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+The Project Gutenberg EBook of George Cruikshank, by W. H. Chesson
+
+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: George Cruikshank
+
+Author: W. H. Chesson
+
+Release Date: December 16, 2011 [EBook #38318]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE CRUIKSHANK ***
+
+
+
+
+Produced by Juliet Sutherland, Susan Theresa Morin and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+See Transcriber's Notes at end of text.
+
+Special Transcriber's Notes:
+     Text surrounded by ~ originally printed in a sans serif typeface.
+
+     In the Index you will find [J] replaces picture of small anchor.
+
+
+
+
+The Popular
+Library of Art
+
+
+Edited by
+Edward Garnett
+
+The Popular Library of Art
+
+ALBRECHT DÜRER (37 Illustrations).
+    By Lina Eckenstein
+
+ROSSETTI (53 Illustrations).
+    By Ford Madox Hueffer.
+
+REMBRANDT (61 Illustrations).
+    By Auguste Bréal.
+
+FRED. WALKER (32 Illustrations and
+Photogravure).
+    By Clementina Black.
+
+MILLET (32 Illustrations).
+    By Romain Rolland.
+
+THE FRENCH IMPRESSIONISTS
+(50 Illustrations).
+    By Camille Mauclair.
+
+LEONARDO DA VINCI (44 Illustrations).
+    By Dr Georg Gronau.
+
+GAINSBOROUGH (55 Illustrations).
+    By Arthur B. Chamberlain.
+
+BOTTICELLI (37 Illustrations).
+    By Julia Cartwright (Mrs Ady).
+
+RAPHAEL (50 Illustrations).
+    By Julia Cartwright (Mrs Ady).
+
+VELAZQUEZ (51 Illustrations).
+    By Auguste Bréal.
+
+HOLBEIN (50 Illustrations).
+    By Ford Madox Hueffer.
+
+ENGLISH WATER COLOUR PAINTERS
+(42 Illustrations).
+    By A. J. Finberg.
+
+WATTEAU (35 Illustrations).
+    By Camille Mauclair.
+
+THE PRE-RAPHAELITE BROTHERHOOD
+(38 Illustrations).
+    By Ford Madox Hueffer.
+
+PERUGINO (50 Illustrations).
+    By Edward Hutton.
+
+CRUIKSHANK.
+    By W. H. Chesson.
+
+HOGARTH.
+    By Edward Garnett.
+
+[Illustration: GEORGE CRUIKSHANK FRIGHTENING SOCIETY
+
+From "George Cruikshank's Omnibus," 1842.]
+
+
+
+
+GEORGE
+CRUIKSHANK
+
+BY
+
+W. H. CHESSON
+
+AUTHOR OF "NAME THIS CHILD," ETC.
+
+LONDON: DUCKWORTH & CO.
+NEW YORK: E. P. DUTTON & CO.
+
+PRINTED BY
+
+TURNBULL AND SPEARS.
+
+EDINBURGH
+
+
+
+
+LIST OF ILLUSTRATIONS IN ORDER OF DATE
+
+
+   DATE SUBJECT PAGE
+
+   _Circa_}
+   1800} Almsgiving 13
+
+   1815. The Scale of Justice Reversed 5
+
+   1818. Title-page of "The Wits' Magazine" 209
+
+   1819. Johnny Bull and His Forged Notes 29
+
+   1821. Comic Composites for the Scrap Book 141
+
+   1821. Tom Getting the Best of a Charley
+                  (from "Life in London ") 49
+
+   1821. New Readings (from "The Humorist") 205
+
+   1823. Exchange No Robbery (from "Points
+                  of Humour") 167
+
+   1823. Peter Schlemihl watching the
+                  Clock (from "Peter Schlemihl") 127
+
+   1826. Juvenile Monstrosities 33
+
+   1826. The Goose Girl (from "German
+                  Popular Stories") 145
+
+   1826. Hope (from "Phrenological Illustrations") 173
+
+   1827. Title-page of "Illustrations of
+                  Time" 225
+
+   1828. A Braying Ass (from "The Diverting
+                  History of John Gilpin") 213
+
+   1828. Fatal Effects of Tight Lacing (from
+                  "Scraps and Sketches") 37
+
+   1828. A Gentleman's Rest Broken (from
+                  "Scraps and Sketches") 163
+
+   1828. Punch Throwing Away the Body Of
+                  The Servant (from "Punch and
+                  Judy") 131
+
+   1830. The Vicar of Wakefield Preaching
+                  to the Prisoners (from "Illustrations
+                  to Popular Works") 193
+
+   1831. Crusoe's Farmhouse and Crusoe In
+                  his Island Home (from "The Life
+                  and Surprising Adventures of
+                  Robinson Crusoe") 241
+
+   1831. Adams's Visit to Parson Trulliber
+                  (from "Joseph Andrews" [1]) 189
+
+   1833. Don Quixote and Sancho Returning
+                  Home (from "The History and
+                  Adventures of the Renowned Don
+                  Quixote") 201
+
+[Footnote 1: Date of vol., 1832.]
+
+   1833. Solomon Eagle (from "A Journal of
+                  the Plague Year") 97
+
+   1836. September--Michaelmas Day (from
+                  "The Comic Almanack," 1836) 41
+
+   1836. X--Xantippe (from "A Comic
+                  Alphabet") 181
+
+   1836. "Eh, Sirs!" (from "Landscape-Historical
+                  Illustrations of Scotland
+                  and the Waverley Novels,"
+                  "Waverley") 169
+
+   1836. "Pro-di-gi-ous!" (from "Landscape-Historical
+                  Illustrations of Scotland
+                  and the Waverley Novels,"
+                  "Guy Mannering") 197
+
+   1836. Turpin's Flight Through Edmonton
+                  (from "Rookwood") 75
+
+   1837. The Streets, Morning (from
+                  "Sketches by Boz") 101
+
+   1837. The Last Cab-driver (from
+                  "Sketches by Boz") 105
+
+   1838. Norna Despatching the Provisions
+                  (from "Landscape-Historical Illustrations
+                  of Scotland and the Waverley Novels,"
+                  "The Pirate") 237
+
+   1839. The Turk's only Daughter approaches
+                  Lord Bateman (from "The
+                  Loving Ballad of Lord Bateman") 229
+
+   1839. Jonathan Wild seizing Jack Sheppard
+                  at his Mother's Grave (from
+                  "Jack Sheppard") 79
+
+   1839. Jack Sheppard drinking from St
+                  Giles's Bowl (from "Jack Sheppard") 80
+
+   1840. The Death Warrant (from "The
+                  Tower of London") 83
+
+   1841. The Veterans (from "Songs, Naval
+                  and National, of Charles Dibden") 245
+
+   1842. Frightening Society (from "George
+                  Cruikshank's Omnibus") _Frontispiece_
+
+   1842. The Duel in Tothill Fields (from
+                 "Ainsworth's Magazine," "The
+                  Miser's Daughter") 87
+
+   1842. Over-head and Under-foot (from
+                 "The Comic Almanack") 53
+
+   1842. Legend of St Medard (from "The
+                  Ingoldsby Legends") 117
+
+   1843. Herne the Hunter appearing to
+                  Henry VIII. (from "Ainsworth's
+                  Magazine," "Windsor Castle") 137
+
+   1844. The Marquis de Guiscard attempting
+                  to assassinate Harley (from
+                  "Ainsworth's Magazine," "Saint James's") 91
+
+   1845. _The_ Lion of the Party (from "George
+                  Cruikshank's Table-Book") 185
+
+   1845. Details from Heads of the Table
+                  (from "George Cruikshank's
+                  Table-Book") 177
+
+   1847. Amaranth carried by the Bee's
+                  Monster Steed (from "The Good
+                  Genius that Turned Everything
+                  into Gold") 149
+
+   1847. "The Cat Did It!" (from "The
+                  Greatest Plague in Life") 221
+
+   1848. Shoeing the Devil (from "The True
+                  Legend of St Dunstan") 122
+
+   1848. The Devil about to Sign (from "The
+                  True Legend of St Dunstan ") 123
+
+   1849. Miss Eske carried away during
+                  her Trance (from "Clement
+                  Lorimer") 109
+
+   1853. The Glass of Whiskey after the
+                 Goose (from "The Glass and the
+                 New Crystal Palace") 62
+
+   1853. The Goose after the Whiskey
+                  (from "The Glass and the New
+                  Crystal Palace") 63
+
+   1854. When the Elephant stands upon his
+                  Head (from "George Cruikshank's
+                  Magazine") 217
+
+   1854. The Pumpkin, etc., being changed
+                  into a Coach, etc., (from "George
+                  Cruikshank's Fairy Library,"
+                  "Cinderella") 153
+
+   1864. The Ogre in the form of a Lion
+                  (from "George Cruikshank's Fairy
+                  Library," "Puss in Boots") 157
+
+   1875. Monk Reading (from "Peeps at
+                  Life") 249
+
+   N.D. Eliza Cruikshank (from a painting) 113
+
+**** The dates in the footlines and in this list are those of the first
+appearance of the works to which they refer. In certain cases the
+reproductions have been made from good impressions which are not the
+earliest of the plates in question.
+
+
+
+
+I
+
+
+The life of George Cruikshank extended from September 27, 1792, to
+February 1, 1878, and the known work of his hand dates from 1799 to
+1875. In 1840 Thackeray wrote of him as of a hero of his boyhood, asking
+jocundly, "Did we not forego tarts in order to buy his _Breaking-up_ or
+his _Fashionable Monstrosities_ of the year eighteen hundred and
+something?" In 1863, the year of Thackeray's death, Cruikshank was
+asked, by the committee who exhibited his _Worship of Bacchus_, to
+associate with that work some of his early drawings in order to prove
+that he was not his own grandfather.
+
+For years before he reached the great but unsensational age at which he
+died, a sort of cult was vested in his longevity. Dated plates--that
+entitled "The Rose and the Lily" (1875) offers the last example--imply
+that his art figured to him finally as a kind of athleticism.
+
+It was as if, in using his burin or needles, he was doing a "turn"
+before sightseers, with a hired Time innocuously scything on the
+platform beside him to show him off.
+
+Now that his mortality has been proven for a quarter of a century, we
+can coldly ask: why did he seem so old to himself and the world? Others
+greater than he--Titian, Watts--have laboured with genius under a
+heavier crown of snow than he; and the public has applauded their vigour
+without a doubt of their identity. The reason is that they have not been
+the journalists of their age. They have not, like Cruikshank, reflected
+in their works inventions and fashions, wars and scandals, jokes and
+politics, whence the world has emerged unrecognisably the same.
+
+It is said that when Cruikshank was eighty-three, he executed a
+sword-dance before an old officer who had mentally buried him. It was an
+action characteristic of a nature that was scarcely more naïve and
+impulsive at one time than another, but it was the most confusing proof
+of the fact in debate which he could have offered. It was not of a
+numeral that the doubter thought when the existence of Cruikshank was
+presented to his mind's eye. His thought we may elaborate as follows.
+
+The artist who drew Napoleon week by week, with all the vulgar insolence
+which only a great man's contemporaries can display towards him, was the
+same who, half a century after the Emperor's death, produced a
+conception of the "Leader of the Parisian Blood Red Republic of 1870."
+The artist who, in the last year of the reign of George the Third,
+depicted Thistlewood's lair in Cato Street, drew also, as though with "a
+mother's tender care," almost every pane in that glass palace which the
+trees of Hyde Park inhabited in 1851.
+
+Before the punctuality of his interest in everything new that rose to
+the surface to obliterate an expiring mode or event, we stand
+astonished. It is not so much as an artist that we here admire him. It
+is as an Argus of the street, an Argus not only with many eyes but with
+feet enough to plant him at once in a hundred corners. From this voluble
+Argus his mistress Clio recoils but cannot dismiss him. Aghast she
+observes him presenting the Prince Regent in a hundred burlesquely
+improper parts; and it is a discreet generation indeed which remembers
+_Coriolanus addressing the Plebeians_ and forgets _The Fat in the Fire_.
+Clio withdraws, but does not forbid us to stay. And stay I do, at all
+events, to examine the packed and ugly caricatures which are the visible
+laughter of Cruikshank the Argus of journalism. Their violent colours
+and vigorous lines fail not in invocation. Before the student of them
+rise the supple, blue-eyed leech called Mrs Clarke and her
+grossly-doating Commander-in-chief; Lady Jersey, Lady Douglas and the
+other villains of the drama entitled "Queen Caroline;" the Marchioness
+of Hertford, the Countess of Yarmouth, or whoever brought down upon
+_Coriolanus_ the "heigho!" of a ribald Rowly; and, lest one grow lenient
+to royal self-indulgence, it is accused by the recurring presence of a
+figure of tormented respectability. It is the Cruikshankian John Bull,
+as different from Sir F. C. Gould's well-fed monitor of Conservative
+politicians as is Cruikshank's darkly criminal Punch from Richard
+Doyle's domesticated patron of humour. This John Bull is hacked to
+make a Corsican and Yankee holiday, taxed at the bayonet's point,
+starved on bread at eighteenpence the quartern, and offered up as a
+sacrifice to a Bourbon "Bumble-head."
+
+[Illustration: CARICATURE ON TAXATION
+
+No. 464 of Reid's Catalogue, published March 19, 1815.]
+
+But the visions that detain the student of Cruikshank the journalist are
+not only of personages and events. He saw and recorded the crowd and the
+clothes of the crowd. His art preserves the ladies of 1816, who
+resembled the bowls of tobacco pipes; the men of 1822, who wore trousers
+like pears; and the children of 1826, whom the hatter turned into
+"Mushroom Monstrosities."
+
+Cruikshank the journalist constitutes a fame in himself whose trumpeters
+are Fairburn, Fores, Humphrey, Hone ..., publishers who, in an age
+before photo-engraving, easily sold topical caricatures separately at a
+shilling or more. Gillray's name, in my estimation, outweighs
+Cruikshank's at the foot of such publications, while Rowlandson's weighs
+less. Together these three masters of caricature compose a constellation
+of third and fourth Georgian humour.
+
+But we have by no means done with Cruikshank when we have admired him
+there. A greater Cruikshank remains to be admired. Of him there is no
+assignable master; neither Hogarth nor Gillray. He is the illustrator
+whose fame makes more than six hundred books and pamphlets desirable; he
+is truly an artist, a maker of beauty. Stimulated though this greater
+Cruikshank was in the flatter and more decent epoch which succeeded the
+age of _Coriolanus_ or _King Teapot_, of _Don Whiskerandos_ or
+_Sardanapalus_, Regent and King of Britain and mandarin of Brighton, it
+was in the age of muddle and debauch, not in the age of Victorian
+propriety and reform, that Cruikshank entered fairyland for the first
+time and saw the little people face to face. Cobbett has ignored the
+fact, but there is grace in it even for the "Big Sovereign" whom he
+pilloried in five hundred and eleven paragraphs.
+
+We shall find, alas! as we proceed, that, as illustrator, Cruikshank
+often sank below his journalistic level. The journalist may always take
+refuge in the actual life of the fact before him; his are real
+landscapes, real faces. But the illustrator has often only lifeless
+words to instruct him; when short of inspiration he is in the thraldom
+of his manner. Cruikshank's thraldom to his manner was the more obvious,
+since the manner was often wooden, often joyously ugly. His fame
+perpetuates his failures. The insipidity which affronted Boz has no
+effect in stopping the demand for "the fireside plate." Still, his best
+as well as his worst is in his illustration of books. It is his best
+that excuses the criticism of his worst and enrols him among the great
+artists of the nineteenth century.
+
+I propose in the pages that shall follow to set down the significance
+both of his best and of his worst, avoiding, as befits the date of my
+labour, any biographical matter which does not throw light on his art.
+And first let us follow his path in journalism.
+
+
+
+
+II
+
+
+The limits of Cruikshank's genius and the spacious area between them are
+almost implied in the fact that he was a Londoner who seldom or never
+departed from the "tight little island." Born in Duke Street, St
+George's, Bloomsbury, if the statement in his epitaph in St Paul's
+Cathedral is to be accepted, he continued a Londoner to the end: living
+in Dorset Street, near Fleet Street, in Amwell Street, and Myddelton
+Terrace, Pentonville, and finally in the house called successively 48
+Mornington Place and 263 Hampstead Road. Yet this cockney depicted the
+Spain of Don Quixote and Gil Bias, the Ireland of Lord Edward
+Fitzgerald, and the America of Uncle Tom. Such courageous versatility
+was the outcome of a training so practical that I hesitate to call it an
+artistic education.
+
+His father, Isaac, was a Lowland Scot who lived and, unfortunately,
+drank by his art, which in 1789, 1790 and 1792 was represented at the
+Royal Academy. His period was from 1756 or 1757 to 1810 or 1811. Like
+his friend James Gillray, he caricatured on the side of Pitt. I remember
+no better caricature of his than _Pastimes of Primrose Hill_ ("Attic
+Miscellany," 1st Sept. 1791), depicting a perspiring tallow chandler
+trundling his children up that eminence. He was energetic in the
+delineation of the insipid jollity considered appropriate to sailors,
+and he celebrated the O.P. riots at Covent Garden by drawing Angelica
+Catalani as a cat. Thomas Wright places him only after Gillray and
+Rowlandson as a caricaturist, but it is probable that the man's best is
+of an academic sort, such as the pretty drawings which he contributed to
+a 1794 edition of Thomson's "Seasons." Isaac Cruikshank's workroom was
+that of a busy hack, and George had not been long in the world before he
+played ghost there on his father's copperplates. One of his early tasks
+was the background of _Daniel in the Lions' Den_.
+
+None who looks at the drawing of a supercilious benefactor, which is one
+of George's earliest efforts, can doubt that in him the caricaturing
+instinct was basic. The eye is indulgent to several crudities, because
+the flinging is drawn though the hand of contempt is not, while the
+gluttonous enthusiasm of the beggar is a triumph of juvenile
+observation. Here are characters if not figures; here from a little boy
+is work that deserves a laugh. Hence it is not surprising that George
+Cruikshank has been erroneously credited with a share in _Facing the
+Enemy_, a dateless etching, delightfully droll in animal expression,
+etched by his father, after a sketch by H. Woodward, and published in
+1797-8, according to Mr A. M. Broadley, and not in 1803 as formerly
+conjectured.
+
+[Illustration: SPECIMEN OF VERY EARLY WORK, from the original drawing,
+No. 9850 in the George Cruikshank Collection, South Kensington Museum.]
+
+1803 is the year of Cruikshank's Opus I., according to G. W. Reid, his
+most voluminous bibliographer. This work, printed and sold by W. Belch
+of Newington Butts, consists of four marine pieces on a sheet, most
+comfortably unprecocious and as wooden as a Dutch doll. A humorist
+inspecting it might profess to see in a woman, whose nose and forehead
+produce one and the same straight line, a prophecy of the Cruikshankian
+nose which is so monotonously recurrent an ornament in the works of
+"the great George." Cruikshank himself averred that one of the first
+etchings he was ever employed to do and paid for was a sheet of Lottery
+Prints (published in 1804) of which he made a copy in his eighty-first
+year. The etching contains sixteen drawings of shops. The barber's shop
+door is open to disclose an equestrian galloping past it, although, even
+as a man, he drew horses which G. A. Sala declared were wrong in all the
+traditional forty-four points. George Cruikshank himself, whom, as Mr G.
+S. Layard has shown, he repeatedly drew, appears in a compartment of
+this etching, in the act of conveying the plate of it to the shop of
+Belch, a name for which Langham is substituted in a re-issue of this
+gamblers' temptation, and which dwindles into Langley & Belch in the
+copy made by Cruikshank in 1873, published by G. Bell, York St., Covent
+Garden.
+
+1806 is the date of the first book, or rather pamphlet, with which
+George Cruikshank is connected. It is entitled "The Impostor Unmasked,"
+and pillories Sheridan for a farcical swindler and something worse.
+There is a folding plate to fortify the charges of Patricius the
+scandal-monger, and this is ascribed to George by Reid, though Captain
+Douglas, George's latest bibliographer, only allows that "there seems to
+be some of George's work in it." Reid's authority, which had in all
+probability the living George's behind it, excuses a brief description
+of this plate. Sheridan is depicted in the act of addressing a crowd of
+Stafford electors, amongst whom are several creditors who pun bitterly
+on the parliamentary word Bill and damn the respects which he pays them.
+A house on the right of the hustings might have been sketched on a slate
+by any child weary of pothooks, but there is a touch of true humour in
+the quiet joy shown on the face of a supporter of Sheridan in the
+heckling to which he is subjected. Gillray had already published (March
+10, 1805) his _Uncorking Old Sherry_, and so this Cruikshankian
+caricature may be accepted as George's first step in the Gillrayan path.
+
+The path of Gillray, in and out of which runs the path of Thomas
+Rowlandson, is seldom or never dull; sometimes unclean in a manner
+malodorous as manure, but with risings which offer illuminating views.
+His humour is tyrannically laughable. The guffaw is, as it were, kicked
+out of the spectator of _The Apotheosis of Hoche_ (1798) by the
+descending boots, depicted as reluctantly yielding to the law of
+gravity, which the triumphant devastator of La Vendée has overcome.
+Gillray's sense of design was superb, and he would be an enthusiast who
+should assert that George Cruikshank in political caricature produced
+works at once so striking and architecturally admirable as _The Giant
+Factotum_ [Pitt] _Amusing Himself_ (1797). Gillray possessed what
+Cruikshank lacked altogether, the inclination and power to draw
+voluptuousness with some justice to its charm. One has only to cite in
+confirmation of this statement _The Morning after Marriage_ (August 5,
+1788), and compare it with any of those caricatures in which Cruikshank
+exhibits the erotic preferences of George the Third's children. What,
+however, Cruikshank, in the artistic meaning of vision, saw in Gillray,
+he adapted with the force of a boisterous participant in the patriotism
+and demagogy of his day. Gillray had Napoleon for his prey, and no
+political criticism is pithier than the caricature which represents the
+Emperor as _Tiddy-Doll, the great French Gingerbread-Baker, drawing out
+a new Batch of Kings_ (1806). On the other hand, nothing that Swift is
+believed to have omitted in his description of Brobdingnag could be
+coarser than _The Corsican Pest_ (1803). It is almost literally humour
+of the latrine. Unhappily Cruikshank exulted like a young barbarian in
+the licence conferred by precedent, and it is hard to view with
+tolerance his pictorial records of "the first swell of the age." One of
+the wittiest is _Boney Hatching a Bulletin, or Snug Winter Quarters_
+(Dec. 1812); the Grand Army is there seen in the form of heads and
+bayonets protruding from a stratum of Russian snow; the courier who is
+to convey the bulletin has boards under his boots to prevent his
+submersion. Elsewhere one's admiration for inventive vigour struggles
+against disgust at a mode which one only hesitates to call blackguardism
+because the liveliest contents of the paint-box were lavished upon it.
+Take, for instance, the caricature which bears the rhymed title, _Boney
+tir'd of war's alarms, flies for safety to his darling's arms_ (1813).
+The devil bears Bonaparte on his shoulders to the Empress Marie Louise,
+after the Russian campaign. "Take him to Bed, my Lady, and Thaw him,"
+says the devil. "I am almost petrified in helping him to escape from his
+Army. I shall expect him to say his prayers to me every night!" Another
+Cruikshankian caricature, _The Imperial Family going to the Devil_
+(March 1814), represents the rejection of Napoleon by that connoisseur
+of reprobates, though Rowlandson in the same month and year depicted the
+fallen emperor as _The Devil's Darling_. Cruikshank's vulgar
+facetiousness, interesting by sheer vigour and self-enjoyment, pursues
+Napoleon even to St Helena in the heartless caricature which portrays
+him as an ennuyé reduced for amusement to rat-catching. It was not for
+nothing that Thomas Moore, alluding to the Prince Regent as Big Ben,
+made Tom Cribb say:--
+
+    "Having conquer'd the prime one, that mill'd us all round,
+     You kick'd him, old Ben, as he gasp'd on the ground."
+
+Gillray is said to have sometimes disguised his style in order to evade
+his agreement with Humphrey that he would work for no other publisher;
+and there is more than one of Cruikshank's Napoleonic caricatures which
+might be ascribed to Gillray's dram-providing _alter ego_ if their
+authorship were in question. Of such is _Quadrupeds, or Little Boney's
+Last Kick_, published in "The Scourge" (1813). Here the Russian bear
+holds a birch in his right paw, and Napoleon by an ankle with his left;
+a naked devil points to the crown, tumbling from the head of the
+capsized emperor; on the ground is an ironical bulletin. _Old Blucher
+beating the Corsican Big Drum_ (1814) is an even closer match of the
+baser sort of Gillrayan caricature; while the particular stench of it
+rises from _Boney's Elb(a)ow Chair_, of the same date. The last
+caricature from Cruikshank upon Napoleon came feebly in 1842 with the
+issue of "George Cruikshank's Omnibus," wherein he figures as a skeleton
+in boots surmounting a pyramid of skulls. The caricaturist's
+harlequinade had lasted too long; when it ceased, the soul of it utterly
+perished, and one views impatiently so formal and witless a
+galvanisation as was suggested by the return of Napoleon, dead, to the
+reconquest of France.
+
+Of Cruikshank's Napoleonic caricatures as a whole, it may be said that
+their function was solely to relieve by ridicule the pressure of a
+grandiose and formidable personality upon the nerves of his countrymen.
+He did not, like Gillray in _The Handwriting on the Wall_, confess the
+historic greatness of Napoleon by an allusion so sublime that it
+afforded Hone a precedent for unpunished impiety. When, for serio-comic
+verse, he attempted to delineate a monitory apparition, in the shape of
+Napoleon's "Red Man," the result was absurdity veiled by dulness.
+
+       *       *       *       *       *
+
+But it is time to turn to the Cruikshankian view of persons and things
+in Great Britain in the lifetime of "Adonis the Great." It is said that
+while Gillray was productive, an old General of the German Legion
+remarked, alluding to caricature, "Ah! I dell you vot--England is
+altogether von libel." With the spirit of this speech, one can cordially
+agree. The concupiscence of princes was serialised for the mirth of the
+crowd.
+
+There were two great types of ascendant degeneracy to divert the eyes of
+Farmer George's subjects from their shops and Bibles. One was his son
+George, the other Mary Anne Clarke.
+
+The cabinet in which George kept capillary souvenirs of so many women
+was fastened against contemporary critics of his career. Undivulged,
+therefore, was the touching sentiment of a philofeminism which, in
+excluding his legal wife, was construed but as vice. There was no Max
+Beerbohm in his day to appreciate his polish and talents and to pity his
+wife for playing her tragedy in tights. There was no one to pronounce
+him the slave of that most endearing of tyrants, the artistic
+temperament. The caricaturists saw simply a polygamist eager to convict
+of adultery the wife whom he disliked and avoided, and a spendthrift
+whose debt was inflicted upon the nation. So far as man can show up his
+fellow-men, this man was shown up, and in verse and picture became an
+instrument of public titillation. So roguish a severity as the
+caricaturists displayed can seldom be accepted as didactic Gillray,
+indeed, in _The Morning after Marriage_ followed him into the bridal
+chamber of Mrs Fitzherbert whom he married in 1785, and this caricature
+is the best advertisement of his grace and beauty which perhaps exists.
+When attacked by Cruikshank, he was over forty, for the first caricature
+of him in which that artist's hand is noticeable was published in 1808.
+It is entitled _John Bull Advising with His Superiors_: the superiors
+being George and his brother Frederick, who sit under the portraits of
+their respective mistresses, "Mrs Fitz" and Mrs Clarke. John Bull is
+clean-shaven, fat-nosed, hatted, and holds a gnarled stick. "Servant
+Measters," he begins, "I be come to ax a bit of thy advice"; but he
+proceeds to freeze them with clumsy innuendo and adds, "I does love good
+old Georg [_sic_], by Goles! because he is not of that there sort,"
+meaning their own. After this, the Regent was for Cruikshank a stimulant
+to the drollest audacities. The world was younger then and could laugh
+uproariously at the bursting of a dandy's stays and the mislaying of a
+roué's removable whiskers. Mrs Grundy had not persuaded it of the
+superior comicality of Mrs Newlywed's indestructible pie-crust and Mr
+Staylate's interview with the parental boot. So George, who, at any
+rate, was real life, blossomed abundantly to another George's
+advantage. Thus _The Coronation of the Empress of the Nairs_ (September
+1812)--a simile suggested by a contemporary account of a curious Asiatic
+race--depicts him as crowning the Marchioness of Hertford in her bath;
+_A Kick from Yarmouth to Wales_ illustrates the assault of the provoked
+Earl of Yarmouth upon his wife's too fervent admirer; and _Princely
+Agility_ (January 1812) shows His Royal castigated Highness confined by
+a convenient sprained ankle to bed, where his whiskers and wig are
+restored to him. The opening of Henry the Eighth's coffin in St George's
+Chapel, Windsor, April 1, 1813, suggests to Cruikshank _Meditations
+Amongst the Tombs_, in which the greatness of the deceased sovereign
+forcibly strikes the Regent. "Great indeed!" he is made to say, "for he
+got rid of many wives, whilst I, poor soul, can't get rid of one. Cut
+off his beard, doctor, 'twill make me a prime pair of royal whiskers."
+The prince's partiality for the bottle is severely illustrated. In _The
+Phenix [sic] of Elba Resuscitated by Treason_ (May 1, 1815), he receives
+the news of Napoleon's outbreak, seated on a cushion with a decanter
+behind him; and even when he was King, Cruikshank dared to draw him
+(1822) as drunk and curing an irritated cuticle by leaning his kilted
+person against one of the posts of Argyleshire.
+
+If, however, Caroline of Brunswick had not, by adopting a Meredithian
+baby and other eccentricities, condemned herself to "Delicate
+Investigation" in 1806 and to a trial before the House of Peers in 1820,
+Cruikshank's delineations of Adonis the Great would have seemed genial
+compared with Thackeray's contempt. That his sentiment for the lady was
+less chivalrous than Thackeray esteemed it, may be divined by his
+caricature of her as an ugly statue of Xantippe put up to auction
+"without the least reserve" (1821), which is less than two months older
+than his conception of her as a rushlight which Slander cannot blow out.
+But he perceived, as did the whole intelligent proletariat, the
+monstrous irony of George's belated notice of his wife. Hence in his
+woodcuts to "The Queen's Matrimonial Ladder" and "Non Mi Ricordo!" he is
+not comic but satirical, and satirical with strokes that turn The Dandy
+of Sixty who bows with a grace into a figure abjectly defiant, meanly
+malevolent, devoid of levity. A cut in the former pamphlet shows him
+standing in a penitential sheet under the seventh, ninth and tenth
+commandments, meeting the gaze of an astonished urchin; on the outside
+of the latter pamphlet we see him in the throes of awkward
+interrogation, uttering the "Non Mi Ricordo" which Caroline's
+ill-wishers were tired of hearing in the mouth of Bergami.
+
+Mary Anne Clarke, our second type of ascendant degeneracy, was, if
+Buck's drawing of her is truthful, a woman of seductive prettiness, but
+she could not teach Cruikshank her charm in atonement for her venality.
+He drew her petticoat "supported by military boots" and surmounted by a
+cocked hat and the mitre of the ducal bishop of Osnaburg (February 23,
+1809); "under this," it is stated, "may be found a soothing for every
+pain." When Whigs and the Prince of Wales sent the Duke of York back in
+1811 to the high post which he had disgraced, Mrs Clarke dwindled in
+Cruikshank's caricature to a dog improperly exhibiting its contempt for
+Colonel Wardle's left eye. It is curious that the Clarke scandal did not
+apparently inspire any caricature which deserves to live as pictorial
+criticism. Revealing, as it did, not only rottenness in the State, but
+in the Church, since Dr O'Meara sought Mrs Clarke's interest for the
+privilege of preaching "before royalty," one may well be surprised at
+the failure of caricature to ennoble itself in the cause of honour and
+religion. Yet Cruikshank produced in 1811 a powerful etching--_Interior
+View of the House of God_--which shows, apropos a lustful fanatic named
+Carpenter, his power to have seized the missed opportunity. In this
+plate is the contemporary portrait of himself which P. D'Aiguille
+afterwards copied.
+
+If we ask, for our soul's sake, to sicken of the Regent's amours and of
+the demure "Magdalen" of York, whose scarlet somehow softens to maroon
+because she is literary and quotes Sallust, it is necessary to leave the
+caricatures which laugh with her--especially Rowlandson's--and look at
+Cruikshank's tormented John Bull. The most pathetic is perhaps _John
+Bull's Three Stages_ (1815). In the last stage (_Peace with all the
+World_) his child, once pressed to eat after repletion, says, "Give me
+some more bone." The hand that drew the earlier plates of _The Bottle_
+is unmistakable in this etching.
+
+It was seemingly in 1819 that Cruikshank first realised his great powers
+as a critic in caricature. To that period belongs what a pamphleteer
+called "Satan's Bank Note":--
+
+    "Notes which a 'prentice boy could make
+     At fifteen for a shilling."
+
+The Old Lady of Threadneedle Street earned thereby the sobriquet of
+Hangland's Bank, and her victims included two women on a day when
+Cruikshank looked at the gibbet of the Old Bailey. They were hanged for
+passing forged one pound notes. Cruikshank thereupon drew his famous
+_Bank Restriction Note_, signed by Jack Ketch, and with a vignette of
+Britannia devouring her children above an $L$ of rope. Hone issued this
+note (of which there are three varieties) from his shop on Ludgate Hill,
+a stone's throw from the gibbet; the public flocked to see and buy it,
+and the moral was not lost upon the Bank of England, who thereafter sent
+forth no more one pound notes. The pathos as distinct from the tragedy
+of the condition thus relieved is well recalled by the caricature
+invented by Yedis and drawn by Cruikshank entitled _Johnny Bull and his
+Forged Notes_ (January 7, 1819).
+
+[Illustration: Johnny Bull and his FORGED Notes!! or
+
+RAGS & RUIN in the Paper Currency!!!
+
+No. 865 in Reid's Catalogue, published Jan. 1819.]
+
+We now turn to the lighter side of his topical journalism. One of his
+subjects was gas-lighting. _The Good Effects of Carbonic Gas_ (1807)
+depicts one cat swooning and another cut off from the list of living
+prime donne by the maleficence of Winzer's illuminant. In 1833
+Cruikshank reported a ghost as saying to a fellow-shade, "Ah! brother,
+we never has no fun now; this 'March of Intellect' and the Gaslights
+have done us up."
+
+Jenner had him for both partisan (1808) and opponent (1812). In the
+former rôle he makes a Jennerite say, "Surely the disorder of the Cow is
+preferable to that of the Ass," and the realism is nauseous that
+accompanies the remark. As opponent he wittily follows Gillray, who in
+1802 imagined an inoculated man as calving from his arms. Prominent in
+Cruikshank's caricature (a bitter one) is a sarcophagus upon which lies
+a cow whom Time is decapitating. "To the Memory of Vaccina who died
+April the First," is the touching inscription.
+
+I have already mentioned Cruikshank as a chronicler of fashion. Gillray
+was his master in this form of art, though the statement does not rest
+on the two examples here given. The thoughtful reader will not fail to
+admire the incongruity between the children in the drawing of 1826 and
+the great verities of Nature--cliff and sea--between which they strut.
+The latter drawing is as grotesquely logical as a syllogism by Lewis
+Carroll. Comparable with it in persuasiveness is Cruikshank's
+short-skirted lady (December 1833) who is alarmed at her own shadow,
+which naturally exaggerates the distance between her ankles and her
+skirt. Thence one turns for contrast to the caricature of crinolines in
+"The Comic Almanack" for 1850. It is called _A Splendid Spread_, and
+represents gentlemen handing refreshments to ladies across wildernesses
+of "dress-extenders" by means of long baker's peels. Such drawing
+educates; it has the value of criticism.
+
+[Illustration: JUVENILE MONSTROSITIES, published January 24, 1826.]
+
+This praise is tributary to Cruikshank's second journalistic period. By
+journalistic I mean topical, attendant on the passing hour. His first
+journalistic period begins formally with his first properly signed
+caricature, an etching praised by Mr F. G. Stephens, entitled _Cobbett
+at Court, or St James's in a bustle_, and published by W. Deans, October
+16, 1807. This period includes Cruikshank's contributions to "The
+Satirist," "The Scourge," "Town Talk" and "The Meteor." It merges into
+the second period in 1819, the year that saw the first three volumes of
+"The Humourist." The principal journalistic works of this second
+journalistic period are _Coriolanus addressing the Plebeians_ (1820),
+"Scraps and Sketches" (1828-1832), "The Comic Almanack" (1835-1853),
+"George Cruikshank's Omnibus" (1842), and "George Cruikshank's Table
+Book" (1845).
+
+_Coriolanus_ is less a caricature than a _tableau vivant_. It was
+invented by J. S., whom Mr Layard says was Cruikshank's gifted servant
+Joseph Sleap. The "Plebeians" are Thistlewood the conspirator, Cobbett
+armed with Tom Paine's thigh bones, Wooler as a black dwarf, Hone,
+George Cruikshank, etc. George IV., in his Shakespearean rôle abuses
+them soundly. As regards the monarch, the work is un-Cruikshankian; its
+laborious and minute technique is a foreshadowing of a happier
+carefulness.
+
+The journalism of "Scraps and Sketches" is immortal in _The Age of
+Intellect_ (1828), which even Mrs Meynell, writing as Alice Thompson,
+found "most laughable." Here a babe whose toy-basket is filled with the
+works of Milton, Bentley, Gibbon, etc., learnedly explains the process
+of sucking eggs to a gaping grandmother, who suspends her perusal of
+"Who Killed Cock Robin?" while she declares that "they are making
+improvements in everything!" To my mind the best topical plate in
+"Scraps and Sketches" is _London going out of Town, or the March of
+Bricks and Mortar_ (1829). No one who has seen a suburb grow inexorably
+in field and orchard, obliterating gracious forms and sealing up the
+live earth, can miss the pathos of this masterpiece. Yet it is not a
+thing for tears, but that half smile which Andersen continually elicits
+by his evocation of humanity from tree and bird and toy. For Cruikshank
+gives lamenting and terrified humanity to hayricks pursued by filthy
+smoke. He gives devilish energy to a figure, artfully composed of
+builder's implements, which saws away at a dying branch; and he imparts
+an abominable insolence to a similarly composed figure which holds up
+the notice board of Mr Goth.
+
+[Illustration: _Fatal effects of tight lacing & large Bonnets_
+
+From "Scraps and Sketches," Part I., May 20, 1828.]
+
+Nearer perhaps to Cruikshank's heart than this triumph of fancy was _The
+Fiend's Frying Pan_ (1832), published in the last number of "Scraps
+and Sketches," which represents the devil, immensely exultant, holding
+over a fire a frying-pan which contains the whole noisy lascivious crowd
+and spectacle of Bartholomew Fair. The fair was proclaimed for the last
+time in 1855, and Cruikshank was pleased to figure himself as an
+inspirer of the force that struck at its corrupt charm after the fair of
+1839 and condemned it to a lingering death. _The Fiend's Frying Pan_ is
+now chiefly remarkable as an early example of Cruikshank's love of
+crowding a great deal of real life into a vehicle that belittles it.
+This frying-pan sends the thought forward to the etching entitled
+_Passing Events, or the Tail of the Comet of 1853_, where Albert Smith's
+lecture on Mont Blanc, a prize cattle show, emigration to Australia, and
+"Uncle Tom's Cabin," are all jumbled together in the hair of a comet
+which possesses a chubby and beaming face.
+
+The pictorial journalism of the "Comic Almanacks" is often delicious; no
+ephemerides, in my knowledge, equal them in sustained humorous effect.
+_Guys in Council_ (1848) haunts one with its grave idiocy. Even His
+Holiness Pius X. could scarce refrain from smiling at the blank stare of
+the rigid papal guy in the chair, at the low guy who, ere leaving the
+conclave, challenges him with a glance of malignant cunning. On the
+other hand, it would be hypercritical to seek a prettier rendering of an
+almost too pretty custom than _Old May Day_ (1836), with its dancers
+ringing the Maypole by the village church. Cruikshank's extraordinary
+power of conveying dense crowds into the space of a few square
+inches--say six by three--is shown in _Lord Mayor's Day_ (1836) and _The
+Queen's Own_ (1838), illustrating Victoria's Proclamation Day. In the
+1844 Almanack he humorously foreshadows flying machines in the form of
+mansions; but the 1851 Almanack shows his liberality scarcely abreast of
+his imagination, as _Modern Ballooning_ is represented by an ass on
+horseback ascending as balloonist above a crowd of the long-eared tribe.
+
+[Illustration: SEPTEMBER--MICHAELMAS DAY. From the "Comic Almanack,"
+1836.]
+
+One cannot, however, glance through Cruikshank's Victorian caricatures
+without perceiving that the passing of the Regent slackened his
+Gillrayan fire. True, in the "Table Book" we have a John Bull whose
+agony reminds us of the suffering figure in _Preparing John Bull for
+General Congress_ (1813): the midgets of infelicitous railway
+speculation who strip this bewildered squire of hat and rings, of boots
+and pocket-book, while a demented bell fortifies their din, are of an
+energy supremely Cruikshankian: no other hand drew them than the hand
+which enriched the immortality of the elves in Grimm. Nor will one
+easily tire of a vote-soliciting crocodile in the "Omnibus"; and yet the
+fact remains that the great motives of Cruikshank's political caricature
+pulsated no more. He was ludicrously incompetent for the task of
+satirising the forward movement of women: the Almanacks show that, if
+their evidence be required. The subjects of Queen Victoria found in
+Keene and Du Maurier pictorial critics who, by the implication of their
+veracity, their success, demonstrate his imperfect understanding of a
+generation to whom George the Fourth was history and legend. To the
+ironists of that generation there was something in the Albert Memorial
+more provocative than the
+
+        "--huge teapots all drill'd round with holes,
+    Relieved by extinguishers, sticking on poles"
+
+which distinguished the Folly at Brighton. It is too much to say that
+the art of the Victorian epoch establishes this fact; yet of what
+caricaturist can it be said as of Cruikshank that his naïf enthusiasm
+for all that an Age rather than a Queen signified by the Albert Memorial
+forced him into the rôle of its patron rather than its satirist? In _A
+Pop Gun_ (1860) there is a pathetically feeble engraving, after a
+drawing by Cruikshank of Prince Albert and the late Queen, which almost
+brings tears to the eyes, its insipidity is so loyally unconscious. And
+what does all his marvellous needlework in the Great Exhibition novel
+entitled "1851: or The Adventures of Mr and Mrs Cursty Sandboys,"
+accomplish for satire in comparison with what it accomplishes as a puff
+and a fanfare? Here, as in the _Comet_ of his ill-fated Magazine (1854),
+is a skill beside which his Georgian caricatures are but a brat's
+defacement of his Board School wall. And yet what is the answer to our
+question? Nothing. It is an answer that rings down the curtain on the
+diorama called "Cruikshank the journalist."
+
+
+
+
+III
+
+
+Cruikshank's didactic work was the offspring of his journalism. No man
+can journalise with spirit and remain uncritical. Criticism is, in
+truth, the soul of caricature, which by stressing the emphasis of Nature
+on face and expression makes even simpletons judges of grandees.
+Photography itself is on the side of illusion; but caricature has X-rays
+for the deformed fact. That a habit of criticism should evolve a passion
+for preaching is only natural, though it is the modern critic with his
+hedonistic bias who has armed the word didactic with a sting. Even such
+a critic must admit that Cruikshank's preaching was from living texts
+and that the preacher seemed well versed in "St Giles's Greek." But
+before speaking specifically of his didactic drawing we will consider
+what led up to it. A balladier of _circa_ 1811 threatens mankind as
+follows:--
+
+    "Since I have had some comic scenes,
+    Egad! I'll sing them all, sir,
+    With my bow, wow, what a row!
+      fal lal de riddy, riddy, sparkey, larkey,
+      funny, dunny, quizzy, dizzy, O."
+
+This animal outburst breathes the spirit of all the "bang up" books of
+the last Georgian period, and might almost have served as a motto for
+Pierce Egan's "Life in London" (1821), and David Carey's "Life in Paris"
+(1822). Blanchard Jerrold's bibliography of Cruikshank begins with "A
+Dictionary of the Slang and Cant Languages" (1809), to which the artist
+contributes _The Beggars' Carnival_--a folding frontispiece. In
+assisting his brother Robert--who styled himself "original suggester and
+artist of the 2 vols." containing "Life in London" and its sequel--to
+illustrate the rambles and sprees of "Jerry Hawthorn, Esq., and his
+elegant friend Corinthian Tom," George seems to have seen carnival on a
+more liberal scale. "Life in London" ranges from the Westminster [Dog]
+Pit to Rotten Row, and from the [Cyprian] Saloon of Covent Garden to the
+Press Yard of Newgate. One of the spirited plates (_Tom and Jerry taking
+Blue Ruin_) powerfully presents some pitiable pothouse types, and is a
+text, though it is not a sermon. Another illustration, reproduced here,
+compares equally with _Dick and His Companions Smashing the Glim_ in
+Carey's work. While illustrating "Life in Paris," George, working alone,
+pursued the example set by Robert when they collaborated. Carey credits
+him with "accuracy of local delineation"--praise which he has often and
+variously deserved--yet it must be confessed that Dick Wildfire like
+Corinthian Tom is at once commonplace and out-of-date. In face he is
+like George in early manhood as Corinthian Tom was like Robert; that is
+his chief recommendation. The book may be silently offered to any one
+who asserts that George's taste in literature was too nice for Pierce
+Egan. One of his plates turns a catacomb into a scene of vulgar mirth.
+
+These novels of excess were stepping-stones to a sounder realism which
+we find in "Mornings at Bow Street" (1824) and "More Mornings at Bow
+Street" (1827). Here the illustrator's task was to illustrate selected
+police cases, and through the medium of wood engraving a most delectable
+entertainment was the result. A choleric gentleman's row with a waiter
+presents itself as a fractured plate in the rim of which two tiny
+figures display respectively the extremes of napkined deprecation and of
+kicking impudence. Tom Crib[b]'s pursuit of a coppersmith suggests a
+wild elephant storming after a frenzy of flying limbs. The genius that
+was to realise Falstaff is disclosed in the drawing of a drummer boy
+discovered in a clothes basket. Did he come to Bow Street? we ask, and
+did those Cupids fighting in the circuit of a wedding-ring come too? The
+answer is Yes, but because of one who probably was not there, whose name
+we know.
+
+[Illustration: _Tom, Getting the best of a Charley._
+
+From "Life in London," by Pierce Egan, 1821.]
+
+At one illustration let us cry halt. It represents a foaming pot of beer
+assaulting a woman who said to the magistrate, "Your honour, it was the
+beer." In itself it is a masterpiece of delicate literalism. That power
+of enlivening the inanimate, which humanises the pump, representing
+Father Mathew at a small party in "The Comic Almanack" of 1844,
+exasperates this pot and bids it strike home. But what we are to observe
+particularly is this early presentation to Cruikshank's mind of
+alcohol as a personality at war with human beings. As far back as 1811,
+in _The Dinner of the Four-in-Hand Club at Salthill_, an uproarious
+piece in the style of Rowlandson's _The Brilliants_ (1801), he put the
+genius of the bottle into form and anecdote, but here we have the
+serious aspect of drink obvious even in humour. Beer is striking a
+woman. In 1832 he produced in _The Ale House and the Home_ a contrast so
+stated in the title that we need say no more than that the gloomy wife
+and her baby, sitting by candlelight in the bare room where the man's
+supper lies to reproach his drink-spoiled appetite, are a sadder sight
+than the frying-pan of St Bartholomew's Fair in the number of "Scraps
+and Sketches" where they appear.
+
+To "Sunday in London" (1833)--a capital social satire--Cruikshank
+contributed fourteen cuts, one of which, _The Pay-Table_, preserves the
+memory of those mischievous contracts between publican and foreman,
+whereby the latter received a percentage of the spendings of his men on
+drink and the men were provided with drink on the credit of the foreman.
+It is an admirable study in fuddled perplexity confronted with Bung in
+a business instead of a Bacchic mood, abetted by a shark of the victim's
+calling. Two other cuts--mere rabblement and eyesore--leave on the mind
+a feeling of disgust almost without interest and without shame. The
+spectator has no sense that these people turned out at church time,
+raging, leering, tottering, have deteriorated from any average or
+standard of human seemliness. If it were not for a dog gazing in
+amazement at one prone drunkard, if it were not for the dog and his
+question, one would ask, _Cui bono_?
+
+This is not missionary work--Cruikshank was only "flirting with
+temperance" as late as 1846--and we need have no compunction in seeking
+relief from such ugliness in the exquisite burlesque of pathos contained
+in _Over-head and Under-foot_ (1842). Forget who can the agonised
+impatience bolted and Chubb-locked in the breast of that lonely
+bachelor, but expressed in his folded arms and upturned face.
+
+[Illustration: OVER-HEAD AND UNDER-FOOT. From "The Comic Almanack,"
+1842.]
+
+1842, which saw that, also saw John O'Neill's poem "The Drunkard," and
+especially _The Raving Maniac and the Driv'ling Fool_, one of four
+etchings by Cruikshank which illustrate it. An anonymous writer, in
+an article for an 1876 reprint of the etchings, says that these two
+figures "are the most forcible ever drawn by the artist's pencil." This
+opinion is unjust to the force of Cruikshank's comic figures, and to
+that terrible pair, Fagin in the condemned cell and Underhill bawling at
+the stake, but the force of the etching thus praised is extraordinary.
+With parted blubber lips and knees relaxed, his nerveless left hand
+dangling at the wrist like a dead white leaf, his right hand grasping
+the gin-glass, the fool, unconscious of tragedy, faces the maniac who
+streams upon the air sleeves that much exceed the length of his
+homicidal arms. By reason of the delicacy of the etching which conveys
+these haunting figures, they excite pleasure before horror, and always
+in horror a little pleasure too.
+
+We now come to the famous series entitled _The Bottle_ (1847) and its
+sequel _The Drunkard's Children_ (1848). Both these works were printed
+from glyphographic blocks and have as little charm as a stentorian
+oration in a small chapel. The story they tell, told also in verse by Dr
+Charles Mackay, is the ruin of a working man and his family through
+drink. The appeal of _The Bottle_ is simple enough to appal the
+aborigines of Africa, to say nothing of the East End: the bottle is a
+"Ju-ju," an evil fetish; the impulse of the beholder is to smash the
+bottle rather than to spill and waste its contents. Yet when the eye
+succeeds in detaching itself from this pompously evident bottle, it
+perceives that the artist has cared also for details less immediate, but
+of a finer eloquence. The liberally filled mantelshelf of plate 1 is at
+least not a mere labour of memory, though no one exceeds George
+Cruikshank in the pictorial multiplication of domestic details. This
+mantelshelf is a symbol; symbols, too, are the open cupboard, so well
+furnished that a less industrious artist would have shut it, and the
+ill-drawn but well-nourished felinity by the fire. In plate 2 the
+cupboard holds naught but two jugs; the lean cat prowls over the bare
+table; an ornament on the mantelshelf lies on its side. Had an artist
+and not a missionary composed plate 3, we might have been spared the
+indecency of a bottle in Lucy's lap when the furniture is distrained to
+pay the bottle's debt. Yet with what horrid strength does the maniac in
+plate 7 clutch the mantelpiece, whose bare ledge is lit by a dip stuck
+in a bottle, while all the neighbours stare at something whose face we
+cannot see! The artist has shouted till he was hoarse, but his story is
+in our marrows.
+
+_The Drunkard's Children_ contains one masterpiece: plate 7, the boy's
+death on the convict-ship. The convict who closes his eyes has the
+sagacity of a sentient corpse; the shadow he casts on the screen which
+two convicts draw around the bed is, in effect, a creature to startle
+us, and the visible half of the chaplain's top-hat lying on a bench in a
+corner of the drawing is an irony which seems to belong to a later age
+than Cruikshank's.
+
+_The Bottle_, employed as an argument by Mr William Cash, converted
+Cruikshank to teetotalism. The result has been to present the artist to
+modern hedonists in the light of a ludicrous bore. Certain it is that in
+his version of _Cinderella_ (1854) he causes the dwarf to inform the
+King that "the history of the use of strong drinks is marked on every
+page by _excess which follows, as a matter of course, from the very
+nature of their composition_," the italics being Cruikshank's, though
+they might well be mine. Teetotalism needs talking and writing, and
+Cruikshank was happy to oblige. He possessed a fluent pen, and delivered
+lay sermons with enthusiasm and originality.
+
+[Illustration: (_a_) THE GLASS OF WHISKEY AFTER THE GOOSE. From "The
+Glass and the New Crystal Palace," 1853.]
+
+[Illustration: (_b_) THE GOOSE AFTER THE WHISKEY. From "The Glass and
+the New Crystal Palace," 1853.]
+
+About four years after his abandonment of alcohol, Cruikshank began to
+figure as a pamphleteer. In 1851 appeared his "Stop Thief"--containing
+hints for the prevention of housebreaking, hallmarked by teetotalism: it
+has a drawing of a burglar retiring because his companion discloses a
+board containing the words, "No Admittance Except On Business." In 1852
+came the "Betting Book," against both drink and betting; this has a
+drawing of two wonderfully knowing fox-faced bipeds contemplating a row
+of geese absorbed in the perusal of the betting lists. Followed "The
+Glass and the New Crystal Palace" (1853), in which, after confessing
+that he "clung to that contemptible, stupid and dirty habit" of smoking
+three years after he had "left off wine and beer," he adds, "at last I
+laid down my meerschaum pipe and said, 'Lie you there! and I will never
+take you up again,'" The drawings of anserine flight and intoxication
+here reproduced compel us to admit that the cerebral compartment
+containing Cruikshank's sense of humour was watertight. In 1854 came
+"George Cruikshank's Magazine." It lived long enough for him to inveigh
+against tobacco through the medium of a rather lifeless etching entitled
+_Tobacco Leaves No. 1_; and he died before he could publish in it
+certain drawings, included, I believe, in a series given to the world in
+1895 by Sir B. W. Richardson, which ridicule the "hideous, abominable,
+and most dangerous custom" of sucking the handles of sticks and
+umbrellas. To the didactic excesses of his "Fairy Library" I need not
+further refer, but in 1856 came a quasi-temperance pamphlet, "The Bands
+in the Parks," where the devil plays the violin with his tail; in 1857,
+"A Slice of Bread and Butter" (re-issued with prefatory "Remarks" in
+1870), a good-humoured satire on conflicting views of charity towards
+waifs; in 1860, "A Pop-Gun ... in Defence of the British Volunteers of
+1803"; in 1863, "A Discovery concerning Ghosts," in which he claimed to
+be the only one who ever thought "of the gross absurdity ... of there
+being such things as ghosts of wearing apparel, iron armour, walking
+sticks, and shovels;" and here we have a mild and pleasant hint of the
+inspissated egoism which dictated "The Artist and the Author" (1872),
+the work in which Cruikshank asserted himself to be the originator of
+"Oliver Twist," "The Miser's Daughter" and "The Tower of London." This
+unfortunate but characteristic pamphlet is the last of the series that
+seems to have been called into existence by the _insanabile scribendi
+cacoëthes_ induced by his fame as a teetotaler. I said characteristic,
+because a jealous dislike of seeing his individuality merged into,
+overshadowed by, or confounded with any other is apparent not only in
+1872, but in 1834, when he carefully named in "My Sketch Book" his
+brother Robert's works, and pictured himself as lifting off the ground,
+by tongs applied to the nose, their publisher Kidd, for whom he is
+anxious to state he only illustrated "The Gentleman in Black" (1831).
+Moreover in 1860 he misused his "Pop-Gun" to picture another publisher,
+who advertised his nephew Percy as Cruikshank _tout court_, as a
+sandwich-man similarly assaulted by him; yet by some freak of
+humour or affection the "very excellent, industrious, worthy good
+fellow" Percy, over whom I throw the embroidery of his uncle's praise,
+bestowed the name of George upon his son, as if for the confusion of
+bibliographers, and the evocation of a spirit armed with the ghosts of
+tongs. Indeed the gods themselves seem to have sported with George
+Cruikshank's name, for Dr Nagler, having read that "the real Simon Pure
+was George Cruikshank," wrote thus in his "Neues allgemeines
+Künstler-Lexicon" (1842): "Pure Simon, der eigentliche Name des
+beruhmten Carikaturzeichners Georg [_sic_] Cruikshank."
+
+Simon Pure shall save us from digression by leading us to a didactic
+work by Cruikshank of which Mrs Centlivre's "quaking preacher" would
+have heartily approved. This work is the oil-painting entitled _The
+Worship of Bacchus_ (1862). It is an old man's athletic miracle, being a
+picture thirteen feet four by seven feet eight, of which there exists an
+etching by the same hand of less, though formidable size, which was
+published June 20, 1864. The oil-painting was presented to the nation by
+Cruikshank's friends and conveyed to its destination April 8, 1869.
+Cruikshank drew a fancy sketch of his mammoth on that great day of its
+life. Little did he imagine what the cognoscenti of the twentieth
+century would think of it.
+
+I saw it in 1902; visited it much as one visits an incarcerated friend,
+following a learned official with jingling keys to a dungeon under the
+show-rooms of the National Gallery. It was alone, was convict 495, alone
+and dingy. Many phrases have been found for this picture. John Stewart
+said that it contains "all the elemental types of pictorial grouping,
+generalised on the two axioms of balance and variety." Another critic
+said that "it is not even a picture, but a multitude of pictures and
+bits of pictures crowded together in one huge mass of confusion and
+puzzle." Cruikshank himself said, speaking August 28, 1862, "I have not
+the vanity to call it a picture.... I painted it with a view that a
+lecturer might use it as so many diagrams."
+
+However he felt, Cruikshank spoke correctly. Painted in low relief, the
+oil-painting presents his intention less satisfactorily than his etching
+of the same subject. Whatever its demerit, the work is extremely
+Cruikshankian. Robert and George Cruikshank, in the "Corinthian Capital"
+of "Life in London," patched up a similarly artificial fabric. George,
+in a work that should not be mentioned in the same breath--_The Triumph
+of Cupid_ (1845)--evokes innumerable amatory incidents by means of the
+tobacco which he renounced so contumeliously. We have in _The Worship of
+Bacchus_, the result of a method equally _naïf_ and ingenious. The root
+idea is materialised in conjunction with a myriad of associative ideas,
+and the picture is worse than a confusion; it is a ghastly and
+ostentatious pattern at which one can neither laugh nor cry. It is the
+work of a big accomplished child, whose ambition to be grown up has
+destroyed his charm.
+
+At the summit of the picture Bacchus and Silenus wave wine-glasses while
+respectively standing and sitting on hogsheads. In the middle of the
+design is a stone ornamented with death's-heads, on which a drunkard
+waves a glass and bottle in front of the god and demi-god. The stone has
+an inscription tributary to the drunkard's victims. On the left side of
+the throne of Bacchus are a distillery, reformatory, etc.; on the right
+is a House of Correction, Magdalen Hospital, etc. In short, the picture
+is a pictorial chrestomathy of drink. That it has converted people, that
+it has even won the tribute of a man's tears, is not surprising, for it
+is, or was, full of truthful suggestion seizable by the mind's eye. But
+it is not beautiful. Thackeray might call it "most wonderful and
+labyrinthine"; it is ugly and ill painted, for Cruikshank was no Hogarth
+with the brush.
+
+So it lay, and perhaps yet lies in its dungeon, and overhead Silenus
+still triumphs divinely drunk on Rubens's canvas; and Bacchus, ardent
+for Ariadne, leaps from his chariot in that masterpiece of Titian, which
+Sir Edward Poynter believes is "possibly the finest picture in the
+world." Poussin's Bacchanalian festivities are still for the mirth of a
+world whence Bacchus has fled; but the god enthroned on hogsheads is not
+mistaken for Bacchus now: Bacchus was stronger than Cruikshank. The
+whole deathless pagan world of beauty and laughter is by him made rosier
+and more silvery. Cruikshank never drew him; the god he drew was Bung
+in masquerade.
+
+I was at Sotheby's on May 22, 1903, when the Royal Aquarium copy of the
+etching of _The Worship of Bacchus_ was sold. It evoked a sneer of "wall
+paper"; and if etchings could think, it would have envied the seclusion
+in which I found its brother in oils.
+
+But at least it was not given to the nation. The fact that the National
+Gallery should possess Cruikshank's colossal failure instead of his
+_Fairy Ring_, instead of any etching from "Grimm" or "Points of Humour,"
+is an accusation against common sense and a triumph of irony.
+
+Let it be remembered, however, that Cruikshank's exposure of ebriety
+from 1829 to 1875, the date which John Pearce in "House and Home"
+assigns to his last temperance piece, deserved at times the notice of
+fame. Matthew Arnold, denying the power of "breathless glades, cheer'd
+by shy Dian's horn" to calm the spectator of _The Bottle_, showed more
+than his ignorance of Diana and her peace. He showed that Cruikshank the
+preacher was a magician too.
+
+
+
+
+IV
+
+
+The best part of Cruikshank's service to Fact has yet to be considered.
+We have seen how he journalised and exhorted; we have still to see the
+talent he poured into journalism and exhortation refined by his
+historical sense and expressing itself in shapes of treasurable beauty.
+
+The historical sense in art may be liberally defined as an æsthetic
+impulse to fix the vanishing and recover the vanished fact. It may be
+absent at the birth of a cartoon filled with political portraits and it
+may have urged the reproduction of a quiet landscape with nothing more
+human in it than a few trees or a line of surf. It operates without
+pressure of topicality and it is stronger than the tyranny of humour.
+
+The reader, searching for the earliest examples of Cruikshank's
+historical imagination to be found in the books which he illustrated,
+would first of all alight on "The Annals of Gallantry," by Dr A. Moore
+(1814-15), and "An Historical Account of the Campaign in the Netherlands
+in 1815," by William Mudford (1817). Suspecting the grotesque, he would
+nevertheless also examine the thirty plates to the Hudibrastic "Life of
+Napoleon" (1815) by Dr Syntax.
+
+As to the "Annals," one may unreluctantly condemn the whole series of
+plates after a glance at the feeble scratches which disfigure the amours
+of Lady Grosvenor and the Duke of Cumberland, and the elopement of Lady
+W---- with Lord Paget. In Mudford's ungenerous history, Cruikshank's
+frontispiece, engraved by Rouse (as are his other contributions), has
+the stiff integrity of portraiture to be expected from a repressed
+caricaturist; Napoleon in flight on his white horse in another plate
+does not even support the comparison of his horsemanship to a sack of
+flour's; the ribbon-like plate of Waterloo, full of microscopic figures,
+has the chastened spirit natural to a work done "under the inspection of
+officers who were present at that memorable conflict."
+
+The illustrations to Dr Syntax's Hudibrastic poem on Napoleon have some
+originality to recommend them as a starting-point for the student of
+Cruikshank as a delineator of historical subjects. They are etchings,
+broad as the typed surface of an octavo page is long, and include the
+_Red Man_ derided on page 21. But the artist already shows that he has
+fancy as well as satire at his command. Witness the illusion created by
+the sleeping Napoleon lifting the coat on his bed in humping the
+counterpane with perpendicular toes, an effect which was remembered in
+Cruikshank's _Ideality_ (Phrenological Illustrations, 1826). There is
+humour, too, in the etching which represents one of Napoleon's
+grenadiers mounted on a stool in order to look as terrible as his
+companions. Though a rancorous prejudice makes Napoleon stand on a cross
+in one plate and his apothecary smile at poisoning the sick at Jaffa in
+another, there is sympathy in a third which depicts him nursing the King
+of Rome, and the eccentricities of Cruikshank's journalistic style are
+happily absent.
+
+We may now pause at the four famous volumes of "The Humourist"
+(1819-20). They contain, _inter alia_, a portrait of Alfieri--a fine
+figure of silent disdain--in the act of sweeping to the floor the tea
+service of a badly drawn Princess, who was tactless enough to wish he
+had broken the whole set instead of one cup. The table leg is a satyr's
+surmounted by the Mephistophelian head considered appropriate to the
+companions of Pan; above the main design are the implements of a writer;
+below it are two porcelain mandarins yoked to a three-headed and triply
+derisive bust. Another historical subject in "The Humourist" is Daniel
+Lambert, to whom a bear once doffed his hat. Ursine politeness and the
+petrified majesty of fat Lambert fill the foreground of the etching;
+behind is a rout of people frightfully interested in another bear. In
+the former of these etchings the hint is better than the performance;
+the latter hints nothing and performs a little admirably.
+
+1823-4 is a period to which we owe some historical etchings of
+consummate skill. They illustrated "Points of Humour," a work in two
+parts which was expressly designed to afford scope for Cruikshank's
+power of rendering ludicrous situations. The artist was on his mettle,
+and his twenty etchings for this collection of anecdotes are among the
+immortal children of Momus. Among his simpler designs is the scene in
+the apartment of Frederick the Great when his heir presumptive demanded
+if the monarch would return his shuttlecock. The required studies of
+childish impudence and royal amusement are perfect. More elaborate, but
+equally successful, is the drawing of the voracious boor, the
+ill-natured general whom he offered to eat, and the King of Sweden who
+enjoyed the spectacle of their emotions. The boor with the hog on a
+plate under his arm, his terrible teeth a-glitter for hog and general,
+is more alarming than the ogre in Cruikshank's _Hop-o'-my-Thumb_; he
+tacitly affirms his creator's power to confer delicious terrors on the
+nursery. Flying Konigsmark's fear of pointing hand and barrack-like
+paunch mingles exquisitely with the hatred of his backward glance, and
+Charles Gustavus smiles with unpardonable _aplomb_. The etching is a
+comic masterpiece. After this there is no advance in Cruikshank's comic
+treatment of history, for his quite simple rendering, more than ten
+years later, "Miscellany" (1838), of a freak of absent-mindedness on the
+part of Sir Isaac Newton in "Bentley's," is of merely sufficient
+merit.
+
+[Illustration: TURPIN'S FLIGHT THROUGH EDMONTON. From "Rookwood," 1836.]
+
+The Ainsworth-Cruikshank connection began, artistically, with the
+etchings which illustrate the fourth edition of "Rookwood" (1836). If
+for Turpin we read Nevison, the novel may pass as quasi-historical. The
+etching here reproduced is in what may be called Cruikshank's
+"Humourist" style. It has vivacity and brightness. The reader who
+figured himself passing into romance through the pretty portico of trees
+depicted on Ainsworth's title-page, will feel, as he looks at this
+representation of comic prodigy, that he has arrived.
+
+One thief succeeded another, and in 1839 Jack Sheppard was pilfering his
+way through "Bentley's Miscellany." If he had done nothing else,
+Cruikshank would have made a deathless reputation for technical skill by
+the etchings in "Jack Sheppard." Sala, who copied the shop-scene
+entitled _The name on the beam_, observes of this etching, at once so
+precise and imaginative, that it is "in its every detail essentially
+Hogarthian." It is a just saying. One can easily imagine Dr Trusler
+poring over it and recording his small discoveries with something of
+the relish he found in his Hogarthian exploration. Appropriately enough,
+Hogarth's portrait appears in the clever etching which depicts Jack in
+chains sitting to two artists, the other being Sir James Thornhill.
+Thackeray has done justice to the high qualities of the etchings
+entitled _The Storm_ and _The Murder on the Thames_. There are effects
+in Cruikshank's river scenes poetic enough and near enough to that
+verity which Impressionists serve better than Ruskinians, to have
+detained Whistler for a minute that might have regenerated the fame of
+Cruikshank.
+
+[Illustration: JONATHAN WILD SEIZING JACK SHEPPARD AT HIS MOTHER'S GRAVE
+IN WILLESDEN CHURCHYARD.
+
+From "Jack Sheppard," 1839.]
+
+[Illustration: From "Jack Sheppard," 1839.]
+
+"Jack Sheppard," with its requisition of antiquarian exactness so
+plausibly met, may well have suggested to Cruikshank a more epic theme
+than the exploits of a master-thief, revolving about a nobler gaol than
+Newgate. In a letter which may or may not have been posted (it is to be
+read at the back of No. 9910 H in the Cruikshank collection at South
+Kensington), he writes: "The fact is, I am endeavouring to emancipate
+myself from the thraldom of the Booksellers, whose slave I have been
+nearly all my life; to effect this object I have published, in
+conjunction with the author, a work called 'The Tower of London.'"
+
+[Illustration: THE DEATH WARRANT. From "The Tower of London," 1840.]
+
+Of the acrimonious discussion that Cruikshank started by claiming to
+have originated Ainsworth's romance, I shall say little. That Cruikshank
+was the senior partner there is no doubt. It was he who took Ainsworth
+to the Tower, and he asserted that he "hardly ever read a line" of the
+text, which must be considered to illustrate his designs. It may be
+said, however, that Ainsworth's text has been repeatedly devoured
+without the aid of Cruikshank's designs. He was a public idol. Smiled on
+once by Sir Walter Scott, he contrived to become the first
+horror-monger, _viâ_ history, of an age whose favourite realism was the
+safe realism of torture and decent crime. In the September before his
+death, which occurred January 3, 1882, he was informed by the Mayor of
+Manchester that the last twelve months' record of the public free
+libraries of that town showed that "twenty volumes of his works" were
+"being perused in Manchester by readers of the free libraries every day
+all the year through."
+
+That I may not write a decrescendo about the designs for "The Tower of
+London," I begin with their faults. Cruikshank's Simon Renard is too
+darkling a Spaniard even for a staged Spain, and even Lady Jane Grey's
+waist should have been made rather larger than her throat. "Mere
+skeletons in farthingales," quoth "The Athenæum" of Cruikshank's Queen
+Mary, Jane and Elizabeth. To what extent defective figure-drawing
+diminishes the proper force of Cruikshank's designs the reader may judge
+by the reproduction of _The Death Warrant_, which is presented as a
+frank example of his melodramatic invention. The masked assassin peers
+at the Spanish Ambassador through the window of the chamber of the Tower
+where the little princes were murdered, and where the pen that has just
+doomed Lady Jane Dudley hovers in Queen Mary's hand. Her hound is an
+incarnate presentiment and the gods of old Drury could have asked no
+more. There are, however, far finer plates in the book. In Underhill,
+the Hot Gospeller, burning at the stake, his finger nails riveted to his
+bare shoulders while he bawls his last agony, Cruikshank shows the
+longevity of the Marian crime--the crime of creating fears and
+loathings, for here we have absolutely a reflective shudder, a naked
+confidence from an abominable place which we thought was cleansed by
+merciful years. No other figure in the gallery of Cruikshank's "Tower"
+is so vital as this dying man, but he drew a handsome Wyat, an
+executioner as repulsive as a ghoul, and groups--for instance Elizabeth
+and her escort on the steps of Traitor's Gate--which a stage manager of
+melodrama might like to imitate.
+
+Partly contemporaneous with "The Tower of London" was Ainsworth's "Guy
+Fawkes" (1840-1) with Cruikshankian etchings, which are as little
+serviceable to the dignity of a brave fanatic as the effigies exhibited
+by boys on the fifth of November. Cruikshank had drawn a typical effigy
+of Guy for "The Every-Day Book" of 1826; twelve years later came his
+ludicrous _Guys in Council_, but being required in 1840 to produce a
+serious Guy he only succeeded in being operatic. In one of his etchings
+the rigidity of Guy's cloak suggests that the garment is a
+"bath-cabinet" in occupation; in another a celestial visitor resembles a
+Dutch doll. Such failures are not to be explained by a desire to annoy
+the publisher of "Guy Fawkes," Richard Bentley, whom Cruikshank bitterly
+attacked in 1842. Cruikshank could and did produce etchings in a hurry
+for stories which he had not read, by way of expressing his dislike for
+a contract which survived his approval of it; but he could also be
+befooled by his own solemnity.
+
+[Illustration: THE DUEL IN TOTHILL FIELDS ("The Miser's Daughter"). From
+"Ainsworth's Magazine," 1842.]
+
+Cruikshank's relations with Ainsworth continued in "Ainsworth's
+Magazine," of which the first number bears the date February 1842. Among
+the stories in this magazine which Cruikshank illustrated must now be
+mentioned "The Miser's Daughter" (1842), "Windsor Castle" (1842-3) and
+"St James's: or the Court of Queen Anne" (1844). The first of these
+stories is only incidentally historical, but it afforded Cruikshank an
+opportunity for quickening his hand with the spirit of place. He has
+told us that his drawing of Westminster Abbey Cloisters and Lambeth
+Church, etc., are "correct copies from nature" [sic], and it almost
+seems as we look at his etchings and water-colours for "The Miser's
+Daughter" that he copied not only stones but living scenes. His ball in
+the Rotunda at Ranelagh has the charm of lavish light and dainty
+gaiety; the humour and grace of his _Masquerade in Ranelagh Gardens_ are
+too obvious for discovery, and his rendering of the pursuit of a
+Jacobite Club on the roofs of houses within view of Westminster Abbey is
+a striking nocturne.
+
+In Cruikshank's designs for "Windsor Castle," Mr Julian Moore finds "the
+minimum of charm and freshness in the drawing, and maximum of
+achievement in technique." I am in disagreement with this verdict, but
+it is not unintelligent. Cruikshank's "machine-ruling" is tyrannous to
+his Ainsworthian work, and an artist serving the historic muse when she
+is very much in earnest can only pray to be academic when he is not
+inspired. But Cruikshank did admirable work for "Windsor Castle," and
+could hardly help wishing to outshine Tony Johannot, who was also
+employed in illustrating that romance. Since "the great George" is not
+present to assail me in a vehement script, I may say that I discern an
+influence of Johannot upon Cruikshank's design (spirited but not
+insufferably vigorous) entitled _The Quarrel between Will Sommers and
+Patch_, for there was something called artistic restraint to be learned
+from the French illustrator of Cervantes, and this quality is in the
+etching I have mentioned, and not negatively there but as a positive
+gift of touch. Of Cruikshank's Henry the Eighth, it need only be said
+that he is bluff King Hal; his Anne Boleyn and Jane Seymour are mere
+females: his Herne is as impressive as a person can be who jeopardises
+the dignity of demonhood by wearing horns.
+
+"St James's," the last important novel by Ainsworth which Cruikshank
+illustrated, gave the artist opportunities for drawing St James's
+Palace, London, and portraits of the Duke of Marlborough and other
+celebrities. He accepted these opportunities, but his most striking
+designs remind one of his illustrations for Smollett. He rejoices in the
+contrast between masculine lath and feminine tub, and in one plate
+afflicts us with a grinning face which exceeds in ugliness any of C.
+Delort's portraits of "l'Homme qui rit." The vigorous design here given
+touches the imagination on account of the absent presence of the dame in
+the picture hanging on the wall.
+
+[Illustration: THE MARQUIS DE GUISCARD ATTEMPTING TO ASSASSINATE HARLEY.
+The man on the table drawing his sword is the Duke of Newcastle ("Saint
+James's"). From "Ainsworth's Magazine," 1844.]
+
+In "Ainsworth's Magazine" for January 1846 the last fruit of
+Cruikshank's connection with Ainsworth appeared, after a year's
+sterility, as a careful etching illustrating that novelist's "Sir Lionel
+Flamstead, a Sketch": in the preceding year Cruikshank produced for W.
+H. Maxwell the series of historic etchings which, in the opinion of Mr
+Frederic G. Stephens, "marks the highest point of Cruikshank's
+invention." These etchings illustrate a history of the insurrections in
+Ireland in 1798 and 1803. In the selection of Cruikshank, Maxwell or his
+publishers may have remembered the skill with which he had illustrated
+I. Whitty's "Tales of Irish Life" (1824), though it is one thing to
+render the frantic humour of a fight arising from O'Finn calling Redmond
+a rascal, or the muddled emotions of a wake, and quite another to
+exhibit the conflict between two nightmares of patriotism. Howbeit
+Cruikshank realised the horror and poetry of war. His twenty-one
+Maxwellian etchings are instructively comparable with Callot's precious
+series "_Les Misères et les Mal-heurs de la Guerre_" (1633). Callot is
+at once more horrible and self-restrained. One peers into his work; one
+listens to Cruikshank's. The artist of the seventeenth century drew with
+minute delicacy the forms and gestures of men. He studied them as a
+naturalist, indifferent to the individuality of the unit after fixing
+the individuality of the class to which it belongs. Callot's men are
+users of the wheel and the estrapade; they roast the husband while they
+ravish the wife. They are not grotesques: they are men. Maurice Leloir
+drew men of their age and country no more elegantly for the bravest
+novel of Dumas. Cruikshank, on the other hand, drew well and hideously
+not only Irish men, but Irish individuals. His rebel, obscenely jocose,
+impaling a child, might, though a detail in a crowded etching, have been
+drawn for Scotland Yard; so too might a woman squatting and smoking
+while a wretch writhes on four pikes which take his weight and give it
+him back in torture. England is to glow, Ireland is to blush as she
+looks at Cruikshank's people of '98. As clear on the memory as his Irish
+ruffianism is his portrait of the little drummer dying with his leg
+through his drum to protect its voice from dishonour. One has heard of
+Lieutenant Hepenstall--him who was called "The Walking Gallows"--as
+well as of the drummer of Gorey, but Cruikshank was satisfied with
+partizanship, and Ireland forgets him.
+
+Our liberal interpretation of history allows us now to consider a few of
+the works of Cruikshank which preserve for us scenes and types of his
+age with or without the accompaniment of a fictitious text.
+
+For his delineations of the sailor of Nelson's day we owe much to a
+capital but neglected novelist M. H. Barker, author of "Greenwich
+Hospital" (1826), "Topsail-Sheet Blocks" (1838), "The Old Sailor's Jolly
+Boat" (1844), etc. Before the appearance of the earliest of these books
+Cruikshank had etched Lieut. John Sheringham's designs entitled "The
+Sailor's Progress" (1818), and those by Capt. Marryat entitled "The
+Progress of a Midshipman" (1820). The illustrations to the quarto called
+"Greenwich Hospital," are deservedly the most famous of Cruikshank's
+sea-pictures. With lavish detail they exhibit Jack tearing along by
+coach across pigs and fowls at finable knots per hour; carousing in the
+Long Room with billowy sirens under a chandelier of candles; crossing
+the line in a frenzy of ceremonious facetiousness; yelling in an
+inn-parlour--though armless or "half a tree"--his delight in victory and
+Nelson; ... and tied up for a whipping like a naughty boy. Barker was so
+pleased with one of the illustrations for "Greenwich Hospital" that he
+wrote on a proof (No. 1003-4 in the Cruikshank collection at South
+Kensington), "Dear Friend, if you never do another design, the leg of
+that table will immortalise you. It is a bonâ fide Peg." There is a mood
+in which Clio prefers that crippled table-leg to Cruikshank's idea of
+Solomon Eagle "denouncing of Judgment" upon London.
+
+[Illustration: SOLOMON EAGLE. From the drawing by G. Cruikshank, as
+engraved by Davenport for "A Journal of the Plague Year," 1833.]
+
+We have now sounded the word which invites inquiry as to the nature of
+Cruikshank's artistic service to London. London is not the Tower or St
+James's Palace. Cruikshank, however, is not injured by this scorching
+truism. If we go back to 1827 and 1829 we encounter in "The Gentleman's
+Pocket Magazine" twenty-four _London Characters_, of which fifteen are
+from the hand of George Cruikshank, who doubtless remembered
+Rowlandson's "Characteristic Sketches of the Lower Orders" (1820).
