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+*** START OF THE PROJECT GUTENBERG EBOOK 44801 ***
+
+FOUR HUNDRED HUMOROUS ILLUSTRATIONS
+
+By John Leech
+
+With Portrait and Biographical Sketch.
+
+1868
+
+
+
+
+BIOGRAPHICAL SKETCH.
+
+John Leech was born in London, on the 29th August, 1817. His father,
+John Leech, was an Irishman, a man of fine culture, and a good
+Shakespearean scholar. He was the landlord of the London Coffee House on
+Ludgate Hill, one of the most important of the city hotels at that time.
+For a while the father was successful in his vocation, but ultimately,
+through financial embarrassment, was obliged to give up the hotel.
+
+The father was a man of real ability, possessing considerable skill
+with the pencil, and from him, no doubt, the son inherited his special
+talent. And, again, on the mother's side there was relationship with the
+great scholar Richard Bentley, so that on both sides of the house
+young Leech had considerable advantages so far as mental heredity was
+concerned.
+
+At a very early age the mother observed the extraordinary aptitude for
+drawing that her boy possessed, and did all in her power to encourage
+it. When young Leech was only three years old, he was found by the
+family friend, the great artist, Flaxman, seated on his mother's knee,
+drawing with much gravity. The sculptor pronounced his sketch to be
+remarkable, and gave the following advice:--"Do not let him be cramped
+with lessons in drawing, but let his genius follow its own bent. He will
+astonish the world." A few years after this, some more of the youthful
+artist's drawings were shown to the celebrated sculptor, and, after
+examination, he said--"The boy must be an artist; he will be nothing
+else or less."
+
+At seven, the boy was sent to Charterhouse. This early departure from
+home was, of course, a sore trial to the fond mother, who was bound up
+in her child, but, knowing that it was for her son's future welfare,
+she threw no obstacles in the way of his departure from home. She was,
+however, resolved that somehow she would see her child frequently. With
+this object she hired a room in one of the houses commanding a view of
+the playground, and there frequently she sat behind a blind, happy
+in getting an occasional glimpse of her boy--sometimes at play, and
+sometimes strolling about in the grounds with his school mates. During
+his stay of nine years at Charterhouse, the boy did not distinguish
+himself in classical studies. Indeed, all that can be said, is that he
+acquired a thoroughly sound English education. He was, however, liked
+by everyone at school for his good temper and winning ways. Among his
+fellow pupils was the famous William Makepeace Thackeray, with whom he
+formed a warm friendship that lasted throughout life.
+
+At sixteen years of age, young Leech left Charterhouse, and,
+notwithstanding Flaxman's advice that the boy should follow the
+profession of an artist, his father put him to the medical profession at
+St. Bartholomew's, under Mr Stanley, the surgeon of the Hospital. After
+a time he was placed under Mr Whittle, an eccentric practitioner at
+Hoxton, and subsequently under Dr John Cockle, afterwards physician to
+the Royal Free Hospital. Throughout his various situations, young Leech
+become famous among his fellow students and friends for his extremely
+clever--and, at the same time, always good-natured--caricatures. He was
+for ever drawing scenes, characters, and incidents in daily life. About
+this time, young Leech's liking for horses probably received its first
+development, through his friendship with Mr Charles Adams. Mr Adams
+was the owner of two horses which it was his delight to drive tandem
+fashion, and in his excursions Leech was his constant companion. To this
+circumstance we are, no doubt, partially indebted for many of the clever
+bits of driving and country road life depicted by the pencil of the
+artist. At this early period of his career, Leech made numerous life
+friendships with men who afterwards became distinguished. Notable among
+these men were Albert Smith and Percival Leigh.
