of the two
+legal dogs quarrelling over a bone of litigation. _Punch_ at the outset
+of his career had considerable difficulty in the selection of a graphic
+satirist, and one of his "right hand men" in those early days was a Mr.
+Henning, by whose side Kenny Meadows figures as an absolute genius.
+After his seventh volume, however, he met with artists better fitted to
+interpret his political and social views, and no trace of Meadows'
+useful hand appears in succeeding volumes.
+
+In stating that the merits of Kenny Meadows as an illustrator of books
+are unequal, and in denying to him the possession of genius, we must not
+be held to imply that he was deficient of talent. An excellent example
+of the inequality of which we speak will be found in his Shakespeare
+(Robert Tyas, 1843), a work selected by us for the reason that it was
+considered by himself and his two favourable friends as his masterpiece.
+Although we cannot stay to notice all the strange conceptions with which
+he has enriched this book, we may be permitted to wonder whence he
+derived his preposterous ideas of Caliban, of Malvolio, of Shylock, of
+Juliet's nurse, of Launce's unhappy dog, of the Egpytian[ Sphynx in
+"Antony and Cleopatra." The model of Shylock was evidently some "old
+clo'" dealer in Petticoat Lane. The figure of Armado ("Love's Labour's
+Lost") is so wonderfully put together that his anatomy must sooner or
+later fall to pieces; the ghost of Hamlet's father is the ghost of some
+colossal statue, certainly not the shade of one who had worn the guise
+of ordinary humanity. The head of the gentle Juliet might derive benefit
+from the application of a bottle of invigorating hair wash. The figure
+of the monk in "Romeo and Juliet" literally cut out of wood, carries as
+much expression in its face as a lay figure; while the walls of
+Northampton Castle (in "King John") are so much out of the
+perpendicular, that the courtiers seem less concerned at finding the
+dead body of Arthur, than in seeking a place of shelter from the
+impending downfall. Henry the Eighth, although acknowledged to be a
+corpulent, was not, so far as we know, a deformed man; the preposterous
+"beak" of Richard the Third occupies one half of his otherwise
+remarkably short face, and its owner (in the well-known tent scene)
+suffers from an attack of tetanus instead of an accession of mental
+terror. These eccentric realizations, in which he has succeeded in
+setting all the rules of drawing at defiance, are rendered the more
+remarkable by reason of the circumstance that the work now under
+consideration is interspersed with numerous charming drawings, the
+effect of which is wholly marred by these erratic performances. Meadows
+was an admirable water-colour artist, and a scarce edition of this work
+contains some engravings of Shakespearian heroines after his designs.
+The Germans fancy they understand Shakespeare better than ourselves (an
+amiable and complimentary weakness), and the work was favourably
+received in Germany, the artist's conception of Falstaff, in particular,
+being so highly appreciated that a bronze statuette was modelled after
+it, which enjoyed a large sale.
+
+His ideas of female beauty were almost as eccentric as those of
+Cruikshank. A couple of beauties of the Meadows type will be found at
+page 3 of Henry Cockton's "Sisters" (Nodes, 1844), where one lady is
+represented to us with a neck like that of a giraffe, whilst her sister
+beauty is sensibly inconvenienced by a lock of hair which has strayed
+into her eye,--a favourite device, by the way, of the artist. This book,
+now scarce (in the illustration of which he was assisted by Alfred
+Crowquill), is adorned with a portrait on steel, after a painting by
+Childe, in which the author is presented to us in a white waistcoat and
+dress coat, with a pen in his hand, leading us to the inference that his
+clumsily constructed novels (one of which--"Valentine Vox," thanks
+perhaps to the illustrator, Onwhyn--still holds its ground) were written
+in evening costume.
+
+But notwithstanding these failures, Kenny Meadows has happily left
+behind him work of a very much better kind. His Christmas pictures in
+particular are impressed with the kindly, genial humour which
+characterized the man; the "Illuminated Magazine," a scarce and valuable
+work, contains sixty-three very fine specimens of his pencillings,
+including the illustrations to his friend Douglas Jerrold's "Chronicles
+of Clovernook," admirable in every respect, probably the finest designs
+he ever executed. The wood engravings in this charming serial have
+probably never been surpassed; we seldom see woodcuts in these days
+which equal the splendid workmanship of E. Landells.[178] After the
+third volume, the "Illuminated Magazine" passed into other hands, and
+although Kenny Meadows continued its mainstay for a time, the rest of
+the excellent artists left, and the literary matter visibly declined.
+
+To the famous "Gallery of Comicalities" Kenny Meadows contributed
+_Sketches from Lavater_ and _Phisogs of the Traders of London_. During
+the last decade of his life his services in the cause of illustrative
+art were rewarded and recognised by a pension from the Civil List of £80
+per annum. Like George Cruikshank he remained hale and vigorous to the
+last, proud of his age, and fond of asserting there was "life in the old
+dog yet." That this was no idle boast may be inferred from the fact that
+within a few months of his death he was engaged in painting a subject
+from his favourite Shakespeare. At the time of his death (in August,
+1874) he had almost completed his eighty-fifth year.
+
+       *       *       *       *       *
+
+In hunting up materials for the present work, we have come at various
+times upon editions (specimens, perhaps, might be the better word) of
+the "Pickwick Papers," which will possess an interest in the eyes of the
+collector. The first issue, in the original green sporting covers
+designed by Seymour, is of course exceedingly scarce; we have never
+indeed seen a _perfect_ copy, which would probably be worth some ten
+pounds, while the same edition bound may be purchased at prices varying
+from twenty-four shillings to three guineas, according to the condition
+of the volume. An Australian edition was published at Launceston, Van
+Dieman's Land, in 1838, with plates after "Phiz" by "Tiz," facsimiles on
+stone of the earliest issue of the parts in England. At a West of
+England bookseller's we met with a first edition bound up with etchings
+by Onwhyn,[179] "Peter Palette," and others. Then there are the
+twenty-four etchings from remarkably clever original drawings by Mr. F.
+W. Pailthorpe in illustration of scenes in "Pickwick," of which the
+proofs before letters were published at three guineas; and lastly, there
+is the rare first edition, containing all the plates by Seymour and
+"Phiz," supplemented by the two "suppressed" etchings, which are
+credited (wrongly) to the hand of Buss.
+
+Among the etchers of book illustration after 1836, we may name ROBERT
+WILLIAM BUSS, whose etchings will be found in Mrs. Trollope's "Widow
+Married" (a sequel to her "Widow Barnaby"), which made its appearance in
+the "New Monthly Magazine" of 1839, and whose hand will also be found in
+Marryat's "Peter Simple," "Jacob Faithful," Harrison Ainsworth's "Court
+of King James II.," etc. Although his designs lack the genius, the
+artistic power, the finish and the comic invention of Leech or
+Cruikshank, they show nevertheless that as an etcher and designer he was
+possessed of exceptional talent and ability. The first experience,
+however, of this able artist as an etcher was peculiarly unfortunate and
+vexatious.
+
+When poor Seymour shot himself in 1836, the draughtsman first called in
+to supply his place was Robert William Buss. He had been recommended to
+Messrs. Chapman and Hall by John Jackson, the wood-engraver, but does
+not seem at that time to have had any practical experience of etching,
+as he himself explained to the member of the firm who called upon him.
+Mr. Buss, in fact, was decidedly indisposed to undertake the work, being
+then engaged on a picture he was preparing for exhibition, and he
+undertook it only after considerable pressure. He immediately began to
+practise the various operations of etching and biting in, and produced a
+plate with which the publishers expressed themselves satisfied. Two
+subjects were then selected for illustration, _The Cricket Match_, and
+_The Fat Boy Watching Mr. Tupman and Miss Wardle_. When, however, Mr.
+Buss began to etch them on the plate, he found, having had little or no
+experience in laying his ground, that it holed up under the etching
+point; and as time was precious, he placed the plates in the hands of an
+experienced engraver to be etched and bitten in. Had opportunity been
+given him, his son (from whom we take this account) tells us he would
+have cancelled these plates and issued fresh ones of his own etching.
+Designs were prepared by him for the following number, when he received
+an intimation that the work of illustrating the "Pickwick Papers" had
+been placed in other hands. The illustrations referred to were
+suppressed, and the collectors who are so anxious to secure an edition
+with the two "Buss plates," will be pleased to learn that, although the
+design was his, not one line of the etchings which bear his name are due
+to the artist's point.[180]
+
+The father of Robert William was an engraver and enameller, and under
+his directions he acquired a knowledge of this technical branch of art;
+but evincing a taste and preference for drawing and painting, he became
+a pupil of George Clint, A.R.A., under whose direction he studied
+subject and portrait painting. He painted fifteen theatrical portraits
+for Mr. Cumberland in illustration of his "British Drama," and a
+collection of these works was afterwards exhibited at that melancholy
+monument to past exhibitions, the Colosseum in the Regent's Park. He was
+employed by Charles Knight in the illustrations to his "Shakespeare,"
+"London," "Old England," "Chaucer," and the now forgotten "Penny
+Magazine," for all of which publications he executed many designs on
+wood.
+
+It must not be supposed because Robert William Buss was not considered
+the right man to illustrate "Pickwick," that he was therefore an
+indifferent draughtsman. His finest book etchings are probably those
+which he executed for Harrison Ainsworth's novel of "The Court of James
+II."; but in a higher and far more ambitious walk in art he was not only
+more successful, but achieved in his time a considerable reputation.
+Among his pictures may be mentioned one of _Christmas in the Olden
+Time_, which, apart from its merits as a painting, showed that he
+possessed considerable antiquarian knowledge. Other works of his are,
+_The Frosty Morning_, purchased by Lord Charles Townshend; _The Stingy
+Traveller_, bought by the Duchess of St. Albans; _The Wooden Walls of
+Old England_, the property of Lord Coventry; _Soliciting a Vote_, and
+_Chairing the Member_; _The Musical Bore_; _The Frosty Reception_;
+_Master's Out_; _Time and Tide Wait for no Man_; _Shirking the Plate_;
+_The First of September_; _The Introduction of Tobacco_; _The Biter
+Bit_; _The Romance_; and _Satisfaction_. For Mr. Hogarth, of the
+Haymarket, he painted four small subjects illustrative of Christmas,
+entitled, _The Waits_; _Bringing in the Boar's Head_; _The Yule Log_,
+and _The Wassail Bowl_; all afterwards engraved. For Mr. James Haywood,
+M.P., he executed a series of drawings illustrative of student life at
+Oxford, Cambridge, Durham, London, and Paris; while two vast subjects,
+_The Origin of Music_ and _The Triumph of Music_ (each twenty feet wide
+by nine feet high), were painted for the Earl of Hardwick, and are, or
+lately were, in the music saloon at Wimpole, in Cambridgeshire. His
+pictures were seventy-one in number, twenty-five of which were engraved.
+On the whole, therefore, Robert William Buss might afford to bear the
+refusal of Charles Dickens's patronage with equanimity.
+
+The paintings and etchings of Robert William Buss evince a strong
+leaning in the direction of comic art, a taste which prompted him, in
+1853, to deliver at various towns in the United Kingdom a course of very
+successful and interesting lectures on caricature and graphic satire,
+illustrated by several hundred examples executed by himself. In 1874,
+the year before his death, he published for the amusement of his
+friends, and for private circulation only, the substance of these
+lectures, under the title of "English Graphic Satire and its Relation to
+Different Styles of Painting, Sculpture, and Engraving." The numerous
+illustrations to this work were those drawn for his lectures by the
+artist, and reproduced for his book by the process of photo-lithography.
+So far as comic art and caricaturists of the nineteenth century are
+concerned, the author has comparatively little to say; but the work is
+valuable as regards the subject generally, and might have been published
+with advantage to the public. The artist delivered also lectures on "The
+Beautiful and the Picturesque," as well as on "Fresco Painting."
+
+Mr. Buss, if not very original as a comic designer, possessed
+nevertheless a keen sense of humour. One of his pictures (engraved by H.
+Rolls), entitled _Time and Tide Wait for no Man_, represents an artist,
+sketching by the sea-shore, so absorbed in the contemplation of nature
+that he remains unconscious of the fast inflowing tide, and deaf to the
+warnings of the fisherman who is seen hailing him from the beach.
+
+       *       *       *       *       *
+
+The comic publications which either preceded or ran side by side with
+_Punch_ had for the most part a somewhat short and unsatisfactory
+career. Perhaps the most successful of them was _Figaro in London_,
+1831-36, which we have already noticed. _The Wag_, a long-forgotten
+publication, enjoyed a very transient existence. In 1832 appeared
+_Punchinello_, on the pages of which Isaac Robert Cruikshank was
+engaged. _Punchinello_, however, ceased running after its tenth number.
+_Asmodeus in London_, notwithstanding the support it derived from
+Seymour's pencil, was by no means a commercial success. _The Devil in
+London_ was a little more fortunate. This periodical commenced running
+on the 29th of February, 1832, and the illustrations of Isaac Robert
+Cruikshank and Kenny Meadows enabled it to reach its thirty-seventh
+number. Tom Dibdin's _Penny Trumpet_ ignominiously blew itself out after
+the fourth number. _The Schoolmaster at Home_, notwithstanding Seymour's
+graphic exertions, collapsed at its sixth number. _The Whig Dresser_,
+illustrated by Heath, enjoyed an existence exactly of twelve numbers.
+_The Squib_ (1842) lasted for thirty weeks before it exploded and went
+out. _Puck_ (1848), illustrated by W. Hine, Kenny Meadows, and Gilbert,
+died the twenty-fifth week after its first publication. _Chat_ ran its
+course in 1850 and 1851. _The Man in the Moon_, under the literary
+guidance of Shirley Brooks, Albert Smith, G. A. Sala, and the Brothers
+Brough, enjoyed a comparatively glorious career of two years and a half.
+_Diogenes_ (started in 1853, under the literary conduct of Watts
+Phillips, the Broughs, Halliday, and Angus Bethune Reach),
+notwithstanding the graphic help rendered by McConnell[181] and Charles
+H. Bennett, gave up the ghost in 1854. _Punchinello_ (second of the
+name) flickered and went out at the seventh number. _Judy_ (the
+predecessor of the present paper) appeared 1st February, 1843, but soon
+died a natural death. _Town Talk_, edited by Halliday and illustrated by
+McConnell, lasted a very limited time. _London_, started by George
+Augustus Sala in rivalry of _Punch_, soon ceased running; while the
+_Puppet Show_, notwithstanding the ability of Mr. Procter, enjoyed but
+a very brief and transitory existence. The strong and healthy
+constitution of _Punch_ enabled him not only to outlive all these, but
+even a publication superior in some important respects to himself. We
+allude to the _Tomahawk_, whose cartoons are certainly the most powerful
+and outspoken satires which have appeared since the days of
+Gillray.[182]
+
+Among the draughtsmen whom _Punch_ called in to help him in his early
+days was a useful and ingenious artist, inferior in many respects to
+Kenny Meadows, his name was ALFRED HENRY FORRESTER, better known to most
+of us under his _nom de guerre_ of "Alfred Crowquill." The scribes of
+the "Catnach," or Seven Dials school, of literature are satirized by
+Forrester (in the second volume), wherein we see a "Literary Gentleman"
+hard at work at his vocation of a scribe of cheap and deleterious
+literature, consulting his authorities--"The Annals of Crime," a "Last
+Dying Speech and Confession," and the "Newgate Calendar." In _The
+Footman_ we have a gorgeous figure, adorned with epaulets, lace, and a
+cocked hat, reading (of all things in the world) the "Loves of the
+Angels," over a bottle of hock and soda-water! _The Pursuit of Matrimony
+under Difficulties_ is a more ambitious performance. "Punch's Guide to
+the Watering Places" (vol. iii.) is illustrated with a number of
+coarsely executed cuts, wholly destitute of merit; the fourth volume
+contains a cartoon entitled _Private Opinions_. But the graphic humour
+of Alfred Crowquill, although amusing and sometimes bright and
+sparkling, was unsuited to the requirements of a periodical such as
+_Punch_. As better men came forward, he gradually dropped out of its
+pages, and we see nothing more of him after the fourth volume.
+
+[Illustration:
+  ALFRED CROWQUILL. _From "The Book of Days."_
+
+  FROZEN OUT GARDENERS.
+
+  _Face p. 368._]
+
+Alfred Crowquill was a sort of "general utility" man, essaying the
+character of a _littérateur_ as well as that of an artist, and achieving
+as a natural consequence no permanent success in either. In his literary
+capacity, Alfred Henry Forrester made his first appearance (we believe)
+in "The Hive," and "The Mirror," under the editorship of Mr. Timbs;
+while as an artist he illustrated his own writings, besides those of a
+host of other authors. An early effort of his pencil is entitled, _Der
+Freyschutz Travestied_; this was followed by "Alfred Crowquill's Sketch
+Books," which were dedicated to the (then) Princess Victoria, by command
+of the Duchess of Kent. We find him afterwards employed on the pages of
+the "New Monthly," but on the death of its editor, Mr. Theodore Hook,
+his useful talents procured him an engagement on the staff of "Bentley's
+Miscellany," to whose pages he was not only an indefatigable
+contributor, but rendered it substantial assistance in its difficulties
+with George Cruikshank. The best of his illustrative works (mostly
+designs on wood) were executed for this periodical, and selections were
+afterwards collected and published under the title of "The
+Phantasmagoria of Fun."
+
+[Illustration:
+  ALFRED CROWQUILL. _From "The Book of Days."_
+
+  "SWEARING THE HORNS" AT HIGHGATE.
+
+  "When any person passed through Highgate for the first time on his way
+  to London, he, being brought before the horns, had a mock oath
+  administered to him, to the effect that he would never drink small beer
+  when he could get strong, unless he liked it better; that he would
+  never eat brown bread when he could get white, or water-gruel, when he
+  could command turtle-soup; that he would never make love to the maid
+  when he might to the mistress; and so on  .  according to the wit of the
+  imposer of the oath, and simplicity of the oath-taker."
+
+  _Face p. 369._]
+
+In these days a man like Forrester would be almost at a discount, but at
+the time when he started there was less competition, and a useful,
+clever man, like he undoubtedly was, was fortunately not lost. His
+hands, in fact, were always full, and a list of some of the books to
+which his pen and his pencil contributed will be found in the Appendix.
+One of the best of his designs was a title-page he executed for a work
+published by Kent & Co., under the title of "Merry Pictures by the Comic
+Hands of Alfred Crowquill, Doyle, Meadows, Hine, and Others" (1857), a
+_réchauffage_ of cuts and illustrations which had previously done duty
+for books of an ephemeral character, such as "The Gent," "The Ballet
+Girl," and even of the superior order of "Gavarni in London."[183] Some
+excellent designs executed by him on wood will be found in Messrs.
+Chambers' "Book of Days." In his dual character of a writer and comic
+artist, Crowquill was an inveterate punster. Leaves from his "Memorandum
+Book" (1834) will give us a good idea of his style. In "Tea Leaves for
+Breakfast," _Strong Black_ is represented by a sturdy negro carrying a
+heavy basket; a tall youth with a small father personating _Hyson_; a
+housemaid shaking a hall mat, to the discomfort of herself and the
+passers-by, is labelled _Fine dust_; a cockney accidentally discharging
+his fowling-piece does duty for _Gunpowder_; while _Mixed_ is aptly
+personified by a curious group of masqueraders. The vowels put in a
+comical appearance: _A_ with his hands behind him listens to _E_, who
+points to _I_ as the subject of his remarks, which must be of a
+scandalous character, as the injured vowel looks the picture of anger
+and astonishment. _E_ finds a ready listener in _O_, who opens his mouth
+and extends his hands in real or simulated amazement and horror.
+
+Crowquill was a clever caricaturist, and began work when he was only
+eighteen. We have seen some able satires of his executed between the
+years 1823 and 1826 inclusive. One of the best, published by S. Knight
+in 1825, is entitled, _Paternal Pride_: "Dear Doctor, don't you think my
+little Billy is like me?" "The very picture of you in every feature!"
+_Ups and Downs_ (Knights, 1823), comprise "Take Up" (a Bow Street
+runner); "Speak Up" (a barrister); "Hang Up" (a hangman); "Let-em-Down"
+(a coachman); "Knock-em-Down" (an auctioneer); "Screw-em-Down" (an
+undertaker). The following are given as _Four Specimens of the Reading
+Public_ (Fairburn, 1826): "Romancing Molly," "Sir Lacey Luscious," a
+"Political Dustman," and "French à la Mode." Two, in which he was
+assisted by George Cruikshank, entitled, _Indigestion_, and _Jealousy_,
+will be found in the volume published (and republished) under the name
+of "Cruikshankiana." The latter shows on the face of it that, while
+Crowquill was responsible for the design, the etching and a large share
+of the invention are due to Cruikshank.
+
+If not a genius, the man was talented and clever,--a universal
+favourite. He could draw, he could write; he was an admirable vocalist,
+setting the table in a roar with his medley of songs. Even as a painter
+he was favourably known. _Temperance and Intemperance_ were engraved
+from his painting in oils, and called forth a letter of thanks from
+the great apostle of temperance, Father Mathew himself. Other works were
+_The Ups and Downs of Life_, the well-known _President_ and _Vice
+President_ (both engraved), and many others. A clever artist in "black
+and white," two of his pen-and-ink sketches--_The Huntsman's Rest_ and
+_The Solitary_--were honoured with a place among the drawings at the
+Royal Academy Exhibition of 1846. His talents did not end here; most of
+the Christmas pantomimes of his time were indebted to him for clever
+designs, devices, and effects. The kindly, genial, gifted man died in
+1872, in his sixty-eighth year.
+
+       *       *       *       *       *
+
+[Illustration:
+  CHAS. H. BENNETT. _"Shadow and Substance."_
+
+    "... creeping like a snail
+     Unwillingly to school."--AS YOU LIKE IT.
+
+  _Face p. 371._]
+
+Some of our readers may possibly remember seeing in one of the comic
+publications published concurrently with or shortly after the appearance
+of Mr. Charles Darwin's work, a series of comical designs ridiculing the
+theory of the "origin of species" in a manner which must have astonished
+as well as amused the learned philosopher. The origin of the genus
+_footman_, and of the dish he carries to his master's table, is traced
+out as follows: The dish carries a bone, which eventually finds its way
+into the jaws of a mongrel cur with a peculiarly short tail. The process
+then goes merrily onwards; the dog gradually develops; his skin turns
+into a suit of livery with buttons, the dog-collar gradually assumes the
+form of a footman's tie, until the process is ended and the species
+complete. In like manner, a cat develops into a spinster aunt; a monkey
+into a mischievous urchin; a pig into a gourmand; a sheep into a country
+bumpkin; a weasel into a lawyer; a dancing bear into a garrotter; a
+shark into a money-lender; a snail into the schoolboy to which
+Shakespeare likens him; a fish into a toper, and so on. These
+"developments" (twenty in number), which were dedicated to Mr. Darwin,
+are signed "C. H. B." and these are the initials of CHARLES H. BENNETT,
+one of the gentlest, most promising, and withal most original graphic
+humourists of the century.
+
+Amongst the earliest of the serials which he illustrated was, we
+believe, _Diogenes_, a sort of rival of _Punch_, which made its
+appearance and ran a brief course in 1853-4. Associated with him in the
+illustrations were McConnell and Watts Phillips, the latter of whom
+contributed largely also to the literary matter. We find a clever design
+of his (in Leech's style) in the second volume: "Now, gentlemen of the
+jury," says a brazen-faced barrister, "I throw myself upon your
+impartial judgment as husbands and fathers, and I confidently ask, Does
+the prisoner [the most murderous-looking ruffian un-hung] look like a
+man who would knock down and trample upon the wife of his bosom?
+Gentlemen, I have done!"
+
+There was considerable originality in the designs of Bennett, which is
+more particularly manifested in the well-known series of humorous
+sketches in which the effect intended to be produced is effected by
+means of the _shadows_ of the figures represented, which are supposed to
+indicate their distinguishing failings and characteristics. Among them
+may be mentioned a tipsy woman amused at the _shadow_ cast by her own
+figure of a gin bottle; an undertaker, in his garb of woe wrung from the
+pockets of widows and orphans, casts the appropriate shadow of a
+crocodile; a red-nosed old hospital nurse of a tea-pot; a worn-out
+seamstress of a skeleton; a mischievous street boy of a monkey; an angry
+wife sitting up for a truant husband of an extinguisher; a tall,
+conceited-looking parson, with a long coat, of a pump; while a sweep,
+with his "machine," to his mortal terror beholds his own shadow
+preceding him in the guise of Beelzebub himself. The series is continued
+in a work published by W. Kent & Co. in 1860, under the title of "Shadow
+and Substance," the letterpress of which is contributed to Bennett's
+pictures by Robert B. Brough. Literary work of this description, like
+William Combe's "Doctor Syntax," is necessarily unsatisfactory; but the
+pictures themselves are distinctly inferior to the series which preceded
+them, the best being _Old Enough to Know Better_,--a bald-headed,
+superannuated old sinner behind the scenes, presenting a bouquet to a
+ballet girl, his figure casting a _shadow_ on the back of the scene of a
+bearded, long-eared, horned old goat.
+
+[Illustration:
+  CHAS. H. BENNETT. "_Shadow and Substance._"
+
+  "OLD ENOUGH TO KNOW BETTER."
+
+  _Face p. 372._]
+
+We are in no position to give a detailed list of Charles Bennett's work,
+which was of a very miscellaneous kind, comprising among others a series
+of slight outline portraits of members of parliament, which appeared
+in the _Illustrated Times_, an edition of the "Pilgrim's Progress,"
+edited by the Rev. Charles Kingsley; "John Todd," a work by the Rev.
+John Allen; "Shadows," and "Shadow and Substance," just spoken of;
+"Proverbs, with Pictures by Charles H. Bennett," etc., etc. His talent
+at last attracted the notice of the weekly _Punch_ council, and he
+received the coveted distinction of being engaged on the permanent staff
+of that periodical.
+
+His life, however, was a brief one. The diary of Shirley Brooks, who
+took much personal interest in him, refers with some anxiety to his
+illness on the 30th of March, 1867. On the 31st of March the report was
+somewhat more favourable; but the 2nd of April brought a letter from the
+editor of _Punch_, Mark Lemon, which said that Charles Bennett had died
+between the hours of eight and nine o'clock that morning. "I am very
+sorry," adds Shirley Brooks in an autograph note appended beneath the
+letter referred to. "B[ennett] was a man whom one could not help loving
+for his gentleness, and a wonderful artist." The obituary notice by the
+same hand which appears in _Punch_ records that "he was a very able
+colleague, a very dear friend. None of our fellow-workers," it
+continues, "ever entered more heartily into his work, or laboured with
+more earnestness to promote our general purpose. His facile execution
+and singular subtilty of fancy were, we hoped, destined to enrich these
+pages for many a year. It has been willed otherwise, and we lament the
+loss of a comrade of invaluable skill, and the death of one of the
+kindliest and gentlest of our associates, the power of whose hand was
+equalled by the goodness of his heart." Charles Bennett was only
+thirty-seven when he died.
+
+He left a widow and eight children unprovided for, for his health having
+precluded it, no life insurance had been effected. The _Punch_ men,
+however, with the unselfishness which so nobly characterizes them, put
+their shoulders to the wheel for the family of their stricken comrade.
+"We shall have to do something," said Shirley Brooks in his diary of the
+3rd of April; and they did it accordingly. A committee was immediately
+started, on which we find the names of Messrs. Arthur Lewis,[184]
+Wilbert Beale, Mark Lemon, Du Maurier, John Tenniel, Arthur Sullivan,
+and W. H. Bradbury. Then came rehearsals, and, on the 11th of May, a
+performance at the Adelphi in aid of the Bennett fund. Mr. Arthur
+Sullivan had, in conjunction with Mr. F. C. Burnand, converted the
+well-known farce of "Box and Cox" into an operetta of the most ludicrous
+description. This was the opening piece--the forerunner of "Pinafore,"
+"Pirates," "Patience," and other triumphs. Arthur Sullivan himself
+conducted, and the players were Mr. Du Maurier, Mr. Quinton, and Mr.
+Arthur Blunt. Then followed "A Sheep in Wolf's Clothing," in which
+Mesdames Kate Terry, Florence Terry, Mrs. Stoker, Mrs. Watts (the
+present Ellen Terry), and Messrs. Mark Lemon, Tom Taylor, Tenniel,
+Burnand, Silver, Pritchett, and Horace Mayhew took part. This was
+succeeded by Offenbach's "Blind Beggars," who were admirably personated
+by Mr. Du Maurier and Mr. Harold Power. The evening concluded with a
+number of part songs and madrigals sung by the Moray Minstrels--so
+called from their chiefly performing at Moray Lodge, the residence of
+Mr. Arthur Lewis. Between the two portions of their entertainment,
+Shirley Brooks came on and delivered an address written by himself,
+which contained the following allusion to him for whose family the
+generous work had been undertaken:--
+
+  "Only some friends of a lost friend, whose name
+   Is all the inheritance his children claim
+   (Save memory of his goodness), think it due
+   To make some brief acknowledgment to you.
+   Brief but not cold; some thanks that you have come
+   And helped us to secure that saddened home,
+   Where eight young mourners round a mother weep
+   A fond and dear loved father's sleep.
+
+   Take it from us--and with this word we end
+   All sad allusion to our parted friend--
+   That for a better purpose generous hearts
+   Ne'er prompted liberal hands to do their parts.
+   You knew his power, his satire keen but fair,
+   And the rich fancy, served by skill as rare.
+   You did not know, except some friendly few,
+   That he was earnest, gentle, patient, true.
+   A better soldier doth life's battle lack,
+   And he has died with harness on his back."
+
+[Illustration:
+  "RESULT OF ANIMAL MAGNETISM."
+
+  THACKERAY'S MARGINAL SKETCHES, MADE WHEN AT SCHOOL, IN HIS SCHOOL-BOOKS,
+  ETC.
+
+  _Back to p. 375._]
+
+[Illustration:
+  THACKERAY'S MARGINAL SKETCHES, MADE WHEN AT SCHOOL, INHIS SCHOOL-BOOKS,
+  ETC.
+
+  _Back to p. 375._]
+
+The last verse alludes to Kate Terry's approaching marriage:--
+
+  "Last, but not least, in your dear love and ours,
+   There is a head we'd crown with all our flowers.
+   Our kindest thanks to her whose smallest grace
+   Is the bewitchment of her fair young face.
+   Our own Kate Terry comes, to show how much
+   The truest art does with the lightest touch.
+   Make much of her while still before your eyes--
+   A star may glide away to other skies."
+
+By this performance, a second which took place at Manchester on the 29th
+of July, and the efforts of Shirley Brooks and the members of the
+committee, a large sum was raised.
+
+       *       *       *       *       *
+
+The _Punch_ volumes, prior to his withdrawal from its pages, are
+interspersed with numerous mirth-provoking drawings on wood by the late
+Mr. THACKERAY. Probably the best of these will be found in the "Novels
+by Eminent Hands," in one of which (in amusing burlesque of _Phiz's_
+spirited title-page to "Charles O'Malley") we see the hero flying over
+the heads of the French army. Charles Lever was nervously sensitive to
+ridicule, and, although he laughed at and enjoyed the clever _jeux
+d'esprit_ in which "Phil Fogarty," "Harry Jolly-cur," "Harry Rollicker,"
+etc., put in their respective appearances, he declared nevertheless,
+with evident vexation, that he himself might just as well retire from
+business altogether. This, indeed, he proceeded to do; and although we
+miss from that time the rattling heroes of the Frank Webber and Charles
+O'Malley school, we are indebted to Thackeray for the striking proof
+which Charles Lever was thus enabled to afford us of the versatility of
+a genius which enabled him to change front and alter his style with
+manifest advantage to his literary reputation.
+
+The fact of his waiting upon Dickens at his chambers in Furnival's Inn
+"with two or three drawings in his hand, which strange to say he did not
+find suitable" for "Pickwick," has been told so often that there is no
+occasion for repeating it again; but the circumstances under which he
+seems to have sought the interview not being, so far as we know, stated
+anywhere, we shall now proceed to relate them. Thackeray was in London
+when Seymour shot himself in 1836. The death of the latter caused a
+vacancy in the post of illustrator to "Figaro in London," which at that
+time Seymour was illustrating as well as "Pickwick," and such vacancy
+was supplied by Thackeray, who, I think, continued to illustrate it
+until the paper died a natural death. His designs for "Figaro in London"
+were drawn in pen and ink on paper, and transferred to the wood by the
+engravers, Messrs. Branstone and Wright, and the remuneration he
+received for them was very trifling, at most a few shillings each. It
+was probably this circumstance which put into his head the idea of
+illustrating "Pickwick." From what we know of the graphic abilities of
+Thackeray and the fastidious requirements of Dickens, we may readily
+understand why the post rendered vacant by Seymour's suicide was given
+to an abler artist.
+
+We wish that from a work dealing with comic art in the nineteenth
+century the name of Mr. Thackeray might be omitted; for no notice of
+him, however short, would be just or complete which failed to refer to
+his book illustrations. To do this we must separate Thackeray the artist
+from Thackeray the man of letters. Regarding him simply in the character
+of illustrator of the novels of W. M. Thackeray, we are bound in justice
+to the memory of that great and sterling humourist, to say that he has
+undertaken a task which is manifestly beyond his powers. While Thackeray
+with his _pen_ could most effectively describe a fascinating woman, like
+Becky Sharp, the illusion vanishes the moment his artist essays to draw
+her portrait with his pencil. While Thackeray's women are pretty and
+fascinating, well dressed and accomplished, the artist's women on the
+contrary are hideous; their waists commence somewhere in the region of
+their knees; and their clothes look as if they had been piled on their
+back with a pitchfork. The same remarks apply to the men; while the
+originals are witty or clever, handsome or well-dressed, those presented
+to us by the artist are destitute of calf, and their limbs so curiously
+constructed that the free use of them as nature intended would be a
+matter of utter impossibility. Those defects are the more noticeable
+because the artist has shown in his admirable essays on George
+Cruikshank and John Leech how thoroughly he was alive to the possession
+of artistic genius in others.
+
+The admiration which we have for Thackeray the man of letters, and the
+way in which we have already expressed that admiration, render it
+unlikely that the drift of these remarks will be misunderstood. While
+rejoicing that the admirable tales and satires of the humourist are
+uninjured by illustrations which are altogether unworthy of them, we
+venture to suggest how much better the result might have been had the
+latter been entrusted, as in the case of "The Newcomes," to other hands,
+and the artist contented himself with the initial letters and designs on
+wood with which his writings are pleasantly interspersed. We have seen
+it somewhere stated (we think in the volume entitled "Thackerayana")
+that the author's rapid facility of sketching was the one great
+impediment to his attainment of excellence in illustrative art. Some of
+his designs indeed bear on their face evidence of the rapidity with
+which they were thrown off; but no satisfactory explanation appears to
+be possible of his contempt for what Mr. Hodder has termed the
+"practical laws which regulate the academic exercise of the pictorial
+art," and his apparent ignorance of the art of balancing his figures so
+as to enable them to stand upright, to walk straight, or to move their
+limbs with the grace and freedom assigned to them by nature. One of the
+designs to "The Virginians" shows a horseman, who in the letterpress is
+described as crossing a bridge at full gallop, whereas in the picture
+both man and horse will inevitably leap over the parapet into the river
+below. Nothing could possibly avert the catastrophe, and the effect thus
+produced is due, not to the manifest carelessness and haste with which
+the sketch is thrown off, but to a palpable defect in the artistic
+powers of the designer himself. Yet in the face of defects so patent and
+so palpable we have found it gravely stated, "The world which is loth to
+admit high excellence in more than one direction, has never fitly
+recognised _Thackeray's great gift as a comic draftsman_. Here [_i.e._
+in a work edited by his daughter] he will be found advantageously
+represented; inferior, it is true to the unjustly neglected Hablot
+Browne ('Phiz'), _but often equalling if not sometimes surpassing the
+greatly over-rated John Leech_."
+
+[Illustration:
+  "GRUFFANUFF."
+
+  "PRINCE BULBO SEIZED BY THE GUARDS." "MONKS OF THE SEVEREST ORDER OF
+  FLAGELLANTS."
+
+  SKETCHES BY THACKERAY FROM HIS "ROSE AND THE RING."
+
+  _Back to p. 378._]
+
+Ay! "the world _is_ loth to admit high excellence in more than one
+direction," and experience has taught it that few men, however gifted,
+are capable of exercising two different arts with an equal measure of
+success. Thackeray was both a genius and an artist, but the world has
+long recognised the fact that the former manifested itself only when he
+laid down the pencil and took up the pen. If called on to _prove_ his
+incapacity to illustrate his own work, we will refer the reader to his
+admirable novel of "Vanity Fair." The time selected for the story is the
+early part of the present century; and on the plea that he had "not the
+heart to disfigure his heroes and heroines" by the correct but "hideous"
+costumes of the period, Thackeray has actually habited these men and
+women of 1815 in the dress of 1848! Cruikshank, Leech, "Phiz," or Doyle,
+it is unnecessary to say, would have been guiltless of such an
+absurdity; and the difficulty in which the gifted author found himself,
+and the confession of his inability to cope with it, afford the clearest
+possible evidence of his utter incapacity to illustrate the story
+itself. If any further proof be wanted, look at the designs themselves.
+Captain Dobbin would be laughed out of any European military service;
+such a guardsman as Rawdon Crawley could find no place in her Majesty's
+guards; "Jemima" (at p. 7), "Miss Sharp in the schoolroom" (p. 80), the
+children waiting on Miss Crawley (p. 89), the figures in the fencing
+scene (p. 207), "The Family Party at Brighton," "Gloriana" trying her
+fascinations on the major, "Jos" (at p. 569), and "Becky's second
+appearance as Clytemnestra," without meaning to be so, are caricatures
+pure and simple; and yet these are admirable compared with the
+designs to "The Virginians," which may safely be reckoned amongst the
+worst in the entire range of English illustrative art. Contrast them
+with illustrations confessedly not up to the severe standard of
+excellence required by the art critic, but admirably adapted for their
+purpose, Mr. Doyle's etchings to "The Newcomes," and remark the
+immeasurable superiority of the latter.
+
+[Illustration:
+  W. M. THACKERAY. "_The Rose and the Ring._"
+
+  "ANGELICA ARRIVES JUST IN TIME."
+
+  _Back to p. 379._]
+
+And yet, in justice to the great humourist of the nineteenth century,
+let us hear what another great writer has to say upon the very
+illustrations which seem to us to call for such severe animadversion.
+After telling us that Thackeray studied drawing at Paris, affecting
+especially Bonnington (the young English artist who died in 1828), Mr.
+Anthony Trollope goes on to say, "He never learned to draw,--perhaps
+never could have learned. That he was idle and did not do his best, we
+may take for granted. He was always idle, and only on some occasions,
+when the spirit moved him thoroughly, did he do his best even in after
+life. But with drawing--or rather without it--he did wonderfully well,
+even when he did his worst. He did illustrate his own books, and every
+one knows how incorrect were his delineations. But as illustrations they
+were excellent. How often have I wished that characters of my creating
+might be sketched as faultily, if with the same appreciation of the
+intended purpose. Let any one look at the 'plates,' as they are called,
+in 'Vanity Fair,' and compare each with the scenes and the characters
+intended to be displayed, and then see whether the artist--if we may
+call him so--has not managed to convey in the picture the exact feeling
+which he has described in the text. I have a little sketch of his, in
+which a cannon-ball is supposed to have just carried off the head of an
+aide-de-camp,--messenger I had perhaps better say, lest I might affront
+military feelings,--who is kneeling on the field of battle and
+delivering a despatch to Marlborough on horseback. The graceful ease
+with which the duke receives the message though the messenger's head be
+gone, and the soldierlike precision with which the headless hero
+finishes his last effort of military obedience, may not have been
+portrayed with well-drawn figures, but no finished illustration ever
+told its story better."[185] We read these remarks with profound
+astonishment, and can only ask in reply: If, as Mr. Trollope has
+admitted, Thackeray "never learned to draw,--perhaps never could have
+learned," how he could manage "to convey" in any of his pictures "the
+exact feeling he has described in the text"?--how, in the face of the
+admitted incorrectness of "his delineations," he could be in any way
+fitted to illustrate a novel of such transcendent excellence as "Vanity
+Fair"?
+
+It has been assumed, without any sort of authority, that it was only
+when Thackeray found he could not succeed as an artist that he turned to
+literature. The statement is altogether unwarranted. At or about the
+very time he was engaged in drawing the cuts for "Figaro in London," he
+was--if we are to judge of the sketch of "the Fraserians" in the
+"Maclise Portrait Gallery," in which young Thackeray may easily be
+recognised--writing for "Fraser's Magazine." Be this, however, as it
+may, it seems tolerably certain that the rebuff he received from Dickens
+had no hand in turning him into the path of letters, towards which his
+genius and unerring judgment alone most fortunately guided him.
+
+
+FOOTNOTES:
+
+  [177] There is a scarce edition of the "Bon Gaultier Ballads," which
+    contains some unacknowledged tailpieces, etc., by Kenny Meadows; in
+    all subsequent editions these are omitted--why, we know not.
+
+  [178] So great was the scarcity of good engravers in 1880, that in
+    September of that year the proprietors of the _Graphic_ newspaper
+    acknowledged the difficulty they experienced in obtaining the
+    assistance of high-class engravers, and stated their intention to
+    found a school of engraving on wood. Specimens of a new style of
+    illustration have lately come from America, which appear in
+    illustrated serials; some are good, but the majority, notwithstanding
+    the song of praise with which they were first received, are nothing
+    less than _abominable_.
+
+  [179] Onwhyn's name occurs frequently in illustrative literature. He
+    etched a set of designs for "Pickwick" and "Nicholas Nickleby;" for
+    Mr. Henry Cockton's "George St. Julian," and a translation of Eugene
+    Sue's "Mysteries of Paris." He is well known as the illustrator of
+    "Valentine Vox," "Fanny the Little Milliner," and other works. Some
+    of his best designs will be found in Mrs. Trollope's "Michael
+    Armstrong." He occasionally displays some ability, but his
+    performances are very unequal.
+
+  [180] See Mr. Alfred G. Buss, in "Notes and Queries," April 24th, 1875.
+
+  [181] A very clever and promising artist, who died early, of
+    consumption.
+
+  [182] As the _Tomahawk_ appeared in 1867, it does not come within the
+    scope of the present work.
+
+  [183] A work produced by David Bogue, in 1849, and illustrated by the
+    celebrated French caricaturist, which professes to give sketches of
+    "London Life and Character." Allowing for the unfaithfulness of the
+    portraits, which are wholly Parisian, these designs possess
+    unquestionable merit. The literary contributors were Albert Smith,
+    Shirley Brooks, Angus B. Reach, Oxenford, J. Hannay, Sterling Coyne,
+    and others.
+
+  [184] Afterwards married Kate Terry.
+
+  [185] "Thackeray," by Anthony Trollope, in "English Men of Letters,"
+    p. 7.
+
+
+
+
+CHAPTER XVIII.
+
+_CONTEMPORARIES OF JOHN LEECH: RICHARD DOYLE AND JOHN TENNIEL._
+
+
+We gather from the article in "The Month" which followed his death, and
+to which we have to acknowledge materials of which we have availed
+ourselves in the revision of the present chapter,[186] that Richard
+Doyle's first work was _The Eglinton Tournament, or the Days of Chivalry
+Revived_, which was published when he was only fifteen years old. Three
+years later he produced _A Grand Historical, Allegorical, and Classical
+Procession_, a humorous pageant which the same authority tells us
+combined "a curious medley of men and women who played a prominent part
+on the world's stage, bringing out into good-humoured relief the
+characteristic peculiarities of each." Apart from his talent, it was no
+doubt the fact of his being his father's son--the son of John Doyle, the
+once famous and eminent HB--which first attracted the attention of the
+promoters of _Punch_, and he was only nineteen when, in 1843, he was
+taken on the regular pictorial staff of that periodical. It was to the
+cheery, delightful pencil of Richard Doyle that the paper owed much of
+the popularity which it subsequently achieved.
+
+"It was from his father that he not only inherited his artistic talent,
+but received, and that almost exclusively, his artistic training." The
+writer in "The Month" goes on to tell us that John Doyle would not allow
+his son "to draw from models; his plan was to teach the boy to observe
+with watchful eye the leading features of the object before him, and
+then some little time after reproduce them from memory as nearly as he
+could.... He had no regular training in academy or school of art; he
+painted in the studio of no master save his father; and it is curious to
+see how his genius overleapt what would have been serious disadvantages
+to an ordinary man.... He attached himself to no school; he was not
+familiar, strange to say, with the masterpieces of foreign artists. He
+had never been in Paris, or Rome, or Vienna." It will be well for the
+reader to bear this in mind, because Doyle is one of the few book
+illustrators or etchers whom the professional art critic has
+condescended to notice, and it will enable him the better to understand
+and appreciate the soundness of his criticism. No one, we are told, owed
+less than Richard Doyle "did to those who had gone before him; and if
+this rendered his works less elaborate and conventional, it gave them a
+freshness and originality which might have been hampered if he had been
+forced into conformity with the accepted canons of the professional
+studio."[187] The writer of the article from which we have quoted would
+seem to have read what Mr. Hodder has told us respecting his friend
+Kenny Meadows, for the following is certainly not new to us: "He was not
+a self-taught artist, for he was trained by one who had a genius kin to
+his own, but he was an artist who had never forced himself into the
+observance of those mechanical rules and canons which to ordinary men
+are necessary to their correct painting (just as rules of grammar are
+necessary to correct writing), but hamper and trammel the man of genius,
+who has in himself the fount whence such rules proceed, and
+instinctively follows them in the spirit, though not in the letter. So
+far as they will forward the end he has in view, and no farther."[188]
+It will be seen by the above that the kindly writer gives Doyle credit
+for _genius_, and we who are strictly impartial will cheerfully admit
+that if he had not positive genius,--which we somewhat doubt,--he was
+certainly one of the most genial and graceful of comic designers.
+
+It was _Punch's_ practice during the earlier years of his career to
+produce a new cover with each succeeding volume.[189] Richard Doyle,
+however, signalized his accession by the contribution of a wrapper which
+was considered too good to be thrown aside at the expiration of a few
+months. The well known and admirable design was stereotyped, and still
+forms, with certain modifications, the permanent cover of _Punch's_
+weekly series.
+
+Specially worthy of note amongst his _Punch_ designs may be mentioned
+_The Napoleon of Peace_ (Louis Philippe), and _The Land of Liberty_,
+"recommended to the consideration of Brother Jonathan." In the latter,
+allusion is made to the Mexican war, rifle duelling and rowdyism,
+repudiation, Lynch law, and the then but no longer "peculiar
+institution." These will be found in the thirteenth volume, with a
+design of great excellence, _Punch's Vision at Stratford-on-Avon_,
+supposed to occur in the house of Shakespeare.
+
+A new English (?) party had been growing up and gradually forcing itself
+into English politics. This was the Peace-at-any-price party, the
+members of which, oblivious of the fact that the best preservative of
+peace is to be found in a perpetual state of readiness for war, erased
+from their minds all remembrance of the position won for the nation by
+our glorious army and navy, and ruled that national honour and national
+obligations must now be considered subordinate to the interests of
+peace, trade, and commerce. Conspicuous among these men of the new
+school was Mr. Cobden, an able, earnest, but (so far as our foreign
+policy was concerned) thoroughly mistaken enthusiast. He figures as
+"Peace" in Doyle's cartoon of _John Bull between Peace and War_ (_i.e._
+the Duke of Wellington). In _Gentlemen, make your Game while the Ball is
+Rolling_ (1848), the best cartoon ever designed by Richard Doyle, the
+various European monarchs are engaged at _roulette_ under the auspices
+of _Punch_ himself. The ball is the world, and the edges of the board
+are respectively inscribed, "Reform," "Progress," "Republicanism,"
+"Equality," "Constitutional Government." "Anarchy," and "Liberalism."
+Bomba of Naples having staked a large sum, he and other monarchs follow
+the erratic movements of the ball with absorbing attention. In the
+background may be seen the then Queen of Spain and Louis Philippe, who,
+having staked their all and lost, are just leaving the apartment.
+Another, following up the same subject, is the political sea serpent of
+"Revolution" suddenly appearing above the surface of the sea and
+upsetting, one after another, the cockle-shell boats in which the
+various European sovereigns are endeavouring to get to shore. The writer
+in the Catholic "Month" points out the fact that "this picture was drawn
+in the earlier part of the year, before the Roman revolution, and the
+Holy Father was still riding safely unharmed by the monster which is
+working havoc in France and Germany, and Austria and Spain." In _The
+Citizen of the World_ we find a capital skit upon the "admirable
+Crichton" delusion which made my Lord Brougham fancy himself in every
+character he chose to assume, or on any subject to which he condescended
+to give his attention, _facile princeps_. Here we find him figuring in
+turn as an English Lord Chancellor, a German student, a French subject,
+a French National Guard, an American citizen, a Bedouin Arab, a
+Carmelite monk, a Chinese mandarin, an Osmanli, a red Indian, a Scottish
+shepherd, and by the unmistakable nose and self-complacent smirk on his
+countenance, it is clear that in each and every character Henry Lord
+Brougham feels himself thoroughly at home. _The Sleeping Beauty_ is a
+clever composition. "Beauty," by the way, is Lord John Russell, and
+amongst the sleeping attendants may be recognised the Duke of
+Wellington, Benjamin Disraeli, Colonel Sibthorpe, and Lord William
+Bentinck; while the ever indispensable Brougham of course puts in an
+appearance, this time in the character of a jester.
+
+Richard Doyle, as we have seen, was young when he joined the ranks of
+the _Punch_ staff. Young men are apt to "dream dreams," and one of
+Richard Doyle's was in truth a charming one. In _Ireland: a Dream of the
+Future_, he shows us our Queen gazing into the depths of an Irish lake,
+wherein she beholds prosperous towns, smiling fields, a contented
+peasantry, flourishing homesteads, a land flowing with milk and honey.
+On the opposite bank sit in dreary solitude a starving cottier and his
+family. This was Richard Doyle's dream in 1849. He did not live to wake
+to the reality of 1884: half a dozen "Gladstone" bags filled with
+American dynamite, the property of subjects of a republic who allows her
+mongrel murderers to plot the deaths of thousands of the people of a
+friendly nation without lifting a hand or a finger to restrain them. A
+home government too weak to pass a law which would stop these outrages
+by hanging these foreign miscreants as high as Haman. These formed no
+part of course of the young artist's dream. He delighted in sunshine.
+The year 1850 was memorable for the repeal of the window tax, one of the
+most extraordinary impositions which ever crossed the inventive mind of
+a Chancellor of the Exchequer. "Hollo! old fellow," says a workman to
+his family, hailing the unwonted appearance of the sunbeams in their
+dark and dreary apartment, "Hollo! old fellow; we're _glad_ to see you
+here."
+
+Among the numerous illustrations which Doyle designed for _Punch_,
+probably the most original were the series entitled "Manners and Customs
+of ye Englishe," which, under the title of "Bird's-eye Views of English
+Society," he afterwards continued in the _Cornhill Magazine_ in a more
+elaborate form. The "Manners and Customs" form a curious record of the
+doings of the period, and remind us of "Sam Cowell" and the cider
+cellars, the Jenny Lind mania, Julien and his famous band, Astleys, the
+Derby day, and many of the forgotten scenes and follies in which some of
+us may have mingled in days gone by. They are very clever so far as they
+go; but none of them, as the writer in "The Month" would have us
+believe, are at all "worthy of" or in any way remind us of "Hogarth"
+(why are all the writers on _comic_ art immediately reminded of
+Hogarth?). "Each face in one of these pictures--_A Prospecte of Exeter
+Hall, showynge a Christian Gentleman denouncynge ye Pope_," says the
+same writer--"deserves a careful study, and tells the tale of bigotry,
+prejudice, and gaping credulity which has made Exeter Hall a bye-word
+among men." Although we agree with the writer on this subject, we would
+at the same time take leave to remind him that the Catholics are
+singularly fortunate in England compared with the religious freedom or
+tolerance enjoyed by Protestants in Catholic countries--in Italy for
+instance, or in Spain. As for "bigotry," let him look only at Catholic
+France during the reign of priestcraft there, where an actor of the
+position of Talma, writing with reference to a proposed monument to his
+English brother, John Kemble, could add by way of shameful contrast, "Je
+serai trop heureux _ici_ si les pretres _me_ laissent _une tombe dans
+mon jardin_!"
+
+When we first completed this chapter, and while the artist was yet
+living, we deemed it better to say as little as possible in reference to
+the conscientious motives which induced him to throw up his lucrative
+position on _Punch_, and with it the whole of his splendid prospects in
+comic art; and this course we had decided to follow after Richard Doyle
+had been removed from us by death. As, however, the Catholic organ has
+entered fully into the subject, not only is every cause for further
+reticence removed, but by being placed in a position to understand
+causes and motives, we are enabled to do justice to the memory of this
+most generous and unselfish of men.
+
+The Catholics have cause to feel satisfied with the results of what the
+benighted Protestants of England are apt to term the "Papal Aggression."
+The conduct of the latter in relation to this portentous event is thus
+described by "The Month":--"In 1850 the Catholic Hierarchy was
+established in England, and the Protestant public raved and stormed and
+talked bigoted nonsense without end respecting this new invasion.
+Parliament passed the futile and obsolete Ecclesiastical Titles Bill,
+and _Punch_ took up the popular cry. Cardinal Wiseman was represented as
+'tree'd' by the Papal bull, and comic verses and personal ridicule was
+lavished on the Pope, the new hierarchy, and Catholics generally.
+
+"Doyle remonstrated, but received answer that, as he had been allowed to
+turn Exeter Hall and its doings into ridicule, it was only fair that his
+own opinions should have their turn. But those who used this argument
+little knew, and could scarcely be expected to know, the difference
+between the devotion of supernatural faith and the bigotry of a
+self-chosen creed. Doyle was anything but narrow or over-scrupulous. It
+was not any of the cartoons which was the immediate occasion of the step
+that he took, nor was it (as some of the notices of him have intimated)
+any mere personal attachment to Cardinal Wiseman. 'I don't mind,' he
+said, 'as long as you keep to the political and personal side of the
+matter, but _doctrines_ you must not attack.' Douglas Jerrold and
+Thackeray were not likely to appreciate this reversal of the general
+sentiment, which resents personal attack above all else. 'Look at the
+_Times_,' they argued; 'its language has been most violent, but the
+Catholic writers on its staff do not for that reason resign. They
+understand, and the world at large understands, that the individual
+contributor is not responsible for the opinions expressed by other
+contributors in articles with which he has nothing to do.' 'That is very
+well in the _Times_,' was Doyle's answer, 'but not in _Punch_. For the
+_Times_ is a monarchy [we believe these were his very words], whereas
+_Punch_ is a republic.' So, when a week or so later an article,
+attributed to Jerrold himself, jeeringly advised the Pope to 'feed his
+flock on the wafers of the Vatican,' it was too much for Doyle.
+Dignified protest was not sufficient now. To be any longer identified
+with a paper which could use such language was intolerable to the
+faithful soul. To ply his skilful fingers and busy inventive brain in
+behalf of those who scoffed at the Blessed Sacrament of the Altar was
+out of the question. His connection with _Punch_ must cease. But is he
+bound in conscience to throw away a good income and congenial work,
+because there were expressed opinions different from his own in a paper
+in which, republic though it was, solidarity was scarcely possible? Who
+would expect that in a comic journal each and all of the contributors
+should agree with each and every sentiment expressed? Never mind;
+whatever Richard Doyle might have been strictly bound to do, generosity
+at least urged him to make the sacrifice--the sacrifice of his career,
+of his future success it may be. At least he could show that Catholic
+belief was no empty superstition, no set of mere traditional
+observances, which sat lightly on the man of culture, even if in his
+heart he accepted them at all. So he wrote to resign his connection
+with _Punch_, stating the reasons plainly and simply. This was in 1850,
+after he had been contributing for more than six years. Now he must
+simply start afresh, in consequence of what his Protestant friends
+regarded as an ecclesiastical crotchet. He must turn aside from the path
+of worldly success; he must give up all for conscience' sake. But as the
+_Daily Telegraph_ remarks, in an article respecting him that does it
+honour, 'He made a wise and prudent choice. The loss was ours, not his;
+and, apart from the claims of his genius to admiration, such conduct at
+the critical moment of a career will never cease to command respect.'"
+
+Passing by (as we may afford to do) the assertion that we Protestants
+"raved and stormed and talked bigoted nonsense without end respecting
+this new invasion," and the somewhat unnecessary boast that Lord John
+Russell's Ecclesiastical Titles Bill has been suffered to become a
+"futile and obsolete" measure, we would recognise the value of the
+writer's remarks as establishing in the clearest possible manner the
+perfect honesty and unselfishness of the motives which induced the
+artist to resign his connection with _Punch_, and to throw up the
+chances of an assured and brilliant future. We think however, that the
+value of his statement does not end here. We may here acknowledge that,
+while admitting the perfect purity and disinterestedness of Doyle's
+motives, we ourselves never thoroughly understood them until we had read
+the article from which we have quoted. We had taken into consideration
+the fact that when he took this decided step he was but twenty-five
+years of age, and we suspected (let us honestly own it) that other
+influences might have been at work independent of the artist himself, of
+which we as Protestants must always remain ignorant. There are grounds
+on which Protestant and Catholic writers may meet one another even in
+connection with religious questions; and although a "bigoted"
+Protestant, I am glad to admit that the writer's clear and lucid
+statement has removed an impression that was absolutely without
+foundation.
+
+With respect, however, to the ultimate consequences of this decisive
+step, the Catholic writer and ourselves are wholly at variance. "We are
+inclined to believe," continues the former, "that apart from the respect
+he earned by his noble sacrifice, Mr. Doyle achieved a higher reputation
+in consequence of his retirement from comic journalism, than if he had
+continued to employ his pencil in its services all his life through. It
+is true that his name was not, towards the end of his life, so familiar
+to the popular mind of England as was that of John Leech at the end of
+his career, and as that of Du Maurier at the present time, but the work
+which he did in his later life was more lasting and more world-wide.
+_Punch_ is an English periodical; you must be an Englishman to
+understand the allusions. The humour is essentially and almost
+exclusively English; it would never attain any great popularity in other
+English-speaking nations, in spite of its undoubted claim to be the
+first comic journal in the world. If Doyle had confined himself to the
+pages of _Punch_, or directed his energies mainly to the weekly issue of
+some design in its numerous columns, the limnings of his pencil would
+scarcely be known outside of England, whereas all over the continent of
+America, and in the English colonies, the old Colonel Newcome, and the
+Marquis of Farintosh, Lady Kew, and Trotty Veck meet us with their
+familiar faces as we turn over the Transatlantic editions of Thackeray
+and Dickens, not to mention the exquisite paintings, of which we shall
+have more to say presently, exhibited in the Grosvenor Gallery, and to
+be found in many a country mansion as a lasting memorial of Dicky
+Doyle." Does the writer seriously mean to tell us that Doyle could not
+illustrate Thackeray and Dickens at the same time and side by side with
+his illustrations for _Punch_ or any other serial of a satirical
+character? Granted that _Punch_ is a periodical appealing to English
+tastes and sympathies, yet it was through the introduction obtained by
+means of its pages that the artist probably obtained employment upon the
+very works to which the writer refers, and upon which (as he claims) his
+reputation will rest.
+
+Nor do we, nor can we, admit that, out of the circle of his
+coreligionists, or the still narrower circle of educated unbiassed
+minds, Doyle reaped much respect by the "noble sacrifice" of which the
+writer speaks. English prejudice looks with special coldness on
+conscientious motives it does not understand, and with which it can have
+but little sympathy. Doyle was a man of purer motives and finer
+sympathies than George Cruikshank; but the same insular prejudice which
+conduced to the ruin of George Cruikshank, wrecked the future prospects
+of an artist almost as original in some respects as the more brilliant
+George. From the moment that Doyle retired from _Punch_, English
+fanaticism and English prejudice persisted in regarding him as a
+supporter of the "Papal aggression," and he permanently lost from that
+moment the ground which his talent and his reputation had so honourably
+won for him. From the moment he deemed it his duty to retire from the
+circle of literary and artistic wits and humourists with whom he was
+then associated, he took himself practically out of the range of comic
+art, and the public ceased to trouble itself about him, although it had
+lost (in the expressive language of Mr. Thackeray) "the graceful pencil,
+the harmless wit, the charming fancy," of one of the most genial and
+promising of English graphic satirists of the modern time. Before he
+left _Punch_ he had executed for the periodical upwards of five hundred
+illustrations, of which nearly eighty are cartoons.
+
+But Richard Doyle manifested the honesty of purpose which was a part of
+his noble nature by other sacrifices than his retirement from _Punch_.
+From the friendly hand which has strewn flowers upon his grave, we learn
+that at one time he was offered a handsome income to draw for a
+periodical started some years ago, but declined the engagement because
+he disapproved of the principles of those by whom it was conducted. "At
+another he had a similar offer made him by a distinguished statesman on
+behalf of a political journal, in which the work would have been light
+and the remuneration excellent." He was offered his own terms to
+illustrate an edition of Swift's humorous works; but here too he
+refused, because he did not admire the morality of the witty Dean of St
+Patrick's. "In these and other cases like them, religion, virtue, high
+principle, carried the day against interests which would have proved too
+much for any but a man of Doyle's noble and lofty character." His
+biographer points out the fact that all this while he had to look to his
+pencil for bread, and denies the statement, made by one of the leading
+newspapers at the time of his death, that during the latter part of his
+life he was independent of his profession.
+
+In one set of illustrations, now very scarce and little known, Doyle has
+shown that he possessed eminent powers as a caricaturist. We have a set
+of lithographs before us, entitled, "Rejected Cartoons," a sort of
+pictorial "Rejected Addresses," supposed to be intended for the then new
+Houses of Parliament, some of them caricatures of the works of living
+artists--Maclise, Pugin, etc., whose styles are closely imitated and
+most amusingly burlesqued. Some of them are irresistibly droll, such as
+King Alfred sending the Danes into a Profound Slumber with the Sleepy
+Notes of his Harp; "Canute reproving the Flattery of his Courtiers;" The
+Faces of King John and his Barons at the Signing of Magna Charta; Perkin
+Warbeck in the Stocks; The Meeting of Francis and Harry in the Field of
+the Cloth of Gold, etc. Few people with whom the touch of Richard Doyle
+is perfectly familiar would recognise his hand in these amazing and
+amusing cartoons. We met with them at a bookstall twenty years ago,
+unconscious until lately that they were due to his pencil.
+
+The once celebrated "Adventures of Brown, Jones, and Robinson" would
+alone secure for this artist an eminent position amongst the number of
+English comic designers. Graphically relating the experiences of the
+most ordinary class of continental tourists, they cannot fail to bring
+to the recollection even of the most commonplace traveller some of the
+experiences which may have actually happened to himself. Doyle of course
+enlarges on these experiences as his fancy and imagination suggest; but
+after all, there is little which might not have actually befallen any
+ordinary English travellers such as this unlucky trio. The episode of
+"Jones's Portmanteau undergoing the ordeal of Search" at Cologne; The
+scene at the "Speise-Saal" Hotel; The Jewish "Quarter of the City of
+Frankfort, and what they saw there"; The Gambling Scene at Baden: The
+Descent of the St. Gothard; The Academia at Venice; will appeal to the
+actual experiences of nearly every continental tourist; and
+notwithstanding its extravagant drollery, little Browne's adventure at
+Verona is sufficiently possible to remind one of personal vicissitudes
+encountered off the track or on the frontiers, which might almost match
+the experiences of this personally uninteresting little sketcher.
+
+[Illustration:
+  RICHARD DOYLE. "_Brown, Jones & Robinson_," 1855.
+
+  Robinson (_solo_): "I stood in Venice--," etc. Jones and Brown, having
+  heard something like it before, have walked on a little way.
+
+  _Face p. 392._]
+
+Besides _Punch_, Mr. Doyle's hand will be found in the following:--"The
+Fairy Ring," Leigh Hunt's "Jar of Honey," Professor Ruskin's "King of
+the Golden River," Montalba's "Fairy Tales from all Nations," "Jack and
+the Giants," "The Cornhill Magazine," "Pictures from the Elf World,"
+"The Bon Gaultier Ballads," Thackeray's "Rebecca and Rowena," Charles
+Dickens's "Battle of Life," "The Family Joe Miller," Mr. Tom Hughes'
+"Scouring of the White Horse," "Pictures of Extra Articles and Visitors
+to the Exhibition," Laurence Oliphant's "Piccadilly," "Puck on Pegasus,"
+PLanche's "Old Fairy Tales," À Beckett's "Almanack of the Month,"
+"London Society," and Mr. Thackeray's "Newcomes." Writing of this last,
+Mr. Hamerton says, "I never regretted the hard necessity which forbids
+an art critic to shut his eyes to artistic shortcomings more heartily
+than I do now in speaking of Richard Doyle. Considered as commentaries
+on human character, his etchings are so full of wit and intelligence, so
+bright with playful satire and manly relish of life, that I scarcely
+know how to write sentences with a touch at once light enough and keen
+enough to describe them";[190] and then the critic goes on to expose the
+glaring faults which characterize Mr. Doyle's performances from a purely
+artistic point of view, his feeble attempts of light, his undeveloped
+"sense of the nature of material," and his absence of imitative study.
+It is somewhat singular that whilst Mr. Hamerton is silent on the
+subject of the book etchings of Leech and Phiz, he should have selected
+for criticism those of Doyle, who never intended to claim for these
+sketches the dignity of _etchings_. The critic, however, is not only
+just, but remarkably fair. With reference to the illustrations to the
+"Newcomes," he acknowledges "their all but inestimable dramatic value."
+"Illustrations to imaginative literature," he continues, "are too
+frequently an intrusion and an impertinence, but these really added to
+our enjoyment of a great literary masterpiece, and Doyle's conception of
+the Colonel, of Honeyman, of Lady Kew, is accepted at once as authentic
+portraiture. In Ethel he was less happy, which was a misfortune, as she
+was the heroine of the book; but many of the minor characters were
+successes of the most striking and indisputable kind." Further on, he
+says of Doyle's etching, _A Student of the Old Masters_,--"Colonel
+Newcome is sitting in the National Gallery, trying to see the merits of
+the old masters. Observe the enormous exaggeration of aërial perspective
+resorted to in order to detach the figure of the Colonel. The people
+behind him must be several miles away; the floor of the room, if judged
+by aërial perspective only, is as broad as the Lake of Lucerne." The
+criticism, though exaggerated, is not unfair or unjust; but the people
+are certainly not miles away. Doyle has perpetuated a mistake common
+with many English artists, who seem to think, as Hazlitt expresses it,
+that, "if they only leave out the subordinate parts, they are sure of
+the general result."[191] Doyle's intention to give us a portrait of
+Colonel Newcome _only_ has prompted him to treat the subordinates as
+almost non-existent. His work, however, was never intended to be
+faultless; it carries out his own intention most thoroughly and
+admirably, and in a manner very far superior to anything which Thackeray
+himself could have done.
+
+The closing scenes in the life of this most amiable and unselfish of
+artists we give in the singularly graceful words of his Catholic
+biographer: "In the autumn of last year (1883), Mr. Doyle spent some
+time in North Devon, and while there painted a picture of Lynton
+churchyard. The view is taken at a distance of some ten or fifteen yards
+to the south-west of the church, and is looking in an easterly
+direction. In front of the picture one sees far down below the blue
+waters of the Bristol Channel, while behind the picturesque little
+church nestles among the trees. In the churchyard an old man is mowing
+down the long grass amid the graves, while two or three little children
+scatter flowers on one of them. This picture was unfinished at the time
+of his death. A strange coincidence that he should have chosen such a
+scene for his last picture, when, as far as man can judge, he had no
+sort of reason for thinking that death was so near; stranger still, that
+on his return home he chose for the sketch a black frame, as if to
+clothe it in the garb of mourning for its maker. There it remains on his
+easel, unfinished still, as if to tell of one cut off so suddenly, not
+indeed in the summer of life, but in a mellow autumn, which seemed to
+give promise of many years of good work still to be done. But the time
+had come when the little sprites who peopled his dreams of earth, were
+to be exchanged for the angel forms who were to welcome the faithful
+servant to his reward in heaven. On the 10th of December, as he was
+preparing to return from the Athenæum club, Mr. Doyle was struck down by
+apoplexy. An ambulance was procured, and he was carried home. He never
+regained the power of speech, and it is doubtful whether he was ever
+again conscious, though the priest who anointed him for his journey from
+thence to heaven thought that he detected some traces of a joyful
+acquiescence in the rite. The next morning, in the home where the last
+years had been spent in quiet peaceful pursuit of the art he
+passionately loved, his simple, innocent, loyal soul passed away from
+earth to heaven."
+
+       *       *       *       *       *
+
+It will be admitted that Mr. Tenniel joined the ranks of the graphic
+satirists at the commencement of troublous times. The nations of Europe,
+with the exception of England, whose slumbers still remained unbroken,
+were all more or less awake. Prussia, insufficiently avenged (as she
+herself considered) at Waterloo for the unendurable humiliations which
+Napoleon had heaped upon her after Jena, had been unostentatiously
+preparing for another deadly struggle with France, and perfecting the
+most admirable military machinery of modern times. Russia, under
+Nicholas, a thorough soldier in theory, had an army so elaborately
+over-drilled that when the time came it was found practically useless
+for the purposes of actual warfare. The sleep of England was suddenly
+awakened by the war with Russia, and afterwards by the revolt of her
+Indian mercenaries. The Russian was to be followed by a war between
+France and Austria; the enfranchisement of Italy from the Alps to the
+Adriatic; the fratricidal struggle between Prussia and Austria, and the
+rending asunder within six weeks of the famous Germanic Confederation of
+the Rhine. It is a somewhat singular coincidence that immediately before
+the commencement of these troubles the great Duke of Wellington died, an
+event commemorated by two remarkable cartoons of Tenniel, the first of
+which is entitled _September_ XIV. _MDCCCLII._ (the day of the great
+soldier's death), and the other, _The Duke's Bequest--for the most
+Worthy_.
+
+The year 1853 opened the eyes of those of us who fancied that war was a
+thing of the past, and that the reign of Universal Peace had begun. Not
+only was Turkey at war with Russia, but had given her a tremendous
+thrashing at Oltenitza, an event alluded to in the artist's cartoon of
+_A Bear with a Sore Head_. One of the best of his satires of the same
+year depicts Aberdeen as he appeared in _The Unpopular Act of the
+Courier of St. Petersburg_, wherein the premier attempts the risky feat
+of driving a team of unmanageable horses. The features of the nervous
+athlete betray much anxiety; the two fiery leaders, Russia and Turkey,
+prove wholly beyond his control; while Austria, unsettled by their bad
+example, is much disposed to be troublesome.
+
+Matters went from bad to worse in 1854. England was not only thoroughly
+aroused but angry, not only with her enemies, but with the foolish
+people who had preached peace to her when there was no peace; and, in
+_What it has Come to_, we find my Lord Aberdeen vainly trying to hold in
+the British lion, whose ire has been roused by the Russian bear, who is
+seen scampering off in the distance. Away goes the lion, with his tail
+as stiff as a poker and every hair of his mane erect, dragging after him
+the frightened premier, who exclaims, in the extremity of his terror,
+that he can hold him no longer and is bound "to let him go." The Russian
+war showed our singular unreadiness for warfare. Just at its close we
+had provided ourselves with a fleet of vessels of light draught capable
+of floating in the shallows which surrounded the Russian fortifications,
+which, had they been ready at the time they were wanted, might have
+proved of incalculable service. Britannia disconsolately eyes these
+gun-boats from the summit of her cliffs. "Ah!" she sighs, "if you'd been
+only hatched a year ago, what might have come out of your shells!"
+
+Close upon the heels of the Russian war followed the mutiny of our
+Indian levies. So closely did one event follow the other, that those who
+have watched and learnt with reason to distrust the odious and insidious
+policy of Russia towards this country, considered the coincidence a more
+than singular one. The Franco-Austrian war came next; and the war wave
+passed onwards to America, where the Northern and Southern states were
+speedily engaged in fratricidal and deadly strife. Peace, driven from
+land to land, found no resting place for the sole of her foot, and the
+artist shows her to us, seated disconsolately pondering over these
+untoward matters and her own unhappy condition on the breech of a
+garrison gun.
+
+_Punch's_ low estimate of the character and abilities of the Emperor
+Louis is patent throughout those of Tenniel's satires in which he puts
+in an appearance. In 1853 he takes us to an _International Poultry Show_
+(in obvious reference to the Boulogne catastrophe) where, amid a variety
+of eagles--the American eagle, the Prussian eagle--the double-headed
+Austrian and Russian eagles--we find a wretched nondescript, half eagle
+half barn-door fowl, labelled the "French eagle." Victoria (a royal
+visitor) remarks to her astonished companion, "We have nothing of _that_
+sort, Mr. Punch; but should there be a _lion_ show, we can send a
+specimen!!" The approaching marriage of the French Emperor is alluded to
+in the cartoon of _The Eagle in Love_, in which the present ex-Empress
+(then Comtesse de Teba), whose likeness by the way is far from happy, is
+represented as cutting his talons. The air of mystery which was a part
+of his character, and was not so well understood in those days as it
+afterwards came to be, not unnaturally misled Mr. Tenniel, for in his
+satire, _Playing with Edged Tools_, we behold him studying (of all
+things in the world) a model of the guillotine, an instrument of terror
+to which those of the Bonaparte family who profess to be guided by the
+policy of the great Napoleon, must always entertain the greatest
+possible aversion.
+
+_Punch_ not only looked upon the third Napoleon as a treacherous man,
+but also as a dangerous and inconvenient neighbour. In the cartoon
+labelled, _An Unpleasant Neighbour_ (1859), we see him in the act of
+placing outside his firework shop a flaming advertisement, whereon we
+read in the largest possible type, "Blaze of Triumph! Roman
+Candles!--Italian Fire!"[192] His neighbour, John Bull, proprietor of
+"The Roast Beef House" next door, rushes out in a very excited state,
+"Here have I got," says he, "to pay double insurance, all along of
+_your_ confounded fireworks!" The next cartoon shows us Louis, _alias_
+"Monsieur Walker," after he has closed his establishment and chalked up,
+"The Business to be disposed of," while incredulous John places his
+finger to his nose as Louis assures him, "Ah, friend Johnny! I close my
+shop entirely to please _you_!" In _The Congress Quadrille_, Louis
+vainly essays to make himself agreeable to Miss Britannia (a good
+example of the artist's handsome women)--"Voulez-vous danser,
+Mad'moiselle?" says Louis. Britannia, however, having been his partner
+on more than one memorable occasion, had had quite enough of him and his
+peculiar style of dancing. "Thanks,--no!" she languidly replies,
+thinking doubtless of her experiences of the Russian quadrille--of the
+Chinese country dance, etc., etc. "I'm not sure of the figure--and _know
+nothing of the Finale_."
+
+Mr. Tenniel's art training before he joined the _Punch_ staff, combined
+with his undoubted genius, renders him unquestionably one of the most
+versatile of modern designers. His satire is something quite apart from
+his caricature, and the former is characterized by a strong dramatic
+element particularly noticeable in serious illustrations, such as his
+designs to "The Pythagorean," in the second volume of "Once a Week." In
+caricature he resumes in a measure the manner of the older
+caricaturists, without retaining a trace of their vulgarity, and a good
+example will be found in his cartoon of _What Nicholas heard in the
+Shell_ (1854), in which the features and salient points of the figure
+are intensely overdrawn. His caricature pure and simple seems to us
+always inferior to his satirical power; as fine examples of the latter
+we may mention: _The British Lion Smells a Rat_ (an angry lion sniffing
+at a door, in allusion to the conference which followed the fall of
+Sebastopol); _The British Lion's Vengeance on the Bengal Tiger_, which
+chronicles the ghastly massacre of Cawnpore; _Bright the Peace Maker_
+(1860), in which _Punch_ testifies his indignation at the manner in
+which Mr. Bright endeavoured to create a popular feeling against the
+House of Lords; _Poland's Chain Shot_ (1863), a stirring and powerful
+composition, wherein Poland, gallantly struggling once more for freedom,
+breaks her chains and fiercely rams them into a cannon; _Humble Pie at
+the Foreign Office_ (1863), and _Teucer Assailed by Hector is Protected
+by the Shield of Ajax_ (1864), in which Lord John Russell is the subject
+of satire; and _The False Start_ and _Out of the Race_ (the same year),
+in the first of which Palmerston endeavours to restrain the leaning of
+Gladstone towards democracy, the last showing the result of his
+inattention to the starter's warning. In all these and a host of other
+admirable satires, the superior art training of Mr. Tenniel is seconded
+by his strong dramatic power, and above all by his unquestionable
+_genius_. It would be a poor compliment to him to deny that he had his
+failings--which indeed of the admirable satirists who preceded him had
+not? His failings, when they do occur, are perhaps more noticeable on
+account of his style and the mode in which he frequently drapes his
+figures. We have heard it objected to him, for instance, that the beauty
+of his female figures is occasionally marred by the somewhat
+disproportionate size of their feet, and this charge seems to us
+sustainable. Mr. Tenniel displays rare excellence in the drawing of
+animals--an excellence peculiarly noteworthy in such cartoons as _The
+British Lion Smells a Rat_, and _The British Lion's Vengeance on the
+Bengal Tiger_.
+
+Embracing a period of only fourteen years, from 1851 to 1864, during
+which time he worked side by side with his friend and colleague, John
+Leech, on the pages of _Punch_, our notice of the cartoons of John
+Tenniel must necessarily be short. During the last three years of his
+life, when, as we have seen, the strength of the artist who had been on
+the pictorial staff from the commencement had been gradually failing,
+the execution of the weekly cartoons had fallen almost entirely upon Mr.
+Tenniel. As fellow-labourers, constantly associated on the same
+periodical, we are enabled to compare their individual merits. The
+conclusion we have arrived at is as follows: That as a political
+_satirist_, Tenniel is the best of the two; while as a delineator of
+English habits, manners, eccentricities, and peculiarities, Leech finds
+no equal. After 1864, when the artistic friendship and partnership (so
+to speak) of these gifted men was dissolved by the untimely death of
+John Leech, it would be beyond the declared scope and purpose of this
+work to follow Mr. Tenniel further. Unlike the caricaturists who
+preceded him, many of whom relied on humour, more or less forced, for
+the success of their productions, the cartoons of John Tenniel are
+oftentimes distinguished by a gravity and sternness of purpose which,
+combined with their artistic excellence, appeals forcibly to the
+imagination. Unfortunately, as in the case of those of John Leech, these
+truly admirable examples of nineteenth century satire, apart from the
+_Punch_ volumes themselves--owing to the material on which they are
+impressed and the process to which the original drawings are
+subjected--are practically valueless by the side of an indifferent
+caricature torn from the scurrilous and worthless pages of "The Scourge"
+or "The Meteor."
+
+To the persons who charge this artist with want of humour, his cartoon
+of _Britannia Discovering the Source of the Nile_--probably the most
+comical picture in the whole of the _Punch_ volumes--will afford the
+most conclusive answer, as will also the quaint and mirth-provoking
+little pictures which he designed for "Alice in Wonderland," its sequel,
+"Through the Looking-glass," and the 1864 edition of the "Ingoldsby
+Legends." One of these last, by the way, so closely resembles a scarce
+design of John Leech's in the "New Monthly," that the coincidence will
+strike any one who has an opportunity of comparing the two together.
+During the fourteen years that Mr. Tenniel was a fellow-worker with the
+late John Leech, he contributed to the pages of _Punch_ about 1,400
+designs, of which upwards of 400 are cartoons. We believe we are correct
+in stating that all these illustrations, and his subsequent and
+contemporary designs, were drawn at once upon the wood block, not a
+single preliminary sketch having been made.
+
+       *       *       *       *       *
+
+Here, in accordance with the plan which we designed when we sat down to
+write this work, we bring our labours to a close. If we have omitted all
+mention of two very excellent and talented artists, Messrs. Charles
+Keene and George Du Maurier, it is not from any lack of appreciation,
+but because one of them at least began his labours just about the period
+when those of John Leech were drawing to a close, while the reputation
+of both were made _after_ their distinguished contemporary was laid to
+his rest. The merits of both these able men and of those now following
+after them must be left to be dealt with by another chronicler.
+Although, as we remarked in our opening chapter, the wood engraver has
+rung the knell of English caricature, with such clever men as Colonel
+Seccombe, Mr. Proctor, Mr. Randolph Caldicott, Mr. F. Barnard, the
+present George Cruikshank, Mr. Chasemore, and others whose names do not
+at present occur to us, there is happily no prospect of a decline in the
+art of English graphic satire.
+
+
+FOOTNOTES:
+
+  [186] The present chapter was written before the artist's death; but
+    I have to acknowledge the great assistance I have derived in its
+    _revision_ from the authority indicated.
+
+  [187] _The Month, a Catholic Magazine_, No. 237 (March, 1884), p 315.
+
+  [188] _Ibid._, page 317.
+
+  [189] One of these (and a very effective one) was the work of the
+    present Sir John Gilbert.
+
+  [190] Hamerton's "Etching and Etchers."
+
+  [191] William Hazlitt on "The Fine Arts," p. 51.
+
+  [192] An excellent burlesque of the Emperor's theatrical declarations.
+
+
+
+
+APPENDICES.
+
+
+
+
+APPENDIX I.
+
+_SOME ILLUSTRATIVE WORK OF ISAAC ROBERT CRUIKSHANK._
+
+
+Coloured frontispiece to the "Age of Intellect; or, Clerical Show Folk
+and Wonderful Lay Folk," by Francis Moore, Physician. 1819.
+
+"Lessons of Thrift, published for the general benefit, by a Member of
+the Save-all Club," eleven coloured full-page etchings. 1820.
+
+"The Total Eclipse, a Grand Politico-Astronomical Phenomenon." (Dolby,
+Strand.) 1820.
+
+"A Peep at the P. C. N.; or, Boiled Mutton with Caper Sauce at the
+Temple of Joss." (Effingham Wilson.) 1820.
+
+"The Men in the Moon; or, the Devil to Pay." (Dean & Munday.) 1820.
+
+[_With his brother George._] Designs to Nightingale's "Memoirs of Queen
+Caroline." (J. Robins.) 1820.
+
+"Radical Chiefs." One caricature illustration. 1821.
+
+"The Royal Game of Chess." 1821.
+
+"The Political All-my-knack for the Year of our Lord 1821."
+
+"The Queen and Magna Charta; or, the Thing that John Signed." (Dolby,
+Strand.) 1821.
+
+"Tales of the Cordelier Metamorphosed." 1821.
+
+[_With his brother George._] "Life in London." (Sherwood, Nealy &
+Jones.) 1821.
+
+"The Commercial Tourist; or, Gentleman Traveller." (A satirical Poem),
+five coloured plates. 1822.
+
+"Mock Heroicks; or, Snuff, Tobacco, and Gin, and a Rapsody on an
+Inkstand." Four caricature engravings. 1822.
+
+"Annals of Sporting and Fancy Gazette." (Numerous coloured plates.)
+1822-1825.
+
+[_With C. Williams._] Frontispiece to George Ramsey's "New Dictionary of
+Anecdote." 1822.
+
+"My Cousin in the Army; or, Johnny Newcome on the Peace Establishment."
+Many coloured plates. 1822.
+
+Twenty designs on wood for Charles Westmacott's "Points of Misery."
+1823.
+
+A series of drawings on wood to the "Spirit of the Public Journals for
+1823 and 1824." (A selection of essays, jeux d'esprit, tales of humour,
+etc., 2 vols.)
+
+"Life and Exploits of Don Quixote." Twenty-four designs on wood. (Knight
+& Lacey.) 1824.
+
+Bernard Blackmantle's (Charles Westmacott) "English Spy." 1825.
+
+"Spirit of the Public Journals for 1825."
+
+Charles Westmacott's "Punster's Pocket-book; or, the Art of Punning
+Enlarged." 1826.
+
+[_With his brother George._] "London Characters." (Twenty-four plates,
+of which nine only are by Robert.) Robins. 1827.
+
+[_With George._] Designs on wood for the "Fairy Tales" of Albert Ludwigg
+Grimm. 1827.
+
+J. Thompson's "New Life of J. Allen." 1828.
+
+Smeeton's "Doings in London." 1828.
+
+"British Dance of Death" (allegorical coloured frontispiece). 1828.
+
+"Spirit of the Age" Newspaper (vignette). 1828.
+
+[_With his brother._] The designs on wood for the "Universal Songster;
+or, Museum of Mirth." (3 vols.) 1828.
+
+"London Oddities; or, Theatrical Cabinet, and Tit-bits of Humour and
+Eccentricity." 1828.
+
+"The Finish to the Adventures of Tom, Jerry, and Logic." 1828.
+
+
+_The following between 1830 and 1832._
+
+"Cruikshank's Comic Album" (sometimes called "Facetiæ"), being a series
+of little books published by Kidd, Miller, and others, afterwards
+collected into 3 vols.
+
+"Walks about Town by an Antiquated Trio," three designs.
+
+"The Condition of the West Indian Slave contrasted with that of the
+Infant Slave in our English Factories."
+
+"Cruikshank and the New Police, showing the great Utility of that
+Military Body."
+
+"Cruikshank _versus_ Witchcraft"; "Mary Ogilvie"; "Wee Watty."
+
+"Robert Cruikshank _versus_ Sir Andrew Agnew."
+
+W. S. Moncrieff's "March of Intellect," six designs.
+
+[_With Kenny Meadows._] "The Devil in London."
+
+"A Slap at the Times."
+
+Illustrations to Foote's "Tailors," and "Mayor of Garratt"; O'Hara's
+"Midas"; "The Beggars' Opera"; "Katherine and Petruchio," and others.
+
+
+_The following between 1831 and 1836._
+
+Design on wood for "Figaro in London."
+
+[_With Seymour and others._] Illustrations to a periodical called "The
+Thief."
+
+Twenty illustrations to W. R. Macdonald's "Comic Alphabet." (A rival to
+George Cruikshank's work of the same title.)
+
+Eighty-five designs on wood to Crithannah's "Original Fables." Six
+designs on wood for "Readings from Dean Swift His Tale of a Tub, with
+Variorum Notes, and a Supplement for the use of the Nineteenth Century,"
+by Quintus Flestrin Grildrig.
+
+Johann Abricht's "Divine Emblems." And [_with his brother_]
+illustrations to J. Thomas's "Burlesque Drama." 1838.
+
+[_With Seymour._] The series known as "Cruikshank at Home," and "The Odd
+Volume."
+
+
+_The following in 1839-1840._
+
+Ten vignettes to "The Lady and the Saints." Twelve designs on wood to
+"Colburn's Kalendar of Amusements in Town and Country." "Cozi Toobad."
+[_With W. Lee._] Twenty-three steel plates and designs on wood for "Jem
+Blunt," by Barker (author of the celebrated "Greenwich Hospital").
+
+
+_1842 and 1844._
+
+[_With John Leech._] "Merrie England in the Olden Time," by George
+Daniel. (Since rep. by Warne & Co.) Three illustrations to "James
+Hatfield and the Beauty of Buttermere." [_With R. W. Buss and T.
+Wageman._] "Cumberland's British and Minor Theatre." Fourteen etchings
+to Abraham Elder's "Tales and Legends of the Isle of Wight." Nine
+aqua-tinta plates to Hugo Playfair's "Brother Jonathan, the Smartest
+Nation in all Creation."
+
+
+_From 1845 to 1849._
+
+"Sketches of Pumps Handled by Robert Cruikshank." Twenty-four etchings
+to "The Orphan; or, Memoirs of Matilda" (a translation of Sue's
+"Mathilde"). Forty etchings to "The Bertaudiere" (Chronicles of the
+Bastile).
+
+
+_And the following_.
+
+Francis L. Clarke's "Life of Wellington." Kentish's "Hudibrastic History
+of Lord Amherst's Visit to China." "The London Directory and London
+Ambulator." "Golden Key of the Treasures of Knowledge." "The Little
+World of Great and Good Things." E. Thomson's "Adventures of a Carpet."
+"Raphael's Witch; or, Oracle of the Future" (ten coloured designs). "The
+London Stage" (a collection of about 180 plays, with a cut to each play;
+4 vols.). Portrait of Mr. Oxberry as "Humphrey Gull" in the "Dwarf of
+Naples," etc., etc.
+
+
+
+
+APPENDIX II.
+
+_SOME MISCELLANEOUS WORK OF ROBERT SEYMOUR EXECUTED BETWEEN 1822 AND
+1836._
+
+
+"Views from the Poets." "The Devil on Two Sticks." "Ovid."
+"Demosthenes." Views of Newstead Abbey, Margate, Dover, etc. Designs for
+"Benevolence, Friendship, and Death." "Quarrels of the Poets."
+"Anatomical Theatre." "Vanities of the Human Race." "The Happy Family."
+"The Gin-shop." "The Sleepwalker." "The Sluggard." "Don Juan." "The
+Economist." "The Chemist." "The March of Intellect." "The Great Joss and
+his Playthings." "The R----l Speech." The Works of Wordsworth, Southey,
+Gay, and other poets. Robinson's "History and Antiquities of Enfield."
+Shakspeare's "Seven Ages." Hogarth's "Apprentices," and "Rake's
+Progress." "Uncle Timothy." Views of London. Sporting Almanacks. "Percy
+Anecdotes." "Book of Martyrs." "Portraits of Public Characters." "Death
+in London." "Spectre Bride." "Midnight Embrace." "The Red King." "The
+Ghost with ye Golden Casket." "The Devil's Ladder." "Assisting,
+Resisting, and Desisting."
+
+Contributions to "Friendship's Offering." 1824-36.
+
+"Seymour's Comic Annual: a Perennial of Fun."
+
+Miss Louisa Sheridan's "Comic Offering." 1831-1835.
+
+"The National Omnibus," a journal of literature, etc. (designs on wood,
+with Cruikshank), 1831-1832; "The Comic Magazine," 1832-1834;
+Richardson's "Minor Drama," 1827-1830; Piers Shafton Granton's "Vagaries
+in Quest of the Wild and Wonderful"; "Mrs. Greece and her Rough Lovers"
+[Russia and Turkey] (McLean), 1828; "How to Spell Harrowgate" (C. King),
+1828; "Going by Steam" (G. King); "The Political Bellman"; "A Musical
+Genius" (G. Creed); "A Man of Taste and Feeling" (G. Creed).
+
+_The following, among others, for McLean, in 1829._
+
+"Search after Happiness" (two plates); Portrait of O'Connell;
+"Buonaparte in his Study"; "State of the Nation"; "Treasure Seeking";
+"The Raft"; "O'Connell's Dream"; "London"; "Plot Discovered"; "Death of
+the Giraffe" (a series of plates); "Rival Actresses"; "Moments of
+Reflection"; "Ennui"; "The Ear-wig"; "The Lost Key"; "The Man Wot
+Steers"; "Raising the Wind"; "Catholic State Wagon."
+
+"The Looking Glass" (a series of political and other caricatures, in
+which he was assisted by William Heath). 1830-1836.
+
+"Sycophant Saints and Sabbath Sinners." Circa 1832.
+
+[_With Isaac Robert Cruikshank._] "Cruikshank at Home," and "The Odd
+Volume." 1836.
+
+"The Omnibus" (a series of humorous etchings on copper); and "The
+Heiress" (six plates, each consisting of about five subjects).
+
+Upwards of three hundred designs on wood for "Figaro in London."
+1831-1836.
+
+"Valpurgis; or, the Devil's Festival." Four woodcuts. (Kidd.) 1831.
+
+"The Extraordinary Black Book" (an exposition of the incomes of the
+aristocracy, Church, civil list, list of sinecurists, etc.), one
+caricature plate. 1831.
+
+"The Comic Magazine." 1831-1834.
+
+"Maxims and Hints for an Angler" (twelve beautifully-finished drawings
+on stone).
+
+"The Schoolmaster Abroad" (aimed at Lord Brougham's educational
+movement).
+
+"New Readings by Old Authors" (a small lithographic series comprising
+upwards of three hundred plates, the subjects being suggested by
+readings in Shakespeare, Schiller's "William Tell," and Byron's
+"Giaour.")
+
+Several hundred illustrations for Maddeley, the publisher.
+
+The "Humorous Sketches"; "Hood's Comic Almanack," 1836 (thirteen
+woodcuts); "Squib Annual of Poetry, Politics, and Personalities" (twelve
+designs); [_with Cruikshank_] "Sayings worth Hearing, and Secrets worth
+Knowing"; "Terrific Penny Magazine"; T. K. Hervey's "Book of Christmas,"
+1836; the early plates to "Pickwick"; some of the plates to the "Pocket
+Magazine" (Robins' series), eleven vols., etc., etc.
+
+
+
+
+APPENDIX III.
+
+_SOME OF THE ILLUSTRATED WORK OF JOHN LEECH._
+
+
+1835. "Etchings and Sketchings," by A. Pen, Esq.
+
+1837. "Jack Brag," by Theodore Hook.
+
+1840. "The Comic Latin Grammar," by Paul Prendergast. (Percival Leigh.)
+Plates and cuts.
+
+"The Comic English Grammar," by Gilbert à Beckett. Fifty illustrations.
+
+"The Fiddle-Faddle Fashion Book," by Percival Leigh. Four coloured
+plates.
+
+[_With Hablot Knight Browne and another._] "The London Magazine,
+Charivari, and Courrier des Dames."
+
+"Bentley's Miscellany," 1840 to 1849, containing etchings to the
+"Ingoldsby Legends," "Stanley Thorn," "Richard Savage," "Adventures of
+Mr. Ledbury," "Fortunes of the Scattergood Family," "Marchioness of
+Brinvilliers," "Brian O'Linn," etc., etc.
+
+1841. "The Children of the Mobility," seven lithographs in a wrapper.
+
+"Written Caricatures," by C. C. Pepper (pseud.).
+
+"Punch, or The London Charivari." 1841 to 1864.
+
+[_With Isaac Robert Cruikshank._] "Merrie England in the Olden Time," by
+George Daniel. 1842.
+
+"New Monthly Magazine," 1842 to 1844.
+
+"Hood's Comic Annual."
+
+1843. "The Wassail Bowl," by Albert Richard Smith, etchings and
+woodcuts.
+
+"Jack the Giant-Killer."
+
+"The Illuminated Magazine," 1843 to 1845.
+
+1844. "The Comic Arithmetic," designs on wood.
+
+"Punch's Snap-Dragon for Children," four etchings.
+
+"A Christmas Carol," by Charles Dickens, four coloured plates and cuts.
+1843-4.
+
+"Jessie Phillips," by Mrs. Trollope, eleven plates.
+
+[_With George Cruikshank._] "Colin Clink," by Charles Hooton.
+
+1845. [_With Doyle and others._] "The Chimes," by Charles Dickens.
+
+"Hints in Life; or, How to Rise in Society," frontispiece.
+
+"Young Master Troublesome; or, Master Jacky's Holidays."
+
+"Douglas Jerrold's Shilling Magazine," 1845 to 1848. Etchings to "St.
+Giles and St. James."
+
+1846. "The Quizziology of the British Drama," by Gilbert à Beckett,
+frontispiece.
+
+"The Comic Annual" (a re-publication of "Hood's Whimsicalities"),
+forty-five illustrations.
+
+[_With Doyle and others._] "The Battle of Life," by Charles Dickens.
+
+1847. "The Comic History of England," by Gilbert à Beckett, coloured
+etchings and numerous designs on wood.
+
+1848. "The Life and Adventures of Oliver Goldsmith," by John Forster
+[_with another_].
+
+"The Rising Generation," twelve large, tinted lithographs, issued from
+the _Punch_ office.
+
+"The Struggles and Adventures of Christopher Tadpole," by Albert Smith,
+etchings.
+
+[_With John Tenniel and others._] "The Haunted Man and the Ghost's
+Bargain," by Charles Dickens. 1847-8.
+
+[_With Richard Doyle and Alfred Crowquill._] "Bon Gaultier's Book of
+Ballads," by Theodore Martin and Professor Aytoun. 1849.
+
+"A Man made of Money," by Douglas Jerrold, twelve etchings.
+
+"Natural History of Evening Parties," by Albert Smith.
+
+1851. "The Month," edited by Albert Smith.
+
+1852. "Dashes of American Humour," by Howard Paul.
+
+"The Comic History of Rome," by Gilbert à Beckett, ten coloured etchings
+and numerous designs on wood.
+
+1853. "The Fortunes of Hector O'Halloran and his man Mark Antony Toole,"
+by W. H. Maxwell, etchings.
+
+"Mr. Sponge's Sporting Tour," by R. W. Surtees, twelve coloured etchings
+and numerous designs on wood.
+
+1854. "The Great Highway," by S. W. Fullom.
+
+"Handley Cross; or, Mr. Jorrock's Jaunts," by R. W. Surtees, coloured
+etchings and numerous designs on wood.
+
+1856. "The Paragreens."
+
+1857. "Merry Pictures," by the Comic Hands of Phiz, Leech, Kenny
+Meadows, Gavarni, and others.
+
+"The Militia Man at Home and Abroad," by Emeritus.
+
+"A Month in the Forests of France," by the Hon. Grantley F. Berkeley.
+
+1858. "Encyclopædia of Rural Sports."
+
+"Ask Mamma; or, the Richest Commoner in England," by R. W. Surtees,
+coloured etchings and numerous designs on wood.
+
+1859. "The Fliers of the Hunt," by John Mills.
+
+"A Little Tour in Ireland," by the Rev. S. Reynolds Hole, coloured
+folding frontispiece and designs on wood.
+
+"Newton Dogvane: a Story of English Life," by J. Francis.
+
+"Soapey Sponge" (sporting).
+
+"Paul Prendergast."
+
+"Once a Week," 1859 to 1864.
+
+1860. "Mr. Briggs and His Doings" (fishing), twelve coloured plates.
+
+"Plain or Ringlets," by R. W. Surtees, coloured etchings and numerous
+designs on wood.
+
+[_With George Cruikshank, "Phiz," and John Tenniel._] "Puck on Pegasus."
+1861.
+
+"Mill's Life of a Fox-Hound."
+
+[_With George Cruikshank and John Tenniel._] "The Ingoldsby Legends."
+1864.
+
+"The Follies of the Year," twenty-one coloured etchings from _Punch's_
+"Pocket Books," with descriptive letterpress by Shirley Brooks.
+
+"Mr. Facey Romford's Hounds," by R. W. Surtees, coloured etchings and
+designs on wood (finished by "Phiz").
+
+[_With Doyle and others._] "The Cricket on the Hearth." By Charles
+Dickens. 1845-6.
+
+
+_Reprint._
+
+"Fly Leaves," lithographs.
+
+"Sketches of Life and Character taken at the Police Court, Bow Street,"
+by George Hodder.
+
+
+
+
+APPENDIX IV.
+
+_SOME MISCELLANEOUS WORK OF ALFRED HENRY FORRESTER (ALFRED CROWQUILL)_.
+
+
+"Ups and Downs," 1823; "Paternal Pride," 1825; "Despondency and
+Jealousy" (with George Cruikshank), and many others, in 1825; "Der
+Freyschutz Travestied," "Alfred Crowquill's Sketch-Book," "Absurdities
+in Prose and Verse," 1827; Goethe's "Faust," 1834; six plates of
+"Pickwickian Sketches," Alfred Bunn's "Vauxhall Papers," 1841; designs
+on wood for "Sea Pie," an _omnium gatherum_ containing also plates after
+David Cox, Pyne, Stanfield, and Vickers, 1842; "Punch" (vols. ii. to
+iv.); plates and numerous designs on wood for "Bentley's Miscellany,"
+many original designs to "Doctor Syntax's Tour in Search of the
+Picturesque," 1844; "Comic Arithmetic" (forty-seven humorous vignettes),
+1844; "Woman's Love," 1846; "Wanderings of a Pen and Pencil," 1846; "A
+Good-natured Hint about California," 1849; "The Excitement" (2 plates),
+1849; 120 designs on wood for the "Pictorial Grammar;" designs on wood
+for the "Pictorial Arithmetic;" "Gold," 1850; "A Bundle of Crowquills
+Dropped by Alfred Crowquill," 1854; "Fun," 1854; "Griffel
+Swillendrunken," 1856; "Aunt Mavor's Nursery Tales," 1856; "Little
+Pilgrim," 1856; "Little Plays for Little Actors," 1856; "Fairy Tales,"
+1857; "Merry Pictures by the Comic Hands of 'Phiz,'" etc. (Kent & Co.),
+1857; "The Book of Ballads," by Bon Gaultier (with Doyle and Leech),
+1857; "A New Story Book," 1858; "Fairy Tales," by Cuthbert Bede, 1858;
+"Baron Munchausen" (coloured plates), 1858; "Tyll Owlglass" (a similar
+book), 1859; "Honesty and Cunning," 1859; "Kindness and Cruelty," 1859;
+"The Red Cap," 1859; "Paul Prendergast," 1859; "Strange Surprising
+Adventures of the Venerable Gooros Simple," 1861; "Fairy Footsteps,"
+1861; Chambers' "Book of Days;" G. W. Reynolds' "Pickwick Abroad" (now
+scarce); "The Boys and the Giant," 1870; "The Cunning Fox," 1870; "Dick
+Doolittle," 1870; "Little Tiny's Picture Book," 1871; "Guide to the
+Watering Places" (views and comic plates); "Comic Eton Grammar" (with
+Leech); "Fairy Footsteps; or, Lessons from Legends" (100 designs on
+wood, with Kenny Meadows); Henry Cockton's "Sisters; or, England and
+France."
+
+
+
+
+APPENDIX V.
+
+_SOME WORKS ILLUSTRATED BY HABLOT KNIGHT BROWNE._
+
+
+Charles Dickens's "Sunday under Three Heads," 1836.
+
+"Posthumous Papers of the Pickwick Club," forty-three plates by Seymour
+and "Phiz." 1836-37.
+
+
+_The following are also to be met with._
+
+"Posthumous Papers of the Pickwick Club," with the Seymour and "Phiz"
+plates, the two suppressed plates of "Buss," and the extra series of
+thirty plates by Onwhyn. 1837.
+
+_The same_, with the forty plates by Seymour and "Phiz," the two
+suppressed plates of Buss, and twenty-three plates by "Sam Weller" and
+Onwhyn.
+
+"Sketches of Young Ladies by 'Quiz'" (Charles Dickens), six copper
+plates, 1837.
+
+James Grant's "Sketches in London," twenty-four humorous illustrations
+on steel by "Phiz" and others, Orr, 1838. Another edition in 1840.
+
+"A Paper of Tobacco: a Treatise on Smoking, with Anecdotes, Mems on
+Pipes, Tobacco-boxes, and Snuff." By Joseph Fume, Copper plates and
+picture boards. 1839.
+
+"Life and Adventures of Nicholas Nickleby." 1839.
+
+_The same_, with the plates by "Phiz," and an extra series of plates by
+Onwhyn and "Peter Palette." 1839.
+
+_The same_, with the forty plates by "Phiz," and a set of forty plates
+by "Peter Palette" added.
+
+"New Sporting Magazine." 1839.
+
+Charles Lever's "Harry Lorrequer." 1839. (A pirated edition was
+published at Philadelphia, 1840.)
+
+"London Magazine, Charivari, and Courrier des Dames" (with Leech and
+"Gillray, Junr."). 1840.
+
+"Master Humphrey's Clock," "Old Curiosity Shop," and "Barnaby Rudge,"
+designs on wood, with Cattermole. 3 vols. 1840-41.
+
+"Sir Thomas Dick Lauder's Legendary Tales of the Highlands." 3 vols.
+1841.
+
+Charles Lever's "Charles O'Malley, the Irish Dragoon," 2 vols. Dublin,
+1841.
+
+"Peter Priggins, the College Scout," 3 vols. 1841 (made its first
+appearance without illustrations in the _New Monthly Magazine_).
+
+"The Pic-nic Papers," by Various Hands, edited by Charles Dickens,
+plates by Cruikshank, "Phiz," and Hamerton. 3 vols. 1841.
+
+W. H. Maxwell's "Rambling Recollections of a Soldier of Fortune,"
+woodcuts by "Phiz" and others. Dublin, 1842.
+
+Lever's "Jack Hinton." Dublin, 1842-43.
+
+Carleton's "Traits and Stories of the Irish Peasantry" (both series),
+steel plates by "Phiz," Sir J. Gilbert, Franklin, etc., and woodcuts. 2
+vols. Dublin, 1843-44.
+
+Charles Dickens's "Martin Chuzzlewit," forty plates. 1844.
+
+Charles Lever's "Tom Burke of Ours." Dublin, 1844.
+
+"Ainsworth's Magazine," from and after 1844.
+
+"The Illuminated Magazine" [_with Meadows, Sargent, Gilbert, Harvey,
+etc._]. 1845.
+
+Charles Lever's "St. Patrick's Eve," woodcuts and fine steel etchings.
+1845.
+
+"Tales of the Trains; some Chapters of Railroad Romance," by Tilbury
+Tramp (_i.e._ Charles Lever). Orr, 1845.
+
+"Nuts and Nutcrackers." 1845.
+
+Charles Lever's "The O'Donoghue." Dublin, 1845.
+
+"Fiddle-Faddle's Sentimental Tour in Search of the Amusing, Picturesque,
+and Agreeable." 1845.
+
+"The Union Magazine," vol. i. Three plates. 1846.
+
+"Fanny the Little Milliner; or, the Rich and the Poor" [_with Onwhyn_].
+1846.
+
+"The Commissioner; or, De Lunatico Inquirendo," twenty-eight steel
+plates. Dublin, 1846.
+
+"A Medical, Moral, and Christian Dissertion of Teetotalism," by
+Democritus. 1846.
+
+Charles Lever's "Knight of Gwynne." 1847.
+
+"The Fortunes of Colonel Torlogh O'Brien: a Tale of the Wars of King
+James." Dublin, 1847.
+
+"John Smith's Irish Diamonds; or, a Theory of Irish Wit and Blunders."
+1847.
+
+W. Harrison Ainsworth's "Old St. Paul's," two plates. 1847.
+
+Charles Dickens's "Dombey and Son." 1846-48.
+
+Twelve full-length portraits illustrating "Dombey and Son," designed and
+etched by "Phiz." (Sometimes bound up with the book.) 1848.
+
+Albert Smith's "The Pottleton Legacy." 1849. (Another edition in 1854.)
+
+Charles Dickens's "David Copperfield," forty plates. 1849-50.
+
+Charles Lever's "Roland Cashel." 1849-50.
+
+John Smith's "Sketches of Cantabs," two plates. 1850.
+
+Defoe's "Robinson Crusoe," full-page cuts. 1850.
+
+"The Illustrated Byron," two hundred woodcuts after Kenny Meadows,
+Birket Foster, Phiz, and Janet. _Circa_ 1850.
+
+"Ghost Stories and Tales of Mystery," etchings. Dublin, 1851.
+
+"The Daltons." (Charles Lever.) 1850-52.
+
+Francis Edward Smedley's "Lewis Arundel." 1852.
+
+Charles Dickens's "Bleak House," thirty-nine plates. 1852-53.
+
+Horace Mayhew's "Letters Left at the Pastrycook's: being the
+Correspondence of Kitty Clover," cuts. 1853.
+
+W. Harrison Ainsworth's "Crichton."
+
+"Christmas Day, and How it was Spent by four Persons in the House of
+Fograss, Fograss, Mowton, and Snorton, Bankers," by C. Le Ros. Woodcuts.
+1854.
+
+Charles Lever's "Dodd Family Abroad." 1854.
+
+Francis E. Smedley's "Harry Coverdale's Courtship." 1854.
+
+Charles Lever's "Martins of Cro' Martin." 1856.
+
+"Home Pictures," seven excellent plates. Darton & Co. 1856.
+
+Charles Dickens's "Little Dorrit." 1855-57.
+
+W. Harrison Ainsworth's "Spendthrift," 1857; "Mervyn
+Clitheroe," 1857-58.
+
+Charles Lever's "Davenport Dunn." 1859.
+
+Mrs. Stowe's "The Minister's Wooing." 1859.
+
+Charles Dickens's "Tale of Two Cities," sixteen etchings; the last work
+he executed for that author.
+
+W. Harrison Ainsworth's "Ovingdean Grange; a Tale of the South Downs."
+1860.
+
+"Twigs for Nests; or, Notes on Nursery Nurture," illustrations in
+graphotype by H. K. Browne and others, 1860.
+
+Charles Lever's "One of Them," 1861; "Barrington," 1862-63.
+
+"Tom Moody's Tales." (Mark Lemon.) 1864.
+
+"Mr. Facey Romford's Hounds" (Surtees), [_with John Leech_]. 1864.
+
+Charles Lever's "Luttrell of Arran." 1865.
+
+"Ballads and Songs of Brittany," by Tom Taylor, translated from the
+"Barsaz-Breiz," illustrations by Tenniel, Millais, H. K. Browne, and
+others. 1865.
+
+Anthony Trollope's "Can You Forgive Her?" (forty plates by Phiz and
+Marcus Stone.) 1866.
+
+"Dame Perkins and her Grey Mare," by J. L. Meadows. 1866.
+
+
+_And the following._
+
+"The Illustrated Musical Annual" [_with Kenny Meadows and Crowquill_].
+
+"The Works of Shakespeare," revised from the original text by Samuel
+Phelps. 2 vols. Numerous coloured plates.
+
+"Wits and Beaux of Society," by Grace and Philip Wharton (Mrs. K. and J.
+C. Thomson); plates by Brown and Godwin.
+
+"Memoirs of an Umbrella," by G. G. H. Rodwell, sixty-eight engravings by
+Landells from designs by Phiz.
+
+"Phiz's Sketches of the Seaside and the Country," twenty-eight large
+plates, tinted mountings; oblong folio.
+
+Smollett's "Adventures of Roderick Random."
+
+Charles Lever's "Con Creggan."
+
+"H. B.'s Schoolboy Days."
+
+"Illustrations of the Five Senses."
+
+George Halse's "Adventures of Sir Guy de Guy."
+
+G. A. Salas "Baddington Peerage" (in _Illustrated Times_).
+
+The Abbotsford Edition of "The Waverley Novels," etc., etc.
+
+See also the "Memorial Edition" of Dickens's whole works, with several
+hundred illustrations by George Cruikshank, H. K. Browne, and others,
+printed on Chinese paper.
+
+
+_And in the following serials_.
+
+"New Monthly Magazine"; early volumes of "Once a Week"; "Tinsley's
+Magazine"; "London Society"; "St. James's Magazine"; "Illustrated
+Gazette"; "Sporting Times"; "Judy"; etc.
+
+
+
+
+INDEX.
+
+
+  "A Bazaar," 145.
+
+  À Beckett, Gilbert, 223.
+
+  Aberdeen, Lord, 303, 395.
+
+  Abinger, Lord, 252.
+
+  Aboukir, Battle of, 13.
+
+  Achilles, Statue of, 81, 161.
+
+  "Achitophel," 159.
+
+  "A Constitutional Plum Pudding," 298.
+
+  Actors, their position in France, 386.
+
+  "A Day at Biarritz," 317.
+
+  "Adelaide Mill, The," 213.
+
+  Adelphi Theatre, 110.
+
+  "A Discussion Forum," 310.
+
+  Adulteration of Tea, 152.
+
+  "Adventures of Brown, Jones," etc., 391.
+
+  "A Fine Old English Gentleman," 251.
+
+  "A Great Subject," etc., 249.
+
+  "Ah, sure such a Pair," etc., 155.
+
+  "A Hint to Duellists," 248.
+
+  Ainsworth, Harrison, 194, 198, 199.
+
+  Ainsworth's "Auriol," 349.
+    "Crichton," 344.
+
+  Albert, Prince, 294.
+
+  Alexander, The Emperor, 133, 139.
+
+  "Alice in Wonderland," 400.
+
+  "All My Eye," 97.
+
+  Allied Sovereigns. Visit of the, 133.
+
+  Alliteration, Graphic, 177.
+
+  Almack's, Lady patronesses of, 213.
+
+  Althorp, Lord, 269.
+
+  "A Match for the King's Plate," 154.
+
+  _America_.
+    Causes of Difference between her and England in 1812, 41.
+    England offers to Revoke Orders in Council, 42.
+    Her anxiety to fix a Quarrel on England, 42, 43.
+    Desire of the Americans to Invade Canada, 42.
+    Invasion of Canada, 43.
+    Defeat and Surrender of the American General Hull, 43.
+    Naval Successes of the Americans, 43.
+    Americans driven out of Canada, 45.
+    English assume the Offensive, 45.
+    Burning of Washington, 46.
+    Alexandria placed under Contribution, 46.
+    Capture of British Naval Force, 48.
+    Retreat of Prevost, 48.
+    Attack on New Orleans, 48.
+
+  Amiens, Peace of, 14.
+
+  "A Morning Call," 285.
+
+  "A Musical Genius," 209.
+
+  "Anstey's New Bath Guide," 176.
+
+  "A Paper of Tobacco," 340.
+
+  "A Patriot Luminary," etc., 151.
+
+  "Apollyon, the Devil's Generalissimo," etc., 131.
+
+  "A Prospecte of Exeter Hall," 385.
+
+  "A Race for the Westminster Stakes," 251.
+
+  "Argus, The" (an English Newspaper in the pay of Bonaparte), 15.
+
+  "Arrogance or Nonchalance of the Tenth Reported," 100.
+
+  "Art of Walking the Streets of London," 152.
+
+  Arthur à Bradley, 162.
+
+  "Arthur O'Leary," 200.
+
+  "A Select Specimen of the Black Style," 262.
+
+  "A Sheep in Wolf's Clothing," 374.
+
+  "A Shot from Buckingham to Bedford," 97.
+
+  "Assisting, Resisting, and Desisting," 218.
+
+  "A Student of the Old Masters," 393.
+
+  "At a Concert," 220.
+
+  "Auld Lang Syne," 247.
+
+  Authors and Artists, Quarrels between, 233.
+
+  "A Venomous Viper poisoning the R----l Mind," 132.
+
+  "A View of the Regent's Bomb," 151.
+
+
+  Ball, Hughes (see "_Hughes Ball_.")
+
+  "Bank Restriction Note," 152.
+
+  Barossa, Battle of, 21.
+
+  Bath, Queen Charlotte at, 57.
+
+  Battier, Mr., 100, 163.
+
+  Baylen, Battle of, 20.
+
+  Beaconsfield, Lord, 283.
+
+  "Beau Clerk for a Banking Concern," 106.
+
+  "Belle Alliance," etc., 154.
+
+  Bellingham, John, 27.
+
+  "Bell's Life," Origin of, 115.
+
+  Bennett, C. H., 371-375.
+
+  Benningsen, General, 22.
+
+  "Bentley's Miscellany," 284, 290.
+
+  Bergami, Bartolomeo, 71, 150.
+
+  Berkeley, Colonel, 101, 102, 118.
+
+  Berlin Decree, 18.
+
+  Bernard Blackmantle (see "_Westmacott, C. M._").
+
+  Betty, Master, 28.
+
+  "Bill of Pains and Penalties," 149.
+
+  "Birds'-eye Views of Society," 385.
+
+  Black-mail, 105.
+
+  Blandford, Marquis of, 235.
+
+  "Bleak House," 347.
+
+  "Blessings of Peace; or, the Curse of the Corn Bill," 136.
+
+  Bloated Men of the Last Century, 2.
+
+  "Bombardment Extraordinary," 240.
+
+  Bonaparte, Napoleon (see "_Napoleon_").
+
+  "Boney and his New Wife," etc., 21.
+
+  "Boney's Meditations on the Island of St. Helena," 142.
+
+  "Boney returning from Russia covered with Glory," 23.
+
+  "Boney the Second," 21.
+
+  "Boney's threatened Invasion brought to bear," 142.
+
+  "Bonnie Willie," 161.
+
+  "Book of Christmas," 220.
+
+  "Book of Days," 369.
+
+  Booth, Lucius Junius, 54.
+
+  "Born a Genius, and born a Dwarf," 173.
+
+  "Bottle, The," 201.
+
+  "Braintrees, The," 171.
+
+  Brereton, Colonel, 223 (note).
+
+  Bright, John, 398.
+
+  Brighton Pavilion, 164.
+
+  "Bringing up our Bill," 243.
+
+  "Britannia Discovering the Source of the Nile," 399.
+
+  "British Cookery; or, out of the Frying-pan," etc., 21.
+
+  "British Spread Eagle," 134.
+
+  Brooks, Shirley, 201, 321, 328, 373, 374.
+
+  Brougham, Lord, 236, 237, 243, 258-266, 297, 384 (and see "_Jemmy
+    Twitcher_").
+
+  Browne, H. K., 283, 336-354, 412-416.
+
+  "Bubble Burst; or, the Ghost of an old Act of Parliament," 106.
+
+  Buckingham, Duke of (see "_Duel_").
+
+  Buckingham, Marquis of, 27.
+
+  Bunbury, H. W., 3, 84.
+
+  "Bunsby," 342.
+
+  Burdett, Sir Francis, 249-251, 253, 269.
+
+  "Burking Old Mrs. Constitution," 83.
+
+  Busby, Dr., 35.
+
+  Buss, R. W., 363-366.
+
+  "Buz in a Box," etc., 35.
+
+  Byron, Lord, 164.
+
+
+  "Caleidoscope; or, Paying for Peeping." 59.
+
+  Canada, Invasion of (see "_America_").
+
+  _Caricature._
+    Dr. Johnson's Definition, 1.
+    Francis Grose's Definition, 1.
+    Modern Meaning, 2.
+    Causes of its Decay in England, 2.
+    Period of its Decline, 83.
+    Injurious Effect of Wood-Engraving on, 5.
+    Has little Concern with Justice, 25, 26.
+
+  Caricaturist, Peculiarity of his Wares, 90.
+
+  Caricaturists and Critics, 9.
+
+  Caricaturists, French, 8.
+
+  Caroline of Brunswick, 62-81, 95, 132, 134, 149, 155, 156-159.
+
+  Caroline, Queen (see "_Caroline of Brunswick_").
+
+  Carpenter, Mr., 39.
+
+  Castlereagh, Lord, 149.
+
+  Catalani, Madame, 102.
+
+  Catholic Association, The, 106.
+
+  Catholic Emancipation (see "_Catholic Relief_").
+
+  Catholic Relief Bill, 83, 106, 248.
+
+  Cawnpore Massacre, 398.
+
+  Champ de Mars, 140.
+
+  Changes in Political Opinion, 251.
+
+  Charles I., Discovery of his Remains, 132.
+
+  Charlotte, The Princess, 40, 50, 61, 134, 145, 150, 164.
+
+  Charlotte, Queen, 56, 153.
+
+  Chobham, Camp at, 303.
+
+  "Chronicles of Clovernook," 362.
+
+  Churchill, Charles, 7.
+
+  Cider Cellar, 87.
+
+  "City Scavengers Cleansing the London Streets of Impurities," 76.
+
+  "Civic Louse in the State Bed," 102.
+
+  Clarke, Mrs., 30, 32, 33.
+
+  "Clement Lorymer," 205.
+
+  Coates (see "_Romeo Coates_").
+
+  Cobbett, William, 235 (_note_).
+
+  Cobden, Richard, 383.
+
+  Cockton, Henry, 361.
+
+  "Coke upon Albemarle," 97.
+
+  Colburn's "Kalendar of Amusements," 122.
+
+  "Collegians at their Exercises," 95.
+
+  "Colonel Fitz-Bastard," 103.
+
+  "Comic Almanack," 177, 179.
+
+  Comic Journalism in 1831, 223.
+
+  "Comic Magazine, The," 229.
+
+  "Comicalities" ("Bell's Life"), 281.
+
+  "Comic History of England," 287.
+
+  "Comic History of Rome," 288.
+
+  Commercial Distress of 1825-6, 81.
+
+  "Commons _versus_ the Crown of Martyrdom," 100.
+
+  "Comparative Anatomy," 152.
+
+  "Congress Dissolved before the Cake was cut up," 139.
+
+  Connyngham, Marchioness of, 118, 134, 164.
+
+  "Conspirators; or, Delegates in Council," 148.
+
+  "Corinthian Auctioneer," 102.
+
+  "Corinthians," Sham, 93.
+
+  Corn Laws, 135.
+
+  "Corsican Bloodhound beset by the Bears," 22.
+
+  "Corsican's Last Trip," 142.
+
+  "Court at Brighton, _à la Chinese_," 164.
+
+  "Craven's Head" (Drury Lane), 86.
+
+  Cremorne, Aristocratic fête at, 311.
+
+  "Cribbage, Shuffling, Whist," etc., 161.
+
+  Crimean War, 304, 398.
+
+  "Crithannah's Original Fables," 122.
+
+  Critics and Caricaturists, 9.
+
+  Croker, John Wilson, 245 (_note_).
+
+  Crowquill, Alfred (see "_Forrester_.")
+
+  Cruikshank, George, 107, 125-207, 281 (_note_), 281, and _note_.
+    Mistakes of those who have written on him, 4.
+    Curious Criticism on, 125.
+    Why his Caricatures possess so much interest, 127.
+    Quarrel with Dickens, 192.
+       "      "  Bentley, 194.
+       "      "  Ainsworth, 198.
+    Final Leap in the Dark, 201.
+    Declines to draw for _Punch_, 201.
+
+  Cruikshank, Robert, 3, 89-124, 226, 401-404.
+
+  Cruikshank, The Brothers, 89.
+
+  Cruikshankian Feet, 170.
+       "        Steed, The, 169.
+       "        Trees, 170.
+       "        Women, 168.
+
+  "Cruikshankiana," 107.
+
+  "Cruikshank's Comic Album," 121.
+
+  "Cruikshank's Fairy Library," 205.
+
+  "Cruising on Land," etc., 95.
+
+  Cumberland, Duke of 100, 241, 242.
+
+  Curtis, Sir William, 141, 159.
+
+  "Cut at the City Cauliflower," 102.
+
+
+  "Dame Partington and the Ocean of Reform," 243.
+
+  "Dandies at Tea," 92.
+
+  "Dandies Diving," 93.
+
+  "Dandies having a Treat," 93.
+
+  "Dandies in France," 154.
+
+  "Dandies on their Hobbies," 94.
+
+  "Dandies, Parisian," 91.
+
+  "Dandy Cock in Stays," 93.
+
+  "Dandy dressing at Home," etc., 94.
+
+  "Dandy Henpecked, The," 93.
+
+  "Dandy put to his Last Chemisette," etc., 93.
+
+  "Dandy Shoemaker in a Fright," 93.
+
+  "Dandy Sick," 94.
+
+  "Dandy Tailor planning a new Hungry Dress," 154.
+
+  "Dandyess, A," 94.
+
+  D'Angoulème, Duc, 162.
+
+  Darwin (see "_Origin of Species_").
+
+  "Deaf Postillion," 169.
+
+  "Death of the Property Tax," 164.
+
+  "Death of Sikes," 185.
+
+  Déesses de la Revolution, 25.
+
+  "Defenders of the Faith," 106.
+
+  "Delivering a Prophetess," 40.
+
+  Depression in Trade in 1819, 60.
+
+  "Descent of the Great Bear," 82.
+
+  Devils, 182.
+
+  Dickens, Charles, 191, 206, 230, 232, 282, 347-349.
+
+  Dighton, Robert, 27, 84.
+
+  "Diogenes," 371.
+
+  Dissenting Ministers, Proposal to amend their qualifications, 130.
+
+  "Doctors Differ," 36.
+
+  "Dog and the Shadow," 251.
+
+  "Doings in London," 120.
+
+  "Dombey and Son," 345.
+
+  Dominie Sampson, 176.
+
+  Doré, Gustave, 7, 9.
+
+  Double Bass, 132.
+
+  Doyle, John (see "HB").
+
+  Doyle, Richard, 379, 381-394.
+
+  Draconian Laws, 152.
+
+  "Drilling one-tenth," etc., 162.
+
+  "Drunkard's Children, The," 202.
+
+  Drury Lane Theatre, 34.
+
+  Duel between the Dukes of Buckingham and Bedford, 81, 97.
+    Between the Duke of Wellington and the Earl of Winchelsea, 248.
+    Between Sir Francis Burdett and Mr. Paull, 249.
+
+  "Duel that did not take place," 262.
+
+  "Duelling," 106.
+
+  Dumbiedikes, 176.
+
+  "Dying Clown, The," 233.
+
+
+  East Retford Bill, 236.
+
+  Ecclesiastical Titles Bill, 386.
+
+  "Economical Humbug of 1816," 144.
+
+  Egan, Pierce, 85, 113, 120.
+
+  Egypt, French driven out of, 13.
+
+  Eldon, Lord, 70.
+
+  Elgin Marbles, 145.
+
+  Ellenborough, Lord, 66, 67, 70.
+
+  Elliston, Life and Enterprises of, 205.
+
+  "England's Hope Departing," 151.
+
+  English Graphic Satire, Change in, 4.
+
+  English hostility to Napoleon, 16.
+
+  English Officers at the time of the Crimean War, 305.
+
+  English Parliamentary Representation in 1830, 235.
+
+  "English Spy, The," 116.
+
+  E. O! 161.
+
+  "Equipt for a Northern Visit," 161.
+
+  "Etching Moralized," 9.
+
+  Eugénie, The Empress, 317.
+
+  Evans, Sir de Lacy, 253.
+
+  "Examination of a Young Surgeon," 130.
+
+  "Exile of Louisiana," 197.
+
+
+  "Fagin in the Condemned Cell," 185.
+
+  Fairy Tales, Origin of, 205.
+
+  "Fall of Icarus," 264.
+
+  "Fall of the Leaf," 177.
+
+  "Fall of Washington, or Maddy in Full Flight," 46.
+
+  "Fashionables of 1817," 151.
+
+  Fashions in the early part of the Century, 91, 92.
+
+  Fechter, 330.
+
+  "Female Lancers," etc., 94.
+
+  Ferdinand VII., 98.
+
+  "Figaro in London," 222-229, 232.
+
+  "Fine Lady, or The Incomparable," 152.
+
+  "Finish to the Adventures of Tom, Jerry, and Logic," 113.
+
+  "Fitzalleyne of Berkeley," 118.
+
+  "Flat Catcher and the Rat Catcher," 106.
+
+  Foley, Mr., 39.
+
+  "Following the Leader," 250.
+
+  "Football," 107.
+
+  "Foot on the Stage and Asses in the Pit," 102.
+
+  Foote, Miss, 81, 101, 118.
+
+  Foote v. Hayne, 118.
+
+  "Foreign Affairs," 285.
+
+  "Foreign Rivals for British Patronage," 105.
+
+  Forrester, A. H. (Alfred Crowquill), 194, 368-371, 410.
+
+  "Four Mr. Prices," 164.
+
+  France, Evacuation of, 55.
+
+  "France the Great Nation," etc., 162.
+
+  "Frank and Free, or Clerical Characters in 1825," 106.
+
+  "Frank Fairleigh," 205.
+
+  Freewill Offerings of the Faithful, 39.
+
+  "French Cock and the Roman Eagle," 298.
+
+  French Colonels and the _Moniteur_, 310.
+
+  French driven out of Egypt, 13.
+
+  French interposition in Spain, 98.
+
+  French light wines, 313.
+
+  French military imbecility, 307, 309.
+
+  French Revolution, End of, 17.
+
+  French Revolution of 1830, 213.
+
+  French Royalist Caricatures on Napoleon, 24.
+
+  "Friends in Need," 143.
+
+
+  "Gambols on the River Thames," 135.
+
+  Gas, Introduction of, 29.
+
+  "Gavarni in London," 369 (_note_).
+
+  Genius, 187.
+
+  "Genius of France Expounding her Laws," etc., 142.
+
+  George III., 27, 214.
+
+  George IV., 52, 72, 79, 95, 111, 117, 143, 144 (_note_), 153, 155, 159,
+    164, 210 (and see "_Caroline of Brunswick_").
+
+  "General Frost Shaving Boney," 22.
+
+  "General Janvier," 306.
+
+  "German Popular Stories," 180.
+
+  "Gheber Worshipping the Rising Sun," 261.
+
+  "Ghosts," 181.
+
+  "Giant Grumbo," 154.
+
+  Gillray, James, 3, 4, 24, 25, 33, 84.
+
+  "Gin Shop, The," 168, 172, 184.
+
+  Gladstone, Mr., 398.
+
+  "Going it by Steam," 209.
+
+  "Going to Hobby Fair," 95.
+
+  "Golden Foot-Ball," 99.
+
+  "Gone!" 178.
+
+  "Good Effects of Carbonic Gas," 29.
+
+  Government Spies, 53.
+
+  Grafton, Duke of, 27.
+
+  Graham, Sir James, 252, 295.
+
+  "Grand Entrance to Bamboozlem," 80.
+
+  Graphic Alliteration, 177.
+
+  "Great Unknown lately discovered in Ireland," 104.
+
+  Greek War of Independence, 81.
+
+  Green Bag, Opening of the, 73.
+
+  "Greenwich Hospital," 171, 175.
+
+  Grey, Earl, 241, 244.
+
+
+  Habeas Corpus Act, Suspension of the, 52.
+
+  Hamilton, Lady Anne, 73.
+
+  "Hare Presumptuous," 106.
+
+  "Harp" (in Russell Street, Drury Lane), 87.
+
+  Haydon, B. R., 173.
+
+  Haynau, General, 298.
+
+  Hayne (see "_Pea-Green Hayne_").
+
+  HB, 5, 235-276.
+
+  Heath, H., 84.
+
+  Heath, William, 84, 104, 238.
+
+  Hervieu, A., 194.
+
+  "Hint to the Blind and Foolish," 162.
+
+  Hobbies, The, 59.
+
+  "Hobby-Horse Dealer," 154.
+
+  Hogarth, William, not a Caricaturist, 6.
+    Absurdity of comparing him with Modern Comic Artists, 6.
+
+  Holy Alliance, The, 98.
+
+  "Homburg Waltz," 58.
+
+  "Horse Chancellor obtaining a Verdict," 159.
+
+  "Horse Marine and his Trumpeter," 91.
+
+  "Hostile Press, or Shakspeare in Danger," 104.
+
+  "How do you like the New Whig?" 296.
+
+  How to set up as a Prophet, 39.
+
+  Hughes Ball, 99.
+
+
+  "I'll be your Second," 241.
+
+  "Illuminated Magazine," 286.
+
+  _Incroyables_, The, 91.
+
+  "Impostor, or Obstetric Dispute," 134.
+
+  Indian Mutinies, 396.
+
+  Informers of 1817, 148.
+
+  "Ingoldsby Legends," 289, 400.
+
+  "Interesting Scene on Board an East-Indian," 152.
+
+  "Interior View of the House of God," 130.
+
+  "Introduction to the Gout," 152.
+
+  "Ireland": an Artist's Dream, 384.
+
+  Irish Coercion Bill of 1833, 269, 270.
+
+  "Irish Decency," 154.
+
+  Irish Disaffection in 1833, 266.
+
+  Irish _Festa_, 178.
+
+
+  "Jack o' Lantern," 181.
+
+  "Jack Sheppard," 172, 199, 343.
+
+  "Je vous n'entends pas," 122.
+
+  "Jemmy Twitcher" (Lord Brougham), 265 (_note_).
+
+  Jerrold, Douglas, 387.
+
+  Jim Crow, 252.
+
+  "John Bull buying Stones," etc., 146.
+
+  "John Bull brought up for a Discharge," etc., 147.
+
+  "John Bull Done Over," 60.
+
+  "John Bull flourishing in an attitude of Strict Neutrality," 99.
+
+  "John Bull in Clover," 60.
+
+  "John Bull _versus_ Pope Bull," 106.
+
+  "Jonathan Wyld discovering Darrell," 172.
+
+  "Johnny Bull and his Forged Notes," 154.
+
+  "John's Dream," 143.
+
+  Josephine, The Empress, 3, 20, 25.
+
+  Judge, Mr., 102.
+
+
+  Kaleidoscope, The, 58.
+
+  Kean, Edmund, 54, 103.
+
+  "Kean's Head" (Russel Court), 86.
+
+  Kenny Meadows, 355-363.
+
+  Kenyon, Lord, 241.
+
+  "Key to the Investigation," 67.
+
+  "King at Home, The," 117.
+
+  "King Gourmand XVIII.," etc., 99.
+
+
+  "La Belle Assemblée," 151.
+
+  Labedoyère, Colonel, 138.
+
+  "Ladies' Accelerator," 95.
+
+  La Diligence, 159.
+
+  La Douane, 159.
+
+  "Lancashire Witches," 200.
+
+  "Landing at Dover and Overhauling the Baggage," 95.
+
+  Lane, Theodore, 84-88.
+
+  "L'après-dîner des Anglais," 24.
+
+  "Last Cab-driver," 176.
+
+  "Leap Year, or John Bull's Establishment," 50.
+
+  Leech, John, 233, 277-335, 337, 407-409.
+    "Sketches in Oil," 315.
+
+  Leigh, Percival, 282.
+
+  Leipzig, Battle of, 24.
+
+  Lemon, Mark, 201.
+
+  Leopold of Saxe-Coburg, Prince, 145.
+
+  _Les Graces_, 151.
+
+  Lever, Charles, 200, 352, 375.
+
+  "Lewis Arundel," 337.
+
+  "Libra--Striking the Balance," 177.
+
+  "Life of an Actor," 85.
+
+  "Life of Sir John Falstaff," 205.
+
+  "Life in London," 109.
+    Egan's Share of the Work, 113.
+
+  Lines and Dots, 151.
+
+  Literary Black-Mail, 115.
+
+  "Little Boney gone to Pot," 132.
+
+  "Lolly Pop," etc., 162.
+
+  "London Barrow Woman, The," 169.
+
+  Londonderry, Marquis of: Scene between him and Lord Brougham, 262.
+
+  "Louis the Fat troubled with the Nightmare," 162.
+
+  Louis Philippe, 297, 383.
+
+  Louis XVIII., 98, 143, 162.
+
+  "Love, Law, and Physic," 154.
+
+  "Loyalist Magazine," 131.
+
+
+  McConnell, 372.
+
+  Maddison, President, 46.
+
+  "Man of Taste and Feeling," 209.
+
+  "Manners and Customs of ye Englishe," 385.
+
+  "Manslaughter Men, The," 158.
+
+  "March to Finchley, The," 7.
+
+  Marriage Act, The, 81.
+
+  "Martin Chuzzlewit," 341, 344.
+
+  Massena, 21.
+
+  "Master Cook and his Black Scullion," etc., 96.
+
+  "Master of the Ordnance Exercising his Hobby," 95.
+
+  "Mat de Cocagne," 143.
+
+  "Matheworama," 106.
+
+  "Mauger Sharpening his Axe," 186.
+
+  Maxwell's "History of the Irish Rebellion," 186.
+
+  Mayhew, H., 201.
+
+  Meadows (see "_Kenny_").
+
+  Medical Profession, Satire on, 35.
+
+  "Meditations Amongst the Tombs," 132.
+
+  Melbourne, Lord, 252.
+
+  Melville, Lord, 28.
+
+  "Mer de Glace," 159.
+
+  Mercandotti, Madamoiselle, 100.
+
+  "Meteor, The," 128.
+
+  Methodism, Spread of, 129.
+
+  Metternich, Prince, 150.
+
+  Milan Commission, 96.
+
+  "Miss endeavouring to excite a Glow with her Dutch Plaything," 41.
+
+  "Miss Foote in the King's Bench Battery," 102.
+
+  "Miss Foote putting her Foot in it," 102.
+
+  "Miser's Daughter," 173, 199.
+
+  Mitford, Jack (Editor of the "Scourge"), 129 (_note_).
+
+  Mob, A Cowardly, 247.
+
+  "Moments of Prattle," etc., 102.
+
+  Moray Minstrels, 374.
+
+  "More Plots!!!" 53.
+
+  "Morning after Marriage," 97.
+
+  "Morning Journal," 240.
+
+  Moscow, Retreat from, 22.
+
+  "Mother's Girl Plucking a Crow," etc., 91.
+
+  "Mr. Punch's Fancy Ball," 287.
+
+  "Murder of Sir Rowland Trenchard," 185.
+
+  "Mysterious Fair One," 95.
+
+
+  "Nap nearly Nabb'd," 22.
+
+  _Napoleon Bonaparte_.
+    His Policy towards England, 13-18.
+    Proclaimed Emperor, 17.
+    Intention to invade England, 17.
+    Lampooned by English Caricaturists, 19, 24, 26.
+    Dislike to the Revolutionists, 26.
+    His Star begins to Wane, 22.
+    Retreat from Moscow, 22.
+    Narrowly escapes Capture, 22.
+    Leaves his Troops in Russia, 22.
+    At Elba, 132.
+    Return from Elba till his Fall, 137-142.
+    French Royalist Caricatures on, 24.
+
+  Napoleon, Louis, 299, 300-302, 396, 397.
+
+  Napoleon III. (see "_Napoleon, Louis_").
+
+  "Nap's Glorious Return, or the Conclusion of the Russian Campaign," 24.
+
+  Navarino, Battle of, 82.
+
+  "Nest in Danger," 82.
+
+  "New Chancery Suit Removed," etc., 95.
+
+  "Newcomes, The," 377, 393.
+
+  "New Irish Jaunting Car," 95.
+
+  New Orleans, Attack on (see "_America_").
+
+  "New Readings of Old Authors," 221.
+
+  Newspaper Stamp Duty, 255.
+
+  Newspapers, Cheap, Curious Arguments against, 256.
+
+  Ney, Marshall, 139.
+
+  "Nicholas Nickleby," 340.
+
+  Nicholas, The Emperor, 303, 306, 395.
+
+  "Night Mayor," 146.
+
+  Nile (see "_Britannia_").
+
+  "Non Mi Recordo," 128.
+
+  "Nosing the Nob at Ramsgate," 159.
+
+  "Notice to Correspondents," 226.
+
+  "Novels by Eminent Hands," 375.
+
+  "Nun of Arronca," 254.
+
+
+  O'Connell, 106, 236, 237, 252, 270-272, 295, and _note_.
+
+  "Old Bags" (see "_Eldon, Lord_").
+
+  "Old Bumblehead the 18th," 162.
+
+  "Old Curiosity Shop," 341, 345.
+
+  "Old St. Paul's," 199.
+
+  "Old Thirty-nine shaking hands with his good Brother the Pope," 153.
+
+  "Oliver Twist," 192.
+
+  "O! O! There's a Minister of the Gospel," 159.
+
+  "Opening of Sir William Curtis' Campaign," 141.
+
+  "Oppidans' Museum, The," 117.
+
+  Origin of Species, 371.
+
+  Orsini Plot, 311.
+
+  "Ostend Packet in a Squall," 163.
+
+  "Our tough old Ship," 154.
+
+  Oxenford, John, 201.
+
+
+  "Pair of Spectacles, or The London Stage in 1824-5," 106.
+
+  "Palais Royal," 152.
+
+  Papal Aggression, 299, 386.
+
+  "Parisian Luxury," 163.
+
+  "Paul Pry," 84 (and see "_Heath, William_").
+
+  "Paving the way for a Royal Divorce," 70.
+
+  "Paying Off a Jew Pedlar," 175.
+
+  Pea-green Hayne, 101.
+
+  Peace-at-any-price Party, The, 383.
+
+  "Pedigree of Corporal Violet," 143.
+
+  Peel, Sir Robert, 272, 295, 296.
+
+  "Peel's Dirty Little Boy," 296.
+
+  "Peep at the Gaslights in Pall Mall," 29.
+
+  "Peep at the Pump Room," 57.
+
+  Pellegrini, Carlo, 5.
+
+  "Peter Schlemihl," 174.
+
+  Phiz (see "_Browne, H. K_.").
+
+  "Pickwick Papers," 230-234, 340, 364.
+
+  Pius IX., 298.
+
+  "Plebeian Spirit, or Coachee and the Heiress Presumptive," 40.
+
+  "Point of Honour, The," 171.
+
+  "Points of Humour," 119.
+
+  "Points of Misery," 119.
+
+  "Polish Diet with French Dessert," 22.
+
+  "Political Champion turned Resurrection Man," 95.
+
+  "Political Fair, A," 19.
+
+  "Political Shaver," 106.
+
+  Poole, John, 230.
+
+  Popple _v_. Stockdale, 106.
+
+  Popular Discontent of 1816, 51.
+
+  "Portrait of a Noble Lord in Order," 297.
+
+  "Portraits of the English," 354.
+
+  "Preachee and Floggee Too," 153.
+
+  "Premier's Fix," 296.
+
+  "Premium, Par, and Discount," 162.
+
+  "Preparing for a Duel," 163.
+
+  "Preparing for the Match," 145.
+
+  "Preparing for the Witnesses," 96.
+
+  "Presenting a Bill of Indemnification," 83.
+
+  Prince of Wales' Theatre, its former titles, 225.
+
+  Prince Regent (see "_George IV._").
+
+  "Prisoners of War," 269.
+
+  "Probable Effects of Good Living," etc., 295.
+
+  "Punch," 287, 383.
+      Rivals of, 367.
+
+  Purchase System, 305.
+
+  "Put Out," 297.
+
+
+  "Queen Caroline running down the Royal George," 78.
+
+
+  "Randolph and Hilda dancing at Ranelagh," 173.
+
+  Rawkins, 279.
+
+  "Recollections of the Court of Common Pleas," 171.
+
+  "Redgauntlet," 185.
+
+  Reform Bills of 1831-32, 242-245.
+
+  Regent (see "_George IV._").
+
+  "Religion à la Mode," 311.
+
+  Religious credulity of English people, 37.
+
+  "Results of a Northern Excursion," 161.
+
+  "Return of Hercules from a Fancy Ball," 279.
+
+  "Revolution at Madame Tussaud's," 178.
+
+  Rice, the American Comedian, 251.
+
+  "Rival Newsmongers," 258.
+
+  Rival Richards, 55.
+
+  Robinson, Mr. Frederick, 135.
+
+  Robson, Thomas Frederick, 325.
+
+  "Roland Cashel," 350.
+
+  Romeo Coates, 49.
+
+  Roscius, The Young, 28.
+
+  "Rose Maylie and Oliver," 192.
+
+  Rowlandson, Thomas, 3, 83, 84 and _note_, 118.
+
+  "R-y-l Condescension," 149.
+
+  "Royal Extinguisher," 159.
+
+  "Royal Laundress," 143.
+
+  Royal Levées, 308.
+
+  "Royal Nuptials," 145.
+
+  "Royal Red Bengal Tiger," 154.
+
+  "Royal Rushlight," 156.
+
+  Russell, Lord John, 236, 237, 242, 243, 244, 253, 254, 300, 306, 321,
+    398.
+
+  Russia and Turkey, 82, 395.
+
+  "Russian Bear's Greece," 82.
+
+  "Russian Condescension," 133.
+
+  "Russian Dandy at Home," 56.
+
+
+  "Sailors Carousing," 175.
+
+  "Sailors' Description," etc., 162.
+
+  "Saint Shela," 162.
+
+  "Sales by Auction, or Provident Children," etc., 153.
+
+  Sandford and Merton, 121.
+
+  "Satirist, or Monthly Meteor," 131.
+
+  "Scene after the Battle," 132.
+
+  "Scene in the New Farce as performed at the Royalty," 155.
+
+  "Scene in the New Farce called the 'Rivals,'" 61.
+
+  "Scene in the Farce of 'Lofty Projects,'" 164.
+
+  "Scene from the Pantomime of 'Cock-a-Doodle-Doo,'" 103.
+
+  "Scotch Fiddle," 161.
+
+  Scott, Sir Walter, 105.
+
+  "Scourge, The," 21, 128.
+
+  "Sealing up the People," 38.
+
+  "Secret Insult, or Bribery and Corruption Rejected," 95.
+
+  "Sergeant introducing his Dutch Wife," 169.
+
+  Seurat, Claude Ambroise, 104.
+
+  Seymour, Robert, 208-234, 405.
+
+  "Seymour's Humorous Sketches," 218.
+
+  "Shadows," 372.
+
+  Shannon and Chesapeake, 44.
+
+  Shiel, Mr., 269.
+
+  "Shortshanks" (Robert Seymour), 208.
+
+  "Showing Off," etc., 162.
+
+  "Sick of the Property Tax," 143.
+
+  "Sikes and the Dog," 172.
+
+  Silver Ball, 102.
+
+  "Simon Renard and Winwike," 172.
+
+  "Simpkin Dancing," 175.
+
+  Skeleton, The Living, 104.
+
+  "Sketches by Boz," 172, 176.
+
+  Smith, Albert, 287-289.
+
+  Smithfield, 297.
+
+  "Smoke Jack the Alarmist," 154.
+
+  "Snuffing and Smoking," 220.
+
+  "Snuffing out Boney," 133.
+
+  Southcott, Joanna, 36-40, 134.
+
+  "Spa Fields Orator Hunting for Popularity," 151.
+
+  Spa Fields Riot, 51.
+
+  Spain, Invasion of, by Duc d'Angoulème, 81.
+
+  "Spanish Flies, or Boney taking an Immoderate Dose," 20.
+
+  "Spanish Mule and a French Jackass," 162.
+
+  Speculation Mania of 1825, 163.
+
+  "Spirit Moving the Quakers upon Worldly Vanities," 59.
+
+  "Sprig of Shelalegh," 171.
+
+  St. Albans, Borough of, 301.
+
+  St. Dunstan, 183.
+
+  "St. James's, or the Court of Queen Anne," 179, 199.
+
+  St. John Long the Quack, 214-217.
+
+  "St. Swithin's Chapel," 168.
+
+  Stanley, Lord, 252.
+
+  "State Physicians Bleeding John Bull to Death," 147.
+
+  "Steward at Sea in a Vain Tempest," 95.
+
+  "Steward's Court of the Manor of Torre Devon," 78.
+
+  "Stroller's Tale" in "Pickwick," 232.
+
+  Sue's "Orphan," 122.
+
+  Sullivan, Arthur, 374.
+
+  "Sunday under Three Heads," 342.
+
+  Surgeon, An Eccentric, 279.
+
+  Surtees, R. W., 320.
+
+  Sussex, Duke of, 249.
+
+
+  "T Trade in Hot Water," 152.
+
+  "Table Book," 201.
+
+  "Tables Turned," 162.
+
+  "Taking an Airing in Hyde Park," 247.
+
+  Tallien, Madame, 25 (and _note_).
+
+  "Taurus, a Literary Bull," 177.
+
+  "Tea Just Over," 27.
+
+  Tenniel, John, 394-400.
+
+  Tenth Hussars, 81, 100.
+
+  Terry, Kate, 375.
+
+  Thackeray, W. M., 92, 201, 285, 316, 318, 387.
+    As a Book-illustrator, 375-380.
+
+  "Theatrical Fun Dinner," 378.
+
+  "Three Courses and a Dessert," 171.
+
+  "Through the Looking-glass," 400.
+
+  Toleration Acts, Motion to amend them, 129.
+
+  Tom and Jerry, 110.
+
+  Tom Thumb, 173.
+
+  "Tower of London," 172.
+
+  Tozer, Mr., 39.
+
+  Tract Droppers, 112.
+
+  Transit, Robert (Robert Cruikshank), 117.
+
+  Treadmill, 97.
+
+  Trenton's Porter, 2.
+
+  "Triumph of Cupid," 182.
+
+  Two Elves, The, 180.
+
+
+  "Urgent Private Affairs," 307.
+
+
+  "Vagaries in Quest of the Wild and Wonderful," 218.
+
+  "Vanity Fair," 92, 378.
+
+  "Vaux and the Grapes," 265.
+
+  "Venus de Medici," 159.
+
+  Victoria, Queen, 61, 275.
+
+  "View in Cumberland," 100.
+
+  "Virginians," 377.
+
+  "Vis-à-Vis," 151.
+
+  "Visit to Vesuvius," etc., 159.
+
+  Vitoria, Battle of, 24, 132.
+
+  "Voila t'on Mort," 154.
+
+
+  "Waiting on the Ladies," 164.
+
+  "Waltzing," 107.
+
+  Wardle, Colonel, 31.
+
+  "Washing Boney's Court Dresses," 143.
+
+  Washington, Burning of (see "_America_.")
+
+  Watts Phillips, 372.
+
+  Waverley Novels, 104, 176.
+
+  Wellington, Duke of, 55, 141, 246-249, 395.
+
+  Westmacott, C. M., 100, 115, 119.
+
+  Wilkes, 7.
+
+  William IV., 245, 261.
+
+  Williams, C., 84.
+
+  "Windsor Castle," 199.
+
+  "Witches' Frolic," 181.
+
+  "Wolves Triumphant," 103.
+
+  Wood, Alderman, 73.
+
+  Wood Engraving, its injurious effect on Caricature, 5.
+
+  Woodward, G. M., 3, 84.
+
+  "Worship of Bacchus," 203.
+
+  "Wrekin" (Long Acre), 87.
+
+
+  "Xit," 186.
+
+
+  Year 1848, 383.
+
+  York, Duke of, 30.
+
+
+
+
+  Butler & Tanner, The Selwood Printing Works, Frome, and London.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of English Caricaturists and Graphic
+Humourists of the Nineteenth Century., by Graham Everitt
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ENGLISH CARICATURISTS ***
+
+***** This file should be named 31195-8.txt or 31195-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/1/1/9/31195/
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
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+<pre>
+
+The Project Gutenberg EBook of English Caricaturists and Graphic
+Humourists of the Nineteenth Century., by Graham Everitt
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: English Caricaturists and Graphic Humourists of the Nineteenth Century.
+       How they Illustrated and Interpreted their Times.
+
+Author: Graham Everitt
+
+Release Date: February 6, 2010 [EBook #31195]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH CARICATURISTS ***
+
+
+
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<table border="0" cellpadding="10" style="background-color: #dcdcdc; color: #696969; " summary="TN">
+<tr>
+<td style="width:25%; vertical-align:top">
+Transcriber's note:
+</td>
+<td>A few typographical errors have been corrected. They
+appear in the text <span class="correction" title="explanation will pop up">like this</span>, and the
+explanation will appear when the mouse pointer is moved over the marked
+passage.
+<br /><br />
+</td>
+</tr>
+</table>
+
+
+<p><span class="pagenum"><a name="pagei"></a>i</span></p>
+<p class="center pt3" style="font-size: 230%;">ENGLISH CARICATURISTS.</p>
+<div class="pt2">&nbsp;</div>
+
+<div class="center">
+<img style="border:0; width:379px; height:550px" src="images/cover.jpg" alt="" /></div>
+
+<div class="pt2">&nbsp;</div>
+<p><span class="pagenum"><a name="pageii"></a>ii</span></p>
+
+<div class="center" style="border: 1px solid black; margin-left: 15%; margin-right: 15%; text-align: justify; padding: 0.5em;">
+
+<p class="center" style="font-family: 'Arial'; font-size: 115%;">SOME OPINIONS OF THE PRESS.</p>
+
+<hr class="short" />
+
+<p>&ldquo;At last we have a treatise upon our caricaturists and comic draughtsmen
+worthy of the great subject.... An entertaining history of caricature,
+and consequently of the events, political and social, of the century;
+in fact, a thoroughly readable and instructive book.... And what a
+number of political occurrences, scandals public and private, movements
+political and secular, are passed in review! All these events Mr. Everitt
+describes at length with great clearness and vivacity, giving us a view of
+them, so to speak, from the inside.&rdquo;&mdash;<i>Pall Mall Gazette.</i></p>
+
+<p>&ldquo;It is a handsome and important volume of 400 pages; the letterpress
+being a brightly written commentary, abounding with illustrative gossip,
+on the caricature of the century and the merits of its graphic humourists....
+It includes a great deal of the more stirring social and political
+history of the time. The illustrations so plentifully strewn through Mr.
+Everitt&rsquo;s volume give it a peculiar interest.&rdquo;&mdash;<i>St. James&rsquo;s Gazette.</i></p>
+
+<p>&ldquo;The work, which contains a large amount of information and some
+valuable lists of publications, is illustrated with about seventy wood engravings.&rdquo;&mdash;<i>Literary
+World.</i></p>
+
+<p>&ldquo;A real contribution to the history of the social life of the century. The
+book is very fully and well illustrated, forming in fact quite a gallery of
+nineteenth century caricature.&rdquo;&mdash;<i>Truth.</i></p>
+
+<p>&ldquo;The plates with which it is illustrated are remarkably well produced,
+and are useful in themselves, and are neatly and <span class="correction" title="amended from cleary">clearly</span> printed, so that they
+give a capital idea of the originals from which they are prepared.&rdquo;&mdash;<i>Saturday
+Review.</i></p>
+
+<p>&ldquo;Gives an elaborate estimate of the merits of the later caricaturists and
+a complete account of their lives.&rdquo;&mdash;<i>Graphic.</i></p>
+</div>
+<div class="pt2">&nbsp;</div>
+
+<div class="center f80">
+<img style="border:0; width:720px; height:480px" src="images/img1.jpg" alt="" />
+<p class="rt">[<i>Published 21st October, 1812, by</i> <span class="sc">S. W. Fores</span>, 50, <i>Piccadilly</i>.</p>
+
+<p>&ldquo;A BUZ IN A BOX, OR THE POET IN A PET.&rdquo;</p>
+
+<p class="rt"><i>Frontispiece.</i></p>
+</div>
+<div class="pt2">&nbsp;</div>
+
+<p><span class="pagenum"><a name="pageiii"></a>iii</span></p>
+
+<p class="center sc" style="font-size: 210%;">English Caricaturists
+  and Graphic Humourists</p>
+
+<p class="center pt05 sc" style="font-size: 120%;">OF THE NINETEENTH CENTURY.</p>
+
+<p class="center pt05 sc" style="font-size: 110%; font-family: 'Verdana';">How they Illustrated and Interpreted their Times.</p>
+
+<p class="center pt05"><i>A Contribution to the History of Caricature from the Time of the First Napoleon
+Down to the Death of John Leech, in 1864.</i></p>
+
+<p class="center">BY</p>
+
+<p class="center pt05 sc" style="font-size: 120%;">GRAHAM EVERITT.</p>
+
+<div class="pt2">&nbsp;</div>
+<table class="nobctr" width="90%" summary="Contents">
+<tr><td class="tc1">SECOND</td>
+<td class="tc1"><img style="border:0; width:140px; height:183px" src="images/img2.jpg" alt="" /></td>
+<td class="tc1">EDITION.</td></tr>
+</table>
+
+<p class="pt05 center">London:</p>
+
+<p class="center sc" style="font-size: 120%;">SWAN SONNENSCHEIN &amp; CO.</p>
+
+<p class="center f80">1893.</p>
+
+
+<div class="pt2">&nbsp;</div>
+<p><span class="pagenum"><a name="pageiv"></a>iv</span></p>
+<p class="sc f80 center">Butler &amp; Tanner,<br />
+The Selwood Printing Works,<br />
+Frome, and London.</p>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="pagev"></a>v</span></p>
+<h3>PREFACE.</h3>
+<hr class="short" />
+
+<p class="noind"><span class="sc">The</span> only works which, so far as I know, profess to deal
+with English caricaturists and comic artists of the nineteenth
+century are two in number. The first is a work by the late
+Robert William Buss, embodying the substance of certain
+lectures delivered by the accomplished author many years
+ago. Mr. Buss&rsquo;s book, which was published for private circulation
+only, deals more especially with the work of James
+Gillray, his predecessors and contemporaries, treating only
+briefly and incidentally of a few of his successors of our own
+day. The second is a work by Mr. James Parton, an
+American author, whose book (published by Harper Brothers,
+of New York) treats of &ldquo;Caricature, and other Comic Art in
+all Times and many Lands.&rdquo; It is obviously no part of my
+duty (even if I felt disposed to do so) to criticise the work
+of a brother scribe, and that scribe an American gentleman.
+Covering an area so boundless in extent, it is scarcely surprising
+that Mr. Parton should devote only thirty of his
+pages to the consideration of English caricaturists and
+graphic humourists of the nineteenth century.</p>
+
+<p>Under these circumstances, it would seem to me that, in
+<span class="pagenum"><a name="pagevi"></a>vi</span>
+placing the present work before the public, an apology will
+scarcely be considered necessary.</p>
+
+<p>Depending oftentimes for effect upon overdrawing, nearly
+always upon a graphic power entirely out of the range of
+ordinary art, the work of the caricaturist is not to be
+measured by the ordinary standard of artistic excellence, but
+rather by the light which it throws upon popular opinion or
+popular prejudice, in relation to the events, the remembrance
+of which it perpetuates and chronicles. While, however, a
+latitude is allowed to the caricaturist which would be inconsistent
+with the principles by which the practice of art
+is ordinarily governed, it may at the same time be safely
+laid down that it is essential to the success of the comic
+designer as well as the caricaturist, that both should be
+<i>artists</i> of ability, though not necessarily men of absolute
+genius.</p>
+
+<p>It may be contended that Gillray, Rowlandson, Bunbury,
+and others, although commencing work before, are really
+quite as much nineteenth century graphic satirists as their
+successors. This I admit; but inasmuch as their work has
+been already described by other writers, and the present
+book concerns itself especially with those whose labours
+commenced after 1800, I have endeavoured to connect them
+with those of their predecessors and contemporaries, without
+unnecessarily entering into detail with which the reader is
+supposed to be already more or less familiar.</p>
+
+<p>I am in hopes that the character in which I am enabled to
+present George Cruikshank as the leading caricaturist of the
+century; the account I have given of his hitherto almost
+<span class="pagenum"><a name="pagevii"></a>vii</span>
+unknown work of this character; together with the view I
+have taken of the causes which led to his sudden and unexampled
+declension in the very midst of an artistic success
+almost unprecedented, may prove both new and interesting
+to some of my readers.</p>
+
+<p>I have to acknowledge the assistance I have derived from
+the 1864 and 1867 MS. diaries of the late Shirley Brooks,
+kindly placed at my service by Cecil Brooks, Esq., his son;
+my thanks are likewise due to Mr. William Tegg for some
+valuable information kindly rendered.</p>
+
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="pageviii"></a>viii</span></p>
+<h3>PREFACE TO THE PRESENT EDITION.</h3>
+<hr class="short" />
+
+<p class="noind"><span class="sc">Having</span> been called on to write a Preface to a popular
+edition of this book, I seize the opportunity which is now
+afforded me of correcting an error which occurred in the
+original edition. By some unaccountable accident the printer
+omitted my sub-title; and it was not unnatural that some
+of my reviewers should inquire <i>why</i>, in a work dealing with
+English Caricaturists of the Nineteenth Century, no mention
+should be made of the graphic humourists who succeeded
+John Leech. This question is answered by the restoration of
+the original title, from which it will be seen that the work
+is simply &ldquo;a <i>contribution</i> to the history of caricature from the
+time of the first Napoleon <i>down</i> to the death of John Leech,
+in 1864.&rdquo;  To take in the later humourists, would be to
+carry the work beyond the limits which I had originally
+assigned to it.</p>
+
+<p>One word more, and I have done. My intention in writing
+this book was to show how the caricaturist &ldquo;illustrated&rdquo; his
+time,&mdash;in other words, how he &ldquo;interpreted&rdquo; the social and
+political events of his day, according to his own bias, or the
+views he was retained to serve. While exhibiting him in the
+light of an <i>historian</i>&mdash;which he most undoubtedly is&mdash;I had
+no idea (as some of my too favourable critics seem to have
+imagined) of writing a history of caricature itself. For this
+task, indeed, I am not qualified, nor does it in the slightest
+degree enlist my sympathy.</p>
+
+<p class="sc rt">G. Everitt.</p>
+
+<p><i>11th August, 1893.</i></p>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="pageix"></a>ix</span></p>
+<h3>CONTENTS.</h3>
+<hr class="short" />
+
+
+<h5>CHAPTER I.</h5>
+
+<p>Dr. Johnson&rsquo;s definition of the word <i>Caricatura</i>.&mdash;Francis Grose&rsquo;s definition.&mdash;Modern
+signification of the word.&mdash;Change in the Spirit of English Caricature
+during the last Fifty Years.&mdash;Its Causes.&mdash;Gillray.&mdash;Rowlandson.&mdash;Bunbury.&mdash;Influence
+of Gillray and Rowlandson on their immediate Successors.&mdash;Gradual
+Disappearance of the Coarseness of the Old Caricaturists.&mdash;Change wrought by
+John Doyle.&mdash;We have now no Caricaturist.&mdash;Effect of Wood Engraving on
+Caricature.&mdash;Hogarth, although a Satirist, not a Caricaturist.&mdash;Gustave Doré
+misdescribed a Caricaturist.&mdash;Absurdity of comparing him with Cruikshank.&mdash;&ldquo;Etching
+Moralized.&rdquo;</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page1">1</a>-<a href="#page11">11</a>.</p>
+
+
+<h5>CHAPTER II.</h5>
+
+<p>Connection of Gillray and Rowlandson with Nineteenth Century Caricaturists.&mdash;Napoleon
+Bonaparte.&mdash;The Causes of English Exasperation against him explained.&mdash;Sketch
+of his Policy towards England.&mdash;The &ldquo;Berlin Decree.&rdquo;&mdash;English
+Caricatures brought to the notice of Bonaparte.&mdash;&ldquo;A Political Fair.&rdquo;&mdash;The
+&ldquo;Gallick Storehouse for English Shipping.&rdquo;&mdash;&ldquo;Spanish Flies, or Boney
+taking an Immoderate Dose.&rdquo;&mdash;&ldquo;Boney and his New Wife, or a Quarrel about
+Nothing.&rdquo;&mdash;Birth of the young King of Rome.&mdash;&ldquo;British Cookery, or Out of
+the Frying-pan into the Fire.&rdquo;&mdash;&ldquo;General Frost Shaving Boney.&rdquo;&mdash;&ldquo;Polish Diet
+with French Dessert.&rdquo;&mdash;&ldquo;The Corsican Blood-hound beset by the Bears of Russia.&rdquo;
+&ldquo;Nap nearly Nab&rsquo;d, or a Retreating Jump just in time.&rdquo;&mdash;&ldquo;Boney Returning from
+Russia covered with Glory.&rdquo;&mdash;&ldquo;Nap&rsquo;s Glorious Return.&rdquo;&mdash;Rowlandson&rsquo;s Anti-Bonaparte
+Caricatures.&mdash;French Contemporary Satires.&mdash;Gillray&rsquo;s Anti-Bonaparte
+Caricatures.&mdash;His Libels on Josephine.&mdash;Madame Tallien.&mdash;Robert Dighton.&mdash;Consequences
+of a Pinch of Snuff.&mdash;Master Betty&mdash;Impeachment of Lord
+Melville.&mdash;Introduction of Gas.&mdash;Mary Anne Clarke.&mdash;Imbecility and Death of
+James Gillray</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page12">12</a>-<a href="#page33">33</a>.</p>
+
+
+<h5>CHAPTER III.</h5>
+
+<p>Re-opening of Drury Lane.&mdash;Dr. Busby&rsquo;s &ldquo;Monologue.&rdquo;&mdash;&ldquo;A Buz in a Box,
+or the Poet in a Pet.&rdquo;&mdash;&ldquo;Doctors Differ, or Dame Nature against the College.&rdquo;&mdash;Joanna
+<span class="pagenum"><a name="pagex"></a>x</span>
+Southcott.&mdash;Flight of the Princess Charlotte.&mdash;&ldquo;Plebeian Spirit, or
+Coachee and the Heiress Presumptive.&rdquo;&mdash;&ldquo;Miss endeavouring to Excite a Glow
+with her Dutch Plaything.&rdquo;&mdash;American War of 1812-1815.&mdash;Hostile Temper of
+the Americans.&mdash;Disastrous Results of their Invasion of Canada.&mdash;English Retaliatory
+Measures.&mdash;Burning of Washington.&mdash;Expedition against Alexandria.&mdash;&ldquo;The
+Fall of Washington, or Maddy in Full Flight.&rdquo;&mdash;British Defeated at
+Baltimore and New Orleans.&mdash;&ldquo;Romeo Coates.&rdquo;&mdash;Marriage of the Princess
+Charlotte.&mdash;&ldquo;Leap Year, or John Bull&rsquo;s Establishment.&rdquo;&mdash;Troubles of 1817.&mdash;Narrow
+Escape of the Prince Regent.&mdash;&ldquo;More Plots!!! More Plots!!!&rdquo;&mdash;Edmund
+Kean and Lucius Junius Booth.&mdash;&ldquo;The Rival Richards.&rdquo;&mdash;Congress
+of the Allied Sovereigns at Aix-la-Chapelle.&mdash;&ldquo;A Russian Dandy at Home: a
+Scene at Aix-la-Chapelle.&rdquo;&mdash;&ldquo;A Peep at the Pump Room, or the Zomerzetshire
+Folks in a Maze.&rdquo;&mdash;Death of Queen Charlotte.&mdash;&ldquo;The Hambourg Waltz.&rdquo;&mdash;Invention
+of the Kaleidoscope.&mdash;&ldquo;Caleidoscopes, or Paying for Peeping.&rdquo;&mdash;The
+Velocipede or &ldquo;Hobby.&rdquo;&mdash;&ldquo;The Spirit Moving the Quakers upon Worldly
+Vanities.&rdquo;&mdash;&ldquo;John Bull in Clover,&rdquo; and &ldquo;John Bull Done Over.&rdquo;&mdash;Birth of the
+Princess Victoria.&mdash;&ldquo;A Scene in the New Farce, called The Rivals, or a Visit
+to the Heir Presumptive.&rdquo;</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page34">34</a>-<a href="#page61">61</a>.</p>
+
+
+<h5>CHAPTER IV.</h5>
+
+<p>Caroline of Brunswick.&mdash;Levity of her Character.&mdash;Result of the Commission
+to Inquire into her Conduct in 1806.&mdash;Her Letter to the Regent.&mdash;Result of the
+Commission of 1813.&mdash;Caroline rebels.&mdash;Wrath of Lord Ellenborough.-&ldquo;A Key
+to the Investigation, or Iago distanced by odds.&rdquo;&mdash;Refusal of the Regent to meet
+her in 1814.&mdash;Her Protest.&mdash;Applies for Permission to Travel Abroad.&mdash;Rumours
+prejudicial to her Moral Conduct.&mdash;&ldquo;Paving the way for a Royal Divorce.&rdquo;&mdash;The
+Milan Commission.&mdash;Ministers averse to the Prosecution of the Queen.&mdash;Their
+False Step.&mdash;Arrival of Caroline in London.&mdash;Opening of the &ldquo;Green
+Bag.&rdquo;&mdash;Arrival of the Witnesses.&mdash;Strange Appearance of Caroline at the Trial.&mdash;Satire
+upon Her and her Supporters.&mdash;&ldquo;City Scavengers Cleansing the London
+Streets of Impurities.&rdquo;&mdash;Practical Failure of the Prosecution.&mdash;&ldquo;The Queen
+Caroline running down the Royal George.&rdquo;&mdash;&ldquo;The Steward&rsquo;s Court of the Manor
+of Torre Devon.&rdquo;&mdash;Popularity of the King.&mdash;&ldquo;Grand Entrance to Bamboozlem.&rdquo;&mdash;Public
+Events of 1822-1825.&mdash;Greek War of Independence.&mdash;Battle of Navarino.&mdash;&ldquo;Russian
+Bear&rsquo;s Grease, or a Peep into Futurity.&rdquo;&mdash;&ldquo;The Descent of the
+Great Bear, or the Mussulmans in a Quandary.&rdquo;&mdash;&ldquo;The Nest in Danger.&rdquo;&mdash;&ldquo;The
+Porte presenting a Bill of Indemnification.&rdquo;&mdash;&ldquo;Burking old Mrs. Constitution,
+aged 141.&rdquo;&mdash;Caricature Declines after 1830, and why.&mdash;William Heath and other
+Caricaturists of the Period.&mdash;Theodore Lane.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page62">62</a>-<a href="#page88">88</a>.</p>
+
+
+<h5>CHAPTER V.</h5>
+
+<p>Caricatures of Robert Cruikshank.&mdash;Forgotten, and why.&mdash;Artistic Training&mdash;&ldquo;The
+Mother&rsquo;s Girl Plucking a Crow, or German Flesh and English Spirit.&rdquo;&mdash;&ldquo;The
+Horse Marine and his Trumpeter in a Squall.&rdquo;&mdash;Queer Fashions of the
+<span class="pagenum"><a name="pagexi"></a>xi</span>
+early part of the Century.&mdash;Thackeray&rsquo;s Difficulty.&mdash;Caricatures on the &ldquo;Dandies&rdquo;
+of 1818.&mdash;Robert and his Fellow-Caricaturists ridicule the sham &ldquo;Corinthians&rdquo;
+and &ldquo;Corinthian Kates&rdquo; of their day.&mdash;Hollow Pretensions of the &ldquo;Dandies.&rdquo;&mdash;&ldquo;The
+Dandy Dressing at Home&rdquo; and &ldquo;The Dandy Dressed.&rdquo;&mdash;&ldquo;A Dandyess.&rdquo;&mdash;Robert&rsquo;s
+Satires on the &ldquo;Dandies&rdquo; of 1819.&mdash;&ldquo;The Mysterious Fair One, or
+the Royal Introduction to the Circassian Beauty.&rdquo;&mdash;Other Caricatures of his
+of 1819.&mdash;His Satires on the Trial of Queen Caroline.&mdash;His Caricatures of 1821.&mdash;Duel
+between the Dukes of Bedford and Buckingham.&mdash;Other Satires by him
+in 1822.&mdash;Interference of Louis XVIII. in Spanish Affairs.&mdash;Robert&rsquo;s Satires
+on Louis and his Son.&mdash;&ldquo;The Golden Ball.&rdquo;&mdash;Other Caricatures by Robert in
+1823.&mdash;The Tenth Hussars.&mdash;Maria Foote and &ldquo;Pea-green Hayne.&rdquo;&mdash;Other
+satires by Robert in 1824.&mdash;Colonel Fitz-Bastard and Mr. Judge.&mdash;Cox <i>v.</i> Kean.&mdash;Sir
+Walter Scott.&mdash;&ldquo;The Living Skeleton.&rdquo;&mdash;Popple and Stockdale.&mdash;Other
+Subjects of 1825.&mdash;&ldquo;Cruikshankiana.&rdquo;</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page89">89</a>-<a href="#page108">108</a>.</p>
+
+
+<h5>CHAPTER VI.</h5>
+
+<p>Book Illustrations of Isaac Robert Cruikshank.&mdash;The &ldquo;Life in London.&rdquo;&mdash;Injustice
+done to Robert with reference to this Book.&mdash;The &ldquo;Life&rdquo; Dramatized.&mdash;Excitement
+it Occasioned.&mdash;The Portly Stranger in the Duke&rsquo;s Box.&mdash;Queer
+Visitors at Rehearsal.&mdash;Horror of the Serious People.&mdash;The Mistake which they
+made.&mdash;&ldquo;The Finish.&rdquo;&mdash;Pierce Egan&rsquo;s Position with reference to the &ldquo;Life.&rdquo;&mdash;Origin
+of &ldquo;Bell&rsquo;s Life in London.&rdquo;&mdash;Charles Molloy Westmacott.&mdash;&ldquo;The English
+Spy.&rdquo;&mdash;&ldquo;The Oppidans&rsquo; Museum.&rdquo;&mdash;The &ldquo;King at Home.&rdquo;&mdash;Rowlandson&rsquo;s
+contribution to &ldquo;The English Spy.&rdquo;&mdash;Westmacott and the Literature of Foote and
+Hayne.&mdash;Robert&rsquo;s Carelessness.&mdash;&ldquo;Points of Misery.&rdquo;&mdash;&ldquo;Doings in London.&rdquo;&mdash;&ldquo;Cruikshank&rsquo;s
+Comic Album.&rdquo;&mdash;&ldquo;Monsieur Nong-tong-paw.&rdquo;&mdash;Three Books
+Illustrated by Robert.&mdash;Death.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page109">109</a>-<a href="#page124">124</a>.</p>
+
+
+<h5>CHAPTER VII.</h5>
+
+<p>Caricatures of George Cruikshank.&mdash;&ldquo;No Plan, no Ambition.&rdquo;&mdash;The Assertion
+Disproved.&mdash;Why George&rsquo;s Caricatures possess so remarkable an Interest.&mdash;&ldquo;The
+Scourge.&rdquo;&mdash;Lord Sidmouth&rsquo;s Bill to amend the Toleration Act.&mdash;Opposition
+to the Measure by the Nonconformists.&mdash;George&rsquo;s Satire upon them.&mdash;Satire
+upon the Medical Profession.&mdash;&ldquo;The Satirist, or Monthly Meteor.&rdquo;&mdash;&ldquo;Fashion.&rdquo;&mdash;&ldquo;The
+Loyalists&rsquo; Magazine.&rdquo;&mdash;An Early Satire.&mdash;&ldquo;Meditations
+amongst the Tombs.&rdquo;&mdash;Other Satires of 1813.&mdash;&ldquo;Little Boney gone to Pot.&rdquo;&mdash;Alexander
+of Russia and the Duchess of Oldenburg.&mdash;The Princess Caroline.&mdash;Joanna
+Southcott.&mdash;The Obnoxious Corn Laws of 1815.&mdash;Satires thereon.&mdash;Escape
+of Napoleon.&mdash;Outlawed by the Powers.&mdash;Excitement caused by this
+Event.&mdash;George&rsquo;s Satires thereon.&mdash;Napoleon endeavours to Establish Friendly
+Relations.&mdash;Silent Hostility of Europe.&mdash;He Sets out for the Army.&mdash;George&rsquo;s
+Satire thereon.&mdash;Surrender of Bonaparte.&mdash;The <i>Bellerophon</i> off the English
+Coast.&mdash;Other Satires of 1815.&mdash;The Regent&rsquo;s Repugnance to Retrenchment and
+Reform.&mdash;Marriage of the Princess Charlotte.&mdash;Satire on the Purchase of the
+<span class="pagenum"><a name="pagexii"></a>xii</span>
+&ldquo;Elgin Marbles.&rdquo;&mdash;Other Satires of 1816.&mdash;John Bull&rsquo;s Bankruptcy Proceedings.&mdash;Remanded
+for Extravagance.&mdash;His &ldquo;Schedule.&rdquo;&mdash;Seditious Troubles of 1817.&mdash;A
+Satire on the Princess Caroline.&mdash;Death of the Princess Charlotte.&mdash;Other
+Satires of 1817&mdash;of 1818.&mdash;The &ldquo;Bank Restriction Note.&rdquo;&mdash;Satires of 1819.&mdash;Queen
+Caroline and other Caricatures of 1820 and 1821.&mdash;Death and Funeral of
+the Queen.&mdash;The Populace force the Procession to go through the City.&mdash;The
+Military fire on the People.&mdash;Alderman Sir William Curtis in Highland Costume.&mdash;Indignation
+of the King.&mdash;Satires on both.&mdash;Statue of Achilles.&mdash;Other Caricatures
+of 1822.&mdash;Satires of 1823 and 1824.&mdash;Joint Stock Company Mania of
+1825.&mdash;Undated Satires.&mdash;Amazing value of George Cruikshank&rsquo;s Caricatures.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page125">125</a>-<a href="#page166">166</a>.</p>
+
+
+<h5>CHAPTER VIII.</h5>
+
+<p>George Cruikshank as a Book Illustrator.&mdash;Defects and Excellencies.&mdash;Women,
+Horses, Trees.&mdash;&ldquo;Greenwich Hospital.&rdquo;&mdash;Sikes and the Dog.&mdash;Jonathan
+Wild.&mdash;Simon Renard and Winwike.&mdash;&ldquo;Born a Genius and Born a Dwarf.&rdquo;&mdash;Its
+History.&mdash;Randalph and Hilda at Ranelagh.&mdash;Sale of the Shadow.&mdash;Sailors
+Carousing.&mdash;Paying off a Jew.&mdash;Simpkin Dancing.&mdash;The Last Cab Driver.&mdash;Dominie
+Sampson.&mdash;Dumbiedikes.&mdash;Fall of the Leaf.&mdash;Taurus.&mdash;Libra.&mdash;Revolution
+at Madame Tussaud&rsquo;s.&mdash;Theatrical Fun Dinner.&mdash;&ldquo;Gone!&rdquo;&mdash;Duke of
+Marlborough&rsquo;s Boot.&mdash;The Two Elves.&mdash;Witches&rsquo; Frolic.&mdash;Ghosts.&mdash;Jack o&rsquo;
+Lantern.&mdash;Devils.&mdash;The Gin Shop.&mdash;Redgauntlet.&mdash;Fagin in the Condemned
+Cell.&mdash;Murder of Sir Rowland Trenchard.&mdash;Xit Wedded to the Scavenger&rsquo;s
+Daughter.&mdash;Mauger Sharpening his Axe.&mdash;Massacre at Tullabogue, etc.&mdash;His
+Genius.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page167">167</a>-<a href="#page188">188</a>.</p>
+
+
+<h5>CHAPTER IX.</h5>
+
+<p>The Sleep of Thirty Years.&mdash;Causes of George Cruikshank&rsquo;s Decadence Insufficiently
+Understood.&mdash;Professor Bates&rsquo; Theory.&mdash;Charles Dickens&rsquo;s Nervousness (?).&mdash;Why
+Cruikshank was Unfitted to Illustrate his Novels.&mdash;The Rejected
+Illustration to Oliver Twist.&mdash;Quarrel with Bentley.&mdash;Guy Fawkes Illustrations.&mdash;&ldquo;Ainsworth&rsquo;s
+Magazine.&rdquo;&mdash;Progress of the Cruikshank <i>versus</i> Bentley
+Campaign.&mdash;Cruikshank&rsquo;s Declaration of War.&mdash;His Tactics.&mdash;&ldquo;Our Library
+Table.&rdquo;&mdash;Quarrel with Harrison Ainsworth.&mdash;Cruikshank&rsquo;s Claim to be
+Originator of Two of his Stories Considered.&mdash;A word for Harrison Ainsworth.&mdash;Popularity
+and Success of his Novels.&mdash;Charles Lever&rsquo;s &ldquo;Arthur O&rsquo;Leary.&rdquo;&mdash;Cruikshank&rsquo;s
+final Leap in the Dark.&mdash;Its Fatal Consequences.&mdash;Crusade
+against Drink.&mdash;&ldquo;Worship of Bacchus.&rdquo;&mdash;His Work Falls away.&mdash;Thirty
+Years of Artistic Sterility.&mdash;Fairy Stories turned into Temperance Tracts.&mdash;Forgotten!</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page189">189</a>-<a href="#page207">207</a>.</p>
+
+
+<h5>CHAPTER X.</h5>
+
+<p>Birth of Robert Seymour.&mdash;Starts as a Painter in Oils.&mdash;Death of George IV.&mdash;His
+Contemptible Character.&mdash;Sale of his Wardrobe.&mdash;Order for General
+Mourning.&mdash;&ldquo;The Adelaide Mill.&rdquo;&mdash;Revolution of 1830.&mdash;Dismissal of the
+<span class="pagenum"><a name="pagexiii"></a>xiii</span>
+German Band.&mdash;St. John Long the Quack.&mdash;Administering an Oath.&mdash;The
+&ldquo;Humorous Sketches.&rdquo;&mdash;&ldquo;Book of Christmas.&rdquo;&mdash;&ldquo;New Readings of Old
+Authors.&rdquo;&mdash;&ldquo;Figaro in London.&rdquo;&mdash;À Beckett&rsquo;s Editorial Amenities.&mdash;Feud
+between him and Seymour.&mdash;Seymour Caricatures À Beckett.&mdash;&ldquo;Figaro&rdquo; passes
+into the hands of Mayhew.&mdash;Re-engagement of Seymour.&mdash;Origin of the
+&ldquo;Pickwick Papers.&rdquo;&mdash;The Rejected Etching.&mdash;Suicide of Seymour.&mdash;His Claim
+to be the &ldquo;Inventor&rdquo; of &ldquo;Pickwick&rdquo; considered.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page208">208</a>-<a href="#page234">234</a>.</p>
+
+
+<h5>CHAPTER XI.</h5>
+
+<p>The Agitation for Reform in 1830-32.&mdash;The Marquis of Blandford&rsquo;s Scheme
+of Reform.&mdash;Strange State of the English Representative System of those Days.&mdash;O&rsquo;Connell&rsquo;s
+Scheme.&mdash;Lord John Russell&rsquo;s &ldquo;Resolutions&rdquo; Rejected.&mdash;Dearth
+of Political Caricaturists at this Time.&mdash;<span class="cn">HB</span>.&mdash;Secret of the Success of his
+&ldquo;Political Sketches.&rdquo;&mdash;His Style a Complete Innovation.&mdash;&ldquo;I&rsquo;ll be your
+Second.&rdquo;&mdash;Unpopularity of the Duke of Cumberland.&mdash;&ldquo;My Dog and my Gun.&rdquo;&mdash;Lord
+John Russell Introduces a Reform Bill.&mdash;Second Reading Carried by a
+Majority of One.&mdash;General Election.&mdash;Lord John Russell&rsquo;s Second Reform Bill
+Passes the House of Commons.&mdash;Deputation to the Lords.&mdash;&ldquo;Bringing up our
+Bill.&rdquo;&mdash;The Lords Throw it Out.&mdash;Lord John Russell again brings in a Bill.&mdash;Ministers
+again in a Minority in the Lords.&mdash;Earl Grey tenders certain Alternatives.&mdash;Excitement
+caused by the Opposition of the Lords.&mdash;Perplexity of the
+King.&mdash;How he Overcame the Opposition of the Peers.&mdash;William IV. as Johnny
+Gilpin.&mdash;The King as Mazeppa and Sinbad the Sailor.&mdash;Outrage on the Duke
+of Wellington.&mdash;&ldquo;Taking an Airing in Hyde Park.&rdquo;&mdash;&ldquo;Auld Lang Syne.&rdquo;&mdash;&ldquo;A
+Hint to Duellists.&rdquo;&mdash;&ldquo;A Great Subject Dedicated to the Royal College of
+Surgeons.&rdquo;&mdash;Sir Francis Burdett.&mdash;&ldquo;Following the Leader.&rdquo;&mdash;&ldquo;The Dog and
+the Shadow.&rdquo;&mdash;&ldquo;A Race for the Westminster Stakes.&rdquo;&mdash;&ldquo;A Fine Old English
+Gentleman.&rdquo;&mdash;&ldquo;Jim Crow Dance and Chorus.&rdquo;</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page235">235</a>-<a href="#page253">253</a>.</p>
+
+
+<h5>CHAPTER XII.</h5>
+
+<p>Political Sketches of <span class="cn">HB</span>. (continued).&mdash;Lord John Russell.&mdash;&ldquo;Jonah.&rdquo;&mdash;Reduction
+of the Stamp on Newspapers.&mdash;How it was evaded.&mdash;Arguments of
+the Opponents of the Measure.&mdash;Hard and Soft Soap <i>versus</i> Newspapers.&mdash;Strange
+Arguments of the Newspaper Proprietors of the Day.&mdash;&ldquo;The Rival
+Newsmongers.&rdquo;&mdash;Brougham Watches for the Door of Preferment being
+Opened.&mdash;&ldquo;The Gheber Worshipping the Rising Sun.&rdquo;&mdash;Made Lord Chancellor.&mdash;&ldquo;A
+Select Specimen of the Black Style.&rdquo;&mdash;A Scene in the House of
+Lords.&mdash;&ldquo;The Duel that Did Not Take Place.&rdquo;&mdash;Dissolution of Parliament in
+1834.&mdash;Brougham&rsquo;s Royal &ldquo;Progress&rdquo; through Scotland.&mdash;Annoyance of
+William IV., who Determines to Get Rid of Him.&mdash;&ldquo;The Fall of Icarus.&rdquo;&mdash;&ldquo;The
+Vaux and the Grapes.&rdquo;&mdash;The Irish Coercion Bill of 1833.&mdash;Irish Disaffection
+which led Up to It.&mdash;List of Irish Crimes for One Year.&mdash;Scenes
+between English and Irish Members.&mdash;&ldquo;Prisoners of War.&rdquo;&mdash;Good Effects of
+the Coercion Bill.&mdash;Irish Agitators of 1833 and 1883 Compared.&mdash;O&rsquo; Connell and
+<span class="pagenum"><a name="pagexiv"></a>xiv</span>
+the Irish Peasant.&mdash;Unscrupulous Political Conduct of O&rsquo;Connell.&mdash;&ldquo;The Comet
+of 1835.&rdquo;&mdash;&ldquo;Doctor Syntax [<i>i.e.</i> Peel] on his Faithful Steed in Search of the
+Picturesque.&rdquo;&mdash;Amazing Number of <span class="cn">HB</span>&rsquo;s Political Sketches.&mdash;His failings.&mdash;His
+Imitators and their Fate.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page254">254</a>-<a href="#page276">276</a>.</p>
+
+
+<h5>CHAPTER XIII.</h5>
+
+<p>John Leech.&mdash;Birth.&mdash;At Charterhouse.&mdash;The &ldquo;Coach Tree.&rdquo;&mdash;Early Efforts
+in Drawing brought to the notice of Flaxman.&mdash;Apprenticed to Whittle, an
+Eccentric Medical Man.&mdash;Transfer of Leech&rsquo;s Indentures.&mdash;Early Work.&mdash;Applies
+to Illustrate &ldquo;Pickwick.&rdquo;&mdash;Style not Matured till 1840.&mdash;An Attack on Dickens.&mdash;Attack
+on &ldquo;Phiz.&rdquo;&mdash;Attack on D&rsquo;Israeli.&mdash;&ldquo;Bentley&rsquo;s Miscellany.&rdquo;&mdash;Joins
+<i>Punch</i>.&mdash;Marriage.&mdash;The &ldquo;Right-hand Man in Punch&rsquo;s Cabinet.&rdquo;&mdash;&ldquo;Illuminated
+Magazine.&rdquo;&mdash;Portraits of Leech in <i>Punch</i>.&mdash;Douglas Jerrold and Albert Smith.&mdash;Douglas
+Jerrold and À Beckett.&mdash;Leech at a Fancy Ball.&mdash;Albert Smith and the
+Wide-awake Innkeepers at Chamounix.&mdash;George Cruikshank Borrowing from
+Leech.&mdash;Influence of Cruikshank on Leech.&mdash;The Two Compared.&mdash;Abhorrence
+of Frenchmen.&mdash;Mistake in &ldquo;The Battle of Life.&rdquo;</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page277">277</a>-<a href="#page293">293</a>.</p>
+
+
+<h5>CHAPTER XIV.</h5>
+
+<p>John Leech&rsquo;s <i>Punch</i> Cartoons.&mdash;The &ldquo;Albert&rdquo; Hat.&mdash;O&rsquo;Connell.&mdash;Sir James
+Graham.&mdash;&ldquo;Peel&rsquo;s Dirty Little Boy.&rdquo;&mdash;&ldquo;How do you Like the New Whig?&rdquo;&mdash;&ldquo;The
+Premier&rsquo;s Fix.&rdquo;&mdash;&ldquo;The Railway Juggernaut.&rdquo;&mdash;Between Free Trade and
+Protection Sir Robert Peel falls through.&mdash;&ldquo;Dombey and Son.&rdquo;&mdash;Lord Brougham
+&ldquo;in order.&rdquo;&mdash;Smithfield.&mdash;Louis Philippe.&mdash;The Year of Unrest, 1848.&mdash;French
+Expedition to Rome.&mdash;&ldquo;A Bright Idea.&rdquo;&mdash;General Haynau and Barclay &amp;
+Perkins&rsquo; Draymen.&mdash;&ldquo;Joe&rdquo; Hume.&mdash;The &ldquo;Papal Aggression&rdquo; Cartoons.&mdash;&ldquo;The
+Boy who Chalked up &lsquo;No Popery&rsquo; and then Ran Away.&rdquo;&mdash;Great Exhibition of
+1851.&mdash;The <i>Coup d&rsquo;état</i>.&mdash;The Peace Society.&mdash;&ldquo;The Old &lsquo;Un and the Young
+&rsquo;Un.&rdquo;&mdash;War with Russia.&mdash;Evils of the Purchase System.&mdash;Generals <i>Janvier</i> and
+<i>Fevrier</i>.&mdash;&ldquo;The Return from Vienna.&rdquo;&mdash;Incapacity of English Generals.&mdash;&ldquo;Urgent
+Private Affairs.&rdquo;&mdash;&ldquo;Staying Proceedings.&rdquo;&mdash;The Royal Levées.&mdash;The
+French Colonels.&mdash;&ldquo;Religion <i>à la mode</i>.&rdquo;&mdash;Fête at Cremorne.&mdash;Plots against the
+French Emperor, and their Consequences.&mdash;&ldquo;Invasion of French Light Wines.&rdquo;</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page294">294</a>-<a href="#page314">314</a>.</p>
+
+
+<h5>CHAPTER XV.</h5>
+
+<p>Exhibition of Leech&rsquo;s &ldquo;Sketches in Oil&rdquo; at the Egyptian Hall in 1862.&mdash;What
+Thackeray said of them.&mdash;Gradual Decrease in the Numbers of his Cartoons for
+<i>Punch</i>.&mdash;Overwork.&mdash;Goes to the Continent with Mark Lemon in 1862.&mdash;&ldquo;A
+day at Biarritz.&rdquo;&mdash;Returns with no Benefit.&mdash;Leech and Thackeray at Evans&rsquo;s in
+December, 1863.&mdash;Thackeray and Leech at Charterhouse on &ldquo;Founder&rsquo;s Day.&rdquo;&mdash;Thackeray
+at the Wednesday <i>Punch</i> Dinner, 15th of December, 1863.&mdash;Death
+of Thackeray.&mdash;Death of Mr. R. W. Surtees.&mdash;The <i>Punch</i> Council Dinners.&mdash;John
+Leech a faithful Attendant.&mdash;&ldquo;Moses Starting for the Fair.&rdquo;&mdash;John Leech&rsquo;s
+Illness described.&mdash;No Falling off in the Quality of his Designs.&mdash;&ldquo;St. Genulphus.&rdquo;&mdash;Starts
+<span class="pagenum"><a name="pagexv"></a>xv</span>
+off for Homburg with Mr. Alfred Elmore.&mdash;Death of Thomas Frederick
+Robson.&mdash;His Wonderful Powers Wasted.&mdash;Leech goes to Whitby.&mdash;Shirley
+Brooks joins him.&mdash;&ldquo;The Weinbrunnen Schwalbach.&rdquo;&mdash;Reminiscences of the
+Whitby Visit.&mdash;Opening of Fechter&rsquo;s Season at the Lyceum.&mdash;John Leech at a
+Party at Mr. W. P. Frith&rsquo;s, 13th of October&mdash;At the Weekly <i>Punch</i> Dinner, 26th
+of October.&mdash;Serious Change for the Worse.&mdash;His Death.&mdash;Shock caused by his
+Death in London and the Provinces.&mdash;His Funeral.&mdash;Shirley Brooks&rsquo; Memorial
+in <i>Punch</i>.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page315">315</a>-<a href="#page335">335</a>.</p>
+
+
+<h5>CHAPTER XVI.</h5>
+
+<p>Hablot Knight Browne (&ldquo;Phiz&rdquo;).&mdash;Invincible Tendency to Exaggeration.&mdash;Charles
+Lever&rsquo;s Opinion.&mdash;Weakness and Attenuation of his Figures.&mdash;Compared
+with John Leech.&mdash;Tendency to Reproduce.&mdash;All his Heroes closely Resemble One
+Another.&mdash;Charles Lever&rsquo;s Complaint on this Score.&mdash;Great Ability of the Artist.&mdash;&ldquo;Ralph
+Nickleby&rsquo;s Visit to his Poor Relations.&rdquo;&mdash;Newman Noggs.&mdash;Squeers.&mdash;Mrs.
+Nickleby&rsquo;s Lunatic Admirer.&mdash;&ldquo;Pecksniff&rsquo;s Reception of the New Pupil.&rdquo;&mdash;&ldquo;Pleasant
+Little Family Party at Mr. Pecksniff&rsquo;s.&rdquo;&mdash;&ldquo;Warm Reception of Mr.
+Pecksniff by his Venerable Friend.&rdquo;&mdash;Quilp and Samson Brass.&mdash;Quilp and the
+Dog.&mdash;Mrs. Jarley&rsquo;s Waxwork Brigand.&mdash;Capture of Bunsby by Mrs. Macstinger.&mdash;&ldquo;Sunday
+under Three Heads.&rdquo;&mdash;The Jack Sheppard Mania of 1840.&mdash;&ldquo;The
+Way to the Gallows made Easy and Pleasant.&rdquo;&mdash;&ldquo;Phiz&rdquo; not a Born Comic
+Artist.&mdash;Excellence in Depicting Graver Subjects.&mdash;&ldquo;The Dombey Family.&rdquo;&mdash;&ldquo;Mrs.
+Dombey at Home.&rdquo;&mdash;&ldquo;Abstraction and Recognition.&rdquo;&mdash;&ldquo;The Dark Road.&rdquo;&mdash;&ldquo;Carker
+in his Hour of Triumph.&rdquo;&mdash;&ldquo;Bleak House.&rdquo;&mdash;Why Browne suited
+Charles Dickens&rsquo;s Requirements.&mdash;Coolness between Artist and Author.&mdash;One
+of Browne&rsquo;s Finest Illustrations.&mdash;Decline of Book Etching.&mdash;Browne without an
+Idea of his Own.&mdash;Powerful Assistance rendered to Novelists by Book Illustrators
+of his day.&mdash;Sketches and Studies.&mdash;Death of the Artist.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page336">336</a>-<a href="#page354">354</a>.</p>
+
+
+<h5>CHAPTER XVII.</h5>
+
+<p>Kenny Meadows.&mdash;&ldquo;Portraits of the English.&rdquo;&mdash;A Thoroughly Useful Man.&mdash;Some
+Works Illustrated by Meadows.&mdash;His Merits Unequal.&mdash;His Contempt for
+Nature.&mdash;An Early Illustrator of <i>Punch</i>.&mdash;His Illustrated Shakespeare.&mdash;Some
+Excellent Work of Meadows.&mdash;His Death.&mdash;Robert William Buss.&mdash;Recommended
+to Illustrate &ldquo;Pickwick&rdquo; on Seymour&rsquo;s Death.&mdash;Etchings Suppressed.&mdash;The
+&ldquo;Buss Plates&rdquo; not his at all.&mdash;His Paintings.&mdash;Lectures on Caricature and
+Graphic Satire.&mdash;Comic Publications which preceded or ran side by side with
+<i>Punch</i>.&mdash;Alfred William Forrester (Alfred Crowquill).&mdash;&ldquo;A General Utility
+Man.&rdquo;&mdash;Crowquill a Caricaturist.&mdash;His Talent and Cleverness.&mdash;Some of His
+Paintings.&mdash;Charles H. Bennett.&mdash;&ldquo;Shadows.&rdquo;&mdash;&ldquo;Shadow and Substance.&rdquo;&mdash;&ldquo;Origin
+of Species.&rdquo;&mdash;Taken on the <i>Punch</i> Staff.&mdash;Early Death.&mdash;Theatrical
+Performances for the Benefit of his Family.&mdash;Kate Terry.&mdash;Thackeray as a Comic
+Artist.&mdash;Satire on Charles Lever.&mdash;Unfitted to Illustrate his own Novels, and
+why.&mdash;His Genius Displayed in Literature not in Art.&mdash;Illustrations to &ldquo;Vanity
+Fair&rdquo; Considered.&mdash;Anthony Trollope on this Subject.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page355">355</a>-<a href="#page380">380</a>.</p>
+
+
+<p><span class="pagenum"><a name="pagexvi"></a>xvi</span></p>
+<h5>CHAPTER XVIII.</h5>
+
+<p>First Work of Richard Doyle.&mdash;Receives his Art Training from his Father.&mdash;Joins
+<i>Punch</i>.&mdash;The Peace-at-any-Price Party.&mdash;The Troubles of 1848.&mdash;The Sea-Serpent
+of Revolution Upsetting the Monarchical Cock-boats.&mdash;Lord Brougham.&mdash;Richard
+Doyle&rsquo;s Dream of the Future of Ireland.&mdash;The Window Tax.&mdash;&ldquo;Manners
+and Customs of Ye Englishe.&rdquo;&mdash;&ldquo;The Month&rdquo; upon Exeter Hall.&mdash;Establishment
+of the Papal Hierarchy in England.&mdash;The Causes of Doyle&rsquo;s Retirement
+from <i>Punch</i> Explained.&mdash;Unselfishness of His Conduct.&mdash;Ultimate Consequences
+on his Prospects.&mdash;Number of his <i>Punch</i> Illustrations.&mdash;Caricatures of Richard
+Doyle.&mdash;&ldquo;Brown, Jones, and Robinson.&rdquo;&mdash;Works Illustrated by Doyle.&mdash;Mr.
+Hamerton&rsquo;s Criticism on his Illustrations to &ldquo;The Newcomes.&rdquo;&mdash;His Death.&mdash;John
+Tenniel.&mdash;Joins <i>Punch</i> at the Commencement of Troublous Times.&mdash;Death
+of the Duke of Wellington.&mdash;Battle of Oltenitza.&mdash;Lord Aberdeen as the &ldquo;Courier
+of St. Petersburg.&rdquo;&mdash;Lord Aberdeen tries to Hold in the British Lion.&mdash;England
+the Unready.&mdash;&ldquo;Peace&rdquo; Seated on the Garrison Gun.&mdash;<i>Punch&rsquo;s</i> Low Estimate
+of the Third Napoleon.&mdash;An &ldquo;International Poultry Show.&rdquo;&mdash;&ldquo;The Eagle
+in Love.&rdquo;&mdash;&ldquo;Playing with Edged Tools.&rdquo;&mdash;&ldquo;An Unpleasant Neighbour.&rdquo;&mdash;Louis
+Closes his Firework Shop &ldquo;to please Johnny.&rdquo;&mdash;Miss Britannia Refuses to Dance
+again with Louis.&mdash;Mr. Tenniel one of the most Versatile of Modern Designers.&mdash;Examples
+of his Graphic Satire.&mdash;Notice of his Cartoons Closes with 1864, in
+Accordance with the Plan of the Work.&mdash;His Comic Powers.</p>
+
+<p class="rt1"><i>pp.</i> <a href="#page381">381</a>-<a href="#page400">400</a>.</p>
+
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="pagexvii"></a>xvii</span></p>
+
+<h3>LIST OF ILLUSTRATIONS.</h3>
+<hr class="short" />
+
+<table class="nobctr" width="90%" summary="Contents">
+
+<tr><td class="tc5b" colspan="2"><h6>ANONYMOUS.</h6></td></tr>
+
+<tr><td class="tc3">&nbsp;</td> <td class="f80 tc2b">PAGE</td></tr>
+
+<tr><td class="tc3 sc">A Buzz in a Box</td>
+    <td class="f80 tc2b"><i>Frontispiece</i></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">Grand Entrance to Bamboozlem</td>
+    <td class="tc2b"><a href="#page81">81</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">Leap Year; or, John Bull&rsquo;s Peace Establishment</td>
+    <td class="tc2b"><a href="#page50">50</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">A Peep in the Pump Room</td>
+    <td class="tc2b"><a href="#page57">57</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>BENNETT, CHAS. H.</h6></td></tr>
+
+<tr><td class="tc3 sc">&ldquo;Creeping Like a Snail&rdquo;</td>
+    <td class="tc2b"><a href="#page371">371</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Original Woodblock in possession of the Publishers.</i></td></tr>
+
+<tr><td class="tc3 sc">Old Enough to Know Better</td>
+    <td class="tc2b"><a href="#page372">372</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Original Woodblock in possession of the Publishers.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>BROWNE, HABLOT K. (&ldquo;PHIZ&rdquo;).</h6></td></tr>
+
+<tr><td class="tc3 sc">The Departure</td>
+    <td class="tc2b"><a href="#page336">336</a></td></tr>
+<tr><td class="tc3 sc">Dick Swiveller and the Lodger</td>
+    <td class="tc2b"><a href="#page340">340</a></td></tr>
+<tr><td class="tc3 sc">The Rioters</td>
+    <td class="tc2b"><a href="#page346">346</a></td></tr>
+<tr><td class="tc3 sc">Sam Weller and his Father</td>
+    <td class="tc2b"><a href="#page352">352</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Woodcut Reproductions of the Original Sketches.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>BUNBURY, W. H.</h6></td></tr>
+
+<tr><td class="tc3 sc">Interior of a Barber&rsquo;s Shop</td>
+    <td class="tc2b"><a href="#page5">5</a></td></tr>
+<tr><td class="tc3 sc">Salutation Tavern</td>
+    <td class="tc2b"><a href="#page11">11</a></td></tr>
+<tr><td class="tc3 sc">Strephon and Chloe</td>
+    <td class="tc2b"><a href="#page11">11</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By Permission of Messrs. Chatto &amp; Windus.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>CROWQUILL, ALFRED.</h6></td></tr>
+
+<tr><td class="tc3 sc">Frozen Out Gardeners</td>
+    <td class="tc2b"><a href="#page368">368</a></td></tr>
+<tr><td class="tc3 sc">&ldquo;Swearing the Horns&rdquo; at Highgate</td>
+    <td class="tc2b"><a href="#page369">369</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Both by permission of Messrs. W. &amp; R. Chambers.</i>
+<span class="pagenum"><a name="pagexviii"></a>xviii</span></td></tr>
+
+<tr><td class="tc5b" colspan="2"><h6>CRUIKSHANK, GEORGE.</h6></td></tr>
+
+<tr><td class="tc3 sc">Absent-mindedness</td>
+    <td class="tc2b"><a href="#page175">175</a></td></tr>
+<tr><td class="tc3 sc">Bat Boroo</td>
+    <td class="tc2b"><a href="#page175">175</a></td></tr>
+<tr><td class="tc3 sc">The Braintrees</td>
+    <td class="tc2b"><a href="#page171">171</a></td></tr>
+<tr><td class="tc3 sc">The Deaf Postilion</td>
+    <td class="tc2b"><a href="#page171">171</a></td></tr>
+<tr><td class="tc3 sc">The Dentist</td>
+    <td class="tc2b"><a href="#page175">175</a></td></tr>
+<tr><td class="tc3 sc">The Elves and the Cobbler</td>
+    <td class="tc2b"><a href="#page180">180</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Above six by permission of Messrs. Geo. Bell &amp; Sons.</i></td></tr>
+
+<tr><td class="tc3 sc">The Gin Shop</td>
+    <td class="tc2b"><a href="#page184">184</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">The Old Commodore</td>
+    <td class="tc2b"><a href="#page182">182</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Geo. Routledge &amp; Son.</i></td></tr>
+
+<tr><td class="tc3 sc">Russian Condescension</td>
+    <td class="tc2b"><a href="#page133">133</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">A Scene in Kensington Gardens</td>
+    <td class="tc2b"><a href="#page152">152</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>From Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">&ldquo;A Tall Figure her Sight Engrossed&rdquo;</td>
+    <td class="tc2b"><a href="#page182">182</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Geo. Routledge &amp; Son.</i></td></tr>
+
+<tr><td class="tc3 sc">The Tête-a-Tête</td>
+    <td class="tc2b"><a href="#page175">175</a></td></tr>
+<tr><td class="tc3 sc">The Waits of Bremen</td>
+    <td class="tc2b"><a href="#page180">180</a></td></tr>
+<tr><td class="tc3 sc">The Witch&rsquo;s Switch</td>
+    <td class="tc2b"><a href="#page175">175</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Above three by permission of Messrs. Geo. Bell &amp; Sons.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>CRUIKSHANK, ROBERT.</h6></td></tr>
+
+<tr><td class="tc3 sc">John Bull Flourishing</td>
+    <td class="tc2b"><a href="#page99">99</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">Cuts From &ldquo;The Universal Songster&rdquo;</td>
+    <td class="tc2b"><a href="#page110">110</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Geo. Routledge &amp; Son.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>DORÉ, GUSTAVE.</h6></td></tr>
+
+<tr><td class="tc3 sc">The Abbot of Marmoustiers</td>
+    <td class="tc2b"><a href="#page8">8</a></td></tr>
+<tr><td class="tc3 sc">The Landlord of the Three Barbels</td>
+    <td class="tc2b"><a href="#page9">9</a></td></tr>
+<tr><td class="tc3 sc">Monseigneur Hugon</td>
+    <td class="tc2b"><a href="#page9">9</a></td></tr>
+<tr><td class="tc3 sc">Serjeant-of-the-Justice Taupin</td>
+    <td class="tc2b"><a href="#page8">8</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Above four by permission of Messrs. Chatto &amp; Windus.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>GILLRAY, J.</h6></td></tr>
+
+<tr><td class="tc3 sc">A Connoisseur</td>
+    <td class="tc2b"><a href="#page24">24</a></td></tr>
+<tr><td class="tc3 sc">The Gout</td>
+    <td class="tc2b"><a href="#page5">5</a></td></tr>
+<tr><td class="tc3 sc">A Lesson in Apple Dumplings</td>
+    <td class="tc2b"><a href="#page24">24</a></td></tr>
+<tr><td class="tc3 sc">Napoleonic Caricatures</td>
+    <td class="tc2b"><a href="#page18">18</a>, <a href="#page20">20</a></td></tr>
+<tr><td class="tc3 sc">The National Assembly</td>
+    <td class="tc2b"><a href="#page26">26</a></td></tr>
+<tr><td class="tc3 sc">A Peep at Christie&rsquo;s</td>
+    <td class="tc2b"><a href="#page14">14</a></td></tr>
+<tr><td class="tc3 sc">Royal Affability</td>
+    <td class="tc2b"><a href="#page24">24</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Above seven by permission of Messrs. Chatto &amp; Windus.</i></td></tr>
+
+<tr><td class="tc3 sc">Shakespeare Sacrificed</td>
+    <td class="tc2b"><a href="#page12">12</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">Twopenny Whist</td>
+    <td class="tc2b"><a href="#page16">16</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Chatto &amp; Windus.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>HOGARTH, W.</h6></td></tr>
+
+<tr><td class="tc3 sc">Marriage à la Mode</td>
+    <td class="tc2b"><a href="#page7">7</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Woodcut Reproduction of the Original Sketch.</i>
+<span class="pagenum"><a name="pagexix"></a>xix</span></td></tr>
+
+<tr><td class="tc5b" colspan="2"><h6>LANE, THEODORE.</h6></td></tr>
+
+<tr><td class="tc3 sc">The Gallery</td>
+    <td class="tc2b"><a href="#page85">85</a></td></tr>
+<tr><td class="tc3 sc">The Non-Paying Audience</td>
+    <td class="tc2b"><a href="#page85">85</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Woodcut Reproductions of the Original Sketches.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>LEECH, JOHN.</h6></td></tr>
+
+<tr><td class="tc3 sc">The Election</td>
+    <td class="tc2b"><a href="#page286">286</a></td></tr>
+<tr><td class="tc3 sc">&ldquo;I hope, Mr. Smug, you don&rsquo;t Beat your Boys!&rdquo;</td>
+    <td class="tc2b"><a href="#page292">292</a></td></tr>
+<tr><td class="tc3 sc">The Mayor and Corporation of Swinestead</td>
+    <td class="tc2b"><a href="#page278">278</a></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>ROWLANDSON, T.</h6></td></tr>
+
+<tr><td class="tc3 sc">&ldquo;All the Talents&rdquo;</td>
+    <td class="tc2b"><a href="#page3">3</a></td></tr>
+<tr><td class="tc3 sc">&ldquo;Anything will do for an Officer&rdquo;</td>
+    <td class="tc2b"><a href="#page2">2</a></td></tr>
+<tr><td class="tc3 sc">The Cobbler&rsquo;s Cure for a Scolding Wife</td>
+    <td class="tc2b"><a href="#page29">29</a></td></tr>
+<tr><td class="tc3 sc">Desire</td>
+    <td class="tc2b"><a href="#page11">11</a></td></tr>
+<tr><td class="tc3 sc">Spitfires</td>
+    <td class="tc2b"><a href="#page28">28</a></td></tr>
+<tr><td class="tc3 sc">Trumpet and Bassoon</td>
+    <td class="tc2b"><a href="#page2">2</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Above six by permission of Messrs. Chatto &amp; Windus.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>SANDBY, PAUL.</h6></td></tr>
+
+<tr><td class="tc3 sc">A Mountebank Painter</td>
+    <td class="tc2b"><a href="#page7">7</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Chatto &amp; Windus.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>SEYMOUR, ROBERT.</h6></td></tr>
+
+<tr><td class="tc3 sc">The Adelaide Mill</td>
+    <td class="tc2b"><a href="#page213">213</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Woodcut Reproduction of the Original Caricature.</i></td></tr>
+
+<tr><td class="tc3 sc">The Dying Clown</td>
+    <td class="tc2b"><a href="#page233">233</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Woodcut Reproduction of the Original Sketch.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>THACKERAY, W. M.</h6></td></tr>
+
+<tr><td class="tc3 sc">Angelica Arrives just in Time</td>
+    <td class="tc2b"><a href="#page379">379</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Smith, Elder &amp; Co.</i></td></tr>
+
+<tr><td class="tc3 sc">Brown, Jones, and Robinson</td>
+    <td class="tc2b"><a href="#page392">392</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Bradbury, Agnew &amp; Co.</i></td></tr>
+
+<tr><td class="tc3 sc">Gruffanuff</td>
+    <td class="tc2b"><a href="#page378">378</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Smith, Elder &amp; Co.</i></td></tr>
+
+<tr><td class="tc3 sc">Marginal Sketches (2)</td>
+    <td class="tc2b"><a href="#page375">375</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>By permission of Messrs. Chatto &amp; Windus.</i></td></tr>
+
+<tr><td class="tc3 sc">Monks of the Order of Flagellants</td>
+    <td class="tc2b"><a href="#page378">378</a></td></tr>
+<tr><td class="tc3 sc">Prince Bulbo</td>
+    <td class="tc2b"><a href="#page378">378</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Both by permission of Messrs. Smith, Elder &amp; Co.</i></td></tr>
+
+
+<tr><td class="tc5b" colspan="2"><h6>WOODWARD, G. M.</h6></td></tr>
+
+<tr><td class="tc3 sc">Desire</td>
+    <td class="tc2b"><a href="#page11">11</a></td></tr>
+<tr><td class="tc3 sc">&ldquo;General Complaint&rdquo;</td>
+    <td class="tc2b"><a href="#page11">11</a></td></tr>
+<tr><td class="tc5" colspan="2"><i>Both by permission of Messrs. Chatto &amp; Windus.</i></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="pagexx"></a>xx</span></p>
+
+<div class="pic">
+<img style="border:0; width:500px; height:318px" src="images/img3.jpg" alt="" />
+
+<p class="f90">&ldquo;<i>The Farthing Rushlight.</i>&rdquo;</p>
+
+<p>THE PRINCE OF WALES, WITH FOX, SHERIDAN, AND HIS WHIG ASSOCIATES, TRYING
+IN VAIN TO BLOW OUT POOR OLD GEORGE.</p></div>
+
+<div class="quote">
+<p>The author desires to express his sense of obligation to the several publishers who have
+courteously granted him permission to reproduce drawings, the copyrights of which are vested
+in themselves; and at the same time to state his regret that other publishers, similarly situated
+with respect to other works, have not seen their way to render it possible for him to supply
+specimens of the style of certain artists, two of whom in particular, John Leech and H. K.
+Browne, must needs be conspicuous by their comparative absence.</p>
+
+<p>Such Caricatures and Book Illustrations as have seemed specially desirable&mdash;of which the
+copyrights have lapsed and no editions are at the present day in print&mdash;have been engraved
+for this work by <span class="sc">Mr. William Cheshire</span>.</p></div>
+
+
+
+<p><span class="pagenum"><a name="page1" id="page1"></a>1</span></p>
+<p class="center pt3" style="font-size: 230%;">ENGLISH CARICATURISTS.</p>
+
+
+<hr class="art" />
+<h3>CHAPTER I.</h3>
+
+<h5><i>OF THE ENGLISH CARICATURE AND ITS DECAY.</i></h5>
+
+<p class="noind"><span class="sc">If</span> you turn to the word &ldquo;<i>caricatura</i>&rdquo; in your Italian dictionary, it is
+<span class="sn">Definition of Caricature</span>
+just possible that you will be gratified by learning that it means
+&ldquo;caricature&rdquo;; but if you refer to the same word in old Dr.
+Johnson, he will tell you, with the plain, practical common-sense
+which distinguished him, that it signifies &ldquo;an exaggerated resemblance
+in drawings,&rdquo; and this expresses exactly what it <i>does</i> mean. Any
+distinguishing feature or peculiarity, whether in face, figure, or dress,
+is <i>exaggerated</i>, and yet the likeness is preserved. A straight nose is
+presented unnaturally straight, a short nose unnaturally depressed;
+a prominent forehead is drawn unusually bulbous; a protuberant
+jaw unnaturally underhung; a fat man is depicted preternaturally fat,
+and a thin one correspondingly lean. This at least was the idea of
+<i>caricature</i> during the last century. Old Francis Grose, who, in 1791,
+wrote certain &ldquo;Rules for Drawing Caricaturas,&rdquo; gives us the following
+explanation of their origin:&mdash;&ldquo;The sculptors of ancient Greece,&rdquo; he
+tells us, &ldquo;seem to have diligently observed the form and proportions
+constituting the European ideas of beauty, and upon them to have
+formed their statues. These measures are to be met with in many
+drawing books; a slight deviation from them by the predominancy
+of any feature constitutes what is called character, and serves to
+discriminate the owner thereof and to fix the idea of identity. This
+deviation or peculiarity aggravated, forms caricatura.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page2" id="page2"></a>2</span></p>
+
+<p>As a matter of fact, the strict definition of the word given by
+Francis Grose and Dr. Johnson is no longer applicable; the word
+caricature includes, and has for a very long time been understood to
+include, within its meaning any pictorial or graphic satire, political
+or otherwise, and whether the drawing be exaggerated or not: it is
+in this sense that Mr. Wright makes use of it in his &ldquo;Caricature
+History of the Georges,&rdquo; and it is in this sense that we shall use it
+for the purposes of this present book.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:309px; height:400px" src="images/img4a.jpg" alt="" /></td>
+<td><img style="border:0; width:316px; height:400px" src="images/img4b.jpg" alt="" /></td></tr>
+
+<tr><td><p class="sc al">Rowlandson.]</p>
+<p class="ac">THE TRUMPET AND THE BASSOON.</p></td>
+
+<td><p class="sc al">Rowlandson.]</p>
+<p class="ar" style="margin-top: -1.5em;">[<i>January 1st, 1796.</i></p>
+
+<p class="al" style="margin-left: 2em;">&ldquo;ANYTHING WILL DO FOR AN OFFICER.&rdquo;</p>
+
+<p class="al">&ldquo;What shall we do with him?&rdquo;</p>
+<p class="al">&ldquo;Do with him? Why, make an officer of him!&rdquo;</p>
+
+<p class="ar">[<i>Face p. 2.</i></p></td></tr>
+</table></div>
+
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:412px; height:650px" src="images/img4c.jpg" alt="" /></td></tr>
+
+<tr><td><p class="sc al">T. Rowlandson.]</p>
+<p class="ar" style="margin-top: -1.5em;">[<i>April 13th, 1807.</i></p>
+<p class="ac">&ldquo;ALL THE TALENTS.&rdquo;</p>
+
+<p class="al">The &ldquo;Broad-Bottom Administration,&rdquo; known as &ldquo;All the Talents,&rdquo; showing the
+several qualifications of the Ministry.</p>
+
+<p class="ar">[<i>Face p. 3.</i></p></td></tr>
+</table></div>
+
+<p>Since the commencement of the present century, and more
+<span class="sn">Change in the Spirit of English Caricature.</span>
+especially during the last fifty years, a change has come over the
+spirit of English caricature. The fact is due to a variety of causes,
+amongst which must be reckoned the revolution in dress and
+manners; the extinction of the three-bottle men and topers; the
+change of thought, manners, and habits consequent on the introduction
+of steam, railways, and the electric telegraph. The casual
+observer meeting, as he sometimes will, with a portfolio of etchings
+representing the men with red and bloated features, elephantine
+limbs, and huge paunches, who figure in the caricatures of the last
+and the early part of the present century, may well be excused if he
+doubt whether such figures of fun ever had an actual existence. Our
+answer is that they not only existed, but were very far from
+uncommon. Our great-grandfathers of 1800 were jolly good fellows;
+washing down their beef-steaks with copious draughts of &ldquo;York or
+Burton ale,&rdquo; or the porter for which Trenton, of Whitechapel,
+appears to have been famed,<a name="FnAnchor_1" href="#Footnote_1"><span class="sp">1</span></a> fortifying themselves afterwards with
+deeper draughts of generous wines&mdash;rich port, Madeira, claret,
+dashed with hermitage&mdash;they set up before they were old men
+<span class="pagenum"><a name="page3" id="page3"></a>3</span>
+paunches and diseases which rendered them a sight for gods and
+men. Reader, be assured that the fat men who figure in the graphic
+satires of the early part of the century were certainly <i>not</i> caricatured.</p>
+
+<p>In connection with the subject of graphic satire, the names of the
+<span class="sn">The three great Caricaturists of the Last Century.</span>
+three great caricaturists of the last century&mdash;Gillray, Rowlandson,
+and Bunbury&mdash;are indispensable. The last, a gentleman of family,
+fortune, and position, and equerry to the Duke of York, was, in
+truth, rather an amateur than an artist. Rowlandson was an able
+draughtsman, and something more; but his style and his tastes are
+essentially coarse and sensual, and his women are the overblown
+beauties of the Drury Lane and Covent Garden of his day. George
+Moutard Woodward, whose productions he sometimes honoured by
+etching, and whose distinguishing characteristics are carelessness
+and often bad drawing, follows him at a respectful distance. The
+genius of James Gillray has won him the title of the &ldquo;Prince of
+Caricaturists,&rdquo; a title he well earned and thoroughly deserved. The
+only one of the nineteenth century caricaturists who touches him
+occasionally in <i>caricature</i>, but distances him in everything else, is
+our George Cruikshank.</p>
+
+<p>Commencing work when George the Third was still a young man,
+Gillray and Rowlandson necessarily infused into it some of the coarseness
+and vulgarity of their century. With Gillray, indeed, this coarseness
+and vulgarity may be said to be rather the exception than the
+rule, whereas the exact contrary holds good of his able and too often
+careless contemporary. As might have been expected, every one
+who excites their ridicule or contempt is treated and (in their letterpress
+descriptions) spoken of in the broadest manner. Bonaparte
+is mentioned by both artists (in allusion to his supposed sanguinary
+propensities) as &ldquo;Boney, the carcase butcher;&rdquo; Josephine is represented
+by Gillray as a coarse fat woman, with the sensual habits of
+a Drury Lane strumpet; Talleyrand, by right of his club foot and
+limping gait, is invariably dubbed &ldquo;Hopping Talley.&rdquo; The influence
+of both artists is felt by those who immediately succeeded them.
+The coarseness, for instance, of Robert Cruikshank, when he displays
+any at all, which is seldom, is directly traceable to the influence
+<span class="pagenum"><a name="page4" id="page4"></a>4</span>
+of Rowlandson, whom (until he followed the example of his greater
+brother) he at first copied.</p>
+
+<p>Gillray wrought much the same influence upon George Cruikshank.
+<span class="sn">Influence of Gillray on Cruikshank.</span>
+I have seen it gravely asserted by some of those who have written
+upon him,<a name="FnAnchor_2" href="#Footnote_2"><span class="sp">2</span></a> that this great artist never executed a drawing which
+could call a blush into the cheek of modesty. But those who have
+written upon George Cruikshank&mdash;and their name is legion&mdash;instead
+of beginning at the beginning, and thus tracing the gradual and
+almost insensible formation of his style, appear to me to have
+plunged as it were into <i>medias res</i>, and commenced at the point
+when he dropped caricature and became an illustrator of books.
+Book illustration was scarcely an art until George Cruikshank made
+it so; and the most interesting period of his artistic career appears
+to us to be the one in which he pursued the path indicated by James
+Gillray, until his career of caricaturist merged into his later employment
+of a designer and etcher of book illustration, by which no
+doubt he achieved his reputation. In answer to those who tell us
+that he never produced a drawing which could call a blush into the
+cheek of modesty, and never raised a laugh at the expense of
+decency, we will only say that we can produce at least a score of
+instances to the contrary. To go no further than &ldquo;The Scourge,&rdquo;
+we will refer them to three: his <i>Dinner of the Four-in-Hand Club at
+Salthill</i>, in vol. i.; his <i>Return to Office</i> (1st July, 1811), in vol. ii.;
+and his <i>Coronation of the Empress of the Nares</i> (1st September, 1812),
+in vol. iv.</p>
+
+<p>As the century passed out of its infancy and attained the maturer
+<span class="sn">Revolution effected by H. B.</span>
+age of thirty years, a gradual and almost imperceptible change came
+<span class="pagenum"><a name="page5" id="page5"></a>5</span>
+over the spirit of English graphic satire. The coarseness and suggestiveness
+of the old caricaturists gradually disappeared, until at
+length, in 1830, an artist arose who was destined to work a complete
+revolution in the style and manner of English caricature. This
+artist was John Doyle,&mdash;the celebrated H. B. He it was that
+discovered that pictures might be made mildly diverting without
+actual coarseness or exaggeration; and when this fact was accepted,
+the art of caricaturing underwent a complete transition, and assumed
+a new form. The &ldquo;Sketches&rdquo; of H. B. owe their chief attraction to
+the excellence of their designer as a portrait painter; his successors,
+with less power in this direction but with better general artistic
+abilities, rapidly improved upon his idea, and thus was founded the
+modern school of graphic satirists represented by Richard Doyle,
+John Leech, and John Tenniel. So completely was the style of
+comic art changed under the auspices of these clever men, that the
+very name of &ldquo;caricature&rdquo; disappeared, and the modern word
+&ldquo;cartoon&rdquo; assumed its place. With the exception indeed of Carlo
+Pellegrini (the &ldquo;Ape&rdquo; of <i>Vanity Fair</i>), and his successors, we have
+now no caricaturist in the old and true acceptation of the term, and
+original and clever as their productions are, their compositions are
+timid compared with those of Bunbury, Gillray, Rowlandson, and
+their successors, being limited to a weekly &ldquo;exaggerated&rdquo; portrait,
+instead of composed of many figures.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:500px; height:395px" src="images/img5a.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al">James Gillray.</p>
+<p class="ar" style="margin-top: -1.5em;">[<i>May 14th, 1799.</i></p>
+
+<p>&ldquo;THE GOUT.&rdquo;</p></td></tr>
+
+<tr><td class="pt2"><img style="border:0; width:620px; height:446px" src="images/img5b.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al"><span class="sc">W. H. Bunbury</span>, <i>etched by</i> <span class="sc">Gillray.</span>]</p>
+<p class="ar" style="margin-top: -1.5em;">[<i>1811, pubd. May 15th, 1818.</i></p>
+
+<p>&ldquo;INTERIOR OF A BARBER&rsquo;S SHOP IN ASSIZE TIME.&rdquo;</p>
+
+<p class="ar">[<i>Face p. 5</i></p></td></tr></table></div>
+
+
+<p>But caricature was destined to receive its final blow at the
+hands of that useful craftsman the wood-engraver. The application
+of wood-engraving to all kinds of illustration, whether graphic or
+comic, and the mode in which time, labour, and expense are
+economised, by the large wood blocks being cut up into squares,
+and each square entrusted to the hands of a separate workman,
+has virtually superseded the old and far more effective process
+of etching. Economy is now the order of the day in matters of
+graphic satire as in everything else; people are no longer found
+willing to pay a shilling for a caricature when they may obtain
+one for a penny. Hence it has come to pass, that whilst comic
+artists abound, the prevailing spirit of economy has reduced their
+<span class="pagenum"><a name="page6" id="page6"></a>6</span>
+productions to a dead level, and the work of an artist of inferior
+power and invention, may successfully compete for public favour
+with the work of a man of talent and genius like John Tenniel,
+a result surely to be deplored, seeing there never was a time which
+offered better opportunities for the pencil of a great and original
+caricaturist than the present.<a name="FnAnchor_3" href="#Footnote_3"><span class="sp">3</span></a></p>
+
+<p>It is a common practice, and I may add mistake, with writers
+<span class="sn">Mistake of those who compare modern Caricaturists with Hogarth.</span>
+on comic artists or caricaturists of our day, to compare them with
+Hogarth. Both Hogarth and the men of our day are graphic
+satirists, but there is so broad a distinction between the satire of
+each, and the circumstances of the times in which they respectively
+laboured, that comparison is impossible. Those who know anything
+of this great and original genius, must know that he entertained
+the greatest horror of being mistaken for a <i>caricaturist</i> pure
+and simple; and although he executed caricatures for special
+purposes, they may literally be counted on the fingers. &ldquo;His
+pictures,&rdquo; says Hazlitt, &ldquo;are not imitations of still life, or mere
+transcripts of incidental scenes and customs; but powerful <i>moral</i>
+satires, exposing vice and folly in their most ludicrous points of
+view, and with a profound insight into the weak sides of character
+and manners, in all their tendencies, combinations, and contrasts.
+There is not a single picture of his containing a representation
+of mere pictorial or domestic scenery.&rdquo; His object is not so much
+&ldquo;to hold the mirror up to nature,&rdquo; as &ldquo;to show vice her own
+feature, scorn her own image.&rdquo; &ldquo;Folly is there seen at the height&mdash;the
+moon is at the full&mdash;it is the very error of the time. There
+is a perpetual error of eccentricities, a tilt and tournament of
+absurdities, pampered with all sorts of affectation, airy, extravagant,
+and ostentatious! Yet <i>he is as little a caricaturist</i> as he is a
+painter of still life. Criticism has not done him justice, though
+public opinion has.&rdquo;<a name="FnAnchor_4" href="#Footnote_4"><span class="sp">4</span></a> &ldquo;A set of severer satires,&rdquo; says Charles Lamb,
+&ldquo;(for they are not so much comedies, which they have been
+<span class="pagenum"><a name="page7" id="page7"></a>7</span>
+likened to, as they are strong and masculine satires), less mingled
+with anything of mere fun, were never written upon paper or
+graven upon copper. They resemble Juvenal, or the satiric
+touches in Timon of Athens.&rdquo;</p>
+
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:400px; height:306px" src="images/img6a.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">W. Hogarth.]</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Mariage à la Mode.</i>&rdquo;</p></td></tr>
+
+<tr><td class="pt2"><img style="border:0; width:450px; height:302px" src="images/img6b.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Paul Sandby.]</p>
+<p class="ar"  style="margin-top: -1.7em;">[<i>Anti-Hogarthian Caricature.</i></p>
+
+<p>&ldquo;A Mountebank Painter demonstrating to his admirers and subscribers that
+crookedness is y<span class="sp">e</span> most beautifull.&rdquo;</p>
+
+<p class="ar">[<i>Face p. 7.</i></p></td></tr></table></div>
+
+<p>Hogarth was a stern moralist and satirist, but his satires have
+<span class="sn">Character of Hogarth&rsquo;s Satires.</span>
+nothing in common with the satires of the nineteenth century; such
+men as the infamous Charteris and the quack Misaubin figure in his
+compositions, and their portraits are true to the life. Although his
+satire is relieved with flashes of humour, the reality and gravity of
+the satire remain undisturbed. The <i>March to Finchley</i> is one of the
+severest satires on the times; it shows us the utter depravity of the
+morals and manners of the day, the want of discipline of the king&rsquo;s
+officers and soldiers, which led to the routs of Preston and Falkirk,
+the headlong flight of Hawley and his licentious and cowardly
+dragoons. Some modern writers know so little of him that they
+have not only described his portrait of Wilkes as a <i>caricature</i>, but
+have cited the inscription on his veritable contemporary <i>caricature</i>
+of Churchill in proof of the assertion. Now what says this inscription?
+&ldquo;The Bruiser (Churchill, once the Reverend), in the character
+of a Russian Hercules, regaling himself after having killed the
+monster <i>Caricatura, that so severely galled his virtuous friend</i>, the
+heaven-born Wilkes.&rdquo; Hogarth&rsquo;s use of the word <i>caricatura</i> conveys
+a meaning which is not patent at first sight; Wilkes&rsquo;s leer was the
+leer of a satyr, &ldquo;his face,&rdquo; says Macaulay, &ldquo;was so hideous that the
+caricaturists were forced in their own despite to flatter him.&rdquo;<a name="FnAnchor_5" href="#Footnote_5"><span class="sp">5</span></a> The
+real sting lies in the <i>accuracy</i> of Hogarth&rsquo;s portrait (a fact which
+Wilkes himself admitted), and it is in this sarcastic sense that
+Hogarth makes use of the word &ldquo;caricatura.&rdquo;</p>
+
+<p>Turning from Hogarth to a modern artist, in spite of his faults of
+<span class="sn">Gustave Doré.</span>
+most marvellous genius and inventive faculty, I frequently find
+critics of approved knowledge and sagacity describing the late
+Gustave Doré as a caricaturist. It may seem strange at first sight to
+introduce the name of Doré into a work dealing exclusively with
+<span class="pagenum"><a name="page8" id="page8"></a>8</span>
+English caricature art, and I do so, not by reason of the fact that
+his works are as familiar to us in England as in France, not because
+he has pictorially interpreted some of the finest thoughts in English
+literature, but because I find his name so constantly mentioned in
+comparison with English caricaturists and comic artists, and more
+especially with our George Cruikshank. Now Gustave Doré is, if
+possible, still less a caricaturist than our English Hogarth. I have
+seen the ghastly illustrations to the licentious &ldquo;Contes <span class="correction" title="changed from Diolatiques">Drolatiques</span>&rdquo;
+of Balzac cited in proof of his claims to be considered a caricaturist.
+I will not deny that Doré did try his hand once upon a time at
+caricature, and if we are to judge him by these attempts, we should
+pronounce him the worst French caricaturist the world ever saw,
+which would be saying a great deal; for a worse school than that of
+the modern French caricaturists (and I do not except even Gavarni,
+Cham, or Daumier), does not anywhere exist. That this man of
+marvellous genius had humour I do not for one moment deny; but
+it was the grim humour of an inquisitor or torturer of the middle
+ages&mdash;of one that revels in a perfect nightmare of terror.<a name="FnAnchor_6" href="#Footnote_6"><span class="sp">6</span></a> Genius
+is said to be nearly allied to madness; and if one studies some of
+his weird creations&mdash;such, for instance, as <i>The Judgment Day</i> in the
+legend of &ldquo;The Wandering Jew&rdquo;&mdash;the thought involuntarily suggests
+itself that a brain teeming with such marvellous and often morbid
+conceptions, might have been pushed off its balance at any moment.
+Gustave Doré delights in lofty, mediæval-gabled buildings, with
+bartizans and antique galleries; in steep streets, dominated by
+gloomy turrets; in narrow entries, terminating in dark vistas; in
+gloomy forests, crowded with rocky pinnacles; in masses of struggling,
+mutilated men and horses; in monstrous forms of creeping,
+crawling, slimy, ghastly horror. By the side of the conceptions of
+Gustave Doré&mdash;<i>teste</i> for instance the weird pictures of &ldquo;The Wandering
+Jew&rdquo; already mentioned&mdash;George Cruikshank sinks at times into
+<span class="pagenum"><a name="page9" id="page9"></a>9</span>
+insignificance; and yet side by side with George Cruikshank, as a
+purely comic artist or caricaturist, Doré is beneath mediocrity.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:350px; height:484px" src="images/img7a.jpg" alt="" /></td>
+<td><img style="border:0; width:280px; height:460px" src="images/img7b.jpg" alt="" /></td></tr>
+
+<tr><td style="vertical-align: top;"><p class="al sc">Gustave Doré.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;Contes Drolatiques.&rdquo;</i></p>
+<p>&ldquo;SERGEANT-OF-THE-JUSTICE TAUPIN.&rdquo;</p></td>
+
+<td style="vertical-align: top;"><p class="al sc">Gustave Doré.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;Contes Drolatiques.&rdquo;</i></p>
+<p>&ldquo;THE ABBOT OF MARMOUSTIERS.&rdquo;</p>
+<p class="ar">[<i>Back to p. 8.</i></p></td></tr></table></div>
+
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:340px; height:530px" src="images/img8a.jpg" alt="" /></td>
+<td><img style="border:0; width:340px; height:522px" src="images/img8b.jpg" alt="" /></td></tr>
+
+<tr><td style="vertical-align: top;"><p class="al sc">Gustave Doré.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;Contes Drolatiques.&rdquo;</i></p>
+<p>&ldquo;THE LANDLORD OF THE THREE BARBELS.&rdquo;</p></td>
+
+<td style="vertical-align: top;"><p class="al sc">Gustave Doré.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;Contes Drolatiques.&rdquo;</i></p>
+<p>MONSEIGNEUR HUGON.</p>
+<p class="ar">[<i>Back to p. 9.</i></p></td></tr></table></div>
+
+
+<p>Artists and art critics not unnaturally regard caricature with some
+<span class="sn">Mr. Hamerton&rsquo;s observations on Caricature.</span>
+disfavour. &ldquo;Art,&rdquo; says Hamerton, &ldquo;with a great social or political
+purpose, is seldom pure fine art; artistic aims are usually lost sight
+of in the anxiety to hit the social or political mark, and though the
+caricaturist may have great natural facility for art, it has not a fair
+chance of cultivation.&rdquo; Writing of Cruikshank&rsquo;s &ldquo;etchings&rdquo; (and
+I presume he refers to those which are marked with comic or
+satirical characteristics), he says: &ldquo;They are full of keen satire and
+happy invention, and their moral purpose is always good; but all
+these qualities are compatible with a carelessness of art which is not
+to be tolerated in any one but a professional caricaturist.&rdquo;<a name="FnAnchor_7" href="#Footnote_7"><span class="sp">7</span></a> Now
+all this is true, and moreover it is fairly and generously stated; on
+the other hand, Mr. Hamerton will probably admit that no artist
+is likely to succeed in graphic satire, unless he be a man of marked
+artistic power and invention.</p>
+
+<p>While treating incidentally of the etchings of artists who have
+distinguished themselves as graphic satirists or designers, with
+etching itself as an <i>art</i> this work has no concern. For those who
+would be initiated into the mysteries of etching and dry point,
+negative and positive processes, soft grounds, mordants, or the like,
+the late Thomas Hood has left behind him a whimsical sketch of
+the process, which, imperfect as it is, will not only suffice for our
+purpose, but has the merit probably of being but little known:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Prepared by a hand that is skilful and nice,</p>
+<p>The fine point glides along like a skate on the ice,</p>
+      <p class="i3">At the will of the gentle designer,</p>
+<p>Who, impelling the needle, just presses so much,</p>
+<p>That each line of her labour <i>the copper may touch</i>,</p>
+      <p class="i3">As if done by a penny-a-liner.</p>
+
+<p style="letter-spacing: 3em;">&nbsp;*****</p>
+
+<p>Certain objects however may come in your sketch,</p>
+<p>Which, designed by a hand unaccustomed to etch,</p>
+      <p class="i3">With a luckless result may be branded;</p>
+<p><span class="pagenum"><a name="page10" id="page10"></a>10</span></p>
+<p>Wherefore add this particular rule to your code,</p>
+<p>Let all vehicles take the <i>wrong</i> side of the road,</p>
+      <p class="i3">And man, woman, and child be <i>left-handed</i>.</p>
+
+<p class="s">Yet regard not the awkward appearance with doubt,</p>
+<p>But remember how often mere blessings fall out,</p>
+      <p class="i3">That at first seemed no better than curses:</p>
+<p>So, till <i>things take a turn</i>, live in hope, and depend</p>
+<p>That whatever is wrong will come right in the end,</p>
+      <p class="i3">And console you for all your <i>reverses</i>.</p>
+
+<p style="letter-spacing: 3em;">&nbsp;*****</p>
+
+<p>But the acid has duly been lower&rsquo;d and bites</p>
+<p>Only just where the visible metal invites,</p>
+      <p class="i3">Like a nature inclined to meet troubles;</p>
+<p>And behold as each slender and glittering line</p>
+<p>Effervesces, you trace the completed design</p>
+      <p class="i3">In an elegant bead-work of bubbles.</p>
+
+<p style="letter-spacing: 3em;">&nbsp;*****</p>
+
+<p>But before with the varnishing brush you proceed,</p>
+<p>Let the plate with cold water be thoroughly freed</p>
+      <p class="i3">From the other less innocent liquor;</p>
+<p>After which, on whatever you want to protect,</p>
+<p>Put a <i>coat</i> that will act to that very effect,</p>
+      <p class="i3">Like the black one which hangs on the vicar.</p>
+
+<p class="s">Then the varnish well dried&mdash;urge the biting again,</p>
+<p>But how long, at its meal, the <i>eau forte</i> may remain,</p>
+      <p class="i3">Time and practice alone can determine:</p>
+<p>But of course not so long that the mountain, and mill,</p>
+<p>The rude bridge, and the figures&mdash;whatever you will&mdash;</p>
+      <p class="i3">Are as black as the spots on your ermine.</p>
+
+<p class="s">It is true, none the less, that a dark looking scrap,</p>
+<p>With a sort of Blackheath and Black Forest, mayhap,</p>
+      <p class="i3">Is considered as rather Rembrandty;</p>
+<p>And that very black cattle and very black sheep,</p>
+<p>A black dog, and a shepherd as black as a sweep,</p>
+      <p class="i3">Are the pets of some great <i>dilettante</i>.</p>
+
+<p style="letter-spacing: 3em;">&nbsp;*****</p>
+
+<p>But before your own picture arrives at that pitch,</p>
+<p>While the lights are still light, and the shadows, though rich.</p>
+      <p class="i3">More transparent than ebony shutters,</p>
+<p>Never minding what Black-Arted critics may say,</p>
+<p>Stop the biting, and pour the green blind away,</p>
+      <p class="i3">As you please, into bottles or gutters.</p>
+
+<p class="s"><span class="pagenum"><a name="page11" id="page11"></a>11</span></p>
+<p>Then removing the ground and the wax <i>at a heat</i>,</p>
+<p>Cleanse the surface with oil, spermaceti or sweet&mdash;</p>
+      <p class="i3">For your hand a performance scarce proper&mdash; </p>
+<p>So some careful professional person secure,</p>
+<p>For the laundress will not be a safe amateur,</p>
+      <p class="i3">To assist you in <i>cleaning the copper</i>.</p>
+
+<p style="letter-spacing: 3em;">&nbsp;*****</p>
+
+<p>Thus your etching complete, it remains but to hint</p>
+<p>That with certain assistance from paper and print,</p>
+      <p class="i3">Which the proper mechanic will settle,</p>
+<p>You may charm all your friends&mdash;without any sad tale</p>
+<p>Of such perils and ills as beset Lady Sale&mdash;</p>
+      <p class="i3">With a fine <i>India Proof of your metal</i>.&rdquo;<a name="FnAnchor_8" href="#Footnote_8"><span class="sp">8</span></a></p>
+</div>
+</td></tr></table>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:300px; height:347px" src="images/img11a.jpg" alt="" /></td>
+<td><img style="border:0; width:380px; height:236px" src="images/img11b.jpg" alt="" /></td></tr>
+
+<tr><td style="vertical-align: top;"><p class="al"><span class="sc">Woodward</span>, <i>engr. by</i><br /> <span class="sc">Rowlandson</span>.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>&ldquo;Desire,&rdquo; Jan. 20th, 1800.</i></p>
+<p>DESIRE.</p></td>
+
+<td style="vertical-align: top;"><p class="al sc">W. H. Bunbury.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>&ldquo;Strephon and Chloe,&rdquo; July 1st, 1804.</i></p>
+<p>SENTIMENTAL COURTSHIP.</p></td></tr></table></div>
+
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:380px; height:249px" src="images/img11c.jpg" alt="" /></td>
+<td><img style="border:0; width:300px; height:392px" src="images/img11d.jpg" alt="" /></td></tr>
+
+<tr><td style="vertical-align: top;"><p class="al sc">W. H. Bunbury.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>&ldquo;The Salutation Tavern,&rdquo; July 21st, 1801.</i></p>
+<p>A FASHIONABLE SALUTATION.</p></td>
+
+<td style="vertical-align: top;"><p class="al sc">G. M. Woodward.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>&ldquo;General Complaint,&rdquo;<br /> May 5th, 1796.</i></p>
+<p class="al">&ldquo;Don&rsquo;t tell me of generals raised from mere boys,</p>
+<p class="al">Though, believe me, I mean not their laurel to taint;</p>
+<p class="al">But the general, I&rsquo;m sure, that will make the most noise,</p>
+<p class="al">If the war still goes on, will be General Complaint.&rdquo;</p>
+
+<p class="ar">[<i>Face p. 11.</i></p></td></tr></table></div>
+
+
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_1" href="#FnAnchor_1"><span class="fn">1</span></a></p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr" style="font-size: 100%">
+
+<p>&ldquo;Nor London singly can his porter boast,</p>
+<p>Alike &rsquo;tis famed on every foreign coast;</p>
+<p>For this the Frenchman leaves his Bordeaux wine,</p>
+<p>And pours libations at our Thames&rsquo;s shrine;</p>
+<p>Afric retails it &lsquo;mongst her swarthy sons,</p>
+<p>And haughty Spain procures it for her Dons.</p>
+<p>Wherever Britain&rsquo;s powerful flag has flown,</p>
+<p>there London&rsquo;s celebrated porter&rsquo;s known.&rdquo;</p>
+</div>
+</td></tr></table>
+
+<p class="rt">&mdash;<i>The Art of Living in London</i> (6th edition 1805).</p>
+
+
+<p><a name="Footnote_2" href="#FnAnchor_2"><span class="fn">2</span></a> One quotation shall suffice. Mr. William Bates tells us in his admirable
+&ldquo;Maclise Portrait Gallery&rdquo;:&mdash;&ldquo;He <i>never</i> transgressed the narrow line that
+separates wit from buffoonery, pandered to sensuality, glorified vice or raised a
+laugh at the expense of decency. Satire <i>never</i> in his hands degenerated into
+savagery or scurrility. A moral purpose <i>ever</i> underlaid his humour; he sought to
+instruct or improve when he amused.&rdquo; Mr. Bates will, we hope, pardon us if we
+say that this is not quite the fact. George Cruikshank in truth was no better or
+worse than his satirical brothers, and his tone necessarily improved from the
+moment he took to illustrating books.</p>
+
+<p><a name="Footnote_3" href="#FnAnchor_3"><span class="fn">3</span></a> Since the above was written, strange to say, caricature appears to be showing
+symptoms of revival.</p>
+
+<p><a name="Footnote_4" href="#FnAnchor_4"><span class="fn">4</span></a> &ldquo;The Fine Arts,&rdquo; by William Hazlett, p. 29.</p>
+
+<p><a name="Footnote_5" href="#FnAnchor_5"><span class="fn">5</span></a> &ldquo;Critical and Historical Essays,&rdquo; vol. iii., p. 574.</p>
+
+<p><a name="Footnote_6" href="#FnAnchor_6"><span class="fn">6</span></a> We can scarcely call the wonderful series of historical cartoons which he
+executed at sixteen <i>caricatures</i>, even in the modern sense of the word. Whatever
+humour they possess is neutralized by the grim irony which, even at this early
+period, characterized his work.</p>
+
+<p><a name="Footnote_7" href="#FnAnchor_7"><span class="fn">7</span></a> &ldquo;Etching and Etchers,&rdquo; by Philip Gilbert Hamerton, third edition, p. 246.</p>
+
+<p><a name="Footnote_8" href="#FnAnchor_8"><span class="fn">8</span></a> Thomas Hood&rsquo;s &ldquo;Etching Moralized,&rdquo; in <i>New Monthly Magazine</i>, 1843,
+vol. lxvii. p. 4, and <i>seq.</i></p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page12" id="page12"></a>12</span></p>
+<h3>CHAPTER II.</h3>
+
+<h5><i>MISCELLANEOUS CARICATURES AND SUBJECTS OF
+CARICATURE, 1800-1811.</i></h5>
+
+<p class="noind"><span class="sc">Although</span> Gillray began his work in 1769,&mdash;thirty years before
+<span class="sn">Proposed method Of Arrangement.</span>
+our century commenced, and Rowlandson five years later on, in
+1774, their labours were continued some years after 1799, and are
+so interwoven, so to speak, with the work of their immediate
+successors, that it is almost impossible in a work dealing with
+nineteenth century caricaturists to omit all mention of them. In
+collecting too materials for the present treatise, we necessarily met
+with many anonymous satires, without signature, initials, or distinguishing
+style, which may be, and some of which are probably due
+to artists whose pencils were at work before the century began.
+Even if equal in all cases to the task of assigning these satires to
+the particular hands which designed and executed them, we submit
+that little real service would be rendered to the cause of graphic
+satire. It appears to us therefore that the most convenient method
+will be to indicate in this and the following chapters <i>some</i> of the
+leading topics of caricature during the first thirty years of the
+century, and to cite in illustration of our subject such of the work
+of anonymous or other artists, for which no better place can be
+assigned in other divisions of the work.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:572px; height:700px" src="images/img12a.jpg" alt="" /></td></tr>
+<tr><td><p class="al sc">James Gillray.</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>June 20th, 1789.</i></p>
+<p>SHAKSPEARE SACRIFICED, OR THE OFFERING TO AVARICE.</p>
+
+<p class="al">Alderman Boydell, as High Priest within the magic circle, preparing an oblation to Shakspeare; the demon
+of Avarice, seated upon the List of Subscribers, hugging his money-bags; Puck on his shoulders blowing bubbles
+of &ldquo;immortality&rdquo; to the promoter of the &ldquo;Gallery&rdquo; about to be published. Shakespeare himself, obscured by
+the Aldermanic fumes. Figures of Shakspearean characters above.</p>
+
+<p class="ar">[<i>Face p. 12.</i></p></td></tr></table></div>
+
+<p>The attention of the public during the first fifteen years of the
+century was mainly directed to the progress and fortunes of the
+great national enemy, Napoleon Bonaparte. The hatred with which
+he was regarded in this country can scarcely be appreciated in these
+days; and in order that the cause of this bitter antipathy may be
+<span class="pagenum"><a name="page13" id="page13"></a>13</span>
+understood, it will be necessary for us to consider Bonaparte&rsquo;s
+general policy in relation to ourselves.</p>
+
+<p>The close of the century had been signalized in France by the
+<span class="sn">18th Brumaire.</span>
+memorable revolution of &ldquo;the eighteenth Brumaire.&rdquo; The Directory
+had ceased to exist, and a provisional consular commission, consisting
+of &ldquo;Citizens&rdquo; Sieyes, Ducos, and Bonaparte, was appointed.
+On the 13th of December, the legislative committees presented the
+new constitution to the nation, the votes against it being 1,562 as
+against 3,012,659 in its favour. Bonaparte was nominated first
+consul for ten, and Cambacères and Lebrun (nominal) second and
+third consuls for five years.</p>
+
+<p>Although Bonaparte, as soon as he was appointed First Consul,
+made direct overtures to the king of England with a view to
+peace, he had himself to thank if his overtures met with no corresponding
+return. To accomplish the revolution of the &ldquo;eighteenth
+Brumaire,&rdquo; he had found it necessary to quit Egypt. The English
+knew the French occupation of Egypt was intended as a direct
+menace to British interests in India. Lord Granville, therefore, in
+his official reply, without assuming to prescribe a form of government
+to France, plainly but somewhat illogically intimated that the
+&ldquo;restoration of the ancient line of princes, under whom France had
+enjoyed so many centuries of prosperity, would afford the best
+possible guarantee for the maintenance of peace between the two
+countries.&rdquo; This New Year&rsquo;s greeting on the part of Lord Granville
+put an end, as might have been expected, to all further communications.</p>
+
+<p>The French, however, had no business in Egypt, and England
+was resolved at any cost to drive them out of that country. With
+this object in view, the armament under the command of Sir Ralph
+Abercrombie effected its disembarkation at Aboukir on the 8th
+of March, 1801. A severe though indecisive action followed five
+days afterwards. On the 20th was fought the decisive battle of
+Alexandria. General Hutchinson, on the death of the English
+commander, followed up the victory with so much vigour and
+celerity, that early in the autumn the French army capitulated, on
+<span class="pagenum"><a name="page14" id="page14"></a>14</span>
+<span class="sn">The French driven out of Egypt.</span>
+condition of being conveyed to France with all its arms, artillery,
+and baggage. The capitulation was signed just in time to save
+French honour; for immediately after the conclusion of the treaty,
+a second British force, under the command of Sir David Baird,
+arrived from India by way of the Red Sea. Bonaparte&rsquo;s favourite
+project of making Egypt an <i>entrepôt</i> for the conquest of Hindostan
+was thus most effectually checkmated.<a name="FnAnchor_9" href="#Footnote_9"><span class="sp">9</span></a></p>
+
+<p>On the 1st of October, 1801, <i>preliminaries</i> of peace between
+France and Great Britain were signed in Downing Street; on the
+10th, General Lauriston, aide-de-camp to the First Consul, having
+arrived with the ratification of these preliminaries, the populace
+took the horses from his carriage and drew it to Downing Street.
+That night and the following there was a general illumination
+in London.</p>
+
+<p>The &ldquo;preliminaries&rdquo; referred to were those of the very unsatisfactory
+&ldquo;Peace of Amiens,&rdquo; as it was called. Its terms, by no means
+flattering to this country, were shortly these: France was to retain
+all her conquests; while, on the other hand, the acquisitions made
+by England during the war were to be given up. Malta and its
+dependencies were to be restored (under certain restrictions) nominally
+to the Knights of St. John of Jerusalem; the French were
+to evacuate Naples and the Roman States; and the British Porto
+Ferrago, and all the ports possessed by them in the Mediterranean
+and the Adriatic.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:497px; height:630px" src="images/img15.jpg" alt="" /></td></tr>
+<tr><td><p class="al sc">James Gillray.</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>Sept., 1796.</i></p>
+<p>A PEEP AT CHRISTIE&rsquo;S, OR TALLY-HO AND HIS NIMENEY PIMENEY
+TAKING THE MORNING LOUNGE.</p>
+
+<p class="al">A study of Lord Derby and Miss Farren (the actress), a few months before their
+marriage, enjoying the Fine Arts, he studying &ldquo;The Death of Reynard,&rdquo; she
+&ldquo;Zenocrates and Phryne.&rdquo;</p>
+
+<p class="ar">[<i>Face p. 14.</i></p></td></tr></table></div>
+
+<p>All this time a violent paper war had been maintained between
+the English press and the <i>Moniteur</i>, the official organ of the
+Consular Government. In the month of August, 1802, Bonaparte
+prohibited the circulation of the English newspapers, and immediately
+after the issue of the order, the coffee houses and reading
+rooms were visited by his police, who carried away every English
+journal upon which they could lay their hands. By way of answer
+<span class="pagenum"><a name="page15" id="page15"></a>15</span>
+<span class="sn">Bonaparte establishes an English Newspaper in Paris.</span>
+to English abuse (to which Napoleon was singularly sensitive), the
+First Consul now established an English newspaper in Paris, which
+was thenceforth unceasingly occupied in vilifying the Government
+and people of England. This paper was called <i>The Argus</i>, and
+an Englishman, one Goldsmith,&mdash;whilom proprietor of the <i>Albion</i>
+newspaper in London,&mdash;was actually found mean enough to
+undertake the peculiarly dirty office of its editor.</p>
+
+<p>The <i>denouement</i> was not long delayed. On the 13th of March,
+1803, occurred the extraordinary and well-known scene between the
+First Consul and the English ambassador, Lord Whitworth. Bonaparte,
+in the presence of a numerous and astonished Court,
+vehemently accused England of breach of faith in not carrying out
+the provisions of the treaty, by still remaining in possession of
+Malta. The episode appears to have been of an extraordinary
+character, and the violence and ferocity of Bonaparte&rsquo;s language
+and behaviour, maintained till the very close of the interview,
+must have contrasted strangely with the coolness of the English
+ambassador.</p>
+
+<p>The restoration of Malta to the Knights of St. John was of
+course a mere nominal restitution, for, except in name, the Knights
+of St. John had ceased to exist. The First Consul really wanted
+the island for himself; and while he accused us of breach of faith,
+was himself acting all the while contrary to the spirit of the treaty
+of Amiens. While requiring that we should drive the royalist
+emigrants from our shores, he demanded that the English press
+should be deprived of its liberty of speaking in such frank terms
+of himself and his policy. His unfriendly conduct did not end here.
+At this very time he was actively employed in fomenting rebellion
+in Ireland, and in planting (under the nominal character of consuls)
+spies along our coast, whose treacherous objects were accidentally
+discovered by the seizure of the secret instructions issued to one of
+these fellows at Dublin. &ldquo;You are required,&rdquo; said this precious
+document, &ldquo;to furnish a plan of the ports of your district, with a
+specification of the soundings for mooring vessels. If no plan
+of the ports can be procured, you are to point out with what wind
+<span class="pagenum"><a name="page16" id="page16"></a>16</span>
+vessels can come in and go out, and what is the greatest draught
+of water with which vessels can enter the river deeply laden.&rdquo;</p>
+
+<p>Still there was no actual breach of the nominal peace between
+the two countries until the 12th of May, on which day Lord
+Whitworth left Paris. He landed at Dover on the 20th, meeting
+there General Audreossi, Napoleon&rsquo;s minister to the English Court,
+on the point of embarking for France.</p>
+
+<p>For two days before, that is to say on the 18th of May, 1803,
+<span class="sn">England declares War.</span>
+England had issued her declaration of war against France. In this
+document, our government alleged that the surrender of Malta to the
+knights of St. John of Jerusalem had been rendered impossible by the
+action of France and Spain, who had destroyed the independence
+of the Order itself. Reference was made to Bonaparte&rsquo;s attempts
+to interfere with the liberty of the English press, and the indignities
+he had offered to our ambassador; but the real ground of quarrel
+was to be found in an official gasconade of Bonaparte&rsquo;s, in which he
+declared that &ldquo;Britain could not contend single handed against
+France,&rdquo; a vainglorious boast, which (in those days at least) touched
+a chord which thrilled the patriotic feelings of every Englishman that
+loved his country.</p>
+
+<p>Napoleon&rsquo;s next step&mdash;a simply detestable action&mdash;was quite in
+accordance with the faithless policy which he pursued towards this
+country. The treaty of Amiens had induced crowds of English to
+cross the Channel, and on the specious pretext that two French
+ships had been captured prior to the actual declaration of war, he
+issued a decree on the 22nd of May, 1803, for the arrest and imprisonment
+of all Englishmen in France, over eighteen and under
+sixty years of age, all subjects of the king of England between those
+ages being considered, for the purpose of this outrageous order,
+<i>as forming part of the English militia</i>. This measure was carried
+out with the utmost rigour, and the eleven thousand English who
+thus became prisoners of war were deprived of their liberty fifteen
+years, and regained it only in 1814.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:600px; height:375px" src="images/img17.jpg" alt="" /></td></tr>
+<tr><td><p class="al sc">James Gillray.</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>January 11th, 1796.</i></p>
+<p>TWOPENNY WHIST.</p>
+<p>Mistress Humphrey and Betty, of St. James&rsquo; Street, their neighbour Mortimer (a well-known picture dealer) and a
+German guest.</p>
+<p>[A satire, by contrast, on the high stakes of &ldquo;White&rsquo;s&rdquo; and &ldquo;Boodle&rsquo;s.&rdquo;]</p>
+
+<p class="ar">[<i>Face p. 16.</i></p></td></tr></table></div>
+
+<p>The feeling of the nation at this time may be judged by the
+debates in the Houses of Parliament. In the Commons, Mr. Grey
+<span class="pagenum"><a name="page17" id="page17"></a>17</span>
+<span class="sn">English Enthusiasm.</span>
+moved an amendment, which, while it assured His Majesty of
+support in the war, expressed <i>disapprobation of the conduct of Ministers</i>.
+This amendment was rejected by 398 to 67. The unanimity in
+the Lords was still greater. The official statement that England was
+unable to contend single-handed with France produced a violent
+outburst of indignation, and the amendment moved by Lord King, to
+omit words which charged France with the actual guilt and responsibility
+of breaking the treaty, was negatived by 142 to 10. This was
+on the 23rd of May. On the 20th of June a great meeting was
+held at Lloyds, for the purpose of promoting a subscription for
+carrying on the war. Six days later on, five thousand merchants,
+bankers, and other persons of position met at the Royal Exchange,
+and unanimously agreed to a declaration which expressed their
+determination to &ldquo;stand or fall with their king and country.&rdquo; This
+resolution or declaration was seconded by the Secretary to the East
+India Company, and the meeting did not separate until &ldquo;God save
+the King&rdquo; and &ldquo;Rule Britannia&rdquo; had been sung, and nine cheers
+had been given for England and King George. On the 26th of
+August, His Majesty reviewed the London volunteers in Hyde Park,
+in the presence of the French princes, General Dumouriez, and two
+hundred thousand spectators; this military spectacle being followed
+on the 28th by a review, in the same place, of the Westminster,
+Lambeth, and Southwark corps. The number of volunteers actually
+enrolled in the metropolis and outparishes at this time was forty-six
+thousand.</p>
+
+<p>The following year saw the final end of the great French Revolution;
+the names of the puppet &ldquo;second&rdquo; and &ldquo;third&rdquo; consuls had
+been long omitted from the public acts of the French Government.
+The motives of this omission were soon abundantly apparent; and
+in the month of May, 1804, Bonaparte was proclaimed Emperor of
+the French.</p>
+
+<p>Some writers have doubted whether Napoleon entertained any
+serious intention of invading this country; but to doubt such
+intention would be really to doubt whether Nelson fell at Trafalgar,
+for that crushing defeat was simply the sequel and outcome of the
+<span class="pagenum"><a name="page18" id="page18"></a>18</span>
+collapse of the emperor&rsquo;s plans. The details of the invasion scheme
+were fully explained to General Sir Neil Campbell by Napoleon
+himself at Elba, in 1814, and afterwards confirmed by him in
+precisely similar terms to O&rsquo;Meara at St. Helena. Those plans were
+defeated by the suspicions and vigilance of Lord Nelson; by his
+habit of acting promptly upon his suspicions; by the alacrity with
+which the Admiralty of the day obeyed his warnings; by the
+prescience of Lord Collingwood; and by the consequent intercepting
+of the combined French and Spanish fleets off Ferrol by Sir
+Robert Calder, in July, 1806. The moment this happened, Napoleon
+saw that his game&mdash;so far at least as England was concerned&mdash;was at
+an end; and fertile in resources, he immediately carried out the
+second part of his programme. Then followed, as we know, the
+campaign of Austerlitz, the treaty of Presburg, the war with Prussia,
+and finally the battle of Jena, in October, 1806.</p>
+
+<p>Ever bent on humiliating and crippling the resources of
+<span class="sn">Berlin Decree.</span>
+England, Napoleon on the 1st of November, 1806, issued his
+memorable &ldquo;Berlin Decree,&rdquo; containing eleven clauses, of which
+this country formed the exclusive topic. By it, all trade and correspondence
+with the British Isles was prohibited; all letters and
+packets at the post office, addressed to England, or to an Englishman,
+or &ldquo;written in English,&rdquo; were to be seized; every subject of
+England found <i>in any</i> of the countries occupied by French troops
+or those of their allies, was to be made prisoner of war; all warehouses,
+merchandise, and property belonging to a subject of
+England were declared lawful prize; all trading in English
+merchandise forbidden; every article belonging to England, or
+coming from her colonies, or of her manufacture, was declared good
+prize; and English vessels were excluded from every European
+port.<a name="FnAnchor_10" href="#Footnote_10"><span class="sp">10</span></a> This outrageous &ldquo;decree&rdquo; Bonaparte imposed upon every
+country that fell under the iron sway of his military despotism.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:250px; height:323px" src="images/img19a.jpg" alt="" /></td></tr>
+
+<tr><td><p>NAPOLEON FORTY-EIGHT HOURS AFTER LANDING.</p>
+
+<p class="al">&ldquo;Ha, my little Boney! what dost think of Johnny Bull now? Plunder Old
+England, hay? Make French slaves of us all, hay? Ravish all our wives and
+daughters, hay? O, Lord help that silly head! To think that Johnny Bull would
+ever suffer those lanthorn jaws to become King of Old England&rsquo;s Roast Beef and
+Plum Pudding!&rdquo;</p></td></tr>
+
+<tr><td><img class="pt2" style="border:0; width:500px; height:349px" src="images/img19b.jpg" alt="" /></td></tr>
+
+<tr><td><p>JOHN BULL OFFERING LITTLE BONEY FAIR PLAY.</p>
+
+<p class="al"><span class="sc">Bonaparte</span>&mdash;&ldquo;I&rsquo;m a-coming! I&rsquo;m a-coming!&rdquo;</p>
+<p class="al"><span class="sc">John Bull</span>&mdash;&ldquo;You&rsquo;re a-coming!</p>
+<p class="al" style="padding-left: 6em;">If you mean to invade us, why make such a route?<br />
+          I say, Little Boney,&mdash;why don&rsquo;t you come out?<br />
+          Yes, d&mdash;&mdash; you, why don&rsquo;t you come out?&rdquo;<br /></p>
+
+<p>FIGURES FROM GILLRAY&rsquo;S NAPOLEONIC CARICATURES.</p>
+<p class="ar">[<i>Face p. 18.</i></p></td></tr></table></div>
+
+<p>The policy, therefore, of the emperor towards England, which
+was contrary to all the usages of civilized warfare, will explain
+<span class="pagenum"><a name="page19" id="page19"></a>19</span>
+<span class="sn">Base Policy of Bonaparte.</span>
+the bitter animosity with which he was regarded in this country.
+The English were molested everywhere; they were made prisoners
+at Verdun and in Holland; their property was confiscated in Portugal;
+Russia was cajoled, Prussia forced into a league against
+them, and Sweden menaced, because she persisted in maintaining
+her alliance with this country. The &ldquo;Berlin Decree&rdquo; was an
+infamous document, worthy rather the policy of a bandit chief than
+of a fair and honourable antagonist. It proclaimed war not against
+individuals, but against private property, and specially appealed
+to the cupidity of those to whom it was addressed. This base
+policy towards English subjects recoiled inevitably against its
+perpetrator; and its effects were soon felt in the fields of the
+Peninsula, the banishment to Elba, and above all, in the final
+consignment to the rock of St. Helena. We, on our part, ignored
+Bonaparte&rsquo;s right to the title of emperor. With us, he was invariably
+&ldquo;General Bonaparte,&rdquo; and nothing more; and in the graphic
+lampoons of Gillray, Rowlandson, and Cruikshank, he was exhibited
+under the most ludicrous circumstances in connection with the
+divorce, the defeats of Russia and the Peninsula, and even the
+paternity of his son the young king of Rome. These caricatures
+were brought to his notice by his spies and emissaries in England;
+they rendered him furious; and one of them&mdash;Gillray&rsquo;s admirable
+and, as it subsequently proved, prophetic satire of <i>The Handwriting
+on the Wall</i>&mdash;is said to have given him not only offence, but even
+serious uneasiness.</p>
+
+<p>The tone of the English caricaturists may be gathered from one
+of the best of Woodward&rsquo;s satires, published in 1807. It is entitled
+<i>A Political Fair</i>, in which the various shows are labelled Russian,
+Danish, Swedish, Westphalian, Austrian, Dutch, Spanish, and even
+American. The best show in the fair is kept of course by John
+Bull &amp; Co., whilst Bonaparte is the proprietor of a humble stall,
+whereat gingerbread kings and queens are sold wholesale and retail
+by his Imperial Majesty.<a name="FnAnchor_11" href="#Footnote_11"><span class="sp">11</span></a> The same artist, in another but distinctly
+<span class="pagenum"><a name="page20" id="page20"></a>20</span>
+inferior satire (published in November, 1807), gives us <i>The Gallick
+Storehouse for English Shipping</i>: on one side we see Napoleon
+accumulating vast stores of Spanish, Danish, Dutch, and Swedish
+vessels, intended to annihilate the naval power of England&mdash;the
+shipbuilder, however, shrugs his shoulders and suggests it is but time
+thrown away, for as fast as the ships are built, John Bull &ldquo;claps
+them into his storehouse over the way.&rdquo; The satire was suggested
+of course by the victory of Trafalgar in October, 1805; by Sir
+J. Duckworth&rsquo;s capture of French shipping in January, 1806; and
+by the surrender of the Danish fleet after the bombardment of
+Copenhagen, in September, 1807.<a name="FnAnchor_12" href="#Footnote_12"><span class="sp">12</span></a></p>
+
+<p>In a caricature published by Walker in 1808, we see Joseph
+Bonaparte (one of these Imperial ginger-bread monarchs) driven
+from Madrid by Spanish flies; the satire is entitled <i>Spanish Flies,
+or Boney taking an Immoderate Dose</i>, and has reference to the results
+of the Battle of Baylen, in Andalusia, one of the <i>very</i> few victories
+<span class="sn">Battle of Baylen.</span>
+ever obtained by the Spaniards against the French, where a division
+of 14,000 men surrendered to Castanos. This was on the 20th
+of July, and nine days afterwards Joseph retreated to Burgos with
+the crown jewels. The wretched Spaniards, however, were incapable
+of improving their victory; and General Castanos instead of following
+up the retreating enemy, went to Seville to fulfil a vow he
+had made of dedicating his unexpected victory to St. Ferdinand,
+on whose tomb he deposited the crown of laurel presented to him
+by his grateful countrymen. Of the Bonaparte caricatures of this
+year, no less than nineteen are due to the pencil of Thomas
+Rowlandson, and will be found fully described in Mr. Joseph
+Grego&rsquo;s exhaustive work<a name="FnAnchor_13" href="#Footnote_13"><span class="sp">13</span></a> upon that artist and his works.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td colspan="2"><img style="border:0; width:300px; height:259px" src="images/img21a.jpg" alt="" /></td></tr>
+
+<tr><td colspan="2"><p>THE KING OF BROBDINGNAG AND GULLIVER.</p></td></tr>
+
+<tr><td class="pt2"><img style="border:0; width:300px; height:481px" src="images/img21b.jpg" alt="" /></td>
+<td><img style="border:0; width:300px; height:369px" src="images/img21c.jpg" alt="" /></td></tr>
+
+<tr><td><p>TALLEYRAND, KING-AT-ARMS, BEARING HIS MASTER&rsquo;S
+GENEALOGICAL TREE, SPRINGING FROM BUONE, BUTCHER.</p></td>
+
+<td style="vertical-align: top;"><p>NAPOLEON IN HIS CORONATION ROBES.</p></td></tr>
+
+<tr><td colspan="2" class="pt2"><p>FIGURES FROM GILLRAY&rsquo;S NAPOLEONIC CARICATURES.</p>
+<p class="ar">[<i>Face p. 20.</i></p></td></tr></table></div>
+
+
+<p>The year 1809 witnessed the divorce from Josephine, and the
+marriage of the emperor to Marie Louise. The purposes for which
+<span class="pagenum"><a name="page21" id="page21"></a>21</span>
+this matrimonial alliance was effected were made no secret of by
+the emperor, and were indicated of course in the plainest possible
+terms by the English contemporary caricaturists, who were certainly
+not troubled with any unnecessary scruples of prudery or delicacy.
+One of these satires, published by Tegg, on the 16th of August,
+1810, is entitled <i>Boney and his New Wife, or a Quarrel about
+Nothing</i>, and indicates in the plainest possible terms that the purposes
+for which the divorce had been effected were as distant as ever.
+The result of this union, however, was the birth of the young king
+of Rome on the 20th of March, 1810, an event which set the pencils
+of our pictorial satirists once more in motion, and the young heir
+and his father were complimented by Rowlandson in a rough
+caricature, published by Tegg on the 9th of April, 1811, as <i>Boney
+the Second, the little Babboon</i> [sic] <i>created to devour French Monkies</i>.</p>
+
+<p>In March, 1811, was fought the battle of Barossa; while the
+<span class="sn">Battle of Barossa.</span>
+same month Massena, finding it difficult to maintain his army in a
+devastated country, instead of fulfilling his vain-glorious boast of
+driving &ldquo;the English into their native element,&rdquo; began his own
+retreat from Santarem, abandoning part of his baggage and heavy
+artillery. Marching in a solid mass, his rear protected by one or
+two divisions, he retired towards the Mondego, preserving his army
+from any great serious disaster, though watchfully and vigorously
+pursued by Lord Wellington. The skilful generalship of the French
+marshal elicited of course no encomiums from the English caricaturists.
+On the contrary, we see (in &ldquo;The Scourge&rdquo; of 1st May,
+1811) Wellington in the act of basting a French goose before a huge
+fire, a British bayonet forming the spit. While basting the goose
+with one hand, the English general holds over the fire in the other a
+frying-pan filled with French generals, some of whom&mdash;to escape the
+overpowering heat&mdash;are leaping into the fire; another British officer
+(probably intended for General Graham) blows the flames with a
+pair of bellows labelled &ldquo;British bravery.&rdquo; Napoleon appears in a
+stew-pan over an adjoining boiler, while we find Marshal Massena
+himself in a pickle-jar below. This satire is entitled, <i>British
+Cookery, or Out of the Frying-pan into the Fire</i>.</p>
+
+<p><span class="pagenum"><a name="page22" id="page22"></a>22</span></p>
+
+<p>The star of Napoleon was beginning to wane in 1812. The snow
+<span class="sn">Napoleon&rsquo;s Star begins to wane.</span>
+made its first appearance in Russia on the 13th of October of that
+year, and the French emperor already commenced his preparations
+for retreat. This is referred to in a very clever caricature published
+by Tegg on the 1st of December, 1812, wherein we find <i>General
+Frost shaving Boney</i> with a razor marked &ldquo;Russian steel.&rdquo; Napoleon
+stands up to his knees in snow, and out of the nostrils of the snow
+fiend [General Frost] issue blasts labelled &ldquo;North,&rdquo; &ldquo;East,&rdquo;
+&ldquo;Snow,&rdquo; and &ldquo;Sleet.&rdquo; Seven days later on, we meet with a roughly-executed
+cartoon, <i>Polish Diet with French Dessert</i>, wherein we see
+Napoleon basted by General Benningsen, the spit being turned by a
+Russian bear. This caricature, no doubt, has reference to the
+disastrous defeat by Benningsen of the French advanced guard,
+thirty thousand strong, under Murat, on the 18th of October, 1812,
+when fifteen hundred prisoners, thirty-eight cannon, and the whole
+of the baggage of the corps, besides other trophies, fell into the
+victors&rsquo; hands.</p>
+
+<p>The retreat from Moscow is referred to in a satire published by
+Thomas Tegg on the 7th of March, 1813, labelled, <i>The Corsican
+Bloodhound beset by the Bears of Russia</i>; wherein Napoleon is
+represented as a mongrel bloodhound with a tin kettle tied to his
+tail, closely pursued by Russian bears. Various papers are flying
+out of the kettle, labelled &ldquo;Oppression,&rdquo; &ldquo;Famine,&rdquo; &ldquo;Frost,&rdquo;
+&ldquo;Destruction,&rdquo; &ldquo;Death,&rdquo; &ldquo;Horror,&rdquo; &ldquo;Mortality,&rdquo; &ldquo;Annihilation.&rdquo;
+&ldquo;Push on, my lads,&rdquo; says one of the pursuers. &ldquo;No grumbling;
+keep scent of him; no sucking of paws this winter, here is food for the
+bears in all the Russias.&rdquo; The emperor, in truth, had the narrowest
+escape from being made a prisoner by the Cossacks, a fact alluded to
+in another caricature published by Tegg in June, 1813, entitled, <i>Nap
+nearly Nab&rsquo;d, or a Retreating Jump just in time</i>. Here, the emperor
+and one of his marshals are depicted leaping out of window, at the
+very moment when a Cossack with his lance appears outside the
+palings. &ldquo;Vite,&rdquo; says the marshal, in the peculiar <i>patois</i> adopted
+by the English caricaturists of the early part of the century, &ldquo;Courez,
+mon Empereur, ce Diable de Cossack, dey spoil our dinner!!!&rdquo;</p>
+
+<p><span class="pagenum"><a name="page23" id="page23"></a>23</span></p>
+
+<p>Napoleon collected his marshals around him at Smorgoni, on the
+<span class="sn">The Bulletin.</span>
+5th of December, 1812, and dictated a bulletin which developed
+the horrors of the retreat, and explained to them his reasons for
+returning to Paris. &ldquo;I quit you,&rdquo; he said, &ldquo;but go to seek three
+hundred thousand men.&rdquo; He then proceeded to lay the blame on
+the King of Westphalia, and his trusted and tried friend the Duc
+d&rsquo;Abrantes; alleged that English torches had turned Moscow into
+a heap of ashes; and added (with greater truthfulness) that the cold
+had done the rest of the mischief. He entrusted the command to
+Murat, and bidding them farewell set out, accompanied only by
+Generals Coulaincourt, Duroc, and Mouton, the Mameluke Rustan,
+a captain of the Polish lancers, and an escort of Neapolitan horsemen.
+This event is referred to in a caricature, published by S. W.
+Fores on the 1st of January, 1813, entitled, <i>Boney returning from
+Russia covered with Glory, leaving his army in comfortable winter
+quarters</i>. Napoleon and Coulaincourt are seated in a sleigh driven
+by another general in jack boots, with a tremendous cocked hat on
+his head, a huge sword by his side, and a formidable whip in his
+hand. Coulaincourt inquires, &ldquo;Will your Majesty write the
+bulletin?&rdquo; &ldquo;No,&rdquo; replies Napoleon; &ldquo;you write it. Tell them we
+left the army all well, quite gay; in excellent quarters; plenty of
+provisions; that we travelled in great style; received everywhere
+with congratulations; and that I had almost completed the <i>repose</i> of
+Europe&rdquo; (a favourite expression of his). By way of contrast to these
+grandiloquent phrases, the eye is attracted to the surroundings.