+George is responsible for very neat portraits of a beadle, waterman,
+dustman, watchman ..., and the Cruikshankian enthusiast cries "Eureka!"
+for he spies Mr Bumble among them. With "Sunday in London" (1833) came
+the first example of Cruikshank's comic treatment of London, which a
+book-collector, as distinct from a print-collector, can prize. The
+woodcuts in this volume reveal a state of society in which people had
+less sense of proportion than they have now, and were excessively vain
+or excessively humble, according to the state of their paunch and the
+view of them held by the policeman or the beadle. The power of the
+beadle had not yet been broken by a metrical inquiry concerning the
+origin of his hat. Frenchmen were still "mounseers," and soldiers
+marched to Divine Service through St James's Park to the tune of "Drops
+of Brandy." The flavour of the obsolete is rich in "Sunday in London";
+we who look at it feel strangely toned-down.
+
+[Illustration: THE STREETS, MORNING. From "Sketches by Boz," Second
+Series, 1837.]
+
+Place in London as well as character is presented vividly in
+Cruikshank's contributions to "Sketches by Boz" (1836-7). Witness the
+examples here given. In _The Streets, Morning_, I, a Londoner, feel the
+poetry of streets cleansed by quiet, the chastity of Comfort enjoyed, as
+it were, by the tolerance of Hardship. The little sweep is an extinct
+animal, and yet we are in the neighbourhood of Seven Dials. _Monmouth
+Street_, as exhibited by Cruikshank in the same work, is an appreciation
+of the Hebrew dealer in old clothes as well as a caricature. We feel the
+street to be an open-air parlour and nursery combined; it remains
+imperturbably domestic though we walk in it. Another etching, depicting
+a beadle hammering the door of a house supposed to be on fire, elicited
+from Mr Frederick Wedmore the confession that he knew no artist "so
+alive as Cruikshank to the pretty sedateness of Georgian architecture,"
+though the remark will be more appreciated after a look at the pretty
+etching entitled _French Musicians or Les Savoyards_ (1819), reprinted
+in "Cruikshankiana" (1835).
+
+Cruikshank's London ideas were further realised in "Oliver Twist"
+(1838), a novel to which he contributed etchings so documentary as well
+as imaginative that he attempted to deprive Dickens of the glory of
+authorship, by claiming the origination of the story. The fact was, he
+had grown to be a collector: he was collecting fame, and in the passion
+of his hobby he felt that he might claim to have originated the novel
+which owed local colour and a formative idea to his suggestions. The
+subject really belongs to the pathology of egoism. Cruikshank gained
+nothing by seeking laurels in the field of literature except the
+impression on paper of a weakness one prefers to call juvenile rather
+than puerile.
+
+[Illustration: THE LAST CAB-DRIVER. From "Sketches by Boz," Second
+Series, 1837.]
+
+Yet he had much to give Boz, if that gentleman was minded to write of
+rogues. Cruikshank knew all about Buzmen and Adam-tilers; the days when
+he drank bene bowse had not been wasted, if low life be worth depicting.
+We may accept as portraits his Fagin and Sikes and Artful Dodger,
+without digesting the statement that Fagin condemned is himself in
+perplexity, and Fagin uncondemned the image of Sir Charles Napier.
+Undoubtedly, the workhouses in England of the third decade of the
+nineteenth century are in popular fancy all ruled by the nameless master
+in cook's uniform, of whom Oliver asked more, but it is not Boz's
+master, it is Cruikshank's. All beadles are one Mr Bumble--the Bumble of
+Boz and Cruikshank, though without the shadow of the sack with which the
+novelist eclipsed him. The etched scene where Fagin, frying sausages,
+receives Oliver in a den of thieves, has a squalid comfortableness--a
+leering charity--which praises Hell. The etched scene of Sikes's
+desperation on the roof of a house in Jacob's Island, Bermondsey, is in
+essence Misery itself, vermicular as well as violent. The etched scene
+where Fagin sits with blazing eyes in the condemned cell at Newgate
+under a window which shows him up like the Day of Judgment has been
+called "a picture by Fagin," for rhetoric exhausts itself in confessing
+its horror. In "Jack Sheppard," Cruikshank drew Newgate with
+particularity, he drew Bedlam with a maniac in it; for "A Journal of the
+Plague Year," he drew _The Great Pit in Aldgate_, but Fagin in his
+extremity belittles other horrors in Cruikshank's gallery of art. London
+is ashamed to see and acknowledge him; he makes her long for rain, and
+soap in the rain; he makes her remember her river.
+
+The reader will therefore look sympathetically at the powerful etching
+here reproduced from Angus B. Reach's "Clement Lorimer" (1849). It is a
+kidnapping scene; there is a drugged girl in the boat; the pier against
+which an oar has snapped supports an arch of London Bridge.
+
+It might be doubted if Cruikshank personally cared for any locality
+except London if it were not for evidence in the South Kensington Museum
+and the dispersed collection of the metropolitan Royal Aquarium. Number
+9502A/C in the South Kensington collection of his work is a design for a
+house which he intended to build for himself at the seaside. The Royal
+Aquarium collection contained several water-colours by him of littoral
+subjects. Hastings may remember what she was like before the building of
+her esplanade by means of two water-colours by him, dated respectively
+1820 and 1828, which Mr Walter Spencer bought for five guineas. _A
+Distant View of Shakespeare's Cliff, Dover_, secured by Mr Frank
+Karslake, tempted that art-dealer, who was its possessor when I last saw
+it, to withhold it from his customers. It is soft, slight and pretty.
+With a fanciful _Beachy Head_ (a water-colour "sketch from [sic] part
+of Shakespeare's Cliff, Dover, 1830") it sold for seven guineas, the
+"Beachy Head" being an outline of the cliff resembling a head looking
+left with dropped eyelid as seen (perhaps exclusively) by Cruikshank,
+who represents himself as standing in front of it; and I mention this
+"Beachy Head" because the same idea informs a rather subtle drollery in
+"My Sketch Book" (1833), where a couple are depicted in their fright at
+seeing a human face outlined by the edge of the top of Shakespeare's
+Cliff. All the sales mentioned in this paragraph were made at the
+auction at Sotheby's, 22 and 23 May 1903.
+
+[Illustration: Miss Eske carried away during her Trance.
+
+From "Clement Lorimer," 1849.]
+
+We have had already to touch on the way in which Cruikshank was the
+historian of himself. Thanks to his literary aggressiveness, mixed with
+love, so quaint and like talk in expression, that his pages resemble
+cylinders for a phonograph, we look at his autobiographical drawings
+with genuine interest. In Sir Benjamin Ward Richardson's publication of
+1895--"Drawings by George Cruikshank, prepared by him to illustrate an
+intended autobiography"--we are introduced pictorially to "George,
+Nurse, Brother and Mother at Hampstead"; and the same volume shows our
+artist unpleasantly situated on a roof _sub titulo The Button-hole of a
+Naughty boy caught by a nail_. In the South Kensington collection George
+shows us very crudely _a Fire in the South East end of London to which I
+ran when a boy with the Engine from Bloomsbury_. In 1877 George sketched
+himself as he was about 1799, when he looked at his father while Isaac
+Cruikshank was drawing, and we realise the affection in this
+reminiscence upon seeing George's grotesques of low life done when he
+was "a very little boy" on the same page where the academic Isaac has
+drawn a conventional heroic nude and a little girl suitable for a
+nursery magazine (S.K. coll. No. 9814). Under a pencil sketch (S.K.
+coll. No. 9817) we read "George Cruikshank when a boy used to put his
+mother's Fur Tippet over his head like the above and make frightful
+faces for fun." In published work Cruikshank repeatedly presents his own
+portrait, my favourite examples of his self-portraiture being the
+painter in _Nobody desires the Painter to make him as ugly and
+ridiculous as possible_ ("Scraps and Sketches," 1831), and that of
+himself going in as a steward with Dickens and others to a Public Dinner
+("Sketches by Boz," 1836). An excellent example of a comic presentation
+of himself is the frontispiece to this volume. Enviable and admirable
+health of mind is shown by Cruikshank's love of his own face, upon which
+flourished, under a high forehead and "blue-grey eyes, full of a
+cheerful sparkling light," "an ambiguous pair of ornaments," partaking
+"vaguely," writes Mr Walter Hamilton, "of the characteristics" of
+whiskers, moustaches and beard.
+
+I conclude this chapter with a reproduction of a painting by George
+Cruikshank in the South Kensington Museum. The lady is yellow-haired and
+has a good complexion. It appears to be a portrait of Mrs George
+Cruikshank (née Widdison), his second wife, whose prenomen was Eliza.
+She could draw, for there is a vapid but well-finished female head by
+her in the South Kensington collection of her husband's work (No.
+10,038-4). She is not, of course, to be confounded with Cruikshank's
+sister Eliza, who designed the caricature of the Four Prues.
+
+[Illustration: ELIZA CRUIKSHANK. From a painting by George Cruikshank in
+the South Kensington Museum, No. 9769, endorsed "Mrs George Cruikshank
+E. C. 1884." The date is supposed to refer to the year of presentation
+to the museum.]
+
+
+
+
+V
+
+
+We have now to consider Cruikshank as a supernaturalist. Perhaps there
+is no rôle in which he is more sincerely esteemed. His simple egoism and
+self-conceit protected him from an apprehension of the nothingness of
+matter in the eye of a being who is uncontrolled by the world-idea. He
+could not conceive that a mind can impose the idea of a form upon an
+inferior mind, or a mind in sympathy with it: hence his egregious
+"discovery concerning ghosts." His world of supernature was a playground
+of fancy where powers are denoted by the same symbols which inform us
+that this animal can run, and that animal can fly, and the other animal
+can think. It is a world of which the major part is peopled with forms
+so lively, gracious and fanciful that Mr Frederick Wedmore's violent
+preference of Keene to Cruikshank seems, in view of it, a kind of
+aggressive rationalism. This world, however, contains the Devil, and on
+this colliery monster we will bestow a few glances.
+
+[Illustration: LEGEND OF ST MEDARD. The Saint has slit the bag in which
+the fiend is carrying children. From "The Ingoldsby Legends," 1842.]
+
+Cruikshank's best idea of the Devil is comedy of tail. In one of the
+"Twelve Sketches illustrative of Sir Walter Scott's Demonology and
+Witchcraft" (1830) he shows the archfiend seated on the back of a
+smiling elf who poses as a quadruped to provide a stool. The fiend is
+"dighting" an arrow by the light of the flaming hair of an elf who wears
+an extinguisher on his tail, and a cat enthusiastically plays with the
+forked appendage of the illustrious artisan. The dignity of labour is
+here inimitably manifest. Lovably ludicrous, too, is the Devil whom
+Cruikshank presents in _The De'il cam fiddling thro' the Town_
+("Illustrations of Popular Works," 1830). "Auld Mahoun's" forked tail
+has caught the exciseman by the cravat. In "Scraps and Sketches" (1832).
+Cruikshank has another Devil who plays on a gridiron as if it were a
+guitar, to soothe a man who has been lassoed by his tail. "And if my
+tail should make you sad I'll strike my light guitar." In "A Discovery
+concerning Ghosts" (1863) Cruikshank depicts the Devil as lifting a
+table with his tail and one hoof. One of the Devils offered to my
+readers--he whom St Medard thwarted--is an example of good work in a bad
+setting; the machine-ruled sky and "scandalously slurred distance" must
+be viewed as symptoms of Cruikshank's dislike for Bentley, the publisher
+of "The Ingoldsby Legends." The cuts from "The True Legend of St Dunstan
+and the Devil" (1848) replace the perverted Pan--Pan as perverted for
+the abolition of his prestige--with a plaintive ruffian whose horns and
+hoofs disgrace a very obvious humanity.
+
+Exit Devil: enter Satan. About 1827 Cruikshank drew him on wood, in the
+act of calling on his followers as related by Milton in "Paradise Lost,"
+Book I., Il. 314-332. Cruikshank described the drawing referred to,
+which was engraved by an unconfident hand, as "the best drawing that I
+ever did in my life." A solitary print of the engraving made of it sold
+at Sotheby's for £3, 6s. On a towering rock, Satan calls up an army
+which looks like living ribbon wound up out of the bottomless pit to the
+ceiling of the air. His personality is felt by the effect of his
+command, not by his individual appearance. Michelangelo might have
+favourably considered this book-illustration as a bare sketch of a
+muster of the damned; for as one looks at it he is tempted to give it to
+half a dozen painters and "put it in hand."
+
+[Illustration: SHOEING THE DEVIL. From Edward G. Flight's "The True
+Legend of St Dunstan and the Devil," 1848.]
+
+[Illustration: THE DEVIL SIGNING. From Edward G Flight's "The True
+Legend of St Dunstan and the Devil," 1848.]
+
+The naïve evangelicism of "The Pilgrim's Progress" was productive of
+more of Cruikshank's serious monsters. 1827 is the date of seven
+woodcuts by him for this work (Reid 3555-61) which do not impress Mr
+Spielmann; they are, however, very neatly executed, and the drawing of
+_Christian arriving at the Gate_ is quite unwarrantably pleasant in its
+suggestion of conflict and weariness ending in the bosom of hospitality.
+In 1838 Cruikshank contributed _Vanity Fair_--an elaborate etching--to a
+"Pilgrim's Progress" containing plates by H. Melville. _Vanity Fair_ is
+a skilful catalogue marred by the misnaming of Britain Row. He produced
+another _Vanity Fair, circa 1854_, a vehement and uninteresting design
+which, with companion drawings by him of the same date, appears in Mr
+Henry Frowde's edition of "The Pilgrim's Progress" (1903). These
+drawings (only recently engraved) annoyed Mr G. S. Layard, and me they
+amuse and touch. They show that Cruikshank could draw the face of
+a man whose _métier_ is goodness, ... and that Apollyon--a veritable
+creature of tinker-craft in Bunyan's text--was utterly beyond
+Cruikshank's power to shape according to the crooked splendour of his
+name. One must not forget that a pious convention of absurdity is a trap
+for the critic and the humorist alike. I feel that Cruikshank almost
+loved Bunyan. Witness the large coloured print inscribed in his last
+decade, "Geo. Cruikshank 1871," where Christian--a Galahad of
+knightliness--passes through the snake-afflicted valley of the Shadow of
+Death.
+
+[Illustration: PETER SCHLEMIHL WATCHING THE CLOCK
+
+From "Peter Schlemihl," 1823. Copies of the book dated 1824 are also
+accepted as of the first edition.]
+
+Exit the Pilgrim, and re-enter the Devil. Cruikshank made remarkable
+successes in two series of illustrations wherein this magnate assumes
+the form of a man of our world. The books in which they appear are
+"Peter Schlemihl" by Adelbert von Chamisso (1823) and "The Gentleman in
+Black" by J. Y. Akerman (1831). To Chamisso the Devil is "a silent,
+meagre, pale, tall elderly man" wearing an "old-fashioned grey taffetan
+coat" with a "close-fitting breast-pocket" to it, and he is willing to
+buy Peter's shadow. Meagre and close-fitting is Cruikshank's idea of
+him; he is only substantial enough to give posture and movement to his
+clothes. That is a beautiful etching where he is folding Peter's shadow
+as a tailor folds a suit and Peter is unaware of the terrible oddity of
+a foot on the ground having for shadow a foot in the air--a foot no
+longer subordinate to Peter who will tread the earth in despair when he
+is a shadowless man; and that is a marrow-thrilling etching where
+Peter's tempter stands casting two shadows and flourishing a document
+promising the delivery of Peter's soul to the bearer after its
+separation from Peter's body. There is a haunting cold brightness about
+the Schlemihl etchings. If you see them without a _sensation_ of their
+difference from the work of any body except him who made them, your
+acquaintance includes a prodigy, a Cruikshank plus x. To J. Y. Akerman
+the Devil was "a stout, short, middle-aged gentleman of a somewhat
+saturnine complexion" who "was clad in black" and "had a loose Geneva
+cloak ... of the same colour." Like Schlemihl's customer he pays with a
+bottomless purse and in the cuts, engraved by J. Thompson and C.
+Landells, we see him a grave humorous and sinister person, who after
+his urbanity has been shaken by the cleverness of the law, is exhibited
+without warrant of narrative, as Old Horny on a gibbet. I presume the
+above-mentioned J Thompson, by the way, to be the John Thompson whom
+Cruikshank describes at the foot of a letter from this engraver dated
+"Feb. 7, [18]40," as "the Great, the wonderful Artistic Engraver on
+wood--and who used to engrave my drawings as no other man ever did."
+
+After the Devil comes Punch, who in the puppet play destroys him. Punch
+is only by irony a nursery character. He represents the comic genius of
+murder. A Hooligan may feel like a Pharisee after looking at him. His
+coarse materialism would affront a _pierreuse_. Cruikshank drew Punch as
+early as 1814 in a plate, satirising a fête given by the Duke of
+Portland on the occasion of the baptism of an infant marquis. The plate
+is entitled "Belvoir Frolic's" [sic] and appears in No. 4 of "The
+Meteor." A very long-nosed Punch extols the beverage bearing his name,
+and his infant son falls into a punch-bowl while being baptised by a
+drunkard. It was not, however, till 1828 that a reasonable joker could
+call Cruikshank's great hit a punch. That date is on the title-page of
+"Punch and Judy" edited by J. Payne Collier, for whose publisher (S.
+Prowett) Cruikshank drew the scenes of the immortal puppet-play as
+produced by Piccini, who defied any other puppet-showman in England to
+perform his feat of making the figure with the immoderate neck remove
+its hat with one hand. Thanks to Piccini, then, Cruikshank's Punch is
+the real Punch--a goggling miscreant, whose hump is a rigid and
+misplaced tail and whose military hat, above a crustacean's face,
+completes a rather melancholy effect of mania. The conductor of "George
+Cruikshank's Omnibus" confessed to feeling "that it was easy to
+represent" Punch's "eyes, his nose, his mouth, but that the one
+essential was after all wanting--the _squeak_." Cruikshank was barely
+just to his pencil. As one looks at his Punch one feels that such a
+being is either a squeaker or a mute. As for the Devil, whose rôle is so
+humiliating in the Punch tromedy (as a neologist might call it), he is
+of an aspect pitiably mean--like a corpse attired in river mud.
+
+[Illustration: PUNCH THROWING AWAY THE BODY OF THE SERVANT. From "Punch
+and Judy," 1828 (early proof). The portrait of George Cruikshank below
+his initials does not appear in the book.]
+
+After this, it is impossible not to realise the enormity of the
+compliment paid by the hand of Cruikshank (serving the imagination of G.
+H.) to Napoleon in that publication of August 1815, rashly stated by Mr
+Bruton to be the finest Napoleonic caricature, which depicts the
+imperial exile of St Helena as the Devil addressing a solar Prince
+Regent. Here the Devil gets the credit of a handsome face and Napoleon
+the debit of cloven feet.
+
+Cruikshank's representation of the Devil as Old Nick has the absurd
+merit of recalling his idea of the servant of a good Peri! Compare _The
+Handsome Clear-starcher_ ("Bentley's Miscellany," 1838) with _The Peri_
+[, the Djin] _and the Taylor_ ("Minor Morals, Part III.," 1839). Both
+these ornaments of my sex have white eyes windowing a black face, and
+the former, with heraldic sulphur fumes above his figure of Elizabethan
+dandy, is, if we do not date him, a horrible gibe at the feminine Satan
+of "sorrows."
+
+Is there, the reader may now ask, not unmindful of the Miltonic drawing
+already described, no Satan among Cruikshank's Netherlanders, to show
+that he saw the sublime of evil as clearly as he saw Fagin? Alas for
+_catalogues raisonnés_! for if it were not for G. W. Reid we could not
+point the querist to Cruikshank's Lucifer in his illustrations on wood
+to George Clinton's "Memoirs of the Life and Writings of Lord Byron"
+(1825). Of "a shape like to the angels, yet of a sterner and a sadder
+aspect of spiritual essence," not less beauteous than the cherubim,
+Cruikshank, with or without an accomplice in another engraver, makes a
+black and white Moor, jointed like a Dutch doll, with wings which an
+Icarus would distrust.
+
+Perhaps the most impressive conception of the author of unhappiness
+which Cruikshank executed was that which he owed to the imagination of
+Mrs Octavian Blewitt. In his last published etching, _The Rose and the
+Lily_ (1875), he depicts, by her instruction, a lake out of which
+appears, like an islet, the weed-covered top of a vast head, the eyes of
+which are the only visible features. The lake is the abode of "The Demon
+of Evil" and his eyes of bale are upturned to regard a fairy queen and
+her suite who hover over a rose and a lily.
+
+Cruikshank's favourite among semi-infernal or hemi-demi-semi celestial
+characters would seem to have been Herne, the demon of Windsor Forest,
+whom legend derives from a suicide. Our illustration of Herne appearing
+to Henry VIII. (1843) is sombre and grandiose. The artist recurred to
+Herne again in one of his beautiful etchings for "The life of Sir John
+Falstaff" by R. B. Brough (1858). Falstaff as Herne, with antlers on his
+head, lies prone beneath the great riven oak which is called Herne's
+oak, because human Herne is supposed to have hanged himself from a bough
+of it. Fairies, depicted by their lover, have taken into their invisible
+web of glamour the grossness of Falstaff, and to me the etching which
+contains in harmony so tragic a tree, so gluttonous a man, and the only
+angels that shame can love without terror is not an illustration of
+Shakespeare but a vision of everybody's heaven. For if it is an
+illustration of Shakespeare, then are these no fairies but Mistress
+Quickly, Anne Page and other actresses, in a punitive and moralising
+mood! The last appearance of Cruikshank's Herne is in a drawing, done
+when the artist was eighty-three, for "Peeps at Life" (1875), in which
+the demon rides through Windsor Forest with a monk behind him.
+
+[Illustration: HERNE THE HUNTER APPEARING TO HENRY VIII. ("Windsor
+Castle"). From "Ainsworth's Magazine," vol. iii., 1843.]
+
+It is now time to say a few words about the Cruikshankian ghost. About
+the year 1860, Cruikshank offered £100 to anyone who should show him a
+ghost "said to have been seen frequently in the neighbourhood of some
+Roman Catholic institution near Leicester." No one claimed the money,
+and Cruikshank remained a religious materialist, charmingly boyish in
+his amusement over the ghosts of tears and dirt. His natural idea of a
+ghost was comic in the way of a wise old world that taxes pain and wrath
+for humour. His designs for Part II. of "Points of Humour" (1824)
+include a vision of spirits discharged from their bodies by the
+ministrations of a pompous doctor, who holds his stick against his mouth
+because Cruikshank condemned the use of "the crutch" as a toothpick. The
+ugliness of these spirits is not excelled by Cruikshank's Giles
+Scroggins, in vol. i. of "The Universal Songster" (1825),--a spook whose
+waving hands like bewitched gloves, exultant toes and nightcap
+tipsy as a blown flame, are duly noted by Molly Brown. Folklore had a
+refining influence on Cruikshank when, for Scott's "Demonology and
+Witchcraft," he etched, in 1830, Mrs Leckie, a white-aproned ghost who,
+by a miracle of Scotchness, is perfectly decorous as she kicks with a
+high heeled shoe the doctor of physic who "shewed some desire to be rid
+of her society." Cruikshank's chef d'oeuvre of ghost-humour is an
+etching for Captain Glascock's "Land Sharks and Sea Gulls" (1838). This
+triumph of pictorial anecdote confronts us with Ann Dobbs, who has
+materialised her head and hands for the purpose of exhibiting, with a
+proper show of accusation, to a whimpering sailor, whose pigtail has
+risen in homage to her, "the feller piece of the broken bit" of her
+tomb-stone, which he had stolen for a holy-stone to clean decks with.
+After this, the reader may be surprised to learn that a ghost, produced
+by Cruikshank for "The Scourge" of August 1815, was serious enough to be
+precautiously blacked out before the plate entitled _A Financial Survey
+of Cumberland, Or the Beggar's Petition_, was put into general
+circulation. It is the ghost of Sellis, the Duke of Cumberland's valet,
+who is made to accuse his earthly master of murder, by these words "Is
+this a razor I see before me? Thou canst not say I did it." Of that
+other serious ghost, St Winifred in "Guy Fawkes" (1840), enough has been
+said. Her dullness is absolutely unmystical, and it is a relief to turn
+from her to look at _The Holy Infant, that prayed as soon as he was
+born_ ("Catholic Miracles," 1825), an exquisitely droll sketch, about as
+large as a penny, of "intense" chubbiness in a hand basin.
+
+Though sympathy with men and women did not make Cruikshank courteous to
+ghosts, he was led by the credulity and experience of his childhood to
+be affectionate to fairies and almost patriotic in his feeling about the
+magical countries in which they dwell. In a note to "Puss in Boots" he
+informs us that his nurse told him when he was "a very little boy" that
+the fairies "had houses in the white places"--_i.e._ fungi--in the
+corners of cellars. In cellars he accordingly looked for them, "and
+certainly did ... fancy" that he saw "very, _very_ tiny little people
+running in and out of these little white houses"--_i.e._fungi--and
+attributed any power he possessed of drawing or describing a
+fairy to his nurse's communications and his visions in cellars.
+
+Like a sword-swallower I saw in Belfast, I will ask you to "put your
+hands together," for the anecdote just related is corroborated by the
+charm of his fairy drawings.
+
+[Illustration: From "Comic Composites for the Scrap-Book," 1821.]
+
+What happened when Cruikshank went into cellars is symbolical of poetry.
+He saw what was not there by that creative touch of mind which
+transforms an object by increasing its similitude to something else. In
+_Comic Composites for the Scrap Book_ (1821), we have intelligent human
+creatures suggested by arrangements of household implements. As I look
+at the mundatory erection here reproduced, I anachronistically hum
+Stephen Glover's "March composed for Prince Albert's Hussars." It is,
+however, less brilliant than the aldermanic bellows and the doctor (with
+a mortar for body, cottonwool for hair and labels for feet), to whom he
+states his symptoms in "Scraps and Sketches" (1831), for they amuse the
+satirist even at this date when gluttony is merely not moderation and
+bored sapience is merely not sympathetic wisdom.
+
+Cruikshank then had one great qualification for illustrating fairy
+tales: he could animate the inanimate. Let us now follow his career as a
+fairy artist, beginning with his first great success.
+
+[Illustration: THE GOOSE GIRL. From "German Popular Stories," vol. ii.,
+1826.]
+
+In 1822 appeared a post-dated volume of "German Popular Stories ...
+collected by M. M. Grimm." A companion volume was published in 1826, and
+both books were adorned by the hand of George Cruikshank. Excepting two
+much-admired German leprechauns or fairy cobblers in one of Cruikshank's
+twenty-two etchings, they do not present a fairy worth smiling at, and
+these cobblers, boundlessly delighted by a present of clothes, are, of
+course, very far from being of the angelic _élite_ of Fairyland, as
+drawn by Sir Joseph Noel Paton for Mrs S. C. Hall. But Fairyland is in
+the imagination of democracy, and he is a good patriot of that country
+who amuses us with its "freaks," for they are dear to the _hoi polloi_
+which appreciate novelty more than perfection. Cruikshank in his Grimm
+mood is for the "living drollery" which cured Sebastian's
+scepticism concerning the phoenix and the unicorn. He rejoicingly
+presents a nose as long as a garden hose--a nose worthy of the beard
+which travels from page 6 to page 7 of his "Table-Book" (1845). He
+refreshes us with the humorous pleasure of the giant inspecting
+Thumbling on the palm of his hand; and he convulses us with the vocal
+display of the ass, dog and cat which plunge through the glass of a
+window into the robbers' room. Ruskin said of these etchings that they
+"were unrivalled in masterfulness of touch since Rembrandt; (in some
+qualities of delineation unrivalled even by him)"; to that eulogy I can
+only add that they are inspiriting because they are candid and vivid,
+and show that realism can be on the side of magic.
+
+Passing without pause some tiny cuts, upon which children would pounce
+for love of gnomes, in "The Pocket Magazine" (1827, 1828), we arrive
+again at Cruikshank's sketches for Scott's "Demonology and Witchcraft"
+(1830), and inspect elves and fairies, barely prettier than mosquitoes,
+annoying mortals. Worry is incarnate in a horizontal man who is
+supported in and drawn through the air by elves, directed by two
+drivers, one on each of his boots. Beautiful is the contempt for
+herrings of an elf standing on a plate which a comrade is about to smash
+with a hammer in the presence of a cheaply-hospitable (and sluttish)
+housewife whom a dozen elves have pulled downstairs by her feet.
+
+Fables which invent sorrow to prevent it can only be classed as
+fairy-tales by a sacrifice of the _mot juste_, which I make in order to
+call attention to an exquisite quartet of etchings by George Cruikshank,
+illustrating Richard Frankum's verses entitled "The Bee and the Wasp"
+(1832). No hand but his who drew the shadow-buyer in Peter Schlemihl
+could have drawn the hair-lines of the criminal insect who mocks the
+drowning bee in the third of these etchings. So pleased and delicate a
+malignancy is expressed in him that he figures to me as a
+personification of evil, and I am disagreeably conscious of smiling to
+think that, because he speaks and is seen, he is a gentleman compared
+with a trypanosome or a bacillus coli.
+
+[Illustration: AMARANTH "THE EVER YOUNG" IS CARRIED TO CORALLION BY THE
+BEE'S MONSTER STEED. From "The Good Genius that Turned Everything into
+Gold," by the Bros Mayhew, 1847.]
+
+A bee--but a superbee--figured in the next fairy book illustrated by
+Cruikshank. In his designs for "The Good Genius that Turned
+Everything into Gold" (1847) he showed for the first time an ambition to
+idealise magic. The idea that power exists in beings of familiar shape
+and wieldy dimensions to build palaces and fleets without mistakes,
+without plans and adjustments, without the publication of embryos behind
+hoardings--to build them without economy and sacrificial fatigue--this
+is the breathless poem of the crowd. The Brothers Mayhew gave this idea
+to Cruikshank, and one at least of his etchings for their story--the
+palace emerging from rock and arborescence--shows that he almost
+objectified it. Thus (unconsciously) did he atone for that neglect of
+opportunity which allowed him to deck the magical and tender, the deep
+and lustrous fiction of E. T. W. Hoffmann, the inspired playmate of
+ideas that rock with laughter and subdue with awe, with nothing better
+than a frigidly humorous picture of a duel with spy-glasses.
+
+In 1848 an incomplete and refined translation of "II Pentamerone"
+appeared with pretty and sprightly designs by Cruikshank. These designs
+show a more direct sympathy with juvenile taste than his famous
+etchings for "German Popular Stories." With shut eyes one can still see
+his ogre swearing at the razor-crop, and his strong man marching off
+with all the wealth of the King of Fair-Flower, while the champion
+blower with one good blast makes bipeds of horses and kites of men.
+Nennella stepping grandly out of the enchanted fish to embrace her
+brother is dear to an indulgent scepticism. There were beautiful fields
+and a fine mansion inside that fish and his toothful mouth is but a
+portico of Fairyland.
+
+[Illustration: From George Cruikshank's Fairy Library, 'Cinderella,'
+1854.]
+
+Tails not having been invented merely to mitigate the sorrows of Satan,
+Cruikshank had some more of these appendages to draw when with "Kit
+Bam's Adventures" (1849) he entered the fairyland of Mrs Cowden Clarke.
+The very rhetorical mariner of that story is remembered for the sake of
+the tails of mer-children twining about his legs in the frontispiece to
+it, and human children allow their Louis Wain to wane for a minute as,
+with Kit Bam, they look at Cruikshank's tortoiseshell cat, ruffed and
+aproned, laying the table while Captain Capsicum, horned and gouty,
+urbanely watches her.
+
+Naturally Cruikshank desired to associate himself permanently with fairy
+stories better known in England than the name of any folklorist or
+Perrault D'Armancourt himself. Rusher had published, circa 1814,
+"Cinderella" and "Dick Whittington" with cuts "designed by Cruikshank,"
+whose prenomen was or was not George; and to George Cruikshank is
+ascribed by Mr Edwin Pearson some early cuts for "Mother Hubbard and her
+Dog." Each of these illustrations could be covered with a quartet of our
+postage stamps and only those for "Mother Hubbard," which are droll and
+tender, possess more than an antiquarian interest. In 1846, in twelve
+designs built round the title "Fairy Songs and Ballads for the young ...
+By O. B. Dussek ...," George Cruikshank illustrated "Dick Whittington,"
+"Jack and the Beanstalk," etc., and was lively and pretty in a wee way.
+These were trifles, however, and Cruikshank was ambitious. In 1853-4 and
+1864 he flattered his ambition by the issue of "George Cruikshank's
+Fairy Library." Unfortunately Ruskin was displeased with the earlier
+issues of this "library," for in 1857 he forbade his disciples to copy
+Cruikshank's designs for "Cinderella," "Jack and the Beanstalk" and "Tom
+Thumb" [_sic_] as being "much over-laboured and confused in line." But
+on July 30, 1853, Mrs Cowden Clarke begged Cruikshank to allow her to
+thank him in the name of herself "and," writes she, "the other grown-up
+children of our family, together with the numerous little nephews and
+nieces who form the ungrown-up children among us, for the delightful
+treat you have bestowed in the shape of the 1st No. of the 'Fairy
+Library.'" This was the maligned "Hop-o'-my-Thumb," the pictures of
+which possess the charm of the artist's "Pentamerone." None of
+Cruikshank's ogres are as horrible as J. G. Pinwell's man-eating giant
+in "The Arabian Nights," and so the ogre in his "Hop-o'-my Thumb" is
+merely a glutton with a knife, but what a passion of entreaty is
+expressed in the kneeling children at his feet! The seven-leagued boots
+are worth all Lilley and Skinner's as, formally introduced, they bow
+before the smiling king. The architectural effect of the design which,
+as it were, makes a historian of a tree is admirable. The beanstalk in
+No. 2 is a true ladder of romance; and, seeing it, I think that
+Cruikshank escaped from the repugnant vulgarity of G. H. on that May or
+June day of 1815 when he drew The _Pedigree of Corporal Violet_ (_alias_
+Napoleon) as a perpendicular of flowers and fungi and dreamed of the
+fairy seed he would sow for children. In "Jack and the Beanstalk" there
+is not only a fairy plant but a real English fairy gauzy-winged, tiny,
+with a wand as fine as a needle. Yet Ruskin was displeased, and we may
+define the fault which caused his displeasure as a finicky unveracity
+about shade and textures.
+
+[Illustration: THE OGRE IN THE FORM OF A LION. From George Cruikshank's
+Fairy Library, "Puss in Boots," 1864.]
+
+In 1866, however, Cruikshank executed two plates for Ruskin; one of them
+illustrated "The Blue Light" from Grimm, the other showed the children
+of Hamelin following the Pied Piper into the mountain; and in the same
+year he almost paralleled the success of his fairy cobblers in Grimm by
+an etching of Pixies engaged in making boots, which he did for Frederick
+Locker, afterwards Locker-Lampson. In 1868 Cruikshank made the large and
+beautiful etching entitled "Fairy Connoisseurs inspecting Mr Frederick
+Locker's Collection of Drawings." Anyone who has read "My Confidences"
+(1896) will acknowledge that it was a happy thought to invite the Little
+People into Mr Locker-Lampson's library, for this bibliophile, so
+humorous and elegant, so ready with the exact Latin quotation needed to
+civilise perfectly the shape of an indecorum, was in essence a child
+whose toys were consecrated to the fairies by his purity in loving them.
+
+We will take leave of Cruikshank as a fairy artist by a look at a sketch
+for his picture _The Fairy Ring_. He painted the picture, which is his
+best oil-painting, in 1855 for the late Henry Miller of Preston, for
+£800. The sketch referred to sold at Sotheby's in 1903 for £25, 10s.
+This sketch--a painting--I saw at the Royal Aquarium, as in a bleak
+railway station without the romance of travel. The Fairy King stands on
+a mushroom about which rotate two rings of merrymakers between which run
+torch bearers. They are mad, these merrymakers, and madness is delight.
+Hard by, a towering foxglove leans into space, bearing two joyous
+sprites. Gigantic is the lunar crescent that shines on the scene; it is
+a gate through which an intrepid fairy rides a bat above the revels. In
+this impressionistic sketch, Cruikshank shows himself participant in the
+mysterious exultation of the open night where man, intruding, feels
+neither seen nor known. _The Fairy Ring_ belongs to the poetry of
+humour. It perorates for a supernaturalist whose fashionable ignorance,
+touched with less durable vulgarity, blinded him to such visions as, in
+our time, the poet "A. E." has depicted. Looking at Cruikshank's
+supernatural world of littleness and prettiness, of mirth, extravagance,
+and oddity, we feel in debt to his limitations.
+
+
+
+
+VI
+
+
+The humour of George Cruikshank deserves separate consideration, because
+it is essentially the man himself. Despite a technical excellence so
+peculiar that, according to the author of Number 1 of "Bursill's
+Biographies," the engraver Thompson "kept a set of special tools,
+silver-mounted and with ivory handles, sacred for" Cruikshank's designs,
+his sense of beauty was not eyes to him. Women he usually saw as lard or
+bone, and this strange perversity of vision and art differentiates him
+from the moderns by more than time. For instance, the women presented by
+Mr S. D. Ehrhart and O'Neill Latham (a lady-artist), to mention only two
+modern humorists, materialise an idea of beauty in humour which was as
+foreign to Cruikshank as apple-blossom to a _pomme de terre_.
+
+[Illustration: A GENTLEMAN'S REST BROKEN (in consequence of going to bed
+with his leg on). From an etching in "Scraps and Sketches," Part 1,
+1828.]
+
+Humour with Cruikshank was elemental. A joke was sacred from
+implication; it was self-sufficient, vocal in line and curve,
+percussive. He was a contemporary of Douglas Jerrold, who was humorous
+when he called a town Hole-cum-Corner. He was a contemporary of Thomas
+Hood, who was humorous when he announced that
+
+        "from her grave in Mary-bone
+    They've come and bon'd your Mary."
+
+He was in that "world of wit" where they kept a nutmeg-grater on the
+table in order to say, when a great man was mentioned, "there's a
+grater." He was in a world where professional humour was perversely
+destructive of faith in imagination.
+
+[Illustration: EXCHANGE NO ROBBERY. From "Points of Humour," 1823. The
+unfaithful wife has concealed her lover in the clock. The husband, who
+has unexpectedly returned, devours bacon at 1 A.M., while she is in an
+agony of apprehension.]
+
+But what is humour? Late though the question be, it should be answered.
+Humour, then, is the ability to receive a shock of pleasant surprise
+from sounds and appearances without attributing importance to them. As
+the proof of humour is physiological, its appeal to the intellect is as
+peremptory as that of terror. It is a benignant despot which relieves us
+from the sense of destiny and of duty. Its range is illimitable. It is
+victoriously beneath contempt and above worship.
+
+Cruikshank was a humorist who could laugh coarsely, broadly, selfishly,
+merrily, well. Coarseness was natural to him, or he would not have
+selected for a (suppressed) illustration in "Italian Tales" (1824) a
+subject which mingles tragedy with the laughter of Cloacina. One can
+only say that humour, like a sparrow, alights without regard to
+conventions. The majority can laugh with Rabelais, though they have not
+the idealism which created Theleme. Jokes that annoy the nose are no
+longer tolerable in art, but in Cruikshank's time so wholesome a writer
+as Captain Marryat thought Gillray worth imitating in his translation of
+disease into terms of humour. Hence _The Headache_ and _The Cholic_
+(1819), signed with an anchor (Captain Marryat's signature) and etched
+by Cruikshank, follow _The Gout_ by Gillray (1799). The reader may well
+ask if the sight of a hideous creature sprawling on a man's foot is
+humour according to my definition. I can only presume that in what Mr
+Grego calls the "port-wine days," Gillray's plate was like sudden
+sympathy producing something so absolutely suitable for swearing at,
+that patients smiled in easy-chairs at grief.
+
+Broad humour has an eye on sex. The uncle who, on being asked at dinner
+for an opinion on a lady's costume, observes that he must go under the
+table to form it, is a type of the broad humorist in modern life.
+Cruikshank had none of that tenderness for women's clothes which in
+modern representation removes altogether the pudical idea from costume
+and substitutes the idea of witchery by foam of lace and coil of skirts.
+His guffaws and those of Captain Marryat and J. P***y, whose invention
+exercised his needle, at the Achilles in Hyde Park, in 1822, are
+vexatious enough to make one wish to restore all fig-leaves to the
+fig-forest. It is not possible for a man with an indefinite and
+inexpressible feeling for woman to laugh like that. Hearing his laughter
+we know that Cruikshank's humour about woman must always be obvious.
+
+[Illustration: "EH., SIRS!" Illustrates "Waverley," by Sir Walter Scott,
+in "Landscape-Historical Illustrations of Scotland and the Waverley
+Novels," 1836.]
+
+It is, and yet it is not measured by the height of her hat as he
+depicted it in 1828, when he contributed to that long series of jokes
+which culminate in Jan Linse's girl at the theatre who will not take her
+hat off because, "mamma, if I put it in my lap I can't see myself." In
+the annals of absurdity is there anything more worthy to be true at the
+expense of the British Navy than Cruikshank's picture of the chambermaid
+confronted with the leg which she has mistaken for a warming-pan?
+Another woman, whom Cruikshank compels us to remember by force of
+humorous idea, is to be found in _Points of Humour_ (1823). She is the
+doxy in "The Jolly Beggars," sitting on the soldier's lap. We see her
+while she holds up
+
+                  "her greedy gab
+    Just like ae aumous dish."
+
+The soldier has lost an arm and a leg, but his face is the face of
+infatuation and her lips are the lips of lust. The toes of her bare feet
+express pleasure longing for ecstasy. I write seriously: they are very
+eloquent toes. There is a fire near the amorous pair, and the dog
+basking by it, uninterested in them, is a token of peace unpried upon.
+Her left hand grasps a pot of whiskey. She is in heaven. Indeed there is
+too much heaven in the picture for me to laugh at it. Behind the
+incongruity which clamours for laughter is the magic of drink reshaping
+in idea a half-butchered man and reviving the fires of sex.
+
+[Illustration: HOPE. From "Phrenological Illustrations," 1826.]
+
+After this we glide politely from women as they blossom in the drollery
+of Cruikshank. Jenny showers "pills, bolus, julep and apozem too" on the
+physicians who would have exenterated her (_vide_ "The New Bath Guide,"
+1830). The "patent washing machines" remember their sex at the approach
+of Waverley (_vide_ "Landscape-Historical Illustrations," 1836), and
+remind us that in 1810 T. Tegg published a less refined _Scotch Washing_
+over the signature of Cruikshank. Nanse sheds the light of a candle upon
+the corpse of the cat compressed by a heavy sitter (_vide_ "The Life of
+Mansie Wauch," 1839). The squaw "in glass and tobacco-pipes dress'd"
+evokes lyrical refusal from the Jack who has sworn to be constant to
+Poll (_vide_ "Songs, Naval, and National, of the late Charles Dibdin,"
+1841). Lady Jane Ingoldsby smilingly--with lifted hand for note of
+interjection--allows her attention to be directed to the half of her
+drowned husband which was not "eaten up by the eels" (_vide_ "Bentley's
+Miscellany," 1843). William's widow contemplates with fury the sailor
+upon whose nose has alighted her dummy babe (_vide_ "The Old Sailor's
+Jolly Boat," 1844); and General Betsy gobbles her novel in a chaotic
+kitchen, oblivious of the horror of her mistress (_vide_ "The Greatest
+Plague in Life," 1847).
+
+In all this pageant of absurdity is wanting the special touch which
+surprises the spectator. The emotions of the women are rendered as with
+a consciousness that they are a merchandise of art and "in stock."
+
+[Illustration: Details from the Plate entitled _Heads of the Table_, in
+"George Cruikshank's Table-Book," 1845.]
+
+The caricaturist of mankind, to immortalise his work, must haunt us with
+physiognomy. Thus Honoré Daumier in _Le Bain Chaud_ haunts us with the
+burlesque heroism in the face of a man about to sit down in water which
+pretends to scald him. Sir John Tenniel haunts us with the complacent
+slyness of Dizzy bringing in the hot water for February 1879 to that
+distrustful lie-abed John Bull. Charles Dana Gibson haunts us with the
+charmed vanity of an aged millionairess sitting up, bald and bony, in a
+regal bed, with her coffee-cup arrested in hand by the fulsome puff of
+her person and adornments read to her by her pretty maid. George Du
+Maurier haunts us with the freezing question in the face of the
+knight who has permitted himself to crack an empty eggshell on the
+"Fust o' Hapril."
+
+How does Cruikshank stand as a creator of humorous physiognomy? The
+answer is not from a trumpet. He invented crowds of people who seem
+merely the fruits of formulæ, and in comedy the simple application of
+the science of John Caspar Lavater is weak in effect, since laughter is
+tributary to surprise.
+
+Compare Daumier's man in hot water with Cruikshank's _Trotting_ (a
+similar subject in "The Humourist," vol. iii., 1820), and one sees the
+difference between mere Lavaterism and emotion detected with delight.
+Compare Daumier's facetious ruffian asking the time of the man he
+intends to rob with almost any ruffian in Cruikshank's humorous gallery
+and one can only say that, in effect, one drew him to haunt the mind;
+the other to bore it. One ruffian surpasses his type without deserting
+it; the other is the type itself. Here and there, however, Cruikshank
+creates an individual who is more than his type without being divergent
+from it. Do we find such a one in the serious eater in _Hope_
+("Phrenological Specimens," 1826), in whose bone, already as
+innutritious as a toothbrush, his dog confides for sustenance? I think
+so, because I see him when I think of appetite as of tragedy. Humour
+accepts him in deference to her idea that there is nothing that cannot
+be laughed at, and she is worthy of deification when she goes down,
+down, down, laughing where even her worshippers are mute.
+
+I doubt if Cruikshank twice excelled in respect of authenticity in
+humour the host and guest whom he presented in the reproduced subjects
+from _Heads of the Table_ (1845). Humour ascends from his _Hope_ to them
+as to a heaven of animals from a purgatorial region. That even what I
+have called Cruikshank's Lavaterism can be amusing is proved by his
+portrait of Socrates at the moment before he said "rain follows
+thunder."
+
+We owe probably to Cruikshank's inveterate love of punning the capital
+study in disdain as provoked by envy exhibited in one of the lions in
+_The Lion of the Party_ (1845). Of his animal humour I shall have more
+to say: these lions are more human than many of his representations
+of _homo sapiens_; they need no footline.
+
+[Illustration: X
+
+_Xantippe_
+
+From "A Comic Alphabet," 1836. See Pope's "The Wife of Bath" (after
+Chaucer), II. 387-392.]
+
+The student of Cruikshank's humour must follow him through many volumes
+in which his pencil is subservient to literature; and in this journey he
+will often open his mouth to yawn rather than to laugh. The professional
+humorist, like the professional poet, is the prey of the Irony that sits
+up aloft; and Cruikshank was not an exception. Indeed one may say of
+some of his crowded caricatures that one has to wade through them. In
+the humorous illustration of literature his work is seldom risible, but
+it usually pleases by a combination of neatness and energy.
+
+Despite his intense egotism he ventured to associate his art with the
+works of Shakespeare, Fielding, Smollett, R. E. Raspe, Cowper, Byron,
+Scott, Dickens, Goldsmith, Douglas Jerrold, Thackeray, Le Sage, and
+Cervantes. These names evoke a world of humorous life in which is
+missing, to the knowledge of the spectator, only the humour which shines
+in jewels of brief speech and rings in the heavenly onomatopoeia of
+absurdity. Lewis Carroll and Oscar Wilde are decidedly not of that
+world, though Raspe, by a freak of irony, graced his brutal pages with
+lines which the snark-hunter might have coveted, and Smollett's elegance
+in burlesque gravity is dear to an admirer of "The Importance of being
+Earnest."
+
+[Illustration: _Lion of the Party_
+
+From "George Cruikshank's Table Book," 1845.]
+
+For Shakespeare, Cruikshank seems to have felt a tender reverence. As
+early as 1814 we find him drawing Kean as Richard III., and Hamlet for
+J. Roach, the publisher of "The Monthly Theatrical Reporter"; 1815 is
+the date of a lithograph of _Juliet and the Nurse_ published by G.
+Cruikshank and otherwise unmemorable; in 1827 he made one of his
+"Illustrations of Time," a vivacious portrait of Puck about to girdle
+the earth. In 1857-8 came the Cruikshankian series of etchings for R. B.
+Brough's "Life of Sir John Falstaff." This series exhibits great skill
+and conscientiousness; the critic of "The Art Journal" (July 1858) was
+able to suppose them "actual scenes." Falstaff has a serene and majestic
+face; his bulk is too dignified for the scales of a showman; one
+understands his æsthetic abhorrence of a "mountain of mummy." Humour
+cancels his debt of shame for cowardice, and well would it have been if
+that rebellious Lollard, Sir John Oldcastle, the original of
+Falstaff, could have looked into Falstaff's roguish eyes as he reclined
+on the field of Shrewsbury and peeped at his freedom from all the
+bigotries which threaten and terrify mankind. Cruikshank unconsciously
+imparts this thought, but it is with conscience that he is amiable to
+Falstaff, who, begging, hiding, shamming, "facing the music," and dying,
+is his pet and ours by grace of his refined and beautiful art.
+
+We meet Cruikshank's Falstaff again in the drawing entitled _The First
+Appearance of William Shakespeare on the Stage of the Globe_ (January
+1863). Here we have the élite of Shakespeare's creations in a throng
+about his cradle. Titania and Oberon are at its foot, as though he owed
+them birth; Touchstone and Feste try to catch a gleam of laughter from
+his eyes; Prospero waves his wand; Othello gazes with hate at the
+guarded enchanter, more potent than Prospero, who is to bring his woe to
+light; Romeo and Juliet have eyes only for each other. Richard the Third
+is there, sadder than Lear; the witches who prophesied the steps of
+Macbeth towards hell gesticulate hideously by their cauldron; and
+Falstaff, cornuted as becomes the "deer" of Mrs Ford, smiles at a
+vessel that reminds him, as do all vessels, of sack and metheglins.
+There is charm and beauty of ensemble in this picture, which I have
+described from a coloured drawing in the South Kensington Museum made by
+its designer in 1864-5. I know nothing that suggests more forcibly the
+fatefulness hidden in the inarticulate stranger who appears every day in
+the world without a history and without a name.
+
+[Illustration: ADAMS'S VISIT TO PARSON TRULLIBER. Frontispiece to
+"Joseph Andrews," 1831. The book is dated 1832. This is one of the
+plates in "Illustrations of Smollett, Fielding, and Goldsmith" (1832).]
+
+Smollett and Fielding, both novelists who present humour as the flower
+of annoyance and catastrophe, were hardly to be congratulated when
+Cruikshank innocently showed them up in "Illustrations of Smollett,
+Fielding, and Goldsmith" (1832). In both the reader of literature
+discerns a gentleman. In Fielding he sees a radiant man of the world
+from whom literary giants who succeeded him drew nutriment for ambition.
+Both Smollett and Fielding have heroines, and touch men in the nerve of
+sweetness, and fell them with love. But Cruikshank cared naught for
+their women, though he reproduced something equivalent to the charm of
+Shakespeare's "Merry Wives." When first he went to Smollett, it was
+for a _Point of Humour_ (1824), which centres in an "irruption of
+intolerable smells" at dinner. The point pricked, as one may say, but it
+was blunt in effect compared with that of a later artist's drawing of
+_Columbus and the Egg_ or that of Cruikshank's cook swallowing to order
+in _Land Sharks and Sea Gulls_ (1838). The really vivid picture is
+recognised by a lasting imprint on a mind which is incapable of learning
+Bradshaw by heart, and Cruikshank's drawings for Smollett are reduced in
+my mind to _Mrs Grizzle extracting three black hairs from Mr Trunnion_,
+and his drawings for Fielding are reduced into the ruined face and
+rambling fat of Blear-eyed Moll.
+
+Those who will may compare the Smollett of Rowlandson with that of
+Cruikshank. The comparison may determine whether a dog is funnier while
+being trodden on or immediately after, and shows the indifference of
+Rowlandson to his artistic reputation. Cruikshank's attempts to
+illustrate Goldsmith are few and, as a series, unsuccessful. The
+reproduced specimen is a fair example of his realistic method. It
+exhibits the blackguard's sense of absurdity in the Christian altruism
+which paralyses the nerves of the pocket--sensitive usually as the
+nerves of sex--and which tyrannises over the nerves of pride.
+
+[Illustration: THE VICAR OF WAKEFIELD PREACHING TO THE PRISONERS. From
+"Illustrations of Popular Works," 1830.]
+
+Fisher, Son, & Co., the publishers of Cruikshank's illustrations of the
+"Waverley" novels (1836-7-8), assumed "the merit of having been the
+first to illustrate the scenes of mirth, of merriment, of humour, that
+often sparkle" in these works. In "Landscape Historical Illustrations of
+Scotland and the Waverley Novels" he supplied the comic plates; his
+_Bailie Macwheeble rejoicing before Waverley_, for chapter lxvi. of
+"Waverley," was the first etching done by him on steel. His "Waverley"
+etchings are characteristic works, sometimes brilliant in pattern or
+composition, occasionally ministering to a love of physiognomical
+ugliness which the small nurses of the dolls called "golliwoggs" can
+better explain than I. His predilection for the curious and uncanny is
+shown in some striking plates, including that in which he depicts the
+terror of Dougal and Hutcheon as they mistake the ape squatting on
+Redgauntlet's coffin for "the foul fiend in his ain shape."
+
+Cruikshank's illustrations for "Memoirs of the Life and Writings of Lord
+Byron" (1824-5) are cuts which include such deplorable effects of bathos
+(_e.g. Haidee saving Don Juan from her Father's wrath_) that one has no
+heart to praise the rough vigour of _Juan opposing the Entrance to the
+Spirit Room_. A Byron illustrated by protected aborigines seems
+realisable after seeing these pictures. If anybody paid the artist for
+them it should have been Wordsworth; that they did not weigh on
+Cruikshank's conscience, we may infer from the fact that in 1833 he
+cheerfully caricatured Byron for "Rejected Addresses" as a gentleman in
+an easy-chair kicking the terrestrial globe.
+
+We have already discussed the fruit of Cruikshank's association with
+Dickens. We have not, however, paid tribute to Cruikshank's capital
+etchings for "Memoirs of Joseph Grimaldi," edited by Boz (1838). The
+portrait of the famous clown holding in his arms a hissing goose and a
+squeaking pig, while voluble ducks protrude their heads from his pockets
+and a basket of carrots and turnips afflicts his back, is
+extraordinarily funny.
+
+Though Cruikshank's relations with Thackeray were far happier than with
+Dickens, they resulted in nothing important to his reputation. His
+etchings illustrating Thackeray's contributions to "The Comic Almanack"
+(1839-40) weary one with plain or uninteresting faces, though that which
+exhibits the expressive blubber-face of Stubbs, horsed for the birching
+earned by his usury, provokes an irrational smile which serves for
+praise. His illustrations to "A Legend of the Rhine" (Thackeray's
+contribution to "George Cruikshank's Table-Book," 1845) are not equal to
+Thackeray's drawings for "The Rose and the Ring" (1855).
+
+[Illustration: PRO-DI-GI-OUS! (Dominie Sampson in "Guy Mannering"),
+"Landscape-Historical Illustrations of Scotland and the Waverley
+Novels," 1836.]
+
+In the world of humour one does not descend in moving from Thackeray to
+Charles James Lever. With Lever's own portrait of his hero to guide him,
+Cruikshank illustrated "Arthur O'Leary" (1844). Among his ten etchings
+in this novel is an amusing exhibition of Corpulence submitting to
+identification by measurement; it surpasses the scene by Du Maurier in
+which the tailor promises to be round in a minute if his customer will
+press one end of the tape-measure to his waist.
+
+Cruikshank's ten etchings for "Gil Blas" (1833) are the works of an
+intelligent machine, which may be called humorous because it takes down
+the fact that Dame Jacintha held the cup to the Canon's mouth "as if he
+had been an infant." R. Smirke, R.A., with his sympathetic eye for flesh
+(as of a gardener for flowers) is obviously preferable to Cruikshank as
+Le Sage's illustrator, though our artist's Euphrasia is a dainty miss.
+Cruikshank's fifteen illustrations for "Don Quixote" (1833-34) are neat
+and for the most part uninspired renderings of pathological humour.
+Although it was within his ability to make a readable picture without
+words, he merely reminds one of the anecdote of the attack on the
+wind-mills. Compare the plate referred to with the painting on the same
+subject by Jose Moreno Carbonaro. Cruikshank's combatant is no more than
+a knight about to attack something--presumably a wind-mill. Carbonaro
+chooses the moment that exposes the knight as mad, futile, dismally
+droll, and we see him and his horse in the air, the latter enough to
+make Pegasus hiccup with laughter. Cruikshank's designs for "Don
+Quixote" compare favourably, however, with the audacious scratches
+which constitute most of his brother Robert's chronicle of the Knight of
+La Mancha (1824). The collector who affords a crown to buy the former
+designs should also acquire "Rambles in the Footsteps of Don Quixote,"
+by H. D. Inglis, with six etchings by George Cruikshank (1837). The
+etchings--three of which are perfect anecdotes--were evidently done _con
+amore_; but, good as they are, they were lucky if they satisfied an
+editor who believed Inglis's "New Gil Blas" to be "one of the noblest
+and most finished efforts in the line of pure imaginative writing that
+ever fell from the pen of any one man."
+
+[Illustration: DON QUIXOTE AND SANCHO RETURNING HOME. From "The History
+and Adventures of the Renowned Don Quixote," 1833.]
+
+It would be a species of literary somnambulism to wander further in a
+path of bibliography where ideas must be taken as they come instead of
+being ideally chosen and grouped. There is this mischief in Cruikshank's
+fecundity, that it tends to convert even a fairly bright critic into a
+scolytus boring his way through a catalogue. We emerge from our
+burrowing more percipient than before of the speculative nature of the
+undertaking to illustrate illustrious works of imagination. Sinking
+in competitive humour is akin to drowning; for he who materialises
+images despatched to the mind's eye by literary genius incurs the risk
+of having his work not only excelled by images in the eyes of minds
+other than his own, but ignored in compliment to them. Fortunate, then,
+is Cruikshank in the fact that on the whole we do not regret the healthy
+industrialism which permitted him to illustrate so many examples of
+imaginative literature.
+
+The reader to whom any appearance of digression is displeasing in art
+will now kindly believe that only a second has elapsed since he began
+the only complete paragraph of page 183. The scolytus is converted, and
+we return to our true viewpoint--the middle of a heterogeneous
+litter--and look for characteristics of Cruikshankian humour.
+
+[Illustration: NEW READINGS. The Irishman tries to read a reversed sign
+by standing on his head. From "The Humourist," vol. iv., 1821.]
+
+We have seen so much of Cruikshank's kingdom of supernature that it is
+scarcely necessary to revisit it. The reader will note, however, that
+the degradation of the terrible to the absurd is his chief humorous idea
+of supernature, and that he respects the seriousness of fairy tales. Not
+even the burlesque metaphors of Giambattista Basile--that monkey of
+genius among the euphuists--tempts him to ridicule the stories in "Il
+Pentamerone"; no one less than Milton can banish the ridiculous from his
+idea of Satan. A Satan who is a little lower than Punch, is he not more
+absurd than Man figured as a little lower than the angels? He is both
+more absurd and more satisfactory. Out of the folklore of Iceland and
+Wales and Normandy he comes to us outwitted by mortals who seem
+paradoxically to think that the Father of lies has a right to their
+adherence to the letter of their agreements with him. Out of
+Cruikshank's caricature he comes to us with a tail capable of
+delineating a whole alphabet of humour. The fire which he and his demons
+can live in without consumption becomes jocose. If you doubt it, compare
+Cruikshank's etching for Douglas Jerrold's story, "The Mayor of
+Hole-cum-Corner" (1842), with his etching, _Sing old Rose and burn the
+Bellows_ in "Scraps and Sketches" (1828). The human-looking demon with
+his left leg in the flabbergasted mayor's fire is much funnier in effect
+than the negro sailor boiling the kettle over his wooden leg. Human
+terror at superiority over natural law is highly ludicrous when the
+superiority is evinced as though it were ordinary, negligible, and
+compatible with sociableness. We cannot now say of such humour that it
+is a revelation, though once it was brighter than all the fires of
+Smithfield. There are foes of peace which in Cruikshank's simplicity he
+thought of as good. For these, too, there is a Humour to keep them at
+bay, until Science delivers us from their evil by making them obsequious
+to all who see them.
+
+When Humour pretends to drop from the supernatural to the commonplace,
+it--I cannot for the moment persuade myself to write he or she--is about
+to continue its most important mission, for it deserts a subject which
+is naturally laughable for one which is not; it goes from the
+supernatural to the commonplace. The supernatural is naturally laughable
+because the human animal instinctively laughs at that which at once
+transcends and addresses his intelligence, on a principle similar
+perhaps to that which Schopenhauer acted on when he smiled at the angle
+formed by the tangent and the circumference of a circle. At the
+commonplace, however, the human animal never spontaneously laughs. Its
+staleness is not dire to him; but negativeness is not good, and
+Cruikshank helps the commonplace to be his friend.
+
+[Illustration: "THE WITS MAGAZINE" (2 vols., 1818) is "one of the rarest
+books illustrated by G. Cruikshank." A perfect copy is said to be worth
+£80. Another rendering by him of the above incident will be found in
+"The Humourist," vol. iv. (1821)]
+
+When we view the demeanour of Cruikshank towards the commonplace we are
+agreeably surprised by his agility and daring. For instance, take a book
+called "Talpa," by C. W. Hoskyns (1852). It is a narrative of
+agricultural operations, in the course of which the author says, "The
+worst-laid tile is the measure of the goodness and permanence of the
+whole drain, just as the weakest link of a chain is the measure of its
+strength." Cruikshank, not being in the mood for drawing a drain,
+depicts a watchdog who has broken his chain's weakest link and is
+enthusiastically rushing towards an intruder whose most bitable tissues
+are reluctantly offered to him in the attempt to scale a wall. The
+hackneyed metaphor thus obviously illustrated being valueless on the
+page where we find it, our smile is for the "cheek" of the artist in
+calling attention to it rather than for the humour of the drawing as an
+exhibition of funk and glee. Thus the "obvious" marries the obvious,
+and the result is what is called originality. Again, what is more
+commonplace in its effect on the mind than decoration as viewed on
+wall-paper, frames, and linoleum, and in all those devices which flatter
+Nature's alleged abhorrence of vacuum? It is unhealthy to observe their
+repetitiousness. Cruikshank, however, saw that to be amusing where the
+utmost demanded is an inoffensive filling of vacancy was to triumph
+against dulness in its own sanctum. Consequently in the decorations
+above and below the main designs in "The Humourist" (1819-20) an
+appropriate hilarity animates effects which do not frustrate the
+decorative idea of announcing the completeness of the pictures of which
+they are the crown and base. His treatment of title-pages is
+delightfully droll. Thus the title-page of "My Sketch Book" (1834) takes
+the form of a portrait of himself, with a nose like the extinguisher of
+a candlestick, directing the posing of the required capital letters on
+the shelves of a proscenium. On the title page of "The Comic Almanac"
+(1835) the letter ~L~ is a man sitting sideways with his legs stretched
+horizontally together, and on the title-page of "The Pentamerone" (1848)
+the polysyllable becomes the teeth of an abnormal king. Studies by
+Cruikshank in the South Kensington Museum (9950-~T~) show that he
+imagined the letter ~M~ as two Chinamen united by their pigtails, which
+form the ~V~ between the perpendiculars of that letter, and are also
+employed as a hammock. This play with the alphabet is exhibited as early
+as 1828 in _The Pursuit of Letters_, where all the letters in the word
+Literature flee, on legs as thin as the track of Euclid's point, from
+philomathic dogs, while their brethren ~A B C~ attempt to escape from
+three such babes as might have sprung from the foreheads of men made out
+of the dust of encyclopædias. As late as July 1874, in reply to a
+coaxing letter from George S. Nottage, we see Cruikshank making human
+figures of the letters of the word "Portraits."
+
+[Illustration:
+
+      "while he spake a braying ass
+    Did sing most loud and clear.--William Cowper.
+
+From "The Diverting History of John Gilpin," 1828. An earlier design by
+Cruikshank for "John Gilpin" is in "The Humourist," vol. iii. (1819).
+1836 is the date borne by a new edition of W. A. Nield's very monotonous
+musical setting of John Gilpin, "illustrated by Cruikshank" (presumably
+Robert).]
+
+We return now to the zoological humour which has flashed across these
+pages. In the United States the art of humanising the creatures of
+instinct to make them articulately droll has been practised with such
+success by Gus Dirks, J. S. Pughe, and A. Z. Baker, that if Noah's
+Ark is not too "denominational," it is there that we should seek the
+origin of their humour. Cruikshank, though he did re-draw William
+Clarke's swimming duck holding up an umbrella (in "Three Courses and a
+Dessert," 1830), achieved nothing so triumphantly zoological as the
+ostrich who swallowed her medicine but forgot to uncork the bottle
+containing it, or the porcupine who asked a barber for a shampoo, or the
+cat who discovered that her Thomas was leading a tenth life, or the
+elephant who wondered how the stork managed to convey him to his
+parents, or the beetle-farmer who mowed a hairbrush. Cruikshank,
+however, was in the Ark before them, and brought back enough humour
+resembling theirs to show what he missed, besides humour of a different
+kind which they do not excel. In "Scraps and Sketches" (1829) he
+preceded the Americans in the humour which makes the horse the critic of
+the motor-car, though not in that which seems to make the motor-car the
+caricaturist of the horse; and in the above-named publication he
+represents a dog in the act of prophesying cheap meat for the canine
+race. Again, in "Scraps and Sketches" (1832) two elephants laugh
+together over a pseudopun on the word trunk.
+
+[Illustration: "When the Elephant stands upon his Head, does he himself
+know whether he is standing upon his Head or his Heels?" "George
+Cruikshank's Magazine," February 1854.]
+
+We are not, however, reminded of America by the inquiry printed below
+the elephant on the next page, which might well have surprised Lewis
+Carroll by resemblance more than all the works of Mr G. E. Farrow.
+Neither does America recognise the silence of her own laughter in those
+drawings in which Cruikshank caricatures humanity under zoological
+likenesses. His alderman realising Haynes Bayly's wish to be a butterfly
+in "My Sketch Book" (1835); his coleopteral beadle in "George
+Cruikshank's Omnibus" (1842), are simple attempts to make _tours de
+force_ of what is rather obscurely called the obvious, and one realises
+that art can find itself strong in embracing feeble idea. The most
+striking of his zoological ideas is the effect of abnormal behaviour on
+human people. Witness in "Scraps and Sketches" (1832) the "dreadful
+tail" unfolded in the dialogue: "Doth he woggle his tail?" "Yes, he
+does." "Then I be a dead mon!" One may also cite the horror of the diver
+at the rising in air of a curly and vociferous salmon from the dish
+in front of him (_ibid._). Among all his drawings of animals (those
+for Grimm excepted) there is one etching which stands out as a technical
+triumph produced by a sense of irony. I refer to the etching entitled
+_The Cat Did It!_ in "The Greatest Plague of Life" (1847). Fifteen
+pussies in a kitchen throw the crockery off the dresser, topple the
+draped clothes-horse into the fire, smash the window glass and devour
+the provisions. The scene is like a burlesque of one of its designer's
+etchings in Maxwell's "Irish Rebellion." It is unique.
+
+We must not quit Cruikshank's zoological drawings without remarking on
+the curious inconsistency of his attitude towards animals. We find him
+both callous and tender. In illustrating "The Adventures of Baron
+Munchausen" he chose (one assumes) to draw the Baron flaying the fox by
+flagellation; at any rate we have his wood-cut depicting the abominable
+operation; and in "Scraps and Sketches" (1832), poor Reynard, for the
+sake of a pun, is exhibited as "Tenant intail" of a spring-trap. Yet in
+"My Sketch Book" (1835) he presents us with frogs expostulating with
+small boys for throwing stones at them ("I pray you to cease, my little
+Dears! for though it may be sport to you, it is death to us"). Again,
+his canine reference to cats' meat, already mentioned, implies a
+heartlessness towards horses which is contradicted by his touching but
+not much prized etching _The Knackers Yard_, to be found in "The Voice
+of Humanity" (May 1831), in "The Melange" (1834), and in "The Elysium of
+Animals" (1836). Moreover, in "My Sketch Book" (1835) he severely
+exhibits human insensitiveness to the sufferings of quadrupeds in _The
+Omnibus Brutes--qy. which are they?_ It is therefore clear that
+Cruikshank thought humanely about animals, though as a humorist he was
+irresponsible and gave woe's present to ease--its comicality. And before
+we write him down a vulgarian let us remember our share in his laughter
+at the absurdity of incarnations which confer tails on elemental furies
+and indecencies, and compel elemental importances and respectabilities
+to satisfy their self-love by ruinous grimaces and scaffoldings of
+adipose tissue.
+
+[Illustration: "THE CAT DID IT!" From "The Greatest Plague in Life"
+(1847).]
+
+In a comparison I have already associated Cruikshank with Lewis Carroll,
+who was systematically the finest humorist produced by England till
+his death in 1898. The most intensely comic thing ever wrought by the
+hand of Cruikshank is, I think, by the absolute perfection of its
+reasoning _a priori_, a genuine "carroll" in a minor key. It is the
+drawing in "Scraps and Sketches" (1832) in which, to a haughty, unamused
+commander, the complainant says, "Please, your Honor, Tom Towzer has
+tied my tail so tight that I can't shut my eyes."
+
+One of Cruikshank's humorous ideas is particularly his own, because it
+satisfies his passionate industry. I mean those processions of images
+which he summoned by the enchantment of single central ideas. _The
+Triumph of Cupid_ in "George Cruikshank's Table Book" (1845) is as
+perfect an example as I can cite. Cruikshank is seated by a fire with
+his "little pet dog Lilla" on his lap. From the pipe he is smoking
+ascends and curls around him a world of symbolic life. The car of the
+boy-god is drawn by lions and tigers. Another cupid stands menacingly on
+a pleading Turk; a third cupid is the tyrant over a negro under
+Cruikshank's chair; a fourth cupid, sitting on Cruikshank's left foot,
+toasts a heart at the "fire office"; more cupids are dragging Time
+backwards on the mantelpiece, and another is stealing his scythe.
+Consummate ability is shown in the delicate technique of this etching,
+which was succeeded as an example of _multum in parvo_ by the well-known
+folding etching _Passing Events or the Tail of the Comet of 1853_,
+appearing in "George Cruikshank's Magazine" (February 1854).
+
+[Illustration: TITLE PAGE OF "ILLUSTRATIONS OF TIME," 1827 This drawing
+borrows idea from Gillray, as also does the frontispiece by Cruikshank
+to "Angelo's Picnic" (1834). Compare Gillray's _John Bull taking a
+Luncheon_ (1798).]
+
+Playing on words is very characteristic of Cruikshank's humour. Thus he
+shows us "parenthetical" legs, as Dickens wittily called them, by the
+side of those of "a friend in-kneed," and a man (dumbly miserable)
+arrested on a rope-walk is "taken in tow." Viewing Cruikshank at this
+game does not help one to endorse the statement of Thomas Love Peacock,
+inspired by the drawing of January in "The Comic Almanack" (1838),
+
+    "A great philosopher art thou, George Cruikshank,
+    In thy unmatched grotesqueness,"
+
+for a philosopher is a systematiser and a punster is an anarchist. But
+we do not need him as a philosopher or as an Importance of any kind.
+What we see and accept as philosophy in him is the appropriation of
+misery for that Gargantuan meal of humour to which his Time sits down.
+Yet in that philosophy it is certain that ironists and pessimists excel
+him.
+
+An entomologist as generous in classification as Mr Swinburne, author of
+"Under the Microscope," will now observe me in the process of being
+re-transformed into a scolytus. "Impossible!" cries the reader who
+remembers my repentance on page 203. But I say "Inevitable." Since I had
+the courage to bore my way through a catalogue of famous books
+illustrated humorously by Cruikshank, I feel it my duty to bid the
+reader look at a list of works of which he should acquire all the
+italicised items, in such editions as he can afford, if he wishes to
+know Cruikshank's humour as they know it who call him "The Great
+George."
+
+    The Humourist (4 vols., 1819-20).
+    _German Popular Stories_ (2 vols., 1823-4).
+    _Points of Humour_ (2 vols., 1823-4).
+    _Mornings at Bow Street_ (1824).
+    _Greenwich Hospital_ (1826).
+    _More Mornings at Bow Street_ (1827).
+
+    Phrenological Illustrations (1826).
+    Illustrations of Time (1827).
+    _Scraps and Sketches_ (4 parts and one plate of an
+         unpublished 5th part, 1828-9, 1831-2, 1834).
+    _My Sketch Book_ (9 numbers, with plates dated 1833, 1834, 1835).
+    _Punch and Judy_ (1828).
+    _Three Courses and a Dessert_ (1830).
+    _Cruikshankiana_ (1835).
+    _The Loving Ballad of Lord Bateman_ (1839).
+    _George Cruikshank's Omnibus_ (9 parts, 1841-2).
+    The Bachelor's Own Book (1844).
+    _George Cruikshank's Table Book_ (12 numbers, 1845).
+    George Cruikshank's Fairy Library (4 parts, 1853-4, 1864).
+    George Cruikshank's Magazine (2 numbers, 1854).
+
+This list reminds us that, though Cruikshank often conferred a
+bibliophile's immortality upon authors more "writative," to quote the
+Earl of Rochester, than inspired, he was sometimes the means of
+arresting great literary merit on its way to oblivion. A case in point
+is William Clarke's "Three Courses and a Dessert," a book of racy
+stories containing droll and exquisite cuts by Cruikshank, after rude
+sketches by its author, who did Cruikshank the service of accusing
+him in "The Cigar" (1825) of being stubbornly modest for half an hour.
+Again, we owe to Cruikshank our knowledge of "The Adventures of Sir
+Frizzle Pumpkin; Nights at Mess; and Other Tales" (1836), a work of
+which I will only say that its anonymous narrative of good luck in
+cowardice won a smile from one of the most lovable of poets on the day
+she died.
+
+[Illustration: "The Turk's only daughter approaches to mitigate the
+sufferings of Lord Bateman." "The Loving Ballad of Lord Bateman," 1839.]
+
+"The Loving Ballad of Lord Bateman" is one of the puzzles of literature.
+Mr Andrew Lang decides that it is a _volkslied_, to which, for the
+version of it illustrated by Cruikshank, Thackeray contributed the notes
+considered by some to be by Dickens. Mr Blanchard Jerrold thinks "nobody
+but Thackeray" could have written the lines about "this young bride's
+mother Who never was heard to speak so free," and I think that the notes
+are Thackeray's, and the ballad an example of a class of literature from
+which Thackeray drew comic inspiration. Cruikshank heard it sung outside
+"a wine vaults" (_sic_) at Battle Bridge by a young gentleman called
+"The Tripe-skewer." The ballad became part of Cruikshank's repertory. Mr
+Walter Hamilton states that Cruikshank sang "Lord Bateman" in the
+presence of Dickens and Thackeray "at a dinner of the Antiquarian
+Society, with the Cockney mal-pronunciations he had heard given to it by
+a street ballad-singer." He adds that Thackeray expressed a wish, which
+he allowed Cruikshank to sterilise, to print the ballad with
+illustrations. We may therefore suppose, despite the omission of the
+notes to Lord Bateman from the "Biographical Edition" of Thackeray's
+works, that they are by the author of "The Ballad of Eliza Davis."
+Cruikshank, overflowing with lacteal kindness, added three verses to the
+"loving ballad" as he heard it, in which the bride who yields place to
+the Turk's daughter is married to the "proud porter." Cruikshank's
+etchings are charmingly naïve and expressive. The bibliophool pays eight
+guineas for a first edition, minus the shading of the trees in the plate
+entitled _The Proud Young Porter in Lord Bateman's State Apartment_.
+
+"The Bachelor's Own Book" is a story told in pictures and footlines,
+both by the artist. The hero is "Mr Lambkin, gent," a podgy-nosed
+prototype of Juggins, who amuses himself by the nocturnal removal of
+knockers and duly appears in the police court, but is ultimately led to
+domestic felicity by the dreary spectacle of a confirmed bachelor alone
+in an immense salon of the Grand Mausoleum Club. Some of the
+etchings--notably Mr Lambkin feebly revolting against his medicine--are
+mirth-provoking, and his various swaggering attitudes are well-imagined.
+
+"Cruikshankiana" conveniently presents a number of George Cruikshank's
+caricatures in reprints about a decade older than the plates. The
+preface solemnly but with ludicrous inaccuracy states that in each
+etching "a stern moral is afforded, and that in the most powerful and
+attractive manner."
+
+We are now brought to the conclusion of our most important chapter. Will
+Cruikshank's humour live? or, rather, may it live? for things live
+centuries without permission, and the fright of Little Miss Muffet is
+more remembered than the terror of Melmoth. The answer should be "Yes"
+from all who acknowledge beauty in the sparkle of evil and of good. No
+humorist worthy of that forbidden fruit which made thieves of all
+mankind can refrain from the laughter which is paid for by another.
+Mark Twain, who has nerves to thrill for martyred Joan of Arc, delights
+in the epitaph, "Well done, good and faithful servant," pronounced over
+the frizzled corpse of a negro cook. Lowell, the poet, extracted a pun
+from the blind eyes of Milton. _Punch_, in 1905, amused us with the boy
+who supposed that horses were made of cats' meat, and in 1905 Sir
+Francis Burnand thought that the most humorous pictorial joke published
+by him in Punch was Phil May's drawing of a fisherman being invited to
+enter the Dottyville Lunatic Asylum. There is heroism as well as
+vulgarity in laughter saluting death and patience, hippophagy and
+cannibalism, ugliness and deprivation. He is a wise man who sees smiling
+mouths in the rents of ruin and the spaces between the ribs of the
+skeleton angel. Humour, irresponsible and purposeless, is of eternity,
+and to me (at least) it is the one masterful human energy in the world
+to-day. It is against compassion and importance and remorse and horror
+and blame, but it is not for cruelty, or for indifference to distress.
+Nothing exists so separate from truth and falsehood and right and
+wrong. Nothing is more instant in pure appeal to the intellect, no
+blush is more sincere than that of the person who before company cannot
+see a joke. Humorists are dear to the critic because they criticise by
+re-making in the world of idea the things they criticise. Among them
+Cruikshank is dearer than some, less dear than others. Through the
+regency and reign of the eldest son of George the Third he, even more
+than Cobbett, seems to me the historian of genius, by virtue of
+prodigious merriment in vulgar art. The great miscellany of humour which
+he poured out revitalises his name whenever it is examined by the family
+of John Bull. For it is his own humour--the humour of one who had the
+power to appropriate without disgrace because he was himself an
+Original.