+
+At eighteen years of age, Leech published his first work, entitled
+"Etchings and Sketchings by A. Pen, Esq." It was a small work of four
+quarto sheets. As he got more and more engrossed in artistic work, the
+young student seems to have gradually given up his medical studies, and
+to have resolved to live by his pencil. In course of time he turned his
+attention to lithography, and, having drawn pictures upon lithographic
+stones, he has been known to spend many a weary day in carrying such
+heavy stones from publisher to publisher in search of a buyer. But as
+his fame increased, the difficulty of getting remunerative employment
+rapidly diminished. A good deal of Leech's early work, among other
+things, was in connection with _Bell's Life in London_, the best-known
+sporting paper of the time. Here he was associated with Cruikshank,
+Madons, "Phiz," and Seymour. It was when at work for _Bell's Life_ that
+he first imbibed a taste for field sports, which developed into a strong
+feature in his pictorial career. He joined the hounds in Herefordshire,
+where Millais became his fellow pupil in acquiring the arts of the
+chase. Among the schemes of drollery that our artist participated in
+about this time was the _Comic Latin Grammar_, Leigh contributing the
+text, and Leech the illustrations. This was followed by the _Comic
+English Grammar_, and likewise by the _Children of the Mobility_, a
+parody on a well-known work devoted to the serious glorification of our
+juvenile aristocracy.
+
+But in August of 1841 Leech began the great work of his life--a work,
+indeed, which he never quitted but with life--namely, his connection
+with _Punch_. The first number of _Punch_ was issued on the 17th July,
+1841, and Leech's first contribution to it appeared on the 7th August,
+in the fourth number. For about twenty years, it may be said, he was its
+leading spirit, and, by his contributions to its pages, got in all about
+£40,000. Political caricatures he produced by the score, and held up
+to ridicule many of the absurd customs of the pretensious and exclusive
+sections of Society. Like Thackeray and Dickens, Leech detested snobbery
+in all walks of life, and depicted it unsparingly in a way that it never
+had been dealt with before. Week after week there flowed from his pencil
+an endless stream of scenes of high life and low life, of indoor life
+and street life, now of England, and then of foreign lands, and of all
+times, seasons, and occasions, as also numerous scenes of deer-stalking
+and fishing, and of horses and hounds, in all cases depicting whatever
+he undertook with extraordinary accuracy combined with infinite humour.
+Also, when social or national wrong called for grave censure, Leech knew
+how to administer it, not only without giving unnecessary offence, but
+in the way best calculated to bring about reform and redress. In all
+circumstances he was essentially a humorist, and he found his most
+genial vocation in depicting life and character in the social circles
+he frequented. As a keen observer of the everyday life around him, he
+delighted to depict the corporation magnate, the artist, the medical
+student, the spendthrift, the policeman, the cab driver, the coster,
+the carman, and hundreds of other such phases of everyday life and
+character, seeing humour and drollery where others failed to observe
+anything but the commonest aspects of everyday monotony. Of course it
+should not be forgotten that, if Leech did great things for _Punch_, his
+connection with that journal gave him great opportunities, and brought
+him into the very forefront of British artists. He was considered the
+most successful humorist of the day, and his pencil was in constant
+request. In the course of years he became the illustrator of about
+eighty volumes. When it is realised that the sketches in _Punch_ and the
+illustrations in these eighty volumes combined amount to some thousands
+in number, the mind is much impressed with the great amount of industry
+and application that Leech displayed throughout life. Even a tour to the
+Highlands, or to Ireland, or an outing to any portion of the country,
+was at all times turned to practical account for work later on.
+
+This incessant brain-work produced an extreme nervous sensitiveness. In
+this state he was much affected by noise and was literally driven from
+his house in Brunswick Square by street music. He removed to Kensington,
+where he hoped to obtain a release from this annoyance by adopting a
+device of double windows. But he had no peace. He often introduced in
+the pages of _Punch_ the barrel-organ nuisance. The public, however,
+at that time had no idea what these sketches from real life cost the
+artist. In 1864, Leech was ordered to take a holiday on the Continent.