+The ground is thickly coated with snow; in the foreground, two
+famished wretches cut and devour raw flesh from a dead horse. On
+all sides lie dead and dying men and animals, while in the distance
+we behold the flying and demoralized troops chased by a cloud of
+Cossacks. The English caricaturists follow the emperor into the
+sanctity of his private life; they depict in their own homely but
+forcible fashion the astonishment of the empress at his unexpected
+return, and the disgust of young &ldquo;Boney the Second,&rdquo; who not only
+expresses surprise that his imperial sire had forgotten his promise to
+&ldquo;bring him some Russians to cut up,&rdquo; but suggests that they seem
+<span class="pagenum"><a name="page24" id="page24"></a>24</span>
+to have &ldquo;cut <i>him</i> up&rdquo; instead. These incidents are described in
+a satire entitled, <i>Nap&rsquo;s Glorious Return; or, the Conclusion of the
+Russian campaign</i>, published by Tegg, in June, 1813.</p>
+
+<p>The crushing defeat of Vitoria, the crowning disaster of Leipzig&mdash;sustained
+the same year, the subsequent abdication of Bonaparte,
+the return from Elba, the brief incident of the &ldquo;hundred days,&rdquo; the
+catastrophe of Waterloo, and the subsequent consignment of the
+great emperor to St. Helena, form of course the subjects of a host
+of graphic satires. Foremost amongst them (for Gillray&rsquo;s intellect
+was gone), must be mentioned the caricatures of Thomas Rowlandson
+and of George Cruikshank. The first being fully described in
+Mr. Grego&rsquo;s work, we are not called on to mention them here, while
+the last will be fully set out when we come to treat of the caricature
+work of George Cruikshank.</p>
+
+<p>The French royalist satirists of course expressed their views on
+<span class="sn">French Royalist Satires.</span>
+the situation. A French royalist caricature, published after Waterloo,
+represents Napoleon as a dancing bear forced to caper by
+England, his keeper, who makes an unsparing use of the lash, whilst
+Russia and Prussia play pipe and drum by way of music. A good
+answer, however, to this is found in a French caricature (published
+in the Napoleon interest), like most of the French satires of that
+period without date, entitled, <i>L&rsquo;après dinée des Anglais, par un
+Français prisonnier-de-guerre</i>, which satirizes the after-dinner drinking
+propensities of the English of the period. The caricature, although
+neither flattering nor altogether decent, is probably not an exaggerated
+picture of English after-dinner conviviality while the
+century was young.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td colspan="2"><img style="border:0; width:300px; height:386px" src="images/img25a.jpg" alt="" /></td></tr>
+
+<tr><td colspan="2"><p class="al sc">Gillray.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>&ldquo;Royal Affability,&rdquo; Feb. 10th.</i></p>
+<p class="al">&ldquo;Well, friend, where a&rsquo; you going, hay? What&rsquo;s your
+name, hay? Where do you live, hay?&mdash;hay?&rdquo;</p></td></tr>
+
+<tr><td class="pt2"><img style="border:0; width:280px; height:289px" src="images/img25b.jpg" alt="" /></td>
+<td><img style="border:0; width:290px; height:257px" src="images/img25c.jpg" alt="" /></td></tr>
+
+<tr><td style="vertical-align: top;"><p class="al sc">Gillray.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>Connoisseur examining a Cooper<br />June 18th, 1792.</i></p>
+<p>A CONNOISSEUR IN ART.</p></td>
+
+<td><p class="al sc">Gillray.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>&ldquo;A Lesson in Apple Dumplings.&rdquo;</i></p>
+<p class="al">&ldquo;Hay? hay? apple dumplings?&mdash;how get the apples in?&mdash;how?
+Are they made without seams?&rdquo;</p>
+
+<p class="ar">[<i>Face p. 24.</i></p></td></tr></table></div>
+
+
+<p>By far the most biting, the most sarcastic, the most effective, and
+the most popular of the anti-Bonaparte caricatures are those by
+James Gillray, which commence before the close of the last century,
+and end in 1811, the year when the lurid genius of this greatest and
+most original of satirists was quenched in the darkness of mental
+imbecility. James Gillray, however, like his able friend and contemporary,
+Thomas Rowlandson, does not fall within our definition
+of a &ldquo;nineteenth century&rdquo; satirist; and I am precluded from describing
+<span class="pagenum"><a name="page25" id="page25"></a>25</span>
+them. I have before me the admirable anti-Bonaparte satires
+of both artists; and inseparably linked as they are with the men who
+began work after 1800, the almost irresistible tendency is to describe
+some of them in elucidation of the events to which I have occasion
+to refer. To do so, however, although fascinating and easy, would be
+not only to wander from my purpose, but to invade the province of
+the late Thomas Wright and of Mr. Grego, which I am not called
+upon to do; to refer to them, however, for the purpose of this
+chapter, I have found not only necessary, but unavoidable.</p>
+
+<p>Caricature, like literary satire (as we all know from the days of
+<span class="sn">Injustice of the Caricaturists.</span>
+the &ldquo;Dunciad&rdquo; downwards), has little concern with justice; but we
+who look back after the lapse of the greater part of the century, and
+have moreover studied the history and the surroundings of Napoleon
+Bonaparte, may afford at least to do him justice. Gillray is a fair
+exponent of the intense hatred with which Bonaparte was regarded
+in this country, when not only the little &ldquo;Corsican,&rdquo; but those about
+him, were held up to a ridicule which, oftentimes vulgar, partook
+not unfrequently of absolute brutality. Who would imagine, for
+instance, that the fat blousy female quaffing deep draughts of Maraschino
+from a goblet, in his famous satire of the <i>Handwriting on the
+Wall</i>, was intended for the refined and delicate Josephine? Occasionally,
+however, James Gillray descended to a lower depth, as in
+his <i>Ci Devant Occupations</i> (of 20th February, 1805), in which we
+see this delicate woman, with the frail but lovely Spaniard, Theresa
+de Cabarrus (Madame Tallien), figuring in a manner to which the
+most infamous women of Drury Lane would have hesitated to
+descend. Josephine de la Pagerie, as we all know, was anything but
+blameless; which indeed of <i>les Déesses de la Revolution</i> could pass
+unscathed through the fiery furnace of the Terror?<a name="FnAnchor_14" href="#Footnote_14"><span class="sp">14</span></a> But this miscalled
+<span class="pagenum"><a name="page26" id="page26"></a>26</span>
+satire of James Gillray, which he dubs &ldquo;a fact,&rdquo; is nothing
+<span class="sn">They mistake the character of Bonaparte.</span>
+less than a poisonous libel. As for <i>le petit Caporal</i> himself, everyone
+now knows, that while he viewed the carnage of the battlefield
+with the indifference of a conqueror, he shrank in horror from the
+murderers of the Swiss; from Danton and his satellites, the Septembrist
+massacrists; from the mock trials and cold-blooded atrocities
+of the Terrorists. Standing apart from these last by right of his
+unexampled genius, with Danton, Marat, Robespíerre, Couthon,
+Carrier, Napoleon Bonaparte has nothing whatever in common.
+Looking back upon the ruins of his empire, the mistakes he had
+made, the faults he had committed, Napoleon, with reference
+at least to his own personal elevation, might say with truth:
+&ldquo;Nothing has been more simple than my elevation. It was not
+the result of intrigue or <i>crime</i>. It was owing to the peculiar circumstance
+of the times, and because I fought successfully against
+the enemies of my country. What is most extraordinary is, that
+I rose from being a private person to the astonishing height of
+power I possessed, without having committed a single crime to
+obtain it. If I were on my death-bed I could make the same
+declaration.&rdquo;<a name="FnAnchor_15" href="#Footnote_15"><span class="sp">15</span></a></p>
+
+<p>To these facts, of course, James Gillray (if indeed he knew them)
+closed his eyes. In his sketch of the 12th of May, 1800, he shows
+us the young lieutenant at the head of tattered legions directing
+the destruction of the royal palaces. Blinded by the prejudice
+of his times, he seems apparently ignorant of the fact that Napoleon
+although a <i>spectator</i> of the attack on the Tuileries, had no power;
+that if he had, he would (as he himself expressed it at the time) have
+swept the sanguinary <i>canaille</i> into the gutters with his grape shot.
+Again, in his satires, he connects him repeatedly with the guillotine,
+to all appearance unconscious of the fact that between Napoleon
+and the guillotine no possible sympathy existed.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:443px; height:600px" src="images/img27.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">James Gillray.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>June 28th, 1791.</i></p>
+<p>THE NATIONAL ASSEMBLY PETRIFIED, AND THE NATIONAL ASSEMBLY REVIVIFIED.</p>
+
+<p class="al pt2">1. <span class="sc">Barber</span>&mdash;&ldquo;De King is escape! de King is escape!&rdquo;</p>
+
+<p class="al">2. <span class="sc">Cook.</span>&mdash;&ldquo;Aha! be gar, de King is retaken!! Aha! Monsieur Lewis is retaken,
+aha!!&rdquo;</p>
+
+<p class="pt2">[<i>The French Revolution.</i>]</p>
+<p class="ar">[<i>Face p. 26.</i></p></td></tr></table></div>
+
+
+<p class="center" style="letter-spacing: 4em;">&nbsp;******</p>
+
+<p>A good idea of the appearance and costume of &ldquo;the general&rdquo;
+<span class="pagenum"><a name="page27" id="page27"></a>27</span>
+<span class="sn">Robert Dighton&rsquo;s Sketches.</span>
+and notables of the early part of the century, is given by the sketches
+of the last century artist, Robert Dighton. His etchings are not
+caricatures, as may be supposed, but likenesses of the <i>oi polloi</i>&mdash;the
+university dons&mdash;the prize-fighters&mdash;the butchers&mdash;the singers&mdash;actors&mdash;actresses&mdash;the
+men about town (&ldquo;Corinthians,&rdquo; as they
+were termed in the slang of the Regency)&mdash;the &ldquo;upper ten&rdquo;; and
+what amazingly queer folks were these last! The Duke of Grafton,
+with his tremendous beak, wig, and cocked hat, his mahogany tops
+and spurs, his long coat with the flapped pockets and his star; the
+Marquis of Buckingham, with his red fat face and double chin,
+which told tales of nightly good cheer, his cocked hat, military
+coatee, and terrific paunch, which resisted all attempts to confine
+it within reasonable military compass; John Bellingham&mdash;the murderer
+of Spencer Perceval,&mdash;with his retreating forehead, long pointed
+nose, drab cloth coat and exuberant shirt frill; &ldquo;What? What?
+What?&rdquo;&mdash;Great George himself, as he appeared in 1810, in full
+military panoply&mdash;huge ill-fitting boots, huge blue military coat,
+collar, lappets, and star, a white-powdered bob surmounting a
+clean-shaved unintellectual face, the distinguishing characteristics
+of which were a pair of protruding eyes surmounted by ponderous
+eyebrows.</p>
+
+<p>A well-drawn caricature published by S. W. Fores on the 11th
+of May, 1801, gives us an admirable idea of the male and female
+costume of the period. It contains sixteen figures, and is entitled
+<i>Tea just Over, or the Game of Consequences begun</i>. &ldquo;Consequences&rdquo;
+would appear to have been a fashionable game at this time; but
+the &ldquo;consequences&rdquo; here alluded to are the immediate results of
+a pinch of snuff. The &ldquo;consequences&rdquo; of one gentleman sneezing
+are the following: he jerks the arm of the lady next him, the
+result being that she pours her cup of scalding hot tea over the
+knees of her neighbour, a testy old gentleman, who in his fright
+and pain raises his arms, jerking off with his cane the wig of a
+person standing at the back of his chair, who in the attempt to save
+his wig upsets his own cup and saucer upon the pate of his antagonist
+Another guest, with his mouth full of tea, witnessing
+<span class="pagenum"><a name="page28" id="page28"></a>28</span>
+this absurd <i>contretemps</i> is unable to restrain his laughter, the
+result of which is that he blows a stream of tea into the left ear of
+the man who has lost his wig, at the same time setting his own
+pigtail alight in the adjoining candle. All these disasters, passing
+in rapid succession from left to right, are the direct &ldquo;consequences&rdquo;
+of one unfortunate pinch of snuff.</p>
+
+<p>The year 1804 witnessed the advent of a performer whose theatrical
+reputation, notwithstanding the wonderful sensation it created for a
+couple of seasons, was not destined to survive his childhood. The
+brief <i>furore</i> he excited, enabled his friends to lay by for him a
+considerable fortune, which enabled him to regard the memory
+of his immature triumphs and subsequent failures with resignation.
+Master Betty, &ldquo;the Young Roscius,&rdquo; was not quite thirteen years
+<span class="sn">Master Betty.</span>
+of age when he made his first appearance at Covent Garden on
+the 1st of December, 1804, as Achmet in <i>Barbarossa</i>. He played
+alternately at the two great houses; twenty-eight nights at Drury
+Lane brought £17,210 into the treasury, whilst the receipts at
+Covent Garden during the same period are supposed to have been
+equally large. A rough caricature of 1804, bearing the signature
+&ldquo;I. B.,&rdquo; depicts the child standing with one foot on Drury Lane
+and the other on Covent Garden, with a toy whip in one hand and
+a rattle in the other, while two full-grown actors of real merit
+bemoan the decadence of public taste on the pavement below.
+Some years later on the pair might have said with Byron,&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Though now, thank Heaven! the Rosciomania&rsquo;s o&rsquo;er,</p>
+<p class="i05">And full-grown actors are endured once more.&rdquo;<a name="FnAnchor_16" href="#Footnote_16"><span class="sp">16</span></a></p>
+
+</div>
+</td></tr></table>
+
+<p>The leading home political incident of 1806 was the impeachment
+and acquittal of Lord Melville, an event which is dealt
+with by Gillray, and also by Rowlandson in his graphic satire of
+<i>The Acquittal, or Upsetting the Porter Pot</i>, both artists alluding to
+Whitbread, the brewer, the head of the advanced Liberals, and one
+of the principal movers of Lord Melville&rsquo;s impeachment.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:600px; height:405px" src="images/img29a.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">T. Rowlandson.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>October 25th, 1810.</i></p>
+<p>&ldquo;SPITFIRES.&rdquo;</p>
+<p class="ar">[<i>Back to p. 28.</i></p></td></tr></table></div>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:438px; height:600px" src="images/img29b.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">T. Rowlandson.]</p>
+<p class="ar" style="margin-top: -1.7em;">[1813.</p>
+<p>&ldquo;THE COBBLER&rsquo;S CURE FOR A SCOLDING WIFE.&rdquo;</p>
+<p class="ar">[<i>Back to p. 29.</i></p></td></tr></table></div>
+
+<p><span class="pagenum"><a name="page29" id="page29"></a>29</span></p>
+
+<p>Gas, which now promises to be superseded in its turn by
+<span class="sn">Introduction of Gas.</span>
+electricity, was introduced into Boulton &amp; Watts&rsquo; foundry, at Birmingham,
+as early as the year 1798, and the Lyceum Theatre was
+lit with gas (by way of experiment) in 1803; it met however with
+much opposition from persons interested in the conservation of
+the oil trade, and made no real progress in London until 1807,
+when it was introduced into Golden Lane on the 16th of August.
+Pall Mall, however, was not lighted with gas until 1809, and it was
+really not finally and generally introduced into London until the
+year 1820. We meet with an excellent satire published by S. W.
+Fores, in 1807, wherein a harlequin is depicted sitting on a rope
+suspended between a couple of lamp posts. The lamps and the
+hat of the figure are garnished with lighted burners; the neighbours
+in the windows of the adjoining houses, the people on the pavement
+below, the fowls, the dogs, the cats on the roofs, are suffocated with
+the noxious vapour. The figure holds in his hand a paper, whereon
+we read, &ldquo;This is the speculation to make money, £10,000 per
+cent. profit all in <i>Air</i>-light air. &rsquo;Tis there, &rsquo;tis here, and &rsquo;tis gone
+for ever.&rdquo; This caricature bears the title of <i>The Good Effects of
+Carbonic Gas</i>. A caricature of Woodward, engraved by Rowlandson,
+and published by Ackermann on the 23rd of December, 1809,
+gives us <i>A Peep at the Gas Lights in Pall Mall</i>, the interest of
+which chiefly centres in the eccentric form of the early street lamps.
+Among the groups looking on are a wondering &ldquo;country cousin&rdquo;
+and a &ldquo;serious&rdquo; companion. &ldquo;Ay, friend,&rdquo; says the latter, anxious
+of course, in season and out of season, to turn the occasion to profitable
+account, &ldquo;verily it is all vanity! What is <i>this</i> to the <i>inward
+light</i>?&rdquo; Some more disreputable members of the community are
+expressing their fears that the new light will interfere with their
+own peculiar modes of livelihood.</p>
+
+<p>A clever and somewhat remarkable woman succeeded in achieving
+an unenviable notoriety in 1809. The daughter of a printer residing
+in Bowl and Pin Alley, near White&rsquo;s Alley, Chancery Lane,
+the remarkably intelligent girl had early attracted the notice of
+friends, one of whom placed her at a boarding school, where she
+<span class="pagenum"><a name="page30" id="page30"></a>30</span>
+picked up an education (such as it was) sufficient to sharpen her
+natural abilities. Her commencement in life was scarcely a hopeful
+one. Mary Anne Thompson eloped at seventeen years of age with
+one Joseph Clarke, the son of a builder on Snow Hill, and after
+living with him three years married him. The marriage was not
+a happy one. The pair after some years separated, and Mary Anne
+was thenceforth driven to trust for her support to her own resources
+and attractions.</p>
+
+<p>These proved fully equal to the occasion. Somewhat small in
+<span class="sn">Mary Anne Clarke.</span>
+stature, nature had nevertheless endowed her with a remarkably
+well turned figure, well shaped arms, comely features, a singularly
+clear complexion, and blue eyes full of light and vivacity. Dressing
+with considerable taste and elegance&mdash;utterly shameless&mdash;without
+principle or character, with nothing to lose&mdash;everything to gain, the
+woman was eminently fitted to succeed in the peculiar path in life
+she had elected to follow. Throwing her line with all the dexterity
+of an accomplished angler, she succeeded almost at her first cast
+in hooking a very large fish indeed&mdash;his Royal Highness Frederick
+Duke of York, Commander-in-chief, Prince-bishop of Osnaburgh,
+who had attained at this time the respectable age of forty-six years.</p>
+
+<p>Mary Anne proved, as might have been expected, an expensive
+plaything. In the short space of two years, the duke seems to
+have handed his mistress upwards of £5,000, besides expending
+on her in payments to tradesmen for wine, furniture, and other
+&ldquo;paraphernalia,&rdquo; at least £16,000 or £17,000 more. In time, as
+is not unusual in matters of this kind, the duke seems to have grown
+tired of his enslaver, and endeavoured to pension her off with an
+annuity of £400 a year; but with the niggardliness which was so
+distinguishing a characteristic of his family, payment was not only
+withheld, but when the woman applied for payment, the duke was
+mean and foolish enough to threaten her with prison and the pillory.
+Mrs. Clarke, a woman of genius and resource, instead of being
+frightened, straightway betook herself to Messrs. Wilberforce and
+Whitbread, the supporters of the impeachment of Lord Melville, and
+confessed to them certain irregularities of which she had been guilty.</p>
+
+<p><span class="pagenum"><a name="page31" id="page31"></a>31</span></p>
+
+<p>Into the unsavoury revelations of Mary Anne Clarke, her traffic
+in the sale of military commissions, and still worse, in a system of
+ecclesiastical patronage in which she alleged his Royal Highness
+connived, we need not enter. They are set out as far as is necessary
+in Mr. Grego&rsquo;s book, and also in Mr. Wright&rsquo;s treatise on
+James Gillray and his works. Suffice it to say, that all these
+miserable exposures would have been saved, had the duke, instead
+of seeking to save his pocket, paid the annuity to which the woman
+was entitled. If by resigning, he thought to silence his unscrupulous
+persecutor, he was quickly and unpleasantly undeceived. The
+clever, unscrupulous woman had reserved her trump-card to the last.
+All this time she had been engaged in preparing her &ldquo;Memoirs,&rdquo;
+comprising not only the history of her transactions with his Royal
+Highness, but a series of his letters, containing, it is said, anecdotes
+of illustrious personages of the most curious and <i>recherché</i> description.
+The immediate publication of these &ldquo;Memoirs&rdquo; having
+been announced to his Royal Highness, the duke was driven in
+spite of himself to effect an arrangement. For a payment of £7,000
+down, an annuity of £400 for her own life, and one of £200 for
+each of her daughters, the printed &ldquo;Memoirs&rdquo; (eighteen thousand
+copies) were destroyed, the publication suppressed, and above all
+the terrible private correspondence duly surrendered.</p>
+
+<p>The mover of the committee of inquiry was one Wardle, colonel
+of a militia regiment, who for a very brief space of time was permitted
+to figure as a patriot; that he was a mere instrument in the
+hands of other persons seems now abundantly clear. No sooner had
+Mary Anne Clarke landed his Royal Highness, than she fixed her
+hook in the jaws of the luckless colonel, who, tool as he was,
+proved to be by no means a sharp one. It is obvious a woman
+of Mrs. Clarke&rsquo;s character would be the last person to open her lips,
+unless it was made clear to her that it would be worth her while
+to do so. Her go-between in the transaction was a certain &ldquo;Major&rdquo;
+Dodd. Wardle gave Mrs. Clarke £100 for present necessities, and
+by way of earnest of more liberal promises which seem afterwards
+to have been repudiated by his employers. Through Major Dodd,
+<span class="pagenum"><a name="page32" id="page32"></a>32</span>
+the clever, unprincipled woman secured a house in Westbourne
+Place, which she furnished in a style of comfortable elegance, and
+succeeded by her blandishments in swindling Wardle into becoming
+security for her furniture. The inevitable result of course followed.
+On the 3rd July, 1809, Wright, the upholsterer, brought his action
+against Wardle and recovered £1,400 damages,<a name="FnAnchor_17" href="#Footnote_17"><span class="sp">17</span></a> besides costs, &ldquo;for
+furniture sold to the defendant to the use of Mary Anne Clarke.&rdquo;
+The colonel, like the commander-in-chief, thus found himself not
+only out-man&oelig;uvred by his clever and unscrupulous ex-ally, but
+reaped the obloquy attendant on exposure and ridicule, instead of
+the glorification which had at first greeted his patriotic exertions.</p>
+
+<p>Mary Anne Clarke and the Duke of York, afforded (as might
+have been expected) plenty of employment to the caricaturists.
+The theme, however, is treated too grossly for description, a subject
+to be regretted, as most of the satires, containing as they do admirable
+portraits of the principal personages, are exceedingly clever.
+The subject suited an artist who delighted in delineating the immodest
+and full-blown beauties of Drury Lane; and accordingly,
+more than forty caricatures on the subject of &ldquo;The Delicate Investigation,&rdquo;
+as it was called, are due to the pencil of Thomas
+Rowlandson.</p>
+
+<p>In order to show the character of this infamous woman, we must
+<span class="sn">The end of Mary Anne Clarke.</span>
+follow her progress a little farther than either Mr. Grego or Mr.
+Wright appear to have done. In February, 1814, she once more
+made a public appearance: this time in the Court of Queen&rsquo;s
+Bench. She seems to have got the Right Hon. William Fitzgerald,
+Chancellor of the Irish Exchequer, by some means or other into
+her clutches, in connection with the proceedings of 1809. By
+this time, however, she had descended so low, that exposure was
+threatened unless a sum of money was deposited under a stone.
+In her threats, she announced her intention of &ldquo;submitting to
+the public in a very short time <i>two or three volumes,</i> which might
+be followed by others as opportunity should suit or circumstances
+<span class="pagenum"><a name="page33" id="page33"></a>33</span>
+require.&rdquo; This threat, instead of extorting money, consigned Mary
+Anne to the custody of the marshal of the King&rsquo;s Bench Prison for
+the space of nine calendar months, at the end of which period she
+was ordered to find securities to keep the peace for a space of three
+years. It might have gone harder with the brazen woman if the proceedings
+had taken any other form than that of an indictment for
+libel, and if she had not admitted her fault, and in some measure
+thrown herself upon the mercy of the court. The pages of history
+do not appear to be sullied with the intrusion of Mary Anne Clarke&rsquo;s
+name after this period.</p>
+
+<p>The year 1811 is marked by an event which claims special record
+in a work treating of English caricatures and caricaturists of the
+century. In that year, James Gillray executed the last of his famous
+etchings; and although mere existence was prolonged for nearly four
+years afterwards, till the 1st of June, 1815, he sank in 1811 into
+that hopeless and dreary state of mingled imbecility and delirium
+from which the intellect of this truly great and original genius was
+destined never to recover.</p>
+
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_9" href="#FnAnchor_9"><span class="fn">9</span></a> &ldquo;If it had not been for you English, I should have been Emperor of the
+East; but wherever there is water enough to float a ship, we are sure to find you
+in our way.&rdquo;&mdash;<i>Napoleon to Captain Maitland.</i> See Maitland&rsquo;s &ldquo;Narrative of the
+Surrender of Bonaparte,&rdquo; p. 99.</p>
+
+<p><a name="Footnote_10" href="#FnAnchor_10"><span class="fn">10</span></a> <i>London Chronicle</i>, December 6th, 1806.</p>
+
+<p><a name="Footnote_11" href="#FnAnchor_11"><span class="fn">11</span></a> See also Gillray&rsquo;s previous satire of the 23rd of January, 1806 (which probably
+suggested this), <i>Tiddy Doll, the Great French Gingerbread Baker, drawing
+out a new batch of kings</i>.</p>
+
+<p><a name="Footnote_12" href="#FnAnchor_12"><span class="fn">12</span></a> See also Gillray&rsquo;s cartoon of 1st October, 1807, <i>British Tars towing the
+Danish Fleet into Harbour</i>.</p>
+
+<p><a name="Footnote_13" href="#FnAnchor_13"><span class="fn">13</span></a> See vol. ii., p. 92, <i>et seq.</i></p>
+
+<p><a name="Footnote_14" href="#FnAnchor_14"><span class="fn">14</span></a> In a loose age, Madame Tallien, notwithstanding such virtues as she possessed,
+was a loose character. Between 1798 and 1802 she had three children,
+who were registered in her family name of <i>Cabarrus</i>. On the 8th of April, 1802,
+at her own request a divorce was pronounced from Tallien, and with two husbands
+still alive she married (14th July, 1805,) Count Joseph de Caraman, soon after
+heir of the Prince de Chimay. She died in the odour of sanctity, on the 15th of
+January, 1835.</p>
+
+<p><a name="Footnote_15" href="#FnAnchor_15"><span class="fn">15</span></a> O&rsquo;Meara, vol. i, p. 250.</p>
+
+<p><a name="Footnote_16" href="#FnAnchor_16"><span class="fn">16</span></a> &ldquo;English Bards and Scotch Reviewers.&rdquo;</p>
+
+<p><a name="Footnote_17" href="#FnAnchor_17"><span class="fn">17</span></a> According to Mr. Grego, £2,000.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page34" id="page34"></a>34</span></p>
+<h3>CHAPTER III.</h3>
+
+<h5><i>MISCELLANEOUS CARICATURES AND SUBJECTS OF
+CARICATURE, 1812-1819.</i></h5>
+
+<p class="noind"><span class="sc">Drury</span> Lane Theatre, which was burnt down in 1811, was rebuilt
+<span class="sn">1812.</span>
+the following year, and the committee, anxious to celebrate the
+opening by an address of merit corresponding to the occasion,
+<span class="sn">Rebuilding of Drury Lane Theatre.</span>
+advertised in the papers for such a composition. Theatrical
+addresses, however, as we all know by reference to a recent
+occasion,<a name="FnAnchor_18" href="#Footnote_18"><span class="sp">18</span></a> are not always up to the mark; and whether the result
+of their appeal was unsatisfactory, or whether&mdash;as appears not unlikely&mdash;they
+were appalled by the number of competitors, which is
+said to have been upwards of one hundred, not one was accepted,
+the advertisers preferring to seek the assistance of Lord Byron, who
+wrote the actual address which was spoken at the opening on the
+10th of October, 1812. Among the competitors was a Dr. Busby,
+living in Queen Anne Street, who apparently unable to realize the
+fact that competent men could have the effrontery to reject his
+&ldquo;monologue,&rdquo; refused to accept the verdict of the committee. A
+few evenings afterwards, the audience and the company were
+electrified by an unexpected sensation. Busby and his son sat in
+one of the stage boxes; and the latter, to the amazement of the
+audience, stepped at the end of the play from his box upon the
+stage, and began to recite his father&rsquo;s nonsense, as follows:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;When energizing objects men pursue,</p>
+<p class="i05">What are the prodigies they cannot do?&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p class="noind">The question remained unanswered; for Raymond, the stage
+<span class="pagenum"><a name="page35" id="page35"></a>35</span>
+<span class="sn">Dr. Busby&rsquo;s &ldquo;Monologue.&rdquo;</span>
+manager, walked at this moment upon the stage accompanied by
+a constable, and gave the amateur performer into custody. It is
+said that his father, not content with this failure, actually made an
+attempt to recite the &ldquo;monologue&rdquo; from his box, until hissed and
+howled down by the half laughing, half indignant audience. The
+circumstance is commemorated by an admirable pictorial satire
+entitled, <i>A Buz in a Box, or the Poet in a Pet</i>, published by S. W.
+Fores on the 21st of October, in which we see the doctor gesticulating
+from his box, and imploring the audience to listen to his
+&ldquo;monologue.&rdquo; Young Busby, seated on his father&rsquo;s Pegasus (an
+ass), quotes one of the verses of the absurd composition, while
+the animal (after the manner of its kind) answers the hisses of the
+audience by elevating its heels and uttering a characteristic &ldquo;hee
+haw.&rdquo; By the side of Busby junior stands the manager (Raymond),
+apologetically addressing the audience. Certain pamphlets lie
+scattered in front of the stage, on which are inscribed (among
+others) the following doggerel:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;A Lord and a Doctor once started for Fame,</p>
+  <p class="i2">Which for the best poet should pass;</p>
+<p class="i05">The Lord was cried up on account of his name,</p>
+  <p class="i2">The Doctor cried down for <i>an ass</i>.&rdquo;</p>
+
+<p class="s">&ldquo;Doctor Buz, he assures us, on Drury&rsquo;s new stage</p>
+<p class="i05">No horses or elephants there should engage;</p>
+<p class="i05">But pray, Doctor Buz, how comes it to pass,</p>
+<p class="i05">That you your own self should produce there an ass?&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>Dr. Busby was a person desirous of achieving literary notoriety
+at any amount of personal inconvenience. He translated <i>Lucretius</i>,
+and is said to have given public recitations, accompanied with
+bread and butter and tea; but in spite of these attractions, the
+public did not come and the book would not sell, facts which a
+wicked wag of the period ridiculed, by inserting the following
+announcement in the column of births of one of the newspapers:
+&ldquo;Yesterday, at his house in Queen Anne Street, Dr. Busby of a
+stillborn <i>Lucretius</i>.&rdquo;</p>
+
+<p>The medical profession is ridiculed in a satire published in
+<span class="pagenum"><a name="page36" id="page36"></a>36</span>
+<span class="sn">1813.</span>
+1813: <i>Doctors Differ, or Dame Nature against the College</i>.<a name="FnAnchor_19" href="#Footnote_19"><span class="sp">19</span></a> Four
+physicians have quarrelled in consultation over the nature of their
+patient&rsquo;s malady, and the proper mode of administering to his relief.
+Unable to convince one another, they wax so warm in argument
+that they speedily proceed from words to blows. &ldquo;I say,&rdquo; shouts
+one (beneath the feet of the other three), &ldquo;I say it is an exfoliation
+of the glands which has fallen on the membranous coils of the
+intestines, and must be thrown off by an emetic.&rdquo; &ldquo;<i>I</i> say,&rdquo; says
+another, raising at the same time his cane to protect his head, &ldquo;I
+say it is a pleurisie in the thigh, and must be sweated away.&rdquo;
+&ldquo;You are a blockhead!&rdquo; cries a third, furiously striking at him with
+his professional cane. &ldquo;I say it is a nervous affection of the cutis,
+and the patient must immediately lose eighteen ounces of blood,
+and then take a powerful drastic.&rdquo; &ldquo;What are you quarrelling
+about?&rdquo; asks a fourth, arresting the downfall of his professional
+brother&rsquo;s cane. &ldquo;You are all wrong! I say it is an inflammation
+in the os sacrum, and therefore fourteen blisters must be immediately
+applied to the part affected and the adjacents.&rdquo; The
+table is down, and the prescriptions of the learned doctors covered
+with the ink which flows from the ruined inkstand. The amused
+patient (whom nature has meanwhile relieved of the cause and
+effect) watches the combat from the adjoining bedroom, and
+makes preparations to retreat and save both his &ldquo;pocket and his
+life.&rdquo;</p>
+
+<p>The year 1814 was marked by the bursting of one of the most
+<span class="sn">1814.</span>
+extraordinary religious bubbles with which England has ever been
+scandalized. The person identified with and responsible for the
+craze to which we allude, was Joanna Southcott, the daughter of
+<span class="sn">Joanna Southcott.</span>
+a farmer residing at the village of Gettisham, in Devonshire, where
+she herself was born in the month of April, 1750. At the time,
+therefore, the imposture was made patent to such of her deluded
+followers as retained any remnants of the small stock of common
+<span class="pagenum"><a name="page37" id="page37"></a>37</span>
+sense with which nature had originally endowed them, Joanna
+was sixty-four years of age.</p>
+
+<p>The village girl appears to have been a constant reader of the
+Scriptures, which she studied with so much enthusiasm, that a
+strong religious bias was established, which took almost entire
+possession of her mind. Still, no marked peculiarity was manifested
+until after she had attained forty years of age, at which time we
+find her employed as a workwoman at an upholsterer&rsquo;s shop at
+Exeter. The proprietor being a Methodist, the shop was visited
+by ministers of that persuasion, and Joanna, with her &ldquo;serious
+turn of mind,&rdquo; was not only permitted to join in their discussions,
+but was regarded by these harmless folk somewhat in the light of
+a prodigy. To a mind predisposed to religious mania (for it
+would be unjust to stigmatize Joanna altogether as a wilful impostor)
+the result was peculiarly unfortunate; she was visited
+with dreams, which she quickly accepted as spiritual manifestations,
+instead of being, as they really were, indications of a disordered
+digestion.</p>
+
+<p>Two years afterwards Joanna retired from secular business, and
+set up as a prophetess at Exeter. She declared herself to be the
+woman spoken of as &ldquo;the bride,&rdquo; &ldquo;the Lamb&rsquo;s wife,&rdquo; the &ldquo;woman
+clothed with the sun.&rdquo; The county lunatic asylum might have
+done good at this point; but its wholesome discipline, unfortunately,
+was not resorted to. She published in 1801 her first
+inspired book, &ldquo;The Strange Effects of Faith,&rdquo; which absolutely
+brought five &ldquo;wise men of Gotham&rdquo; to inquire into her pretensions
+from different parts of England. Three of these learned
+pundits were Methodist parsons, and these three parsons declared
+themselves satisfied that the mission of Joanna was a divine one.
+It is needless to add that in England, no matter how absurd the
+nature of a so-called divine mission, it is safe and certain to attract
+believers; and by the year 1803 the doctrines of Joanna
+Southcott were eagerly swallowed by numerous simpletons in
+various parts of the country.</p>
+
+<p>Thus fortified, Joanna issued a manifesto, in which she stated
+<span class="pagenum"><a name="page38" id="page38"></a>38</span>
+her calling and pretensions: we set it out in all the original
+baldness of its composition:&mdash;</p>
+
+<p>&ldquo;I, Joanna Southcott, am clearly convinced that my calling is
+of God, and my writings are indited by His Spirit, as it is impossible
+for any spirit but an all-wise God, that is wondrous in
+working, wondrous in wisdom, wondrous in power, wondrous in
+truth, could have brought round such mysteries, so full of truth,
+as is in my writings; so I am clear in whom I have believed, that
+all my writings came from the spirit of the most high God.&rdquo;</p>
+
+<p>Joanna was clear in whom she believed, and her followers were
+equally &ldquo;clear&rdquo; in their belief in Joanna. This incoherent nonsense
+was signed in the presence of fifty-eight simpletons, all of
+whom expressed their confidence in the inspired mission of their
+precious prophetess.</p>
+
+<p>Her disciples rapidly increased, and she visited in her apostolic
+character, Bristol, Leeds, Stockport, and other large centres, obtaining
+numerous converts everywhere. Among them was the
+celebrated engraver, William Sharp; and to the last this man, who
+out of his calling was the veriest simpleton living, and who had
+swallowed successively the doctrines of Richard Brothers, Wright,
+Bryan, and Joanna, believed in the divine mission of this unincarcerated
+lunatic.</p>
+
+<p>Although Joanna did not (like Joseph Smith) discover a book,
+she discovered a seal, which one of her disciples is said to have
+picked up in a dust-heap at Clerkenwell. With this miraculously
+acquired talisman the spirit ordered her to &ldquo;seal up the people,&rdquo;
+and as &ldquo;the people&rdquo; were limited to one hundred and forty-four
+thousand, and each of the elect had to pay a sum varying at
+different times from a guinea to twelve shillings, or even lower,
+for the privilege of being &ldquo;sealed up,&rdquo; the scheme promised at
+first to turn out a comfortably profitable one. Into the details
+of the &ldquo;sealing&rdquo; it is unnecessary for us to enter. Suffice it to
+say that the numbers of the &ldquo;sealed,&rdquo; up to 1808, when for
+some unexplained reason the process appears to have been discontinued,
+exceeded six thousand simpletons; the numbers of
+<span class="pagenum"><a name="page39" id="page39"></a>39</span>
+her deluded followers in the metropolis and its vicinity alone, are
+supposed at one time to have amounted to a hundred thousand.</p>
+
+<p>Joanna was a coarse, common-place, and somewhat corpulent
+woman; she dressed in a plain, quaker-like garb, in a gown of
+Calimancoe, with a shawl and bonnet of drab colour. The three
+leading preachers in her chapel in Southwark (her great stronghold),
+were a Mr. Carpenter, who, after learning his business, set
+up as a prophet on his own account; a Mr. Foley, and a lath-render
+named Tozer. She had chapels also in Spitalfields, Greenwich,
+Twickenham, and Gravesend.</p>
+
+<p>The scribblings in prose and verse of this illiterate creature,
+instead of being committed to the waste paper basket, were
+solemnly preserved and received as prophecies. Attacked at last
+with dropsy, her delusions assumed the following objectionable
+form: she prophesied, and Sharp and his fellow-disciples&mdash;some
+of whom were men of fair education&mdash;actually believed, that Christ
+was to be born again under the name of &ldquo;Shiloh,&rdquo; and that
+she, Joanna, at the age of sixty-five, was to be the mother.
+The revelation which proclaimed the miraculous <i>accouchement</i> was
+worded as follows: &ldquo;This year [1814], in the sixty-fifth year of
+thy age, thou shalt have a son by the power of the Most High;
+which if they (the Hebrews) receive as their prophet, priest, and
+king, then I will restore them to their own land, and cast out
+the heathen for their sakes, as I cast out them when they cast
+out Me, by rejecting Me as their Saviour, Prince, and King,
+for which I said I was born, but not at that time to establish
+My kingdom.&rdquo;</p>
+
+<p>One might have imagined that this gibberish would open the
+eyes of some at least of her votaries: their insane enthusiasm, on
+the contrary, increased. Joanna was absolutely inundated with the
+&ldquo;freewill&rdquo; offerings of the faithful&mdash;a costly cradle, white robes,
+pinafores, shoes of satin and worsted, flannel shirts, napkins,
+blankets, silver spoons, pap-boats, mugs, silver tea-pots, sugar-basins,
+tongs, and corals,&mdash;absolutely without number. The absurdity
+of the simpletons who sent these offerings was severely
+<span class="pagenum"><a name="page40" id="page40"></a>40</span>
+criticised, both in England and on the Continent; and by way
+apparently of answering her traducers, Joanna inserted an apostolical
+advertisement in the <i>Morning Chronicle</i> of Thursday, 22nd September,
+1814, and in the <i>Courier</i> of Friday, 23rd, in which she
+stated that, in consequence of the false and malicious reports in
+circulation respecting herself, she was desirous of treating for
+&ldquo;a spacious and ready-furnished house to be hired for three months,
+in which her <i>accouchement</i> may take place in the presence of such
+competent witnesses as shall be appointed by proper authority
+to prove her character to the world.&rdquo; The appointed day&mdash;the
+29th of October&mdash;however passed by, and the prophecy remained
+of course unfulfilled, although, in the manufacturing towns of the
+north, crowds of the faithful assembled to wait the arrival of
+the coaches, in expectation of tidings of the great manifestation.
+The satire entitled, <i>Delivering a Prophetess</i> (in vol. 8 of &ldquo;The
+Scourge&rdquo;), has reference to the actual event which occurred on
+the 27th of December, 1814, when death relieved Joanna of her
+delusions and her dropsy; the wretched creature declaring on her
+deathbed that, &ldquo;if she had been deceived, she had at all events
+been the sport of some spirit, good or evil.&rdquo; Joanna forms the
+subject of one of Rowlandson&rsquo;s caricatures of 1814, <i>Joanna Southcott,
+the Prophetess, Excommunicating the Bishops</i>, published by Tegg
+on the 20th of September, 1814. We shall also have to refer to her
+again when we treat of the caricatures of George Cruikshank.</p>
+
+<p>This year (1814) the Princess Charlotte, heiress presumptive
+<span class="sn">Flight of the Princess Charlotte.</span>
+actually ran away in a hackney coach, to avoid being affianced to
+the Prince of Orange, to whom Her Royal Highness evinced an
+invincible repugnance. The event is referred to in a caricature
+entitled, <i>Plebeian Spirit, or Coachee and the Heiress Presumptive</i>
+(published by Fores on the 25th of July), which shows us the
+princess emerging from Warwick House, followed by Britannia (who
+raises her hands in a suppliant attitude), and the dejected British
+lion. &ldquo;Coachman, will you protect me?&rdquo; she appeals to the driver.
+&ldquo;Yes, yes, your Highness,&rdquo; replies the fellow, &ldquo;to the last drop
+of my blood!&rdquo; A servant in the royal livery holds up his hands
+<span class="pagenum"><a name="page41" id="page41"></a>41</span>
+in amazement and horror, while another spurs off in hot haste
+to apprise the Regent of the flight of his daughter. But a satire
+of far superior merit, entitled, <i>Miss endeavouring to excite a glow
+with her Dutch Plaything</i>,<a name="FnAnchor_20" href="#Footnote_20"><span class="sp">20</span></a> was issued by the same publisher a few
+days previously, in which the rejected prince figures as a Dutch
+top, which the princess has kept spinning for some time. &ldquo;There,&rdquo;
+she says to her father at last, &ldquo;I have kept it up for a long while;
+you may send it away now, I am tired of it; mother [<i>i.e.</i> the
+Princess Caroline] has got some better plaything for me.&rdquo; &ldquo;What!
+are you tired already?&rdquo; exclaims the Regent. &ldquo;Take another spell
+at it, or give me the whip.&rdquo; &ldquo;No, no,&rdquo; replies Her Royal Highness;
+&ldquo;you may take the top, but I&rsquo;ll keep the whip.&rdquo; Behind her is
+a picture representing an orange falling with Cupid headlong into
+space. The Regent was so incensed at his daughter&rsquo;s refractoriness,
+that he went at once to Warwick House and dismissed all her
+attendants, and never forgave the Duke of Sussex for his supposed
+share in breaking off the connection. It was immediately after this
+event that her mother, the Princess Caroline, contrary to the advice
+of her friends and well-wishers, applied for permission to make that
+tour on the Continent which, owing to her own obstinate folly and
+contempt for the duties of her high station, was destined&mdash;as we shall
+afterwards find&mdash;to end in such disastrous consequences to herself.</p>
+
+<p>In the course of the year 1812, England had become involved&mdash;scarcely
+<span class="sn">1812 1815.</span>
+through any fault of her own&mdash;in a war with the United
+States of America. The causes of difference were mainly due to
+the obnoxious Orders in Council, which had been <i>forced</i> upon us
+in consequence of the Berlin and Milan Decrees of Napoleon. As
+an evidence, however, of our own friendly intentions, it may be
+mentioned that the Regent had issued a declaration on the 23rd
+of April, that if at any time the obnoxious decrees should by <i>an
+authentic act be absolutely</i> repealed, thenceforth the Orders in Council
+of 7th January, 1807, and 26th April, 1809, should be revoked;
+<span class="pagenum"><a name="page42" id="page42"></a>42</span>
+<span class="sn">America and England.</span>
+and the American representative, having, on the 20th of May, transmitted
+to the English Court a copy of a French decree of the 20th
+of April, by which the decrees of Milan and Berlin were declared
+to be no longer in force, <i>so far as American vessels were concerned</i>, the
+Regent declared that, although he could not accept the terms of
+the decree as satisfying the conditions of his own declaration of the
+23rd of April, yet, with the view of re-establishing friendly relations,
+<i>he revoked</i> the Orders in Council of 7th January, 1807, and April
+26th, 1809, so far as regarded American vessels and American
+cargoes. Of this repeal, be it observed, the United States Government
+took no notice, it might be in consequence of the very reasonable
+proviso annexed to the Regent&rsquo;s concession, that unless the Government
+of the United States revoked their exclusion of British armed
+vessels from their harbours, while those of France were admitted,
+and their interdiction of British commerce, while that of France was
+allowed, the order was to be of no effect.</p>
+
+<p>A very old English proverb tells us that &ldquo;a stick is never wanting
+to beat a dog;&rdquo; and where one nation wishes to fasten a quarrel on
+another, and the opportunity be favourable, there will be no difficulty
+in finding an excuse. There were other causes of discontent; in
+particular our claim to search not only for English goods, but for
+British seamen serving on board neutral vessels; and as the sovereignty
+of the seas depended on upholding these assumptions, our
+Government was as strenuous in enforcing them as the French
+emperor was bent on the maintenance of his continental system.</p>
+
+<p>The Americans, however, were anxious for a war with this country,
+and in particular, the opportunity seemed eminently favourable for
+attempting the conquest of Canada. A motion in the House of
+Representatives, for the indefinite postponement of a bill for raising
+25,000 additional troops, was rejected by a majority of 98 to 29.
+An outrageous bill, specially intended as an insult to England, was
+introduced into the same House about the end of April, &ldquo;for the
+protection, recovery, and indemnification of American seamen,&rdquo;
+the first clause of which declared that every person who, under
+pretence of a commission from a foreign power, should impress upon
+<span class="pagenum"><a name="page43" id="page43"></a>43</span>
+<span class="sn">Hostile Spirit of the Americans.</span>
+the high seas a native seaman of the United States, should be
+adjudged a pirate and a felon, and should upon conviction suffer
+death. Another of its articles gave to every such seaman impressed
+under the British flag, the right of attaching in the hands of any
+British subject, or in the hands of <i>any debtor of any British subject</i>,
+a sum equal to thirty dollars per month for the whole time of his
+detention. This monstrous bill was actually allowed to pass a
+third reading. The temper of the Americans may be judged by
+the result of the voting on Mr. Randolph&rsquo;s motion in the same
+House, on the 29th of May. That gentleman submitted &ldquo;that,
+under the present circumstances, it was inexpedient to resort to
+a war with Great Britain.&rdquo; The question being then put, that the
+House do proceed to the consideration of the said resolution, it
+was negatived by 62 votes against 37. Under the overpowering
+influence of these feelings, war was declared against England on
+the 18th of June, 1812; our own declaration was not issued until
+the 13th of October following.</p>
+
+<p>&ldquo;Our American cousins,&rdquo; did not wait for this joinder of issue;
+they had invaded Canada early in July. On the 11th of that month,
+the American General Hull, with a body of 2,500 men&mdash;regulars
+and militia&mdash;crossed the river above Detroit with most disastrous
+consequences to himself. He was speedily forced to retreat, and
+on the 16th of August to surrender the important fort of Detroit
+itself, with his 2,500 men and thirty-three pieces of artillery.
+Although this disaster seriously disconcerted the American plans
+of invasion, the design was by no means abandoned. A considerable
+force was assembled in the neighbourhood of Niagara, and on
+the 13th of October, the American General Wadsworth, with some
+1,400 men, made an attack on the British position of Queenstown,
+on the Niagara river. Wadsworth, with 900 men and many officers,
+was speedily compelled to surrender to British forces not exceeding
+the number of his own following.</p>
+
+<p>On the other hand, the losses of the Americans on land were
+to some extent balanced by their naval successes. On the 19th
+of August, the English frigate <i>Guerriere</i>, Captain Dacres, was forced
+<span class="pagenum"><a name="page44" id="page44"></a>44</span>
+<span class="sn">American Naval Successes.</span>
+after a gallant but (as we shall see) unequal fight, to strike her colours
+to the American frigate <i>Constitution</i>, Captain Hull. Under similar
+conditions, the English frigate <i>Macedonia</i>, Captain Carden, was
+forced on the 25th of October, after an hour&rsquo;s hard fighting, in
+which the English lost 104 men killed and wounded, to yield to
+the American frigate <i>United States</i>, Commodore Decatur. These
+successes were due to the following causes: the rate of the American
+frigates corresponded to the largest British; but in size, weight of
+metal, and number of men, were almost equal to line-of-battle
+ships; the American navy too, at this time, was manned by sailors
+many of whom were unfortunately British tars, while many more
+had been trained in British service.</p>
+
+<p>Although we do not profess to give a history of the Anglo-American
+war of 1812-14, some slight sketch of its more remarkable
+incidents seems necessary for the purpose of enabling the
+reader to understand what has to follow. Having named some of
+the American naval successes, we can scarcely pass over the well-known
+fight of the 1st of June, 1813. Captain Broke, of the British
+frigate <i>Shannon</i>, 330 men, burning with indignation at the naval
+defeats of his countrymen, having diligently perfected his crew in
+discipline, offered battle to the United States frigate <i>Chesapeake</i>,
+for which he had long been watching. The <i>Chesapeake</i> was a fine
+ship, carrying forty-nine guns (18- and 32-pounders) and a complement
+of 440 men. The American captain, nothing loth, bore
+down on his antagonist off Boston light-house. The ships were
+soon in close contact; but the gallant English captain, discerning
+his opportunity, gave orders for boarding, himself setting the
+example; and after a sanguinary fight of only fifteen minutes, hauled
+down his adversary&rsquo;s flag and carried off the <i>Chesapeake</i> in triumph.
+The invasion of Canada was still persevered in by the Americans,
+with varying successes and defeats; but the results of the campaign
+of 1813 were in the end disastrous to them; and by the 12th of
+December, both provinces of Canada were freed from the invaders,
+who retired to winter quarters within their own territory. Another
+determined attempt to penetrate into Canada was made by them
+<span class="pagenum"><a name="page45" id="page45"></a>45</span>
+<span class="sn">The English Assume the Offensive.</span>
+in July, 1814, the British troops in the first instance being obliged
+to fall back: this was on the 5th. Their triumph, however, was of
+brief duration. Veteran troops, who had served under Wellington
+in Spain, had meanwhile arrived at Quebec; General Drummond
+arrested the further retreat of Riall&rsquo;s division, and a decisive battle
+ensued, which terminated in the defeat of the Americans, who were
+obliged to retire with precipitation beyond the Chippewa. On the
+following day they abandoned their camp, threw the greater part
+of their baggage and provisions into the rapids, and after destroying
+the bridge over the Chippewa, continued their retreat in great
+disorder to Fort Erie. Out of a force of 5,000 men, they had lost
+in killed, wounded, and prisoners at least 1,500. This defeat, and
+the timely arrival of veteran troops from Europe, appear to have
+decided the British commanders to change the defensive warfare
+they had hitherto adopted, and the small operations they had
+conducted on the coast of the southern States, for offensive movements
+of greater vigour.</p>
+
+<p>A large naval force was despatched under the command of Vice-Admiral
+Cockrane, having on board a powerful land force commanded
+by General Ross. The latter landed on the 20th of
+August at Benedict; marched to Nottingham on the 21st, and to
+Upper Marlborough on the 22nd, Admiral Cockrane in the meanwhile,
+with the barges, armed launches, and other boats of the
+fleet, having the marines on board, proceeding up the Patuxent on
+the flank of the army. The American Commodore blew up his
+vessels, seventeen in number, with the exception of one which fell
+into the hands of the British. The troops reached Bladensburg
+(about five miles from Washington) on the 24th.</p>
+
+<p>About 9,400 Americans (400 of whom were cavalry) drawn up to
+oppose them, were speedily routed, with the loss of ten pieces of
+artillery and the capture of their commanding officer, General Barney.
+It appears to have been General Ross&rsquo;s first intention to return to his
+ships after laying the capital under contribution; but the Americans
+having fired upon the bearer of the flag of truce who was sent
+forward with the conditions, all thoughts of an arrangement were
+<span class="pagenum"><a name="page46" id="page46"></a>46</span>
+<span class="sn">Burning of Washington.</span>
+dissipated. The soldiers pressed into the city, and after burning
+a frigate and sloop of war, the President&rsquo;s residence, the capitol&mdash;including
+the Senate House and House of Representatives, dockyard,
+arsenal, war office, treasury, and the great bridge over the
+Potomac, re-embarked on the 30th of August.</p>
+
+<p>A part of the operations against Washington consisted in despatching
+a force against Fort Washington, situate on the Potomac
+below that city. Captain Gordon, the commander of this expedition,
+proceeded with the <i>Sea Horse</i> and several other vessels up the
+river on the 17th of August, but was unable to reach the fort till
+the 27th. The place being rendered untenable by the explosion
+of a powder magazine, the garrison spiked their guns and evacuated
+it next day. The populous and commercial town of Alexandria,
+situated higher on the river, thus lost its sole protection; and
+Captain Gordon, having no obstacle to oppose his progress, buoyed
+the channel, and placed his ships in such a position as to enforce
+compliance with his terms. The town (with the exception of public
+works) was not to be destroyed nor the inhabitants molested on
+compliance with the following articles:&mdash;All naval and ordnance
+stores, public and private, were to be given up, together with all the
+shipping, the furniture of which was to be sent on board by their
+owners; the sunk vessels to be delivered in their original condition;
+the merchandise of every description to be immediately delivered
+up, including all removed from the town since the 19th; and the
+British squadron to be supplied with refreshments at the market
+price. This capitulation was signed on the 29th; the whole of the
+captured vessels&mdash;twenty-one in number&mdash;were fitted, loaded, and
+delivered, by the 31st; and Captain Gordon had got back with
+all his ships and prizes, and anchored in safety in the Chesapeake
+by the 9th of September.</p>
+
+<p>These events are referred to in a pictorial satire (published by
+Fores on the 4th of October, 1814), entitled, <i>The Fall of Washington,
+or Maddy</i> [<i>i.e.</i>, President Madison] <i>in full flight</i>:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Death of thy soul those linen cheeks of thine</p>
+<p class="i05">Are counsellors to fear.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p><span class="pagenum"><a name="page47" id="page47"></a>47</span></p>
+
+<p>James Madison and one of his ministers, habited as Quakers
+<span class="sn">Flight of President Madison.</span>
+(a then popular mode of ridiculing the Americans), are seen in full
+flight, carrying under their arms bundles of compromising papers.
+By the &ldquo;Bill of fare of the Cabinet Supper at President Madison&rsquo;s,
+August 24th, 1814,&rdquo; which has fallen at his feet, the flight would
+really seem to have been of the most hasty character. &ldquo;I say,
+Jack,&rdquo; says an English tar, pointing at the same time to the flying
+President, &ldquo;what, is <i>that</i> the man of war that was to annihilate us,
+as Master Boney used to say?&rdquo; &ldquo;Aye, messmate,&rdquo; answers his companion;
+&ldquo;he is a famous fighter over a bottle of Shampain; why, he&rsquo;d
+have played &mdash;&mdash; with us if we had let him sit down to supper.&rdquo; Five
+Americans (all Quakers) meanwhile make their own observations
+on the situation: &ldquo;Jonathan,&rdquo; says one, &ldquo;where thinkest thou our
+President will run to now?&rdquo; &ldquo;Why, verily,&rdquo; answers Jonathan, &ldquo;to
+Elba, to his bosom friend.&rdquo; &ldquo;The great Washington,&rdquo; remarks a
+third, &ldquo;fought for liberty; but we are fighting for shadows, which,
+if obtained, could do us no earthly good, but this is the blessed effects
+of it.&rdquo; &ldquo;I suppose,&rdquo; observes a fourth, &ldquo;this is what Maddis calls
+benefitting his country.&rdquo; &ldquo;Why,&rdquo; answers his friend, &ldquo;it will throw
+such a light on affairs, that we shall find it necessary to change both
+men and measures.&rdquo; The popular notion of the day that there had
+been some understanding between &ldquo;Boney&rdquo; and the Yankees, was
+scarcely unnatural under the circumstances we have narrated. The
+President himself is made to say to his companion, &ldquo;Who would
+have thought of this man, to oblige us to run from the best cabinet
+supper I ever ordered? I hope you have taken care of Boney&rsquo;s
+promissory notes; the people won&rsquo;t stand anything after this.&rdquo;
+&ldquo;D&mdash;n his notes,&rdquo; answers the other; &ldquo;what are they good for
+now? We should get nothing but iron; he hasn&rsquo;t any of his
+stock of brass left, or some of <i>that</i> would have helped us through
+this business.&rdquo;</p>
+
+<p>The caricaturist simply reflected the opinion of his countrymen in
+insinuating that the Yankees had some understanding or sympathy
+with Bonaparte; but in this they were mistaken. With Napoleon
+and his system the Americans had no sympathy or feelings in
+<span class="pagenum"><a name="page48" id="page48"></a>48</span>
+common. Probably all that the satirist intended to convey was the
+fact that they had brought the retaliatory measure (severe as it was)
+upon themselves, and in this undoubtedly he was right. The
+Americans would never have dreamed of invading Canada had they
+not supposed that we were so hampered with our struggle with
+Bonaparte in 1812. It was perhaps well for America that we were
+not actuated by the same embittered feelings as themselves; that our
+generals were incompetent, and their plans both badly conceived and
+most inefficiently carried out.</p>
+
+<p>Notwithstanding these successes, the caricaturists proved a trifle
+<span class="sn">The Caricaturists too Jubilant.</span>
+too jubilant. On the 11th of September, a British naval force&mdash;consisting
+of a frigate, a brig, two sloops of war, and some gunboats&mdash;attacked
+the American flotilla before Platsburg, on Lake Champlain,
+and after a severe conflict were all captured, with the exception
+of the gun-boats, Captain Downie, the English commander,
+being killed at the very beginning of the engagement. Sir G.
+Prevost, in consequence of this disaster, began his retreat, leaving
+his sick and wounded to the mercy of the enemy. The Americans
+having now collected from all quarters, the British retired to their
+lines, and relinquished all idea of penetrating into the State of New
+York. On the 12th, however, an attempt was made to enter Baltimore,
+and although in the engagement which followed the American
+troops were broken and dispersed in the course of fifteen minutes,
+the victory was dearly purchased by the death of General Ross,
+while the defensive arrangements of the harbour were so perfect and
+so formidable, that the attempt was obliged to be given up.</p>
+
+<p>Although peace was concluded in the following December, the
+intelligence unfortunately did not reach the belligerents in time to
+prevent further mistakes and bloodshed. A series of operations of
+the British army in the neighbourhood of New Orleans occupied
+the last week of December and a part of January. An army had
+been collected for an attack on that town under the command of
+General Kean, which, with the assistance of Admiral Cochrane, was
+disembarked without resistance on the 23rd December. On the
+25th, General Sir Edward Pakenham arrived and assumed the chief
+<span class="pagenum"><a name="page49" id="page49"></a>49</span>
+command. On the 27th, the enemy&rsquo;s picquets were driven in
+within six miles of the town, where their main body was found most
+strongly posted, and supported by a ship of war moored in such a
+position as to enfilade the assailants. The result was that the
+assault of the British was delivered under so withering a fire from
+every part of the enemy&rsquo;s line, that General Pakenham was killed,
+Generals Keane and Gibbs wounded, while over 2,000 men and
+officers were killed, wounded, or made prisoners. Colonel Thornton,
+indeed, had crossed the river during the previous night and captured
+a flanking battery of the Americans on the other side; but the report
+made by him to General Lambert was of so discouraging a character
+that he decided not to persevere with the attempt, and in the end
+the whole army re-embarked, leaving a few of the most dangerously
+wounded behind them, but carrying off all their artillery, ammunition,
+and stores. The concluding operation of the war was the capture
+of Fort Mobile, which surrendered to the British on the 11th of
+February.</p>
+
+<p>A remarkable figure puts in an appearance in the caricatures of
+<span class="sn">1815.<br />Romeo Coates.</span>
+the early part of the century. This was the renowned &ldquo;Romeo&rdquo;
+Coates, a vain, weak-minded gentleman, who had an absolute passion
+for figuring on the boards as Romeo, Lothario, Belcour, and other
+romantic characters, for which his personal appearance and lack of
+brains altogether unfitted him. His &ldquo;readings,&rdquo; like himself,
+being of the most original character, his vagaries afforded endless
+amusement to the coarse public of his day. The gods befooled him
+&ldquo;to the top of his bent;&rdquo; his overweening vanity failing to show
+the poor creature that he was exciting ridicule instead of applause.
+The fun (?) culminated in the tragic scene, Romeo, to their delight,
+responding to the encores of his audience, by repeating the dying
+scene so long as it suited the managers to prolong the sorry exhibition.
+Macready, whose dramatic genius and refined sensibilities
+revolted at a spectacle so degrading, describes him as he appeared
+at Bath, in 1815: &ldquo;I was at the theatre,&rdquo; says the tragedian, &ldquo;on
+the morning of his rehearsal, and introduced to him. At night the
+house was too crowded to afford me a place in front, and seeing me
+<span class="pagenum"><a name="page50" id="page50"></a>50</span>
+behind the scenes, he asked me, knowing I acted Belcour, to prompt
+him if he should be &lsquo;out,&rsquo; which he very much feared. The
+audience were in convulsions at his absurdities, and in the scene with
+Miss Rusport, being really &lsquo;out,&rsquo; I gave him a line which Belcour
+has to speak, &lsquo;I never looked so like a fool in all my life,&rsquo; which, as
+he delivered it, was greeted with a roar of laughter. He was &lsquo;out&rsquo;
+again, and I gave him again the same line, which, again being
+repeated, was acquiesced in with a louder roar. Being &lsquo;out&rsquo; again,
+I administered him the third time the same truth for him to utter,
+but he seemed alive to its application, rejoining in some dudgeon,
+&rsquo;I have said that twice already.&rsquo; His exhibition was a complete
+burlesque of the comedy and a reflection on the character of a
+management that could profit by such discreditable expedients.&rdquo;
+Poor &ldquo;Romeo&rdquo; Coates lived to get over his theatrical weakness, and
+died (in 1848), in his seventy-sixth year, from the results of a street
+accident.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:720px; height:486px" src="images/img50.jpg" alt="" /></td></tr>
+
+<tr><td><p class="ar">[<i>Published March, 1816, by <span class="sc">S. W. Fores</span>, 50, Piccadilly.</i></p>
+<p>LEAP YEAR, OR JOHN BULL&rsquo;S PEACE ESTABLISHMENT.</p>
+<p>&ldquo;When two ride upon a horse, one must ride behind.&rdquo;</p>
+<p class="ar">[<i>Face p. 50.</i></p></td></tr></table></div>
+
+<p>The Princess Charlotte of Wales, having successfully thrown over
+<span class="sn">1816.<br />Marriage of the Princess Charlotte.</span>
+her royal Dutch suitor, was married at Carlton House to Prince
+Leopold of Saxe-Coburg, afterwards King of the Belgians, on the
+2nd of May, 1816. Prior to the marriage, Parliament had voted
+a provision for an establishment for the pair of £60,000, while in the
+event of the princess&rsquo;s death, £50,000 was settled on the prince
+during his life. <i>Leap Year, or John Bull&rsquo;s Establishment</i> (S. W.
+Fores, March, 1816) shows us John Bull with a bit in his mouth,
+driven by Her Royal Highness, who lashes him unmercifully with a
+tremendous horse-whip. Miserable John is saddled with a pair of
+panniers, one of which carries the prince and his money bags, the
+other being filled with heavy packages labelled with different impositions
+or items of expenditure of which John is the victim. &ldquo;Plans
+for thatched cottages,&rdquo; &ldquo;Plan for pulling down and rebuilding,&rdquo;
+&ldquo;Assessed taxes,&rdquo; &ldquo;Increase of salaries,&rdquo; &ldquo;Army for peace establishment,&rdquo;
+and so on. Says Leopold to the princess, &ldquo;You drive so
+fast, I shall be off!!!&rdquo; &ldquo;Never fear,&rdquo; she replies; &ldquo;I&rsquo;ll teach you
+an English waltz.&rdquo; The gouty Regent hobbles after them on his
+crutches, the supports of which are formed of dragons from his
+<span class="pagenum"><a name="page51" id="page51"></a>51</span>
+famous Brighton Pavilion. &ldquo;Push on!&rdquo; he shouts to his daughter
+and future son-in-law, &ldquo;Push on! Preach economy! and when you
+have got your money, follow my example.&rdquo; &ldquo;Oh! my back,&rdquo; groans
+poor John, crawling with the greatest difficulty under the weight of
+his heavy burdens. &ldquo;I never can bear it! This will finish me.&rdquo;</p>
+
+<p>The two years which succeeded the fall of Bonaparte were remarkable
+for the distress which prevailed amongst the industrial
+classes in England. The glory we had reaped in our long struggle
+with France was forgotten in the consideration of the almost insupportable
+burdens which it necessarily entailed. The sufferings
+<span class="sn">Popular Discontent.</span>
+of the masses prompted them to seek relief by bringing their
+grievances before Parliament; but the reception their petitions met
+with, served only to show the little sympathy which existed between
+the national representatives, as then elected, and the people of England.
+Petitions were next presented to the Regent himself, while
+the popular discontent found expression in large meetings convened
+in London, Leeds, Manchester, Birmingham, and other industrial
+centres. These meetings, it was observed, were convened, attended,
+and addressed almost exclusively by the working classes, the middle
+and upper ranks taking no share in the proceedings. The speakers
+pointed out in impressive and forcible language the various evils
+which they said had brought about their altered condition; the
+waste of public money in perpetual wars, in unearned pensions,
+sinecures, and other unjust expenditure. The high price of provisions
+provoked riots at Brandon, Norwich, Newcastle, Ely,
+Glasgow, Preston, Leicester, Merthyr, Tredegar, and other places;
+a large number of the populace assembled in Spafields in December
+to receive the Regent&rsquo;s answer to their petition. While waiting the
+arrival of &ldquo;orator&rdquo; Hunt, one of the most popular of the agitators
+of the day, a band of desperadoes appeared on the scene with
+a tri-coloured flag, and headed by a man named Watson, who,
+after delivering a violent harangue from a waggon, led them into
+the city. The rioters pillaged several gunsmiths&rsquo; shops, but the
+prompt action of Lord Mayor Wood, the strong party of constables
+at his back, who seized several of the rioters, and the appearance
+<span class="pagenum"><a name="page52" id="page52"></a>52</span>
+on the scene of the military, soon induced the rioters to disperse.
+In January, 1817, John Cashman, one of the Spafields rioters, was
+tried for burglariously entering the shop of Mr. Beckworth, a gunsmith,
+and hanged opposite the scene of his depredations.</p>
+
+<p>The Regent opened Parliament on the 28th of January, 1817.
+<span class="sn">1817.<br />Regent opens Parliament.</span>
+In his address, he said that &ldquo;the distress consequent upon the
+termination of a war of such universal extent and duration, had
+been felt with greater or less severity throughout all the nations
+of Europe, and had been considerably aggravated by the unfavourable
+state of the season.&rdquo; Alluding to the proceedings of the popular
+agitators, he added: &ldquo;In considering our internal situation, you
+will, I doubt not, feel a just indignation at the attempts which
+have been made to take advantage of the distresses of the country,
+for the purpose of exciting a spirit of sedition and violence....
+I am determined to omit no precautions for preserving the public
+peace, and for counteracting the designs of the disaffected.&rdquo;
+Whether this statement was the cause or not, the Regent had
+a narrow escape on his return from the House; for, while passing
+at the back of the gardens of Carlton House, the glass of his
+window was broken, either by a stone or (as was supposed) by two
+balls from an air-gun, which appeared to have been aimed at His
+Royal Highness.</p>
+
+<p>On the 6th of February, Lord Cockrane presented to the House
+of Commons the petition of the Spafields meeting, signed by 24,000
+persons. It prayed for annual parliaments, universal suffrage, and
+reduction in the public expenditure. He presented at the same
+time a petition from Manchester, signed by 30,000 persons, praying
+for reform in Parliament and economy in the public expenditure.
+Sir Francis Burdett also presented a Leeds petition for the same
+objects, containing 7,000 signatures. These were of course only
+legitimate modes of expressing the wants of the people; but, unhappily,
+quite independent of the action of the popular leaders,
+the country in some parts was so disturbed, so closely on the brink
+of insurrection, that ministers found themselves obliged twice during
+the course of the year to resort to the almost unprecedented measure
+<span class="pagenum"><a name="page53" id="page53"></a>53</span>
+of suspending the Habeas Corpus Act, on the first occasion at the
+end of February, and on the second in June.</p>
+
+<p>At a meeting held at Manchester in March, for the purpose of
+petitioning the Regent against the suspension of the Act, it was
+proposed and agreed that another meeting should be held on the
+following Monday (the 10th of March), with the professed intention
+that ten out of every twenty persons who attended it should proceed
+to London with a petition to His Royal Highness. The
+meeting took place accordingly; many thousands actually attended
+in full marching order (<i>i.e.</i> provided with a bundle and a blanket);
+and a considerable body appear to have made some advance on
+their way before their further progress was arrested. Expeditions
+of a similar character were simultaneously planned, attempted, and
+frustrated in other parts of the country.</p>
+
+<p>Meanwhile, there were trials for high treason at Westminster
+<span class="sn">Government Spies.</span>
+Hall; trials of rioters at York and Derby; and at the latter town,
+on the 7th of November, three miserable men were hung. Among
+the witnesses at these trials appear to have been two men named
+Castle and Oliver: and it came out that these fellows, with two
+other Government spies, named Edwards and Franklin, had been
+among the chief fomenters by speeches and writings of the seditions
+in the Metropolis and northern counties. The disclosures made
+by these scoundrels produced of course a great sensation and
+numerous satires. One of these, entitled, <i>More Plots!!! More
+Plots!!!</i> published by Fores in August, 1817, is &ldquo;dedicated to
+the inventors, Lord S [idmouth] and Lord C [astlereagh].&rdquo; It is
+divided into four compartments. In the first we see four foxes
+(typifying no doubt the four informers) watching the movements of
+a flock of geese. &ldquo;&rsquo;Tis plain,&rdquo; says one of the former, &ldquo;there
+is a plot on foot; let&rsquo;s seize them, Brother Oliver.&rdquo; &ldquo;I have no
+doubt of it: I can smell it plainly,&rdquo; answers his companion. In
+the second, a couple of fierce nondescript beasts are regarding
+a number of innocent lambs: &ldquo;These bloodthirsty wretches,&rdquo;
+remarks one of the two, &ldquo;mean to destroy man, woman, and
+child, I know it to a certainty; for they carry sedition, privy conspiracy,
+<span class="pagenum"><a name="page54" id="page54"></a>54</span>
+and rebellion in their looks.&rdquo; &ldquo;And I&rsquo;ll swear it, Brother
+Castle,&rdquo; says his companion; &ldquo;let&rsquo;s dash at them.&rdquo; In the third,
+a cat watches the movements of some unsuspecting mice: &ldquo;There&rsquo;s
+a pretty collection of rogues gathered together,&rdquo; observes Grimalkin;
+&ldquo;if there is not a plot among them, burn my tail and whiskers.&rdquo; In the
+last, we behold a Kite just about to pounce on some chicken: &ldquo;The
+world&rsquo;s over-run with iniquity,&rdquo; says the bird of prey; &ldquo;and these
+troublesome miscreants will not let honest hawks sleep in security.&rdquo;
+We shall return to the subject of these Government spies and
+the troubles of 1817 in the graphic satires of George Cruikshank.</p>
+
+<p>In 1817, the rivalry between the two national theatres ran so
+<span class="sn">Edmund Kean and Booth.</span>
+high, that the Covent Garden management employed agents to
+scour the provinces in search of a rival to Edmund Kean at Drury
+Lane. After a time one was found in the person of Lucius Junius
+Booth, who in stature, <i>rôle</i> of characters, and (as it was imagined)
+style of acting, closely resembled, if he did not equal, the great
+original. He made his <i>début</i> at Covent Garden, in the character
+of Richard the Third.  Whether it was a success or not seems
+doubtful; for the manager being out of town, those deputed to
+act as deputies did not care to undertake the responsibility of
+engaging the new star. In this dilemma, overtures were made
+to him by the rival house, which he accepted, and made his
+appearance as &ldquo;Iago&rdquo; to Kean&rsquo;s &ldquo;Othello&rdquo; to a densely-packed
+audience at Drury Lane. So great was the likeness between the
+two actors, that strangers were puzzled to know which was Kean
+and which was Booth, until the tragedy reached the third act, when
+the genius of Kean made itself felt, and no doubt remained in the
+minds of the audience which was master of his art.</p>
+
+<p>Booth, in fact, discovered that he had made a mistake, and the
+day after his trial at old Drury, signed articles to return to Covent
+Garden for three years. Here he proved a great attraction; he
+must have been in truth an actor of no ordinary merit; his rendering
+of the character of Lear, in particular, met with universal approbation,
+and in this tragedy he was supported by actors of the ability of
+Charles Kemble and William Macready, both of whom he threw
+<span class="pagenum"><a name="page55" id="page55"></a>55</span>
+into the shade. At the end, however, of his engagement, feeling
+that he was incapable of meeting Kean on anything like equal terms,
+he set sail for America.</p>
+
+<p>The appearance of Edmund Kean and Lucius Junius Booth at
+Drury Lane is referred to in a satire entitled, <i>The Rival Richards</i>,
+published by S. W. Fores in 1817. The sketch (evidently the
+work of an amateur) shows us Folly seated on an ass, holding in
+one hand a pair of scales, in one of which stands Booth, and in the
+other Edmund Kean. To the mind of the satirist there appears to
+be no difference in the abilities of the two performers, as the scales
+exactly balance. On the right, the portico of Covent Garden is
+overshadowed by the inelegant but massive proportions of Drury
+Lane; the intervening space being occupied by various figures and
+details, among which is a &ldquo;patent clapping machine.&rdquo; An advertisement
+board carried by one of the figures clearly shows that the
+satire&mdash;an elaborate idea badly worked out&mdash;has reference to the
+period when both actors were engaged at &ldquo;old Drury.&rdquo;</p>
+
+<p>Undoubtedly the most important event of the year 1818 was the
+<span class="sn">1818.<br />Evacuation of France.</span>
+congress of the allied sovereigns at Aix-la-Chapelle, and the evacuation
+of France which followed. By the second treaty of Paris, the
+stay of the occupying armies had been fixed at a period of five
+years; but by an official note, dated the 4th of November, 1818,
+the ministers of Austria, Great Britain, Russia, and Prussia, referring
+to the engagements entered into by the French Government
+with the subscribing powers to that treaty, stated that such
+Government had fulfilled all the clauses of the treaty, and proposed,
+&ldquo;with respect to those clauses, the fulfilment of which was reserved
+for more remote periods, arrangements which were satisfactory&rdquo; to
+the contracting parties. Under these circumstances the sovereigns
+resolved that the military occupation of France should forthwith be
+discontinued.</p>
+
+<p>On the 7th of November, the Duke of Wellington, commander-in-chief
+of the army of occupation, issued an order of the day, taking
+leave of the troops under his command, which concluded in the
+following terms:&mdash;</p>
+
+<p><span class="pagenum"><a name="page56" id="page56"></a>56</span></p>
+
+<p>&ldquo;It is with regret that the general has seen the moment arrive
+when the dissolution of this army was to put an end to his public
+connections and his private relations with the commanders and
+other officers of the corps of the army. The field marshal deeply
+feels how agreeable these relations have been to him. He begs the
+generals commanding in chief to receive and make known to the
+troops under their orders, the assurance that he shall never cease to
+take the most lively interest in everything that may concern them;
+and that the remembrance of the three years during which he has
+had the honour to be at their head, will be always dear to him.&rdquo;</p>
+
+<p>Wellington appears to have received particular marks of distinction
+from the Emperor Alexander; but what may have been the particular
+tittle tattle which led up to the caricature we shall next
+describe, we are now unable to fathom. That it grew out of the
+event which we have attempted to describe will be sufficiently
+obvious. It is entitled, <i>A Russian Dandy at Home; a scene at Aix-la-Chapelle</i>,
+and was published by Fores in December, 1818. In it,
+the satirist shows us the Duke arrayed in the regimentals of a
+Russian general, part of which comprise a pair of jack-boots considerably
+too large for him, a fact which amuses the Emperor and
+certain English and Cossack officers at his back. The following
+doggerel appended to the satire affords an explanation of its meaning:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;It is said that the head of the forces allied,</p>
+  <p class="i2">Not having a coat to his back,</p>
+<p class="i05">A generous monarch the needful supplied;</p>
+<p class="i05">And when thus equipped, they sat down side by side,</p>
+  <p class="i2">To drink their champagne and their sack.</p>
+<p class="i05">Now, doubtless this hero of wonderful note,</p>
+  <p class="i2">Had the monarch allowed him to choose,</p>
+<p class="i05">Would have bartered the honour to sit in his coat,</p>
+  <p class="i2">For the pleasure to stand in his shoes.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:800px; height:538px" src="images/img57.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al"><i>Published February, 1818, by</i> <span class="sc">S. W. Fores</span>, <i>50, Piccadilly</i>]</p>
+<p>A PEEP INTO THE PUMP-ROOM, OR THE ZOMERSETSHIRE FOLK IN A MAZE.</p>
+
+<p class="ar">[<i>Face p. 57.</i></p></td></tr></table></div>
+
+<p>A well-drawn caricature, published by Fores in February, 1818,
+<span class="sn">Queen Charlotte.</span>
+and entitled, <i>A Peep at the Pump Room, or the Zomersetshire Folks
+in a Maze</i>, shows us a singularly ugly old woman habited in a
+wonderful bonnet, and clothes of antiquated make and fashion,
+<span class="pagenum"><a name="page57" id="page57"></a>57</span>
+drinking the Bath waters in the midst of a circle of deeply interested
+and curious gazers. This poor old woman, who looks very like
+an old nurse, is no less a person than Charlotte of Mecklenburg-Strelitz,
+Queen of George the Third, who, in failing health and
+rapidly drawing towards the close of her earthly pilgrimage, had
+been recommended by her physicians to try the effect of the Bath
+waters. The excitement which this event occasioned in the then
+gay, but now decayed western city, is thus referred to by Mrs.
+Piozzi in two of her contemporary letters to Sir James Fellowes:
+&ldquo;The queen has driven us all distracted; such a bustle Bath never
+witnessed before. She drinks at the Pump Room, purposes going
+to say her prayers at the Abbey Church, and a box is making up for
+her at the theatre.&rdquo; And again: &ldquo;Of the clusters in the Pump Room
+who <i>swarm</i> round Queen Charlotte, as if she were actually the queen
+bee, courtiers must give you an account.&rdquo; At the back of Her
+Majesty&rsquo;s chair stands the portly figure of the Duke of Clarence,
+who recommends the old lady to qualify the water (which is evidently
+very distasteful to her) with a little brandy. &ldquo;George and
+I,&rdquo; he adds, &ldquo;always recommend brandy.&rdquo; A fat, well favoured
+woman in a flower-pot bonnet, with a gin bottle in her hand, on the
+other hand recommends the old queen to qualify the Bath water
+with a dash of &ldquo;Old Tom,&rdquo; advice which is seconded by the old
+woman next her. Behind this last stands the physician, watch in
+hand, watching, and moreover predicting in very plain terms, the
+expected action of the medicated water. The folks behind make
+their observations on the old lady&rsquo;s appearance. &ldquo;Well, I declare,&rdquo;
+says one, &ldquo;I see nothing extraordinary to look at.&rdquo; &ldquo;Why, she
+doant look a bit better than oul granny,&rdquo; remarks a country joskin.
+&ldquo;Who said she did, eh, dame?&rdquo; replies her companion. Poor old
+Queen Charlotte was never a beauty, and those who remember her
+exaggerated likenesses in the satires of Gillray, will not fail to
+recognise her in the present satire. One of her well-known habits
+is referred to by the snuff-box which lies at her feet.</p>
+
+<p>The poor old lady was beyond the help of the Bath waters or of
+any earthly assistance.  We find Mrs. Piozzi writing a few months
+<span class="pagenum"><a name="page58" id="page58"></a>58</span>
+later on: &ldquo;Nothing kills the queen, however. It is really a great
+misfortune to be kept panting for breath so, and screaming with
+pain by medical skill: were she a subject, I suppose they would
+have released her long ago; but diseases and distresses of the
+human frame must lead to death at length,&rdquo; which was the case with
+the poor old queen, who died nine months after the date of the
+satire (in November, 1818).</p>
+
+<p>The announcement of the marriages of four of her children this
+year, viz.: of the Princess Elizabeth to Frederick, Landgrave of
+Hesse Homburg; of Edward Augustus, Duke of Kent, to Victoria,
+daughter of the Duke of Saxe-Coburg (and mother of Queen Victoria),
+on the 29th of May; of Adolphus Frederick, Duke of Cambridge, to
+Augusta, daughter of the Landgrave of Hesse, on the 1st of May;
+and of William Henry, Duke of Clarence (afterwards William the
+Fourth), to Adelaide, daughter of the Duke of Saxe-Meiningen, on
+the 11th of July, gave rise to a coarse though admirably executed
+caricature entitled, <i>The Homburg Waltz, with Characteristic Sketches
+of Family Dancing</i>, in which all these royal personages, with the
+Regent at their head, are seen prominently figuring amongst the
+dancers.</p>
+
+<p>A forgotten but ingenious instrument, the kaleidoscope, was
+<span class="sn">Invention of the Kaleidoscope.</span>
+invented by Sir David Brewster in 1818. The leading principles
+of the toy appear to have been accidentally discovered in the course
+of a series of experiments on the polarization of light by successive
+reflections between plates of glass. The invention of this now
+despised toy made a tremendous sensation at the time, and the
+inventor was induced to take out a patent for its protection; but he
+had, it appears, divulged the secret of its construction before he
+had secured the invention to himself, and the consequence was that,
+although &ldquo;it made a hundred shopmen rich,&rdquo; it brought the inventor
+himself but little substantial benefit. This is explained by the fact
+that it was so simple in construction, that even when made without
+scientific accuracy, it served to delight as well as to amuse. So
+largely was it pirated, that it was calculated that no fewer than two
+hundred thousand were sold in three months in London and Paris
+<span class="pagenum"><a name="page59" id="page59"></a>59</span>
+alone. Judging by a caricature of Williams&rsquo;s, published by Fores in
+June, 1818, and its doggerel explanation, the toys would appear even
+at this time to have been made and sold by every street boy. The
+satire is called, <i>Caleidoscopes, or Paying for Peeping</i>. In it, we see the
+pertinacious vendors pushing the sale of their wares upon the passengers
+in the streets&mdash;many of them women. A bishop resolves to
+buy one because the coloured glass reminds him of a painted window
+in his cathedral, another person has paid dearly for &ldquo;peeping,&rdquo; and
+discovers that while gratifying his curiosity, his &ldquo;pocket-book has
+slipped off with two hundred pounds in it.&rdquo; Williams was a satirist
+of the old school, and the allusions made by some of the vendors
+render this otherwise interesting satire wantonly coarse and indelicate.
+Attached to this rare and curious production is the following
+doggerel:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;&rsquo;Tis the favourite plaything of school-boy and sage,</p>
+<p class="i05">Of the baby in arms and the baby of age;</p>
+<p class="i05">Of the grandam whose sight is at best problematical,</p>
+<p class="i05">And of the soph who explains it by rule mathematical.</p>
+
+<p class="i05">Such indeed is the rage for them, chapel or church in,</p>
+<p class="i05">You see them about you, and each little urchin</p>
+<p class="i05">Finding a sixpence, with transport beside his hope,</p>
+<p class="i05">Runs to the tin-man and makes a caleidoscope!&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>Another invention made its appearance in 1819: this was the
+<span class="sn">1819.<br />The Hobby.</span>
+<i>velocipede</i>, or as it was then called &ldquo;the hobby,&rdquo; the grandfather of
+the bicycle and tricycle of our day. A tall gawky perched on the
+summit of a lofty bicycle, with an enormous wheel gyrating between
+a couple of spindle shanks capped with enormous crab-shells, is a
+sufficiently familiar and ridiculous object in our times; but the
+appearance presented by the people of 1819, who adopted the spider
+looking thing called a &ldquo;hobby,&rdquo; was so intensely comical that it
+gave rise to a perfect flood of caricatures. The best of these we
+have personally met with is one entitled, <i>The Spirit Moving the
+Quakers upon Worldly Vanities</i>, a skit upon the Society of Friends
+(published by J. T. Sidebotham). The scene is laid in front of a
+&ldquo;Society of Friends Meeting House,&rdquo; and numerous &ldquo;Friends&rdquo; of
+<span class="pagenum"><a name="page60" id="page60"></a>60</span>
+both sexes are busily engaged in exercising their hobbies. In the
+foreground, a broad-brimmed young &ldquo;Friend&rdquo; gives ardent and
+amorous chase to a lovely Quakeress, who, apparently disinclined
+to encourage his advances, urges her steed to its utmost speed, and
+makes frantic endeavours to get out of his way.</p>
+
+<p>The internal condition of the country this year (1819) gave cause
+<span class="sn">Depression in Trade.</span>
+for much anxiety. Pecuniary distress, owing to the depression in
+trade, was almost universal. This state of things, as might have been
+expected, was taken advantage of by the popular agitators for their
+own purposes; and the people, under their encouragement, as in the
+two previous years, continued to give audible expression to their
+dissatisfaction at meetings, and through the medium of publications
+more or less of a seditious character. The miserable outlook
+gave rise (among others) to a pair of caricatures, published by Fores
+on the 9th of January, <i>John Bull in Clover</i>, and (by way of contrast),
+<i>John Bull Done Over</i>. In the first, fat John is enjoying himself with
+his pipe and his glass; the sleek condition of his dog shows that it
+shares in the comforts of its master&rsquo;s prosperity. John, in fact, has
+what our Transatlantic cousins call &ldquo;a good time;&rdquo; scattered over
+the floor lie invoices of goods despatched by him to customers in
+Spain, in Russia, in America. Beneath a portrait of &ldquo;Good Queen
+Bess,&rdquo; John has pinned several of his favourite ballads: &ldquo;The Land
+we live in,&rdquo; &ldquo;Oh, the Roast Beef of Old England!&rdquo; &ldquo;May we all live
+the days of our life.&rdquo; In <i>John Bull Done Over</i>, a very different picture
+is presented to our notice. The whole of John&rsquo;s fat is gone; he
+sits, a lean, starving, tattered, shoeless object in a bottomless chair,
+the embodiment of human misery. In place of his invoices lie
+the <i>Gazette</i>, which announces his bankruptcy, and a number of
+tradesmen&rsquo;s bills; on the back of his chair is coiled a rope, and on
+the table before him a razor lies on a treatise on suicide,&mdash;John in
+fact is debating by what mode he shall put an end to his existence.
+An onion and some water in a broken jug are the only articles of
+sustenance he has to depend on. The tax gatherer, who has made
+a number of fruitless calls, looks through the broken panes to
+ascertain if John is really &ldquo;at home.&rdquo; On the wall, in place of the
+<span class="pagenum"><a name="page61" id="page61"></a>61</span>
+picture of &ldquo;Good Queen Bess,&rdquo; hangs a portrait of John Bellingham,
+the assassin of Spencer Perceval; and in lieu of his once joyous
+ballads, such doleful ditties as &ldquo;Oh, dear, what can the matter be!&rdquo;
+&ldquo;There&rsquo;s nae luck about the house,&rdquo; and so on. The poor dog,
+grown like his master a lean and pitiable object, vainly appeals to
+him for food.</p>
+
+<p>&ldquo;England&rsquo;s hope&rdquo;<a name="FnAnchor_21" href="#Footnote_21"><span class="sp">21</span></a>&mdash;the darling of the nation&mdash;the amiable and
+interesting Princess Charlotte, whose loss is still lamented after the
+lapse of more than half a century, died in childbirth on the 6th of
+November, 1817; but on the 24th of May, 1819, was born, at
+Kensington Palace, another amiable and august princess, whose life
+has been most happily spared to us&mdash;her present Majesty Queen
+Victoria. To show that the influence of the last century caricaturists
+had not yet left us, this auspicious event immediately gave rise to a
+coarse caricature,<a name="FnAnchor_22" href="#Footnote_22"><span class="sp">22</span></a> published by Fores, and labelled, <i>A Scene in the
+New Farce called the Rivals, or a Visit to the Heir Presumptive</i>, in
+which the scurrilous satirist depicts the supposed mortification and
+jealousy of other members of the royal family. Her Majesty&rsquo;s
+father, the Duke of Kent, died nine months afterwards, on the 23rd
+of January, 1820.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_18" href="#FnAnchor_18"><span class="fn">18</span></a> The new Alhambra.</p>
+
+<p><a name="Footnote_19" href="#FnAnchor_19"><span class="fn">19</span></a> A caricature entitled <i>Doctors Differ</i>, according to Mr. Grego (published in
+1785) is due to Rowlandson. It is possible, therefore, that the present one,
+although not in Rowlandson&rsquo;s style, may be a reproduction.</p>
+
+<p><a name="Footnote_20" href="#FnAnchor_20"><span class="fn">20</span></a> This admirable satire appears to me very like the handiwork of George
+Cruikshank; but not being able positively to identify it, I have given it its place
+in this chapter.</p>
+
+<p><a name="Footnote_21" href="#FnAnchor_21"><span class="fn">21</span></a> See the caricatures of George Cruikshank, 1817.</p>
+
+<p><a name="Footnote_22" href="#FnAnchor_22"><span class="fn">22</span></a> Apparently by Williams.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page62" id="page62"></a>62</span></p>
+<h3>CHAPTER IV.</h3>
+
+<h5><i>MISCELLANEOUS CARICATURES AND SUBJECTS OF
+CARICATURE, 1820-1830.</i></h5>
+
+<p>As in 1809 a revengeful and unscrupulous woman had succeeded in
+<span class="sn">Caroline of Brunswick.</span>
+exposing the reputation of a member of the Royal family to public
+opprobrium, so, in like manner, in 1820, a woman, and no less a
+person in this instance than a titular queen of England, was the
+means of dragging the crown itself through the mire of a disreputable
+scandal. That Caroline of Brunswick was an uncongenial and
+unfitting consort; that she was an utterly unfit and improper person
+to occupy the exalted position of Queen of England, there can be no
+manner of doubt. But to the question whether it was wise, politic,
+or dignified to subject her conduct (however morally criminal) to the
+reproach of a public investigation, there can be but one answer.</p>
+
+<p>The marriage of Caroline, daughter of Charles, Duke of Brunswick-Wolfenbüttel,
+with George, Prince of Wales, was solemnized
+on the 8th of April, 1795. Exactly one year afterwards, and three
+months after the birth of their child, the Princess Charlotte, the pair
+separated. The separation was effected at the instance of the
+prince, and the reasons for his wishing to live apart from her are
+assigned in a letter which he sent her Royal Highness through Lord
+Cholmondeley: &ldquo;Our <i>inclinations</i>,&rdquo; he told her, &ldquo;are not in our
+own power; nor should either be answerable to the other because
+nature has not made us suitable to each other. Tranquil and comfortable
+society is, however, in our power; let our intercourse therefore
+be restricted to <i>that</i>.&rdquo;</p>
+
+<p>Sixty years have elapsed since this miserable woman died, and we
+who are no longer biassed by the political leanings which more or
+<span class="pagenum"><a name="page63" id="page63"></a>63</span>
+less influenced those who regarded her with favour or prejudice, are
+enabled to consider the circumstances from a fair and dispassionate
+point of view. In order that the reader may form his own conclusions
+of her character and disposition, we prefer to quote
+authorities whose political sympathies were distinctly favourable to
+her cause. Writing of his grandmother, Lady de Clifford (governess
+of the Princess Charlotte), Lord Albermarle tells us: &ldquo;She [Lady
+de Clifford] used often to recount to me the events of her court life.
+The behaviour of the Princess of Wales (this was before she left
+England) naturally came under review. I fear that the judgment
+she formed of the conduct of this much sinned against and sinning
+lady coincides but too closely with the verdict that public opinion
+has since passed upon her. To Lady de Clifford she was the source
+of constant anxiety and annoyance. Often, when in obedience to
+the king&rsquo;s [George III.] commands, my grandmother took her young
+charge to the Charlton Villa, the Princess of Wales would behave
+with a <i>levity of manner and language that the presence of her child and
+her child&rsquo;s governess were insufficient to restrain</i>. On more than one
+occasion, Lady de Clifford was obliged to threaten her with making
+such a representation to the king as would tend to deprive her
+altogether of the Princess Charlotte&rsquo;s society. These remonstrances
+were always taken in good part, and produced promises of amendment.&rdquo;<a name="FnAnchor_23" href="#Footnote_23"><span class="sp">23</span></a>
+The Hon. Amelia Murray tells us in her &ldquo;Recollections
+from 1803 to 1837&rdquo;: &ldquo;There was about this period an extravagant
+<i>furore</i> in the cause of the Princess of Wales. She was considered an
+ill-treated woman, and that was enough to arouse popular feeling.
+My brother was among the young men who helped to give her an
+ovation at the opera. A few days afterwards he went to breakfast
+at a place near Woolwich. There he saw the princess, in a gorgeous
+dress, which was looped up to show her petticoat covered
+with stars, with silver wings on her shoulders, sitting under a tree,
+<i>with a pot of porter on her knee</i>; and as a finale to the gaiety, she
+had the doors opened of every room in the house, and selecting
+<span class="pagenum"><a name="page64" id="page64"></a>64</span>
+a partner, she galloped through them, desiring all the guests to
+follow her example! It may be guessed whether the gentlemen were
+anxious to clap her at the opera again.&rdquo; Now this was the personage
+whom certain classes of the community persisted in regarding, sixty
+years ago, as a royal martyr. Small as is the respect or esteem
+which we owe to the memory of George the Fourth, we may almost
+sympathise with him when he calls such a consort &ldquo;uncongenial.&rdquo;</p>
+
+<p>A person so little fitted for the high position which she occupied
+was certain to give trouble; and as far back as 1806, her indiscreet
+conduct had induced the king [George III.] to grant a commission
+to Lords Spencer, Grenville, Erskine, and Ellenborough, to examine
+into the truth of certain allegations which had been made against
+her; and, although their report expressed the most unqualified
+opinion that the graver charges were utterly destitute of foundation,
+such report, nevertheless, concluded with some strictures made by the
+commissioners &ldquo;on the levity of manners displayed by the princess
+on certain occasions.&rdquo;<a name="FnAnchor_24" href="#Footnote_24"><span class="sp">24</span></a> In consequence of this official report, the
+intercourse between the Princess of Wales and her daughter, the
+Princess Charlotte, was subjected to regulation and restraint; they
+were allowed at first a single weekly interview, which, for some
+doubtless sufficient reason, was afterwards reduced to a fortnightly
+meeting.<a name="FnAnchor_25" href="#Footnote_25"><span class="sp">25</span></a></p>
+
+<p>While pitying the mother, we seem scarcely justified in assuming,
+with our present knowledge of her obstinate nature and disposition,
+that these restrictions were imposed without some just and sufficient
+reason. It would seem to have come to the knowledge of the
+Princess Caroline in 1813, that the interdiction was intended &ldquo;to be
+still more rigidly enforced,&rdquo;<a name="FnAnchor_26" href="#Footnote_26"><span class="sp">26</span></a> for on the 14th of January of that year
+we find that she wrote a letter to the Prince Regent, in which she
+complained that the separation of mother and daughter was equally
+injurious to her own character and to the education of her child.
+<span class="pagenum"><a name="page65" id="page65"></a>65</span>
+Adverting to the restricted intercourse between them, she observed
+that in the eyes of the world, &ldquo;this separation of a daughter from
+her mother would only admit ... of a construction fatal to
+the mother&rsquo;s reputation. Your Royal Highness,&rdquo; she continued,
+&ldquo;will pardon me for adding that there is no less inconsistency than
+injustice in this treatment. He who dares advise your Highness to
+overlook the evidence of my innocence, and disregard the sentence
+of complete acquittal which it [<i>i.e.</i> the inquiry of 1806] produced&mdash;or
+is wicked and false enough still to whisper suspicions in your ear,
+betrays his duty to you, sir, to your daughter, and to your people, if
+he counsels you to permit a day to pass <i>without a further investigation
+of my conduct</i>.... Let me implore you to reflect on the
+situation in which I am placed, without the shadow of a charge
+against me, without even an accuser after an inquiry that led to my
+ample vindication, yet treated as if I were still more culpable <i>than
+the perjuries of my suborned traducers represented me</i>, and held up to
+the world as a mother who may not enjoy the society of her only
+child.&rdquo;</p>
+
+<p>No possible objection can be taken to this letter; indeed, by
+whomsoever it was penned, taken altogether it was an admirable
+composition. If, however, we are to credit the statement of Mr.
+Whitbread, made in the House on the 5th of March, 1813, it was
+thrice returned to the writer unopened. But the princess, as we
+shall find, was not a person to be intimidated by any amount of
+rebuffs. &ldquo;At length that letter [we quote Mr. Whitbread] was read
+to him [the Prince Regent], and the cold answer returned was, that
+ministers had received no commands on the subject.&rdquo;<a name="FnAnchor_27" href="#Footnote_27"><span class="sp">27</span></a> The letter
+found its way into the public prints, and then, and not till then, if
+we are to believe Mr. Whitbread, his Royal Highness directed that
+the whole of the documents, together with her Royal Highness&rsquo;s
+communications to himself, should be referred to certain members of
+the Privy Council, who were to report to him their opinion, &ldquo;whether
+under all the circumstances ... it was fit and proper that the
+<span class="pagenum"><a name="page66" id="page66"></a>66</span>
+intercourse between the Princess of Wales and her daughter ...
+should continue to be, subject to regulations and restrictions.&rdquo;<a name="FnAnchor_28" href="#Footnote_28"><span class="sp">28</span></a></p>
+
+<p>In their report, which was presented on the 19th of February,
+the commissioners stated that &ldquo;they had taken into their most
+serious consideration, together with the other papers referred to by
+His Royal Highness, all the documents relative to the inquiry
+instituted in 1806 ... into the truth of certain representations
+respecting ... the Princess of Wales; and, that after full
+examination of all the documents before them, they were of opinion,
+that under all the circumstances of the case, it was highly fit and
+proper, with a view to the welfare of ... the Princess Charlotte
+... and the most important interests of the State, that the
+intercourse between ... the Princess of Wales and the ...
+Princess Charlotte should continue to be subject to regulation
+and restraint.&rdquo;</p>
+
+<p>It was only natural, of course, that Caroline should rebel; and she
+accordingly wrote on the 1st of March a letter to the Speaker,
+protesting against the mode in which this second inquiry had been
+conducted. Motions on her behalf were afterwards brought forward
+successively in the House by Mr. Cockrane Johnson and Mr.
+Whitbread, both of which, however, fell to the ground. The remarks
+made by Mr. Whitbread provoked a speech in the House of Lords
+from Lord Ellenborough (who had been a member of both commissions),
+which is singularly illustrative of the habits and manners
+of the time. After an introduction of great solemnity, his lordship
+said, &ldquo;that, in the case alluded to, the persons intrusted with the
+commission [of 1806] were charged with having fabricated an
+unauthorised document, purporting to relate what was not given in
+evidence, and to suppress what was given. This accusation,&rdquo;
+said his lordship, &ldquo;is as false as h&mdash;&mdash; in every particular.&rdquo;  He
+then proceeded to give an account of the mode in which everything
+had been taken down from the mouth of the witness, and
+afterwards read over to and subscribed by her.<a name="FnAnchor_29" href="#Footnote_29"><span class="sp">29</span></a> He concluded
+<span class="pagenum"><a name="page67" id="page67"></a>67</span>
+his peculiarly energetic speech by again denying, in the most positive
+terms, the truth of the imputation which had been cast upon the
+commissioners.</p>
+
+<p>The inquiry of 1813 set the pencils of the caricaturists in motion,
+and among the satires it occasioned, I find a series of eight pictures
+on one sheet, representing the witnesses, the commissioners,
+Mr. Whitbread, and other persons connected with that and the
+previous investigation of 1806. It is called <i>A Key to the Investigation,
+or Iago Distanced by Odds</i>; and the most amusing of the series
+is the seventh, which represents the furious Lord Ellenborough,
+attired in his official robes of Lord Chief Justice of the King&rsquo;s
+Bench. The following doggerel clearly identifies it with the speech
+from which we have already quoted:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;This is the Chief J&mdash;&mdash; who, as the Lords tell,</p>
+<p class="i05">Swore that the reflections were false!&mdash;black as h&mdash;&mdash;!</p>
+<p class="i05"><i>And though such bad words no man can use fewer</i>,</p>
+<p class="i05">In his rage it was fear&rsquo;d he would pistol the Brewer<a name="FnAnchor_30" href="#Footnote_30"><span class="sp">30</span></a></p>
+<p class="i05">For moving the senate, who all cried, oh fie!</p>
+<p class="i05">That the Lady and B&mdash;&mdash;<a name="FnAnchor_31" href="#Footnote_31"><span class="sp">31</span></a> had told a d&mdash;&mdash;d lie,</p>
+<p class="i05">And were unworthy credit the oaths they did try;</p>
+<p class="i05">And lamented the witness, whose answer when penn&rsquo;d,</p>
+<p class="i05">Without questions which drew them, appear&rsquo;d to portend</p>
+<p class="i05">More reproach than she meant against her good friend.</p>
+<p class="i05">While the hireling servants examined by law,</p>
+<p class="i05">Who thought by a stretch to gain some <i>éclat</i>,</p>
+<p class="i05">While before the commissioners named by the King,</p>
+<p class="i05">To investigate matters and witnesses bring,&rdquo; etc., etc.</p>
+
+</div>
+</td></tr></table>
+
+<p>The eighth of the series is &ldquo;the spring that set all in motion,&rdquo; the
+satirist&rsquo;s meaning being indicated by a throne, on which lies a
+cocked hat adorned with the Prince of Wales&rsquo; feathers, and beneath
+it, as is usual in a large proportion of the satires which allude to
+the prince-regent, a number of empty bottles.</p>
+
+<p>The Regent seems never to have lost an opportunity of insulting
+his uncongenial and unfortunate wife. In anticipation of the expected
+visit of the allied sovereigns in June, 1814, the prince
+<span class="pagenum"><a name="page68" id="page68"></a>68</span>
+conveyed an intimation to his royal mother that, as he considered his
+presence could not be dispensed with at her ensuing drawing-rooms,
+he desired it to be distinctly understood, &ldquo;for reasons of which he
+alone could be the judge, to be his fixed and unalterable determination
+not to meet the Princess of Wales upon any occasion, either
+in public or private.&rdquo;<a name="FnAnchor_32" href="#Footnote_32"><span class="sp">32</span></a> Queen Charlotte was bound of course to
+give an official intimation to that effect to the Princess Caroline,
+which, on the 24th and 26th of May, 1814, brought from her letters
+to the queen and the Regent. In the first of these communications
+she intimated her intention of &ldquo;making public the cause of her
+absence from Court at a time when the duties of her station would
+otherwise peculiarly demand her attendance&rdquo;; while her letter to
+her husband contained the following intimation: &ldquo;Your Royal Highness
+may possibly refuse to read this letter; but the world must
+know that I have written it, and they will see my real motives for
+foregoing in this instance the rights of my rank. Occasions,
+however, may arise (one, I trust, is far distant) when I <i>must</i> appear
+in public, and your Royal Highness must be present also. Can
+your Royal Highness have contemplated the full extent of your
+declaration? Has your Royal Highness forgotten the approaching
+marriage of our daughter [to the Prince of Orange] and the possibility
+of our coronation?&rdquo; These words show that from the first
+Caroline had decided, <i>coûte que coûte</i>, when the time came to assert
+her position, in spite of the opposition of her husband and any
+obstacles which might be raised by his friends and advisers.</p>
+
+<p>We have entered rather fully into this matter, because it seemed
+to us necessary, in order that the reader might understand the
+temper of Caroline, and the motives which influenced her in the
+extraordinary course of conduct which she afterwards thought fit
+to pursue. She was treated, we have seen, with the most cruel and
+studied insult; excluded from ceremonials at which her rank and
+position entitled her to be present. &ldquo;Sir,&rdquo; said the unfortunate
+woman in the letter to her husband to which we have alluded, &ldquo;the
+<span class="pagenum"><a name="page69" id="page69"></a>69</span>
+time you have selected for this proceeding is calculated to make it
+peculiarly galling. Many illustrious strangers are already arrived
+in England; among others, as I am informed, the illustrious heir
+of the house of Orange, who has announced himself to me as my
+future son-in-law. From their society I am unjustly excluded.
+Others are expected, of rank equal to your own, to rejoice with your
+Royal Highness in the peace of Europe. My daughter will for
+the first time appear in the splendour and publicity becoming the
+approaching nuptials of the presumptive heiress of this empire.
+This season your Royal Highness has chosen for treating me with
+great and unprovoked indignity; and of all his Majesty&rsquo;s subjects,
+I alone am prevented by your Royal Highness from appearing in
+my place, to partake of the general joy, and am deprived of the
+indulgence of those feelings of pride and affection permitted to
+every mother but me.&rdquo; Poor mother! who may help pitying her!
+Her most prejudiced enemy will admit that this was an eloquent
+and noble protest. Had she only maintained this language and
+attitude, we should justly assign to her a place amongst the royal
+martyrs of history. Naturally this barbarous, impolitic treatment
+soured her, as it would sour even the sweetest disposition. In an
+evil hour for her, and we may add for this country, she solicited
+and obtained permission to travel abroad.</p>
+
+<p>No sooner was she freed from the restraints which had surrounded
+her at home, than her conduct not only makes us doubt whether
+she had any hand in the composition of this maternal appeal, but
+appears to justify the conclusions at which the commissioners of
+1806 and 1813 seem to have arrived. Her temper was obstinate
+and wilful. She knew that she was watched; and from a spirit apparently
+of wanton mischief, designed with the view doubtless of
+annoying her enemies, she indulged in a series of the most extraordinary
+and undignified vagaries. She took into her service and
+received into her closest confidence and favour persons of the
+lowest position. It was impossible for rumours of her extraordinary
+eccentricities not to reach, not only the ears of those who detested
+her, but in an imperfect and incorrect degree those of the general
+<span class="pagenum"><a name="page70" id="page70"></a>70</span>
+public. That this was the case is shown by a caricature entitled,
+<i>Paving the way for a Royal Divorce</i>, published by Johnston on the
+1st of October, 1816, in which we see the corpulent Regent at table
+with Lord Liverpool, &ldquo;Old Bags&rdquo;<a name="FnAnchor_33" href="#Footnote_33"><span class="sp">33</span></a> (Chancellor Eldon), Lord Chief
+Justice Ellenborough, Vansittart, Chancellor of the Exchequer, and
+another, probably intended for Viscount Sidmouth. His Royal
+Highness is made by the caricaturist to say that he and his sympathizers
+think &ldquo;we shall now succeed, having secured some evidence
+from the coast of Barbary.... I have got everything as clear
+as the sun at noon-day.... Now for a divorce as soon as
+possible.&rdquo; Lord Chancellor Eldon says, &ldquo;I&rsquo;ll stick to your Highness
+through thick and thin, or never call me &lsquo;Old Bags&rsquo; again as
+long as I live.&rdquo; Lord Liverpool supports him by the assurance,
+&ldquo;I&rsquo;m an unmatched negotiator, and I&rsquo;ll enter into a treaty with the
+House of Commons to secure your suit.&rdquo; The temper of the Commons
+is shown by the doubts expressed by the individual we take to
+be intended for Viscount Sidmouth. &ldquo;I have my doubts,&rdquo; says this
+person, at the same time laying his hands on the port wine decanter,
+&ldquo;I have my doubts and qualms of conscience, your Highness; what
+say you, Van?&rdquo; &ldquo;Oh, my lord,&rdquo; replies Vansittart, who is seated
+on the &ldquo;Budget,&rdquo; &ldquo;I have some strange touches of feeling on the
+subject.&rdquo; Up rises the hot-tempered Lord Chief Justice, upsetting
+a decanter of port wine, and at the same time the chair on which
+he has been sitting, &ldquo;Don&rsquo;t put me in a passion with your
+&rsquo;qualms&rsquo; and your &lsquo;touches&rsquo;; they are all false, false as h&mdash;&mdash;!
+I&rsquo;ll blow you all to the d&mdash;&mdash;l if you don&rsquo;t stick to your master
+manfully!!&rdquo; By the side of the prince we see, as usual, a pailful
+of wine bottles, and at his feet, in allusion to his notorious infidelities,
+an open volume entitled, &ldquo;The Secret Memoirs of a
+Prince, by Humphrey Hedghog, Esq., 1815.&rdquo; By the side of the
+Lord Chief Justice lie three portly volumes labelled, &ldquo;The Law of
+Divorce.&rdquo; It will be evident from the foregoing, that from an early
+<span class="pagenum"><a name="page71" id="page71"></a>71</span>
+period, the satirists on the popular side gave credit to the prince
+and his advisers for being members of a secret conspiracy for compassing
+the ruin of the erring and unfortunate woman.</p>
+
+<p>Now what was the &ldquo;evidence&rdquo; to which the corpulent Regent
+is made to refer in the sketch before us? It was not of course
+<i>evidence</i>, but rumour; and rumour said the strangest things of the
+Princess Caroline. It associated her name with that of a courier,&mdash;a
+low Italian, named Bartolomeo Bergami; it said that she had
+enriched and ennobled this man and other members of his family;
+procured for him a barony in Sicily; decorated him with several
+orders of knighthood; and asserted in the plainest terms that she
+was living with him in a state of open and notorious adultery.
+These reports rendered it necessary to ascertain on what foundation
+they rested, and the result was that in 1818, Mr. Cooke, of the
+Chancery Bar, and Mr. Powell, a solicitor, were despatched into
+Germany and Italy to collect evidence with respect to her conduct.
+This inquiry, which is generally known as the &ldquo;Milan Commission,&rdquo;
+seemed certainly preferable to an investigation of a more public
+and notorious character; and upon the evidence these gentlemen
+obtained was founded the &ldquo;Bill of Pains and Penalties,&rdquo; which we
+shall presently have to consider.</p>
+
+<p>It is quite clear that the ministers of 1820 were strongly averse
+<span class="sn">1820.</span>
+to the introduction of the &ldquo;Bill of Pains and Penalties,&rdquo; which is
+now known to us as the &ldquo;Trial of Queen Caroline.&rdquo; The whole
+odium indeed of the proceedings rested upon them at the time;
+but we have no reason to doubt the statement of Mr. Charles
+Greville, under date of 20th February, 1820, that they had offered
+to resign, &ldquo;because the king would not hear reason.&rdquo; It seems
+at any rate tolerably certain that, although they brought forward
+the &ldquo;Bill of Pains and Penalties&rdquo; under pressure of the Crown,
+they did not do so until they had well-nigh exhausted every effort
+short of actual resignation (this dignified position they did <i>not</i> take)
+to avoid it. Mr. Wade tells us that &ldquo;their first indiscretion consisted
+in commencing hostilities against the queen by the omission
+of her name in the liturgy, thereby provoking her claim to legal
+<span class="pagenum"><a name="page72" id="page72"></a>72</span>
+rights;&rdquo;<a name="FnAnchor_34" href="#Footnote_34"><span class="sp">34</span></a> but this omission, which appears to us justifiable under
+the circumstances, Mr. Greville shows us was due to the action
+of the king himself.<a name="FnAnchor_35" href="#Footnote_35"><span class="sp">35</span></a> In the month of June, 1819, a communication
+appears to have been received from Mr. Brougham, the professional
+adviser of the princess, and understood to be charged with
+the confidential management of her affairs. The proposal contained
+in this communication was in substance, that her then income of
+£35,000 a year should be secured to her for life, instead of terminating
+with the demise of the crown: and that she should undertake
+upon that arrangement being made to reside permanently abroad,
+and not to assume at any time the rank or title of Queen of England.
+This proposal, however, being stated to be made without any
+authority from the princess, or knowledge of it on her part, the
+Government at that time replied that there would be no indisposition
+at the proper time to entertain the principle on which the
+proposal was grounded, if it met with the approbation of her Royal
+Highness on the king&rsquo;s accession. The ministers, reverting to Mr.
+Brougham&rsquo;s proposal, offered to raise the already handsome allowance
+to £50,000 a year, subject to the conditions before mentioned.
+Caroline, however, peremptorily declined the proposal, alleging that
+it had been made without her knowledge or sanction. Unfortunately,
+too, this offer when made to Caroline herself, was coupled
+with the intimation that if the queen should &ldquo;be so ill-advised as
+to come over to this country, there must be <i>an end to all negotiations
+and compromise</i>.&rdquo;<a name="FnAnchor_36" href="#Footnote_36"><span class="sp">36</span></a> Considering the temper and disposition of the
+woman, the fact that she had demanded the insertion of her name
+in the liturgy, the haughty assertion of her claim &ldquo;to be received
+and acknowledged as the Queen of England,&rdquo; and the communication
+made at the same time of her desire that a royal yacht should
+be in readiness to receive her at Calais,<a name="FnAnchor_37" href="#Footnote_37"><span class="sp">37</span></a> it appears to us a greater
+mistake on the part of the ministry could scarcely have been made.
+It aroused her woman&rsquo;s nature, and flaming with the anger and
+<span class="pagenum"><a name="page73" id="page73"></a>73</span>
+resentment which she had nourished for so long a course of years,
+she boldly took up the gauntlet her enemies had flung at her feet,
+and crossed the Channel almost as soon as the astonished Government
+messenger himself.</p>
+
+<p>The queen (for she was titular Queen of England now) arrived
+in London on the 7th of June: &ldquo;the road was thronged with an
+immense multitude the whole way from Westminster Bridge to
+Greenwich. Carriages, carts, and horsemen followed, preceded,
+and surrounded her coach the whole way. She was everywhere
+received with the greatest enthusiasm. Women waved pocket-handkerchiefs,
+and men shouted wherever she passed. She travelled
+in an open landau, Alderman Wood sitting by her side, and Lady
+Ann Hamilton [the Duke of Hamilton&rsquo;s sister] and another woman
+opposite.... The queen looked exactly as she did before
+she left England, and seemed neither dispirited nor dismayed.&rdquo;<a name="FnAnchor_38" href="#Footnote_38"><span class="sp">38</span></a>
+In one of the popular satires of the day we see her standing on the
+balcony of Alderman Wood&rsquo;s house in South Audley Street, receiving
+and acknowledging the enthusiastic plaudits of her admirers. The
+very day she arrived at Dover, a royal message was sent down to
+Parliament, by which the king commended to the Lords an inquiry
+into the conduct of the queen; while on the following day, Mr.
+Brougham read in the House of Commons a message or manifesto
+from his client, declaring that her return was occasioned by the
+necessity her enemies had laid upon her of defending her character
+and conduct.</p>
+
+<p>Both parties now stood irrevocably committed to the fatal
+<span class="sn">The Bill of Pains and Penalties.</span>
+measure. A secret committee of the House of Lords proceeded
+to open the celebrated <i>green bag</i>, which contained the reports of the
+Milan Commission; and on the 4th of July they made their report,
+recommending a solemn inquiry into the conduct of the queen.
+Next day the Earl of Liverpool presented a &ldquo;bill of pains and
+penalties&rdquo; entitled, &ldquo;An Act to deprive Her Majesty Queen Caroline
+Amelia Elizabeth of the title, prerogative, rights, privileges, and
+<span class="pagenum"><a name="page74" id="page74"></a>74</span>
+exemptions of Queen Consort of this realm, and to dissolve the
+marriage between His Majesty and the said Caroline Amelia
+Elizabeth&rdquo; on the ground of the grossly immoral conduct therein
+alleged against her.</p>
+
+<p>The ill-advised proceedings once commenced, no time was lost
+in carrying them through. On the 7th of July the Italian witnesses
+in support of the bill (twelve in number) landed at Dover. The
+object of their visit soon became known, and on emerging from the
+custom house they were set upon and badly beaten by a furious
+crowd, composed principally of women. They were lodged in a
+building then separating the old houses of Parliament, which, with
+its enclosure, was called Cotton Garden; the front faced the abbey,
+the rear the Thames. &ldquo;The land entrance was strongly barricaded.
+The side facing Westminster Bridge was shut out from the public
+by a wall run up for the express purpose at a right angle to the
+Parliament stairs. Thus the only access was by the river. Here
+was erected a causeway to low-water mark; a flight of steps led to
+the interior of the inclosure. The street was guarded by a strong
+military force, the water side by gunboats. An ample supply of
+provisions was stealthily (for fear of the mob) introduced into the
+building; a bevy of royal cooks was sent to see that the food was
+of good quality, and to render it as palatable as their art could
+make it. About this building, in which the witnesses were immured
+from August till November, the London mob would hover like a cat
+round the cage of a canary. Such confinement would have been
+intolerable to the natives of any other country, but it was quite in
+unison with the feelings of Italians. To them it realized their
+favourite &lsquo;<i>dolce far niente</i>.&rsquo; Their only physical exertion appears
+to have been the indulgence in that description of dance that the
+<i>Pifferari</i> have made familiar to the Londoner.&rdquo;<a name="FnAnchor_39" href="#Footnote_39"><span class="sp">39</span></a> Such was the
+residence of the Italian witnesses against the queen, and it is
+certain that if they had ventured beyond its precincts they would
+have been torn in pieces.</p>
+
+<p><span class="pagenum"><a name="page75" id="page75"></a>75</span></p>
+
+<p>The appearance which Caroline of Brunswick presented at her
+trial was an outrageous caricature, and is thus described by one
+then distinctly friendly to her cause&mdash;the Earl of Albemarle:
+&ldquo;The peers rose as the queen entered, and remained standing
+until she took her seat in a crimson and gilt chair immediately in
+front of her counsel. Her appearance was anything but prepossessing.
+She wore a black dress with a high ruff, an unbecoming gipsy
+hat with a huge bow in front, the whole surmounted by a plume of
+ostrich feathers. <i>Nature</i> had given her light hair, blue eyes, a fair
+complexion, and a good-humoured expression of countenance; but
+these characteristics were marred by <i>painted eyebrows</i>, and by a <i>black
+wig</i> with a profusion of curls, which overshadowed her cheeks and
+gave a bold, defiant air to her features.&rdquo; The names of the witnesses,
+and possibly the precise nature of the testimony against her,
+would seem to have been unknown to the queen, for we have it on
+record that when the first witness (Teodoro Majoochi, the celebrated
+&ldquo;Non Mi Ricordo&rdquo;) was placed at the bar, on the 21st of August,
+Her Majesty, &ldquo;uttering a loud exclamation, retired hastily from
+the House, followed by Lady Ann Hamilton.&rdquo;<a name="FnAnchor_40" href="#Footnote_40"><span class="sp">40</span></a> She evidently
+laboured under some strong emotion, whether of surprise or displeasure,
+or both, seems never to have been ascertained.</p>
+
+<p>Among the general public, and even in the House of Commons
+itself, the falsehood of all that had been alleged on oath against
+the queen was assumed as an undeniable axiom; the witnesses
+were loaded with the most opprobrious epithets, while those who
+had been concerned in collecting or sifting evidence were represented
+as conspirators or suborners. We shall see, when we come
+to speak of the caricatures of Robert Cruikshank, the light in which
+these unhappy witnesses were regarded by the graphic satirists on
+the popular side.<a name="FnAnchor_41" href="#Footnote_41"><span class="sp">41</span></a> Nevertheless, if their testimony is carefully read
+over by any unprejudiced person having any knowledge of the law
+of evidence, in spite of the badgering of Mr. Brougham, the admirable
+<span class="pagenum"><a name="page76" id="page76"></a>76</span>
+speech of that gentleman, and the testimony of the witnesses
+on the other side, I think he cannot fail to come to any other
+conclusion than that expressed by the then Lord Ellenborough, that
+Her Royal Highness was &ldquo;the last woman a man of honour would
+wish his wife to resemble, or the father of a family would recommend
+as an example to his daughters. No man,&rdquo; said his lordship,
+&ldquo;could put his hand on his heart and say that the queen was
+not wholly unfit to hold the situation which she holds.&rdquo;<a name="FnAnchor_42" href="#Footnote_42"><span class="sp">42</span></a> He will
+see too, by reference to the report of the proceedings in the &ldquo;Annual
+Register,&rdquo; that of the peers who decided to vote against the second
+reading of the bill on the ground of <i>inexpediency</i>, a large majority
+gave it as their deliberate opinion that the case had been proved
+against the queen.<a name="FnAnchor_43" href="#Footnote_43"><span class="sp">43</span></a> In a very clever pictorial satire, published by
+S. Humphrey in 1821, the queen, Bergami, and a third figure
+(possibly intended for Alderman Wood) are represented as standing
+on a pedestal forming the apex of a slender stem labelled &ldquo;Mobility,&rdquo;
+which rests on a base marked &ldquo;Adultery.&rdquo; The whole
+structure depends for support on a broom (in allusion of course to
+Mr. Brougham) and two frail pieces of wood, labelled respectively,
+&ldquo;Sham addresses,&rdquo; and &ldquo;Sham processions,&rdquo; which in turn rest on
+a slender railing, while a ladder on either side, marked &ldquo;Brass&rdquo; and
+&ldquo;Wood,&rdquo; lend a further slight support to the very insecure fabric.
+The superincumbent weight of the queen and Bergami breaks the
+frail stem in pieces, and the three figures tumble to the ground
+together. The back of the design is occupied with scenes and
+incidents detailed in the evidence. A very clever caricature, without
+date (published by T. Sidebotham), I am inclined to assign to
+this period; and if so, it is one of the most plain spoken and telling
+satires ever published. It is entitled, <i>City Scavengers Cleansing the
+London Streets of Impurities</i>; a placard which has fallen in the
+street sufficiently explains its meaning: &ldquo;By particular desire of the
+Society for the Suppression of Vice, D&mdash; of K&mdash;t in the chair,
+<span class="pagenum"><a name="page77" id="page77"></a>77</span>
+ordered that the city officers do keep the streets clear of common
+prostitutes.&mdash;Signed, Wood, Mayor.&rdquo;<a name="FnAnchor_44" href="#Footnote_44"><span class="sp">44</span></a></p>
+
+<p>A more foolish and undignified proceeding, however, than this
+&ldquo;Bill of Pains and Penalties&rdquo; can scarcely be conceived. Its fate
+might almost have been predicted from the first. The second
+reading was carried on the 6th of November, by a majority of
+twenty-eight, but the third (for the reasons already given) by a
+majority of nine only; whereupon, the Earl of Liverpool said that,
+&ldquo;had the third reading been carried by as considerable a number
+of peers as the second had been, he and his colleagues would have
+felt it their duty to persevere with the bill and to send it down
+to the other branch of the legislature. In the present state of the
+country, however, ... they had come to the determination
+not to proceed further with it.&rdquo;<a name="FnAnchor_45" href="#Footnote_45"><span class="sp">45</span></a>  The victory will be acknowledged
+by us now-a-days as damaging as a defeat; but the result, curious
+to relate, was hailed by the queen and her party as if her innocence
+had been triumphantly vindicated. In signing a document prepared
+by her counsel on the 8th of November, she wrote, &ldquo;Carolina
+Regina,&rdquo; adding the words, &ldquo;there, <i>Regina</i> still, in spite of them.&rdquo;
+The abandonment of the bill was followed by three nights of
+illumination; but it was observed that they were of a very partial
+character, wholly unlike those which had greeted the great victories
+by sea and land, in which the public sympathy was spontaneous
+and universal. The mob in some cases testified its disapproval
+when these signs of satisfaction were wanting; and one gentleman
+in Bond Street, on being repeatedly requested to &ldquo;light up,&rdquo; placed
+a single rushlight in his two-pair-of-stairs window. Some of the
+transparencies were, as might have been expected, of a singular
+character. A trunk maker in the same street displayed the following
+<span class="pagenum"><a name="page78" id="page78"></a>78</span>
+new reading from Genesis: &ldquo;And God said, It is not good
+the King should reign alone.&rdquo; A publican at the corner of Half
+Moon Street exhibited a flag whereon, in reference to the unpopular
+witness Teodoro Majoochi, was depicted a gallows with the following
+inscription:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;<i>Q.</i> What&rsquo;s that for?</p>
+<p class="i05"><i>A.</i> Non Mi Ricordo.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>An enthusiastic cheesemonger at the top of Great Queen Street
+displayed a transparency on which he had inscribed the following
+verses:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Some friends of the devil</p>
+<p class="i05">With mischief and evil</p>
+  <p class="i2">Filled a green bag of no worth;</p>
+<p class="i05">But in spite of the host,</p>
+<p class="i05">It gave up the ghost</p>
+  <p class="i2">And died 53 days after birth.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>The caricaturists of course were not idle, and the trial of Queen
+Caroline provoked a perfect legion of pictorial satires. The queen&rsquo;s
+victory is celebrated in one of the contemporary caricatures
+(published by John Marshall, junior) under the title of <i>The Queen
+Caroline Running down the Royal George</i>; while on the ministerial
+side it is recorded (among others) by a far more elaborate and
+valuable performance (published by G. Humphrey), called, <i>The
+Steward&rsquo;s Court of the Manor of Torre Devon</i>, which contains an
+immense number of figures, and wherein the queen is seated on
+a black ram<a name="FnAnchor_46" href="#Footnote_46"><span class="sp">46</span></a> in the midst of one of the popular processions, the
+members of which carry poles bearing pictorial records of the
+various events brought out in evidence against her.</p>
+
+<p><span class="pagenum"><a name="page79" id="page79"></a>79</span></p>
+
+<p>It is one of the peculiarities of our &ldquo;Glorious Constitution,&rdquo;
+that while the ministers who acted under his direction incurred
+all the blame, the prime instigator of all these exposures was enabled
+to shelter himself behind the backs of his &ldquo;advisers.&rdquo; The
+ministers were unpopular,&mdash;they deserved to be so, for, whatever
+might have been the consequences to themselves so far as loss
+of office was concerned, they should have refused from the first
+to lend themselves to the publication of a scandal so utterly
+grievous. The king himself at this time was far from unpopular;
+the odium he had incurred the previous year by the thanks he had
+caused to be conveyed to Major Trafford, &ldquo;and the officers, non-commissioned
+officers, and privates&rdquo; of the yeomanry who had
+signalized themselves in the massacre at Manchester (an outrage
+which, by the way, led to a number of pictorial satires), seemed
+to have wholly passed away. He was at Ascot only two days
+before the queen&rsquo;s arrival, and &ldquo;was always cheered by the mob
+as he went away. One day only a man in the crowd called out
+&ldquo;Where&rsquo;s the Queen?&rdquo;<a name="FnAnchor_47" href="#Footnote_47"><span class="sp">47</span></a> Again, we find on the same authority,
+that on the night of the 6th of February, 1821: &ldquo;The king went
+to the play (Drury Lane) for the first time, the Dukes of York
+and Clarence and a great suite with him. He was received with
+immense acclamations, the whole pit standing up, hurrahing and
+waving their hats. The boxes were very empty at first, for the
+mob occupied the avenues to the theatre, and those who had
+engaged boxes could not get to them. The crowd on the outside
+was very great.... A few people called &lsquo;The Queen!&rsquo; but
+very few. A man in the gallery called out, &lsquo;Where&rsquo;s your wife,
+Georgy?&rsquo;<a name="FnAnchor_48" href="#Footnote_48"><span class="sp">48</span></a> His reception at Covent Garden the following night
+appears to have been equally loyal and gratifying.</p>
+
+<p>The truth was, that the numerous and truly honest people who
+sympathized with Queen Caroline, did so from little admiration
+for herself, but because she had been the victim of twenty-five
+years&rsquo; persecution; because, however great her follies, they had been
+<span class="pagenum"><a name="page80" id="page80"></a>80</span>
+grievously provoked; and above all, because they felt that the man
+who was her most powerful and relentless persecutor, was the
+very last who was justified in casting a stone against her. The
+ministerialists and their supporters, however, attributed the sympathy
+which was shown by her professed admirers exclusively to a political
+origin, and thus stigmatized the motives of their opponents (with
+more justice than poetry) in one of the jingling rhymes of the
+day:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;What&rsquo;s the Queen to Reformists? as Queen was to France,</p>
+<p class="i05">Round her head and her consort&rsquo;s they&rsquo;d equally dance.</p>
+<p class="i05">They care not for Caroline, nor king, nor for queen,</p>
+<p class="i05">A pretext they want their intentions to screen,</p>
+<p class="i05">&rsquo;The Queen!&rsquo; is the Radicals&rsquo; rallying cry;</p>
+<p class="i05">A queen bears the standard the king to defy.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>How entirely unfitted this mistaken woman was to figure in the
+august position of a queen of England may be judged from her
+subsequent conduct. Instead of contenting herself with her victory,
+such as it was, she had the ill taste, in spite of the remonstrances
+of her friends and advisers, to communicate to the Lord Mayor,
+through the medium of her &ldquo;vice chamberlain,&rdquo; her intention to
+proceed to St. Paul&rsquo;s in a public manner on Wednesday, the 29th
+of November, there and then to offer up her thanksgivings for
+the result: and this resolution she actually carried out. The details
+of her procession, which really reminds us of the entry of a
+company of equestrians into some provincial town, need not be
+entered into here; suffice it to say that it comprised trumpeters
+without number, stewards&rsquo; carriages, gentlemen on horseback, the
+corpulent queen herself, with her attendant, Lady Ann Hamilton,
+and the indispensable Alderman Wood, the whole closing with
+&ldquo;the various trades with flags and banners.&rdquo; It would appear
+to us that one of the rarest of the caricatures on the ministerial
+side has reference to this triumphal entry. It is labelled, <i>Grand
+Entrance to Bamboozlem</i>, and was published by Humphrey shortly
+afterwards. The queen is represented at the head of a procession,
+all the members of which (herself included) are mounted on
+<span class="pagenum"><a name="page81" id="page81"></a>81</span>
+braying &ldquo;jackasses.&rdquo; A figure, intended no doubt for Alderman
+Wood, habited in a fool&rsquo;s cap and jester&rsquo;s dress, holds her by the
+hand; the lady who follows him, playing on the fiddle and wearing
+a Scotch bonnet, is meant for Lady Ann Hamilton (she is named
+&ldquo;Lady Ann Bagpipe&rdquo; in the sketch); Bergami (immediately
+behind) carries a banner inscribed &ldquo;Innocence&rdquo;; and next him,
+his fat sister, whom the queen had dignified with the title of a
+countess; Venus and Bacchus appear amongst the crowd, and are
+labelled &ldquo;Protégés and bosom friends of Her M&mdash;&mdash;y.&rdquo;  She is
+welcomed by an enthusiastic body of butchers with marrow-bones
+and cleavers; while among the crowd waiting to receive her we
+notice Orator Hunt and the other popular leaders of the day.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:700px; height:657px" src="images/img81.jpg" alt="" /></td></tr>
+
+<tr><td><p class="ar">[<i>Face p. 81.</i></p></td></tr></table></div>
+
+<p>And here we drop for the present the subject of Queen Caroline,
+a subject we have approached with caution, although conscious
+that it can be by no means omitted from a work treating of
+graphic satires of the nineteenth century. That she should now
+accept the £50,000 per annum which she had previously refused,
+will probably not surprise the reader. The end of a career so
+strangely undignified will be seen when we come to treat of the
+caricatures of George Cruikshank.</p>
+
+<p>The duel between the Dukes of Buckingham and Bedford; the
+erection of the statue of Achilles in Hyde Park; the new Marriage
+Act; the second French invasion of Spain under the Duc d&rsquo;Angoulème;
+the Tenth Hussars; Miss Foote, the celebrated actress;
+Edmund Kean; and the commercial distress of 1825-6, afford
+subjects for the pencils of the caricaturists, and will be mentioned
+in the chapters which relate to the graphic satires of the brothers
+Cruikshank.</p>
+
+<p>The pictorial satirists were kept fully employed by the political
+<span class="sn">Greek War of Independence.</span>
+events of 1827 and 1828. The former year beheld the sanguinary
+Greek war of independence. Things turned out badly for the
+over-matched Greeks, until at last Great Britain, France, and Russia
+interposed with Turkey on their behalf. The proposals offered were
+such as the Turks refused to entertain. The Porte, in refusing
+them, maintained that, though mediation might be allowable in
+<span class="pagenum"><a name="page82" id="page82"></a>82</span>
+matters of difference between independent states, it was utterly
+inadmissible as between a power and its revolted subjects. The
+allied powers then proposed an armistice, demanding a reply within
+fifteen days, plainly intimating that in the event of refusal or silence
+(which would be construed into a refusal), they should resort to
+measures for <i>enforcing</i> a suspension of hostilities.</p>
+
+<p>In the meantime arrived at Navarino the Egyptian fleet, consisting
+<span class="sn">Battle of Navarino.</span>
+of ninety-two sail, including fifty-one transports, having on
+board 5,000 fresh troops. Ibraham Pacha&rsquo;s attempt to hoodwink
+the British, and to land these troops at Patras, was foiled by the
+vigilance and determination of the English admiral. Disappointed
+in these attempts, he proceeded, in the teeth of the warnings which
+had been given him, to execute his orders to put down the insurrection
+on land, and carried them out with merciless atrocity,&mdash;ravaging
+the Morea with fire and sword. Resolved now to bring
+matters to an issue, the combined fleets in October, 1827, entered
+the harbour. As was expected would happen, the Turks fired upon
+them, and then ensued the famous battle of Navarino, in which,
+after a four hours&rsquo; engagement, the Turkish and Egyptian fleets were
+annihilated, and the bay strewed with the remains of their ruined
+vessels.</p>
+
+<p>Russia declared war against Turkey the following year, and we
+meet with many miscellaneous caricatures having reference to the
+conflict which followed. In one, published by Maclean (without
+date) entitled, <i>Russian Bears&rsquo; Grease, or a Peep into Futurity</i>, we
+see the Russian bear running off with Greece in spite of England,
+France, and Austria. Another (also without date), is labelled
+<i>The Descent of the Great Bear, or the Mussulmans in a Quandary</i>.
+In a third (also without date), called <i>The Nest in Danger</i>, we see
+Turkey sitting on a nest marked &ldquo;Greece&rdquo; disturbed by Russia,
+whilst the British lion stands looking on at no great distance, discontentedly
+gnawing a bone labelled &ldquo;Navarino.&rdquo; By the time
+peace was concluded between the belligerents in 1829, England
+would seem to have realized the fact that she had been made the
+tool of Russia, and this is the obvious idea intended to be conveyed
+<span class="pagenum"><a name="page83" id="page83"></a>83</span>
+by the satirist in another caricature (also without date, but bearing
+obvious reference to the same subject). The Porte is represented
+in the act of <i>presenting a bill of indemnification</i> to George the
+Fourth.</p>
+
+<p>The principal political topic remaining to be noticed is the
+<span class="sn">Catholic Relief Bill.</span>
+Catholic Relief Bill of 1829, a measure forced upon the king, the
+ministry, the church, and the aristocracy by the imperative force
+of circumstances, directed by the prescience of a minister who,
+sharing at first all the objections of his colleagues, felt nevertheless
+that a large portion of his Majesty&rsquo;s subjects were labouring
+under disabilities and fettered by restrictions inconsistent with the
+boasted liberties of a free people; and that such a measure, in the
+face of the political changes which had been loudly demanded
+for a long time past, could no longer be delayed. It is not surprising,
+however, that Wellington and his colleagues, following out
+the maxims of a Whig policy, should be viewed by their own party
+somewhat in the light of traitors. Accordingly we see them figuring
+in this character in some of the caricatures of the day, one of
+which (one of the &ldquo;Paul Pry&rdquo; series), published by Geans in 1829,
+may be cited as an example of the rest, and shows them to us in
+the act of <i>Burking Old Mrs. Constitution, aged 141</i>.</p>
+
+<p>In this and the two preceding chapters we have attempted to
+give an account of some of the leading events of the first thirty
+years of the century, illustrating them by reference to a <i>few</i> of
+the miscellaneous caricatures of the period. We have adopted
+this method of arrangement because, if our theory be correct, it
+was during this period that the art of caricature continued to
+flourish, and it is from this period that we date its speedy decline
+and downfall. We think that the prime cause of this decline
+may be traced to the fact that George Cruikshank, the best of
+nineteenth century satirists, had by this time resigned the art to
+follow his new employment of an illustrator of books; we think,
+too, that caricature received an additional impetus in its downward
+progress by the secession from the ranks of its professors
+of the veteran Thomas Rowlandson, who, although he did not die
+<span class="pagenum"><a name="page84" id="page84"></a>84</span>
+until 1827, had virtually given up caricature in favour of book
+illustration<a name="FnAnchor_49" href="#Footnote_49"><span class="sp">49</span></a> many years before. Further illustration of some of
+the events already related, and of others to which we have no occasion
+at present to refer, will be found in the chapters devoted to the
+work of Isaac Robert Cruikshank and his brother George.</p>
+
+<p>A considerable number of the caricatures which belong to the
+first quarter of the century have an anonymous origin; whilst a large
+proportion are due to William Heath, who, either in his own name,
+or often under the distinguishing hieroglyphic of &ldquo;Paul Pry,&rdquo; contributed
+largely to the political and social satires of his day. Other
+caricaturists of the period were H. Heath (hundreds of whose
+comic sketches were collected and published by Charles Tilt),
+Theodore Lane, and his friends Isaac Robert and George Cruikshank.
+To these names we must add those of the last century
+men who continued their work into the present, James Gillray,
+Thomas Rowlandson, George Moutard Woodward, C. Williams,
+Henry William Bunbury, Robert Dighton, and others. Some idea
+of the industry of the nineteenth century satirists may be gathered
+from the fact that the &ldquo;Paul Pry&rdquo; series of political satires of
+1829-30, alone number some fifty plates, which in our day can
+rarely be purchased at three times their original cost.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:500px; height:369px" src="images/img85a.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Theodore Lane.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;Life of an Actor,&rdquo; 1824.</i></p>
+<p>&ldquo;THE GALLERY.&mdash;POWERFUL ATTRACTION OF TALENTS!&rdquo;</p></td></tr>
+
+<tr><td class="pt2"><img style="border:0; width:500px; height:362px" src="images/img85b.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Theodore Lane.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;Life of an Actor,&rdquo; 1824.</i></p>
+<p>&ldquo;THE NON-PAYING AUDIENCE.&rdquo;</p>
+<p class="ar">[<i>Face p. 85.</i></p></td></tr></table></div>
+
+<p class="center" style="letter-spacing: 4em;">&nbsp;*******</p>
+
+<p>On the walls of some old-fashioned dining-rooms, and the parlours
+<span class="sn">Theodore Lane.</span>
+of provincial inns, may still be seen an engraving, called <i>The
+Enthusiast</i>, which some of my readers may remember to have seen
+in the print shops of some twenty or five-and-twenty years ago. It
+represents an old disciple of Izaac Walton, whom the gout has
+incapacitated from following his favourite pursuit, so devoted to the
+sport, that we see him fishing for minnows in a water-tub, instead
+<span class="pagenum"><a name="page85" id="page85"></a>85</span>
+of the rippling stream out of which he has been accustomed to whip
+his favourite speckle-backed beauties. The painting from which this
+engraving was taken was the work of Theodore Lane, who, although
+his work is limited to the short space of five or six years, seems to
+call for special mention by virtue of his tragic ending, the short
+span allotted to his life and labours, and the superiority of his
+talent and genius to those of many of his contemporaries. Lane
+was literally a comic artist of the nineteenth century, having been
+born at Isleworth in 1800. He was apprenticed to a colourer of
+prints at Battle Bridge, named Barrow; and, shortly after completing
+his time, produced (in 1822) six designs illustrative of &ldquo;The
+Life of an Actor,&rdquo; and with these in a small portfolio under his arm,
+went out into the world to seek his fortune as other comic artists
+have done before him and since. Pierce Egan, at this time, was
+the most popular man in town; his name (on very insufficient
+literary merits) was identified with the success of the most famous
+book of the century&mdash;we allude to the &ldquo;Life in London.&rdquo; To his
+residence in Spann&rsquo;s Buildings, St. Pancras, Lane betook himself;
+showed him his sketches, and said if Egan would only undertake
+the letterpress, he should find no difficulty in getting Ackermann,
+Sherwood, or any of the art publishers of the day, to undertake its
+publication. But Egan&rsquo;s hands were full, and he declined the offer.
+Two years later on, author and artist again met, and the result was
+that &ldquo;The Life of an Actor, Peregrine Proteus,&rdquo; made its appearance,
+&ldquo;illustrated by twenty-seven coloured scenes and nine woodcuts,
+representing the vicissitudes of the stage.&rdquo; The publisher was
+Arnold, of Tavistock Street, Covent Garden, who paid the young
+artist one hundred and fifty pounds fifteen shillings for his share of
+the work. &ldquo;The Life of an Actor&rdquo; was published at a guinea, and
+dedicated to Edmund Kean; and a contemporary critic describes it
+as &ldquo;one of the best exemplifications of Mr. Egan&rsquo;s peculiar talent.
+It is impossible for us,&rdquo; he continues, &ldquo;to do justice to the spirit of
+the designs, many of which would [of course] not discredit the
+pencil of Hogarth.&rdquo; Lane&rsquo;s association with one of the most noted
+sporting characters of the day opened the way to him for further
+<span class="pagenum"><a name="page86" id="page86"></a>86</span>
+engagements, and for another work, entitled, &ldquo;A Complete Panorama
+of the Sporting World,&rdquo; he executed thirteen original etchings, and
+an equal number of designs on wood.</p>
+
+<p>Among the number of Theodore Lane&rsquo;s social satires may be
+mentioned <i>Scientific Pursuits, or Hobbyhorse Races to the Temple of
+Fame</i>, four folio plates; <i>The Parson&rsquo;s Clerk</i> (a comic song), four
+illustrations in ridicule of cant and hypocrisy; <i>Legal Illustrations</i>
+(seventy humorous applications of law terms); <i>The Masquerade at
+the Argyll Rooms</i> (a large plate full of vigour, life, and character);
+<i>New Year&rsquo;s Morning: the Old One out, and the New One coming in</i>, a
+party of topers, one of whom&mdash;the chairman, with the empty punch-bowl
+on his head (representing &ldquo;the old one out&rdquo;)&mdash;merrily points
+at the waiter bringing a full bowl (&ldquo;the new one&rdquo;) in; <i>Sunday
+Morning&mdash;the Barber&rsquo;s Shop</i>; <i>Shilling Fare to a Christmas Dinner,
+or Just in Pudding Time</i>; <i>The Rival Whiskers</i>; and <i>Amorous,
+Clamorous, Uproarious, and Glorious</i> (a pair of admirable and
+amusing satires of the prevailing features, vices, and follies of the
+day); <i>Crowding to the Pit</i> and <i>Contending for a Seat</i> (two capital
+theatrical subjects). Lane also made a sketch entitled, <i>Paul Pry&rsquo;s
+First Night in a Boarding House</i>, intended to be succeeded by
+eleven others, the publication of which was however prevented by
+the death of Liston. McLean published a large and clever design,
+bearing the somewhat lengthy title of <i>Law Gorging on the Spoils
+of Fools and Rogues, and Honest Men among Knavery, producing
+Repentance and Ruin; or, the Fatal Effects of Legal Rapacity</i>,&mdash;wherein
+the highway of Law conducts to Ruin through a series of
+toll-gates labelled respectively, &ldquo;Opinion of Counsel,&rdquo; &ldquo;Injunction,&rdquo;
+&ldquo;Filing the Bill,&rdquo; &ldquo;Consultation,&rdquo; &ldquo;Procrastination,&rdquo; etc.</p>
+
+<p>Like his contemporaries the Cruikshanks, with whom he was
+familiar, Theodore Lane mixed freely with the young bloods of his
+day, termed in the slang of his time &ldquo;Corinthians,&rdquo; and the results
+are shown in his designs. He might often be seen at the &ldquo;Craven&rsquo;s
+Head,&rdquo; in Drury Lane, kept by a host known to his patrons by the
+familiar title of &ldquo;Billy Oxberry&rdquo;; at the Saturday night harmonic
+meetings held at the &ldquo;Kean&rsquo;s Head,&rdquo; in Russell Court, Drury Lane;
+<span class="pagenum"><a name="page87" id="page87"></a>87</span>
+at &ldquo;The Wrekin,&rdquo; in Broad Court, Long Acre, at that time frequented
+by gentlemen of the Press; at &ldquo;The Harp,&rdquo; in Russell Street, Drury
+Lane, a well known house of call for actors, and appropriately
+immortalised in one of his illustrations to &ldquo;The Life of an Actor&rdquo;;
+at the &ldquo;Cider Cellar&rdquo;; at the &ldquo;Fives Court&rdquo;; at the numerous
+&ldquo;Masquerades&rdquo; of the day; at any place of resort, in fact, which
+offered studies of life and character or subjects of social satire. He
+figures in his own sketch of <i>The Masquerade at the Argyll Rooms</i>,
+where we recognise him (in one of the right hand boxes) in a white
+sheet, a tall paper cap on his head, and a staff in his hand. His
+impersonations were sometimes singularly original. At one of these
+&ldquo;masquerades,&rdquo; for instance, he represented a &ldquo;frozen-out gardener&rdquo;
+soliciting charity, and holding in his hand a cabbage covered with
+icicles; at another, he appeared as a hospital &ldquo;out-patient,&rdquo; wearing
+a hideous mask (designed by himself) representing some dreadful
+disease, from which the bystanders recoiled in horror and amazement.
+With all this drollery Lane kept himself well out of mischief,
+and was moreover, in days when young and old were more or less
+inclined to be topers, a strictly temperate man.</p>
+
+<p>But Lane&rsquo;s talents were not confined to comic etching or designs
+on wood. He was also an artist in oil and water colour. He
+painted in oils <i>The Drunken Gardener</i>; <i>The Organ of Murder</i>, a
+clumsy, nervous craniologist feeling his own head in doubt and
+perplexity to ascertain whether the dreadful &ldquo;organ&rdquo; is developed
+in himself; <i>An Hour before the Duel</i> (exhibited at the Institution in
+Pall Mall). Other subjects of his pictures were: <i>The Poet reading
+his Manuscript Play of Five Acts to a Friend</i>; <i>Too many Cooks Spoil
+the Broth</i>; <i>The Nightmare</i>; <i>The Mathematician&rsquo;s Abstraction</i> (the
+latter purchased by Lord Northwick). His most ambitious work
+in oils (upwards of seventeen feet in length) was called <i>A Trip
+to Ascot Races</i>. His last work, <i>The Enthusiast</i> (the first we
+have mentioned), was exhibited at Somerset House at the time of
+his death.</p>
+
+<p>The fate of this clever young artist and satirist was both singular
+and tragical.  It appears that on the 21st of February, 1828,
+<span class="pagenum"><a name="page88" id="page88"></a>88</span>
+Theodore Lane, who then resided in Judd Street, Brunswick Square,
+called upon his brother-in-law, Mr. Wakefield, a surgeon of Battle
+Bridge, intending to proceed in the latter&rsquo;s gig to Hampstead, to join
+a party of friends who had gone there to spend the day. Mr.
+Wakefield having to visit a patient in Manchester Street, Gray&rsquo;s Inn
+Lane, drove there with his brother-in-law, and this was the last time
+he was seen alive. Close to the place was a horse bazaar, which
+the artist appears to have entered by way of passing the time. The
+horse and trap were there, but no trace of poor Lane; and on
+search being made, his body was found lying lifeless at the foot
+of the auctioneer&rsquo;s stand. He appears to have wandered into the
+betting-room, and by some unexplained means or other fallen backwards
+through an insufficiently protected skylight. The clever head
+was battered so completely out of recognition that he was only
+identified by his card-case. That Lane was a man of unusual
+promise is shown by the fact that amongst the subscribers for the
+benefit of the widow and children of the deceased, we find the
+names of Sir Thomas Lawrence, president of the Royal Academy;
+F. Chantrey, R.A.; George Westmacott; Cooper, the celebrated
+animal painter; and Leahy, the painter of the celebrated picture of
+&ldquo;Mary Stuart&rsquo;s Farewell to France.&rdquo; The remains of this ill-fated,
+talented young fellow lie in the burial ground of old St. Pancras.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_23" href="#FnAnchor_23"><span class="fn">23</span></a> &ldquo;Fifty Years of my Life,&rdquo; by George Thomas, Earl of Albemarle, vol. i.
+p. 270.</p>
+
+<p><a name="Footnote_24" href="#FnAnchor_24"><span class="fn">24</span></a> &ldquo;Annual Register,&rdquo; 1813.</p>
+
+<p><a name="Footnote_25" href="#FnAnchor_25"><span class="fn">25</span></a> <i>Ibid.</i> (Chronicle), 342.</p>
+
+<p><a name="Footnote_26" href="#FnAnchor_26"><span class="fn">26</span></a> See the letter of the Princess of Wales, &ldquo;Annual Register,&rdquo; 1813 (Chronicle),
+342.</p>
+
+<p><a name="Footnote_27" href="#FnAnchor_27"><span class="fn">27</span></a> See speech of Mr. Whitbread, &ldquo;Annual Register,&rdquo; 1813 (20).</p>
+
+<p><a name="Footnote_28" href="#FnAnchor_28"><span class="fn">28</span></a> &ldquo;Annual Register,&rdquo; 1813 (Chronicle), 345.</p>
+
+<p><a name="Footnote_29" href="#FnAnchor_29"><span class="fn">29</span></a> &ldquo;Annual Register,&rdquo; 1813, p. 24.</p>
+
+<p><a name="Footnote_30" href="#FnAnchor_30"><span class="fn">30</span></a> Whitbread.</p>
+
+<p><a name="Footnote_31" href="#FnAnchor_31"><span class="fn">31</span></a> Sir John and Lady Douglas.</p>
+
+<p><a name="Footnote_32" href="#FnAnchor_32"><span class="fn">32</span></a> Letter from the queen to the Princess of Wales of 23rd May, 1814.&mdash;&ldquo;Annual
+Register,&rdquo; 1814, p. 349.</p>
+
+<p><a name="Footnote_33" href="#FnAnchor_33"><span class="fn">33</span></a> So called because he carried home with him, in sundry bags, the cases pending
+his judgments.</p>
+
+<p><a name="Footnote_34" href="#FnAnchor_34"><span class="fn">34</span></a> Wade&rsquo;s, &ldquo;British History,&rdquo; p. 765.</p>
+
+<p><a name="Footnote_35" href="#FnAnchor_35"><span class="fn">35</span></a> See &ldquo;Greville Memoirs,&rdquo; vol. i. p. 24 (February 24th).</p>
+
+<p><a name="Footnote_36" href="#FnAnchor_36"><span class="fn">36</span></a> &ldquo;Annual Register,&rdquo; 1820, p. 135.</p>
+
+<p><a name="Footnote_37" href="#FnAnchor_37"><span class="fn">37</span></a> <i>Ibid.</i>, pp. 131, 132.</p>
+
+<p><a name="Footnote_38" href="#FnAnchor_38"><span class="fn">38</span></a> &ldquo;Greville Memoirs,&rdquo; vol. i. p. 28.</p>
+
+<p><a name="Footnote_39" href="#FnAnchor_39"><span class="fn">39</span></a> &ldquo;Fifty Years of my Life,&rdquo; by George Thomas, Earl of Albemarle, vol. ii.
+p. 123.</p>
+
+<p><a name="Footnote_40" href="#FnAnchor_40"><span class="fn">40</span></a> &ldquo;Annual Register,&rdquo; 1820, p. 986.</p>
+
+<p><a name="Footnote_41" href="#FnAnchor_41"><span class="fn">41</span></a> See caricatures of Robert Cruikshank, 1820.</p>
+
+<p><a name="Footnote_42" href="#FnAnchor_42"><span class="fn">42</span></a> &ldquo;Annual Register,&rdquo; 1820, p. 1149; see also the impartial opinion of the
+Duke of Portland, &ldquo;Greville Memoirs,&rdquo; vol. i. p. 56.</p>
+
+<p><a name="Footnote_43" href="#FnAnchor_43"><span class="fn">43</span></a> See &ldquo;Annual Register,&rdquo; 1820, p. 1139 <i>et seq.</i></p>
+
+<p><a name="Footnote_44" href="#FnAnchor_44"><span class="fn">44</span></a> This of course may not be the case. The Duke of Kent, we know, was dead
+at the time, and Wood, we believe, was not Lord Mayor. He had been Lord
+Mayor some time before, and the satire may possibly allude to some order made
+at that time. At the same time, I find the caricature amongst those assigned
+(in the large but badly arranged collection to which I have present access) to
+this particular period.</p>
+
+<p><a name="Footnote_45" href="#FnAnchor_45"><span class="fn">45</span></a> &ldquo;Annual Register,&rdquo; 1820 [190].</p>
+
+<p><a name="Footnote_46" href="#FnAnchor_46"><span class="fn">46</span></a> There is a custom in the Manor of Torre Devon, that when a copyhold
+tenant dies, his widow has her free-bench in his land, but forfeits her estate on
+committing the offence with which the queen was charged; on her coming however
+into court riding backward on a black ram, and repeating the formula
+mentioned in the design, the steward is bound to reinstate her. Without this explanation
+the meaning of this telling satire would not be understood. For the
+formula (which cannot be repeated here) I must refer the reader to Jacob&rsquo;s Law
+Dictionary, ed. 1756, title, &ldquo;Free Bench.&rdquo;</p>
+
+<p><a name="Footnote_47" href="#FnAnchor_47"><span class="fn">47</span></a> &ldquo;Greville Memoirs,&rdquo; vol. i. p. 27.</p>
+
+<p><a name="Footnote_48" href="#FnAnchor_48"><span class="fn">48</span></a> <i>Ibid.</i>, p. 43.</p>
+
+<p><a name="Footnote_49" href="#FnAnchor_49"><span class="fn">49</span></a> Unlike George Cruikshank, Rowlandson seldom dropped caricature in his
+book illustration. When he does so, as in his designs to &ldquo;Naples and the
+Compagna Felice,&rdquo; he shows (as in his water colour drawings) his wonderful
+graphic powers. His illustrated books are rare, and command good prices.
+William Coombe&rsquo;s English &ldquo;Dance of Death&rdquo; and &ldquo;Dance of Life&rdquo; (I refer
+of course to first editions) can only now be purchased at £14.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page89" id="page89"></a>89</span></p>
+<h3>CHAPTER V.</h3>
+
+<h5><i>THE CARICATURES OF ISAAC ROBERT CRUIKSHANK.</i></h5>
+
+<p class="noind"><span class="sc">It</span> was the misfortune of the brothers Cruikshank that they outlived
+<span class="sn">The Brothers Cruikshank.</span>
+their popularity: in the case of the younger brother, this result (as
+we shall presently see) must be attributed in a certain measure to
+his own fault; but as regards Robert, his efforts as a caricaturist
+were destined to be eclipsed by the greater novelty and attractions of
+<span class="cn">HB</span>, whilst a tendency to carelessness, and the absence of actual
+genius, prevented him from attaining lasting celebrity in the line of
+book illustration which George made so peculiarly his own. The
+final result, however, was the same in both cases; and the brothers
+might have said with truth, that, in suffering both to die poor and
+neglected, the British public treated both with the strictest impartiality.
+Here, however, the impartiality ended; for whilst over
+two hundred articles have been penned in praise of the brilliant man
+of genius, poor Robert Transit<a name="FnAnchor_50" href="#Footnote_50"><span class="sp">50</span></a> (a name strictly appropriate to his
+memory) reposes in his nameless grave still unregarded and still
+forgotten. Few writers indeed have wasted pen and ink about
+Robert Cruikshank or his work: Robert William Buss, in his book
+on &ldquo;English Graphic Satire&rdquo; (a work published for private circulation
+only), devotes exactly a line and a half to his memory; his
+friend, George Daniel, gives him a few kindly words <i>in memoriam</i>;
+Professor Bates&rsquo;s essay on his brother George contains several
+pages of valuable information in relation to some of his book
+illustrations; whilst Mr. Hamilton presents us with a dozen specimens
+of work of this kind which are nothing less than libels on his
+<span class="pagenum"><a name="page90" id="page90"></a>90</span>
+graphic powers. To the general public of to-day the name of Robert
+Cruikshank is so little known, that comparatively few are cognizant
+of the fact that he was one of the most popular and successful
+graphic satirists of his time. It is the misfortune of the caricaturist
+that his wares attain only a transitory popularity, whilst it is their
+peculiarity that after he is dead their value is increased fourfold. It
+is by no means uncommon for five and even seven shillings to be
+demanded and obtained for one of the impressions of Robert&rsquo;s
+plates, which in his lifetime could have been purchased at the cost
+of a shilling. It is the design of this chapter to rescue the memory
+of a clever artist from undeserved oblivion, and restore him to that
+place in comic art which he once occupied, and which it seems to us
+he deserved to fill not only on account of his own merits, but by
+reason of being associated in illustrations of a different character
+with such men as his brother George, Robert Seymour, Thomas
+Rowlandson, John Leech, and other artists of genius and reputation.</p>
+
+<p>Isaac Robert, or rather Robert Cruikshank (as he usually styled
+himself), was born in 1790. He had as a boy acquired the groundwork
+of his technical education as an artist and etcher under the
+direction of old Isaac his father; but we personally have met with
+little of his work prior to 1816, which is accounted for by the fact
+that he followed for a short time a sea life in the service of the East
+India Company, and after having thrown this up in favour of a
+calling more congenial to his tastes, he devoted himself for some
+years almost exclusively to miniature and portrait painting, by which
+he earned not only a fair livelihood, but a certain amount of fashionable
+patronage. Gradually, however (George tells us), he abandoned
+this occupation, and took almost exclusively to designing and etching.
+He occasionally alternated his work with water-colour drawing, in
+which he is said to have greatly excelled. His works in this line are
+extremely rare, for Robert had neither the means nor the patience
+to wait for the tardy patronage to be commanded by a higher walk
+in art; there was a demand for caricatures and comic etching in his
+day, which afforded a present means of livelihood, and Robert&rsquo;s
+water colours were executed more by way of relaxation than in the
+<span class="pagenum"><a name="page91" id="page91"></a>91</span>
+way of actual artistic pursuit. Among his early caricatures we may
+mention a rough and coarsely coloured affair engraved by him after
+the design of an amateur, published by Fores on the 28th of April,
+1816, entitled, <i>The Mother&rsquo;s Girl Plucking a Crow, or German Flesh
+and English Spirit</i>. The Princess Charlotte, as we have seen, had
+an undoubted will of her own, and could, as we have also seen,
+assert it when occasion demanded. Here she is presented to us at
+the moment when a hideous German duenna, catching her in the act
+of writing to her mother abroad, orders her at once to desist. The
+princess, however, in plain terms, enforced with a clenched fist, gives
+her clearly to understand that she fully intends to have her own way.
+Another caricature, published by T. Sidebotham, in 1817, bearing
+the title of <i>The Horse Marine and his Trumpeter in a Squall</i>, is
+dedicated to the United Service Club.</p>
+
+<p>Subjects for the pencil of a clever graphic satirist were not
+<span class="sn">Strange French Fashions.</span>
+wanting sixty years ago. France in those days set the fashion both
+in male and female attire, and the strangest eccentricities had
+marked the emancipation of that country from the thraldom of
+the Terror. There were the <i>incroyables</i>, a set of young dandies who
+affected royalist sympathies, and paraded the streets of Paris when
+young Napoleon was yet a general in the service of the Directory.
+They wore short-waisted coats with tails of preposterous length,
+cocked hats of ponderous dimensions, green cravats, powdered hair
+plaited and turned up with a comb, while on each side of the face
+hung down two long curls called dogs&rsquo; ears (<i>oreilles de chien</i>). These
+charming fellows carried twisted sticks of enormous size, as weapons
+of offence and defence, and spoke in a peculiarly affected manner.<a name="FnAnchor_51" href="#Footnote_51"><span class="sp">51</span></a>
+Some fourteen or fifteen years later on, when we had driven Joseph
+Bonaparte and his brother&rsquo;s legions out of Spain, the fashions had
+<span class="pagenum"><a name="page92" id="page92"></a>92</span>
+not improved. The biographer of Victor Hugo gives us the picture
+of one Gilé, a Parisian dandy of that period, whose coat of olive
+brown was cut in the shape of a fish&rsquo;s tail, and dotted all over with
+metal buttons even to the shoulders. Young men who went to
+moderate lengths in fashion were content to wear the waists of their
+coats in the middle of their backs, but the waist of this Gilé intruded
+on the nape of his neck. His hat was stuck on the right side of his
+head, bringing into prominent notice on the left a thick tuft of hair
+frizzed out with curling irons. His trousers were ornamented with
+stripes which looked like bars of gold lace; they were pinched in at
+the knees and wide at the bottom, giving his feet the appearance of
+elephant&rsquo;s hoofs. Our own costume had been strange enough, in
+all conscience; but when Napoleon&rsquo;s continental system had been
+broken up after Leipzig, and a free market had been once more
+opened out between this country and foreign nations, fashions more
+strange and eccentric, if possible, found their way into England.
+Thackeray, when writing his &ldquo;Vanity Fair,&rdquo; the scenes of which are
+laid prior and subsequent to the battle of Waterloo, was fain to
+confess that he had intended to depict his characters in their proper
+costumes; &ldquo;but when he remembered the appearance of people in
+those days, he had not the heart to disfigure his heroes and heroines
+by costumes so hideous,&rdquo; and thenceforth he habited these men and
+women of 1815 in the costume of the men and women of 1848.
+George Cruikshank&rsquo;s &ldquo;Monstrosities&rdquo; are familiar to all acquainted
+with his works; and his brother Robert and his contemporaries were
+equally fond of ridiculing the preposterous fashions of their time.
+We find in the year 1818 a pictorial satire by Robert, which shows
+us a pair of <i>Dandies at Tea</i>, habited in the short-waisted, long-tailed
+coats, tight breeches, terrific stocks, shirt collars, and top boots of
+the period. &ldquo;My dear fellow, Mr. Sim,&rdquo; one of them, asks, &ldquo;is your
+tea agreeable?&rdquo; to which the other answers, &ldquo;Charming, my dear
+Lollena; where do you buy it?&rdquo; They are seated in an attic, which,
+like that of the cobbler, serves &ldquo;for parlour and bedroom and all,&rdquo;
+and the washing of the tenant hangs suspended on a line above
+the heads of the interesting pair. We find another the same year,
+<span class="pagenum"><a name="page93" id="page93"></a>93</span>
+entitled, <i>Dandies having a Treat</i>, wherein we are shown a couple of
+eccentricities in a confectioner&rsquo;s shop; one of them, who eyes himself
+with much complacency in the glass, has his back to us, and is
+habited, <i>à la Gilé</i>, in a very tight coat, whose tail commences just
+below its collar and narrows to a very fine point when it reaches its
+extremity; short wide trousers terminate at the knees, at which
+points they are met by a pair of Wellington boots. He entreats his
+equally strangely dressed companion to pay no attention to the
+uncomplimentary remarks of certain rude people who stand at the
+door and seem strongly inclined to subject them to the discipline
+of the pump. The pretty girl in attendance expresses to herself a
+hope that &ldquo;the creatures will leave the shop,&rdquo; as she fears the exasperated
+people will do some mischief. Another caricature of the
+same year shows us <i>A Dandy Shoemaker in a Fright, or the Effects
+of Tight-lacing</i>. In stooping to measure a lady&rsquo;s foot, the fellow&rsquo;s
+stays have given way, and he evidently fears he shall tumble to
+pieces. In another subject, Robert shows us a couple of <i>dandies
+diving</i> into a countryman&rsquo;s pockets, in the neighbourhood of St.
+James&rsquo;s Palace; others are entitled respectively, <i>A Dandy put to his
+Last Chemisette, or Preparing for a Bond Street Lounge</i>; <i>A Dandy
+Cock in Stays</i>; and <i>The Hen-pecked Dandy</i>. Besides those already
+mentioned, I find four or five other coarse caricatures of Robert&rsquo;s,
+published by Fores in 1818.</p>
+
+<p>Robert Cruikshank was &ldquo;a man about town&rdquo; in those days, and
+the &ldquo;dandies&rdquo; whom he and his fellow caricaturists satirized and
+ridiculed were the sham &ldquo;Corinthians&rdquo; of his time. Apart from
+the idea of caricature they must have been queer fellows&mdash;these men
+with the large eye-glasses, squat broad-brimmed hats, huge cravats
+and collars, cauliflower frills, tight coats, short bell-shaped trousers,
+and well-spurred Wellington boots! In one of the satires of the
+time (which I take to be Robert&rsquo;s) we see five of them preparing for
+conquest in a hairdresser&rsquo;s shop; and the &ldquo;make up&rdquo; comprises, in
+addition to the tremendous neckties, cauliflower frills, and top-boots
+of the period, false calves and stays, a pair of which the Frenchman
+hairdresser is lacing for one of his customers. Another of the party,
+<span class="pagenum"><a name="page94" id="page94"></a>94</span>
+who has completed the upper part of his toilet, is so hampered with
+the voluminous folds and stiffening of his cravat that he cannot
+wriggle into his unmentionables. The caricaturists take us into the
+garrets of these fellows, abodes of squalor and wretchedness, and
+show us that beneath their exterior magnificence there is nothing, or
+next to nothing. In a pair of rough anonymous satires&mdash;<i>The
+Dandy Dressing at Home</i> and <i>The Dandy Dressed Abroad</i>&mdash;the
+former shows us how the completed figure is built up. The absence
+of a shirt is concealed by an amply frilled &ldquo;dickey,&rdquo; the dirty feet
+protrude from the well-nigh footless stockings, the bare arms are
+clothed at the extremities only by the cuffs, while a pair of huge seals
+dangling from a ribbon guard form pendants to a latch-key instead
+of a gold watch. The fellow&rsquo;s washing bill, which lies on the dressing-table
+before him, comprises four items&mdash;all of them collars. On
+the ground, side by side with the Wellington boots, which he himself
+has just been cleaning, lie the open pages of &ldquo;The Beau&rsquo;s Stratagem.&rdquo;
+In a sketch by the always coarse satirist Williams, two of these fellows
+have been decoyed into an infamous house and drugged, and the
+indignation of the bully and his female assistants is intense when they
+find that their watches are not even pinchbeck, but only pincushions.</p>
+
+<p>The &ldquo;Corinthian Kates&rdquo; who figure in the satirical sketches of
+this period are members of the <i>demi monde</i>. An excellent undated
+sketch, signed &ldquo;J. L. M. fect.,&rdquo; entitled, <i>A Dandyess</i>, is divided into
+two compartments. The first scene shows us the completed figure
+(a most absurd one), and the second (which is laid in the lady&rsquo;s
+garret) how the magnificent result has been attained. We find her
+engaged in ironing her chemisette; over the fire are suspended her
+stockings; on a stool near her stand her bottles of cosmetic and a
+pot of rouge; on the floor her &ldquo;artificial hump&rdquo;; while her preposterous
+bonnet and other articles of costume hang from different
+articles of the scanty furniture.</p>
+
+<p>Robert Cruikshank continues his attacks upon the fops in 1819.
+<span class="sn">1819.</span>
+In that year we meet with <i>A Dandy Sick</i>; <i>Dandies on their Hobbies</i>,
+and <i>Female Lancers, or a Scene in St. James&rsquo;s Street</i>, chiefly remarkable
+on account of the costume of the two men who figure therein.
+<span class="pagenum"><a name="page95" id="page95"></a>95</span>
+Besides these we meet with a sort of pictorial allegory, entitled, <i>The
+Mysterious Fair One, or the Royal Introduction to the Circassian
+Beauty</i>, in which a foreign fair one is supposed to be introduced to
+the Regent&rsquo;s harem. The veil being removed discovers to him the
+well-known features of his neglected wife, from whom he recoils in
+abhorrence. The bulky figure of the Regent who, under the influence
+of copious port wine libations and general good living, had
+grown preposterously fat, is admirably preserved by both the Cruikshanks.
+The head and wig, tapering to an apex, remind one somewhat
+of the French <i>poire</i> caricatures which disturbed the serenity of
+Louis Philippe, and preceded the revolutionary period of 1848.</p>
+
+<p>Other caricatures by Robert of this year (1819) are labelled respectively,
+<i>The Political Champion turned Resurrection Man</i>, having reference
+to Cobbett and &ldquo;Orator Hunt&rdquo;; <i>The Master of the Ordnance
+Exercising his Hobby</i>; <i>A Steward at Sea in a Vain Tempest,
+or Gaining the Point of Matrimony in Spite of Squalls</i>; <i>A New
+Chancery Suit Removed to the Scotch Bar</i>; <i>The Ladies&rsquo; Accelerator</i> (two
+women on hobbies); <i>Collegians at their Exercises, or Brazen Nose
+Hobbies</i>; <i>A New Irish Jaunting Car</i>; and a satire entitled <i>Landing
+at Dover and Overhauling the Baggage</i>, which would appear to refer
+to some incivilities on the part of the custom house authorities to
+the Persian ambassador and his suite. The subject was probably
+only etched by the artist from the design of another, and is so grossly
+treated that in spite of the admirable workmanship we cannot further
+describe it. Besides these we have the now well-known <i>Going to
+Hobby Fair</i> (the only caricature of Robert which would seem to be
+known to those who have troubled themselves about him), and a
+far better one of contemporary date, entitled, <i>Cruising on Land, or
+Going to Hobby Horse Fair</i>.</p>
+
+<p>Among the caricatures on the popular side in connection with the
+<span class="sn">The Queen&rsquo;s Trial.</span>
+queen&rsquo;s trial in 1820, we find one by Robert, entitled, <i>The Secret
+Insult, or Bribery and Corruption Rejected</i>, which has reference to the
+overtures which, as we have seen in the previous chapter, were made
+to her by the ministers in the hope of avoiding, if possible, a public
+exposure; and here Lord Liverpool is represented in the act of
+<span class="pagenum"><a name="page96" id="page96"></a>96</span>
+offering to Her Majesty a purse. &ldquo;Abandon,&rdquo; he says, &ldquo;your claim
+to the throne, change your name and the livery, and retire to some
+distant part of the earth, where you may never be seen or heard of
+any more; and if £50,000 per annum will not satisfy you&mdash;what
+will?&rdquo; To which the queen (who assumes an appearance of virtuous
+indignation) replies, &ldquo;Nothing but a crown.&rdquo; Brougham turns his
+back, saying, &ldquo;I turn my back on such dirty work as this,&rdquo; the
+fact being, as we have seen, that he had really entered into negotiations
+with the ministers on the queen&rsquo;s behalf, which she afterwards
+angrily repudiated. The devil pats him on the back. &ldquo;Well done,
+Broom,&rdquo; he says; &ldquo;you have done your business well.&rdquo; By the side
+of the queen stands a figure, possibly meant for Alderman Wood,
+carrying &ldquo;a shield for the innocent,&rdquo; and &ldquo;a sword for the guilty&rdquo;;
+behind her in the distance is a ship, bearing the title of &ldquo;The
+Wooden Walls of Old England.&rdquo;</p>
+
+<p>In our last chapter we mentioned the estimation in which the
+witnesses against Caroline of Brunswick were held by her sympathizers
+and the general public, and Robert&rsquo;s political views naturally inclined
+him to take the popular side. Those who saw them before
+they were housed in Cotton Garden, describe them as swarthy, dirty
+looking fellows, in scanty ragged jackets and greasy leathern caps;
+at the bar of the House, however, they looked as respectable as fine
+clothes and soap and water could make them. To this a caricature
+of Robert&rsquo;s, entitled, <i>Preparing the Witnesses&mdash;a View in Cotton
+Garden</i>, refers. Three dirty foreigners are being washed, with no
+satisfactory result, in a bath labelled, &ldquo;Waters of Oblivion,&rdquo; &ldquo;Non
+Mi Ricordo,&rdquo; and &ldquo;Ministerial Washing Tub.&rdquo; One of the
+operators (probably the Attorney-General, Sir Robert Gifford) remarks
+that &ldquo;he never had such a dirty job in his life&rdquo;; seated
+around are a number of equally dirty foreigners awaiting their turn.
+On the same theme and in the same year we find <i>The Milan
+Commission</i> (a very rough affair); <i>The Master Cook and his Black
+Scullion composing a Royal Hash</i>; and a satire on the alderman, who,
+in spite of his Carolinian and popular sympathies, figures therein
+under the familiar title of &ldquo;Mother Wood.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page97" id="page97"></a>97</span></p>
+
+<p>The following year gives us <i>All My Eye</i> (a skit upon Hone&rsquo;s
+<span class="sn">1821.</span>
+&ldquo;Eulogium on the Radical Press&rdquo;), representing a large eye, within
+the pupil of which we see a printing press, whereon rests a portrait
+of Queen Caroline; and also an admirable work, divided into two
+compartments, bearing respectively the titles of <i>The Morning after
+Marriage</i>, and <i>Coke upon Albemarle&mdash;not Coke upon Littleton</i>.</p>
+
+<p>A somewhat ludicrous affair of honour took place in 1822. In
+<span class="sn">1822.<br />Duel between the Dukes of Buckingham and Bedford.</span>
+consequence of some words used by the Duke of Bedford in reference
+to the Duke of Buckingham at the Bedfordshire county meeting,
+a hostile meeting took place in Kensington Gardens between
+the two noblemen on the 2nd of May. The seconds were Lord
+Lynedock and Sir Watkin Williams Wynn. Both parties fired
+together at a distance of twelve paces, but without effect; when the
+Duke of Buckingham, observing that the Duke of Bedford fired into
+the air, advanced to his grace, and remarking that for that reason
+the affair could go no farther, said: &ldquo;My Lord Duke, you are the
+last man I wish to quarrel with; but you must be aware that a
+public man&rsquo;s life is not worth preserving unless with honour.&rdquo; The
+Duke of Bedford replied, that &ldquo;upon his honour he meant no
+personal offence to the Duke of Buckingham, nor to impute to him
+any bad or corrupt motive whatever&rdquo;; and here this somewhat
+absurd event terminated. Robert commemorates it in a caricature,
+entitled, <i>A Shot from Buckingham to Bedford</i>, which cannot be said
+to be complimentary to either of the principals, one of the walls
+bearing the inscription in very large letters of &ldquo;Rubbish may be shot
+here.&rdquo; Another admirable caricature of the year is entitled, <i>The
+Treadmill, or Stage-struck Heroes, Blacklegs, and Cadgers stepping it
+to the tune of Mill, Mill O!</i> a sort of general satire; card-sharpers,
+decayed &ldquo;Corinthians,&rdquo; and other vagabonds, are undergoing a
+course of hard labour upon the wheel, which was then a comparatively
+new invention,<a name="FnAnchor_52" href="#Footnote_52"><span class="sp">52</span></a> their movements being accelerated by a gaoler
+armed with a heavy whip, who bears some resemblance to, and is
+<span class="pagenum"><a name="page98" id="page98"></a>98</span>
+probably intended for, the artist himself. A third excellent pictorial
+satire of the same year bears the title of <i>Pope Mistaken</i>.</p>
+
+<p>The year 1823 is remarkable for the interposition of the French
+<span class="sn">1823.<br />French Interposition in Spain.</span>
+Bourbon king into Spanish politics. The Spanish military, under
+the influence of Riego and other officers, and encouraged by the
+discontent of the middle classes, had revolted in 1820 against the
+despotism of Ferdinand, and succeeded in establishing a constitution,
+which, in spite of its imperfections, was preferable to the absolute
+and irresponsible government of the Spanish monarchy. This state
+of things was peculiarly distasteful to Louis XVIII., on account of
+the evil example it afforded to his subjects; and, fortified by the
+sympathy of the &ldquo;Holy Alliance&rdquo; (which may be shortly described
+as a sort of trades union of sovereigns to resist all political changes
+not originating with themselves), he determined to put it down. In
+his speech to the chambers on the 28th of January, he announced
+that, &ldquo;the infatuation with which the representations made at Madrid
+had been rejected, left little hope of preserving peace. I have
+ordered,&rdquo; he said, &ldquo;the recall of my minister; one hundred
+thousand Frenchmen, commanded by a prince of my family [the
+Duc d&rsquo;Angoulème]&mdash;by him whom my heart delights to call my
+son&mdash;are ready to march, invoking the God of St. Louis, for the sake
+of preserving the throne of Spain to a descendant of Henry the
+Fourth, of saving that fine kingdom from its ruin, and of reconciling
+it with Europe.&rdquo;  The real cause of interposition, however, is
+indicated a few sentences afterwards: &ldquo;<i>Let Ferdinand the Seventh
+be free to give to his people institutions which they cannot hold but from
+him</i>, and which, by securing their tranquillity, would dissipate the
+just inquietudes of France, [and] hostilities shall cease from that
+moment.&rdquo;</p>
+
+<p>We have neither time, space, nor inclination to relate the events of
+this invasion; suffice it to say that, owing to the cowardice of the
+Spaniards, it was a complete &ldquo;walk over&rdquo; for the French, who, in
+five months after they had crossed the Bidassoa, had penetrated to
+Cadiz, dispersed the Cortes, and restored the despotism of Ferdinand.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:800px; height:525px" src="images/img99.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al"><span class="sc">R. Cruikshank</span> <i>fecit</i>.]</p>
+<p class="ar" style="margin-top: -1.7em;">[A. G.&mdash;<i>Published May, 1823.</i></p>
+
+<p>&ldquo;JOHN BULL FLOURISHING IN A DIGNIFIED ATTITUDE OF STRICT NEUTRALITY!!!!&rdquo;</p>
+<p class="ar">[<i>Face p. 99.</i></p></td></tr></table></div>
+
+<p><span class="pagenum"><a name="page99" id="page99"></a>99</span></p>
+
+<p>The contemplated crusade had aroused a certain amount of
+sympathy in favour of Spain in England, but it did not go farther
+than the giving of a splendid entertainment to the Spanish and
+Portuguese ambassadors at the London Tavern on the 7th of March,
+under the presidentship of Lord William Bentinck. The truth was
+that John Bull had not forgotten the ungrateful and cowardly conduct
+of the Spaniards when we drove the French out of their country
+in Napoleon&rsquo;s time; added to which England was saddled with a
+heavy national debt, which made us still less inclined to intermeddle
+with the affairs of our neighbours. Robert Cruikshank
+produced a caricature in reference to our position, called, <i>John Bull
+Flourishing in an Attitude of Strict Neutrality</i>, wherein he shows us
+Spain in the act of imploring his assistance, which, however, poor
+John is in no position to render, seeing that he wants help himself,
+being placed in the stocks and heavily burdened with the weight of
+&ldquo;last war&rsquo;s taxes.&rdquo; In the distance appears fat Louis, mounted on a
+cannon, driven by the Pope, Russia, Austria, and Prussia, in allusion,
+of course, to the &ldquo;Holy Alliance&rdquo; (the three latter powers had
+recalled their ambassadors from Madrid on the 5th of January),
+while the devil condescends to lend his assistance by pushing on
+behind. This caricature is probably the best that Robert ever
+designed. Another satire on the same subject bears the title of
+<i>King Gourmand XVIII. and Prince Posterior in a Fright</i>.</p>
+
+<p>One of Robert&rsquo;s satires of this year, entitled <i>The Golden Football</i>,
+<span class="sn">Hughes Ball.</span>
+has obvious reference to Hughes Ball, known at Eton by his surname
+of Hughes only, but who took the further name of <i>Ball</i> on coming
+into a fortune of forty thousand a year left him by his uncle, Admiral
+Sir Alexander Ball, and thenceforth received his appropriate nickname
+of the &ldquo;Golden Ball.&rdquo; He was considered a great catch by
+all the mothers in London; but, notwithstanding his money, was
+unfortunate in love, being jilted by Lady Jane Paget, rejected by
+Miss Floyd (afterwards the wife of Sir Robert Peel), and then by
+Lady Caroline Churchill. The young ladies hearing of his numerous
+disappointments, were disinclined to encourage a man so proverbially
+unfortunate. By way, perhaps, of revenge, Hughes Ball this year ran
+<span class="pagenum"><a name="page100" id="page100"></a>100</span>
+off with and married Mademoiselle Mercandotti, <i>première danseuse</i>
+at His Majesty&rsquo;s Theatre, a beautiful girl of sixteen, reported in the
+scandal of the day to be a natural daughter of the Earl of Fife. The
+incident of Lady Jane Paget we have mentioned is thus referred
+to by Charles Molloy Westmacott, the Ishmael of the press of his
+day, in the <i>English Spy</i>, a work which, as we shall presently see, was
+also illustrated by the artist:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Now, by my faith, it gives me pain</p>
+<p class="i05">To see thee, cruel Lady J&mdash;&mdash;,</p>
+  <p class="i2">Regret the <i>Golden Ball</i>.</p>
+<p class="i05">&rsquo;Tis useless now: &lsquo;The Fox and Grapes&rsquo;</p>
+<p class="i05">Remember, and avoid the apes</p>
+  <p class="i2">Which wait an old maids&rsquo; fall.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>Other of Robert&rsquo;s satires of the same year bear the title of <i>The
+Commons</i> versus <i>the Crown of Martyrdom, or King Abraham&rsquo;s
+Coronation Deferred</i>; and <i>A View in Cumberland</i>, that is the royal
+duke of that name&mdash;a most unpopular personage, and of course
+proportionately fertile subject of satire in his time.</p>
+
+<p>Among Robert&rsquo;s pictorial satires of 1824, I find one entitled
+<span class="sn">1824.<br />The Tenth Hussars.</span>
+<i>Arrogance or <span class="correction" title="changed from Nonchalence">Nonchalance</span> of the Tenth Reported</i>,&mdash;the &ldquo;tenth&rdquo; here
+referred to being the Tenth Hussars. This distinguished regiment
+set the pencils of the Brothers Cruikshank and their fellow caricaturists
+in motion at this period, and I find an amazing number of
+caricatures of the date of 1824, of which they form the subject.
+The officers would seem to have acquired considerable unpopularity
+by the exclusive airs they gave themselves in society, refusing to
+dance, declining introductions at public and private balls, and otherwise
+assuming an arrogant and exclusive tone which made them
+supremely ridiculous. So far did they carry these absurdities, that
+they even declined to associate with an officer of their own regiment
+unless he previously submitted to them the particulars of his birth,
+parentage, and education, and general claim to be admitted to the
+privilege of their august society. A certain Mr. Battier, who seems
+to have been ignorant of the peculiar arrangement they had established
+in opposition to the rules and policy of the service, had
+<span class="pagenum"><a name="page101" id="page101"></a>101</span>
+obtained from the Duke of York a cornetcy in the regiment, but not
+having submitted himself to the examination referred to, or possibly
+not answering to the exclusive requirements of the regiment, was
+forthwith sent to Coventry by his courteous brother officers. The
+result, of course, was that the unlucky gentleman, finding no one to
+speak to him, was forced to retire on half pay, which he was
+unfortunate enough afterwards to forfeit by not unnaturally sending
+a challenge to the colonel of the regiment.<a name="FnAnchor_53" href="#Footnote_53"><span class="sp">53</span></a></p>
+
+<p>Maria Foote at this time was one of the most popular actresses
+<span class="sn">Miss Foote.</span>
+in London. Some years before she had come on a starring tour
+to Cheltenham, a town much affected by the notorious Colonel
+Berkeley, who being passionately devoted to the stage, and possessed
+moreover of some histrionic ability, gallantly offered to perform for
+her benefit. The colonel was notorious for his gallantries; under
+a promise of marriage&mdash;which could not then, he said, be carried
+into effect, inasmuch as he was then petitioning the Crown to grant
+him the dormant peerage, which a marriage with an actress could
+not fail to prejudice&mdash;he succeeded in accomplishing her seduction,
+and she continued to live under his &ldquo;protection&rdquo; till, on the birth
+of her second child, she arrived at the true conviction that he never
+had any intention of fulfilling his promise. There was at this time
+a silly fellow about town, Mr. Joseph Hayne, of Burderop Park,
+Wiltshire, familiarly known (in reference to the colour of his coat)
+as &ldquo;Pea Green Hayne,&rdquo; who fell in love with and proposed to the
+fascinating actress. There was no attempt at concealment on her
+part: it was stated at the trial which followed that she herself
+wished to communicate to him the circumstance of her connexion
+with Colonel Berkeley, when this gallant gentleman saved her the
+trouble of doing so, and one night when they were in the pit of
+the opera together, took the characteristic course of making Hayne
+acquainted with the liaison, and the fact that it still existed. Hayne
+immediately broke off the engagement; but soon afterwards not
+only renewed it, but fixed the day of marriage. Again he broke it
+<span class="pagenum"><a name="page102" id="page102"></a>102</span>
+off, again yielded to the fascinations of his enslaver, and this time
+not only was the wedding-day fixed and the license obtained, but
+&ldquo;Pea Green Hayne&rdquo; took a solemn vow that nothing should separate
+him from the object of his affections. Believing that all was safe,
+Miss Foote now threw up her engagement and disposed of
+her theatrical wardrobe, but the weak-minded, vacillating creature,
+who could not summon up resolution either to have or to leave
+her, let matters go on to the very day, and again failed to put in
+an appearance. Some preliminary letters having passed between
+the parties, Maria then issued a writ, and recovered £3,000 damages
+in the action which followed. The plaintiff, who seven years afterwards
+became Countess of Harrington, died in 1867.</p>
+
+<p>&ldquo;Pea Green&rdquo; Hayne was also known as the &ldquo;Silver Ball,&rdquo; in
+allusion to his large income, which was smaller however than that
+enjoyed by his friend and contemporary, Hughes Ball. After his
+exposure in the action Foote <i>v.</i> Hayne, he received the far more
+appropriate nickname of &ldquo;Foote-Ball.&rdquo;</p>
+
+<p>The opportunity of course was improved by the caricaturists, and
+Robert&rsquo;s contributions on the subject (1824 and 1825) are labelled
+respectively, <i>Miss Foote in the King&rsquo;s Bench Battery</i>; <i>Miss Foote
+putting her Foot in it</i>; and <i>A Foot on the Stage and Asses in the Pit,
+or a New Year&rsquo;s Piece for 1825</i>. Other pictorial satires of Robert&rsquo;s
+bearing the date of 1824, are: <i>A Civic Louse in the State Bed</i>; <i>A
+Cut at the City Cauliflower</i>; <i>The Corinthian Auctioneer</i>; two very
+coarse but well drawn subjects&mdash;<i>Moments of Prattle and Pleasure</i>
+and <i>Moments of Parting with Treasure</i>; and an exquisitely drawn
+sketch bearing the title of <i>Madame Catalani and the Bishop of Limbrig</i>,
+having reference to some musical festival at Cambridge, the
+point of which has been lost, but which is remarkable for the
+admirable likeness of the popular singer.</p>
+
+<p>The conduct of Colonel Berkeley in reference to the case Foote
+<span class="sn">1825.</span>
+<i>v.</i> Hayne, called forth, as might have been expected, some severe
+strictures from the press, and in particular Mr. Judge, editor of the
+<i>Cheltenham Journal</i>, which place the colonel honoured with his
+patronage and society, had occasionally indulged in animadversions
+<span class="pagenum"><a name="page103" id="page103"></a>103</span>
+on his conduct. In one of the numbers of his paper an article
+appeared, in which some satirical observations were made with
+reference to the annual &ldquo;Berkeley Hunt&rdquo; ball. On the afternoon
+of that day Colonel Berkeley accompanied, by two of his friends,
+called at Mr. Judge&rsquo;s residence, and being invited to walk in, the
+colonel asked Mr. Judge if he would name the author of the papers
+which had appeared in the <i>Journal</i>. Mr. Judge said he did not
+know whom he had the honour of addressing, and on learning who
+he was, proposed that he should call at the office of the paper,
+&ldquo;where he would give him every satisfaction.&rdquo; Colonel Berkeley
+replied, &ldquo;No, sir! Now, sir! Now, sir!&rdquo; and without further notice
+commenced a cowardly attack on the unarmed man by beating him
+<i>over the head</i> and face with the butt-end of a heavy hunting whip.
+To make the dastardly affair more dastardly if possible, one of the
+two fellows with him stood at the door, and the other near the fire
+place, so as to prevent Judge from seizing any weapon or calling
+any one to his assistance. For this ruffianly assault, which placed
+poor Judge for some time in considerable danger of his life, he
+subsequently recovered substantial damages against his cowardly
+antagonist. The Colonel got a far worse dressing from Robert
+Cruikshank who, in a severe contemporary skit, named (in allusion
+to the colonel&rsquo;s notorious illegitimacy) <i>Colonel Fitz Bastard</i>, depicted
+him and his friends in the act of assaulting the editor of the
+<i>Cheltenham Journal</i>.</p>
+
+<p>The artist&rsquo;s tastes and sympathies threw him much in the society
+<span class="sn">Edmund Kean.</span>
+of actors. The following year his thoroughly Bohemian friend,
+Edmund Kean, was mulcted in £800 damages, in consequence of
+a disgraceful liaison with the wife of Alderman Cox; and while
+audiences thronged the one theatre to testify their sympathy for a
+favourite and popular actress, they crowded the other to howl and
+hiss at the thoroughly disreputable and disgraced tragedian. The
+episode is referred to by the artist in three of his contemporary
+caricatures, labelled respectively, <i>Wolves Triumphant, or a Fig for
+Public Opinion</i>; <i>A Scene from the Pantomime of Cock-a-Doodle-Doo,
+lately performed at Drury Lane with unbounded applause</i>; and
+<span class="pagenum"><a name="page104" id="page104"></a>104</span>
+the <i>Hostile Press, or Shakespeare in Danger</i>, all of which contain
+perhaps the best theatrical portraits of the popular tragedian which
+are extant.</p>
+
+<p>Sir Walter Scott also figures in one of Robert&rsquo;s satires of this year
+entitled, <i>The Great Unknown lately discovered in Ireland</i>, wherein he
+is represented in Highland costume, with the Waverley novels on his
+head, holding by the hand a small figure in hussar uniform, intended
+for his son, Captain Scott of the 18th hussars, who this year had
+married Miss Jobson, of Lochore. The pair after their marriage
+returned to Ireland, where the captain was quartered, and where he
+and his wife were visited by Sir Walter in August of this year.
+Although the fact was pretty well known, the authorship of the
+novels was not avowed until February of the following year, when
+with Sir Walter&rsquo;s consent it was proclaimed by Lord Meadowbank
+at a theatrical dinner on the 27th of February.</p>
+
+<p>A very curious personage makes his appearance in Robert&rsquo;s
+<span class="sn">The Living Skeleton.</span>
+sketches of this year, who would seem at first sight to be the most
+outrageously caricatured of any of his subjects, and yet this in truth
+is not the case. This person was the celebrated Claude Ambroise
+Seurat, &ldquo;the living skeleton,&rdquo; who was exhibited at the Chinese
+saloon in Pall Mall, and whose portrait from three different points of
+view was taken by Robert Cruikshank, and afterwards appeared in
+the first volume of Hone&rsquo;s &ldquo;Every-day Book,&rdquo; where a full account
+of this very singular personage will be found. The repulsive object,
+who (with the exception of his face) presented all the appearance of
+an attenuated skeleton, was exhibited in a state of complete nudity
+with the exception of a fringe of silk about his middle, from which
+(out of two holes cut for the purpose) protruded his dreadful hip
+bones. Seurat, as might have been expected, forms the subject of
+numerous contemporary caricatures; and in one of these, by way of
+comical contrast, the worthy but corpulent alderman, Sir William
+Curtis, distinguished by a similar scantiness of attire, figures with the
+living skeleton in a lively <i>pas de deux</i>. William Heath, in another of
+contemporary date, represents the fat alderman standing on a map
+of England, and Seurat on a map of France. Says Sir William: &ldquo;I
+<span class="pagenum"><a name="page105" id="page105"></a>105</span>
+say, friend, did you ever eat turtle soup?&rdquo; to which Claude Ambroise
+replies, &ldquo;No, sare; but I did eat de soupe maigre.&rdquo; In another
+(also I think by the same artist), labelled, <i>Foreign Rivals for British
+Patronage</i>, the living skeleton and a favourite male Italian singer of
+the time are represented in the act of preparing for mortal combat.<a name="FnAnchor_54" href="#Footnote_54"><span class="sp">54</span></a></p>
+
+<p>A number of the caricatures of 1825 (and among them many by
+Robert) are singularly illustrative of the morals of the time. About
+this year had been published a work professing to contain the
+memoirs of an apt disciple of Mrs. Mary Anne Clarke, which was
+made the vehicle of extorting money. The <i>modus operandi</i> appears
+to have been as follows. In the month of March, 1825, a well-known
+M.P. of that day received a letter from this creature in the
+following terms:&mdash;</p>
+
+<p>&nbsp;</p>
+<p class="rt">&ldquo;<span class="sc">No. 111, Rue du Faubourg St. Honoré</span>,</p>
+<p class="rt" style="padding-right: 5em;"><span class="sc">à Paris.</span></p>
+
+<p>Sir,&mdash;People are buying themselves so fast out of my book,
+...<a name="FnAnchor_55" href="#Footnote_55"><span class="sp">55</span></a> that I have no time to attend to them; should be sorry
+not to give each <i>a chance</i>, if they <i>chuse to be out</i>. You are quizzed
+most <i>unmercifully</i>. Two noble dukes have lately taken my word,
+and I have never named them. I am sure &mdash;&mdash; would say you
+might trust me never to publish, or <i>cause</i> to be published, aught
+about you, if you like to forward £200 directly to me, else it will be
+too late, as the last volume, in which you <i>shine</i>, will be the property
+of the editor, and in his hands. Lord &mdash;&mdash; says he will answer for
+aught I agree to; so will my husband. Do <i>just as you like</i>&mdash;consult
+only yourself. I get as much by a small <i>book</i> as you will give me
+for taking you out, or more. I attack no poor men, because they
+cannot help themselves.</p>
+
+<p>&ldquo;Adieu. Mind, I have no time to write again, as what with
+<span class="pagenum"><a name="page106" id="page106"></a>106</span>
+writing books, and then altering them for those who <i>buy out</i>, I am
+done up&mdash;<i>frappé en mort</i>.</p>
+
+<p>&ldquo;Don&rsquo;t trust to bag<a name="FnAnchor_56" href="#Footnote_56"><span class="sp">56</span></a> with your answer.&rdquo;</p>
+<p>&nbsp;</p>
+
+<p>That this extraordinary communication was no idle threat was
+proved by the fact that a respectable statuary, carrying on business
+in Piccadilly, who had refused to pay <i>black-mail</i>, brought an action
+for libel in the King&rsquo;s Bench on the 1st of July against a man
+named Stockdale, publisher of the infamous production referred to,
+and recovered £300 damages. The same year Popple, the printer,
+brought his action against this fellow; but Mr. Justice Best directed
+him to be nonsuited, on the ground that he was not entitled to
+remuneration for printing a work of such a character.</p>
+
+<p>The Catholic Relief Bill, which was thrown out this year, is the
+subject of several of Robert&rsquo;s satires, bearing the titles of <i>John Bull
+versus Pope Bull</i>; <i>Defenders of the Faith</i>; <i>The Hare Presumptuous,
+or a Catholic Game Trap</i>; <i>A Political Shaver, or the Crown in
+Danger</i>. <i>The Catholic Association, or Paddy Coming it too Strong</i>,
+has reference to Mr. Goulburn&rsquo;s motion to suppress the Catholic
+Association of Ireland, which was carried by 278 to 123, and the
+third reading by a majority of 130. The language used by Mr.
+O&rsquo;Connell on the occasion was so strong that an indictment was
+subsequently preferred against him, which, however, was thrown out
+by the grand jury. <i>Matheworama</i> for 1825 depicts that celebrated
+impersonator in thirteen of his characters. <i>Duelling</i> deserves particular
+mention by reason of the admirably designed landscape and
+figures. It represents one of the principals (who looks very far from
+comfortable) waiting, with his second and a doctor, the advent of
+the other parties. <i>The Bubble Burst, or the Ghost of an old Act of
+Parliament</i>, has reference to the speculation mania of 1825. Others
+of his satires for the year are labelled respectively, <i>Frank and Free,
+or Clerical Characters in 1825</i>; <i>A Beau Clerk for a Banking Concern</i>;
+<i>The Flat Catcher and the Rat Catcher</i>; and <i>A Pair of
+Spectacles, or the London Stage in 1824-5</i>, which, although unsigned
+<span class="pagenum"><a name="page107" id="page107"></a>107</span>
+and bearing no initials, I have no hesitation in assigning to Robert
+Cruikshank.</p>
+
+<p>I am unable to indicate the dates of the following: <i>Football</i>, very
+clever, and probably earlier than any of those already mentioned;
+<i>Waltzing</i>, &ldquo;dedicated with propriety to the lord chamberlain,&rdquo; a
+very coarse and severe satire upon the immoralities of the Prince
+Regent. Besides those we have already mentioned, we have others
+with which the volume miscalled &ldquo;Cruikshankiana&rdquo; (so often republished)
+has made the general public probably more familiar, such
+as the <i>Monstrosities of 1827</i>; <i>A Dandy Fainting, or an Exquisite in
+Fits</i>; <i>The Broom Sold</i> (Lord Brougham); <i>Household Troops</i> (a skit
+on domestic servants); and <i>A Tea-party, or English Manners and
+French Politeness</i>, all of which may be dismissed with the remark that
+they are the worst specimens of Robert&rsquo;s work which could probably
+have been selected.</p>
+
+<p>With the year 1825, our record of Isaac Robert Cruikshank&rsquo;s
+<span class="sn">Scarcity of Robert&rsquo;s Satires.</span>
+caricature work somewhat abruptly terminates. We cannot assert
+that after that date it wholly ceased, but, inasmuch as we have
+selected those we have named from a mass of some of the rarest
+pictorial satires published between the years 1800 and 1830, I think
+we are fairly justified in assuming that after this period his contributions
+to this branch of comic art became fewer. If this be the fact,
+it confirms the conclusion at which we have arrived, that at this time
+caricature had begun its somewhat hasty decline. Those I have
+named comprise over seventy examples; and their value, which is
+great on account of their scarcity, will be increased by the possibility
+that in the conception and execution of some of them the mind and
+hand of Robert might have been assisted by those of the more
+celebrated brother. &ldquo;When my dear brother Robert,&rdquo; says George
+in writing to the compiler of the famous catalogue of his own works,
+&ldquo;when my dear brother Robert (who in his latter days omitted the
+Isaac) left off portrait painting, and took almost entirely to designing
+and etching, I assisted him at first to a great extent in some of his
+drawings on wood and his etchings.&rdquo; If this be the case, it is at
+least possible that he lent the assistance of his cunning hand and
+<span class="pagenum"><a name="page108" id="page108"></a>108</span>
+original fancy to the preparation of some of these contributions to
+pictorial satire. It appears to us, therefore, that a just idea of
+George&rsquo;s own work as an artist can scarcely be arrived at (especially
+his share of the famous &ldquo;Life in London&rdquo;) until we have first considered
+the early work of himself and his brother Robert as graphic
+satirists and caricaturists. They were closely associated in artistic
+work during their early career; and it was not until both had given
+up social and political satire, and devoted themselves to the then
+comparatively new field of book illustration and etching on copper,
+that the superiority, originality, and genius of the younger brother
+became so manifest and incontrovertible.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_50" href="#FnAnchor_50"><span class="fn">50</span></a> The name given him by Bernard Blackmantle.</p>
+
+<p><a name="Footnote_51" href="#FnAnchor_51"><span class="fn">51</span></a> Further particulars of them will be found in the &ldquo;Memoirs of the Duchess
+d&rsquo;Abrantes&rdquo; (Madame Junot). The fashions of the years which immediately
+preceded the Revolution appear to have been almost as funny. I have somewhere
+seen a French semi-caricature depicting fashionables of the Palais Royal in 1786,
+and the people who had their heads cut off in &rsquo;93 were almost as queer as the
+dandies of the Directory and the Consulate.</p>
+
+<p><a name="Footnote_52" href="#FnAnchor_52"><span class="fn">52</span></a> The treadmill was the invention of Mr. (afterwards Sir William) Cubitt, of
+Ipswich. It was erected at Brixton gaol in 1817, and was afterwards gradually
+introduced into other prisons.</p>
+
+<p><a name="Footnote_53" href="#FnAnchor_53"><span class="fn">53</span></a> The Marquis of Londonderry.</p>
+
+<p><a name="Footnote_54" href="#FnAnchor_54"><span class="fn">54</span></a> What became of Seurat we do not know, but we lately came across the
+following: &ldquo;the Siamese twins married; the <i>living skeleton</i> was crossed in
+love, but afterwards consoled himself with a corpulent widow.&rdquo; The authority is
+George Augustus Sala in &ldquo;Twice Round the Clock.&rdquo; We strongly suspect that
+the wit extracted the information out of his own &ldquo;inner consciousness.&rdquo;</p>
+
+<p><a name="Footnote_55" href="#FnAnchor_55"><span class="fn">55</span></a> We purposely omit the title.</p>
+
+<p><a name="Footnote_56" href="#FnAnchor_56"><span class="fn">56</span></a> Presumably post &ldquo;bag.&rdquo;</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page109" id="page109"></a>109</span></p>
+<h3>CHAPTER VI.</h3>
+
+<h5><i>ROBERT CRUIKSHANK</i> (<i>Continued</i>).</h5>
+
+<h5><i>&ldquo;LIFE IN LONDON&rdquo; AND OTHER BOOK WORK.</i></h5>
+
+<p class="noind"><span class="sc">In</span> perusing various articles on George Cruikshank in which reference
+is made to the &ldquo;Life in London,&rdquo; we have been struck with the almost
+utter absence of Robert Cruikshank&rsquo;s name; further than this, it
+seems to have been the almost universal impression that it was his
+association with George on this memorable book which secured such
+reputation as Robert himself enjoyed. So far, however, was this from
+being the case, that not only was Robert, in 1821, a caricaturist and
+satirist of acknowledged reputation, but he was believed at this
+very time by the general public to be the cleverer artist of the two.
+Robert, indeed, has been treated with curious injustice in relation to
+this famous book, which owes its very existence (as we shall presently
+see) to him alone. While according to George (as in effect they do)
+the whole merit of the performance, many of the writers of the
+articles referred to acknowledge that they find it impossible to
+assign to him his share of the illustrations; and that difficulty will be
+largely increased to any one who has studied Robert Cruikshank&rsquo;s
+caricature work. The fact is that few of these famous plates will bear
+comparison with the best of Robert&rsquo;s pictorial satires; while the
+kindred book of the &ldquo;English Spy,&rdquo; which was illustrated (with the
+exception of one plate) by Robert alone, contains designs quite equal
+to those which adorn the &ldquo;Life in London.&rdquo; When it is admitted
+that Robert executed three parts of these illustrations, while those
+who have written upon him say that they are unable to identify
+<span class="pagenum"><a name="page110" id="page110"></a>110</span>
+George&rsquo;s share of the work,<a name="FnAnchor_57" href="#Footnote_57"><span class="sp">57</span></a> it seems unjust (to say the least of it)
+that the credit of the <i>whole</i> performance should be assigned to him
+alone. Let us be just to Robert, even though his merit as a draughtsman
+has been lost sight of in the fame which the younger brother
+achieved by virtue of his greater genius.</p>
+
+<p>The reader need not be told&mdash;and we are not going to tell him
+<span class="sn">Popularity of &ldquo;Life in London.&rdquo;</span>
+what he knows already&mdash;that the &ldquo;Life&rdquo; was dramatized by four
+writers for different theatrical houses. The most successful version
+was the one produced at the Adelphi, previously known as the <i>Sans
+Pareil</i> theatre. The first season of this house, which Messrs Jones
+and Rodwell had recently purchased for £25,000, was only moderately
+successful; but the fortune of the second was made by &ldquo;Tom
+and Jerry.&rdquo; Night after night immediately after the opening of the
+doors, the theatre was crowded to the very ceiling; the rush was
+tremendous. By three o&rsquo;clock in the afternoon of every day the
+pavement of the Strand had become impassable, and the dense mass
+which occupied it had extended by six o&rsquo;clock far across the roadway.
+Peers and provincials, dukes and dustmen, all grades and
+classes of people swelled the tide which night after night rolled its
+wave up the passage of the Adelphi. It was a compact wedge; on
+it moved, slowly, laboriously, amid the shouts and shrieks, the justling
+and jostling of the crowd which composed it, leavened by the
+intermixture of numbers of the swell mob, who plied their vocation
+with indefatigable industry and impunity. Nevertheless, the reader
+will be surprised to learn (and it is probably little known) that in
+spite of this amazing popularity, the first night of &ldquo;Tom and Jerry&rdquo;
+met with such unexpected opposition that Mr. Rodwell declared it
+should never be played again. Luckily for himself and his partner
+he was induced to reconsider this decision. The tide was taken at
+the flood, and it led&mdash;as the poet assures us that it will lead when so
+taken&mdash;to an assured fortune.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:530px; height:409px" src="images/img111a.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Robert Cruikshank.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;The Universal Songster.&rdquo;</i></p>
+<p class="al" style="margin-left: 5em;">&ldquo;By this take a warning, for noon, night, or morning,</p>
+<p class="al" style="margin-left: 5.4em;">The devil&rsquo;s in search of attorneys.&rdquo;</p></td></tr>
+
+<tr><td class="pt2"><img style="border:0; width:530px; height:411px" src="images/img111b.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Robert Cruikshank.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;The Universal Songster.&rdquo;</i></p>
+<p class="al" style="margin-left: 3em;">&ldquo;With her flames and darts, and apple tarts, her ices, trifles, cherry-brandy,</p>
+<p class="al" style="margin-left: 3.4em;">O, she knew not which to choose, for she thought them both the Dandy.&rdquo;</p>
+<p class="ar">[<i>Face p. 110.</i></p></td></tr></table></div>
+
+<p>One night a stranger entered the private box of the Duke of York
+at the Adelphi, and seated himself immediately behind his Royal
+<span class="pagenum"><a name="page111" id="page111"></a>111</span>
+Highness, who took but little notice of the intruder. The mysterious
+stranger had been brought in and was fetched by a plain green
+chariot; and the few that saw him said that he was a portly gentleman,
+wrapped in a long great coat and muffled up to the eyes.
+Keeping himself well behind his Royal Highness, the portly stranger
+took a deep but unostentatious interest in the performance. In his
+Haroun al-Raschid character he had been present, with his friend
+Lord Coleraine (then Major George Hanger), at some of the actual
+scenes represented; and in particular, by virtue of the fact of his wearing
+&ldquo;a clean shirt,&rdquo; had been called upon by the ragged chairman at
+a convivial meeting of the &ldquo;Cadgers&rdquo; to favour them with a song,
+which had been sung for him by his friend and proxy the Major.
+The mysterious stranger in fact, as the reader has already guessed,
+was his gracious Majesty King George the Fourth, and his visit
+<i>incognito</i> having been made by previous notice and arrangement, the
+passages were kept as clear of the general public as possible.</p>
+
+<p>The scenery of the Adelphi version was superintended by Robert
+Cruikshank himself. &ldquo;Tom and Jerry&rdquo; brought a strange mixture
+of visitors to attend the rehearsals. Corinthians (men of fashion)&mdash;members
+of the turf and the prize ring, who found a common
+medium of conversation in the sporting slang which Mr. Egan has
+made so familiar to us. Naturally there was a mixture. Tom Cribb,
+whom the Cruikshanks had temporarily elevated into the position of
+a hero, was indispensable; and the silver cup which figures in
+Robert&rsquo;s sketch was every night made use of in the scene depicting
+the champion&rsquo;s pot-house sanctum. Among the frequenters at these
+rehearsals was a quiet man of unusually unobtrusive deportment and
+conversation,&mdash;this man was Thurtell, the cold-blooded murderer of
+Mr. Weare.</p>
+
+<p>Since the days of the &ldquo;Beggars&rsquo; Opera,&rdquo; a success equal to that
+which attended the &ldquo;Life in London,&rdquo; and its several dramatized
+versions by Barrymore, Charles Dibdin, Moncrieff, and Pierce Egan,
+had been unknown. The exhausted exchequers of four or five
+theatres were replenished; and as in the days of the &ldquo;Beggars&rsquo;
+Opera&rdquo; the favourite songs of that piece were transferred to the ladies&rsquo;
+<span class="pagenum"><a name="page112" id="page112"></a>112</span>
+fans, and highwaymen and abandoned women became the heroes
+and heroines of the hour, so, in like manner, the Cruikshanks&rsquo; designs
+were now transferred to tea-trays, snuff-boxes, pocket-handkerchiefs,
+screens, and ladies&rsquo; fans, and the popular favourites of 1821 and 1822
+were &ldquo;Corinthian Tom,&rdquo; &ldquo;Jerry Hawthorn,&rdquo; &ldquo;Bob Logic,&rdquo; &ldquo;Bob
+the dustman,&rdquo; and &ldquo;Corinthian Kate.&rdquo;</p>
+
+<p>The success of &ldquo;Life in London&rdquo; was not regarded with equal
+satisfaction by all classes of the community; the serious world
+was horribly scandalized. Zealous, honest, fervid, and terribly in
+earnest, these good folks, in their ignorance of the world and of
+human nature, only added to the mischief which it was their honest
+wish to abate. They proclaimed the immorality of the drama; denounced
+&ldquo;Tom and Jerry&rdquo; from the pulpit; and besieged the doors
+of the play houses with a perfect army of tract droppers. Anything
+more injudicious, anything less calculated to achieve the end which
+these good people had in view, I can scarcely imagine; for it is a
+well-known fact that the best method of making a book or a play a
+&ldquo;commercial success,&rdquo; in England, is to throw doubts on its moral
+tendency.<a name="FnAnchor_58" href="#Footnote_58"><span class="sp">58</span></a> The more respectable portion of the press did better
+service to their cause by showing that, in spite of their popularity,
+&ldquo;Tom and Jerry&rdquo; were doing mischief, and that the theatres lent their
+aid to disseminate the evil, by nightly regaling the female part of
+society &ldquo;with vivid representations of the blackest sinks of iniquity
+to be found in the metropolis.&rdquo; Called on to defend his drama,
+Moncrieff, strange to say, proved himself no wiser than his assailants.
+All he could allege in its behalf was that &ldquo;the obnoxious scenes of
+life were only shown that they might be avoided; the danger of
+mixing in them was strikingly exemplified; and every incident tended
+to prove&rdquo;&mdash;what? why,&mdash;&ldquo;<i>that happiness was only to be found in
+the domestic circle</i>&rdquo;! This was special pleading with a vengeance!
+Of course all that the theatres really cared to do was to fill their
+exhausted exchequers; while as for Bohemian Robert and his friend
+Egan, the idea of making the &ldquo;Life in London&rdquo; a moral lesson never
+<span class="pagenum"><a name="page113" id="page113"></a>113</span>
+once entered their heads. The artist however was shrewd enough to
+take note of the observation for future use; and seven years later on,
+when he and Egan produced their &ldquo;Finish to the Adventures of
+Tom, Jerry, and Logic in their Pursuits through Life in and out
+of London,&rdquo; endeavoured to profit by the storm which had been
+raised by the good people of 1821, by tagging a clumsy moral to the
+sequel.</p>
+
+<p>By this time, however, the excitement which had attended the
+original work had evaporated; by this time, too, the public had learnt
+to discriminate between the pencils of the brothers Cruikshank; and
+the &ldquo;Finish,&rdquo; as compared with the original &ldquo;Life,&rdquo; fell comparatively
+flat. It made however some sort of sensation in its day, but has
+become not only a scarce book, but one that is little sought after.
+The genius and reputation of George and the pen of Thackeray
+have kept alive the popularity of the &ldquo;Life,&rdquo;<a name="FnAnchor_59" href="#Footnote_59"><span class="sp">59</span></a> while the &ldquo;Finish&rdquo;&mdash;left
+to the unaided but clever hand of Robert&mdash;has like himself
+been almost forgotten.</p>
+
+<p>And yet it scarcely merits this fate. It contains thirty-six etchings
+by Robert Cruikshank, some of them of singular merit. Among
+them may be mentioned, <i>The Duchess of Dogood</i>; <i>Splendid Jim</i>;
+<i>Logic Visiting his Old Acquaintance on Board the Fleet</i>; <i>Corinthian
+Kate in the Last Stage of Consumption, Disease, and Inebriety</i>; and if
+not the production of a genius, the hand of an artist of singular merit,
+ability, and power is manifest in the etchings entitled, <i>The Hounds at
+a Standstill</i>; <i>Logic&rsquo;s Upper Storey</i>; and <i>The End of Corinthian Kate</i>.</p>
+
+<p>Although modestly claiming for himself the merits of this book,
+<span class="sn">Pierce Egan.</span>
+Pierce Egan stands in relation to it in the position of a showman, and
+nothing more. He is not even entitled to the credit of being the
+originator,&mdash;for the originator and suggestor was Robert Cruikshank,
+who informs us of the fact (after his own characteristic fashion) by
+way of footnote to his frontispiece to the &ldquo;Finish.&rdquo;<a name="FnAnchor_60" href="#Footnote_60"><span class="sp">60</span></a> But Egan is
+<span class="pagenum"><a name="page114" id="page114"></a>114</span>
+undoubtedly a clever showman; if he displays rather more vulgarity
+than we altogether like, we must not forget the audience to whom he
+addresses himself, and for whom indeed his show is specially intended.
+We cannot admit that the popularity of this book was <i>entirely</i> due to
+the merit of the artists whose canvas he elucidates and (after his own
+fashion) explains. In common fairness some credit should be <span class="correction" title="amended from conceeded">conceded</span>
+to Egan himself. Of literary talents he had not a particle;
+and if he lacked taste and refinement, it may at least be urged in his
+behalf that the age was not one of refinement, and that sixty years
+ago we had scarcely emancipated ourselves from the barbarism and
+vulgarity some remnants of which had descended to us from the
+time of George the Second. The bent of his taste and the scope of
+his abilities may be guessed from the fact that his &ldquo;account of the
+trial of John Thurtell, the murderer,&rdquo; passed into at least <i>thirteen</i>
+editions. A man of this stamp could scarcely be expected to
+recognise the true value of the work with which he had the honour
+to be associated; he never looked beyond his patrons of the day,
+and as a natural consequence posterity has troubled itself little about
+him. You will search the biographical dictionaries in vain for any
+account of him;<a name="FnAnchor_61" href="#Footnote_61"><span class="sp">61</span></a> and this oblivion he scarcely deserves, for not only
+was he one of the most popular men of sixty years ago, but he would
+scarcely have attained that position without a fair share of merit.
+He was not deficient in energy, and his talent is shown by the fact
+that he understood and (in a measure) led the taste of his day,
+taking advantage of his knowledge to raise himself to a position
+unattainable had such taste been of a more elevated and refined
+character. His descriptive powers (such as they were) were sufficient
+to procure him the post of recorder of the &ldquo;Doings of the Ring&rdquo; on
+the staff of the <i>Weekly Dispatch</i>, which post he occupied at the time
+he officiated as literary showman to &ldquo;Tom and Jerry.&rdquo; He had however
+tried many trades,&mdash;had been in turn a compositor, bookseller,
+sporting writer, newspaper reporter, and even secretary to an Irish
+theatrical manager. The success of &ldquo;Life in London,&rdquo; which he
+<span class="pagenum"><a name="page115" id="page115"></a>115</span>
+arrogated to himself, raised up a crop of enemies as well as friends,
+and he soon afterwards received his <i>congé</i> from the proprietors of the
+<i>Dispatch</i>. Pierce Egan, however, was not a man to be daunted by any
+such discouragement; he was found equal to the occasion, meeting
+his employers&rsquo; <i>coup d&rsquo;état</i> by starting a sporting paper of his own, to
+which he gave the name of his successful book,&mdash;<i>Pierce Egan&rsquo;s
+Life in London, and Sporting Guide</i>. This counter movement proved
+the germ of a great enterprise. Probably his venture was no very
+great success; it ran only for three years from its commencement on
+the 1st of February, 1824. On the 28th of October, 1827, <i>Egan&rsquo;s
+Life in London</i> was sold by auction to a Mr. Bell, and thenceforth
+assumed its well known and now time honoured title of <i>Bell&rsquo;s Life
+in London</i>.</p>
+
+<p>Another friend of the artist was Charles Molloy Westmacott, as he
+<span class="sn">Charles Molloy Westmacott.</span>
+called himself, but who is supposed to have been&mdash;<i>filius nullius</i> or
+<i>filius populi</i>&mdash;the child of Mrs. Molloy, a pretty widow who kept a
+tavern at Kensington. Westmacott was one of a class of writers
+who not only existed but thrived in the early part of our century by
+the levying of literary black-mail. The <i>modus operandi</i> (as given by
+Mr. William Bates, from whom we derive our information respecting
+this man) appears to have been as follows: &ldquo;Sometimes a vague
+rumour or hint of scandal, accompanied perchance by a suggestive
+newspaper paragraph, was conveyed to one or more of the parties
+implicated, with a threat of <span class="correction" title="amended from furthur">further</span> inquiry into its truth, and a full
+exposure of the circumstances which excited the sender&rsquo;s virtuous
+indignation. This, if the selected victim was a man of nervous,
+timid temperament, often produced the desired effect; and although
+possibly entirely innocent of the allegation, he preferred to purchase
+silence, and escape the suspicion which publicity does not fail to
+attach to a name. If, on the other hand, no notice was taken of the
+communication, the screw received some further turns. A narrative
+was drawn up, and printed off, in the form of a newspaper paragraph,
+and was transmitted to the parties concerned, with a letter, intimating
+that it had been &lsquo;received from a correspondent,&rsquo; and that the
+publisher thought fit, prior to publication, to ascertain whether those
+<span class="pagenum"><a name="page116" id="page116"></a>116</span>
+whose names were mentioned desired to correct, modify, or cancel
+any part of the statement. There is no doubt that very large sums
+have been extorted by these scoundrelly means, and a vast amount
+of anxiety and misery occasioned.&rdquo;<a name="FnAnchor_62" href="#Footnote_62"><span class="sp">62</span></a> This was &ldquo;the sort of man&rdquo;
+that Charles Molloy Westmacott appears to have been; and I learn
+on the same authority that by these means he was enabled in one
+instance alone to net not much less than a sum of £5,000. &ldquo;Pulls&rdquo;
+of this kind enabled this fellow to live at his ease in a suburban
+retreat situated somewhere between Barnes and Richmond, which he
+fitted up (for he considered himself, as some others of his more
+modern class appear to do, a &ldquo;man of letters&rdquo;) with books and
+pictures.</p>
+
+<p>In 1825 this man brought out, under his pseudonym of &ldquo;Bernard
+<span class="sn">&ldquo;The English Spy.&rdquo;</span>
+Blackmantle,&rdquo; a veritable <i>chronique scandaleuse</i> of the time, entitled,
+&ldquo;The English Spy,&rdquo; the title page of which describes it as &ldquo;an original
+work, characteristic, satirical, and humorous, containing scenes and
+sketches in every rank of society; being portraits of the Illustrious
+Eminent, Eccentric and Notorious, drawn from the Life by Bernard
+Blackmantle.&rdquo; This extraordinary <span class="correction" title="amended from works">work</span> presents us with pictures
+of &ldquo;life&rdquo; at Eton, at Oxford, and in fashionable society in London,
+Brighton, Cheltenham, Bath, and elsewhere; and the seventy-two
+admirable copperplate aqua-tinted etchings, with one exception
+(which is by the veteran Rowlandson), are the work of Isaac Robert
+Cruikshank. This is a far rarer and more valuable book than the
+&ldquo;Life in London.&rdquo; In place of &ldquo;Corinthian&rdquo; hook-nosed Tom,
+rosy-cheeked Jerry, and the vulgar <i>gobemouche</i> Logic, we find
+figuring amongst the interesting groups, scenes, and characters all
+the notabilities of the day: celebrities such as George the Fourth
+and his favourite sultana the Marchioness of Conyngham, the
+Princess Augusta, Charles Kemble, Matthews, Fawcett, Farren,
+Grimaldi, Macready, Young, T. P. Cooke, Elliston, Dowton, Harley,
+Munden, Liston, Wallack, Madame Vestris, Townsend (the Bow
+Street &ldquo;runner&rdquo;), &ldquo;Pea Green&rdquo; Hayne, Lord William Lennox,
+<span class="pagenum"><a name="page117" id="page117"></a>117</span>
+Colonel Berkeley, Hughes Ball, and others. The etchings are singularly
+clear and distinct, and the colouring bright and pleasing.
+Among the illustrations which specially deserve notice are: <i>The
+Oppidans&rsquo; Museum</i>; <i>The Eton Montem</i> (an admirable design); <i>The
+First Bow to Alma Mater</i>; <i>College Comforts</i> (a freshman taking
+possession of his rooms); <i>Kensington Gardens Sunday Evenings, Singularities
+of 1824</i> (woodcut); <i>The Opera Green-room, or Noble Amateurs
+viewing Foreign Curiosities</i>; <i>Oxford Transports, or Albanians doing
+Penance for Past Offences</i>; <i><span class="correction" title="amended from the">The</span> King at Home, or Mathews at Carlton
+House</i>; <i>A Visit to Billingsgate</i>; <i>Characters on the Steyne, Brighton</i>;
+<i>The Cogged Dice, Interior of a Modern Hell</i>; <i>City Ball at the
+Mansion House</i>; <i>The Wake</i>; <i>The Cyprians&rsquo; Ball at the Argyle
+Rooms</i>; <i>The Post Office Bristol, Arrival of the London Mail</i>; <i>The
+Fancy Ball at the Upper Rooms, Bath</i>; and <i>Milsom Street and Bond
+Street</i>, containing portraits of Bath fashionables.</p>
+
+<p>The so-called <i>Oppidans&rsquo;<a name="FnAnchor_63" href="#Footnote_63"><span class="sp">63</span></a> Museum</i> is composed of the signs stolen
+by Eton scapegraces from the local tradesmen; a mock court is in
+progress, at which the injured parties attend and either claim or
+receive compensation for their stolen property. The tradesmen in
+the plate before us look anything but injured persons, and as a
+matter of fact the award is sufficiently ample to make amends for
+all damage. The two persons officiating as assessors and apportioning
+compensation to the various claimants, are Westmacott and
+&ldquo;Robert Transit&rdquo; (the artist himself). The illustration is full of
+life and character. Among the groups may be noticed a young
+fellow holding a bull-terrier suspended by its teeth from a handkerchief;
+a bet depends on the dog&rsquo;s patience and strength of jaw, and
+an interested companion watches the result, chronometer in hand.
+<i>The King at Home</i>, represents a scene which is said to have actually
+taken place when Mathews was giving his entertainment at Carlton
+House. The performer was imitating Kemble, when the king started
+up, and to the surprise of every one, particularly of Mathews, interrupted
+the performance by a personal and very clever imitation of
+<span class="pagenum"><a name="page118" id="page118"></a>118</span>
+the actor, who, by the way, had taught him elocution. This, indeed,
+was one of George&rsquo;s strong points, who, if not a good king,
+was at least an admirable mimic. Says old Dr. Burney (writing to
+his daughter on the 12th of July, 1805), &ldquo;He is a most excellent
+mimic of well-known characters; had we been in the dark, any
+one would have sworn that Dr. Parr and <i>Kemble</i> were in the
+room.&rdquo;<a name="FnAnchor_64" href="#Footnote_64"><span class="sp">64</span></a> In this plate we find likenesses not only of the king
+and of Mathews, but also of the Princess Augusta and the too
+celebrated Marchioness of Conyngham.</p>
+
+<p>Thomas Rowlandson&rsquo;s single pictorial contribution to the &ldquo;English
+Spy,&rdquo; <i>R&mdash;&mdash; A&mdash;&mdash;ys of Genius Reflecting on the True Line of Beauty
+at the Life Academy</i>, is described by Mr. Grego under date of 1825.
+This is not the only time in which the artist was associated in work
+with Rowlandson. There is a rare work (one of an annual series)&mdash;&ldquo;The
+Spirit of the Public Journals,&rdquo; for the year 1824, with explanatory
+notes by C. M. Westmacott, a collection of whimsical extracts
+from the press, which appeared in print in the previous season, which
+has illustrations on wood by four distinguished coadjutors: Thomas
+Rowlandson, George Cruikshank, Isaac Robert Cruikshank, and
+Theodore Lane.</p>
+
+<p>The Foote <i>v.</i> Hayne affair mentioned in our last chapter afforded
+<span class="sn">&ldquo;FitzAlleyne of Berkeley.&rdquo;</span>
+grist for the kind of mill driven by literary blacklegs of the class of
+&ldquo;Bernard Blackmantle.&rdquo; The black-mail system was tried at first,
+and when that failed he produced the now rare <i>FitzAlleyne of
+Berkeley: a Romance of the Present Times</i>, a pair of libellous volumes,
+the <i>dramatis personæ</i> of which comprise the persons whose names
+were mentioned in connection with the case. &ldquo;Maria Pous&rdquo; was
+of course Maria Foote; Samuel Pous, her father; Lord A&mdash;&mdash;y,
+Alvanley; Major H&mdash;&mdash;r, Major George Hanger, afterwards Lord
+Coleraine; Optimus, Mr. Tom Best (who shot Lord Camelford in
+a duel); the Pea-green Count and FitzAlleyne of Berkeley speak
+for themselves; while &ldquo;Mary Carbon&rdquo; is the butcher&rsquo;s daughter
+of Gloucester, mother of the Colonel, and afterwards Countess of
+<span class="pagenum"><a name="page119" id="page119"></a>119</span>
+Berkeley. Such a character as Molloy, otherwise Westmacott, was
+bound to get sometimes into trouble (in these days he would probably
+receive his reward for &ldquo;endeavouring to extort money by
+threats&rdquo;); and if he did not get exactly what he deserved, he did
+get, on the tenth of October, 1830, a tremendous thrashing from
+Charles Kemble. References to the memorandum books of this
+Ishmaelite of the press, in which he entered (for future use) some
+of the scandalous chronicles of his time, and which were offered
+for sale at his death in 1868, will be found in Mr. Bates&rsquo;s interesting
+book, from which we have already quoted.</p>
+
+<p>Returning to his friend and coadjutor, Robert Cruikshank, the
+<span class="sn">&ldquo;Points of Humour.&rdquo;</span>
+best of the artist&rsquo;s coloured illustrations to the &ldquo;English Spy&rdquo; are
+contained in the first volume; in the second he falls into those
+habits of carelessness which, with all his ability and artistic talent,
+were a besetting weakness. Robert lacked the genius, the fine
+fancy, the careful, delicate handling of George. Up to the publication
+of the &ldquo;Life,&rdquo; the brothers as we have seen had worked together
+frequently, but after this period they separated. George had
+already achieved one of his earliest triumphs in book illustration&mdash;&ldquo;The
+Points of Humour,&rdquo; which provoked the universal admiration
+of the critics, and proclaimed him one of the most original geniuses
+of the time. The &ldquo;Life,&rdquo; however, had made both brothers famous,
+and the general public had scarcely yet learnt to distinguish
+between the pencils of George and Robert. This confusion was
+taken advantage of by unscrupulous publishers (a practice at which
+Robert himself seems to have connived) to trade upon the popularity
+of the Cruikshank name. We frequently find, for instance, in literary
+advertisements of the time, that a forthcoming book is illustrated by
+&ldquo;Cruikshank,&rdquo; and the work we have just named is a case in point.
+No sooner had the &ldquo;Points of Humour&rdquo; appeared and made their
+mark, than they were followed by an announcement by Sherwood,
+Jones &amp; Co., of the &ldquo;Points of Misery,&rdquo; the letterpress by Charles
+Molloy Westmacott, and the designs by &ldquo;Cruikshank,&rdquo; that is to
+say&mdash;Robert. Although this publication is marred by the slovenliness
+of execution which characterised the artist in his careless
+<span class="pagenum"><a name="page120" id="page120"></a>120</span>
+moods, a few of the designs are excellent, and the tailpieces&mdash;<i>A Six
+Inside</i>, at page 36; <i>Cleaned Out</i>, at page 88; and the <i>Pawn Shop</i>, at
+page 87&mdash;suffice to show of how much better work Robert Cruikshank
+was capable. George, as was usual with him on these occasions,
+was horribly annoyed, and loudly and (as it seems to us)
+unnecessarily proclaimed to the world that he had no connection
+with the work. Probably this manifesto did no good to a book
+little calculated either by its literary or pictorial merits to command
+success; and as the copy before us remained uncut from the date of
+the publication until the present, the inference is that the speculation
+of Messrs. Sherwood, Jones &amp; Co., proved scarcely a remunerative
+one.</p>
+
+<p>Among the forgotten books of half a century ago, we meet with
+one whose title reminds us of the &ldquo;Life in London.&rdquo; It is called,
+&ldquo;Doings in London; or, Day and Night Scenes of the Frauds,
+Frolics, Manners, and Depravities of the Metropolis.&rdquo; It came out
+in threepenny numbers, in 1828, and its professed object (in the
+queer language of George Smeeton, its compiler and publisher) was
+to &ldquo;show vice and deception in all their real deformity, and not
+by painting in glowing colours the fascinating allurements, the mischievous
+frolics and vicious habits of the profligate, the heedless,
+and the debauchee, tempt youth to commit those irregularities which
+often lead to dangerous consequences, not only to themselves but
+also to the public.&rdquo; This shot of course was aimed at Pierce
+Egan, who, engaged at that time in bringing out the &ldquo;Finish,&rdquo; not
+unnaturally considered these &ldquo;Doings&rdquo; an attempt to derive profit
+by an indirect infringement of his own title. The title in fact <i>was</i>
+a misleading one, and the book a specimen of a class of useless
+literature of the time, by which paste-and-scissors information
+compiled from books, newspapers, and statistics by some one at
+best imperfectly acquainted with his subject, was attempted to be
+conveyed by means of questions and answers, supplemented by
+dreary and unnecessary remarks of a moralizing tendency. The
+persons in whose company Smeeton would send us round, in order
+that we may form a just conception of the &ldquo;vice and deception in
+<span class="pagenum"><a name="page121" id="page121"></a>121</span>
+all their real deformity,&rdquo; of which he speaks, are a couple of idiots,
+one Peregrine Wilson, and an attendant mentor, whom we drop
+at the earliest convenient opportunity. Information combined
+with morality is all very well. The &ldquo;History of Sandford and
+Merton&rdquo; may have been, as Lord Houghton assures us it was, &ldquo;the
+delight of the youth of the first generation of the present century.&rdquo;
+As one of the youth of the generation referred to, we refuse to
+admit it, and we are perfectly certain that the youth of the present
+generation would have nothing whatever to do with it. We resign
+ourselves preferentially to the guidance of Isaac Robert and George
+Cruikshank, sensible that they at least, while conversant with the
+scenes they so graphically describe, will not bore us with unnecessary
+moral reflections. We prefer, if the truth must be told, to
+&ldquo;sport a toe among the Corinthians at Almack&rsquo;s&rdquo; with hooked-nosed
+Tom and rosy-cheeked Jerry; to visit with these merry and
+by no means strait-laced persons, Mr. O&rsquo;Shaunessy&rsquo;s rooms in
+the Haymarket; the back parlour of the respected Thomas Cribb,
+ex-champion of England; to take wine with them &ldquo;in the wood&rdquo;
+at the London Docks; to enjoy with them, if they will, &ldquo;the
+humours of a masquerade supper at the opera house.&rdquo; The
+work which Smeeton designed with such indifferent success was
+subsequently carried out in a far more efficient manner by Mr.
+James Grant, in his &ldquo;Sketches in London,&rdquo;<a name="FnAnchor_65" href="#Footnote_65"><span class="sp">65</span></a> and at a later date
+by Mr. Mayhew, in his well-known &ldquo;London Labour and the
+London Poor.&rdquo;</p>
+
+<p>The &ldquo;Doings in London&rdquo; owe whatever value they possess to
+the thirty-nine curious designs on wood of Isaac Robert Cruikshank,
+engraved by W. C. Bonner, which, on the whole fair examples of
+his workmanship in this style, strongly remind us of the smaller
+woodcuts in Hone&rsquo;s &ldquo;Every-Day Book.&rdquo;</p>
+
+<p>The best specimens, however, of Robert&rsquo;s designs on wood are
+those which will be found in two small volumes, known indifferently
+as &ldquo;Facetiæ&rdquo; and &ldquo;Cruikshank&rsquo;s Comic Album,&rdquo; which contain a
+<span class="pagenum"><a name="page122" id="page122"></a>122</span>
+series of <i>jeux d&rsquo;esprits</i>, published between the years 1830 and 1832,
+and comprising <i>Old Bootey&rsquo;s Ghost</i> and <i>The Man of Intellect</i>, by
+W. F. Moncrieff; <i>The High-mettled Racer</i> and <i>Monsieur Nongtongpaw</i>,
+by Charles Dibdin; <i>Margate and Brighton</i>; <i>The Devil&rsquo;s
+Visit</i>; <i>Steamers and Stages</i>; <i>Monsieur Touson</i>; <i>Monsieur Mallet</i>,
+by H. W. Montague; <i>Mathew&rsquo;s Comic Annual</i> (a miserable
+<i>mélange</i> by our friend Pierce Egan); the famous <i>Devil&rsquo;s Walk</i>, by
+Coleridge and Southey, etc., etc. These little volumes, which are
+now rare, contain nearly one hundred excellent examples of Robert
+Cruikshank&rsquo;s workmanship, the woodcuts being executed after the
+artist&rsquo;s designs by W. C. Bonner and other wood engravers of
+eminence. We can stay only to describe one, which illustrates one
+of the many experiences of John Bull in his memorable visit to
+France. Struck with the appearance of a French lady, &ldquo;young and
+gay,&rdquo; the stanza tells us&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Struck by her charms he ask&rsquo;d her name</p>
+  <p class="i2">Of the first man he saw;</p>
+<p class="i05">From whom, with shrugs, no answer came</p>
+  <p class="i2">But, &lsquo;<i>Je vous n&rsquo;entends pas.</i>&rsquo;&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>Three other books (two of them exceedingly rare) must suffice
+to complete our survey of Robert&rsquo;s merits as a designer and book
+illustrator. These are &ldquo;Colburn&rsquo;s Kalendar of Amusements&rdquo; (1840),
+&ldquo;Job Crithannah&rsquo;s Original Fables&rdquo; (1834), and Eugene Sue&rsquo;s
+&ldquo;Orphan.&rdquo; There is an Irishman sitting on a barrel in one of the
+woodcuts to the &ldquo;Kalendar,&rdquo; who quite equals any of the Hibernians
+of George. The eighty-four designs to the &ldquo;Fables&rdquo; are
+admirable specimens of the artist&rsquo;s best manner, and George himself
+rarely executed better illustrations than those of the <i>Farmer and
+the Pointer</i>, at page 110, <i>The Cow and the Farmer</i>, at page 163, and
+<i>The Old Woman and her Cat</i>, at page 219. This rare and choice
+book abounds with admirable tailpieces; one of which exhibits a
+sufferer down in the agonies of gout, the treatment of which subject
+may even be compared with the more elaborate and admirable
+design by the brother described by Thackeray. Sue&rsquo;s &ldquo;Orphan&rdquo;
+<span class="pagenum"><a name="page123" id="page123"></a>123</span>
+has numerous carefully executed etchings by the artist, after the
+style and manner of his brother; in the very signature, &ldquo;Robert
+Cruikshank,&rdquo; we trace a distinct copy of George&rsquo;s peculiar trademark
+or sign-manual. Mr. Walter Hamilton, in his essay on the
+brother, presents us with a dozen copies of Robert&rsquo;s designs, eight
+of which, although unacknowledged, are taken from Crithannah&rsquo;s
+&ldquo;Fables,&rdquo; and will bear as much comparison with the original and
+beautiful woodcuts as the work of a common sign-painter with a
+finished painting by Landseer. A detailed but probably imperfect
+list of the artist&rsquo;s book work will be found in the <i>appendix</i>.</p>
+
+<p>The name of Robert Cruikshank has slipped out of the place it
+once occupied in public estimation; and his good work and his
+poor work being equally scarce, his name and his claims to rank
+high among the number of English caricaturists and comic artists
+have been forgotten even by the survivors of the generation to which
+he himself belonged. In bringing to the remembrance of those who
+do know, and to the knowledge of those who do not know, some of
+the work which entitled him in our judgment to occupy a leading
+place amongst the number of those of whom we write, we have
+endeavoured to brush away the dust of oblivion which for so many
+years has obscured the name and reputation of an artist, who, in
+spite of much slovenliness and carelessness of execution, was both
+an able caricaturist and a skilful draughtsman. George writes of
+his dead brother in terms of affection, and describes him as &ldquo;a
+very clever miniature and portrait painter, and also a designer and
+etcher;&rdquo; his friend and coadjutor, the late George Daniel, gives him
+credit for genius, of which however (in the sense in which we use
+and understand the word) he did not possess a particle. He tells
+us that &ldquo;he was apt to conceive and prompt to execute; he had a
+quick eye and a ready hand; with all his extravagant drollery, his
+drawing is anatomically correct; his details are minute, expressive,
+and of careful finish, and his colouring is bright and delicate.&rdquo; In
+the early part of his career, as we have seen, the two brothers had
+been so closely associated in life and in art, that the history of
+Robert is, to some extent, the history of George; but when they
+<span class="pagenum"><a name="page124" id="page124"></a>124</span>
+separated, when each was left to his own individual resources,
+George then struck into a path which neither Robert nor any of his
+contemporaries might hope to follow. By the time Robert had
+realized this fact, <span class="cn">HB</span> had appeared, and the art of caricaturing, as
+theretofore practised, received a blow from which it will never rally.
+Besides being an able water colour artist, he had at one time
+achieved some reputation as a portrait painter; but the latter
+pursuit he had long practically abandoned, while success in the
+former required a closer application and the exercise of a greater
+amount of patience than a man of his age and temperament could
+afford to bestow. He was, in fact, too old to commence life afresh;
+and so it came inevitably to pass that, as his brother did in after life
+(but from causes, as we shall see, widely different), Robert gradually
+dropped behind and was forgotten. He had not the genius or pride
+in his art of his brother, and looked rather to that art as a means of
+present livelihood than of acquiring a permanent and enduring
+reputation. If George&mdash;with all his pride in his art, with all his
+genius, with all his rare gifts of imagination and fancy&mdash;was
+destined to be left behind in the race of life, what could poor
+Robert hope for? It is sad to think that in later life, poor easy-going,
+thriftless, careless, Bohemian Robert sank into neglect and
+consequent poverty. He died (of bronchitis) on the 13th of March,
+1856, in his sixty-sixth year.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_57" href="#FnAnchor_57"><span class="fn">57</span></a> In this I cannot agree. George designed about a third of the plates, and
+those who know his workmanship thoroughly will not fail to identify it.</p>
+
+<p><a name="Footnote_58" href="#FnAnchor_58"><span class="fn">58</span></a> A fact which testifies to the curiosity and <i>not</i> the immorality of our people.</p>
+
+<p><a name="Footnote_59" href="#FnAnchor_59"><span class="fn">59</span></a> I have known as much as £10 asked for a copy; but <i>a first edition</i> (a rarity)
+may be purchased sometimes of a respectable bookseller for £8.</p>
+
+<p><a name="Footnote_60" href="#FnAnchor_60"><span class="fn">60</span></a> &ldquo;Fair Play! Robt. Cruikshank, invt. et fect., original suggestor and artist of
+the 2 vols. Adieu!&rdquo;</p>
+
+<p><a name="Footnote_61" href="#FnAnchor_61"><span class="fn">61</span></a> A list of his works will be found in Dr. Brewer&rsquo;s &ldquo;Handbook.&rdquo;</p>
+
+<p><a name="Footnote_62" href="#FnAnchor_62"><span class="fn">62</span></a> &ldquo;The Maclise Portrait Gallery,&rdquo; by William Bates (ed. 1883), p. 236.</p>
+
+<p><a name="Footnote_63" href="#FnAnchor_63"><span class="fn">63</span></a> The name given to the students of Eton School who board in the town.</p>
+
+<p><a name="Footnote_64" href="#FnAnchor_64"><span class="fn">64</span></a> Diary of Madam d&rsquo;Arblay.</p>
+
+<p><a name="Footnote_65" href="#FnAnchor_65"><span class="fn">65</span></a> W. S. Orr &amp; Co., 1838.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page125" id="page125"></a>125</span></p>
+<h3>CHAPTER VII.</h3>
+
+<h5><i>THE CARICATURES OF GEORGE CRUIKSHANK.</i></h5>
+
+<p class="noind"><span class="sc">Just</span> sixty years ago, a writer in <i>Blackwood</i> spoke of the subject of
+<span class="sn">Sixty Years ago.</span>
+the present chapter (then a young man who had already acquired
+an artistic reputation) in the following terms:&mdash;</p>
+
+<p>&ldquo;It is high time that the public should think more than they have
+hitherto done of George Cruikshank; and it is also high time that
+George Cruikshank should begin to think more than he seems
+to have done hitherto of himself. Generally speaking, people
+consider him as a clever, sharp <i>caricaturist</i>, and nothing more; a
+free-handed, comical young fellow, who will do anything he is paid
+for, and who is quite contented to dine off the proceeds of a
+&rsquo;George IV.&rsquo; to-day, and those of a &lsquo;Hone,&rsquo; or a &lsquo;Cobbett&rsquo;
+to-morrow. He himself, indeed, appears to be the most careless
+creature alive, as touching his reputation. He seems to have no
+plan&mdash;almost no ambition&mdash;and, I apprehend, not much industry.
+He does just what is suggested or thrown in his way, pockets the
+cash, orders his beef-steak and bowl, and chaunts, like one of his
+own heroes,&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&rsquo;Life is all a variorium,</p>
+<p class="i05">We regard not how it goes.&rsquo;</p>
+
+</div>
+</td></tr></table>
+
+<p class="noind">Now, for a year or two to begin with, this is just what it should be.
+Cruikshank was resolved to see <i>Life</i>,<a name="FnAnchor_66" href="#Footnote_66"><span class="sp">66</span></a> and his sketches show that he
+has seen it, in some of its walks, to purpose. But life is short, and
+art is long; and our gay friend must pull up.</p>
+
+<p>&ldquo;Perhaps he is not aware of the fact himself&mdash;but a fact it
+<span class="pagenum"><a name="page126" id="page126"></a>126</span>
+undoubtedly is&mdash;that he possesses genius&mdash;genius in its truest sense&mdash;strong,
+original, English genius. Look round the world of art,
+and ask, How many are there of whom anything like this can be
+said? Why, there are not half a dozen names that could bear being
+mentioned at all; and certainly there is not one, the pretensions of
+which will endure sifting, more securely and more triumphantly than
+that of George Cruikshank. In the first place, he is&mdash;what no living
+<i>caricaturist</i> but himself has the least pretensions to be, and what,
+indeed, scarcely one of their predecessors was&mdash;he is a thoroughbred
+<i>artist</i>.<a name="FnAnchor_67" href="#Footnote_67"><span class="sp">67</span></a> He draws with the ease and freedom and fearlessness of a
+master; he understands the figure completely; and appears, so far
+as one can guess from the trifling sort of things he has done, to have
+a capital notion of the principles of grouping. Now these things are
+valuable in themselves, but they are doubly, trebly valuable as
+possessed by a person of real comic humour; and a total despiser
+of that Venerable Humbug which almost all the artists of our day
+seem, in one shape or other, to revere as the prime god of their
+idolatry. Nobody, that has the least of an eye for art, can doubt
+that Cruikshank, if he chose, might design as many annunciations,
+beatifications, apotheoses, metamorphoses, and so forth, as would
+cover York cathedral from end to end. It is still more impossible
+to doubt that he might be a famous portrait painter. Now, these
+are fine lines both of them, and yet it is precisely the chief merit of
+Cruikshank that he cuts them both; that he will have nothing to do
+with them; that he has chosen a walk of his own, and that he
+has made his own walk popular. Here lies genius; but let him
+do himself justice; let him persevere and <i>rise</i> in his own path, and
+then, ladies and gentlemen, <i>then</i> the day will come when his name
+will be a name indeed, not a name puffed and paraded in the
+newspapers, but a living, a substantial, perhaps even an illustrious,
+English name. Let him, in one word, proceed, and, as he proceeds,
+let him think of Hogarth.&rdquo;<a name="FnAnchor_68" href="#Footnote_68"><span class="sp">68</span></a></p>
+
+<p><span class="pagenum"><a name="page127" id="page127"></a>127</span></p>
+
+<p>Now, although amused (and surely he cannot fail to be amused)
+at the curious incapacity of an art critic so strangely ignorant of
+his subject as to conceive <i>George Cruikshank</i> an artist capable
+of designing <i>annunciations</i>, <i>beatifications</i>, <i>apotheoses</i>, and subjects so
+completely out of the range of his sympathies and abilities, the
+reader will, at the same time, be struck with the prescience of the
+intelligent writer who discerned in him the possession of true genius,
+and predicted for him, even at this early period of his career, the
+reputation&mdash;&ldquo;living, substantial,&rdquo; and &ldquo;illustrious&rdquo;&mdash;which he afterwards
+so justly achieved for himself.</p>
+
+<p>In everything save the power to realize an annunciation, a
+beatification, or an apotheosis, George Cruikshank was, at the
+time this article was penned, exactly what Mr. Lockhart describes
+him. The most able and accomplished of the caricaturists of his
+time, he was nevertheless willing to etch the works of an amateur
+or of an artist inferior to himself, to whose work he has frequently
+imparted a vitality of which it would have been destitute but for the
+interposition of his hand. He was ready, moreover, to execute
+woodcuts for a song-book or the political skits of any scribbler of his
+time, whether on the ministerial or the popular side mattered little
+to him. It was therefore not unnatural that doing &ldquo;just what was
+suggested or thrown in his way,&rdquo; Lockhart should come to the
+erroneous conclusion that the artist had &ldquo;no plan,&rdquo; &ldquo;no ambition,&rdquo;
+and &ldquo;not much industry.&rdquo; The assertion that he had &ldquo;no ambition&rdquo;
+has been amply disproved by his subsequent life, whilst so
+far from having &ldquo;no plan,&rdquo; the sequel shows that all this time,
+unsuspected by the critic, he had been gradually developing the
+style of illustration by which he made his mark and reputation,&mdash;a
+style first displayed in the celebrated &ldquo;Points of Humour,&rdquo; the
+publication of which served as the occasion for Lockhart&rsquo;s criticism.</p>
+
+<p>On this account, if for no other reason, the caricatures of George
+Cruikshank possess so remarkable an interest, that it is singular
+that this field of artistic labour has been left almost unexplored
+<span class="pagenum"><a name="page128" id="page128"></a>128</span>
+by the essayists, many of whom, with a somewhat imperfect knowledge
+of their subject, have essayed to give us information on the
+subject of this artist and his works. It is just this early period
+of his life, in which he first followed and then gradually emancipated
+himself from the artistic control and influence of Gillray,
+which seems to us to afford the most interesting study of the
+man&rsquo;s career. Nevertheless, nearly all the articles we have read
+on George Cruikshank would give us the idea that, with the
+exception of certain designs for woodcuts for Hone&mdash;such as the
+celebrated <i>Non Mi Ricordo</i> and others&mdash;certain rough coloured
+engravings for &ldquo;The Meteor,&rdquo; &ldquo;The Scourge,&rdquo; and other periodicals
+of a kindred stamp, the artist executed but few caricatures properly
+so called. This at least is the impression which these articles
+have left on our own minds; and we can only account for the
+little notice taken of him as a caricaturist by the fact that, unlike
+the etchings which he produced when in the prime of his career,
+his caricatures are not only exceedingly scarce, but being in many
+cases unsigned, are capable only of being recognised by those
+intimately acquainted with his early handiwork.</p>
+
+<p>The caricatures of George Cruikshank may be divided into
+three classes: first, those which are wholly designed and etched
+by himself; secondly, those which he designed after the sketches
+or suggestions of his friends; and thirdly, those merely etched
+from the designs of other artists. We find the first, although
+frequently unsigned, more usually signed (on the left hand), &ldquo;Geo.
+Cruik<span class="sp">k</span>. fect.&rdquo; or &ldquo;invt. &amp; fect.&rdquo;; the second&mdash;&ldquo;invt. G. Cruik<span class="sp">k</span>.
+fect.;&rdquo; while the third are indicated as merely <i>etched</i> by him.
+Of the second class it may be remarked that with the exception
+of the mere sketch or suggestion, the drawing and the workmanship
+are oftentimes unmistakably George&rsquo;s own. In the description
+of his caricatures which follow, we shall indicate the designs
+which belong to <i>this</i> class with an asterisk.</p>
+
+<p>Publications such as &ldquo;The Scourge,&rdquo; although containing many
+caricature designs by George Cruikshank, are scarcely among
+those to which the present chapter was intended to be devoted.
+<span class="pagenum"><a name="page129" id="page129"></a>129</span>
+There are, however, two satirical compositions of his in this scurrilous
+publication,<a name="FnAnchor_69" href="#Footnote_69"><span class="sp">69</span></a> which appear to us so exceptionally good, that
+we feel justified in drawing special attention to them. As the
+publication itself affords little or no clue to the subject of the
+illustrations, it seems necessary in order that the first may be
+understood, to explain the circumstances which appear to us to
+have led up to it.</p>
+
+<p>For several years prior to 1811, the established clergy had
+<span class="sn">1811.</span>
+manifested considerable uneasiness on account of the rapid spread
+of Methodism. The readiness with which licenses for preaching
+could be obtained according to the usual interpretation of the
+Toleration Act, had tended to the multiplication of a class of
+preachers whose manners and language peculiarly fitted them for
+acquiring influence over the inferior ranks of the people; and by
+this means a great diminution had taken place in the congregations
+of parish churches. It is affirmed&mdash;with what truth we know not&mdash;that
+Lord Sidmouth in the measure (presently to be noticed)
+was encouraged to proceed in his design by letters from persons
+of high position in the Church.</p>
+
+<p>On the 9th of May, 1811, Lord Sidmouth moved in the House
+<span class="sn">Lord Sidmouth&rsquo;s Motion.</span>
+of Lords for leave to bring in a bill for amending and explaining
+the Acts of William and Mary and 17th George III., so far as
+applied to dissenting ministers. According to the statement of
+his lordship, at most of the quarter sessions, when the oaths were
+taken and the declarations made requisite for enabling a person
+to officiate in a chapel or meeting-house, any person, however
+ignorant or profligate, was able to obtain a certificate which
+<span class="pagenum"><a name="page130" id="page130"></a>130</span>
+authorized him to preach. His lordship proposed that, in order
+to entitle any person to a qualification as a preacher, he should
+have the recommendation of at least six respectable householders
+of the congregation to which he belonged. Lord Holland, in
+opposing the bill, observed that he held it to be the inalienable
+right of every man who thought himself able to instruct others to
+do so, provided his doctrines were not incompatible with the peace
+of society.</p>
+
+<p>When the nature and provisions of the proposed measure were
+made known to the public, an alarm was excited among all those
+whom it was likely to affect. The Nonconformists generally regarded
+it as intended, not so much to add to the respectability
+of the dissenting ministers, as to contract the limits of toleration,
+and subject the licensing of preachers to the control of the
+magistracy. When therefore, on the 21st of May, the bill was to
+be read a second time, such a deluge of petitions was poured in
+against it, that the mover was left totally unsupported. The
+Archbishop of Canterbury said with truth, that the Dissenters
+were the best judges of their own concerns; and as it appeared
+from the great number of petitions against it, that they were hostile
+to the bill, he thought it unwise to press the measure against their
+manifest wishes. Under these circumstances the bill was, we need
+not say, thrown out.</p>
+
+<p>This would appear to be the subject which produced George
+Cruikshank&rsquo;s graphic satire of the <i>Interior View of the House of God</i>,
+in the first volume of &ldquo;The Scourge.&rdquo; The pulpit is occupied
+by two fanatics, one of whom rants, while the other snuffs the
+candles; the devil, in the gallery above, ridicules the proceedings
+by rasping, <i>à la</i> fiddle, the bars of a gridiron with a poker; among
+the numerous congregation present we notice some attentive and
+interested listeners, whilst others evidently attend from mere
+motives of curiosity. Above the composition appears the quotation,
+&ldquo;Believe not every spirit, but try the spirits whether they
+are of God: because many false prophets are gone out into the
+world.&rdquo; The satire, <i>The Examination of a Young Surgeon</i>, which
+<span class="pagenum"><a name="page131" id="page131"></a>131</span>
+appears in the same volume, is aimed at the medical profession.
+One of the examiners is deaf, another has the gout, a third is
+asleep, while two others (unmistakable Scotchmen) discuss the
+merits of their respective snuff-mulls. The deaf man calls upon
+the frightened candidate to &ldquo;describe the organs of hearing.&rdquo; The
+table is garnished with &ldquo;The Cow Pox Chronicle,&rdquo; and a skull
+and bones, while the walls are decorated with pictures depicting
+a fight between death and a pugilist, the Hottentot Venus, a
+group of various nations worshipping the golden calf, and the
+lady without arms or legs. The hand of the clock points to the
+hour of eleven. Judging by the pile of money-bags lying at the
+foot of the president&rsquo;s chair, and the two members of the court
+who are busily engaged in counting coin, George would seem to
+insinuate that the fellows of the college of his time were a
+decidedly mercenary set.</p>
+
+<p>Of character akin to &ldquo;The Scourge&rdquo; (the ten volumes of which
+<span class="sn">&ldquo;The Satirist.&rdquo;</span>
+were published between 1811 and 1815 inclusive); is &ldquo;The Satirist,
+or Monthly Meteor,&rdquo; the thirteen volumes of which made their
+appearance between the years 1808 and 1813. Both publications,
+which now command prices very far beyond what they are intrinsically
+worth, contain a number of satires, of more or less merit (generally
+<i>less</i>), by various satirists, including George Cruikshank; so far as
+&ldquo;The Satirist&rdquo; is concerned, the designs of the latter are confined to
+the thirteenth and last volume, and his caricature contributions are
+of a vastly superior order of merit to any of those by which they
+are preceded. Besides those in &ldquo;The Scourge&rdquo; and &ldquo;The Satirist,&rdquo;
+may be mentioned George Cruikshank&rsquo;s comic designs in &ldquo;Fashion,&rdquo;
+printed for J. J. Stockdale, of Pall Mall, in 1818; and his very
+admirable series of untinted etchings in &ldquo;The Loyalist Magazine;
+or, Anti-Radical,&rdquo; a publication exclusively devoted to the ministerial
+side of the Carolinian scandal, and published by James Wright, of
+Fleet Street, in 1820.</p>
+
+<p>One of the earliest caricatures I have met with by George
+is entitled, <i>Apollyon</i> [<i>i.e.</i>, Napoleon]<i>, the Devil&rsquo;s Generalissimo,
+Addressing his Legions</i>; it is signed (contrary to his usual custom),
+<span class="pagenum"><a name="page132" id="page132"></a>132</span>
+&ldquo;Cruikshank del.,&rdquo; and was executed (if I am right in assigning it
+to him) when he was sixteen years of age.</p>
+
+<p>The attention of the public in 1813 was, as we have seen,
+<span class="sn">1813.<br />Discovery of the remains of Charles I.</span>
+attracted by the Regent&rsquo;s treatment of his miserable wife; and in
+April the sympathy of the Livery and Corporation of London, and
+other public bodies, found expression in an address which was
+presented to Her Royal Highness. On the 28th of March of that
+year, the remains of Charles the First had been discovered in the
+vault of Henry the Eighth, at Windsor, a circumstance which
+suggested to George Cruikshank his admirable satire entitled, <i>Meditations
+amongst the Tombs</i>. It shows us His Royal Highness gazing at
+the recovered bodies, and regretting that while Henry had managed
+to dispose of many wives, <i>he</i> found it impossible to get rid of one.
+A figure behind him points to the headless corpse, and significantly
+remarks, &ldquo;How rum King Charley looks without his head!&rdquo; The
+Battle of Vitoria (fought this year) forms the subject of a pair of
+roughly executed caricatures, entitled respectively, <i>The Battle of
+Vitoria</i>, and <i>A Scene after the Battle, or More Trophies for Whitehall</i>.
+Other satires of the year, are <i>Double Bass</i>, and <i>A Venomous Viper
+Poisoning the R&mdash;l Mind</i>, the latter as coarsely and indelicately
+handled a subject as any caricaturist of the old school might possibly
+desire.</p>
+
+<p><i>Little Boney gone to Pot</i> (Thomas Tegg, May 12th, 1814), is one of
+<span class="sn">1814.</span>
+the artist&rsquo;s contributions to the series of caricatures which followed
+the fall of Napoleon Bonaparte. Here the satirist has seated the
+emperor (a lean, ragged, forlorn, miserable, diseased object) on a
+huge article of bedroom furniture, labelled, &ldquo;Imperial Throne.&rdquo;
+He is in a forlorn condition, suffering from itch, with large excrescences
+growing on his toes. He is all alone in his island prison
+(Elba), and tempted by a fiend, who tenders him a pistol&mdash;&ldquo;If you
+have one spark of courage left,&rdquo; it says, &ldquo;take this.&rdquo; &ldquo;Perhaps I
+may,&rdquo; replies Napoleon, &ldquo;if you&rsquo;ll take the flint out.&rdquo; By his side
+we find a pot of brimstone, numerous medicine bottles, and &ldquo;a
+treatise on the itch, by Dr. Scratch.&rdquo;<a name="FnAnchor_70" href="#Footnote_70"><span class="sp">70</span></a> One of the imperial boots,
+<span class="pagenum"><a name="page133" id="page133"></a>133</span>
+mounted on a tiny carriage, forms a dummy cannon. His back
+leans against a tree, to which is nailed the &ldquo;Imperial Crow,&rdquo; while
+from the branches depends a ragged pair of breeches and stockings.
+It was a sorry libel on the unfortunate emperor, whose courage was
+undoubted, and who, at this time, instead of being the scarecrow the
+artist has represented him, had grown extremely corpulent. <i>Snuffing
+out Boney</i> follows up the same subject, and represents a cossack
+snuffing out Napoleon, who figures as a candle; another caricature
+on the great subject of the year bears the title of <i>Broken Gingerbread</i>
+(Napoleon selling images).</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:630px; height:416px" src="images/img133.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">George Cruikshank.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>Published July 11th, 1814, by</i> <span class="sc">S. W. Fores</span>, <i>Piccadilly</i>.</p>
+
+<p>RUSSIAN CONDESCENSION, OR THE BLESSINGS OF UNIVERSAL PEACE.</p>
+
+<p class="ar">[<i>Face page 133.</i></p></td></tr></table></div>
+
+<p>On the 8th of June, 1814, the Emperor of Russia, with his sister
+<span class="sn">Visit of the Allied Sovereigns.</span>
+the Duchess Oldenburg, the King of Prussia, and his two sons,
+with Prince Metternich, Marshal Blucher, General Barclay de Tolly,
+the Hetman Platoff, and other persons of distinction, arrived in
+London. The strangers were splendidly entertained by the merchants
+and bankers of London at Merchant Taylors&rsquo; Hall, and by
+the Corporation of London at Guildhall. On the 20th there was a
+grand review of regulars and metropolitan volunteers in Hyde Park;
+the ceremony of announcing to the inhabitants of the metropolis
+the conclusion of the definitive treaty of peace with France took
+place with all its ancient and accustomed solemnities. On the 25th
+of July a grand naval review was held at Portsmouth, and on the
+27th the illustrious visitors embarked at Dover for the Continent.
+The handsome Russian emperor and his handsome sister acquired
+great popularity by the condescension and affability they displayed
+during their short visit. This is commemorated by George Cruikshank
+in a satire published by Fores on the 11th of July, entitled,
+<i>Russian Condescension, or the Blessings of Peace</i>, in which a coarse
+woman is represented as kissing the emperor, who is habited in
+English military uniform. &ldquo;There, Sal,&rdquo; says she to her companion,
+&ldquo;I can boast of what none of the &mdash;&mdash;s at Billingsgate can, having
+kissed the king&rsquo;s emperor of all the Russian bears, and he is the
+<span class="pagenum"><a name="page134" id="page134"></a>134</span>
+sweetest, modestest, mildest gentleman I ever kissed in all my life.&rdquo;
+On the other side a huge country gawky shakes hands with the
+duchess, whose vast bonnet is a study. &ldquo;Dang it,&rdquo; he says, &ldquo;when
+I goes back and tells the folks in our village of this, law! how they
+will envy I!&rdquo; In the distance we see another female in pursuit of
+the frightened Hetman Platoff.</p>
+
+<p>The reader will remember, that from the state ceremonies and festivities
+which took place on this memorable occasion the miserable
+Caroline had been excluded, nor did she of course receive recognition
+or visits from any of her husband&rsquo;s illustrious visitors. The
+state of social isolation to which she was thus consigned is referred
+to by George Cruikshank in a very roughly executed caricature
+entitled, <i>The British Spread Eagle</i>, &ldquo;Presented to the northern
+monarchs as a model for their national banner in consequence of
+the general peace.&rdquo; The Regent, holding in his hand a bottle of
+port wine, turns away from his neglected wife: &ldquo;I&rsquo;ll go,&rdquo; he says,
+&ldquo;to my bottle, my marchioness [of Conyngham], my countess&rdquo; [of
+Jersey], who may be seen close at hand in an adjoining thicket;
+&ldquo;and I,&rdquo; answers Caroline, &ldquo;to my child, my only comfort.&rdquo; The
+&ldquo;only comfort&rdquo; is seen coming to her mother&rsquo;s assistance in the distance,
+uttering the trite quotation, &ldquo;The child that feels not for a
+mother&rsquo;s woes, can ne&rsquo;er be called a Briton.&rdquo;</p>
+
+<p><i>The Impostor, or Obstetric Dispute</i>, a still more roughly executed
+satire (published by Tegg in September, 1814), refers to the
+wretched impostor Southcott. Doctors called in to report on her
+condition &ldquo;differed&rdquo; according to their proverbial custom. Three of
+these learned pundits may be seen in consultation in the right-hand
+corner. A blatant and irascible cobbler, standing on a stool, loudly
+proclaims the woman to be &ldquo;a cheat!&rdquo; &ldquo;a faggot!&rdquo; &ldquo;a bag of
+deceit!&rdquo; &ldquo;a blasphemous old hag!&rdquo; The indignant Joanna, far
+advanced in her dropsical condition, rushes at him, brandishing a
+broom in one hand and her book of prophecies in the other, to the
+delight of certain members of the &ldquo;great unwashed.&rdquo; The buildings
+at the back appropriately include &ldquo;New Bethlehem,&rdquo; and the
+house which the reader may remember was engaged for the purposes
+<span class="pagenum"><a name="page135" id="page135"></a>135</span>
+of her miraculous <i>accouchement</i>. A rougher and coarser piece of
+workmanship, if possible, will be found in <i>Gambols on the River
+Thames, February, 1814</i> (published also by Tegg), which commemorates
+the memorable frost of that year.</p>
+
+<p>On the 17th of February, 1815, Mr. Frederick Robinson, vice-president
+<span class="sn">1815.<br />The Corn Laws.</span>
+of the board of trade, moved for the House of Commons to
+resolve itself into a committee of the whole house, for the purpose
+of considering the state of the corn laws. This having been done, he
+proceeded to lay before the House certain resolutions, three of
+which related to the free importation of grain to be warehoused and
+afterwards exported, or to be taken for home consumption when
+importation for that purpose was allowable. The fourth and most
+important stated the average price of British corn at which free
+importation was to be allowed, and <i>below which it was to be prohibited</i>,
+and this for wheat was fixed at eighty shillings per quarter.
+An exception was made in favour of grain produced in the British
+colonies, which might be imported when British grown wheat was at
+sixty-seven shillings. All the resolutions were read and agreed to,
+with the exception of the fourth, and this in the end also passed in
+the face of every amendment.</p>
+
+<p>On the 1st of March, Mr. Robinson brought in his bill &ldquo;to
+amend the laws now in force for regulating the importation of
+corn.&rdquo; By this time very numerous petitions against the bill were
+coming in from the commercial and manufacturing districts; riotous
+proceedings also took place on the 6th, 7th, 8th, and 9th of March,
+in the course of which the mob cut to pieces many valuable pictures
+belonging to Mr. Robinson, destroyed and pitched his furniture into
+the street, and did a variety of mischief to the property of other
+well-known supporters of the measure. The riots (which were of a
+most formidable character) were only quelled by the number and
+determined attitude of the military and constables. In spite, however,
+of the unmistakable unpopularity of the measure, and of the
+strenuous opposition to it both in and out of Parliament, the bill
+passed the House on the 10th of March, and the Upper House
+on the 20th.</p>
+
+<p><span class="pagenum"><a name="page136" id="page136"></a>136</span></p>
+
+<p>The consequences of this measure were not such as were expected
+either by its promoters or opposers. Former importations, or more
+probably the effect of two abundant harvests, combined with the
+greatly extended cultivation of grain, produced a gradual and steady
+reduction in prices; so that instead of approaching the limits at
+which alone importation was allowable by the Act, it sunk to a level
+below that of several years past. The farmers, who were labouring
+under exorbitant rents in addition to other increased expenses, were
+general sufferers, and the landlords found it necessary in many
+instances to make great abatements in their dues. In the result
+many leases were voided and farms left without tenants.</p>
+
+<p>To this most unpopular measure a satire, published by Fores on
+the 3rd of March, 1815, has reference. It is entitled, <i>The Blessings
+of Peace, or the Curse of the Corn Bill</i>, a very rough affair, etched
+by George (as it appears to me) from the design of an amateur
+whose hand may be recognised in more than one of his caricatures.
+A foreign vessel is approaching our shores laden with best wheat
+at 50<i>s.</i> a quarter. A figure with a star on his breast, emblematical
+of course of the aristocratic influence which was supposed to have
+dictated the unpopular corn law, forbids the sailors to land it: &ldquo;We
+won&rsquo;t have it,&rdquo; he says, &ldquo;<i>at any price</i>. We are determined to keep up
+our own to 80<i>s.</i>, and if the poor can&rsquo;t buy at that price, why, they
+must starve. We love money too well to lower our rents again,
+tho&rsquo; the income tax <i>is</i> taken off.&rdquo; His sentiments are re-echoed by
+companions belonging to the same class as himself. A farmer and
+his starving family, however, come forward. &ldquo;No, no, masters,&rdquo; he
+remonstrates; &ldquo;I&rsquo;ll not starve, but quit my native country, where
+the poor are crushed by those they labour to support, and retire to
+one more hospitable, and where threats of the rich do not interpose
+to defeat the providence of God!&rdquo; Behind the starving family is
+a warehouse absolutely bursting with sacks of grain at 80<i>s.</i> &ldquo;By
+gar!&rdquo; says the foreign captain, &ldquo;if they won&rsquo;t have [the wheat] at all,
+we must throw it overboard,&rdquo; which they accordingly are depicted as
+doing. The subject is followed up by a still more slovenly affair
+by the artist himself, bearing the title of <i>The Scale of Justice Reversed</i>,
+<span class="pagenum"><a name="page137" id="page137"></a>137</span>
+published by Fores on the 29th of March. An eighteenpenny loaf
+in one scale is overmatched by the accumulated weight of taxes in
+the other. The overbalanced scale in its descent knocks down and
+crushes John Bull under its weight. &ldquo;The bread,&rdquo; he cries, &ldquo;is out
+of my reach, and those cursed taxes will break my back. That
+large one [&rsquo;duty on manufactories,&rsquo; which the chancellor is just
+putting into the scale] will do for me.&rdquo; Beyond, a usurer and four
+large landowners are seen rejoicing at the flight of the &ldquo;Property
+Tax,&rdquo; an alleviation which is calculated to do no good to any one
+but themselves.</p>
+
+<p>John Bull&rsquo;s trials, however, were in reality just commencing.
+<span class="sn">Napoleon returns from Elba.</span>
+Only seven months before he had held a grand &ldquo;jubilee&rdquo; in the
+parks, to celebrate the return of peace, treating his little difficulty
+with the Americans as a <i>bagatelle</i> not worth serious consideration.
+Four months before that celebration, &ldquo;his majesty the Emperor
+Napoleon&rdquo; had formally &ldquo;renounced for himself, his successors, etc.,
+all right of sovereignty and dominion, as well to the French empire
+and the kingdom of Italy, as over every other country.&rdquo; In return
+for this concession, as if in absolute mockery, &ldquo;the isle of Elba,
+adopted by his majesty the Emperor ... as the place of his
+residence,&rdquo; was formed during his life into a separate principality, to
+&ldquo;be possessed by him in full <i>sovereignty and property</i>,&rdquo; besides a
+certain annual revenue mentioned in the articles of treaty of the
+18th of April, 1814. Here the Regent and his very good friends
+the allied sovereigns had been content to leave him, dreaming
+apparently, that the man whose military genius had held Europe at
+defiance, was disposed of &ldquo;for ever and a day;&rdquo; disregarding the
+feeble capacity of the Bourbon who succeeded him; the magic influence
+wielded by the man who thought the world too small for
+his ambition over a soldiery he had created and trained into perfection,
+and who regarded him in the light of a demi-god.</p>
+
+<p>On the 26th of February, 1815, Bonaparte embarked at Porto
+Ferrago on board a brig, followed by four small vessels conveying
+about 1,000 men&mdash;French, Poles, Corsicans, Neapolitans, and natives
+of Elba. On the 1st of March the expedition anchored off the
+<span class="pagenum"><a name="page138" id="page138"></a>138</span>
+town of Cannes, in Provence, where these heterogeneous forces were
+landed. The small and motley force of filibusters was forthwith
+marched on Grenoble, which was reached on the 8th. The seventh
+regiment of the line, under Colonel Labedoyère, had meanwhile
+joined the adventurer; the rest of the garrison opened their gates,
+delivered their arsenal and magazine, and thus placed him at the
+head of a body of regular troops with a train of artillery. Only five
+short months afterwards, while the unfortunate emperor was on his
+way to St. Helena, poor Labedoyère was shot on the plain of
+Grenelle, for the &ldquo;treason&rdquo; of re-swearing fealty to the original
+master he had loved so well.</p>
+
+<p>On the 9th of March, Bonaparte appeared before Lyons, which
+he entered without resistance. Once in possession of this important
+city, and hailed Emperor by his beloved soldiery, Bonaparte assumed
+the &ldquo;sovereignty and dominion&rdquo; which he had &ldquo;renounced&rdquo; for
+ever. &ldquo;Frenchmen!&rdquo; he said, after his sententious but stirring
+manner, &ldquo;there is no nation, however small it may be, which has
+not had the right, and which may not withdraw itself from the disgrace
+of obeying a prince imposed on it by an enemy momentarily
+victorious. When Charles VII. re-entered Paris, and overthrew the
+ephemeral throne of Henry V., he acknowledged that he held his
+throne from the valour of his heroes, and <i>not from a Prince Regent
+of England</i>.&rdquo;</p>
+
+<p>Although the troops assembled around him were comparatively
+a handful, Bonaparte had unquestionably obtained sufficient assurance
+of the general disposition of the army in his favour. Preparations
+indeed had been made for collecting a large body of troops
+at Melun for the immediate protection of Paris, while another was
+posted at Fontainebleau, so as to place the adventurer as it were
+between two fires. The greatest hopes were derived from the
+professed loyalty to the Bourbon cause of Marshal Ney, who had
+spontaneously presented himself at the Tuileries and proffered his
+services to the king. With the marshal, 12,000 or 15,000 men
+were posted at Lons-le-Saulnier, whence it was understood that he
+would fall on the rear of Bonaparte. Instead of doing so, he joined
+<span class="pagenum"><a name="page139" id="page139"></a>139</span>
+him at Auxerre with his whole division, which had already hoisted
+(under his orders) the tri-coloured flag. This defection practically
+decided the contest; and Bonaparte entered Paris on the evening
+of the 20th as a conqueror, received everywhere by the military
+in triumph.</p>
+
+<p>Meanwhile, on the 13th of March, the powers who had signed the
+Treaty of Paris assembled in congress at Vienna, &ldquo;being informed of
+the escape of Napoleon Bonaparte, and of his entrance into France
+with an armed force,&rdquo; issued a formal declaration, in which they
+stated that, &ldquo;by thus breaking the convention which established him
+on the island of Elba, Bonaparte had destroyed the only legal title
+on which his existence depended; ... deprived himself of the
+protection of the law; and manifested to the universe that there
+could be neither peace nor truce with him. The powers consequently
+declared that he had placed himself without the pale of
+civil and social relations, and as an enemy and disturber of the tranquility
+of the world, rendered himself liable to public vengeance;&rdquo;
+and, by a treaty concluded at Vienna on the 25th of March, Great
+Britain, Austria, Russia, and Prussia bound themselves to maintain
+the Treaty of Paris of 30th May, 1814, and for that purpose each
+was to keep constantly in the field a force of 150,000 men, and not
+lay down their arms until Bonaparte should have been rendered
+absolutely unable to create disturbance, and &ldquo;renew his attempts for
+possessing himself of the supreme power in France.&rdquo;</p>
+
+<p>The excitement which this portentous event occasioned amongst
+<span class="sn">Reappearance of Bonaparte.</span>
+the nations of Europe is admirably realized by a caricature of George
+Cruikshank&rsquo;s, published by Fores on the 6th of April, and entitled,
+<i>The Congress Dissolved before the Cake was Cut up</i>. Alexander,
+engaged in cutting up the cake (<i>i.e.</i> Europe), and apportioning to each
+nationality a share of the whole, drops the knife as Napoleon rushes
+in among them, with the tremendous cocked hat, huge sword, and
+boots assigned to him on the authority of James Gillray. Crushing
+under his feet the &ldquo;Decrees of the Congress,&rdquo; &ldquo;An Account of the
+Deliverance of Europe,&rdquo; &ldquo;A Plan for the Security of Europe,&rdquo; and
+other documents of a similar character, he shouts to the affrighted
+<span class="pagenum"><a name="page140" id="page140"></a>140</span>
+company, &ldquo;Avast! ye bunglers; the cake you have been these six
+months disputing about the cutting up, I will do in as many hours.&rdquo;
+Holland in his fright has dropped off his stool to the ground. &ldquo;O
+Donner and Blixen!&rdquo; he exclaims, &ldquo;<i>my</i> Hollands is all gone!&rdquo; &ldquo;I
+thought England had promised to guard him,&rdquo; says Saxony, alluding
+to the kind of naval supervision of Elba by English armed cruisers,
+which appears to have been exercised, so far as we can see, without
+any <i>direct</i> claim on our part to control the movements of Bonaparte.