+
+
+
+
+VII
+
+
+Our classification of Cruikshank's works has enabled us to see the
+objective range of his artistic personality. A few words must now be
+said of the media in which he worked. Of these media the principal was
+etching.
+
+"O! I've seen Etching!" exclaims Cruikshank in 1859; "it's easy enough,
+you only rub some black stuff over the copper plate, and then take a[n]
+etching needle, and scratch away a bit--and then clap on some a-ke-ta-ke
+(otherwise aquafortis)--and there you are!" "Wash the _steel_," he says
+in another of his quaint revelations, "with a solution of _copper_ in
+_Nitro[u]s acid_--to _tarnish_ the _tarnation Bright steel_ before
+Etching, to save the eyes."
+
+[Illustration: NORNA DESPATCHING THE PROVISIONS. Illustrates "The
+Pirate," by Sir Walter Scott, in "Landscape-Historical Illustrations of
+Scotland, and the Waverley Novels," 1838.]
+
+In his 77th year he says: "I am working away as hard as ever at water
+color drawings and paintings in oil, doing as little Etching as possible
+as that is very slavish work."
+
+As he had etched about 2700 designs when he made this statement, it
+is impossible not to sympathise with his recreative change of medium. It
+must be remembered that, except in dry-point etching, the bite of the
+acid is trusted to engrave the design of the needle and that, when the
+stronger lines are obtained "by allowing the acid to act for a longer
+time" on a particular part or parts of the etched plate, the mechanical
+work, and work of calculation, imposed upon the etcher is formidable.
+Until, in the late seventies of the nineteenth century, the invasion of
+the process-block gave manual freedom to the bookseller's artist, that
+individual was continually sighing over the complexity of the method by
+which he paid the tribute of his imagination to Mammon. In the hands of
+the wood-engraver an artist's unengraved work was apparently always
+liable to the danger of misrepresentation unless the artist engraved it
+himself. Even the great John Thompson is not free from the suspicion of
+having unconsciously assisted "demon printers" in transforming into
+"little dirty scratches" some designs by Daniel Maclise, whose
+expressions are preserved in this sentence. Cruikshank who, if we add
+his woodcuts to his etchings, saw upwards of 4000 designs by him given
+with laborious indirectness to the world, would have been more than
+human if he had considered his unskilfulness in the art of producing and
+employing the colours between black and white as a reason for refraining
+from painting in oils. In 1853 "he entered as a student at the Royal
+Academy"; but his industry, in the rôle of a pupil of 60, was, it seems,
+less than his humility, for "he made very few drawings in the
+_Antique_," says Mr Charles Landseer, "and never got into the _Life_."
+Cruikshank, however, had exhibited in the Royal Academy as early as
+1830, and in 1848 he dared to paint for the Prince Consort the picture
+entitled _Disturbing the Congregation_. This picture of a boy in church
+looking passionately unconscious of the fact that his sacrilegious
+pegtop is lying on the grave of a knight in full view of the beadle, is
+an anecdote painted more for God to laugh at than for Christians of the
+"so-called nineteenth century," but a philosophic sightseer like myself
+rejoices in it. This picture and _The Fairy Ring_, already praised,
+reveal Cruikshank's talent sufficiently to prevent one from
+regretting that he ultimately preferred covering canvases to furrowing
+plates.
+
+[Illustration: (_a_) CRUSOE'S FARMHOUSE.
+
+(_b_) CRUSOE IN HIS ISLAND HOME.
+
+From "Robinson Crusoe," 1831.]
+
+To do him justice he was academically interested in the whole technique
+of pictorial art as practised in his day. He admitted, for instance, to
+Charles Hancock, "the sole inventor and producer of blocks by the
+process known as 'Etching on Glass,'" that if this invention had come
+earlier before him "it would have altered the whole character" of his
+drawing, though the designs which he produced by Hancock's process--the
+first of which was completed in April 1864--include nothing of
+importance.
+
+We will not further linger over the media of reproduction employed by
+our artist, but summon a few ideas suggested by the vision we have had
+of him sitting like a schoolboy in the schoolroom of the Royal Academy.
+
+As a draughtsman he had been professorial in 1817 when he published with
+S. W. Fores two plates entitled _Striking Effects produced by lines and
+dots for the assistance of young draftsmen_, wherein he showed, like
+Hogarth, the amount of pictorial information which an artist can convey
+by a primitively simple method. He was professorial, too, when in 1865
+he attempted to put in perspective a twelve mile giant taking a stride
+of six miles, on a plate 6 inches long and 3-3/5 inches broad, and
+informed the publisher of "Popular Romances of the West of England"
+(1865) that about 1825 he had attempted to put in perspective the
+Miltonic Satan whose body
+
+    "Prone on the flood, extended long and large,
+    Lay floating many a rood."
+
+Cruikshank's greatest enemy was his mannerism which may even delude the
+pessimist of scant acquaintance with him into the idea that it
+imperfectly disguises an inability to draw up to the standard of Vere
+Foster. The Cruikshankian has merely to direct the attention of such a
+person to the frontispiece executed by Cruikshank for T. J. Pettigrew's
+"History of Egyptian Mummies" (1834). If a man can draw well in the
+service of science his mannerism is the accomplishment of an intention.
+
+[Illustration: THE VETERANS. From "Songs, Naval and National, of the
+late Charles Dibden," 1841.]
+
+Ruskin said that Cruikshank's works were "often much spoiled by a
+curiously mistaken type of face, divided so as to give too much to
+the mouth and eyes and leave too little for forehead," and yet there is
+extant a curious MS. note by Cruikshank to the effect that Mr Ruskin's
+eyes were "in the wrong Place and not set properly in his head," showing
+that Cruikshank was a student of even a patron's physiognomy and
+suggesting that, if Ruskin had roamed in Cruikshank's London he would
+have convicted the artist of a malady of imitativeness. It must be
+remembered that he repeatedly drew recognisable portraits of his
+contemporaries; indeed he was so far from being a realist devoted to
+libel that Mr Layard confides to us that various studies by George
+Cruikshank of "the great George" would, he thinks, "have resulted in an
+undue sublimation had completion ever been attained."
+
+Yet the sublimation of the respectable is precisely the rosy view of
+Cruikshank the man enjoyed by me at the present moment. He is Captain of
+the 24th Surrey Rifle Volunteers; he is Vice-President of the London
+Temperance League. He sketches a beautiful palace as a pastime. He is in
+the same ballroom as Queen Victoria, and Her Majesty bows to him.
+Withal he is sturdy and declines the Prince Consort's offer for his
+collection of works by George Cruikshank. In the end St Paul's Cathedral
+receives him, and the person who knew him most intimately declares on
+enduring stone that she loved him best.
+
+[Illustration: VIGNETTE. From "Peeps at Life," by the London Hermit
+(London: Simpkin, Marshall & Co.), engraved by Bolton, 1875.]
+
+We are now at the end, and cannot stimulate the muse of our prose to
+further efforts. She being silent obliges our blunt British voice to
+speak for itself. Inasmuch as Cruikshank was a mannerist, he is
+inimitable except by them who take great pains to vex the critical of
+mankind. Inasmuch as he expressed the beauty of crookedness, as though
+he found the secret of artistic success in punning on his own name, he
+offers a model worthy of practical study. His fame as an etcher is too
+loud to be lost in the silence of Henri Beraldi, who enumerated "Les
+graveurs du dix-neuvième siècle," in 12 tomes (1885-1892), without
+mentioning his name. Though C is more employed in the initials of words
+than any other letter in our alphabet, the name of Cruikshank comes only
+after "Curious" in its attractiveness for the readers of entries under
+the letter C in English catalogues of second-hand books. It may be
+that to etchings in books of Cruikshank's period is ascribed, since the
+usurpation of the process-block, the factitious value of curios, and
+that he, Beraldi's Great Omitted, profits thereby. It is a fact that he
+is "collected" like postage-stamps, though no published work of his has
+attained the price per copy of the imperforate twopenny Mauritius of
+1847. But we have descended to a comparison so unfortunate in its
+logical consequences that it is well to prophesy the immortality of
+Cruikshank from other than commercial tokens. Those tokens exist in the
+undying praises of Dickens, Thackeray, "Christopher North," and Ruskin,
+in the enormous work of his principal bibliographer George William Reid,
+and, not least to the spiritual eye, in the permanence of the impression
+made by a few of his designs on a memory that has forgotten a little of
+that literary art which is the only atonement offered by its owner to
+the world for all the irony of his requickened life.
+
+
+
+
+ANNOTATED BIBLIOGRAPHICAL INDEX
+
+_Numbers referring to illustrations are in larger type. The titles of
+      illustrations are in italics, the titles of books and periodicals in
+      inverted commas. An article or demonstrative adjective in parenthesis
+      in the first line of an entry indicates that the article
+      parenthesised begins the title of the subject of that entry._
+
+
+Achilles in Hyde Park, 171.
+  _See_ Brazen, Ladies, Making.
+
+Acton, John Adams. _See_ Cruikshank, George.
+
+Adam-tilers. An Adam-tiler is a receiver of stolen goods, a pickpocket,
+a fence, 103.
+
+"Adventures (The) of Gil Blas of Santillane. Translated from the French
+of Lesage, by T. Smollett, M.D. To which is prefixed a memoir of the
+author, by Thomas Roscoe. Illustrated by George Cruikshank [and K.
+Meadows]" (2 vols., London: Effingham Wilson, 1833; being vols. xvi. and
+xvii. of "The Novelist's Library, edited by Thomas Roscoe, with
+illustrations by George Cruikshank"), 199.
+
+"Adventures (The) of Joseph Andrews, by Henry Fielding, Esq., with
+illustrations by George Cruikshank" (London: James Cochrane & Co., 1832.
+It is vol. vii. of "The Novelist's Library: edited by Thomas Roscoe,
+Esq., with illustrations by George Cruikshank"), $189$.
+
+"Adventures (The) of Sir Frizzle Pumpkin; Nights at Mess; and Other
+Tales. With illustrations by George Cruikshank" (William Blackwood &
+Sons, Edinburgh; and T. Cadell, Strand, London, 1836. The author is Rev.
+James White). 231.
+
+A. E. (George Russell), 161.
+
+_A Going! A Going! The Last Time A Going!!!_ (print pub. 12 April 1821
+by G. Humphrey), 25.
+
+Ainsworth, William Harrison, 77, 81. _See_ Ainsworth's, Artist, Guy
+Fawkes, Jack Sheppard, Miser's, Rookwood, S[ain]t James's, Sir Lionel,
+Tower, Windsor.
+
+"Ainsworth's Magazine: a Miscellany of Romance, General Literature, and
+Art. Edited by William Harrison Ainsworth" (illustrations by George
+Cruikshank appear in the first 6 vols. and the 9th vol. "Guy Fawkes" was
+reprinted with Cruikshank's etchings in vols. xvi. xvii. in 1849 and
+1850. The first 9 vols. were published in London by [successively] Hugh
+Cunningham, 1842; Cunningham & Mortimer, 1842-1843; John Mortimer,
+1843-1845; Henry Colburn, 1845; Chapman & Hall, 1846), 86, $87$, 90, $91$,
+93, 137.
+
+Akerman, John Yonge, 125, 126.
+  _See_ Gentleman.
+
+Albert, Prince (the Prince Consort, born 1819, died 1861), 44, 240, 248.
+  _See_ Original.
+
+Albert Memorial, 43.
+
+Alfieri, 72.
+
+Almanack. _See_ Comic Almanack.
+
+Alphabet. 211-212.
+  _See_ Comic Alphabet.
+
+Andersen, Hans Christian, 36.
+
+"Angelo's Picnic; or, Table Talk, including numerous Recollections of
+Public Characters, who have figured in some part or another of the stage
+of life for the last fifty years; forming an endless variety of talent,
+amusement, and interest, calculated to please every person fond of
+Biographical Sketches and Anecdotes. Written by Himself.... In addition
+to which are several original literary contributions from the following
+Distinguished Authors:--Colman, Theodore Hook, Bulwer, Horace Smith, Mrs
+Radcliffe, Miss Jane Porter, Mrs Hall, Kenny, Peake, Boaden, Hermit in
+London, &c." (London: John Ebers, 1834), $225$.
+
+"Annals (The) of Gallantry, or the Conjugal Monitor," by A. Moore, LL.D.
+(3 vols., London: printed for the proprietors by M. Jones, 1814, 1815.
+First issued in 18 parts), 70-71.
+
+Anti-Slavery. _See_ New.
+
+"Arabian Nights" (the publisher, Mr John Murray, has a record that
+George Cruikshank was paid £67, 4s. for some illustrations for the
+"Arabian Nights"), 156.
+
+Arnold, Matthew, 69.
+
+"Arthur O'Leary: His Wanderings and Ponderings in many Lands. Edited by
+his Friend, Harry Lorrequer, and Illustrated by George Cruikshank. In
+Three Volumes" (London: Henry Colburn, 1844), 196.
+
+"Artist (The) and the Author. A Statement of Facts, by the Artist,
+George Cruikshank. Proving that the Distinguished Author, Mr W. Harrison
+Ainsworth, is 'labouring under a singular delusion' with respect to the
+origin of 'The Miser's Daughter,' 'The Tower of London,' &c." (London:
+Bell & Daldy, 1872), 60.
+
+"Art Journal (The)," 184.
+
+"Athenæum (The)," 82.
+
+"Attic Miscellany," 11.
+
+Augustus Frederick, Duke of Sussex (6th son of George III., born 1773,
+died 1843. George Cruikshank etched facsimiles of five illustrations in
+a 13th century Hebrew and Chaldee Pentateuch, copies of two
+illuminations from a 13th century Armenian MS. of the Gospels and an
+illumination to a Latin Psalter of the 10th century for "Bibliotheca
+Sussexiana. A descriptive catalogue, accompanied by historical and
+biographical notices of the manuscripts and printed books contained in
+the library of His Royal Highness the Duke of Sussex, K.G., D.C.L., &c.
+&c. &c. &c., in Kensington Palace. By Thomas Joseph Pettigrew, F.R.S.,
+F.A.S., F.L.S., and librarian to H.R.H. the Duke of Sussex" [London:
+Longman & Co., Paternoster Row; Payne & Foss, Pall Mall, Harding & Co.,
+Pall Mall East; H. Bohn, Henrietta Street; and Smith & Son, Glasgow,
+1827]). _See_ Illustrations of Popular.
+
+
+Bacchus _See_ Worship; Oil Painting.
+
+"Bachelor's (The) Own Book. The Adventures of Mr Lambkin, Gent., in the
+Pursuit of Pleasure and Amusement, and also in search of Health and
+Happiness" (designed, etched, and published by George Cruikshank, 1 Aug.
+1844), 232-233.
+
+Baker, A. Z., 212.
+
+Ballooning, 40.
+
+"Banbury Chap-Books." _See_ Pearson, Edwin.
+
+"Bands (The) in the Parks. Copy of a letter supposed to have been sent
+from a High Dignitary of the Church to 'the Right Man in the Right
+Place,' upon the subject of the military Bands Playing in the Parks on
+Sundays. Picked up and published by George Cruikshank" (London: W.
+Tweedie, 1856), 59.
+
+Bank of England, 28.
+
+Bank Restriction Note (Hone is said to have realised over £700 by the
+sale of this shocker), 28.
+
+Barham, Rev. Richard Harris ("Thomas Ingoldsby"; born 6 Dec. 1788, died
+17 June 1845). _See_ Ingoldsby Legends.
+
+Barker, M. H. ("The" and "An" "Old Sailor"), 95.
+  _See_ Greenwich, Old Sailor's Jolly Boat, Topsail-sheet.
+
+Bartholomew Fair, 39.
+
+Basile, Giambattista, 204.
+  _See_ Pentamerone.
+
+Bateman, Lord. _See_ Loving.
+
+Bath. _See_ New Bath.
+
+Bayly, Thomas Haynes (died 22 April 1839), 216.
+
+Beachy Head, 108.
+
+"Beauties (The) of Washington Irving, Esq.... Illustrated with woodcuts,
+engraved by Thompson; from drawings by George Cruikshank, Esq." (4th
+ed., London: Thomas Tegg & Son, 1835. G. Cruikshank illustrated
+"Knickerbocker's New York" [_sic_] with a fine etching entitled _Ten
+Breeches_, and another entitled _Anthony Van Corlear & Peter
+Stuyvesant_, pub. in "Illustrations of Popular Works," 1830). _See_
+Thompson, John.
+
+"Bee (The) and the Wasp. A Fable--in verse. With designs and etchings, by
+G. Cruikshank" (London: Charles Tilt, 1832. The text is by Richard
+Frankum), 148.
+
+Beerbohm, Max, 22.
+
+Belch, W, 12.
+
+Bentley, Richard, publisher (died 10 Sept. 1871 in the 77th year of his
+age), 86.
+
+Bentley's Miscellany (64 vols., London: Richard Bentley, 1837-1868.
+George Cruikshank contributed illustrations to the first 14 vols.
+Charles Dickens edited vols. i.-v., and part of vol. v. William Harrison
+Ainsworth was the next editor, but started an opposition magazine in
+1842), 74 (vol iv., 1838), 133 (The Handsome Clear Starcher), 175 (The
+Ingoldsby Legends).
+
+Beraldi, Henri, 248, 251.
+
+Berenger, Lt.-Col. Baron De. _See_ Stop.
+
+Bergami, Baron Bartolomo, 26.
+
+"Betting (The) Book. By George Cruikshank" (London: W. & F. G. Cash,
+1852), 58.
+
+Blake, William (born 1757, died 12 Aug. 1828). _See_ Three.
+
+Blewitt, Mrs Octavian, 134. _See_ Rose and the Lily.
+
+_Blucher (Old) beating the Corsican Big Drum_ (caricature published by
+S. W. Fores, 8 April 1814), 20.
+
+"Blue Light (The)," 159.
+
+Boleyn, Anne, 90.
+
+Bolton, engraver, 249.
+
+_Boney Hatching a Bulletin, or Snug Winter Quarters_ (caricature
+published Dec. 1812 by Walker & Knight), 18.
+
+_Boney's Elb(a)ow Chair_ (caricature published 5 May 1814 by S. Knight),
+20.
+
+_Boney's Meditations on the island of St Helena. The Devil addressing
+the Sun._ (G. H. invt., G. Cruikshank fect. Caricature published by H.
+Humphrey, Aug. 1815), 133.
+
+_Boney Tir'd of War's alarms_ (caricature published by Walker & Knight,
+Jan. 1813), 18.
+
+"Bottle (The). In eight plates, designed and etched by George
+Cruikshank. Dedicated to Joseph Adshead, Esq., of Manchester. London:
+published for the artist, September 1st, 1847, by David Bogue, 86 Fleet
+Street; Wiley & Putnam, New York; and J. Sands, Sydney, New South Wales.
+Price six shillings," 27, 55-57, 69.
+
+Bowring, John. _See_ Minor.
+
+Boz. _See_ Dickens, Charles.
+
+_Brazen (This) Image was erected by the ladies, in honor of Paddy Carey
+O'Killus, Esq., their Man o' Metal._ (J. P***y invt., G. Cruikshank
+fect. Caricature published by J. Fairburn, 20 July 1822), 171.
+
+_Breaking Up_ (Holiday scene by George Cruikshank, published 12 Dec.
+1826 by S. Knight), 1.
+
+Brighton Pavilion ("the Folly"), 44.
+
+Broadley, A. M., 12. See _Facing_, Reid.
+
+"Brooks _alias_ Read," publisher who employed Percy Cruikshank and
+who was caricatured insultingly by George Cruikshank, 60.
+
+Brough, Robt. B. _See_ Life of Sir.
+
+Bruton, H. W., 133.
+
+Buck, Adam (portrait painter, born 1759, died 1833. The Duke of York was
+among his sitters), 26.
+
+Bull, John, 4, 7, 176. See _John Bull_, _John Bull's_, _Johnny Bull_,
+_Preparing_.
+
+Bunyan, John, 120, 125. See _Christian_, Pilgrim's (2 items).
+
+Burnand, Sir Francis Cowley, (born 29 Nov. 1836; became editor of
+"Punch" in 1880), 234.
+
+Burns, Robert, 116 (_The Deil cam fiddling thro' the Town_), 172 ("The
+Jolly Beggars"). _See_ Royal Academy, 1852.
+
+"Bursill's Biographies. No. 1. George Cruikshank.
+Artist--Humorist--Moralist" (London: John Bursill), 162.
+
+Buzmen. A Buzman is a pickpocket, 103.
+
+Byron, Lord, 183, 195. _See_ Memoirs of the Life.
+
+
+"Cakes and Ale. By Douglas Jerrold" (2 vols., How & Parsons, 1842), 204
+(_The Mayor of Hole-cum-Corner_).
+
+Callot, Jacques (born 1592, died 28 March 1635), 93, 94.
+
+Carbonaro, José Moreno, 199.
+
+Carbonic Acid Gas. See _Good Effects_.
+
+Carey, David, 46, 47.
+
+Caroline of Brunswick, wife of George IV. (born 17 May 1768, married
+George, Prince of Wales, 8 April 1795, died 7 Aug. 1821. If the belief
+still linger that Cruikshank was a Caroliniac, see his drawing of _The
+Radical Ladder_ in "The Loyalist's Magazine," 1821. The preface to
+this publication remarks on "that Reginal mania, which for a season
+transported our countrymen"), 25. See _A Going_, Queen's, Royal
+Rushlight.
+
+Carpenter, 27.
+
+Carroll, Lewis, 32, 183-184, 216, 220, 223.
+
+Cash, William, 57.
+
+Catalani, Angelica, 11.
+
+"Catalogue (A) of a Selection from the Works of George Cruikshank,
+Extending over a Period of Upwards of Sixty years [from 1799 to 1863,]
+Now Exhibiting at Exeter Hall. Consisting of Upwards of One Hundred Oil
+Paintings, Water-Colour Drawings, and Original Sketches; together with
+over a Thousand Proof Etchings, from his most popular Works,
+Caricatures, Scrap Books, Son[g] Headings, &c.; and The Worship of
+Bacchus. Open Daily from Ten till Dusk. Admission One Shilling. London:
+William Tweedie, 337, Strand, 1863. Price Two-pence" ('This title is
+copied from that of the 2nd ed. of the catalogue, desirable on account
+of G. Cruikshank's preface which is dated February, 1863), 1.
+
+"Catholic Miracles; illustrated with seven designs, including a
+characteristic portrait of Prince Hohenlohe, by George Cruikshank. To
+which is added a reply to Cobbett's Defence of Catholicism, and his
+Libel on the Reformation" (London: Knight & Lacey. Dublin: Westley &
+Tyrrell, 1825), 140.
+
+Cato Street, 3. See _Interior View of Hayloft_.
+
+Cervantes, 183. _See_ History and,
+Illustrations of Don.
+
+Chamisso, Adelbert von, 125.
+  _See_ Peter.
+
+Charles Gustavus, King of Sweden, 74.
+
+Chesson, Nora (poet), 231.
+
+Chesterton, Gilbert Keith (quoted), 104.
+
+_Children's Lottery Print_ (first published in 1804, by W. Belch,
+Newington Butts, price 1/2d. Mr G. S. Layard observes that "George did
+not make his copy from the earliest state of the plate,"), 15.
+
+_Child's Christmas Piece--Daniel in the Lion's Den._ (An etching. Capt.
+Douglas writes, "the centre is left blank in which the child has to
+write its Christmas piece"), 11.
+
+_Cholic (The)_ (caricature published by G. Humphrey, 12 Feb. 1819),166.
+
+_Christian passing through the Valley of the Shadow of Death_ (print of
+which the foundation is unknown. Published by W. Tweedie, 337 Strand.
+Described on p. 125 from No. 10,043 in The George Cruikshank Collection,
+South Kensington Museum).
+
+"Cigar (The)" (2 vols. London: T. Richardson, 98 High Holborn; Sherwood,
+Jones & Co., Paternoster Row; W. Hunter, Edinburgh, 1825. The vols.
+contain 25 different cuts; the same design appears on both their
+title-pages. Though W. Clarke was the editor of and chief contributor to
+"The Cigar," a re-issue in one vol. of the greater part of its contents,
+containing all the cuts except those on pp. 99 and 378, vol. i., and pp.
+259 and 378, vol. ii., states that "The Cigar" is "by George Cruikshank,
+author of 'Three Courses and a Dessert'"!), 231.
+
+"Cinderella and the Glass Slipper, edited and illustrated with ten
+subjects, designed and etched on steel, by George Cruikshank" (London:
+David Bogue, 1854), 57, $153$. _See_ Royal Academy, 1854, 1859.
+
+Clarke, William (born 1800, died 1838), 215, 228, 231. _See_ Cigar,
+Three Courses.
+
+Clarke, Mrs Mary Anne (née Thompson, born 27 June 1771), married Clarke
+a stonemason in 1794. In 1803 she appears to have been set up in the
+world of fashion by the Duke of York, whose mistress she became. In 1809
+her practice of accepting bribes from those desiring military promotion
+scandalised the House of Commons, and compelled the Duke to resign the
+post of Commander-in-Chief of the British army. She died 21 June 1852.
+Author of "The Rival Princes" (2 vols., London: C. Chapple, 1810), 4,
+26-27. _See_ Mrs, Return, _Woman_.
+
+Clarke, Mary Cowden, 152. _See_ Kit.
+
+"Clement Lorimer, or, the Book with the Iron Clasps. A Romance by Angus
+B. Reach" (London: David Bogue, 1849; first published in 6 parts), 107,
+$109$.
+
+Cobbett, William (born March 1762, died 18 June 1835. Author of "History
+of the Regency and Reign of King George the Fourth" [London: William
+Cobbett, 1830]), 8, 35, 235. See _Cobbett at_.
+
+_Cobbett at Court, or St James's in a bustle_ (extracted from No. III.
+of "The Censor." Pub. by W. Deans, Catherine St., Strand,
+16 Oct. 1807),32.
+
+Collier, John Payne, 130. _See_ Punch and Judy.
+
+_Columbus and the Egg_, 191.
+
+Comic Almanack (19 vols., 1835-1853. The first six, 1835-1840, were
+published by Tilt. The next three, 1841-1843, were published by Tilt
+& Bogue. The remaining vols., 1844-1853, were published by David
+Bogue. The following is an abridged copy of the words of the first
+title-page: "The Comic Almanack for 1835: an Ephemeris in jest and
+earnest ... by Rigdum Funnidos, Gent. Adorned with a dozen of 'right
+merrie' cuts, pertaining to the months, sketched and etched
+by George Cruikshank, and divers humorous cuts by other hands. London:
+Imprinted for Charles Tilt, Bibliopolist, in Fleet Street. Vizetelly,
+Branston & Co., Printers, Fleet Street"), 32, 35, 39-40, $41$, 52, $53$,
+196, 211-212, 224. _See_ Guys.
+
+"Comic (A) Alphabet, designed, etched, and published by George
+Cruikshank, No. 23 Myddelton Terrace, Pentonville,
+1836," 180 (Socrates), $181$.
+
+_Comic Composites for the Scrap Book_ (published by S. W. Fores, _circa_
+1821-1822. 2nd state published 1 June 1829 by W. B. Cooke), $141$, 142.
+
+Composites. See _Comic Composites_.
+
+_Coriolanus addressing the Plebeians_ (caricature published 27 Feb. 1820
+by G. Humphrey), 4, 35.
+
+_Coronation (The) of the Empress of the Nairs_ (in "The Scourge," 1
+Sept. 1812), 24.
+
+Cowper, William, 183, $213$. _See_ Diverting.
+
+_Cow (The) Pox Tragedy. Scene the Last_ (caricature published 1812 in
+"The Scourge," Aug. 1812), 31.
+
+Crinolines, 32.
+
+Cruikshank, Miss Eliza (died young), 112.
+
+Cruikshank, Mrs Eliza (née Widdison, who married George Cruikshank, 7
+March 1850), 112, $113$, 248. See _Original_.
+
+Cruikshank, George. For Bibliographies of his works, _see_ Catalogue,
+Reid, Three Cruikshanks, Works. For Biographies of him and kindred
+works, _see_ Bursill's, Jerrold (Blanchard), Layard, Memoir, Meynell,
+Sala, Stephens. For literary and artistic volumes by him, _see_ Artist,
+Bands, Betting, Cinderella, Cruikshankiana, Discovery, Drawings, Few,
+George Cruikshank's (4 items), Glass, Handbook, History of Jack,
+Hop-o'-my-thumb, Illustrations of Time, Jack, My, Phrenological,
+Pop-Gun, Puss, Scraps, Slice, Stop. For pictures exhibited by him, _see_
+Royal Academy. For portraits of him, _see_ frontispiece, 15, 27, 35, 47,
+111, 112, 131. The monument to him, which includes a bust of him, in the
+crypt of St Paul's Cathedral, was designed and executed by John Adams
+Acton. A. Clayton sold a bust of G. Cruikshank to the National Portrait
+Gallery. There is an engraved portrait of him, full of character, by
+D.J. Pound, from a photo by John and Charles Watkins, Parliament St. For
+his residences, _see_ 10.
+
+Cruikshank, Isaac (born 1756?, died 1810 or 1811), 10, 11, 111. See
+_Facing_.
+
+Cruikshank, Isaac Robert (born 1789 or 1790, died 1856), 46, 47, 60, 67,
+111, 200, 213.
+
+Cruikshank, Percy, 60, 65.
+
+"Cruikshankiana: An Assemblage of the Most Celebrated
+Works of George Cruikshank" (London: Thomas McLean, 1835), 233.
+
+Crusoe, Robinson. _See_ Life and.
+
+Cumberland, Duke of (Ernest Augustus, fifth son of George III.),
+139-140.
+
+
+D'Aiguille, P., 27.
+
+_Daniel in the Lion's Den_, 11. See _Child's Christmas_.
+
+Daumier, Honoré (born 26 Feb. 1808, died 11 Feb. 1879. His extraordinary
+industry, evidenced by the fact that the catalogue of his lithographed
+works alone enumerates 3958 plates, reminds us of George Cruikshank),
+176, 179.
+
+Davenport, Samuel (line engraver, born 10 Dec. 1783, died 15 July 1867;
+he was one of the earliest to engrave on steel).
+
+Defoe, Daniel. _See_ Life and, Journal.
+
+Delort, C., 90.
+
+Demonology. _See_ Twelve.
+
+_Design for a Palace._ _See_ Palace.
+
+Devil (The), 18-19, 116.
+
+Dibdin, Charles. _See_ Songs.
+
+Dickens, Charles ("Boz," born 7 Feb. 1812, died 9 June 1870), 99, 195,
+224, 231-232. _See_ Oliver, Sketches, Sir Lionel.
+
+"Dick Whittington and his Cat" (a Banbury Chap-Book designed by
+Cruikshank, engraved by Branstone [writes Edwin Pearson], and published
+by [? J. G.] Rusher about 1814. George and Robert Cruikshank designed
+and etched the folding coloured frontispiece to "History of Whittington
+and His Cat," published by Dean & Munday, Threadneedle St., 1822), 155.
+
+"Dictionary (A) of the Slang and Cant Languages" (London: George
+Smeeton, 1809), 46.
+
+_Dinner (The) of the Four-in-Hand Club at Salthill_ (caricature by
+George Cruikshank, published in "The Scourge," 1 June 1811, by M.
+Jones), 51.
+
+Dirks, Gus, 212.
+
+"Discovery (A) Concerning Ghosts; with a rap at the 'Spirit-Rappers,' by
+George Cruikshank. Illustrated with Cuts. Dedicated to the 'Ghost Club'"
+(London: Frederick Arnold, 1863), 59-60, 116.
+
+_Distant (A) View of Shakespeare's Cliff, Dover_, 107.
+
+_Disturbing the Congregation_ (oil-painting painted in 1848 for the
+Prince Consort), 240.
+
+"Diverting (The) History of John Gilpin. Showing how he went farther
+than he intended and came safe home again," with six illustrations by
+George Cruikshank (London: Charles Tilt, 1828), $213$.
+
+Don Quixote 199-200, $201$. _See_ History and Illustrations
+of Don.
+
+Dots. See _Striking_.
+
+Douglas, Capt. R. J. H., 16. See _New Union_, Works.
+
+Doyle, Richard (born 1824, died 10 Dec. 1883), 4.
+
+"Drawings by George Cruikshank prepared by him to illustrate an intended
+autobiography. Published for Sir Benjamin Ward Richardson by Chatto &
+Windus, 214 Piccadilly, London, January 21st, 1895," 59, 108.
+
+"Drunkard (The), a Poem," by John O'Neill, with illustrations by George
+Cruikshank (London: Tilt & Bogue, 1842), 52, 55.
+
+"Drunkard's (The) Children, a Sequel to The Bottle in eight plates, by
+George Cruikshank" (London: published July 1st, 1848, by David Bogue),
+55, 57.
+
+Dumas, Alexandre (_père_), 94.
+
+Du Maurier, George Louis Palmella Busson (born 6 March 1834, died 8 Oct.
+1896), 43, 176, 196.
+
+Dunstan, St., $122$, $123$. _See_ True.
+
+Dussek, O.B. See _Fairy Songs_.
+
+Dutton, Thomas. _See_ Monthly.
+
+
+Education. _See_ Few.
+
+Egan, Pierce (born 1772, died 1849), 46.
+
+Ehrhart, S. D., 162. "1851: or The Adventures of Mr and Mrs Cursty
+Sandboys." _See_ World's.
+
+Elizabeth, Princess (afterwards Queen of England), 85.
+
+"Elysium (The) of Animals: A Dream. By Egerton Smith" (London: J.
+Nisbet, 1836. The etching by Geo. Cruikshank entitled _The Knackers_
+[sic] _Yard, or the Horses_ [sic] _last home!_ here contains the notice
+"Licensed for Slaughtering Horses"), 220.
+
+Etching, 236, 239.
+
+"Every-Day (The) Book, or Everlasting Calendar of Popular Amusements,
+Sports, Pastimes, Ceremonies, Manners, Customs, and Events, Incident to
+each of the Three Hundred and Sixty-Five Days, in Past and Present
+Times," by William Hone (2 vols., London: Hunt & Clarke, 1826-7.) "The
+Table Book," by William Hone [2 vols., London: Hunt & Clarke, 1827-8.] is
+associated with "The Every-Day Book" in a collective title-page [1831],
+85.
+
+
+_Facing the Enemy_ (caricature published at Ackermann's Gallery, 1797-8.
+Mr A. M. Broadley has an impression of this caricature on which George
+Cruikshank has written "etched by Ik. Cruikshank not any by me G. Ck."),
+12.
+
+Fairies. _See_ "George Cruikshank's Fairy Library."
+
+_Fairy (The)_ Ring, 160, 240.
+
+"Fairy Songs and Ballads for the Young. Written, composed and dedicated
+to Her Royal Highness The Princess Royal, by O. B. Dussek. In Two Books"
+(London: D'Almaine & Co.), 155.
+
+Falstaff, 48, 135. _See_ Life of Sir.
+
+Farrow, G. E., 216.
+
+_Fashion_, 7, 31-2, $33$, $37$. See _Monstrosities of 1816_, _Monstrosities
+of 1826_, _Mushroom_.
+
+_Fat (The) in the Fire_, cut at end of "'Non mi Ricordo!' &c. &c. &c."
+(London: William Hone, 1820), 4.
+
+"Few (A) Remarks on the System of General Education as prepared by the
+National Education League, by George Cruikshank, with a second edition
+of A Slice of Bread and Butter, upon the same subject, with cuts"
+(London: William Tweedie, 1870), 59.
+
+Fielding, Henry, 183, 188. _See_ Adventures of Joseph, Illustrations of
+Smollett, Tom.
+
+"Fireside Plate (The)," an etching for "Oliver Twist," 9.
+
+_First (The) Appearance of William Shakespeare, on the stage of "The
+Globe," surrounded by part of his Dramatic Company, the other members
+coming over the hills._ (Designed by George Cruikshank, Jan. 1863. The
+drawing in the South Kensington Museum was done by our artist in 1864-5,
+and is "from the original water color drawing by George Cruikshank, in
+the possession of T. Morson, Esq., Junr." A replica of the design for Mr
+Morson was "printed in permanent pigments" by the Autotype Fine Art
+Co., Ltd., and published by them at 36 Rathbone Place, London. No.
+10,081 of the George Cruikshank coll. at the South Kensington Museum is
+a smaller version of the same design with a different colour scheme
+signed "George Cruikshank, 1876"), 187. _See_ Royal Academy, 1867.
+
+_Fitting out Moses for the Fair._ _See_ Royal Academy, 1830.
+
+Fitzherbert, Mrs, 17, 22.
+
+Flight, Edward G. _See_ True.
+
+Flying Machines, 40.
+
+Fores, S. W., publisher. 50 Piccadilly, boasted "an Exhibition of the
+compleatest Collection of Caricatures in Europe," 243.
+
+Four-in hand Club. See _Dinner_.
+
+Frankum, Richard, 148. _See_ Bee.
+
+Frederick, Duke of York and Albany, second son of George III. (born 16
+Aug. 1762, died 5 Jan. 1827), 23, 26. _See_ Clarke, Mrs Mary Anne;
+Osnaburg; _Return to Office_.
+
+Frederick the Great, 74.
+
+_French Musicians, or Les Savoyards_ (an etching. London: G. Humphrey,
+16 June 1819), 100.
+
+French Republic. See _Leader_.
+
+Funnidos, Rigdum. _See_ Comic Almanack.
+
+
+"Gentleman (The) in Black," by John Yonge Akerman (London: William Kidd,
+1831), 60, 125.
+
+"Gentlemen's (The) Pocket Magazine and Album of Literature and Fine
+Arts" (London: Joseph Robins, 1827-1829), 96.
+
+George, Prince of Wales, afterwards George IV. (born 12 Aug. 1762, died
+26 June 1830), 4, 8, 19, 22-26, 35, 133. See _Boney's Meditations_,
+_Coriolanus_, _Coronation_, _Fat_, _John Bull Advising_, _Kick_,
+_Meditations_, _Princely Agility_, _R[egen]t_, _Results_, Wright
+(Thomas).
+
+"George Cruikshank's Fairy Library" (4 numbers, London: David
+Bogue, 1853, 1854, 1864), 57 and $153$ (Cinderella), 59, 74 (Hop o' my
+Thumb), 155-156, $157$, 159 (Jack and the Beanstalk).
+
+"George Cruikshank's Magazine" (Edited by Frank E Smedley. London: D.
+Bogue, 1854, Jan. and Feb.), 39 (Passing Events), 44, 59, $217$, 224.
+
+"George Cruikshank's Omnibus. Illustrated with one hundred engravings on
+steel and wood. Edited by Laman Blanchard, Esq." (London: Tilt & Bogue,
+Fleet Street, 1842. First issued in 9 monthly parts, the first for May
+1841 the last for Jan. 1842). Frontispiece, 20, 35, 43, 216.
+
+"George Cruikshank's Table Book" (Edited by Gilbert Abbott à Beckett.
+London: published at the Punch Office, 92 Fleet St., 1845. First issued
+in 12 monthly numbers from Jan. to Dec., 1845), 35, 40, 43, 147, $177$, 180
+and $185$ (_The_ Lion of the Party), 223, 224.
+
+"German Popular Stories, translated from the Kinder und Haus Märchen,
+collected by M. M. Grimm from Oral Tradition" (London: C. Baldwyn, 1823,
+but issued 1822; vol. ii., London: James Robins & Co.; Dublin:
+Joseph Robins, Jun., & Co., 1826. The etchings were so skilfully
+imitated in Cruikshank's lifetime that he at first sight imagined the
+copies in question to be impressions from the lost plates etched by
+him), 144, $145$, 147, 152.
+
+German Romance. _See_ Specimens.
+
+Ghosts, 31, 59-60, 136, 139-140. _See_ Discovery.
+
+Gibson, Charles Dana, 176.
+
+Gil Blas, 199. _See_ Adventures of Gil.
+
+Gillray, James (born 1757, died 1 June 1815), 7, 8, 11, 16-18, 21, 31,
+166, $225$. _See_ Grego.
+
+Glascock, Capt. (R.N.), 139. _See_ Land Sharks.
+
+"Glass (The) and the New Crystal Palace. By George Cruikshank, with
+cuts" (London: J. Cassell), 58-59, $62$, $63$.
+
+Goldsmith, Oliver, 183, 191. _See_ Illustrations of Smollett, Royal
+Academy 1830, Vicar.
+
+Goles (=Golls, goll means hand), 23.
+
+_Good (The) Effects of Carbonic Acid Gas_ (caricature published by S. W.
+Fores, 10 Dec. 1807), 31.
+
+"Good (The) Genius that turned everything into gold, or, The Queen Bee
+and the Magic Dress, A Christmas Fairy Tale, by the Brothers Mayhew,
+with illustrations by George Cruikshank" (called on the paper cover,
+"Books for the Rail, the Road, and the Fireside. II. The Magic of
+Industry." London: David Bogue, 1847), 148, $149$, 150.
+
+Gorey, 95.
+
+Gould, Sir Francis Carruthers, 4.
+
+"Greatest (The) Plague of Life: or The Adventures of a Lady in Search of
+a Good Servant. By One who has been 'almost worried to death.' Edited by
+the Brothers Mayhew. Illustrated by George Cruikshank" (London: David
+Bogue, 1847. First issued in 6 parts), 176, 219, $221$.
+
+"Greenwich Hospital, a series of Naval Sketches, Descriptive of the Life
+of a Man-of-War's Man. By an Old Sailor," by M. H. Barker (London: James
+Robins & Co.; Dublin: Joseph Robins, Junr., & Co., 1826; first issued in
+four parts, Demy 4to), 95.
+
+Grego, Joseph (author of "The Works of James Gillray, The Caricaturist,
+edited by Thomas Wright, Esq., M.A., F.S.A." [London: Chatto & Windus,
+1873], also of "Rowlandson the Caricaturist" [2 vols., Chatto & Windus,
+1880], Mr Grego died Jan. 24, 1908), 166. _See_ Oliver.
+
+Grimaldi, Joseph (born 18 Dec. 1779, died 31 May 1837). _See_ Memoirs of
+Joseph.
+
+Grimm, Jacob Ludwig Carl and Wilhelm Carl (brothers), 43, 144, 159.
+_See_ German.
+
+Guy, 39 and 85 (Guys in Council, in "The Comic Almanack," 1838), 85 (Guy
+for "The Every-Day Book").
+
+"Guy Fawkes; or, The Gun-powder Treason. An Historical Romance by
+William Harrison Ainsworth," (3 vols., London: Richard Bentley, 1841. It
+came out in "Bentley's Miscellany," vols. vii., viii., ix., x.,
+1840-1841), 85-86, 140.
+
+"Guy Mannering," by Sir Walter Scott, $197$.
+
+
+Hall, Samuel Carter. _See_ Old Story.
+
+Hamilton, Walter, 112, 231. _See_ Memoir of.
+
+Hancock Charles, 243. _See_ Handbook.
+
+"Handbook (A) for Posterity: or Recollections of Twiddle Twaddle by
+George Cruikshank about himself and other people. A series of sixty-two
+etchings on glass with descriptive notes" (London: W. T. Spencer, 1896.
+The notes are by Charles Hancock), 243 (quoted).
+
+Harley, Robert (Earl of Oxford, born 1661, died 21 May 1724), $91$.
+
+Hastings, 107.
+
+_Headache (The)_ (caricature published by G. Humphrey, 12 Feb. 1819),
+166.
+
+Henry VIII., 24, 90, $137$.
+
+Hepenstall, Lieut., 94-95.
+
+Hermit. _See_ Peeps.
+
+Herne, 90, 135, 136, $137$.
+
+Hertford, Marchioness of 4, 24. See _Coronation_.
+
+"Historical (An) Account of the Campaign in the Netherlands in 1815," by
+William Mudford (London: Henry Colburn, 1847. The late Edwin Truman,
+M.R.C.S., as famous for his Cruikshank collection as for his success in
+purifying gutta-percha, states on the mount of the original etched
+plate of "The Battle of Waterloo," for this book, that he considers it
+the most valuable plate in his collection), 71.
+
+"History (The) and Adventures of the Renowned Don Quixote: from the
+Spanish of Miguel De Cervantes Saavedra. By T. Smollett M.D. To which is
+prefixed a memoir of the author by Thomas Roscoe. Illustrated by George
+Cruikshank. In three volumes" (London: Effingham Wilson; Dublin: W. F.
+Wakeman; Edinburgh: Waugh & Innes, 1833; being vols. xiii., xiv., xv. of
+"The Novelist's Library, edited by Thomas Roscoe, with illustrations by
+George Cruikshank"), 199, $201$. _See_ Illustrations.
+
+"History (A) of Egyptian Mummies, and an Account of The Worship and
+Embalming of the Sacred Animals by the Egyptians; with Remarks on the
+Funeral Ceremonies of Different Nations, and Observations on the Mummies
+of the Canary Islands, of the ancient Peruvians, Burman Priests, &c. By
+Thomas Joseph Pettigrew, F.R.S., F.S.A., F.L.S." (London: Longman, Rees,
+Orme, Brown, Green, and Longman, 1834), 244.
+
+"History (The) of Jack and the Beanstalk, edited and illustrated with
+six etchings, by George Cruikshank" (London: David Bogue, 1854), 156,
+159.
+
+"History of the Irish Rebellion in 1798; with memoirs of the Union, and
+Emmett's Insurrection in 1803. By W. H. Maxwell, Esq." (London: Baily,
+Brothers, Cornhill, 1845; first published in 15 parts), 93.
+
+Hoffmann, Ernst Theodor Wilhelm, author of "Meister Floh" (Master Flea),
+which George Cruikshank illustrated in "Specimens of German Romance"
+(vol. ii., 1826), 151.
+
+Hogarth, William (born 1697, died 26 Oct. 1764), 8, 77, 78, 243.
+  _See_ Trusler.
+
+Hone, William (born 1779, died 6 Nov. 1842), 28, 35.
+  _See_ Every-Day, Non, Queen's.
+
+Hood, Thomas (born 1798, died 3 May 1845), 165.
+
+"Hop-o'-my-Thumb and The Seven-League Boots. Edited and illustrated with
+six etchings by George Cruikshank" (London: David Bogue, 1853),
+(No. I of "George Cruikshank's Fairy Library"), 74, 156.
+
+Hoskyns, C. W, 208.
+  _See_ Talpa.
+
+"House and Home," Part VIII, New Series, Oct. 1882 (No. for Sept. 29,
+1882. London E. C.)., 69.
+
+Humour, 165.
+
+"Humourist (The), A Collection of Entertaining Tales, Anecdotes,
+Epigrams, Bon Mots [_sic_], &c. &c." (4 vols, London: J. Robins
+& Co, 1819-1820. First issued in numbers), 35, 72-73, 179,
+$205$, 209, 211, 213.
+
+Humphrey, H., publisher, 20.
+
+Hunt, Robert. _See_ Popular.
+
+Hyde Park, 3, 171.
+
+
+"Illustrations of Don Quixote, in a series of fifteen plates, designed
+and etched by George Cruikshank" (London: Charles Tilt, 1834), 199-200,
+$201$.
+
+"Illustrations of Popular Works. By George Cruikshank" (Part I., without
+successor. London pub. for the Artist by Longman, Rees, Orme, Brown &
+Green, 1830. George Cruikshank dedicates this work to H.R.H.
+Prince Augustus Frederick, Duke of Sussex), 116, 191-192, $193$.
+_See_ Beauties.
+
+"Illustrations of Smollett, Fielding, and Goldsmith, in a series of
+forty-one plates, designed and engraved by George Cruikshank.
+Accompanied by descriptive extracts" (London: Charles Tilt, 1832), 188,
+$189$.
+
+"Illustrations of Time. By George Cruikshank" (London: published May
+1st, 1827, by the Artist, 22 Myddelton Terrace, Pentonville), 184,
+$225$.
+
+_Imperial (The) Family Going to the Devil_ (caricature published
+1 March 1814, by T. Hughes, Ludgate Hill), 19.
+
+"Impostor (The) Unmasked; or, the New Man of the People, with anecdotes,
+never before published [_sic_], illustrative of the character of the
+renowned and immaculate Bardolpho Inscribed without permission, _to that
+superlatively honest and disinterested Man_, R. B. S-r-d-n, Esq."
+(London: Tipper & Richards, 1806. Bardolph was a nickname of R. B.
+Sheridan), 15.
+
+Inglis, Henry David (died 20 March 1835), 200. _See_ Rambles.
+
+"Ingoldsby (The) Legends or Mirth and Marvels, by Thomas Ingoldsby,
+Esquire" (London: Richard Bentley, 1840, 1842, 1847. The author was Rev.
+Richard Harris Barham), $117$, 119, 175 (Lady Jane).
+
+_Interior View of Hayloft, etc., in Cato Street, occupied by the
+Conspiratars_ (etching published by G. Humphrey, 9 March 1820).
+
+
+_"Interior View of the House of God"_ (caricature published in "The
+Scourge," 1 Nov. 1811), 27.
+
+Ireland, 93-95.
+
+Irish Rebellion. _See_ History of the.
+
+Irving, Washington. _See_ Beauties.
+
+"Italian Tales. Tales of Humour, Gallantry, and Romance, selected and
+translated from the Italian, with sixteen illustrative drawings by
+George Cruikshank" (London: Charles Baldwyn, Newgate St., 1824. The
+words "Italian Tales" are not printed on the title-page of the second
+edition. The suppressed plate is _The Dead Rider_, not to be confounded
+with the etching of the same title, representing two friars, each on
+horseback), 166.
+
+
+Jack and the Beanstalk. _See_ History of Jack.
+
+"Jack Sheppard. A Romance. By W. Harrison Ainsworth, Esq." (3 vols.,
+London: Richard Bentley, 1839), 77-78, $79$, $80$, 104.
+
+Jenner, Edward (M.D., born 1749, died 1823), 31.
+
+Jerrold, Blanchard, author of "The Life of George Cruikshank in two
+epochs" (new ed., London: Chatto & Windus, 1898), 46, 231.
+
+Jerrold, Douglas William (born 3 Jan. 1803, died 8 June 1857), 165.
+  _See_ Cakes.
+
+Jersey, Frances, Countess of, 4.
+
+Johannot, Tony (born 9 Nov. 1803, died 4 Aug. 1852), 89.
+
+_John Bull Advising with his Superiors_ (print pub. by S. W. Fores, 3
+April 1808), 23.
+
+_John Bull's Three Stages, or from Good to Bad, and from Bad to Worse_
+(caricature published in "The Scourge" for March 2, 1815), 27.
+
+_Johnny Bull and his Forged Notes!! or Rags and Ruin in the Paper
+Currency!!!_ (caricature published Jan. 1819 by J. Sidebotham, 287
+Strand), 28, $29$.
+
+"Journal (A) of The Plague Year; or Memorials of the Great Pestilence in
+London, in 1665. By Daniel De Foe" (London: John Murray, 1833), 96, $97$,
+104.
+
+_Juliet and the Nurse_ (In Reid 2732, George Cruikshank coll., British
+Museum, are included a plain and a coloured lithograph signed "G. Ck.
+fect. 1815." In MS. below each design are the words "Juliet
+and the Nurse. Pubd. by G. Cruikshank, 117 Dorset St., City, 1815." The
+nurse is enormous and seated; Juliet stands behind her at left. Reid
+2733, a coloured unsigned, undated lithograph without publisher's name,
+has a printed footline--"Juliet and the Nurse." Juliet stands at the
+right of the nurse and there is a curtain at left. The figures are the
+same as in Reid 2732, and Reid says that the design [Reid 2733] is
+copied from a Spanish sketch or etching), 184.
+
+_Juvenile Monstrosities_ (caricature published by G. Humphrey, 24 Jan.
+1826. Reprinted in "Cruikshankiana"), 32, $33$.
+
+
+Karslake, Frank, 107.
+
+Kean, Edmund, 184.
+
+Keene, Charles Samuel (born 10 Aug. 1823, died 4 Jan. 1891), 43.
+
+_Kick (A) from Yarmouth to Wales; or The New Rowly Powly_ (print pub. by
+J. Johnston, 1812. A publication exists entitled "R-y-l Stripes, or, a
+Kick from Yar-h to Wa-s" [London E. Wilson, 1812]), 24.
+
+Kidd, William, 60.
+
+"Kit Bam's Adventures, or, the Yarns of an Old Mariner. By Mary Cowden
+Clarke" (London Grant & Griffith, 1849), 152.
+
+_Knacker's (The) Yard_, 220. _See_ Elysium, Voice.
+
+Konigsmark, 74.
+
+
+_Ladies Buy your Leaf!!_ (caricature by G. Cruikshank, pub. July 1822 by
+Fairburn, Broadway: Irish Chairman), 171.
+
+Lambert, Daniel, 73.
+
+Lambeth, 86.
+
+"Lambkin, Mr." _See_ Bachelor's.
+
+Landells, C. (wood-engraver The only Landells famous as a wood-engraver
+in Cruikshank's working-life is Ebenezer Landells, born 13 April 1808,
+died 1 Oct. 1860 Therefore, though "C. Landells" is on the title-page of
+"The Gentleman in Black" [1831], I suggest that the cuts facing pp. 53,
+95, of which the latter is clearly signed "Landells" _tout court_, are
+by Ebenezer Landells), 126.
+
+Landells, Ebenezer. _See_ Landells, C.
+
+Landscape-Historical Illustrations of Scotland, and the Waverley Novels
+from drawings by J. M. W. Turner, Professor, R.A., Balmer, Bentley,
+Chisholm, Hart, A.R.A., Harding, McClise, A.R.A., Melville, etc. etc.
+Comic Illustrations by G. Cruikshank. "Descriptions by the Rev. G. N.
+Wright, M. A., &c." (2 vols, Fisher, Son, & Co., London, Paris, and
+America, 1836-8. Cruikshank's etchings appear in the same publisher's
+edition in 48 vols. of "Waverley Novels" [1836-8] and they are dated
+1836, 1837, 1838), $169$, 175, 192, $197$, $237$.
+
+Landseer, Charles, 240.
+
+"Land Sharks and Sea Gulls" By Captain Glascock, R.N. (3 vols, London:
+Richard Bentley, 1838), 139, 191.
+
+Lang, Andrew, 231.
+
+Latham, O'Neill, 162.
+
+Layard, George Somes, author of "George Cruikshank's Portraits of
+Himself" (London: W. T. Spencer, 1897), 15, 35, 120, 247.
+
+_Leader (The) of the Parisian Blood Red Republic of 1870, or The
+Infernal Fiend_ (caricature designed, etched and published by George
+Cruikshank, June 1871), 3.
+
+"Legend (A) of the Rhine," 196.
+
+Leloir, Maurice, 94.
+
+Le Sage, Alain René, 183. _See_ Adventures of Gil.
+
+Lever, Charles James (born 1806, died 1872), 196.
+
+"Life (The) and Surprising Adventures of Robinson Crusoe, of York,
+Mariner. With introductory verses by Bernard Barton, and illustrated
+with numerous engravings from drawings by George Cruikshank, expressly
+designed for this edition" (2 vols, London John Major, 1831), $241$.
+
+"Life in London, or, the Day and Night Scenes of Jerry Hawthorn, Esq.
+and his elegant friend Corinthian Tom, accompanied by Bob Logic, the
+Oxonian, in their Rambles and Sprees through the Metropolis By Pierce
+Egan, author of 'Walks through Bath,' 'Sporting Anecdotes,' 'Pictures of
+the Fancy,' 'Boxiana,' &c. Dedicated to his most gracious majesty King
+George the Fourth Embellished with thirty six scenes from real life,
+designed and etched by I. R. and G. Cruikshank, and enriched also with
+numerous original designs on Wood, by the same Artists" (London:
+Sherwood, Neely, & Jones, 1821 First issued in 12 monthly parts, the
+first on 2 Oct 1820 the last in July 1821), 46-47 $49$, 67.
+
+"Life in Paris, comprising the Rambles Sprees and Amours of Dick
+Wildfire, of Corinthian Celebrity, and his Bang-up Companion, Squire
+Jenkins and Captain O'Shuffleton, with the whimsical Adventures of the
+Halibut Family, including Sketches of a Variety of other Eccentric
+Characters in the French Metropolis By David Carey Embellished with
+Twenty one Coloured Plates, representing Scenes from Real Life designed
+and engraved by George Cruikshank Enriched also with Twenty two
+Engravings on wood drawn by the same Artist, and executed by Mr White"
+(London: John Fairburn, 1822. It was issued in parts), 46-47.
+
+"Life (The) of Mansie Wauch Tailor in Dalkeith, written by himself. A new
+Edition revised and greatly enlarged With eight illustrations, by George
+Cruickshank [_sic_] William Blackwood & Sons, Edinburgh and Thomas
+Cadell, London, 1839" (The author is David Macbeth Moir), 175.
+
+"Life (The) of Napoleon, a Hudibrastic Poem in fifteen cantos by Doctor
+Syntax, embellished with thirty engravings by G. Cruikshank" (London: T.
+Tegg, III. Cheapside, Wm. Allason, 31 New Bond Street, and J. Dick,
+Edinburgh, 1815 Until H. R. Tedder wrote in "Dictionary of National
+Biography" that "The Life of Napoleon" had been "wrongfully ascribed,"
+the author was generally supposed to be William Combe, who wrote "The
+Tour of Doctor Syntax in Search of the Picturesque," etc.), 21 (_The Red
+Man_), 71-72.
+
+"Life (The) of Sir John Falstaff. Illustrated by George Cruikshank.
+With a biography of the knight from authentic sources by Robert B.
+Brough" (London: Longman, Brown, Green, Longmans, and Roberts, 1858.
+First issued in 10 monthly parts, 1857-8), 184.
+
+Lilla (A long eared spaniel In the South Kensington Museum is a pretty
+pencil sketch, 9784 F, entitled _George, Cruikshank's Godson, George
+Cruikshank Pulford, and his dear little pet dog Lilla_, and another
+pencil sketch, 9611 B, entitled _My little pet dog Lilla_), 223.
+
+Lines. See _Striking_.
+
+Linse, Jan, 171.
+
+Locker-Lampson, Frederick, 159-160.
+
+London 36, 46, 47, 96-107.
+  _See_ Life in London.
+
+London Hermit. _See_ Peeps.
+
+Lottery Print, 15. See _Children's Lottery_.
+
+Louis XVIII. (born 1755, died 1824), 7. See _Old Bumble-head_.
+
+Lowell, James Russell, 234.
+
+"Loving (The) Ballad of Lord Bateman, with XI Plates by George
+Cruikshank" (London: Charles Tilt, Constantinople, Mustapha Syried,
+1839. G. Cruikshank's drawing [for his contemplated autobiography]
+entitled "The Loving Ballad of Lord Bateman," appears in "Drawings by
+George Cruikshank" [1895. _See_ Drawings]), $229$, 231-232.
+
+"Loyalist's (The) Magazine." _See_ Caroline.
+
+
+Mackay, Dr Charles, 55.
+
+Maclise, Daniel (died April 1870), 239.
+
+Magdalen See _Woman_, 27.
+
+_Making Decent!!_ (Caricature published by G. Humphrey, 8 Aug. 1822.
+Invented by Capt. Marryat whose signature is an anchor. G. Cruikshank,
+fect.), 171.
+
+Mansie Wauch. _See_ Life of Mansie.
+
+Marchmont, Frederick. _See_ Cigar, Three Cruikshanks.
+
+Marlborough, John Churchill, Duke of (born 1650, died 1722), 90.
+
+Marryat, Capt. Frederick (born 10 July 1792, died 2 Aug. 1848), 95, 166,
+171. See _Making_, Progress.
+
+Mary I., Queen of England, $83$.
+
+Mathew, Father Theobald (born 1790, died 1857), 48.
+
+Maxwell, William Hamilton, 93, 219. _See_ History of the.
+
+Mayhew, The Brothers, $149$, 151. _See_ Good Genius,
+Greatest.
+
+Mayhew, Henry. _See_ World's.
+
+_Mayor (The) of Hole-cum-Corner_ (frontispiece to vol. 1. of Douglas
+Jerrold's "Cakes and Ale" [1842]), 204.
+
+_Meditations Amongst the Tombs_ (print pub. 1 May 1813, by J. Johnston),
+24.
+
+"Melange (The), a variety of Original Pieces in Prose and Verse;
+comprising the Elysium of Animals. Illustrated by engravings." (By
+Egerton Smith. Liverpool: Egerton Smith & Co., 1834), 220.
+
+Melville, H., 120.
+
+"Memoir (A) of George Cruikshank, Artist and Humourist. With numerous
+illustrations and a £1 Bank Note. By Walter Hamilton, F.R.G.S." (London:
+Elliot Stock, 1878. Students should get the 2nd edition, also dated
+1878, which contains additional matter), 112, 231.
+
+"Memoirs of Joseph Grimaldi. Edited by 'Boz.' With illustrations by
+George Cruikshank In two volumes" (London. Richard Bentley, 1838), 195.
+
+"Memoirs of the Life and Writings of Lord Byron. By George Clinton,
+Esq." (London: James Robins & Co., 1825. Two editions are of this date;
+one has 43 plates, the other 40), 134, 195.
+
+"Merry (The) Wives of Windsor" 191.
+
+"Meteor (The), or Monthly Censor" (vol 1 and 2 Nos of vol ii, London:
+printed by W. Lewis, and sold by T. Hughes 1814), 35, 129.
+
+Meynell, Mrs Alice (author under her maiden name of "A Bundle of Rue:
+Being Memorials of artists recently deceased I. George Cruikshank" This
+chapter appeared in "The Magazine of Art," March 1880), 35.
+
+Michelangelo, 120.
+
+"Midsummer Night's Dream." _See_ Royal Academy, 1853.
+
+Miller, Henry, 160.
+
+Milton, John, 119.
+
+"Minor Morals for Young People. Illustrated in Tales and Travels. By
+John Bowring. With engravings by George Cruikshank and William Heath"
+(London: Whittaker & Co., 1834. The same publishers in 1835 issued Part
+II of this work illustrated by George Cruikshank alone, who also is the
+sole illustrator of Part III issued in Edinburgh by William Tait, in
+London by Simpkin, Marshall & Co., and in Dublin by John Cumming, 1839),
+133.
+
+Miser's (The) Daughter. A Tale by William Harrison Ainsworth (3 vols.,
+London: Cunningham & Mortimer, 1842), 86, $87$, 88.
+
+Moir, David Macbeth (born 1798, died 1851). _See_ Life of Mansie.
+
+Monstrosities. See _Juvenile, Mushroom_.
+
+_Monstrosities of 1816, scene, Hyde Park_ (caricature by G. Cruikshank
+pub. by H. Humphrey, 12 March 1816), 7.
+
+Monstrosities of 1822 (caricature by G. Cruikshank, pub. by G. Humphrey
+Pub. 19 Oct. 1822), 7.
+
+"Monthly (The) Theatrical Reporter, or Literary Mirror," by Thomas
+Dutton, A. M. (London: J. Roach. 1814-15), 184.
+
+Moore, Dr A., 71. _See_ Annals.
+
+Moore, Julian, 89. _See_ Three Cruikshanks.
+
+Moore, Thomas, 19.
+
+"More Mornings at Bow Street. A new Collection of Humourous and
+Entertaining Reports, by John Wight of the _Morning Herald_, with twenty
+five illustrations by George Cruikshank" (London: James Robins & Co.,
+1827), 47.
+
+Mornings at Bow Street: a Selection of the most humourous and
+entertaining reports which have appeared in the _Morning Herald_, by Mr
+Wight (Bow Street: Reporter to the _Morning Herald_) with twenty-one
+illustrative drawings by George Cruikshank (London: Charles Baldwyn
+1824), 47. _See_ Thompson, John.
+
+"Mother Hubbard and her Dog," a Banbury Chap-Book designed by George
+Cruikshank (early work) and engraved by Branston, 155.
+
+_Mother's (A) Love._ _See_ Three.
+
+Mottram, Charles, engraver (born 9 April 1807, died 30 Aug. 1876).
+See _Worship of Bacchus or._
+
+_Mrs Clark's Petticoat_ (caricature published by S. W. Fores, 23 Feb.
+1809), 26.
+
+Mudford, William, 71. _See_ Historical.
+
+Mummies. _See_ History of Egyptian.
+
+Munchausen. _See_ Travels and.
+
+_Mushroom Monstrosities_ (caricature published by G. Humphrey, 24 Jan.
+1826. Reprinted in "Cruikshankiana)," 7.
+
+"My Sketch Book," by George Cruikshank (9 numbers published by George
+Cruikshank, 23 Myddelton Terrace, Pentonville, 1834, 1835, 1836), 60,
+108, 211, 219-220.
+
+
+Nagler, Dr., 65.
+
+Nairs. See _Coronation_.
+
+Napier, Gen. Sir Charles James, G.C.B. (born 10 Aug. 1782, died 29 Aug.
+1853), 103.
+
+Napier Gen. Sir William Francis Patrick (born 17 Dec. 1785, died 10 Feb.
+1860). _See_ Pop-Gun.
+
+Napoleon Buonaparte (born 15 Aug. 1769, died 5 May 1821), 3, 17-21,
+71-72, 133, 159. See _Blucher_, _Boney_, _Boney's_, _Boney Tir'd_,
+_Imperial_, _Life of Napoleon_, _Napoleon's_, _Old Bumble-head_,
+_Peddigree_, _Phenix_.
+
+_Napoleon's Trip from Elba to Paris, and from Paris to St Helena_
+(caricature by G. Cruikshank appearing in "The Scourge" for Sept. 1815).
+
+Netherlands. _See_ Historical.
+
+Nevison, 77.
+
+"New (The) Bath Guide; or Memoirs of the B-n-r-d Family, in a series of
+Poetical Epistles: by Christopher Anstey, Esq.... A new edition: with a
+biographical and topographical preface, and anecdotal annotations, by
+John Britton, F.S.A., and member of several other societies. Embellished
+with engravings" (London: Hurst, Chance & Co., 1830), 175.
+
+Newcastle, Duke of, 91.
+
+Newton, Sir Isaac, 74.
+
+_New (The) Union Club. Being a representation of what took place at a
+celebrated dinner given by a celebrated Society--vide Mr M-r-t's
+Pamphlet, More Thoughts, etc. etc_ ([J]--G Cruikshank sculpt. Pub.
+19 July 1819, by G. Humphrey. In Capt. R. J. H. Douglas's opinion this
+is "the chef d'oeuvre of George Cruikshank's Caricatures." It did not
+impress me particularly. It humourously satirises William
+Wilberforce's Anti-Slavery Movement).
+
+Nield, W. A., 213.
+
+"'Non Mi Ricordo!' &c. &c. &c." (London: William Hone [the author],
+1820). _See_ Fat in the Fire, also 25.
+
+Nottage, George S. (the letter referred to is in the George Cruikshank
+coll., South Kensington Museum, and is dated July 25, 1874, from the
+London Stereoscopic Co.), 212.
+
+
+O'Hara, Kane. _See_ Tom.
+
+_Oil (The) painting of "The Worship of Bacchus," 13 feet 4 by 7 feet 8,
+being conveyed to the National Gallery Department of the British
+Museum_, April 8, 1869, 66.
+
+_Old Bumble-head the 18th trying on the Napoleon Boots, or Preparing for
+the Spanish Campaign_ (caricature by G. Cruikshank, pub. by Jno.
+Fairburn, 17 Feb. 1823), 7.
+
+Oldcastle, Sir John, 184.
+
+Old Sailor. _See_ Barker, M. H.
+
+"Old (The) Sailor's Jolly Boat. Laden with Tales, Yarns,
+Scraps, Fragments, &c. &c. To Please all hands; Pulled by Wit, Fun,
+Humor, and Pathos, and steered by M. H. Barker" (London: W. Strange;
+Nottingham: Allen; Leicester: Allen, 1884, first appeared in 12 parts
+commencing 1 May 1843), 95, 175.
+
+"Old (An) Story, by S. C. Hall, F.S.A., &c." (London: Virtue,
+Spalding, & Co., 1875. To this vol. George Cruikshank contributed
+his "last temperance piece"--_The Last Half Hour_, engraved
+by Dalziel Brothers), 69.
+
+"Oliver Twist. By Charles Dickens" (3 vols., London: Richard Bentley,
+1838. The first issue of the first edition contains the etching
+entitled "Rose Maylie and Oliver" known to collectors as "the
+Fireside plate," which Dickens disliked so much that in Oct. 1838
+he wrote to Cruikshank asking him if he would object to design the plate
+afresh the result being the etching of Rose and Oliver contemplating the
+memorial tablet to Agnes. Nevertheless Cruikshank made a water colour
+drawing of "the Fireside plate," which was published in "Cruikshank's
+water colours with introduction by Joseph Grego," published by A. & C.
+Black early in 1904--the date on title page being 1903), 9 ("fireside
+plate") 60, 99 (Mr Bumble), 103-104.
+
+O'Meara, Dr., 27.
+
+O'Neill, John, 52. _See_ Drunkard.
+
+_On Guard._ _See_ Royal Academy, 1858.
+
+O. P. (Old Prices) riots, 11,
+
+_Original Sketch by George Cruikshank. Her Majesty and the Prince Consort
+at the Ball at Guildhall, July 1851. Mr and Mrs George Cruikshank passing
+before them and the Prince kindly saying to her Majesty "that is George
+Cruikshank," at which her most gracious Majesty smiled and bowed_ (No.
+9454 in the George Cruikshank collection at the South Kensington Museum.
+The etching of this subject [_See_ No. 9454-1] was never completed, but
+promised well), 247.
+
+Osnaburg or Osnabrück, Hanover. On 27 Feb. 1764, Prince Frederick,
+afterwards Duke of York and Albany, was elected to the bishopric of
+Osnaburg which he retained till 1803, when the bishopric was secularised
+and incorporated with Hanover.
+
+
+P***y, J., 171 See _Brazen_.
+
+Palace (G. Cruikshank's _Design for a palace_ is No. 9396 A (a sheet of
+paper covered on both sides with pencil sketches of various subjects) in
+the George Cruikshank collection in the South Kensington Museum), 247.
+
+"Paradise Lost," 119.
+
+Paris. _See_ Life in Paris.
+
+_Passing Events_ (etching in George Cruikshank's Magazine, Feb. 1854),
+39, 224.
+
+Patricius, 15.
+
+Peacock, Thomas Love, 224.
+
+Pearce, John, 69.
+
+Pearson, Edwin, author of "Banbury Chap-Books and Nursery Toy Book
+Literature (of the eighteenth and early nineteenth centuries) with
+impressions from several hundred wood-cut blocks, by T. and J. Bewick,
+Blake, Cruikshank, Craig, Lee, Austin, and others" (London: Arthur
+Reader, 1890), 155. _See_ Dick Whittington.
+
+_Peddigree_ [sic] _(The) of Corporal Violet_ (caricature published by H.
+Humphrey, 9 June 1815), 159.
+
+"Peeps at Life, and Studies in my Cell, by the London Hermit" (London:
+Simpkin, Marshall & Co., 1875), 136, $249$.
+
+"Pentamerone (The), or the Story of Stories, Fun for the Little Ones, by
+Giambattista Basile. Translated from the Neapolitan by John Edward
+Taylor. With illustrations by George Cruikshank" (London: David Bogue,
+1848), 151-152, 212.
+
+"Peter Schlemihl: from the German of Lamotte Fouqué [should be Adelbert
+von Chamisso]. With plates by George Cruikshank" (London: Geo. B.
+Whittaker, 1823), 125, 126, $127$.
+
+Pettigrew, Thomas Joseph _See_ Augustus, History of Egyptians.
+
+_Phenix_ [sic] _(The) of Elba Resuscitated by Treason_ (caricature
+published in "The Scourge" for May 1815), 24.
+
+"Phrenological Illustrations, or an Artist's View of the Craniological
+System of Doctors Gall and Spurzheim," by George Cruikshank. (London:
+published by George Cruikshank, Myddelton Terrace, Pentonville, 1826),
+72, $173$, 179-180.
+
+Piccini, 130.
+
+"Pic Nic (The) Papers." _See_ Sir Lionel.
+
+Pied Piper, 159.
+
+"Pilgrim's (The) Progress, by John Bunyan. Most carefully collated with
+the edition containing the author's last additions and corrections. With
+explanatory notes by William Mason. And a life of the author, by Josiah
+Conder, Esq." (Fisher, Son, & Co, London and Paris, 1838), 120.
+
+"Pilgrim's (The) Progress, by John Bunyan, illustrated with 25 drawings
+on wood by George Cruikshank, from the collection of Edwin Truman, with
+biographical introduction and indexes" (London, Edinburgh, Glasgow, and
+New York: Henry Frowde, 1903), 120, 125.
+
+Pinwell, George John (water-colour painter, born 26 Dec. 1842, died 8
+Sept 1875), 156.
+
+"Pirate (The)," by Sir Walter Scott, $237$.
+
+"Pocket (The) Magazine. Robins's Series" (4 vols., London: James Robins
+& Co., 1827, 1828), 147.
+
+"Points of Humour; illustrated by the Designs of George Cruikshank"
+(London: C. Baldwyn, 1823, 1824), 73-74, 136, $167$, 172.
+
+Pop-Gun (A) fired off by George Cruikshank in defence of the British
+volunteers of 1803, against the uncivil attack upon that body by General
+W. Napier, to which are added some observations upon our National
+Defences, Self-Defence, &c. &c. &c. Illustrated with Cuts (London: W.
+Kent & Co., late D. Bogue. The British Museum copy is stamped "10
+Fe[bruary] [18]60"), $44$, 59, 60.
+
+"Popular Romances of the West of England or, The Drolls Traditions and
+Superstitions of Old Cornwall Collected and edited by Robert Hunt F. R.
+S." (2 vols., London: J. Camden Hotten, 1865), 244.
+
+Portland, Duke of (William Henry Cavendish Bentinck-Scott) 129
+
+_Portraits_ (sketch made in 1874), 212.
+
+Pound, D. J., engraver, _See_ Cruikshank George.
+
+Poussin, Nicholas (born June 1594, died 19 Nov. 1665), 69.
+
+Poynter, Sir Edward, 69.
+
+_Preparing John Bull for General Congress_ (caricature, dated as
+published Aug. 1, 1813, which appeared in vol. vi. of "The Scourge,"
+1813), 7, 43.
+
+Prince Consort. _See_ Albert.
+
+_Princely Agility or the Sprained Ancle_ (print pub. Jan. 1812, by J.
+Joh[n]ston), 98 Cheapside, 24.
+
+"Progress (The) of a Midshipman" (8 designs invented by Capt. Marryat,
+etched by George Cruikshank, published by G. Humphrey, London 1820), 95.
+
+Puck, 184.
+
+Pughe, J. S., 212.
+
+Pulford, George Cruikshank. _See_ Lilla.
+
+"Punch and Judy, with illustrations designed and engraved by George
+Cruikshank. Accompanied by the dialogue of the puppet show, an account
+of its origin, and of puppet-plays in England" (London: S. Prowett,
+1828. The text is by John Payne Collier), 130, $131$.
+
+"Punch, or the London Charivari," 234.
+
+Pure, Simon, 65.
+
+_Pursuit (The) of Letters_ (etching "Designed, Etched and Published by
+Geo. Cruikshank, May 20th, 1828," in "Scraps and Sketches"), 212.
+
+"Puss in Boots" ("George Cruikshank's Fairy Library," No. 4, London:
+Routledge Warne & Routledge Broadway, Ludgate Hill, and F. Arnold, 86
+Fleet Street, 1864), 140, $157$.
+
+
+"Queen's (The) Matrimonial Ladder," by the author of "The Political
+House that Jack Built" (London: William Hone [the author], 1820), 25,
+26. _See_ White.
+
+
+Rabelais, 166.
+
+"Railway Readings." _See_ Cigar.
+
+"Rambles in the Footsteps of Don Quixote. By the late H. D. Inglis,
+author of Spain' 'New Gil Blas, or Pedro of Penaflor': 'The Tyrol':
+'Channel Islands,' &c. &c. With illustrations by George Cruikshank"
+(London: Whittaker & Co., 1837), 200.
+
+Ranelagh, 86, 89.
+
+Raspe, R. E., creator of "Baron Munchausen," 183, 184. _See_ Travels.
+
+Reach, Angus B. _See_ Clement.
+
+Read. _See_ Brooks.
+
+"Redgauntlet," by Sir Walter Scott, 192.
+
+_Red (The) Man_ (engraving by George Cruikshank in "The Life of
+Napoleon" by Dr Syntax), 21, 72.
+
+_R[egen]t (The) Kicking up a Row, or Warwick House in an Uproar!!!_
+(caricature by G. Cruikshank published 20 July 1814, by T. Tegg. In this
+caricature the Prince Regent declares he has burst his stays), 23.
+
+Reid, George William, compiler of the bibliography entitled "A
+Descriptive Catalogue of the works of George Cruikshank" (3 vols.,
+London: Bell & Daldy, 1871. Mr A. M. Broadley possesses "the latest
+corrected and annotated copy" of Reid's George Cruikshank catalogue,
+"annotated and corrected by him, in a very voluminous manner, with a
+view to a second edition"), 12, 16, 120, 134.
+
+"Rejected Addresses: or, The New Theatrum Poetarum," by James Smith and
+Horace Smith. 18th ed. (London: John Murray, 1833), 195.
+
+Rembrandt van Ryn (born 15 July 1606, died 1669), 147.
+
+Renard, Simon, 82, $83$.
+
+_Results of the Northern Excursion_ (print showing George IV. relieving
+an irritated cuticle, pub. by J. Fairburn, 8 Sept. 1822), 25.
+
+_Return (The) to Office_ (caricature by G. Cruikshank published in "The
+Scourge" for 1 July 1811), 26.
+
+Richard III, 184.
+
+Richardson, Sir Benjamin Ward, 59, 108. _See_ Drawings.
+
+Roach, J., 184.
+
+Robinson Crusoe. _See_ Life and.
+
+Rome, King of, 72.
+
+"Romeo and Juliet," 184. See _Juliet_.
+
+"Rookwood, a romance by Wm. Harrison Ainsworth" (London: John Macrone,
+1836), $75$, 77.
+
+Roscoe, Thomas. _See_ Adventures of Gil, Adventures of Joseph, History
+and.
+
+"Rose (The) and the Lily: how they became the emblems of England and
+France. A Fairy Tale By Mrs Octavian Blewitt. With a frontispiece by
+George Cruikshank" (London: Chatto & Windus, 1877. The etched
+frontispiece bears the inscription "Designed and Etched by George
+Cruikshank, Age 83, 1875"), 1, 134-135.
+
+"Rose (The) and the Ring," by W. M. Thackeray, 196.
+
+Rowlandson, Thomas (born 1756, died 1827), 7, 11, 16, 19, 51,
+96-97, 191. _See_ Grego, Joseph.
+
+Royal (The) Academy of Arts (George Cruikshank exhibited in the
+Exhibitions of this Academy pictures entitled as follows, the dates
+being those of the exhibitions. _Fitting out Moses for the fair_, 1830.
+This picture illustrates "The Vicar of Wakefield." _Tam o' Shanter_,
+1852. This picture illustrates the lines--
+
+    "And scarcely had he
+      Maggie rallied,
+    When out the hellish legion
+      sallied"--Burns.