+Upon his return to his London home in the autumn of the same year,
+although better in health, he was still strangely susceptible to noise.
+He spoke with more than his usual earnestness about the sufferings which
+the street organs gave him, and about the smallness of the sympathy
+which he received from people who had no weakness in the same direction.
+This extraordinary sensitiveness to noise was only a secondary phase or
+symptom of the real ailment. The real malady from which he suffered was
+breast-pang, or spasms of the heart, a form of angina pectoris. Although
+it was necessary to warn Leech against all excitement, riding, quick
+walking, or overwork, it was not supposed that he was in immediate
+danger, and, if he could only find rest and quiet, great hopes were
+entertained of his recovery. However, the sad end came when quite
+unexpected. In the morning of the 29th of October, 1864, he spoke
+hopefully of the future to his wife. In a few hours afterwards he
+whispered into the same living ear--"I am going," and fell into his
+father's arms in a faint. Three hours afterwards he expired. The news of
+his death went over the country with a dismal shock; for in what house
+was John Leech not an inmate in one form or another?
+
+Leech was tall, with an elegant figure, over six feet in height,
+graceful and gentlemanly in manner, with a fine head and a handsome
+face. In action he was nimble, vigorous, and yet gentle, capable of the
+heartiest mirth, and yet generally quiet. He was singularly modest, both
+as a man and an artist. The perpetual going to nature kept him humble as
+well as made him rich. His consideration, too, for others was apparent
+at all times, and the gentleness of his nature was remarkable. When
+it is considered that all these beautiful traits of character were
+accompanied by such extraordinary talent and wisdom, one is profoundly
+impressed with the greatness of the man. No wonder so many mourned when
+such a great, gentle, and graceful spirit passed away. It was a national
+loss, and as such was realised throughout the homes of the United
+Kingdom.
+
+
+
+{017}
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+[Illustration: 017]
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+
+{238}
+
+[Illustration: 238]
+
+
+{239}
+
+[Illustration: 239]
+
+
+{240}
+
+[Illustration: 240]
+
+
+{241}
+
+[Illustration: 241]
+
+
+{242}
+
+[Illustration: 242]
+
+
+{243}
+
+[Illustration: 243]
+
+
+{244}
+
+[Illustration: 244]
+
+
+{245}
+
+[Illustration: 245]
+
+
+{246}
+
+[Illustration: 246]
+
+
+{247}
+
+[Illustration: 247]
+
+
+{248}
+
+[Illustration: 248]
+
+
+{249}
+
+[Illustration: 249]
+
+
+{250}
+
+[Illustration: 250]
+
+
+{251}
+
+[Illustration: 251]
+
+
+{252}
+
+[Illustration: 252]
+
+
+{253}
+
+[Illustration: 253]
+
+
+{254}
+
+[Illustration: 254]
+
+
+{255}
+
+[Illustration: 255]
+
+
+{256}
+
+[Illustration: 256]
+
+
+{257}
+
+[Illustration: 257]
+
+
+{258}
+
+[Illustration: 258]
+
+
+{259}
+
+[Illustration: 259]
+
+
+{260}
+
+[Illustration: 260]
+
+
+{261}
+
+[Illustration: 261]
+
+
+{262}
+
+[Illustration: 262]
+
+
+{263}
+
+[Illustration: 263]
+
+
+{264}
+
+[Illustration: 264]
+
+
+{265}
+
+[Illustration: 265]
+
+
+{266}
+
+[Illustration: 266]
+
+
+{267}
+
+[Illustration: 267]
+
+
+{268}
+
+[Illustration: 268]
+
+
+{269}
+
+[Illustration: 269]
+
+
+{270}
+
+[Illustration: 270]
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+
+{271}
+
+[Illustration: 271]
+
+
+{272}
+
+[Illustration: 272]
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+
+{273}
+
+[Illustration: 273]
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+
+{274}
+
+[Illustration: 274]
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+
+{275}
+
+[Illustration: 275]
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+
+{276}
+
+[Illustration: 276]
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+
+{277}
+
+[Illustration: 277]
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+
+{278}
+
+[Illustration: 278]
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+
+{279}
+
+[Illustration: 279]
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+
+{280}
+
+[Illustration: 280]
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+
+{281}
+
+[Illustration: 281]
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+
+{282}
+
+[Illustration: 282]
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+
+{283}
+
+[Illustration: 283]
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+
+{284}
+
+[Illustration: 284]
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+
+{285}
+
+[Illustration: 285]
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+
+{286}
+
+[Illustration: 286]
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+
+{287}
+
+[Illustration: 287]
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+
+{288}
+
+[Illustration: 288]
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+
+{289}
+
+[Illustration: 289]
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+
+{290}
+
+[Illustration: 290]
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+
+{291}
+
+[Illustration: 291]
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+
+{292}
+
+[Illustration: 292]
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+
+{293}
+
+[Illustration: 293]
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+
+{294}
+
+[Illustration: 294]
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+
+{295}
+
+[Illustration: 295]
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+
+{296}
+
+[Illustration: 296]
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+
+{297}
+
+[Illustration: 297]
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+
+{298}
+
+[Illustration: 298]
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+
+{299}
+
+[Illustration: 299]