+&ldquo;Hold him! seize him!&rdquo; cries Austria. &ldquo;Seize him! kill him!&rdquo;
+re-echoes Prussia.<a name="FnAnchor_71" href="#Footnote_71"><span class="sp">71</span></a> &ldquo;Who&rsquo;ll begin?&mdash;There&rsquo;s the rub!&rdquo; is the
+sensible observation of Sweden. &ldquo;Oh dear! oh dear!&rdquo; groans his
+holiness the Pope, crowned with a composite hat, the crown of which
+is composed of his mitre; &ldquo;what will become of me?&rdquo; The only
+one who says nothing, but seems prepared to act with determination
+and promptitude, is the representative of England, who is shown in
+the act of drawing his sword.</p>
+
+<p>Napoleon (we need not say) did not exactly act as the caricaturist
+describes: he endeavoured to re-establish relations with the foreign
+powers. On the 14th of April, however, Coulaincourt, the minister
+of foreign affairs, published his report to the emperor, giving an
+account of the result of the applications which had been made to
+foreign courts. From this it appeared that while no communication
+was permitted with the actual government of France, all the allied
+powers were diligently making preparation for war. &ldquo;In all parts of
+Europe at once,&rdquo; said the minister, &ldquo;they are arming, or marching,
+or ready to march.&rdquo; The powers, of course, were acting strictly
+within the terms of their expressed declaration to make &ldquo;neither
+peace nor truce with Bonaparte.&rdquo; The emperor&rsquo;s practical reply to
+this declaration was made in the Champ de Mars on the 1st of June.
+Descending from his throne, he distributed the imperial eagles to the
+troops of the line and the national guards as they marched past, and
+swore to defend them at the hazard of their lives, and to suffer no
+foreigners to dictate laws to their country. All this time reinforcements
+<span class="pagenum"><a name="page141" id="page141"></a>141</span>
+were being despatched from England without intermission,
+and the Duke of Wellington had arrived to take command of the
+troops, native and foreign, in Belgium. There was nothing left for
+Napoleon except to fight. In the latter end of May, the headquarters
+of the French army of the north was established at Avesnes,
+in French Flanders; while, in the apprehension of an invasion by
+the allied armies on that part, Laon and the Castle of Guise were
+put in a defensive condition. On the 12th of June Bonaparte left
+Paris, accompanied by Marshal Bertrand and General Drouet, and
+proceeded to Laon.</p>
+
+<p>At this point we meet with a piece of George Cruikshank&rsquo;s handiwork
+which is curious as indicative of the spirit which pervaded
+England at this momentous period. I am not at present in a
+position to refer to a newspaper of the period; but it would appear
+from the sketch referred to that, on or about the very day that
+Napoleon left Paris to join the splendid army which six days afterwards
+was so disastrously routed at Waterloo, a city fête was held at
+the Mansion House, at which that eccentric and sturdy nationalist,
+Sir William Curtis, whose face and figure were a fortune to the
+caricaturists of the period, covered the floor of the Mansion House
+<span class="sn">Tri-coloured &ldquo;Eagles.&rdquo;</span>
+with the tri-coloured eagles captured from the French in Peninsular
+battle-fields, while the banners of England domineered from the walls
+above. The exceedingly rare sketch which illustrates this incident
+is labelled appropriately by the artist, <i>Opening of Sir William
+Curtis&rsquo;s Campaign against the French Colours</i>.</p>
+
+<p>Six days afterwards, the star of Napoleon Bonaparte had set for
+ever in the lurid and ensanguined battle clouds of Waterloo.
+Scarcely one month later on&mdash;that is to say, on the 15th of July,
+1815&mdash;he had surrendered to Captain Maitland, of his majesty&rsquo;s ship
+<i>Bellerophon</i>, under circumstances which, while they reflect no discredit
+on the honour of that gallant officer, seem to us, so far as
+England was herself concerned, scarcely to have justified her subsequent
+treatment of the great but unfortunate emperor. With this,
+however, we have nothing to do. The <i>Bellerophon</i> on the evening of
+the 23rd, brought the distinguished exile within sight of the coast of
+<span class="pagenum"><a name="page142" id="page142"></a>142</span>
+England, a circumstance to which a subsequent caricature (<i>etched</i> by
+the artist) has reference. On the 6th of September was published
+by Fores, <i>Boney&rsquo;s Threatened Invasion brought to bear, or Taking a
+View of the English Coast from ye Poop of the Bellerophon</i>. The
+little emperor, confined to the mast by a chain fastened to his leg,
+leaps on the breech of one of the <i>Bellerophon&rsquo;s</i> guns, spy-glass in
+hand. &ldquo;By gar, mon Empereur,&rdquo; says Count Bertrand, &ldquo;dey have
+erect von prospect for you.&rdquo; The &ldquo;prospect&rdquo; is far from encouraging&mdash;a
+fort with the English flag flying from the central tower, and a
+gibbet erected in front of it. No wonder that the emperor expresses
+himself dissatisfied with a &ldquo;prospect&rdquo; of so lugubrious a character.
+An English sailor seated on a neighbouring gun, delivers the sentiments
+of the day after the plain-spoken fashion of his countrymen.
+This design, which is by no means in the artist&rsquo;s usual style, was
+etched by him from the design of some one whose name or initials
+are not recorded.</p>
+
+<p>The actual circumstance to which the foregoing sketch refers is
+related to us by the commander of the <i>Bellerophon</i>:&mdash;</p>
+
+<p>&ldquo;At daybreak on the 24th of July, we were close off Dartmouth.
+Count Bertrand went into the cabin and informed Bonaparte of it,
+who came upon deck about half-past four, and remained on the
+poop until the ship anchored in Torbay. He talked with admiration
+of the coast, saying, &lsquo;You have in that respect a great advantage
+over France, which is surrounded by rocks and dangers.&rsquo; On
+opening Torbay, he was much struck with the beauty of the scenery,
+and exclaimed, &lsquo;What a beautiful country! It very, very much
+resembles the bay of Porto Ferrago, in Elba.&rsquo;&rdquo;<a name="FnAnchor_72" href="#Footnote_72"><span class="sp">72</span></a></p>
+
+<p>The same year, and on the same subject, the artist gives us
+<i>Boney&rsquo;s Meditations on the Island of St. Helena, or the Devil addressing
+the Sun</i>, in which the idea is manifestly borrowed from a design
+by James Gillray; <i>The Corsican&rsquo;s Last Trip under the Guidance of
+his Good Angel</i> [the devil]; <i>The Genius of France Expounding her
+Laws to the Sublime People</i>; and a very admirable and original
+<span class="pagenum"><a name="page143" id="page143"></a>143</span>
+design, <i>The Pedigree of Corporal Violet</i>; all of which are etched from
+the designs of other artists.</p>
+
+<p>Hardly was Napoleon despatched to the island prison which was
+so shortly to prove his grave, and replaced by the unwieldly Louis,
+than the latter came in for his full share of satire. In another of
+George Cruikshank&rsquo;s caricatures of the same year, he shows us <i>The
+Royal Laundress</i> [Louis the Eighteenth] <i>Washing Boney&rsquo;s Court
+Dresses</i>, Napoleon watching the process the while from St. Helena.
+&ldquo;Ha, ha!&rdquo; he laughs, &ldquo;such an old woman as <i>you</i> might rub a long
+while before they&rsquo;ll be all white, for they are tri-coloured in <i>grain</i>.&rdquo;
+Another shows us fat Louis climbing the <i>mât de cocagne</i> (soaped
+pole) and clutching the crown of France; he clambers up on the
+shoulders of Austria, Russia, and Prussia, his immediate supporter
+being England. Napoleon watches his progress from across the
+sea; &ldquo;<i>I</i> climbed up,&rdquo; he says, &ldquo;twice, without <i>any</i> help.&rdquo; Other
+subjects of the year are: <i>Friends in Need</i>, and <i>John&rsquo;s Dream, or
+the Prince and Old England for Ever!</i></p>
+
+<p>The repugnance of the Regent to the economical measures which
+<span class="sn">1816.<br />Aversion of the Regent to retrenchment.</span>
+were forced upon the ministry in 1816 is well-known. The people
+complained with every just reason of the pressure of taxes, which
+were levied, as they said, upon the industrious, to be squandered in
+extravagant salaries, sinecures, and unmerited pensions. They complained
+of the large standing army, which the Regent insisted to
+be necessary for the maintenance of &ldquo;our position and high character
+among the European powers.&rdquo; The prince&rsquo;s aversion to the
+popular cry for retrenchment and reform is shown by one of George&rsquo;s
+caricatures entitled, <i>Sick of the Property Tax, or Ministerial Influenza</i>,
+published by Fores on the 8th of March, 1816, where we
+see the ministers vomiting into a huge receptacle labelled
+&ldquo;Budget,&rdquo; the matter voided consisting of &ldquo;Standing armies,&rdquo;
+&ldquo;Property tax,&rdquo; &ldquo;Increase of salaries,&rdquo; and so on. The gouty,
+self-indulgent prince hobbles up to his ministers on a pair of
+crutches marked respectively, &ldquo;More economy&rdquo; and &ldquo;Increase of
+income.&rdquo; Under his arms he carries bundles of accounts, most of
+which relate to his own private expenditure, and are labelled,
+<span class="pagenum"><a name="page144" id="page144"></a>144</span>
+&ldquo;Expenses of [Brighton] Pavilion,&rdquo; of &ldquo;Furniture,&rdquo; &ldquo;Drinking
+expenses.&rdquo; &ldquo;Aye, this comes,&rdquo; he exclaims, &ldquo;of your cursed pill
+economy, which you forced me to take a month back; no one knows
+what I have suffered from this economical spasm. I am afraid
+we shall all be laid up together.&rdquo; On the table behind him lie the
+medicines which have been prescribed for him, certain pills labelled
+&ldquo;Petitions against the property tax,&rdquo; and a huge bolus ticketed
+&ldquo;economy,&rdquo; &ldquo;to be taken immediately.&rdquo; On the same subject a
+month later on is a sketch by an amateur, etched by the artist,
+bearing the title of <i>Economical Humbug of 1816, or Saving at the
+Spiggot and Letting Out at the Bunghole</i>. From a series of small vats,
+&ldquo;Assessed taxes,&rdquo; &ldquo;Property tax,&rdquo; &ldquo;Customs,&rdquo; &ldquo;Excise,&rdquo; and other
+streams of &ldquo;supply,&rdquo; are pouring into a huge vat labelled &ldquo;The
+Treasury of J. Bull&rsquo;s Vital Spirits.&rdquo; Vansittart, Chancellor of the
+Exchequer, is carefully drawing off what he requires into a small
+bucket for the &ldquo;Public Service.&rdquo; &ldquo;You see,&rdquo; he says to Mr. Bull,
+who looks admiringly on, &ldquo;I am not a quibbling pettifogger, I am
+a man of my word; for you see I have thrown away the great
+<i>war</i> spiggot, and have substituted a small <i>peace</i> one in its stead,
+which will cause an unknown saving to you.&rdquo; This is all very
+well; but the gouty Regent has also tapped the vat on the other
+side, and draws off the supplies in a copious stream into a receptacle
+labelled, &ldquo;Deficiencies of the Civil List.&rdquo; His friends and boon
+companions are bringing up a fresh supply of empty vessels to be
+filled in their turn; one carries a barrel marked, &ldquo;For household
+troops and standing army&rdquo;; another is labelled, &ldquo;Sinecures, places,
+and pensions&rdquo;; a third, &ldquo;For cottages and pavilions&rdquo;; and a fourth,
+&ldquo;£60,000 for fun.&rdquo; &ldquo;Come, my friends,&rdquo; says the prince, &ldquo;make
+haste and fill your buckets, whilst Van is keeping noisy Johnny
+quiet with fine speeches and promises of economy, which I am
+determined not to practise as long as I can get anything to expend;
+and while he is saving at the spiggot, we will have it out of the
+bunghole.&rdquo;<a name="FnAnchor_73" href="#Footnote_73"><span class="sp">73</span></a></p>
+
+<p><span class="pagenum"><a name="page145" id="page145"></a>145</span></p>
+
+<p><i>Preparing for the Match, or the 2nd of May, 1816</i>, has reference
+to the marriage of the Princess Charlotte of Wales, who, as we
+have already seen, was on that day united to Prince Leopold of
+Saxe-Coburg. It had been preceded by a well-designed but most
+indelicate satire, labelled <i>Royal Nuptials</i>, published by J. Johnstone
+on the 1st of April, in which the prince is seen landing on
+our shores in a state of destitution, with a pitiable lack of certain
+necessary articles of clothing, which are being handed to him by
+John Bull in the guise of a countryman. The <i>dramatis personæ</i> are
+seven in number: Prince Leopold, John Bull, the Chancellor of
+the Exchequer, the gouty Regent, the Princess Charlotte, old
+Queen Charlotte, with her snuff-box, and, behind her, an old
+woman intended, I believe, for the poor old king himself. The
+same year we find two other indelicate subjects: <i>A Bazaar</i>, a skit
+upon the immorality and costume of the period, comprising thirty
+figures; and another, in allusion to the marriage of the Princess
+Mary with her cousin, the Duke of Gloucester, on the 22nd of July,
+1816. To those who have asserted that George Cruikshank &ldquo;never
+pandered to sensuality ... or raised a laugh at the expense
+of decency,&rdquo; that &ldquo;satire in his hands never degenerated into
+savagery or scurrility,&rdquo; I would commend the serious consideration
+of the three satires I have last named.</p>
+
+<p>At the time Egypt was in the power of the French, during the
+<span class="sn">The Elgin Marbles.</span>
+early part of the century, Lord Elgin had quitted England upon a
+mission to the Ottoman Porte. A great change has taken place
+in the attitude and bearing of the Turks towards other European
+nations during the last half century; but even at this time the
+<span class="pagenum"><a name="page146" id="page146"></a>146</span>
+contempt and dislike which had characterized them in their behaviour
+towards every denomination of Christians still prevailed in
+full force. The success, however, of the British arms in Egypt, and
+the expected restitution of that province to the Porte, seem to have
+wrought a wonderful and instantaneous change in the disposition of
+that power and its people towards ourselves;<a name="FnAnchor_74" href="#Footnote_74"><span class="sp">74</span></a> and Lord Elgin,
+availing himself of these favourable circumstances, obtained in the
+summer of 1801, access to the Acropolis of Athens for general
+purposes, with a concession to &ldquo;make excavations and to take away
+any stones that might appear interesting to himself.&rdquo; The result
+(shortly stated) was the excavation of the once celebrated &ldquo;Elgin
+marbles,&rdquo; about which, if we are to credit the report from which
+we glean this information, his lordship would seem to have expended
+(including the interest of capital) some £74,000. The
+committee recommend the House, under these circumstances,
+coupled with the valuations which they had obtained from competent
+authorities, that £35,000 was &ldquo;a reasonable and sufficient
+price to be paid for the collection,&rdquo; and their purchase appears to
+have been completed on the basis of these figures, a fact which
+forms the subject of the artist&rsquo;s undated and admirable satire of <i>John
+Bull Buying Stones at the Time his Numerous Family Want Bread</i>.</p>
+
+<p>Unsigned, and under date of 25th of November, 1816, I find a
+caricature published by Fores, which seems to me due to the hand
+of George Cruikshank. It is entitled, <i>The Nightmayor</i>, &ldquo;painted
+by Fuzeley,&rdquo; and represents a debased woman in the stertorous
+sleep of drunkenness, whose muddled dream-thoughts revert to
+the experiences with which her evil habits have made her so frequently
+familiar. The gin drinker has been brought before the
+Lord Mayor any number of times for being &ldquo;drunk and disorderly,&rdquo;
+and accordingly her <i>nightmare</i> assumes the form of the city official,
+who sits upon the body clothed in his robes and invested with
+the insignia of his office. Appended to the satire are the following
+lines:&mdash;</p>
+
+<p><span class="pagenum"><a name="page147" id="page147"></a>147</span></p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;The night mayor flitting through the evening fogs,</p>
+<p class="i05">Traverses alleys, streets, courts, lanes, and bogs,</p>
+<p class="i05">Seeking some love-bewilder&rsquo;d maid by gin oppress&rsquo;d,</p>
+<p class="i05">Alights&mdash;and sits upon her downy breast.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>The only other caricature of George I have to notice under date
+of 1816 is entitled, <i>State Physicians Bleeding John Bull to Death</i>. (*)</p>
+
+<p>In our third chapter we referred to the distress which prevailed
+<span class="sn">1817.</span>
+amongst the industrial classes during the two years which followed
+the fall of Bonaparte.<a name="FnAnchor_75" href="#Footnote_75"><span class="sp">75</span></a> We meet with an exceedingly rare pictorial
+satire by George Cruikshank, which relates to this state of things;
+it bears the title of, <i>John Bull Brought up for a Discharge, but
+Remanded on Account of Extravagance and False Schedule</i>, and was
+published by Fores on the 29th of March, 1817. John Bull, a
+bankrupt, is being publicly examined as to the causes of his
+failure: &ldquo;Being desired by the court to give some explanation [on
+the subject of the prodigious difference between his debts and his
+assets], he said that he had been persuaded originally to join with
+some of the parishioners in indicting his neighbour, Mr. Frog, for
+keeping a disorderly house; that they had engaged to bear their
+part of the expenses, but had all sneaked off one by one, and left
+him to pay the whole, and carry on the proceedings. It had at
+last, after being moved from one court to another, become a suit
+in Chancery; and he had been advised by the gentleman whom
+he had always consulted on these matters, and who was now dead,
+to go on and persevere, for that he would be sure to get a final
+decree in his favour, and all the costs. He had at last, in fact, got a
+decree in his favour, about two years since, before Lord Chancellor
+Wellington, and for the costs; but not a farthing had ever been paid,
+nor was it likely to be; on the contrary, Mr. Frog had surrendered
+himself, and gone to prison, where he was now living at this
+moment, at his [Mr. Bull&rsquo;s] expense. Besides, the house in question
+was now opened again under a new license, granted by the magistrates
+of the district ... or rather, a renewal of the old one,
+in favour of the brother of the person who had kept it formerly,
+<span class="pagenum"><a name="page148" id="page148"></a>148</span>
+... and the new landlord had taken down the late sign of
+the Bee Hive, and put up the old one of the <i>Fleur-de-lis</i>; but it
+was nearly as disorderly as ever, and the magistrates were obliged
+to keep up a great number of special constables to preserve the
+peace of the neighbourhood.&rdquo;<a name="FnAnchor_76" href="#Footnote_76"><span class="sp">76</span></a></p>
+
+<p>John Bull, in his best blue coat and white waistcoat, and suffering
+under an attack of gout is going through the ordeal of his public
+examination before the judge. In front of this functionary is the
+bankrupt&rsquo;s schedule, on which we read the following items:&mdash;</p>
+
+<table class="nobctr" width="70%" summary="Contents">
+<tr><td class="tc3">&ldquo;Amount of Income</td>  <td class="tc2">£24,000,000</td></tr>
+<tr><td class="tc3">Expenditure</td>  <td class="tc2">80,000,000</td></tr>
+<tr><td class="tc3">Dr. Nick Frog</td>  <td class="tc2">10,000,000</td></tr>
+<tr><td class="tc3">Paul Bruin</td>  <td class="tc2">1,000,000</td></tr>
+<tr><td class="tc3">Frank Force-child</td>  <td class="tc2">8,000,000</td></tr>
+<tr><td class="tc3">Will Eagle Eye</td>  <td class="tc2">6,000,000</td></tr>
+<tr><td class="tc3">Ferd. Faithless</td>  <td class="tc2">30,000,000.&rdquo;</td></tr></table>
+
+<p>In the body of the court, and separated from the commissioner
+by a wooden enclosure, the upper edge of which is lined with
+bayonets pointing inwards, are a number of the bankrupt&rsquo;s wretched
+creditors, whom Death, clothed in a red coat and armed with a
+mace, vainly strives to keep quiet. &ldquo;Ck. fect.&rdquo; in such faint letters
+that they might easily escape detection, is appended to this remarkable
+composition.</p>
+
+<p>In our third chapter we also referred to the serious disturbances
+which followed and were the consequences of the public discontents
+of 1817, and the fact that the names of four informers, Castle,
+Oliver, Edwards, and Franklin were identified with those of the
+chief fomenters of sedition in the metropolis and the northern
+counties.<a name="FnAnchor_77" href="#Footnote_77"><span class="sp">77</span></a> In further illustration of the satires in which these
+fellows put in an appearance, we have one by George Cruikshank
+(published by Fores on the 1st of July), and labelled, <i>Conspirators,
+or Delegates in Council</i>.  We may here mention that on the 9th
+<span class="pagenum"><a name="page149" id="page149"></a>149</span>
+of June, one Watson, a surgeon, was tried for high treason at
+Westminster Hall, and acquitted on the 16th, whereupon the
+Attorney General abandoned the prosecution against Thistlewood,
+Preston, and Hooper, who were also indicted under a like
+charge. All the accused were in indigent or humble circumstances,
+and the chief witness against them appears to have been
+Castle. Among the five persons sitting round the table, we recognise
+Castle (whose villainous face is turned towards us) and Oliver.
+The others we cannot identify. The aristocratic looking gentleman
+receiving them so blandly is my Lord Castlereagh. &ldquo;Don&rsquo;t you
+think, my lord,&rdquo; says the person next him, &ldquo;Don&rsquo;t you think that
+our friends Castle and Oliver should be sent to Lisbon or somewhere,
+as consul-generals or envoys?&rdquo; &ldquo;Can&rsquo;t you,&rdquo; says his lordship
+to the beetle-browed ruffians by way of rejoinder, &ldquo;Can&rsquo;t you
+<i>negotiate</i> for some boroughs?&rdquo; John Bull, looking through the
+window at these negotiations, with much indignation, and recognising
+in these fellows the rascals by whom he has been &ldquo;ensnared
+into [committing] criminal acts,&rdquo; hints in very plain terms that the
+conduct pursued by such men was the high road to political favour
+in 1817. Among the papers on the table we notice a &ldquo;Plan for
+the attack on the Regent&rsquo;s carriage;&rdquo;<a name="FnAnchor_78" href="#Footnote_78"><span class="sp">78</span></a> a bundle of &ldquo;treasonable
+papers to be slipped into the pockets of some duped artisans;&rdquo;
+another, indicating the &ldquo;means to be taken to implicate Sir Francis
+Burdett, Lord Cochrane,&rdquo; and other popular agitators of that day;
+&ldquo;A list of victims in Ireland,&rdquo; and so on. On the floor at his
+lordship&rsquo;s feet lie some of the tri-coloured flags unfurled at the
+Spafields meeting; the obvious inference intended to be conveyed
+being of course that the Government were really at the bottom of
+the popular disturbances.</p>
+
+<p><i>R-y-l Condescension, or a Foreign Minister Astonished</i>, published
+by Fores on the 15th of September, 1817, is one of George Cruikshank&rsquo;s
+most finished but at the same time indelicate compositions.
+It refers to the rumours affecting the Princess Caroline&rsquo;s reputation
+which preceded the &ldquo;bill of pains and penalties,&rdquo; to which we
+<span class="pagenum"><a name="page150" id="page150"></a>150</span>
+have already alluded. It appears to us to have originated out of
+the following circumstance. It was asserted that at a masked ball
+which the princess had given shortly after she left England to the
+then King of Naples, Joachim Murat, she appeared in three different
+disguises; that in one of these, &ldquo;The Genius of History,&rdquo; she had
+appeared in so unclothed a state as to call for particular observation;
+her third disguise was a Turkish costume. It was further asserted
+that in her changes of dress she had been assisted, not by her
+female attendants, but by the person with whom her name was so
+familiarly associated. In the sketch before us, Her Royal Highness&rsquo;s
+corpulent and redundant figure is clothed in a tight-fitting
+Turkish dress and trousers, her head being covered by a ponderous
+turban. The five figures composing her &ldquo;suite&rdquo; are the Courier
+Bartolomeo Bergami, his brothers Louis and Vollotti Bergami, his
+sister, and William Austin, the youth she had adopted,<a name="FnAnchor_79" href="#Footnote_79"><span class="sp">79</span></a> and who,
+it was proved, slept in her bed-chamber. The whole are decorated
+with the crosses and ribbons of the absurd order which she was
+said to have instituted. The courtly, well dressed foreign gentleman
+to whom she is introducing these vulgar persons appears to
+be intended for Metternich, who, while thanking Her Royal Highness
+for her &ldquo;condescension,&rdquo; looks the very picture of unfeigned
+but well-bred astonishment.</p>
+
+<p>In the evening of the 18th of November, 1817, a mournful procession,
+<span class="sn">Death of Princess Charlotte.</span>
+at which all the great officers of state attended, quitted
+Claremont House <i>en route</i> for Windsor. At the impressive ceremony
+which followed, Garter King at Arms proclaimed its melancholy
+purport in the following words: &ldquo;Thus it has pleased
+Almighty God to take out of this transitory life, unto His Divine
+mercy, the late most illustrious Princess Charlotte Augusta, daughter
+of His Royal Highness, George, Prince of Wales, Regent of the
+United Kingdom.&rdquo; It was even so. The pride and hope of the
+nation, the heiress of the crown, was on the 6th of November
+delivered of a still-born child, and within a very few hours afterwards
+<span class="pagenum"><a name="page151" id="page151"></a>151</span>
+had succumbed to the unlooked-for and fatal exhaustion which
+followed. The grief which this occasioned was so universal that
+every one seemed to realize the fact that he or she had sustained
+an individual loss; scarcely perhaps in English history had the
+death of a member of a royal family been more sincerely and
+truly regretted. The mournful event is referred to by the artist
+in a more than usually touching sketch, entitled, <i>England&rsquo;s Hope
+Departing</i>. Among the medical attendants of Her Royal Highness
+who followed her to the grave, was the accoucheur, Sir
+Richard Croft, Bart. This distinguished gentleman was so deeply
+affected with the unlooked-for result, that his mind refused to
+recover its tone, and within a month afterwards he committed
+self-destruction.</p>
+
+<p>Other pictorial satires of George Cruikshank, bearing the date of
+1817, are: <i>Fashionables of 1817</i>, two figures&mdash;a male and female&mdash;outrageously
+caricatured, a rough affair, altogether differing from his
+usual style; the well-known <i>double entendre</i>, <i>A View of the Regent&rsquo;s
+Bomb</i>, which, with our knowledge of his sensitiveness on the subject
+of his personal appearance, must have given the exalted personage
+thus outrageously satirized the greatest possible mortification; <i>The
+Spa Fields Orator Hunting for Popularity to do Good</i>, (*) a punning
+satire on &ldquo;Orator&rdquo; Hunt; <i>A Patriot Luminary Extinguishing
+Noxious Gas</i> (etched from the design of another artist); and two
+admirable designs bearing the titles of <i>Vis-à-Vis</i> and <i>Les Graces</i>.
+The same year we meet with one of the earliest of his alliterative
+satires, afterwards so frequently to be seen among the famous illustrations
+to the &ldquo;Comic Almanack&rdquo;: <i>La Belle Assemblée, or Sketches
+of Characteristic Dancing</i>, miscellaneous groups, comprising in all
+thirty figures (exclusive of the orchestra), engaged in a country
+dance, a Scotch reel, an Irish jig, a minuet, the German waltz,
+a French quadrille, the Spanish bolero, and a ballet &ldquo;Italienne.&rdquo;
+The walls are hung with pictures of dancing dogs, a dancing
+bear, a dancing horse, rope dancing, the dance of St. Vitus,
+and &ldquo;Dancing Mad.&rdquo; Besides this, we find the same year two large
+sheets showing the <i>Striking Effects produced by Lines and Dots,
+<span class="pagenum"><a name="page152" id="page152"></a>152</span>
+for the Assistance of every Draughtsman</i>, suggested by, but a very
+vast improvement on, G. M. Woodward&rsquo;s <i>Multum in Parvo, or
+Liliputian Sketches, showing what may be done by Lines and Dots</i>.</p>
+
+<p>A report of the House of Commons, showing how four million
+<span class="sn">1818.<br />Adulteration of Tea.</span>
+pounds weight of sloe, liquorice, and ash-tree leaves were annually
+mixed with Chinese teas in England, was supplemented by a trial in
+the Court of Exchequer, in which a grocer named Palmer was fined
+in £840 penalties, for the fabrication of spurious tea. It appeared
+that there was a regular manufactory of imitation tea in Goldstone
+Street, which was composed of thorn leaves, which, after passing
+through a peculiar process, were coloured with logwood; the same
+leaves, after being pressed and dried, were laid upon sheets of
+copper, coloured with verdigris and Dutch pink, and sold as <i>green</i>
+tea. These revelations led, in 1818, to the artist&rsquo;s admirable caricature
+of <i>The T Trade in Hot-water, or a Pretty Kettle of Fish: dedicated
+to J. Canister and T. Spoon, Esquires</i>. Besides these, we have the
+same year: <i>An Interesting Scene on Board an East Indian</i>, a very
+coarse but admirable performance; <i>Introduction to the Gout</i> (a fiend
+dropping a hot coal on the toe of a <i>bon vivant</i>); <i>A Fine Lady, or the
+Incomparable</i>, in which it appears to us that Robert had a hand;
+<i>Les Savoyards</i> and <i>Le Palais Royal de Paris</i>; <i>Comparative Anatomy,
+or the Dandy Trio</i>; and <i>The Art of Walking the Streets of London</i>,
+eight subjects, etched by the artist after the design of George
+Moutard Woodward.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:620px; height:392px" src="images/img152.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al"><i>Designed, Etched and Published by</i> <span class="sc">George Cruikshank</span>.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>November 1st, 1829.</i></p>
+
+<p>&ldquo;A SCENE IN KENSINGTON GARDENS, OR FASHIONS AND FRIGHTS OF 1829.&rdquo;</p>
+
+<p class="ar">[<i>Face p. 152.</i></p></td></tr></table></div>
+
+<p>On the 4th of December, 1818, the number of convicts lying
+under sentence of death in his Majesty&rsquo;s gaol of Newgate, amounted
+to no less than sixty, of whom ten were females; probably not
+three of these unfortunate beings would have been hung now-a-days.
+Under the Draconian laws, however, then in force, people were hung
+in scores for passing forged one-pound Bank of England notes;
+and this barbarous state of things, disgraceful to a Christian country,
+led to the famous and telling satire of the <i>Bank Restriction Note</i>,
+one of the very few which seem to have escaped oblivion, and which,
+having been repeated and reproduced in all the latest essays which
+have been written on him, calls for no extra description from ourselves.
+<span class="pagenum"><a name="page153" id="page153"></a>153</span>
+It is said to have had the effect desired, and that &ldquo;no
+man or woman was ever hanged after this for passing forged one-pound
+Bank of England notes.&rdquo;</p>
+
+<p>In 1819 we have one of George Cruikshank&rsquo;s severe and telling
+<span class="sn">1819.</span>
+attacks upon the Prince Regent, in <i>Sales by Auction, or Provident
+Children disposing of their Deceased Mother&rsquo;s Effects for the Benefit of
+the Creditors</i> (*), in which he shows us the prince knocking down (in
+his character of auctioneer) his dead mother&rsquo;s old hats, gowns, and
+clothing, and begging the bystanders to bid liberally. At the foot of
+the rostrum lie sundry snuff-boxes and pots, labelled &ldquo;Queen&rsquo;s
+Mixture&rdquo; and &ldquo;Prince&rsquo;s Mixture&rdquo; (in allusion to the old queen&rsquo;s
+habits), &ldquo;Strasburg&rdquo; (in reference to her German tastes and nationality),
+together with her old china tea-set.</p>
+
+<p>This year is remarkable for producing perhaps the most ambitious
+and admirable allegory which the artist ever designed; it bears the
+title of <i>Old Thirty-nine Shaking Hands with his Good Brother the
+Pope of Italy, or Covering Up</i> versus <i>Sealing the Bible</i>. Old Thirty-nine
+(an English bishop) stands on a pile of volumes labelled, &ldquo;Never-out-ism,&rdquo;
+&ldquo;Ante-biblism,&rdquo; &ldquo;Never-the-same-ism,&rdquo; etc., whilst the pope,
+standing on the opposite side on a mass of books bearing similar
+suggestive titles, shakes hands with his &ldquo;good brother.&rdquo; By the
+pope&rsquo;s side we find the devil busily engaged in sealing up the Bible.
+Behind him stands the Temple of Mammon, surrounded by a
+crowd of reverend worshippers. Two fiends standing by the side
+of &ldquo;Old Thirty-nine&rdquo; make preparations for a bonfire, to which
+sundry bundles labelled, &ldquo;Articles of Faith,&rdquo; &ldquo;Athanasian Creed,&rdquo;
+&ldquo;Catechism,&rdquo; &ldquo;Liturgies,&rdquo; &ldquo;Nicene Creed,&rdquo; and so on, will contribute
+materials. Out of a building in the rear, inscribed, &ldquo;National
+School for Thirty-niners only,&rdquo; issues a procession of ecclesiastics
+and beadles carrying banners. In the foreground stands the figure
+of &ldquo;Divine Truth,&rdquo; surrounded by little children, and perusing the
+pages of the &ldquo;Holy Bible,&rdquo; held for that purpose by an angel. A
+roughly executed affair in two compartments, <i>Preachee and Floggee Too</i>,
+satirizes certain clerical magistrates who, while preaching mercy and
+forgiveness in the pulpit, distinguish themselves by the severity of
+<span class="pagenum"><a name="page154" id="page154"></a>154</span>
+their sentences for minor offences on the magisterial bench. The
+titles of other subjects of the year are: <i>The Hobby Horse Dealer</i>;
+<i>Johnny Bull and his Forged Notes, or Rags and Ruin in the Paper
+Currency</i>; <i>Smoke Jack, the Alarmist, Extinguishing the Second Great
+Fire of London</i>; <i>Love, Law, and Physic</i> (*); <i>The Sailor&rsquo;s Progress</i>
+(six subjects); <i>Dandies in France, or Le Restorateur</i> (*); <i>A Match
+for the King&rsquo;s Plate</i>; <i>The Belle Alliance, or the Female Reformers of
+Blackburn</i> (*); <i>Voila t&rsquo;on mort</i>; and <i>Royal Red Bengal Tiger</i> (etched
+from the designs of other artists); <i>Irish Decency</i> (two caricatures);
+<i>Giant Grumbo and the Black Dwarf, or Lord G&mdash;&mdash; and the
+Printers Devil</i>; and <i>Our Tough old Ship Steered Safely into Harbour
+maugre Sharks of the Day</i> (*).</p>
+
+<p>An unsigned caricature, published by Fores on the 15th of May,
+1819, appears to me to be due to the hand of George Cruikshank.
+It bears the title of <i>The Dandy Tailor Planning a New Hungry
+Dress</i>, and would appear to have reference to some contemplated
+introduction of foreign mercenaries into the English service. The
+tailor, while stitching a military jacket, sings a song of which the
+following is a verse,&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;A tailor there was, and he lived in a stall,</p>
+<p class="i05">Which served him for palace, for kitchen, and hall.</p>
+<p class="i05">No coin in his pocket, no nous in his pate,</p>
+<p class="i05">No ambition has he, nor no wish to be great.</p>
+    <p class="i2">Derry down, down, down, derry down!&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p class="noind">A foreigner enters in military costume, introducing two foreign
+mercenaries. &ldquo;Dese men,&rdquo; he says, &ldquo;will teach you de proper vay
+to make de Hungarian soldats. I did bring dem expres&rsquo;. Observe
+des grands mustaches. No more English soldats.&rdquo; A military figure
+in jack boots, standing by the side of the tailor, holds the &ldquo;goose&rdquo;
+in readiness for his master&rsquo;s use. The Prince Regent, especially as
+George the Fourth, was fond of inventing new military costumes, and
+Mr. Greville describes him in 1829 (the year before his death) as
+&ldquo;employed in devising a new dress for the guards;&rdquo; but by the
+mitre at his back, and the reference to his impecunious position, I
+should take this &ldquo;tailor&rdquo; to be intended for the Duke of York.</p>
+
+<p><span class="pagenum"><a name="page155" id="page155"></a>155</span></p>
+
+<p><i>Ah! sure such a pair was never seen, so justly formed to meet by
+nature!</i><span class="sn">1820.</span> (*) represents a couple of pears, in which we recognise likenesses
+of George the Fourth and Queen Caroline, the features of
+the king being expressive of strong disgust. After Lord Liverpool
+had decided not to send the &ldquo;Bill of Pains and Penalties&rdquo; to the
+Commons, for the reason stated in a previous chapter, the Lord
+Mayor, Aldermen, and Common Council of the City of London
+distinguished themselves by presenting, on the 10th of December,
+an address to their &ldquo;most gracious sovereign,&rdquo; complaining of things
+in general, and of public expenditure in particular, the real cause
+of complaint, however, being &ldquo;the alleged criminality&rdquo; which, as
+the petitioners stated, had been &ldquo;falsely ascribed&rdquo; to the queen.
+This address, which was conceived in the worst possible taste,
+concluded with the following outrageous prayer: &ldquo;We therefore
+humbly pray your Majesty to dismiss from your presence and
+councils for ever those ministers whose pernicious measures have
+so long endangered the throne, undermined the constitution, and
+blighted the prosperity of the nation.&rdquo; Now, only fancy any Corporation
+of London in our time signalizing itself by presenting a
+petition to &ldquo;Her Most Gracious Majesty,&rdquo; complaining of the
+measures of Lord Beaconsfield or Mr. Gladstone, and praying her
+to dismiss them from her councils! The king returned the following
+answer: &ldquo;It has been with the most painful feelings that I
+have heard the sentiments contained in the address and petition
+now presented to me by the Lord Mayor, Aldermen, and Common
+Council of the City of London. Whatever may be the motives of
+those by whom it is brought forward, its evident tendency is to
+inflame the passions and mislead the judgment of the unwary and
+less enlightened part of my subjects, and thus to aggravate all the
+difficulties with which we have to contend.&rdquo; This episode suggested
+to George one of the most admirable of his caricatures: <i>A Scene in
+the New Farce as performed at the Royalty Theatre</i>. The corpulent
+monarch, in the character and costume of Henry the Eighth, is
+receiving a number of deputations from all parts of England,
+Scotland, and Ireland, bearing petitions praying him to dismiss his
+<span class="pagenum"><a name="page156" id="page156"></a>156</span>
+ministry, the members of which stand on each side of the throne,
+one of the number being habited as a jester. This exceedingly
+rare plate carries on it the following explanation: &ldquo;King Henry
+VIII. being petitioned to dismiss his ministers and council by the
+citizens of London and many boroughs, to relieve his oppressed
+subjects, made the citizens this sagacious reply: &lsquo;We, with all our
+cabinet, think it strange that ye who be but <i>brutes</i> and inexpert folk,
+should tell us who be and who be not fit for our council.&rsquo;&rdquo;</p>
+
+<p>Another of George Cruikshank&rsquo;s rare and valuable contributions
+<span class="sn">1821.</span>
+to the Queen Caroline series of pictorial satires is labelled <i>The Royal
+Rushlight</i>, which many people (among them the Chancellor and
+corpulent George) are vainly endeavouring to blow out. By way
+(it may be) of contrast, this excellent satire has appended to it the
+following miserable doggerel,&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Cook, coachee, men and maids, very nearly all in buff,</p>
+  <p class="i2">Came and swore in their lives they never met with such a light;</p>
+<p class="i05">And each of the <i>family</i> by turns had a puff</p>
+  <p class="i2">At the little farthing rushlight.</p>
+<p class="i05">But none of the family could blow out the rushlight.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>With the year 1821 came the closing scene in the drama of
+<span class="sn">Death of Queen Caroline.</span>
+Caroline&rsquo;s unhappy but singularly undignified career. On the
+occasion of the king&rsquo;s coronation she had applied to Lord
+Liverpool, desiring to be informed what arrangements had been
+made for her convenience, and who were appointed her attendants
+at the approaching ceremony. An answer was returned that, &ldquo;it
+was a right of the Crown to give or withhold the order for her
+Majesty&rsquo;s coronation, and that his Majesty would be advised not to
+give any directions for her participation in the arrangements;&rdquo; but
+with the obstinacy of purpose which was so fatal a blemish in her
+character, and which seems to have been the primary cause of all
+her misfortunes, she insisted on her right, and declared moreover
+her firm intention of attending the ceremony. A respectful but
+peremptory reply was returned, reasserting the legal prerogative of
+the Crown, and announcing that the former intimation must be
+understood as amounting to a <i>prohibition</i> of her attendance. She
+<span class="pagenum"><a name="page157" id="page157"></a>157</span>
+was however so ill-advised as to present herself early on the morning
+of the day (the 19th of July) at the doors of the Abbey of Westminster.
+The door-keepers refused to allow her to enter as queen;
+and she was forced to submit to the mortification of having to retire
+without having succeeded (as it was her evident intention to have
+done) in marring the arrangements for the splendid ceremony.
+By this time the enthusiasm in her favour had greatly evaporated,
+and she was received even coldly by her friends the assembled mob.
+The mortification proved fatal to her; very shortly afterwards she
+was taken ill, and died in less than three weeks after the unnecessary
+mortification to which she had thus insisted on exposing herself.</p>
+
+<p>It is probable that if the wishes of her executors had been allowed
+to be carried out, the unfortunate woman would have been carried to
+her grave in peace. She had directed that her remains should, three
+days after her death, be carried to Brunswick for interment; and
+had Lord Liverpool been wise, he would have left the executors to
+carry out the arrangements after their own fashion. Unfortunately,
+the Government decided to take the arrangements into their own
+hands, and to lay down the route (the shortest) by which the
+mournful procession should proceed to Harwich. No fault can be
+found with the arrangements themselves, which were intended to pay
+the greatest respect to the memory of the deceased; but the cautions
+they took brought about the very result they were anxious to avoid,
+and at once revived all the slumbering sympathies of the mob in
+favour of the unhappy queen. A squabble took place at the outset,
+Dr. Lushington, as one of the executors, protesting against the
+removal of the corpse; but, escorted by squadrons of Horse-guards
+Blue, the procession left Brandenburg House at eight o&rsquo;clock in the
+morning of the 15th of August, in a drizzling rain. The cavalcade
+reached Kensington in solemn order; but on arriving at the Gravel
+Pits, and attempting to turn off to the left, its progress was instantly
+blocked by wagons and carts placed across the road, while a body of
+men formed across the streets twenty deep and evinced every
+disposition to dispute the passage. A severe conflict took place
+between them and the constables, several on both sides being hurt.
+<span class="pagenum"><a name="page158" id="page158"></a>158</span>
+For an hour and a half the procession waited for orders, and at
+length it moved towards London. On reaching Kensington Gore a
+squadron of the Life Guards, with a magistrate at their head, tried in
+vain to open the park gates, the crowd vociferating in the meantime,
+&ldquo;To the city! the city!&rdquo; On reaching Hyde Park Corner,
+the gate there was found barricaded with carts, and the procession
+then moved on to Park Lane, which being also blocked up, it turned
+back hastily and entered Hyde Park, through which it proceeded at
+a trot, the soldiers having cleared away the obstacles at the gate.
+On reaching Cumberland Gate, it was found closed by the populace,
+and in the conflict which ensued the park wall was thrown down by
+the pressure of the crowd, who hurled the stones at the soldiers, in
+return for the use the latter had made of their sabres in clearing the
+passage. Many of the military and their horses were hurt; and
+some of the soldiers, irritated by their rough usage, resorted to their
+pistols and carbines, and two persons (Richard Honey, a carpenter,
+and George Francis, a bricklayer) were unfortunately killed, and
+others wounded. The Edgeware Road was blockaded, but quickly
+cleared, and the procession moved on till it arrived at the turnpike
+gate near the top of Tottenham Court Road. There the mob made
+so determined a stand that further opposition was deemed unadvisable,
+and the popular will being at length acceded to, the cavalcade
+forthwith took its way into the city. Every street through which a
+turn could have been made in order to enter the New Road or the
+City Road was found barricaded. As the funeral passed through
+the city, the Oxford Blues doing duty there, who had not participated
+in the outrage, were cordially greeted by the populace on
+either side of the street. The inquests on the bodies of the dead
+men lasted for a considerable period. In the case of Francis, a
+verdict of &ldquo;wilful murder against a life guardsman unknown&rdquo; was
+returned; whilst in that of Honey, the verdict was manslaughter
+against the officers and men of the first regiment of Life Guards on
+duty at the time. This event is recorded by George in a caricature
+entitled, <i>The Manslaughter Men, or a Horse Laugh at the Law of
+the Land</i>,&mdash;two ghostly gory figures rising from their graves, which
+<span class="pagenum"><a name="page159" id="page159"></a>159</span>
+are respectively inscribed, &ldquo;Verdict, wilful murder,&rdquo; and &ldquo;Verdict,
+manslaughter&rdquo;; a group of life guardsmen grin and point at the
+body, and one of them jeeringly remarks, &ldquo;Shake not thy bloody
+locks at me; ye cannot say who did it.&rdquo; Another satire on the same
+subject bears the title of <i>The Horse Chancellor obtaining a Verdict,
+or Killing no Murder</i>.</p>
+
+<p>Other subjects of this year are the following: <i>And when Ahitophel
+saw that his Counsel was not followed, he Saddled his Ass, and
+arose and went and Hanged himself</i>; <i>O! O! there&rsquo;s a Minister of the
+Gospel</i>; <i>The Royal Extinguisher, or the King of Brobdingnag and
+the Liliputians</i> (etched after the design of Isaac Robert). Six
+subjects, <i>La Diligence</i> and <i>La Doriane</i>, <i>Venus de Medici and Mer de
+Glace</i>, <i>Visit to Vesuvius</i> and <i>Forum Boarium</i>, and <i>Nosing the Nob at
+Ramsgate</i>, a coarsely executed satire aimed at his Majesty and his
+eccentric subject, Alderman Sir William Curtis.</p>
+
+<p>Sir William Curtis, alderman, trader, and formerly member for the
+<span class="sn">1822.<br />Sir William Curtis.</span>
+city, is one of the most prominent figures in the satires of his time.
+Making every allowance for caricature drawing, the likeness must
+have been on the whole a faithful though an exaggerated one; for
+in all the numerous comical sketches in which he makes an appearance,
+we never fail to recognise his ruby nose and ponderous figure.
+We have already seen him figuring by way of ludicrous contrast with
+Claude Ambroise Seurat, the &ldquo;living skeleton,&rdquo; and we shall now
+find him associated by the caricaturists with no less a person than
+the king himself. When his majesty, in 1822, paid his visit to
+Scotland, and by way of compliment to the country and her traditions
+assumed the &ldquo;garb of old Gael,&rdquo; Alderman Sir William
+Curtis, who followed his sovereign at a respectful distance, out of
+compliment to the country, her traditions, &ldquo;his most gracious
+majesty,&rdquo; and himself, put his own corpulent form into fancy
+costume, and likewise donned the Highland garb. The absurdly
+ludicrous result is told us by Lockhart. &ldquo;The king at his first levee
+diverted many, and delighted Scott by appearing in the full Highland
+garb&mdash;the same brilliant <i>Stewart tartans</i>, so-called, in which
+certainly no Stewart, except Prince Charles, had ever before presented
+<span class="pagenum"><a name="page160" id="page160"></a>160</span>
+himself in the saloons of Holyrood. His majesty&rsquo;s Celtic
+toilette had been carefully watched and assisted by the gallant Laird
+of Garth, who was not a little proud of the result of his dexterous
+manipulations of the rough plaid, and pronounced the king &lsquo;a vara
+pretty man.&rsquo; And he did look a most stately and imposing person
+in that beautiful dress; but his satisfaction therein was cruelly
+disturbed when he discovered, towering and blazing among and
+above the genuine Glengarries and Macleods and MacGregors, a
+figure even more portly than his own, equipped from a sudden impulse
+of loyal ardour in an equally complete set of the self-same
+conspicuous Stewart tartans:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&rsquo;He caught Sir William Curtis in a kilt&mdash;</p>
+<p class="i05">While throng&rsquo;d the chiefs of every Highland clan</p>
+<p class="i05">To hail their brother, Vich Ian Alderman.&rsquo;<a name="FnAnchor_80" href="#Footnote_80"><span class="sp">80</span></a></p>
+
+</div>
+</td></tr></table>
+
+<p class="noind">In truth this portentous apparition cast an air of ridicule and caricature
+over the whole of Sir Walter&rsquo;s celtified pageantry. A sharp
+little bailie from Aberdeen, who had previously made acquaintance
+with the worthy Guildhall baronet, and tasted the turtle soup of his
+voluptuous yacht, tortured him as he sailed down the long gallery of
+Holyrood, by suggesting that after all his costume was not quite
+perfect. Sir William, who had been rigged out, as the auctioneer&rsquo;s
+advertisements say, &lsquo;regardless of expense,&rsquo; exclaimed that he must
+be mistaken, begged he would explain his criticism, and, as he spoke,
+threw a glance of admiration on his <i>skene dhu</i> (black knife), which,
+like a true &lsquo;warrior and hunter of deer,&rsquo; he wore stuck into one of
+his garters. &lsquo;Oo ay! Oo ay!&rsquo; quoth the Aberdonian; &lsquo;the knife&rsquo;s a&rsquo;
+right, mon&mdash;but faar&rsquo;s your speen?&rsquo; (where&rsquo;s your spoon?) Such
+was Scott&rsquo;s story; but whether he &lsquo;gave it a cocked hat and walking
+cane,&rsquo; in the hope of restoring the king&rsquo;s good humour, so grievously
+shaken by this heroical <i>doppel ganger</i>, it is not very necessary to
+inquire.&rdquo;<a name="FnAnchor_81" href="#Footnote_81"><span class="sp">81</span></a></p>
+
+<p>Which indeed of the absurd pair looked the most ridiculous it
+<span class="pagenum"><a name="page161" id="page161"></a>161</span>
+would be hard to say: a great-grandson of George the Second in
+the Highland garb of &ldquo;Bonnie Prince Charlie,&rdquo; was perhaps as
+absurd an anachronism as a fat cockney alderman in the same fancy
+costume. Our friends the caricaturists were fully alive to these
+puerilities. An anonymous caricature of the day celebrates the
+ludicrous event in a satire entitled, <i>Equipt for a Northern Visit</i>,
+which represents the fat king and the fat alderman in kilts, the point
+of the pictorial epigram lying in the fact that the corpulent king
+recommends his corpulent subject to lay aside the costume as unbecoming
+to a man of <i>his</i> proportions. George has several pictorial
+satires on the same fertile theme; one of these, <i>Bonnie Willie</i>,
+depicts the huge man in Highland garb. A rare and most amusing
+caricature shows us the supposed unfortunate <i>Results of this Northern
+Excursion</i>. The fat king and his fat subject have caught the
+northern complaint vulgarly termed the &ldquo;Scottish fiddle,&rdquo; and are
+vigorously going through the traditionary process of rubbing
+themselves against the post, blessing the while his grace the Duke
+of Argyle. An English acquaintance, not unnaturally afraid of
+infection, refuses the alderman&rsquo;s proffered hand.</p>
+
+<p>A caricature of altogether another kind commemorates a raid
+made by the Bow Street officers on the numerous gaming establishments
+of 1822. It is called, <i>Cribbage, Shuffling, Whist, and a
+Round Game</i>, is divided into six compartments, and is most
+humorously and admirably treated. The principal performers are
+the knaves of cards. One of the compartments shows us the
+knaves on the treadmill, which is marked &ldquo;Fortune&rsquo;s Wheel;&rdquo;
+while in another a knave is undergoing the discipline of the &ldquo;cat,&rdquo;
+and calling out at every stroke &ldquo;E. O.! E. O.! E. O.!&rdquo;<a name="FnAnchor_82" href="#Footnote_82"><span class="sp">82</span></a></p>
+
+<p>Sir Richard Westmacott&rsquo;s statue of Achilles was executed in 1822.
+<span class="sn">Statue of Achilles.</span>
+The nude, undraped colossal figure, which was subscribed for by the
+ladies of England in honour of the Duke of Wellington and his
+soldiers, was the occasion of numerous contemporary satires&mdash;most
+of them (in those plain-spoken days) of the broadest possible
+<span class="pagenum"><a name="page162" id="page162"></a>162</span>
+character. One of the most indelicate (*) (drawn by the artist from
+the sketch or suggestion of another) gives a burlesque front and
+back view of the figure, which is surrounded by a number of people
+(principally ladies), among whom we recognise a caricature likeness
+of the &ldquo;Dook.&rdquo; The inscription runs as follows: &ldquo;To Arthur à
+Bradley, and his jolly companions every one, this brazen image of
+Patrick O&rsquo;Killus, Esq., is inscribed by their countrywomen.&rdquo;<a name="FnAnchor_83" href="#Footnote_83"><span class="sp">83</span></a>
+Besides the foregoing, we meet this year with <i>A Lollipop-Ally Campagne
+and Brandy Ball</i> (*); <i>Premium, Par, and Discount</i>; <i>Showing-off&mdash;Bang
+up&mdash;Prime</i> (*); and <i>A Sailor&rsquo;s description of a Chase
+and Capture</i> (*).</p>
+
+<p>A large proportion of his satires for 1823 are aimed at Louis the
+<span class="sn">1823.</span>
+Eighteenth&rsquo;s Spanish expedition, the object of which we have
+already related. One of these shows us <i>France the great Nation
+driven by the North into the South</i>; in another, Ferdinand the
+Seventh and the Duc d&rsquo;Angoulème figure respectively as a <i>Spanish
+Mule and a French Jackass</i>; <i>A French Hilt on a Spanish Rapier</i>, is
+likewise dedicated to the Duc d&rsquo;Angoulème; another shows us <i>Old
+Bumblehead the 18th trying on Napoleon&rsquo;s Boots</i>; a fifth is entitled,
+<i>A Hint to the Blind and Foolish, or the Bourbon Dynasty in Danger</i>;
+while a sixth shows us <i>Louis the Fat troubled with Nightmare and
+Dreams of Terror</i>. In all these caricatures, the figure of Napoleon,
+already sleeping his last sleep at St. Helena&mdash;the place of his exile
+and of his grave&mdash;is represented by way of contrast to the unwieldly
+and incompetent Bourbon. Another caricature, the point of which
+I fail to see, bears the title of <i>The Tables Turn&rsquo;d, or the Devil Outwitted
+and Cruelly Punished,&mdash;a Scene on the Portsmouth Treadmill</i>;
+this last, though said to be &ldquo;designed by an amateur,&rdquo; and &ldquo;etched
+by G. Ck.,&rdquo; is unquestionably all his own.</p>
+
+<p><i>Drilling One-tenth of the Military in the Manual Exercise</i>, and
+<span class="sn">1824.</span>
+<i>Saint Shela</i> (two subjects), have reference to the Tenth Hussars and
+<span class="pagenum"><a name="page163" id="page163"></a>163</span>
+Battier scandal, mentioned in a previous chapter;<a name="FnAnchor_84" href="#Footnote_84"><span class="sp">84</span></a> other subjects of
+1824 are: <i>Parisian Luxury</i> (a man being shaved in a bath); <i>Preparing
+for a Duel</i>; and <i>The Ostend Packet in a Squall</i>; all etched
+by George from the designs of other artists. The mania for joint-stock
+companies in 1825, was scarcely equalled by the speculation
+mania which inaugurated the passing in our own time of the &ldquo;Limited
+Liability Act.&rdquo; In 1824 and the beginning of 1825, two hundred
+and seventy-six companies had been projected, of which the aggregate
+capital (on paper only) represented £174,114,050. Thirty-three
+of these were established for the construction of canals and
+docks, forty-eight of railroads, forty-two for the supply of gas, six
+of milk, and eight of water, four for the working of coal, and thirty-four
+of metal mines; twenty new insurance companies were started,
+twenty-three banks, twelve navigation and packet companies, three
+fisheries, two for boring tunnels under the Thames, three for the embellishment
+and improvement of the metropolis, two for sea-water
+baths, and the rest for miscellaneous purposes; it is a somewhat
+significant fact that two only had for their object the establishment
+of newspapers. Notwithstanding the manifest absurdity of many
+of these projects, the shares of several&mdash;especially of the mining
+adventurers in South America&mdash;rose to enormous premiums. Among
+the last may be mentioned those of the Real del Monte, the price of
+which, between the 10th of December and the 11th of January,
+rose from £550 to £1350, and the United Mexican during the
+same period from £35 to £1550. On these last shares only £10
+had been paid, and on the former only £70. Speaking of this
+mania, the Rev. T. F. Dibdin (in his &ldquo;Reminiscences&rdquo;) says, &ldquo;If it
+did not partake of the name, it had certainly all the wild characteristics
+of the South Sea Bubble. To-day you had only to put your
+name down to a share or shares in the Rio de la Plata or other South
+American mines, and to-morrow a supplicant purchaser would give
+you fifty per cent. for every share taken. The old were bewitched ... the
+young were in ecstasies. Everybody made a rush for the
+city. A new world of wealth had been discovered. It was only to
+<span class="pagenum"><a name="page164" id="page164"></a>164</span>
+ask and have.&rdquo; George Cruikshank refers to this state of things in
+a caricature called, <i>A Scene in the Farce of Lofty Projects, as Performed
+with great success for the benefit and amusement of John Bull</i>.
+Besides these, he gives us <i>The Four Mr. Prices</i> (High Price, Low
+Price, Full Price, and Half Price).</p>
+
+<p>I can assign no date to <i>Waiting on the Ladies</i>; <i>The Death of the
+Property Tax, or Thirty-seven Mortal Wounds for Ministers and the
+Inquisitorial Commissioners</i>; or to <i>The Court at Brighton, à la Chinese</i>,
+one of the most admirable of the whole series. In this last,
+the fat prince habited as a mandarin, is seated on a sofa between
+the Princess Charlotte and an enormously fat woman, probably
+intended for the Marchioness of Conyngham. He is handing to a
+Chinese official a paper inscribed &ldquo;Instructions for Lord Amhurst,
+to get fresh patterns of Chinese deformities to finish the decorations
+of Pavilion G. P. R.&rdquo; A specimen of regency taste and sympathies
+stands on a pedestal in the form of the Hottentot Venus,
+while a statuette of the fat prince himself, habited in a red coat,
+white waistcoat, yellow inexpressibles, and silk stockings, is labelled
+the &ldquo;British Adonis.&rdquo; The princess recommends her papa to order
+the officer to bring her over &ldquo;a Chinaman, instead of getting her a
+husband among our German cousins.&rdquo; A variety of miscellaneous
+articles are strewn about the floor, among them a box containing
+the Regent&rsquo;s wigs and whiskers, a treatise on &ldquo;The Art of making
+Punch,&rdquo; the indispensable hamper of champagne, and a pair of
+curling irons; while no one will fail to recognise the interior of the
+Brighton Pavilion as the scene where this admirable satire is laid.
+Another undated satire remains to be noticed: it represents a young
+man in a boat with three young women, one of them of considerable
+personal attractions, that is to say from a Cruikshankian point of
+view, and evidently a likeness. On the shore stands another young
+woman and her child, whom the young spark has evidently left
+behind him. In the stern of the boat is a hamper of wine and a
+goblet fashioned out of a skull; a noseless man rows the boat, while
+three sailors in an adjoining vessel make ribald observations in
+reference to the young man&rsquo;s female companions. By the star on
+<span class="pagenum"><a name="page165" id="page165"></a>165</span>
+his coat, the turned-down collar, profile, and the arrangement of the
+hair, we take it that the person thus satirized is Lord Byron. Any
+doubts we may have on the subject seem removed by the words of
+the song he is supposed to be singing while waving his hat to the
+disconsolate woman on the shore:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;All my faults perchance thou knowest,</p>
+  <p class="i2">All my <i>madness</i> none can know.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p class="noind">And the concluding stanza:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Fare thee well! thus disunited,</p>
+  <p class="i2">Torn from every nearer tie,</p>
+<p class="i05">Seared in heart, and lone, and blighted,</p>
+  <p class="i2">More than this I scarce can die&rdquo;!!</p>
+
+</div>
+</td></tr></table>
+
+<p>The foregoing contains a list and description of some of George
+Cruikshank&rsquo;s graphic satires, many of which we have reason to
+believe will be entirely new to the great majority of our readers.
+They support the description given of him by Lockhart at the
+opening of our chapter: &ldquo;People consider him as a clever, sharp
+caricaturist, and nothing more&mdash;a free-handed, comical young fellow,
+who will do anything he is paid for, and who is quite content to dine
+off the proceeds of a &lsquo;George IV.&rsquo; to-day, and those of a &lsquo;Hone,&rsquo;
+or a &lsquo;Cobbett,&rsquo; to-morrow.&rdquo; It must be remembered that these
+represent but a branch of his work; and that while content to design
+a satire as elaborate and as admirable as any which owe their origin
+to the hand of Gillray, or to dash off a rough and carelessly executed
+caricature, he was equally ready to etch the work of an inferior artist,
+or even of an amateur; to execute a drawing on wood for a ballad,
+or for one of the numerous political hits of the day, whether on the
+loyal or the popular side mattered but little to him; to do anything,
+in fact (to use the words of Lockhart), that &ldquo;was suggested or
+thrown in his way.&rdquo; It is barely possible that the very imperfect
+series we have given may astonish those who have hitherto regarded
+George Cruikshank only as an illustrator of books, and supposed
+that, with the exception of the woodcuts for Hone&rsquo;s various <i>jeux
+d&rsquo;esprits</i>, and the rough work which appears in &ldquo;The Satirist,&rdquo; &ldquo;The
+<span class="pagenum"><a name="page166" id="page166"></a>166</span>
+Scourge,&rdquo; and publications of a similar character, he executed but
+few pictorial satires. A perfect set of impressions from his caricatures
+probably does not exist; if it did it would command a high
+price indeed. We have seen a set of about seventy plates advertised
+by one enterprising bookseller at the price of seventy pounds. The
+specimens we have cited (exclusive of two from &ldquo;The Scourge&rdquo;)
+128 in number, were published between the years 1808 and 1825,
+by G. and H. Humphrey, S. Fairburn, Thomas Tegg, Ackermann,
+M. Jones, J. Fairburn, J. Dolby, W. Hone, S. W. Fores, A. Bengo,
+J. Sidebotham, S. Knight, and J. Johnstone. If to the foregoing
+we add the plates in &ldquo;Cruikshankiana&rdquo;&mdash;twenty-six in number,
+thirty in &ldquo;The Scourge,&rdquo; six in &ldquo;Fashion,&rdquo; nine in &ldquo;The Satirist,&rdquo;
+and eight in the &ldquo;Loyalists&rsquo; Magazine,&rdquo; we get seventy-nine more,
+making a sum total of over two hundred in all. How many more
+have escaped notice&mdash;how many have disappeared for ever from
+public notice without a chance of recovery or revival&mdash;it would be,
+perhaps, impossible to say; for even George himself was sometimes
+at fault, when the long-forgotten work of his early years was presented
+to him for recognition or acknowledgment.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_66" href="#FnAnchor_66"><span class="fn">66</span></a> Alluding to the &ldquo;Life in London.&rdquo;</p>
+
+<p><a name="Footnote_67" href="#FnAnchor_67"><span class="fn">67</span></a> This certainly was not true; both Gillray and Rowlandson were draughtsmen
+and artists of exceptionable ability.</p>
+
+<p><a name="Footnote_68" href="#FnAnchor_68"><span class="fn">68</span></a> The article from which this is quoted is variously assigned to Professor Wilson
+and Lockhart; it matters little which. Meanwhile, we must have a name, let it
+be Lockhart&rsquo;s.</p>
+
+<p><a name="Footnote_69" href="#FnAnchor_69"><span class="fn">69</span></a> The editor of &ldquo;The Scourge&rdquo; was one Jack Mitford. He received a classical
+education, was originally in the navy, and fought under Hood and Nelson.
+Besides &ldquo;The Scourge,&rdquo; he edited &ldquo;The Bon Ton&rdquo; magazine, and &ldquo;Quizzical
+Gazette,&rdquo; and was author of a sea song once popular, &ldquo;The King is a true British
+Sailor.&rdquo; He was an irreclaimable drunkard, thought only of the necessities of
+the hour, and slept in the fields when his finances would not admit of payment of
+a twopenny lodging in St. Giles&rsquo;s. His largest work was &ldquo;Johnny Newcome
+in the Navy,&rdquo; for which the publisher gave him the generous remuneration of a
+shilling a day till he finished it. He died in St. Giles&rsquo;s workhouse in 1831.</p>
+
+<p><a name="Footnote_70" href="#FnAnchor_70"><span class="fn">70</span></a> The reader may remember that Napoleon once contracted a skin disease
+from taking up a weapon which had been wielded by a dead artilleryman, which
+gave him trouble at various periods of his life. It may be that this suggested
+the subject.</p>
+
+<p><a name="Footnote_71" href="#FnAnchor_71"><span class="fn">71</span></a> See the &ldquo;Declaration of the Powers,&rdquo; from which we have already quoted.</p>
+
+<p><a name="Footnote_72" href="#FnAnchor_72"><span class="fn">72</span></a> &ldquo;Narrative of Captain Maitland,&rdquo; p. 109.</p>
+
+<p><a name="Footnote_73" href="#FnAnchor_73"><span class="fn">73</span></a> The Regent&rsquo;s selfish nature and expensive habits may be judged by the
+following extract from the Greville Memoirs. Under date of 1830, Mr. Greville
+writes: &ldquo;Sefton gave me an account of the dinner in St. George&rsquo;s Hall on the
+King&rsquo;s [William IV.] birthday, which was magnificent, excellent, and well
+served. Bridge came down with the plate, and was hid during the dinner behind
+the great wine-cooler, which weighs 7,000 ounces, and he told Sefton afterwards
+that the plate in the room was worth £200,000. There is another service of
+plate which was not used at all. The king has made it all over to the crown.
+<i>All this plate was ordered by the late king, and never used; his delight was ordering
+what the public had to pay for.</i>&rdquo;&mdash;<i>Greville Memoirs</i>, vol. ii. p. 42.</p>
+
+<p><a name="Footnote_74" href="#FnAnchor_74"><span class="fn">74</span></a> See Report of the Select Committee of the House of Commons on the Earl
+of Elgin&rsquo;s Collection ... of Marbles (&ldquo;Annual Reg.,&rdquo; 1816, p. 447).</p>
+
+<p><a name="Footnote_75" href="#FnAnchor_75"><span class="fn">75</span></a> See Chapter III. (1817).</p>
+
+<p><a name="Footnote_76" href="#FnAnchor_76"><span class="fn">76</span></a> The idea of the letterpress description (a very long one), from which the
+above is an extract, is borrowed of course from Dr. Arbuthnot.</p>
+
+<p><a name="Footnote_77" href="#FnAnchor_77"><span class="fn">77</span></a> See Chapter III. (1817).</p>
+
+<p><a name="Footnote_78" href="#FnAnchor_78"><span class="fn">78</span></a> See Chapter III. (1817).</p>
+
+<p><a name="Footnote_79" href="#FnAnchor_79"><span class="fn">79</span></a> She was fond of adopting children, and it was proved that she had adopted
+a daughter of the man Bergami.</p>
+
+<p><a name="Footnote_80" href="#FnAnchor_80"><span class="fn">80</span></a> Byron&rsquo;s &ldquo;Age of Bronze.&rdquo;</p>
+
+<p><a name="Footnote_81" href="#FnAnchor_81"><span class="fn">81</span></a> Lockhart&rsquo;s &ldquo;Life of Scott,&rdquo; vol. v. p. 203.</p>
+
+<p><a name="Footnote_82" href="#FnAnchor_82"><span class="fn">82</span></a> &ldquo;E. O.&rdquo; was another name for roulette, and forms the subject of one of
+Rowlandson&rsquo;s early and best caricatures.</p>
+
+<p><a name="Footnote_83" href="#FnAnchor_83"><span class="fn">83</span></a> The following are the words of the original inscription: &ldquo;To Arthur,
+Duke of Wellington, and his brave companions in arms, this statue of Achilles,
+cast from cannon taken in the battles of Salamanca, Vitoria, Toulouse, and
+Waterloo, is inscribed by their countrywomen.&rdquo;</p>
+
+<p><a name="Footnote_84" href="#FnAnchor_84"><span class="fn">84</span></a> See Chapter IV.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page167" id="page167"></a>167</span></p>
+<h3>CHAPTER VIII.</h3>
+
+<h5><i>GEORGE CRUIKSHANK AT HIS PRIME.</i></h5>
+
+<p class="noind"><span class="sc">Those</span> who have studied the work of George Cruikshank from its
+<span class="sn">Alterations in Cruikshank&rsquo;s Style.</span>
+commencement to its close (and those only can be said to have
+done so who are familiar with the satires described in the previous
+chapter), cannot fail to be struck with the alterations which took
+place in his style at different periods of the career we have already
+been considering. George Cruikshank&rsquo;s peculiar style and manner,
+which enable us to recognise his work at a glance, was the outcome
+of a very slow and gradual process of development. In the first
+instance he closely copied Gillray, but soon acquired a manner of
+his own, blending the two styles after a fashion which is both interesting
+and amusing to follow. Soon, however, the style of the
+master was discontinued, and gradually the artist began to discover
+that the bent of his genius lay in altogether another direction.
+Unlike Thomas Rowlandson, the moment Cruikshank became
+an illustrator of books, he realized the fact that the style adapted to
+graphic satire was unsuitable for the purposes of this branch of art,
+and thenceforth he adopted a style differing from anything which
+had gone before. The revolution thus accomplished (a singular
+proof of the genius of the man) was effected without effort, and is
+strikingly manifest in an early book illustration representing the
+execution of Madame Tiquet and her accomplice, in 1699. The
+design to which we refer, which we believe is rare and little known,
+was engraved by H. R. Cook, from a design by the artist for the
+frontispiece to a collection of narratives by Cecil, &ldquo;printed for
+Hone,&rdquo; in 1819, and stands by virtue of its force and character
+apart from most of the book illustrations of the period. From the
+<span class="pagenum"><a name="page168" id="page168"></a>168</span>
+moment that the new style was adopted, the artist&rsquo;s services were
+brought into requisition for the purposes of book illustration; and
+from the time work of this kind began to come in, he relaxed and
+afterwards discontinued the practice of caricature. It is as an
+etcher and designer of book illustrations we shall henceforth have
+to consider him, and in this character one of his famous illustrations
+to &ldquo;Greenwich Hospital&rdquo; will be found superior to the whole series
+of Rowlandson&rsquo;s careless overdrawn designs to the three &ldquo;Tours&rdquo;
+of Syntax put together.</p>
+
+<p>This alteration in the man&rsquo;s style after he took to book illustration
+is known only to those familiar with his early caricatures. If
+you take, for instance, the etching of <i>St. Swithin&rsquo;s Chapel</i>, of the
+&ldquo;Sketch Book,&rdquo; or <i>The Gin Shop</i> in the &ldquo;Scraps and Sketches&rdquo;<a name="FnAnchor_85" href="#Footnote_85"><span class="sp">85</span></a>
+(we are speaking of course of the early <i>coloured</i> impressions), and
+show them together with any two of the caricatures we have named
+to a person who had never before seen either, we will venture to say
+that he would pronounce them without hesitation to be executed by
+entirely different hands.</p>
+
+<p>After Lockhart&rsquo;s statement that George Cruikshank was capable
+<span class="sn">George&rsquo;s ideas of Female Beauty.</span>
+of designing an <i>Annunciation</i>, a <i>Beatification</i>, or an <i>Apotheosis</i>, we
+must accept his assertion that he &ldquo;understood the [human] figure
+completely&rdquo; with a certain amount of reservation. Perhaps he did;
+and if he did, he certainly played some extraordinary tricks with the
+&ldquo;figure&rdquo; aforesaid. The truth is, that we forget the artist&rsquo;s weaknesses,
+many and glaring as they are, in the lustre of his unexampled <i>genius</i>.
+<i>The Times</i>, in an otherwise laudatory article which it published after
+his death, remarked that &ldquo;there was not a single beautiful face or
+figure probably in the whole range of Cruikshank&rsquo;s work.&rdquo; Now,
+although this is not entirely true, there is at least so much of truth
+in it that we may admit that the cases in which he has produced a
+pretty face or figure are very few and far between, and even those
+cases seem rather to have been the result of accident than of design.
+<span class="pagenum"><a name="page169" id="page169"></a>169</span>
+There is no getting over the fact that George&rsquo;s ideas of female
+beauty were, to say the least of them, peculiar: his women are
+fearfully and wonderfully made; they are horse-faced; their eyebrows
+are black and strongly marked; their hair is plastered to the
+sides of their faces, and meet bobs of hair at the back of their heads;
+their waists are as thin as their necks; and they all bear a strong
+family likeness to one another. <i>The Times</i> assertion is happily,
+however, so broad that it is easy to traverse and contradict it.
+George&rsquo;s handsome women are so few, that it is difficult at the
+moment to say where any of them may be found. I know at least
+of one amazingly handsome one&mdash;the <i>London Barrow Woman</i> in
+Hone&rsquo;s &ldquo;Every-Day Book.&rdquo; Some pretty servant girls will be found
+in the etching of <i>The Sergeant Introducing his Dutch Wife to his
+Friends</i> in &ldquo;St. James&rsquo;s, or the Court of Queen Anne,&rdquo; and I will
+undertake to point out at least half a dozen pretty faces in the
+course of illustrations to &ldquo;The Miser&rsquo;s Daughter&rdquo;; but after all,
+these are only exceptions to the general rule; and it may be safely
+conceded that as a delineator of female beauty, George could not
+hold a candle to John Leech, to John Tenniel, or even to his own
+brother, Isaac Robert.</p>
+
+<p>As for the celebrated Cruikshankian steed, I give him up
+<span class="sn">The Cruikshankian Steed.</span>
+at once as an utterly irreclaimable and unmanageable brute.
+Thackeray, writing in 1840, said, that &ldquo;though our artist does not
+draw horses very scientifically, to use the phrase of the <i>atelier</i>; he
+feels them very keenly, and his queer animals, after one is used to
+them, answer quite as well as better.&rdquo; Even on this subject, however,
+the ablest critics have contradicted each other. George
+Augustus Sala tells us that the artist &ldquo;could draw the ordinary nag
+of real life well enough,&rdquo; and cites by way of example the very
+horses of the celebrated <i>Deaf Postilion</i>, in &ldquo;Three Courses and a
+Dessert,&rdquo; which Thackeray had previously held up to well-merited
+execration. He goes on to tell us that when George &ldquo;essayed to
+portray a charger or a hunter, or a lady&rsquo;s hack, or even a pair of
+carriage horses, the result was the most grotesque of failures. The
+noble animal has, I apprehend, forty-four &lsquo;points,&rsquo; technically
+<span class="pagenum"><a name="page170" id="page170"></a>170</span>
+speaking, and from the muzzle to the spavin-place, from the crest to
+the withers, from the root of the dock to the fetlock, George was
+wrong in them all. His fiery steed bore an equal resemblance to a
+Suffolk punch with the head of a griffin and the legs of an antelope,
+and that traditionary cockhorse on which the lady was supposed to
+ride to Banbury Cross with rings on her fingers and bells on her
+toes.&rdquo;<a name="FnAnchor_86" href="#Footnote_86"><span class="sp">86</span></a> His peculiarities notwithstanding, George himself was in
+no wise conscious of them, and never hesitated to introduce &ldquo;the
+fiery untamed&rdquo; into any scene&mdash;battle or otherwise&mdash;in which the
+services of the eccentric animal might be turned to account. We
+find him assisting Washington in his triumphal journey to the
+capitol; astonishing the French squares in the character of a Mameluke
+charger at the Battle of the Pyramids; and leaping into the
+lake along with &ldquo;Herne the Hunter,&rdquo; that peculiar creation of the
+late Mr. Harrison Ainsworth, on which supernatural occasion he
+comes out, as might have been expected, with peculiar force and
+vigour.</p>
+
+<p>Thackeray, moreover, says of his trees, that they were decidedly
+original, &ldquo;being decidedly of his own make and composition, not
+imitated from any master;&rdquo; another and a minor difficulty with the
+artist was a boot, which he invariably drew half a foot too long.
+George lived in the days of straps, and being strictly conservative in
+principle, when he met with a pair of trousers, his idea of the
+&ldquo;fitness of things&rdquo; was not satisfied until he pinned them to the
+wearer&rsquo;s feet with a pair of these most uncomfortable appendages.</p>
+
+<p>Against these shortcomings, which are a sufficient answer to those
+who would give him credit for possessing the faculty of designing
+&ldquo;Annunciations, Beatifications, Apotheoses,&rdquo; and the like, we must
+set his excellencies, the power and brilliancy of his imaginative
+faculties, his extraordinary talents of conception and realization, the
+delicacy of his manipulation and execution: in a word, the strong
+original &ldquo;genius&rdquo; with which Lockhart credited him from the
+moment he had seen his &ldquo;Points of Humour.&rdquo; Examples of this
+<span class="pagenum"><a name="page171" id="page171"></a>171</span>
+&ldquo;genius&rdquo; might be cited by the thousand. Look only at the
+famous &ldquo;Sketch Book;&rdquo; its recent republication has placed it within
+the reach of every one of our readers. Look at the <i>Sprig of
+Shelalegh</i>, the rollicking, whiskey drinking, fighting, devil-may-care
+<i>expression</i> he has thrown into that <i>piece of wood</i>; turn to
+the sheet wherein he has recorded his <i>Recollections of the Court
+of Common Pleas</i>, and study the group of lawyers&rsquo; and witnesses&rsquo;
+faces therein contained. There is &ldquo;genius&rdquo; for you, if you will.
+If you are overworked, turn to them; they will do you good, for
+they will not only make you merry, but force upon you the conviction
+that the conception which created them was essentially original.
+It is this delightful originality of George Cruikshank which constitutes
+his <i>genius</i>.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:300px; height:381px" src="images/img169a.jpg" alt="" /></td>
+<td><img style="border:0; width:283px; height:381px" src="images/img169b.jpg" alt="" /></td></tr>
+
+<tr><td style="vertical-align: top;"><p class="al sc">George Cruikshank.]</p>
+<p class="ar">[&ldquo;<i>Three Courses and a Dessert.</i>&rdquo;</p>
+<p>THE DEAF POSTILION. (<i>See p. 169.</i>)</p></td>
+
+<td><p class="al sc">George Cruikshank.]</p>
+<p class="ar">[&ldquo;<i>Three Courses and a Dessert.</i>&rdquo;</p>
+
+<p>THE BRAINTREES.</p>
+<p class="al">&ldquo;I doan&rsquo;t want to hurt thee, zo I leaves thee wi&rsquo; un, but, mind&mdash;he&rsquo;ll
+hold thy droat a little tighter than I did, if thee wags a hair.&rdquo;</p>
+
+<p class="ar">[<i>Face p. 171.</i></p></td></tr></table></div>
+
+
+<p>&ldquo;No plan!&rdquo; &ldquo;no ambition!&rdquo; &ldquo;not much industry!&rdquo; so at least
+said Lockhart. We may doubt whether even at the time it was
+spoken this charge had any foundation of truth to rest upon; an
+answer to it at least will be found in the fact that, before the
+mysterious spell had fallen upon him we shall presently have to
+describe, this sterling and indefatigable genius had already produced
+thousands upon thousands of miraculous little drawings. From the
+mass of these wonderful creations we propose now to select a few
+examples, choosing them in the first instance from a graver type
+than some we shall presently have to consider.</p>
+
+<p>&ldquo;Greenwich Hospital&rdquo; gives us one of the very best drawings
+which Cruikshank ever designed. The scene of the <i>Point of Honour</i>
+is laid on board the <i>Triumph</i>, at Spithead, at the time of the famous
+mutiny. A detachment of marines with shouldered arms are drawn
+up on the quarter deck, their drummer is beating to quarters, while
+all hands are assembled to witness a degrading and demoralizing
+spectacle,&mdash;a sailor, with his shoulders bare and his hands tied to
+the triangles, about to receive punishment for disobedience to orders.
+Conspicuous amongst the figures are two little middies, habited in
+the strange naval uniform of sixty years ago. The illustration to
+<i>The Braintrees</i>, at page 90 of the &ldquo;Three Courses and a Dessert&rdquo;
+is a marvellous specimen, not only of the graphic power of the
+<span class="pagenum"><a name="page172" id="page172"></a>172</span>
+artist, but a triumph of the wood-engraver&rsquo;s craft. In <i>The Gin Shop</i>
+(&ldquo;Sketches by Boz&rdquo;), the artist selected a subject which invariably
+enlisted his sympathy and called into action the full power of his
+graphic satire. Mark the flaming gas, the huge spirit vats, the
+gaudily painted pillars and mouldings; above all, the strange people:
+the young man with his hat on one side who chaffs the young ladies
+behind the bar, the gin-drinking female by his side, the gin-loving
+cripple, the small boy who brings the family bottle to be filled with gin,
+whose head barely reaches the counter, the gin-drinking charwoman
+to the left, and the quarrelsome gin-drinking Irish customers at the
+back. Everything in this picture reeks of <i>gin</i>; the only persons not
+imbibing it are the proprietor and his dowdy barmaids, whom I have
+no manner of doubt the artist intended to look captivating.</p>
+
+<p>&ldquo;What a fine touching picture of melancholy desolation,&rdquo; remarks
+Thackeray, &ldquo;is that of &lsquo;Sikes and the dog.&rsquo; The poor cur is
+not too well drawn, the landscape is stiff and formal; but in this
+case the faults, if faults they be, of execution rather add to than
+diminish the effect of the picture: it has a strange, wild, dreary,
+broken-hearted look; we fancy we see the landscape as it must have
+appeared to Sikes, when ghastly and with bloodshot eyes he looked
+at it.&rdquo; The etching of <i>Jonathan Wild Discovering Darrell in the
+Loft</i> [&ldquo;Jack Sheppard&rdquo;] reminds one, in its treatment, of Rembrandt,
+for the work of Cruikshank, be it observed, distinctly shows in its
+results that he studied both Hogarth and Rembrandt. The effect
+the artist has produced is wonderful; the ray of light thrown through
+the gloom upon the figure of Darrell as he stands against the wall,
+sword in hand, is capitally managed, &ldquo;while the intricacies of the
+tile-work, and the mysterious twinkling of light among the beams
+are excellently felt and rendered.&rdquo;<a name="FnAnchor_87" href="#Footnote_87"><span class="sp">87</span></a> <i>Simon Renard and Winwike
+on the Roof of the White Tower</i> [&ldquo;Tower of London&rdquo;] is another
+admirable drawing. The scene is laid on the platform of one
+of the antique guns which frown from the embrasures of the river
+face of the fortress. The head of Renard is not well drawn. The
+<span class="pagenum"><a name="page173" id="page173"></a>173</span>
+character of the ambassador gives one the idea of a Spanish Iago,
+a clever, calculating knave, whom we should credit with the possession
+of a broad and lofty forehead, indicative of deep and concentrated
+thought; in the etching, however, before us, he has
+none at all, a deficiency compensated by puffy cheeks and a preposterous
+beak. These imperfections, which in another artist
+would mar the drawing, serve only to throw its excellencies into
+prominent notice. The lights and shadows are most effectively
+rendered, and the setting sun throws a broad light upon the features
+of the warder, who has laid aside his arquebus while conversing with
+the wily Spaniard. Of the many who have noticed the well-known
+etching of <i>Born a Genius and Born a Dwarf</i> [&ldquo;Comic Almanack,
+1847&rdquo;], not one (so far at least as we know) has ever mentioned its
+origin. The subject was prompted by one of the last entries in the
+diary of poor Benjamin Robert Haydon, who died by his own hand
+on the 22nd of June, 1846, his corpse being found at the foot of
+his colossal picture of <i>Alfred the Great and the First British Jury</i>.
+The entry runs as follows:&mdash;&ldquo;Tom Thumb had 12,000 people last
+week, B. R. Haydon 133-1/2 (the 1/2 a little girl). Exquisite taste of the
+English people!&rdquo; In the etching which shows us <i>Randulph and
+Hilda Dancing in the Rotunda at Ranelagh</i> [&ldquo;Miser&rsquo;s Daughter&rdquo;],
+he brings us face to face with our great-grandfathers and great-grandmothers;
+wherever he got his authority from, the huge circular
+hall with galleries and arches running round it, illuminated by a
+thousand lamps, and the curious orchestra with the old-fashioned
+sounding-board above, are no freak of the artist&rsquo;s imagination. The
+etching possesses a wondrous charm of reality. We find ourselves
+assisting, as it were, at one of the masquerades described in &ldquo;Sir
+Charles Grandison&rdquo;; many of the company are in fancy dresses,
+and we find it difficult to realize, in these broad-cloth days, that the
+gentlemen in the velvet coats, with gold-bound embroidered waistcoats,
+silk stockings, silver gilt rapiers, and laced hats, dancing
+minuets with Chinamen, harlequins, scaramouches, templars, and
+other fancifully-dressed persons, are simply wearing the every-day
+costume of men of fashion of the day.</p>
+
+<p><span class="pagenum"><a name="page174" id="page174"></a>174</span></p>
+
+<p>Perhaps more than any other comic artist of past or present time,
+<span class="sn">Mannerism.</span>
+George is distinguished by his mannerisms. His horses, his women,
+the costumes of his male and female characters, the cut of their
+garments and of their boots, the arrangement of their hair, will
+proclaim his individuality anywhere; and yet, if you look at any
+of the designs which he executed in his best and brightest days,
+before he took up with the mania which contributed, as we shall
+presently see, so largely to the ruin of his artistic genius, fame, and
+fortunes, we cannot fail to be impressed with the quaintness of
+his imagination. In this quaintness and originality lie the charm
+and freshness which is the peculiar characteristic of his designs.
+Unlike those of other artists, you may turn over volume after volume
+of his sketches, and be conscious of no sense of weariness. Much
+of this no doubt is due to their constant variety. Unlike the
+generality of modern illustrators, he is not limited to the costumes
+and incidents of the every-day commonplace life of the nineteenth
+century; he does not confine himself to humour; his fancy takes
+a wider range, and revels in subjects of wonder, diablery, and
+romance. Gnomes and fairies, devils and goblins, knights, giants,
+jesters, and morris dancers are continually passing before us;
+there is an endless succession of novelties, treated with a quaintness
+of fancy which distinguishes it above all others; there is a
+ceaseless variety in his <i>dramatis personæ</i>, while the characters are
+as various as the subjects. In these characteristics seem to lie the
+secret of the pleasure which his illustrations, whether they be drawn
+on wood or etched on the copper, never fail to inspire.</p>
+
+<p>The sale and purchase of Peter Schlemihl&rsquo;s <i>Shadow</i> has been
+noticed by Thackeray. We see the Old Gentleman neatly packing
+up his purchase after the manner of an &ldquo;old clo&rsquo;&rdquo; dealer; he has
+just &ldquo;lifted the <i>shadow of one leg</i>; he is going to fold it back neatly,
+as one does the tails of a coat, and will stow it, without any creases
+or crumples, along with the other black garments that lie in that
+immense pocket of his.&rdquo;<a name="FnAnchor_88" href="#Footnote_88"><span class="sp">88</span></a> Another illustration in the same book
+<span class="pagenum"><a name="page175" id="page175"></a>175</span>
+shows us Peter, after he has repented of his bargain (as vendors
+invariably do who indulge in mercantile transactions of this character)
+in ardent pursuit of his shadow, which the tantilizing purchaser
+has let out for the occasion. Can anything more ludicrous be
+imagined than this scampering piece of intangibility? The etching
+of <i>Sailors Carousing</i> [&ldquo;Greenwich Hospital&rdquo;], executed in 1826,
+before the artist had altogether discontinued the style and manner
+of Gillray, would have delighted the heart of that accomplished
+caricaturist. An old one-eyed salt presides over a vast bowl of
+punch, the contents of which he is engaged in distributing to the
+company. One enthusiastic tar foots it with such vigour that he
+cannons against a potman, upsetting him and the measure of scalding
+liquor he carries over another angry, blaspheming sailor man;
+another sea worthy, snoring drunk, has converted his quart pot into
+an impromptu pillow, his own recumbent form serving the purposes
+of a footstool to a companion. The females are a combination of
+the styles of Gillray and Cruikshank, and, with one exception, are
+old, ugly, and preposterously fat. A comical illustration in the
+same book is called, <i>Paying off a Jew Pedlar</i>. The unhappy
+man (who had cheated the sailors), innocent of danger, is seated
+on a grating with his combs, spy-glasses, necklaces, ribbons, and
+all the rest of his &ldquo;Brummagem&rdquo; trumpery, spread out before
+him. The men, who have slily hitched a rope to the grating, suddenly
+give it a hoist, and away slides Moses, with all his wares and
+trumpery, into the hold together! How poor Seymour would
+have revelled in that admirable tailpiece in &ldquo;Three Courses and
+a Dessert,&rdquo; where an unhappy wight, pursued by a bull, manages to
+scramble atop of a gate-post (the only part free from spikes), to
+find his escape cut off on one side by a couple of bull-dogs, and
+on the other by a <i>chevaux-de-frise</i> terminating in a horse pond!
+We meet with a solemn piece of fun in <i>Simpkin Dancing to the
+Musicians</i>, one of the illustrations to the celebrated &ldquo;New Bath
+Guide&rdquo; of Christopher Anstey&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;And I thought it was right, as the music was come,</p>
+<p class="i05">To foot it a little in Tabitha&rsquo;s room.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:280px; height:284px" src="images/img176a.jpg" alt="" /></td>
+<td><img style="border:0; width:280px; height:271px" src="images/img176b.jpg" alt="" /></td></tr>
+
+<tr><td><p>&ldquo;THE WITCH&rsquo;S SWITCH.&rdquo;</p></td>
+<td><p>&ldquo;ABSENT-MINDEDNESS.&rdquo;</p></td></tr>
+
+<tr><td colspan="2"><img style="border:0; width:330px; height:240px" src="images/img176c.jpg" alt="" /></td></tr>
+<tr><td colspan="2"><p>&ldquo;THE TÊTE-À-TÊTE.&rdquo;</p></td></tr>
+
+<tr><td><img style="border:0; width:330px; height:291px" src="images/img176d.jpg" alt="" /></td>
+<td><img style="border:0; width:310px; height:313px" src="images/img176e.jpg" alt="" /></td></tr>
+
+<tr><td><p>&ldquo;THE DENTIST.&rdquo;</p></td>
+<td><p>&ldquo;BAT BOROO.&rdquo;</p></td></tr>
+
+<tr><td colspan="2"><p>SKETCHES FROM GEORGE CRUIKSHANK&rsquo;S &ldquo;THREE COURSES AND A DESSERT.&rdquo;</p>
+<p class="ar">[<i>Face p. 175.</i></p></td></tr></table></div>
+
+
+<p><span class="pagenum"><a name="page176" id="page176"></a>176</span></p>
+
+<p><i>The Last Cab Driver</i> [&ldquo;Sketches by Boz&rdquo;] deserves a passing
+notice, because it has preserved from oblivion a class of vehicles
+which has long since disappeared from the London streets. It
+looked for all the world like the section of a coffin set on end, the
+seat (which was intended to accommodate only one person besides
+the driver) occupying the centre. The cabman being a very <i>mauvais
+sujet</i>, we find the surroundings (after the artist&rsquo;s practice) in
+strict keeping with his character. The building past which he
+drives is marked &ldquo;Old Bailey&rdquo;; whilst a snuff manufacturer in the
+street at the back advertises himself as the vendor of &ldquo;Real Irish
+Blackguard.&rdquo;</p>
+
+<p>The dry, quaint humour of the author of &ldquo;Waverley&rdquo; exactly
+<span class="sn">Waverley Novels.</span>
+suited the quaint imaginings of our artist. Both Scott and Cruikshank
+delighted in the supernatural and the marvellous, and this is
+why some of the most characteristic of the artist&rsquo;s designs are to be
+found in his illustrations to the &ldquo;Waverley Novels.&rdquo; In one of
+these he shows us the illustrious Dominie at the moment, when
+reaching over to gather a water-lily, he falls souse into the Slough
+of Lochend, in which he forthwith became bogged up to the middle,
+his plight drawing from him of course his favourite ejaculation of
+amazement. By the assistance of some women the luckless
+Dominie was extracted from his position, justifying the remark of
+one of his assistants, that &ldquo;the laird might as weel trust the care of
+his bairn to a potato-bogle.&rdquo; Which was the most helpless of the
+two men&mdash;the Laird of Dumbiedikes, or the illustrious Dominie&mdash;it
+would be difficult to say; both these most original characters took
+a powerful hold on the artist&rsquo;s imagination, and as a natural consequence
+the ideas of Scott were completely realized. A very comical
+design is that in which he shows us the worthy but witless laird
+with his laced cocked hat and empty tobacco pipe,<a name="FnAnchor_89" href="#Footnote_89"><span class="sp">89</span></a> and his hand
+extended &ldquo;like the claw of a heraldic griffin,&rdquo; when he managed to
+utter something beyond his usual morning greeting, and frightened
+<span class="pagenum"><a name="page177" id="page177"></a>177</span>
+Jeannie into the belief that he had so far &ldquo;screwed his courage to
+the sticking place&rdquo; as to venture on a matrimonial proposal, to
+which unwonted effort of imagination his intelligence, however,
+proved altogether unequal.</p>
+
+<p>In the &ldquo;Comic Almanack&rdquo; will be found many examples of
+<span class="sn">Alliterative Designs.</span>
+George&rsquo;s tendency to graphic alliteration. <i>The Fall of the Leaf</i>
+affords a capital specimen of the kind of design to which we allude.
+The leaf of the dinner-table has been so insecurely fastened that it
+falls, burying with it the mistress of the house, the fish, the champagne,
+a sherry decanter, a vase of flowers,&mdash;everything, in fact, to
+which it formed a treacherous and unreliable support; Gibbon&rsquo;s
+&ldquo;Decline and Fall&rdquo; lies in a corner of the room, and the walls are
+hung with appropriate subjects, such as the Fall of Foyers, the
+Falls of Niagara, Falls of the Clyde, and so on. An illustration of
+a similar kind will be found in <i>Taurus&mdash;a Literary Bull</i>. The
+animal has rushed into a printing office and scattered the compositors
+right and left; some seek shelter beneath their frames, one
+clambers wildly up the shelves of a paper case, while others scuttle
+over the frames, and one man, too wholly dismayed and bewildered
+to run, brandishes a stool in helpless imbecility. The bull is perhaps
+the most astonished of the <i>dramatis personæ</i>, and evidently
+wonders into what manner of place fate has brought him. The
+walls are pasted with appropriate advertisements: &ldquo;Some Account
+of the Pope&rsquo;s Bull,&rdquo; &ldquo;A Cock and Bull Story,&rdquo; &ldquo;Theatre Royal, Haymarket&mdash;John
+Bull&rdquo; &ldquo;To be Sold by Auction, the Bull Inn,&rdquo; &ldquo;Abstract
+of the Act against Bull-baiting,&rdquo; and so on. In <i>Libra Striking
+the Balance</i> (same year), a dishonest tradesman has been detected in
+using false weights and measures. The beadle holds up a pair of
+scales, one of which weighs very much heavier than the other. The
+wretched culprit, conscious, all too late, that honesty would have
+proved &ldquo;the best policy&rdquo; for himself, leans against his shelves the
+picture of sullen and detected guilt. The window of the shop bears
+on it the painted <i>legend</i> of &ldquo;The cheapest shop in London.&rdquo; Leaning
+against the counter we find a programme of the &ldquo;City Theatre,&rdquo;
+announcing the performance of &ldquo;Measure for Measure&rdquo;: to conclude
+<span class="pagenum"><a name="page178" id="page178"></a>178</span>
+with &ldquo;Honest Thieves&rdquo;; an officer outside (surrounded by a deeply
+interested crowd) is engaged in breaking up a second pair of dishonest
+scales. Chronology, difference in politics, character, tastes,
+and disposition, are most amusingly set at defiance in the etching
+entitled <i>The Revolution at Madame Tussaud&rsquo;s</i> [1847]: Mary Queen
+of Scots &ldquo;treads a measure&rdquo; with William Penn the Quaker; Fox
+and Pitt make long noses at each other from opposite sides of the
+room; O&rsquo;Connell shakes hands with Freschi, to whom our old
+friend the elderly country gentleman offers a friendly pinch of snuff;
+William Shakespeare flirts with an almond-eyed Chinese woman;
+Henry the Eighth smokes a long churchwarden with Judge Jefferys;
+Lord Byron (with greater propriety) exchanges friendly greetings
+with Jean Jacques Rousseau; whilst the great Napoleon unbends,
+as chroniclers assert that he was wont to do, and waltzes round the
+room with Madame Tussaud, and Britannia (to the uproarious delight
+of Sir William Wallace) rasps her trident across her shield, by
+way of accompaniment to the fiddle of the Saturnine Paganini.</p>
+
+<p>The fun of these side splitting designs is only equalled by their
+variety. The &ldquo;Almanack&rdquo; of 1838 introduces us to the inevitable
+row which forms the wind-up of a Hibernian <i>festa</i>; chairs, sticks,
+shovels,&mdash;anything that comes to hand is used without fear or
+favour; men, women, children struggle together in inextricable
+confusion amidst the <i>débris</i> of wrecked furniture, broken glass,
+and battered pewter; high above the din drone the nasal tones
+of the piper; while amidst the infernal clatter &ldquo;the praist&rdquo; vainly
+endeavours to re-establish order and make himself heard. <i>Theatrical
+Fun Dinner</i> (1841) represents the close of the banquet. Hamlet
+is already too far gone to know what he is doing; Othello belabours
+Iago with a bottle; Shylock and Antonio fraternize; whilst a reconciliation
+is established between Macbeth and Macduff, who
+chink glasses by way of cementing their friendship; Sir John
+Falstaff lights his pipe at Bardolph&rsquo;s nose; whilst Romeo hands
+up a glass of something short and strong to his Juliet in the
+balcony. 1842 gives us the celebrated etching of &ldquo;<i>Gone!</i>&rdquo; an
+auctioneer &ldquo;knocking down&rdquo; a bust of Socrates; at the word
+<span class="pagenum"><a name="page179" id="page179"></a>179</span>
+&ldquo;<i>gone</i>&rdquo; the flooring gives way, and auctioneer, buyers, and Socrates,
+with all their surroundings, descend with a simultaneous crash
+into the cellars below. Drowning men catch at straws, and the
+spectacled visage of the auctioneer, as he clings wildly to his rostrum,
+is a perfect study of terrified imbecility.</p>
+
+<p>In looking at these quaint designs, the mind of any one possessed
+of any imagination at all cannot fail to be impressed with a sense
+of the original train of thought which must have characterized the
+man who could conceive and realize them. How appropriately
+and admirably, even in trivial matters, the details of the design are
+worked out! If the reader will refer to the etching in &ldquo;St. James&rsquo;,&rdquo;
+where the sergeant places the boot of his master, the Duke of
+Marlborough, on a map of Flanders, he will at once see what we
+mean. The action is accidental; and yet where could the boot
+have been placed with greater propriety? for surely if any country
+was under the heel of the great English captain, it was Flanders.
+Nothing to equal these designs are ever seen in these days, perhaps
+nothing like them will ever be seen again. There are many
+excellent comic designs produced by our artists of to-day; but
+with the exception, perhaps, of Mr. Caldicott and Colonel Seccombe,
+they lack <i>character</i>. You pass them by, and straightway forget them.
+Not so with these admirable little designs; you turn to them again
+and again, and each time with a refreshing sense of pleasure.
+Herein seems to lie the power of true genius&mdash;that its productions
+give not only a sense of freshness and delight, but that the sensation
+so conveyed will not die. There are people, I believe, on whom
+they produce no such impression; such people, as regards comic
+art, are for all practical purposes &ldquo;dry bones,&rdquo; and to dry bones
+such as these the pencil of &ldquo;honest George&rdquo; will appeal in vain.</p>
+
+<p>Some writers on the subject of Cruikshank and his work would
+have us believe that he developed his highest powers of imagination
+and fancy, and achieved his highest reputation, when depicting
+subjects of a fairy or supernatural order. Whether these scribes be
+right or whether they be wrong, there is no doubt that he discovered
+for himself an enchanted land of mountain and streamlet, of meadow
+<span class="pagenum"><a name="page180" id="page180"></a>180</span>
+and waterfall, of gnomes and fairies, of demons, witches, and of
+giants. The process by which he attained his excellence as an
+illustrator of fairy lore and legend has been related by himself in
+his own simple, unpolished words in the (so-called) &ldquo;Fairy Library.&rdquo;
+Unquestionably the opportunity which these subjects afforded of
+exercising untrammelled his marvellous gifts of imagination and
+fancy, and of realizing objects which owe their being to the creative
+faculties of his mind, were eagerly embraced by the artist; but,
+although the results were singularly weird and often very beautiful,
+I find myself obliged to differ from those who would have us believe
+that in realizing subjects of this kind he attained his highest excellence.
+The charm of George Cruikshank&rsquo;s talent lies in the fact
+that notwithstanding his defects in drawing, <i>everything</i> he took in
+hand is impressed with the stamp of a strong and original genius;
+it is like nothing we have seen before; every one of his designs is
+marked with distinctive features of beauty, quaintness, or originality
+peculiar to himself.</p>
+
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td colspan="2"><img style="border:0; width:150px; height:150px" src="images/img180a.jpg" alt="" /></td></tr>
+
+<tr><td><img style="border:0; width:320px; height:323px" src="images/img180b.jpg" alt="" /></td>
+<td><img style="border:0; width:325px; height:307px" src="images/img180c.jpg" alt="" /></td></tr>
+
+<tr><td><p>THE ELVES AND THE COBBLER.&rdquo;</p></td>
+
+<td><p>THE WAITS OF BREMEN AND THE ROBBERS.&rdquo;</p></td></tr>
+
+<tr><td colspan="2"><p>FROM GEORGE CRUIKSHANK&rsquo;S EDITION OF &ldquo;GERMAN POPULAR STORIES.&rdquo;</p></td></tr>
+<tr><td colspan="2"><p class="ar"><i>Face p. 180.</i></p></td></tr></table></div>
+
+<p>The &ldquo;German Popular Stories&rdquo; probably contain the most
+striking specimens of Cruikshank&rsquo;s power as a designer of <i>fairy</i>
+subjects. In reference to these illustrations, our great critic, Mr.
+Ruskin, says: &ldquo;They are of quite sterling and admirable art, in a
+class precisely parallel in elevation to the character of the tales
+which they illustrate; and the original etchings, as I have before
+said in the Appendix to my &lsquo;Elements of Drawing,&rsquo; were unrivalled
+in masterfulness of touch since Rembrandt, in some qualities of
+delineation unrivalled even by him.&rdquo; &ldquo;<i>The Two Elves</i>,&rdquo; says
+Hamerton, &ldquo;especially the nearer one, who is putting on his
+breeches, are drawn with a point at once so precise and vivacious,
+so full of keen fun and inimitably happy invention, that I have not
+found their equal in comic etching anywhere ... the picturesque
+details of the room are etched with the same felicitous intelligence;
+but the marvel of the work is in the expression of the strange little
+faces, and the energy of the comical wee limbs.&rdquo;<a name="FnAnchor_90" href="#Footnote_90"><span class="sp">90</span></a> In <i>The Witches&rsquo;
+<span class="pagenum"><a name="page181" id="page181"></a>181</span>
+Frolic</i> [&ldquo;Letters on Demonology and Witchcraft&rdquo;], we find a happy
+blending of the terrible and the grotesque. Look at the old hags
+floating out to sea in their tubs; and the strange, uncanny thing
+with dreadful eyes bobbing up and down midway between the
+foremost old woman and the distant vessel. The <i>thing</i> may be a
+ship, it may be a fish, or it may be a fiend,&mdash;in the dim half light we
+cannot tell what,&mdash;but it is horribly suggestive of nightmare, and
+makes one laugh as well as shudder. Some ghostly goblins, the
+creations of George&rsquo;s weird fancy, will be found in &ldquo;The Omnibus&rdquo;;
+we see them following a ghostly ship manned by ghostly mariners,
+and we find in the same book ghostly Dutchmen playing a game of
+diabolical leap-frog with Australian kangaroos. In one illustration
+he introduces us to a cheerful assembly of ancestral ghosts: there
+is the ghostly saucer-eyed head of the family, with a ghostly hound
+peeping beneath his chair, a ghostly grandmother, half a dozen
+ghostly spinster aunts, a ghostly butler, a ghostly cook, a ghostly small
+boy, two ghostly candles; and lastly, a ghostly cat. Small wonder
+that under the influence of such ghostly surroundings the hair of
+the affrighted ghost-seer stands erect in the extremity of his terror.</p>
+
+<p>This same book contains, too, the celebrated etching of <i>Jack
+o&rsquo;Lantern</i>, probably the best illustration of the supernatural which
+we owe to the pencil and weird imagination of the artist. &ldquo;Talk of
+Fuseli and his wind-bag, there is real vivid imagination enough in
+this to make a whole academy of Fuselis. It is just an Egyptian
+darkness, with breaking through it, above a bog-hole, some black
+bulrushes, and above them a bending, leathery goblin exulting over
+some drowned traveller, the meteor lamp he carries casting a downward
+flicker on the dark water. Such darkness, such wicked
+speed, such bad, Puck-like malice, such devilry, Hoffman and Poe
+together could not have better devised. Many a May exhibition
+has not half the genius in all its pictures that focuses in that gem
+of jet.&rdquo; The description is admirable; but Walter Thornbury has
+altogether misconceived the artist&rsquo;s idea. <i>Jack o&rsquo;Lantern</i> is simply
+misguiding a belated traveller into a bog, and the elfin grin which
+pervades his countenance testifies to the delight he takes in his
+<span class="pagenum"><a name="page182" id="page182"></a>182</span>
+mischievous employment.  The words of the song in Dryden&rsquo;s
+<i>King Arthur</i> convey the best possible description of this wondrous
+conception:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Hither this way, this way bend,</p>
+<p class="i05">Trust not that malicious fiend;</p>
+<p class="i05">Those are false, deluding lights,</p>
+<p class="i05">Wafted far and near by sprights;</p>
+<p class="i05">Trust &rsquo;em not, for they&rsquo;ll deceive ye,</p>
+<p class="i05">And in bog and marshes leave ye,</p>
+<p class="i05">If you step no danger thinking,</p>
+<p class="i05">Down you fall, a furlong sinking;</p>
+<p class="i05">&rsquo;Tis a fiend who has annoyed ye,</p>
+<p class="i05">Name but Heav&rsquo;n, and he&rsquo;ll avoid ye.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>By way of contrast to all these, I would turn to the celebrated and
+much-too-often-described <i>Triumph of Cupid</i>, of the &ldquo;Table Book&rdquo;;
+but as the praises of this remarkable composition may already be
+counted by the ream, I have no intention whatever of contributing
+a further addition.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:450px; height:346px" src="images/img182a.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">George Cruikshank.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;The Universal Songster.&rdquo;</i></p>
+<p>&ldquo;THE OLD COMMODORE.&rdquo;</p></td></tr>
+
+<tr><td class="pt2"><img style="border:0; width:450px; height:352px" src="images/img182b.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">George Cruikshank.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;The Universal Songster.&rdquo;</i></p>
+
+<p class="al" style="padding-left: 6em;">&ldquo;A tall figure her sight engross&rsquo;d,<br />
+And it cried, &lsquo;I beez Giles Scroggin&rsquo;s Ghost.&rsquo;&rdquo;</p>
+<p class="ar">[<i>Face p. 182.</i></p></td></tr></table></div>
+
+<p>A notice, however, of George Cruikshank&rsquo;s supernatural work
+would be incomplete without some reference to his <i>devils</i>. From
+time immemorial our idea of His Satanic Majesty has been associated
+with the distinguishing appendages of horns, hoofs, and a cow&rsquo;s
+tail. &ldquo;A conceit there is,&rdquo; says old Sir Thomas Browne, &ldquo;that the
+devil commonly appeareth with a cloven hoof, wherein, although it
+seems excessively ridiculous, there may be somewhat of truth, and
+the ground thereof at first might be his frequent appearing in the
+shape of a goat, which answers the description.&rdquo; George Cruikshank
+too well apprehended the cunning nature of His Satanic
+Majesty to suppose him idiotic enough to introduce his hoofs, his
+horns, or his tail into the company of all sorts and conditions of
+men. It will be remembered that Fitz Dottrel takes leave to doubt
+the identity of the devil who waits upon him in the character of a
+body servant. &ldquo;You cannot,&rdquo; he says, &ldquo;cozen <i>me</i>. Your shoe&rsquo;s not
+cloven, sir; you are whole hoofed.&rdquo; But &ldquo;Pug&rdquo; simply and unaffectedly
+assures him, &ldquo;Sir, that&rsquo;s a popular error,&mdash;deceives many.&rdquo;<a name="FnAnchor_91" href="#Footnote_91"><span class="sp">91</span></a>
+<span class="pagenum"><a name="page183" id="page183"></a>183</span>
+Like &ldquo;Pug,&rdquo; George Cruikshank&rsquo;s devils accommodate themselves,
+their appearance, and their costume to the prejudices of the
+persons they design to serve. With saints and perverse sinners it
+is obvious that any attempt at disguise would be futile; but with so
+respectable a person as a Dutch burgher, or so suspicious an individual
+as an English lawyer, the case is altogether different. We have
+specimens of the respectable devil in the &ldquo;long-legged bondholder&rdquo;
+who appears to his unfortunate Dutch debtor; the portly, well-dressed
+little man in the &ldquo;Gentleman in black&rdquo;; and the seedy looking
+old clothes dealer of &ldquo;Peter Schlemihl.&rdquo; Quite a different devil
+to any of these is the devil that interviews St. Nicholas, the devil
+whom St. Medard circumvented, or the simple-minded and unfortunate
+devil that fell into the clutches of St. Dunstan. This last is
+probably the most comical <i>diabolique</i> that Cruikshank ever designed.
+In an evil hour this miserable fiend had irritated the saint by mimicking
+his musical powers; and growing bolder with impunity, even
+ventured to challenge his skill as a mechanic, by doubting his ability
+to fit a shoe to his own diabolical hoof. The saint promptly whipped
+up the leg, and it was not until this simple devil found himself in
+the clutches of the saint, that he fully comprehended the prodigious
+powers of the holy personage he had ventured to chaff. In spite
+of his howls and frantic efforts to escape, the iron shoe is remorselessly
+fitted, and nail after nail driven into the quick. Imagine
+the sufferings of that poor devil; observe his comically distorted
+countenance as he bellows with agony and impotent rage; how his
+tail curls round his leg in the extremity of his anguish! The worst
+perhaps has to follow, for in spite of the agony of his crippled hoof,
+a deed will have to be &ldquo;signed, sealed, and delivered,&rdquo; by which his
+claim to a legion of sinful souls has to be for ever released and
+extinguished. It is worthy of remark that George Cruikshank&rsquo;s
+devils&mdash;simple-minded, weak creatures, more mischievous than really
+wicked, in all their contests with the saints (Saint Anthony excepted)
+invariably come off second best.</p>
+
+<p>In estimating his merits, the genius of George Cruikshank may
+not inaptly be compared to a diamond. One facet often emits more
+<span class="pagenum"><a name="page184" id="page184"></a>184</span>
+brilliant coruscations than any other; and if we may be permitted
+to compare his powers of realizing the grave, the comical, the supernatural,
+and the terrible to the facets of a diamond, we think the one
+which would be found to emit the most brilliant flashes of light
+would be the last. Thackeray, one of the most friendly and most
+competent of his critics, would seem to have considered that much
+of his power was shown in depicting subjects of this kind. &ldquo;What
+a fine eye,&rdquo; he tells us, in his famous article which has supplied the
+backbone&mdash;the muscles&mdash;the very integuments of so many others,&mdash;&ldquo;what
+a fine eye the artist has, what a skilful hand, and what a
+sympathy for the wild and dreadful!&rdquo;</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td colspan="2"><img style="border:0; width:630px; height:445px" src="images/img184.jpg" alt="" /></td></tr>
+
+<tr><td colspan="2"><p class="al"><i>Designed, Etched and Published by</i> <span class="sc">George Cruikshank</span>.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>November 1st, 1829.</i></p>
+<p>THE GIN SHOP.</p></td></tr>
+
+<tr><td style="border-right: 1px solid black;"><p class="al">&ldquo;&mdash;now, Oh dear, how shocking the thought is,<br />
+They makes the gin from aquafortis:</p></td>
+
+<td><p class="al">They do it on purpose folks&rsquo; lives to shorten,<br />
+And tickets it up at two-pence a quartern.&rdquo;&mdash;<i>New Ballad.</i></p></td></tr>
+
+<tr><td colspan="2"><p class="ar">[<i>Face p. 184.</i></p></td></tr></table></div>
+
+<p>From an early period of his career as an etcher and designer,
+George had waged a deadly war with gin,&mdash;that potent, insidious, and
+evil spirit of London; the most priceless services he rendered to the
+cause of temperance being unquestionably given long before he had
+any notion of joining the ranks of the total abstainers. Like the
+<i>Triumph of Cupid</i>, the well-known <i>Gin Juggernaut</i> of the &ldquo;Sketch
+Book&rdquo; requires nothing more than a passing allusion. An example
+less known but quite as admirable will be found in the &ldquo;Scraps and
+Sketches.&rdquo; It is called <i>The Gin Shop</i>,<a name="FnAnchor_92" href="#Footnote_92"><span class="sp">92</span></a> and shows us the interior
+of a London gin palace. In place of the usual barrels, around the
+walls are ranged coffins, labelled respectively: &ldquo;Deady&rsquo;s Cordial;&rdquo;
+&ldquo;Blue Ruin;&rdquo; &ldquo;Gin and Bitters;&rdquo; the largest (a huge one) being
+marked &ldquo;Old Tom.&rdquo; Death, habited as a watchman, has baited a
+huge gin trap, wherein stand five persons (two of them children, besides
+a baby in arms), <i>all</i> imbibing the deadly liquid. The wretched
+woman with the infant has actually placed her foot on the spring,
+and so great is the artist&rsquo;s power of realization, that we momentarily
+expect to see the horrible thing close with a snap! A skeleton,
+whose fleshless skull is masked with a pleasant female countenance,
+officiates as barmaid, and behind her yawns a pit, on the further side
+of which a circle of evil spirits curvet around a huge still. Just
+such a weird scene as would strike a sympathetic chord in the artist&rsquo;s
+<span class="pagenum"><a name="page185" id="page185"></a>185</span>
+fancy was found for him in Scott&rsquo;s novel of &ldquo;Red Gauntlet.&rdquo; The
+episode selected for illustration is the frightful adventure of Hutcheon
+and Dougal MacCallum. &ldquo;When midnight came, and the house
+was quiet as the grave, the silver whistle sounded as sharp and shrill
+as if Sir Robert was blowing it, and up got the two old serving-men
+and tottered into the room where the dead man lay. Hutcheon
+saw enough at the first glance; for there were torches in the room,
+which showed him the foul fiend in his ain shape, sitting on the
+laird&rsquo;s coffin! Ower he couped, as if he had been dead. He could
+not tell how long he lay in a trance at the door; but when he
+gathered himself, he cried on his neighbour, and getting nae answer,
+raised the house, when Dougal was found lying dead within twa
+steps of the bed where his master&rsquo;s coffin was placed. As for the
+whistle, it was lost ance and aye, but mony a time it was heard at
+the top of the house on the bartizan and among the auld chimneys
+and turrets, where the howlets have their nests.&rdquo; The coffin of the
+dead laird lies in state on a table covered with black cloth, richly
+ornamented with his armorial bearings; at the foot of the bier
+stands his black plumed helmet; while atop of the coffin crouches
+the grinning ape with the laird&rsquo;s whistle in his paw; on the ground,
+as they have been tossed about by the mischievous beast, lie his
+rapier, gauntlet, and other military trappings. The furniture, the
+fittings, the sombre hangings, the gloomy ancestral portraits, all
+are in keeping with the weird scene and its surroundings. <i>The
+Death of Sikes</i>, and <i>Fagin in the Condemned Cell</i> (especially the
+latter) have been described any number of times, and the circumstances,
+moreover, under which the latter design was conceived, told
+invariably wrong. In the <i>Murder of Sir Rowland Trenchard</i> [&ldquo;Jack
+Sheppard&rdquo;], we have a Rembrandtish etching, quite equalling in
+power and intensity that of <i>Fagin in the Condemned Cell</i>. The
+gloomy depths of the well hole are illumined only by the pine
+torch of the frightened Jew, as Wild hammers with his bludgeon on
+the fingers of the doomed wretch who, maimed and faint from loss of
+blood, clings with desperate tenacity to the bannister, from which his
+relaxing grip will presently plunge him into the black abyss below.</p>
+
+<p><span class="pagenum"><a name="page186" id="page186"></a>186</span></p>
+
+<p>The &ldquo;Tower of London&rdquo; introduces us to two scenes of a dismal
+and terrible character in the etching entitled <i>Xit Wedded to the
+Scavenger&rsquo;s Daughter</i>, the artist carries us to a gloomy torture
+chamber, dimly lighted by a solitary lantern. On the framework of
+the rack sits the dwarf Xit, his limbs compressed in the grip of the
+frightful instrument called the &ldquo;Scavenger&rsquo;s daughter,&rdquo; while Simon
+Renard, scarcely able to repress a smile, interrogates the comical
+little figure at his leisure. Behind him stands Sorrocold, the surgeon;
+and in the farther corner Mauger (the headsman), Nightgall,
+and an assistant torturer, recline against the wall. The feeble rays
+of the lantern throw an obscure light upon the gloomy walls
+decorated with the stock in trade of the torturers, thumb-screws,
+gauntlets, collars, pinchers, saws, chains, and other horrible
+and suggestive implements. Affixed to the ceiling is a steel
+pulley, the rope which traverses it terminating with an iron
+hook and two leathern shoulder straps. Facing the gloomy door
+stands a brazier filled with blazing coals, in which a huge pair of
+pinchers are suggestively heating. Reared against the side of a deep
+dark recess is a ponderous wheel&mdash;broad as that of a wagon, and
+twice the circumference; and next it the iron bar with which the
+bones of those condemned to die by this most horrible torture were
+broken while alive. The etching of <i>Mauger Sharpening his Axe</i>
+is nearly as celebrated as that of <i>Fagin in the Condemned Cell</i>. &ldquo;A
+wonderful weird dusk, with no light but that which glimmers on the
+bald scalp of the hideous headsman, who, feeling the edge of his axe
+with his thumb, grins with a devilish foretaste of his pleasure on the
+morrow. I need scarcely say that all the poetry, dramatic force,
+mystery, and terror of the design is attributable to Cruikshank, and
+not to Ainsworth.&rdquo;<a name="FnAnchor_93" href="#Footnote_93"><span class="sp">93</span></a> Scenes still more realistically terrible even than
+these, such as the <i>Massacre at Tullabogue</i>, <i>The Rebel Camp on Vinegar
+Hill</i>, and the <i>Executions at Wexford Bridge</i>, will be found in
+Maxwell&rsquo;s &ldquo;History of the Irish Rebellion.&rdquo;</p>
+
+<p>Mr. Lockhart, we may remember, advised the artist in the early
+<span class="pagenum"><a name="page187" id="page187"></a>187</span>
+part of his career to &ldquo;think of Hogarth,&rdquo; and throughout the whole
+of George Cruikshank&rsquo;s designs of the graver caste the influence of
+the study of Rembrandt and of Hogarth will be apparent to those
+acquainted with the characteristics of these great artists. In the
+case of Rembrandt it is manifest in the deep shadows, penetrated by
+broad but skilfully treated rays of light, throwing the salient parts of
+the design into prominent but pleasing relief; in the case of
+Hogarth it is shown in minute attention to details of a character
+singularly appropriate to the designs. Delineators of subjects of
+greater pretension are frequently content to throw all their sympathies,
+their energies, into the elaboration of their leading figure or
+figures: the attitude, the face, the features, the hands, the costume,
+leave nothing to be desired, while the rest of the composition is
+slurred or neglected. This is not the case with Cruikshank, every
+part of his work bears witness to his careful attention to detail; no
+part of it is elaborated at the expense of the rest; from the tenants
+of the room down to the smallest and most insignificant ornament
+on the chimney-piece, everything appears as distinct as it would
+appear in actual every-day life.</p>
+
+<p>But this study of Rembrandt and of Hogarth, this minute attention
+to detail, this careful and conscientious elaboration, would have
+done little for George Cruikshank if he had not possessed in an
+eminent degree that faculty of creation, otherwise of originality, which
+men call <i>genius</i>. Various descriptions of this gift have been
+attempted by eminent men, but the most felicitous seems to us to be
+that given by Robert William Elliston: &ldquo;A true actor,&rdquo; says this
+distinguished comedian, &ldquo;must possess the power of <i>creation</i>, which
+is <i>genius</i>, as well as the faculty of imitation, which is only <i>talent</i>.&rdquo;
+Substitute the word &ldquo;artist&rdquo; for the word &ldquo;actor,&rdquo; and the remark
+will apply with equal felicity to the subject of our present chapter.
+It was this same gift of genius which, whilst it enabled the artist to
+lend a sentient expression to such unpromising subjects as a barrel,
+a wig-block, a jug of beer, a pair of bellows, or an oyster, imparted
+to his drawings a piquancy which has elevated these apparently insignificant
+designs into perfectly sterling works of art. The reader
+<span class="pagenum"><a name="page188" id="page188"></a>188</span>
+who is fortunate enough to number amongst his books the first half-dozen
+volumes of &ldquo;Bentley&rsquo;s Miscellany&rdquo; and &ldquo;Ainsworth&rsquo;s Magazine,&rdquo;
+&ldquo;The Omnibus,&rdquo; &ldquo;The Table Book,&rdquo; &ldquo;The Comic Almanack,&rdquo;
+possesses a series of designs, drawn and etched by the hand of
+the master himself, the value of which is yearly increasing, not only
+because they are becoming scarcer and scarcer every day, but
+because nothing like them&mdash;under the conditions in which book
+illustration is now produced&mdash;will ever be seen again.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_85" href="#FnAnchor_85"><span class="fn">85</span></a> The &ldquo;Sketch Book&rdquo; and &ldquo;Scraps and Sketches&rdquo; have recently been
+republished; but the impressions from the sadly worn plates give but little idea
+of the exquisite originals.</p>
+
+<p><a name="Footnote_86" href="#FnAnchor_86"><span class="fn">86</span></a> Sala, in <i>Gentleman&rsquo;s Magazine</i>, May, 1878.</p>
+
+<p><a name="Footnote_87" href="#FnAnchor_87"><span class="fn">87</span></a> Thackeray, <i>Westminster Review</i>.</p>
+
+<p><a name="Footnote_88" href="#FnAnchor_88"><span class="fn">88</span></a> Thackeray, in the <i>Westminster Review</i>, June, 1840.</p>
+
+<p><a name="Footnote_89" href="#FnAnchor_89"><span class="fn">89</span></a> This idea of the empty pipe is splendid, there never is any tobacco in it; a
+better notion of absolute forgetfulness&mdash;of inability to exercise the most trifling
+effort of memory&mdash;could not be conveyed.</p>
+
+<p><a name="Footnote_90" href="#FnAnchor_90"><span class="fn">90</span></a> &ldquo;Etching and Etchers.&rdquo;</p>
+
+<p><a name="Footnote_91" href="#FnAnchor_91"><span class="fn">91</span></a> Ben Jonson&rsquo;s &ldquo;The Devil is an Ass.&rdquo;</p>
+
+<p><a name="Footnote_92" href="#FnAnchor_92"><span class="fn">92</span></a> This was written, of course, before the recent republication, which lacks the
+colour and crispness of the early issue.</p>
+
+<p><a name="Footnote_93" href="#FnAnchor_93"><span class="fn">93</span></a> &ldquo;British Artists from Hogarth to Turner.&rdquo;</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page189" id="page189"></a>189</span></p>
+<h3>CHAPTER IX.</h3>
+
+<h5><i>GEORGE CRUIKSHANK</i> (<i>Continued</i>).</h5>
+
+<h5><i>THE SLEEP OF THIRTY YEARS.</i></h5>
+
+<p class="noind"><span class="sc">The</span> artistic career of George Cruikshank presents probably one of
+the most singular problems to be met with in the history of satirical
+art. It may be divided into three portions, two of which we have
+already considered: the first represents that section wherein we have
+seen him described by Lockhart as &ldquo;one of the most careless
+creatures alive,&rdquo; having &ldquo;no plan, almost no ambition,&rdquo; doing &ldquo;just
+what was suggested or thrown in his way,&rdquo; &ldquo;quite contented to dine
+off the proceeds of a &lsquo;George the Fourth&rsquo; to day, and those of a
+&rsquo;Hone&rsquo; or a &lsquo;Cobbett&rsquo; to morrow!&rdquo; the second may be said to be
+embraced between the years 1822 and 1848, during which period
+we find this man without plan, ambition, or industry (to complete the
+charge of Lockhart), busily engaged in building up the reputation
+which the critic had so confidently and so truly predicted of him;
+the third and last section, the strangest surely of all, shows us this
+man of genius&mdash;in the full enjoyment of an assured and well-merited
+reputation, in the midst of his artistic vigour, at the height of a
+success altogether unexampled&mdash;deliberately throwing away his
+opportunities, and consigning himself to a slumber of thirty years,
+which might almost justify us in terming him the &ldquo;Rip Van Winkle&rdquo;
+of British art. The causes of this strange decadence, this singular
+mental inactivity, which seem to us to have been hitherto very little
+or at best very imperfectly understood, we now propose to consider.</p>
+
+<p>Professor Bates, one of the ablest of the essayists who have written
+<span class="sn">Professor Bates&rsquo; Theory.</span>
+on George Cruikshank since the time when Thackeray penned his
+<span class="pagenum"><a name="page190" id="page190"></a>190</span>
+famous article, would have us believe that the causes which led up
+to his retirement from active life whilst yet in the enjoyment of his
+vigorous intellect, are due partly to the change which has befallen
+&ldquo;the literature of fiction during the last thirty years,&rdquo; but principally
+to the fact of his embracing the temperance movement with more
+zeal than discretion. As a matter of fact, however, long before this
+step had been taken, there had been causes equally potent at work
+which seem to have escaped Mr. Bates&rsquo; attention, and these
+causes, which appear to us the leading factors in the unfortunate
+final result, lay, as we shall endeavour to explain, in an entirely
+different direction.</p>
+
+<p>People who knew and judged of George Cruikshank (as the
+majority of his contemporaries necessarily did) by his work alone,
+formed altogether an erroneous judgment of the character and
+disposition of the man. Because his later designs showed or
+seemed to show a love of little children, a liking for home and
+homely subjects, a delight in fairy lore and legend, it seems therefore
+to have been assumed that the artist was almost child-like in
+simplicity, innocence, and guilelessness of heart. Some even of
+those who have written upon him, acting apparently upon this impression,
+have given us to understand that &ldquo;he never raised a laugh
+at the expense of decency&rdquo;; that &ldquo;satire <i>never</i>, in his hands, descended
+into scurrility&rdquo;; that &ldquo;a moral purpose ever underlaid his
+humour&rdquo;; that &ldquo;he sought to instruct and improve whenever he
+amused.&rdquo; The absurdity of this statement we have already exposed.
+In reference to a supposed singleness of heart and honesty of
+purpose, some writers have termed him &ldquo;honest George.&rdquo; All this
+was very well. We all know, of course, that he &ldquo;never pandered to
+sensuality&rdquo; or &ldquo;glorified vice&rdquo;; but in spite of these facts, &ldquo;honest
+George&rdquo; himself, so far at least as we personally know, never
+assumed or set up, or even aimed at assuming, that he was one whit
+better than his neighbours.</p>
+
+<p>In order that the reader may grasp the causes of his sudden decadence,
+it is important that he should understand the position and
+the peculiarities of the artist. As an illustrator of books he was
+<span class="pagenum"><a name="page191" id="page191"></a>191</span>
+dependent on a <i>clientèle</i> composed exclusively of authors and publishers.
+&ldquo;Honest George,&rdquo; however, laboured under a disadvantage
+common perhaps more or less to all men possessed of true genius.
+Hasty and hot-tempered, particularly in matters connected with his
+artistic labours, he was more than usually prone and ready to take
+offence. Almost invariably at war with some one or another of his
+employers, the story of George Cruikshank&rsquo;s skirmishes and quarrels
+with the authors and publishers with whom he was thrown in
+contact forms a most curious and interesting chapter in the history
+of artistic and literary squabbles.</p>
+
+<p>At the time when Charles Dickens began to write, George Cruikshank
+had already achieved his reputation; and so well assured was
+this reputation, that the young novelist in his preface to his &ldquo;Sketches
+by Boz,&rdquo; speaks of the nervousness he should have experienced in
+venturing <i>alone</i> before the public, and of his delight in securing the
+co-operation of an artist so distinguished as George Cruikshank.
+In 1838, however, the author like the artist had made his mark:
+&ldquo;Pickwick&rdquo; and &ldquo;Nicholas Nickleby,&rdquo; and &ldquo;Oliver Twist&rdquo; had
+been written; and every vestige of the nervousness of which he speaks
+in the preface to his &ldquo;Sketches&rdquo; had disappeared for ever.</p>
+
+<p>Mr. Sala has somewhere happily remarked that Charles Dickens
+wanted rather a scene painter for his novels than a mere illustrator
+of books, and the very last person to answer his requirements was
+George Cruikshank; for, while ready and willing to execute designs
+illustrative of Mr. Dickens&rsquo;s writings, he made it an implied condition
+of his retainer, that he should be free to design them in his own
+way and after his own fashion. It was an <i>essential</i> condition of
+George Cruikshank&rsquo;s success as a draughtsman, not only that he
+should feel a sympathy for any subject he was called upon to design,
+but also that his genius should be left unfettered and untrammelled
+in his method of treatment. Hence it was that he found it
+impossible to co-operate with so exacting an employer of artistic
+labour as Charles Dickens. The latter argued, with some show of
+reason, that knowing what he intended to describe, he was the fittest
+and most competent person to explain how his meaning should be
+<span class="pagenum"><a name="page192" id="page192"></a>192</span>
+pictorially carried out. This sort of arrangement, however, did not
+suit the independent and somewhat impracticable spirit of the artist,
+and the result was almost a foregone conclusion. These two men
+of genius inevitably clashed; and the connection between Charles
+Dickens and Cruikshank was abruptly severed.</p>
+
+<p>A singular memorial of the quarrel between Dickens and Cruikshank
+will be found in the last illustration to the author&rsquo;s novel of
+&ldquo;Oliver Twist,&rdquo; one of the worst that the artist ever executed.
+Although Mr. Forster does not say so&mdash;and possibly would not
+admit it,&mdash;Charles Dickens is directly responsible for this result, as
+the reader will agree when he learns the whole of the facts, which
+are only partly given in Forster&rsquo;s &ldquo;Life,&rdquo; and in every other work
+which professes to tell the story.</p>
+
+<p>The reader will not require to be told that &ldquo;Oliver Twist&rdquo; made
+its appearance in the pages of &ldquo;Bentley&rsquo;s Miscellany.&rdquo; The story
+of course had been written in anticipation of the magazine; and
+according to Mr. Forster, Cruikshank&rsquo;s designs for the portion which
+forms the third volume &ldquo;having to be executed &lsquo;in a lump,&rsquo; were
+necessarily done somewhat hastily.&rdquo; How far this statement is
+correct, the reader will be enabled to judge when we tell him that
+these so-called &ldquo;hastily&rdquo; prepared illustrations include the famous
+designs of <i>Sikes and his Dog</i> and <i>Fagin in the Condemned Cell</i>.
+&ldquo;None of these illustrations,&rdquo; Mr. Forster goes on to tell us, &ldquo;Dickens
+had seen until he saw them in the book on the eve of its publication
+[we assume in the three-volume form], when he so strongly objected to
+one of them that it had to be cancelled.&rdquo; &ldquo;My dear Cruikshank,&rdquo; he
+at once wrote off to the artist, &ldquo;I returned suddenly to town yesterday
+afternoon [October, 1838] to look at the latter pages of &lsquo;Oliver
+Twist&rsquo; before it was delivered to the booksellers, when I saw the
+majority of the plates for the first time. With reference to the last
+one, <i>Rose Maylie and Oliver</i>, without entering into the question
+of great haste or any other cause which may have led to its being
+what it is, I am quite sure there can be little difference of opinion
+between us with respect to the result. May I ask you whether you
+will object to designing this plate afresh, and doing so <i>at once</i>, in
+<span class="pagenum"><a name="page193" id="page193"></a>193</span>
+order that as few impressions as possible of the present one may go
+forth. I feel confident you know me too well to feel hurt by this
+inquiry, and with equal confidence in you, I have lost no time in
+preferring it.&rdquo; At this point Mr. Forster leaves the story.</p>
+
+<p>Probably very few of our readers have seen this despised and
+<span class="sn">The Quarrel with Dickens.</span>
+rejected plate of <i>Rose Maylie and Oliver</i>, for it is not the one which
+bears that title among the ordinary illustrations to the novel of
+&ldquo;Oliver Twist.&rdquo; It is very rare, and we wish we could reproduce
+it here. If not one of the very best of the series, it is entirely in
+keeping with the rest; and so far from displaying &ldquo;great haste,&rdquo; is
+in every respect a carefully finished book etching. Four figures are
+represented in it as sitting round the fire, among them the well known
+form of Oliver, with his turn-down collar and elaborately brushed
+hair. On the mantle-shelf, with other ornaments, are two hyacinths
+in glasses, thus fixing January as the date of the scene depicted. It
+would have been better for the book if Charles Dickens had left it
+alone. The artist did as he was requested, with anger at his heart;
+and as a consequence, Rose Maylie will go down to posterity as
+the ugliest of George Cruikshank&rsquo;s very ugly women, in an outrageous
+bonnet, with her hand resting on the shoulder of a youth wearing
+the singular coatee or boy&rsquo;s jacket of forty years ago. Differing
+altogether from the admirable designs which preceded it, there is an
+incongruity about the etching which cannot fail to impress the
+observer. The unfortunate letter and still more unfortunate result
+occasioned a coolness between the men which was never wholly
+removed. From that time forth George Cruikshank executed no
+more designs for Charles Dickens, and the illustrations to the long
+series of novels which afterwards followed from the pen of the
+talented but distinctly autocratic author were entrusted to other
+hands. However much this result must be deplored so far as the
+artist himself is concerned, the coolness between Charles Dickens
+and George Cruikshank is scarcely to be viewed in the light of a misfortune
+for English illustrative art. Only consider for one moment
+what might have followed had the artist executed the designs to the
+rest of Dickens&rsquo;s novels! Dick Swiveller would have suited him,
+<span class="pagenum"><a name="page194" id="page194"></a>194</span>
+and so would Quilp, or Sampson Brass, the Yorkshire schoolmaster,
+Newman Noggs, Lord Frederick Verisopht, Captain Bunsby, or even
+Mr. Pecksniff himself; but only fancy, on the other hand, the
+<i>horrors</i> which would have been made of Dolly Varden, of Edith
+Dombey, of &ldquo;Little Em&rsquo;ly,&rdquo; of dear, gentle, loving little Nell!
+Happily for the fame of George Cruikshank, his imagination was
+not called into requisition for any one of these creations, and like
+the &ldquo;annunciations,&rdquo; the &ldquo;beatifications,&rdquo; and the &ldquo;apotheoses&rdquo; of
+Lockhart, they remain (we are thankful to say it) still unrealized!</p>
+
+<p>The quarrel with Dickens was followed by a very bitter and very
+<span class="sn">The Feud with Bentley.</span>
+singular feud between the artist and Bentley. Into the causes of
+that quarrel we need not enter; suffice it to say that to the misunderstanding
+we owe some of the very worst etchings which Cruikshank
+ever designed, the series of illustrations to Harrison Ainsworth&rsquo;s
+novel of &ldquo;Guy Fawkes.&rdquo; The worst of all is the <i>Vision of Guy
+Fawkes at Saint Winifred&rsquo;s Well</i>, and a very singular &ldquo;vision&rdquo; it is.
+The saint has all the appearance, with all the grace, expression, and
+symmetry of a Dutch doll arrayed in a pocket handkerchief; the
+sky is &ldquo;machine ruled;&rdquo; the pillars and tracery of the ruined chapel
+are architectural impossibilities; while at the very first snort, the
+slumbering figure of Guy Fawkes must roll inevitably into the well
+towards the brink of which he lies in dangerous propinquity. These
+illustrations provoked the ire of the publisher and the remonstrances
+of the author, both of which were disregarded with strict impartiality.
+In 1842, Harrison Ainsworth retired from the conduct of the
+&ldquo;Miscellany,&rdquo; and set up a rival magazine of somewhat similar plan
+and conception, which he christened after his own surname. This
+opposition venture appears to have been the result of a misunderstanding
+between the editor and publisher, the most serious outcome
+of which was, that when Ainsworth left he carried with him George
+Cruikshank.</p>
+
+<p>The secession of George caused Mr. Bentley the greatest possible
+inconvenience. The straits to which he was reduced may be
+imagined by the fact that A. Hervieu (an artist of considerable
+ability), and the clever, well-known amateur, Alfred Crowquill (Alfred
+<span class="pagenum"><a name="page195" id="page195"></a>195</span>
+Henry Forrester), had to be pressed into the service, and contributed
+leading etchings. Meanwhile, the cover of the &ldquo;Miscellany&rdquo; showed
+that George Cruikshank was nominally retained on the pictorial staff;
+and before the quality of his illustrations became so villainously bad
+that the object he had in view&mdash;that of <i>forcing</i> Bentley to cancel his
+engagement&mdash;had been attained, a draughtsman of unusual graphic
+power and versatility had come to the assistance of the magazine.
+This was a young man who had already executed many comic
+designs of a somewhat novel and original character, and was already
+forcing his way to the front: his name&mdash;familiar afterwards &ldquo;in our
+mouths as household words&ldquo;&mdash;was John Leech.</p>
+
+<p>The &ldquo;Guy Fawkes&rdquo; illustrations were the outcome of the first
+campaign between Bentley and Cruikshank; and as the history of the
+quarrel between the publisher and his unmanageable artist is a somewhat
+amusing one, we may be pardoned for describing it at length.
+The engagement from which he sought to free himself, and which he
+stigmatized as &ldquo;a one-sided one,&rdquo; obliged Cruikshank to supply Mr.
+Bentley with at least one etching every month; and as Bentley continued
+to advertise him as the illustrator of the &ldquo;Miscellany,&rdquo; George
+commenced the second campaign by issuing in the opening pages
+of the opposition venture the following characteristic manifesto:&mdash;&ldquo;Mr.
+Bentley, the publisher,&rdquo; says the indignant George, &ldquo;evidently
+wishes to create the supposition that <i>I</i> illustrate his &lsquo;Miscellany.&rsquo;
+On the contrary, I wish the public to understand that I do no such
+thing. It is true that, according to a one-sided agreement (of which
+more may be heard hereafter), I supply a single etching per month.
+But I supply <i>only that single etching</i>. And even that can hardly be
+called my design, since <i>the subject of it</i> is regularly furnished to me
+by Mr. Bentley, and I have never even read a page of any of the
+stories thus &lsquo;<i>illustrated</i>.&rsquo;</p>
+
+<p>&ldquo;Yet Mr. Bentley not only advertises me as the illustrator of his
+&rsquo;Miscellany,&rsquo; but he has lately shaped his advertisement thus, in
+the papers as well as on the wrapper of his magazine: &lsquo;Illustrated
+by Geo. Cruikshank, etc.&rsquo; Are his other artists worthy only of
+being merged in an etc.? This is, indeed, paying them but a poor
+<span class="pagenum"><a name="page196" id="page196"></a>196</span>
+compliment; and one which I should hardly think they would
+submit to. In certain other announcements I observe mentioned,
+in addition to my own name, a &lsquo;Cruikshank the Younger.&rsquo; Who is
+he? The only Cruikshank the Younger I ever heard of as a
+designer, is myself. Would it not be supposed that there must be
+a third Cruikshank, etching, drawing, and &lsquo;illustrating,&rsquo; as his two
+predecessors have done? Yet there is no such person! There is
+indeed a nephew of mine, who, as a <i>wood-engraver</i>, and a wood-engraver
+<i>only</i>, has been employed by Mr. Bentley to engrave
+&rsquo;Crowquill&rsquo;s designs;&rsquo; just as in my &lsquo;Omnibus&rsquo; he engraved
+my own drawings upon wood, and still does engrave them in
+&rsquo;Ainsworth&rsquo;s Magazine.&rsquo; Now, can any one imagine it possible for
+any respectable publisher, especially &lsquo;Her Majesty&rsquo;s Publisher in
+Ordinary,&rsquo; to be guilty of so miserable a trick, so wretched an expedient,
+as that of putting off the <i>engraver</i> of a few of the drawings
+as the designer himself&mdash;as one of the &lsquo;illustrators&rsquo; of the &lsquo;Miscellany&rsquo;?
+Let Mr. Bentley but produce a single design for the
+&rsquo;Miscellany,&rsquo; by &lsquo;Cruikshank the Younger&rsquo; (by him so-called), and
+I will retract this indignant disclaimer and apologise. If Mr.
+Bentley cannot do this, he stands self-convicted of an attempt to
+impose upon the public by a mystification, for purposes as apparent
+as the trick itself.&rdquo;</p>
+
+<p>What this strange declaration of war proposed to effect is not
+altogether manifest; if its author imagined it would produce the
+result of releasing him from his engagement, he was signally mistaken,
+for Mr. Bentley, as might have been expected, held him all
+the tighter to the <i>letter</i> of his bond. What the artist thought and
+what he did are told us in the plainest language by the etchings
+which followed this singular manifesto. They tell us as plainly as
+could be expressed in words, that George reasoned after the following
+fashion:&mdash;&ldquo;It is clear that under the terms of my engagement
+I am bound to supply &lsquo;Bentley&rsquo;s Miscellany&rsquo; with one etching
+a month; but our agreement says nothing as to the <i>quality</i> of
+the etchings, nor am I bound to see that they shall be strictly
+relevant to the subjects which I am called upon to illustrate.&rdquo;
+<span class="pagenum"><a name="page197" id="page197"></a>197</span>
+From that time, so long as he continued to design for the &ldquo;Miscellany,&rdquo;
+George tried to do his worst, and it must be admitted that
+he succeeded to admiration. Anything more outrageous than these
+wretched drawings&mdash;taking into account the talent, power, and skill
+of the artist, and the quality of the work which he was at this very
+time executing for Harrison Ainsworth&mdash;can scarcely be conceived.
+They are so ashamed of themselves, that his signature&mdash;usually so
+distinct, so characteristic, and so clear on other occasions&mdash;is
+illegible, in many cases wholly wanting. At length, in vol. xiii.
+(1843) appeared a story called &ldquo;The Exile of Louisiana,&rdquo; &ldquo;with an
+illustration by George Cruikshank&rdquo; (for Bentley, probably by way of
+retaliation, was determined the public should know that these performances
+were due to the hand which had produced the famous
+etchings to &ldquo;Oliver Twist,&rdquo; &ldquo;Jack Sheppard,&rdquo; and the contemporaneous
+story of the &ldquo;Miser&rsquo;s Daughter&rdquo;). We should like to
+have seen the face of the author when this extraordinary conception
+dawned upon him. The tale (a serious and pathetic one) was
+burlesqued with one of the most grotesque caricatures the mind of
+comic artist ever conceived. It represents Marshal Saxe recognising
+the widow of a late Czaaravitch in the gardens of the Tuileries.
+The marshal, a most extraordinary personage, would make in actual
+life the fortune of any enterprising showman. He possesses a nose
+of Slawkenbergian proportions; his pig-tail reaches below his waist;
+and his sword, sticking out at right angles, gives him the appearance
+of a fly with a pin through its middle. Near him stands a courtier,
+with ankles of such fearful and wonderful construction that his legs
+will snap the moment he attempts to use them. As for the distinguished
+relict of the Czaaravitch, she is one of the most wonderful
+of the many wonderful people who figure in the sketch. Her
+figure is an anatomical impossibility; while her mouth reaches from
+ear to ear (the letterpress, by the way, informs us that her deceased
+husband had married her for her beauty!). The statue of Mercury,
+posed like a scaramouch at a masquerade, is matched by that of
+Neptune, who whirls his trident round his head in a state of the
+wildest hilarity, cutting at the same time a caper over the body of
+<span class="pagenum"><a name="page198" id="page198"></a>198</span>
+an attendant dolphin, who is so overcome with the whimsicality of
+the proceeding that he is making the most violent efforts to restrain
+his laughter. This last shot probably hit the mark, for only three
+etchings appear in vol. xiv., and not one afterwards. George was
+victorious; but there are victories and victories, and a triumph won
+at the cost of an artistic reputation is as disastrous as a defeat.</p>
+
+<p>Harrison Ainsworth&rsquo;s long connection with the artist had taught
+<span class="sn">The Misunderstanding with Ainsworth.</span>
+him that he was one who would be neither driven nor led, and he
+was wise enough to accommodate himself to circumstances. The
+admirable woodcut design at the head of that division of the
+magazine which was known as &ldquo;Our Library Table,&rdquo; shows us the
+artist and the handsome editor in consultation, and the attitude of
+the two men is indicative of the fact that Ainsworth is attentively
+listening to the advice or suggestions of his coadjutor, a fact to
+which Cruikshank himself has been particular to draw our attention.
+To the free and unfettered conditions under which Cruikshank
+co-operated with Ainsworth we owe a series of the most justly celebrated
+and valuable of his designs. In matters, however, connected
+with art, Cruikshank was, as we have seen, a difficult man to get
+on with, and it was fairly safe to predict that a quarrel between the
+author and artist was a mere question of time. The artist remained
+on the staff of &ldquo;Ainsworth&rsquo;s Magazine&rdquo; for three years, enriching
+its pages with some of the choicest efforts of his pencil. At the end
+of that period came the unfortunate but almost unavoidable misunderstanding;
+and George Cruikshank, as he had done with
+Bentley, withdrew from the concern. Unlike Bentley, however,
+Ainsworth appears not only to have foreseen, but to have made
+preparations for the inevitable; and accordingly, when George
+Cruikshank retired, his place was immediately taken by an artist of
+talent, destined to win for himself a considerable position among
+the ranks of designers and etchers: this was Hablot Knight Browne,
+then and now known to us under his monosyllabic <i>nom-de-guerre</i>
+of <i>Phiz</i>.</p>
+
+<p>It seems to us fitting in this place to say a few words on the
+subject of George&rsquo;s pretension to be the originator of two of
+<span class="pagenum"><a name="page199" id="page199"></a>199</span>
+Ainsworth&rsquo;s stories, because the truth of his assertion has been
+questioned by a late commentator.<a name="FnAnchor_94" href="#Footnote_94"><span class="sp">94</span></a> George&rsquo;s statements simply
+amount to this: that so far as the illustrations to the &ldquo;Miser&rsquo;s
+Daughter&rdquo; and &ldquo;The Tower of London&rdquo; are concerned, the author
+wrote up to <i>his</i> designs. We have considered Ainsworth&rsquo;s answers
+to this statement, and find that although he fences with, he does
+not deny it. It was one essential condition of Cruikshank&rsquo;s success
+that his fancy should be free and untrammelled, and the truth of
+his statement appears to us to be proved by the illustrations to
+these works, which are certainly the finest which he ever designed;
+that he was therefore (as he stated) the originator of these tales in
+the sense in which he used the word, we can entertain no manner
+of doubt.</p>
+
+<p>Most of the Cruikshank commentators, whilst writing on the subject
+of the Harrison Ainsworth etchings, have thought fit to decry
+the author&rsquo;s share of the performance; but the fact that the pictures
+are so much better than the letterpress should not prevent us from
+dealing fairly with the veteran author, who, like the distinguished
+artist with whom he so long co-operated, has now gone to his
+rest. Even Mr. Ainsworth&rsquo;s detractors will, we think, admit that
+without him we should have lost the admirable illustrations to
+&ldquo;Windsor Castle,&rdquo; &ldquo;Jack Sheppard,&rdquo; and &ldquo;St. James&rsquo;s&rdquo;; it may
+even be doubted whether without him we should have had the
+still better series of etchings which adorn the &ldquo;Tower of London&rdquo;
+and the &ldquo;Miser&rsquo;s Daughter.&rdquo; If this be the fact, it seems to us we
+owe a lasting debt of gratitude to this venerable writer, who experienced
+the vicissitudes which inevitably befall mere talent when
+allied with genius. He was a writer of the George Payne Ransford
+James school, dispensing, however, with the inevitable setting sun and
+two travellers, and received a price for his productions which many
+a better author might well envy. For his novel of &ldquo;Old St. Paul&rsquo;s&rdquo;
+(1841) he was paid by the proprietors of the <i>Sunday Times</i> one
+thousand pounds; &ldquo;The Miser&rsquo;s Daughter&rdquo; attained an extraordinary
+success; and the same remark applies to &ldquo;Windsor Castle.&rdquo; For
+<span class="pagenum"><a name="page200" id="page200"></a>200</span>
+&ldquo;The Lancashire Witches&rdquo; he received from the proprietors of the
+<i>Sunday Times</i> one thousand pounds. Several of the works named had
+not the benefit of Cruikshank&rsquo;s illustrations; but in 1850-1, cheap
+editions of all such of Mr. Ainsworth&rsquo;s romances and tales as had
+appeared up to that period, were published by Messrs. Chapman and
+Hall without any illustrations at all. &ldquo;Windsor Castle&rdquo; was the first
+of the series, and upwards of thirty thousand copies were disposed
+of in a short time; while all the other works enjoyed a very large
+sale, and popular favour was so far from being exhausted, that
+another edition of his novels was called for in 1864-1868. He was
+a veritable literary rolling stone. In 1845 he disposed of his magazine
+to the publishers, and purchased the &ldquo;New Monthly,&rdquo; previously
+edited by Theodore Hook and (after his death) by Thomas
+Hood; in 1854 he bought the far-famed &ldquo;Miscellany&rdquo; itself,
+becoming its proprietor and editor; in that year he seems also to
+have re-purchased &ldquo;Ainsworth&rsquo;s Magazine,&rdquo; which as a separate
+and rival publication thenceforth ceased to exist.</p>
+
+<p>The only work which Cruikshank illustrated for Charles Lever
+was &ldquo;Arthur O&rsquo;Leary,&rdquo; and the reason of this has been explained
+by himself in a letter which he wrote to Mr. Fitzpatrick, the
+author of Charles Lever&rsquo;s life: &ldquo;I had the honour and the
+pleasure,&rdquo; he says, &ldquo;of being personally acquainted with the late
+Charles Lever, and I regret that I was only able to illustrate one of
+his works, &lsquo;Arthur O&rsquo;Leary,&rsquo; my engagements on &lsquo;Jack Sheppard,&rsquo;
+etc., at that time prevented me from illustrating his other works,
+which he wished me to have done, but I do not remember
+ever having any written correspondence with him, as the MS. or
+printed matter was placed in my hands for illustration; and then I
+had entirely to deal with the publisher. Mr. Charles Lever was
+an author whom I held in high estimation.&rdquo;  Lever himself was
+highly gratified with these illustrations.</p>
+
+<p>By 1845, that is to say, at least two years before he had taken
+<span class="sn">The Final Leap in the Dark.</span>
+his final leap in the dark, Cruikshank had contrived to pick
+quarrels with the very class of men whom it was his special
+interest to conciliate, and had been driven to set up an opposition
+<span class="pagenum"><a name="page201" id="page201"></a>201</span>
+serial of his own&mdash;the celebrated &ldquo;Table Book&ldquo;&mdash;which, notwithstanding
+the superlative excellence of his own illustrations and
+the talent of his literary contributors, comprising such names as
+John Oxenford, Horace Mayhew, Shirley Brooks, Mark Lemon,
+W. M. Thackeray, and others, could not manage to prolong its
+existence beyond its first volume. In matters connected with
+his own interests he was not only impracticable, but seems to have
+been remarkably destitute of tact and even of discernment. It
+cannot be doubted that the estrangement from Bentley was unwise
+and impolitic, for as one of the greatest publishers of fiction
+of the day, his influence was both far-reaching and comprehensive.
+In quarrelling with Dickens, Ainsworth, and Bentley, three of the
+great artistic employers of labour of his time, and in face of the
+growing popularity of John Leech and Hablot Knight Browne,
+he was literally quarrelling with his bread and butter, and few
+men, even of genius, may afford to do that. He was essentially
+impulsive, and frequently acted under the influence of first impressions.
+Although fond of his pipe and his glass, as his famous
+<i>Reverie</i>,&mdash;<i>The Triumph of Cupid</i>, in the &ldquo;Table Book,&rdquo; will
+show, he had always evinced a horror of drink, and had, as we
+have seen, done his best at various times to expose its insidious
+and baneful influences. At last, in 1847, came a sudden and
+extraordinary impulse of enthusiasm, under the influence of which
+he not only produced his <i>Bottle</i>, but laid aside for ever his pipe
+and his bowl. To do any real good, he said he must practise
+what he preached: he joined the &ldquo;teetotallers,&rdquo; and not being
+one of those who did things by halves, entered heart and soul
+into the crusade against drink by becoming a temperance advocate.
+This last was the one step needed to fill up the measure of the
+artist&rsquo;s folly, and to secure for him the reputation of being an
+incurably eccentric, self-willed man.</p>
+
+<p>Those who would charge the author with blaming George
+Cruikshank for joining the ranks of the teetotallers will do him
+grave injustice. Although very much of the opinion of Robert
+Burton, author of the &ldquo;Anatomy of Melancholy,&rdquo; that, &ldquo;No verses
+<span class="pagenum"><a name="page202" id="page202"></a>202</span>
+can please men or live long that are written by water-drinkers,&rdquo;
+and disposed to undervalue the tact and discretion of some of
+the advocates of total abstinence, for its abstract principles he can
+say and think nothing but what is good.  But he is writing,
+be it remembered, of a great artist&mdash;one whose mission was that
+of an artist, not that of a <i>temperance orator</i>,&mdash;of one who had
+served the righteous and good cause of temperance <i>best</i> when
+he remembered that genius had made him an artist and not a
+temperance orator,&mdash;of one who had rendered that cause yeoman&rsquo;s
+service long before he joined the total abstainers, in designing
+<i>The Gin Juggernaut</i>, <i>The Gin Trap</i>, and work of a kindred
+nature. The cause, too, so far as mere verbal advocacy was concerned,
+was better served by men of vastly inferior mark and
+ability. Before this fatal plunge was taken his genius had roamed
+in an absolutely uncontrolled range of freedom.  He had travelled
+into the land of chivalry and romance, into the realms of fairy
+fancy, magic, and diablery; he had brought back with him
+pictures of the wondrous people, lands, and scenes which his
+fancy had visited. All this was at an end; this wonderful genius
+was now forced into a narrow groove, where it could no longer
+have the freedom of action which was essential to its very existence.
+From the moment that George Cruikshank turned temperance
+<i>orator</i>, the world of English art lost one of its brightest ornaments,
+and he himself both fame and fortune; for, as Mr. Bates observes,
+&ldquo;some of his earliest friends were alienated, and remunerative
+work that might have been his was diverted, from sheer prejudice,
+into other hands.&rdquo;  His style, too, as Mr. Bates further remarks,
+&ldquo;suffered by the contraction of his ideas and sympathies, and
+his art became associated with that vulgarity and want of æstheticism
+which perhaps necessarily characterizes the movement.&rdquo;  <i>The
+Bottle</i> and <i>The Drunkard&rsquo;s Children</i>, although successful in a
+pecuniary point of view&mdash;compared with what had gone before,&mdash;can
+scarcely be called <i>art</i> at all; in these too he unconsciously
+put himself in competition with Hogarth, and as a matter of
+necessity failed.</p>
+
+<p><span class="pagenum"><a name="page203" id="page203"></a>203</span></p>
+
+<p>He had been a king among designers and etchers; he had
+been and was still an admirable water-colour artist, but knew
+comparatively little of the manipulation or management of oils.
+A new crusade had however to be preached, to be preached by
+means of an oil painting; and for this purpose George was to
+be inspired off hand (so to speak) with a new art, and to paint a
+picture in oils. We know the result&mdash;the lamentable result&mdash;in that
+most preposterous <i>Worship of Bacchus</i>. His motive was good,
+his ideas were vast, but the <i>genius</i> which in his unregenerate days
+had enabled him to design <i>The Gin Trap</i> and the <i>The Gin Juggernaut</i>,
+was no longer there. Unhappy Rip! There is more poetry&mdash;more
+fancy&mdash;more romance&mdash;more art&mdash;fire&mdash;genius in one of the
+little &ldquo;bits,&rdquo; nine inches by six, executed in the days of his pipe
+and his glass, than in any one part or portion of this most gigantic
+failure.</p>
+
+<p>The mere fact of his joining the ranks of the total abstainers
+would have done him perhaps little professional mischief, had he
+been content simply to join them, and aid their cause, as he
+had once so graphically done by depicting the evils of gin drinking
+and intemperance; but it was one of the failings as well as one
+of the virtues of this impulsive, earnest man&rsquo;s character, that
+whatever his hand found to do, &ldquo;he did it with his might.&rdquo;
+Desiring to aid them to the best of his power, he mistook the
+means by which that aid might best be applied, and forgot that
+his talents lay not in the tongue but in his hand and his head.
+We look upon George Cruikshank after 1849, no longer as an artist,
+but as a very indifferent temperance lecturer. The reign of Fancy
+was over. Thenceforth no &ldquo;Reveries,&rdquo; no &ldquo;Jack o&rsquo; Lanterns,&rdquo;
+no &ldquo;Gin Juggernauts,&rdquo; would come from that indefatigable
+hand, that fertile brain, that wondrous and facile pencil. George
+Cruikshank took his <i>Worship of Bacchus</i>, and went out into the
+world (heaven save the mark!) as a temperance lecturer. His
+literary abilities were, however, small; he lacked even that &ldquo;gentle
+dulness&rdquo;<a name="FnAnchor_95" href="#Footnote_95"><span class="sp">95</span></a> which characterizes the leading advocates of the movement,
+<span class="pagenum"><a name="page204" id="page204"></a>204</span>
+and kindles a certain amount of sympathetic enthusiasm in
+kindred breasts. The dull people who went to hear him, knew
+little about and cared less for art and genius than they did for
+the abstract doctrines of total abstinence. The result, so far as
+he personally was concerned, was curious, lamentable, and almost
+instantaneous. The work which had hitherto crowded upon him
+fell away like water from a leaking vessel; nay, on the authority
+of Mr. William Bates, when work was offered him he refused to
+take it. &ldquo;When pressed by the late Mark Lemon to draw on
+his own terms for <i>Punch</i>,&rdquo; this man who had designed some of
+the broadest, coarsest, most personal of the satires of the nineteenth
+century, had grown so extremely particular that &ldquo;he definitely
+refused to have anything to do with it on account of what he
+termed its personalities.&rdquo;<a name="FnAnchor_96" href="#Footnote_96"><span class="sp">96</span></a> What could be done for such a man
+as this? Authors and publishers wholly ceased to employ him;
+and he was left without work in the very pride of his artistic
+career. He turned to oil painting; was taken by the hand by
+the influential few who appreciated, pitied, and loved him; but
+from the moment that he became a temperance advocate, to the
+literary world and to the general public this most singular and
+original genius was to all practical intents and purposes&mdash;dead.</p>
+
+<p>These observations, I repeat, are made in no spirit of hostility
+to the sincere and earnest men who would seek to reduce the
+crime and misery which owe their origin to the immoderate use
+of ardent spirits. So far from this being the case, I hold their
+cause to be so righteous, so sensible, that it seems to me as
+effectually advocated by a plain, simple, earnest man as by a great
+artist and man of genius. I say advisedly, that the cause of
+temperance had been better served had Cruikshank stuck to his
+pencil and his etching needle, instead of seeking the position of a
+temperance advocate, and stumping the provinces with his absurd
+panorama of <i>The Worship of Bacchus</i>.</p>
+
+<p>Thirty years of quite sterling and admirable work were now to
+be followed by thirty years of artistic sterility, for from this Rip
+<span class="pagenum"><a name="page205" id="page205"></a>205</span>
+Van Winkle slumber of thirty years&rsquo; duration his reputation never
+once awoke. Out of the dreary desert of mental and artistic
+inactivity came forth at long distant intervals specimens of his
+handiwork, which served, it is true, to remind us of what he once
+was capable, but failed to restore him to the place he had for
+ever lost in public estimation; such were the illustrations to Angus
+Bethune Reach&rsquo;s &ldquo;Clement Lorymer,&rdquo; to Robert Brough&rsquo;s &ldquo;Life of
+Sir John Falstaff,&rdquo; to Smedley&rsquo;s &ldquo;Frank Fairleigh,&rdquo; to George Raymond&rsquo;s
+&ldquo;Life and Enterprises of Elliston,&rdquo; to his own <i>so-called</i>
+&ldquo;Fairy Library.&rdquo; Good and excellent as this work was, it utterly
+failed to lend even a passing vitality to his departed reputation,
+a fact sufficiently and vexatiously proved when he essayed once
+more to start a magazine of his own, which met with such little
+encouragement that <i>only two parts were issued</i>.</p>
+
+<p>Nevertheless, the designs of the &ldquo;Life of Falstaff&rdquo; and his own
+&ldquo;Fairy Library&rdquo; showed that, when the subject took hold of his
+fancy, the hand of Cruikshank had not altogether lost the cunning
+which characterized it in days of yore. To illustrate the so-called
+fairy stories, he had to read them,&mdash;no longer, alas! with his former
+love of fairy lore and legend,&mdash;no longer with the mind of a man
+free, vigorous, elastic, but with a mind warped and prejudiced
+with the study of a theme which was intellectually depressing and
+uninspiring. No one knows the origin of these fairy stories, they
+come to us from our Danish and Saxon ancestors, but are interwoven
+with the literature of every civilized nation under the sun,
+and are altogether beyond the sphere of modern criticism. Their
+primitive style is singularly adapted to enlist the sympathies of the
+little folk to whom they specially address themselves: their highest
+aim and object is not to instruct, but to amuse. All this the
+artist, in the ardour of his new crusade, lost sight of, and so dead
+had he become to the fairy fancies and reveries of his youth,
+that he placed sacrilegious hands on these time-honoured and
+favourite legends of our childhood, and converted them (with most
+indifferent literary ability) into something little better than temperance
+<i>tracts</i>!</p>
+
+<p><span class="pagenum"><a name="page206" id="page206"></a>206</span></p>
+
+<p>But happily not without protest. Charles Dickens, the champion
+of the injured fairies, set his lance in rest, and speedily rolled
+hapless Van Winkle in the dust. Into the details of this very
+absurd and very unequal contest there is no necessity for us to
+enter. George was at home with his pencil, his etching needle, or
+his tubes of water colour; but put a pen in his hand, and he forthwith
+would cut the funniest of capers. He argued (with every
+appearance of comical gravity and earnestness), that because Shakespeare
+might alter an Italian story, or Sir Walter Scott use history
+for the purposes of the drama, poetry, or romance, therefore,
+&ldquo;any one might take the liberty of altering a common fairy story
+to suit his purpose and convey his opinions.&rdquo; Aye, and so he
+might, honest Rip; but he would set about his task in a very
+different fashion to Shakespeare or Sir Walter Scott, and I fear
+too that the literary results and value would be vastly different. It
+never seemed to occur to the mind of the honest but simple casuist
+that in putting &ldquo;any one&rdquo; on a par with William Shakespeare and
+Sir Walter Scott, he was writing simple nonsense.</p>
+
+<p>It is clear, therefore, that the change which had come over the
+literature of fiction during the past quarter of a century, and which
+Professor Bates would assign as one of the principal causes of
+the sterility which <span class="correction" title="amended from befel">befell</span> the genius of Cruikshank, had really very
+little to do with it. This calamity&mdash;for a national calamity it undoubtedly
+was&mdash;did not fall upon him, be it remembered, when he
+was old, but in the very acme and pride of artistic success. His fall
+was distinctly due to causes which were within his own control,
+and might have been avoided by the exercise of qualities which (it
+seems to me) he did not possess,&mdash;forethought, tact, and judgment.
+During the rest of his long life, the place which George Cruikshank
+deliberately ceded to others he never once regained; when he
+dropped behind, he became as completely forgotten as if he had
+ceased any longer to exist; men whose childhood he had delighted
+with his quaint imaginings, his own friends and contemporaries, died
+off; and so it came to pass, that before he knew it, for time moves
+quickly after youth is over, the old man was left standing alone
+<span class="pagenum"><a name="page207" id="page207"></a>207</span>
+amongst the ranks of a generation that did not know him. So little
+was he known or regarded, that when his works were <i>first</i> exhibited,
+no one took the trouble to see them; and when a small circle of
+admirers, with the great English critic, John Ruskin, at their head,
+started a subscription for the forgotten artist, &ldquo;the attempt was a
+failure&mdash;hundreds being received when thousands were expected.&rdquo;
+It will be remembered that in his best days the artist had executed
+a memorable etching, <i>Born a Genius and Born a Dwarf</i>: I wonder
+whether, in the bitterness of his spirit and the righteousness of his
+anger, George Cruikshank ever thought of that etching?</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_94" href="#FnAnchor_94"><span class="fn">94</span></a> Mr. Blanchard Jerrold.</p>
+
+<p><a name="Footnote_95" href="#FnAnchor_95"><span class="fn">95</span></a> &ldquo;And gentle dulness ever loves a joke.&rdquo;&mdash;<i>Dunciad.</i></p>
+
+<p><a name="Footnote_96" href="#FnAnchor_96"><span class="fn">96</span></a> &ldquo;The Maclise Portrait Gallery,&rdquo; 1883, p. 195.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page208" id="page208"></a>208</span></p>
+<h3>CHAPTER X.</h3>
+
+<h5><i>ROBERT SEYMOUR.</i></h5>
+
+<p class="noind"><span class="sc">Decidedly</span> next in order of merit to George Cruikshank, amongst
+his own contemporaries, if we except only Theodore Lane, comes
+Robert Seymour. With a style and manner peculiar to himself,
+and a power of invention and realization which amounted almost
+to genius, Seymour was superior in every respect to Robert Cruikshank,
+with whom we find him not unfrequently associated in comic
+design. This style and manner were clearly founded on those of
+George Cruikshank; and when he selected (as he not unfrequently
+did) subjects which had been treated by the latter, the work of this
+most able draughtsman will bear even favourable comparison with
+that of the great original whom he chose as his master. That he
+drew his inspiration from and sought even to emulate Cruikshank,
+is shown by the fact that to some of his earlier caricatures he
+affixed the name of &ldquo;Shortshanks,&rdquo; a practice which he discontinued
+on receiving a remonstrance from the irritable George.</p>
+
+<p>Robert Seymour was born in 1798. Henry Seymour, his father,
+a gentleman of good family in Somersetshire, meeting with misfortune,
+removed to London, and apprenticed him to Mr. Vaughan,
+a pattern designer of Duke Street, Smithfield. This Vaughan seems
+to deserve a passing notice here by reason of the fact that his
+father is said to have received proposals for partnership from the
+father of the late Sir Robert Peel, which were rejected, on the
+ground that the fortunes of the Peel family were not then considered
+particularly flourishing. How far this statement may be correct we
+know not. Assuming it to be true, the fortunes of the Peel
+<span class="pagenum"><a name="page209" id="page209"></a>209</span>
+family afterwards took a turn which probably frequently gave
+Vaughan <i>père</i> (if he lived to ruminate thereon) some serious cause
+for reflection as well as of repentance.</p>
+
+<p>Like Hogarth, with whom this artist, like all other comic designers,
+has been frequently and improperly compared, young Robert
+Seymour declined to waste his abilities as a mere mechanical
+draughtsman, and used his technical education as a means of
+cultivating the artistic gifts with which nature and inclination had
+endowed him. He seems at first to have selected a walk in art
+which required for its ultimate success a larger amount of application
+and patience than he could well spare for the purpose. Shortly
+after the expiration of his indentures, he started as a painter in
+oils, and executed several pictures, one of which (a Biblical subject)
+included, it is said, no less than one hundred figures, whilst a no less
+ambitious subject than Tasso&rsquo;s &ldquo;Jerusalem Delivered&rdquo; was deemed
+of sufficient merit to be exhibited on the walls of the Royal Academy.
+Other pictorial subjects were taken from &ldquo;Don Quixote,&rdquo; &ldquo;Waverley,&rdquo;
+&ldquo;The Tempest,&rdquo; etc., besides which he executed numerous
+portraits and miniatures. These efforts, however, do not appear
+to have been sufficiently remunerative to encourage him to continue
+them, and after a time he resigned them to follow a branch of art
+more congenial, perhaps, to his abilities, and thenceforth very
+rapidly acquired fame as a social satirist and caricaturist.</p>
+
+<p>The coloured caricatures of Robert Seymour, besides being comparatively
+scarce and little known, seem hardly to call for any
+particular description; the titles of some of them will be found
+mentioned in our Appendix. One which has survived, and with
+which the public are probably most familiar, is one of the worst of
+the series. It is entitled, <i>Going it by Steam</i>, is signed &ldquo;Short
+Shanks,&rdquo; and was published by King. Among rarer and better
+ones may be named two very excellent specimens, without date,
+published by Creed, of Chancery Lane, labelled respectively, <i>A
+Musical Genius</i> (a butcher boy playing on the Pandean pipes and
+accompanying himself with marrow bone and cleaver), and <i>A Man
+of Taste and Feeling</i> (a tramp caught in a trap while helping himself
+<span class="pagenum"><a name="page210" id="page210"></a>210</span>
+in a butler&rsquo;s pantry). Among the best of his coloured political
+caricatures, we may mention, <i>Greece and her Rough Lovers</i> (<i>i.e.</i>
+Russia and Turkey), published by Maclean, in 1828. Lithography
+afforded greater facilities of execution than the old process, and
+much of Seymour&rsquo;s work in political as well as social satire was
+executed by himself on stone.</p>
+
+<p>The year 1830 brought the life and reign of George the Fourth to
+<span class="sn">Death of George IV.</span>
+a close. He had been breaking up for a long time past. The first
+entry of any moment occurs in Mr. Greville&rsquo;s diary, of 25th August,
+1828: &ldquo;The king has not been well; he goes fishing and dining at
+Virginia Water, stays out late, and catches cold.&rdquo; A year later, the
+diarist relates that the king had nearly lost his eyesight, and would
+be &ldquo;couched&rdquo; as soon as his eyes were in a proper state for the
+operation. On the 7th of December he attended a chapter of the
+Bath, &ldquo;looked well,&rdquo; but was so blind that &ldquo;he could not see to read
+the list, and begged [Mr. Greville] to read it for him.&rdquo; The Sangrado
+treatment was then in full force; and we find that in
+January, 1830, the king, being very ill, &ldquo;lost forty ounces of blood.&rdquo;
+He grew at last so much worse that the preparations for the festivities
+with which the royal birthday was to have been celebrated were
+obliged to be postponed <i>sine die</i>. A victim to dropsy, the operation
+of puncturing the legs was resorted to, with the result of giving him
+temporary relief. The patient, however, became liable to violent fits
+of coughing, in one of which he ruptured a blood vessel, and expired
+early on the morning of Saturday the 26th of June, 1830.</p>
+
+<p>A more contemptible, selfish, unfeeling being as a <i>man</i> than this
+king could scarcely have been found, &ldquo;a mixture of narrow-mindedness,
+selfishness, truckling, blustering, and duplicity, with no object
+but self, his own ease, and the gratification of his own fancies and
+prejudices.&rdquo;<a name="FnAnchor_97" href="#Footnote_97"><span class="sp">97</span></a> &ldquo;A more despicable scene,&rdquo; continues Mr. Greville,
+&ldquo;cannot be exhibited than that which the interior of our Court
+presents&mdash;every base, low, and unmanly propensity, with selfishness,
+avarice, and a life of petty intrigue and mystery.&rdquo;<a name="FnAnchor_98" href="#Footnote_98"><span class="sp">98</span></a> George the
+<span class="pagenum"><a name="page211" id="page211"></a>211</span>
+Fourth as king and regent was recklessly extravagant, but his expenditure
+was always upon self or the gratification of self. A hundred
+examples of his selfish nature might be given, but <i>cui bono</i>?
+Everything he could get hold of, which could minister to his own
+personal gratification, he <i>grasped</i> with avidity. In this spirit he
+appropriated the jewels and spent on himself the whole of the money
+belonging to his late father&rsquo;s estate, amounting to £120,000. His
+ministers did not dare to oppose his greed, or tell him that this
+money belonged to the Crown, and not to himself as an individual.
+He acted precisely in the same manner with regard to his mother&rsquo;s
+jewels, of which she possessed a large quantity. Those she received
+from George III. she left by will to the king; the rest she gave to
+her daughters; in spite of which bequest, her selfish son appropriated
+the whole to himself as his own personal private property.</p>
+
+<p>An admirable likeness of this most selfish of royal or private personages
+<span class="sn">Portrait of the King.</span>
+has been drawn by a master hand. &ldquo;To make a portrait of
+him,&rdquo; says Thackeray, &ldquo;at first seemed a matter of small difficulty.
+There is his coat, his star, his wig, his countenance simpering under
+it: with a slate and a piece of chalk, I could at this very desk perform
+a recognisable likeness of him. And yet after reading of him
+in scores of volumes, hunting him through old magazines and newspapers,
+having him here at a ball, there at a public dinner, there
+at races, and so forth, you find you have nothing&mdash;nothing but a
+coat and wig, and a mask smiling below it&mdash;nothing but a great
+simulacrum. His sire and grandsires were men. One knew what
+they were like: what they would do in given circumstances: that on
+occasion they fought and demeaned themselves like tough, good
+soldiers. They had friends whom they liked according to their
+natures; enemies whom they hated firmly; passions and actions and
+individualities of their own. The sailor king who came after George
+was a man; the Duke of York was a man, big, burly, loud, jolly,
+cursing, courageous. But this George, what was he? I look through
+all his life, and recognise but a bow and a grin. I try and take him
+to pieces, and find silk stockings, padding, stays, a coat with frogs
+and a fur collar, a star and blue ribbon, a pocket-handkerchief prodigiously
+<span class="pagenum"><a name="page212" id="page212"></a>212</span>
+scented, one of Truefitt&rsquo;s best nutty brown wigs reeking
+with oil, a set of teeth, and a huge black stock, under-waistcoats,
+more under-waistcoats, and then nothing.&rdquo; &ldquo;Under-waistcoats, more
+under-waistcoats&mdash;and then nothing!&rdquo; Yes, there was something
+besides the silk stockings&mdash;the padding&mdash;the stays&mdash;the coat with
+frogs and a fur collar, the star and the blue ribbon, although there
+might be nothing underneath which resembled a heart or which was
+capable of being inspired by a feeling which had not its origin in <i>self</i>.
+The wardrobe of this royal professor of deportment, who ten years
+before had been described to his own great personal annoyance as&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;The dandy of sixty, who bows with a grace,</p>
+<p class="i05">And has taste in wigs, collars, cuirasses, and lace,&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p class="noind">was sold on the 2nd of August, 1830, and is said to have been
+sufficiently numerous to fill Monmouth Street, and sufficiently
+various and splendid for the wardrobe of Drury Lane Theatre. The
+meanness of his disposition was exhibited even in the matter of his
+clothes, scarcely any of which he gave away except his linen, which
+was distributed every year. Here were all the coats which this monarch
+had had for fifty years before, three hundred whips, canes without
+number, every sort of uniform, the costumes of all the order of
+Europe, splendid fur pelisses, hunting coats and breeches; among
+other etcetera, a dozen pair of corduroy breeches made to hunt in
+when Don Miguel was in London. His profusion in these articles was
+explained by the fact that he never paid for them; but his memory
+in relation to them was nevertheless so accurate that he recollected
+every article of dress, no matter how old, and his pages were liable
+to be called on at any moment to produce some particular coat or
+other article of apparel of years gone by.</p>
+
+<p>The demise of this treasurer of royal antique raiment was
+followed by an order for general <i>mourning</i>, to which a caricature
+drawing by Seymour has reference, the satirical meaning of which
+will be apparent after the explanation previously given. A colossal
+military figure armed with a baton, on which is inscribed the word
+&ldquo;fashion,&rdquo; encounters at dusk, in Hyde Park, a solitary pedestrian
+<span class="pagenum"><a name="page213" id="page213"></a>213</span>
+habited in a suit of grey clothing. &ldquo;How dare you appear,&rdquo; says
+the apparition, &ldquo;without a black coat?&rdquo; to which the frightened
+pedestrian replies, &ldquo;The <i>tailor</i> would not trust me, sir.&rdquo; In August,
+1830, he gives likenesses of the new king and queen, William the
+Fourth and Adelaide, surrounded by a halo of glory. The new king,
+in reference to his profession, and by way of obvious contrast to his
+predecessor, is subsequently depicted as an anchor labelled, &ldquo;England&rsquo;s
+best bower not <i>a maker of bows</i>.&rdquo; From other contemporary
+pictorial skits by Seymour we learn that various changes were made
+in the royal establishment, and the new queen seems to have
+addressed herself specially to a reform in the dresses of the court
+domestics. On the 1st of October, 1830, Seymour represents her
+grinding an enormous machine, called the &ldquo;Adelaide Mill,&rdquo; into
+which the women servants, dressed in the outrageous head-gear and
+leg-of-mutton sleeves of the period, are perforce ascending, and
+issuing from the other side attired in plain and more suitable
+apparel. &ldquo;No silk gowns,&rdquo; says Her Majesty as she turns the handle.
+&ldquo;No French curls; and I&rsquo;ll have you all wear aprons.&rdquo; The new
+queen seems also to have shown a disposition to encourage native
+manufactures and produce at the expense of French and continental
+importations. These changes were not particularly pleasing to the
+Conservative lady patronesses of Almack&rsquo;s, who were celebrated at
+this time for their capricious exclusiveness. One of Robert Seymour&rsquo;s
+satires, bearing date the 1st of November, 1830, shows us a
+conference of these haughty dames, who seriously discuss the propriety
+of admitting some lady (probably the queen) who proposed
+appearing at one of the balls &ldquo;in some vulgar stuff made by the
+<i>canaille</i> at a place called Kittlefields&rdquo; [Spitalfields].</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:650px; height:343px" src="images/img213.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Robert Seymour.]</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>October 1st, 1830.</i></p>
+<p>&ldquo;THE ADELAIDE MILL.&rdquo;</p>
+
+<p class="ar">[<i>Face p. 213.</i></p></td></tr></table></div>
+
+<p>Whilst England was thus peacefully passing through the excitement
+<span class="sn">French Revolution of 1830.</span>
+of a succession to a vacant throne, France was convulsed with
+one of her ever-recurring revolutions. Charles the Tenth, driven
+from his throne, had been replaced by one who in his turn, some
+three and twenty years afterwards, was doomed to give place to the
+Bonaparte whose sun we ourselves have seen set in the defeat and
+disaster of Sedan. We find portraits in September, 1830, of Louis
+<span class="pagenum"><a name="page214" id="page214"></a>214</span>
+Philippe, king of the French, of the queen, General Lafayette, the
+ex-king Charles the Tenth, and the Duc d&rsquo;Angoulème. Besides
+these, we meet with several clever illustrations by the artist, on
+stone, of the stirring events of the time, which are interesting and
+valuable specimens of his versatile powers.</p>
+
+<p>Some of our readers may remember a passage in Peter Pindar,
+where the merciless satirist ridicules George the Third&rsquo;s German
+band, telling us (in allusion to his Majesty&rsquo;s well-known penurious
+habits) that, although they displaced native talent and expected
+&ldquo;to feast upon the Coldstream regiments fat,&rdquo; their experience was
+altogether of another character:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;But ah, their knives no veal nor mutton carved!</p>
+<p class="i05">To feasts they went indeed, but went and starved!&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>The services of these foreign musical mercenaries had been
+retained by George the Fourth, but one of the very earliest acts of
+his successor was to dismiss them in favour of the guards&rsquo; bands,
+&ldquo;who,&rdquo; however, if we are to believe Mr. Greville, had no great
+reason to be thankful, but were on the contrary &ldquo;ready to die of it,&rdquo;
+as they had to play every night without pay, and were moreover
+&ldquo;prevented&rdquo; from earning money elsewhere. This act of the
+new king is referred to in a sketch by Seymour, which shows us
+his Majesty in the act of &ldquo;discharging the German band,&rdquo; who may
+be seen marching off headed by their ancient and crestfallen drum-major.</p>
+
+<p>The month of October, 1830, witnessed the trial of the notorious
+<span class="sn">St. John Long.</span>
+impostor, John St. John Long (whose real name was O&rsquo;Driscoll)
+for the manslaughter of Miss Cushin. The success of this ignorant
+and notorious quack, who managed for a series of years to extract
+a magnificent income of some £10,000 or £12,000 per annum by
+trading on the credulity of his fellow-creatures, forms a curious commentary
+on the weakness of contemporary &ldquo;society.&rdquo; It is said
+that he commenced life as a house-painter, and afterwards acquired
+some slight knowledge of art in the humble capacity of colour
+grinder to Sir Thomas Lawrence, and while colouring (on his own
+<span class="pagenum"><a name="page215" id="page215"></a>215</span>
+account) some anatomical drawings for a medical London school,
+picked up a slight and imperfect knowledge of anatomy. This
+stimulated him to further superficial research; and after a few
+months&rsquo; probation, his confidence enabled him to pretend that he
+possessed a cure for every disease under the sun&mdash;more especially
+consumption.<a name="FnAnchor_99" href="#Footnote_99"><span class="sp">99</span></a></p>
+
+<p>The origin and pretensions of this learned practitioner are thus
+referred to in one of the rhymes of the day:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;You may talk of your Celsus, Machaons, and Galens,</p>
+<p class="i05">Physicians who cured all incurable ailings,</p>
+<p class="i05">But ne&rsquo;er yet was doctor applauded in song</p>
+<p class="i05">Like that erudite Ph&oelig;nix, the great Doctor Long.</p>
+
+<p class="i05 s">Such astonishing cures he performs, I assure ye,</p>
+<p class="i05">Some think him a god&mdash;all a <i>lusus naturæ</i>:</p>
+<p class="i05">The whole animal system, no matter how wrong,</p>
+<p class="i05">Is set right in a moment by great Doctor Long.</p>
+
+<p class="i05 s">Through all regions his vast reputation has flown,</p>
+<p class="i05">Through the torrid, the frigid, and temperate zone;</p>
+<p class="i05">The wretch, just expiring, springs healthy and strong</p>
+<p class="i05">From his bed at one touch of the great Doctor Long.</p>
+
+<p class="i05 s">His skill to experience, what potentates ran&mdash;</p>
+<p class="i05">The Pope, the Grand Llama, the King of Japan!</p>
+<p class="i05">The great Chinese autocrat, mighty Fon Whong,</p>
+<p class="i05">Was cured of the &lsquo;doldrums&rsquo; by famed Doctor Long!</p>
+
+<p class="i05 s">In each serious case he considers as well as</p>
+<p class="i05">Doctor Horace, &lsquo;<i>naturam cum furcâ expellas</i>&rsquo;;</p>
+<p class="i05">&rsquo;Dame Nature&rsquo; (<i>i.e.</i>) &lsquo;you must poke with a prong.&rsquo;</p>
+<p class="i05">Pretty poking she gets from the great Doctor Long.</p>
+
+<p class="i05 s">He cures folks <i>à merveille</i>, the French people cry;</p>
+<p class="i05">The Greeks all pronounce him <span class="grk" title="theztagon tz">&#952;&#949;&#953;&#950;&#964;&#945;&#947;&#959;&#957;</span></p>
+<p class="i05">Dutch and Germans adore him; the Irish among,</p>
+<p class="i05">&rsquo;To be sure he&rsquo;s the dandy!&rsquo; Go bragh, Doctor Long!</p>
+
+<p><span class="pagenum"><a name="page216" id="page216"></a>216</span></p>
+
+<p class="i05 s">King Chabert has proved, since restored from his panic,</p>
+<p class="i05">There&rsquo;s small harm in quaffing pure hydrocyanic;</p>
+<p class="i05">But he never found out it was good for the throng,</p>
+<p class="i05">When scrubbed on their stomachs by great Doctor Long.</p>
+
+<p class="i05 s">A machine he&rsquo;s invented, stupendous as new,</p>
+<p class="i05">To sweep one&rsquo;s inside as you&rsquo;d sweep out a flue;</p>
+<p class="i05">No climbing boy, urged by the sound of the thong,</p>
+<p class="i05">Can brush out your vitals like great Doctor Long.<a name="FnAnchor_100" href="#Footnote_100"><span class="sp">100</span></a></p>
+
+<p class="center1" style="letter-spacing: 3em;"> ******</p>
+
+<p class="i05">Garter King has assigned, like a sad &lsquo;fleering Jack,&rsquo;</p>
+<p class="i05">A duck for a crest, with the motto, &lsquo;<i>Quack, Quack</i>&rsquo;</p>
+<p class="i05">To the proud name of St. John (it should be <i>St. Johng</i>,</p>
+<p class="i05">Which would rhyme with the surname of great Doctor Long).</p>
+
+<p class="i05 s">Great house-painting, sign-painting, face-painting sage!</p>
+<p class="i05">Thou Raffaelle of physic!&mdash;thou pride of our age!</p>
+<p class="i05">Alas! when thou diest, and the bell goes ding-dong,</p>
+<p class="i05">Sure Hygeia herself will expire with her Long!</p>
+
+<p class="i05 s">Then fill every glass, drink in grand coalition,</p>
+<p class="i05"><i>Long life</i>, <i>long</i> await this <i>long</i>-headed physician;</p>
+<p class="i05"><i>Long</i>, <i>long</i> may Fame sound, with her trumpet and song,</p>
+<p class="i05">Through each nation the name of the great Doctor Long!&rdquo;<a name="FnAnchor_101" href="#Footnote_101"><span class="sp">101</span></a></p>
+
+</div>
+</td></tr></table>
+
+<p>&ldquo;Dr. Long&rsquo;s&rdquo; remedy (&ldquo;the prong&rdquo; referred to in the foregoing
+ballad) was of the simplest possible character, and&mdash;his dupes in nine
+cases out of ten being women&mdash;his success complete. He invented
+a wonderful liniment or lotion, by means of which he professed to
+diagnose and eradicate the virus of consumption. With many
+patients an inflammation followed its application, which (according
+to the quack) discovered the presence of disease, and which, after
+<span class="pagenum"><a name="page217" id="page217"></a>217</span>
+a plentiful crop of guineas had been extracted, nature was allowed
+to heal: the patient was then pronounced out of danger. With
+some persons the liniment was perfectly innocuous, and when this
+was the case the patient was informed that no disease need be
+feared. The secret of course lay in the fact that the quack used
+two liniments, apparently identical, one of which only contained the
+irritating medium. Many actually consumptive persons of course
+consulted him; but when this was the case he refused his assistance,
+on the ground that it had been invoked too late.</p>
+
+<p>He carried the imposition, as might have been anticipated, once
+too far, and, in the case of the beautiful and unfortunate Miss Cushin
+(a lady of highly nervous temperament), maintained the inflammation
+for so long a time that nature for once refused to assist him,
+and when Sir Benjamin Brodie was summoned, mortification had
+already set in. The trial resulted in a verdict of guilty, but the
+judge (Baron Parke), who summed up scandalously in his favour,
+instead of sending the fellow to hard labour, imposed a fine of
+£250, which was immediately paid.</p>
+
+<p>Seymour alludes to this event in a pictorial satire, in which he
+shows us St. John Long, with a vulture&rsquo;s head and beak, kneeling
+on the floor of a dungeon with a bottle by his side labelled &ldquo;lotion,&rdquo;
+and (beneath) the words,&mdash;&ldquo;Lost, £12,000 per annum, <i>medical
+practice</i>. Whoever will restore the same to Mr. St. J. L&mdash;g, shall
+receive the benefit of his advice.&rdquo;</p>
+
+<p>Miss Cushin&rsquo;s death was quickly followed by another fatal case,
+that of Mrs. Colin Campbell Lloyd, who also died from the effects
+of the corrosive lotion, and St. John Long the following year was
+again put on his trial for manslaughter; in this case the fellow was
+acquitted. Seymour&rsquo;s prediction was not destined to be verified.
+The <i>soi-disant</i> St. John Long, <i>alias</i> O&rsquo;Driscoll, in spite of these
+&ldquo;mistakes,&rdquo; which in our day would receive a harsher term, retained
+his large &ldquo;practice&rdquo; to the last, and died&mdash;still a young man&mdash;of the
+very disease to which he professed to be superior, thus conclusively
+proving better than anything else could have done the utter impotency
+of his preparation.</p>
+
+<p><span class="pagenum"><a name="page218" id="page218"></a>218</span></p>
+
+<p>Anstey (son of the once celebrated author of the &ldquo;New Bath
+Guide&rdquo;) amusingly describes the administration of an oath to a
+witness in a court of law:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Here, Simon, you shall (silence there!)</p>
+<p class="i05">The truth and all the truth declare,</p>
+<p class="i05">And nothing but the truth be willing</p>
+<p class="i05">To speak, so help you G&mdash;d (a shilling).&rdquo;<a name="FnAnchor_102" href="#Footnote_102"><span class="sp">102</span></a></p>
+
+</div>
+</td></tr></table>
+
+<p>The artist possibly had this quotation in his mind when he
+designed the following:&mdash;The deponent is a country bumpkin, to
+whom an official tenders the Testament, at the same time extending
+his disengaged palm. &ldquo;Pleas zur,&rdquo; says Hodge, &ldquo;wot be I to zay?&rdquo;
+(To him the officer), &ldquo;Say, This is the truth and nothing but the
+truth, so help me God one and sixpence.&rdquo;</p>
+
+<p>The open and notorious bribery, corruption, and intimidation
+which prevailed in those days at parliamentary elections; Sir Robert
+Peel&rsquo;s &ldquo;New Police Act&rdquo; (which was received with extraordinary
+suspicion and dislike); the Reform Bill; the universal distress and
+consequent bread riots of 1830-31, form the subjects of other
+pictorial satires by Robert Seymour, which seem, however, to call
+for little notice.</p>
+
+<p>The artist&rsquo;s talent and services were constantly in demand as a
+designer on wood; but finding that the productions of his pencil
+suffered at the hands of the wood-engravers to whom they were
+entrusted, and the very inferior paper upon which the impressions
+were taken, he, in or about the year 1827, began to learn the art of
+etching on copper. We believe his earliest attempts in this direction
+will be found in a work now exceedingly rare, bearing the title of
+&ldquo;Assisting, Resisting, and Desisting.&rdquo; A volume called &ldquo;Vagaries,
+in Quest of the Wild and Wonderful,&rdquo; which appeared in 1827, was
+embellished with six clever plates after the manner of George
+Cruikshank, and ran through no less than three editions.</p>
+
+<p>The &ldquo;Humorous Sketches,&rdquo; several times republished, perhaps
+the only work by which Seymour is now known to the general
+<span class="pagenum"><a name="page219" id="page219"></a>219</span>
+public, appeared between the years 1834 and 1836. They were
+first published at threepence each by Richard Carlisle, of Fleet
+Street, who is said to have paid the artist fifteen shillings for each
+drawing on the stone. Carlisle falling into difficulties shortly before
+Seymour&rsquo;s death, sold the copyright and lithographic stones to
+Henry Wallis, who in turn parted with the latter to Mr. Tregear,
+of Cheapside, but retaining his property in the copyright, transferred
+the drawings to steel, and published them in 1838, with letterpress
+by Alfred Crowquill. Mr. Henry G. Bohn issued an edition
+in 1842, and another some twenty-three years later, with plates so
+sadly worn and blurred by over use that the best part of this last
+edition (issued by the Routledges in 1878) is the binding.</p>
+
+<p>The &ldquo;Humorous Sketches&rdquo; (we refer, of course, only to the
+early impressions), although affording fair examples of the artist&rsquo;s
+comic style and manner, are in truth of very unequal merit. They
+comprise some eighty subjects, which, owing to the frequent republications,
+are so well known that it would be superfluous to attempt a
+detailed description of them here. The best is unquestionably the
+one numbered XXV., &ldquo;This is a werry lonely spot, Sir; I wonder you
+arn&rsquo;t afeard of being rob&rsquo;d.&rdquo; The inevitable sequel is amusingly
+related by Crowquill:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Poor Timmins trembled as he gazed</p>
+  <p class="i2">Upon the stranger&rsquo;s face;</p>
+<p class="i05">For cut-purse! robber! all too plain,</p>
+  <p class="i2">His eye could therein trace.</p>
+
+<p class="i05 s">&rsquo;Them&rsquo;s werry handsome boots o&rsquo; yourn,&rsquo;</p>
+  <p class="i2">The ruffian smiling cried;</p>
+<p class="i05">&rsquo;Jist draw your trotters out, my pal,</p>
+  <p class="i2">And we&rsquo;ll swop tiles beside.</p>
+
+<p class="i05 s">That coat, too, is a pretty fit,&mdash;</p>
+  <p class="i2">Don&rsquo;t tremble so&mdash;for I</p>
+<p class="i05">Vont rob you of a single fish,</p>
+  <p class="i2">I&rsquo;ve other fish to fry.&rsquo;&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>The &ldquo;Sketches,&rdquo; with other detached works by the artist, reappeared
+in an edition published by the late John Camden Hotten,
+entitled &ldquo;Sketches by Seymour,&rdquo; comprising in all 186 subjects, for
+<span class="pagenum"><a name="page220" id="page220"></a>220</span>
+the most part sadly worn impressions. Although there is nothing
+whatever &ldquo;Hogarthian&rdquo; about the originals, as the amiable publisher
+would have us (as usual) believe, we may admit that the faces in
+No. 24, <i>At a Concert</i>, are a perfect study, and that this sketch, with
+Nos. 45 and 46 (<i>Snuffing</i> and <i>Smoking</i>), afford excellent examples of
+the artist&rsquo;s ability as a draughtsman.</p>
+
+<p>But the work which contains probably some of the best specimens
+<span class="sn">&ldquo;The Book of Christmas.&rdquo;</span>
+of the artist&rsquo;s style is one now exceedingly scarce. Christmas
+books, like Christmas cards, are practically unsaleable after the great
+Christian festival has come and gone; and this was the experience
+of Mr. T. K. Hervey&rsquo;s &ldquo;Book of Christmas,&rdquo; which, owing to the
+author&rsquo;s dilatoriness, came out &ldquo;a day after the fair,&rdquo; and despite
+its attractions proved unmarketable. This circumstance, we need
+not say, by no means detracts from its value, and as a matter
+of fact, the collector will now deem himself fortunate if he succeeds
+in securing a copy at a price exceeding by one half the original cost.
+Those who have formed their ideas of Seymour&rsquo;s powers from the oft
+republished and irretrievably damaged impressions of the &ldquo;Humorous
+Sketches,&rdquo; will be astonished at the unaccustomed style, vigour, and
+beauty of these illustrations. A few of the earlier <i>etchings</i> are somewhat
+faint and indistinct, as if the artist, even at that time, was
+scarcely accustomed to work on copper. They, however, improve as
+he proceeds with his work; the larger number are really beautiful,
+and are characterised by a vigour of conception and execution, of
+which no possible idea can be formed by those who have seen only
+the &ldquo;Humorous Sketches.&rdquo; Noteworthy among the illustrations
+may be mentioned the finely executed head of <i>Old Christmas</i>, facing
+page 23; the <i>Baronial Hall</i> (a picture highly realistic of the
+Christmas comfort and good cheer which is little better than a myth
+to many of us); <i>The Mummers</i>; <i>Christmas Pantomime</i>; <i>Market,
+Christmas Eve</i>; <i>Boxing Day</i>; and <i>Twelfth Night in the London
+Streets</i>. The cheery seasonable book shows us the <i>Norfolk Coach</i>
+with its spanking team rattling into London on a foggy Christmas
+Eve, heaped with fat turkeys, poultry, Christmas hampers and
+parcels. William Congreve tells us&mdash;</p>
+
+<p><span class="pagenum"><a name="page221" id="page221"></a>221</span></p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Music hath charms to soothe the savage breast,</p>
+  <p class="i2">To soften rocks, or bend a knotted oak.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p class="noind">The irritable personage awoke from his slumbers by the music of
+the waits, certainly does not belong to any of the order of animate
+or inanimate subjects so softened, soothed, or bent, as aforesaid, for
+he opens his window and prepares to discharge the contents of his
+jug on the heads of the devoted minstrels. If the ancient ophicleide
+player, with the brandy bottle protruding from his great coat
+pocket, might but know of the impending cataract which more
+immediately threatens himself, he would convey himself from the
+dangerous neighbourhood with all the alacrity of which his spindle
+shanks are capable. A younger neighbour on the opposite side of
+the street awaits the catastrophe with amused interest, whilst a
+drunken &ldquo;unfortunate&rdquo; executes&mdash;under the elevating influences of
+music and drink&mdash;a <i>pas seul</i> on the pavement below. In the etching
+of <i>Story Telling</i>, the deep shadows of an old baronial hall are
+illuminated solely by the moonbeams and the flickering flame of
+the firelight; a door opens into a gallery beyond, and one of the
+listeners, fascinated by the ghost story to which she is listening,
+glances fearfully over her shoulder as if apprehensive that something
+uncanny will presently issue out of the black recesses. The ghostly
+surroundings have their influences on the very cat, who looks uneasily
+about her as if afraid of her shadow. Besides the thirty-six
+etchings on copper, the book contains several charming woodcuts,
+impressed on paper of a very different quality to that on which the
+artist was accustomed to behold impressions from his wood blocks.</p>
+
+<p>Of a class entirely different to the foregoing may be mentioned
+the still rarer series of comicalities executed by the artist under the
+title of &ldquo;New Readings of old Authors,&rdquo; of which we may notice
+the following: <i>Moved in Good Time</i> (<i>Taming of the Shrew</i>, Act 2,
+Sc. 1), a tax-gatherer and other creditors bemoaning themselves
+outside the premises of a levanted debtor; <i>I am to get a man,
+whate&rsquo;er he be</i> (Act 3, Sc. 2), disciples of Burke and Hare providing
+themselves with a living subject; <i>I do remember when the fight was
+done, when I was dry</i> (King Henry IV., Part 1, Act 1, Sc. 3), a
+<span class="pagenum"><a name="page222" id="page222"></a>222</span>
+victorious prize-fighter recruiting his exhausted frame by imbibing
+many quarts of strong ale; <i>He was much Feared by his Physicians</i>
+(Act 4, Sc. 1), an irascible gouty patient flinging medicine bottles
+and nostrums at one of his doctors, and stamping a prostrate one
+under foot; <i>You are too great to be by me gainsaid</i> (<i>King Henry</i> IV.,
+Part 2, Act 1, Sc. 1), a huge woman administering chastisement to a
+small and probably (in more senses than one) <i>frail</i> husband; <i>My
+Lord, I over rode him on the way</i> (Act 1, Sc. 1), a miserable huntsman
+who has ridden over and killed one of the master&rsquo;s fox-hounds;
+<i>He came, saw, and overcame</i> (Act 4, Sc. 2), a wretched Frenchman,
+who, overbalancing himself, falls over the rails of a bear-pit amongst
+the hungry animals below; <i>Never was such a sudden scholar made</i>,
+(<i>King Henry</i> V., Act 1, Sc. 1), in allusion to the installation of the
+Duke of Wellington as Chancellor of Oxford University; <i>A Midsummer
+Night&rsquo;s Dream</i>, a fat sleeper suffering under the agonies of
+nightmare, under the influence of whose delusion he fancies himself
+roasting before a vast fire, with a huge hook stuck through his
+stomach; and, <i>I beg the ancient privilege of Athens: as she is mine, I
+may dispose of her</i> (Act 1, Sc. 1), an Englishman attempting to dispose
+of his ugly, wooden-legged old harridan of a wife by auction.
+The lithographic stones on which the drawings to these &ldquo;New Readings&rdquo;
+were made, and which comprised no less than three hundred
+drawings, were effaced before the artist&rsquo;s death, and impressions
+from them are now, of course, more than difficult to procure. The
+Shakespeare series were collected and republished in four volumes,
+in 1841-2, by Tilt &amp; Bogue, of Fleet Street, and even these last are
+very seldom met with.</p>
+
+<p>On the 10th of December, 1831, there started into life a periodical
+of decidedly pronounced political bias and opinions, entitled
+&ldquo;Figaro in London.&rdquo; Politics ran high in those days; it was the time
+of the great agitation for &ldquo;reform,&rdquo; which in those days, as we shall
+presently see, was both loudly called for and imperatively necessary.
+A mob of boys and degraded women had taken complete possession
+of Bristol,&mdash;had driven its deformed little mayor over a stone wall
+in ignominious flight,&mdash;had burnt down the gaol and the mansion-house,
+<span class="pagenum"><a name="page223" id="page223"></a>223</span>
+and laid Queen Square in ashes, whilst the military and its
+very strangely incompetent officer looked on while the city was burning.<a name="FnAnchor_103" href="#Footnote_103"><span class="sp">103</span></a>
+Every one in those days was either a rabid Tory or an ultra
+Radical. It was just the period for an enthusiastic youth to plunge
+into the excitement of political life; but the crude, unformed
+opinions of a young man scarcely of age are of little value, and the
+political creed of the proprietor and originator of this literary (?)
+venture does not appear to have been clearly defined even to himself.
+In his valedictory addresses written three years afterwards, when
+things were not altogether so rosy with him as when he started his
+periodical, he confesses that he belongs to no party, for &ldquo;we have
+had,&rdquo; he says, &ldquo;such a thorough sickener of the Whigs, that we do
+expect something better from the new government, <i>although it be a
+Tory one</i>.&rdquo;</p>
+
+<p>The price of &ldquo;Figaro in London,&rdquo; one of the immediate predecessors
+of the comic publications of our day, was a penny, quite an
+experiment in times when the price of paper was dear, and periodical
+literature was heavily handicapped with an absurdly heavy duty.
+&ldquo;Figaro&rdquo; consisted of four weekly pages of letterpress illustrated by
+Robert Seymour. The projector, proprietor, and editor, was Mr.
+Gilbert à Beckett, whose name&mdash;with those of men of vastly superior
+literary attainments&mdash;was associated in after years with the early fortunes
+of <i>Punch</i>. The literary part of the performance was indeed sorry
+stuff,&mdash;the main stay and prop of the paper from its very commencement
+was Seymour, whose drawings however suffered severely at
+the hands of the engraver and paper maker. An eccentricity of
+the publication perhaps deserves notice. It professed to look with
+sovereign contempt upon advertisements, as occupying a quantity of
+unnecessary space&mdash;considering, however, that exception was made
+in favour of one particularly persevering hatter of the period, we are
+driven to the conclusion that the projector&rsquo;s contempt for a source
+of revenue which modern newspaper proprietors can by no means
+afford to despise, was nearly akin to that expressed by the fox after
+<span class="pagenum"><a name="page224" id="page224"></a>224</span>
+he had come to the melancholy conclusion that the grapes he longed
+for were absolutely beyond his reach.</p>
+
+<p>The new periodical assumed from the outset a position which
+cannot fail to amuse the journalist and reader of the present day. It
+professed to look down upon all other publications (with certain
+exceptions of magnitude, whom the editor deemed it prudent to
+conciliate) with supercilious contempt. The absurdity of these pretensions
+will strike any one who turns over its forgotten pages, and
+compares his pretensions with Mr. à Beckett&rsquo;s own share of the
+performance. The mode in which this young gentleman&rsquo;s editorial
+duties were conducted, gathered from extracts taken at random from
+the &ldquo;Notices to Correspondents,&rdquo; were, to say the least, peculiar:
+&ldquo;A. B., who has written to us, is a fool of the very lowest order. His
+communication is rejected.&rdquo; Poor Mr. Cox of Bath is told he &ldquo;is a
+rogue and a fool for sending us a letter without paying the postage.
+If he wants his title page, let him order it of his bookseller, when it
+will be got as a matter of course from our publisher,&rdquo; and so on.
+The aristocracy are regarded with a disfavour which must have given
+them serious disquietude. The &ldquo;coming out&rdquo; of the daughter of
+the late Lord Byron, or a <i>soirée</i> at the Duchess of Northumberland&rsquo;s
+town house, serve as occasions for indulging in splenetic abuse of
+what Mr. à Beckett was pleased to term &ldquo;the beastly aristocracy.&rdquo;
+Authors, even of position, were not spared by this young Ishmael of
+the press, the respected Mrs. Trollope, for instance, being unceremoniously
+referred to as &ldquo;Mother Trollope.&rdquo; The only excuse of
+course for this sort of thing is to be found in the fact that comic
+journalism being then in its infancy, personal abuse was mistaken for
+satire; while, so far as the bad taste of the editor is concerned,
+allowance must be made for an inexperienced young man who
+imagined that the editorship of a paper, wholly destitute of merit
+except that which Seymour brought to its aid, conferred upon himself
+a position which rendered him superior to the rules of literary
+courtesy.</p>
+
+<p>With all these pretensions, however, à Beckett was conscious of
+the powerful assistance he was receiving from the artist; and we find
+<span class="pagenum"><a name="page225" id="page225"></a>225</span>
+him, after his own peculiar fashion and more than questionable taste,
+constantly alluding to the fact; describing him at various times as
+&ldquo;that highly gifted and popular artist, Mr. Seymour;&rdquo; &ldquo;our illustrious
+artist Seymour;&rdquo; and so on. In the preface to his second
+volume, he indulges in the following flight of fancy, which will
+suffice to give us an idea of the literary merits of the editor himself:
+&ldquo;In this our annual address,&rdquo; he says, &ldquo;we cannot omit a puff for
+the rampant Seymour, in whom the public continue to <i>see-more</i> and
+more every time he puts his pencil to the block for the illustration of
+our periodical.&rdquo; This was the sort of stuff which passed for wit in
+1832.<a name="FnAnchor_104" href="#Footnote_104"><span class="sp">104</span></a> As for Seymour himself, he was annoyed at these fulsome
+and foolish compliments, and in a letter which he wrote to À Beckett
+after the quarrel to be presently related, told him in the plainest
+terms that, &ldquo;the engraving, bad printing, and extravagant puffing of
+his designs were calculated to do him more harm than good as an
+artist.&rdquo;</p>
+
+<p>But artist and editor jogged on together in perfect good will until
+the 16th of August, 1834, when, for the first and only time, &ldquo;Figaro
+in London&rdquo; made its appearance without any illustrations at all. The
+two succeeding weekly issues contained each a single woodcut after
+Seymour&rsquo;s drawing, but from that time until the end of the year,
+when À Beckett himself retired from the proprietorship and disposed
+of his interest in the concern, the paper was illustrated by Isaac
+Robert Cruikshank; this change was due to the following circumstance.</p>
+
+<p>A special feature of &ldquo;Figaro in London&rdquo; was its theatrical leader.
+À Beckett had always taken an interest in dramatic matters, and was
+himself author of some thirty plays, the very titles of which are now
+forgotten. Not content with being proprietor and editor of a newspaper,
+he was concerned at this time in another venture, being proprietor
+and manager of a theatre in Tottenham Court Road, known
+<span class="pagenum"><a name="page226" id="page226"></a>226</span>
+at different times under the various designations of the Tottenham
+Street or West London Theatre, the Queen&rsquo;s, and latterly as the
+Prince of Wales&rsquo; Theatre. The result was almost a foregone conclusion.
+A newspaper is a sufficiently hazardous speculation, but a
+theatre in the hands of an inexperienced manager is one of the most
+risky of all possible experiments; and the result in this case was so
+unfortunate, that À Beckett in the end had to seek the uncomfortable
+protection of the insolvent court. He was considerably
+indebted to Seymour for the illustrations to &ldquo;Figaro,&rdquo; half of the
+debt thus incurred being money actually paid away by the artist to
+the engraver who executed the cuts from his drawings on the wood.
+Finding that À Beckett was in no position to discharge this debt or
+to remunerate him for his future services, Seymour did&mdash;what every
+man of business must have done who, like the artist, was dependent
+on his pencil for <i>bread</i>, refused any longer to continue his assistance.
+Apart from the bad paper and bad impressions of which he
+complained, and above all the bad taste displayed in fulsome adulation
+of his own merits, supremely distasteful to a man of real ability,
+Seymour appears hitherto to have entertained no bad feeling
+towards À Beckett personally.</p>
+
+<p>The result however was a feud. À Beckett was not unnaturally
+angry, and an angry man in his passion is apt to lose both his head
+and his memory. Forgetting the manner in which he had shortly
+before acknowledged the services and talent of the artist, he now
+attacked him and his abilities with a malice which would be unintelligible
+if we had not seen something of his nature and disposition.
+In his favourite &ldquo;Notices to Correspondents&rdquo; in the number
+of 13th September, 1834, he professes to account for the employment
+of Isaac Robert Cruikshank after the following disingenuous
+fashion: &ldquo;Mr. Seymour, our ex-artist, is much to be pitied for his
+extreme anguish at our having come to terms with the celebrated
+Robert Cruikshank in the supplying the designs of the caricatures
+in &lsquo;Figaro.&rsquo; Seymour has been venting his rage in a manner as
+pointless as it is splenetic, and we are sorry for him. He ought,
+however, to feel, that notwithstanding our friendly wish to bring him
+<span class="pagenum"><a name="page227" id="page227"></a>227</span>
+forward, which we have done in an eminent degree, we must engage
+<i>first-rate</i> ability when public patronage is bestowed so liberally, as it
+now is upon this periodical. He ought therefore not to be nettled
+at our having obtained a superior artist.&rdquo; The public, however, were
+not to be <i>gulled</i>; they perfectly well knew that Isaac Robert Cruikshank
+was an inferior artist in every respect to Seymour, and had
+not forgotten the tribute which the foolish editor had previously
+paid to the talents and ability of the latter. Conduct like this could
+only recoil on the head of the person who was injudicious and
+spiteful enough to be guilty of it. The &ldquo;Notices to Correspondents&rdquo;
+in subsequent numbers continued to be filled with references and
+allusions to Seymour, dictated by a malice which was alike silly and
+childish. They are not worthy of repetition here, and we must refer
+the reader for them to the numbers of &ldquo;Figaro in London&rdquo; of 20th
+September and 15th November, 1834, or (if he have not access to
+its pages) to the short biographical notice prefixed to the latest
+edition of the &ldquo;Sketches&rdquo; by Mr. Henry G. Bohn. We have no
+doubt whatever that the interval between these dates was employed
+in fruitless endeavours on the part of À Beckett to arrange terms
+with the artist, who, however, steadily refused to give the failing
+publication the indispensable benefit of his assistance. Left as it
+were to its own resources, the circulation, in spite of the graphic help
+accorded by Robert Cruikshank, steadily declined, and À Beckett
+finally retired from the editorship and proprietorship on the 27th of
+December, 1834. Seymour wielded a far more effectual weapon of
+offence than any which À Beckett possessed, and dealt him blows
+which at this time and in his then circumstances must have been
+keenly felt. One of Seymour&rsquo;s satires is aimed specially at the
+&ldquo;Notices to Correspondents&rdquo; already mentioned, and shows us a
+heavy, vulgar fellow seated at his desk, habited in a barber&rsquo;s striped
+dressing-gown <i>à la Figaro</i>. His features are distorted with passion,
+for he has received a letter the contents of which are anything but
+flattering, addressed &ldquo;To the Editor of the nastiest thing in London.&rdquo;
+This sketch bears the following descriptive title: &ldquo;An
+editor in a <i>small way</i>, after pretending a great deal about his correspondents,
+<span class="pagenum"><a name="page228" id="page228"></a>228</span>
+is here supposed to have received <i>a</i> letter.&rdquo; A second
+skit shows us a critic examining a picture representing &ldquo;the death
+of À Beckett, Archbishop of Cant.&rdquo; A figure in armour, with its
+vizor down (obviously intended for the artist) is depicted in the act
+of cutting at the &ldquo;archbishop&rdquo; with a sword, the blade of which
+is inscribed &ldquo;debts due.&rdquo; His first blow has severed the mitre
+labelled &ldquo;assumption,&rdquo; and the pastoral staff, inscribed &ldquo;impudence,&rdquo;
+with which the victim vainly endeavours to defend himself. &ldquo;Don&rsquo;t,&rdquo;
+says À Beckett, as he falls prostrate amid a heap of &ldquo;spoilt paper,&rdquo;
+among which we recognise, &ldquo;Figaro,&rdquo; &ldquo;The Thief,&rdquo; &ldquo;The Wag,&rdquo;
+and other periodicals with which his name was associated. &ldquo;Don&rsquo;t
+cut at me &lsquo;our own inimitable, our illustrious, our talented;&rsquo; pray
+don&rsquo;t give me any more cuts; think how many I have had and not
+paid you for already:&rdquo; a hand indicates the way &ldquo;to the Insolvent
+Court.&rdquo;</p>
+
+<p>&ldquo;Figaro,&rdquo; after the retirement of À Beckett, passed into the
+editorial hands of Mr. H. Mayhew, and conscious of the injury
+which the defection of Seymour had done to the undertaking, he
+lost no time in opening negotiations with a view to his return. In
+this he experienced little difficulty, for Seymour was glad to avail
+himself of the opportunity of giving to the public the most convincing
+proof which could have been adduced of the falsity of the
+libels which had been published by the retiring and discomfited
+editor. The fourth volume commenced 3rd of January, and from
+that time until his death (in 1836) he continued to illustrate the
+paper. Mayhew announces his return after the following curious
+fashion: &ldquo;The generous Seymour, with a patriotic ardour unequalled
+since the days of Curtius, has abandoned all selfish considerations,
+and yielded to our request for his country&rsquo;s sake. Again he wields
+the satiric pencil, and corruption trembles to its very base. His
+first peace-offering to &lsquo;Figaro in London,&rsquo; is the rich etching
+[woodcut] our readers now gaze upon with laughing eyes.&rdquo; Constant
+references of a laudatory kind are made to him in succeeding
+numbers.</p>
+
+<p>The woodcuts after Seymour&rsquo;s designs, which appear in &ldquo;Figaro
+<span class="pagenum"><a name="page229" id="page229"></a>229</span>
+in London,&rdquo; are too small and unimportant to justify the title which
+the editor gives them of &ldquo;caricatures;&rdquo; and relating to political
+matters which at that time were far more efficiently chronicled by
+the pencil of H. B., they have lost any interest which they once
+might have commanded. The most interesting illustrations which
+Seymour contributed to &ldquo;Figaro,&rdquo; are the brief series of theatrical
+portraits, which are not only clever but evidently excellent likenesses.</p>
+
+<p>It was not only in the case of &ldquo;Figaro in London&rdquo; that the
+slanders of À Beckett recoiled upon his own head. That gentleman
+in 1832 had started a sort of rival to Hood&rsquo;s &ldquo;Comic Annual,&rdquo;
+under the title of the &ldquo;Comic Magazine.&rdquo; It was cheaper in price
+than the former publication, and contained an amazing number of
+amusing cuts of the punning order, after Seymour&rsquo;s designs. After
+the quarrel with À Beckett, the artist withdrew his assistance from
+its pages, and the illustrations show a fearful falling off after 1833.
+Many of the wretched designs which follow bear the signature of
+&ldquo;Dank,&rdquo; and so destitute are they of merit that the &ldquo;embellishments&rdquo;
+(as they are termed) for 1834, are altogether below criticism.</p>
+
+<p>At the opening of the present chapter we said that Robert
+Seymour was <i>almost</i> a genius. Genius, however, he never absolutely
+touched; he was destitute of the inventive faculties which distinguished
+John Leech, and lacked the vivid imagination which
+enabled George Cruikshank to realize any idea which occurred to
+him, whether comical, grave, realistic, or terrible. His talents as an
+artist, though undoubtedly great, ran in a narrow groove, and their
+bent is shown by the well-known &ldquo;Humorous Sketches,&rdquo; and the
+less known but far more admirable designs which he executed for
+the &ldquo;Comic Magazine.&rdquo; He always had a fancy for depicting and
+satirizing cockneys and cockney subjects, and had conceived the by
+no means new or ambitious idea of producing a series of such
+pictures with an appropriate letterpress to be furnished by a literary
+coadjutor, whose work, however, was to be subservient to his own.
+The idea was not perhaps a very definite one, but the pictorial part
+of the work was commenced, and four plates actually etched at the
+time the artist was retained to execute the illustrations to the &ldquo;Book
+<span class="pagenum"><a name="page230" id="page230"></a>230</span>
+of Christmas.&rdquo; Out of this undeveloped idea, and out of the four
+apparently unimportant drawings to which we have alluded, was
+destined to evolve the strange and melancholy story which will
+be associated for all time with the mirth-inspiring novel of the
+&ldquo;Pickwick Papers.&rdquo;</p>
+
+<p>The difficulty at the outset was to find an author to carry out the
+<span class="sn">Origin of &ldquo;Pickwick.&rdquo;</span>
+artist&rsquo;s idea, indefinite as it was. In this direction there was in 1836,
+a very <i>embarras de richesses</i>, for, if comic artists were few, there was
+on the other hand no lack of humourists of the highest order of
+merit. Theodore Hook, Clark (the author of &ldquo;Three Courses and
+a Dessert&rdquo;)&mdash;probably many others were suggested by the publishers
+who were taken into consultation by Seymour; but all were rejected.
+He himself seems to have inclined towards Mayhew, with whom it
+will be recollected he was associated at this time on &ldquo;Figaro in
+London.&rdquo; The man of all others most fitted to carry out the artist&rsquo;s
+<i>own</i> idea seems to us to have been John Poole, one of the most
+original of English humourists, whose productions, now forgotten,
+are worth searching for in the pages of the &ldquo;New Monthly&rdquo; and
+other periodical publications of a past day. It is a singular fact, too,
+that on the first appearance of the &ldquo;Pickwick Papers,&rdquo; the authorship
+was by many ascribed to this very man. In the end, Mr.
+Chapman, of the firm of Chapman &amp; Hall, introduced the artist
+to one of the most unlikely men for his own purpose that could
+possibly have been selected,&mdash;the man, as we have already seen,
+of all others the least fitted and the least disposed to act the part of
+William Coombe to Seymour&rsquo;s character of Thomas Rowlandson.</p>
+
+<p>At this time Charles Dickens was reporter on the staff of a
+newspaper; he had written a book which, although successful, had
+created no very intense excitement; he was moreover a young man,
+and consequently plastic, and fifteen pounds a month would be a small
+fortune to him; so at least argued the artist and his friends. How
+little they understood the resolute, self-reliant character of this
+unknown writer! The result was altogether different from anything
+they expected. Author and artist differed at the outset as to the
+form the narrative should take; but the man with the strongest
+<span class="pagenum"><a name="page231" id="page231"></a>231</span>
+power of mind and will took his stand from the first, and Charles
+Dickens made it a condition of his retainer that the illustrations
+should grow out of the text, instead of the latter being suggested
+(as Seymour desired) by the illustrations, and the artist had reluctantly
+to give way. No one can doubt that the author was right.
+By way however of a concession, and of meeting Seymour&rsquo;s original
+idea as far as practicable, he introduced the absurd character of
+Winkle, the cockney sportsman. The mode of publication followed
+was the artist&rsquo;s own suggestion, who, desiring the widest possible
+circulation, insisted on the work being published in monthly numbers
+at a shilling. Thus it was that &ldquo;Pickwick&rdquo; came to be written.</p>
+
+<p>We are not called on in this place to discuss the merits of
+&ldquo;Pickwick&rdquo;; to compare Charles Dickens with the writers who had
+immediately preceded him; to enlarge upon the comic vein which
+he discovered and made so peculiarly his own; to show the influence
+which his humour exercised upon the literature of the next
+quarter of a century; to contrast such humour with his wonderful
+power of pathos; to marshal the shades of true-hearted, noble Nell,
+unhappy Smike, little Paul Dombey, world abandoned Joe, and compare
+them with the Wellers&mdash;father and son, Mr. Jingle, Tracy Tupman,
+Bob Sawyer, and the spectacled but essentially owlish founder of
+the &ldquo;Pickwick Club.&rdquo; All this we fancy has been done in another
+place; our task is altogether of a simpler character. We have to
+trace the connection which subsisted between the artist and author;
+to show how this book&mdash;the creation of a writer in the spring-time
+of his genius&mdash;the essence of fun, the unfailing source of merriment
+to countless readers past, present, and to come, came to be associated
+with the memory of a terrible and still incomprehensible tragedy.</p>
+
+<p>We have seen that, contrary to his own wishes, Seymour had
+yielded to Charles Dickens&rsquo; suggestion, or rather condition, that the
+illustrations should grow out of the text; but he does not seem to
+have abandoned (so far as we can judge) all idea of having a hand
+in the management of the story, and he never for one instant contemplated
+interference on the part of the author with any one of his
+own designs. If we are to believe his friends (and their testimony
+<span class="pagenum"><a name="page232" id="page232"></a>232</span>
+seems to us distinctly valuable in this place), he was extremely
+angry at the introduction into the plot of the &ldquo;Stroller&rsquo;s Tale,&rdquo; and
+we may therefore fancy the spirit in which he would receive Charles
+Dickens&rsquo; intimation, conveyed to him in the same manner that he
+afterwards communicated to Cruikshank his disapproval of the last
+etching in &ldquo;Oliver Twist,&rdquo; that he objected to that etching &ldquo;as not
+quite <i>his</i> [Dickens&rsquo;] idea;&rdquo; that he wished &ldquo;to have it as complete
+as possible, and would feel personally obliged if he would make
+another drawing.&rdquo; The letter (on the whole a kindly one) has been
+set out elsewhere,<a name="FnAnchor_105" href="#Footnote_105"><span class="sp">105</span></a> and there is no occasion to repeat it here.
+What other causes of irritation existed will never be known. All
+that is still known is, that he executed a fresh design and handed
+it over to Dickens at the time appointed; that he went home and
+destroyed nearly all the correspondence relating to the subject of
+&ldquo;Pickwick&rdquo;; that he executed a drawing for a wood-engraver
+named John Jackson,<a name="FnAnchor_106" href="#Footnote_106"><span class="sp">106</span></a> and delivered it himself on the evening of
+the 20th of April, 1836; that he then returned to his house in King
+Street, Islington, and committed self-destruction. He left behind
+him an unfinished drawing for &ldquo;Figaro in London,&rdquo; which afterwards
+appeared (in the state in which it was found) in the pages
+of that periodical.</p>
+
+<p>Various reasons have been assigned for this rash act, all more or
+less contradictory. According to some he was a man of equable
+temperament; while others, who knew him personally, have told us
+that he was nervous and subject to terrible fits of depression. Some
+would trace the act to his quarrel with À Beckett; but this is simply
+absurd, seeing that it had occurred some two years before. We
+need not, as it seems to us, travel out of our course to seek the real
+cause, which was probably due to over-work. His energies had
+been tasked to the utmost to keep pace with the supply which his
+<span class="pagenum"><a name="page233" id="page233"></a>233</span>
+ever-increasing popularity brought him. The state of his mind
+appears to us clearly indicated by his design of <i>The Dying Clown</i>,
+one of the last drawings which he etched for the &ldquo;Pickwick
+Papers,&rdquo; and for which we must refer the reader to the <i>original</i>
+edition only; anything more truly melancholy we can scarcely
+imagine. Entirely appropriate to the story, it seems to tell its
+own tale of the morbid state of mind of the man who designed it;
+it is a pictorial commentary on the sad story we have attempted
+to tell.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:620px; height:640px" src="images/img233.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Robert Seymour.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Pickwick Papers.</i>&rdquo;</p>
+<p>&ldquo;THE DYING CLOWN.&rdquo;</p>
+<p class="ar">[<i>Face p. 233.</i></p></td></tr></table></div>
+
+<p>A too zealous application to work has destroyed many men both
+of talent and genius; it produces different effects in different individuals,
+according to their respective temperaments: while it drove
+Robert Seymour to frenzy, it killed John Leech&mdash;a man of far
+finer imaginative faculties&mdash;with the terrible pangs of <i>angina pectoris</i>.
+Differently endowed as they were, both belonged to the order of
+men so touchingly described by <i>Manfred</i>:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+               <p class="i8">&ldquo;There is an order</p>
+<p>Of mortals on the earth, who do become</p>
+<p>Old in their youth, and die ere middle age</p>
+<p>Without the violence of warlike death;</p>
+<p>Some perishing of pleasure, some of study,</p>
+<p>Some worn with toil, some of mere weariness,</p>
+<p>Some of disease, and some insanity,</p>
+<p>And some of wither&rsquo;d or of broken hearts;</p>
+<p>For this last is a malady which slays</p>
+<p>More than are numbered in the lists of fate.&rdquo;<a name="FnAnchor_107" href="#Footnote_107"><span class="sp">107</span></a></p>
+
+</div>
+</td></tr></table>
+
+<p>The coadjutorship of distinguished artists and authors has led to
+more than one strange controversy. Those who have read Forster&rsquo;s
+&ldquo;Life of Dickens&rdquo; will remember the curious claim which George
+Cruikshank preferred after Dickens&rsquo; death to be the suggester
+of the story of &ldquo;Oliver Twist,&rdquo; and the unceremonious mode in
+which Mr. Forster disposed of that pretension. We have referred
+elsewhere to the edifying controversy between George Cruikshank
+and Harrison Ainsworth, in relation to the origin of the latter&rsquo;s
+<span class="pagenum"><a name="page234" id="page234"></a>234</span>
+novels of the &ldquo;Miser&rsquo;s Daughter&rdquo; and &ldquo;The Tower of London.&rdquo;
+The republication of Seymour&rsquo;s &ldquo;Humorous Sketches&rdquo; in 1866,
+led to a very curious claim on the part of his friends, in which they
+sought to establish the fact that he was the originator and inventor
+of the incidents of &ldquo;Pickwick.&rdquo; This claim happily was made
+while Dickens was yet alive, and was very promptly and satisfactorily
+disposed of by himself in a letter which he wrote to the
+<i>Athenæum</i> on the 20th of March, 1866. Author and artist have
+long since gone to their rest; and the plan which the author of this
+work proposed when he sat down to write the story of Robert
+Seymour, was to place that artist in the position which he believes
+him to occupy in the ranks of British graphic humourists, and not
+to rake up or revive the memory of a somewhat painful controversy.
+Of the claim itself we would simply remark, that not only was it
+made in all sincerity by those who loved and cherished the memory
+of Robert Seymour, but that to a certain extent the claim has a
+foundation of fact to rest upon; for who will deny that had not
+Seymour communicated his idea to Chapman, and Chapman introduced
+the artist to Dickens, the &ldquo;Pickwick Papers&rdquo; themselves
+would have remained unwritten. In this sense, but in this sense
+only, therefore, Robert Seymour was the undoubted originator of
+&ldquo;Pickwick.&rdquo; He was an artist of great power, talent, and ability;
+and it seems to us that those only detract from his fame who, in
+a kind but mistaken spirit of zeal, would claim for him any other
+position than that which he so justly and honestly earned for himself,
+as one of the most talented of English graphic satirists.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_97" href="#FnAnchor_97"><span class="fn">97</span></a> &ldquo;Greville Memoirs.&rdquo; vol. i. p. 180.</p>
+
+<p><a name="Footnote_98" href="#FnAnchor_98"><span class="fn">98</span></a> <i>Ibid.</i>, p. 207.</p>
+
+<p><a name="Footnote_99" href="#FnAnchor_99"><span class="fn">99</span></a> His theory, as stated in a book which he published, was this: that as all
+men are born in moral sin, so they have about them a physical depravity in the
+form of an acrid humour, which, flying about the system, at length finds vent
+in diseases which afflict or terminate existence. He professed by the means
+afterwards explained to bring this acrid humour to the surface, and having thus
+expelled the cause of disease, to put an end to every bodily ailment.</p>
+
+<p><a name="Footnote_100" href="#FnAnchor_100"><span class="fn">100</span></a> In allusion to a complex piece of machinery he said (in his book) he had
+invented, which when complete would cost him two thousand guineas. This
+machine, said Long, <i>alias</i> O&rsquo;Driscoll, &ldquo;will search all the body, and cut away all
+the diseased parts, leaving the patient perfectly sound and well.&rdquo;</p>
+
+<p><a name="Footnote_101" href="#FnAnchor_101"><span class="fn">101</span></a> We found a curtailed copy of these amusing verses in one of the <i>jeux d&rsquo;esprit</i>
+of the time, called &ldquo;Valpurgis; or, the Devil&rsquo;s Festival&rdquo; (William Kidd, 6, Old
+Bond Street, 1831), illustrated by Seymour. With the exception of one immaterial
+verse, we now give the complete poem; in the ring of the verses the
+reader will have no difficulty in recognising the hand of the Rev. Richard Harris
+Barham, subsequently author of the &ldquo;Ingoldsby Legends.&rdquo;</p>
+
+<p><a name="Footnote_102" href="#FnAnchor_102"><span class="fn">102</span></a> Anstey&rsquo;s &ldquo;Pleader&rsquo;s Guide,&rdquo; Bk. 2nd (1810).</p>
+
+<p><a name="Footnote_103" href="#FnAnchor_103"><span class="fn">103</span></a> Colonel Brereton. His conduct afterwards formed the subject of a court-martial,
+but the unhappy man forestalled the &ldquo;finding&rdquo; by committing suicide.</p>
+
+<p><a name="Footnote_104" href="#FnAnchor_104"><span class="fn">104</span></a> Mr. à Beckett&rsquo;s strong point was puns; in later days he found a vehicle for
+these in the well-known &ldquo;Comic Histories&rdquo; of England and Rome, illustrated by
+John Leech. It was his peculiar good fortune always to be associated with artists
+of the highest ability.</p>
+
+<p><a name="Footnote_105" href="#FnAnchor_105"><span class="fn">105</span></a> See Forster&rsquo;s &ldquo;Life of Dickens.&rdquo;</p>
+
+<p><a name="Footnote_106" href="#FnAnchor_106"><span class="fn">106</span></a> In one account of Seymour&rsquo;s death the name of the engraver is given as
+<i>Starling</i>. This is a mistake. The engraving (probably one of the best the
+unfortunate artist ever executed) represents a sailor captain of Charles the First&rsquo;s
+time, showing a casket of pearls to a lady of remarkable beauty.</p>
+
+<p><a name="Footnote_107" href="#FnAnchor_107"><span class="fn">107</span></a> Act 3, Scene 1.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page235" id="page235"></a>235</span></p>
+<h3>CHAPTER XI.</h3>
+
+<h5><i>THE POLITICAL SKETCHES OF</i> <span class="cn">HB</span>.</h5>
+
+<p class="noind"><span class="sc">The</span> years 1830-32 were full of political trouble; men&rsquo;s minds
+were unsettled; progress was the order of the day, and a reform
+in the election of the members who represented or who were
+supposed to represent the political opinions of the English constituencies
+was not only loudly called for, but had (as we have
+seen) for a very long time past been imperatively demanded. The
+question was shelved from time to time, but sooner or later it
+must be settled, and as Liberals and Conservatives alike will be
+amused and astounded at the state of English parliamentary
+representation half a century ago, we propose just to glance at
+matters as they existed in 1830.</p>
+
+<p>The Marquis of Blandford was a somewhat notable character
+in those days. He had been a violent opponent of the Catholic
+Relief Bill; but from the moment that measure was carried had
+become as fiery and reckless a reformer.<a name="FnAnchor_108" href="#Footnote_108"><span class="sp">108</span></a> On the 18th of February,
+1830, he proposed that a committee should be chosen by ballot
+to take a review of all boroughs and cities in the kingdom, and
+report to the Secretary of State for the Home Department those
+among them which had fallen into decay, or had in any manner
+forfeited their right to representation on the principles of the
+English constitution as anciently recognised by national and parliamentary
+usage. The Home Secretary was to be bound immediately
+<span class="pagenum"><a name="page236" id="page236"></a>236</span>
+to act on this report, and to relieve all such places from
+the burthen of sending members to parliament in future, and the
+vacancies were to be supplied by towns which had hitherto been
+unrepresented. All parliamentary representatives were to be
+elected by persons &ldquo;paying scot and lot.&rdquo; He further proposed
+to extend the right of voting to all copyholders and leaseholders,
+and to place the representation of Scotland on an equal footing
+with that of England. The members were to be chosen from the
+inhabitants of the places for which they were returned, and were
+to be paid for their services according as they were borough or
+county members. The former were to receive two guineas a day
+each, and county members four guineas; why the latter were to
+be estimated at double the value of the former does not seem
+clear. Mr. Brougham, although ready to vote for this somewhat
+extraordinary measure, &ldquo;because much of what it proposed to do
+was good,&rdquo; recommended that a merely general resolution that
+reform was necessary should be substituted in its place. Lord
+Althorp moved an amendment accordingly on the terms suggested;
+but both the amendment and the original motion were negatived.</p>
+
+<p>On the third reading of what was then known as the &ldquo;East
+Retford&rdquo; bill, the first attempt was made in parliament by
+O&rsquo;Connell to introduce a new principle into the representative
+system of the country, viz., that the votes of the electors should
+be taken by ballot. Only twenty-one members voted for
+O&rsquo;Connell&rsquo;s motion, among whom the names now most familiar
+to us are those of Lord Althorp, Sir Francis Burdett, and Mr.
+Hume.</p>
+
+<p>The most ultra-Conservative, however, of our day, who thinks
+that the representation of the people has already been carried
+far enough, will scarcely credit the fact, that in those days constituencies
+such as Leeds, Manchester, and Birmingham were
+absolutely unrepresented. Yet such was the case. The motion
+for transferring the franchise of East Retford to Birmingham
+having been lost, Lord John Russell, on the 23rd of February,
+brought the matter of the great unrepresented constituencies before
+<span class="pagenum"><a name="page237" id="page237"></a>237</span>
+parliament by moving for leave to bring in a bill &ldquo;to enable Leeds,
+Manchester, and Birmingham to return members to the House
+of Commons.&rdquo; It seems scarcely credible to us now-a-days, that
+this reasonable motion was <i>negatived</i> by 188 to 140.</p>
+
+<p>On the 28th of May, O&rsquo;Connell brought in a wilder scheme.
+He moved for leave to bring in a bill to establish triennial parliaments,
+universal suffrage, and vote by ballot; the simple foundation
+of his system being that every man who pays a tax or is liable
+to serve in the militia is entitled to have a voice in the representation
+of the country. Only thirteen members were found to
+join him in a house of 332. Lord John Russell, who took
+advantage of this motion to introduce certain resolutions of his
+own, embracing a wider scheme of reform than that included in
+his former programme, could not consent to any part of O&rsquo;Connell&rsquo;s
+scheme. Dismissing the subject of triennial parliaments as a
+subject of comparative unimportance, and passing on to the other
+propositions, universal suffrage and vote by ballot, he contended
+that both were incompatible with the principles of the English
+Constitution. Mr. Brougham, while he thought that the duration
+of parliaments might be shortened with considerable advantage,
+provided that other measures for removing improper influence
+were adopted, declared himself both against universal suffrage and
+against vote by ballot; and he entered into a full statement of
+the grounds on which he held that the secresy of voting supposed
+to be attained by the ballot would produce most mischievous
+consequences without securing the object which it professed to
+have in view. The resolutions moved by Lord John Russell
+(after O&rsquo;Connell&rsquo;s motion had been negatived) were as follows:
+(1) &ldquo;That it was expedient the number of representatives in the
+House should be increased;&rdquo; (2) &ldquo;That it was expedient to give
+members to the large and manufacturing towns, and additional
+members to counties of great wealth and population.&rdquo; Under
+the second of the resolutions, it was proposed to divide large and
+populous counties, such as Yorkshire for instance, into two divisions,
+and to give to each of them two members. Among the towns
+<span class="pagenum"><a name="page238" id="page238"></a>238</span>
+proposed to be benefited were such important centres as Macclesfield,
+Stockport, Cheltenham, Birmingham, Brighton, Whitehaven,
+Wolverhampton, Sunderland, Manchester, Bury, Bolton, Dudley,
+Leeds, Halifax, Sheffield, North and South Shields; while it was
+stated that the same principle would apply to extend the representation
+to cities of such importance as Edinburgh, Glasgow,
+and Belfast. All the resolutions, however (comprising a third
+which we have considered it unnecessary to refer to), were negatived
+by the amazing majority of 213 to 117. The fact that this was
+a much larger majority than that which had thrown out the
+previous and more limited proposal for extending the franchise
+to three only of the manufacturing towns, will suffice to show
+the spirit in which the unreformed parliament of 1830 was accustomed
+to receive any suggestion of improvement and reform,
+reasonable or otherwise.</p>
+
+<p>It may perhaps seem strange that at this stirring period there
+was an absolute dearth of political caricaturists, but the fact we
+have already attempted to account for. George Cruikshank, the
+finest caricaturist of his day, as well as his brother Robert, neither
+of whom can be described as purely political satirists, had now
+practically retired from the practice of the art, and were employed
+on work of a totally different character. Political caricature
+languished; indeed, if we perhaps except William Heath, oftentimes
+better known by his artistic pseudonym of &ldquo;Paul Pry,&rdquo;
+there was not a political caricaturist of any note in 1829-30.</p>
+
+<p>At this juncture there arose a graphic satirist&mdash;if indeed we
+are justified in so terming him&mdash;of genuine originality. Before
+1829, he had been known only as a miniature painter of some
+celebrity; but he possessed a taste for satiric art, and had essayed
+several subjects of political character which he treated in a style
+and manner differing altogether from the mode in which satirical
+pictures had hitherto been treated. These he showed to Maclean,
+one of the great caricature publishers of the day, who had sufficient
+discernment and prescience to recognise in them the work
+of a man of unquestionable original ability. He prevailed on
+<span class="pagenum"><a name="page239" id="page239"></a>239</span>
+the artist to publish these specimens, and their success was so
+genuine and unmistakable that both publisher and artist decided
+to continue them. Thus commenced a series of political pictures
+which ultimately numbered almost a thousand, and ran an uninterrupted
+course of prosperity for a period of upwards of two and
+twenty years.</p>
+
+<p>The enormous success and reputation which the &ldquo;sketches,&rdquo; as
+they were called, achieved, was due not only to the cleverness and
+originality of the artist himself, but also in a great measure to the
+mystery which attended their publication and appearance. Both
+parties concerned in their production preserved an inviolable secrecy
+on the subject of the identity of the artist and the place whence
+the &ldquo;sketches&rdquo; originated. Mr. Buss tells us,<a name="FnAnchor_109" href="#Footnote_109"><span class="sp">109</span></a> &ldquo;the drawings were
+called for in a mysterious hackney coach, mysteriously deposited in
+a mysterious lithographic printing office, and as mysteriously printed
+and mysteriously stored until the right day of publication.&rdquo; The
+<span class="cn">HB</span> mystery was most religiously preserved for a great number of
+years, both by the artist and the publisher. The initials afforded
+no clue to those not immediately concerned in preserving the
+secret; and yet in this very original monogram lay the key to the
+whole of the mystery. The origin of this signature was simply the
+junction of two I&rsquo;s and two D&rsquo;s (one above the other), thus converting
+the double initials into <span class="cn">HB</span>. The single initials were those
+of John Doyle, father of the late Richard Doyle, who afterwards
+made his own mark as a comic artist in the pages of <i>Punch</i> and
+elsewhere.</p>
+
+<p>The &ldquo;sketches&rdquo; of <span class="cn">HB</span> were a complete innovation upon pictorial
+satire. The idea of satirizing political subjects and public men
+without the exaggeration or vulgarity which the caricaturists had
+more or less inherited from Gillray, was entirely new to the public,
+and took with them immensely; and herein lies their peculiarity,
+that whilst the subjects are treated with a distinctly sarcastic
+humour, there is an absence of anything approaching to exaggeration,
+<span class="pagenum"><a name="page240" id="page240"></a>240</span>
+and the likenesses of the persons represented are most faithfully
+preserved. Whilst claiming for himself the character of a pictorial
+satirist, the artist is all throughout anxious to impress upon you the
+fact that he repudiates the notion of being considered a caricaturist
+in the Johnsonian meaning of the word. This <i>idea</i> seems also to
+have struck Thackeray, who, writing at the time when the sketches
+were appearing, says of him, &ldquo;You never hear any laughing at
+&rsquo;H.B.&rsquo;; his pictures are a great deal too genteel for that,&mdash;polite
+points of wit, which strike one as exceedingly clever and pretty, and
+cause one to smile in a quiet, gentlemanlike kind of way.&rdquo;<a name="FnAnchor_110" href="#Footnote_110"><span class="sp">110</span></a>
+Throughout the series of sketches we know but of one instance
+where the artist suffers any comparison to be established between
+himself and the political caricaturists who had preceded him, and
+that is the one entitled <i>Bombardment Extraordinary</i> (having reference
+to the indictment for libel against the <i>Morning Journal</i>, which
+was shortly followed by the collapse of that paper), which is treated
+to the full as coarsely as Gillray himself might desire. The fact
+of this being among the earliest sketches would seem to show that
+the artist had not then quite made up his mind whether to follow
+in the footsteps of his great predecessor or not. We think the
+result must have convinced him that, whilst having distinct merits
+of his own as a satirist, and indeed as an artist, he was very far
+behind Gillray; and the rest of the sketches seem to show that
+their designer had made up his mind that no middle course was
+possible;&mdash;in other words, that he must be <span class="cn">HB</span> or nothing.</p>
+
+<p>The faithfulness of the likenesses of the persons who appear in
+these &ldquo;sketches&rdquo; is simply marvellous. Not only has the artist
+preserved the features of the subjects of his satires, but he has
+caught their attitude&mdash;their manner, almost their tricks and habits,&mdash;and
+the drawings being, as we have said, wholly free from
+exaggeration, the very men stand before you, often, it is true, in
+absurd and ridiculous positions. The persons who figure in these
+lithographs comprise among names of note many whose reputations
+<span class="pagenum"><a name="page241" id="page241"></a>241</span>
+were too ephemeral to preserve them from oblivion. On the other
+hand, amongst the various groups we recognise Prince Talleyrand,
+the Dukes of Cumberland, Gloucester, Wellington, and Sussex,
+George the Fourth, William the Fourth, Louis Philippe, her present
+Majesty, Lord Brougham, Colonel Sibthorpe, Count Pozzo di Borgo,
+Daniel O&rsquo;Connell, Lord John Russell, Sir Robert Peel, Mr. Hume,
+Lord Melbourne, Lord Palmerston, Sir Francis Burdett, Mr.
+Roebuck, Sir James Graham. Persons with no political reputation
+or connection are occasionally introduced to serve the purposes of
+the artist: doing duty for him in this manner we find the Rev.
+Edward Irving; Townsend the &ldquo;runner,&rdquo; of Bow Street notoriety;
+George Robins, the auctioneer; Liston, the comedian; and others.</p>
+
+<p>Ever on the alert for comic subjects, John Doyle was remarkably
+prompt and ready to catch an idea. Frequently these ideas were
+suggested to him by a phrase&mdash;a sentence&mdash;a few words in a speech;
+occasionally he takes a hint from his Lempriére; whilst not unfrequently
+his happiest conceptions are derived from a character or
+scene in one of the popular operas or farces of the time. Thus,
+in one of the debates on the Reform Bill in the House of Lords,
+some very high words passed between Lords Grey and Kenyon, the
+latter applying the words &ldquo;abandoned&rdquo; and &ldquo;atrocious&rdquo; to the
+conduct of the former, who on his part declared in reply that he
+threw back the expressions with scorn and indignation. In the
+midst of the confusion the Duke of Cumberland rose, and implored
+their lordships to tranquillize themselves and proceed with the
+debate in a temperate and orderly manner, advice which, after
+taking time to cool, they thought it prudent to follow. The farce
+of &ldquo;I&rsquo;ll Be Your Second&rdquo; was then running at the Olympic, Mr.
+Liston taking the part of &ldquo;Placid,&rdquo; who, having a pecuniary interest
+in one of the characters who has a weakness for duelling, is kept
+in a state of nervous anxiety, and constantly interposes with the
+question, &ldquo;Can&rsquo;t this affair be arranged?&rdquo; In one of his &ldquo;sketches,&rdquo;
+<span class="cn">HB</span> gives us <i>A Scene from the Farce of &ldquo;I&rsquo;ll Be Your Second,&rdquo;</i> in
+which the Duke of Cumberland is represented as Placid, endeavouring
+to arrange matters amicably between my Lords Kenyon and Grey.</p>
+
+<p><span class="pagenum"><a name="page242" id="page242"></a>242</span></p>
+
+<p>The duke himself was one of the most unpopular personages of
+<span class="sn">Duke of Cumberland.</span>
+his time, and evinced on his part a contempt for public opinion
+which did nothing to lessen the prejudice with which he was
+generally regarded. We dislike a man none the less for knowing
+that he is conscious of and indifferent to our good or bad opinion;
+and so it was with the Duke of Cumberland. He followed his
+pleasure (field sports amongst the rest) with a serene and happy
+indifference to all that the world might think or say about him.
+This characteristic of his Royal Highness is satirized in another of the
+&ldquo;sketches,&rdquo; where he is supposed to sing &ldquo;My Dog and My Gun,&rdquo;
+as &ldquo;Hawthorn,&rdquo; in the then popular opera of &ldquo;Love in a Village.&rdquo;
+His Royal Highness made himself a remarkable character in those
+smooth-faced days by wearing a profusion of whisker and moustache
+perfectly white. A rumour somehow got abroad and was circulated
+in the tittle-tattle newspapers of the time, that at the instance of
+some fair lady he had shaved off these martial appendages. The
+cavalry for some unexplained reason were the only branch of the
+service who were then permitted to wear moustaches, and in one
+of his sketches, the artist places the smooth-shaved duke in the
+midst of his brother officers, who regard him with the greatest
+horror and amazement.</p>
+
+<p>The Ministry which succeeded that of the Duke of Wellington
+had entered office under express declaration that they would forthwith
+apply themselves to the reform of the representation of the
+people; and accordingly, on the 1st of March, 1831, a bill for that
+purpose was actually introduced by Lord John Russell; but the
+strength and violence of the opposition which could still be
+mustered against it may be judged by the fact, that the second
+reading was carried by the hopeless majority of <i>one</i> in the fullest
+house that had ever been assembled. A dissolution took place
+shortly afterwards, and the avowed intention of such dissolution had
+been to obtain from the people at the general election (which
+followed) a House of Commons pledged to support the Reform
+Bill; indeed, the only test by which candidates were tried, was their
+expressed pledge to support this particular measure. On the 24th
+<span class="pagenum"><a name="page243" id="page243"></a>243</span>
+of June, 1831, Lord John Russell again moved for leave to bring
+in a bill to amend the representation of England, and the difference
+in the result obtained by the election is conclusively shown by the
+fact, that the votes for the second reading were 367 against 231.
+On the 13th of July it passed into Committee, and on the 7th of
+September, the bill as amended in Committee was reported to the
+House; the majority in favour of the motion for passing it was
+found to be 109, the ayes being 345, and the noes 236.</p>
+
+<p>The Reform Bill next day was carried up to the Lords by Lord
+<span class="sn">The Reform Bill thrown out by the Lords.</span>
+John Russell, attended by about a hundred of its staunchest supporters
+in the lower House. These gentlemen appear to have
+adopted the unusual mode of exciting the attention of the peers and
+giving to the function they were performing a striking and theatrical
+character, by accompanying the delivery of the bill to the Lord
+Chancellor with their own characteristic &ldquo;Hear, hear.&rdquo; A cry of
+&ldquo;order&rdquo; recalled them to a sense of the presence in which they
+stood. In Doyle&rsquo;s contemporary sketch of <i>Bringing up our Bill</i>, this
+incident is referred to. Lord Chancellor Brougham stands at the
+bar of the House to receive it from the hands of the member who
+leads the deputation (Lord John Russell); behind him we see Lord
+Althorp, the Marquis of Chandos, and the Right Hon. John Wilson
+Croker, who exchange signs with their fingers, showing that the proceeding
+does not altogether meet with their approval. In the background
+may be seen Sir Charles Wetherell, hated of the reformers of
+Bristol, looking as opposed to the measure as ever; the bill, as we
+know, was thrown out by the Lords in October, by a majority of 41.
+The same month, its enthusiastic advocate, the Rev. Sydney Smith,
+at a reform meeting at Taunton, compared the attempt of the
+House of Lords to stop the progress of reform to a certain fictitious
+Dame Partington of Sidmouth, who had essayed during the progress
+of the great storm to arrest the progress of the Atlantic with her
+broom. &ldquo;The Atlantic was roused,&rdquo; said the wit; &ldquo;Mrs. Partington&rsquo;s
+spirit was up; but I need not tell you that the contest was
+unequal. The Atlantic Ocean beat Mrs. Partington.&rdquo; Immediately
+after this speech appeared the sketch of <i>Dame Partington and the</i>
+<span class="pagenum"><a name="page244" id="page244"></a>244</span>
+<i>Ocean of Reform</i>, in which the character of the apocryphal and
+obstinate dame is sustained by that vigorous opponent of the Reform
+Bill, his grace the Duke of Wellington.</p>
+
+<p>As the Lords had thrown out the Reform Bill, it was necessary to
+<span class="sn">A Dead Lock.</span>
+begin <i>de novo</i>. Accordingly, on the 12th of December, Lord John
+Russell again moved for leave to bring in a new Reform Bill, which
+passed the third reading by a majority of 116 on the 23rd of March,
+1832, and its second reading in the House of Peers, by a majority of
+nine, on the 14th of April. Then the fighting and opposition became
+once more as strenuous and as sustained as ever. On a subsequent
+division the ministry were left in a minority of thirty-five, whereupon
+Earl Grey proceeded to the king, and tendered to his Majesty the
+alternative either of arming the ministers with the powers they
+deemed necessary to carry through their bill (which really meant a
+power to create whatever new peers they might deem requisite for
+the purpose), or of accepting their own immediate resignation. In
+the course of the following day the king informed his lordship that
+he had determined to accept his resignation rather than have
+recourse to the only alternative which had been proposed to him;
+and accordingly, on the 9th, Earl Grey announced in the House of
+Lords, and Lord Althorp in the Commons, that the ministry was at
+an end, and simply held office till their successors should be appointed.
+The Duke of Wellington attempted to form an administration,
+and failed&mdash;and his failure left matters, the ministers, and the
+perplexed monarch, of course exactly &ldquo;as they were.&rdquo;</p>
+
+<p>The excitement occasioned by the Lords was tremendous. At
+London, Birmingham, Manchester, and other large centres, simultaneous
+meetings were held to petition the Commons to stop the
+supplies. In the metropolis placards were everywhere posted, recommending
+the union of all friends of the cause; the enforcement
+of the public rights at all hazards; and a universal resistance to the
+payment of taxes, rates, tithes, and assessments; the country in fact
+was on the brink of revolution. At the meetings of the political
+societies, even in the leading journals, projects were openly discussed
+and recommended for <i>organizing</i> and <i>arming</i> the people; the
+<span class="pagenum"><a name="page245" id="page245"></a>245</span>
+population of the large towns was ready to be launched on the
+metropolis. &ldquo;What was to be done&mdash;peers or no peers? A cabinet
+sat nearly all day, and Lord Grey went once or twice to the king.
+He, poor man, was at his wits&rsquo; end, and tried an experiment (not a
+very constitutional one) of his own by writing to a number of peers,
+entreating them to withdraw their opposition to the bill.&rdquo;<a name="FnAnchor_111" href="#Footnote_111"><span class="sp">111</span></a> The
+letter to which Mr. Charles Greville refers is evidently the following
+circular:&mdash;</p>
+
+<div class="quote">
+<p class="rt">&ldquo;<span class="sc">St. James&rsquo;s Palace</span>, <i>May 17th, 1832</i>.</p>
+
+<p>&ldquo;<span class="sc">My dear Lord</span>,&mdash;I am honoured with his Majesty&rsquo;s command to acquaint
+your lordship, that all difficulties to the arrangements in progress will be obviated
+by a declaration in the House to-night from a sufficient number of peers, that in
+<i>consequence of the present state of affairs</i>, they have come to the resolution of dropping
+their further opposition to the Reform Bill, so that it may pass without
+delay, and as nearly as possible in its present shape.</p>
+
+<p class="rt" style="padding-right: 5em;">&ldquo;I have the honour to be yours sincerely,</p>
+
+<p class="rt">&ldquo;<span class="sc">Herbert Taylor</span>.&rdquo;</p>
+</div>
+
+<p>Such a request, coming from such a quarter, was not only weighty
+in itself, but necessarily implied after all that had taken place, that
+his Majesty suggested this course as the only means of avoiding
+the creation of a large number of additional peers. The majority
+of the House were thus placed in the unenviable position of being
+compelled to choose whether they would see a hundred members
+added to the number of their opponents to carry a measure which
+was hateful to them, or to abandon for a time their rights, privileges,
+and duties as legislators. They chose the latter alternative, and
+during the remainder of the discussion on the bill, not more than
+between thirty and forty attended at any one time. By this means,
+and this only, the bill was eventually carried.</p>
+
+<p>On these grounds John Doyle appears to have founded his theory
+that William the Fourth was a sincere convert to Reform.<a name="FnAnchor_112" href="#Footnote_112"><span class="sp">112</span></a> In one
+<span class="pagenum"><a name="page246" id="page246"></a>246</span>
+of the &ldquo;sketches&rdquo; he shows us his Majesty in the character of
+Johnny Gilpin carried along at headlong speed by his unmanageable
+<i>grey</i> steed &ldquo;Reform.&rdquo; He flies past the famous hostelry at Edmonton,
+where his wife and her friends (represented by the Duke of
+Wellington and a party of Tories) are anxiously awaiting his arrival.
+The turnpike-keeper (John Bull) throws open the gate to let him
+pass, too delighted with the fun to think of any personal expense to
+himself, and conscious that if the gate is shut the inexpert horseman
+must come to unutterable grief. The bottles dangling at Gilpin&rsquo;s
+waist are filled with &ldquo;Birmingham froth&rdquo; and &ldquo;Rotunda pop,&rdquo; in
+allusion to the stump oratory of the Birmingham Political Union and
+the Rotunda in Blackfriars Road. Hume and O&rsquo;Connell, the ardent
+supporters of the bill, cheering with might and main, closely follow
+John on horseback; while Sir Francis Burdett and Sir T. C. Hobhouse,
+equally ardent advocates of Reform, join the cry on foot.
+The frightened geese with coroneted heads represent, of course, the
+peers, who had offered such determined opposition to the measure,
+while the old apple woman rolling in the mud is no other than
+poor Lord Eldon. The bird of ill-omen foretelling disaster is Mr.
+Croker, Secretary to the Admiralty. Later on the same year (1832),
+we find his Majesty represented as Mazeppa bound to the <i>grey</i> steed
+Reform, several of the Conservative members of either houses of
+Parliament doing duty as the wolves and &ldquo;fearful wild fowl&rdquo; that
+accompany the rider in his perilous course. In another satire, the
+king, supposed to have discovered his mistake, figures as Sinbad the
+Sailor, vainly endeavouring to shake himself free of the old man of
+the sea (Earl Grey), who however is too firmly seated on his
+shoulders to be <span class="correction" title="amended drom disloged">dislodged</span>.</p>
+
+<p>The Duke of Wellington&rsquo;s political convictions having prompted
+<span class="sn">Unpopularity of the Duke of Wellington.</span>
+him to be among one of the leading opponents to the Reform Bill,
+he narrowly escaped serious injury at the hands of the London
+rabble. On the 18th of June, 1832, having occasion to pay a visit
+to the Mint, a crowd of several hundred roughs collected on Tower
+Hill to await his return; and on making his appearance at the gate
+he was hissed and hooted by the crowd, who followed him along the
+<span class="pagenum"><a name="page247" id="page247"></a>247</span>
+Minories yelling, hooting, and using abusive language, their numbers
+and threatening demeanour momentarily increasing. About half-way
+up the Minories he was met by Mr. Ballantine, the Thames
+police magistrate, who asked him if he could render him any assistance;
+but the cool, courageous soldier simply replied that he did not
+mind what was going on. When his grace had got to about the
+middle of Fenchurch Street, one of the cowardly ruffians rushed out
+of the crowd, and seizing the bridle with one hand attempted to dismount
+the duke with the other, in which he would have succeeded
+but for the courageous conduct of the groom and a body of city
+police, who opportunely made their appearance at the time. The
+mob had now grown as numerous as it was cowardly; but by the
+exertions of the police, his grace was escorted through it and along
+Cheapside without sustaining personal injury. In Holborn, however,
+the rabble, growing bolder, began to throw stones and filth, and
+the duke, followed by the <i>canaille</i>, rode to the chambers of Sir
+Charles Wetherell, in Stone Buildings, Lincoln&rsquo;s Inn, where he
+remained, till a body of police arrived from Bow Street, by whom
+he was escorted in safety to Apsley House. To make the outrage
+more disgraceful, if possible, it happened on the anniversary of
+the crowning victory of Waterloo; the mob, forgetting in their unreasoning
+wrath the priceless services the great soldier had rendered
+to the nation, whilst the cowardly rascals who composed it were the
+very persons who could by no possibility be benefited by the provisions
+of the bill in which they professed to take so great an interest.
+On the night of the illumination which followed the passing of the
+Act, they broke the windows of his grace and other opponents of the
+measure; and in one of the contemporary <span class="cn">HB</span> sketches, <i>Taking an
+Airing in Hyde Park</i>, the duke is seen looking out of one of his
+broken window-panes. Before the end of the year he was visited by
+serious illness, and the angry feelings his opposition to the measure
+had provoked, and which had been gradually subsiding, were
+suddenly followed by a complete reaction in his favour. <span class="cn">HB</span> commemorates
+this in his sketch of <i>Auld Lang Syne</i>, which shows the
+happy reconciliation between John Bull and the hero of Waterloo.</p>
+
+<p><span class="pagenum"><a name="page248" id="page248"></a>248</span></p>
+
+<p>Consistently and conscientiously as the great duke had opposed
+<span class="sn">Duel between the Duke of Wellington and Lord Winchelsea.</span>
+what he considered the revolutionary tendency of the Reform Bill, it
+must not be forgotten that it is to him that the Catholics owe the
+benefits of the Act of 1829, which relieved them of the disabilities
+under which they had so long suffered; and it must not be forgotten
+too, that in this measure he had not only to contend with his own
+repugnance to Catholic emancipation, but also with that of his chief
+colleagues,&mdash;of the great majority of the House of Lords, and of
+the king himself. With the latter indeed his task had been a very
+difficult one; and it was only a few days before the meeting of
+Parliament in the early part of 1829, that the consent of George
+the Fourth had been obtained. Among the most strenuous of the
+duke&rsquo;s opponents to the Catholic Relief Bill was the Earl of
+Winchelsea, who, in the unreasoning bitterness of his anger, shut his
+eyes to the injustice under which the Catholics had so long suffered,
+and most unwarrantably charged his grace with an intention &ldquo;to
+introduce Popery into every department of the State.&rdquo; These words
+led to a hostile meeting in Battersea Fields on the 21st of March,
+1829. Lord Winchelsea, after receiving the duke&rsquo;s fire, discharged
+his pistol in the air, and there the affair ended, his second delivering
+a written acknowledgment expressing his lordship&rsquo;s regret for having
+imputed disgraceful motives to the conduct of the duke, in his pro-Catholic
+exertions. Twelve months afterwards, on the 2nd of
+April, 1830, Richard William Lambrecht was indicted at Kingston
+assizes for the murder of Oliver Clayton, whom he had shot in a
+duel in Battersea Fields on the preceding 8th of January. Lambrecht
+had a narrow escape, for the judge in his summing up told
+the jury that if they were of opinion that the accused met Clayton
+&ldquo;on the ground with the intention, if the difference could not be
+settled, of putting his life against Clayton&rsquo;s, and Mr. Clayton&rsquo;s
+against his,&rdquo; the prisoner was guilty of wilful murder; and the jury,
+finding on application to the learned judge that there were no
+circumstances in the case to reduce the crime to manslaughter, by
+way apparently of getting out of the difficulty, returned a verdict of
+<i>not guilty</i>. This incident suggested the sketch entitled <i>A Hint to</i>
+<span class="pagenum"><a name="page249" id="page249"></a>249</span>
+<i>Duellists</i>, in which the unsparing satirist places the duke in Lambrecht&rsquo;s
+unenviable position before Mr. Justice Bailey, from whose
+lips are proceeding a portion of the charge which he actually delivered
+to the jury at the trial at Kingston assizes. Even the duke,
+impassive as he appeared, must have felt the justice of this unsparing
+but admirable sarcasm.</p>
+
+<p>Another member of the royal family who frequently figures in the
+&ldquo;sketches&rdquo; is the Duke of Sussex. He was a man of large frame,
+and as remarkable for the blackness of his whiskers as the Duke of
+Cumberland was conspicuous for the bleached appearance of these
+hirsute adornments. At a meeting of the council of the London
+University, he is reported to have said that for the promotion of
+anatomical science he should have no personal objection to dedicate
+his own body after death to the College of Surgeons for the purposes
+of dissection. This hint was enough of course for <span class="cn">HB</span>, and his
+royal highness accordingly figures in a contemporary satire as <i>A
+great Subject</i> &ldquo;<i>Dedicated to the Royal College of Surgeons</i>.&rdquo;</p>
+
+<p>Another prominent personage of <span class="cn">HB</span>&rsquo;s time, and a singular instance
+<span class="sn">Sir Francis Burdett.</span>
+of the change which frequently takes place in the political
+convictions of public men, was Sir Francis Burdett. Commencing
+his career as an ardent radical and reformer intolerant of abuses, he
+finished it and astonished his former supporters by being returned
+for Westminster in the Conservative interest. The political conduct
+of this once celebrated man is of so unusual a character that a short
+recapitulation of his career seems necessary, in order that the reader
+may understand the satires we are about to describe. Notwithstanding
+his expressed views in support of absolute purity of election,
+his own election for Middlesex in 1802-4, is said&mdash;what with the
+expenses and subsequent litigation&mdash;to have cost him upwards of
+one hundred thousand pounds. On the 5th of May, 1807, he was
+challenged by and fought a duel with Mr. James Paull, on Wimbledon
+Common, the cause of quarrel being Sir Francis&rsquo;s refusal to act
+as chairman at a gathering of Paull&rsquo;s supporters at the Crown and
+Anchor Tavern, Westminster, in April. The duel terminated in
+both the principals being seriously wounded. The same year he
+<span class="pagenum"><a name="page250" id="page250"></a>250</span>
+was returned to Parliament to serve as member for Westminster,
+which constituency he continued to represent for nearly thirty years.
+Perhaps the greatest event of his life was his committal to the Tower
+under the Speaker&rsquo;s warrant for a libellous letter published in <i>Cobbett&rsquo;s
+Political Register</i>, of 24th March, 1810, in which he questioned the
+power of the House to imprison delinquents. He at first resisted
+the execution of the warrant, and being a favourite with the mob, a
+street contest ensued between the military and the people, in which
+some lives were lost. In 1818, we find him moving for annual
+parliaments and universal suffrage, when the House divided with
+the result of 100 to 2, the minority being composed of the mover
+and seconder&mdash;that is to say, himself and Lord Cochrane. In 1820,
+he was found guilty at Leicester of a libel on Government in a letter
+to his constituents reflecting on the Manchester outrage of the preceding
+year; a new trial was moved for by himself, but this was
+refused, and he was sentenced the following February to three
+months&rsquo; imprisonment, and to pay a fine of £2,000. In March,
+1825, his resolutions for the relief of the Irish Catholics were carried
+by a majority of 247 to 234; but in later life his restless spirit
+gradually calmed down, and after the appointment of the Melbourne
+Ministry in 1835, he surprised and disgusted his party by going into
+opposition, principally (as he alleged) on account of the court which
+they paid to O&rsquo;Connell and his followers in their agitation against
+the Irish Established Church. For some time previous to the
+sketch we are about to describe he had absented himself from the
+House, and otherwise shown his distaste for the persons and principles
+of the leading men of the party to which he had formerly
+belonged. The busy-bodies who professed to be the exponents of
+public opinion in Westminster, pressed him for an explicit statement
+of his views, and eventually called upon him to resign, and he took
+them directly at their word. The person brought forward to oppose
+him was John Temple Leader, then member for Bridgwater, a name
+which suggested to the artist the pictorial pun of <i>Following the
+Leader</i>, the &ldquo;followers&rdquo; being Lord Melbourne, Lord John Russell,
+Lord Palmerston, Mr. O&rsquo;Connell, Sir J. Hobhouse, Mr. Hume, and
+<span class="pagenum"><a name="page251" id="page251"></a>251</span>
+Sir William Molesworth. Notwithstanding the exertions of the
+ministers and their friends to secure the election of Mr. Leader, that
+gentleman was not only beaten by a very considerable majority, but
+lost as a natural consequence his seat for Bridgwater, a fact which
+suggested to the artist another able sketch, <i>The Dog and the Shadow</i>.
+The election itself forms the subject of <i>A Race for the Westminster
+Stakes</i>, in which the aged thoroughbred (Sir Francis), ridden by
+Lord Castlereagh, beats the young horse Leader, jockey Mr. Roebuck.
+Among the backers of the losing horse, Daniel O&rsquo;Connell
+and Joseph Hume may be easily detected by the lugubrious expression
+of their faces. The sketch of <i>A Fine Old English Gentleman</i>
+was suggested by a remark made by the <i>Times</i> during the progress
+of the contest, in which it described Sir Francis as &ldquo;a fine specimen
+of the old English gentleman.&rdquo; In the left-hand corner of this
+sketch the artist has placed a picture of the Tower of London, by
+way of reminder of the days when the baronet was regarded not
+so much in the light of &ldquo;a fine old English Gentleman&rdquo; as a radical
+of the most advanced type, and as a martyr in the cause of public
+liberty.</p>
+
+<p>A change of opinion however is obviously a necessary incident
+<span class="sn">Changes in Political Opinion.</span>
+of political life, and we have ourselves witnessed some remarkable
+instances of such versatility in our own days. In some cases these
+changes are only temporary or partial, in others they are radical and
+complete; sometimes they are dictated by conviction, at others by
+necessity; occasionally they seem to be the result of absolute
+caprice; while in not a few instances, I fear, we should not be very
+far wrong in assigning them to feelings of disappointment or personal
+or political pique. This tergiversation in public men forms the subject
+of one of <span class="cn">HB</span>&rsquo;s happiest inspirations. In 1837 there appeared
+at the Adelphi Theatre an American comedian named Rice, the
+forerunner of the Christies and other &ldquo;original&rdquo; minstrels of our day,
+who sang in his character of a nigger a comic (?) song, which, being
+wholly destitute of melody, and even more idiotic than compositions
+of that kind usually are, forthwith became exceedingly popular, being
+groaned by every organ, and whistled by all the street urchins of the
+<span class="pagenum"><a name="page252" id="page252"></a>252</span>
+day. This peculiar production, which was known as &ldquo;Jim Crow,&rdquo;
+was accompanied by a characteristic double shuffle, while every
+verse concluded with this intellectual chorus:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Turn about, and wheel about,</p>
+  <p class="i2">And do just <i>so</i>;</p>
+<p class="i05">And every time I turn about,</p>
+  <p class="i2">I jump Jim Crow.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>In <i>Jim Crow Dance and Chorus</i> (the title of the sketch referred
+to), we find the leading men of all parties assembled at a ball,
+engaged in the new saltatory performance initiated by Mr. Rice. In
+the left-hand corner we notice Lord Abinger, formerly Sir James
+Scarlett, a Whig, who growing tired of waiting for the advent of his
+own party to power, changed his political opinions&mdash;that is to say
+&ldquo;jumped Jim Crow,&rdquo;&mdash;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&rsquo;s Reform administration,
+but unprepared to go the lengths which his party seemed disposed
+to take, he too &ldquo;jumped Jim Crow,&rdquo; deserted them, and joined the
+ranks of the Opposition. Lord Stanley&rsquo;s <i>vis-à-vis</i> 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&rsquo;s
+cabinet, he suppressed these sentiments, and &ldquo;jumped Jim Crow&rdquo;
+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;&mdash;as Prime Minister he went far nearer to the
+principles of absolute democracy than either Lord Grey or Lord
+Althorp. Lord Melbourne&rsquo;s face, however, shows unmistakable
+repugnance at finding that his numerous &ldquo;wheels about&rdquo; have
+brought him face to face with O&rsquo;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 <i>pas</i> all to himself. O&rsquo;Connell of course shows himself
+complete master of the figure which he had danced so frequently;
+<span class="pagenum"><a name="page253" id="page253"></a>253</span>
+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.</p>
+
+<p>The Duke of Wellington and Sir Robert Peel find themselves
+<i>vis-à-vis</i>, 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.</p>
+
+<p>But, if any one had &ldquo;turned about and wheeled about,&rdquo; it was Sir
+Francis Burdett, and accordingly the artist introduces him as indulging
+in a very flourishing <i>pas seul</i>; 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 this self-satisfied aristocratic-looking
+personage not many years before had distinguished
+himself as the most prominent of radical malcontents, and had been
+drawn by his enthusiastic dupes through the city of Westminster in
+a triumphal car, decorated with the symbols of liberty, and preceded
+by a banner bearing the inscription, &ldquo;Westminster&rsquo;s Pride and England&rsquo;s
+Glory.&rdquo;</p>
+
+<p>The queer figure in the cocked hat is Sir de Lacy Evans, who
+figures as one of the dancers in allusion to his practice as compared
+with his professions. In 1833 he obtained a seat for Westminster,
+triumphing over his opponent Sir J. C. Hobhouse, who for fifteen
+years had represented that constituency, both candidates professing
+to be zealous advocates for the abolition of flogging in the army.
+Sir de Lacy nevertheless, when commanding the British Legion at
+St. Sebastian, &ldquo;jumped Jim Crow&rdquo; by flogging his soldiers without
+mercy. Lord John Russell once sneered at every project of Reform,
+but his Lordship, as we have seen, &ldquo;jumped Jim Crow&rdquo; by repeatedly
+introducing the Reform Bill into the House of Commons, which was
+mainly passed by his persistent exertions; very properly, therefore,
+Lord John figures in <span class="cn">HB</span>&rsquo;s clever sketch among the most prominent
+of &ldquo;Jim Crow&rdquo; double shufflers.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_108" href="#FnAnchor_108"><span class="fn">108</span></a> These political changes, as we shall presently see, are by no means uncommon.
+William Cobbett, for instance, in 1801 supported the principles of Pitt, but in
+1805, from a &ldquo;Church and King&rdquo; man, he became and continued an ardent
+liberal.</p>
+
+<p><a name="Footnote_109" href="#FnAnchor_109"><span class="fn">109</span></a> &ldquo;English Graphic Satire,&rdquo; by R. W. Buss.</p>
+
+<p><a name="Footnote_110" href="#FnAnchor_110"><span class="fn">110</span></a> <i>Westminster Review</i>, June, 1840.</p>
+
+<p><a name="Footnote_111" href="#FnAnchor_111"><span class="fn">111</span></a> Greville&rsquo;s &ldquo;Memoirs,&rdquo; ii. p. 303.</p>
+
+<p><a name="Footnote_112" href="#FnAnchor_112"><span class="fn">112</span></a> This was the idea of all Tories of the day. The terrible effects of the Reform
+Bill were amusingly predicted by John Wilson Croker to the king himself;
+they have not of course been fulfilled. See &ldquo;Journal of Julian Charles Young&rdquo;
+(Memoir of Charles Mayne Young, vol. i. p. 231).</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page254" id="page254"></a>254</span></p>
+<h3>CHAPTER XII.</h3>
+
+<h5><i>THE POLITICAL SKETCHES OF</i> <span class="cn">HB</span> (<i>Continued</i>).</h5>
+
+<p class="noind"><span class="sc">Sydney Smith</span> said of little Lord John Russell, that he was &ldquo;ready
+<span class="sn">Lord John Russell.</span>
+to undertake <i>any</i>thing and <i>every</i>thing&mdash;to build St. Paul&rsquo;s,&mdash;cut for
+the stone,&mdash;or command the Channel fleet,&rdquo; and this satire of the wit
+was true. He tried politics and he tried literature, and few people
+will say that he was entirely successful at either. As a politician,
+for instance, his general capacity for getting himself and his party
+into a mess, earned from the most intellectually powerful of his
+political opponents the enduring title of &ldquo;Lord Meddle and Muddle.&rdquo;
+He has not been dead very long, yet what reputation has he left
+behind him as a dramatist&mdash;novelist&mdash;historian&mdash;biographer&mdash;editor&mdash;pamphleteer,
+all of which <i>rôles</i> he essayed at some time or other
+of his long and eventful career? His <i>Nun of Arronca</i> (1822)
+fetches it is true an exceedingly high price, because having been
+rigidly suppressed by its author it is now exceedingly rare. The
+best that can be said of Lord John&mdash;and that is saying a great deal&mdash;is,
+that he was a consistent Liberal according to his lights, and that
+to him belongs the honour and glory of bringing about the great
+measure of Reform, which, as we have seen, was, mainly through
+his instrumentality, accomplished in 1832.</p>
+
+<p>Lord John, as might have been expected, frequently appears in
+the &ldquo;political sketches&rdquo; of <span class="cn">HB</span>. He cuts an amusing figure in one
+where <i>Jonah</i> (Lord Minto) is about to be thrown overboard by
+Lords Lansdowne, Palmerston, and Duncannon, by order of the
+captain (Lord Melbourne), to appease the storm raised by Lords
+Brougham and Lyndhurst in reference to a rumour that Lord
+<span class="pagenum"><a name="page255" id="page255"></a>255</span>
+Minto (First Lord of the Admiralty), had instructed British cruisers
+to stop all Sardinian vessels carrying warlike stores for Don Carlos.