+
+_A Scene from the Midsummer Night's Dream--Titania, Bottom, Mustard
+Seed, Peas Blossom, Moth, and Cobweb_, 1853 This picture illustrates the
+line "Nod to him elves, and do him courtesies." _Cinderella_, 1854. _On
+Guard_, 1858. _Cinderella_, 1859. _The Sober Man's Sunday and the
+Drunkard's Sunday_, 1859. _The first appearance of William Shakespeare
+on the stage of the Globe, with part of his dramatic company, in 1564_,
+1867), 240.
+
+Royal (The) Aquarium, London, 69, 107, 160.
+
+"_Royal (The) Rushlight_" (print published by G. Humphrey 3 March 1821),
+25.
+
+"R-y-l Stripes." _See_ Kick.
+
+Rubens, Peter Paul (born 28 June 1577, died 30 May 1640), 69.
+
+Rusher, printer of Banbury, Oxfordshire, 155.
+
+Ruskin, John (No. 9955 G in the George Cruikshank collection in the
+South Kensington Museum is a pen-sketch entitled _Mr Ruskin's Head_. The
+head has no beard), 147, 155-156, 159, 244, 247.
+
+Russell, George (A. E.), 161.
+
+
+Sailors, 95-96.
+
+"Sailor's (The) Progress," series of etched illustrations in 6
+compartments, signed "I.[=J] S. and G. CK. delt., G. CK. sculpt.,"
+published 10 Jan. 1818 by G. Humphrey, 95.
+
+"S[ain]t James's or the Court of Queen Anne. An Historical Romance by
+William Harrison Ainsworth" (3 vols., London: John Mortimer, 1844), 90,
+$91$.
+
+Sala, George Augustus (author of "George Cruikshank: A Life Memory," in
+The Gentleman's Magazine, May 1878), 15, 77.
+
+Satan, 28, 119, 133, 134, 244.
+
+"Satirist (The), or Monthly Meteor" (14 vols., London: Samuel Tipper,
+1808-1814. George Cruikshank's signature appears to plates in New
+Series, vol. iii., 1813, vol. iv., 1814. He also contributed plates to
+"The Tripod, or New Satirist," for 1814, July 1 and Aug. 1, the only
+numbers published), 35.
+
+Savoyards. See _French_.
+
+_Scale (The) of Justice Reversed_ (caricature published 19 March 1815,
+by S. W. Fores), $5$.
+
+_Scene (A) from the Midsummer Night's Dream._ _See_ Royal Academy, 1853.
+
+Schopenhauer, Arthur, 207.
+
+_Scotch Washing_ (Cruikshank del., published by T. Tegg, 16 Aug. 1810),
+175.
+
+Scott, Sir Walter, 81, 139, 147. _See_ Landscape-Historical, Twelve.
+
+"Scourge (The), or Monthly Expositor of Imposture and Folly" (11 vols.,)
+London, 1811-1816; continued in 1816 as "The Scourge and Satirist," of
+which only 6 numbers appeared; 7 and 43 (_Preparing John Bull for
+General Congress_), 19 (_Napoleon's Trip from Elba_), 20 (_Quadrupeds_),
+24 (_The Coronation of the Empress of the Nairs_ and _The Phenix of
+Elba_), 26 (_The Return to Office_), 27 (_Interior View of the House of
+God_ and _John Bull's Three Stages_), 31 (_The Cow Pox Tragedy_), 51
+(_The Dinner of the Four-in-hand Club_), 139-140 (_A Financial Survey of
+Cumberland_).
+
+"Scraps and Sketches," by George Cruikshank (4 parts [1828-1832] and one
+plate [1834] published by the Artist at 22 Myddelton [also spelt
+Myddleton] Terrace, Pentonville. In 1830 George Cruikshank writes that
+"Scraps and Sketches" "is the third work which I have published on my
+own account"), 35-36, $37$, 39, 51, 111-112, 116, 143, $163$, 172, 204,
+212, 215-216, 223.
+
+Sellis, 140.
+
+Seymour, Jane, 90.
+
+Shakespeare, William, 183-184, 187-188. See _First_, _Life_, _Juliet_,
+Royal Academy, 1853, 1867.
+
+Shakespeare's Cliff, 107, 108. _See_ Distant.
+
+Sheppard, Jack, $79$, $80$ _See_ Jack.
+
+Sheridan, Richard Brinsley Butler (born Sept. 1751, died 7 July 1816),
+15. _See_ Impostor.
+
+Sheringham, Lieut. John, 95.
+
+Sir Frizzle Pumpkin. _See_ Adventures of Sir.
+
+"Sir Lionel Flamstead, a Sketch," by W. Harrison Ainsworth, identical
+with "The Old London Merchant, a Fragment," which was Ainsworth's
+contribution to "The Pic Nic Papers. By Various Hands. Edited by Charles
+Dickens, Esq.... With illustrations by George Cruikshank, Phiz, &c. In
+three volumes" (London: Henry Colburn, 1841), 93.
+
+"Sketches by 'Boz,' illustrative of every-day life, and every-day
+people" (3 vols., London: John Macrone, 1836, 1837. Many of the
+illustrations were enlarged and re-etched for the edition, complete in
+one vol., published by Chapman & Hall in 1839, and issued in 20
+numbers), 99-100, $101$, $105$, 112.
+
+Sleap, Joseph, 35.
+
+"Slice (A) of Bread and Butter, Cut by G. Cruikshank. Being the
+substance of a speech delivered at a public meeting, held for the
+benefit of the Jews' and General Literary and Mechanics' Institute"
+(London: William Tweedie), 59.
+
+Smirke, Robert (painter, born 1752, died 5 Jan. 1845; the date of his
+illustrations of "Gil Blas" is 1809), 199.
+
+Smith, Albert, 39.
+
+Smith, Egerton. _See_ Elysium, Melange.
+
+Smith, Horace (born 1779, died 1849). _See_ Rejected.
+
+Smith, James (born 1775, died 1839). _See_ Rejected.
+
+Smoking, 58, 59. See _Tobacco_.
+
+Smollett, Tobias, 90, 184, 188, 191. _See_ Illustrations of Smollett.
+
+_Sober (The) Man's Sunday, and the Drunkard's Sunday._ _See_ Royal
+Academy, 1859.
+
+Socrates, 180, $181$.
+
+"Songs, Naval and National, of the late Charles Dibdin, with a memoir
+and addenda collected and arranged by Thomas Dibdin, with characteristic
+sketches by George Cruikshank" (London: John Murray, 1841), 175, $245$.
+
+Sotheby, Wilkinson & Hodge, 13 Wellington Street, Strand, London, W. C.,
+70, 108, 119, 160.
+
+South Kensington Museum (=Victoria and Albert Museum), collection of
+George Cruikshank's work, $13$, 111, 112, $113$. See _Christian_,
+_First_, Lilla, Original, Palace, Ruskin.
+
+"Specimens of German Romance, selected and translated [by G. Soane] from
+various authors. In three volumes" (London: Geo. B. Whittaker, 1826),
+151 (E. T. W. Hoffmann, _q. v._).
+
+Spencer, Walter, 107.
+
+Spielmann, Marion H. (F.S.A.), $120$.
+
+Stays. See R_[egen]t._
+
+Steel, 192, 236.
+
+Stephens, Frederic G. (author of "A Memoir of George Cruikshank," to
+which is added Thackeray's Essay "On the Genius of George Cruikshank,"
+London: Sampson Low, Marston, Searle & Rivington, 1891), 32, 93.
+
+Stewart, John, 66.
+
+"Stop Thief; or, Hints to Housekeepers to Prevent Housebreaking. By
+George Cruikshank" (London: Bradbury & Evans, 1851. G. and R. Cruikshank
+assisted in the embellishment of Lieut. Col. Baron De Berenger's "Helps
+and Hints How to Protect Life and Property" [London: T. Hurst, 1835]),
+58.
+
+Stowe, Harriet Beecher. _See_ Uncle.
+
+_Striking Effects Produced by Lines and Dots for the assistance of young
+Draftsmen_ (2 etchings published respectively 4 Aug. 1817 and 23 Sept.
+1817 by S. W. Fores. In the same year G. Blackman, 362 Oxford St,
+London, published 2 more etchings by George Cruikshank entitled _Twelve
+Subjects formed by Dots and Lines_ [pub. 14 June] and _Nine Subjects
+formed by Dots and Lines_ [pub 19 July]. To George Cruikshank is also
+attributed an etching entitled _Another Series formed of Lines and
+Dots_), 243.
+
+"Stubb's Calendar; or, the Fatal Boots," 196.
+
+"Sunday in London. Illustrated in fourteen cuts, by George Cruikshank,
+and a few words by a friend of his; with a copy of Sir Andrew Agnew's
+Bill" (London: Effingham Wilson, 1833; the friend in the title is John
+Wight), 51, 99.
+
+Sussex, Duke of. _See_ Augustus, Illustrations of Popular.
+
+Syntax, Dr., 71. _See_ Life of Napoleon.
+
+
+"Table (The) Book." _See_ Every-Day.
+
+"Tales of Irish Life, illustrative of the manners, customs and
+conditions of the people, by I. Whitty" (2 vols., London: J. Robins &
+Co., 1824), 93.
+
+"Talpa: or the Chronicles of a Clay Farm. An Agricultural Fragment. By
+C. W. H." (London: Reeve & Co., 1852. The author is C. W. Hoskyns), 208.
+
+_Tam o' Shanter_. _See_ Royal Academy, 1852.
+
+Temperance, 48, 49, 52 _et seq._, 247 George Cruikshank's "Last
+temperance piece" was _The Last Half Hour_ in S. C. Hall's "An Old
+Story" (1875). _See_ Bottle, Drunkard, Drunkard's, Glass, Oil, Worship.
+
+Tenniel, Sir John, 176.
+
+Thackeray, William Makepeace (born 18 July 1811, died 23 or 24 Dec.
+1863), 1, 25, 69, 78 196, 231-232. _See_ Stephens, Frederic G.
+
+Thames, 78.
+
+Thistlewood, Arthur (born 1770, hanged 1 May 1820), 3, 35.
+
+Thompson, Alice. _See_ Meynell, Mrs Alice.
+
+Thompson, John (wood-engraver, born 25 May 1785, died 20 Feb. 1866. At
+the Paris Exhibition of 1855, he was awarded the grand medal of honour
+for wood-engraving. He engraved the cuts for "Mornings at Bow Street"
+and "The Beauties of Washington Irving," &c.), 126, 129, 162, 239. _See_
+True.
+
+Thomson, James, 11.
+
+Thornhill, Sir James (Hogarth's father-in-law), 78.
+
+"Three Courses and a Dessert. The Decorations by George Cruikshank"
+(London: Vizetelly, Branston & Co., 1830. The author is W. Clarke), 215.
+
+"Three (The) Cruikshanks. A Bibliographical Catalogue, describing more
+than 500 works ... illustrated by Isaac, George, and Robert Cruikshank,
+compiled by Frederick Marchmont.... The introduction by Julian Moore,
+with illustrations" (London: W. T. Spencer, 1897. A useful book. Prices
+are appended, which should not in some instances be paid by the
+collector who has time to look about him. The frontispiece, reproducing
+George Cruikshank's oil-painting _A Mother's Love_, reminds one of
+William Blake's drawing in sepia of a mother discovering her child in an
+eagle's nest).
+
+Time. _See_ Illustrations of Time.
+
+Titian (=Tiziano Vecellio), 2, 69.
+
+Tobacco (The most interesting anti-tobacco publication associated with
+George Cruikshank is "What Put My Pipe Out; or, Incidents in the Life of
+a Clergyman," published in London by S. W. Partridge, 1862), 58, 59.
+
+"Tom Thumb; a Burletta, altered from Henry Fielding, by Kane O'Hara.
+With Designs by George Cruikshank" (London: Thomas Rodd, 1830), 156
+(where Ruskin may be supposed by anyone who thinks, as I do not, that he
+was incapable of a _lapsus calami_, to refer to the designs for this
+volume).
+
+"Topsail-Sheet Blocks, or, The Naval Foundling. By 'The Old Sailor'" (3
+vols., London: Richard Bentley, 1838, the author is M. H. Barker), 95.
+
+Tothill Fields, $87$.
+
+"Tower (The) of London," by William Harrison Ainsworth (13 parts, the
+last 2 forming a double part. London: Richard Bentley, 1840), 60, 81-82,
+$83$, 85.
+
+"Town Talk, or Living Manners" (5 vols., London: J. Johnson, 1811-1814.
+A periodical. George Cruikshank, contributed to vols. ii. [1812], iv.
+[1813], v. [1813]), 35.
+
+"Travels (The) and Surprising Adventures of Baron Munchausen.
+Illustrated with Five woodcuts by G. Cruikshank, and Twenty-two
+full-page curious engravings." (London: William Tegg, 1867. The author
+is R. E. Raspe. The Cruikshank cuts were "used before in other books,"
+says Capt. Douglas. George Cruikshank also contributed a frontispiece to
+"The Surprising Travels and Adventures of the Renowned Baron
+Munchausen," printed and sold by Dean & Munday, Threadneedle Street,
+London, 1817), 219.
+
+_Triumph (The) of Cupid_, etching in "George Cruikshank's Table-Book"
+(1845), 67, 223-4.
+
+"True (The) Legend of St Dunstan and the Devil, Showing how the
+Horse-Shoe came to be a Charm against Witchcraft. By Edward G. Flight.
+With illustrations drawn by George Cruikshank and engraved by John
+Thompson" (London: D. Bogue, 1848), 119, $122$, $123$.
+
+Trusler, Rev. Dr., author of "Hogarth Moralized." (For an edition of
+that work published by John Major in 1831, George Cruikshank engraved 4
+groups of heads after Hogarth), 77.
+
+Turpin, Dick, $75$, 77.
+
+Twain, Mark, 234.
+
+"Twelve Sketches illustrative of Sir Walter Scott's Demonology and
+Witchcraft, by George Cruikshank" (London: J. Robins & Co., 1830), 139,
+147-148.
+
+
+"Uncle Tom's Cabin," by Harriet Beecher Stowe (London: John Cassell,
+1852), 10, 39.
+
+"Universal (The) Songster; or Museum of Mirth: forming the most
+complete, extensive, and valuable collection of ancient and modern songs
+in the English language...." (3 vols., London: John Fairburn, 1825,
+1826), 136-137.
+
+
+Vaccination. See _Cow, Vaccination against_
+
+_Vaccination against Small Pox or Mercenary and Merciless spreaders of
+Death and Devastation driven out of Society_ (caricature signed
+Cruikshank del. Published by S. W. Fores, 20 June 1808), 31.
+
+"Vicar (The) of Wakefield," 191-192, $193$. _See_ Royal Academy, 1830.
+
+Victoria and Albert Museum. _See_ South Kensington.
+
+Victoria, Queen, 40, 44, 247. _See_ Original.
+
+"Voice (The) of Humanity for the Communication and Discussion of all
+subjects relative to the Conduct of Man towards the Inferior Animal
+Creation" (London: J. Nisbet 1830 [_sic_]. The etching by Geo.
+Cruikshank entitled _The Knackers_ [sic] _Yard, or the Horses_ [sic]
+_last home_! is here _without_ the notice "Licensed for Slaughtering
+Horses." _The Knackers Yard_ appeared in the number for May 1831, and
+re-appeared in vol iii [the title-page of which is dateless], with the
+words "Licensed for Slaughtering Horses," added to the design. In the
+first state of the plate as published is the date 1831), 220.
+
+
+Wardle, Col, Gwyllym Lloyd (member for Oakhampton, Devon, who, in the
+House of Commons, 27 Jan. 1809, made the charge against the Duke of York
+of implication in the misuse of money realised by the sale of
+commissions), 26.
+
+Watts, George Frederick (born 1817, died 1904), 2.
+
+"Waverley," by Sir Walter Scott, $169$, 175, 192.
+
+Wedmore, Frederick, 100, 115.
+
+Westminster Abbey, 86, 89.
+
+"What Put My Pipe Out." _See_ Tobacco.
+
+Whistler, James McNeill (born _circa_ 1835, died July 1903), 78.
+
+White, engraver. _See_ Life in Paris. (There was a wood engraver called
+Henry White, a pupil of Bewick who "produced much good work, notably the
+illustrations for Hone's 'House that Jack Built,' 'The Matrimonial
+Ladder,' [_sic_] &c. _Vide_ 'Bryan's Dictionary of Painters and
+Engravers," revised ed. 1905).
+
+White, Rev. James (born 1803, died 1862). _See_ Adventures of Sir.
+
+Whittington, _See_ Dick.
+
+Whitty, I., 93. _See_ Tales.
+
+Wight, John. _See_ More, Mornings, Sunday.
+
+Wilberforce, William (born 24 Aug. 1759 died 29 July 1833). See _New
+Union_.
+
+Wild, Jonathan, $79$.
+
+Wilde, Oscar, 183-184.
+
+Willesden Churchyard, $79$.
+
+"Windsor Castle, an Historical Romance," by W. Harrison Ainsworth (new
+edition, illustrated by George Cruikshank, and Tony Johannot, with
+designs on wood by W. Alfred Delamotte. London: Henry Colborn, 1843. The
+first edition, also 1843, has only 3 etchings), 89, 90, 135, $137$.
+
+Winsor, Frederick Albert. _See_ Winzer.
+
+Winzer (born 1763, died 11 May 1830. One of the pioneers of gas lighting
+and son of Friedrich Albrecht Winzer. Apparently he was named after his
+father, but he anglicised his name and biography knows him as Frederick
+Albert Winsor). 31.
+
+'Wits (The) Magazine and Attic Miscellany' (2 vols., London: Thomas
+Tegg, 1818), $209$.
+
+_Woman (The) Taken in Adultery, or Mary Magdalen_ (caricature ascribed
+by G. W. Reid to George Cruikshank. Published by S. W. Fores, 15 March
+1809), 27.
+
+Women, 43.
+
+Woodward, H. 12.
+
+Wooler, Thomas Jonathan (born 1785 or 1786, died 29 Oct. 1853, editor of
+"The Black Dwarf" which started 29 Jan. 1817. He was a _tall_ man), 35.
+
+"Works (The) of George Cruikshank Classified and Arranged with
+References to Reid's Catalogue and their approximate values By Capt. R.
+J. H. Douglas, with a frontispiece" (London: printed by J. Davy & Sons,
+1903. Though not quite exhaustive and with several errors this book is
+indispensable to the collector. It is the only bibliography which
+attempts to include all the artist's works to the date of his death).
+
+"World's (The) Show, 1851, or the Adventures of Mr and Mrs Sandboys and
+Family, who came up to London to enjoy themselves, and to see the Great
+Exhibition, by Henry Mayhew and George Cruikshank" (London: David
+Bogue, 1851. First published in 8 parts. The title-page here quoted is
+the one designed by G. Cruikshank, but above the first line of text the
+title is as quoted on p. 44).
+
+_Worship (The) of Bacchus_, oil-painting by George Cruikshank (1862),
+65-70. _See_ Oil painting.
+
+_Worship (The) of Bacchus, or the Drinking Customs of Society, showing
+how universally the intoxicating liquors are used upon every occasion in
+life from the cradle to the grave. The figures outlined on the steel
+plate by George Cruikshank and the engraving finished by Charles
+Mottram_ (London: William Tweedie, 1864), 65.
+
+Wright, Thomas (M.A., F.S.A.), Author of "Caricature History of the
+Georges" (1867), 11.
+
+
+Xantippe, $181$.
+
+
+Yarmouth, The Countess of 4, 24.
+
+Yedis, 28.
+
+York, Duke of. _See_ Frederick.
+
+
+
+
+Transcriber's Notes:
+
+    Missing punctuation has been added.
+
+    Page 32 and sea--betweeen which they strut. The word betweeen
+        changed to between.
+
+    Page 271 [J] Small anchor
+
+    Page 280 Wardle, Col, Gwyllym Lloyd (member for Oakhampton, Devon,
+         who, in the House of Commons, 27 Jany. 1809,
+         Jany. Changed to Jan.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of George Cruikshank, by W. H. Chesson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK GEORGE CRUIKSHANK ***
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+<pre>
+
+The Project Gutenberg EBook of George Cruikshank, by W. H. Chesson
+
+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: George Cruikshank
+
+Author: W. H. Chesson
+
+Release Date: December 16, 2011 [EBook #38318]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE CRUIKSHANK ***
+
+
+
+
+Produced by Juliet Sutherland, Susan Theresa Morin and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+<p class="center"><b>See <a href="#Transcribers_Notes">Transcriber's Notes</a> at end of Text</b></p>
+
+
+<div class="poem"><div class="stanza">
+<span class="i0">Special Transcriber's Notes:<br /></span>
+<span class="i0">Text surrounded by ~ originally printed in a sans serif typeface.</span>
+<span class="i0">Table of Contents is not original part of text.</span>
+</div></div>
+
+
+<p>
+<b>The Popular<br />
+Library of Art</b><br />
+<br />
+
+Edited by<br />
+Edward Garnett<br />
+</p>
+<hr style="width: 85%;" />
+
+<p>The Popular Library of Art
+<br /><br />
+ALBRECHT DÜRER (37 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Lina Eckenstein</span>.<br />
+<br />
+ROSSETTI (53 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Ford Madox Hueffer</span>.<br />
+<br />
+REMBRANDT (61 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Auguste Bréal</span>.<br />
+<br />
+FRED. WALKER (32 Illustrations and<br />
+Photogravure).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Clementina Black</span>.<br />
+<br />
+MILLET (32 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Romain Rolland</span>.<br />
+<br />
+THE FRENCH IMPRESSIONISTS<br />
+(50 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Camille Mauclair</span>.<br />
+<br />
+LEONARDO DA VINCI (44 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By Dr <span class="smcap">Georg Gronau</span>.<br />
+<br />
+GAINSBOROUGH (55 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Arthur B. Chamberlain</span>.<br />
+<br />
+BOTTICELLI (37 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Julia Cartwright</span> (Mrs <span class="smcap">Ady</span>).<br />
+<br />
+RAPHAEL (50 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Julia Cartwright</span> (Mrs <span class="smcap">Ady</span>).<br />
+<br />
+VELAZQUEZ (51 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Auguste Bréal</span>.<br />
+<br />
+HOLBEIN (50 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Ford Madox Hueffer</span>.<br />
+<br />
+ENGLISH WATER COLOUR PAINTERS<br />
+(42 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">A. J. Finberg</span>.<br />
+<br />
+WATTEAU (35 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Camille Mauclair</span>.<br />
+<br />
+THE PRE-RAPHAELITE BROTHERHOOD<br />
+(38 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Ford Madox Hueffer</span>.<br />
+<br />
+PERUGINO (50 Illustrations).<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Edward Hutton</span>.<br />
+<br />
+CRUIKSHANK.<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">W. H. Chesson</span>.<br />
+<br />
+HOGARTH.<br />
+<span style="margin-left: 2em;"></span>By <span class="smcap">Edward Garnett</span>.<br />
+</p>
+
+<div class="figcenter" style="width: 480px;">
+<a name="illus004fs.jpg" id="illus004fs.jpg"></a><img src="images/illus004fs.jpg" width="480" height="454" alt="GEORGE CRUIKSHANK FRIGHTENING SOCIETY
+
+From &quot;George Cruikshank&#39;s Omnibus,&quot; 1842." title="" />
+<span class="caption">GEORGE CRUIKSHANK FRIGHTENING SOCIETY
+
+From &quot;George Cruikshank&#39;s Omnibus,&quot; 1842.</span>
+</div>
+
+
+
+
+<h1>GEORGE</h1>
+<h1>CRUIKSHANK</h1>
+
+<h3>BY</h3>
+
+<h2>W. H. CHESSON</h2>
+
+<p class="center">AUTHOR OF "NAME THIS CHILD," ETC.</p>
+<hr style="width: 65%;" />
+<p class="center">LONDON: DUCKWORTH &amp; CO.<br />
+NEW YORK: E. P. DUTTON &amp; CO.</p>
+
+<hr style="width: 65%;" />
+
+<p class="center">PRINTED BY<br />
+
+TURNBULL AND SPEARS.<br />
+
+EDINBURGH</p>
+
+<hr style="width: 65%;" />
+
+<h2> CONTENTS </h2>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align="left"></td><td align="right">PAGE</td></tr>
+<tr><td align="left"><a href="#I">I</a></td><td align="right">1</td></tr>
+<tr><td align="left"><a href="#II">II</a></td><td align="right">10</td></tr>
+<tr><td align="left"><a href="#III">III</a></td><td align="right">45</td></tr>
+<tr><td align="left"><a href="#IV">IV</a></td><td align="right">70</td></tr>
+<tr><td align="left"><a href="#V">V</a></td><td align="right">115</td></tr>
+<tr><td align="left"><a href="#VI">VI</a></td><td align="right">162</td></tr>
+<tr><td align="left"><a href="#VII">VII</a></td><td align="right">236</td></tr>
+<tr><td align="left"><span class="smcap"><a href="#Annotated_Bibliographical_Index"></a>Annotated Bibliographical Index</span></td><td align="right">253</td></tr>
+</table></div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2>LIST OF ILLUSTRATIONS IN ORDER<br /> OF DATE</h2>
+
+
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align="left"><span style="margin-left: 1.5em;">DATE</span></td>
+<td align="center">SUBJECT</td><td align="right">PAGE</td></tr>
+<tr><td align="left"><span style="margin-left: 1.5em;"><i>Circa</i>}</span></td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1800.}</td><td align="left"><span class="smcap"><a href="#illus025fs.jpg">Almsgiving</a></span></td><td align="right"></td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1815.</td><td align="left"><span class="smcap"><a href="#illus017fs.jpg">The Scale of Justice Reversed</a></span></td><td align="right">5</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1818.</td><td align="left"><span class="smcap"><a href="#illus221fs.jpg">Title-page of "The Wits' Magazine"</a></span></td><td align="right">209</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1819.</td><td align="left"><span class="smcap"><a href="#illus041fs.jpg">Johnny Bull and His Forged Notes</a></span></td><td align="right">29</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1821.</td><td align="left"><span class="smcap"><a href="#illus153fs.jpg">Comic Composites for the Scrap Book</a></span></td><td align="right">141</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1821.</td><td align="left"><span class="smcap"><a href="#illus061fs.jpg">Tom Getting the Best of a Charley</a></span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">(from "Life in London")</span></td><td align="right">9</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1821.</td><td align="left"><span class="smcap"><a href="#illus217fs.jpg">New Readings</a></span>(from "The Humorist")</td><td align="right">205</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1823.</td><td align="left"><span class="smcap"><a href="#illus179fs.jpg">Exchange No Robbery</a></span>(from "Points</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">of Humour")</span></td><td align="right">167</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1823.</td><td align="left"><span class="smcap"><a href="#illus139fs.jpg">Peter Schlemihl watching the<br />
+<span style="margin-left: 2em;">Clock</span></a></span> (from "Peter Schlemihl")</td><td align="right">127</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1826.</td><td align="left"><span class="smcap"><a href="#illus045fs.jpg">Juvenile Monstrosities</a></span></td><td align="right">33</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1826.</td><td align="left"><span class="smcap"><a href="#illus157fs.jpg">The Goose Girl</a></span> (from "German</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Popular Stories")</span></td><td align="right">145</td></tr>
+
+<tr><td align="left"><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span><span style="margin-left: 1.5em;"></span>1826.</td><td align="left"><span class="smcap"><a href="#illus185fs.jpg">Hope</a></span> (from "Phrenological Illustrations")</td><td align="right">173</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1827.</td><td align="left"><span class="smcap"><a href="#illus237fs.jpg">Title-page of "Illustrations</a></span> of<span class="smcap"> Time"</span></td><td align="right">225</td></tr>
+
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1828.</td><td align="left"><span class="smcap"><a href="#illus225fs.jpg">A Braying Ass</a></span> (from "The Diverting</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">History of John Gilpin")</span></td><td align="right">213</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1828.</td><td align="left"><span class="smcap"><a href="#illus049fs.jpg">Fatal Effects of Tight Lacing</a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Scraps and Sketches")</span></td><td align="right">37</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1828.</td><td align="left"><span class="smcap"><a href="#illus175fs.jpg">a Gentleman's Rest Broken</a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Scraps and Sketches")</span></td><td align="right">163</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1828.</td><td align="left"><span class="smcap"><a href="#illus143fs.jpg">Punch Throwing Away the Body Of<br />
+<span style="margin-left: 2em;">The Servant</span></a></span> (from "Punch and</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Judy")</span></td><td align="right">131</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1830.</td><td align="left"><span class="smcap"><a href="#illus205fs.jpg">The Vicar of Wakefield Preaching<br />
+<span style="margin-left: 2em;">to the Prisoners</span></a></span> (from "Illustrations</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">to Popular Works")</span></td><td align="right">193</td></tr>
+
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1831.</td><td align="left"><span class="smcap"><a href="#illus253fs.jpg">Crusoe's Farmhouse and Crusoe In<br />
+<span style="margin-left: 2em;">his Island Home</span></a></span> (from "The Life</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">and Surprising Adventures of</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Robinson Crusoe")</span></td><td align="right">241</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1831.</td><td align="left"><span class="smcap"><a href="#illus201fs.jpg">Adams's Visit to Parson Trulliber</a></span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">(from "Joseph Andrews" <a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>)</span></td><td align="right">189</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1833.</td><td align="left"><span class="smcap"><a href="#illus213fs.jpg">Don Quixote and Sancho Returning<br />
+<span style="margin-left: 2em;">Home</span></a></span> (from "The History and</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Adventures of the Renowned Don</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Quixote")</span></td><td align="right">201</td></tr>
+
+<tr><td align="left"><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span>
+<span style="margin-left: 1.5em;"></span>1833.</td><td align="left"><span class="smcap"><a href="#illus109fs.jpg">Solomon Eagle</a></span> (from "A Journal of</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">the Plague Year"</span></td><td align="right">97</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1836.</td><td align="left"><span class="smcap"><a href="#illus053fs.jpg">September&mdash;Michaelmas Day</a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"The Comic Almanack," 1836)</span></td><td align="right">41</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1836.</td><td align="left"><span class="smcap"><a href="#illus193fs.jpg">X&mdash;Xantippe</a></span> (from "A Comic</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Alphabet")</span></td><td align="right">181</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1836.</td><td align="left"><span class="smcap"><a href="#illus181fs.jpg">"Eh, Sirs!"</a></span> (from "Landscape-Historical</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Illustrations of Scotland</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">and the Waverley Novels,"</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Waverley")</span></td><td align="right">169</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1836.</td><td align="left"><span class="smcap"><a href="#illus209fs.jpg">Pro-di-gi-ous!</a></span> (from "Landscape-Historical</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Illustrations of Scotland</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">and the Waverley Novels,"</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Guy Mannering")</span></td><td align="right">197</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1836.</td><td align="left"><span class="smcap"><a href="#illus087fs.jpg">Turpin's Flight Through Edmonton</a></span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">(from "Rookwood")</span></td><td align="right">75</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;">1837.</span></td><td align="left"><span class="smcap"><a href="#illus113fs.jpg">The Streets, Morning</a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Sketches by Boz")</span></td><td align="right">101</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1837.</td><td align="left"><span class="smcap"><a href="#illus117fs.jpg">The Last Cab-driver</a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Sketches by Boz")</span></td><td align="right">105</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1838.</td><td align="left"><span class="smcap"><a href="#illus249fs.jpg">Norna Despatching the Provisions</a></span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">(from "Landscape-Historical Illustrations</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">of Scotland and the Waverley Novels,"</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"The Pirate")</span></td><td align="right">237</td></tr>
+
+<tr><td align="left"><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span><span style="margin-left: 1.5em;"></span>1839.</td><td align="left"><span class="smcap"><a href="#illus241fs.jpg">The Turk's only Daughter approaches<br />
+<span style="margin-left: 2em;">Lord Bateman</span></a></span> (from "The</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Loving Ballad of Lord Bateman")</span></td><td align="right">229</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1839.</td><td align="left"><span class="smcap"><a href="#illus091fs.jpg">Jonathan Wild seizing Jack Sheppard<br />
+<span style="margin-left: 2em;">at his Mother's Grave</span></a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Jack Sheppard")</span></td><td align="right">79</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1839.</td><td align="left"><span class="smcap"><a href="#illus092fs.jpg">Jack Sheppard drinking from St<br />
+<span style="margin-left: 2em;">Giles's Bowl</span></a></span> (from "Jack Sheppard")</td><td align="right">80</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1840.</td><td align="left"><span class="smcap"><a href="#illus095fs.jpg">The Death Warrant</a></span> (from "The</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Tower of London")</span></td><td align="right">83</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1841.</td><td align="left"><span class="smcap"><a href="#illus257fs.jpg">The Veterans</a></span> (from "Songs, Naval</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">and National, of Charles Dibden")</span></td><td align="right">245</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1842.</td><td align="left"><span class="smcap"><a href="#illus004fs.jpg">Frightening Society</a></span> (from "George</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Cruikshank's Omnibus")</span></td><td align="right"><i>Frontispiece</i></td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1842.</td><td align="left"><span class="smcap"><a href="#illus099fs.jpg">The Duel in Tothill Fields</a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 1.5em;">"Ainsworth's Magazine," "The</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Miser's Daughter")</span></td><td align="right">87</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1842.</td><td align="left"><span class="smcap"><a href="#illus065fs.jpg">Over-head and Under-foot</a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 1.5em;">"The Comic Almanack")</span></td><td align="right">53</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1842.</td><td align="left"><span class="smcap"><a href="#illus129fs.jpg">Legend of St Medard</a></span> (from "The</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Ingoldsby Legends")</span></td><td align="right">117</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1843.</td><td align="left"><span class="smcap"><a href="#illus149fs.jpg">Herne the Hunter appearing to<br />
+<span style="margin-left: 2em;">Henry VIII.</span></a></span> (from "Ainsworth's</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Magazine," "Windsor Castle")</span></td><td align="right">137</td></tr>
+
+<tr><td align="left"><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span><span style="margin-left: 1.5em;"></span>1844.</td><td align="left"><span class="smcap"><a href="#illus103fs.jpg">The Marquis de Guiscard attempting<br />
+<span style="margin-left: 2em;">to assassinate Harley</span></a></span> (from</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Ainsworth's Magazine," "Saint James's")</span></td><td align="right">91</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1845.</td><td align="left"><span class="smcap"><a href="#illus197fs.jpg"><i>The</i> Lion of the Party</a></span> (from "George</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Cruikshank's Table-Book")</span></td><td align="right">185</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1845.</td><td align="left"><span class="smcap"><a href="#illus189fs.jpg">Details from Heads of the Table</a></span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">(from "George Cruikshank's</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Table-Book")</span></td><td align="right">177</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1847.</td><td align="left"><span class="smcap"><a href="#illus161fs.jpg">Amaranth carried by the Bee's<br />
+<span style="margin-left: 2em;">Monster Steed</span></a></span>(from "The Good</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Genius that Turned Everything</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">into Gold")</span></td><td align="right">149</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1847.</td><td align="left">"<span class="smcap"><a href="#illus233fs.jpg">The Cat Did It!</a></span> (from "The</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Greatest Plague in Life")</span></td><td align="right">221</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1848.</td><td align="left"><span class="smcap"><a href="#illus134fs.jpg">Shoeing the Devil</a></span> (from "The True</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Legend of St Dunstan")</span></td><td align="right">122</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1848.</td><td align="left"><span class="smcap"><a href="#illus135fs.jpg">The Devil about to Sign</a></span> (from "The</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">True Legend of St Dunstan ")</span></td><td align="right">123</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1849.</td><td align="left"><span class="smcap"><a href="#illus121fs.jpg">Miss Eske carried away during<br />
+<span style="margin-left: 2em;">her Trance</span></a></span> (from "Clement</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Lorimer")</span></td><td align="left">109</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1853.</td><td align="left"><span class="smcap"><a href="#illus074fs.jpg">The Glass of Whiskey after the<br />
+<span style="margin-left: 2em;">Goose</span></a></span> (from "The Glass and the</td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></td><td align="left"><span style="margin-left: 2em;">New Crystal Palace")</span></td><td align="right">62</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1853.</td><td align="left"><span class="smcap"><a href="#illus075fs.jpg">The Goose after the Whiskey</a></span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">(from "The Glass and the New</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Crystal Palace")</span></td><td align="right">63</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1854.</td><td align="left"><span class="smcap"><a href="#illus229fs.jpg">When the Elephant stands upon his<br />
+<span style="margin-left: 2em;">Head</span></a></span> (from "George Cruikshank's</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Magazine")</span></td><td align="right">217</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1854.</td><td align="left"><span class="smcap"><a href="#illus165fs.jpg">The Pumpkin, etc., being changed<br />
+<span style="margin-left: 2em;">into a Coach, etc.</span>,</a></span> (from "George</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Cruikshank's Fairy Library,"</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">"Cinderella")</span></td><td align="right">153</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1864.</td><td align="left"><span class="smcap"><a href="#illus169fs.jpg">The Ogre in the form of a Lion</a></span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">(from "George Cruikshank's Fairy</span></td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Library," "Puss in Boots")</span></td><td align="right">157</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span>1875.</td><td align="left"><span class="smcap"><a href="#illus261fs.jpg">Monk Reading</a></span> (from "Peeps at</td></tr>
+<tr><td align="left"></td><td align="left"><span style="margin-left: 2em;">Life")</span></td><td align="right">249</td></tr>
+
+<tr><td align="left"><span style="margin-left: 1.5em;"></span><span class="smcap">N.D.</span></td><td align="left"><span class="smcap"><a href="#illus125fs.jpg">Eliza Cruikshank</a></span> (from a painting)</td></tr>
+<tr><td align="right">113</td></tr>
+</table>
+
+<div class="footnote">
+<a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a>Date of vol., 1832.
+</div>
+
+
+<p>**** The dates in the footlines and in
+this list are those of the first appearance of the works to which
+they refer. In certain cases the reproductions have been made from
+good impressions which are not the earliest of the plates in question.</p>
+
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+
+<h2><a name="I" id="I"></a>I</h2>
+
+
+<p>The life of George Cruikshank extended from
+September 27, 1792, to February 1, 1878, and
+the known work of his hand dates from 1799
+to 1875. In 1840 Thackeray wrote of him as
+of a hero of his boyhood, asking jocundly,
+"Did we not forego tarts in order to buy his
+<i>Breaking-up</i> or his <i>Fashionable Monstrosities</i> of
+the year eighteen hundred and something?"
+In 1863, the year of Thackeray's death,
+Cruikshank was asked, by the committee who
+exhibited his <i>Worship of Bacchus</i>, to associate
+with that work some of his early drawings
+in order to prove that he was not his
+own grandfather.</p>
+
+<p>For years before he reached the great but
+unsensational age at which he died, a sort of
+cult was vested in his longevity. Dated plates&mdash;that
+entitled "The Rose and the Lily"
+(1875) offers the last example&mdash;imply that his
+art figured to him finally as a kind of athleticism.<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<p>It was as if, in using his burin or needles, he
+was doing a "turn" before sightseers, with
+a hired Time innocuously scything on the platform
+beside him to show him off.</p>
+
+<p>Now that his mortality has been proven
+for a quarter of a century, we can coldly ask:
+why did he seem so old to himself and the
+world? Others greater than he&mdash;Titian,
+Watts&mdash;have laboured with genius under
+a heavier crown of snow than he; and the
+public has applauded their vigour without
+a doubt of their identity. The reason is that
+they have not been the journalists of their
+age. They have not, like Cruikshank,
+reflected in their works inventions and
+fashions, wars and scandals, jokes and politics,
+whence the world has emerged unrecognisably
+the same.</p>
+
+<p>It is said that when Cruikshank was eighty-three,
+he executed a sword-dance before an
+old officer who had mentally buried him. It
+was an action characteristic of a nature that
+was scarcely more naïve and impulsive at one
+time than another, but it was the most
+confusing proof of the fact in debate which
+he could have offered. It was not of a<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span>
+numeral that the doubter thought when the
+existence of Cruikshank was presented to his
+mind's eye. His thought we may elaborate
+as follows.</p>
+
+<p>The artist who drew Napoleon week by
+week, with all the vulgar insolence which only
+a great man's contemporaries can display
+towards him, was the same who, half a century
+after the Emperor's death, produced a
+conception of the "Leader of the Parisian
+Blood Red Republic of 1870." The artist
+who, in the last year of the reign of George
+the Third, depicted Thistlewood's lair in Cato
+Street, drew also, as though with "a mother's
+tender care," almost every pane in that glass
+palace which the trees of Hyde Park inhabited
+in 1851.</p>
+
+<p>Before the punctuality of his interest in
+everything new that rose to the surface to
+obliterate an expiring mode or event, we stand
+astonished. It is not so much as an artist
+that we here admire him. It is as an Argus
+of the street, an Argus not only with many eyes
+but with feet enough to plant him at once in
+a hundred corners. From this voluble Argus
+his mistress Clio recoils but cannot dismiss<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>
+him. Aghast she observes him presenting the
+Prince Regent in a hundred burlesquely improper
+parts; and it is a discreet generation
+indeed which remembers <i>Coriolanus addressing
+the Plebeians</i> and forgets <i>The Fat in the
+Fire</i>. Clio withdraws, but does not forbid
+us to stay. And stay I do, at all events, to
+examine the packed and ugly caricatures which
+are the visible laughter of Cruikshank the
+Argus of journalism. Their violent colours and
+vigorous lines fail not in invocation. Before
+the student of them rise the supple, blue-eyed
+leech called Mrs Clarke and her grossly-doating
+Commander-in-chief; Lady Jersey, Lady
+Douglas and the other villains of the drama
+entitled "Queen Caroline;" the Marchioness
+of Hertford, the Countess of Yarmouth, or
+whoever brought down upon <i>Coriolanus</i> the
+"heigho!" of a ribald Rowly; and, lest one
+grow lenient to royal self-indulgence, it is
+accused by the recurring presence of a figure
+of tormented respectability. It is the Cruikshankian
+John Bull, as different from Sir F. C.
+Gould's well-fed monitor of Conservative
+politicians as is Cruikshank's darkly criminal
+Punch from Richard Doyle's domesticated<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>
+patron of humour. This John Bull is hacked
+to make a Corsican and Yankee holiday,
+taxed at the bayonet's point, starved on bread
+at eighteenpence the quartern, and offered up
+as a sacrifice to a Bourbon "Bumble-head."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus017fs.jpg" id="illus017fs.jpg"></a><img src="images/illus017fs.jpg" width="600" height="437" alt="THE SCALE OF JUSTICE REVERSED
+
+No. 464 of Reid&#39;s Catalogue, published March 19, 1815." title="" />
+<span class="caption">THE SCALE OF JUSTICE REVERSED
+
+No. 464 of Reid&#39;s Catalogue, published March 19, 1815.</span>
+</div>
+
+<p>But the visions that detain the student of
+Cruikshank the journalist are not only of personages
+and events. He saw and recorded
+the crowd and the clothes of the crowd. His
+art preserves the ladies of 1816, who resembled
+the bowls of tobacco pipes; the men of 1822,
+who wore trousers like pears; and the children
+of 1826, whom the hatter turned into "Mushroom
+Monstrosities."</p>
+
+<p>Cruikshank the journalist constitutes a fame
+in himself whose trumpeters are Fairburn, Fores,
+Humphrey, Hone ..., publishers who, in an
+age before photo-engraving, easily sold topical
+caricatures separately at a shilling or more.
+Gillray's name, in my estimation, outweighs
+Cruikshank's at the foot of such publications,
+while Rowlandson's weighs less. Together
+these three masters of caricature compose a
+constellation of third and fourth Georgian
+humour.</p>
+
+<p>But we have by no means done with Cruikshank<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
+when we have admired him there. A
+greater Cruikshank remains to be admired.
+Of him there is no assignable master; neither
+Hogarth nor Gillray. He is the illustrator
+whose fame makes more than six hundred
+books and pamphlets desirable; he is truly an
+artist, a maker of beauty. Stimulated though
+this greater Cruikshank was in the flatter
+and more decent epoch which succeeded the
+age of <i>Coriolanus</i> or <i>King Teapot</i>, of <i>Don
+Whiskerandos</i> or <i>Sardanapalus</i>, Regent and King
+of Britain and mandarin of Brighton, it was
+in the age of muddle and debauch, not in
+the age of Victorian propriety and reform, that
+Cruikshank entered fairyland for the first time
+and saw the little people face to face. Cobbett
+has ignored the fact, but there is grace in it
+even for the "Big Sovereign" whom he
+pilloried in five hundred and eleven paragraphs.</p>
+
+<p>We shall find, alas! as we proceed, that, as
+illustrator, Cruikshank often sank below his
+journalistic level. The journalist may always
+take refuge in the actual life of the fact before
+him; his are real landscapes, real faces. But the
+illustrator has often only lifeless words to instruct<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>
+him; when short of inspiration he is in the thraldom
+of his manner. Cruikshank's thraldom
+to his manner was the more obvious, since the
+manner was often wooden, often joyously ugly.
+His fame perpetuates his failures. The insipidity
+which affronted Boz has no effect in
+stopping the demand for "the fireside plate."
+Still, his best as well as his worst is in
+his illustration of books. It is his best that
+excuses the criticism of his worst and enrols
+him among the great artists of the nineteenth
+century.</p>
+
+<p>I propose in the pages that shall follow to
+set down the significance both of his best and
+of his worst, avoiding, as befits the date of my
+labour, any biographical matter which does
+not throw light on his art. And first let us
+follow his path in journalism.<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="II" id="II"></a>II</h2>
+
+
+<p>The limits of Cruikshank's genius and the
+spacious area between them are almost implied
+in the fact that he was a Londoner who seldom
+or never departed from the "tight little island."
+Born in Duke Street, St George's, Bloomsbury,
+if the statement in his epitaph in St
+Paul's Cathedral is to be accepted, he continued
+a Londoner to the end: living in Dorset
+Street, near Fleet Street, in Amwell Street, and
+Myddelton Terrace, Pentonville, and finally in
+the house called successively 48 Mornington
+Place and 263 Hampstead Road. Yet this
+cockney depicted the Spain of Don Quixote and
+Gil Bias, the Ireland of Lord Edward Fitzgerald,
+and the America of Uncle Tom. Such
+courageous versatility was the outcome of a
+training so practical that I hesitate to call it an
+artistic education.</p>
+
+<p>His father, Isaac, was a Lowland Scot who
+lived and, unfortunately, drank by his art,<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+which in 1789, 1790 and 1792 was represented
+at the Royal Academy. His period was from
+1756 or 1757 to 1810 or 1811. Like his
+friend James Gillray, he caricatured on the
+side of Pitt. I remember no better caricature
+of his than <i>Pastimes of Primrose Hill</i>
+("Attic Miscellany," 1st Sept. 1791), depicting
+a perspiring tallow chandler trundling his
+children up that eminence. He was energetic
+in the delineation of the insipid jollity considered
+appropriate to sailors, and he celebrated
+the O.P. riots at Covent Garden by drawing
+Angelica Catalani as a cat. Thomas Wright
+places him only after Gillray and Rowlandson
+as a caricaturist, but it is probable that the
+man's best is of an academic sort, such as the
+pretty drawings which he contributed to a
+1794 edition of Thomson's "Seasons." Isaac
+Cruikshank's workroom was that of a busy
+hack, and George had not been long in the
+world before he played ghost there on his
+father's copperplates. One of his early tasks
+was the background of <i>Daniel in the Lions' Den</i>.</p>
+
+<p>None who looks at the drawing of a supercilious
+benefactor, which is one of George's
+earliest efforts, can doubt that in him the<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+caricaturing instinct was basic. The eye is
+indulgent to several crudities, because the
+flinging is drawn though the hand of contempt
+is not, while the gluttonous enthusiasm of the
+beggar is a triumph of juvenile observation.
+Here are characters if not figures; here from
+a little boy is work that deserves a laugh.
+Hence it is not surprising that George Cruikshank
+has been erroneously credited with a
+share in <i>Facing the Enemy</i>, a dateless etching,
+delightfully droll in animal expression, etched
+by his father, after a sketch by H. Woodward,
+and published in 1797-8, according to Mr A.
+M. Broadley, and not in 1803 as formerly
+conjectured.</p>
+
+<div class="figcenter" style="width: 480px;">
+<a name="illus025fs.jpg" id="illus025fs.jpg"></a><img src="images/illus025fs.jpg" width="480" height="301" alt="SPECIMEN OF VERY EARLY WORK, from the original
+drawing, No. 9850 in the George Cruikshank Collection,
+South Kensington Museum." title="" />
+<span class="caption">SPECIMEN OF VERY EARLY WORK, from the original
+drawing, No. 9850 in the George Cruikshank Collection,
+South Kensington Museum.</span>
+</div>
+
+<p>1803 is the year of Cruikshank's Opus I.,
+according to G. W. Reid, his most voluminous
+bibliographer. This work, printed and sold by
+W. Belch of Newington Butts, consists of four
+marine pieces on a sheet, most comfortably
+unprecocious and as wooden as a Dutch doll.
+A humorist inspecting it might profess to see
+in a woman, whose nose and forehead produce
+one and the same straight line, a prophecy of
+the Cruikshankian nose which is so monotonously
+recurrent an ornament in the works of<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>
+"the great George." Cruikshank himself
+averred that one of the first etchings he was
+ever employed to do and paid for was a sheet
+of Lottery Prints (published in 1804) of which
+he made a copy in his eighty-first year. The
+etching contains sixteen drawings of shops.
+The barber's shop door is open to disclose an
+equestrian galloping past it, although, even as
+a man, he drew horses which G. A. Sala declared
+were wrong in all the traditional forty-four
+points. George Cruikshank himself, whom,
+as Mr G. S. Layard has shown, he repeatedly
+drew, appears in a compartment of this etching,
+in the act of conveying the plate of it to the
+shop of Belch, a name for which Langham is
+substituted in a re-issue of this gamblers'
+temptation, and which dwindles into Langley &amp;
+Belch in the copy made by Cruikshank in 1873,
+published by G. Bell, York St., Covent Garden.</p>
+
+<p>1806 is the date of the first book, or rather
+pamphlet, with which George Cruikshank is
+connected. It is entitled "The Impostor
+Unmasked," and pillories Sheridan for a
+farcical swindler and something worse. There
+is a folding plate to fortify the charges of
+Patricius the scandal-monger, and this is<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+ascribed to George by Reid, though Captain
+Douglas, George's latest bibliographer, only
+allows that "there seems to be some of
+George's work in it." Reid's authority, which
+had in all probability the living George's
+behind it, excuses a brief description of this
+plate. Sheridan is depicted in the act of
+addressing a crowd of Stafford electors,
+amongst whom are several creditors who pun
+bitterly on the parliamentary word Bill and
+damn the respects which he pays them. A
+house on the right of the hustings might
+have been sketched on a slate by any child
+weary of pothooks, but there is a touch of
+true humour in the quiet joy shown on the
+face of a supporter of Sheridan in the heckling
+to which he is subjected. Gillray had already
+published (March 10, 1805) his <i>Uncorking
+Old Sherry</i>, and so this Cruikshankian caricature
+may be accepted as George's first step
+in the Gillrayan path.</p>
+
+<p>The path of Gillray, in and out of which
+runs the path of Thomas Rowlandson, is
+seldom or never dull; sometimes unclean in a
+manner malodorous as manure, but with risings
+which offer illuminating views. His humour is<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+tyrannically laughable. The guffaw is, as it
+were, kicked out of the spectator of <i>The
+Apotheosis of Hoche</i> (1798) by the descending
+boots, depicted as reluctantly yielding to
+the law of gravity, which the triumphant devastator
+of La Vendée has overcome. Gillray's
+sense of design was superb, and he would be
+an enthusiast who should assert that George
+Cruikshank in political caricature produced
+works at once so striking and architecturally
+admirable as <i>The Giant Factotum</i> [Pitt]
+<i>Amusing Himself</i> (1797). Gillray possessed
+what Cruikshank lacked altogether, the inclination
+and power to draw voluptuousness with
+some justice to its charm. One has only to
+cite in confirmation of this statement <i>The
+Morning after Marriage</i> (August 5, 1788),
+and compare it with any of those caricatures
+in which Cruikshank exhibits the erotic preferences
+of George the Third's children. What,
+however, Cruikshank, in the artistic meaning
+of vision, saw in Gillray, he adapted with the
+force of a boisterous participant in the patriotism
+and demagogy of his day. Gillray had
+Napoleon for his prey, and no political criticism
+is pithier than the caricature which represents<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+the Emperor as <i>Tiddy-Doll, the great French
+Gingerbread-Baker, drawing out a new Batch
+of Kings</i> (1806). On the other hand, nothing
+that Swift is believed to have omitted in his
+description of Brobdingnag could be coarser
+than <i>The Corsican Pest</i> (1803). It is almost
+literally humour of the latrine. Unhappily
+Cruikshank exulted like a young barbarian in
+the licence conferred by precedent, and it
+is hard to view with tolerance his pictorial
+records of "the first swell of the age." One
+of the wittiest is <i>Boney Hatching a Bulletin, or
+Snug Winter Quarters</i> (Dec. 1812); the
+Grand Army is there seen in the form of heads
+and bayonets protruding from a stratum of
+Russian snow; the courier who is to convey
+the bulletin has boards under his boots to
+prevent his submersion. Elsewhere one's
+admiration for inventive vigour struggles
+against disgust at a mode which one only
+hesitates to call blackguardism because the
+liveliest contents of the paint-box were lavished
+upon it. Take, for instance, the caricature
+which bears the rhymed title, <i>Boney tir'd of
+war's alarms, flies for safety to his darling's
+arms</i> (1813). The devil bears Bonaparte on<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+his shoulders to the Empress Marie Louise,
+after the Russian campaign. "Take him to
+Bed, my Lady, and Thaw him," says the devil.
+"I am almost petrified in helping him to escape
+from his Army. I shall expect him to say his
+prayers to me every night!" Another Cruikshankian
+caricature, <i>The Imperial Family going
+to the Devil</i> (March 1814), represents the
+rejection of Napoleon by that connoisseur of
+reprobates, though Rowlandson in the same
+month and year depicted the fallen emperor
+as <i>The Devil's Darling</i>. Cruikshank's vulgar
+facetiousness, interesting by sheer vigour and
+self-enjoyment, pursues Napoleon even to St
+Helena in the heartless caricature which
+portrays him as an ennuyé reduced for amusement
+to rat-catching. It was not for nothing
+that Thomas Moore, alluding to the Prince
+Regent as Big Ben, made Tom Cribb say:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Having conquer'd the prime one, that mill'd us all round,<br /></span>
+<span class="i0">You kick'd him, old Ben, as he gasp'd on the ground."<br /></span>
+</div></div>
+
+<p>Gillray is said to have sometimes disguised
+his style in order to evade his agreement with<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+Humphrey that he would work for no other
+publisher; and there is more than one of
+Cruikshank's Napoleonic caricatures which
+might be ascribed to Gillray's dram-providing
+<i>alter ego</i> if their authorship were in
+question. Of such is <i>Quadrupeds, or Little
+Boney's Last Kick</i>, published in "The Scourge"
+(1813). Here the Russian bear holds a birch
+in his right paw, and Napoleon by an ankle
+with his left; a naked devil points to the
+crown, tumbling from the head of the capsized
+emperor; on the ground is an ironical bulletin.
+<i>Old Blucher beating the Corsican Big Drum</i>
+(1814) is an even closer match of the baser
+sort of Gillrayan caricature; while the particular
+stench of it rises from <i>Boney's Elb(a)ow
+Chair</i>, of the same date. The last caricature
+from Cruikshank upon Napoleon came feebly
+in 1842 with the issue of "George Cruikshank's
+Omnibus," wherein he figures as a skeleton in
+boots surmounting a pyramid of skulls. The
+caricaturist's harlequinade had lasted too long;
+when it ceased, the soul of it utterly perished,
+and one views impatiently so formal and witless
+a galvanisation as was suggested by the return
+of Napoleon, dead, to the reconquest of France.<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+
+<p>Of Cruikshank's Napoleonic caricatures as a
+whole, it may be said that their function was
+solely to relieve by ridicule the pressure of a
+grandiose and formidable personality upon the
+nerves of his countrymen. He did not, like
+Gillray in <i>The Handwriting on the Wall</i>, confess
+the historic greatness of Napoleon by an allusion
+so sublime that it afforded Hone a precedent
+for unpunished impiety. When, for serio-comic
+verse, he attempted to delineate a monitory apparition,
+in the shape of Napoleon's "Red Man,"
+the result was absurdity veiled by dulness.</p>
+
+<hr style="width: 45%;" />
+
+<p>But it is time to turn to the Cruikshankian
+view of persons and things in Great Britain in
+the lifetime of "Adonis the Great." It is
+said that while Gillray was productive, an old
+General of the German Legion remarked,
+alluding to caricature, "Ah! I dell you vot&mdash;England
+is altogether von libel." With the
+spirit of this speech, one can cordially agree.
+The concupiscence of princes was serialised for
+the mirth of the crowd.</p>
+
+<p>There were two great types of ascendant
+degeneracy to divert the eyes of Farmer
+George's subjects from their shops and Bibles.<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+One was his son George, the other Mary Anne
+Clarke.</p>
+
+<p>The cabinet in which George kept capillary
+souvenirs of so many women was fastened
+against contemporary critics of his career.
+Undivulged, therefore, was the touching sentiment
+of a philofeminism which, in excluding
+his legal wife, was construed but as vice.
+There was no Max Beerbohm in his day to
+appreciate his polish and talents and to pity
+his wife for playing her tragedy in tights.
+There was no one to pronounce him the slave
+of that most endearing of tyrants, the artistic
+temperament. The caricaturists saw simply a
+polygamist eager to convict of adultery the
+wife whom he disliked and avoided, and a
+spendthrift whose debt was inflicted upon the
+nation. So far as man can show up his fellow-men,
+this man was shown up, and in verse and
+picture became an instrument of public titillation.
+So roguish a severity as the caricaturists
+displayed can seldom be accepted as didactic
+Gillray, indeed, in <i>The Morning after Marriage</i>
+followed him into the bridal chamber of Mrs
+Fitzherbert whom he married in 1785, and
+this caricature is the best advertisement of his<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+grace and beauty which perhaps exists. When
+attacked by Cruikshank, he was over forty,
+for the first caricature of him in which that
+artist's hand is noticeable was published in
+1808. It is entitled <i>John Bull Advising with
+His Superiors</i>: the superiors being George
+and his brother Frederick, who sit under the
+portraits of their respective mistresses, "Mrs
+Fitz" and Mrs Clarke. John Bull is clean-shaven,
+fat-nosed, hatted, and holds a gnarled
+stick. "Servant Measters," he begins, "I
+be come to ax a bit of thy advice"; but he
+proceeds to freeze them with clumsy innuendo
+and adds, "I does love good old Georg [<i>sic</i>], by
+Goles! because he is not of that there sort,"
+meaning their own. After this, the Regent
+was for Cruikshank a stimulant to the drollest
+audacities. The world was younger then and
+could laugh uproariously at the bursting of a
+dandy's stays and the mislaying of a roué's
+removable whiskers. Mrs Grundy had not
+persuaded it of the superior comicality of Mrs
+Newlywed's indestructible pie-crust and Mr
+Staylate's interview with the parental boot.
+So George, who, at any rate, was real life,
+blossomed abundantly to another George's<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+advantage. Thus <i>The Coronation of the
+Empress of the Nairs</i> (September 1812)&mdash;a simile
+suggested by a contemporary account of a
+curious Asiatic race&mdash;depicts him as crowning
+the Marchioness of Hertford in her bath; <i>A
+Kick from Yarmouth to Wales</i> illustrates the
+assault of the provoked Earl of Yarmouth
+upon his wife's too fervent admirer; and
+<i>Princely Agility</i> (January 1812) shows His
+Royal castigated Highness confined by a convenient
+sprained ankle to bed, where his
+whiskers and wig are restored to him. The
+opening of Henry the Eighth's coffin in St
+George's Chapel, Windsor, April 1, 1813,
+suggests to Cruikshank <i>Meditations Amongst the
+Tombs</i>, in which the greatness of the deceased
+sovereign forcibly strikes the Regent. "Great
+indeed!" he is made to say, "for he got rid of
+many wives, whilst I, poor soul, can't get rid of
+one. Cut off his beard, doctor, 'twill make me
+a prime pair of royal whiskers." The prince's
+partiality for the bottle is severely illustrated.
+In <i>The Phenix [sic] of Elba Resuscitated by
+Treason</i> (May 1, 1815), he receives the news of
+Napoleon's outbreak, seated on a cushion with
+a decanter behind him; and even when he was<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>
+King, Cruikshank dared to draw him (1822) as
+drunk and curing an irritated cuticle by
+leaning his kilted person against one of the
+posts of Argyleshire.</p>
+
+<p>If, however, Caroline of Brunswick had not,
+by adopting a Meredithian baby and other
+eccentricities, condemned herself to "Delicate
+Investigation" in 1806 and to a trial before the
+House of Peers in 1820, Cruikshank's delineations
+of Adonis the Great would have seemed
+genial compared with Thackeray's contempt.
+That his sentiment for the lady was less
+chivalrous than Thackeray esteemed it, may
+be divined by his caricature of her as an ugly
+statue of Xantippe put up to auction "without
+the least reserve" (1821), which is less than two
+months older than his conception of her as a
+rushlight which Slander cannot blow out. But
+he perceived, as did the whole intelligent
+proletariat, the monstrous irony of George's
+belated notice of his wife. Hence in his woodcuts
+to "The Queen's Matrimonial Ladder"
+and "Non Mi Ricordo!" he is not comic but
+satirical, and satirical with strokes that turn
+<span class="smcap">The Dandy of Sixty</span> who bows with a grace into
+a figure abjectly defiant, meanly malevolent,<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+devoid of levity. A cut in the former pamphlet
+shows him standing in a penitential sheet under
+the seventh, ninth and tenth commandments,
+meeting the gaze of an astonished urchin; on the
+outside of the latter pamphlet we see him in the
+throes of awkward interrogation, uttering the
+"Non Mi Ricordo" which Caroline's ill-wishers
+were tired of hearing in the mouth of Bergami.</p>
+
+<p>Mary Anne Clarke, our second type of
+ascendant degeneracy, was, if Buck's drawing
+of her is truthful, a woman of seductive prettiness,
+but she could not teach Cruikshank her
+charm in atonement for her venality. He drew
+her petticoat "supported by military boots"
+and surmounted by a cocked hat and the mitre
+of the ducal bishop of Osnaburg (February 23,
+1809); "under this," it is stated, "may be
+found a soothing for every pain." When
+Whigs and the Prince of Wales sent the
+Duke of York back in 1811 to the high post
+which he had disgraced, Mrs Clarke dwindled
+in Cruikshank's caricature to a dog improperly
+exhibiting its contempt for Colonel Wardle's
+left eye. It is curious that the Clarke scandal
+did not apparently inspire any caricature which
+deserves to live as pictorial criticism. Revealing,<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>
+as it did, not only rottenness in the State, but
+in the Church, since Dr O'Meara sought Mrs
+Clarke's interest for the privilege of preaching
+"before royalty," one may well be surprised
+at the failure of caricature to ennoble itself in
+the cause of honour and religion. Yet Cruikshank
+produced in 1811 a powerful etching&mdash;<i>Interior
+View of the House of God</i>&mdash;which shows,
+apropos a lustful fanatic named Carpenter, his
+power to have seized the missed opportunity.
+In this plate is the contemporary portrait of
+himself which P. D'Aiguille afterwards copied.</p>
+
+<p>If we ask, for our soul's sake, to sicken of
+the Regent's amours and of the demure
+"Magdalen" of York, whose scarlet somehow
+softens to maroon because she is literary and
+quotes Sallust, it is necessary to leave the
+caricatures which laugh with her&mdash;especially
+Rowlandson's&mdash;and look at Cruikshank's tormented
+John Bull. The most pathetic is
+perhaps <i>John Bull's Three Stages</i> (1815). In
+the last stage (<i>Peace with all the World</i>)
+his child, once pressed to eat after repletion,
+says, "Give me some more bone." The hand
+that drew the earlier plates of <i>The Bottle</i> is
+unmistakable in this etching.<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+
+<p>It was seemingly in 1819 that Cruikshank
+first realised his great powers as a critic in
+caricature. To that period belongs what a
+pamphleteer called "Satan's Bank Note":&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Notes which a 'prentice boy could make<br /></span>
+<span class="i1">At fifteen for a shilling."<br /></span>
+</div></div>
+
+<p>The Old Lady of Threadneedle Street earned
+thereby the sobriquet of Hangland's Bank, and
+her victims included two women on a day when
+Cruikshank looked at the gibbet of the Old
+Bailey. They were hanged for passing forged
+one pound notes. Cruikshank thereupon drew
+his famous <i>Bank Restriction Note</i>, signed by Jack
+Ketch, and with a vignette of Britannia devouring
+her children above an <b>L</b> of rope.
+Hone issued this note (of which there are
+three varieties) from his shop on Ludgate Hill,
+a stone's throw from the gibbet; the public
+flocked to see and buy it, and the moral was
+not lost upon the Bank of England, who thereafter
+sent forth no more one pound notes. The
+pathos as distinct from the tragedy of the
+condition thus relieved is well recalled by
+the caricature invented by Yedis and drawn
+by Cruikshank entitled <i>Johnny Bull and his
+Forged Notes</i> (January 7, 1819).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus041fs.jpg" id="illus041fs.jpg"></a><img src="images/illus041fs.jpg" width="600" height="448" alt="Johnny Bull and his FORGED Notes!! or
+
+RAGS &amp; RUIN in the Paper Currency!!!
+
+No. 865 in Reid&#39;s Catalogue, published Jan. 1819." title="" />
+<span class="caption">Johnny Bull and his FORGED Notes!! or
+
+RAGS &amp; RUIN in the Paper Currency!!!
+
+No. 865 in Reid&#39;s Catalogue, published Jan. 1819.</span>
+</div><p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
+
+<p>We now turn to the lighter side of his
+topical journalism. One of his subjects was
+gas-lighting. <i>The Good Effects of Carbonic Gas</i>
+(1807) depicts one cat swooning and another
+cut off from the list of living prime donne by
+the maleficence of Winzer's illuminant. In
+1833 Cruikshank reported a ghost as saying
+to a fellow-shade, "Ah! brother, we never has
+no fun now; this 'March of Intellect' and the
+Gaslights have done us up."</p>
+
+<p>Jenner had him for both partisan (1808) and
+opponent (1812). In the former rôle he makes
+a Jennerite say, "Surely the disorder of the
+Cow is preferable to that of the Ass," and the
+realism is nauseous that accompanies the remark.
+As opponent he wittily follows Gillray,
+who in 1802 imagined an inoculated man as
+calving from his arms. Prominent in Cruikshank's
+caricature (a bitter one) is a sarcophagus
+upon which lies a cow whom Time is
+decapitating. "To the Memory of Vaccina
+who died April the First," is the touching
+inscription.</p>
+
+<p>I have already mentioned Cruikshank as a
+chronicler of fashion. Gillray was his master
+in this form of art, though the statement does<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+not rest on the two examples here given. The
+thoughtful reader will not fail to admire the
+incongruity between the children in the drawing
+of 1826 and the great verities of Nature&mdash;cliff
+and sea&mdash;between which they strut.
+The latter drawing is as grotesquely logical as
+a syllogism by Lewis Carroll. Comparable with
+it in persuasiveness is Cruikshank's short-skirted
+lady (December 1833) who is alarmed at her
+own shadow, which naturally exaggerates the
+distance between her ankles and her skirt.
+Thence one turns for contrast to the caricature
+of crinolines in "The Comic Almanack" for
+1850. It is called <i>A Splendid Spread</i>, and represents
+gentlemen handing refreshments to
+ladies across wildernesses of "dress-extenders"
+by means of long baker's peels. Such drawing
+educates; it has the value of criticism.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus045fs.jpg" id="illus045fs.jpg"></a><img src="images/illus045fs.jpg" width="600" height="430" alt="JUVENILE MONSTROSITIES, published January 24, 1826." title="" />
+<span class="caption">JUVENILE MONSTROSITIES, published January 24, 1826.</span>
+</div>
+
+<p>This praise is tributary to Cruikshank's
+second journalistic period. By journalistic I
+mean topical, attendant on the passing hour.
+His first journalistic period begins formally
+with his first properly signed caricature, an
+etching praised by Mr F. G. Stephens, entitled
+<i>Cobbett at Court, or St James's in a bustle</i>, and
+published by W. Deans, October 16, 1807. This<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+period includes Cruikshank's contributions to
+"The Satirist," "The Scourge," "Town Talk"
+and "The Meteor." It merges into the second
+period in 1819, the year that saw the first three
+volumes of "The Humourist." The principal
+journalistic works of this second journalistic
+period are <i>Coriolanus addressing the Plebeians</i>
+(1820), "Scraps and Sketches" (1828-1832),
+"The Comic Almanack" (1835-1853), "George
+Cruikshank's Omnibus" (1842), and "George
+Cruikshank's Table Book" (1845).</p>
+
+<p><i>Coriolanus</i> is less a caricature than a <i>tableau
+vivant</i>. It was invented by J. S., whom Mr
+Layard says was Cruikshank's gifted servant
+Joseph Sleap. The "Plebeians" are Thistlewood
+the conspirator, Cobbett armed with Tom
+Paine's thigh bones, Wooler as a black dwarf,
+Hone, George Cruikshank, etc. George IV.,
+in his Shakespearean rôle abuses them soundly.
+As regards the monarch, the work is un-Cruikshankian;
+its laborious and minute technique
+is a foreshadowing of a happier carefulness.</p>
+
+<p>The journalism of "Scraps and Sketches"
+is immortal in <i>The Age of Intellect</i> (1828),
+which even Mrs Meynell, writing as Alice
+Thompson, found "most laughable." Here a<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+babe whose toy-basket is filled with the works
+of Milton, Bentley, Gibbon, etc., learnedly
+explains the process of sucking eggs to a
+gaping grandmother, who suspends her perusal
+of "Who Killed Cock Robin?" while she
+declares that "they are making improvements
+in everything!" To my mind the best topical
+plate in "Scraps and Sketches" is <i>London going
+out of Town, or the March of Bricks and Mortar</i>
+(1829). No one who has seen a suburb grow
+inexorably in field and orchard, obliterating
+gracious forms and sealing up the live earth,
+can miss the pathos of this masterpiece. Yet
+it is not a thing for tears, but that half smile
+which Andersen continually elicits by his
+evocation of humanity from tree and bird and
+toy. For Cruikshank gives lamenting and
+terrified humanity to hayricks pursued by
+filthy smoke. He gives devilish energy to
+a figure, artfully composed of builder's implements,
+which saws away at a dying branch;
+and he imparts an abominable insolence to a
+similarly composed figure which holds up the
+notice board of Mr Goth.</p>
+
+<div class="figcenter" style="width: 450px;">
+<a name="illus049fs.jpg" id="illus049fs.jpg"></a><img src="images/illus049fs.jpg" width="450" height="413" alt="Fatal effects of tight lacing &amp; large Bonnets
+
+From &quot;Scraps and Sketches,&quot; Part I., May 20, 1828." title="" />
+<span class="caption">Fatal effects of tight lacing &amp; large Bonnets
+
+From &quot;Scraps and Sketches,&quot; Part I., May 20, 1828.</span>
+</div>
+
+<p>Nearer perhaps to Cruikshank's heart than
+this triumph of fancy was <i>The Fiend's Frying</i><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>
+<i>Pan</i> (1832), published in the last number of
+"Scraps and Sketches," which represents the
+devil, immensely exultant, holding over a fire
+a frying-pan which contains the whole noisy
+lascivious crowd and spectacle of Bartholomew
+Fair. The fair was proclaimed for the last
+time in 1855, and Cruikshank was pleased
+to figure himself as an inspirer of the force
+that struck at its corrupt charm after the fair
+of 1839 and condemned it to a lingering
+death. <i>The Fiend's Frying Pan</i> is now chiefly
+remarkable as an early example of Cruikshank's
+love of crowding a great deal of real life into
+a vehicle that belittles it. This frying-pan
+sends the thought forward to the etching
+entitled <i>Passing Events, or the Tail of the Comet
+of 1853</i>, where Albert Smith's lecture on
+Mont Blanc, a prize cattle show, emigration to
+Australia, and "Uncle Tom's Cabin," are all
+jumbled together in the hair of a comet which
+possesses a chubby and beaming face.</p>
+
+<p>The pictorial journalism of the "Comic
+Almanacks" is often delicious; no ephemerides,
+in my knowledge, equal them in sustained
+humorous effect. <i>Guys in Council</i> (1848)
+haunts one with its grave idiocy. Even His<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span>
+Holiness Pius X. could scarce refrain from
+smiling at the blank stare of the rigid papal
+guy in the chair, at the low guy who, ere
+leaving the conclave, challenges him with a
+glance of malignant cunning. On the other
+hand, it would be hypercritical to seek a
+prettier rendering of an almost too pretty
+custom than <i>Old May Day</i> (1836), with its
+dancers ringing the Maypole by the village
+church. Cruikshank's extraordinary power of
+conveying dense crowds into the space of a few
+square inches&mdash;say six by three&mdash;is shown in
+<i>Lord Mayor's Day</i> (1836) and <i>The Queen's Own</i>
+(1838), illustrating Victoria's Proclamation Day.
+In the 1844 Almanack he humorously foreshadows
+flying machines in the form of
+mansions; but the 1851 Almanack shows his
+liberality scarcely abreast of his imagination,
+as <i>Modern Ballooning</i> is represented by an ass
+on horseback ascending as balloonist above a
+crowd of the long-eared tribe.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus053fs.jpg" id="illus053fs.jpg"></a><img src="images/illus053fs.jpg" width="600" height="404" alt="SEPTEMBER&mdash;MICHAELMAS DAY. From the &quot;Comic Almanack,&quot; 1836." title="" />
+<span class="caption">SEPTEMBER&mdash;MICHAELMAS DAY. From the &quot;Comic Almanack,&quot; 1836.</span>
+</div>
+
+<p>One cannot, however, glance through
+Cruikshank's Victorian caricatures without
+perceiving that the passing of the Regent
+slackened his Gillrayan fire. True, in the
+"Table Book" we have a John Bull whose agony<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>
+reminds us of the suffering figure in <i>Preparing
+John Bull for General Congress</i> (1813): the
+midgets of infelicitous railway speculation who
+strip this bewildered squire of hat and rings,
+of boots and pocket-book, while a demented
+bell fortifies their din, are of an energy
+supremely Cruikshankian: no other hand drew
+them than the hand which enriched the
+immortality of the elves in Grimm. Nor will
+one easily tire of a vote-soliciting crocodile in
+the "Omnibus"; and yet the fact remains
+that the great motives of Cruikshank's political
+caricature pulsated no more. He was ludicrously
+incompetent for the task of satirising the
+forward movement of women: the Almanacks
+show that, if their evidence be required. The
+subjects of Queen Victoria found in Keene
+and Du Maurier pictorial critics who, by the
+implication of their veracity, their success,
+demonstrate his imperfect understanding of a
+generation to whom George the Fourth was
+history and legend. To the ironists of that
+generation there was something in the Albert
+Memorial more provocative than the</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"&mdash;huge teapots all drill'd round with holes,<br /></span>
+<span class="i0">Relieved by extinguishers, sticking on poles"<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+
+which distinguished the Folly at Brighton.
+It is too much to say that the art of the
+Victorian epoch establishes this fact; yet of
+what caricaturist can it be said as of Cruikshank
+that his naïf enthusiasm for all that an Age
+rather than a Queen signified by the Albert
+Memorial forced him into the rôle of its
+patron rather than its satirist? In <i>A Pop Gun</i>
+(1860) there is a pathetically feeble engraving,
+after a drawing by Cruikshank of Prince Albert
+and the late Queen, which almost brings tears
+to the eyes, its insipidity is so loyally unconscious.
+And what does all his marvellous
+needlework in the Great Exhibition novel
+entitled "1851: or The Adventures of Mr and
+Mrs Cursty Sandboys," accomplish for satire in
+comparison with what it accomplishes as a puff
+and a fanfare? Here, as in the <i>Comet</i> of his
+ill-fated Magazine (1854), is a skill beside
+which his Georgian caricatures are but a
+brat's defacement of his Board School wall.
+And yet what is the answer to our question?
+Nothing. It is an answer that rings down the
+curtain on the diorama called "Cruikshank the
+journalist."</p>
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="III" id="III"></a>III</h2>
+
+
+<p>Cruikshank's didactic work was the offspring of
+his journalism. No man can journalise with
+spirit and remain uncritical. Criticism is, in
+truth, the soul of caricature, which by stressing
+the emphasis of Nature on face and expression
+makes even simpletons judges of grandees.
+Photography itself is on the side of illusion;
+but caricature has X-rays for the deformed
+fact. That a habit of criticism should evolve
+a passion for preaching is only natural, though
+it is the modern critic with his hedonistic bias
+who has armed the word didactic with a sting.
+Even such a critic must admit that Cruikshank's
+preaching was from living texts and
+that the preacher seemed well versed in "St
+Giles's Greek." But before speaking specifically
+of his didactic drawing we will consider
+what led up to it. A balladier of <i>circa</i> 1811
+threatens mankind as follows:<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Since I have had some comic scenes,<br /></span>
+<span class="i0">Egad! I'll sing them all, sir,<br /></span>
+<span class="i0">With my bow, wow, what a row!<br /></span>
+<span class="i0">fal lal de riddy, riddy, sparkey, larkey,<br /></span>
+<span class="i0">funny, dunny, quizzy, dizzy, O."<br /></span>
+</div></div>
+
+<p>This animal outburst breathes the spirit of
+all the "bang up" books of the last Georgian
+period, and might almost have served as a motto
+for Pierce Egan's "Life in London" (1821),
+and David Carey's "Life in Paris" (1822).
+Blanchard Jerrold's bibliography of Cruikshank
+begins with "A Dictionary of the Slang and
+Cant Languages" (1809), to which the artist
+contributes <i>The Beggars' Carnival</i>&mdash;a folding
+frontispiece. In assisting his brother Robert&mdash;who
+styled himself "original suggester and artist
+of the 2 vols." containing "Life in London"
+and its sequel&mdash;to illustrate the rambles and
+sprees of "Jerry Hawthorn, Esq., and his
+elegant friend Corinthian Tom," George seems
+to have seen carnival on a more liberal scale.
+"Life in London" ranges from the Westminster
+[Dog] Pit to Rotten Row, and from
+the [Cyprian] Saloon of Covent Garden to the
+Press Yard of Newgate. One of the spirited
+plates (<i>Tom and Jerry taking Blue Ruin</i>) powerfully<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>
+presents some pitiable pothouse types, and
+is a text, though it is not a sermon. Another
+illustration, reproduced here, compares equally
+with <i>Dick and His Companions Smashing the
+Glim</i> in Carey's work. While illustrating
+"Life in Paris," George, working alone, pursued
+the example set by Robert when they
+collaborated. Carey credits him with "accuracy
+of local delineation"&mdash;praise which he
+has often and variously deserved&mdash;yet it must
+be confessed that Dick Wildfire like Corinthian
+Tom is at once commonplace and out-of-date.