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+
+{300}
+
+[Illustration: 300]
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+
+{301}
+
+[Illustration: 301]
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+
+{302}
+
+[Illustration: 302]
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+
+{303}
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+[Illustration: 303]
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+
+{304}
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+[Illustration: 304]
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+
+{305}
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+[Illustration: 305]
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+
+{306}
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+[Illustration: 306]
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+
+{307}
+
+[Illustration: 307]
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+
+{308}
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+[Illustration: 308]
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+
+{309}
+
+[Illustration: 309]
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+
+{310}
+
+[Illustration: 310]
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+
+{311}
+
+[Illustration: 311]
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+
+{312}
+
+[Illustration: 312]
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+
+{313}
+
+[Illustration: 313]
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+
+{314}
+
+[Illustration: 314]
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+
+{315}
+
+[Illustration: 315]
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+
+{316}
+
+[Illustration: 316]
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+
+{317}
+
+[Illustration: 317]
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+
+{318}
+
+[Illustration: 318]
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+
+{319}
+
+[Illustration: 319]
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+
+{320}
+
+[Illustration: 320]
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+
+{321}
+
+[Illustration: 321]
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+
+{322}
+
+[Illustration: 322]
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+
+{323}
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+[Illustration: 323]
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+
+{324}
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+[Illustration: 324]
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+
+{325}
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+[Illustration: 325]
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+
+{326}
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+[Illustration: 326]
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+
+{327}
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+[Illustration: 327]
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+
+{328}
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+[Illustration: 328]
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+
+{329}
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+[Illustration: 329]
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+
+{330}
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+[Illustration: 330]
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+
+{331}
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+[Illustration: 331]
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+
+{332}
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+[Illustration: 332]
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+
+{333}
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+[Illustration: 333]
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+
+{334}
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+[Illustration: 334]
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+
+{335}
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+[Illustration: 335]
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+
+{336}
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+[Illustration: 336]
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+
+{337}
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+[Illustration: 337]
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+
+{338}
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+[Illustration: 338]
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+
+{339}
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+[Illustration: 339]
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+
+{340}
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+[Illustration: 340]
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+
+{341}
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+[Illustration: 341]
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+
+{342}
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+[Illustration: 342]
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+
+{343}
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+[Illustration: 343]
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+
+{344}
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+[Illustration: 344]
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+
+{345}
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+[Illustration: 345]
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+
+{346}
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+[Illustration: 346]
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+
+{347}
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+[Illustration: 347]
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+
+{348}
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+[Illustration: 348]
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+
+{349}