+Lord John, while clinging to the mast behind, and viewing with
+terror the impending fate of his colleague, evidently solaces himself
+with the conviction that his own weight is too insignificant to have
+any material effect upon the safety of the ship. Minto owed his
+safety to the Duke of Wellington, who therefore figures in the
+sketch as the whale; for, although convinced that his lordship had
+been imprudent, he successfully resisted Brougham&rsquo;s motion for
+a copy of the instructions, and thereby succeeded in lodging poor
+Jonah on dry land.</p>
+
+<p>One of the &ldquo;sketches&rdquo; in which Lord John Russell figures
+<span class="sn">Stamp Duty on Newspapers.</span>
+reminds us of a remarkable discussion which possesses considerable
+interest for every reader of the cheap newspapers of to-day. The
+Chancellor of the Exchequer (the Right Hon. Thomas Spring Rice)
+in opening his budget on the 6th of May, 1836, showed a disposable
+surplus of £662,000 only, which he proposed (in the usual
+way) to apply towards the reduction of taxation. He proposed, in
+the first place, to consolidate the paper duties and to reduce their
+amount in a manner which he proceeded to explain; and after
+accounting for £200,000, the balance of the surplus he intended to
+apply to the reduction of the stamp on newspapers. The duty
+minus the discount was fourpence, which he proposed to reduce to
+a penny, and to give of course no discount. The reader must not
+suppose from the foregoing, however, that all the proprietors of
+newspapers of that day paid the duty; on the contrary, the large
+majority evaded it in every possible way. The measure in fact was
+intended as much as a protection to the revenue as anything else, for
+the sale of unstamped newspapers throughout the country had become
+so extensive that no series of prosecutions was found effectual
+to put them down. Every sheet, it is true, professed to bear
+on it the printer&rsquo;s name; but the name so appended was in six cases
+out of eight a false one. Exchequer processes were issued; all the
+power of the law was set in motion; in the course of three weeks
+three hundred persons had been imprisoned for selling unstamped
+<span class="pagenum"><a name="page256" id="page256"></a>256</span>
+papers in the streets, but without in the slightest degree repressing
+the illegal sale. The Chancellor argued that the loss which the
+revenue would sustain in the first instance would be more than compensated
+by the enormous increase of duty to be obtained from the
+enlarged circulation; from the additional duty arising from the
+greater consumption of paper; and from the very large increase
+which might be expected from the produce of the duty on advertisements.</p>
+
+<p>The opponents of the measure were of three classes: first, those
+who looked upon the proposal as radical and subversive; secondly,
+those who because a reduction is suggested in one quarter invariably
+consider it the correct thing to propose it in another; and lastly,
+the owners of the established newspapers of the day. The arguments
+of the first class assumed the following form: &ldquo;In proportion
+as any political party approaches more or less towards pure
+democracy and the right divine of mere numbers, its interests will
+require that the means should be increased of disseminating among
+the lower classes, and as nearly gratuitously as possible, the exciting
+and poisonous food which is at last to end in the revolutionary
+fever.&rdquo;<a name="FnAnchor_113" href="#Footnote_113"><span class="sp">113</span></a> The second class, strange to say, rested their hopes in this
+instance on the singularly slippery basis of <i>soap</i>. Sir C. Keightley
+moved (on the 20th of June) that instead of diminishing the stamp
+duty on newspapers, the duty on hard and soft soap should be
+reduced. The reduction of such duty would, he argued, by aiding
+cleanliness, promote the health and comfort of the people, while the
+lowering of newspaper stamps would do nothing of the kind, but
+would tend rather to introduce a cheap and profligate press, &ldquo;one
+of the greatest curses which could be inflicted on humanity.&rdquo; He
+contended, moreover, that it was absurd to argue that the poor were
+debarred from reading the public prints, when in a coffee shop, for
+three-halfpence, they could obtain a cup of coffee and a sight of
+every newspaper published in London. Mr. Barclay, one of the
+members for Surrey, thought it impossible for any reasonable being
+to hesitate between the relative virtues of newspapers and soap; and
+<span class="pagenum"><a name="page257" id="page257"></a>257</span>
+as for the Chancellor of the Exchequer, he could not believe for one
+moment that if left to his own unaided judgment he would hesitate
+to give his preference to the latter. The Chancellor nevertheless
+avowed in the plainest terms his preference for newspapers, and his
+conviction of the advisability of an immediate reduction in the
+stamp duty; the result, after the lapse of less than forty years, has
+conclusively proved the wisdom of the measure which he succeeded
+in carrying.</p>
+
+<p>Newspaper proprietorship was then a monopoly; and the argument
+<span class="sn">Curious Arguments of the Newspaper Proprietors.</span>
+by which the rich proprietor, the representative of the third class of
+opponents, sought to maintain his monopoly cannot fail to amuse
+the newspaper reader of to-day. The monopoliser who, to maintain
+the character of his paper and to supply the public with the best and
+earliest information, incurred the expense of procuring parliamentary
+reports, obtaining foreign intelligence, anticipating the arrival of the
+post by expresses, and by having correspondents in every quarter of
+the world where matters of interest were going forward, said, that
+should the measure pass, he must thenceforth either be content to
+lower the tone of the public press by not giving the same amount of
+accurate intelligence, or must carry on the contest with those who
+went to no expense at all. &ldquo;The result would be not only the ruin
+of the property of the newspaper proprietors and the destruction of
+their property, but it would be something much more fatal to the
+general interests of the country, for the editors of the present
+respectable papers would not be able to compete with these predatory
+publications, and would be compelled to forego that extent
+of information which was then so accurately given. We should
+have the newspaper press&rdquo;&mdash;mark this, ye omnivorous readers of
+to-day, who commence with <i>The Times</i>, adjourn to the <i>Telegraph</i>,
+peruse the pages of the <i>Morning Post</i>, wander through the columns
+of the <i>Daily News</i>, and finish off with the express edition of the
+<i>Globe</i> or <i>Evening Standard</i>, reserving your <i>Saturday Review</i>, your
+<i>Truth</i>, and your <i>Vanity Fair</i> for Sunday solatium&mdash;&ldquo;we should
+have the newspaper press simply reduced to this state: that no
+longer would there be a regular and correct supply of information
+<span class="pagenum"><a name="page258" id="page258"></a>258</span>
+to the public respecting the debates of Parliament or <i>other important
+matters, but there would be only such an amount and such a description
+of information as could be furnished upon the inaccurate data of a man
+who would not go to any expense in the use of the means at present
+employed</i>.&rdquo; These were the views of the newspaper proprietors of
+1836, as expounded by that respectable but distinctly Tory authority,
+&ldquo;The Annual Register.&rdquo;<a name="FnAnchor_114" href="#Footnote_114"><span class="sp">114</span></a></p>
+
+<p>The measure of the Chancellor of the Exchequer, of which we
+have attempted the foregoing explanation, appears to have suggested
+to John Doyle his sketch of <i>The Rival Newsmongers</i>, in which the
+leading men of all parties are represented in the act of endeavouring
+to force the sale of their own journals. The scene is supposed to
+be enacted in front of the Elephant and Castle, where we find the
+&ldquo;Union Coach&rdquo; waiting to take up passengers,&mdash;the three who
+occupy the roof being a Scotchman, indicated by his bonnet and
+plaid, Paddy by his shocking bad hat, while in the portly, jolly-looking
+party next him we have no difficulty whatever in recognising
+honest John Bull. The three are listening to the appeals of
+O&rsquo;Connell, close to whom is Mr. Roebuck, and behind him again
+Mr. Hume. Sir Roger Gresley addresses himself to the insides,
+and the person holding up his paper to the special notice of John
+Bull is the Marquis of Londonderry. The driver of the coach is
+Lord Melbourne, and the ostler little Lord John Russell.</p>
+
+<p>The public man who perhaps of all others earned and deserved
+<span class="sn">Lord Brougham.</span>
+his place in the pictorial satires of the nineteenth century was
+emphatically Brougham. The verdict of posterity on this restless
+but unquestionably brilliant man of genius must of necessity be a
+somewhat disappointing one; he aimed at being nothing less than
+an Admirable Crichton, and such a character in the nineteenth
+century, when every public man must be more or less talented,
+more or less brilliant, would be an impossibility even to a genius.
+<span class="pagenum"><a name="page259" id="page259"></a>259</span>
+A rival lawyer and political opponent, Sir Charles Wetherell is reported
+to have said of him that he knew a little of everything but
+law; and although this statement was spiteful and untrue, there is
+no doubt of the truth of Mr. Greville&rsquo;s remarks, that his duty as
+Chancellor was confined to appeals which <i>must</i> come before him,
+lunacy and other matters over which he had sole jurisdiction, and
+that &ldquo;nobody ever thought of bringing an original cause into his
+court.&rdquo;<a name="FnAnchor_115" href="#Footnote_115"><span class="sp">115</span></a> We think we may even go farther than this, and say that
+no lawyer of the present day would dream of relying on Lord
+Brougham&rsquo;s decisions. O&rsquo;Connell said of him, &ldquo;I pay very little
+attention to anything Lord Brougham says. He makes a greater
+number of foolish speeches than any other man of the present
+generation. There may be more nonsense in some one speech of
+another person, but in the number, the multitude of foolish speeches,
+Lord Brougham has it hollow. I would start him ten to one&mdash;ay,
+fifty to one&mdash;in talking nonsense against any prattler now living.&rdquo;</p>
+
+<p>Some amusing examples of his restless anxiety to figure on all
+occasions in the character of an Admirable Crichton are given by
+Mr. Charles Greville, whose &ldquo;Memoirs&rdquo; stand in much the same
+relation to the graphic satires of the nineteenth century as the
+&ldquo;Odes&rdquo; of Dr. Walcot do towards the caricatures of James Gillray.
+&ldquo;Dined,&rdquo; says Mr. Greville (under date of 7th June, 1831), &ldquo;with
+Sefton yesterday, who gave me an account of a dinner at Fowell
+Buxton&rsquo;s on Saturday to see the brewery, at which Brougham was
+the <i>magnus Apollo</i>. Sefton is excellent as a commentator on
+Brougham; he says that he watches him incessantly, never listens
+to anybody else when he is there, and <i>rows</i> him unmercifully afterwards
+for all the humbug, nonsense, and palaver he hears him talk
+to people.... They dined in the brewhouse and visited
+the whole establishment. Lord Grey was there in star, garter, and
+ribbons. There were people ready to show and explain everything.
+But not a bit. Brougham took the explanation of everything into
+his own hands; the mode of brewing, the machinery, down to the
+<span class="pagenum"><a name="page260" id="page260"></a>260</span>
+feeding of the cart-horses. After dinner the account books were
+brought, and the young Buxtons were beckoned up to the top of the
+table by their father to hear the words of wisdom which flowed from
+the lips of my Lord Chancellor. He affected to study the ledger,
+and made various pertinent remarks on the manner of book-keeping.
+There was a man whom Brougham called &lsquo;Cornelius&rsquo; (Sefton did
+not know who he was), with whom he seemed very familiar. While
+Brougham was talking he dropped his voice, on which &lsquo;Cornelius&rsquo;
+said, &lsquo;Earl Grey is listening,&rsquo; that he might speak louder and
+nothing be lost. He was talking of Paley, and said that &lsquo;although
+he did not always understand his own meaning, he always made it
+intelligible to others,&rsquo; on which &lsquo;Cornelius&rsquo; said, &lsquo;My good friend,
+if he made it so clear to others, he must have some comprehension
+of it himself;&rsquo; on which Sefton attacked him afterwards, and swore
+that &lsquo;he was a mere child in the hands of &ldquo;Cornelius;&rdquo; that he
+never saw anybody so put down.&rsquo; These people are all subscribers
+to the London University,<a name="FnAnchor_116" href="#Footnote_116"><span class="sp">116</span></a> and Sefton swears he overheard
+Brougham tell them that &lsquo;Sir Isaac Newton was nothing compared
+to some of the present professors,&rsquo; or something to that effect. I
+put down all this nonsense because it amused me in the recital, and
+is excessively characteristic of the man, one of the most remarkable
+that ever existed. Lady Sefton told me that he went with them to
+the British Museum, where all the officers of the Museum were in
+attendance to receive them. He would not let anybody explain
+anything, but did all the honours himself. At last they came to
+the collection of minerals, when she thought he must be brought
+to a standstill. Their conductor began to describe them, when
+Brougham took the words out of his mouth, and dashed off with
+as much ease and familiarity as if he had been a Buckland or a
+Cuvier. Such is the man, a grand mixture of moral, political, and
+intellectual incongruities.&rdquo;<a name="FnAnchor_117" href="#Footnote_117"><span class="sp">117</span></a></p>
+
+<p>If the part which Brougham&rsquo;s position as attorney-general to Queen
+Caroline obliged him to take at the memorable period of the &ldquo;Bill
+<span class="pagenum"><a name="page261" id="page261"></a>261</span>
+of Pains and Penalties&rdquo; had not closed the door of professional
+advancement against him, he had most effectually locked it against
+himself so long as her husband lived by the intemperate and ill-judged
+language in which he alluded to that event in the speech which
+he delivered at Edinburgh on the 5th of April, 1825.<a name="FnAnchor_118" href="#Footnote_118"><span class="sp">118</span></a> But Brougham
+was constantly on the watch for its being opened, and on the very
+day when George the Fourth died, that is to say on the 20th of June,
+1830, he spoke in the House of Commons in eulogistic terms of the
+new sovereign, praising him for allowing the Speaker to take the
+oaths at an unusually early hour in order to suit the convenience of
+members, a graceful act, which Mr. Brougham declared he hailed as
+a happy omen of the commencement of an auspicious reign. The
+astute K. C.&rsquo;s object did not escape the penetrating eye of <span class="cn">HB</span>, who
+forthwith represented him as <i>The Gheber Worshipping the Rising
+Sun</i>, in whose smiling face we recognise the unmistakable lineaments
+of William the Fourth. The sun proved not unmindful of
+the attention; for, on the formation of Earl Grey&rsquo;s ministry in 1830,
+Mr. Brougham was made Lord Chancellor, with the title of Baron
+Brougham and Vaux. The appointment took the nation by surprise;
+for although a consistent upholder of Whig principles, he had always
+maintained a peculiar and independent position with his party, and
+was expected to prove rather an embarrassment than otherwise.
+These expectations were fully realized, and there can be no doubt
+that the sentiments which Lord Brougham&rsquo;s bearing as Chancellor
+excited among his colleagues and contemporaries, excluded him for
+the remainder of his life from all official life and employment.</p>
+
+<p>With all his wonderful powers, however, Lord Brougham could
+make, as O&rsquo;Connell asserted of him, as inconsiderate a speech as
+any man. One of these speeches, which was delivered on the 14th
+of August, 1833, in a debate on the bill for the abolition of slavery
+in the West Indies, suggested to <span class="cn">HB</span> a happy subject. His lordship
+is reported to have said that, &ldquo;the object of the clause [then under
+discussion] was to make the black, from the moment that he arrived
+<span class="pagenum"><a name="page262" id="page262"></a>262</span>
+on the shores of this country, a free man in all respects: to make
+him eligible to sit in Parliament, either in the House of Lords, if
+it should be his Majesty&rsquo;s pleasure to give him a title to a seat, or
+in the other House if he should be elected.&rdquo; <span class="cn">HB</span>, with his usual
+facility for seizing an idea, took his lordship at his word, and forthwith
+elevated the emancipated &ldquo;nigger&rdquo; to the woolsack, clothing
+him in the wig and gown of Lord Chancellor Brougham, and giving
+him the features of the noble and learned lord himself: this sketch
+bears the title of <i>A Select Specimen of the Black Style</i>.</p>
+
+<p>The House of Lords was a lively place whilst my Lord Chancellor
+Brougham was in office, and in the &ldquo;scenes&rdquo; in which he figured,
+and which drew down upon him the hatred and resentment of his
+contemporaries, he not unfrequently displayed a want of judgment
+which was nothing less than lamentable. We might give many
+instances of these regrettable scenes, but one shall suffice. On the
+29th of September, 1831, the Lord Chancellor made the following
+answer to a question put by the Marquis of Londonderry:&mdash;&ldquo;My
+lords,&rdquo; he said, &ldquo;I beg to state to you once for all, that
+I will not sit here to be <i>bothered</i> with questions which emanate
+from the ridiculous ideas of certain absurd individuals who cannot
+or will not see anything, however clear, and seem lamentably incapacitated
+by nature from comprehending what is going on. Moreover,
+I beg to state to the noble marquis, that for the future I will
+answer no question of his,&mdash;will give him no information whatever.&rdquo;
+The amazed patrician said in reply, &ldquo;As to the language which the
+noble and learned lord has ventured to apply to me here, I will only
+say that I shall wish those words to be repeated in another place.&rdquo;
+The Lord Chancellor rejoined that he had said nothing which he
+was not prepared to repeat elsewhere; and here the matter appears
+to have ended, for strange to say it was the Marquis of Londonderry
+and not the irascible Brougham who subsequently apologised,
+a circumstance which occasioned the artist&rsquo;s satirical and telling
+sketch of <i>The Duel that did Not Take Place</i>. These scenes do not
+appear to have been the result of any mere ebullition of temper;
+on the contrary, Brougham would seem to have delighted in these
+<span class="pagenum"><a name="page263" id="page263"></a>263</span>
+undignified exhibitions. &ldquo;The Chancellor, who loves to unbosom
+himself to Sefton, because he knows the latter thinks him the finest
+fellow breathing, tells him that it is nuts to him to be attacked by
+noble lords in the Upper House, and that they had better leave him
+alone if they care for their own hides. Since he loves these assaults,
+last night,&rdquo; continues Mr. Greville, &ldquo;he got his bellyful, for he was
+baited by a dozen at least, and he did not come out of the <i>mêlée</i> so
+chuckling and happy as usual.&rdquo;<a name="FnAnchor_119" href="#Footnote_119"><span class="sp">119</span></a></p>
+
+<p>Parliament was dissolved on the 15th of August, 1834, and by
+that time his party, the king, and everybody else, had grown pretty
+well tired of Lord Chancellor Brougham. His head would seem to
+have been almost turned by his success; for he employed the recess
+which followed the prorogation in making a sort of royal progress
+through Scotland, parading the Great Seal on his way, to the great
+disgust of the king, who seriously thought he had taken leave of his
+senses, and protested against it being carried across the border. In
+the course of this strange progress he reached Inverness in the
+beginning of September, 1834, and was presented by the magistrates
+with the freedom of their city. In returning thanks for this honour,
+Lord Brougham said he was conscious &ldquo;that it was not owing to
+any personal merits that he had received this mark of distinction at
+their hands. First of all he owed it to the circumstance that he had
+the honour of serving a monarch who lived in the hearts of his subjects.
+He had enjoyed the honour of serving that prince for nearly
+four years, and during that time he had experienced from his Majesty
+only one series of gracious condescension, confidence, and favour.
+To find that he lived in the hearts of his loyal subjects in the ancient
+and important capital of the Highlands, as it had afforded him
+(Lord Brougham) only pure and unmixed satisfaction, would, he
+was confident, be so received by his Majesty, when he (Lord
+Brougham) told him, <i>as he would by that night&rsquo;s post</i> (cheers), of the
+gratifying circumstances.&rdquo;<a name="FnAnchor_120" href="#Footnote_120"><span class="sp">120</span></a> So far, however, from being gratified,
+the bluff sailor king was tremendously annoyed. These fulsome
+<span class="pagenum"><a name="page264" id="page264"></a>264</span>
+adulations, and the ridiculous manner in which his eccentric and
+embarrassing Chancellor tortured any personal attention to himself
+(Brougham) into a personal compliment to his royal master,
+thoroughly disgusted him. For some weeks previously <i>The Times</i>
+had attacked the eccentric Chancellor with a constancy and vigour
+of satire quite unexampled; the tide of ridicule was swelled by contributions
+from the London and provincial press; Brougham made
+some foolish speeches at Aberdeen and Dundee, which excited the
+laughter of his enemies and the alarm of his friends. &ldquo;Those who
+are charitably disposed,&rdquo; remarks the unfriendly Greville, &ldquo;express
+their humane conviction that he is mad, and it probably is not very
+remote from the truth.&rdquo;</p>
+
+<p>Intellectually strong as he was, a Chancellor so eccentric as this
+was an <i>incubus</i> to be got rid of at the first convenient opportunity.
+In May, 1834, Mr. Stanley, Sir James Graham, the Earl of Ripon,
+and the Duke of Richmond, seceded from the ministry; but the
+Whig party, in spite of these resignations and the subsequent one of
+Lord Grey in July, continued in office under Lord Althorp till the
+following November, when the latter being called (by the death of
+his father) to the Upper House as Earl Spencer, the king seized
+the opportunity which he had so long desired of placing a less
+embarrassing and self-willed Chancellor on the woolsack. This
+circumstance prompted the clever sketch of the <i>Fall of Icarus</i>.
+Icarus in this instance is of course Brougham, who, flying in defiance
+of the injunctions of Dædalus too near the sun&mdash;that is to
+say, William the Fourth&mdash;the wax of his mechanical wings melted and
+he fell into the sea. That there may be no mistake as to the artist&rsquo;s
+meaning, the wings aforesaid are labelled with the titles of various
+publications which were loudest in sounding the praises of the King
+and of the &ldquo;noble and learned lord,&rdquo; and to which he himself, with
+the questionable taste which distinguished him, was reputed (with
+justice) to be a contributor.</p>
+
+<p>Whether my Lord Chancellor Brougham caught the infection
+from his client, Queen Caroline, we know not; but his conduct,
+whether in or out of office, appears to have been of the most
+<span class="pagenum"><a name="page265" id="page265"></a>265</span>
+undignified character. Ignoring the fact that his party were no
+longer in power, there is no doubt whatever that he wrote a letter
+to his successor, Lord Lyndhurst, actually suggesting his own
+nomination to Lyndhurst&rsquo;s vacant office of Chief Baron of the
+Exchequer, thereby (as he pointed out) saving to the public his
+own pension of ex-Chancellor. What his real motive may have been
+is of little consequence; it was certainly a most undignified proceeding,
+made the more undignified, if possible, because the proposal
+was not accepted. It suggested to the artist one of his pictorial
+puns, <i>The Vaux and the Grapes</i>, and to the Rev. Richard Harris
+Barham the following amusing verses, which we have extracted from
+a contemporary poetical skit:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+    <p class="i1">&ldquo;Then in Great Stanhope Street</p>
+    <p class="i2">The confusion was great</p>
+<p>In a certain superb habi-tation,</p>
+    <p class="i2">Where seated at tea,</p>
+    <p class="i2">O&rsquo;er a dish of Bohea,</p>
+<p>Brougham was quaffing his &lsquo;usual potation&rsquo;</p>
+<p>(For you know his indignant ne-gation,</p>
+<p>When accused once of jollifi-cation),</p>
+    <p class="i2">Down went saucer and cup,</p>
+    <p class="i2">Which Le Marchant picked up,</p>
+<p>Not to hear his lord mutter &lsquo;d&mdash;n-ation.&rsquo;</p>
+
+    <p class="i2 s">But this greatest of men</p>
+    <p class="i2">Soon caught hold of a pen,</p>
+<p>And, after slight delibe-ration,</p>
+    <p class="i2">No longer he tosses</p>
+    <p class="i2">His flexile proboscis</p>
+<p>About in so much exci-tation;<a name="FnAnchor_121" href="#Footnote_121"><span class="sp">121</span></a></p>
+<p>But scribbling with great ani-mation,</p>
+<p>He sends off a communi-cation:&mdash;</p>
+    <p class="i2">&lsquo;Dearest Lyndhurst,&rsquo; says he,</p>
+    <p class="i2">&lsquo;Can&rsquo;t you find room for me</p>
+<p>When constructing your adminis-tration?</p>
+
+<p class="s"><span class="pagenum"><a name="page266" id="page266"></a>266</span></p>
+    <p class="i2">Though the <i>Times</i> says I&rsquo;m mad,</p>
+    <p class="i2">And each rascally Rad</p>
+<p>Abuses my tergiversation;</p>
+    <p class="i2">Though those humbugs, the Whigs,</p>
+    <p class="i2">Swear that my &ldquo;thimble-rigs&rdquo;</p>
+<p>Were the cause of all their vacill-ation;</p>
+<p>The whole story&rsquo;s a base fabri-cation</p>
+<p>To damage my great reputa-tion;</p>
+    <p class="i2">So now to be brief,</p>
+    <p class="i2"><i>Only make me Lord Chief</i>,</p>
+<p>And I&rsquo;ll serve without remuner-ation!&rsquo;</p>
+
+    <p class="i2 s">When he found &rsquo;twas &lsquo;no go,&rsquo;</p>
+    <p class="i2">And that Lyndhurst and Co.</p>
+<p>Were deaf to all solici-tation,</p>
+    <p class="i2">As &rsquo;twas useless with Lyndy</p>
+    <p class="i2">To kick up a shindy,</p>
+<p>He resolved upon peregrin-ation.</p>
+<p>Not waiting for much prepa-ration,</p>
+<p>He bolted with precipi-tation;</p>
+    <p class="i2">A sad loss, I ween,</p>
+    <p class="i2">To Charles Knight&rsquo;s magazine,</p>
+<p>And to Stinkomalee edu-cation.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>Lord Brougham, indeed, by his despotic, intractable conduct, had
+thoroughly shut himself out from all chance of office. Sir Robert
+Peel&rsquo;s Conservative ministry lasted till April, 1835, when a second
+Whig government came into power, under the premiership of Lord
+Melbourne, and from the re-constructed cabinet, Brougham&mdash;much
+to his own surprise, but to the surprise of no one else&mdash;was
+excluded.<a name="FnAnchor_122" href="#Footnote_122"><span class="sp">122</span></a></p>
+
+<p>Irish disaffection was, unfortunately, as stale a subject in 1833
+<span class="sn">Irish Disaffection.</span>
+as in 1883. For what particular sins of her own England has been
+cursed with a neighbour so bloodthirsty, so unreasonable, and so
+troublesome as Ireland, it would be difficult to say. Although we
+<span class="pagenum"><a name="page267" id="page267"></a>267</span>
+had no Irish Americans&mdash;no cowardly &ldquo;dynamitards&rdquo;&mdash;in those
+days, Ireland was nevertheless in a state of chronic disaffection,
+and an &ldquo;Irish Coercion Bill&rdquo; was found just as necessary to restrain
+the excitement of Irish political malcontents in 1833 as in 1883.
+Irish history, in this respect at least, has a method of repeating
+itself which is singularly embarrassing, and the student of the
+history of Irish disaffection cannot fail to be interested in the
+statement with which Lord Grey introduced his measure fifty years
+ago. We learn from this statement that a state of things existed
+little short of actual rebellion. Bodies of men were collected and
+arrayed by signals, evidently directed by a system of organization
+in which many were combined, and such system was conducted in
+a manner which had hitherto set at defiance all the exertions of
+law and order. The disturbers of the peace prescribed the terms
+on which land was to be let, and any one who presumed to disobey
+their orders was subject to have his property destroyed or be put
+to death. The reign of terror was complete. The organization
+which supplied the place of the Land League of to-day dictated
+what persons should employ and be employed; and while they
+forbad labourers from working for obnoxious masters on the one
+hand, they prevented a master on the other from employing as
+labourers any but those who were obedient to their orders. They
+enforced their decrees by acts of cruelty and outrage; by spoliation,
+murder, attacks on houses in the dead of night; by dragging the
+inmates from their beds and so maltreating them that death often
+ensued, or by inflicting cruelties which were sometimes worse than
+death. The persons belonging to this organization assembled by
+signals, made concerted movements, watched the movements of the
+troops, and by information received so avoided them that the
+military were rendered practically useless.</p>
+
+<p>The ordinary tribunals were powerless to arrest this iniquitous
+organization of murder and terror, which the Irish disaffectants
+and their advisers even in that day appear to have brought to a
+system of execrable perfection. Witnesses and jurors were terrified
+into silence. In one case the master of a female servant was
+<span class="pagenum"><a name="page268" id="page268"></a>268</span>
+commanded to dismiss her because her <i>mother</i> had given evidence
+against a person brought to trial for a capital crime, and similar
+cases were of almost daily occurrence. Five armed men went
+to the house of Patrick Lalor, a man of nearly seventy years of
+age, and shot him through the body. His crime had been disobedience
+to a mandate to give up some ground which he held
+contrary to the will of the Terrorists. The same system prevented
+a son of Lalor, and an eye-witness of his murder, from giving
+evidence against his murderers. On the trial of these miscreants at
+Kilkenny assizes, the jury not being able to agree was dismissed.
+It had been arranged in the jury-room that nothing should transpire
+as to the opinions of individual jurymen, and yet, in <i>half an hour</i>,
+the names of those in favour of an acquittal or of a conviction
+were printed&mdash;the former in black, and the latter, or as they were
+designated the &ldquo;jurors who were for blood,&rdquo; in red ink. The result
+was that those whose names were printed in red were obliged
+to leave the country. At the Clonmel assizes the previous October
+(1832), when a person was to be tried for resisting the payment
+of tithe, only 76 jurors out of 265 who had been summoned
+made their appearance. A gentleman had been murdered in sight
+of his own gate in consequence of some dispute in connection with
+tithes. The answer of his son-in-law, summoned by the coroner
+to give evidence against the supposed murderer, was this: &ldquo;That
+he would submit to any penalty the crown or the law would impose
+upon him, but he would not appear at the trial, because he knew
+that if he stood forward as a witness his life would inevitably be
+forfeited.&rdquo; The Irish Government received a notice from Kilkenny
+&ldquo;that many gentlemen who had always&rdquo; most conscientiously
+discharged their duties, &ldquo;would not attend at the next assizes.
+They cared not what penalty was imposed upon them. They
+refused to attend, because they knew that death&rdquo; awaited them
+if they dared to do their duty. &ldquo;It is the boast of the prisoners,&rdquo;
+continued this document, &ldquo;that they cannot under existing circumstances
+be found guilty.&rdquo; Under such a disgraceful state of things,
+outrage had become of course triumphant. The sickening catalogue
+<span class="pagenum"><a name="page269" id="page269"></a>269</span>
+of Irish cruelty and crime during the previous year comprised
+172 homicides, 465 robberies, 568 burglaries, 455 <i>acts of houghing
+of cattle</i>, 2,095 illegal notices, 425 illegal meetings, 796 <i>malicious
+injuries to property</i>, 753 <i>attacks on houses</i>, 280 arsons, 3,156 serious
+assaults, making an aggregate of crimes of every description during
+the year, connected with the disturbed state of the country, exceeding
+9,000 in number, and the number was evidently still on
+the increase.</p>
+
+<p>The third reading of the Coercion Bill was carried in the
+<span class="sn">Effect of the Irish Coercion Bill of 1833.</span>
+Commons on the 29th of March, by 345 to 86, and the Act was to
+continue in force till the 1st of August, 1834. It led of course to
+many scenes in the House between English and Irish members,
+although the Irish members of that day, to do them simple justice,
+had not graduated in the aggravated system of obstruction they
+have since developed, and thereby earned for themselves the
+character of political nuisances. One of these scenes led to the
+sketch entitled <i>Prisoners of War</i>, which has reference to a serio-comic
+interlude, in which the principal performers were Lord
+Althorp and Mr. Shiel, member for Tipperary. On the 5th of
+February, 1834, Lord Althorp charged (without naming them)
+certain Irish members who had particularly distinguished themselves
+by violent opposition to the Bill in the House, with using very
+different language in reference to it in private conversation. Up
+then rose one Irish member after another, inquiring if he was the
+person alluded to. To Mr. O&rsquo;Connell and Mr. Finn the answer
+was in the negative, while Mr. Shiel was given directly to understand
+that <i>he</i> was one of the members intended, his lordship declining
+at the same time to name his authority, but avowing his belief in
+the truth of the story, and his willingness to take upon himself the
+full responsibility. The result of course was a &ldquo;scene.&rdquo; Mr. Shiel,
+after the manner of fire-eating Irishmen of that day, having hinted
+his intention to demand satisfaction elsewhere, Sir Francis Burdett
+arose and said that, unless the &ldquo;honourable members pledged themselves
+to preserve the peace, he should instantly move that they be
+committed to the custody of the Serjeant-at-arms.&rdquo; As neither
+<span class="pagenum"><a name="page270" id="page270"></a>270</span>
+of the parties would give such assurance, the motion was put from
+the chair and carried. The <i>Prisoners of War</i> portrayed in the
+sketch are of course Mr. Shiel and Lord Althorp. After a brief
+absence from the House, each having given the required assurance
+was discharged from custody, and there the matter ended. The
+benefits of the Act were almost immediately made apparent.
+The association, which called itself, by the way, &ldquo;The Irish Volunteers&rdquo;
+(the Land League of 1833), was promptly suppressed by
+the Lord Lieutenant; and the list of offences during the month of
+March which preceded and the month of May which followed the
+passing of the Act most conclusively proved its efficiency, for, while
+in the former month the records of crime in eleven counties reached
+a sum total of 472, they had declined in the latter month to 162.<a name="FnAnchor_123" href="#Footnote_123"><span class="sp">123</span></a></p>
+
+<p>Irish agitators of the nineteenth century are all more or less
+<span class="sn">O&rsquo;Connell.</span>
+&ldquo;tarred with the same brush,&rdquo; but the conditions under which an
+Irish agitator of 1883-4 must be content to figure in that character
+are, it must be remembered, widely different from those which
+influenced the agitators of 1833. The Irish &ldquo;Home Rulers&rdquo; have
+sown the wind and have reaped the whirlwind which carries them
+along in its progress, and we doubt whether if they wished to stop the
+hideous Frankenstein they have created, it would allow them to do
+so. The Home Rulers, however, are not in any way to be pitied.
+Not content with Land League terrorism, they sought to force
+their measures upon John Bull himself by an unheard-of system of
+parliamentary obstruction, which has inevitably recoiled upon themselves.
+O&rsquo;Connell was far too sharp-sighted&mdash;far too intelligent and
+clever a man to make so grave a mistake as this. By the sheer
+force of his genius he exercised for many years of his life a most
+powerful influence on English politics. He figures in one of John
+Doyle&rsquo;s sketches in the character ascribed to him probably by most
+of his contemporaries. In the sketch referred to, the Governor of
+Barataria is represented by the typical Irish peasant; O&rsquo;Connell
+appears in the character of the Doctor; and Lord John Russell as
+<span class="pagenum"><a name="page271" id="page271"></a>271</span>
+the attendant and amused servitor. Pat&rsquo;s eagerness to enjoy the
+good things he has been led to expect, and his mortification at their
+being removed out of reach and out of sight are ridiculously
+rendered.</p>
+
+<p>We must not be misunderstood; although O&rsquo;Connell had far
+greater personal influence over the Irish than his successors, he was
+for all that in political matters eminently unscrupulous.<a name="FnAnchor_124" href="#Footnote_124"><span class="sp">124</span></a> At the
+general election of 1835, the avowed principles on which he stood
+forth as a candidate were: repeal of the union,&mdash;universal suffrage,
+vote by ballot,&mdash;triennial parliaments,&mdash;and the abolition of tithes.
+&ldquo;I am,&rdquo; he said, &ldquo;decidedly for the vote by ballot. Whoever votes
+by ballot votes as he pleases, and no one need know how he votes.&rdquo;
+Yet, in spite of these avowed principles, he controlled the election
+of Irish candidates after the following fashion:&mdash;The Knight of
+Kerry started as a candidate for his native county, but dared to
+avow his intention to take an independent course. He had spent
+all his life in resisting Orangemen, and yet O&rsquo;Connell said, &ldquo;Every
+one who dares to vote for the Orange knight of Kerry shall have a
+death&rsquo;s head and cross-bones painted on his door.&rdquo; The voters at
+the Irish elections were collected in the chapels by the priests, and
+led forth to the poll under threats of being refused all the rites
+and visited with all the punishments of their Church. Under these
+influences, the Knight of Kerry, supported by nearly all the
+property, intelligence, and respectability of the county, was
+defeated. Of a candidate for New Ross who had refused to enlist
+under his banner, O&rsquo;Connell said, &ldquo;Whoever shall support him his
+shop shall be deserted, no man shall pass his threshold; put up his
+name as a traitor to Ireland; let no man speak to him; let the
+children laugh him to scorn.&rdquo; His example was followed of course
+by his lieutenants. It says something for Irish independence that
+these unscrupulous &ldquo;dodges&rdquo; were not always successful; and
+<span class="pagenum"><a name="page272" id="page272"></a>272</span>
+O&rsquo;Connell himself, and his colleague, Mr. Ruthven, secured their
+own seats by comparatively small majorities. At the previous
+election O&rsquo;Connell had obtained a majority of 1,549, and Mr.
+Ruthven of 1,490 above the highest Conservative candidate: at the
+election in 1835, O&rsquo;Connell&rsquo;s majority had fallen to 217, and Mr.
+Ruthven&rsquo;s to 169. The &ldquo;Irish agitator&rdquo; was manifestly no favourite
+with <span class="cn">HB</span>, who depicted him as the comet of 1835. Comets being
+supposed by the vulgar to portend disaster, it is represented as
+leaving Ireland in a flame, and passing over St. George&rsquo;s Channel
+to exercise a malign influence on peaceful England. The head of
+course is that of O&rsquo;Connell, while the tail is studded with the
+countenances of the Irish members who made up his &ldquo;following.&rdquo;
+In a previous sketch he had figured as the Wolf to Lord John
+Russell&rsquo;s &ldquo;Little Red Riding Hood,&rdquo; in allusion to a statement
+made by the opposition journals that the Government had made
+a league with the restless agitator with the view of securing his
+support in the House of Commons. We have heard something
+very like this lately, in relation to what is now known as the
+&ldquo;Kilmainham Treaty.&rdquo;</p>
+
+<p>The rapidity with which John Doyle caught an inspiration from
+<span class="sn">Sir Robert Peel.</span>
+a few chance words in a speech, may be aptly illustrated by the
+manner in which he served Sir Robert Peel. On the occasion of
+his being installed Lord Rector of Glasgow University, in November,
+1836, the distinguished statesman made a speech to his patrons, in
+which he meant to tell them that, admiring Scotland and Scottish
+scenery, he thought the best mode of seeing both was on horseback
+instead of travelling in a public or private conveyance. He
+expressed the idea, however, in the following round-about fashion:&mdash;&ldquo;I
+wished,&rdquo; he said, &ldquo;to see something of Scotland which I could
+not have seen from the windows of a luxurious carriage; I wished
+to see other habits and manners of life than those which the
+magnificent hospitable castles of the nobility presented. Yes,&rdquo;
+he continued, &ldquo;in Glasgow I hired an <i>humble but faithful steed</i>; I
+travelled partly on horseback and partly on foot through almost
+every county that lies southern of Inverness; I have read the map
+<span class="pagenum"><a name="page273" id="page273"></a>273</span>
+of Scotland upon the great scale of nature, from the summits of Ben
+Nevis and Ben Lomond; I have visited that island whence savage
+and roaming bands derived the benefits of knowledge and the
+blessings of religion. Yes, amid the ruins of Iona I have abjured
+the rigid philosophy which would conduct us indifferent and
+unmoved over any ground that has been dignified by wisdom, by
+bravery, and by virtue. I have stood on the shores of Staffa,&mdash;I
+have seen the temple not built with hands,&mdash;I have seen the mighty
+swell of the ocean,&mdash;the waves of the great Atlantic beating in its
+inmost recesses, and swelling notes of praise nobler than ever
+pealed from human organs.&rdquo; Well, other tourists besides the statesman
+have stood on the summit of Ben Nevis and Ben Lomond,&mdash;have
+visited Staffa and Iona,&mdash;and yet, the rigid philosophy which
+Sir Robert credited himself for abjuring, has unconsciously conducted
+them comparatively &ldquo;indifferent and unmoved&rdquo; over much
+ground that may have been &ldquo;dignified by wisdom, by bravery,&rdquo; and
+even &ldquo;by virtue.&rdquo; The stilted remarks of Sir Robert will serve to
+remind some of us of the very original sentiments we find recorded
+in &ldquo;visitors&rsquo; books&rdquo; of sundry home and continentals hotels much
+affected by members of the gushing order of travellers. Some such
+idea seems to have struck the artist; for in his next satire Sir
+Robert very deservedly figured as <i>Dr. Syntax setting out on his
+Humble but Faithful Steed in Search of the Picturesque</i>.</p>
+
+<p>As a rule the titles of these sketches, which reach the amazing
+number of nine hundred and seventeen, afford no clue whatever to
+their subject matter. Here are the titles of a few, taken at random
+from the general bulk:&mdash;<i>An Affair of Honour</i>; <i>A Group of Sporting
+Characters at Epsom</i>; <i>A Nice Distinction, or a Hume-iliating Rejoinder
+to a Warlike Ap-Peel</i>; <i>A Political Ruse</i>; <i>Swearing the Horatii</i>;
+<i>Retaliation</i>; <i>Goody Two Shoes turned Barber</i>; <i>State Cricket Match</i>;
+<i>Taking an Airing in Hyde Park</i>;&mdash;and so on. A description, however
+short, of the events to which these &ldquo;Political Sketches&rdquo; refer,
+would occupy probably a couple of volumes; and, following the
+course which we have hitherto adopted, we have preferred to make
+selection of a few which seemed to us&mdash;either from the persons
+<span class="pagenum"><a name="page274" id="page274"></a>274</span>
+satirized or the scenes in which they figure&mdash;likely to interest the
+general reader. Thackeray said of them at the time they were
+appearing, &ldquo;You never hear any laughing at <span class="cn">HB</span>, his pictures are
+a great deal too genteel for that,&mdash;polite points of wit which strike
+one as exceedingly clever and pretty, and cause one to smile
+in a quiet, gentlemanlike kind of way.&rdquo; Forty-two years have
+elapsed since this was written;&mdash;the sketches fail now almost to
+provoke the &ldquo;gentlemanlike kind&rdquo; of smile mentioned by the
+humourist, for the events and the persons which caused it and to
+which they relate have alike passed away out of sight and out of
+memory.</p>
+
+<p>The number which they attained is due no doubt in a large
+<span class="sn">Faults of the &ldquo;Sketches.&rdquo;</span>
+measure to the facility with which they were produced. They were
+all drawn on stone, and exhibit the faults so often to be found in
+the productions of artists who confine themselves to this material,
+which, owing to the comparative facility of the process, has a
+tendency to induce a slovenliness in execution unusual with artists
+accustomed to the careful discipline under which a successful
+etching on steel or copper can alone be produced. A writer in
+<i>Blackwood</i><a name="FnAnchor_125" href="#Footnote_125"><span class="sp">125</span></a> says with much truth that <span class="cn">HB</span> &ldquo;would have been a
+greater artist had he worked on the same material and with the
+same tools as Gillray and Cruikshank, but we should probably not
+have possessed so complete a gallery of portraits, comprising all the
+men of note who took part in political affairs from before the passing
+of the Catholic Relief Bill until after the repeal of the Corn Laws,
+a period more eventful than any of a similar length since the
+Revolution of 1688.&rdquo; John Doyle, too, had no great powers of
+sarcasm, and he was timid in design, contenting himself with as few
+figures as were possible for the purposes of his drawings. Robert
+William Buss, himself a comic artist of ability, in his brief notice of
+him charges him with a certain feebleness in the attitude of the
+persons who figure in his sketches, and gives us to understand that
+to balance a figure properly requires a knowledge and practice in
+<span class="pagenum"><a name="page275" id="page275"></a>275</span>
+drawing to which <span class="cn">HB</span> was a stranger; and further, that by reason
+of the absence of such knowledge and practice, he falls far behind
+Hogarth, Gillray, Bunbury, Rowlandson, or the Cruikshanks. With
+these artists indeed, as we have endeavoured to show, John Doyle
+has nothing in common, and he evidently designed that no comparison
+should ever be instituted between any one of them and
+himself. His chief merits are to be found in the facility with which
+he grasped an idea; the harmlessness and playfulness of his satire,
+which wrought a complete revolution in the style and manner of
+caricaturists; and above all in the excellence of his likenesses. The
+best and most graceful of the series was produced just after the
+wedding of her Majesty, and is a transcript (as it were) of Stothard&rsquo;s
+beautiful design of <i>The Procession of the Flitch of Bacon</i>, the leading
+personages being the young Queen and the late Prince Consort,
+whose portraits are admirably executed. Towards the close of the
+series they show signs of failing power, not unnatural in an artist
+who during a course of twenty years had produced upwards of a
+thousand drawings. I have seen it somewhere stated that this
+deterioration dates from the period when the identity of <span class="cn">HB</span> was
+discovered; but inasmuch as this secret had been practically
+revealed long before the decadence commences, there is no just
+ground for any such assumption.</p>
+
+<p>The reputation of the &ldquo;Political Sketches&rdquo; was, however, ephemeral,
+and considering their popularity and the eagerness with which they
+were bought up at the time, it is surprising how completely they
+have passed into oblivion. The name of <span class="cn">HB</span>, or of John Doyle, is
+now not only &ldquo;caviare to the general,&rdquo; but it is amazing how little
+until lately he was known even to men not altogether ignorant on
+the subject of satirical art. A gentleman to whom I am indebted
+for some valuable information, tells me that some three or four years
+since &ldquo;a large number of <i>original</i> sketches (not the engravings)
+were catalogued and announced for sale at Christies&rsquo;. I went,&rdquo; he
+says, &ldquo;possibly to buy several, but (and it is curious as showing the
+decadent interest in the pictures) no sale took place, because I was
+told there was no one to buy. I think,&rdquo; my informant adds, &ldquo;that
+<span class="pagenum"><a name="page276" id="page276"></a>276</span>
+I was the only person, or nearly the only person, in the room.&rdquo;
+Distinguished people, however, had been to look at the drawings,
+and among them the late Lord Beaconsfield.</p>
+
+<p>The success of the artist produced, of course, a number of
+imitators. Their productions were of various degrees of merit; but
+like most imitations they generally accentuated the faults without
+reproducing the excellencies of the model. Some of them are
+entitled &ldquo;Political Hits,&rdquo; &ldquo;Royal Ramblings,&rdquo; &ldquo;The Belgian Trip,&rdquo;
+&ldquo;Parisian Trip,&rdquo; and so on; some are signed &ldquo;Philo H. B.,&rdquo;
+&ldquo;H. H.,&rdquo; &ldquo;B. H.,&rdquo; while others have neither initials or signature.
+They comprise some eighty or a hundred plates at least, many of
+which were probably suppressed, whilst others no doubt served the
+useful purposes of the greengrocer, the bookbinder, or the trunk-maker;
+and if, as we are told&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Imperial Cæsar, dead and turned to clay,</p>
+<p class="i05">Might stop a hole to keep the wind away;&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p class="noind">there can be nothing after all very dishonourable or very surprising
+in their ultimate destination.</p>
+
+<p>The artist died in 1868.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_113" href="#FnAnchor_113"><span class="fn">113</span></a> Annual Register, 1836, p. 237.</p>
+
+<p><a name="Footnote_114" href="#FnAnchor_114"><span class="fn">114</span></a> 1836, p. 244. Mr. Baldwin (one of the proprietors of the <i>Standard</i> newspaper)
+stated that &ldquo;if the bill passed in its present shape, it would deteriorate his
+property fifty per cent., and would operate in the same way with all property of
+that description.&rdquo;&mdash;<i>Ibid.</i>, p. 247.</p>
+
+<p><a name="Footnote_115" href="#FnAnchor_115"><span class="fn">115</span></a> Greville&rsquo;s &ldquo;Memoirs,&rdquo; pp. 3, 71.</p>
+
+<p><a name="Footnote_116" href="#FnAnchor_116"><span class="fn">116</span></a> In which Lord Brougham took a special interest.</p>
+
+<p><a name="Footnote_117" href="#FnAnchor_117"><span class="fn">117</span></a> Greville&rsquo;s &ldquo;Memoirs,&rdquo; ii., p. 148.</p>
+
+<p><a name="Footnote_118" href="#FnAnchor_118"><span class="fn">118</span></a> For the silly and spiteful observations made in this speech, see &ldquo;Annual
+Register,&rdquo; 1825, p. 43.</p>
+
+<p><a name="Footnote_119" href="#FnAnchor_119"><span class="fn">119</span></a> Greville&rsquo;s &ldquo;Memoirs,&rdquo; iii. p. 85.</p>
+
+<p><a name="Footnote_120" href="#FnAnchor_120"><span class="fn">120</span></a> <i>Inverness Courier</i>, Sept. 3rd (quoted in &ldquo;Annual Register,&rdquo; 1854, p. 129).</p>
+
+<p><a name="Footnote_121" href="#FnAnchor_121"><span class="fn">121</span></a> From a nervous habit he had contracted of twitching his nose Lord
+Brougham was known to his contemporaries by the nickname of &ldquo;Jemmy
+Twitcher.&rdquo;</p>
+
+<p><a name="Footnote_122" href="#FnAnchor_122"><span class="fn">122</span></a> On this occasion the Great Seal was reserved and for the time put in commission,
+the commissioners being Sir Charles Pepys (Master of the Rolls), Vice
+Chancellor Shadwell, and Mr. Justice Bosanquet. Eventually it was presented
+to Sir Charles Pepys (Lord Cottenham), and the slight produced such a stunning
+effect on Brougham that he retired from active public life for a time, and sought
+solace in the pursuit and study of literature and philosophy.</p>
+
+<p><a name="Footnote_123" href="#FnAnchor_123"><span class="fn">123</span></a> For this interesting table, see &ldquo;Annual Register,&rdquo; 1833, p. 83.</p>
+
+<p><a name="Footnote_124" href="#FnAnchor_124"><span class="fn">124</span></a> &ldquo;One whose name is unconnected with any honourable action, whose whole
+life has been one scene of skulking from dangers into which he had drawn others,
+and who is occupied from one end of the year to the other in devising plans of
+drawing enormous fortunes from squalid beggary.&rdquo;&mdash;<i>Dr. Maginn.</i></p>
+
+<p><a name="Footnote_125" href="#FnAnchor_125"><span class="fn">125</span></a> Vol. xciv., August, 1863.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page277" id="page277"></a>277</span></p>
+<h3>CHAPTER XIII.</h3>
+
+<h5><i>JOHN LEECH.</i></h5>
+
+<p class="noind"><span class="sc">John Leech</span>, &ldquo;born in Bennett Street, Stamford Street, 29th August,
+1817, and baptized (son of John Leech, vintner) 15th November,
+at Christ Church, Blackfriars Road.&rdquo; Such is the entry I find in
+the manuscript diary of his friend the late Shirley Brooks, now
+before me, written a few days after the death of the gifted and
+lamented artist. The &ldquo;John Leech, vintner,&rdquo; his father, here
+referred to, was at one time proprietor of the London Coffee House
+on Ludgate Hill. A late commentator says he &ldquo;was an Irishman,
+a man of fine culture, a profound Shakespearian scholar, and [presumably
+by way of apology&mdash;as if any such were needed] a thorough
+gentleman.&rdquo; Be this as it may, he was not successful as a landlord,
+and as a matter of fact depended in a great measure for his support
+upon the talents of his remarkably gifted son.</p>
+
+<p>Leech was only seven years old when his father sent him to the
+<span class="sn">Early Days.</span>
+Charterhouse. His arm had been broken by a fall from a pony,
+and the effects of this accident debarred him from taking an active
+part in the athletic sports of cricket, hockey, or football; but his
+nature inclined him nevertheless to manly exercises, and despite
+his excellence with the pencil, which was manifested at a remarkably
+early age, he is said to have preferred the lessons of Angelo the
+fencing, to those of Burgess the drawing, master. He was not distinguished
+at school as a classical scholar, and Latin verses in
+particular proved so serious a stumbling-block that he always got
+a schoolfellow to do them for him. His famous friend and fellow-pupil,
+Thackeray, carried an indelible personal reminiscence of the
+<span class="pagenum"><a name="page278" id="page278"></a>278</span>
+Charterhouse about him in the shape of a broken nose, a mark of
+distinction which was earned in a pugilistic encounter with another
+schoolfellow.</p>
+
+<p>A reminiscence of John Leech&rsquo;s schoolboy days will be found in
+one of his illustrations to &ldquo;Once a Week,&rdquo;<a name="FnAnchor_126" href="#Footnote_126"><span class="sp">126</span></a> which represents a
+schoolboy perched in the topmost branches of a tree overlooking
+the walls of the Carthusian playground. As the mail coaches bound
+to the north passed the Charterhouse walls in the old coaching days,
+the boys not seeing any just reason why they should be debarred
+from the exhilarating spectacle, notched the trees and drove in
+spikes at ticklish points, which enabled them to mount to the upper
+branches, whence they could watch the coaches at their leisure. The
+illustration referred to is labelled, <i>A Coach Tree</i>, but without
+this explanation the reader would scarcely suspect (the letterpress
+being of course silent on the subject) that the schoolboy represented
+in the illustration is the artist himself. Leech always
+retained a pleasant recollection of his old Carthusian school-days,
+and frequently attended the festivities of the Charterhouse.</p>
+
+<p>His early aptitude for the pencil was developed when he was only
+three years of age. One of his early efforts attracted the attention
+of Flaxman the sculptor, who advised that he should &ldquo;not be
+cramped with lessons in drawing; let his <i>genius</i>,&rdquo; he said, &ldquo;follow
+its own bent, and he will astonish the world.&rdquo; This advice was so
+far followed, that we believe we are justified in saying that beyond
+the ordinary perfunctory drawing lessons obtained at school, he
+received no other artistic education during the rest of his life. His
+father, the &ldquo;profound Shakesperian scholar&rdquo; and &ldquo;perfect gentleman,&rdquo;
+so little encouraged the bent of the boy&rsquo;s genius, that if he
+had had his way he would have driven this square peg into a
+very round hole. At sixteen years of age he took his son from
+the Charterhouse, and shortly afterwards apprenticed him to an
+eccentric person at Hoxton, nominally carrying on the profession
+of a surgeon, and rejoicing in the name of Whittle.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:580px; height:642px" src="images/img278.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">John Leech.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Illuminated Magazine.</i>&rdquo;</p>
+<p>THE MAYOR AND CORPORATION OF SWINESTEAD WAIT UPON MR. BAGGES.</p>
+<p class="ar">[<i>Face p. 278.</i></p></td></tr></table></div>
+
+<p><span class="pagenum"><a name="page279" id="page279"></a>279</span></p>
+
+<p>This Whittle proved a perfect study to the young artist, and it is
+possible that his connection with this eccentric personage had some
+influence in deciding him not to follow a profession for which he
+had but little sympathy. Whittle was a man of large frame and
+muscular development, so far at least as the upper part of his body
+was concerned, but the development extended no farther, his legs
+being formed on much more slender proportions. His tastes were
+decidedly athletic; he had rings let into the wall for the purpose of
+practising gymnastics, and delighted in posing before his amused
+pupils in the character of &ldquo;The Dying Gladiator,&rdquo; &ldquo;Hercules,&rdquo; and
+other antique statues. The few patients he possessed had small
+chance of professional attendance when Mr. Whittle was in training
+for a walking or running match, or any other amateur athletic engagement.
+&ldquo;When,&rdquo; says Shirley Brooks, &ldquo;lady patients, taking a walk,
+are suddenly surrounded by a hurrying and shouting crowd, in the
+middle of which, as they escape, they behold their medical adviser,
+in quaint attire, rushing to pick up stones with his mouth, an early
+termination of the relations between the healer and his patients is
+not impossible.&rdquo;<a name="FnAnchor_127" href="#Footnote_127"><span class="sp">127</span></a> A person of this kind was obviously out of his
+element in a <i>learned</i> profession, and this Whittle eventually recognised,
+and descended to his level by marrying one of his patients, a
+widow who kept a neighbouring public. He found himself more
+&ldquo;at home&rdquo; behind the bar in his shirt sleeves, and with ready
+facility adapted himself to circumstances by drawing beer for his
+former pupils and patients. Various stories have been told of this
+eccentric personage, who is said (with what truth we know not) to
+have commenced life as a Quaker, and ended it eventually as a
+missionary.</p>
+
+<p>Whittle the eccentric was afterwards immortalized by Leech as
+<span class="sn">&ldquo;Rawkins.&rdquo;</span>
+&ldquo;Rawkins&rdquo; in Albert Smith&rsquo;s &ldquo;Adventures of Mr. Ledbury,&rdquo; which
+made their appearance in &ldquo;Bentley&rsquo;s Miscellany.&rdquo; We cannot
+advise those who would enjoy a hearty laugh to do better than refer
+to Leech&rsquo;s comical etchings of <i>The Return of Hercules from a Fancy</i>
+<span class="pagenum"><a name="page280" id="page280"></a>280</span>
+<i>Ball</i> (on a wet night, without his latchkey), and the <i>Last Appearance
+of Mr. Rawkins in Public</i>, in which the <i>rencontre</i> of Mr. Whittle and
+some of his female patients already referred to is superbly realized.</p>
+
+<p>When Mr. Whittle and his practice had finally parted company in
+the manner we have described, John Leech&rsquo;s indentures were transferred
+to Dr. John Cockle, afterwards physician to the Royal Free
+hospital. During part of his spasmodic medical course, he went
+through the mystic performance at one time known as &ldquo;walking the
+hospitals,&rdquo; and at St. Bartholomew&rsquo;s varied his attendance at the
+anatomical lectures of Mr. Stanley&mdash;where he met other square pegs
+intended for round holes, Albert Smith and Percival Leigh&mdash;with
+sketches of his fellow-pupils and their medical lecturers. Many of
+these, the earliest of his sketches, were in the possession of his
+friend, the late Mark Lemon. Before his time was out, Leech
+luckily resolved to throw his medical studies to the winds, and
+to live wholly by the practice of his art.</p>
+
+<p>His first work, published when he was eighteen years of age, was
+entitled &ldquo;Etchings and Sketchings by A. Pen, Esq.,&rdquo; and consisted
+of four quarto sheets, containing slightly caricature sketches of
+oddities of London life, such as cabmen, policemen, street
+musicians, and the like. He next tried his hand at lithography, and
+produced some political satires not without ability; but these at
+best were merely the tentative efforts of an artist who had not yet
+discovered the bent of his genius, in consequence of being compelled
+to accommodate himself to the standard of his early patrons&mdash;the
+printsellers. Having drawn his design, Leech has been
+known in those early times to spend a weary day in search of a
+buyer, by carrying the heavy stone about with him from publisher
+to publisher. The style of these tentative efforts may be judged by
+the work which first brought him into notice, a poor caricature of
+Mulready&rsquo;s envelope in commemoration of the establishment of
+Sir Rowland Hill&rsquo;s cheap postage system, a reproduction of which
+will be found in a late &ldquo;Biographical Sketch&rdquo; by Mr. Kitton.<a name="FnAnchor_128" href="#Footnote_128"><span class="sp">128</span></a>
+<span class="pagenum"><a name="page281" id="page281"></a>281</span>
+Although the pecuniary reward of this early effort was small, people
+began to ask by whom it was executed; thus it was that his subsequently
+well-known mark, the leech-bottle, first came into public
+notice.</p>
+
+<p>Specimens of these tentative efforts are of course scarce, but
+occasionally the reader may fall in with odd numbers of the
+&ldquo;Comicalities,&rdquo; issued some half century ago by the proprietors of
+&ldquo;Bell&rsquo;s Life,&rdquo; in which may be found specimens of his early work
+among impressions from the designs on wood of Kenny Meadows,
+&ldquo;Phiz,&rdquo; and even Robert Seymour.<a name="FnAnchor_129" href="#Footnote_129"><span class="sp">129</span></a> Among these early efforts
+may also be named &ldquo;The Boys&rsquo; Own Series&rdquo;; &ldquo;Studies from
+Nature&rdquo;; &ldquo;Amateur Originals&rdquo;; the &ldquo;Ups and Downs of Life, or
+the Vicissitudes of a Swell&rdquo;; and other etcetera.</p>
+
+<p>When poor Seymour shot himself in 1836, the artist who was at
+first selected to fill his place as illustrator of &ldquo;Pickwick&rdquo; was Robert
+William Buss, who, failing however to supply the requirements of
+Charles Dickens, was (as we shall afterwards see) quickly discarded.
+Others, however, had applied to supply the place of the deceased
+artist, and among them were Hablot Knight Browne (&ldquo;Phiz&rdquo;),
+W. M. Thackeray, and John Leech; although the latter failed to
+secure the appointment, he appears to us of all others the one best
+fitted to pictorially interpret the author&rsquo;s creations. Thackeray was
+so little conscious of the bent of his own genius that he seems at
+this time to have had some thoughts of following the profession
+of an artist, but happily failed so completely that he was induced
+to follow up his alternative art of authorship, by which he achieved
+his fame and reputation. Notwithstanding his failure, his implicit
+faith in his own artistic powers remained unshaken to the end, in
+which belief he has been followed by one or two writers who might
+have known better.</p>
+
+<p>It is not until 1840 that we find Leech had matured the style
+and manner which afterwards made him famous; and accordingly,
+<span class="pagenum"><a name="page282" id="page282"></a>282</span>
+in this year we find designs which are thoroughly worthy of his
+reputation. Among these may be named &ldquo;The Children of the
+Mobility,&rdquo; seven lithographs (reproduced in 1875) dealing with the
+humorous and pathetic episodes of the London street arabs; &ldquo;The
+Comic Latin Grammar&rdquo;; &ldquo;The Comic English Grammar&rdquo;; and a
+now exceedingly rare <i>jeu d&rsquo;esprit</i>, bearing the full title of &ldquo;The
+Fiddle-Faddle Fashion Book and Beau Monde a la Française, enriched
+with numerous highly coloured figures of lady-like gentlemen,&rdquo;<a name="FnAnchor_130" href="#Footnote_130"><span class="sp">130</span></a> a
+most amusing skit upon the absurd fashion books of the period,
+containing four coloured plates of gentlemen (more than fifty
+figures) in male and female costume, posed in the ridiculous and
+well-known simpering style of those periodicals. All these works
+were produced in conjunction with Percival Leigh, one of the
+artist&rsquo;s fellow-students at St. Bartholomew&rsquo;s, and led directly to his
+engagement on the pages of <i>Punch</i>, which was started the following
+year.</p>
+
+<p>Among the rarer works published in 1840, to which John Leech
+contributed the benefit of his assistance, may be mentioned a
+publication, entitled &ldquo;The London Magazine, Charivari, and Courier
+des Dames&rdquo; (Simpkin, Marshall &amp; Co.), in which we find some
+portraits and other work altogether out of the range of his usual
+style of illustration. The tone of this publication was personal
+in the extreme. Charles Dickens had produced (among other
+publications) his &ldquo;Pickwick Papers,&rdquo; &ldquo;Oliver Twist,&rdquo; &ldquo;Nicholas
+Nickleby,&rdquo; and at this time was engaged on the most touching and
+pathetic of his stories, &ldquo;The Old Curiosity Shop,&rdquo; which was, however,
+so little appreciated by the editor of this scurrilous publication,
+that we find him perpetrating the following sorry libel on the writer
+and three of his contemporaries: &ldquo;To cheesemongers and others!
+Ready for delivery, at a halfpenny per pound, forty tons of foundered
+literature; viz., Mrs. Trollope&rsquo;s &lsquo;Unsatis-factory Boy,&rsquo;<a name="FnAnchor_131" href="#Footnote_131"><span class="sp">131</span></a> &lsquo;Master
+Humphrey&rsquo;s Clock&rsquo; (refer to the second meaning in &lsquo;Johnson&rsquo;s
+<span class="pagenum"><a name="page283" id="page283"></a>283</span>
+Dictionary&rsquo;: &lsquo;an unsightly crawling thing&rsquo;!), Captain Marryat&rsquo;s
+&rsquo;Alas, Poor Jack&rsquo;! and <i>Turpis</i> Ainsworth&rsquo;s &lsquo;Guy <i>Fox</i>&rsquo;:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&lsquo;An animal cunning, unsavoury, small,</p>
+<p>That will dirty your hands if you touch it at all.&rsquo;&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>So little merit had this critical periodical itself, that some rare
+etchings by Hablot Knight Browne and Leech to a novel entitled
+&ldquo;The Diurnal Revolutions of David Diddledoff,&rdquo; which appeared in
+its pages, failed to keep the dreary serial alive, and a quarrel ensuing
+between the proprietors and himself, Browne was dismissed and
+Leech supplied his place. Leech&rsquo;s caricature of Mulready&rsquo;s postage
+envelope, already mentioned, appears to have led to others, and
+among them one by &ldquo;Phiz,&rdquo; a circumstance which is referred to in
+the following attack: &ldquo;Phiz has found a lower deep in the lowest
+depths of meanness. When Leech&rsquo;s admirable caricature of Mulready&rsquo;s
+postage envelope was pirated by every tenth-rate <i>sketcher</i>,
+Phiz steps in to complete the work of injustice, and advertises his
+caricature of the same subject at <i>sixpence</i>, thus both borrowing the
+design and underselling the artist upon whose brains he is preying as
+the fly upon the elk&rsquo;s. Well might Leech exclaim, &lsquo;Et tu, Brute!&rsquo;
+(and you, you brute!) Leech is a genuine artist, while Phiz is only a
+bad engraver.&rdquo; By way of answer to this vulgar abuse, Phiz almost
+immediately afterwards produced his admirable illustration of <i>Quilp
+and the Dog</i>, in No. 18 of &ldquo;Master Humphrey&rsquo;s Clock.&rdquo;</p>
+
+<p>In the pages of this defunct periodical we find a long and virulent
+article on Benjamin D&rsquo;Israeli, the late Lord Beaconsfield, from
+which we have disinterred the following remarkable prophecy. After
+referring to his celebrated parliamentary <i>fiasco</i>, and his own prophetic
+words on that memorable occasion: &ldquo;You won&rsquo;t hear me now;
+but the time will come when you <i>shall</i> hear me!&rdquo; the writer goes
+on to say: &ldquo;That time has never since arrived. In vain did Benjamin
+parody Sheridan&rsquo;s celebrated saying (&rsquo;It&rsquo;s in me, and by G&mdash;&mdash; it
+shall be out of me!&rsquo;). He renewed his efforts repeatedly....
+But though, in consequence of his (<i>sic</i>) moderating his tone into a
+semblance of humility, he is sometimes just listened to, he has never
+<span class="pagenum"><a name="page284" id="page284"></a>284</span>
+made the slightest impression in the house, <i>and we may fairly predict
+he never will</i>.&rdquo; The article is illustrated by a remarkable semi-caricature
+likeness of the late Lord Beaconsfield, then in his thirty-second
+year, which, although unsigned and altogether different from his well-known
+style, we can assign to no other hand than that of John Leech.
+We found our opinion on the fact that the previous portrait is by
+him; that none but his etchings appear in the latter portion of the
+book; and because the bird represented following the footsteps and
+mimicking the walk of the young statesman, is own brother to the
+celebrated Jackdaw of Rheims immortalized by Thomas Ingoldsby.
+So remarkable is the likeness, that the shadow of D&rsquo;Israeli&rsquo;s follower
+and that of Saint &ldquo;Jem Crow&rdquo; of the Legends are identical.</p>
+
+<p>In 1840 some of John Leech&rsquo;s sketches were brought to the notice
+<span class="sn">Artistic Position secured.</span>
+of the Rev Thomas Harris Barham, which led to his engagement on
+the pages of &ldquo;Bentley&rsquo;s Miscellany,&rdquo; from which moment his artistic
+position was secured. His first illustration was <i>The Black Mousquetaire</i>.
+Barham in describing the scene, regretted, oddly enough, that
+he had neither the pencil of Fuseli or Sir Joshua Reynolds at command,
+or had himself taken lessons in drawing:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+      <p style="margin-left: 2.5em;">&ldquo;Had I done so, instead</p>
+      <p class="i3">Of the lines you have read,</p>
+<p>I&rsquo;d have given you a sketch should have filled you with dread!</p>
+<p>François Xavier Auguste squatting up in his bed,</p>
+      <p class="i3">His hands widely spread,</p>
+      <p class="i3">His complexion like lead,</p>
+<p>Ev&rsquo;ry hair that he had standing up on his head,</p>
+<p>As when, Agnes des Moulins first catching his view,</p>
+<p>Now right and now left, rapid glances he threw,</p>
+<p>Then shriek&rsquo;d with a wild and unearthly halloo,</p>
+      <p class="i3"><i>Mon Dieu! v&rsquo;là deux!!</i></p>
+      <p class="i3">By the Pope there are two!!!&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>Leech continued on the pictorial staff of &ldquo;Bentley&rsquo;s Miscellany&rdquo;
+ten years; his etchings therein commence with vol. viii. (1840) and
+(practically) end with vol. xxv. (1849).<a name="FnAnchor_132" href="#Footnote_132"><span class="sp">132</span></a> Altogether he contributed
+to this sterling periodical some one hundred and forty etchings,
+<span class="pagenum"><a name="page285" id="page285"></a>285</span>
+illustrating (amongst numerous scattered papers) &ldquo;The Ingoldsby
+Legends&rdquo; (with Cruikshank); Henry Cockton&rsquo;s &ldquo;Stanley Thorn&rdquo;;
+Charles Whitehead&rsquo;s &ldquo;Richard Savage&rdquo;; Albert Smith&rsquo;s &ldquo;Adventures
+of Mr. Ledbury,&rdquo; &ldquo;Fortunes of the Scattergood Family,&rdquo; and
+&ldquo;The Marchioness of Brinvilliers&rdquo;; W. H. Maxwell&rsquo;s &ldquo;Brian
+O&rsquo;Linn,&rdquo; etc., etc.</p>
+
+<p>From the time that he joined the <i>Punch</i> staff, in 1841, the life of
+John Leech was one of well-earned prosperity and happiness. His
+income at first gradually and then rapidly increased, and he moved
+from the attic which he occupied in the vicinity of Tottenham Court
+Road, into a house of his own at Notting Hill. Shortly after this he
+married. Miss Ann Eaton was one of those English beauties that
+Leech delighted to draw; and it is related of him that he first met
+her walking in London, and, following her home, noted the house in
+which she lived, ascertained her name, procured an introduction, and
+straightway married her. The issue of this marriage was two children&mdash;a
+boy and a girl. The former&mdash;John George Warrington Leech,
+the miniature counterpart of his father in appearance and dress, and
+inheriting in a marvellous degree his talent for drawing&mdash;was unfortunately
+drowned at South Adelaide in 1876.</p>
+
+<p>Leech&rsquo;s hand appears for the first time in the fourth number of
+<i>Punch</i> (7th August, 1841),<a name="FnAnchor_133" href="#Footnote_133"><span class="sp">133</span></a> to which he contributed the well-known
+full-page illustration of <i>Foreign Affairs</i>. His first cartoon, <i>A Morning
+Call</i>, will be found at page 119 of vol. ii., and the reader
+will find it worth his while to refer to it for the purpose of comparing
+it with the later and better work with which he afterwards enriched
+the pages of this famous serial, which mainly through his instrumentality
+was steered into the current of prosperity which carried
+it&mdash;after a time of considerable doubt and perplexity&mdash;<a name="FnAnchor_134" href="#Footnote_134"><span class="sp">134</span></a> steadily
+onwards. One of <i>Punch&rsquo;s</i> most celebrated contributors has borne
+testimony to the value of his services. &ldquo;Mr. Punch,&rdquo; says Thackeray
+in reviewing his friend&rsquo;s contributions in 1854, &ldquo;has very good
+<span class="pagenum"><a name="page286" id="page286"></a>286</span>
+reason to smile at the work and be satisfied with the artist. Mr.
+Leech, his chief contributor, and some kindred humourists with pencil
+and pen, have served Mr. Punch admirably.... There is no
+blinking the fact that in Mr. Punch&rsquo;s cabinet John Leech is the
+right-hand man.&rdquo;<a name="FnAnchor_135" href="#Footnote_135"><span class="sp">135</span></a> That this was true is proved by the fact that
+during his connection with <i>Punch</i>, extending over a period of three
+and twenty years, he executed no less than three thousand pictures,
+of which at least six hundred are cartoons.<a name="FnAnchor_136" href="#Footnote_136"><span class="sp">136</span></a> No wonder that when
+he lay dead, Shirley Brooks&mdash;another valued contributor, and afterwards
+editor of <i>Punch</i>&mdash;mournfully acknowledged that the good ship
+had lost its &ldquo;mainsail.&rdquo;<a name="FnAnchor_137" href="#Footnote_137"><span class="sp">137</span></a></p>
+
+<p>Most admirable examples of his designs on wood will be found
+<span class="sn">The &ldquo;Illuminated Magazine.&rdquo;</span>
+in the first three volumes of &ldquo;The Illuminated Magazine,&rdquo; a delightful
+serial which appeared in 1843-4, which also contains a
+series of etchings on copper of unusual size and brilliancy. Associated
+with him on the pages of this periodical, which is now
+seldom met with, were his friends Thomas Hood and Mark Lemon,
+Douglas Jerrold and Laman Blanchard, Albert Smith and Angus
+Bethune Reach, Samuel Lover and Kenny Meadows. The world
+was young with authors and artists alike in those days; the
+youngest of the band were William Hepworth Dixon, then aged
+twenty-two; John Leech, twenty-six; and Wilkie Collins, literally
+not &ldquo;out of his teens,&rdquo; one of whose earliest literary productions
+we find here under the title of &ldquo;The Last Stage Coachman,&rdquo;
+illustrated by Hine. In these volumes appeared Douglas Jerrold&rsquo;s
+delightful allegory of the &ldquo;Chronicles of Clovernook,&rdquo; to which the
+veteran Kenny Meadows contributed some of the most quaint
+and original of his sketches.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:570px; height:575px" src="images/img286.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">John Leech.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Illuminated Magazine.</i>&rdquo;</p>
+<p>THE ELECTION.</p>
+<p class="ar">[<i>Face p. 286.</i></p></td></tr></table></div>
+
+<p>John Leech&rsquo;s portrait appears in three of the <i>Punch</i> sketches&mdash;two
+only of which are due to his own hand; the first in January,
+<span class="pagenum"><a name="page287" id="page287"></a>287</span>
+1846, in one wherein a servant maid is depicted as saying, &ldquo;If
+you please, sir, here&rsquo;s the printer&rsquo;s boy called again;&rdquo; again, in
+January, 1847, where we find him playing the clarionet as one
+of the orchestra at <i>Mr. Punch&rsquo;s Fancy Ball</i>. Other performers
+are&mdash;Mayhew, cornet; Percival Leigh, double bass; Gilbert à
+Beckett, violin; Richard Doyle, clarionet; Thackeray, piccolo;
+Tom Taylor, piano; while Mark Lemon, the conductor, appeals
+to Jerrold to somewhat moderate his assaults on the drum. Another
+hand portrays him seven years later, as armed with a porte
+crayon he rides his hobbyhorse at an easel which does duty for
+a hurdle, Jerrold is playing skittles, Thackeray holds the bat at
+a game of cricket, and Mark Lemon is engaged at rackets.</p>
+
+<p>Amongst the early <i>literary</i> contributors to <i>Punch</i> were Mark
+<span class="sn">Douglas Jerrold.</span>
+Lemon, Horace Mayhew, Gilbert à Beckett, Stirling Coyne, W.
+H. Wills, H. P. Grattan, Douglas Jerrold, Percival Leigh, and
+Dr. Maginn. Albert Smith joined the staff through the introduction
+of his friend Leech; Thackeray was a later acquisition, in
+1844. It was scarcely to be expected that the brilliant and the
+lesser wits who shed their lustre on the early volumes of <i>Punch</i>,
+and were brought together at the weekly council dinners, would
+invariably agree;&mdash;Jerrold and Thackeray, for instance, entertained
+a sort of constitutional antipathy to one another, and the latter,
+it must not be forgotten, was (in the words of Anthony Trollope)
+&ldquo;still struggling to make good his footing in literature&rdquo; at the
+time he joined the ranks of the <i>Punch</i> parliament. Jerrold could
+not veil his contempt for Albert Smith, angrily asking Leech at
+one of the <i>Punch</i> gatherings, with reference to the former&rsquo;s free
+and easy method of addressing his friend, &ldquo;Leech, how long is
+it necessary for a man to know you before he can call you
+&rsquo;Jack&rsquo;?&rdquo; When À Beckett announced his &ldquo;Comic History of
+England,&rdquo; in 1846, the strong mind of Jerrold recoiled in horror
+from what he deemed a sacrilege. Writing to Charles Dickens
+in reference to the announcement, he said, &ldquo;After all, life has
+something serious in it. It cannot be <i>all</i> a Comic History of
+Humanity. Some men would, I believe, write the Comic Sermon
+<span class="pagenum"><a name="page288" id="page288"></a>288</span>
+on the Mount. Think of a Comic History of England! The
+drollery of Alfred! the fun of Sir Thomas More in the Tower!
+the farce of his daughter begging the dead head, and clasping it
+in her coffin, on her bosom! Surely the world will be sick of
+this blasphemy!&rdquo; &ldquo;The Comic History of England&rdquo; appeared,
+notwithstanding, and was followed afterwards by the &ldquo;Comic
+History of Rome;&rdquo; and however we may sympathize with the
+honest indignation of Jerrold, and condemn the questionable taste
+of À Beckett, we have at least to thank the latter for some of
+the drollest and most original designs which ever emanated from
+the pencil of John Leech.</p>
+
+<p>The eccentric and original costumes in which he draped the
+classical characters of Rome appear to have been a favourite
+idea with the artist. Shirley Brooks relates that he first made his
+acquaintance at a fancy ball given at the house of their mutual
+friend, the late John Parry. &ldquo;Leech&rsquo;s costume,&rdquo; says the late
+editor of <i>Punch</i>, &ldquo;I well remember. It was something like Charles
+Mathews, as chorus to Medea. The black trousers and patent
+leather boots of decorous life were below; but above was the
+classic tunic. Then in addition he wore a fine new hat, round
+which, instead of around his head, was the laurel wreath; and
+the Greek ideal was brought into further discomfiture by a pair
+of spectacles and an exceedingly neat umbrella.&rdquo; This comical
+idea will be found ridiculously amplified in his amazing designs to
+&ldquo;The Comic History of Rome.&rdquo;</p>
+
+<p>Medical student, novelist, dramatist, humourist, and showman&mdash;for
+<span class="sn">Albert Smith.</span>
+some of us still remember his diorama of &ldquo;The Overland
+Route&rdquo;&mdash;the most fortunate venture of Albert Richard Smith
+(to give him his full name) was his ascent of Mont Blanc, which
+formed the theme of a well-remembered lecture, in which his perils
+amid rocky pinnacle, snow-field, and glacier lost nothing by the
+graphic mode in which they were related. This &ldquo;ascent,&rdquo; by the
+way, proved a source of profit to others besides himself; and we
+should be curious to know the number of Chamounix guides and
+hotel-keepers who were enabled through his indirect means to
+<span class="pagenum"><a name="page289" id="page289"></a>289</span>
+retire into private life. The memory of Albert Smith is deservedly
+cherished by the inhabitants of the distant Savoyard valley, for
+he made the ascent of the &ldquo;Monarch of Mountains&rdquo; popular
+among his countrymen, and thereby sowed the seed of a succession
+of golden harvests, of which the primitive but thoroughly wide-awake
+peasantry were by no means slow to profit. Dissimilar in
+many respects, Albert Smith and John Leech had this bond of
+sympathy between them, that both were old friends, and both
+had nominally studied for the medical profession; and whilst
+Leech attained at St. Bartholomew&rsquo;s that practical knowledge of
+anatomical drawing which did him such good service in his
+artistic career, Albert Smith at Middlesex Hospital and the <i>Hotel
+Dieu</i> appears to have picked up that intimate acquaintance
+with London and Parisian student life which he displays in the
+&ldquo;Adventures of Mr. Ledbury.&rdquo;</p>
+
+<p>The &ldquo;New Monthly&rdquo; for 1844 contains two etchings by Leech
+to &ldquo;The Lord of Thoulouse&rdquo; and &ldquo;The Wedding Day,&rdquo; which seem
+to call for notice, because they are not to be found in the collected
+edition of the &ldquo;Ingoldsby Legends.&rdquo; In the collected edition he
+shows us little Jack Ingoldsby <i>before</i> he entered the fatal cellar,
+while in the &ldquo;New Monthly&rdquo; we see him lying dead at the feet
+of the weird buccaneer, who points with grim irony at the little
+corpse by way of caveat to those who would broach his wine.
+From the &ldquo;New Monthly&rdquo; etching George Cruikshank borrowed
+the idea for his illustration of the same subject in the 1864 edition.
+There is a difference, of course, but the fact will become ridiculously
+patent to any one who has an opportunity of comparing the
+two designs. This, by the way, is not the only instance in the
+&rsquo;64 edition in which Cruikshank borrowed his idea from John
+Leech,<a name="FnAnchor_138" href="#Footnote_138"><span class="sp">138</span></a> which at one time he would have scorned to do, a fact
+which affords the strongest possible evidence of the decadence
+of George&rsquo;s once unrivalled powers of invention, imagination, and
+fancy.</p>
+
+<p><span class="pagenum"><a name="page290" id="page290"></a>290</span></p>
+
+<p>Leech it will be remembered obtained a footing on the staff
+of &ldquo;Bentley&rsquo;s Miscellany&rdquo; at the time when George Cruikshank was
+leaving it. Cruikshank, however, was an admirer of the genius of
+Leech, and when they laid him in his untimely grave in Kensal
+Green Cemetery, on the 4th November, 1864, the veteran artist was
+among the crowd of distinguished men who looked sorrowfully on.
+The influence which George Cruikshank exercised upon the genius
+of Leech will be apparent to any one who has given attention to the
+early etchings of the latter. This influence will be particularly discernible
+in the illustrations to &ldquo;Richard Savage&rdquo; and &ldquo;The Marchioness
+of Brinvilliers.&rdquo; Both were men of genius, but Leech&rsquo;s fancy
+was of a tamer kind, and little inclined him in the direction of the
+supernatural or the terrible. Leech, for instance, never produced
+anything which equalled <i>Fagin in the Condemned Cell</i>; <i>The Murder of
+Sir Rowland Trenchard</i>; <i>Xit Wedded to the Scavenger&rsquo;s Daughter</i>;
+<i>Jack o&rsquo; Lantern</i>; or the reverie of the <i>Triumph of Cupid</i>. We
+shall find but few diabolicals in his gallery of pictorial subjects, notwithstanding
+which there is not a fiend in the whole of Cruikshank&rsquo;s
+demon ranks who equals Leech&rsquo;s devil in Thomas Ingoldsby&rsquo;s
+legend of &ldquo;The House-warming.&rdquo;</p>
+
+<p>It may seem invidious to institute a comparison between the two
+men. Some, indeed, may hold that a comparison is impossible; but
+we will quickly show that such a comparison is not only possible
+but unavoidable. George Cruikshank, for instance, might or might
+not have illustrated the &ldquo;Comic Histories&rdquo; of England and of
+Rome better than John Leech; we may fancy, however, his hand on
+the Surtees&rsquo; novels, the odd men, the strange coats, the eccentric
+women, the podgy &ldquo;cockhorses,&rdquo; the wonderful dogs that would
+have put in an appearance in the various sporting scenes and incidents
+which form the subject of these &ldquo;horsey&rdquo; romances; we should
+like, for instance, to see what he would have made of the pretty
+serving woman who figures in the frontispiece of &ldquo;Ask Mamma;&rdquo;
+how he would have treated the fair &ldquo;de Glancey&rdquo;; how he would
+have grouped and dressed his figures at <i>The Handley Cross Ball</i>;
+how he would have treated poor old Jorrocks when he fell into the
+<span class="pagenum"><a name="page291" id="page291"></a>291</span>
+shower bath. But, admirable as are Leech&rsquo;s book illustrations and
+etchings, it is in the minor designs which he executed for <i>Punch</i>
+during the short quarter of a century allotted to him that we must
+seek for Leech&rsquo;s <i>genius</i>: it is these little drawings which place him
+in the front rank of nineteenth century graphic satirists. They are
+characterized by genuine humour and satire, unalloyed with a single
+trace of ill-humour, exaggeration, or vulgarity. It was in this direction
+that the artistic instincts of poor Robert Seymour inclined him;
+but his imagination and invincible tendency to exaggerate, inherited
+from the caricaturists who preceded him, failed to bear him beyond
+the limited sphere of cockney sports and cockney sportsmen in
+which his soul delighted. Here, we have the swells and vulgarians,
+the flunkies and servants, the old men and maidens, the soldiers,
+the parsons, the pretty women of English everyday life, placed in
+situations more or less embarrassing, but presenting nevertheless
+perfect types of the respective classes thus harmlessly and admirably
+satirized. In this lies their chief value, and as years roll on and the
+<i>Punch</i> volumes become scarce, this value will necessarily increase.</p>
+
+<p>A shy and unobtrusive member of the society in which he moved,
+<span class="sn">Abhorrence for Frenchmen.</span>
+and which delighted in the enjoyment of his friendship, John Leech
+was the keenest of observers, noting and satirizing as no one before
+his time had attempted, or indeed had been able to do, the
+cant and hypocrisy, the pride and selfishness, the upstart and arrogant
+exclusiveness, the insular prejudices and weaknesses, which
+form a part of our national character; but doing this, he loved his
+countrymen and countrywomen for their finer qualities, and hated
+the bungling foreigners who presume to caricature them without the
+barest knowledge of their subject. This is the secret of the hearty
+abhorrence which Leech always testified for Frenchmen. The ignorance
+of his countrymen on the subject of English women has been
+amusingly ridiculed by one of the most distinguished of their own
+writers&mdash;Eugene Sue, in his novel of &ldquo;Mathilde&rdquo;:&mdash;&ldquo;<i>That</i> an Englishwoman!
+Nonsense; there is nothing more easy to recognise than
+an Englishwoman; you have only to look at her dress; it is simple
+enough, in all conscience! A straw bonnet all the year through; a
+<span class="pagenum"><a name="page292" id="page292"></a>292</span>
+pink spencer; a Scotch plaid petticoat, and bright green or lemon-coloured
+boots; you may see the costume any day in <i>Les Anglaises
+pour rire</i>, at the <i>Variétés</i>. We all know it is a Vaudeville, and it
+would not be publicly acted unless it were authentic. I repeat it
+once more, ever since this world has been a world, Englishwomen&mdash;real
+genuine Englishwomen&mdash;have never been differently dressed.&rdquo;
+M. Taine, who devoted himself to the study of our language and
+literature, and spent much time amongst us, has (if I remember
+rightly) admitted the errors which prevail amongst his countrymen
+and women with reference to ourselves; but such observers as M.
+Taine and M. Sue are unfortunately rare in France, and many have
+essayed to depict us, with as much knowledge of their subject as
+our Sir John Maundeville possessed when he sat down to write his
+absurd but quaint and amusing &ldquo;Book of Voiage and Travaile.&rdquo;
+John Leech resented this deplorable ignorance on the part of our
+neighbours; and the <i>Punch</i> volumes are filled with biting sarcasms
+on French habits, manners, and sentiments, which were keenly
+felt, because, unlike the English who figure at the Variétés or in
+French caricatures, in the dirty men who regard with astonishment
+the English washstand at the exhibition, the cabs full of hirsute
+monstrosities, the &ldquo;Flowers of the French army,&rdquo; the grimy Revolutionists
+of Leicester Square&mdash;the hundred and one Frenchmen
+who figure in the satires of John Leech, the Parisian recognises compatriots
+whose ridiculous lineaments have been too faithfully reproduced
+to render identification a matter of doubt or difficulty.</p>
+
+<p>Leech executed very few illustrations for Dickens; and the
+amusing blunder which he perpetrated in &ldquo;The Battle of Life,&rdquo; in
+allowing the lady to elope with the wrong man, and the &ldquo;horror and
+agony&rdquo; of the author in consequence thereof, have been set forth in
+Forster&rsquo;s &ldquo;Life.&rdquo; The mistake was discovered too late for correction,
+and remains a curious proof of the carelessness with which
+distinguished artists will sometimes read the manuscript of an author
+however illustrious.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:550px; height:645px" src="images/img292.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">John Leech.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Illuminated Magazine.</i>&rdquo;</p>
+<p>&ldquo;I HOPE MR. SMUG, YOU DON&rsquo;T BEAT YOUR BOYS?&rdquo;</p>
+<p class="ar">[<i>Face p. 292.</i></p></td></tr></table></div>
+
+<p>The Surtees&rsquo; novels afford singular evidence of the keenness of
+John Leech&rsquo;s critical observation. An ardent lover of sport himself,
+<span class="pagenum"><a name="page293" id="page293"></a>293</span>
+and a frequent attendant at the &ldquo;Pytchley,&rdquo; when he went a day&rsquo;s
+hunting it was his custom to single out some fellow disciple of
+Nimrod that happened to take his fancy, keeping behind him all
+day, noting his attitudes in the saddle, and marking every item of
+his turn-out, to the last button and button-hole of his hunting coat.
+It was in this way that he obtained the correctness of detail which
+renders his famous sporting etchings so wonderfully true to nature.
+Strange to say, notwithstanding his knowledge of every detail of the
+huntsman&rsquo;s dress, even to the number of buttons on his coat, he
+himself, with reference to his own outfit, invariably presented in the
+hunting field a somewhat incongruous appearance. Either he would
+wear the wrong kind of boots, or would dispense with some detail
+which on the part of an enthusiast would be considered an unpardonable
+omission. Leech, however, was not what is called a
+&ldquo;rough rider,&rdquo; his constitutional nervousness prevented him indeed
+from making a prominent figure in the hunting field, and his friends
+attributed this want of attention to detail in dress to his sensitiveness
+to criticism, and his unwillingness to place himself in any
+position which would be likely to incur it.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_126" href="#FnAnchor_126"><span class="fn">126</span></a> Vol. iii., 1860.</p>
+
+<p><a name="Footnote_127" href="#FnAnchor_127"><span class="fn">127</span></a> Shirley Brooks in the <i>Illustrated London News</i>, 19th Nov., 1864.</p>
+
+<p><a name="Footnote_128" href="#FnAnchor_128"><span class="fn">128</span></a> George Redway, 12, York Street, Covent Garden.</p>
+
+<p><a name="Footnote_129" href="#FnAnchor_129"><span class="fn">129</span></a> They include also some (pirated) impressions from the designs of George
+Cruikshank, which set that irritable genius, as might have been expected, in a
+fume.</p>
+
+<p><a name="Footnote_130" href="#FnAnchor_130"><span class="fn">130</span></a> Chapman &amp; Hall, 186, Strand, 1st November, 1840.</p>
+
+<p><a name="Footnote_131" href="#FnAnchor_131"><span class="fn">131</span></a> &ldquo;Adventures of Michael Armstrong, the Factory Boy.&rdquo;</p>
+
+<p><a name="Footnote_132" href="#FnAnchor_132"><span class="fn">132</span></a> He subsequently returned to it for a short time only.</p>
+
+<p><a name="Footnote_133" href="#FnAnchor_133"><span class="fn">133</span></a> The serial commenced 17th July, 1841.</p>
+
+<p><a name="Footnote_134" href="#FnAnchor_134"><span class="fn">134</span></a> That this was the case, see Mr. Joseph Hatter&rsquo;s &ldquo;With a Show in the
+North;&rdquo; see also a remarkable letter of Mr. William Tegg in the <i>Athenæum</i>
+of 16th October, 1875.</p>
+
+<p><a name="Footnote_135" href="#FnAnchor_135"><span class="fn">135</span></a> Thackeray in the <i>Quarterly</i>.</p>
+
+<p><a name="Footnote_136" href="#FnAnchor_136"><span class="fn">136</span></a> I calculate that the minor drawings number about 2,500; if to these we add
+638 cartoons, we get a sum total of over 3,100 illustrations for <i>Punch</i> alone. If
+we say nearly 1,000 for Mr. Surtees&rsquo; sporting novels, without taking into account
+Leech&rsquo;s other work, we may form some notion of his untiring industry.</p>
+
+<p><a name="Footnote_137" href="#FnAnchor_137"><span class="fn">137</span></a> MS. Diary of Shirley Brooks (October 31st, 1864).</p>
+
+<p><a name="Footnote_138" href="#FnAnchor_138"><span class="fn">138</span></a> Compare, for instance, Leech&rsquo;s <i>Black Mousquetaire</i> in the original edition
+with Cruikshank&rsquo;s reproduction of the same subject in the &lsquo;64 edition.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page294" id="page294"></a>294</span></p>
+<h3>CHAPTER XIV.</h3>
+
+<h5><i>THE &ldquo;PUNCH&rdquo; CARTOONS OF JOHN LEECH.</i></h5>
+
+<p class="noind"><span class="sc">We</span> have seen that at the time John Leech commenced work as a
+comic artist, the art of caricature was practically dead; it was not
+therefore at all surprising, under the circumstances, that he should
+reverse, as it were, the order of things: commence as an illustrator
+of books, and finish his career as a graphic humourist. Although
+his first contribution to <i>Punch</i> commences in the fourth number, his
+cartoons so called (from which, in accordance with the plan of this
+work we now proceed to select a few examples) seem to us to call
+for little mention before the year 1843.</p>
+
+<p>His Royal Highness Prince Albert, who held high rank in the
+<span class="sn">Prince Albert.</span>
+British army by virtue of his exalted position, was most unjustly
+suspected in those early <i>Punch</i> days of a desire to interfere unduly
+with its administration. He took, however, much interest in the
+dress and comfort of the British soldier; and those who remember
+what military costume was in 1843, will admit that there was room
+for improvement. Changes were made indeed, but these changes
+can hardly be said to have been made in the direction of either
+comfort, convenience, or good taste. The &ldquo;Albert hat&rdquo; (as it was
+called), one of the ugliest, most ungainly, and preposterous of military
+shakoes that was ever invented, made its appearance about this
+time, and the idea was credited (rightly or wrongly) to the amiable
+prince. Constant reference to this preposterous invention is made
+in the pages of <i>Punch</i>, and the prince&rsquo;s questionable taste in the
+matter of military costume is specially satirized in Leech&rsquo;s amusing
+cartoon entitled <i>Prince Albert&rsquo;s Studio</i>.</p>
+
+<p><span class="pagenum"><a name="page295" id="page295"></a>295</span></p>
+
+<p>Mr. O&rsquo;Connell, at a great Repeal meeting held in September,
+1843, had expressed a hope that he should be able to give his dupes
+&ldquo;as a new year&rsquo;s gift a parliament on College Green.&rdquo; No one
+knew better than himself the absurdity of such a promise. Had he
+named the first of April for the presentation instead of the first of
+January, it would have been more appropriate, and at least equally
+veracious. A great Repeal meeting was intended to be held in
+October at Clontarf, three miles from Dublin, at which certain supporters
+of the movement were to have attended on horseback and
+paraded in the character of the &ldquo;Repeal Cavalry.&rdquo; This meeting
+the Irish executive prohibited by proclamation, and on the 14th,
+O&rsquo;Connell and other prominent leaders were arrested, and held to
+bail on a charge of conspiracy. On the 24th of May, 1844, the
+Irish judges sentenced him to twelve months&rsquo; imprisonment, and
+a fine of £2,000. The cartoon of <i>The Probable Effects of Good
+Living and no Exercise</i> refers to this result; but <i>Punch</i> on this
+occasion was wrong. O&rsquo;Connell proved &ldquo;too many&rdquo; for the Irish
+lawyers. He appealed by writ of error to the Lords, and on the
+4th of September the judgment was reversed.<a name="FnAnchor_139" href="#Footnote_139"><span class="sp">139</span></a> Sir James Graham,
+the Home Secretary, and the government to which he belonged,
+had encountered much odium in consequence of the opening of
+certain letters which had passed through the post office. The result
+was the appointment of a Committee of Secrecy by both Houses to
+inquire into the official practice, and it would appear from their
+report that every administration had been in the habit of exercising
+this espionage under the authority of a warrant of the Secretary of
+State. The sins of the past as well as of the present were visited
+on the head of Sir James, who sought to throw the responsibility on
+higher powers; and in reference to this, Sir James Graham and Sir
+Robert Peel figure respectively as <i>Sairey Gamp</i> and <i>Betsey Prig</i>,
+after Phiz&rsquo;s well-known drawing. Sir James indeed seemed to have
+<span class="pagenum"><a name="page296" id="page296"></a>296</span>
+had rather a facility for getting himself into trouble. There was
+much excitement in and out of the House with reference to the
+additional grant to Maynooth College. In the course of the debates,
+Sir James Graham retracted an expression which he said had fallen
+from him in the heat of debate, viz. that concession in favour of
+Ireland had reached its utmost limit, and hoped that his actions
+had proved better than his words. Among the subsequent cartoons
+by Leech, he figures as <i>Peel&rsquo;s Dirty Little Boy</i>. &ldquo;Drat the boy,&rdquo;
+says Dame Peel (as she chastises him), &ldquo;he&rsquo;s <i>always</i> in a mess.&rdquo;
+Towards the close of the debate two remarkable speeches were
+delivered by Lord John Russell and Sir Robert Peel, both of whom
+concurred in the necessity of a conciliatory policy towards Ireland.
+This <i>rapprochement</i> between the two leaders of the opposite camps,
+and the leanings of Sir Robert in the direction of a Liberal policy,
+are referred to in Leech&rsquo;s cartoons of <i>How do you Like the New
+Whig?</i> and the <i>Premier&rsquo;s Fix</i> (Peel between Free Trade and Protection),
+the last borrowed from one of Cruikshank&rsquo;s drawings. <i>The
+Railway Juggernaut of 1845</i> (also suggested by Cruikshank&rsquo;s well-known
+etching), refers to the then mania for dabbling in railway
+shares.</p>
+
+<p>Between the two stools of Free Trade and Protection, Sir Robert,
+as might have been anticipated, ultimately fell through; an event
+which is chronicled in vol. x., the idea in this instance being taken
+from the celebrated drawing in the late Mr. Clarke&rsquo;s &ldquo;Three
+Courses and a Dessert,&rdquo; the cartoon of Peel driving the vehicle of
+Protection, which has broken down, bearing the title of <i>The Deaf
+Postilion</i>. A change of ministry took place in 1846, little Lord
+John replacing Sir Robert Peel as &ldquo;First Lord of the Treasury.&rdquo;
+He cuts an amazingly queer figure (in vol. xi.) in the ex-premier&rsquo;s
+huge hat, vast coat, and voluminous waistcoat and inexpressibles.
+Little Lord John was an enduring subject of <i>Punch&rsquo;s</i> satire during
+that statesman&rsquo;s somewhat unsatisfactory political career, and Leech
+was never weary of comparing him with his far more brilliant and
+able contemporary. Here we have the pair figuring as <i>Dombey
+and Son</i> (Dombey being Sir Robert, and the son Lord John),
+<span class="pagenum"><a name="page297" id="page297"></a>297</span>
+&ldquo;Mr. Dombey was in a difficulty. He would like to have given him
+(<i>the boy</i>) some explanation involving the terms circulating medium,
+currency, depreciation of currency, paper, bullion, rates of exchange,
+value of precious metals in the market, and so forth.&rdquo; The <i>Portrait
+of a Noble Lord in Order</i> refers to one of those exhibitions of want
+of tact, taste, and temper in which Lord Brougham would seem to
+have delighted.<a name="FnAnchor_140" href="#Footnote_140"><span class="sp">140</span></a> &ldquo;Who calls <i>me</i> to order?&rdquo; cries the &ldquo;noble and
+learned&rdquo; lord, &ldquo;Who calls <i>me</i> to order? Pooh! Pooh! Fiddle-de-dee!
+I never was in better order in my life. Noble lords don&rsquo;t
+know what they are about;&rdquo; a conspicuous and aggressive appurtenance
+of the &ldquo;noble and learned,&rdquo; by the way, is his preposterous
+umbrella. One of the most barbarous and disgraceful of London
+neighbourhoods in 1847, and for many years afterwards, was Smithfield;
+the present generation can form no idea of the state of things
+thirty years ago, which is referred to in the cartoon of <i>Punch and
+the Smithfield Savages</i>, the artist borrowing his idea from West&rsquo;s
+well-known picture of &ldquo;Penn&rsquo;s Treaty with the Indians.&rdquo; The
+odious matrimonial swindle perpetrated by Louis Philippe with the
+idea of ultimately seating a member of his family on the Spanish
+throne, which has cast an indelible stain on his memory, had now
+been found out, and attracted universal indignation. We find him,
+in reference to this shameless piece of business, figuring as the <i>Fagin
+of France after Condemnation</i>, the idea being suggested of course by
+Cruikshank&rsquo;s famous etching in &ldquo;Oliver Twist.&rdquo; Retribution overtook
+the mercenary monarch in the year of disquietude and national
+unrest&mdash;1848; foreign kings and potentates were sent flying in all
+directions, and Louis Philippe, who, like the rest of his family had
+learnt nothing by misfortune, was among the first to go. <i>Put Out</i>,
+one of the best of the artist&rsquo;s political cartoons, represents an armed
+<i>ouvrier</i> clapping the cap of <i>liberté</i> by way of extinguisher on the
+French candle (King Louis). Uneasy were the heads which wore
+crowns in that year; and to the throned and unthroned sovereigns,
+the former of whom watched these untoward events with nervous
+<span class="pagenum"><a name="page298" id="page298"></a>298</span>
+interest, John Leech presented a seasonable gift in the form of <i>A
+Constitutional Plum Pudding</i>, served up by Mr. Punch on Magna
+Charta, and curiously compounded of &ldquo;Liberty of the Press,&rdquo;
+&ldquo;Common Sense,&rdquo; &ldquo;Order,&rdquo; &ldquo;Trial by Jury,&rdquo; &ldquo;Religion,&rdquo; and
+&ldquo;True Liberty of the Subject.&rdquo;</p>
+
+<p>Among the sovereigns who had a peculiarly insecure seat at this
+period was Mastai Ferretti, better known as Pope Pius IX. His
+temporal power was weak, whilst his spiritual dominion, as might
+have been expected, had never been much stronger. To bolster up
+the former, and at the same time find employment for his troops,
+Louis, Prince President of the French Republic, sent an army to
+Rome, thus affording matter for the speculation of his countrymen,
+who were puzzled to know what possible concern a French Republic
+could have with the affairs of the Papacy. Allusion to this is made
+in Leech&rsquo;s cartoon of <i>The French Cock and the Roman Eagle</i>, in
+which the bird of higher caste, chained and fettered, is unable to
+offer anything like fair resistance to his unwilling antagonist. In a
+<i>Bright Idea</i>, we have the apostle of peace (whose uncompromising
+arguments in its favour have driven us before now in the direction
+of war) figuring as a recruiting sergeant, and endeavouring to enlist
+the &ldquo;Iron Dook.&rdquo;</p>
+
+<p>In no country perhaps are women more cruelly used than among
+<span class="sn">General Haynau.</span>
+the poorer classes of England, while in no country under the sun is
+greater sympathy expressed for the weaker sex; a paradox which
+was strikingly exemplified in 1850. The Austrian General Haynau
+in that year paid a visit to this country. Some time before he had
+earned unenviable notoriety by his treatment of the wives and
+daughters of Hungarian insurgents who fell into his hands, and it
+was reported, probably with much exaggeration, that regardless of
+sex and condition he had subjected these hapless fugitives to the
+indignity of corporal punishment. The rising had been however
+some time repressed, and there was every reason to believe that in
+this country at least the rumour had been forgotten. Among the
+sights the General had been recommended to visit in London was
+the celebrated brewery of Messrs. Barclay &amp; Perkins, and no
+<span class="pagenum"><a name="page299" id="page299"></a>299</span>
+sooner was his presence discovered, than he was simultaneously
+attacked by the draymen, and narrowly escaped with his life. He
+got small sympathy from <i>Punch</i>, who, in vol. xix., presented Leech&rsquo;s
+<i>Sketch of a Most Remarkable Flea found in General Haynau&rsquo;s Ear</i>.
+&ldquo;<i>Who&rsquo;s Dat Knocking at de Door?</i>&rdquo; is a question put by Johnny
+Russell to old Joe (Hume), who once in every session in those days
+stood knocking at the door with his banjo labelled, &ldquo;Extension
+of the Suffrage.&rdquo;</p>
+
+<p>Macaulay, writing in 1840,<a name="FnAnchor_141" href="#Footnote_141"><span class="sp">141</span></a> referred to the progress of what he
+<span class="sn">The &ldquo;Papal Aggression.&rdquo;</span>
+happily termed &ldquo;The Catholic Revival of the Nineteenth Century.&rdquo;
+This revival was never more clearly exemplified than at the very
+time the temporal power was most seriously endangered. Such of
+the temporal power, indeed, as was left to it has gone, probably
+for ever; while the spiritual power of the Papacy, at least in
+Protestant England, as must be patent to any one who has given
+the subject the smallest attention, has unostentatiously but enormously
+increased, especially within the last twenty years. The
+year 1850 was remarkable for what was then known among us as
+the &ldquo;Papal Aggression,&rdquo; and <i>Punch</i> and his &ldquo;right-hand man&rdquo;
+were exceedingly angry. Among the cartoons which they fulminated
+on the occasion were the following: <i>The Guy Fawkes of 1850</i> [<i>i.e.</i>
+the Pope] <i>Preparing to Blow up all England</i>; <i>The Thin End of the
+Wedge</i> [the Pope trying with his jemmy, labelled &ldquo;Roman Archbishopric
+of Westminster,&rdquo; to force the doors of the English Church].
+It is both a singular and significant circumstance, that at this time
+the Ritualists, or rather Puseyites, were helping on the work of
+Rome by promoting, if not schism, at least dissension in the Church
+of England by advocating the strictest attention to the letter instead
+of the spirit of the rubric and liturgy. We find, in special reference
+to the assistance thus, in some cases we believe unconsciously,
+rendered to the Romish Church, <i>The Puseyite Moth</i> flying into the
+Roman Catholic candle; and <i>Fashion in 1850, or a Page for the
+Puseyites</i>, in which we see the Bishops of Lincoln, Oxford, and
+Exeter dropping the hot poker of Puseyism, and the Pope, as
+<span class="pagenum"><a name="page300" id="page300"></a>300</span>
+monkey, making a <i>catspaw</i> of <i>poor Pus(s)ey</i> [the Doctor lately
+deceased]; again, in vol. xx., Punch (a boy) inquires of an episcopal
+showman, who holds the model of a church on his stand, &ldquo;Please,
+Mr. Bishop, which is Popery and which is Puseyism?&rdquo; To which
+the episcopal showman replies, &ldquo;Whichever you like, my little
+dear&rdquo;; another cartoon represents a Puseyite parson who has received
+&ldquo;warning&rdquo; from his cook. Inquiring the reason of her
+dissatisfaction, he receives the following reply: &ldquo;Well, sir, the fact
+is I aint equal to them Fast days; for what with a hegg here, and
+a hegg there, and little bits of fish for breakfastes, and little bits
+of fish for dinners, and the sweet omelicks, and the fried and
+stewed hoysters, and the Bashawed lobsterses, and one think and
+the hother, there&rsquo;s so much cooking that I aint even time to make
+up a cap!&rdquo; Another influential person besides Mr. Punch was
+terribly indignant at this aggressive movement on the part of the
+Papacy, and loudly avowed his determination to go any length to
+put a stop to it. This was my Lord John Russell, who, after
+vapouring like &ldquo;ancient Pistol,&rdquo; quietly sneaked off after his
+usual fashion, and did nothing. He got, however, a well-merited
+dressing from Leech, who showed him up in his true character
+in a contemporary number as <i>The Boy who Chalked up &ldquo;No Popery,&rdquo;
+and then Ran Away</i>. It was these Papal satires (as we shall afterwards
+see) which led to the secession from <i>Punch</i>, and the consequent
+loss to satiric art, of one of its most genial and capable
+professors, the late Richard Doyle;<a name="FnAnchor_142" href="#Footnote_142"><span class="sp">142</span></a> a loss followed (if we may
+so term it) by a compensating gain. Richard Doyle&rsquo;s place was
+almost immediately taken by an artist of great and exceptional
+power, for more than twelve years the friend and coadjutor of
+John Leech&mdash;Mr. Tenniel, who makes his first appearance in
+<i>Punch&rsquo;s</i> twentieth volume.</p>
+
+<p>The long peace which followed the national and European
+struggle with Napoleon had produced a curious effect upon ourselves.
+While Russia took advantage of the lull to recruit her
+<span class="pagenum"><a name="page301" id="page301"></a>301</span>
+colossal forces, and Prussia to perfect the military system which
+took us so much by surprise half a century afterwards, we, on the
+other hand, wearied with our long and arduous struggle, had fallen
+asleep, and dreamed pleasantly that the &ldquo;Millennium&rdquo; was at hand.
+With this idea apparently in our minds, we inscribed on the walls
+of the Great Exhibition of 1851, the Scriptural text which tells us
+that &ldquo;swords shall be beaten into ploughshares and spears into
+pruning hooks, neither shall they learn war any more.&rdquo; A significant
+commentary on the text was found in the fact that many
+of the exhibits at the &ldquo;World&rsquo;s Fair&rdquo; consisted of cannon, rifles,
+and other lethal instruments of improved method and construction,
+intended for the wholesale destruction of the human race. We
+read the Scriptural text, and viewed these exhibits as relics of a
+barbarism which had existed six and thirty years before, oblivious
+of the circumstance that an incompetent general had &ldquo;wiped out&rdquo;
+a British army in Afghanistan, and that we had crushed the empire
+of Runjeet Singh on the banks of the Sutlej not so many years
+before. The closing of the Exhibition is commemorated by a
+cartoon, in which Leech shows us the famous Amazon putting on
+her bonnet and shawl, chatting the while with Hiram Power&rsquo;s
+Greek Slave, who, habited in &ldquo;bloomer&rdquo; costume, prepares likewise
+to take her departure. Allusion to the bribery and corruption
+prevalent at a notorious borough of that day is made in a sketch
+which depicts the <i>Horror of that Respectable Saint, St. Alban&rsquo;s, at
+Hearing the Confession of a St. Alban&rsquo;s Elector</i>.</p>
+
+<p>Remarkable results were destined to follow the year of unrest&mdash;1848.
+<span class="sn">The Coup D&rsquo;état.</span>
+Louis Philippe had been replaced in France by Louis Napoleon,
+who seems to have been elevated to the Presidency of the
+Republic because he was considered to be so absolutely harmless,
+the principle followed being analogous to that observed at the election
+of a Pope, which has resulted more than once in an unpleasant
+surprise for the cardinal electors. Those who had formed a low
+estimate of his abilities, found that Louis was no longer the &ldquo;half-saved&rdquo;
+youth of Boulogne and Strasburg; that he had learnt some
+stern lessons in the hard school of adversity; that he had developed,
+<span class="pagenum"><a name="page302" id="page302"></a>302</span>
+moreover, a firm and decided will of his own. We thought it a
+hazardous experiment on the part of French Republicans, for Louis
+held a craze on the subject of his uncle&rsquo;s &ldquo;ideas,&rdquo; and the craze had
+sufficient &ldquo;method&rdquo; to induce us to believe that he was the last man
+who would have been selected to fill the presidential chair. As a refugee
+in England, we had given him small credit for sagacity; and as
+an emperor and a man, history has already said of him that he was
+cunning, unreliable, and thoroughly unscrupulous. Although a comparison
+between the two men is impossible, there was at least this
+similarity between the two Napoleons, that both were indebted for
+their elevation to the imperial purple to a revolution; here, however,
+all resemblance ceased. The first Napoleon relied upon himself
+alone, while Louis was advised by counsellors and adventurers
+wiser and more unscrupulous than himself, and who were prepared
+to back his fortunes with a view of advancing their own. At the close
+of 1851, Europe was electrified by the unexpected and dastardly
+blow delivered by these men, and by means of a &ldquo;great crime,&rdquo; the
+history of which has been so graphically related by Victor Hugo,
+Louis Napoleon, Prince President of the Republic, found himself
+master of the destinies of France. The event is referred to by John
+Leech in the cartoon of <i>France is Tranquil!!!</i> which she cannot
+well fail to be, seeing that we find her bound hand and foot; a
+chain-shot fastened to her foot, and a sentry menacing her with his
+bayonet. The next volume shows us the Prince President in the
+act of being measured by his military tailor, while he offers money
+to his cast-off mistress <i>Liberté</i>, her mother (France) looking indignantly
+on. Immediately behind, a priest (in allusion to the support
+which the Papal party were receiving from this &ldquo;eldest son of the
+Church&rdquo;) helps himself from a plate of money which stands by the
+President&rsquo;s side; the floor is littered with miscellaneous articles,&mdash;bayonets,
+knapsacks, imperial and other crowns, crosses of the
+legion of honour, the <i>code Napoleon</i>,&mdash;and, in reference to Louis&rsquo;s
+craze on the subject of his uncle and his &ldquo;ideas,&rdquo; one of Napoleon&rsquo;s
+old boots. On a stool stands a bust of the first Napoleon, and on a
+chair to the right a roll of &ldquo;Imperial purple.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page303" id="page303"></a>303</span></p>
+
+<p>By the year 1853, the only persons who steadily shut their eyes to
+the signs of the times, and continued steadfastly to believe in the
+immediate advent of the &ldquo;Millennium,&rdquo; were the peace-at-any-price
+party (represented by Messrs Bright and Cobden), the members
+of the Peace Society, and the very strange people who obstinately
+opposed any attempt on the part of England to provide for her
+national safety by putting her defences in order. To the Peace
+Society, Leech especially addressed his cartoon of <i>No Danger</i>,
+which represents a donkey braying in front of a loaded cannon;
+while to the mischievous lunatics who opposed any scheme of
+national defence, he dedicated an appropriate gift in the shape of
+<i>A Strait Waistcoat Worked by the Women of England</i>.<a name="FnAnchor_143" href="#Footnote_143"><span class="sp">143</span></a> By this
+time John Bull had awoke from his dreams, and tacitly admitting
+that the time for conversion of his swords into ploughshares and his
+spears into pruning hooks had scarcely arrived, adopted the far
+more sensible method of sending his troops to the camp at Chobham
+by way of getting them acclimatized to the trials and vicissitudes
+of wind and weather. This step leads of course to a
+number of little pleasantries. In one cartoon we see an officer of
+household cavalry parting his hair in front of his cuirass, whilst a
+soldier servant brings him his shaving water in a bucket; another,
+entitled <i>A Cold in the Head</i>, represents an officer in this melancholy
+condition, who requests his servant to bring him his bucket of gruel
+as &ldquo;sool as he has tallowed his loze.&rdquo; John, in fact, had been
+aroused from his slumbers by the Emperor Nicholas, who, thinking
+it a good time to appropriate Turkey, was suspected of having
+offered a slice to Austria. The rumour is referred to in the cartoon
+of <i>The Old &lsquo;Un and the Young &rsquo;Un</i>, in which we see the Russian and
+Austrian Emperors at table with a bottle of port between them,
+&ldquo;Now then, Austria,&rdquo; says Nicholas, &ldquo;just help me to finish the
+Port(e).&rdquo; In another cartoon, John Bull nails the Russian eagle to
+his barn door, remarking to his French friend the while, that <i>he</i>
+<span class="pagenum"><a name="page304" id="page304"></a>304</span>
+&ldquo;wouldn&rsquo;t worry the Turkeys any more.&rdquo; Lord Aberdeen, who, notwithstanding
+the signs of the times, refused like Nicholas to believe
+in a war with England, is represented placidly smoking the <i>Pipe of
+Peace</i> over a barrel of gunpowder.</p>
+
+<p>Thanks to Messrs Bright and Cobden, who obstinately persisted
+in opposing the popular feeling which had set in steadily in the
+direction of war,&mdash;thanks to the exertions of the Peace Society, who
+were not restrained from sending certain zealous members of their
+body to the Emperor Nicholas, who not unnaturally supposed that
+these broad-brimmed gentlemen represented the sentiments of the
+great English people,&mdash;but thanks above all to the French Emperor
+and his astute advisers, who were enabled to take advantage of the
+state of English feeling to hoodwink the &ldquo;great nation&rdquo; by the
+prospect of an alliance with a great and respectable power, the
+year 1854 found us in actual conflict with Russia, starting off after
+our usual fashion with a handful of men to attack the strongest fortress
+in Europe, provided with an unlimited supply of men and
+metal and inexhaustible stores of warlike <i>materiel</i> of all kinds.
+In vol. xxvi. we see Her Majesty <i>Throwing the Old Shoe</i> after
+her Guards, who, for the first time since 1815, are seen setting
+out on foreign service. Another cartoon, which has reference to our
+<i>Bombardment of Odessa</i>, is divided into two parts, in one of which we
+see Lord Aberdeen (whose dream of peace had been so rudely dissipated),
+and in the other Nicholas of Russia, both reading the newspaper.
+Says Aberdeen, &ldquo;Bombardment of Odessa! Dear me, this
+will be very disagreeable to my imperial friend!&rdquo; Says the Emperor,
+&ldquo;Bombardment of Odessa! Confound it! this will be very annoying
+to dear old Aberdeen!&rdquo; In November, 1854, occurred our
+disastrous victory of Inkermann, in which scarcely four thousand
+English troops found themselves opposed by forty thousand Russians
+and drove them into flight. No thanks, however, to our allies, who&mdash;with
+the exception of sixty brave Zouaves and their lieutenant, who
+played truant from their regiment to give us timely assistance&mdash;either
+looked on or absolutely ran away.<a name="FnAnchor_144" href="#Footnote_144"><span class="sp">144</span></a> Spectators of this battle were
+<span class="pagenum"><a name="page305" id="page305"></a>305</span>
+two of the Imperial family, a circumstance alluded to in vol. xxvii.
+by Leech&rsquo;s cartoon of <i>The Russian Bear&rsquo;s Licked Cubs, Nicholas and
+Michael</i>.</p>
+
+<p>Picton remarked of our officers, when <i>en route</i> to Waterloo, that
+<span class="sn">The Purchase System.</span>
+with fifty thousand of his own men, and <i>French</i> officers at their
+head, he would march from one end of Europe to the other. But
+both the quality of French officers and soldiers had deteriorated
+at the time of the Crimean War, and was destined still further to
+deteriorate until the utter unsoundness of their military discipline
+was laid bare years afterwards by Prussia. The French had no
+generals, while we had <i>one</i> general and an excellent body of soldiers.
+Unquestionably the Russian war did us the service of thoroughly
+exposing the rottenness of our military system so far as concerned
+the officering of the army. The principle followed was precisely
+that complained of by Sir Thomas Picton forty years before; there
+was no actual test of fitness until it came to be subjected to the
+practical test of emergency; money invariably had the advantage
+of merit, not only in the appropriation of first commissions, but
+in the purchase of subsequent regimental grades, which were given
+in exchange for pecuniary value, and not as a reward for military
+efficiency. The material thus obtained was splendid as regards
+manliness and bravery, but something more than these were wanted
+in the absence of a leader like the great Duke; and although the
+type selected is an extreme one, the result may be indicated by my
+Lord Cardigan, who, though equal to any amount of endurance and
+heroism, proved himself incapable of the exercise of the smallest
+particle of common sense. The scandal of the then existing system
+of purchase was aptly exposed by the artist in vol. xxviii., where we
+find a rich titled old lady in a shop served by military counter-jumpers,
+one of whom, wrapping up a lieutenant-colonelcy for her
+boy, inquires, in the well-known jargon of the trade, &ldquo;What is the
+next article?&rdquo; in answer to which she expresses a wish to have &ldquo;a
+nice majority for his little brother&rdquo;; a wounded officer with his
+arm in a sling timidly inquires the price of a captain&rsquo;s commission,
+and turns wearily away on finding the preposterous price (£3,694)
+<span class="pagenum"><a name="page306" id="page306"></a>306</span>
+is wholly beyond his means. Fortunately for us (for events proved
+that in trusting to French assistance we were leaning on a broken
+reed indeed!) the Russian rank and file, besides being badly led,
+were as inferior to our own in endurance and pluck as they were
+superior to us in the mere matter of numbers. Justly wondering
+why forty thousand men, supported by twenty thousand reserves,
+had failed to hold their own against a mere handful of British
+infantry, Nicholas nevertheless treated the result apparently in a
+philosophical spirit, and calmly asked his people to wait for
+&ldquo;Generals <i>Janvier</i> and <i>Fevrier</i>.&rdquo; But the brave man&rsquo;s heart was
+broken, and when February came it found the Imperial prophet
+a corpse.<a name="FnAnchor_145" href="#Footnote_145"><span class="sp">145</span></a> The death of this great and disappointed man is forcibly
+commemorated by Leech&rsquo;s memorable cartoon of <i>General Fevrier
+Turned Traitor</i>. Lord John Russell, true to his character of &ldquo;Lord
+Meddle and Muddle,&rdquo; had done nothing for us at the Congress, and
+in <i>The Return from Vienna</i>, Her Majesty catches the frightened
+little statesman by the collar and angrily asks him, &ldquo;Now, sir, what
+a time you have been! What&rsquo;s the answer?&rdquo; To her Lord John&mdash;&ldquo;Please
+&rsquo;M&mdash;there is&mdash;is&mdash;is&mdash;is&mdash;isn&rsquo;t any answer.&rdquo;</p>
+
+<p>An English general in those days was so scarce a commodity
+that in Lord Raglan we seemed absolutely to have exhausted the
+supply: one old incapable was replaced by another, until the dearth
+of English military ability became at length nothing less than an
+absolute scandal. In <i>What we must Come to</i>, reference is made
+to this lamentable state of things, wherein an old woman in bonnet
+and shawl, with a capacious umbrella, applies for a post to Lord
+Panmure (the Minister of War), &ldquo;Oh, if you please, sir, did you
+want a sperity old woman to see after things in the Crimea? No
+objection to being made a Field Marshal, and glory not so much
+an object as a good salary&rdquo;; in another (<i>A Grand Military Spectacle</i>)
+we find the heroes of the campaign engaged in inspecting the
+Field Marshals, a pair of decrepid, purblind, old men seated in
+arm chairs; in the third we recognise the amiable Prince Consort,
+<span class="pagenum"><a name="page307" id="page307"></a>307</span>
+who was most unjustly suspected in those days of a desire to
+interfere in the administration of our military matters&mdash;it would be
+moonshine to term it military <i>system</i>, as we had none. <i>The New
+Game of Follow my Leader</i> is a palpable hit at a practice common
+enough too in those days. Applications were frequently made by
+officers for leave to return home on the plea of &ldquo;urgent private
+affairs,&rdquo; and you were astonished to see gentlemen walking about
+whose duty it was to be with their regiments in the Crimea. In the
+cartoon referred to, a long line of soldiers is drawn up in front
+of the general&rsquo;s tent; a little drummer boy steps out of the ranks,
+and making the usual salute inquires, &ldquo;Please, general, may me
+and these other chaps have leave to go home on <i>urgent private
+affairs</i>?&rdquo;</p>
+
+<p>A more unsatisfactory state of things for the belligerents all
+round than this miserable Crimean conflict can scarcely well be
+imagined. Lord Raglan, who had learned war by practical experience
+under the eye of the great Duke himself, speedily realized
+the fact that he had been made the victim of French military
+jealousy and imbecility, the leaders having been selected not on
+account of their military efficiency, but solely for attachment to the
+cause of the Emperor. The battle of the Alma had been won
+without the assistance of the French, who for all practical purposes
+might just as well have been away.<a name="FnAnchor_146" href="#Footnote_146"><span class="sp">146</span></a> Marshal St. Arnaud, who, to
+do him simple justice, was at this time dying literally by inches, had
+refused to follow up the defeated Russians,<a name="FnAnchor_147" href="#Footnote_147"><span class="sp">147</span></a> whose retreat a <i>competent</i>
+French general must have converted into an absolute rout;
+whilst, had he followed the advice and wishes of Lord Raglan, we
+should probably have entered Sebastopol in a fortnight, instead of
+having to wait three years for an event which was afterwards accomplished
+<span class="pagenum"><a name="page308" id="page308"></a>308</span>
+at a ruinous waste of time, men, <i>materiel</i>, and money.<a name="FnAnchor_148" href="#Footnote_148"><span class="sp">148</span></a> We
+had defeated the Russians at Inkerman without French assistance,<a name="FnAnchor_149" href="#Footnote_149"><span class="sp">149</span></a>
+whilst the timidity and professional jealousy on that occasion of
+Marshal Canrobert had again failed to turn <i>our</i> success into a
+crushing disaster for the enemy.<a name="FnAnchor_150" href="#Footnote_150"><span class="sp">150</span></a> If England was dissatisfied,
+Russia was still more discontented, and her strength moreover at
+this time well-nigh exhausted. Efforts in the direction of peace
+were being made by Austria, which are referred to in the cartoon,
+<i>Staying Proceedings</i> (vol. xxx.), wherein plaintiff John Bull instructs
+his solicitor Clarendon (who is setting off for Paris bag in hand),
+&ldquo;Tell Russia,&rdquo; says angry John, &ldquo;tell Russia if he doesn&rsquo;t settle at
+once I shall go on with the action;&rdquo; but so unprofitable to us in the
+end was the arrangement effected by the solicitor, that the action
+was settled after all on the terms of each party having to pay their
+own costs. This preposterous result is referred to in the admirable
+sketch entitled <i>Swindling the Clarendon</i>, wherein landlord Bull
+angrily expostulates with his two waiters (Louis Napoleon and Palmerston),
+&ldquo;What!&rdquo; says John, &ldquo;<i>quite the gentleman</i>! Why he has
+left nothing but a portmantel of bricks and stones, and gone off
+without paying the bill.&rdquo;<a name="FnAnchor_151" href="#Footnote_151"><span class="sp">151</span></a></p>
+
+<p>Just complaints were made in the papers of 1857 of the arrangements,
+or rather want of arrangements, at the Royal <i>levées</i>. The
+space was circumscribed and the crush frightful, and ladies returned
+from the ceremony with torn dresses and dishevelled hair, just as if
+they had been engaged in some feminine battle-royal. To accustom
+them to this uncomfortable but apparently inevitable ordeal, John
+Leech, in one of the very best of his sketches (vol. xxxii.), suggested
+<span class="pagenum"><a name="page309" id="page309"></a>309</span>
+a <i>Training School for Ladies about to Appear at Court</i>, where we see
+charming women in court dresses leaping over forms, crowding
+beneath barriers, and going through a vigorous course of saltatory
+exercises, to prepare them for what they might expect at the ceremony;
+the floor is strewn with broken fans, gloves, feathers, watches,
+and jewellery; while one fat old lady, who, in attempting to scramble
+beneath the barrier has become a permanent fixture, presents a truly
+comical appearance.</p>
+
+<p>The war was at an end; the &ldquo;Eastern Question,&rdquo; as it was called
+<span class="sn">The English Dissatisfied.</span>
+in the political jargon of that day, had been settled for the next
+twenty years, and John Bull had now leisure to sit down to count
+the cost, and consider the value of the French alliance, and the
+quality of the assistance he had derived from French generalship and
+the French army. The result of John&rsquo;s calculation was eminently
+unsatisfactory to himself, for he felt that while he had done all the
+hard work and nearly all the fighting, the French, as might have
+been expected, had arrogated to themselves all the praise. John in
+his secret heart was angry; he felt he had been drawn into a contest
+from which he personally derived little advantage, and from which
+he emerged nominally triumphant at a ruinous waste of men and
+money; the Frenchman, on his part, was doubtful of the reality of
+the <i>gloire</i> he claimed for himself, and distinctly conscious, moreover,
+that the English soldiers looked coldly on the French army and its
+achievements.<a name="FnAnchor_152" href="#Footnote_152"><span class="sp">152</span></a> The result was a feeling of secret dissatisfaction on
+both sides, which found, however, no actual expression until an unexpected
+circumstance afforded opportunity for its manifestation.
+The war had been succeeded by a period of inaction, a state of
+things always dreaded by Louis, who was now harassed by plots
+and conspiracies, and a certain foreigner connected, or supposed to
+be connected, with one of these had sought and found an asylum on
+our shores. Certain valorous French colonels, desirous of displaying
+<span class="pagenum"><a name="page310" id="page310"></a>310</span>
+their loyalty at a cheap cost, presented an address to his Majesty,
+which contained the following intemperate passage:&mdash;&ldquo;Let the
+miserable assassins&mdash;the subaltern agents of such crimes&mdash;receive the
+chastisement due to their abominable attempts; but also, let the
+<i>infamous haunt</i> where machinations so infernal are planned <i>be destroyed
+for ever</i>.... Give us the order, sire, and we shall
+pursue them even to their places of security.&rdquo; French military composition,
+even in the time of the first Napoleon, was never of the
+highest order of merit, and the third Napoleon, whose policy it was
+to distract the attention of his people from reflecting on the questionable
+means by which he had attained his position, never lost an
+opportunity of earning popularity with any class of his subjects, particularly
+with the army. He suffered this quintessence of bombastic
+absurdity to appear in the pages of the official <i>Moniteur</i>, whence it
+was duly copied by the English newspapers, and afforded us the
+most intense amusement. <i>Punch</i> answered this valorous appeal
+with Leech&rsquo;s celebrated cartoon (in vol. xxxiv.) of <i>Cock-a-doodle-do!</i>
+wherein the French cock, habited in the uniform of a French colonel,
+crows most lustily on his own dunghill. This remarkable caricature
+possesses a singular historical interest, as it exactly expresses the
+feeling which pervaded England for some time after the close of
+the Crimean war. The hostile spirit towards Frenchmen which
+formed a part of John Leech&rsquo;s nature, once aroused was not easily
+allayed, and in the same volume he gives us specimens of <i>Some
+Foreign Produce that Mr. Bull can very well Spare</i>, in which he
+angrily includes French conspirators, vile French women, organ
+grinders (the artist&rsquo;s peculiar abomination), and other foreign refuse
+of an objectionable character. Further on, he follows up the subject
+in <i>A Discussion Forum (!) as Imagined by our Volatile Friends</i>, which
+represents a party of English conspirators from a French point of
+view. They wear the peaked hats, long cravats, long hair, boots,
+and inexpressibles peculiar to the Reign of Terror, and carry
+knives, revolvers, axes, and other weapons of destruction; a speaker
+occupies the rostrum, and below him sits the registrar with a bowl
+of blood, in which sanguinary fluid the proceedings are supposed to
+<span class="pagenum"><a name="page311" id="page311"></a>311</span>
+be recorded. The opposite picture, <i>A Discussion Forum (!) as it is
+in Reality</i>, shows us a number of foolish, ignorant, harmless youths,
+smoking pipes, drinking brandy and water, and discussing politics
+(so far as they are capable of understanding them) in a tavern
+club-room. Returning once more to his attacks on what he justly
+deemed the Romanizing tendency of the practices of certain members
+of the English Church, he gives us the cartoon of <i>Religion à la
+Mode</i>, in which a handsome woman is about to &ldquo;confess&rdquo; to a truculent
+and knavish looking ritualist. In the distance appears John
+Bull with his horsewhip, &ldquo;No, no, Mr. Jack Priest,&rdquo; says he; &ldquo;after
+all I have gone through, I am not such a fool as to stand any of
+<i>this</i> disgusting nonsense.&rdquo; Some sensation was created this year by
+a private fête which was given by a member of the aristocracy at
+Cremorne Gardens. It occasioned considerable talk at the time,
+and as Ritualism was then in the ascendant amongst certain female
+leaders of fashion, Leech gives us (in vol. xxxv.) a powerful picture,
+entitled <i>Aristocratic Amusements</i>, in which John Thomas asks his
+mistress (a magnificent specimen of the artist&rsquo;s handsome women)
+as he puts up the steps of her carriage, whither she would wish to be
+driven,&mdash;&ldquo;Confession or Cremorne, my lady?&rdquo;</p>
+
+<p>Misfortune, the proverb tells us, makes us acquainted with strange
+associates. The Emperor Louis, during his early exile, had picked
+up certain undesirable acquaintances, who were in the habit in after
+life of forcing themselves on his notice after a peculiarly disagreeable
+and dangerous fashion. His unfaithfulness to the principles of the
+brotherhood of which he and they had been members, had seriously
+exercised the minds of certain of these quondam acquaintances,
+who had given forcible expression to their feelings by attempting
+his assassination. The pear-shaped hand grenades of Orsini and his
+fellow-conspirator were the fruit of Louis&rsquo;s early connection with
+the secret societies of the Carbonari. They indicate the forces
+which controlled the policy of the Third Napoleon, and obliged
+him constantly to pick quarrels with his neighbours for the double
+purpose of employing his army and of keeping the attention of
+his restless subjects and quondam acquaintances distracted from
+<span class="pagenum"><a name="page312" id="page312"></a>312</span>
+himself. As the advisers upon whom he depended were removed
+by death, the absence of military capacity which his habitual reticence
+had concealed was manifested by his extraordinary ignorance
+of the weakness of the force which he had at his disposal, and
+the utter rottenness of its organization. Meanwhile Italian assassins
+warned Louis&rsquo;s advisers of the desperate insecurity of the tenure
+by which they held their own position, and of the necessity of
+distracting the attention of the restless spirits who made it their
+business to inquire into their master&rsquo;s title. Within a year, therefore,
+of the execution of Orsini and his friend, a quarrel was
+fastened on the Austrian ambassador, which reminded us of the
+first Emperor&rsquo;s insult to our own Lord Whitworth, and the Imperial
+word went forth that Italy was to be freed &ldquo;from the Alps to the
+Adriatic.&rdquo;<a name="FnAnchor_153" href="#Footnote_153"><span class="sp">153</span></a> Although Louis was unable to accomplish this programme,
+he was enabled by great good fortune, the aid of Sardinia,
+the execrably bad generalship of the Austrians, and the
+military <i>prestige</i> which still attached to the French name, to pave
+the way for this result; and Austria was not only humbled, but
+had moreover to surrender Venetia to Sardinia. No sooner was
+the war over, than Louis was suspected of casting longing eyes
+at the territories of his brave little ally,<a name="FnAnchor_154" href="#Footnote_154"><span class="sp">154</span></a> and in <i>A Scene from
+the New Pantomime</i>, he figures as clown, holding a revolver in his
+hand, with a goose marked &ldquo;Italy&rdquo; in his capacious pocket, assuring
+<span class="pagenum"><a name="page313" id="page313"></a>313</span>
+Britannia (a stout elderly woman who looks suspiciously on)
+that his intentions were of the most honourable description.</p>
+
+<p>In the sketch entitled <i>The Next Invasion, Landing of the French
+(Light Wines), and Discomfiture of Old General Beer</i> (vol. xxxviii.),
+we have a pictorial prophecy which has not borne fulfilment. Although
+the so-called <i>vin ordinaire</i> made some progress among us for
+a time, it was soon discovered that a low class of wine, which the
+French themselves would not drink, was being manufactured for the
+English market, and that good sound claret remained (as might have
+been anticipated) as dear, if not dearer, than ever. The climate and
+constitution of John Bull do not enable him to appreciate the merits
+of &ldquo;red ink&rdquo; as a table beverage, and in the end old General
+Barleycorn rallied and drove the invaders out of the popularity they
+had for a time achieved.</p>
+
+<p class="center1" style="letter-spacing: 3em;">******</p>
+
+<p>And here we break off&mdash;for reasons which will be apparent in
+our next chapter&mdash;the further consideration of the graphic satires
+of the late John Leech. Before passing on to other matters, we
+are bound to say that we regard them rather for what they might
+have been than for what we actually find them. Had they been
+executed with the same materials and under the same conditions
+as the graphic satires of Gillray or Cruikshank, or still better, in
+the manner in which the sporting pictures to the late Mr. Surtees&rsquo;
+novels were produced, we have no hesitation in saying that they
+would have distanced anything in the nature of caricature which
+had gone before. Unfortunately, the productions of the modern
+caricaturist (if, indeed, we may term him one) have no reasonable
+chance, it being apparently taken for granted that a modern public
+will not invest in caricatures of an expensive character.<a name="FnAnchor_155" href="#Footnote_155"><span class="sp">155</span></a> Moreover,
+he has no longer any hand in the completion of his picture,
+the wood-block being cut up into segments, each entrusted to a
+different hand, and executed with materials with which the older
+caricaturists had nothing to do, and under conditions of pressure
+<span class="pagenum"><a name="page314" id="page314"></a>314</span>
+and haste to which they were happily strangers. Hence it is, that
+while the admirable satires of John Leech enhance the value of
+the <i>Punch</i> volumes themselves, taken <i>singly</i>, not only will they
+not command a fiftieth part of the price asked and given for the
+coloured but inferior productions of an earlier school, but they
+are to all intents and purposes valueless. Leech himself has often
+been known to say to friends who admired his composition on the
+wood block:&mdash;&ldquo;Wait till Saturday, and see how the engraver will
+have spoiled it.&rdquo; We will subject the justice of these observations
+to a practical test. Let the reader compare an ordinary <i>Punch</i>
+cartoon with one of the tinted lithographs issued from the <i>Punch</i>
+office during the artist&rsquo;s lifetime under the title of <i>The Rising
+Generation</i>, and he cannot fail to be struck with the enormous
+advantages possessed by the latter. These last have their price,
+and command, by reason of their scarcity, a comparatively high one.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_139" href="#FnAnchor_139"><span class="fn">139</span></a> The prosecution, however, answered its purpose. The funds of the Repeal
+Association were nearly exhausted by the contest, the influence of the &ldquo;Liberator,&rdquo;
+as he was called, was destroyed, and he himself was more guarded and circumspect
+in his language. He died three years afterwards.</p>
+
+<p><a name="Footnote_140" href="#FnAnchor_140"><span class="fn">140</span></a> See the &ldquo;Political Sketches of <span class="cn">HB</span>.&rdquo;</p>
+
+<p><a name="Footnote_141" href="#FnAnchor_141"><span class="fn">141</span></a> <i>Edinburgh Review</i>, October, 1840.</p>
+
+<p><a name="Footnote_142" href="#FnAnchor_142"><span class="fn">142</span></a> See Chapter xviii.</p>
+
+<p><a name="Footnote_143" href="#FnAnchor_143"><span class="fn">143</span></a> The national defences, such as they are, being an accomplished fact, these
+strange people are now making themselves active in the promotion of the last
+suicidal mania&mdash;the Channel Tunnel!</p>
+
+<p><a name="Footnote_144" href="#FnAnchor_144"><span class="fn">144</span></a> <i>Vide</i> Kinglake&rsquo;s &ldquo;Invasion of the Crimea.&rdquo;</p>
+
+<p><a name="Footnote_145" href="#FnAnchor_145"><span class="fn">145</span></a> There are of course curious stories about as to the <i>cause</i> of the Emperor&rsquo;s
+death: for one of these see &ldquo;Journal of the Rev. J. C. Young,&rdquo; vol. ii. p. 331.</p>
+
+<p><a name="Footnote_146" href="#FnAnchor_146"><span class="fn">146</span></a> Figures will conclusively prove who bore the burden and heat of the day.
+The English loss was: killed, 25 officers, 19 sergeants, 318 rank and file; 81
+officers, 102 sergeants, and 1,438 rank and file wounded. The French loss was
+simply 60 killed and 500 wounded. The Russian loss in killed and wounded
+was 5,709.</p>
+
+<p><a name="Footnote_147" href="#FnAnchor_147"><span class="fn">147</span></a> Kinglake&rsquo;s &ldquo;Invasion of the Crimea,&rdquo; 6th edition, 1877, vol. iii. p. 305.</p>
+
+<p><a name="Footnote_148" href="#FnAnchor_148"><span class="fn">148</span></a> Kinglake&rsquo;s &ldquo;Invasion of the Crimea,&rdquo; 6th edition, 1877, vol. iii. p. 349.</p>
+
+<p><a name="Footnote_149" href="#FnAnchor_149"><span class="fn">149</span></a> At 8.30 a.m. the Russians had 17,000 infantry and 100 guns opposed to
+3,600 English with 36 guns and 1,600 French infantry and 12 guns [<i>Ibid.</i> vol. vi.
+p. 321]. Three hours later on, Canrobert had under his orders 9,000 fresh men,
+who remained inactive: &ldquo;So far as concerned any active exertion of infantry
+power, our people were now left to fight on <i>without any</i> aid from the French&rdquo;&mdash;<i>Ibid.</i>
+pp. 416, 417.</p>
+
+<p><a name="Footnote_150" href="#FnAnchor_150"><span class="fn">150</span></a> <i>Ibid.</i> vol. vi. pp. 439, 440.</p>
+
+<p><a name="Footnote_151" href="#FnAnchor_151"><span class="fn">151</span></a> A more telling commentary on our useless waste of blood and treasure could
+scarcely be found. Truly they manage these things better in Germany.</p>
+
+<p><a name="Footnote_152" href="#FnAnchor_152"><span class="fn">152</span></a> See the remarkable expressions of dissatisfaction <i>wrung</i> from the placid Lord
+Raglan on various occasions, and the very free manner in which the English
+officers expressed themselves when the 7th French <i>leger</i> regiment ran away from
+the Russians at Inkerman for the second time.&mdash;<i>Kinglake&rsquo;s</i> &ldquo;<i>Invasion of the
+Crimea</i>,&rdquo; 6th edition, 1877, vol. vi. pp. 327-8, 344-5.</p>
+
+<p><a name="Footnote_153" href="#FnAnchor_153"><span class="fn">153</span></a> Louis was fond of these theatrical announcements, which answered the purpose
+he designed, of attracting the sympathy of the impressionable French people.
+The following is a short summary of the mode in which Italy was <i>really</i> freed
+&ldquo;from the Alps to the Adriatic&rdquo;:&mdash;Lombardy was surrendered to Sardinia 11th
+July, 1859; the treaty ceding Savoy and Nice to France was signed 24th March,
+and approved by the Sardinian Parliament 29th May, 1860. The French
+troops retired from Italy the same month. Garibaldi landed at Marsala 11th
+May, 1860, and entered Naples on the 18th of August. The kingdom of Italy
+was recognised by Great Britain 31st March, 1861. In 1864 Florence was declared
+the capital of Italy. The French troops left Rome in November, 1865.
+Venetia was ceded to France by Austria 3rd July, 1866. They retired from the
+Quadrilateral in October, 1866; Venice was annexed to Italy the same month;
+the Italian troops entered Rome in September, 1870, when Napoleon III. was no
+longer able to interpose, and it was incorporated in the Italian kingdom in October.</p>
+
+<p><a name="Footnote_154" href="#FnAnchor_154"><span class="fn">154</span></a> See previous note.</p>
+
+<p><a name="Footnote_155" href="#FnAnchor_155"><span class="fn">155</span></a> Since the above was written, a weekly paper has been established, which
+promises to promote the revival of caricature art.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page315" id="page315"></a>315</span></p>
+<h3>CHAPTER XV.</h3>
+
+<h5><i>JOHN LEECH</i> (<i>Continued</i>).</h5>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p><i>Giovanni.</i> What do the dead do, uncle?&mdash;do they eat,</p>
+  <p class="i1">Hear music, go a hunting, and be merry,</p>
+  <p class="i1">As we that live?</p>
+
+<p><i>Francesco de Medicis.</i> No, Cuz; they sleep.</p>
+
+<p><i>Giov.</i> ... When do they wake?</p>
+
+<p><i>Frances.</i> When God shall please.</p>
+
+</div>
+</td></tr></table>
+
+<p class="rt f90"><span class="sc">Webster&rsquo;s</span> <i>White Devil; or, Vittoria Corombona</i> (1612), Act 3.</p>
+
+<p class="noind pt05"><span class="sc">Many</span> of our readers will remember the exhibition at the Egyptian
+Hall, in 1862, of John Leech&rsquo;s &ldquo;Sketches in Oil,&rdquo; the subjects being
+enlarged reproductions from selected examples of his minor drawings
+for <i>Punch</i>. To his friend Mark Lemon is due the credit of
+this idea, which was carried out after the following manner:&mdash;The
+impression of a block in <i>Punch</i> being first taken on a sheet of india-rubber,
+was enlarged by a lithographic process; the copy thus
+obtained was transferred to stone, and impressions obtained on a
+large sheet of canvas. The result was an outline groundwork, consisting
+of his own lines enlarged some eight times the dimensions
+of the original drawing, which the artist then proceeded to fill up in
+colour. His knowledge of the manipulation of oil colours was,
+however, slight, and his first crude attempts were made under the
+guidance of his friend Mr. Millais. The first results can scarcely be
+said to be satisfactory; a kind of transparent colour was used, which
+allowed the coarse lines of the enlargement to be distinctly visible,
+and the finished production presented very much the appearance of
+an indifferent lithograph slightly tinted. In a short time, however,
+he conquered the difficulty; and, instead of allowing the thick, fatty
+<span class="pagenum"><a name="page316" id="page316"></a>316</span>
+lines of printer&rsquo;s ink to remain on the canvas, he removed them&mdash;particularly
+as regards the outlines of the face and figure&mdash;by means
+of turpentine. These outlines he re-drew with his own hand in a
+fine and delicate manner, and added a daintiness of finish, particularly
+in flesh colour, which greatly enhanced the value and
+beauty of the work. He nevertheless experienced some difficulty
+in reproducing in these enlargements the delicacy of touch and
+exactness which characterized the original drawings, and would
+labour all day at a detail&mdash;such as a hand in a certain position&mdash;before
+attaining a result which entirely satisfied himself. The
+catalogue of this exhibition may be cited in evidence of Leech&rsquo;s
+characteristic modesty. &ldquo;These sketches,&rdquo; it said, &ldquo;have no claim
+to be regarded or tested as finished pictures. It is impossible for
+any one to know the fact better than I do. They have no pretensions
+to a higher name than that I have given them&mdash;&rsquo;Sketches
+in Oil.&rsquo;&rdquo;</p>
+
+<p>Popular and eminently successful as this exhibition proved to be,
+it was undeniably rendered more popular and successful by his
+staunch friend Thackeray&rsquo;s article in the <i>Times</i> of 21st June, 1862:&mdash;&ldquo;He
+is a natural truth-teller,&rdquo; said the humourist, &ldquo;as Hogarth was
+before him, and indulges in as many flights of fancy. He speaks
+his mind out quite honestly, like a thorough Briton.... He
+holds Frenchmen in light esteem. A bloated &lsquo;Mossoo&rsquo; walking in
+Leicester Square, with a huge cigar and a little hat, with &lsquo;billard&rsquo;
+and &lsquo;estaminet&rsquo; written on his flaccid face, is a favourite study with
+him; the unshaven jowl, the waist tied with a string, the boots
+which pad the Quadrant pavement, this dingy and disreputable
+being exercises a fascination over Mr. Punch&rsquo;s favourite artist. We
+trace, too, in his work a prejudice against the Hebrew nation,
+against the natives of an island much celebrated for its verdure and
+its wrongs; these are lamentable prejudices indeed, but what man
+is without his own?&rdquo; Thackeray&rsquo;s kindly article delighted Leech;
+he said &ldquo;it was like putting £1,000 in his pocket.&rdquo; The exhibition,
+indeed, was so splendid a success that it is said to have brought
+in nearly £5,000.</p>
+
+<p><span class="pagenum"><a name="page317" id="page317"></a>317</span></p>
+
+<p>Those who, like ourselves, have found it necessary to examine
+the <i>Punch</i> volumes from their commencement in 1841, down to the
+31st of December, 1864, cannot fail to be struck by the steady
+decrease in the number of cartoons which the artist annually
+designed and executed for the periodical. In 1857 the number
+contributed was 33; in 1858, 30; in 1859, 21; in 1860, 15, in
+1861 the number had fallen as low as 10; while in 1862 it did not
+exceed 4.<a name="FnAnchor_156" href="#Footnote_156"><span class="sp">156</span></a> This decrease (which is confined, be it observed, to
+the cartoons which he contributed to <i>Punch</i>) was due to failing
+health consequent on the strain of incessant production. Of the
+coming evil he himself was distinctly cognizant. It is said of him
+that Lord Ossington, then Speaker, once met him on the rail, and
+expressed to him his hope that he enjoyed in his work some of the
+gratification which it afforded to others. His answer was a melancholy
+one:&mdash;&ldquo;I seem to myself to be a man who has undertaken
+to walk a thousand miles in a thousand hours.&rdquo; It was certainly
+not such a reply as one would exactly look for, looking only at
+the joyous character of the pictures he executed for <i>Punch</i>. He
+complained in 1862&mdash;the year at which we have arrived&mdash;of habitual
+weariness and sleeplessness, and was advised to try rest and change
+of air. He acted upon the suggestion, and, accompanied by his old
+friend Mark Lemon, proceeded in that year on a short tour to Paris,
+and from thence to Biarritz. Leech&rsquo;s pencil was not idle on this
+holiday, as two of his pictures will testify. The first, <i>A Day at
+Biarritz</i>, appears in the Almanack of 1863, and among the figures
+he has introduced into this delightful sketch is that of the grave and
+saturnine Louis, snapping his fingers in the highest <i>abandon</i> and
+<span class="pagenum"><a name="page318" id="page318"></a>318</span>
+skipping off with his friend <i>Punch</i> to enjoy his ocean bath. &ldquo;The
+other,&rdquo; says Mr. Shirley Brooks, &ldquo;is a very remarkable drawing. It
+represents a bull-fight as seen by a decent Christian gentleman, and
+for the first time since the &lsquo;brutal fray&rsquo; was invented the cold-blooded
+barbarity and stupidity of the show is depicted without any
+of the flash and flattery with which it has pleased artists to treat the
+atrocious scene. That grim indictment of a nation professing to be
+civilized will be a record for many a day after the offence shall have
+ceased.&rdquo;<a name="FnAnchor_157" href="#Footnote_157"><span class="sp">157</span></a></p>
+
+<p>Leech returned from this brief visit with no appreciable benefit.
+Charles Mackay tells us that he met him and his constant friend,
+Thackeray, at Evans&rsquo; supper-rooms in December, 1863. &ldquo;They
+both complained of illness, but neither of them looked ill enough
+to justify the belief that anything ailed them beyond a temporary
+indisposition, such as all of us are subject to. Leech was particularly
+despondent, and complained much of the annoyances to which
+he was subjected by the organ-grinders of London, and by the
+dreadful railway whistles at the stations whenever he left town.
+His nerves were evidently in a high state of tension, and I recommended
+him, not only as a source of health and amusement, but
+of profit, to take a voyage across the Atlantic, and pass six months
+in America, where he would escape the organ-grinders, street-music,
+and the railway-whistles, and bring back a portfolio filled with
+sketches of American and Yankee character. &lsquo;I am afraid,&rsquo; he
+replied, &lsquo;that B. &amp; E. [Bradbury &amp; Evans] would not like it.
+Besides, I should not like to be absent from <i>Punch</i> for so long a
+time.&rsquo; &lsquo;Nonsense,&rsquo; said Thackeray, &lsquo;B. and E. would highly approve,
+provided you sent them sketches. <i>I</i> think it a good idea,
+and you might put five thousand pounds in your pocket by the
+trip. The Americans have never been truly portrayed, as you
+would portray them. The niggers alone would be a little fortune
+to you.&rsquo; Leech shook his head dubiously, and I thought mournfully,
+and no more was said upon the subject.&rdquo;<a name="FnAnchor_158" href="#Footnote_158"><span class="sp">158</span></a></p>
+
+<p><span class="pagenum"><a name="page319" id="page319"></a>319</span></p>
+
+<p>Nevertheless, the end of one at least of these steady friends
+and men of genius was drawing near with sure and rapid strides.
+Both were present at the anniversary of the death of the founder
+of the Charterhouse, &ldquo;good old Thomas Sutton,&rdquo; on the 12th
+of that same month of December, 1863. At the celebration of
+Divine service at four o&rsquo;clock, Thackeray occupied his accustomed
+back seat in the quaint old chapel; from thence he went to the
+oration in the Governor&rsquo;s room; and as he walked up to the
+orator with his contribution, the great humourist, Mr. Theodore
+Taylor, tells us, was received &ldquo;with such hearty applause as only
+Carthusians can give to one who has immortalized their school.&rdquo;<a name="FnAnchor_159" href="#Footnote_159"><span class="sp">159</span></a>
+At the banquet which followed he sat by the side of John Leech,
+who was one of the stewards, and proposed the time-honoured
+toast, <i>Floreat Æternum Carthusiana Domus</i>, in a speech which was
+received with three times three and one cheer more. John Leech
+replied to the toast of the stewards. The day is memorable as
+the last &ldquo;Founder&rsquo;s Day,&rdquo; which either of these men&mdash;so eminently
+distinguished in art and letters&mdash;was ever permitted to attend.</p>
+
+<p>Three days afterwards Thackeray was present at the usual weekly
+<i>Punch</i> dinner on the 15th of December, for, although he had long
+ceased to be a regular contributor to the periodical, he not only
+continued to aid the staff with his suggestion and advice, but
+was a constant member of the council.<a name="FnAnchor_160" href="#Footnote_160"><span class="sp">160</span></a> But ever since the time
+he was writing &ldquo;Pendennis,&rdquo; a dozen years before, he had been
+visited periodically by attacks of sickness, attended with violent
+retching. One of these occurred on the morning of Wednesday,
+the 23rd of this same month of December, and he was in great
+suffering all day. About midnight of that day, his mother, Mrs.
+Carmichael Smith,<a name="FnAnchor_161" href="#Footnote_161"><span class="sp">161</span></a> who slept in the room above his own, had
+heard him get up and walk about; but as this was his habit when
+visited by these fell visitations, she was not alarmed. The man,
+<span class="pagenum"><a name="page320" id="page320"></a>320</span>
+however, was in his mortal agony; and when his valet, Charles
+Sargent, entered his master&rsquo;s chamber on the morning of Christmas
+Eve, and tried to arouse him, he found that he answered not, neither
+regarded, having passed into the slumber from which the spirit of
+man refuses to be awakened.</p>
+
+<p>Dying Jerrold had time vouchsafed to him to whisper, &ldquo;Tell the
+dear boys,&rdquo; meaning his associates in <i>Punch</i>, &ldquo;that if I have ever
+wounded any of them, I&rsquo;ve always loved them,&rdquo; and so he went his
+way. To Thackeray no such grace was given; the hands peacefully
+spread over the coverlet, which stirred not when Sargent bent anxiously
+over his master, proclaimed that true hearted noble Thackeray
+had gone the long journey, leaving no word of message for
+those who had loved him. &ldquo;We talked of him,&rdquo; said Mr. Edmund
+Yates, &ldquo;of how, more than any other author, he had written about
+what is said of men immediately after their death&mdash;of how he had
+written of the death-chamber, &lsquo;They shall come in here for the last
+time to you, my friend in motley.&rsquo; We read that marvellous sermon
+which the week-day preacher delivered to entranced thousands over
+old John Sedley&rsquo;s dead body, and &lsquo;sadly fell our Christmas Eve.&rsquo;&rdquo;
+That same Christmas Eve, the melancholy tidings were conveyed to
+Mark Lemon by his sorrowing friend, John Leech. The artist was
+terribly affected, and told Millais of his presentiment that he also
+should die suddenly and soon.</p>
+
+<p>In March, 1864, we notice the death of another author, whose
+almost unrecorded name is, nevertheless, intimately associated with
+that of the artist. This was Mr. R. W. Surtees, author of the
+sporting novels which the genius of Leech has made for ever famous.
+Mr. Surtees for some years practised as a London solicitor; but the
+death of an elder brother improved his position, and enabled him to
+quit a profession which he disliked, in favour of the more congenial
+employment of literature. Those of his works best known (he published
+several others) are, of course, &ldquo;Handley Cross,&rdquo; &ldquo;Sponge&rsquo;s
+Sporting Tour,&rdquo; &ldquo;Plain or Ringlets,&rdquo; &ldquo;Ask Mamma,&rdquo; and &ldquo;Mr. Facey
+Romford&rsquo;s Hounds.&rdquo; Notwithstanding a decidedly horsey and somewhat
+vulgar tone,&mdash;a tone which by the way certainly did not characterize
+<span class="pagenum"><a name="page321" id="page321"></a>321</span>
+Mr. Surtees himself,&mdash;they possess a certain original humour,
+which will render their perusal productive of amusement. He died
+suddenly on the 16th of March, 1864, in his sixty-second year.</p>
+
+<p>It has been the habit of the contributors to <i>Punch</i>, almost from
+the commencement of the periodical, to dine together every Wednesday.
+In the winter months the dinner was usually held in the front
+room of the first floor of the business premises of the proprietors,
+Messrs. Bradbury &amp; Evans, in Bouverie Street, Whitefriars. Sometimes
+these dinners were held at the Bedford Hotel, Covent Garden.
+During the summer months it was customary to hold ten or twelve
+dinners at Greenwich, Richmond, Blackwall, and other places in the
+neighbourhood of London. On these occasions the programme (if we
+may so term it) of the forthcoming number was arranged and settled,
+papers were brought out, and the latest intelligence discussed, so
+as to bring the &ldquo;cartoon&rdquo; down to the latest, or rather one of the
+latest subjects of current interest. At the weekly council dinner
+John Leech was a faithful attendant. These meetings, indeed, &ldquo;he
+thoroughly enjoyed, and his suggestions, not merely as to pictorial
+matters, but generally, were among the most valuable that were
+offered, as may be inferred from his large knowledge of the world,
+his keen sense of the ludicrous, and his hatred of injustice and
+cruelty.&rdquo;<a name="FnAnchor_162" href="#Footnote_162"><span class="sp">162</span></a> One of the most regular attendants of the <i>Punch</i> dinners&mdash;I
+think that in 1864, at least, he scarcely missed one&mdash;was the
+most indefatigable of the literary staff, Mr. Shirley Brooks. One
+was held at The Bedford on the 13th of April, 1864, just about the
+time when Lord John Russell was setting out as our representative
+at the Conference, and the outcome of this particular <i>Punch</i> dinner,
+at which were present Messrs. Mark Lemon, Shirley Brooks, Tom
+Taylor, John Leech, and Percival Leigh, was Leech&rsquo;s admirable
+cartoon of <i>Moses Starting for the Fair</i>. &ldquo;Let us hope,&rdquo; adds the
+pictorial satirist, in special reference to his lordship&rsquo;s unfortunate
+capacity for getting himself into a mess, that &ldquo;he won&rsquo;t bring back a
+gross of green spectacles.&rdquo; It was one of the last of Leech&rsquo;s political
+<span class="pagenum"><a name="page322" id="page322"></a>322</span>
+shafts, and the subject was suggested (we have his own authority for
+stating it) by his friend and literary colleague, Mr. Shirley Brooks.<a name="FnAnchor_163" href="#Footnote_163"><span class="sp">163</span></a></p>
+
+<p>&ldquo;Clearly ill,&rdquo; is Mr. Brook&rsquo;s record of the state of John Leech&rsquo;s
+health on this same 13th of April, 1864. He no longer found
+pleasure in hunting, of which he had been exceedingly fond, and
+had even discontinued, at the order of his medical attendant, riding
+on horseback. He was affected with nervous irritability, the effect
+of incessant application. The ordinary noise of the streets&mdash;musicians,
+organ-grinders, street vendors, and the like&mdash;worried him beyond
+endurance. Long before the period at which we have arrived
+these annoyances had driven him from his residence in Brunswick
+Square to seek shelter from his enemies at No. 3, The Terrace,
+Kensington. His nervous irritability is manifested in the designs
+which he continued to draw for <i>Punch</i>. In one of his illustrations
+to vol. xlv. (1863), depicting certain familiar sea-side nuisances, he
+asks, &ldquo;Why a couple of conceited fanatics should be allowed to
+disturb the repose of a Sunday afternoon by the sea-side?&rdquo; and
+&ldquo;Why the authorities at Brighton, so sensible and considerate in
+keeping the place free from the <i>detestable</i> organ grinders, should
+permit the terrible nuisance indicated [in the illustration] to exist?&rdquo;
+&ldquo;Fresh prawns, whiting, oysters, or watercresses,&rdquo; remonstrated the
+persecuted artist, &ldquo;are capital things in their way, and we should
+think that the jaded man of occupation, or the invalid, would very
+much rather send to a respectable shop for such delicacies, than
+have them &lsquo;bellowed&rsquo; into his ears morning, noon, and night.&rdquo;
+His illustrations of this character are so numerous that the ordinary
+observer would probably suppose that they were part only of a
+series; to the observer, however, who knew Leech, they clearly
+indicate the nervous irritability under which he suffered, and which
+was probably caused, and certainly intensified, by the nuisances of
+which he complained.</p>
+
+<p>The state of Leech&rsquo;s health in May, 1864, seems to me best explained
+in the letter which Mark Lemon at this time wrote to Mr.
+<span class="pagenum"><a name="page323" id="page323"></a>323</span>
+Bass, in relation to his proposed bill for the regulation of street
+music. After showing how he himself was obliged to quit London
+to escape the nuisance of street music, the then editor of <i>Punch</i>
+continues: &ldquo;A dear friend of mine, and one to whom the public
+has been indebted for more than twenty years for weekly supplies of
+innocent amusement, and whose name will find a place in the future
+history of art, has not been so fortunate. He lived in Brunswick
+Square, and remained there until the nervous system was so seriously
+affected by the continual disturbance to which he was subjected
+while at work, that he was compelled to abandon a most desirable
+home, and seek a retreat at Kensington. After expending considerable
+sums to make his residence convenient for his art-work,&mdash;placing
+double windows to the front of his house, etc.,&mdash;he is
+again driven from his home by the continual visitation of street
+bands and organ-grinders. The effect upon his health&mdash;produced,
+upon my honour, by the causes I have named&mdash;is so serious that
+he is forbidden to take horse exercise, or indulge in fast walking,
+as a palpitation of the heart has been produced&mdash;a form of <i>angina
+pectoris</i>, I believe&mdash;and his friends are most anxiously concerned
+for his safety. He is ordered to Homburg, and I know that the
+expatriation will entail a loss of nearly £50 a week upon him just at
+present.</p>
+
+<p>&ldquo;I am sure I need not withhold from you the name of this poor
+gentleman. It is Mr. John Leech.</p>
+
+<p>&ldquo;If those gentlemen who laugh at complaints such as this letter
+contains were to know what are the natural penalties of constant
+brain-work, they would not encourage or defend such unnecessary
+inflictions as street music entails upon some of the benefactors of
+their age. Such men are the last to interfere with the enjoyments of
+their poorer fellow-labourers; but they claim to be allowed to pursue
+their callings in peace, and to have the comfort of their homes
+secured to them. All they wish is to have the same immunity
+from the annoyances of street music as the rest of the community
+have from dustmen&rsquo;s bells, post-horns, and other unnecessary disturbances.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page324" id="page324"></a>324</span></p>
+
+<p>The terrible nature of poor Leech&rsquo;s sufferings will be shown by
+another anecdote of Dr. Mackay&rsquo;s. Just about this time he met
+Mr. F. M. Evans, one of the proprietors of <i>Punch</i>, and asked him
+how Leech was. &ldquo;Very ill,&rdquo; was the reply; &ldquo;the sufferings he
+endures from noise are painful to think of. I took him down into
+the country a little while ago to stay a week, or as much longer as
+he pleased, promising him that he should hear no organ-grinders
+there, nor railway whistles, nor firing of guns. The next morning
+on getting up to breakfast, I found that he had packed up his portmanteau
+and was ready to depart. &lsquo;I cannot stay any longer here,&rsquo;
+he said, &lsquo;the noise drives me frantic!&rsquo; &lsquo;What noise?&rsquo; &lsquo;The gardener
+whetting his scythe. It goes through my ears like a corkscrew.&rsquo;
+And nothing that I could say could prevail upon him to
+prolong his visit.&rdquo;</p>
+
+<p>But there was no falling off in the quality of the work which
+Leech executed for <i>Punch</i> or other employers at this time; on the
+contrary, his drawings seemed to me marked by more than their
+usual excellence. Witness more especially the few etchings he lived
+to finish for &ldquo;Mr. Facey Romford&rsquo;s Hounds,&rdquo; and the coloured etching
+to &ldquo;Punch&rsquo;s Pocket Book&rdquo; of the year. One of the illustrations
+which he designed for the 1864 edition of the &ldquo;Ingoldsby Legends,&rdquo;
+and which shows us one of his stalwart servant girls drawing up
+the trunkless head of &ldquo;St. Genulphus&rdquo; from the bottom of the well,
+appears to me to call for special notice. I would ask the reader to
+observe the details of that perfectly marvellous drawing, executed
+with all the effect and at a fifth of the labour which George Cruikshank
+in his best days would have bestowed upon it. I would
+entreat him to mark that wicked, graceless, bald-pated old head,
+with its port wine nose resting on the rim of the bucket, and its
+wicked old eye suggestively winking unutterable things at the perplexed
+and astounded maiden. I would ask him to look at that
+drawing; to take into account the health of the genial, failing artist
+who designed it; and to tell me, whether in all the range of English
+comic art he remembers to have met with anything more intensely
+comical?</p>
+
+<p><span class="pagenum"><a name="page325" id="page325"></a>325</span></p>
+
+<p>We find John Leech and his able coadjutor, Mr. John Tenniel,
+present at the <i>Punch</i> dinner of Wednesday, the 15th of June; but
+shortly afterwards he started on the journey ordered by his medical
+advisers, and set off for Homburg in the company of his friend,
+Mr. Alfred Elmore, sojourning afterwards for a time at Schwalbach.
+He was absent altogether about six weeks. A record in the diary to
+which I am indebted for so much information in relation to him
+tells me, under date of 10th August, &ldquo;Leech has returned from
+Germany, but I am sorry to say I don&rsquo;t think he is stronger.&rdquo; The
+sole result, in fact, obtained was that his mind was amused by his
+visit to new scenery, while his sketch-book was filled with valuable
+memorials of the sojourn for future use. He was present at the
+<i>Punch</i> dinner on Wednesday, the 17th of August, and suggested
+to his colleagues by way of cartoon the subject of <i>The American
+Juggernaut</i>.</p>
+
+<p>Just at the time when Leech came back from Germany, unbenefited
+<span class="sn">The Death of Robson.</span>
+by the change which it was hoped would recruit his
+exhausted strength, a great artist in another and a different walk in
+art, one who had not used his <i>genius</i> (we will not say his opportunities,
+for we doubt whether they were really given him) to the
+best advantage, took his departure from the scene of many triumphs
+and greater disappointments: this was Thomas Frederick Robson, the
+actor. He had been so long absent from the boards, that the event
+failed to create the sensation which might have been expected from
+the sudden fall of a theatrical star of such unquestionable magnitude.
+Full justice has been done to his remarkable genius elsewhere; and
+all united in regret that a man who was so great an artist, and
+might have been a greater, had been prematurely lost to the
+theatrical world. Those who remember Robson and his marvellous
+powers,&mdash;the lightning-like flashes of energy he was wont to throw
+into his parts,&mdash;his startling transition from passion to passion,&mdash;will
+agree with us that, if circumstances had led him to study the higher
+drama, his name would probably have occupied a place side by side
+with the more prominent names of George Frederick Cooke, Edmund
+Kean, and our own Irving.  The remarkable power wasted on
+<span class="pagenum"><a name="page326" id="page326"></a>326</span>
+burlesque, or thrown away in the delineation of low life character,
+must assuredly have made itself felt in tragedy; and the <i>genius</i>
+manifested in the <i>mock</i> Shylock of Robson, would have enabled him
+to offer a splendid presentment of the real Hebrew, and as perfect
+a realization of the character of Richard the Third as has ever
+perhaps been seen. His comedy&mdash;when opportunity was given
+him of displaying it&mdash;was full of true humour. He had in fact, in
+a remarkable degree, all the qualities of a splendid actor; but it
+was his peculiar misfortune that he had never a proper opportunity
+given him of displaying them. The fact that he was enormously
+popular was nothing, for many men are popular with not a tithe of
+the gifts or power which distinguished Robson. The favour of the
+&ldquo;general,&rdquo; except in a sordid sense, is not worth much in these days.
+A proof of this is to be found in the fact that the name of Robson&mdash;after
+the lapse of twenty years&mdash;is scarcely known to the ordinary
+playgoer; but his genius, while he lived, was recognised by those
+whose applause is not easily earned, and was therefore worth the
+earning.</p>
+
+<p>Within a week or ten days after his return from the Continent,
+Leech went with his family to Whitby, in the hope that the fresh
+Yorkshire sea air would invigorate and brace up his shattered
+system. Some friends were staying there at the time, and among
+them a young artist then comparatively new to <i>Punch</i>, but who has
+been for years past one of its leading pictorial supporters<a name="FnAnchor_164" href="#Footnote_164"><span class="sp">164</span></a>&mdash;Mr.
+Du Maurier. During his sojourn here, I find him writing to his
+friends the Brookses, that if they would join him, it would induce
+him to prolong his stay. They went accordingly, and remained at
+Whitby until the artist returned to town on the 3rd of October.
+&ldquo;Leech, when we could induce him to leave the painting in oil, to
+which he devoted too many hours, enjoyed the drives into the wild
+<span class="pagenum"><a name="page327" id="page327"></a>327</span>
+moors, and up and down the terrible but picturesque roads; and he
+was still more delighted with the rich woods, deep glades, and
+glorious views about Mulgrave Castle. I hoped,&rdquo; continues Shirley
+Brooks, in the touching memorial which he contributed to the
+<i>Illustrated London News</i> only a few weeks afterwards, &ldquo;I hoped that
+good was being done; but it was very hard to stir him from his
+pictures, of which he declared that he must finish a great number by
+Christmas. It was not for want of earnest and affectionate remonstrance
+of those close by his side, nor lack of such remonstrance
+being seconded by myself and others, that he persevered in overlabour
+at these paintings, which he had undertaken with his usual
+generosity, in order to enable himself to provide a very large sum of
+money for the benefit of his relatives, not of his own household. It
+need hardly be said that he was never pressed for work by his old
+friend the editor of <i>Punch</i>.&rdquo; For a long time past his contribution
+to that periodical had not exceeded one half-page engraving each
+week; but at Whitby he elaborated a large sketch, originally taken
+at Schwalbach, which is worthy of mention as being the last of his
+cartoons. It will be found in vol. xlvii. (1864), and is labelled <i>The
+Weinbrunnen Schwalbach</i>, and among the company drinking the
+waters he has introduced the late Emperor Louis, the late King of
+Italy, the late Pope, and other notable political personages. The
+light esteem in which he held everything French is notable in this
+drawing. Conspicuous in the foreground are several dogs belonging
+to the English turnspit breed, one of which views a yapping French
+poodle with the most unmitigated disdain. The landscape and
+surroundings in this composition deserve particular attention, as
+they are charming examples of Leech&rsquo;s oft-admitted talent as a
+landscape artist.</p>
+
+<p>In the diary I find several reminiscences of the Whitby visit, and
+of the walks and drives and dinners with the Leeches. Shirley
+Brooks and his wife drove with them to Mulgrave Castle and its
+&ldquo;glorious woods,&rdquo; on the 29th of September; the former afterwards
+went to a concert at St. Hilda&rsquo;s Hall, in reference to which I find
+the following entry:&mdash;&ldquo;Grisi, Mario, Sainton and his wife. I wrote
+<span class="pagenum"><a name="page328" id="page328"></a>328</span>
+to the latter, and went round to see them between the parts. Introduced
+to Grisi, who was in a vile temper, something about rooms.&rdquo;
+Shirley Brooks sent also the following characteristic account of the
+entertainment to the <i>Musical World</i>:&mdash;</p>
+
+<p class="pt2 sc">&ldquo;My dear Sir,&mdash;</p>
+
+<p style="text-indent: 4em;">&ldquo;Owls, like other quadrupeds, must have holidays, and
+I have flown hither. But the wind has changed, and the owl, for
+all his feathers, is a-cold, as the poet observes. I shall return to the
+Metropolis&mdash;<i>templa quam dilecta</i>&mdash;as Plautus might have said in his
+<i>Owlowlaria</i>, if he had liked. I never thought much of these Latin
+dramatists, and indeed I never would read any of their works. For
+that matter, the works of few dramatists are worth reading. And
+while on the subject, I may add, that few writings of any kind are
+worth reading. Herein I am at one with Thomas Carlyle, and show
+my admiration of what he says by absolutely declining to read his
+&rsquo;Frederick the Great.&rsquo;</p>
+
+<p>&ldquo;Possibly I might not have expended the postage stamp affixed
+to this letter had I intended only to offer you the above interesting
+information. I could have given you this at the Keppell&rsquo;s Arms
+during one of those many refections which I hope to partake with
+you at that hostelry. But I wish to record something that may have
+an immediate interest. There is a hall here called St. Hilda&rsquo;s Hall,
+and it is used for public purposes. It is furnished with a large scene-like
+painting of Whitby, is very hot, and is near the harbour, which at
+low tide emitteth odours which are odious; and I think that it is
+always low tide.</p>
+
+<p>&ldquo;There was a concert in this hall in the afternoon, and also in the
+evening, of the Feast of S. Michael and All Angels. Two of the
+latter came here to sing. You know them in London as Madame
+Grisi and Madame Sainton-Dolby. With them came Signor Mario
+and M. Sainton, and also Herr M. Lutz and Mr. Patey. They all
+sang or played. Verily, my friend and pitcher (for thou pitchest
+stones deftly, as it were), it was a refreshment, yea, and a consolation,
+to hear their voices and their instruments. I will not give you a
+<span class="pagenum"><a name="page329" id="page329"></a>329</span>
+catalogue of their musical deeds, for I had a bill, but it was borrowed
+from me by a large Yorkshireman, and he was so very large that I
+did not like to demand it again. Nevertheless, <i>La Diva</i> sang &ldquo;The
+Last Rose of Summer,&rdquo; <i>a la Flotow</i>, and made me think of many
+things&mdash;are they not written in the book of the Chronicles of
+Benjamin, whose name is Lumley? Likewise she sang something
+out of <i>Faust</i>, with il Signor, and other matters, whereof no matter&mdash;is
+it not enough to have seen and heard her? But commend me,
+(not that I need your commendation) to Madame Sainton-Dolby,
+inasmuch as that lady sang Handel&rsquo;s &lsquo;Lascia ch&rsquo;o pianga,&rsquo; and sang
+it nobly, and sang Smart&rsquo;s &lsquo;Lady of the Lea,&rsquo; and sang
+Claribel&rsquo;s &lsquo;Maggie&rsquo;s Secret,&rsquo; and sang it divinely. You know what
+M. Sainton can do with his violin, but you do not know what he
+cannot do with it, nor do I. Il Signor Mario put forth his powers
+chivalrously, and broke many hearts among the fair York roses. <i>La
+Diva</i> was dressed in white. Madame Sainton-Dolby was dressed in
+pink. I was dressed in a black coat, waistcoat, and trowsers, white
+cravat, lavender gloves, and patent leather boots, and the little boys
+of Whitby, unaccustomed to such splendour, cheered me as I came
+out, privately and alone, to dip my beak in the gascon wine, that is,
+in some excellent beer, in which I now drink your health.</p>
+
+<p>&ldquo;If you have another reporter, your own special, in the town (I
+saw two or three persons who looked disreputable and enthusiastic
+enough to be musical critics&mdash;or even dustmen), and he has kept
+sober and sent you a report, you need not print this. I do not care
+a horse&rsquo;s mamma whether you print it or not. But I had a delightful
+evening, and I do not care who knows it; in fact, I wish everybody
+to know it, and that is why I write to your widely circulated (and
+widely yawned-over) journal. You have not been over civil to me
+of late, which is very ungrateful. You may say, with an attempt at
+wit, that the owl was a baker&rsquo;s child, and therefore crusty. I
+believe that you could win the prize for the worst conundrum in any
+circus in Yorkshire.</p>
+
+<p>Receive the assurance of my profound respect.</p>
+
+<p class="rt" style="padding-right: 5em;">&ldquo;Ever yours,</p>
+<p class="sc">&ldquo;Whitby.</p>
+<p class="rt sc">&ldquo;Zamiel&rsquo;s Owl.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page330" id="page330"></a>330</span></p>
+
+<p class="pt2">While at <span class="correction" title="amended from Whity">Whitby</span>, a deputation from the Institute of that town
+waited on John Leech, to ask him to attend at a meeting and speak
+in promotion of the interests of their association. On that day he
+happened to be too ill to bear an interview with more than one of
+the gentlemen who composed the deputation, and was obliged in
+consequence to refuse the request. But the refusal gave the kindly,
+failing man serious disquietude, and fearing it might be thought
+ungracious, he forthwith sent for all his sketches of character from
+London and presented them to the Institute.</p>
+
+<p>Fechter was the leading dramatic star of that time, and his
+opening night differed from the commencement of other theatrical
+seasons in the fact that it invariably attracted together some of
+the best known men in literature and art. At the opening of the
+Lyceum on Saturday, the 22nd of October, were present Messrs.
+Charles Dickens, Shirley Brooks, Hollingshead, Oxenford, Horace
+Mayhew, Edmund Yates, W. P. Frith, R.A., Creswick, R.A., Marcus
+Stone, Mr. Burnand (the present editor of <i>Punch</i>), and Serjeant
+Ballantine. &ldquo;The new piece,&rdquo; said Mr. Yates, &ldquo;was splendidly
+mounted, and never, even in Paris, have I seen Mr. Fechter play
+so perfectly.&rdquo;<a name="FnAnchor_165" href="#Footnote_165"><span class="sp">165</span></a> The said piece was called &ldquo;The King&rsquo;s Butterfly,&rdquo;
+and Mr. Brooks says of it that, barring the &ldquo;splendid scenery,&rdquo; it
+was &ldquo;rubbish&rdquo; pure and simple.</p>
+
+<p>The Leeches left Whitby on the 3rd of October, breaking their
+journey at York. The artist seemed somewhat better, and ten days
+after their return we find them at a party at the house of Mr.
+W. P. Frith, R.A., among the company being Messrs. Elmore,
+Creswick, Yates, George Cruikshank, Solomon Hart, and others.
+Between the date of this party, on Thursday the 13th, and that
+of the usual <i>Punch</i> dinner, on Wednesday the 26th of October,
+at which the artist was present, a visible change had, however,
+taken place in the appearance of John Leech. Shirley Brooks
+afterwards had occasion to notice that at this <i>Punch</i> dinner he
+&ldquo;complained of illness and pain, and I saw that it was difficult to
+<span class="pagenum"><a name="page331" id="page331"></a>331</span>
+make him completely grasp the meaning of things that were said
+to him without two or three repetitions. He left early with Tom
+Taylor.&rdquo;<a name="FnAnchor_166" href="#Footnote_166"><span class="sp">166</span></a> On the 28th of October, the artist himself was conscious
+that something was wrong. He visited Dr. Quain, who
+assured him that his only chance lay in complete and entire rest;
+and, on returning home, he wrote a note in pencil addressed to his
+old friend, Mr. Frederick Evans, in which he mentioned his interview
+with the medical man, and added that he hoped to complete
+a cut for which a messenger was to be sent, but that he was not sure
+of being able to finish it. A messenger was sent in obedience to
+his desire, but he returned empty-handed. We return at this point
+to the diary of Mr. Shirley Brooks. &ldquo;I called,&rdquo; he says (29th of
+October), &ldquo;at 27, Bouverie Street, and heard from Evans that he
+was very ill. We went off to the Terrace, Kensington. He was
+in bed, but no one seemed frightened, and there was a child&rsquo;s party&mdash;a
+small one. Mrs. Leech was in tears, but certainly had no reason
+to apprehend the worst. He would have seen us. We remained
+three-quarters of an hour or so, but an opiate had been given, so
+it was of course felt that he ought not to be disturbed. Arranged
+to meet Evans at three next day;&rdquo; but the fatal messenger, who
+will call for each and every of us, had already delivered his summons,
+and never more (in life) were either of the friends fated to
+see John Leech again. &ldquo;At seven o&rsquo;clock that night,&rdquo; continues
+the narrator (in another place<a name="FnAnchor_167" href="#Footnote_167"><span class="sp">167</span></a>), &ldquo;it pleased God to release him
+from sufferings so severe as even to make the brave, patient, enduring
+man say that they were almost more than he could bear.&rdquo;</p>
+
+<p>Mr. Evans called on Brooks the following day (Sunday, 30th
+October). &ldquo;After hearing all he could say, I went with him to
+telegraph to Mark Lemon, and also to Leech&rsquo;s. Millais and Leigh
+at the door&mdash;heard much from them. Mrs. Chester came up&mdash;Charles
+Eaton, Mrs. Leech&rsquo;s brother and best friend, had come. We
+went in and saw him ... and the poor mother, and two of
+the sisters, and afterwards to the chamber of death. He looked
+<span class="pagenum"><a name="page332" id="page332"></a>332</span>
+noble in his calm; the hair and whiskers put back, gave up his fine
+forehead and handsome features&mdash;and the eternal stillness gave his
+face an elevated expression. I looked a very long time on my old
+friend&rsquo;s face. We have known one another many years, and he has
+been engaged with me in business as well as in pleasure. He was
+very kind&mdash;very good&mdash;and is in heaven, whatever that means.&rdquo;</p>
+
+<p>London was, perhaps, more shocked at the sudden and unexpected
+death of John Leech than even when Thackeray was
+smitten. The shock radiated all over the country; for there was not
+a household in the land in which his name was not familiar as a
+household word. His personal friends were deeply affected&mdash;none
+more so than his attached friend, Charles Dickens. Writing at the
+time to Forster, in reference to his coming book, &ldquo;Our Mutual
+Friend,&rdquo; he said, &ldquo;I have not done my number. This death of
+poor Leech (I suppose) has put me out woefully. Yesterday, and
+the day before, I could do nothing; seemed, for the time being,
+to have quite lost the power; and am only by slow degrees
+getting back into the track to day.&rdquo; Mr. John Tenniel heard of the
+loss of his valued <i>confrère</i> that same Sunday, 30th October, and
+&ldquo;was stunned at the news, totally unexpected by him.&rdquo;<a name="FnAnchor_168" href="#Footnote_168"><span class="sp">168</span></a> A special
+meeting of the <i>Punch</i> staff was called by Mark Lemon on the
+following day; himself, Messrs. Percival Leigh, Shirley Brooks, F.
+C. Burnand, Tom Taylor, Charles Keene, H. Silver, John Tenniel,&mdash;all
+were present with the exception of Horace Mayhew. With
+the particulars of that meeting we of course have nothing to do;
+its melancholy character the reader may well imagine.</p>
+
+<p>On Friday, the 4th of November, 1864, they laid John Leech to
+rest in Kensal Green Cemetery, &ldquo;in the next grave but one to W[illiam]
+M[akepeace] T[hackeray]. When Annie Thackeray heard of
+the death, she [had] said to Mrs. Millais, &lsquo;How glad my father will
+be to meet him!&rsquo; &lsquo;And he will,&rsquo;&rdquo; adds the friend whose note we
+have transcribed.<a name="FnAnchor_169" href="#Footnote_169"><span class="sp">169</span></a> We take the account of his burial from Mr.
+Edmund Yates&rsquo;s impressive and touching account in the <i>Morning
+<span class="pagenum"><a name="page333" id="page333"></a>333</span>
+Star</i> newspaper. &ldquo;The scene round the grave was a most impressive
+one. There, ranged round the coffin, stood the remnant of
+that famous body of wits who had caused the name of <i>Punch</i> to be
+famous at the ends of the earth; there, in the coffin, lay all that was
+earthly of him who, more than any of them, had helped to spread its
+renown, and to win for himself a name familiar as a household word
+in all our English homes. By its side stood Mark Lemon, who, for
+two and twenty years has presided over the weekly dinner where the
+good things are suggested, and the weekly sheet whereon they are
+inscribed; who has seen comrades fall out of the ranks in the march
+of life, and perish by the wayside. And such comrades! Gone
+the brilliant, meteoric A&rsquo;Beckett; fiery, impulsive, scathing Jerrold;
+playfully cynical Thackeray; and now&mdash;<i>John Leech</i>! There stood
+Shirley Brooks, who since Jerrold&rsquo;s death has been <i>Punch&rsquo;s</i> literary
+mainstay; Tom Taylor, working now in other channels, but still
+attached to the staff; Horace Mayhew and Percival Leigh, old
+colleagues of the dead man; F. C. Burnand and H. Silver, the
+youngest of the corps; and John Tenniel, who had taken Mr.
+Doyle&rsquo;s place on his secession, and worked in thorough amity with
+Leech. Over the coffin bowed the handsome head of Millais in
+overwhelming grief. All round one caught glimpses of well-known
+people. There, in the front rank of the crowd, was the frank, earnest
+face of Charles Dickens; by him Alexander Munro, the sculptor;
+there a group of artists&mdash;Messrs. Creswick, O&rsquo;Neil, and Elmore;<a name="FnAnchor_170" href="#Footnote_170"><span class="sp">170</span></a>
+Messrs. Mowbray, Morris, Dallas, and W. H. Russell, of the <i>Times</i>.
+At the back of the grave, by the canopy, Mr. W. P. Frith, R.A.;
+near him a group of journalists&mdash;Messrs. Friswell, Halliday, Gruneison;
+Mr. Swain, the engraver, who had had for years the engraving
+of Mr. Leech&rsquo;s drawings; Richard Doyle; Mr. Orridge, the barrister;
+the Rev. C. Currey, preacher of the Charter House;
+Lieutenant-Colonel Wilkinson, who had had John Leech for his
+school-fellow and fag at Charter House; while amateur art was
+worthily represented by Messrs. Arthur Lewis, M. F. Halliday, and
+<span class="pagenum"><a name="page334" id="page334"></a>334</span>
+Jopling. And there, in the bright autumn sunshine, they laid him
+to his rest. Sir T. N. Talfourd relates that at the burial of Charles
+Lamb, &lsquo;the true-hearted son of Admiral Burney refused to be comforted.&rsquo;
+It is our task to record that round the grave of John Leech
+there was not a dry eye, and that some of his old companions were
+very painfully affected. The most beautiful part of the service was
+read by Mr. Hole,<a name="FnAnchor_171" href="#Footnote_171"><span class="sp">171</span></a> in an earnest manner, broken occasionally by
+convulsions of grief which he had some difficulty in repressing, while
+here and there among the crowd loud sobs told of hearty though
+humble mourners.&rdquo;</p>
+
+<p>On the 12th of November, 1864, there appeared in the pages of
+the periodical he had so well served, whose pages he has permanently
+enriched with some of the choicest specimens of graphic
+satire, and with whose fortunes he had been associated from the
+commencement, the following touching notice from the pen of his
+friend, the late Shirley Brooks:&mdash;</p>
+
+<p class="center pt2">JOHN LEECH,</p>
+<p class="center scs">Obiit October xxix, mdccclxiv,</p>
+<p class="center f90"><i>Ætat 46.</i></p>
+
+<p class="pt2">&ldquo;The simplest words are best where all words are vain. Ten
+days ago a great artist, in the noon of life, and with his glorious
+mental faculties in full power, but with the shade of physical infirmity
+darkening upon him, took his accustomed place among friends
+who have this day held his pall. Some of them had been fellow-workers
+with him for a quarter of a century, others for fewer years;
+but to know him well was to love him dearly, and all in whose name
+these lines are written mourn as for a brother. His monument is in
+the volumes of which this is one sad leaf, and in a hundred works
+which at this hour few will remember more easily than those who
+have just left his grave. While society, whose every phase he has
+<span class="pagenum"><a name="page335" id="page335"></a>335</span>
+illustrated with a truth, a grace, and a tenderness heretofore unknown
+to satiric art, gladly and proudly takes charge of his fame,
+they, whose pride in the genius of a great associate was equalled by
+their affection for an attached friend, would leave on record that
+they have known no kindlier, more refined, or more generous nature
+than that of him who has been thus early called to his rest.</p>
+
+<p class="sc pt2">November the Fourth.&rdquo;</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_156" href="#FnAnchor_156"><span class="fn">156</span></a> I estimate the number of his cartoons as nearly as possible as follows:&mdash;</p>
+
+<table class="nobctr" style="width: 100%; border-collapse: collapse;" summary="Contents">
+
+<tr><td class="tc3">1842</td> <td class="tc2 br">3</td> <td class="tc3">1850</td> <td class="tc2 br">37</td> <td class="tc3">1858</td> <td class="tc2">30</td></tr>
+<tr><td class="tc3">1843</td> <td class="tc2 br">11</td> <td class="tc3">1851</td> <td class="tc2 br">42</td> <td class="tc3">1859</td> <td class="tc2">21</td></tr>
+<tr><td class="tc3">1844</td> <td class="tc2 br">42</td> <td class="tc3">1852</td> <td class="tc2 br">35</td> <td class="tc3">1860</td> <td class="tc2">15</td></tr>
+<tr><td class="tc3">1845</td> <td class="tc2 br">43</td> <td class="tc3">1853</td> <td class="tc2 br">32</td> <td class="tc3">1861</td> <td class="tc2">10</td></tr>
+<tr><td class="tc3">1846</td> <td class="tc2 br">35</td> <td class="tc3">1854</td> <td class="tc2 br">34</td> <td class="tc3">1862</td> <td class="tc2">4</td></tr>
+<tr><td class="tc3">1847</td> <td class="tc2 br">35</td> <td class="tc3">1855</td> <td class="tc2 br">41</td> <td class="tc3">1863</td> <td class="tc2">3</td></tr>
+<tr><td class="tc3">1848</td> <td class="tc2 br">38</td> <td class="tc3">1856</td> <td class="tc2 br">33</td> <td class="tc3">1864</td> <td class="tc2">4</td></tr>
+<tr><td class="tc3">1849</td> <td class="tc2 br">37</td> <td class="tc3">1857</td> <td class="tc2 br">33</td> <td class="tc3">&nbsp;</td> <td class="tc2">&nbsp;</td></tr>
+</table>
+
+<p><a name="Footnote_157" href="#FnAnchor_157"><span class="fn">157</span></a> Shirley Brooks in <i>Illustrated London News</i> of 19th November, 1864.</p>
+
+<p><a name="Footnote_158" href="#FnAnchor_158"><span class="fn">158</span></a> Charles Mackay&rsquo;s &ldquo;Forty Years&rsquo; Recollections.&rdquo;</p>
+
+<p><a name="Footnote_159" href="#FnAnchor_159"><span class="fn">159</span></a> &ldquo;Thackeray the Humourist and the Man of Letters,&rdquo; p. 12.</p>
+
+<p><a name="Footnote_160" href="#FnAnchor_160"><span class="fn">160</span></a> MS. Diary of the late Shirley Brooks, 1st January, 1864.</p>
+
+<p><a name="Footnote_161" href="#FnAnchor_161"><span class="fn">161</span></a> Died on the 18th of December, 1864, exactly within a year from the date of
+her son&rsquo;s death.</p>
+
+<p><a name="Footnote_162" href="#FnAnchor_162"><span class="fn">162</span></a> Shirley Brooks in <i>Illustrated London News</i> of 19th November, 1864.</p>
+
+<p><a name="Footnote_163" href="#FnAnchor_163"><span class="fn">163</span></a> &ldquo;I suggested the cut, Moses being dressed for the Fair, Johnny Russell for
+the Conference.&rdquo; MS. Diary of the late Shirley Brooks.</p>
+
+<p><a name="Footnote_164" href="#FnAnchor_164"><span class="fn">164</span></a> The first time I find mention of his name is on the 22nd of March, 1864,
+when the late Shirley Brooks met him at a party at Mr. Ernest Hart&rsquo;s, 69, Wimpole
+Street. Some years afterwards, he adds in a note, &ldquo;Met him next at
+Whitby.&rdquo; I first meet with his name at a <i>Punch</i> council, 7th November, 1864:
+&ldquo;Dumaurier first time.&rdquo;</p>
+
+<p><a name="Footnote_165" href="#FnAnchor_165"><span class="fn">165</span></a> Mr. Yates in <i>Morning Star</i>.</p>
+
+<p><a name="Footnote_166" href="#FnAnchor_166"><span class="fn">166</span></a> MS. Diary of Shirley Brooks: 29th October, 1864.</p>
+
+<p><a name="Footnote_167" href="#FnAnchor_167"><span class="fn">167</span></a> <i>Illustrated London News</i>, 19th November, 1864.</p>
+
+<p><a name="Footnote_168" href="#FnAnchor_168"><span class="fn">168</span></a> MS. Diary of Mr. Shirley Brooks.</p>
+
+<p><a name="Footnote_169" href="#FnAnchor_169"><span class="fn">169</span></a> <i>Ibid.</i></p>
+
+<p><a name="Footnote_170" href="#FnAnchor_170"><span class="fn">170</span></a> H. K. Browne (&ldquo;Phiz&rdquo;), T. Landseer, George Cruikshank, Marcus Stone,
+Sir John Gilbert, and Mr. Philips, R.A., were also present.</p>
+
+<p><a name="Footnote_171" href="#FnAnchor_171"><span class="fn">171</span></a> The Rev. J. Reynolds Hole, author of &ldquo;A Little Tour in Ireland,&rdquo; to which
+his friend, John Leech (who accompanied him), contributed some of the most
+charming of his illustrations.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page336" id="page336"></a>336</span></p>
+<h3>CHAPTER XVI.</h3>
+
+<h5><i>A BOOK ILLUSTRATOR: HABLOT KNIGHT BROWNE.</i></h5>
+
+<p class="noind"><span class="sc">In</span> a work dealing with comic artists and caricaturists, one is somewhat
+puzzled to decide what place to assign to the distinguished
+draughtsman who died a year and a half ago. <i>Ultimus Romanorum</i>,
+the last of the great trio of designers, Cruikshank, Leech, and
+Browne, his career offers to us a singular paradox; for although not
+born a comic artist (as we shall endeavour presently to show), he
+executed a vast number of comic illustrations; and while, so far as
+we know, never guilty of a caricature in his life, the larger portion
+of his drawings are caricatures pure and simple.</p>
+
+<p>We might cite a hundred examples of this tendency to exaggeration,
+but one shall suffice. In the etching wherein Miss Nickleby
+is introduced to her uncle&rsquo;s objectionable friends, Miss Nickleby as
+well as the &ldquo;friends&rdquo; are remarkable for the largeness of their heads
+and the flimsiness of their bodies; while the men, if not exactly like
+those described by Pliny, or quoted from him (without acknowledgment)
+by our Sir John Mandeville, are at any rate too grotesque
+for human beings. If humanity offers to our study in daily life
+a variety in form, face, and feature, comprising eccentricities as well
+as excellencies, such specimens, nevertheless, as poor Smike or
+Mr. Mantalini were never designed in its <i>atelier</i>.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:620px; height:449px" src="images/img336.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Phiz.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Master Humphrey&rsquo;s Clock</i>,&rdquo; 1840-1.</p>
+<p>The DEPARTURE.</p>
+
+<p class="ar">[<i>Face p. 336.</i></p></td></tr></table></div>
+
+<p>The artist&rsquo;s invincible tendency to exaggeration, that is <i>caricature</i>
+(in the Johnsonian definition of the word), was observed by his
+friend and ally, the late Charles James Lever, who remarked with reference
+to his illustrations of the novel of &ldquo;Jack Hinton,&rdquo; &ldquo;Browne&rsquo;s
+sketches are as usual <i>caricatures</i>; they make my scenes too riotous
+<span class="pagenum"><a name="page337" id="page337"></a>337</span>
+and disorderly. The character of my books for uproarious people
+and incident I owe mainly to Master Phiz.&rdquo;<a name="FnAnchor_172" href="#Footnote_172"><span class="sp">172</span></a> When Samuel Lover
+was sent over to Brussels by McGlashan, the publisher, to take a
+likeness of the novelist, he was accompanied by Browne, the object
+of whose visit was to confer with the author on the subject of these
+very illustrations. Lever was so anxious to restrain him from
+caricaturing his countrymen, that he even begged Browne to accompany
+him to Dublin for the purpose of seeing the <i>natives</i>, instead of
+the wretched specimens of Milesian humanity to be met with in
+London.</p>
+
+<p>Another fault of this artist, which will be apparent to any one
+<span class="sn">Lack of Vitality.</span>
+acquainted with his work, is the weakness of his outline, and the
+singular absence of solidity, stability, and even of <i>vitality</i> in his
+figures. There is no lack of powerful situations in Frank Smedley&rsquo;s
+novel of &ldquo;Lewis Arundel,&rdquo; but Browne&rsquo;s illustrations are characterised
+by an utter absence of vitality, while shadow usurps the place
+of substantial bone and muscle. There are the usual thread-paper
+men in tail hats, with trousers so tightly strapped to their feet that
+they must go through the tedium of existence in intolerable discomfort.
+In one picture he shows us a fragile, attenuated man holding
+another fragile, attenuated man over the well of a staircase by the
+waistband of his trousers, a feat which, difficult of performance to
+a Hercules, would be absolutely beyond the power of a person so
+fragile, so absolutely destitute of bone and muscle, as the hero of
+this particular episode.</p>
+
+<p>The weakness of which we now speak becomes strikingly
+apparent when he enables us to compare him with either of the
+distinguished trio to which he himself belonged. Such an opportunity
+offers itself in Mr. R. W. Surtees&rsquo; novel of &ldquo;Mr. Facey Romford&rsquo;s
+Hounds.&rdquo; Compare John Leech&rsquo;s illustration, <i>Fresh as a Four-Year
+Old</i> (the last he executed for the novelist before his firm, free
+hand was paralysed by death), with Hablot Knight Browne&rsquo;s first
+etching in the same book. A better subject, surely, could scarcely
+<span class="pagenum"><a name="page338" id="page338"></a>338</span>
+have been selected: the hounds have just been let out of the
+kennel, and in actual life would, of course, be scampering over the
+place in all the exuberant consciousness of canine freedom;
+the scene, in fact, would be redolent of life and excitement, which
+is wholly wanting to Browne&rsquo;s illustration. &ldquo;Phiz,&rdquo; from boyhood,
+had been accustomed to horses, and frequently hunted with the
+Surrey hounds, and to this circumstance is due the facility with
+which he usually delineated horses in the hunting field. In the
+delineation of hunting scenes, however, he falls far behind John
+Leech, and this inferiority is strikingly manifested in the illustration
+to which we are now referring. If you compare the fragile men,
+horses, and hounds, with those in Leech&rsquo;s last etching, you cannot
+fail to be struck with the vigour and life-like reality of the latter
+drawing. Browne&rsquo;s women as a rule are delicate, fragile, consumptive-looking
+creatures. The one in the etching referred to is both
+physically weak and a bad horsewoman to boot&mdash;sitting her horse
+with all the ungracefulness of a sack of flour.</p>
+
+<p>Another weakness of Hablot Knight Browne is a tendency to
+reproduce. If you look at any of his &ldquo;interiors,&rdquo; it will be apparent
+to you that the men and women&mdash;the furniture and fittings&mdash;the
+room itself, you have seen any number of times before. Charles
+Chesterfield becomes Nicholas Nickleby, and Nicholas Nickleby
+Harry Lorrequer; and with the slightest possible rearrangement, the
+scenes in which these gentlemen figure from time to time are so
+much alike, that we are reminded for all the world of the set scenes
+and artificial backgrounds of a photographer&rsquo;s, &ldquo;studio.&rdquo; Take
+&ldquo;Nicholas Nickleby,&rdquo; by way of example: the room in which old
+Ralph Nickleby first finds his poor relations, does duty (with the
+slightest possible rearrangement) for the Yorkshire schoolmaster&rsquo;s
+room at the Saracen&rsquo;s Head; while a room in Kenwig&rsquo;s house
+becomes successively an apartment in Mr. Mantalini&rsquo;s residence, a
+green-room, Mr. Ralph Nickleby&rsquo;s office, Mr. Charles Cheeryble&rsquo;s
+room, a hairdresser&rsquo;s shop, and so on. The illustrations to a novel
+may not inaptly be compared to the scenery and characters of a
+drama, and a theatre furnished with such a dearth of scenery and
+<span class="pagenum"><a name="page339" id="page339"></a>339</span>
+&ldquo;properties,&rdquo; would be a poor affair indeed. This tendency to reproduction
+becomes strikingly apparent wherever a romantic hero puts
+in an appearance. Thus, Mrs. Trollope&rsquo;s Charles Chesterfield in a
+frock coat, becomes in a tailcoat Charles Dickens&rsquo;s Nicholas Nickleby;
+in another frock coat, Martin Chuzzlewit; while a military surtout
+converts him, with equal facility, into Charles Lever&rsquo;s Jack Hinton
+or Harry Lorrequer, according to the exigencies of the costume.
+The strange part of it is that this peculiarity is shown almost
+exclusively in the delineation of heroes of fiction. The imagination
+of the artist is evidently impressed by marked and clearly defined
+characters such as Squeers, Pecksniff, Gamp, Dombey, Macstinger,
+Quilp, or Carker, and their identity as a rule is admirably preserved.
+If pressed for an explanation, it is possible that Browne might have
+pleaded that heroes of romance present for the most part, with a few
+notable exceptions, a strong family likeness, being little better than
+dummies, introduced by their authors for the purpose of setting off
+personages possessed of greater force of character and decision of
+purpose. Be this as it may, the singular failing we refer to is
+certainly no mere fancy of our own. Charles Lever himself complained
+that in the supper scene of his second number, Lorrequer
+bore so striking a resemblance to his contemporary, Nicholas
+Nickleby; while his biographer, Mr. Fitzpatrick, observes that the
+identity of Harry Lorrequer is never maintained throughout the
+novel, that mercurial hero being alternately represented old, young,
+good-looking, and ugly. So much indeed was Lever impressed with
+the fact, that he actually besought the artist to represent O&rsquo;Malley
+the <i>same person throughout the book</i>. A knowledge of Irish
+physiognomy was essential to any illustrator of Lever&rsquo;s novels, and
+Hablot Knight Browne was so innocent of this knowledge that the
+author begged him to go down to the House of Commons and
+study the faces of the Irish members there, as the only accessible
+method of obtaining the necessary insight in England.</p>
+
+<p>Hypercriticism, happily, would be out of place in a work dealing
+with caricaturists and graphic humourists of the nineteenth century.
+Faults such as those the author has ventured to indicate appear to
+<span class="pagenum"><a name="page340" id="page340"></a>340</span>
+him faults indeed of a grave character; but, while conscious of
+defects which cannot fail to be patent to the most ordinary observer,
+he is conscious at the same time of the great abilities of the artist,
+who like those of whom he has already treated, has passed over to
+the ranks of &ldquo;the great majority.&rdquo; If the scenery and properties are
+sometimes poor,&mdash;if there is no genius, and oftentimes a lack of
+decision and reality, there is on the other hand no lack of talent;
+and there are many designs of Hablot Knight Browne which place
+him in the very first rank of English book illustrators. His etching
+of <i>The Goblin and the Sexton</i> (the eccentric yew-tree notwithstanding),
+<i>Mr. Pickwick in the Pound</i>, and the very admirable little
+etchings which we find in that rare <i>Paper of Tobacco</i> by &ldquo;Joseph
+Fume,&rdquo; may be favourably compared with some of the best comic
+illustrations of George Cruikshank himself.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:620px; height:441px" src="images/img340.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Phiz.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Master Humphrey&rsquo;s Clock</i>,&rdquo; 1840-1.</p>
+<p>DICK SWIVELLER AND THE LODGER.</p>
+<p class="ar">[<i>Face p. 340.</i></p></td></tr></table></div>
+
+<p>Can any picture tell its story better than that first illustration to
+<span class="sn">&ldquo;Nicholas Nickelby.&rdquo;</span>
+&ldquo;Nicholas Nickleby,&rdquo; where old Ralph pays his &ldquo;visit to his poor
+relations&rdquo;? Mark the supercilious air with which the vulgar moneylender
+hands his hat to Nicholas, and the unveiled contempt with which
+he receives the attentions of poor Mrs. Nickleby and her daughter. A
+no less admirable illustration is the one wherein we see the Yorkshire
+schoolmaster nibbing his pen, whilst Snawley consigns his wretched
+step-sons to the tender mercies of the principal of Do-the-boys Hall.
+Observe the extraordinary anatomical proportions, hat and toggery,
+of Mr. Newman Noggs, as he stretches up to the top of the coach
+to hand a letter to Nicholas. Regard the nightcap and head-gear of
+the detestable Mrs. Squeers, as she administers matutinal brimstone
+and treacle to the starving pupils of Do-the-boys Hall. Mark the
+astonishment of Squeers and his victim, as the savage goes down
+under the thundering blows of Nickleby&rsquo;s cane. Look at the old
+imbecile declaring his passion for the foolish Mrs. Nickleby. Behold
+his knee-breeches and shorts protruding from the chimney, when his
+benighted intellect prompted him, at the imminent hazard of strangulation,
+to pay a visit to the object of his affections <i>via</i> that unusually
+circuitous route. Look at the fatal brawl between Sir Mulberry
+Hawk and his hopeful pupil; and rejoice at the final retributive
+<span class="pagenum"><a name="page341" id="page341"></a>341</span>
+justice which overtakes Mrs. Squeers, when she falls into the hands
+of her late victims, and is drenched in her turn with the loathsome
+brew she had so long administered to themselves.</p>
+
+<p>Specially noteworthy is the bright little picture on the title-page,
+<span class="sn">&ldquo;Martin Chuzzlewit.&rdquo;</span>
+where the coach, with its spanking four-in-hand, gallops on its
+distant journey after depositing Martin Chuzzlewit at his destination.
+The guard, as he mounts up behind, watches with curious
+interest Pecksniff&rsquo;s unctuous reception of the new pupil. Nothing
+can well be cleverer than his realization of the <i>Pleasant Little Family
+Party at Mr. Pecksniff&rsquo;s</i>, where that hypocritical personage, surrounded
+by foes, assumes a look of persecuted benevolence, and gravely
+requests his daughter, when he takes his chamber candlestick that
+night, to remind him to be more particular in praying for Mr.
+Anthony Chuzzlewit, &ldquo;who had done him an injustice.&rdquo; <i>The Warm
+Reception of Mr. Pecksniff by his Venerable Friend</i> gives us the liveliest
+satisfaction. If old Chuzzlewit&rsquo;s face is one of the &ldquo;caricatures&rdquo;
+referred to, it must be remembered that it is distorted with
+passion, and the fact is forgotten in the satisfaction with which we
+hail the detection and punishment of the whining rascal, the sting
+of which is envenomed by the astounding revelation that all the
+while he has been weaving his web of falsehood around his intended
+victim, he himself has been the dupe of the man he had schemed so
+long to hoodwink and deceive.</p>
+
+<p>Regard again Quilp, the dwarf, and his elfin errand boy (in the
+<span class="sn">&ldquo;The Old Curiosity Shop.&rdquo;</span>
+&ldquo;Old Curiosity Shop&rdquo;), enjoying the agonies of Sampson Brass as he
+essays to smoke a long churchwarden. Behold Quilp upon his back
+taunting the large fierce dog with hideous grimaces, triumphant in
+the consciousness that the shortness of his chain will not permit him
+to advance another inch. Look at Mrs. Jarley&rsquo;s wax-work brigand,
+&ldquo;with the blackest possible head and the clearest possible complexion,&rdquo;
+going his rounds in the company of little Nell, his eyes
+fixed on the miniature of his lady-love, and his hand pressed to his
+stomach instead of his heart. Behold the dwarf once more, as he
+entertains Sampson and his sister Sally in the ruined outhouse overlooking
+the river; the rain pours down on the head of the hapless
+<span class="pagenum"><a name="page342" id="page342"></a>342</span>
+attorney, who, with coat buttoned up to the chin, and evidently suffering
+from severe influenza, looks the picture of shivering discomfort.
+Although in no better plight herself, Sally rejoices in the sufferings
+of her brother, and as she sips her tea, her repulsive features are
+distorted with a hideous grin of satisfaction. Quilp, seated on his
+barrel beneath the only remnants of a roof, occupies a comparatively
+dry corner, and looks the very picture of rollicking fun and enjoyment.</p>
+
+<p>But incomparably one of the best of Browne&rsquo;s comic illustrations
+is the one in &ldquo;Dombey,&rdquo; wherein Captain Cuttle encounters Mrs.
+Macstinger in charge of Bunsby, bent on rivetting matrimonial chains
+upon that confused and ancient mariner. Bunsby is one of the
+<span class="sn">&ldquo;Bunsby.&rdquo;</span>
+happiest of Dickens&rsquo;s creations; stupid as an owl, he has nevertheless
+an oracular mode of delivering himself, and the simple-minded
+Cuttle places as much reliance upon this wooden-headed sailor as
+the ancients did on the mysterious utterance of the Delphic Apollo.
+That the powerful will of Macstinger should hold himself in subjugation
+so long as he was under the dominion of her eye was a matter
+of course; but that this man of wisdom should be so easily boarded
+and captured by the enemy, is so absolutely beyond his simple comprehension
+that he scratches his head in sheer amazement. As for
+poor Bunsby, the cup of his humiliation is full. So far as his wooden
+features are capable of expression, they indicate two distinct trains of
+thought: a conviction that his own pretensions have been detected
+and exposed, and a desire to run,&mdash;an inclination repressed by the
+powerful clutch of his strong-minded bride, who retains his wrist in a
+grasp of iron. Compare the look of bewilderment on Cuttle&rsquo;s face
+with the look of mingled contempt and triumph on the features of
+Macstinger; and then look at poor Bunsby!</p>
+
+<p>&ldquo;Phiz&rdquo; began etching when he was seventeen, and was in full
+work when he was twenty-one. It was his three drawings on the
+wood for Dickens&rsquo;s rare tract, &ldquo;Sunday Under Three Heads,&rdquo;<a name="FnAnchor_173" href="#Footnote_173"><span class="sp">173</span></a>
+which introduced him first to public notice. This was intended as a
+<span class="pagenum"><a name="page343" id="page343"></a>343</span>
+protest against the cant and narrow-mindedness of the bigots whose
+ignorance of the sacred writings is so dense that they confound the
+Jewish Sabbath (<i>i.e.</i> the Saturday) with the English Sunday; misunderstand
+(which in their ignorance of Hebrew may be excusable)
+the directions to <i>his own people</i> of the Jewish law-giver,&mdash;and ignore
+(which is absolutely inexcusable) the dictates of common sense, and
+the plain directions of our Saviour and of the Gentile Apostle. The
+strong common sense of Charles Dickens, and of many good
+Christian men after him, have striven in vain to expose an error due
+to the narrow-mindedness of our Puritan forefathers, to whom are
+due also the impurities of Dryden and of the dramatic writers of the
+Restoration. Cant, however, has prevailed; and the English Sunday&mdash;to
+the delight of these fanatics, and the absolute terror of their
+children&mdash;remains the most unrefreshing and most doleful of the
+seven days of the week.</p>
+
+<p>Theatrical London in 1840 was visited by an excitement second
+<span class="sn">The &ldquo;Jack Sheppard&rdquo; Mania.</span>
+only to the &ldquo;Tom and Jerry&rdquo; mania of 1821. The mania of 1840, if
+occupying a narrower area, was more morbid in its character, and
+certainly not less mischievous in its results. Harrison Ainsworth
+had brought out his peculiar romance of &ldquo;Jack Sheppard,&rdquo; which,
+resting on its own merits, might have achieved perhaps a mild
+popularity and done but little harm. Thanks, however, to the genius
+and fancy of George Cruikshank, the public became for a time
+Sheppard mad; the heroes presented to admiring and applauding
+audiences at the theatres were murderers, housebreakers, highway
+robbers, thieves, and their female companions. The morbid taste
+of the populace had in fact been thoroughly roused, a condition of
+things which was satirized by the artist&rsquo;s little-known etching of <i>The
+Way to the Gallows made Easy and Pleasant</i>, which appeared in
+&ldquo;The New Monthly Magazine&rdquo; of 1840.<a name="FnAnchor_174" href="#Footnote_174"><span class="sp">174</span></a> The inventive powers of
+the artist were almost <i>nil</i>, and the rare and able etching referred to
+was suggested to him by John Poole, the author of &ldquo;Paul Pry,&rdquo; to
+whom we are indebted for the descriptive letterpress: &ldquo;At the foot
+<span class="pagenum"><a name="page344" id="page344"></a>344</span>
+of a gently sloping path strewed with flowers, stands a gibbet decorated,
+not with a halter, but wreaths of roses. Around it are many
+tombs of elegant construction, supposed to enclose the ashes of the
+illustrious departed. Upon one is inscribed, &lsquo;Here repose the
+mortal remains of the ever-famed Jerry Abershaw&rsquo;; upon another,
+&rsquo;Sacred to the memory of Poor Johnny Greenacre.&rsquo; A third is
+remarkable for its touching simplicity&mdash;&rsquo;Alas! Poor Thurtell!&rsquo;
+Another, somewhat more elaborate, gives us &lsquo;Burke and Hare!
+As they were loving friends in life, so in death are they undivided!
+Erected by their affectionate disciples, Bishop and May.&rsquo; Besides
+these there are many others all bearing names of mark and fame.
+The whole is surrounded by a pretty arabesque composed of crowbars
+and other implements of burglary, pistols, knives, death&rsquo;s heads
+and cross-bones, halters, handcuffs, and fetters, ingeniously disposed
+and prettily intertwined with wreaths of roses.&rdquo;</p>
+
+<p>We said at the opening of this chapter that &ldquo;Phiz&rdquo; was not <i>born</i>
+a comic artist. He possessed a certain amount of humour, which
+was evoked in the first instance by the example of Cruikshank, and
+his abilities and desire to emulate the greater artist have enabled
+him unquestionably to realize many humorous designs. It is impossible,
+however, to examine the numerous etchings of this draughtsman,
+without coming to the conclusion that he is always seen at his
+best when not called on to exercise his purely comic powers. Take
+by way of example, <i>The Venice Glass</i>, in Ainsworth&rsquo;s romance
+of &ldquo;Crichton&rdquo;; you will need no reference to the letterpress to
+understand it, for the artist tells his story far better than the novelist.
+Observe Crichton as he raises the goblet, and the poisoned wine
+bubbles and boils, and finally shivers the chalice into a thousand
+fragments; regard the agitation of Marguerite de Valois; the keen
+attention of Henri and his attendants. Where shall we find a finer
+illustration than the one in this book in which Esclairmonde is
+presented to Henri? The meeting of Mr. Tigg and Martin Chuzzlewit
+at the pawnbroker&rsquo;s shop is full of pathos. Look at the poor,
+wasted but still handsome mother waiting her turn whilst the gin-drinking
+laundress pawns her flat-irons to gratify her passion for the
+<span class="pagenum"><a name="page345" id="page345"></a>345</span>
+deadly drink; note the <i>insouciance</i> of the thoughtless musician as he
+twangs the guitar which he is about to pledge, though probably
+dependent on it for bread. Notice the pictures above,&mdash;the
+Bacchante pressing grapes into a wine cup,&mdash;the bailiff distraining
+for rent. Hablot Knight Browne has no powers which would enable
+us to compare him with Hogarth, and yet the grim reality of this
+picture Hogarth himself might almost admire.</p>
+
+<p>Regard again that wondrous tailpiece at page 96 of &ldquo;The Old
+Curiosity Shop,&rdquo; where Quilp, the odious dwarf, sits up all night
+smoking and drinking, his countenance every now and then &ldquo;expanding
+with a grin of delight&rdquo; as his patient, long-suffering wife
+makes some involuntary movement of restlessness or fatigue. Look
+at poor, wasted, shoeless Nell, as she reclines on the settee of
+the public-house, surrounded by sympathisers,&mdash;the kind-hearted
+motherly landlady administering mental and bodily solace to the
+motherless child,&mdash;the poor, foolish, gambling grandfather gazing
+into her face with wistful anxiety. Lastly, look at the ghastly
+corpse of old Quilp as he lies dead amid the mud and slime of
+the river, which, after playing with the ugly, malicious, ill-shapen
+thing until it was bereft of life, flung it contemptuously high and
+dry upon the swamps at low tide.</p>
+
+<p>&ldquo;Dombey and Son&rdquo; called for comparatively little exercise of
+<span class="sn">&ldquo;Dombey and Son.&rdquo;</span>
+Browne&rsquo;s <i>comic</i> power, and consequently we shall find in this book
+examples of some of his finest book etchings. The pompous London
+merchant, the frigid influence he exercises on those about him,
+the distrustful look of the nurse as she brings baby Paul into his
+presence, the shrinking form of little Florence as the frightened
+child cowers with folded hands behind her repellent father&rsquo;s chair,
+are finely depicted in the etching of <i>The Dombey Family</i>. In <i>Mrs.
+Dombey at Home</i>, the proud, haughty beauty chafing under the consciousness
+that she has been sacrificed to the wealth of the heartless
+merchant, takes no pains to veil the contempt she feels for the
+admiring men who surround her. These men (by the way) are
+scarcely men at all, they are all grossly exaggerated; but &ldquo;Phiz,&rdquo; like
+many artists of greater pretensions, has sacrificed everything to his
+<span class="pagenum"><a name="page346" id="page346"></a>346</span>
+central figure, and the presence and bearing of the disdainful beauty
+makes the <i>coup d&rsquo;&oelig;il</i> delightful. <i>Abstraction and Recognition</i> is a
+wonderful etching; both man and horse are admirably drawn,
+whilst the figures scowling out of the dark entry on the passing and
+unconscious horseman require no reference to the letterpress. In
+his etching of <i>The Dark Road</i>, Mr. Browne developed a style of
+etching of which he afterwards frequently availed himself, and by
+which (as in &ldquo;Bleak House&rdquo; and &ldquo;Roland Cashel&rdquo;) he sometimes
+succeeded in producing remarkable effects. It shows us a postilion
+driving a team of horses over a dark and dreary road bordered on
+either hand by dismal moorland; the streaks of the approaching
+dawn illuminate the edges of the landscape; the single occupant of
+the berlin, unable to control his agitation, stands upright, and gazes
+anxiously around him. So realistic is the drawing, that as we look
+at the flying team we may almost hear the jingle of the splinter-bars
+and harness as the horses rattle along the dismal road. Cruikshank,
+to save his life, could draw neither a horse, a tree, or a pretty woman;
+when he did so it was rather by accident than by design. &ldquo;Phiz&rdquo;
+(with all his faults) could draw all three, and impart to them a grace,
+a beauty, and a poetry peculiar to himself. Look at that etching
+of <i>Carker in his Hour of Triumph</i>, where Edith, after using the
+villain as a tool to revenge herself upon her husband, turns upon
+her miserable dupe with all the force of her superior intellect, and
+laughs in the face of the man she has so egregiously befooled.
+This really is an admirable drawing; the anger and humiliation on
+the face of the dumbfounded villain, who feels himself absolutely
+powerless in the hands of the scornful, resolute woman, are powerfully
+depicted. A more perfect realization of Edith Dombey it
+seems to us could scarcely be imagined. Leech, <i>perhaps</i>, might have
+reached the idea. He would certainly have put more breadth and
+solidity into the figure of Carker; but the woman he could scarcely
+have improved upon&mdash;I doubt if he could have matched her. As for
+Cruikshank, he would have given her an impossible waist, a puffy
+face surmounted with bandeaux of raven hair scrupulously plastered
+to each side of her lofty forehead; whilst Carker would have been
+<span class="pagenum"><a name="page347" id="page347"></a>347</span>
+presented to us in an uncomfortable coat, hair parted and dressed
+after the Cruikshankian fashion, and a pair of boots at least half a
+yard in length.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:630px; height:337px" src="images/img346.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Phiz.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Master Humphrey&rsquo;s Clock</i>,&rdquo; 1840-1.</p>
+<p>THE RIOTERS.</p>
+<p class="ar">[<i>Face p. 346</i>.</p></td></tr></table></div>
+
+<p>&ldquo;Bleak House&rdquo; (1852-3) has been described as the most successful
+<span class="sn">&ldquo;Bleak House&rdquo; and &ldquo;Roland Cashel.&rdquo;</span>
+of &ldquo;Phiz&rsquo;s&rdquo; illustrated work; but although it contains some
+of the best etchings he ever designed for Charles Dickens, the rest
+are in truth of unequal merit. Among the best may be mentioned
+<i>Consecrated Ground</i>; <i>The Old Man of the name of Tulkinghorn</i>;
+<i>Morning</i>; <i>Tom All Alone&rsquo;s</i>; and the sunset scene in the <i>Long
+Drawing-room at Chesney Wold</i>. In the dreary twilight of the <i>Ghost&rsquo;s
+Walk</i> and of the room in which the murder was consummated we
+have a pair of drawings unsurpassed by any of the illustrations he
+executed for Charles Lever&rsquo;s &ldquo;Roland Cashel,&rdquo; which last contains
+unquestionably the finest of his designs.</p>
+
+<p>Of all his illustrators, Hablot Knight Browne was the one who
+best suited the requirements of Charles Dickens. A man of talent
+without a single idea of his own, he was found more malleable and
+manageable than Cruikshank, who, as we have seen, would have
+had a hand (if he could) not only in the illustrations, but also in the
+management of the story. The conditions under which &ldquo;Phiz&rdquo;
+illustrated &ldquo;Pickwick&rdquo; were wholly different from those which poor
+Seymour had endeavoured to impose upon his author. &ldquo;It is due
+to the gentleman,&rdquo; says Dickens, in his preface to the &ldquo;Pickwick
+Papers,&rdquo; &ldquo;It is due to the gentleman whose designs accompany the
+letterpress, to state that the interval has been so short between the
+production of each number in manuscript and its appearance in
+print, that the greater portion of the illustrations have been executed
+by the artist from the author&rsquo;s <i>verbal description of what he intended
+to write</i>.&rdquo; Cruikshank would certainly not have done this, and we
+doubt whether John Leech would have consented to work under
+such conditions. But as regards Browne, the case was entirely
+different. He had no <i>genius</i> or ideas of his own, and could only
+work from the suggestions of others. The interest and anxiety which
+Dickens felt in the character of the illustrations to his novels, is
+shown by reference to the illustrations to &ldquo;Dombey.&rdquo; &ldquo;The points
+<span class="pagenum"><a name="page348" id="page348"></a>348</span>
+for illustration, and the enormous care required, make me,&rdquo; he says,
+&ldquo;excessively anxious! The man for Dombey, if Browne could see
+him, the class of man to a T, is Sir A&mdash;&mdash; E&mdash;&mdash;, of D&mdash;&mdash;s. Great
+pains will be necessary with Miss Tox. The Toodle family should
+not be too much caricatured, because of Polly.&rdquo; As the story
+unwinds itself, he proceeds, &ldquo;Browne is certainly interesting himself
+and taking pains;&rdquo; and again, in another letter, &ldquo;Browne seems to
+be getting on well.&rdquo; Still &ldquo;Browne,&rdquo; with all his pliability, found it
+a hard matter to please him. He made a particular point of Paul,
+Mrs. Pipchin, and the cat by the fire; and the result to himself was
+so eminently unsatisfactory that it produced a characteristic protest.
+&ldquo;I am really distressed by the illustration of Mrs. Pipchin and Paul.
+It is so frightfully and wildly wide of the mark. Good heaven! in
+the commonest and most literal construction of the text, it is all
+wrong! She is described as an old lady, and Paul&rsquo;s &lsquo;miniature arm-chair&rsquo;
+is mentioned more than once. He ought to be sitting in a
+little arm-chair down in a corner of the fireplace, staring up at her.
+I can&rsquo;t say what pain and vexation it is to be so utterly misrepresented.
+I would cheerfully have given a hundred pounds to have
+left this illustration out of the book. He never could have got that
+idea of Mrs. Pipchin if he had attended to the text. Indeed, I
+think he does better without the text; for then the notion is made
+easy to him, a <i>short description</i>, and <i>he can&rsquo;t help taking it in</i>.&rdquo; This
+last sentence exactly describes the man: a personal description with
+him did more than any amount of letterpress, however lucid.</p>
+
+<p>One may readily understand this almost nervous anxiety of
+Charles Dickens with reference to the <i>character</i> of his illustrations.
+He worked, be it remembered, under conditions entirely different to
+the novelist of a later date. The etched illustrations of his day
+formed a most important&mdash;in some cases (the works of inferior
+men, such as Albert Smith, for instance) by far the most important&mdash;portion
+of the work itself. Under the charm of the illustrations and
+the mode of issue, the tale was protracted to a length which would
+be impossible in a novel of Charles Reade or Wilkie Collins, which
+depends for its success upon the skill of the novelist alone. The
+<span class="pagenum"><a name="page349" id="page349"></a>349</span>
+novel issued in monthly numbers depended on two sources of attraction&mdash;the
+skill of the novelist and the skill of his artistic coadjutor.
+Dickens&rsquo; requirements, however, were of so exacting a nature that
+they proved in the end too exacting even for the patience of the
+accommodating artist, and the reader will not be surprised to learn
+that a coolness was ultimately established between artist and author,
+the outcome of which was the employment of Marcus Stone and
+Luke Fildes on the later novels of &ldquo;Our Mutual Friend&rdquo; and
+&ldquo;Edwin Drood.&rdquo;</p>
+
+<p>Those who would find fault with Charles Dickens for the mode in
+which he controlled his artists quite fail to understand the man
+himself. Although he had no knowledge of the pencil, although he
+himself had no knowledge of drawing, he was nevertheless a thorough
+artist in heart and mind. There is scarcely a character in his books
+which does not show the care and thought which he bestowed <span class="correction" title="Comma removed after 'upon'">upon</span>
+its elaboration. Ralph Nickleby, Squeers, Smike, little Nell, Quilp,
+Barnaby Rudge, Steerforth, Paul Dombey, Lady Dedlock, Joe,
+each and all show how carefully they were elaborated; how distinctly
+they presented themselves to the retina of the mind of their
+distinguished creator. When this is borne in mind, it will be at
+once understood why the Mrs. Pipchin of Hablot Browne was not
+<i>the</i> Mrs. Pipchin with whose outward appearance and mental peculiarities
+the author himself was so intimately acquainted.</p>
+
+<p>Notwithstanding the exhibition, after his death, of water-colours
+<span class="sn">&ldquo;Auriol.&rdquo;</span>
+and other works, which took the public by surprise, Hablot Knight
+Browne will continue to be known to most of us as an illustrator of
+books, and nothing more. &ldquo;Oh! I&rsquo;m aweary, I&rsquo;m aweary,&rdquo; he said
+himself in a letter to one of his sons, &ldquo;of this illustration business.&rdquo;
+Some of these illustrations, however, are wonderfully graceful, and
+one in particular seems to call for special notice. It will be found
+in the &ldquo;New Monthly Magazine&rdquo; for 1845, and is undoubtedly one of
+the best examples of the artist&rsquo;s work which may be found anywhere.
+It represents a prisoner in a dungeon lying at the foot of a pillar,
+which, except in a ghastly carved work running round it of skulls
+and cross bones, reminds us somewhat of Bonneval&rsquo;s pillar at
+<span class="pagenum"><a name="page350" id="page350"></a>350</span>
+Chillon. The lights and shadows are wonderfully rendered, and
+the work is characterized by a softness, a beauty, and a finish only
+to be observed in work which took the artist&rsquo;s fancy. This etching
+is entitled, <i>Rougemont&rsquo;s Device to Perplex Auriol</i>; and Ainsworth&rsquo;s
+story which it illustrates&mdash;a peculiarly unsatisfactory one&mdash;commenced,
+I think, in &ldquo;Ainsworth&rsquo;s Magazine,&rdquo; passed into the &ldquo;New
+Monthly,&rdquo; when its author purchased that periodical in 1845, and
+(whether the novelist got himself into an intellectual fix or otherwise
+I know not) finished, I believe, eventually nowhere.</p>
+
+<p>Browne indeed finds a place here more by virtue of his book
+illustrations than by reason of any just pretensions to be considered
+a graphic humourist. His comic powers appear to us more the
+result of education and emulation than natural gifts, and the consequence
+is, that in attempting to be funny, his work too often
+degenerates into absolute exaggeration. His excellencies must be
+sought for in his serious illustrations, which fall more within the
+province of the art critic than the scope and purpose of a work
+which treats of graphic satirists and comic artists of the nineteenth
+century. Some of his finest illustrations of a serious character will
+be found in the pages of the &ldquo;Illuminated Magazine&rdquo;; in Charles
+Lever&rsquo;s admirable story of &ldquo;St. Patrick&rsquo;s Eve&rdquo;; in the &ldquo;Fortunes
+of Colonel Forlogh O&rsquo;Brien&rdquo;; in Augustus Mayhew&rsquo;s &ldquo;Paved with
+Gold&rdquo;; in Ainsworth&rsquo;s &ldquo;Mervyn Clithero&rdquo;; and &ldquo;Revelations of
+London&rdquo;; and above all, in Charles Lever&rsquo;s novel of &ldquo;Roland
+Cashel.&rdquo;</p>
+
+<p>Hablot Knight Browne lived to see the decline and fall of that
+peculiar and powerful art of book illustration which was introduced
+by Cruikshank; was fostered and encouraged by Charles Dickens,
+Charles James Lever, their imitators and contemporaries; and died,
+so to speak, with these distinguished men. His work in later years,
+as might naturally have been expected, shows a woeful decline of
+power; and when the suggestors from whom he derived inspiration
+were no longer at his back, the poverty of invention which characterized
+the man when left to his own devices becomes painfully
+apparent.</p>
+
+<p><span class="pagenum"><a name="page351" id="page351"></a>351</span></p>
+
+<p>&ldquo;Phiz&rdquo; drew in later years for <i>Judy</i> and other comic papers,
+and it is simple justice to say that his designs are characterized by
+an utter absence of comic power. The true comic inspiration possessed
+in so wonderful a degree by Cruikshank, by John Leech,
+and even by Robert Seymour, he never indeed possessed. Some
+fifteen years before his death he suffered from incipient paralysis,
+and furthermore injured his thumb, which obliged him to hold his
+pencil between his middle and fore-fingers. Gradually this great
+and graceful artist dropped so far behind in the race of life that he
+yielded latterly to proposals to illustrate boys&rsquo; literature of a very
+inferior class.</p>
+
+<p>In addition to an absence of comic inspiration, the <i>creative</i> faculty
+of Cruikshank and Leech was wanting to Hablot Knight Browne.
+In order to carry out an idea, it was necessary that it should be
+put into his head; for leave him to himself, and he could do absolutely
+nothing.<a name="FnAnchor_175" href="#Footnote_175"><span class="sp">175</span></a> George Cruikshank and John Leech after receiving
+instructions would proceed to realize them in their own way and
+after their own fashion; but this was not the case with Hablot
+Knight Browne. While he could realize the idea of another with
+peculiar success when the subject took his fancy, he could neither
+enlarge nor improve upon it, and in this lies the difference between
+<i>genius</i> and mere ability. Lacking an inherent sense of humour, he
+copied Cruikshank, and hence his exaggerations and failures as a
+<i>comic</i> designer; but he was <i>ultimus Romanorum</i>,&mdash;the last representative
+of the famous men whose art was fostered and encouraged
+by Charles Dickens, by Charles Lever, by Harrison Ainsworth, and
+by Richard Bentley. The services which these eminent men rendered
+to the novelists who like them are dead and gone can scarcely
+be appreciated; for we presume few will deny that their labours lent
+a charm, a beauty, and an interest to their works, which largely
+tended to promote their sale. The fortunes of &ldquo;Jack Sheppard,&rdquo; of
+&ldquo;The Miser&rsquo;s Daughter,&rdquo; of &ldquo;The Tower of London,&rdquo;&mdash;the success
+<span class="pagenum"><a name="page352" id="page352"></a>352</span>
+obtained by nearly all the stories of Ainsworth which obtained any
+success at all, was mainly due to the pencil of Cruikshank. The
+reputation of &ldquo;Oliver Twist&rdquo;&mdash;a morbid novel&mdash;was made in a great
+measure by <i>him</i>; but for John Leech, neither &ldquo;Mr. Ledbury,&rdquo; &ldquo;The
+Scattergood Family,&rdquo; &ldquo;The Marchioness of Brinvilliers,&rdquo; or &ldquo;Richard
+Savage,&rdquo; would have survived to our day. To him the novels of
+Mr. R. W. Surtees owe their entire popularity; while his genius
+has conferred vitality on the rubbish of À Beckett. It is curious,
+however, how little these facts were recognised at the time, and
+what little credit was given in contemporary reviews and by contemporary
+critics to the artists who rendered to successful novelists
+the priceless aid and assistance of their pencils.</p>
+
+<p>How far the needle of &ldquo;Phiz&rdquo; contributed to the ultimate success
+of the great <i>raconteur</i>, Charles James Lever, we are in no position to
+state; that it proved a very large factor in that result there can be
+no manner of doubt. That success was not achieved immediately.
+Lever commenced life as a struggling country doctor, and &ldquo;Harry
+Lorrequer,&rdquo; first brought out in the &ldquo;Dublin University Magazine,&rdquo;
+before it appeared in illustrated shilling numbers, was almost wholly
+ignored by the London press, the criticisms and favourable remarks
+coming almost wholly from provincial journals. There was one
+exception by the way, a military paper, the critic of which went into
+such ecstacies over this sparkling military medley, that he asserted
+he would rather be author of &ldquo;Lorrequer&rdquo; than of all the &ldquo;Pickwicks&rdquo;
+or &ldquo;Nicklebys&rdquo; in the world. This notice (unknown to
+Lever) was published with the advertisements of the book, and
+(strange to say) gave so much annoyance to Dickens that he sent an
+angry reply to a civil letter which came to him shortly afterwards
+from the Irish novelist, and their friendly intercourse was for some
+years suspended in consequence.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:610px; height:458px" src="images/img352.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Phiz.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Master Humphrey&rsquo;s Clock</i>,&rdquo; 1840-1.</p>
+<p>SAM WELLER AND HIS FATHER.</p>
+<p class="ar">[<i>Face p. 352.</i></p></td></tr></table></div>
+
+<p>The decline of Hablot Browne&rsquo;s popularity was painfully apparent
+to himself. Although our chapter was written long before the appearance
+of Mr. Kitton&rsquo;s pamphlet, we may be permitted to re-open it to
+extract from the latter the following melancholy observations which
+we find in a letter to his son, Dr. Browne: &ldquo;I am at present on a
+<span class="pagenum"><a name="page353" id="page353"></a>353</span>
+sporting paper, supported by some high and mighty nobs; but I fear,
+<i>like everything I have to do with, now a-days</i>, it will collapse, for
+some of the proprietors of the paper are also shareholders, etc., etc.,
+in the Graphotype Company, so they want to work the two together.
+I hate the process; it takes quite four times as long as wood, and I
+cannot draw and express myself with a nasty, finicking brush, and
+the result when printed seems to alternate between something all as
+black as my hat, or as hazy and faint as a worn-out plate. If on
+wood, I should like it well enough; as it is it spoils four days a
+week, leaving little time for anything else. Oh! I&rsquo;m aweary, I&rsquo;m
+aweary! of this illustration business.&rdquo;<a name="FnAnchor_176" href="#Footnote_176"><span class="sp">176</span></a> This seems to us inexpressibly
+sad. We hear nothing of it in earlier days, when he was drawing
+the excellent designs for &ldquo;Roland Cashel,&rdquo; for &ldquo;Dombey,&rdquo; or for
+&ldquo;Bleak House.&rdquo;</p>
+
+<p>Of the works and sketches in water colour and oils exhibited in
+Liverpool after the artist&rsquo;s death, personally we have seen nothing.
+They took the public by surprise, for few at least of the outer world
+suspected that this shy, retiring illustrator of books was a persevering
+and accomplished water-colour artist. We ourselves were aware of
+the fact, and had seen some thirty original and highly characteristic
+sketches, some of them studies of characters in novels of Charles
+Dickens and Lever; all executed prior to 1846, some in Indian ink,
+some in crayon, a few in pencil. Among them was a small but highly
+finished water-colour drawing, representing a group of seven knights
+in full martial panoply, and a striking effect is produced by the glint
+of the sun on the burnished armour of the central figure. The author
+of a recent sketch would cite these water colours as a complete
+answer to those who like ourselves maintain, in no mere spirit of
+detraction, that the artist possessed not one particle of <i>genius</i>.
+Surely he cannot be in earnest. If so, we have only to say, that if
+painting subjects in oils or water colour from the thousand and one
+hints to be gathered from history, fiction, or every-day life, be a test
+of <i>genius</i>, the walls of every summer and winter exhibition&mdash;to say
+<span class="pagenum"><a name="page354" id="page354"></a>354</span>
+nothing of the Royal Academy&mdash;would be furnished annually with
+examples from end to end.</p>
+
+<p>Leech died in the meridian of his fame at the early age of forty-six.
+Hablot Browne when he died had not only survived his talents,
+but his peculiarly shy and retiring nature had caused him at the age
+of sixty-seven to be absolutely forgotten. The famous men of letters
+whose works he had illustrated were dead and gone; the world of
+literature and of art took such small note of him that his funeral was
+the funeral of a private individual, and not of one who, if he did not
+partake in, had contributed in no considerable degree to the success
+of Charles Dickens and of Charles James Lever. When his passing-bell
+rang out upon the summer air, journalists remembered that a
+great artist was gone to his rest, and <i>Punch</i> inserted in his number
+of the 22nd of July, 1882, to the memory of the last of the book
+etchers of the nineteenth century the following graceful tribute:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;The lamp is out that lighted up the text</p>
+  <p class="i2">Of Dickens, Lever&mdash;heroes of the pen.</p>
+<p class="i05"><i>Pickwick</i> and <i>Lorrequer</i> we love, but next</p>
+  <p class="i2">We place the man who made us see such men.</p>
+<p class="i05">What should we know of <i>Martin Chuzzlewit</i>,</p>
+  <p class="i2">Stern <i>Mr. Dombey</i>, or <i>Uriah Heap</i>?</p>
+<p class="i05"><i>Tom Burke of Ours</i>?&mdash;Around our hearts they sit,</p>
+  <p class="i2">Outliving their creators&mdash;all asleep.</p>
+<p class="i05">No sweeter gift ere fell to man than his</p>
+  <p>Who gave us troops of friends&mdash;delightful Phiz.</p>
+
+<p class="i05 s">&ldquo;He is not dead! There, in the picture-book,</p>
+  <p class="i2">He lives with men and women that he drew;</p>
+<p class="i05">We take him with us to the cozy nook,</p>
+  <p class="i2">Where old companions we can love anew.</p>
+<p class="i05">Dear boyhood&rsquo;s friend! We rode with him to hounds;</p>
+  <p class="i2">Lived with dear <i>Peggotty</i> in after years;</p>
+<p class="i05">Missed in old Ireland, where fun knew no bounds.</p>
+  <p class="i2">At <i>Dora&rsquo;s</i> death we felt poor David&rsquo;s tears.</p>
+<p class="i05">There is no death for such a man,&mdash;he is</p>
+  <p>The spirit of an unclosed book! immortal Phiz!&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_172" href="#FnAnchor_172"><span class="fn">172</span></a> Fitzpatrick&rsquo;s &ldquo;Life of Charles Lever.&rdquo;</p>
+
+<p><a name="Footnote_173" href="#FnAnchor_173"><span class="fn">173</span></a> Now lately republished.</p>
+
+<p><a name="Footnote_174" href="#FnAnchor_174"><span class="fn">174</span></a> And republished in &ldquo;Poole&rsquo;s Miscellany.&rdquo;</p>
+
+<p><a name="Footnote_175" href="#FnAnchor_175"><span class="fn">175</span></a> As I notice a similar remark in one of the obituary notices of the artist&rsquo;s
+death, I think it necessary to observe that this chapter was written while &ldquo;Phiz&rdquo;
+was yet living.</p>
+
+<p><a name="Footnote_176" href="#FnAnchor_176"><span class="fn">176</span></a> Mr. Kitton&rsquo;s &ldquo;Memoir,&rdquo; p. 19.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page355" id="page355"></a>355</span></p>
+<h3>CHAPTER XVII.</h3>
+
+<h5><i>A BATCH OF BOOK ILLUSTRATORS:</i></h5>
+
+<h5><i>KENNY MEADOWS; ROBERT WILLIAM BUSS; ALFRED CROWQUILL;</i>
+<i>CHARLES H. BENNETT; W. M. THACKERAY.</i></h5>
+
+<p class="noind"><span class="sc">In</span> old and second-hand bookshops, and in booksellers&rsquo; catalogues,
+may often be found a book which is gradually becoming a literary
+rarity. It dates from 1840, and is a curiosity in its way, not
+only on account of the &ldquo;portraits&rdquo; which adorn its pages, but as
+a specimen of the literary padding on which men of letters (some
+of them distinguished) were content to employ their talents fifty
+years ago. It was published by Robert Tyas, of 50, Cheapside;
+professed to give &ldquo;Portraits of the English&rdquo; of the period, but
+served as a means of introducing certain characteristic pictorial
+sketches, more or less true to nature, by Kenny Meadows, an
+artist whose name and reputation, although he has been dead
+scarcely ten years, are already forgotten. Connected with these
+portraits are &ldquo;original essays by distinguished writers,&rdquo; including,
+amid names of lesser note, literary stars such as Douglas Jerrold,
+Leman Rede, Percival Leigh, Laman Blanchard, Leigh Hunt,
+William Howitt, and Samuel Lover. These essays, or rather letterpress
+descriptions, were written to the pictures, which were not
+drawn (as is generally supposed) in illustration of the text. The
+portraits are taken from almost every grade in life: from the dressmaker
+to the draper&rsquo;s assistant, and from the housekeeper to the
+hangman; the last, by the way, being perhaps the most characteristic
+<span class="pagenum"><a name="page356" id="page356"></a>356</span>
+sketch of the series. The best of these forty-three &ldquo;pictures&rdquo; is the
+one which faces the title-page, a gathering of the company which
+individually take part in this &ldquo;gallery of illustration.&rdquo; The designs
+are characteristic of the artist&rsquo;s style, but possess little power of
+attraction, being destitute of any claim to originality either of conception
+or treatment. The artist&rsquo;s share of the work is by far the
+best part of the somewhat lugubrious entertainment, which the
+performances of his literary associates scarcely serve to enliven.
+The book, however, was a success in its day, for, if we mistake
+not, it was followed by a second series, is even now sought after
+by the &ldquo;collector&rdquo; (not bibliomaniac), and possesses some historical
+value by reason of the fact that national types, such as <i>The
+Diner-out</i>, <i>The Stockbroker</i>, <i>The Lion of the Party</i>, <i>The Fashionable
+Physician</i> (that is to say, of 1840), <i>The Linen Draper&rsquo;s Assistant</i>,
+<i>The Barmaid</i>, <i>The Family Governess</i>, <i>The Postman</i>, <i>The Theatrical
+Manager</i>, <i>The Farmer&rsquo;s Daughter</i>, and <i>The Young Lord</i>, no longer
+live and move and act their part amongst us. A change comes over
+the people in the course of forty years, and some years hence our
+grandchildren may well smile at the extraordinary monstrosities
+(female) who figure in the graphic satires of 1883-4.</p>
+
+<p>Kenny Meadows was the son of a retired naval officer, and was
+born at Cardigan on the first of November, 1790. You will look
+in vain for any notice of him, or of his services in the cause of
+illustrative art, in any of the biographical dictionaries of his own
+or a subsequent period; and this appears to us an unaccountable
+omission, for he achieved in his time considerable celebrity as an
+artistic illustrator of books. His work will be found bound up with
+that of most of his artistic <i>confrères</i> in nearly all the illustrated
+periodicals of his day; he was one of the first to introduce wood-engraving
+among English publishers as a means of cheap and
+popular illustration; he was employed by the late Mr. Ingram, in
+the designs for the early Christmas numbers of the <i>Illustrated
+London News</i>; he will be found amongst the number of the artists
+who illustrated the early volumes of <i>Punch</i>; he was in universal
+request as a designer of drawings to fairy and fanciful stories;
+<span class="pagenum"><a name="page357" id="page357"></a>357</span>
+among his intimate friends were men of mark; such as Leigh Hunt,
+Douglas Jerrold, Charles Dickens, W. M. Thackeray, Clarkson
+Stanfield, David Roberts, and the Landseers; he did as much
+for illustrative art as, perhaps, any artist of his time; and yet,
+amongst men whose abilities scarcely exceeded his own in the same
+particular walk in art, no place is to be found in any biographical
+dictionary, so far at least as we know, for any mention of poor,
+kindly, genial, Kenny Meadows.</p>
+
+<p>Besides the popular illustrated periodicals of his day, in most
+of which his familiar initials may be recognised, Kenny Meadows
+was in almost universal request both amongst authors and publishers
+of the time. We find him in 1832 illustrating, with Isaac
+Robert Cruikshank, a periodical bearing the somewhat unpromising
+title of &ldquo;The Devil in London.&rdquo; To an 1833 edition of &ldquo;Gil Blas,&rdquo;
+illustrated by George Cruikshank, he contributed a frontispiece; and
+we find his hand in the following: the late J. B. Buckstone&rsquo;s dramas
+of &ldquo;The Wreck Ashore,&rdquo; &ldquo;Victorine,&rdquo; &ldquo;May Queen,&rdquo; &ldquo;Henriette,&rdquo;
+&ldquo;Rural Felicity,&rdquo; &ldquo;Pet of the Petticoats,&rdquo; &ldquo;Married Life,&rdquo; &ldquo;The
+Rake and his Pupil,&rdquo; &ldquo;The Christening,&rdquo; &ldquo;Isabella,&rdquo; &ldquo;Second
+Thoughts,&rdquo; and &ldquo;The Scholar&rdquo; (1835, 1836); Whitehead&rsquo;s &ldquo;Autobiography
+of Jack Ketch&rdquo; (1835); &ldquo;Heads of the People, or Portraits
+of the English&rdquo; (1841); Mr. S. C. Hall&rsquo;s &ldquo;Book of British
+Ballads&rdquo; (1842-44); an 1842 edition of Moore&rsquo;s &ldquo;Lalla Rookh&rdquo;;
+Leigh Hunt&rsquo;s &ldquo;Palfrey, a Love Story of Old Times&rdquo; (1842); &ldquo;The
+Illuminated Magazine&rdquo; (1843); Shakespeare (1843); &ldquo;Whist, its
+History and Practice&rdquo;; &ldquo;Backgammon, its History and Practice,&rdquo;
+by the same author; &ldquo;The Illustrated London Almanacks&rdquo; (from
+1845 upwards); Sir Edward Lytton Bulwer&rsquo;s &ldquo;Leila,&rdquo; and &ldquo;Calderon&rdquo;
+(1847); W. N. Bailey&rsquo;s &ldquo;Illustrated Musical Annual,&rdquo; &ldquo;The
+Family Joe Miller, a Drawing-room Jest Book&rdquo; (1848); &ldquo;Puck,&rdquo;
+(a comic serial, 1848); Laman Blanchard&rsquo;s &ldquo;Sketches from Life&rdquo;
+(1849); Samuel Lover&rsquo;s &ldquo;Metrical Tales and Poems;&rdquo; &ldquo;The Magic
+of Kindness,&rdquo; by the brothers Mayhew; Mrs. S. C. Hall&rsquo;s &ldquo;Midsummer
+Eve;&rdquo; &ldquo;Punch,&rdquo; up to and including the seventh volume;
+and (some time afterwards) its able opponent &ldquo;The Man in the
+<span class="pagenum"><a name="page358" id="page358"></a>358</span>
+Moon&rdquo; (now exceedingly scarce).<a name="FnAnchor_177" href="#Footnote_177"><span class="sp">177</span></a> In these and very many other
+works we find him associated not only with George Cruikshank, John
+Leech, Hablot Knight Browne, and Richard Doyle, but with artists
+occupying the position of Sir John Gilbert, Frank Stone, Maclise,
+Clarkson Stanfield, Creswick, E. M. Ward, Elmore, Frost, Sir J.
+Noel Paton, Frederick Goodall, Thomas Landseer, F. W. Popham,
+Fairholt, Harrison Weir, Redgrave, Corbould, and Stephanoff. He
+was a thoroughly useful man; and a thousand examples of quaint
+imaginings&mdash;oftentimes of graceful workmanship&mdash;might be culled
+from the various works and serials in which his hand may be readily
+recognised.</p>
+
+<p>But the merits of Kenny Meadows as an illustrator of books are
+very unequal. His friend, Mr. Hodder, who gives us in his pleasant
+&ldquo;Memories&rdquo; an occasional note of some of the artists with whom
+he was thrown in contact, says of him: &ldquo;The quiet, unostentatious
+way in which he worked at his art, too often under the most adverse
+and discouraging circumstances, and the pride which he displayed
+when he felt he had made a &lsquo;happy hit,&rsquo; was somewhat like the
+enthusiasm of a youth who had first attained the honour of a prize.
+As a draughtsman he never cared to be guided by those practical
+laws which regulate the academic exercise of the pictorial art; for
+he contended that too strict an adherence to nature only trammelled
+him, and he preferred relying upon the thought conveyed in his
+illustrations, rather than upon the mechanical correctness of his
+outline or perspective.&rdquo; George Cruikshank showed, as we know, a
+tolerable contempt for nature when he undertook the delineation of
+a horse, a woman, or a tree; but it was one of the conditions of his
+<i>genius</i> that it should be left free and untrammelled to follow the
+dictates of its own inspiration, and the quaint effect which somehow
+or other he managed to impart to a design which, in its details might
+offend the educated taste of the art critic, made us forget the
+contempt too often displayed for those &ldquo;practical laws&rdquo; to which
+<span class="pagenum"><a name="page359" id="page359"></a>359</span>
+Mr. Hodder refers. To constitute a good comic artist, not only is it
+necessary that he should be a good draughtsman, but certain special
+gifts are indispensable,&mdash;a keen sense of the ridiculous, an inherent
+appreciation of humour, a quick and ready invention, qualities which
+no amount of artificial training will bestow. They were possessed in
+an eminent degree by Gillray, by Cruikshank, by John Leech, but
+were wholly wanting to Kenny Meadows. He could draw on
+occasion a queer face&mdash;for that matter his faces, intentionally or
+otherwise, were generally queer&mdash;and an eccentric figure, and so can
+many persons who have a natural taste for drawing, and have learnt
+to handle the pencil; but the caricaturist, like the poet, <i>nasciiur non
+fit</i>, and a hundred or even a thousand queer faces or eccentric
+figures, without the gift of invention or originality, will not of themselves
+constitute the designer a comic artist. The truth is that with
+Kenny Meadows mannerism takes the place of genius. You will
+recognise his hand anywhere without the familiar &ldquo;K.M.&rdquo; appended
+to it, for all his faces are chubby (not to say puffy), and their arms
+and legs look for all the world as if the hand that designed them had
+been guided by a ruler. The delusion which led him to imagine
+that his &ldquo;genius&rdquo; would enable him to soar superior to nature is no
+doubt responsible in some degree for this latter eccentricity, for the
+artist who would be bold enough to despise the laws &ldquo;which regulate
+the exercise of the pictorial art,&rdquo; would be prepared to view
+Hogarth&rsquo;s line of beauty with like indifference and contempt.</p>
+
+<p>Kenny Meadows was one of the early illustrators of <i>Punch</i>, and
+contributed moreover to the first volume some of the best of the
+cartoons. Good specimens of his work will be found in <i>Young
+Loves to Sell</i>, and <i>The Speculative Mama</i> (<i>sic</i>), second vol.; in
+the third volume he illustrated &ldquo;Punch&rsquo;s Letters to His Son,&rdquo; and
+the first of the almanacks contains six of his designs. In the fourth
+volume we find six of his cartoons, among them <i>The Milk of Poor
+Law Kindness</i>, and <i>The First Tooth</i> (the Queen and infant Prince of
+Wales); the doctor&rsquo;s legs and shoes are thoroughly characteristic of
+his style, and look for all the world as if they had been drawn by
+a ruler. The cartoon, <i>Punch Turned Out of France</i> in this volume is,
+<span class="pagenum"><a name="page360" id="page360"></a>360</span>
+if we mistake not, the work of Kenny Meadows. <i>The Christian
+Bayadere Worshipping the Idol Siva</i>, has reference to the tolerance
+which &ldquo;John Company&rdquo; wisely conceded to Hindoo religious
+ceremony, so long as its traditions were found consistent with the
+ordinary dictates of humanity. &ldquo;The Story of a Feather&rdquo; in this
+volume has five illustrations, two of which are very clever. Among
+the other cartoons we find <i>The Modern Macheath</i> (the Captain being
+Sir Robert Peel). The fifth volume contains eight of his illustrations,
+six being cartoons; among them, <i>The Irish Frankenstein</i> (badly
+imagined and atrociously drawn), <i>The Water Drop</i> and the <i>Gin
+Drop</i> are characterized by much poverty of invention, but the
+former is the best of the two. <i>The Battle of the Alphabet</i> (cartoon)
+is a better specimen of his work, although the legs and arms look as
+usual, as if drawn with a ruler. The sixth volume contains three of
+his cartoons, while the almanack of the year (1844) has several of
+his illustrations. To the seventh volume he contributed no less than
+thirty-one illustrations, some very good, one of the best being that
+of the two legal dogs quarrelling over a bone of litigation. <i>Punch</i> at
+the outset of his career had considerable difficulty in the selection
+of a graphic satirist, and one of his &ldquo;right hand men&rdquo; in those
+early days was a Mr. Henning, by whose side Kenny Meadows
+figures as an absolute genius. After his seventh volume, however,
+he met with artists better fitted to interpret his political and social
+views, and no trace of Meadows&rsquo; useful hand appears in succeeding
+volumes.</p>
+
+<p>In stating that the merits of Kenny Meadows as an illustrator of
+books are unequal, and in denying to him the possession of genius,
+we must not be held to imply that he was deficient of talent. An
+excellent example of the inequality of which we speak will be found
+in his Shakespeare (Robert Tyas, 1843), a work selected by us for
+the reason that it was considered by himself and his two favourable
+friends as his masterpiece. Although we cannot stay to notice all
+the strange conceptions with which he has enriched this book, we
+may be permitted to wonder whence he derived his preposterous
+ideas of Caliban, of Malvolio, of Shylock, of Juliet&rsquo;s nurse, of
+<span class="pagenum"><a name="page361" id="page361"></a>361</span>
+Launce&rsquo;s unhappy dog, of the Egpytian Sphynx in &ldquo;Antony and
+Cleopatra.&rdquo; The model of Shylock was evidently some &ldquo;old clo&rsquo;&rdquo;
+dealer in Petticoat Lane. The figure of Armado (&ldquo;Love&rsquo;s Labour&rsquo;s
+Lost&rdquo;) is so wonderfully put together that his anatomy must sooner
+or later fall to pieces; the ghost of Hamlet&rsquo;s father is the ghost of
+some colossal statue, certainly not the shade of one who had worn
+the guise of ordinary humanity. The head of the gentle Juliet
+might derive benefit from the application of a bottle of invigorating
+hair wash. The figure of the monk in &ldquo;Romeo and Juliet&rdquo; literally
+cut out of wood, carries as much expression in its face as a lay figure;
+while the walls of Northampton Castle (in &ldquo;King John&rdquo;) are so
+much out of the perpendicular, that the courtiers seem less concerned
+at finding the dead body of Arthur, than in seeking a place of
+shelter from the impending downfall. Henry the Eighth, although
+acknowledged to be a corpulent, was not, so far as we know, a
+deformed man; the preposterous &ldquo;beak&rdquo; of Richard the Third
+occupies one half of his otherwise remarkably short face, and its
+owner (in the well-known tent scene) suffers from an attack of tetanus
+instead of an accession of mental terror. These eccentric realizations,
+in which he has succeeded in setting all the rules of drawing at
+defiance, are rendered the more remarkable by reason of the circumstance
+that the work now under consideration is interspersed with
+numerous charming drawings, the effect of which is wholly marred
+by these erratic performances. Meadows was an admirable water-colour
+artist, and a scarce edition of this work contains some
+engravings of Shakespearian heroines after his designs. The
+Germans fancy they understand Shakespeare better than ourselves
+(an amiable and complimentary weakness), and the work was
+favourably received in Germany, the artist&rsquo;s conception of Falstaff,
+in particular, being so highly appreciated that a bronze statuette was
+modelled after it, which enjoyed a large sale.</p>
+
+<p>His ideas of female beauty were almost as eccentric as those
+of Cruikshank. A couple of beauties of the Meadows type will
+be found at page 3 of Henry Cockton&rsquo;s &ldquo;Sisters&rdquo; (Nodes, 1844),
+where one lady is represented to us with a neck like that of a
+<span class="pagenum"><a name="page362" id="page362"></a>362</span>
+giraffe, whilst her sister beauty is sensibly inconvenienced by a lock
+of hair which has strayed into her eye,&mdash;a favourite device, by the
+way, of the artist. This book, now scarce (in the illustration of
+which he was assisted by Alfred Crowquill), is adorned with a
+portrait on steel, after a painting by Childe, in which the author
+is presented to us in a white waistcoat and dress coat, with a pen
+in his hand, leading us to the inference that his clumsily constructed
+novels (one of which&mdash;&ldquo;Valentine Vox,&rdquo; thanks perhaps to the illustrator,
+Onwhyn&mdash;still holds its ground) were written in evening
+costume.</p>
+
+<p>But notwithstanding these failures, Kenny Meadows has happily
+left behind him work of a very much better kind. His Christmas
+pictures in particular are impressed with the kindly, genial humour
+which characterized the man; the &ldquo;Illuminated Magazine,&rdquo; a scarce
+and valuable work, contains sixty-three very fine specimens of his
+pencillings, including the illustrations to his friend Douglas Jerrold&rsquo;s
+&ldquo;Chronicles of Clovernook,&rdquo; admirable in every respect, probably
+the finest designs he ever executed. The wood engravings in this
+charming serial have probably never been surpassed; we seldom
+see woodcuts in these days which equal the splendid workmanship
+of E. Landells.<a name="FnAnchor_178" href="#Footnote_178"><span class="sp">178</span></a> After the third volume, the &ldquo;Illuminated
+Magazine&rdquo; passed into other hands, and although Kenny Meadows
+continued its mainstay for a time, the rest of the excellent artists
+left, and the literary matter visibly declined.</p>
+
+<p>To the famous &ldquo;Gallery of Comicalities&rdquo; Kenny Meadows
+contributed <i>Sketches from Lavater</i> and <i>Phisogs of the Traders
+of London</i>. During the last decade of his life his services in the
+cause of illustrative art were rewarded and recognised by a
+pension from the Civil List of £80 per annum. Like George
+<span class="pagenum"><a name="page363" id="page363"></a>363</span>
+Cruikshank he remained hale and vigorous to the last, proud of
+his age, and fond of asserting there was &ldquo;life in the old dog yet.&rdquo;
+That this was no idle boast may be inferred from the fact that within
+a few months of his death he was engaged in painting a subject
+from his favourite Shakespeare. At the time of his death (in
+August, 1874) he had almost completed his eighty-fifth year.</p>
+
+<p class="center1" style="letter-spacing: 3em;">******</p>
+
+<p>In hunting up materials for the present work, we have come at
+various times upon editions (specimens, perhaps, might be the
+better word) of the &ldquo;Pickwick Papers,&rdquo; which will possess an interest
+in the eyes of the collector. The first issue, in the original green
+sporting covers designed by Seymour, is of course exceedingly
+scarce; we have never indeed seen a <i>perfect</i> copy, which would
+probably be worth some ten pounds, while the same edition bound
+may be purchased at prices varying from twenty-four shillings to
+three guineas, according to the condition of the volume. An Australian
+edition was published at Launceston, Van Dieman&rsquo;s Land,
+in 1838, with plates after &ldquo;Phiz&rdquo; by &ldquo;Tiz,&rdquo; facsimiles on stone of
+the earliest issue of the parts in England. At a West of England
+bookseller&rsquo;s we met with a first edition bound up with etchings
+by Onwhyn,<a name="FnAnchor_179" href="#Footnote_179"><span class="sp">179</span></a> &ldquo;Peter Palette,&rdquo; and others. Then there are the
+twenty-four etchings from remarkably clever original drawings by
+Mr. F. W. Pailthorpe in illustration of scenes in &ldquo;Pickwick,&rdquo; of
+which the proofs before letters were published at three guineas;
+and lastly, there is the rare first edition, containing all the plates
+by Seymour and &ldquo;Phiz,&rdquo; supplemented by the two &ldquo;suppressed&rdquo;
+etchings, which are credited (wrongly) to the hand of Buss.</p>
+
+<p>Among the etchers of book illustration after 1836, we may name
+<span class="pagenum"><a name="page364" id="page364"></a>364</span>
+<span class="sc">Robert William Buss</span>, whose etchings will be found in Mrs.
+Trollope&rsquo;s &ldquo;Widow Married&rdquo; (a sequel to her &ldquo;Widow Barnaby&rdquo;),
+which made its appearance in the &ldquo;New Monthly Magazine&rdquo; of 1839,
+and whose hand will also be found in Marryat&rsquo;s &ldquo;Peter Simple,&rdquo;
+&ldquo;Jacob Faithful,&rdquo; Harrison Ainsworth&rsquo;s &ldquo;Court of King James II.,&rdquo;
+etc. Although his designs lack the genius, the artistic power, the
+finish and the comic invention of Leech or Cruikshank, they show
+nevertheless that as an etcher and designer he was possessed of
+exceptional talent and ability. The first experience, however, of
+this able artist as an etcher was peculiarly unfortunate and vexatious.</p>
+
+<p>When poor Seymour shot himself in 1836, the draughtsman first
+called in to supply his place was Robert William Buss. He had
+been recommended to Messrs. Chapman and Hall by John
+Jackson, the wood-engraver, but does not seem at that time to have
+had any practical experience of etching, as he himself explained
+to the member of the firm who called upon him. Mr. Buss, in
+fact, was decidedly indisposed to undertake the work, being then
+engaged on a picture he was preparing for exhibition, and he undertook
+it only after considerable pressure. He immediately began
+to practise the various operations of etching and biting in, and
+produced a plate with which the publishers expressed themselves
+satisfied. Two subjects were then selected for illustration, <i>The
+Cricket Match</i>, and <i>The Fat Boy Watching Mr. Tupman and Miss
+Wardle</i>. When, however, Mr. Buss began to etch them on the
+plate, he found, having had little or no experience in laying his
+ground, that it holed up under the etching point; and as time was
+precious, he placed the plates in the hands of an experienced
+engraver to be etched and bitten in. Had opportunity been given
+him, his son (from whom we take this account) tells us he would
+have cancelled these plates and issued fresh ones of his own etching.
+Designs were prepared by him for the following number, when he
+received an intimation that the work of illustrating the &ldquo;Pickwick
+Papers&rdquo; had been placed in other hands. The illustrations referred
+to were suppressed, and the collectors who are so anxious to secure
+an edition with the two &ldquo;Buss plates,&rdquo; will be pleased to learn that,
+<span class="pagenum"><a name="page365" id="page365"></a>365</span>
+although the design was his, not one line of the etchings which
+bear his name are due to the artist&rsquo;s point.<a name="FnAnchor_180" href="#Footnote_180"><span class="sp">180</span></a></p>
+
+<p>The father of Robert William was an engraver and enameller,
+and under his directions he acquired a knowledge of this technical
+branch of art; but evincing a taste and preference for drawing
+and painting, he became a pupil of George Clint, A.R.A., under
+whose direction he studied subject and portrait painting. He
+painted fifteen theatrical portraits for Mr. Cumberland in illustration
+of his &ldquo;British Drama,&rdquo; and a collection of these works was afterwards
+exhibited at that melancholy monument to past exhibitions,
+the Colosseum in the Regent&rsquo;s Park. He was employed by Charles
+Knight in the illustrations to his &ldquo;Shakespeare,&rdquo; &ldquo;London,&rdquo; &ldquo;Old
+England,&rdquo; &ldquo;Chaucer,&rdquo; and the now forgotten &ldquo;Penny Magazine,&rdquo;
+for all of which publications he executed many designs on wood.</p>
+
+<p>It must not be supposed because Robert William Buss was not
+considered the right man to illustrate &ldquo;Pickwick,&rdquo; that he was
+therefore an indifferent draughtsman. His finest book etchings are
+probably those which he executed for Harrison Ainsworth&rsquo;s novel
+of &ldquo;The Court of James II.&rdquo;; but in a higher and far more ambitious
+walk in art he was not only more successful, but achieved
+in his time a considerable reputation. Among his pictures may be
+mentioned one of <i>Christmas in the Olden Time</i>, which, apart from
+its merits as a painting, showed that he possessed considerable
+antiquarian knowledge. Other works of his are, <i>The Frosty Morning</i>,
+purchased by Lord Charles Townshend; <i>The Stingy Traveller</i>,
+bought by the Duchess of St. Albans; <i>The Wooden Walls of Old
+England</i>, the property of Lord Coventry; <i>Soliciting a Vote</i>, and
+<i>Chairing the Member</i>; <i>The Musical Bore</i>; <i>The Frosty Reception</i>;
+<i>Master&rsquo;s Out</i>; <i>Time and Tide Wait for no Man</i>; <i>Shirking the Plate</i>;
+<i>The First of September</i>; <i>The Introduction of Tobacco</i>; <i>The Biter
+Bit</i>; <i>The Romance</i>; and <i>Satisfaction</i>. For Mr. Hogarth, of the
+Haymarket, he painted four small subjects illustrative of Christmas,
+entitled, <i>The Waits</i>; <i>Bringing in the Boar&rsquo;s Head</i>; <i>The Yule Log</i>,
+<span class="pagenum"><a name="page366" id="page366"></a>366</span>
+and <i>The Wassail Bowl</i>; all afterwards engraved. For Mr. James
+Haywood, M.P., he executed a series of drawings illustrative of
+student life at Oxford, Cambridge, Durham, London, and Paris;
+while two vast subjects, <i>The Origin of Music</i> and <i>The Triumph of
+Music</i> (each twenty feet wide by nine feet high), were painted for
+the Earl of Hardwick, and are, or lately were, in the music saloon
+at Wimpole, in Cambridgeshire. His pictures were seventy-one in
+number, twenty-five of which were engraved. On the whole, therefore,
+Robert William Buss might afford to bear the refusal of Charles
+Dickens&rsquo;s patronage with equanimity.</p>
+
+<p>The paintings and etchings of Robert William Buss evince a
+strong leaning in the direction of comic art, a taste which prompted
+him, in 1853, to deliver at various towns in the United Kingdom
+a course of very successful and interesting lectures on caricature
+and graphic satire, illustrated by several hundred examples executed
+by himself. In 1874, the year before his death, he published for
+the amusement of his friends, and for private circulation only, the
+substance of these lectures, under the title of &ldquo;English Graphic
+Satire and its Relation to Different Styles of Painting, Sculpture,
+and Engraving.&rdquo; The numerous illustrations to this work were
+those drawn for his lectures by the artist, and reproduced for his
+book by the process of photo-lithography. So far as comic art and
+caricaturists of the nineteenth century are concerned, the author
+has comparatively little to say; but the work is valuable as regards
+the subject generally, and might have been published with advantage
+to the public. The artist delivered also lectures on &ldquo;The Beautiful
+and the Picturesque,&rdquo; as well as on &ldquo;Fresco Painting.&rdquo;</p>
+
+<p>Mr. Buss, if not very original as a comic designer, possessed
+nevertheless a keen sense of humour. One of his pictures (engraved
+by H. Rolls), entitled <i>Time and Tide Wait for no Man</i>, represents
+an artist, sketching by the sea-shore, so absorbed in the contemplation
+of nature that he remains unconscious of the fast inflowing
+tide, and deaf to the warnings of the fisherman who is seen hailing
+him from the beach.</p>
+
+<p class="center1" style="letter-spacing: 3em;">******</p>
+
+<p><span class="pagenum"><a name="page367" id="page367"></a>367</span></p>
+
+<p>The comic publications which either preceded or ran side by side
+with <i>Punch</i> had for the most part a somewhat short and unsatisfactory
+career. Perhaps the most successful of them was <i>Figaro
+in London</i>, 1831-36, which we have already noticed. <i>The Wag</i>, a
+long-forgotten publication, enjoyed a very transient existence. In
+1832 appeared <i>Punchinello</i>, on the pages of which Isaac Robert
+Cruikshank was engaged. <i>Punchinello</i>, however, ceased running
+after its tenth number. <i>Asmodeus in London</i>, notwithstanding the
+support it derived from Seymour&rsquo;s pencil, was by no means a commercial
+success. <i>The Devil in London</i> was a little more fortunate.
+This periodical commenced running on the 29th of February, 1832,
+and the illustrations of Isaac Robert Cruikshank and Kenny
+Meadows enabled it to reach its thirty-seventh number. Tom
+Dibdin&rsquo;s <i>Penny Trumpet</i> ignominiously blew itself out after the
+fourth number.  <i>The Schoolmaster at Home</i>, notwithstanding
+Seymour&rsquo;s graphic exertions, collapsed at its sixth number. <i>The
+Whig Dresser</i>, illustrated by Heath, enjoyed an existence exactly
+of twelve numbers. <i>The Squib</i> (1842) lasted for thirty weeks before
+it exploded and went out. <i>Puck</i> (1848), illustrated by W. Hine,
+Kenny Meadows, and Gilbert, died the twenty-fifth week after its
+first publication. <i>Chat</i> ran its course in 1850 and 1851. <i>The Man
+in the Moon</i>, under the literary guidance of Shirley Brooks, Albert
+Smith, G. A. Sala, and the Brothers Brough, enjoyed a comparatively
+glorious career of two years and a half. <i>Diogenes</i> (started in 1853,
+under the literary conduct of Watts Phillips, the Broughs, Halliday,
+and Angus Bethune Reach), notwithstanding the graphic help
+rendered by McConnell<a name="FnAnchor_181" href="#Footnote_181"><span class="sp">181</span></a> and Charles H. Bennett, gave up the
+ghost in 1854. <i>Punchinello</i> (second of the name) flickered and
+went out at the seventh number. <i>Judy</i> (the predecessor of the
+present paper) appeared 1st February, 1843, but soon died a
+natural death. <i>Town Talk</i>, edited by Halliday and illustrated by
+McConnell, lasted a very limited time. <i>London</i>, started by George
+Augustus Sala in rivalry of <i>Punch</i>, soon ceased running; while the
+<span class="pagenum"><a name="page368" id="page368"></a>368</span>
+<i>Puppet Show</i>, notwithstanding the ability of Mr. Procter, enjoyed
+but a very brief and transitory existence. The strong and healthy
+constitution of <i>Punch</i> enabled him not only to outlive all these, but
+even a publication superior in some important respects to himself.
+We allude to the <i>Tomahawk</i>, whose cartoons are certainly the most
+powerful and outspoken satires which have appeared since the
+days of Gillray.<a name="FnAnchor_182" href="#Footnote_182"><span class="sp">182</span></a></p>
+
+<p>Among the draughtsmen whom <i>Punch</i> called in to help him in his
+early days was a useful and ingenious artist, inferior in many respects
+to Kenny Meadows, his name was <span class="sc">Alfred Henry Forrester</span>,
+better known to most of us under his <i>nom de guerre</i> of &ldquo;Alfred
+Crowquill.&rdquo; The scribes of the &ldquo;Catnach,&rdquo; or Seven Dials school,
+of literature are satirized by Forrester (in the second volume),
+wherein we see a &ldquo;Literary Gentleman&rdquo; hard at work at his vocation
+of a scribe of cheap and deleterious literature, consulting his authorities&mdash;&ldquo;The
+Annals of Crime,&rdquo; a &ldquo;Last Dying Speech and Confession,&rdquo;
+and the &ldquo;Newgate Calendar.&rdquo; In <i>The Footman</i> we have
+a gorgeous figure, adorned with epaulets, lace, and a cocked hat,
+reading (of all things in the world) the &ldquo;Loves of the Angels,&rdquo; over
+a bottle of hock and soda-water! <i>The Pursuit of Matrimony under
+Difficulties</i> is a more ambitious performance. &ldquo;Punch&rsquo;s Guide to the
+Watering Places&rdquo; (vol. iii.) is illustrated with a number of coarsely
+executed cuts, wholly destitute of merit; the fourth volume contains
+a cartoon entitled <i>Private Opinions</i>. But the graphic humour
+of Alfred Crowquill, although amusing and sometimes bright and
+sparkling, was unsuited to the requirements of a periodical such as
+<i>Punch</i>. As better men came forward, he gradually dropped out of
+its pages, and we see nothing more of him after the fourth volume.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:610px; height:528px" src="images/img368.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Alfred Crowquill.</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;The Book of Days.&rdquo;</i></p>
+<p>FROZEN OUT GARDENERS.</p>
+<p class="ar">[<i>Face p. 368.</i></p></td></tr></table></div>
+
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:610px; height:558px" src="images/img369.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Alfred Crowquill.</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>From &ldquo;The Book of Days.&rdquo;</i></p>
+<p>&ldquo;SWEARING THE HORNS&rdquo; AT HIGHGATE.</p>
+
+<p class="al">&ldquo;When any person passed through Highgate for the first time on his way to London, he, being
+brought before the horns, had a mock oath administered to him, to the effect that he would never
+drink small beer when he could get strong, unless he liked it better; that he would never eat brown
+bread when he could get white, or water-gruel, when he could command turtle-soup; that he would
+never make love to the maid when he might to the mistress; and so on &emsp;.&emsp; according to the wit
+of the imposer of the oath, and simplicity of the oath-taker.&rdquo;</p>
+
+<p class="ar">[<i>Face p.</i> 369.</p></td></tr></table></div>
+
+<p>Alfred Crowquill was a sort of &ldquo;general utility&rdquo; man, essaying the
+character of a <i>littérateur</i> as well as that of an artist, and achieving
+as a natural consequence no permanent success in either. In his
+literary capacity, Alfred Henry Forrester made his first appearance
+(we believe) in &ldquo;The Hive,&rdquo; and &ldquo;The Mirror,&rdquo; under the editorship
+<span class="pagenum"><a name="page369" id="page369"></a>369</span>
+of Mr. Timbs; while as an artist he illustrated his own writings,
+besides those of a host of other authors. An early effort of his
+pencil is entitled, <i>Der Freyschutz Travestied</i>; this was followed by
+&ldquo;Alfred Crowquill&rsquo;s Sketch Books,&rdquo; which were dedicated to the
+(then) Princess Victoria, by command of the Duchess of Kent. We
+find him afterwards employed on the pages of the &ldquo;New Monthly,&rdquo;
+but on the death of its editor, Mr. Theodore Hook, his useful talents
+procured him an engagement on the staff of &ldquo;Bentley&rsquo;s Miscellany,&rdquo;
+to whose pages he was not only an indefatigable contributor, but
+rendered it substantial assistance in its difficulties with George
+Cruikshank. The best of his illustrative works (mostly designs on
+wood) were executed for this periodical, and selections were afterwards
+collected and published under the title of &ldquo;The Phantasmagoria
+of Fun.&rdquo;</p>
+
+<p>In these days a man like Forrester would be almost at a discount,
+but at the time when he started there was less competition, and
+a useful, clever man, like he undoubtedly was, was fortunately not
+lost. His hands, in fact, were always full, and a list of some of
+the books to which his pen and his pencil contributed will be found
+in the Appendix. One of the best of his designs was a title-page
+he executed for a work published by Kent &amp; Co., under the title of
+&ldquo;Merry Pictures by the Comic Hands of Alfred Crowquill, Doyle,
+Meadows, Hine, and Others&rdquo; (1857), a <i>réchauffage</i> of cuts and illustrations
+which had previously done duty for books of an ephemeral
+character, such as &ldquo;The Gent,&rdquo; &ldquo;The Ballet Girl,&rdquo; and even of
+the superior order of &ldquo;Gavarni in London.&rdquo;<a name="FnAnchor_183" href="#Footnote_183"><span class="sp">183</span></a> Some excellent
+designs executed by him on wood will be found in Messrs. Chambers&rsquo;
+&ldquo;Book of Days.&rdquo; In his dual character of a writer and comic artist,
+Crowquill was an inveterate punster. Leaves from his &ldquo;Memorandum
+<span class="pagenum"><a name="page370" id="page370"></a>370</span>
+Book&rdquo; (1834) will give us a good idea of his style. In &ldquo;Tea Leaves
+for Breakfast,&rdquo; <i>Strong Black</i> is represented by a sturdy negro carrying
+a heavy basket; a tall youth with a small father personating <i>Hyson</i>;
+a housemaid shaking a hall mat, to the discomfort of herself and
+the passers-by, is labelled <i>Fine dust</i>; a cockney accidentally discharging
+his fowling-piece does duty for <i>Gunpowder</i>; while <i>Mixed</i>
+is aptly personified by a curious group of masqueraders. The vowels
+put in a comical appearance: <i>A</i> with his hands behind him listens
+to <i>E</i>, who points to <i>I</i> as the subject of his remarks, which must be
+of a scandalous character, as the injured vowel looks the picture of
+anger and astonishment. <i>E</i> finds a ready listener in <i>O</i>, who opens
+his mouth and extends his hands in real or simulated amazement
+and horror.</p>
+
+<p>Crowquill was a clever caricaturist, and began work when he
+was only eighteen. We have seen some able satires of his executed
+between the years 1823 and 1826 inclusive. One of the best,
+published by S. Knight in 1825, is entitled, <i>Paternal Pride</i>: &ldquo;Dear
+Doctor, don&rsquo;t you think my little Billy is like me?&rdquo; &ldquo;The very
+picture of you in every feature!&rdquo; <i>Ups and Downs</i> (Knights, 1823),
+comprise &ldquo;Take Up&rdquo; (a Bow Street runner); &ldquo;Speak Up&rdquo; (a
+barrister); &ldquo;Hang Up&rdquo; (a hangman); &ldquo;Let-em-Down&rdquo; (a coachman);
+&ldquo;Knock-em-Down&rdquo; (an auctioneer); &ldquo;Screw-em-Down&rdquo;
+(an undertaker). The following are given as <i>Four Specimens of the
+Reading Public</i> (Fairburn, 1826): &ldquo;Romancing Molly,&rdquo; &ldquo;Sir Lacey
+Luscious,&rdquo; a &ldquo;Political Dustman,&rdquo; and &ldquo;French à la Mode.&rdquo; Two,
+in which he was assisted by George Cruikshank, entitled, <i>Indigestion</i>,
+and <i>Jealousy</i>, will be found in the volume published (and republished)
+under the name of &ldquo;Cruikshankiana.&rdquo; The latter shows on the face
+of it that, while Crowquill was responsible for the design, the etching
+and a large share of the invention are due to Cruikshank.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:487px; height:630px" src="images/img371.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Chas. H. Bennett.</p>
+<p class="ar" style="margin-top: -1.7em;">[<i>&ldquo;Shadow and Substance.&rdquo;</i></p>
+<p class="al" style="margin-left: 7em;">&ldquo;... creeping like a snail</p>
+<p class="al" style="margin-left: 7.5em;">Unwillingly to school.&rdquo;&mdash;<span class="sc">As You Like It.</span></p>
+<p class="ar">[<i>Face p. 371.</i></p></td></tr></table></div>
+
+<p>If not a genius, the man was talented and clever,&mdash;a universal
+favourite. He could draw, he could write; he was an admirable
+vocalist, setting the table in a roar with his medley of songs. Even
+as a painter he was favourably known. <i>Temperance and Intemperance</i>
+were engraved from his painting in oils, and called forth a letter of
+<span class="pagenum"><a name="page371" id="page371"></a>371</span>
+thanks from the great apostle of temperance, Father Mathew himself.