+In face he is like George in early manhood as
+Corinthian Tom was like Robert; that is his
+chief recommendation. The book may be
+silently offered to any one who asserts that
+George's taste in literature was too nice for
+Pierce Egan. One of his plates turns a catacomb
+into a scene of vulgar mirth.</p>
+
+<p>These novels of excess were stepping-stones
+to a sounder realism which we find in "Mornings
+at Bow Street" (1824) and "More
+Mornings at Bow Street" (1827). Here the
+illustrator's task was to illustrate selected
+police cases, and through the medium of
+wood engraving a most delectable entertainment<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+was the result. A choleric gentleman's
+row with a waiter presents itself as a fractured
+plate in the rim of which two tiny figures display
+respectively the extremes of napkined
+deprecation and of kicking impudence. Tom
+Crib[b]'s pursuit of a coppersmith suggests a
+wild elephant storming after a frenzy of flying
+limbs. The genius that was to realise Falstaff
+is disclosed in the drawing of a drummer boy
+discovered in a clothes basket. Did he come
+to Bow Street? we ask, and did those Cupids
+fighting in the circuit of a wedding-ring come
+too? The answer is Yes, but because of one
+who probably was not there, whose name we
+know.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus061fs.jpg" id="illus061fs.jpg"></a><img src="images/illus061fs.jpg" width="600" height="403" alt="Tom, Getting the best of a Charley.
+
+From &quot;Life in London,&quot; by Pierce Egan, 1821." title="" />
+<span class="caption">Tom, Getting the best of a Charley.
+
+From &quot;Life in London,&quot; by Pierce Egan, 1821.</span>
+</div>
+
+<p>At one illustration let us cry halt. It represents
+a foaming pot of beer assaulting a
+woman who said to the magistrate, "Your
+honour, it was the beer." In itself it is a
+masterpiece of delicate literalism. That power
+of enlivening the inanimate, which humanises
+the pump, representing Father Mathew at a
+small party in "The Comic Almanack" of 1844,
+exasperates this pot and bids it strike home.
+But what we are to observe particularly is this
+early presentation to Cruikshank's mind of<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span>
+alcohol as a personality at war with human
+beings. As far back as 1811, in <i>The Dinner of
+the Four-in-Hand Club at Salthill</i>, an uproarious
+piece in the style of Rowlandson's <i>The Brilliants</i>
+(1801), he put the genius of the bottle into
+form and anecdote, but here we have the
+serious aspect of drink obvious even in humour.
+Beer is striking a woman. In 1832 he produced
+in <i>The Ale House and the Home</i> a contrast
+so stated in the title that we need say no
+more than that the gloomy wife and her baby,
+sitting by candlelight in the bare room where
+the man's supper lies to reproach his drink-spoiled
+appetite, are a sadder sight than the
+frying-pan of St Bartholomew's Fair in the
+number of "Scraps and Sketches" where
+they appear.</p>
+
+<p>To "Sunday in London" (1833)&mdash;a capital
+social satire&mdash;Cruikshank contributed fourteen
+cuts, one of which, <i>The Pay-Table</i>, preserves
+the memory of those mischievous contracts
+between publican and foreman, whereby the
+latter received a percentage of the spendings
+of his men on drink and the men were provided
+with drink on the credit of the foreman.
+It is an admirable study in fuddled perplexity<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+confronted with Bung in a business instead
+of a Bacchic mood, abetted by a shark of the
+victim's calling. Two other cuts&mdash;mere rabblement
+and eyesore&mdash;leave on the mind a feeling
+of disgust almost without interest and without
+shame. The spectator has no sense that these
+people turned out at church time, raging, leering,
+tottering, have deteriorated from any
+average or standard of human seemliness. If
+it were not for a dog gazing in amazement at
+one prone drunkard, if it were not for the dog
+and his question, one would ask, <i>Cui bono</i>?</p>
+
+<p>This is not missionary work&mdash;Cruikshank
+was only "flirting with temperance" as late
+as 1846&mdash;and we need have no compunction in
+seeking relief from such ugliness in the exquisite
+burlesque of pathos contained in <i>Over-head
+and Under-foot</i> (1842). Forget who can
+the agonised impatience bolted and Chubb-locked
+in the breast of that lonely bachelor,
+but expressed in his folded arms and upturned
+face.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="illus065fs.jpg" id="illus065fs.jpg"></a><img src="images/illus065fs.jpg" width="400" height="600" alt="OVER-HEAD AND UNDER-FOOT. From &quot;The Comic
+Almanack,&quot; 1842." title="" />
+<span class="caption">OVER-HEAD AND UNDER-FOOT. From &quot;The Comic
+Almanack,&quot; 1842.</span>
+</div>
+
+<p>1842, which saw that, also saw John O'Neill's
+poem "The Drunkard," and especially <i>The
+Raving Maniac and the Driv'ling Fool</i>, one of
+four etchings by Cruikshank which illustrate<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span>
+it. An anonymous writer, in an article for an
+1876 reprint of the etchings, says that these
+two figures "are the most forcible ever drawn
+by the artist's pencil." This opinion is unjust
+to the force of Cruikshank's comic figures, and
+to that terrible pair, Fagin in the condemned
+cell and Underhill bawling at the stake,
+but the force of the etching thus praised is
+extraordinary. With parted blubber lips and
+knees relaxed, his nerveless left hand dangling
+at the wrist like a dead white leaf, his right
+hand grasping the gin-glass, the fool, unconscious
+of tragedy, faces the maniac who
+streams upon the air sleeves that much exceed
+the length of his homicidal arms. By reason
+of the delicacy of the etching which conveys
+these haunting figures, they excite pleasure
+before horror, and always in horror a little
+pleasure too.</p>
+
+<p>We now come to the famous series entitled
+<i>The Bottle</i> (1847) and its sequel <i>The Drunkard's
+Children</i> (1848). Both these works were
+printed from glyphographic blocks and have
+as little charm as a stentorian oration in a small
+chapel. The story they tell, told also in verse
+by Dr Charles Mackay, is the ruin of a working<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+man and his family through drink. The appeal
+of <i>The Bottle</i> is simple enough to appal the
+aborigines of Africa, to say nothing of the East
+End: the bottle is a "Ju-ju," an evil fetish;
+the impulse of the beholder is to smash the
+bottle rather than to spill and waste its contents.
+Yet when the eye succeeds in detaching
+itself from this pompously evident bottle,
+it perceives that the artist has cared also for
+details less immediate, but of a finer eloquence.
+The liberally filled mantelshelf of plate 1 is at
+least not a mere labour of memory, though no
+one exceeds George Cruikshank in the pictorial
+multiplication of domestic details. This
+mantelshelf is a symbol; symbols, too, are the
+open cupboard, so well furnished that a less
+industrious artist would have shut it, and the
+ill-drawn but well-nourished felinity by the
+fire. In plate 2 the cupboard holds naught
+but two jugs; the lean cat prowls over the
+bare table; an ornament on the mantelshelf
+lies on its side. Had an artist and not a
+missionary composed plate 3, we might have
+been spared the indecency of a bottle in Lucy's
+lap when the furniture is distrained to pay the
+bottle's debt. Yet with what horrid strength<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>
+does the maniac in plate 7 clutch the mantelpiece,
+whose bare ledge is lit by a dip stuck in
+a bottle, while all the neighbours stare at
+something whose face we cannot see! The
+artist has shouted till he was hoarse, but his
+story is in our marrows.</p>
+
+<p><i>The Drunkard's Children</i> contains one masterpiece:
+plate 7, the boy's death on the convict-ship.
+The convict who closes his eyes has
+the sagacity of a sentient corpse; the shadow
+he casts on the screen which two convicts
+draw around the bed is, in effect, a creature
+to startle us, and the visible half of the chaplain's
+top-hat lying on a bench in a corner
+of the drawing is an irony which seems to
+belong to a later age than Cruikshank's.</p>
+
+<p><i>The Bottle</i>, employed as an argument by
+Mr William Cash, converted Cruikshank to
+teetotalism. The result has been to present
+the artist to modern hedonists in the light of
+a ludicrous bore. Certain it is that in his
+version of <i>Cinderella</i> (1854) he causes the
+dwarf to inform the King that "the history
+of the use of strong drinks is marked on every
+page by <i>excess which follows, as a matter of
+course, from the very nature of their composition</i>,"<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+the italics being Cruikshank's, though they
+might well be mine. Teetotalism needs talking
+and writing, and Cruikshank was happy
+to oblige. He possessed a fluent pen, and
+delivered lay sermons with enthusiasm and
+originality.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus074fs.jpg" id="illus074fs.jpg"></a><img src="images/illus074fs.jpg" width="600" height="292" alt="(a) THE GLASS OF WHISKEY AFTER THE GOOSE. From &quot;The Glass and
+the New Crystal Palace,&quot; 1853." title="" />
+<span class="caption">(a) THE GLASS OF WHISKEY AFTER THE GOOSE. From &quot;The Glass and
+the New Crystal Palace,&quot; 1853.</span>
+</div>
+
+<div class="figcenter" style="width: 418px;">
+<a name="illus075fs.jpg" id="illus075fs.jpg"></a><img src="images/illus075fs.jpg" width="418" height="525" alt="(b) THE GOOSE AFTER THE WHISKEY. From
+&quot;The Glass and the New Crystal Palace,&quot; 1853." title="" />
+<span class="caption">(b) THE GOOSE AFTER THE WHISKEY. From
+&quot;The Glass and the New Crystal Palace,&quot; 1853.</span>
+</div>
+
+<p>About four years after his abandonment
+of alcohol, Cruikshank began to figure as a
+pamphleteer. In 1851 appeared his "Stop
+Thief"&mdash;containing hints for the prevention
+of housebreaking, hallmarked by teetotalism:
+it has a drawing of a burglar retiring because
+his companion discloses a board containing the
+words, "No Admittance Except On Business."
+In 1852 came the "Betting Book," against
+both drink and betting; this has a drawing
+of two wonderfully knowing fox-faced bipeds
+contemplating a row of geese absorbed in the
+perusal of the betting lists. Followed "The
+Glass and the New Crystal Palace" (1853), in
+which, after confessing that he "clung to
+that contemptible, stupid and dirty habit" of
+smoking three years after he had "left off
+wine and beer," he adds, "at last I laid down
+my meerschaum pipe and said, 'Lie you there!
+and I will never take you up again,'" The<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>
+drawings of anserine flight and intoxication
+here reproduced compel us to admit that the
+cerebral compartment containing Cruikshank's
+sense of humour was watertight. In 1854
+came "George Cruikshank's Magazine." It
+lived long enough for him to inveigh against
+tobacco through the medium of a rather
+lifeless etching entitled <i>Tobacco Leaves No. 1</i>;
+and he died before he could publish in it
+certain drawings, included, I believe, in a
+series given to the world in 1895 by Sir B. W.
+Richardson, which ridicule the "hideous,
+abominable, and most dangerous custom" of
+sucking the handles of sticks and umbrellas.
+To the didactic excesses of his "Fairy Library"
+I need not further refer, but in 1856 came
+a quasi-temperance pamphlet, "The Bands
+in the Parks," where the devil plays the violin
+with his tail; in 1857, "A Slice of Bread and
+Butter" (re-issued with prefatory "Remarks"
+in 1870), a good-humoured satire on conflicting
+views of charity towards waifs; in 1860, "A Pop-Gun
+... in Defence of the British Volunteers
+of 1803"; in 1863, "A Discovery concerning
+Ghosts," in which he claimed to be the only one
+who ever thought "of the gross absurdity ... of<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+there being such things as ghosts of wearing apparel,
+iron armour, walking sticks, and shovels;"
+and here we have a mild and pleasant hint of the
+inspissated egoism which dictated "The Artist
+and the Author" (1872), the work in which
+Cruikshank asserted himself to be the originator
+of "Oliver Twist," "The Miser's
+Daughter" and "The Tower of London."
+This unfortunate but characteristic pamphlet
+is the last of the series that seems to have
+been called into existence by the <i>insanabile
+scribendi cacoëthes</i> induced by his fame as a
+teetotaler. I said characteristic, because a
+jealous dislike of seeing his individuality
+merged into, overshadowed by, or confounded
+with any other is apparent not only in 1872,
+but in 1834, when he carefully named in "My
+Sketch Book" his brother Robert's works,
+and pictured himself as lifting off the ground,
+by tongs applied to the nose, their publisher
+Kidd, for whom he is anxious to state he only
+illustrated "The Gentleman in Black" (1831).
+Moreover in 1860 he misused his "Pop-Gun"
+to picture another publisher, who advertised
+his nephew Percy as Cruikshank <i>tout court</i>,
+as a sandwich-man similarly assaulted by<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>
+him; yet by some freak of humour or affection
+the "very excellent, industrious, worthy
+good fellow" Percy, over whom I throw the
+embroidery of his uncle's praise, bestowed the
+name of George upon his son, as if for the
+confusion of bibliographers, and the evocation of
+a spirit armed with the ghosts of tongs. Indeed
+the gods themselves seem to have sported
+with George Cruikshank's name, for Dr Nagler,
+having read that "the real Simon Pure was
+George Cruikshank," wrote thus in his "Neues
+allgemeines Künstler-Lexicon" (1842): "Pure
+Simon, der eigentliche Name des beruhmten
+Carikaturzeichners Georg [<i>sic</i>] Cruikshank."</p>
+
+<p>Simon Pure shall save us from digression
+by leading us to a didactic work by Cruikshank
+of which Mrs Centlivre's "quaking
+preacher" would have heartily approved.
+This work is the oil-painting entitled <i>The
+Worship of Bacchus</i> (1862). It is an old
+man's athletic miracle, being a picture thirteen
+feet four by seven feet eight, of which there
+exists an etching by the same hand of less,
+though formidable size, which was published
+June 20, 1864. The oil-painting was presented
+to the nation by Cruikshank's friends<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+and conveyed to its destination April 8, 1869.
+Cruikshank drew a fancy sketch of his mammoth
+on that great day of its life. Little did
+he imagine what the cognoscenti of the
+twentieth century would think of it.</p>
+
+<p>I saw it in 1902; visited it much as one
+visits an incarcerated friend, following a
+learned official with jingling keys to a dungeon
+under the show-rooms of the National
+Gallery. It was alone, was convict 495, alone
+and dingy. Many phrases have been found
+for this picture. John Stewart said that it
+contains "all the elemental types of pictorial
+grouping, generalised on the two axioms of
+balance and variety." Another critic said
+that "it is not even a picture, but a multitude
+of pictures and bits of pictures crowded together
+in one huge mass of confusion and
+puzzle." Cruikshank himself said, speaking
+August 28, 1862, "I have not the vanity to call
+it a picture.... I painted it with a view that
+a lecturer might use it as so many diagrams."</p>
+
+<p>However he felt, Cruikshank spoke correctly.
+Painted in low relief, the oil-painting presents
+his intention less satisfactorily than his
+etching of the same subject. Whatever its<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>
+demerit, the work is extremely Cruikshankian.
+Robert and George Cruikshank, in the "Corinthian
+Capital" of "Life in London," patched up
+a similarly artificial fabric. George, in a work
+that should not be mentioned in the same
+breath&mdash;<i>The Triumph of Cupid</i> (1845)&mdash;evokes
+innumerable amatory incidents by means of
+the tobacco which he renounced so contumeliously.
+We have in <i>The Worship of
+Bacchus</i>, the result of a method equally <i>naïf</i>
+and ingenious. The root idea is materialised
+in conjunction with a myriad of associative
+ideas, and the picture is worse than a confusion;
+it is a ghastly and ostentatious pattern
+at which one can neither laugh nor cry. It is
+the work of a big accomplished child, whose
+ambition to be grown up has destroyed his
+charm.</p>
+
+<p>At the summit of the picture Bacchus and
+Silenus wave wine-glasses while respectively
+standing and sitting on hogsheads. In the
+middle of the design is a stone ornamented
+with death's-heads, on which a drunkard waves
+a glass and bottle in front of the god and demi-god.
+The stone has an inscription tributary
+to the drunkard's victims. On the left side<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+of the throne of Bacchus are a distillery,
+reformatory, etc.; on the right is a House of
+Correction, Magdalen Hospital, etc. In short,
+the picture is a pictorial chrestomathy of
+drink. That it has converted people, that
+it has even won the tribute of a man's tears,
+is not surprising, for it is, or was, full of truthful
+suggestion seizable by the mind's eye.
+But it is not beautiful. Thackeray might
+call it "most wonderful and labyrinthine";
+it is ugly and ill painted, for Cruikshank was
+no Hogarth with the brush.</p>
+
+<p>So it lay, and perhaps yet lies in its dungeon,
+and overhead Silenus still triumphs divinely
+drunk on Rubens's canvas; and Bacchus,
+ardent for Ariadne, leaps from his chariot in
+that masterpiece of Titian, which Sir Edward
+Poynter believes is "possibly the finest picture
+in the world." Poussin's Bacchanalian festivities
+are still for the mirth of a world
+whence Bacchus has fled; but the god enthroned
+on hogsheads is not mistaken for
+Bacchus now: Bacchus was stronger than
+Cruikshank. The whole deathless pagan world
+of beauty and laughter is by him made rosier
+and more silvery. Cruikshank never drew<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+him; the god he drew was Bung in masquerade.</p>
+
+<p>I was at Sotheby's on May 22, 1903, when
+the Royal Aquarium copy of the etching of <i>The
+Worship of Bacchus</i> was sold. It evoked a sneer
+of "wall paper"; and if etchings could think,
+it would have envied the seclusion in which I
+found its brother in oils.</p>
+
+<p>But at least it was not given to the nation.
+The fact that the National Gallery should
+possess Cruikshank's colossal failure instead of
+his <i>Fairy Ring</i>, instead of any etching from
+"Grimm" or "Points of Humour," is an
+accusation against common sense and a triumph
+of irony.</p>
+
+<p>Let it be remembered, however, that Cruikshank's
+exposure of ebriety from 1829 to 1875,
+the date which John Pearce in "House and
+Home" assigns to his last temperance piece,
+deserved at times the notice of fame. Matthew
+Arnold, denying the power of "breathless
+glades, cheer'd by shy Dian's horn" to calm the
+spectator of <i>The Bottle</i>, showed more than his
+ignorance of Diana and her peace. He showed
+that Cruikshank the preacher was a magician
+too.<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="IV" id="IV"></a>IV</h2>
+
+
+<p>The best part of Cruikshank's service to Fact
+has yet to be considered. We have seen how
+he journalised and exhorted; we have still to
+see the talent he poured into journalism and
+exhortation refined by his historical sense and
+expressing itself in shapes of treasurable beauty.</p>
+
+<p>The historical sense in art may be liberally
+defined as an æsthetic impulse to fix the vanishing
+and recover the vanished fact. It may be
+absent at the birth of a cartoon filled with
+political portraits and it may have urged the
+reproduction of a quiet landscape with nothing
+more human in it than a few trees or a line
+of surf. It operates without pressure of topicality
+and it is stronger than the tyranny of
+humour.</p>
+
+<p>The reader, searching for the earliest examples
+of Cruikshank's historical imagination
+to be found in the books which he illustrated,
+would first of all alight on "The Annals of<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+Gallantry," by Dr A. Moore (1814-15), and
+"An Historical Account of the Campaign in
+the Netherlands in 1815," by William Mudford
+(1817). Suspecting the grotesque, he would
+nevertheless also examine the thirty plates to
+the Hudibrastic "Life of Napoleon" (1815) by
+Dr Syntax.</p>
+
+<p>As to the "Annals," one may unreluctantly
+condemn the whole series of plates after a
+glance at the feeble scratches which disfigure
+the amours of Lady Grosvenor and the Duke
+of Cumberland, and the elopement of Lady
+W&mdash;&mdash; with Lord Paget. In Mudford's ungenerous
+history, Cruikshank's frontispiece,
+engraved by Rouse (as are his other contributions),
+has the stiff integrity of portraiture to
+be expected from a repressed caricaturist;
+Napoleon in flight on his white horse in another
+plate does not even support the comparison of
+his horsemanship to a sack of flour's; the
+ribbon-like plate of Waterloo, full of microscopic
+figures, has the chastened spirit natural
+to a work done "under the inspection of
+officers who were present at that memorable
+conflict."</p>
+
+<p>The illustrations to Dr Syntax's Hudibrastic<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
+poem on Napoleon have some originality to
+recommend them as a starting-point for the
+student of Cruikshank as a delineator of
+historical subjects. They are etchings, broad
+as the typed surface of an octavo page is long,
+and include the <i>Red Man</i> derided on page 21.
+But the artist already shows that he has fancy
+as well as satire at his command. Witness the
+illusion created by the sleeping Napoleon
+lifting the coat on his bed in humping the
+counterpane with perpendicular toes, an effect
+which was remembered in Cruikshank's <i>Ideality</i>
+(Phrenological Illustrations, 1826). There is
+humour, too, in the etching which represents
+one of Napoleon's grenadiers mounted on a
+stool in order to look as terrible as his companions.
+Though a rancorous prejudice makes
+Napoleon stand on a cross in one plate and his
+apothecary smile at poisoning the sick at Jaffa
+in another, there is sympathy in a third which
+depicts him nursing the King of Rome, and
+the eccentricities of Cruikshank's journalistic
+style are happily absent.</p>
+
+<p>We may now pause at the four famous
+volumes of "The Humourist" (1819-20). They
+contain, <i>inter alia</i>, a portrait of Alfieri&mdash;a fine<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+figure of silent disdain&mdash;in the act of sweeping
+to the floor the tea service of a badly drawn
+Princess, who was tactless enough to wish he
+had broken the whole set instead of one cup.
+The table leg is a satyr's surmounted by the
+Mephistophelian head considered appropriate
+to the companions of Pan; above the main
+design are the implements of a writer; below
+it are two porcelain mandarins yoked to a three-headed
+and triply derisive bust. Another
+historical subject in "The Humourist" is Daniel
+Lambert, to whom a bear once doffed his hat.
+Ursine politeness and the petrified majesty
+of fat Lambert fill the foreground of the
+etching; behind is a rout of people frightfully
+interested in another bear. In the former of
+these etchings the hint is better than the
+performance; the latter hints nothing and
+performs a little admirably.</p>
+
+<p>1823-4 is a period to which we owe some
+historical etchings of consummate skill. They
+illustrated "Points of Humour," a work in two
+parts which was expressly designed to afford
+scope for Cruikshank's power of rendering
+ludicrous situations. The artist was on his
+mettle, and his twenty etchings for this collection<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>
+of anecdotes are among the immortal
+children of Momus. Among his simpler designs
+is the scene in the apartment of Frederick the
+Great when his heir presumptive demanded if
+the monarch would return his shuttlecock.
+The required studies of childish impudence and
+royal amusement are perfect. More elaborate,
+but equally successful, is the drawing of the
+voracious boor, the ill-natured general whom he
+offered to eat, and the King of Sweden who
+enjoyed the spectacle of their emotions. The
+boor with the hog on a plate under his arm,
+his terrible teeth a-glitter for hog and general,
+is more alarming than the ogre in Cruikshank's
+<i>Hop-o'-my-Thumb</i>; he tacitly affirms his creator's
+power to confer delicious terrors on
+the nursery. Flying Konigsmark's fear of
+pointing hand and barrack-like paunch mingles
+exquisitely with the hatred of his backward
+glance, and Charles Gustavus smiles with unpardonable
+<i>aplomb</i>. The etching is a comic
+masterpiece. After this there is no advance
+in Cruikshank's comic treatment of history,
+for his quite simple rendering, more than ten
+years later, "Miscellany" (1838), of a freak of
+absent-mindedness on the part of Sir Isaac<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
+Newton in "Bentley's," is of merely sufficient
+merit.</p>
+
+<div class="figcenter" style="width: 462px;">
+<a name="illus087fs.jpg" id="illus087fs.jpg"></a><img src="images/illus087fs.jpg" width="462" height="525" alt="TURPIN&#39;S FLIGHT THROUGH EDMONTON.
+From &quot;Rookwood,&quot; 1836." title="" />
+<span class="caption">TURPIN&#39;S FLIGHT THROUGH EDMONTON.
+From &quot;Rookwood,&quot; 1836.</span>
+</div>
+
+<p>The Ainsworth-Cruikshank connection began,
+artistically, with the etchings which illustrate
+the fourth edition of "Rookwood" (1836).
+If for Turpin we read Nevison, the novel may
+pass as quasi-historical. The etching here reproduced
+is in what may be called Cruikshank's
+"Humourist" style. It has vivacity and
+brightness. The reader who figured himself
+passing into romance through the pretty portico
+of trees depicted on Ainsworth's title-page,
+will feel, as he looks at this representation of
+comic prodigy, that he has arrived.</p>
+
+<p>One thief succeeded another, and in 1839
+Jack Sheppard was pilfering his way through
+"Bentley's Miscellany." If he had done
+nothing else, Cruikshank would have made a
+deathless reputation for technical skill by the
+etchings in "Jack Sheppard." Sala, who
+copied the shop-scene entitled <i>The name on the
+beam</i>, observes of this etching, at once so precise
+and imaginative, that it is "in its every detail
+essentially Hogarthian." It is a just saying.
+One can easily imagine Dr Trusler poring over
+it and recording his small discoveries with<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
+something of the relish he found in his
+Hogarthian exploration. Appropriately enough,
+Hogarth's portrait appears in the clever etching
+which depicts Jack in chains sitting to two
+artists, the other being Sir James Thornhill.
+Thackeray has done justice to the high qualities
+of the etchings entitled <i>The Storm</i> and <i>The
+Murder on the Thames</i>. There are effects in
+Cruikshank's river scenes poetic enough and
+near enough to that verity which Impressionists
+serve better than Ruskinians, to have detained
+Whistler for a minute that might have regenerated
+the fame of Cruikshank.</p>
+
+<div class="figcenter" style="width: 515px;">
+<a name="illus091fs.jpg" id="illus091fs.jpg"></a><img src="images/illus091fs.jpg" width="515" height="600" alt="JONATHAN WILD SEIZING JACK SHEPPARD AT HIS
+MOTHER&#39;S GRAVE IN WILLESDEN CHURCHYARD.
+
+From &quot;Jack Sheppard,&quot; 1839." title="" />
+<span class="caption">JONATHAN WILD SEIZING JACK SHEPPARD AT HIS
+MOTHER&#39;S GRAVE IN WILLESDEN CHURCHYARD.
+
+From &quot;Jack Sheppard,&quot; 1839.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus092fs.jpg" id="illus092fs.jpg"></a><img src="images/illus092fs.jpg" width="600" height="303" alt="From &quot;Jack Sheppard,&quot; 1839." title="" />
+<span class="caption">From &quot;Jack Sheppard,&quot; 1839.</span>
+</div>
+
+<p>"Jack Sheppard," with its requisition of
+antiquarian exactness so plausibly met, may
+well have suggested to Cruikshank a more
+epic theme than the exploits of a master-thief,
+revolving about a nobler gaol than Newgate.
+In a letter which may or may not have been
+posted (it is to be read at the back of No.
+9910 H in the Cruikshank collection at South
+Kensington), he writes: "The fact is, I am
+endeavouring to emancipate myself from the
+thraldom of the Booksellers, whose slave I
+have been nearly all my life; to effect this
+object I have published, in conjunction with<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>
+the author, a work called 'The Tower of
+London.'"</p>
+
+<div class="figcenter" style="width: 513px;">
+<a name="illus095fs.jpg" id="illus095fs.jpg"></a><img src="images/illus095fs.jpg" width="513" height="600" alt="THE DEATH WARRANT.
+From &quot;The Tower of London,&quot; 1840." title="" />
+<span class="caption">THE DEATH WARRANT.
+From &quot;The Tower of London,&quot; 1840.</span>
+</div>
+
+<p>Of the acrimonious discussion that Cruikshank
+started by claiming to have originated
+Ainsworth's romance, I shall say little. That
+Cruikshank was the senior partner there is no
+doubt. It was he who took Ainsworth to the
+Tower, and he asserted that he "hardly ever
+read a line" of the text, which must be considered
+to illustrate his designs. It may be
+said, however, that Ainsworth's text has been
+repeatedly devoured without the aid of Cruikshank's
+designs. He was a public idol. Smiled
+on once by Sir Walter Scott, he contrived to
+become the first horror-monger, <i>viâ</i> history,
+of an age whose favourite realism was the safe
+realism of torture and decent crime. In the
+September before his death, which occurred
+January 3, 1882, he was informed by the Mayor
+of Manchester that the last twelve months'
+record of the public free libraries of that town
+showed that "twenty volumes of his works"
+were "being perused in Manchester by readers
+of the free libraries every day all the year
+through."</p>
+
+<p>That I may not write a decrescendo about<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span>
+the designs for "The Tower of London," I begin
+with their faults. Cruikshank's Simon Renard
+is too darkling a Spaniard even for a staged
+Spain, and even Lady Jane Grey's waist should
+have been made rather larger than her throat.
+"Mere skeletons in farthingales," quoth "The
+Athenæum" of Cruikshank's Queen Mary,
+Jane and Elizabeth. To what extent defective
+figure-drawing diminishes the proper force of
+Cruikshank's designs the reader may judge
+by the reproduction of <i>The Death Warrant</i>,
+which is presented as a frank example of his
+melodramatic invention. The masked assassin
+peers at the Spanish Ambassador through the
+window of the chamber of the Tower where
+the little princes were murdered, and where
+the pen that has just doomed Lady Jane
+Dudley hovers in Queen Mary's hand. Her
+hound is an incarnate presentiment and the
+gods of old Drury could have asked no more.
+There are, however, far finer plates in the
+book. In Underhill, the Hot Gospeller,
+burning at the stake, his finger nails riveted
+to his bare shoulders while he bawls his last
+agony, Cruikshank shows the longevity of the
+Marian crime&mdash;the crime of creating fears and<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
+loathings, for here we have absolutely a
+reflective shudder, a naked confidence from
+an abominable place which we thought was
+cleansed by merciful years. No other figure
+in the gallery of Cruikshank's "Tower" is so
+vital as this dying man, but he drew a handsome
+Wyat, an executioner as repulsive as a
+ghoul, and groups&mdash;for instance Elizabeth and
+her escort on the steps of Traitor's Gate&mdash;which
+a stage manager of melodrama might
+like to imitate.</p>
+
+<p>Partly contemporaneous with "The Tower
+of London" was Ainsworth's "Guy Fawkes"
+(1840-1) with Cruikshankian etchings, which
+are as little serviceable to the dignity of a
+brave fanatic as the effigies exhibited by boys
+on the fifth of November. Cruikshank had
+drawn a typical effigy of Guy for "The
+Every-Day Book" of 1826; twelve years later
+came his ludicrous <i>Guys in Council</i>, but being
+required in 1840 to produce a serious Guy he
+only succeeded in being operatic. In one of
+his etchings the rigidity of Guy's cloak
+suggests that the garment is a "bath-cabinet"
+in occupation; in another a celestial visitor
+resembles a Dutch doll. Such failures are not<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>
+to be explained by a desire to annoy the
+publisher of "Guy Fawkes," Richard Bentley,
+whom Cruikshank bitterly attacked in 1842.
+Cruikshank could and did produce etchings
+in a hurry for stories which he had not read,
+by way of expressing his dislike for a contract
+which survived his approval of it; but he
+could also be befooled by his own solemnity.</p>
+
+<div class="figcenter" style="width: 524px;">
+<a name="illus099fs.jpg" id="illus099fs.jpg"></a><img src="images/illus099fs.jpg" width="524" height="600" alt="THE DUEL IN TOTHILL FIELDS (&quot;The Miser&#39;s Daughter&quot;).
+From &quot;Ainsworth&#39;s Magazine,&quot; 1842." title="" />
+<span class="caption">THE DUEL IN TOTHILL FIELDS (&quot;The Miser&#39;s Daughter&quot;).
+From &quot;Ainsworth&#39;s Magazine,&quot; 1842.</span>
+</div>
+
+<p>Cruikshank's relations with Ainsworth
+continued in "Ainsworth's Magazine," of which
+the first number bears the date February 1842.
+Among the stories in this magazine which
+Cruikshank illustrated must now be mentioned
+"The Miser's Daughter" (1842), "Windsor
+Castle" (1842-3) and "St James's: or the
+Court of Queen Anne" (1844). The first of
+these stories is only incidentally historical, but
+it afforded Cruikshank an opportunity for
+quickening his hand with the spirit of place.
+He has told us that his drawing of Westminster
+Abbey Cloisters and Lambeth Church,
+etc., are "correct copies from nature" [sic],
+and it almost seems as we look at his etchings
+and water-colours for "The Miser's Daughter"
+that he copied not only stones but living scenes.
+His ball in the Rotunda at Ranelagh has the<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span>
+charm of lavish light and dainty gaiety; the
+humour and grace of his <i>Masquerade in
+Ranelagh Gardens</i> are too obvious for discovery,
+and his rendering of the pursuit of a Jacobite
+Club on the roofs of houses within view of
+Westminster Abbey is a striking nocturne.</p>
+
+<p>In Cruikshank's designs for "Windsor Castle,"
+Mr Julian Moore finds "the minimum of
+charm and freshness in the drawing, and
+maximum of achievement in technique." I
+am in disagreement with this verdict, but it is
+not unintelligent. Cruikshank's "machine-ruling"
+is tyrannous to his Ainsworthian work,
+and an artist serving the historic muse when
+she is very much in earnest can only pray to
+be academic when he is not inspired. But
+Cruikshank did admirable work for "Windsor
+Castle," and could hardly help wishing to
+outshine Tony Johannot, who was also employed
+in illustrating that romance. Since
+"the great George" is not present to assail
+me in a vehement script, I may say that I
+discern an influence of Johannot upon
+Cruikshank's design (spirited but not insufferably
+vigorous) entitled <i>The Quarrel between
+Will Sommers and Patch</i>, for there was something<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span>
+called artistic restraint to be learned
+from the French illustrator of Cervantes, and
+this quality is in the etching I have mentioned,
+and not negatively there but as a positive gift
+of touch. Of Cruikshank's Henry the Eighth,
+it need only be said that he is bluff King Hal;
+his Anne Boleyn and Jane Seymour are mere
+females: his Herne is as impressive as a
+person can be who jeopardises the dignity of
+demonhood by wearing horns.</p>
+
+<p>"St James's," the last important novel by
+Ainsworth which Cruikshank illustrated, gave
+the artist opportunities for drawing St James's
+Palace, London, and portraits of the Duke of
+Marlborough and other celebrities. He accepted
+these opportunities, but his most
+striking designs remind one of his illustrations
+for Smollett. He rejoices in the contrast
+between masculine lath and feminine tub, and
+in one plate afflicts us with a grinning face
+which exceeds in ugliness any of C. Delort's
+portraits of "l'Homme qui rit." The vigorous
+design here given touches the imagination on
+account of the absent presence of the dame
+in the picture hanging on the wall.</p>
+
+<div class="figcenter" style="width: 491px;">
+<a name="illus103fs.jpg" id="illus103fs.jpg"></a><img src="images/illus103fs.jpg" width="491" height="600" alt="THE MARQUIS DE GUISCARD ATTEMPTING TO
+ASSASSINATE HARLEY. The man on the table drawing
+his sword is the Duke of Newcastle (&quot;Saint James&#39;s&quot;).
+From &quot;Ainsworth&#39;s Magazine,&quot; 1844." title="" />
+<span class="caption">THE MARQUIS DE GUISCARD ATTEMPTING TO
+ASSASSINATE HARLEY. The man on the table drawing
+his sword is the Duke of Newcastle (&quot;Saint James&#39;s&quot;).
+From &quot;Ainsworth&#39;s Magazine,&quot; 1844.</span>
+</div>
+
+<p>In "Ainsworth's Magazine" for January<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+1846 the last fruit of Cruikshank's connection
+with Ainsworth appeared, after a year's
+sterility, as a careful etching illustrating
+that novelist's "Sir Lionel Flamstead, a
+Sketch": in the preceding year Cruikshank
+produced for W. H. Maxwell the series of
+historic etchings which, in the opinion of Mr
+Frederic G. Stephens, "marks the highest
+point of Cruikshank's invention." These etchings
+illustrate a history of the insurrections in
+Ireland in 1798 and 1803. In the selection
+of Cruikshank, Maxwell or his publishers may
+have remembered the skill with which he had
+illustrated I. Whitty's "Tales of Irish Life"
+(1824), though it is one thing to render the
+frantic humour of a fight arising from O'Finn
+calling Redmond a rascal, or the muddled
+emotions of a wake, and quite another to exhibit
+the conflict between two nightmares of
+patriotism. Howbeit Cruikshank realised the
+horror and poetry of war. His twenty-one
+Maxwellian etchings are instructively comparable
+with Callot's precious series "<i>Les
+Misères et les Mal-heurs de la Guerre</i>" (1633).
+Callot is at once more horrible and self-restrained.
+One peers into his work; one<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+listens to Cruikshank's. The artist of the
+seventeenth century drew with minute delicacy
+the forms and gestures of men. He studied
+them as a naturalist, indifferent to the individuality
+of the unit after fixing the individuality
+of the class to which it belongs.
+Callot's men are users of the wheel and the
+estrapade; they roast the husband while they
+ravish the wife. They are not grotesques:
+they are men. Maurice Leloir drew men of
+their age and country no more elegantly for
+the bravest novel of Dumas. Cruikshank, on
+the other hand, drew well and hideously not
+only Irish men, but Irish individuals. His
+rebel, obscenely jocose, impaling a child, might,
+though a detail in a crowded etching, have been
+drawn for Scotland Yard; so too might a
+woman squatting and smoking while a wretch
+writhes on four pikes which take his weight
+and give it him back in torture. England is
+to glow, Ireland is to blush as she looks at
+Cruikshank's people of '98. As clear on the
+memory as his Irish ruffianism is his portrait
+of the little drummer dying with his leg
+through his drum to protect its voice from
+dishonour. One has heard of Lieutenant<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>
+Hepenstall&mdash;him who was called "The Walking
+Gallows"&mdash;as well as of the drummer of
+Gorey, but Cruikshank was satisfied with
+partizanship, and Ireland forgets him.</p>
+
+<p>Our liberal interpretation of history allows
+us now to consider a few of the works of
+Cruikshank which preserve for us scenes and
+types of his age with or without the accompaniment
+of a fictitious text.</p>
+
+<p>For his delineations of the sailor of Nelson's
+day we owe much to a capital but neglected
+novelist M. H. Barker, author of "Greenwich
+Hospital" (1826), "Topsail-Sheet Blocks"
+(1838), "The Old Sailor's Jolly Boat" (1844),
+etc. Before the appearance of the earliest of
+these books Cruikshank had etched Lieut.
+John Sheringham's designs entitled "The
+Sailor's Progress" (1818), and those by Capt.
+Marryat entitled "The Progress of a Midshipman"
+(1820). The illustrations to the quarto
+called "Greenwich Hospital," are deservedly the
+most famous of Cruikshank's sea-pictures.
+With lavish detail they exhibit Jack tearing
+along by coach across pigs and fowls at finable
+knots per hour; carousing in the Long Room
+with billowy sirens under a chandelier of<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span>
+candles; crossing the line in a frenzy of
+ceremonious facetiousness; yelling in an inn-parlour&mdash;though
+armless or "half a tree"&mdash;his
+delight in victory and Nelson; ... and
+tied up for a whipping like a naughty boy.
+Barker was so pleased with one of the illustrations
+for "Greenwich Hospital" that he wrote on
+a proof (No. 1003-4 in the Cruikshank collection
+at South Kensington), "Dear Friend, if
+you never do another design, the leg of that
+table will immortalise you. It is a bonâ fide
+Peg." There is a mood in which Clio prefers
+that crippled table-leg to Cruikshank's idea
+of Solomon Eagle "denouncing of Judgment"
+upon London.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus109fs.jpg" id="illus109fs.jpg"></a><img src="images/illus109fs.jpg" width="600" height="804" alt="SOLOMON EAGLE. From the drawing by G. Cruikshank,
+as engraved by Davenport for &quot;A Journal of
+the Plague Year,&quot; 1833." title="" />
+<span class="caption">SOLOMON EAGLE. From the drawing by G. Cruikshank,
+as engraved by Davenport for &quot;A Journal of
+the Plague Year,&quot; 1833.</span>
+</div>
+
+<p>We have now sounded the word which
+invites inquiry as to the nature of Cruikshank's
+artistic service to London. London is not the
+Tower or St James's Palace. Cruikshank,
+however, is not injured by this scorching
+truism. If we go back to 1827 and 1829 we
+encounter in "The Gentleman's Pocket
+Magazine" twenty-four <i>London Characters</i>, of
+which fifteen are from the hand of George
+Cruikshank, who doubtless remembered Rowlandson's
+"Characteristic Sketches of the<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>
+Lower Orders" (1820). George is responsible
+for very neat portraits of a beadle, waterman,
+dustman, watchman ..., and the Cruikshankian
+enthusiast cries "Eureka!" for he
+spies Mr Bumble among them. With "Sunday
+in London" (1833) came the first example
+of Cruikshank's comic treatment of London,
+which a book-collector, as distinct from a
+print-collector, can prize. The woodcuts in
+this volume reveal a state of society in which
+people had less sense of proportion than they
+have now, and were excessively vain or excessively
+humble, according to the state of their
+paunch and the view of them held by the
+policeman or the beadle. The power of the
+beadle had not yet been broken by a metrical
+inquiry concerning the origin of his hat.
+Frenchmen were still "mounseers," and
+soldiers marched to Divine Service through
+St James's Park to the tune of "Drops of
+Brandy." The flavour of the obsolete is rich
+in "Sunday in London"; we who look at it
+feel strangely toned-down.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus113fs.jpg" id="illus113fs.jpg"></a><img src="images/illus113fs.jpg" width="600" height="738" alt="THE STREETS, MORNING. From &quot;Sketches by Boz,&quot;
+Second Series, 1837." title="" />
+<span class="caption">THE STREETS, MORNING. From &quot;Sketches by Boz,&quot;
+Second Series, 1837.</span>
+</div>
+
+<p>Place in London as well as character is
+presented vividly in Cruikshank's contributions
+to "Sketches by Boz" (1836-7). Witness the<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>
+examples here given. In <i>The Streets, Morning</i>,
+I, a Londoner, feel the poetry of streets
+cleansed by quiet, the chastity of Comfort
+enjoyed, as it were, by the tolerance of Hardship.
+The little sweep is an extinct animal,
+and yet we are in the neighbourhood of
+Seven Dials. <i>Monmouth Street</i>, as exhibited
+by Cruikshank in the same work, is an
+appreciation of the Hebrew dealer in old clothes
+as well as a caricature. We feel the street to
+be an open-air parlour and nursery combined;
+it remains imperturbably domestic though we
+walk in it. Another etching, depicting a
+beadle hammering the door of a house supposed
+to be on fire, elicited from Mr Frederick
+Wedmore the confession that he knew no
+artist "so alive as Cruikshank to the pretty
+sedateness of Georgian architecture," though
+the remark will be more appreciated after a
+look at the pretty etching entitled <i>French
+Musicians or Les Savoyards</i> (1819), reprinted in
+"Cruikshankiana" (1835).</p>
+
+<p>Cruikshank's London ideas were further
+realised in "Oliver Twist" (1838), a novel to
+which he contributed etchings so documentary
+as well as imaginative that he attempted to<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>
+deprive Dickens of the glory of authorship, by
+claiming the origination of the story. The
+fact was, he had grown to be a collector: he
+was collecting fame, and in the passion of his
+hobby he felt that he might claim to have
+originated the novel which owed local colour
+and a formative idea to his suggestions. The
+subject really belongs to the pathology of
+egoism. Cruikshank gained nothing by seeking
+laurels in the field of literature except the
+impression on paper of a weakness one prefers
+to call juvenile rather than puerile.</p>
+
+<div class="figcenter" style="width: 415px;">
+<a name="illus117fs.jpg" id="illus117fs.jpg"></a><img src="images/illus117fs.jpg" width="415" height="600" alt="THE LAST CAB-DRIVER. From &quot;Sketches by Boz,&quot;
+Second Series, 1837." title="" />
+<span class="caption">THE LAST CAB-DRIVER. From &quot;Sketches by Boz,&quot;
+Second Series, 1837.</span>
+</div>
+
+<p>Yet he had much to give Boz, if that
+gentleman was minded to write of rogues.
+Cruikshank knew all about Buzmen and Adam-tilers;
+the days when he drank bene bowse
+had not been wasted, if low life be worth
+depicting. We may accept as portraits his
+Fagin and Sikes and Artful Dodger, without
+digesting the statement that Fagin condemned
+is himself in perplexity, and Fagin uncondemned
+the image of Sir Charles Napier.
+Undoubtedly, the workhouses in England of
+the third decade of the nineteenth century
+are in popular fancy all ruled by the nameless
+master in cook's uniform, of whom Oliver<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span>
+asked more, but it is not Boz's master, it is
+Cruikshank's. All beadles are one Mr Bumble&mdash;the
+Bumble of Boz and Cruikshank, though
+without the shadow of the sack with which
+the novelist eclipsed him. The etched scene
+where Fagin, frying sausages, receives Oliver
+in a den of thieves, has a squalid comfortableness&mdash;a
+leering charity&mdash;which praises Hell.
+The etched scene of Sikes's desperation on the
+roof of a house in Jacob's Island, Bermondsey,
+is in essence Misery itself, vermicular as well
+as violent. The etched scene where Fagin
+sits with blazing eyes in the condemned cell
+at Newgate under a window which shows him
+up like the Day of Judgment has been called
+"a picture by Fagin," for rhetoric exhausts
+itself in confessing its horror. In "Jack
+Sheppard," Cruikshank drew Newgate with
+particularity, he drew Bedlam with a maniac
+in it; for "A Journal of the Plague Year," he
+drew <i>The Great Pit in Aldgate</i>, but Fagin in his
+extremity belittles other horrors in Cruikshank's
+gallery of art. London is ashamed to see and
+acknowledge him; he makes her long for rain,
+and soap in the rain; he makes her remember
+her river.<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+
+<p>The reader will therefore look sympathetically
+at the powerful etching here reproduced
+from Angus B. Reach's "Clement Lorimer"
+(1849). It is a kidnapping scene; there is a
+drugged girl in the boat; the pier against
+which an oar has snapped supports an arch of
+London Bridge.</p>
+
+<p>It might be doubted if Cruikshank personally
+cared for any locality except London if it were
+not for evidence in the South Kensington
+Museum and the dispersed collection of the
+metropolitan Royal Aquarium. Number 9502<span class="smcap">A/C</span>
+in the South Kensington collection of his work
+is a design for a house which he intended to
+build for himself at the seaside. The Royal
+Aquarium collection contained several water-colours
+by him of littoral subjects. Hastings may
+remember what she was like before the building
+of her esplanade by means of two water-colours
+by him, dated respectively 1820 and 1828,
+which Mr Walter Spencer bought for five
+guineas. <i>A Distant View of Shakespeare's Cliff,
+Dover</i>, secured by Mr Frank Karslake, tempted
+that art-dealer, who was its possessor when I
+last saw it, to withhold it from his customers.
+It is soft, slight and pretty. With a fanciful<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
+<i>Beachy Head</i> (a water-colour "sketch from [sic]
+part of Shakespeare's Cliff, Dover, 1830") it
+sold for seven guineas, the "Beachy Head"
+being an outline of the cliff resembling a head
+looking left with dropped eyelid as seen
+(perhaps exclusively) by Cruikshank, who represents
+himself as standing in front of it; and
+I mention this "Beachy Head" because the same
+idea informs a rather subtle drollery in "My
+Sketch Book" (1833), where a couple are
+depicted in their fright at seeing a human face
+outlined by the edge of the top of Shakespeare's
+Cliff. All the sales mentioned in this paragraph
+were made at the auction at Sotheby's, 22 and
+23 May 1903.</p>
+
+<div class="figcenter" style="width: 429px;">
+<a name="illus121fs.jpg" id="illus121fs.jpg"></a><img src="images/illus121fs.jpg" width="429" height="600" alt="Miss Eske carried away during her Trance.
+
+From &quot;Clement Lorimer,&quot; 1849." title="" />
+<span class="caption">Miss Eske carried away during her Trance.
+
+From &quot;Clement Lorimer,&quot; 1849.</span>
+</div>
+
+<p>We have had already to touch on the way in
+which Cruikshank was the historian of himself.
+Thanks to his literary aggressiveness, mixed
+with love, so quaint and like talk in expression,
+that his pages resemble cylinders for a
+phonograph, we look at his autobiographical
+drawings with genuine interest. In Sir
+Benjamin Ward Richardson's publication of
+1895&mdash;"Drawings by George Cruikshank,
+prepared by him to illustrate an intended
+autobiography"&mdash;we are introduced pictorially<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>
+to "George, Nurse, Brother and Mother at
+Hampstead"; and the same volume shows
+our artist unpleasantly situated on a roof <i>sub
+titulo The Button-hole of a Naughty boy caught by
+a nail</i>. In the South Kensington collection
+George shows us very crudely <i>a Fire in the South
+East end of London to which I ran when a boy
+with the Engine from Bloomsbury</i>. In 1877 George
+sketched himself as he was about 1799, when
+he looked at his father while Isaac Cruikshank
+was drawing, and we realise the affection in
+this reminiscence upon seeing George's
+grotesques of low life done when he was "a
+very little boy" on the same page where the
+academic Isaac has drawn a conventional
+heroic nude and a little girl suitable for
+a nursery magazine (S.K. coll. No. 9814).
+Under a pencil sketch (S.K. coll. No. 9817) we
+read "George Cruikshank when a boy used to
+put his mother's Fur Tippet over his head like
+the above and make frightful faces for fun."
+In published work Cruikshank repeatedly
+presents his own portrait, my favourite
+examples of his self-portraiture being the
+painter in <i>Nobody desires the Painter to make him
+as ugly and ridiculous as possible</i> ("Scraps and<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span>
+Sketches," 1831), and that of himself going in
+as a steward with Dickens and others to a
+Public Dinner ("Sketches by Boz," 1836).
+An excellent example of a comic presentation
+of himself is the frontispiece to this volume.
+Enviable and admirable health of mind is
+shown by Cruikshank's love of his own face,
+upon which flourished, under a high forehead
+and "blue-grey eyes, full of a cheerful sparkling
+light," "an ambiguous pair of ornaments," partaking
+"vaguely," writes Mr Walter Hamilton,
+"of the characteristics" of whiskers, moustaches
+and beard.</p>
+
+<p>I conclude this chapter with a reproduction
+of a painting by George Cruikshank in the
+South Kensington Museum. The lady is
+yellow-haired and has a good complexion.
+It appears to be a portrait of Mrs George
+Cruikshank (née Widdison), his second wife,
+whose prenomen was Eliza. She could draw, for
+there is a vapid but well-finished female head
+by her in the South Kensington collection of
+her husband's work (No. 10,038-4). She is
+not, of course, to be confounded with
+Cruikshank's sister Eliza, who designed the
+caricature of the Four Prues.</p>
+
+<div class="figcenter" style="width: 488px;">
+<a name="illus125fs.jpg" id="illus125fs.jpg"></a><img src="images/illus125fs.jpg" width="488" height="600" alt="ELIZA CRUIKSHANK. From a painting by George Cruikshank
+in the South Kensington Museum, No. 9769,
+endorsed &quot;Mrs George Cruikshank E. C. 1884.&quot; The
+date is supposed to refer to the year of presentation to
+the museum." title="" />
+<span class="caption">ELIZA CRUIKSHANK. From a painting by George Cruikshank
+in the South Kensington Museum, No. 9769,
+endorsed &quot;Mrs George Cruikshank E. C. 1884.&quot; The
+date is supposed to refer to the year of presentation to
+the museum.</span>
+</div><p><span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="V" id="V"></a>V</h2>
+
+
+<p>We have now to consider Cruikshank as a
+supernaturalist. Perhaps there is no rôle in
+which he is more sincerely esteemed. His
+simple egoism and self-conceit protected him
+from an apprehension of the nothingness of
+matter in the eye of a being who is uncontrolled
+by the world-idea. He could not conceive
+that a mind can impose the idea of a form upon
+an inferior mind, or a mind in sympathy with
+it: hence his egregious "discovery concerning
+ghosts." His world of supernature was a playground
+of fancy where powers are denoted by
+the same symbols which inform us that this
+animal can run, and that animal can fly, and
+the other animal can think. It is a world of
+which the major part is peopled with forms so
+lively, gracious and fanciful that Mr Frederick
+Wedmore's violent preference of Keene to
+Cruikshank seems, in view of it, a kind of
+aggressive rationalism. This world, however,<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>
+contains the Devil, and on this colliery monster
+we will bestow a few glances.</p>
+
+<div class="figcenter" style="width: 492px;">
+<a name="illus129fs.jpg" id="illus129fs.jpg"></a><img src="images/illus129fs.jpg" width="492" height="525" alt="LEGEND OF ST MEDARD. The Saint has slit the bag in
+which the fiend is carrying children. From &quot;The Ingoldsby
+Legends,&quot; 1842." title="" />
+<span class="caption">LEGEND OF ST MEDARD. The Saint has slit the bag in
+which the fiend is carrying children. From &quot;The Ingoldsby
+Legends,&quot; 1842.</span>
+</div>
+
+<p>Cruikshank's best idea of the Devil is comedy
+of tail. In one of the "Twelve Sketches
+illustrative of Sir Walter Scott's Demonology
+and Witchcraft" (1830) he shows the archfiend
+seated on the back of a smiling elf who poses
+as a quadruped to provide a stool. The fiend
+is "dighting" an arrow by the light of the
+flaming hair of an elf who wears an extinguisher
+on his tail, and a cat enthusiastically plays with
+the forked appendage of the illustrious artisan.
+The dignity of labour is here inimitably manifest.
+Lovably ludicrous, too, is the Devil
+whom Cruikshank presents in <i>The De'il cam
+fiddling thro' the Town</i> ("Illustrations of
+Popular Works," 1830). "Auld Mahoun's"
+forked tail has caught the exciseman by the
+cravat. In "Scraps and Sketches" (1832).
+Cruikshank has another Devil who plays on a
+gridiron as if it were a guitar, to soothe a man
+who has been lassoed by his tail. "And if my
+tail should make you sad I'll strike my light
+guitar." In "A Discovery concerning Ghosts"
+(1863) Cruikshank depicts the Devil as lifting
+a table with his tail and one hoof. One of the<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
+Devils offered to my readers&mdash;he whom St
+Medard thwarted&mdash;is an example of good
+work in a bad setting; the machine-ruled sky
+and "scandalously slurred distance" must be
+viewed as symptoms of Cruikshank's dislike
+for Bentley, the publisher of "The Ingoldsby
+Legends." The cuts from "The True Legend
+of St Dunstan and the Devil" (1848) replace
+the perverted Pan&mdash;Pan as perverted for the
+abolition of his prestige&mdash;with a plaintive
+ruffian whose horns and hoofs disgrace a very
+obvious humanity.</p>
+
+<p>Exit Devil: enter Satan. About 1827
+Cruikshank drew him on wood, in the act of
+calling on his followers as related by Milton
+in "Paradise Lost," Book I., Il. 314-332.
+Cruikshank described the drawing referred to,
+which was engraved by an unconfident hand,
+as "the best drawing that I ever did in my
+life." A solitary print of the engraving made
+of it sold at Sotheby's for £3, 6s. On a
+towering rock, Satan calls up an army which
+looks like living ribbon wound up out of the
+bottomless pit to the ceiling of the air. His
+personality is felt by the effect of his
+command, not by his individual appearance.<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span>
+Michelangelo might have favourably considered
+this book-illustration as a bare sketch of a
+muster of the damned; for as one looks at it
+he is tempted to give it to half a dozen
+painters and "put it in hand."</p>
+
+<div class="figcenter" style="width: 472px;">
+<a name="illus134fs.jpg" id="illus134fs.jpg"></a><img src="images/illus134fs.jpg" width="472" height="525" alt="SHOEING THE DEVIL. From Edward G. Flight&#39;s &quot;The True
+Legend of St Dunstan and the Devil,&quot; 1848." title="" />
+<span class="caption">SHOEING THE DEVIL. From Edward G. Flight&#39;s &quot;The True
+Legend of St Dunstan and the Devil,&quot; 1848.</span>
+</div>
+
+<div class="figcenter" style="width: 448px;">
+<a name="illus135fs.jpg" id="illus135fs.jpg"></a><img src="images/illus135fs.jpg" width="448" height="525" alt="THE DEVIL SIGNING. From Edward G Flight&#39;s &quot;The
+True Legend of St Dunstan and the Devil,&quot; 1848." title="" />
+<span class="caption">THE DEVIL SIGNING. From Edward G Flight&#39;s &quot;The
+True Legend of St Dunstan and the Devil,&quot; 1848.</span>
+</div>
+
+<p>The naïve evangelicism of "The Pilgrim's
+Progress" was productive of more of Cruikshank's
+serious monsters. 1827 is the date of
+seven woodcuts by him for this work (Reid
+3555-61) which do not impress Mr Spielmann;
+they are, however, very neatly executed, and
+the drawing of <i>Christian arriving at the Gate</i> is
+quite unwarrantably pleasant in its suggestion
+of conflict and weariness ending in the bosom
+of hospitality. In 1838 Cruikshank contributed
+<i>Vanity Fair</i>&mdash;an elaborate etching&mdash;to a
+"Pilgrim's Progress" containing plates by H.
+Melville. <i>Vanity Fair</i> is a skilful catalogue
+marred by the misnaming of Britain Row. He
+produced another <i>Vanity Fair, circa 1854</i>, a
+vehement and uninteresting design which, with
+companion drawings by him of the same date,
+appears in Mr Henry Frowde's edition of "The
+Pilgrim's Progress" (1903). These drawings
+(only recently engraved) annoyed Mr G. S.
+Layard, and me they amuse and touch. They<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+show that Cruikshank could draw the face of a
+man whose <i>métier</i> is goodness, ... and that
+Apollyon&mdash;a veritable creature of tinker-craft
+in Bunyan's text&mdash;was utterly beyond
+Cruikshank's power to shape according to the
+crooked splendour of his name. One must not
+forget that a pious convention of absurdity is a
+trap for the critic and the humorist alike. I
+feel that Cruikshank almost loved Bunyan.
+Witness the large coloured print inscribed in
+his last decade, "Geo. Cruikshank 1871,"
+where Christian&mdash;a Galahad of knightliness&mdash;passes
+through the snake-afflicted valley of the
+Shadow of Death.</p>
+
+<div class="figcenter" style="width: 422px;">
+<a name="illus139fs.jpg" id="illus139fs.jpg"></a><img src="images/illus139fs.jpg" width="422" height="525" alt="PETER SCHLEMIHL WATCHING THE CLOCK
+
+From &quot;Peter Schlemihl,&quot; 1823. Copies of the
+book dated 1824 are also accepted as of the first
+edition." title="" />
+<span class="caption">PETER SCHLEMIHL WATCHING THE CLOCK
+
+From &quot;Peter Schlemihl,&quot; 1823. Copies of the
+book dated 1824 are also accepted as of the first
+edition.</span>
+</div>
+
+<p>Exit the Pilgrim, and re-enter the Devil.
+Cruikshank made remarkable successes in two
+series of illustrations wherein this magnate
+assumes the form of a man of our world. The
+books in which they appear are "Peter
+Schlemihl" by Adelbert von Chamisso (1823)
+and "The Gentleman in Black" by J. Y.
+Akerman (1831). To Chamisso the Devil is "a
+silent, meagre, pale, tall elderly man" wearing
+an "old-fashioned grey taffetan coat"
+with a "close-fitting breast-pocket" to it, and
+he is willing to buy Peter's shadow. Meagre<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span>
+and close-fitting is Cruikshank's idea of him;
+he is only substantial enough to give posture
+and movement to his clothes. That is a
+beautiful etching where he is folding Peter's
+shadow as a tailor folds a suit and Peter is
+unaware of the terrible oddity of a foot on the
+ground having for shadow a foot in the air&mdash;a
+foot no longer subordinate to Peter who
+will tread the earth in despair when he is a
+shadowless man; and that is a marrow-thrilling
+etching where Peter's tempter stands casting
+two shadows and flourishing a document promising
+the delivery of Peter's soul to the bearer
+after its separation from Peter's body. There is
+a haunting cold brightness about the Schlemihl
+etchings. If you see them without a <i>sensation</i>
+of their difference from the work of any body
+except him who made them, your acquaintance
+includes a prodigy, a Cruikshank plus x. To
+J. Y. Akerman the Devil was "a stout, short,
+middle-aged gentleman of a somewhat saturnine
+complexion" who "was clad in black"
+and "had a loose Geneva cloak ... of the same
+colour." Like Schlemihl's customer he pays
+with a bottomless purse and in the cuts, engraved
+by J. Thompson and C. Landells, we see<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>
+him a grave humorous and sinister person,
+who after his urbanity has been shaken by
+the cleverness of the law, is exhibited without
+warrant of narrative, as Old Horny on a
+gibbet. I presume the above-mentioned J
+Thompson, by the way, to be the John
+Thompson whom Cruikshank describes at the
+foot of a letter from this engraver dated "Feb.
+7, [18]40," as "the Great, the wonderful
+Artistic Engraver on wood&mdash;and who used
+to engrave my drawings as no other man
+ever did."</p>
+
+<p>After the Devil comes Punch, who in the
+puppet play destroys him. Punch is only by
+irony a nursery character. He represents the
+comic genius of murder. A Hooligan may
+feel like a Pharisee after looking at him. His
+coarse materialism would affront a <i>pierreuse</i>.
+Cruikshank drew Punch as early as 1814 in
+a plate, satirising a fête given by the Duke
+of Portland on the occasion of the baptism
+of an infant marquis. The plate is entitled
+"Belvoir Frolic's" [sic] and appears in No. 4 of
+"The Meteor." A very long-nosed Punch
+extols the beverage bearing his name, and
+his infant son falls into a punch-bowl while<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span>
+being baptised by a drunkard. It was not,
+however, till 1828 that a reasonable joker
+could call Cruikshank's great hit a punch.
+That date is on the title-page of "Punch and
+Judy" edited by J. Payne Collier, for whose
+publisher (S. Prowett) Cruikshank drew the
+scenes of the immortal puppet-play as produced
+by Piccini, who defied any other puppet-showman
+in England to perform his feat of
+making the figure with the immoderate neck
+remove its hat with one hand. Thanks to
+Piccini, then, Cruikshank's Punch is the real
+Punch&mdash;a goggling miscreant, whose hump is
+a rigid and misplaced tail and whose military
+hat, above a crustacean's face, completes a
+rather melancholy effect of mania. The conductor
+of "George Cruikshank's Omnibus"
+confessed to feeling "that it was easy to
+represent" Punch's "eyes, his nose, his mouth,
+but that the one essential was after all wanting&mdash;the
+<i>squeak</i>." Cruikshank was barely just to
+his pencil. As one looks at his Punch one
+feels that such a being is either a squeaker
+or a mute. As for the Devil, whose rôle is
+so humiliating in the Punch tromedy (as a
+neologist might call it), he is of an aspect<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>
+pitiably mean&mdash;like a corpse attired in river
+mud.</p>
+
+<div class="figcenter" style="width: 383px;">
+<a name="illus143fs.jpg" id="illus143fs.jpg"></a><img src="images/illus143fs.jpg" width="383" height="600" alt="PUNCH THROWING AWAY THE BODY OF
+THE SERVANT. From &quot;Punch and Judy,&quot;
+1828 (early proof). The portrait of George Cruikshank
+below his initials does not appear in the
+book." title="" />
+<span class="caption">PUNCH THROWING AWAY THE BODY OF
+THE SERVANT. From &quot;Punch and Judy,&quot;
+1828 (early proof). The portrait of George Cruikshank
+below his initials does not appear in the
+book.</span>
+</div>
+
+<p>After this, it is impossible not to realise the
+enormity of the compliment paid by the hand
+of Cruikshank (serving the imagination of
+G. H.) to Napoleon in that publication of
+August 1815, rashly stated by Mr Bruton to
+be the finest Napoleonic caricature, which
+depicts the imperial exile of St Helena as
+the Devil addressing a solar Prince Regent.
+Here the Devil gets the credit of a handsome
+face and Napoleon the debit of cloven feet.</p>
+
+<p>Cruikshank's representation of the Devil as
+Old Nick has the absurd merit of recalling
+his idea of the servant of a good Peri! Compare
+<i>The Handsome Clear-starcher</i> ("Bentley's
+Miscellany," 1838) with <i>The Peri</i> [, the Djin]
+<i>and the Taylor</i> ("Minor Morals, Part III.,"
+1839). Both these ornaments of my sex have
+white eyes windowing a black face, and the
+former, with heraldic sulphur fumes above
+his figure of Elizabethan dandy, is, if we do
+not date him, a horrible gibe at the feminine
+Satan of "sorrows."</p>
+
+<p>Is there, the reader may now ask, not
+unmindful of the Miltonic drawing already<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span>
+described, no Satan among Cruikshank's
+Netherlanders, to show that he saw the
+sublime of evil as clearly as he saw Fagin?
+Alas for <i>catalogues raisonnés</i>! for if it were
+not for G. W. Reid we could not point the
+querist to Cruikshank's Lucifer in his illustrations
+on wood to George Clinton's "Memoirs
+of the Life and Writings of Lord Byron"
+(1825). Of "a shape like to the angels, yet
+of a sterner and a sadder aspect of spiritual
+essence," not less beauteous than the cherubim,
+Cruikshank, with or without an accomplice in
+another engraver, makes a black and white
+Moor, jointed like a Dutch doll, with wings
+which an Icarus would distrust.</p>
+
+<p>Perhaps the most impressive conception of
+the author of unhappiness which Cruikshank
+executed was that which he owed to the
+imagination of Mrs Octavian Blewitt. In his
+last published etching, <i>The Rose and the Lily</i>
+(1875), he depicts, by her instruction, a lake
+out of which appears, like an islet, the weed-covered
+top of a vast head, the eyes of which
+are the only visible features. The lake is
+the abode of "The Demon of Evil" and his
+eyes of bale are upturned to regard a fairy<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span>
+queen and her suite who hover over a rose
+and a lily.</p>
+
+<p>Cruikshank's favourite among semi-infernal
+or hemi-demi-semi celestial characters would
+seem to have been Herne, the demon of
+Windsor Forest, whom legend derives from a
+suicide. Our illustration of Herne appearing
+to Henry VIII. (1843) is sombre and grandiose.
+The artist recurred to Herne again in one of
+his beautiful etchings for "The life of Sir John
+Falstaff" by R. B. Brough (1858). Falstaff as
+Herne, with antlers on his head, lies prone
+beneath the great riven oak which is called
+Herne's oak, because human Herne is supposed
+to have hanged himself from a bough of it.
+Fairies, depicted by their lover, have taken into
+their invisible web of glamour the grossness
+of Falstaff, and to me the etching which
+contains in harmony so tragic a tree, so
+gluttonous a man, and the only angels that
+shame can love without terror is not an illustration
+of Shakespeare but a vision of everybody's
+heaven. For if it is an illustration of
+Shakespeare, then are these no fairies but
+Mistress Quickly, Anne Page and other
+actresses, in a punitive and moralising mood!<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span>
+The last appearance of Cruikshank's Herne is
+in a drawing, done when the artist was eighty-three,
+for "Peeps at Life" (1875), in which
+the demon rides through Windsor Forest with
+a monk behind him.</p>
+
+<div class="figcenter" style="width: 474px;">
+<a name="illus149fs.jpg" id="illus149fs.jpg"></a><img src="images/illus149fs.jpg" width="474" height="600" alt="HERNE THE HUNTER APPEARING TO HENRY VIII.
+(&quot;Windsor Castle&quot;). From &quot;Ainsworth&#39;s Magazine,&quot; vol. iii., 1843." title="" />
+<span class="caption">HERNE THE HUNTER APPEARING TO HENRY VIII.
+(&quot;Windsor Castle&quot;). From &quot;Ainsworth&#39;s Magazine,&quot; vol. iii., 1843.</span>
+</div>
+
+<p>It is now time to say a few words about the
+Cruikshankian ghost. About the year 1860,
+Cruikshank offered £100 to anyone who should
+show him a ghost "said to have been seen
+frequently in the neighbourhood of some
+Roman Catholic institution near Leicester."
+No one claimed the money, and Cruikshank
+remained a religious materialist, charmingly
+boyish in his amusement over the ghosts of
+tears and dirt. His natural idea of a ghost
+was comic in the way of a wise old world that
+taxes pain and wrath for humour. His designs
+for Part II. of "Points of Humour" (1824)
+include a vision of spirits discharged from
+their bodies by the ministrations of a pompous
+doctor, who holds his stick against his mouth
+because Cruikshank condemned the use of
+"the crutch" as a toothpick. The ugliness of
+these spirits is not excelled by Cruikshank's
+Giles Scroggins, in vol. i. of "The Universal
+Songster" (1825),&mdash;a spook whose waving<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>
+hands like bewitched gloves, exultant toes
+and nightcap tipsy as a blown flame, are duly
+noted by Molly Brown. Folklore had a refining
+influence on Cruikshank when, for Scott's
+"Demonology and Witchcraft," he etched, in
+1830, Mrs Leckie, a white-aproned ghost who,
+by a miracle of Scotchness, is perfectly
+decorous as she kicks with a high heeled shoe
+the doctor of physic who "shewed some desire
+to be rid of her society." Cruikshank's chef
+d'&#339;uvre of ghost-humour is an etching for
+Captain Glascock's "Land Sharks and Sea
+Gulls" (1838). This triumph of pictorial
+anecdote confronts us with Ann Dobbs, who
+has materialised her head and hands for the
+purpose of exhibiting, with a proper show of
+accusation, to a whimpering sailor, whose
+pigtail has risen in homage to her, "the
+feller piece of the broken bit" of her tomb-stone,
+which he had stolen for a holy-stone to
+clean decks with. After this, the reader may
+be surprised to learn that a ghost, produced
+by Cruikshank for "The Scourge" of August
+1815, was serious enough to be precautiously
+blacked out before the plate entitled <i>A
+Financial Survey of Cumberland, Or the Beggar's</i><span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span>
+<i>Petition</i>, was put into general circulation. It
+is the ghost of Sellis, the Duke of Cumberland's
+valet, who is made to accuse his earthly master
+of murder, by these words "Is this a razor I
+see before me? Thou canst not say I did it."
+Of that other serious ghost, St Winifred in
+"Guy Fawkes" (1840), enough has been said.
+Her dullness is absolutely unmystical, and it
+is a relief to turn from her to look at <i>The Holy
+Infant, that prayed as soon as he was born</i>
+("Catholic Miracles," 1825), an exquisitely
+droll sketch, about as large as a penny, of
+"intense" chubbiness in a hand basin.</p>
+
+<p>Though sympathy with men and women
+did not make Cruikshank courteous to ghosts,
+he was led by the credulity and experience of
+his childhood to be affectionate to fairies and
+almost patriotic in his feeling about the magical
+countries in which they dwell. In a note to
+"Puss in Boots" he informs us that his nurse
+told him when he was "a very little boy" that
+the fairies "had houses in the white places"&mdash;<i>i.e.</i>
+fungi&mdash;in the corners of cellars. In cellars
+he accordingly looked for them, "and certainly
+did ... fancy" that he saw "very, <i>very</i> tiny
+little people running in and out of these little<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span>
+white houses"&mdash;<i>i.e.</i> fungi&mdash;and attributed any
+power he possessed of drawing or describing
+a fairy to his nurse's communications and his
+visions in cellars.</p>
+
+<p>Like a sword-swallower I saw in Belfast,
+I will ask you to "put your hands
+together," for the anecdote just related is
+corroborated by the charm of his fairy drawings.</p>
+
+<div class="figcenter" style="width: 408px;">
+<a name="illus153fs.jpg" id="illus153fs.jpg"></a><img src="images/illus153fs.jpg" width="408" height="525" alt="From &quot;Comic Composites for the Scrap-Book,&quot; 1821." title="" />
+<span class="caption">From &quot;Comic Composites for the Scrap-Book,&quot; 1821.</span>
+</div>
+
+<p>What happened when Cruikshank went into
+cellars is symbolical of poetry. He saw what
+was not there by that creative touch of mind
+which transforms an object by increasing its
+similitude to something else. In <i>Comic Composites
+for the Scrap Book</i> (1821), we have
+intelligent human creatures suggested by
+arrangements of household implements. As I
+look at the mundatory erection here reproduced,
+I anachronistically hum Stephen
+Glover's "March composed for Prince Albert's
+Hussars." It is, however, less brilliant than the
+aldermanic bellows and the doctor (with a
+mortar for body, cottonwool for hair and labels
+for feet), to whom he states his symptoms in
+"Scraps and Sketches" (1831), for they amuse
+the satirist even at this date when gluttony<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span>
+is merely not moderation and bored sapience
+is merely not sympathetic wisdom.</p>
+
+<p>Cruikshank then had one great qualification
+for illustrating fairy tales: he could animate
+the inanimate. Let us now follow his career
+as a fairy artist, beginning with his first great
+success.</p>
+
+<div class="figcenter" style="width: 506px;">
+<a name="illus157fs.jpg" id="illus157fs.jpg"></a><img src="images/illus157fs.jpg" width="506" height="600" alt="THE GOOSE GIRL. From &quot;German Popular Stories,&quot; vol. ii., 1826." title="" />
+<span class="caption">THE GOOSE GIRL. From &quot;German Popular Stories,&quot; vol. ii., 1826.</span>
+</div>
+
+<p>In 1822 appeared a post-dated volume of
+"German Popular Stories ... collected by
+M. M. Grimm." A companion volume was
+published in 1826, and both books were adorned
+by the hand of George Cruikshank. Excepting
+two much-admired German leprechauns or
+fairy cobblers in one of Cruikshank's twenty-two
+etchings, they do not present a fairy worth
+smiling at, and these cobblers, boundlessly
+delighted by a present of clothes, are, of
+course, very far from being of the angelic
+<i>élite</i> of Fairyland, as drawn by Sir Joseph Noel
+Paton for Mrs S. C. Hall. But Fairyland is in
+the imagination of democracy, and he is a
+good patriot of that country who amuses us
+with its "freaks," for they are dear to the <i>hoi
+polloi</i> which appreciate novelty more than perfection.
+Cruikshank in his Grimm mood is for
+the "living drollery" which cured Sebastian's<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span>
+scepticism concerning the ph&#339;nix and the
+unicorn. He rejoicingly presents a nose as
+long as a garden hose&mdash;a nose worthy of the
+beard which travels from page 6 to page
+7 of his "Table-Book" (1845). He refreshes
+us with the humorous pleasure of the giant
+inspecting Thumbling on the palm of his
+hand; and he convulses us with the vocal
+display of the ass, dog and cat which plunge
+through the glass of a window into the robbers'
+room. Ruskin said of these etchings that
+they "were unrivalled in masterfulness of
+touch since Rembrandt; (in some qualities of
+delineation unrivalled even by him)"; to that
+eulogy I can only add that they are inspiriting
+because they are candid and vivid, and show
+that realism can be on the side of magic.</p>
+
+<p>Passing without pause some tiny cuts, upon
+which children would pounce for love of gnomes,
+in "The Pocket Magazine" (1827, 1828),
+we arrive again at Cruikshank's sketches for
+Scott's "Demonology and Witchcraft" (1830),
+and inspect elves and fairies, barely prettier
+than mosquitoes, annoying mortals. Worry is
+incarnate in a horizontal man who is supported
+in and drawn through the air by elves, directed<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span>
+by two drivers, one on each of his boots.
+Beautiful is the contempt for herrings of an
+elf standing on a plate which a comrade is
+about to smash with a hammer in the presence
+of a cheaply-hospitable (and sluttish) housewife
+whom a dozen elves have pulled downstairs by
+her feet.</p>
+
+<p>Fables which invent sorrow to prevent it
+can only be classed as fairy-tales by a sacrifice
+of the <i>mot juste</i>, which I make in order to call
+attention to an exquisite quartet of etchings
+by George Cruikshank, illustrating Richard
+Frankum's verses entitled "The Bee and the
+Wasp" (1832). No hand but his who drew
+the shadow-buyer in Peter Schlemihl could
+have drawn the hair-lines of the criminal
+insect who mocks the drowning bee in the
+third of these etchings. So pleased and
+delicate a malignancy is expressed in him
+that he figures to me as a personification of
+evil, and I am disagreeably conscious of smiling
+to think that, because he speaks and is seen,
+he is a gentleman compared with a trypanosome
+or a bacillus coli.</p>
+
+<div class="figcenter" style="width: 404px;">
+<a name="illus161fs.jpg" id="illus161fs.jpg"></a><img src="images/illus161fs.jpg" width="404" height="600" alt="AMARANTH &quot;THE EVER YOUNG&quot; IS CARRIED
+TO CORALLION BY THE BEE&#39;S MONSTER
+STEED. From &quot;The Good Genius that Turned
+Everything into Gold,&quot; by the Bros Mayhew, 1847." title="" />
+<span class="caption">AMARANTH &quot;THE EVER YOUNG&quot; IS CARRIED
+TO CORALLION BY THE BEE&#39;S MONSTER
+STEED. From &quot;The Good Genius that Turned
+Everything into Gold,&quot; by the Bros Mayhew, 1847.</span>
+</div>
+
+<p>A bee&mdash;but a superbee&mdash;figured in the
+next fairy book illustrated by Cruikshank. In<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span>
+his designs for "The Good Genius that Turned
+Everything into Gold" (1847) he showed for
+the first time an ambition to idealise magic.
+The idea that power exists in beings of familiar
+shape and wieldy dimensions to build palaces
+and fleets without mistakes, without plans
+and adjustments, without the publication of
+embryos behind hoardings&mdash;to build them
+without economy and sacrificial fatigue&mdash;this
+is the breathless poem of the crowd. The
+Brothers Mayhew gave this idea to Cruikshank,
+and one at least of his etchings for their
+story&mdash;the palace emerging from rock and
+arborescence&mdash;shows that he almost objectified
+it. Thus (unconsciously) did he atone for
+that neglect of opportunity which allowed him
+to deck the magical and tender, the deep and
+lustrous fiction of E. T. W. Hoffmann, the inspired
+playmate of ideas that rock with laughter
+and subdue with awe, with nothing better than
+a frigidly humorous picture of a duel with
+spy-glasses.</p>
+
+<p>In 1848 an incomplete and refined translation
+of "II Pentamerone" appeared with pretty
+and sprightly designs by Cruikshank. These
+designs show a more direct sympathy with<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span>
+juvenile taste than his famous etchings for
+"German Popular Stories." With shut eyes
+one can still see his ogre swearing at the
+razor-crop, and his strong man marching off
+with all the wealth of the King of Fair-Flower,
+while the champion blower with one good
+blast makes bipeds of horses and kites of
+men. Nennella stepping grandly out of the
+enchanted fish to embrace her brother is dear
+to an indulgent scepticism. There were beautiful
+fields and a fine mansion inside that fish and
+his toothful mouth is but a portico of Fairyland.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus165fs.jpg" id="illus165fs.jpg"></a><img src="images/illus165fs.jpg" width="600" height="455" alt="From George Cruikshank&#39;s Fairy Library, &#39;Cinderella,&#39; 1854." title="" />
+<span class="caption">From George Cruikshank&#39;s Fairy Library, &#39;Cinderella,&#39; 1854.</span>
+</div>
+
+<p>Tails not having been invented merely to
+mitigate the sorrows of Satan, Cruikshank
+had some more of these appendages to draw
+when with "Kit Bam's Adventures" (1849)
+he entered the fairyland of Mrs Cowden Clarke.