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+[Illustration: 349]
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+
+{350}
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+[Illustration: 350]
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+
+{351}
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+[Illustration: 351]
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+
+{352}
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+[Illustration: 352]
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+
+{353}
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+[Illustration: 353]
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+
+{354}
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+[Illustration: 354]
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+
+{355}
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+[Illustration: 355]
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+
+{356}
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+[Illustration: 356]
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+
+{357}
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+[Illustration: 357]
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+
+{358}
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+[Illustration: 358]
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+
+{359}
+
+[Illustration: 359]
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+
+{360}
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+[Illustration: 360]
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+
+{361}
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+[Illustration: 361]
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+
+{362}
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+[Illustration: 362]
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+
+{363}
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+[Illustration: 363]
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+
+{364}
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+[Illustration: 364]
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+
+{365}
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+[Illustration: 365]
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+
+{366}
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+[Illustration: 366]
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+
+{367}
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+[Illustration: 367]
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+
+{368}
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+[Illustration: 368]
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+
+{369}
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+[Illustration: 369]
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+
+{370}
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+[Illustration: 370]
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+
+{371}
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+[Illustration: 371]
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+
+{372}
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+[Illustration: 372]
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+
+{373}
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+[Illustration: 373]
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+
+{374}
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+[Illustration: 374]
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+
+{375}
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+[Illustration: 375]
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+
+{376}
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+[Illustration: 376]
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+
+{377}
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+[Illustration: 377]
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+
+{378}
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+[Illustration: 378]
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+
+{379}
+
+[Illustration: 379]
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+
+{380}
+
+[Illustration: 380]
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+
+{381}
+
+[Illustration: 381]
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+
+{382}
+
+[Illustration: 382]
+
+
+{383}
+
+[Illustration: 383]
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+
+{384}
+
+[Illustration: 384]
+
+
+{385}
+
+[Illustration: 385]
+
+
+{386}
+
+[Illustration: 386]
+
+
+{387}
+
+[Illustration: 387]
+
+
+{388}
+
+[Illustration: 388]
+
+
+{389}
+
+[Illustration: 389]
+
+
+{390}
+
+[Illustration: 390]
+
+
+{391}
+
+[Illustration: 391]
+
+
+{392}
+
+[Illustration: 392]
+
+
+{393}
+
+[Illustration: 393]
+
+
+{394}
+
+[Illustration: 394]
+
+
+{395}
+
+[Illustration: 395]
+
+
+{396}
+
+[Illustration: 396]
+
+
+{397}
+
+[Illustration: 397]
+
+
+{398}
+
+[Illustration: 398]
+
+
+{399}
+
+[Illustration: 399]
+
+
+{400}
+
+[Illustration: 400]
+
+
+{401}
+
+[Illustration: 401]
+
+
+{402}
+
+[Illustration: 402]
+
+
+{403}
+
+[Illustration: 403]
+
+
+{404}
+
+[Illustration: 404]
+
+
+{405}
+
+[Illustration: 405]
+
+
+{406}
+
+[Illustration: 406]
+
+
+{407}
+
+[Illustration: 407]
+
+
+{408}
+
+[Illustration: 408]
+
+
+{409}
+
+[Illustration: 409]
+
+
+{410}
+
+[Illustration: 410]
+
+
+{411}
+
+[Illustration: 411]
+
+
+{412}
+
+[Illustration: 412]
+
+
+{413}
+
+[Illustration: 413]
+
+
+{414}
+
+[Illustration: 414]
+
+
+{415}
+
+[Illustration: 415]
+
+
+{416}
+
+[Illustration: 416]
+
+
+{417}
+
+[Illustration: 417]
+
+
+{418}
+
+[Illustration: 418]
+
+
+{419}
+
+[Illustration: 419]
+
+
+{420}
+
+[Illustration: 420]
+
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Four Hundred Humorous Illustrations, by Various
+
+*** END OF THE PROJECT GUTENBERG EBOOK 44801 ***