+Other works were <i>The Ups and Downs of Life</i>, the well-known
+<i>President</i> and <i>Vice President</i> (both engraved), and many others. A
+clever artist in &ldquo;black and white,&rdquo; two of his pen-and-ink sketches&mdash;<i>The
+Huntsman&rsquo;s Rest</i> and <i>The Solitary</i>&mdash;were honoured with a
+place among the drawings at the Royal Academy Exhibition of 1846.
+His talents did not end here; most of the Christmas pantomimes of
+his time were indebted to him for clever designs, devices, and effects.
+The kindly, genial, gifted man died in 1872, in his sixty-eighth year.</p>
+
+<p class="center1" style="letter-spacing: 3em;">******</p>
+
+<p>Some of our readers may possibly remember seeing in one of
+the comic publications published concurrently with or shortly after
+the appearance of Mr. Charles Darwin&rsquo;s work, a series of comical
+designs ridiculing the theory of the &ldquo;origin of species&rdquo; in a manner
+which must have astonished as well as amused the learned philosopher.
+The origin of the genus <i>footman</i>, and of the dish he carries to
+his master&rsquo;s table, is traced out as follows: The dish carries a bone,
+which eventually finds its way into the jaws of a mongrel cur with a
+peculiarly short tail. The process then goes merrily onwards; the
+dog gradually develops; his skin turns into a suit of livery with
+buttons, the dog-collar gradually assumes the form of a footman&rsquo;s
+tie, until the process is ended and the species complete. In like
+manner, a cat develops into a spinster aunt; a monkey into a mischievous
+urchin; a pig into a gourmand; a sheep into a country
+bumpkin; a weasel into a lawyer; a dancing bear into a garrotter;
+a shark into a money-lender; a snail into the schoolboy to which
+Shakespeare likens him; a fish into a toper, and so on. These
+&ldquo;developments&rdquo; (twenty in number), which were dedicated to Mr.
+Darwin, are signed &ldquo;C. H. B.&rdquo; and these are the initials of <span class="sc">Charles
+H. Bennett</span>, one of the gentlest, most promising, and withal most
+original graphic humourists of the century.</p>
+
+<p>Amongst the earliest of the serials which he illustrated was, we
+believe, <i>Diogenes</i>, a sort of rival of <i>Punch</i>, which made its appearance
+and ran a brief course in 1853-4. Associated with him in the illustrations
+<span class="pagenum"><a name="page372" id="page372"></a>372</span>
+were McConnell and Watts Phillips, the latter of whom contributed
+largely also to the literary matter. We find a clever design
+of his (in Leech&rsquo;s style) in the second volume: &ldquo;Now, gentlemen of
+the jury,&rdquo; says a brazen-faced barrister, &ldquo;I throw myself upon your
+impartial judgment as husbands and fathers, and I confidently ask,
+Does the prisoner [the most murderous-looking ruffian un-hung] look
+like a man who would knock down and trample upon the wife of
+his bosom? Gentlemen, I have done!&rdquo;</p>
+
+<p>There was considerable originality in the designs of Bennett, which
+is more particularly manifested in the well-known series of humorous
+sketches in which the effect intended to be produced is effected by
+means of the <i>shadows</i> of the figures represented, which are supposed
+to indicate their distinguishing failings and characteristics. Among
+them may be mentioned a tipsy woman amused at the <i>shadow</i> cast
+by her own figure of a gin bottle; an undertaker, in his garb of woe
+wrung from the pockets of widows and orphans, casts the appropriate
+shadow of a crocodile; a red-nosed old hospital nurse of a tea-pot;
+a worn-out seamstress of a skeleton; a mischievous street boy
+of a monkey; an angry wife sitting up for a truant husband of an
+extinguisher; a tall, conceited-looking parson, with a long coat, of a
+pump; while a sweep, with his &ldquo;machine,&rdquo; to his mortal terror beholds
+his own shadow preceding him in the guise of Beelzebub himself.
+The series is continued in a work published by W. Kent &amp; Co.
+in 1860, under the title of &ldquo;Shadow and Substance,&rdquo; the letterpress
+of which is contributed to Bennett&rsquo;s pictures by Robert B. Brough.
+Literary work of this description, like William Combe&rsquo;s &ldquo;Doctor
+Syntax,&rdquo; is necessarily unsatisfactory; but the pictures themselves
+are distinctly inferior to the series which preceded them, the best
+being <i>Old Enough to Know Better</i>,&mdash;a bald-headed, superannuated
+old sinner behind the scenes, presenting a bouquet to a ballet girl,
+his figure casting a <i>shadow</i> on the back of the scene of a bearded,
+long-eared, horned old goat.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:491px; height:620px" src="images/img372.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Chas. H. Bennett.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Shadow and Substance.</i>&rdquo;</p>
+<p>&ldquo;OLD ENOUGH TO KNOW BETTER.&rdquo;</p>
+<p class="ar">[<i>Face p. 372.</i></p></td></tr></table></div>
+
+<p>We are in no position to give a detailed list of Charles Bennett&rsquo;s
+work, which was of a very miscellaneous kind, comprising among
+others a series of slight outline portraits of members of parliament,
+<span class="pagenum"><a name="page373" id="page373"></a>373</span>
+which appeared in the <i>Illustrated Times</i>, an edition of the
+&ldquo;Pilgrim&rsquo;s Progress,&rdquo; edited by the Rev. Charles Kingsley; &ldquo;John
+Todd,&rdquo; a work by the Rev. John Allen; &ldquo;Shadows,&rdquo; and &ldquo;Shadow
+and Substance,&rdquo; just spoken of; &ldquo;Proverbs, with Pictures by
+Charles H. Bennett,&rdquo; etc., etc. His talent at last attracted the
+notice of the weekly <i>Punch</i> council, and he received the coveted
+distinction of being engaged on the permanent staff of that
+periodical.</p>
+
+<p>His life, however, was a brief one. The diary of Shirley Brooks,
+who took much personal interest in him, refers with some anxiety to
+his illness on the 30th of March, 1867. On the 31st of March the
+report was somewhat more favourable; but the 2nd of April brought
+a letter from the editor of <i>Punch</i>, Mark Lemon, which said that
+Charles Bennett had died between the hours of eight and nine
+o&rsquo;clock that morning. &ldquo;I am very sorry,&rdquo; adds Shirley Brooks in
+an autograph note appended beneath the letter referred to. &ldquo;B[ennett]
+was a man whom one could not help loving for his gentleness,
+and a wonderful artist.&rdquo; The obituary notice by the same hand
+which appears in <i>Punch</i> records that &ldquo;he was a very able colleague,
+a very dear friend. None of our fellow-workers,&rdquo; it continues, &ldquo;ever
+entered more heartily into his work, or laboured with more earnestness
+to promote our general purpose. His facile execution and
+singular subtilty of fancy were, we hoped, destined to enrich these
+pages for many a year. It has been willed otherwise, and we lament
+the loss of a comrade of invaluable skill, and the death of one of the
+kindliest and gentlest of our associates, the power of whose hand
+was equalled by the goodness of his heart.&rdquo; Charles Bennett was
+only thirty-seven when he died.</p>
+
+<p>He left a widow and eight children unprovided for, for his health
+having precluded it, no life insurance had been effected. The
+<i>Punch</i> men, however, with the unselfishness which so nobly characterizes
+them, put their shoulders to the wheel for the family of their
+stricken comrade. &ldquo;We shall have to do something,&rdquo; said Shirley
+Brooks in his diary of the 3rd of April; and they did it accordingly.
+A committee was immediately started, on which we find the names of
+<span class="pagenum"><a name="page374" id="page374"></a>374</span>
+Messrs. Arthur Lewis,<a name="FnAnchor_184" href="#Footnote_184"><span class="sp">184</span></a> Wilbert Beale, Mark Lemon, Du Maurier,
+John Tenniel, Arthur Sullivan, and W. H. Bradbury. Then came
+rehearsals, and, on the 11th of May, a performance at the Adelphi in
+aid of the Bennett fund. Mr. Arthur Sullivan had, in conjunction
+with Mr. F. C. Burnand, converted the well-known farce of &ldquo;Box
+and Cox&rdquo; into an operetta of the most ludicrous description. This
+was the opening piece&mdash;the forerunner of &ldquo;Pinafore,&rdquo; &ldquo;Pirates,&rdquo;
+&ldquo;Patience,&rdquo; and other triumphs. Arthur Sullivan himself conducted,
+and the players were Mr. Du Maurier, Mr. Quinton, and Mr. Arthur
+Blunt. Then followed &ldquo;A Sheep in Wolf&rsquo;s Clothing,&rdquo; in which
+Mesdames Kate Terry, Florence Terry, Mrs. Stoker, Mrs. Watts
+(the present Ellen Terry), and Messrs. Mark Lemon, Tom Taylor,
+Tenniel, Burnand, Silver, Pritchett, and Horace Mayhew took part.
+This was succeeded by Offenbach&rsquo;s &ldquo;Blind Beggars,&rdquo; who were
+admirably personated by Mr. Du Maurier and Mr. Harold Power.
+The evening concluded with a number of part songs and madrigals
+sung by the Moray Minstrels&mdash;so called from their chiefly performing
+at Moray Lodge, the residence of Mr. Arthur Lewis. Between the
+two portions of their entertainment, Shirley Brooks came on and
+delivered an address written by himself, which contained the following
+allusion to him for whose family the generous work had been
+undertaken:&mdash;</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:580px; height:713px" src="images/img375a.jpg" alt="" /></td></tr>
+<tr><td><p>THACKERAY&rsquo;S MARGINAL SKETCHES, MADE WHEN AT SCHOOL, IN HIS SCHOOL-BOOKS, ETC.</p>
+<p class="ar">[<i>Back to p. 375.</i></p></td></tr></table></div>
+
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:580px; height:705px" src="images/img375b.jpg" alt="" /></td></tr>
+<tr><td><p>THACKERAY&rsquo;S MARGINAL SKETCHES, MADE WHEN AT SCHOOL, IN HIS SCHOOL-BOOKS, ETC.</p>
+<p class="ar">[<i>Back to p. 375.</i></p></td></tr></table></div>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Only some friends of a lost friend, whose name</p>
+<p class="i05">Is all the inheritance his children claim</p>
+<p class="i05">(Save memory of his goodness), think it due</p>
+<p class="i05">To make some brief acknowledgment to you.</p>
+<p class="i05">Brief but not cold; some thanks that you have come</p>
+<p class="i05">And helped us to secure that saddened home,</p>
+<p class="i05">Where eight young mourners round a mother weep</p>
+<p class="i05">A fond and dear loved father&rsquo;s sleep.</p>
+
+<p class="i05 s">Take it from us&mdash;and with this word we end</p>
+<p class="i05">All sad allusion to our parted friend&mdash;</p>
+<p class="i05">That for a better purpose generous hearts</p>
+<p class="i05">Ne&rsquo;er prompted liberal hands to do their parts.</p>
+<p class="i05"><span class="pagenum"><a name="page375" id="page375"></a>375</span></p>
+<p class="i05">You knew his power, his satire keen but fair,</p>
+<p class="i05">And the rich fancy, served by skill as rare.</p>
+<p class="i05">You did not know, except some friendly few,</p>
+<p class="i05">That he was earnest, gentle, patient, true.</p>
+<p class="i05">A better soldier doth life&rsquo;s battle lack,</p>
+<p class="i05">And he has died with harness on his back.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>The last verse alludes to Kate Terry&rsquo;s approaching marriage:&mdash;</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+
+<p>&ldquo;Last, but not least, in your dear love and ours,</p>
+<p class="i05">There is a head we&rsquo;d crown with all our flowers.</p>
+<p class="i05">Our kindest thanks to her whose smallest grace</p>
+<p class="i05">Is the bewitchment of her fair young face.</p>
+<p class="i05">Our own Kate Terry comes, to show how much</p>
+<p class="i05">The truest art does with the lightest touch.</p>
+<p class="i05">Make much of her while still before your eyes&mdash;</p>
+<p class="i05">A star may glide away to other skies.&rdquo;</p>
+
+</div>
+</td></tr></table>
+
+<p>By this performance, a second which took place at Manchester on
+the 29th of July, and the efforts of Shirley Brooks and the members
+of the committee, a large sum was raised.</p>
+
+<p class="center1" style="letter-spacing: 3em;">******</p>
+
+<p>The <i>Punch</i> volumes, prior to his withdrawal from its pages, are
+interspersed with numerous mirth-provoking drawings on wood by
+the late Mr. <span class="sc">Thackeray</span>. Probably the best of these will be found
+in the &ldquo;Novels by Eminent Hands,&rdquo; in one of which (in amusing
+burlesque of <i>Phiz&rsquo;s</i> spirited title-page to &ldquo;Charles O&rsquo;Malley&rdquo;) we
+see the hero flying over the heads of the French army. Charles
+Lever was nervously sensitive to ridicule, and, although he laughed
+at and enjoyed the clever <i>jeux d&rsquo;esprit</i> in which &ldquo;Phil Fogarty,&rdquo;
+&ldquo;Harry Jolly-cur,&rdquo; &ldquo;Harry Rollicker,&rdquo; etc., put in their respective
+appearances, he declared nevertheless, with evident vexation, that
+he himself might just as well retire from business altogether. This,
+indeed, he proceeded to do; and although we miss from that time
+the rattling heroes of the Frank Webber and Charles O&rsquo;Malley
+school, we are indebted to Thackeray for the striking proof which
+Charles Lever was thus enabled to afford us of the versatility of a
+genius which enabled him to change front and alter his style with
+manifest advantage to his literary reputation.</p>
+
+<p><span class="pagenum"><a name="page376" id="page376"></a>376</span></p>
+
+<p>The fact of his waiting upon Dickens at his chambers in Furnival&rsquo;s
+Inn &ldquo;with two or three drawings in his hand, which strange to say
+he did not find suitable&rdquo; for &ldquo;Pickwick,&rdquo; has been told so often
+that there is no occasion for repeating it again; but the circumstances
+under which he seems to have sought the interview not being, so far
+as we know, stated anywhere, we shall now proceed to relate <span class="correction" title="Comma after 'them' changed to period">them.</span>
+Thackeray was in London when Seymour shot himself in 1836. The
+death of the latter caused a vacancy in the post of illustrator to
+&ldquo;Figaro in London,&rdquo; which at that time Seymour was illustrating as
+well as &ldquo;Pickwick,&rdquo; and such vacancy was supplied by Thackeray,
+who, I think, continued to illustrate it until the paper died a natural
+death. His designs for &ldquo;Figaro in London&rdquo; were drawn in pen and
+ink on paper, and transferred to the wood by the engravers, Messrs.
+Branstone and Wright, and the remuneration he received for them
+was very trifling, at most a few shillings each. It was probably this
+circumstance which put into his head the idea of illustrating &ldquo;Pickwick.&rdquo;
+From what we know of the graphic abilities of Thackeray
+and the fastidious requirements of Dickens, we may readily understand
+why the post rendered vacant by Seymour&rsquo;s suicide was given
+to an abler artist.</p>
+
+<p>We wish that from a work dealing with comic art in the nineteenth
+century the name of Mr. Thackeray might be omitted; for no notice
+of him, however short, would be just or complete which failed to
+refer to his book illustrations. To do this we must separate
+Thackeray the artist from Thackeray the man of letters. Regarding
+him simply in the character of illustrator of the novels of W. M.
+Thackeray, we are bound in justice to the memory of that great
+and sterling humourist, to say that he has undertaken a task which
+is manifestly beyond his powers. While Thackeray with his <i>pen</i>
+could most effectively describe a fascinating woman, like Becky
+Sharp, the illusion vanishes the moment his artist essays to draw her
+portrait with his pencil. While Thackeray&rsquo;s women are pretty and
+fascinating, well dressed and accomplished, the artist&rsquo;s women on the
+contrary are hideous; their waists commence somewhere in the
+region of their knees; and their clothes look as if they had been
+<span class="pagenum"><a name="page377" id="page377"></a>377</span>
+piled on their back with a pitchfork. The same remarks apply to
+the men; while the originals are witty or clever, handsome or well-dressed,
+those presented to us by the artist are destitute of calf, and
+their limbs so curiously constructed that the free use of them as
+nature intended would be a matter of utter impossibility. Those
+defects are the more noticeable because the artist has shown in his
+admirable essays on George Cruikshank and John Leech how
+thoroughly he was alive to the possession of artistic genius in
+others.</p>
+
+<p>The admiration which we have for Thackeray the man of letters,
+and the way in which we have already expressed that admiration,
+render it unlikely that the drift of these remarks will be misunderstood.
+While rejoicing that the admirable tales and satires of the
+humourist are uninjured by illustrations which are altogether
+unworthy of them, we venture to suggest how much better the result
+might have been had the latter been entrusted, as in the case of
+&ldquo;The Newcomes,&rdquo; to other hands, and the artist contented himself
+with the initial letters and designs on wood with which his writings
+are pleasantly interspersed. We have seen it somewhere stated
+(we think in the volume entitled &ldquo;Thackerayana&rdquo;) that the author&rsquo;s
+rapid facility of sketching was the one great impediment to his
+attainment of excellence in illustrative art. Some of his designs
+indeed bear on their face evidence of the rapidity with which they
+were thrown off; but no satisfactory explanation appears to be
+possible of his contempt for what Mr. Hodder has termed the
+&ldquo;practical laws which regulate the academic exercise of the pictorial
+art,&rdquo; and his apparent ignorance of the art of balancing his figures so
+as to enable them to stand upright, to walk straight, or to move their
+limbs with the grace and freedom assigned to them by nature. One
+of the designs to &ldquo;The Virginians&rdquo; shows a horseman, who in the
+letterpress is described as crossing a bridge at full gallop, whereas
+in the picture both man and horse will inevitably leap over the
+parapet into the river below. Nothing could possibly avert the catastrophe,
+and the effect thus produced is due, not to the manifest
+carelessness and haste with which the sketch is thrown off, but to a
+<span class="pagenum"><a name="page378" id="page378"></a>378</span>
+palpable defect in the artistic powers of the designer himself. Yet
+in the face of defects so patent and so palpable we have found it
+gravely stated, &ldquo;The world which is loth to admit high excellence
+in more than one direction, has never fitly recognised <i>Thackeray&rsquo;s
+great gift as a comic draftsman</i>. Here [<i>i.e.</i> in a work edited by his
+daughter] he will be found advantageously represented; inferior,
+it is true to the unjustly neglected Hablot Browne (&rsquo;Phiz&rsquo;), <i>but
+often equalling if not sometimes surpassing the greatly over-rated John
+Leech</i>.&rdquo;</p>
+
+<p>Ay! &ldquo;the world <i>is</i> loth to admit high excellence in more than one
+direction,&rdquo; and experience has taught it that few men, however gifted,
+are capable of exercising two different arts with an equal measure
+of success. Thackeray was both a genius and an artist, but
+the world has long recognised the fact that the former manifested
+itself only when he laid down the pencil and took up the pen. If
+called on to <i>prove</i> his incapacity to illustrate his own work, we will
+refer the reader to his admirable novel of &ldquo;Vanity Fair.&rdquo; The time
+selected for the story is the early part of the present century; and
+on the plea that he had &ldquo;not the heart to disfigure his heroes and
+heroines&rdquo; by the correct but &ldquo;hideous&rdquo; costumes of the period,
+Thackeray has actually habited these men and women of 1815 in
+the dress of 1848! Cruikshank, Leech, &ldquo;Phiz,&rdquo; or Doyle, it is
+unnecessary to say, would have been guiltless of such an absurdity;
+and the difficulty in which the gifted author found himself, and the
+confession of his inability to cope with it, afford the clearest possible
+evidence of his utter incapacity to illustrate the story itself. If any
+further proof be wanted, look at the designs themselves. Captain
+Dobbin would be laughed out of any European military service;
+such a guardsman as Rawdon Crawley could find no place in her
+Majesty&rsquo;s guards; &ldquo;Jemima&rdquo; (at p. 7), &ldquo;Miss Sharp in the schoolroom&rdquo;
+(p. 80), the children waiting on Miss Crawley (p. 89), the
+figures in the fencing scene (p. 207), &ldquo;The Family Party at Brighton,&rdquo;
+&ldquo;Gloriana&rdquo; trying her fascinations on the major, &ldquo;Jos&rdquo; (at p. 569),
+and &ldquo;Becky&rsquo;s second appearance as Clytemnestra,&rdquo; without meaning
+to be so, are caricatures pure and simple; and yet these are
+<span class="pagenum"><a name="page379" id="page379"></a>379</span>
+admirable compared with the designs to &ldquo;The Virginians,&rdquo; which
+may safely be reckoned amongst the worst in the entire range of
+English illustrative art. Contrast them with illustrations confessedly
+not up to the severe standard of excellence required by the art
+critic, but admirably adapted for their purpose, Mr. Doyle&rsquo;s etchings
+to &ldquo;The Newcomes,&rdquo; and remark the immeasurable superiority of
+the latter.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td colspan="2"><img style="border:0; width:130px; height:268px" src="images/img378a.jpg" alt="" /></td></tr>
+<tr><td colspan="2"><p>&ldquo;GRUFFANUFF.&rdquo;</p></td></tr>
+
+<tr><td><img style="border:0; width:320px; height:398px" src="images/img378b.jpg" alt="" /></td>
+<td><img style="border:0; width:320px; height:296px" src="images/img378c.jpg" alt="" /></td></tr>
+
+<tr><td><p>&ldquo;PRINCE BULBO SEIZED BY THE GUARDS.&rdquo;</p></td>
+<td><p>&ldquo;MONKS OF THE SEVEREST ORDER OF FLAGELLANTS.&rdquo;</p></td></tr>
+
+<tr><td colspan="2"><p>SKETCHES BY THACKERAY FROM HIS &ldquo;ROSE AND THE RING.&rdquo;</p>
+<p class="ar">[<i>Back to p. 378.</i></p></td></tr></table></div>
+
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:470px; height:620px" src="images/img379.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">W. M. Thackeray.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>The Rose and the Ring.</i>&rdquo;</p>
+<p>&ldquo;ANGELICA ARRIVES JUST IN TIME.&rdquo;</p>
+<p class="ar">[<i>Back to p. 379.</i></p></td></tr></table></div>
+
+<p>And yet, in justice to the great humourist of the nineteenth
+century, let us hear what another great writer has to say upon the
+very illustrations which seem to us to call for such severe animadversion.
+After telling us that Thackeray studied drawing at Paris,
+affecting especially Bonnington (the young English artist who died
+in 1828), Mr. Anthony Trollope goes on to say, &ldquo;He never learned
+to draw,&mdash;perhaps never could have learned. That he was idle and
+did not do his best, we may take for granted. He was always idle,
+and only on some occasions, when the spirit moved him thoroughly,
+did he do his best even in after life. But with drawing&mdash;or rather
+without it&mdash;he did wonderfully well, even when he did his worst.
+He did illustrate his own books, and every one knows how incorrect
+were his delineations. But as illustrations they were excellent.
+How often have I wished that characters of my creating might be
+sketched as faultily, if with the same appreciation of the intended
+purpose. Let any one look at the &lsquo;plates,&rsquo; as they are called,
+in &lsquo;Vanity Fair,&rsquo; and compare each with the scenes and the
+characters intended to be displayed, and then see whether the artist&mdash;if
+we may call him so&mdash;has not managed to convey in the picture
+the exact feeling which he has described in the text. I have a
+little sketch of his, in which a cannon-ball is supposed to have just
+carried off the head of an aide-de-camp,&mdash;messenger I had perhaps
+better say, lest I might affront military feelings,&mdash;who is kneeling on
+the field of battle and delivering a despatch to Marlborough on
+horseback. The graceful ease with which the duke receives the
+message though the messenger&rsquo;s head be gone, and the soldierlike
+precision with which the headless hero finishes his last effort of
+military obedience, may not have been portrayed with well-drawn
+<span class="pagenum"><a name="page380" id="page380"></a>380</span>
+figures, but no finished illustration ever told its story better.&rdquo;<a name="FnAnchor_185" href="#Footnote_185"><span class="sp">185</span></a>
+We read these remarks with profound astonishment, and can only
+ask in reply: If, as Mr. Trollope has admitted, Thackeray &ldquo;never
+learned to draw,&mdash;perhaps never could have learned,&rdquo; how he could
+manage &ldquo;to convey&rdquo; in any of his pictures &ldquo;the exact feeling he
+has described in the text&rdquo;?&mdash;how, in the face of the admitted
+incorrectness of &ldquo;his delineations,&rdquo; he could be in any way fitted to
+illustrate a novel of such transcendent excellence as &ldquo;Vanity Fair&rdquo;?</p>
+
+<p>It has been assumed, without any sort of authority, that it was
+only when Thackeray found he could not succeed as an artist that
+he turned to literature. The statement is altogether unwarranted.
+At or about the very time he was engaged in drawing the cuts for
+&ldquo;Figaro in London,&rdquo; he was&mdash;if we are to judge of the sketch of
+&ldquo;the Fraserians&rdquo; in the &ldquo;Maclise Portrait Gallery,&rdquo; in which young
+Thackeray may easily be recognised&mdash;writing for &ldquo;Fraser&rsquo;s Magazine.&rdquo;
+Be this, however, as it may, it seems tolerably certain
+that the rebuff he received from Dickens had no hand in turning
+him into the path of letters, towards which his genius and unerring
+judgment alone most fortunately guided him.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_177" href="#FnAnchor_177"><span class="fn">177</span></a> There is a scarce edition of the &ldquo;Bon Gaultier Ballads,&rdquo; which contains some
+unacknowledged tailpieces, etc., by Kenny Meadows; in all subsequent editions
+these are omitted&mdash;why, we know not.</p>
+
+<p><a name="Footnote_178" href="#FnAnchor_178"><span class="fn">178</span></a> So great was the scarcity of good engravers in 1880, that in September of
+that year the proprietors of the <i>Graphic</i> newspaper acknowledged the difficulty
+they experienced in obtaining the assistance of high-class engravers, and stated
+their intention to found a school of engraving on wood. Specimens of a new
+style of illustration have lately come from America, which appear in illustrated
+serials; some are good, but the majority, notwithstanding the song of praise
+with which they were first received, are nothing less than <i>abominable</i>.</p>
+
+<p><a name="Footnote_179" href="#FnAnchor_179"><span class="fn">179</span></a> Onwhyn&rsquo;s name occurs frequently in illustrative literature. He etched a
+set of designs for &ldquo;Pickwick&rdquo; and &ldquo;Nicholas Nickleby;&rdquo; for Mr. Henry
+Cockton&rsquo;s &ldquo;George St. Julian,&rdquo; and a translation of Eugene Sue&rsquo;s &ldquo;Mysteries
+of Paris.&rdquo; He is well known as the illustrator of &ldquo;Valentine Vox,&rdquo; &ldquo;Fanny
+the Little Milliner,&rdquo; and other works. Some of his best designs will be found in
+Mrs. Trollope&rsquo;s &ldquo;Michael Armstrong.&rdquo; He occasionally displays some ability,
+but his performances are very unequal.</p>
+
+<p><a name="Footnote_180" href="#FnAnchor_180"><span class="fn">180</span></a> See Mr. Alfred G. Buss, in &ldquo;Notes and Queries,&rdquo; April 24th, 1875.</p>
+
+<p><a name="Footnote_181" href="#FnAnchor_181"><span class="fn">181</span></a> A very clever and promising artist, who died early, of consumption.</p>
+
+<p><a name="Footnote_182" href="#FnAnchor_182"><span class="fn">182</span></a> As the <i>Tomahawk</i> appeared in 1867, it does not come within the scope of
+the present work.</p>
+
+<p><a name="Footnote_183" href="#FnAnchor_183"><span class="fn">183</span></a> A work produced by David Bogue, in 1849, and illustrated by the celebrated
+French caricaturist, which professes to give sketches of &ldquo;London Life and
+Character.&rdquo; Allowing for the unfaithfulness of the portraits, which are wholly
+Parisian, these designs possess unquestionable merit. The literary contributors
+were Albert Smith, Shirley Brooks, Angus B. Reach, Oxenford, J. Hannay,
+Sterling Coyne, and others.</p>
+
+<p><a name="Footnote_184" href="#FnAnchor_184"><span class="fn">184</span></a> Afterwards married Kate Terry.</p>
+
+<p><a name="Footnote_185" href="#FnAnchor_185"><span class="fn">185</span></a> &ldquo;Thackeray,&rdquo; by Anthony Trollope, in &ldquo;English Men of Letters,&rdquo; p. 7.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page381" id="page381"></a>381</span></p>
+<h3>CHAPTER XVIII.</h3>
+
+<h5><i>CONTEMPORARIES OF JOHN LEECH: RICHARD DOYLE
+AND JOHN TENNIEL.</i></h5>
+
+<p class="noind"><span class="sc">We</span> gather from the article in &ldquo;The Month&rdquo; which followed his
+death, and to which we have to acknowledge materials of which
+we have availed ourselves in the revision of the present chapter,<a name="FnAnchor_186" href="#Footnote_186"><span class="sp">186</span></a>
+that Richard Doyle&rsquo;s first work was <i>The Eglinton Tournament,
+or the Days of Chivalry Revived</i>, which was published when he was
+only fifteen years old. Three years later he produced <i>A Grand
+Historical, Allegorical, and Classical Procession</i>, a humorous pageant
+which the same authority tells us combined &ldquo;a curious medley
+of men and women who played a prominent part on the world&rsquo;s
+stage, bringing out into good-humoured relief the characteristic
+peculiarities of each.&rdquo; Apart from his talent, it was no doubt
+the fact of his being his father&rsquo;s son&mdash;the son of John Doyle, the
+once famous and eminent <span class="cn">HB</span>&mdash;which first attracted the attention of
+the promoters of <i>Punch</i>, and he was only nineteen when, in 1843,
+he was taken on the regular pictorial staff of that periodical. It was
+to the cheery, delightful pencil of Richard Doyle that the paper
+owed much of the popularity which it subsequently achieved.</p>
+
+<p>&ldquo;It was from his father that he not only inherited his artistic
+talent, but received, and that almost exclusively, his artistic training.&rdquo;
+The writer in &ldquo;The Month&rdquo; goes on to tell us that John Doyle would
+not allow his son &ldquo;to draw from models; his plan was to teach the
+<span class="pagenum"><a name="page382" id="page382"></a>382</span>
+boy to observe with watchful eye the leading features of the object
+before him, and then some little time after reproduce them from
+memory as nearly as he could.... He had no regular training
+in academy or school of art; he painted in the studio of no master
+save his father; and it is curious to see how his genius overleapt
+what would have been serious disadvantages to an ordinary man....
+He attached himself to no school; he was not familiar,
+strange to say, with the masterpieces of foreign artists. He had
+never been in Paris, or Rome, or Vienna.&rdquo; It will be well for the
+reader to bear this in mind, because Doyle is one of the few book
+illustrators or etchers whom the professional art critic has condescended
+to notice, and it will enable him the better to understand
+and appreciate the soundness of his criticism. No one, we are told,
+owed less than Richard Doyle &ldquo;did to those who had gone before
+him; and if this rendered his works less elaborate and conventional,
+it gave them a freshness and originality which might have been
+hampered if he had been forced into conformity with the accepted
+canons of the professional studio.&rdquo;<a name="FnAnchor_187" href="#Footnote_187"><span class="sp">187</span></a> The writer of the article from
+which we have quoted would seem to have read what Mr. Hodder
+has told us respecting his friend Kenny Meadows, for the following
+is certainly not new to us: &ldquo;He was not a self-taught artist, for he
+was trained by one who had a genius kin to his own, but he was an
+artist who had never forced himself into the observance of those
+mechanical rules and canons which to ordinary men are necessary
+to their correct painting (just as rules of grammar are necessary to
+correct writing), but hamper and trammel the man of genius, who
+has in himself the fount whence such rules proceed, and instinctively
+follows them in the spirit, though not in the letter. So far as they
+will forward the end he has in view, and no farther.&rdquo;<a name="FnAnchor_188" href="#Footnote_188"><span class="sp">188</span></a> It will be
+seen by the above that the kindly writer gives Doyle credit for <i>genius</i>,
+and we who are strictly impartial will cheerfully admit that if he had
+not positive genius,&mdash;which we somewhat doubt,&mdash;he was certainly
+one of the most genial and graceful of comic designers.</p>
+
+<p><span class="pagenum"><a name="page383" id="page383"></a>383</span></p>
+
+<p>It was <i>Punch&rsquo;s</i> practice during the earlier years of his career to
+produce a new cover with each succeeding volume.<a name="FnAnchor_189" href="#Footnote_189"><span class="sp">189</span></a> Richard
+Doyle, however, signalized his accession by the contribution of a
+wrapper which was considered too good to be thrown aside at the
+expiration of a few months. The well known and admirable design
+was stereotyped, and still forms, with certain modifications, the permanent
+cover of <i>Punch&rsquo;s</i> weekly series.</p>
+
+<p>Specially worthy of note amongst his <i>Punch</i> designs may be
+mentioned <i>The Napoleon of Peace</i> (Louis Philippe), and <i>The Land of
+Liberty</i>, &ldquo;recommended to the consideration of Brother Jonathan.&rdquo;
+In the latter, allusion is made to the Mexican war, rifle duelling and
+rowdyism, repudiation, Lynch law, and the then but no longer
+&ldquo;peculiar institution.&rdquo; These will be found in the thirteenth volume,
+with a design of great excellence, <i>Punch&rsquo;s Vision at Stratford-on-Avon</i>,
+supposed to occur in the house of Shakespeare.</p>
+
+<p>A new English (?) party had been growing up and gradually
+forcing itself into English politics. This was the Peace-at-any-price
+party, the members of which, oblivious of the fact that the best
+preservative of peace is to be found in a perpetual state of readiness
+for war, erased from their minds all remembrance of the position
+won for the nation by our glorious army and navy, and ruled that
+national honour and national obligations must now be considered
+subordinate to the interests of peace, trade, and commerce. Conspicuous
+among these men of the new school was Mr. Cobden, an
+able, earnest, but (so far as our foreign policy was concerned)
+thoroughly mistaken enthusiast. He figures as &ldquo;Peace&rdquo; in Doyle&rsquo;s
+cartoon of <i>John Bull between Peace and War</i> (<i>i.e.</i> the Duke of
+Wellington). In <i>Gentlemen, make your Game while the Ball is
+Rolling</i> (1848), the best cartoon ever designed by Richard Doyle,
+the various European monarchs are engaged at <i>roulette</i> under
+the auspices of <i>Punch</i> himself. The ball is the world, and the
+edges of the board are respectively inscribed, &ldquo;Reform,&rdquo; &ldquo;Progress,&rdquo;
+&ldquo;Republicanism,&rdquo; &ldquo;Equality,&rdquo; &ldquo;Constitutional Government.&rdquo;
+<span class="pagenum"><a name="page384" id="page384"></a>384</span>
+&ldquo;Anarchy,&rdquo; and &ldquo;Liberalism.&rdquo; Bomba of Naples having staked a
+large sum, he and other monarchs follow the erratic movements of
+the ball with absorbing attention. In the background may be seen the
+then Queen of Spain and Louis Philippe, who, having staked their all
+and lost, are just leaving the apartment. Another, following up the
+same subject, is the political sea serpent of &ldquo;Revolution&rdquo; suddenly appearing
+above the surface of the sea and upsetting, one after another,
+the cockle-shell boats in which the various European sovereigns are
+endeavouring to get to shore. The writer in the Catholic &ldquo;Month&rdquo;
+points out the fact that &ldquo;this picture was drawn in the earlier part of
+the year, before the Roman revolution, and the Holy Father was still
+riding safely unharmed by the monster which is working havoc in
+France and Germany, and Austria and Spain.&rdquo; In <i>The Citizen of the
+World</i> we find a capital skit upon the &ldquo;admirable Crichton&rdquo; delusion
+which made my Lord Brougham fancy himself in every character
+he chose to assume, or on any subject to which he condescended to
+give his attention, <i>facile princeps</i>. Here we find him figuring in turn
+as an English Lord Chancellor, a German student, a French subject,
+a French National Guard, an American citizen, a Bedouin Arab,
+a Carmelite monk, a Chinese mandarin, an Osmanli, a red Indian,
+a Scottish shepherd, and by the unmistakable nose and self-complacent
+smirk on his countenance, it is clear that in each and every character
+Henry Lord Brougham feels himself thoroughly at home. <i>The
+Sleeping Beauty</i> is a clever composition. &ldquo;Beauty,&rdquo; by the way, is
+Lord John Russell, and amongst the sleeping attendants may be
+recognised the Duke of Wellington, Benjamin Disraeli, Colonel
+Sibthorpe, and Lord William Bentinck; while the ever indispensable
+Brougham of course puts in an appearance, this time in the character
+of a jester.</p>
+
+<p>Richard Doyle, as we have seen, was young when he joined the
+ranks of the <i>Punch</i> staff. Young men are apt to &ldquo;dream dreams,&rdquo;
+and one of Richard Doyle&rsquo;s was in truth a charming one. In <i>Ireland:
+a Dream of the Future</i>, he shows us our Queen gazing into the depths
+of an Irish lake, wherein she beholds prosperous towns, smiling fields,
+a contented peasantry, flourishing homesteads, a land flowing with
+<span class="pagenum"><a name="page385" id="page385"></a>385</span>
+milk and honey. On the opposite bank sit in dreary solitude a
+starving cottier and his family. This was Richard Doyle&rsquo;s dream in
+1849. He did not live to wake to the reality of 1884: half a dozen
+&ldquo;Gladstone&rdquo; bags filled with American dynamite, the property of
+subjects of a republic who allows her mongrel murderers to plot the
+deaths of thousands of the people of a friendly nation without lifting
+a hand or a finger to restrain them. A home government too
+weak to pass a law which would stop these outrages by hanging
+these foreign miscreants as high as Haman. These formed no part
+of course of the young artist&rsquo;s dream. He delighted in sunshine.
+The year 1850 was memorable for the repeal of the window tax,
+one of the most extraordinary impositions which ever crossed the
+inventive mind of a Chancellor of the Exchequer. &ldquo;Hollo! old
+fellow,&rdquo; says a workman to his family, hailing the unwonted appearance
+of the sunbeams in their dark and dreary apartment, &ldquo;Hollo!
+old fellow; we&rsquo;re <i>glad</i> to see you here.&rdquo;</p>
+
+<p>Among the numerous illustrations which Doyle designed for <i>Punch</i>,
+probably the most original were the series entitled &ldquo;Manners and
+Customs of ye Englishe,&rdquo; which, under the title of &ldquo;Bird&rsquo;s-eye Views of
+English Society,&rdquo; he afterwards continued in the <i>Cornhill Magazine</i>
+in a more elaborate form. The &ldquo;Manners and Customs&rdquo; form a
+curious record of the doings of the period, and remind us of &ldquo;Sam
+Cowell&rdquo; and the cider cellars, the Jenny Lind mania, Julien and
+his famous band, Astleys, the Derby day, and many of the forgotten
+scenes and follies in which some of us may have mingled in days gone
+by. They are very clever so far as they go; but none of them, as
+the writer in &ldquo;The Month&rdquo; would have us believe, are at all &ldquo;worthy
+of&rdquo; or in any way remind us of &ldquo;Hogarth&rdquo; (why are all the writers
+on <i>comic</i> art immediately reminded of Hogarth?). &ldquo;Each face in one
+of these pictures&mdash;<i>A Prospecte of Exeter Hall, showynge a Christian
+Gentleman denouncynge ye Pope</i>,&rdquo; says the same writer&mdash;&ldquo;deserves a
+careful study, and tells the tale of bigotry, prejudice, and gaping
+credulity which has made Exeter Hall a bye-word among men.&rdquo;
+Although we agree with the writer on this subject, we would at the
+same time take leave to remind him that the Catholics are singularly
+<span class="pagenum"><a name="page386" id="page386"></a>386</span>
+fortunate in England compared with the religious freedom or tolerance
+enjoyed by Protestants in Catholic countries&mdash;in Italy for instance,
+or in Spain. As for &ldquo;bigotry,&rdquo; let him look only at Catholic France
+during the reign of priestcraft there, where an actor of the position
+of Talma, writing with reference to a proposed monument to his
+English brother, John Kemble, could add by way of shameful
+contrast, &ldquo;Je serai trop heureux <i>ici</i> si les pretres <i>me</i> laissent <i>une
+tombe dans mon jardin</i>!&rdquo;</p>
+
+<p>When we first completed this chapter, and while the artist was yet
+living, we deemed it better to say as little as possible in reference
+to the conscientious motives which induced him to throw up his
+lucrative position on <i>Punch</i>, and with it the whole of his splendid
+prospects in comic art; and this course we had decided to follow
+after Richard Doyle had been removed from us by death. As,
+however, the Catholic organ has entered fully into the subject, not
+only is every cause for further reticence removed, but by being
+placed in a position to understand causes and motives, we are
+enabled to do justice to the memory of this most generous and
+unselfish of men.</p>
+
+<p>The Catholics have cause to feel satisfied with the results of what
+the benighted Protestants of England are apt to term the &ldquo;Papal
+Aggression.&rdquo; The conduct of the latter in relation to this portentous
+event is thus described by &ldquo;The Month&rdquo;:&mdash;&ldquo;In 1850 the
+Catholic Hierarchy was established in England, and the Protestant
+public raved and stormed and talked bigoted nonsense without end
+respecting this new invasion. Parliament passed the futile and
+obsolete Ecclesiastical Titles Bill, and <i>Punch</i> took up the popular
+cry. Cardinal Wiseman was represented as &lsquo;tree&rsquo;d&rsquo; by the Papal
+bull, and comic verses and personal ridicule was lavished on the
+Pope, the new hierarchy, and Catholics generally.</p>
+
+<p>&ldquo;Doyle remonstrated, but received answer that, as he had been
+allowed to turn Exeter Hall and its doings into ridicule, it was only
+fair that his own opinions should have their turn. But those who
+used this argument little knew, and could scarcely be expected to
+know, the difference between the devotion of supernatural faith and
+<span class="pagenum"><a name="page387" id="page387"></a>387</span>
+the bigotry of a self-chosen creed. Doyle was anything but narrow
+or over-scrupulous. It was not any of the cartoons which was the
+immediate occasion of the step that he took, nor was it (as some
+of the notices of him have intimated) any mere personal attachment
+to Cardinal Wiseman. &lsquo;I don&rsquo;t mind,&rsquo; he said, &lsquo;as long as you keep
+to the political and personal side of the matter, but <i>doctrines</i> you
+must not attack.&rsquo; Douglas Jerrold and Thackeray were not likely
+to appreciate this reversal of the general sentiment, which resents
+personal attack above all else. &lsquo;Look at the <i>Times</i>,&rsquo; they
+argued; &lsquo;its language has been most violent, but the Catholic
+writers on its staff do not for that reason resign. They understand,
+and the world at large understands, that the individual contributor
+is not responsible for the opinions expressed by other contributors
+in articles with which he has nothing to do.&rsquo; &lsquo;That is very well
+in the <i>Times</i>,&rsquo; was Doyle&rsquo;s answer, &lsquo;but not in <i>Punch</i>. For the
+<i>Times</i> is a monarchy [we believe these were his very words],
+whereas <i>Punch</i> is a republic.&rsquo; So, when a week or so later an
+article, attributed to Jerrold himself, jeeringly advised the Pope to
+&rsquo;feed his flock on the wafers of the Vatican,&rsquo; it was too much for
+Doyle. Dignified protest was not sufficient now. To be any longer
+identified with a paper which could use such language was intolerable
+to the faithful soul. To ply his skilful fingers and busy inventive
+brain in behalf of those who scoffed at the Blessed Sacrament of the
+Altar was out of the question. His connection with <i>Punch</i> must
+cease. But is he bound in conscience to throw away a good income
+and congenial work, because there were expressed opinions different
+from his own in a paper in which, republic though it was, solidarity
+was scarcely possible? Who would expect that in a comic journal
+each and all of the contributors should agree with each and every
+sentiment expressed? Never mind; whatever Richard Doyle might
+have been strictly bound to do, generosity at least urged him to
+make the sacrifice&mdash;the sacrifice of his career, of his future success it
+may be. At least he could show that Catholic belief was no empty
+superstition, no set of mere traditional observances, which sat lightly
+on the man of culture, even if in his heart he accepted them at
+<span class="pagenum"><a name="page388" id="page388"></a>388</span>
+all. So he wrote to resign his connection with <i>Punch</i>, stating the
+reasons plainly and simply. This was in 1850, after he had been
+contributing for more than six years. Now he must simply start
+afresh, in consequence of what his Protestant friends regarded as an
+ecclesiastical crotchet. He must turn aside from the path of worldly
+success; he must give up all for conscience&rsquo; sake. But as the
+<i>Daily Telegraph</i> remarks, in an article respecting him that does it
+honour, &lsquo;He made a wise and prudent choice. The loss was ours,
+not his; and, apart from the claims of his genius to admiration, such
+conduct at the critical moment of a career will never cease to command
+respect.&rsquo;&rdquo;</p>
+
+<p>Passing by (as we may afford to do) the assertion that we Protestants
+&ldquo;raved and stormed and talked bigoted nonsense without
+end respecting this new invasion,&rdquo; and the somewhat unnecessary
+boast that Lord John Russell&rsquo;s Ecclesiastical Titles Bill has been
+suffered to become a &ldquo;futile and obsolete&rdquo; measure, we would recognise
+the value of the writer&rsquo;s remarks as establishing in the clearest
+possible manner the perfect honesty and unselfishness of the
+motives which induced the artist to resign his connection with <i>Punch</i>,
+and to throw up the chances of an assured and brilliant future. We
+think however, that the value of his statement does not end here.
+We may here acknowledge that, while admitting the perfect purity
+and disinterestedness of Doyle&rsquo;s motives, we ourselves never
+thoroughly understood them until we had read the article from
+which we have quoted. We had taken into consideration the fact
+that when he took this decided step he was but twenty-five years of
+age, and we suspected (let us honestly own it) that other influences
+might have been at work independent of the artist himself, of which
+we as Protestants must always remain ignorant. There are grounds
+on which Protestant and Catholic writers may meet one another even
+in connection with religious questions; and although a &ldquo;bigoted&rdquo;
+Protestant, I am glad to admit that the writer&rsquo;s clear and lucid
+statement has removed an impression that was absolutely without
+foundation.</p>
+
+<p>With respect, however, to the ultimate consequences of this decisive
+<span class="pagenum"><a name="page389" id="page389"></a>389</span>
+step, the Catholic writer and ourselves are wholly at variance.
+&ldquo;We are inclined to believe,&rdquo; continues the former, &ldquo;that apart
+from the respect he earned by his noble sacrifice, Mr. Doyle
+achieved a higher reputation in consequence of his retirement from
+comic journalism, than if he had continued to employ his pencil in
+its services all his life through. It is true that his name was not,
+towards the end of his life, so familiar to the popular mind of England
+as was that of John Leech at the end of his career, and as that
+of Du Maurier at the present time, but the work which he did in
+his later life was more lasting and more world-wide. <i>Punch</i> is an
+English periodical; you must be an Englishman to understand the
+allusions. The humour is essentially and almost exclusively English;
+it would never attain any great popularity in other English-speaking
+nations, in spite of its undoubted claim to be the first comic journal
+in the world. If Doyle had confined himself to the pages of <i>Punch</i>,
+or directed his energies mainly to the weekly issue of some design
+in its numerous columns, the limnings of his pencil would scarcely
+be known outside of England, whereas all over the continent of
+America, and in the English colonies, the old Colonel Newcome,
+and the Marquis of Farintosh, Lady Kew, and Trotty Veck meet
+us with their familiar faces as we turn over the Transatlantic editions
+of Thackeray and Dickens, not to mention the exquisite paintings,
+of which we shall have more to say presently, exhibited in the
+Grosvenor Gallery, and to be found in many a country mansion as
+a lasting memorial of Dicky Doyle.&rdquo; Does the writer seriously mean
+to tell us that Doyle could not illustrate Thackeray and Dickens at
+the same time and side by side with his illustrations for <i>Punch</i> or
+any other serial of a satirical character? Granted that <i>Punch</i> is a
+periodical appealing to English tastes and sympathies, yet it was
+through the introduction obtained by means of its pages that the
+artist probably obtained employment upon the very works to which
+the writer refers, and upon which (as he claims) his reputation will
+rest.</p>
+
+<p>Nor do we, nor can we, admit that, out of the circle of his coreligionists,
+or the still narrower circle of educated unbiassed minds,
+<span class="pagenum"><a name="page390" id="page390"></a>390</span>
+Doyle reaped much respect by the &ldquo;noble sacrifice&rdquo; of which the
+writer speaks. English prejudice looks with special coldness on
+conscientious motives it does not understand, and with which it can
+have but little sympathy. Doyle was a man of purer motives and
+finer sympathies than George Cruikshank; but the same insular prejudice
+which conduced to the ruin of George Cruikshank, wrecked
+the future prospects of an artist almost as original in some respects as
+the more brilliant George. From the moment that Doyle retired
+from <i>Punch</i>, English fanaticism and English prejudice persisted
+in regarding him as a supporter of the &ldquo;Papal aggression,&rdquo; and
+he permanently lost from that moment the ground which his
+talent and his reputation had so honourably won for him. From
+the moment he deemed it his duty to retire from the circle of
+literary and artistic wits and humourists with whom he was then
+associated, he took himself practically out of the range of comic art,
+and the public ceased to trouble itself about him, although it had
+lost (in the expressive language of Mr. Thackeray) &ldquo;the graceful
+pencil, the harmless wit, the charming fancy,&rdquo; of one of the most
+genial and promising of English graphic satirists of the modern time.
+Before he left <i>Punch</i> he had executed for the periodical upwards
+of five hundred illustrations, of which nearly eighty are cartoons.</p>
+
+<p>But Richard Doyle manifested the honesty of purpose which was
+a part of his noble nature by other sacrifices than his retirement from
+<i>Punch</i>. From the friendly hand which has strewn flowers upon
+his grave, we learn that at one time he was offered a handsome income
+to draw for a periodical started some years ago, but declined
+the engagement because he disapproved of the principles of those
+by whom it was conducted. &ldquo;At another he had a similar offer
+made him by a distinguished statesman on behalf of a political
+journal, in which the work would have been light and the remuneration
+excellent.&rdquo; He was offered his own terms to illustrate an
+edition of Swift&rsquo;s humorous works; but here too he refused, because
+he did not admire the morality of the witty Dean of St Patrick&rsquo;s.
+&ldquo;In these and other cases like them, religion, virtue, high principle,
+carried the day against interests which would have proved too much
+<span class="pagenum"><a name="page391" id="page391"></a>391</span>
+for any but a man of Doyle&rsquo;s noble and lofty character.&rdquo; His biographer
+points out the fact that all this while he had to look to his
+pencil for bread, and denies the statement, made by one of the leading
+newspapers at the time of his death, that during the latter part
+of his life he was independent of his profession.</p>
+
+<p>In one set of illustrations, now very scarce and little known,
+Doyle has shown that he possessed eminent powers as a caricaturist.
+We have a set of lithographs before us, entitled, &ldquo;Rejected Cartoons,&rdquo;
+a sort of pictorial &ldquo;Rejected Addresses,&rdquo; supposed to be intended
+for the then new Houses of Parliament, some of them caricatures
+of the works of living artists&mdash;Maclise, Pugin, etc., whose styles
+are closely imitated and most amusingly burlesqued. Some of them
+are irresistibly droll, such as King Alfred sending the Danes into a
+Profound Slumber with the Sleepy Notes of his Harp; &ldquo;Canute
+reproving the Flattery of his Courtiers;&rdquo; The Faces of King John
+and his Barons at the Signing of Magna Charta; Perkin Warbeck
+in the Stocks; The Meeting of Francis and Harry in the Field of
+the Cloth of Gold, etc. Few people with whom the touch of Richard
+Doyle is perfectly familiar would recognise his hand in these
+amazing and amusing cartoons. We met with them at a bookstall
+twenty years ago, unconscious until lately that they were due to
+his pencil.</p>
+
+<p>The once celebrated &ldquo;Adventures of Brown, Jones, and Robinson&rdquo;
+would alone secure for this artist an eminent position amongst the
+number of English comic designers. Graphically relating the experiences
+of the most ordinary class of continental tourists, they
+cannot fail to bring to the recollection even of the most commonplace
+traveller some of the experiences which may have actually
+happened to himself. Doyle of course enlarges on these experiences
+as his fancy and imagination suggest; but after all, there is little
+which might not have actually befallen any ordinary English
+travellers such as this unlucky trio. The episode of &ldquo;Jones&rsquo;s Portmanteau
+undergoing the ordeal of Search&rdquo; at Cologne; The scene
+at the &ldquo;Speise-Saal&rdquo; Hotel; The Jewish &ldquo;Quarter of the City of
+Frankfort, and what they saw there&rdquo;; The Gambling Scene at
+<span class="pagenum"><a name="page392" id="page392"></a>392</span>
+Baden: The Descent of the St. Gothard; The Academia at Venice;
+will appeal to the actual experiences of nearly every continental
+tourist; and notwithstanding its extravagant drollery, little Browne&rsquo;s
+adventure at Verona is sufficiently possible to remind one of personal
+vicissitudes encountered off the track or on the frontiers, which
+might almost match the experiences of this personally uninteresting
+little sketcher.</p>
+
+<div class="spc">
+<table class="picture" summary="Contents">
+
+<tr><td><img style="border:0; width:556px; height:630px" src="images/img392.jpg" alt="" /></td></tr>
+
+<tr><td><p class="al sc">Richard Doyle.</p>
+<p class="ar" style="margin-top: -1.7em;">[&ldquo;<i>Brown, Jones &amp; Robinson</i>,&rdquo; 1855.</p>
+<p class="al">Robinson (<i>solo</i>): &ldquo;I stood in Venice&mdash;,&rdquo; etc. Jones and Brown, having heard
+something like it before, have walked on a little way.</p>
+<p class="ar">[<i>Face p. 392.</i></p></td></tr></table></div>
+
+<p>Besides <i>Punch</i>, Mr. Doyle&rsquo;s hand will be found in the following:&mdash;&ldquo;The
+Fairy Ring,&rdquo; Leigh Hunt&rsquo;s &ldquo;Jar of Honey,&rdquo; Professor
+Ruskin&rsquo;s &ldquo;King of the Golden River,&rdquo; Montalba&rsquo;s &ldquo;Fairy Tales
+from all Nations,&rdquo; &ldquo;Jack and the Giants,&rdquo; &ldquo;The Cornhill Magazine,&rdquo;
+&ldquo;Pictures from the Elf World,&rdquo; &ldquo;The Bon Gaultier Ballads,&rdquo;
+Thackeray&rsquo;s &ldquo;Rebecca and Rowena,&rdquo; Charles Dickens&rsquo;s &ldquo;Battle of
+Life,&rdquo; &ldquo;The Family Joe Miller,&rdquo; Mr. Tom Hughes&rsquo; &ldquo;Scouring
+of the White Horse,&rdquo; &ldquo;Pictures of Extra Articles and Visitors to the
+Exhibition,&rdquo; Laurence Oliphant&rsquo;s &ldquo;Piccadilly,&rdquo; &ldquo;Puck on Pegasus,&rdquo;
+PLanche&rsquo;s &ldquo;Old Fairy Tales,&rdquo; À Beckett&rsquo;s &ldquo;Almanack of the Month,&rdquo;
+&ldquo;London Society,&rdquo; and Mr. Thackeray&rsquo;s &ldquo;Newcomes.&rdquo; Writing
+of this last, Mr. Hamerton says, &ldquo;I never regretted the hard
+necessity which forbids an art critic to shut his eyes to artistic
+shortcomings more heartily than I do now in speaking of Richard
+Doyle. Considered as commentaries on human character, his
+etchings are so full of wit and intelligence, so bright with playful
+satire and manly relish of life, that I scarcely know how to write
+sentences with a touch at once light enough and keen enough to
+describe them&rdquo;;<a name="FnAnchor_190" href="#Footnote_190"><span class="sp">190</span></a> and then the critic goes on to expose the glaring
+faults which characterize Mr. Doyle&rsquo;s performances from a purely
+artistic point of view, his feeble attempts of light, his undeveloped
+&ldquo;sense of the nature of material,&rdquo; and his absence of imitative
+study. It is somewhat singular that whilst Mr. Hamerton is silent
+on the subject of the book etchings of Leech and Phiz, he should
+have selected for criticism those of Doyle, who never intended to
+claim for these sketches the dignity of <i>etchings</i>. The critic, however,
+<span class="pagenum"><a name="page393" id="page393"></a>393</span>
+is not only just, but remarkably fair. With reference to the illustrations
+to the &ldquo;Newcomes,&rdquo; he acknowledges &ldquo;their all but inestimable
+dramatic value.&rdquo; &ldquo;Illustrations to imaginative literature,&rdquo;
+he continues, &ldquo;are too frequently an intrusion and an impertinence,
+but these really added to our enjoyment of a great literary masterpiece,
+and Doyle&rsquo;s conception of the Colonel, of Honeyman, of
+Lady Kew, is accepted at once as authentic portraiture. In Ethel
+he was less happy, which was a misfortune, as she was the heroine
+of the book; but many of the minor characters were successes of
+the most striking and indisputable kind.&rdquo; Further on, he says
+of Doyle&rsquo;s etching, <i>A Student of the Old Masters</i>,&mdash;&ldquo;Colonel
+Newcome is sitting in the National Gallery, trying to see the merits
+of the old masters. Observe the enormous exaggeration of aërial
+perspective resorted to in order to detach the figure of the Colonel.
+The people behind him must be several miles away; the floor of
+the room, if judged by aërial perspective only, is as broad as the
+Lake of Lucerne.&rdquo; The criticism, though exaggerated, is not
+unfair or unjust; but the people are certainly not miles away.
+Doyle has perpetuated a mistake common with many English artists,
+who seem to think, as Hazlitt expresses it, that, &ldquo;if they only leave
+out the subordinate parts, they are sure of the general result.&rdquo;<a name="FnAnchor_191" href="#Footnote_191"><span class="sp">191</span></a>
+Doyle&rsquo;s intention to give us a portrait of Colonel Newcome <i>only</i>
+has prompted him to treat the subordinates as almost non-existent.
+His work, however, was never intended to be faultless; it carries
+out his own intention most thoroughly and admirably, and in a
+manner very far superior to anything which Thackeray himself
+could have done.</p>
+
+<p>The closing scenes in the life of this most amiable and unselfish
+of artists we give in the singularly graceful words of his Catholic
+biographer: &ldquo;In the autumn of last year (1883), Mr. Doyle spent
+some time in North Devon, and while there painted a picture of
+Lynton churchyard. The view is taken at a distance of some ten
+or fifteen yards to the south-west of the church, and is looking in
+<span class="pagenum"><a name="page394" id="page394"></a>394</span>
+an easterly direction. In front of the picture one sees far down
+below the blue waters of the Bristol Channel, while behind the
+picturesque little church nestles among the trees. In the churchyard
+an old man is mowing down the long grass amid the graves,
+while two or three little children scatter flowers on one of them.
+This picture was unfinished at the time of his death. A strange
+coincidence that he should have chosen such a scene for his last
+picture, when, as far as man can judge, he had no sort of reason for
+thinking that death was so near; stranger still, that on his return
+home he chose for the sketch a black frame, as if to clothe it in
+the garb of mourning for its maker. There it remains on his easel,
+unfinished still, as if to tell of one cut off so suddenly, not indeed
+in the summer of life, but in a mellow autumn, which seemed to
+give promise of many years of good work still to be done. But
+the time had come when the little sprites who peopled his dreams
+of earth, were to be exchanged for the angel forms who were to
+welcome the faithful servant to his reward in heaven. On the 10th
+of December, as he was preparing to return from the Athenæum
+club, Mr. Doyle was struck down by apoplexy. An ambulance was
+procured, and he was carried home. He never regained the power
+of speech, and it is doubtful whether he was ever again conscious,
+though the priest who anointed him for his journey from thence
+to heaven thought that he detected some traces of a joyful acquiescence
+in the rite. The next morning, in the home where the
+last years had been spent in quiet peaceful pursuit of the art he
+passionately loved, his simple, innocent, loyal soul passed away
+from earth to heaven.&rdquo;</p>
+
+<p class="center1" style="letter-spacing: 3em;">******</p>
+
+<p>It will be admitted that Mr. Tenniel joined the ranks of the
+graphic satirists at the commencement of troublous times. The
+nations of Europe, with the exception of England, whose slumbers
+still remained unbroken, were all more or less awake. Prussia, insufficiently
+avenged (as she herself considered) at Waterloo for the
+unendurable humiliations which Napoleon had heaped upon her
+<span class="pagenum"><a name="page395" id="page395"></a>395</span>
+after Jena, had been unostentatiously preparing for another deadly
+struggle with France, and perfecting the most admirable military
+machinery of modern times. Russia, under Nicholas, a thorough
+soldier in theory, had an army so elaborately over-drilled that when
+the time came it was found practically useless for the purposes of
+actual warfare. The sleep of England was suddenly awakened by
+the war with Russia, and afterwards by the revolt of her Indian
+mercenaries. The Russian was to be followed by a war between
+France and Austria; the enfranchisement of Italy from the Alps
+to the Adriatic; the fratricidal struggle between Prussia and Austria,
+and the rending asunder within six weeks of the famous Germanic
+Confederation of the Rhine. It is a somewhat singular coincidence
+that immediately before the commencement of these troubles the
+great Duke of Wellington died, an event commemorated by two
+remarkable cartoons of Tenniel, the first of which is entitled
+<i>September</i> <span class="sc">XIV.</span> <i>MDCCCLII.</i> (the day of the great soldier&rsquo;s death),
+and the other, <i>The Duke&rsquo;s Bequest&mdash;for the most Worthy</i>.</p>
+
+<p>The year 1853 opened the eyes of those of us who fancied that
+war was a thing of the past, and that the reign of Universal Peace
+had begun. Not only was Turkey at war with Russia, but had
+given her a tremendous thrashing at Oltenitza, an event alluded to
+in the artist&rsquo;s cartoon of <i>A Bear with a Sore Head</i>. One of the
+best of his satires of the same year depicts Aberdeen as he appeared
+in <i>The Unpopular Act of the Courier of St. Petersburg</i>, wherein the
+premier attempts the risky feat of driving a team of unmanageable
+horses. The features of the nervous athlete betray much anxiety;
+the two fiery leaders, Russia and Turkey, prove wholly beyond his
+control; while Austria, unsettled by their bad example, is much
+disposed to be troublesome.</p>
+
+<p>Matters went from bad to worse in 1854. England was not only
+thoroughly aroused but angry, not only with her enemies, but with
+the foolish people who had preached peace to her when there was
+no peace; and, in <i>What it has Come to</i>, we find my Lord Aberdeen
+vainly trying to hold in the British lion, whose ire has been roused
+by the Russian bear, who is seen scampering off in the distance.
+<span class="pagenum"><a name="page396" id="page396"></a>396</span>
+Away goes the lion, with his tail as stiff as a poker and every hair
+of his mane erect, dragging after him the frightened premier, who
+exclaims, in the extremity of his terror, that he can hold him no
+longer and is bound &ldquo;to let him go.&rdquo; The Russian war showed
+our singular unreadiness for warfare. Just at its close we had provided
+ourselves with a fleet of vessels of light draught capable of
+floating in the shallows which surrounded the Russian fortifications,
+which, had they been ready at the time they were wanted, might
+have proved of incalculable service. Britannia disconsolately eyes
+these gun-boats from the summit of her cliffs. &ldquo;Ah!&rdquo; she sighs,
+&ldquo;if you&rsquo;d been only hatched a year ago, what might have come out
+of your shells!&rdquo;</p>
+
+<p>Close upon the heels of the Russian war followed the mutiny of
+our Indian levies. So closely did one event follow the other, that
+those who have watched and learnt with reason to distrust the
+odious and insidious policy of Russia towards this country, considered
+the coincidence a more than singular one. The Franco-Austrian
+war came next; and the war wave passed onwards to
+America, where the Northern and Southern states were speedily
+engaged in fratricidal and deadly strife. Peace, driven from land
+to land, found no resting place for the sole of her foot, and the
+artist shows her to us, seated disconsolately pondering over these
+untoward matters and her own unhappy condition on the breech of
+a garrison gun.</p>
+
+<p><i>Punch&rsquo;s</i> low estimate of the character and abilities of the Emperor
+Louis is patent throughout those of Tenniel&rsquo;s satires in which he
+puts in an appearance. In 1853 he takes us to an <i>International
+Poultry Show</i> (in obvious reference to the Boulogne catastrophe)
+where, amid a variety of eagles&mdash;the American eagle, the Prussian
+eagle&mdash;the double-headed Austrian and Russian eagles&mdash;we find a
+wretched nondescript, half eagle half barn-door fowl, labelled the
+&ldquo;French eagle.&rdquo; Victoria (a royal visitor) remarks to her astonished
+companion, &ldquo;We have nothing of <i>that</i> sort, Mr. Punch;
+but should there be a <i>lion</i> show, we can send a specimen!!&rdquo; The
+approaching marriage of the French Emperor is alluded to in the
+<span class="pagenum"><a name="page397" id="page397"></a>397</span>
+cartoon of <i>The Eagle in Love</i>, in which the present ex-Empress
+(then Comtesse de Teba), whose likeness by the way is far from
+happy, is represented as cutting his talons. The air of mystery
+which was a part of his character, and was not so well understood
+in those days as it afterwards came to be, not unnaturally misled
+Mr. Tenniel, for in his satire, <i>Playing with Edged Tools</i>, we behold
+him studying (of all things in the world) a model of the guillotine,
+an instrument of terror to which those of the Bonaparte family who
+profess to be guided by the policy of the great Napoleon, must
+always entertain the greatest possible aversion.</p>
+
+<p><i>Punch</i> not only looked upon the third Napoleon as a treacherous
+man, but also as a dangerous and inconvenient neighbour. In the
+cartoon labelled, <i>An Unpleasant Neighbour</i> (1859), we see him in
+the act of placing outside his firework shop a flaming advertisement,
+whereon we read in the largest possible type, &ldquo;Blaze of Triumph!
+Roman Candles!&mdash;Italian Fire!&rdquo;<a name="FnAnchor_192" href="#Footnote_192"><span class="sp">192</span></a> His neighbour, John Bull,
+proprietor of &ldquo;The Roast Beef House&rdquo; next door, rushes out in
+a very excited state, &ldquo;Here have I got,&rdquo; says he, &ldquo;to pay double
+insurance, all along of <i>your</i> confounded fireworks!&rdquo; The next
+cartoon shows us Louis, <i>alias</i> &ldquo;Monsieur Walker,&rdquo; after he has closed
+his establishment and chalked up, &ldquo;The Business to be disposed
+of,&rdquo; while incredulous John places his finger to his nose as Louis
+assures him, &ldquo;Ah, friend Johnny! I close my shop entirely to please
+<i>you</i>!&rdquo; In <i>The Congress Quadrille</i>, Louis vainly essays to make
+himself agreeable to Miss Britannia (a good example of the artist&rsquo;s
+handsome women)&mdash;&ldquo;Voulez-vous danser, Mad&rsquo;moiselle?&rdquo; says
+Louis. Britannia, however, having been his partner on more than
+one memorable occasion, had had quite enough of him and his
+peculiar style of dancing. &ldquo;Thanks,&mdash;no!&rdquo; she languidly replies,
+thinking doubtless of her experiences of the Russian quadrille&mdash;of
+the Chinese country dance, etc., etc. &ldquo;I&rsquo;m not sure of the figure&mdash;and
+<i>know nothing of the Finale</i>.&rdquo;</p>
+
+<p>Mr. Tenniel&rsquo;s art training before he joined the <i>Punch</i> staff, combined
+<span class="pagenum"><a name="page398" id="page398"></a>398</span>
+with his undoubted genius, renders him unquestionably one of
+the most versatile of modern designers. His satire is something
+quite apart from his caricature, and the former is characterized by a
+strong dramatic element particularly noticeable in serious illustrations,
+such as his designs to &ldquo;The Pythagorean,&rdquo; in the second
+volume of &ldquo;Once a Week.&rdquo; In caricature he resumes in a measure
+the manner of the older caricaturists, without retaining a trace of their
+vulgarity, and a good example will be found in his cartoon of <i>What
+Nicholas heard in the Shell</i> (1854), in which the features and salient
+points of the figure are intensely overdrawn. His caricature pure
+and simple seems to us always inferior to his satirical power; as fine
+examples of the latter we may mention: <i>The British Lion Smells a
+Rat</i> (an angry lion sniffing at a door, in allusion to the conference
+which followed the fall of Sebastopol); <i>The British Lion&rsquo;s Vengeance
+on the Bengal Tiger</i>, which chronicles the ghastly massacre of
+Cawnpore; <i>Bright the Peace Maker</i> (1860), in which <i>Punch</i> testifies
+his indignation at the manner in which Mr. Bright endeavoured to
+create a popular feeling against the House of Lords; <i>Poland&rsquo;s Chain
+Shot</i> (1863), a stirring and powerful composition, wherein Poland,
+gallantly struggling once more for freedom, breaks her chains and
+fiercely rams them into a cannon; <i>Humble Pie at the Foreign Office</i>
+(1863), and <i>Teucer Assailed by Hector is Protected by the Shield of
+Ajax</i> (1864), in which Lord John Russell is the subject of satire;
+and <i>The False Start</i> and <i>Out of the Race</i> (the same year), in the
+first of which Palmerston endeavours to restrain the leaning of
+Gladstone towards democracy, the last showing the result of his
+inattention to the starter&rsquo;s warning. In all these and a host of
+other admirable satires, the superior art training of Mr. Tenniel is
+seconded by his strong dramatic power, and above all by his unquestionable
+<i>genius</i>. It would be a poor compliment to him to
+deny that he had his failings&mdash;which indeed of the admirable satirists
+who preceded him had not? His failings, when they do occur, are
+perhaps more noticeable on account of his style and the mode in
+which he frequently drapes his figures. We have heard it objected
+to him, for instance, that the beauty of his female figures is
+<span class="pagenum"><a name="page399" id="page399"></a>399</span>
+occasionally marred by the somewhat disproportionate size of their
+feet, and this charge seems to us sustainable. Mr. Tenniel displays
+rare excellence in the drawing of animals&mdash;an excellence peculiarly
+noteworthy in such cartoons as <i>The British Lion Smells a Rat</i>, and
+<i>The British Lion&rsquo;s Vengeance on the Bengal Tiger</i>.</p>
+
+<p>Embracing a period of only fourteen years, from 1851 to 1864,
+during which time he worked side by side with his friend and
+colleague, John Leech, on the pages of <i>Punch</i>, our notice of the
+cartoons of John Tenniel must necessarily be short. During the
+last three years of his life, when, as we have seen, the strength of
+the artist who had been on the pictorial staff from the commencement
+had been gradually failing, the execution of the weekly
+cartoons had fallen almost entirely upon Mr. Tenniel. As fellow-labourers,
+constantly associated on the same periodical, we are
+enabled to compare their individual merits. The conclusion we
+have arrived at is as follows: That as a political <i>satirist</i>, Tenniel
+is the best of the two; while as a delineator of English habits,
+manners, eccentricities, and peculiarities, Leech finds no equal.
+After 1864, when the artistic friendship and partnership (so to
+speak) of these gifted men was dissolved by the untimely death of
+John Leech, it would be beyond the declared scope and purpose of
+this work to follow Mr. Tenniel further. Unlike the caricaturists
+who preceded him, many of whom relied on humour, more or less
+forced, for the success of their productions, the cartoons of John
+Tenniel are oftentimes distinguished by a gravity and sternness of
+purpose which, combined with their artistic excellence, appeals
+forcibly to the imagination. Unfortunately, as in the case of those
+of John Leech, these truly admirable examples of nineteenth century
+satire, apart from the <i>Punch</i> volumes themselves&mdash;owing to the
+material on which they are impressed and the process to which
+the original drawings are subjected&mdash;are practically valueless by the
+side of an indifferent caricature torn from the scurrilous and worthless
+pages of &ldquo;The Scourge&rdquo; or &ldquo;The Meteor.&rdquo;</p>
+
+<p>To the persons who charge this artist with want of humour, his
+cartoon of <i>Britannia Discovering the Source of the Nile</i>&mdash;probably the
+<span class="pagenum"><a name="page400" id="page400"></a>400</span>
+most comical picture in the whole of the <i>Punch</i> volumes&mdash;will afford
+the most conclusive answer, as will also the quaint and mirth-provoking
+little pictures which he designed for &ldquo;Alice in Wonderland,&rdquo;
+its sequel, &ldquo;Through the Looking-glass,&rdquo; and the 1864 edition
+of the &ldquo;Ingoldsby Legends.&rdquo; One of these last, by the way, so
+closely resembles a scarce design of John Leech&rsquo;s in the &ldquo;New
+Monthly,&rdquo; that the coincidence will strike any one who has an
+opportunity of comparing the two together. During the fourteen
+years that Mr. Tenniel was a fellow-worker with the late John
+Leech, he contributed to the pages of <i>Punch</i> about 1,400 designs, of
+which upwards of 400 are cartoons. We believe we are correct in
+stating that all these illustrations, and his subsequent and contemporary
+designs, were drawn at once upon the wood block, not a
+single preliminary sketch having been made.</p>
+
+<p class="center1" style="letter-spacing: 3em;">******</p>
+
+<p>Here, in accordance with the plan which we designed when we
+sat down to write this work, we bring our labours to a close. If we
+have omitted all mention of two very excellent and talented artists,
+Messrs. Charles Keene and George Du Maurier, it is not from any
+lack of appreciation, but because one of them at least began his
+labours just about the period when those of John Leech were
+drawing to a close, while the reputation of both were made <i>after</i>
+their distinguished contemporary was laid to his rest. The merits of
+both these able men and of those now following after them must
+be left to be dealt with by another chronicler. Although, as we
+remarked in our opening chapter, the wood engraver has rung the
+knell of English caricature, with such clever men as Colonel
+Seccombe, Mr. Proctor, Mr. Randolph Caldicott, Mr. F. Barnard,
+the present George Cruikshank, Mr. Chasemore, and others whose
+names do not at present occur to us, there is happily no prospect of
+a decline in the art of English graphic satire.</p>
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_186" href="#FnAnchor_186"><span class="fn">186</span></a> The present chapter was written before the artist&rsquo;s death; but I have to
+acknowledge the great assistance I have derived in its <i>revision</i> from the authority
+indicated.</p>
+
+<p><a name="Footnote_187" href="#FnAnchor_187"><span class="fn">187</span></a> <i>The Month, a Catholic Magazine</i>, No. 237 (March, 1884), p 315.</p>
+
+<p><a name="Footnote_188" href="#FnAnchor_188"><span class="fn">188</span></a> <i>Ibid.</i>, page 317.</p>
+
+<p><a name="Footnote_189" href="#FnAnchor_189"><span class="fn">189</span></a> One of these (and a very effective one) was the work of the present Sir John
+Gilbert.</p>
+
+<p><a name="Footnote_190" href="#FnAnchor_190"><span class="fn">190</span></a> Hamerton&rsquo;s &ldquo;Etching and Etchers.&rdquo;</p>
+
+<p><a name="Footnote_191" href="#FnAnchor_191"><span class="fn">191</span></a> William Hazlitt on &ldquo;The Fine Arts,&rdquo; p. 51.</p>
+
+<p><a name="Footnote_192" href="#FnAnchor_192"><span class="fn">192</span></a> An excellent burlesque of the Emperor&rsquo;s theatrical declarations.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page401" id="page401"></a>401</span></p>
+<h2>APPENDICES.</h2>
+
+<hr class="short" />
+<h3>APPENDIX I.</h3>
+
+<h5><i>SOME ILLUSTRATIVE WORK OF ISAAC ROBERT CRUIKSHANK.</i></h5>
+
+<div class="index1">
+<p>Coloured frontispiece to the &ldquo;Age of Intellect; or, Clerical Show
+Folk and Wonderful Lay Folk,&rdquo; by Francis Moore, Physician.
+1819.</p>
+
+<p>&ldquo;Lessons of Thrift, published for the general benefit, by a
+Member of the Save-all Club,&rdquo; eleven coloured full-page etchings.
+1820.</p>
+
+<p>&ldquo;The Total Eclipse, a Grand Politico-Astronomical Phenomenon.&rdquo;
+(Dolby, Strand.) 1820.</p>
+
+<p>&ldquo;A Peep at the P. C. N.; or, Boiled Mutton with Caper Sauce
+at the Temple of Joss.&rdquo; (Effingham Wilson.) 1820.</p>
+
+<p>&ldquo;The Men in the Moon; or, the Devil to Pay.&rdquo; (Dean &amp;
+Munday.) 1820.</p>
+
+<p>[<i>With his brother George.</i>] Designs to Nightingale&rsquo;s &ldquo;Memoirs
+of Queen Caroline.&rdquo; (J. Robins.) 1820.</p>
+
+<p>&ldquo;Radical Chiefs.&rdquo; One caricature illustration. 1821.</p>
+
+<p>&ldquo;The Royal Game of Chess.&rdquo; 1821.</p>
+
+<p>&ldquo;The Political All-my-knack for the Year of our Lord 1821.&rdquo;</p>
+
+<p>&ldquo;The Queen and Magna Charta; or, the Thing that John Signed.&rdquo;
+(Dolby, Strand.) 1821.</p>
+
+<p>&ldquo;Tales of the Cordelier Metamorphosed.&rdquo; 1821.</p>
+
+<p>[<i>With his brother George.</i>] &ldquo;Life in London.&rdquo; (Sherwood,
+Nealy &amp; Jones.) 1821.</p>
+
+<p>&ldquo;The Commercial Tourist; or, Gentleman Traveller.&rdquo; (A satirical
+Poem), five coloured plates. 1822.</p>
+
+<p><span class="pagenum"><a name="page402" id="page402"></a>402</span></p>
+
+<p>&ldquo;Mock Heroicks; or, Snuff, Tobacco, and Gin, and a Rapsody
+on an Inkstand.&rdquo; Four caricature engravings. 1822.</p>
+
+<p>&ldquo;Annals of Sporting and Fancy Gazette.&rdquo; (Numerous coloured
+plates.) 1822-1825.</p>
+
+<p>[<i>With C. Williams.</i>] Frontispiece to George Ramsey&rsquo;s &ldquo;New
+Dictionary of Anecdote.&rdquo; 1822.</p>
+
+<p>&ldquo;My Cousin in the Army; or, Johnny Newcome on the Peace
+Establishment.&rdquo; Many coloured plates. 1822.</p>
+
+<p>Twenty designs on wood for Charles Westmacott&rsquo;s &ldquo;Points of
+Misery.&rdquo; 1823.</p>
+
+<p>A series of drawings on wood to the &ldquo;Spirit of the Public Journals
+for 1823 and 1824.&rdquo; (A selection of essays, jeux d&rsquo;esprit, tales of
+humour, etc., 2 vols.)</p>
+
+<p>&ldquo;Life and Exploits of Don Quixote.&rdquo; Twenty-four designs on
+wood. (Knight &amp; Lacey.) 1824.</p>
+
+<p>Bernard Blackmantle&rsquo;s (Charles Westmacott) &ldquo;English Spy.&rdquo;
+1825.</p>
+
+<p>&ldquo;Spirit of the Public Journals for 1825.&rdquo;</p>
+
+<p>Charles Westmacott&rsquo;s &ldquo;Punster&rsquo;s Pocket-book; or, the Art of
+Punning Enlarged.&rdquo; 1826.</p>
+
+<p>[<i>With his brother George.</i>] &ldquo;London Characters.&rdquo; (Twenty-four
+plates, of which nine only are by Robert.) Robins. 1827.</p>
+
+<p>[<i>With George.</i>] Designs on wood for the &ldquo;Fairy Tales&rdquo; of Albert
+Ludwigg Grimm. 1827.</p>
+
+<p>J. Thompson&rsquo;s &ldquo;New Life of J. Allen.&rdquo; 1828.</p>
+
+<p>Smeeton&rsquo;s &ldquo;Doings in London.&rdquo; 1828.</p>
+
+<p>&ldquo;British Dance of Death&rdquo; (allegorical coloured frontispiece).
+1828.</p>
+
+<p>&ldquo;Spirit of the Age&rdquo; Newspaper (vignette). 1828.</p>
+
+<p>[<i>With his brother.</i>] The designs on wood for the &ldquo;Universal
+Songster; or, Museum of Mirth.&rdquo; (3 vols.) 1828.</p>
+
+<p>&ldquo;London Oddities; or, Theatrical Cabinet, and Tit-bits of
+Humour and Eccentricity.&rdquo; 1828.</p>
+
+<p>&ldquo;The Finish to the Adventures of Tom, Jerry, and Logic.&rdquo; 1828.</p>
+
+
+<p class="center1"><i>The following between 1830 and 1832.</i></p>
+
+<p>&ldquo;Cruikshank&rsquo;s Comic Album&rdquo; (sometimes called &ldquo;Facetiæ&rdquo;),
+being a series of little books published by Kidd, Miller, and others,
+afterwards collected into 3 vols.</p>
+
+<p><span class="pagenum"><a name="page403" id="page403"></a>403</span></p>
+
+<p>&ldquo;Walks about Town by an Antiquated Trio,&rdquo; three designs.</p>
+
+<p>&ldquo;The Condition of the West Indian Slave contrasted with that
+of the Infant Slave in our English Factories.&rdquo;</p>
+
+<p>&ldquo;Cruikshank and the New Police, showing the great Utility of
+that Military Body.&rdquo;</p>
+
+<p>&ldquo;Cruikshank <i>versus</i> Witchcraft&rdquo;; &ldquo;Mary Ogilvie&rdquo;; &ldquo;Wee Watty.&rdquo;</p>
+
+<p>&ldquo;Robert Cruikshank <i>versus</i> Sir Andrew Agnew.&rdquo;</p>
+
+<p>W. S. Moncrieff&rsquo;s &ldquo;March of Intellect,&rdquo; six designs.</p>
+
+<p>[<i>With Kenny Meadows.</i>] &ldquo;The Devil in London.&rdquo;</p>
+
+<p>&ldquo;A Slap at the Times.&rdquo;</p>
+
+<p>Illustrations to Foote&rsquo;s &ldquo;Tailors,&rdquo; and &ldquo;Mayor of Garratt&rdquo;;
+O&rsquo;Hara&rsquo;s &ldquo;Midas&rdquo;; &ldquo;The Beggars&rsquo; Opera&rdquo;; &ldquo;Katherine and
+Petruchio,&rdquo; and others.</p>
+
+
+<p class="center1"><i>The following between 1831 and 1836.</i></p>
+
+<p>Design on wood for &ldquo;Figaro in London.&rdquo;</p>
+
+<p>[<i>With Seymour and others.</i>] Illustrations to a periodical called
+&ldquo;The Thief.&rdquo;</p>
+
+<p>Twenty illustrations to W. R. Macdonald&rsquo;s &ldquo;Comic Alphabet.&rdquo;
+(A rival to George Cruikshank&rsquo;s work of the same title.)</p>
+
+<p>Eighty-five designs on wood to Crithannah&rsquo;s &ldquo;Original Fables.&rdquo;
+Six designs on wood for &ldquo;Readings from Dean Swift His Tale of
+a Tub, with Variorum Notes, and a Supplement for the use of the
+Nineteenth Century,&rdquo; by Quintus Flestrin Grildrig.</p>
+
+<p>Johann Abricht&rsquo;s &ldquo;Divine Emblems.&rdquo; And [<i>with his brother</i>]
+illustrations to J. Thomas&rsquo;s &ldquo;Burlesque Drama.&rdquo; 1838.</p>
+
+<p>[<i>With Seymour.</i>] The series known as &ldquo;Cruikshank at Home,&rdquo;
+and &ldquo;The Odd Volume.&rdquo;</p>
+
+
+<p class="center1"><i>The following in 1839-1840.</i></p>
+
+<p>Ten vignettes to &ldquo;The Lady and the Saints.&rdquo; Twelve designs on
+wood to &ldquo;Colburn&rsquo;s Kalendar of Amusements in Town and Country.&rdquo;
+&ldquo;Cozi Toobad.&rdquo; [<i>With W. Lee.</i>] Twenty-three steel plates and
+designs on wood for &ldquo;Jem Blunt,&rdquo; by Barker (author of the celebrated
+&ldquo;Greenwich Hospital&rdquo;).</p>
+
+
+<p class="center1"><i>1842 and 1844.</i></p>
+
+<p>[<i>With John Leech.</i>] &ldquo;Merrie England in the Olden Time,&rdquo; by
+George Daniel. (Since rep. by Warne &amp; Co.) Three illustrations
+<span class="pagenum"><a name="page404" id="page404"></a>404</span>
+to &ldquo;James Hatfield and the Beauty of Buttermere.&rdquo; [<i>With R. W.
+Buss and T. Wageman.</i>] &ldquo;Cumberland&rsquo;s British and Minor
+Theatre.&rdquo; Fourteen etchings to Abraham Elder&rsquo;s &ldquo;Tales and
+Legends of the Isle of Wight.&rdquo; Nine aqua-tinta plates to Hugo
+Playfair&rsquo;s &ldquo;Brother Jonathan, the Smartest Nation in all Creation.&rdquo;</p>
+
+
+<p class="center1"><i>From 1845 to 1849.</i></p>
+
+<p>&ldquo;Sketches of Pumps Handled by Robert Cruikshank.&rdquo; Twenty-four
+etchings to &ldquo;The Orphan; or, Memoirs of Matilda&rdquo; (a translation
+of Sue&rsquo;s &ldquo;Mathilde&rdquo;). Forty etchings to &ldquo;The Bertaudiere&rdquo;
+(Chronicles of the Bastile).</p>
+
+
+<p class="center1"><i>And the following</i>.</p>
+
+<p>Francis L. Clarke&rsquo;s &ldquo;Life of Wellington.&rdquo; Kentish&rsquo;s &ldquo;Hudibrastic
+History of Lord Amherst&rsquo;s Visit to China.&rdquo; &ldquo;The London Directory
+and London Ambulator.&rdquo; &ldquo;Golden Key of the Treasures of Knowledge.&rdquo;
+&ldquo;The Little World of Great and Good Things.&rdquo; E. Thomson&rsquo;s
+&ldquo;Adventures of a Carpet.&rdquo; &ldquo;Raphael&rsquo;s Witch; or, Oracle of
+the Future&rdquo; (ten coloured designs). &ldquo;The London Stage&rdquo; (a collection
+of about 180 plays, with a cut to each play; 4 vols.). Portrait
+of Mr. Oxberry as &ldquo;Humphrey Gull&rdquo; in the &ldquo;Dwarf of Naples,&rdquo;
+etc., etc.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page405" id="page405"></a>405</span></p>
+<h3>APPENDIX II.</h3>
+
+<h5><i>SOME MISCELLANEOUS WORK OF ROBERT SEYMOUR
+EXECUTED BETWEEN 1822 AND 1836.</i></h5>
+
+<div class="index1">
+<p>&ldquo;Views from the Poets.&rdquo; &ldquo;The Devil on Two Sticks.&rdquo; &ldquo;Ovid.&rdquo;
+&ldquo;Demosthenes.&rdquo; Views of Newstead Abbey, Margate, Dover, etc.
+Designs for &ldquo;Benevolence, Friendship, and Death.&rdquo; &ldquo;Quarrels of
+the Poets.&rdquo; &ldquo;Anatomical Theatre.&rdquo; &ldquo;Vanities of the Human
+Race.&rdquo; &ldquo;The Happy Family.&rdquo; &ldquo;The Gin-shop.&rdquo; &ldquo;The Sleepwalker.&rdquo;
+&ldquo;The Sluggard.&rdquo; &ldquo;Don Juan.&rdquo; &ldquo;The Economist.&rdquo;
+&ldquo;The Chemist.&rdquo; &ldquo;The March of Intellect.&rdquo; &ldquo;The Great Joss and
+his Playthings.&rdquo; &ldquo;The R&mdash;&mdash;l Speech.&rdquo; The Works of Wordsworth,
+Southey, Gay, and other poets. Robinson&rsquo;s &ldquo;History and
+Antiquities of Enfield.&rdquo; Shakspeare&rsquo;s &ldquo;Seven Ages.&rdquo; Hogarth&rsquo;s
+&ldquo;Apprentices,&rdquo; and &ldquo;Rake&rsquo;s Progress.&rdquo; &ldquo;Uncle Timothy.&rdquo; Views
+of London. Sporting Almanacks. &ldquo;Percy Anecdotes.&rdquo; &ldquo;Book of
+Martyrs.&rdquo; &ldquo;Portraits of Public Characters.&rdquo; &ldquo;Death in London.&rdquo;
+&ldquo;Spectre Bride.&rdquo; &ldquo;Midnight Embrace.&rdquo; &ldquo;The Red King.&rdquo;
+&ldquo;The Ghost with ye Golden Casket.&rdquo; &ldquo;The Devil&rsquo;s Ladder.&rdquo;
+&ldquo;Assisting, Resisting, and Desisting.&rdquo;</p>
+
+<p>Contributions to &ldquo;Friendship&rsquo;s Offering.&rdquo; 1824-36.</p>
+
+<p>&ldquo;Seymour&rsquo;s Comic Annual: a Perennial of Fun.&rdquo;</p>
+
+<p>Miss Louisa Sheridan&rsquo;s &ldquo;Comic Offering.&rdquo; 1831-1835.</p>
+
+<p>&ldquo;The National Omnibus,&rdquo; a journal of literature, etc. (designs
+on wood, with Cruikshank), 1831-1832; &ldquo;The Comic Magazine,&rdquo;
+1832-1834; Richardson&rsquo;s &ldquo;Minor Drama,&rdquo; 1827-1830; Piers
+Shafton Granton&rsquo;s &ldquo;Vagaries in Quest of the Wild and Wonderful&rdquo;;
+&ldquo;Mrs. Greece and her Rough Lovers&rdquo; [Russia and Turkey] (McLean),
+1828; &ldquo;How to Spell Harrowgate&rdquo; (C. King), 1828; &ldquo;Going by
+Steam&rdquo; (G. King); &ldquo;The Political Bellman&rdquo;; &ldquo;A Musical Genius&rdquo;
+(G. Creed); &ldquo;A Man of Taste and Feeling&rdquo; (G. Creed).</p>
+
+<p><span class="pagenum"><a name="page406" id="page406"></a>406</span></p>
+
+<p><i>The following, among others, for McLean, in 1829.</i></p>
+
+<p>&ldquo;Search after Happiness&rdquo; (two plates); Portrait of O&rsquo;Connell;
+&ldquo;Buonaparte in his Study&rdquo;; &ldquo;State of the Nation&rdquo;; &ldquo;Treasure
+Seeking&rdquo;; &ldquo;The Raft&rdquo;; &ldquo;O&rsquo;Connell&rsquo;s Dream&rdquo;; &ldquo;London&rdquo;;
+&ldquo;Plot Discovered&rdquo;; &ldquo;Death of the Giraffe&rdquo; (a series of plates);
+&ldquo;Rival Actresses&rdquo;; &ldquo;Moments of Reflection&rdquo;; &ldquo;Ennui&rdquo;; &ldquo;The
+Ear-wig&rdquo;; &ldquo;The Lost Key&rdquo;; &ldquo;The Man Wot Steers&rdquo;; &ldquo;Raising
+the Wind&rdquo;; &ldquo;Catholic State Wagon.&rdquo;</p>
+
+<p>&ldquo;The Looking Glass&rdquo; (a series of political and other caricatures,
+in which he was assisted by William Heath). 1830-1836.</p>
+
+<p>&ldquo;Sycophant Saints and Sabbath Sinners.&rdquo; Circa 1832.</p>
+
+<p>[<i>With Isaac Robert Cruikshank.</i>] &ldquo;Cruikshank at Home,&rdquo; and
+&ldquo;The Odd Volume.&rdquo; 1836.</p>
+
+<p>&ldquo;The Omnibus&rdquo; (a series of humorous etchings on copper); and
+&ldquo;The Heiress&rdquo; (six plates, each consisting of about five subjects).</p>
+
+<p>Upwards of three hundred designs on wood for &ldquo;Figaro in
+London.&rdquo; 1831-1836.</p>
+
+<p>&ldquo;Valpurgis; or, the Devil&rsquo;s Festival.&rdquo; Four woodcuts. (Kidd.)
+1831.</p>
+
+<p>&ldquo;The Extraordinary Black Book&rdquo; (an exposition of the incomes
+of the aristocracy, Church, civil list, list of sinecurists, etc.), one
+caricature plate. 1831.</p>
+
+<p>&ldquo;The Comic Magazine.&rdquo; 1831-1834.</p>
+
+<p>&ldquo;Maxims and Hints for an Angler&rdquo; (twelve beautifully-finished
+drawings on stone).</p>
+
+<p>&ldquo;The Schoolmaster Abroad&rdquo; (aimed at Lord Brougham&rsquo;s educational
+movement).</p>
+
+<p>&ldquo;New Readings by Old Authors&rdquo; (a small lithographic series
+comprising upwards of three hundred plates, the subjects being suggested
+by readings in Shakespeare, Schiller&rsquo;s &ldquo;William Tell,&rdquo; and
+Byron&rsquo;s &ldquo;Giaour.&rdquo;)</p>
+
+<p>Several hundred illustrations for Maddeley, the publisher.</p>
+
+<p>The &ldquo;Humorous Sketches&rdquo;; &ldquo;Hood&rsquo;s Comic Almanack,&rdquo; 1836
+(thirteen woodcuts); &ldquo;Squib Annual of Poetry, Politics, and Personalities&rdquo;
+(twelve designs); [<i>with Cruikshank</i>] &ldquo;Sayings worth
+Hearing, and Secrets worth Knowing&rdquo;; &ldquo;Terrific Penny Magazine&rdquo;;
+T. K. Hervey&rsquo;s &ldquo;Book of Christmas,&rdquo; 1836; the early
+plates to &ldquo;Pickwick&rdquo;; some of the plates to the &ldquo;Pocket Magazine&rdquo;
+(Robins&rsquo; series), eleven vols., etc., etc.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page407" id="page407"></a>407</span></p>
+<h3>APPENDIX III.</h3>
+
+<div class="index1">
+<h5><i>SOME OF THE ILLUSTRATED WORK OF JOHN LEECH.</i></h5>
+
+<p>1835. &ldquo;Etchings and Sketchings,&rdquo; by A. Pen, Esq.</p>
+
+<p>1837. &ldquo;Jack Brag,&rdquo; by Theodore Hook.</p>
+
+<p>1840. &ldquo;The Comic Latin Grammar,&rdquo; by Paul Prendergast.
+(Percival Leigh.) Plates and cuts.</p>
+
+<p>&ldquo;The Comic English Grammar,&rdquo; by Gilbert à Beckett. Fifty
+illustrations.</p>
+
+<p>&ldquo;The Fiddle-Faddle Fashion Book,&rdquo; by Percival Leigh. Four
+coloured plates.</p>
+
+<p>[<i>With Hablot Knight Browne and another.</i>] &ldquo;The London
+Magazine, Charivari, and Courrier des Dames.&rdquo;</p>
+
+<p>&ldquo;Bentley&rsquo;s Miscellany,&rdquo; 1840 to 1849, containing etchings to the
+&ldquo;Ingoldsby Legends,&rdquo; &ldquo;Stanley Thorn,&rdquo; &ldquo;Richard Savage,&rdquo; &ldquo;Adventures
+of Mr. Ledbury,&rdquo; &ldquo;Fortunes of the Scattergood Family,&rdquo;
+&ldquo;Marchioness of Brinvilliers,&rdquo; &ldquo;Brian O&rsquo;Linn,&rdquo; etc., etc.</p>
+
+<p>1841. &ldquo;The Children of the Mobility,&rdquo; seven lithographs in a
+wrapper.</p>
+
+<p>&ldquo;Written Caricatures,&rdquo; by C. C. Pepper (pseud.).</p>
+
+<p>&ldquo;Punch, or The London Charivari.&rdquo; 1841 to 1864.</p>
+
+<p>[<i>With Isaac Robert Cruikshank.</i>] &ldquo;Merrie England in the Olden
+Time,&rdquo; by George Daniel. 1842.</p>
+
+<p>&ldquo;New Monthly Magazine,&rdquo; 1842 to 1844.</p>
+
+<p>&ldquo;Hood&rsquo;s Comic Annual.&rdquo;</p>
+
+<p>1843. &ldquo;The Wassail Bowl,&rdquo; by Albert Richard Smith, etchings
+and woodcuts.</p>
+
+<p>&ldquo;Jack the Giant-Killer.&rdquo;</p>
+
+<p>&ldquo;The Illuminated Magazine,&rdquo; 1843 to 1845.</p>
+
+<p>1844. &ldquo;The Comic Arithmetic,&rdquo; designs on wood.</p>
+
+<p>&ldquo;Punch&rsquo;s Snap-Dragon for Children,&rdquo; four etchings.</p>
+
+<p><span class="pagenum"><a name="page408" id="page408"></a>408</span></p>
+
+<p>&ldquo;A Christmas Carol,&rdquo; by Charles Dickens, four coloured plates
+and cuts. 1843-4.</p>
+
+<p>&ldquo;Jessie Phillips,&rdquo; by Mrs. Trollope, eleven plates.</p>
+
+<p>[<i>With George Cruikshank.</i>] &ldquo;Colin Clink,&rdquo; by Charles Hooton.</p>
+
+<p>1845. [<i>With Doyle and others.</i>] &ldquo;The Chimes,&rdquo; by Charles
+Dickens.</p>
+
+<p>&ldquo;Hints in Life; or, How to Rise in Society,&rdquo; frontispiece.</p>
+
+<p>&ldquo;Young Master Troublesome; or, Master Jacky&rsquo;s Holidays.&rdquo;</p>
+
+<p>&ldquo;Douglas Jerrold&rsquo;s Shilling Magazine,&rdquo; 1845 to 1848. Etchings
+to &ldquo;St. Giles and St. James.&rdquo;</p>
+
+<p>1846. &ldquo;The Quizziology of the British Drama,&rdquo; by Gilbert à
+Beckett, frontispiece.</p>
+
+<p>&ldquo;The Comic Annual&rdquo; (a re-publication of &ldquo;Hood&rsquo;s Whimsicalities&rdquo;),
+forty-five illustrations.</p>
+
+<p>[<i>With Doyle and others.</i>] &ldquo;The Battle of Life,&rdquo; by Charles
+Dickens.</p>
+
+<p>1847. &ldquo;The Comic History of England,&rdquo; by Gilbert à Beckett,
+coloured etchings and numerous designs on wood.</p>
+
+<p>1848. &ldquo;The Life and Adventures of Oliver Goldsmith,&rdquo; by John
+Forster [<i>with another</i>].</p>
+
+<p>&ldquo;The Rising Generation,&rdquo; twelve large, tinted lithographs, issued
+from the <i>Punch</i> office.</p>
+
+<p>&ldquo;The Struggles and Adventures of Christopher Tadpole,&rdquo; by
+Albert Smith, etchings.</p>
+
+<p>[<i>With John Tenniel and others.</i>] &ldquo;The Haunted Man and
+the Ghost&rsquo;s Bargain,&rdquo; by Charles Dickens. 1847-8.</p>
+
+<p>[<i>With Richard Doyle and Alfred Crowquill.</i>] &ldquo;Bon Gaultier&rsquo;s
+Book of Ballads,&rdquo; by Theodore Martin and Professor Aytoun. 1849.</p>
+
+<p>&ldquo;A Man made of Money,&rdquo; by Douglas Jerrold, twelve etchings.</p>
+
+<p>&ldquo;Natural History of Evening Parties,&rdquo; by Albert Smith.</p>
+
+<p>1851. &ldquo;The Month,&rdquo; edited by Albert Smith.</p>
+
+<p>1852. &ldquo;Dashes of American Humour,&rdquo; by Howard Paul.</p>
+
+<p>&ldquo;The Comic History of Rome,&rdquo; by Gilbert à Beckett, ten
+coloured etchings and numerous designs on wood.</p>
+
+<p>1853. &ldquo;The Fortunes of Hector O&rsquo;Halloran and his man Mark
+Antony Toole,&rdquo; by W. H. Maxwell, etchings.</p>
+
+<p>&ldquo;Mr. Sponge&rsquo;s Sporting Tour,&rdquo; by R. W. Surtees, twelve coloured
+etchings and numerous designs on wood.</p>
+
+<p>1854. &ldquo;The Great Highway,&rdquo; by S. W. Fullom.</p>
+
+<p><span class="pagenum"><a name="page409" id="page409"></a>409</span></p>
+
+<p>&ldquo;Handley Cross; or, Mr. Jorrock&rsquo;s Jaunts,&rdquo; by R. W. Surtees,
+coloured etchings and numerous designs on wood.</p>
+
+<p>1856. &ldquo;The Paragreens.&rdquo;</p>
+
+<p>1857. &ldquo;Merry Pictures,&rdquo; by the Comic Hands of Phiz, Leech,
+Kenny Meadows, Gavarni, and others.</p>
+
+<p>&ldquo;The Militia Man at Home and Abroad,&rdquo; by Emeritus.</p>
+
+<p>&ldquo;A Month in the Forests of France,&rdquo; by the Hon. Grantley F.
+Berkeley.</p>
+
+<p>1858. &ldquo;Encyclopædia of Rural Sports.&rdquo;</p>
+
+<p>&ldquo;Ask Mamma; or, the Richest Commoner in England,&rdquo; by R.
+W. Surtees, coloured etchings and numerous designs on wood.</p>
+
+<p>1859. &ldquo;The Fliers of the Hunt,&rdquo; by John Mills.</p>
+
+<p>&ldquo;A Little Tour in Ireland,&rdquo; by the Rev. S. Reynolds Hole,
+coloured folding frontispiece and designs on wood.</p>
+
+<p>&ldquo;Newton Dogvane: a Story of English Life,&rdquo; by J. Francis.</p>
+
+<p>&ldquo;Soapey Sponge&rdquo; (sporting).</p>
+
+<p>&ldquo;Paul Prendergast.&rdquo;</p>
+
+<p>&ldquo;Once a Week,&rdquo; 1859 to 1864.</p>
+
+<p>1860. &ldquo;Mr. Briggs and His Doings&rdquo; (fishing), twelve coloured
+plates.</p>
+
+<p>&ldquo;Plain or Ringlets,&rdquo; by R. W. Surtees, coloured etchings and
+numerous designs on wood.</p>
+
+<p>[<i>With George Cruikshank, &ldquo;Phiz,&rdquo; and John Tenniel.</i>] &ldquo;Puck
+on Pegasus.&rdquo; 1861.</p>
+
+<p>&ldquo;Mill&rsquo;s Life of a Fox-Hound.&rdquo;</p>
+
+<p>[<i>With George Cruikshank and John Tenniel.</i>] &ldquo;The Ingoldsby
+Legends.&rdquo; 1864.</p>
+
+<p>&ldquo;The Follies of the Year,&rdquo; twenty-one coloured etchings from
+<i>Punch&rsquo;s</i> &ldquo;Pocket Books,&rdquo; with descriptive letterpress by Shirley
+Brooks.</p>
+
+<p>&ldquo;Mr. Facey Romford&rsquo;s Hounds,&rdquo; by R. W. Surtees, coloured
+etchings and designs on wood (finished by &ldquo;Phiz&rdquo;).</p>
+
+<p>[<i>With Doyle and others.</i>] &ldquo;The Cricket on the Hearth.&rdquo; By
+Charles Dickens. 1845-6.</p>
+
+
+<p class="center1"><i>Reprint.</i></p>
+
+<p>&ldquo;Fly Leaves,&rdquo; lithographs.</p>
+
+<p>&ldquo;Sketches of Life and Character taken at the Police Court, Bow
+Street,&rdquo; by George Hodder.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page410" id="page410"></a>410</span></p>
+<h3>APPENDIX IV.</h3>
+
+<h5><i>SOME MISCELLANEOUS WORK OF ALFRED HENRY
+FORRESTER (ALFRED CROWQUILL)</i>.</h5>
+
+<div class="index1">
+<p>&ldquo;Ups and Downs,&rdquo; 1823; &ldquo;Paternal Pride,&rdquo; 1825; &ldquo;Despondency
+and Jealousy&rdquo; (with George Cruikshank), and many others, in
+1825; &ldquo;Der Freyschutz Travestied,&rdquo; &ldquo;Alfred Crowquill&rsquo;s Sketch-Book,&rdquo;
+&ldquo;Absurdities in Prose and Verse,&rdquo; 1827; Goethe&rsquo;s &ldquo;Faust,&rdquo;
+1834; six plates of &ldquo;Pickwickian Sketches,&rdquo; Alfred Bunn&rsquo;s &ldquo;Vauxhall
+Papers,&rdquo; 1841; designs on wood for &ldquo;Sea Pie,&rdquo; an <i>omnium gatherum</i>
+containing also plates after David Cox, Pyne, Stanfield, and Vickers,
+1842; &ldquo;Punch&rdquo; (vols. ii. to iv.); plates and numerous designs on
+wood for &ldquo;Bentley&rsquo;s Miscellany,&rdquo; many original designs to &ldquo;Doctor
+Syntax&rsquo;s Tour in Search of the Picturesque,&rdquo; 1844; &ldquo;Comic Arithmetic&rdquo;
+(forty-seven humorous vignettes), 1844; &ldquo;Woman&rsquo;s Love,&rdquo;
+1846; &ldquo;Wanderings of a Pen and Pencil,&rdquo; 1846; &ldquo;A Good-natured
+Hint about California,&rdquo; 1849; &ldquo;The Excitement&rdquo; (2 plates), 1849;
+120 designs on wood for the &ldquo;Pictorial Grammar;&rdquo; designs on
+wood for the &ldquo;Pictorial Arithmetic;&rdquo; &ldquo;Gold,&rdquo; 1850; &ldquo;A Bundle
+of Crowquills Dropped by Alfred Crowquill,&rdquo; 1854; &ldquo;Fun,&rdquo; 1854;
+&ldquo;Griffel Swillendrunken,&rdquo; 1856; &ldquo;Aunt Mavor&rsquo;s Nursery Tales,&rdquo;
+1856; &ldquo;Little Pilgrim,&rdquo; 1856; &ldquo;Little Plays for Little Actors,&rdquo;
+1856; &ldquo;Fairy Tales,&rdquo; 1857; &ldquo;Merry Pictures by the Comic Hands
+of &lsquo;Phiz,&rsquo;&rdquo; etc. (Kent &amp; Co.), 1857; &ldquo;The Book of Ballads,&rdquo; by
+Bon Gaultier (with Doyle and Leech), 1857; &ldquo;A New Story Book,&rdquo;
+1858; &ldquo;Fairy Tales,&rdquo; by Cuthbert Bede, 1858; &ldquo;Baron Munchausen&rdquo;
+(coloured plates), 1858; &ldquo;Tyll Owlglass&rdquo; (a similar book), 1859;
+&ldquo;Honesty and Cunning,&rdquo; 1859; &ldquo;Kindness and Cruelty,&rdquo; 1859;
+&ldquo;The Red Cap,&rdquo; 1859; &ldquo;Paul Prendergast,&rdquo; 1859; &ldquo;Strange Surprising
+Adventures of the Venerable Gooros Simple,&rdquo; 1861; &ldquo;Fairy
+Footsteps,&rdquo; 1861; Chambers&rsquo; &ldquo;Book of Days;&rdquo; G. W. Reynolds&rsquo;
+<span class="pagenum"><a name="page411" id="page411"></a>411</span>
+&ldquo;Pickwick Abroad&rdquo; (now scarce); &ldquo;The Boys and the Giant,&rdquo;
+1870; &ldquo;The Cunning Fox,&rdquo; 1870; &ldquo;Dick Doolittle,&rdquo; 1870; &ldquo;Little
+Tiny&rsquo;s Picture Book,&rdquo; 1871; &ldquo;Guide to the Watering Places&rdquo;
+(views and comic plates); &ldquo;Comic Eton Grammar&rdquo; (with Leech);
+&ldquo;Fairy Footsteps; or, Lessons from Legends&rdquo; (100 designs on
+wood, with Kenny Meadows); Henry Cockton&rsquo;s &ldquo;Sisters; or,
+England and France.&rdquo;</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page412" id="page412"></a>412</span></p>
+<h3>APPENDIX V.</h3>
+
+<h5><i>SOME WORKS ILLUSTRATED BY HABLOT KNIGHT BROWNE.</i></h5>
+
+<div class="index1">
+<p>Charles Dickens&rsquo;s &ldquo;Sunday under Three Heads,&rdquo; 1836.</p>
+
+<p>&ldquo;Posthumous Papers of the Pickwick Club,&rdquo; forty-three plates
+by Seymour and &ldquo;Phiz.&rdquo; 1836-37.</p>
+
+<p class="center1"><i>The following are also to be met with.</i></p>
+
+<p>&ldquo;Posthumous Papers of the Pickwick Club,&rdquo; with the Seymour
+and &ldquo;Phiz&rdquo; plates, the two suppressed plates of &ldquo;Buss,&rdquo; and the
+extra series of thirty plates by Onwhyn. 1837.</p>
+
+<p><i>The same</i>, with the forty plates by Seymour and &ldquo;Phiz,&rdquo; the two
+suppressed plates of Buss, and twenty-three plates by &ldquo;Sam
+Weller&rdquo; and Onwhyn.</p>
+
+<p>&ldquo;Sketches of Young Ladies by &lsquo;Quiz&rsquo;&rdquo; (Charles Dickens), six
+copper plates, 1837.</p>
+
+<p>James Grant&rsquo;s &ldquo;Sketches in London,&rdquo; twenty-four humorous
+illustrations on steel by &ldquo;Phiz&rdquo; and others, Orr, 1838. Another
+edition in 1840.</p>
+
+<p>&ldquo;A Paper of Tobacco: a Treatise on Smoking, with Anecdotes,
+Mems on Pipes, Tobacco-boxes, and Snuff.&rdquo; By Joseph Fume,
+Copper plates and picture boards. 1839.</p>
+
+<p>&ldquo;Life and Adventures of Nicholas Nickleby.&rdquo; 1839.</p>
+
+<p><i>The same</i>, with the plates by &ldquo;Phiz,&rdquo; and an extra series of plates
+by Onwhyn and &ldquo;Peter Palette.&rdquo; 1839.</p>
+
+<p><i>The same</i>, with the forty plates by &ldquo;Phiz,&rdquo; and a set of forty plates
+by &ldquo;Peter Palette&rdquo; added.</p>
+
+<p>&ldquo;New Sporting Magazine.&rdquo; 1839.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Harry Lorrequer.&rdquo; 1839. (A pirated edition
+was published at Philadelphia, <span class="correction" title="'1840' amended from '1804'">1840</span>.)</p>
+
+<p><span class="pagenum"><a name="page413" id="page413"></a>413</span></p>
+
+<p>&ldquo;London Magazine, Charivari, and Courrier des Dames&rdquo; (with
+Leech and &ldquo;Gillray, Junr.&rdquo;). 1840.</p>
+
+<p>&ldquo;Master Humphrey&rsquo;s Clock,&rdquo; &ldquo;Old Curiosity Shop,&rdquo; and &ldquo;Barnaby
+Rudge,&rdquo; designs on wood, with Cattermole. 3 vols. 1840-41.</p>
+
+<p>&ldquo;Sir Thomas Dick Lauder&rsquo;s Legendary Tales of the Highlands.&rdquo;
+3 vols. 1841.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Charles O&rsquo;Malley, the Irish Dragoon,&rdquo; 2 vols.
+Dublin, 1841.</p>
+
+<p>&ldquo;Peter Priggins, the College Scout,&rdquo; 3 vols. 1841 (made its
+first appearance without illustrations in the <i>New Monthly Magazine</i>).</p>
+
+<p>&ldquo;The Pic-nic Papers,&rdquo; by Various Hands, edited by Charles
+Dickens, plates by Cruikshank, &ldquo;Phiz,&rdquo; and Hamerton. 3 vols.
+1841.</p>
+
+<p>W. H. Maxwell&rsquo;s &ldquo;Rambling Recollections of a Soldier of Fortune,&rdquo;
+woodcuts by &ldquo;Phiz&rdquo; and others. Dublin, 1842.</p>
+
+<p>Lever&rsquo;s &ldquo;Jack Hinton.&rdquo; Dublin, 1842-43.</p>
+
+<p>Carleton&rsquo;s &ldquo;Traits and Stories of the Irish Peasantry&rdquo; (both
+series), steel plates by &ldquo;Phiz,&rdquo; Sir J. Gilbert, Franklin, etc., and
+woodcuts. 2 vols. Dublin, 1843-44.</p>
+
+<p>Charles Dickens&rsquo;s &ldquo;Martin Chuzzlewit,&rdquo; forty plates. 1844.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Tom Burke of Ours.&rdquo; Dublin, 1844.</p>
+
+<p>&ldquo;Ainsworth&rsquo;s Magazine,&rdquo; from and after 1844.</p>
+
+<p>&ldquo;The Illuminated Magazine&rdquo; [<i>with Meadows, Sargent, Gilbert,
+Harvey, etc.</i>]. 1845.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;St. Patrick&rsquo;s Eve,&rdquo; woodcuts and fine steel
+etchings. 1845.</p>
+
+<p>&ldquo;Tales of the Trains; some Chapters of Railroad Romance,&rdquo; by
+Tilbury Tramp (<i>i.e.</i> Charles Lever). Orr, 1845.</p>
+
+<p>&ldquo;Nuts and Nutcrackers.&rdquo; 1845.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;The O&rsquo;Donoghue.&rdquo; Dublin, 1845.</p>
+
+<p>&ldquo;Fiddle-Faddle&rsquo;s Sentimental Tour in Search of the Amusing,
+Picturesque, and Agreeable.&rdquo; 1845.</p>
+
+<p>&ldquo;The Union Magazine,&rdquo; vol. i. Three plates. 1846.</p>
+
+<p>&ldquo;Fanny the Little Milliner; or, the Rich and the Poor&rdquo; [<i>with
+Onwhyn</i>]. 1846.</p>
+
+<p>&ldquo;The Commissioner; or, De Lunatico Inquirendo,&rdquo; twenty-eight
+steel plates. Dublin, 1846.</p>
+
+<p>&ldquo;A Medical, Moral, and Christian Dissertion of Teetotalism,&rdquo; by
+Democritus. 1846.</p>
+
+<p><span class="pagenum"><a name="page414" id="page414"></a>414</span></p>
+
+<p>Charles Lever&rsquo;s &ldquo;Knight of Gwynne.&rdquo; 1847.</p>
+
+<p>&ldquo;The Fortunes of Colonel Torlogh O&rsquo;Brien: a Tale of the Wars of
+King James.&rdquo; Dublin, 1847.</p>
+
+<p>&ldquo;John Smith&rsquo;s Irish Diamonds; or, a Theory of Irish Wit and
+Blunders.&rdquo; 1847.</p>
+
+<p>W. Harrison Ainsworth&rsquo;s &ldquo;Old St. Paul&rsquo;s,&rdquo; two plates. 1847.</p>
+
+<p>Charles Dickens&rsquo;s &ldquo;Dombey and Son.&rdquo; 1846-48.</p>
+
+<p>Twelve full-length portraits illustrating &ldquo;Dombey and Son,&rdquo; designed
+and etched by &ldquo;Phiz.&rdquo; (Sometimes bound up with the
+book.) 1848.</p>
+
+<p>Albert Smith&rsquo;s &ldquo;The Pottleton Legacy.&rdquo; 1849. (Another
+edition in 1854.)</p>
+
+<p>Charles Dickens&rsquo;s &ldquo;David Copperfield,&rdquo; forty plates. 1849-50.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Roland Cashel.&rdquo; 1849-50.</p>
+
+<p>John Smith&rsquo;s &ldquo;Sketches of Cantabs,&rdquo; two plates. 1850.</p>
+
+<p>Defoe&rsquo;s &ldquo;Robinson Crusoe,&rdquo; full-page cuts. 1850.</p>
+
+<p>&ldquo;The Illustrated Byron,&rdquo; two hundred woodcuts after Kenny
+Meadows, Birket Foster, Phiz, and Janet. <i>Circa</i> 1850.</p>
+
+<p>&ldquo;Ghost Stories and Tales of Mystery,&rdquo; etchings. Dublin,
+1851.</p>
+
+<p>&ldquo;The Daltons.&rdquo; (Charles Lever.) 1850-52.</p>
+
+<p>Francis Edward Smedley&rsquo;s &ldquo;Lewis Arundel.&rdquo; 1852.</p>
+
+<p>Charles Dickens&rsquo;s &ldquo;Bleak House,&rdquo; thirty-nine plates. 1852-53.</p>
+
+<p>Horace Mayhew&rsquo;s &ldquo;Letters Left at the Pastrycook&rsquo;s: being the
+Correspondence of Kitty Clover,&rdquo; cuts. 1853.</p>
+
+<p>W. Harrison Ainsworth&rsquo;s &ldquo;Crichton.&rdquo;</p>
+
+<p>&ldquo;Christmas Day, and How it was Spent by four Persons in
+the House of Fograss, Fograss, Mowton, and Snorton, Bankers,&rdquo; by
+C. Le Ros. Woodcuts. 1854.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Dodd Family Abroad.&rdquo; 1854.</p>
+
+<p>Francis E. Smedley&rsquo;s &ldquo;Harry Coverdale&rsquo;s Courtship.&rdquo; 1854.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Martins of Cro&rsquo; Martin.&rdquo; 1856.</p>
+
+<p>&ldquo;Home Pictures,&rdquo; seven excellent plates. Darton &amp; Co.
+1856.</p>
+
+<p>Charles Dickens&rsquo;s &ldquo;Little Dorrit.&rdquo; 1855-57.</p>
+
+<p>W. Harrison Ainsworth&rsquo;s &ldquo;Spendthrift,&rdquo; 1857; &ldquo;Mervyn Clitheroe,&rdquo;
+1857-58.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Davenport Dunn.&rdquo; 1859.</p>
+
+<p>Mrs. Stowe&rsquo;s &ldquo;The Minister&rsquo;s Wooing.&rdquo; 1859.</p>
+
+<p><span class="pagenum"><a name="page415" id="page415"></a>415</span></p>
+
+<p>Charles Dickens&rsquo;s &ldquo;Tale of Two Cities,&rdquo; sixteen etchings; the
+last work he executed for that author.</p>
+
+<p>W. Harrison Ainsworth&rsquo;s &ldquo;Ovingdean Grange; a Tale of the
+South Downs.&rdquo; 1860.</p>
+
+<p>&ldquo;Twigs for Nests; or, Notes on Nursery Nurture,&rdquo; illustrations
+in graphotype by H. K. Browne and others, 1860.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;One of Them,&rdquo; 1861; &ldquo;Barrington,&rdquo; 1862-63.</p>
+
+<p>&ldquo;Tom Moody&rsquo;s Tales.&rdquo; (Mark Lemon.) 1864.</p>
+
+<p>&ldquo;Mr. Facey Romford&rsquo;s Hounds&rdquo; (Surtees), [<i>with John Leech</i>].
+1864.</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Luttrell of Arran.&rdquo; 1865.</p>
+
+<p>&ldquo;Ballads and Songs of Brittany,&rdquo; by Tom Taylor, translated from
+the &ldquo;Barsaz-Breiz,&rdquo; illustrations by Tenniel, Millais, H. K. Browne,
+and others. 1865.</p>
+
+<p>Anthony Trollope&rsquo;s &ldquo;Can You Forgive Her?&rdquo; (forty plates by
+Phiz and Marcus Stone.) 1866.</p>
+
+<p>&ldquo;Dame Perkins and her Grey Mare,&rdquo; by J. L. Meadows. 1866.</p>
+
+
+<p class="center1"><i>And the following.</i></p>
+
+<p>&ldquo;The Illustrated Musical Annual&rdquo; [<i>with Kenny Meadows and
+Crowquill</i>].</p>
+
+<p>&ldquo;The Works of Shakespeare,&rdquo; revised from the original text by
+Samuel Phelps. 2 vols. Numerous coloured plates.</p>
+
+<p>&ldquo;Wits and Beaux of Society,&rdquo; by Grace and Philip Wharton (Mrs.
+K. and J. C. Thomson); plates by Brown and Godwin.</p>
+
+<p>&ldquo;Memoirs of an Umbrella,&rdquo; by G. G. H. Rodwell, sixty-eight
+engravings by Landells from designs by Phiz.</p>
+
+<p>&ldquo;Phiz&rsquo;s Sketches of the Seaside and the Country,&rdquo; twenty-eight
+large plates, tinted mountings; oblong folio.</p>
+
+<p>Smollett&rsquo;s &ldquo;Adventures of Roderick Random.&rdquo;</p>
+
+<p>Charles Lever&rsquo;s &ldquo;Con Creggan.&rdquo;</p>
+
+<p>&ldquo;H. B.&rsquo;s Schoolboy Days.&rdquo;</p>
+
+<p>&ldquo;Illustrations of the Five Senses.&rdquo;</p>
+
+<p>George Halse&rsquo;s &ldquo;Adventures of Sir Guy de Guy.&rdquo;</p>
+
+<p>G. A. Salas &ldquo;Baddington Peerage&rdquo; (in <i>Illustrated Times</i>).</p>
+
+<p>The Abbotsford Edition of &ldquo;The Waverley Novels,&rdquo; etc., etc.</p>
+
+<p>See also the &ldquo;Memorial Edition&rdquo; of Dickens&rsquo;s whole works, with
+several hundred illustrations by George Cruikshank, H. K. Browne,
+and others, printed on Chinese paper.</p>
+
+
+<p><span class="pagenum"><a name="page416" id="page416"></a>416</span></p>
+
+<p class="center1"><i>And in the following serials</i>.</p>
+
+<p>&ldquo;New Monthly Magazine&rdquo;; early volumes of &ldquo;Once a Week&rdquo;;
+&ldquo;Tinsley&rsquo;s Magazine&rdquo;; &ldquo;London Society&rdquo;; &ldquo;St. James&rsquo;s Magazine&rdquo;;
+&ldquo;Illustrated Gazette&rdquo;; &ldquo;Sporting Times&rdquo;; &ldquo;Judy&rdquo;; etc.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page417" id="page417"></a>417</span></p>
+<h2>INDEX.</h2>
+
+<div class="index2">
+<p>&ldquo;A Bazaar,&rdquo;<a href="#page145">145</a>.</p>
+
+<p>À Beckett, Gilbert, <a href="#page223">223</a>.</p>
+
+<p>Aberdeen, Lord, <a href="#page303">303</a>, <a href="#page395">395</a>.</p>
+
+<p>Abinger, Lord, <a href="#page252">252</a>.</p>
+
+<p>Aboukir, Battle of, <a href="#page13">13</a>.</p>
+
+<p>Achilles, Statue of, <a href="#page81">81</a>, <a href="#page161">161</a>.</p>
+
+<p>&ldquo;Achitophel,&rdquo; <a href="#page159">159</a>.</p>
+
+<p>&ldquo;A Constitutional Plum Pudding,&rdquo; <a href="#page298">298</a>.</p>
+
+<p>Actors, their position in France, <a href="#page386">386</a>.</p>
+
+<p>&ldquo;A Day at Biarritz,&rdquo; <a href="#page317">317</a>.</p>
+
+<p>&ldquo;Adelaide Mill, The,&rdquo; <a href="#page213">213</a>.</p>
+
+<p>Adelphi Theatre, <a href="#page110">110</a>.</p>
+
+<p>&ldquo;A Discussion Forum,&rdquo; <a href="#page310">310</a>.</p>
+
+<p>Adulteration of Tea, <a href="#page152">152</a>.</p>
+
+<p>&ldquo;Adventures of Brown, Jones,&rdquo; etc., <a href="#page391">391</a>.</p>
+
+<p>&ldquo;A Fine Old English Gentleman,&rdquo; <a href="#page251">251</a>.</p>
+
+<p>&ldquo;A Great Subject,&rdquo; etc., <a href="#page249">249</a>.</p>
+
+<p>&ldquo;Ah, sure such a Pair,&rdquo; etc., <a href="#page155">155</a>.</p>
+
+<p>&ldquo;A Hint to Duellists,&rdquo; <a href="#page248">248</a>.</p>
+
+<p>Ainsworth, Harrison, <a href="#page194">194</a>, <a href="#page198">198</a>, <a href="#page199">199</a>.</p>
+
+<p>Ainsworth&rsquo;s &ldquo;Auriol,&rdquo; <a href="#page349">349</a>.
+  &ldquo;Crichton,&rdquo; <a href="#page344">344</a>.</p>
+
+<p>Albert, Prince, <a href="#page294">294</a>.</p>
+
+<p>Alexander, The Emperor, <a href="#page133">133</a>, <a href="#page139">139</a>.</p>
+
+<p>&ldquo;Alice in Wonderland,&rdquo; <a href="#page400">400</a>.</p>
+
+<p>&ldquo;All My Eye,&rdquo; <a href="#page97">97</a>.</p>
+
+<p>Allied Sovereigns. Visit of the, <a href="#page133">133</a>.</p>
+
+<p>Alliteration, Graphic, <a href="#page177">177</a>.</p>
+
+<p>Almack&rsquo;s, Lady patronesses of, <a href="#page213">213</a>.</p>
+
+<p>Althorp, Lord, <a href="#page269">269</a>.</p>
+
+<p>&ldquo;A Match for the King&rsquo;s Plate,&rdquo; <a href="#page154">154</a>.</p>
+
+<p><i>America</i>.</p>
+  <div class="index3">
+  <p>Causes of Difference between her and England in 1812, <a href="#page41">41</a>.</p>
+  <p>England offers to Revoke Orders in Council, <a href="#page42">42</a>.</p>
+  <p>Her anxiety to fix a Quarrel on England, <a href="#page42">42</a>, <a href="#page43">43</a>.</p>
+  <p>Desire of the Americans to Invade Canada, <a href="#page42">42</a>.</p>
+  <p>Invasion of Canada, <a href="#page43">43</a>.</p>
+  <p>Defeat and Surrender of the American General Hull, <a href="#page43">43</a>.</p>
+  <p>Naval Successes of the Americans, <a href="#page43">43</a>.</p>
+  <p>Americans driven out of Canada, <a href="#page45">45</a>.</p>
+  <p>English assume the Offensive, <a href="#page45">45</a>.</p>
+  <p>Burning of Washington, <a href="#page46">46</a>.</p>
+  <p>Alexandria placed under Contribution, <a href="#page46">46</a>.</p>
+  <p>Capture of British Naval Force, <a href="#page48">48</a>.</p>
+  <p>Retreat of Prevost, <a href="#page48">48</a>.</p>
+  <p>Attack on New Orleans, <a href="#page48">48</a>.</p>
+  </div>
+
+<p>Amiens, Peace of, <a href="#page14">14</a>.</p>
+
+<p>&ldquo;A Morning Call,&rdquo; <a href="#page285">285</a>.</p>
+
+<p>&ldquo;A Musical Genius,&rdquo; <a href="#page209">209</a>.</p>
+
+<p>&ldquo;Anstey&rsquo;s New Bath Guide,&rdquo; <a href="#page176">176</a>.</p>
+
+<p>&ldquo;A Paper of Tobacco,&rdquo; <a href="#page340">340</a>.</p>
+
+<p>&ldquo;A Patriot Luminary,&rdquo; etc., <a href="#page151">151</a>.</p>
+
+<p>&ldquo;Apollyon, the Devil&rsquo;s Generalissimo,&rdquo; etc., <a href="#page131">131</a>.</p>
+
+<p>&ldquo;A Prospecte of Exeter Hall,&rdquo; <a href="#page385">385</a>.</p>
+
+<p>&ldquo;A Race for the Westminster Stakes,&rdquo; <a href="#page251">251</a>.</p>
+
+<p>&ldquo;Argus, The&rdquo; (an English Newspaper in the pay of Bonaparte), <a href="#page15">15</a>.</p>
+
+<p><span class="pagenum"><a name="page418" id="page418"></a>418</span></p>
+
+<p>&ldquo;Arrogance or Nonchalance of the Tenth Reported,&rdquo; <a href="#page100">100</a>.</p>
+
+<p>&ldquo;Art of Walking the Streets of London,&rdquo; <a href="#page152">152</a>.</p>
+
+<p>Arthur à Bradley, <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Arthur O&rsquo;Leary,&rdquo; <a href="#page200">200</a>.</p>
+
+<p>&ldquo;A Select Specimen of the Black Style,&rdquo; <a href="#page262">262</a>.</p>
+
+<p>&ldquo;A Sheep in Wolf&rsquo;s Clothing,&rdquo; <a href="#page374">374</a>.</p>
+
+<p>&ldquo;A Shot from Buckingham to Bedford,&rdquo; <a href="#page97">97</a>.</p>
+
+<p>&ldquo;Assisting, Resisting, and Desisting,&rdquo; <a href="#page218">218</a>.</p>
+
+<p>&ldquo;A Student of the Old Masters,&rdquo; <a href="#page393">393</a>.</p>
+
+<p>&ldquo;At a Concert,&rdquo; <a href="#page220">220</a>.</p>
+
+<p>&ldquo;Auld Lang Syne,&rdquo; <a href="#page247">247</a>.</p>
+
+<p>Authors and Artists, Quarrels between, <a href="#page233">233</a>.</p>
+
+<p>&ldquo;A Venomous Viper poisoning the R&mdash;&mdash;l Mind,&rdquo; <a href="#page132">132</a>.</p>
+
+<p>&ldquo;A View of the Regent&rsquo;s Bomb,&rdquo; <a href="#page151">151</a>.</p>
+
+<hr class="short" />
+
+<p>Ball, Hughes (see &ldquo;<i>Hughes Ball</i>.&rdquo;)</p>
+
+<p>&ldquo;Bank Restriction Note,&rdquo; <a href="#page152">152</a>.</p>
+
+<p>Barossa, Battle of, <a href="#page21">21</a>.</p>
+
+<p>Bath, Queen Charlotte at, <a href="#page57">57</a>.</p>
+
+<p>Battier, Mr., <a href="#page100">100</a>, <a href="#page163">163</a>.</p>
+
+<p>Baylen, Battle of, <a href="#page20">20</a>.</p>
+
+<p>Beaconsfield, Lord, <a href="#page283">283</a>.</p>
+
+<p>&ldquo;Beau Clerk for a Banking Concern,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>&ldquo;Belle Alliance,&rdquo; etc., <a href="#page154">154</a>.</p>
+
+<p>Bellingham, John, <a href="#page27">27</a>.</p>
+
+<p>&ldquo;Bell&rsquo;s Life,&rdquo; Origin of, <a href="#page115">115</a>.</p>
+
+<p>Bennett, C. H., <a href="#page371">371</a>-375.</p>
+
+<p>Benningsen, General, <a href="#page22">22</a>.</p>
+
+<p>&ldquo;Bentley&rsquo;s Miscellany,&rdquo; <a href="#page284">284</a>, <a href="#page290">290</a>.</p>
+
+<p>Bergami, Bartolomeo, <a href="#page71">71</a>, <a href="#page150">150</a>.</p>
+
+<p>Berkeley, Colonel, <a href="#page101">101</a>, <a href="#page102">102</a>, <a href="#page118">118</a>.</p>
+
+<p>Berlin Decree, <a href="#page18">18</a>.</p>
+
+<p>Bernard Blackmantle (see &ldquo;<i>Westmacott, C. M.</i>&rdquo;).</p>
+
+<p>Betty, Master, <a href="#page28">28</a>.</p>
+
+<p>&ldquo;Bill of Pains and Penalties,&rdquo; <a href="#page149">149</a>.</p>
+
+<p>&ldquo;Birds&rsquo;-eye Views of Society,&rdquo; <a href="#page385">385</a>.</p>
+
+<p>Black-mail, <a href="#page105">105</a>.</p>
+
+<p>Blandford, Marquis of, <a href="#page235">235</a>.</p>
+
+<p>&ldquo;Bleak House,&rdquo; <a href="#page347">347</a>.</p>
+
+<p>&ldquo;Blessings of Peace; or, the Curse of the Corn Bill,&rdquo; <a href="#page136">136</a>.</p>
+
+<p>Bloated Men of the Last Century, <a href="#page2">2</a>.</p>
+
+<p>&ldquo;Bombardment Extraordinary,&rdquo; <a href="#page240">240</a>.</p>
+
+<p>Bonaparte, Napoleon (see &ldquo;<i>Napoleon</i>&rdquo;).</p>
+
+<p>&ldquo;Boney and his New Wife,&rdquo; etc., <a href="#page21">21</a>.</p>
+
+<p>&ldquo;Boney&rsquo;s Meditations on the Island of St. Helena,&rdquo; <a href="#page142">142</a>.</p>
+
+<p>&ldquo;Boney returning from Russia covered with Glory,&rdquo; <a href="#page23">23</a>.</p>
+
+<p>&ldquo;Boney the Second,&rdquo; <a href="#page21">21</a>.</p>
+
+<p>&ldquo;Boney&rsquo;s threatened Invasion brought to bear,&rdquo; <a href="#page142">142</a>.</p>
+
+<p>&ldquo;Bonnie Willie,&rdquo; <a href="#page161">161</a>.</p>
+
+<p>&ldquo;Book of Christmas,&rdquo; <a href="#page220">220</a>.</p>
+
+<p>&ldquo;Book of Days,&rdquo; <a href="#page369">369</a>.</p>
+
+<p>Booth, Lucius Junius, <a href="#page54">54</a>.</p>
+
+<p>&ldquo;Born a Genius, and born a Dwarf,&rdquo; <a href="#page173">173</a>.</p>
+
+<p>&ldquo;Bottle, The,&rdquo; <a href="#page201">201</a>.</p>
+
+<p>&ldquo;Braintrees, The,&rdquo; <a href="#page171">171</a>.</p>
+
+<p>Brereton, Colonel, 223 (note).</p>
+
+<p>Bright, John, <a href="#page398">398</a>.</p>
+
+<p>Brighton Pavilion, <a href="#page164">164</a>.</p>
+
+<p>&ldquo;Bringing up our Bill,&rdquo; <a href="#page243">243</a>.</p>
+
+<p>&ldquo;Britannia Discovering the Source of the Nile,&rdquo; <a href="#page399">399</a>.</p>
+
+<p>&ldquo;British Cookery; or, out of the Frying-pan,&rdquo; etc., <a href="#page21">21</a>.</p>
+
+<p>&ldquo;British Spread Eagle,&rdquo; <a href="#page134">134</a>.</p>
+
+<p>Brooks, Shirley, <a href="#page201">201</a>, <a href="#page321">321</a>, <a href="#page328">328</a>, <a href="#page373">373</a>, <a href="#page374">374</a>.</p>
+
+<p>Brougham, Lord, <a href="#page236">236</a>, <a href="#page237">237</a>, <a href="#page243">243</a>, <a href="#page258">258</a>-266, <a href="#page297">297</a>, 384 (and see &ldquo;<i>Jemmy Twitcher</i>&rdquo;).</p>
+
+<p>Browne, H. K., <a href="#page283">283</a>, <a href="#page336">336</a>-354, <a href="#page412">412</a>-416.</p>
+
+<p>&ldquo;Bubble Burst; or, the Ghost of an old Act of Parliament,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>Buckingham, Duke of (see &ldquo;<i>Duel</i>&rdquo;).</p>
+
+<p>Buckingham, Marquis of, <a href="#page27">27</a>.</p>
+
+<p>Bunbury, H. W., <a href="#page3">3</a>, <a href="#page84">84</a>.</p>
+
+<p>&ldquo;Bunsby,&rdquo; <a href="#page342">342</a>.</p>
+
+<p>Burdett, Sir Francis, <a href="#page249">249</a>-251, <a href="#page253">253</a>, <a href="#page269">269</a>.</p>
+
+<p>&ldquo;Burking Old Mrs. Constitution,&rdquo; <a href="#page83">83</a>.</p>
+
+<p>Busby, Dr., <a href="#page35">35</a>.</p>
+
+<p>Buss, R. W., <a href="#page363">363</a>-366.</p>
+
+<p>&ldquo;Buz in a Box,&rdquo; etc., <a href="#page35">35</a>.</p>
+
+<p>Byron, Lord, <a href="#page164">164</a>.</p>
+
+<hr class="short" />
+
+<p><span class="pagenum"><a name="page419" id="page419"></a>419</span></p>
+
+<p>&ldquo;Caleidoscope; or, Paying for Peeping.&rdquo; <a href="#page59">59</a>.</p>
+
+<p>Canada, Invasion of (see &ldquo;<i>America</i>&rdquo;).</p>
+
+<p><i>Caricature.</i></p>
+  <div class="index3">
+  <p>Dr. Johnson&rsquo;s Definition, <a href="#page1">1</a>.</p>
+  <p>Francis Grose&rsquo;s Definition, <a href="#page1">1</a>.</p>
+  <p>Modern Meaning, <a href="#page2">2</a>.</p>
+  <p>Causes of its Decay in England, <a href="#page2">2</a>.</p>
+  <p>Period of its Decline, <a href="#page83">83</a>.</p>
+  <p>Injurious Effect of Wood-Engraving on, <a href="#page5">5</a>.</p>
+  <p>Has little Concern with Justice, <a href="#page25">25</a>, <a href="#page26">26</a>.</p>
+  </div>
+
+<p>Caricaturist, Peculiarity of his Wares, <a href="#page90">90</a>.</p>
+
+<p>Caricaturists and Critics, <a href="#page9">9</a>.</p>
+
+<p>Caricaturists, French, <a href="#page8">8</a>.</p>
+
+<p>Caroline of Brunswick, <a href="#page62">62</a>-81, <a href="#page95">95</a>, <a href="#page132">132</a>, <a href="#page134">134</a>, <a href="#page149">149</a>, <a href="#page155">155</a>, <a href="#page156">156</a>-159.</p>
+
+<p>Caroline, Queen (see &ldquo;<i>Caroline of Brunswick</i>&rdquo;).</p>
+
+<p>Carpenter, Mr., <a href="#page39">39</a>.</p>
+
+<p>Castlereagh, Lord, <a href="#page149">149</a>.</p>
+
+<p>Catalani, Madame, <a href="#page102">102</a>.</p>
+
+<p>Catholic Association, The, <a href="#page106">106</a>.</p>
+
+<p>Catholic Emancipation (see &ldquo;<i>Catholic Relief</i>&rdquo;).</p>
+
+<p>Catholic Relief Bill, <a href="#page83">83</a>, <a href="#page106">106</a>, <a href="#page248">248</a>.</p>
+
+<p>Cawnpore Massacre, <a href="#page398">398</a>.</p>
+
+<p>Champ de Mars, <a href="#page140">140</a>.</p>
+
+<p>Changes in Political Opinion, <a href="#page251">251</a>.</p>
+
+<p>Charles I., Discovery of his Remains, <a href="#page132">132</a>.</p>
+
+<p>Charlotte, The Princess, <a href="#page40">40</a>, <a href="#page50">50</a>, <a href="#page61">61</a>, <a href="#page134">134</a>, <a href="#page145">145</a>, <a href="#page150">150</a>, <a href="#page164">164</a>.</p>
+
+<p>Charlotte, Queen, <a href="#page56">56</a>, <a href="#page153">153</a>.</p>
+
+<p>Chobham, Camp at, <a href="#page303">303</a>.</p>
+
+<p>&ldquo;Chronicles of Clovernook,&rdquo; <a href="#page362">362</a>.</p>
+
+<p>Churchill, Charles, <a href="#page7">7</a>.</p>
+
+<p>Cider Cellar, <a href="#page87">87</a>.</p>
+
+<p>&ldquo;City Scavengers Cleansing the London Streets of Impurities,&rdquo; <a href="#page76">76</a>.</p>
+
+<p>&ldquo;Civic Louse in the State Bed,&rdquo; <a href="#page102">102</a>.</p>
+
+<p>Clarke, Mrs., <a href="#page30">30</a>, <a href="#page32">32</a>, <a href="#page33">33</a>.</p>
+
+<p>&ldquo;Clement Lorymer,&rdquo; <a href="#page205">205</a>.</p>
+
+<p>Coates (see &ldquo;<i>Romeo Coates</i>&rdquo;).</p>
+
+<p>Cobbett, William, 235 (<i>note</i>).</p>
+
+<p>Cobden, Richard, <a href="#page383">383</a>.</p>
+
+<p>Cockton, Henry, <a href="#page361">361</a>.</p>
+
+<p>&ldquo;Coke upon Albemarle,&rdquo; <a href="#page97">97</a>.</p>
+
+<p>Colburn&rsquo;s &ldquo;Kalendar of Amusements,&rdquo; <a href="#page122">122</a>.</p>
+
+<p>&ldquo;Collegians at their Exercises,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>&ldquo;Colonel Fitz-Bastard,&rdquo; <a href="#page103">103</a>.</p>
+
+<p>&ldquo;Comic Almanack,&rdquo; <a href="#page177">177</a>, <a href="#page179">179</a>.</p>
+
+<p>Comic Journalism in 1831, <a href="#page223">223</a>.</p>
+
+<p>&ldquo;Comic Magazine, The,&rdquo; <a href="#page229">229</a>.</p>
+
+<p>&ldquo;Comicalities&rdquo; (&ldquo;Bell&rsquo;s Life&rdquo;), <a href="#page281">281</a>.</p>
+
+<p>&ldquo;Comic History of England,&rdquo; <a href="#page287">287</a>.</p>
+
+<p>&ldquo;Comic History of Rome,&rdquo; <a href="#page288">288</a>.</p>
+
+<p>Commercial Distress of 1825-6, <a href="#page81">81</a>.</p>
+
+<p>&ldquo;Commons <i>versus</i> the Crown of Martyrdom,&rdquo; <a href="#page100">100</a>.</p>
+
+<p>&ldquo;Comparative Anatomy,&rdquo; <a href="#page152">152</a>.</p>
+
+<p>&ldquo;Congress Dissolved before the Cake was cut up,&rdquo; <a href="#page139">139</a>.</p>
+
+<p>Connyngham, Marchioness of, <a href="#page118">118</a>, <a href="#page134">134</a>, <a href="#page164">164</a>.</p>
+
+<p>&ldquo;Conspirators; or, Delegates in Council,&rdquo; <a href="#page148">148</a>.</p>
+
+<p>&ldquo;Corinthian Auctioneer,&rdquo; <a href="#page102">102</a>.</p>
+
+<p>&ldquo;Corinthians,&rdquo; Sham, <a href="#page93">93</a>.</p>
+
+<p>Corn Laws, <a href="#page135">135</a>.</p>
+
+<p>&ldquo;Corsican Bloodhound beset by the Bears,&rdquo; <a href="#page22">22</a>.</p>
+
+<p>&ldquo;Corsican&rsquo;s Last Trip,&rdquo; <a href="#page142">142</a>.</p>
+
+<p>&ldquo;Court at Brighton, <i>à la Chinese</i>,&rdquo; <a href="#page164">164</a>.</p>
+
+<p>&ldquo;Craven&rsquo;s Head&rdquo; (Drury Lane), <a href="#page86">86</a>.</p>
+
+<p>Cremorne, Aristocratic fête at, <a href="#page311">311</a>.</p>
+
+<p>&ldquo;Cribbage, Shuffling, Whist,&rdquo; etc., <a href="#page161">161</a>.</p>
+
+<p>Crimean War, <a href="#page304">304</a>, <a href="#page398">398</a>.</p>
+
+<p>&ldquo;Crithannah&rsquo;s Original Fables,&rdquo; <a href="#page122">122</a>.</p>
+
+<p>Critics and Caricaturists, <a href="#page9">9</a>.</p>
+
+<p>Croker, John Wilson, 245 (<i>note</i>).</p>
+
+<p>Crowquill, Alfred (see &ldquo;<i>Forrester</i>.&rdquo;)</p>
+
+<p>Cruikshank, George, <a href="#page107">107</a>, <a href="#page125">125</a>-207, 281 (<i>note</i>), <a href="#page281">281</a>, and <i>note</i>.</p>
+  <div class="index3">
+  <p>Mistakes of those who have written on him, <a href="#page4">4</a>.</p>
+  <p>Curious Criticism on, <a href="#page125">125</a>.</p>
+  <p>Why his Caricatures possess so much interest, <a href="#page127">127</a>.</p>
+  <p>Quarrel with Dickens, <a href="#page192">192</a>.</p>
+  <p>&emsp;&emsp;&rdquo;&emsp;&emsp;&rdquo;&emsp;Bentley, <a href="#page194">194</a>.</p>
+  <p>&emsp;&emsp;&rdquo;&emsp;&emsp;&rdquo;&emsp;Ainsworth, <a href="#page198">198</a>.</p>
+  <p>Final Leap in the Dark, <a href="#page201">201</a>.</p>
+  <p>Declines to draw for <i>Punch</i>, <a href="#page201">201</a>.</p>
+  </div>
+
+<p><span class="pagenum"><a name="page420" id="page420"></a>420</span></p>
+
+<p>Cruikshank, Robert, <a href="#page3">3</a>, <a href="#page89">89</a>-124, <a href="#page226">226</a>, <a href="#page401">401</a>-404.</p>
+
+<p>Cruikshank, The Brothers, <a href="#page89">89</a>.</p>
+
+<p>Cruikshankian Feet, <a href="#page170">170</a>.</p>
+  <div class="index3">
+  <p>&rdquo;&emsp;&emsp; Steed, The, <a href="#page169">169</a>.</p>
+  <p>&rdquo;&emsp;&emsp; Trees, <a href="#page170">170</a>.</p>
+  <p>&rdquo;&emsp;&emsp; Women, <a href="#page168">168</a>.</p>
+  </div>
+
+<p>&ldquo;Cruikshankiana,&rdquo; <a href="#page107">107</a>.</p>
+
+<p>&ldquo;Cruikshank&rsquo;s Comic Album,&rdquo; <a href="#page121">121</a>.</p>
+
+<p>&ldquo;Cruikshank&rsquo;s Fairy Library,&rdquo; <a href="#page205">205</a>.</p>
+
+<p>&ldquo;Cruising on Land,&rdquo; etc., <a href="#page95">95</a>.</p>
+
+<p>Cumberland, Duke of <a href="#page100">100</a>, <a href="#page241">241</a>, <a href="#page242">242</a>.</p>
+
+<p>Curtis, Sir William, <a href="#page141">141</a>, <a href="#page159">159</a>.</p>
+
+<p>&ldquo;Cut at the City Cauliflower,&rdquo; <a href="#page102">102</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Dame Partington and the Ocean of Reform,&rdquo; <a href="#page243">243</a>.</p>
+
+<p>&ldquo;Dandies at Tea,&rdquo; <a href="#page92">92</a>.</p>
+
+<p>&ldquo;Dandies Diving,&rdquo; <a href="#page93">93</a>.</p>
+
+<p>&ldquo;Dandies having a Treat,&rdquo; <a href="#page93">93</a>.</p>
+
+<p>&ldquo;Dandies in France,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>&ldquo;Dandies on their Hobbies,&rdquo; <a href="#page94">94</a>.</p>
+
+<p>&ldquo;Dandies, Parisian,&rdquo; <a href="#page91">91</a>.</p>
+
+<p>&ldquo;Dandy Cock in Stays,&rdquo; <a href="#page93">93</a>.</p>
+
+<p>&ldquo;Dandy dressing at Home,&rdquo; etc., <a href="#page94">94</a>.</p>
+
+<p>&ldquo;Dandy Henpecked, The,&rdquo; <a href="#page93">93</a>.</p>
+
+<p>&ldquo;Dandy put to his Last Chemisette,&rdquo; etc., <a href="#page93">93</a>.</p>
+
+<p>&ldquo;Dandy Shoemaker in a Fright,&rdquo; <a href="#page93">93</a>.</p>
+
+<p>&ldquo;Dandy Sick,&rdquo; <a href="#page94">94</a>.</p>
+
+<p>&ldquo;Dandy Tailor planning a new Hungry Dress,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>&ldquo;Dandyess, A,&rdquo; <a href="#page94">94</a>.</p>
+
+<p>D&rsquo;Angoulème, Duc, <a href="#page162">162</a>.</p>
+
+<p>Darwin (see &ldquo;<i>Origin of Species</i>&rdquo;).</p>
+
+<p>&ldquo;Deaf Postillion,&rdquo; <a href="#page169">169</a>.</p>
+
+<p>&ldquo;Death of the Property Tax,&rdquo; <a href="#page164">164</a>.</p>
+
+<p>&ldquo;Death of Sikes,&rdquo; <a href="#page185">185</a>.</p>
+
+<p>Déesses de la Revolution, <a href="#page25">25</a>.</p>
+
+<p>&ldquo;Defenders of the Faith,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>&ldquo;Delivering a Prophetess,&rdquo; <a href="#page40">40</a>.</p>
+
+<p>Depression in Trade in 1819, <a href="#page60">60</a>.</p>
+
+<p>&ldquo;Descent of the Great Bear,&rdquo; <a href="#page82">82</a>.</p>
+
+<p>Devils, <a href="#page182">182</a>.</p>
+
+<p>Dickens, Charles, <a href="#page191">191</a>, <a href="#page206">206</a>, <a href="#page230">230</a>, <a href="#page232">232</a>, <a href="#page282">282</a>, <a href="#page347">347</a>-349.</p>
+
+<p>Dighton, Robert, <a href="#page27">27</a>, <a href="#page84">84</a>.</p>
+
+<p>&ldquo;Diogenes,&rdquo; <a href="#page371">371</a>.</p>
+
+<p>Dissenting Ministers, Proposal to amend their qualifications, <a href="#page130">130</a>.</p>
+
+<p>&ldquo;Doctors Differ,&rdquo; <a href="#page36">36</a>.</p>
+
+<p>&ldquo;Dog and the Shadow,&rdquo; <a href="#page251">251</a>.</p>
+
+<p>&ldquo;Doings in London,&rdquo; <a href="#page120">120</a>.</p>
+
+<p>&ldquo;Dombey and Son,&rdquo; <a href="#page345">345</a>.</p>
+
+<p>Dominie Sampson, <a href="#page176">176</a>.</p>
+
+<p>Doré, Gustave, <a href="#page7">7</a>, <a href="#page9">9</a>.</p>
+
+<p>Double Bass, <a href="#page132">132</a>.</p>
+
+<p>Doyle, John (see &ldquo;<span class="cn">HB</span>&rdquo;).</p>
+
+<p>Doyle, Richard, <a href="#page379">379</a>, <a href="#page381">381</a>-394.</p>
+
+<p>Draconian Laws, <a href="#page152">152</a>.</p>
+
+<p>&ldquo;Drilling one-tenth,&rdquo; etc., <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Drunkard&rsquo;s Children, The,&rdquo; <a href="#page202">202</a>.</p>
+
+<p>Drury Lane Theatre, <a href="#page34">34</a>.</p>
+
+<p>Duel between the Dukes of Buckingham and Bedford, <a href="#page81">81</a>, <a href="#page97">97</a>.</p>
+  <div class="index3">
+  <p>Between the Duke of Wellington and the Earl of Winchelsea, <a href="#page248">248</a>.</p>
+  <p>Between Sir Francis Burdett and Mr. Paull, <a href="#page249">249</a>.</p>
+  </div>
+
+<p>&ldquo;Duel that did not take place,&rdquo; <a href="#page262">262</a>.</p>
+
+<p>&ldquo;Duelling,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>Dumbiedikes, <a href="#page176">176</a>.</p>
+
+<p>&ldquo;Dying Clown, The,&rdquo; <a href="#page233">233</a>.</p>
+
+<hr class="short" />
+
+<p>East Retford Bill, <a href="#page236">236</a>.</p>
+
+<p>Ecclesiastical Titles Bill, <a href="#page386">386</a>.</p>
+
+<p>&ldquo;Economical Humbug of 1816,&rdquo; <a href="#page144">144</a>.</p>
+
+<p>Egan, Pierce, <a href="#page85">85</a>, <a href="#page113">113</a>, <a href="#page120">120</a>.</p>
+
+<p>Egypt, French driven out of, <a href="#page13">13</a>.</p>
+
+<p>Eldon, Lord, <a href="#page70">70</a>.</p>
+
+<p>Elgin Marbles, <a href="#page145">145</a>.</p>
+
+<p>Ellenborough, Lord, <a href="#page66">66</a>, <a href="#page67">67</a>, <a href="#page70">70</a>.</p>
+
+<p>Elliston, Life and Enterprises of, <a href="#page205">205</a>.</p>
+
+<p>&ldquo;England&rsquo;s Hope Departing,&rdquo; <a href="#page151">151</a>.</p>
+
+<p>English Graphic Satire, Change in, <a href="#page4">4</a>.</p>
+
+<p>English hostility to Napoleon, <a href="#page16">16</a>.</p>
+
+<p>English Officers at the time of the Crimean War, <a href="#page305">305</a>.</p>
+
+<p>English Parliamentary Representation in 1830, <a href="#page235">235</a>.</p>
+
+<p>&ldquo;English Spy, The,&rdquo; <a href="#page116">116</a>.</p>
+
+<p>E. O! <a href="#page161">161</a>.</p>
+
+<p>&ldquo;Equipt for a Northern Visit,&rdquo; <a href="#page161">161</a>.</p>
+
+<p>&ldquo;Etching Moralized,&rdquo; <a href="#page9">9</a>.</p>
+
+<p>Eugénie, The Empress, <a href="#page317">317</a>.</p>
+
+<p><span class="pagenum"><a name="page421" id="page421"></a>421</span></p>
+
+<p>Evans, Sir de Lacy, <a href="#page253">253</a>.</p>
+
+<p>&ldquo;Examination of a Young Surgeon,&rdquo; <a href="#page130">130</a>.</p>
+
+<p>&ldquo;Exile of Louisiana,&rdquo; <a href="#page197">197</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Fagin in the Condemned Cell,&rdquo; <a href="#page185">185</a>.</p>
+
+<p>Fairy Tales, Origin of, <a href="#page205">205</a>.</p>
+
+<p>&ldquo;Fall of Icarus,&rdquo; <a href="#page264">264</a>.</p>
+
+<p>&ldquo;Fall of the Leaf,&rdquo; <a href="#page177">177</a>.</p>
+
+<p>&ldquo;Fall of Washington, or Maddy in Full Flight,&rdquo; <a href="#page46">46</a>.</p>
+
+<p>&ldquo;Fashionables of 1817,&rdquo; <a href="#page151">151</a>.</p>
+
+<p>Fashions in the early part of the Century, <a href="#page91">91</a>, <a href="#page92">92</a>.</p>
+
+<p>Fechter, <a href="#page330">330</a>.</p>
+
+<p>&ldquo;Female Lancers,&rdquo; etc., <a href="#page94">94</a>.</p>
+
+<p>Ferdinand VII., <a href="#page98">98</a>.</p>
+
+<p>&ldquo;Figaro in London,&rdquo; <a href="#page222">222</a>-229, <a href="#page232">232</a>.</p>
+
+<p>&ldquo;Fine Lady, or The Incomparable,&rdquo; <a href="#page152">152</a>.</p>
+
+<p>&ldquo;Finish to the Adventures of Tom, Jerry, and Logic,&rdquo; <a href="#page113">113</a>.</p>
+
+<p>&ldquo;Fitzalleyne of Berkeley,&rdquo; <a href="#page118">118</a>.</p>
+
+<p>&ldquo;Flat Catcher and the Rat Catcher,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>Foley, Mr., <a href="#page39">39</a>.</p>
+
+<p>&ldquo;Following the Leader,&rdquo; <a href="#page250">250</a>.</p>
+
+<p>&ldquo;Football,&rdquo; <a href="#page107">107</a>.</p>
+
+<p>&ldquo;Foot on the Stage and Asses in the Pit,&rdquo; <a href="#page102">102</a>.</p>
+
+<p>Foote, Miss, <a href="#page81">81</a>, <a href="#page101">101</a>, <a href="#page118">118</a>.</p>
+
+<p>Foote v. Hayne, <a href="#page118">118</a>.</p>
+
+<p>&ldquo;Foreign Affairs,&rdquo; <a href="#page285">285</a>.</p>
+
+<p>&ldquo;Foreign Rivals for British Patronage,&rdquo; <a href="#page105">105</a>.</p>
+
+<p>Forrester, A. H. (Alfred Crowquill), <a href="#page194">194</a>, <a href="#page368">368</a>-371, <a href="#page410">410</a>.</p>
+
+<p>&ldquo;Four Mr. Prices,&rdquo; <a href="#page164">164</a>.</p>
+
+<p>France, Evacuation of, <a href="#page55">55</a>.</p>
+
+<p>&ldquo;France the Great Nation,&rdquo; etc., <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Frank and Free, or Clerical Characters in 1825,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>&ldquo;Frank Fairleigh,&rdquo; <a href="#page205">205</a>.</p>
+
+<p>Freewill Offerings of the Faithful, <a href="#page39">39</a>.</p>
+
+<p>&ldquo;French Cock and the Roman Eagle,&rdquo; <a href="#page298">298</a>.</p>
+
+<p>French Colonels and the <i>Moniteur</i>, <a href="#page310">310</a>.</p>
+
+<p>French driven out of Egypt, <a href="#page13">13</a>.</p>
+
+<p>French interposition in Spain, <a href="#page98">98</a>.</p>
+
+<p>French light wines, <a href="#page313">313</a>.</p>
+
+<p>French military imbecility, <a href="#page307">307</a>, <a href="#page309">309</a>.</p>
+
+<p>French Revolution, End of, <a href="#page17">17</a>.</p>
+
+<p>French Revolution of 1830, <a href="#page213">213</a>.</p>
+
+<p>French Royalist Caricatures on Napoleon, <a href="#page24">24</a>.</p>
+
+<p>&ldquo;Friends in Need,&rdquo; <a href="#page143">143</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Gambols on the River Thames,&rdquo; <a href="#page135">135</a>.</p>
+
+<p>Gas, Introduction of, <a href="#page29">29</a>.</p>
+
+<p>&ldquo;Gavarni in London,&rdquo; 369 (<i>note</i>).</p>
+
+<p>Genius, <a href="#page187">187</a>.</p>
+
+<p>&ldquo;Genius of France Expounding her Laws,&rdquo; etc., <a href="#page142">142</a>.</p>
+
+<p>George III., <a href="#page27">27</a>, <a href="#page214">214</a>.</p>
+
+<p>George IV., <a href="#page52">52</a>, <a href="#page72">72</a>, <a href="#page79">79</a>, <a href="#page95">95</a>, <a href="#page111">111</a>, <a href="#page117">117</a>, <a href="#page143">143</a>, <a href="#page144">144</a> (<i>note</i>), <a href="#page153">153</a>, <a href="#page155">155</a>, <a href="#page159">159</a>, <a href="#page164">164</a>, <a href="#page210">210</a> (and see &ldquo;<i>Caroline of Brunswick</i>&rdquo;).</p>
+
+<p>&ldquo;General Frost Shaving Boney,&rdquo; <a href="#page22">22</a>.</p>
+
+<p>&ldquo;General Janvier,&rdquo; <a href="#page306">306</a>.</p>
+
+<p>&ldquo;German Popular Stories,&rdquo; <a href="#page180">180</a>.</p>
+
+<p>&ldquo;Gheber Worshipping the Rising Sun,&rdquo; <a href="#page261">261</a>.</p>
+
+<p>&ldquo;Ghosts,&rdquo; <a href="#page181">181</a>.</p>
+
+<p>&ldquo;Giant Grumbo,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>Gillray, James, <a href="#page3">3</a>, <a href="#page4">4</a>, <a href="#page24">24</a>, <a href="#page25">25</a>, <a href="#page33">33</a>, <a href="#page84">84</a>.</p>
+
+<p>&ldquo;Gin Shop, The,&rdquo; <a href="#page168">168</a>, <a href="#page172">172</a>, <a href="#page184">184</a>.</p>
+
+<p>Gladstone, Mr., <a href="#page398">398</a>.</p>
+
+<p>&ldquo;Going it by Steam,&rdquo; <a href="#page209">209</a>.</p>
+
+<p>&ldquo;Going to Hobby Fair,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>&ldquo;Golden Foot-Ball,&rdquo; <a href="#page99">99</a>.</p>
+
+<p>&ldquo;Gone!&rdquo; <a href="#page178">178</a>.</p>
+
+<p>&ldquo;Good Effects of Carbonic Gas,&rdquo; <a href="#page29">29</a>.</p>
+
+<p>Government Spies, <a href="#page53">53</a>.</p>
+
+<p>Grafton, Duke of, <a href="#page27">27</a>.</p>
+
+<p>Graham, Sir James, <a href="#page252">252</a>, <a href="#page295">295</a>.</p>
+
+<p>&ldquo;Grand Entrance to Bamboozlem,&rdquo; <a href="#page80">80</a>.</p>
+
+<p>Graphic Alliteration, <a href="#page177">177</a>.</p>
+
+<p>&ldquo;Great Unknown lately discovered in Ireland,&rdquo; <a href="#page104">104</a>.</p>
+
+<p>Greek War of Independence, <a href="#page81">81</a>.</p>
+
+<p>Green Bag, Opening of the, <a href="#page73">73</a>.</p>
+
+<p>&ldquo;Greenwich Hospital,&rdquo; <a href="#page171">171</a>, <a href="#page175">175</a>.</p>
+
+<p>Grey, Earl, <a href="#page241">241</a>, <a href="#page244">244</a>.</p>
+
+<hr class="short" />
+
+<p><span class="pagenum"><a name="page422" id="page422"></a>422</span></p>
+
+<p>Habeas Corpus Act, Suspension of the, <a href="#page52">52</a>.</p>
+
+<p>Hamilton, Lady Anne, <a href="#page73">73</a>.</p>
+
+<p>&ldquo;Hare Presumptuous,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>&ldquo;Harp&rdquo; (in Russell Street, Drury Lane), <a href="#page87">87</a>.</p>
+
+<p>Haydon, B. R., <a href="#page173">173</a>.</p>
+
+<p>Haynau, General, <a href="#page298">298</a>.</p>
+
+<p>Hayne (see &ldquo;<i>Pea-Green Hayne</i>&rdquo;).</p>
+
+<p><span class="cn">HB</span>, <a href="#page5">5</a>, <a href="#page235">235</a>-276.</p>
+
+<p>Heath, H., <a href="#page84">84</a>.</p>
+
+<p>Heath, William, <a href="#page84">84</a>, <a href="#page104">104</a>, <a href="#page238">238</a>.</p>
+
+<p>Hervieu, A., <a href="#page194">194</a>.</p>
+
+<p>&ldquo;Hint to the Blind and Foolish,&rdquo; <a href="#page162">162</a>.</p>
+
+<p>Hobbies, The, <a href="#page59">59</a>.</p>
+
+<p>&ldquo;Hobby-Horse Dealer,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>Hogarth, William, not a Caricaturist, <a href="#page6">6</a>.</p>
+  <div class="index3">
+  <p>Absurdity of comparing him with Modern Comic Artists, <a href="#page6">6</a>.</p>
+  </div>
+
+<p>Holy Alliance, The, <a href="#page98">98</a>.</p>
+
+<p>&ldquo;Homburg Waltz,&rdquo; <a href="#page58">58</a>.</p>
+
+<p>&ldquo;Horse Chancellor obtaining a Verdict,&rdquo; <a href="#page159">159</a>.</p>
+
+<p>&ldquo;Horse Marine and his Trumpeter,&rdquo; <a href="#page91">91</a>.</p>
+
+<p>&ldquo;Hostile Press, or Shakspeare in Danger,&rdquo; <a href="#page104">104</a>.</p>
+
+<p>&ldquo;How do you like the New Whig?&rdquo; <a href="#page296">296</a>.</p>
+
+<p>How to set up as a Prophet, <a href="#page39">39</a>.</p>
+
+<p>Hughes Ball, <a href="#page99">99</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;I&rsquo;ll be your Second,&rdquo; <a href="#page241">241</a>.</p>
+
+<p>&ldquo;Illuminated Magazine,&rdquo; <a href="#page286">286</a>.</p>
+
+<p><i>Incroyables</i>, The, <a href="#page91">91</a>.</p>
+
+<p>&ldquo;Impostor, or Obstetric Dispute,&rdquo; <a href="#page134">134</a>.</p>
+
+<p>Indian Mutinies, <a href="#page396">396</a>.</p>
+
+<p>Informers of 1817, <a href="#page148">148</a>.</p>
+
+<p>&ldquo;Ingoldsby Legends,&rdquo; <a href="#page289">289</a>, <a href="#page400">400</a>.</p>
+
+<p>&ldquo;Interesting Scene on Board an East-Indian,&rdquo; <a href="#page152">152</a>.</p>
+
+<p>&ldquo;Interior View of the House of God,&rdquo; <a href="#page130">130</a>.</p>
+
+<p>&ldquo;Introduction to the Gout,&rdquo; <a href="#page152">152</a>.</p>
+
+<p>&ldquo;Ireland&rdquo;: an Artist&rsquo;s Dream, <a href="#page384">384</a>.</p>
+
+<p>Irish Coercion Bill of 1833, <a href="#page269">269</a>, <a href="#page270">270</a>.</p>
+
+<p>&ldquo;Irish Decency,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>Irish Disaffection in 1833, <a href="#page266">266</a>.</p>
+
+<p>Irish <i>Festa</i>, <a href="#page178">178</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Jack o&rsquo; Lantern,&rdquo; <a href="#page181">181</a>.</p>
+
+<p>&ldquo;Jack Sheppard,&rdquo; <a href="#page172">172</a>, <a href="#page199">199</a>, <a href="#page343">343</a>.</p>
+
+<p>&ldquo;Je vous n&rsquo;entends pas,&rdquo; <a href="#page122">122</a>.</p>
+
+<p>&ldquo;Jemmy Twitcher&rdquo; (Lord Brougham), <a href="#page265">265</a> (<i>note</i>).</p>
+
+<p>Jerrold, Douglas, <a href="#page387">387</a>.</p>
+
+<p>Jim Crow, <a href="#page252">252</a>.</p>
+
+<p>&ldquo;John Bull buying Stones,&rdquo; etc., <a href="#page146">146</a>.</p>
+
+<p>&ldquo;John Bull brought up for a Discharge,&rdquo; etc., <a href="#page147">147</a>.</p>
+
+<p>&ldquo;John Bull Done Over,&rdquo; <a href="#page60">60</a>.</p>
+
+<p>&ldquo;John Bull flourishing in an attitude of Strict Neutrality,&rdquo; <a href="#page99">99</a>.</p>
+
+<p>&ldquo;John Bull in Clover,&rdquo; <a href="#page60">60</a>.</p>
+
+<p>&ldquo;John Bull <i>versus</i> Pope Bull,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>&ldquo;Jonathan Wyld discovering Darrell,&rdquo; <a href="#page172">172</a>.</p>
+
+<p>&ldquo;Johnny Bull and his Forged Notes,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>&ldquo;John&rsquo;s Dream,&rdquo; <a href="#page143">143</a>.</p>
+
+<p>Josephine, The Empress, <a href="#page3">3</a>, <a href="#page20">20</a>, <a href="#page25">25</a>.</p>
+
+<p>Judge, Mr., <a href="#page102">102</a>.</p>
+
+<hr class="short" />
+
+<p>Kaleidoscope, The, <a href="#page58">58</a>.</p>
+
+<p>Kean, Edmund, <a href="#page54">54</a>, <a href="#page103">103</a>.</p>
+
+<p>&ldquo;Kean&rsquo;s Head&rdquo; (Russel Court), <a href="#page86">86</a>.</p>
+
+<p>Kenny Meadows, <a href="#page355">355</a>-363.</p>
+
+<p>Kenyon, Lord, <a href="#page241">241</a>.</p>
+
+<p>&ldquo;Key to the Investigation,&rdquo; <a href="#page67">67</a>.</p>
+
+<p>&ldquo;King at Home, The,&rdquo; <a href="#page117">117</a>.</p>
+
+<p>&ldquo;King Gourmand XVIII.,&rdquo; etc., <a href="#page99">99</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;La Belle Assemblée,&rdquo; <a href="#page151">151</a>.</p>
+
+<p>Labedoyère, Colonel, <a href="#page138">138</a>.</p>
+
+<p>&ldquo;Ladies&rsquo; Accelerator,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>La Diligence, <a href="#page159">159</a>.</p>
+
+<p>La Douane, <a href="#page159">159</a>.</p>
+
+<p>&ldquo;Lancashire Witches,&rdquo; <a href="#page200">200</a>.</p>
+
+<p>&ldquo;Landing at Dover and Overhauling the Baggage,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>Lane, Theodore, <a href="#page84">84</a>-88.</p>
+
+<p>&ldquo;L&rsquo;après-dîner des Anglais,&rdquo; <a href="#page24">24</a>.</p>
+
+<p>&ldquo;Last Cab-driver,&rdquo; <a href="#page176">176</a>.</p>
+
+<p>&ldquo;Leap Year, or John Bull&rsquo;s Establishment,&rdquo; <a href="#page50">50</a>.</p>
+
+<p><span class="pagenum"><a name="page423" id="page423"></a>423</span></p>
+
+<p>Leech, John, <a href="#page233">233</a>, <a href="#page277">277</a>-335, <a href="#page337">337</a>, <a href="#page407">407</a>-409.</p>
+  <div class="index3">
+  <p>&ldquo;Sketches in Oil,&rdquo; <a href="#page315">315</a>.</p>
+  </div>
+
+<p>Leigh, Percival, <a href="#page282">282</a>.</p>
+
+<p>Leipzig, Battle of, <a href="#page24">24</a>.</p>
+
+<p>Lemon, Mark, <a href="#page201">201</a>.</p>
+
+<p>Leopold of Saxe-Coburg, Prince, <a href="#page145">145</a>.</p>
+
+<p><i>Les Graces</i>, <a href="#page151">151</a>.</p>
+
+<p>Lever, Charles, <a href="#page200">200</a>, <a href="#page352">352</a>, <a href="#page375">375</a>.</p>
+
+<p>&ldquo;Lewis Arundel,&rdquo; <a href="#page337">337</a>.</p>
+
+<p>&ldquo;Libra&mdash;Striking the Balance,&rdquo; <a href="#page177">177</a>.</p>
+
+<p>&ldquo;Life of an Actor,&rdquo; <a href="#page85">85</a>.</p>
+
+<p>&ldquo;Life of Sir John Falstaff,&rdquo; <a href="#page205">205</a>.</p>
+
+<p>&ldquo;Life in London,&rdquo; <a href="#page109">109</a>.</p>
+  <div class="index3">
+  <p>Egan&rsquo;s Share of the Work, <a href="#page113">113</a>.</p>
+  </div>
+
+<p>Lines and Dots, <a href="#page151">151</a>.</p>
+
+<p>Literary Black-Mail, <a href="#page115">115</a>.</p>
+
+<p>&ldquo;Little Boney gone to Pot,&rdquo; <a href="#page132">132</a>.</p>
+
+<p>&ldquo;Lolly Pop,&rdquo; etc., <a href="#page162">162</a>.</p>
+
+<p>&ldquo;London Barrow Woman, The,&rdquo; <a href="#page169">169</a>.</p>
+
+<p>Londonderry, Marquis of: Scene between him and Lord Brougham, <a href="#page262">262</a>.</p>
+
+<p>&ldquo;Louis the Fat troubled with the Nightmare,&rdquo; <a href="#page162">162</a>.</p>
+
+<p>Louis Philippe, <a href="#page297">297</a>, <a href="#page383">383</a>.</p>
+
+<p>Louis XVIII., <a href="#page98">98</a>, <a href="#page143">143</a>, <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Love, Law, and Physic,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>&ldquo;Loyalist Magazine,&rdquo; <a href="#page131">131</a>.</p>
+
+<hr class="short" />
+
+<p>McConnell, <a href="#page372">372</a>.</p>
+
+<p>Maddison, President, <a href="#page46">46</a>.</p>
+
+<p>&ldquo;Man of Taste and Feeling,&rdquo; <a href="#page209">209</a>.</p>
+
+<p>&ldquo;Manners and Customs of ye Englishe,&rdquo; <a href="#page385">385</a>.</p>
+
+<p>&ldquo;Manslaughter Men, The,&rdquo; <a href="#page158">158</a>.</p>
+
+<p>&ldquo;March to Finchley, The,&rdquo; <a href="#page7">7</a>.</p>
+
+<p>Marriage Act, The, <a href="#page81">81</a>.</p>
+
+<p>&ldquo;Martin Chuzzlewit,&rdquo; <a href="#page341">341</a>, <a href="#page344">344</a>.</p>
+
+<p>Massena, <a href="#page21">21</a>.</p>
+
+<p>&ldquo;Master Cook and his Black Scullion,&rdquo; etc., <a href="#page96">96</a>.</p>
+
+<p>&ldquo;Master of the Ordnance Exercising his Hobby,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>&ldquo;Mat de Cocagne,&rdquo; <a href="#page143">143</a>.</p>
+
+<p>&ldquo;Matheworama,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>&ldquo;Mauger Sharpening his Axe,&rdquo; <a href="#page186">186</a>.</p>
+
+<p>Maxwell&rsquo;s &ldquo;History of the Irish Rebellion,&rdquo; <a href="#page186">186</a>.</p>
+
+<p>Mayhew, H., <a href="#page201">201</a>.</p>
+
+<p>Meadows (see &ldquo;<i>Kenny</i>&rdquo;).</p>
+
+<p>Medical Profession, Satire on, <a href="#page35">35</a>.</p>
+
+<p>&ldquo;Meditations Amongst the Tombs,&rdquo; <a href="#page132">132</a>.</p>
+
+<p>Melbourne, Lord, <a href="#page252">252</a>.</p>
+
+<p>Melville, Lord, <a href="#page28">28</a>.</p>
+
+<p>&ldquo;Mer de Glace,&rdquo; <a href="#page159">159</a>.</p>
+
+<p>Mercandotti, Madamoiselle, <a href="#page100">100</a>.</p>
+
+<p>&ldquo;Meteor, The,&rdquo; <a href="#page128">128</a>.</p>
+
+<p>Methodism, Spread of, <a href="#page129">129</a>.</p>
+
+<p>Metternich, Prince, <a href="#page150">150</a>.</p>
+
+<p>Milan Commission, <a href="#page96">96</a>.</p>
+
+<p>&ldquo;Miss endeavouring to excite a Glow with her Dutch Plaything,&rdquo; <a href="#page41">41</a>.</p>
+
+<p>&ldquo;Miss Foote in the King&rsquo;s Bench Battery,&rdquo; <a href="#page102">102</a>.</p>
+
+<p>&ldquo;Miss Foote putting her Foot in it,&rdquo; <a href="#page102">102</a>.</p>
+
+<p>&ldquo;Miser&rsquo;s Daughter,&rdquo; <a href="#page173">173</a>, <a href="#page199">199</a>.</p>
+
+<p>Mitford, Jack (Editor of the &ldquo;Scourge&rdquo;), <a href="#page129">129</a> (<i>note</i>).</p>
+
+<p>Mob, A Cowardly, <a href="#page247">247</a>.</p>
+
+<p>&ldquo;Moments of Prattle,&rdquo; etc., <a href="#page102">102</a>.</p>
+
+<p>Moray Minstrels, <a href="#page374">374</a>.</p>
+
+<p>&ldquo;More Plots!!!&rdquo; <a href="#page53">53</a>.</p>
+
+<p>&ldquo;Morning after Marriage,&rdquo; <a href="#page97">97</a>.</p>
+
+<p>&ldquo;Morning Journal,&rdquo; <a href="#page240">240</a>.</p>
+
+<p>Moscow, Retreat from, <a href="#page22">22</a>.</p>
+
+<p>&ldquo;Mother&rsquo;s Girl Plucking a Crow,&rdquo; etc., <a href="#page91">91</a>.</p>
+
+<p>&ldquo;Mr. Punch&rsquo;s Fancy Ball,&rdquo; <a href="#page287">287</a>.</p>
+
+<p>&ldquo;Murder of Sir Rowland Trenchard,&rdquo; <a href="#page185">185</a>.</p>
+
+<p>&ldquo;Mysterious Fair One,&rdquo; <a href="#page95">95</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Nap nearly Nabb&rsquo;d,&rdquo; <a href="#page22">22</a>.</p>
+
+<p><i>Napoleon Bonaparte</i>.</p>
+  <div class="index3">
+  <p>His Policy towards England, <a href="#page13">13</a>-18.</p>
+  <p>Proclaimed Emperor, <a href="#page17">17</a>.</p>
+  <p>Intention to invade England, <a href="#page17">17</a>.</p>
+  <p>Lampooned by English Caricaturists, <a href="#page19">19</a>, <a href="#page24">24</a>, <a href="#page26">26</a>.</p>
+  <p>Dislike to the Revolutionists, <a href="#page26">26</a>.</p>
+  <p>His Star begins to Wane, <a href="#page22">22</a>.</p>
+<p><span class="pagenum"><a name="page424" id="page424"></a>424</span></p>
+  <p>Retreat from Moscow, <a href="#page22">22</a>.</p>
+  <p>Narrowly escapes Capture, <a href="#page22">22</a>.</p>
+  <p>Leaves his Troops in Russia, <a href="#page22">22</a>.</p>
+  <p>At Elba, <a href="#page132">132</a>.</p>
+  <p>Return from Elba till his Fall, <a href="#page137">137</a>-142.</p>
+  <p>French Royalist Caricatures on, <a href="#page24">24</a>.</p>
+  </div>
+
+<p>Napoleon, Louis, <a href="#page299">299</a>, <a href="#page300">300</a>-302, <a href="#page396">396</a>, <a href="#page397">397</a>.</p>
+
+<p>Napoleon III. (see &ldquo;<i>Napoleon, Louis</i>&rdquo;).</p>
+
+<p>&ldquo;Nap&rsquo;s Glorious Return, or the Conclusion of the Russian Campaign,&rdquo; <a href="#page24">24</a>.</p>
+
+<p>Navarino, Battle of, <a href="#page82">82</a>.</p>
+
+<p>&ldquo;Nest in Danger,&rdquo; <a href="#page82">82</a>.</p>
+
+<p>&ldquo;New Chancery Suit Removed,&rdquo; etc., <a href="#page95">95</a>.</p>
+
+<p>&ldquo;Newcomes, The,&rdquo; <a href="#page377">377</a>, <a href="#page393">393</a>.</p>
+
+<p>&ldquo;New Irish Jaunting Car,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>New Orleans, Attack on (see &ldquo;<i>America</i>&rdquo;).</p>
+
+<p>&ldquo;New Readings of Old Authors,&rdquo; <a href="#page221">221</a>.</p>
+
+<p>Newspaper Stamp Duty, <a href="#page255">255</a>.</p>
+
+<p>Newspapers, Cheap, Curious Arguments against, <a href="#page256">256</a>.</p>
+
+<p>Ney, Marshall, <a href="#page139">139</a>.</p>
+
+<p>&ldquo;Nicholas Nickleby,&rdquo; <a href="#page340">340</a>.</p>
+
+<p>Nicholas, The Emperor, <a href="#page303">303</a>, <a href="#page306">306</a>, <a href="#page395">395</a>.</p>
+
+<p>&ldquo;Night Mayor,&rdquo; <a href="#page146">146</a>.</p>
+
+<p>Nile (see &ldquo;<i>Britannia</i>&rdquo;).</p>
+
+<p>&ldquo;Non Mi Recordo,&rdquo; <a href="#page128">128</a>.</p>
+
+<p>&ldquo;Nosing the Nob at Ramsgate,&rdquo; <a href="#page159">159</a>.</p>
+
+<p>&ldquo;Notice to Correspondents,&rdquo; <a href="#page226">226</a>.</p>
+
+<p>&ldquo;Novels by Eminent Hands,&rdquo; <a href="#page375">375</a>.</p>
+
+<p>&ldquo;Nun of Arronca,&rdquo; <a href="#page254">254</a>.</p>
+
+<hr class="short" />
+
+<p>O&rsquo;Connell, <a href="#page106">106</a>, <a href="#page236">236</a>, <a href="#page237">237</a>, <a href="#page252">252</a>, <a href="#page270">270</a>-272, <a href="#page295">295</a>, and <i>note</i>.</p>
+
+<p>&ldquo;Old Bags&rdquo; (see &ldquo;<i>Eldon, Lord</i>&rdquo;).</p>
+
+<p>&ldquo;Old Bumblehead the 18th,&rdquo; <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Old Curiosity Shop,&rdquo; <a href="#page341">341</a>, <a href="#page345">345</a>.</p>
+
+<p>&ldquo;Old St. Paul&rsquo;s,&rdquo; <a href="#page199">199</a>.</p>
+
+<p>&ldquo;Old Thirty-nine shaking hands with his good Brother the Pope,&rdquo; <a href="#page153">153</a>.</p>
+
+<p>&ldquo;Oliver Twist,&rdquo; <a href="#page192">192</a>.</p>
+
+<p>&ldquo;O! O! There&rsquo;s a Minister of the Gospel,&rdquo; <a href="#page159">159</a>.</p>
+
+<p>&ldquo;Opening of Sir William Curtis&rsquo; Campaign,&rdquo; <a href="#page141">141</a>.</p>
+
+<p>&ldquo;Oppidans&rsquo; Museum, The,&rdquo; <a href="#page117">117</a>.</p>
+
+<p>Origin of Species, <a href="#page371">371</a>.</p>
+
+<p>Orsini Plot, <a href="#page311">311</a>.</p>
+
+<p>&ldquo;Ostend Packet in a Squall,&rdquo; <a href="#page163">163</a>.</p>
+
+<p>&ldquo;Our tough old Ship,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>Oxenford, John, <a href="#page201">201</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Pair of Spectacles, or The London Stage in 1824-5,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>&ldquo;Palais Royal,&rdquo; <a href="#page152">152</a>.</p>
+
+<p>Papal Aggression, <a href="#page299">299</a>, <a href="#page386">386</a>.</p>
+
+<p>&ldquo;Parisian Luxury,&rdquo; <a href="#page163">163</a>.</p>
+
+<p>&ldquo;Paul Pry,&rdquo; 84 (and see &ldquo;<i>Heath, William</i>&rdquo;).</p>
+
+<p>&ldquo;Paving the way for a Royal Divorce,&rdquo; <a href="#page70">70</a>.</p>
+
+<p>&ldquo;Paying Off a Jew Pedlar,&rdquo; <a href="#page175">175</a>.</p>
+
+<p>Pea-green Hayne, <a href="#page101">101</a>.</p>
+
+<p>Peace-at-any-price Party, The, <a href="#page383">383</a>.</p>
+
+<p>&ldquo;Pedigree of Corporal Violet,&rdquo; <a href="#page143">143</a>.</p>
+
+<p>Peel, Sir Robert, <a href="#page272">272</a>, <a href="#page295">295</a>, <a href="#page296">296</a>.</p>
+
+<p>&ldquo;Peel&rsquo;s Dirty Little Boy,&rdquo; <a href="#page296">296</a>.</p>
+
+<p>&ldquo;Peep at the Gaslights in Pall Mall,&rdquo; <a href="#page29">29</a>.</p>
+
+<p>&ldquo;Peep at the Pump Room,&rdquo; <a href="#page57">57</a>.</p>
+
+<p>Pellegrini, Carlo, <a href="#page5">5</a>.</p>
+
+<p>&ldquo;Peter Schlemihl,&rdquo; <a href="#page174">174</a>.</p>
+
+<p>Phiz (see &ldquo;<i>Browne, H. K</i>.&rdquo;).</p>
+
+<p>&ldquo;Pickwick Papers,&rdquo; <a href="#page230">230</a>-234, <a href="#page340">340</a>, <a href="#page364">364</a>.</p>
+
+<p>Pius IX., <a href="#page298">298</a>.</p>
+
+<p>&ldquo;Plebeian Spirit, or Coachee and the Heiress Presumptive,&rdquo; <a href="#page40">40</a>.</p>
+
+<p>&ldquo;Point of Honour, The,&rdquo; <a href="#page171">171</a>.</p>
+
+<p>&ldquo;Points of Humour,&rdquo; <a href="#page119">119</a>.</p>
+
+<p>&ldquo;Points of Misery,&rdquo; <a href="#page119">119</a>.</p>
+
+<p>&ldquo;Polish Diet with French Dessert,&rdquo; <a href="#page22">22</a>.</p>
+
+<p>&ldquo;Political Champion turned Resurrection Man,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>&ldquo;Political Fair, A,&rdquo; <a href="#page19">19</a>.</p>
+
+<p>&ldquo;Political Shaver,&rdquo; <a href="#page106">106</a>.</p>
+
+<p>Poole, John, <a href="#page230">230</a>.</p>
+
+<p>Popple <i>v</i>. Stockdale, <a href="#page106">106</a>.</p>
+
+<p>Popular Discontent of 1816, <a href="#page51">51</a>.</p>
+
+<p>&ldquo;Portrait of a Noble Lord in Order,&rdquo; <a href="#page297">297</a>.</p>
+
+<p><span class="pagenum"><a name="page425" id="page425"></a>425</span></p>
+
+<p>&ldquo;Portraits of the English,&rdquo; <a href="#page354">354</a>.</p>
+
+<p>&ldquo;Preachee and Floggee Too,&rdquo; <a href="#page153">153</a>.</p>
+
+<p>&ldquo;Premier&rsquo;s Fix,&rdquo; <a href="#page296">296</a>.</p>
+
+<p>&ldquo;Premium, Par, and Discount,&rdquo; <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Preparing for a Duel,&rdquo; <a href="#page163">163</a>.</p>
+
+<p>&ldquo;Preparing for the Match,&rdquo; <a href="#page145">145</a>.</p>
+
+<p>&ldquo;Preparing for the Witnesses,&rdquo; <a href="#page96">96</a>.</p>
+
+<p>&ldquo;Presenting a Bill of Indemnification,&rdquo; <a href="#page83">83</a>.</p>
+
+<p>Prince of Wales&rsquo; Theatre, its former titles, <a href="#page225">225</a>.</p>
+
+<p>Prince Regent (see &ldquo;<i>George IV.</i>&rdquo;).</p>
+
+<p>&ldquo;Prisoners of War,&rdquo; <a href="#page269">269</a>.</p>
+
+<p>&ldquo;Probable Effects of Good Living,&rdquo; etc., <a href="#page295">295</a>.</p>
+
+<p>&ldquo;Punch,&rdquo; <a href="#page287">287</a>, <a href="#page383">383</a>.</p>
+   <div class="index3">
+   <p>Rivals of, <a href="#page367">367</a>.</p>
+   </div>
+
+<p>Purchase System, <a href="#page305">305</a>.</p>
+
+<p>&ldquo;Put Out,&rdquo; <a href="#page297">297</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Queen Caroline running down the Royal George,&rdquo; <a href="#page78">78</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Randolph and Hilda dancing at Ranelagh,&rdquo; <a href="#page173">173</a>.</p>
+
+<p>Rawkins, <a href="#page279">279</a>.</p>
+
+<p>&ldquo;Recollections of the Court of Common Pleas,&rdquo; <a href="#page171">171</a>.</p>
+
+<p>&ldquo;Redgauntlet,&rdquo; <a href="#page185">185</a>.</p>
+
+<p>Reform Bills of 1831-32, <a href="#page242">242</a>-245.</p>
+
+<p>Regent (see &ldquo;<i>George IV.</i>&rdquo;).</p>
+
+<p>&ldquo;Religion à la Mode,&rdquo; <a href="#page311">311</a>.</p>
+
+<p>Religious credulity of English people, <a href="#page37">37</a>.</p>
+
+<p>&ldquo;Results of a Northern Excursion,&rdquo; <a href="#page161">161</a>.</p>
+
+<p>&ldquo;Return of Hercules from a Fancy Ball,&rdquo; <a href="#page279">279</a>.</p>
+
+<p>&ldquo;Revolution at Madame Tussaud&rsquo;s,&rdquo; <a href="#page178">178</a>.</p>
+
+<p>Rice, the American Comedian, <a href="#page251">251</a>.</p>
+
+<p>&ldquo;Rival Newsmongers,&rdquo; <a href="#page258">258</a>.</p>
+
+<p>Rival Richards, <a href="#page55">55</a>.</p>
+
+<p>Robinson, Mr. Frederick, <a href="#page135">135</a>.</p>
+
+<p>Robson, Thomas Frederick, <a href="#page325">325</a>.</p>
+
+<p>&ldquo;Roland Cashel,&rdquo; <a href="#page350">350</a>.</p>
+
+<p>Romeo Coates, <a href="#page49">49</a>.</p>
+
+<p>Roscius, The Young, <a href="#page28">28</a>.</p>
+
+<p>&ldquo;Rose Maylie and Oliver,&rdquo; <a href="#page192">192</a>.</p>
+
+<p>Rowlandson, Thomas, <a href="#page3">3</a>, <a href="#page83">83</a>, 84 and <i>note</i>, <a href="#page118">118</a>.</p>
+
+<p>&ldquo;R-y-l Condescension,&rdquo; <a href="#page149">149</a>.</p>
+
+<p>&ldquo;Royal Extinguisher,&rdquo; <a href="#page159">159</a>.</p>
+
+<p>&ldquo;Royal Laundress,&rdquo; <a href="#page143">143</a>.</p>
+
+<p>Royal Levées, <a href="#page308">308</a>.</p>
+
+<p>&ldquo;Royal Nuptials,&rdquo; <a href="#page145">145</a>.</p>
+
+<p>&ldquo;Royal Red Bengal Tiger,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>&ldquo;Royal Rushlight,&rdquo; <a href="#page156">156</a>.</p>
+
+<p>Russell, Lord John, <a href="#page236">236</a>, <a href="#page237">237</a>, <a href="#page242">242</a>, <a href="#page243">243</a>, <a href="#page244">244</a>, <a href="#page253">253</a>, <a href="#page254">254</a>, <a href="#page300">300</a>, <a href="#page306">306</a>, <a href="#page321">321</a>, <a href="#page398">398</a>.</p>
+
+<p>Russia and Turkey, <a href="#page82">82</a>, <a href="#page395">395</a>.</p>
+
+<p>&ldquo;Russian Bear&rsquo;s Greece,&rdquo; <a href="#page82">82</a>.</p>
+
+<p>&ldquo;Russian Condescension,&rdquo; <a href="#page133">133</a>.</p>
+
+<p>&ldquo;Russian Dandy at Home,&rdquo; <a href="#page56">56</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Sailors Carousing,&rdquo; <a href="#page175">175</a>.</p>
+
+<p>&ldquo;Sailors&rsquo; Description,&rdquo; etc., <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Saint Shela,&rdquo; <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Sales by Auction, or Provident Children,&rdquo; etc., <a href="#page153">153</a>.</p>
+
+<p>Sandford and Merton, <a href="#page121">121</a>.</p>
+
+<p>&ldquo;Satirist, or Monthly Meteor,&rdquo; <a href="#page131">131</a>.</p>
+
+<p>&ldquo;Scene after the Battle,&rdquo; <a href="#page132">132</a>.</p>
+
+<p>&ldquo;Scene in the New Farce as performed at the Royalty,&rdquo; <a href="#page155">155</a>.</p>
+
+<p>&ldquo;Scene in the New Farce called the &lsquo;Rivals,&rsquo;&rdquo; <a href="#page61">61</a>.</p>
+
+<p>&ldquo;Scene in the Farce of &lsquo;Lofty Projects,&rsquo;&rdquo; <a href="#page164">164</a>.</p>
+
+<p>&ldquo;Scene from the Pantomime of &lsquo;Cock-a-Doodle-Doo,&rsquo;&rdquo; <a href="#page103">103</a>.</p>
+
+<p>&ldquo;Scotch Fiddle,&rdquo; <a href="#page161">161</a>.</p>
+
+<p>Scott, Sir Walter, <a href="#page105">105</a>.</p>
+
+<p>&ldquo;Scourge, The,&rdquo; <a href="#page21">21</a>, <a href="#page128">128</a>.</p>
+
+<p>&ldquo;Sealing up the People,&rdquo; <a href="#page38">38</a>.</p>
+
+<p>&ldquo;Secret Insult, or Bribery and Corruption Rejected,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>&ldquo;Sergeant introducing his Dutch Wife,&rdquo; <a href="#page169">169</a>.</p>
+
+<p>Seurat, Claude Ambroise, <a href="#page104">104</a>.</p>
+
+<p>Seymour, Robert, <a href="#page208">208</a>-234, <a href="#page405">405</a>.</p>
+
+<p>&ldquo;Seymour&rsquo;s Humorous Sketches,&rdquo; <a href="#page218">218</a>.</p>
+
+<p>&ldquo;Shadows,&rdquo; <a href="#page372">372</a>.</p>
+
+<p>Shannon and Chesapeake, <a href="#page44">44</a>.</p>
+
+<p>Shiel, Mr., <a href="#page269">269</a>.</p>
+
+<p><span class="pagenum"><a name="page426" id="page426"></a>426</span></p>
+
+<p>&ldquo;Shortshanks&rdquo; (Robert Seymour), <a href="#page208">208</a>.</p>
+
+<p>&ldquo;Showing Off,&rdquo; etc., <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Sick of the Property Tax,&rdquo; <a href="#page143">143</a>.</p>
+
+<p>&ldquo;Sikes and the Dog,&rdquo; <a href="#page172">172</a>.</p>
+
+<p>Silver Ball, <a href="#page102">102</a>.</p>
+
+<p>&ldquo;Simon Renard and Winwike,&rdquo; <a href="#page172">172</a>.</p>
+
+<p>&ldquo;Simpkin Dancing,&rdquo; <a href="#page175">175</a>.</p>
+
+<p>Skeleton, The Living, <a href="#page104">104</a>.</p>
+
+<p>&ldquo;Sketches by Boz,&rdquo; <a href="#page172">172</a>, <a href="#page176">176</a>.</p>
+
+<p>Smith, Albert, <a href="#page287">287</a>-289.</p>
+
+<p>Smithfield, <a href="#page297">297</a>.</p>
+
+<p>&ldquo;Smoke Jack the Alarmist,&rdquo; <a href="#page154">154</a>.</p>
+
+<p>&ldquo;Snuffing and Smoking,&rdquo; <a href="#page220">220</a>.</p>
+
+<p>&ldquo;Snuffing out Boney,&rdquo; <a href="#page133">133</a>.</p>
+
+<p>Southcott, Joanna, <a href="#page36">36</a>-40, <a href="#page134">134</a>.</p>
+
+<p>&ldquo;Spa Fields Orator Hunting for Popularity,&rdquo; <a href="#page151">151</a>.</p>
+
+<p>Spa Fields Riot, <a href="#page51">51</a>.</p>
+
+<p>Spain, Invasion of, by Duc d&rsquo;Angoulème, <a href="#page81">81</a>.</p>
+
+<p>&ldquo;Spanish Flies, or Boney taking an Immoderate Dose,&rdquo; <a href="#page20">20</a>.</p>
+
+<p>&ldquo;Spanish Mule and a French Jackass,&rdquo; <a href="#page162">162</a>.</p>
+
+<p>Speculation Mania of 1825, <a href="#page163">163</a>.</p>
+
+<p>&ldquo;Spirit Moving the Quakers upon Worldly Vanities,&rdquo; <a href="#page59">59</a>.</p>
+
+<p>&ldquo;Sprig of Shelalegh,&rdquo; <a href="#page171">171</a>.</p>
+
+<p>St. Albans, Borough of, <a href="#page301">301</a>.</p>
+
+<p>St. Dunstan, <a href="#page183">183</a>.</p>
+
+<p>&ldquo;St. James&rsquo;s, or the Court of Queen Anne,&rdquo; <a href="#page179">179</a>, <a href="#page199">199</a>.</p>
+
+<p>St. John Long the Quack, <a href="#page214">214</a>-217.</p>
+
+<p>&ldquo;St. Swithin&rsquo;s Chapel,&rdquo; <a href="#page168">168</a>.</p>
+
+<p>Stanley, Lord, <a href="#page252">252</a>.</p>
+
+<p>&ldquo;State Physicians Bleeding John Bull to Death,&rdquo; <a href="#page147">147</a>.</p>
+
+<p>&ldquo;Steward at Sea in a Vain Tempest,&rdquo; <a href="#page95">95</a>.</p>
+
+<p>&ldquo;Steward&rsquo;s Court of the Manor of Torre Devon,&rdquo; <a href="#page78">78</a>.</p>
+
+<p>&ldquo;Stroller&rsquo;s Tale&rdquo; in &ldquo;Pickwick,&rdquo; <a href="#page232">232</a>.</p>
+
+<p>Sue&rsquo;s &ldquo;Orphan,&rdquo; <a href="#page122">122</a>.</p>
+
+<p>Sullivan, Arthur, <a href="#page374">374</a>.</p>
+
+<p>&ldquo;Sunday under Three Heads,&rdquo; <a href="#page342">342</a>.</p>
+
+<p>Surgeon, An Eccentric, <a href="#page279">279</a>.</p>
+
+<p>Surtees, R. W., <a href="#page320">320</a>.</p>
+
+<p>Sussex, Duke of, <a href="#page249">249</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;T Trade in Hot Water,&rdquo; <a href="#page152">152</a>.</p>
+
+<p>&ldquo;Table Book,&rdquo; <a href="#page201">201</a>.</p>
+
+<p>&ldquo;Tables Turned,&rdquo; <a href="#page162">162</a>.</p>
+
+<p>&ldquo;Taking an Airing in Hyde Park,&rdquo; <a href="#page247">247</a>.</p>
+
+<p>Tallien, Madame, 25 (and <i>note</i>).</p>
+
+<p>&ldquo;Taurus, a Literary Bull,&rdquo; <a href="#page177">177</a>.</p>
+
+<p>&ldquo;Tea Just Over,&rdquo; <a href="#page27">27</a>.</p>
+
+<p>Tenniel, John, <a href="#page394">394</a>-400.</p>
+
+<p>Tenth Hussars, <a href="#page81">81</a>, <a href="#page100">100</a>.</p>
+
+<p>Terry, Kate, <a href="#page375">375</a>.</p>
+
+<p>Thackeray, W. M., <a href="#page92">92</a>, <a href="#page201">201</a>, <a href="#page285">285</a>, <a href="#page316">316</a>, <a href="#page318">318</a>, <a href="#page387">387</a>.</p>
+  <div class="index3">
+  <p>As a Book-illustrator, <a href="#page375">375</a>-380.</p>
+  </div>
+
+<p>&ldquo;Theatrical Fun Dinner,&rdquo; <a href="#page378">378</a>.</p>
+
+<p>&ldquo;Three Courses and a Dessert,&rdquo; <a href="#page171">171</a>.</p>
+
+<p>&ldquo;Through the Looking-glass,&rdquo; <a href="#page400">400</a>.</p>
+
+<p>Toleration Acts, Motion to amend them, <a href="#page129">129</a>.</p>
+
+<p>Tom and Jerry, <a href="#page110">110</a>.</p>
+
+<p>Tom Thumb, <a href="#page173">173</a>.</p>
+
+<p>&ldquo;Tower of London,&rdquo; <a href="#page172">172</a>.</p>
+
+<p>Tozer, Mr., <a href="#page39">39</a>.</p>
+
+<p>Tract Droppers, <a href="#page112">112</a>.</p>
+
+<p>Transit, Robert (Robert Cruikshank), <a href="#page117">117</a>.</p>
+
+<p>Treadmill, <a href="#page97">97</a>.</p>
+
+<p>Trenton&rsquo;s Porter, <a href="#page2">2</a>.</p>
+
+<p>&ldquo;Triumph of Cupid,&rdquo; <a href="#page182">182</a>.</p>
+
+<p>Two Elves, The, <a href="#page180">180</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Urgent Private Affairs,&rdquo; <a href="#page307">307</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Vagaries in Quest of the Wild and Wonderful,&rdquo; <a href="#page218">218</a>.</p>
+
+<p>&ldquo;Vanity Fair,&rdquo; <a href="#page92">92</a>, <a href="#page378">378</a>.</p>
+
+<p>&ldquo;Vaux and the Grapes,&rdquo; <a href="#page265">265</a>.</p>
+
+<p>&ldquo;Venus de Medici,&rdquo; <a href="#page159">159</a>.</p>
+
+<p>Victoria, Queen, <a href="#page61">61</a>, <a href="#page275">275</a>.</p>
+
+<p>&ldquo;View in Cumberland,&rdquo; <a href="#page100">100</a>.</p>
+
+<p>&ldquo;Virginians,&rdquo; <a href="#page377">377</a>.</p>
+
+<p>&ldquo;Vis-à-Vis,&rdquo; <a href="#page151">151</a>.</p>
+
+<p>&ldquo;Visit to Vesuvius,&rdquo; etc., <a href="#page159">159</a>.</p>
+
+<p>Vitoria, Battle of, <a href="#page24">24</a>, <a href="#page132">132</a>.</p>
+
+<p>&ldquo;Voila t&rsquo;on Mort,&rdquo; <a href="#page154">154</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Waiting on the Ladies,&rdquo; <a href="#page164">164</a>.</p>
+
+<p><span class="pagenum"><a name="page427" id="page427"></a>427</span></p>
+
+<p>&ldquo;Waltzing,&rdquo; <a href="#page107">107</a>.</p>
+
+<p>Wardle, Colonel, <a href="#page31">31</a>.</p>
+
+<p>&ldquo;Washing Boney&rsquo;s Court Dresses,&rdquo; <a href="#page143">143</a>.</p>
+
+<p>Washington, Burning of (see &ldquo;<i>America.</i>&rdquo;)</p>
+
+<p>Watts Phillips, <a href="#page372">372</a>.</p>
+
+<p>Waverley Novels, <a href="#page104">104</a>, <a href="#page176">176</a>.</p>
+
+<p>Wellington, Duke of, <a href="#page55">55</a>, <a href="#page141">141</a>, <a href="#page246">246</a>-249, <a href="#page395">395</a>.</p>
+
+<p>Westmacott, C. M., <a href="#page100">100</a>, <a href="#page115">115</a>, <a href="#page119">119</a>.</p>
+
+<p>Wilkes, <a href="#page7">7</a>.</p>
+
+<p>William IV., <a href="#page245">245</a>, <a href="#page261">261</a>.</p>
+
+<p>Williams, C., <a href="#page84">84</a>.</p>
+
+<p>&ldquo;Windsor Castle,&rdquo; <a href="#page199">199</a>.</p>
+
+<p>&ldquo;Witches&rsquo; Frolic,&rdquo; <a href="#page181">181</a>.</p>
+
+<p>&ldquo;Wolves Triumphant,&rdquo; <a href="#page103">103</a>.</p>
+
+<p>Wood, Alderman, <a href="#page73">73</a>.</p>
+
+<p>Wood Engraving, its injurious effect on Caricature, <a href="#page5">5</a>.</p>
+
+<p>Woodward, G. M., <a href="#page3">3</a>, <a href="#page84">84</a>.</p>
+
+<p>&ldquo;Worship of Bacchus,&rdquo; <a href="#page203">203</a>.</p>
+
+<p>&ldquo;Wrekin&rdquo; (Long Acre), <a href="#page87">87</a>.</p>
+
+<hr class="short" />
+
+<p>&ldquo;Xit,&rdquo; <a href="#page186">186</a>.</p>
+
+<hr class="short" />
+
+<p>Year 1848, <a href="#page383">383</a>.</p>
+
+<p>York, Duke of, <a href="#page30">30</a>.</p>
+</div>
+
+<hr class="art" />
+
+
+<hr class="full" />
+<p class="center f80">Butler &amp; Tanner, The Selwood Printing Works, Frome, and London.</p>
+<hr class="full" />
+<div class="pt2">&nbsp;</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of English Caricaturists and Graphic
+Humourists of the Nineteenth Century., by Graham Everitt
+
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@@ -0,0 +1,18408 @@
+The Project Gutenberg EBook of English Caricaturists and Graphic
+Humourists of the Nineteenth Century., by Graham Everitt
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: English Caricaturists and Graphic Humourists of the Nineteenth Century.
+       How they Illustrated and Interpreted their Times.
+
+Author: Graham Everitt
+
+Release Date: February 6, 2010 [EBook #31195]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH CARICATURISTS ***
+
+
+
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+Transcriber's notes:
+
+(1) Letters following a carat (^) were originally printed in superscript.
+
+(2) Side-notes were moved to their respective paragraph's start, and
+    treated as titles. for the exact locations see the html version.
+
+(3) The following typographical errors have been corrected:
+
+   Page i: "are useful in themselves, and are neatly and clearly."
+   'clearly' amended from 'cleary'.
+
+   Page 8: "I have seen the ghastly illustrations to the licentious
+   Contes Drolatiques of Balzac." 'Drolatiques' changed from
+   'Diolatiques'.
+
+   Page 100: "Arrogance or Nonchalance of the Tenth Reported."
+   'Nonchalance' changed from 'Nonchalence'.
+
+   Page 114: "In common fairness some credit should be conceded."
+   'conceded' changed from 'conceeded'.
+
+   Page 115: "with a threat of further inquiry into its truth." 'further'
+   changed from 'furthur'.
+
+   Page 116: "This extraordinary work presents us with pictures." 'work'
+   amended from 'works'.
+
+   Page 117: "The King at Home, or Mathews at Carlton House." 'The'
+   amended from 'the'.
+
+   Page 206: "Professor Bates would assign as one of the principal
+   causes of the sterility which befel the genius of Cruikshank."
+   'befell' amended from 'befel'
+
+   Page 246: "who however is too firmly seated on his shoulders to be
+   dislodged." 'dislodged' amended from 'disloged'.
+
+   Page 330: "While at Whitby, a deputation from the Institute of that
+   town waited on John Leech." 'Whitby' amended from 'Whity'.
+
+   Page 349: "which does not show the care and thought which he bestowed
+   upon its elaboration." Comma removed after 'upon'.
+
+   Page 376: "stated anywhere, we shall now proceed to relate them.
+   Thackeray was in London when Seymour shot himself in 1836." Comma
+   after 'them' changed to period.
+
+   APPENDIX V.: "Charles Lever's 'Harry Lorrequer.' 1839. (A pirated
+   edition was published at Philadelphia, 1840.)" '1840' amended from
+   '1804'.
+
+
+
+
+ENGLISH CARICATURISTS.
+
+
+
+
+SOME OPINIONS OF THE PRESS.
+
+  "At last we have a treatise upon our caricaturists and comic
+  draughtsmen worthy of the great subject.... An entertaining history of
+  caricature, and consequently of the events, political and social, of
+  the century; in fact, a thoroughly readable and instructive book....
+  And what a number of political occurrences, scandals public and
+  private, movements political and secular, are passed in review! All
+  these events Mr. Everitt describes at length with great clearness and
+  vivacity, giving us a view of them, so to speak, from the
+  inside."--_Pall Mall Gazette._
+
+  "It is a handsome and important volume of 400 pages; the letterpress
+  being a brightly written commentary, abounding with illustrative
+  gossip, on the caricature of the century and the merits of its graphic
+  humourists.... It includes a great deal of the more stirring social
+  and political history of the time. The illustrations so plentifully
+  strewn through Mr. Everitt's volume give it a peculiar
+  interest."--_St. James's Gazette._
+
+  "The work, which contains a large amount of information and some
+  valuable lists of publications, is illustrated with about seventy wood
+  engravings."--_Literary World._
+
+  "A real contribution to the history of the social life of the century.
+  The book is very fully and well illustrated, forming in fact quite a
+  gallery of nineteenth century caricature."--_Truth._
+
+  "The plates with which it is illustrated are remarkably well produced,
+  and are useful in themselves, and are neatly and clearly printed, so
+  that they give a capital idea of the originals from which they are
+  prepared."--_Saturday Review._
+
+  "Gives an elaborate estimate of the merits of the later caricaturists
+  and a complete account of their lives."--_Graphic._
+
+
+[Illustration:
+  _Published 21st October, 1812, by_ S. W. FORES, 50, _Piccadilly_.
+
+  "A BUZ IN A BOX, OR THE POET IN A PET."
+
+  _Frontispiece._]
+
+
+
+
+  ENGLISH CARICATURISTS AND GRAPHIC HUMOURISTS
+           OF THE NINETEENTH CENTURY.
+
+  How they Illustrated and Interpreted their Times.
+
+  _A Contribution to the History of Caricature from the Time of the First
+  Napoleon Down to the Death of John Leech, in 1864._
+
+
+        BY
+
+  GRAHAM EVERITT.
+
+  SECOND EDITION.
+
+  [Illustration]
+
+
+            London:
+
+     SWAN SONNENSCHEIN & CO.
+             1893.
+
+
+       BUTLER & TANNER,
+  THE SELWOOD PRINTING WORKS,
+      FROME, AND LONDON.
+
+
+
+
+PREFACE.
+
+
+The only works which, so far as I know, profess to deal with English
+caricaturists and comic artists of the nineteenth century are two in
+number. The first is a work by the late Robert William Buss, embodying
+the substance of certain lectures delivered by the accomplished author
+many years ago. Mr. Buss's book, which was published for private
+circulation only, deals more especially with the work of James Gillray,
+his predecessors and contemporaries, treating only briefly and
+incidentally of a few of his successors of our own day. The second is a
+work by Mr. James Parton, an American author, whose book (published by
+Harper Brothers, of New York) treats of "Caricature, and other Comic Art
+in all Times and many Lands." It is obviously no part of my duty (even
+if I felt disposed to do so) to criticise the work of a brother scribe,
+and that scribe an American gentleman. Covering an area so boundless in
+extent, it is scarcely surprising that Mr. Parton should devote only
+thirty of his pages to the consideration of English caricaturists and
+graphic humourists of the nineteenth century.
+
+Under these circumstances, it would seem to me that, in placing the
+present work before the public, an apology will scarcely be considered
+necessary.
+
+Depending oftentimes for effect upon overdrawing, nearly always upon a
+graphic power entirely out of the range of ordinary art, the work of the
+caricaturist is not to be measured by the ordinary standard of artistic
+excellence, but rather by the light which it throws upon popular opinion
+or popular prejudice, in relation to the events, the remembrance of
+which it perpetuates and chronicles. While, however, a latitude is
+allowed to the caricaturist which would be inconsistent with the
+principles by which the practice of art is ordinarily governed, it may
+at the same time be safely laid down that it is essential to the success
+of the comic designer as well as the caricaturist, that both should be
+_artists_ of ability, though not necessarily men of absolute genius.
+
+It may be contended that Gillray, Rowlandson, Bunbury, and others,
+although commencing work before, are really quite as much nineteenth
+century graphic satirists as their successors. This I admit; but
+inasmuch as their work has been already described by other writers, and
+the present book concerns itself especially with those whose labours
+commenced after 1800, I have endeavoured to connect them with those of
+their predecessors and contemporaries, without unnecessarily entering
+into detail with which the reader is supposed to be already more or less
+familiar.
+
+I am in hopes that the character in which I am enabled to present George
+Cruikshank as the leading caricaturist of the century; the account I
+have given of his hitherto almost unknown work of this character;
+together with the view I have taken of the causes which led to his
+sudden and unexampled declension in the very midst of an artistic
+success almost unprecedented, may prove both new and interesting to some
+of my readers.
+
+I have to acknowledge the assistance I have derived from the 1864 and
+1867 MS. diaries of the late Shirley Brooks, kindly placed at my service
+by Cecil Brooks, Esq., his son; my thanks are likewise due to Mr.
+William Tegg for some valuable information kindly rendered.
+
+
+
+
+PREFACE TO THE PRESENT EDITION.
+
+
+Having been called on to write a Preface to a popular edition of this
+book, I seize the opportunity which is now afforded me of correcting an
+error which occurred in the original edition. By some unaccountable
+accident the printer omitted my sub-title; and it was not unnatural that
+some of my reviewers should inquire _why_, in a work dealing with
+English Caricaturists of the Nineteenth Century, no mention should be
+made of the graphic humourists who succeeded John Leech. This question
+is answered by the restoration of the original title, from which it will
+be seen that the work is simply "a _contribution_ to the history of
+caricature from the time of the first Napoleon _down_ to the death of
+John Leech, in 1864." To take in the later humourists, would be to carry
+the work beyond the limits which I had originally assigned to it.
+
+One word more, and I have done. My intention in writing this book was to
+show how the caricaturist "illustrated" his time,--in other words, how
+he "interpreted" the social and political events of his day, according
+to his own bias, or the views he was retained to serve. While exhibiting
+him in the light of an _historian_--which he most undoubtedly is--I had
+no idea (as some of my too favourable critics seem to have imagined) of
+writing a history of caricature itself. For this task, indeed, I am not
+qualified, nor does it in the slightest degree enlist my sympathy.
+
+     G. EVERITT.
+
+  _11th August, 1893._
+
+
+
+
+CONTENTS.
+
+
+  CHAPTER I.
+
+  Dr. Johnson's definition of the word _Caricatura_.--Francis Grose's
+  definition.--Modern signification of the word.--Change in the Spirit
+  of English Caricature during the last Fifty Years.--Its
+  Causes.--Gillray.--Rowlandson.--Bunbury.--Influence of Gillray and
+  Rowlandson on their immediate Successors.--Gradual Disappearance of
+  the Coarseness of the Old Caricaturists.--Change wrought by John
+  Doyle.--We have now no Caricaturist.--Effect of Wood Engraving on
+  Caricature.--Hogarth, although a Satirist, not a
+  Caricaturist.--Gustave Dore misdescribed a Caricaturist.--Absurdity of
+  comparing him with Cruikshank.--"Etching Moralized."
+     _pp._ 1-11.
+
+
+  CHAPTER II.
+
+  Connection of Gillray and Rowlandson with Nineteenth Century
+  Caricaturists.--Napoleon Bonaparte.--The Causes of English
+  Exasperation against him explained.--Sketch of his Policy towards
+  England.--The "Berlin Decree."--English Caricatures brought to the
+  notice of Bonaparte.--"A Political Fair."--The "Gallick Storehouse for
+  English Shipping."--"Spanish Flies, or Boney taking an Immoderate
+  Dose."--"Boney and his New Wife, or a Quarrel about Nothing."--Birth
+  of the young King of Rome.--"British Cookery, or Out of the Frying-pan
+  into the Fire."--"General Frost Shaving Boney."--"Polish Diet with
+  French Dessert."--"The Corsican Blood-hound beset by the Bears of
+  Russia." "Nap nearly Nab'd, or a Retreating Jump just in
+  time."--"Boney Returning from Russia covered with Glory."--"Nap's
+  Glorious Return."--Rowlandson's Anti-Bonaparte Caricatures.--French
+  Contemporary Satires.--Gillray's Anti-Bonaparte Caricatures.--His
+  Libels on Josephine.--Madame Tallien.--Robert Dighton.--Consequences
+  of a Pinch of Snuff.--Master Betty--Impeachment of Lord
+  Melville.--Introduction of Gas.--Mary Anne Clarke.--Imbecility and
+  Death of James Gillray
+     _pp._ 12-33.
+
+
+  CHAPTER III.
+
+  Re-opening of Drury Lane.--Dr. Busby's "Monologue."--"A Buz in a Box,
+  or the Poet in a Pet."--"Doctors Differ, or Dame Nature against the
+  College."--Joanna Southcott.--Flight of the Princess
+  Charlotte.--"Plebeian Spirit, or Coachee and the Heiress
+  Presumptive."--"Miss endeavouring to Excite a Glow with her Dutch
+  Plaything."--American War of 1812-1815.--Hostile Temper of the
+  Americans.--Disastrous Results of their Invasion of Canada.--English
+  Retaliatory Measures.--Burning of Washington.--Expedition against
+  Alexandria.--"The Fall of Washington, or Maddy in Full
+  Flight."--British Defeated at Baltimore and New Orleans.--"Romeo
+  Coates."--Marriage of the Princess Charlotte.--"Leap Year, or John
+  Bull's Establishment."--Troubles of 1817.--Narrow Escape of the Prince
+  Regent.--"More Plots!!! More Plots!!!"--Edmund Kean and Lucius Junius
+  Booth.--"The Rival Richards."--Congress of the Allied Sovereigns at
+  Aix-la-Chapelle.--"A Russian Dandy at Home: a Scene at
+  Aix-la-Chapelle."--"A Peep at the Pump Room, or the Zomerzetshire
+  Folks in a Maze."--Death of Queen Charlotte.--"The Hambourg
+  Waltz."--Invention of the Kaleidoscope.--"Caleidoscopes, or Paying
+  for Peeping."--The Velocipede or "Hobby."--"The Spirit Moving the
+  Quakers upon Worldly Vanities."--"John Bull in Clover," and "John Bull
+  Done Over."--Birth of the Princess Victoria.--"A Scene in the New
+  Farce, called The Rivals, or a Visit to the Heir Presumptive."
+     _pp._ 34-61.
+
+
+  CHAPTER IV.
+
+  Caroline of Brunswick.--Levity of her Character.--Result of the
+  Commission to Inquire into her Conduct in 1806.--Her Letter to the
+  Regent.--Result of the Commission of 1813.--Caroline rebels.--Wrath of
+  Lord Ellenborough.-"A Key to the Investigation, or Iago distanced by
+  odds."--Refusal of the Regent to meet her in 1814.--Her
+  Protest.--Applies for Permission to Travel Abroad.--Rumours
+  prejudicial to her Moral Conduct.--"Paving the way for a Royal
+  Divorce."--The Milan Commission.--Ministers averse to the Prosecution
+  of the Queen.--Their False Step.--Arrival of Caroline in
+  London.--Opening of the "Green Bag."--Arrival of the
+  Witnesses.--Strange Appearance of Caroline at the Trial.--Satire upon
+  Her and her Supporters.--"City Scavengers Cleansing the London Streets
+  of Impurities."--Practical Failure of the Prosecution.--"The Queen
+  Caroline running down the Royal George."--"The Steward's Court of the
+  Manor of Torre Devon."--Popularity of the King.--"Grand Entrance to
+  Bamboozlem."--Public Events of 1822-1825.--Greek War of
+  Independence.--Battle of Navarino.--"Russian Bear's Grease, or a Peep
+  into Futurity."--"The Descent of the Great Bear, or the Mussulmans in
+  a Quandary."--"The Nest in Danger."--"The Porte presenting a Bill of
+  Indemnification."--"Burking old Mrs. Constitution, aged
+  141."--Caricature Declines after 1830, and why.--William Heath and
+  other Caricaturists of the Period.--Theodore Lane.
+     _pp._ 62-88.
+
+
+  CHAPTER V.
+
+  Caricatures of Robert Cruikshank.--Forgotten, and why.--Artistic
+  Training--"The Mother's Girl Plucking a Crow, or German Flesh and
+  English Spirit."--"The Horse Marine and his Trumpeter in a
+  Squall."--Queer Fashions of the early part of the
+  Century.--Thackeray's Difficulty.--Caricatures on the "Dandies" of
+  1818.--Robert and his Fellow-Caricaturists ridicule the sham
+  "Corinthians" and "Corinthian Kates" of their day.--Hollow Pretensions
+  of the "Dandies."--"The Dandy Dressing at Home" and "The Dandy
+  Dressed."--"A Dandyess."--Robert's Satires on the "Dandies" of
+  1819.--"The Mysterious Fair One, or the Royal Introduction to the
+  Circassian Beauty."--Other Caricatures of his of 1819.--His Satires on
+  the Trial of Queen Caroline.--His Caricatures of 1821.--Duel between
+  the Dukes of Bedford and Buckingham.--Other Satires by him in
+  1822.--Interference of Louis XVIII. in Spanish Affairs.--Robert's
+  Satires on Louis and his Son.--"The Golden Ball."--Other Caricatures
+  by Robert in 1823.--The Tenth Hussars.--Maria Foote and "Pea-green
+  Hayne."--Other satires by Robert in 1824.--Colonel Fitz-Bastard and
+  Mr. Judge.--Cox _v._ Kean.--Sir Walter Scott.--"The Living
+  Skeleton."--Popple and Stockdale.--Other Subjects of
+  1825.--"Cruikshankiana."
+     _pp._ 89-108.
+
+
+  CHAPTER VI.
+
+  Book Illustrations of Isaac Robert Cruikshank.--The "Life in
+  London."--Injustice done to Robert with reference to this Book.--The
+  "Life" Dramatized.--Excitement it Occasioned.--The Portly Stranger in
+  the Duke's Box.--Queer Visitors at Rehearsal.--Horror of the Serious
+  People.--The Mistake which they made.--"The Finish."--Pierce Egan's
+  Position with reference to the "Life."--Origin of "Bell's Life in
+  London."--Charles Molloy Westmacott.--"The English Spy."--"The
+  Oppidans' Museum."--The "King at Home."--Rowlandson's contribution to
+  "The English Spy."--Westmacott and the Literature of Foote and
+  Hayne.--Robert's Carelessness.--"Points of Misery."--"Doings in
+  London."--"Cruikshank's Comic Album."--"Monsieur
+  Nong-tong-paw."--Three Books Illustrated by Robert.--Death.
+     _pp._ 109-124.
+
+
+  CHAPTER VII.
+
+  Caricatures of George Cruikshank.--"No Plan, no Ambition."--The
+  Assertion Disproved.--Why George's Caricatures possess so remarkable
+  an Interest.--"The Scourge."--Lord Sidmouth's Bill to amend the
+  Toleration Act.--Opposition to the Measure by the
+  Nonconformists.--George's Satire upon them.--Satire upon the Medical
+  Profession.--"The Satirist, or Monthly Meteor."--"Fashion."--"The
+  Loyalists' Magazine."--An Early Satire.--"Meditations amongst the
+  Tombs."--Other Satires of 1813.--"Little Boney gone to
+  Pot."--Alexander of Russia and the Duchess of Oldenburg.--The Princess
+  Caroline.--Joanna Southcott.--The Obnoxious Corn Laws of
+  1815.--Satires thereon.--Escape of Napoleon.--Outlawed by the
+  Powers.--Excitement caused by this Event.--George's Satires
+  thereon.--Napoleon endeavours to Establish Friendly Relations.--Silent
+  Hostility of Europe.--He Sets out for the Army.--George's Satire
+  thereon.--Surrender of Bonaparte.--The _Bellerophon_ off the English
+  Coast.--Other Satires of 1815.--The Regent's Repugnance to
+  Retrenchment and Reform.--Marriage of the Princess Charlotte.--Satire
+  on the Purchase of the "Elgin Marbles."--Other Satires of 1816.--John
+  Bull's Bankruptcy Proceedings.--Remanded for Extravagance.--His
+  "Schedule."--Seditious Troubles of 1817.--A Satire on the Princess
+  Caroline.--Death of the Princess Charlotte.--Other Satires of 1817--of
+  1818.--The "Bank Restriction Note."--Satires of 1819.--Queen Caroline
+  and other Caricatures of 1820 and 1821.--Death and Funeral of the
+  Queen.--The Populace force the Procession to go through the City.--The
+  Military fire on the People.--Alderman Sir William Curtis in Highland
+  Costume.--Indignation of the King.--Satires on both.--Statue of
+  Achilles.--Other Caricatures of 1822.--Satires of 1823 and
+  1824.--Joint Stock Company Mania of 1825.--Undated Satires.--Amazing
+  value of George Cruikshank's Caricatures.
+     _pp._ 125-166.
+
+
+  CHAPTER VIII.
+
+  George Cruikshank as a Book Illustrator.--Defects and
+  Excellencies.--Women, Horses, Trees.--"Greenwich Hospital."--Sikes and
+  the Dog.--Jonathan Wild.--Simon Renard and Winwike.--"Born a Genius
+  and Born a Dwarf."--Its History.--Randalph and Hilda at
+  Ranelagh.--Sale of the Shadow.--Sailors Carousing.--Paying off a
+  Jew.--Simpkin Dancing.--The Last Cab Driver.--Dominie
+  Sampson.--Dumbiedikes.--Fall of the Leaf.--Taurus.--Libra.--Revolution
+  at Madame Tussaud's.--Theatrical Fun Dinner.--"Gone!"--Duke of
+  Marlborough's Boot.--The Two Elves.--Witches' Frolic.--Ghosts.--Jack
+  o' Lantern.--Devils.--The Gin Shop.--Redgauntlet.--Fagin in the
+  Condemned Cell.--Murder of Sir Rowland Trenchard.--Xit Wedded to the
+  Scavenger's Daughter.--Mauger Sharpening his Axe.--Massacre at
+  Tullabogue, etc.--His Genius.
+     _pp._ 167-188.
+
+
+  CHAPTER IX.
+
+  The Sleep of Thirty Years.--Causes of George Cruikshank's Decadence
+  Insufficiently Understood.--Professor Bates' Theory.--Charles
+  Dickens's Nervousness (?).--Why Cruikshank was Unfitted to Illustrate
+  his Novels.--The Rejected Illustration to Oliver Twist.--Quarrel with
+  Bentley.--Guy Fawkes Illustrations.--"Ainsworth's Magazine."--Progress
+  of the Cruikshank _versus_ Bentley Campaign.--Cruikshank's Declaration
+  of War.--His Tactics.--"Our Library Table."--Quarrel with Harrison
+  Ainsworth.--Cruikshank's Claim to be Originator of Two of his Stories
+  Considered.--A word for Harrison Ainsworth.--Popularity and Success of
+  his Novels.--Charles Lever's "Arthur O'Leary."--Cruikshank's final
+  Leap in the Dark.--Its Fatal Consequences.--Crusade against
+  Drink.--"Worship of Bacchus."--His Work Falls away.--Thirty Years of
+  Artistic Sterility.--Fairy Stories turned into Temperance
+  Tracts.--Forgotten!
+
+     _pp._ 189-207.
+
+
+  CHAPTER X.
+
+  Birth of Robert Seymour.--Starts as a Painter in Oils.--Death of
+  George IV.--His Contemptible Character.--Sale of his Wardrobe.--Order
+  for General Mourning.--"The Adelaide Mill."--Revolution of
+  1830.--Dismissal of the German Band.--St. John Long the
+  Quack.--Administering an Oath.--The "Humorous Sketches."--"Book of
+  Christmas."--"New Readings of Old Authors."--"Figaro in London."--A
+  Beckett's Editorial Amenities.--Feud between him and Seymour.--Seymour
+  Caricatures A Beckett.--"Figaro" passes into the hands of
+  Mayhew.--Re-engagement of Seymour.--Origin of the "Pickwick
+  Papers."--The Rejected Etching.--Suicide of Seymour.--His Claim to be
+  the "Inventor" of "Pickwick" considered.
+     _pp._ 208-234.
+
+
+  CHAPTER XI.
+
+  The Agitation for Reform in 1830-32.--The Marquis of Blandford's
+  Scheme of Reform.--Strange State of the English Representative System
+  of those Days.--O'Connell's Scheme.--Lord John Russell's "Resolutions"
+  Rejected.--Dearth of Political Caricaturists at this
+  Time.--HB.--Secret of the Success of his "Political Sketches."--His
+  Style a Complete Innovation.--"I'll be your Second."--Unpopularity of
+  the Duke of Cumberland.--"My Dog and my Gun."--Lord John Russell
+  Introduces a Reform Bill.--Second Reading Carried by a Majority of
+  One.--General Election.--Lord John Russell's Second Reform Bill Passes
+  the House of Commons.--Deputation to the Lords.--"Bringing up our
+  Bill."--The Lords Throw it Out.--Lord John Russell again brings in a
+  Bill.--Ministers again in a Minority in the Lords.--Earl Grey tenders
+  certain Alternatives.--Excitement caused by the Opposition of the
+  Lords.--Perplexity of the King.--How he Overcame the Opposition of the
+  Peers.--William IV. as Johnny Gilpin.--The King as Mazeppa and Sinbad
+  the Sailor.--Outrage on the Duke of Wellington.--"Taking an Airing in
+  Hyde Park."--"Auld Lang Syne."--"A Hint to Duellists."--"A Great
+  Subject Dedicated to the Royal College of Surgeons."--Sir Francis
+  Burdett.--"Following the Leader."--"The Dog and the Shadow."--"A Race
+  for the Westminster Stakes."--"A Fine Old English Gentleman."--"Jim
+  Crow Dance and Chorus."
+     _pp._ 235-253.
+
+
+  CHAPTER XII.
+
+  Political Sketches of HB. (continued).--Lord John
+  Russell.--"Jonah."--Reduction of the Stamp on Newspapers.--How it was
+  evaded.--Arguments of the Opponents of the Measure.--Hard and Soft
+  Soap _versus_ Newspapers.--Strange Arguments of the Newspaper
+  Proprietors of the Day.--"The Rival Newsmongers."--Brougham Watches
+  for the Door of Preferment being Opened.--"The Gheber Worshipping the
+  Rising Sun."--Made Lord Chancellor.--"A Select Specimen of the Black
+  Style."--A Scene in the House of Lords.--"The Duel that Did Not Take
+  Place."--Dissolution of Parliament in 1834.--Brougham's Royal
+  "Progress" through Scotland.--Annoyance of William IV., who Determines
+  to Get Rid of Him.--"The Fall of Icarus."--"The Vaux and the
+  Grapes."--The Irish Coercion Bill of 1833.--Irish Disaffection which
+  led Up to It.--List of Irish Crimes for One Year.--Scenes between
+  English and Irish Members.--"Prisoners of War."--Good Effects of the
+  Coercion Bill.--Irish Agitators of 1833 and 1883 Compared.--O' Connell
+  and the Irish Peasant.--Unscrupulous Political Conduct of
+  O'Connell.--"The Comet of 1835."--"Doctor Syntax [_i.e._ Peel] on his
+  Faithful Steed in Search of the Picturesque."--Amazing Number of HB's
+  Political Sketches.--His failings.--His Imitators and their Fate.
+     _pp._ 254-276.
+
+
+  CHAPTER XIII.
+
+  John Leech.--Birth.--At Charterhouse.--The "Coach Tree."--Early
+  Efforts in Drawing brought to the notice of Flaxman.--Apprenticed to
+  Whittle, an Eccentric Medical Man.--Transfer of Leech's
+  Indentures.--Early Work.--Applies to Illustrate "Pickwick."--Style not
+  Matured till 1840.--An Attack on Dickens.--Attack on "Phiz."--Attack
+  on D'Israeli.--"Bentley's Miscellany."--Joins _Punch_.--Marriage.--The
+  "Right-hand Man in Punch's Cabinet."--"Illuminated
+  Magazine."--Portraits of Leech in _Punch_.--Douglas Jerrold and Albert
+  Smith.--Douglas Jerrold and A Beckett.--Leech at a Fancy Ball.--Albert
+  Smith and the Wide-awake Innkeepers at Chamounix.--George Cruikshank
+  Borrowing from Leech.--Influence of Cruikshank on Leech.--The Two
+  Compared.--Abhorrence of Frenchmen.--Mistake in "The Battle of Life."
+     _pp._ 277-293.
+
+
+  CHAPTER XIV.
+
+  John Leech's _Punch_ Cartoons.--The "Albert" Hat.--O'Connell.--Sir
+  James Graham.--"Peel's Dirty Little Boy."--"How do you Like the New
+  Whig?"--"The Premier's Fix."--"The Railway Juggernaut."--Between Free
+  Trade and Protection Sir Robert Peel falls through.--"Dombey and
+  Son."--Lord Brougham "in order."--Smithfield.--Louis Philippe.--The
+  Year of Unrest, 1848.--French Expedition to Rome.--"A Bright
+  Idea."--General Haynau and Barclay & Perkins' Draymen.--"Joe"
+  Hume.--The "Papal Aggression" Cartoons.--"The Boy who Chalked up 'No
+  Popery' and then Ran Away."--Great Exhibition of 1851.--The _Coup
+  d'etat_.--The Peace Society.--"The Old 'Un and the Young 'Un."--War
+  with Russia.--Evils of the Purchase System.--Generals _Janvier_ and
+  _Fevrier_.--"The Return from Vienna."--Incapacity of English
+  Generals.--"Urgent Private Affairs."--"Staying Proceedings."--The
+  Royal Levees.--The French Colonels.--"Religion _a la mode_."--Fete at
+  Cremorne.--Plots against the French Emperor, and their
+  Consequences.--"Invasion of French Light Wines."
+     _pp._ 294-314.
+
+
+  CHAPTER XV.
+
+  Exhibition of Leech's "Sketches in Oil" at the Egyptian Hall in
+  1862.--What Thackeray said of them.--Gradual Decrease in the Numbers
+  of his Cartoons for _Punch_.--Overwork.--Goes to the Continent with
+  Mark Lemon in 1862.--"A day at Biarritz."--Returns with no
+  Benefit.--Leech and Thackeray at Evans's in December, 1863.--Thackeray
+  and Leech at Charterhouse on "Founder's Day."--Thackeray at the
+  Wednesday _Punch_ Dinner, 15th of December, 1863.--Death of
+  Thackeray.--Death of Mr. R. W. Surtees.--The _Punch_ Council
+  Dinners.--John Leech a faithful Attendant.--"Moses Starting for the
+  Fair."--John Leech's Illness described.--No Falling off in the Quality
+  of his Designs.--"St. Genulphus."--Starts off for Homburg with Mr.
+  Alfred Elmore.--Death of Thomas Frederick Robson.--His Wonderful
+  Powers Wasted.--Leech goes to Whitby.--Shirley Brooks joins him.--"The
+  Weinbrunnen Schwalbach."--Reminiscences of the Whitby Visit.--Opening
+  of Fechter's Season at the Lyceum.--John Leech at a Party at Mr. W. P.
+  Frith's, 13th of October--At the Weekly _Punch_ Dinner, 26th of
+  October.--Serious Change for the Worse.--His Death.--Shock caused by
+  his Death in London and the Provinces.--His Funeral.--Shirley Brooks'
+  Memorial in _Punch_.
+     _pp._ 315-335.
+
+
+  CHAPTER XVI.
+
+  Hablot Knight Browne ("Phiz").--Invincible Tendency to
+  Exaggeration.--Charles Lever's Opinion.--Weakness and Attenuation of
+  his Figures.--Compared with John Leech.--Tendency to Reproduce.--All
+  his Heroes closely Resemble One Another.--Charles Lever's Complaint on
+  this Score.--Great Ability of the Artist.--"Ralph Nickleby's Visit to
+  his Poor Relations."--Newman Noggs.--Squeers.--Mrs. Nickleby's Lunatic
+  Admirer.--"Pecksniff's Reception of the New Pupil."--"Pleasant Little
+  Family Party at Mr. Pecksniff's."--"Warm Reception of Mr. Pecksniff by
+  his Venerable Friend."--Quilp and Samson Brass.--Quilp and the
+  Dog.--Mrs. Jarley's Waxwork Brigand.--Capture of Bunsby by Mrs.
+  Macstinger.--"Sunday under Three Heads."--The Jack Sheppard Mania of
+  1840.--"The Way to the Gallows made Easy and Pleasant."--"Phiz" not a
+  Born Comic Artist.--Excellence in Depicting Graver Subjects.--"The
+  Dombey Family."--"Mrs. Dombey at Home."--"Abstraction and
+  Recognition."--"The Dark Road."--"Carker in his Hour of
+  Triumph."--"Bleak House."--Why Browne suited Charles Dickens's
+  Requirements.--Coolness between Artist and Author.--One of Browne's
+  Finest Illustrations.--Decline of Book Etching.--Browne without an
+  Idea of his Own.--Powerful Assistance rendered to Novelists by Book
+  Illustrators of his day.--Sketches and Studies.--Death of the Artist.
+     _pp._ 336-354.
+
+
+  CHAPTER XVII.
+
+  Kenny Meadows.--"Portraits of the English."--A Thoroughly Useful
+  Man.--Some Works Illustrated by Meadows.--His Merits Unequal.--His
+  Contempt for Nature.--An Early Illustrator of _Punch_.--His
+  Illustrated Shakespeare.--Some Excellent Work of Meadows.--His
+  Death.--Robert William Buss.--Recommended to Illustrate "Pickwick" on
+  Seymour's Death.--Etchings Suppressed.--The "Buss Plates" not his at
+  all.--His Paintings.--Lectures on Caricature and Graphic
+  Satire.--Comic Publications which preceded or ran side by side with
+  _Punch_.--Alfred William Forrester (Alfred Crowquill).--"A General
+  Utility Man."--Crowquill a Caricaturist.--His Talent and
+  Cleverness.--Some of His Paintings.--Charles H.
+  Bennett.--"Shadows."--"Shadow and Substance."--"Origin of
+  Species."--Taken on the _Punch_ Staff.--Early Death.--Theatrical
+  Performances for the Benefit of his Family.--Kate Terry.--Thackeray as
+  a Comic Artist.--Satire on Charles Lever.--Unfitted to Illustrate his
+  own Novels, and why.--His Genius Displayed in Literature not in
+  Art.--Illustrations to "Vanity Fair" Considered.--Anthony Trollope on
+  this Subject.
+     _pp._ 355-380.
+
+
+  CHAPTER XVIII.
+
+  First Work of Richard Doyle.--Receives his Art Training from his
+  Father.--Joins _Punch_.--The Peace-at-any-Price Party.--The Troubles
+  of 1848.--The Sea-Serpent of Revolution Upsetting the Monarchical
+  Cock-boats.--Lord Brougham.--Richard Doyle's Dream of the Future of
+  Ireland.--The Window Tax.--"Manners and Customs of Ye Englishe."--"The
+  Month" upon Exeter Hall.--Establishment of the Papal Hierarchy in
+  England.--The Causes of Doyle's Retirement from _Punch_
+  Explained.--Unselfishness of His Conduct.--Ultimate Consequences on
+  his Prospects.--Number of his _Punch_ Illustrations.--Caricatures of
+  Richard Doyle.--"Brown, Jones, and Robinson."--Works Illustrated by
+  Doyle.--Mr. Hamerton's Criticism on his Illustrations to "The
+  Newcomes."--His Death.--John Tenniel.--Joins _Punch_ at the
+  Commencement of Troublous Times.--Death of the Duke of
+  Wellington.--Battle of Oltenitza.--Lord Aberdeen as the "Courier of
+  St. Petersburg."--Lord Aberdeen tries to Hold in the British
+  Lion.--England the Unready.--"Peace" Seated on the Garrison
+  Gun.--_Punch's_ Low Estimate of the Third Napoleon.--An "International
+  Poultry Show."--"The Eagle in Love."--"Playing with Edged Tools."--"An
+  Unpleasant Neighbour."--Louis Closes his Firework Shop "to please
+  Johnny."--Miss Britannia Refuses to Dance again with Louis.--Mr.
+  Tenniel one of the most Versatile of Modern Designers.--Examples of
+  his Graphic Satire.--Notice of his Cartoons Closes with 1864, in
+  Accordance with the Plan of the Work.--His Comic Powers.
+     _pp._ 381-400.
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+  ANONYMOUS.
+
+                                                              PAGE
+    A BUZZ IN A BOX      _Frontispiece_
+    _From Woodcut Reproduction of the Original Caricature._
+
+    GRAND ENTRANCE TO BAMBOOZLEM                                81
+    _From Woodcut Reproduction of the Original Caricature._
+
+    LEAP YEAR; OR, JOHN BULL'S PEACE ESTABLISHMENT              50
+    _From Woodcut Reproduction of the Original Caricature._
+
+    A PEEP IN THE PUMP ROOM                                     57
+    _From Woodcut Reproduction of the Original Caricature._
+
+
+  BENNETT, CHAS. H.
+
+    "CREEPING LIKE A SNAIL"                                    371
+    _From Original Woodblock in possession of the Publishers._
+
+    OLD ENOUGH TO KNOW BETTER                                  372
+    _From Original Woodblock in possession of the Publishers._
+
+
+  BROWNE, HABLOT K. ("PHIZ").
+
+    THE DEPARTURE                                              336
+
+    DICK SWIVELLER AND THE LODGER                              340
+
+    THE RIOTERS                                                346
+
+    SAM WELLER AND HIS FATHER                                  352
+    _Woodcut Reproductions of the Original Sketches._
+
+
+  BUNBURY, W. H.
+
+    INTERIOR OF A BARBER'S SHOP                                  5
+
+    SALUTATION TAVERN                                           11
+
+    STREPHON AND CHLOE                                          11
+    _By Permission of Messrs. Chatto & Windus._
+
+
+    CROWQUILL, ALFRED.
+
+    FROZEN OUT GARDENERS                                       368
+
+    "SWEARING THE HORNS" AT HIGHGATE                           369
+    _Both by permission of Messrs. W. & R. Chambers._
+
+
+  CRUIKSHANK, GEORGE.
+
+    ABSENT-MINDEDNESS                                          175
+
+    BAT BOROO                                                  175
+
+    THE BRAINTREES                                             171
+
+    THE DEAF POSTILION                                         171
+
+    THE DENTIST                                                175
+
+    THE ELVES AND THE COBBLER                                  180
+    _Above six by permission of Messrs. Geo. Bell & Sons._
+
+    THE GIN SHOP                                               184
+    _From Woodcut Reproduction of the Original Caricature._
+
+    THE OLD COMMODORE                                          182
+    _By permission of Messrs. Geo. Routledge & Son._
+
+    RUSSIAN CONDESCENSION                                      133
+    _From Woodcut Reproduction of the Original Caricature._
+
+    A SCENE IN KENSINGTON GARDENS                              152
+    _From Woodcut Reproduction of the Original Caricature._
+
+    "A TALL FIGURE HER SIGHT ENGROSSED"                        182
+    _By permission of Messrs. Geo. Routledge & Son._
+
+    THE TETE-A-TETE                                            175
+
+    THE WAITS OF BREMEN                                        180
+
+    THE WITCH'S SWITCH                                         175
+    _Above three by permission of Messrs. Geo. Bell & Sons._
+
+
+  CRUIKSHANK, ROBERT.
+
+    JOHN BULL FLOURISHING                                       99
+    _Woodcut Reproduction of the Original Caricature._
+
+    CUTS FROM "THE UNIVERSAL SONGSTER"                         110
+    _By permission of Messrs. Geo. Routledge & Son._
+
+
+  DORE, GUSTAVE.
+
+    THE ABBOT OF MARMOUSTIERS                                    8
+
+    THE LANDLORD OF THE THREE BARBELS                            9
+
+    MONSEIGNEUR HUGON                                            9
+
+    SERJEANT-OF-THE-JUSTICE TAUPIN                               8
+    _Above four by permission of Messrs. Chatto & Windus._
+
+
+  GILLRAY, J.
+
+    A CONNOISSEUR                                               24
+
+    THE GOUT                                                     5
+
+    A LESSON IN APPLE DUMPLINGS                                 24
+
+    NAPOLEONIC CARICATURES                                  18, 20
+
+    THE NATIONAL ASSEMBLY                                       26
+
+    A PEEP AT CHRISTIE'S                                        14
+
+    ROYAL AFFABILITY                                            24
+    _Above seven by permission of Messrs. Chatto & Windus._
+
+    SHAKESPEARE SACRIFICED                                      12
+    _Woodcut Reproduction of the Original Caricature._
+
+    TWOPENNY WHIST                                              16
+    _By permission of Messrs. Chatto & Windus._
+
+
+  HOGARTH, W.
+
+    MARRIAGE A LA MODE                                           7
+    _Woodcut Reproduction of the Original Sketch._
+
+
+  LANE, THEODORE.
+
+    THE GALLERY                                                 85
+
+    THE NON-PAYING AUDIENCE                                     85
+    _Woodcut Reproductions of the Original Sketches._
+
+
+  LEECH, JOHN.
+
+    THE ELECTION                                               286
+
+    "I HOPE, MR. SMUG, YOU DON'T BEAT YOUR BOYS!"              292
+
+    THE MAYOR AND CORPORATION OF SWINESTEAD                    278
+
+
+  ROWLANDSON, T.
+
+    "ALL THE TALENTS"                                            3
+
+    "ANYTHING WILL DO FOR AN OFFICER"                            2
+
+    THE COBBLER'S CURE FOR A SCOLDING WIFE                      29
+
+    DESIRE                                                      11
+
+    SPITFIRES                                                   28
+
+    TRUMPET AND BASSOON                                          2
+    _Above six by permission of Messrs. Chatto & Windus._
+
+
+  SANDBY, PAUL.
+
+    A MOUNTEBANK PAINTER                                         7
+    _By permission of Messrs. Chatto & Windus._
+
+
+  SEYMOUR, ROBERT.
+
+    THE ADELAIDE MILL                                          213
+    _Woodcut Reproduction of the Original Caricature._
+
+    THE DYING CLOWN                                            233
+    _Woodcut Reproduction of the Original Sketch._
+
+
+  THACKERAY, W. M.
+
+    ANGELICA ARRIVES JUST IN TIME                              379
+    _By permission of Messrs. Smith, Elder & Co._
+
+    BROWN, JONES, AND ROBINSON                                 392
+    _By permission of Messrs. Bradbury, Agnew & Co._
+
+    GRUFFANUFF                                                 378
+    _By permission of Messrs. Smith, Elder & Co._
+
+    MARGINAL SKETCHES (2)                                      375
+    _By permission of Messrs. Chatto & Windus._
+
+    MONKS OF THE ORDER OF FLAGELLANTS                          378
+
+    PRINCE BULBO                                               378
+    _Both by permission of Messrs. Smith, Elder & Co._
+
+
+  WOODWARD, G. M.
+
+    DESIRE                                                      11
+
+    "GENERAL COMPLAINT"                                         11
+    _Both by permission of Messrs. Chatto & Windus._
+
+
+
+[Illustration:
+  "_The Farthing Rushlight._"
+
+  THE PRINCE OF WALES, WITH FOX, SHERIDAN, AND HIS WHIG ASSOCIATES, TRYING
+  IN VAIN TO BLOW OUT POOR OLD GEORGE.]
+
+
+  The author desires to express his sense of obligation to the several
+  publishers who have courteously granted him permission to reproduce
+  drawings, the copyrights of which are vested in themselves; and at the
+  same time to state his regret that other publishers, similarly
+  situated with respect to other works, have not seen their way to
+  render it possible for him to supply specimens of the style of certain
+  artists, two of whom in particular, John Leech and H. K. Browne, must
+  needs be conspicuous by their comparative absence.
+
+  Such Caricatures and Book Illustrations as have seemed specially
+  desirable--of which the copyrights have lapsed and no editions are at
+  the present day in print--have been engraved for this work by MR.
+  WILLIAM CHESHIRE.
+
+
+
+
+ENGLISH CARICATURISTS.
+
+
+
+
+CHAPTER I.
+
+_OF THE ENGLISH CARICATURE AND ITS DECAY._
+
+
+  DEFINITION OF CARICATURE
+
+If you turn to the word "_caricatura_" in your Italian dictionary, it is
+just possible that you will be gratified by learning that it means
+"caricature"; but if you refer to the same word in old Dr. Johnson, he
+will tell you, with the plain, practical common-sense which
+distinguished him, that it signifies "an exaggerated resemblance in
+drawings," and this expresses exactly what it _does_ mean. Any
+distinguishing feature or peculiarity, whether in face, figure, or
+dress, is _exaggerated_, and yet the likeness is preserved. A straight
+nose is presented unnaturally straight, a short nose unnaturally
+depressed; a prominent forehead is drawn unusually bulbous; a
+protuberant jaw unnaturally underhung; a fat man is depicted
+preternaturally fat, and a thin one correspondingly lean. This at least
+was the idea of _caricature_ during the last century. Old Francis Grose,
+who, in 1791, wrote certain "Rules for Drawing Caricaturas," gives us
+the following explanation of their origin:--"The sculptors of ancient
+Greece," he tells us, "seem to have diligently observed the form and
+proportions constituting the European ideas of beauty, and upon them to
+have formed their statues. These measures are to be met with in many
+drawing books; a slight deviation from them by the predominancy of any
+feature constitutes what is called character, and serves to discriminate
+the owner thereof and to fix the idea of identity. This deviation or
+peculiarity aggravated, forms caricatura."
+
+As a matter of fact, the strict definition of the word given by Francis
+Grose and Dr. Johnson is no longer applicable; the word caricature
+includes, and has for a very long time been understood to include,
+within its meaning any pictorial or graphic satire, political or
+otherwise, and whether the drawing be exaggerated or not: it is in this
+sense that Mr. Wright makes use of it in his "Caricature History of the
+Georges," and it is in this sense that we shall use it for the purposes
+of this present book.
+
+[Illustration:
+  ROWLANDSON.
+
+  THE TRUMPET AND THE BASSOON.]
+
+[Illustration:
+  ROWLANDSON. _January 1st, 1796._
+
+  "ANYTHING WILL DO FOR AN OFFICER."
+
+  "What shall we do with him?"
+
+  "Do with him? Why, make an officer of him!"
+
+  _Face p. 2._]
+
+
+  CHANGE IN THE SPIRIT OF ENGLISH CARICATURE.
+
+Since the commencement of the present century, and more especially
+during the last fifty years, a change has come over the spirit of
+English caricature. The fact is due to a variety of causes, amongst
+which must be reckoned the revolution in dress and manners; the
+extinction of the three-bottle men and topers; the change of thought,
+manners, and habits consequent on the introduction of steam, railways,
+and the electric telegraph. The casual observer meeting, as he sometimes
+will, with a portfolio of etchings representing the men with red and
+bloated features, elephantine limbs, and huge paunches, who figure in
+the caricatures of the last and the early part of the present century,
+may well be excused if he doubt whether such figures of fun ever had an
+actual existence. Our answer is that they not only existed, but were
+very far from uncommon. Our great-grandfathers of 1800 were jolly good
+fellows; washing down their beef-steaks with copious draughts of "York
+or Burton ale," or the porter for which Trenton, of Whitechapel, appears
+to have been famed,[1] fortifying themselves afterwards with deeper
+draughts of generous wines--rich port, Madeira, claret, dashed with
+hermitage--they set up before they were old men paunches and
+diseases which rendered them a sight for gods and men. Reader, be
+assured that the fat men who figure in the graphic satires of the early
+part of the century were certainly _not_ caricatured.
+
+[Illustration:
+  T. ROWLANDSON. _April 13th, 1807._
+
+  "ALL THE TALENTS."
+
+  The "Broad-Bottom Administration," known as "All the Talents," showing
+  the several qualifications of the Ministry.
+
+  _Face p. 3._]
+
+
+  THE THREE GREAT CARICATURISTS OF THE LAST CENTURY.
+
+In connection with the subject of graphic satire, the names of the three
+great caricaturists of the last century--Gillray, Rowlandson, and
+Bunbury--are indispensable. The last, a gentleman of family, fortune,
+and position, and equerry to the Duke of York, was, in truth, rather an
+amateur than an artist. Rowlandson was an able draughtsman, and
+something more; but his style and his tastes are essentially coarse and
+sensual, and his women are the overblown beauties of the Drury Lane and
+Covent Garden of his day. George Moutard Woodward, whose productions he
+sometimes honoured by etching, and whose distinguishing characteristics
+are carelessness and often bad drawing, follows him at a respectful
+distance. The genius of James Gillray has won him the title of the
+"Prince of Caricaturists," a title he well earned and thoroughly
+deserved. The only one of the nineteenth century caricaturists who
+touches him occasionally in _caricature_, but distances him in
+everything else, is our George Cruikshank.
+
+Commencing work when George the Third was still a young man, Gillray and
+Rowlandson necessarily infused into it some of the coarseness and
+vulgarity of their century. With Gillray, indeed, this coarseness and
+vulgarity may be said to be rather the exception than the rule, whereas
+the exact contrary holds good of his able and too often careless
+contemporary. As might have been expected, every one who excites their
+ridicule or contempt is treated and (in their letterpress descriptions)
+spoken of in the broadest manner. Bonaparte is mentioned by both artists
+(in allusion to his supposed sanguinary propensities) as "Boney, the
+carcase butcher;" Josephine is represented by Gillray as a coarse fat
+woman, with the sensual habits of a Drury Lane strumpet; Talleyrand, by
+right of his club foot and limping gait, is invariably dubbed "Hopping
+Talley." The influence of both artists is felt by those who immediately
+succeeded them. The coarseness, for instance, of Robert Cruikshank, when
+he displays any at all, which is seldom, is directly traceable to the
+influence of Rowlandson, whom (until he followed the example of his
+greater brother) he at first copied.
+
+
+  INFLUENCE OF GILLRAY ON CRUIKSHANK.
+
+Gillray wrought much the same influence upon George Cruikshank. I have
+seen it gravely asserted by some of those who have written upon him,[2]
+that this great artist never executed a drawing which could call a blush
+into the cheek of modesty. But those who have written upon George
+Cruikshank--and their name is legion--instead of beginning at the
+beginning, and thus tracing the gradual and almost insensible formation
+of his style, appear to me to have plunged as it were into _medias res_,
+and commenced at the point when he dropped caricature and became an
+illustrator of books. Book illustration was scarcely an art until George
+Cruikshank made it so; and the most interesting period of his artistic
+career appears to us to be the one in which he pursued the path
+indicated by James Gillray, until his career of caricaturist merged into
+his later employment of a designer and etcher of book illustration, by
+which no doubt he achieved his reputation. In answer to those who tell
+us that he never produced a drawing which could call a blush into the
+cheek of modesty, and never raised a laugh at the expense of decency, we
+will only say that we can produce at least a score of instances to the
+contrary. To go no further than "The Scourge," we will refer them to
+three: his _Dinner of the Four-in-Hand Club at Salthill_, in vol. i.;
+his _Return to Office_ (1st July, 1811), in vol. ii.; and his
+_Coronation of the Empress of the Nares_ (1st September, 1812), in vol.
+iv.
+
+
+  REVOLUTION EFFECTED BY H. B.
+
+As the century passed out of its infancy and attained the maturer age of
+thirty years, a gradual and almost imperceptible change came over the
+spirit of English graphic satire. The coarseness and suggestiveness of
+the old caricaturists gradually disappeared, until at length, in 1830,
+an artist arose who was destined to work a complete revolution in the
+style and manner of English caricature. This artist was John Doyle,--the
+celebrated H. B. He it was that discovered that pictures might be made
+mildly diverting without actual coarseness or exaggeration; and when
+this fact was accepted, the art of caricaturing underwent a complete
+transition, and assumed a new form. The "Sketches" of H. B. owe their
+chief attraction to the excellence of their designer as a portrait
+painter; his successors, with less power in this direction but with
+better general artistic abilities, rapidly improved upon his idea, and
+thus was founded the modern school of graphic satirists represented by
+Richard Doyle, John Leech, and John Tenniel. So completely was the style
+of comic art changed under the auspices of these clever men, that the
+very name of "caricature" disappeared, and the modern word "cartoon"
+assumed its place. With the exception indeed of Carlo Pellegrini (the
+"Ape" of _Vanity Fair_), and his successors, we have now no caricaturist
+in the old and true acceptation of the term, and original and clever as
+their productions are, their compositions are timid compared with those
+of Bunbury, Gillray, Rowlandson, and their successors, being limited to
+a weekly "exaggerated" portrait, instead of composed of many figures.
+
+[Illustration:
+  JAMES GILLRAY. _May 14th, 1799._
+
+  "THE GOUT."]
+
+[Illustration:
+  W. H. BUNBURY, _etched by_ GILLRAY. _1811, pubd. May 15th, 1818._
+
+  "INTERIOR OF A BARBER'S SHOP IN ASSIZE TIME."]
+
+  _Face p. 5_]
+
+But caricature was destined to receive its final blow at the hands of
+that useful craftsman the wood-engraver. The application of
+wood-engraving to all kinds of illustration, whether graphic or comic,
+and the mode in which time, labour, and expense are economised, by the
+large wood blocks being cut up into squares, and each square entrusted
+to the hands of a separate workman, has virtually superseded the old and
+far more effective process of etching. Economy is now the order of the
+day in matters of graphic satire as in everything else; people are no
+longer found willing to pay a shilling for a caricature when they may
+obtain one for a penny. Hence it has come to pass, that whilst comic
+artists abound, the prevailing spirit of economy has reduced their
+productions to a dead level, and the work of an artist of inferior
+power and invention, may successfully compete for public favour with the
+work of a man of talent and genius like John Tenniel, a result surely to
+be deplored, seeing there never was a time which offered better
+opportunities for the pencil of a great and original caricaturist than
+the present.[3]
+
+
+  MISTAKE OF THOSE WHO COMPARE MODERN CARICATURISTS WITH HOGARTH.
+
+It is a common practice, and I may add mistake, with writers on comic
+artists or caricaturists of our day, to compare them with Hogarth. Both
+Hogarth and the men of our day are graphic satirists, but there is so
+broad a distinction between the satire of each, and the circumstances of
+the times in which they respectively laboured, that comparison is
+impossible. Those who know anything of this great and original genius,
+must know that he entertained the greatest horror of being mistaken for
+a _caricaturist_ pure and simple; and although he executed caricatures
+for special purposes, they may literally be counted on the fingers. "His
+pictures," says Hazlitt, "are not imitations of still life, or mere
+transcripts of incidental scenes and customs; but powerful _moral_
+satires, exposing vice and folly in their most ludicrous points of view,
+and with a profound insight into the weak sides of character and
+manners, in all their tendencies, combinations, and contrasts. There is
+not a single picture of his containing a representation of mere
+pictorial or domestic scenery." His object is not so much "to hold the
+mirror up to nature," as "to show vice her own feature, scorn her own
+image." "Folly is there seen at the height--the moon is at the full--it
+is the very error of the time. There is a perpetual error of
+eccentricities, a tilt and tournament of absurdities, pampered with all
+sorts of affectation, airy, extravagant, and ostentatious! Yet _he is as
+little a caricaturist_ as he is a painter of still life. Criticism has
+not done him justice, though public opinion has."[4] "A set of severer
+satires," says Charles Lamb, "(for they are not so much comedies, which
+they have been likened to, as they are strong and masculine satires),
+less mingled with anything of mere fun, were never written upon paper or
+graven upon copper. They resemble Juvenal, or the satiric touches in
+Timon of Athens."
+
+[Illustration:
+  W. HOGARTH. "_Mariage a la Mode._"]
+
+[Illustration:
+  PAUL SANDBY. _Anti-Hogarthian Caricature._
+
+  "A Mountebank Painter demonstrating to his admirers and subscribers
+  that crookedness is y^e most beautifull."
+
+  _Face p. 7._]
+
+
+  CHARACTER OF HOGARTH'S SATIRES.
+
+Hogarth was a stern moralist and satirist, but his satires have nothing
+in common with the satires of the nineteenth century; such men as the
+infamous Charteris and the quack Misaubin figure in his compositions,
+and their portraits are true to the life. Although his satire is
+relieved with flashes of humour, the reality and gravity of the satire
+remain undisturbed. The _March to Finchley_ is one of the severest
+satires on the times; it shows us the utter depravity of the morals and
+manners of the day, the want of discipline of the king's officers and
+soldiers, which led to the routs of Preston and Falkirk, the headlong
+flight of Hawley and his licentious and cowardly dragoons. Some modern
+writers know so little of him that they have not only described his
+portrait of Wilkes as a _caricature_, but have cited the inscription on
+his veritable contemporary _caricature_ of Churchill in proof of the
+assertion. Now what says this inscription? "The Bruiser (Churchill, once
+the Reverend), in the character of a Russian Hercules, regaling himself
+after having killed the monster _Caricatura, that so severely galled his
+virtuous friend_, the heaven-born Wilkes." Hogarth's use of the word
+_caricatura_ conveys a meaning which is not patent at first sight;
+Wilkes's leer was the leer of a satyr, "his face," says Macaulay, "was
+so hideous that the caricaturists were forced in their own despite to
+flatter him."[5] The real sting lies in the _accuracy_ of Hogarth's
+portrait (a fact which Wilkes himself admitted), and it is in this
+sarcastic sense that Hogarth makes use of the word "caricatura."
+
+
+  GUSTAVE DORE.
+
+Turning from Hogarth to a modern artist, in spite of his faults of most
+marvellous genius and inventive faculty, I frequently find critics of
+approved knowledge and sagacity describing the late Gustave Dore as a
+caricaturist. It may seem strange at first sight to introduce the name
+of Dore into a work dealing exclusively with English caricature art,
+and I do so, not by reason of the fact that his works are as familiar to
+us in England as in France, not because he has pictorially interpreted
+some of the finest thoughts in English literature, but because I find
+his name so constantly mentioned in comparison with English
+caricaturists and comic artists, and more especially with our George
+Cruikshank. Now Gustave Dore is, if possible, still less a caricaturist
+than our English Hogarth. I have seen the ghastly illustrations to the
+licentious "Contes Drolatiques" of Balzac cited in proof of his claims
+to be considered a caricaturist. I will not deny that Dore did try his
+hand once upon a time at caricature, and if we are to judge him by these
+attempts, we should pronounce him the worst French caricaturist the
+world ever saw, which would be saying a great deal; for a worse school
+than that of the modern French caricaturists (and I do not except even
+Gavarni, Cham, or Daumier), does not anywhere exist. That this man of
+marvellous genius had humour I do not for one moment deny; but it was
+the grim humour of an inquisitor or torturer of the middle ages--of one
+that revels in a perfect nightmare of terror.[6] Genius is said to be
+nearly allied to madness; and if one studies some of his weird
+creations--such, for instance, as _The Judgment Day_ in the legend of
+"The Wandering Jew"--the thought involuntarily suggests itself that a
+brain teeming with such marvellous and often morbid conceptions, might
+have been pushed off its balance at any moment. Gustave Dore delights in
+lofty, mediaeval-gabled buildings, with bartizans and antique galleries;
+in steep streets, dominated by gloomy turrets; in narrow entries,
+terminating in dark vistas; in gloomy forests, crowded with rocky
+pinnacles; in masses of struggling, mutilated men and horses; in
+monstrous forms of creeping, crawling, slimy, ghastly horror. By the
+side of the conceptions of Gustave Dore--_teste_ for instance the weird
+pictures of "The Wandering Jew" already mentioned--George Cruikshank
+sinks at times into insignificance; and yet side by side with
+George Cruikshank, as a purely comic artist or caricaturist, Dore is
+beneath mediocrity.
+
+[Illustration:
+  GUSTAVE DORE. _From "Contes Drolatiques."_
+
+  "SERGEANT-OF-THE-JUSTICE TAUPIN."]
+
+[Illustration:
+  GUSTAVE DORE. _From "Contes Drolatiques."_
+
+  "THE ABBOT OF MARMOUSTIERS."
+
+  _Back to p. 8._]
+
+
+[Illustration:
+  GUSTAVE DORE. _From "Contes Drolatiques."_
+
+  "THE LANDLORD OF THE THREE BARBELS."]
+
+[Illustration:
+  GUSTAVE DORE. _From "Contes Drolatiques."_
+
+  MONSEIGNEUR HUGON.
+
+  _Back to p. 9._]
+
+
+  MR. HAMERTON'S OBSERVATIONS ON CARICATURE.
+
+Artists and art critics not unnaturally regard caricature with some
+disfavour. "Art," says Hamerton, "with a great social or political
+purpose, is seldom pure fine art; artistic aims are usually lost sight
+of in the anxiety to hit the social or political mark, and though the
+caricaturist may have great natural facility for art, it has not a fair
+chance of cultivation." Writing of Cruikshank's "etchings" (and I
+presume he refers to those which are marked with comic or satirical
+characteristics), he says: "They are full of keen satire and happy
+invention, and their moral purpose is always good; but all these
+qualities are compatible with a carelessness of art which is not to be
+tolerated in any one but a professional caricaturist."[7] Now all this
+is true, and moreover it is fairly and generously stated; on the other
+hand, Mr. Hamerton will probably admit that no artist is likely to
+succeed in graphic satire, unless he be a man of marked artistic power
+and invention.
+
+While treating incidentally of the etchings of artists who have
+distinguished themselves as graphic satirists or designers, with etching
+itself as an _art_ this work has no concern. For those who would be
+initiated into the mysteries of etching and dry point, negative and
+positive processes, soft grounds, mordants, or the like, the late Thomas
+Hood has left behind him a whimsical sketch of the process, which,
+imperfect as it is, will not only suffice for our purpose, but has the
+merit probably of being but little known:--
+
+  "Prepared by a hand that is skilful and nice,
+  The fine point glides along like a skate on the ice,
+        At the will of the gentle designer,
+  Who, impelling the needle, just presses so much,
+  That each line of her labour _the copper may touch_,
+        As if done by a penny-a-liner.
+
+       *       *       *       *       *
+
+  Certain objects however may come in your sketch,
+  Which, designed by a hand unaccustomed to etch,
+        With a luckless result may be branded;
+  Wherefore add this particular rule to your code,
+  Let all vehicles take the _wrong_ side of the road,
+        And man, woman, and child be _left-handed_.
+
+  Yet regard not the awkward appearance with doubt,
+  But remember how often mere blessings fall out,
+        That at first seemed no better than curses:
+  So, till _things take a turn_, live in hope, and depend
+  That whatever is wrong will come right in the end,
+        And console you for all your _reverses_.
+
+       *       *       *       *       *
+
+  But the acid has duly been lower'd and bites
+  Only just where the visible metal invites,
+        Like a nature inclined to meet troubles;
+  And behold as each slender and glittering line
+  Effervesces, you trace the completed design
+        In an elegant bead-work of bubbles.
+
+       *       *       *       *       *
+
+  But before with the varnishing brush you proceed,
+  Let the plate with cold water be thoroughly freed
+        From the other less innocent liquor;
+  After which, on whatever you want to protect,
+  Put a _coat_ that will act to that very effect,
+        Like the black one which hangs on the vicar.
+
+  Then the varnish well dried--urge the biting again,
+  But how long, at its meal, the _eau forte_ may remain,
+        Time and practice alone can determine:
+  But of course not so long that the mountain, and mill,
+  The rude bridge, and the figures--whatever you will--
+        Are as black as the spots on your ermine.
+
+  It is true, none the less, that a dark looking scrap,
+  With a sort of Blackheath and Black Forest, mayhap,
+        Is considered as rather Rembrandty;
+  And that very black cattle and very black sheep,
+  A black dog, and a shepherd as black as a sweep,
+        Are the pets of some great _dilettante_.
+
+       *       *       *       *       *
+
+  But before your own picture arrives at that pitch,
+  While the lights are still light, and the shadows, though rich.
+        More transparent than ebony shutters,
+  Never minding what Black-Arted critics may say,
+  Stop the biting, and pour the green blind away,
+        As you please, into bottles or gutters.
+
+  Then removing the ground and the wax _at a heat_,
+  Cleanse the surface with oil, spermaceti or sweet--
+        For your hand a performance scarce proper--
+  So some careful professional person secure,
+  For the laundress will not be a safe amateur,
+        To assist you in _cleaning the copper_.
+
+       *       *       *       *       *
+
+  Thus your etching complete, it remains but to hint
+  That with certain assistance from paper and print,
+        Which the proper mechanic will settle,
+  You may charm all your friends--without any sad tale
+  Of such perils and ills as beset Lady Sale--
+        With a fine _India Proof of your metal_."[8]
+
+[Illustration:
+  WOODWARD, _engr. by_ ROWLANDSON. _"Desire," Jan. 20th, 1800._
+
+  DESIRE.]
+
+[Illustration:
+  W. H. BUNBURY. _"Strephon and Chloe," July 1st, 1804._
+
+  SENTIMENTAL COURTSHIP.]
+
+[Illustration:
+  W. H. BUNBURY. _"The Salutation Tavern," July 21st, 1801._
+
+  A FASHIONABLE SALUTATION.]
+
+[Illustration:
+  G. M. WOODWARD. _"General Complaint," May 5th, 1796._
+
+  "Don't tell me of generals raised from mere boys,
+  Though, believe me, I mean not their laurel to taint;
+  But the general, I'm sure, that will make the most noise,
+  If the war still goes on, will be General Complaint."
+
+  _Face p. 11._]
+
+
+FOOTNOTES:
+
+
+  [1] "Nor London singly can his porter boast,
+       Alike 'tis famed on every foreign coast;
+       For this the Frenchman leaves his Bordeaux wine,
+       And pours libations at our Thames's shrine;
+       Afric retails it 'mongst her swarthy sons,
+       And haughty Spain procures it for her Dons.
+       Wherever Britain's powerful flag has flown,
+       there London's celebrated porter's known."
+
+    --_The Art of Living in London_ (6th edition 1805).
+
+  [2] One quotation shall suffice. Mr. William Bates tells us in his
+    admirable "Maclise Portrait Gallery":--"He _never_ transgressed the
+    narrow line that separates wit from buffoonery, pandered to
+    sensuality, glorified vice or raised a laugh at the expense of
+    decency. Satire _never_ in his hands degenerated into savagery or
+    scurrility. A moral purpose _ever_ underlaid his humour; he sought
+    to instruct or improve when he amused." Mr. Bates will, we hope,
+    pardon us if we say that this is not quite the fact. George
+    Cruikshank in truth was no better or worse than his satirical
+    brothers, and his tone necessarily improved from the moment he took
+    to illustrating books.
+
+  [3] Since the above was written, strange to say, caricature appears
+    to be showing symptoms of revival.
+
+  [4] "The Fine Arts," by William Hazlett, p. 29.
+
+  [5] "Critical and Historical Essays," vol. iii., p. 574.
+
+  [6] We can scarcely call the wonderful series of historical cartoons
+    which he executed at sixteen _caricatures_, even in the modern sense
+    of the word. Whatever humour they possess is neutralized by the grim
+    irony which, even at this early period, characterized his work.
+
+  [7] "Etching and Etchers," by Philip Gilbert Hamerton, third edition,
+    p. 246.
+
+  [8] Thomas Hood's "Etching Moralized," in _New Monthly Magazine_, 1843,
+    vol. lxvii. p. 4, and _seq._
+
+
+
+
+CHAPTER II.
+
+_MISCELLANEOUS CARICATURES AND SUBJECTS OF CARICATURE, 1800-1811._
+
+
+  PROPOSED METHOD OF ARRANGEMENT.
+
+Although Gillray began his work in 1769,--thirty years before our
+century commenced, and Rowlandson five years later on, in 1774, their
+labours were continued some years after 1799, and are so interwoven, so
+to speak, with the work of their immediate successors, that it is almost
+impossible in a work dealing with nineteenth century caricaturists to
+omit all mention of them. In collecting too materials for the present
+treatise, we necessarily met with many anonymous satires, without
+signature, initials, or distinguishing style, which may be, and some of
+which are probably due to artists whose pencils were at work before the
+century began. Even if equal in all cases to the task of assigning these
+satires to the particular hands which designed and executed them, we
+submit that little real service would be rendered to the cause of
+graphic satire. It appears to us therefore that the most convenient
+method will be to indicate in this and the following chapters _some_ of
+the leading topics of caricature during the first thirty years of the
+century, and to cite in illustration of our subject such of the work of
+anonymous or other artists, for which no better place can be assigned in
+other divisions of the work.