+The very rhetorical mariner of that story is
+remembered for the sake of the tails of mer-children
+twining about his legs in the frontispiece
+to it, and human children allow their
+Louis Wain to wane for a minute as, with Kit
+Bam, they look at Cruikshank's tortoiseshell
+cat, ruffed and aproned, laying the table while
+Captain Capsicum, horned and gouty, urbanely
+watches her.<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span></p>
+
+<p>Naturally Cruikshank desired to associate
+himself permanently with fairy stories better
+known in England than the name of any
+folklorist or Perrault D'Armancourt himself.
+Rusher had published, circa 1814, "Cinderella"
+and "Dick Whittington" with cuts "designed
+by Cruikshank," whose prenomen was or was
+not George; and to George Cruikshank is
+ascribed by Mr Edwin Pearson some early cuts
+for "Mother Hubbard and her Dog." Each
+of these illustrations could be covered with a
+quartet of our postage stamps and only those
+for "Mother Hubbard," which are droll and
+tender, possess more than an antiquarian
+interest. In 1846, in twelve designs built
+round the title "Fairy Songs and Ballads for
+the young ... By O. B. Dussek ...,"
+George Cruikshank illustrated "Dick Whittington,"
+"Jack and the Beanstalk," etc., and was
+lively and pretty in a wee way. These
+were trifles, however, and Cruikshank was
+ambitious. In 1853-4 and 1864 he flattered
+his ambition by the issue of "George Cruikshank's
+Fairy Library." Unfortunately Ruskin
+was displeased with the earlier issues of this
+"library," for in 1857 he forbade his disciples<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span>
+to copy Cruikshank's designs for "Cinderella,"
+"Jack and the Beanstalk" and "Tom Thumb"
+[<i>sic</i>] as being "much over-laboured and confused
+in line." But on July 30, 1853, Mrs
+Cowden Clarke begged Cruikshank to allow
+her to thank him in the name of herself "and,"
+writes she, "the other grown-up children of
+our family, together with the numerous little
+nephews and nieces who form the ungrown-up
+children among us, for the delightful treat
+you have bestowed in the shape of the 1st No.
+of the 'Fairy Library.'" This was the maligned
+"Hop-o'-my-Thumb," the pictures of which possess
+the charm of the artist's "Pentamerone."
+None of Cruikshank's ogres are as horrible as
+J. G. Pinwell's man-eating giant in "The Arabian
+Nights," and so the ogre in his "Hop-o'-my
+Thumb" is merely a glutton with a knife, but
+what a passion of entreaty is expressed in the
+kneeling children at his feet! The seven-leagued
+boots are worth all Lilley and Skinner's
+as, formally introduced, they bow before the
+smiling king. The architectural effect of the
+design which, as it were, makes a historian of
+a tree is admirable. The beanstalk in No. 2
+is a true ladder of romance; and, seeing it, I<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span>
+think that Cruikshank escaped from the repugnant
+vulgarity of G. H. on that May or
+June day of 1815 when he drew The <i>Pedigree
+of Corporal Violet</i> (<i>alias</i> Napoleon) as a perpendicular
+of flowers and fungi and dreamed
+of the fairy seed he would sow for children.
+In "Jack and the Beanstalk" there is not
+only a fairy plant but a real English fairy
+gauzy-winged, tiny, with a wand as fine as a
+needle. Yet Ruskin was displeased, and we
+may define the fault which caused his displeasure
+as a finicky unveracity about shade
+and textures.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus169fs.jpg" id="illus169fs.jpg"></a><img src="images/illus169fs.jpg" width="600" height="348" alt="THE OGRE IN THE FORM OF A LION. From George Cruikshank&#39;s Fairy
+Library, &quot;Puss in Boots,&quot; 1864." title="" />
+<span class="caption">THE OGRE IN THE FORM OF A LION. From George Cruikshank&#39;s Fairy
+Library, &quot;Puss in Boots,&quot; 1864.</span>
+</div>
+
+<p>In 1866, however, Cruikshank executed
+two plates for Ruskin; one of them illustrated
+"The Blue Light" from Grimm, the other
+showed the children of Hamelin following the
+Pied Piper into the mountain; and in the
+same year he almost paralleled the success of
+his fairy cobblers in Grimm by an etching of
+Pixies engaged in making boots, which he did
+for Frederick Locker, afterwards Locker-Lampson.
+In 1868 Cruikshank made the large
+and beautiful etching entitled "Fairy Connoisseurs
+inspecting Mr Frederick Locker's Collection
+of Drawings." Anyone who has read "My<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span>
+Confidences" (1896) will acknowledge that
+it was a happy thought to invite the Little
+People into Mr Locker-Lampson's library, for
+this bibliophile, so humorous and elegant, so
+ready with the exact Latin quotation needed
+to civilise perfectly the shape of an indecorum,
+was in essence a child whose toys were consecrated
+to the fairies by his purity in loving
+them.</p>
+
+<p>We will take leave of Cruikshank as a
+fairy artist by a look at a sketch for his
+picture <i>The Fairy Ring</i>. He painted the
+picture, which is his best oil-painting, in 1855
+for the late Henry Miller of Preston, for £800.
+The sketch referred to sold at Sotheby's in
+1903 for £25, 10s. This sketch&mdash;a painting&mdash;I
+saw at the Royal Aquarium, as in a bleak
+railway station without the romance of travel.
+The Fairy King stands on a mushroom about
+which rotate two rings of merrymakers
+between which run torch bearers. They are
+mad, these merrymakers, and madness is
+delight. Hard by, a towering foxglove leans
+into space, bearing two joyous sprites. Gigantic
+is the lunar crescent that shines on the scene;
+it is a gate through which an intrepid fairy<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span>
+rides a bat above the revels. In this impressionistic
+sketch, Cruikshank shows himself
+participant in the mysterious exultation of the
+open night where man, intruding, feels neither
+seen nor known. <i>The Fairy Ring</i> belongs
+to the poetry of humour. It perorates for a
+supernaturalist whose fashionable ignorance,
+touched with less durable vulgarity, blinded
+him to such visions as, in our time, the poet
+"A. E." has depicted. Looking at Cruikshank's
+supernatural world of littleness and
+prettiness, of mirth, extravagance, and oddity,
+we feel in debt to his limitations.<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="VI" id="VI"></a>VI</h2>
+
+
+<p>The humour of George Cruikshank deserves
+separate consideration, because it is essentially
+the man himself. Despite a technical excellence
+so peculiar that, according to the author
+of Number 1 of "Bursill's Biographies," the
+engraver Thompson "kept a set of special
+tools, silver-mounted and with ivory handles,
+sacred for" Cruikshank's designs, his sense of
+beauty was not eyes to him. Women he
+usually saw as lard or bone, and this strange
+perversity of vision and art differentiates him
+from the moderns by more than time. For
+instance, the women presented by Mr S. D.
+Ehrhart and O'Neill Latham (a lady-artist), to
+mention only two modern humorists, materialise
+an idea of beauty in humour which was as
+foreign to Cruikshank as apple-blossom to a
+<i>pomme de terre</i>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus175fs.jpg" id="illus175fs.jpg"></a><img src="images/illus175fs.jpg" width="600" height="394" alt="A GENTLEMAN&#39;S REST BROKEN (in consequence of going to bed with his leg
+on). From an etching in &quot;Scraps and Sketches,&quot; Part i, 1828." title="" />
+<span class="caption">A GENTLEMAN&#39;S REST BROKEN (in consequence of going to bed with his leg
+on). From an etching in &quot;Scraps and Sketches,&quot; Part 1, 1828.</span>
+</div>
+
+<p>Humour with Cruikshank was elemental.
+A joke was sacred from implication; it was<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span>
+self-sufficient, vocal in line and curve, percussive.
+He was a contemporary of Douglas
+Jerrold, who was humorous when he called a
+town Hole-cum-Corner. He was a contemporary
+of Thomas Hood, who was humorous
+when he announced that</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"from her grave in Mary-bone<br /></span>
+<span class="i0">They've come and bon'd your Mary."<br /></span>
+</div></div>
+
+<p>He was in that "world of wit" where they
+kept a nutmeg-grater on the table in order to
+say, when a great man was mentioned, "there's
+a grater." He was in a world where professional
+humour was perversely destructive of
+faith in imagination.</p>
+
+<div class="figcenter" style="width: 450px;">
+<a name="illus179fs.jpg" id="illus179fs.jpg"></a><img src="images/illus179fs.jpg" width="450" height="448" alt="EXCHANGE NO ROBBERY. From &quot;Points of Humour,&quot;
+1823. The unfaithful wife has concealed her lover in the clock.
+The husband, who has unexpectedly returned, devours bacon
+at 1 A.M., while she is in an agony of apprehension." title="" />
+<span class="caption">EXCHANGE NO ROBBERY. From &quot;Points of Humour,&quot;
+1823. The unfaithful wife has concealed her lover in the clock.
+The husband, who has unexpectedly returned, devours bacon at 1 A.M.,
+while she is in an agony of apprehension.</span>
+</div>
+
+<p>But what is humour? Late though the
+question be, it should be answered. Humour,
+then, is the ability to receive a shock
+of pleasant surprise from sounds and appearances
+without attributing importance to them.
+As the proof of humour is physiological, its
+appeal to the intellect is as peremptory as
+that of terror. It is a benignant despot which
+relieves us from the sense of destiny and
+of duty. Its range is illimitable. It is victoriously
+beneath contempt and above worship.<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span></p>
+
+<p>Cruikshank was a humorist who could laugh
+coarsely, broadly, selfishly, merrily, well.
+Coarseness was natural to him, or he would not
+have selected for a (suppressed) illustration in
+"Italian Tales" (1824) a subject which mingles
+tragedy with the laughter of Cloacina. One
+can only say that humour, like a sparrow,
+alights without regard to conventions. The
+majority can laugh with Rabelais, though they
+have not the idealism which created Theleme.
+Jokes that annoy the nose are no longer
+tolerable in art, but in Cruikshank's time so
+wholesome a writer as Captain Marryat
+thought Gillray worth imitating in his translation
+of disease into terms of humour. Hence
+<i>The Headache</i> and <i>The Cholic</i> (1819), signed
+with an anchor (Captain Marryat's signature)
+and etched by Cruikshank, follow <i>The Gout</i> by
+Gillray (1799). The reader may well ask if
+the sight of a hideous creature sprawling on a
+man's foot is humour according to my definition.
+I can only presume that in what Mr
+Grego calls the "port-wine days," Gillray's
+plate was like sudden sympathy producing something
+so absolutely suitable for swearing at,
+that patients smiled in easy-chairs at grief.<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span></p>
+
+<p>Broad humour has an eye on sex. The
+uncle who, on being asked at dinner for an
+opinion on a lady's costume, observes that he
+must go under the table to form it, is a type
+of the broad humorist in modern life. Cruikshank
+had none of that tenderness for women's
+clothes which in modern representation removes
+altogether the pudical idea from costume and
+substitutes the idea of witchery by foam of lace
+and coil of skirts. His guffaws and those of
+Captain Marryat and J. P***y, whose invention
+exercised his needle, at the Achilles in Hyde
+Park, in 1822, are vexatious enough to make
+one wish to restore all fig-leaves to the fig-forest.
+It is not possible for a man with an
+indefinite and inexpressible feeling for woman
+to laugh like that. Hearing his laughter we
+know that Cruikshank's humour about woman
+must always be obvious.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus181fs.jpg" id="illus181fs.jpg"></a><img src="images/illus181fs.jpg" width="600" height="392" alt="&quot;EH., SIRS!&quot; Illustrates &quot;Waverley,&quot; by Sir Walter
+Scott, in &quot;Landscape-Historical Illustrations of Scotland and the
+Waverley Novels,&quot; 1836." title="" />
+<span class="caption">&quot;EH., SIRS!&quot; Illustrates &quot;Waverley,&quot; by Sir Walter
+Scott, in &quot;Landscape-Historical Illustrations of Scotland and the
+Waverley Novels,&quot; 1836.</span>
+</div>
+
+<p>It is, and yet it is not measured by the
+height of her hat as he depicted it in 1828,
+when he contributed to that long series of
+jokes which culminate in Jan Linse's girl at
+the theatre who will not take her hat off
+because, "mamma, if I put it in my lap I can't
+see myself." In the annals of absurdity is<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span>
+there anything more worthy to be true at the
+expense of the British Navy than Cruikshank's
+picture of the chambermaid confronted with
+the leg which she has mistaken for a warming-pan?
+Another woman, whom Cruikshank
+compels us to remember by force of humorous
+idea, is to be found in <i>Points of Humour</i> (1823).
+She is the doxy in "The Jolly Beggars," sitting
+on the soldier's lap. We see her while she
+holds up</p>
+
+<div class="poem"><div class="stanza">
+<span class="i10">"her greedy gab<br /></span>
+<span class="i0">Just like ae aumous dish."<br /></span>
+</div></div>
+
+<p>The soldier has lost an arm and a leg, but
+his face is the face of infatuation and her lips
+are the lips of lust. The toes of her bare feet
+express pleasure longing for ecstasy. I write
+seriously: they are very eloquent toes. There
+is a fire near the amorous pair, and the dog
+basking by it, uninterested in them, is a token
+of peace unpried upon. Her left hand grasps
+a pot of whiskey. She is in heaven. Indeed
+there is too much heaven in the picture for
+me to laugh at it. Behind the incongruity
+which clamours for laughter is the magic of
+drink reshaping in idea a half-butchered man
+and reviving the fires of sex.<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span></p>
+
+<div class="figcenter" style="width: 525px;">
+<a name="illus185fs.jpg" id="illus185fs.jpg"></a><img src="images/illus185fs.jpg" width="525" height="458" alt="HOPE. From &quot;Phrenological Illustrations,&quot; 1826." title="" />
+<span class="caption">HOPE. From &quot;Phrenological Illustrations,&quot; 1826.</span>
+</div>
+
+<p>After this we glide politely from women as
+they blossom in the drollery of Cruikshank.
+Jenny showers "pills, bolus, julep and apozem
+too" on the physicians who would have
+exenterated her (<i>vide</i> "The New Bath Guide,"
+1830). The "patent washing machines" remember
+their sex at the approach of Waverley
+(<i>vide</i> "Landscape-Historical Illustrations,"
+1836), and remind us that in 1810 T. Tegg
+published a less refined <i>Scotch Washing</i> over the
+signature of Cruikshank. Nanse sheds the light
+of a candle upon the corpse of the cat compressed
+by a heavy sitter (<i>vide</i> "The Life of Mansie
+Wauch," 1839). The squaw "in glass and
+tobacco-pipes dress'd" evokes lyrical refusal
+from the Jack who has sworn to be constant
+to Poll (<i>vide</i> "Songs, Naval, and National,
+of the late Charles Dibdin," 1841). Lady Jane
+Ingoldsby smilingly&mdash;with lifted hand for note
+of interjection&mdash;allows her attention to be
+directed to the half of her drowned husband
+which was not "eaten up by the eels" (<i>vide</i>
+"Bentley's Miscellany," 1843). William's
+widow contemplates with fury the sailor
+upon whose nose has alighted her dummy
+babe (<i>vide</i> "The Old Sailor's Jolly Boat,"<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span>
+1844); and General Betsy gobbles her novel
+in a chaotic kitchen, oblivious of the horror
+of her mistress (<i>vide</i> "The Greatest Plague in
+Life," 1847).</p>
+
+<p>In all this pageant of absurdity is wanting
+the special touch which surprises the spectator.
+The emotions of the women are rendered as
+with a consciousness that they are a merchandise
+of art and "in stock."</p>
+
+<div class="figcenter" style="width: 321px;">
+<a name="illus189fs.jpg" id="illus189fs.jpg"></a><img src="images/illus189fs.jpg" width="321" height="600" alt="Details from the Plate entitled Heads of the
+Table, in &quot;George Cruikshank&#39;s Table-Book,&quot;
+1845." title="" />
+<span class="caption">Details from the Plate entitled Heads of the
+Table, in &quot;George Cruikshank&#39;s Table-Book,&quot;
+1845.</span>
+</div>
+
+<p>The caricaturist of mankind, to immortalise
+his work, must haunt us with physiognomy.
+Thus Honoré Daumier in <i>Le Bain Chaud</i>
+haunts us with the burlesque heroism in the
+face of a man about to sit down in water
+which pretends to scald him. Sir John
+Tenniel haunts us with the complacent
+slyness of Dizzy bringing in the hot water
+for February 1879 to that distrustful lie-abed
+John Bull. Charles Dana Gibson haunts us
+with the charmed vanity of an aged
+millionairess sitting up, bald and bony, in a
+regal bed, with her coffee-cup arrested in
+hand by the fulsome puff of her person and
+adornments read to her by her pretty maid.
+George Du Maurier haunts us with the
+freezing question in the face of the knight<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span>
+who has permitted himself to crack an empty
+eggshell on the "Fust o' Hapril."</p>
+
+<p>How does Cruikshank stand as a creator of
+humorous physiognomy? The answer is not
+from a trumpet. He invented crowds of
+people who seem merely the fruits of formulæ,
+and in comedy the simple application of the
+science of John Caspar Lavater is weak in
+effect, since laughter is tributary to surprise.</p>
+
+<p>Compare Daumier's man in hot water with
+Cruikshank's <i>Trotting</i> (a similar subject in "The
+Humourist," vol. iii., 1820), and one sees the
+difference between mere Lavaterism and
+emotion detected with delight. Compare
+Daumier's facetious ruffian asking the time
+of the man he intends to rob with almost
+any ruffian in Cruikshank's humorous gallery
+and one can only say that, in effect, one
+drew him to haunt the mind; the other to
+bore it. One ruffian surpasses his type
+without deserting it; the other is the type
+itself. Here and there, however, Cruikshank
+creates an individual who is more than his
+type without being divergent from it. Do
+we find such a one in the serious eater in
+<i>Hope</i> ("Phrenological Specimens," 1826), in<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span>
+whose bone, already as innutritious as a toothbrush,
+his dog confides for sustenance? I
+think so, because I see him when I think of
+appetite as of tragedy. Humour accepts him
+in deference to her idea that there is nothing
+that cannot be laughed at, and she is worthy
+of deification when she goes down, down,
+down, laughing where even her worshippers
+are mute.</p>
+
+<p>I doubt if Cruikshank twice excelled in
+respect of authenticity in humour the host
+and guest whom he presented in the reproduced
+subjects from <i>Heads of the Table</i>
+(1845). Humour ascends from his <i>Hope</i> to
+them as to a heaven of animals from a purgatorial
+region. That even what I have called
+Cruikshank's Lavaterism can be amusing
+is proved by his portrait of Socrates at
+the moment before he said "rain follows
+thunder."</p>
+
+<p>We owe probably to Cruikshank's inveterate
+love of punning the capital study in disdain as
+provoked by envy exhibited in one of the lions
+in <i>The Lion of the Party</i> (1845). Of his animal
+humour I shall have more to say: these lions
+are more human than many of his representations<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span>
+of <i>homo sapiens</i>; they need no footline.</p>
+
+<div class="figcenter" style="width: 420px;">
+<a name="illus193fs.jpg" id="illus193fs.jpg"></a><img src="images/illus193fs.jpg" width="420" height="600" alt="X
+
+Xantippe
+
+From &quot;A Comic Alphabet,&quot; 1836. See Pope&#39;s &quot;The Wife of
+Bath&quot; (after Chaucer), II. 387-392." title="" />
+<span class="caption">X
+
+Xantippe
+
+From &quot;A Comic Alphabet,&quot; 1836. See Pope&#39;s &quot;The Wife of
+Bath&quot; (after Chaucer), Il. 387-392.</span>
+</div>
+
+<p>The student of Cruikshank's humour must
+follow him through many volumes in which
+his pencil is subservient to literature; and in
+this journey he will often open his mouth to
+yawn rather than to laugh. The professional
+humorist, like the professional poet, is the prey
+of the Irony that sits up aloft; and Cruikshank
+was not an exception. Indeed one may say
+of some of his crowded caricatures that one
+has to wade through them. In the humorous
+illustration of literature his work is seldom
+risible, but it usually pleases by a combination
+of neatness and energy.</p>
+
+<p>Despite his intense egotism he ventured to
+associate his art with the works of Shakespeare,
+Fielding, Smollett, R. E. Raspe, Cowper, Byron,
+Scott, Dickens, Goldsmith, Douglas Jerrold,
+Thackeray, Le Sage, and Cervantes. These
+names evoke a world of humorous life in
+which is missing, to the knowledge of the
+spectator, only the humour which shines in
+jewels of brief speech and rings in the heavenly
+onomatop&#339;ia of absurdity. Lewis Carroll and
+Oscar Wilde are decidedly not of that world,<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span>
+though Raspe, by a freak of irony, graced his
+brutal pages with lines which the snark-hunter
+might have coveted, and Smollett's elegance
+in burlesque gravity is dear to an admirer of
+"The Importance of being Earnest."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus197fs.jpg" id="illus197fs.jpg"></a><img src="images/illus197fs.jpg" width="600" height="456" alt="Lion of the Party
+
+From &quot;George Cruikshank&#39;s Table Book,&quot; 1845." title="" />
+<span class="caption">Lion of the Party
+
+From &quot;George Cruikshank&#39;s Table Book,&quot; 1845.</span>
+</div>
+
+<p>For Shakespeare, Cruikshank seems to have
+felt a tender reverence. As early as 1814 we
+find him drawing Kean as Richard III., and
+Hamlet for J. Roach, the publisher of "The
+Monthly Theatrical Reporter"; 1815 is the date
+of a lithograph of <i>Juliet and the Nurse</i> published
+by G. Cruikshank and otherwise unmemorable;
+in 1827 he made one of his "Illustrations of
+Time," a vivacious portrait of Puck about to girdle
+the earth. In 1857-8 came the Cruikshankian
+series of etchings for R. B. Brough's "Life of
+Sir John Falstaff." This series exhibits great
+skill and conscientiousness; the critic of "The
+Art Journal" (July 1858) was able to suppose
+them "actual scenes." Falstaff has a serene
+and majestic face; his bulk is too dignified
+for the scales of a showman; one understands
+his æsthetic abhorrence of a "mountain of
+mummy." Humour cancels his debt of shame
+for cowardice, and well would it have been
+if that rebellious Lollard, Sir John Oldcastle,<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span>
+the original of Falstaff, could have looked into
+Falstaff's roguish eyes as he reclined on the
+field of Shrewsbury and peeped at his freedom
+from all the bigotries which threaten and
+terrify mankind. Cruikshank unconsciously
+imparts this thought, but it is with conscience
+that he is amiable to Falstaff, who, begging,
+hiding, shamming, "facing the music," and
+dying, is his pet and ours by grace of his
+refined and beautiful art.</p>
+
+<p>We meet Cruikshank's Falstaff again in the
+drawing entitled <i>The First Appearance of William
+Shakespeare on the Stage of the Globe</i> (January
+1863). Here we have the élite of Shakespeare's
+creations in a throng about his cradle. Titania
+and Oberon are at its foot, as though he owed
+them birth; Touchstone and Feste try to
+catch a gleam of laughter from his eyes;
+Prospero waves his wand; Othello gazes with
+hate at the guarded enchanter, more potent
+than Prospero, who is to bring his woe to
+light; Romeo and Juliet have eyes only for
+each other. Richard the Third is there, sadder
+than Lear; the witches who prophesied the
+steps of Macbeth towards hell gesticulate
+hideously by their cauldron; and Falstaff,<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span>
+cornuted as becomes the "deer" of Mrs Ford,
+smiles at a vessel that reminds him, as do all
+vessels, of sack and metheglins. There is
+charm and beauty of ensemble in this picture,
+which I have described from a coloured drawing
+in the South Kensington Museum made by its
+designer in 1864-5. I know nothing that
+suggests more forcibly the fatefulness hidden
+in the inarticulate stranger who appears every
+day in the world without a history and without
+a name.</p>
+
+<div class="figcenter" style="width: 474px;">
+<a name="illus201fs.jpg" id="illus201fs.jpg"></a><img src="images/illus201fs.jpg" width="474" height="600" alt="ADAMS&#39;S VISIT TO PARSON TRULLIBER. Frontispiece
+to &quot;Joseph Andrews,&quot; 1831. The book is dated 1832. This
+is one of the plates in &quot;Illustrations of Smollett, Fielding,
+and Goldsmith&quot; (1832)." title="" />
+<span class="caption">ADAMS&#39;S VISIT TO PARSON TRULLIBER. Frontispiece
+to &quot;Joseph Andrews,&quot; 1831. The book is dated 1832. This
+is one of the plates in &quot;Illustrations of Smollett, Fielding,
+and Goldsmith&quot; (1832).</span>
+</div>
+
+<p>Smollett and Fielding, both novelists who
+present humour as the flower of annoyance
+and catastrophe, were hardly to be congratulated
+when Cruikshank innocently showed
+them up in "Illustrations of Smollett, Fielding,
+and Goldsmith" (1832). In both the reader
+of literature discerns a gentleman. In
+Fielding he sees a radiant man of the world
+from whom literary giants who succeeded him
+drew nutriment for ambition. Both Smollett
+and Fielding have heroines, and touch men in
+the nerve of sweetness, and fell them with
+love. But Cruikshank cared naught for their
+women, though he reproduced something
+equivalent to the charm of Shakespeare's<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span>
+"Merry Wives." When first he went to
+Smollett, it was for a <i>Point of Humour</i> (1824),
+which centres in an "irruption of intolerable
+smells" at dinner. The point pricked, as one
+may say, but it was blunt in effect compared
+with that of a later artist's drawing of
+<i>Columbus and the Egg</i> or that of Cruikshank's
+cook swallowing to order in <i>Land Sharks and
+Sea Gulls</i> (1838). The really vivid picture is
+recognised by a lasting imprint on a mind
+which is incapable of learning Bradshaw by
+heart, and Cruikshank's drawings for Smollett
+are reduced in my mind to <i>Mrs Grizzle extracting
+three black hairs from Mr Trunnion</i>, and his
+drawings for Fielding are reduced into the
+ruined face and rambling fat of Blear-eyed Moll.</p>
+
+<p>Those who will may compare the Smollett
+of Rowlandson with that of Cruikshank. The
+comparison may determine whether a dog is
+funnier while being trodden on or immediately
+after, and shows the indifference of Rowlandson
+to his artistic reputation. Cruikshank's
+attempts to illustrate Goldsmith are few and,
+as a series, unsuccessful. The reproduced
+specimen is a fair example of his realistic
+method. It exhibits the blackguard's sense<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span>
+of absurdity in the Christian altruism which
+paralyses the nerves of the pocket&mdash;sensitive
+usually as the nerves of sex&mdash;and which
+tyrannises over the nerves of pride.</p>
+
+<div class="figcenter" style="width: 480px;">
+<a name="illus205fs.jpg" id="illus205fs.jpg"></a><img src="images/illus205fs.jpg" width="480" height="525" alt="THE VICAR OF WAKEFIELD PREACHING TO THE
+PRISONERS. From &quot;Illustrations of Popular Works,&quot; 1830." title="" />
+<span class="caption">THE VICAR OF WAKEFIELD PREACHING TO THE
+PRISONERS. From &quot;Illustrations of Popular Works,&quot; 1830.</span>
+</div>
+
+<p>Fisher, Son, &amp; Co., the publishers of
+Cruikshank's illustrations of the "Waverley"
+novels (1836-7-8), assumed "the merit of
+having been the first to illustrate the scenes
+of mirth, of merriment, of humour, that often
+sparkle" in these works. In "Landscape
+Historical Illustrations of Scotland and the
+Waverley Novels" he supplied the comic
+plates; his <i>Bailie Macwheeble rejoicing before
+Waverley</i>, for chapter lxvi. of "Waverley,"
+was the first etching done by him on steel.
+His "Waverley" etchings are characteristic
+works, sometimes brilliant in pattern or composition,
+occasionally ministering to a love of
+physiognomical ugliness which the small nurses
+of the dolls called "golliwoggs" can better
+explain than I. His predilection for the
+curious and uncanny is shown in some striking
+plates, including that in which he depicts the
+terror of Dougal and Hutcheon as they mistake
+the ape squatting on Redgauntlet's coffin for
+"the foul fiend in his ain shape."<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span></p>
+
+<p>Cruikshank's illustrations for "Memoirs
+of the Life and Writings of Lord Byron"
+(1824-5) are cuts which include such deplorable
+effects of bathos (<i>e.g. Haidee saving Don
+Juan from her Father's wrath</i>) that one has no
+heart to praise the rough vigour of <i>Juan opposing
+the Entrance to the Spirit Room</i>. A Byron
+illustrated by protected aborigines seems realisable
+after seeing these pictures. If anybody
+paid the artist for them it should have been
+Wordsworth; that they did not weigh on
+Cruikshank's conscience, we may infer from
+the fact that in 1833 he cheerfully caricatured
+Byron for "Rejected Addresses" as a gentleman
+in an easy-chair kicking the terrestrial
+globe.</p>
+
+<p>We have already discussed the fruit of
+Cruikshank's association with Dickens. We
+have not, however, paid tribute to Cruikshank's
+capital etchings for "Memoirs of Joseph
+Grimaldi," edited by Boz (1838). The portrait of
+the famous clown holding in his arms a hissing
+goose and a squeaking pig, while voluble ducks
+protrude their heads from his pockets and a
+basket of carrots and turnips afflicts his back, is
+extraordinarily funny.<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span></p>
+
+<p>Though Cruikshank's relations with
+Thackeray were far happier than with
+Dickens, they resulted in nothing important
+to his reputation. His etchings illustrating
+Thackeray's contributions to "The Comic
+Almanack" (1839-40) weary one with plain
+or uninteresting faces, though that which
+exhibits the expressive blubber-face of Stubbs,
+horsed for the birching earned by his usury,
+provokes an irrational smile which serves for
+praise. His illustrations to "A Legend of the
+Rhine" (Thackeray's contribution to "George
+Cruikshank's Table-Book," 1845) are not
+equal to Thackeray's drawings for "The Rose
+and the Ring" (1855).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus209fs.jpg" id="illus209fs.jpg"></a><img src="images/illus209fs.jpg" width="600" height="393" alt="PRO-DI-GI-OUS! (Dominie Sampson in &quot;Guy Mannering&quot;), &quot;Landscape-Historical
+Illustrations of Scotland and the Waverley Novels,&quot; 1836." title="" />
+<span class="caption">PRO-DI-GI-OUS! (Dominie Sampson in &quot;Guy Mannering&quot;), &quot;Landscape-Historical
+Illustrations of Scotland and the Waverley Novels,&quot; 1836.</span>
+</div>
+
+<p>In the world of humour one does not
+descend in moving from Thackeray to Charles
+James Lever. With Lever's own portrait of
+his hero to guide him, Cruikshank illustrated
+"Arthur O'Leary" (1844). Among his ten
+etchings in this novel is an amusing exhibition
+of Corpulence submitting to identification by
+measurement; it surpasses the scene by Du
+Maurier in which the tailor promises to be
+round in a minute if his customer will press
+one end of the tape-measure to his waist.<span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span></p>
+
+<p>Cruikshank's ten etchings for "Gil Blas"
+(1833) are the works of an intelligent machine,
+which may be called humorous because it takes
+down the fact that Dame Jacintha held the
+cup to the Canon's mouth "as if he had been
+an infant." R. Smirke, R.A., with his sympathetic
+eye for flesh (as of a gardener for
+flowers) is obviously preferable to Cruikshank
+as Le Sage's illustrator, though our artist's
+Euphrasia is a dainty miss. Cruikshank's
+fifteen illustrations for "Don Quixote" (1833-34)
+are neat and for the most part uninspired
+renderings of pathological humour. Although
+it was within his ability to make a readable
+picture without words, he merely reminds one
+of the anecdote of the attack on the wind-mills.
+Compare the plate referred to with
+the painting on the same subject by Jose
+Moreno Carbonaro. Cruikshank's combatant
+is no more than a knight about to attack
+something&mdash;presumably a wind-mill. Carbonaro
+chooses the moment that exposes the knight
+as mad, futile, dismally droll, and we see him
+and his horse in the air, the latter enough
+to make Pegasus hiccup with laughter.
+Cruikshank's designs for "Don Quixote" compare<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span>
+favourably, however, with the audacious
+scratches which constitute most of his brother
+Robert's chronicle of the Knight of La Mancha
+(1824). The collector who affords a crown to
+buy the former designs should also acquire
+"Rambles in the Footsteps of Don Quixote,"
+by H. D. Inglis, with six etchings by George
+Cruikshank (1837). The etchings&mdash;three of
+which are perfect anecdotes&mdash;were evidently
+done <i>con amore</i>; but, good as they are, they
+were lucky if they satisfied an editor who
+believed Inglis's "New Gil Blas" to be "one
+of the noblest and most finished efforts in the
+line of pure imaginative writing that ever fell
+from the pen of any one man."</p>
+
+<div class="figcenter" style="width: 490px;">
+<a name="illus213fs.jpg" id="illus213fs.jpg"></a><img src="images/illus213fs.jpg" width="490" height="600" alt="DON QUIXOTE AND SANCHO RETURNING HOME.
+From &quot;The History and Adventures of the Renowned
+Don Quixote,&quot; 1833." title="" />
+<span class="caption">DON QUIXOTE AND SANCHO RETURNING HOME.
+From &quot;The History and Adventures of the Renowned
+Don Quixote,&quot; 1833.</span>
+</div>
+
+<p>It would be a species of literary somnambulism
+to wander further in a path of bibliography
+where ideas must be taken as they
+come instead of being ideally chosen and
+grouped. There is this mischief in Cruikshank's
+fecundity, that it tends to convert even a
+fairly bright critic into a scolytus boring his
+way through a catalogue. We emerge from
+our burrowing more percipient than before
+of the speculative nature of the undertaking
+to illustrate illustrious works of imagination.<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span>
+Sinking in competitive humour is akin to
+drowning; for he who materialises images
+despatched to the mind's eye by literary
+genius incurs the risk of having his work not
+only excelled by images in the eyes of minds
+other than his own, but ignored in compliment
+to them. Fortunate, then, is Cruikshank in
+the fact that on the whole we do not regret
+the healthy industrialism which permitted him
+to illustrate so many examples of imaginative
+literature.</p>
+
+<p>The reader to whom any appearance of
+digression is displeasing in art will now kindly
+believe that only a second has elapsed since
+he began the only complete paragraph of page
+183. The scolytus is converted, and we return
+to our true viewpoint&mdash;the middle of a
+heterogeneous litter&mdash;and look for characteristics
+of Cruikshankian humour.</p>
+
+<div class="figcenter" style="width: 385px;">
+<a name="illus217fs.jpg" id="illus217fs.jpg"></a><img src="images/illus217fs.jpg" width="385" height="600" alt="NEW READINGS. The Irishman tries to read a
+reversed sign by standing on his head. From
+&quot;The Humourist,&quot; vol. iv., 1821." title="" />
+<span class="caption">NEW READINGS. The Irishman tries to read a
+reversed sign by standing on his head. From
+&quot;The Humourist,&quot; vol. iv., 1821.</span>
+</div>
+
+<p>We have seen so much of Cruikshank's
+kingdom of supernature that it is scarcely
+necessary to revisit it. The reader will note,
+however, that the degradation of the terrible
+to the absurd is his chief humorous idea of
+supernature, and that he respects the seriousness
+of fairy tales. Not even the burlesque<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span>
+metaphors of Giambattista Basile&mdash;that
+monkey of genius among the euphuists&mdash;tempts
+him to ridicule the stories in "Il
+Pentamerone"; no one less than Milton can
+banish the ridiculous from his idea of Satan.
+A Satan who is a little lower than Punch, is
+he not more absurd than Man figured as a
+little lower than the angels? He is both
+more absurd and more satisfactory. Out of
+the folklore of Iceland and Wales and
+Normandy he comes to us outwitted by
+mortals who seem paradoxically to think that
+the Father of lies has a right to their
+adherence to the letter of their agreements
+with him. Out of Cruikshank's caricature he
+comes to us with a tail capable of delineating
+a whole alphabet of humour. The fire which
+he and his demons can live in without consumption
+becomes jocose. If you doubt it, compare
+Cruikshank's etching for Douglas Jerrold's
+story, "The Mayor of Hole-cum-Corner" (1842),
+with his etching, <i>Sing old Rose and burn the Bellows</i>
+in "Scraps and Sketches" (1828). The
+human-looking demon with his left leg in the
+flabbergasted mayor's fire is much funnier in
+effect than the negro sailor boiling the kettle<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span>
+over his wooden leg. Human terror at
+superiority over natural law is highly ludicrous
+when the superiority is evinced as though it
+were ordinary, negligible, and compatible with
+sociableness. We cannot now say of such
+humour that it is a revelation, though once it
+was brighter than all the fires of Smithfield.
+There are foes of peace which in Cruikshank's
+simplicity he thought of as good. For these,
+too, there is a Humour to keep them at bay,
+until Science delivers us from their evil by
+making them obsequious to all who see them.</p>
+
+<p>When Humour pretends to drop from the
+supernatural to the commonplace, it&mdash;I cannot
+for the moment persuade myself to write he
+or she&mdash;is about to continue its most important
+mission, for it deserts a subject which is
+naturally laughable for one which is not; it
+goes from the supernatural to the commonplace.
+The supernatural is naturally laughable
+because the human animal instinctively laughs
+at that which at once transcends and addresses
+his intelligence, on a principle similar perhaps
+to that which Schopenhauer acted on when he
+smiled at the angle formed by the tangent
+and the circumference of a circle. At the<span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span>
+commonplace, however, the human animal
+never spontaneously laughs. Its staleness is
+not dire to him; but negativeness is not good,
+and Cruikshank helps the commonplace to be
+his friend.</p>
+
+<div class="figcenter" style="width: 336px;">
+<a name="illus221fs.jpg" id="illus221fs.jpg"></a><img src="images/illus221fs.jpg" width="336" height="600" alt="&quot;THE WITS MAGAZINE&quot; (2 vols., 1818) is
+&quot;one of the rarest books illustrated by G.
+Cruikshank.&quot; A perfect copy is said to be
+worth £80. Another rendering by him of
+the above incident will be found in &quot;The
+Humourist,&quot; vol. iv. (1821)" title="" />
+<span class="caption">&quot;THE WITS MAGAZINE&quot; (2 vols., 1818) is
+&quot;one of the rarest books illustrated by G.
+Cruikshank.&quot; A perfect copy is said to be
+worth £80. Another rendering by him of
+the above incident will be found in &quot;The
+Humourist,&quot; vol. iv. (1821)</span>
+</div>
+
+<p>When we view the demeanour of Cruikshank
+towards the commonplace we are agreeably
+surprised by his agility and daring. For
+instance, take a book called "Talpa," by C.
+W. Hoskyns (1852). It is a narrative of
+agricultural operations, in the course of
+which the author says, "The worst-laid tile is
+the measure of the goodness and permanence
+of the whole drain, just as the weakest link
+of a chain is the measure of its strength."
+Cruikshank, not being in the mood for drawing
+a drain, depicts a watchdog who has broken his
+chain's weakest link and is enthusiastically
+rushing towards an intruder whose most
+bitable tissues are reluctantly offered to him
+in the attempt to scale a wall. The hackneyed
+metaphor thus obviously illustrated being
+valueless on the page where we find it, our
+smile is for the "cheek" of the artist in
+calling attention to it rather than for the
+humour of the drawing as an exhibition of<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span>
+funk and glee. Thus the "obvious" marries
+the obvious, and the result is what is called
+originality. Again, what is more commonplace
+in its effect on the mind than decoration as
+viewed on wall-paper, frames, and linoleum, and
+in all those devices which flatter Nature's
+alleged abhorrence of vacuum? It is unhealthy
+to observe their repetitiousness. Cruikshank,
+however, saw that to be amusing where the
+utmost demanded is an inoffensive filling of
+vacancy was to triumph against dulness in its
+own sanctum. Consequently in the decorations
+above and below the main designs in "The
+Humourist" (1819-20) an appropriate hilarity
+animates effects which do not frustrate the
+decorative idea of announcing the completeness
+of the pictures of which they are the
+crown and base. His treatment of title-pages
+is delightfully droll. Thus the title-page of
+"My Sketch Book" (1834) takes the form of
+a portrait of himself, with a nose like the extinguisher
+of a candlestick, directing the posing
+of the required capital letters on the shelves
+of a proscenium. On the title page of "The
+Comic Almanac" (1835) the letter ~L~ is a
+man sitting sideways with his legs stretched<span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span>
+horizontally together, and on the title-page
+of "The Pentamerone" (1848) the polysyllable
+becomes the teeth of an abnormal king.
+Studies by Cruikshank in the South Kensington
+Museum (9950-~T~) show that he imagined the
+letter ~M~ as two Chinamen united by their
+pigtails, which form the ~V~ between the perpendiculars
+of that letter, and are also employed
+as a hammock. This play with the
+alphabet is exhibited as early as 1828 in <i>The
+Pursuit of Letters</i>, where all the letters in
+the word Literature flee, on legs as thin as the
+track of Euclid's point, from philomathic dogs,
+while their brethren ~A B C~ attempt to
+escape from three such babes as might have
+sprung from the foreheads of men made out
+of the dust of encyclopædias. As late as July
+1874, in reply to a coaxing letter from George
+S. Nottage, we see Cruikshank making human
+figures of the letters of the word "Portraits."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus225fs.jpg" id="illus225fs.jpg"></a><img src="images/illus225fs.jpg" width="600" height="492" alt="&quot;while he spake a braying ass
+Did sing most loud and clear.&mdash;William Cowper.
+
+
+From &quot;The Diverting History of John Gilpin,&quot; 1828.
+An earlier design by Cruikshank for &quot;John Gilpin&quot;
+is in &quot;The Humourist,&quot; vol. iii. (1819). 1836 is the
+date borne by a new edition of W. A. Nield&#39;s very
+monotonous musical setting of John Gilpin, &quot;illustrated
+by Cruikshank&quot; (presumably Robert)." title="" />
+<span class="caption">&quot;while he spake a braying ass
+Did sing most loud and clear.&mdash;William Cowper.
+
+
+From &quot;The Diverting History of John Gilpin,&quot; 1828.
+An earlier design by Cruikshank for &quot;John Gilpin&quot;
+is in &quot;The Humourist,&quot; vol. iii. (1819). 1836 is the
+date borne by a new edition of W. A. Nield&#39;s very
+monotonous musical setting of John Gilpin, &quot;illustrated
+by Cruikshank&quot; (presumably Robert).</span>
+</div>
+
+<p>We return now to the zoological humour
+which has flashed across these pages. In the
+United States the art of humanising the
+creatures of instinct to make them articulately
+droll has been practised with such success by
+Gus Dirks, J. S. Pughe, and A. Z. Baker, that<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span>
+if Noah's Ark is not too "denominational," it
+is there that we should seek the origin of their
+humour. Cruikshank, though he did re-draw
+William Clarke's swimming duck holding up an
+umbrella (in "Three Courses and a Dessert,"
+1830), achieved nothing so triumphantly zoological
+as the ostrich who swallowed her medicine
+but forgot to uncork the bottle containing
+it, or the porcupine who asked a barber for a
+shampoo, or the cat who discovered that her
+Thomas was leading a tenth life, or the elephant
+who wondered how the stork managed
+to convey him to his parents, or the beetle-farmer
+who mowed a hairbrush. Cruikshank,
+however, was in the Ark before them, and
+brought back enough humour resembling theirs
+to show what he missed, besides humour of a
+different kind which they do not excel. In
+"Scraps and Sketches" (1829) he preceded
+the Americans in the humour which makes
+the horse the critic of the motor-car, though
+not in that which seems to make the motor-car
+the caricaturist of the horse; and in the above-named
+publication he represents a dog in the
+act of prophesying cheap meat for the canine
+race. Again, in "Scraps and Sketches" (1832)<span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span>
+two elephants laugh together over a pseudopun
+on the word trunk.</p>
+
+<hr style="width: 95%;" /><div class="figcenter" style="width: 245px;">
+<a name="illus229fs.jpg" id="illus229fs.jpg"></a><img src="images/illus229fs.jpg" width="245" height="450" alt="&quot;When the Elephant stands upon his Head, does he
+himself know whether he is standing upon his
+Head or his Heels?&quot; &quot;George Cruikshank&#39;s
+Magazine,&quot; February 1854." title="" />
+<span class="caption">&quot;When the Elephant stands upon his Head, does he
+himself know whether he is standing upon his
+Head or his Heels?&quot; &quot;George Cruikshank&#39;s
+Magazine,&quot; February 1854.</span>
+</div>
+
+<p>We are not, however, reminded of America
+by the inquiry printed below the elephant on
+the next page, which might well have surprised
+Lewis Carroll by resemblance more than all
+the works of Mr G. E. Farrow. Neither does
+America recognise the silence of her own
+laughter in those drawings in which Cruikshank
+caricatures humanity under zoological
+likenesses. His alderman realising Haynes
+Bayly's wish to be a butterfly in "My Sketch
+Book" (1835); his coleopteral beadle in "George
+Cruikshank's Omnibus" (1842), are simple
+attempts to make <i>tours de force</i> of what is
+rather obscurely called the obvious, and one
+realises that art can find itself strong in
+embracing feeble idea. The most striking of
+his zoological ideas is the effect of abnormal
+behaviour on human people. Witness in
+"Scraps and Sketches" (1832) the "dreadful
+tail" unfolded in the dialogue: "Doth he
+woggle his tail?" "Yes, he does." "Then
+I be a dead mon!" One may also cite the
+horror of the diver at the rising in air of a
+curly and vociferous salmon from the dish in<span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span>
+front of him (<i>ibid.</i>). Among all his drawings
+of animals (those for Grimm excepted) there
+is one etching which stands out as a technical
+triumph produced by a sense of irony. I refer
+to the etching entitled <i>The Cat Did It!</i> in
+"The Greatest Plague of Life" (1847). Fifteen
+pussies in a kitchen throw the crockery off
+the dresser, topple the draped clothes-horse
+into the fire, smash the window glass and
+devour the provisions. The scene is like a
+burlesque of one of its designer's etchings in
+Maxwell's "Irish Rebellion." It is unique.</p>
+
+<p>We must not quit Cruikshank's zoological
+drawings without remarking on the curious
+inconsistency of his attitude towards animals.
+We find him both callous and tender. In
+illustrating "The Adventures of Baron
+Munchausen" he chose (one assumes) to draw
+the Baron flaying the fox by flagellation; at
+any rate we have his wood-cut depicting the
+abominable operation; and in "Scraps and
+Sketches" (1832), poor Reynard, for the sake
+of a pun, is exhibited as "Tenant intail" of a
+spring-trap. Yet in "My Sketch Book"
+(1835) he presents us with frogs expostulating
+with small boys for throwing stones at them<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span>
+("I pray you to cease, my little Dears! for
+though it may be sport to you, it is death to
+us"). Again, his canine reference to cats'
+meat, already mentioned, implies a heartlessness
+towards horses which is contradicted by
+his touching but not much prized etching
+<i>The Knackers Yard</i>, to be found in "The
+Voice of Humanity" (May 1831), in "The
+Melange" (1834), and in "The Elysium of
+Animals" (1836). Moreover, in "My Sketch
+Book" (1835) he severely exhibits human
+insensitiveness to the sufferings of quadrupeds
+in <i>The Omnibus Brutes&mdash;qy. which are they?</i> It
+is therefore clear that Cruikshank thought
+humanely about animals, though as a humorist
+he was irresponsible and gave woe's present
+to ease&mdash;its comicality. And before we write
+him down a vulgarian let us remember our
+share in his laughter at the absurdity of
+incarnations which confer tails on elemental
+furies and indecencies, and compel elemental
+importances and respectabilities to satisfy their
+self-love by ruinous grimaces and scaffoldings
+of adipose tissue.</p>
+
+<div class="figcenter" style="width: 473px;">
+<a name="illus233fs.jpg" id="illus233fs.jpg"></a><img src="images/illus233fs.jpg" width="473" height="600" alt="&quot;THE CAT DID IT!&quot; From &quot;The Greatest Plague in
+Life&quot; (1847)." title="" />
+<span class="caption">&quot;THE CAT DID IT!&quot; From &quot;The Greatest Plague in
+Life&quot; (1847).</span>
+</div>
+
+<p>In a comparison I have already associated
+Cruikshank with Lewis Carroll, who was<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span>
+systematically the finest humorist produced
+by England till his death in 1898. The most
+intensely comic thing ever wrought by the
+hand of Cruikshank is, I think, by the absolute
+perfection of its reasoning <i>a priori</i>, a genuine
+"carroll" in a minor key. It is the drawing in
+"Scraps and Sketches" (1832) in which, to a
+haughty, unamused commander, the complainant
+says, "Please, your Honor, Tom Towzer
+has tied my tail so tight that I can't shut my
+eyes."</p>
+
+<p>One of Cruikshank's humorous ideas is
+particularly his own, because it satisfies his
+passionate industry. I mean those processions
+of images which he summoned by the enchantment
+of single central ideas. <i>The Triumph of
+Cupid</i> in "George Cruikshank's Table Book"
+(1845) is as perfect an example as I can cite.
+Cruikshank is seated by a fire with his "little
+pet dog Lilla" on his lap. From the pipe he
+is smoking ascends and curls around him a
+world of symbolic life. The car of the boy-god
+is drawn by lions and tigers. Another
+cupid stands menacingly on a pleading Turk;
+a third cupid is the tyrant over a negro under
+Cruikshank's chair; a fourth cupid, sitting on<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span>
+Cruikshank's left foot, toasts a heart at the
+"fire office"; more cupids are dragging Time
+backwards on the mantelpiece, and another is
+stealing his scythe. Consummate ability is
+shown in the delicate technique of this etching,
+which was succeeded as an example of <i>multum
+in parvo</i> by the well-known folding etching
+<i>Passing Events or the Tail of the Comet of 1853</i>,
+appearing in "George Cruikshank's Magazine"
+(February 1854).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus237fs.jpg" id="illus237fs.jpg"></a><img src="images/illus237fs.jpg" width="600" height="448" alt="TITLE PAGE OF &quot;ILLUSTRATIONS OF TIME,&quot; 1827 This drawing borrows
+idea from Gillray, as also does the frontispiece by Cruikshank to &quot;Angelo&#39;s
+Picnic&quot; (1834). Compare Gillray&#39;s John Bull taking a Luncheon (1798)." title="" />
+<span class="caption">TITLE PAGE OF &quot;ILLUSTRATIONS OF TIME,&quot; 1827 This drawing borrows
+idea from Gillray, as also does the frontispiece by Cruikshank to &quot;Angelo&#39;s
+Picnic&quot; (1834). Compare Gillray&#39;s John Bull taking a Luncheon (1798).</span>
+</div>
+
+<p>Playing on words is very characteristic of
+Cruikshank's humour. Thus he shows us
+"parenthetical" legs, as Dickens wittily called
+them, by the side of those of "a friend in-kneed,"
+and a man (dumbly miserable) arrested
+on a rope-walk is "taken in tow." Viewing
+Cruikshank at this game does not help one
+to endorse the statement of Thomas Love
+Peacock, inspired by the drawing of January
+in "The Comic Almanack" (1838),</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A great philosopher art thou, George Cruikshank,<br /></span>
+<span class="i0">In thy unmatched grotesqueness,"<br /></span>
+</div></div>
+
+<p>for a philosopher is a systematiser and a punster
+is an anarchist. But we do not need him as
+a philosopher or as an Importance of any kind.<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span>
+What we see and accept as philosophy in
+him is the appropriation of misery for that
+Gargantuan meal of humour to which his
+Time sits down. Yet in that philosophy it is
+certain that ironists and pessimists excel him.</p>
+
+<p>An entomologist as generous in classification
+as Mr Swinburne, author of "Under the
+Microscope," will now observe me in the
+process of being re-transformed into a scolytus.
+"Impossible!" cries the reader who remembers
+my repentance on page 203. But I say "Inevitable."
+Since I had the courage to bore my
+way through a catalogue of famous books
+illustrated humorously by Cruikshank, I
+feel it my duty to bid the reader look at a
+list of works of which he should acquire all
+the italicised items, in such editions as he can
+afford, if he wishes to know Cruikshank's
+humour as they know it who call him "The
+Great George."</p>
+
+<p>
+The Humourist (4 vols., 1819-20).<br />
+<i>German Popular Stories</i> (2 vols., 1823-4).<br />
+<i>Points of Humour</i> (2 vols., 1823-4).<br />
+<i>Mornings at Bow Street</i> (1824).<br />
+<i>Greenwich Hospital</i> (1826).<br />
+<i>More Mornings at Bow Street</i> (1827).<br />
+<span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span></p>
+
+<p>
+Phrenological Illustrations (1826).<br />
+Illustrations of Time (1827).<br />
+<i>Scraps and Sketches</i> (4 parts and one plate of an<br />
+unpublished 5th part, 1828-9, 1831-2, 1834).<br />
+<i>My Sketch Book</i> (9 numbers, with plates dated 1833, 1834, 1835).<br />
+<i>Punch and Judy</i> (1828).<br />
+<i>Three Courses and a Dessert</i> (1830).<br />
+<i>Cruikshankiana</i> (1835).<br />
+<i>The Loving Ballad of Lord Bateman</i> (1839).<br />
+<i>George Cruikshank's Omnibus</i> (9 parts, 1841-2).<br />
+The Bachelor's Own Book (1844).<br />
+<i>George Cruikshank's Table Book</i> (12 numbers, 1845).<br />
+George Cruikshank's Fairy Library (4 parts, 1853-4, 1864).<br />
+George Cruikshank's Magazine (2 numbers, 1854).<br />
+</p>
+
+<p>This list reminds us that, though Cruikshank
+often conferred a bibliophile's immortality
+upon authors more "writative," to quote the
+Earl of Rochester, than inspired, he was sometimes
+the means of arresting great literary
+merit on its way to oblivion. A case in point
+is William Clarke's "Three Courses and a
+Dessert," a book of racy stories containing
+droll and exquisite cuts by Cruikshank, after
+rude sketches by its author, who did Cruikshank<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span>
+the service of accusing him in "The Cigar"
+(1825) of being stubbornly modest for half an
+hour. Again, we owe to Cruikshank our
+knowledge of "The Adventures of Sir Frizzle
+Pumpkin; Nights at Mess; and Other Tales"
+(1836), a work of which I will only say that
+its anonymous narrative of good luck in
+cowardice won a smile from one of the most
+lovable of poets on the day she died.</p>
+
+<div class="figcenter" style="width: 474px;">
+<a name="illus241fs.jpg" id="illus241fs.jpg"></a><img src="images/illus241fs.jpg" width="474" height="500" alt="&quot;The Turk&#39;s only daughter approaches to mitigate the sufferings
+of Lord Bateman.&quot; &quot;The Loving Ballad of Lord Bateman,&quot;
+1839." title="" />
+<span class="caption">&quot;The Turk&#39;s only daughter approaches to mitigate the sufferings
+of Lord Bateman.&quot; &quot;The Loving Ballad of Lord Bateman,&quot;
+1839.</span>
+</div>
+
+<p>"The Loving Ballad of Lord Bateman" is
+one of the puzzles of literature. Mr Andrew
+Lang decides that it is a <i>volkslied</i>, to which,
+for the version of it illustrated by Cruikshank,
+Thackeray contributed the notes considered
+by some to be by Dickens. Mr Blanchard
+Jerrold thinks "nobody but Thackeray"
+could have written the lines about "this young
+bride's mother Who never was heard to speak
+so free," and I think that the notes are
+Thackeray's, and the ballad an example of a
+class of literature from which Thackeray drew
+comic inspiration. Cruikshank heard it sung
+outside "a wine vaults" (<i>sic</i>) at Battle Bridge
+by a young gentleman called "The Tripe-skewer."
+The ballad became part of Cruikshank's
+repertory. Mr Walter Hamilton states<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span>
+that Cruikshank sang "Lord Bateman" in
+the presence of Dickens and Thackeray "at a
+dinner of the Antiquarian Society, with the
+Cockney mal-pronunciations he had heard
+given to it by a street ballad-singer." He
+adds that Thackeray expressed a wish, which
+he allowed Cruikshank to sterilise, to print
+the ballad with illustrations. We may therefore
+suppose, despite the omission of the notes
+to Lord Bateman from the "Biographical
+Edition" of Thackeray's works, that they
+are by the author of "The Ballad of Eliza
+Davis." Cruikshank, overflowing with lacteal
+kindness, added three verses to the "loving
+ballad" as he heard it, in which the bride who
+yields place to the Turk's daughter is married
+to the "proud porter." Cruikshank's etchings
+are charmingly naïve and expressive. The
+bibliophool pays eight guineas for a first
+edition, minus the shading of the trees in
+the plate entitled <i>The Proud Young Porter
+in Lord Bateman's State Apartment</i>.</p>
+
+<p>"The Bachelor's Own Book" is a story told
+in pictures and footlines, both by the artist.
+The hero is "Mr Lambkin, gent," a podgy-nosed
+prototype of Juggins, who amuses himself<span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span>
+by the nocturnal removal of knockers and
+duly appears in the police court, but is ultimately
+led to domestic felicity by the dreary
+spectacle of a confirmed bachelor alone in an
+immense salon of the Grand Mausoleum Club.
+Some of the etchings&mdash;notably Mr Lambkin
+feebly revolting against his medicine&mdash;are
+mirth-provoking, and his various swaggering
+attitudes are well-imagined.</p>
+
+<p>"Cruikshankiana" conveniently presents a
+number of George Cruikshank's caricatures in
+reprints about a decade older than the plates.
+The preface solemnly but with ludicrous inaccuracy
+states that in each etching "a stern
+moral is afforded, and that in the most
+powerful and attractive manner."</p>
+
+<p>We are now brought to the conclusion of our
+most important chapter. Will Cruikshank's
+humour live? or, rather, may it live? for
+things live centuries without permission, and
+the fright of Little Miss Muffet is more remembered
+than the terror of Melmoth. The
+answer should be "Yes" from all who acknowledge
+beauty in the sparkle of evil and of good.
+No humorist worthy of that forbidden fruit
+which made thieves of all mankind can refrain<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span>
+from the laughter which is paid for by another.
+Mark Twain, who has nerves to thrill for
+martyred Joan of Arc, delights in the epitaph,
+"Well done, good and faithful servant," pronounced
+over the frizzled corpse of a negro
+cook. Lowell, the poet, extracted a pun from
+the blind eyes of Milton. <i>Punch</i>, in 1905,
+amused us with the boy who supposed that
+horses were made of cats' meat, and in 1905 Sir
+Francis Burnand thought that the most humorous
+pictorial joke published by him in Punch
+was Phil May's drawing of a fisherman being
+invited to enter the Dottyville Lunatic Asylum.
+There is heroism as well as vulgarity in laughter
+saluting death and patience, hippophagy and
+cannibalism, ugliness and deprivation. He is
+a wise man who sees smiling mouths in the
+rents of ruin and the spaces between the ribs
+of the skeleton angel. Humour, irresponsible
+and purposeless, is of eternity, and to me (at
+least) it is the one masterful human energy in
+the world to-day. It is against compassion and
+importance and remorse and horror and blame,
+but it is not for cruelty, or for indifference to
+distress. Nothing exists so separate from
+truth and falsehood and right and wrong.<span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span>
+Nothing is more instant in pure appeal to the
+intellect, no blush is more sincere than that of
+the person who before company cannot see a
+joke. Humorists are dear to the critic because
+they criticise by re-making in the world of idea
+the things they criticise. Among them Cruikshank
+is dearer than some, less dear than others.
+Through the regency and reign of the eldest
+son of George the Third he, even more than
+Cobbett, seems to me the historian of genius,
+by virtue of prodigious merriment in vulgar art.
+The great miscellany of humour which he
+poured out revitalises his name whenever it is
+examined by the family of John Bull. For it
+is his own humour&mdash;the humour of one who
+had the power to appropriate without disgrace
+because he was himself an Original.<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="VII" id="VII"></a>VII</h2>
+
+
+<p>Our classification of Cruikshank's works has
+enabled us to see the objective range of his
+artistic personality. A few words must now
+be said of the media in which he worked. Of
+these media the principal was etching.</p>
+
+<p>"O! I've seen Etching!" exclaims
+Cruikshank in 1859; "it's easy enough, you
+only rub some black stuff over the copper
+plate, and then take a[n] etching needle, and
+scratch away a bit&mdash;and then clap on some
+a-ke-ta-ke (otherwise aquafortis)&mdash;and there
+you are!" "Wash the <i>steel</i>," he says in another
+of his quaint revelations, "with a solution of
+<i>copper</i> in <i>Nitro[u]s acid</i>&mdash;to <i>tarnish</i> the <i>tarnation
+Bright steel</i> before Etching, to save the eyes."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus249fs.jpg" id="illus249fs.jpg"></a><img src="images/illus249fs.jpg" width="600" height="381" alt="NORNA DESPATCHING THE PROVISIONS. Illustrates &quot;The Pirate,&quot; by Sir Walter
+Scott, in &quot;Landscape-Historical Illustrations of Scotland, and the Waverley Novels,&quot; 1838." title="" />
+<span class="caption">NORNA DESPATCHING THE PROVISIONS. Illustrates &quot;The Pirate,&quot; by Sir Walter
+Scott, in &quot;Landscape-Historical Illustrations of Scotland, and the Waverley Novels,&quot; 1838.</span>
+</div>
+
+<p>In his 77th year he says: "I am working
+away as hard as ever at water color drawings
+and paintings in oil, doing as little Etching as
+possible as that is very slavish work."</p>
+
+<p>As he had etched about 2700 designs when<span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span>
+he made this statement, it is impossible not
+to sympathise with his recreative change of
+medium. It must be remembered that, except
+in dry-point etching, the bite of the acid is
+trusted to engrave the design of the needle
+and that, when the stronger lines are obtained
+"by allowing the acid to act for a longer time"
+on a particular part or parts of the etched
+plate, the mechanical work, and work of
+calculation, imposed upon the etcher is formidable.
+Until, in the late seventies of the nineteenth
+century, the invasion of the process-block
+gave manual freedom to the bookseller's
+artist, that individual was continually sighing
+over the complexity of the method by which he
+paid the tribute of his imagination to Mammon.
+In the hands of the wood-engraver an artist's
+unengraved work was apparently always liable
+to the danger of misrepresentation unless the
+artist engraved it himself. Even the great
+John Thompson is not free from the suspicion
+of having unconsciously assisted "demon
+printers" in transforming into "little dirty
+scratches" some designs by Daniel Maclise,
+whose expressions are preserved in this
+sentence. Cruikshank who, if we add his<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span>
+woodcuts to his etchings, saw upwards of
+4000 designs by him given with laborious
+indirectness to the world, would have been
+more than human if he had considered his
+unskilfulness in the art of producing and
+employing the colours between black and
+white as a reason for refraining from painting
+in oils. In 1853 "he entered as a student at
+the Royal Academy"; but his industry, in
+the rôle of a pupil of 60, was, it seems, less
+than his humility, for "he made very few
+drawings in the <i>Antique</i>," says Mr Charles
+Landseer, "and never got into the <i>Life</i>."
+Cruikshank, however, had exhibited in the
+Royal Academy as early as 1830, and in 1848
+he dared to paint for the Prince Consort the
+picture entitled <i>Disturbing the Congregation</i>.
+This picture of a boy in church looking passionately
+unconscious of the fact that his sacrilegious
+pegtop is lying on the grave of a
+knight in full view of the beadle, is an anecdote
+painted more for God to laugh at than for
+Christians of the "so-called nineteenth
+century," but a philosophic sightseer like
+myself rejoices in it. This picture and <i>The
+Fairy Ring</i>, already praised, reveal Cruikshank's<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span>
+talent sufficiently to prevent one from regretting
+that he ultimately preferred covering
+canvases to furrowing plates.</p>
+
+<div class="figcenter" style="width: 341px;">
+<a name="illus253fs.jpg" id="illus253fs.jpg"></a><img src="images/illus253fs.jpg" width="341" height="600" alt="(a) CRUSOE&#39;S FARMHOUSE.
+
+(b) CRUSOE IN HIS ISLAND HOME.
+
+From &quot;Robinson Crusoe,&quot; 1831." title="" />
+<span class="caption">(a) CRUSOE&#39;S FARMHOUSE.
+
+(b) CRUSOE IN HIS ISLAND HOME.
+
+From &quot;Robinson Crusoe,&quot; 1831.</span>
+</div>
+
+<p>To do him justice he was academically
+interested in the whole technique of pictorial
+art as practised in his day. He admitted, for
+instance, to Charles Hancock, "the sole
+inventor and producer of blocks by the process
+known as 'Etching on Glass,'" that if this
+invention had come earlier before him "it
+would have altered the whole character" of
+his drawing, though the designs which he
+produced by Hancock's process&mdash;the first of
+which was completed in April 1864&mdash;include
+nothing of importance.</p>
+
+<p>We will not further linger over the media
+of reproduction employed by our artist, but
+summon a few ideas suggested by the vision
+we have had of him sitting like a schoolboy in
+the schoolroom of the Royal Academy.</p>
+
+<p>As a draughtsman he had been professorial
+in 1817 when he published with S. W. Fores
+two plates entitled <i>Striking Effects produced
+by lines and dots for the assistance of young
+draftsmen</i>, wherein he showed, like Hogarth,
+the amount of pictorial information which an<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span>
+artist can convey by a primitively simple
+method. He was professorial, too, when in
+1865 he attempted to put in perspective a
+twelve mile giant taking a stride of six miles,
+on a plate 6 inches long and 3-3/5 inches broad,
+and informed the publisher of "Popular
+Romances of the West of England" (1865)
+that about 1825 he had attempted to put in
+perspective the Miltonic Satan whose body</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Prone on the flood, extended long and large,<br /></span>
+<span class="i0">Lay floating many a rood."<br /></span>
+</div></div>
+
+<p>Cruikshank's greatest enemy was his
+mannerism which may even delude the pessimist
+of scant acquaintance with him into the
+idea that it imperfectly disguises an inability
+to draw up to the standard of Vere Foster.