+
+[Illustration:
+  JAMES GILLRAY. _June 20th, 1789._
+
+  SHAKSPEARE SACRIFICED, OR THE OFFERING TO AVARICE.
+
+  Alderman Boydell, as High Priest within the magic circle, preparing an
+  oblation to Shakspeare; the demon of Avarice, seated upon the List of
+  Subscribers, hugging his money-bags; Puck on his shoulders blowing
+  bubbles of "immortality" to the promoter of the "Gallery" about to be
+  published. Shakespeare himself, obscured by the Aldermanic fumes.
+  Figures of Shakspearean characters above.
+
+  _Face p. 12._]
+
+The attention of the public during the first fifteen years of the
+century was mainly directed to the progress and fortunes of the great
+national enemy, Napoleon Bonaparte. The hatred with which he was
+regarded in this country can scarcely be appreciated in these days; and
+in order that the cause of this bitter antipathy may be understood,
+it will be necessary for us to consider Bonaparte's general policy in
+relation to ourselves.
+
+
+  18TH BRUMAIRE.
+
+The close of the century had been signalized in France by the memorable
+revolution of "the eighteenth Brumaire." The Directory had ceased to
+exist, and a provisional consular commission, consisting of "Citizens"
+Sieyes, Ducos, and Bonaparte, was appointed. On the 13th of December,
+the legislative committees presented the new constitution to the nation,
+the votes against it being 1,562 as against 3,012,659 in its favour.
+Bonaparte was nominated first consul for ten, and Cambaceres and Lebrun
+(nominal) second and third consuls for five years.
+
+Although Bonaparte, as soon as he was appointed First Consul, made
+direct overtures to the king of England with a view to peace, he had
+himself to thank if his overtures met with no corresponding return. To
+accomplish the revolution of the "eighteenth Brumaire," he had found it
+necessary to quit Egypt. The English knew the French occupation of Egypt
+was intended as a direct menace to British interests in India. Lord
+Granville, therefore, in his official reply, without assuming to
+prescribe a form of government to France, plainly but somewhat
+illogically intimated that the "restoration of the ancient line of
+princes, under whom France had enjoyed so many centuries of prosperity,
+would afford the best possible guarantee for the maintenance of peace
+between the two countries." This New Year's greeting on the part of Lord
+Granville put an end, as might have been expected, to all further
+communications.
+
+
+  THE FRENCH DRIVEN OUT OF EGYPT.
+
+The French, however, had no business in Egypt, and England was resolved
+at any cost to drive them out of that country. With this object in view,
+the armament under the command of Sir Ralph Abercrombie effected its
+disembarkation at Aboukir on the 8th of March, 1801. A severe though
+indecisive action followed five days afterwards. On the 20th was fought
+the decisive battle of Alexandria. General Hutchinson, on the death of
+the English commander, followed up the victory with so much vigour and
+celerity, that early in the autumn the French army capitulated, on
+condition of being conveyed to France with all its arms, artillery, and
+baggage. The capitulation was signed just in time to save French honour;
+for immediately after the conclusion of the treaty, a second British
+force, under the command of Sir David Baird, arrived from India by way
+of the Red Sea. Bonaparte's favourite project of making Egypt an
+_entrepot_ for the conquest of Hindostan was thus most effectually
+checkmated.[9]
+
+On the 1st of October, 1801, _preliminaries_ of peace between France and
+Great Britain were signed in Downing Street; on the 10th, General
+Lauriston, aide-de-camp to the First Consul, having arrived with the
+ratification of these preliminaries, the populace took the horses from
+his carriage and drew it to Downing Street. That night and the following
+there was a general illumination in London.
+
+The "preliminaries" referred to were those of the very unsatisfactory
+"Peace of Amiens," as it was called. Its terms, by no means flattering
+to this country, were shortly these: France was to retain all her
+conquests; while, on the other hand, the acquisitions made by England
+during the war were to be given up. Malta and its dependencies were to
+be restored (under certain restrictions) nominally to the Knights of St.
+John of Jerusalem; the French were to evacuate Naples and the Roman
+States; and the British Porto Ferrago, and all the ports possessed by
+them in the Mediterranean and the Adriatic.
+
+[Illustration:
+  JAMES GILLRAY. _Sept., 1796._
+
+  A PEEP AT CHRISTIE'S, OR TALLY-HO AND HIS NIMENEY PIMENEY TAKING THE
+  MORNING LOUNGE.
+
+  A study of Lord Derby and Miss Farren (the actress), a few months
+  before their marriage, enjoying the Fine Arts, he studying "The Death
+  of Reynard," she "Zenocrates and Phryne."
+
+  _Face p. 14._]
+
+
+  BONAPARTE ESTABLISHES AN ENGLISH NEWSPAPER IN PARIS.
+
+All this time a violent paper war had been maintained between the
+English press and the _Moniteur_, the official organ of the Consular
+Government. In the month of August, 1802, Bonaparte prohibited the
+circulation of the English newspapers, and immediately after the issue
+of the order, the coffee houses and reading rooms were visited by his
+police, who carried away every English journal upon which they could lay
+their hands. By way of answer to English abuse (to which Napoleon was
+singularly sensitive), the First Consul now established an English
+newspaper in Paris, which was thenceforth unceasingly occupied in
+vilifying the Government and people of England. This paper was called
+_The Argus_, and an Englishman, one Goldsmith,--whilom proprietor of the
+_Albion_ newspaper in London,--was actually found mean enough to
+undertake the peculiarly dirty office of its editor.
+
+The _denouement_ was not long delayed. On the 13th of March, 1803,
+occurred the extraordinary and well-known scene between the First Consul
+and the English ambassador, Lord Whitworth. Bonaparte, in the presence
+of a numerous and astonished Court, vehemently accused England of breach
+of faith in not carrying out the provisions of the treaty, by still
+remaining in possession of Malta. The episode appears to have been of an
+extraordinary character, and the violence and ferocity of Bonaparte's
+language and behaviour, maintained till the very close of the interview,
+must have contrasted strangely with the coolness of the English
+ambassador.
+
+The restoration of Malta to the Knights of St. John was of course a mere
+nominal restitution, for, except in name, the Knights of St. John had
+ceased to exist. The First Consul really wanted the island for himself;
+and while he accused us of breach of faith, was himself acting all the
+while contrary to the spirit of the treaty of Amiens. While requiring
+that we should drive the royalist emigrants from our shores, he demanded
+that the English press should be deprived of its liberty of speaking in
+such frank terms of himself and his policy. His unfriendly conduct did
+not end here. At this very time he was actively employed in fomenting
+rebellion in Ireland, and in planting (under the nominal character of
+consuls) spies along our coast, whose treacherous objects were
+accidentally discovered by the seizure of the secret instructions issued
+to one of these fellows at Dublin. "You are required," said this
+precious document, "to furnish a plan of the ports of your district,
+with a specification of the soundings for mooring vessels. If no plan of
+the ports can be procured, you are to point out with what wind vessels
+can come in and go out, and what is the greatest draught of water with
+which vessels can enter the river deeply laden."
+
+Still there was no actual breach of the nominal peace between the two
+countries until the 12th of May, on which day Lord Whitworth left Paris.
+He landed at Dover on the 20th, meeting there General Audreossi,
+Napoleon's minister to the English Court, on the point of embarking for
+France.
+
+
+  ENGLAND DECLARES WAR.
+
+For two days before, that is to say on the 18th of May, 1803, England
+had issued her declaration of war against France. In this document, our
+government alleged that the surrender of Malta to the knights of St.
+John of Jerusalem had been rendered impossible by the action of France
+and Spain, who had destroyed the independence of the Order itself.
+Reference was made to Bonaparte's attempts to interfere with the liberty
+of the English press, and the indignities he had offered to our
+ambassador; but the real ground of quarrel was to be found in an
+official gasconade of Bonaparte's, in which he declared that "Britain
+could not contend single handed against France," a vainglorious boast,
+which (in those days at least) touched a chord which thrilled the
+patriotic feelings of every Englishman that loved his country.
+
+Napoleon's next step--a simply detestable action--was quite in
+accordance with the faithless policy which he pursued towards this
+country. The treaty of Amiens had induced crowds of English to cross the
+Channel, and on the specious pretext that two French ships had been
+captured prior to the actual declaration of war, he issued a decree on
+the 22nd of May, 1803, for the arrest and imprisonment of all Englishmen
+in France, over eighteen and under sixty years of age, all subjects of
+the king of England between those ages being considered, for the purpose
+of this outrageous order, _as forming part of the English militia_. This
+measure was carried out with the utmost rigour, and the eleven thousand
+English who thus became prisoners of war were deprived of their liberty
+fifteen years, and regained it only in 1814.
+
+[Illustration:
+  JAMES GILLRAY. _January 11th, 1796._
+
+  TWOPENNY WHIST.
+
+  Mistress Humphrey and Betty, of St. James' Street, their neighbour
+  Mortimer (a well-known picture dealer) and a German guest.
+
+  [A satire, by contrast, on the high stakes of "White's" and
+  "Boodle's."]
+
+  _Face p. 16._]
+
+
+  ENGLISH ENTHUSIASM.
+
+The feeling of the nation at this time may be judged by the debates in
+the Houses of Parliament. In the Commons, Mr. Grey moved an
+amendment, which, while it assured His Majesty of support in the war,
+expressed _disapprobation of the conduct of Ministers_. This amendment
+was rejected by 398 to 67. The unanimity in the Lords was still greater.
+The official statement that England was unable to contend single-handed
+with France produced a violent outburst of indignation, and the
+amendment moved by Lord King, to omit words which charged France with
+the actual guilt and responsibility of breaking the treaty, was
+negatived by 142 to 10. This was on the 23rd of May. On the 20th of June
+a great meeting was held at Lloyds, for the purpose of promoting a
+subscription for carrying on the war. Six days later on, five thousand
+merchants, bankers, and other persons of position met at the Royal
+Exchange, and unanimously agreed to a declaration which expressed their
+determination to "stand or fall with their king and country." This
+resolution or declaration was seconded by the Secretary to the East
+India Company, and the meeting did not separate until "God save the
+King" and "Rule Britannia" had been sung, and nine cheers had been given
+for England and King George. On the 26th of August, His Majesty reviewed
+the London volunteers in Hyde Park, in the presence of the French
+princes, General Dumouriez, and two hundred thousand spectators; this
+military spectacle being followed on the 28th by a review, in the same
+place, of the Westminster, Lambeth, and Southwark corps. The number of
+volunteers actually enrolled in the metropolis and outparishes at this
+time was forty-six thousand.
+
+The following year saw the final end of the great French Revolution; the
+names of the puppet "second" and "third" consuls had been long omitted
+from the public acts of the French Government. The motives of this
+omission were soon abundantly apparent; and in the month of May, 1804,
+Bonaparte was proclaimed Emperor of the French.
+
+Some writers have doubted whether Napoleon entertained any serious
+intention of invading this country; but to doubt such intention would be
+really to doubt whether Nelson fell at Trafalgar, for that crushing
+defeat was simply the sequel and outcome of the collapse of the
+emperor's plans. The details of the invasion scheme were fully explained
+to General Sir Neil Campbell by Napoleon himself at Elba, in 1814, and
+afterwards confirmed by him in precisely similar terms to O'Meara at St.
+Helena. Those plans were defeated by the suspicions and vigilance of
+Lord Nelson; by his habit of acting promptly upon his suspicions; by the
+alacrity with which the Admiralty of the day obeyed his warnings; by the
+prescience of Lord Collingwood; and by the consequent intercepting of
+the combined French and Spanish fleets off Ferrol by Sir Robert Calder,
+in July, 1806. The moment this happened, Napoleon saw that his game--so
+far at least as England was concerned--was at an end; and fertile in
+resources, he immediately carried out the second part of his programme.
+Then followed, as we know, the campaign of Austerlitz, the treaty of
+Presburg, the war with Prussia, and finally the battle of Jena, in
+October, 1806.
+
+
+  BERLIN DECREE.
+
+Ever bent on humiliating and crippling the resources of England,
+Napoleon on the 1st of November, 1806, issued his memorable "Berlin
+Decree," containing eleven clauses, of which this country formed the
+exclusive topic. By it, all trade and correspondence with the British
+Isles was prohibited; all letters and packets at the post office,
+addressed to England, or to an Englishman, or "written in English," were
+to be seized; every subject of England found _in any_ of the countries
+occupied by French troops or those of their allies, was to be made
+prisoner of war; all warehouses, merchandise, and property belonging to
+a subject of England were declared lawful prize; all trading in English
+merchandise forbidden; every article belonging to England, or coming
+from her colonies, or of her manufacture, was declared good prize; and
+English vessels were excluded from every European port.[10] This
+outrageous "decree" Bonaparte imposed upon every country that fell under
+the iron sway of his military despotism.
+
+[Illustration:
+  NAPOLEON FORTY-EIGHT HOURS AFTER LANDING.
+
+  "Ha, my little Boney! what dost think of Johnny Bull now? Plunder Old
+  England, hay? Make French slaves of us all, hay? Ravish all our wives
+  and daughters, hay? O, Lord help that silly head! To think that Johnny
+  Bull would ever suffer those lanthorn jaws to become King of Old
+  England's Roast Beef and Plum Pudding!"]
+
+[Illustration:
+  JOHN BULL OFFERING LITTLE BONEY FAIR PLAY.
+
+  BONAPARTE--"I'm a-coming! I'm a-coming!"
+
+  JOHN BULL--"You're a-coming!
+            If you mean to invade us, why make such a route?
+            I say, Little Boney,--why don't you come out?
+            Yes, d---- you, why don't you come out?"
+
+  FIGURES FROM GILLRAY'S NAPOLEONIC CARICATURES.
+
+  _Face p. 18._]
+
+
+  BASE POLICY OF BONAPARTE.
+
+The policy, therefore, of the emperor towards England, which was
+contrary to all the usages of civilized warfare, will explain the
+bitter animosity with which he was regarded in this country. The English
+were molested everywhere; they were made prisoners at Verdun and in
+Holland; their property was confiscated in Portugal; Russia was cajoled,
+Prussia forced into a league against them, and Sweden menaced, because
+she persisted in maintaining her alliance with this country. The "Berlin
+Decree" was an infamous document, worthy rather the policy of a bandit
+chief than of a fair and honourable antagonist. It proclaimed war not
+against individuals, but against private property, and specially
+appealed to the cupidity of those to whom it was addressed. This base
+policy towards English subjects recoiled inevitably against its
+perpetrator; and its effects were soon felt in the fields of the
+Peninsula, the banishment to Elba, and above all, in the final
+consignment to the rock of St. Helena. We, on our part, ignored
+Bonaparte's right to the title of emperor. With us, he was invariably
+"General Bonaparte," and nothing more; and in the graphic lampoons of
+Gillray, Rowlandson, and Cruikshank, he was exhibited under the most
+ludicrous circumstances in connection with the divorce, the defeats of
+Russia and the Peninsula, and even the paternity of his son the young
+king of Rome. These caricatures were brought to his notice by his spies
+and emissaries in England; they rendered him furious; and one of
+them--Gillray's admirable and, as it subsequently proved, prophetic
+satire of _The Handwriting on the Wall_--is said to have given him not
+only offence, but even serious uneasiness.
+
+The tone of the English caricaturists may be gathered from one of the
+best of Woodward's satires, published in 1807. It is entitled _A
+Political Fair_, in which the various shows are labelled Russian,
+Danish, Swedish, Westphalian, Austrian, Dutch, Spanish, and even
+American. The best show in the fair is kept of course by John Bull &
+Co., whilst Bonaparte is the proprietor of a humble stall, whereat
+gingerbread kings and queens are sold wholesale and retail by his
+Imperial Majesty.[11] The same artist, in another but distinctly
+inferior satire (published in November, 1807), gives us _The Gallick
+Storehouse for English Shipping_: on one side we see Napoleon
+accumulating vast stores of Spanish, Danish, Dutch, and Swedish vessels,
+intended to annihilate the naval power of England--the shipbuilder,
+however, shrugs his shoulders and suggests it is but time thrown away,
+for as fast as the ships are built, John Bull "claps them into his
+storehouse over the way." The satire was suggested of course by the
+victory of Trafalgar in October, 1805; by Sir J. Duckworth's capture of
+French shipping in January, 1806; and by the surrender of the Danish
+fleet after the bombardment of Copenhagen, in September, 1807.[12]
+
+
+  BATTLE OF BAYLEN.
+
+In a caricature published by Walker in 1808, we see Joseph Bonaparte
+(one of these Imperial ginger-bread monarchs) driven from Madrid by
+Spanish flies; the satire is entitled _Spanish Flies, or Boney taking an
+Immoderate Dose_, and has reference to the results of the Battle of
+Baylen, in Andalusia, one of the _very_ few victories ever obtained by
+the Spaniards against the French, where a division of 14,000 men
+surrendered to Castanos. This was on the 20th of July, and nine days
+afterwards Joseph retreated to Burgos with the crown jewels. The
+wretched Spaniards, however, were incapable of improving their victory;
+and General Castanos instead of following up the retreating enemy, went
+to Seville to fulfil a vow he had made of dedicating his unexpected
+victory to St. Ferdinand, on whose tomb he deposited the crown of laurel
+presented to him by his grateful countrymen. Of the Bonaparte
+caricatures of this year, no less than nineteen are due to the pencil of
+Thomas Rowlandson, and will be found fully described in Mr. Joseph
+Grego's exhaustive work[13] upon that artist and his works.
+
+[Illustration:
+  THE KING OF BROBDINGNAG AND GULLIVER.]
+
+[Illustration:
+  TALLEYRAND, KING-AT-ARMS, BEARING HIS MASTER'S GENEALOGICAL TREE,
+  SPRINGING FROM BUONE, BUTCHER.]
+
+[Illustration:
+  NAPOLEON IN HIS CORONATION ROBES.
+
+  FIGURES FROM GILLRAY'S NAPOLEONIC CARICATURES.
+
+  _Face p. 20._]
+
+The year 1809 witnessed the divorce from Josephine, and the marriage of
+the emperor to Marie Louise. The purposes for which this matrimonial
+alliance was effected were made no secret of by the emperor, and were
+indicated of course in the plainest possible terms by the English
+contemporary caricaturists, who were certainly not troubled with any
+unnecessary scruples of prudery or delicacy. One of these satires,
+published by Tegg, on the 16th of August, 1810, is entitled _Boney and
+his New Wife, or a Quarrel about Nothing_, and indicates in the plainest
+possible terms that the purposes for which the divorce had been effected
+were as distant as ever. The result of this union, however, was the
+birth of the young king of Rome on the 20th of March, 1810, an event
+which set the pencils of our pictorial satirists once more in motion,
+and the young heir and his father were complimented by Rowlandson in a
+rough caricature, published by Tegg on the 9th of April, 1811, as _Boney
+the Second, the little Babboon [sic] created to devour French Monkies_.
+
+
+  BATTLE OF BAROSSA.
+
+In March, 1811, was fought the battle of Barossa; while the same month
+Massena, finding it difficult to maintain his army in a devastated
+country, instead of fulfilling his vain-glorious boast of driving "the
+English into their native element," began his own retreat from Santarem,
+abandoning part of his baggage and heavy artillery. Marching in a solid
+mass, his rear protected by one or two divisions, he retired towards the
+Mondego, preserving his army from any great serious disaster, though
+watchfully and vigorously pursued by Lord Wellington. The skilful
+generalship of the French marshal elicited of course no encomiums from
+the English caricaturists. On the contrary, we see (in "The Scourge" of
+1st May, 1811) Wellington in the act of basting a French goose before a
+huge fire, a British bayonet forming the spit. While basting the goose
+with one hand, the English general holds over the fire in the other a
+frying-pan filled with French generals, some of whom--to escape the
+overpowering heat--are leaping into the fire; another British officer
+(probably intended for General Graham) blows the flames with a pair of
+bellows labelled "British bravery." Napoleon appears in a stew-pan over
+an adjoining boiler, while we find Marshal Massena himself in a
+pickle-jar below. This satire is entitled, _British Cookery, or Out of
+the Frying-pan into the Fire_.
+
+
+  NAPOLEON'S STAR BEGINS TO WANE.
+
+The star of Napoleon was beginning to wane in 1812. The snow made its
+first appearance in Russia on the 13th of October of that year, and the
+French emperor already commenced his preparations for retreat. This is
+referred to in a very clever caricature published by Tegg on the 1st of
+December, 1812, wherein we find _General Frost shaving Boney_ with a
+razor marked "Russian steel." Napoleon stands up to his knees in snow,
+and out of the nostrils of the snow fiend [General Frost] issue blasts
+labelled "North," "East," "Snow," and "Sleet." Seven days later on, we
+meet with a roughly-executed cartoon, _Polish Diet with French Dessert_,
+wherein we see Napoleon basted by General Benningsen, the spit being
+turned by a Russian bear. This caricature, no doubt, has reference to
+the disastrous defeat by Benningsen of the French advanced guard, thirty
+thousand strong, under Murat, on the 18th of October, 1812, when fifteen
+hundred prisoners, thirty-eight cannon, and the whole of the baggage of
+the corps, besides other trophies, fell into the victors' hands.
+
+The retreat from Moscow is referred to in a satire published by Thomas
+Tegg on the 7th of March, 1813, labelled, _The Corsican Bloodhound beset
+by the Bears of Russia_; wherein Napoleon is represented as a mongrel
+bloodhound with a tin kettle tied to his tail, closely pursued by
+Russian bears. Various papers are flying out of the kettle, labelled
+"Oppression," "Famine," "Frost," "Destruction," "Death," "Horror,"
+"Mortality," "Annihilation." "Push on, my lads," says one of the
+pursuers. "No grumbling; keep scent of him; no sucking of paws this
+winter, here is food for the bears in all the Russias." The emperor, in
+truth, had the narrowest escape from being made a prisoner by the
+Cossacks, a fact alluded to in another caricature published by Tegg in
+June, 1813, entitled, _Nap nearly Nab'd, or a Retreating Jump just in
+time_. Here, the emperor and one of his marshals are depicted leaping
+out of window, at the very moment when a Cossack with his lance appears
+outside the palings. "Vite," says the marshal, in the peculiar _patois_
+adopted by the English caricaturists of the early part of the century,
+"Courez, mon Empereur, ce Diable de Cossack, dey spoil our dinner!!!"
+
+
+  THE BULLETIN.
+
+Napoleon collected his marshals around him at Smorgoni, on the 5th of
+December, 1812, and dictated a bulletin which developed the horrors of
+the retreat, and explained to them his reasons for returning to Paris.
+"I quit you," he said, "but go to seek three hundred thousand men." He
+then proceeded to lay the blame on the King of Westphalia, and his
+trusted and tried friend the Duc d'Abrantes; alleged that English
+torches had turned Moscow into a heap of ashes; and added (with greater
+truthfulness) that the cold had done the rest of the mischief. He
+entrusted the command to Murat, and bidding them farewell set out,
+accompanied only by Generals Coulaincourt, Duroc, and Mouton, the
+Mameluke Rustan, a captain of the Polish lancers, and an escort of
+Neapolitan horsemen. This event is referred to in a caricature,
+published by S. W. Fores on the 1st of January, 1813, entitled, _Boney
+returning from Russia covered with Glory, leaving his army in
+comfortable winter quarters_. Napoleon and Coulaincourt are seated in a
+sleigh driven by another general in jack boots, with a tremendous cocked
+hat on his head, a huge sword by his side, and a formidable whip in his
+hand. Coulaincourt inquires, "Will your Majesty write the bulletin?"
+"No," replies Napoleon; "you write it. Tell them we left the army all
+well, quite gay; in excellent quarters; plenty of provisions; that we
+travelled in great style; received everywhere with congratulations; and
+that I had almost completed the _repose_ of Europe" (a favourite
+expression of his). By way of contrast to these grandiloquent phrases,
+the eye is attracted to the surroundings. The ground is thickly coated
+with snow; in the foreground, two famished wretches cut and devour raw
+flesh from a dead horse. On all sides lie dead and dying men and
+animals, while in the distance we behold the flying and demoralized
+troops chased by a cloud of Cossacks. The English caricaturists follow
+the emperor into the sanctity of his private life; they depict in their
+own homely but forcible fashion the astonishment of the empress at his
+unexpected return, and the disgust of young "Boney the Second," who not
+only expresses surprise that his imperial sire had forgotten his promise
+to "bring him some Russians to cut up," but suggests that they seem to
+have "cut _him_ up" instead. These incidents are described in a satire
+entitled, _Nap's Glorious Return; or, the Conclusion of the Russian
+campaign_, published by Tegg, in June, 1813.
+
+The crushing defeat of Vitoria, the crowning disaster of
+Leipzig--sustained the same year, the subsequent abdication of
+Bonaparte, the return from Elba, the brief incident of the "hundred
+days," the catastrophe of Waterloo, and the subsequent consignment of
+the great emperor to St. Helena, form of course the subjects of a host
+of graphic satires. Foremost amongst them (for Gillray's intellect was
+gone), must be mentioned the caricatures of Thomas Rowlandson and of
+George Cruikshank. The first being fully described in Mr. Grego's work,
+we are not called on to mention them here, while the last will be fully
+set out when we come to treat of the caricature work of George
+Cruikshank.
+
+
+  FRENCH ROYALIST SATIRES.
+
+The French royalist satirists of course expressed their views on the
+situation. A French royalist caricature, published after Waterloo,
+represents Napoleon as a dancing bear forced to caper by England, his
+keeper, who makes an unsparing use of the lash, whilst Russia and Prussia
+play pipe and drum by way of music. A good answer, however, to this is
+found in a French caricature (published in the Napoleon interest), like
+most of the French satires of that period without date, entitled,
+_L'apres dinee des Anglais, par un Francais prisonnier-de-guerre_, which
+satirizes the after-dinner drinking propensities of the English of the
+period. The caricature, although neither flattering nor altogether
+decent, is probably not an exaggerated picture of English after-dinner
+conviviality while the century was young.
+
+[Illustration:
+  GILLRAY. _"Royal Affability," Feb. 10th._
+
+  "Well, friend, where a' you going, hay? What's your name, hay? Where
+  do you live, hay?--hay?"]
+
+[Illustration:
+  GILLRAY. _Connoisseur examining a Cooper June 18th, 1792._
+
+  A CONNOISSEUR IN ART.]
+
+[Illustration:
+  GILLRAY. _"A Lesson in Apple Dumplings."_
+
+  "Hay? hay? apple dumplings?--how get the apples in?--how? Are they
+  made without seams?"
+
+  _Face p. 24._]
+
+By far the most biting, the most sarcastic, the most effective, and the
+most popular of the anti-Bonaparte caricatures are those by James
+Gillray, which commence before the close of the last century, and end in
+1811, the year when the lurid genius of this greatest and most original
+of satirists was quenched in the darkness of mental imbecility. James
+Gillray, however, like his able friend and contemporary, Thomas
+Rowlandson, does not fall within our definition of a "nineteenth
+century" satirist; and I am precluded from describing them. I have
+before me the admirable anti-Bonaparte satires of both artists; and
+inseparably linked as they are with the men who began work after 1800,
+the almost irresistible tendency is to describe some of them in
+elucidation of the events to which I have occasion to refer. To do so,
+however, although fascinating and easy, would be not only to wander from
+my purpose, but to invade the province of the late Thomas Wright and of
+Mr. Grego, which I am not called upon to do; to refer to them, however,
+for the purpose of this chapter, I have found not only necessary, but
+unavoidable.
+
+
+  INJUSTICE OF THE CARICATURISTS.
+
+  THEY MISTAKE THE CHARACTER OF BONAPARTE.
+
+Caricature, like literary satire (as we all know from the days of the
+"Dunciad" downwards), has little concern with justice; but we who look
+back after the lapse of the greater part of the century, and have
+moreover studied the history and the surroundings of Napoleon Bonaparte,
+may afford at least to do him justice. Gillray is a fair exponent of the
+intense hatred with which Bonaparte was regarded in this country, when
+not only the little "Corsican," but those about him, were held up to a
+ridicule which, oftentimes vulgar, partook not unfrequently of absolute
+brutality. Who would imagine, for instance, that the fat blousy female
+quaffing deep draughts of Maraschino from a goblet, in his famous satire
+of the _Handwriting on the Wall_, was intended for the refined and
+delicate Josephine? Occasionally, however, James Gillray descended to a
+lower depth, as in his _Ci Devant Occupations_ (of 20th February, 1805),
+in which we see this delicate woman, with the frail but lovely Spaniard,
+Theresa de Cabarrus (Madame Tallien), figuring in a manner to which the
+most infamous women of Drury Lane would have hesitated to descend.
+Josephine de la Pagerie, as we all know, was anything but blameless;
+which indeed of _les Deesses de la Revolution_ could pass unscathed
+through the fiery furnace of the Terror?[14] But this miscalled satire
+of James Gillray, which he dubs "a fact," is nothing less than a
+poisonous libel. As for _le petit Caporal_ himself, everyone now knows,
+that while he viewed the carnage of the battlefield with the
+indifference of a conqueror, he shrank in horror from the murderers of
+the Swiss; from Danton and his satellites, the Septembrist massacrists;
+from the mock trials and cold-blooded atrocities of the Terrorists.
+Standing apart from these last by right of his unexampled genius, with
+Danton, Marat, Robespierre, Couthon, Carrier, Napoleon Bonaparte has
+nothing whatever in common. Looking back upon the ruins of his empire,
+the mistakes he had made, the faults he had committed, Napoleon, with
+reference at least to his own personal elevation, might say with truth:
+"Nothing has been more simple than my elevation. It was not the result
+of intrigue or _crime_. It was owing to the peculiar circumstance of the
+times, and because I fought successfully against the enemies of my
+country. What is most extraordinary is, that I rose from being a private
+person to the astonishing height of power I possessed, without having
+committed a single crime to obtain it. If I were on my death-bed I could
+make the same declaration."[15]
+
+To these facts, of course, James Gillray (if indeed he knew them) closed
+his eyes. In his sketch of the 12th of May, 1800, he shows us the young
+lieutenant at the head of tattered legions directing the destruction of
+the royal palaces. Blinded by the prejudice of his times, he seems
+apparently ignorant of the fact that Napoleon although a _spectator_ of
+the attack on the Tuileries, had no power; that if he had, he would (as
+he himself expressed it at the time) have swept the sanguinary
+_canaille_ into the gutters with his grape shot. Again, in his satires,
+he connects him repeatedly with the guillotine, to all appearance
+unconscious of the fact that between Napoleon and the guillotine no
+possible sympathy existed.
+
+       *       *       *       *       *
+
+[Illustration:
+  JAMES GILLRAY.  _June 28th, 1791._
+
+  THE NATIONAL ASSEMBLY PETRIFIED, AND THE NATIONAL ASSEMBLY REVIVIFIED.
+
+  1. BARBER--"De King is escape! de King is escape!"
+
+  2. COOK.--"Aha! be gar, de King is retaken!! Aha! Monsieur Lewis is
+  retaken, aha!!"
+
+  [_The French Revolution._]
+
+  _Face p. 26._]
+
+
+  ROBERT DIGHTON'S SKETCHES.
+
+A good idea of the appearance and costume of "the general" and
+notables of the early part of the century, is given by the sketches of
+the last century artist, Robert Dighton. His etchings are not
+caricatures, as may be supposed, but likenesses of the _oi polloi_--the
+university dons--the prize-fighters--the butchers--the
+singers--actors--actresses--the men about town ("Corinthians," as they
+were termed in the slang of the Regency)--the "upper ten"; and what
+amazingly queer folks were these last! The Duke of Grafton, with his
+tremendous beak, wig, and cocked hat, his mahogany tops and spurs, his
+long coat with the flapped pockets and his star; the Marquis of
+Buckingham, with his red fat face and double chin, which told tales of
+nightly good cheer, his cocked hat, military coatee, and terrific
+paunch, which resisted all attempts to confine it within reasonable
+military compass; John Bellingham--the murderer of Spencer
+Perceval,--with his retreating forehead, long pointed nose, drab cloth
+coat and exuberant shirt frill; "What? What? What?"--Great George
+himself, as he appeared in 1810, in full military panoply--huge
+ill-fitting boots, huge blue military coat, collar, lappets, and star, a
+white-powdered bob surmounting a clean-shaved unintellectual face, the
+distinguishing characteristics of which were a pair of protruding eyes
+surmounted by ponderous eyebrows.
+
+A well-drawn caricature published by S. W. Fores on the 11th of May,
+1801, gives us an admirable idea of the male and female costume of the
+period. It contains sixteen figures, and is entitled _Tea just Over, or
+the Game of Consequences begun_. "Consequences" would appear to have
+been a fashionable game at this time; but the "consequences" here
+alluded to are the immediate results of a pinch of snuff. The
+"consequences" of one gentleman sneezing are the following: he jerks the
+arm of the lady next him, the result being that she pours her cup of
+scalding hot tea over the knees of her neighbour, a testy old gentleman,
+who in his fright and pain raises his arms, jerking off with his cane
+the wig of a person standing at the back of his chair, who in the
+attempt to save his wig upsets his own cup and saucer upon the pate of
+his antagonist Another guest, with his mouth full of tea, witnessing
+this absurd _contretemps_ is unable to restrain his laughter, the
+result of which is that he blows a stream of tea into the left ear of
+the man who has lost his wig, at the same time setting his own pigtail
+alight in the adjoining candle. All these disasters, passing in rapid
+succession from left to right, are the direct "consequences" of one
+unfortunate pinch of snuff.
+
+
+  MASTER BETTY.
+
+The year 1804 witnessed the advent of a performer whose theatrical
+reputation, notwithstanding the wonderful sensation it created for a
+couple of seasons, was not destined to survive his childhood. The brief
+_furore_ he excited, enabled his friends to lay by for him a
+considerable fortune, which enabled him to regard the memory of his
+immature triumphs and subsequent failures with resignation. Master
+Betty, "the Young Roscius," was not quite thirteen years of age when he
+made his first appearance at Covent Garden on the 1st of December, 1804,
+as Achmet in _Barbarossa_. He played alternately at the two great
+houses; twenty-eight nights at Drury Lane brought L17,210 into the
+treasury, whilst the receipts at Covent Garden during the same period
+are supposed to have been equally large. A rough caricature of 1804,
+bearing the signature "I. B.," depicts the child standing with one foot
+on Drury Lane and the other on Covent Garden, with a toy whip in one
+hand and a rattle in the other, while two full-grown actors of real
+merit bemoan the decadence of public taste on the pavement below. Some
+years later on the pair might have said with Byron,--
+
+  "Though now, thank Heaven! the Rosciomania's o'er,
+   And full-grown actors are endured once more."[16]
+
+The leading home political incident of 1806 was the impeachment and
+acquittal of Lord Melville, an event which is dealt with by Gillray, and
+also by Rowlandson in his graphic satire of _The Acquittal, or Upsetting
+the Porter Pot_, both artists alluding to Whitbread, the brewer, the
+head of the advanced Liberals, and one of the principal movers of Lord
+Melville's impeachment.
+
+[Illustration:
+  T. ROWLANDSON. _October 25th, 1810._
+
+  "SPITFIRES."
+
+  _Back to p. 28._]
+
+[Illustration:
+
+  T. ROWLANDSON. 1813.
+
+  "THE COBBLER'S CURE FOR A SCOLDING WIFE."
+
+  _Back to p. 29._]
+
+
+  INTRODUCTION OF GAS.
+
+Gas, which now promises to be superseded in its turn by electricity, was
+introduced into Boulton & Watts' foundry, at Birmingham, as early as the
+year 1798, and the Lyceum Theatre was lit with gas (by way of
+experiment) in 1803; it met however with much opposition from persons
+interested in the conservation of the oil trade, and made no real
+progress in London until 1807, when it was introduced into Golden Lane
+on the 16th of August. Pall Mall, however, was not lighted with gas
+until 1809, and it was really not finally and generally introduced into
+London until the year 1820. We meet with an excellent satire published
+by S. W. Fores, in 1807, wherein a harlequin is depicted sitting on a
+rope suspended between a couple of lamp posts. The lamps and the hat of
+the figure are garnished with lighted burners; the neighbours in the
+windows of the adjoining houses, the people on the pavement below, the
+fowls, the dogs, the cats on the roofs, are suffocated with the noxious
+vapour. The figure holds in his hand a paper, whereon we read, "This is
+the speculation to make money, L10,000 per cent. profit all in
+_Air_-light air. 'Tis there, 'tis here, and 'tis gone for ever." This
+caricature bears the title of _The Good Effects of Carbonic Gas_. A
+caricature of Woodward, engraved by Rowlandson, and published by
+Ackermann on the 23rd of December, 1809, gives us _A Peep at the Gas
+Lights in Pall Mall_, the interest of which chiefly centres in the
+eccentric form of the early street lamps. Among the groups looking on
+are a wondering "country cousin" and a "serious" companion. "Ay,
+friend," says the latter, anxious of course, in season and out of
+season, to turn the occasion to profitable account, "verily it is all
+vanity! What is _this_ to the _inward light_?" Some more disreputable
+members of the community are expressing their fears that the new light
+will interfere with their own peculiar modes of livelihood.
+
+A clever and somewhat remarkable woman succeeded in achieving an
+unenviable notoriety in 1809. The daughter of a printer residing in Bowl
+and Pin Alley, near White's Alley, Chancery Lane, the remarkably
+intelligent girl had early attracted the notice of friends, one of whom
+placed her at a boarding school, where she picked up an education (such
+as it was) sufficient to sharpen her natural abilities. Her commencement
+in life was scarcely a hopeful one. Mary Anne Thompson eloped at
+seventeen years of age with one Joseph Clarke, the son of a builder on
+Snow Hill, and after living with him three years married him. The
+marriage was not a happy one. The pair after some years separated, and
+Mary Anne was thenceforth driven to trust for her support to her own
+resources and attractions.
+
+
+  MARY ANNE CLARKE.
+
+These proved fully equal to the occasion. Somewhat small in stature,
+nature had nevertheless endowed her with a remarkably well turned
+figure, well shaped arms, comely features, a singularly clear
+complexion, and blue eyes full of light and vivacity. Dressing with
+considerable taste and elegance--utterly shameless--without principle or
+character, with nothing to lose--everything to gain, the woman was
+eminently fitted to succeed in the peculiar path in life she had elected
+to follow. Throwing her line with all the dexterity of an accomplished
+angler, she succeeded almost at her first cast in hooking a very large
+fish indeed--his Royal Highness Frederick Duke of York,
+Commander-in-chief, Prince-bishop of Osnaburgh, who had attained at this
+time the respectable age of forty-six years.
+
+Mary Anne proved, as might have been expected, an expensive plaything.
+In the short space of two years, the duke seems to have handed his
+mistress upwards of L5,000, besides expending on her in payments to
+tradesmen for wine, furniture, and other "paraphernalia," at least
+L16,000 or L17,000 more. In time, as is not unusual in matters of this
+kind, the duke seems to have grown tired of his enslaver, and
+endeavoured to pension her off with an annuity of L400 a year; but with
+the niggardliness which was so distinguishing a characteristic of his
+family, payment was not only withheld, but when the woman applied for
+payment, the duke was mean and foolish enough to threaten her with
+prison and the pillory. Mrs. Clarke, a woman of genius and resource,
+instead of being frightened, straightway betook herself to Messrs.
+Wilberforce and Whitbread, the supporters of the impeachment of Lord
+Melville, and confessed to them certain irregularities of which she had
+been guilty.
+
+Into the unsavoury revelations of Mary Anne Clarke, her traffic in the
+sale of military commissions, and still worse, in a system of
+ecclesiastical patronage in which she alleged his Royal Highness
+connived, we need not enter. They are set out as far as is necessary in
+Mr. Grego's book, and also in Mr. Wright's treatise on James Gillray and
+his works. Suffice it to say, that all these miserable exposures would
+have been saved, had the duke, instead of seeking to save his pocket,
+paid the annuity to which the woman was entitled. If by resigning, he
+thought to silence his unscrupulous persecutor, he was quickly and
+unpleasantly undeceived. The clever, unscrupulous woman had reserved her
+trump-card to the last. All this time she had been engaged in preparing
+her "Memoirs," comprising not only the history of her transactions with
+his Royal Highness, but a series of his letters, containing, it is said,
+anecdotes of illustrious personages of the most curious and _recherche_
+description. The immediate publication of these "Memoirs" having been
+announced to his Royal Highness, the duke was driven in spite of himself
+to effect an arrangement. For a payment of L7,000 down, an annuity of
+L400 for her own life, and one of L200 for each of her daughters, the
+printed "Memoirs" (eighteen thousand copies) were destroyed, the
+publication suppressed, and above all the terrible private
+correspondence duly surrendered.
+
+The mover of the committee of inquiry was one Wardle, colonel of a
+militia regiment, who for a very brief space of time was permitted to
+figure as a patriot; that he was a mere instrument in the hands of other
+persons seems now abundantly clear. No sooner had Mary Anne Clarke
+landed his Royal Highness, than she fixed her hook in the jaws of the
+luckless colonel, who, tool as he was, proved to be by no means a sharp
+one. It is obvious a woman of Mrs. Clarke's character would be the last
+person to open her lips, unless it was made clear to her that it would
+be worth her while to do so. Her go-between in the transaction was a
+certain "Major" Dodd. Wardle gave Mrs. Clarke L100 for present
+necessities, and by way of earnest of more liberal promises which seem
+afterwards to have been repudiated by his employers. Through Major Dodd,
+the clever, unprincipled woman secured a house in Westbourne Place,
+which she furnished in a style of comfortable elegance, and succeeded by
+her blandishments in swindling Wardle into becoming security for her
+furniture. The inevitable result of course followed. On the 3rd July,
+1809, Wright, the upholsterer, brought his action against Wardle and
+recovered L1,400 damages,[17] besides costs, "for furniture sold to the
+defendant to the use of Mary Anne Clarke." The colonel, like the
+commander-in-chief, thus found himself not only out-manoeuvred by his
+clever and unscrupulous ex-ally, but reaped the obloquy attendant on
+exposure and ridicule, instead of the glorification which had at first
+greeted his patriotic exertions.
+
+Mary Anne Clarke and the Duke of York, afforded (as might have been
+expected) plenty of employment to the caricaturists. The theme, however,
+is treated too grossly for description, a subject to be regretted, as
+most of the satires, containing as they do admirable portraits of the
+principal personages, are exceedingly clever. The subject suited an
+artist who delighted in delineating the immodest and full-blown beauties
+of Drury Lane; and accordingly, more than forty caricatures on the
+subject of "The Delicate Investigation," as it was called, are due to
+the pencil of Thomas Rowlandson.
+
+
+  THE END OF MARY ANNE CLARKE.
+
+In order to show the character of this infamous woman, we must follow
+her progress a little farther than either Mr. Grego or Mr. Wright appear
+to have done. In February, 1814, she once more made a public appearance:
+this time in the Court of Queen's Bench. She seems to have got the Right
+Hon. William Fitzgerald, Chancellor of the Irish Exchequer, by some
+means or other into her clutches, in connection with the proceedings of
+1809. By this time, however, she had descended so low, that exposure was
+threatened unless a sum of money was deposited under a stone. In her
+threats, she announced her intention of "submitting to the public in a
+very short time _two or three volumes_, which might be followed by
+others as opportunity should suit or circumstances require." This
+threat, instead of extorting money, consigned Mary Anne to the custody
+of the marshal of the King's Bench Prison for the space of nine calendar
+months, at the end of which period she was ordered to find securities to
+keep the peace for a space of three years. It might have gone harder
+with the brazen woman if the proceedings had taken any other form than
+that of an indictment for libel, and if she had not admitted her fault,
+and in some measure thrown herself upon the mercy of the court. The
+pages of history do not appear to be sullied with the intrusion of Mary
+Anne Clarke's name after this period.
+
+The year 1811 is marked by an event which claims special record in a
+work treating of English caricatures and caricaturists of the century.
+In that year, James Gillray executed the last of his famous etchings;
+and although mere existence was prolonged for nearly four years
+afterwards, till the 1st of June, 1815, he sank in 1811 into that
+hopeless and dreary state of mingled imbecility and delirium from which
+the intellect of this truly great and original genius was destined never
+to recover.
+
+
+FOOTNOTES:
+
+  [9] "If it had not been for you English, I should have been Emperor
+    of the East; but wherever there is water enough to float a ship, we
+    are sure to find you in our way."--_Napoleon to Captain Maitland._
+    See Maitland's "Narrative of the Surrender of Bonaparte," p. 99.
+
+  [10] _London Chronicle_, December 6th, 1806.
+
+  [11] See also Gillray's previous satire of the 23rd of January, 1806
+    (which probably suggested this), _Tiddy Doll, the Great French
+    Gingerbread Baker, drawing out a new batch of kings_.
+
+  [12] See also Gillray's cartoon of 1st October, 1807, _British Tars
+    towing the Danish Fleet into Harbour_.
+
+  [13] See vol. ii., p. 92, _et seq._
+
+  [14] In a loose age, Madame Tallien, notwithstanding such virtues as
+    she possessed, was a loose character. Between 1798 and 1802 she had
+    three children, who were registered in her family name of
+    _Cabarrus_. On the 8th of April, 1802, at her own request a divorce
+    was pronounced from Tallien, and with two husbands still alive she
+    married (14th July, 1805,) Count Joseph de Caraman, soon after heir
+    of the Prince de Chimay. She died in the odour of sanctity, on the
+    15th of January, 1835.
+
+  [15] O'Meara, vol. i, p. 250.
+
+  [16] "English Bards and Scotch Reviewers."
+
+  [17] According to Mr. Grego, L2,000.
+
+
+
+
+CHAPTER III.
+
+_MISCELLANEOUS CARICATURES AND SUBJECTS OF CARICATURE, 1812-1819._
+
+
+  1812. REBUILDING OF DRURY LANE THEATRE.
+
+Drury Lane Theatre, which was burnt down in 1811, was rebuilt the
+following year, and the committee, anxious to celebrate the opening by
+an address of merit corresponding to the occasion, advertised in the
+papers for such a composition. Theatrical addresses, however, as we all
+know by reference to a recent occasion,[18] are not always up to the
+mark; and whether the result of their appeal was unsatisfactory, or
+whether--as appears not unlikely--they were appalled by the number of
+competitors, which is said to have been upwards of one hundred, not one
+was accepted, the advertisers preferring to seek the assistance of Lord
+Byron, who wrote the actual address which was spoken at the opening on
+the 10th of October, 1812. Among the competitors was a Dr. Busby, living
+in Queen Anne Street, who apparently unable to realize the fact that
+competent men could have the effrontery to reject his "monologue,"
+refused to accept the verdict of the committee. A few evenings
+afterwards, the audience and the company were electrified by an
+unexpected sensation. Busby and his son sat in one of the stage boxes;
+and the latter, to the amazement of the audience, stepped at the end of
+the play from his box upon the stage, and began to recite his father's
+nonsense, as follows:--
+
+  "When energizing objects men pursue,
+   What are the prodigies they cannot do?"
+
+
+  DR. BUSBY'S "MONOLOGUE."
+
+The question remained unanswered; for Raymond, the stage manager,
+walked at this moment upon the stage accompanied by a constable, and
+gave the amateur performer into custody. It is said that his father, not
+content with this failure, actually made an attempt to recite the
+"monologue" from his box, until hissed and howled down by the half
+laughing, half indignant audience. The circumstance is commemorated by
+an admirable pictorial satire entitled, _A Buz in a Box, or the Poet in
+a Pet_, published by S. W. Fores on the 21st of October, in which we see
+the doctor gesticulating from his box, and imploring the audience to
+listen to his "monologue." Young Busby, seated on his father's Pegasus
+(an ass), quotes one of the verses of the absurd composition, while the
+animal (after the manner of its kind) answers the hisses of the audience
+by elevating its heels and uttering a characteristic "hee haw." By the
+side of Busby junior stands the manager (Raymond), apologetically
+addressing the audience. Certain pamphlets lie scattered in front of the
+stage, on which are inscribed (among others) the following doggerel:--
+
+  "A Lord and a Doctor once started for Fame,
+     Which for the best poet should pass;
+   The Lord was cried up on account of his name,
+     The Doctor cried down for _an ass_."
+
+  "Doctor Buz, he assures us, on Drury's new stage
+   No horses or elephants there should engage;
+   But pray, Doctor Buz, how comes it to pass,
+   That you your own self should produce there an ass?"
+
+Dr. Busby was a person desirous of achieving literary notoriety at any
+amount of personal inconvenience. He translated _Lucretius_, and is said
+to have given public recitations, accompanied with bread and butter and
+tea; but in spite of these attractions, the public did not come and the
+book would not sell, facts which a wicked wag of the period ridiculed,
+by inserting the following announcement in the column of births of one
+of the newspapers: "Yesterday, at his house in Queen Anne Street, Dr.
+Busby of a stillborn _Lucretius_."
+
+
+  1813.
+
+The medical profession is ridiculed in a satire published in 1813:
+_Doctors Differ, or Dame Nature against the College_.[19] Four
+physicians have quarrelled in consultation over the nature of their
+patient's malady, and the proper mode of administering to his relief.
+Unable to convince one another, they wax so warm in argument that they
+speedily proceed from words to blows. "I say," shouts one (beneath the
+feet of the other three), "I say it is an exfoliation of the glands
+which has fallen on the membranous coils of the intestines, and must be
+thrown off by an emetic." "_I_ say," says another, raising at the same
+time his cane to protect his head, "I say it is a pleurisie in the
+thigh, and must be sweated away." "You are a blockhead!" cries a third,
+furiously striking at him with his professional cane. "I say it is a
+nervous affection of the cutis, and the patient must immediately lose
+eighteen ounces of blood, and then take a powerful drastic." "What are
+you quarrelling about?" asks a fourth, arresting the downfall of his
+professional brother's cane. "You are all wrong! I say it is an
+inflammation in the os sacrum, and therefore fourteen blisters must be
+immediately applied to the part affected and the adjacents." The table
+is down, and the prescriptions of the learned doctors covered with the
+ink which flows from the ruined inkstand. The amused patient (whom
+nature has meanwhile relieved of the cause and effect) watches the
+combat from the adjoining bedroom, and makes preparations to retreat and
+save both his "pocket and his life."
+
+
+  1814. JOANNA SOUTHCOTT.
+
+The year 1814 was marked by the bursting of one of the most
+extraordinary religious bubbles with which England has ever been
+scandalized. The person identified with and responsible for the craze to
+which we allude, was Joanna Southcott, the daughter of a farmer residing
+at the village of Gettisham, in Devonshire, where she herself was born
+in the month of April, 1750. At the time, therefore, the imposture was
+made patent to such of her deluded followers as retained any remnants of
+the small stock of common sense with which nature had originally
+endowed them, Joanna was sixty-four years of age.
+
+The village girl appears to have been a constant reader of the
+Scriptures, which she studied with so much enthusiasm, that a strong
+religious bias was established, which took almost entire possession of
+her mind. Still, no marked peculiarity was manifested until after she
+had attained forty years of age, at which time we find her employed as a
+workwoman at an upholsterer's shop at Exeter. The proprietor being a
+Methodist, the shop was visited by ministers of that persuasion, and
+Joanna, with her "serious turn of mind," was not only permitted to join
+in their discussions, but was regarded by these harmless folk somewhat
+in the light of a prodigy. To a mind predisposed to religious mania (for
+it would be unjust to stigmatize Joanna altogether as a wilful impostor)
+the result was peculiarly unfortunate; she was visited with dreams,
+which she quickly accepted as spiritual manifestations, instead of
+being, as they really were, indications of a disordered digestion.
+
+Two years afterwards Joanna retired from secular business, and set up as
+a prophetess at Exeter. She declared herself to be the woman spoken of
+as "the bride," "the Lamb's wife," the "woman clothed with the sun." The
+county lunatic asylum might have done good at this point; but its
+wholesome discipline, unfortunately, was not resorted to. She published
+in 1801 her first inspired book, "The Strange Effects of Faith," which
+absolutely brought five "wise men of Gotham" to inquire into her
+pretensions from different parts of England. Three of these learned
+pundits were Methodist parsons, and these three parsons declared
+themselves satisfied that the mission of Joanna was a divine one. It is
+needless to add that in England, no matter how absurd the nature of a
+so-called divine mission, it is safe and certain to attract believers;
+and by the year 1803 the doctrines of Joanna Southcott were eagerly
+swallowed by numerous simpletons in various parts of the country.
+
+Thus fortified, Joanna issued a manifesto, in which she stated her
+calling and pretensions: we set it out in all the original baldness of
+its composition:--
+
+"I, Joanna Southcott, am clearly convinced that my calling is of God,
+and my writings are indited by His Spirit, as it is impossible for any
+spirit but an all-wise God, that is wondrous in working, wondrous in
+wisdom, wondrous in power, wondrous in truth, could have brought round
+such mysteries, so full of truth, as is in my writings; so I am clear in
+whom I have believed, that all my writings came from the spirit of the
+most high God."
+
+Joanna was clear in whom she believed, and her followers were equally
+"clear" in their belief in Joanna. This incoherent nonsense was signed
+in the presence of fifty-eight simpletons, all of whom expressed their
+confidence in the inspired mission of their precious prophetess.
+
+Her disciples rapidly increased, and she visited in her apostolic
+character, Bristol, Leeds, Stockport, and other large centres, obtaining
+numerous converts everywhere. Among them was the celebrated engraver,
+William Sharp; and to the last this man, who out of his calling was the
+veriest simpleton living, and who had swallowed successively the
+doctrines of Richard Brothers, Wright, Bryan, and Joanna, believed in
+the divine mission of this unincarcerated lunatic.
+
+Although Joanna did not (like Joseph Smith) discover a book, she
+discovered a seal, which one of her disciples is said to have picked up
+in a dust-heap at Clerkenwell. With this miraculously acquired talisman
+the spirit ordered her to "seal up the people," and as "the people" were
+limited to one hundred and forty-four thousand, and each of the elect
+had to pay a sum varying at different times from a guinea to twelve
+shillings, or even lower, for the privilege of being "sealed up," the
+scheme promised at first to turn out a comfortably profitable one. Into
+the details of the "sealing" it is unnecessary for us to enter. Suffice
+it to say that the numbers of the "sealed," up to 1808, when for some
+unexplained reason the process appears to have been discontinued,
+exceeded six thousand simpletons; the numbers of her deluded followers
+in the metropolis and its vicinity alone, are supposed at one time to
+have amounted to a hundred thousand.
+
+Joanna was a coarse, common-place, and somewhat corpulent woman; she
+dressed in a plain, quaker-like garb, in a gown of Calimancoe, with a
+shawl and bonnet of drab colour. The three leading preachers in her
+chapel in Southwark (her great stronghold), were a Mr. Carpenter, who,
+after learning his business, set up as a prophet on his own account; a
+Mr. Foley, and a lath-render named Tozer. She had chapels also in
+Spitalfields, Greenwich, Twickenham, and Gravesend.
+
+The scribblings in prose and verse of this illiterate creature, instead
+of being committed to the waste paper basket, were solemnly preserved
+and received as prophecies. Attacked at last with dropsy, her delusions
+assumed the following objectionable form: she prophesied, and Sharp and
+his fellow-disciples--some of whom were men of fair education--actually
+believed, that Christ was to be born again under the name of "Shiloh,"
+and that she, Joanna, at the age of sixty-five, was to be the mother.
+The revelation which proclaimed the miraculous _accouchement_ was worded
+as follows: "This year [1814], in the sixty-fifth year of thy age, thou
+shalt have a son by the power of the Most High; which if they (the
+Hebrews) receive as their prophet, priest, and king, then I will restore
+them to their own land, and cast out the heathen for their sakes, as I
+cast out them when they cast out Me, by rejecting Me as their Saviour,
+Prince, and King, for which I said I was born, but not at that time to
+establish My kingdom."
+
+One might have imagined that this gibberish would open the eyes of some
+at least of her votaries: their insane enthusiasm, on the contrary,
+increased. Joanna was absolutely inundated with the "freewill" offerings
+of the faithful--a costly cradle, white robes, pinafores, shoes of satin
+and worsted, flannel shirts, napkins, blankets, silver spoons,
+pap-boats, mugs, silver tea-pots, sugar-basins, tongs, and
+corals,--absolutely without number. The absurdity of the simpletons who
+sent these offerings was severely criticised, both in England and on
+the Continent; and by way apparently of answering her traducers, Joanna
+inserted an apostolical advertisement in the _Morning Chronicle_ of
+Thursday, 22nd September, 1814, and in the _Courier_ of Friday, 23rd, in
+which she stated that, in consequence of the false and malicious reports
+in circulation respecting herself, she was desirous of treating for "a
+spacious and ready-furnished house to be hired for three months, in
+which her _accouchement_ may take place in the presence of such
+competent witnesses as shall be appointed by proper authority to prove
+her character to the world." The appointed day--the 29th of
+October--however passed by, and the prophecy remained of course
+unfulfilled, although, in the manufacturing towns of the north, crowds
+of the faithful assembled to wait the arrival of the coaches, in
+expectation of tidings of the great manifestation. The satire entitled,
+_Delivering a Prophetess_ (in vol. 8 of "The Scourge"), has reference to
+the actual event which occurred on the 27th of December, 1814, when
+death relieved Joanna of her delusions and her dropsy; the wretched
+creature declaring on her deathbed that, "if she had been deceived, she
+had at all events been the sport of some spirit, good or evil." Joanna
+forms the subject of one of Rowlandson's caricatures of 1814, _Joanna
+Southcott, the Prophetess, Excommunicating the Bishops_, published by
+Tegg on the 20th of September, 1814. We shall also have to refer to her
+again when we treat of the caricatures of George Cruikshank.
+
+
+  FLIGHT OF THE PRINCESS CHARLOTTE.
+
+This year (1814) the Princess Charlotte, heiress presumptive actually
+ran away in a hackney coach, to avoid being affianced to the Prince of
+Orange, to whom Her Royal Highness evinced an invincible repugnance. The
+event is referred to in a caricature entitled, _Plebeian Spirit, or
+Coachee and the Heiress Presumptive_ (published by Fores on the 25th of
+July), which shows us the princess emerging from Warwick House, followed
+by Britannia (who raises her hands in a suppliant attitude), and the
+dejected British lion. "Coachman, will you protect me?" she appeals to
+the driver. "Yes, yes, your Highness," replies the fellow, "to the last
+drop of my blood!" A servant in the royal livery holds up his hands in
+amazement and horror, while another spurs off in hot haste to apprise
+the Regent of the flight of his daughter. But a satire of far superior
+merit, entitled, _Miss endeavouring to excite a glow with her Dutch
+Plaything_,[20] was issued by the same publisher a few days previously,
+in which the rejected prince figures as a Dutch top, which the princess
+has kept spinning for some time. "There," she says to her father at
+last, "I have kept it up for a long while; you may send it away now, I
+am tired of it; mother [_i.e._ the Princess Caroline] has got some
+better plaything for me." "What! are you tired already?" exclaims the
+Regent. "Take another spell at it, or give me the whip." "No, no,"
+replies Her Royal Highness; "you may take the top, but I'll keep the
+whip." Behind her is a picture representing an orange falling with Cupid
+headlong into space. The Regent was so incensed at his daughter's
+refractoriness, that he went at once to Warwick House and dismissed all
+her attendants, and never forgave the Duke of Sussex for his supposed
+share in breaking off the connection. It was immediately after this
+event that her mother, the Princess Caroline, contrary to the advice of
+her friends and well-wishers, applied for permission to make that tour
+on the Continent which, owing to her own obstinate folly and contempt
+for the duties of her high station, was destined--as we shall afterwards
+find--to end in such disastrous consequences to herself.
+
+
+  1812 1815. AMERICA AND ENGLAND.
+
+In the course of the year 1812, England had become involved--scarcely
+through any fault of her own--in a war with the United States of
+America. The causes of difference were mainly due to the obnoxious
+Orders in Council, which had been _forced_ upon us in consequence of the
+Berlin and Milan Decrees of Napoleon. As an evidence, however, of our
+own friendly intentions, it may be mentioned that the Regent had issued
+a declaration on the 23rd of April, that if at any time the obnoxious
+decrees should by _an authentic act be absolutely_ repealed, thenceforth
+the Orders in Council of 7th January, 1807, and 26th April, 1809, should
+be revoked; and the American representative, having, on the 20th of
+May, transmitted to the English Court a copy of a French decree of the
+20th of April, by which the decrees of Milan and Berlin were declared to
+be no longer in force, _so far as American vessels were concerned_, the
+Regent declared that, although he could not accept the terms of the
+decree as satisfying the conditions of his own declaration of the 23rd
+of April, yet, with the view of re-establishing friendly relations, _he
+revoked_ the Orders in Council of 7th January, 1807, and April 26th,
+1809, so far as regarded American vessels and American cargoes. Of this
+repeal, be it observed, the United States Government took no notice, it
+might be in consequence of the very reasonable proviso annexed to the
+Regent's concession, that unless the Government of the United States
+revoked their exclusion of British armed vessels from their harbours,
+while those of France were admitted, and their interdiction of British
+commerce, while that of France was allowed, the order was to be of no
+effect.
+
+A very old English proverb tells us that "a stick is never wanting to
+beat a dog;" and where one nation wishes to fasten a quarrel on another,
+and the opportunity be favourable, there will be no difficulty in
+finding an excuse. There were other causes of discontent; in particular
+our claim to search not only for English goods, but for British seamen
+serving on board neutral vessels; and as the sovereignty of the seas
+depended on upholding these assumptions, our Government was as strenuous
+in enforcing them as the French emperor was bent on the maintenance of
+his continental system.
+
+
+  HOSTILE SPIRIT OF THE AMERICANS.
+
+The Americans, however, were anxious for a war with this country, and in
+particular, the opportunity seemed eminently favourable for attempting
+the conquest of Canada. A motion in the House of Representatives, for
+the indefinite postponement of a bill for raising 25,000 additional
+troops, was rejected by a majority of 98 to 29. An outrageous bill,
+specially intended as an insult to England, was introduced into the same
+House about the end of April, "for the protection, recovery, and
+indemnification of American seamen," the first clause of which declared
+that every person who, under pretence of a commission from a foreign
+power, should impress upon the high seas a native seaman of the United
+States, should be adjudged a pirate and a felon, and should upon
+conviction suffer death. Another of its articles gave to every such
+seaman impressed under the British flag, the right of attaching in the
+hands of any British subject, or in the hands of _any debtor of any
+British subject_, a sum equal to thirty dollars per month for the whole
+time of his detention. This monstrous bill was actually allowed to pass
+a third reading. The temper of the Americans may be judged by the result
+of the voting on Mr. Randolph's motion in the same House, on the 29th of
+May. That gentleman submitted "that, under the present circumstances, it
+was inexpedient to resort to a war with Great Britain." The question
+being then put, that the House do proceed to the consideration of the
+said resolution, it was negatived by 62 votes against 37. Under the
+overpowering influence of these feelings, war was declared against
+England on the 18th of June, 1812; our own declaration was not issued
+until the 13th of October following.
+
+"Our American cousins," did not wait for this joinder of issue; they had
+invaded Canada early in July. On the 11th of that month, the American
+General Hull, with a body of 2,500 men--regulars and militia--crossed
+the river above Detroit with most disastrous consequences to himself. He
+was speedily forced to retreat, and on the 16th of August to surrender
+the important fort of Detroit itself, with his 2,500 men and
+thirty-three pieces of artillery. Although this disaster seriously
+disconcerted the American plans of invasion, the design was by no means
+abandoned. A considerable force was assembled in the neighbourhood of
+Niagara, and on the 13th of October, the American General Wadsworth,
+with some 1,400 men, made an attack on the British position of
+Queenstown, on the Niagara river. Wadsworth, with 900 men and many
+officers, was speedily compelled to surrender to British forces not
+exceeding the number of his own following.
+
+
+  AMERICAN NAVAL SUCCESSES.
+
+On the other hand, the losses of the Americans on land were to some
+extent balanced by their naval successes. On the 19th of August, the
+English frigate _Guerriere_, Captain Dacres, was forced after a gallant
+but (as we shall see) unequal fight, to strike her colours to the
+American frigate _Constitution_, Captain Hull. Under similar conditions,
+the English frigate _Macedonia_, Captain Carden, was forced on the 25th
+of October, after an hour's hard fighting, in which the English lost 104
+men killed and wounded, to yield to the American frigate _United
+States_, Commodore Decatur. These successes were due to the following
+causes: the rate of the American frigates corresponded to the largest
+British; but in size, weight of metal, and number of men, were almost
+equal to line-of-battle ships; the American navy too, at this time, was
+manned by sailors many of whom were unfortunately British tars, while
+many more had been trained in British service.
+
+
+  THE ENGLISH ASSUME THE OFFENSIVE.
+
+Although we do not profess to give a history of the Anglo-American war
+of 1812-14, some slight sketch of its more remarkable incidents seems
+necessary for the purpose of enabling the reader to understand what has
+to follow. Having named some of the American naval successes, we can
+scarcely pass over the well-known fight of the 1st of June, 1813.
+Captain Broke, of the British frigate _Shannon_, 330 men, burning with
+indignation at the naval defeats of his countrymen, having diligently
+perfected his crew in discipline, offered battle to the United States
+frigate _Chesapeake_, for which he had long been watching. The
+_Chesapeake_ was a fine ship, carrying forty-nine guns (18- and
+32-pounders) and a complement of 440 men. The American captain, nothing
+loth, bore down on his antagonist off Boston light-house. The ships were
+soon in close contact; but the gallant English captain, discerning his
+opportunity, gave orders for boarding, himself setting the example; and
+after a sanguinary fight of only fifteen minutes, hauled down his
+adversary's flag and carried off the _Chesapeake_ in triumph. The
+invasion of Canada was still persevered in by the Americans, with
+varying successes and defeats; but the results of the campaign of 1813
+were in the end disastrous to them; and by the 12th of December, both
+provinces of Canada were freed from the invaders, who retired to winter
+quarters within their own territory. Another determined attempt to
+penetrate into Canada was made by them in July, 1814, the British
+troops in the first instance being obliged to fall back: this was on the
+5th. Their triumph, however, was of brief duration. Veteran troops, who
+had served under Wellington in Spain, had meanwhile arrived at Quebec;
+General Drummond arrested the further retreat of Riall's division, and a
+decisive battle ensued, which terminated in the defeat of the Americans,
+who were obliged to retire with precipitation beyond the Chippewa. On
+the following day they abandoned their camp, threw the greater part of
+their baggage and provisions into the rapids, and after destroying the
+bridge over the Chippewa, continued their retreat in great disorder to
+Fort Erie. Out of a force of 5,000 men, they had lost in killed,
+wounded, and prisoners at least 1,500. This defeat, and the timely
+arrival of veteran troops from Europe, appear to have decided the
+British commanders to change the defensive warfare they had hitherto
+adopted, and the small operations they had conducted on the coast of the
+southern States, for offensive movements of greater vigour.
+
+A large naval force was despatched under the command of Vice-Admiral
+Cockrane, having on board a powerful land force commanded by General
+Ross. The latter landed on the 20th of August at Benedict; marched to
+Nottingham on the 21st, and to Upper Marlborough on the 22nd, Admiral
+Cockrane in the meanwhile, with the barges, armed launches, and other
+boats of the fleet, having the marines on board, proceeding up the
+Patuxent on the flank of the army. The American Commodore blew up his
+vessels, seventeen in number, with the exception of one which fell into
+the hands of the British. The troops reached Bladensburg (about five
+miles from Washington) on the 24th.
+
+
+  BURNING OF WASHINGTON.
+
+About 9,400 Americans (400 of whom were cavalry) drawn up to oppose
+them, were speedily routed, with the loss of ten pieces of artillery and
+the capture of their commanding officer, General Barney. It appears to
+have been General Ross's first intention to return to his ships after
+laying the capital under contribution; but the Americans having fired
+upon the bearer of the flag of truce who was sent forward with the
+conditions, all thoughts of an arrangement were dissipated. The
+soldiers pressed into the city, and after burning a frigate and sloop of
+war, the President's residence, the capitol--including the Senate House
+and House of Representatives, dockyard, arsenal, war office, treasury,
+and the great bridge over the Potomac, re-embarked on the 30th of
+August.
+
+A part of the operations against Washington consisted in despatching a
+force against Fort Washington, situate on the Potomac below that city.
+Captain Gordon, the commander of this expedition, proceeded with the
+_Sea Horse_ and several other vessels up the river on the 17th of
+August, but was unable to reach the fort till the 27th. The place being
+rendered untenable by the explosion of a powder magazine, the garrison
+spiked their guns and evacuated it next day. The populous and commercial
+town of Alexandria, situated higher on the river, thus lost its sole
+protection; and Captain Gordon, having no obstacle to oppose his
+progress, buoyed the channel, and placed his ships in such a position as
+to enforce compliance with his terms. The town (with the exception of
+public works) was not to be destroyed nor the inhabitants molested on
+compliance with the following articles:--All naval and ordnance stores,
+public and private, were to be given up, together with all the shipping,
+the furniture of which was to be sent on board by their owners; the sunk
+vessels to be delivered in their original condition; the merchandise of
+every description to be immediately delivered up, including all removed
+from the town since the 19th; and the British squadron to be supplied
+with refreshments at the market price. This capitulation was signed on
+the 29th; the whole of the captured vessels--twenty-one in number--were
+fitted, loaded, and delivered, by the 31st; and Captain Gordon had got
+back with all his ships and prizes, and anchored in safety in the
+Chesapeake by the 9th of September.
+
+These events are referred to in a pictorial satire (published by Fores
+on the 4th of October, 1814), entitled, _The Fall of Washington, or
+Maddy_ [_i.e._, President Madison] _in full flight_:--
+
+  "Death of thy soul those linen cheeks of thine
+   Are counsellors to fear."
+
+
+  FLIGHT OF PRESIDENT MADISON.
+
+James Madison and one of his ministers, habited as Quakers (a then
+popular mode of ridiculing the Americans), are seen in full flight,
+carrying under their arms bundles of compromising papers. By the "Bill
+of fare of the Cabinet Supper at President Madison's, August 24th,
+1814," which has fallen at his feet, the flight would really seem to
+have been of the most hasty character. "I say, Jack," says an English
+tar, pointing at the same time to the flying President, "what, is _that_
+the man of war that was to annihilate us, as Master Boney used to say?"
+"Aye, messmate," answers his companion; "he is a famous fighter over a
+bottle of Shampain; why, he'd have played ---- with us if we had let him
+sit down to supper." Five Americans (all Quakers) meanwhile make their
+own observations on the situation: "Jonathan," says one, "where thinkest
+thou our President will run to now?" "Why, verily," answers Jonathan,
+"to Elba, to his bosom friend." "The great Washington," remarks a third,
+"fought for liberty; but we are fighting for shadows, which, if
+obtained, could do us no earthly good, but this is the blessed effects
+of it." "I suppose," observes a fourth, "this is what Maddis calls
+benefitting his country." "Why," answers his friend, "it will throw such
+a light on affairs, that we shall find it necessary to change both men
+and measures." The popular notion of the day that there had been some
+understanding between "Boney" and the Yankees, was scarcely unnatural
+under the circumstances we have narrated. The President himself is made
+to say to his companion, "Who would have thought of this man, to oblige
+us to run from the best cabinet supper I ever ordered? I hope you have
+taken care of Boney's promissory notes; the people won't stand anything
+after this." "D--n his notes," answers the other; "what are they good
+for now? We should get nothing but iron; he hasn't any of his stock of
+brass left, or some of _that_ would have helped us through this
+business."
+
+The caricaturist simply reflected the opinion of his countrymen in
+insinuating that the Yankees had some understanding or sympathy with
+Bonaparte; but in this they were mistaken. With Napoleon and his system
+the Americans had no sympathy or feelings in common. Probably all that
+the satirist intended to convey was the fact that they had brought the
+retaliatory measure (severe as it was) upon themselves, and in this
+undoubtedly he was right. The Americans would never have dreamed of
+invading Canada had they not supposed that we were so hampered with our
+struggle with Bonaparte in 1812. It was perhaps well for America that we
+were not actuated by the same embittered feelings as themselves; that
+our generals were incompetent, and their plans both badly conceived and
+most inefficiently carried out.
+
+
+  THE CARICATURISTS TOO JUBILANT.
+
+Notwithstanding these successes, the caricaturists proved a trifle too
+jubilant. On the 11th of September, a British naval force--consisting of
+a frigate, a brig, two sloops of war, and some gunboats--attacked the
+American flotilla before Platsburg, on Lake Champlain, and after a
+severe conflict were all captured, with the exception of the gun-boats,
+Captain Downie, the English commander, being killed at the very
+beginning of the engagement. Sir G. Prevost, in consequence of this
+disaster, began his retreat, leaving his sick and wounded to the mercy
+of the enemy. The Americans having now collected from all quarters, the
+British retired to their lines, and relinquished all idea of penetrating
+into the State of New York. On the 12th, however, an attempt was made to
+enter Baltimore, and although in the engagement which followed the
+American troops were broken and dispersed in the course of fifteen
+minutes, the victory was dearly purchased by the death of General Ross,
+while the defensive arrangements of the harbour were so perfect and so
+formidable, that the attempt was obliged to be given up.
+
+Although peace was concluded in the following December, the intelligence
+unfortunately did not reach the belligerents in time to prevent further
+mistakes and bloodshed. A series of operations of the British army in
+the neighbourhood of New Orleans occupied the last week of December and
+a part of January. An army had been collected for an attack on that town
+under the command of General Kean, which, with the assistance of Admiral
+Cochrane, was disembarked without resistance on the 23rd December. On
+the 25th, General Sir Edward Pakenham arrived and assumed the chief
+command. On the 27th, the enemy's picquets were driven in within six
+miles of the town, where their main body was found most strongly posted,
+and supported by a ship of war moored in such a position as to enfilade
+the assailants. The result was that the assault of the British was
+delivered under so withering a fire from every part of the enemy's line,
+that General Pakenham was killed, Generals Keane and Gibbs wounded,
+while over 2,000 men and officers were killed, wounded, or made
+prisoners. Colonel Thornton, indeed, had crossed the river during the
+previous night and captured a flanking battery of the Americans on the
+other side; but the report made by him to General Lambert was of so
+discouraging a character that he decided not to persevere with the
+attempt, and in the end the whole army re-embarked, leaving a few of the
+most dangerously wounded behind them, but carrying off all their
+artillery, ammunition, and stores. The concluding operation of the war
+was the capture of Fort Mobile, which surrendered to the British on the
+11th of February.
+
+
+  1815. ROMEO COATES.
+
+A remarkable figure puts in an appearance in the caricatures of the
+early part of the century. This was the renowned "Romeo" Coates, a vain,
+weak-minded gentleman, who had an absolute passion for figuring on the
+boards as Romeo, Lothario, Belcour, and other romantic characters, for
+which his personal appearance and lack of brains altogether unfitted
+him. His "readings," like himself, being of the most original character,
+his vagaries afforded endless amusement to the coarse public of his day.
+The gods befooled him "to the top of his bent;" his overweening vanity
+failing to show the poor creature that he was exciting ridicule instead
+of applause. The fun (?) culminated in the tragic scene, Romeo, to their
+delight, responding to the encores of his audience, by repeating the
+dying scene so long as it suited the managers to prolong the sorry
+exhibition. Macready, whose dramatic genius and refined sensibilities
+revolted at a spectacle so degrading, describes him as he appeared at
+Bath, in 1815: "I was at the theatre," says the tragedian, "on the
+morning of his rehearsal, and introduced to him. At night the house was
+too crowded to afford me a place in front, and seeing me behind the
+scenes, he asked me, knowing I acted Belcour, to prompt him if he should
+be 'out,' which he very much feared. The audience were in convulsions at
+his absurdities, and in the scene with Miss Rusport, being really 'out,'
+I gave him a line which Belcour has to speak, 'I never looked so like a
+fool in all my life,' which, as he delivered it, was greeted with a roar
+of laughter. He was 'out' again, and I gave him again the same line,
+which, again being repeated, was acquiesced in with a louder roar. Being
+'out' again, I administered him the third time the same truth for him to
+utter, but he seemed alive to its application, rejoining in some
+dudgeon, 'I have said that twice already.' His exhibition was a complete
+burlesque of the comedy and a reflection on the character of a
+management that could profit by such discreditable expedients." Poor
+"Romeo" Coates lived to get over his theatrical weakness, and died (in
+1848), in his seventy-sixth year, from the results of a street accident.
+
+[Illustration:
+  _Published March, 1816, by S. W. FORES, 50, Piccadilly._
+
+  LEAP YEAR, OR JOHN BULL'S PEACE ESTABLISHMENT.
+
+  "When two ride upon a horse, one must ride behind."
+
+  _Face p. 50._]
+
+
+  1816. MARRIAGE OF THE PRINCESS CHARLOTTE.
+
+The Princess Charlotte of Wales, having successfully thrown over her
+royal Dutch suitor, was married at Carlton House to Prince Leopold of
+Saxe-Coburg, afterwards King of the Belgians, on the 2nd of May, 1816.
+Prior to the marriage, Parliament had voted a provision for an
+establishment for the pair of L60,000, while in the event of the
+princess's death, L50,000 was settled on the prince during his life.
+_Leap Year, or John Bull's Establishment_ (S. W. Fores, March, 1816)
+shows us John Bull with a bit in his mouth, driven by Her Royal
+Highness, who lashes him unmercifully with a tremendous horse-whip.
+Miserable John is saddled with a pair of panniers, one of which carries
+the prince and his money bags, the other being filled with heavy
+packages labelled with different impositions or items of expenditure of
+which John is the victim. "Plans for thatched cottages," "Plan for
+pulling down and rebuilding," "Assessed taxes," "Increase of salaries,"
+"Army for peace establishment," and so on. Says Leopold to the princess,
+"You drive so fast, I shall be off!!!" "Never fear," she replies; "I'll
+teach you an English waltz." The gouty Regent hobbles after them on his
+crutches, the supports of which are formed of dragons from his famous
+Brighton Pavilion. "Push on!" he shouts to his daughter and future
+son-in-law, "Push on! Preach economy! and when you have got your money,
+follow my example." "Oh! my back," groans poor John, crawling with the
+greatest difficulty under the weight of his heavy burdens. "I never can
+bear it! This will finish me."
+
+
+  POPULAR DISCONTENT.
+
+The two years which succeeded the fall of Bonaparte were remarkable for
+the distress which prevailed amongst the industrial classes in England.
+The glory we had reaped in our long struggle with France was forgotten
+in the consideration of the almost insupportable burdens which it
+necessarily entailed. The sufferings of the masses prompted them to seek
+relief by bringing their grievances before Parliament; but the reception
+their petitions met with, served only to show the little sympathy which
+existed between the national representatives, as then elected, and the
+people of England. Petitions were next presented to the Regent himself,
+while the popular discontent found expression in large meetings convened
+in London, Leeds, Manchester, Birmingham, and other industrial centres.
+These meetings, it was observed, were convened, attended, and addressed
+almost exclusively by the working classes, the middle and upper ranks
+taking no share in the proceedings. The speakers pointed out in
+impressive and forcible language the various evils which they said had
+brought about their altered condition; the waste of public money in
+perpetual wars, in unearned pensions, sinecures, and other unjust
+expenditure. The high price of provisions provoked riots at Brandon,
+Norwich, Newcastle, Ely, Glasgow, Preston, Leicester, Merthyr, Tredegar,
+and other places; a large number of the populace assembled in Spafields
+in December to receive the Regent's answer to their petition. While
+waiting the arrival of "orator" Hunt, one of the most popular of the
+agitators of the day, a band of desperadoes appeared on the scene with a
+tri-coloured flag, and headed by a man named Watson, who, after
+delivering a violent harangue from a waggon, led them into the city. The
+rioters pillaged several gunsmiths' shops, but the prompt action of Lord
+Mayor Wood, the strong party of constables at his back, who seized
+several of the rioters, and the appearance on the scene of the
+military, soon induced the rioters to disperse. In January, 1817, John
+Cashman, one of the Spafields rioters, was tried for burglariously
+entering the shop of Mr. Beckworth, a gunsmith, and hanged opposite the
+scene of his depredations.
+
+
+  1817. REGENT OPENS PARLIAMENT.
+
+The Regent opened Parliament on the 28th of January, 1817. In his
+address, he said that "the distress consequent upon the termination of a
+war of such universal extent and duration, had been felt with greater or
+less severity throughout all the nations of Europe, and had been
+considerably aggravated by the unfavourable state of the season."
+Alluding to the proceedings of the popular agitators, he added: "In
+considering our internal situation, you will, I doubt not, feel a just
+indignation at the attempts which have been made to take advantage of
+the distresses of the country, for the purpose of exciting a spirit of
+sedition and violence.... I am determined to omit no precautions for
+preserving the public peace, and for counteracting the designs of the
+disaffected." Whether this statement was the cause or not, the Regent
+had a narrow escape on his return from the House; for, while passing at
+the back of the gardens of Carlton House, the glass of his window was
+broken, either by a stone or (as was supposed) by two balls from an
+air-gun, which appeared to have been aimed at His Royal Highness.
+
+On the 6th of February, Lord Cockrane presented to the House of Commons
+the petition of the Spafields meeting, signed by 24,000 persons. It
+prayed for annual parliaments, universal suffrage, and reduction in the
+public expenditure. He presented at the same time a petition from
+Manchester, signed by 30,000 persons, praying for reform in Parliament
+and economy in the public expenditure. Sir Francis Burdett also
+presented a Leeds petition for the same objects, containing 7,000
+signatures. These were of course only legitimate modes of expressing the
+wants of the people; but, unhappily, quite independent of the action of
+the popular leaders, the country in some parts was so disturbed, so
+closely on the brink of insurrection, that ministers found themselves
+obliged twice during the course of the year to resort to the almost
+unprecedented measure of suspending the Habeas Corpus Act, on the first
+occasion at the end of February, and on the second in June.
+
+At a meeting held at Manchester in March, for the purpose of petitioning
+the Regent against the suspension of the Act, it was proposed and agreed
+that another meeting should be held on the following Monday (the 10th of
+March), with the professed intention that ten out of every twenty
+persons who attended it should proceed to London with a petition to His
+Royal Highness. The meeting took place accordingly; many thousands
+actually attended in full marching order (_i.e._ provided with a bundle
+and a blanket); and a considerable body appear to have made some advance
+on their way before their further progress was arrested. Expeditions of
+a similar character were simultaneously planned, attempted, and
+frustrated in other parts of the country.
+
+
+  GOVERNMENT SPIES.
+
+Meanwhile, there were trials for high treason at Westminster Hall;
+trials of rioters at York and Derby; and at the latter town, on the 7th
+of November, three miserable men were hung. Among the witnesses at these
+trials appear to have been two men named Castle and Oliver: and it came
+out that these fellows, with two other Government spies, named Edwards
+and Franklin, had been among the chief fomenters by speeches and
+writings of the seditions in the Metropolis and northern counties. The
+disclosures made by these scoundrels produced of course a great
+sensation and numerous satires. One of these, entitled, _More Plots!!!
+More Plots!!!_ published by Fores in August, 1817, is "dedicated to the
+inventors, Lord S [idmouth] and Lord C [astlereagh]." It is divided into
+four compartments. In the first we see four foxes (typifying no doubt
+the four informers) watching the movements of a flock of geese. "'Tis
+plain," says one of the former, "there is a plot on foot; let's seize
+them, Brother Oliver." "I have no doubt of it: I can smell it plainly,"
+answers his companion. In the second, a couple of fierce nondescript
+beasts are regarding a number of innocent lambs: "These bloodthirsty
+wretches," remarks one of the two, "mean to destroy man, woman, and
+child, I know it to a certainty; for they carry sedition, privy
+conspiracy, and rebellion in their looks." "And I'll swear it, Brother
+Castle," says his companion; "let's dash at them." In the third, a cat
+watches the movements of some unsuspecting mice: "There's a pretty
+collection of rogues gathered together," observes Grimalkin; "if there
+is not a plot among them, burn my tail and whiskers." In the last, we
+behold a Kite just about to pounce on some chicken: "The world's
+over-run with iniquity," says the bird of prey; "and these troublesome
+miscreants will not let honest hawks sleep in security." We shall return
+to the subject of these Government spies and the troubles of 1817 in the
+graphic satires of George Cruikshank.
+
+
+  EDMUND KEAN AND BOOTH.
+
+In 1817, the rivalry between the two national theatres ran so high, that
+the Covent Garden management employed agents to scour the provinces in
+search of a rival to Edmund Kean at Drury Lane. After a time one was
+found in the person of Lucius Junius Booth, who in stature, _role_ of
+characters, and (as it was imagined) style of acting, closely resembled,
+if he did not equal, the great original. He made his _debut_ at Covent
+Garden, in the character of Richard the Third. Whether it was a success
+or not seems doubtful; for the manager being out of town, those deputed
+to act as deputies did not care to undertake the responsibility of
+engaging the new star. In this dilemma, overtures were made to him by
+the rival house, which he accepted, and made his appearance as "Iago" to
+Kean's "Othello" to a densely-packed audience at Drury Lane. So great
+was the likeness between the two actors, that strangers were puzzled to
+know which was Kean and which was Booth, until the tragedy reached the
+third act, when the genius of Kean made itself felt, and no doubt
+remained in the minds of the audience which was master of his art.
+
+Booth, in fact, discovered that he had made a mistake, and the day after
+his trial at old Drury, signed articles to return to Covent Garden for
+three years. Here he proved a great attraction; he must have been in
+truth an actor of no ordinary merit; his rendering of the character of
+Lear, in particular, met with universal approbation, and in this tragedy
+he was supported by actors of the ability of Charles Kemble and William
+Macready, both of whom he threw into the shade. At the end, however, of
+his engagement, feeling that he was incapable of meeting Kean on
+anything like equal terms, he set sail for America.
+
+The appearance of Edmund Kean and Lucius Junius Booth at Drury Lane is
+referred to in a satire entitled, _The Rival Richards_, published by S.
+W. Fores in 1817. The sketch (evidently the work of an amateur) shows us
+Folly seated on an ass, holding in one hand a pair of scales, in one of
+which stands Booth, and in the other Edmund Kean. To the mind of the
+satirist there appears to be no difference in the abilities of the two
+performers, as the scales exactly balance. On the right, the portico of
+Covent Garden is overshadowed by the inelegant but massive proportions
+of Drury Lane; the intervening space being occupied by various figures
+and details, among which is a "patent clapping machine." An
+advertisement board carried by one of the figures clearly shows that the
+satire--an elaborate idea badly worked out--has reference to the period
+when both actors were engaged at "old Drury."
+
+
+  1818. EVACUATION OF FRANCE.
+
+Undoubtedly the most important event of the year 1818 was the congress
+of the allied sovereigns at Aix-la-Chapelle, and the evacuation of
+France which followed. By the second treaty of Paris, the stay of the
+occupying armies had been fixed at a period of five years; but by an
+official note, dated the 4th of November, 1818, the ministers of
+Austria, Great Britain, Russia, and Prussia, referring to the
+engagements entered into by the French Government with the subscribing
+powers to that treaty, stated that such Government had fulfilled all the
+clauses of the treaty, and proposed, "with respect to those clauses, the
+fulfilment of which was reserved for more remote periods, arrangements
+which were satisfactory" to the contracting parties. Under these
+circumstances the sovereigns resolved that the military occupation of
+France should forthwith be discontinued.
+
+On the 7th of November, the Duke of Wellington, commander-in-chief of
+the army of occupation, issued an order of the day, taking leave of the
+troops under his command, which concluded in the following terms:--
+
+"It is with regret that the general has seen the moment arrive when the
+dissolution of this army was to put an end to his public connections and
+his private relations with the commanders and other officers of the
+corps of the army. The field marshal deeply feels how agreeable these
+relations have been to him. He begs the generals commanding in chief to
+receive and make known to the troops under their orders, the assurance
+that he shall never cease to take the most lively interest in everything
+that may concern them; and that the remembrance of the three years
+during which he has had the honour to be at their head, will be always
+dear to him."
+
+Wellington appears to have received particular marks of distinction from
+the Emperor Alexander; but what may have been the particular tittle
+tattle which led up to the caricature we shall next describe, we are now
+unable to fathom. That it grew out of the event which we have attempted
+to describe will be sufficiently obvious. It is entitled, _A Russian
+Dandy at Home; a scene at Aix-la-Chapelle_, and was published by Fores
+in December, 1818. In it, the satirist shows us the Duke arrayed in the
+regimentals of a Russian general, part of which comprise a pair of
+jack-boots considerably too large for him, a fact which amuses the
+Emperor and certain English and Cossack officers at his back. The
+following doggerel appended to the satire affords an explanation of its
+meaning:--
+
+  "It is said that the head of the forces allied,
+     Not having a coat to his back,
+   A generous monarch the needful supplied;
+   And when thus equipped, they sat down side by side,
+     To drink their champagne and their sack.
+   Now, doubtless this hero of wonderful note,
+     Had the monarch allowed him to choose,
+   Would have bartered the honour to sit in his coat,
+     For the pleasure to stand in his shoes."
+
+
+  QUEEN CHARLOTTE.
+
+A well-drawn caricature, published by Fores in February, 1818, and
+entitled, _A Peep at the Pump Room, or the Zomersetshire Folks in a
+Maze_, shows us a singularly ugly old woman habited in a wonderful
+bonnet, and clothes of antiquated make and fashion, drinking the Bath
+waters in the midst of a circle of deeply interested and curious gazers.
+This poor old woman, who looks very like an old nurse, is no less a
+person than Charlotte of Mecklenburg-Strelitz, Queen of George the
+Third, who, in failing health and rapidly drawing towards the close of
+her earthly pilgrimage, had been recommended by her physicians to try
+the effect of the Bath waters. The excitement which this event
+occasioned in the then gay, but now decayed western city, is thus
+referred to by Mrs. Piozzi in two of her contemporary letters to Sir
+James Fellowes: "The queen has driven us all distracted; such a bustle
+Bath never witnessed before. She drinks at the Pump Room, purposes going
+to say her prayers at the Abbey Church, and a box is making up for her
+at the theatre." And again: "Of the clusters in the Pump Room who
+_swarm_ round Queen Charlotte, as if she were actually the queen bee,
+courtiers must give you an account." At the back of Her Majesty's chair
+stands the portly figure of the Duke of Clarence, who recommends the old
+lady to qualify the water (which is evidently very distasteful to her)
+with a little brandy. "George and I," he adds, "always recommend
+brandy." A fat, well favoured woman in a flower-pot bonnet, with a gin
+bottle in her hand, on the other hand recommends the old queen to
+qualify the Bath water with a dash of "Old Tom," advice which is
+seconded by the old woman next her. Behind this last stands the
+physician, watch in hand, watching, and moreover predicting in very
+plain terms, the expected action of the medicated water. The folks
+behind make their observations on the old lady's appearance. "Well, I
+declare," says one, "I see nothing extraordinary to look at." "Why, she
+doant look a bit better than oul granny," remarks a country joskin. "Who
+said she did, eh, dame?" replies her companion. Poor old Queen Charlotte
+was never a beauty, and those who remember her exaggerated likenesses in
+the satires of Gillray, will not fail to recognise her in the present
+satire. One of her well-known habits is referred to by the snuff-box
+which lies at her feet.
+
+[Illustration:
+  _Published February, 1818, by_ S. W. FORES, _50, Piccadilly_
+
+  A PEEP INTO THE PUMP-ROOM, OR THE ZOMERSETSHIRE FOLK IN A MAZE.
+
+  _Face p. 57._]
+
+The poor old lady was beyond the help of the Bath waters or of any
+earthly assistance. We find Mrs. Piozzi writing a few months later on:
+"Nothing kills the queen, however. It is really a great misfortune to be
+kept panting for breath so, and screaming with pain by medical skill:
+were she a subject, I suppose they would have released her long ago; but
+diseases and distresses of the human frame must lead to death at
+length," which was the case with the poor old queen, who died nine
+months after the date of the satire (in November, 1818).
+
+The announcement of the marriages of four of her children this year,
+viz.: of the Princess Elizabeth to Frederick, Landgrave of Hesse
+Homburg; of Edward Augustus, Duke of Kent, to Victoria, daughter of the
+Duke of Saxe-Coburg (and mother of Queen Victoria), on the 29th of May;
+of Adolphus Frederick, Duke of Cambridge, to Augusta, daughter of the
+Landgrave of Hesse, on the 1st of May; and of William Henry, Duke of
+Clarence (afterwards William the Fourth), to Adelaide, daughter of the
+Duke of Saxe-Meiningen, on the 11th of July, gave rise to a coarse
+though admirably executed caricature entitled, _The Homburg Waltz, with
+Characteristic Sketches of Family Dancing_, in which all these royal
+personages, with the Regent at their head, are seen prominently figuring
+amongst the dancers.
+
+
+  INVENTION OF THE KALEIDOSCOPE.
+
+A forgotten but ingenious instrument, the kaleidoscope, was invented by
+Sir David Brewster in 1818. The leading principles of the toy appear to
+have been accidentally discovered in the course of a series of
+experiments on the polarization of light by successive reflections
+between plates of glass. The invention of this now despised toy made a
+tremendous sensation at the time, and the inventor was induced to take
+out a patent for its protection; but he had, it appears, divulged the
+secret of its construction before he had secured the invention to
+himself, and the consequence was that, although "it made a hundred
+shopmen rich," it brought the inventor himself but little substantial
+benefit. This is explained by the fact that it was so simple in
+construction, that even when made without scientific accuracy, it served
+to delight as well as to amuse. So largely was it pirated, that it was
+calculated that no fewer than two hundred thousand were sold in three
+months in London and Paris alone. Judging by a caricature of
+Williams's, published by Fores in June, 1818, and its doggerel
+explanation, the toys would appear even at this time to have been made
+and sold by every street boy. The satire is called, _Caleidoscopes, or
+Paying for Peeping_. In it, we see the pertinacious vendors pushing the
+sale of their wares upon the passengers in the streets--many of them
+women. A bishop resolves to buy one because the coloured glass reminds
+him of a painted window in his cathedral, another person has paid dearly
+for "peeping," and discovers that while gratifying his curiosity, his
+"pocket-book has slipped off with two hundred pounds in it." Williams
+was a satirist of the old school, and the allusions made by some of the
+vendors render this otherwise interesting satire wantonly coarse and
+indelicate. Attached to this rare and curious production is the
+following doggerel:--
+
+  "'Tis the favourite plaything of school-boy and sage,
+   Of the baby in arms and the baby of age;
+   Of the grandam whose sight is at best problematical,
+   And of the soph who explains it by rule mathematical.
+
+   Such indeed is the rage for them, chapel or church in,
+   You see them about you, and each little urchin
+   Finding a sixpence, with transport beside his hope,
+   Runs to the tin-man and makes a caleidoscope!"
+
+
+  1819. THE HOBBY.
+
+Another invention made its appearance in 1819: this was the
+_velocipede_, or as it was then called "the hobby," the grandfather of
+the bicycle and tricycle of our day. A tall gawky perched on the summit
+of a lofty bicycle, with an enormous wheel gyrating between a couple of
+spindle shanks capped with enormous crab-shells, is a sufficiently
+familiar and ridiculous object in our times; but the appearance
+presented by the people of 1819, who adopted the spider looking thing
+called a "hobby," was so intensely comical that it gave rise to a
+perfect flood of caricatures. The best of these we have personally met
+with is one entitled, _The Spirit Moving the Quakers upon Worldly
+Vanities_, a skit upon the Society of Friends (published by J. T.
+Sidebotham). The scene is laid in front of a "Society of Friends Meeting
+House," and numerous "Friends" of both sexes are busily engaged in
+exercising their hobbies. In the foreground, a broad-brimmed young
+"Friend" gives ardent and amorous chase to a lovely Quakeress, who,
+apparently disinclined to encourage his advances, urges her steed to its
+utmost speed, and makes frantic endeavours to get out of his way.
+
+
+  DEPRESSION IN TRADE.
+
+The internal condition of the country this year (1819) gave cause for
+much anxiety. Pecuniary distress, owing to the depression in trade, was
+almost universal. This state of things, as might have been expected, was
+taken advantage of by the popular agitators for their own purposes; and
+the people, under their encouragement, as in the two previous years,
+continued to give audible expression to their dissatisfaction at
+meetings, and through the medium of publications more or less of a
+seditious character. The miserable outlook gave rise (among others) to a
+pair of caricatures, published by Fores on the 9th of January, _John
+Bull in Clover_, and (by way of contrast), _John Bull Done Over_. In the
+first, fat John is enjoying himself with his pipe and his glass; the
+sleek condition of his dog shows that it shares in the comforts of its
+master's prosperity. John, in fact, has what our Transatlantic cousins
+call "a good time;" scattered over the floor lie invoices of goods
+despatched by him to customers in Spain, in Russia, in America. Beneath
+a portrait of "Good Queen Bess," John has pinned several of his
+favourite ballads: "The Land we live in," "Oh, the Roast Beef of Old
+England!" "May we all live the days of our life." In _John Bull Done
+Over_, a very different picture is presented to our notice. The whole of
+John's fat is gone; he sits, a lean, starving, tattered, shoeless object
+in a bottomless chair, the embodiment of human misery. In place of his
+invoices lie the _Gazette_, which announces his bankruptcy, and a number
+of tradesmen's bills; on the back of his chair is coiled a rope, and on
+the table before him a razor lies on a treatise on suicide,--John in
+fact is debating by what mode he shall put an end to his existence. An
+onion and some water in a broken jug are the only articles of sustenance
+he has to depend on. The tax gatherer, who has made a number of
+fruitless calls, looks through the broken panes to ascertain if John is
+really "at home." On the wall, in place of the picture of "Good Queen
+Bess," hangs a portrait of John Bellingham, the assassin of Spencer
+Perceval; and in lieu of his once joyous ballads, such doleful ditties
+as "Oh, dear, what can the matter be!" "There's nae luck about the
+house," and so on. The poor dog, grown like his master a lean and
+pitiable object, vainly appeals to him for food.
+
+"England's hope"[21]--the darling of the nation--the amiable and
+interesting Princess Charlotte, whose loss is still lamented after the
+lapse of more than half a century, died in childbirth on the 6th of
+November, 1817; but on the 24th of May, 1819, was born, at Kensington
+Palace, another amiable and august princess, whose life has been most
+happily spared to us--her present Majesty Queen Victoria. To show that
+the influence of the last century caricaturists had not yet left us,
+this auspicious event immediately gave rise to a coarse caricature,[22]
+published by Fores, and labelled, _A Scene in the New Farce called the
+Rivals, or a Visit to the Heir Presumptive_, in which the scurrilous
+satirist depicts the supposed mortification and jealousy of other
+members of the royal family. Her Majesty's father, the Duke of Kent,
+died nine months afterwards, on the 23rd of January, 1820.
+
+
+FOOTNOTES:
+
+  [18] The new Alhambra.
+
+  [19] A caricature entitled _Doctors Differ_, according to Mr. Grego
+    (published in 1785) is due to Rowlandson. It is possible, therefore,
+    that the present one, although not in Rowlandson's style, may be a
+    reproduction.
+
+  [20] This admirable satire appears to me very like the handiwork of
+    George Cruikshank; but not being able positively to identify it, I
+    have given it its place in this chapter.
+
+  [21] See the caricatures of George Cruikshank, 1817.
+
+  [22] Apparently by Williams.
+
+
+
+
+CHAPTER IV.
+
+_MISCELLANEOUS CARICATURES AND SUBJECTS OF CARICATURE, 1820-1830._
+
+
+  CAROLINE OF BRUNSWICK.
+
+As in 1809 a revengeful and unscrupulous woman had succeeded in exposing
+the reputation of a member of the Royal family to public opprobrium, so,
+in like manner, in 1820, a woman, and no less a person in this instance
+than a titular queen of England, was the means of dragging the crown
+itself through the mire of a disreputable scandal. That Caroline of
+Brunswick was an uncongenial and unfitting consort; that she was an
+utterly unfit and improper person to occupy the exalted position of
+Queen of England, there can be no manner of doubt. But to the question
+whether it was wise, politic, or dignified to subject her conduct
+(however morally criminal) to the reproach of a public investigation,
+there can be but one answer.
+
+The marriage of Caroline, daughter of Charles, Duke of
+Brunswick-Wolfenbuettel, with George, Prince of Wales, was solemnized on
+the 8th of April, 1795. Exactly one year afterwards, and three months
+after the birth of their child, the Princess Charlotte, the pair
+separated. The separation was effected at the instance of the prince,
+and the reasons for his wishing to live apart from her are assigned in a
+letter which he sent her Royal Highness through Lord Cholmondeley: "Our
+_inclinations_," he told her, "are not in our own power; nor should
+either be answerable to the other because nature has not made us
+suitable to each other. Tranquil and comfortable society is, however, in
+our power; let our intercourse therefore be restricted to _that_."
+
+Sixty years have elapsed since this miserable woman died, and we who are
+no longer biassed by the political leanings which more or less
+influenced those who regarded her with favour or prejudice, are enabled
+to consider the circumstances from a fair and dispassionate point of
+view. In order that the reader may form his own conclusions of her
+character and disposition, we prefer to quote authorities whose
+political sympathies were distinctly favourable to her cause. Writing of
+his grandmother, Lady de Clifford (governess of the Princess Charlotte),
+Lord Albermarle tells us: "She [Lady de Clifford] used often to recount
+to me the events of her court life. The behaviour of the Princess of
+Wales (this was before she left England) naturally came under review. I
+fear that the judgment she formed of the conduct of this much sinned
+against and sinning lady coincides but too closely with the verdict that
+public opinion has since passed upon her. To Lady de Clifford she was
+the source of constant anxiety and annoyance. Often, when in obedience
+to the king's [George III.] commands, my grandmother took her young
+charge to the Charlton Villa, the Princess of Wales would behave with a
+_levity of manner and language that the presence of her child and her
+child's governess were insufficient to restrain_. On more than one
+occasion, Lady de Clifford was obliged to threaten her with making such
+a representation to the king as would tend to deprive her altogether of
+the Princess Charlotte's society. These remonstrances were always taken
+in good part, and produced promises of amendment."[23] The Hon. Amelia
+Murray tells us in her "Recollections from 1803 to 1837": "There was
+about this period an extravagant _furore_ in the cause of the Princess
+of Wales. She was considered an ill-treated woman, and that was enough
+to arouse popular feeling. My brother was among the young men who helped
+to give her an ovation at the opera. A few days afterwards he went to
+breakfast at a place near Woolwich. There he saw the princess, in a
+gorgeous dress, which was looped up to show her petticoat covered with
+stars, with silver wings on her shoulders, sitting under a tree, _with a
+pot of porter on her knee_; and as a finale to the gaiety, she had the
+doors opened of every room in the house, and selecting a partner, she
+galloped through them, desiring all the guests to follow her example! It
+may be guessed whether the gentlemen were anxious to clap her at the
+opera again." Now this was the personage whom certain classes of the
+community persisted in regarding, sixty years ago, as a royal martyr.
+Small as is the respect or esteem which we owe to the memory of George
+the Fourth, we may almost sympathise with him when he calls such a
+consort "uncongenial."
+
+A person so little fitted for the high position which she occupied was
+certain to give trouble; and as far back as 1806, her indiscreet conduct
+had induced the king [George III.] to grant a commission to Lords
+Spencer, Grenville, Erskine, and Ellenborough, to examine into the truth
+of certain allegations which had been made against her; and, although
+their report expressed the most unqualified opinion that the graver
+charges were utterly destitute of foundation, such report, nevertheless,
+concluded with some strictures made by the commissioners "on the levity
+of manners displayed by the princess on certain occasions."[24] In
+consequence of this official report, the intercourse between the
+Princess of Wales and her daughter, the Princess Charlotte, was
+subjected to regulation and restraint; they were allowed at first a
+single weekly interview, which, for some doubtless sufficient reason,
+was afterwards reduced to a fortnightly meeting.[25]
+
+While pitying the mother, we seem scarcely justified in assuming, with
+our present knowledge of her obstinate nature and disposition, that
+these restrictions were imposed without some just and sufficient reason.
+It would seem to have come to the knowledge of the Princess Caroline in
+1813, that the interdiction was intended "to be still more rigidly
+enforced,"[26] for on the 14th of January of that year we find that she
+wrote a letter to the Prince Regent, in which she complained that the
+separation of mother and daughter was equally injurious to her own
+character and to the education of her child. Adverting to the
+restricted intercourse between them, she observed that in the eyes of
+the world, "this separation of a daughter from her mother would only
+admit ... of a construction fatal to the mother's reputation. Your Royal
+Highness," she continued, "will pardon me for adding that there is no
+less inconsistency than injustice in this treatment. He who dares advise
+your Highness to overlook the evidence of my innocence, and disregard
+the sentence of complete acquittal which it [_i.e._ the inquiry of 1806]
+produced--or is wicked and false enough still to whisper suspicions in
+your ear, betrays his duty to you, sir, to your daughter, and to your
+people, if he counsels you to permit a day to pass _without a further
+investigation of my conduct_.... Let me implore you to reflect on the
+situation in which I am placed, without the shadow of a charge against
+me, without even an accuser after an inquiry that led to my ample
+vindication, yet treated as if I were still more culpable _than the
+perjuries of my suborned traducers represented me_, and held up to the
+world as a mother who may not enjoy the society of her only child."
+
+No possible objection can be taken to this letter; indeed, by whomsoever
+it was penned, taken altogether it was an admirable composition. If,
+however, we are to credit the statement of Mr. Whitbread, made in the
+House on the 5th of March, 1813, it was thrice returned to the writer
+unopened. But the princess, as we shall find, was not a person to be
+intimidated by any amount of rebuffs. "At length that letter [we quote
+Mr. Whitbread] was read to him [the Prince Regent], and the cold answer
+returned was, that ministers had received no commands on the
+subject."[27] The letter found its way into the public prints, and then,
+and not till then, if we are to believe Mr. Whitbread, his Royal
+Highness directed that the whole of the documents, together with her
+Royal Highness's communications to himself, should be referred to
+certain members of the Privy Council, who were to report to him their
+opinion, "whether under all the circumstances ... it was fit and proper
+that the intercourse between the Princess of Wales and her daughter ...
+should continue to be, subject to regulations and restrictions."[28]
+
+In their report, which was presented on the 19th of February, the
+commissioners stated that "they had taken into their most serious
+consideration, together with the other papers referred to by His Royal
+Highness, all the documents relative to the inquiry instituted in 1806 ...
+into the truth of certain representations respecting ... the Princess of
+Wales; and, that after full examination of all the documents before them,
+they were of opinion, that under all the circumstances of the case, it was
+highly fit and proper, with a view to the welfare of ... the Princess
+Charlotte ... and the most important interests of the State, that the
+intercourse between ... the Princess of Wales and the ... Princess
+Charlotte should continue to be subject to regulation and restraint."
+
+It was only natural, of course, that Caroline should rebel; and she
+accordingly wrote on the 1st of March a letter to the Speaker,
+protesting against the mode in which this second inquiry had been
+conducted. Motions on her behalf were afterwards brought forward
+successively in the House by Mr. Cockrane Johnson and Mr. Whitbread,
+both of which, however, fell to the ground. The remarks made by Mr.
+Whitbread provoked a speech in the House of Lords from Lord Ellenborough
+(who had been a member of both commissions), which is singularly
+illustrative of the habits and manners of the time. After an
+introduction of great solemnity, his lordship said, "that, in the case
+alluded to, the persons intrusted with the commission [of 1806] were
+charged with having fabricated an unauthorised document, purporting to
+relate what was not given in evidence, and to suppress what was given.
+This accusation," said his lordship, "is as false as h---- in every
+particular." He then proceeded to give an account of the mode in which
+everything had been taken down from the mouth of the witness, and
+afterwards read over to and subscribed by her.[29] He concluded his
+peculiarly energetic speech by again denying, in the most positive
+terms, the truth of the imputation which had been cast upon the
+commissioners.
+
+The inquiry of 1813 set the pencils of the caricaturists in motion, and
+among the satires it occasioned, I find a series of eight pictures on
+one sheet, representing the witnesses, the commissioners, Mr. Whitbread,
+and other persons connected with that and the previous investigation of
+1806. It is called _A Key to the Investigation, or Iago Distanced by
+Odds_; and the most amusing of the series is the seventh, which
+represents the furious Lord Ellenborough, attired in his official robes
+of Lord Chief Justice of the King's Bench. The following doggerel
+clearly identifies it with the speech from which we have already
+quoted:--
+
+  "This is the Chief J---- who, as the Lords tell,
+   Swore that the reflections were false!--black as h----!
+   _And though such bad words no man can use fewer_,
+   In his rage it was fear'd he would pistol the Brewer[30]
+   For moving the senate, who all cried, oh fie!
+   That the Lady and B----[31] had told a d----d lie,
+   And were unworthy credit the oaths they did try;
+   And lamented the witness, whose answer when penn'd,
+   Without questions which drew them, appear'd to portend
+   More reproach than she meant against her good friend.
+   While the hireling servants examined by law,
+   Who thought by a stretch to gain some _eclat_,
+   While before the commissioners named by the King,
+   To investigate matters and witnesses bring," etc., etc.
+
+The eighth of the series is "the spring that set all in motion," the
+satirist's meaning being indicated by a throne, on which lies a cocked
+hat adorned with the Prince of Wales' feathers, and beneath it, as is
+usual in a large proportion of the satires which allude to the
+prince-regent, a number of empty bottles.
+
+The Regent seems never to have lost an opportunity of insulting his
+uncongenial and unfortunate wife. In anticipation of the expected visit
+of the allied sovereigns in June, 1814, the prince conveyed an
+intimation to his royal mother that, as he considered his presence could
+not be dispensed with at her ensuing drawing-rooms, he desired it to be
+distinctly understood, "for reasons of which he alone could be the
+judge, to be his fixed and unalterable determination not to meet the
+Princess of Wales upon any occasion, either in public or private."[32]
+Queen Charlotte was bound of course to give an official intimation to
+that effect to the Princess Caroline, which, on the 24th and 26th of
+May, 1814, brought from her letters to the queen and the Regent. In the
+first of these communications she intimated her intention of "making
+public the cause of her absence from Court at a time when the duties of
+her station would otherwise peculiarly demand her attendance"; while her
+letter to her husband contained the following intimation: "Your Royal
+Highness may possibly refuse to read this letter; but the world must
+know that I have written it, and they will see my real motives for
+foregoing in this instance the rights of my rank. Occasions, however,
+may arise (one, I trust, is far distant) when I _must_ appear in public,
+and your Royal Highness must be present also. Can your Royal Highness
+have contemplated the full extent of your declaration? Has your Royal
+Highness forgotten the approaching marriage of our daughter [to the
+Prince of Orange] and the possibility of our coronation?" These words
+show that from the first Caroline had decided, _coute que coute_, when
+the time came to assert her position, in spite of the opposition of her
+husband and any obstacles which might be raised by his friends and
+advisers.
+
+We have entered rather fully into this matter, because it seemed to us
+necessary, in order that the reader might understand the temper of
+Caroline, and the motives which influenced her in the extraordinary
+course of conduct which she afterwards thought fit to pursue. She was
+treated, we have seen, with the most cruel and studied insult; excluded
+from ceremonials at which her rank and position entitled her to be
+present. "Sir," said the unfortunate woman in the letter to her husband
+to which we have alluded, "the time you have selected for this
+proceeding is calculated to make it peculiarly galling. Many illustrious
+strangers are already arrived in England; among others, as I am
+informed, the illustrious heir of the house of Orange, who has announced
+himself to me as my future son-in-law. From their society I am unjustly
+excluded. Others are expected, of rank equal to your own, to rejoice
+with your Royal Highness in the peace of Europe. My daughter will for
+the first time appear in the splendour and publicity becoming the
+approaching nuptials of the presumptive heiress of this empire. This
+season your Royal Highness has chosen for treating me with great and
+unprovoked indignity; and of all his Majesty's subjects, I alone am
+prevented by your Royal Highness from appearing in my place, to partake
+of the general joy, and am deprived of the indulgence of those feelings
+of pride and affection permitted to every mother but me." Poor mother!
+who may help pitying her! Her most prejudiced enemy will admit that this
+was an eloquent and noble protest. Had she only maintained this language
+and attitude, we should justly assign to her a place amongst the royal
+martyrs of history. Naturally this barbarous, impolitic treatment soured
+her, as it would sour even the sweetest disposition. In an evil hour for
+her, and we may add for this country, she solicited and obtained
+permission to travel abroad.
+
+No sooner was she freed from the restraints which had surrounded her at
+home, than her conduct not only makes us doubt whether she had any hand
+in the composition of this maternal appeal, but appears to justify the
+conclusions at which the commissioners of 1806 and 1813 seem to have
+arrived. Her temper was obstinate and wilful. She knew that she was
+watched; and from a spirit apparently of wanton mischief, designed with
+the view doubtless of annoying her enemies, she indulged in a series of
+the most extraordinary and undignified vagaries. She took into her
+service and received into her closest confidence and favour persons of
+the lowest position. It was impossible for rumours of her extraordinary
+eccentricities not to reach, not only the ears of those who detested
+her, but in an imperfect and incorrect degree those of the general
+public. That this was the case is shown by a caricature entitled,
+_Paving the way for a Royal Divorce_, published by Johnston on the 1st
+of October, 1816, in which we see the corpulent Regent at table with
+Lord Liverpool, "Old Bags"[33] (Chancellor Eldon), Lord Chief Justice
+Ellenborough, Vansittart, Chancellor of the Exchequer, and another,
+probably intended for Viscount Sidmouth. His Royal Highness is made by
+the caricaturist to say that he and his sympathizers think "we shall now
+succeed, having secured some evidence from the coast of Barbary.... I
+have got everything as clear as the sun at noon-day.... Now for a
+divorce as soon as possible." Lord Chancellor Eldon says, "I'll stick to
+your Highness through thick and thin, or never call me 'Old Bags' again
+as long as I live." Lord Liverpool supports him by the assurance, "I'm
+an unmatched negotiator, and I'll enter into a treaty with the House of
+Commons to secure your suit." The temper of the Commons is shown by the
+doubts expressed by the individual we take to be intended for Viscount
+Sidmouth. "I have my doubts," says this person, at the same time laying
+his hands on the port wine decanter, "I have my doubts and qualms of
+conscience, your Highness; what say you, Van?" "Oh, my lord," replies
+Vansittart, who is seated on the "Budget," "I have some strange touches
+of feeling on the subject." Up rises the hot-tempered Lord Chief
+Justice, upsetting a decanter of port wine, and at the same time the
+chair on which he has been sitting, "Don't put me in a passion with your
+'qualms' and your 'touches'; they are all false, false as h----! I'll
+blow you all to the d----l if you don't stick to your master manfully!!"
+By the side of the prince we see, as usual, a pailful of wine bottles,
+and at his feet, in allusion to his notorious infidelities, an open
+volume entitled, "The Secret Memoirs of a Prince, by Humphrey Hedghog,
+Esq., 1815." By the side of the Lord Chief Justice lie three portly
+volumes labelled, "The Law of Divorce." It will be evident from the
+foregoing, that from an early period, the satirists on the popular side
+gave credit to the prince and his advisers for being members of a secret
+conspiracy for compassing the ruin of the erring and unfortunate woman.
+
+Now what was the "evidence" to which the corpulent Regent is made to
+refer in the sketch before us? It was not of course _evidence_, but
+rumour; and rumour said the strangest things of the Princess Caroline.
+It associated her name with that of a courier,--a low Italian, named
+Bartolomeo Bergami; it said that she had enriched and ennobled this man
+and other members of his family; procured for him a barony in Sicily;
+decorated him with several orders of knighthood; and asserted in the
+plainest terms that she was living with him in a state of open and
+notorious adultery. These reports rendered it necessary to ascertain on
+what foundation they rested, and the result was that in 1818, Mr. Cooke,
+of the Chancery Bar, and Mr. Powell, a solicitor, were despatched into
+Germany and Italy to collect evidence with respect to her conduct. This
+inquiry, which is generally known as the "Milan Commission," seemed
+certainly preferable to an investigation of a more public and notorious
+character; and upon the evidence these gentlemen obtained was founded
+the "Bill of Pains and Penalties," which we shall presently have to
+consider.
+
+
+  1820.
+
+It is quite clear that the ministers of 1820 were strongly averse to the
+introduction of the "Bill of Pains and Penalties," which is now known to
+us as the "Trial of Queen Caroline." The whole odium indeed of the
+proceedings rested upon them at the time; but we have no reason to doubt
+the statement of Mr. Charles Greville, under date of 20th February,
+1820, that they had offered to resign, "because the king would not hear
+reason." It seems at any rate tolerably certain that, although they
+brought forward the "Bill of Pains and Penalties" under pressure of the
+Crown, they did not do so until they had well-nigh exhausted every
+effort short of actual resignation (this dignified position they did
+_not_ take) to avoid it. Mr. Wade tells us that "their first
+indiscretion consisted in commencing hostilities against the queen by
+the omission of her name in the liturgy, thereby provoking her claim to
+legal rights;"[34] but this omission, which appears to us justifiable
+under the circumstances, Mr. Greville shows us was due to the action of
+the king himself.[35] In the month of June, 1819, a communication
+appears to have been received from Mr. Brougham, the professional
+adviser of the princess, and understood to be charged with the
+confidential management of her affairs. The proposal contained in this
+communication was in substance, that her then income of L35,000 a year
+should be secured to her for life, instead of terminating with the
+demise of the crown: and that she should undertake upon that arrangement
+being made to reside permanently abroad, and not to assume at any time
+the rank or title of Queen of England. This proposal, however, being
+stated to be made without any authority from the princess, or knowledge
+of it on her part, the Government at that time replied that there would
+be no indisposition at the proper time to entertain the principle on
+which the proposal was grounded, if it met with the approbation of her
+Royal Highness on the king's accession. The ministers, reverting to Mr.
+Brougham's proposal, offered to raise the already handsome allowance to
+L50,000 a year, subject to the conditions before mentioned. Caroline,
+however, peremptorily declined the proposal, alleging that it had been
+made without her knowledge or sanction. Unfortunately, too, this offer
+when made to Caroline herself, was coupled with the intimation that if
+the queen should "be so ill-advised as to come over to this country,
+there must be _an end to all negotiations and compromise_."[36]
+Considering the temper and disposition of the woman, the fact that she
+had demanded the insertion of her name in the liturgy, the haughty
+assertion of her claim "to be received and acknowledged as the Queen of
+England," and the communication made at the same time of her desire that
+a royal yacht should be in readiness to receive her at Calais,[37] it
+appears to us a greater mistake on the part of the ministry could
+scarcely have been made. It aroused her woman's nature, and flaming with
+the anger and resentment which she had nourished for so long a course
+of years, she boldly took up the gauntlet her enemies had flung at her
+feet, and crossed the Channel almost as soon as the astonished
+Government messenger himself.
+
+The queen (for she was titular Queen of England now) arrived in London
+on the 7th of June: "the road was thronged with an immense multitude the
+whole way from Westminster Bridge to Greenwich. Carriages, carts, and
+horsemen followed, preceded, and surrounded her coach the whole way. She
+was everywhere received with the greatest enthusiasm. Women waved
+pocket-handkerchiefs, and men shouted wherever she passed. She travelled
+in an open landau, Alderman Wood sitting by her side, and Lady Ann
+Hamilton [the Duke of Hamilton's sister] and another woman opposite....
+The queen looked exactly as she did before she left England, and seemed
+neither dispirited nor dismayed."[38] In one of the popular satires of
+the day we see her standing on the balcony of Alderman Wood's house in
+South Audley Street, receiving and acknowledging the enthusiastic
+plaudits of her admirers. The very day she arrived at Dover, a royal
+message was sent down to Parliament, by which the king commended to the
+Lords an inquiry into the conduct of the queen; while on the following
+day, Mr. Brougham read in the House of Commons a message or manifesto
+from his client, declaring that her return was occasioned by the
+necessity her enemies had laid upon her of defending her character and
+conduct.
+
+
+  THE BILL OF PAINS AND PENALTIES.
+
+Both parties now stood irrevocably committed to the fatal measure. A
+secret committee of the House of Lords proceeded to open the celebrated
+_green bag_, which contained the reports of the Milan Commission; and on
+the 4th of July they made their report, recommending a solemn inquiry
+into the conduct of the queen. Next day the Earl of Liverpool presented
+a "bill of pains and penalties" entitled, "An Act to deprive Her Majesty
+Queen Caroline Amelia Elizabeth of the title, prerogative, rights,
+privileges, and exemptions of Queen Consort of this realm, and to
+dissolve the marriage between His Majesty and the said Caroline Amelia
+Elizabeth" on the ground of the grossly immoral conduct therein alleged
+against her.
+
+The ill-advised proceedings once commenced, no time was lost in carrying
+them through. On the 7th of July the Italian witnesses in support of the
+bill (twelve in number) landed at Dover. The object of their visit soon
+became known, and on emerging from the custom house they were set upon
+and badly beaten by a furious crowd, composed principally of women. They
+were lodged in a building then separating the old houses of Parliament,
+which, with its enclosure, was called Cotton Garden; the front faced the
+abbey, the rear the Thames. "The land entrance was strongly barricaded.
+The side facing Westminster Bridge was shut out from the public by a
+wall run up for the express purpose at a right angle to the Parliament
+stairs. Thus the only access was by the river. Here was erected a
+causeway to low-water mark; a flight of steps led to the interior of the
+inclosure. The street was guarded by a strong military force, the water
+side by gunboats. An ample supply of provisions was stealthily (for fear
+of the mob) introduced into the building; a bevy of royal cooks was sent
+to see that the food was of good quality, and to render it as palatable
+as their art could make it. About this building, in which the witnesses
+were immured from August till November, the London mob would hover like
+a cat round the cage of a canary. Such confinement would have been
+intolerable to the natives of any other country, but it was quite in
+unison with the feelings of Italians. To them it realized their
+favourite '_dolce far niente_.' Their only physical exertion appears to
+have been the indulgence in that description of dance that the
+_Pifferari_ have made familiar to the Londoner."[39] Such was the
+residence of the Italian witnesses against the queen, and it is certain
+that if they had ventured beyond its precincts they would have been torn
+in pieces.
+
+The appearance which Caroline of Brunswick presented at her trial was
+an outrageous caricature, and is thus described by one then distinctly
+friendly to her cause--the Earl of Albemarle: "The peers rose as the
+queen entered, and remained standing until she took her seat in a
+crimson and gilt chair immediately in front of her counsel. Her
+appearance was anything but prepossessing. She wore a black dress with a
+high ruff, an unbecoming gipsy hat with a huge bow in front, the whole
+surmounted by a plume of ostrich feathers. _Nature_ had given her light
+hair, blue eyes, a fair complexion, and a good-humoured expression of
+countenance; but these characteristics were marred by _painted
+eyebrows_, and by a _black wig_ with a profusion of curls, which
+overshadowed her cheeks and gave a bold, defiant air to her features."
+The names of the witnesses, and possibly the precise nature of the
+testimony against her, would seem to have been unknown to the queen, for
+we have it on record that when the first witness (Teodoro Majoochi, the
+celebrated "Non Mi Ricordo") was placed at the bar, on the 21st of
+August, Her Majesty, "uttering a loud exclamation, retired hastily from
+the House, followed by Lady Ann Hamilton."[40] She evidently laboured
+under some strong emotion, whether of surprise or displeasure, or both,
+seems never to have been ascertained.
+
+Among the general public, and even in the House of Commons itself, the
+falsehood of all that had been alleged on oath against the queen was
+assumed as an undeniable axiom; the witnesses were loaded with the most
+opprobrious epithets, while those who had been concerned in collecting
+or sifting evidence were represented as conspirators or suborners. We
+shall see, when we come to speak of the caricatures of Robert
+Cruikshank, the light in which these unhappy witnesses were regarded by
+the graphic satirists on the popular side.[41] Nevertheless, if their
+testimony is carefully read over by any unprejudiced person having any
+knowledge of the law of evidence, in spite of the badgering of Mr.
+Brougham, the admirable speech of that gentleman, and the testimony of
+the witnesses on the other side, I think he cannot fail to come to any
+other conclusion than that expressed by the then Lord Ellenborough, that
+Her Royal Highness was "the last woman a man of honour would wish his
+wife to resemble, or the father of a family would recommend as an
+example to his daughters. No man," said his lordship, "could put his
+hand on his heart and say that the queen was not wholly unfit to hold
+the situation which she holds."[42] He will see too, by reference to the
+report of the proceedings in the "Annual Register," that of the peers
+who decided to vote against the second reading of the bill on the ground
+of _inexpediency_, a large majority gave it as their deliberate opinion
+that the case had been proved against the queen.[43] In a very clever
+pictorial satire, published by S. Humphrey in 1821, the queen, Bergami,
+and a third figure (possibly intended for Alderman Wood) are represented
+as standing on a pedestal forming the apex of a slender stem labelled
+"Mobility," which rests on a base marked "Adultery." The whole structure
+depends for support on a broom (in allusion of course to Mr. Brougham)
+and two frail pieces of wood, labelled respectively, "Sham addresses,"
+and "Sham processions," which in turn rest on a slender railing, while a
+ladder on either side, marked "Brass" and "Wood," lend a further slight
+support to the very insecure fabric. The superincumbent weight of the
+queen and Bergami breaks the frail stem in pieces, and the three figures
+tumble to the ground together. The back of the design is occupied with
+scenes and incidents detailed in the evidence. A very clever caricature,
+without date (published by T. Sidebotham), I am inclined to assign to
+this period; and if so, it is one of the most plain spoken and telling
+satires ever published. It is entitled, _City Scavengers Cleansing the
+London Streets of Impurities_; a placard which has fallen in the street
+sufficiently explains its meaning: "By particular desire of the Society
+for the Suppression of Vice, D-- of K--t in the chair, ordered that the
+city officers do keep the streets clear of common prostitutes.--Signed,
+Wood, Mayor."[44]
+
+A more foolish and undignified proceeding, however, than this "Bill of
+Pains and Penalties" can scarcely be conceived. Its fate might almost
+have been predicted from the first. The second reading was carried on
+the 6th of November, by a majority of twenty-eight, but the third (for
+the reasons already given) by a majority of nine only; whereupon, the
+Earl of Liverpool said that, "had the third reading been carried by as
+considerable a number of peers as the second had been, he and his
+colleagues would have felt it their duty to persevere with the bill and
+to send it down to the other branch of the legislature. In the present
+state of the country, however, ... they had come to the determination
+not to proceed further with it."[45] The victory will be acknowledged by
+us now-a-days as damaging as a defeat; but the result, curious to
+relate, was hailed by the queen and her party as if her innocence had
+been triumphantly vindicated. In signing a document prepared by her
+counsel on the 8th of November, she wrote, "Carolina Regina," adding the
+words, "there, _Regina_ still, in spite of them." The abandonment of the
+bill was followed by three nights of illumination; but it was observed
+that they were of a very partial character, wholly unlike those which
+had greeted the great victories by sea and land, in which the public
+sympathy was spontaneous and universal. The mob in some cases testified
+its disapproval when these signs of satisfaction were wanting; and one
+gentleman in Bond Street, on being repeatedly requested to "light up,"
+placed a single rushlight in his two-pair-of-stairs window. Some of the
+transparencies were, as might have been expected, of a singular
+character. A trunk maker in the same street displayed the following new
+reading from Genesis: "And God said, It is not good the King should
+reign alone." A publican at the corner of Half Moon Street exhibited a
+flag whereon, in reference to the unpopular witness Teodoro Majoochi,
+was depicted a gallows with the following inscription:--
+
+  "_Q._ What's that for?
+   _A._ Non Mi Ricordo."
+
+An enthusiastic cheesemonger at the top of Great Queen Street displayed
+a transparency on which he had inscribed the following verses:--
+
+  "Some friends of the devil
+   With mischief and evil
+     Filled a green bag of no worth;
+   But in spite of the host,
+   It gave up the ghost
+     And died 53 days after birth."
+
+The caricaturists of course were not idle, and the trial of Queen
+Caroline provoked a perfect legion of pictorial satires. The queen's
+victory is celebrated in one of the contemporary caricatures (published
+by John Marshall, junior) under the title of _The Queen Caroline Running
+down the Royal George_; while on the ministerial side it is recorded
+(among others) by a far more elaborate and valuable performance
+(published by G. Humphrey), called, _The Steward's Court of the Manor of
+Torre Devon_, which contains an immense number of figures, and wherein
+the queen is seated on a black ram[46] in the midst of one of the
+popular processions, the members of which carry poles bearing pictorial
+records of the various events brought out in evidence against her.
+
+It is one of the peculiarities of our "Glorious Constitution," that
+while the ministers who acted under his direction incurred all the
+blame, the prime instigator of all these exposures was enabled to
+shelter himself behind the backs of his "advisers." The ministers were
+unpopular,--they deserved to be so, for, whatever might have been the
+consequences to themselves so far as loss of office was concerned, they
+should have refused from the first to lend themselves to the publication
+of a scandal so utterly grievous. The king himself at this time was far
+from unpopular; the odium he had incurred the previous year by the
+thanks he had caused to be conveyed to Major Trafford, "and the
+officers, non-commissioned officers, and privates" of the yeomanry who
+had signalized themselves in the massacre at Manchester (an outrage
+which, by the way, led to a number of pictorial satires), seemed to have
+wholly passed away. He was at Ascot only two days before the queen's
+arrival, and "was always cheered by the mob as he went away. One day
+only a man in the crowd called out "Where's the Queen?"[47] Again, we
+find on the same authority, that on the night of the 6th of February,
+1821: "The king went to the play (Drury Lane) for the first time, the
+Dukes of York and Clarence and a great suite with him. He was received
+with immense acclamations, the whole pit standing up, hurrahing and
+waving their hats. The boxes were very empty at first, for the mob
+occupied the avenues to the theatre, and those who had engaged boxes
+could not get to them. The crowd on the outside was very great.... A few
+people called 'The Queen!' but very few. A man in the gallery called
+out, 'Where's your wife, Georgy?'[48] His reception at Covent Garden the
+following night appears to have been equally loyal and gratifying.
+
+The truth was, that the numerous and truly honest people who sympathized
+with Queen Caroline, did so from little admiration for herself, but
+because she had been the victim of twenty-five years' persecution;
+because, however great her follies, they had been grievously provoked;
+and above all, because they felt that the man who was her most powerful
+and relentless persecutor, was the very last who was justified in
+casting a stone against her. The ministerialists and their supporters,
+however, attributed the sympathy which was shown by her professed
+admirers exclusively to a political origin, and thus stigmatized the
+motives of their opponents (with more justice than poetry) in one of the
+jingling rhymes of the day:--
+
+  "What's the Queen to Reformists? as Queen was to France,
+   Round her head and her consort's they'd equally dance.
+   They care not for Caroline, nor king, nor for queen,
+   A pretext they want their intentions to screen,
+   'The Queen!' is the Radicals' rallying cry;
+   A queen bears the standard the king to defy."
+
+How entirely unfitted this mistaken woman was to figure in the august
+position of a queen of England may be judged from her subsequent
+conduct. Instead of contenting herself with her victory, such as it was,
+she had the ill taste, in spite of the remonstrances of her friends and
+advisers, to communicate to the Lord Mayor, through the medium of her
+"vice chamberlain," her intention to proceed to St. Paul's in a public
+manner on Wednesday, the 29th of November, there and then to offer up
+her thanksgivings for the result: and this resolution she actually
+carried out. The details of her procession, which really reminds us of
+the entry of a company of equestrians into some provincial town, need
+not be entered into here; suffice it to say that it comprised trumpeters
+without number, stewards' carriages, gentlemen on horseback, the
+corpulent queen herself, with her attendant, Lady Ann Hamilton, and the
+indispensable Alderman Wood, the whole closing with "the various trades
+with flags and banners." It would appear to us that one of the rarest of
+the caricatures on the ministerial side has reference to this triumphal
+entry. It is labelled, _Grand Entrance to Bamboozlem_, and was published
+by Humphrey shortly afterwards. The queen is represented at the head of
+a procession, all the members of which (herself included) are mounted on
+braying "jackasses." A figure, intended no doubt for Alderman Wood,
+habited in a fool's cap and jester's dress, holds her by the hand; the
+lady who follows him, playing on the fiddle and wearing a Scotch bonnet,
+is meant for Lady Ann Hamilton (she is named "Lady Ann Bagpipe" in the
+sketch); Bergami (immediately behind) carries a banner inscribed
+"Innocence"; and next him, his fat sister, whom the queen had dignified
+with the title of a countess; Venus and Bacchus appear amongst the
+crowd, and are labelled "Proteges and bosom friends of Her M----y." She
+is welcomed by an enthusiastic body of butchers with marrow-bones and
+cleavers; while among the crowd waiting to receive her we notice Orator
+Hunt and the other popular leaders of the day.
+
+[Illustration:
+  _Face p. 81._]
+
+And here we drop for the present the subject of Queen Caroline, a
+subject we have approached with caution, although conscious that it can
+be by no means omitted from a work treating of graphic satires of the
+nineteenth century. That she should now accept the L50,000 per annum
+which she had previously refused, will probably not surprise the reader.
+The end of a career so strangely undignified will be seen when we come
+to treat of the caricatures of George Cruikshank.
+
+The duel between the Dukes of Buckingham and Bedford; the erection of
+the statue of Achilles in Hyde Park; the new Marriage Act; the second
+French invasion of Spain under the Duc d'Angouleme; the Tenth Hussars;
+Miss Foote, the celebrated actress; Edmund Kean; and the commercial
+distress of 1825-6, afford subjects for the pencils of the
+caricaturists, and will be mentioned in the chapters which relate to the
+graphic satires of the brothers Cruikshank.
+
+
+  GREEK WAR OF INDEPENDENCE.
+
+The pictorial satirists were kept fully employed by the political events
+of 1827 and 1828. The former year beheld the sanguinary Greek war of
+independence. Things turned out badly for the over-matched Greeks, until
+at last Great Britain, France, and Russia interposed with Turkey on
+their behalf. The proposals offered were such as the Turks refused to
+entertain. The Porte, in refusing them, maintained that, though
+mediation might be allowable in matters of difference between
+independent states, it was utterly inadmissible as between a power and
+its revolted subjects. The allied powers then proposed an armistice,
+demanding a reply within fifteen days, plainly intimating that in the
+event of refusal or silence (which would be construed into a refusal),
+they should resort to measures for _enforcing_ a suspension of
+hostilities.
+
+
+  BATTLE OF NAVARINO.
+
+In the meantime arrived at Navarino the Egyptian fleet, consisting of
+ninety-two sail, including fifty-one transports, having on board 5,000
+fresh troops. Ibraham Pacha's attempt to hoodwink the British, and to
+land these troops at Patras, was foiled by the vigilance and
+determination of the English admiral. Disappointed in these attempts, he
+proceeded, in the teeth of the warnings which had been given him, to
+execute his orders to put down the insurrection on land, and carried
+them out with merciless atrocity,--ravaging the Morea with fire and
+sword. Resolved now to bring matters to an issue, the combined fleets in
+October, 1827, entered the harbour. As was expected would happen, the
+Turks fired upon them, and then ensued the famous battle of Navarino, in
+which, after a four hours' engagement, the Turkish and Egyptian fleets
+were annihilated, and the bay strewed with the remains of their ruined
+vessels.
+
+Russia declared war against Turkey the following year, and we meet with
+many miscellaneous caricatures having reference to the conflict which
+followed. In one, published by Maclean (without date) entitled, _Russian
+Bears' Grease, or a Peep into Futurity_, we see the Russian bear running
+off with Greece in spite of England, France, and Austria. Another (also
+without date), is labelled _The Descent of the Great Bear, or the
+Mussulmans in a Quandary_. In a third (also without date), called _The
+Nest in Danger_, we see Turkey sitting on a nest marked "Greece"
+disturbed by Russia, whilst the British lion stands looking on at no
+great distance, discontentedly gnawing a bone labelled "Navarino." By
+the time peace was concluded between the belligerents in 1829, England
+would seem to have realized the fact that she had been made the tool of
+Russia, and this is the obvious idea intended to be conveyed by the
+satirist in another caricature (also without date, but bearing obvious
+reference to the same subject). The Porte is represented in the act of
+_presenting a bill of indemnification_ to George the Fourth.
+
+
+  CATHOLIC RELIEF BILL.
+
+The principal political topic remaining to be noticed is the Catholic
+Relief Bill of 1829, a measure forced upon the king, the ministry, the
+church, and the aristocracy by the imperative force of circumstances,
+directed by the prescience of a minister who, sharing at first all the
+objections of his colleagues, felt nevertheless that a large portion of
+his Majesty's subjects were labouring under disabilities and fettered by
+restrictions inconsistent with the boasted liberties of a free people;
+and that such a measure, in the face of the political changes which had
+been loudly demanded for a long time past, could no longer be delayed.
+It is not surprising, however, that Wellington and his colleagues,
+following out the maxims of a Whig policy, should be viewed by their own
+party somewhat in the light of traitors. Accordingly we see them
+figuring in this character in some of the caricatures of the day, one of
+which (one of the "Paul Pry" series), published by Geans in 1829, may be
+cited as an example of the rest, and shows them to us in the act of
+_Burking Old Mrs. Constitution, aged 141_.
+
+In this and the two preceding chapters we have attempted to give an
+account of some of the leading events of the first thirty years of the
+century, illustrating them by reference to a _few_ of the miscellaneous
+caricatures of the period. We have adopted this method of arrangement
+because, if our theory be correct, it was during this period that the
+art of caricature continued to flourish, and it is from this period that
+we date its speedy decline and downfall. We think that the prime cause
+of this decline may be traced to the fact that George Cruikshank, the
+best of nineteenth century satirists, had by this time resigned the art
+to follow his new employment of an illustrator of books; we think, too,
+that caricature received an additional impetus in its downward progress
+by the secession from the ranks of its professors of the veteran Thomas
+Rowlandson, who, although he did not die until 1827, had virtually
+given up caricature in favour of book illustration[49] many years
+before. Further illustration of some of the events already related, and
+of others to which we have no occasion at present to refer, will be
+found in the chapters devoted to the work of Isaac Robert Cruikshank and
+his brother George.
+
+A considerable number of the caricatures which belong to the first
+quarter of the century have an anonymous origin; whilst a large
+proportion are due to William Heath, who, either in his own name, or
+often under the distinguishing hieroglyphic of "Paul Pry," contributed
+largely to the political and social satires of his day. Other
+caricaturists of the period were H. Heath (hundreds of whose comic
+sketches were collected and published by Charles Tilt), Theodore Lane,
+and his friends Isaac Robert and George Cruikshank. To these names we
+must add those of the last century men who continued their work into the
+present, James Gillray, Thomas Rowlandson, George Moutard Woodward, C.
+Williams, Henry William Bunbury, Robert Dighton, and others. Some idea
+of the industry of the nineteenth century satirists may be gathered from
+the fact that the "Paul Pry" series of political satires of 1829-30,
+alone number some fifty plates, which in our day can rarely be purchased
+at three times their original cost.
+
+       *       *       *       *       *
+
+[Illustration:
+  THEODORE LANE. _From "Life of an Actor," 1824._
+
+  "THE GALLERY.--POWERFUL ATTRACTION OF TALENTS!"]
+
+[Illustration:
+  THEODORE LANE. _From "Life of an Actor," 1824._
+
+  "THE NON-PAYING AUDIENCE."
+
+  _Face p. 85._]
+
+
+  THEODORE LANE.
+
+On the walls of some old-fashioned dining-rooms, and the parlours of
+provincial inns, may still be seen an engraving, called _The
+Enthusiast_, which some of my readers may remember to have seen in the
+print shops of some twenty or five-and-twenty years ago. It represents
+an old disciple of Izaac Walton, whom the gout has incapacitated from
+following his favourite pursuit, so devoted to the sport, that we see
+him fishing for minnows in a water-tub, instead of the rippling
+stream out of which he has been accustomed to whip his favourite
+speckle-backed beauties. The painting from which this engraving was
+taken was the work of Theodore Lane, who, although his work is limited
+to the short space of five or six years, seems to call for special
+mention by virtue of his tragic ending, the short span allotted to his
+life and labours, and the superiority of his talent and genius to those
+of many of his contemporaries. Lane was literally a comic artist of the
+nineteenth century, having been born at Isleworth in 1800. He was
+apprenticed to a colourer of prints at Battle Bridge, named Barrow; and,
+shortly after completing his time, produced (in 1822) six designs
+illustrative of "The Life of an Actor," and with these in a small
+portfolio under his arm, went out into the world to seek his fortune as
+other comic artists have done before him and since. Pierce Egan, at this
+time, was the most popular man in town; his name (on very insufficient
+literary merits) was identified with the success of the most famous book
+of the century--we allude to the "Life in London." To his residence in
+Spann's Buildings, St. Pancras, Lane betook himself; showed him his
+sketches, and said if Egan would only undertake the letterpress, he
+should find no difficulty in getting Ackermann, Sherwood, or any of the
+art publishers of the day, to undertake its publication. But Egan's
+hands were full, and he declined the offer. Two years later on, author
+and artist again met, and the result was that "The Life of an Actor,
+Peregrine Proteus," made its appearance, "illustrated by twenty-seven
+coloured scenes and nine woodcuts, representing the vicissitudes of the
+stage". The publisher was Arnold, of Tavistock Street, Covent Garden,
+who paid the young artist one hundred and fifty pounds fifteen shillings
+for his share of the work. "The Life of an Actor" was published at a
+guinea, and dedicated to Edmund Kean; and a contemporary critic
+describes it as "one of the best exemplifications of Mr. Egan's peculiar
+talent. It is impossible for us," he continues, "to do justice to the
+spirit of the designs, many of which would [of course] not discredit the
+pencil of Hogarth." Lane's association with one of the most noted
+sporting characters of the day opened the way to him for further
+engagements, and for another work, entitled, "A Complete Panorama of
+the Sporting World," he executed thirteen original etchings, and an
+equal number of designs on wood.
+
+Among the number of Theodore Lane's social satires may be mentioned
+_Scientific Pursuits, or Hobbyhorse Races to the Temple of Fame_, four
+folio plates; _The Parson's Clerk_ (a comic song), four illustrations in
+ridicule of cant and hypocrisy; _Legal Illustrations_ (seventy humorous
+applications of law terms); _The Masquerade at the Argyll Rooms_ (a
+large plate full of vigour, life, and character); _New Year's Morning:
+the Old One out, and the New One coming in_, a party of topers, one of
+whom--the chairman, with the empty punch-bowl on his head (representing
+"the old one out")--merrily points at the waiter bringing a full bowl
+("the new one") in; _Sunday Morning--the Barber's Shop_; _Shilling Fare
+to a Christmas Dinner, or Just in Pudding Time_; _The Rival Whiskers_;
+and _Amorous, Clamorous, Uproarious, and Glorious_ (a pair of admirable
+and amusing satires of the prevailing features, vices, and follies of
+the day); _Crowding to the Pit_ and _Contending for a Seat_ (two capital
+theatrical subjects). Lane also made a sketch entitled, _Paul Pry's
+First Night in a Boarding House_, intended to be succeeded by eleven
+others, the publication of which was however prevented by the death of
+Liston. McLean published a large and clever design, bearing the somewhat
+lengthy title of _Law Gorging on the Spoils of Fools and Rogues, and
+Honest Men among Knavery, producing Repentance and Ruin; or, the Fatal
+Effects of Legal Rapacity_,--wherein the highway of Law conducts to Ruin
+through a series of toll-gates labelled respectively, "Opinion of
+Counsel," "Injunction," "Filing the Bill," "Consultation,"
+"Procrastination," etc.
+
+Like his contemporaries the Cruikshanks, with whom he was familiar,
+Theodore Lane mixed freely with the young bloods of his day, termed in
+the slang of his time "Corinthians," and the results are shown in his
+designs. He might often be seen at the "Craven's Head," in Drury Lane,
+kept by a host known to his patrons by the familiar title of "Billy
+Oxberry"; at the Saturday night harmonic meetings held at the "Kean's
+Head," in Russell Court, Drury Lane; at "The Wrekin," in Broad Court,
+Long Acre, at that time frequented by gentlemen of the Press; at "The
+Harp," in Russell Street, Drury Lane, a well known house of call for
+actors, and appropriately immortalised in one of his illustrations to
+"The Life of an Actor"; at the "Cider Cellar"; at the "Fives Court"; at
+the numerous "Masquerades" of the day; at any place of resort, in fact,
+which offered studies of life and character or subjects of social
+satire. He figures in his own sketch of _The Masquerade at the Argyll
+Rooms_, where we recognise him (in one of the right hand boxes) in a
+white sheet, a tall paper cap on his head, and a staff in his hand. His
+impersonations were sometimes singularly original. At one of these
+"masquerades," for instance, he represented a "frozen-out gardener"
+soliciting charity, and holding in his hand a cabbage covered with
+icicles; at another, he appeared as a hospital "out-patient," wearing a
+hideous mask (designed by himself) representing some dreadful disease,
+from which the bystanders recoiled in horror and amazement. With all
+this drollery Lane kept himself well out of mischief, and was moreover,
+in days when young and old were more or less inclined to be topers, a
+strictly temperate man.
+
+But Lane's talents were not confined to comic etching or designs on
+wood. He was also an artist in oil and water colour. He painted in oils
+_The Drunken Gardener_; _The Organ of Murder_, a clumsy, nervous
+craniologist feeling his own head in doubt and perplexity to ascertain
+whether the dreadful "organ" is developed in himself; _An Hour before
+the Duel_ (exhibited at the Institution in Pall Mall). Other subjects of
+his pictures were: _The Poet reading his Manuscript Play of Five Acts to
+a Friend_; _Too many Cooks Spoil the Broth_; _The Nightmare_; _The
+Mathematician's Abstraction_ (the latter purchased by Lord Northwick).
+His most ambitious work in oils (upwards of seventeen feet in length)
+was called _A Trip to Ascot Races_. His last work, _The Enthusiast_ (the
+first we have mentioned), was exhibited at Somerset House at the time of
+his death.
+
+The fate of this clever young artist and satirist was both singular and
+tragical. It appears that on the 21st of February, 1828, Theodore Lane,
+who then resided in Judd Street, Brunswick Square, called upon his
+brother-in-law, Mr. Wakefield, a surgeon of Battle Bridge, intending to
+proceed in the latter's gig to Hampstead, to join a party of friends who
+had gone there to spend the day. Mr. Wakefield having to visit a patient
+in Manchester Street, Gray's Inn Lane, drove there with his
+brother-in-law, and this was the last time he was seen alive. Close to
+the place was a horse bazaar, which the artist appears to have entered
+by way of passing the time. The horse and trap were there, but no trace
+of poor Lane; and on search being made, his body was found lying
+lifeless at the foot of the auctioneer's stand. He appears to have
+wandered into the betting-room, and by some unexplained means or other
+fallen backwards through an insufficiently protected skylight. The
+clever head was battered so completely out of recognition that he was
+only identified by his card-case. That Lane was a man of unusual promise
+is shown by the fact that amongst the subscribers for the benefit of the
+widow and children of the deceased, we find the names of Sir Thomas
+Lawrence, president of the Royal Academy; F. Chantrey, R.A.; George
+Westmacott; Cooper, the celebrated animal painter; and Leahy, the
+painter of the celebrated picture of "Mary Stuart's Farewell to France."
+The remains of this ill-fated, talented young fellow lie in the burial
+ground of old St. Pancras.
+
+
+FOOTNOTES:
+
+  [23] "Fifty Years of my Life," by George Thomas, Earl of Albemarle,
+    vol. i. p. 270.
+
+  [24] "Annual Register," 1813.
+
+  [25] _Ibid._ (Chronicle), 342.
+
+  [26] See the letter of the Princess of Wales, "Annual Register," 1813
+    (Chronicle), 342.
+
+  [27] See speech of Mr. Whitbread, "Annual Register," 1813 (20).
+
+  [28] "Annual Register," 1813 (Chronicle), 345.
+
+  [29] "Annual Register," 1813, p. 24.
+
+  [30] Whitbread.
+
+  [31] Sir John and Lady Douglas.
+
+  [32] Letter from the queen to the Princess of Wales of 23rd May,
+    1814.--"Annual Register," 1814, p. 349.
+
+  [33] So called because he carried home with him, in sundry bags, the
+    cases pending his judgments.
+
+  [34] Wade's, "British History," p. 765.
+
+  [35] See "Greville Memoirs," vol. i. p. 24 (February 24th).
+
+  [36] "Annual Register," 1820, p. 135.
+
+  [37] _Ibid._, pp. 131, 132.
+
+  [38] "Greville Memoirs," vol. i. p. 28.
+
+  [39] "Fifty Years of my Life," by George Thomas, Earl of Albemarle,
+    vol. ii. p. 123.
+
+  [40] "Annual Register," 1820, p. 986.
+
+  [41] See caricatures of Robert Cruikshank, 1820.
+
+  [42] "Annual Register," 1820, p. 1149; see also the impartial opinion
+    of the Duke of Portland, "Greville Memoirs," vol. i. p. 56.
+
+  [43] See "Annual Register," 1820, p. 1139 _et seq._
+
+  [44] This of course may not be the case. The Duke of Kent, we know,
+    was dead at the time, and Wood, we believe, was not Lord Mayor. He
+    had been Lord Mayor some time before, and the satire may possibly
+    allude to some order made at that time. At the same time, I find the
+    caricature amongst those assigned (in the large but badly arranged
+    collection to which I have present access) to this particular period.
+
+  [45] "Annual Register," 1820 [190].
+
+  [46] There is a custom in the Manor of Torre Devon, that when a
+    copyhold tenant dies, his widow has her free-bench in his land, but
+    forfeits her estate on committing the offence with which the queen
+    was charged; on her coming however into court riding backward on a
+    black ram, and repeating the formula mentioned in the design, the
+    steward is bound to reinstate her. Without this explanation the
+    meaning of this telling satire would not be understood. For the
+    formula (which cannot be repeated here) I must refer the reader to
+    Jacob's Law Dictionary, ed. 1756, title, "Free Bench."
+
+  [47] "Greville Memoirs," vol. i. p. 27.
+
+  [48] _Ibid._, p. 43.
+
+  [49] Unlike George Cruikshank, Rowlandson seldom dropped caricature
+    in his book illustration. When he does so, as in his designs to
+    "Naples and the Compagna Felice," he shows (as in his water colour
+    drawings) his wonderful graphic powers. His illustrated books are
+    rare, and command good prices. William Coombe's English "Dance of
+    Death" and "Dance of Life" (I refer of course to first editions) can
+    only now be purchased at L14.
+
+
+
+
+CHAPTER V.
+
+_THE CARICATURES OF ISAAC ROBERT CRUIKSHANK._
+
+
+  THE BROTHERS CRUIKSHANK.
+
+It was the misfortune of the brothers Cruikshank that they outlived
+their popularity: in the case of the younger brother, this result (as we
+shall presently see) must be attributed in a certain measure to his own
+fault; but as regards Robert, his efforts as a caricaturist were
+destined to be eclipsed by the greater novelty and attractions of HB,
+whilst a tendency to carelessness, and the absence of actual genius,
+prevented him from attaining lasting celebrity in the line of book
+illustration which George made so peculiarly his own. The final result,
+however, was the same in both cases; and the brothers might have said
+with truth, that, in suffering both to die poor and neglected, the
+British public treated both with the strictest impartiality. Here,
+however, the impartiality ended; for whilst over two hundred articles
+have been penned in praise of the brilliant man of genius, poor Robert
+Transit[50] (a name strictly appropriate to his memory) reposes in his
+nameless grave still unregarded and still forgotten. Few writers indeed
+have wasted pen and ink about Robert Cruikshank or his work: Robert
+William Buss, in his book on "English Graphic Satire" (a work published
+for private circulation only), devotes exactly a line and a half to his
+memory; his friend, George Daniel, gives him a few kindly words _in
+memoriam_; Professor Bates's essay on his brother George contains
+several pages of valuable information in relation to some of his book
+illustrations; whilst Mr. Hamilton presents us with a dozen specimens of
+work of this kind which are nothing less than libels on his graphic
+powers. To the general public of to-day the name of Robert Cruikshank is
+so little known, that comparatively few are cognizant of the fact that
+he was one of the most popular and successful graphic satirists of his
+time. It is the misfortune of the caricaturist that his wares attain
+only a transitory popularity, whilst it is their peculiarity that after
+he is dead their value is increased fourfold. It is by no means uncommon
+for five and even seven shillings to be demanded and obtained for one of
+the impressions of Robert's plates, which in his lifetime could have
+been purchased at the cost of a shilling. It is the design of this
+chapter to rescue the memory of a clever artist from undeserved
+oblivion, and restore him to that place in comic art which he once
+occupied, and which it seems to us he deserved to fill not only on
+account of his own merits, but by reason of being associated in
+illustrations of a different character with such men as his brother
+George, Robert Seymour, Thomas Rowlandson, John Leech, and other artists
+of genius and reputation.
+
+Isaac Robert, or rather Robert Cruikshank (as he usually styled
+himself), was born in 1790. He had as a boy acquired the groundwork of
+his technical education as an artist and etcher under the direction of
+old Isaac his father; but we personally have met with little of his work
+prior to 1816, which is accounted for by the fact that he followed for a
+short time a sea life in the service of the East India Company, and
+after having thrown this up in favour of a calling more congenial to his
+tastes, he devoted himself for some years almost exclusively to
+miniature and portrait painting, by which he earned not only a fair
+livelihood, but a certain amount of fashionable patronage. Gradually,
+however (George tells us), he abandoned this occupation, and took almost
+exclusively to designing and etching. He occasionally alternated his
+work with water-colour drawing, in which he is said to have greatly
+excelled. His works in this line are extremely rare, for Robert had
+neither the means nor the patience to wait for the tardy patronage to be
+commanded by a higher walk in art; there was a demand for caricatures
+and comic etching in his day, which afforded a present means of
+livelihood, and Robert's water colours were executed more by way of
+relaxation than in the way of actual artistic pursuit. Among his early
+caricatures we may mention a rough and coarsely coloured affair engraved
+by him after the design of an amateur, published by Fores on the 28th of
+April, 1816, entitled, _The Mother's Girl Plucking a Crow, or German
+Flesh and English Spirit_. The Princess Charlotte, as we have seen, had
+an undoubted will of her own, and could, as we have also seen, assert it
+when occasion demanded. Here she is presented to us at the moment when a
+hideous German duenna, catching her in the act of writing to her mother
+abroad, orders her at once to desist. The princess, however, in plain
+terms, enforced with a clenched fist, gives her clearly to understand
+that she fully intends to have her own way. Another caricature,
+published by T. Sidebotham, in 1817, bearing the title of _The Horse
+Marine and his Trumpeter in a Squall_, is dedicated to the United
+Service Club.
+
+
+  STRANGE FRENCH FASHIONS.
+
+Subjects for the pencil of a clever graphic satirist were not wanting
+sixty years ago. France in those days set the fashion both in male and
+female attire, and the strangest eccentricities had marked the
+emancipation of that country from the thraldom of the Terror. There were
+the _incroyables_, a set of young dandies who affected royalist
+sympathies, and paraded the streets of Paris when young Napoleon was yet
+a general in the service of the Directory. They wore short-waisted coats
+with tails of preposterous length, cocked hats of ponderous dimensions,
+green cravats, powdered hair plaited and turned up with a comb, while on
+each side of the face hung down two long curls called dogs' ears
+(_oreilles de chien_). These charming fellows carried twisted sticks of
+enormous size, as weapons of offence and defence, and spoke in a
+peculiarly affected manner.[51] Some fourteen or fifteen years later on,
+when we had driven Joseph Bonaparte and his brother's legions out of
+Spain, the fashions had not improved. The biographer of Victor Hugo
+gives us the picture of one Gile, a Parisian dandy of that period, whose
+coat of olive brown was cut in the shape of a fish's tail, and dotted
+all over with metal buttons even to the shoulders. Young men who went to
+moderate lengths in fashion were content to wear the waists of their
+coats in the middle of their backs, but the waist of this Gile intruded
+on the nape of his neck. His hat was stuck on the right side of his
+head, bringing into prominent notice on the left a thick tuft of hair
+frizzed out with curling irons. His trousers were ornamented with
+stripes which looked like bars of gold lace; they were pinched in at the
+knees and wide at the bottom, giving his feet the appearance of
+elephant's hoofs. Our own costume had been strange enough, in all
+conscience; but when Napoleon's continental system had been broken up
+after Leipzig, and a free market had been once more opened out between
+this country and foreign nations, fashions more strange and eccentric,
+if possible, found their way into England. Thackeray, when writing his
+"Vanity Fair," the scenes of which are laid prior and subsequent to the
+battle of Waterloo, was fain to confess that he had intended to depict
+his characters in their proper costumes; "but when he remembered the
+appearance of people in those days, he had not the heart to disfigure
+his heroes and heroines by costumes so hideous," and thenceforth he
+habited these men and women of 1815 in the costume of the men and women
+of 1848. George Cruikshank's "Monstrosities" are familiar to all
+acquainted with his works; and his brother Robert and his contemporaries
+were equally fond of ridiculing the preposterous fashions of their time.
+We find in the year 1818 a pictorial satire by Robert, which shows us a
+pair of _Dandies at Tea_, habited in the short-waisted, long-tailed
+coats, tight breeches, terrific stocks, shirt collars, and top boots of
+the period. "My dear fellow, Mr. Sim," one of them, asks, "is your tea
+agreeable?" to which the other answers, "Charming, my dear Lollena;
+where do you buy it?" They are seated in an attic, which, like that of
+the cobbler, serves "for parlour and bedroom and all," and the washing
+of the tenant hangs suspended on a line above the heads of the
+interesting pair. We find another the same year, entitled, _Dandies
+having a Treat_, wherein we are shown a couple of eccentricities in a
+confectioner's shop; one of them, who eyes himself with much complacency
+in the glass, has his back to us, and is habited, _a la Gile_, in a very
+tight coat, whose tail commences just below its collar and narrows to a
+very fine point when it reaches its extremity; short wide trousers
+terminate at the knees, at which points they are met by a pair of
+Wellington boots. He entreats his equally strangely dressed companion to
+pay no attention to the uncomplimentary remarks of certain rude people
+who stand at the door and seem strongly inclined to subject them to the
+discipline of the pump. The pretty girl in attendance expresses to
+herself a hope that "the creatures will leave the shop," as she fears
+the exasperated people will do some mischief. Another caricature of the
+same year shows us _A Dandy Shoemaker in a Fright, or the Effects of
+Tight-lacing_. In stooping to measure a lady's foot, the fellow's stays
+have given way, and he evidently fears he shall tumble to pieces. In
+another subject, Robert shows us a couple of _dandies diving_ into a
+countryman's pockets, in the neighbourhood of St. James's Palace; others
+are entitled respectively, _A Dandy put to his Last Chemisette, or
+Preparing for a Bond Street Lounge_; _A Dandy Cock in Stays_; and _The
+Hen-pecked Dandy_. Besides those already mentioned, I find four or five
+other coarse caricatures of Robert's, published by Fores in 1818.
+
+Robert Cruikshank was "a man about town" in those days, and the
+"dandies" whom he and his fellow caricaturists satirized and ridiculed
+were the sham "Corinthians" of his time. Apart from the idea of
+caricature they must have been queer fellows--these men with the large
+eye-glasses, squat broad-brimmed hats, huge cravats and collars,
+cauliflower frills, tight coats, short bell-shaped trousers, and
+well-spurred Wellington boots! In one of the satires of the time (which
+I take to be Robert's) we see five of them preparing for conquest in a
+hairdresser's shop; and the "make up" comprises, in addition to the
+tremendous neckties, cauliflower frills, and top-boots of the period,
+false calves and stays, a pair of which the Frenchman hairdresser is
+lacing for one of his customers. Another of the party, who has
+completed the upper part of his toilet, is so hampered with the
+voluminous folds and stiffening of his cravat that he cannot wriggle
+into his unmentionables. The caricaturists take us into the garrets of
+these fellows, abodes of squalor and wretchedness, and show us that
+beneath their exterior magnificence there is nothing, or next to
+nothing. In a pair of rough anonymous satires--_The Dandy Dressing at
+Home_ and _The Dandy Dressed Abroad_--the former shows us how the
+completed figure is built up. The absence of a shirt is concealed by an
+amply frilled "dickey," the dirty feet protrude from the well-nigh
+footless stockings, the bare arms are clothed at the extremities only by
+the cuffs, while a pair of huge seals dangling from a ribbon guard form
+pendants to a latch-key instead of a gold watch. The fellow's washing
+bill, which lies on the dressing-table before him, comprises four
+items--all of them collars. On the ground, side by side with the
+Wellington boots, which he himself has just been cleaning, lie the open
+pages of "The Beau's Stratagem." In a sketch by the always coarse
+satirist Williams, two of these fellows have been decoyed into an
+infamous house and drugged, and the indignation of the bully and his
+female assistants is intense when they find that their watches are not
+even pinchbeck, but only pincushions.
+
+The "Corinthian Kates" who figure in the satirical sketches of this
+period are members of the _demi monde_. An excellent undated sketch,
+signed "J. L. M. fect.," entitled, _A Dandyess_, is divided into two
+compartments. The first scene shows us the completed figure (a most
+absurd one), and the second (which is laid in the lady's garret) how the
+magnificent result has been attained. We find her engaged in ironing her
+chemisette; over the fire are suspended her stockings; on a stool near
+her stand her bottles of cosmetic and a pot of rouge; on the floor her
+"artificial hump"; while her preposterous bonnet and other articles of
+costume hang from different articles of the scanty furniture.
+
+
+  1819.
+
+Robert Cruikshank continues his attacks upon the fops in 1819. In that
+year we meet with _A Dandy Sick_; _Dandies on their Hobbies_, and
+_Female Lancers, or a Scene in St. James's Street_, chiefly remarkable
+on account of the costume of the two men who figure therein. Besides
+these we meet with a sort of pictorial allegory, entitled, _The
+Mysterious Fair One, or the Royal Introduction to the Circassian
+Beauty_, in which a foreign fair one is supposed to be introduced to the
+Regent's harem. The veil being removed discovers to him the well-known
+features of his neglected wife, from whom he recoils in abhorrence. The
+bulky figure of the Regent who, under the influence of copious port wine
+libations and general good living, had grown preposterously fat, is
+admirably preserved by both the Cruikshanks. The head and wig, tapering
+to an apex, remind one somewhat of the French _poire_ caricatures which
+disturbed the serenity of Louis Philippe, and preceded the revolutionary
+period of 1848.
+
+Other caricatures by Robert of this year (1819) are labelled
+respectively, _The Political Champion turned Resurrection Man_, having
+reference to Cobbett and "Orator Hunt"; _The Master of the Ordnance
+Exercising his Hobby_; _A Steward at Sea in a Vain Tempest, or Gaining
+the Point of Matrimony in Spite of Squalls_; _A New Chancery Suit
+Removed to the Scotch Bar_; _The Ladies' Accelerator_ (two women on
+hobbies); _Collegians at their Exercises, or Brazen Nose Hobbies_; _A
+New Irish Jaunting Car_; and a satire entitled _Landing at Dover and
+Overhauling the Baggage_, which would appear to refer to some
+incivilities on the part of the custom house authorities to the Persian
+ambassador and his suite. The subject was probably only etched by the
+artist from the design of another, and is so grossly treated that in
+spite of the admirable workmanship we cannot further describe it.
+Besides these we have the now well-known _Going to Hobby Fair_ (the only
+caricature of Robert which would seem to be known to those who have
+troubled themselves about him), and a far better one of contemporary
+date, entitled, _Cruising on Land, or Going to Hobby Horse Fair_.
+
+
+  1820. THE QUEEN'S TRIAL.
+
+Among the caricatures on the popular side in connection with the queen's
+trial in 1820, we find one by Robert, entitled, _The Secret Insult, or
+Bribery and Corruption Rejected_, which has reference to the overtures
+which, as we have seen in the previous chapter, were made to her by the
+ministers in the hope of avoiding, if possible, a public exposure; and
+here Lord Liverpool is represented in the act of offering to Her
+Majesty a purse. "Abandon," he says, "your claim to the throne, change
+your name and the livery, and retire to some distant part of the earth,
+where you may never be seen or heard of any more; and if L50,000 per
+annum will not satisfy you--what will?" To which the queen (who assumes
+an appearance of virtuous indignation) replies, "Nothing but a crown."
+Brougham turns his back, saying, "I turn my back on such dirty work as
+this," the fact being, as we have seen, that he had really entered into
+negotiations with the ministers on the queen's behalf, which she
+afterwards angrily repudiated. The devil pats him on the back. "Well
+done, Broom," he says; "you have done your business well." By the side
+of the queen stands a figure, possibly meant for Alderman Wood, carrying
+"a shield for the innocent," and "a sword for the guilty"; behind her in
+the distance is a ship, bearing the title of "The Wooden Walls of Old
+England."
+
+In our last chapter we mentioned the estimation in which the witnesses
+against Caroline of Brunswick were held by her sympathizers and the
+general public, and Robert's political views naturally inclined him to
+take the popular side. Those who saw them before they were housed in
+Cotton Garden, describe them as swarthy, dirty looking fellows, in
+scanty ragged jackets and greasy leathern caps; at the bar of the House,
+however, they looked as respectable as fine clothes and soap and water
+could make them. To this a caricature of Robert's, entitled, _Preparing
+the Witnesses--a View in Cotton Garden_, refers. Three dirty foreigners
+are being washed, with no satisfactory result, in a bath labelled,
+"Waters of Oblivion," "Non Mi Ricordo," and "Ministerial Washing Tub."
+One of the operators (probably the Attorney-General, Sir Robert Gifford)
+remarks that "he never had such a dirty job in his life"; seated around
+are a number of equally dirty foreigners awaiting their turn. On the
+same theme and in the same year we find _The Milan Commission_ (a very
+rough affair); _The Master Cook and his Black Scullion composing a Royal
+Hash_; and a satire on the alderman, who, in spite of his Carolinian and
+popular sympathies, figures therein under the familiar title of "Mother
+Wood."
+
+
+  1821.
+
+The following year gives us _All My Eye_ (a skit upon Hone's "Eulogium
+on the Radical Press"), representing a large eye, within the pupil of
+which we see a printing press, whereon rests a portrait of Queen
+Caroline; and also an admirable work, divided into two compartments,
+bearing respectively the titles of _The Morning after Marriage_, and
+_Coke upon Albemarle--not Coke upon Littleton_.
+
+
+  1822. DUEL BETWEEN THE DUKES OF BUCKINGHAM AND BEDFORD.
+
+A somewhat ludicrous affair of honour took place in 1822. In consequence
+of some words used by the Duke of Bedford in reference to the Duke of
+Buckingham at the Bedfordshire county meeting, a hostile meeting took
+place in Kensington Gardens between the two noblemen on the 2nd of May.
+The seconds were Lord Lynedock and Sir Watkin Williams Wynn. Both
+parties fired together at a distance of twelve paces, but without
+effect; when the Duke of Buckingham, observing that the Duke of Bedford
+fired into the air, advanced to his grace, and remarking that for that
+reason the affair could go no farther, said: "My Lord Duke, you are the
+last man I wish to quarrel with; but you must be aware that a public
+man's life is not worth preserving unless with honour." The Duke of
+Bedford replied, that "upon his honour he meant no personal offence to
+the Duke of Buckingham, nor to impute to him any bad or corrupt motive
+whatever"; and here this somewhat absurd event terminated. Robert
+commemorates it in a caricature, entitled, _A Shot from Buckingham to
+Bedford_, which cannot be said to be complimentary to either of the
+principals, one of the walls bearing the inscription in very large
+letters of "Rubbish may be shot here." Another admirable caricature of
+the year is entitled, _The Treadmill, or Stage-struck Heroes, Blacklegs,
+and Cadgers stepping it to the tune of Mill, Mill O!_ a sort of general
+satire; card-sharpers, decayed "Corinthians," and other vagabonds, are
+undergoing a course of hard labour upon the wheel, which was then a
+comparatively new invention,[52] their movements being accelerated by a
+gaoler armed with a heavy whip, who bears some resemblance to, and is
+probably intended for, the artist himself. A third excellent pictorial
+satire of the same year bears the title of _Pope Mistaken_.
+
+
+  1823. FRENCH INTERPOSITION IN SPAIN.
+
+The year 1823 is remarkable for the interposition of the French Bourbon
+king into Spanish politics. The Spanish military, under the influence of
+Riego and other officers, and encouraged by the discontent of the middle
+classes, had revolted in 1820 against the despotism of Ferdinand, and
+succeeded in establishing a constitution, which, in spite of its
+imperfections, was preferable to the absolute and irresponsible
+government of the Spanish monarchy. This state of things was peculiarly
+distasteful to Louis XVIII., on account of the evil example it afforded
+to his subjects; and, fortified by the sympathy of the "Holy Alliance"
+(which may be shortly described as a sort of trades union of sovereigns
+to resist all political changes not originating with themselves), he
+determined to put it down. In his speech to the chambers on the 28th of
+January, he announced that, "the infatuation with which the
+representations made at Madrid had been rejected, left little hope of
+preserving peace. I have ordered," he said, "the recall of my minister;
+one hundred thousand Frenchmen, commanded by a prince of my family [the
+Duc d'Angouleme]--by him whom my heart delights to call my son--are
+ready to march, invoking the God of St. Louis, for the sake of
+preserving the throne of Spain to a descendant of Henry the Fourth, of
+saving that fine kingdom from its ruin, and of reconciling it with
+Europe." The real cause of interposition, however, is indicated a few
+sentences afterwards: "_Let Ferdinand the Seventh be free to give to his
+people institutions which they cannot hold but from him_, and which, by
+securing their tranquillity, would dissipate the just inquietudes of
+France, [and] hostilities shall cease from that moment."
+
+We have neither time, space, nor inclination to relate the events of
+this invasion; suffice it to say that, owing to the cowardice of the
+Spaniards, it was a complete "walk over" for the French, who, in five
+months after they had crossed the Bidassoa, had penetrated to Cadiz,
+dispersed the Cortes, and restored the despotism of Ferdinand.
+
+[Illustration:
+  R. CRUIKSHANK _fecit_. A. G.--_Published May, 1823._
+
+  "JOHN BULL FLOURISHING IN A DIGNIFIED ATTITUDE OF STRICT
+  NEUTRALITY!!!!"
+
+  _Face p. 99._]
+
+The contemplated crusade had aroused a certain amount of sympathy in
+favour of Spain in England, but it did not go farther than the giving of
+a splendid entertainment to the Spanish and Portuguese ambassadors at
+the London Tavern on the 7th of March, under the presidentship of Lord
+William Bentinck. The truth was that John Bull had not forgotten the
+ungrateful and cowardly conduct of the Spaniards when we drove the
+French out of their country in Napoleon's time; added to which England
+was saddled with a heavy national debt, which made us still less
+inclined to intermeddle with the affairs of our neighbours. Robert
+Cruikshank produced a caricature in reference to our position, called,
+_John Bull Flourishing in an Attitude of Strict Neutrality_, wherein he
+shows us Spain in the act of imploring his assistance, which, however,
+poor John is in no position to render, seeing that he wants help
+himself, being placed in the stocks and heavily burdened with the weight
+of "last war's taxes." In the distance appears fat Louis, mounted on a
+cannon, driven by the Pope, Russia, Austria, and Prussia, in allusion,
+of course, to the "Holy Alliance" (the three latter powers had recalled
+their ambassadors from Madrid on the 5th of January), while the devil
+condescends to lend his assistance by pushing on behind. This caricature
+is probably the best that Robert ever designed. Another satire on the
+same subject bears the title of _King Gourmand XVIII. and Prince
+Posterior in a Fright_.
+
+
+  HUGHES BALL.
+
+One of Robert's satires of this year, entitled _The Golden Football_,
+has obvious reference to Hughes Ball, known at Eton by his surname of
+Hughes only, but who took the further name of _Ball_ on coming into a
+fortune of forty thousand a year left him by his uncle, Admiral Sir
+Alexander Ball, and thenceforth received his appropriate nickname of the
+"Golden Ball." He was considered a great catch by all the mothers in
+London; but, notwithstanding his money, was unfortunate in love, being
+jilted by Lady Jane Paget, rejected by Miss Floyd (afterwards the wife
+of Sir Robert Peel), and then by Lady Caroline Churchill. The young
+ladies hearing of his numerous disappointments, were disinclined to
+encourage a man so proverbially unfortunate. By way, perhaps, of
+revenge, Hughes Ball this year ran off with and married Mademoiselle
+Mercandotti, _premiere danseuse_ at His Majesty's Theatre, a beautiful
+girl of sixteen, reported in the scandal of the day to be a natural
+daughter of the Earl of Fife. The incident of Lady Jane Paget we have
+mentioned is thus referred to by Charles Molloy Westmacott, the Ishmael
+of the press of his day, in the _English Spy_, a work which, as we shall
+presently see, was also illustrated by the artist:--
+
+  "Now, by my faith, it gives me pain
+   To see thee, cruel Lady J----,
+     Regret the _Golden Ball_.
+   'Tis useless now: 'The Fox and Grapes'
+   Remember, and avoid the apes
+     Which wait an old maids' fall."
+
+Other of Robert's satires of the same year bear the title of _The
+Commons versus the Crown of Martyrdom, or King Abraham's Coronation
+Deferred_; and _A View in Cumberland_, that is the royal duke of that
+name--a most unpopular personage, and of course proportionately fertile
+subject of satire in his time.
+
+
+  1824. THE TENTH HUSSARS.
+
+Among Robert's pictorial satires of 1824, I find one entitled _Arrogance
+or Nonchalance? of the Tenth Reported_,--the "tenth" here referred to
+being the Tenth Hussars. This distinguished regiment set the pencils of
+the Brothers Cruikshank and their fellow caricaturists in motion at this
+period, and I find an amazing number of caricatures of the date of 1824,
+of which they form the subject. The officers would seem to have acquired
+considerable unpopularity by the exclusive airs they gave themselves in
+society, refusing to dance, declining introductions at public and
+private balls, and otherwise assuming an arrogant and exclusive tone
+which made them supremely ridiculous. So far did they carry these
+absurdities, that they even declined to associate with an officer of
+their own regiment unless he previously submitted to them the
+particulars of his birth, parentage, and education, and general claim to
+be admitted to the privilege of their august society. A certain Mr.
+Battier, who seems to have been ignorant of the peculiar arrangement
+they had established in opposition to the rules and policy of the
+service, had obtained from the Duke of York a cornetcy in the regiment,
+but not having submitted himself to the examination referred to, or
+possibly not answering to the exclusive requirements of the regiment,
+was forthwith sent to Coventry by his courteous brother officers. The
+result, of course, was that the unlucky gentleman, finding no one to
+speak to him, was forced to retire on half pay, which he was unfortunate
+enough afterwards to forfeit by not unnaturally sending a challenge to
+the colonel of the regiment.[53]
+
+
+  MISS FOOTE.
+
+Maria Foote at this time was one of the most popular actresses in
+London. Some years before she had come on a starring tour to Cheltenham,
+a town much affected by the notorious Colonel Berkeley, who being
+passionately devoted to the stage, and possessed moreover of some
+histrionic ability, gallantly offered to perform for her benefit. The
+colonel was notorious for his gallantries; under a promise of
+marriage--which could not then, he said, be carried into effect,
+inasmuch as he was then petitioning the Crown to grant him the dormant
+peerage, which a marriage with an actress could not fail to
+prejudice--he succeeded in accomplishing her seduction, and she
+continued to live under his "protection" till, on the birth of her
+second child, she arrived at the true conviction that he never had any
+intention of fulfilling his promise. There was at this time a silly
+fellow about town, Mr. Joseph Hayne, of Burderop Park, Wiltshire,
+familiarly known (in reference to the colour of his coat) as "Pea Green
+Hayne," who fell in love with and proposed to the fascinating actress.
+There was no attempt at concealment on her part: it was stated at the
+trial which followed that she herself wished to communicate to him the
+circumstance of her connexion with Colonel Berkeley, when this gallant
+gentleman saved her the trouble of doing so, and one night when they
+were in the pit of the opera together, took the characteristic course of
+making Hayne acquainted with the liaison, and the fact that it still
+existed. Hayne immediately broke off the engagement; but soon afterwards
+not only renewed it, but fixed the day of marriage. Again he broke it
+off, again yielded to the fascinations of his enslaver, and this time
+not only was the wedding-day fixed and the license obtained, but "Pea
+Green Hayne" took a solemn vow that nothing should separate him from the
+object of his affections. Believing that all was safe, Miss Foote now
+threw up her engagement and disposed of her theatrical wardrobe, but the
+weak-minded, vacillating creature, who could not summon up resolution
+either to have or to leave her, let matters go on to the very day, and
+again failed to put in an appearance. Some preliminary letters having
+passed between the parties, Maria then issued a writ, and recovered
+L3,000 damages in the action which followed. The plaintiff, who seven
+years afterwards became Countess of Harrington, died in 1867.
+
+"Pea Green" Hayne was also known as the "Silver Ball," in allusion to
+his large income, which was smaller however than that enjoyed by his
+friend and contemporary, Hughes Ball. After his exposure in the action
+Foote _v._ Hayne, he received the far more appropriate nickname of
+"Foote-Ball."
+
+The opportunity of course was improved by the caricaturists, and
+Robert's contributions on the subject (1824 and 1825) are labelled
+respectively, _Miss Foote in the King's Bench Battery_; _Miss Foote
+putting her Foot in it_; and _A Foot on the Stage and Asses in the Pit,
+or a New Year's Piece for 1825_. Other pictorial satires of Robert's
+bearing the date of 1824, are: _A Civic Louse in the State Bed_; _A Cut
+at the City Cauliflower_; _The Corinthian Auctioneer_; two very coarse
+but well drawn subjects--_Moments of Prattle and Pleasure_ and _Moments
+of Parting with Treasure_; and an exquisitely drawn sketch bearing the
+title of _Madame Catalani and the Bishop of Limbrig_, having reference
+to some musical festival at Cambridge, the point of which has been lost,
+but which is remarkable for the admirable likeness of the popular
+singer.
+
+
+  1825.
+
+The conduct of Colonel Berkeley in reference to the case Foote _v._
+Hayne, called forth, as might have been expected, some severe strictures
+from the press, and in particular Mr. Judge, editor of the _Cheltenham
+Journal_, which place the colonel honoured with his patronage and
+society, had occasionally indulged in animadversions on his conduct. In
+one of the numbers of his paper an article appeared, in which some
+satirical observations were made with reference to the annual "Berkeley
+Hunt" ball. On the afternoon of that day Colonel Berkeley accompanied,
+by two of his friends, called at Mr. Judge's residence, and being
+invited to walk in, the colonel asked Mr. Judge if he would name the
+author of the papers which had appeared in the _Journal_. Mr. Judge said
+he did not know whom he had the honour of addressing, and on learning
+who he was, proposed that he should call at the office of the paper,
+"where he would give him every satisfaction." Colonel Berkeley replied,
+"No, sir! Now, sir! Now, sir!" and without further notice commenced a
+cowardly attack on the unarmed man by beating him _over the head_ and
+face with the butt-end of a heavy hunting whip. To make the dastardly
+affair more dastardly if possible, one of the two fellows with him stood
+at the door, and the other near the fire place, so as to prevent Judge
+from seizing any weapon or calling any one to his assistance. For this
+ruffianly assault, which placed poor Judge for some time in considerable
+danger of his life, he subsequently recovered substantial damages
+against his cowardly antagonist. The Colonel got a far worse dressing
+from Robert Cruikshank who, in a severe contemporary skit, named (in
+allusion to the colonel's notorious illegitimacy) _Colonel Fitz
+Bastard_, depicted him and his friends in the act of assaulting the
+editor of the _Cheltenham Journal_.
+
+
+  EDMUND KEAN.
+
+The artist's tastes and sympathies threw him much in the society of
+actors. The following year his thoroughly Bohemian friend, Edmund Kean,
+was mulcted in L800 damages, in consequence of a disgraceful liaison
+with the wife of Alderman Cox; and while audiences thronged the one
+theatre to testify their sympathy for a favourite and popular actress,
+they crowded the other to howl and hiss at the thoroughly disreputable
+and disgraced tragedian. The episode is referred to by the artist in
+three of his contemporary caricatures, labelled respectively, _Wolves
+Triumphant, or a Fig for Public Opinion_; _A Scene from the Pantomime of
+Cock-a-Doodle-Doo, lately performed at Drury Lane with unbounded
+applause_; and the _Hostile Press, or Shakespeare in Danger_, all of
+which contain perhaps the best theatrical portraits of the popular
+tragedian which are extant.
+
+Sir Walter Scott also figures in one of Robert's satires of this year
+entitled, _The Great Unknown lately discovered in Ireland_, wherein he
+is represented in Highland costume, with the Waverley novels on his
+head, holding by the hand a small figure in hussar uniform, intended for
+his son, Captain Scott of the 18th hussars, who this year had married
+Miss Jobson, of Lochore. The pair after their marriage returned to
+Ireland, where the captain was quartered, and where he and his wife were
+visited by Sir Walter in August of this year. Although the fact was
+pretty well known, the authorship of the novels was not avowed until
+February of the following year, when with Sir Walter's consent it was
+proclaimed by Lord Meadowbank at a theatrical dinner on the 27th of
+February.
+
+
+  THE LIVING SKELETON.
+
+A very curious personage makes his appearance in Robert's sketches of
+this year, who would seem at first sight to be the most outrageously
+caricatured of any of his subjects, and yet this in truth is not the
+case. This person was the celebrated Claude Ambroise Seurat, "the living
+skeleton," who was exhibited at the Chinese saloon in Pall Mall, and
+whose portrait from three different points of view was taken by Robert
+Cruikshank, and afterwards appeared in the first volume of Hone's
+"Every-day Book," where a full account of this very singular personage
+will be found. The repulsive object, who (with the exception of his
+face) presented all the appearance of an attenuated skeleton, was
+exhibited in a state of complete nudity with the exception of a fringe
+of silk about his middle, from which (out of two holes cut for the
+purpose) protruded his dreadful hip bones. Seurat, as might have been
+expected, forms the subject of numerous contemporary caricatures; and in
+one of these, by way of comical contrast, the worthy but corpulent
+alderman, Sir William Curtis, distinguished by a similar scantiness of
+attire, figures with the living skeleton in a lively _pas de deux_.
+William Heath, in another of contemporary date, represents the fat
+alderman standing on a map of England, and Seurat on a map of France.
+Says Sir William: "I say, friend, did you ever eat turtle soup?" to
+which Claude Ambroise replies, "No, sare; but I did eat de soupe
+maigre." In another (also I think by the same artist), labelled,
+_Foreign Rivals for British Patronage_, the living skeleton and a
+favourite male Italian singer of the time are represented in the act of
+preparing for mortal combat.[54]
+
+A number of the caricatures of 1825 (and among them many by Robert) are
+singularly illustrative of the morals of the time. About this year had
+been published a work professing to contain the memoirs of an apt
+disciple of Mrs. Mary Anne Clarke, which was made the vehicle of
+extorting money. The _modus operandi_ appears to have been as follows.
+In the month of March, 1825, a well-known M.P. of that day received a
+letter from this creature in the following terms:--
+
+  "NO. 111, RUE DU FAUBOURG ST. HONORE,
+    A PARIS.
+
+  Sir,--People are buying themselves so fast out of my book, ...[55]
+  that I have no time to attend to them; should be sorry not to give
+  each _a chance_, if they _chuse to be out_. You are quizzed most
+  _unmercifully_. Two noble dukes have lately taken my word, and I have
+  never named them. I am sure ---- would say you might trust me never to
+  publish, or _cause_ to be published, aught about you, if you like to
+  forward L200 directly to me, else it will be too late, as the last
+  volume, in which you _shine_, will be the property of the editor, and
+  in his hands. Lord ---- says he will answer for aught I agree to; so
+  will my husband. Do _just as you like_--consult only yourself. I get
+  as much by a small _book_ as you will give me for taking you out, or
+  more. I attack no poor men, because they cannot help themselves.
+
+  "Adieu. Mind, I have no time to write again, as what with writing
+  books, and then altering them for those who _buy out_, I am done
+  up--_frappe en mort_.
+
+  "Don't trust to bag[56] with your answer."
+
+That this extraordinary communication was no idle threat was proved by
+the fact that a respectable statuary, carrying on business in
+Piccadilly, who had refused to pay _black-mail_, brought an action for
+libel in the King's Bench on the 1st of July against a man named
+Stockdale, publisher of the infamous production referred to, and
+recovered L300 damages. The same year Popple, the printer, brought his
+action against this fellow; but Mr. Justice Best directed him to be
+nonsuited, on the ground that he was not entitled to remuneration for
+printing a work of such a character.
+
+The Catholic Relief Bill, which was thrown out this year, is the subject
+of several of Robert's satires, bearing the titles of _John Bull versus
+Pope Bull_; _Defenders of the Faith_; _The Hare Presumptuous, or a
+Catholic Game Trap_; _A Political Shaver, or the Crown in Danger_. _The
+Catholic Association, or Paddy Coming it too Strong_, has reference to
+Mr. Goulburn's motion to suppress the Catholic Association of Ireland,
+which was carried by 278 to 123, and the third reading by a majority of
+130. The language used by Mr. O'Connell on the occasion was so strong
+that an indictment was subsequently preferred against him, which,
+however, was thrown out by the grand jury. _Matheworama_ for 1825
+depicts that celebrated impersonator in thirteen of his characters.
+_Duelling_ deserves particular mention by reason of the admirably
+designed landscape and figures. It represents one of the principals (who
+looks very far from comfortable) waiting, with his second and a doctor,
+the advent of the other parties. _The Bubble Burst, or the Ghost of an
+old Act of Parliament_, has reference to the speculation mania of 1825.
+Others of his satires for the year are labelled respectively, _Frank and
+Free, or Clerical Characters in 1825_; _A Beau Clerk for a Banking
+Concern_; _The Flat Catcher and the Rat Catcher_; and _A Pair of
+Spectacles, or the London Stage in 1824-5_, which, although unsigned
+and bearing no initials, I have no hesitation in assigning to Robert
+Cruikshank.
+
+I am unable to indicate the dates of the following: _Football_, very
+clever, and probably earlier than any of those already mentioned;
+_Waltzing_, "dedicated with propriety to the lord chamberlain," a very
+coarse and severe satire upon the immoralities of the Prince Regent.
+Besides those we have already mentioned, we have others with which the
+volume miscalled "Cruikshankiana" (so often republished) has made the
+general public probably more familiar, such as the _Monstrosities of
+1827_; _A Dandy Fainting, or an Exquisite in Fits_; _The Broom Sold_
+(Lord Brougham); _Household Troops_ (a skit on domestic servants); and
+_A Tea-party, or English Manners and French Politeness_, all of which
+may be dismissed with the remark that they are the worst specimens of
+Robert's work which could probably have been selected.
+
+
+  SCARCITY OF ROBERT'S SATIRES.
+
+With the year 1825, our record of Isaac Robert Cruikshank's caricature
+work somewhat abruptly terminates. We cannot assert that after that date
+it wholly ceased, but, inasmuch as we have selected those we have named
+from a mass of some of the rarest pictorial satires published between
+the years 1800 and 1830, I think we are fairly justified in assuming
+that after this period his contributions to this branch of comic art
+became fewer. If this be the fact, it confirms the conclusion at which
+we have arrived, that at this time caricature had begun its somewhat
+hasty decline. Those I have named comprise over seventy examples; and
+their value, which is great on account of their scarcity, will be
+increased by the possibility that in the conception and execution of
+some of them the mind and hand of Robert might have been assisted by
+those of the more celebrated brother. "When my dear brother Robert,"
+says George in writing to the compiler of the famous catalogue of his
+own works, "when my dear brother Robert (who in his latter days omitted
+the Isaac) left off portrait painting, and took almost entirely to
+designing and etching, I assisted him at first to a great extent in some
+of his drawings on wood and his etchings." If this be the case, it is at
+least possible that he lent the assistance of his cunning hand and
+original fancy to the preparation of some of these contributions to
+pictorial satire. It appears to us, therefore, that a just idea of
+George's own work as an artist can scarcely be arrived at (especially
+his share of the famous "Life in London") until we have first considered
+the early work of himself and his brother Robert as graphic satirists
+and caricaturists. They were closely associated in artistic work during
+their early career; and it was not until both had given up social and
+political satire, and devoted themselves to the then comparatively new
+field of book illustration and etching on copper, that the superiority,
+originality, and genius of the younger brother became so manifest and
+incontrovertible.
+
+
+FOOTNOTES:
+
+  [50] The name given him by Bernard Blackmantle.
+
+  [51] Further particulars of them will be found in the "Memoirs of the
+    Duchess d'Abrantes" (Madame Junot). The fashions of the years which
+    immediately preceded the Revolution appear to have been almost as
+    funny. I have somewhere seen a French semi-caricature depicting
+    fashionables of the Palais Royal in 1786, and the people who had
+    their heads cut off in '93 were almost as queer as the dandies of the
+    Directory and the Consulate.
+
+  [52] The treadmill was the invention of Mr. (afterwards Sir William)
+    Cubitt, of Ipswich. It was erected at Brixton gaol in 1817, and was
+    afterwards gradually introduced into other prisons.
+
+  [53] The Marquis of Londonderry.
+
+  [54] What became of Seurat we do not know, but we lately came across
+    the following: "the Siamese twins married; the _living skeleton_ was
+    crossed in love, but afterwards consoled himself with a corpulent
+    widow." The authority is George Augustus Sala in "Twice Round the
+    Clock." We strongly suspect that the wit extracted the information
+    out of his own "inner consciousness."
+
+  [55] We purposely omit the title.
+
+  [56] Presumably post "bag."
+
+
+
+
+CHAPTER VI.
+
+_ROBERT CRUIKSHANK_ (_Continued_).
+
+_"LIFE IN LONDON" AND OTHER BOOK WORK._
+
+
+In perusing various articles on George Cruikshank in which reference is
+made to the "Life in London," we have been struck with the almost utter
+absence of Robert Cruikshank's name; further than this, it seems to have
+been the almost universal impression that it was his association with
+George on this memorable book which secured such reputation as Robert
+himself enjoyed. So far, however, was this from being the case, that not
+only was Robert, in 1821, a caricaturist and satirist of acknowledged
+reputation, but he was believed at this very time by the general public
+to be the cleverer artist of the two. Robert, indeed, has been treated
+with curious injustice in relation to this famous book, which owes its
+very existence (as we shall presently see) to him alone. While according
+to George (as in effect they do) the whole merit of the performance,
+many of the writers of the articles referred to acknowledge that they
+find it impossible to assign to him his share of the illustrations; and
+that difficulty will be largely increased to any one who has studied
+Robert Cruikshank's caricature work. The fact is that few of these
+famous plates will bear comparison with the best of Robert's pictorial
+satires; while the kindred book of the "English Spy," which was
+illustrated (with the exception of one plate) by Robert alone, contains
+designs quite equal to those which adorn the "Life in London." When it
+is admitted that Robert executed three parts of these illustrations,
+while those who have written upon him say that they are unable to
+identify George's share of the work,[57] it seems unjust (to say the
+least of it) that the credit of the _whole_ performance should be
+assigned to him alone. Let us be just to Robert, even though his merit
+as a draughtsman has been lost sight of in the fame which the younger
+brother achieved by virtue of his greater genius.
+
+
+  POPULARITY OF "LIFE IN LONDON."
+
+The reader need not be told--and we are not going to tell him what he
+knows already--that the "Life" was dramatized by four writers for
+different theatrical houses. The most successful version was the one
+produced at the Adelphi, previously known as the _Sans Pareil_ theatre.
+The first season of this house, which Messrs Jones and Rodwell had
+recently purchased for L25,000, was only moderately successful; but the
+fortune of the second was made by "Tom and Jerry." Night after night
+immediately after the opening of the doors, the theatre was crowded to
+the very ceiling; the rush was tremendous. By three o'clock in the
+afternoon of every day the pavement of the Strand had become impassable,
+and the dense mass which occupied it had extended by six o'clock far
+across the roadway. Peers and provincials, dukes and dustmen, all grades
+and classes of people swelled the tide which night after night rolled
+its wave up the passage of the Adelphi. It was a compact wedge; on it
+moved, slowly, laboriously, amid the shouts and shrieks, the justling
+and jostling of the crowd which composed it, leavened by the
+intermixture of numbers of the swell mob, who plied their vocation with
+indefatigable industry and impunity. Nevertheless, the reader will be
+surprised to learn (and it is probably little known) that in spite of
+this amazing popularity, the first night of "Tom and Jerry" met with
+such unexpected opposition that Mr. Rodwell declared it should never be
+played again. Luckily for himself and his partner he was induced to
+reconsider this decision. The tide was taken at the flood, and it
+led--as the poet assures us that it will lead when so taken--to an
+assured fortune.
+
+[Illustration:
+  ROBERT CRUIKSHANK. _From "The Universal Songster."_
+
+    "By this take a warning, for noon, night, or morning,
+     The devil's in search of attorneys."]
+
+[Illustration:
+  ROBERT CRUIKSHANK. _From "The Universal Songster."_
+
+  "With her flames and darts, and apple tarts, her ices, trifles,
+  cherry-brandy, O, she knew not which to choose, for she thought them
+  both the Dandy."
+
+  _Face p. 110._]
+
+One night a stranger entered the private box of the Duke of York at the
+Adelphi, and seated himself immediately behind his Royal Highness,
+who took but little notice of the intruder. The mysterious stranger had
+been brought in and was fetched by a plain green chariot; and the few
+that saw him said that he was a portly gentleman, wrapped in a long
+great coat and muffled up to the eyes. Keeping himself well behind his
+Royal Highness, the portly stranger took a deep but unostentatious
+interest in the performance. In his Haroun al-Raschid character he had
+been present, with his friend Lord Coleraine (then Major George Hanger),
+at some of the actual scenes represented; and in particular, by virtue
+of the fact of his wearing "a clean shirt," had been called upon by the
+ragged chairman at a convivial meeting of the "Cadgers" to favour them
+with a song, which had been sung for him by his friend and proxy the
+Major. The mysterious stranger in fact, as the reader has already
+guessed, was his gracious Majesty King George the Fourth, and his visit
+_incognito_ having been made by previous notice and arrangement, the
+passages were kept as clear of the general public as possible.
+
+The scenery of the Adelphi version was superintended by Robert
+Cruikshank himself. "Tom and Jerry" brought a strange mixture of
+visitors to attend the rehearsals. Corinthians (men of fashion)--members
+of the turf and the prize ring, who found a common medium of
+conversation in the sporting slang which Mr. Egan has made so familiar
+to us. Naturally there was a mixture. Tom Cribb, whom the Cruikshanks
+had temporarily elevated into the position of a hero, was indispensable;
+and the silver cup which figures in Robert's sketch was every night made
+use of in the scene depicting the champion's pot-house sanctum. Among
+the frequenters at these rehearsals was a quiet man of unusually
+unobtrusive deportment and conversation,--this man was Thurtell, the
+cold-blooded murderer of Mr. Weare.
+
+Since the days of the "Beggars' Opera," a success equal to that which
+attended the "Life in London," and its several dramatized versions by
+Barrymore, Charles Dibdin, Moncrieff, and Pierce Egan, had been unknown.
+The exhausted exchequers of four or five theatres were replenished; and
+as in the days of the "Beggars' Opera" the favourite songs of that piece
+were transferred to the ladies' fans, and highwaymen and abandoned
+women became the heroes and heroines of the hour, so, in like manner,
+the Cruikshanks' designs were now transferred to tea-trays, snuff-boxes,
+pocket-handkerchiefs, screens, and ladies' fans, and the popular
+favourites of 1821 and 1822 were "Corinthian Tom," "Jerry Hawthorn,"
+"Bob Logic," "Bob the dustman," and "Corinthian Kate."
+
+The success of "Life in London" was not regarded with equal satisfaction
+by all classes of the community; the serious world was horribly
+scandalized. Zealous, honest, fervid, and terribly in earnest, these
+good folks, in their ignorance of the world and of human nature, only
+added to the mischief which it was their honest wish to abate. They
+proclaimed the immorality of the drama; denounced "Tom and Jerry" from
+the pulpit; and besieged the doors of the play houses with a perfect
+army of tract droppers. Anything more injudicious, anything less
+calculated to achieve the end which these good people had in view, I can
+scarcely imagine; for it is a well-known fact that the best method of
+making a book or a play a "commercial success," in England, is to throw
+doubts on its moral tendency.[58] The more respectable portion of the
+press did better service to their cause by showing that, in spite of
+their popularity, "Tom and Jerry" were doing mischief, and that the
+theatres lent their aid to disseminate the evil, by nightly regaling the
+female part of society "with vivid representations of the blackest sinks
+of iniquity to be found in the metropolis." Called on to defend his
+drama, Moncrieff, strange to say, proved himself no wiser than his
+assailants. All he could allege in its behalf was that "the obnoxious
+scenes of life were only shown that they might be avoided; the danger of
+mixing in them was strikingly exemplified; and every incident tended to
+prove"--what? why,--"_that happiness was only to be found in the
+domestic circle_"! This was special pleading with a vengeance! Of course
+all that the theatres really cared to do was to fill their exhausted
+exchequers; while as for Bohemian Robert and his friend Egan, the idea
+of making the "Life in London" a moral lesson never once entered their
+heads. The artist however was shrewd enough to take note of the
+observation for future use; and seven years later on, when he and Egan
+produced their "Finish to the Adventures of Tom, Jerry, and Logic in
+their Pursuits through Life in and out of London," endeavoured to profit
+by the storm which had been raised by the good people of 1821, by
+tagging a clumsy moral to the sequel.
+
+By this time, however, the excitement which had attended the original
+work had evaporated; by this time, too, the public had learnt to
+discriminate between the pencils of the brothers Cruikshank; and the
+"Finish," as compared with the original "Life," fell comparatively flat.
+It made however some sort of sensation in its day, but has become not
+only a scarce book, but one that is little sought after. The genius and
+reputation of George and the pen of Thackeray have kept alive the
+popularity of the "Life,"[59] while the "Finish"--left to the unaided
+but clever hand of Robert--has like himself been almost forgotten.
+
+And yet it scarcely merits this fate. It contains thirty-six etchings by
+Robert Cruikshank, some of them of singular merit. Among them may be
+mentioned, _The Duchess of Dogood_; _Splendid Jim_; _Logic Visiting his
+Old Acquaintance on Board the Fleet_; _Corinthian Kate in the Last Stage
+of Consumption, Disease, and Inebriety_; and if not the production of a
+genius, the hand of an artist of singular merit, ability, and power is
+manifest in the etchings entitled, _The Hounds at a Standstill_;
+_Logic's Upper Storey_; and _The End of Corinthian Kate_.
+
+
+  PIERCE EGAN.
+
+Although modestly claiming for himself the merits of this book, Pierce
+Egan stands in relation to it in the position of a showman, and nothing
+more. He is not even entitled to the credit of being the
+originator,--for the originator and suggestor was Robert Cruikshank, who
+informs us of the fact (after his own characteristic fashion) by way of
+footnote to his frontispiece to the "Finish."[60] But Egan is
+undoubtedly a clever showman; if he displays rather more vulgarity than
+we altogether like, we must not forget the audience to whom he addresses
+himself, and for whom indeed his show is specially intended. We cannot
+admit that the popularity of this book was _entirely_ due to the merit
+of the artists whose canvas he elucidates and (after his own fashion)
+explains. In common fairness some credit should be conceeded to Egan
+himself. Of literary talents he had not a particle; and if he lacked
+taste and refinement, it may at least be urged in his behalf that the
+age was not one of refinement, and that sixty years ago we had scarcely
+emancipated ourselves from the barbarism and vulgarity some remnants of
+which had descended to us from the time of George the Second. The bent
+of his taste and the scope of his abilities may be guessed from the fact
+that his "account of the trial of John Thurtell, the murderer," passed
+into at least _thirteen_ editions. A man of this stamp could scarcely be
+expected to recognise the true value of the work with which he had the
+honour to be associated; he never looked beyond his patrons of the day,
+and as a natural consequence posterity has troubled itself little about
+him. You will search the biographical dictionaries in vain for any
+account of him;[61] and this oblivion he scarcely deserves, for not only
+was he one of the most popular men of sixty years ago, but he would
+scarcely have attained that position without a fair share of merit. He
+was not deficient in energy, and his talent is shown by the fact that he
+understood and (in a measure) led the taste of his day, taking advantage
+of his knowledge to raise himself to a position unattainable had such
+taste been of a more elevated and refined character. His descriptive
+powers (such as they were) were sufficient to procure him the post of
+recorder of the "Doings of the Ring" on the staff of the _Weekly
+Dispatch_, which post he occupied at the time he officiated as literary
+showman to "Tom and Jerry." He had however tried many trades,--had been
+in turn a compositor, bookseller, sporting writer, newspaper reporter,
+and even secretary to an Irish theatrical manager. The success of "Life
+in London," which he arrogated to himself, raised up a crop of enemies
+as well as friends, and he soon afterwards received his _conge_ from the
+proprietors of the _Dispatch_. Pierce Egan, however, was not a man to be
+daunted by any such discouragement; he was found equal to the occasion,
+meeting his employers' _coup d'etat_ by starting a sporting paper of his
+own, to which he gave the name of his successful book,--_Pierce Egan's
+Life in London, and Sporting Guide_. This counter movement proved the
+germ of a great enterprise. Probably his venture was no very great
+success; it ran only for three years from its commencement on the 1st of
+February, 1824. On the 28th of October, 1827, _Egan's Life in London_
+was sold by auction to a Mr. Bell, and thenceforth assumed its well
+known and now time honoured title of _Bell's Life in London_.
+
+
+  CHARLES MOLLOY WESTMACOTT.
+
+Another friend of the artist was Charles Molloy Westmacott, as he called
+himself, but who is supposed to have been--_filius nullius_ or _filius
+populi_--the child of Mrs. Molloy, a pretty widow who kept a tavern at
+Kensington. Westmacott was one of a class of writers who not only
+existed but thrived in the early part of our century by the levying of
+literary black-mail. The _modus operandi_ (as given by Mr. William
+Bates, from whom we derive our information respecting this man) appears
+to have been as follows: "Sometimes a vague rumour or hint of scandal,
+accompanied perchance by a suggestive newspaper paragraph, was conveyed
+to one or more of the parties implicated, with a threat of further
+inquiry into its truth, and a full exposure of the circumstances which
+excited the sender's virtuous indignation. This, if the selected victim
+was a man of nervous, timid temperament, often produced the desired
+effect; and although possibly entirely innocent of the allegation, he
+preferred to purchase silence, and escape the suspicion which publicity
+does not fail to attach to a name. If, on the other hand, no notice was
+taken of the communication, the screw received some further turns. A
+narrative was drawn up, and printed off, in the form of a newspaper
+paragraph, and was transmitted to the parties concerned, with a letter,
+intimating that it had been 'received from a correspondent,' and that
+the publisher thought fit, prior to publication, to ascertain whether
+those whose names were mentioned desired to correct, modify, or cancel
+any part of the statement. There is no doubt that very large sums have
+been extorted by these scoundrelly means, and a vast amount of anxiety
+and misery occasioned."[62] This was "the sort of man" that Charles
+Molloy Westmacott appears to have been; and I learn on the same
+authority that by these means he was enabled in one instance alone to
+net not much less than a sum of L5,000. "Pulls" of this kind enabled
+this fellow to live at his ease in a suburban retreat situated somewhere
+between Barnes and Richmond, which he fitted up (for he considered
+himself, as some others of his more modern class appear to do, a "man of
+letters") with books and pictures.
+
+
+  "THE ENGLISH SPY."
+
+In 1825 this man brought out, under his pseudonym of "Bernard
+Blackmantle," a veritable _chronique scandaleuse_ of the time, entitled,
+"The English Spy," the title page of which describes it as "an original
+work, characteristic, satirical, and humorous, containing scenes and
+sketches in every rank of society; being portraits of the Illustrious
+Eminent, Eccentric and Notorious, drawn from the Life by Bernard
+Blackmantle." This extraordinary work presents us with pictures of
+"life" at Eton, at Oxford, and in fashionable society in London,
+Brighton, Cheltenham, Bath, and elsewhere; and the seventy-two admirable
+copperplate aqua-tinted etchings, with one exception (which is by the
+veteran Rowlandson), are the work of Isaac Robert Cruikshank. This is a
+far rarer and more valuable book than the "Life in London." In place of
+"Corinthian" hook-nosed Tom, rosy-cheeked Jerry, and the vulgar
+_gobemouche_ Logic, we find figuring amongst the interesting groups,
+scenes, and characters all the notabilities of the day: celebrities such
+as George the Fourth and his favourite sultana the Marchioness of
+Conyngham, the Princess Augusta, Charles Kemble, Matthews, Fawcett,
+Farren, Grimaldi, Macready, Young, T. P. Cooke, Elliston, Dowton,
+Harley, Munden, Liston, Wallack, Madame Vestris, Townsend (the Bow
+Street "runner"), "Pea Green" Hayne, Lord William Lennox, Colonel
+Berkeley, Hughes Ball, and others. The etchings are singularly clear and
+distinct, and the colouring bright and pleasing. Among the illustrations
+which specially deserve notice are: _The Oppidans' Museum_; _The Eton
+Montem_ (an admirable design); _The First Bow to Alma Mater_; _College
+Comforts_ (a freshman taking possession of his rooms); _Kensington
+Gardens Sunday Evenings, Singularities of 1824_ (woodcut); _The Opera
+Green-room, or Noble Amateurs viewing Foreign Curiosities_; _Oxford
+Transports, or Albanians doing Penance for Past Offences_; _The King at
+Home, or Mathews at Carlton House_; _A Visit to Billingsgate_;
+_Characters on the Steyne, Brighton_; _The Cogged Dice, Interior of a
+Modern Hell_; _City Ball at the Mansion House_; _The Wake_; _The
+Cyprians' Ball at the Argyle Rooms_; _The Post Office Bristol, Arrival
+of the London Mail_; _The Fancy Ball at the Upper Rooms, Bath_; and
+_Milsom Street and Bond Street_, containing portraits of Bath
+fashionables.
+
+The so-called _Oppidans'[63] Museum_ is composed of the signs stolen by
+Eton scapegraces from the local tradesmen; a mock court is in progress,
+at which the injured parties attend and either claim or receive
+compensation for their stolen property. The tradesmen in the plate
+before us look anything but injured persons, and as a matter of fact the
+award is sufficiently ample to make amends for all damage. The two
+persons officiating as assessors and apportioning compensation to the
+various claimants, are Westmacott and "Robert Transit" (the artist
+himself). The illustration is full of life and character. Among the
+groups may be noticed a young fellow holding a bull-terrier suspended by
+its teeth from a handkerchief; a bet depends on the dog's patience and
+strength of jaw, and an interested companion watches the result,
+chronometer in hand. _The King at Home_, represents a scene which is
+said to have actually taken place when Mathews was giving his
+entertainment at Carlton House. The performer was imitating Kemble, when
+the king started up, and to the surprise of every one, particularly of
+Mathews, interrupted the performance by a personal and very clever
+imitation of the actor, who, by the way, had taught him elocution.
+This, indeed, was one of George's strong points, who, if not a good
+king, was at least an admirable mimic. Says old Dr. Burney (writing to
+his daughter on the 12th of July, 1805), "He is a most excellent mimic
+of well-known characters; had we been in the dark, any one would have
+sworn that Dr. Parr and _Kemble_ were in the room."[64] In this plate we
+find likenesses not only of the king and of Mathews, but also of the
+Princess Augusta and the too celebrated Marchioness of Conyngham.
+
+Thomas Rowlandson's single pictorial contribution to the "English Spy,"
+_R---- A----ys of Genius Reflecting on the True Line of Beauty at the
+Life Academy_, is described by Mr. Grego under date of 1825. This is not
+the only time in which the artist was associated in work with
+Rowlandson. There is a rare work (one of an annual series)--"The Spirit
+of the Public Journals," for the year 1824, with explanatory notes by C.
+M. Westmacott, a collection of whimsical extracts from the press, which
+appeared in print in the previous season, which has illustrations on
+wood by four distinguished coadjutors: Thomas Rowlandson, George
+Cruikshank, Isaac Robert Cruikshank, and Theodore Lane.
+
+
+  "FITZALLEYNE OF BERKELEY."
+
+The Foote _v._ Hayne affair mentioned in our last chapter afforded grist
+for the kind of mill driven by literary blacklegs of the class of
+"Bernard Blackmantle." The black-mail system was tried at first, and
+when that failed he produced the now rare _FitzAlleyne of Berkeley: a
+Romance of the Present Times_, a pair of libellous volumes, the
+_dramatis personae_ of which comprise the persons whose names were
+mentioned in connection with the case. "Maria Pous" was of course Maria
+Foote; Samuel Pous, her father; Lord A----y, Alvanley; Major H----r,
+Major George Hanger, afterwards Lord Coleraine; Optimus, Mr. Tom Best
+(who shot Lord Camelford in a duel); the Pea-green Count and FitzAlleyne
+of Berkeley speak for themselves; while "Mary Carbon" is the butcher's
+daughter of Gloucester, mother of the Colonel, and afterwards Countess
+of Berkeley. Such a character as Molloy, otherwise Westmacott, was
+bound to get sometimes into trouble (in these days he would probably
+receive his reward for "endeavouring to extort money by threats"); and
+if he did not get exactly what he deserved, he did get, on the tenth of
+October, 1830, a tremendous thrashing from Charles Kemble. References to
+the memorandum books of this Ishmaelite of the press, in which he
+entered (for future use) some of the scandalous chronicles of his time,
+and which were offered for sale at his death in 1868, will be found in
+Mr. Bates's interesting book, from which we have already quoted.
+
+
+  "POINTS OF HUMOUR."
+
+Returning to his friend and coadjutor, Robert Cruikshank, the best of
+the artist's coloured illustrations to the "English Spy" are contained
+in the first volume; in the second he falls into those habits of
+carelessness which, with all his ability and artistic talent, were a
+besetting weakness. Robert lacked the genius, the fine fancy, the
+careful, delicate handling of George. Up to the publication of the
+"Life," the brothers as we have seen had worked together frequently, but
+after this period they separated. George had already achieved one of his
+earliest triumphs in book illustration--"The Points of Humour," which
+provoked the universal admiration of the critics, and proclaimed him one
+of the most original geniuses of the time. The "Life," however, had made
+both brothers famous, and the general public had scarcely yet learnt to
+distinguish between the pencils of George and Robert. This confusion was
+taken advantage of by unscrupulous publishers (a practice at which
+Robert himself seems to have connived) to trade upon the popularity of
+the Cruikshank name. We frequently find, for instance, in literary
+advertisements of the time, that a forthcoming book is illustrated by
+"Cruikshank," and the work we have just named is a case in point. No
+sooner had the "Points of Humour" appeared and made their mark, than
+they were followed by an announcement by Sherwood, Jones & Co., of the
+"Points of Misery," the letterpress by Charles Molloy Westmacott, and
+the designs by "Cruikshank," that is to say--Robert. Although this
+publication is marred by the slovenliness of execution which
+characterised the artist in his careless moods, a few of the designs
+are excellent, and the tailpieces--_A Six Inside_, at page 36; _Cleaned
+Out_, at page 88; and the _Pawn Shop_, at page 87--suffice to show of
+how much better work Robert Cruikshank was capable. George, as was usual
+with him on these occasions, was horribly annoyed, and loudly and (as it
+seems to us) unnecessarily proclaimed to the world that he had no
+connection with the work. Probably this manifesto did no good to a book
+little calculated either by its literary or pictorial merits to command
+success; and as the copy before us remained uncut from the date of the
+publication until the present, the inference is that the speculation of
+Messrs. Sherwood, Jones & Co., proved scarcely a remunerative one.
+
+Among the forgotten books of half a century ago, we meet with one whose
+title reminds us of the "Life in London." It is called, "Doings in
+London; or, Day and Night Scenes of the Frauds, Frolics, Manners, and
+Depravities of the Metropolis." It came out in threepenny numbers, in
+1828, and its professed object (in the queer language of George Smeeton,
+its compiler and publisher) was to "show vice and deception in all their
+real deformity, and not by painting in glowing colours the fascinating
+allurements, the mischievous frolics and vicious habits of the
+profligate, the heedless, and the debauchee, tempt youth to commit those
+irregularities which often lead to dangerous consequences, not only to
+themselves but also to the public." This shot of course was aimed at
+Pierce Egan, who, engaged at that time in bringing out the "Finish," not
+unnaturally considered these "Doings" an attempt to derive profit by an
+indirect infringement of his own title. The title in fact _was_ a
+misleading one, and the book a specimen of a class of useless literature
+of the time, by which paste-and-scissors information compiled from
+books, newspapers, and statistics by some one at best imperfectly
+acquainted with his subject, was attempted to be conveyed by means of
+questions and answers, supplemented by dreary and unnecessary remarks of
+a moralizing tendency. The persons in whose company Smeeton would send
+us round, in order that we may form a just conception of the "vice and
+deception in all their real deformity," of which he speaks, are a
+couple of idiots, one Peregrine Wilson, and an attendant mentor, whom we
+drop at the earliest convenient opportunity. Information combined with
+morality is all very well. The "History of Sandford and Merton" may have
+been, as Lord Houghton assures us it was, "the delight of the youth of
+the first generation of the present century." As one of the youth of the
+generation referred to, we refuse to admit it, and we are perfectly
+certain that the youth of the present generation would have nothing
+whatever to do with it. We resign ourselves preferentially to the
+guidance of Isaac Robert and George Cruikshank, sensible that they at
+least, while conversant with the scenes they so graphically describe,
+will not bore us with unnecessary moral reflections. We prefer, if the
+truth must be told, to "sport a toe among the Corinthians at Almack's"
+with hooked-nosed Tom and rosy-cheeked Jerry; to visit with these merry
+and by no means strait-laced persons, Mr. O'Shaunessy's rooms in the
+Haymarket; the back parlour of the respected Thomas Cribb, ex-champion
+of England; to take wine with them "in the wood" at the London Docks; to
+enjoy with them, if they will, "the humours of a masquerade supper at
+the opera house." The work which Smeeton designed with such indifferent
+success was subsequently carried out in a far more efficient manner by
+Mr. James Grant, in his "Sketches in London,"[65] and at a later date by
+Mr. Mayhew, in his well-known "London Labour and the London Poor."
+
+The "Doings in London" owe whatever value they possess to the
+thirty-nine curious designs on wood of Isaac Robert Cruikshank, engraved
+by W. C. Bonner, which, on the whole fair examples of his workmanship in
+this style, strongly remind us of the smaller woodcuts in Hone's
+"Every-Day Book."
+
+The best specimens, however, of Robert's designs on wood are those which
+will be found in two small volumes, known indifferently as "Facetiae" and
+"Cruikshank's Comic Album," which contain a series of _jeux d'esprits_,
+published between the years 1830 and 1832, and comprising _Old Bootey's
+Ghost_ and _The Man of Intellect_, by W. F. Moncrieff; _The High-mettled
+Racer_ and _Monsieur Nongtongpaw_, by Charles Dibdin; _Margate and
+Brighton_; _The Devil's Visit_; _Steamers and Stages_; _Monsieur
+Touson_; _Monsieur Mallet_, by H. W. Montague; _Mathew's Comic Annual_
+(a miserable _melange_ by our friend Pierce Egan); the famous _Devil's
+Walk_, by Coleridge and Southey, etc., etc. These little volumes, which
+are now rare, contain nearly one hundred excellent examples of Robert
+Cruikshank's workmanship, the woodcuts being executed after the artist's
+designs by W. C. Bonner and other wood engravers of eminence. We can
+stay only to describe one, which illustrates one of the many experiences
+of John Bull in his memorable visit to France. Struck with the
+appearance of a French lady, "young and gay," the stanza tells us--
+
+  "Struck by her charms he ask'd her name
+     Of the first man he saw;
+   From whom, with shrugs, no answer came
+     But, '_Je vous n'entends pas._'"
+
+Three other books (two of them exceedingly rare) must suffice to
+complete our survey of Robert's merits as a designer and book
+illustrator. These are "Colburn's Kalendar of Amusements" (1840), "Job
+Crithannah's Original Fables" (1834), and Eugene Sue's "Orphan." There
+is an Irishman sitting on a barrel in one of the woodcuts to the
+"Kalendar," who quite equals any of the Hibernians of George. The
+eighty-four designs to the "Fables" are admirable specimens of the
+artist's best manner, and George himself rarely executed better
+illustrations than those of the _Farmer and the Pointer_, at page 110,
+_The Cow and the Farmer_, at page 163, and _The Old Woman and her Cat_,
+at page 219. This rare and choice book abounds with admirable
+tailpieces; one of which exhibits a sufferer down in the agonies of
+gout, the treatment of which subject may even be compared with the more
+elaborate and admirable design by the brother described by Thackeray.
+Sue's "Orphan" has numerous carefully executed etchings by the artist,
+after the style and manner of his brother; in the very signature,
+"Robert Cruikshank," we trace a distinct copy of George's peculiar
+trademark or sign-manual. Mr. Walter Hamilton, in his essay on the
+brother, presents us with a dozen copies of Robert's designs, eight of
+which, although unacknowledged, are taken from Crithannah's "Fables,"
+and will bear as much comparison with the original and beautiful
+woodcuts as the work of a common sign-painter with a finished painting
+by Landseer. A detailed but probably imperfect list of the artist's book
+work will be found in the _appendix_.
+
+The name of Robert Cruikshank has slipped out of the place it once
+occupied in public estimation; and his good work and his poor work being
+equally scarce, his name and his claims to rank high among the number of
+English caricaturists and comic artists have been forgotten even by the
+survivors of the generation to which he himself belonged. In bringing to
+the remembrance of those who do know, and to the knowledge of those who
+do not know, some of the work which entitled him in our judgment to
+occupy a leading place amongst the number of those of whom we write, we
+have endeavoured to brush away the dust of oblivion which for so many
+years has obscured the name and reputation of an artist, who, in spite
+of much slovenliness and carelessness of execution, was both an able
+caricaturist and a skilful draughtsman. George writes of his dead
+brother in terms of affection, and describes him as "a very clever
+miniature and portrait painter, and also a designer and etcher;" his
+friend and coadjutor, the late George Daniel, gives him credit for
+genius, of which however (in the sense in which we use and understand
+the word) he did not possess a particle. He tells us that "he was apt to
+conceive and prompt to execute; he had a quick eye and a ready hand;
+with all his extravagant drollery, his drawing is anatomically correct;
+his details are minute, expressive, and of careful finish, and his
+colouring is bright and delicate." In the early part of his career, as
+we have seen, the two brothers had been so closely associated in life
+and in art, that the history of Robert is, to some extent, the history
+of George; but when they separated, when each was left to his own
+individual resources, George then struck into a path which neither
+Robert nor any of his contemporaries might hope to follow. By the time
+Robert had realized this fact, HB had appeared, and the art of
+caricaturing, as theretofore practised, received a blow from which it
+will never rally. Besides being an able water colour artist, he had at
+one time achieved some reputation as a portrait painter; but the latter
+pursuit he had long practically abandoned, while success in the former
+required a closer application and the exercise of a greater amount of
+patience than a man of his age and temperament could afford to bestow.
+He was, in fact, too old to commence life afresh; and so it came
+inevitably to pass that, as his brother did in after life (but from
+causes, as we shall see, widely different), Robert gradually dropped
+behind and was forgotten. He had not the genius or pride in his art of
+his brother, and looked rather to that art as a means of present
+livelihood than of acquiring a permanent and enduring reputation. If
+George--with all his pride in his art, with all his genius, with all his
+rare gifts of imagination and fancy--was destined to be left behind in
+the race of life, what could poor Robert hope for? It is sad to think
+that in later life, poor easy-going, thriftless, careless, Bohemian
+Robert sank into neglect and consequent poverty. He died (of bronchitis)
+on the 13th of March, 1856, in his sixty-sixth year.
+
+
+FOOTNOTES:
+
+  [57] In this I cannot agree. George designed about a third of the
+    plates, and those who know his workmanship thoroughly will not fail
+    to identify it.
+
+  [58] A fact which testifies to the curiosity and _not_ the immorality
+    of our people.
+
+  [59] I have known as much as L10 asked for a copy; but _a first
+    edition_ (a rarity) may be purchased sometimes of a respectable
+    bookseller for L8.
+
+  [60] "Fair Play! Robt. Cruikshank, invt. et fect., original suggestor
+    and artist of the 2 vols. Adieu!"
+
+  [61] A list of his works will be found in Dr. Brewer's "Handbook."
+
+  [62] "The Maclise Portrait Gallery," by William Bates (ed. 1883), p.
+    236.
+
+  [63] The name given to the students of Eton School who board in the
+    town.
+
+  [64] Diary of Madam d'Arblay.
+
+  [65] W. S. Orr & Co., 1838.
+
+
+
+
+CHAPTER VII.
+
+_THE CARICATURES OF GEORGE CRUIKSHANK._
+
+
+  SIXTY YEARS AGO.
+
+Just sixty years ago, a writer in _Blackwood_ spoke of the subject of
+the present chapter (then a young man who had already acquired an
+artistic reputation) in the following terms:--
+
+"It is high time that the public should think more than they have
+hitherto done of George Cruikshank; and it is also high time that George
+Cruikshank should begin to think more than he seems to have done
+hitherto of himself. Generally speaking, people consider him as a
+clever, sharp _caricaturist_, and nothing more; a free-handed, comical
+young fellow, who will do anything he is paid for, and who is quite
+contented to dine off the proceeds of a 'George IV.' to-day, and those
+of a 'Hone,' or a 'Cobbett' to-morrow. He himself, indeed, appears to be
+the most careless creature alive, as touching his reputation. He seems
+to have no plan--almost no ambition--and, I apprehend, not much
+industry. He does just what is suggested or thrown in his way, pockets
+the cash, orders his beef-steak and bowl, and chaunts, like one of his
+own heroes,--
+
+  'Life is all a variorium,
+  We regard not how it goes.'
+
+Now, for a year or two to begin with, this is just what it should be.
+Cruikshank was resolved to see _Life_,[66] and his sketches show that he
+has seen it, in some of its walks, to purpose. But life is short, and
+art is long; and our gay friend must pull up.
+
+"Perhaps he is not aware of the fact himself--but a fact it undoubtedly
+is--that he possesses genius--genius in its truest sense--strong,
+original, English genius. Look round the world of art, and ask, How many
+are there of whom anything like this can be said? Why, there are not
+half a dozen names that could bear being mentioned at all; and certainly
+there is not one, the pretensions of which will endure sifting, more
+securely and more triumphantly than that of George Cruikshank. In the
+first place, he is--what no living _caricaturist_ but himself has the
+least pretensions to be, and what, indeed, scarcely one of their
+predecessors was--he is a thoroughbred _artist_.[67] He draws with the
+ease and freedom and fearlessness of a master; he understands the figure
+completely; and appears, so far as one can guess from the trifling sort
+of things he has done, to have a capital notion of the principles of
+grouping. Now these things are valuable in themselves, but they are
+doubly, trebly valuable as possessed by a person of real comic humour;
+and a total despiser of that Venerable Humbug which almost all the
+artists of our day seem, in one shape or other, to revere as the prime
+god of their idolatry. Nobody, that has the least of an eye for art, can
+doubt that Cruikshank, if he chose, might design as many annunciations,
+beatifications, apotheoses, metamorphoses, and so forth, as would cover
+York cathedral from end to end. It is still more impossible to doubt
+that he might be a famous portrait painter. Now, these are fine lines
+both of them, and yet it is precisely the chief merit of Cruikshank that
+he cuts them both; that he will have nothing to do with them; that he
+has chosen a walk of his own, and that he has made his own walk popular.
+Here lies genius; but let him do himself justice; let him persevere and
+_rise_ in his own path, and then, ladies and gentlemen, _then_ the day
+will come when his name will be a name indeed, not a name puffed and
+paraded in the newspapers, but a living, a substantial, perhaps even an
+illustrious, English name. Let him, in one word, proceed, and, as he
+proceeds, let him think of Hogarth."[68]
+
+Now, although amused (and surely he cannot fail to be amused) at the
+curious incapacity of an art critic so strangely ignorant of his subject
+as to conceive _George Cruikshank_ an artist capable of designing
+_annunciations_, _beatifications_, _apotheoses_, and subjects so
+completely out of the range of his sympathies and abilities, the reader
+will, at the same time, be struck with the prescience of the intelligent
+writer who discerned in him the possession of true genius, and predicted
+for him, even at this early period of his career, the reputation--"living,
+substantial," and "illustrious"--which he afterwards so justly achieved
+for himself.
+
+In everything save the power to realize an annunciation, a
+beatification, or an apotheosis, George Cruikshank was, at the time this
+article was penned, exactly what Mr. Lockhart describes him. The most
+able and accomplished of the caricaturists of his time, he was
+nevertheless willing to etch the works of an amateur or of an artist
+inferior to himself, to whose work he has frequently imparted a vitality
+of which it would have been destitute but for the interposition of his
+hand. He was ready, moreover, to execute woodcuts for a song-book or the
+political skits of any scribbler of his time, whether on the ministerial
+or the popular side mattered little to him. It was therefore not
+unnatural that doing "just what was suggested or thrown in his way,"
+Lockhart should come to the erroneous conclusion that the artist had "no
+plan," "no ambition," and "not much industry." The assertion that he had
+"no ambition" has been amply disproved by his subsequent life, whilst so
+far from having "no plan," the sequel shows that all this time,
+unsuspected by the critic, he had been gradually developing the style of
+illustration by which he made his mark and reputation,--a style first
+displayed in the celebrated "Points of Humour," the publication of which
+served as the occasion for Lockhart's criticism.
+
+On this account, if for no other reason, the caricatures of George
+Cruikshank possess so remarkable an interest, that it is singular that
+this field of artistic labour has been left almost unexplored by the
+essayists, many of whom, with a somewhat imperfect knowledge of their
+subject, have essayed to give us information on the subject of this
+artist and his works. It is just this early period of his life, in which
+he first followed and then gradually emancipated himself from the
+artistic control and influence of Gillray, which seems to us to afford
+the most interesting study of the man's career. Nevertheless, nearly all
+the articles we have read on George Cruikshank would give us the idea
+that, with the exception of certain designs for woodcuts for Hone--such
+as the celebrated _Non Mi Ricordo_ and others--certain rough coloured
+engravings for "The Meteor," "The Scourge," and other periodicals of a
+kindred stamp, the artist executed but few caricatures properly so
+called. This at least is the impression which these articles have left
+on our own minds; and we can only account for the little notice taken of
+him as a caricaturist by the fact that, unlike the etchings which he
+produced when in the prime of his career, his caricatures are not only
+exceedingly scarce, but being in many cases unsigned, are capable only
+of being recognised by those intimately acquainted with his early
+handiwork.
+
+The caricatures of George Cruikshank may be divided into three classes:
+first, those which are wholly designed and etched by himself; secondly,
+those which he designed after the sketches or suggestions of his
+friends; and thirdly, those merely etched from the designs of other
+artists. We find the first, although frequently unsigned, more usually
+signed (on the left hand), "Geo. Cruik^k. fect." or "invt. & fect."; the
+second--"invt. G. Cruik^k. fect.;" while the third are indicated as
+merely _etched_ by him. Of the second class it may be remarked that with
+the exception of the mere sketch or suggestion, the drawing and the
+workmanship are oftentimes unmistakably George's own. In the description
+of his caricatures which follow, we shall indicate the designs which
+belong to _this_ class with an asterisk.
+
+Publications such as "The Scourge," although containing many caricature
+designs by George Cruikshank, are scarcely among those to which the
+present chapter was intended to be devoted. There are, however, two
+satirical compositions of his in this scurrilous publication,[69] which
+appear to us so exceptionally good, that we feel justified in drawing
+special attention to them. As the publication itself affords little or
+no clue to the subject of the illustrations, it seems necessary in order
+that the first may be understood, to explain the circumstances which
+appear to us to have led up to it.
+
+
+  1811.
+
+For several years prior to 1811, the established clergy had manifested
+considerable uneasiness on account of the rapid spread of Methodism. The
+readiness with which licenses for preaching could be obtained according
+to the usual interpretation of the Toleration Act, had tended to the
+multiplication of a class of preachers whose manners and language
+peculiarly fitted them for acquiring influence over the inferior ranks
+of the people; and by this means a great diminution had taken place in
+the congregations of parish churches. It is affirmed--with what truth we
+know not--that Lord Sidmouth in the measure (presently to be noticed)
+was encouraged to proceed in his design by letters from persons of high
+position in the Church.
+
+
+  LORD SIDMOUTH'S MOTION.
+
+On the 9th of May, 1811, Lord Sidmouth moved in the House of Lords for
+leave to bring in a bill for amending and explaining the Acts of William
+and Mary and 17th George III., so far as applied to dissenting
+ministers. According to the statement of his lordship, at most of the
+quarter sessions, when the oaths were taken and the declarations made
+requisite for enabling a person to officiate in a chapel or
+meeting-house, any person, however ignorant or profligate, was able to
+obtain a certificate which authorized him to preach. His lordship
+proposed that, in order to entitle any person to a qualification as a
+preacher, he should have the recommendation of at least six respectable
+householders of the congregation to which he belonged. Lord Holland, in
+opposing the bill, observed that he held it to be the inalienable right
+of every man who thought himself able to instruct others to do so,
+provided his doctrines were not incompatible with the peace of society.
+
+When the nature and provisions of the proposed measure were made known
+to the public, an alarm was excited among all those whom it was likely
+to affect. The Nonconformists generally regarded it as intended, not so
+much to add to the respectability of the dissenting ministers, as to
+contract the limits of toleration, and subject the licensing of
+preachers to the control of the magistracy. When therefore, on the 21st
+of May, the bill was to be read a second time, such a deluge of
+petitions was poured in against it, that the mover was left totally
+unsupported. The Archbishop of Canterbury said with truth, that the
+Dissenters were the best judges of their own concerns; and as it
+appeared from the great number of petitions against it, that they were
+hostile to the bill, he thought it unwise to press the measure against
+their manifest wishes. Under these circumstances the bill was, we need
+not say, thrown out.
+
+This would appear to be the subject which produced George Cruikshank's
+graphic satire of the _Interior View of the House of God_, in the first
+volume of "The Scourge." The pulpit is occupied by two fanatics, one of
+whom rants, while the other snuffs the candles; the devil, in the
+gallery above, ridicules the proceedings by rasping, _a la_ fiddle, the
+bars of a gridiron with a poker; among the numerous congregation present
+we notice some attentive and interested listeners, whilst others
+evidently attend from mere motives of curiosity. Above the composition
+appears the quotation, "Believe not every spirit, but try the spirits
+whether they are of God: because many false prophets are gone out into
+the world." The satire, _The Examination of a Young Surgeon_, which
+appears in the same volume, is aimed at the medical profession. One of
+the examiners is deaf, another has the gout, a third is asleep, while
+two others (unmistakable Scotchmen) discuss the merits of their
+respective snuff-mulls. The deaf man calls upon the frightened candidate
+to "describe the organs of hearing." The table is garnished with "The
+Cow Pox Chronicle," and a skull and bones, while the walls are decorated
+with pictures depicting a fight between death and a pugilist, the
+Hottentot Venus, a group of various nations worshipping the golden calf,
+and the lady without arms or legs. The hand of the clock points to the
+hour of eleven. Judging by the pile of money-bags lying at the foot of
+the president's chair, and the two members of the court who are busily
+engaged in counting coin, George would seem to insinuate that the
+fellows of the college of his time were a decidedly mercenary set.
+
+
+  "THE SATIRIST."
+
+Of character akin to "The Scourge" (the ten volumes of which were
+published between 1811 and 1815 inclusive); is "The Satirist, or Monthly
+Meteor," the thirteen volumes of which made their appearance between the
+years 1808 and 1813. Both publications, which now command prices very
+far beyond what they are intrinsically worth, contain a number of
+satires, of more or less merit (generally _less_), by various satirists,
+including George Cruikshank; so far as "The Satirist" is concerned, the
+designs of the latter are confined to the thirteenth and last volume,
+and his caricature contributions are of a vastly superior order of merit
+to any of those by which they are preceded. Besides those in "The
+Scourge" and "The Satirist," may be mentioned George Cruikshank's comic
+designs in "Fashion," printed for J. J. Stockdale, of Pall Mall, in
+1818; and his very admirable series of untinted etchings in "The
+Loyalist Magazine; or, Anti-Radical," a publication exclusively devoted
+to the ministerial side of the Carolinian scandal, and published by
+James Wright, of Fleet Street, in 1820.
+
+One of the earliest caricatures I have met with by George is entitled,
+_Apollyon_ [_i.e._, Napoleon]_, the Devil's Generalissimo, Addressing
+his Legions_; it is signed (contrary to his usual custom), "Cruikshank
+del.," and was executed (if I am right in assigning it to him) when he
+was sixteen years of age.
+
+
+  1813. DISCOVERY OF THE REMAINS OF CHARLES I.
+
+The attention of the public in 1813 was, as we have seen, attracted by
+the Regent's treatment of his miserable wife; and in April the sympathy
+of the Livery and Corporation of London, and other public bodies, found
+expression in an address which was presented to Her Royal Highness. On
+the 28th of March of that year, the remains of Charles the First had
+been discovered in the vault of Henry the Eighth, at Windsor, a
+circumstance which suggested to George Cruikshank his admirable satire
+entitled, _Meditations amongst the Tombs_. It shows us His Royal
+Highness gazing at the recovered bodies, and regretting that while Henry
+had managed to dispose of many wives, _he_ found it impossible to get
+rid of one. A figure behind him points to the headless corpse, and
+significantly remarks, "How rum King Charley looks without his head!"
+The Battle of Vitoria (fought this year) forms the subject of a pair of
+roughly executed caricatures, entitled respectively, _The Battle of
+Vitoria_, and _A Scene after the Battle, or More Trophies for
+Whitehall_. Other satires of the year, are _Double Bass_, and _A
+Venomous Viper Poisoning the R--l Mind_, the latter as coarsely and
+indelicately handled a subject as any caricaturist of the old school
+might possibly desire.
+
+
+  1814.
+
+_Little Boney gone to Pot_ (Thomas Tegg, May 12th, 1814), is one of the
+artist's contributions to the series of caricatures which followed the
+fall of Napoleon Bonaparte. Here the satirist has seated the emperor (a
+lean, ragged, forlorn, miserable, diseased object) on a huge article of
+bedroom furniture, labelled, "Imperial Throne." He is in a forlorn
+condition, suffering from itch, with large excrescences growing on his
+toes. He is all alone in his island prison (Elba), and tempted by a
+fiend, who tenders him a pistol--"If you have one spark of courage
+left," it says, "take this." "Perhaps I may," replies Napoleon, "if
+you'll take the flint out." By his side we find a pot of brimstone,
+numerous medicine bottles, and "a treatise on the itch, by Dr.
+Scratch."[70] One of the imperial boots, mounted on a tiny carriage,
+forms a dummy cannon. His back leans against a tree, to which is nailed
+the "Imperial Crow," while from the branches depends a ragged pair of
+breeches and stockings. It was a sorry libel on the unfortunate emperor,
+whose courage was undoubted, and who, at this time, instead of being the
+scarecrow the artist has represented him, had grown extremely corpulent.
+_Snuffing out Boney_ follows up the same subject, and represents a
+cossack snuffing out Napoleon, who figures as a candle; another
+caricature on the great subject of the year bears the title of _Broken
+Gingerbread_ (Napoleon selling images).
+
+[Illustration:
+  GEORGE CRUIKSHANK. _Published July 11th, 1814, by_ S. W. FORES,
+  _Piccadilly_.
+
+  RUSSIAN CONDESCENSION, OR THE BLESSINGS OF UNIVERSAL PEACE.
+
+  _Face page 133._]
+
+
+  VISIT OF THE ALLIED SOVEREIGNS.
+
+On the 8th of June, 1814, the Emperor of Russia, with his sister the
+Duchess Oldenburg, the King of Prussia, and his two sons, with Prince
+Metternich, Marshal Blucher, General Barclay de Tolly, the Hetman
+Platoff, and other persons of distinction, arrived in London. The
+strangers were splendidly entertained by the merchants and bankers of
+London at Merchant Taylors' Hall, and by the Corporation of London at
+Guildhall. On the 20th there was a grand review of regulars and
+metropolitan volunteers in Hyde Park; the ceremony of announcing to the
+inhabitants of the metropolis the conclusion of the definitive treaty of
+peace with France took place with all its ancient and accustomed
+solemnities. On the 25th of July a grand naval review was held at
+Portsmouth, and on the 27th the illustrious visitors embarked at Dover
+for the Continent. The handsome Russian emperor and his handsome sister
+acquired great popularity by the condescension and affability they
+displayed during their short visit. This is commemorated by George
+Cruikshank in a satire published by Fores on the 11th of July, entitled,
+_Russian Condescension, or the Blessings of Peace_, in which a coarse
+woman is represented as kissing the emperor, who is habited in English
+military uniform. "There, Sal," says she to her companion, "I can boast
+of what none of the ----s at Billingsgate can, having kissed the king's
+emperor of all the Russian bears, and he is the sweetest, modestest,
+mildest gentleman I ever kissed in all my life." On the other side a
+huge country gawky shakes hands with the duchess, whose vast bonnet is a
+study. "Dang it," he says, "when I goes back and tells the folks in our
+village of this, law! how they will envy I!" In the distance we see
+another female in pursuit of the frightened Hetman Platoff.
+
+The reader will remember, that from the state ceremonies and festivities
+which took place on this memorable occasion the miserable Caroline had
+been excluded, nor did she of course receive recognition or visits from
+any of her husband's illustrious visitors. The state of social isolation
+to which she was thus consigned is referred to by George Cruikshank in a
+very roughly executed caricature entitled, _The British Spread Eagle_,
+"Presented to the northern monarchs as a model for their national banner
+in consequence of the general peace." The Regent, holding in his hand a
+bottle of port wine, turns away from his neglected wife: "I'll go," he
+says, "to my bottle, my marchioness [of Conyngham], my countess" [of
+Jersey], who may be seen close at hand in an adjoining thicket; "and I,"
+answers Caroline, "to my child, my only comfort." The "only comfort" is
+seen coming to her mother's assistance in the distance, uttering the
+trite quotation, "The child that feels not for a mother's woes, can
+ne'er be called a Briton."
+
+_The Impostor, or Obstetric Dispute_, a still more roughly executed
+satire (published by Tegg in September, 1814), refers to the wretched
+impostor Southcott. Doctors called in to report on her condition
+"differed" according to their proverbial custom. Three of these learned
+pundits may be seen in consultation in the right-hand corner. A blatant
+and irascible cobbler, standing on a stool, loudly proclaims the woman
+to be "a cheat!" "a faggot!" "a bag of deceit!" "a blasphemous old hag!"
+The indignant Joanna, far advanced in her dropsical condition, rushes at
+him, brandishing a broom in one hand and her book of prophecies in the
+other, to the delight of certain members of the "great unwashed." The
+buildings at the back appropriately include "New Bethlehem," and the
+house which the reader may remember was engaged for the purposes of her
+miraculous _accouchement_. A rougher and coarser piece of workmanship,
+if possible, will be found in _Gambols on the River Thames, February,
+1814_ (published also by Tegg), which commemorates the memorable frost
+of that year.
+
+
+  1815. THE CORN LAWS.
+
+On the 17th of February, 1815, Mr. Frederick Robinson, vice-president of
+the board of trade, moved for the House of Commons to resolve itself
+into a committee of the whole house, for the purpose of considering the
+state of the corn laws. This having been done, he proceeded to lay
+before the House certain resolutions, three of which related to the free
+importation of grain to be warehoused and afterwards exported, or to be
+taken for home consumption when importation for that purpose was
+allowable. The fourth and most important stated the average price of
+British corn at which free importation was to be allowed, and _below
+which it was to be prohibited_, and this for wheat was fixed at eighty
+shillings per quarter. An exception was made in favour of grain produced
+in the British colonies, which might be imported when British grown
+wheat was at sixty-seven shillings. All the resolutions were read and
+agreed to, with the exception of the fourth, and this in the end also
+passed in the face of every amendment.
+
+On the 1st of March, Mr. Robinson brought in his bill "to amend the laws
+now in force for regulating the importation of corn." By this time very
+numerous petitions against the bill were coming in from the commercial
+and manufacturing districts; riotous proceedings also took place on the
+6th, 7th, 8th, and 9th of March, in the course of which the mob cut to
+pieces many valuable pictures belonging to Mr. Robinson, destroyed and
+pitched his furniture into the street, and did a variety of mischief to
+the property of other well-known supporters of the measure. The riots
+(which were of a most formidable character) were only quelled by the
+number and determined attitude of the military and constables. In spite,
+however, of the unmistakable unpopularity of the measure, and of the
+strenuous opposition to it both in and out of Parliament, the bill
+passed the House on the 10th of March, and the Upper House on the 20th.
+
+The consequences of this measure were not such as were expected either
+by its promoters or opposers. Former importations, or more probably the
+effect of two abundant harvests, combined with the greatly extended
+cultivation of grain, produced a gradual and steady reduction in prices;
+so that instead of approaching the limits at which alone importation was
+allowable by the Act, it sunk to a level below that of several years
+past. The farmers, who were labouring under exorbitant rents in addition
+to other increased expenses, were general sufferers, and the landlords
+found it necessary in many instances to make great abatements in their
+dues. In the result many leases were voided and farms left without
+tenants.
+
+To this most unpopular measure a satire, published by Fores on the 3rd
+of March, 1815, has reference. It is entitled, _The Blessings of Peace,
+or the Curse of the Corn Bill_, a very rough affair, etched by George
+(as it appears to me) from the design of an amateur whose hand may be
+recognised in more than one of his caricatures. A foreign vessel is
+approaching our shores laden with best wheat at 50_s._ a quarter. A
+figure with a star on his breast, emblematical of course of the
+aristocratic influence which was supposed to have dictated the unpopular
+corn law, forbids the sailors to land it: "We won't have it," he says,
+"_at any price_. We are determined to keep up our own to 80_s._, and if
+the poor can't buy at that price, why, they must starve. We love money
+too well to lower our rents again, tho' the income tax _is_ taken off."
+His sentiments are re-echoed by companions belonging to the same class
+as himself. A farmer and his starving family, however, come forward.
+"No, no, masters," he remonstrates; "I'll not starve, but quit my native
+country, where the poor are crushed by those they labour to support, and
+retire to one more hospitable, and where threats of the rich do not
+interpose to defeat the providence of God!" Behind the starving family
+is a warehouse absolutely bursting with sacks of grain at 80_s._ "By
+gar!" says the foreign captain, "if they won't have [the wheat] at all,
+we must throw it overboard," which they accordingly are depicted as
+doing. The subject is followed up by a still more slovenly affair by the
+artist himself, bearing the title of _The Scale of Justice Reversed_,
+published by Fores on the 29th of March. An eighteenpenny loaf in one
+scale is overmatched by the accumulated weight of taxes in the other.
+The overbalanced scale in its descent knocks down and crushes John Bull
+under its weight. "The bread," he cries, "is out of my reach, and those
+cursed taxes will break my back. That large one ['duty on
+manufactories,' which the chancellor is just putting into the scale]
+will do for me." Beyond, a usurer and four large landowners are seen
+rejoicing at the flight of the "Property Tax," an alleviation which is
+calculated to do no good to any one but themselves.
+
+
+  NAPOLEON RETURNS FROM ELBA.
+
+John Bull's trials, however, were in reality just commencing. Only seven
+months before he had held a grand "jubilee" in the parks, to celebrate the
+return of peace, treating his little difficulty with the Americans as a
+_bagatelle_ not worth serious consideration. Four months before that
+celebration, "his majesty the Emperor Napoleon" had formally "renounced
+for himself, his successors, etc., all right of sovereignty and dominion,
+as well to the French empire and the kingdom of Italy, as over every other
+country." In return for this concession, as if in absolute mockery, "the
+isle of Elba, adopted by his majesty the Emperor ... as the place of his
+residence," was formed during his life into a separate principality, to
+"be possessed by him in full _sovereignty and property_," besides a
+certain annual revenue mentioned in the articles of treaty of the 18th of
+April, 1814. Here the Regent and his very good friends the allied
+sovereigns had been content to leave him, dreaming apparently, that the
+man whose military genius had held Europe at defiance, was disposed of
+"for ever and a day;" disregarding the feeble capacity of the Bourbon who
+succeeded him; the magic influence wielded by the man who thought the
+world too small for his ambition over a soldiery he had created and
+trained into perfection, and who regarded him in the light of a demi-god.
+
+On the 26th of February, 1815, Bonaparte embarked at Porto Ferrago on
+board a brig, followed by four small vessels conveying about 1,000
+men--French, Poles, Corsicans, Neapolitans, and natives of Elba. On the
+1st of March the expedition anchored off the town of Cannes, in
+Provence, where these heterogeneous forces were landed. The small and
+motley force of filibusters was forthwith marched on Grenoble, which was
+reached on the 8th. The seventh regiment of the line, under Colonel
+Labedoyere, had meanwhile joined the adventurer; the rest of the
+garrison opened their gates, delivered their arsenal and magazine, and
+thus placed him at the head of a body of regular troops with a train of
+artillery. Only five short months afterwards, while the unfortunate
+emperor was on his way to St. Helena, poor Labedoyere was shot on the
+plain of Grenelle, for the "treason" of re-swearing fealty to the
+original master he had loved so well.
+
+On the 9th of March, Bonaparte appeared before Lyons, which he entered
+without resistance. Once in possession of this important city, and
+hailed Emperor by his beloved soldiery, Bonaparte assumed the
+"sovereignty and dominion" which he had "renounced" for ever.
+"Frenchmen!" he said, after his sententious but stirring manner, "there
+is no nation, however small it may be, which has not had the right, and
+which may not withdraw itself from the disgrace of obeying a prince
+imposed on it by an enemy momentarily victorious. When Charles VII.
+re-entered Paris, and overthrew the ephemeral throne of Henry V., he
+acknowledged that he held his throne from the valour of his heroes, and
+_not from a Prince Regent of England_."
+
+Although the troops assembled around him were comparatively a handful,
+Bonaparte had unquestionably obtained sufficient assurance of the
+general disposition of the army in his favour. Preparations indeed had
+been made for collecting a large body of troops at Melun for the
+immediate protection of Paris, while another was posted at
+Fontainebleau, so as to place the adventurer as it were between two
+fires. The greatest hopes were derived from the professed loyalty to the
+Bourbon cause of Marshal Ney, who had spontaneously presented himself at
+the Tuileries and proffered his services to the king. With the marshal,
+12,000 or 15,000 men were posted at Lons-le-Saulnier, whence it was
+understood that he would fall on the rear of Bonaparte. Instead of doing
+so, he joined him at Auxerre with his whole division, which had already
+hoisted (under his orders) the tri-coloured flag. This defection
+practically decided the contest; and Bonaparte entered Paris on the
+evening of the 20th as a conqueror, received everywhere by the military
+in triumph.
+
+Meanwhile, on the 13th of March, the powers who had signed the Treaty of
+Paris assembled in congress at Vienna, "being informed of the escape of
+Napoleon Bonaparte, and of his entrance into France with an armed
+force," issued a formal declaration, in which they stated that, "by thus
+breaking the convention which established him on the island of Elba,
+Bonaparte had destroyed the only legal title on which his existence
+depended; ... deprived himself of the protection of the law; and
+manifested to the universe that there could be neither peace nor truce
+with him. The powers consequently declared that he had placed himself
+without the pale of civil and social relations, and as an enemy and
+disturber of the tranquility of the world, rendered himself liable to
+public vengeance;" and, by a treaty concluded at Vienna on the 25th of
+March, Great Britain, Austria, Russia, and Prussia bound themselves to
+maintain the Treaty of Paris of 30th May, 1814, and for that purpose
+each was to keep constantly in the field a force of 150,000 men, and not
+lay down their arms until Bonaparte should have been rendered absolutely
+unable to create disturbance, and "renew his attempts for possessing
+himself of the supreme power in France."
+
+
+  REAPPEARANCE OF BONAPARTE.
+
+The excitement which this portentous event occasioned amongst the
+nations of Europe is admirably realized by a caricature of George
+Cruikshank's, published by Fores on the 6th of April, and entitled, _The
+Congress Dissolved before the Cake was Cut up_. Alexander, engaged in
+cutting up the cake (_i.e._ Europe), and apportioning to each
+nationality a share of the whole, drops the knife as Napoleon rushes in
+among them, with the tremendous cocked hat, huge sword, and boots
+assigned to him on the authority of James Gillray. Crushing under his
+feet the "Decrees of the Congress," "An Account of the Deliverance of
+Europe," "A Plan for the Security of Europe," and other documents of a
+similar character, he shouts to the affrighted company, "Avast! ye
+bunglers; the cake you have been these six months disputing about the
+cutting up, I will do in as many hours." Holland in his fright has
+dropped off his stool to the ground. "O Donner and Blixen!" he exclaims,
+"_my_ Hollands is all gone!" "I thought England had promised to guard
+him," says Saxony, alluding to the kind of naval supervision of Elba by
+English armed cruisers, which appears to have been exercised, so far as
+we can see, without any _direct_ claim on our part to control the
+movements of Bonaparte. "Hold him! seize him!" cries Austria. "Seize
+him! kill him!" re-echoes Prussia.[71] "Who'll begin?--There's the rub!"
+is the sensible observation of Sweden. "Oh dear! oh dear!" groans his
+holiness the Pope, crowned with a composite hat, the crown of which is
+composed of his mitre; "what will become of me?" The only one who says
+nothing, but seems prepared to act with determination and promptitude,
+is the representative of England, who is shown in the act of drawing his
+sword.
+
+Napoleon (we need not say) did not exactly act as the caricaturist
+describes: he endeavoured to re-establish relations with the foreign
+powers. On the 14th of April, however, Coulaincourt, the minister of
+foreign affairs, published his report to the emperor, giving an account
+of the result of the applications which had been made to foreign courts.
+From this it appeared that while no communication was permitted with the
+actual government of France, all the allied powers were diligently
+making preparation for war. "In all parts of Europe at once," said the
+minister, "they are arming, or marching, or ready to march." The powers,
+of course, were acting strictly within the terms of their expressed
+declaration to make "neither peace nor truce with Bonaparte." The
+emperor's practical reply to this declaration was made in the Champ de
+Mars on the 1st of June. Descending from his throne, he distributed the
+imperial eagles to the troops of the line and the national guards as
+they marched past, and swore to defend them at the hazard of their
+lives, and to suffer no foreigners to dictate laws to their country. All
+this time reinforcements were being despatched from England without
+intermission, and the Duke of Wellington had arrived to take command of
+the troops, native and foreign, in Belgium. There was nothing left for
+Napoleon except to fight. In the latter end of May, the headquarters of
+the French army of the north was established at Avesnes, in French
+Flanders; while, in the apprehension of an invasion by the allied armies
+on that part, Laon and the Castle of Guise were put in a defensive
+condition. On the 12th of June Bonaparte left Paris, accompanied by
+Marshal Bertrand and General Drouet, and proceeded to Laon.
+
+
+  TRI-COLOURED "EAGLES."
+
+At this point we meet with a piece of George Cruikshank's handiwork
+which is curious as indicative of the spirit which pervaded England at
+this momentous period. I am not at present in a position to refer to a
+newspaper of the period; but it would appear from the sketch referred to
+that, on or about the very day that Napoleon left Paris to join the
+splendid army which six days afterwards was so disastrously routed at
+Waterloo, a city fete was held at the Mansion House, at which that
+eccentric and sturdy nationalist, Sir William Curtis, whose face and
+figure were a fortune to the caricaturists of the period, covered the
+floor of the Mansion House with the tri-coloured eagles captured from
+the French in Peninsular battle-fields, while the banners of England
+domineered from the walls above. The exceedingly rare sketch which
+illustrates this incident is labelled appropriately by the artist,
+_Opening of Sir William Curtis's Campaign against the French Colours_.
+
+Six days afterwards, the star of Napoleon Bonaparte had set for ever in
+the lurid and ensanguined battle clouds of Waterloo. Scarcely one month
+later on--that is to say, on the 15th of July, 1815--he had surrendered
+to Captain Maitland, of his majesty's ship _Bellerophon_, under
+circumstances which, while they reflect no discredit on the honour of
+that gallant officer, seem to us, so far as England was herself
+concerned, scarcely to have justified her subsequent treatment of the
+great but unfortunate emperor. With this, however, we have nothing to
+do. The _Bellerophon_ on the evening of the 23rd, brought the
+distinguished exile within sight of the coast of England, a
+circumstance to which a subsequent caricature (_etched_ by the artist)
+has reference. On the 6th of September was published by Fores, _Boney's
+Threatened Invasion brought to bear, or Taking a View of the English
+Coast from ye Poop of the Bellerophon_. The little emperor, confined to
+the mast by a chain fastened to his leg, leaps on the breech of one of
+the _Bellerophon's_ guns, spy-glass in hand. "By gar, mon Empereur,"
+says Count Bertrand, "dey have erect von prospect for you." The
+"prospect" is far from encouraging--a fort with the English flag flying
+from the central tower, and a gibbet erected in front of it. No wonder
+that the emperor expresses himself dissatisfied with a "prospect" of so
+lugubrious a character. An English sailor seated on a neighbouring gun,
+delivers the sentiments of the day after the plain-spoken fashion of his
+countrymen. This design, which is by no means in the artist's usual
+style, was etched by him from the design of some one whose name or
+initials are not recorded.
+
+The actual circumstance to which the foregoing sketch refers is related
+to us by the commander of the _Bellerophon_:--
+
+"At daybreak on the 24th of July, we were close off Dartmouth. Count
+Bertrand went into the cabin and informed Bonaparte of it, who came upon
+deck about half-past four, and remained on the poop until the ship
+anchored in Torbay. He talked with admiration of the coast, saying, 'You
+have in that respect a great advantage over France, which is surrounded
+by rocks and dangers.' On opening Torbay, he was much struck with the
+beauty of the scenery, and exclaimed, 'What a beautiful country! It
+very, very much resembles the bay of Porto Ferrago, in Elba.'"[72]
+
+The same year, and on the same subject, the artist gives us _Boney's
+Meditations on the Island of St. Helena, or the Devil addressing the
+Sun_, in which the idea is manifestly borrowed from a design by James
+Gillray; _The Corsican's Last Trip under the Guidance of his Good Angel_
+[the devil]; _The Genius of France Expounding her Laws to the Sublime
+People_; and a very admirable and original design, _The Pedigree of
+Corporal Violet_; all of which are etched from the designs of other
+artists.
+
+Hardly was Napoleon despatched to the island prison which was so shortly
+to prove his grave, and replaced by the unwieldly Louis, than the latter
+came in for his full share of satire. In another of George Cruikshank's
+caricatures of the same year, he shows us _The Royal Laundress_ [Louis
+the Eighteenth] _Washing Boney's Court Dresses_, Napoleon watching the
+process the while from St. Helena. "Ha, ha!" he laughs, "such an old
+woman as _you_ might rub a long while before they'll be all white, for
+they are tri-coloured in _grain_." Another shows us fat Louis climbing
+the _mat de cocagne_ (soaped pole) and clutching the crown of France; he
+clambers up on the shoulders of Austria, Russia, and Prussia, his
+immediate supporter being England. Napoleon watches his progress from
+across the sea; "_I_ climbed up," he says, "twice, without _any_ help."
+Other subjects of the year are: _Friends in Need_, and _John's Dream, or
+the Prince and Old England for Ever!_
+
+
+  1816. AVERSION OF THE REGENT TO RETRENCHMENT.
+
+The repugnance of the Regent to the economical measures which were
+forced upon the ministry in 1816 is well-known. The people complained
+with every just reason of the pressure of taxes, which were levied, as
+they said, upon the industrious, to be squandered in extravagant
+salaries, sinecures, and unmerited pensions. They complained of the
+large standing army, which the Regent insisted to be necessary for the
+maintenance of "our position and high character among the European
+powers." The prince's aversion to the popular cry for retrenchment and
+reform is shown by one of George's caricatures entitled, _Sick of the
+Property Tax, or Ministerial Influenza_, published by Fores on the 8th
+of March, 1816, where we see the ministers vomiting into a huge
+receptacle labelled "Budget," the matter voided consisting of "Standing
+armies," "Property tax," "Increase of salaries," and so on. The gouty,
+self-indulgent prince hobbles up to his ministers on a pair of crutches
+marked respectively, "More economy" and "Increase of income." Under his
+arms he carries bundles of accounts, most of which relate to his own
+private expenditure, and are labelled, "Expenses of [Brighton]
+Pavilion," of "Furniture," "Drinking expenses." "Aye, this comes," he
+exclaims, "of your cursed pill economy, which you forced me to take a
+month back; no one knows what I have suffered from this economical
+spasm. I am afraid we shall all be laid up together." On the table
+behind him lie the medicines which have been prescribed for him, certain
+pills labelled "Petitions against the property tax," and a huge bolus
+ticketed "economy," "to be taken immediately." On the same subject a
+month later on is a sketch by an amateur, etched by the artist, bearing
+the title of _Economical Humbug of 1816, or Saving at the Spiggot and
+Letting Out at the Bunghole_. From a series of small vats, "Assessed
+taxes," "Property tax," "Customs," "Excise," and other streams of
+"supply," are pouring into a huge vat labelled "The Treasury of J.
+Bull's Vital Spirits." Vansittart, Chancellor of the Exchequer, is
+carefully drawing off what he requires into a small bucket for the
+"Public Service." "You see," he says to Mr. Bull, who looks admiringly
+on, "I am not a quibbling pettifogger, I am a man of my word; for you
+see I have thrown away the great _war_ spiggot, and have substituted a
+small _peace_ one in its stead, which will cause an unknown saving to
+you." This is all very well; but the gouty Regent has also tapped the
+vat on the other side, and draws off the supplies in a copious stream
+into a receptacle labelled, "Deficiencies of the Civil List." His
+friends and boon companions are bringing up a fresh supply of empty
+vessels to be filled in their turn; one carries a barrel marked, "For
+household troops and standing army"; another is labelled, "Sinecures,
+places, and pensions"; a third, "For cottages and pavilions"; and a
+fourth, "L60,000 for fun." "Come, my friends," says the prince, "make
+haste and fill your buckets, whilst Van is keeping noisy Johnny quiet
+with fine speeches and promises of economy, which I am determined not to
+practise as long as I can get anything to expend; and while he is saving
+at the spiggot, we will have it out of the bunghole."[73]
+
+_Preparing for the Match, or the 2nd of May, 1816_, has reference to the
+marriage of the Princess Charlotte of Wales, who, as we have already
+seen, was on that day united to Prince Leopold of Saxe-Coburg. It had
+been preceded by a well-designed but most indelicate satire, labelled
+_Royal Nuptials_, published by J. Johnstone on the 1st of April, in
+which the prince is seen landing on our shores in a state of
+destitution, with a pitiable lack of certain necessary articles of
+clothing, which are being handed to him by John Bull in the guise of a
+countryman. The _dramatis personae_ are seven in number: Prince Leopold,
+John Bull, the Chancellor of the Exchequer, the gouty Regent, the
+Princess Charlotte, old Queen Charlotte, with her snuff-box, and, behind
+her, an old woman intended, I believe, for the poor old king himself.
+The same year we find two other indelicate subjects: _A Bazaar_, a skit
+upon the immorality and costume of the period, comprising thirty
+figures; and another, in allusion to the marriage of the Princess Mary
+with her cousin, the Duke of Gloucester, on the 22nd of July, 1816. To
+those who have asserted that George Cruikshank "never pandered to
+sensuality ... or raised a laugh at the expense of decency," that
+"satire in his hands never degenerated into savagery or scurrility," I
+would commend the serious consideration of the three satires I have last
+named.
+
+
+  THE ELGIN MARBLES.
+
+At the time Egypt was in the power of the French, during the early part
+of the century, Lord Elgin had quitted England upon a mission to the
+Ottoman Porte. A great change has taken place in the attitude and
+bearing of the Turks towards other European nations during the last half
+century; but even at this time the contempt and dislike which had
+characterized them in their behaviour towards every denomination of
+Christians still prevailed in full force. The success, however, of the
+British arms in Egypt, and the expected restitution of that province to
+the Porte, seem to have wrought a wonderful and instantaneous change in
+the disposition of that power and its people towards ourselves;[74] and
+Lord Elgin, availing himself of these favourable circumstances, obtained
+in the summer of 1801, access to the Acropolis of Athens for general
+purposes, with a concession to "make excavations and to take away any
+stones that might appear interesting to himself." The result (shortly
+stated) was the excavation of the once celebrated "Elgin marbles," about
+which, if we are to credit the report from which we glean this
+information, his lordship would seem to have expended (including the
+interest of capital) some L74,000. The committee recommend the House,
+under these circumstances, coupled with the valuations which they had
+obtained from competent authorities, that L35,000 was "a reasonable and
+sufficient price to be paid for the collection," and their purchase
+appears to have been completed on the basis of these figures, a fact
+which forms the subject of the artist's undated and admirable satire of
+_John Bull Buying Stones at the Time his Numerous Family Want Bread_.
+
+Unsigned, and under date of 25th of November, 1816, I find a caricature
+published by Fores, which seems to me due to the hand of George
+Cruikshank. It is entitled, _The Nightmayor_, "painted by Fuzeley," and
+represents a debased woman in the stertorous sleep of drunkenness, whose
+muddled dream-thoughts revert to the experiences with which her evil
+habits have made her so frequently familiar. The gin drinker has been
+brought before the Lord Mayor any number of times for being "drunk and
+disorderly," and accordingly her _nightmare_ assumes the form of the
+city official, who sits upon the body clothed in his robes and invested
+with the insignia of his office. Appended to the satire are the
+following lines:--
+
+  "The night mayor flitting through the evening fogs,
+   Traverses alleys, streets, courts, lanes, and bogs,
+   Seeking some love-bewilder'd maid by gin oppress'd,
+   Alights--and sits upon her downy breast."
+
+The only other caricature of George I have to notice under date of 1816
+is entitled, _State Physicians Bleeding John Bull to Death_. (*)
+
+
+  1817.
+
+In our third chapter we referred to the distress which prevailed amongst
+the industrial classes during the two years which followed the fall of
+Bonaparte.[75] We meet with an exceedingly rare pictorial satire by
+George Cruikshank, which relates to this state of things; it bears the
+title of, _John Bull Brought up for a Discharge, but Remanded on Account
+of Extravagance and False Schedule_, and was published by Fores on the
+29th of March, 1817. John Bull, a bankrupt, is being publicly examined
+as to the causes of his failure: "Being desired by the court to give
+some explanation [on the subject of the prodigious difference between
+his debts and his assets], he said that he had been persuaded originally
+to join with some of the parishioners in indicting his neighbour, Mr.
+Frog, for keeping a disorderly house; that they had engaged to bear
+their part of the expenses, but had all sneaked off one by one, and left
+him to pay the whole, and carry on the proceedings. It had at last,
+after being moved from one court to another, become a suit in Chancery;
+and he had been advised by the gentleman whom he had always consulted on
+these matters, and who was now dead, to go on and persevere, for that he
+would be sure to get a final decree in his favour, and all the costs. He
+had at last, in fact, got a decree in his favour, about two years since,
+before Lord Chancellor Wellington, and for the costs; but not a farthing
+had ever been paid, nor was it likely to be; on the contrary, Mr. Frog
+had surrendered himself, and gone to prison, where he was now living at
+this moment, at his [Mr. Bull's] expense. Besides, the house in question
+was now opened again under a new license, granted by the magistrates of
+the district ... or rather, a renewal of the old one, in favour of the
+brother of the person who had kept it formerly, ... and the new
+landlord had taken down the late sign of the Bee Hive, and put up the
+old one of the _Fleur-de-lis_; but it was nearly as disorderly as ever,
+and the magistrates were obliged to keep up a great number of special
+constables to preserve the peace of the neighbourhood."[76]
+
+John Bull, in his best blue coat and white waistcoat, and suffering
+under an attack of gout is going through the ordeal of his public
+examination before the judge. In front of this functionary is the
+bankrupt's schedule, on which we read the following items:--
+
+  "Amount of Income        L24,000,000
+   Expenditure              80,000,000
+   Dr. Nick Frog            10,000,000
+   Paul Bruin                1,000,000
+   Frank Force-child         8,000,000
+   Will Eagle Eye            6,000,000
+   Ferd. Faithless          30,000,000."
+
+In the body of the court, and separated from the commissioner by a
+wooden enclosure, the upper edge of which is lined with bayonets
+pointing inwards, are a number of the bankrupt's wretched creditors,
+whom Death, clothed in a red coat and armed with a mace, vainly strives
+to keep quiet. "Ck. fect." in such faint letters that they might easily
+escape detection, is appended to this remarkable composition.
+
+In our third chapter we also referred to the serious disturbances which
+followed and were the consequences of the public discontents of 1817,
+and the fact that the names of four informers, Castle, Oliver, Edwards,
+and Franklin were identified with those of the chief fomenters of
+sedition in the metropolis and the northern counties.[77] In further
+illustration of the satires in which these fellows put in an appearance,
+we have one by George Cruikshank (published by Fores on the 1st of
+July), and labelled, _Conspirators, or Delegates in Council_. We may
+here mention that on the 9th of June, one Watson, a surgeon, was tried
+for high treason at Westminster Hall, and acquitted on the 16th,
+whereupon the Attorney General abandoned the prosecution against
+Thistlewood, Preston, and Hooper, who were also indicted under a like
+charge. All the accused were in indigent or humble circumstances, and
+the chief witness against them appears to have been Castle. Among the
+five persons sitting round the table, we recognise Castle (whose
+villainous face is turned towards us) and Oliver. The others we cannot
+identify. The aristocratic looking gentleman receiving them so blandly
+is my Lord Castlereagh. "Don't you think, my lord," says the person next
+him, "Don't you think that our friends Castle and Oliver should be sent
+to Lisbon or somewhere, as consul-generals or envoys?" "Can't you," says
+his lordship to the beetle-browed ruffians by way of rejoinder, "Can't
+you _negotiate_ for some boroughs?" John Bull, looking through the
+window at these negotiations, with much indignation, and recognising in
+these fellows the rascals by whom he has been "ensnared into
+[committing] criminal acts," hints in very plain terms that the conduct
+pursued by such men was the high road to political favour in 1817. Among
+the papers on the table we notice a "Plan for the attack on the Regent's
+carriage;"[78] a bundle of "treasonable papers to be slipped into the
+pockets of some duped artisans;" another, indicating the "means to be
+taken to implicate Sir Francis Burdett, Lord Cochrane," and other
+popular agitators of that day; "A list of victims in Ireland," and so
+on. On the floor at his lordship's feet lie some of the tri-coloured
+flags unfurled at the Spafields meeting; the obvious inference intended
+to be conveyed being of course that the Government were really at the
+bottom of the popular disturbances.
+
+_R-y-l Condescension, or a Foreign Minister Astonished_, published by
+Fores on the 15th of September, 1817, is one of George Cruikshank's most
+finished but at the same time indelicate compositions. It refers to the
+rumours affecting the Princess Caroline's reputation which preceded the
+"bill of pains and penalties," to which we have already alluded. It
+appears to us to have originated out of the following circumstance. It
+was asserted that at a masked ball which the princess had given shortly
+after she left England to the then King of Naples, Joachim Murat, she
+appeared in three different disguises; that in one of these, "The Genius
+of History," she had appeared in so unclothed a state as to call for
+particular observation; her third disguise was a Turkish costume. It was
+further asserted that in her changes of dress she had been assisted, not
+by her female attendants, but by the person with whom her name was so
+familiarly associated. In the sketch before us, Her Royal Highness's
+corpulent and redundant figure is clothed in a tight-fitting Turkish
+dress and trousers, her head being covered by a ponderous turban. The
+five figures composing her "suite" are the Courier Bartolomeo Bergami,
+his brothers Louis and Vollotti Bergami, his sister, and William Austin,
+the youth she had adopted,[79] and who, it was proved, slept in her
+bed-chamber. The whole are decorated with the crosses and ribbons of the
+absurd order which she was said to have instituted. The courtly, well
+dressed foreign gentleman to whom she is introducing these vulgar
+persons appears to be intended for Metternich, who, while thanking Her
+Royal Highness for her "condescension," looks the very picture of
+unfeigned but well-bred astonishment.
+
+
+  DEATH OF PRINCESS CHARLOTTE.
+
+In the evening of the 18th of November, 1817, a mournful procession, at
+which all the great officers of state attended, quitted Claremont House
+_en route_ for Windsor. At the impressive ceremony which followed,
+Garter King at Arms proclaimed its melancholy purport in the following
+words: "Thus it has pleased Almighty God to take out of this transitory
+life, unto His Divine mercy, the late most illustrious Princess
+Charlotte Augusta, daughter of His Royal Highness, George, Prince of
+Wales, Regent of the United Kingdom." It was even so. The pride and hope
+of the nation, the heiress of the crown, was on the 6th of November
+delivered of a still-born child, and within a very few hours afterwards
+had succumbed to the unlooked-for and fatal exhaustion which followed.
+The grief which this occasioned was so universal that every one seemed
+to realize the fact that he or she had sustained an individual loss;
+scarcely perhaps in English history had the death of a member of a royal
+family been more sincerely and truly regretted. The mournful event is
+referred to by the artist in a more than usually touching sketch,
+entitled, _England's Hope Departing_. Among the medical attendants of
+Her Royal Highness who followed her to the grave, was the accoucheur,
+Sir Richard Croft, Bart. This distinguished gentleman was so deeply
+affected with the unlooked-for result, that his mind refused to recover
+its tone, and within a month afterwards he committed self-destruction.
+
+Other pictorial satires of George Cruikshank, bearing the date of 1817,
+are: _Fashionables of 1817_, two figures--a male and female--outrageously
+caricatured, a rough affair, altogether differing from his usual style;
+the well-known _double entendre_, _A View of the Regent's Bomb_, which,
+with our knowledge of his sensitiveness on the subject of his personal
+appearance, must have given the exalted personage thus outrageously
+satirized the greatest possible mortification; _The Spa Fields Orator
+Hunting for Popularity to do Good_, (*) a punning satire on "Orator" Hunt;
+_A Patriot Luminary Extinguishing Noxious Gas_ (etched from the design of
+another artist); and two admirable designs bearing the titles of
+_Vis-a-Vis_ and _Les Graces_. The same year we meet with one of the
+earliest of his alliterative satires, afterwards so frequently to be seen
+among the famous illustrations to the "Comic Almanack": _La Belle
+Assemblee, or Sketches of Characteristic Dancing_, miscellaneous groups,
+comprising in all thirty figures (exclusive of the orchestra), engaged in
+a country dance, a Scotch reel, an Irish jig, a minuet, the German waltz,
+a French quadrille, the Spanish bolero, and a ballet "Italienne." The
+walls are hung with pictures of dancing dogs, a dancing bear, a dancing
+horse, rope dancing, the dance of St. Vitus, and "Dancing Mad." Besides
+this, we find the same year two large sheets showing the _Striking Effects
+produced by Lines and Dots, for the Assistance of every Draughtsman_,
+suggested by, but a very vast improvement on, G. M. Woodward's _Multum in
+Parvo, or Liliputian Sketches, showing what may be done by Lines and
+Dots_.
+
+
+  1818. ADULTERATION OF TEA.
+
+A report of the House of Commons, showing how four million pounds weight
+of sloe, liquorice, and ash-tree leaves were annually mixed with Chinese
+teas in England, was supplemented by a trial in the Court of Exchequer,
+in which a grocer named Palmer was fined in L840 penalties, for the
+fabrication of spurious tea. It appeared that there was a regular
+manufactory of imitation tea in Goldstone Street, which was composed of
+thorn leaves, which, after passing through a peculiar process, were
+coloured with logwood; the same leaves, after being pressed and dried,
+were laid upon sheets of copper, coloured with verdigris and Dutch pink,
+and sold as _green_ tea. These revelations led, in 1818, to the artist's
+admirable caricature of _The T Trade in Hot-water, or a Pretty Kettle of
+Fish: dedicated to J. Canister and T. Spoon, Esquires_. Besides these,
+we have the same year: _An Interesting Scene on Board an East Indian_, a
+very coarse but admirable performance; _Introduction to the Gout_ (a
+fiend dropping a hot coal on the toe of a _bon vivant_); _A Fine Lady,
+or the Incomparable_, in which it appears to us that Robert had a hand;
+_Les Savoyards_ and _Le Palais Royal de Paris_; _Comparative Anatomy, or
+the Dandy Trio_; and _The Art of Walking the Streets of London_, eight
+subjects, etched by the artist after the design of George Moutard
+Woodward.
+
+[Illustration:
+  _Designed, Etched and Published by_ GEORGE CRUIKSHANK. _November 1st,
+  1829._
+
+  "A SCENE IN KENSINGTON GARDENS, OR FASHIONS AND FRIGHTS OF 1829."
+
+  _Face p. 152._]
+
+On the 4th of December, 1818, the number of convicts lying under
+sentence of death in his Majesty's gaol of Newgate, amounted to no less
+than sixty, of whom ten were females; probably not three of these
+unfortunate beings would have been hung now-a-days. Under the Draconian
+laws, however, then in force, people were hung in scores for passing
+forged one-pound Bank of England notes; and this barbarous state of
+things, disgraceful to a Christian country, led to the famous and
+telling satire of the _Bank Restriction Note_, one of the very few which
+seem to have escaped oblivion, and which, having been repeated and
+reproduced in all the latest essays which have been written on him,
+calls for no extra description from ourselves. It is said to have had
+the effect desired, and that "no man or woman was ever hanged after this
+for passing forged one-pound Bank of England notes."
+
+
+  1819.
+
+In 1819 we have one of George Cruikshank's severe and telling attacks
+upon the Prince Regent, in _Sales by Auction, or Provident Children
+disposing of their Deceased Mother's Effects for the Benefit of the
+Creditors_ (*), in which he shows us the prince knocking down (in his
+character of auctioneer) his dead mother's old hats, gowns, and
+clothing, and begging the bystanders to bid liberally. At the foot of
+the rostrum lie sundry snuff-boxes and pots, labelled "Queen's Mixture"
+and "Prince's Mixture" (in allusion to the old queen's habits),
+"Strasburg" (in reference to her German tastes and nationality),
+together with her old china tea-set.