+The Cruikshankian has merely to direct the
+attention of such a person to the frontispiece
+executed by Cruikshank for T. J. Pettigrew's
+"History of Egyptian Mummies" (1834). If
+a man can draw well in the service of science
+his mannerism is the accomplishment of an
+intention.</p>
+
+<div class="figcenter" style="width: 449px;">
+<a name="illus257fs.jpg" id="illus257fs.jpg"></a><img src="images/illus257fs.jpg" width="449" height="600" alt="THE VETERANS. From &quot;Songs, Naval and National,
+of the late Charles Dibden,&quot; 1841." title="" />
+<span class="caption">THE VETERANS. From &quot;Songs, Naval and National,
+of the late Charles Dibden,&quot; 1841.</span>
+</div>
+
+<p>Ruskin said that Cruikshank's works were
+"often much spoiled by a curiously mistaken<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span>
+type of face, divided so as to give too much to
+the mouth and eyes and leave too little for
+forehead," and yet there is extant a curious
+MS. note by Cruikshank to the effect that Mr
+Ruskin's eyes were "in the wrong Place and
+not set properly in his head," showing that
+Cruikshank was a student of even a patron's
+physiognomy and suggesting that, if Ruskin
+had roamed in Cruikshank's London he would
+have convicted the artist of a malady of
+imitativeness. It must be remembered that
+he repeatedly drew recognisable portraits of
+his contemporaries; indeed he was so far from
+being a realist devoted to libel that Mr Layard
+confides to us that various studies by George
+Cruikshank of "the great George" would, he
+thinks, "have resulted in an undue sublimation
+had completion ever been attained."</p>
+
+<p>Yet the sublimation of the respectable is
+precisely the rosy view of Cruikshank the man
+enjoyed by me at the present moment. He
+is Captain of the 24th Surrey Rifle Volunteers;
+he is Vice-President of the London Temperance
+League. He sketches a beautiful palace as
+a pastime. He is in the same ballroom as
+Queen Victoria, and Her Majesty bows to<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span>
+him. Withal he is sturdy and declines the
+Prince Consort's offer for his collection of
+works by George Cruikshank. In the end
+St Paul's Cathedral receives him, and the
+person who knew him most intimately declares
+on enduring stone that she loved him best.</p>
+
+<div class="figcenter" style="width: 450px;">
+<a name="illus261fs.jpg" id="illus261fs.jpg"></a><img src="images/illus261fs.jpg" width="450" height="346" alt="VIGNETTE. From &quot;Peeps at Life,&quot; by the London
+Hermit (London: Simpkin, Marshall &amp; Co.),
+engraved by Bolton, 1875." title="" />
+<span class="caption">VIGNETTE. From &quot;Peeps at Life,&quot; by the London
+Hermit (London: Simpkin, Marshall &amp; Co.),
+engraved by Bolton, 1875.</span>
+</div>
+
+<p>We are now at the end, and cannot
+stimulate the muse of our prose to further
+efforts. She being silent obliges our blunt
+British voice to speak for itself. Inasmuch as
+Cruikshank was a mannerist, he is inimitable
+except by them who take great pains to vex
+the critical of mankind. Inasmuch as he
+expressed the beauty of crookedness, as though
+he found the secret of artistic success in
+punning on his own name, he offers a model
+worthy of practical study. His fame as an
+etcher is too loud to be lost in the silence of
+Henri Beraldi, who enumerated "Les graveurs
+du dix-neuvième siècle," in 12 tomes (1885-1892),
+without mentioning his name. Though C
+is more employed in the initials of words than
+any other letter in our alphabet, the name of
+Cruikshank comes only after "Curious" in its
+attractiveness for the readers of entries under
+the letter C in English catalogues of second-hand<span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span>
+books. It may be that to etchings in
+books of Cruikshank's period is ascribed, since
+the usurpation of the process-block, the
+factitious value of curios, and that he, Beraldi's
+Great Omitted, profits thereby. It is a fact
+that he is "collected" like postage-stamps,
+though no published work of his has attained
+the price per copy of the imperforate twopenny
+Mauritius of 1847. But we have descended
+to a comparison so unfortunate in its logical
+consequences that it is well to prophesy the
+immortality of Cruikshank from other than
+commercial tokens. Those tokens exist in
+the undying praises of Dickens, Thackeray,
+"Christopher North," and Ruskin, in the
+enormous work of his principal bibliographer
+George William Reid, and, not least to the
+spiritual eye, in the permanence of the
+impression made by a few of his designs on a
+memory that has forgotten a little of that
+literary art which is the only atonement offered
+by its owner to the world for all the irony of
+his requickened life.</p>
+<p><span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+
+<h2><a name="Annotated_Bibliographical_Index" id="Annotated_Bibliographical_Index"></a></h2><h2>ANNOTATED BIBLIOGRAPHICAL INDEX</h2>
+
+<p class="hanging">
+<i>Numbers referring to illustrations are in larger type. The titles of
+      illustrations are in italics, the titles of books and periodicals in
+      inverted commas. An article or demonstrative adjective in parenthesis
+      in the first line of an entry indicates that the article
+      parenthesised begins the title of the subject of that entry.</i>
+</p>
+
+<p>
+Achilles in Hyde Park, 171.<br />
+<span style="margin-left: 1em;"><i>See</i> Brazen, Ladies, Making.</span><br />
+<br />
+Acton, John Adams. <i>See</i> Cruikshank, George.<br />
+<br />
+Adam-tilers. An Adam-tiler is a receiver of stolen goods, a pickpocket,<br />
+ a fence, 103.<br />
+<br />
+"Adventures (The) of Gil Blas of Santillane. Translated from the French<br />
+of Lesage, by T. Smollett, M.D. To which is prefixed a memoir of the<br />
+author, by Thomas Roscoe. Illustrated by George Cruikshank [and K.<br />
+Meadows]" (2 vols., London: Effingham Wilson, 1833; being vols. xvi. and<br />
+xvii. of "The Novelist's Library, edited by Thomas Roscoe, with<br />
+illustrations by George Cruikshank"), 199.<br />
+<br />
+"Adventures (The) of Joseph Andrews, by Henry Fielding, Esq., with<br />
+illustrations by George Cruikshank" (London: James Cochrane &amp; Co., 1832.<br />
+It is vol. vii. of "The Novelist's Library: edited by Thomas Roscoe,<br />
+Esq., with illustrations by George Cruikshank"), <b>189</b>.<br />
+<br />
+"Adventures (The) of Sir Frizzle Pumpkin; Nights at Mess; and Other<br />
+Tales. With illustrations by George Cruikshank" (William Blackwood &amp;<br />
+Sons, Edinburgh; and T. Cadell, Strand, London, 1836. The author is Rev.<br />
+James White). 231.<br />
+<br />
+A. E. (George Russell), 161.<br />
+<br />
+<i>A Going! A Going! The Last Time A Going!!!</i> (print pub. 12 April 1821<br />
+by G. Humphrey), 25.<br />
+<br />
+Ainsworth, William Harrison, 77, 81. <i>See</i> Ainsworth's, Artist, Guy<br />
+Fawkes, Jack Sheppard, Miser's, Rookwood, S[ain]t James's, Sir Lionel,<br />
+Tower, Windsor.<br />
+<br />
+"Ainsworth's Magazine: a Miscellany of Romance, General Literature, and<br />
+Art. Edited by William Harrison Ainsworth" (illustrations by George<br />
+Cruikshank appear in the first 6 vols. and the 9th vol. "Guy Fawkes" was<br />
+reprinted with Cruikshank's etchings in vols. xvi. xvii. in 1849 and<br />
+<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span>1850. The first 9 vols. were published in London by [successively] Hugh<br />
+Cunningham, 1842; Cunningham &amp; Mortimer, 1842-1843; John Mortimer,<br />
+1843-1845; Henry Colburn, 1845; Chapman &amp; Hall, 1846), 86, <b>87</b>, 90, <b>91</b>,<br />
+93, 137.<br />
+<br />
+Akerman, John Yonge, 125, 126.<br />
+<span style="margin-left: 1em;"><i>See</i> Gentleman.</span><br />
+<br />
+Albert, Prince (the Prince Consort, born 1819, died 1861), 44, 240, 248.<br />
+<span style="margin-left: 1em;"><i>See</i> Original.</span><br />
+<br />
+Albert Memorial, 43.<br />
+<br />
+Alfieri, 72.<br />
+<br />
+Almanack. <i>See</i> Comic Almanack.<br />
+<br />
+Alphabet. 211-212.<br />
+<span style="margin-left: 1em;"><i>See</i> Comic Alphabet.</span><br />
+<br />
+Andersen, Hans Christian, 36.<br />
+<br />
+"Angelo's Picnic; or, Table Talk, including numerous Recollections of<br />
+Public Characters, who have figured in some part or another of the stage<br />
+of life for the last fifty years; forming an endless variety of talent,<br />
+amusement, and interest, calculated to please every person fond of<br />
+Biographical Sketches and Anecdotes. Written by Himself.... In addition<br />
+to which are several original literary contributions from the following<br />
+Distinguished Authors:&mdash;Colman, Theodore Hook, Bulwer, Horace Smith, Mrs<br />
+Radcliffe, Miss Jane Porter, Mrs Hall, Kenny, Peake, Boaden, Hermit in<br />
+London, &amp;c." (London: John Ebers, 1834), <b>225</b>.<br />
+<br />
+"Annals (The) of Gallantry, or the Conjugal Monitor," by A. Moore, LL.D.<br />
+(3 vols., London: printed for the proprietors by M. Jones, 1814, 1815.<br />
+First issued in 18 parts), 70-71.<br />
+<br />
+Anti-Slavery. <i>See</i> New.<br />
+<br />
+"Arabian Nights" (the publisher, Mr John Murray, has a record that<br />
+George Cruikshank was paid £67, 4s. for some illustrations for the<br />
+"Arabian Nights"), 156.<br />
+<br />
+Arnold, Matthew, 69.<br />
+<br />
+"Arthur O'Leary: His Wanderings and Ponderings in many Lands. Edited by<br />
+his Friend, Harry Lorrequer, and Illustrated by George Cruikshank. In<br />
+Three Volumes" (London: Henry Colburn, 1844), 196.<br />
+<br />
+"Artist (The) and the Author. A Statement of Facts, by the Artist,<br />
+George Cruikshank. Proving that the Distinguished Author, Mr W. Harrison<br />
+Ainsworth, is 'labouring under a singular delusion' with respect to the<br />
+origin of 'The Miser's Daughter,' 'The Tower of London,' &amp;c." (London:<br />
+Bell &amp; Daldy, 1872), 60.<br />
+<br />
+"Art Journal (The)," 184.<br />
+<br />
+"Athenæum (The)," 82.<br />
+<br />
+"Attic Miscellany," 11.<br />
+<br />
+Augustus Frederick, Duke of Sussex (6th son of George III., born 1773,<br />
+died 1843. George Cruikshank etched facsimiles of five illustrations in<br />
+a 13th century Hebrew and Chaldee Pentateuch, copies of two<br />
+illuminations from a 13th century Armenian MS. of the Gospels and an<br />
+illumination to a Latin Psalter of the 10th century for "Bibliotheca<br />
+Sussexiana. A descriptive catalogue, accompanied by historical and<br />
+biographical notices of the manuscripts and printed books contained in<br />
+the library of His Royal Highness the Duke of Sussex, K.G., D.C.L., &amp;c.<br />
+<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span>&amp;c. &amp;c. &amp;c., in Kensington Palace. By Thomas Joseph Pettigrew, F.R.S., F.A.S., F.L.S.,<br />
+and librarian to H.R.H. the Duke of Sussex" [London: Longman &amp; Co.,<br />
+Paternoster Row; Payne &amp; Foss, Pall Mall, Harding &amp; Co., Pall Mall East;<br />
+H. Bohn, Henrietta Street; and Smith &amp; Son, Glasgow, 1827]). <i>See</i><br />
+Illustrations of Popular.<br />
+<br />
+<br />
+Bacchus <i>See</i> Worship; Oil Painting.<br />
+<br />
+"Bachelor's (The) Own Book. The Adventures of Mr Lambkin, Gent., in the<br />
+Pursuit of Pleasure and Amusement, and also in search of Health and<br />
+Happiness" (designed, etched, and published by George Cruikshank, 1 Aug.<br />
+1844), 232-233.<br />
+<br />
+Baker, A.Z., 212.<br />
+<br />
+Ballooning, 40.<br />
+<br />
+"Banbury Chap-Books." <i>See</i> Pearson, Edwin.<br />
+<br />
+"Bands (The) in the Parks. Copy of a letter supposed to have been sent<br />
+from a High Dignitary of the Church to 'the Right Man in the Right<br />
+Place,' upon the subject of the military Bands Playing in the Parks on<br />
+Sundays. Picked up and published by George Cruikshank" (London: W.<br />
+Tweedie, 1856), 59.<br />
+<br />
+Bank of England, 28.<br />
+<br />
+Bank Restriction Note (Hone is said to have realised over £700 by the<br />
+sale of this shocker), 28.<br />
+<br />
+Barham, Rev. Richard Harris ("Thomas Ingoldsby"; born 6 Dec. 1788, died 17<br />
+June 1845). <i>See</i> Ingoldsby Legends.<br />
+<br />
+Barker, M. H. ("The" and "An" "Old Sailor"), 95.<br />
+<span style="margin-left: 1em;"><i>See</i> Greenwich, Old Sailor's Jolly Boat, Topsail-sheet.</span><br />
+<br />
+Bartholomew Fair, 39.<br />
+<br />
+Basile, Giambattista, 204.<br />
+<span style="margin-left: 1em;"><i>See</i> Pentamerone.</span><br />
+<br />
+Bateman, Lord. <i>See</i> Loving.<br />
+<br />
+Bath. <i>See</i> New Bath.<br />
+<br />
+Bayly, Thomas Haynes (died 22 April 1839), 216.<br />
+<br />
+Beachy Head, 108.<br />
+<br />
+"Beauties (The) of Washington Irving, Esq.... Illustrated with woodcuts,<br />
+engraved by Thompson; from drawings by George Cruikshank, Esq." (4th ed.,<br />
+London: Thomas Tegg &amp; Son, 1835. G. Cruikshank illustrated "Knickerbocker's<br />
+New York" [<i>sic</i>] with a fine etching entitled <i>Ten Breeches</i>, and<br />
+another entitled <i>Anthony Van Corlear &amp; Peter Stuyvesant</i>, pub. in<br />
+"Illustrations of Popular Works," 1830). <i>See</i> Thompson, John.<br />
+<br />
+"Bee (The) and the Wasp. A Fable&mdash;in verse. With designs and etchings, by<br />
+G. Cruikshank" (London: Charles Tilt, 1832. The text is by Richard<br />
+Frankum), 148.<br />
+<br />
+Beerbohm, Max, 22.<br />
+<br />
+Belch, W, 12.<br />
+<br />
+Bentley, Richard, publisher (died 10 Sept. 1871 in the 77th year of his<br />
+age), 86.<br />
+<br />
+Bentley's Miscellany (64 vols., London: Richard Bentley, 1837-1868.<br />
+George Cruikshank contributed illustrations to the first 14 vols.<br />
+Charles Dickens edited vols. i.-v., and part of vol. v. William Harrison<br />
+Ainsworth was the next editor, but started an opposition magazine in<br />
+<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span>1842), 74 (vol iv., 1838), 133 (The Handsome Clear Starcher), 175 (The<br />
+Ingoldsby Legends).<br />
+<br />
+Beraldi, Henri, 248, 251.<br />
+<br />
+Berenger, Lt.-Col. Baron De. <i>See</i> Stop.<br />
+<br />
+Bergami, Baron Bartolomo, 26.<br />
+<br />
+"Betting (The) Book. By George Cruikshank" (London: W. &amp; F. G. Cash,<br />
+1852), 58.<br />
+<br />
+Blake, William (born 1757, died 12 Aug. 1828). <i>See</i> Three.<br />
+<br />
+Blewitt, Mrs Octavian, 134. <i>See</i> Rose and the Lily.<br />
+<br />
+<i>Blucher (Old) beating the Corsican Big Drum</i> (caricature published by<br />
+S. W. Fores, 8 April 1814), 20.<br />
+<br />
+"Blue Light (The)," 159.<br />
+<br />
+Boleyn, Anne, 90.<br />
+<br />
+Bolton, engraver, 249.<br />
+<br />
+<i>Boney Hatching a Bulletin, or Snug Winter Quarters</i> (caricature<br />
+published Dec. 1812 by Walker &amp; Knight), 18.<br />
+<br />
+<i>Boney's Elb(a)ow Chair</i> (caricature published 5 May 1814 by S. Knight),<br />
+20.<br />
+<br />
+<i>Boney's Meditations on the island of St Helena. The Devil addressing<br />
+the Sun.</i> (G. H. invt., G. Cruikshank fect. Caricature published by H.<br />
+Humphrey, Aug. 1815), 133.<br />
+<br />
+<i>Boney Tir'd of War's alarms</i> (caricature published by Walker &amp; Knight,<br />
+Jan. 1813), 18.<br />
+<br />
+"Bottle (The). In eight plates, designed and etched by George<br />
+Cruikshank. Dedicated to Joseph Adshead, Esq., of Manchester. London:<br />
+published for the artist, September 1st, 1847, by David Bogue, 86 Fleet<br />
+Street; Wiley &amp; Putnam, New York; and J. Sands, Sydney, New South Wales.<br />
+Price six shillings," 27, 55-57, 69.<br />
+<br />
+Bowring, John. <i>See</i> Minor.<br />
+<br />
+Boz. <i>See</i> Dickens, Charles.<br />
+<br />
+<i>Brazen (This) Image was erected by the ladies, in honor of Paddy Carey<br />
+O'Killus, Esq., their Man o' Metal.</i> (J. P***y invt., G. Cruikshank<br />
+fect. Caricature published by J. Fairburn, 20 July 1822), 171.<br />
+<br />
+<i>Breaking Up</i> (Holiday scene by George Cruikshank, published 12 Dec.<br />
+1826 by S. Knight), 1.<br />
+<br />
+Brighton Pavilion ("the Folly"), 44.<br />
+<br />
+Broadley, A. M., 12. See <i>Facing</i>, Reid.<br />
+<br />
+"Brooks <i>alias</i> Read," publisher who employed Percy Cruikshank and<br />
+who was caricatured insultingly by George Cruikshank, 60.<br />
+<br />
+Brough, Robt. B. <i>See</i> Life of Sir.<br />
+<br />
+Bruton, H. W., 133.<br />
+<br />
+Buck, Adam (portrait painter, born 1759, died 1833. The Duke of York was<br />
+among his sitters), 26.<br />
+<br />
+Bull, John, 4, 7, 176. See <i>John Bull</i>, <i>John Bull's</i>, <i>Johnny Bull</i>,<br />
+<i>Preparing</i>.<br />
+<br />
+Bunyan, John, 120, 125. See <i>Christian</i>, Pilgrim's (2 items).<br />
+<br />
+Burnand, Sir Francis Cowley, (born 29 Nov. 1836; became editor of<br />
+"Punch" in 1880), 234.<br />
+<br />
+Burns, Robert, 116 (<i>The Deil cam fiddling thro' the Town</i>), 172 ("The<br />
+Jolly Beggars"). <i>See</i> Royal Academy, 1852.<br />
+<br />
+"Bursill's Biographies. No. 1. George Cruikshank.<br />
+Artist&mdash;Humorist&mdash;Moralist" (London: John Bursill), 162.<br />
+<br />
+Buzmen. A Buzman is a pickpocket, 103.<br />
+<span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span><br />
+Byron, Lord, 183, 195. <i>See</i> Memoirs of the Life.<br />
+<br />
+<br />
+"Cakes and Ale. By Douglas Jerrold" (2 vols., How &amp; Parsons, 1842), 204<br />
+(<i>The Mayor of Hole-cum-Corner</i>).<br />
+<br />
+Callot, Jacques (born 1592, died 28 March 1635), 93, 94.<br />
+<br />
+Carbonaro, José Moreno, 199.<br />
+<br />
+Carbonic Acid Gas. See <i>Good Effects</i>.<br />
+<br />
+Carey, David, 46, 47.<br />
+<br />
+Caroline of Brunswick, wife of George IV. (born 17 May 1768, married<br />
+George, Prince of Wales, 8 April 1795, died 7 Aug. 1821. If the belief<br />
+still linger that Cruikshank was a Caroliniac, see his drawing of <i>The<br />
+Radical Ladder</i> in "The Loyalist's Magazine," 1821. The preface to<br />
+this publication remarks on "that Reginal mania, which for a season<br />
+transported our countrymen"), 25. See <i>A Going</i>, Queen's, Royal<br />
+Rushlight.<br />
+<br />
+Carpenter, 27.<br />
+<br />
+Carroll, Lewis, 32, 183-184, 216, 220, 223.<br />
+<br />
+Cash, William, 57.<br />
+<br />
+Catalani, Angelica, 11.<br />
+<br />
+"Catalogue (A) of a Selection from the Works of George Cruikshank,<br />
+Extending over a Period of Upwards of Sixty years [from 1799 to 1863,]<br />
+Now Exhibiting at Exeter Hall. Consisting of Upwards of One Hundred Oil<br />
+Paintings, Water-Colour Drawings, and Original Sketches; together with<br />
+over a Thousand Proof Etchings, from his most popular Works,<br />
+Caricatures, Scrap Books, Son[g] Headings, &amp;c.; and The Worship of<br />
+Bacchus. Open Daily from Ten till Dusk. Admission One Shilling. London:<br />
+William Tweedie, 337, Strand, 1863. Price Two-pence" ('This title is<br />
+copied from that of the 2nd ed. of the catalogue, desirable on account<br />
+of G. Cruikshank's preface which is dated February, 1863), 1.<br />
+<br />
+"Catholic Miracles; illustrated with seven designs, including a<br />
+characteristic portrait of Prince Hohenlohe, by George Cruikshank. To<br />
+which is added a reply to Cobbett's Defence of Catholicism, and his<br />
+Libel on the Reformation" (London: Knight &amp; Lacey. Dublin: Westley &amp;<br />
+Tyrrell, 1825), 140.<br />
+<br />
+Cato Street, 3. See <i>Interior View of Hayloft</i>.<br />
+<br />
+Cervantes, 183. <i>See</i> History and,<br />
+Illustrations of Don.<br />
+<br />
+Chamisso, Adelbert von, 125.<br />
+<span style="margin-left: 1em;"><i>See</i> Peter.</span><br />
+<br />
+Charles Gustavus, King of Sweden, 74.<br />
+<br />
+Chesson, Nora (poet), 231.<br />
+<br />
+Chesterton, Gilbert Keith (quoted), 104.<br />
+<br />
+<i>Children's Lottery Print</i> (first published in 1804, by W. Belch,<br />
+Newington Butts, price 1/2d. Mr G. S. Layard observes that "George did<br />
+not make his copy from the earliest state of the plate,"), 15.<br />
+<br />
+<i>Child's Christmas Piece&mdash;Daniel in the Lion's Den.</i> (An etching. Capt.<br />
+Douglas writes, "the centre is left blank in which the child has to<br />
+write its Christmas piece"), 11.<br />
+<br />
+<i>Cholic (The)</i> (caricature published by G. Humphrey, 12 Feb. 1819),166.<br />
+<br />
+<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span><i>Christian passing through the Valley of the Shadow of Death</i> (<br />
+print of which the foundation is unknown. Published by W. Tweedie,<br />
+337 Strand. Described on p. 125 from No. 10,043 in The George Cruikshank<br />
+Collection, South Kensington Museum).<br />
+<br />
+"Cigar (The)" (2 vols. London: T. Richardson, 98 High Holborn; Sherwood,<br />
+Jones &amp; Co., Paternoster Row; W. Hunter, Edinburgh, 1825. The vols.<br />
+contain 25 different cuts; the same design appears on both their<br />
+title-pages. Though W. Clarke was the editor of and chief<br />
+contributor to "The Cigar," a re-issue in one vol. of the greater part<br />
+of its contents, containing all the cuts except those on pp. 99 and 378,<br />
+vol. i., and pp. 259 and 378, vol. ii., states that "The Cigar" is "by<br />
+George Cruikshank, author of 'Three Courses and a Dessert'"!), 231.<br />
+<br />
+"Cinderella and the Glass Slipper, edited and illustrated with ten<br />
+subjects, designed and etched on steel, by George Cruikshank" (London:<br />
+David Bogue, 1854), 57, <b>153</b>. <i>See</i> Royal Academy, 1854, 1859.<br />
+<br />
+Clarke, William (born 1800, died 1838), 215, 228, 231. <i>See</i> Cigar,<br />
+Three Courses.<br />
+<br />
+Clarke, Mrs Mary Anne (née Thompson, born 27 June 1771), married Clarke<br />
+a stonemason in 1794. In 1803 she appears to have been set up in the<br />
+world of fashion by the Duke of York, whose mistress she became. In 1809<br />
+her practice of accepting bribes from those desiring military promotion<br />
+scandalised the House of Commons, and compelled the Duke to resign the<br />
+post of Commander-in-Chief of the British army. She died 21 June 1852.<br />
+Author of "The Rival Princes" (2 vols., London: C. Chapple, 1810), 4,<br />
+26-27. <i>See</i> Mrs, Return, <i>Woman</i>.<br />
+<br />
+Clarke, Mary Cowden, 152. <i>See</i> Kit.<br />
+<br />
+"Clement Lorimer, or, the Book with the Iron Clasps. A Romance by Angus<br />
+B. Reach" (London: David Bogue, 1849; first published in 6 parts), 107,<br />
+<b>109</b>.<br />
+<br />
+Cobbett, William (born March 1762, died 18 June 1835. Author of "History<br />
+of the Regency and Reign of King George the Fourth" [London: William<br />
+Cobbett, 1830]), 8, 35, 235. See <i>Cobbett at</i>.<br />
+<br />
+<i>Cobbett at Court, or St James's in a bustle</i> (extracted from No. III.<br />
+of "The Censor." Pub. by W. Deans, Catherine St., Strand,<br />
+16 Oct. 1807),32.<br />
+<br />
+Collier, John Payne, 130. <i>See</i> Punch and Judy.<br />
+<br />
+<i>Columbus and the Egg</i>, 191.<br />
+<br />
+Comic Almanack (19 vols., 1835-1853. The first six, 1835-1840, were<br />
+published by Tilt. The next three, 1841-1843, were published by Tilt<br />
+&amp; Bogue. The remaining vols., 1844-1853, were published by David<br />
+Bogue. The following is an abridged copy of the words of the first<br />
+title-page: "The Comic Almanack for 1835: an Ephemeris in jest and<br />
+earnest ... by Rigdum Funnidos, Gent. Adorned with a dozen of 'right<br />
+merrie' cuts, pertaining to the months, sketched and etched<br />
+<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span>by George Cruikshank, and divers humorous cuts by other hands. London:<br />
+Imprinted for Charles Tilt, Bibliopolist, in Fleet Street. Vizetelly,<br />
+Branston &amp; Co., Printers, Fleet Street"), 32, 35, 39-40, <b>41</b>, 52, <b>53</b>,<br />
+196, 211-212, 224. <i>See</i> Guys.<br />
+<br />
+"Comic (A) Alphabet, designed, etched, and published by George<br />
+Cruikshank, No. 23 Myddelton Terrace, Pentonville,<br />
+1836," 180 (Socrates), <b>181</b>.<br />
+<br />
+<i>Comic Composites for the Scrap Book</i> (published by S. W. Fores, <i>circa</i><br />
+1821-1822. 2nd state published 1 June 1829 by W. B. Cooke), <b>141</b>, 142.<br />
+<br />
+Composites. See <i>Comic Composites</i>.<br />
+<br />
+<i>Coriolanus addressing the Plebeians</i> (caricature published 27 Feb. 1820<br />
+by G. Humphrey), 4, 35.<br />
+<br />
+<i>Coronation (The) of the Empress of the Nairs</i> (in "The Scourge," 1<br />
+Sept. 1812), 24.<br />
+<br />
+Cowper, William, 183, <b>213</b>. <i>See</i> Diverting.<br />
+<br />
+<i>Cow (The) Pox Tragedy. Scene the Last</i> (caricature published 1812 in<br />
+"The Scourge," Aug. 1812), 31.<br />
+<br />
+Crinolines, 32.<br />
+<br />
+Cruikshank, Miss Eliza (died young), 112.<br />
+<br />
+Cruikshank, Mrs Eliza (née Widdison, who married George Cruikshank, 7<br />
+March 1850), 112, <b>113</b>, 248. See <i>Original</i>.<br />
+<br />
+Cruikshank, George. For Bibliographies of his works, <i>see</i> Catalogue,<br />
+Reid, Three Cruikshanks, Works. For Biographies of him and kindred<br />
+works, <i>see</i> Bursill's, Jerrold (Blanchard), Layard, Memoir, Meynell,<br />
+Sala, Stephens. For literary and artistic volumes by him, <i>see</i> Artist,<br />
+Bands, Betting, Cinderella, Cruikshankiana, Discovery, Drawings, Few,<br />
+George Cruikshank's (4 items), Glass, Handbook, History of Jack,<br />
+Hop-o'-my-thumb, Illustrations of Time, Jack, My, Phrenological,<br />
+Pop-Gun, Puss, Scraps, Slice, Stop. For pictures exhibited by him, <i>see</i><br />
+Royal Academy. For portraits of him, <i>see</i> frontispiece, 15, 27, 35, 47,<br />
+111, 112, 131. The monument to him, which includes a bust of him, in the<br />
+crypt of St Paul's Cathedral, was designed and executed by John Adams<br />
+Acton. A. Clayton sold a bust of G. Cruikshank to the National Portrait<br />
+Gallery. There is an engraved portrait of him, full of character, by<br />
+D.J. Pound, from a photo by John and Charles Watkins, Parliament St. For<br />
+his residences, <i>see</i> 10.<br />
+<br />
+Cruikshank, Isaac (born 1756?, died 1810 or 1811), 10, 11, 111. See<br />
+<i>Facing</i>.<br />
+<br />
+Cruikshank, Isaac Robert (born 1789 or 1790, died 1856), 46, 47, 60, 67,<br />
+111, 200, 213.<br />
+<br />
+Cruikshank, Percy, 60, 65.<br />
+<br />
+"Cruikshankiana: An Assemblage of the Most Celebrated<br />
+Works of George Cruikshank" (London: Thomas McLean, 1835), 233.<br />
+<br />
+Crusoe, Robinson. <i>See</i> Life and.<br />
+<br />
+Cumberland, Duke of (Ernest Augustus, fifth son of George III.),<br />
+139-140.<br />
+<br />
+<br />
+D'Aiguille, P., 27.<br />
+<br />
+<i>Daniel in the Lion's Den</i>, 11. See <i>Child's Christmas</i>.<br />
+<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span><br />
+Daumier, Honoré (born 26 Feb. 1808, died 11 Feb. 1879. His extraordinary<br />
+industry, evidenced by the fact that the catalogue of his lithographed<br />
+works alone enumerates 3958 plates, reminds us of George Cruikshank),<br />
+176, 179.<br />
+<br />
+Davenport, Samuel (line engraver, born 10 Dec. 1783, died 15 July 1867;<br />
+he was one of the earliest to engrave on steel).<br />
+<br />
+Defoe, Daniel. <i>See</i> Life and, Journal.<br />
+<br />
+Delort, C., 90.<br />
+<br />
+Demonology. <i>See</i> Twelve.<br />
+<br />
+<i>Design for a Palace.</i> <i>See</i> Palace.<br />
+<br />
+Devil (The), 18-19, 116.<br />
+<br />
+Dibdin, Charles. <i>See</i> Songs.<br />
+<br />
+Dickens, Charles ("Boz," born 7 Feb. 1812, died 9 June 1870), 99, 195,<br />
+224, 231-232. <i>See</i> Oliver, Sketches, Sir Lionel.<br />
+<br />
+"Dick Whittington and his Cat" (a Banbury Chap-Book designed by<br />
+Cruikshank, engraved by Branstone [writes Edwin Pearson], and published<br />
+by [? J. G.] Rusher about 1814. George and Robert Cruikshank designed<br />
+and etched the folding coloured frontispiece to "History of Whittington<br />
+and His Cat," published by Dean &amp; Munday, Threadneedle St., 1822), 155.<br />
+<br />
+"Dictionary (A) of the Slang and Cant Languages" (London: George<br />
+Smeeton, 1809), 46.<br />
+<br />
+<i>Dinner (The) of the Four-in-Hand Club at Salthill</i> (caricature by<br />
+George Cruikshank, published in "The Scourge," 1 June 1811, by M.<br />
+Jones), 51.<br />
+<br />
+Dirks, Gus, 212.<br />
+<br />
+"Discovery (A) Concerning Ghosts; with a rap at the 'Spirit-Rappers,' by<br />
+George Cruikshank. Illustrated with Cuts. Dedicated to the 'Ghost Club'"<br />
+(London: Frederick Arnold, 1863), 59-60, 116.<br />
+<br />
+<i>Distant (A) View of Shakespeare's Cliff, Dover</i>, 107.<br />
+<br />
+<i>Disturbing the Congregation</i> (oil-painting painted in 1848 for the<br />
+Prince Consort), 240.<br />
+<br />
+"Diverting (The) History of John Gilpin. Showing how he went farther<br />
+than he intended and came safe home again," with six illustrations by<br />
+George Cruikshank (London: Charles Tilt, 1828), <b>213</b>.<br />
+<br />
+Don Quixote 199-200, <b>201</b>. <i>See</i> History and Illustrations<br />
+of Don.<br />
+<br />
+Dots. See <i>Striking</i>.<br />
+<br />
+Douglas, Capt. R. J. H., 16. See <i>New Union</i>, Works.<br />
+<br />
+Doyle, Richard (born 1824, died 10 Dec. 1883), 4.<br />
+<br />
+"Drawings by George Cruikshank prepared by him to illustrate an intended<br />
+autobiography. Published for Sir Benjamin Ward Richardson by Chatto &amp;<br />
+Windus, 214 Piccadilly, London, January 21st, 1895," 59, 108.<br />
+<br />
+"Drunkard (The), a Poem," by John O'Neill, with illustrations by George<br />
+Cruikshank (London: Tilt &amp; Bogue, 1842), 52, 55.<br />
+<br />
+"Drunkard's (The) Children, a Sequel to The Bottle in eight plates, by<br />
+George Cruikshank" (London: published July 1st, 1848, by David Bogue),<br />
+55, 57.<br />
+<br />
+Dumas, Alexandre (<i>père</i>), 94.<br />
+<br />
+Du Maurier, George Louis Palmella Busson (born 6 March 1834, died 8 Oct.<br />
+1896), 43, 176, 196.<br />
+<br />
+Dunstan, St., <b>122</b>, <b>123</b>. <i>See</i> True.<br />
+<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span><br />
+Dussek, O.B. See <i>Fairy Songs</i>.<br />
+<br />
+Dutton, Thomas. <i>See</i> Monthly.<br />
+<br />
+<br />
+Education. <i>See</i> Few.<br />
+<br />
+Egan, Pierce (born 1772, died 1849), 46.<br />
+<br />
+Ehrhart, S. D., 162. "1851: or The Adventures of Mr and Mrs Cursty<br />
+Sandboys." <i>See</i> World's.<br />
+<br />
+Elizabeth, Princess (afterwards Queen of England), 85.<br />
+<br />
+"Elysium (The) of Animals: A Dream. By Egerton Smith" (London: J.<br />
+Nisbet, 1836. The etching by Geo. Cruikshank entitled <i>The Knackers</i><br />
+[sic] <i>Yard, or the Horses</i> [sic] <i>last home!</i> here contains the notice<br />
+"Licensed for Slaughtering Horses"), 220.<br />
+<br />
+Etching, 236, 239.<br />
+<br />
+"Every-Day (The) Book, or Everlasting Calendar of Popular Amusements,<br />
+Sports, Pastimes, Ceremonies, Manners, Customs, and Events, Incident to<br />
+each of the Three Hundred and Sixty-Five Days, in Past and Present<br />
+Times," by William Hone (2 vols., London: Hunt &amp; Clarke, 1826-7.) "The<br />
+Table Book," by William Hone [2 vols., London: Hunt &amp; Clarke, 1827-8.] is<br />
+associated with "The Every-Day Book" in a collective title-page [1831],<br />
+85.<br />
+<br />
+<br />
+<i>Facing the Enemy</i> (caricature published at Ackermann's Gallery, 1797-8.<br />
+Mr A. M. Broadley has an impression of this caricature on which George<br />
+Cruikshank has written "etched by Ik. Cruikshank not any by me G. Ck."),<br />
+12.<br />
+<br />
+Fairies. <i>See</i> "George Cruikshank's Fairy Library."<br />
+<br />
+<i>Fairy (The)</i> Ring, 160, 240.<br />
+<br />
+"Fairy Songs and Ballads for the Young. Written, composed and dedicated<br />
+to Her Royal Highness The Princess Royal, by O. B. Dussek. In Two Books"<br />
+(London: D'Almaine &amp; Co.), 155.<br />
+<br />
+Falstaff, 48, 135. <i>See</i> Life of Sir.<br />
+<br />
+Farrow, G. E., 216.<br />
+<br />
+<i>Fashion</i>, 7, 31-2, <b>33</b>, <b>37</b>. See <i>Monstrosities of 1816</i>, <i>Monstrosities<br />
+of 1826</i>, <i>Mushroom</i>.<br />
+<br />
+<i>Fat (The) in the Fire</i>, cut at end of "'Non mi Ricordo!' &amp;c. &amp;c.<br />
+&amp;c." (London: William Hone, 1820), 4.<br />
+<br />
+"Few (A) Remarks on the System of General Education as prepared by the<br />
+National Education League, by George Cruikshank, with a second edition<br />
+of A Slice of Bread and Butter, upon the same subject, with cuts"<br />
+(London: William Tweedie, 1870), 59.<br />
+<br />
+Fielding, Henry, 183, 188. <i>See</i> Adventures of Joseph, Illustrations of<br />
+Smollett, Tom.<br />
+<br />
+"Fireside Plate (The)," an etching for "Oliver Twist," 9.<br />
+<br />
+<i>First (The) Appearance of William Shakespeare, on the stage of "The<br />
+Globe," surrounded by part of his Dramatic Company, the other members<br />
+coming over the hills.</i> (Designed by George Cruikshank, Jan. 1863. The<br />
+drawing in the South Kensington Museum was done by our artist in 1864-5,<br />
+and is "from the original water color drawing by George Cruikshank, in<br />
+the possession of T. Morson, Esq., Junr." A replica of the design for Mr<br />
+<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span>Morson was "printed in permanent pigments" by the Autotype Fine Art<br />
+Co., Ltd., and published by them at 36 Rathbone Place, London. No.<br />
+10,081 of the George Cruikshank coll. at the South Kensington Museum is<br />
+a smaller version of the same design with a different colour scheme<br />
+signed "George Cruikshank, 1876"), 187. <i>See</i> Royal Academy, 1867.<br />
+<br />
+<i>Fitting out Moses for the Fair.</i> <i>See</i> Royal Academy, 1830.<br />
+<br />
+Fitzherbert, Mrs, 17, 22.<br />
+<br />
+Flight, Edward G. <i>See</i> True.<br />
+<br />
+Flying Machines, 40.<br />
+<br />
+Fores, S. W., publisher. 50 Piccadilly, boasted "an Exhibition of the<br />
+compleatest Collection of Caricatures in Europe," 243.<br />
+<br />
+Four-in hand Club. See <i>Dinner</i>.<br />
+<br />
+Frankum, Richard, 148. <i>See</i> Bee.<br />
+<br />
+Frederick, Duke of York and Albany, second son of George III. (born 16<br />
+Aug. 1762, died 5 Jan. 1827), 23, 26. <i>See</i> Clarke, Mrs Mary Anne;<br />
+Osnaburg; <i>Return to Office</i>.<br />
+<br />
+Frederick the Great, 74.<br />
+<br />
+<i>French Musicians, or Les Savoyards</i> (an etching. London: G. Humphrey,<br />
+16 June 1819), 100.<br />
+<br />
+French Republic. See <i>Leader</i>.<br />
+<br />
+Funnidos, Rigdum. <i>See</i> Comic Almanack.<br />
+<br />
+<br />
+"Gentleman (The) in Black," by John Yonge Akerman (London: William Kidd,<br />
+1831), 60, 125.<br />
+<br />
+"Gentlemen's (The) Pocket Magazine and Album of Literature and Fine<br />
+Arts" (London: Joseph Robins, 1827-1829), 96.<br />
+<br />
+George, Prince of Wales, afterwards George IV. (born 12 Aug. 1762, died<br />
+26 June 1830), 4, 8, 19, 22-26, 35, 133. See <i>Boney's Meditations</i>,<br />
+<i>Coriolanus</i>, <i>Coronation</i>, <i>Fat</i>, <i>John Bull Advising</i>, <i>Kick</i>,<br />
+<i>Meditations</i>, <i>Princely Agility</i>, <i>R[egen]t</i>, <i>Results</i>, Wright<br />
+(Thomas).<br />
+<br />
+"George Cruikshank's Fairy Library" (4 numbers, London: David<br />
+Bogue, 1853, 1854, 1864), 57 and <b>153</b> (Cinderella), 59, 74 (Hop o' my<br />
+Thumb), 155-156, <b>157</b>, 159 (Jack and the Beanstalk).<br />
+<br />
+"George Cruikshank's Magazine" (Edited by Frank E Smedley. London: D.<br />
+Bogue, 1854, Jan. and Feb.), 39 (Passing Events), 44, 59, <b>217</b>, 224.<br />
+<br />
+"George Cruikshank's Omnibus. Illustrated with one hundred engravings on<br />
+steel and wood. Edited by Laman Blanchard, Esq." (London: Tilt &amp; Bogue,<br />
+Fleet Street, 1842. First issued in 9 monthly parts, the first for May<br />
+1841 the last for Jan. 1842). Frontispiece, 20, 35, 43, 216.<br />
+<br />
+"George Cruikshank's Table Book" (Edited by Gilbert Abbott à Beckett.<br />
+London: published at the Punch Office, 92 Fleet St., 1845. First issued<br />
+in 12 monthly numbers from Jan. to Dec., 1845), 35, 40, 43, 147, <b>177</b>, 180<br />
+and <b>185</b> (<i>The</i> Lion of the Party), 223, 224.<br />
+<br />
+"German Popular Stories, translated from the Kinder und Haus Märchen,<br />
+collected by M. M. Grimm from Oral Tradition" (London: C. Baldwyn, 1823,<br />
+<span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span>but issued 1822; vol. ii., London: James Robins &amp; Co.; Dublin:<br />
+Joseph Robins, Jun., &amp; Co., 1826. The etchings were so skilfully<br />
+imitated in Cruikshank's lifetime that he at first sight imagined the<br />
+copies in question to be impressions from the lost plates etched by<br />
+him), 144, <b>145</b>, 147, 152.<br />
+<br />
+German Romance. <i>See</i> Specimens.<br />
+<br />
+Ghosts, 31, 59-60, 136, 139-140. <i>See</i> Discovery.<br />
+<br />
+Gibson, Charles Dana, 176.<br />
+<br />
+Gil Blas, 199. <i>See</i> Adventures of Gil.<br />
+<br />
+Gillray, James (born 1757, died 1 June 1815), 7, 8, 11, 16-18, 21, 31,<br />
+166, <b>225</b>. <i>See</i> Grego.<br />
+<br />
+Glascock, Capt. (R.N.), 139. <i>See</i> Land Sharks.<br />
+<br />
+"Glass (The) and the New Crystal Palace. By George Cruikshank, with<br />
+cuts" (London: J. Cassell), 58-59, <b>62</b>, <b>63</b>.<br />
+<br />
+Goldsmith, Oliver, 183, 191. <i>See</i> Illustrations of Smollett, Royal<br />
+Academy 1830, Vicar.<br />
+<br />
+Goles (=Golls, goll means hand), 23.<br />
+<br />
+<i>Good (The) Effects of Carbonic Acid Gas</i> (caricature published by S. W.<br />
+Fores, 10 Dec. 1807), 31.<br />
+<br />
+"Good (The) Genius that turned everything into gold, or, The Queen Bee<br />
+and the Magic Dress, A Christmas Fairy Tale, by the Brothers Mayhew,<br />
+with illustrations by George Cruikshank" (called on the paper cover,<br />
+"Books for the Rail, the Road, and the Fireside. II. The Magic of<br />
+Industry." London: David Bogue, 1847), 148, <b>149</b>, 150.<br />
+<br />
+Gorey, 95.<br />
+<br />
+Gould, Sir Francis Carruthers, 4.<br />
+<br />
+"Greatest (The) Plague of Life: or The Adventures of a Lady in Search of<br />
+a Good Servant. By One who has been 'almost worried to death.' Edited by<br />
+the Brothers Mayhew. Illustrated by George Cruikshank" (London: David<br />
+Bogue, 1847. First issued in 6 parts), 176, 219, <b>221</b>.<br />
+<br />
+"Greenwich Hospital, a series of Naval Sketches, Descriptive of the Life<br />
+of a Man-of-War's Man. By an Old Sailor," by M. H. Barker (London: James<br />
+Robins &amp; Co.; Dublin: Joseph Robins, Junr., &amp; Co., 1826; first issued in<br />
+four parts, Demy 4to), 95.<br />
+<br />
+Grego, Joseph (author of "The Works of James Gillray, The Caricaturist,<br />
+edited by Thomas Wright, Esq., M.A., F.S.A." [London: Chatto &amp; Windus,<br />
+1873], also of "Rowlandson the Caricaturist" [2 vols., Chatto &amp; Windus,<br />
+1880], Mr Grego died Jan. 24, 1908), 166. <i>See</i> Oliver.<br />
+<br />
+Grimaldi, Joseph (born 18 Dec. 1779, died 31 May 1837). <i>See</i> Memoirs of<br />
+Joseph.<br />
+<br />
+Grimm, Jacob Ludwig Carl and Wilhelm Carl (brothers), 43, 144, 159.<br />
+<i>See</i> German.<br />
+<br />
+Guy, 39 and 85 (Guys in Council, in "The Comic Almanack," 1838), 85 (Guy<br />
+for "The Every-Day Book").<br />
+<br />
+"Guy Fawkes; or, The Gun-powder Treason. An Historical Romance by<br />
+William Harrison Ainsworth," (3 vols., London: Richard Bentley, 1841. It<br />
+came out in "Bentley's Miscellany," vols. vii., viii., ix., x.,<br />
+1840-1841), 85-86, 140.<br />
+<br />
+"Guy Mannering," by Sir Walter Scott, <b>197</b>.<br />
+<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span><br />
+<br />
+Hall, Samuel Carter. <i>See</i> Old Story.<br />
+<br />
+Hamilton, Walter, 112, 231. <i>See</i> Memoir of.<br />
+<br />
+Hancock Charles, 243. <i>See</i> Handbook.<br />
+<br />
+"Handbook (A) for Posterity: or Recollections of Twiddle Twaddle by<br />
+George Cruikshank about himself and other people. A series of sixty-two<br />
+etchings on glass with descriptive notes" (London: W. T. Spencer, 1896.<br />
+The notes are by Charles Hancock), 243 (quoted).<br />
+<br />
+Harley, Robert (Earl of Oxford, born 1661, died 21 May 1724), <b>91</b>.<br />
+<br />
+Hastings, 107.<br />
+<br />
+<i>Headache (The)</i> (caricature published by G. Humphrey, 12 Feb. 1819),<br />
+166.<br />
+<br />
+Henry VIII., 24, 90, <b>137</b>.<br />
+<br />
+Hepenstall, Lieut., 94-95.<br />
+<br />
+Hermit. <i>See</i> Peeps.<br />
+<br />
+Herne, 90, 135, 136, <b>137</b>.<br />
+<br />
+Hertford, Marchioness of 4, 24. See <i>Coronation</i>.<br />
+<br />
+"Historical (An) Account of the Campaign in the Netherlands in 1815," by<br />
+William Mudford (London: Henry Colburn, 1847. The late Edwin Truman,<br />
+M.R.C.S., as famous for his Cruikshank collection as for his success in<br />
+purifying gutta-percha, states on the mount of the original etched<br />
+plate of "The Battle of Waterloo," for this book, that he considers it<br />
+the most valuable plate in his collection), 71.<br />
+<br />
+"History (The) and Adventures of the Renowned Don Quixote: from the<br />
+Spanish of Miguel De Cervantes Saavedra. By T. Smollett M.D. To which is<br />
+prefixed a memoir of the author by Thomas Roscoe. Illustrated by George<br />
+Cruikshank. In three volumes" (London: Effingham Wilson; Dublin: W. F.<br />
+Wakeman; Edinburgh: Waugh &amp; Innes, 1833; being vols. xiii., xiv., xv. of<br />
+"The Novelist's Library, edited by Thomas Roscoe, with illustrations by<br />
+George Cruikshank"), 199, <b>201</b>. <i>See</i> Illustrations.<br />
+<br />
+"History (A) of Egyptian Mummies, and an Account of The Worship and<br />
+Embalming of the Sacred Animals by the Egyptians; with Remarks on the<br />
+Funeral Ceremonies of Different Nations, and Observations on the Mummies<br />
+of the Canary Islands, of the ancient Peruvians, Burman Priests, &amp;c. By<br />
+Thomas Joseph Pettigrew, F.R.S., F.S.A., F.L.S." (London: Longman, Rees,<br />
+Orme, Brown, Green, and Longman, 1834), 244.<br />
+<br />
+"History (The) of Jack and the Beanstalk, edited and illustrated with<br />
+six etchings, by George Cruikshank" (London: David Bogue, 1854), 156,<br />
+159.<br />
+<br />
+"History of the Irish Rebellion in 1798; with memoirs of the Union, and<br />
+Emmett's Insurrection in 1803. By W. H. Maxwell, Esq." (London: Baily,<br />
+Brothers, Cornhill, 1845; first published in 15 parts), 93.<br />
+<br />
+Hoffmann, Ernst Theodor Wilhelm, author of "Meister Floh" (Master Flea),<br />
+which George Cruikshank illustrated in "Specimens of German Romance"<br />
+(vol. ii., 1826), 151.<br />
+<span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span><br />
+Hogarth, William (born 1697, died 26 Oct. 1764), 8, 77, 78, 243.<br />
+<span style="margin-left: 1em;"><i>See</i> Trusler.</span><br />
+<br />
+Hone, William (born 1779, died 6 Nov. 1842), 28, 35.<br />
+<span style="margin-left: 1em;"><i>See</i> Every-Day, Non, Queen's.</span><br />
+<br />
+Hood, Thomas (born 1798, died 3 May 1845), 165.<br />
+<br />
+"Hop-o'-my-Thumb and The Seven-League Boots. Edited and illustrated with<br />
+six etchings by George Cruikshank" (London: David Bogue, 1853),<br />
+(No. I of "George Cruikshank's Fairy Library"), 74, 156.<br />
+<br />
+Hoskyns, C. W, 208.<br />
+<span style="margin-left: 1em;"><i>See</i> Talpa.</span><br />
+<br />
+"House and Home," Part VIII, New Series, Oct. 1882 (No. for Sept. 29,<br />
+1882. London E. C.)., 69.<br />
+<br />
+Humour, 165.<br />
+<br />
+"Humourist (The), A Collection of Entertaining Tales, Anecdotes,<br />
+Epigrams, Bon Mots [<i>sic</i>], &amp;c. &amp;c." (4 vols, London: J. Robins<br />
+&amp; Co, 1819-1820. First issued in numbers), 35, 72-73, 179,<br />
+<b>205</b>, 209, 211, 213.<br />
+<br />
+Humphrey, H., publisher, 20.<br />
+<br />
+Hunt, Robert. <i>See</i> Popular.<br />
+<br />
+Hyde Park, 3, 171.<br />
+<br />
+<br />
+"Illustrations of Don Quixote, in a series of fifteen plates, designed<br />
+and etched by George Cruikshank" (London: Charles Tilt, 1834), 199-200,<br />
+<b>201</b>.<br />
+<br />
+"Illustrations of Popular Works. By George Cruikshank" (Part I., without<br />
+successor. London pub. for the Artist by Longman, Rees, Orme, Brown &amp;<br />
+Green, 1830. George Cruikshank dedicates this work to H.R.H.<br />
+Prince Augustus Frederick, Duke of Sussex), 116, 191-192, <b>193</b>.<br />
+<i>See</i> Beauties.<br />
+<br />
+"Illustrations of Smollett, Fielding, and Goldsmith, in a series of<br />
+forty-one plates, designed and engraved by George Cruikshank.<br />
+Accompanied by descriptive extracts" (London: Charles Tilt, 1832), 188,<br />
+<b>189</b>.<br />
+<br />
+"Illustrations of Time. By George Cruikshank" (London: published May<br />
+1st, 1827, by the Artist, 22 Myddelton Terrace, Pentonville), 184,<br />
+<b>225</b>.<br />
+<br />
+<i>Imperial (The) Family Going to the Devil</i> (caricature published<br />
+1 March 1814, by T. Hughes, Ludgate Hill), 19.<br />
+<br />
+"Impostor (The) Unmasked; or, the New Man of the People, with anecdotes,<br />
+never before published [<i>sic</i>], illustrative of the character of the<br />
+renowned and immaculate Bardolpho Inscribed without permission, <i>to that<br />
+superlatively honest and disinterested Man</i>, R. B. S-r-d-n, Esq."<br />
+(London: Tipper &amp; Richards, 1806. Bardolph was a nickname of R. B.<br />
+Sheridan), 15.<br />
+<br />
+Inglis, Henry David (died 20 March 1835), 200. <i>See</i> Rambles.<br />
+<br />
+"Ingoldsby (The) Legends or Mirth and Marvels, by Thomas Ingoldsby,<br />
+Esquire" (London: Richard Bentley, 1840, 1842, 1847. The author was Rev.<br />
+Richard Harris Barham), <b>117</b>, 119, 175 (Lady Jane).<br />
+<br />
+<i>Interior View of Hayloft, etc., in Cato Street, occupied by the<br />
+Conspiratars</i> (etching published by G. Humphrey, 9 March 1820). <span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span><br />
+<br />
+<i>"Interior View of the House of God"</i> (caricature published in "The<br />
+Scourge," 1 Nov. 1811), 27.<br />
+<br />
+Ireland, 93-95.<br />
+<br />
+Irish Rebellion. <i>See</i> History of the.<br />
+<br />
+Irving, Washington. <i>See</i> Beauties.<br />
+<br />
+"Italian Tales. Tales of Humour, Gallantry, and Romance, selected and<br />
+translated from the Italian, with sixteen illustrative drawings by<br />
+George Cruikshank" (London: Charles Baldwyn, Newgate St., 1824. The<br />
+words "Italian Tales" are not printed on the title-page of the second<br />
+edition. The suppressed plate is <i>The Dead Rider</i>, not to be confounded<br />
+with the etching of the same title, representing two friars, each on<br />
+horseback), 166.<br />
+<br />
+<br />
+Jack and the Beanstalk. <i>See</i> History of Jack.<br />
+<br />
+"Jack Sheppard. A Romance. By W. Harrison Ainsworth, Esq." (3 vols.,<br />
+London: Richard Bentley, 1839), 77-78, <b>79</b>, <b>80</b>, 104.<br />
+<br />
+Jenner, Edward (M.D., born 1749, died 1823), 31.<br />
+<br />
+Jerrold, Blanchard, author of "The Life of George Cruikshank in two<br />
+epochs" (new ed., London: Chatto &amp; Windus, 1898), 46, 231.<br />
+<br />
+Jerrold, Douglas William (born 3 Jan. 1803, died 8 June 1857), 165.<br />
+<span style="margin-left: 1em;"><i>See</i> Cakes.</span><br />
+<br />
+Jersey, Frances, Countess of, 4.<br />
+<br />
+Johannot, Tony (born 9 Nov. 1803, died 4 Aug. 1852), 89.<br />
+<br />
+<i>John Bull Advising with his Superiors</i> (print pub. by S. W. Fores, 3<br />
+April 1808), 23.<br />
+<br />
+<i>John Bull's Three Stages, or from Good to Bad, and from Bad to Worse</i><br />
+(caricature published in "The Scourge" for March 2, 1815), 27.<br />
+<br />
+<i>Johnny Bull and his Forged Notes!! or Rags and Ruin in the Paper<br />
+Currency!!!</i> (caricature published Jan. 1819 by J. Sidebotham, 287<br />
+Strand), 28, <b>29</b>.<br />
+<br />
+"Journal (A) of The Plague Year; or Memorials of the Great Pestilence in<br />
+London, in 1665. By Daniel De Foe" (London: John Murray, 1833), 96, <b>97</b>,<br />
+104.<br />
+<br />
+<i>Juliet and the Nurse</i> (In Reid 2732, George Cruikshank coll., British<br />
+Museum, are included a plain and a coloured lithograph signed "G. Ck.<br />
+fect. 1815." In MS. below each design are the words "Juliet<br />
+and the Nurse. Pubd. by G. Cruikshank, 117 Dorset St., City, 1815." The<br />
+nurse is enormous and seated; Juliet stands behind her at left. Reid<br />
+2733, a coloured unsigned, undated lithograph without publisher's name,<br />
+has a printed footline&mdash;"Juliet and the Nurse." Juliet stands at the<br />
+right of the nurse and there is a curtain at left. The figures are the<br />
+same as in Reid 2732, and Reid says that the design [Reid 2733] is<br />
+copied from a Spanish sketch or etching), 184.<br />
+<br />
+<i>Juvenile Monstrosities</i> (caricature published by G. Humphrey, 24 Jan.<br />
+1826. Reprinted in "Cruikshankiana"), 32, <b>33</b>.<br />
+<br />
+<br />
+Karslake, Frank, 107.<br />
+<br />
+Kean, Edmund, 184.<br />
+<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span><br />
+Keene, Charles Samuel (born 10 Aug. 1823, died 4 Jan. 1891), 43.<br />
+<br />
+<i>Kick (A) from Yarmouth to Wales; or The New Rowly Powly</i> (print pub. by<br />
+J. Johnston, 1812. A publication exists entitled "R-y-l Stripes, or, a<br />
+Kick from Yar-h to Wa-s" [London E. Wilson, 1812]), 24.<br />
+<br />
+Kidd, William, 60.<br />
+<br />
+"Kit Bam's Adventures, or, the Yarns of an Old Mariner. By Mary Cowden<br />
+Clarke" (London Grant &amp; Griffith, 1849), 152.<br />
+<br />
+<i>Knacker's (The) Yard</i>, 220. <i>See</i> Elysium, Voice.<br />
+<br />
+Konigsmark, 74.<br />
+<br />
+<br />
+<i>Ladies Buy your Leaf!!</i> (caricature by G. Cruikshank, pub. July 1822 by<br />
+Fairburn, Broadway: Irish Chairman), 171.<br />
+<br />
+Lambert, Daniel, 73.<br />
+<br />
+Lambeth, 86.<br />
+<br />
+"Lambkin, Mr." <i>See</i> Bachelor's.<br />
+<br />
+Landells, C. (wood-engraver The only Landells famous as a wood-engraver<br />
+in Cruikshank's working-life is Ebenezer Landells, born 13 April 1808,<br />
+died 1 Oct. 1860 Therefore, though "C. Landells" is on the title-page of<br />
+"The Gentleman in Black" [1831], I suggest that the cuts facing pp. 53,<br />
+95, of which the latter is clearly signed "Landells" <i>tout court</i>, are<br />
+by Ebenezer Landells), 126.<br />
+<br />
+Landells, Ebenezer. <i>See</i> Landells, C.<br />
+<br />
+Landscape-Historical Illustrations of Scotland, and the Waverley Novels<br />
+from drawings by J. M. W. Turner, Professor, R.A., Balmer, Bentley,<br />
+Chisholm, Hart, A.R.A., Harding, McClise, A.R.A., Melville, etc. etc.<br />
+Comic Illustrations by G. Cruikshank. "Descriptions by the Rev. G. N.<br />
+Wright, M. A., &amp;c." (2 vols, Fisher, Son, &amp; Co., London, Paris, and<br />
+America, 1836-8. Cruikshank's etchings appear in the same publisher's<br />
+edition in 48 vols. of "Waverley Novels" [1836-8] and they are dated<br />
+1836, 1837, 1838), <b>169</b>, 175, 192, <b>197</b>, <b>237</b>.<br />
+<br />
+Landseer, Charles, 240.<br />
+<br />
+"Land Sharks and Sea Gulls" By Captain Glascock, R.N. (3 vols, London:<br />
+Richard Bentley, 1838), 139, 191.<br />
+<br />
+Lang, Andrew, 231.<br />
+<br />
+Latham, O'Neill, 162.<br />
+<br />
+Layard, George Somes, author of "George Cruikshank's Portraits of<br />
+Himself" (London: W. T. Spencer, 1897), 15, 35, 120, 247.<br />
+<br />
+<i>Leader (The) of the Parisian Blood Red Republic of 1870, or The<br />
+Infernal Fiend</i> (caricature designed, etched and published by George<br />
+Cruikshank, June 1871), 3.<br />
+<br />
+"Legend (A) of the Rhine," 196.<br />
+<br />
+Leloir, Maurice, 94.<br />
+<br />
+Le Sage, Alain René, 183. <i>See</i> Adventures of Gil.<br />
+<br />
+Lever, Charles James (born 1806, died 1872), 196.<br />
+<br />
+"Life (The) and Surprising Adventures of Robinson Crusoe, of York,<br />
+Mariner. With introductory verses by Bernard Barton, and illustrated<br />
+with numerous engravings from drawings by George Cruikshank, expressly<br />
+<span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span>designed for this edition" (2 vols, London John Major, 1831), <b>241</b>.<br />
+<br />
+"Life in London, or, the Day and Night Scenes of Jerry Hawthorn, Esq.<br />
+and his elegant friend Corinthian Tom, accompanied by Bob Logic, the<br />
+Oxonian, in their Rambles and Sprees through the Metropolis By Pierce<br />
+Egan, author of 'Walks through Bath,' 'Sporting Anecdotes,' 'Pictures of<br />
+the Fancy,' 'Boxiana,' &amp;c. Dedicated to his most gracious majesty King<br />
+George the Fourth Embellished with thirty six scenes from real life,<br />
+designed and etched by I. R. and G. Cruikshank, and enriched also with<br />
+numerous original designs on Wood, by the same Artists" (London:<br />
+Sherwood, Neely, &amp; Jones, 1821 First issued in 12 monthly parts, the<br />
+first on 2 Oct 1820 the last in July 1821), 46-47 <b>49</b>, 67.<br />
+<br />
+"Life in Paris, comprising the Rambles Sprees and Amours of Dick<br />
+Wildfire, of Corinthian Celebrity, and his Bang-up Companion, Squire<br />
+Jenkins and Captain O'Shuffleton, with the whimsical Adventures of the<br />
+Halibut Family, including Sketches of a Variety of other Eccentric<br />
+Characters in the French Metropolis By David Carey Embellished with<br />
+Twenty one Coloured Plates, representing Scenes from Real Life designed<br />
+and engraved by George Cruikshank Enriched also with Twenty two<br />
+Engravings on wood drawn by the same Artist, and executed by Mr White"<br />
+(London: John Fairburn, 1822. It was issued in parts), 46-47.<br />
+<br />
+"Life (The) of Mansie Wauch Tailor in Dalkeith, written by himself. A new<br />
+Edition revised and greatly enlarged With eight illustrations, by George<br />
+Cruickshank [<i>sic</i>] William Blackwood &amp; Sons, Edinburgh and Thomas<br />
+Cadell, London, 1839" (The author is David Macbeth Moir), 175.<br />
+<br />
+"Life (The) of Napoleon, a Hudibrastic Poem in fifteen cantos by Doctor<br />
+Syntax, embellished with thirty engravings by G. Cruikshank" (London: T.<br />
+Tegg, III. Cheapside, Wm. Allason, 31 New Bond Street, and J. Dick,<br />
+Edinburgh, 1815 Until H. R. Tedder wrote in "Dictionary of National<br />
+Biography" that "The Life of Napoleon" had been "wrongfully ascribed,"<br />
+the author was generally supposed to be William Combe, who wrote "The<br />
+Tour of Doctor Syntax in Search of the Picturesque," etc.), 21 (<i>The Red<br />
+Man</i>), 71-72.<br />
+<br />
+"Life (The) of Sir John Falstaff. Illustrated by George Cruikshank.<br />
+With a biography of the knight from authentic sources by Robert B.<br />
+Brough" (London: Longman, Brown, Green, Longmans, and Roberts, 1858.<br />
+First issued in 10 monthly parts, 1857-8), 184.<br />
+<br />
+Lilla (A long eared spaniel In the South Kensington Museum is a pretty<br />
+pencil sketch, 9784 F, entitled <i>George, Cruikshank's Godson, George<br />
+Cruikshank Pulford, and his dear little pet dog Lilla</i>, and another<br />
+<span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span>pencil sketch, 9611 B, entitled <i>My little pet dog Lilla</i>), 223.<br />
+<br />
+Lines. See <i>Striking</i>.<br />
+<br />
+Linse, Jan, 171.<br />
+<br />
+Locker-Lampson, Frederick, 159-160.<br />
+<br />
+London 36, 46, 47, 96-107.<br />
+<span style="margin-left: 1em;"><i>See</i> Life in London.</span><br />
+<br />
+London Hermit. <i>See</i> Peeps.<br />
+<br />
+Lottery Print, 15. See <i>Children's Lottery</i>.<br />
+<br />
+Louis XVIII. (born 1755, died 1824), 7. See <i>Old Bumble-head</i>.<br />
+<br />
+Lowell, James Russell, 234.<br />
+<br />
+"Loving (The) Ballad of Lord Bateman, with XI Plates by George<br />
+Cruikshank" (London: Charles Tilt, Constantinople, Mustapha Syried,<br />
+1839. G. Cruikshank's drawing [for his contemplated autobiography]<br />
+entitled "The Loving Ballad of Lord Bateman," appears in "Drawings by<br />
+George Cruikshank" [1895. <i>See</i> Drawings]), <b>229</b>, 231-232.<br />
+<br />
+"Loyalist's (The) Magazine." <i>See</i> Caroline.<br />
+<br />
+<br />
+Mackay, Dr Charles, 55.<br />
+<br />
+Maclise, Daniel (died April 1870), 239.<br />
+<br />
+Magdalen See <i>Woman</i>, 27.<br />
+<br />
+<i>Making Decent!!</i> (Caricature published by G. Humphrey, 8 Aug. 1822.<br />
+Invented by Capt. Marryat whose signature is an anchor. G. Cruikshank,<br />
+fect.), 171.<br />
+<br />
+Mansie Wauch. <i>See</i> Life of Mansie.<br />
+<br />
+Marchmont, Frederick. <i>See</i> Cigar, Three Cruikshanks.<br />
+<br />
+Marlborough, John Churchill, Duke of (born 1650, died 1722), 90.<br />
+<br />
+Marryat, Capt. Frederick (born 10 July 1792, died 2 Aug. 1848), 95, 166,<br />
+171. See <i>Making</i>, Progress.<br />
+<br />
+Mary I., Queen of England, <b>83</b>.<br />
+<br />
+Mathew, Father Theobald (born 1790, died 1857), 48.<br />
+<br />
+Maxwell, William Hamilton, 93, 219. <i>See</i> History of the.<br />
+<br />
+Mayhew, The Brothers, <b>149</b>, 151. <i>See</i> Good Genius,<br />
+Greatest.<br />
+<br />
+Mayhew, Henry. <i>See</i> World's.<br />
+<br />
+<i>Mayor (The) of Hole-cum-Corner</i> (frontispiece to vol. 1. of Douglas<br />
+Jerrold's "Cakes and Ale" [1842]), 204.<br />
+<br />
+<i>Meditations Amongst the Tombs</i> (print pub. 1 May 1813, by J. Johnston),<br />
+24.<br />
+<br />
+"Melange (The), a variety of Original Pieces in Prose and Verse;<br />
+comprising the Elysium of Animals. Illustrated by engravings." (By<br />
+Egerton Smith. Liverpool: Egerton Smith &amp; Co., 1834), 220.<br />
+<br />
+Melville, H., 120.<br />
+<br />
+"Memoir (A) of George Cruikshank, Artist and Humourist. With numerous<br />
+illustrations and a £1 Bank Note. By Walter Hamilton, F.R.G.S." (London:<br />
+Elliot Stock, 1878. Students should get the 2nd edition, also dated<br />
+1878, which contains additional matter), 112, 231.<br />
+<br />
+"Memoirs of Joseph Grimaldi. Edited by 'Boz.' With illustrations by<br />
+George Cruikshank In two volumes" (London. Richard Bentley, 1838), 195.<br />
+<br />
+"Memoirs of the Life and Writings of Lord Byron. By George Clinton,<br />
+Esq." (London: James Robins &amp; Co., 1825. Two editions are of this date;<br />
+one has 43 plates, the other 40), 134, 195.<br />
+<span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span><br />
+"Merry (The) Wives of Windsor" 191.<br />
+<br />
+"Meteor (The), or Monthly Censor" (vol 1 and 2 Nos of vol ii, London:<br />
+printed by W. Lewis, and sold by T. Hughes 1814), 35, 129.<br />
+<br />
+Meynell, Mrs Alice (author under her maiden name of "A Bundle of Rue:<br />
+Being Memorials of artists recently deceased I. George Cruikshank" This<br />
+chapter appeared in "The Magazine of Art," March 1880), 35.<br />
+<br />
+Michelangelo, 120.<br />
+<br />
+"Midsummer Night's Dream." <i>See</i> Royal Academy, 1853.<br />
+<br />
+Miller, Henry, 160.<br />
+<br />
+Milton, John, 119.<br />
+<br />
+"Minor Morals for Young People. Illustrated in Tales and Travels. By John<br />
+Bowring. With engravings by George Cruikshank and William Heath" (London:<br />
+Whittaker &amp; Co., 1834. The same publishers in 1835 issued Part II of this<br />
+work illustrated by George Cruikshank alone, who also is the sole<br />
+illustrator of Part III issued in Edinburgh by William Tait, in London<br />
+by Simpkin, Marshall &amp; Co., and in Dublin by John Cumming, 1839), 133.<br />
+<br />
+Miser's (The) Daughter. A Tale by William Harrison Ainsworth (3 vols.,<br />
+London: Cunningham &amp; Mortimer, 1842), 86, <b>87</b>, 88.<br />
+<br />
+Moir, David Macbeth (born 1798, died 1851). <i>See</i> Life of Mansie.<br />
+<br />
+Monstrosities. See <i>Juvenile, Mushroom</i>.<br />
+<br />
+<i>Monstrosities of 1816, scene, Hyde Park</i> (caricature by G. Cruikshank<br />
+pub. by H. Humphrey, 12 March 1816), 7.<br />
+<br />
+Monstrosities of 1822 (caricature by G. Cruikshank, pub. by G. Humphrey<br />
+Pub. 19 Oct. 1822), 7.<br />
+<br />
+"Monthly (The) Theatrical Reporter, or Literary Mirror," by Thomas<br />
+Dutton, A. M. (London: J. Roach. 1814-15), 184.<br />
+<br />
+Moore, Dr A., 71. <i>See</i> Annals.<br />
+<br />
+Moore, Julian, 89. <i>See</i> Three Cruikshanks.<br />
+<br />
+Moore, Thomas, 19.<br />
+<br />
+"More Mornings at Bow Street. A new Collection of Humourous and<br />
+Entertaining Reports, by John Wight of the <i>Morning Herald</i>, with twenty<br />
+five illustrations by George Cruikshank" (London: James Robins &amp; Co.,<br />
+1827), 47.<br />
+<br />
+Mornings at Bow Street: a Selection of the most humourous and<br />
+entertaining reports which have appeared in the <i>Morning Herald</i>, by Mr<br />
+Wight (Bow Street: Reporter to the <i>Morning Herald</i>) with twenty-one<br />
+illustrative drawings by George Cruikshank (London: Charles Baldwyn<br />
+1824), 47. <i>See</i> Thompson, John.<br />
+<br />
+"Mother Hubbard and her Dog," a Banbury Chap-Book designed by George<br />
+Cruikshank (early work) and engraved by Branston, 155.<br />
+<br />
+<i>Mother's (A) Love.</i> <i>See</i> Three.<br />
+<br />
+Mottram, Charles, engraver (born 9 April 1807, died 30 Aug. 1876).<br />
+See <i>Worship of Bacchus or.</i><br />
+<br />
+<i>Mrs Clark's Petticoat</i> (caricature published by S. W. Fores, 23 Feb.<br />
+1809), 26.<br />
+<br />
+Mudford, William, 71. <i>See</i> Historical.<br />
+<span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span><br />
+Mummies. <i>See</i> History of Egyptian.<br />
+<br />
+Munchausen. <i>See</i> Travels and.<br />
+<br />
+<i>Mushroom Monstrosities</i> (caricature published by G. Humphrey, 24 Jan.<br />
+1826. Reprinted in "Cruikshankiana)," 7.<br />
+<br />
+"My Sketch Book," by George Cruikshank (9 numbers published by George<br />
+Cruikshank, 23 Myddelton Terrace, Pentonville, 1834, 1835, 1836), 60,<br />
+108, 211, 219-220.<br />
+<br />
+<br />
+Nagler, Dr., 65.<br />
+<br />
+Nairs. See <i>Coronation</i>.<br />
+<br />
+Napier, Gen. Sir Charles James, G.C.B. (born 10 Aug. 1782, died 29 Aug.<br />
+1853), 103.<br />
+<br />
+Napier Gen. Sir William Francis Patrick (born 17 Dec. 1785, died 10 Feb.<br />
+1860). <i>See</i> Pop-Gun.<br />
+<br />
+Napoleon Buonaparte (born 15 Aug. 1769, died 5 May 1821), 3, 17-21,<br />
+71-72, 133, 159. See <i>Blucher</i>, <i>Boney</i>, <i>Boney's</i>, <i>Boney Tir'd</i>,<br />
+<i>Imperial</i>, <i>Life of Napoleon</i>, <i>Napoleon's</i>, <i>Old Bumble-head</i>,<br />
+<i>Peddigree</i>, <i>Phenix</i>.<br />
+<br />
+<i>Napoleon's Trip from Elba to Paris, and from Paris to St Helena</i><br />
+(caricature by G. Cruikshank appearing in "The Scourge" for Sept. 1815).<br />
+<br />
+Netherlands. <i>See</i> Historical.<br />
+<br />
+Nevison, 77.<br />
+<br />
+"New (The) Bath Guide; or Memoirs of the B-n-r-d Family, in a series of<br />
+Poetical Epistles: by Christopher Anstey, Esq.... A new<br />
+edition: with a biographical and topographical preface, and<br />
+anecdotal annotations, by John Britton, F.S.A., and member of several<br />
+other societies. Embellished with engravings" (London: Hurst, Chance &amp;<br />
+Co., 1830), 175.<br />
+<br />
+Newcastle, Duke of, 91.<br />
+<br />
+Newton, Sir Isaac, 74.<br />
+<br />
+<i>New (The) Union Club. Being a representation of what took place at a<br />
+celebrated dinner given by a celebrated Society&mdash;vide Mr M-r-t's<br />
+Pamphlet, More Thoughts, etc. etc</i> (<img src="images/anchor3.png" width="15" height="15" alt="anchor" /> &mdash;G Cruikshank sculpt. Pub.<br />
+19 July 1819, by G. Humphrey. In Capt. R. J. H. Douglas's opinion this<br />
+is "the chef d'&#339;uvre of George Cruikshank's Caricatures." It did not<br />
+impress me particularly. It humourously satirises William<br />
+Wilberforce's Anti-Slavery Movement).<br />
+<br />
+Nield, W. A., 213.<br />
+<br />
+"'Non Mi Ricordo!' &amp;c. &amp;c. &amp;c." (London: William Hone [the author],<br />
+1820). <i>See</i> Fat in the Fire, also 25.<br />
+<br />
+Nottage, George S. (the letter referred to is in the George Cruikshank<br />
+coll., South Kensington Museum, and is dated July 25, 1874, from the<br />
+London Stereoscopic Co.), 212.<br />
+<br />
+<br />
+O'Hara, Kane. <i>See</i> Tom.<br />
+<br />
+<i>Oil (The) painting of "The Worship of Bacchus," 13 feet 4 by 7 feet 8,<br />
+being conveyed to the National Gallery Department of the British<br />
+Museum</i>, April 8, 1869, 66.<br />
+<br />
+<i>Old Bumble-head the 18th trying on the Napoleon Boots, or Preparing for<br />
+the Spanish Campaign</i> (caricature by G. Cruikshank, pub. by Jno.<br />
+Fairburn, 17 Feb. 1823), 7.<br />
+<br />
+Oldcastle, Sir John, 184.<br />
+<br />
+Old Sailor. <i>See</i> Barker, M. H.<br />
+<br />
+"Old (The) Sailor's Jolly Boat. Laden with Tales, Yarns,<br />
+<span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span>Scraps, Fragments, &amp;c. &amp;c. To Please all hands; Pulled by Wit, Fun,<br />
+Humor, and Pathos, and steered by M. H. Barker" (London: W. Strange;<br />
+Nottingham: Allen; Leicester: Allen, 1884, first appeared in 12 parts<br />
+commencing 1 May 1843), 95, 175.<br />
+<br />
+"Old (An) Story, by S. C. Hall, F. S. A., &amp;c." (London: Virtue,<br />
+Spalding, &amp; Co., 1875. To this vol. George Cruikshank contributed<br />
+his "last temperance piece"&mdash;<i>The Last Half Hour</i>, engraved<br />
+by Dalziel Brothers), 69.<br />
+<br />
+"Oliver Twist. By Charles Dickens" (3 vols., London: Richard Bentley,<br />
+1838. The first issue of the first edition contains the etching<br />
+entitled "Rose Maylie and Oliver" known to collectors as "the<br />
+Fireside plate," which Dickens disliked so much that in Oct. 1838<br />
+he wrote to Cruikshank asking him if he would object to design the plate<br />
+afresh the result being the etching of Rose and Oliver contemplating the<br />
+memorial tablet to Agnes. Nevertheless Cruikshank made a water colour<br />
+drawing of "the Fireside plate," which was published in "Cruikshank's<br />
+water colours with introduction by Joseph Grego," published by A. &amp; C.<br />
+Black early in 1904&mdash;the date on title page being 1903), 9 ("fireside<br />
+plate") 60, 99 (Mr Bumble), 103-104.<br />
+<br />
+O'Meara, Dr., 27.<br />
+<br />
+O'Neill, John, 52. <i>See</i> Drunkard.<br />
+<br />
+<i>On Guard.</i> <i>See</i> Royal Academy, 1858.<br />
+<br />
+O. P. (Old Prices) riots, 11,<br />
+<br />
+<i>Original Sketch by George Cruikshank. Her Majesty and the Prince Consort<br />
+at the Ball at Guildhall, July 1851. Mr and Mrs George Cruikshank passing<br />
+before them and the Prince kindly saying to her Majesty "that is George<br />
+Cruikshank," at which her most gracious Majesty smiled and bowed</i> (No.<br />
+9454 in the George Cruikshank collection at the South Kensington Museum.<br />
+The etching of this subject [<i>See</i> No. 9454-1] was never completed, but<br />
+promised well), 247.<br />
+<br />
+Osnaburg or Osnabrück, Hanover. On 27 Feb. 1764, Prince Frederick,<br />
+afterwards Duke of York and Albany, was elected to the bishopric of<br />
+Osnaburg which he retained till 1803, when the bishopric was secularised<br />
+and incorporated with Hanover.<br />
+<br />
+<br />
+P***y, J., 171 See <i>Brazen</i>.<br />
+<br />
+Palace (G. Cruikshank's <i>Design for a palace</i> is No. 9396 A (a sheet of<br />
+paper covered on both sides with pencil sketches of various subjects) in<br />
+the George Cruikshank collection in the South Kensington Museum), 247.<br />
+<br />
+"Paradise Lost," 119.<br />
+<br />
+Paris. <i>See</i> Life in Paris.<br />
+<br />
+<i>Passing Events</i> (etching in George Cruikshank's Magazine, Feb. 1854),<br />
+39, 224.<br />
+<br />
+Patricius, 15.<br />
+<br />
+Peacock, Thomas Love, 224.<br />
+<br />
+Pearce, John, 69.<br />
+<br />
+Pearson, Edwin, author of "Banbury Chap-Books and Nursery Toy Book<br />
+Literature (of the eighteenth and early nineteenth centuries) with<br />
+<span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span>impressions from several hundred wood-cut blocks, by T. and J. Bewick,<br />
+Blake, Cruikshank, Craig, Lee, Austin, and others" (London: Arthur<br />
+Reader, 1890), 155. <i>See</i> Dick Whittington.<br />
+<br />
+<i>Peddigree</i> [sic] <i>(The) of Corporal Violet</i> (caricature published by H.<br />
+Humphrey, 9 June 1815), 159.<br />
+<br />
+"Peeps at Life, and Studies in my Cell, by the London Hermit" (London:<br />
+Simpkin, Marshall &amp; Co., 1875), 136, <b>249</b>.<br />
+<br />
+"Pentamerone (The), or the Story of Stories, Fun for the Little Ones, by<br />
+Giambattista Basile. Translated from the Neapolitan by John Edward<br />
+Taylor. With illustrations by George Cruikshank" (London: David Bogue,<br />
+1848), 151-152, 212.<br />
+<br />
+"Peter Schlemihl: from the German of Lamotte Fouqué [should be Adelbert<br />
+von Chamisso]. With plates by George Cruikshank" (London: Geo. B.<br />
+Whittaker, 1823), 125, 126, <b>127</b>.<br />
+<br />
+Pettigrew, Thomas Joseph <i>See</i> Augustus, History of Egyptians.<br />
+<br />
+<i>Phenix</i> [sic] <i>(The) of Elba Resuscitated by Treason</i> (caricature<br />
+published in "The Scourge" for May 1815), 24.<br />
+<br />
+"Phrenological Illustrations, or an Artist's View of the Craniological<br />
+System of Doctors Gall and Spurzheim," by George Cruikshank. (London:<br />
+published by George Cruikshank, Myddelton Terrace, Pentonville, 1826),<br />
+72, <b>173</b>, 179-180.<br />
+<br />
+Piccini, 130.<br />
+<br />
+"Pic Nic (The) Papers." <i>See</i> Sir Lionel.<br />
+<br />
+Pied Piper, 159.<br />
+<br />
+"Pilgrim's (The) Progress, by John Bunyan. Most carefully collated with<br />
+the edition containing the author's last additions and corrections. With<br />
+explanatory notes by William Mason. And a life of the author, by Josiah<br />
+Conder, Esq." (Fisher, Son, &amp; Co, London and Paris, 1838), 120.<br />
+<br />
+"Pilgrim's (The) Progress, by John Bunyan, illustrated with 25 drawings<br />
+on wood by George Cruikshank, from the collection of Edwin Truman, with<br />
+biographical introduction and indexes" (London, Edinburgh, Glasgow, and<br />
+New York: Henry Frowde, 1903), 120, 125.<br />
+<br />
+Pinwell, George John (water-colour painter, born 26 Dec. 1842, died 8<br />
+Sept 1875), 156.<br />
+<br />
+"Pirate (The)," by Sir Walter Scott, <b>237</b>.<br />
+<br />
+"Pocket (The) Magazine. Robins's Series" (4 vols., London: James Robins &amp;<br />
+Co., 1827, 1828), 147.<br />
+<br />
+"Points of Humour; illustrated by the Designs of George Cruikshank"<br />
+(London: C. Baldwyn, 1823, 1824), 73-74, 136, <b>167</b>, 172.<br />
+<br />
+Pop-Gun (A) fired off by George Cruikshank in defence of the British<br />
+volunteers of 1803, against the uncivil attack upon that body by General<br />
+W. Napier, to which are added some observations upon our National<br />
+Defences, Self-Defence, &amp;c. &amp;c. &amp;c. Illustrated with Cuts (London: W.<br />
+<span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span>Kent &amp; Co., late D. Bogue. The British Museum copy is stamped "10<br />
+Fe[bruary] [18]60"), <b>44</b>, 59, 60.<br />
+<br />
+"Popular Romances of the West of England or, The Drolls Traditions and<br />
+Superstitions of Old Cornwall Collected and edited by Robert Hunt F. R. S."<br />
+(2 vols., London: J. Camden Hotten, 1865), 244.<br />
+<br />
+Portland, Duke of (William Henry Cavendish Bentinck-Scott) 129<br />
+<br />
+<i>Portraits</i> (sketch made in 1874), 212.<br />
+<br />
+Pound, D. J., engraver, <i>See</i> Cruikshank George.<br />
+<br />
+Poussin, Nicholas (born June 1594, died 19 Nov. 1665), 69.<br />
+<br />
+Poynter, Sir Edward, 69.<br />
+<br />
+<i>Preparing John Bull for General Congress</i> (caricature, dated as<br />
+published Aug. 1, 1813, which appeared in vol. vi. of "The Scourge,"<br />
+1813), 7, 43.<br />
+<br />
+Prince Consort. <i>See</i> Albert.<br />
+<br />
+<i>Princely Agility or the Sprained Ancle</i> (print pub. Jan. 1812, by J.<br />
+Joh[n]ston), 98 Cheapside, 24.<br />
+<br />
+"Progress (The) of a Midshipman" (8 designs invented by Capt. Marryat,<br />
+etched by George Cruikshank, published by G. Humphrey, London 1820), 95.<br />
+<br />
+Puck, 184.<br />
+<br />
+Pughe, J. S., 212.<br />
+<br />
+Pulford, George Cruikshank. <i>See</i> Lilla.<br />
+<br />
+"Punch and Judy, with illustrations designed and engraved by George<br />
+Cruikshank. Accompanied by the dialogue of the puppet show, an account of<br />
+its origin, and of puppet-plays in England" (London: S. Prowett, 1828. The<br />
+text is by John Payne Collier), 130, <b>131</b>.<br />
+<br />
+"Punch, or the London Charivari," 234.<br />
+<br />
+Pure, Simon, 65.<br />
+<br />
+<i>Pursuit (The) of Letters</i> (etching "Designed, Etched and Published by<br />
+Geo. Cruikshank, May 20th, 1828," in "Scraps and Sketches"), 212.<br />
+<br />
+"Puss in Boots" ("George Cruikshank's Fairy Library," No. 4, London:<br />
+Routledge Warne &amp; Routledge Broadway, Ludgate Hill, and F. Arnold, 86<br />
+Fleet Street, 1864), 140, <b>157</b>.<br />
+<br />
+<br />
+"Queen's (The) Matrimonial Ladder," by the author of "The Political House<br />
+that Jack Built" (London: William Hone [the author], 1820), 25, 26. <i>See</i><br />
+White.<br />
+<br />
+<br />
+Rabelais, 166.<br />
+<br />
+"Railway Readings." <i>See</i> Cigar.<br />
+<br />
+"Rambles in the Footsteps of Don Quixote. By the late H. D. Inglis, author<br />
+of Spain' 'New Gil Blas, or Pedro of Penaflor': 'The Tyrol': 'Channel<br />
+Islands,' &amp;c. &amp;c. With illustrations by George Cruikshank" (London:<br />
+Whittaker &amp; Co., 1837), 200.<br />
+<br />
+Ranelagh, 86, 89.<br />
+<br />
+Raspe, R. E., creator of "Baron Munchausen," 183, 184. <i>See</i> Travels.<br />
+<br />
+Reach, Angus B. <i>See</i> Clement.<br />
+<br />
+Read. <i>See</i> Brooks.<br />
+<br />
+"Redgauntlet," by Sir Walter Scott, 192.<br />
+<br />
+<i>Red (The) Man</i> (engraving by George Cruikshank in "The Life of<br />
+Napoleon" by Dr Syntax), 21, 72.<br />
+<br />
+<span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span><i>R[egen]t (The) Kicking up a Row, or Warwick House in an Uproar!!!</i><br />
+(caricature by G. Cruikshank published 20 July 1814, by T. Tegg. In this<br />
+caricature the Prince Regent declares he has burst his stays), 23.<br />
+<br />
+Reid, George William, compiler of the bibliography entitled "A<br />
+Descriptive Catalogue of the works of George Cruikshank" (3 vols., London:<br />
+Bell &amp; Daldy, 1871. Mr A. M. Broadley possesses "the latest corrected and<br />
+annotated copy" of Reid's George Cruikshank catalogue, "annotated and<br />
+corrected by him, in a very voluminous manner, with a view to a second<br />
+edition"), 12, 16, 120, 134.<br />
+<br />
+"Rejected Addresses: or, The New Theatrum Poetarum," by James Smith and<br />
+Horace Smith. 18th ed. (London: John Murray, 1833), 195.<br />
+<br />
+Rembrandt van Ryn (born 15 July 1606, died 1669), 147.<br />
+<br />
+Renard, Simon, 82, <b>83</b>.<br />
+<br />
+<i>Results of the Northern Excursion</i> (print showing George IV. relieving<br />
+an irritated cuticle, pub. by J. Fairburn, 8 Sept. 1822), 25.<br />
+<br />
+<i>Return (The) to Office</i> (caricature by G. Cruikshank published in "The<br />
+Scourge" for 1 July 1811), 26.<br />
+<br />
+Richard III, 184.<br />
+<br />
+Richardson, Sir Benjamin Ward, 59, 108. <i>See</i> Drawings.<br />
+<br />
+Roach, J., 184.<br />
+<br />
+Robinson Crusoe. <i>See</i> Life and.<br />
+<br />
+Rome, King of, 72.<br />
+<br />
+"Romeo and Juliet," 184. See <i>Juliet</i>.<br />
+<br />
+"Rookwood, a romance by Wm. Harrison Ainsworth" (London: John Macrone,<br />
+1836), <b>75</b>, 77.<br />
+<br />
+Roscoe, Thomas. <i>See</i> Adventures of Gil, Adventures of Joseph, History<br />
+and.<br />
+<br />
+"Rose (The) and the Lily: how they became the emblems of England and<br />
+France. A Fairy Tale By Mrs Octavian Blewitt. With a frontispiece by<br />
+George Cruikshank" (London: Chatto &amp; Windus, 1877. The etched<br />
+frontispiece bears the inscription "Designed and Etched by George<br />
+Cruikshank, Age 83, 1875"), 1, 134-135.<br />
+<br />
+"Rose (The) and the Ring," by W. M. Thackeray, 196.<br />
+<br />
+Rowlandson, Thomas (born 1756, died 1827), 7, 11, 16, 19, 51,<br />
+96-97, 191. <i>See</i> Grego, Joseph.<br />
+<br />
+Royal (The) Academy of Arts (George Cruikshank exhibited in the<br />
+Exhibitions of this Academy pictures entitled as follows, the dates<br />
+being those of the exhibitions. <i>Fitting out Moses for the fair</i>, 1830.<br />
+This picture illustrates "The Vicar of Wakefield." <i>Tam o' Shanter</i>,<br />
+1852. This picture illustrates the lines&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And scarcely had he<br /></span>
+<span class="i2">Maggie rallied,<br /></span>
+<span class="i0">When out the hellish legion<br /></span>
+<span class="i2">sallied"&mdash;</span><span class="smcap">Burns.</span><br />
+</div></div>
+
+<p><i>A Scene from the Midsummer Night's Dream&mdash;Titania, Bottom, Mustard<br />
+Seed, Peas Blossom, Moth, and Cobweb</i>, 1853 This picture illustrates the<br />
+line "Nod to him elves, and do him courtesies." <i>Cinderella</i>, 1854. <i>On<br />
+Guard</i>, 1858. <i>Cinderella</i>, 1859. <i>The Sober Man's Sunday and the<br />
+Drunkard's Sunday</i>, 1859.<span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span> <i>The first appearance of William Shakespeare<br />
+on the stage of the Globe, with part of his dramatic company, in 1564</i>,<br />
+1867), 240.<br />
+<br />
+Royal (The) Aquarium, London, 69, 107, 160.<br />
+<br />
+"<i>Royal (The) Rushlight</i>" (print published by G. Humphrey 3 March 1821),<br />
+25.<br />
+<br />
+"R-y-l Stripes." <i>See</i> Kick.<br />
+<br />
+Rubens, Peter Paul (born 28 June 1577, died 30 May 1640), 69.<br />