+
+This year is remarkable for producing perhaps the most ambitious and
+admirable allegory which the artist ever designed; it bears the title of
+_Old Thirty-nine Shaking Hands with his Good Brother the Pope of Italy,
+or Covering Up_ versus _Sealing the Bible_. Old Thirty-nine (an English
+bishop) stands on a pile of volumes labelled, "Never-out-ism,"
+"Ante-biblism," "Never-the-same-ism," etc., whilst the pope, standing on
+the opposite side on a mass of books bearing similar suggestive titles,
+shakes hands with his "good brother." By the pope's side we find the
+devil busily engaged in sealing up the Bible. Behind him stands the
+Temple of Mammon, surrounded by a crowd of reverend worshippers. Two
+fiends standing by the side of "Old Thirty-nine" make preparations for a
+bonfire, to which sundry bundles labelled, "Articles of Faith,"
+"Athanasian Creed," "Catechism," "Liturgies," "Nicene Creed," and so on,
+will contribute materials. Out of a building in the rear, inscribed,
+"National School for Thirty-niners only," issues a procession of
+ecclesiastics and beadles carrying banners. In the foreground stands the
+figure of "Divine Truth," surrounded by little children, and perusing
+the pages of the "Holy Bible," held for that purpose by an angel. A
+roughly executed affair in two compartments, _Preachee and Floggee Too_,
+satirizes certain clerical magistrates who, while preaching mercy and
+forgiveness in the pulpit, distinguish themselves by the severity of
+their sentences for minor offences on the magisterial bench. The titles
+of other subjects of the year are: _The Hobby Horse Dealer_; _Johnny
+Bull and his Forged Notes, or Rags and Ruin in the Paper Currency_;
+_Smoke Jack, the Alarmist, Extinguishing the Second Great Fire of
+London_; _Love, Law, and Physic_ (*); _The Sailor's Progress_ (six
+subjects); _Dandies in France, or Le Restorateur_ (*); _A Match for the
+King's Plate_; _The Belle Alliance, or the Female Reformers of
+Blackburn_ (*); _Voila t'on mort_; and _Royal Red Bengal Tiger_ (etched
+from the designs of other artists); _Irish Decency_ (two caricatures);
+_Giant Grumbo and the Black Dwarf, or Lord G---- and the Printers
+Devil_; and _Our Tough old Ship Steered Safely into Harbour maugre
+Sharks of the Day_ (*).
+
+An unsigned caricature, published by Fores on the 15th of May, 1819,
+appears to me to be due to the hand of George Cruikshank. It bears the
+title of _The Dandy Tailor Planning a New Hungry Dress_, and would
+appear to have reference to some contemplated introduction of foreign
+mercenaries into the English service. The tailor, while stitching a
+military jacket, sings a song of which the following is a verse,--
+
+  "A tailor there was, and he lived in a stall,
+   Which served him for palace, for kitchen, and hall.
+   No coin in his pocket, no nous in his pate,
+   No ambition has he, nor no wish to be great.
+       Derry down, down, down, derry down!"
+
+A foreigner enters in military costume, introducing two foreign
+mercenaries. "Dese men," he says, "will teach you de proper vay to make
+de Hungarian soldats. I did bring dem expres'. Observe des grands
+mustaches. No more English soldats." A military figure in jack boots,
+standing by the side of the tailor, holds the "goose" in readiness for
+his master's use. The Prince Regent, especially as George the Fourth,
+was fond of inventing new military costumes, and Mr. Greville describes
+him in 1829 (the year before his death) as "employed in devising a new
+dress for the guards;" but by the mitre at his back, and the reference
+to his impecunious position, I should take this "tailor" to be intended
+for the Duke of York.
+
+
+  1820.
+
+_Ah! sure such a pair was never seen, so justly formed to meet by
+nature!_ (*) represents a couple of pears, in which we recognise
+likenesses of George the Fourth and Queen Caroline, the features of the
+king being expressive of strong disgust. After Lord Liverpool had
+decided not to send the "Bill of Pains and Penalties" to the Commons,
+for the reason stated in a previous chapter, the Lord Mayor, Aldermen,
+and Common Council of the City of London distinguished themselves by
+presenting, on the 10th of December, an address to their "most gracious
+sovereign," complaining of things in general, and of public expenditure
+in particular, the real cause of complaint, however, being "the alleged
+criminality" which, as the petitioners stated, had been "falsely
+ascribed" to the queen. This address, which was conceived in the worst
+possible taste, concluded with the following outrageous prayer: "We
+therefore humbly pray your Majesty to dismiss from your presence and
+councils for ever those ministers whose pernicious measures have so long
+endangered the throne, undermined the constitution, and blighted the
+prosperity of the nation." Now, only fancy any Corporation of London in
+our time signalizing itself by presenting a petition to "Her Most
+Gracious Majesty," complaining of the measures of Lord Beaconsfield or
+Mr. Gladstone, and praying her to dismiss them from her councils! The
+king returned the following answer: "It has been with the most painful
+feelings that I have heard the sentiments contained in the address and
+petition now presented to me by the Lord Mayor, Aldermen, and Common
+Council of the City of London. Whatever may be the motives of those by
+whom it is brought forward, its evident tendency is to inflame the
+passions and mislead the judgment of the unwary and less enlightened
+part of my subjects, and thus to aggravate all the difficulties with
+which we have to contend." This episode suggested to George one of the
+most admirable of his caricatures: _A Scene in the New Farce as
+performed at the Royalty Theatre_. The corpulent monarch, in the
+character and costume of Henry the Eighth, is receiving a number of
+deputations from all parts of England, Scotland, and Ireland, bearing
+petitions praying him to dismiss his ministry, the members of which
+stand on each side of the throne, one of the number being habited as a
+jester. This exceedingly rare plate carries on it the following
+explanation: "King Henry VIII. being petitioned to dismiss his ministers
+and council by the citizens of London and many boroughs, to relieve his
+oppressed subjects, made the citizens this sagacious reply: 'We, with
+all our cabinet, think it strange that ye who be but _brutes_ and
+inexpert folk, should tell us who be and who be not fit for our
+council.'"
+
+
+  1821.
+
+Another of George Cruikshank's rare and valuable contributions to the
+Queen Caroline series of pictorial satires is labelled _The Royal
+Rushlight_, which many people (among them the Chancellor and corpulent
+George) are vainly endeavouring to blow out. By way (it may be) of
+contrast, this excellent satire has appended to it the following
+miserable doggerel,--
+
+  "Cook, coachee, men and maids, very nearly all in buff,
+     Came and swore in their lives they never met with such a light;
+   And each of the _family_ by turns had a puff
+     At the little farthing rushlight.
+   But none of the family could blow out the rushlight."
+
+
+  DEATH OF QUEEN CAROLINE.
+
+With the year 1821 came the closing scene in the drama of Caroline's
+unhappy but singularly undignified career. On the occasion of the king's
+coronation she had applied to Lord Liverpool, desiring to be informed
+what arrangements had been made for her convenience, and who were
+appointed her attendants at the approaching ceremony. An answer was
+returned that, "it was a right of the Crown to give or withhold the
+order for her Majesty's coronation, and that his Majesty would be
+advised not to give any directions for her participation in the
+arrangements;" but with the obstinacy of purpose which was so fatal a
+blemish in her character, and which seems to have been the primary cause
+of all her misfortunes, she insisted on her right, and declared moreover
+her firm intention of attending the ceremony. A respectful but
+peremptory reply was returned, reasserting the legal prerogative of the
+Crown, and announcing that the former intimation must be understood as
+amounting to a _prohibition_ of her attendance. She was however so
+ill-advised as to present herself early on the morning of the day (the
+19th of July) at the doors of the Abbey of Westminster. The door-keepers
+refused to allow her to enter as queen; and she was forced to submit to
+the mortification of having to retire without having succeeded (as it
+was her evident intention to have done) in marring the arrangements for
+the splendid ceremony. By this time the enthusiasm in her favour had
+greatly evaporated, and she was received even coldly by her friends the
+assembled mob. The mortification proved fatal to her; very shortly
+afterwards she was taken ill, and died in less than three weeks after
+the unnecessary mortification to which she had thus insisted on exposing
+herself.
+
+It is probable that if the wishes of her executors had been allowed to
+be carried out, the unfortunate woman would have been carried to her
+grave in peace. She had directed that her remains should, three days
+after her death, be carried to Brunswick for interment; and had Lord
+Liverpool been wise, he would have left the executors to carry out the
+arrangements after their own fashion. Unfortunately, the Government
+decided to take the arrangements into their own hands, and to lay down
+the route (the shortest) by which the mournful procession should proceed
+to Harwich. No fault can be found with the arrangements themselves,
+which were intended to pay the greatest respect to the memory of the
+deceased; but the cautions they took brought about the very result they
+were anxious to avoid, and at once revived all the slumbering sympathies
+of the mob in favour of the unhappy queen. A squabble took place at the
+outset, Dr. Lushington, as one of the executors, protesting against the
+removal of the corpse; but, escorted by squadrons of Horse-guards Blue,
+the procession left Brandenburg House at eight o'clock in the morning of
+the 15th of August, in a drizzling rain. The cavalcade reached
+Kensington in solemn order; but on arriving at the Gravel Pits, and
+attempting to turn off to the left, its progress was instantly blocked
+by wagons and carts placed across the road, while a body of men formed
+across the streets twenty deep and evinced every disposition to dispute
+the passage. A severe conflict took place between them and the
+constables, several on both sides being hurt. For an hour and a half
+the procession waited for orders, and at length it moved towards London.
+On reaching Kensington Gore a squadron of the Life Guards, with a
+magistrate at their head, tried in vain to open the park gates, the
+crowd vociferating in the meantime, "To the city! the city!" On reaching
+Hyde Park Corner, the gate there was found barricaded with carts, and
+the procession then moved on to Park Lane, which being also blocked up,
+it turned back hastily and entered Hyde Park, through which it proceeded
+at a trot, the soldiers having cleared away the obstacles at the gate.
+On reaching Cumberland Gate, it was found closed by the populace, and in
+the conflict which ensued the park wall was thrown down by the pressure
+of the crowd, who hurled the stones at the soldiers, in return for the
+use the latter had made of their sabres in clearing the passage. Many of
+the military and their horses were hurt; and some of the soldiers,
+irritated by their rough usage, resorted to their pistols and carbines,
+and two persons (Richard Honey, a carpenter, and George Francis, a
+bricklayer) were unfortunately killed, and others wounded. The Edgeware
+Road was blockaded, but quickly cleared, and the procession moved on
+till it arrived at the turnpike gate near the top of Tottenham Court
+Road. There the mob made so determined a stand that further opposition
+was deemed unadvisable, and the popular will being at length acceded to,
+the cavalcade forthwith took its way into the city. Every street through
+which a turn could have been made in order to enter the New Road or the
+City Road was found barricaded. As the funeral passed through the city,
+the Oxford Blues doing duty there, who had not participated in the
+outrage, were cordially greeted by the populace on either side of the
+street. The inquests on the bodies of the dead men lasted for a
+considerable period. In the case of Francis, a verdict of "wilful murder
+against a life guardsman unknown" was returned; whilst in that of Honey,
+the verdict was manslaughter against the officers and men of the first
+regiment of Life Guards on duty at the time. This event is recorded by
+George in a caricature entitled, _The Manslaughter Men, or a Horse Laugh
+at the Law of the Land_,--two ghostly gory figures rising from their
+graves, which are respectively inscribed, "Verdict, wilful murder," and
+"Verdict, manslaughter"; a group of life guardsmen grin and point at the
+body, and one of them jeeringly remarks, "Shake not thy bloody locks at
+me; ye cannot say who did it." Another satire on the same subject bears
+the title of _The Horse Chancellor obtaining a Verdict, or Killing no
+Murder_.
+
+Other subjects of this year are the following: _And when Ahitophel saw
+that his Counsel was not followed, he Saddled his Ass, and arose and
+went and Hanged himself_; _O! O! there's a Minister of the Gospel_; _The
+Royal Extinguisher, or the King of Brobdingnag and the Liliputians_
+(etched after the design of Isaac Robert). Six subjects, _La Diligence_
+and _La Doriane_, _Venus de Medici and Mer de Glace_, _Visit to
+Vesuvius_ and _Forum Boarium_, and _Nosing the Nob at Ramsgate_, a
+coarsely executed satire aimed at his Majesty and his eccentric subject,
+Alderman Sir William Curtis.
+
+
+  1822. SIR WILLIAM CURTIS.
+
+Sir William Curtis, alderman, trader, and formerly member for the city,
+is one of the most prominent figures in the satires of his time. Making
+every allowance for caricature drawing, the likeness must have been on
+the whole a faithful though an exaggerated one; for in all the numerous
+comical sketches in which he makes an appearance, we never fail to
+recognise his ruby nose and ponderous figure. We have already seen him
+figuring by way of ludicrous contrast with Claude Ambroise Seurat, the
+"living skeleton," and we shall now find him associated by the
+caricaturists with no less a person than the king himself. When his
+majesty, in 1822, paid his visit to Scotland, and by way of compliment
+to the country and her traditions assumed the "garb of old Gael,"
+Alderman Sir William Curtis, who followed his sovereign at a respectful
+distance, out of compliment to the country, her traditions, "his most
+gracious majesty," and himself, put his own corpulent form into fancy
+costume, and likewise donned the Highland garb. The absurdly ludicrous
+result is told us by Lockhart. "The king at his first levee diverted
+many, and delighted Scott by appearing in the full Highland garb--the
+same brilliant _Stewart tartans_, so-called, in which certainly no
+Stewart, except Prince Charles, had ever before presented himself in
+the saloons of Holyrood. His majesty's Celtic toilette had been
+carefully watched and assisted by the gallant Laird of Garth, who was
+not a little proud of the result of his dexterous manipulations of the
+rough plaid, and pronounced the king 'a vara pretty man.' And he did
+look a most stately and imposing person in that beautiful dress; but his
+satisfaction therein was cruelly disturbed when he discovered, towering
+and blazing among and above the genuine Glengarries and Macleods and
+MacGregors, a figure even more portly than his own, equipped from a
+sudden impulse of loyal ardour in an equally complete set of the
+self-same conspicuous Stewart tartans:--
+
+  'He caught Sir William Curtis in a kilt--
+  While throng'd the chiefs of every Highland clan
+  To hail their brother, Vich Ian Alderman.'[80]
+
+In truth this portentous apparition cast an air of ridicule and
+caricature over the whole of Sir Walter's celtified pageantry. A sharp
+little bailie from Aberdeen, who had previously made acquaintance with
+the worthy Guildhall baronet, and tasted the turtle soup of his
+voluptuous yacht, tortured him as he sailed down the long gallery of
+Holyrood, by suggesting that after all his costume was not quite
+perfect. Sir William, who had been rigged out, as the auctioneer's
+advertisements say, 'regardless of expense,' exclaimed that he must be
+mistaken, begged he would explain his criticism, and, as he spoke, threw
+a glance of admiration on his _skene dhu_ (black knife), which, like a
+true 'warrior and hunter of deer,' he wore stuck into one of his
+garters. 'Oo ay! Oo ay!' quoth the Aberdonian; 'the knife's a' right,
+mon--but faar's your speen?' (where's your spoon?) Such was Scott's
+story; but whether he 'gave it a cocked hat and walking cane,' in the
+hope of restoring the king's good humour, so grievously shaken by this
+heroical _doppel ganger_, it is not very necessary to inquire."[81]
+
+Which indeed of the absurd pair looked the most ridiculous it would be
+hard to say: a great-grandson of George the Second in the Highland garb
+of "Bonnie Prince Charlie," was perhaps as absurd an anachronism as a
+fat cockney alderman in the same fancy costume. Our friends the
+caricaturists were fully alive to these puerilities. An anonymous
+caricature of the day celebrates the ludicrous event in a satire
+entitled, _Equipt for a Northern Visit_, which represents the fat king
+and the fat alderman in kilts, the point of the pictorial epigram lying
+in the fact that the corpulent king recommends his corpulent subject to
+lay aside the costume as unbecoming to a man of _his_ proportions.
+George has several pictorial satires on the same fertile theme; one of
+these, _Bonnie Willie_, depicts the huge man in Highland garb. A rare
+and most amusing caricature shows us the supposed unfortunate _Results
+of this Northern Excursion_. The fat king and his fat subject have
+caught the northern complaint vulgarly termed the "Scottish fiddle," and
+are vigorously going through the traditionary process of rubbing
+themselves against the post, blessing the while his grace the Duke of
+Argyle. An English acquaintance, not unnaturally afraid of infection,
+refuses the alderman's proffered hand.
+
+A caricature of altogether another kind commemorates a raid made by the
+Bow Street officers on the numerous gaming establishments of 1822. It is
+called, _Cribbage, Shuffling, Whist, and a Round Game_, is divided into
+six compartments, and is most humorously and admirably treated. The
+principal performers are the knaves of cards. One of the compartments
+shows us the knaves on the treadmill, which is marked "Fortune's Wheel;"
+while in another a knave is undergoing the discipline of the "cat," and
+calling out at every stroke "E. O.! E. O.! E. O.!"[82]
+
+
+  STATUE OF ACHILLES.
+
+Sir Richard Westmacott's statue of Achilles was executed in 1822. The
+nude, undraped colossal figure, which was subscribed for by the ladies
+of England in honour of the Duke of Wellington and his soldiers, was the
+occasion of numerous contemporary satires--most of them (in those
+plain-spoken days) of the broadest possible character. One of the most
+indelicate (*) (drawn by the artist from the sketch or suggestion of
+another) gives a burlesque front and back view of the figure, which is
+surrounded by a number of people (principally ladies), among whom we
+recognise a caricature likeness of the "Dook." The inscription runs as
+follows: "To Arthur a Bradley, and his jolly companions every one, this
+brazen image of Patrick O'Killus, Esq., is inscribed by their
+countrywomen."[83] Besides the foregoing, we meet this year with _A
+Lollipop-Ally Campagne and Brandy Ball_ (*); _Premium, Par, and
+Discount_; _Showing-off--Bang up--Prime_ (*); and _A Sailor's
+description of a Chase and Capture_ (*).
+
+
+  1823.
+
+A large proportion of his satires for 1823 are aimed at Louis the
+Eighteenth's Spanish expedition, the object of which we have already
+related. One of these shows us _France the great Nation driven by the
+North into the South_; in another, Ferdinand the Seventh and the Duc
+d'Angouleme figure respectively as a _Spanish Mule and a French
+Jackass_; _A French Hilt on a Spanish Rapier_, is likewise dedicated to
+the Duc d'Angouleme; another shows us _Old Bumblehead the 18th trying on
+Napoleon's Boots_; a fifth is entitled, _A Hint to the Blind and
+Foolish, or the Bourbon Dynasty in Danger_; while a sixth shows us
+_Louis the Fat troubled with Nightmare and Dreams of Terror_. In all
+these caricatures, the figure of Napoleon, already sleeping his last
+sleep at St. Helena--the place of his exile and of his grave--is
+represented by way of contrast to the unwieldly and incompetent Bourbon.
+Another caricature, the point of which I fail to see, bears the title of
+_The Tables Turn'd, or the Devil Outwitted and Cruelly Punished,--a
+Scene on the Portsmouth Treadmill_; this last, though said to be
+"designed by an amateur," and "etched by G. Ck.," is unquestionably all
+his own.
+
+
+  1824.
+
+_Drilling One-tenth of the Military in the Manual Exercise_, and _Saint
+Shela_ (two subjects), have reference to the Tenth Hussars and Battier
+scandal, mentioned in a previous chapter;[84] other subjects of 1824
+are: _Parisian Luxury_ (a man being shaved in a bath); _Preparing for a
+Duel_; and _The Ostend Packet in a Squall_; all etched by George from
+the designs of other artists. The mania for joint-stock companies in
+1825, was scarcely equalled by the speculation mania which inaugurated
+the passing in our own time of the "Limited Liability Act." In 1824 and
+the beginning of 1825, two hundred and seventy-six companies had been
+projected, of which the aggregate capital (on paper only) represented
+L174,114,050. Thirty-three of these were established for the
+construction of canals and docks, forty-eight of railroads, forty-two
+for the supply of gas, six of milk, and eight of water, four for the
+working of coal, and thirty-four of metal mines; twenty new insurance
+companies were started, twenty-three banks, twelve navigation and packet
+companies, three fisheries, two for boring tunnels under the Thames,
+three for the embellishment and improvement of the metropolis, two for
+sea-water baths, and the rest for miscellaneous purposes; it is a
+somewhat significant fact that two only had for their object the
+establishment of newspapers. Notwithstanding the manifest absurdity of
+many of these projects, the shares of several--especially of the mining
+adventurers in South America--rose to enormous premiums. Among the last
+may be mentioned those of the Real del Monte, the price of which,
+between the 10th of December and the 11th of January, rose from L550 to
+L1350, and the United Mexican during the same period from L35 to L1550.
+On these last shares only L10 had been paid, and on the former only L70.
+Speaking of this mania, the Rev. T. F. Dibdin (in his "Reminiscences")
+says, "If it did not partake of the name, it had certainly all the wild
+characteristics of the South Sea Bubble. To-day you had only to put your
+name down to a share or shares in the Rio de la Plata or other South
+American mines, and to-morrow a supplicant purchaser would give you
+fifty per cent. for every share taken. The old were bewitched ... the
+young were in ecstasies. Everybody made a rush for the city. A new world
+of wealth had been discovered. It was only to ask and have." George
+Cruikshank refers to this state of things in a caricature called, _A
+Scene in the Farce of Lofty Projects, as Performed with great success
+for the benefit and amusement of John Bull_. Besides these, he gives us
+_The Four Mr. Prices_ (High Price, Low Price, Full Price, and Half
+Price).
+
+I can assign no date to _Waiting on the Ladies_; _The Death of the
+Property Tax, or Thirty-seven Mortal Wounds for Ministers and the
+Inquisitorial Commissioners_; or to _The Court at Brighton, a la
+Chinese_, one of the most admirable of the whole series. In this last,
+the fat prince habited as a mandarin, is seated on a sofa between the
+Princess Charlotte and an enormously fat woman, probably intended for
+the Marchioness of Conyngham. He is handing to a Chinese official a
+paper inscribed "Instructions for Lord Amhurst, to get fresh patterns of
+Chinese deformities to finish the decorations of Pavilion G. P. R." A
+specimen of regency taste and sympathies stands on a pedestal in the
+form of the Hottentot Venus, while a statuette of the fat prince
+himself, habited in a red coat, white waistcoat, yellow inexpressibles,
+and silk stockings, is labelled the "British Adonis." The princess
+recommends her papa to order the officer to bring her over "a Chinaman,
+instead of getting her a husband among our German cousins." A variety of
+miscellaneous articles are strewn about the floor, among them a box
+containing the Regent's wigs and whiskers, a treatise on "The Art of
+making Punch," the indispensable hamper of champagne, and a pair of
+curling irons; while no one will fail to recognise the interior of the
+Brighton Pavilion as the scene where this admirable satire is laid.
+Another undated satire remains to be noticed: it represents a young man
+in a boat with three young women, one of them of considerable personal
+attractions, that is to say from a Cruikshankian point of view, and
+evidently a likeness. On the shore stands another young woman and her
+child, whom the young spark has evidently left behind him. In the stern
+of the boat is a hamper of wine and a goblet fashioned out of a skull; a
+noseless man rows the boat, while three sailors in an adjoining vessel
+make ribald observations in reference to the young man's female
+companions. By the star on his coat, the turned-down collar, profile,
+and the arrangement of the hair, we take it that the person thus
+satirized is Lord Byron. Any doubts we may have on the subject seem
+removed by the words of the song he is supposed to be singing while
+waving his hat to the disconsolate woman on the shore:--
+
+  "All my faults perchance thou knowest,
+    All my _madness_ none can know."
+
+And the concluding stanza:--
+
+  "Fare thee well! thus disunited,
+     Torn from every nearer tie,
+   Seared in heart, and lone, and blighted,
+     More than this I scarce can die"!!
+
+The foregoing contains a list and description of some of George
+Cruikshank's graphic satires, many of which we have reason to believe
+will be entirely new to the great majority of our readers. They support
+the description given of him by Lockhart at the opening of our chapter:
+"People consider him as a clever, sharp caricaturist, and nothing
+more--a free-handed, comical young fellow, who will do anything he is
+paid for, and who is quite content to dine off the proceeds of a 'George
+IV.' to-day, and those of a 'Hone,' or a 'Cobbett,' to-morrow." It must
+be remembered that these represent but a branch of his work; and that
+while content to design a satire as elaborate and as admirable as any
+which owe their origin to the hand of Gillray, or to dash off a rough
+and carelessly executed caricature, he was equally ready to etch the
+work of an inferior artist, or even of an amateur; to execute a drawing
+on wood for a ballad, or for one of the numerous political hits of the
+day, whether on the loyal or the popular side mattered but little to
+him; to do anything, in fact (to use the words of Lockhart), that "was
+suggested or thrown in his way." It is barely possible that the very
+imperfect series we have given may astonish those who have hitherto
+regarded George Cruikshank only as an illustrator of books, and supposed
+that, with the exception of the woodcuts for Hone's various _jeux
+d'esprits_, and the rough work which appears in "The Satirist," "The
+Scourge," and publications of a similar character, he executed but few
+pictorial satires. A perfect set of impressions from his caricatures
+probably does not exist; if it did it would command a high price indeed.
+We have seen a set of about seventy plates advertised by one
+enterprising bookseller at the price of seventy pounds. The specimens we
+have cited (exclusive of two from "The Scourge") 128 in number, were
+published between the years 1808 and 1825, by G. and H. Humphrey, S.
+Fairburn, Thomas Tegg, Ackermann, M. Jones, J. Fairburn, J. Dolby, W.
+Hone, S. W. Fores, A. Bengo, J. Sidebotham, S. Knight, and J. Johnstone.
+If to the foregoing we add the plates in "Cruikshankiana"--twenty-six in
+number, thirty in "The Scourge," six in "Fashion," nine in "The
+Satirist," and eight in the "Loyalists' Magazine," we get seventy-nine
+more, making a sum total of over two hundred in all. How many more have
+escaped notice--how many have disappeared for ever from public notice
+without a chance of recovery or revival--it would be, perhaps,
+impossible to say; for even George himself was sometimes at fault, when
+the long-forgotten work of his early years was presented to him for
+recognition or acknowledgment.
+
+
+FOOTNOTES:
+
+  [66] Alluding to the "Life in London."
+
+  [67] This certainly was not true; both Gillray and Rowlandson were
+    draughtsmen and artists of exceptionable ability.
+
+  [68] The article from which this is quoted is variously assigned to
+    Professor Wilson and Lockhart; it matters little which. Meanwhile, we
+    must have a name, let it be Lockhart's.
+
+  [69] The editor of "The Scourge" was one Jack Mitford. He received a
+    classical education, was originally in the navy, and fought under
+    Hood and Nelson. Besides "The Scourge," he edited "The Bon Ton"
+    magazine, and "Quizzical Gazette," and was author of a sea song once
+    popular, "The King is a true British Sailor." He was an irreclaimable
+    drunkard, thought only of the necessities of the hour, and slept in
+    the fields when his finances would not admit of payment of a twopenny
+    lodging in St. Giles's. His largest work was "Johnny Newcome in the
+    Navy," for which the publisher gave him the generous remuneration of
+    a shilling a day till he finished it. He died in St. Giles's
+    workhouse in 1831.
+
+  [70] The reader may remember that Napoleon once contracted a skin
+    disease from taking up a weapon which had been wielded by a dead
+    artilleryman, which gave him trouble at various periods of his life.
+    It may be that this suggested the subject.
+
+  [71] See the "Declaration of the Powers," from which we have already
+    quoted.
+
+  [72] "Narrative of Captain Maitland," p. 109.
+
+  [73] The Regent's selfish nature and expensive habits may be judged
+    by the following extract from the Greville Memoirs. Under date of
+    1830, Mr. Greville writes: "Sefton gave me an account of the dinner
+    in St. George's Hall on the King's [William IV.] birthday, which was
+    magnificent, excellent, and well served. Bridge came down with the
+    plate, and was hid during the dinner behind the great wine-cooler,
+    which weighs 7,000 ounces, and he told Sefton afterwards that the
+    plate in the room was worth L200,000. There is another service of
+    plate which was not used at all. The king has made it all over to the
+    crown. _All this plate was ordered by the late king, and never used;
+    his delight was ordering what the public had to pay for._"--_Greville
+    Memoirs_, vol. ii. p. 42.
+
+  [74] See Report of the Select Committee of the House of Commons on
+    the Earl of Elgin's Collection ... of Marbles ("Annual Reg.," 1816,
+    p. 447).
+
+  [75] See Chapter III. (1817).
+
+  [76] The idea of the letterpress description (a very long one), from
+    which the above is an extract, is borrowed of course from Dr.
+    Arbuthnot.
+
+  [77] See Chapter III. (1817).
+
+  [78] See Chapter III. (1817).
+
+  [79] She was fond of adopting children, and it was proved that she
+    had adopted a daughter of the man Bergami.
+
+  [80] Byron's "Age of Bronze."
+
+  [81] Lockhart's "Life of Scott," vol. v. p. 203.
+
+  [82] "E. O." was another name for roulette, and forms the subject of
+    one of Rowlandson's early and best caricatures.
+
+  [83] The following are the words of the original inscription: "To
+    Arthur, Duke of Wellington, and his brave companions in arms, this
+    statue of Achilles, cast from cannon taken in the battles of
+    Salamanca, Vitoria, Toulouse, and Waterloo, is inscribed by their
+    countrywomen."
+
+  [84] See Chapter IV.
+
+
+
+
+CHAPTER VIII.
+
+_GEORGE CRUIKSHANK AT HIS PRIME._
+
+
+  ALTERATIONS IN CRUIKSHANK'S STYLE.
+
+Those who have studied the work of George Cruikshank from its
+commencement to its close (and those only can be said to have done so
+who are familiar with the satires described in the previous chapter),
+cannot fail to be struck with the alterations which took place in his
+style at different periods of the career we have already been
+considering. George Cruikshank's peculiar style and manner, which enable
+us to recognise his work at a glance, was the outcome of a very slow and
+gradual process of development. In the first instance he closely copied
+Gillray, but soon acquired a manner of his own, blending the two styles
+after a fashion which is both interesting and amusing to follow. Soon,
+however, the style of the master was discontinued, and gradually the
+artist began to discover that the bent of his genius lay in altogether
+another direction. Unlike Thomas Rowlandson, the moment Cruikshank
+became an illustrator of books, he realized the fact that the style
+adapted to graphic satire was unsuitable for the purposes of this branch
+of art, and thenceforth he adopted a style differing from anything which
+had gone before. The revolution thus accomplished (a singular proof of
+the genius of the man) was effected without effort, and is strikingly
+manifest in an early book illustration representing the execution of
+Madame Tiquet and her accomplice, in 1699. The design to which we refer,
+which we believe is rare and little known, was engraved by H. R. Cook,
+from a design by the artist for the frontispiece to a collection of
+narratives by Cecil, "printed for Hone," in 1819, and stands by virtue
+of its force and character apart from most of the book illustrations of
+the period. From the moment that the new style was adopted, the
+artist's services were brought into requisition for the purposes of book
+illustration; and from the time work of this kind began to come in, he
+relaxed and afterwards discontinued the practice of caricature. It is as
+an etcher and designer of book illustrations we shall henceforth have to
+consider him, and in this character one of his famous illustrations to
+"Greenwich Hospital" will be found superior to the whole series of
+Rowlandson's careless overdrawn designs to the three "Tours" of Syntax
+put together.
+
+This alteration in the man's style after he took to book illustration is
+known only to those familiar with his early caricatures. If you take,
+for instance, the etching of _St. Swithin's Chapel_, of the "Sketch
+Book," or _The Gin Shop_ in the "Scraps and Sketches"[85] (we are
+speaking of course of the early _coloured_ impressions), and show them
+together with any two of the caricatures we have named to a person who
+had never before seen either, we will venture to say that he would
+pronounce them without hesitation to be executed by entirely different
+hands.
+
+
+  GEORGE'S IDEAS OF FEMALE BEAUTY.
+
+After Lockhart's statement that George Cruikshank was capable of
+designing an _Annunciation_, a _Beatification_, or an _Apotheosis_, we
+must accept his assertion that he "understood the [human] figure
+completely" with a certain amount of reservation. Perhaps he did; and if
+he did, he certainly played some extraordinary tricks with the "figure"
+aforesaid. The truth is, that we forget the artist's weaknesses, many
+and glaring as they are, in the lustre of his unexampled _genius_. _The
+Times_, in an otherwise laudatory article which it published after his
+death, remarked that "there was not a single beautiful face or figure
+probably in the whole range of Cruikshank's work." Now, although this is
+not entirely true, there is at least so much of truth in it that we may
+admit that the cases in which he has produced a pretty face or figure
+are very few and far between, and even those cases seem rather to have
+been the result of accident than of design. There is no getting over
+the fact that George's ideas of female beauty were, to say the least of
+them, peculiar: his women are fearfully and wonderfully made; they are
+horse-faced; their eyebrows are black and strongly marked; their hair is
+plastered to the sides of their faces, and meet bobs of hair at the back
+of their heads; their waists are as thin as their necks; and they all
+bear a strong family likeness to one another. _The Times_ assertion is
+happily, however, so broad that it is easy to traverse and contradict
+it. George's handsome women are so few, that it is difficult at the
+moment to say where any of them may be found. I know at least of one
+amazingly handsome one--the _London Barrow Woman_ in Hone's "Every-Day
+Book." Some pretty servant girls will be found in the etching of _The
+Sergeant Introducing his Dutch Wife to his Friends_ in "St. James's, or
+the Court of Queen Anne," and I will undertake to point out at least
+half a dozen pretty faces in the course of illustrations to "The Miser's
+Daughter"; but after all, these are only exceptions to the general rule;
+and it may be safely conceded that as a delineator of female beauty,
+George could not hold a candle to John Leech, to John Tenniel, or even
+to his own brother, Isaac Robert.
+
+
+  THE CRUIKSHANKIAN STEED.
+
+As for the celebrated Cruikshankian steed, I give him up at once as an
+utterly irreclaimable and unmanageable brute. Thackeray, writing in
+1840, said, that "though our artist does not draw horses very
+scientifically, to use the phrase of the _atelier_; he feels them very
+keenly, and his queer animals, after one is used to them, answer quite
+as well as better." Even on this subject, however, the ablest critics
+have contradicted each other. George Augustus Sala tells us that the
+artist "could draw the ordinary nag of real life well enough," and cites
+by way of example the very horses of the celebrated _Deaf Postilion_, in
+"Three Courses and a Dessert," which Thackeray had previously held up to
+well-merited execration. He goes on to tell us that when George "essayed
+to portray a charger or a hunter, or a lady's hack, or even a pair of
+carriage horses, the result was the most grotesque of failures. The
+noble animal has, I apprehend, forty-four 'points,' technically
+speaking, and from the muzzle to the spavin-place, from the crest to
+the withers, from the root of the dock to the fetlock, George was wrong
+in them all. His fiery steed bore an equal resemblance to a Suffolk
+punch with the head of a griffin and the legs of an antelope, and that
+traditionary cockhorse on which the lady was supposed to ride to Banbury
+Cross with rings on her fingers and bells on her toes."[86] His
+peculiarities notwithstanding, George himself was in no wise conscious
+of them, and never hesitated to introduce "the fiery untamed" into any
+scene--battle or otherwise--in which the services of the eccentric
+animal might be turned to account. We find him assisting Washington in
+his triumphal journey to the capitol; astonishing the French squares in
+the character of a Mameluke charger at the Battle of the Pyramids; and
+leaping into the lake along with "Herne the Hunter," that peculiar
+creation of the late Mr. Harrison Ainsworth, on which supernatural
+occasion he comes out, as might have been expected, with peculiar force
+and vigour.
+
+Thackeray, moreover, says of his trees, that they were decidedly
+original, "being decidedly of his own make and composition, not imitated
+from any master;" another and a minor difficulty with the artist was a
+boot, which he invariably drew half a foot too long. George lived in the
+days of straps, and being strictly conservative in principle, when he
+met with a pair of trousers, his idea of the "fitness of things" was not
+satisfied until he pinned them to the wearer's feet with a pair of these
+most uncomfortable appendages.
+
+Against these shortcomings, which are a sufficient answer to those who
+would give him credit for possessing the faculty of designing
+"Annunciations, Beatifications, Apotheoses," and the like, we must set
+his excellencies, the power and brilliancy of his imaginative faculties,
+his extraordinary talents of conception and realization, the delicacy of
+his manipulation and execution: in a word, the strong original "genius"
+with which Lockhart credited him from the moment he had seen his "Points
+of Humour." Examples of this "genius" might be cited by the thousand.
+Look only at the famous "Sketch Book;" its recent republication has
+placed it within the reach of every one of our readers. Look at the
+_Sprig of Shelalegh_, the rollicking, whiskey drinking, fighting,
+devil-may-care _expression_ he has thrown into that _piece of wood_;
+turn to the sheet wherein he has recorded his _Recollections of the
+Court of Common Pleas_, and study the group of lawyers' and witnesses'
+faces therein contained. There is "genius" for you, if you will. If you
+are overworked, turn to them; they will do you good, for they will not
+only make you merry, but force upon you the conviction that the
+conception which created them was essentially original. It is this
+delightful originality of George Cruikshank which constitutes his
+_genius_.
+
+[Illustration:
+  GEORGE CRUIKSHANK. "_Three Courses and a Dessert._"
+
+  THE DEAF POSTILION.
+
+  (_See p. 169._)]
+
+[Illustration:
+  GEORGE CRUIKSHANK. "_Three Courses and a Dessert._"
+
+  THE BRAINTREES.
+
+  "I doan't want to hurt thee, zo I leaves thee wi' un, but, mind--he'll
+  hold thy droat a little tighter than I did, if thee wags a hair."
+
+  _Face p. 171._]
+
+"No plan!" "no ambition!" "not much industry!" so at least said
+Lockhart. We may doubt whether even at the time it was spoken this
+charge had any foundation of truth to rest upon; an answer to it at
+least will be found in the fact that, before the mysterious spell had
+fallen upon him we shall presently have to describe, this sterling and
+indefatigable genius had already produced thousands upon thousands of
+miraculous little drawings. From the mass of these wonderful creations
+we propose now to select a few examples, choosing them in the first
+instance from a graver type than some we shall presently have to
+consider.
+
+"Greenwich Hospital" gives us one of the very best drawings which
+Cruikshank ever designed. The scene of the _Point of Honour_ is laid on
+board the _Triumph_, at Spithead, at the time of the famous mutiny. A
+detachment of marines with shouldered arms are drawn up on the quarter
+deck, their drummer is beating to quarters, while all hands are
+assembled to witness a degrading and demoralizing spectacle,--a sailor,
+with his shoulders bare and his hands tied to the triangles, about to
+receive punishment for disobedience to orders. Conspicuous amongst the
+figures are two little middies, habited in the strange naval uniform of
+sixty years ago. The illustration to _The Braintrees_, at page 90 of the
+"Three Courses and a Dessert" is a marvellous specimen, not only of the
+graphic power of the artist, but a triumph of the wood-engraver's
+craft. In _The Gin Shop_ ("Sketches by Boz"), the artist selected a
+subject which invariably enlisted his sympathy and called into action
+the full power of his graphic satire. Mark the flaming gas, the huge
+spirit vats, the gaudily painted pillars and mouldings; above all, the
+strange people: the young man with his hat on one side who chaffs the
+young ladies behind the bar, the gin-drinking female by his side, the
+gin-loving cripple, the small boy who brings the family bottle to be
+filled with gin, whose head barely reaches the counter, the gin-drinking
+charwoman to the left, and the quarrelsome gin-drinking Irish customers
+at the back. Everything in this picture reeks of _gin_; the only persons
+not imbibing it are the proprietor and his dowdy barmaids, whom I have
+no manner of doubt the artist intended to look captivating.
+
+"What a fine touching picture of melancholy desolation," remarks
+Thackeray, "is that of 'Sikes and the dog.' The poor cur is not too well
+drawn, the landscape is stiff and formal; but in this case the faults,
+if faults they be, of execution rather add to than diminish the effect
+of the picture: it has a strange, wild, dreary, broken-hearted look; we
+fancy we see the landscape as it must have appeared to Sikes, when
+ghastly and with bloodshot eyes he looked at it." The etching of
+_Jonathan Wild Discovering Darrell in the Loft_ ["Jack Sheppard"]
+reminds one, in its treatment, of Rembrandt, for the work of Cruikshank,
+be it observed, distinctly shows in its results that he studied both
+Hogarth and Rembrandt. The effect the artist has produced is wonderful;
+the ray of light thrown through the gloom upon the figure of Darrell as
+he stands against the wall, sword in hand, is capitally managed, "while
+the intricacies of the tile-work, and the mysterious twinkling of light
+among the beams are excellently felt and rendered."[87] _Simon Renard
+and Winwike on the Roof of the White Tower_ ["Tower of London"] is
+another admirable drawing. The scene is laid on the platform of one of
+the antique guns which frown from the embrasures of the river face of
+the fortress. The head of Renard is not well drawn. The character of
+the ambassador gives one the idea of a Spanish Iago, a clever,
+calculating knave, whom we should credit with the possession of a broad
+and lofty forehead, indicative of deep and concentrated thought; in the
+etching, however, before us, he has none at all, a deficiency
+compensated by puffy cheeks and a preposterous beak. These
+imperfections, which in another artist would mar the drawing, serve only
+to throw its excellencies into prominent notice. The lights and shadows
+are most effectively rendered, and the setting sun throws a broad light
+upon the features of the warder, who has laid aside his arquebus while
+conversing with the wily Spaniard. Of the many who have noticed the
+well-known etching of _Born a Genius and Born a Dwarf_ ["Comic Almanack,
+1847"], not one (so far at least as we know) has ever mentioned its
+origin. The subject was prompted by one of the last entries in the diary
+of poor Benjamin Robert Haydon, who died by his own hand on the 22nd of
+June, 1846, his corpse being found at the foot of his colossal picture
+of _Alfred the Great and the First British Jury_. The entry runs as
+follows:--"Tom Thumb had 12,000 people last week, B. R. Haydon 133-1/2
+(the 1/2 a little girl). Exquisite taste of the English people!" In the
+etching which shows us _Randulph and Hilda Dancing in the Rotunda at
+Ranelagh_ ["Miser's Daughter"], he brings us face to face with our
+great-grandfathers and great-grandmothers; wherever he got his authority
+from, the huge circular hall with galleries and arches running round it,
+illuminated by a thousand lamps, and the curious orchestra with the
+old-fashioned sounding-board above, are no freak of the artist's
+imagination. The etching possesses a wondrous charm of reality. We find
+ourselves assisting, as it were, at one of the masquerades described in
+"Sir Charles Grandison"; many of the company are in fancy dresses, and
+we find it difficult to realize, in these broad-cloth days, that the
+gentlemen in the velvet coats, with gold-bound embroidered waistcoats,
+silk stockings, silver gilt rapiers, and laced hats, dancing minuets
+with Chinamen, harlequins, scaramouches, templars, and other
+fancifully-dressed persons, are simply wearing the every-day costume of
+men of fashion of the day.
+
+
+  MANNERISM.
+
+Perhaps more than any other comic artist of past or present time, George
+is distinguished by his mannerisms. His horses, his women, the costumes
+of his male and female characters, the cut of their garments and of
+their boots, the arrangement of their hair, will proclaim his
+individuality anywhere; and yet, if you look at any of the designs which
+he executed in his best and brightest days, before he took up with the
+mania which contributed, as we shall presently see, so largely to the
+ruin of his artistic genius, fame, and fortunes, we cannot fail to be
+impressed with the quaintness of his imagination. In this quaintness and
+originality lie the charm and freshness which is the peculiar
+characteristic of his designs. Unlike those of other artists, you may
+turn over volume after volume of his sketches, and be conscious of no
+sense of weariness. Much of this no doubt is due to their constant
+variety. Unlike the generality of modern illustrators, he is not limited
+to the costumes and incidents of the every-day commonplace life of the
+nineteenth century; he does not confine himself to humour; his fancy
+takes a wider range, and revels in subjects of wonder, diablery, and
+romance. Gnomes and fairies, devils and goblins, knights, giants,
+jesters, and morris dancers are continually passing before us; there is
+an endless succession of novelties, treated with a quaintness of fancy
+which distinguishes it above all others; there is a ceaseless variety in
+his _dramatis personae_, while the characters are as various as the
+subjects. In these characteristics seem to lie the secret of the
+pleasure which his illustrations, whether they be drawn on wood or
+etched on the copper, never fail to inspire.
+
+The sale and purchase of Peter Schlemihl's _Shadow_ has been noticed by
+Thackeray. We see the Old Gentleman neatly packing up his purchase after
+the manner of an "old clo'" dealer; he has just "lifted the _shadow of
+one leg_; he is going to fold it back neatly, as one does the tails of a
+coat, and will stow it, without any creases or crumples, along with the
+other black garments that lie in that immense pocket of his."[88]
+Another illustration in the same book shows us Peter, after he has
+repented of his bargain (as vendors invariably do who indulge in
+mercantile transactions of this character) in ardent pursuit of his
+shadow, which the tantilizing purchaser has let out for the occasion.
+Can anything more ludicrous be imagined than this scampering piece of
+intangibility? The etching of _Sailors Carousing_ ["Greenwich
+Hospital"], executed in 1826, before the artist had altogether
+discontinued the style and manner of Gillray, would have delighted the
+heart of that accomplished caricaturist. An old one-eyed salt presides
+over a vast bowl of punch, the contents of which he is engaged in
+distributing to the company. One enthusiastic tar foots it with such
+vigour that he cannons against a potman, upsetting him and the measure
+of scalding liquor he carries over another angry, blaspheming sailor
+man; another sea worthy, snoring drunk, has converted his quart pot into
+an impromptu pillow, his own recumbent form serving the purposes of a
+footstool to a companion. The females are a combination of the styles of
+Gillray and Cruikshank, and, with one exception, are old, ugly, and
+preposterously fat. A comical illustration in the same book is called,
+_Paying off a Jew Pedlar_. The unhappy man (who had cheated the
+sailors), innocent of danger, is seated on a grating with his combs,
+spy-glasses, necklaces, ribbons, and all the rest of his "Brummagem"
+trumpery, spread out before him. The men, who have slily hitched a rope
+to the grating, suddenly give it a hoist, and away slides Moses, with
+all his wares and trumpery, into the hold together! How poor Seymour
+would have revelled in that admirable tailpiece in "Three Courses and a
+Dessert," where an unhappy wight, pursued by a bull, manages to scramble
+atop of a gate-post (the only part free from spikes), to find his escape
+cut off on one side by a couple of bull-dogs, and on the other by a
+_chevaux-de-frise_ terminating in a horse pond! We meet with a solemn
+piece of fun in _Simpkin Dancing to the Musicians_, one of the
+illustrations to the celebrated "New Bath Guide" of Christopher Anstey--
+
+  "And I thought it was right, as the music was come,
+   To foot it a little in Tabitha's room."
+
+[Illustration:
+  "THE WITCH'S SWITCH."
+
+  "ABSENT-MINDEDNESS."
+
+  "THE TETE-A-TETE."
+
+  "THE DENTIST."
+
+  "BAT BOROO."
+
+  SKETCHES FROM GEORGE CRUIKSHANK'S "THREE COURSES AND A DESSERT."
+
+  _Face p. 175._]
+
+_The Last Cab Driver_ ["Sketches by Boz"] deserves a passing notice,
+because it has preserved from oblivion a class of vehicles which has
+long since disappeared from the London streets. It looked for all the
+world like the section of a coffin set on end, the seat (which was
+intended to accommodate only one person besides the driver) occupying
+the centre. The cabman being a very _mauvais sujet_, we find the
+surroundings (after the artist's practice) in strict keeping with his
+character. The building past which he drives is marked "Old Bailey";
+whilst a snuff manufacturer in the street at the back advertises himself
+as the vendor of "Real Irish Blackguard."
+
+
+  WAVERLEY NOVELS.
+
+The dry, quaint humour of the author of "Waverley" exactly suited the
+quaint imaginings of our artist. Both Scott and Cruikshank delighted in
+the supernatural and the marvellous, and this is why some of the most
+characteristic of the artist's designs are to be found in his
+illustrations to the "Waverley Novels." In one of these he shows us the
+illustrious Dominie at the moment, when reaching over to gather a
+water-lily, he falls souse into the Slough of Lochend, in which he
+forthwith became bogged up to the middle, his plight drawing from him of
+course his favourite ejaculation of amazement. By the assistance of some
+women the luckless Dominie was extracted from his position, justifying
+the remark of one of his assistants, that "the laird might as weel trust
+the care of his bairn to a potato-bogle." Which was the most helpless of
+the two men--the Laird of Dumbiedikes, or the illustrious Dominie--it
+would be difficult to say; both these most original characters took a
+powerful hold on the artist's imagination, and as a natural consequence
+the ideas of Scott were completely realized. A very comical design is
+that in which he shows us the worthy but witless laird with his laced
+cocked hat and empty tobacco pipe,[89] and his hand extended "like the
+claw of a heraldic griffin," when he managed to utter something beyond
+his usual morning greeting, and frightened Jeannie into the belief that
+he had so far "screwed his courage to the sticking place" as to venture
+on a matrimonial proposal, to which unwonted effort of imagination his
+intelligence, however, proved altogether unequal.
+
+
+  ALLITERATIVE DESIGNS.
+
+In the "Comic Almanack" will be found many examples of George's tendency
+to graphic alliteration. _The Fall of the Leaf_ affords a capital
+specimen of the kind of design to which we allude. The leaf of the
+dinner-table has been so insecurely fastened that it falls, burying with
+it the mistress of the house, the fish, the champagne, a sherry
+decanter, a vase of flowers,--everything, in fact, to which it formed a
+treacherous and unreliable support; Gibbon's "Decline and Fall" lies in
+a corner of the room, and the walls are hung with appropriate subjects,
+such as the Fall of Foyers, the Falls of Niagara, Falls of the Clyde,
+and so on. An illustration of a similar kind will be found in _Taurus--a
+Literary Bull_. The animal has rushed into a printing office and
+scattered the compositors right and left; some seek shelter beneath
+their frames, one clambers wildly up the shelves of a paper case, while
+others scuttle over the frames, and one man, too wholly dismayed and
+bewildered to run, brandishes a stool in helpless imbecility. The bull
+is perhaps the most astonished of the _dramatis personae_, and evidently
+wonders into what manner of place fate has brought him. The walls are
+pasted with appropriate advertisements: "Some Account of the Pope's
+Bull," "A Cock and Bull Story," "Theatre Royal, Haymarket--John Bull"
+"To be Sold by Auction, the Bull Inn," "Abstract of the Act against
+Bull-baiting," and so on. In _Libra Striking the Balance_ (same year), a
+dishonest tradesman has been detected in using false weights and
+measures. The beadle holds up a pair of scales, one of which weighs very
+much heavier than the other. The wretched culprit, conscious, all too
+late, that honesty would have proved "the best policy" for himself,
+leans against his shelves the picture of sullen and detected guilt. The
+window of the shop bears on it the painted _legend_ of "The cheapest
+shop in London." Leaning against the counter we find a programme of the
+"City Theatre," announcing the performance of "Measure for Measure": to
+conclude with "Honest Thieves"; an officer outside (surrounded by a
+deeply interested crowd) is engaged in breaking up a second pair of
+dishonest scales. Chronology, difference in politics, character, tastes,
+and disposition, are most amusingly set at defiance in the etching
+entitled _The Revolution at Madame Tussaud's_ [1847]: Mary Queen of
+Scots "treads a measure" with William Penn the Quaker; Fox and Pitt make
+long noses at each other from opposite sides of the room; O'Connell
+shakes hands with Freschi, to whom our old friend the elderly country
+gentleman offers a friendly pinch of snuff; William Shakespeare flirts
+with an almond-eyed Chinese woman; Henry the Eighth smokes a long
+churchwarden with Judge Jefferys; Lord Byron (with greater propriety)
+exchanges friendly greetings with Jean Jacques Rousseau; whilst the
+great Napoleon unbends, as chroniclers assert that he was wont to do,
+and waltzes round the room with Madame Tussaud, and Britannia (to the
+uproarious delight of Sir William Wallace) rasps her trident across her
+shield, by way of accompaniment to the fiddle of the Saturnine Paganini.
+
+The fun of these side splitting designs is only equalled by their
+variety. The "Almanack" of 1838 introduces us to the inevitable row
+which forms the wind-up of a Hibernian _festa_; chairs, sticks,
+shovels,--anything that comes to hand is used without fear or favour;
+men, women, children struggle together in inextricable confusion amidst
+the _debris_ of wrecked furniture, broken glass, and battered pewter;
+high above the din drone the nasal tones of the piper; while amidst the
+infernal clatter "the praist" vainly endeavours to re-establish order
+and make himself heard. _Theatrical Fun Dinner_ (1841) represents the
+close of the banquet. Hamlet is already too far gone to know what he is
+doing; Othello belabours Iago with a bottle; Shylock and Antonio
+fraternize; whilst a reconciliation is established between Macbeth and
+Macduff, who chink glasses by way of cementing their friendship; Sir
+John Falstaff lights his pipe at Bardolph's nose; whilst Romeo hands up
+a glass of something short and strong to his Juliet in the balcony. 1842
+gives us the celebrated etching of "_Gone!_" an auctioneer "knocking
+down" a bust of Socrates; at the word "_gone_" the flooring gives way,
+and auctioneer, buyers, and Socrates, with all their surroundings,
+descend with a simultaneous crash into the cellars below. Drowning men
+catch at straws, and the spectacled visage of the auctioneer, as he
+clings wildly to his rostrum, is a perfect study of terrified
+imbecility.
+
+In looking at these quaint designs, the mind of any one possessed of any
+imagination at all cannot fail to be impressed with a sense of the
+original train of thought which must have characterized the man who
+could conceive and realize them. How appropriately and admirably, even
+in trivial matters, the details of the design are worked out! If the
+reader will refer to the etching in "St. James'," where the sergeant
+places the boot of his master, the Duke of Marlborough, on a map of
+Flanders, he will at once see what we mean. The action is accidental;
+and yet where could the boot have been placed with greater propriety?
+for surely if any country was under the heel of the great English
+captain, it was Flanders. Nothing to equal these designs are ever seen
+in these days, perhaps nothing like them will ever be seen again. There
+are many excellent comic designs produced by our artists of to-day; but
+with the exception, perhaps, of Mr. Caldicott and Colonel Seccombe, they
+lack _character_. You pass them by, and straightway forget them. Not so
+with these admirable little designs; you turn to them again and again,
+and each time with a refreshing sense of pleasure. Herein seems to lie
+the power of true genius--that its productions give not only a sense of
+freshness and delight, but that the sensation so conveyed will not die.
+There are people, I believe, on whom they produce no such impression;
+such people, as regards comic art, are for all practical purposes "dry
+bones," and to dry bones such as these the pencil of "honest George"
+will appeal in vain.
+
+Some writers on the subject of Cruikshank and his work would have us
+believe that he developed his highest powers of imagination and fancy,
+and achieved his highest reputation, when depicting subjects of a fairy
+or supernatural order. Whether these scribes be right or whether they be
+wrong, there is no doubt that he discovered for himself an enchanted
+land of mountain and streamlet, of meadow and waterfall, of gnomes and
+fairies, of demons, witches, and of giants. The process by which he
+attained his excellence as an illustrator of fairy lore and legend has
+been related by himself in his own simple, unpolished words in the
+(so-called) "Fairy Library." Unquestionably the opportunity which these
+subjects afforded of exercising untrammelled his marvellous gifts of
+imagination and fancy, and of realizing objects which owe their being to
+the creative faculties of his mind, were eagerly embraced by the artist;
+but, although the results were singularly weird and often very
+beautiful, I find myself obliged to differ from those who would have us
+believe that in realizing subjects of this kind he attained his highest
+excellence. The charm of George Cruikshank's talent lies in the fact
+that notwithstanding his defects in drawing, _everything_ he took in
+hand is impressed with the stamp of a strong and original genius; it is
+like nothing we have seen before; every one of his designs is marked
+with distinctive features of beauty, quaintness, or originality peculiar
+to himself.
+
+[Illustration:
+  "THE ELVES AND THE COBBLER."
+
+  "THE WAITS OF BREMEN AND THE ROBBERS."
+
+  FROM GEORGE CRUIKSHANK'S EDITION OF "GERMAN POPULAR STORIES."
+
+  _Face p. 180._]
+
+The "German Popular Stories" probably contain the most striking specimens
+of Cruikshank's power as a designer of _fairy_ subjects. In reference to
+these illustrations, our great critic, Mr. Ruskin, says: "They are of
+quite sterling and admirable art, in a class precisely parallel in
+elevation to the character of the tales which they illustrate; and the
+original etchings, as I have before said in the Appendix to my 'Elements
+of Drawing,' were unrivalled in masterfulness of touch since Rembrandt, in
+some qualities of delineation unrivalled even by him." "_The Two Elves_,"
+says Hamerton, "especially the nearer one, who is putting on his breeches,
+are drawn with a point at once so precise and vivacious, so full of keen
+fun and inimitably happy invention, that I have not found their equal in
+comic etching anywhere ... the picturesque details of the room are etched
+with the same felicitous intelligence; but the marvel of the work is in
+the expression of the strange little faces, and the energy of the comical
+wee limbs."[90] In _The Witches' Frolic_ ["Letters on Demonology and
+Witchcraft"], we find a happy blending of the terrible and the grotesque.
+Look at the old hags floating out to sea in their tubs; and the strange,
+uncanny thing with dreadful eyes bobbing up and down midway between the
+foremost old woman and the distant vessel. The _thing_ may be a ship, it
+may be a fish, or it may be a fiend,--in the dim half light we cannot tell
+what,--but it is horribly suggestive of nightmare, and makes one laugh as
+well as shudder. Some ghostly goblins, the creations of George's weird
+fancy, will be found in "The Omnibus"; we see them following a ghostly
+ship manned by ghostly mariners, and we find in the same book ghostly
+Dutchmen playing a game of diabolical leap-frog with Australian kangaroos.
+In one illustration he introduces us to a cheerful assembly of ancestral
+ghosts: there is the ghostly saucer-eyed head of the family, with a
+ghostly hound peeping beneath his chair, a ghostly grandmother, half a
+dozen ghostly spinster aunts, a ghostly butler, a ghostly cook, a ghostly
+small boy, two ghostly candles; and lastly, a ghostly cat. Small wonder
+that under the influence of such ghostly surroundings the hair of the
+affrighted ghost-seer stands erect in the extremity of his terror.
+
+This same book contains, too, the celebrated etching of _Jack
+o'Lantern_, probably the best illustration of the supernatural which we
+owe to the pencil and weird imagination of the artist. "Talk of Fuseli
+and his wind-bag, there is real vivid imagination enough in this to make
+a whole academy of Fuselis. It is just an Egyptian darkness, with
+breaking through it, above a bog-hole, some black bulrushes, and above
+them a bending, leathery goblin exulting over some drowned traveller,
+the meteor lamp he carries casting a downward flicker on the dark water.
+Such darkness, such wicked speed, such bad, Puck-like malice, such
+devilry, Hoffman and Poe together could not have better devised. Many a
+May exhibition has not half the genius in all its pictures that focuses
+in that gem of jet." The description is admirable; but Walter Thornbury
+has altogether misconceived the artist's idea. _Jack o'Lantern_ is
+simply misguiding a belated traveller into a bog, and the elfin grin
+which pervades his countenance testifies to the delight he takes in his
+mischievous employment. The words of the song in Dryden's _King Arthur_
+convey the best possible description of this wondrous conception:--
+
+  "Hither this way, this way bend,
+   Trust not that malicious fiend;
+   Those are false, deluding lights,
+   Wafted far and near by sprights;
+   Trust 'em not, for they'll deceive ye,
+   And in bog and marshes leave ye,
+   If you step no danger thinking,
+   Down you fall, a furlong sinking;
+   'Tis a fiend who has annoyed ye,
+   Name but Heav'n, and he'll avoid ye."
+
+By way of contrast to all these, I would turn to the celebrated and
+much-too-often-described _Triumph of Cupid_, of the "Table Book"; but as
+the praises of this remarkable composition may already be counted by the
+ream, I have no intention whatever of contributing a further addition.
+
+[Illustration:
+  GEORGE CRUIKSHANK. _From "The Universal Songster."_
+
+  "THE OLD COMMODORE."]
+
+[Illustration:
+  GEORGE CRUIKSHANK. _From "The Universal Songster._"
+
+    "A tall figure her sight engross'd,
+     And it cried, 'I beez Giles Scroggin's Ghost.'"
+
+  _Face p. 182._]
+
+A notice, however, of George Cruikshank's supernatural work would be
+incomplete without some reference to his _devils_. From time immemorial
+our idea of His Satanic Majesty has been associated with the
+distinguishing appendages of horns, hoofs, and a cow's tail. "A conceit
+there is," says old Sir Thomas Browne, "that the devil commonly
+appeareth with a cloven hoof, wherein, although it seems excessively
+ridiculous, there may be somewhat of truth, and the ground thereof at
+first might be his frequent appearing in the shape of a goat, which
+answers the description." George Cruikshank too well apprehended the
+cunning nature of His Satanic Majesty to suppose him idiotic enough to
+introduce his hoofs, his horns, or his tail into the company of all
+sorts and conditions of men. It will be remembered that Fitz Dottrel
+takes leave to doubt the identity of the devil who waits upon him in the
+character of a body servant. "You cannot," he says, "cozen _me_. Your
+shoe's not cloven, sir; you are whole hoofed." But "Pug" simply and
+unaffectedly assures him, "Sir, that's a popular error,--deceives
+many."[91] Like "Pug," George Cruikshank's devils accommodate
+themselves, their appearance, and their costume to the prejudices of the
+persons they design to serve. With saints and perverse sinners it is
+obvious that any attempt at disguise would be futile; but with so
+respectable a person as a Dutch burgher, or so suspicious an individual
+as an English lawyer, the case is altogether different. We have
+specimens of the respectable devil in the "long-legged bondholder" who
+appears to his unfortunate Dutch debtor; the portly, well-dressed little
+man in the "Gentleman in black"; and the seedy looking old clothes
+dealer of "Peter Schlemihl." Quite a different devil to any of these is
+the devil that interviews St. Nicholas, the devil whom St. Medard
+circumvented, or the simple-minded and unfortunate devil that fell into
+the clutches of St. Dunstan. This last is probably the most comical
+_diabolique_ that Cruikshank ever designed. In an evil hour this
+miserable fiend had irritated the saint by mimicking his musical powers;
+and growing bolder with impunity, even ventured to challenge his skill
+as a mechanic, by doubting his ability to fit a shoe to his own
+diabolical hoof. The saint promptly whipped up the leg, and it was not
+until this simple devil found himself in the clutches of the saint, that
+he fully comprehended the prodigious powers of the holy personage he had
+ventured to chaff. In spite of his howls and frantic efforts to escape,
+the iron shoe is remorselessly fitted, and nail after nail driven into
+the quick. Imagine the sufferings of that poor devil; observe his
+comically distorted countenance as he bellows with agony and impotent
+rage; how his tail curls round his leg in the extremity of his anguish!
+The worst perhaps has to follow, for in spite of the agony of his
+crippled hoof, a deed will have to be "signed, sealed, and delivered,"
+by which his claim to a legion of sinful souls has to be for ever
+released and extinguished. It is worthy of remark that George
+Cruikshank's devils--simple-minded, weak creatures, more mischievous
+than really wicked, in all their contests with the saints (Saint Anthony
+excepted) invariably come off second best.
+
+In estimating his merits, the genius of George Cruikshank may not
+inaptly be compared to a diamond. One facet often emits more brilliant
+coruscations than any other; and if we may be permitted to compare his
+powers of realizing the grave, the comical, the supernatural, and the
+terrible to the facets of a diamond, we think the one which would be
+found to emit the most brilliant flashes of light would be the last.
+Thackeray, one of the most friendly and most competent of his critics,
+would seem to have considered that much of his power was shown in
+depicting subjects of this kind. "What a fine eye," he tells us, in his
+famous article which has supplied the backbone--the muscles--the very
+integuments of so many others,--"what a fine eye the artist has, what a
+skilful hand, and what a sympathy for the wild and dreadful!"
+
+[Illustration:
+  _Designed, Etched and Published by_ GEORGE CRUIKSHANK._November 1st,
+  1829._
+
+  THE GIN SHOP.
+
+    "--now, Oh dear, how shocking the thought is,
+     They makes the gin from aquafortis:
+
+     They do it on purpose folks' lives to shorten,
+     And tickets it up at two-pence a quartern."--_New Ballad._
+
+  _Face p. 184._]
+
+From an early period of his career as an etcher and designer, George had
+waged a deadly war with gin,--that potent, insidious, and evil spirit of
+London; the most priceless services he rendered to the cause of
+temperance being unquestionably given long before he had any notion of
+joining the ranks of the total abstainers. Like the _Triumph of Cupid_,
+the well-known _Gin Juggernaut_ of the "Sketch Book" requires nothing
+more than a passing allusion. An example less known but quite as
+admirable will be found in the "Scraps and Sketches." It is called _The
+Gin Shop_,[92] and shows us the interior of a London gin palace. In
+place of the usual barrels, around the walls are ranged coffins,
+labelled respectively: "Deady's Cordial;" "Blue Ruin;" "Gin and
+Bitters;" the largest (a huge one) being marked "Old Tom." Death,
+habited as a watchman, has baited a huge gin trap, wherein stand five
+persons (two of them children, besides a baby in arms), _all_ imbibing
+the deadly liquid. The wretched woman with the infant has actually
+placed her foot on the spring, and so great is the artist's power of
+realization, that we momentarily expect to see the horrible thing close
+with a snap! A skeleton, whose fleshless skull is masked with a pleasant
+female countenance, officiates as barmaid, and behind her yawns a pit,
+on the further side of which a circle of evil spirits curvet around a
+huge still. Just such a weird scene as would strike a sympathetic chord
+in the artist's fancy was found for him in Scott's novel of "Red
+Gauntlet." The episode selected for illustration is the frightful
+adventure of Hutcheon and Dougal MacCallum. "When midnight came, and the
+house was quiet as the grave, the silver whistle sounded as sharp and
+shrill as if Sir Robert was blowing it, and up got the two old
+serving-men and tottered into the room where the dead man lay. Hutcheon
+saw enough at the first glance; for there were torches in the room,
+which showed him the foul fiend in his ain shape, sitting on the laird's
+coffin! Ower he couped, as if he had been dead. He could not tell how
+long he lay in a trance at the door; but when he gathered himself, he
+cried on his neighbour, and getting nae answer, raised the house, when
+Dougal was found lying dead within twa steps of the bed where his
+master's coffin was placed. As for the whistle, it was lost ance and
+aye, but mony a time it was heard at the top of the house on the
+bartizan and among the auld chimneys and turrets, where the howlets have
+their nests." The coffin of the dead laird lies in state on a table
+covered with black cloth, richly ornamented with his armorial bearings;
+at the foot of the bier stands his black plumed helmet; while atop of
+the coffin crouches the grinning ape with the laird's whistle in his
+paw; on the ground, as they have been tossed about by the mischievous
+beast, lie his rapier, gauntlet, and other military trappings. The
+furniture, the fittings, the sombre hangings, the gloomy ancestral
+portraits, all are in keeping with the weird scene and its surroundings.
+_The Death of Sikes_, and _Fagin in the Condemned Cell_ (especially the
+latter) have been described any number of times, and the circumstances,
+moreover, under which the latter design was conceived, told invariably
+wrong. In the _Murder of Sir Rowland Trenchard_ ["Jack Sheppard"], we
+have a Rembrandtish etching, quite equalling in power and intensity that
+of _Fagin in the Condemned Cell_. The gloomy depths of the well hole are
+illumined only by the pine torch of the frightened Jew, as Wild hammers
+with his bludgeon on the fingers of the doomed wretch who, maimed and
+faint from loss of blood, clings with desperate tenacity to the
+bannister, from which his relaxing grip will presently plunge him into
+the black abyss below.
+
+The "Tower of London" introduces us to two scenes of a dismal and
+terrible character in the etching entitled _Xit Wedded to the
+Scavenger's Daughter_, the artist carries us to a gloomy torture
+chamber, dimly lighted by a solitary lantern. On the framework of the
+rack sits the dwarf Xit, his limbs compressed in the grip of the
+frightful instrument called the "Scavenger's daughter," while Simon
+Renard, scarcely able to repress a smile, interrogates the comical
+little figure at his leisure. Behind him stands Sorrocold, the surgeon;
+and in the farther corner Mauger (the headsman), Nightgall, and an
+assistant torturer, recline against the wall. The feeble rays of the
+lantern throw an obscure light upon the gloomy walls decorated with the
+stock in trade of the torturers, thumb-screws, gauntlets, collars,
+pinchers, saws, chains, and other horrible and suggestive implements.
+Affixed to the ceiling is a steel pulley, the rope which traverses it
+terminating with an iron hook and two leathern shoulder straps. Facing
+the gloomy door stands a brazier filled with blazing coals, in which a
+huge pair of pinchers are suggestively heating. Reared against the side
+of a deep dark recess is a ponderous wheel--broad as that of a wagon,
+and twice the circumference; and next it the iron bar with which the
+bones of those condemned to die by this most horrible torture were
+broken while alive. The etching of _Mauger Sharpening his Axe_ is nearly
+as celebrated as that of _Fagin in the Condemned Cell_. "A wonderful
+weird dusk, with no light but that which glimmers on the bald scalp of
+the hideous headsman, who, feeling the edge of his axe with his thumb,
+grins with a devilish foretaste of his pleasure on the morrow. I need
+scarcely say that all the poetry, dramatic force, mystery, and terror of
+the design is attributable to Cruikshank, and not to Ainsworth."[93]
+Scenes still more realistically terrible even than these, such as the
+_Massacre at Tullabogue_, _The Rebel Camp on Vinegar Hill_, and the
+_Executions at Wexford Bridge_, will be found in Maxwell's "History of
+the Irish Rebellion."
+
+Mr. Lockhart, we may remember, advised the artist in the early part of
+his career to "think of Hogarth," and throughout the whole of George
+Cruikshank's designs of the graver caste the influence of the study of
+Rembrandt and of Hogarth will be apparent to those acquainted with the
+characteristics of these great artists. In the case of Rembrandt it is
+manifest in the deep shadows, penetrated by broad but skilfully treated
+rays of light, throwing the salient parts of the design into prominent
+but pleasing relief; in the case of Hogarth it is shown in minute
+attention to details of a character singularly appropriate to the
+designs. Delineators of subjects of greater pretension are frequently
+content to throw all their sympathies, their energies, into the
+elaboration of their leading figure or figures: the attitude, the face,
+the features, the hands, the costume, leave nothing to be desired, while
+the rest of the composition is slurred or neglected. This is not the
+case with Cruikshank, every part of his work bears witness to his
+careful attention to detail; no part of it is elaborated at the expense
+of the rest; from the tenants of the room down to the smallest and most
+insignificant ornament on the chimney-piece, everything appears as
+distinct as it would appear in actual every-day life.
+
+But this study of Rembrandt and of Hogarth, this minute attention to
+detail, this careful and conscientious elaboration, would have done
+little for George Cruikshank if he had not possessed in an eminent
+degree that faculty of creation, otherwise of originality, which men
+call _genius_. Various descriptions of this gift have been attempted by
+eminent men, but the most felicitous seems to us to be that given by
+Robert William Elliston: "A true actor," says this distinguished
+comedian, "must possess the power of _creation_, which is _genius_, as
+well as the faculty of imitation, which is only _talent_." Substitute
+the word "artist" for the word "actor," and the remark will apply with
+equal felicity to the subject of our present chapter. It was this same
+gift of genius which, whilst it enabled the artist to lend a sentient
+expression to such unpromising subjects as a barrel, a wig-block, a jug
+of beer, a pair of bellows, or an oyster, imparted to his drawings a
+piquancy which has elevated these apparently insignificant designs into
+perfectly sterling works of art. The reader who is fortunate enough to
+number amongst his books the first half-dozen volumes of "Bentley's
+Miscellany" and "Ainsworth's Magazine," "The Omnibus," "The Table Book,"
+"The Comic Almanack," possesses a series of designs, drawn and etched by
+the hand of the master himself, the value of which is yearly increasing,
+not only because they are becoming scarcer and scarcer every day, but
+because nothing like them--under the conditions in which book
+illustration is now produced--will ever be seen again.
+
+
+FOOTNOTES:
+
+  [85] The "Sketch Book" and "Scraps and Sketches" have recently been
+    republished; but the impressions from the sadly worn plates give but
+    little idea of the exquisite originals.
+
+  [86] Sala, in _Gentleman's Magazine_, May, 1878.
+
+  [87] Thackeray, _Westminster Review_.
+
+  [88] Thackeray, in the _Westminster Review_, June, 1840.
+
+  [89] This idea of the empty pipe is splendid, there never is any
+    tobacco in it; a better notion of absolute forgetfulness--of
+    inability to exercise the most trifling effort of memory--could not
+    be conveyed.
+
+  [90] "Etching and Etchers."
+
+  [91] Ben Jonson's "The Devil is an Ass."
+
+  [92] This was written, of course, before the recent republication,
+    which lacks the colour and crispness of the early issue.
+
+  [93] "British Artists from Hogarth to Turner."
+
+
+
+
+CHAPTER IX.
+
+_GEORGE CRUIKSHANK_ (_Continued_).
+
+_THE SLEEP OF THIRTY YEARS._
+
+
+The artistic career of George Cruikshank presents probably one of the
+most singular problems to be met with in the history of satirical art.
+It may be divided into three portions, two of which we have already
+considered: the first represents that section wherein we have seen him
+described by Lockhart as "one of the most careless creatures alive,"
+having "no plan, almost no ambition," doing "just what was suggested or
+thrown in his way," "quite contented to dine off the proceeds of a
+'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to
+morrow!" the second may be said to be embraced between the years 1822
+and 1848, during which period we find this man without plan, ambition,
+or industry (to complete the charge of Lockhart), busily engaged in
+building up the reputation which the critic had so confidently and so
+truly predicted of him; the third and last section, the strangest surely
+of all, shows us this man of genius--in the full enjoyment of an assured
+and well-merited reputation, in the midst of his artistic vigour, at the
+height of a success altogether unexampled--deliberately throwing away
+his opportunities, and consigning himself to a slumber of thirty years,
+which might almost justify us in terming him the "Rip Van Winkle" of
+British art. The causes of this strange decadence, this singular mental
+inactivity, which seem to us to have been hitherto very little or at
+best very imperfectly understood, we now propose to consider.
+
+
+  PROFESSOR BATES' THEORY.
+
+Professor Bates, one of the ablest of the essayists who have written on
+George Cruikshank since the time when Thackeray penned his famous
+article, would have us believe that the causes which led up to his
+retirement from active life whilst yet in the enjoyment of his vigorous
+intellect, are due partly to the change which has befallen "the
+literature of fiction during the last thirty years," but principally to
+the fact of his embracing the temperance movement with more zeal than
+discretion. As a matter of fact, however, long before this step had been
+taken, there had been causes equally potent at work which seem to have
+escaped Mr. Bates' attention, and these causes, which appear to us the
+leading factors in the unfortunate final result, lay, as we shall
+endeavour to explain, in an entirely different direction.
+
+People who knew and judged of George Cruikshank (as the majority of his
+contemporaries necessarily did) by his work alone, formed altogether an
+erroneous judgment of the character and disposition of the man. Because
+his later designs showed or seemed to show a love of little children, a
+liking for home and homely subjects, a delight in fairy lore and legend,
+it seems therefore to have been assumed that the artist was almost
+child-like in simplicity, innocence, and guilelessness of heart. Some
+even of those who have written upon him, acting apparently upon this
+impression, have given us to understand that "he never raised a laugh at
+the expense of decency"; that "satire _never_, in his hands, descended
+into scurrility"; that "a moral purpose ever underlaid his humour"; that
+"he sought to instruct and improve whenever he amused." The absurdity of
+this statement we have already exposed. In reference to a supposed
+singleness of heart and honesty of purpose, some writers have termed him
+"honest George." All this was very well. We all know, of course, that he
+"never pandered to sensuality" or "glorified vice"; but in spite of
+these facts, "honest George" himself, so far at least as we personally
+know, never assumed or set up, or even aimed at assuming, that he was
+one whit better than his neighbours.
+
+In order that the reader may grasp the causes of his sudden decadence,
+it is important that he should understand the position and the
+peculiarities of the artist. As an illustrator of books he was
+dependent on a _clientele_ composed exclusively of authors and
+publishers. "Honest George," however, laboured under a disadvantage
+common perhaps more or less to all men possessed of true genius. Hasty
+and hot-tempered, particularly in matters connected with his artistic
+labours, he was more than usually prone and ready to take offence.
+Almost invariably at war with some one or another of his employers, the
+story of George Cruikshank's skirmishes and quarrels with the authors
+and publishers with whom he was thrown in contact forms a most curious
+and interesting chapter in the history of artistic and literary
+squabbles.
+
+At the time when Charles Dickens began to write, George Cruikshank had
+already achieved his reputation; and so well assured was this
+reputation, that the young novelist in his preface to his "Sketches by
+Boz," speaks of the nervousness he should have experienced in venturing
+_alone_ before the public, and of his delight in securing the
+co-operation of an artist so distinguished as George Cruikshank. In
+1838, however, the author like the artist had made his mark: "Pickwick"
+and "Nicholas Nickleby," and "Oliver Twist" had been written; and every
+vestige of the nervousness of which he speaks in the preface to his
+"Sketches" had disappeared for ever.
+
+Mr. Sala has somewhere happily remarked that Charles Dickens wanted
+rather a scene painter for his novels than a mere illustrator of books,
+and the very last person to answer his requirements was George
+Cruikshank; for, while ready and willing to execute designs illustrative
+of Mr. Dickens's writings, he made it an implied condition of his
+retainer, that he should be free to design them in his own way and after
+his own fashion. It was an _essential_ condition of George Cruikshank's
+success as a draughtsman, not only that he should feel a sympathy for
+any subject he was called upon to design, but also that his genius
+should be left unfettered and untrammelled in his method of treatment.
+Hence it was that he found it impossible to co-operate with so exacting
+an employer of artistic labour as Charles Dickens. The latter argued,
+with some show of reason, that knowing what he intended to describe, he
+was the fittest and most competent person to explain how his meaning
+should be pictorially carried out. This sort of arrangement, however,
+did not suit the independent and somewhat impracticable spirit of the
+artist, and the result was almost a foregone conclusion. These two men
+of genius inevitably clashed; and the connection between Charles Dickens
+and Cruikshank was abruptly severed.
+
+A singular memorial of the quarrel between Dickens and Cruikshank will
+be found in the last illustration to the author's novel of "Oliver
+Twist," one of the worst that the artist ever executed. Although Mr.
+Forster does not say so--and possibly would not admit it,--Charles
+Dickens is directly responsible for this result, as the reader will
+agree when he learns the whole of the facts, which are only partly given
+in Forster's "Life," and in every other work which professes to tell the
+story.
+
+The reader will not require to be told that "Oliver Twist" made its
+appearance in the pages of "Bentley's Miscellany." The story of course
+had been written in anticipation of the magazine; and according to Mr.
+Forster, Cruikshank's designs for the portion which forms the third
+volume "having to be executed 'in a lump,' were necessarily done
+somewhat hastily." How far this statement is correct, the reader will be
+enabled to judge when we tell him that these so-called "hastily"
+prepared illustrations include the famous designs of _Sikes and his Dog_
+and _Fagin in the Condemned Cell_. "None of these illustrations," Mr.
+Forster goes on to tell us, "Dickens had seen until he saw them in the
+book on the eve of its publication [we assume in the three-volume form],
+when he so strongly objected to one of them that it had to be
+cancelled." "My dear Cruikshank," he at once wrote off to the artist, "I
+returned suddenly to town yesterday afternoon [October, 1838] to look at
+the latter pages of 'Oliver Twist' before it was delivered to the
+booksellers, when I saw the majority of the plates for the first time.
+With reference to the last one, _Rose Maylie and Oliver_, without
+entering into the question of great haste or any other cause which may
+have led to its being what it is, I am quite sure there can be little
+difference of opinion between us with respect to the result. May I ask
+you whether you will object to designing this plate afresh, and doing so
+_at once_, in order that as few impressions as possible of the present
+one may go forth. I feel confident you know me too well to feel hurt by
+this inquiry, and with equal confidence in you, I have lost no time in
+preferring it." At this point Mr. Forster leaves the story.
+
+
+  THE QUARREL WITH DICKENS.
+
+Probably very few of our readers have seen this despised and rejected
+plate of _Rose Maylie and Oliver_, for it is not the one which bears
+that title among the ordinary illustrations to the novel of "Oliver
+Twist." It is very rare, and we wish we could reproduce it here. If not
+one of the very best of the series, it is entirely in keeping with the
+rest; and so far from displaying "great haste," is in every respect a
+carefully finished book etching. Four figures are represented in it as
+sitting round the fire, among them the well known form of Oliver, with
+his turn-down collar and elaborately brushed hair. On the mantle-shelf,
+with other ornaments, are two hyacinths in glasses, thus fixing January
+as the date of the scene depicted. It would have been better for the
+book if Charles Dickens had left it alone. The artist did as he was
+requested, with anger at his heart; and as a consequence, Rose Maylie
+will go down to posterity as the ugliest of George Cruikshank's very
+ugly women, in an outrageous bonnet, with her hand resting on the
+shoulder of a youth wearing the singular coatee or boy's jacket of forty
+years ago. Differing altogether from the admirable designs which
+preceded it, there is an incongruity about the etching which cannot fail
+to impress the observer. The unfortunate letter and still more
+unfortunate result occasioned a coolness between the men which was never
+wholly removed. From that time forth George Cruikshank executed no more
+designs for Charles Dickens, and the illustrations to the long series of
+novels which afterwards followed from the pen of the talented but
+distinctly autocratic author were entrusted to other hands. However much
+this result must be deplored so far as the artist himself is concerned,
+the coolness between Charles Dickens and George Cruikshank is scarcely
+to be viewed in the light of a misfortune for English illustrative art.
+Only consider for one moment what might have followed had the artist
+executed the designs to the rest of Dickens's novels! Dick Swiveller
+would have suited him, and so would Quilp, or Sampson Brass, the
+Yorkshire schoolmaster, Newman Noggs, Lord Frederick Verisopht, Captain
+Bunsby, or even Mr. Pecksniff himself; but only fancy, on the other
+hand, the _horrors_ which would have been made of Dolly Varden, of Edith
+Dombey, of "Little Em'ly," of dear, gentle, loving little Nell! Happily
+for the fame of George Cruikshank, his imagination was not called into
+requisition for any one of these creations, and like the
+"annunciations," the "beatifications," and the "apotheoses" of Lockhart,
+they remain (we are thankful to say it) still unrealized!
+
+
+  THE FEUD WITH BENTLEY.
+
+The quarrel with Dickens was followed by a very bitter and very singular
+feud between the artist and Bentley. Into the causes of that quarrel we
+need not enter; suffice it to say that to the misunderstanding we owe
+some of the very worst etchings which Cruikshank ever designed, the
+series of illustrations to Harrison Ainsworth's novel of "Guy Fawkes."
+The worst of all is the _Vision of Guy Fawkes at Saint Winifred's Well_,
+and a very singular "vision" it is. The saint has all the appearance,
+with all the grace, expression, and symmetry of a Dutch doll arrayed in
+a pocket handkerchief; the sky is "machine ruled;" the pillars and
+tracery of the ruined chapel are architectural impossibilities; while at
+the very first snort, the slumbering figure of Guy Fawkes must roll
+inevitably into the well towards the brink of which he lies in dangerous
+propinquity. These illustrations provoked the ire of the publisher and
+the remonstrances of the author, both of which were disregarded with
+strict impartiality. In 1842, Harrison Ainsworth retired from the
+conduct of the "Miscellany," and set up a rival magazine of somewhat
+similar plan and conception, which he christened after his own surname.
+This opposition venture appears to have been the result of a
+misunderstanding between the editor and publisher, the most serious
+outcome of which was, that when Ainsworth left he carried with him
+George Cruikshank.
+
+The secession of George caused Mr. Bentley the greatest possible
+inconvenience. The straits to which he was reduced may be imagined by
+the fact that A. Hervieu (an artist of considerable ability), and the
+clever, well-known amateur, Alfred Crowquill (Alfred Henry Forrester),
+had to be pressed into the service, and contributed leading etchings.
+Meanwhile, the cover of the "Miscellany" showed that George Cruikshank
+was nominally retained on the pictorial staff; and before the quality of
+his illustrations became so villainously bad that the object he had in
+view--that of _forcing_ Bentley to cancel his engagement--had been
+attained, a draughtsman of unusual graphic power and versatility had
+come to the assistance of the magazine. This was a young man who had
+already executed many comic designs of a somewhat novel and original
+character, and was already forcing his way to the front: his
+name--familiar afterwards "in our mouths as household words"--was John
+Leech.
+
+The "Guy Fawkes" illustrations were the outcome of the first campaign
+between Bentley and Cruikshank; and as the history of the quarrel
+between the publisher and his unmanageable artist is a somewhat amusing
+one, we may be pardoned for describing it at length. The engagement from
+which he sought to free himself, and which he stigmatized as "a
+one-sided one," obliged Cruikshank to supply Mr. Bentley with at least
+one etching every month; and as Bentley continued to advertise him as
+the illustrator of the "Miscellany," George commenced the second
+campaign by issuing in the opening pages of the opposition venture the
+following characteristic manifesto:--"Mr. Bentley, the publisher," says
+the indignant George, "evidently wishes to create the supposition that
+_I_ illustrate his 'Miscellany.' On the contrary, I wish the public to
+understand that I do no such thing. It is true that, according to a
+one-sided agreement (of which more may be heard hereafter), I supply a
+single etching per month. But I supply _only that single etching_. And
+even that can hardly be called my design, since _the subject of it_ is
+regularly furnished to me by Mr. Bentley, and I have never even read a
+page of any of the stories thus '_illustrated_.'
+
+"Yet Mr. Bentley not only advertises me as the illustrator of his
+'Miscellany,' but he has lately shaped his advertisement thus, in the
+papers as well as on the wrapper of his magazine: 'Illustrated by Geo.
+Cruikshank, etc.' Are his other artists worthy only of being merged in
+an etc.? This is, indeed, paying them but a poor compliment; and one
+which I should hardly think they would submit to. In certain other
+announcements I observe mentioned, in addition to my own name, a
+'Cruikshank the Younger.' Who is he? The only Cruikshank the Younger I
+ever heard of as a designer, is myself. Would it not be supposed that
+there must be a third Cruikshank, etching, drawing, and 'illustrating,'
+as his two predecessors have done? Yet there is no such person! There is
+indeed a nephew of mine, who, as a _wood-engraver_, and a wood-engraver
+_only_, has been employed by Mr. Bentley to engrave 'Crowquill's
+designs;' just as in my 'Omnibus' he engraved my own drawings upon wood,
+and still does engrave them in 'Ainsworth's Magazine.' Now, can any one
+imagine it possible for any respectable publisher, especially 'Her
+Majesty's Publisher in Ordinary,' to be guilty of so miserable a trick,
+so wretched an expedient, as that of putting off the _engraver_ of a few
+of the drawings as the designer himself--as one of the 'illustrators' of
+the 'Miscellany'? Let Mr. Bentley but produce a single design for the
+'Miscellany,' by 'Cruikshank the Younger' (by him so-called), and I will
+retract this indignant disclaimer and apologise. If Mr. Bentley cannot
+do this, he stands self-convicted of an attempt to impose upon the
+public by a mystification, for purposes as apparent as the trick
+itself."
+
+What this strange declaration of war proposed to effect is not
+altogether manifest; if its author imagined it would produce the result
+of releasing him from his engagement, he was signally mistaken, for Mr.
+Bentley, as might have been expected, held him all the tighter to the
+_letter_ of his bond. What the artist thought and what he did are told
+us in the plainest language by the etchings which followed this singular
+manifesto. They tell us as plainly as could be expressed in words, that
+George reasoned after the following fashion:--"It is clear that under
+the terms of my engagement I am bound to supply 'Bentley's Miscellany'
+with one etching a month; but our agreement says nothing as to the
+_quality_ of the etchings, nor am I bound to see that they shall be
+strictly relevant to the subjects which I am called upon to illustrate."
+From that time, so long as he continued to design for the "Miscellany,"
+George tried to do his worst, and it must be admitted that he succeeded
+to admiration. Anything more outrageous than these wretched
+drawings--taking into account the talent, power, and skill of the
+artist, and the quality of the work which he was at this very time
+executing for Harrison Ainsworth--can scarcely be conceived. They are so
+ashamed of themselves, that his signature--usually so distinct, so
+characteristic, and so clear on other occasions--is illegible, in many
+cases wholly wanting. At length, in vol. xiii. (1843) appeared a story
+called "The Exile of Louisiana," "with an illustration by George
+Cruikshank" (for Bentley, probably by way of retaliation, was determined
+the public should know that these performances were due to the hand
+which had produced the famous etchings to "Oliver Twist," "Jack
+Sheppard," and the contemporaneous story of the "Miser's Daughter"). We
+should like to have seen the face of the author when this extraordinary
+conception dawned upon him. The tale (a serious and pathetic one) was
+burlesqued with one of the most grotesque caricatures the mind of comic
+artist ever conceived. It represents Marshal Saxe recognising the widow
+of a late Czaaravitch in the gardens of the Tuileries. The marshal, a
+most extraordinary personage, would make in actual life the fortune of
+any enterprising showman. He possesses a nose of Slawkenbergian
+proportions; his pig-tail reaches below his waist; and his sword,
+sticking out at right angles, gives him the appearance of a fly with a
+pin through its middle. Near him stands a courtier, with ankles of such
+fearful and wonderful construction that his legs will snap the moment he
+attempts to use them. As for the distinguished relict of the
+Czaaravitch, she is one of the most wonderful of the many wonderful
+people who figure in the sketch. Her figure is an anatomical
+impossibility; while her mouth reaches from ear to ear (the letterpress,
+by the way, informs us that her deceased husband had married her for her
+beauty!). The statue of Mercury, posed like a scaramouch at a
+masquerade, is matched by that of Neptune, who whirls his trident round
+his head in a state of the wildest hilarity, cutting at the same time a
+caper over the body of an attendant dolphin, who is so overcome with
+the whimsicality of the proceeding that he is making the most violent
+efforts to restrain his laughter. This last shot probably hit the mark,
+for only three etchings appear in vol. xiv., and not one afterwards.
+George was victorious; but there are victories and victories, and a
+triumph won at the cost of an artistic reputation is as disastrous as a
+defeat.
+
+
+  THE MISUNDERSTANDING WITH AINSWORTH.
+
+Harrison Ainsworth's long connection with the artist had taught him that
+he was one who would be neither driven nor led, and he was wise enough
+to accommodate himself to circumstances. The admirable woodcut design at
+the head of that division of the magazine which was known as "Our
+Library Table," shows us the artist and the handsome editor in
+consultation, and the attitude of the two men is indicative of the fact
+that Ainsworth is attentively listening to the advice or suggestions of
+his coadjutor, a fact to which Cruikshank himself has been particular to
+draw our attention. To the free and unfettered conditions under which
+Cruikshank co-operated with Ainsworth we owe a series of the most justly
+celebrated and valuable of his designs. In matters, however, connected
+with art, Cruikshank was, as we have seen, a difficult man to get on
+with, and it was fairly safe to predict that a quarrel between the
+author and artist was a mere question of time. The artist remained on
+the staff of "Ainsworth's Magazine" for three years, enriching its pages
+with some of the choicest efforts of his pencil. At the end of that
+period came the unfortunate but almost unavoidable misunderstanding; and
+George Cruikshank, as he had done with Bentley, withdrew from the
+concern. Unlike Bentley, however, Ainsworth appears not only to have
+foreseen, but to have made preparations for the inevitable; and
+accordingly, when George Cruikshank retired, his place was immediately
+taken by an artist of talent, destined to win for himself a considerable
+position among the ranks of designers and etchers: this was Hablot
+Knight Browne, then and now known to us under his monosyllabic
+_nom-de-guerre_ of _Phiz_.
+
+It seems to us fitting in this place to say a few words on the subject
+of George's pretension to be the originator of two of Ainsworth's
+stories, because the truth of his assertion has been questioned by a
+late commentator.[94] George's statements simply amount to this: that so
+far as the illustrations to the "Miser's Daughter" and "The Tower of
+London" are concerned, the author wrote up to _his_ designs. We have
+considered Ainsworth's answers to this statement, and find that although
+he fences with, he does not deny it. It was one essential condition of
+Cruikshank's success that his fancy should be free and untrammelled, and
+the truth of his statement appears to us to be proved by the
+illustrations to these works, which are certainly the finest which he
+ever designed; that he was therefore (as he stated) the originator of
+these tales in the sense in which he used the word, we can entertain no
+manner of doubt.
+
+Most of the Cruikshank commentators, whilst writing on the subject of
+the Harrison Ainsworth etchings, have thought fit to decry the author's
+share of the performance; but the fact that the pictures are so much
+better than the letterpress should not prevent us from dealing fairly
+with the veteran author, who, like the distinguished artist with whom he
+so long co-operated, has now gone to his rest. Even Mr. Ainsworth's
+detractors will, we think, admit that without him we should have lost
+the admirable illustrations to "Windsor Castle," "Jack Sheppard," and
+"St. James's"; it may even be doubted whether without him we should have
+had the still better series of etchings which adorn the "Tower of
+London" and the "Miser's Daughter." If this be the fact, it seems to us
+we owe a lasting debt of gratitude to this venerable writer, who
+experienced the vicissitudes which inevitably befall mere talent when
+allied with genius. He was a writer of the George Payne Ransford James
+school, dispensing, however, with the inevitable setting sun and two
+travellers, and received a price for his productions which many a better
+author might well envy. For his novel of "Old St. Paul's" (1841) he was
+paid by the proprietors of the _Sunday Times_ one thousand pounds; "The
+Miser's Daughter" attained an extraordinary success; and the same remark
+applies to "Windsor Castle." For "The Lancashire Witches" he received
+from the proprietors of the _Sunday Times_ one thousand pounds. Several
+of the works named had not the benefit of Cruikshank's illustrations;
+but in 1850-1, cheap editions of all such of Mr. Ainsworth's romances
+and tales as had appeared up to that period, were published by Messrs.
+Chapman and Hall without any illustrations at all. "Windsor Castle" was
+the first of the series, and upwards of thirty thousand copies were
+disposed of in a short time; while all the other works enjoyed a very
+large sale, and popular favour was so far from being exhausted, that
+another edition of his novels was called for in 1864-1868. He was a
+veritable literary rolling stone. In 1845 he disposed of his magazine to
+the publishers, and purchased the "New Monthly," previously edited by
+Theodore Hook and (after his death) by Thomas Hood; in 1854 he bought
+the far-famed "Miscellany" itself, becoming its proprietor and editor;
+in that year he seems also to have re-purchased "Ainsworth's Magazine,"
+which as a separate and rival publication thenceforth ceased to exist.
+
+The only work which Cruikshank illustrated for Charles Lever was "Arthur
+O'Leary," and the reason of this has been explained by himself in a
+letter which he wrote to Mr. Fitzpatrick, the author of Charles Lever's
+life: "I had the honour and the pleasure," he says, "of being personally
+acquainted with the late Charles Lever, and I regret that I was only
+able to illustrate one of his works, 'Arthur O'Leary,' my engagements on
+'Jack Sheppard,' etc., at that time prevented me from illustrating his
+other works, which he wished me to have done, but I do not remember ever
+having any written correspondence with him, as the MS. or printed matter
+was placed in my hands for illustration; and then I had entirely to deal
+with the publisher. Mr. Charles Lever was an author whom I held in high
+estimation." Lever himself was highly gratified with these
+illustrations.
+
+
+  THE FINAL LEAP IN THE DARK.
+
+By 1845, that is to say, at least two years before he had taken his
+final leap in the dark, Cruikshank had contrived to pick quarrels with
+the very class of men whom it was his special interest to conciliate,
+and had been driven to set up an opposition serial of his own--the
+celebrated "Table Book"--which, notwithstanding the superlative
+excellence of his own illustrations and the talent of his literary
+contributors, comprising such names as John Oxenford, Horace Mayhew,
+Shirley Brooks, Mark Lemon, W. M. Thackeray, and others, could not
+manage to prolong its existence beyond its first volume. In matters
+connected with his own interests he was not only impracticable, but
+seems to have been remarkably destitute of tact and even of discernment.
+It cannot be doubted that the estrangement from Bentley was unwise and
+impolitic, for as one of the greatest publishers of fiction of the day,
+his influence was both far-reaching and comprehensive. In quarrelling
+with Dickens, Ainsworth, and Bentley, three of the great artistic
+employers of labour of his time, and in face of the growing popularity
+of John Leech and Hablot Knight Browne, he was literally quarrelling
+with his bread and butter, and few men, even of genius, may afford to do
+that. He was essentially impulsive, and frequently acted under the
+influence of first impressions. Although fond of his pipe and his glass,
+as his famous _Reverie_,--_The Triumph of Cupid_, in the "Table Book,"
+will show, he had always evinced a horror of drink, and had, as we have
+seen, done his best at various times to expose its insidious and baneful
+influences. At last, in 1847, came a sudden and extraordinary impulse of
+enthusiasm, under the influence of which he not only produced his
+_Bottle_, but laid aside for ever his pipe and his bowl. To do any real
+good, he said he must practise what he preached: he joined the
+"teetotallers," and not being one of those who did things by halves,
+entered heart and soul into the crusade against drink by becoming a
+temperance advocate. This last was the one step needed to fill up the
+measure of the artist's folly, and to secure for him the reputation of
+being an incurably eccentric, self-willed man.
+
+Those who would charge the author with blaming George Cruikshank for
+joining the ranks of the teetotallers will do him grave injustice.
+Although very much of the opinion of Robert Burton, author of the
+"Anatomy of Melancholy," that, "No verses can please men or live long
+that are written by water-drinkers," and disposed to undervalue the tact
+and discretion of some of the advocates of total abstinence, for its
+abstract principles he can say and think nothing but what is good. But
+he is writing, be it remembered, of a great artist--one whose mission
+was that of an artist, not that of a _temperance orator_,--of one who
+had served the righteous and good cause of temperance _best_ when he
+remembered that genius had made him an artist and not a temperance
+orator,--of one who had rendered that cause yeoman's service long before
+he joined the total abstainers, in designing _The Gin Juggernaut_, _The
+Gin Trap_, and work of a kindred nature. The cause, too, so far as mere
+verbal advocacy was concerned, was better served by men of vastly
+inferior mark and ability. Before this fatal plunge was taken his genius
+had roamed in an absolutely uncontrolled range of freedom. He had
+travelled into the land of chivalry and romance, into the realms of
+fairy fancy, magic, and diablery; he had brought back with him pictures
+of the wondrous people, lands, and scenes which his fancy had visited.
+All this was at an end; this wonderful genius was now forced into a
+narrow groove, where it could no longer have the freedom of action which
+was essential to its very existence. From the moment that George
+Cruikshank turned temperance _orator_, the world of English art lost one
+of its brightest ornaments, and he himself both fame and fortune; for,
+as Mr. Bates observes, "some of his earliest friends were alienated, and
+remunerative work that might have been his was diverted, from sheer
+prejudice, into other hands." His style, too, as Mr. Bates further
+remarks, "suffered by the contraction of his ideas and sympathies, and
+his art became associated with that vulgarity and want of aestheticism
+which perhaps necessarily characterizes the movement." _The Bottle_ and
+_The Drunkard's Children_, although successful in a pecuniary point of
+view--compared with what had gone before,--can scarcely be called _art_
+at all; in these too he unconsciously put himself in competition with
+Hogarth, and as a matter of necessity failed.
+
+He had been a king among designers and etchers; he had been and was
+still an admirable water-colour artist, but knew comparatively little of
+the manipulation or management of oils. A new crusade had however to be
+preached, to be preached by means of an oil painting; and for this
+purpose George was to be inspired off hand (so to speak) with a new art,
+and to paint a picture in oils. We know the result--the lamentable
+result--in that most preposterous _Worship of Bacchus_. His motive was
+good, his ideas were vast, but the _genius_ which in his unregenerate
+days had enabled him to design _The Gin Trap_ and the _The Gin
+Juggernaut_, was no longer there. Unhappy Rip! There is more
+poetry--more fancy--more romance--more art--fire--genius in one of the
+little "bits," nine inches by six, executed in the days of his pipe and
+his glass, than in any one part or portion of this most gigantic
+failure.
+
+The mere fact of his joining the ranks of the total abstainers would
+have done him perhaps little professional mischief, had he been content
+simply to join them, and aid their cause, as he had once so graphically
+done by depicting the evils of gin drinking and intemperance; but it was
+one of the failings as well as one of the virtues of this impulsive,
+earnest man's character, that whatever his hand found to do, "he did it
+with his might." Desiring to aid them to the best of his power, he
+mistook the means by which that aid might best be applied, and forgot
+that his talents lay not in the tongue but in his hand and his head. We
+look upon George Cruikshank after 1849, no longer as an artist, but as a
+very indifferent temperance lecturer. The reign of Fancy was over.
+Thenceforth no "Reveries," no "Jack o' Lanterns," no "Gin Juggernauts,"
+would come from that indefatigable hand, that fertile brain, that
+wondrous and facile pencil. George Cruikshank took his _Worship of
+Bacchus_, and went out into the world (heaven save the mark!) as a
+temperance lecturer. His literary abilities were, however, small; he
+lacked even that "gentle dulness"[95] which characterizes the leading
+advocates of the movement, and kindles a certain amount of sympathetic
+enthusiasm in kindred breasts. The dull people who went to hear him,
+knew little about and cared less for art and genius than they did for
+the abstract doctrines of total abstinence. The result, so far as he
+personally was concerned, was curious, lamentable, and almost
+instantaneous. The work which had hitherto crowded upon him fell away
+like water from a leaking vessel; nay, on the authority of Mr. William
+Bates, when work was offered him he refused to take it. "When pressed by
+the late Mark Lemon to draw on his own terms for _Punch_," this man who
+had designed some of the broadest, coarsest, most personal of the
+satires of the nineteenth century, had grown so extremely particular
+that "he definitely refused to have anything to do with it on account of
+what he termed its personalities."[96] What could be done for such a man
+as this? Authors and publishers wholly ceased to employ him; and he was
+left without work in the very pride of his artistic career. He turned to
+oil painting; was taken by the hand by the influential few who
+appreciated, pitied, and loved him; but from the moment that he became a
+temperance advocate, to the literary world and to the general public
+this most singular and original genius was to all practical intents and
+purposes--dead.
+
+These observations, I repeat, are made in no spirit of hostility to the
+sincere and earnest men who would seek to reduce the crime and misery
+which owe their origin to the immoderate use of ardent spirits. So far
+from this being the case, I hold their cause to be so righteous, so
+sensible, that it seems to me as effectually advocated by a plain,
+simple, earnest man as by a great artist and man of genius. I say
+advisedly, that the cause of temperance had been better served had
+Cruikshank stuck to his pencil and his etching needle, instead of
+seeking the position of a temperance advocate, and stumping the
+provinces with his absurd panorama of _The Worship of Bacchus_.
+
+Thirty years of quite sterling and admirable work were now to be
+followed by thirty years of artistic sterility, for from this Rip Van
+Winkle slumber of thirty years' duration his reputation never once
+awoke. Out of the dreary desert of mental and artistic inactivity came
+forth at long distant intervals specimens of his handiwork, which
+served, it is true, to remind us of what he once was capable, but failed
+to restore him to the place he had for ever lost in public estimation;
+such were the illustrations to Angus Bethune Reach's "Clement Lorymer,"
+to Robert Brough's "Life of Sir John Falstaff," to Smedley's "Frank
+Fairleigh," to George Raymond's "Life and Enterprises of Elliston," to
+his own _so-called_ "Fairy Library." Good and excellent as this work
+was, it utterly failed to lend even a passing vitality to his departed
+reputation, a fact sufficiently and vexatiously proved when he essayed
+once more to start a magazine of his own, which met with such little
+encouragement that _only two parts were issued_.
+
+Nevertheless, the designs of the "Life of Falstaff" and his own "Fairy
+Library" showed that, when the subject took hold of his fancy, the hand
+of Cruikshank had not altogether lost the cunning which characterized it
+in days of yore. To illustrate the so-called fairy stories, he had to
+read them,--no longer, alas! with his former love of fairy lore and
+legend,--no longer with the mind of a man free, vigorous, elastic, but
+with a mind warped and prejudiced with the study of a theme which was
+intellectually depressing and uninspiring. No one knows the origin of
+these fairy stories, they come to us from our Danish and Saxon
+ancestors, but are interwoven with the literature of every civilized
+nation under the sun, and are altogether beyond the sphere of modern
+criticism. Their primitive style is singularly adapted to enlist the
+sympathies of the little folk to whom they specially address themselves:
+their highest aim and object is not to instruct, but to amuse. All this
+the artist, in the ardour of his new crusade, lost sight of, and so dead
+had he become to the fairy fancies and reveries of his youth, that he
+placed sacrilegious hands on these time-honoured and favourite legends
+of our childhood, and converted them (with most indifferent literary
+ability) into something little better than temperance _tracts_!
+
+But happily not without protest. Charles Dickens, the champion of the
+injured fairies, set his lance in rest, and speedily rolled hapless Van
+Winkle in the dust. Into the details of this very absurd and very
+unequal contest there is no necessity for us to enter. George was at
+home with his pencil, his etching needle, or his tubes of water colour;
+but put a pen in his hand, and he forthwith would cut the funniest of
+capers. He argued (with every appearance of comical gravity and
+earnestness), that because Shakespeare might alter an Italian story, or
+Sir Walter Scott use history for the purposes of the drama, poetry, or
+romance, therefore, "any one might take the liberty of altering a common
+fairy story to suit his purpose and convey his opinions." Aye, and so he
+might, honest Rip; but he would set about his task in a very different
+fashion to Shakespeare or Sir Walter Scott, and I fear too that the
+literary results and value would be vastly different. It never seemed to
+occur to the mind of the honest but simple casuist that in putting "any
+one" on a par with William Shakespeare and Sir Walter Scott, he was
+writing simple nonsense.
+
+It is clear, therefore, that the change which had come over the
+literature of fiction during the past quarter of a century, and which
+Professor Bates would assign as one of the principal causes of the
+sterility which befell the genius of Cruikshank, had really very little
+to do with it. This calamity--for a national calamity it undoubtedly
+was--did not fall upon him, be it remembered, when he was old, but in
+the very acme and pride of artistic success. His fall was distinctly due
+to causes which were within his own control, and might have been avoided
+by the exercise of qualities which (it seems to me) he did not
+possess,--forethought, tact, and judgment. During the rest of his long
+life, the place which George Cruikshank deliberately ceded to others he
+never once regained; when he dropped behind, he became as completely
+forgotten as if he had ceased any longer to exist; men whose childhood
+he had delighted with his quaint imaginings, his own friends and
+contemporaries, died off; and so it came to pass, that before he knew
+it, for time moves quickly after youth is over, the old man was left
+standing alone amongst the ranks of a generation that did not know him.
+So little was he known or regarded, that when his works were _first_
+exhibited, no one took the trouble to see them; and when a small circle
+of admirers, with the great English critic, John Ruskin, at their head,
+started a subscription for the forgotten artist, "the attempt was a
+failure--hundreds being received when thousands were expected." It will
+be remembered that in his best days the artist had executed a memorable
+etching, _Born a Genius and Born a Dwarf_: I wonder whether, in the
+bitterness of his spirit and the righteousness of his anger, George
+Cruikshank ever thought of that etching?
+
+
+FOOTNOTES:
+
+  [94] Mr. Blanchard Jerrold.
+
+  [95] "And gentle dulness ever loves a joke."--_Dunciad._
+
+  [96] "The Maclise Portrait Gallery," 1883, p. 195.
+
+
+
+
+CHAPTER X.
+
+_ROBERT SEYMOUR._
+
+
+Decidedly next in order of merit to George Cruikshank, amongst his own
+contemporaries, if we except only Theodore Lane, comes Robert Seymour.
+With a style and manner peculiar to himself, and a power of invention
+and realization which amounted almost to genius, Seymour was superior in
+every respect to Robert Cruikshank, with whom we find him not
+unfrequently associated in comic design. This style and manner were
+clearly founded on those of George Cruikshank; and when he selected (as
+he not unfrequently did) subjects which had been treated by the latter,
+the work of this most able draughtsman will bear even favourable
+comparison with that of the great original whom he chose as his master.
+That he drew his inspiration from and sought even to emulate Cruikshank,
+is shown by the fact that to some of his earlier caricatures he affixed
+the name of "Shortshanks," a practice which he discontinued on receiving
+a remonstrance from the irritable George.
+
+Robert Seymour was born in 1798. Henry Seymour, his father, a gentleman
+of good family in Somersetshire, meeting with misfortune, removed to
+London, and apprenticed him to Mr. Vaughan, a pattern designer of Duke
+Street, Smithfield. This Vaughan seems to deserve a passing notice here
+by reason of the fact that his father is said to have received proposals
+for partnership from the father of the late Sir Robert Peel, which were
+rejected, on the ground that the fortunes of the Peel family were not
+then considered particularly flourishing. How far this statement may be
+correct we know not. Assuming it to be true, the fortunes of the Peel
+family afterwards took a turn which probably frequently gave Vaughan
+_pere_ (if he lived to ruminate thereon) some serious cause for
+reflection as well as of repentance.
+
+Like Hogarth, with whom this artist, like all other comic designers, has
+been frequently and improperly compared, young Robert Seymour declined
+to waste his abilities as a mere mechanical draughtsman, and used his
+technical education as a means of cultivating the artistic gifts with
+which nature and inclination had endowed him. He seems at first to have
+selected a walk in art which required for its ultimate success a larger
+amount of application and patience than he could well spare for the
+purpose. Shortly after the expiration of his indentures, he started as a
+painter in oils, and executed several pictures, one of which (a Biblical
+subject) included, it is said, no less than one hundred figures, whilst
+a no less ambitious subject than Tasso's "Jerusalem Delivered" was
+deemed of sufficient merit to be exhibited on the walls of the Royal
+Academy. Other pictorial subjects were taken from "Don Quixote,"
+"Waverley," "The Tempest," etc., besides which he executed numerous
+portraits and miniatures. These efforts, however, do not appear to have
+been sufficiently remunerative to encourage him to continue them, and
+after a time he resigned them to follow a branch of art more congenial,
+perhaps, to his abilities, and thenceforth very rapidly acquired fame as
+a social satirist and caricaturist.
+
+The coloured caricatures of Robert Seymour, besides being comparatively
+scarce and little known, seem hardly to call for any particular
+description; the titles of some of them will be found mentioned in our
+Appendix. One which has survived, and with which the public are probably
+most familiar, is one of the worst of the series. It is entitled, _Going
+it by Steam_, is signed "Short Shanks," and was published by King. Among
+rarer and better ones may be named two very excellent specimens, without
+date, published by Creed, of Chancery Lane, labelled respectively, _A
+Musical Genius_ (a butcher boy playing on the Pandean pipes and
+accompanying himself with marrow bone and cleaver), and _A Man of Taste
+and Feeling_ (a tramp caught in a trap while helping himself in a
+butler's pantry). Among the best of his coloured political caricatures,
+we may mention, _Greece and her Rough Lovers_ (_i.e._ Russia and
+Turkey), published by Maclean, in 1828. Lithography afforded greater
+facilities of execution than the old process, and much of Seymour's work
+in political as well as social satire was executed by himself on stone.
+
+
+  DEATH OF GEORGE IV.
+
+The year 1830 brought the life and reign of George the Fourth to a
+close. He had been breaking up for a long time past. The first entry of
+any moment occurs in Mr. Greville's diary, of 25th August, 1828: "The
+king has not been well; he goes fishing and dining at Virginia Water,
+stays out late, and catches cold." A year later, the diarist relates
+that the king had nearly lost his eyesight, and would be "couched" as
+soon as his eyes were in a proper state for the operation. On the 7th of
+December he attended a chapter of the Bath, "looked well," but was so
+blind that "he could not see to read the list, and begged [Mr. Greville]
+to read it for him." The Sangrado treatment was then in full force; and
+we find that in January, 1830, the king, being very ill, "lost forty
+ounces of blood." He grew at last so much worse that the preparations
+for the festivities with which the royal birthday was to have been
+celebrated were obliged to be postponed _sine die_. A victim to dropsy,
+the operation of puncturing the legs was resorted to, with the result of
+giving him temporary relief. The patient, however, became liable to
+violent fits of coughing, in one of which he ruptured a blood vessel,
+and expired early on the morning of Saturday the 26th of June, 1830.
+
+A more contemptible, selfish, unfeeling being as a _man_ than this king
+could scarcely have been found, "a mixture of narrow-mindedness,
+selfishness, truckling, blustering, and duplicity, with no object but
+self, his own ease, and the gratification of his own fancies and
+prejudices."[97] "A more despicable scene," continues Mr. Greville,
+"cannot be exhibited than that which the interior of our Court
+presents--every base, low, and unmanly propensity, with selfishness,
+avarice, and a life of petty intrigue and mystery."[98] George the
+Fourth as king and regent was recklessly extravagant, but his
+expenditure was always upon self or the gratification of self. A hundred
+examples of his selfish nature might be given, but _cui bono_?
+Everything he could get hold of, which could minister to his own
+personal gratification, he _grasped_ with avidity. In this spirit he
+appropriated the jewels and spent on himself the whole of the money
+belonging to his late father's estate, amounting to L120,000. His
+ministers did not dare to oppose his greed, or tell him that this money
+belonged to the Crown, and not to himself as an individual. He acted
+precisely in the same manner with regard to his mother's jewels, of
+which she possessed a large quantity. Those she received from George
+III. she left by will to the king; the rest she gave to her daughters;
+in spite of which bequest, her selfish son appropriated the whole to
+himself as his own personal private property.
+
+
+  PORTRAIT OF THE KING.
+
+An admirable likeness of this most selfish of royal or private
+personages has been drawn by a master hand. "To make a portrait of him,"
+says Thackeray, "at first seemed a matter of small difficulty. There is
+his coat, his star, his wig, his countenance simpering under it: with a
+slate and a piece of chalk, I could at this very desk perform a
+recognisable likeness of him. And yet after reading of him in scores of
+volumes, hunting him through old magazines and newspapers, having him
+here at a ball, there at a public dinner, there at races, and so forth,
+you find you have nothing--nothing but a coat and wig, and a mask
+smiling below it--nothing but a great simulacrum. His sire and
+grandsires were men. One knew what they were like: what they would do in
+given circumstances: that on occasion they fought and demeaned
+themselves like tough, good soldiers. They had friends whom they liked
+according to their natures; enemies whom they hated firmly; passions and
+actions and individualities of their own. The sailor king who came after
+George was a man; the Duke of York was a man, big, burly, loud, jolly,
+cursing, courageous. But this George, what was he? I look through all
+his life, and recognise but a bow and a grin. I try and take him to
+pieces, and find silk stockings, padding, stays, a coat with frogs and a
+fur collar, a star and blue ribbon, a pocket-handkerchief prodigiously
+scented, one of Truefitt's best nutty brown wigs reeking with oil, a
+set of teeth, and a huge black stock, under-waistcoats, more
+under-waistcoats, and then nothing." "Under-waistcoats, more
+under-waistcoats--and then nothing!" Yes, there was something besides
+the silk stockings--the padding--the stays--the coat with frogs and a
+fur collar, the star and the blue ribbon, although there might be
+nothing underneath which resembled a heart or which was capable of being
+inspired by a feeling which had not its origin in _self_. The wardrobe
+of this royal professor of deportment, who ten years before had been
+described to his own great personal annoyance as--
+
+  "The dandy of sixty, who bows with a grace,
+   And has taste in wigs, collars, cuirasses, and lace,"
+
+was sold on the 2nd of August, 1830, and is said to have been
+sufficiently numerous to fill Monmouth Street, and sufficiently various
+and splendid for the wardrobe of Drury Lane Theatre. The meanness of his
+disposition was exhibited even in the matter of his clothes, scarcely
+any of which he gave away except his linen, which was distributed every
+year. Here were all the coats which this monarch had had for fifty years
+before, three hundred whips, canes without number, every sort of
+uniform, the costumes of all the order of Europe, splendid fur pelisses,
+hunting coats and breeches; among other etcetera, a dozen pair of
+corduroy breeches made to hunt in when Don Miguel was in London. His
+profusion in these articles was explained by the fact that he never paid
+for them; but his memory in relation to them was nevertheless so
+accurate that he recollected every article of dress, no matter how old,
+and his pages were liable to be called on at any moment to produce some
+particular coat or other article of apparel of years gone by.
+
+The demise of this treasurer of royal antique raiment was followed by an
+order for general _mourning_, to which a caricature drawing by Seymour
+has reference, the satirical meaning of which will be apparent after the
+explanation previously given. A colossal military figure armed with a
+baton, on which is inscribed the word "fashion," encounters at dusk, in
+Hyde Park, a solitary pedestrian habited in a suit of grey clothing.
+"How dare you appear," says the apparition, "without a black coat?" to
+which the frightened pedestrian replies, "The _tailor_ would not trust
+me, sir." In August, 1830, he gives likenesses of the new king and
+queen, William the Fourth and Adelaide, surrounded by a halo of glory.
+The new king, in reference to his profession, and by way of obvious
+contrast to his predecessor, is subsequently depicted as an anchor
+labelled, "England's best bower not _a maker of bows_." From other
+contemporary pictorial skits by Seymour we learn that various changes
+were made in the royal establishment, and the new queen seems to have
+addressed herself specially to a reform in the dresses of the court
+domestics. On the 1st of October, 1830, Seymour represents her grinding
+an enormous machine, called the "Adelaide Mill," into which the women
+servants, dressed in the outrageous head-gear and leg-of-mutton sleeves
+of the period, are perforce ascending, and issuing from the other side
+attired in plain and more suitable apparel. "No silk gowns," says Her
+Majesty as she turns the handle. "No French curls; and I'll have you all
+wear aprons." The new queen seems also to have shown a disposition to
+encourage native manufactures and produce at the expense of French and
+continental importations. These changes were not particularly pleasing
+to the Conservative lady patronesses of Almack's, who were celebrated at
+this time for their capricious exclusiveness. One of Robert Seymour's
+satires, bearing date the 1st of November, 1830, shows us a conference
+of these haughty dames, who seriously discuss the propriety of admitting
+some lady (probably the queen) who proposed appearing at one of the
+balls "in some vulgar stuff made by the _canaille_ at a place called
+Kittlefields" [Spitalfields].
+
+[Illustration:
+  ROBERT SEYMOUR. _October 1st, 1830._
+
+  "THE ADELAIDE MILL."
+
+  _Face p. 213._]
+
+
+  FRENCH REVOLUTION OF 1830.
+
+Whilst England was thus peacefully passing through the excitement of a
+succession to a vacant throne, France was convulsed with one of her
+ever-recurring revolutions. Charles the Tenth, driven from his throne,
+had been replaced by one who in his turn, some three and twenty years
+afterwards, was doomed to give place to the Bonaparte whose sun we
+ourselves have seen set in the defeat and disaster of Sedan. We find
+portraits in September, 1830, of Louis Philippe, king of the French, of
+the queen, General Lafayette, the ex-king Charles the Tenth, and the Duc
+d'Angouleme. Besides these, we meet with several clever illustrations by
+the artist, on stone, of the stirring events of the time, which are
+interesting and valuable specimens of his versatile powers.
+
+Some of our readers may remember a passage in Peter Pindar, where the
+merciless satirist ridicules George the Third's German band, telling us
+(in allusion to his Majesty's well-known penurious habits) that,
+although they displaced native talent and expected "to feast upon the
+Coldstream regiments fat," their experience was altogether of another
+character:--
+
+  "But ah, their knives no veal nor mutton carved!
+   To feasts they went indeed, but went and starved!"
+
+The services of these foreign musical mercenaries had been retained by
+George the Fourth, but one of the very earliest acts of his successor
+was to dismiss them in favour of the guards' bands, "who," however, if
+we are to believe Mr. Greville, had no great reason to be thankful, but
+were on the contrary "ready to die of it," as they had to play every
+night without pay, and were moreover "prevented" from earning money
+elsewhere. This act of the new king is referred to in a sketch by
+Seymour, which shows us his Majesty in the act of "discharging the
+German band," who may be seen marching off headed by their ancient and
+crestfallen drum-major.
+
+
+  ST. JOHN LONG.
+
+The month of October, 1830, witnessed the trial of the notorious
+impostor, John St. John Long (whose real name was O'Driscoll) for the
+manslaughter of Miss Cushin. The success of this ignorant and notorious
+quack, who managed for a series of years to extract a magnificent income
+of some L10,000 or L12,000 per annum by trading on the credulity of his
+fellow-creatures, forms a curious commentary on the weakness of
+contemporary "society." It is said that he commenced life as a
+house-painter, and afterwards acquired some slight knowledge of art in
+the humble capacity of colour grinder to Sir Thomas Lawrence, and while
+colouring (on his own account) some anatomical drawings for a medical
+London school, picked up a slight and imperfect knowledge of anatomy.
+This stimulated him to further superficial research; and after a few
+months' probation, his confidence enabled him to pretend that he
+possessed a cure for every disease under the sun--more especially
+consumption.[99]
+
+The origin and pretensions of this learned practitioner are thus
+referred to in one of the rhymes of the day:--
+
+  "You may talk of your Celsus, Machaons, and Galens,
+   Physicians who cured all incurable ailings,
+   But ne'er yet was doctor applauded in song
+   Like that erudite Phoenix, the great Doctor Long.
+
+   Such astonishing cures he performs, I assure ye,
+   Some think him a god--all a _lusus naturae_:
+   The whole animal system, no matter how wrong,
+   Is set right in a moment by great Doctor Long.
+
+   Through all regions his vast reputation has flown,
+   Through the torrid, the frigid, and temperate zone;
+   The wretch, just expiring, springs healthy and strong
+   From his bed at one touch of the great Doctor Long.
+
+   His skill to experience, what potentates ran--
+   The Pope, the Grand Llama, the King of Japan!
+   The great Chinese autocrat, mighty Fon Whong,
+   Was cured of the 'doldrums' by famed Doctor Long!
+
+   In each serious case he considers as well as
+   Doctor Horace, '_naturam cum furca expellas_';
+   'Dame Nature' (_i.e._) 'you must poke with a prong.'
+   Pretty poking she gets from the great Doctor Long.
+
+   He cures folks _a merveille_, the French people cry;
+   The Greeks all pronounce him [Greek: theztagon tz]
+   Dutch and Germans adore him; the Irish among,
+   'To be sure he's the dandy!' Go bragh, Doctor Long!
+
+   King Chabert has proved, since restored from his panic,
+   There's small harm in quaffing pure hydrocyanic;
+   But he never found out it was good for the throng,
+   When scrubbed on their stomachs by great Doctor Long.
+
+   A machine he's invented, stupendous as new,
+   To sweep one's inside as you'd sweep out a flue;
+   No climbing boy, urged by the sound of the thong,
+   Can brush out your vitals like great Doctor Long.[100]
+
+       *       *       *       *       *
+
+   Garter King has assigned, like a sad 'fleering Jack,'
+   A duck for a crest, with the motto, '_Quack, Quack_'
+   To the proud name of St. John (it should be _St. Johng_,
+   Which would rhyme with the surname of great Doctor Long).
+
+   Great house-painting, sign-painting, face-painting sage!
+   Thou Raffaelle of physic!--thou pride of our age!
+   Alas! when thou diest, and the bell goes ding-dong,
+   Sure Hygeia herself will expire with her Long!
+
+   Then fill every glass, drink in grand coalition,
+   _Long life_, _long_ await this _long_-headed physician;
+   _Long_, _long_ may Fame sound, with her trumpet and song,
+   Through each nation the name of the great Doctor Long!"[101]
+
+"Dr. Long's" remedy ("the prong" referred to in the foregoing ballad)
+was of the simplest possible character, and--his dupes in nine cases out
+of ten being women--his success complete. He invented a wonderful
+liniment or lotion, by means of which he professed to diagnose and
+eradicate the virus of consumption. With many patients an inflammation
+followed its application, which (according to the quack) discovered the
+presence of disease, and which, after a plentiful crop of guineas had
+been extracted, nature was allowed to heal: the patient was then
+pronounced out of danger. With some persons the liniment was perfectly
+innocuous, and when this was the case the patient was informed that no
+disease need be feared. The secret of course lay in the fact that the
+quack used two liniments, apparently identical, one of which only
+contained the irritating medium. Many actually consumptive persons of
+course consulted him; but when this was the case he refused his
+assistance, on the ground that it had been invoked too late.
+
+He carried the imposition, as might have been anticipated, once too far,
+and, in the case of the beautiful and unfortunate Miss Cushin (a lady of
+highly nervous temperament), maintained the inflammation for so long a
+time that nature for once refused to assist him, and when Sir Benjamin
+Brodie was summoned, mortification had already set in. The trial
+resulted in a verdict of guilty, but the judge (Baron Parke), who summed
+up scandalously in his favour, instead of sending the fellow to hard
+labour, imposed a fine of L250, which was immediately paid.
+
+Seymour alludes to this event in a pictorial satire, in which he shows
+us St. John Long, with a vulture's head and beak, kneeling on the floor
+of a dungeon with a bottle by his side labelled "lotion," and (beneath)
+the words,--"Lost, L12,000 per annum, _medical practice_. Whoever will
+restore the same to Mr. St. J. L--g, shall receive the benefit of his
+advice."
+
+Miss Cushin's death was quickly followed by another fatal case, that of
+Mrs. Colin Campbell Lloyd, who also died from the effects of the
+corrosive lotion, and St. John Long the following year was again put on
+his trial for manslaughter; in this case the fellow was acquitted.
+Seymour's prediction was not destined to be verified. The _soi-disant_
+St. John Long, _alias_ O'Driscoll, in spite of these "mistakes," which
+in our day would receive a harsher term, retained his large "practice"
+to the last, and died--still a young man--of the very disease to which
+he professed to be superior, thus conclusively proving better than
+anything else could have done the utter impotency of his preparation.
+
+Anstey (son of the once celebrated author of the "New Bath Guide")
+amusingly describes the administration of an oath to a witness in a
+court of law:--
+
+  "Here, Simon, you shall (silence there!)
+   The truth and all the truth declare,
+   And nothing but the truth be willing
+   To speak, so help you G--d (a shilling)."[102]
+
+The artist possibly had this quotation in his mind when he designed the
+following:--The deponent is a country bumpkin, to whom an official
+tenders the Testament, at the same time extending his disengaged palm.
+"Pleas zur," says Hodge, "wot be I to zay?" (To him the officer), "Say,
+This is the truth and nothing but the truth, so help me God one and
+sixpence."
+
+The open and notorious bribery, corruption, and intimidation which
+prevailed in those days at parliamentary elections; Sir Robert Peel's
+"New Police Act" (which was received with extraordinary suspicion and
+dislike); the Reform Bill; the universal distress and consequent bread
+riots of 1830-31, form the subjects of other pictorial satires by Robert
+Seymour, which seem, however, to call for little notice.
+
+The artist's talent and services were constantly in demand as a designer
+on wood; but finding that the productions of his pencil suffered at the
+hands of the wood-engravers to whom they were entrusted, and the very
+inferior paper upon which the impressions were taken, he, in or about
+the year 1827, began to learn the art of etching on copper. We believe
+his earliest attempts in this direction will be found in a work now
+exceedingly rare, bearing the title of "Assisting, Resisting, and
+Desisting." A volume called "Vagaries, in Quest of the Wild and
+Wonderful," which appeared in 1827, was embellished with six clever
+plates after the manner of George Cruikshank, and ran through no less
+than three editions.
+
+The "Humorous Sketches," several times republished, perhaps the only
+work by which Seymour is now known to the general public, appeared
+between the years 1834 and 1836. They were first published at threepence
+each by Richard Carlisle, of Fleet Street, who is said to have paid the
+artist fifteen shillings for each drawing on the stone. Carlisle falling
+into difficulties shortly before Seymour's death, sold the copyright and
+lithographic stones to Henry Wallis, who in turn parted with the latter
+to Mr. Tregear, of Cheapside, but retaining his property in the
+copyright, transferred the drawings to steel, and published them in
+1838, with letterpress by Alfred Crowquill. Mr. Henry G. Bohn issued an
+edition in 1842, and another some twenty-three years later, with plates
+so sadly worn and blurred by over use that the best part of this last
+edition (issued by the Routledges in 1878) is the binding.
+
+The "Humorous Sketches" (we refer, of course, only to the early
+impressions), although affording fair examples of the artist's comic
+style and manner, are in truth of very unequal merit. They comprise some
+eighty subjects, which, owing to the frequent republications, are so
+well known that it would be superfluous to attempt a detailed
+description of them here. The best is unquestionably the one numbered
+XXV., "This is a werry lonely spot, Sir; I wonder you arn't afeard of
+being rob'd." The inevitable sequel is amusingly related by Crowquill:--
+
+  "Poor Timmins trembled as he gazed
+     Upon the stranger's face;
+   For cut-purse! robber! all too plain,
+     His eye could therein trace.
+
+   'Them's werry handsome boots o' yourn,'
+     The ruffian smiling cried;
+   'Jist draw your trotters out, my pal,
+     And we'll swop tiles beside.
+
+   That coat, too, is a pretty fit,--
+     Don't tremble so--for I
+   Vont rob you of a single fish,
+     I've other fish to fry.'"
+
+The "Sketches," with other detached works by the artist, reappeared in
+an edition published by the late John Camden Hotten, entitled "Sketches
+by Seymour," comprising in all 186 subjects, for the most part sadly
+worn impressions. Although there is nothing whatever "Hogarthian" about
+the originals, as the amiable publisher would have us (as usual)
+believe, we may admit that the faces in No. 24, _At a Concert_, are a
+perfect study, and that this sketch, with Nos. 45 and 46 (_Snuffing_ and
+_Smoking_), afford excellent examples of the artist's ability as a
+draughtsman.
+
+
+  "THE BOOK OF CHRISTMAS."
+
+But the work which contains probably some of the best specimens of the
+artist's style is one now exceedingly scarce. Christmas books, like
+Christmas cards, are practically unsaleable after the great Christian
+festival has come and gone; and this was the experience of Mr. T. K.
+Hervey's "Book of Christmas," which, owing to the author's dilatoriness,
+came out "a day after the fair," and despite its attractions proved
+unmarketable. This circumstance, we need not say, by no means detracts
+from its value, and as a matter of fact, the collector will now deem
+himself fortunate if he succeeds in securing a copy at a price exceeding
+by one half the original cost. Those who have formed their ideas of
+Seymour's powers from the oft republished and irretrievably damaged
+impressions of the "Humorous Sketches," will be astonished at the
+unaccustomed style, vigour, and beauty of these illustrations. A few of
+the earlier _etchings_ are somewhat faint and indistinct, as if the
+artist, even at that time, was scarcely accustomed to work on copper.
+They, however, improve as he proceeds with his work; the larger number
+are really beautiful, and are characterised by a vigour of conception
+and execution, of which no possible idea can be formed by those who have
+seen only the "Humorous Sketches." Noteworthy among the illustrations
+may be mentioned the finely executed head of _Old Christmas_, facing
+page 23; the _Baronial Hall_ (a picture highly realistic of the
+Christmas comfort and good cheer which is little better than a myth to
+many of us); _The Mummers_; _Christmas Pantomime_; _Market, Christmas
+Eve_; _Boxing Day_; and _Twelfth Night in the London Streets_. The
+cheery seasonable book shows us the _Norfolk Coach_ with its spanking
+team rattling into London on a foggy Christmas Eve, heaped with fat
+turkeys, poultry, Christmas hampers and parcels. William Congreve tells
+us--
+
+  "Music hath charms to soothe the savage breast,
+    To soften rocks, or bend a knotted oak."
+
+The irritable personage awoke from his slumbers by the music of the
+waits, certainly does not belong to any of the order of animate or
+inanimate subjects so softened, soothed, or bent, as aforesaid, for he
+opens his window and prepares to discharge the contents of his jug on
+the heads of the devoted minstrels. If the ancient ophicleide player,
+with the brandy bottle protruding from his great coat pocket, might but
+know of the impending cataract which more immediately threatens himself,
+he would convey himself from the dangerous neighbourhood with all the
+alacrity of which his spindle shanks are capable. A younger neighbour on
+the opposite side of the street awaits the catastrophe with amused
+interest, whilst a drunken "unfortunate" executes--under the elevating
+influences of music and drink--a _pas seul_ on the pavement below. In
+the etching of _Story Telling_, the deep shadows of an old baronial hall
+are illuminated solely by the moonbeams and the flickering flame of the
+firelight; a door opens into a gallery beyond, and one of the listeners,
+fascinated by the ghost story to which she is listening, glances
+fearfully over her shoulder as if apprehensive that something uncanny
+will presently issue out of the black recesses. The ghostly surroundings
+have their influences on the very cat, who looks uneasily about her as
+if afraid of her shadow. Besides the thirty-six etchings on copper, the
+book contains several charming woodcuts, impressed on paper of a very
+different quality to that on which the artist was accustomed to behold
+impressions from his wood blocks.
+
+Of a class entirely different to the foregoing may be mentioned the
+still rarer series of comicalities executed by the artist under the
+title of "New Readings of old Authors," of which we may notice the
+following: _Moved in Good Time_ (_Taming of the Shrew_, Act 2, Sc. 1), a
+tax-gatherer and other creditors bemoaning themselves outside the
+premises of a levanted debtor; _I am to get a man, whate'er he be_ (Act
+3, Sc. 2), disciples of Burke and Hare providing themselves with a
+living subject; _I do remember when the fight was done, when I was dry_
+(King Henry IV., Part 1, Act 1, Sc. 3), a victorious prize-fighter
+recruiting his exhausted frame by imbibing many quarts of strong ale;
+_He was much Feared by his Physicians_ (Act 4, Sc. 1), an irascible
+gouty patient flinging medicine bottles and nostrums at one of his
+doctors, and stamping a prostrate one under foot; _You are too great to
+be by me gainsaid_ (_King Henry_ IV., Part 2, Act 1, Sc. 1), a huge
+woman administering chastisement to a small and probably (in more senses
+than one) _frail_ husband; _My Lord, I over rode him on the way_ (Act 1,
+Sc. 1), a miserable huntsman who has ridden over and killed one of the
+master's fox-hounds; _He came, saw, and overcame_ (Act 4, Sc. 2), a
+wretched Frenchman, who, overbalancing himself, falls over the rails of
+a bear-pit amongst the hungry animals below; _Never was such a sudden
+scholar made_, (_King Henry_ V., Act 1, Sc. 1), in allusion to the
+installation of the Duke of Wellington as Chancellor of Oxford
+University; _A Midsummer Night's Dream_, a fat sleeper suffering under
+the agonies of nightmare, under the influence of whose delusion he
+fancies himself roasting before a vast fire, with a huge hook stuck
+through his stomach; and, _I beg the ancient privilege of Athens: as she
+is mine, I may dispose of her_ (Act 1, Sc. 1), an Englishman attempting
+to dispose of his ugly, wooden-legged old harridan of a wife by auction.
+The lithographic stones on which the drawings to these "New Readings"
+were made, and which comprised no less than three hundred drawings, were
+effaced before the artist's death, and impressions from them are now, of
+course, more than difficult to procure. The Shakespeare series were
+collected and republished in four volumes, in 1841-2, by Tilt & Bogue,
+of Fleet Street, and even these last are very seldom met with.
+
+On the 10th of December, 1831, there started into life a periodical of
+decidedly pronounced political bias and opinions, entitled "Figaro in
+London." Politics ran high in those days; it was the time of the great
+agitation for "reform," which in those days, as we shall presently see,
+was both loudly called for and imperatively necessary. A mob of boys and
+degraded women had taken complete possession of Bristol,--had driven its
+deformed little mayor over a stone wall in ignominious flight,--had
+burnt down the gaol and the mansion-house, and laid Queen Square in
+ashes, whilst the military and its very strangely incompetent officer
+looked on while the city was burning.[103] Every one in those days was
+either a rabid Tory or an ultra Radical. It was just the period for an
+enthusiastic youth to plunge into the excitement of political life; but
+the crude, unformed opinions of a young man scarcely of age are of
+little value, and the political creed of the proprietor and originator
+of this literary (?) venture does not appear to have been clearly
+defined even to himself. In his valedictory addresses written three
+years afterwards, when things were not altogether so rosy with him as
+when he started his periodical, he confesses that he belongs to no
+party, for "we have had," he says, "such a thorough sickener of the
+Whigs, that we do expect something better from the new government,
+_although it be a Tory one_."
+
+The price of "Figaro in London," one of the immediate predecessors of
+the comic publications of our day, was a penny, quite an experiment in
+times when the price of paper was dear, and periodical literature was
+heavily handicapped with an absurdly heavy duty. "Figaro" consisted of
+four weekly pages of letterpress illustrated by Robert Seymour. The
+projector, proprietor, and editor, was Mr. Gilbert a Beckett, whose
+name--with those of men of vastly superior literary attainments--was
+associated in after years with the early fortunes of _Punch_. The
+literary part of the performance was indeed sorry stuff,--the main stay
+and prop of the paper from its very commencement was Seymour, whose
+drawings however suffered severely at the hands of the engraver and
+paper maker. An eccentricity of the publication perhaps deserves notice.
+It professed to look with sovereign contempt upon advertisements, as
+occupying a quantity of unnecessary space--considering, however, that
+exception was made in favour of one particularly persevering hatter of
+the period, we are driven to the conclusion that the projector's
+contempt for a source of revenue which modern newspaper proprietors can
+by no means afford to despise, was nearly akin to that expressed by the
+fox after he had come to the melancholy conclusion that the grapes he
+longed for were absolutely beyond his reach.
+
+The new periodical assumed from the outset a position which cannot fail
+to amuse the journalist and reader of the present day. It professed to
+look down upon all other publications (with certain exceptions of
+magnitude, whom the editor deemed it prudent to conciliate) with
+supercilious contempt. The absurdity of these pretensions will strike
+any one who turns over its forgotten pages, and compares his pretensions
+with Mr. a Beckett's own share of the performance. The mode in which
+this young gentleman's editorial duties were conducted, gathered from
+extracts taken at random from the "Notices to Correspondents," were, to
+say the least, peculiar: "A. B., who has written to us, is a fool of the
+very lowest order. His communication is rejected." Poor Mr. Cox of Bath
+is told he "is a rogue and a fool for sending us a letter without paying
+the postage. If he wants his title page, let him order it of his
+bookseller, when it will be got as a matter of course from our
+publisher," and so on. The aristocracy are regarded with a disfavour
+which must have given them serious disquietude. The "coming out" of the
+daughter of the late Lord Byron, or a _soiree_ at the Duchess of
+Northumberland's town house, serve as occasions for indulging in
+splenetic abuse of what Mr. a Beckett was pleased to term "the beastly
+aristocracy." Authors, even of position, were not spared by this young
+Ishmael of the press, the respected Mrs. Trollope, for instance, being
+unceremoniously referred to as "Mother Trollope." The only excuse of
+course for this sort of thing is to be found in the fact that comic
+journalism being then in its infancy, personal abuse was mistaken for
+satire; while, so far as the bad taste of the editor is concerned,
+allowance must be made for an inexperienced young man who imagined that
+the editorship of a paper, wholly destitute of merit except that which
+Seymour brought to its aid, conferred upon himself a position which
+rendered him superior to the rules of literary courtesy.
+
+With all these pretensions, however, a Beckett was conscious of the
+powerful assistance he was receiving from the artist; and we find him,
+after his own peculiar fashion and more than questionable taste,
+constantly alluding to the fact; describing him at various times as
+"that highly gifted and popular artist, Mr. Seymour;" "our illustrious
+artist Seymour;" and so on. In the preface to his second volume, he
+indulges in the following flight of fancy, which will suffice to give us
+an idea of the literary merits of the editor himself: "In this our
+annual address," he says, "we cannot omit a puff for the rampant
+Seymour, in whom the public continue to _see-more_ and more every time
+he puts his pencil to the block for the illustration of our periodical."
+This was the sort of stuff which passed for wit in 1832.[104] As for
+Seymour himself, he was annoyed at these fulsome and foolish
+compliments, and in a letter which he wrote to A Beckett after the
+quarrel to be presently related, told him in the plainest terms that,
+"the engraving, bad printing, and extravagant puffing of his designs
+were calculated to do him more harm than good as an artist."
+
+But artist and editor jogged on together in perfect good will until the
+16th of August, 1834, when, for the first and only time, "Figaro in
+London" made its appearance without any illustrations at all. The two
+succeeding weekly issues contained each a single woodcut after Seymour's
+drawing, but from that time until the end of the year, when A Beckett
+himself retired from the proprietorship and disposed of his interest in
+the concern, the paper was illustrated by Isaac Robert Cruikshank; this
+change was due to the following circumstance.
+
+A special feature of "Figaro in London" was its theatrical leader. A
+Beckett had always taken an interest in dramatic matters, and was
+himself author of some thirty plays, the very titles of which are now
+forgotten. Not content with being proprietor and editor of a newspaper,
+he was concerned at this time in another venture, being proprietor and
+manager of a theatre in Tottenham Court Road, known at different times
+under the various designations of the Tottenham Street or West London
+Theatre, the Queen's, and latterly as the Prince of Wales' Theatre. The
+result was almost a foregone conclusion. A newspaper is a sufficiently
+hazardous speculation, but a theatre in the hands of an inexperienced
+manager is one of the most risky of all possible experiments; and the
+result in this case was so unfortunate, that A Beckett in the end had to
+seek the uncomfortable protection of the insolvent court. He was
+considerably indebted to Seymour for the illustrations to "Figaro," half
+of the debt thus incurred being money actually paid away by the artist
+to the engraver who executed the cuts from his drawings on the wood.
+Finding that A Beckett was in no position to discharge this debt or to
+remunerate him for his future services, Seymour did--what every man of
+business must have done who, like the artist, was dependent on his
+pencil for _bread_, refused any longer to continue his assistance. Apart
+from the bad paper and bad impressions of which he complained, and above
+all the bad taste displayed in fulsome adulation of his own merits,
+supremely distasteful to a man of real ability, Seymour appears hitherto
+to have entertained no bad feeling towards A Beckett personally.
+
+The result however was a feud. A Beckett was not unnaturally angry, and
+an angry man in his passion is apt to lose both his head and his memory.
+Forgetting the manner in which he had shortly before acknowledged the
+services and talent of the artist, he now attacked him and his abilities
+with a malice which would be unintelligible if we had not seen something
+of his nature and disposition. In his favourite "Notices to
+Correspondents" in the number of 13th September, 1834, he professes to
+account for the employment of Isaac Robert Cruikshank after the
+following disingenuous fashion: "Mr. Seymour, our ex-artist, is much to
+be pitied for his extreme anguish at our having come to terms with the
+celebrated Robert Cruikshank in the supplying the designs of the
+caricatures in 'Figaro.' Seymour has been venting his rage in a manner
+as pointless as it is splenetic, and we are sorry for him. He ought,
+however, to feel, that notwithstanding our friendly wish to bring him
+forward, which we have done in an eminent degree, we must engage
+_first-rate_ ability when public patronage is bestowed so liberally, as
+it now is upon this periodical. He ought therefore not to be nettled at
+our having obtained a superior artist." The public, however, were not to
+be _gulled_; they perfectly well knew that Isaac Robert Cruikshank was
+an inferior artist in every respect to Seymour, and had not forgotten
+the tribute which the foolish editor had previously paid to the talents
+and ability of the latter. Conduct like this could only recoil on the
+head of the person who was injudicious and spiteful enough to be guilty
+of it. The "Notices to Correspondents" in subsequent numbers continued
+to be filled with references and allusions to Seymour, dictated by a
+malice which was alike silly and childish. They are not worthy of
+repetition here, and we must refer the reader for them to the numbers of
+"Figaro in London" of 20th September and 15th November, 1834, or (if he
+have not access to its pages) to the short biographical notice prefixed
+to the latest edition of the "Sketches" by Mr. Henry G. Bohn. We have no
+doubt whatever that the interval between these dates was employed in
+fruitless endeavours on the part of A Beckett to arrange terms with the
+artist, who, however, steadily refused to give the failing publication
+the indispensable benefit of his assistance. Left as it were to its own
+resources, the circulation, in spite of the graphic help accorded by
+Robert Cruikshank, steadily declined, and A Beckett finally retired from
+the editorship and proprietorship on the 27th of December, 1834. Seymour
+wielded a far more effectual weapon of offence than any which A Beckett
+possessed, and dealt him blows which at this time and in his then
+circumstances must have been keenly felt. One of Seymour's satires is
+aimed specially at the "Notices to Correspondents" already mentioned,
+and shows us a heavy, vulgar fellow seated at his desk, habited in a
+barber's striped dressing-gown _a la Figaro_. His features are distorted
+with passion, for he has received a letter the contents of which are
+anything but flattering, addressed "To the Editor of the nastiest thing
+in London." This sketch bears the following descriptive title: "An
+editor in a _small way_, after pretending a great deal about his
+correspondents, is here supposed to have received _a_ letter." A second
+skit shows us a critic examining a picture representing "the death of A
+Beckett, Archbishop of Cant." A figure in armour, with its vizor down
+(obviously intended for the artist) is depicted in the act of cutting at
+the "archbishop" with a sword, the blade of which is inscribed "debts
+due." His first blow has severed the mitre labelled "assumption," and
+the pastoral staff, inscribed "impudence," with which the victim vainly
+endeavours to defend himself. "Don't," says A Beckett, as he falls
+prostrate amid a heap of "spoilt paper," among which we recognise,
+"Figaro," "The Thief," "The Wag," and other periodicals with which his
+name was associated. "Don't cut at me 'our own inimitable, our
+illustrious, our talented;' pray don't give me any more cuts; think how
+many I have had and not paid you for already:" a hand indicates the way
+"to the Insolvent Court."
+
+"Figaro," after the retirement of A Beckett, passed into the editorial
+hands of Mr. H. Mayhew, and conscious of the injury which the defection
+of Seymour had done to the undertaking, he lost no time in opening
+negotiations with a view to his return. In this he experienced little
+difficulty, for Seymour was glad to avail himself of the opportunity of
+giving to the public the most convincing proof which could have been
+adduced of the falsity of the libels which had been published by the
+retiring and discomfited editor. The fourth volume commenced 3rd of
+January, and from that time until his death (in 1836) he continued to
+illustrate the paper. Mayhew announces his return after the following
+curious fashion: "The generous Seymour, with a patriotic ardour
+unequalled since the days of Curtius, has abandoned all selfish
+considerations, and yielded to our request for his country's sake. Again
+he wields the satiric pencil, and corruption trembles to its very base.
+His first peace-offering to 'Figaro in London,' is the rich etching
+[woodcut] our readers now gaze upon with laughing eyes." Constant
+references of a laudatory kind are made to him in succeeding numbers.
+
+The woodcuts after Seymour's designs, which appear in "Figaro in
+London," are too small and unimportant to justify the title which the
+editor gives them of "caricatures;" and relating to political matters
+which at that time were far more efficiently chronicled by the pencil of
+H. B., they have lost any interest which they once might have commanded.
+The most interesting illustrations which Seymour contributed to
+"Figaro," are the brief series of theatrical portraits, which are not
+only clever but evidently excellent likenesses.
+
+It was not only in the case of "Figaro in London" that the slanders of A
+Beckett recoiled upon his own head. That gentleman in 1832 had started a
+sort of rival to Hood's "Comic Annual," under the title of the "Comic
+Magazine." It was cheaper in price than the former publication, and
+contained an amazing number of amusing cuts of the punning order, after
+Seymour's designs. After the quarrel with A Beckett, the artist withdrew
+his assistance from its pages, and the illustrations show a fearful
+falling off after 1833. Many of the wretched designs which follow bear
+the signature of "Dank," and so destitute are they of merit that the
+"embellishments" (as they are termed) for 1834, are altogether below
+criticism.
+
+At the opening of the present chapter we said that Robert Seymour was
+_almost_ a genius. Genius, however, he never absolutely touched; he was
+destitute of the inventive faculties which distinguished John Leech, and
+lacked the vivid imagination which enabled George Cruikshank to realize
+any idea which occurred to him, whether comical, grave, realistic, or
+terrible. His talents as an artist, though undoubtedly great, ran in a
+narrow groove, and their bent is shown by the well-known "Humorous
+Sketches," and the less known but far more admirable designs which he
+executed for the "Comic Magazine." He always had a fancy for depicting
+and satirizing cockneys and cockney subjects, and had conceived the by
+no means new or ambitious idea of producing a series of such pictures
+with an appropriate letterpress to be furnished by a literary coadjutor,
+whose work, however, was to be subservient to his own. The idea was not
+perhaps a very definite one, but the pictorial part of the work was
+commenced, and four plates actually etched at the time the artist was
+retained to execute the illustrations to the "Book of Christmas." Out
+of this undeveloped idea, and out of the four apparently unimportant
+drawings to which we have alluded, was destined to evolve the strange
+and melancholy story which will be associated for all time with the
+mirth-inspiring novel of the "Pickwick Papers."
+
+
+  ORIGIN OF "PICKWICK."
+
+The difficulty at the outset was to find an author to carry out the
+artist's idea, indefinite as it was. In this direction there was in
+1836, a very _embarras de richesses_, for, if comic artists were few,
+there was on the other hand no lack of humourists of the highest order
+of merit. Theodore Hook, Clark (the author of "Three Courses and a
+Dessert")--probably many others were suggested by the publishers who
+were taken into consultation by Seymour; but all were rejected. He
+himself seems to have inclined towards Mayhew, with whom it will be
+recollected he was associated at this time on "Figaro in London." The
+man of all others most fitted to carry out the artist's _own_ idea seems
+to us to have been John Poole, one of the most original of English
+humourists, whose productions, now forgotten, are worth searching for in
+the pages of the "New Monthly" and other periodical publications of a
+past day. It is a singular fact, too, that on the first appearance of
+the "Pickwick Papers," the authorship was by many ascribed to this very
+man. In the end, Mr. Chapman, of the firm of Chapman & Hall, introduced
+the artist to one of the most unlikely men for his own purpose that
+could possibly have been selected,--the man, as we have already seen, of
+all others the least fitted and the least disposed to act the part of
+William Coombe to Seymour's character of Thomas Rowlandson.
+
+At this time Charles Dickens was reporter on the staff of a newspaper;
+he had written a book which, although successful, had created no very
+intense excitement; he was moreover a young man, and consequently
+plastic, and fifteen pounds a month would be a small fortune to him; so
+at least argued the artist and his friends. How little they understood
+the resolute, self-reliant character of this unknown writer! The result
+was altogether different from anything they expected. Author and artist
+differed at the outset as to the form the narrative should take; but the
+man with the strongest power of mind and will took his stand from the
+first, and Charles Dickens made it a condition of his retainer that the
+illustrations should grow out of the text, instead of the latter being
+suggested (as Seymour desired) by the illustrations, and the artist had
+reluctantly to give way. No one can doubt that the author was right. By
+way however of a concession, and of meeting Seymour's original idea as
+far as practicable, he introduced the absurd character of Winkle, the
+cockney sportsman. The mode of publication followed was the artist's own
+suggestion, who, desiring the widest possible circulation, insisted on
+the work being published in monthly numbers at a shilling. Thus it was
+that "Pickwick" came to be written.
+
+We are not called on in this place to discuss the merits of "Pickwick";
+to compare Charles Dickens with the writers who had immediately preceded
+him; to enlarge upon the comic vein which he discovered and made so
+peculiarly his own; to show the influence which his humour exercised
+upon the literature of the next quarter of a century; to contrast such
+humour with his wonderful power of pathos; to marshal the shades of
+true-hearted, noble Nell, unhappy Smike, little Paul Dombey, world
+abandoned Joe, and compare them with the Wellers--father and son, Mr.
+Jingle, Tracy Tupman, Bob Sawyer, and the spectacled but essentially
+owlish founder of the "Pickwick Club." All this we fancy has been done
+in another place; our task is altogether of a simpler character. We have
+to trace the connection which subsisted between the artist and author;
+to show how this book--the creation of a writer in the spring-time of
+his genius--the essence of fun, the unfailing source of merriment to
+countless readers past, present, and to come, came to be associated with
+the memory of a terrible and still incomprehensible tragedy.
+
+We have seen that, contrary to his own wishes, Seymour had yielded to
+Charles Dickens' suggestion, or rather condition, that the illustrations
+should grow out of the text; but he does not seem to have abandoned (so
+far as we can judge) all idea of having a hand in the management of the
+story, and he never for one instant contemplated interference on the
+part of the author with any one of his own designs. If we are to believe
+his friends (and their testimony seems to us distinctly valuable in
+this place), he was extremely angry at the introduction into the plot of
+the "Stroller's Tale," and we may therefore fancy the spirit in which he
+would receive Charles Dickens' intimation, conveyed to him in the same
+manner that he afterwards communicated to Cruikshank his disapproval of
+the last etching in "Oliver Twist," that he objected to that etching "as
+not quite _his_ [Dickens'] idea;" that he wished "to have it as complete
+as possible, and would feel personally obliged if he would make another
+drawing." The letter (on the whole a kindly one) has been set out
+elsewhere,[105] and there is no occasion to repeat it here. What other
+causes of irritation existed will never be known. All that is still
+known is, that he executed a fresh design and handed it over to Dickens
+at the time appointed; that he went home and destroyed nearly all the
+correspondence relating to the subject of "Pickwick"; that he executed a
+drawing for a wood-engraver named John Jackson,[106] and delivered it
+himself on the evening of the 20th of April, 1836; that he then returned
+to his house in King Street, Islington, and committed self-destruction.
+He left behind him an unfinished drawing for "Figaro in London," which
+afterwards appeared (in the state in which it was found) in the pages of
+that periodical.
+
+Various reasons have been assigned for this rash act, all more or less
+contradictory. According to some he was a man of equable temperament;
+while others, who knew him personally, have told us that he was nervous
+and subject to terrible fits of depression. Some would trace the act to
+his quarrel with A Beckett; but this is simply absurd, seeing that it
+had occurred some two years before. We need not, as it seems to us,
+travel out of our course to seek the real cause, which was probably due
+to over-work. His energies had been tasked to the utmost to keep pace
+with the supply which his ever-increasing popularity brought him. The
+state of his mind appears to us clearly indicated by his design of _The
+Dying Clown_, one of the last drawings which he etched for the "Pickwick
+Papers," and for which we must refer the reader to the _original_
+edition only; anything more truly melancholy we can scarcely imagine.
+Entirely appropriate to the story, it seems to tell its own tale of the
+morbid state of mind of the man who designed it; it is a pictorial
+commentary on the sad story we have attempted to tell.
+
+[Illustration:
+  ROBERT SEYMOUR. "_Pickwick Papers._"
+
+  "THE DYING CLOWN."
+
+  _Face p. 233._]
+
+A too zealous application to work has destroyed many men both of talent
+and genius; it produces different effects in different individuals,
+according to their respective temperaments: while it drove Robert
+Seymour to frenzy, it killed John Leech--a man of far finer imaginative
+faculties--with the terrible pangs of _angina pectoris_. Differently
+endowed as they were, both belonged to the order of men so touchingly
+described by _Manfred_:--
+
+                 "There is an order
+  Of mortals on the earth, who do become
+  Old in their youth, and die ere middle age
+  Without the violence of warlike death;
+  Some perishing of pleasure, some of study,
+  Some worn with toil, some of mere weariness,
+  Some of disease, and some insanity,
+  And some of wither'd or of broken hearts;
+  For this last is a malady which slays
+  More than are numbered in the lists of fate."[107]
+
+The coadjutorship of distinguished artists and authors has led to more
+than one strange controversy. Those who have read Forster's "Life of
+Dickens" will remember the curious claim which George Cruikshank
+preferred after Dickens' death to be the suggester of the story of
+"Oliver Twist," and the unceremonious mode in which Mr. Forster disposed
+of that pretension. We have referred elsewhere to the edifying
+controversy between George Cruikshank and Harrison Ainsworth, in
+relation to the origin of the latter's novels of the "Miser's Daughter"
+and "The Tower of London." The republication of Seymour's "Humorous
+Sketches" in 1866, led to a very curious claim on the part of his
+friends, in which they sought to establish the fact that he was the
+originator and inventor of the incidents of "Pickwick." This claim
+happily was made while Dickens was yet alive, and was very promptly and
+satisfactorily disposed of by himself in a letter which he wrote to the
+_Athenaeum_ on the 20th of March, 1866. Author and artist have long since
+gone to their rest; and the plan which the author of this work proposed
+when he sat down to write the story of Robert Seymour, was to place that
+artist in the position which he believes him to occupy in the ranks of
+British graphic humourists, and not to rake up or revive the memory of a
+somewhat painful controversy. Of the claim itself we would simply
+remark, that not only was it made in all sincerity by those who loved
+and cherished the memory of Robert Seymour, but that to a certain extent
+the claim has a foundation of fact to rest upon; for who will deny that
+had not Seymour communicated his idea to Chapman, and Chapman introduced
+the artist to Dickens, the "Pickwick Papers" themselves would have
+remained unwritten. In this sense, but in this sense only, therefore,
+Robert Seymour was the undoubted originator of "Pickwick." He was an
+artist of great power, talent, and ability; and it seems to us that
+those only detract from his fame who, in a kind but mistaken spirit of
+zeal, would claim for him any other position than that which he so
+justly and honestly earned for himself, as one of the most talented of
+English graphic satirists.
+
+
+FOOTNOTES:
+
+  [97] "Greville Memoirs." vol. i. p. 180.
+
+  [98] _Ibid._, p. 207.
+
+  [99] His theory, as stated in a book which he published, was this:
+    that as all men are born in moral sin, so they have about them a
+    physical depravity in the form of an acrid humour, which, flying
+    about the system, at length finds vent in diseases which afflict or
+    terminate existence. He professed by the means afterwards explained
+    to bring this acrid humour to the surface, and having thus expelled
+    the cause of disease, to put an end to every bodily ailment.
+
+  [100] In allusion to a complex piece of machinery he said (in his
+    book) he had invented, which when complete would cost him two
+    thousand guineas. This machine, said Long, _alias_ O'Driscoll, "will
+    search all the body, and cut away all the diseased parts, leaving the
+    patient perfectly sound and well."
+
+  [101] We found a curtailed copy of these amusing verses in one of the
+    _jeux d'esprit_ of the time, called "Valpurgis; or, the Devil's
+    Festival" (William Kidd, 6, Old Bond Street, 1831), illustrated by
+    Seymour. With the exception of one immaterial verse, we now give the
+    complete poem; in the ring of the verses the reader will have no
+    difficulty in recognising the hand of the Rev. Richard Harris Barham,
+    subsequently author of the "Ingoldsby Legends."
+
+  [102] Anstey's "Pleader's Guide," Bk. 2nd (1810).
+
+  [103] Colonel Brereton. His conduct afterwards formed the subject of
+    a court-martial, but the unhappy man forestalled the "finding" by
+    committing suicide.
+
+  [104] Mr. a Beckett's strong point was puns; in later days he found a
+    vehicle for these in the well-known "Comic Histories" of England and
+    Rome, illustrated by John Leech. It was his peculiar good fortune
+    always to be associated with artists of the highest ability.
+
+  [105] See Forster's "Life of Dickens."
+
+  [106] In one account of Seymour's death the name of the engraver is
+    given as _Starling_. This is a mistake. The engraving (probably one
+    of the best the unfortunate artist ever executed) represents a sailor
+    captain of Charles the First's time, showing a casket of pearls to a
+    lady of remarkable beauty.
+
+  [107] Act 3, Scene 1.
+
+
+
+
+CHAPTER XI.
+
+_THE POLITICAL SKETCHES OF_ HB.
+
+
+The years 1830-32 were full of political trouble; men's minds were
+unsettled; progress was the order of the day, and a reform in the
+election of the members who represented or who were supposed to
+represent the political opinions of the English constituencies was not
+only loudly called for, but had (as we have seen) for a very long time
+past been imperatively demanded. The question was shelved from time to
+time, but sooner or later it must be settled, and as Liberals and
+Conservatives alike will be amused and astounded at the state of English
+parliamentary representation half a century ago, we propose just to
+glance at matters as they existed in 1830.
+
+The Marquis of Blandford was a somewhat notable character in those days.
+He had been a violent opponent of the Catholic Relief Bill; but from the
+moment that measure was carried had become as fiery and reckless a
+reformer.[108] On the 18th of February, 1830, he proposed that a
+committee should be chosen by ballot to take a review of all boroughs
+and cities in the kingdom, and report to the Secretary of State for the
+Home Department those among them which had fallen into decay, or had in
+any manner forfeited their right to representation on the principles of
+the English constitution as anciently recognised by national and
+parliamentary usage. The Home Secretary was to be bound immediately to
+act on this report, and to relieve all such places from the burthen of
+sending members to parliament in future, and the vacancies were to be
+supplied by towns which had hitherto been unrepresented. All
+parliamentary representatives were to be elected by persons "paying scot
+and lot." He further proposed to extend the right of voting to all
+copyholders and leaseholders, and to place the representation of
+Scotland on an equal footing with that of England. The members were to
+be chosen from the inhabitants of the places for which they were
+returned, and were to be paid for their services according as they were
+borough or county members. The former were to receive two guineas a day
+each, and county members four guineas; why the latter were to be
+estimated at double the value of the former does not seem clear. Mr.
+Brougham, although ready to vote for this somewhat extraordinary
+measure, "because much of what it proposed to do was good," recommended
+that a merely general resolution that reform was necessary should be
+substituted in its place. Lord Althorp moved an amendment accordingly on
+the terms suggested; but both the amendment and the original motion were
+negatived.
+
+On the third reading of what was then known as the "East Retford" bill,
+the first attempt was made in parliament by O'Connell to introduce a new
+principle into the representative system of the country, viz., that the
+votes of the electors should be taken by ballot. Only twenty-one members
+voted for O'Connell's motion, among whom the names now most familiar to
+us are those of Lord Althorp, Sir Francis Burdett, and Mr. Hume.
+
+The most ultra-Conservative, however, of our day, who thinks that the
+representation of the people has already been carried far enough, will
+scarcely credit the fact, that in those days constituencies such as
+Leeds, Manchester, and Birmingham were absolutely unrepresented. Yet
+such was the case. The motion for transferring the franchise of East
+Retford to Birmingham having been lost, Lord John Russell, on the 23rd
+of February, brought the matter of the great unrepresented
+constituencies before parliament by moving for leave to bring in a bill
+"to enable Leeds, Manchester, and Birmingham to return members to the
+House of Commons." It seems scarcely credible to us now-a-days, that
+this reasonable motion was _negatived_ by 188 to 140.
+
+On the 28th of May, O'Connell brought in a wilder scheme. He moved for
+leave to bring in a bill to establish triennial parliaments, universal
+suffrage, and vote by ballot; the simple foundation of his system being
+that every man who pays a tax or is liable to serve in the militia is
+entitled to have a voice in the representation of the country. Only
+thirteen members were found to join him in a house of 332. Lord John
+Russell, who took advantage of this motion to introduce certain
+resolutions of his own, embracing a wider scheme of reform than that
+included in his former programme, could not consent to any part of
+O'Connell's scheme. Dismissing the subject of triennial parliaments as a
+subject of comparative unimportance, and passing on to the other
+propositions, universal suffrage and vote by ballot, he contended that
+both were incompatible with the principles of the English Constitution.
+Mr. Brougham, while he thought that the duration of parliaments might be
+shortened with considerable advantage, provided that other measures for
+removing improper influence were adopted, declared himself both against
+universal suffrage and against vote by ballot; and he entered into a
+full statement of the grounds on which he held that the secresy of
+voting supposed to be attained by the ballot would produce most
+mischievous consequences without securing the object which it professed
+to have in view. The resolutions moved by Lord John Russell (after
+O'Connell's motion had been negatived) were as follows: (1) "That it was
+expedient the number of representatives in the House should be
+increased;" (2) "That it was expedient to give members to the large and
+manufacturing towns, and additional members to counties of great wealth
+and population." Under the second of the resolutions, it was proposed to
+divide large and populous counties, such as Yorkshire for instance, into
+two divisions, and to give to each of them two members. Among the towns
+proposed to be benefited were such important centres as Macclesfield,
+Stockport, Cheltenham, Birmingham, Brighton, Whitehaven, Wolverhampton,
+Sunderland, Manchester, Bury, Bolton, Dudley, Leeds, Halifax, Sheffield,
+North and South Shields; while it was stated that the same principle
+would apply to extend the representation to cities of such importance as
+Edinburgh, Glasgow, and Belfast. All the resolutions, however
+(comprising a third which we have considered it unnecessary to refer
+to), were negatived by the amazing majority of 213 to 117. The fact that
+this was a much larger majority than that which had thrown out the
+previous and more limited proposal for extending the franchise to three
+only of the manufacturing towns, will suffice to show the spirit in
+which the unreformed parliament of 1830 was accustomed to receive any
+suggestion of improvement and reform, reasonable or otherwise.
+
+It may perhaps seem strange that at this stirring period there was an
+absolute dearth of political caricaturists, but the fact we have already
+attempted to account for. George Cruikshank, the finest caricaturist of
+his day, as well as his brother Robert, neither of whom can be described
+as purely political satirists, had now practically retired from the
+practice of the art, and were employed on work of a totally different
+character. Political caricature languished; indeed, if we perhaps except
+William Heath, oftentimes better known by his artistic pseudonym of
+"Paul Pry," there was not a political caricaturist of any note in
+1829-30.
+
+At this juncture there arose a graphic satirist--if indeed we are
+justified in so terming him--of genuine originality. Before 1829, he had
+been known only as a miniature painter of some celebrity; but he
+possessed a taste for satiric art, and had essayed several subjects of
+political character which he treated in a style and manner differing
+altogether from the mode in which satirical pictures had hitherto been
+treated. These he showed to Maclean, one of the great caricature
+publishers of the day, who had sufficient discernment and prescience to
+recognise in them the work of a man of unquestionable original ability.
+He prevailed on the artist to publish these specimens, and their
+success was so genuine and unmistakable that both publisher and artist
+decided to continue them. Thus commenced a series of political pictures
+which ultimately numbered almost a thousand, and ran an uninterrupted
+course of prosperity for a period of upwards of two and twenty years.
+
+The enormous success and reputation which the "sketches," as they were
+called, achieved, was due not only to the cleverness and originality of
+the artist himself, but also in a great measure to the mystery which
+attended their publication and appearance. Both parties concerned in
+their production preserved an inviolable secrecy on the subject of the
+identity of the artist and the place whence the "sketches" originated.
+Mr. Buss tells us,[109] "the drawings were called for in a mysterious
+hackney coach, mysteriously deposited in a mysterious lithographic
+printing office, and as mysteriously printed and mysteriously stored
+until the right day of publication." The HB mystery was most religiously
+preserved for a great number of years, both by the artist and the
+publisher. The initials afforded no clue to those not immediately
+concerned in preserving the secret; and yet in this very original
+monogram lay the key to the whole of the mystery. The origin of this
+signature was simply the junction of two I's and two D's (one above the
+other), thus converting the double initials into HB. The single initials
+were those of John Doyle, father of the late Richard Doyle, who
+afterwards made his own mark as a comic artist in the pages of _Punch_
+and elsewhere.
+
+The "sketches" of HB were a complete innovation upon pictorial satire.
+The idea of satirizing political subjects and public men without the
+exaggeration or vulgarity which the caricaturists had more or less
+inherited from Gillray, was entirely new to the public, and took with
+them immensely; and herein lies their peculiarity, that whilst the
+subjects are treated with a distinctly sarcastic humour, there is an
+absence of anything approaching to exaggeration, and the likenesses of
+the persons represented are most faithfully preserved. Whilst claiming
+for himself the character of a pictorial satirist, the artist is all
+throughout anxious to impress upon you the fact that he repudiates the
+notion of being considered a caricaturist in the Johnsonian meaning of
+the word. This _idea_ seems also to have struck Thackeray, who, writing
+at the time when the sketches were appearing, says of him, "You never
+hear any laughing at 'H.B.'; his pictures are a great deal too genteel
+for that,--polite points of wit, which strike one as exceedingly clever
+and pretty, and cause one to smile in a quiet, gentlemanlike kind of
+way."[110] Throughout the series of sketches we know but of one instance
+where the artist suffers any comparison to be established between
+himself and the political caricaturists who had preceded him, and that
+is the one entitled _Bombardment Extraordinary_ (having reference to the
+indictment for libel against the _Morning Journal_, which was shortly
+followed by the collapse of that paper), which is treated to the full as
+coarsely as Gillray himself might desire. The fact of this being among
+the earliest sketches would seem to show that the artist had not then
+quite made up his mind whether to follow in the footsteps of his great
+predecessor or not. We think the result must have convinced him that,
+whilst having distinct merits of his own as a satirist, and indeed as an
+artist, he was very far behind Gillray; and the rest of the sketches
+seem to show that their designer had made up his mind that no middle
+course was possible;--in other words, that he must be HB or nothing.
+
+The faithfulness of the likenesses of the persons who appear in these
+"sketches" is simply marvellous. Not only has the artist preserved the
+features of the subjects of his satires, but he has caught their
+attitude--their manner, almost their tricks and habits,--and the
+drawings being, as we have said, wholly free from exaggeration, the very
+men stand before you, often, it is true, in absurd and ridiculous
+positions. The persons who figure in these lithographs comprise among
+names of note many whose reputations were too ephemeral to preserve
+them from oblivion. On the other hand, amongst the various groups we
+recognise Prince Talleyrand, the Dukes of Cumberland, Gloucester,
+Wellington, and Sussex, George the Fourth, William the Fourth, Louis
+Philippe, her present Majesty, Lord Brougham, Colonel Sibthorpe, Count
+Pozzo di Borgo, Daniel O'Connell, Lord John Russell, Sir Robert Peel,
+Mr. Hume, Lord Melbourne, Lord Palmerston, Sir Francis Burdett, Mr.
+Roebuck, Sir James Graham. Persons with no political reputation or
+connection are occasionally introduced to serve the purposes of the
+artist: doing duty for him in this manner we find the Rev. Edward
+Irving; Townsend the "runner," of Bow Street notoriety; George Robins,
+the auctioneer; Liston, the comedian; and others.
+
+Ever on the alert for comic subjects, John Doyle was remarkably prompt
+and ready to catch an idea. Frequently these ideas were suggested to him
+by a phrase--a sentence--a few words in a speech; occasionally he takes
+a hint from his Lempriere; whilst not unfrequently his happiest
+conceptions are derived from a character or scene in one of the popular
+operas or farces of the time. Thus, in one of the debates on the Reform
+Bill in the House of Lords, some very high words passed between Lords
+Grey and Kenyon, the latter applying the words "abandoned" and
+"atrocious" to the conduct of the former, who on his part declared in
+reply that he threw back the expressions with scorn and indignation. In
+the midst of the confusion the Duke of Cumberland rose, and implored
+their lordships to tranquillize themselves and proceed with the debate
+in a temperate and orderly manner, advice which, after taking time to
+cool, they thought it prudent to follow. The farce of "I'll Be Your
+Second" was then running at the Olympic, Mr. Liston taking the part of
+"Placid," who, having a pecuniary interest in one of the characters who
+has a weakness for duelling, is kept in a state of nervous anxiety, and
+constantly interposes with the question, "Can't this affair be
+arranged?" In one of his "sketches," HB gives us _A Scene from the Farce
+of "I'll Be Your Second,"_ in which the Duke of Cumberland is
+represented as Placid, endeavouring to arrange matters amicably between
+my Lords Kenyon and Grey.
+
+
+  DUKE OF CUMBERLAND.
+
+The duke himself was one of the most unpopular personages of his time,
+and evinced on his part a contempt for public opinion which did nothing
+to lessen the prejudice with which he was generally regarded. We dislike
+a man none the less for knowing that he is conscious of and indifferent
+to our good or bad opinion; and so it was with the Duke of Cumberland.
+He followed his pleasure (field sports amongst the rest) with a serene
+and happy indifference to all that the world might think or say about
+him. This characteristic of his Royal Highness is satirized in another
+of the "sketches," where he is supposed to sing "My Dog and My Gun," as
+"Hawthorn," in the then popular opera of "Love in a Village." His Royal
+Highness made himself a remarkable character in those smooth-faced days
+by wearing a profusion of whisker and moustache perfectly white. A
+rumour somehow got abroad and was circulated in the tittle-tattle
+newspapers of the time, that at the instance of some fair lady he had
+shaved off these martial appendages. The cavalry for some unexplained
+reason were the only branch of the service who were then permitted to
+wear moustaches, and in one of his sketches, the artist places the
+smooth-shaved duke in the midst of his brother officers, who regard him
+with the greatest horror and amazement.
+
+The Ministry which succeeded that of the Duke of Wellington had entered
+office under express declaration that they would forthwith apply
+themselves to the reform of the representation of the people; and
+accordingly, on the 1st of March, 1831, a bill for that purpose was
+actually introduced by Lord John Russell; but the strength and violence
+of the opposition which could still be mustered against it may be judged
+by the fact, that the second reading was carried by the hopeless
+majority of _one_ in the fullest house that had ever been assembled. A
+dissolution took place shortly afterwards, and the avowed intention of
+such dissolution had been to obtain from the people at the general
+election (which followed) a House of Commons pledged to support the
+Reform Bill; indeed, the only test by which candidates were tried, was
+their expressed pledge to support this particular measure. On the 24th
+of June, 1831, Lord John Russell again moved for leave to bring in a
+bill to amend the representation of England, and the difference in the
+result obtained by the election is conclusively shown by the fact, that
+the votes for the second reading were 367 against 231. On the 13th of
+July it passed into Committee, and on the 7th of September, the bill as
+amended in Committee was reported to the House; the majority in favour
+of the motion for passing it was found to be 109, the ayes being 345,
+and the noes 236.
+
+
+  THE REFORM BILL THROWN OUT BY THE LORDS.
+
+The Reform Bill next day was carried up to the Lords by Lord John
+Russell, attended by about a hundred of its staunchest supporters in the
+lower House. These gentlemen appear to have adopted the unusual mode of
+exciting the attention of the peers and giving to the function they were
+performing a striking and theatrical character, by accompanying the
+delivery of the bill to the Lord Chancellor with their own
+characteristic "Hear, hear." A cry of "order" recalled them to a sense
+of the presence in which they stood. In Doyle's contemporary sketch of
+_Bringing up our Bill_, this incident is referred to. Lord Chancellor
+Brougham stands at the bar of the House to receive it from the hands of
+the member who leads the deputation (Lord John Russell); behind him we
+see Lord Althorp, the Marquis of Chandos, and the Right Hon. John Wilson
+Croker, who exchange signs with their fingers, showing that the
+proceeding does not altogether meet with their approval. In the
+background may be seen Sir Charles Wetherell, hated of the reformers of
+Bristol, looking as opposed to the measure as ever; the bill, as we
+know, was thrown out by the Lords in October, by a majority of 41. The
+same month, its enthusiastic advocate, the Rev. Sydney Smith, at a
+reform meeting at Taunton, compared the attempt of the House of Lords to
+stop the progress of reform to a certain fictitious Dame Partington of
+Sidmouth, who had essayed during the progress of the great storm to
+arrest the progress of the Atlantic with her broom. "The Atlantic was
+roused," said the wit; "Mrs. Partington's spirit was up; but I need not
+tell you that the contest was unequal. The Atlantic Ocean beat Mrs.
+Partington." Immediately after this speech appeared the sketch of _Dame
+Partington and the Ocean of Reform_, in which the character of the
+apocryphal and obstinate dame is sustained by that vigorous opponent of
+the Reform Bill, his grace the Duke of Wellington.
+
+
+  A DEAD LOCK.
+
+As the Lords had thrown out the Reform Bill, it was necessary to begin
+_de novo_. Accordingly, on the 12th of December, Lord John Russell again
+moved for leave to bring in a new Reform Bill, which passed the third
+reading by a majority of 116 on the 23rd of March, 1832, and its second
+reading in the House of Peers, by a majority of nine, on the 14th of
+April. Then the fighting and opposition became once more as strenuous
+and as sustained as ever. On a subsequent division the ministry were
+left in a minority of thirty-five, whereupon Earl Grey proceeded to the
+king, and tendered to his Majesty the alternative either of arming the
+ministers with the powers they deemed necessary to carry through their
+bill (which really meant a power to create whatever new peers they might
+deem requisite for the purpose), or of accepting their own immediate
+resignation. In the course of the following day the king informed his
+lordship that he had determined to accept his resignation rather than
+have recourse to the only alternative which had been proposed to him;
+and accordingly, on the 9th, Earl Grey announced in the House of Lords,
+and Lord Althorp in the Commons, that the ministry was at an end, and
+simply held office till their successors should be appointed. The Duke
+of Wellington attempted to form an administration, and failed--and his
+failure left matters, the ministers, and the perplexed monarch, of
+course exactly "as they were."
+
+The excitement occasioned by the Lords was tremendous. At London,
+Birmingham, Manchester, and other large centres, simultaneous meetings
+were held to petition the Commons to stop the supplies. In the
+metropolis placards were everywhere posted, recommending the union of
+all friends of the cause; the enforcement of the public rights at all
+hazards; and a universal resistance to the payment of taxes, rates,
+tithes, and assessments; the country in fact was on the brink of
+revolution. At the meetings of the political societies, even in the
+leading journals, projects were openly discussed and recommended for
+_organizing_ and _arming_ the people; the population of the large towns
+was ready to be launched on the metropolis. "What was to be done--peers
+or no peers? A cabinet sat nearly all day, and Lord Grey went once or
+twice to the king. He, poor man, was at his wits' end, and tried an
+experiment (not a very constitutional one) of his own by writing to a
+number of peers, entreating them to withdraw their opposition to the
+bill."[111] The letter to which Mr. Charles Greville refers is evidently
+the following circular:--
+
+  "ST. JAMES'S PALACE, _May 17th, 1832_.
+
+  "MY DEAR LORD,--I am honoured with his Majesty's command to acquaint
+  your lordship, that all difficulties to the arrangements in progress
+  will be obviated by a declaration in the House to-night from a
+  sufficient number of peers, that in _consequence of the present state
+  of affairs_, they have come to the resolution of dropping their
+  further opposition to the Reform Bill, so that it may pass without
+  delay, and as nearly as possible in its present shape.
+
+  "I have the honour to be yours sincerely,
+
+     "HERBERT TAYLOR."
+
+Such a request, coming from such a quarter, was not only weighty in
+itself, but necessarily implied after all that had taken place, that his
+Majesty suggested this course as the only means of avoiding the creation
+of a large number of additional peers. The majority of the House were
+thus placed in the unenviable position of being compelled to choose
+whether they would see a hundred members added to the number of their
+opponents to carry a measure which was hateful to them, or to abandon
+for a time their rights, privileges, and duties as legislators. They
+chose the latter alternative, and during the remainder of the discussion
+on the bill, not more than between thirty and forty attended at any one
+time. By this means, and this only, the bill was eventually carried.
+
+On these grounds John Doyle appears to have founded his theory that
+William the Fourth was a sincere convert to Reform.[112] In one of the
+"sketches" he shows us his Majesty in the character of Johnny Gilpin
+carried along at headlong speed by his unmanageable _grey_ steed
+"Reform." He flies past the famous hostelry at Edmonton, where his wife
+and her friends (represented by the Duke of Wellington and a party of
+Tories) are anxiously awaiting his arrival. The turnpike-keeper (John
+Bull) throws open the gate to let him pass, too delighted with the fun
+to think of any personal expense to himself, and conscious that if the
+gate is shut the inexpert horseman must come to unutterable grief. The
+bottles dangling at Gilpin's waist are filled with "Birmingham froth"
+and "Rotunda pop," in allusion to the stump oratory of the Birmingham
+Political Union and the Rotunda in Blackfriars Road. Hume and O'Connell,
+the ardent supporters of the bill, cheering with might and main, closely
+follow John on horseback; while Sir Francis Burdett and Sir T. C.
+Hobhouse, equally ardent advocates of Reform, join the cry on foot. The
+frightened geese with coroneted heads represent, of course, the peers,
+who had offered such determined opposition to the measure, while the old
+apple woman rolling in the mud is no other than poor Lord Eldon. The
+bird of ill-omen foretelling disaster is Mr. Croker, Secretary to the
+Admiralty. Later on the same year (1832), we find his Majesty
+represented as Mazeppa bound to the _grey_ steed Reform, several of the
+Conservative members of either houses of Parliament doing duty as the
+wolves and "fearful wild fowl" that accompany the rider in his perilous
+course. In another satire, the king, supposed to have discovered his
+mistake, figures as Sinbad the Sailor, vainly endeavouring to shake
+himself free of the old man of the sea (Earl Grey), who however is too
+firmly seated on his shoulders to be dislodged.
+
+
+  UNPOPULARITY OF THE DUKE OF WELLINGTON.
+
+The Duke of Wellington's political convictions having prompted him to be
+among one of the leading opponents to the Reform Bill, he narrowly
+escaped serious injury at the hands of the London rabble. On the 18th of
+June, 1832, having occasion to pay a visit to the Mint, a crowd of
+several hundred roughs collected on Tower Hill to await his return; and
+on making his appearance at the gate he was hissed and hooted by the
+crowd, who followed him along the Minories yelling, hooting, and using
+abusive language, their numbers and threatening demeanour momentarily
+increasing. About half-way up the Minories he was met by Mr. Ballantine,
+the Thames police magistrate, who asked him if he could render him any
+assistance; but the cool, courageous soldier simply replied that he did
+not mind what was going on. When his grace had got to about the middle
+of Fenchurch Street, one of the cowardly ruffians rushed out of the
+crowd, and seizing the bridle with one hand attempted to dismount the
+duke with the other, in which he would have succeeded but for the
+courageous conduct of the groom and a body of city police, who
+opportunely made their appearance at the time. The mob had now grown as
+numerous as it was cowardly; but by the exertions of the police, his
+grace was escorted through it and along Cheapside without sustaining
+personal injury. In Holborn, however, the rabble, growing bolder, began
+to throw stones and filth, and the duke, followed by the _canaille_,
+rode to the chambers of Sir Charles Wetherell, in Stone Buildings,
+Lincoln's Inn, where he remained, till a body of police arrived from Bow
+Street, by whom he was escorted in safety to Apsley House. To make the
+outrage more disgraceful, if possible, it happened on the anniversary of
+the crowning victory of Waterloo; the mob, forgetting in their
+unreasoning wrath the priceless services the great soldier had rendered
+to the nation, whilst the cowardly rascals who composed it were the very
+persons who could by no possibility be benefited by the provisions of
+the bill in which they professed to take so great an interest. On the
+night of the illumination which followed the passing of the Act, they
+broke the windows of his grace and other opponents of the measure; and
+in one of the contemporary HB sketches, _Taking an Airing in Hyde Park_,
+the duke is seen looking out of one of his broken window-panes. Before
+the end of the year he was visited by serious illness, and the angry
+feelings his opposition to the measure had provoked, and which had been
+gradually subsiding, were suddenly followed by a complete reaction in
+his favour. HB commemorates this in his sketch of _Auld Lang Syne_,
+which shows the happy reconciliation between John Bull and the hero of
+Waterloo.
+
+
+  DUEL BETWEEN THE DUKE OF WELLINGTON AND LORD WINCHELSEA.
+
+Consistently and conscientiously as the great duke had opposed what he
+considered the revolutionary tendency of the Reform Bill, it must not be
+forgotten that it is to him that the Catholics owe the benefits of the
+Act of 1829, which relieved them of the disabilities under which they
+had so long suffered; and it must not be forgotten too, that in this
+measure he had not only to contend with his own repugnance to Catholic
+emancipation, but also with that of his chief colleagues,--of the great
+majority of the House of Lords, and of the king himself. With the latter
+indeed his task had been a very difficult one; and it was only a few
+days before the meeting of Parliament in the early part of 1829, that
+the consent of George the Fourth had been obtained. Among the most
+strenuous of the duke's opponents to the Catholic Relief Bill was the
+Earl of Winchelsea, who, in the unreasoning bitterness of his anger,
+shut his eyes to the injustice under which the Catholics had so long
+suffered, and most unwarrantably charged his grace with an intention "to
+introduce Popery into every department of the State." These words led to
+a hostile meeting in Battersea Fields on the 21st of March, 1829. Lord
+Winchelsea, after receiving the duke's fire, discharged his pistol in
+the air, and there the affair ended, his second delivering a written
+acknowledgment expressing his lordship's regret for having imputed
+disgraceful motives to the conduct of the duke, in his pro-Catholic
+exertions. Twelve months afterwards, on the 2nd of April, 1830, Richard
+William Lambrecht was indicted at Kingston assizes for the murder of
+Oliver Clayton, whom he had shot in a duel in Battersea Fields on the
+preceding 8th of January. Lambrecht had a narrow escape, for the judge
+in his summing up told the jury that if they were of opinion that the
+accused met Clayton "on the ground with the intention, if the difference
+could not be settled, of putting his life against Clayton's, and Mr.
+Clayton's against his," the prisoner was guilty of wilful murder; and
+the jury, finding on application to the learned judge that there were no
+circumstances in the case to reduce the crime to manslaughter, by way
+apparently of getting out of the difficulty, returned a verdict of _not
+guilty_. This incident suggested the sketch entitled _A Hint to_
+_Duellists_, in which the unsparing satirist places the duke in
+Lambrecht's unenviable position before Mr. Justice Bailey, from whose
+lips are proceeding a portion of the charge which he actually delivered
+to the jury at the trial at Kingston assizes. Even the duke, impassive
+as he appeared, must have felt the justice of this unsparing but
+admirable sarcasm.
+
+Another member of the royal family who frequently figures in the
+"sketches" is the Duke of Sussex. He was a man of large frame, and as
+remarkable for the blackness of his whiskers as the Duke of Cumberland
+was conspicuous for the bleached appearance of these hirsute adornments.
+At a meeting of the council of the London University, he is reported to
+have said that for the promotion of anatomical science he should have no
+personal objection to dedicate his own body after death to the College
+of Surgeons for the purposes of dissection. This hint was enough of
+course for HB, and his royal highness accordingly figures in a
+contemporary satire as _A great Subject_ "_Dedicated to the Royal
+College of Surgeons_."
+
+
+  SIR FRANCIS BURDETT.
+
+Another prominent personage of HB's time, and a singular instance of the
+change which frequently takes place in the political convictions of
+public men, was Sir Francis Burdett. Commencing his career as an ardent
+radical and reformer intolerant of abuses, he finished it and astonished
+his former supporters by being returned for Westminster in the
+Conservative interest. The political conduct of this once celebrated man
+is of so unusual a character that a short recapitulation of his career
+seems necessary, in order that the reader may understand the satires we
+are about to describe. Notwithstanding his expressed views in support of
+absolute purity of election, his own election for Middlesex in 1802-4,
+is said--what with the expenses and subsequent litigation--to have cost
+him upwards of one hundred thousand pounds. On the 5th of May, 1807, he
+was challenged by and fought a duel with Mr. James Paull, on Wimbledon
+Common, the cause of quarrel being Sir Francis's refusal to act as
+chairman at a gathering of Paull's supporters at the Crown and Anchor
+Tavern, Westminster, in April. The duel terminated in both the
+principals being seriously wounded. The same year he was returned to
+Parliament to serve as member for Westminster, which constituency he
+continued to represent for nearly thirty years. Perhaps the greatest
+event of his life was his committal to the Tower under the Speaker's
+warrant for a libellous letter published in _Cobbett's Political
+Register_, of 24th March, 1810, in which he questioned the power of the
+House to imprison delinquents. He at first resisted the execution of the
+warrant, and being a favourite with the mob, a street contest ensued
+between the military and the people, in which some lives were lost. In
+1818, we find him moving for annual parliaments and universal suffrage,
+when the House divided with the result of 100 to 2, the minority being
+composed of the mover and seconder--that is to say, himself and Lord
+Cochrane. In 1820, he was found guilty at Leicester of a libel on
+Government in a letter to his constituents reflecting on the Manchester
+outrage of the preceding year; a new trial was moved for by himself, but
+this was refused, and he was sentenced the following February to three
+months' imprisonment, and to pay a fine of L2,000. In March, 1825, his
+resolutions for the relief of the Irish Catholics were carried by a
+majority of 247 to 234; but in later life his restless spirit gradually
+calmed down, and after the appointment of the Melbourne Ministry in
+1835, he surprised and disgusted his party by going into opposition,
+principally (as he alleged) on account of the court which they paid to
+O'Connell and his followers in their agitation against the Irish
+Established Church. For some time previous to the sketch we are about to
+describe he had absented himself from the House, and otherwise shown his
+distaste for the persons and principles of the leading men of the party
+to which he had formerly belonged. The busy-bodies who professed to be
+the exponents of public opinion in Westminster, pressed him for an
+explicit statement of his views, and eventually called upon him to
+resign, and he took them directly at their word. The person brought
+forward to oppose him was John Temple Leader, then member for
+Bridgwater, a name which suggested to the artist the pictorial pun of
+_Following the Leader_, the "followers" being Lord Melbourne, Lord John
+Russell, Lord Palmerston, Mr. O'Connell, Sir J. Hobhouse, Mr. Hume, and
+Sir William Molesworth. Notwithstanding the exertions of the ministers
+and their friends to secure the election of Mr. Leader, that gentleman
+was not only beaten by a very considerable majority, but lost as a
+natural consequence his seat for Bridgwater, a fact which suggested to
+the artist another able sketch, _The Dog and the Shadow_. The election
+itself forms the subject of _A Race for the Westminster Stakes_, in
+which the aged thoroughbred (Sir Francis), ridden by Lord Castlereagh,
+beats the young horse Leader, jockey Mr. Roebuck. Among the backers of
+the losing horse, Daniel O'Connell and Joseph Hume may be easily
+detected by the lugubrious expression of their faces. The sketch of _A
+Fine Old English Gentleman_ was suggested by a remark made by the
+_Times_ during the progress of the contest, in which it described Sir
+Francis as "a fine specimen of the old English gentleman." In the
+left-hand corner of this sketch the artist has placed a picture of the
+Tower of London, by way of reminder of the days when the baronet was
+regarded not so much in the light of "a fine old English Gentleman" as a
+radical of the most advanced type, and as a martyr in the cause of
+public liberty.
+
+
+  CHANGES IN POLITICAL OPINION.
+
+A change of opinion however is obviously a necessary incident of
+political life, and we have ourselves witnessed some remarkable
+instances of such versatility in our own days. In some cases these
+changes are only temporary or partial, in others they are radical and
+complete; sometimes they are dictated by conviction, at others by
+necessity; occasionally they seem to be the result of absolute caprice;
+while in not a few instances, I fear, we should not be very far wrong in
+assigning them to feelings of disappointment or personal or political
+pique. This tergiversation in public men forms the subject of one of
+HB's happiest inspirations. In 1837 there appeared at the Adelphi
+Theatre an American comedian named Rice, the forerunner of the Christies
+and other "original" minstrels of our day, who sang in his character of
+a nigger a comic (?) song, which, being wholly destitute of melody, and
+even more idiotic than compositions of that kind usually are, forthwith
+became exceedingly popular, being groaned by every organ, and whistled
+by all the street urchins of the day. This peculiar production, which
+was known as "Jim Crow," was accompanied by a characteristic double
+shuffle, while every verse concluded with this intellectual chorus:--
+
+  "Turn about, and wheel about,
+     And do just _so_;
+   And every time I turn about,
+     I jump Jim Crow."
+
+In _Jim Crow Dance and Chorus_ (the title of the sketch referred to), we
+find the leading men of all parties assembled at a ball, engaged in the
+new saltatory performance initiated by Mr. Rice. In the left-hand corner
+we notice Lord Abinger, formerly Sir James Scarlett, a Whig, who growing
+tired of waiting for the advent of 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 this self-satisfied
+aristocratic-looking personage not many years before had distinguished
+himself as the most prominent of radical malcontents, and had been drawn
+by his enthusiastic dupes through the city of Westminster in a triumphal
+car, decorated with the symbols of liberty, and preceded by a banner
+bearing the inscription, "Westminster's Pride and England's Glory."
+
+The queer figure in the cocked hat is Sir de Lacy Evans, who figures as
+one of the dancers in allusion to his practice as compared with his
+professions. In 1833 he obtained a seat for Westminster, triumphing over
+his opponent Sir J. C. Hobhouse, who for fifteen years had represented
+that constituency, both candidates professing to be zealous advocates
+for the abolition of flogging in the army. Sir de Lacy nevertheless,
+when commanding the British Legion at St. Sebastian, "jumped Jim Crow"
+by flogging his soldiers without mercy. Lord John Russell once sneered
+at every project of Reform, but his Lordship, as we have seen, "jumped
+Jim Crow" by repeatedly introducing the Reform Bill into the House of
+Commons, which was mainly passed by his persistent exertions; very
+properly, therefore, Lord John figures in HB's clever sketch among the
+most prominent of "Jim Crow" double shufflers.
+
+
+FOOTNOTES:
+
+  [108] These political changes, as we shall presently see, are by no
+    means uncommon. William Cobbett, for instance, in 1801 supported the
+    principles of Pitt, but in 1805, from a "Church and King" man, he
+    became and continued an ardent liberal.
+
+  [109] "English Graphic Satire," by R. W. Buss.
+
+  [110] _Westminster Review_, June, 1840.
+
+  [111] Greville's "Memoirs," ii. p. 303.
+
+  [112] This was the idea of all Tories of the day. The terrible effects
+    of the Reform Bill were amusingly predicted by John Wilson Croker to
+    the king himself; they have not of course been fulfilled. See
+    "Journal of Julian Charles Young" (Memoir of Charles Mayne Young,
+    vol. i. p. 231).
+
+
+
+
+CHAPTER XII.
+
+_THE POLITICAL SKETCHES OF_ HB (_Continued_).
+
+
+  LORD JOHN RUSSELL.
+
+Sydney Smith said of little Lord John Russell, that he was "ready to
+undertake _any_thing and _every_thing--to build St. Paul's,--cut for the
+stone,--or command the Channel fleet," and this satire of the wit was
+true. He tried politics and he tried literature, and few people will say
+that he was entirely successful at either. As a politician, for
+instance, his general capacity for getting himself and his party into a
+mess, earned from the most intellectually powerful of his political
+opponents the enduring title of "Lord Meddle and Muddle." He has not
+been dead very long, yet what reputation has he left behind him as a
+dramatist--novelist--historian--biographer--editor--pamphleteer, all of
+which _roles_ he essayed at some time or other of his long and eventful
+career? His _Nun of Arronca_ (1822) fetches it is true an exceedingly
+high price, because having been rigidly suppressed by its author it is
+now exceedingly rare. The best that can be said of Lord John--and that
+is saying a great deal--is, that he was a consistent Liberal according
+to his lights, and that to him belongs the honour and glory of bringing
+about the great measure of Reform, which, as we have seen, was, mainly
+through his instrumentality, accomplished in 1832.
+
+Lord John, as might have been expected, frequently appears in the
+"political sketches" of HB. He cuts an amusing figure in one where
+_Jonah_ (Lord Minto) is about to be thrown overboard by Lords Lansdowne,
+Palmerston, and Duncannon, by order of the captain (Lord Melbourne), to
+appease the storm raised by Lords Brougham and Lyndhurst in reference to
+a rumour that Lord Minto (First Lord of the Admiralty), had instructed
+British cruisers to stop all Sardinian vessels carrying warlike stores
+for Don Carlos. Lord John, while clinging to the mast behind, and
+viewing with terror the impending fate of his colleague, evidently
+solaces himself with the conviction that his own weight is too
+insignificant to have any material effect upon the safety of the ship.
+Minto owed his safety to the Duke of Wellington, who therefore figures
+in the sketch as the whale; for, although convinced that his lordship
+had been imprudent, he successfully resisted Brougham's motion for a
+copy of the instructions, and thereby succeeded in lodging poor Jonah on
+dry land.
+
+
+  STAMP DUTY ON NEWSPAPERS.
+
+One of the "sketches" in which Lord John Russell figures reminds us of a
+remarkable discussion which possesses considerable interest for every
+reader of the cheap newspapers of to-day. The Chancellor of the
+Exchequer (the Right Hon. Thomas Spring Rice) in opening his budget on
+the 6th of May, 1836, showed a disposable surplus of L662,000 only,
+which he proposed (in the usual way) to apply towards the reduction of
+taxation. He proposed, in the first place, to consolidate the paper
+duties and to reduce their amount in a manner which he proceeded to
+explain; and after accounting for L200,000, the balance of the surplus
+he intended to apply to the reduction of the stamp on newspapers. The
+duty minus the discount was fourpence, which he proposed to reduce to a
+penny, and to give of course no discount. The reader must not suppose
+from the foregoing, however, that all the proprietors of newspapers of
+that day paid the duty; on the contrary, the large majority evaded it in
+every possible way. The measure in fact was intended as much as a
+protection to the revenue as anything else, for the sale of unstamped
+newspapers throughout the country had become so extensive that no series
+of prosecutions was found effectual to put them down. Every sheet, it is
+true, professed to bear on it the printer's name; but the name so
+appended was in six cases out of eight a false one. Exchequer processes
+were issued; all the power of the law was set in motion; in the course
+of three weeks three hundred persons had been imprisoned for selling
+unstamped papers in the streets, but without in the slightest degree
+repressing the illegal sale. The Chancellor argued that the loss which
+the revenue would sustain in the first instance would be more than
+compensated by the enormous increase of duty to be obtained from the
+enlarged circulation; from the additional duty arising from the greater
+consumption of paper; and from the very large increase which might be
+expected from the produce of the duty on advertisements.
+
+The opponents of the measure were of three classes: first, those who
+looked upon the proposal as radical and subversive; secondly, those who
+because a reduction is suggested in one quarter invariably consider it
+the correct thing to propose it in another; and lastly, the owners of
+the established newspapers of the day. The arguments of the first class
+assumed the following form: "In proportion as any political party
+approaches more or less towards pure democracy and the right divine of
+mere numbers, its interests will require that the means should be
+increased of disseminating among the lower classes, and as nearly
+gratuitously as possible, the exciting and poisonous food which is at
+last to end in the revolutionary fever."[113] The second class, strange
+to say, rested their hopes in this instance on the singularly slippery
+basis of _soap_. Sir C. Keightley moved (on the 20th of June) that
+instead of diminishing the stamp duty on newspapers, the duty on hard
+and soft soap should be reduced. The reduction of such duty would, he
+argued, by aiding cleanliness, promote the health and comfort of the
+people, while the lowering of newspaper stamps would do nothing of the
+kind, but would tend rather to introduce a cheap and profligate press,
+"one of the greatest curses which could be inflicted on humanity." He
+contended, moreover, that it was absurd to argue that the poor were
+debarred from reading the public prints, when in a coffee shop, for
+three-halfpence, they could obtain a cup of coffee and a sight of every
+newspaper published in London. Mr. Barclay, one of the members for
+Surrey, thought it impossible for any reasonable being to hesitate
+between the relative virtues of newspapers and soap; and as for the
+Chancellor of the Exchequer, he could not believe for one moment that if
+left to his own unaided judgment he would hesitate to give his
+preference to the latter. The Chancellor nevertheless avowed in the
+plainest terms his preference for newspapers, and his conviction of the
+advisability of an immediate reduction in the stamp duty; the result,
+after the lapse of less than forty years, has conclusively proved the
+wisdom of the measure which he succeeded in carrying.
+
+
+  CURIOUS ARGUMENTS OF THE NEWSPAPER PROPRIETORS.
+
+Newspaper proprietorship was then a monopoly; and the argument by which
+the rich proprietor, the representative of the third class of opponents,
+sought to maintain his monopoly cannot fail to amuse the newspaper
+reader of to-day. The monopoliser who, to maintain the character of his
+paper and to supply the public with the best and earliest information,
+incurred the expense of procuring parliamentary reports, obtaining
+foreign intelligence, anticipating the arrival of the post by expresses,
+and by having correspondents in every quarter of the world where matters
+of interest were going forward, said, that should the measure pass, he
+must thenceforth either be content to lower the tone of the public press
+by not giving the same amount of accurate intelligence, or must carry on
+the contest with those who went to no expense at all. "The result would
+be not only the ruin of the property of the newspaper proprietors and
+the destruction of their property, but it would be something much more
+fatal to the general interests of the country, for the editors of the
+present respectable papers would not be able to compete with these
+predatory publications, and would be compelled to forego that extent of
+information which was then so accurately given. We should have the
+newspaper press"--mark this, ye omnivorous readers of to-day, who
+commence with _The Times_, adjourn to the _Telegraph_, peruse the pages
+of the _Morning Post_, wander through the columns of the _Daily News_,
+and finish off with the express edition of the _Globe_ or _Evening
+Standard_, reserving your _Saturday Review_, your _Truth_, and your
+_Vanity Fair_ for Sunday solatium--"we should have the newspaper press
+simply reduced to this state: that no longer would there be a regular
+and correct supply of information to the public respecting the debates
+of Parliament or _other important matters, but there would be only such
+an amount and such a description of information as could be furnished
+upon the inaccurate data of a man who would not go to any expense in the
+use of the means at present employed_." These were the views of the
+newspaper proprietors of 1836, as expounded by that respectable but
+distinctly Tory authority, "The Annual Register."[114]
+
+The measure of the Chancellor of the Exchequer, of which we have
+attempted the foregoing explanation, appears to have suggested to John
+Doyle his sketch of _The Rival Newsmongers_, in which the leading men of
+all parties are represented in the act of endeavouring to force the sale
+of their own journals. The scene is supposed to be enacted in front of
+the Elephant and Castle, where we find the "Union Coach" waiting to take
+up passengers,--the three who occupy the roof being a Scotchman,
+indicated by his bonnet and plaid, Paddy by his shocking bad hat, while
+in the portly, jolly-looking party next him we have no difficulty
+whatever in recognising honest John Bull. The three are listening to the
+appeals of O'Connell, close to whom is Mr. Roebuck, and behind him again
+Mr. Hume. Sir Roger Gresley addresses himself to the insides, and the
+person holding up his paper to the special notice of John Bull is the
+Marquis of Londonderry. The driver of the coach is Lord Melbourne, and
+the ostler little Lord John Russell.
+
+
+  LORD BROUGHAM.
+
+The public man who perhaps of all others earned and deserved his place
+in the pictorial satires of the nineteenth century was emphatically
+Brougham. The verdict of posterity on this restless but unquestionably
+brilliant man of genius must of necessity be a somewhat disappointing
+one; he aimed at being nothing less than an Admirable Crichton, and such
+a character in the nineteenth century, when every public man must be
+more or less talented, more or less brilliant, would be an impossibility
+even to a genius. A rival lawyer and political opponent, Sir Charles
+Wetherell is reported to have said of him that he knew a little of
+everything but law; and although this statement was spiteful and untrue,
+there is no doubt of the truth of Mr. Greville's remarks, that his duty
+as Chancellor was confined to appeals which _must_ come before him,
+lunacy and other matters over which he had sole jurisdiction, and that
+"nobody ever thought of bringing an original cause into his court."[115]
+We think we may even go farther than this, and say that no lawyer of the
+present day would dream of relying on Lord Brougham's decisions.
+O'Connell said of him, "I pay very little attention to anything Lord
+Brougham says. He makes a greater number of foolish speeches than any
+other man of the present generation. There may be more nonsense in some
+one speech of another person, but in the number, the multitude of
+foolish speeches, Lord Brougham has it hollow. I would start him ten to
+one--ay, fifty to one--in talking nonsense against any prattler now
+living."
+
+Some amusing examples of his restless anxiety to figure on all occasions
+in the character of an Admirable Crichton are given by Mr. Charles
+Greville, whose "Memoirs" stand in much the same relation to the graphic
+satires of the nineteenth century as the "Odes" of Dr. Walcot do towards
+the caricatures of James Gillray. "Dined," says Mr. Greville (under date
+of 7th June, 1831), "with Sefton yesterday, who gave me an account of a
+dinner at Fowell Buxton's on Saturday to see the brewery, at which
+Brougham was the _magnus Apollo_. Sefton is excellent as a commentator
+on Brougham; he says that he watches him incessantly, never listens to
+anybody else when he is there, and _rows_ him unmercifully afterwards
+for all the humbug, nonsense, and palaver he hears him talk to
+people.... They dined in the brewhouse and visited the whole
+establishment. Lord Grey was there in star, garter, and ribbons. There
+were people ready to show and explain everything. But not a bit.
+Brougham took the explanation of everything into his own hands; the mode
+of brewing, the machinery, down to the feeding of the cart-horses.
+After dinner the account books were brought, and the young Buxtons were
+beckoned up to the top of the table by their father to hear the words of
+wisdom which flowed from the lips of my Lord Chancellor. He affected to
+study the ledger, and made various pertinent remarks on the manner of
+book-keeping. There was a man whom Brougham called 'Cornelius' (Sefton
+did not know who he was), with whom he seemed very familiar. While
+Brougham was talking he dropped his voice, on which 'Cornelius' said,
+'Earl Grey is listening,' that he might speak louder and nothing be
+lost. He was talking of Paley, and said that 'although he did not always
+understand his own meaning, he always made it intelligible to others,'
+on which 'Cornelius' said, 'My good friend, if he made it so clear to
+others, he must have some comprehension of it himself;' on which Sefton
+attacked him afterwards, and swore that 'he was a mere child in the
+hands of "Cornelius;" that he never saw anybody so put down.' These
+people are all subscribers to the London University,[116] and Sefton
+swears he overheard Brougham tell them that 'Sir Isaac Newton was
+nothing compared to some of the present professors,' or something to
+that effect. I put down all this nonsense because it amused me in the
+recital, and is excessively characteristic of the man, one of the most
+remarkable that ever existed. Lady Sefton told me that he went with them
+to the British Museum, where all the officers of the Museum were in
+attendance to receive them. He would not let anybody explain anything,
+but did all the honours himself. At last they came to the collection of
+minerals, when she thought he must be brought to a standstill. Their
+conductor began to describe them, when Brougham took the words out of
+his mouth, and dashed off with as much ease and familiarity as if he had
+been a Buckland or a Cuvier. Such is the man, a grand mixture of moral,
+political, and intellectual incongruities."[117]
+
+If the part which Brougham's position as attorney-general to Queen
+Caroline obliged him to take at the memorable period of the "Bill of
+Pains and Penalties" had not closed the door of professional advancement
+against him, he had most effectually locked it against himself so long
+as her husband lived by the intemperate and ill-judged language in which
+he alluded to that event in the speech which he delivered at Edinburgh
+on the 5th of April, 1825.[118] But Brougham was constantly on the watch
+for its being opened, and on the very day when George the Fourth died,
+that is to say on the 20th of June, 1830, he spoke in the House of
+Commons in eulogistic terms of the new sovereign, praising him for
+allowing the Speaker to take the oaths at an unusually early hour in
+order to suit the convenience of members, a graceful act, which Mr.
+Brougham declared he hailed as a happy omen of the commencement of an
+auspicious reign. The astute K. C.'s object did not escape the
+penetrating eye of HB, who forthwith represented him as _The Gheber
+Worshipping the Rising Sun_, in whose smiling face we recognise the
+unmistakable lineaments of William the Fourth. The sun proved not
+unmindful of the attention; for, on the formation of Earl Grey's
+ministry in 1830, Mr. Brougham was made Lord Chancellor, with the title
+of Baron Brougham and Vaux. The appointment took the nation by surprise;
+for although a consistent upholder of Whig principles, he had always
+maintained a peculiar and independent position with his party, and was
+expected to prove rather an embarrassment than otherwise. These
+expectations were fully realized, and there can be no doubt that the
+sentiments which Lord Brougham's bearing as Chancellor excited among his
+colleagues and contemporaries, excluded him for the remainder of his
+life from all official life and employment.
+
+With all his wonderful powers, however, Lord Brougham could make, as
+O'Connell asserted of him, as inconsiderate a speech as any man. One of
+these speeches, which was delivered on the 14th of August, 1833, in a
+debate on the bill for the abolition of slavery in the West Indies,
+suggested to HB a happy subject. His lordship is reported to have said
+that, "the object of the clause [then under discussion] was to make the
+black, from the moment that he arrived on the shores of this country, a
+free man in all respects: to make him eligible to sit in Parliament,
+either in the House of Lords, if it should be his Majesty's pleasure to
+give him a title to a seat, or in the other House if he should be
+elected." HB, with his usual facility for seizing an idea, took his
+lordship at his word, and forthwith elevated the emancipated "nigger" to
+the woolsack, clothing him in the wig and gown of Lord Chancellor
+Brougham, and giving him the features of the noble and learned lord
+himself: this sketch bears the title of _A Select Specimen of the Black
+Style_.
+
+The House of Lords was a lively place whilst my Lord Chancellor Brougham
+was in office, and in the "scenes" in which he figured, and which drew
+down upon him the hatred and resentment of his contemporaries, he not
+unfrequently displayed a want of judgment which was nothing less than
+lamentable. We might give many instances of these regrettable scenes,
+but one shall suffice. On the 29th of September, 1831, the Lord
+Chancellor made the following answer to a question put by the Marquis of
+Londonderry:--"My lords," he said, "I beg to state to you once for all,
+that I will not sit here to be _bothered_ with questions which emanate
+from the ridiculous ideas of certain absurd individuals who cannot or
+will not see anything, however clear, and seem lamentably incapacitated
+by nature from comprehending what is going on. Moreover, I beg to state
+to the noble marquis, that for the future I will answer no question of
+his,--will give him no information whatever." The amazed patrician said
+in reply, "As to the language which the noble and learned lord has
+ventured to apply to me here, I will only say that I shall wish those
+words to be repeated in another place." The Lord Chancellor rejoined
+that he had said nothing which he was not prepared to repeat elsewhere;
+and here the matter appears to have ended, for strange to say it was the
+Marquis of Londonderry and not the irascible Brougham who subsequently
+apologised, a circumstance which occasioned the artist's satirical and
+telling sketch of _The Duel that did Not Take Place_. These scenes do
+not appear to have been the result of any mere ebullition of temper; on
+the contrary, Brougham would seem to have delighted in these
+undignified exhibitions. "The Chancellor, who loves to unbosom himself
+to Sefton, because he knows the latter thinks him the finest fellow
+breathing, tells him that it is nuts to him to be attacked by noble
+lords in the Upper House, and that they had better leave him alone if
+they care for their own hides. Since he loves these assaults, last
+night," continues Mr. Greville, "he got his bellyful, for he was baited
+by a dozen at least, and he did not come out of the _melee_ so chuckling
+and happy as usual."[119]
+
+Parliament was dissolved on the 15th of August, 1834, and by that time
+his party, the king, and everybody else, had grown pretty well tired of
+Lord Chancellor Brougham. His head would seem to have been almost turned
+by his success; for he employed the recess which followed the
+prorogation in making a sort of royal progress through Scotland,
+parading the Great Seal on his way, to the great disgust of the king,
+who seriously thought he had taken leave of his senses, and protested
+against it being carried across the border. In the course of this
+strange progress he reached Inverness in the beginning of September,
+1834, and was presented by the magistrates with the freedom of their
+city. In returning thanks for this honour, Lord Brougham said he was
+conscious "that it was not owing to any personal merits that he had
+received this mark of distinction at their hands. First of all he owed
+it to the circumstance that he had the honour of serving a monarch who
+lived in the hearts of his subjects. He had enjoyed the honour of
+serving that prince for nearly four years, and during that time he had
+experienced from his Majesty only one series of gracious condescension,
+confidence, and favour. To find that he lived in the hearts of his loyal
+subjects in the ancient and important capital of the Highlands, as it
+had afforded him (Lord Brougham) only pure and unmixed satisfaction,
+would, he was confident, be so received by his Majesty, when he (Lord
+Brougham) told him, _as he would by that night's post_ (cheers), of the
+gratifying circumstances."[120] So far, however, from being gratified,
+the bluff sailor king was tremendously annoyed. These fulsome
+adulations, and the ridiculous manner in which his eccentric and
+embarrassing Chancellor tortured any personal attention to himself
+(Brougham) into a personal compliment to his royal master, thoroughly
+disgusted him. For some weeks previously _The Times_ had attacked the
+eccentric Chancellor with a constancy and vigour of satire quite
+unexampled; the tide of ridicule was swelled by contributions from the
+London and provincial press; Brougham made some foolish speeches at
+Aberdeen and Dundee, which excited the laughter of his enemies and the
+alarm of his friends. "Those who are charitably disposed," remarks the
+unfriendly Greville, "express their humane conviction that he is mad,
+and it probably is not very remote from the truth."
+
+Intellectually strong as he was, a Chancellor so eccentric as this was
+an _incubus_ to be got rid of at the first convenient opportunity. In
+May, 1834, Mr. Stanley, Sir James Graham, the Earl of Ripon, and the
+Duke of Richmond, seceded from the ministry; but the Whig party, in
+spite of these resignations and the subsequent one of Lord Grey in July,
+continued in office under Lord Althorp till the following November, when
+the latter being called (by the death of his father) to the Upper House
+as Earl Spencer, the king seized the opportunity which he had so long
+desired of placing a less embarrassing and self-willed Chancellor on the
+woolsack. This circumstance prompted the clever sketch of the _Fall of
+Icarus_. Icarus in this instance is of course Brougham, who, flying in
+defiance of the injunctions of Daedalus too near the sun--that is to say,
+William the Fourth--the wax of his mechanical wings melted and he fell
+into the sea. That there may be no mistake as to the artist's meaning,
+the wings aforesaid are labelled with the titles of various publications
+which were loudest in sounding the praises of the King and of the "noble
+and learned lord," and to which he himself, with the questionable taste
+which distinguished him, was reputed (with justice) to be a contributor.
+
+Whether my Lord Chancellor Brougham caught the infection from his
+client, Queen Caroline, we know not; but his conduct, whether in or out
+of office, appears to have been of the most undignified character.
+Ignoring the fact that his party were no longer in power, there is no
+doubt whatever that he wrote a letter to his successor, Lord Lyndhurst,
+actually suggesting his own nomination to Lyndhurst's vacant office of
+Chief Baron of the Exchequer, thereby (as he pointed out) saving to the
+public his own pension of ex-Chancellor. What his real motive may have
+been is of little consequence; it was certainly a most undignified
+proceeding, made the more undignified, if possible, because the proposal
+was not accepted. It suggested to the artist one of his pictorial puns,
+_The Vaux and the Grapes_, and to the Rev. Richard Harris Barham the
+following amusing verses, which we have extracted from a contemporary
+poetical skit:--
+
+      "Then in Great Stanhope Street
+      The confusion was great
+  In a certain superb habi-tation,
+      Where seated at tea,
+      O'er a dish of Bohea,
+  Brougham was quaffing his 'usual potation'
+  (For you know his indignant ne-gation,
+  When accused once of jollifi-cation),
+      Down went saucer and cup,
+      Which Le Marchant picked up,
+  Not to hear his lord mutter 'd--n-ation.'
+
+      But this greatest of men
+      Soon caught hold of a pen,
+  And, after slight delibe-ration,
+      No longer he tosses
+      His flexile proboscis
+  About in so much exci-tation;[121]
+  But scribbling with great ani-mation,
+  He sends off a communi-cation:--
+      'Dearest Lyndhurst,' says he,
+      'Can't you find room for me
+  When constructing your adminis-tration?
+
+      Though the _Times_ says I'm mad,
+      And each rascally Rad
+  Abuses my tergiversation;
+      Though those humbugs, the Whigs,
+      Swear that my "thimble-rigs"
+  Were the cause of all their vacill-ation;
+  The whole story's a base fabri-cation
+  To damage my great reputa-tion;
+      So now to be brief,
+      _Only make me Lord Chief_,
+  And I'll serve without remuner-ation!'
+
+      When he found 'twas 'no go,'
+      And that Lyndhurst and Co.
+  Were deaf to all solici-tation,
+      As 'twas useless with Lyndy
+      To kick up a shindy,
+  He resolved upon peregrin-ation.
+  Not waiting for much prepa-ration,
+  He bolted with precipi-tation;
+      A sad loss, I ween,
+      To Charles Knight's magazine,
+  And to Stinkomalee edu-cation."
+
+Lord Brougham, indeed, by his despotic, intractable conduct, had
+thoroughly shut himself out from all chance of office. Sir Robert Peel's
+Conservative ministry lasted till April, 1835, when a second Whig
+government came into power, under the premiership of Lord Melbourne, and
+from the re-constructed cabinet, Brougham--much to his own surprise, but
+to the surprise of no one else--was excluded.[122]
+
+
+  IRISH DISAFFECTION.
+
+Irish disaffection was, unfortunately, as stale a subject in 1833 as in
+1883. For what particular sins of her own England has been cursed with a
+neighbour so bloodthirsty, so unreasonable, and so troublesome as
+Ireland, it would be difficult to say. Although we had no Irish
+Americans--no cowardly "dynamitards"--in those days, Ireland was
+nevertheless in a state of chronic disaffection, and an "Irish Coercion
+Bill" was found just as necessary to restrain the excitement of Irish
+political malcontents in 1833 as in 1883. Irish history, in this respect
+at least, has a method of repeating itself which is singularly
+embarrassing, and the student of the history of Irish disaffection
+cannot fail to be interested in the statement with which Lord Grey
+introduced his measure fifty years ago. We learn from this statement
+that a state of things existed little short of actual rebellion. Bodies
+of men were collected and arrayed by signals, evidently directed by a
+system of organization in which many were combined, and such system was
+conducted in a manner which had hitherto set at defiance all the
+exertions of law and order. The disturbers of the peace prescribed the
+terms on which land was to be let, and any one who presumed to disobey
+their orders was subject to have his property destroyed or be put to
+death. The reign of terror was complete. The organization which supplied
+the place of the Land League of to-day dictated what persons should
+employ and be employed; and while they forbad labourers from working for
+obnoxious masters on the one hand, they prevented a master on the other
+from employing as labourers any but those who were obedient to their
+orders. They enforced their decrees by acts of cruelty and outrage; by
+spoliation, murder, attacks on houses in the dead of night; by dragging
+the inmates from their beds and so maltreating them that death often
+ensued, or by inflicting cruelties which were sometimes worse than
+death. The persons belonging to this organization assembled by signals,
+made concerted movements, watched the movements of the troops, and by
+information received so avoided them that the military were rendered
+practically useless.
+
+The ordinary tribunals were powerless to arrest this iniquitous
+organization of murder and terror, which the Irish disaffectants and
+their advisers even in that day appear to have brought to a system of
+execrable perfection. Witnesses and jurors were terrified into silence.
+In one case the master of a female servant was commanded to dismiss her
+because her _mother_ had given evidence against a person brought to
+trial for a capital crime, and similar cases were of almost daily
+occurrence. Five armed men went to the house of Patrick Lalor, a man of
+nearly seventy years of age, and shot him through the body. His crime
+had been disobedience to a mandate to give up some ground which he held
+contrary to the will of the Terrorists. The same system prevented a son
+of Lalor, and an eye-witness of his murder, from giving evidence against
+his murderers. On the trial of these miscreants at Kilkenny assizes, the
+jury not being able to agree was dismissed. It had been arranged in the
+jury-room that nothing should transpire as to the opinions of individual
+jurymen, and yet, in _half an hour_, the names of those in favour of an
+acquittal or of a conviction were printed--the former in black, and the
+latter, or as they were designated the "jurors who were for blood," in
+red ink. The result was that those whose names were printed in red were
+obliged to leave the country. At the Clonmel assizes the previous
+October (1832), when a person was to be tried for resisting the payment
+of tithe, only 76 jurors out of 265 who had been summoned made their
+appearance. A gentleman had been murdered in sight of his own gate in
+consequence of some dispute in connection with tithes. The answer of his
+son-in-law, summoned by the coroner to give evidence against the
+supposed murderer, was this: "That he would submit to any penalty the
+crown or the law would impose upon him, but he would not appear at the
+trial, because he knew that if he stood forward as a witness his life
+would inevitably be forfeited." The Irish Government received a notice
+from Kilkenny "that many gentlemen who had always" most conscientiously
+discharged their duties, "would not attend at the next assizes. They
+cared not what penalty was imposed upon them. They refused to attend,
+because they knew that death" awaited them if they dared to do their
+duty. "It is the boast of the prisoners," continued this document, "that
+they cannot under existing circumstances be found guilty." Under such a
+disgraceful state of things, outrage had become of course triumphant.
+The sickening catalogue of Irish cruelty and crime during the previous
+year comprised 172 homicides, 465 robberies, 568 burglaries, 455 _acts
+of houghing of cattle_, 2,095 illegal notices, 425 illegal meetings, 796
+_malicious injuries to property_, 753 _attacks on houses_, 280 arsons,
+3,156 serious assaults, making an aggregate of crimes of every
+description during the year, connected with the disturbed state of the
+country, exceeding 9,000 in number, and the number was evidently still
+on the increase.
+
+
+  EFFECT OF THE IRISH COERCION BILL OF 1833.
+
+The third reading of the Coercion Bill was carried in the Commons on the
+29th of March, by 345 to 86, and the Act was to continue in force till
+the 1st of August, 1834. It led of course to many scenes in the House
+between English and Irish members, although the Irish members of that
+day, to do them simple justice, had not graduated in the aggravated
+system of obstruction they have since developed, and thereby earned for
+themselves the character of political nuisances. One of these scenes led
+to the sketch entitled _Prisoners of War_, which has reference to a
+serio-comic interlude, in which the principal performers were Lord
+Althorp and Mr. Shiel, member for Tipperary. On the 5th of February,
+1834, Lord Althorp charged (without naming them) certain Irish members
+who had particularly distinguished themselves by violent opposition to
+the Bill in the House, with using very different language in reference
+to it in private conversation. Up then rose one Irish member after
+another, inquiring if he was the person alluded to. To Mr. O'Connell and
+Mr. Finn the answer was in the negative, while Mr. Shiel was given
+directly to understand that _he_ was one of the members intended, his
+lordship declining at the same time to name his authority, but avowing
+his belief in the truth of the story, and his willingness to take upon
+himself the full responsibility. The result of course was a "scene." Mr.
+Shiel, after the manner of fire-eating Irishmen of that day, having
+hinted his intention to demand satisfaction elsewhere, Sir Francis
+Burdett arose and said that, unless the "honourable members pledged
+themselves to preserve the peace, he should instantly move that they be
+committed to the custody of the Serjeant-at-arms." As neither of the
+parties would give such assurance, the motion was put from the chair and
+carried. The _Prisoners of War_ portrayed in the sketch are of course
+Mr. Shiel and Lord Althorp. After a brief absence from the House, each
+having given the required assurance was discharged from custody, and
+there the matter ended. The benefits of the Act were almost immediately
+made apparent. The association, which called itself, by the way, "The
+Irish Volunteers" (the Land League of 1833), was promptly suppressed by
+the Lord Lieutenant; and the list of offences during the month of March
+which preceded and the month of May which followed the passing of the
+Act most conclusively proved its efficiency, for, while in the former
+month the records of crime in eleven counties reached a sum total of
+472, they had declined in the latter month to 162.[123]
+
+
+  O'CONNELL.
+
+Irish agitators of the nineteenth century are all more or less "tarred
+with the same brush," but the conditions under which an Irish agitator
+of 1883-4 must be content to figure in that character are, it must be
+remembered, widely different from those which influenced the agitators
+of 1833. The Irish "Home Rulers" have sown the wind and have reaped the
+whirlwind which carries them along in its progress, and we doubt whether
+if they wished to stop the hideous Frankenstein they have created, it
+would allow them to do so. The Home Rulers, however, are not in any way
+to be pitied. Not content with Land League terrorism, they sought to
+force their measures upon John Bull himself by an unheard-of system of
+parliamentary obstruction, which has inevitably recoiled upon
+themselves. O'Connell was far too sharp-sighted--far too intelligent and
+clever a man to make so grave a mistake as this. By the sheer force of
+his genius he exercised for many years of his life a most powerful
+influence on English politics. He figures in one of John Doyle's
+sketches in the character ascribed to him probably by most of his
+contemporaries. In the sketch referred to, the Governor of Barataria is
+represented by the typical Irish peasant; O'Connell appears in the
+character of the Doctor; and Lord John Russell as the attendant and
+amused servitor. Pat's eagerness to enjoy the good things he has been
+led to expect, and his mortification at their being removed out of reach
+and out of sight are ridiculously rendered.
+
+We must not be misunderstood; although O'Connell had far greater
+personal influence over the Irish than his successors, he was for all
+that in political matters eminently unscrupulous.[124] At the general
+election of 1835, the avowed principles on which he stood forth as a
+candidate were: repeal of the union,--universal suffrage, vote by
+ballot,--triennial parliaments,--and the abolition of tithes. "I am," he
+said, "decidedly for the vote by ballot. Whoever votes by ballot votes
+as he pleases, and no one need know how he votes." Yet, in spite of
+these avowed principles, he controlled the election of Irish candidates
+after the following fashion:--The Knight of Kerry started as a candidate
+for his native county, but dared to avow his intention to take an
+independent course. He had spent all his life in resisting Orangemen,
+and yet O'Connell said, "Every one who dares to vote for the Orange
+knight of Kerry shall have a death's head and cross-bones painted on his
+door." The voters at the Irish elections were collected in the chapels
+by the priests, and led forth to the poll under threats of being refused
+all the rites and visited with all the punishments of their Church.
+Under these influences, the Knight of Kerry, supported by nearly all the
+property, intelligence, and respectability of the county, was defeated.
+Of a candidate for New Ross who had refused to enlist under his banner,
+O'Connell said, "Whoever shall support him his shop shall be deserted,
+no man shall pass his threshold; put up his name as a traitor to
+Ireland; let no man speak to him; let the children laugh him to scorn."
+His example was followed of course by his lieutenants. It says something
+for Irish independence that these unscrupulous "dodges" were not always
+successful; and O'Connell himself, and his colleague, Mr. Ruthven,
+secured their own seats by comparatively small majorities. At the
+previous election O'Connell had obtained a majority of 1,549, and Mr.
+Ruthven of 1,490 above the highest Conservative candidate: at the
+election in 1835, O'Connell's majority had fallen to 217, and Mr.
+Ruthven's to 169. The "Irish agitator" was manifestly no favourite with
+HB, who depicted him as the comet of 1835. Comets being supposed by the
+vulgar to portend disaster, it is represented as leaving Ireland in a
+flame, and passing over St. George's Channel to exercise a malign
+influence on peaceful England. The head of course is that of O'Connell,
+while the tail is studded with the countenances of the Irish members who
+made up his "following." In a previous sketch he had figured as the Wolf
+to Lord John Russell's "Little Red Riding Hood," in allusion to a
+statement made by the opposition journals that the Government had made a
+league with the restless agitator with the view of securing his support
+in the House of Commons. We have heard something very like this lately,
+in relation to what is now known as the "Kilmainham Treaty."
+
+
+  SIR ROBERT PEEL.
+
+The rapidity with which John Doyle caught an inspiration from a few
+chance words in a speech, may be aptly illustrated by the manner in
+which he served Sir Robert Peel. On the occasion of his being installed
+Lord Rector of Glasgow University, in November, 1836, the distinguished
+statesman made a speech to his patrons, in which he meant to tell them
+that, admiring Scotland and Scottish scenery, he thought the best mode
+of seeing both was on horseback instead of travelling in a public or
+private conveyance. He expressed the idea, however, in the following
+round-about fashion:--"I wished," he said, "to see something of Scotland
+which I could not have seen from the windows of a luxurious carriage; I
+wished to see other habits and manners of life than those which the
+magnificent hospitable castles of the nobility presented. Yes," he
+continued, "in Glasgow I hired an _humble but faithful steed_; I
+travelled partly on horseback and partly on foot through almost every
+county that lies southern of Inverness; I have read the map of Scotland
+upon the great scale of nature, from the summits of Ben Nevis and Ben
+Lomond; I have visited that island whence savage and roaming bands
+derived the benefits of knowledge and the blessings of religion. Yes,
+amid the ruins of Iona I have abjured the rigid philosophy which would
+conduct us indifferent and unmoved over any ground that has been
+dignified by wisdom, by bravery, and by virtue. I have stood on the
+shores of Staffa,--I have seen the temple not built with hands,--I have
+seen the mighty swell of the ocean,--the waves of the great Atlantic
+beating in its inmost recesses, and swelling notes of praise nobler than
+ever pealed from human organs." Well, other tourists besides the
+statesman have stood on the summit of Ben Nevis and Ben Lomond,--have
+visited Staffa and Iona,--and yet, the rigid philosophy which Sir Robert
+credited himself for abjuring, has unconsciously conducted them
+comparatively "indifferent and unmoved" over much ground that may have
+been "dignified by wisdom, by bravery," and even "by virtue." The
+stilted remarks of Sir Robert will serve to remind some of us of the
+very original sentiments we find recorded in "visitors' books" of sundry
+home and continentals hotels much affected by members of the gushing
+order of travellers. Some such idea seems to have struck the artist; for
+in his next satire Sir Robert very deservedly figured as _Dr. Syntax
+setting out on his Humble but Faithful Steed in Search of the
+Picturesque_.
+
+As a rule the titles of these sketches, which reach the amazing number
+of nine hundred and seventeen, afford no clue whatever to their subject
+matter. Here are the titles of a few, taken at random from the general
+bulk:--_An Affair of Honour_; _A Group of Sporting Characters at Epsom_;
+_A Nice Distinction, or a Hume-iliating Rejoinder to a Warlike Ap-Peel_;
+_A Political Ruse_; _Swearing the Horatii_; _Retaliation_; _Goody Two
+Shoes turned Barber_; _State Cricket Match_; _Taking an Airing in Hyde
+Park_;--and so on. A description, however short, of the events to which
+these "Political Sketches" refer, would occupy probably a couple of
+volumes; and, following the course which we have hitherto adopted, we
+have preferred to make selection of a few which seemed to us--either
+from the persons satirized or the scenes in which they figure--likely
+to interest the general reader. Thackeray said of them at the time they
+were appearing, "You never hear any laughing at HB, his pictures are a
+great deal too genteel for that,--polite points of wit which strike one
+as exceedingly clever and pretty, and cause one to smile in a quiet,
+gentlemanlike kind of way." Forty-two years have elapsed since this was
+written;--the sketches fail now almost to provoke the "gentlemanlike
+kind" of smile mentioned by the humourist, for the events and the
+persons which caused it and to which they relate have alike passed away
+out of sight and out of memory.
+
+
+  FAULTS OF THE "SKETCHES."
+
+The number which they attained is due no doubt in a large measure to the
+facility with which they were produced. They were all drawn on stone,
+and exhibit the faults so often to be found in the productions of
+artists who confine themselves to this material, which, owing to the
+comparative facility of the process, has a tendency to induce a
+slovenliness in execution unusual with artists accustomed to the careful
+discipline under which a successful etching on steel or copper can alone
+be produced. A writer in _Blackwood_[125] says with much truth that HB
+"would have been a greater artist had he worked on the same material and
+with the same tools as Gillray and Cruikshank, but we should probably
+not have possessed so complete a gallery of portraits, comprising all
+the men of note who took part in political affairs from before the
+passing of the Catholic Relief Bill until after the repeal of the Corn
+Laws, a period more eventful than any of a similar length since the
+Revolution of 1688." John Doyle, too, had no great powers of sarcasm,
+and he was timid in design, contenting himself with as few figures as
+were possible for the purposes of his drawings. Robert William Buss,
+himself a comic artist of ability, in his brief notice of him charges
+him with a certain feebleness in the attitude of the persons who figure
+in his sketches, and gives us to understand that to balance a figure
+properly requires a knowledge and practice in drawing to which HB was a
+stranger; and further, that by reason of the absence of such knowledge
+and practice, he falls far behind Hogarth, Gillray, Bunbury, Rowlandson,
+or the Cruikshanks. With these artists indeed, as we have endeavoured to
+show, John Doyle has nothing in common, and he evidently designed that
+no comparison should ever be instituted between any one of them and
+himself. His chief merits are to be found in the facility with which he
+grasped an idea; the harmlessness and playfulness of his satire, which
+wrought a complete revolution in the style and manner of caricaturists;
+and above all in the excellence of his likenesses. The best and most
+graceful of the series was produced just after the wedding of her
+Majesty, and is a transcript (as it were) of Stothard's beautiful design
+of _The Procession of the Flitch of Bacon_, the leading personages being
+the young Queen and the late Prince Consort, whose portraits are
+admirably executed. Towards the close of the series they show signs of
+failing power, not unnatural in an artist who during a course of twenty
+years had produced upwards of a thousand drawings. I have seen it
+somewhere stated that this deterioration dates from the period when the
+identity of HB was discovered; but inasmuch as this secret had been
+practically revealed long before the decadence commences, there is no
+just ground for any such assumption.
+
+The reputation of the "Political Sketches" was, however, ephemeral, and
+considering their popularity and the eagerness with which they were
+bought up at the time, it is surprising how completely they have passed
+into oblivion. The name of HB, or of John Doyle, is now not only
+"caviare to the general," but it is amazing how little until lately he
+was known even to men not altogether ignorant on the subject of
+satirical art. A gentleman to whom I am indebted for some valuable
+information, tells me that some three or four years since "a large
+number of _original_ sketches (not the engravings) were catalogued and
+announced for sale at Christies'. I went," he says, "possibly to buy
+several, but (and it is curious as showing the decadent interest in the
+pictures) no sale took place, because I was told there was no one to
+buy. I think," my informant adds, "that I was the only person, or
+nearly the only person, in the room." Distinguished people, however, had
+been to look at the drawings, and among them the late Lord Beaconsfield.
+
+The success of the artist produced, of course, a number of imitators.
+Their productions were of various degrees of merit; but like most
+imitations they generally accentuated the faults without reproducing the
+excellencies of the model. Some of them are entitled "Political Hits,"
+"Royal Ramblings," "The Belgian Trip," "Parisian Trip," and so on; some
+are signed "Philo H. B.," "H. H.," "B. H.," while others have neither
+initials or signature. They comprise some eighty or a hundred plates at
+least, many of which were probably suppressed, whilst others no doubt
+served the useful purposes of the greengrocer, the bookbinder, or the
+trunk-maker; and if, as we are told--
+
+  "Imperial Caesar, dead and turned to clay,
+   Might stop a hole to keep the wind away;"
+
+there can be nothing after all very dishonourable or very surprising in
+their ultimate destination.
+
+The artist died in 1868.
+
+
+FOOTNOTES:
+
+  [113] Annual Register, 1836, p. 237.
+
+  [114] 1836, p. 244. Mr. Baldwin (one of the proprietors of the
+    _Standard_ newspaper) stated that "if the bill passed in its present
+    shape, it would deteriorate his property fifty per cent., and would
+    operate in the same way with all property of that
+    description."--_Ibid._, p. 247.
+
+  [115] Greville's "Memoirs," pp. 3, 71.
+
+  [116] In which Lord Brougham took a special interest.
+
+  [117] Greville's "Memoirs," ii., p. 148.
+
+  [118] For the silly and spiteful observations made in this speech,
+    see "Annual Register," 1825, p. 43.
+
+  [119] Greville's "Memoirs," iii. p. 85.
+
+  [120] _Inverness Courier_, Sept. 3rd (quoted in "Annual Register,"
+    1854, p. 129).
+
+  [121] From a nervous habit he had contracted of twitching his nose
+    Lord Brougham was known to his contemporaries by the nickname of
+    "Jemmy Twitcher."
+
+  [122] On this occasion the Great Seal was reserved and for the time
+    put in commission, the commissioners being Sir Charles Pepys (Master
+    of the Rolls), Vice Chancellor Shadwell, and Mr. Justice Bosanquet.
+    Eventually it was presented to Sir Charles Pepys (Lord Cottenham),
+    and the slight produced such a stunning effect on Brougham that he
+    retired from active public life for a time, and sought solace in the
+    pursuit and study of literature and philosophy.
+
+  [123] For this interesting table, see "Annual Register," 1833, p. 83.
+
+  [124] "One whose name is unconnected with any honourable action,
+    whose whole life has been one scene of skulking from dangers into
+    which he had drawn others, and who is occupied from one end of the
+    year to the other in devising plans of drawing enormous fortunes from
+    squalid beggary."--_Dr. Maginn._
+
+  [125] Vol. xciv., August, 1863.
+
+
+
+
+CHAPTER XIII.
+
+_JOHN LEECH._
+
+
+John Leech, "born in Bennett Street, Stamford Street, 29th August, 1817,
+and baptized (son of John Leech, vintner) 15th November, at Christ
+Church, Blackfriars Road." Such is the entry I find in the manuscript
+diary of his friend the late Shirley Brooks, now before me, written a
+few days after the death of the gifted and lamented artist. The "John
+Leech, vintner," his father, here referred to, was at one time
+proprietor of the London Coffee House on Ludgate Hill. A late
+commentator says he "was an Irishman, a man of fine culture, a profound
+Shakespearian scholar, and [presumably by way of apology--as if any such
+were needed] a thorough gentleman." Be this as it may, he was not
+successful as a landlord, and as a matter of fact depended in a great
+measure for his support upon the talents of his remarkably gifted son.
+
+
+  EARLY DAYS.
+
+Leech was only seven years old when his father sent him to the
+Charterhouse. His arm had been broken by a fall from a pony, and the
+effects of this accident debarred him from taking an active part in the
+athletic sports of cricket, hockey, or football; but his nature inclined
+him nevertheless to manly exercises, and despite his excellence with the
+pencil, which was manifested at a remarkably early age, he is said to
+have preferred the lessons of Angelo the fencing, to those of Burgess
+the drawing, master. He was not distinguished at school as a classical
+scholar, and Latin verses in particular proved so serious a
+stumbling-block that he always got a schoolfellow to do them for him.
+His famous friend and fellow-pupil, Thackeray, carried an indelible
+personal reminiscence of the Charterhouse about him in the shape of a
+broken nose, a mark of distinction which was earned in a pugilistic
+encounter with another schoolfellow.
+
+A reminiscence of John Leech's schoolboy days will be found in one of
+his illustrations to "Once a Week,"[126] which represents a schoolboy
+perched in the topmost branches of a tree overlooking the walls of the
+Carthusian playground. As the mail coaches bound to the north passed the
+Charterhouse walls in the old coaching days, the boys not seeing any
+just reason why they should be debarred from the exhilarating spectacle,
+notched the trees and drove in spikes at ticklish points, which enabled
+them to mount to the upper branches, whence they could watch the coaches
+at their leisure. The illustration referred to is labelled, _A Coach
+Tree_, but without this explanation the reader would scarcely suspect
+(the letterpress being of course silent on the subject) that the
+schoolboy represented in the illustration is the artist himself. Leech
+always retained a pleasant recollection of his old Carthusian
+school-days, and frequently attended the festivities of the
+Charterhouse.
+
+His early aptitude for the pencil was developed when he was only three
+years of age. One of his early efforts attracted the attention of
+Flaxman the sculptor, who advised that he should "not be cramped with
+lessons in drawing; let his _genius_," he said, "follow its own bent,
+and he will astonish the world." This advice was so far followed, that
+we believe we are justified in saying that beyond the ordinary
+perfunctory drawing lessons obtained at school, he received no other
+artistic education during the rest of his life. His father, the
+"profound Shakesperian scholar" and "perfect gentleman," so little
+encouraged the bent of the boy's genius, that if he had had his way he
+would have driven this square peg into a very round hole. At sixteen
+years of age he took his son from the Charterhouse, and shortly
+afterwards apprenticed him to an eccentric person at Hoxton, nominally
+carrying on the profession of a surgeon, and rejoicing in the name of
+Whittle.
+
+[Illustration:
+  JOHN LEECH. "_Illuminated Magazine._"
+
+  THE MAYOR AND CORPORATION OF SWINESTEAD WAIT UPON MR. BAGGES.
+
+  _Face p. 278._]
+
+This Whittle proved a perfect study to the young artist, and it is
+possible that his connection with this eccentric personage had some
+influence in deciding him not to follow a profession for which he had
+but little sympathy. Whittle was a man of large frame and muscular
+development, so far at least as the upper part of his body was
+concerned, but the development extended no farther, his legs being
+formed on much more slender proportions. His tastes were decidedly
+athletic; he had rings let into the wall for the purpose of practising
+gymnastics, and delighted in posing before his amused pupils in the
+character of "The Dying Gladiator," "Hercules," and other antique
+statues. The few patients he possessed had small chance of professional
+attendance when Mr. Whittle was in training for a walking or running
+match, or any other amateur athletic engagement. "When," says Shirley
+Brooks, "lady patients, taking a walk, are suddenly surrounded by a
+hurrying and shouting crowd, in the middle of which, as they escape,
+they behold their medical adviser, in quaint attire, rushing to pick up
+stones with his mouth, an early termination of the relations between the
+healer and his patients is not impossible."[127] A person of this kind
+was obviously out of his element in a _learned_ profession, and this
+Whittle eventually recognised, and descended to his level by marrying
+one of his patients, a widow who kept a neighbouring public. He found
+himself more "at home" behind the bar in his shirt sleeves, and with
+ready facility adapted himself to circumstances by drawing beer for his
+former pupils and patients. Various stories have been told of this
+eccentric personage, who is said (with what truth we know not) to have
+commenced life as a Quaker, and ended it eventually as a missionary.
+
+
+  "RAWKINS."
+
+Whittle the eccentric was afterwards immortalized by Leech as "Rawkins"
+in Albert Smith's "Adventures of Mr. Ledbury," which made their
+appearance in "Bentley's Miscellany." We cannot advise those who would
+enjoy a hearty laugh to do better than refer to Leech's comical etchings
+of _The Return of Hercules from a Fancy Ball_ (on a wet night, without
+his latchkey), and the _Last Appearance of Mr. Rawkins in Public_, in
+which the _rencontre_ of Mr. Whittle and some of his female patients
+already referred to is superbly realized.
+
+When Mr. Whittle and his practice had finally parted company in the
+manner we have described, John Leech's indentures were transferred to
+Dr. John Cockle, afterwards physician to the Royal Free hospital. During
+part of his spasmodic medical course, he went through the mystic
+performance at one time known as "walking the hospitals," and at St.
+Bartholomew's varied his attendance at the anatomical lectures of Mr.
+Stanley--where he met other square pegs intended for round holes, Albert
+Smith and Percival Leigh--with sketches of his fellow-pupils and their
+medical lecturers. Many of these, the earliest of his sketches, were in
+the possession of his friend, the late Mark Lemon. Before his time was
+out, Leech luckily resolved to throw his medical studies to the winds,
+and to live wholly by the practice of his art.
+
+His first work, published when he was eighteen years of age, was
+entitled "Etchings and Sketchings by A. Pen, Esq.," and consisted of
+four quarto sheets, containing slightly caricature sketches of oddities
+of London life, such as cabmen, policemen, street musicians, and the
+like. He next tried his hand at lithography, and produced some political
+satires not without ability; but these at best were merely the tentative
+efforts of an artist who had not yet discovered the bent of his genius,
+in consequence of being compelled to accommodate himself to the standard
+of his early patrons--the printsellers. Having drawn his design, Leech
+has been known in those early times to spend a weary day in search of a
+buyer, by carrying the heavy stone about with him from publisher to
+publisher. The style of these tentative efforts may be judged by the
+work which first brought him into notice, a poor caricature of
+Mulready's envelope in commemoration of the establishment of Sir Rowland
+Hill's cheap postage system, a reproduction of which will be found in a
+late "Biographical Sketch" by Mr. Kitton.[128] Although the pecuniary
+reward of this early effort was small, people began to ask by whom it
+was executed; thus it was that his subsequently well-known mark, the
+leech-bottle, first came into public notice.
+
+Specimens of these tentative efforts are of course scarce, but
+occasionally the reader may fall in with odd numbers of the
+"Comicalities," issued some half century ago by the proprietors of
+"Bell's Life," in which may be found specimens of his early work among
+impressions from the designs on wood of Kenny Meadows, "Phiz," and even
+Robert Seymour.[129] Among these early efforts may also be named "The
+Boys' Own Series"; "Studies from Nature"; "Amateur Originals"; the "Ups
+and Downs of Life, or the Vicissitudes of a Swell"; and other etcetera.
+
+When poor Seymour shot himself in 1836, the artist who was at first
+selected to fill his place as illustrator of "Pickwick" was Robert
+William Buss, who, failing however to supply the requirements of Charles
+Dickens, was (as we shall afterwards see) quickly discarded. Others,
+however, had applied to supply the place of the deceased artist, and
+among them were Hablot Knight Browne ("Phiz"), W. M. Thackeray, and John
+Leech; although the latter failed to secure the appointment, he appears
+to us of all others the one best fitted to pictorially interpret the
+author's creations. Thackeray was so little conscious of the bent of his
+own genius that he seems at this time to have had some thoughts of
+following the profession of an artist, but happily failed so completely
+that he was induced to follow up his alternative art of authorship, by
+which he achieved his fame and reputation. Notwithstanding his failure,
+his implicit faith in his own artistic powers remained unshaken to the
+end, in which belief he has been followed by one or two writers who
+might have known better.
+
+It is not until 1840 that we find Leech had matured the style and manner
+which afterwards made him famous; and accordingly, in this year we find
+designs which are thoroughly worthy of his reputation. Among these may
+be named "The Children of the Mobility," seven lithographs (reproduced
+in 1875) dealing with the humorous and pathetic episodes of the London
+street arabs; "The Comic Latin Grammar"; "The Comic English Grammar";
+and a now exceedingly rare _jeu d'esprit_, bearing the full title of
+"The Fiddle-Faddle Fashion Book and Beau Monde a la Francaise, enriched
+with numerous highly coloured figures of lady-like gentlemen,"[130] a
+most amusing skit upon the absurd fashion books of the period,
+containing four coloured plates of gentlemen (more than fifty figures)
+in male and female costume, posed in the ridiculous and well-known
+simpering style of those periodicals. All these works were produced in
+conjunction with Percival Leigh, one of the artist's fellow-students at
+St. Bartholomew's, and led directly to his engagement on the pages of
+_Punch_, which was started the following year.
+
+Among the rarer works published in 1840, to which John Leech contributed
+the benefit of his assistance, may be mentioned a publication, entitled
+"The London Magazine, Charivari, and Courier des Dames" (Simpkin,
+Marshall & Co.), in which we find some portraits and other work
+altogether out of the range of his usual style of illustration. The tone
+of this publication was personal in the extreme. Charles Dickens had
+produced (among other publications) his "Pickwick Papers," "Oliver
+Twist," "Nicholas Nickleby," and at this time was engaged on the most
+touching and pathetic of his stories, "The Old Curiosity Shop," which
+was, however, so little appreciated by the editor of this scurrilous
+publication, that we find him perpetrating the following sorry libel on
+the writer and three of his contemporaries: "To cheesemongers and
+others! Ready for delivery, at a halfpenny per pound, forty tons of
+foundered literature; viz., Mrs. Trollope's 'Unsatis-factory Boy,'[131]
+'Master Humphrey's Clock' (refer to the second meaning in 'Johnson's
+Dictionary': 'an unsightly crawling thing'!), Captain Marryat's 'Alas,
+Poor Jack'! and _Turpis_ Ainsworth's 'Guy _Fox_':--
+
+  'An animal cunning, unsavoury, small,
+  That will dirty your hands if you touch it at all.'"
+
+So little merit had this critical periodical itself, that some rare
+etchings by Hablot Knight Browne and Leech to a novel entitled "The
+Diurnal Revolutions of David Diddledoff," which appeared in its pages,
+failed to keep the dreary serial alive, and a quarrel ensuing between
+the proprietors and himself, Browne was dismissed and Leech supplied his
+place. Leech's caricature of Mulready's postage envelope, already
+mentioned, appears to have led to others, and among them one by "Phiz,"
+a circumstance which is referred to in the following attack: "Phiz has
+found a lower deep in the lowest depths of meanness. When Leech's
+admirable caricature of Mulready's postage envelope was pirated by every
+tenth-rate _sketcher_, Phiz steps in to complete the work of injustice,
+and advertises his caricature of the same subject at _sixpence_, thus
+both borrowing the design and underselling the artist upon whose brains
+he is preying as the fly upon the elk's. Well might Leech exclaim, 'Et
+tu, Brute!' (and you, you brute!) Leech is a genuine artist, while Phiz
+is only a bad engraver." By way of answer to this vulgar abuse, Phiz
+almost immediately afterwards produced his admirable illustration of
+_Quilp and the Dog_, in No. 18 of "Master Humphrey's Clock."
+
+In the pages of this defunct periodical we find a long and virulent
+article on Benjamin D'Israeli, the late Lord Beaconsfield, from which we
+have disinterred the following remarkable prophecy. After referring to
+his celebrated parliamentary _fiasco_, and his own prophetic words on
+that memorable occasion: "You won't hear me now; but the time will come
+when you _shall_ hear me!" the writer goes on to say: "That time has
+never since arrived. In vain did Benjamin parody Sheridan's celebrated
+saying ('It's in me, and by G---- it shall be out of me!'). He renewed
+his efforts repeatedly.... But though, in consequence of his (_sic_)
+moderating his tone into a semblance of humility, he is sometimes just
+listened to, he has never made the slightest impression in the house,
+_and we may fairly predict he never will_." The article is illustrated
+by a remarkable semi-caricature likeness of the late Lord Beaconsfield,
+then in his thirty-second year, which, although unsigned and altogether
+different from his well-known style, we can assign to no other hand than
+that of John Leech. We found our opinion on the fact that the previous
+portrait is by him; that none but his etchings appear in the latter
+portion of the book; and because the bird represented following the
+footsteps and mimicking the walk of the young statesman, is own brother
+to the celebrated Jackdaw of Rheims immortalized by Thomas Ingoldsby. So
+remarkable is the likeness, that the shadow of D'Israeli's follower and
+that of Saint "Jem Crow" of the Legends are identical.
+
+
+  ARTISTIC POSITION SECURED.
+
+In 1840 some of John Leech's sketches were brought to the notice of the
+Rev Thomas Harris Barham, which led to his engagement on the pages of
+"Bentley's Miscellany," from which moment his artistic position was
+secured. His first illustration was _The Black Mousquetaire_. Barham in
+describing the scene, regretted, oddly enough, that he had neither the
+pencil of Fuseli or Sir Joshua Reynolds at command, or had himself taken
+lessons in drawing:--
+
+        "Had I done so, instead
+        Of the lines you have read,
+  I'd have given you a sketch should have filled you with dread!
+  Francois Xavier Auguste squatting up in his bed,
+        His hands widely spread,
+        His complexion like lead,
+  Ev'ry hair that he had standing up on his head,
+  As when, Agnes des Moulins first catching his view,
+  Now right and now left, rapid glances he threw,
+  Then shriek'd with a wild and unearthly halloo,
+        _Mon Dieu! v'la deux!!_
+        By the Pope there are two!!!"
+
+Leech continued on the pictorial staff of "Bentley's Miscellany" ten
+years; his etchings therein commence with vol. viii. (1840) and
+(practically) end with vol. xxv. (1849).[132] Altogether he contributed
+to this sterling periodical some one hundred and forty etchings,
+illustrating (amongst numerous scattered papers) "The Ingoldsby
+Legends" (with Cruikshank); Henry Cockton's "Stanley Thorn"; Charles
+Whitehead's "Richard Savage"; Albert Smith's "Adventures of Mr.
+Ledbury," "Fortunes of the Scattergood Family," and "The Marchioness of
+Brinvilliers"; W. H. Maxwell's "Brian O'Linn," etc., etc.
+
+From the time that he joined the _Punch_ staff, in 1841, the life of
+John Leech was one of well-earned prosperity and happiness. His income
+at first gradually and then rapidly increased, and he moved from the
+attic which he occupied in the vicinity of Tottenham Court Road, into a
+house of his own at Notting Hill. Shortly after this he married. Miss
+Ann Eaton was one of those English beauties that Leech delighted to
+draw; and it is related of him that he first met her walking in London,
+and, following her home, noted the house in which she lived, ascertained
+her name, procured an introduction, and straightway married her. The
+issue of this marriage was two children--a boy and a girl. The
+former--John George Warrington Leech, the miniature counterpart of his
+father in appearance and dress, and inheriting in a marvellous degree
+his talent for drawing--was unfortunately drowned at South Adelaide in
+1876.
+
+Leech's hand appears for the first time in the fourth number of _Punch_
+(7th August, 1841),[133] to which he contributed the well-known
+full-page illustration of _Foreign Affairs_. His first cartoon, _A
+Morning Call_, will be found at page 119 of vol. ii., and the reader
+will find it worth his while to refer to it for the purpose of comparing
+it with the later and better work with which he afterwards enriched the
+pages of this famous serial, which mainly through his instrumentality
+was steered into the current of prosperity which carried it--after a
+time of considerable doubt and perplexity--[134] steadily onwards. One
+of _Punch's_ most celebrated contributors has borne testimony to the
+value of his services. "Mr. Punch," says Thackeray in reviewing his
+friend's contributions in 1854, "has very good reason to smile at the
+work and be satisfied with the artist. Mr. Leech, his chief contributor,
+and some kindred humourists with pencil and pen, have served Mr. Punch
+admirably.... There is no blinking the fact that in Mr. Punch's cabinet
+John Leech is the right-hand man."[135] That this was true is proved by
+the fact that during his connection with _Punch_, extending over a
+period of three and twenty years, he executed no less than three
+thousand pictures, of which at least six hundred are cartoons.[136] No
+wonder that when he lay dead, Shirley Brooks--another valued
+contributor, and afterwards editor of _Punch_--mournfully acknowledged
+that the good ship had lost its "mainsail."[137]
+
+
+  THE "ILLUMINATED MAGAZINE."
+
+Most admirable examples of his designs on wood will be found in the
+first three volumes of "The Illuminated Magazine," a delightful serial
+which appeared in 1843-4, which also contains a series of etchings on
+copper of unusual size and brilliancy. Associated with him on the pages
+of this periodical, which is now seldom met with, were his friends
+Thomas Hood and Mark Lemon, Douglas Jerrold and Laman Blanchard, Albert
+Smith and Angus Bethune Reach, Samuel Lover and Kenny Meadows. The world
+was young with authors and artists alike in those days; the youngest of
+the band were William Hepworth Dixon, then aged twenty-two; John Leech,
+twenty-six; and Wilkie Collins, literally not "out of his teens," one of
+whose earliest literary productions we find here under the title of "The
+Last Stage Coachman," illustrated by Hine. In these volumes appeared
+Douglas Jerrold's delightful allegory of the "Chronicles of Clovernook,"
+to which the veteran Kenny Meadows contributed some of the most quaint
+and original of his sketches.
+
+[Illustration:
+  JOHN LEECH. "_Illuminated Magazine._"
+
+  THE ELECTION.
+
+  _Face p. 286._]
+
+John Leech's portrait appears in three of the _Punch_ sketches--two only
+of which are due to his own hand; the first in January, 1846, in one
+wherein a servant maid is depicted as saying, "If you please, sir,
+here's the printer's boy called again;" again, in January, 1847, where
+we find him playing the clarionet as one of the orchestra at _Mr.
+Punch's Fancy Ball_. Other performers are--Mayhew, cornet; Percival
+Leigh, double bass; Gilbert a Beckett, violin; Richard Doyle, clarionet;
+Thackeray, piccolo; Tom Taylor, piano; while Mark Lemon, the conductor,
+appeals to Jerrold to somewhat moderate his assaults on the drum.
+Another hand portrays him seven years later, as armed with a porte
+crayon he rides his hobbyhorse at an easel which does duty for a hurdle,
+Jerrold is playing skittles, Thackeray holds the bat at a game of
+cricket, and Mark Lemon is engaged at rackets.
+
+
+  DOUGLAS JERROLD.
+
+Amongst the early _literary_ contributors to _Punch_ were Mark Lemon,
+Horace Mayhew, Gilbert a Beckett, Stirling Coyne, W. H. Wills, H. P.
+Grattan, Douglas Jerrold, Percival Leigh, and Dr. Maginn. Albert Smith
+joined the staff through the introduction of his friend Leech; Thackeray
+was a later acquisition, in 1844. It was scarcely to be expected that
+the brilliant and the lesser wits who shed their lustre on the early
+volumes of _Punch_, and were brought together at the weekly council
+dinners, would invariably agree;--Jerrold and Thackeray, for instance,
+entertained a sort of constitutional antipathy to one another, and the
+latter, it must not be forgotten, was (in the words of Anthony Trollope)
+"still struggling to make good his footing in literature" at the time he
+joined the ranks of the _Punch_ parliament. Jerrold could not veil his
+contempt for Albert Smith, angrily asking Leech at one of the _Punch_
+gatherings, with reference to the former's free and easy method of
+addressing his friend, "Leech, how long is it necessary for a man to
+know you before he can call you 'Jack'?" When A Beckett announced his
+"Comic History of England," in 1846, the strong mind of Jerrold recoiled
+in horror from what he deemed a sacrilege. Writing to Charles Dickens in
+reference to the announcement, he said, "After all, life has something
+serious in it. It cannot be _all_ a Comic History of Humanity. Some men
+would, I believe, write the Comic Sermon on the Mount. Think of a Comic
+History of England! The drollery of Alfred! the fun of Sir Thomas More
+in the Tower! the farce of his daughter begging the dead head, and
+clasping it in her coffin, on her bosom! Surely the world will be sick
+of this blasphemy!" "The Comic History of England" appeared,
+notwithstanding, and was followed afterwards by the "Comic History of
+Rome;" and however we may sympathize with the honest indignation of
+Jerrold, and condemn the questionable taste of A Beckett, we have at
+least to thank the latter for some of the drollest and most original
+designs which ever emanated from the pencil of John Leech.
+
+The eccentric and original costumes in which he draped the classical
+characters of Rome appear to have been a favourite idea with the artist.
+Shirley Brooks relates that he first made his acquaintance at a fancy
+ball given at the house of their mutual friend, the late John Parry.
+"Leech's costume," says the late editor of _Punch_, "I well remember. It
+was something like Charles Mathews, as chorus to Medea. The black
+trousers and patent leather boots of decorous life were below; but above
+was the classic tunic. Then in addition he wore a fine new hat, round
+which, instead of around his head, was the laurel wreath; and the Greek
+ideal was brought into further discomfiture by a pair of spectacles and
+an exceedingly neat umbrella." This comical idea will be found
+ridiculously amplified in his amazing designs to "The Comic History of
+Rome."
+
+
+  ALBERT SMITH.
+
+Medical student, novelist, dramatist, humourist, and showman--for some
+of us still remember his diorama of "The Overland Route"--the most
+fortunate venture of Albert Richard Smith (to give him his full name)
+was his ascent of Mont Blanc, which formed the theme of a
+well-remembered lecture, in which his perils amid rocky pinnacle,
+snow-field, and glacier lost nothing by the graphic mode in which they
+were related. This "ascent," by the way, proved a source of profit to
+others besides himself; and we should be curious to know the number of
+Chamounix guides and hotel-keepers who were enabled through his indirect
+means to retire into private life. The memory of Albert Smith is
+deservedly cherished by the inhabitants of the distant Savoyard valley,
+for he made the ascent of the "Monarch of Mountains" popular among his
+countrymen, and thereby sowed the seed of a succession of golden
+harvests, of which the primitive but thoroughly wide-awake peasantry
+were by no means slow to profit. Dissimilar in many respects, Albert
+Smith and John Leech had this bond of sympathy between them, that both
+were old friends, and both had nominally studied for the medical
+profession; and whilst Leech attained at St. Bartholomew's that
+practical knowledge of anatomical drawing which did him such good
+service in his artistic career, Albert Smith at Middlesex Hospital and
+the _Hotel Dieu_ appears to have picked up that intimate acquaintance
+with London and Parisian student life which he displays in the
+"Adventures of Mr. Ledbury."
+
+The "New Monthly" for 1844 contains two etchings by Leech to "The Lord
+of Thoulouse" and "The Wedding Day," which seem to call for notice,
+because they are not to be found in the collected edition of the
+"Ingoldsby Legends." In the collected edition he shows us little Jack
+Ingoldsby _before_ he entered the fatal cellar, while in the "New
+Monthly" we see him lying dead at the feet of the weird buccaneer, who
+points with grim irony at the little corpse by way of caveat to those
+who would broach his wine. From the "New Monthly" etching George
+Cruikshank borrowed the idea for his illustration of the same subject in
+the 1864 edition. There is a difference, of course, but the fact will
+become ridiculously patent to any one who has an opportunity of
+comparing the two designs. This, by the way, is not the only instance in
+the '64 edition in which Cruikshank borrowed his idea from John
+Leech,[138] which at one time he would have scorned to do, a fact which
+affords the strongest possible evidence of the decadence of George's
+once unrivalled powers of invention, imagination, and fancy.
+
+Leech it will be remembered obtained a footing on the staff of
+"Bentley's Miscellany" at the time when George Cruikshank was leaving
+it. Cruikshank, however, was an admirer of the genius of Leech, and when
+they laid him in his untimely grave in Kensal Green Cemetery, on the 4th
+November, 1864, the veteran artist was among the crowd of distinguished
+men who looked sorrowfully on. The influence which George Cruikshank
+exercised upon the genius of Leech will be apparent to any one who has
+given attention to the early etchings of the latter. This influence will
+be particularly discernible in the illustrations to "Richard Savage" and
+"The Marchioness of Brinvilliers." Both were men of genius, but Leech's
+fancy was of a tamer kind, and little inclined him in the direction of
+the supernatural or the terrible. Leech, for instance, never produced
+anything which equalled _Fagin in the Condemned Cell_; _The Murder of
+Sir Rowland Trenchard_; _Xit Wedded to the Scavenger's Daughter_; _Jack
+o' Lantern_; or the reverie of the _Triumph of Cupid_. We shall find but
+few diabolicals in his gallery of pictorial subjects, notwithstanding
+which there is not a fiend in the whole of Cruikshank's demon ranks who
+equals Leech's devil in Thomas Ingoldsby's legend of "The
+House-warming."
+
+It may seem invidious to institute a comparison between the two men.
+Some, indeed, may hold that a comparison is impossible; but we will
+quickly show that such a comparison is not only possible but
+unavoidable. George Cruikshank, for instance, might or might not have
+illustrated the "Comic Histories" of England and of Rome better than
+John Leech; we may fancy, however, his hand on the Surtees' novels, the
+odd men, the strange coats, the eccentric women, the podgy "cockhorses,"
+the wonderful dogs that would have put in an appearance in the various
+sporting scenes and incidents which form the subject of these "horsey"
+romances; we should like, for instance, to see what he would have made
+of the pretty serving woman who figures in the frontispiece of "Ask
+Mamma;" how he would have treated the fair "de Glancey"; how he would
+have grouped and dressed his figures at _The Handley Cross Ball_; how he
+would have treated poor old Jorrocks when he fell into the shower bath.
+But, admirable as are Leech's book illustrations and etchings, it is in
+the minor designs which he executed for _Punch_ during the short quarter
+of a century allotted to him that we must seek for Leech's _genius_: it
+is these little drawings which place him in the front rank of nineteenth
+century graphic satirists. They are characterized by genuine humour and
+satire, unalloyed with a single trace of ill-humour, exaggeration, or
+vulgarity. It was in this direction that the artistic instincts of poor
+Robert Seymour inclined him; but his imagination and invincible tendency
+to exaggerate, inherited from the caricaturists who preceded him, failed
+to bear him beyond the limited sphere of cockney sports and cockney
+sportsmen in which his soul delighted. Here, we have the swells and
+vulgarians, the flunkies and servants, the old men and maidens, the
+soldiers, the parsons, the pretty women of English everyday life, placed
+in situations more or less embarrassing, but presenting nevertheless
+perfect types of the respective classes thus harmlessly and admirably
+satirized. In this lies their chief value, and as years roll on and the
+_Punch_ volumes become scarce, this value will necessarily increase.
+
+
+  ABHORRENCE FOR FRENCHMEN.
+
+A shy and unobtrusive member of the society in which he moved, and which
+delighted in the enjoyment of his friendship, John Leech was the keenest
+of observers, noting and satirizing as no one before his time had
+attempted, or indeed had been able to do, the cant and hypocrisy, the
+pride and selfishness, the upstart and arrogant exclusiveness, the
+insular prejudices and weaknesses, which form a part of our national
+character; but doing this, he loved his countrymen and countrywomen for
+their finer qualities, and hated the bungling foreigners who presume to
+caricature them without the barest knowledge of their subject. This is
+the secret of the hearty abhorrence which Leech always testified for
+Frenchmen. The ignorance of his countrymen on the subject of English
+women has been amusingly ridiculed by one of the most distinguished of
+their own writers--Eugene Sue, in his novel of "Mathilde":--"_That_ an
+Englishwoman! Nonsense; there is nothing more easy to recognise than an
+Englishwoman; you have only to look at her dress; it is simple enough,
+in all conscience! A straw bonnet all the year through; a pink spencer;
+a Scotch plaid petticoat, and bright green or lemon-coloured boots; you
+may see the costume any day in _Les Anglaises pour rire_, at the
+_Varietes_. We all know it is a Vaudeville, and it would not be publicly
+acted unless it were authentic. I repeat it once more, ever since this
+world has been a world, Englishwomen--real genuine Englishwomen--have
+never been differently dressed." M. Taine, who devoted himself to the
+study of our language and literature, and spent much time amongst us,
+has (if I remember rightly) admitted the errors which prevail amongst
+his countrymen and women with reference to ourselves; but such observers
+as M. Taine and M. Sue are unfortunately rare in France, and many have
+essayed to depict us, with as much knowledge of their subject as our Sir
+John Maundeville possessed when he sat down to write his absurd but
+quaint and amusing "Book of Voiage and Travaile." John Leech resented
+this deplorable ignorance on the part of our neighbours; and the _Punch_
+volumes are filled with biting sarcasms on French habits, manners, and
+sentiments, which were keenly felt, because, unlike the English who
+figure at the Varietes or in French caricatures, in the dirty men who
+regard with astonishment the English washstand at the exhibition, the
+cabs full of hirsute monstrosities, the "Flowers of the French army,"
+the grimy Revolutionists of Leicester Square--the hundred and one
+Frenchmen who figure in the satires of John Leech, the Parisian
+recognises compatriots whose ridiculous lineaments have been too
+faithfully reproduced to render identification a matter of doubt or
+difficulty.
+
+Leech executed very few illustrations for Dickens; and the amusing
+blunder which he perpetrated in "The Battle of Life," in allowing the
+lady to elope with the wrong man, and the "horror and agony" of the
+author in consequence thereof, have been set forth in Forster's "Life."
+The mistake was discovered too late for correction, and remains a
+curious proof of the carelessness with which distinguished artists will
+sometimes read the manuscript of an author however illustrious.
+
+[Illustration:
+  JOHN LEECH. "_Illuminated Magazine._"
+
+  "I HOPE MR. SMUG, YOU DON'T BEAT YOUR BOYS?"
+
+  _Face p. 292._]
+
+The Surtees' novels afford singular evidence of the keenness of John
+Leech's critical observation. An ardent lover of sport himself, and a
+frequent attendant at the "Pytchley," when he went a day's hunting it
+was his custom to single out some fellow disciple of Nimrod that
+happened to take his fancy, keeping behind him all day, noting his
+attitudes in the saddle, and marking every item of his turn-out, to the
+last button and button-hole of his hunting coat. It was in this way that
+he obtained the correctness of detail which renders his famous sporting
+etchings so wonderfully true to nature. Strange to say, notwithstanding
+his knowledge of every detail of the huntsman's dress, even to the
+number of buttons on his coat, he himself, with reference to his own
+outfit, invariably presented in the hunting field a somewhat incongruous
+appearance. Either he would wear the wrong kind of boots, or would
+dispense with some detail which on the part of an enthusiast would be
+considered an unpardonable omission. Leech, however, was not what is
+called a "rough rider," his constitutional nervousness prevented him
+indeed from making a prominent figure in the hunting field, and his
+friends attributed this want of attention to detail in dress to his
+sensitiveness to criticism, and his unwillingness to place himself in
+any position which would be likely to incur it.
+
+
+FOOTNOTES:
+
+  [126] Vol. iii., 1860.
+
+  [127] Shirley Brooks in the _Illustrated London News_, 19th Nov.,
+    1864.
+
+  [128] George Redway, 12, York Street, Covent Garden.
+
+  [129] They include also some (pirated) impressions from the designs
+    of George Cruikshank, which set that irritable genius, as might have
+    been expected, in a fume.
+
+  [130] Chapman & Hall, 186, Strand, 1st November, 1840.
+
+  [131] "Adventures of Michael Armstrong, the Factory Boy."
+
+  [132] He subsequently returned to it for a short time only.
+
+  [133] The serial commenced 17th July, 1841.
+
+  [134] That this was the case, see Mr. Joseph Hatter's "With a Show in
+    the North;" see also a remarkable letter of Mr. William Tegg in the
+    _Athenaeum_ of 16th October, 1875.
+
+  [135] Thackeray in the _Quarterly_.
+
+  [136] I calculate that the minor drawings number about 2,500; if to
+    these we add 638 cartoons, we get a sum total of over 3,100
+    illustrations for _Punch_ alone. If we say nearly 1,000 for Mr.
+    Surtees' sporting novels, without taking into account Leech's other
+    work, we may form some notion of his untiring industry.
+
+  [137] MS. Diary of Shirley Brooks (October 31st, 1864).
+
+  [138] Compare, for instance, Leech's _Black Mousquetaire_ in the
+    original edition with Cruikshank's reproduction of the same subject
+    in the '64 edition.
+
+
+
+
+CHAPTER XIV.
+
+_THE "PUNCH" CARTOONS OF JOHN LEECH._
+
+
+We have seen that at the time John Leech commenced work as a comic
+artist, the art of caricature was practically dead; it was not therefore
+at all surprising, under the circumstances, that he should reverse, as
+it were, the order of things: commence as an illustrator of books, and
+finish his career as a graphic humourist. Although his first
+contribution to _Punch_ commences in the fourth number, his cartoons so
+called (from which, in accordance with the plan of this work we now
+proceed to select a few examples) seem to us to call for little mention
+before the year 1843.
+
+
+  PRINCE ALBERT.
+
+His Royal Highness Prince Albert, who held high rank in the British army
+by virtue of his exalted position, was most unjustly suspected in those
+early _Punch_ days of a desire to interfere unduly with its
+administration. He took, however, much interest in the dress and comfort
+of the British soldier; and those who remember what military costume was
+in 1843, will admit that there was room for improvement. Changes were
+made indeed, but these changes can hardly be said to have been made in
+the direction of either comfort, convenience, or good taste. The "Albert
+hat" (as it was called), one of the ugliest, most ungainly, and
+preposterous of military shakoes that was ever invented, made its
+appearance about this time, and the idea was credited (rightly or
+wrongly) to the amiable prince. Constant reference to this preposterous
+invention is made in the pages of _Punch_, and the prince's questionable
+taste in the matter of military costume is specially satirized in
+Leech's amusing cartoon entitled _Prince Albert's Studio_.
+
+Mr. O'Connell, at a great Repeal meeting held in September, 1843, had
+expressed a hope that he should be able to give his dupes "as a new
+year's gift a parliament on College Green." No one knew better than
+himself the absurdity of such a promise. Had he named the first of April
+for the presentation instead of the first of January, it would have been
+more appropriate, and at least equally veracious. A great Repeal meeting
+was intended to be held in October at Clontarf, three miles from Dublin,
+at which certain supporters of the movement were to have attended on
+horseback and paraded in the character of the "Repeal Cavalry." This
+meeting the Irish executive prohibited by proclamation, and on the 14th,
+O'Connell and other prominent leaders were arrested, and held to bail on
+a charge of conspiracy. On the 24th of May, 1844, the Irish judges
+sentenced him to twelve months' imprisonment, and a fine of L2,000. The
+cartoon of _The Probable Effects of Good Living and no Exercise_ refers
+to this result; but _Punch_ on this occasion was wrong. O'Connell proved
+"too many" for the Irish lawyers. He appealed by writ of error to the
+Lords, and on the 4th of September the judgment was reversed.[139] Sir
+James Graham, the Home Secretary, and the government to which he
+belonged, had encountered much odium in consequence of the opening of
+certain letters which had passed through the post office. The result was
+the appointment of a Committee of Secrecy by both Houses to inquire into
+the official practice, and it would appear from their report that every
+administration had been in the habit of exercising this espionage under
+the authority of a warrant of the Secretary of State. The sins of the
+past as well as of the present were visited on the head of Sir James,
+who sought to throw the responsibility on higher powers; and in
+reference to this, Sir James Graham and Sir Robert Peel figure
+respectively as _Sairey Gamp_ and _Betsey Prig_, after Phiz's well-known
+drawing. Sir James indeed seemed to have had rather a facility for
+getting himself into trouble. There was much excitement in and out of
+the House with reference to the additional grant to Maynooth College. In
+the course of the debates, Sir James Graham retracted an expression
+which he said had fallen from him in the heat of debate, viz. that
+concession in favour of Ireland had reached its utmost limit, and hoped
+that his actions had proved better than his words. Among the subsequent
+cartoons by Leech, he figures as _Peel's Dirty Little Boy_. "Drat the
+boy," says Dame Peel (as she chastises him), "he's _always_ in a mess."
+Towards the close of the debate two remarkable speeches were delivered
+by Lord John Russell and Sir Robert Peel, both of whom concurred in the
+necessity of a conciliatory policy towards Ireland. This _rapprochement_
+between the two leaders of the opposite camps, and the leanings of Sir
+Robert in the direction of a Liberal policy, are referred to in Leech's
+cartoons of _How do you Like the New Whig?_ and the _Premier's Fix_
+(Peel between Free Trade and Protection), the last borrowed from one of
+Cruikshank's drawings. _The Railway Juggernaut of 1845_ (also suggested
+by Cruikshank's well-known etching), refers to the then mania for
+dabbling in railway shares.
+
+Between the two stools of Free Trade and Protection, Sir Robert, as
+might have been anticipated, ultimately fell through; an event which is
+chronicled in vol. x., the idea in this instance being taken from the
+celebrated drawing in the late Mr. Clarke's "Three Courses and a
+Dessert," the cartoon of Peel driving the vehicle of Protection, which
+has broken down, bearing the title of _The Deaf Postilion_. A change of
+ministry took place in 1846, little Lord John replacing Sir Robert Peel
+as "First Lord of the Treasury." He cuts an amazingly queer figure (in
+vol. xi.) in the ex-premier's huge hat, vast coat, and voluminous
+waistcoat and inexpressibles. Little Lord John was an enduring subject
+of _Punch's_ satire during that statesman's somewhat unsatisfactory
+political career, and Leech was never weary of comparing him with his
+far more brilliant and able contemporary. Here we have the pair figuring
+as _Dombey and Son_ (Dombey being Sir Robert, and the son Lord John),
+"Mr. Dombey was in a difficulty. He would like to have given him (_the
+boy_) some explanation involving the terms circulating medium, currency,
+depreciation of currency, paper, bullion, rates of exchange, value of
+precious metals in the market, and so forth." The _Portrait of a Noble
+Lord in Order_ refers to one of those exhibitions of want of tact,
+taste, and temper in which Lord Brougham would seem to have
+delighted.[140] "Who calls _me_ to order?" cries the "noble and learned"
+lord, "Who calls _me_ to order? Pooh! Pooh! Fiddle-de-dee! I never was
+in better order in my life. Noble lords don't know what they are about;"
+a conspicuous and aggressive appurtenance of the "noble and learned," by
+the way, is his preposterous umbrella. One of the most barbarous and
+disgraceful of London neighbourhoods in 1847, and for many years
+afterwards, was Smithfield; the present generation can form no idea of
+the state of things thirty years ago, which is referred to in the
+cartoon of _Punch and the Smithfield Savages_, the artist borrowing his
+idea from West's well-known picture of "Penn's Treaty with the Indians."
+The odious matrimonial swindle perpetrated by Louis Philippe with the
+idea of ultimately seating a member of his family on the Spanish throne,
+which has cast an indelible stain on his memory, had now been found out,
+and attracted universal indignation. We find him, in reference to this
+shameless piece of business, figuring as the _Fagin of France after
+Condemnation_, the idea being suggested of course by Cruikshank's famous
+etching in "Oliver Twist." Retribution overtook the mercenary monarch in
+the year of disquietude and national unrest--1848; foreign kings and
+potentates were sent flying in all directions, and Louis Philippe, who,
+like the rest of his family had learnt nothing by misfortune, was among
+the first to go. _Put Out_, one of the best of the artist's political
+cartoons, represents an armed _ouvrier_ clapping the cap of _liberte_ by
+way of extinguisher on the French candle (King Louis). Uneasy were the
+heads which wore crowns in that year; and to the throned and unthroned
+sovereigns, the former of whom watched these untoward events with
+nervous interest, John Leech presented a seasonable gift in the form of
+_A Constitutional Plum Pudding_, served up by Mr. Punch on Magna Charta,
+and curiously compounded of "Liberty of the Press," "Common Sense,"
+"Order," "Trial by Jury," "Religion," and "True Liberty of the Subject."
+
+Among the sovereigns who had a peculiarly insecure seat at this period
+was Mastai Ferretti, better known as Pope Pius IX. His temporal power
+was weak, whilst his spiritual dominion, as might have been expected,
+had never been much stronger. To bolster up the former, and at the same
+time find employment for his troops, Louis, Prince President of the
+French Republic, sent an army to Rome, thus affording matter for the
+speculation of his countrymen, who were puzzled to know what possible
+concern a French Republic could have with the affairs of the Papacy.
+Allusion to this is made in Leech's cartoon of _The French Cock and the
+Roman Eagle_, in which the bird of higher caste, chained and fettered,
+is unable to offer anything like fair resistance to his unwilling
+antagonist. In a _Bright Idea_, we have the apostle of peace (whose
+uncompromising arguments in its favour have driven us before now in the
+direction of war) figuring as a recruiting sergeant, and endeavouring to
+enlist the "Iron Dook."
+
+
+  GENERAL HAYNAU.
+
+In no country perhaps are women more cruelly used than among the poorer
+classes of England, while in no country under the sun is greater
+sympathy expressed for the weaker sex; a paradox which was strikingly
+exemplified in 1850. The Austrian General Haynau in that year paid a
+visit to this country. Some time before he had earned unenviable
+notoriety by his treatment of the wives and daughters of Hungarian
+insurgents who fell into his hands, and it was reported, probably with
+much exaggeration, that regardless of sex and condition he had subjected
+these hapless fugitives to the indignity of corporal punishment. The
+rising had been however some time repressed, and there was every reason
+to believe that in this country at least the rumour had been forgotten.
+Among the sights the General had been recommended to visit in London was
+the celebrated brewery of Messrs. Barclay & Perkins, and no sooner was
+his presence discovered, than he was simultaneously attacked by the
+draymen, and narrowly escaped with his life. He got small sympathy from
+_Punch_, who, in vol. xix., presented Leech's _Sketch of a Most
+Remarkable Flea found in General Haynau's Ear_. "_Who's Dat Knocking at
+de Door?_" is a question put by Johnny Russell to old Joe (Hume), who
+once in every session in those days stood knocking at the door with his
+banjo labelled, "Extension of the Suffrage."
+
+
+  THE "PAPAL AGGRESSION."
+
+Macaulay, writing in 1840,[141] referred to the progress of what he
+happily termed "The Catholic Revival of the Nineteenth Century." This
+revival was never more clearly exemplified than at the very time the
+temporal power was most seriously endangered. Such of the temporal
+power, indeed, as was left to it has gone, probably for ever; while the
+spiritual power of the Papacy, at least in Protestant England, as must
+be patent to any one who has given the subject the smallest attention,
+has unostentatiously but enormously increased, especially within the
+last twenty years. The year 1850 was remarkable for what was then known
+among us as the "Papal Aggression," and _Punch_ and his "right-hand man"
+were exceedingly angry. Among the cartoons which they fulminated on the
+occasion were the following: _The Guy Fawkes of 1850_ [_i.e._ the Pope]
+_Preparing to Blow up all England_; _The Thin End of the Wedge_ [the
+Pope trying with his jemmy, labelled "Roman Archbishopric of
+Westminster," to force the doors of the English Church]. It is both a
+singular and significant circumstance, that at this time the Ritualists,
+or rather Puseyites, were helping on the work of Rome by promoting, if
+not schism, at least dissension in the Church of England by advocating
+the strictest attention to the letter instead of the spirit of the
+rubric and liturgy. We find, in special reference to the assistance
+thus, in some cases we believe unconsciously, rendered to the Romish
+Church, _The Puseyite Moth_ flying into the Roman Catholic candle; and
+_Fashion in 1850, or a Page for the Puseyites_, in which we see the
+Bishops of Lincoln, Oxford, and Exeter dropping the hot poker of
+Puseyism, and the Pope, as monkey, making a _catspaw_ of _poor
+Pus(s)ey_ [the Doctor lately deceased]; again, in vol. xx., Punch (a
+boy) inquires of an episcopal showman, who holds the model of a church
+on his stand, "Please, Mr. Bishop, which is Popery and which is
+Puseyism?" To which the episcopal showman replies, "Whichever you like,
+my little dear"; another cartoon represents a Puseyite parson who has
+received "warning" from his cook. Inquiring the reason of her
+dissatisfaction, he receives the following reply: "Well, sir, the fact
+is I aint equal to them Fast days; for what with a hegg here, and a hegg
+there, and little bits of fish for breakfastes, and little bits of fish
+for dinners, and the sweet omelicks, and the fried and stewed hoysters,
+and the Bashawed lobsterses, and one think and the hother, there's so
+much cooking that I aint even time to make up a cap!" Another
+influential person besides Mr. Punch was terribly indignant at this
+aggressive movement on the part of the Papacy, and loudly avowed his
+determination to go any length to put a stop to it. This was my Lord
+John Russell, who, after vapouring like "ancient Pistol," quietly
+sneaked off after his usual fashion, and did nothing. He got, however, a
+well-merited dressing from Leech, who showed him up in his true
+character in a contemporary number as _The Boy who Chalked up "No
+Popery," and then Ran Away_. It was these Papal satires (as we shall
+afterwards see) which led to the secession from _Punch_, and the
+consequent loss to satiric art, of one of its most genial and capable
+professors, the late Richard Doyle;[142] a loss followed (if we may so
+term it) by a compensating gain. Richard Doyle's place was almost
+immediately taken by an artist of great and exceptional power, for more
+than twelve years the friend and coadjutor of John Leech--Mr. Tenniel,
+who makes his first appearance in _Punch's_ twentieth volume.
+
+The long peace which followed the national and European struggle with
+Napoleon had produced a curious effect upon ourselves. While Russia took
+advantage of the lull to recruit her colossal forces, and Prussia to
+perfect the military system which took us so much by surprise half a
+century afterwards, we, on the other hand, wearied with our long and
+arduous struggle, had fallen asleep, and dreamed pleasantly that the
+"Millennium" was at hand. With this idea apparently in our minds, we
+inscribed on the walls of the Great Exhibition of 1851, the Scriptural
+text which tells us that "swords shall be beaten into ploughshares and
+spears into pruning hooks, neither shall they learn war any more." A
+significant commentary on the text was found in the fact that many of
+the exhibits at the "World's Fair" consisted of cannon, rifles, and
+other lethal instruments of improved method and construction, intended
+for the wholesale destruction of the human race. We read the Scriptural
+text, and viewed these exhibits as relics of a barbarism which had
+existed six and thirty years before, oblivious of the circumstance that
+an incompetent general had "wiped out" a British army in Afghanistan,
+and that we had crushed the empire of Runjeet Singh on the banks of the
+Sutlej not so many years before. The closing of the Exhibition is
+commemorated by a cartoon, in which Leech shows us the famous Amazon
+putting on her bonnet and shawl, chatting the while with Hiram Power's
+Greek Slave, who, habited in "bloomer" costume, prepares likewise to
+take her departure. Allusion to the bribery and corruption prevalent at
+a notorious borough of that day is made in a sketch which depicts the
+_Horror of that Respectable Saint, St. Alban's, at Hearing the
+Confession of a St. Alban's Elector_.
+
+
+  THE COUP D'ETAT.
+
+Remarkable results were destined to follow the year of unrest--1848.
+Louis Philippe had been replaced in France by Louis Napoleon, who seems
+to have been elevated to the Presidency of the Republic because he was
+considered to be so absolutely harmless, the principle followed being
+analogous to that observed at the election of a Pope, which has resulted
+more than once in an unpleasant surprise for the cardinal electors.
+Those who had formed a low estimate of his abilities, found that Louis
+was no longer the "half-saved" youth of Boulogne and Strasburg; that he
+had learnt some stern lessons in the hard school of adversity; that he
+had developed, moreover, a firm and decided will of his own. We thought
+it a hazardous experiment on the part of French Republicans, for Louis
+held a craze on the subject of his uncle's "ideas," and the craze had
+sufficient "method" to induce us to believe that he was the last man who
+would have been selected to fill the presidential chair. As a refugee in
+England, we had given him small credit for sagacity; and as an emperor
+and a man, history has already said of him that he was cunning,
+unreliable, and thoroughly unscrupulous. Although a comparison between
+the two men is impossible, there was at least this similarity between
+the two Napoleons, that both were indebted for their elevation to the
+imperial purple to a revolution; here, however, all resemblance ceased.
+The first Napoleon relied upon himself alone, while Louis was advised by
+counsellors and adventurers wiser and more unscrupulous than himself,
+and who were prepared to back his fortunes with a view of advancing
+their own. At the close of 1851, Europe was electrified by the
+unexpected and dastardly blow delivered by these men, and by means of a
+"great crime," the history of which has been so graphically related by
+Victor Hugo, Louis Napoleon, Prince President of the Republic, found
+himself master of the destinies of France. The event is referred to by
+John Leech in the cartoon of _France is Tranquil!!!_ which she cannot
+well fail to be, seeing that we find her bound hand and foot; a
+chain-shot fastened to her foot, and a sentry menacing her with his
+bayonet. The next volume shows us the Prince President in the act of
+being measured by his military tailor, while he offers money to his
+cast-off mistress _Liberte_, her mother (France) looking indignantly on.
+Immediately behind, a priest (in allusion to the support which the Papal
+party were receiving from this "eldest son of the Church") helps himself
+from a plate of money which stands by the President's side; the floor is
+littered with miscellaneous articles,--bayonets, knapsacks, imperial and
+other crowns, crosses of the legion of honour, the _code
+Napoleon_,--and, in reference to Louis's craze on the subject of his
+uncle and his "ideas," one of Napoleon's old boots. On a stool stands a
+bust of the first Napoleon, and on a chair to the right a roll of
+"Imperial purple."
+
+By the year 1853, the only persons who steadily shut their eyes to the
+signs of the times, and continued steadfastly to believe in the
+immediate advent of the "Millennium," were the peace-at-any-price party
+(represented by Messrs Bright and Cobden), the members of the Peace
+Society, and the very strange people who obstinately opposed any attempt
+on the part of England to provide for her national safety by putting her
+defences in order. To the Peace Society, Leech especially addressed his
+cartoon of _No Danger_, which represents a donkey braying in front of a
+loaded cannon; while to the mischievous lunatics who opposed any scheme
+of national defence, he dedicated an appropriate gift in the shape of _A
+Strait Waistcoat Worked by the Women of England_.[143] By this time John
+Bull had awoke from his dreams, and tacitly admitting that the time for
+conversion of his swords into ploughshares and his spears into pruning
+hooks had scarcely arrived, adopted the far more sensible method of
+sending his troops to the camp at Chobham by way of getting them
+acclimatized to the trials and vicissitudes of wind and weather. This
+step leads of course to a number of little pleasantries. In one cartoon
+we see an officer of household cavalry parting his hair in front of his
+cuirass, whilst a soldier servant brings him his shaving water in a
+bucket; another, entitled _A Cold in the Head_, represents an officer in
+this melancholy condition, who requests his servant to bring him his
+bucket of gruel as "sool as he has tallowed his loze." John, in fact,
+had been aroused from his slumbers by the Emperor Nicholas, who,
+thinking it a good time to appropriate Turkey, was suspected of having
+offered a slice to Austria. The rumour is referred to in the cartoon of
+_The Old 'Un and the Young 'Un_, in which we see the Russian and
+Austrian Emperors at table with a bottle of port between them, "Now
+then, Austria," says Nicholas, "just help me to finish the Port(e)." In
+another cartoon, John Bull nails the Russian eagle to his barn door,
+remarking to his French friend the while, that _he_ "wouldn't worry the
+Turkeys any more." Lord Aberdeen, who, notwithstanding the signs of the
+times, refused like Nicholas to believe in a war with England, is
+represented placidly smoking the _Pipe of Peace_ over a barrel of
+gunpowder.
+
+Thanks to Messrs Bright and Cobden, who obstinately persisted in
+opposing the popular feeling which had set in steadily in the direction
+of war,--thanks to the exertions of the Peace Society, who were not
+restrained from sending certain zealous members of their body to the
+Emperor Nicholas, who not unnaturally supposed that these broad-brimmed
+gentlemen represented the sentiments of the great English people,--but
+thanks above all to the French Emperor and his astute advisers, who were
+enabled to take advantage of the state of English feeling to hoodwink
+the "great nation" by the prospect of an alliance with a great and
+respectable power, the year 1854 found us in actual conflict with
+Russia, starting off after our usual fashion with a handful of men to
+attack the strongest fortress in Europe, provided with an unlimited
+supply of men and metal and inexhaustible stores of warlike _materiel_
+of all kinds. In vol. xxvi. we see Her Majesty _Throwing the Old Shoe_
+after her Guards, who, for the first time since 1815, are seen setting
+out on foreign service. Another cartoon, which has reference to our
+_Bombardment of Odessa_, is divided into two parts, in one of which we
+see Lord Aberdeen (whose dream of peace had been so rudely dissipated),
+and in the other Nicholas of Russia, both reading the newspaper. Says
+Aberdeen, "Bombardment of Odessa! Dear me, this will be very
+disagreeable to my imperial friend!" Says the Emperor, "Bombardment of
+Odessa! Confound it! this will be very annoying to dear old Aberdeen!"
+In November, 1854, occurred our disastrous victory of Inkermann, in
+which scarcely four thousand English troops found themselves opposed by
+forty thousand Russians and drove them into flight. No thanks, however,
+to our allies, who--with the exception of sixty brave Zouaves and their
+lieutenant, who played truant from their regiment to give us timely
+assistance--either looked on or absolutely ran away.[144] Spectators of
+this battle were two of the Imperial family, a circumstance alluded to
+in vol. xxvii. by Leech's cartoon of _The Russian Bear's Licked Cubs,
+Nicholas and Michael_.
+
+
+  THE PURCHASE SYSTEM.
+
+Picton remarked of our officers, when _en route_ to Waterloo, that with
+fifty thousand of his own men, and _French_ officers at their head, he
+would march from one end of Europe to the other. But both the quality of
+French officers and soldiers had deteriorated at the time of the Crimean
+War, and was destined still further to deteriorate until the utter
+unsoundness of their military discipline was laid bare years afterwards by
+Prussia. The French had no generals, while we had _one_ general and an
+excellent body of soldiers. Unquestionably the Russian war did us the
+service of thoroughly exposing the rottenness of our military system so
+far as concerned the officering of the army. The principle followed was
+precisely that complained of by Sir Thomas Picton forty years before;
+there was no actual test of fitness until it came to be subjected to the
+practical test of emergency; money invariably had the advantage of merit,
+not only in the appropriation of first commissions, but in the purchase of
+subsequent regimental grades, which were given in exchange for pecuniary
+value, and not as a reward for military efficiency. The material thus
+obtained was splendid as regards manliness and bravery, but something more
+than these were wanted in the absence of a leader like the great Duke; and
+although the type selected is an extreme one, the result may be indicated
+by my Lord Cardigan, who, though equal to any amount of endurance and
+heroism, proved himself incapable of the exercise of the smallest particle
+of common sense. The scandal of the then existing system of purchase was
+aptly exposed by the artist in vol. xxviii., where we find a rich titled
+old lady in a shop served by military counter-jumpers, one of whom,
+wrapping up a lieutenant-colonelcy for her boy, inquires, in the
+well-known jargon of the trade, "What is the next article?" in answer to
+which she expresses a wish to have "a nice majority for his little
+brother"; a wounded officer with his arm in a sling timidly inquires the
+price of a captain's commission, and turns wearily away on finding the
+preposterous price (L3,694) is wholly beyond his means. Fortunately for
+us (for events proved that in trusting to French assistance we were
+leaning on a broken reed indeed!) the Russian rank and file, besides being
+badly led, were as inferior to our own in endurance and pluck as they were
+superior to us in the mere matter of numbers. Justly wondering why forty
+thousand men, supported by twenty thousand reserves, had failed to hold
+their own against a mere handful of British infantry, Nicholas
+nevertheless treated the result apparently in a philosophical spirit, and
+calmly asked his people to wait for "Generals _Janvier_ and _Fevrier_."
+But the brave man's heart was broken, and when February came it found the
+Imperial prophet a corpse.[145] The death of this great and disappointed
+man is forcibly commemorated by Leech's memorable cartoon of _General
+Fevrier Turned Traitor_. Lord John Russell, true to his character of "Lord
+Meddle and Muddle," had done nothing for us at the Congress, and in _The
+Return from Vienna_, Her Majesty catches the frightened little statesman
+by the collar and angrily asks him, "Now, sir, what a time you have been!
+What's the answer?" To her Lord John--"Please 'M--there
+is--is--is--is--isn't any answer."
+
+An English general in those days was so scarce a commodity that in Lord
+Raglan we seemed absolutely to have exhausted the supply: one old
+incapable was replaced by another, until the dearth of English military
+ability became at length nothing less than an absolute scandal. In _What
+we must Come to_, reference is made to this lamentable state of things,
+wherein an old woman in bonnet and shawl, with a capacious umbrella,
+applies for a post to Lord Panmure (the Minister of War), "Oh, if you
+please, sir, did you want a sperity old woman to see after things in the
+Crimea? No objection to being made a Field Marshal, and glory not so
+much an object as a good salary"; in another (_A Grand Military
+Spectacle_) we find the heroes of the campaign engaged in inspecting the
+Field Marshals, a pair of decrepid, purblind, old men seated in arm
+chairs; in the third we recognise the amiable Prince Consort, who was
+most unjustly suspected in those days of a desire to interfere in the
+administration of our military matters--it would be moonshine to term it
+military _system_, as we had none. _The New Game of Follow my Leader_ is
+a palpable hit at a practice common enough too in those days.
+Applications were frequently made by officers for leave to return home
+on the plea of "urgent private affairs," and you were astonished to see
+gentlemen walking about whose duty it was to be with their regiments in
+the Crimea. In the cartoon referred to, a long line of soldiers is drawn
+up in front of the general's tent; a little drummer boy steps out of the
+ranks, and making the usual salute inquires, "Please, general, may me
+and these other chaps have leave to go home on _urgent private
+affairs_?"
+
+A more unsatisfactory state of things for the belligerents all round
+than this miserable Crimean conflict can scarcely well be imagined. Lord
+Raglan, who had learned war by practical experience under the eye of the
+great Duke himself, speedily realized the fact that he had been made the
+victim of French military jealousy and imbecility, the leaders having
+been selected not on account of their military efficiency, but solely
+for attachment to the cause of the Emperor. The battle of the Alma had
+been won without the assistance of the French, who for all practical
+purposes might just as well have been away.[146] Marshal St. Arnaud,
+who, to do him simple justice, was at this time dying literally by
+inches, had refused to follow up the defeated Russians,[147] whose
+retreat a _competent_ French general must have converted into an
+absolute rout; whilst, had he followed the advice and wishes of Lord
+Raglan, we should probably have entered Sebastopol in a fortnight,
+instead of having to wait three years for an event which was afterwards
+accomplished at a ruinous waste of time, men, _materiel_, and
+money.[148] We had defeated the Russians at Inkerman without French
+assistance,[149] whilst the timidity and professional jealousy on that
+occasion of Marshal Canrobert had again failed to turn _our_ success
+into a crushing disaster for the enemy.[150] If England was
+dissatisfied, Russia was still more discontented, and her strength
+moreover at this time well-nigh exhausted. Efforts in the direction of
+peace were being made by Austria, which are referred to in the cartoon,
+_Staying Proceedings_ (vol. xxx.), wherein plaintiff John Bull instructs
+his solicitor Clarendon (who is setting off for Paris bag in hand),
+"Tell Russia," says angry John, "tell Russia if he doesn't settle at
+once I shall go on with the action;" but so unprofitable to us in the
+end was the arrangement effected by the solicitor, that the action was
+settled after all on the terms of each party having to pay their own
+costs. This preposterous result is referred to in the admirable sketch
+entitled _Swindling the Clarendon_, wherein landlord Bull angrily
+expostulates with his two waiters (Louis Napoleon and Palmerston),
+"What!" says John, "_quite the gentleman_! Why he has left nothing but a
+portmantel of bricks and stones, and gone off without paying the
+bill."[151]
+
+Just complaints were made in the papers of 1857 of the arrangements, or
+rather want of arrangements, at the Royal _levees_. The space was
+circumscribed and the crush frightful, and ladies returned from the
+ceremony with torn dresses and dishevelled hair, just as if they had
+been engaged in some feminine battle-royal. To accustom them to this
+uncomfortable but apparently inevitable ordeal, John Leech, in one of
+the very best of his sketches (vol. xxxii.), suggested a _Training
+School for Ladies about to Appear at Court_, where we see charming women
+in court dresses leaping over forms, crowding beneath barriers, and
+going through a vigorous course of saltatory exercises, to prepare them
+for what they might expect at the ceremony; the floor is strewn with
+broken fans, gloves, feathers, watches, and jewellery; while one fat old
+lady, who, in attempting to scramble beneath the barrier has become a
+permanent fixture, presents a truly comical appearance.
+
+
+  THE ENGLISH DISSATISFIED.
+
+The war was at an end; the "Eastern Question," as it was called in the
+political jargon of that day, had been settled for the next twenty
+years, and John Bull had now leisure to sit down to count the cost, and
+consider the value of the French alliance, and the quality of the
+assistance he had derived from French generalship and the French army.
+The result of John's calculation was eminently unsatisfactory to
+himself, for he felt that while he had done all the hard work and nearly
+all the fighting, the French, as might have been expected, had arrogated
+to themselves all the praise. John in his secret heart was angry; he
+felt he had been drawn into a contest from which he personally derived
+little advantage, and from which he emerged nominally triumphant at a
+ruinous waste of men and money; the Frenchman, on his part, was doubtful
+of the reality of the _gloire_ he claimed for himself, and distinctly
+conscious, moreover, that the English soldiers looked coldly on the
+French army and its achievements.[152] The result was a feeling of
+secret dissatisfaction on both sides, which found, however, no actual
+expression until an unexpected circumstance afforded opportunity for its
+manifestation. The war had been succeeded by a period of inaction, a
+state of things always dreaded by Louis, who was now harassed by plots
+and conspiracies, and a certain foreigner connected, or supposed to be
+connected, with one of these had sought and found an asylum on our
+shores. Certain valorous French colonels, desirous of displaying their
+loyalty at a cheap cost, presented an address to his Majesty, which
+contained the following intemperate passage:--"Let the miserable
+assassins--the subaltern agents of such crimes--receive the chastisement
+due to their abominable attempts; but also, let the _infamous haunt_
+where machinations so infernal are planned _be destroyed for ever_....
+Give us the order, sire, and we shall pursue them even to their places
+of security." French military composition, even in the time of the first
+Napoleon, was never of the highest order of merit, and the third
+Napoleon, whose policy it was to distract the attention of his people
+from reflecting on the questionable means by which he had attained his
+position, never lost an opportunity of earning popularity with any class
+of his subjects, particularly with the army. He suffered this
+quintessence of bombastic absurdity to appear in the pages of the
+official _Moniteur_, whence it was duly copied by the English
+newspapers, and afforded us the most intense amusement. _Punch_ answered
+this valorous appeal with Leech's celebrated cartoon (in vol. xxxiv.) of
+_Cock-a-doodle-do!_ wherein the French cock, habited in the uniform of a
+French colonel, crows most lustily on his own dunghill. This remarkable
+caricature possesses a singular historical interest, as it exactly
+expresses the feeling which pervaded England for some time after the
+close of the Crimean war. The hostile spirit towards Frenchmen which
+formed a part of John Leech's nature, once aroused was not easily
+allayed, and in the same volume he gives us specimens of _Some Foreign
+Produce that Mr. Bull can very well Spare_, in which he angrily includes
+French conspirators, vile French women, organ grinders (the artist's
+peculiar abomination), and other foreign refuse of an objectionable
+character. Further on, he follows up the subject in _A Discussion Forum
+(!) as Imagined by our Volatile Friends_, which represents a party of
+English conspirators from a French point of view. They wear the peaked
+hats, long cravats, long hair, boots, and inexpressibles peculiar to the
+Reign of Terror, and carry knives, revolvers, axes, and other weapons of
+destruction; a speaker occupies the rostrum, and below him sits the
+registrar with a bowl of blood, in which sanguinary fluid the
+proceedings are supposed to be recorded. The opposite picture, _A
+Discussion Forum (!) as it is in Reality_, shows us a number of foolish,
+ignorant, harmless youths, smoking pipes, drinking brandy and water, and
+discussing politics (so far as they are capable of understanding them)
+in a tavern club-room. Returning once more to his attacks on what he
+justly deemed the Romanizing tendency of the practices of certain
+members of the English Church, he gives us the cartoon of _Religion a la
+Mode_, in which a handsome woman is about to "confess" to a truculent
+and knavish looking ritualist. In the distance appears John Bull with
+his horsewhip, "No, no, Mr. Jack Priest," says he; "after all I have
+gone through, I am not such a fool as to stand any of _this_ disgusting
+nonsense." Some sensation was created this year by a private fete which
+was given by a member of the aristocracy at Cremorne Gardens. It
+occasioned considerable talk at the time, and as Ritualism was then in
+the ascendant amongst certain female leaders of fashion, Leech gives us
+(in vol. xxxv.) a powerful picture, entitled _Aristocratic Amusements_,
+in which John Thomas asks his mistress (a magnificent specimen of the
+artist's handsome women) as he puts up the steps of her carriage,
+whither she would wish to be driven,--"Confession or Cremorne, my lady?"
+
+Misfortune, the proverb tells us, makes us acquainted with strange
+associates. The Emperor Louis, during his early exile, had picked up
+certain undesirable acquaintances, who were in the habit in after life
+of forcing themselves on his notice after a peculiarly disagreeable and
+dangerous fashion. His unfaithfulness to the principles of the
+brotherhood of which he and they had been members, had seriously
+exercised the minds of certain of these quondam acquaintances, who had
+given forcible expression to their feelings by attempting his
+assassination. The pear-shaped hand grenades of Orsini and his
+fellow-conspirator were the fruit of Louis's early connection with the
+secret societies of the Carbonari. They indicate the forces which
+controlled the policy of the Third Napoleon, and obliged him constantly
+to pick quarrels with his neighbours for the double purpose of employing
+his army and of keeping the attention of his restless subjects and
+quondam acquaintances distracted from himself. As the advisers upon
+whom he depended were removed by death, the absence of military capacity
+which his habitual reticence had concealed was manifested by his
+extraordinary ignorance of the weakness of the force which he had at his
+disposal, and the utter rottenness of its organization. Meanwhile
+Italian assassins warned Louis's advisers of the desperate insecurity of
+the tenure by which they held their own position, and of the necessity
+of distracting the attention of the restless spirits who made it their
+business to inquire into their master's title. Within a year, therefore,
+of the execution of Orsini and his friend, a quarrel was fastened on the
+Austrian ambassador, which reminded us of the first Emperor's insult to
+our own Lord Whitworth, and the Imperial word went forth that Italy was
+to be freed "from the Alps to the Adriatic."[153] Although Louis was
+unable to accomplish this programme, he was enabled by great good
+fortune, the aid of Sardinia, the execrably bad generalship of the
+Austrians, and the military _prestige_ which still attached to the
+French name, to pave the way for this result; and Austria was not only
+humbled, but had moreover to surrender Venetia to Sardinia. No sooner
+was the war over, than Louis was suspected of casting longing eyes at
+the territories of his brave little ally,[154] and in _A Scene from the
+New Pantomime_, he figures as clown, holding a revolver in his hand,
+with a goose marked "Italy" in his capacious pocket, assuring Britannia
+(a stout elderly woman who looks suspiciously on) that his intentions
+were of the most honourable description.
+
+In the sketch entitled _The Next Invasion, Landing of the French (Light
+Wines), and Discomfiture of Old General Beer_ (vol. xxxviii.), we have a
+pictorial prophecy which has not borne fulfilment. Although the
+so-called _vin ordinaire_ made some progress among us for a time, it was
+soon discovered that a low class of wine, which the French themselves
+would not drink, was being manufactured for the English market, and that
+good sound claret remained (as might have been anticipated) as dear, if
+not dearer, than ever. The climate and constitution of John Bull do not
+enable him to appreciate the merits of "red ink" as a table beverage,
+and in the end old General Barleycorn rallied and drove the invaders out
+of the popularity they had for a time achieved.
+
+       *       *       *       *       *
+
+And here we break off--for reasons which will be apparent in our next
+chapter--the further consideration of the graphic satires of the late
+John Leech. Before passing on to other matters, we are bound to say that
+we regard them rather for what they might have been than for what we
+actually find them. Had they been executed with the same materials and
+under the same conditions as the graphic satires of Gillray or
+Cruikshank, or still better, in the manner in which the sporting
+pictures to the late Mr. Surtees' novels were produced, we have no
+hesitation in saying that they would have distanced anything in the
+nature of caricature which had gone before. Unfortunately, the
+productions of the modern caricaturist (if, indeed, we may term him one)
+have no reasonable chance, it being apparently taken for granted that a
+modern public will not invest in caricatures of an expensive
+character.[155] Moreover, he has no longer any hand in the completion of
+his picture, the wood-block being cut up into segments, each entrusted
+to a different hand, and executed with materials with which the older
+caricaturists had nothing to do, and under conditions of pressure and
+haste to which they were happily strangers. Hence it is, that while the
+admirable satires of John Leech enhance the value of the _Punch_ volumes
+themselves, taken _singly_, not only will they not command a fiftieth
+part of the price asked and given for the coloured but inferior
+productions of an earlier school, but they are to all intents and
+purposes valueless. Leech himself has often been known to say to friends
+who admired his composition on the wood block:--"Wait till Saturday, and
+see how the engraver will have spoiled it." We will subject the justice
+of these observations to a practical test. Let the reader compare an
+ordinary _Punch_ cartoon with one of the tinted lithographs issued from
+the _Punch_ office during the artist's lifetime under the title of _The
+Rising Generation_, and he cannot fail to be struck with the enormous
+advantages possessed by the latter. These last have their price, and
+command, by reason of their scarcity, a comparatively high one.
+
+
+FOOTNOTES:
+
+  [139] The prosecution, however, answered its purpose. The funds of
+    the Repeal Association were nearly exhausted by the contest, the
+    influence of the "Liberator," as he was called, was destroyed, and he
+    himself was more guarded and circumspect in his language. He died
+    three years afterwards.
+
+  [140] See the "Political Sketches of HB."
+
+  [141] _Edinburgh Review_, October, 1840.
+
+  [142] See Chapter xviii.
+
+  [143] The national defences, such as they are, being an accomplished
+    fact, these strange people are now making themselves active in the
+    promotion of the last suicidal mania--the Channel Tunnel!
+
+  [144] _Vide_ Kinglake's "Invasion of the Crimea."
+
+  [145] There are of course curious stories about as to the _cause_ of
+    the Emperor's death: for one of these see "Journal of the Rev. J. C.
+    Young," vol. ii. p. 331.
+
+  [146] Figures will conclusively prove who bore the burden and heat of
+    the day. The English loss was: killed, 25 officers, 19 sergeants, 318
+    rank and file; 81 officers, 102 sergeants, and 1,438 rank and file
+    wounded. The French loss was simply 60 killed and 500 wounded. The
+    Russian loss in killed and wounded was 5,709.
+
+  [147] Kinglake's "Invasion of the Crimea," 6th edition, 1877, vol.
+    iii. p. 305.
+
+  [148] Kinglake's "Invasion of the Crimea," 6th edition, 1877, vol.
+    iii. p. 349.
+
+  [149] At 8.30 a.m. the Russians had 17,000 infantry and 100 guns
+    opposed to 3,600 English with 36 guns and 1,600 French infantry and
+    12 guns [_Ibid._ vol. vi. p. 321]. Three hours later on, Canrobert
+    had under his orders 9,000 fresh men, who remained inactive: "So far
+    as concerned any active exertion of infantry power, our people were
+    now left to fight on _without any_ aid from the French"--_Ibid._ pp.
+    416, 417.
+
+  [150] _Ibid._ vol. vi. pp. 439, 440.
+
+  [151] A more telling commentary on our useless waste of blood and
+    treasure could scarcely be found. Truly they manage these things
+    better in Germany.
+
+  [152] See the remarkable expressions of dissatisfaction _wrung_ from
+    the placid Lord Raglan on various occasions, and the very free manner
+    in which the English officers expressed themselves when the 7th
+    French _leger_ regiment ran away from the Russians at Inkerman for
+    the second time.--_Kinglake's_ "_Invasion of the Crimea_," 6th
+    edition, 1877, vol. vi. pp. 327-8, 344-5.
+
+  [153] Louis was fond of these theatrical announcements, which answered
+    the purpose he designed, of attracting the sympathy of the
+    impressionable French people. The following is a short summary of the
+    mode in which Italy was _really_ freed "from the Alps to the
+    Adriatic":--Lombardy was surrendered to Sardinia 11th July, 1859; the
+    treaty ceding Savoy and Nice to France was signed 24th March, and
+    approved by the Sardinian Parliament 29th May, 1860. The French
+    troops retired from Italy the same month. Garibaldi landed at Marsala
+    11th May, 1860, and entered Naples on the 18th of August. The kingdom
+    of Italy was recognised by Great Britain 31st March, 1861. In 1864
+    Florence was declared the capital of Italy. The French troops left
+    Rome in November, 1865. Venetia was ceded to France by Austria 3rd
+    July, 1866. They retired from the Quadrilateral in October, 1866;
+    Venice was annexed to Italy the same month; the Italian troops
+    entered Rome in September, 1870, when Napoleon III. was no longer
+    able to interpose, and it was incorporated in the Italian kingdom in
+    October.
+
+  [154] See previous note.
+
+  [155] Since the above was written, a weekly paper has been
+    established, which promises to promote the revival of caricature art.
+
+
+
+
+CHAPTER XV.
+
+_JOHN LEECH_ (_Continued_).
+
+
+  _Giovanni._ What do the dead do, uncle?--do they eat,
+    Hear music, go a hunting, and be merry,
+    As we that live?
+
+  _Francesco de Medicis._ No, Cuz; they sleep.
+
+  _Giov._ ... When do they wake?
+
+  _Frances._ When God shall please.
+
+     WEBSTER'S _White Devil; or, Vittoria Corombona_ (1612), Act 3.
+
+Many of our readers will remember the exhibition at the Egyptian Hall,
+in 1862, of John Leech's "Sketches in Oil," the subjects being enlarged
+reproductions from selected examples of his minor drawings for _Punch_.
+To his friend Mark Lemon is due the credit of this idea, which was
+carried out after the following manner:--The impression of a block in
+_Punch_ being first taken on a sheet of india-rubber, was enlarged by a
+lithographic process; the copy thus obtained was transferred to stone,
+and impressions obtained on a large sheet of canvas. The result was an
+outline groundwork, consisting of his own lines enlarged some eight
+times the dimensions of the original drawing, which the artist then
+proceeded to fill up in colour. His knowledge of the manipulation of oil
+colours was, however, slight, and his first crude attempts were made
+under the guidance of his friend Mr. Millais. The first results can
+scarcely be said to be satisfactory; a kind of transparent colour was
+used, which allowed the coarse lines of the enlargement to be distinctly
+visible, and the finished production presented very much the appearance
+of an indifferent lithograph slightly tinted. In a short time, however,
+he conquered the difficulty; and, instead of allowing the thick, fatty
+lines of printer's ink to remain on the canvas, he removed
+them--particularly as regards the outlines of the face and figure--by
+means of turpentine. These outlines he re-drew with his own hand in a
+fine and delicate manner, and added a daintiness of finish, particularly
+in flesh colour, which greatly enhanced the value and beauty of the
+work. He nevertheless experienced some difficulty in reproducing in
+these enlargements the delicacy of touch and exactness which
+characterized the original drawings, and would labour all day at a
+detail--such as a hand in a certain position--before attaining a result
+which entirely satisfied himself. The catalogue of this exhibition may
+be cited in evidence of Leech's characteristic modesty. "These
+sketches," it said, "have no claim to be regarded or tested as finished
+pictures. It is impossible for any one to know the fact better than I
+do. They have no pretensions to a higher name than that I have given
+them--'Sketches in Oil.'"
+
+Popular and eminently successful as this exhibition proved to be, it was
+undeniably rendered more popular and successful by his staunch friend
+Thackeray's article in the _Times_ of 21st June, 1862:--"He is a natural
+truth-teller," said the humourist, "as Hogarth was before him, and
+indulges in as many flights of fancy. He speaks his mind out quite
+honestly, like a thorough Briton.... He holds Frenchmen in light esteem.
+A bloated 'Mossoo' walking in Leicester Square, with a huge cigar and a
+little hat, with 'billard' and 'estaminet' written on his flaccid face,
+is a favourite study with him; the unshaven jowl, the waist tied with a
+string, the boots which pad the Quadrant pavement, this dingy and
+disreputable being exercises a fascination over Mr. Punch's favourite
+artist. We trace, too, in his work a prejudice against the Hebrew
+nation, against the natives of an island much celebrated for its verdure
+and its wrongs; these are lamentable prejudices indeed, but what man is
+without his own?" Thackeray's kindly article delighted Leech; he said
+"it was like putting L1,000 in his pocket." The exhibition, indeed, was
+so splendid a success that it is said to have brought in nearly L5,000.
+
+Those who, like ourselves, have found it necessary to examine the
+_Punch_ volumes from their commencement in 1841, down to the 31st of
+December, 1864, cannot fail to be struck by the steady decrease in the
+number of cartoons which the artist annually designed and executed for
+the periodical. In 1857 the number contributed was 33; in 1858, 30; in
+1859, 21; in 1860, 15, in 1861 the number had fallen as low as 10; while
+in 1862 it did not exceed 4.[156] This decrease (which is confined, be
+it observed, to the cartoons which he contributed to _Punch_) was due to
+failing health consequent on the strain of incessant production. Of the
+coming evil he himself was distinctly cognizant. It is said of him that
+Lord Ossington, then Speaker, once met him on the rail, and expressed to
+him his hope that he enjoyed in his work some of the gratification which
+it afforded to others. His answer was a melancholy one:--"I seem to
+myself to be a man who has undertaken to walk a thousand miles in a
+thousand hours." It was certainly not such a reply as one would exactly
+look for, looking only at the joyous character of the pictures he
+executed for _Punch_. He complained in 1862--the year at which we have
+arrived--of habitual weariness and sleeplessness, and was advised to try
+rest and change of air. He acted upon the suggestion, and, accompanied
+by his old friend Mark Lemon, proceeded in that year on a short tour to
+Paris, and from thence to Biarritz. Leech's pencil was not idle on this
+holiday, as two of his pictures will testify. The first, _A Day at
+Biarritz_, appears in the Almanack of 1863, and among the figures he has
+introduced into this delightful sketch is that of the grave and
+saturnine Louis, snapping his fingers in the highest _abandon_ and
+skipping off with his friend _Punch_ to enjoy his ocean bath. "The
+other," says Mr. Shirley Brooks, "is a very remarkable drawing. It
+represents a bull-fight as seen by a decent Christian gentleman, and for
+the first time since the 'brutal fray' was invented the cold-blooded
+barbarity and stupidity of the show is depicted without any of the flash
+and flattery with which it has pleased artists to treat the atrocious
+scene. That grim indictment of a nation professing to be civilized will
+be a record for many a day after the offence shall have ceased."[157]
+
+Leech returned from this brief visit with no appreciable benefit.
+Charles Mackay tells us that he met him and his constant friend,
+Thackeray, at Evans' supper-rooms in December, 1863. "They both
+complained of illness, but neither of them looked ill enough to justify
+the belief that anything ailed them beyond a temporary indisposition,
+such as all of us are subject to. Leech was particularly despondent, and
+complained much of the annoyances to which he was subjected by the
+organ-grinders of London, and by the dreadful railway whistles at the
+stations whenever he left town. His nerves were evidently in a high
+state of tension, and I recommended him, not only as a source of health
+and amusement, but of profit, to take a voyage across the Atlantic, and
+pass six months in America, where he would escape the organ-grinders,
+street-music, and the railway-whistles, and bring back a portfolio
+filled with sketches of American and Yankee character. 'I am afraid,' he
+replied, 'that B. & E. [Bradbury & Evans] would not like it. Besides, I
+should not like to be absent from _Punch_ for so long a time.'
+'Nonsense,' said Thackeray, 'B. and E. would highly approve, provided
+you sent them sketches. _I_ think it a good idea, and you might put five
+thousand pounds in your pocket by the trip. The Americans have never
+been truly portrayed, as you would portray them. The niggers alone would
+be a little fortune to you.' Leech shook his head dubiously, and I
+thought mournfully, and no more was said upon the subject."[158]
+
+Nevertheless, the end of one at least of these steady friends and men of
+genius was drawing near with sure and rapid strides. Both were present
+at the anniversary of the death of the founder of the Charterhouse,
+"good old Thomas Sutton," on the 12th of that same month of December,
+1863. At the celebration of Divine service at four o'clock, Thackeray
+occupied his accustomed back seat in the quaint old chapel; from thence
+he went to the oration in the Governor's room; and as he walked up to
+the orator with his contribution, the great humourist, Mr. Theodore
+Taylor, tells us, was received "with such hearty applause as only
+Carthusians can give to one who has immortalized their school."[159] At
+the banquet which followed he sat by the side of John Leech, who was one
+of the stewards, and proposed the time-honoured toast, _Floreat AEternum
+Carthusiana Domus_, in a speech which was received with three times
+three and one cheer more. John Leech replied to the toast of the
+stewards. The day is memorable as the last "Founder's Day," which either
+of these men--so eminently distinguished in art and letters--was ever
+permitted to attend.
+
+Three days afterwards Thackeray was present at the usual weekly _Punch_
+dinner on the 15th of December, for, although he had long ceased to be a
+regular contributor to the periodical, he not only continued to aid the
+staff with his suggestion and advice, but was a constant member of the
+council.[160] But ever since the time he was writing "Pendennis," a
+dozen years before, he had been visited periodically by attacks of
+sickness, attended with violent retching. One of these occurred on the
+morning of Wednesday, the 23rd of this same month of December, and he
+was in great suffering all day. About midnight of that day, his mother,
+Mrs. Carmichael Smith,[161] who slept in the room above his own, had
+heard him get up and walk about; but as this was his habit when visited
+by these fell visitations, she was not alarmed. The man, however, was
+in his mortal agony; and when his valet, Charles Sargent, entered his
+master's chamber on the morning of Christmas Eve, and tried to arouse
+him, he found that he answered not, neither regarded, having passed into
+the slumber from which the spirit of man refuses to be awakened.
+
+Dying Jerrold had time vouchsafed to him to whisper, "Tell the dear
+boys," meaning his associates in _Punch_, "that if I have ever wounded
+any of them, I've always loved them," and so he went his way. To
+Thackeray no such grace was given; the hands peacefully spread over the
+coverlet, which stirred not when Sargent bent anxiously over his master,
+proclaimed that true hearted noble Thackeray had gone the long journey,
+leaving no word of message for those who had loved him. "We talked of
+him," said Mr. Edmund Yates, "of how, more than any other author, he had
+written about what is said of men immediately after their death--of how
+he had written of the death-chamber, 'They shall come in here for the
+last time to you, my friend in motley.' We read that marvellous sermon
+which the week-day preacher delivered to entranced thousands over old
+John Sedley's dead body, and 'sadly fell our Christmas Eve.'" That same
+Christmas Eve, the melancholy tidings were conveyed to Mark Lemon by his
+sorrowing friend, John Leech. The artist was terribly affected, and told
+Millais of his presentiment that he also should die suddenly and soon.
+
+In March, 1864, we notice the death of another author, whose almost
+unrecorded name is, nevertheless, intimately associated with that of the
+artist. This was Mr. R. W. Surtees, author of the sporting novels which
+the genius of Leech has made for ever famous. Mr. Surtees for some years
+practised as a London solicitor; but the death of an elder brother
+improved his position, and enabled him to quit a profession which he
+disliked, in favour of the more congenial employment of literature.
+Those of his works best known (he published several others) are, of
+course, "Handley Cross," "Sponge's Sporting Tour," "Plain or Ringlets,"
+"Ask Mamma," and "Mr. Facey Romford's Hounds." Notwithstanding a
+decidedly horsey and somewhat vulgar tone,--a tone which by the way
+certainly did not characterize Mr. Surtees himself,--they possess a
+certain original humour, which will render their perusal productive of
+amusement. He died suddenly on the 16th of March, 1864, in his
+sixty-second year.
+
+It has been the habit of the contributors to _Punch_, almost from the
+commencement of the periodical, to dine together every Wednesday. In the
+winter months the dinner was usually held in the front room of the first
+floor of the business premises of the proprietors, Messrs. Bradbury &
+Evans, in Bouverie Street, Whitefriars. Sometimes these dinners were
+held at the Bedford Hotel, Covent Garden. During the summer months it
+was customary to hold ten or twelve dinners at Greenwich, Richmond,
+Blackwall, and other places in the neighbourhood of London. On these
+occasions the programme (if we may so term it) of the forthcoming number
+was arranged and settled, papers were brought out, and the latest
+intelligence discussed, so as to bring the "cartoon" down to the latest,
+or rather one of the latest subjects of current interest. At the weekly
+council dinner John Leech was a faithful attendant. These meetings,
+indeed, "he thoroughly enjoyed, and his suggestions, not merely as to
+pictorial matters, but generally, were among the most valuable that were
+offered, as may be inferred from his large knowledge of the world, his
+keen sense of the ludicrous, and his hatred of injustice and
+cruelty."[162] One of the most regular attendants of the _Punch_
+dinners--I think that in 1864, at least, he scarcely missed one--was the
+most indefatigable of the literary staff, Mr. Shirley Brooks. One was
+held at The Bedford on the 13th of April, 1864, just about the time when
+Lord John Russell was setting out as our representative at the
+Conference, and the outcome of this particular _Punch_ dinner, at which
+were present Messrs. Mark Lemon, Shirley Brooks, Tom Taylor, John Leech,
+and Percival Leigh, was Leech's admirable cartoon of _Moses Starting for
+the Fair_. "Let us hope," adds the pictorial satirist, in special
+reference to his lordship's unfortunate capacity for getting himself
+into a mess, that "he won't bring back a gross of green spectacles." It
+was one of the last of Leech's political shafts, and the subject was
+suggested (we have his own authority for stating it) by his friend and
+literary colleague, Mr. Shirley Brooks.[163]
+
+"Clearly ill," is Mr. Brook's record of the state of John Leech's health
+on this same 13th of April, 1864. He no longer found pleasure in
+hunting, of which he had been exceedingly fond, and had even
+discontinued, at the order of his medical attendant, riding on
+horseback. He was affected with nervous irritability, the effect of
+incessant application. The ordinary noise of the streets--musicians,
+organ-grinders, street vendors, and the like--worried him beyond
+endurance. Long before the period at which we have arrived these
+annoyances had driven him from his residence in Brunswick Square to seek
+shelter from his enemies at No. 3, The Terrace, Kensington. His nervous
+irritability is manifested in the designs which he continued to draw for
+_Punch_. In one of his illustrations to vol. xlv. (1863), depicting
+certain familiar sea-side nuisances, he asks, "Why a couple of conceited
+fanatics should be allowed to disturb the repose of a Sunday afternoon
+by the sea-side?" and "Why the authorities at Brighton, so sensible and
+considerate in keeping the place free from the _detestable_ organ
+grinders, should permit the terrible nuisance indicated [in the
+illustration] to exist?" "Fresh prawns, whiting, oysters, or
+watercresses," remonstrated the persecuted artist, "are capital things
+in their way, and we should think that the jaded man of occupation, or
+the invalid, would very much rather send to a respectable shop for such
+delicacies, than have them 'bellowed' into his ears morning, noon, and
+night." His illustrations of this character are so numerous that the
+ordinary observer would probably suppose that they were part only of a
+series; to the observer, however, who knew Leech, they clearly indicate
+the nervous irritability under which he suffered, and which was probably
+caused, and certainly intensified, by the nuisances of which he
+complained.
+
+The state of Leech's health in May, 1864, seems to me best explained in
+the letter which Mark Lemon at this time wrote to Mr. Bass, in relation
+to his proposed bill for the regulation of street music. After showing
+how he himself was obliged to quit London to escape the nuisance of
+street music, the then editor of _Punch_ continues: "A dear friend of
+mine, and one to whom the public has been indebted for more than twenty
+years for weekly supplies of innocent amusement, and whose name will
+find a place in the future history of art, has not been so fortunate. He
+lived in Brunswick Square, and remained there until the nervous system
+was so seriously affected by the continual disturbance to which he was
+subjected while at work, that he was compelled to abandon a most
+desirable home, and seek a retreat at Kensington. After expending
+considerable sums to make his residence convenient for his
+art-work,--placing double windows to the front of his house, etc.,--he
+is again driven from his home by the continual visitation of street
+bands and organ-grinders. The effect upon his health--produced, upon my
+honour, by the causes I have named--is so serious that he is forbidden
+to take horse exercise, or indulge in fast walking, as a palpitation of
+the heart has been produced--a form of _angina pectoris_, I believe--and
+his friends are most anxiously concerned for his safety. He is ordered
+to Homburg, and I know that the expatriation will entail a loss of
+nearly L50 a week upon him just at present.
+
+"I am sure I need not withhold from you the name of this poor gentleman.
+It is Mr. John Leech.
+
+"If those gentlemen who laugh at complaints such as this letter contains
+were to know what are the natural penalties of constant brain-work, they
+would not encourage or defend such unnecessary inflictions as street
+music entails upon some of the benefactors of their age. Such men are
+the last to interfere with the enjoyments of their poorer
+fellow-labourers; but they claim to be allowed to pursue their callings
+in peace, and to have the comfort of their homes secured to them. All
+they wish is to have the same immunity from the annoyances of street
+music as the rest of the community have from dustmen's bells,
+post-horns, and other unnecessary disturbances."
+
+The terrible nature of poor Leech's sufferings will be shown by another
+anecdote of Dr. Mackay's. Just about this time he met Mr. F. M. Evans,
+one of the proprietors of _Punch_, and asked him how Leech was. "Very
+ill," was the reply; "the sufferings he endures from noise are painful
+to think of. I took him down into the country a little while ago to stay
+a week, or as much longer as he pleased, promising him that he should
+hear no organ-grinders there, nor railway whistles, nor firing of guns.
+The next morning on getting up to breakfast, I found that he had packed
+up his portmanteau and was ready to depart. 'I cannot stay any longer
+here,' he said, 'the noise drives me frantic!' 'What noise?' 'The
+gardener whetting his scythe. It goes through my ears like a corkscrew.'
+And nothing that I could say could prevail upon him to prolong his
+visit."
+
+But there was no falling off in the quality of the work which Leech
+executed for _Punch_ or other employers at this time; on the contrary,
+his drawings seemed to me marked by more than their usual excellence.
+Witness more especially the few etchings he lived to finish for "Mr.
+Facey Romford's Hounds," and the coloured etching to "Punch's Pocket
+Book" of the year. One of the illustrations which he designed for the
+1864 edition of the "Ingoldsby Legends," and which shows us one of his
+stalwart servant girls drawing up the trunkless head of "St. Genulphus"
+from the bottom of the well, appears to me to call for special notice. I
+would ask the reader to observe the details of that perfectly marvellous
+drawing, executed with all the effect and at a fifth of the labour which
+George Cruikshank in his best days would have bestowed upon it. I would
+entreat him to mark that wicked, graceless, bald-pated old head, with
+its port wine nose resting on the rim of the bucket, and its wicked old
+eye suggestively winking unutterable things at the perplexed and
+astounded maiden. I would ask him to look at that drawing; to take into
+account the health of the genial, failing artist who designed it; and to
+tell me, whether in all the range of English comic art he remembers to
+have met with anything more intensely comical?
+
+We find John Leech and his able coadjutor, Mr. John Tenniel, present at
+the _Punch_ dinner of Wednesday, the 15th of June; but shortly
+afterwards he started on the journey ordered by his medical advisers,
+and set off for Homburg in the company of his friend, Mr. Alfred Elmore,
+sojourning afterwards for a time at Schwalbach. He was absent altogether
+about six weeks. A record in the diary to which I am indebted for so
+much information in relation to him tells me, under date of 10th August,
+"Leech has returned from Germany, but I am sorry to say I don't think he
+is stronger." The sole result, in fact, obtained was that his mind was
+amused by his visit to new scenery, while his sketch-book was filled
+with valuable memorials of the sojourn for future use. He was present at
+the _Punch_ dinner on Wednesday, the 17th of August, and suggested to
+his colleagues by way of cartoon the subject of _The American
+Juggernaut_.
+
+
+  THE DEATH OF ROBSON.
+
+Just at the time when Leech came back from Germany, unbenefited by the
+change which it was hoped would recruit his exhausted strength, a great
+artist in another and a different walk in art, one who had not used his
+_genius_ (we will not say his opportunities, for we doubt whether they
+were really given him) to the best advantage, took his departure from
+the scene of many triumphs and greater disappointments: this was Thomas
+Frederick Robson, the actor. He had been so long absent from the boards,
+that the event failed to create the sensation which might have been
+expected from the sudden fall of a theatrical star of such
+unquestionable magnitude. Full justice has been done to his remarkable
+genius elsewhere; and all united in regret that a man who was so great
+an artist, and might have been a greater, had been prematurely lost to
+the theatrical world. Those who remember Robson and his marvellous
+powers,--the lightning-like flashes of energy he was wont to throw into
+his parts,--his startling transition from passion to passion,--will
+agree with us that, if circumstances had led him to study the higher
+drama, his name would probably have occupied a place side by side with
+the more prominent names of George Frederick Cooke, Edmund Kean, and our
+own Irving. The remarkable power wasted on burlesque, or thrown away in
+the delineation of low life character, must assuredly have made itself
+felt in tragedy; and the _genius_ manifested in the _mock_ Shylock of
+Robson, would have enabled him to offer a splendid presentment of the
+real Hebrew, and as perfect a realization of the character of Richard
+the Third as has ever perhaps been seen. His comedy--when opportunity
+was given him of displaying it--was full of true humour. He had in fact,
+in a remarkable degree, all the qualities of a splendid actor; but it
+was his peculiar misfortune that he had never a proper opportunity given
+him of displaying them. The fact that he was enormously popular was
+nothing, for many men are popular with not a tithe of the gifts or power
+which distinguished Robson. The favour of the "general," except in a
+sordid sense, is not worth much in these days. A proof of this is to be
+found in the fact that the name of Robson--after the lapse of twenty
+years--is scarcely known to the ordinary playgoer; but his genius, while
+he lived, was recognised by those whose applause is not easily earned,
+and was therefore worth the earning.
+
+Within a week or ten days after his return from the Continent, Leech
+went with his family to Whitby, in the hope that the fresh Yorkshire sea
+air would invigorate and brace up his shattered system. Some friends
+were staying there at the time, and among them a young artist then
+comparatively new to _Punch_, but who has been for years past one of its
+leading pictorial supporters[164]--Mr. Du Maurier. During his sojourn
+here, I find him writing to his friends the Brookses, that if they would
+join him, it would induce him to prolong his stay. They went
+accordingly, and remained at Whitby until the artist returned to town on
+the 3rd of October. "Leech, when we could induce him to leave the
+painting in oil, to which he devoted too many hours, enjoyed the drives
+into the wild moors, and up and down the terrible but picturesque
+roads; and he was still more delighted with the rich woods, deep glades,
+and glorious views about Mulgrave Castle. I hoped," continues Shirley
+Brooks, in the touching memorial which he contributed to the
+_Illustrated London News_ only a few weeks afterwards, "I hoped that
+good was being done; but it was very hard to stir him from his pictures,
+of which he declared that he must finish a great number by Christmas. It
+was not for want of earnest and affectionate remonstrance of those close
+by his side, nor lack of such remonstrance being seconded by myself and
+others, that he persevered in overlabour at these paintings, which he
+had undertaken with his usual generosity, in order to enable himself to
+provide a very large sum of money for the benefit of his relatives, not
+of his own household. It need hardly be said that he was never pressed
+for work by his old friend the editor of _Punch_." For a long time past
+his contribution to that periodical had not exceeded one half-page
+engraving each week; but at Whitby he elaborated a large sketch,
+originally taken at Schwalbach, which is worthy of mention as being the
+last of his cartoons. It will be found in vol. xlvii. (1864), and is
+labelled _The Weinbrunnen Schwalbach_, and among the company drinking
+the waters he has introduced the late Emperor Louis, the late King of
+Italy, the late Pope, and other notable political personages. The light
+esteem in which he held everything French is notable in this drawing.
+Conspicuous in the foreground are several dogs belonging to the English
+turnspit breed, one of which views a yapping French poodle with the most
+unmitigated disdain. The landscape and surroundings in this composition
+deserve particular attention, as they are charming examples of Leech's
+oft-admitted talent as a landscape artist.
+
+In the diary I find several reminiscences of the Whitby visit, and of
+the walks and drives and dinners with the Leeches. Shirley Brooks and
+his wife drove with them to Mulgrave Castle and its "glorious woods," on
+the 29th of September; the former afterwards went to a concert at St.
+Hilda's Hall, in reference to which I find the following entry:--"Grisi,
+Mario, Sainton and his wife. I wrote to the latter, and went round to
+see them between the parts. Introduced to Grisi, who was in a vile
+temper, something about rooms." Shirley Brooks sent also the following
+characteristic account of the entertainment to the _Musical World_:--
+
+  "MY DEAR SIR,--
+
+  "Owls, like other quadrupeds, must have holidays, and I have flown
+  hither. But the wind has changed, and the owl, for all his feathers,
+  is a-cold, as the poet observes. I shall return to the
+  Metropolis--_templa quam dilecta_--as Plautus might have said in his
+  _Owlowlaria_, if he had liked. I never thought much of these Latin
+  dramatists, and indeed I never would read any of their works. For that
+  matter, the works of few dramatists are worth reading. And while on
+  the subject, I may add, that few writings of any kind are worth
+  reading. Herein I am at one with Thomas Carlyle, and show my
+  admiration of what he says by absolutely declining to read his
+  'Frederick the Great.'
+
+  "Possibly I might not have expended the postage stamp affixed to this
+  letter had I intended only to offer you the above interesting
+  information. I could have given you this at the Keppell's Arms during
+  one of those many refections which I hope to partake with you at that
+  hostelry. But I wish to record something that may have an immediate
+  interest. There is a hall here called St. Hilda's Hall, and it is used
+  for public purposes. It is furnished with a large scene-like painting
+  of Whitby, is very hot, and is near the harbour, which at low tide
+  emitteth odours which are odious; and I think that it is always low
+  tide.
+
+  "There was a concert in this hall in the afternoon, and also in the
+  evening, of the Feast of S. Michael and All Angels. Two of the latter
+  came here to sing. You know them in London as Madame Grisi and Madame
+  Sainton-Dolby. With them came Signor Mario and M. Sainton, and also
+  Herr M. Lutz and Mr. Patey. They all sang or played. Verily, my friend
+  and pitcher (for thou pitchest stones deftly, as it were), it was a
+  refreshment, yea, and a consolation, to hear their voices and their
+  instruments. I will not give you a catalogue of their musical deeds,
+  for I had a bill, but it was borrowed from me by a large Yorkshireman,
+  and he was so very large that I did not like to demand it again.
+  Nevertheless, _La Diva_ sang "The Last Rose of Summer," _a la Flotow_,
+  and made me think of many things--are they not written in the book of
+  the Chronicles of Benjamin, whose name is Lumley? Likewise she sang
+  something out of _Faust_, with il Signor, and other matters, whereof
+  no matter--is it not enough to have seen and heard her? But commend
+  me, (not that I need your commendation) to Madame Sainton-Dolby,
+  inasmuch as that lady sang Handel's 'Lascia ch'o pianga,' and sang it
+  nobly, and sang Smart's 'Lady of the Lea,' and sang Claribel's
+  'Maggie's Secret,' and sang it divinely. You know what M. Sainton can
+  do with his violin, but you do not know what he cannot do with it, nor
+  do I. Il Signor Mario put forth his powers chivalrously, and broke
+  many hearts among the fair York roses. _La Diva_ was dressed in white.
+  Madame Sainton-Dolby was dressed in pink. I was dressed in a black
+  coat, waistcoat, and trowsers, white cravat, lavender gloves, and
+  patent leather boots, and the little boys of Whitby, unaccustomed to
+  such splendour, cheered me as I came out, privately and alone, to dip
+  my beak in the gascon wine, that is, in some excellent beer, in which
+  I now drink your health.
+
+  "If you have another reporter, your own special, in the town (I saw
+  two or three persons who looked disreputable and enthusiastic enough
+  to be musical critics--or even dustmen), and he has kept sober and
+  sent you a report, you need not print this. I do not care a horse's
+  mamma whether you print it or not. But I had a delightful evening, and
+  I do not care who knows it; in fact, I wish everybody to know it, and
+  that is why I write to your widely circulated (and widely yawned-over)
+  journal. You have not been over civil to me of late, which is very
+  ungrateful. You may say, with an attempt at wit, that the owl was a
+  baker's child, and therefore crusty. I believe that you could win the
+  prize for the worst conundrum in any circus in Yorkshire.
+
+  Receive the assurance of my profound respect.
+
+    "Ever yours,
+
+    "WHITBY.
+        "ZAMIEL'S OWL."
+
+While at Whitby, a deputation from the Institute of that town waited on
+John Leech, to ask him to attend at a meeting and speak in promotion of
+the interests of their association. On that day he happened to be too
+ill to bear an interview with more than one of the gentlemen who
+composed the deputation, and was obliged in consequence to refuse the
+request. But the refusal gave the kindly, failing man serious
+disquietude, and fearing it might be thought ungracious, he forthwith
+sent for all his sketches of character from London and presented them to
+the Institute.
+
+Fechter was the leading dramatic star of that time, and his opening
+night differed from the commencement of other theatrical seasons in the
+fact that it invariably attracted together some of the best known men in
+literature and art. At the opening of the Lyceum on Saturday, the 22nd
+of October, were present Messrs. Charles Dickens, Shirley Brooks,
+Hollingshead, Oxenford, Horace Mayhew, Edmund Yates, W. P. Frith, R.A.,
+Creswick, R.A., Marcus Stone, Mr. Burnand (the present editor of
+_Punch_), and Serjeant Ballantine. "The new piece," said Mr. Yates, "was
+splendidly mounted, and never, even in Paris, have I seen Mr. Fechter
+play so perfectly."[165] The said piece was called "The King's
+Butterfly," and Mr. Brooks says of it that, barring the "splendid
+scenery," it was "rubbish" pure and simple.
+
+The Leeches left Whitby on the 3rd of October, breaking their journey at
+York. The artist seemed somewhat better, and ten days after their return
+we find them at a party at the house of Mr. W. P. Frith, R.A., among the
+company being Messrs. Elmore, Creswick, Yates, George Cruikshank,
+Solomon Hart, and others. Between the date of this party, on Thursday
+the 13th, and that of the usual _Punch_ dinner, on Wednesday the 26th of
+October, at which the artist was present, a visible change had, however,
+taken place in the appearance of John Leech. Shirley Brooks afterwards
+had occasion to notice that at this _Punch_ dinner he "complained of
+illness and pain, and I saw that it was difficult to make him
+completely grasp the meaning of things that were said to him without two
+or three repetitions. He left early with Tom Taylor."[166] On the 28th
+of October, the artist himself was conscious that something was wrong.
+He visited Dr. Quain, who assured him that his only chance lay in
+complete and entire rest; and, on returning home, he wrote a note in
+pencil addressed to his old friend, Mr. Frederick Evans, in which he
+mentioned his interview with the medical man, and added that he hoped to
+complete a cut for which a messenger was to be sent, but that he was not
+sure of being able to finish it. A messenger was sent in obedience to
+his desire, but he returned empty-handed. We return at this point to the
+diary of Mr. Shirley Brooks. "I called," he says (29th of October), "at
+27, Bouverie Street, and heard from Evans that he was very ill. We went
+off to the Terrace, Kensington. He was in bed, but no one seemed
+frightened, and there was a child's party--a small one. Mrs. Leech was
+in tears, but certainly had no reason to apprehend the worst. He would
+have seen us. We remained three-quarters of an hour or so, but an opiate
+had been given, so it was of course felt that he ought not to be
+disturbed. Arranged to meet Evans at three next day;" but the fatal
+messenger, who will call for each and every of us, had already delivered
+his summons, and never more (in life) were either of the friends fated
+to see John Leech again. "At seven o'clock that night," continues the
+narrator (in another place[167]), "it pleased God to release him from
+sufferings so severe as even to make the brave, patient, enduring man
+say that they were almost more than he could bear."
+
+Mr. Evans called on Brooks the following day (Sunday, 30th October).
+"After hearing all he could say, I went with him to telegraph to Mark
+Lemon, and also to Leech's. Millais and Leigh at the door--heard much
+from them. Mrs. Chester came up--Charles Eaton, Mrs. Leech's brother and
+best friend, had come. We went in and saw him ... and the poor mother,
+and two of the sisters, and afterwards to the chamber of death. He
+looked noble in his calm; the hair and whiskers put back, gave up his
+fine forehead and handsome features--and the eternal stillness gave his
+face an elevated expression. I looked a very long time on my old
+friend's face. We have known one another many years, and he has been
+engaged with me in business as well as in pleasure. He was very
+kind--very good--and is in heaven, whatever that means."
+
+London was, perhaps, more shocked at the sudden and unexpected death of
+John Leech than even when Thackeray was smitten. The shock radiated all
+over the country; for there was not a household in the land in which his
+name was not familiar as a household word. His personal friends were
+deeply affected--none more so than his attached friend, Charles Dickens.
+Writing at the time to Forster, in reference to his coming book, "Our
+Mutual Friend," he said, "I have not done my number. This death of poor
+Leech (I suppose) has put me out woefully. Yesterday, and the day
+before, I could do nothing; seemed, for the time being, to have quite
+lost the power; and am only by slow degrees getting back into the track
+to day." Mr. John Tenniel heard of the loss of his valued _confrere_
+that same Sunday, 30th October, and "was stunned at the news, totally
+unexpected by him."[168] A special meeting of the _Punch_ staff was
+called by Mark Lemon on the following day; himself, Messrs. Percival
+Leigh, Shirley Brooks, F. C. Burnand, Tom Taylor, Charles Keene, H.
+Silver, John Tenniel,--all were present with the exception of Horace
+Mayhew. With the particulars of that meeting we of course have nothing
+to do; its melancholy character the reader may well imagine.
+
+On Friday, the 4th of November, 1864, they laid John Leech to rest in
+Kensal Green Cemetery, "in the next grave but one to W[illiam]
+M[akepeace] T[hackeray]. When Annie Thackeray heard of the death, she
+[had] said to Mrs. Millais, 'How glad my father will be to meet him!'
+'And he will,'" adds the friend whose note we have transcribed.[169] We
+take the account of his burial from Mr. Edmund Yates's impressive and
+touching account in the _Morning Star_ newspaper. "The scene round the
+grave was a most impressive one. There, ranged round the coffin, stood
+the remnant of that famous body of wits who had caused the name of
+_Punch_ to be famous at the ends of the earth; there, in the coffin, lay
+all that was earthly of him who, more than any of them, had helped to
+spread its renown, and to win for himself a name familiar as a household
+word in all our English homes. By its side stood Mark Lemon, who, for
+two and twenty years has presided over the weekly dinner where the good
+things are suggested, and the weekly sheet whereon they are inscribed;
+who has seen comrades fall out of the ranks in the march of life, and
+perish by the wayside. And such comrades! Gone the brilliant, meteoric
+A'Beckett; fiery, impulsive, scathing Jerrold; playfully cynical
+Thackeray; and now--_John Leech_! There stood Shirley Brooks, who since
+Jerrold's death has been _Punch's_ literary mainstay; Tom Taylor,
+working now in other channels, but still attached to the staff; Horace
+Mayhew and Percival Leigh, old colleagues of the dead man; F. C. Burnand
+and H. Silver, the youngest of the corps; and John Tenniel, who had
+taken Mr. Doyle's place on his secession, and worked in thorough amity
+with Leech. Over the coffin bowed the handsome head of Millais in
+overwhelming grief. All round one caught glimpses of well-known people.
+There, in the front rank of the crowd, was the frank, earnest face of
+Charles Dickens; by him Alexander Munro, the sculptor; there a group of
+artists--Messrs. Creswick, O'Neil, and Elmore;[170] Messrs. Mowbray,
+Morris, Dallas, and W. H. Russell, of the _Times_. At the back of the
+grave, by the canopy, Mr. W. P. Frith, R.A.; near him a group of
+journalists--Messrs. Friswell, Halliday, Gruneison; Mr. Swain, the
+engraver, who had had for years the engraving of Mr. Leech's drawings;
+Richard Doyle; Mr. Orridge, the barrister; the Rev. C. Currey, preacher
+of the Charter House; Lieutenant-Colonel Wilkinson, who had had John
+Leech for his school-fellow and fag at Charter House; while amateur art
+was worthily represented by Messrs. Arthur Lewis, M. F. Halliday, and
+Jopling. And there, in the bright autumn sunshine, they laid him to his
+rest. Sir T. N. Talfourd relates that at the burial of Charles Lamb,
+'the true-hearted son of Admiral Burney refused to be comforted.' It is
+our task to record that round the grave of John Leech there was not a
+dry eye, and that some of his old companions were very painfully
+affected. The most beautiful part of the service was read by Mr.
+Hole,[171] in an earnest manner, broken occasionally by convulsions of
+grief which he had some difficulty in repressing, while here and there
+among the crowd loud sobs told of hearty though humble mourners."
+
+On the 12th of November, 1864, there appeared in the pages of the
+periodical he had so well served, whose pages he has permanently
+enriched with some of the choicest specimens of graphic satire, and with
+whose fortunes he had been associated from the commencement, the
+following touching notice from the pen of his friend, the late Shirley
+Brooks:--
+
+           JOHN LEECH,
+  OBIIT OCTOBER XXIX, MDCCCLXIV,
+           _AEtat 46._
+
+"The simplest words are best where all words are vain. Ten days ago a
+great artist, in the noon of life, and with his glorious mental
+faculties in full power, but with the shade of physical infirmity
+darkening upon him, took his accustomed place among friends who have
+this day held his pall. Some of them had been fellow-workers with him
+for a quarter of a century, others for fewer years; but to know him well
+was to love him dearly, and all in whose name these lines are written
+mourn as for a brother. His monument is in the volumes of which this is
+one sad leaf, and in a hundred works which at this hour few will
+remember more easily than those who have just left his grave. While
+society, whose every phase he has illustrated with a truth, a grace,
+and a tenderness heretofore unknown to satiric art, gladly and proudly
+takes charge of his fame, they, whose pride in the genius of a great
+associate was equalled by their affection for an attached friend, would
+leave on record that they have known no kindlier, more refined, or more
+generous nature than that of him who has been thus early called to his
+rest.
+
+  NOVEMBER THE FOURTH."
+
+
+FOOTNOTES:
+
+  [156] I estimate the number of his cartoons as nearly as possible as
+    follows:--
+
+    1842    3      1850   37      1858   30
+    1843   11      1851   42      1859   21
+    1844   42      1852   35      1860   15
+    1845   43      1853   32      1861   10
+    1846   35      1854   34      1862    4
+    1847   35      1855   41      1863    3
+    1848   38      1856   33      1864    4
+    1849   37      1857   33
+
+  [157] Shirley Brooks in _Illustrated London News_ of 19th November,
+    1864.
+
+  [158] Charles Mackay's "Forty Years' Recollections."
+
+  [159] "Thackeray the Humourist and the Man of Letters," p. 12.
+
+  [160] MS. Diary of the late Shirley Brooks, 1st January, 1864.
+
+  [161] Died on the 18th of December, 1864, exactly within a year from
+    the date of her son's death.
+
+  [162] Shirley Brooks in _Illustrated London News_ of 19th November,
+    1864.
+
+  [163] "I suggested the cut, Moses being dressed for the Fair, Johnny
+    Russell for the Conference." MS. Diary of the late Shirley Brooks.
+
+  [164] The first time I find mention of his name is on the 22nd of
+    March, 1864, when the late Shirley Brooks met him at a party at Mr.
+    Ernest Hart's, 69, Wimpole Street. Some years afterwards, he adds in
+    a note, "Met him next at Whitby." I first meet with his name at a
+    _Punch_ council, 7th November, 1864: "Dumaurier first time."
+
+  [165] Mr. Yates in _Morning Star_.
+
+  [166] MS. Diary of Shirley Brooks: 29th October, 1864.
+
+  [167] _Illustrated London News_, 19th November, 1864.
+
+  [168] MS. Diary of Mr. Shirley Brooks.
+
+  [169] _Ibid._
+
+  [170] H. K. Browne ("Phiz"), T. Landseer, George Cruikshank, Marcus
+    Stone, Sir John Gilbert, and Mr. Philips, R.A., were also present.
+
+  [171] The Rev. J. Reynolds Hole, author of "A Little Tour in
+    Ireland," to which his friend, John Leech (who accompanied him),
+    contributed some of the most charming of his illustrations.
+
+
+
+
+CHAPTER XVI.
+
+_A BOOK ILLUSTRATOR: HABLOT KNIGHT BROWNE._
+
+
+In a work dealing with comic artists and caricaturists, one is somewhat
+puzzled to decide what place to assign to the distinguished draughtsman
+who died a year and a half ago. _Ultimus Romanorum_, the last of the
+great trio of designers, Cruikshank, Leech, and Browne, his career
+offers to us a singular paradox; for although not born a comic artist
+(as we shall endeavour presently to show), he executed a vast number of
+comic illustrations; and while, so far as we know, never guilty of a
+caricature in his life, the larger portion of his drawings are
+caricatures pure and simple.
+
+We might cite a hundred examples of this tendency to exaggeration, but
+one shall suffice. In the etching wherein Miss Nickleby is introduced to
+her uncle's objectionable friends, Miss Nickleby as well as the
+"friends" are remarkable for the largeness of their heads and the
+flimsiness of their bodies; while the men, if not exactly like those
+described by Pliny, or quoted from him (without acknowledgment) by our
+Sir John Mandeville, are at any rate too grotesque for human beings. If
+humanity offers to our study in daily life a variety in form, face, and
+feature, comprising eccentricities as well as excellencies, such
+specimens, nevertheless, as poor Smike or Mr. Mantalini were never
+designed in its _atelier_.
+
+[Illustration:
+  PHIZ. "_Master Humphrey's Clock_," 1840-1.
+
+  THE DEPARTURE.
+
+  _Face p. 336._]
+
+The artist's invincible tendency to exaggeration, that is _caricature_
+(in the Johnsonian definition of the word), was observed by his friend
+and ally, the late Charles James Lever, who remarked with reference to
+his illustrations of the novel of "Jack Hinton," "Browne's sketches are
+as usual _caricatures_; they make my scenes too riotous and
+disorderly. The character of my books for uproarious people and incident
+I owe mainly to Master Phiz."[172] When Samuel Lover was sent over to
+Brussels by McGlashan, the publisher, to take a likeness of the
+novelist, he was accompanied by Browne, the object of whose visit was to
+confer with the author on the subject of these very illustrations. Lever
+was so anxious to restrain him from caricaturing his countrymen, that he
+even begged Browne to accompany him to Dublin for the purpose of seeing
+the _natives_, instead of the wretched specimens of Milesian humanity to
+be met with in London.
+
+
+  LACK OF VITALITY.
+
+Another fault of this artist, which will be apparent to any one
+acquainted with his work, is the weakness of his outline, and the
+singular absence of solidity, stability, and even of _vitality_ in his
+figures. There is no lack of powerful situations in Frank Smedley's
+novel of "Lewis Arundel," but Browne's illustrations are characterised
+by an utter absence of vitality, while shadow usurps the place of
+substantial bone and muscle. There are the usual thread-paper men in
+tail hats, with trousers so tightly strapped to their feet that they
+must go through the tedium of existence in intolerable discomfort. In
+one picture he shows us a fragile, attenuated man holding another
+fragile, attenuated man over the well of a staircase by the waistband of
+his trousers, a feat which, difficult of performance to a Hercules,
+would be absolutely beyond the power of a person so fragile, so
+absolutely destitute of bone and muscle, as the hero of this particular
+episode.
+
+The weakness of which we now speak becomes strikingly apparent when he
+enables us to compare him with either of the distinguished trio to which
+he himself belonged. Such an opportunity offers itself in Mr. R. W.
+Surtees' novel of "Mr. Facey Romford's Hounds." Compare John Leech's
+illustration, _Fresh as a Four-Year Old_ (the last he executed for the
+novelist before his firm, free hand was paralysed by death), with Hablot
+Knight Browne's first etching in the same book. A better subject,
+surely, could scarcely have been selected: the hounds have just been
+let out of the kennel, and in actual life would, of course, be
+scampering over the place in all the exuberant consciousness of canine
+freedom; the scene, in fact, would be redolent of life and excitement,
+which is wholly wanting to Browne's illustration. "Phiz," from boyhood,
+had been accustomed to horses, and frequently hunted with the Surrey
+hounds, and to this circumstance is due the facility with which he
+usually delineated horses in the hunting field. In the delineation of
+hunting scenes, however, he falls far behind John Leech, and this
+inferiority is strikingly manifested in the illustration to which we are
+now referring. If you compare the fragile men, horses, and hounds, with
+those in Leech's last etching, you cannot fail to be struck with the
+vigour and life-like reality of the latter drawing. Browne's women as a
+rule are delicate, fragile, consumptive-looking creatures. The one in
+the etching referred to is both physically weak and a bad horsewoman to
+boot--sitting her horse with all the ungracefulness of a sack of flour.
+
+Another weakness of Hablot Knight Browne is a tendency to reproduce. If
+you look at any of his "interiors," it will be apparent to you that the
+men and women--the furniture and fittings--the room itself, you have
+seen any number of times before. Charles Chesterfield becomes Nicholas
+Nickleby, and Nicholas Nickleby Harry Lorrequer; and with the slightest
+possible rearrangement, the scenes in which these gentlemen figure from
+time to time are so much alike, that we are reminded for all the world
+of the set scenes and artificial backgrounds of a photographer's,
+"studio." Take "Nicholas Nickleby," by way of example: the room in which
+old Ralph Nickleby first finds his poor relations, does duty (with the
+slightest possible rearrangement) for the Yorkshire schoolmaster's room
+at the Saracen's Head; while a room in Kenwig's house becomes
+successively an apartment in Mr. Mantalini's residence, a green-room,
+Mr. Ralph Nickleby's office, Mr. Charles Cheeryble's room, a
+hairdresser's shop, and so on. The illustrations to a novel may not
+inaptly be compared to the scenery and characters of a drama, and a
+theatre furnished with such a dearth of scenery and "properties," would
+be a poor affair indeed. This tendency to reproduction becomes
+strikingly apparent wherever a romantic hero puts in an appearance.
+Thus, Mrs. Trollope's Charles Chesterfield in a frock coat, becomes in a
+tailcoat Charles Dickens's Nicholas Nickleby; in another frock coat,
+Martin Chuzzlewit; while a military surtout converts him, with equal
+facility, into Charles Lever's Jack Hinton or Harry Lorrequer, according
+to the exigencies of the costume. The strange part of it is that this
+peculiarity is shown almost exclusively in the delineation of heroes of
+fiction. The imagination of the artist is evidently impressed by marked
+and clearly defined characters such as Squeers, Pecksniff, Gamp, Dombey,
+Macstinger, Quilp, or Carker, and their identity as a rule is admirably
+preserved. If pressed for an explanation, it is possible that Browne
+might have pleaded that heroes of romance present for the most part,
+with a few notable exceptions, a strong family likeness, being little
+better than dummies, introduced by their authors for the purpose of
+setting off personages possessed of greater force of character and
+decision of purpose. Be this as it may, the singular failing we refer to
+is certainly no mere fancy of our own. Charles Lever himself complained
+that in the supper scene of his second number, Lorrequer bore so
+striking a resemblance to his contemporary, Nicholas Nickleby; while his
+biographer, Mr. Fitzpatrick, observes that the identity of Harry
+Lorrequer is never maintained throughout the novel, that mercurial hero
+being alternately represented old, young, good-looking, and ugly. So
+much indeed was Lever impressed with the fact, that he actually besought
+the artist to represent O'Malley the _same person throughout the book_.
+A knowledge of Irish physiognomy was essential to any illustrator of
+Lever's novels, and Hablot Knight Browne was so innocent of this
+knowledge that the author begged him to go down to the House of Commons
+and study the faces of the Irish members there, as the only accessible
+method of obtaining the necessary insight in England.
+
+Hypercriticism, happily, would be out of place in a work dealing with
+caricaturists and graphic humourists of the nineteenth century. Faults
+such as those the author has ventured to indicate appear to him faults
+indeed of a grave character; but, while conscious of defects which
+cannot fail to be patent to the most ordinary observer, he is conscious
+at the same time of the great abilities of the artist, who like those of
+whom he has already treated, has passed over to the ranks of "the great
+majority." If the scenery and properties are sometimes poor,--if there
+is no genius, and oftentimes a lack of decision and reality, there is on
+the other hand no lack of talent; and there are many designs of Hablot
+Knight Browne which place him in the very first rank of English book
+illustrators. His etching of _The Goblin and the Sexton_ (the eccentric
+yew-tree notwithstanding), _Mr. Pickwick in the Pound_, and the very
+admirable little etchings which we find in that rare _Paper of Tobacco_
+by "Joseph Fume," may be favourably compared with some of the best comic
+illustrations of George Cruikshank himself.
+
+[Illustration:
+  PHIZ. "_Master Humphrey's Clock_," 1840-1.
+
+  DICK SWIVELLER AND THE LODGER.
+
+  _Face p. 340._]
+
+
+  "NICHOLAS NICKELBY."
+
+Can any picture tell its story better than that first illustration to
+"Nicholas Nickleby," where old Ralph pays his "visit to his poor
+relations"? Mark the supercilious air with which the vulgar moneylender
+hands his hat to Nicholas, and the unveiled contempt with which he
+receives the attentions of poor Mrs. Nickleby and her daughter. A no
+less admirable illustration is the one wherein we see the Yorkshire
+schoolmaster nibbing his pen, whilst Snawley consigns his wretched
+step-sons to the tender mercies of the principal of Do-the-boys Hall.
+Observe the extraordinary anatomical proportions, hat and toggery, of
+Mr. Newman Noggs, as he stretches up to the top of the coach to hand a
+letter to Nicholas. Regard the nightcap and head-gear of the detestable
+Mrs. Squeers, as she administers matutinal brimstone and treacle to the
+starving pupils of Do-the-boys Hall. Mark the astonishment of Squeers
+and his victim, as the savage goes down under the thundering blows of
+Nickleby's cane. Look at the old imbecile declaring his passion for the
+foolish Mrs. Nickleby. Behold his knee-breeches and shorts protruding
+from the chimney, when his benighted intellect prompted him, at the
+imminent hazard of strangulation, to pay a visit to the object of his
+affections _via_ that unusually circuitous route. Look at the fatal
+brawl between Sir Mulberry Hawk and his hopeful pupil; and rejoice at
+the final retributive justice which overtakes Mrs. Squeers, when she
+falls into the hands of her late victims, and is drenched in her turn
+with the loathsome brew she had so long administered to themselves.
+
+
+  "MARTIN CHUZZLEWIT."
+
+Specially noteworthy is the bright little picture on the title-page,
+where the coach, with its spanking four-in-hand, gallops on its distant
+journey after depositing Martin Chuzzlewit at his destination. The
+guard, as he mounts up behind, watches with curious interest Pecksniff's
+unctuous reception of the new pupil. Nothing can well be cleverer than
+his realization of the _Pleasant Little Family Party at Mr.
+Pecksniff's_, where that hypocritical personage, surrounded by foes,
+assumes a look of persecuted benevolence, and gravely requests his
+daughter, when he takes his chamber candlestick that night, to remind
+him to be more particular in praying for Mr. Anthony Chuzzlewit, "who
+had done him an injustice." _The Warm Reception of Mr. Pecksniff by his
+Venerable Friend_ gives us the liveliest satisfaction. If old
+Chuzzlewit's face is one of the "caricatures" referred to, it must be
+remembered that it is distorted with passion, and the fact is forgotten
+in the satisfaction with which we hail the detection and punishment of
+the whining rascal, the sting of which is envenomed by the astounding
+revelation that all the while he has been weaving his web of falsehood
+around his intended victim, he himself has been the dupe of the man he
+had schemed so long to hoodwink and deceive.
+
+
+  "THE OLD CURIOSITY SHOP."
+
+Regard again Quilp, the dwarf, and his elfin errand boy (in the "Old
+Curiosity Shop"), enjoying the agonies of Sampson Brass as he essays to
+smoke a long churchwarden. Behold Quilp upon his back taunting the large
+fierce dog with hideous grimaces, triumphant in the consciousness that
+the shortness of his chain will not permit him to advance another inch.
+Look at Mrs. Jarley's wax-work brigand, "with the blackest possible head
+and the clearest possible complexion," going his rounds in the company
+of little Nell, his eyes fixed on the miniature of his lady-love, and
+his hand pressed to his stomach instead of his heart. Behold the dwarf
+once more, as he entertains Sampson and his sister Sally in the ruined
+outhouse overlooking the river; the rain pours down on the head of the
+hapless attorney, who, with coat buttoned up to the chin, and evidently
+suffering from severe influenza, looks the picture of shivering
+discomfort. Although in no better plight herself, Sally rejoices in the
+sufferings of her brother, and as she sips her tea, her repulsive
+features are distorted with a hideous grin of satisfaction. Quilp,
+seated on his barrel beneath the only remnants of a roof, occupies a
+comparatively dry corner, and looks the very picture of rollicking fun
+and enjoyment.
+
+
+  "BUNSBY."
+
+But incomparably one of the best of Browne's comic illustrations is the
+one in "Dombey," wherein Captain Cuttle encounters Mrs. Macstinger in
+charge of Bunsby, bent on rivetting matrimonial chains upon that
+confused and ancient mariner. Bunsby is one of the happiest of Dickens's
+creations; stupid as an owl, he has nevertheless an oracular mode of
+delivering himself, and the simple-minded Cuttle places as much reliance
+upon this wooden-headed sailor as the ancients did on the mysterious
+utterance of the Delphic Apollo. That the powerful will of Macstinger
+should hold himself in subjugation so long as he was under the dominion
+of her eye was a matter of course; but that this man of wisdom should be
+so easily boarded and captured by the enemy, is so absolutely beyond his
+simple comprehension that he scratches his head in sheer amazement. As
+for poor Bunsby, the cup of his humiliation is full. So far as his
+wooden features are capable of expression, they indicate two distinct
+trains of thought: a conviction that his own pretensions have been
+detected and exposed, and a desire to run,--an inclination repressed by
+the powerful clutch of his strong-minded bride, who retains his wrist in
+a grasp of iron. Compare the look of bewilderment on Cuttle's face with
+the look of mingled contempt and triumph on the features of Macstinger;
+and then look at poor Bunsby!
+
+"Phiz" began etching when he was seventeen, and was in full work when he
+was twenty-one. It was his three drawings on the wood for Dickens's rare
+tract, "Sunday Under Three Heads,"[173] which introduced him first to
+public notice. This was intended as a protest against the cant and
+narrow-mindedness of the bigots whose ignorance of the sacred writings
+is so dense that they confound the Jewish Sabbath (_i.e._ the Saturday)
+with the English Sunday; misunderstand (which in their ignorance of
+Hebrew may be excusable) the directions to _his own people_ of the
+Jewish law-giver,--and ignore (which is absolutely inexcusable) the
+dictates of common sense, and the plain directions of our Saviour and of
+the Gentile Apostle. The strong common sense of Charles Dickens, and of
+many good Christian men after him, have striven in vain to expose an
+error due to the narrow-mindedness of our Puritan forefathers, to whom
+are due also the impurities of Dryden and of the dramatic writers of the
+Restoration. Cant, however, has prevailed; and the English Sunday--to
+the delight of these fanatics, and the absolute terror of their
+children--remains the most unrefreshing and most doleful of the seven
+days of the week.
+
+
+  THE "JACK SHEPPARD" MANIA.
+
+Theatrical London in 1840 was visited by an excitement second only to
+the "Tom and Jerry" mania of 1821. The mania of 1840, if occupying a
+narrower area, was more morbid in its character, and certainly not less
+mischievous in its results. Harrison Ainsworth had brought out his
+peculiar romance of "Jack Sheppard," which, resting on its own merits,
+might have achieved perhaps a mild popularity and done but little harm.
+Thanks, however, to the genius and fancy of George Cruikshank, the
+public became for a time Sheppard mad; the heroes presented to admiring
+and applauding audiences at the theatres were murderers, housebreakers,
+highway robbers, thieves, and their female companions. The morbid taste
+of the populace had in fact been thoroughly roused, a condition of
+things which was satirized by the artist's little-known etching of _The
+Way to the Gallows made Easy and Pleasant_, which appeared in "The New
+Monthly Magazine" of 1840.[174] The inventive powers of the artist were
+almost _nil_, and the rare and able etching referred to was suggested to
+him by John Poole, the author of "Paul Pry," to whom we are indebted for
+the descriptive letterpress: "At the foot of a gently sloping path
+strewed with flowers, stands a gibbet decorated, not with a halter, but
+wreaths of roses. Around it are many tombs of elegant construction,
+supposed to enclose the ashes of the illustrious departed. Upon one is
+inscribed, 'Here repose the mortal remains of the ever-famed Jerry
+Abershaw'; upon another, 'Sacred to the memory of Poor Johnny
+Greenacre.' A third is remarkable for its touching simplicity--'Alas!
+Poor Thurtell!' Another, somewhat more elaborate, gives us 'Burke and
+Hare! As they were loving friends in life, so in death are they
+undivided! Erected by their affectionate disciples, Bishop and May.'
+Besides these there are many others all bearing names of mark and fame.
+The whole is surrounded by a pretty arabesque composed of crowbars and
+other implements of burglary, pistols, knives, death's heads and
+cross-bones, halters, handcuffs, and fetters, ingeniously disposed and
+prettily intertwined with wreaths of roses."
+
+We said at the opening of this chapter that "Phiz" was not _born_ a
+comic artist. He possessed a certain amount of humour, which was evoked
+in the first instance by the example of Cruikshank, and his abilities
+and desire to emulate the greater artist have enabled him unquestionably
+to realize many humorous designs. It is impossible, however, to examine
+the numerous etchings of this draughtsman, without coming to the
+conclusion that he is always seen at his best when not called on to
+exercise his purely comic powers. Take by way of example, _The Venice
+Glass_, in Ainsworth's romance of "Crichton"; you will need no reference
+to the letterpress to understand it, for the artist tells his story far
+better than the novelist. Observe Crichton as he raises the goblet, and
+the poisoned wine bubbles and boils, and finally shivers the chalice
+into a thousand fragments; regard the agitation of Marguerite de Valois;
+the keen attention of Henri and his attendants. Where shall we find a
+finer illustration than the one in this book in which Esclairmonde is
+presented to Henri? The meeting of Mr. Tigg and Martin Chuzzlewit at the
+pawnbroker's shop is full of pathos. Look at the poor, wasted but still
+handsome mother waiting her turn whilst the gin-drinking laundress pawns
+her flat-irons to gratify her passion for the deadly drink; note the
+_insouciance_ of the thoughtless musician as he twangs the guitar which
+he is about to pledge, though probably dependent on it for bread. Notice
+the pictures above,--the Bacchante pressing grapes into a wine cup,--the
+bailiff distraining for rent. Hablot Knight Browne has no powers which
+would enable us to compare him with Hogarth, and yet the grim reality of
+this picture Hogarth himself might almost admire.
+
+Regard again that wondrous tailpiece at page 96 of "The Old Curiosity
+Shop," where Quilp, the odious dwarf, sits up all night smoking and
+drinking, his countenance every now and then "expanding with a grin of
+delight" as his patient, long-suffering wife makes some involuntary
+movement of restlessness or fatigue. Look at poor, wasted, shoeless
+Nell, as she reclines on the settee of the public-house, surrounded by
+sympathisers,--the kind-hearted motherly landlady administering mental
+and bodily solace to the motherless child,--the poor, foolish, gambling
+grandfather gazing into her face with wistful anxiety. Lastly, look at
+the ghastly corpse of old Quilp as he lies dead amid the mud and slime
+of the river, which, after playing with the ugly, malicious, ill-shapen
+thing until it was bereft of life, flung it contemptuously high and dry
+upon the swamps at low tide.
+
+
+  "DOMBEY AND SON."
+
+"Dombey and Son" called for comparatively little exercise of Browne's
+_comic_ power, and consequently we shall find in this book examples of
+some of his finest book etchings. The pompous London merchant, the
+frigid influence he exercises on those about him, the distrustful look
+of the nurse as she brings baby Paul into his presence, the shrinking
+form of little Florence as the frightened child cowers with folded hands
+behind her repellent father's chair, are finely depicted in the etching
+of _The Dombey Family_. In _Mrs. Dombey at Home_, the proud, haughty
+beauty chafing under the consciousness that she has been sacrificed to
+the wealth of the heartless merchant, takes no pains to veil the
+contempt she feels for the admiring men who surround her. These men (by
+the way) are scarcely men at all, they are all grossly exaggerated; but
+"Phiz," like many artists of greater pretensions, has sacrificed
+everything to his central figure, and the presence and bearing of the
+disdainful beauty makes the _coup d'oeil_ delightful. _Abstraction and
+Recognition_ is a wonderful etching; both man and horse are admirably
+drawn, whilst the figures scowling out of the dark entry on the passing
+and unconscious horseman require no reference to the letterpress. In his
+etching of _The Dark Road_, Mr. Browne developed a style of etching of
+which he afterwards frequently availed himself, and by which (as in
+"Bleak House" and "Roland Cashel") he sometimes succeeded in producing
+remarkable effects. It shows us a postilion driving a team of horses
+over a dark and dreary road bordered on either hand by dismal moorland;
+the streaks of the approaching dawn illuminate the edges of the
+landscape; the single occupant of the berlin, unable to control his
+agitation, stands upright, and gazes anxiously around him. So realistic
+is the drawing, that as we look at the flying team we may almost hear
+the jingle of the splinter-bars and harness as the horses rattle along
+the dismal road. Cruikshank, to save his life, could draw neither a
+horse, a tree, or a pretty woman; when he did so it was rather by
+accident than by design. "Phiz" (with all his faults) could draw all
+three, and impart to them a grace, a beauty, and a poetry peculiar to
+himself. Look at that etching of _Carker in his Hour of Triumph_, where
+Edith, after using the villain as a tool to revenge herself upon her
+husband, turns upon her miserable dupe with all the force of her
+superior intellect, and laughs in the face of the man she has so
+egregiously befooled. This really is an admirable drawing; the anger and
+humiliation on the face of the dumbfounded villain, who feels himself
+absolutely powerless in the hands of the scornful, resolute woman, are
+powerfully depicted. A more perfect realization of Edith Dombey it seems
+to us could scarcely be imagined. Leech, _perhaps_, might have reached
+the idea. He would certainly have put more breadth and solidity into the
+figure of Carker; but the woman he could scarcely have improved upon--I
+doubt if he could have matched her. As for Cruikshank, he would have
+given her an impossible waist, a puffy face surmounted with bandeaux of
+raven hair scrupulously plastered to each side of her lofty forehead;
+whilst Carker would have been presented to us in an uncomfortable
+coat, hair parted and dressed after the Cruikshankian fashion, and a
+pair of boots at least half a yard in length.
+
+[Illustration:
+  PHIZ. "_Master Humphrey's Clock_," 1840-1.
+
+  THE RIOTERS.
+
+  _Face p. 346._]
+
+
+  "BLEAK HOUSE" AND "ROLAND CASHEL."
+
+"Bleak House" (1852-3) has been described as the most successful of
+"Phiz's" illustrated work; but although it contains some of the best
+etchings he ever designed for Charles Dickens, the rest are in truth of
+unequal merit. Among the best may be mentioned _Consecrated Ground_;
+_The Old Man of the name of Tulkinghorn_; _Morning_; _Tom All Alone's_;
+and the sunset scene in the _Long Drawing-room at Chesney Wold_. In the
+dreary twilight of the _Ghost's Walk_ and of the room in which the
+murder was consummated we have a pair of drawings unsurpassed by any of
+the illustrations he executed for Charles Lever's "Roland Cashel," which
+last contains unquestionably the finest of his designs.
+
+Of all his illustrators, Hablot Knight Browne was the one who best
+suited the requirements of Charles Dickens. A man of talent without a
+single idea of his own, he was found more malleable and manageable than
+Cruikshank, who, as we have seen, would have had a hand (if he could)
+not only in the illustrations, but also in the management of the story.
+The conditions under which "Phiz" illustrated "Pickwick" were wholly
+different from those which poor Seymour had endeavoured to impose upon
+his author. "It is due to the gentleman," says Dickens, in his preface
+to the "Pickwick Papers," "It is due to the gentleman whose designs
+accompany the letterpress, to state that the interval has been so short
+between the production of each number in manuscript and its appearance
+in print, that the greater portion of the illustrations have been
+executed by the artist from the author's _verbal description of what he
+intended to write_." Cruikshank would certainly not have done this, and
+we doubt whether John Leech would have consented to work under such
+conditions. But as regards Browne, the case was entirely different. He
+had no _genius_ or ideas of his own, and could only work from the
+suggestions of others. The interest and anxiety which Dickens felt in
+the character of the illustrations to his novels, is shown by reference
+to the illustrations to "Dombey." "The points for illustration, and the
+enormous care required, make me," he says, "excessively anxious! The man
+for Dombey, if Browne could see him, the class of man to a T, is Sir
+A---- E----, of D----s. Great pains will be necessary with Miss Tox. The
+Toodle family should not be too much caricatured, because of Polly." As
+the story unwinds itself, he proceeds, "Browne is certainly interesting
+himself and taking pains;" and again, in another letter, "Browne seems
+to be getting on well." Still "Browne," with all his pliability, found
+it a hard matter to please him. He made a particular point of Paul, Mrs.
+Pipchin, and the cat by the fire; and the result to himself was so
+eminently unsatisfactory that it produced a characteristic protest. "I
+am really distressed by the illustration of Mrs. Pipchin and Paul. It is
+so frightfully and wildly wide of the mark. Good heaven! in the
+commonest and most literal construction of the text, it is all wrong!
+She is described as an old lady, and Paul's 'miniature arm-chair' is
+mentioned more than once. He ought to be sitting in a little arm-chair
+down in a corner of the fireplace, staring up at her. I can't say what
+pain and vexation it is to be so utterly misrepresented. I would
+cheerfully have given a hundred pounds to have left this illustration
+out of the book. He never could have got that idea of Mrs. Pipchin if he
+had attended to the text. Indeed, I think he does better without the
+text; for then the notion is made easy to him, a _short description_,
+and _he can't help taking it in_." This last sentence exactly describes
+the man: a personal description with him did more than any amount of
+letterpress, however lucid.
+
+One may readily understand this almost nervous anxiety of Charles
+Dickens with reference to the _character_ of his illustrations. He
+worked, be it remembered, under conditions entirely different to the
+novelist of a later date. The etched illustrations of his day formed a
+most important--in some cases (the works of inferior men, such as Albert
+Smith, for instance) by far the most important--portion of the work
+itself. Under the charm of the illustrations and the mode of issue, the
+tale was protracted to a length which would be impossible in a novel of
+Charles Reade or Wilkie Collins, which depends for its success upon the
+skill of the novelist alone. The novel issued in monthly numbers
+depended on two sources of attraction--the skill of the novelist and the
+skill of his artistic coadjutor. Dickens' requirements, however, were of
+so exacting a nature that they proved in the end too exacting even for
+the patience of the accommodating artist, and the reader will not be
+surprised to learn that a coolness was ultimately established between
+artist and author, the outcome of which was the employment of Marcus
+Stone and Luke Fildes on the later novels of "Our Mutual Friend" and
+"Edwin Drood."
+
+Those who would find fault with Charles Dickens for the mode in which he
+controlled his artists quite fail to understand the man himself.
+Although he had no knowledge of the pencil, although he himself had no
+knowledge of drawing, he was nevertheless a thorough artist in heart and
+mind. There is scarcely a character in his books which does not show the
+care and thought which he bestowed upon its elaboration. Ralph Nickleby,
+Squeers, Smike, little Nell, Quilp, Barnaby Rudge, Steerforth, Paul
+Dombey, Lady Dedlock, Joe, each and all show how carefully they were
+elaborated; how distinctly they presented themselves to the retina of
+the mind of their distinguished creator. When this is borne in mind, it
+will be at once understood why the Mrs. Pipchin of Hablot Browne was not
+_the_ Mrs. Pipchin with whose outward appearance and mental
+peculiarities the author himself was so intimately acquainted.
+
+
+  "AURIOL."
+
+Notwithstanding the exhibition, after his death, of water-colours and
+other works, which took the public by surprise, Hablot Knight Browne
+will continue to be known to most of us as an illustrator of books, and
+nothing more. "Oh! I'm aweary, I'm aweary," he said himself in a letter
+to one of his sons, "of this illustration business." Some of these
+illustrations, however, are wonderfully graceful, and one in particular
+seems to call for special notice. It will be found in the "New Monthly
+Magazine" for 1845, and is undoubtedly one of the best examples of the
+artist's work which may be found anywhere. It represents a prisoner in a
+dungeon lying at the foot of a pillar, which, except in a ghastly carved
+work running round it of skulls and cross bones, reminds us somewhat of
+Bonneval's pillar at Chillon. The lights and shadows are wonderfully
+rendered, and the work is characterized by a softness, a beauty, and a
+finish only to be observed in work which took the artist's fancy. This
+etching is entitled, _Rougemont's Device to Perplex Auriol_; and
+Ainsworth's story which it illustrates--a peculiarly unsatisfactory
+one--commenced, I think, in "Ainsworth's Magazine," passed into the "New
+Monthly," when its author purchased that periodical in 1845, and
+(whether the novelist got himself into an intellectual fix or otherwise
+I know not) finished, I believe, eventually nowhere.
+
+Browne indeed finds a place here more by virtue of his book
+illustrations than by reason of any just pretensions to be considered a
+graphic humourist. His comic powers appear to us more the result of
+education and emulation than natural gifts, and the consequence is, that
+in attempting to be funny, his work too often degenerates into absolute
+exaggeration. His excellencies must be sought for in his serious
+illustrations, which fall more within the province of the art critic
+than the scope and purpose of a work which treats of graphic satirists
+and comic artists of the nineteenth century. Some of his finest
+illustrations of a serious character will be found in the pages of the
+"Illuminated Magazine"; in Charles Lever's admirable story of "St.
+Patrick's Eve"; in the "Fortunes of Colonel Forlogh O'Brien"; in
+Augustus Mayhew's "Paved with Gold"; in Ainsworth's "Mervyn Clithero";
+and "Revelations of London"; and above all, in Charles Lever's novel of
+"Roland Cashel."
+
+Hablot Knight Browne lived to see the decline and fall of that peculiar
+and powerful art of book illustration which was introduced by
+Cruikshank; was fostered and encouraged by Charles Dickens, Charles
+James Lever, their imitators and contemporaries; and died, so to speak,
+with these distinguished men. His work in later years, as might
+naturally have been expected, shows a woeful decline of power; and when
+the suggestors from whom he derived inspiration were no longer at his
+back, the poverty of invention which characterized the man when left to
+his own devices becomes painfully apparent.
+
+"Phiz" drew in later years for _Judy_ and other comic papers, and it is
+simple justice to say that his designs are characterized by an utter
+absence of comic power. The true comic inspiration possessed in so
+wonderful a degree by Cruikshank, by John Leech, and even by Robert
+Seymour, he never indeed possessed. Some fifteen years before his death
+he suffered from incipient paralysis, and furthermore injured his thumb,
+which obliged him to hold his pencil between his middle and
+fore-fingers. Gradually this great and graceful artist dropped so far
+behind in the race of life that he yielded latterly to proposals to
+illustrate boys' literature of a very inferior class.
+
+In addition to an absence of comic inspiration, the _creative_ faculty
+of Cruikshank and Leech was wanting to Hablot Knight Browne. In order to
+carry out an idea, it was necessary that it should be put into his head;
+for leave him to himself, and he could do absolutely nothing.[175]
+George Cruikshank and John Leech after receiving instructions would
+proceed to realize them in their own way and after their own fashion;
+but this was not the case with Hablot Knight Browne. While he could
+realize the idea of another with peculiar success when the subject took
+his fancy, he could neither enlarge nor improve upon it, and in this
+lies the difference between _genius_ and mere ability. Lacking an
+inherent sense of humour, he copied Cruikshank, and hence his
+exaggerations and failures as a _comic_ designer; but he was _ultimus
+Romanorum_,--the last representative of the famous men whose art was
+fostered and encouraged by Charles Dickens, by Charles Lever, by
+Harrison Ainsworth, and by Richard Bentley. The services which these
+eminent men rendered to the novelists who like them are dead and gone
+can scarcely be appreciated; for we presume few will deny that their
+labours lent a charm, a beauty, and an interest to their works, which
+largely tended to promote their sale. The fortunes of "Jack Sheppard,"
+of "The Miser's Daughter," of "The Tower of London,"--the success
+obtained by nearly all the stories of Ainsworth which obtained any
+success at all, was mainly due to the pencil of Cruikshank. The
+reputation of "Oliver Twist"--a morbid novel--was made in a great
+measure by _him_; but for John Leech, neither "Mr. Ledbury," "The
+Scattergood Family," "The Marchioness of Brinvilliers," or "Richard
+Savage," would have survived to our day. To him the novels of Mr. R. W.
+Surtees owe their entire popularity; while his genius has conferred
+vitality on the rubbish of A Beckett. It is curious, however, how little
+these facts were recognised at the time, and what little credit was
+given in contemporary reviews and by contemporary critics to the artists
+who rendered to successful novelists the priceless aid and assistance of
+their pencils.
+
+How far the needle of "Phiz" contributed to the ultimate success of the
+great _raconteur_, Charles James Lever, we are in no position to state;
+that it proved a very large factor in that result there can be no manner
+of doubt. That success was not achieved immediately. Lever commenced
+life as a struggling country doctor, and "Harry Lorrequer," first
+brought out in the "Dublin University Magazine," before it appeared in
+illustrated shilling numbers, was almost wholly ignored by the London
+press, the criticisms and favourable remarks coming almost wholly from
+provincial journals. There was one exception by the way, a military
+paper, the critic of which went into such ecstacies over this sparkling
+military medley, that he asserted he would rather be author of
+"Lorrequer" than of all the "Pickwicks" or "Nicklebys" in the world.
+This notice (unknown to Lever) was published with the advertisements of
+the book, and (strange to say) gave so much annoyance to Dickens that he
+sent an angry reply to a civil letter which came to him shortly
+afterwards from the Irish novelist, and their friendly intercourse was
+for some years suspended in consequence.
+
+[Illustration:
+  PHIZ. "_Master Humphrey's Clock_," 1840-1.
+
+  SAM WELLER AND HIS FATHER.
+
+  _Face p. 352._]
+
+The decline of Hablot Browne's popularity was painfully apparent to
+himself. Although our chapter was written long before the appearance of
+Mr. Kitton's pamphlet, we may be permitted to re-open it to extract from
+the latter the following melancholy observations which we find in a
+letter to his son, Dr. Browne: "I am at present on a sporting paper,
+supported by some high and mighty nobs; but I fear, _like everything I
+have to do with, now a-days_, it will collapse, for some of the
+proprietors of the paper are also shareholders, etc., etc., in the
+Graphotype Company, so they want to work the two together. I hate the
+process; it takes quite four times as long as wood, and I cannot draw
+and express myself with a nasty, finicking brush, and the result when
+printed seems to alternate between something all as black as my hat, or
+as hazy and faint as a worn-out plate. If on wood, I should like it well
+enough; as it is it spoils four days a week, leaving little time for
+anything else. Oh! I'm aweary, I'm aweary! of this illustration
+business."[176] This seems to us inexpressibly sad. We hear nothing of
+it in earlier days, when he was drawing the excellent designs for
+"Roland Cashel," for "Dombey," or for "Bleak House."
+
+Of the works and sketches in water colour and oils exhibited in
+Liverpool after the artist's death, personally we have seen nothing.
+They took the public by surprise, for few at least of the outer world
+suspected that this shy, retiring illustrator of books was a persevering
+and accomplished water-colour artist. We ourselves were aware of the
+fact, and had seen some thirty original and highly characteristic
+sketches, some of them studies of characters in novels of Charles
+Dickens and Lever; all executed prior to 1846, some in Indian ink, some
+in crayon, a few in pencil. Among them was a small but highly finished
+water-colour drawing, representing a group of seven knights in full
+martial panoply, and a striking effect is produced by the glint of the
+sun on the burnished armour of the central figure. The author of a
+recent sketch would cite these water colours as a complete answer to
+those who like ourselves maintain, in no mere spirit of detraction, that
+the artist possessed not one particle of _genius_. Surely he cannot be
+in earnest. If so, we have only to say, that if painting subjects in
+oils or water colour from the thousand and one hints to be gathered from
+history, fiction, or every-day life, be a test of _genius_, the walls of
+every summer and winter exhibition--to say nothing of the Royal
+Academy--would be furnished annually with examples from end to end.
+
+Leech died in the meridian of his fame at the early age of forty-six.
+Hablot Browne when he died had not only survived his talents, but his
+peculiarly shy and retiring nature had caused him at the age of
+sixty-seven to be absolutely forgotten. The famous men of letters whose
+works he had illustrated were dead and gone; the world of literature and
+of art took such small note of him that his funeral was the funeral of a
+private individual, and not of one who, if he did not partake in, had
+contributed in no considerable degree to the success of Charles Dickens
+and of Charles James Lever. When his passing-bell rang out upon the
+summer air, journalists remembered that a great artist was gone to his
+rest, and _Punch_ inserted in his number of the 22nd of July, 1882, to
+the memory of the last of the book etchers of the nineteenth century the
+following graceful tribute:--
+
+  "The lamp is out that lighted up the text
+     Of Dickens, Lever--heroes of the pen.
+   _Pickwick_ and _Lorrequer_ we love, but next
+     We place the man who made us see such men.
+   What should we know of _Martin Chuzzlewit_,
+     Stern _Mr. Dombey_, or _Uriah Heap_?
+   _Tom Burke of Ours_?--Around our hearts they sit,
+     Outliving their creators--all asleep.
+   No sweeter gift ere fell to man than his
+     Who gave us troops of friends--delightful Phiz.
+
+   "He is not dead! There, in the picture-book,
+     He lives with men and women that he drew;
+   We take him with us to the cozy nook,
+     Where old companions we can love anew.
+   Dear boyhood's friend! We rode with him to hounds;
+     Lived with dear _Peggotty_ in after years;
+   Missed in old Ireland, where fun knew no bounds.
+     At _Dora's_ death we felt poor David's tears.
+   There is no death for such a man,--he is
+     The spirit of an unclosed book! immortal Phiz!"
+
+
+FOOTNOTES:
+
+  [172] Fitzpatrick's "Life of Charles Lever."
+
+  [173] Now lately republished.
+
+  [174] And republished in "Poole's Miscellany."
+
+  [175] As I notice a similar remark in one of the obituary notices of
+    the artist's death, I think it necessary to observe that this chapter
+    was written while "Phiz" was yet living.
+
+  [176] Mr. Kitton's "Memoir," p. 19.
+
+
+
+
+CHAPTER XVII.
+
+_A BATCH OF BOOK ILLUSTRATORS:_
+
+_KENNY MEADOWS; ROBERT WILLIAM BUSS; ALFRED CROWQUILL; CHARLES H.
+BENNETT; W. M. THACKERAY._
+
+
+In old and second-hand bookshops, and in booksellers' catalogues, may
+often be found a book which is gradually becoming a literary rarity. It
+dates from 1840, and is a curiosity in its way, not only on account of
+the "portraits" which adorn its pages, but as a specimen of the literary
+padding on which men of letters (some of them distinguished) were
+content to employ their talents fifty years ago. It was published by
+Robert Tyas, of 50, Cheapside; professed to give "Portraits of the
+English" of the period, but served as a means of introducing certain
+characteristic pictorial sketches, more or less true to nature, by Kenny
+Meadows, an artist whose name and reputation, although he has been dead
+scarcely ten years, are already forgotten. Connected with these
+portraits are "original essays by distinguished writers," including,
+amid names of lesser note, literary stars such as Douglas Jerrold, Leman
+Rede, Percival Leigh, Laman Blanchard, Leigh Hunt, William Howitt, and
+Samuel Lover. These essays, or rather letterpress descriptions, were
+written to the pictures, which were not drawn (as is generally supposed)
+in illustration of the text. The portraits are taken from almost every
+grade in life: from the dressmaker to the draper's assistant, and from
+the housekeeper to the hangman; the last, by the way, being perhaps the
+most characteristic sketch of the series. The best of these forty-three
+"pictures" is the one which faces the title-page, a gathering of the
+company which individually take part in this "gallery of illustration."
+The designs are characteristic of the artist's style, but possess little
+power of attraction, being destitute of any claim to originality either
+of conception or treatment. The artist's share of the work is by far the
+best part of the somewhat lugubrious entertainment, which the
+performances of his literary associates scarcely serve to enliven. The
+book, however, was a success in its day, for, if we mistake not, it was
+followed by a second series, is even now sought after by the "collector"
+(not bibliomaniac), and possesses some historical value by reason of the
+fact that national types, such as _The Diner-out_, _The Stockbroker_,
+_The Lion of the Party_, _The Fashionable Physician_ (that is to say, of
+1840), _The Linen Draper's Assistant_, _The Barmaid_, _The Family
+Governess_, _The Postman_, _The Theatrical Manager_, _The Farmer's
+Daughter_, and _The Young Lord_, no longer live and move and act their
+part amongst us. A change comes over the people in the course of forty
+years, and some years hence our grandchildren may well smile at the
+extraordinary monstrosities (female) who figure in the graphic satires
+of 1883-4.
+
+Kenny Meadows was the son of a retired naval officer, and was born at
+Cardigan on the first of November, 1790. You will look in vain for any
+notice of him, or of his services in the cause of illustrative art, in
+any of the biographical dictionaries of his own or a subsequent period;
+and this appears to us an unaccountable omission, for he achieved in his
+time considerable celebrity as an artistic illustrator of books. His
+work will be found bound up with that of most of his artistic
+_confreres_ in nearly all the illustrated periodicals of his day; he was
+one of the first to introduce wood-engraving among English publishers as
+a means of cheap and popular illustration; he was employed by the late
+Mr. Ingram, in the designs for the early Christmas numbers of the
+_Illustrated London News_; he will be found amongst the number of the
+artists who illustrated the early volumes of _Punch_; he was in
+universal request as a designer of drawings to fairy and fanciful
+stories; among his intimate friends were men of mark; such as Leigh
+Hunt, Douglas Jerrold, Charles Dickens, W. M. Thackeray, Clarkson
+Stanfield, David Roberts, and the Landseers; he did as much for
+illustrative art as, perhaps, any artist of his time; and yet, amongst
+men whose abilities scarcely exceeded his own in the same particular
+walk in art, no place is to be found in any biographical dictionary, so
+far at least as we know, for any mention of poor, kindly, genial, Kenny
+Meadows.
+
+Besides the popular illustrated periodicals of his day, in most of which
+his familiar initials may be recognised, Kenny Meadows was in almost
+universal request both amongst authors and publishers of the time. We
+find him in 1832 illustrating, with Isaac Robert Cruikshank, a
+periodical bearing the somewhat unpromising title of "The Devil in
+London." To an 1833 edition of "Gil Blas," illustrated by George
+Cruikshank, he contributed a frontispiece; and we find his hand in the
+following: the late J. B. Buckstone's dramas of "The Wreck Ashore,"
+"Victorine," "May Queen," "Henriette," "Rural Felicity," "Pet of the
+Petticoats," "Married Life," "The Rake and his Pupil," "The
+Christening," "Isabella," "Second Thoughts," and "The Scholar" (1835,
+1836); Whitehead's "Autobiography of Jack Ketch" (1835); "Heads of the
+People, or Portraits of the English" (1841); Mr. S. C. Hall's "Book of
+British Ballads" (1842-44); an 1842 edition of Moore's "Lalla Rookh";
+Leigh Hunt's "Palfrey, a Love Story of Old Times" (1842); "The
+Illuminated Magazine" (1843); Shakespeare (1843); "Whist, its History
+and Practice"; "Backgammon, its History and Practice," by the same
+author; "The Illustrated London Almanacks" (from 1845 upwards); Sir
+Edward Lytton Bulwer's "Leila," and "Calderon" (1847); W. N. Bailey's
+"Illustrated Musical Annual," "The Family Joe Miller, a Drawing-room
+Jest Book" (1848); "Puck," (a comic serial, 1848); Laman Blanchard's
+"Sketches from Life" (1849); Samuel Lover's "Metrical Tales and Poems;"
+"The Magic of Kindness," by the brothers Mayhew; Mrs. S. C. Hall's
+"Midsummer Eve;" "Punch," up to and including the seventh volume; and
+(some time afterwards) its able opponent "The Man in the Moon" (now
+exceedingly scarce).[177] In these and very many other works we find him
+associated not only with George Cruikshank, John Leech, Hablot Knight
+Browne, and Richard Doyle, but with artists occupying the position of
+Sir John Gilbert, Frank Stone, Maclise, Clarkson Stanfield, Creswick, E.
+M. Ward, Elmore, Frost, Sir J. Noel Paton, Frederick Goodall, Thomas
+Landseer, F. W. Popham, Fairholt, Harrison Weir, Redgrave, Corbould, and
+Stephanoff. He was a thoroughly useful man; and a thousand examples of
+quaint imaginings--oftentimes of graceful workmanship--might be culled
+from the various works and serials in which his hand may be readily
+recognised.
+
+But the merits of Kenny Meadows as an illustrator of books are very
+unequal. His friend, Mr. Hodder, who gives us in his pleasant "Memories"
+an occasional note of some of the artists with whom he was thrown in
+contact, says of him: "The quiet, unostentatious way in which he worked
+at his art, too often under the most adverse and discouraging
+circumstances, and the pride which he displayed when he felt he had made
+a 'happy hit,' was somewhat like the enthusiasm of a youth who had first
+attained the honour of a prize. As a draughtsman he never cared to be
+guided by those practical laws which regulate the academic exercise of
+the pictorial art; for he contended that too strict an adherence to
+nature only trammelled him, and he preferred relying upon the thought
+conveyed in his illustrations, rather than upon the mechanical
+correctness of his outline or perspective." George Cruikshank showed, as
+we know, a tolerable contempt for nature when he undertook the
+delineation of a horse, a woman, or a tree; but it was one of the
+conditions of his _genius_ that it should be left free and untrammelled
+to follow the dictates of its own inspiration, and the quaint effect
+which somehow or other he managed to impart to a design which, in its
+details might offend the educated taste of the art critic, made us
+forget the contempt too often displayed for those "practical laws" to
+which Mr. Hodder refers. To constitute a good comic artist, not only is
+it necessary that he should be a good draughtsman, but certain special
+gifts are indispensable,--a keen sense of the ridiculous, an inherent
+appreciation of humour, a quick and ready invention, qualities which no
+amount of artificial training will bestow. They were possessed in an
+eminent degree by Gillray, by Cruikshank, by John Leech, but were wholly
+wanting to Kenny Meadows. He could draw on occasion a queer face--for
+that matter his faces, intentionally or otherwise, were generally
+queer--and an eccentric figure, and so can many persons who have a
+natural taste for drawing, and have learnt to handle the pencil; but the
+caricaturist, like the poet, _nasciiur non fit_, and a hundred or even a
+thousand queer faces or eccentric figures, without the gift of invention
+or originality, will not of themselves constitute the designer a comic
+artist. The truth is that with Kenny Meadows mannerism takes the place
+of genius. You will recognise his hand anywhere without the familiar
+"K.M." appended to it, for all his faces are chubby (not to say puffy),
+and their arms and legs look for all the world as if the hand that
+designed them had been guided by a ruler. The delusion which led him to
+imagine that his "genius" would enable him to soar superior to nature is
+no doubt responsible in some degree for this latter eccentricity, for
+the artist who would be bold enough to despise the laws "which regulate
+the exercise of the pictorial art," would be prepared to view Hogarth's
+line of beauty with like indifference and contempt.
+
+Kenny Meadows was one of the early illustrators of _Punch_, and
+contributed moreover to the first volume some of the best of the
+cartoons. Good specimens of his work will be found in _Young Loves to
+Sell_, and _The Speculative Mama_ (_sic_), second vol.; in the third
+volume he illustrated "Punch's Letters to His Son," and the first of the
+almanacks contains six of his designs. In the fourth volume we find six
+of his cartoons, among them _The Milk of Poor Law Kindness_, and _The
+First Tooth_ (the Queen and infant Prince of Wales); the doctor's legs
+and shoes are thoroughly characteristic of his style, and look for all
+the world as if they had been drawn by a ruler. The cartoon, _Punch
+Turned Out of France_ in this volume is, if we mistake not, the work of
+Kenny Meadows. _The Christian Bayadere Worshipping the Idol Siva_, has
+reference to the tolerance which "John Company" wisely conceded to
+Hindoo religious ceremony, so long as its traditions were found
+consistent with the ordinary dictates of humanity. "The Story of a
+Feather" in this volume has five illustrations, two of which are very
+clever. Among the other cartoons we find _The Modern Macheath_ (the
+Captain being Sir Robert Peel). The fifth volume contains eight of his
+illustrations, six being cartoons; among them, _The Irish Frankenstein_
+(badly imagined and atrociously drawn), _The Water Drop_ and the _Gin
+Drop_ are characterized by much poverty of invention, but the former is
+the best of the two. _The Battle of the Alphabet_ (cartoon) is a better
+specimen of his work, although the legs and arms look as usual, as if
+drawn with a ruler. The sixth volume contains three of his cartoons,
+while the almanack of the year (1844) has several of his illustrations.
+To the seventh volume he contributed no less than thirty-one
+illustrations, some very good, one of the best being that of the two
+legal dogs quarrelling over a bone of litigation. _Punch_ at the outset
+of his career had considerable difficulty in the selection of a graphic
+satirist, and one of his "right hand men" in those early days was a Mr.
+Henning, by whose side Kenny Meadows figures as an absolute genius.
+After his seventh volume, however, he met with artists better fitted to
+interpret his political and social views, and no trace of Meadows'
+useful hand appears in succeeding volumes.
+
+In stating that the merits of Kenny Meadows as an illustrator of books
+are unequal, and in denying to him the possession of genius, we must not
+be held to imply that he was deficient of talent. An excellent example
+of the inequality of which we speak will be found in his Shakespeare
+(Robert Tyas, 1843), a work selected by us for the reason that it was
+considered by himself and his two favourable friends as his masterpiece.
+Although we cannot stay to notice all the strange conceptions with which
+he has enriched this book, we may be permitted to wonder whence he
+derived his preposterous ideas of Caliban, of Malvolio, of Shylock, of
+Juliet's nurse, of Launce's unhappy dog, of the Egpytian[ Sphynx in
+"Antony and Cleopatra." The model of Shylock was evidently some "old
+clo'" dealer in Petticoat Lane. The figure of Armado ("Love's Labour's
+Lost") is so wonderfully put together that his anatomy must sooner or
+later fall to pieces; the ghost of Hamlet's father is the ghost of some
+colossal statue, certainly not the shade of one who had worn the guise
+of ordinary humanity. The head of the gentle Juliet might derive benefit
+from the application of a bottle of invigorating hair wash. The figure
+of the monk in "Romeo and Juliet" literally cut out of wood, carries as
+much expression in its face as a lay figure; while the walls of
+Northampton Castle (in "King John") are so much out of the
+perpendicular, that the courtiers seem less concerned at finding the
+dead body of Arthur, than in seeking a place of shelter from the
+impending downfall. Henry the Eighth, although acknowledged to be a
+corpulent, was not, so far as we know, a deformed man; the preposterous
+"beak" of Richard the Third occupies one half of his otherwise
+remarkably short face, and its owner (in the well-known tent scene)
+suffers from an attack of tetanus instead of an accession of mental
+terror. These eccentric realizations, in which he has succeeded in
+setting all the rules of drawing at defiance, are rendered the more
+remarkable by reason of the circumstance that the work now under
+consideration is interspersed with numerous charming drawings, the
+effect of which is wholly marred by these erratic performances. Meadows
+was an admirable water-colour artist, and a scarce edition of this work
+contains some engravings of Shakespearian heroines after his designs.
+The Germans fancy they understand Shakespeare better than ourselves (an
+amiable and complimentary weakness), and the work was favourably
+received in Germany, the artist's conception of Falstaff, in particular,
+being so highly appreciated that a bronze statuette was modelled after
+it, which enjoyed a large sale.
+
+His ideas of female beauty were almost as eccentric as those of
+Cruikshank. A couple of beauties of the Meadows type will be found at
+page 3 of Henry Cockton's "Sisters" (Nodes, 1844), where one lady is
+represented to us with a neck like that of a giraffe, whilst her sister
+beauty is sensibly inconvenienced by a lock of hair which has strayed
+into her eye,--a favourite device, by the way, of the artist. This book,
+now scarce (in the illustration of which he was assisted by Alfred
+Crowquill), is adorned with a portrait on steel, after a painting by
+Childe, in which the author is presented to us in a white waistcoat and
+dress coat, with a pen in his hand, leading us to the inference that his
+clumsily constructed novels (one of which--"Valentine Vox," thanks
+perhaps to the illustrator, Onwhyn--still holds its ground) were written
+in evening costume.
+
+But notwithstanding these failures, Kenny Meadows has happily left
+behind him work of a very much better kind. His Christmas pictures in
+particular are impressed with the kindly, genial humour which
+characterized the man; the "Illuminated Magazine," a scarce and valuable
+work, contains sixty-three very fine specimens of his pencillings,
+including the illustrations to his friend Douglas Jerrold's "Chronicles
+of Clovernook," admirable in every respect, probably the finest designs
+he ever executed. The wood engravings in this charming serial have
+probably never been surpassed; we seldom see woodcuts in these days
+which equal the splendid workmanship of E. Landells.[178] After the
+third volume, the "Illuminated Magazine" passed into other hands, and
+although Kenny Meadows continued its mainstay for a time, the rest of
+the excellent artists left, and the literary matter visibly declined.
+
+To the famous "Gallery of Comicalities" Kenny Meadows contributed
+_Sketches from Lavater_ and _Phisogs of the Traders of London_. During
+the last decade of his life his services in the cause of illustrative
+art were rewarded and recognised by a pension from the Civil List of L80
+per annum. Like George Cruikshank he remained hale and vigorous to the
+last, proud of his age, and fond of asserting there was "life in the old
+dog yet." That this was no idle boast may be inferred from the fact that
+within a few months of his death he was engaged in painting a subject
+from his favourite Shakespeare. At the time of his death (in August,
+1874) he had almost completed his eighty-fifth year.
+
+       *       *       *       *       *
+
+In hunting up materials for the present work, we have come at various
+times upon editions (specimens, perhaps, might be the better word) of
+the "Pickwick Papers," which will possess an interest in the eyes of the
+collector. The first issue, in the original green sporting covers
+designed by Seymour, is of course exceedingly scarce; we have never
+indeed seen a _perfect_ copy, which would probably be worth some ten
+pounds, while the same edition bound may be purchased at prices varying
+from twenty-four shillings to three guineas, according to the condition
+of the volume. An Australian edition was published at Launceston, Van
+Dieman's Land, in 1838, with plates after "Phiz" by "Tiz," facsimiles on
+stone of the earliest issue of the parts in England. At a West of
+England bookseller's we met with a first edition bound up with etchings
+by Onwhyn,[179] "Peter Palette," and others. Then there are the
+twenty-four etchings from remarkably clever original drawings by Mr. F.
+W. Pailthorpe in illustration of scenes in "Pickwick," of which the
+proofs before letters were published at three guineas; and lastly, there
+is the rare first edition, containing all the plates by Seymour and
+"Phiz," supplemented by the two "suppressed" etchings, which are
+credited (wrongly) to the hand of Buss.
+
+Among the etchers of book illustration after 1836, we may name ROBERT
+WILLIAM BUSS, whose etchings will be found in Mrs. Trollope's "Widow
+Married" (a sequel to her "Widow Barnaby"), which made its appearance in
+the "New Monthly Magazine" of 1839, and whose hand will also be found in
+Marryat's "Peter Simple," "Jacob Faithful," Harrison Ainsworth's "Court
+of King James II.," etc. Although his designs lack the genius, the
+artistic power, the finish and the comic invention of Leech or
+Cruikshank, they show nevertheless that as an etcher and designer he was
+possessed of exceptional talent and ability. The first experience,
+however, of this able artist as an etcher was peculiarly unfortunate and
+vexatious.
+
+When poor Seymour shot himself in 1836, the draughtsman first called in
+to supply his place was Robert William Buss. He had been recommended to
+Messrs. Chapman and Hall by John Jackson, the wood-engraver, but does
+not seem at that time to have had any practical experience of etching,
+as he himself explained to the member of the firm who called upon him.
+Mr. Buss, in fact, was decidedly indisposed to undertake the work, being
+then engaged on a picture he was preparing for exhibition, and he
+undertook it only after considerable pressure. He immediately began to
+practise the various operations of etching and biting in, and produced a
+plate with which the publishers expressed themselves satisfied. Two
+subjects were then selected for illustration, _The Cricket Match_, and
+_The Fat Boy Watching Mr. Tupman and Miss Wardle_. When, however, Mr.
+Buss began to etch them on the plate, he found, having had little or no
+experience in laying his ground, that it holed up under the etching
+point; and as time was precious, he placed the plates in the hands of an
+experienced engraver to be etched and bitten in. Had opportunity been
+given him, his son (from whom we take this account) tells us he would
+have cancelled these plates and issued fresh ones of his own etching.
+Designs were prepared by him for the following number, when he received
+an intimation that the work of illustrating the "Pickwick Papers" had
+been placed in other hands. The illustrations referred to were
+suppressed, and the collectors who are so anxious to secure an edition
+with the two "Buss plates," will be pleased to learn that, although the
+design was his, not one line of the etchings which bear his name are due
+to the artist's point.[180]
+
+The father of Robert William was an engraver and enameller, and under
+his directions he acquired a knowledge of this technical branch of art;
+but evincing a taste and preference for drawing and painting, he became
+a pupil of George Clint, A.R.A., under whose direction he studied
+subject and portrait painting. He painted fifteen theatrical portraits
+for Mr. Cumberland in illustration of his "British Drama," and a
+collection of these works was afterwards exhibited at that melancholy
+monument to past exhibitions, the Colosseum in the Regent's Park. He was
+employed by Charles Knight in the illustrations to his "Shakespeare,"
+"London," "Old England," "Chaucer," and the now forgotten "Penny
+Magazine," for all of which publications he executed many designs on
+wood.
+
+It must not be supposed because Robert William Buss was not considered
+the right man to illustrate "Pickwick," that he was therefore an
+indifferent draughtsman. His finest book etchings are probably those
+which he executed for Harrison Ainsworth's novel of "The Court of James
+II."; but in a higher and far more ambitious walk in art he was not only
+more successful, but achieved in his time a considerable reputation.
+Among his pictures may be mentioned one of _Christmas in the Olden
+Time_, which, apart from its merits as a painting, showed that he
+possessed considerable antiquarian knowledge. Other works of his are,
+_The Frosty Morning_, purchased by Lord Charles Townshend; _The Stingy
+Traveller_, bought by the Duchess of St. Albans; _The Wooden Walls of
+Old England_, the property of Lord Coventry; _Soliciting a Vote_, and
+_Chairing the Member_; _The Musical Bore_; _The Frosty Reception_;
+_Master's Out_; _Time and Tide Wait for no Man_; _Shirking the Plate_;
+_The First of September_; _The Introduction of Tobacco_; _The Biter
+Bit_; _The Romance_; and _Satisfaction_. For Mr. Hogarth, of the
+Haymarket, he painted four small subjects illustrative of Christmas,
+entitled, _The Waits_; _Bringing in the Boar's Head_; _The Yule Log_,
+and _The Wassail Bowl_; all afterwards engraved. For Mr. James Haywood,
+M.P., he executed a series of drawings illustrative of student life at
+Oxford, Cambridge, Durham, London, and Paris; while two vast subjects,
+_The Origin of Music_ and _The Triumph of Music_ (each twenty feet wide
+by nine feet high), were painted for the Earl of Hardwick, and are, or
+lately were, in the music saloon at Wimpole, in Cambridgeshire. His
+pictures were seventy-one in number, twenty-five of which were engraved.
+On the whole, therefore, Robert William Buss might afford to bear the
+refusal of Charles Dickens's patronage with equanimity.
+
+The paintings and etchings of Robert William Buss evince a strong
+leaning in the direction of comic art, a taste which prompted him, in
+1853, to deliver at various towns in the United Kingdom a course of very
+successful and interesting lectures on caricature and graphic satire,
+illustrated by several hundred examples executed by himself. In 1874,
+the year before his death, he published for the amusement of his
+friends, and for private circulation only, the substance of these
+lectures, under the title of "English Graphic Satire and its Relation to
+Different Styles of Painting, Sculpture, and Engraving." The numerous
+illustrations to this work were those drawn for his lectures by the
+artist, and reproduced for his book by the process of photo-lithography.
+So far as comic art and caricaturists of the nineteenth century are
+concerned, the author has comparatively little to say; but the work is
+valuable as regards the subject generally, and might have been published
+with advantage to the public. The artist delivered also lectures on "The
+Beautiful and the Picturesque," as well as on "Fresco Painting."
+
+Mr. Buss, if not very original as a comic designer, possessed
+nevertheless a keen sense of humour. One of his pictures (engraved by H.
+Rolls), entitled _Time and Tide Wait for no Man_, represents an artist,
+sketching by the sea-shore, so absorbed in the contemplation of nature
+that he remains unconscious of the fast inflowing tide, and deaf to the
+warnings of the fisherman who is seen hailing him from the beach.
+
+       *       *       *       *       *
+
+The comic publications which either preceded or ran side by side with
+_Punch_ had for the most part a somewhat short and unsatisfactory
+career. Perhaps the most successful of them was _Figaro in London_,
+1831-36, which we have already noticed. _The Wag_, a long-forgotten
+publication, enjoyed a very transient existence. In 1832 appeared
+_Punchinello_, on the pages of which Isaac Robert Cruikshank was
+engaged. _Punchinello_, however, ceased running after its tenth number.
+_Asmodeus in London_, notwithstanding the support it derived from
+Seymour's pencil, was by no means a commercial success. _The Devil in
+London_ was a little more fortunate. This periodical commenced running
+on the 29th of February, 1832, and the illustrations of Isaac Robert
+Cruikshank and Kenny Meadows enabled it to reach its thirty-seventh
+number. Tom Dibdin's _Penny Trumpet_ ignominiously blew itself out after
+the fourth number. _The Schoolmaster at Home_, notwithstanding Seymour's
+graphic exertions, collapsed at its sixth number. _The Whig Dresser_,
+illustrated by Heath, enjoyed an existence exactly of twelve numbers.
+_The Squib_ (1842) lasted for thirty weeks before it exploded and went
+out. _Puck_ (1848), illustrated by W. Hine, Kenny Meadows, and Gilbert,
+died the twenty-fifth week after its first publication. _Chat_ ran its
+course in 1850 and 1851. _The Man in the Moon_, under the literary
+guidance of Shirley Brooks, Albert Smith, G. A. Sala, and the Brothers
+Brough, enjoyed a comparatively glorious career of two years and a half.
+_Diogenes_ (started in 1853, under the literary conduct of Watts
+Phillips, the Broughs, Halliday, and Angus Bethune Reach),
+notwithstanding the graphic help rendered by McConnell[181] and Charles
+H. Bennett, gave up the ghost in 1854. _Punchinello_ (second of the
+name) flickered and went out at the seventh number. _Judy_ (the
+predecessor of the present paper) appeared 1st February, 1843, but soon
+died a natural death. _Town Talk_, edited by Halliday and illustrated by
+McConnell, lasted a very limited time. _London_, started by George
+Augustus Sala in rivalry of _Punch_, soon ceased running; while the
+_Puppet Show_, notwithstanding the ability of Mr. Procter, enjoyed but
+a very brief and transitory existence. The strong and healthy
+constitution of _Punch_ enabled him not only to outlive all these, but
+even a publication superior in some important respects to himself. We
+allude to the _Tomahawk_, whose cartoons are certainly the most powerful
+and outspoken satires which have appeared since the days of
+Gillray.[182]
+
+Among the draughtsmen whom _Punch_ called in to help him in his early
+days was a useful and ingenious artist, inferior in many respects to
+Kenny Meadows, his name was ALFRED HENRY FORRESTER, better known to most
+of us under his _nom de guerre_ of "Alfred Crowquill." The scribes of
+the "Catnach," or Seven Dials school, of literature are satirized by
+Forrester (in the second volume), wherein we see a "Literary Gentleman"
+hard at work at his vocation of a scribe of cheap and deleterious
+literature, consulting his authorities--"The Annals of Crime," a "Last
+Dying Speech and Confession," and the "Newgate Calendar." In _The
+Footman_ we have a gorgeous figure, adorned with epaulets, lace, and a
+cocked hat, reading (of all things in the world) the "Loves of the
+Angels," over a bottle of hock and soda-water! _The Pursuit of Matrimony
+under Difficulties_ is a more ambitious performance. "Punch's Guide to
+the Watering Places" (vol. iii.) is illustrated with a number of
+coarsely executed cuts, wholly destitute of merit; the fourth volume
+contains a cartoon entitled _Private Opinions_. But the graphic humour
+of Alfred Crowquill, although amusing and sometimes bright and
+sparkling, was unsuited to the requirements of a periodical such as
+_Punch_. As better men came forward, he gradually dropped out of its
+pages, and we see nothing more of him after the fourth volume.
+
+[Illustration:
+  ALFRED CROWQUILL. _From "The Book of Days."_
+
+  FROZEN OUT GARDENERS.
+
+  _Face p. 368._]
+
+Alfred Crowquill was a sort of "general utility" man, essaying the
+character of a _litterateur_ as well as that of an artist, and achieving
+as a natural consequence no permanent success in either. In his literary
+capacity, Alfred Henry Forrester made his first appearance (we believe)
+in "The Hive," and "The Mirror," under the editorship of Mr. Timbs;
+while as an artist he illustrated his own writings, besides those of a
+host of other authors. An early effort of his pencil is entitled, _Der
+Freyschutz Travestied_; this was followed by "Alfred Crowquill's Sketch
+Books," which were dedicated to the (then) Princess Victoria, by command
+of the Duchess of Kent. We find him afterwards employed on the pages of
+the "New Monthly," but on the death of its editor, Mr. Theodore Hook,
+his useful talents procured him an engagement on the staff of "Bentley's
+Miscellany," to whose pages he was not only an indefatigable
+contributor, but rendered it substantial assistance in its difficulties
+with George Cruikshank. The best of his illustrative works (mostly
+designs on wood) were executed for this periodical, and selections were
+afterwards collected and published under the title of "The
+Phantasmagoria of Fun."
+
+[Illustration:
+  ALFRED CROWQUILL. _From "The Book of Days."_
+
+  "SWEARING THE HORNS" AT HIGHGATE.
+
+  "When any person passed through Highgate for the first time on his way
+  to London, he, being brought before the horns, had a mock oath
+  administered to him, to the effect that he would never drink small beer
+  when he could get strong, unless he liked it better; that he would
+  never eat brown bread when he could get white, or water-gruel, when he
+  could command turtle-soup; that he would never make love to the maid
+  when he might to the mistress; and so on  .  according to the wit of the
+  imposer of the oath, and simplicity of the oath-taker."
+
+  _Face p. 369._]
+
+In these days a man like Forrester would be almost at a discount, but at
+the time when he started there was less competition, and a useful,
+clever man, like he undoubtedly was, was fortunately not lost. His
+hands, in fact, were always full, and a list of some of the books to
+which his pen and his pencil contributed will be found in the Appendix.
+One of the best of his designs was a title-page he executed for a work
+published by Kent & Co., under the title of "Merry Pictures by the Comic
+Hands of Alfred Crowquill, Doyle, Meadows, Hine, and Others" (1857), a
+_rechauffage_ of cuts and illustrations which had previously done duty
+for books of an ephemeral character, such as "The Gent," "The Ballet
+Girl," and even of the superior order of "Gavarni in London."[183] Some
+excellent designs executed by him on wood will be found in Messrs.
+Chambers' "Book of Days." In his dual character of a writer and comic
+artist, Crowquill was an inveterate punster. Leaves from his "Memorandum
+Book" (1834) will give us a good idea of his style. In "Tea Leaves for
+Breakfast," _Strong Black_ is represented by a sturdy negro carrying a
+heavy basket; a tall youth with a small father personating _Hyson_; a
+housemaid shaking a hall mat, to the discomfort of herself and the
+passers-by, is labelled _Fine dust_; a cockney accidentally discharging
+his fowling-piece does duty for _Gunpowder_; while _Mixed_ is aptly
+personified by a curious group of masqueraders. The vowels put in a
+comical appearance: _A_ with his hands behind him listens to _E_, who
+points to _I_ as the subject of his remarks, which must be of a
+scandalous character, as the injured vowel looks the picture of anger
+and astonishment. _E_ finds a ready listener in _O_, who opens his mouth
+and extends his hands in real or simulated amazement and horror.
+
+Crowquill was a clever caricaturist, and began work when he was only
+eighteen. We have seen some able satires of his executed between the
+years 1823 and 1826 inclusive. One of the best, published by S. Knight
+in 1825, is entitled, _Paternal Pride_: "Dear Doctor, don't you think my
+little Billy is like me?" "The very picture of you in every feature!"
+_Ups and Downs_ (Knights, 1823), comprise "Take Up" (a Bow Street
+runner); "Speak Up" (a barrister); "Hang Up" (a hangman); "Let-em-Down"
+(a coachman); "Knock-em-Down" (an auctioneer); "Screw-em-Down" (an
+undertaker). The following are given as _Four Specimens of the Reading
+Public_ (Fairburn, 1826): "Romancing Molly," "Sir Lacey Luscious," a
+"Political Dustman," and "French a la Mode." Two, in which he was
+assisted by George Cruikshank, entitled, _Indigestion_, and _Jealousy_,
+will be found in the volume published (and republished) under the name
+of "Cruikshankiana." The latter shows on the face of it that, while
+Crowquill was responsible for the design, the etching and a large share
+of the invention are due to Cruikshank.
+
+If not a genius, the man was talented and clever,--a universal
+favourite. He could draw, he could write; he was an admirable vocalist,
+setting the table in a roar with his medley of songs. Even as a painter
+he was favourably known. _Temperance and Intemperance_ were engraved
+from his painting in oils, and called forth a letter of thanks from
+the great apostle of temperance, Father Mathew himself. Other works were
+_The Ups and Downs of Life_, the well-known _President_ and _Vice
+President_ (both engraved), and many others. A clever artist in "black
+and white," two of his pen-and-ink sketches--_The Huntsman's Rest_ and
+_The Solitary_--were honoured with a place among the drawings at the
+Royal Academy Exhibition of 1846. His talents did not end here; most of
+the Christmas pantomimes of his time were indebted to him for clever
+designs, devices, and effects. The kindly, genial, gifted man died in
+1872, in his sixty-eighth year.
+
+       *       *       *       *       *
+
+[Illustration:
+  CHAS. H. BENNETT. _"Shadow and Substance."_
+
+    "... creeping like a snail
+     Unwillingly to school."--AS YOU LIKE IT.
+
+  _Face p. 371._]
+
+Some of our readers may possibly remember seeing in one of the comic
+publications published concurrently with or shortly after the appearance
+of Mr. Charles Darwin's work, a series of comical designs ridiculing the
+theory of the "origin of species" in a manner which must have astonished
+as well as amused the learned philosopher. The origin of the genus
+_footman_, and of the dish he carries to his master's table, is traced
+out as follows: The dish carries a bone, which eventually finds its way
+into the jaws of a mongrel cur with a peculiarly short tail. The process
+then goes merrily onwards; the dog gradually develops; his skin turns
+into a suit of livery with buttons, the dog-collar gradually assumes the
+form of a footman's tie, until the process is ended and the species
+complete. In like manner, a cat develops into a spinster aunt; a monkey
+into a mischievous urchin; a pig into a gourmand; a sheep into a country
+bumpkin; a weasel into a lawyer; a dancing bear into a garrotter; a
+shark into a money-lender; a snail into the schoolboy to which
+Shakespeare likens him; a fish into a toper, and so on. These
+"developments" (twenty in number), which were dedicated to Mr. Darwin,
+are signed "C. H. B." and these are the initials of CHARLES H. BENNETT,
+one of the gentlest, most promising, and withal most original graphic
+humourists of the century.
+
+Amongst the earliest of the serials which he illustrated was, we
+believe, _Diogenes_, a sort of rival of _Punch_, which made its
+appearance and ran a brief course in 1853-4. Associated with him in the
+illustrations were McConnell and Watts Phillips, the latter of whom
+contributed largely also to the literary matter. We find a clever design
+of his (in Leech's style) in the second volume: "Now, gentlemen of the
+jury," says a brazen-faced barrister, "I throw myself upon your
+impartial judgment as husbands and fathers, and I confidently ask, Does
+the prisoner [the most murderous-looking ruffian un-hung] look like a
+man who would knock down and trample upon the wife of his bosom?
+Gentlemen, I have done!"
+
+There was considerable originality in the designs of Bennett, which is
+more particularly manifested in the well-known series of humorous
+sketches in which the effect intended to be produced is effected by
+means of the _shadows_ of the figures represented, which are supposed to
+indicate their distinguishing failings and characteristics. Among them
+may be mentioned a tipsy woman amused at the _shadow_ cast by her own
+figure of a gin bottle; an undertaker, in his garb of woe wrung from the
+pockets of widows and orphans, casts the appropriate shadow of a
+crocodile; a red-nosed old hospital nurse of a tea-pot; a worn-out
+seamstress of a skeleton; a mischievous street boy of a monkey; an angry
+wife sitting up for a truant husband of an extinguisher; a tall,
+conceited-looking parson, with a long coat, of a pump; while a sweep,
+with his "machine," to his mortal terror beholds his own shadow
+preceding him in the guise of Beelzebub himself. The series is continued
+in a work published by W. Kent & Co. in 1860, under the title of "Shadow
+and Substance," the letterpress of which is contributed to Bennett's
+pictures by Robert B. Brough. Literary work of this description, like
+William Combe's "Doctor Syntax," is necessarily unsatisfactory; but the
+pictures themselves are distinctly inferior to the series which preceded
+them, the best being _Old Enough to Know Better_,--a bald-headed,
+superannuated old sinner behind the scenes, presenting a bouquet to a
+ballet girl, his figure casting a _shadow_ on the back of the scene of a
+bearded, long-eared, horned old goat.
+
+[Illustration:
+  CHAS. H. BENNETT. "_Shadow and Substance._"
+
+  "OLD ENOUGH TO KNOW BETTER."
+
+  _Face p. 372._]
+
+We are in no position to give a detailed list of Charles Bennett's work,
+which was of a very miscellaneous kind, comprising among others a series
+of slight outline portraits of members of parliament, which appeared
+in the _Illustrated Times_, an edition of the "Pilgrim's Progress,"
+edited by the Rev. Charles Kingsley; "John Todd," a work by the Rev.
+John Allen; "Shadows," and "Shadow and Substance," just spoken of;
+"Proverbs, with Pictures by Charles H. Bennett," etc., etc. His talent
+at last attracted the notice of the weekly _Punch_ council, and he
+received the coveted distinction of being engaged on the permanent staff
+of that periodical.
+
+His life, however, was a brief one. The diary of Shirley Brooks, who
+took much personal interest in him, refers with some anxiety to his
+illness on the 30th of March, 1867. On the 31st of March the report was
+somewhat more favourable; but the 2nd of April brought a letter from the
+editor of _Punch_, Mark Lemon, which said that Charles Bennett had died
+between the hours of eight and nine o'clock that morning. "I am very
+sorry," adds Shirley Brooks in an autograph note appended beneath the
+letter referred to. "B[ennett] was a man whom one could not help loving
+for his gentleness, and a wonderful artist." The obituary notice by the
+same hand which appears in _Punch_ records that "he was a very able
+colleague, a very dear friend. None of our fellow-workers," it
+continues, "ever entered more heartily into his work, or laboured with
+more earnestness to promote our general purpose. His facile execution
+and singular subtilty of fancy were, we hoped, destined to enrich these
+pages for many a year. It has been willed otherwise, and we lament the
+loss of a comrade of invaluable skill, and the death of one of the
+kindliest and gentlest of our associates, the power of whose hand was
+equalled by the goodness of his heart." Charles Bennett was only
+thirty-seven when he died.
+
+He left a widow and eight children unprovided for, for his health having
+precluded it, no life insurance had been effected. The _Punch_ men,
+however, with the unselfishness which so nobly characterizes them, put
+their shoulders to the wheel for the family of their stricken comrade.
+"We shall have to do something," said Shirley Brooks in his diary of the
+3rd of April; and they did it accordingly. A committee was immediately
+started, on which we find the names of Messrs. Arthur Lewis,[184]
+Wilbert Beale, Mark Lemon, Du Maurier, John Tenniel, Arthur Sullivan,
+and W. H. Bradbury. Then came rehearsals, and, on the 11th of May, a
+performance at the Adelphi in aid of the Bennett fund. Mr. Arthur
+Sullivan had, in conjunction with Mr. F. C. Burnand, converted the
+well-known farce of "Box and Cox" into an operetta of the most ludicrous
+description. This was the opening piece--the forerunner of "Pinafore,"
+"Pirates," "Patience," and other triumphs. Arthur Sullivan himself
+conducted, and the players were Mr. Du Maurier, Mr. Quinton, and Mr.
+Arthur Blunt. Then followed "A Sheep in Wolf's Clothing," in which
+Mesdames Kate Terry, Florence Terry, Mrs. Stoker, Mrs. Watts (the
+present Ellen Terry), and Messrs. Mark Lemon, Tom Taylor, Tenniel,
+Burnand, Silver, Pritchett, and Horace Mayhew took part. This was
+succeeded by Offenbach's "Blind Beggars," who were admirably personated
+by Mr. Du Maurier and Mr. Harold Power. The evening concluded with a
+number of part songs and madrigals sung by the Moray Minstrels--so
+called from their chiefly performing at Moray Lodge, the residence of
+Mr. Arthur Lewis. Between the two portions of their entertainment,
+Shirley Brooks came on and delivered an address written by himself,
+which contained the following allusion to him for whose family the
+generous work had been undertaken:--
+
+  "Only some friends of a lost friend, whose name
+   Is all the inheritance his children claim
+   (Save memory of his goodness), think it due
+   To make some brief acknowledgment to you.
+   Brief but not cold; some thanks that you have come
+   And helped us to secure that saddened home,
+   Where eight young mourners round a mother weep
+   A fond and dear loved father's sleep.
+
+   Take it from us--and with this word we end
+   All sad allusion to our parted friend--
+   That for a better purpose generous hearts
+   Ne'er prompted liberal hands to do their parts.
+   You knew his power, his satire keen but fair,
+   And the rich fancy, served by skill as rare.
+   You did not know, except some friendly few,
+   That he was earnest, gentle, patient, true.
+   A better soldier doth life's battle lack,
+   And he has died with harness on his back."
+
+[Illustration:
+  "RESULT OF ANIMAL MAGNETISM."
+
+  THACKERAY'S MARGINAL SKETCHES, MADE WHEN AT SCHOOL, IN HIS SCHOOL-BOOKS,
+  ETC.
+
+  _Back to p. 375._]
+
+[Illustration:
+  THACKERAY'S MARGINAL SKETCHES, MADE WHEN AT SCHOOL, INHIS SCHOOL-BOOKS,
+  ETC.
+
+  _Back to p. 375._]
+
+The last verse alludes to Kate Terry's approaching marriage:--
+
+  "Last, but not least, in your dear love and ours,
+   There is a head we'd crown with all our flowers.
+   Our kindest thanks to her whose smallest grace
+   Is the bewitchment of her fair young face.
+   Our own Kate Terry comes, to show how much
+   The truest art does with the lightest touch.
+   Make much of her while still before your eyes--
+   A star may glide away to other skies."
+
+By this performance, a second which took place at Manchester on the 29th
+of July, and the efforts of Shirley Brooks and the members of the
+committee, a large sum was raised.
+
+       *       *       *       *       *
+
+The _Punch_ volumes, prior to his withdrawal from its pages, are
+interspersed with numerous mirth-provoking drawings on wood by the late
+Mr. THACKERAY. Probably the best of these will be found in the "Novels
+by Eminent Hands," in one of which (in amusing burlesque of _Phiz's_
+spirited title-page to "Charles O'Malley") we see the hero flying over
+the heads of the French army. Charles Lever was nervously sensitive to
+ridicule, and, although he laughed at and enjoyed the clever _jeux
+d'esprit_ in which "Phil Fogarty," "Harry Jolly-cur," "Harry Rollicker,"
+etc., put in their respective appearances, he declared nevertheless,
+with evident vexation, that he himself might just as well retire from
+business altogether. This, indeed, he proceeded to do; and although we
+miss from that time the rattling heroes of the Frank Webber and Charles
+O'Malley school, we are indebted to Thackeray for the striking proof
+which Charles Lever was thus enabled to afford us of the versatility of
+a genius which enabled him to change front and alter his style with
+manifest advantage to his literary reputation.
+
+The fact of his waiting upon Dickens at his chambers in Furnival's Inn
+"with two or three drawings in his hand, which strange to say he did not
+find suitable" for "Pickwick," has been told so often that there is no
+occasion for repeating it again; but the circumstances under which he
+seems to have sought the interview not being, so far as we know, stated
+anywhere, we shall now proceed to relate them. Thackeray was in London
+when Seymour shot himself in 1836. The death of the latter caused a
+vacancy in the post of illustrator to "Figaro in London," which at that
+time Seymour was illustrating as well as "Pickwick," and such vacancy
+was supplied by Thackeray, who, I think, continued to illustrate it
+until the paper died a natural death. His designs for "Figaro in London"
+were drawn in pen and ink on paper, and transferred to the wood by the
+engravers, Messrs. Branstone and Wright, and the remuneration he
+received for them was very trifling, at most a few shillings each. It
+was probably this circumstance which put into his head the idea of
+illustrating "Pickwick." From what we know of the graphic abilities of
+Thackeray and the fastidious requirements of Dickens, we may readily
+understand why the post rendered vacant by Seymour's suicide was given
+to an abler artist.
+
+We wish that from a work dealing with comic art in the nineteenth
+century the name of Mr. Thackeray might be omitted; for no notice of
+him, however short, would be just or complete which failed to refer to
+his book illustrations. To do this we must separate Thackeray the artist
+from Thackeray the man of letters. Regarding him simply in the character
+of illustrator of the novels of W. M. Thackeray, we are bound in justice
+to the memory of that great and sterling humourist, to say that he has
+undertaken a task which is manifestly beyond his powers. While Thackeray
+with his _pen_ could most effectively describe a fascinating woman, like
+Becky Sharp, the illusion vanishes the moment his artist essays to draw
+her portrait with his pencil. While Thackeray's women are pretty and
+fascinating, well dressed and accomplished, the artist's women on the
+contrary are hideous; their waists commence somewhere in the region of
+their knees; and their clothes look as if they had been piled on their
+back with a pitchfork. The same remarks apply to the men; while the
+originals are witty or clever, handsome or well-dressed, those presented
+to us by the artist are destitute of calf, and their limbs so curiously
+constructed that the free use of them as nature intended would be a
+matter of utter impossibility. Those defects are the more noticeable
+because the artist has shown in his admirable essays on George
+Cruikshank and John Leech how thoroughly he was alive to the possession
+of artistic genius in others.
+
+The admiration which we have for Thackeray the man of letters, and the
+way in which we have already expressed that admiration, render it
+unlikely that the drift of these remarks will be misunderstood. While
+rejoicing that the admirable tales and satires of the humourist are
+uninjured by illustrations which are altogether unworthy of them, we
+venture to suggest how much better the result might have been had the
+latter been entrusted, as in the case of "The Newcomes," to other hands,
+and the artist contented himself with the initial letters and designs on
+wood with which his writings are pleasantly interspersed. We have seen
+it somewhere stated (we think in the volume entitled "Thackerayana")
+that the author's rapid facility of sketching was the one great
+impediment to his attainment of excellence in illustrative art. Some of
+his designs indeed bear on their face evidence of the rapidity with
+which they were thrown off; but no satisfactory explanation appears to
+be possible of his contempt for what Mr. Hodder has termed the
+"practical laws which regulate the academic exercise of the pictorial
+art," and his apparent ignorance of the art of balancing his figures so
+as to enable them to stand upright, to walk straight, or to move their
+limbs with the grace and freedom assigned to them by nature. One of the
+designs to "The Virginians" shows a horseman, who in the letterpress is
+described as crossing a bridge at full gallop, whereas in the picture
+both man and horse will inevitably leap over the parapet into the river
+below. Nothing could possibly avert the catastrophe, and the effect thus
+produced is due, not to the manifest carelessness and haste with which
+the sketch is thrown off, but to a palpable defect in the artistic
+powers of the designer himself. Yet in the face of defects so patent and
+so palpable we have found it gravely stated, "The world which is loth to
+admit high excellence in more than one direction, has never fitly
+recognised _Thackeray's great gift as a comic draftsman_. Here [_i.e._
+in a work edited by his daughter] he will be found advantageously
+represented; inferior, it is true to the unjustly neglected Hablot
+Browne ('Phiz'), _but often equalling if not sometimes surpassing the
+greatly over-rated John Leech_."
+
+[Illustration:
+  "GRUFFANUFF."
+
+  "PRINCE BULBO SEIZED BY THE GUARDS." "MONKS OF THE SEVEREST ORDER OF
+  FLAGELLANTS."
+
+  SKETCHES BY THACKERAY FROM HIS "ROSE AND THE RING."
+
+  _Back to p. 378._]
+
+Ay! "the world _is_ loth to admit high excellence in more than one
+direction," and experience has taught it that few men, however gifted,
+are capable of exercising two different arts with an equal measure of
+success. Thackeray was both a genius and an artist, but the world has
+long recognised the fact that the former manifested itself only when he
+laid down the pencil and took up the pen. If called on to _prove_ his
+incapacity to illustrate his own work, we will refer the reader to his
+admirable novel of "Vanity Fair." The time selected for the story is the
+early part of the present century; and on the plea that he had "not the
+heart to disfigure his heroes and heroines" by the correct but "hideous"
+costumes of the period, Thackeray has actually habited these men and
+women of 1815 in the dress of 1848! Cruikshank, Leech, "Phiz," or Doyle,
+it is unnecessary to say, would have been guiltless of such an
+absurdity; and the difficulty in which the gifted author found himself,
+and the confession of his inability to cope with it, afford the clearest
+possible evidence of his utter incapacity to illustrate the story
+itself. If any further proof be wanted, look at the designs themselves.
+Captain Dobbin would be laughed out of any European military service;
+such a guardsman as Rawdon Crawley could find no place in her Majesty's
+guards; "Jemima" (at p. 7), "Miss Sharp in the schoolroom" (p. 80), the
+children waiting on Miss Crawley (p. 89), the figures in the fencing
+scene (p. 207), "The Family Party at Brighton," "Gloriana" trying her
+fascinations on the major, "Jos" (at p. 569), and "Becky's second
+appearance as Clytemnestra," without meaning to be so, are caricatures
+pure and simple; and yet these are admirable compared with the
+designs to "The Virginians," which may safely be reckoned amongst the
+worst in the entire range of English illustrative art. Contrast them
+with illustrations confessedly not up to the severe standard of
+excellence required by the art critic, but admirably adapted for their
+purpose, Mr. Doyle's etchings to "The Newcomes," and remark the
+immeasurable superiority of the latter.
+
+[Illustration:
+  W. M. THACKERAY. "_The Rose and the Ring._"
+
+  "ANGELICA ARRIVES JUST IN TIME."
+
+  _Back to p. 379._]
+
+And yet, in justice to the great humourist of the nineteenth century,
+let us hear what another great writer has to say upon the very
+illustrations which seem to us to call for such severe animadversion.
+After telling us that Thackeray studied drawing at Paris, affecting
+especially Bonnington (the young English artist who died in 1828), Mr.
+Anthony Trollope goes on to say, "He never learned to draw,--perhaps
+never could have learned. That he was idle and did not do his best, we
+may take for granted. He was always idle, and only on some occasions,
+when the spirit moved him thoroughly, did he do his best even in after
+life. But with drawing--or rather without it--he did wonderfully well,
+even when he did his worst. He did illustrate his own books, and every
+one knows how incorrect were his delineations. But as illustrations they
+were excellent. How often have I wished that characters of my creating
+might be sketched as faultily, if with the same appreciation of the
+intended purpose. Let any one look at the 'plates,' as they are called,
+in 'Vanity Fair,' and compare each with the scenes and the characters
+intended to be displayed, and then see whether the artist--if we may
+call him so--has not managed to convey in the picture the exact feeling
+which he has described in the text. I have a little sketch of his, in
+which a cannon-ball is supposed to have just carried off the head of an
+aide-de-camp,--messenger I had perhaps better say, lest I might affront
+military feelings,--who is kneeling on the field of battle and
+delivering a despatch to Marlborough on horseback. The graceful ease
+with which the duke receives the message though the messenger's head be
+gone, and the soldierlike precision with which the headless hero
+finishes his last effort of military obedience, may not have been
+portrayed with well-drawn figures, but no finished illustration ever
+told its story better."[185] We read these remarks with profound
+astonishment, and can only ask in reply: If, as Mr. Trollope has
+admitted, Thackeray "never learned to draw,--perhaps never could have
+learned," how he could manage "to convey" in any of his pictures "the
+exact feeling he has described in the text"?--how, in the face of the
+admitted incorrectness of "his delineations," he could be in any way
+fitted to illustrate a novel of such transcendent excellence as "Vanity
+Fair"?
+
+It has been assumed, without any sort of authority, that it was only
+when Thackeray found he could not succeed as an artist that he turned to
+literature. The statement is altogether unwarranted. At or about the
+very time he was engaged in drawing the cuts for "Figaro in London," he
+was--if we are to judge of the sketch of "the Fraserians" in the
+"Maclise Portrait Gallery," in which young Thackeray may easily be
+recognised--writing for "Fraser's Magazine." Be this, however, as it
+may, it seems tolerably certain that the rebuff he received from Dickens
+had no hand in turning him into the path of letters, towards which his
+genius and unerring judgment alone most fortunately guided him.
+
+
+FOOTNOTES:
+
+  [177] There is a scarce edition of the "Bon Gaultier Ballads," which
+    contains some unacknowledged tailpieces, etc., by Kenny Meadows; in
+    all subsequent editions these are omitted--why, we know not.
+
+  [178] So great was the scarcity of good engravers in 1880, that in
+    September of that year the proprietors of the _Graphic_ newspaper
+    acknowledged the difficulty they experienced in obtaining the
+    assistance of high-class engravers, and stated their intention to
+    found a school of engraving on wood. Specimens of a new style of
+    illustration have lately come from America, which appear in
+    illustrated serials; some are good, but the majority, notwithstanding
+    the song of praise with which they were first received, are nothing
+    less than _abominable_.
+
+  [179] Onwhyn's name occurs frequently in illustrative literature. He
+    etched a set of designs for "Pickwick" and "Nicholas Nickleby;" for
+    Mr. Henry Cockton's "George St. Julian," and a translation of Eugene
+    Sue's "Mysteries of Paris." He is well known as the illustrator of
+    "Valentine Vox," "Fanny the Little Milliner," and other works. Some
+    of his best designs will be found in Mrs. Trollope's "Michael
+    Armstrong." He occasionally displays some ability, but his
+    performances are very unequal.
+
+  [180] See Mr. Alfred G. Buss, in "Notes and Queries," April 24th, 1875.
+
+  [181] A very clever and promising artist, who died early, of
+    consumption.
+
+  [182] As the _Tomahawk_ appeared in 1867, it does not come within the
+    scope of the present work.
+
+  [183] A work produced by David Bogue, in 1849, and illustrated by the
+    celebrated French caricaturist, which professes to give sketches of
+    "London Life and Character." Allowing for the unfaithfulness of the
+    portraits, which are wholly Parisian, these designs possess
+    unquestionable merit. The literary contributors were Albert Smith,
+    Shirley Brooks, Angus B. Reach, Oxenford, J. Hannay, Sterling Coyne,
+    and others.
+
+  [184] Afterwards married Kate Terry.
+
+  [185] "Thackeray," by Anthony Trollope, in "English Men of Letters,"
+    p. 7.
+
+
+
+
+CHAPTER XVIII.
+
+_CONTEMPORARIES OF JOHN LEECH: RICHARD DOYLE AND JOHN TENNIEL._
+
+
+We gather from the article in "The Month" which followed his death, and
+to which we have to acknowledge materials of which we have availed
+ourselves in the revision of the present chapter,[186] that Richard
+Doyle's first work was _The Eglinton Tournament, or the Days of Chivalry
+Revived_, which was published when he was only fifteen years old. Three
+years later he produced _A Grand Historical, Allegorical, and Classical
+Procession_, a humorous pageant which the same authority tells us
+combined "a curious medley of men and women who played a prominent part
+on the world's stage, bringing out into good-humoured relief the
+characteristic peculiarities of each." Apart from his talent, it was no
+doubt the fact of his being his father's son--the son of John Doyle, the
+once famous and eminent HB--which first attracted the attention of the
+promoters of _Punch_, and he was only nineteen when, in 1843, he was
+taken on the regular pictorial staff of that periodical. It was to the
+cheery, delightful pencil of Richard Doyle that the paper owed much of
+the popularity which it subsequently achieved.
+
+"It was from his father that he not only inherited his artistic talent,
+but received, and that almost exclusively, his artistic training." The
+writer in "The Month" goes on to tell us that John Doyle would not allow
+his son "to draw from models; his plan was to teach the boy to observe
+with watchful eye the leading features of the object before him, and
+then some little time after reproduce them from memory as nearly as he
+could.... He had no regular training in academy or school of art; he
+painted in the studio of no master save his father; and it is curious to
+see how his genius overleapt what would have been serious disadvantages
+to an ordinary man.... He attached himself to no school; he was not
+familiar, strange to say, with the masterpieces of foreign artists. He
+had never been in Paris, or Rome, or Vienna." It will be well for the
+reader to bear this in mind, because Doyle is one of the few book
+illustrators or etchers whom the professional art critic has
+condescended to notice, and it will enable him the better to understand
+and appreciate the soundness of his criticism. No one, we are told, owed
+less than Richard Doyle "did to those who had gone before him; and if
+this rendered his works less elaborate and conventional, it gave them a
+freshness and originality which might have been hampered if he had been
+forced into conformity with the accepted canons of the professional
+studio."[187] The writer of the article from which we have quoted would
+seem to have read what Mr. Hodder has told us respecting his friend
+Kenny Meadows, for the following is certainly not new to us: "He was not
+a self-taught artist, for he was trained by one who had a genius kin to
+his own, but he was an artist who had never forced himself into the
+observance of those mechanical rules and canons which to ordinary men
+are necessary to their correct painting (just as rules of grammar are
+necessary to correct writing), but hamper and trammel the man of genius,
+who has in himself the fount whence such rules proceed, and
+instinctively follows them in the spirit, though not in the letter. So
+far as they will forward the end he has in view, and no farther."[188]
+It will be seen by the above that the kindly writer gives Doyle credit
+for _genius_, and we who are strictly impartial will cheerfully admit
+that if he had not positive genius,--which we somewhat doubt,--he was
+certainly one of the most genial and graceful of comic designers.
+
+It was _Punch's_ practice during the earlier years of his career to
+produce a new cover with each succeeding volume.[189] Richard Doyle,
+however, signalized his accession by the contribution of a wrapper which
+was considered too good to be thrown aside at the expiration of a few
+months. The well known and admirable design was stereotyped, and still
+forms, with certain modifications, the permanent cover of _Punch's_
+weekly series.
+
+Specially worthy of note amongst his _Punch_ designs may be mentioned
+_The Napoleon of Peace_ (Louis Philippe), and _The Land of Liberty_,
+"recommended to the consideration of Brother Jonathan." In the latter,
+allusion is made to the Mexican war, rifle duelling and rowdyism,
+repudiation, Lynch law, and the then but no longer "peculiar
+institution." These will be found in the thirteenth volume, with a
+design of great excellence, _Punch's Vision at Stratford-on-Avon_,
+supposed to occur in the house of Shakespeare.
+
+A new English (?) party had been growing up and gradually forcing itself
+into English politics. This was the Peace-at-any-price party, the
+members of which, oblivious of the fact that the best preservative of
+peace is to be found in a perpetual state of readiness for war, erased
+from their minds all remembrance of the position won for the nation by
+our glorious army and navy, and ruled that national honour and national
+obligations must now be considered subordinate to the interests of
+peace, trade, and commerce. Conspicuous among these men of the new
+school was Mr. Cobden, an able, earnest, but (so far as our foreign
+policy was concerned) thoroughly mistaken enthusiast. He figures as
+"Peace" in Doyle's cartoon of _John Bull between Peace and War_ (_i.e._
+the Duke of Wellington). In _Gentlemen, make your Game while the Ball is
+Rolling_ (1848), the best cartoon ever designed by Richard Doyle, the
+various European monarchs are engaged at _roulette_ under the auspices
+of _Punch_ himself. The ball is the world, and the edges of the board
+are respectively inscribed, "Reform," "Progress," "Republicanism,"
+"Equality," "Constitutional Government." "Anarchy," and "Liberalism."
+Bomba of Naples having staked a large sum, he and other monarchs follow
+the erratic movements of the ball with absorbing attention. In the
+background may be seen the then Queen of Spain and Louis Philippe, who,
+having staked their all and lost, are just leaving the apartment.
+Another, following up the same subject, is the political sea serpent of
+"Revolution" suddenly appearing above the surface of the sea and
+upsetting, one after another, the cockle-shell boats in which the
+various European sovereigns are endeavouring to get to shore. The writer
+in the Catholic "Month" points out the fact that "this picture was drawn
+in the earlier part of the year, before the Roman revolution, and the
+Holy Father was still riding safely unharmed by the monster which is
+working havoc in France and Germany, and Austria and Spain." In _The
+Citizen of the World_ we find a capital skit upon the "admirable
+Crichton" delusion which made my Lord Brougham fancy himself in every
+character he chose to assume, or on any subject to which he condescended
+to give his attention, _facile princeps_. Here we find him figuring in
+turn as an English Lord Chancellor, a German student, a French subject,
+a French National Guard, an American citizen, a Bedouin Arab, a
+Carmelite monk, a Chinese mandarin, an Osmanli, a red Indian, a Scottish
+shepherd, and by the unmistakable nose and self-complacent smirk on his
+countenance, it is clear that in each and every character Henry Lord
+Brougham feels himself thoroughly at home. _The Sleeping Beauty_ is a
+clever composition. "Beauty," by the way, is Lord John Russell, and
+amongst the sleeping attendants may be recognised the Duke of
+Wellington, Benjamin Disraeli, Colonel Sibthorpe, and Lord William
+Bentinck; while the ever indispensable Brougham of course puts in an
+appearance, this time in the character of a jester.
+
+Richard Doyle, as we have seen, was young when he joined the ranks of
+the _Punch_ staff. Young men are apt to "dream dreams," and one of
+Richard Doyle's was in truth a charming one. In _Ireland: a Dream of the
+Future_, he shows us our Queen gazing into the depths of an Irish lake,
+wherein she beholds prosperous towns, smiling fields, a contented
+peasantry, flourishing homesteads, a land flowing with milk and honey.
+On the opposite bank sit in dreary solitude a starving cottier and his
+family. This was Richard Doyle's dream in 1849. He did not live to wake
+to the reality of 1884: half a dozen "Gladstone" bags filled with
+American dynamite, the property of subjects of a republic who allows her
+mongrel murderers to plot the deaths of thousands of the people of a
+friendly nation without lifting a hand or a finger to restrain them. A
+home government too weak to pass a law which would stop these outrages
+by hanging these foreign miscreants as high as Haman. These formed no
+part of course of the young artist's dream. He delighted in sunshine.
+The year 1850 was memorable for the repeal of the window tax, one of the
+most extraordinary impositions which ever crossed the inventive mind of
+a Chancellor of the Exchequer. "Hollo! old fellow," says a workman to
+his family, hailing the unwonted appearance of the sunbeams in their
+dark and dreary apartment, "Hollo! old fellow; we're _glad_ to see you
+here."
+
+Among the numerous illustrations which Doyle designed for _Punch_,
+probably the most original were the series entitled "Manners and Customs
+of ye Englishe," which, under the title of "Bird's-eye Views of English
+Society," he afterwards continued in the _Cornhill Magazine_ in a more
+elaborate form. The "Manners and Customs" form a curious record of the
+doings of the period, and remind us of "Sam Cowell" and the cider
+cellars, the Jenny Lind mania, Julien and his famous band, Astleys, the
+Derby day, and many of the forgotten scenes and follies in which some of
+us may have mingled in days gone by. They are very clever so far as they
+go; but none of them, as the writer in "The Month" would have us
+believe, are at all "worthy of" or in any way remind us of "Hogarth"
+(why are all the writers on _comic_ art immediately reminded of
+Hogarth?). "Each face in one of these pictures--_A Prospecte of Exeter
+Hall, showynge a Christian Gentleman denouncynge ye Pope_," says the
+same writer--"deserves a careful study, and tells the tale of bigotry,
+prejudice, and gaping credulity which has made Exeter Hall a bye-word
+among men." Although we agree with the writer on this subject, we would
+at the same time take leave to remind him that the Catholics are
+singularly fortunate in England compared with the religious freedom or
+tolerance enjoyed by Protestants in Catholic countries--in Italy for
+instance, or in Spain. As for "bigotry," let him look only at Catholic
+France during the reign of priestcraft there, where an actor of the
+position of Talma, writing with reference to a proposed monument to his
+English brother, John Kemble, could add by way of shameful contrast, "Je
+serai trop heureux _ici_ si les pretres _me_ laissent _une tombe dans
+mon jardin_!"
+
+When we first completed this chapter, and while the artist was yet
+living, we deemed it better to say as little as possible in reference to
+the conscientious motives which induced him to throw up his lucrative
+position on _Punch_, and with it the whole of his splendid prospects in
+comic art; and this course we had decided to follow after Richard Doyle
+had been removed from us by death. As, however, the Catholic organ has
+entered fully into the subject, not only is every cause for further
+reticence removed, but by being placed in a position to understand
+causes and motives, we are enabled to do justice to the memory of this
+most generous and unselfish of men.
+
+The Catholics have cause to feel satisfied with the results of what the
+benighted Protestants of England are apt to term the "Papal Aggression."
+The conduct of the latter in relation to this portentous event is thus
+described by "The Month":--"In 1850 the Catholic Hierarchy was
+established in England, and the Protestant public raved and stormed and
+talked bigoted nonsense without end respecting this new invasion.
+Parliament passed the futile and obsolete Ecclesiastical Titles Bill,
+and _Punch_ took up the popular cry. Cardinal Wiseman was represented as
+'tree'd' by the Papal bull, and comic verses and personal ridicule was
+lavished on the Pope, the new hierarchy, and Catholics generally.
+
+"Doyle remonstrated, but received answer that, as he had been allowed to
+turn Exeter Hall and its doings into ridicule, it was only fair that his
+own opinions should have their turn. But those who used this argument
+little knew, and could scarcely be expected to know, the difference
+between the devotion of supernatural faith and the bigotry of a
+self-chosen creed. Doyle was anything but narrow or over-scrupulous. It
+was not any of the cartoons which was the immediate occasion of the step
+that he took, nor was it (as some of the notices of him have intimated)
+any mere personal attachment to Cardinal Wiseman. 'I don't mind,' he
+said, 'as long as you keep to the political and personal side of the
+matter, but _doctrines_ you must not attack.' Douglas Jerrold and
+Thackeray were not likely to appreciate this reversal of the general
+sentiment, which resents personal attack above all else. 'Look at the
+_Times_,' they argued; 'its language has been most violent, but the
+Catholic writers on its staff do not for that reason resign. They
+understand, and the world at large understands, that the individual
+contributor is not responsible for the opinions expressed by other
+contributors in articles with which he has nothing to do.' 'That is very
+well in the _Times_,' was Doyle's answer, 'but not in _Punch_. For the
+_Times_ is a monarchy [we believe these were his very words], whereas
+_Punch_ is a republic.' So, when a week or so later an article,
+attributed to Jerrold himself, jeeringly advised the Pope to 'feed his
+flock on the wafers of the Vatican,' it was too much for Doyle.
+Dignified protest was not sufficient now. To be any longer identified
+with a paper which could use such language was intolerable to the
+faithful soul. To ply his skilful fingers and busy inventive brain in
+behalf of those who scoffed at the Blessed Sacrament of the Altar was
+out of the question. His connection with _Punch_ must cease. But is he
+bound in conscience to throw away a good income and congenial work,
+because there were expressed opinions different from his own in a paper
+in which, republic though it was, solidarity was scarcely possible? Who
+would expect that in a comic journal each and all of the contributors
+should agree with each and every sentiment expressed? Never mind;
+whatever Richard Doyle might have been strictly bound to do, generosity
+at least urged him to make the sacrifice--the sacrifice of his career,
+of his future success it may be. At least he could show that Catholic
+belief was no empty superstition, no set of mere traditional
+observances, which sat lightly on the man of culture, even if in his
+heart he accepted them at all. So he wrote to resign his connection
+with _Punch_, stating the reasons plainly and simply. This was in 1850,
+after he had been contributing for more than six years. Now he must
+simply start afresh, in consequence of what his Protestant friends
+regarded as an ecclesiastical crotchet. He must turn aside from the path
+of worldly success; he must give up all for conscience' sake. But as the
+_Daily Telegraph_ remarks, in an article respecting him that does it
+honour, 'He made a wise and prudent choice. The loss was ours, not his;
+and, apart from the claims of his genius to admiration, such conduct at
+the critical moment of a career will never cease to command respect.'"
+
+Passing by (as we may afford to do) the assertion that we Protestants
+"raved and stormed and talked bigoted nonsense without end respecting
+this new invasion," and the somewhat unnecessary boast that Lord John
+Russell's Ecclesiastical Titles Bill has been suffered to become a
+"futile and obsolete" measure, we would recognise the value of the
+writer's remarks as establishing in the clearest possible manner the
+perfect honesty and unselfishness of the motives which induced the
+artist to resign his connection with _Punch_, and to throw up the
+chances of an assured and brilliant future. We think however, that the
+value of his statement does not end here. We may here acknowledge that,
+while admitting the perfect purity and disinterestedness of Doyle's
+motives, we ourselves never thoroughly understood them until we had read
+the article from which we have quoted. We had taken into consideration
+the fact that when he took this decided step he was but twenty-five
+years of age, and we suspected (let us honestly own it) that other
+influences might have been at work independent of the artist himself, of
+which we as Protestants must always remain ignorant. There are grounds
+on which Protestant and Catholic writers may meet one another even in
+connection with religious questions; and although a "bigoted"
+Protestant, I am glad to admit that the writer's clear and lucid
+statement has removed an impression that was absolutely without
+foundation.
+
+With respect, however, to the ultimate consequences of this decisive
+step, the Catholic writer and ourselves are wholly at variance. "We are
+inclined to believe," continues the former, "that apart from the respect
+he earned by his noble sacrifice, Mr. Doyle achieved a higher reputation
+in consequence of his retirement from comic journalism, than if he had
+continued to employ his pencil in its services all his life through. It
+is true that his name was not, towards the end of his life, so familiar
+to the popular mind of England as was that of John Leech at the end of
+his career, and as that of Du Maurier at the present time, but the work
+which he did in his later life was more lasting and more world-wide.
+_Punch_ is an English periodical; you must be an Englishman to
+understand the allusions. The humour is essentially and almost
+exclusively English; it would never attain any great popularity in other
+English-speaking nations, in spite of its undoubted claim to be the
+first comic journal in the world. If Doyle had confined himself to the
+pages of _Punch_, or directed his energies mainly to the weekly issue of
+some design in its numerous columns, the limnings of his pencil would
+scarcely be known outside of England, whereas all over the continent of
+America, and in the English colonies, the old Colonel Newcome, and the
+Marquis of Farintosh, Lady Kew, and Trotty Veck meet us with their
+familiar faces as we turn over the Transatlantic editions of Thackeray
+and Dickens, not to mention the exquisite paintings, of which we shall
+have more to say presently, exhibited in the Grosvenor Gallery, and to
+be found in many a country mansion as a lasting memorial of Dicky
+Doyle." Does the writer seriously mean to tell us that Doyle could not
+illustrate Thackeray and Dickens at the same time and side by side with
+his illustrations for _Punch_ or any other serial of a satirical
+character? Granted that _Punch_ is a periodical appealing to English
+tastes and sympathies, yet it was through the introduction obtained by
+means of its pages that the artist probably obtained employment upon the
+very works to which the writer refers, and upon which (as he claims) his
+reputation will rest.
+
+Nor do we, nor can we, admit that, out of the circle of his
+coreligionists, or the still narrower circle of educated unbiassed
+minds, Doyle reaped much respect by the "noble sacrifice" of which the
+writer speaks. English prejudice looks with special coldness on
+conscientious motives it does not understand, and with which it can have
+but little sympathy. Doyle was a man of purer motives and finer
+sympathies than George Cruikshank; but the same insular prejudice which
+conduced to the ruin of George Cruikshank, wrecked the future prospects
+of an artist almost as original in some respects as the more brilliant
+George. From the moment that Doyle retired from _Punch_, English
+fanaticism and English prejudice persisted in regarding him as a
+supporter of the "Papal aggression," and he permanently lost from that
+moment the ground which his talent and his reputation had so honourably
+won for him. From the moment he deemed it his duty to retire from the
+circle of literary and artistic wits and humourists with whom he was
+then associated, he took himself practically out of the range of comic
+art, and the public ceased to trouble itself about him, although it had
+lost (in the expressive language of Mr. Thackeray) "the graceful pencil,
+the harmless wit, the charming fancy," of one of the most genial and
+promising of English graphic satirists of the modern time. Before he
+left _Punch_ he had executed for the periodical upwards of five hundred
+illustrations, of which nearly eighty are cartoons.
+
+But Richard Doyle manifested the honesty of purpose which was a part of
+his noble nature by other sacrifices than his retirement from _Punch_.
+From the friendly hand which has strewn flowers upon his grave, we learn
+that at one time he was offered a handsome income to draw for a
+periodical started some years ago, but declined the engagement because
+he disapproved of the principles of those by whom it was conducted. "At
+another he had a similar offer made him by a distinguished statesman on
+behalf of a political journal, in which the work would have been light
+and the remuneration excellent." He was offered his own terms to
+illustrate an edition of Swift's humorous works; but here too he
+refused, because he did not admire the morality of the witty Dean of St
+Patrick's. "In these and other cases like them, religion, virtue, high
+principle, carried the day against interests which would have proved too
+much for any but a man of Doyle's noble and lofty character." His
+biographer points out the fact that all this while he had to look to his
+pencil for bread, and denies the statement, made by one of the leading
+newspapers at the time of his death, that during the latter part of his
+life he was independent of his profession.
+
+In one set of illustrations, now very scarce and little known, Doyle has
+shown that he possessed eminent powers as a caricaturist. We have a set
+of lithographs before us, entitled, "Rejected Cartoons," a sort of
+pictorial "Rejected Addresses," supposed to be intended for the then new
+Houses of Parliament, some of them caricatures of the works of living
+artists--Maclise, Pugin, etc., whose styles are closely imitated and
+most amusingly burlesqued. Some of them are irresistibly droll, such as
+King Alfred sending the Danes into a Profound Slumber with the Sleepy
+Notes of his Harp; "Canute reproving the Flattery of his Courtiers;" The
+Faces of King John and his Barons at the Signing of Magna Charta; Perkin
+Warbeck in the Stocks; The Meeting of Francis and Harry in the Field of
+the Cloth of Gold, etc. Few people with whom the touch of Richard Doyle
+is perfectly familiar would recognise his hand in these amazing and
+amusing cartoons. We met with them at a bookstall twenty years ago,
+unconscious until lately that they were due to his pencil.
+
+The once celebrated "Adventures of Brown, Jones, and Robinson" would
+alone secure for this artist an eminent position amongst the number of
+English comic designers. Graphically relating the experiences of the
+most ordinary class of continental tourists, they cannot fail to bring
+to the recollection even of the most commonplace traveller some of the
+experiences which may have actually happened to himself. Doyle of course
+enlarges on these experiences as his fancy and imagination suggest; but
+after all, there is little which might not have actually befallen any
+ordinary English travellers such as this unlucky trio. The episode of
+"Jones's Portmanteau undergoing the ordeal of Search" at Cologne; The
+scene at the "Speise-Saal" Hotel; The Jewish "Quarter of the City of
+Frankfort, and what they saw there"; The Gambling Scene at Baden: The
+Descent of the St. Gothard; The Academia at Venice; will appeal to the
+actual experiences of nearly every continental tourist; and
+notwithstanding its extravagant drollery, little Browne's adventure at
+Verona is sufficiently possible to remind one of personal vicissitudes
+encountered off the track or on the frontiers, which might almost match
+the experiences of this personally uninteresting little sketcher.
+
+[Illustration:
+  RICHARD DOYLE. "_Brown, Jones & Robinson_," 1855.
+
+  Robinson (_solo_): "I stood in Venice--," etc. Jones and Brown, having
+  heard something like it before, have walked on a little way.
+
+  _Face p. 392._]
+
+Besides _Punch_, Mr. Doyle's hand will be found in the following:--"The
+Fairy Ring," Leigh Hunt's "Jar of Honey," Professor Ruskin's "King of
+the Golden River," Montalba's "Fairy Tales from all Nations," "Jack and
+the Giants," "The Cornhill Magazine," "Pictures from the Elf World,"
+"The Bon Gaultier Ballads," Thackeray's "Rebecca and Rowena," Charles
+Dickens's "Battle of Life," "The Family Joe Miller," Mr. Tom Hughes'
+"Scouring of the White Horse," "Pictures of Extra Articles and Visitors
+to the Exhibition," Laurence Oliphant's "Piccadilly," "Puck on Pegasus,"
+PLanche's "Old Fairy Tales," A Beckett's "Almanack of the Month,"
+"London Society," and Mr. Thackeray's "Newcomes." Writing of this last,
+Mr. Hamerton says, "I never regretted the hard necessity which forbids
+an art critic to shut his eyes to artistic shortcomings more heartily
+than I do now in speaking of Richard Doyle. Considered as commentaries
+on human character, his etchings are so full of wit and intelligence, so
+bright with playful satire and manly relish of life, that I scarcely
+know how to write sentences with a touch at once light enough and keen
+enough to describe them";[190] and then the critic goes on to expose the
+glaring faults which characterize Mr. Doyle's performances from a purely
+artistic point of view, his feeble attempts of light, his undeveloped
+"sense of the nature of material," and his absence of imitative study.
+It is somewhat singular that whilst Mr. Hamerton is silent on the
+subject of the book etchings of Leech and Phiz, he should have selected
+for criticism those of Doyle, who never intended to claim for these
+sketches the dignity of _etchings_. The critic, however, is not only
+just, but remarkably fair. With reference to the illustrations to the
+"Newcomes," he acknowledges "their all but inestimable dramatic value."
+"Illustrations to imaginative literature," he continues, "are too
+frequently an intrusion and an impertinence, but these really added to
+our enjoyment of a great literary masterpiece, and Doyle's conception of
+the Colonel, of Honeyman, of Lady Kew, is accepted at once as authentic
+portraiture. In Ethel he was less happy, which was a misfortune, as she
+was the heroine of the book; but many of the minor characters were
+successes of the most striking and indisputable kind." Further on, he
+says of Doyle's etching, _A Student of the Old Masters_,--"Colonel
+Newcome is sitting in the National Gallery, trying to see the merits of
+the old masters. Observe the enormous exaggeration of aerial perspective
+resorted to in order to detach the figure of the Colonel. The people
+behind him must be several miles away; the floor of the room, if judged
+by aerial perspective only, is as broad as the Lake of Lucerne." The
+criticism, though exaggerated, is not unfair or unjust; but the people
+are certainly not miles away. Doyle has perpetuated a mistake common
+with many English artists, who seem to think, as Hazlitt expresses it,
+that, "if they only leave out the subordinate parts, they are sure of
+the general result."[191] Doyle's intention to give us a portrait of
+Colonel Newcome _only_ has prompted him to treat the subordinates as
+almost non-existent. His work, however, was never intended to be
+faultless; it carries out his own intention most thoroughly and
+admirably, and in a manner very far superior to anything which Thackeray
+himself could have done.
+
+The closing scenes in the life of this most amiable and unselfish of
+artists we give in the singularly graceful words of his Catholic
+biographer: "In the autumn of last year (1883), Mr. Doyle spent some
+time in North Devon, and while there painted a picture of Lynton
+churchyard. The view is taken at a distance of some ten or fifteen yards
+to the south-west of the church, and is looking in an easterly
+direction. In front of the picture one sees far down below the blue
+waters of the Bristol Channel, while behind the picturesque little
+church nestles among the trees. In the churchyard an old man is mowing
+down the long grass amid the graves, while two or three little children
+scatter flowers on one of them. This picture was unfinished at the time
+of his death. A strange coincidence that he should have chosen such a
+scene for his last picture, when, as far as man can judge, he had no
+sort of reason for thinking that death was so near; stranger still, that
+on his return home he chose for the sketch a black frame, as if to
+clothe it in the garb of mourning for its maker. There it remains on his
+easel, unfinished still, as if to tell of one cut off so suddenly, not
+indeed in the summer of life, but in a mellow autumn, which seemed to
+give promise of many years of good work still to be done. But the time
+had come when the little sprites who peopled his dreams of earth, were
+to be exchanged for the angel forms who were to welcome the faithful
+servant to his reward in heaven. On the 10th of December, as he was
+preparing to return from the Athenaeum club, Mr. Doyle was struck down by
+apoplexy. An ambulance was procured, and he was carried home. He never
+regained the power of speech, and it is doubtful whether he was ever
+again conscious, though the priest who anointed him for his journey from
+thence to heaven thought that he detected some traces of a joyful
+acquiescence in the rite. The next morning, in the home where the last
+years had been spent in quiet peaceful pursuit of the art he
+passionately loved, his simple, innocent, loyal soul passed away from
+earth to heaven."
+
+       *       *       *       *       *
+
+It will be admitted that Mr. Tenniel joined the ranks of the graphic
+satirists at the commencement of troublous times. The nations of Europe,
+with the exception of England, whose slumbers still remained unbroken,
+were all more or less awake. Prussia, insufficiently avenged (as she
+herself considered) at Waterloo for the unendurable humiliations which
+Napoleon had heaped upon her after Jena, had been unostentatiously
+preparing for another deadly struggle with France, and perfecting the
+most admirable military machinery of modern times. Russia, under
+Nicholas, a thorough soldier in theory, had an army so elaborately
+over-drilled that when the time came it was found practically useless
+for the purposes of actual warfare. The sleep of England was suddenly
+awakened by the war with Russia, and afterwards by the revolt of her
+Indian mercenaries. The Russian was to be followed by a war between
+France and Austria; the enfranchisement of Italy from the Alps to the
+Adriatic; the fratricidal struggle between Prussia and Austria, and the
+rending asunder within six weeks of the famous Germanic Confederation of
+the Rhine. It is a somewhat singular coincidence that immediately before
+the commencement of these troubles the great Duke of Wellington died, an
+event commemorated by two remarkable cartoons of Tenniel, the first of
+which is entitled _September_ XIV. _MDCCCLII._ (the day of the great
+soldier's death), and the other, _The Duke's Bequest--for the most
+Worthy_.
+
+The year 1853 opened the eyes of those of us who fancied that war was a
+thing of the past, and that the reign of Universal Peace had begun. Not
+only was Turkey at war with Russia, but had given her a tremendous
+thrashing at Oltenitza, an event alluded to in the artist's cartoon of
+_A Bear with a Sore Head_. One of the best of his satires of the same
+year depicts Aberdeen as he appeared in _The Unpopular Act of the
+Courier of St. Petersburg_, wherein the premier attempts the risky feat
+of driving a team of unmanageable horses. The features of the nervous
+athlete betray much anxiety; the two fiery leaders, Russia and Turkey,
+prove wholly beyond his control; while Austria, unsettled by their bad
+example, is much disposed to be troublesome.
+
+Matters went from bad to worse in 1854. England was not only thoroughly
+aroused but angry, not only with her enemies, but with the foolish
+people who had preached peace to her when there was no peace; and, in
+_What it has Come to_, we find my Lord Aberdeen vainly trying to hold in
+the British lion, whose ire has been roused by the Russian bear, who is
+seen scampering off in the distance. Away goes the lion, with his tail
+as stiff as a poker and every hair of his mane erect, dragging after him
+the frightened premier, who exclaims, in the extremity of his terror,
+that he can hold him no longer and is bound "to let him go." The Russian
+war showed our singular unreadiness for warfare. Just at its close we
+had provided ourselves with a fleet of vessels of light draught capable
+of floating in the shallows which surrounded the Russian fortifications,
+which, had they been ready at the time they were wanted, might have
+proved of incalculable service. Britannia disconsolately eyes these
+gun-boats from the summit of her cliffs. "Ah!" she sighs, "if you'd been
+only hatched a year ago, what might have come out of your shells!"
+
+Close upon the heels of the Russian war followed the mutiny of our
+Indian levies. So closely did one event follow the other, that those who
+have watched and learnt with reason to distrust the odious and insidious
+policy of Russia towards this country, considered the coincidence a more
+than singular one. The Franco-Austrian war came next; and the war wave
+passed onwards to America, where the Northern and Southern states were
+speedily engaged in fratricidal and deadly strife. Peace, driven from
+land to land, found no resting place for the sole of her foot, and the
+artist shows her to us, seated disconsolately pondering over these
+untoward matters and her own unhappy condition on the breech of a
+garrison gun.
+
+_Punch's_ low estimate of the character and abilities of the Emperor
+Louis is patent throughout those of Tenniel's satires in which he puts
+in an appearance. In 1853 he takes us to an _International Poultry Show_
+(in obvious reference to the Boulogne catastrophe) where, amid a variety
+of eagles--the American eagle, the Prussian eagle--the double-headed
+Austrian and Russian eagles--we find a wretched nondescript, half eagle
+half barn-door fowl, labelled the "French eagle." Victoria (a royal
+visitor) remarks to her astonished companion, "We have nothing of _that_
+sort, Mr. Punch; but should there be a _lion_ show, we can send a
+specimen!!" The approaching marriage of the French Emperor is alluded to
+in the cartoon of _The Eagle in Love_, in which the present ex-Empress
+(then Comtesse de Teba), whose likeness by the way is far from happy, is
+represented as cutting his talons. The air of mystery which was a part
+of his character, and was not so well understood in those days as it
+afterwards came to be, not unnaturally misled Mr. Tenniel, for in his
+satire, _Playing with Edged Tools_, we behold him studying (of all
+things in the world) a model of the guillotine, an instrument of terror
+to which those of the Bonaparte family who profess to be guided by the
+policy of the great Napoleon, must always entertain the greatest
+possible aversion.
+
+_Punch_ not only looked upon the third Napoleon as a treacherous man,
+but also as a dangerous and inconvenient neighbour. In the cartoon
+labelled, _An Unpleasant Neighbour_ (1859), we see him in the act of
+placing outside his firework shop a flaming advertisement, whereon we
+read in the largest possible type, "Blaze of Triumph! Roman
+Candles!--Italian Fire!"[192] His neighbour, John Bull, proprietor of
+"The Roast Beef House" next door, rushes out in a very excited state,
+"Here have I got," says he, "to pay double insurance, all along of
+_your_ confounded fireworks!" The next cartoon shows us Louis, _alias_
+"Monsieur Walker," after he has closed his establishment and chalked up,
+"The Business to be disposed of," while incredulous John places his
+finger to his nose as Louis assures him, "Ah, friend Johnny! I close my
+shop entirely to please _you_!" In _The Congress Quadrille_, Louis
+vainly essays to make himself agreeable to Miss Britannia (a good
+example of the artist's handsome women)--"Voulez-vous danser,
+Mad'moiselle?" says Louis. Britannia, however, having been his partner
+on more than one memorable occasion, had had quite enough of him and his
+peculiar style of dancing. "Thanks,--no!" she languidly replies,
+thinking doubtless of her experiences of the Russian quadrille--of the
+Chinese country dance, etc., etc. "I'm not sure of the figure--and _know
+nothing of the Finale_."
+
+Mr. Tenniel's art training before he joined the _Punch_ staff, combined
+with his undoubted genius, renders him unquestionably one of the most
+versatile of modern designers. His satire is something quite apart from
+his caricature, and the former is characterized by a strong dramatic
+element particularly noticeable in serious illustrations, such as his
+designs to "The Pythagorean," in the second volume of "Once a Week." In
+caricature he resumes in a measure the manner of the older
+caricaturists, without retaining a trace of their vulgarity, and a good
+example will be found in his cartoon of _What Nicholas heard in the
+Shell_ (1854), in which the features and salient points of the figure
+are intensely overdrawn. His caricature pure and simple seems to us
+always inferior to his satirical power; as fine examples of the latter
+we may mention: _The British Lion Smells a Rat_ (an angry lion sniffing
+at a door, in allusion to the conference which followed the fall of
+Sebastopol); _The British Lion's Vengeance on the Bengal Tiger_, which
+chronicles the ghastly massacre of Cawnpore; _Bright the Peace Maker_
+(1860), in which _Punch_ testifies his indignation at the manner in
+which Mr. Bright endeavoured to create a popular feeling against the
+House of Lords; _Poland's Chain Shot_ (1863), a stirring and powerful
+composition, wherein Poland, gallantly struggling once more for freedom,
+breaks her chains and fiercely rams them into a cannon; _Humble Pie at
+the Foreign Office_ (1863), and _Teucer Assailed by Hector is Protected
+by the Shield of Ajax_ (1864), in which Lord John Russell is the subject
+of satire; and _The False Start_ and _Out of the Race_ (the same year),
+in the first of which Palmerston endeavours to restrain the leaning of
+Gladstone towards democracy, the last showing the result of his
+inattention to the starter's warning. In all these and a host of other
+admirable satires, the superior art training of Mr. Tenniel is seconded
+by his strong dramatic power, and above all by his unquestionable
+_genius_. It would be a poor compliment to him to deny that he had his
+failings--which indeed of the admirable satirists who preceded him had
+not? His failings, when they do occur, are perhaps more noticeable on
+account of his style and the mode in which he frequently drapes his
+figures. We have heard it objected to him, for instance, that the beauty
+of his female figures is occasionally marred by the somewhat
+disproportionate size of their feet, and this charge seems to us
+sustainable. Mr. Tenniel displays rare excellence in the drawing of
+animals--an excellence peculiarly noteworthy in such cartoons as _The
+British Lion Smells a Rat_, and _The British Lion's Vengeance on the
+Bengal Tiger_.
+
+Embracing a period of only fourteen years, from 1851 to 1864, during
+which time he worked side by side with his friend and colleague, John
+Leech, on the pages of _Punch_, our notice of the cartoons of John
+Tenniel must necessarily be short. During the last three years of his
+life, when, as we have seen, the strength of the artist who had been on
+the pictorial staff from the commencement had been gradually failing,
+the execution of the weekly cartoons had fallen almost entirely upon Mr.
+Tenniel. As fellow-labourers, constantly associated on the same
+periodical, we are enabled to compare their individual merits. The
+conclusion we have arrived at is as follows: That as a political
+_satirist_, Tenniel is the best of the two; while as a delineator of
+English habits, manners, eccentricities, and peculiarities, Leech finds
+no equal. After 1864, when the artistic friendship and partnership (so
+to speak) of these gifted men was dissolved by the untimely death of
+John Leech, it would be beyond the declared scope and purpose of this
+work to follow Mr. Tenniel further. Unlike the caricaturists who
+preceded him, many of whom relied on humour, more or less forced, for
+the success of their productions, the cartoons of John Tenniel are
+oftentimes distinguished by a gravity and sternness of purpose which,
+combined with their artistic excellence, appeals forcibly to the
+imagination. Unfortunately, as in the case of those of John Leech, these
+truly admirable examples of nineteenth century satire, apart from the
+_Punch_ volumes themselves--owing to the material on which they are
+impressed and the process to which the original drawings are
+subjected--are practically valueless by the side of an indifferent
+caricature torn from the scurrilous and worthless pages of "The Scourge"
+or "The Meteor."
+
+To the persons who charge this artist with want of humour, his cartoon
+of _Britannia Discovering the Source of the Nile_--probably the most
+comical picture in the whole of the _Punch_ volumes--will afford the
+most conclusive answer, as will also the quaint and mirth-provoking
+little pictures which he designed for "Alice in Wonderland," its sequel,
+"Through the Looking-glass," and the 1864 edition of the "Ingoldsby
+Legends." One of these last, by the way, so closely resembles a scarce
+design of John Leech's in the "New Monthly," that the coincidence will
+strike any one who has an opportunity of comparing the two together.
+During the fourteen years that Mr. Tenniel was a fellow-worker with the
+late John Leech, he contributed to the pages of _Punch_ about 1,400
+designs, of which upwards of 400 are cartoons. We believe we are correct
+in stating that all these illustrations, and his subsequent and
+contemporary designs, were drawn at once upon the wood block, not a
+single preliminary sketch having been made.
+
+       *       *       *       *       *
+
+Here, in accordance with the plan which we designed when we sat down to
+write this work, we bring our labours to a close. If we have omitted all
+mention of two very excellent and talented artists, Messrs. Charles
+Keene and George Du Maurier, it is not from any lack of appreciation,
+but because one of them at least began his labours just about the period
+when those of John Leech were drawing to a close, while the reputation
+of both were made _after_ their distinguished contemporary was laid to
+his rest. The merits of both these able men and of those now following
+after them must be left to be dealt with by another chronicler.
+Although, as we remarked in our opening chapter, the wood engraver has
+rung the knell of English caricature, with such clever men as Colonel
+Seccombe, Mr. Proctor, Mr. Randolph Caldicott, Mr. F. Barnard, the
+present George Cruikshank, Mr. Chasemore, and others whose names do not
+at present occur to us, there is happily no prospect of a decline in the
+art of English graphic satire.
+
+
+FOOTNOTES:
+
+  [186] The present chapter was written before the artist's death; but
+    I have to acknowledge the great assistance I have derived in its
+    _revision_ from the authority indicated.
+
+  [187] _The Month, a Catholic Magazine_, No. 237 (March, 1884), p 315.
+
+  [188] _Ibid._, page 317.
+
+  [189] One of these (and a very effective one) was the work of the
+    present Sir John Gilbert.
+
+  [190] Hamerton's "Etching and Etchers."
+
+  [191] William Hazlitt on "The Fine Arts," p. 51.
+
+  [192] An excellent burlesque of the Emperor's theatrical declarations.
+
+
+
+
+APPENDICES.
+
+
+
+
+APPENDIX I.
+
+_SOME ILLUSTRATIVE WORK OF ISAAC ROBERT CRUIKSHANK._
+
+
+Coloured frontispiece to the "Age of Intellect; or, Clerical Show Folk
+and Wonderful Lay Folk," by Francis Moore, Physician. 1819.
+
+"Lessons of Thrift, published for the general benefit, by a Member of
+the Save-all Club," eleven coloured full-page etchings. 1820.
+
+"The Total Eclipse, a Grand Politico-Astronomical Phenomenon." (Dolby,
+Strand.) 1820.
+
+"A Peep at the P. C. N.; or, Boiled Mutton with Caper Sauce at the
+Temple of Joss." (Effingham Wilson.) 1820.
+
+"The Men in the Moon; or, the Devil to Pay." (Dean & Munday.) 1820.
+
+[_With his brother George._] Designs to Nightingale's "Memoirs of Queen
+Caroline." (J. Robins.) 1820.
+
+"Radical Chiefs." One caricature illustration. 1821.
+
+"The Royal Game of Chess." 1821.
+
+"The Political All-my-knack for the Year of our Lord 1821."
+
+"The Queen and Magna Charta; or, the Thing that John Signed." (Dolby,
+Strand.) 1821.
+
+"Tales of the Cordelier Metamorphosed." 1821.
+
+[_With his brother George._] "Life in London." (Sherwood, Nealy &
+Jones.) 1821.
+
+"The Commercial Tourist; or, Gentleman Traveller." (A satirical Poem),
+five coloured plates. 1822.
+
+"Mock Heroicks; or, Snuff, Tobacco, and Gin, and a Rapsody on an
+Inkstand." Four caricature engravings. 1822.
+
+"Annals of Sporting and Fancy Gazette." (Numerous coloured plates.)
+1822-1825.
+
+[_With C. Williams._] Frontispiece to George Ramsey's "New Dictionary of
+Anecdote." 1822.
+
+"My Cousin in the Army; or, Johnny Newcome on the Peace Establishment."
+Many coloured plates. 1822.
+
+Twenty designs on wood for Charles Westmacott's "Points of Misery."
+1823.
+
+A series of drawings on wood to the "Spirit of the Public Journals for
+1823 and 1824." (A selection of essays, jeux d'esprit, tales of humour,
+etc., 2 vols.)
+
+"Life and Exploits of Don Quixote." Twenty-four designs on wood. (Knight
+& Lacey.) 1824.
+
+Bernard Blackmantle's (Charles Westmacott) "English Spy." 1825.
+
+"Spirit of the Public Journals for 1825."
+
+Charles Westmacott's "Punster's Pocket-book; or, the Art of Punning
+Enlarged." 1826.
+
+[_With his brother George._] "London Characters." (Twenty-four plates,
+of which nine only are by Robert.) Robins. 1827.
+
+[_With George._] Designs on wood for the "Fairy Tales" of Albert Ludwigg
+Grimm. 1827.
+
+J. Thompson's "New Life of J. Allen." 1828.
+
+Smeeton's "Doings in London." 1828.
+
+"British Dance of Death" (allegorical coloured frontispiece). 1828.
+
+"Spirit of the Age" Newspaper (vignette). 1828.
+
+[_With his brother._] The designs on wood for the "Universal Songster;
+or, Museum of Mirth." (3 vols.) 1828.
+
+"London Oddities; or, Theatrical Cabinet, and Tit-bits of Humour and
+Eccentricity." 1828.
+
+"The Finish to the Adventures of Tom, Jerry, and Logic." 1828.
+
+
+_The following between 1830 and 1832._
+
+"Cruikshank's Comic Album" (sometimes called "Facetiae"), being a series
+of little books published by Kidd, Miller, and others, afterwards
+collected into 3 vols.
+
+"Walks about Town by an Antiquated Trio," three designs.
+
+"The Condition of the West Indian Slave contrasted with that of the
+Infant Slave in our English Factories."
+
+"Cruikshank and the New Police, showing the great Utility of that
+Military Body."
+
+"Cruikshank _versus_ Witchcraft"; "Mary Ogilvie"; "Wee Watty."
+
+"Robert Cruikshank _versus_ Sir Andrew Agnew."
+
+W. S. Moncrieff's "March of Intellect," six designs.
+
+[_With Kenny Meadows._] "The Devil in London."
+
+"A Slap at the Times."
+
+Illustrations to Foote's "Tailors," and "Mayor of Garratt"; O'Hara's
+"Midas"; "The Beggars' Opera"; "Katherine and Petruchio," and others.
+
+
+_The following between 1831 and 1836._
+
+Design on wood for "Figaro in London."
+
+[_With Seymour and others._] Illustrations to a periodical called "The
+Thief."
+
+Twenty illustrations to W. R. Macdonald's "Comic Alphabet." (A rival to
+George Cruikshank's work of the same title.)
+
+Eighty-five designs on wood to Crithannah's "Original Fables." Six
+designs on wood for "Readings from Dean Swift His Tale of a Tub, with
+Variorum Notes, and a Supplement for the use of the Nineteenth Century,"
+by Quintus Flestrin Grildrig.
+
+Johann Abricht's "Divine Emblems." And [_with his brother_]
+illustrations to J. Thomas's "Burlesque Drama." 1838.
+
+[_With Seymour._] The series known as "Cruikshank at Home," and "The Odd
+Volume."
+
+
+_The following in 1839-1840._
+
+Ten vignettes to "The Lady and the Saints." Twelve designs on wood to
+"Colburn's Kalendar of Amusements in Town and Country." "Cozi Toobad."
+[_With W. Lee._] Twenty-three steel plates and designs on wood for "Jem
+Blunt," by Barker (author of the celebrated "Greenwich Hospital").
+
+
+_1842 and 1844._
+
+[_With John Leech._] "Merrie England in the Olden Time," by George
+Daniel. (Since rep. by Warne & Co.) Three illustrations to "James
+Hatfield and the Beauty of Buttermere." [_With R. W. Buss and T.
+Wageman._] "Cumberland's British and Minor Theatre." Fourteen etchings
+to Abraham Elder's "Tales and Legends of the Isle of Wight." Nine
+aqua-tinta plates to Hugo Playfair's "Brother Jonathan, the Smartest
+Nation in all Creation."
+
+
+_From 1845 to 1849._
+
+"Sketches of Pumps Handled by Robert Cruikshank." Twenty-four etchings
+to "The Orphan; or, Memoirs of Matilda" (a translation of Sue's
+"Mathilde"). Forty etchings to "The Bertaudiere" (Chronicles of the
+Bastile).
+
+
+_And the following_.
+
+Francis L. Clarke's "Life of Wellington." Kentish's "Hudibrastic History
+of Lord Amherst's Visit to China." "The London Directory and London
+Ambulator." "Golden Key of the Treasures of Knowledge." "The Little
+World of Great and Good Things." E. Thomson's "Adventures of a Carpet."
+"Raphael's Witch; or, Oracle of the Future" (ten coloured designs). "The
+London Stage" (a collection of about 180 plays, with a cut to each play;
+4 vols.). Portrait of Mr. Oxberry as "Humphrey Gull" in the "Dwarf of
+Naples," etc., etc.
+
+
+
+
+APPENDIX II.
+
+_SOME MISCELLANEOUS WORK OF ROBERT SEYMOUR EXECUTED BETWEEN 1822 AND
+1836._
+
+
+"Views from the Poets." "The Devil on Two Sticks." "Ovid."
+"Demosthenes." Views of Newstead Abbey, Margate, Dover, etc. Designs for
+"Benevolence, Friendship, and Death." "Quarrels of the Poets."
+"Anatomical Theatre." "Vanities of the Human Race." "The Happy Family."
+"The Gin-shop." "The Sleepwalker." "The Sluggard." "Don Juan." "The
+Economist." "The Chemist." "The March of Intellect." "The Great Joss and
+his Playthings." "The R----l Speech." The Works of Wordsworth, Southey,
+Gay, and other poets. Robinson's "History and Antiquities of Enfield."
+Shakspeare's "Seven Ages." Hogarth's "Apprentices," and "Rake's
+Progress." "Uncle Timothy." Views of London. Sporting Almanacks. "Percy
+Anecdotes." "Book of Martyrs." "Portraits of Public Characters." "Death
+in London." "Spectre Bride." "Midnight Embrace." "The Red King." "The
+Ghost with ye Golden Casket." "The Devil's Ladder." "Assisting,
+Resisting, and Desisting."
+
+Contributions to "Friendship's Offering." 1824-36.
+
+"Seymour's Comic Annual: a Perennial of Fun."
+
+Miss Louisa Sheridan's "Comic Offering." 1831-1835.
+
+"The National Omnibus," a journal of literature, etc. (designs on wood,
+with Cruikshank), 1831-1832; "The Comic Magazine," 1832-1834;
+Richardson's "Minor Drama," 1827-1830; Piers Shafton Granton's "Vagaries
+in Quest of the Wild and Wonderful"; "Mrs. Greece and her Rough Lovers"
+[Russia and Turkey] (McLean), 1828; "How to Spell Harrowgate" (C. King),
+1828; "Going by Steam" (G. King); "The Political Bellman"; "A Musical
+Genius" (G. Creed); "A Man of Taste and Feeling" (G. Creed).
+
+_The following, among others, for McLean, in 1829._
+
+"Search after Happiness" (two plates); Portrait of O'Connell;
+"Buonaparte in his Study"; "State of the Nation"; "Treasure Seeking";
+"The Raft"; "O'Connell's Dream"; "London"; "Plot Discovered"; "Death of
+the Giraffe" (a series of plates); "Rival Actresses"; "Moments of
+Reflection"; "Ennui"; "The Ear-wig"; "The Lost Key"; "The Man Wot
+Steers"; "Raising the Wind"; "Catholic State Wagon."
+
+"The Looking Glass" (a series of political and other caricatures, in
+which he was assisted by William Heath). 1830-1836.
+
+"Sycophant Saints and Sabbath Sinners." Circa 1832.
+
+[_With Isaac Robert Cruikshank._] "Cruikshank at Home," and "The Odd
+Volume." 1836.
+
+"The Omnibus" (a series of humorous etchings on copper); and "The
+Heiress" (six plates, each consisting of about five subjects).
+
+Upwards of three hundred designs on wood for "Figaro in London."
+1831-1836.
+
+"Valpurgis; or, the Devil's Festival." Four woodcuts. (Kidd.) 1831.
+
+"The Extraordinary Black Book" (an exposition of the incomes of the
+aristocracy, Church, civil list, list of sinecurists, etc.), one
+caricature plate. 1831.
+
+"The Comic Magazine." 1831-1834.
+
+"Maxims and Hints for an Angler" (twelve beautifully-finished drawings
+on stone).
+
+"The Schoolmaster Abroad" (aimed at Lord Brougham's educational
+movement).
+
+"New Readings by Old Authors" (a small lithographic series comprising
+upwards of three hundred plates, the subjects being suggested by
+readings in Shakespeare, Schiller's "William Tell," and Byron's
+"Giaour.")
+
+Several hundred illustrations for Maddeley, the publisher.
+
+The "Humorous Sketches"; "Hood's Comic Almanack," 1836 (thirteen
+woodcuts); "Squib Annual of Poetry, Politics, and Personalities" (twelve
+designs); [_with Cruikshank_] "Sayings worth Hearing, and Secrets worth
+Knowing"; "Terrific Penny Magazine"; T. K. Hervey's "Book of Christmas,"
+1836; the early plates to "Pickwick"; some of the plates to the "Pocket
+Magazine" (Robins' series), eleven vols., etc., etc.
+
+
+
+
+APPENDIX III.
+
+_SOME OF THE ILLUSTRATED WORK OF JOHN LEECH._
+
+
+1835. "Etchings and Sketchings," by A. Pen, Esq.
+
+1837. "Jack Brag," by Theodore Hook.
+
+1840. "The Comic Latin Grammar," by Paul Prendergast. (Percival Leigh.)
+Plates and cuts.
+
+"The Comic English Grammar," by Gilbert a Beckett. Fifty illustrations.
+
+"The Fiddle-Faddle Fashion Book," by Percival Leigh. Four coloured
+plates.
+
+[_With Hablot Knight Browne and another._] "The London Magazine,
+Charivari, and Courrier des Dames."
+
+"Bentley's Miscellany," 1840 to 1849, containing etchings to the
+"Ingoldsby Legends," "Stanley Thorn," "Richard Savage," "Adventures of
+Mr. Ledbury," "Fortunes of the Scattergood Family," "Marchioness of
+Brinvilliers," "Brian O'Linn," etc., etc.
+
+1841. "The Children of the Mobility," seven lithographs in a wrapper.
+
+"Written Caricatures," by C. C. Pepper (pseud.).
+
+"Punch, or The London Charivari." 1841 to 1864.
+
+[_With Isaac Robert Cruikshank._] "Merrie England in the Olden Time," by
+George Daniel. 1842.
+
+"New Monthly Magazine," 1842 to 1844.
+
+"Hood's Comic Annual."
+
+1843. "The Wassail Bowl," by Albert Richard Smith, etchings and
+woodcuts.
+
+"Jack the Giant-Killer."
+
+"The Illuminated Magazine," 1843 to 1845.
+
+1844. "The Comic Arithmetic," designs on wood.
+
+"Punch's Snap-Dragon for Children," four etchings.
+
+"A Christmas Carol," by Charles Dickens, four coloured plates and cuts.
+1843-4.
+
+"Jessie Phillips," by Mrs. Trollope, eleven plates.
+
+[_With George Cruikshank._] "Colin Clink," by Charles Hooton.
+
+1845. [_With Doyle and others._] "The Chimes," by Charles Dickens.
+
+"Hints in Life; or, How to Rise in Society," frontispiece.
+
+"Young Master Troublesome; or, Master Jacky's Holidays."
+
+"Douglas Jerrold's Shilling Magazine," 1845 to 1848. Etchings to "St.
+Giles and St. James."
+
+1846. "The Quizziology of the British Drama," by Gilbert a Beckett,
+frontispiece.
+
+"The Comic Annual" (a re-publication of "Hood's Whimsicalities"),
+forty-five illustrations.
+
+[_With Doyle and others._] "The Battle of Life," by Charles Dickens.
+
+1847. "The Comic History of England," by Gilbert a Beckett, coloured
+etchings and numerous designs on wood.
+
+1848. "The Life and Adventures of Oliver Goldsmith," by John Forster
+[_with another_].
+
+"The Rising Generation," twelve large, tinted lithographs, issued from
+the _Punch_ office.
+
+"The Struggles and Adventures of Christopher Tadpole," by Albert Smith,
+etchings.
+
+[_With John Tenniel and others._] "The Haunted Man and the Ghost's
+Bargain," by Charles Dickens. 1847-8.
+
+[_With Richard Doyle and Alfred Crowquill._] "Bon Gaultier's Book of
+Ballads," by Theodore Martin and Professor Aytoun. 1849.
+
+"A Man made of Money," by Douglas Jerrold, twelve etchings.
+
+"Natural History of Evening Parties," by Albert Smith.
+
+1851. "The Month," edited by Albert Smith.
+
+1852. "Dashes of American Humour," by Howard Paul.
+
+"The Comic History of Rome," by Gilbert a Beckett, ten coloured etchings
+and numerous designs on wood.
+
+1853. "The Fortunes of Hector O'Halloran and his man Mark Antony Toole,"
+by W. H. Maxwell, etchings.
+
+"Mr. Sponge's Sporting Tour," by R. W. Surtees, twelve coloured etchings
+and numerous designs on wood.
+
+1854. "The Great Highway," by S. W. Fullom.
+
+"Handley Cross; or, Mr. Jorrock's Jaunts," by R. W. Surtees, coloured
+etchings and numerous designs on wood.
+
+1856. "The Paragreens."
+
+1857. "Merry Pictures," by the Comic Hands of Phiz, Leech, Kenny
+Meadows, Gavarni, and others.
+
+"The Militia Man at Home and Abroad," by Emeritus.
+
+"A Month in the Forests of France," by the Hon. Grantley F. Berkeley.
+
+1858. "Encyclopaedia of Rural Sports."
+
+"Ask Mamma; or, the Richest Commoner in England," by R. W. Surtees,
+coloured etchings and numerous designs on wood.
+
+1859. "The Fliers of the Hunt," by John Mills.
+
+"A Little Tour in Ireland," by the Rev. S. Reynolds Hole, coloured
+folding frontispiece and designs on wood.
+
+"Newton Dogvane: a Story of English Life," by J. Francis.
+
+"Soapey Sponge" (sporting).
+
+"Paul Prendergast."
+
+"Once a Week," 1859 to 1864.
+
+1860. "Mr. Briggs and His Doings" (fishing), twelve coloured plates.
+
+"Plain or Ringlets," by R. W. Surtees, coloured etchings and numerous
+designs on wood.
+
+[_With George Cruikshank, "Phiz," and John Tenniel._] "Puck on Pegasus."
+1861.
+
+"Mill's Life of a Fox-Hound."
+
+[_With George Cruikshank and John Tenniel._] "The Ingoldsby Legends."
+1864.
+
+"The Follies of the Year," twenty-one coloured etchings from _Punch's_
+"Pocket Books," with descriptive letterpress by Shirley Brooks.
+
+"Mr. Facey Romford's Hounds," by R. W. Surtees, coloured etchings and
+designs on wood (finished by "Phiz").
+
+[_With Doyle and others._] "The Cricket on the Hearth." By Charles
+Dickens. 1845-6.
+
+
+_Reprint._
+
+"Fly Leaves," lithographs.
+
+"Sketches of Life and Character taken at the Police Court, Bow Street,"
+by George Hodder.
+
+
+
+
+APPENDIX IV.
+
+_SOME MISCELLANEOUS WORK OF ALFRED HENRY FORRESTER (ALFRED CROWQUILL)_.
+
+
+"Ups and Downs," 1823; "Paternal Pride," 1825; "Despondency and
+Jealousy" (with George Cruikshank), and many others, in 1825; "Der
+Freyschutz Travestied," "Alfred Crowquill's Sketch-Book," "Absurdities
+in Prose and Verse," 1827; Goethe's "Faust," 1834; six plates of
+"Pickwickian Sketches," Alfred Bunn's "Vauxhall Papers," 1841; designs
+on wood for "Sea Pie," an _omnium gatherum_ containing also plates after
+David Cox, Pyne, Stanfield, and Vickers, 1842; "Punch" (vols. ii. to
+iv.); plates and numerous designs on wood for "Bentley's Miscellany,"
+many original designs to "Doctor Syntax's Tour in Search of the
+Picturesque," 1844; "Comic Arithmetic" (forty-seven humorous vignettes),
+1844; "Woman's Love," 1846; "Wanderings of a Pen and Pencil," 1846; "A
+Good-natured Hint about California," 1849; "The Excitement" (2 plates),
+1849; 120 designs on wood for the "Pictorial Grammar;" designs on wood
+for the "Pictorial Arithmetic;" "Gold," 1850; "A Bundle of Crowquills
+Dropped by Alfred Crowquill," 1854; "Fun," 1854; "Griffel
+Swillendrunken," 1856; "Aunt Mavor's Nursery Tales," 1856; "Little
+Pilgrim," 1856; "Little Plays for Little Actors," 1856; "Fairy Tales,"
+1857; "Merry Pictures by the Comic Hands of 'Phiz,'" etc. (Kent & Co.),
+1857; "The Book of Ballads," by Bon Gaultier (with Doyle and Leech),
+1857; "A New Story Book," 1858; "Fairy Tales," by Cuthbert Bede, 1858;
+"Baron Munchausen" (coloured plates), 1858; "Tyll Owlglass" (a similar
+book), 1859; "Honesty and Cunning," 1859; "Kindness and Cruelty," 1859;
+"The Red Cap," 1859; "Paul Prendergast," 1859; "Strange Surprising
+Adventures of the Venerable Gooros Simple," 1861; "Fairy Footsteps,"
+1861; Chambers' "Book of Days;" G. W. Reynolds' "Pickwick Abroad" (now
+scarce); "The Boys and the Giant," 1870; "The Cunning Fox," 1870; "Dick
+Doolittle," 1870; "Little Tiny's Picture Book," 1871; "Guide to the
+Watering Places" (views and comic plates); "Comic Eton Grammar" (with
+Leech); "Fairy Footsteps; or, Lessons from Legends" (100 designs on
+wood, with Kenny Meadows); Henry Cockton's "Sisters; or, England and
+France."
+
+
+
+
+APPENDIX V.
+
+_SOME WORKS ILLUSTRATED BY HABLOT KNIGHT BROWNE._
+
+
+Charles Dickens's "Sunday under Three Heads," 1836.
+
+"Posthumous Papers of the Pickwick Club," forty-three plates by Seymour
+and "Phiz." 1836-37.
+
+
+_The following are also to be met with._
+
+"Posthumous Papers of the Pickwick Club," with the Seymour and "Phiz"
+plates, the two suppressed plates of "Buss," and the extra series of
+thirty plates by Onwhyn. 1837.
+
+_The same_, with the forty plates by Seymour and "Phiz," the two
+suppressed plates of Buss, and twenty-three plates by "Sam Weller" and
+Onwhyn.
+
+"Sketches of Young Ladies by 'Quiz'" (Charles Dickens), six copper
+plates, 1837.
+
+James Grant's "Sketches in London," twenty-four humorous illustrations
+on steel by "Phiz" and others, Orr, 1838. Another edition in 1840.
+
+"A Paper of Tobacco: a Treatise on Smoking, with Anecdotes, Mems on
+Pipes, Tobacco-boxes, and Snuff." By Joseph Fume, Copper plates and
+picture boards. 1839.
+
+"Life and Adventures of Nicholas Nickleby." 1839.
+
+_The same_, with the plates by "Phiz," and an extra series of plates by
+Onwhyn and "Peter Palette." 1839.
+
+_The same_, with the forty plates by "Phiz," and a set of forty plates
+by "Peter Palette" added.
+
+"New Sporting Magazine." 1839.
+
+Charles Lever's "Harry Lorrequer." 1839. (A pirated edition was
+published at Philadelphia, 1840.)
+
+"London Magazine, Charivari, and Courrier des Dames" (with Leech and
+"Gillray, Junr."). 1840.
+
+"Master Humphrey's Clock," "Old Curiosity Shop," and "Barnaby Rudge,"
+designs on wood, with Cattermole. 3 vols. 1840-41.
+
+"Sir Thomas Dick Lauder's Legendary Tales of the Highlands." 3 vols.
+1841.
+
+Charles Lever's "Charles O'Malley, the Irish Dragoon," 2 vols. Dublin,
+1841.
+
+"Peter Priggins, the College Scout," 3 vols. 1841 (made its first
+appearance without illustrations in the _New Monthly Magazine_).
+
+"The Pic-nic Papers," by Various Hands, edited by Charles Dickens,
+plates by Cruikshank, "Phiz," and Hamerton. 3 vols. 1841.
+
+W. H. Maxwell's "Rambling Recollections of a Soldier of Fortune,"
+woodcuts by "Phiz" and others. Dublin, 1842.
+
+Lever's "Jack Hinton." Dublin, 1842-43.
+
+Carleton's "Traits and Stories of the Irish Peasantry" (both series),
+steel plates by "Phiz," Sir J. Gilbert, Franklin, etc., and woodcuts. 2
+vols. Dublin, 1843-44.
+
+Charles Dickens's "Martin Chuzzlewit," forty plates. 1844.
+
+Charles Lever's "Tom Burke of Ours." Dublin, 1844.
+
+"Ainsworth's Magazine," from and after 1844.
+
+"The Illuminated Magazine" [_with Meadows, Sargent, Gilbert, Harvey,
+etc._]. 1845.
+
+Charles Lever's "St. Patrick's Eve," woodcuts and fine steel etchings.
+1845.
+
+"Tales of the Trains; some Chapters of Railroad Romance," by Tilbury
+Tramp (_i.e._ Charles Lever). Orr, 1845.
+
+"Nuts and Nutcrackers." 1845.
+
+Charles Lever's "The O'Donoghue." Dublin, 1845.
+
+"Fiddle-Faddle's Sentimental Tour in Search of the Amusing, Picturesque,
+and Agreeable." 1845.
+
+"The Union Magazine," vol. i. Three plates. 1846.
+
+"Fanny the Little Milliner; or, the Rich and the Poor" [_with Onwhyn_].
+1846.
+
+"The Commissioner; or, De Lunatico Inquirendo," twenty-eight steel
+plates. Dublin, 1846.
+
+"A Medical, Moral, and Christian Dissertion of Teetotalism," by
+Democritus. 1846.
+
+Charles Lever's "Knight of Gwynne." 1847.
+
+"The Fortunes of Colonel Torlogh O'Brien: a Tale of the Wars of King
+James." Dublin, 1847.
+
+"John Smith's Irish Diamonds; or, a Theory of Irish Wit and Blunders."
+1847.
+
+W. Harrison Ainsworth's "Old St. Paul's," two plates. 1847.
+
+Charles Dickens's "Dombey and Son." 1846-48.
+
+Twelve full-length portraits illustrating "Dombey and Son," designed and
+etched by "Phiz." (Sometimes bound up with the book.) 1848.
+
+Albert Smith's "The Pottleton Legacy." 1849. (Another edition in 1854.)
+
+Charles Dickens's "David Copperfield," forty plates. 1849-50.
+
+Charles Lever's "Roland Cashel." 1849-50.
+
+John Smith's "Sketches of Cantabs," two plates. 1850.
+
+Defoe's "Robinson Crusoe," full-page cuts. 1850.
+
+"The Illustrated Byron," two hundred woodcuts after Kenny Meadows,
+Birket Foster, Phiz, and Janet. _Circa_ 1850.
+
+"Ghost Stories and Tales of Mystery," etchings. Dublin, 1851.
+
+"The Daltons." (Charles Lever.) 1850-52.
+
+Francis Edward Smedley's "Lewis Arundel." 1852.
+
+Charles Dickens's "Bleak House," thirty-nine plates. 1852-53.
+
+Horace Mayhew's "Letters Left at the Pastrycook's: being the
+Correspondence of Kitty Clover," cuts. 1853.
+
+W. Harrison Ainsworth's "Crichton."
+
+"Christmas Day, and How it was Spent by four Persons in the House of
+Fograss, Fograss, Mowton, and Snorton, Bankers," by C. Le Ros. Woodcuts.
+1854.
+
+Charles Lever's "Dodd Family Abroad." 1854.
+
+Francis E. Smedley's "Harry Coverdale's Courtship." 1854.
+
+Charles Lever's "Martins of Cro' Martin." 1856.
+
+"Home Pictures," seven excellent plates. Darton & Co. 1856.
+
+Charles Dickens's "Little Dorrit." 1855-57.
+
+W. Harrison Ainsworth's "Spendthrift," 1857; "Mervyn
+Clitheroe," 1857-58.
+
+Charles Lever's "Davenport Dunn." 1859.
+
+Mrs. Stowe's "The Minister's Wooing." 1859.
+
+Charles Dickens's "Tale of Two Cities," sixteen etchings; the last work
+he executed for that author.
+
+W. Harrison Ainsworth's "Ovingdean Grange; a Tale of the South Downs."
+1860.
+
+"Twigs for Nests; or, Notes on Nursery Nurture," illustrations in
+graphotype by H. K. Browne and others, 1860.
+
+Charles Lever's "One of Them," 1861; "Barrington," 1862-63.
+
+"Tom Moody's Tales." (Mark Lemon.) 1864.
+
+"Mr. Facey Romford's Hounds" (Surtees), [_with John Leech_]. 1864.
+
+Charles Lever's "Luttrell of Arran." 1865.
+
+"Ballads and Songs of Brittany," by Tom Taylor, translated from the
+"Barsaz-Breiz," illustrations by Tenniel, Millais, H. K. Browne, and
+others. 1865.
+
+Anthony Trollope's "Can You Forgive Her?" (forty plates by Phiz and
+Marcus Stone.) 1866.
+
+"Dame Perkins and her Grey Mare," by J. L. Meadows. 1866.
+
+
+_And the following._
+
+"The Illustrated Musical Annual" [_with Kenny Meadows and Crowquill_].
+
+"The Works of Shakespeare," revised from the original text by Samuel
+Phelps. 2 vols. Numerous coloured plates.
+
+"Wits and Beaux of Society," by Grace and Philip Wharton (Mrs. K. and J.
+C. Thomson); plates by Brown and Godwin.
+
+"Memoirs of an Umbrella," by G. G. H. Rodwell, sixty-eight engravings by
+Landells from designs by Phiz.
+
+"Phiz's Sketches of the Seaside and the Country," twenty-eight large
+plates, tinted mountings; oblong folio.
+
+Smollett's "Adventures of Roderick Random."
+
+Charles Lever's "Con Creggan."
+
+"H. B.'s Schoolboy Days."
+
+"Illustrations of the Five Senses."
+
+George Halse's "Adventures of Sir Guy de Guy."
+
+G. A. Salas "Baddington Peerage" (in _Illustrated Times_).
+
+The Abbotsford Edition of "The Waverley Novels," etc., etc.
+
+See also the "Memorial Edition" of Dickens's whole works, with several
+hundred illustrations by George Cruikshank, H. K. Browne, and others,
+printed on Chinese paper.
+
+
+_And in the following serials_.
+
+"New Monthly Magazine"; early volumes of "Once a Week"; "Tinsley's
+Magazine"; "London Society"; "St. James's Magazine"; "Illustrated
+Gazette"; "Sporting Times"; "Judy"; etc.
+
+
+
+
+INDEX.
+
+
+  "A Bazaar," 145.
+
+  A Beckett, Gilbert, 223.
+
+  Aberdeen, Lord, 303, 395.
+
+  Abinger, Lord, 252.
+
+  Aboukir, Battle of, 13.
+
+  Achilles, Statue of, 81, 161.
+
+  "Achitophel," 159.
+
+  "A Constitutional Plum Pudding," 298.
+
+  Actors, their position in France, 386.
+
+  "A Day at Biarritz," 317.
+
+  "Adelaide Mill, The," 213.
+
+  Adelphi Theatre, 110.
+
+  "A Discussion Forum," 310.
+
+  Adulteration of Tea, 152.
+
+  "Adventures of Brown, Jones," etc., 391.
+
+  "A Fine Old English Gentleman," 251.
+
+  "A Great Subject," etc., 249.
+
+  "Ah, sure such a Pair," etc., 155.
+
+  "A Hint to Duellists," 248.
+
+  Ainsworth, Harrison, 194, 198, 199.
+
+  Ainsworth's "Auriol," 349.
+    "Crichton," 344.
+
+  Albert, Prince, 294.
+
+  Alexander, The Emperor, 133, 139.
+
+  "Alice in Wonderland," 400.
+
+  "All My Eye," 97.
+
+  Allied Sovereigns. Visit of the, 133.
+
+  Alliteration, Graphic, 177.
+
+  Almack's, Lady patronesses of, 213.
+
+  Althorp, Lord, 269.
+
+  "A Match for the King's Plate," 154.
+
+  _America_.
+    Causes of Difference between her and England in 1812, 41.
+    England offers to Revoke Orders in Council, 42.
+    Her anxiety to fix a Quarrel on England, 42, 43.
+    Desire of the Americans to Invade Canada, 42.
+    Invasion of Canada, 43.
+    Defeat and Surrender of the American General Hull, 43.
+    Naval Successes of the Americans, 43.
+    Americans driven out of Canada, 45.
+    English assume the Offensive, 45.
+    Burning of Washington, 46.
+    Alexandria placed under Contribution, 46.
+    Capture of British Naval Force, 48.
+    Retreat of Prevost, 48.
+    Attack on New Orleans, 48.
+
+  Amiens, Peace of, 14.
+
+  "A Morning Call," 285.
+
+  "A Musical Genius," 209.
+
+  "Anstey's New Bath Guide," 176.
+
+  "A Paper of Tobacco," 340.
+
+  "A Patriot Luminary," etc., 151.
+
+  "Apollyon, the Devil's Generalissimo," etc., 131.
+
+  "A Prospecte of Exeter Hall," 385.
+
+  "A Race for the Westminster Stakes," 251.
+
+  "Argus, The" (an English Newspaper in the pay of Bonaparte), 15.
+
+  "Arrogance or Nonchalance of the Tenth Reported," 100.
+
+  "Art of Walking the Streets of London," 152.
+
+  Arthur a Bradley, 162.
+
+  "Arthur O'Leary," 200.
+
+  "A Select Specimen of the Black Style," 262.
+
+  "A Sheep in Wolf's Clothing," 374.
+
+  "A Shot from Buckingham to Bedford," 97.
+
+  "Assisting, Resisting, and Desisting," 218.
+
+  "A Student of the Old Masters," 393.
+
+  "At a Concert," 220.
+
+  "Auld Lang Syne," 247.
+
+  Authors and Artists, Quarrels between, 233.
+
+  "A Venomous Viper poisoning the R----l Mind," 132.
+
+  "A View of the Regent's Bomb," 151.
+
+
+  Ball, Hughes (see "_Hughes Ball_.")
+
+  "Bank Restriction Note," 152.
+
+  Barossa, Battle of, 21.
+
+  Bath, Queen Charlotte at, 57.
+
+  Battier, Mr., 100, 163.
+
+  Baylen, Battle of, 20.
+
+  Beaconsfield, Lord, 283.
+
+  "Beau Clerk for a Banking Concern," 106.
+
+  "Belle Alliance," etc., 154.
+
+  Bellingham, John, 27.
+
+  "Bell's Life," Origin of, 115.
+
+  Bennett, C. H., 371-375.
+
+  Benningsen, General, 22.
+
+  "Bentley's Miscellany," 284, 290.
+
+  Bergami, Bartolomeo, 71, 150.
+
+  Berkeley, Colonel, 101, 102, 118.
+
+  Berlin Decree, 18.
+
+  Bernard Blackmantle (see "_Westmacott, C. M._").
+
+  Betty, Master, 28.
+
+  "Bill of Pains and Penalties," 149.
+
+  "Birds'-eye Views of Society," 385.
+
+  Black-mail, 105.
+
+  Blandford, Marquis of, 235.
+
+  "Bleak House," 347.
+
+  "Blessings of Peace; or, the Curse of the Corn Bill," 136.
+
+  Bloated Men of the Last Century, 2.
+
+  "Bombardment Extraordinary," 240.
+
+  Bonaparte, Napoleon (see "_Napoleon_").
+
+  "Boney and his New Wife," etc., 21.
+
+  "Boney's Meditations on the Island of St. Helena," 142.
+
+  "Boney returning from Russia covered with Glory," 23.
+
+  "Boney the Second," 21.
+
+  "Boney's threatened Invasion brought to bear," 142.
+
+  "Bonnie Willie," 161.
+
+  "Book of Christmas," 220.
+
+  "Book of Days," 369.
+
+  Booth, Lucius Junius, 54.
+
+  "Born a Genius, and born a Dwarf," 173.
+
+  "Bottle, The," 201.
+
+  "Braintrees, The," 171.
+
+  Brereton, Colonel, 223 (note).
+
+  Bright, John, 398.
+
+  Brighton Pavilion, 164.
+
+  "Bringing up our Bill," 243.
+
+  "Britannia Discovering the Source of the Nile," 399.
+
+  "British Cookery; or, out of the Frying-pan," etc., 21.
+
+  "British Spread Eagle," 134.
+
+  Brooks, Shirley, 201, 321, 328, 373, 374.
+
+  Brougham, Lord, 236, 237, 243, 258-266, 297, 384 (and see "_Jemmy
+    Twitcher_").
+
+  Browne, H. K., 283, 336-354, 412-416.
+
+  "Bubble Burst; or, the Ghost of an old Act of Parliament," 106.
+
+  Buckingham, Duke of (see "_Duel_").
+
+  Buckingham, Marquis of, 27.
+
+  Bunbury, H. W., 3, 84.
+
+  "Bunsby," 342.
+
+  Burdett, Sir Francis, 249-251, 253, 269.
+
+  "Burking Old Mrs. Constitution," 83.
+
+  Busby, Dr., 35.
+
+  Buss, R. W., 363-366.
+
+  "Buz in a Box," etc., 35.
+
+  Byron, Lord, 164.
+
+
+  "Caleidoscope; or, Paying for Peeping." 59.
+
+  Canada, Invasion of (see "_America_").
+
+  _Caricature._
+    Dr. Johnson's Definition, 1.
+    Francis Grose's Definition, 1.
+    Modern Meaning, 2.
+    Causes of its Decay in England, 2.
+    Period of its Decline, 83.
+    Injurious Effect of Wood-Engraving on, 5.
+    Has little Concern with Justice, 25, 26.
+
+  Caricaturist, Peculiarity of his Wares, 90.
+
+  Caricaturists and Critics, 9.
+
+  Caricaturists, French, 8.
+
+  Caroline of Brunswick, 62-81, 95, 132, 134, 149, 155, 156-159.
+
+  Caroline, Queen (see "_Caroline of Brunswick_").
+
+  Carpenter, Mr., 39.
+
+  Castlereagh, Lord, 149.
+
+  Catalani, Madame, 102.
+
+  Catholic Association, The, 106.
+
+  Catholic Emancipation (see "_Catholic Relief_").
+
+  Catholic Relief Bill, 83, 106, 248.
+
+  Cawnpore Massacre, 398.
+
+  Champ de Mars, 140.
+
+  Changes in Political Opinion, 251.
+
+  Charles I., Discovery of his Remains, 132.
+
+  Charlotte, The Princess, 40, 50, 61, 134, 145, 150, 164.
+
+  Charlotte, Queen, 56, 153.
+
+  Chobham, Camp at, 303.
+
+  "Chronicles of Clovernook," 362.
+
+  Churchill, Charles, 7.
+
+  Cider Cellar, 87.
+
+  "City Scavengers Cleansing the London Streets of Impurities," 76.
+
+  "Civic Louse in the State Bed," 102.
+
+  Clarke, Mrs., 30, 32, 33.
+
+  "Clement Lorymer," 205.
+
+  Coates (see "_Romeo Coates_").
+
+  Cobbett, William, 235 (_note_).
+
+  Cobden, Richard, 383.
+
+  Cockton, Henry, 361.
+
+  "Coke upon Albemarle," 97.
+
+  Colburn's "Kalendar of Amusements," 122.
+
+  "Collegians at their Exercises," 95.
+
+  "Colonel Fitz-Bastard," 103.
+
+  "Comic Almanack," 177, 179.
+
+  Comic Journalism in 1831, 223.
+
+  "Comic Magazine, The," 229.
+
+  "Comicalities" ("Bell's Life"), 281.
+
+  "Comic History of England," 287.
+
+  "Comic History of Rome," 288.
+
+  Commercial Distress of 1825-6, 81.
+
+  "Commons _versus_ the Crown of Martyrdom," 100.
+
+  "Comparative Anatomy," 152.
+
+  "Congress Dissolved before the Cake was cut up," 139.
+
+  Connyngham, Marchioness of, 118, 134, 164.
+
+  "Conspirators; or, Delegates in Council," 148.
+
+  "Corinthian Auctioneer," 102.
+
+  "Corinthians," Sham, 93.
+
+  Corn Laws, 135.
+
+  "Corsican Bloodhound beset by the Bears," 22.
+
+  "Corsican's Last Trip," 142.
+
+  "Court at Brighton, _a la Chinese_," 164.
+
+  "Craven's Head" (Drury Lane), 86.
+
+  Cremorne, Aristocratic fete at, 311.
+
+  "Cribbage, Shuffling, Whist," etc., 161.
+
+  Crimean War, 304, 398.
+
+  "Crithannah's Original Fables," 122.
+
+  Critics and Caricaturists, 9.
+
+  Croker, John Wilson, 245 (_note_).
+
+  Crowquill, Alfred (see "_Forrester_.")
+
+  Cruikshank, George, 107, 125-207, 281 (_note_), 281, and _note_.
+    Mistakes of those who have written on him, 4.
+    Curious Criticism on, 125.
+    Why his Caricatures possess so much interest, 127.
+    Quarrel with Dickens, 192.
+       "      "  Bentley, 194.
+       "      "  Ainsworth, 198.
+    Final Leap in the Dark, 201.
+    Declines to draw for _Punch_, 201.
+
+  Cruikshank, Robert, 3, 89-124, 226, 401-404.
+
+  Cruikshank, The Brothers, 89.
+
+  Cruikshankian Feet, 170.
+       "        Steed, The, 169.
+       "        Trees, 170.
+       "        Women, 168.
+
+  "Cruikshankiana," 107.
+
+  "Cruikshank's Comic Album," 121.
+
+  "Cruikshank's Fairy Library," 205.
+
+  "Cruising on Land," etc., 95.
+
+  Cumberland, Duke of 100, 241, 242.
+
+  Curtis, Sir William, 141, 159.
+
+  "Cut at the City Cauliflower," 102.
+
+
+  "Dame Partington and the Ocean of Reform," 243.
+
+  "Dandies at Tea," 92.
+
+  "Dandies Diving," 93.
+
+  "Dandies having a Treat," 93.
+
+  "Dandies in France," 154.
+
+  "Dandies on their Hobbies," 94.
+
+  "Dandies, Parisian," 91.
+
+  "Dandy Cock in Stays," 93.
+
+  "Dandy dressing at Home," etc., 94.
+
+  "Dandy Henpecked, The," 93.
+
+  "Dandy put to his Last Chemisette," etc., 93.
+
+  "Dandy Shoemaker in a Fright," 93.
+
+  "Dandy Sick," 94.
+
+  "Dandy Tailor planning a new Hungry Dress," 154.
+
+  "Dandyess, A," 94.
+
+  D'Angouleme, Duc, 162.
+
+  Darwin (see "_Origin of Species_").
+
+  "Deaf Postillion," 169.
+
+  "Death of the Property Tax," 164.
+
+  "Death of Sikes," 185.
+
+  Deesses de la Revolution, 25.
+
+  "Defenders of the Faith," 106.
+
+  "Delivering a Prophetess," 40.
+
+  Depression in Trade in 1819, 60.
+
+  "Descent of the Great Bear," 82.
+
+  Devils, 182.
+
+  Dickens, Charles, 191, 206, 230, 232, 282, 347-349.
+
+  Dighton, Robert, 27, 84.
+
+  "Diogenes," 371.
+
+  Dissenting Ministers, Proposal to amend their qualifications, 130.
+
+  "Doctors Differ," 36.
+
+  "Dog and the Shadow," 251.
+
+  "Doings in London," 120.
+
+  "Dombey and Son," 345.
+
+  Dominie Sampson, 176.
+
+  Dore, Gustave, 7, 9.
+
+  Double Bass, 132.
+
+  Doyle, John (see "HB").
+
+  Doyle, Richard, 379, 381-394.
+
+  Draconian Laws, 152.
+
+  "Drilling one-tenth," etc., 162.
+
+  "Drunkard's Children, The," 202.
+
+  Drury Lane Theatre, 34.
+
+  Duel between the Dukes of Buckingham and Bedford, 81, 97.
+    Between the Duke of Wellington and the Earl of Winchelsea, 248.
+    Between Sir Francis Burdett and Mr. Paull, 249.
+
+  "Duel that did not take place," 262.
+
+  "Duelling," 106.
+
+  Dumbiedikes, 176.
+
+  "Dying Clown, The," 233.
+
+
+  East Retford Bill, 236.
+
+  Ecclesiastical Titles Bill, 386.
+
+  "Economical Humbug of 1816," 144.
+
+  Egan, Pierce, 85, 113, 120.
+
+  Egypt, French driven out of, 13.
+
+  Eldon, Lord, 70.
+
+  Elgin Marbles, 145.
+
+  Ellenborough, Lord, 66, 67, 70.
+
+  Elliston, Life and Enterprises of, 205.
+
+  "England's Hope Departing," 151.
+
+  English Graphic Satire, Change in, 4.
+
+  English hostility to Napoleon, 16.
+
+  English Officers at the time of the Crimean War, 305.
+
+  English Parliamentary Representation in 1830, 235.
+
+  "English Spy, The," 116.
+
+  E. O! 161.
+
+  "Equipt for a Northern Visit," 161.
+
+  "Etching Moralized," 9.
+
+  Eugenie, The Empress, 317.
+
+  Evans, Sir de Lacy, 253.
+
+  "Examination of a Young Surgeon," 130.
+
+  "Exile of Louisiana," 197.
+
+
+  "Fagin in the Condemned Cell," 185.
+
+  Fairy Tales, Origin of, 205.
+
+  "Fall of Icarus," 264.
+
+  "Fall of the Leaf," 177.
+
+  "Fall of Washington, or Maddy in Full Flight," 46.
+
+  "Fashionables of 1817," 151.
+
+  Fashions in the early part of the Century, 91, 92.
+
+  Fechter, 330.
+
+  "Female Lancers," etc., 94.
+
+  Ferdinand VII., 98.
+
+  "Figaro in London," 222-229, 232.
+
+  "Fine Lady, or The Incomparable," 152.
+
+  "Finish to the Adventures of Tom, Jerry, and Logic," 113.
+
+  "Fitzalleyne of Berkeley," 118.
+
+  "Flat Catcher and the Rat Catcher," 106.
+
+  Foley, Mr., 39.
+
+  "Following the Leader," 250.
+
+  "Football," 107.
+
+  "Foot on the Stage and Asses in the Pit," 102.
+
+  Foote, Miss, 81, 101, 118.
+
+  Foote v. Hayne, 118.
+
+  "Foreign Affairs," 285.
+
+  "Foreign Rivals for British Patronage," 105.
+
+  Forrester, A. H. (Alfred Crowquill), 194, 368-371, 410.
+
+  "Four Mr. Prices," 164.
+
+  France, Evacuation of, 55.
+
+  "France the Great Nation," etc., 162.
+
+  "Frank and Free, or Clerical Characters in 1825," 106.
+
+  "Frank Fairleigh," 205.
+
+  Freewill Offerings of the Faithful, 39.
+
+  "French Cock and the Roman Eagle," 298.
+
+  French Colonels and the _Moniteur_, 310.
+
+  French driven out of Egypt, 13.
+
+  French interposition in Spain, 98.
+
+  French light wines, 313.
+
+  French military imbecility, 307, 309.
+
+  French Revolution, End of, 17.
+
+  French Revolution of 1830, 213.
+
+  French Royalist Caricatures on Napoleon, 24.
+
+  "Friends in Need," 143.
+
+
+  "Gambols on the River Thames," 135.
+
+  Gas, Introduction of, 29.
+
+  "Gavarni in London," 369 (_note_).
+
+  Genius, 187.
+
+  "Genius of France Expounding her Laws," etc., 142.
+
+  George III., 27, 214.
+
+  George IV., 52, 72, 79, 95, 111, 117, 143, 144 (_note_), 153, 155, 159,
+    164, 210 (and see "_Caroline of Brunswick_").
+
+  "General Frost Shaving Boney," 22.
+
+  "General Janvier," 306.
+
+  "German Popular Stories," 180.
+
+  "Gheber Worshipping the Rising Sun," 261.
+
+  "Ghosts," 181.
+
+  "Giant Grumbo," 154.
+
+  Gillray, James, 3, 4, 24, 25, 33, 84.
+
+  "Gin Shop, The," 168, 172, 184.
+
+  Gladstone, Mr., 398.
+
+  "Going it by Steam," 209.
+
+  "Going to Hobby Fair," 95.
+
+  "Golden Foot-Ball," 99.
+
+  "Gone!" 178.
+
+  "Good Effects of Carbonic Gas," 29.
+
+  Government Spies, 53.
+
+  Grafton, Duke of, 27.
+
+  Graham, Sir James, 252, 295.
+
+  "Grand Entrance to Bamboozlem," 80.
+
+  Graphic Alliteration, 177.
+
+  "Great Unknown lately discovered in Ireland," 104.
+
+  Greek War of Independence, 81.
+
+  Green Bag, Opening of the, 73.
+
+  "Greenwich Hospital," 171, 175.
+
+  Grey, Earl, 241, 244.
+
+
+  Habeas Corpus Act, Suspension of the, 52.
+
+  Hamilton, Lady Anne, 73.
+
+  "Hare Presumptuous," 106.
+
+  "Harp" (in Russell Street, Drury Lane), 87.
+
+  Haydon, B. R., 173.
+
+  Haynau, General, 298.
+
+  Hayne (see "_Pea-Green Hayne_").
+
+  HB, 5, 235-276.
+
+  Heath, H., 84.
+
+  Heath, William, 84, 104, 238.
+
+  Hervieu, A., 194.
+
+  "Hint to the Blind and Foolish," 162.
+
+  Hobbies, The, 59.
+
+  "Hobby-Horse Dealer," 154.
+
+  Hogarth, William, not a Caricaturist, 6.
+    Absurdity of comparing him with Modern Comic Artists, 6.
+
+  Holy Alliance, The, 98.
+
+  "Homburg Waltz," 58.
+
+  "Horse Chancellor obtaining a Verdict," 159.
+
+  "Horse Marine and his Trumpeter," 91.
+
+  "Hostile Press, or Shakspeare in Danger," 104.
+
+  "How do you like the New Whig?" 296.
+
+  How to set up as a Prophet, 39.
+
+  Hughes Ball, 99.
+
+
+  "I'll be your Second," 241.
+
+  "Illuminated Magazine," 286.
+
+  _Incroyables_, The, 91.
+
+  "Impostor, or Obstetric Dispute," 134.
+
+  Indian Mutinies, 396.
+
+  Informers of 1817, 148.
+
+  "Ingoldsby Legends," 289, 400.
+
+  "Interesting Scene on Board an East-Indian," 152.
+
+  "Interior View of the House of God," 130.
+
+  "Introduction to the Gout," 152.
+
+  "Ireland": an Artist's Dream, 384.
+
+  Irish Coercion Bill of 1833, 269, 270.
+
+  "Irish Decency," 154.
+
+  Irish Disaffection in 1833, 266.
+
+  Irish _Festa_, 178.
+
+
+  "Jack o' Lantern," 181.
+
+  "Jack Sheppard," 172, 199, 343.
+
+  "Je vous n'entends pas," 122.
+
+  "Jemmy Twitcher" (Lord Brougham), 265 (_note_).
+
+  Jerrold, Douglas, 387.
+
+  Jim Crow, 252.
+
+  "John Bull buying Stones," etc., 146.
+
+  "John Bull brought up for a Discharge," etc., 147.
+
+  "John Bull Done Over," 60.
+
+  "John Bull flourishing in an attitude of Strict Neutrality," 99.
+
+  "John Bull in Clover," 60.
+
+  "John Bull _versus_ Pope Bull," 106.
+
+  "Jonathan Wyld discovering Darrell," 172.
+
+  "Johnny Bull and his Forged Notes," 154.
+
+  "John's Dream," 143.
+
+  Josephine, The Empress, 3, 20, 25.
+
+  Judge, Mr., 102.
+
+
+  Kaleidoscope, The, 58.
+
+  Kean, Edmund, 54, 103.
+
+  "Kean's Head" (Russel Court), 86.
+
+  Kenny Meadows, 355-363.
+
+  Kenyon, Lord, 241.
+
+  "Key to the Investigation," 67.
+
+  "King at Home, The," 117.
+
+  "King Gourmand XVIII.," etc., 99.
+
+
+  "La Belle Assemblee," 151.
+
+  Labedoyere, Colonel, 138.
+
+  "Ladies' Accelerator," 95.
+
+  La Diligence, 159.
+
+  La Douane, 159.
+
+  "Lancashire Witches," 200.
+
+  "Landing at Dover and Overhauling the Baggage," 95.
+
+  Lane, Theodore, 84-88.
+
+  "L'apres-diner des Anglais," 24.
+
+  "Last Cab-driver," 176.
+
+  "Leap Year, or John Bull's Establishment," 50.
+
+  Leech, John, 233, 277-335, 337, 407-409.
+    "Sketches in Oil," 315.
+
+  Leigh, Percival, 282.
+
+  Leipzig, Battle of, 24.
+
+  Lemon, Mark, 201.
+
+  Leopold of Saxe-Coburg, Prince, 145.
+
+  _Les Graces_, 151.
+
+  Lever, Charles, 200, 352, 375.
+
+  "Lewis Arundel," 337.
+
+  "Libra--Striking the Balance," 177.
+
+  "Life of an Actor," 85.
+
+  "Life of Sir John Falstaff," 205.
+
+  "Life in London," 109.
+    Egan's Share of the Work, 113.
+
+  Lines and Dots, 151.
+
+  Literary Black-Mail, 115.
+
+  "Little Boney gone to Pot," 132.
+
+  "Lolly Pop," etc., 162.
+
+  "London Barrow Woman, The," 169.
+
+  Londonderry, Marquis of: Scene between him and Lord Brougham, 262.
+
+  "Louis the Fat troubled with the Nightmare," 162.
+
+  Louis Philippe, 297, 383.
+
+  Louis XVIII., 98, 143, 162.
+
+  "Love, Law, and Physic," 154.
+
+  "Loyalist Magazine," 131.
+
+
+  McConnell, 372.
+
+  Maddison, President, 46.
+
+  "Man of Taste and Feeling," 209.
+
+  "Manners and Customs of ye Englishe," 385.
+
+  "Manslaughter Men, The," 158.
+
+  "March to Finchley, The," 7.
+
+  Marriage Act, The, 81.
+
+  "Martin Chuzzlewit," 341, 344.
+
+  Massena, 21.
+
+  "Master Cook and his Black Scullion," etc., 96.
+
+  "Master of the Ordnance Exercising his Hobby," 95.
+
+  "Mat de Cocagne," 143.
+
+  "Matheworama," 106.
+
+  "Mauger Sharpening his Axe," 186.
+
+  Maxwell's "History of the Irish Rebellion," 186.
+
+  Mayhew, H., 201.
+
+  Meadows (see "_Kenny_").
+
+  Medical Profession, Satire on, 35.
+
+  "Meditations Amongst the Tombs," 132.
+
+  Melbourne, Lord, 252.
+
+  Melville, Lord, 28.
+
+  "Mer de Glace," 159.
+
+  Mercandotti, Madamoiselle, 100.
+
+  "Meteor, The," 128.
+
+  Methodism, Spread of, 129.
+
+  Metternich, Prince, 150.
+
+  Milan Commission, 96.
+
+  "Miss endeavouring to excite a Glow with her Dutch Plaything," 41.
+
+  "Miss Foote in the King's Bench Battery," 102.
+
+  "Miss Foote putting her Foot in it," 102.
+
+  "Miser's Daughter," 173, 199.
+
+  Mitford, Jack (Editor of the "Scourge"), 129 (_note_).
+
+  Mob, A Cowardly, 247.
+
+  "Moments of Prattle," etc., 102.
+
+  Moray Minstrels, 374.
+
+  "More Plots!!!" 53.
+
+  "Morning after Marriage," 97.
+
+  "Morning Journal," 240.
+
+  Moscow, Retreat from, 22.
+
+  "Mother's Girl Plucking a Crow," etc., 91.
+
+  "Mr. Punch's Fancy Ball," 287.
+
+  "Murder of Sir Rowland Trenchard," 185.
+
+  "Mysterious Fair One," 95.
+
+
+  "Nap nearly Nabb'd," 22.
+
+  _Napoleon Bonaparte_.
+    His Policy towards England, 13-18.
+    Proclaimed Emperor, 17.
+    Intention to invade England, 17.
+    Lampooned by English Caricaturists, 19, 24, 26.
+    Dislike to the Revolutionists, 26.
+    His Star begins to Wane, 22.
+    Retreat from Moscow, 22.
+    Narrowly escapes Capture, 22.
+    Leaves his Troops in Russia, 22.
+    At Elba, 132.
+    Return from Elba till his Fall, 137-142.
+    French Royalist Caricatures on, 24.
+
+  Napoleon, Louis, 299, 300-302, 396, 397.
+
+  Napoleon III. (see "_Napoleon, Louis_").
+
+  "Nap's Glorious Return, or the Conclusion of the Russian Campaign," 24.
+
+  Navarino, Battle of, 82.
+
+  "Nest in Danger," 82.
+
+  "New Chancery Suit Removed," etc., 95.
+
+  "Newcomes, The," 377, 393.
+
+  "New Irish Jaunting Car," 95.
+
+  New Orleans, Attack on (see "_America_").
+
+  "New Readings of Old Authors," 221.
+
+  Newspaper Stamp Duty, 255.
+
+  Newspapers, Cheap, Curious Arguments against, 256.
+
+  Ney, Marshall, 139.
+
+  "Nicholas Nickleby," 340.
+
+  Nicholas, The Emperor, 303, 306, 395.
+
+  "Night Mayor," 146.
+
+  Nile (see "_Britannia_").
+
+  "Non Mi Recordo," 128.
+
+  "Nosing the Nob at Ramsgate," 159.
+
+  "Notice to Correspondents," 226.
+
+  "Novels by Eminent Hands," 375.
+
+  "Nun of Arronca," 254.
+
+
+  O'Connell, 106, 236, 237, 252, 270-272, 295, and _note_.
+
+  "Old Bags" (see "_Eldon, Lord_").
+
+  "Old Bumblehead the 18th," 162.
+
+  "Old Curiosity Shop," 341, 345.
+
+  "Old St. Paul's," 199.
+
+  "Old Thirty-nine shaking hands with his good Brother the Pope," 153.
+
+  "Oliver Twist," 192.
+
+  "O! O! There's a Minister of the Gospel," 159.
+
+  "Opening of Sir William Curtis' Campaign," 141.
+
+  "Oppidans' Museum, The," 117.
+
+  Origin of Species, 371.
+
+  Orsini Plot, 311.
+
+  "Ostend Packet in a Squall," 163.
+
+  "Our tough old Ship," 154.
+
+  Oxenford, John, 201.
+
+
+  "Pair of Spectacles, or The London Stage in 1824-5," 106.
+
+  "Palais Royal," 152.
+
+  Papal Aggression, 299, 386.
+
+  "Parisian Luxury," 163.
+
+  "Paul Pry," 84 (and see "_Heath, William_").
+
+  "Paving the way for a Royal Divorce," 70.
+
+  "Paying Off a Jew Pedlar," 175.
+
+  Pea-green Hayne, 101.
+
+  Peace-at-any-price Party, The, 383.
+
+  "Pedigree of Corporal Violet," 143.
+
+  Peel, Sir Robert, 272, 295, 296.
+
+  "Peel's Dirty Little Boy," 296.
+
+  "Peep at the Gaslights in Pall Mall," 29.
+
+  "Peep at the Pump Room," 57.
+
+  Pellegrini, Carlo, 5.
+
+  "Peter Schlemihl," 174.
+
+  Phiz (see "_Browne, H. K_.").
+
+  "Pickwick Papers," 230-234, 340, 364.
+
+  Pius IX., 298.
+
+  "Plebeian Spirit, or Coachee and the Heiress Presumptive," 40.
+
+  "Point of Honour, The," 171.
+
+  "Points of Humour," 119.
+
+  "Points of Misery," 119.
+
+  "Polish Diet with French Dessert," 22.
+
+  "Political Champion turned Resurrection Man," 95.
+
+  "Political Fair, A," 19.
+
+  "Political Shaver," 106.
+
+  Poole, John, 230.
+
+  Popple _v_. Stockdale, 106.
+
+  Popular Discontent of 1816, 51.
+
+  "Portrait of a Noble Lord in Order," 297.
+
+  "Portraits of the English," 354.
+
+  "Preachee and Floggee Too," 153.
+
+  "Premier's Fix," 296.
+
+  "Premium, Par, and Discount," 162.
+
+  "Preparing for a Duel," 163.
+
+  "Preparing for the Match," 145.
+
+  "Preparing for the Witnesses," 96.
+
+  "Presenting a Bill of Indemnification," 83.
+
+  Prince of Wales' Theatre, its former titles, 225.
+
+  Prince Regent (see "_George IV._").
+
+  "Prisoners of War," 269.
+
+  "Probable Effects of Good Living," etc., 295.
+
+  "Punch," 287, 383.
+      Rivals of, 367.
+
+  Purchase System, 305.
+
+  "Put Out," 297.
+
+
+  "Queen Caroline running down the Royal George," 78.
+
+
+  "Randolph and Hilda dancing at Ranelagh," 173.
+
+  Rawkins, 279.
+
+  "Recollections of the Court of Common Pleas," 171.
+
+  "Redgauntlet," 185.
+
+  Reform Bills of 1831-32, 242-245.
+
+  Regent (see "_George IV._").
+
+  "Religion a la Mode," 311.
+
+  Religious credulity of English people, 37.
+
+  "Results of a Northern Excursion," 161.
+
+  "Return of Hercules from a Fancy Ball," 279.
+
+  "Revolution at Madame Tussaud's," 178.
+
+  Rice, the American Comedian, 251.
+
+  "Rival Newsmongers," 258.
+
+  Rival Richards, 55.
+
+  Robinson, Mr. Frederick, 135.
+
+  Robson, Thomas Frederick, 325.
+
+  "Roland Cashel," 350.
+
+  Romeo Coates, 49.
+
+  Roscius, The Young, 28.
+
+  "Rose Maylie and Oliver," 192.
+
+  Rowlandson, Thomas, 3, 83, 84 and _note_, 118.
+
+  "R-y-l Condescension," 149.
+
+  "Royal Extinguisher," 159.
+
+  "Royal Laundress," 143.
+
+  Royal Levees, 308.
+
+  "Royal Nuptials," 145.
+
+  "Royal Red Bengal Tiger," 154.
+
+  "Royal Rushlight," 156.
+
+  Russell, Lord John, 236, 237, 242, 243, 244, 253, 254, 300, 306, 321,
+    398.
+
+  Russia and Turkey, 82, 395.
+
+  "Russian Bear's Greece," 82.
+
+  "Russian Condescension," 133.
+
+  "Russian Dandy at Home," 56.
+
+
+  "Sailors Carousing," 175.
+
+  "Sailors' Description," etc., 162.
+
+  "Saint Shela," 162.
+
+  "Sales by Auction, or Provident Children," etc., 153.
+
+  Sandford and Merton, 121.
+
+  "Satirist, or Monthly Meteor," 131.
+
+  "Scene after the Battle," 132.
+
+  "Scene in the New Farce as performed at the Royalty," 155.
+
+  "Scene in the New Farce called the 'Rivals,'" 61.
+
+  "Scene in the Farce of 'Lofty Projects,'" 164.
+
+  "Scene from the Pantomime of 'Cock-a-Doodle-Doo,'" 103.
+
+  "Scotch Fiddle," 161.
+
+  Scott, Sir Walter, 105.
+
+  "Scourge, The," 21, 128.
+
+  "Sealing up the People," 38.
+
+  "Secret Insult, or Bribery and Corruption Rejected," 95.
+
+  "Sergeant introducing his Dutch Wife," 169.
+
+  Seurat, Claude Ambroise, 104.
+
+  Seymour, Robert, 208-234, 405.
+
+  "Seymour's Humorous Sketches," 218.
+
+  "Shadows," 372.
+
+  Shannon and Chesapeake, 44.
+
+  Shiel, Mr., 269.
+
+  "Shortshanks" (Robert Seymour), 208.
+
+  "Showing Off," etc., 162.
+
+  "Sick of the Property Tax," 143.
+
+  "Sikes and the Dog," 172.
+
+  Silver Ball, 102.
+
+  "Simon Renard and Winwike," 172.
+
+  "Simpkin Dancing," 175.
+
+  Skeleton, The Living, 104.
+
+  "Sketches by Boz," 172, 176.
+
+  Smith, Albert, 287-289.
+
+  Smithfield, 297.
+
+  "Smoke Jack the Alarmist," 154.
+
+  "Snuffing and Smoking," 220.
+
+  "Snuffing out Boney," 133.
+
+  Southcott, Joanna, 36-40, 134.
+
+  "Spa Fields Orator Hunting for Popularity," 151.
+
+  Spa Fields Riot, 51.
+
+  Spain, Invasion of, by Duc d'Angouleme, 81.
+
+  "Spanish Flies, or Boney taking an Immoderate Dose," 20.
+
+  "Spanish Mule and a French Jackass," 162.
+
+  Speculation Mania of 1825, 163.
+
+  "Spirit Moving the Quakers upon Worldly Vanities," 59.
+
+  "Sprig of Shelalegh," 171.
+
+  St. Albans, Borough of, 301.
+
+  St. Dunstan, 183.
+
+  "St. James's, or the Court of Queen Anne," 179, 199.
+
+  St. John Long the Quack, 214-217.
+
+  "St. Swithin's Chapel," 168.
+
+  Stanley, Lord, 252.
+
+  "State Physicians Bleeding John Bull to Death," 147.
+
+  "Steward at Sea in a Vain Tempest," 95.
+
+  "Steward's Court of the Manor of Torre Devon," 78.
+
+  "Stroller's Tale" in "Pickwick," 232.
+
+  Sue's "Orphan," 122.
+
+  Sullivan, Arthur, 374.
+
+  "Sunday under Three Heads," 342.
+
+  Surgeon, An Eccentric, 279.
+
+  Surtees, R. W., 320.
+
+  Sussex, Duke of, 249.
+
+
+  "T Trade in Hot Water," 152.
+
+  "Table Book," 201.
+
+  "Tables Turned," 162.
+
+  "Taking an Airing in Hyde Park," 247.
+
+  Tallien, Madame, 25 (and _note_).
+
+  "Taurus, a Literary Bull," 177.
+
+  "Tea Just Over," 27.
+
+  Tenniel, John, 394-400.
+
+  Tenth Hussars, 81, 100.
+
+  Terry, Kate, 375.
+
+  Thackeray, W. M., 92, 201, 285, 316, 318, 387.
+    As a Book-illustrator, 375-380.
+
+  "Theatrical Fun Dinner," 378.
+
+  "Three Courses and a Dessert," 171.
+
+  "Through the Looking-glass," 400.
+
+  Toleration Acts, Motion to amend them, 129.
+
+  Tom and Jerry, 110.
+
+  Tom Thumb, 173.
+
+  "Tower of London," 172.
+
+  Tozer, Mr., 39.
+
+  Tract Droppers, 112.
+
+  Transit, Robert (Robert Cruikshank), 117.
+
+  Treadmill, 97.
+
+  Trenton's Porter, 2.
+
+  "Triumph of Cupid," 182.
+
+  Two Elves, The, 180.
+
+
+  "Urgent Private Affairs," 307.
+
+
+  "Vagaries in Quest of the Wild and Wonderful," 218.
+
+  "Vanity Fair," 92, 378.
+
+  "Vaux and the Grapes," 265.
+
+  "Venus de Medici," 159.
+
+  Victoria, Queen, 61, 275.
+
+  "View in Cumberland," 100.
+
+  "Virginians," 377.
+
+  "Vis-a-Vis," 151.
+
+  "Visit to Vesuvius," etc., 159.
+
+  Vitoria, Battle of, 24, 132.
+
+  "Voila t'on Mort," 154.
+
+
+  "Waiting on the Ladies," 164.
+
+  "Waltzing," 107.
+
+  Wardle, Colonel, 31.
+
+  "Washing Boney's Court Dresses," 143.
+
+  Washington, Burning of (see "_America_.")
+
+  Watts Phillips, 372.
+
+  Waverley Novels, 104, 176.
+
+  Wellington, Duke of, 55, 141, 246-249, 395.
+
+  Westmacott, C. M., 100, 115, 119.
+
+  Wilkes, 7.
+
+  William IV., 245, 261.
+
+  Williams, C., 84.
+
+  "Windsor Castle," 199.
+
+  "Witches' Frolic," 181.
+
+  "Wolves Triumphant," 103.
+
+  Wood, Alderman, 73.
+
+  Wood Engraving, its injurious effect on Caricature, 5.
+
+  Woodward, G. M., 3, 84.
+
+  "Worship of Bacchus," 203.
+
+  "Wrekin" (Long Acre), 87.
+
+
+  "Xit," 186.
+
+
+  Year 1848, 383.
+
+  York, Duke of, 30.
+
+
+
+
+  Butler & Tanner, The Selwood Printing Works, Frome, and London.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of English Caricaturists and Graphic
+Humourists of the Nineteenth Century., by Graham Everitt
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ENGLISH CARICATURISTS ***
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