+<br />
+Rusher, printer of Banbury, Oxfordshire, 155.<br />
+<br />
+Ruskin, John (No. 9955 G in the George Cruikshank collection in the<br />
+South Kensington Museum is a pen-sketch entitled <i>Mr Ruskin's Head</i>. The<br />
+head has no beard), 147, 155-156, 159, 244, 247.<br />
+<br />
+Russell, George (A. E.), 161.<br />
+<br />
+<br />
+Sailors, 95-96.<br />
+<br />
+"Sailor's (The) Progress," series of etched illustrations in 6<br />
+compartments, signed "I.[=J] S. and G. CK. delt., G. CK. sculpt.,"<br />
+published 10 Jan. 1818 by G. Humphrey, 95.<br />
+<br />
+"S[ain]t James's or the Court of Queen Anne. An Historical Romance by<br />
+William Harrison Ainsworth" (3 vols., London: John Mortimer, 1844), 90,<br />
+<b>91</b>.<br />
+<br />
+Sala, George Augustus (author of "George Cruikshank: A Life Memory," in<br />
+The Gentleman's Magazine, May 1878), 15, 77.<br />
+<br />
+Satan, 28, 119, 133, 134, 244.<br />
+<br />
+"Satirist (The), or Monthly Meteor" (14 vols., London: Samuel Tipper,<br />
+1808-1814. George Cruikshank's signature appears to plates in New<br />
+Series, vol. iii., 1813, vol. iv., 1814. He also contributed<br />
+plates to "The Tripod, or New Satirist," for 1814, July 1 and Aug. 1,<br />
+the only numbers published), 35.<br />
+<br />
+Savoyards. See <i>French</i>.<br />
+<br />
+<i>Scale (The) of Justice Reversed</i> (caricature published 19 March 1815,<br />
+by S. W. Fores), <b>5</b>.<br />
+<br />
+<i>Scene (A) from the Midsummer Night's Dream.</i> <i>See</i> Royal Academy, 1853.<br />
+<br />
+Schopenhauer, Arthur, 207.<br />
+<br />
+<i>Scotch Washing</i> (Cruikshank del., published by T. Tegg, 16 Aug. 1810),<br />
+175.<br />
+<br />
+Scott, Sir Walter, 81, 139, 147. <i>See</i> Landscape-Historical, Twelve.<br />
+<br />
+"Scourge (The), or Monthly Expositor of Imposture and Folly" (11 vols.,)<br />
+London, 1811-1816; continued in 1816 as "The Scourge and Satirist," of<br />
+which only 6 numbers appeared;<br />
+<span style="margin-left: 1em;">7 and 43 (<i>Preparing John Bull for General Congress</i>),</span><br />
+<span style="margin-left: 1em;">19 (<i>Napoleon's Trip from Elba</i>),</span><br />
+<span style="margin-left: 1em;">20 (<i>Quadrupeds</i>),</span><br />
+<span style="margin-left: 1em;">24 (<i>The Coronation of the Empress of the Nairs</i> and <i>The Phenix of Elba</i>),</span><br />
+<span style="margin-left: 1em;">26 (<i>The Return to Office</i>),</span><br />
+<span style="margin-left: 1em;">27 (<i>Interior View of the House of God</i> and <i>John Bull's Three Stages</i>),</span><br />
+<span style="margin-left: 1em;">31 (<i>The Cow Pox Tragedy</i>),</span><br />
+<span style="margin-left: 1em;">51 (<i>The Dinner of the Four-in-hand Club</i>),</span><br />
+<span style="margin-left: 1em;">139-140 (<i>A Financial Survey of Cumberland</i>).</span><br />
+<br />
+"Scraps and Sketches," by George Cruikshank (4 parts [1828-1832] and one<br />
+plate [1834] published by the Artist at 22 Myddelton [also spelt<br />
+<span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span>Myddleton] Terrace, Pentonville. In 1830 George Cruikshank writes that<br />
+"Scraps and Sketches" "is the third work which I have published on my<br />
+own account"), 35-36, <b>37</b>, 39, 51, 111-112, 116, 143, <b>163</b>, 172, 204, 212,<br />
+215-216, 223.<br />
+<br />
+Sellis, 140.<br />
+<br />
+Seymour, Jane, 90.<br />
+<br />
+Shakespeare, William, 183-184, 187-188. See <i>First</i>, <i>Life</i>, <i>Juliet</i>,<br />
+Royal Academy, 1853, 1867.<br />
+<br />
+Shakespeare's Cliff, 107, 108. <i>See</i> Distant.<br />
+<br />
+Sheppard, Jack, <b>79</b>, <b>80</b> <i>See</i> Jack.<br />
+<br />
+Sheridan, Richard Brinsley Butler (born Sept. 1751, died 7 July 1816), 15.<br />
+<i>See</i> Impostor.<br />
+<br />
+Sheringham, Lieut. John, 95.<br />
+<br />
+Sir Frizzle Pumpkin. <i>See</i> Adventures of Sir.<br />
+<br />
+"Sir Lionel Flamstead, a Sketch," by W. Harrison Ainsworth, identical<br />
+with "The Old London Merchant, a Fragment," which was Ainsworth's<br />
+contribution to "The Pic Nic Papers. By Various Hands. Edited by Charles<br />
+Dickens, Esq.... With illustrations by George Cruikshank, Phiz, &amp;c. In<br />
+three volumes" (London: Henry Colburn, 1841), 93.<br />
+<br />
+"Sketches by 'Boz,' illustrative of every-day life, and every-day<br />
+people" (3 vols., London: John Macrone, 1836, 1837. Many of the<br />
+illustrations were enlarged and re-etched for the edition, complete in<br />
+one vol., published by Chapman &amp; Hall in 1839, and issued in 20 numbers),<br />
+99-100, <b>101</b>, <b>105</b>, 112.<br />
+<br />
+Sleap, Joseph, 35.<br />
+<br />
+"Slice (A) of Bread and Butter, Cut by G. Cruikshank. Being the<br />
+substance of a speech delivered at a public meeting, held for the<br />
+benefit of the Jews' and General Literary and Mechanics' Institute"<br />
+(London: William Tweedie), 59.<br />
+<br />
+Smirke, Robert (painter, born 1752, died 5 Jan. 1845; the date of his<br />
+illustrations of "Gil Blas" is 1809), 199.<br />
+<br />
+Smith, Albert, 39.<br />
+<br />
+Smith, Egerton. <i>See</i> Elysium, Melange.<br />
+<br />
+Smith, Horace (born 1779, died 1849). <i>See</i> Rejected.<br />
+<br />
+Smith, James (born 1775, died 1839). <i>See</i> Rejected.<br />
+<br />
+Smoking, 58, 59. See <i>Tobacco</i>.<br />
+<br />
+Smollett, Tobias, 90, 184, 188, 191. <i>See</i> Illustrations of Smollett.<br />
+<br />
+<i>Sober (The) Man's Sunday, and the Drunkard's Sunday.</i> <i>See</i> Royal<br />
+Academy, 1859.<br />
+<br />
+Socrates, 180, <b>181</b>.<br />
+<br />
+"Songs, Naval and National, of the late Charles Dibdin, with a memoir<br />
+and addenda collected and arranged by Thomas Dibdin, with characteristic<br />
+sketches by George Cruikshank" (London: John Murray, 1841), 175, <b>245</b>.<br />
+<br />
+Sotheby, Wilkinson &amp; Hodge, 13 Wellington Street, Strand, London, W. C.,<br />
+70, 108, 119, 160.<br />
+<br />
+South Kensington Museum (=Victoria and Albert Museum), collection of<br />
+George Cruikshank's work, <b>13</b>, 111, 112, <b>113</b>. See <i>Christian</i>, <i>First</i>,<br />
+Lilla, Original, Palace, Ruskin.<br />
+<br />
+"Specimens of German Romance, selected and translated [by G. Soane] from<br />
+<span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span>various authors. In three volumes" (London: Geo. B. Whittaker, 1826),<br />
+151 (E. T. W. Hoffmann, <i>q. v.</i>).<br />
+<br />
+Spencer, Walter, 107.<br />
+<br />
+Spielmann, Marion H. (F.S.A.), <b>120</b>.<br />
+<br />
+Stays. See R<i>[egen]t.</i><br />
+<br />
+Steel, 192, 236.<br />
+<br />
+Stephens, Frederic G. (author of "A Memoir of George Cruikshank," to<br />
+which is added Thackeray's Essay "On the Genius of George Cruikshank,"<br />
+London: Sampson Low, Marston, Searle &amp; Rivington, 1891), 32, 93.<br />
+<br />
+Stewart, John, 66.<br />
+<br />
+"Stop Thief; or, Hints to Housekeepers to Prevent Housebreaking. By<br />
+George Cruikshank" (London: Bradbury &amp; Evans, 1851. G. and R. Cruikshank<br />
+assisted in the embellishment of Lieut. Col. Baron De Berenger's "Helps<br />
+and Hints How to Protect Life and Property" [London: T. Hurst, 1835]),<br />
+58.<br />
+<br />
+Stowe, Harriet Beecher. <i>See</i> Uncle.<br />
+<br />
+<i>Striking Effects Produced by Lines and Dots for the assistance of young<br />
+Draftsmen</i> (2 etchings published respectively 4 Aug. 1817 and 23 Sept.<br />
+1817 by S. W. Fores. In the same year G. Blackman, 362 Oxford St,<br />
+London, published 2 more etchings by George Cruikshank entitled <i>Twelve<br />
+Subjects formed by Dots and Lines</i> [pub. 14 June] and <i>Nine Subjects<br />
+formed by Dots and Lines</i> [pub 19 July]. To George Cruikshank is also<br />
+attributed an etching entitled <i>Another Series formed of Lines and<br />
+Dots</i>), 243.<br />
+<br />
+"Stubb's Calendar; or, the Fatal Boots," 196.<br />
+<br />
+"Sunday in London. Illustrated in fourteen cuts, by George Cruikshank,<br />
+and a few words by a friend of his; with a copy of Sir Andrew Agnew's<br />
+Bill" (London: Effingham Wilson, 1833; the friend in the<br />
+title is John Wight), 51, 99.<br />
+<br />
+Sussex, Duke of. <i>See</i> Augustus, Illustrations of Popular.<br />
+<br />
+Syntax, Dr., 71. <i>See</i> Life of Napoleon.<br />
+<br />
+<br />
+"Table (The) Book." <i>See</i> Every-Day.<br />
+<br />
+"Tales of Irish Life, illustrative of the manners, customs and<br />
+conditions of the people, by I. Whitty" (2 vols., London: J. Robins &amp;<br />
+Co., 1824), 93.<br />
+<br />
+"Talpa: or the Chronicles of a Clay Farm. An Agricultural Fragment. By<br />
+C. W. H." (London: Reeve &amp; Co., 1852. The author is C. W. Hoskyns), 208.<br />
+<br />
+<i>Tam o' Shanter</i>. <i>See</i> Royal Academy, 1852.<br />
+<br />
+Temperance, 48, 49, 52 <i>et seq.</i>, 247 George Cruikshank's "Last temperance<br />
+piece" was <i>The Last Half Hour</i> in S. C. Hall's "An Old Story" (1875).<br />
+<i>See</i> Bottle, Drunkard, Drunkard's, Glass, Oil, Worship.<br />
+<br />
+Tenniel, Sir John, 176.<br />
+<br />
+Thackeray, William Makepeace (born 18 July 1811, died 23 or 24 Dec.<br />
+1863), 1, 25, 69, 78 196, 231-232. <i>See</i> Stephens, Frederic G.<br />
+<br />
+Thames, 78.<br />
+<br />
+Thistlewood, Arthur (born 1770, hanged 1 May 1820), 3, 35.<br />
+<br />
+Thompson, Alice. <i>See</i> Meynell, Mrs Alice.<br />
+<span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span><br />
+Thompson, John (wood-engraver, born 25 May 1785, died 20 Feb. 1866. At<br />
+the Paris Exhibition of 1855, he was awarded the grand medal of honour<br />
+for wood-engraving. He engraved the cuts for "Mornings at Bow Street"<br />
+and "The Beauties of Washington Irving," &amp;c.), 126, 129, 162, 239. <i>See</i><br />
+True.<br />
+<br />
+Thomson, James, 11.<br />
+<br />
+Thornhill, Sir James (Hogarth's father-in-law), 78.<br />
+<br />
+"Three Courses and a Dessert. The Decorations by George Cruikshank"<br />
+(London: Vizetelly, Branston &amp; Co., 1830. The author is W. Clarke), 215.<br />
+<br />
+"Three (The) Cruikshanks. A Bibliographical Catalogue, describing more<br />
+than 500 works ... illustrated by Isaac, George, and Robert Cruikshank,<br />
+compiled by Frederick Marchmont.... The introduction by Julian Moore,<br />
+with illustrations" (London: W. T. Spencer, 1897. A useful book.<br />
+Prices are appended, which should not in some instances<br />
+be paid by the collector who has time to look about him. The<br />
+frontispiece, reproducing George Cruikshank's oil-painting <i>A Mother's<br />
+Love</i>, reminds one of William Blake's drawing in sepia of a mother<br />
+discovering her child in an eagle's nest).<br />
+<br />
+Time. <i>See</i> Illustrations of Time.<br />
+<br />
+Titian (=Tiziano Vecellio), 2, 69.<br />
+<br />
+Tobacco (The most interesting anti-tobacco publication associated with<br />
+George Cruikshank is "What Put My Pipe Out; or, Incidents in the Life of<br />
+a Clergyman," published in London by S. W. Partridge, 1862), 58, 59.<br />
+<br />
+"Tom Thumb; a Burletta, altered from Henry Fielding, by Kane O'Hara.<br />
+With Designs by George Cruikshank" (London: Thomas Rodd, 1830), 156<br />
+(where Ruskin may be supposed by anyone who thinks, as I do not, that he<br />
+was incapable of a <i>lapsus calami</i>, to refer to the designs for this<br />
+volume).<br />
+<br />
+"Topsail-Sheet Blocks, or, The Naval Foundling. By 'The Old Sailor'" (3<br />
+vols., London: Richard Bentley, 1838, the author is M. H. Barker), 95.<br />
+<br />
+Tothill Fields, <b>87</b>.<br />
+<br />
+"Tower (The) of London," by William Harrison Ainsworth (13 parts, the<br />
+last 2 forming a double part. London: Richard Bentley, 1840), 60, 81-82,<br />
+<b>83</b>, 85.<br />
+<br />
+"Town Talk, or Living Manners" (5 vols., London: J. Johnson, 1811-1814.<br />
+A periodical. George Cruikshank, contributed to vols. ii. [1812], iv.<br />
+[1813], v. [1813]), 35.<br />
+<br />
+"Travels (The) and Surprising Adventures of Baron Munchausen.<br />
+Illustrated with Five woodcuts by G. Cruikshank, and Twenty-two<br />
+full-page curious engravings." (London: William Tegg, 1867. The author<br />
+is R. E. Raspe. The Cruikshank cuts were "used before in other books,"<br />
+says Capt. Douglas. George Cruikshank also contributed a frontispiece to<br />
+<span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span>"The Surprising Travels and Adventures of the Renowned Baron<br />
+Munchausen," printed and sold by Dean &amp; Munday, Threadneedle Street,<br />
+London, 1817), 219.<br />
+<br />
+<i>Triumph (The) of Cupid</i>, etching in "George Cruikshank's Table-Book"<br />
+(1845), 67, 223-4.<br />
+<br />
+"True (The) Legend of St Dunstan and the Devil, Showing how the<br />
+Horse-Shoe came to be a Charm against Witchcraft. By Edward G. Flight.<br />
+With illustrations drawn by George Cruikshank and engraved by John<br />
+Thompson" (London: D. Bogue, 1848), 119, <b>122</b>, <b>123</b>.<br />
+<br />
+Trusler, Rev. Dr., author of "Hogarth Moralized." (For an edition of that<br />
+work published by John Major in 1831, George Cruikshank engraved 4<br />
+groups of heads after Hogarth), 77.<br />
+<br />
+Turpin, Dick, <b>75</b>, 77.<br />
+<br />
+Twain, Mark, 234.<br />
+<br />
+"Twelve Sketches illustrative of Sir Walter Scott's Demonology and<br />
+Witchcraft, by George Cruikshank" (London: J. Robins &amp; Co., 1830), 139,<br />
+147-148.<br />
+<br />
+<br />
+"Uncle Tom's Cabin," by Harriet Beecher Stowe (London: John Cassell,<br />
+1852), 10, 39.<br />
+<br />
+"Universal (The) Songster; or Museum of Mirth: forming the most<br />
+complete, extensive, and valuable collection of ancient and modern songs<br />
+in the English language...." (3 vols., London: John Fairburn, 1825,<br />
+1826), 136-137.<br />
+<br />
+<br />
+Vaccination. See <i>Cow, Vaccination against</i><br />
+<br />
+<i>Vaccination against Small Pox or Mercenary and Merciless spreaders of<br />
+Death and Devastation driven out of Society</i> (caricature signed<br />
+Cruikshank del. Published by S. W. Fores, 20 June 1808), 31.<br />
+<br />
+"Vicar (The) of Wakefield," 191-192, <b>193</b>. <i>See</i> Royal Academy, 1830.<br />
+<br />
+Victoria and Albert Museum. <i>See</i> South Kensington.<br />
+<br />
+Victoria, Queen, 40, 44, 247. <i>See</i> Original.<br />
+<br />
+"Voice (The) of Humanity for the Communication and Discussion of all<br />
+subjects relative to the Conduct of Man towards the Inferior Animal<br />
+Creation" (London: J. Nisbet 1830 [<i>sic</i>]. The etching by Geo.<br />
+Cruikshank entitled <i>The Knackers</i> [sic] <i>Yard, or the Horses</i> [sic]<br />
+<i>last home</i>! is here <i>without</i> the notice "Licensed for Slaughtering<br />
+Horses." <i>The Knackers Yard</i> appeared in the number for May 1831, and<br />
+re-appeared in vol iii [the title-page of which is dateless], with the<br />
+words "Licensed for Slaughtering Horses," added to the design. In the<br />
+first state of the plate as published is the date 1831), 220.<br />
+<br />
+<br />
+Wardle, Col, Gwyllym Lloyd (member for Oakhampton, Devon, who, in the<br />
+House of Commons, 27 Jan. 1809, made the charge against the<br />
+Duke of York of implication in the misuse of money realised by the sale<br />
+of commissions), 26.<br />
+<br />
+Watts, George Frederick (born 1817, died 1904), 2.<br />
+<span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span><br />
+"Waverley," by Sir Walter Scott, <b>169</b>, 175, 192.<br />
+<br />
+Wedmore, Frederick, 100, 115.<br />
+<br />
+Westminster Abbey, 86, 89.<br />
+<br />
+"What Put My Pipe Out." <i>See</i> Tobacco.<br />
+<br />
+Whistler, James McNeill (born <i>circa</i> 1835, died July 1903), 78.<br />
+<br />
+White, engraver. <i>See</i> Life in Paris. (There was a wood engraver called<br />
+Henry White, a pupil of Bewick who "produced much good work, notably the<br />
+illustrations for Hone's 'House that Jack Built,' 'The Matrimonial<br />
+Ladder,' [<i>sic</i>] &amp;c. <i>Vide</i> 'Bryan's Dictionary of Painters and<br />
+Engravers," revised ed. 1905).<br />
+<br />
+White, Rev. James (born 1803, died 1862). <i>See</i> Adventures of Sir.<br />
+<br />
+Whittington, <i>See</i> Dick.<br />
+<br />
+Whitty, I., 93. <i>See</i> Tales.<br />
+<br />
+Wight, John. <i>See</i> More, Mornings, Sunday.<br />
+<br />
+Wilberforce, William (born 24 Aug. 1759 died 29 July 1833). See <i>New<br />
+Union</i>.<br />
+<br />
+Wild, Jonathan, <b>79</b>.<br />
+<br />
+Wilde, Oscar, 183-184.<br />
+<br />
+Willesden Churchyard, <b>79</b>.<br />
+<br />
+"Windsor Castle, an Historical Romance," by W. Harrison Ainsworth (new<br />
+edition, illustrated by George Cruikshank, and Tony Johannot, with<br />
+designs on wood by W. Alfred Delamotte. London: Henry Colborn, 1843. The<br />
+first edition, also 1843, has only 3 etchings), 89, 90, 135, <b>137</b>.<br />
+<br />
+Winsor, Frederick Albert. <i>See</i> Winzer.<br />
+<br />
+Winzer (born 1763, died 11 May 1830. One of the pioneers of gas lighting<br />
+and son of Friedrich Albrecht Winzer. Apparently he was named after his<br />
+father, but he anglicised his name and biography knows him as Frederick<br />
+Albert Winsor). 31.<br />
+<br />
+'Wits (The) Magazine and Attic Miscellany' (2 vols., London: Thomas<br />
+Tegg, 1818), <b>209</b>.<br />
+<br />
+<i>Woman (The) Taken in Adultery, or Mary Magdalen</i> (caricature ascribed<br />
+by G. W. Reid to George Cruikshank. Published by S. W. Fores, 15 March<br />
+1809), 27.<br />
+<br />
+Women, 43.<br />
+<br />
+Woodward, H. 12.<br />
+<br />
+Wooler, Thomas Jonathan (born 1785 or 1786, died 29 Oct. 1853, editor of<br />
+"The Black Dwarf" which started 29 Jan. 1817. He was a <i>tall</i> man), 35.<br />
+<br />
+"Works (The) of George Cruikshank Classified and Arranged with<br />
+References to Reid's Catalogue and their approximate values By Capt. R.<br />
+J. H. Douglas, with a frontispiece" (London: printed by J. Davy &amp; Sons,<br />
+1903. Though not quite exhaustive and with several errors this book is<br />
+indispensable to the collector. It is the only bibliography which<br />
+attempts to include all the artist's works to the date of his death).<br />
+<br />
+"World's (The) Show, 1851, or the Adventures of Mr and Mrs Sandboys and<br />
+Family, who came up to London to enjoy themselves, and to see the Great<br />
+Exhibition, by Henry Mayhew and George Cruikshank" (London: David<br />
+Bogue, 1851. First published in 8 parts. The title-page here quoted is<br />
+the one designed by G. Cruikshank, but above the first line of text the<br />
+title is as quoted on p. 44).<br />
+<br />
+<i>Worship (The) of Bacchus</i>, oil-painting by George Cruikshank (1862),<br />
+65-70. <i>See</i> Oil painting.<br />
+<br />
+<i>Worship (The) of Bacchus, or the Drinking Customs of Society, showing<br />
+how universally the intoxicating liquors are used upon every occasion in<br />
+life from the cradle to the grave. The figures outlined on<br />
+the steel plate by George Cruikshank and the engraving finished by<br />
+Charles Mottram</i> (London: William Tweedie, 1864), 65.<br />
+<br />
+Wright, Thomas (M.A., F.S.A.), Author of "Caricature History of the<br />
+Georges" (1867), 11.<br />
+<br />
+<br />
+Xantippe, <b>181</b>.<br />
+<br />
+<br />
+Yarmouth, The Countess of 4, 24.<br />
+<br />
+Yedis, 28.<br />
+<br />
+York, Duke of. <i>See</i> Frederick.<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Transcribers_Notes" id="Transcribers_Notes"></a>Transcriber's Notes:</h2>
+
+<p>
+It is not uncommon for Mr, Mrs, Dr, and St not to have periods at the<br />
+time the book was published, (1908).<br />
+<br />
+Missing punctuation has been added.<br />
+<br />
+Page 32 and sea&mdash;betweeen which they strut. The word betweeen changed<br />
+<span style="margin-left: 4em;">to between.</span><br />
+<br />
+Page 280 Wardle, Col., Gwyllym Lloyd (member for Oakhampton, Devon, who,<br />
+<span style="margin-left: 2.5em;">in the House of Commons, 27 Jany. 1809,&nbsp; Jany. Changed to Jan.</span><br />
+</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of George Cruikshank, by W. H. Chesson
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@@ -0,0 +1,5518 @@
+The Project Gutenberg EBook of George Cruikshank, by W. H. Chesson
+
+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: George Cruikshank
+
+Author: W. H. Chesson
+
+Release Date: December 16, 2011 [EBook #38318]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE CRUIKSHANK ***
+
+
+
+
+Produced by Juliet Sutherland, Susan Theresa Morin and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+See Transcriber's Notes at end of text.
+
+Special Transcriber's Notes:
+     Text surrounded by ~ originally printed in a sans serif typeface.
+
+     In the Index you will find [J] replaces picture of small anchor.
+
+
+
+
+The Popular
+Library of Art
+
+
+Edited by
+Edward Garnett
+
+The Popular Library of Art
+
+ALBRECHT DUeRER (37 Illustrations).
+    By Lina Eckenstein
+
+ROSSETTI (53 Illustrations).
+    By Ford Madox Hueffer.
+
+REMBRANDT (61 Illustrations).
+    By Auguste Breal.
+
+FRED. WALKER (32 Illustrations and
+Photogravure).
+    By Clementina Black.
+
+MILLET (32 Illustrations).
+    By Romain Rolland.
+
+THE FRENCH IMPRESSIONISTS
+(50 Illustrations).
+    By Camille Mauclair.
+
+LEONARDO DA VINCI (44 Illustrations).
+    By Dr Georg Gronau.
+
+GAINSBOROUGH (55 Illustrations).
+    By Arthur B. Chamberlain.
+
+BOTTICELLI (37 Illustrations).
+    By Julia Cartwright (Mrs Ady).
+
+RAPHAEL (50 Illustrations).
+    By Julia Cartwright (Mrs Ady).
+
+VELAZQUEZ (51 Illustrations).
+    By Auguste Breal.
+
+HOLBEIN (50 Illustrations).
+    By Ford Madox Hueffer.
+
+ENGLISH WATER COLOUR PAINTERS
+(42 Illustrations).
+    By A. J. Finberg.
+
+WATTEAU (35 Illustrations).
+    By Camille Mauclair.
+
+THE PRE-RAPHAELITE BROTHERHOOD
+(38 Illustrations).
+    By Ford Madox Hueffer.
+
+PERUGINO (50 Illustrations).
+    By Edward Hutton.
+
+CRUIKSHANK.
+    By W. H. Chesson.
+
+HOGARTH.
+    By Edward Garnett.
+
+[Illustration: GEORGE CRUIKSHANK FRIGHTENING SOCIETY
+
+From "George Cruikshank's Omnibus," 1842.]
+
+
+
+
+GEORGE
+CRUIKSHANK
+
+BY
+
+W. H. CHESSON
+
+AUTHOR OF "NAME THIS CHILD," ETC.
+
+LONDON: DUCKWORTH & CO.
+NEW YORK: E. P. DUTTON & CO.
+
+PRINTED BY
+
+TURNBULL AND SPEARS.
+
+EDINBURGH
+
+
+
+
+LIST OF ILLUSTRATIONS IN ORDER OF DATE
+
+
+   DATE SUBJECT PAGE
+
+   _Circa_}
+   1800} Almsgiving 13
+
+   1815. The Scale of Justice Reversed 5
+
+   1818. Title-page of "The Wits' Magazine" 209
+
+   1819. Johnny Bull and His Forged Notes 29
+
+   1821. Comic Composites for the Scrap Book 141
+
+   1821. Tom Getting the Best of a Charley
+                  (from "Life in London ") 49
+
+   1821. New Readings (from "The Humorist") 205
+
+   1823. Exchange No Robbery (from "Points
+                  of Humour") 167
+
+   1823. Peter Schlemihl watching the
+                  Clock (from "Peter Schlemihl") 127
+
+   1826. Juvenile Monstrosities 33
+
+   1826. The Goose Girl (from "German
+                  Popular Stories") 145
+
+   1826. Hope (from "Phrenological Illustrations") 173
+
+   1827. Title-page of "Illustrations of
+                  Time" 225
+
+   1828. A Braying Ass (from "The Diverting
+                  History of John Gilpin") 213
+
+   1828. Fatal Effects of Tight Lacing (from
+                  "Scraps and Sketches") 37
+
+   1828. A Gentleman's Rest Broken (from
+                  "Scraps and Sketches") 163
+
+   1828. Punch Throwing Away the Body Of
+                  The Servant (from "Punch and
+                  Judy") 131
+
+   1830. The Vicar of Wakefield Preaching
+                  to the Prisoners (from "Illustrations
+                  to Popular Works") 193
+
+   1831. Crusoe's Farmhouse and Crusoe In
+                  his Island Home (from "The Life
+                  and Surprising Adventures of
+                  Robinson Crusoe") 241
+
+   1831. Adams's Visit to Parson Trulliber
+                  (from "Joseph Andrews" [1]) 189
+
+   1833. Don Quixote and Sancho Returning
+                  Home (from "The History and
+                  Adventures of the Renowned Don
+                  Quixote") 201
+
+[Footnote 1: Date of vol., 1832.]
+
+   1833. Solomon Eagle (from "A Journal of
+                  the Plague Year") 97
+
+   1836. September--Michaelmas Day (from
+                  "The Comic Almanack," 1836) 41
+
+   1836. X--Xantippe (from "A Comic
+                  Alphabet") 181
+
+   1836. "Eh, Sirs!" (from "Landscape-Historical
+                  Illustrations of Scotland
+                  and the Waverley Novels,"
+                  "Waverley") 169
+
+   1836. "Pro-di-gi-ous!" (from "Landscape-Historical
+                  Illustrations of Scotland
+                  and the Waverley Novels,"
+                  "Guy Mannering") 197
+
+   1836. Turpin's Flight Through Edmonton
+                  (from "Rookwood") 75
+
+   1837. The Streets, Morning (from
+                  "Sketches by Boz") 101
+
+   1837. The Last Cab-driver (from
+                  "Sketches by Boz") 105
+
+   1838. Norna Despatching the Provisions
+                  (from "Landscape-Historical Illustrations
+                  of Scotland and the Waverley Novels,"
+                  "The Pirate") 237
+
+   1839. The Turk's only Daughter approaches
+                  Lord Bateman (from "The
+                  Loving Ballad of Lord Bateman") 229
+
+   1839. Jonathan Wild seizing Jack Sheppard
+                  at his Mother's Grave (from
+                  "Jack Sheppard") 79
+
+   1839. Jack Sheppard drinking from St
+                  Giles's Bowl (from "Jack Sheppard") 80
+
+   1840. The Death Warrant (from "The
+                  Tower of London") 83
+
+   1841. The Veterans (from "Songs, Naval
+                  and National, of Charles Dibden") 245
+
+   1842. Frightening Society (from "George
+                  Cruikshank's Omnibus") _Frontispiece_
+
+   1842. The Duel in Tothill Fields (from
+                 "Ainsworth's Magazine," "The
+                  Miser's Daughter") 87
+
+   1842. Over-head and Under-foot (from
+                 "The Comic Almanack") 53
+
+   1842. Legend of St Medard (from "The
+                  Ingoldsby Legends") 117
+
+   1843. Herne the Hunter appearing to
+                  Henry VIII. (from "Ainsworth's
+                  Magazine," "Windsor Castle") 137
+
+   1844. The Marquis de Guiscard attempting
+                  to assassinate Harley (from
+                  "Ainsworth's Magazine," "Saint James's") 91
+
+   1845. _The_ Lion of the Party (from "George
+                  Cruikshank's Table-Book") 185
+
+   1845. Details from Heads of the Table
+                  (from "George Cruikshank's
+                  Table-Book") 177
+
+   1847. Amaranth carried by the Bee's
+                  Monster Steed (from "The Good
+                  Genius that Turned Everything
+                  into Gold") 149
+
+   1847. "The Cat Did It!" (from "The
+                  Greatest Plague in Life") 221
+
+   1848. Shoeing the Devil (from "The True
+                  Legend of St Dunstan") 122
+
+   1848. The Devil about to Sign (from "The
+                  True Legend of St Dunstan ") 123
+
+   1849. Miss Eske carried away during
+                  her Trance (from "Clement
+                  Lorimer") 109
+
+   1853. The Glass of Whiskey after the
+                 Goose (from "The Glass and the
+                 New Crystal Palace") 62
+
+   1853. The Goose after the Whiskey
+                  (from "The Glass and the New
+                  Crystal Palace") 63
+
+   1854. When the Elephant stands upon his
+                  Head (from "George Cruikshank's
+                  Magazine") 217
+
+   1854. The Pumpkin, etc., being changed
+                  into a Coach, etc., (from "George
+                  Cruikshank's Fairy Library,"
+                  "Cinderella") 153
+
+   1864. The Ogre in the form of a Lion
+                  (from "George Cruikshank's Fairy
+                  Library," "Puss in Boots") 157
+
+   1875. Monk Reading (from "Peeps at
+                  Life") 249
+
+   N.D. Eliza Cruikshank (from a painting) 113
+
+**** The dates in the footlines and in this list are those of the first
+appearance of the works to which they refer. In certain cases the
+reproductions have been made from good impressions which are not the
+earliest of the plates in question.
+
+
+
+
+I
+
+
+The life of George Cruikshank extended from September 27, 1792, to
+February 1, 1878, and the known work of his hand dates from 1799 to
+1875. In 1840 Thackeray wrote of him as of a hero of his boyhood, asking
+jocundly, "Did we not forego tarts in order to buy his _Breaking-up_ or
+his _Fashionable Monstrosities_ of the year eighteen hundred and
+something?" In 1863, the year of Thackeray's death, Cruikshank was
+asked, by the committee who exhibited his _Worship of Bacchus_, to
+associate with that work some of his early drawings in order to prove
+that he was not his own grandfather.
+
+For years before he reached the great but unsensational age at which he
+died, a sort of cult was vested in his longevity. Dated plates--that
+entitled "The Rose and the Lily" (1875) offers the last example--imply
+that his art figured to him finally as a kind of athleticism.
+
+It was as if, in using his burin or needles, he was doing a "turn"
+before sightseers, with a hired Time innocuously scything on the
+platform beside him to show him off.
+
+Now that his mortality has been proven for a quarter of a century, we
+can coldly ask: why did he seem so old to himself and the world? Others
+greater than he--Titian, Watts--have laboured with genius under a
+heavier crown of snow than he; and the public has applauded their vigour
+without a doubt of their identity. The reason is that they have not been
+the journalists of their age. They have not, like Cruikshank, reflected
+in their works inventions and fashions, wars and scandals, jokes and
+politics, whence the world has emerged unrecognisably the same.
+
+It is said that when Cruikshank was eighty-three, he executed a
+sword-dance before an old officer who had mentally buried him. It was an
+action characteristic of a nature that was scarcely more naive and
+impulsive at one time than another, but it was the most confusing proof
+of the fact in debate which he could have offered. It was not of a
+numeral that the doubter thought when the existence of Cruikshank was
+presented to his mind's eye. His thought we may elaborate as follows.
+
+The artist who drew Napoleon week by week, with all the vulgar insolence
+which only a great man's contemporaries can display towards him, was the
+same who, half a century after the Emperor's death, produced a
+conception of the "Leader of the Parisian Blood Red Republic of 1870."
+The artist who, in the last year of the reign of George the Third,
+depicted Thistlewood's lair in Cato Street, drew also, as though with "a
+mother's tender care," almost every pane in that glass palace which the
+trees of Hyde Park inhabited in 1851.
+
+Before the punctuality of his interest in everything new that rose to
+the surface to obliterate an expiring mode or event, we stand
+astonished. It is not so much as an artist that we here admire him. It
+is as an Argus of the street, an Argus not only with many eyes but with
+feet enough to plant him at once in a hundred corners. From this voluble
+Argus his mistress Clio recoils but cannot dismiss him. Aghast she
+observes him presenting the Prince Regent in a hundred burlesquely
+improper parts; and it is a discreet generation indeed which remembers
+_Coriolanus addressing the Plebeians_ and forgets _The Fat in the Fire_.
+Clio withdraws, but does not forbid us to stay. And stay I do, at all
+events, to examine the packed and ugly caricatures which are the visible
+laughter of Cruikshank the Argus of journalism. Their violent colours
+and vigorous lines fail not in invocation. Before the student of them
+rise the supple, blue-eyed leech called Mrs Clarke and her
+grossly-doating Commander-in-chief; Lady Jersey, Lady Douglas and the
+other villains of the drama entitled "Queen Caroline;" the Marchioness
+of Hertford, the Countess of Yarmouth, or whoever brought down upon
+_Coriolanus_ the "heigho!" of a ribald Rowly; and, lest one grow lenient
+to royal self-indulgence, it is accused by the recurring presence of a
+figure of tormented respectability. It is the Cruikshankian John Bull,
+as different from Sir F. C. Gould's well-fed monitor of Conservative
+politicians as is Cruikshank's darkly criminal Punch from Richard
+Doyle's domesticated patron of humour. This John Bull is hacked to
+make a Corsican and Yankee holiday, taxed at the bayonet's point,
+starved on bread at eighteenpence the quartern, and offered up as a
+sacrifice to a Bourbon "Bumble-head."
+
+[Illustration: CARICATURE ON TAXATION
+
+No. 464 of Reid's Catalogue, published March 19, 1815.]
+
+But the visions that detain the student of Cruikshank the journalist are
+not only of personages and events. He saw and recorded the crowd and the
+clothes of the crowd. His art preserves the ladies of 1816, who
+resembled the bowls of tobacco pipes; the men of 1822, who wore trousers
+like pears; and the children of 1826, whom the hatter turned into
+"Mushroom Monstrosities."
+
+Cruikshank the journalist constitutes a fame in himself whose trumpeters
+are Fairburn, Fores, Humphrey, Hone ..., publishers who, in an age
+before photo-engraving, easily sold topical caricatures separately at a
+shilling or more. Gillray's name, in my estimation, outweighs
+Cruikshank's at the foot of such publications, while Rowlandson's weighs
+less. Together these three masters of caricature compose a constellation
+of third and fourth Georgian humour.
+
+But we have by no means done with Cruikshank when we have admired him
+there. A greater Cruikshank remains to be admired. Of him there is no
+assignable master; neither Hogarth nor Gillray. He is the illustrator
+whose fame makes more than six hundred books and pamphlets desirable; he
+is truly an artist, a maker of beauty. Stimulated though this greater
+Cruikshank was in the flatter and more decent epoch which succeeded the
+age of _Coriolanus_ or _King Teapot_, of _Don Whiskerandos_ or
+_Sardanapalus_, Regent and King of Britain and mandarin of Brighton, it
+was in the age of muddle and debauch, not in the age of Victorian
+propriety and reform, that Cruikshank entered fairyland for the first
+time and saw the little people face to face. Cobbett has ignored the
+fact, but there is grace in it even for the "Big Sovereign" whom he
+pilloried in five hundred and eleven paragraphs.
+
+We shall find, alas! as we proceed, that, as illustrator, Cruikshank
+often sank below his journalistic level. The journalist may always take
+refuge in the actual life of the fact before him; his are real
+landscapes, real faces. But the illustrator has often only lifeless
+words to instruct him; when short of inspiration he is in the thraldom
+of his manner. Cruikshank's thraldom to his manner was the more obvious,
+since the manner was often wooden, often joyously ugly. His fame
+perpetuates his failures. The insipidity which affronted Boz has no
+effect in stopping the demand for "the fireside plate." Still, his best
+as well as his worst is in his illustration of books. It is his best
+that excuses the criticism of his worst and enrols him among the great
+artists of the nineteenth century.
+
+I propose in the pages that shall follow to set down the significance
+both of his best and of his worst, avoiding, as befits the date of my
+labour, any biographical matter which does not throw light on his art.
+And first let us follow his path in journalism.
+
+
+
+
+II
+
+
+The limits of Cruikshank's genius and the spacious area between them are
+almost implied in the fact that he was a Londoner who seldom or never
+departed from the "tight little island." Born in Duke Street, St
+George's, Bloomsbury, if the statement in his epitaph in St Paul's
+Cathedral is to be accepted, he continued a Londoner to the end: living
+in Dorset Street, near Fleet Street, in Amwell Street, and Myddelton
+Terrace, Pentonville, and finally in the house called successively 48
+Mornington Place and 263 Hampstead Road. Yet this cockney depicted the
+Spain of Don Quixote and Gil Bias, the Ireland of Lord Edward
+Fitzgerald, and the America of Uncle Tom. Such courageous versatility
+was the outcome of a training so practical that I hesitate to call it an
+artistic education.
+
+His father, Isaac, was a Lowland Scot who lived and, unfortunately,
+drank by his art, which in 1789, 1790 and 1792 was represented at the
+Royal Academy. His period was from 1756 or 1757 to 1810 or 1811. Like
+his friend James Gillray, he caricatured on the side of Pitt. I remember
+no better caricature of his than _Pastimes of Primrose Hill_ ("Attic
+Miscellany," 1st Sept. 1791), depicting a perspiring tallow chandler
+trundling his children up that eminence. He was energetic in the
+delineation of the insipid jollity considered appropriate to sailors,
+and he celebrated the O.P. riots at Covent Garden by drawing Angelica
+Catalani as a cat. Thomas Wright places him only after Gillray and
+Rowlandson as a caricaturist, but it is probable that the man's best is
+of an academic sort, such as the pretty drawings which he contributed to
+a 1794 edition of Thomson's "Seasons." Isaac Cruikshank's workroom was
+that of a busy hack, and George had not been long in the world before he
+played ghost there on his father's copperplates. One of his early tasks
+was the background of _Daniel in the Lions' Den_.
+
+None who looks at the drawing of a supercilious benefactor, which is one
+of George's earliest efforts, can doubt that in him the caricaturing
+instinct was basic. The eye is indulgent to several crudities, because
+the flinging is drawn though the hand of contempt is not, while the
+gluttonous enthusiasm of the beggar is a triumph of juvenile
+observation. Here are characters if not figures; here from a little boy
+is work that deserves a laugh. Hence it is not surprising that George
+Cruikshank has been erroneously credited with a share in _Facing the
+Enemy_, a dateless etching, delightfully droll in animal expression,
+etched by his father, after a sketch by H. Woodward, and published in
+1797-8, according to Mr A. M. Broadley, and not in 1803 as formerly
+conjectured.
+
+[Illustration: SPECIMEN OF VERY EARLY WORK, from the original drawing,
+No. 9850 in the George Cruikshank Collection, South Kensington Museum.]
+
+1803 is the year of Cruikshank's Opus I., according to G. W. Reid, his
+most voluminous bibliographer. This work, printed and sold by W. Belch
+of Newington Butts, consists of four marine pieces on a sheet, most
+comfortably unprecocious and as wooden as a Dutch doll. A humorist
+inspecting it might profess to see in a woman, whose nose and forehead
+produce one and the same straight line, a prophecy of the Cruikshankian
+nose which is so monotonously recurrent an ornament in the works of
+"the great George." Cruikshank himself averred that one of the first
+etchings he was ever employed to do and paid for was a sheet of Lottery
+Prints (published in 1804) of which he made a copy in his eighty-first
+year. The etching contains sixteen drawings of shops. The barber's shop
+door is open to disclose an equestrian galloping past it, although, even
+as a man, he drew horses which G. A. Sala declared were wrong in all the
+traditional forty-four points. George Cruikshank himself, whom, as Mr G.
+S. Layard has shown, he repeatedly drew, appears in a compartment of
+this etching, in the act of conveying the plate of it to the shop of
+Belch, a name for which Langham is substituted in a re-issue of this
+gamblers' temptation, and which dwindles into Langley & Belch in the
+copy made by Cruikshank in 1873, published by G. Bell, York St., Covent
+Garden.
+
+1806 is the date of the first book, or rather pamphlet, with which
+George Cruikshank is connected. It is entitled "The Impostor Unmasked,"
+and pillories Sheridan for a farcical swindler and something worse.
+There is a folding plate to fortify the charges of Patricius the
+scandal-monger, and this is ascribed to George by Reid, though Captain
+Douglas, George's latest bibliographer, only allows that "there seems to
+be some of George's work in it." Reid's authority, which had in all
+probability the living George's behind it, excuses a brief description
+of this plate. Sheridan is depicted in the act of addressing a crowd of
+Stafford electors, amongst whom are several creditors who pun bitterly
+on the parliamentary word Bill and damn the respects which he pays them.
+A house on the right of the hustings might have been sketched on a slate
+by any child weary of pothooks, but there is a touch of true humour in
+the quiet joy shown on the face of a supporter of Sheridan in the
+heckling to which he is subjected. Gillray had already published (March
+10, 1805) his _Uncorking Old Sherry_, and so this Cruikshankian
+caricature may be accepted as George's first step in the Gillrayan path.
+
+The path of Gillray, in and out of which runs the path of Thomas
+Rowlandson, is seldom or never dull; sometimes unclean in a manner
+malodorous as manure, but with risings which offer illuminating views.
+His humour is tyrannically laughable. The guffaw is, as it were, kicked
+out of the spectator of _The Apotheosis of Hoche_ (1798) by the
+descending boots, depicted as reluctantly yielding to the law of
+gravity, which the triumphant devastator of La Vendee has overcome.
+Gillray's sense of design was superb, and he would be an enthusiast who
+should assert that George Cruikshank in political caricature produced
+works at once so striking and architecturally admirable as _The Giant
+Factotum_ [Pitt] _Amusing Himself_ (1797). Gillray possessed what
+Cruikshank lacked altogether, the inclination and power to draw
+voluptuousness with some justice to its charm. One has only to cite in
+confirmation of this statement _The Morning after Marriage_ (August 5,
+1788), and compare it with any of those caricatures in which Cruikshank
+exhibits the erotic preferences of George the Third's children. What,
+however, Cruikshank, in the artistic meaning of vision, saw in Gillray,
+he adapted with the force of a boisterous participant in the patriotism
+and demagogy of his day. Gillray had Napoleon for his prey, and no
+political criticism is pithier than the caricature which represents the
+Emperor as _Tiddy-Doll, the great French Gingerbread-Baker, drawing out
+a new Batch of Kings_ (1806). On the other hand, nothing that Swift is
+believed to have omitted in his description of Brobdingnag could be
+coarser than _The Corsican Pest_ (1803). It is almost literally humour
+of the latrine. Unhappily Cruikshank exulted like a young barbarian in
+the licence conferred by precedent, and it is hard to view with
+tolerance his pictorial records of "the first swell of the age." One of
+the wittiest is _Boney Hatching a Bulletin, or Snug Winter Quarters_
+(Dec. 1812); the Grand Army is there seen in the form of heads and
+bayonets protruding from a stratum of Russian snow; the courier who is
+to convey the bulletin has boards under his boots to prevent his
+submersion. Elsewhere one's admiration for inventive vigour struggles
+against disgust at a mode which one only hesitates to call blackguardism
+because the liveliest contents of the paint-box were lavished upon it.
+Take, for instance, the caricature which bears the rhymed title, _Boney
+tir'd of war's alarms, flies for safety to his darling's arms_ (1813).
+The devil bears Bonaparte on his shoulders to the Empress Marie Louise,
+after the Russian campaign. "Take him to Bed, my Lady, and Thaw him,"
+says the devil. "I am almost petrified in helping him to escape from his
+Army. I shall expect him to say his prayers to me every night!" Another
+Cruikshankian caricature, _The Imperial Family going to the Devil_
+(March 1814), represents the rejection of Napoleon by that connoisseur
+of reprobates, though Rowlandson in the same month and year depicted the
+fallen emperor as _The Devil's Darling_. Cruikshank's vulgar
+facetiousness, interesting by sheer vigour and self-enjoyment, pursues
+Napoleon even to St Helena in the heartless caricature which portrays
+him as an ennuye reduced for amusement to rat-catching. It was not for
+nothing that Thomas Moore, alluding to the Prince Regent as Big Ben,
+made Tom Cribb say:--
+
+    "Having conquer'd the prime one, that mill'd us all round,
+     You kick'd him, old Ben, as he gasp'd on the ground."
+
+Gillray is said to have sometimes disguised his style in order to evade
+his agreement with Humphrey that he would work for no other publisher;
+and there is more than one of Cruikshank's Napoleonic caricatures which
+might be ascribed to Gillray's dram-providing _alter ego_ if their
+authorship were in question. Of such is _Quadrupeds, or Little Boney's
+Last Kick_, published in "The Scourge" (1813). Here the Russian bear
+holds a birch in his right paw, and Napoleon by an ankle with his left;
+a naked devil points to the crown, tumbling from the head of the
+capsized emperor; on the ground is an ironical bulletin. _Old Blucher
+beating the Corsican Big Drum_ (1814) is an even closer match of the
+baser sort of Gillrayan caricature; while the particular stench of it
+rises from _Boney's Elb(a)ow Chair_, of the same date. The last
+caricature from Cruikshank upon Napoleon came feebly in 1842 with the
+issue of "George Cruikshank's Omnibus," wherein he figures as a skeleton
+in boots surmounting a pyramid of skulls. The caricaturist's
+harlequinade had lasted too long; when it ceased, the soul of it utterly
+perished, and one views impatiently so formal and witless a
+galvanisation as was suggested by the return of Napoleon, dead, to the
+reconquest of France.
+
+Of Cruikshank's Napoleonic caricatures as a whole, it may be said that
+their function was solely to relieve by ridicule the pressure of a
+grandiose and formidable personality upon the nerves of his countrymen.
+He did not, like Gillray in _The Handwriting on the Wall_, confess the
+historic greatness of Napoleon by an allusion so sublime that it
+afforded Hone a precedent for unpunished impiety. When, for serio-comic
+verse, he attempted to delineate a monitory apparition, in the shape of
+Napoleon's "Red Man," the result was absurdity veiled by dulness.
+
+       *       *       *       *       *
+
+But it is time to turn to the Cruikshankian view of persons and things
+in Great Britain in the lifetime of "Adonis the Great." It is said that
+while Gillray was productive, an old General of the German Legion
+remarked, alluding to caricature, "Ah! I dell you vot--England is
+altogether von libel." With the spirit of this speech, one can cordially
+agree. The concupiscence of princes was serialised for the mirth of the
+crowd.
+
+There were two great types of ascendant degeneracy to divert the eyes of
+Farmer George's subjects from their shops and Bibles. One was his son
+George, the other Mary Anne Clarke.
+
+The cabinet in which George kept capillary souvenirs of so many women
+was fastened against contemporary critics of his career. Undivulged,
+therefore, was the touching sentiment of a philofeminism which, in
+excluding his legal wife, was construed but as vice. There was no Max
+Beerbohm in his day to appreciate his polish and talents and to pity his
+wife for playing her tragedy in tights. There was no one to pronounce
+him the slave of that most endearing of tyrants, the artistic
+temperament. The caricaturists saw simply a polygamist eager to convict
+of adultery the wife whom he disliked and avoided, and a spendthrift
+whose debt was inflicted upon the nation. So far as man can show up his
+fellow-men, this man was shown up, and in verse and picture became an
+instrument of public titillation. So roguish a severity as the
+caricaturists displayed can seldom be accepted as didactic Gillray,
+indeed, in _The Morning after Marriage_ followed him into the bridal
+chamber of Mrs Fitzherbert whom he married in 1785, and this caricature
+is the best advertisement of his grace and beauty which perhaps exists.
+When attacked by Cruikshank, he was over forty, for the first caricature
+of him in which that artist's hand is noticeable was published in 1808.
+It is entitled _John Bull Advising with His Superiors_: the superiors
+being George and his brother Frederick, who sit under the portraits of
+their respective mistresses, "Mrs Fitz" and Mrs Clarke. John Bull is
+clean-shaven, fat-nosed, hatted, and holds a gnarled stick. "Servant
+Measters," he begins, "I be come to ax a bit of thy advice"; but he
+proceeds to freeze them with clumsy innuendo and adds, "I does love good
+old Georg [_sic_], by Goles! because he is not of that there sort,"
+meaning their own. After this, the Regent was for Cruikshank a stimulant
+to the drollest audacities. The world was younger then and could laugh
+uproariously at the bursting of a dandy's stays and the mislaying of a
+roue's removable whiskers. Mrs Grundy had not persuaded it of the
+superior comicality of Mrs Newlywed's indestructible pie-crust and Mr
+Staylate's interview with the parental boot. So George, who, at any
+rate, was real life, blossomed abundantly to another George's
+advantage. Thus _The Coronation of the Empress of the Nairs_ (September
+1812)--a simile suggested by a contemporary account of a curious Asiatic
+race--depicts him as crowning the Marchioness of Hertford in her bath;
+_A Kick from Yarmouth to Wales_ illustrates the assault of the provoked
+Earl of Yarmouth upon his wife's too fervent admirer; and _Princely
+Agility_ (January 1812) shows His Royal castigated Highness confined by
+a convenient sprained ankle to bed, where his whiskers and wig are
+restored to him. The opening of Henry the Eighth's coffin in St George's
+Chapel, Windsor, April 1, 1813, suggests to Cruikshank _Meditations
+Amongst the Tombs_, in which the greatness of the deceased sovereign
+forcibly strikes the Regent. "Great indeed!" he is made to say, "for he
+got rid of many wives, whilst I, poor soul, can't get rid of one. Cut
+off his beard, doctor, 'twill make me a prime pair of royal whiskers."
+The prince's partiality for the bottle is severely illustrated. In _The
+Phenix [sic] of Elba Resuscitated by Treason_ (May 1, 1815), he receives
+the news of Napoleon's outbreak, seated on a cushion with a decanter
+behind him; and even when he was King, Cruikshank dared to draw him
+(1822) as drunk and curing an irritated cuticle by leaning his kilted
+person against one of the posts of Argyleshire.
+
+If, however, Caroline of Brunswick had not, by adopting a Meredithian
+baby and other eccentricities, condemned herself to "Delicate
+Investigation" in 1806 and to a trial before the House of Peers in 1820,
+Cruikshank's delineations of Adonis the Great would have seemed genial
+compared with Thackeray's contempt. That his sentiment for the lady was
+less chivalrous than Thackeray esteemed it, may be divined by his
+caricature of her as an ugly statue of Xantippe put up to auction
+"without the least reserve" (1821), which is less than two months older
+than his conception of her as a rushlight which Slander cannot blow out.
+But he perceived, as did the whole intelligent proletariat, the
+monstrous irony of George's belated notice of his wife. Hence in his
+woodcuts to "The Queen's Matrimonial Ladder" and "Non Mi Ricordo!" he is
+not comic but satirical, and satirical with strokes that turn The Dandy
+of Sixty who bows with a grace into a figure abjectly defiant, meanly
+malevolent, devoid of levity. A cut in the former pamphlet shows him
+standing in a penitential sheet under the seventh, ninth and tenth
+commandments, meeting the gaze of an astonished urchin; on the outside
+of the latter pamphlet we see him in the throes of awkward
+interrogation, uttering the "Non Mi Ricordo" which Caroline's
+ill-wishers were tired of hearing in the mouth of Bergami.
+
+Mary Anne Clarke, our second type of ascendant degeneracy, was, if
+Buck's drawing of her is truthful, a woman of seductive prettiness, but
+she could not teach Cruikshank her charm in atonement for her venality.
+He drew her petticoat "supported by military boots" and surmounted by a
+cocked hat and the mitre of the ducal bishop of Osnaburg (February 23,
+1809); "under this," it is stated, "may be found a soothing for every
+pain." When Whigs and the Prince of Wales sent the Duke of York back in
+1811 to the high post which he had disgraced, Mrs Clarke dwindled in
+Cruikshank's caricature to a dog improperly exhibiting its contempt for
+Colonel Wardle's left eye. It is curious that the Clarke scandal did not
+apparently inspire any caricature which deserves to live as pictorial
+criticism. Revealing, as it did, not only rottenness in the State, but
+in the Church, since Dr O'Meara sought Mrs Clarke's interest for the
+privilege of preaching "before royalty," one may well be surprised at
+the failure of caricature to ennoble itself in the cause of honour and
+religion. Yet Cruikshank produced in 1811 a powerful etching--_Interior
+View of the House of God_--which shows, apropos a lustful fanatic named
+Carpenter, his power to have seized the missed opportunity. In this
+plate is the contemporary portrait of himself which P. D'Aiguille
+afterwards copied.
+
+If we ask, for our soul's sake, to sicken of the Regent's amours and of
+the demure "Magdalen" of York, whose scarlet somehow softens to maroon
+because she is literary and quotes Sallust, it is necessary to leave the
+caricatures which laugh with her--especially Rowlandson's--and look at
+Cruikshank's tormented John Bull. The most pathetic is perhaps _John
+Bull's Three Stages_ (1815). In the last stage (_Peace with all the
+World_) his child, once pressed to eat after repletion, says, "Give me
+some more bone." The hand that drew the earlier plates of _The Bottle_
+is unmistakable in this etching.
+
+It was seemingly in 1819 that Cruikshank first realised his great powers
+as a critic in caricature. To that period belongs what a pamphleteer
+called "Satan's Bank Note":--
+
+    "Notes which a 'prentice boy could make
+     At fifteen for a shilling."
+
+The Old Lady of Threadneedle Street earned thereby the sobriquet of
+Hangland's Bank, and her victims included two women on a day when
+Cruikshank looked at the gibbet of the Old Bailey. They were hanged for
+passing forged one pound notes. Cruikshank thereupon drew his famous
+_Bank Restriction Note_, signed by Jack Ketch, and with a vignette of
+Britannia devouring her children above an $L$ of rope. Hone issued this
+note (of which there are three varieties) from his shop on Ludgate Hill,
+a stone's throw from the gibbet; the public flocked to see and buy it,
+and the moral was not lost upon the Bank of England, who thereafter sent
+forth no more one pound notes. The pathos as distinct from the tragedy
+of the condition thus relieved is well recalled by the caricature
+invented by Yedis and drawn by Cruikshank entitled _Johnny Bull and his
+Forged Notes_ (January 7, 1819).
+
+[Illustration: Johnny Bull and his FORGED Notes!! or
+
+RAGS & RUIN in the Paper Currency!!!
+
+No. 865 in Reid's Catalogue, published Jan. 1819.]
+
+We now turn to the lighter side of his topical journalism. One of his
+subjects was gas-lighting. _The Good Effects of Carbonic Gas_ (1807)
+depicts one cat swooning and another cut off from the list of living
+prime donne by the maleficence of Winzer's illuminant. In 1833
+Cruikshank reported a ghost as saying to a fellow-shade, "Ah! brother,
+we never has no fun now; this 'March of Intellect' and the Gaslights
+have done us up."
+
+Jenner had him for both partisan (1808) and opponent (1812). In the
+former role he makes a Jennerite say, "Surely the disorder of the Cow is
+preferable to that of the Ass," and the realism is nauseous that
+accompanies the remark. As opponent he wittily follows Gillray, who in
+1802 imagined an inoculated man as calving from his arms. Prominent in
+Cruikshank's caricature (a bitter one) is a sarcophagus upon which lies
+a cow whom Time is decapitating. "To the Memory of Vaccina who died
+April the First," is the touching inscription.
+
+I have already mentioned Cruikshank as a chronicler of fashion. Gillray
+was his master in this form of art, though the statement does not rest
+on the two examples here given. The thoughtful reader will not fail to
+admire the incongruity between the children in the drawing of 1826 and
+the great verities of Nature--cliff and sea--between which they strut.
+The latter drawing is as grotesquely logical as a syllogism by Lewis
+Carroll. Comparable with it in persuasiveness is Cruikshank's
+short-skirted lady (December 1833) who is alarmed at her own shadow,
+which naturally exaggerates the distance between her ankles and her
+skirt. Thence one turns for contrast to the caricature of crinolines in
+"The Comic Almanack" for 1850. It is called _A Splendid Spread_, and
+represents gentlemen handing refreshments to ladies across wildernesses
+of "dress-extenders" by means of long baker's peels. Such drawing
+educates; it has the value of criticism.
+
+[Illustration: JUVENILE MONSTROSITIES, published January 24, 1826.]
+
+This praise is tributary to Cruikshank's second journalistic period. By
+journalistic I mean topical, attendant on the passing hour. His first
+journalistic period begins formally with his first properly signed
+caricature, an etching praised by Mr F. G. Stephens, entitled _Cobbett
+at Court, or St James's in a bustle_, and published by W. Deans, October
+16, 1807. This period includes Cruikshank's contributions to "The
+Satirist," "The Scourge," "Town Talk" and "The Meteor." It merges into
+the second period in 1819, the year that saw the first three volumes of
+"The Humourist." The principal journalistic works of this second
+journalistic period are _Coriolanus addressing the Plebeians_ (1820),
+"Scraps and Sketches" (1828-1832), "The Comic Almanack" (1835-1853),
+"George Cruikshank's Omnibus" (1842), and "George Cruikshank's Table
+Book" (1845).
+
+_Coriolanus_ is less a caricature than a _tableau vivant_. It was
+invented by J. S., whom Mr Layard says was Cruikshank's gifted servant
+Joseph Sleap. The "Plebeians" are Thistlewood the conspirator, Cobbett
+armed with Tom Paine's thigh bones, Wooler as a black dwarf, Hone,
+George Cruikshank, etc. George IV., in his Shakespearean role abuses
+them soundly. As regards the monarch, the work is un-Cruikshankian; its
+laborious and minute technique is a foreshadowing of a happier
+carefulness.
+
+The journalism of "Scraps and Sketches" is immortal in _The Age of
+Intellect_ (1828), which even Mrs Meynell, writing as Alice Thompson,
+found "most laughable." Here a babe whose toy-basket is filled with the
+works of Milton, Bentley, Gibbon, etc., learnedly explains the process
+of sucking eggs to a gaping grandmother, who suspends her perusal of
+"Who Killed Cock Robin?" while she declares that "they are making
+improvements in everything!" To my mind the best topical plate in
+"Scraps and Sketches" is _London going out of Town, or the March of
+Bricks and Mortar_ (1829). No one who has seen a suburb grow inexorably
+in field and orchard, obliterating gracious forms and sealing up the
+live earth, can miss the pathos of this masterpiece. Yet it is not a
+thing for tears, but that half smile which Andersen continually elicits
+by his evocation of humanity from tree and bird and toy. For Cruikshank
+gives lamenting and terrified humanity to hayricks pursued by filthy
+smoke. He gives devilish energy to a figure, artfully composed of
+builder's implements, which saws away at a dying branch; and he imparts
+an abominable insolence to a similarly composed figure which holds up
+the notice board of Mr Goth.
+
+[Illustration: _Fatal effects of tight lacing & large Bonnets_
+
+From "Scraps and Sketches," Part I., May 20, 1828.]
+
+Nearer perhaps to Cruikshank's heart than this triumph of fancy was _The
+Fiend's Frying Pan_ (1832), published in the last number of "Scraps
+and Sketches," which represents the devil, immensely exultant, holding
+over a fire a frying-pan which contains the whole noisy lascivious crowd
+and spectacle of Bartholomew Fair. The fair was proclaimed for the last
+time in 1855, and Cruikshank was pleased to figure himself as an
+inspirer of the force that struck at its corrupt charm after the fair of
+1839 and condemned it to a lingering death. _The Fiend's Frying Pan_ is
+now chiefly remarkable as an early example of Cruikshank's love of
+crowding a great deal of real life into a vehicle that belittles it.
+This frying-pan sends the thought forward to the etching entitled
+_Passing Events, or the Tail of the Comet of 1853_, where Albert Smith's
+lecture on Mont Blanc, a prize cattle show, emigration to Australia, and
+"Uncle Tom's Cabin," are all jumbled together in the hair of a comet
+which possesses a chubby and beaming face.
+
+The pictorial journalism of the "Comic Almanacks" is often delicious; no
+ephemerides, in my knowledge, equal them in sustained humorous effect.
+_Guys in Council_ (1848) haunts one with its grave idiocy. Even His
+Holiness Pius X. could scarce refrain from smiling at the blank stare of
+the rigid papal guy in the chair, at the low guy who, ere leaving the
+conclave, challenges him with a glance of malignant cunning. On the
+other hand, it would be hypercritical to seek a prettier rendering of an
+almost too pretty custom than _Old May Day_ (1836), with its dancers
+ringing the Maypole by the village church. Cruikshank's extraordinary
+power of conveying dense crowds into the space of a few square
+inches--say six by three--is shown in _Lord Mayor's Day_ (1836) and _The
+Queen's Own_ (1838), illustrating Victoria's Proclamation Day. In the
+1844 Almanack he humorously foreshadows flying machines in the form of
+mansions; but the 1851 Almanack shows his liberality scarcely abreast of
+his imagination, as _Modern Ballooning_ is represented by an ass on
+horseback ascending as balloonist above a crowd of the long-eared tribe.
+
+[Illustration: SEPTEMBER--MICHAELMAS DAY. From the "Comic Almanack,"
+1836.]
+
+One cannot, however, glance through Cruikshank's Victorian caricatures
+without perceiving that the passing of the Regent slackened his
+Gillrayan fire. True, in the "Table Book" we have a John Bull whose
+agony reminds us of the suffering figure in _Preparing John Bull for
+General Congress_ (1813): the midgets of infelicitous railway
+speculation who strip this bewildered squire of hat and rings, of boots
+and pocket-book, while a demented bell fortifies their din, are of an
+energy supremely Cruikshankian: no other hand drew them than the hand
+which enriched the immortality of the elves in Grimm. Nor will one
+easily tire of a vote-soliciting crocodile in the "Omnibus"; and yet the
+fact remains that the great motives of Cruikshank's political caricature
+pulsated no more. He was ludicrously incompetent for the task of
+satirising the forward movement of women: the Almanacks show that, if
+their evidence be required. The subjects of Queen Victoria found in
+Keene and Du Maurier pictorial critics who, by the implication of their
+veracity, their success, demonstrate his imperfect understanding of a
+generation to whom George the Fourth was history and legend. To the
+ironists of that generation there was something in the Albert Memorial
+more provocative than the
+
+        "--huge teapots all drill'd round with holes,
+    Relieved by extinguishers, sticking on poles"
+
+which distinguished the Folly at Brighton. It is too much to say that
+the art of the Victorian epoch establishes this fact; yet of what
+caricaturist can it be said as of Cruikshank that his naif enthusiasm
+for all that an Age rather than a Queen signified by the Albert Memorial
+forced him into the role of its patron rather than its satirist? In _A
+Pop Gun_ (1860) there is a pathetically feeble engraving, after a
+drawing by Cruikshank of Prince Albert and the late Queen, which almost
+brings tears to the eyes, its insipidity is so loyally unconscious. And
+what does all his marvellous needlework in the Great Exhibition novel
+entitled "1851: or The Adventures of Mr and Mrs Cursty Sandboys,"
+accomplish for satire in comparison with what it accomplishes as a puff
+and a fanfare? Here, as in the _Comet_ of his ill-fated Magazine (1854),
+is a skill beside which his Georgian caricatures are but a brat's
+defacement of his Board School wall. And yet what is the answer to our
+question? Nothing. It is an answer that rings down the curtain on the
+diorama called "Cruikshank the journalist."
+
+
+
+
+III
+
+
+Cruikshank's didactic work was the offspring of his journalism. No man
+can journalise with spirit and remain uncritical. Criticism is, in
+truth, the soul of caricature, which by stressing the emphasis of Nature
+on face and expression makes even simpletons judges of grandees.
+Photography itself is on the side of illusion; but caricature has X-rays
+for the deformed fact. That a habit of criticism should evolve a passion
+for preaching is only natural, though it is the modern critic with his
+hedonistic bias who has armed the word didactic with a sting. Even such
+a critic must admit that Cruikshank's preaching was from living texts
+and that the preacher seemed well versed in "St Giles's Greek." But
+before speaking specifically of his didactic drawing we will consider
+what led up to it. A balladier of _circa_ 1811 threatens mankind as
+follows:--
+
+    "Since I have had some comic scenes,
+    Egad! I'll sing them all, sir,
+    With my bow, wow, what a row!
+      fal lal de riddy, riddy, sparkey, larkey,
+      funny, dunny, quizzy, dizzy, O."
+
+This animal outburst breathes the spirit of all the "bang up" books of
+the last Georgian period, and might almost have served as a motto for
+Pierce Egan's "Life in London" (1821), and David Carey's "Life in Paris"
+(1822). Blanchard Jerrold's bibliography of Cruikshank begins with "A
+Dictionary of the Slang and Cant Languages" (1809), to which the artist
+contributes _The Beggars' Carnival_--a folding frontispiece. In
+assisting his brother Robert--who styled himself "original suggester and
+artist of the 2 vols." containing "Life in London" and its sequel--to
+illustrate the rambles and sprees of "Jerry Hawthorn, Esq., and his
+elegant friend Corinthian Tom," George seems to have seen carnival on a
+more liberal scale. "Life in London" ranges from the Westminster [Dog]
+Pit to Rotten Row, and from the [Cyprian] Saloon of Covent Garden to the
+Press Yard of Newgate. One of the spirited plates (_Tom and Jerry taking
+Blue Ruin_) powerfully presents some pitiable pothouse types, and is a
+text, though it is not a sermon. Another illustration, reproduced here,
+compares equally with _Dick and His Companions Smashing the Glim_ in
+Carey's work. While illustrating "Life in Paris," George, working alone,
+pursued the example set by Robert when they collaborated. Carey credits
+him with "accuracy of local delineation"--praise which he has often and
+variously deserved--yet it must be confessed that Dick Wildfire like
+Corinthian Tom is at once commonplace and out-of-date. In face he is
+like George in early manhood as Corinthian Tom was like Robert; that is
+his chief recommendation. The book may be silently offered to any one
+who asserts that George's taste in literature was too nice for Pierce
+Egan. One of his plates turns a catacomb into a scene of vulgar mirth.
+
+These novels of excess were stepping-stones to a sounder realism which
+we find in "Mornings at Bow Street" (1824) and "More Mornings at Bow
+Street" (1827). Here the illustrator's task was to illustrate selected
+police cases, and through the medium of wood engraving a most delectable
+entertainment was the result. A choleric gentleman's row with a waiter
+presents itself as a fractured plate in the rim of which two tiny
+figures display respectively the extremes of napkined deprecation and of
+kicking impudence. Tom Crib[b]'s pursuit of a coppersmith suggests a
+wild elephant storming after a frenzy of flying limbs. The genius that
+was to realise Falstaff is disclosed in the drawing of a drummer boy
+discovered in a clothes basket. Did he come to Bow Street? we ask, and
+did those Cupids fighting in the circuit of a wedding-ring come too? The
+answer is Yes, but because of one who probably was not there, whose name
+we know.
+
+[Illustration: _Tom, Getting the best of a Charley._
+
+From "Life in London," by Pierce Egan, 1821.]
+
+At one illustration let us cry halt. It represents a foaming pot of beer
+assaulting a woman who said to the magistrate, "Your honour, it was the
+beer." In itself it is a masterpiece of delicate literalism. That power
+of enlivening the inanimate, which humanises the pump, representing
+Father Mathew at a small party in "The Comic Almanack" of 1844,
+exasperates this pot and bids it strike home. But what we are to observe
+particularly is this early presentation to Cruikshank's mind of
+alcohol as a personality at war with human beings. As far back as 1811,
+in _The Dinner of the Four-in-Hand Club at Salthill_, an uproarious
+piece in the style of Rowlandson's _The Brilliants_ (1801), he put the
+genius of the bottle into form and anecdote, but here we have the
+serious aspect of drink obvious even in humour. Beer is striking a
+woman. In 1832 he produced in _The Ale House and the Home_ a contrast so
+stated in the title that we need say no more than that the gloomy wife
+and her baby, sitting by candlelight in the bare room where the man's
+supper lies to reproach his drink-spoiled appetite, are a sadder sight
+than the frying-pan of St Bartholomew's Fair in the number of "Scraps
+and Sketches" where they appear.
+
+To "Sunday in London" (1833)--a capital social satire--Cruikshank
+contributed fourteen cuts, one of which, _The Pay-Table_, preserves the
+memory of those mischievous contracts between publican and foreman,
+whereby the latter received a percentage of the spendings of his men on
+drink and the men were provided with drink on the credit of the foreman.
+It is an admirable study in fuddled perplexity confronted with Bung in
+a business instead of a Bacchic mood, abetted by a shark of the victim's
+calling. Two other cuts--mere rabblement and eyesore--leave on the mind
+a feeling of disgust almost without interest and without shame. The
+spectator has no sense that these people turned out at church time,
+raging, leering, tottering, have deteriorated from any average or
+standard of human seemliness. If it were not for a dog gazing in
+amazement at one prone drunkard, if it were not for the dog and his
+question, one would ask, _Cui bono_?
+
+This is not missionary work--Cruikshank was only "flirting with
+temperance" as late as 1846--and we need have no compunction in seeking
+relief from such ugliness in the exquisite burlesque of pathos contained
+in _Over-head and Under-foot_ (1842). Forget who can the agonised
+impatience bolted and Chubb-locked in the breast of that lonely
+bachelor, but expressed in his folded arms and upturned face.
+
+[Illustration: OVER-HEAD AND UNDER-FOOT. From "The Comic Almanack,"
+1842.]
+
+1842, which saw that, also saw John O'Neill's poem "The Drunkard," and
+especially _The Raving Maniac and the Driv'ling Fool_, one of four
+etchings by Cruikshank which illustrate it. An anonymous writer, in
+an article for an 1876 reprint of the etchings, says that these two
+figures "are the most forcible ever drawn by the artist's pencil." This
+opinion is unjust to the force of Cruikshank's comic figures, and to
+that terrible pair, Fagin in the condemned cell and Underhill bawling at
+the stake, but the force of the etching thus praised is extraordinary.
+With parted blubber lips and knees relaxed, his nerveless left hand
+dangling at the wrist like a dead white leaf, his right hand grasping
+the gin-glass, the fool, unconscious of tragedy, faces the maniac who
+streams upon the air sleeves that much exceed the length of his
+homicidal arms. By reason of the delicacy of the etching which conveys
+these haunting figures, they excite pleasure before horror, and always
+in horror a little pleasure too.
+
+We now come to the famous series entitled _The Bottle_ (1847) and its
+sequel _The Drunkard's Children_ (1848). Both these works were printed
+from glyphographic blocks and have as little charm as a stentorian
+oration in a small chapel. The story they tell, told also in verse by Dr
+Charles Mackay, is the ruin of a working man and his family through
+drink. The appeal of _The Bottle_ is simple enough to appal the
+aborigines of Africa, to say nothing of the East End: the bottle is a
+"Ju-ju," an evil fetish; the impulse of the beholder is to smash the
+bottle rather than to spill and waste its contents. Yet when the eye
+succeeds in detaching itself from this pompously evident bottle, it
+perceives that the artist has cared also for details less immediate, but
+of a finer eloquence. The liberally filled mantelshelf of plate 1 is at
+least not a mere labour of memory, though no one exceeds George
+Cruikshank in the pictorial multiplication of domestic details. This
+mantelshelf is a symbol; symbols, too, are the open cupboard, so well
+furnished that a less industrious artist would have shut it, and the
+ill-drawn but well-nourished felinity by the fire. In plate 2 the
+cupboard holds naught but two jugs; the lean cat prowls over the bare
+table; an ornament on the mantelshelf lies on its side. Had an artist
+and not a missionary composed plate 3, we might have been spared the
+indecency of a bottle in Lucy's lap when the furniture is distrained to
+pay the bottle's debt. Yet with what horrid strength does the maniac in
+plate 7 clutch the mantelpiece, whose bare ledge is lit by a dip stuck
+in a bottle, while all the neighbours stare at something whose face we
+cannot see! The artist has shouted till he was hoarse, but his story is
+in our marrows.
+
+_The Drunkard's Children_ contains one masterpiece: plate 7, the boy's
+death on the convict-ship. The convict who closes his eyes has the
+sagacity of a sentient corpse; the shadow he casts on the screen which
+two convicts draw around the bed is, in effect, a creature to startle
+us, and the visible half of the chaplain's top-hat lying on a bench in a
+corner of the drawing is an irony which seems to belong to a later age
+than Cruikshank's.
+
+_The Bottle_, employed as an argument by Mr William Cash, converted
+Cruikshank to teetotalism. The result has been to present the artist to
+modern hedonists in the light of a ludicrous bore. Certain it is that in
+his version of _Cinderella_ (1854) he causes the dwarf to inform the
+King that "the history of the use of strong drinks is marked on every
+page by _excess which follows, as a matter of course, from the very
+nature of their composition_," the italics being Cruikshank's, though
+they might well be mine. Teetotalism needs talking and writing, and
+Cruikshank was happy to oblige. He possessed a fluent pen, and delivered
+lay sermons with enthusiasm and originality.
+
+[Illustration: (_a_) THE GLASS OF WHISKEY AFTER THE GOOSE. From "The
+Glass and the New Crystal Palace," 1853.]
+
+[Illustration: (_b_) THE GOOSE AFTER THE WHISKEY. From "The Glass and
+the New Crystal Palace," 1853.]
+
+About four years after his abandonment of alcohol, Cruikshank began to
+figure as a pamphleteer. In 1851 appeared his "Stop Thief"--containing
+hints for the prevention of housebreaking, hallmarked by teetotalism: it
+has a drawing of a burglar retiring because his companion discloses a
+board containing the words, "No Admittance Except On Business." In 1852
+came the "Betting Book," against both drink and betting; this has a
+drawing of two wonderfully knowing fox-faced bipeds contemplating a row
+of geese absorbed in the perusal of the betting lists. Followed "The
+Glass and the New Crystal Palace" (1853), in which, after confessing
+that he "clung to that contemptible, stupid and dirty habit" of smoking
+three years after he had "left off wine and beer," he adds, "at last I
+laid down my meerschaum pipe and said, 'Lie you there! and I will never
+take you up again,'" The drawings of anserine flight and intoxication
+here reproduced compel us to admit that the cerebral compartment
+containing Cruikshank's sense of humour was watertight. In 1854 came
+"George Cruikshank's Magazine." It lived long enough for him to inveigh
+against tobacco through the medium of a rather lifeless etching entitled
+_Tobacco Leaves No. 1_; and he died before he could publish in it
+certain drawings, included, I believe, in a series given to the world in
+1895 by Sir B. W. Richardson, which ridicule the "hideous, abominable,
+and most dangerous custom" of sucking the handles of sticks and
+umbrellas. To the didactic excesses of his "Fairy Library" I need not
+further refer, but in 1856 came a quasi-temperance pamphlet, "The Bands
+in the Parks," where the devil plays the violin with his tail; in 1857,
+"A Slice of Bread and Butter" (re-issued with prefatory "Remarks" in
+1870), a good-humoured satire on conflicting views of charity towards
+waifs; in 1860, "A Pop-Gun ... in Defence of the British Volunteers of
+1803"; in 1863, "A Discovery concerning Ghosts," in which he claimed to
+be the only one who ever thought "of the gross absurdity ... of there
+being such things as ghosts of wearing apparel, iron armour, walking
+sticks, and shovels;" and here we have a mild and pleasant hint of the
+inspissated egoism which dictated "The Artist and the Author" (1872),
+the work in which Cruikshank asserted himself to be the originator of
+"Oliver Twist," "The Miser's Daughter" and "The Tower of London." This
+unfortunate but characteristic pamphlet is the last of the series that
+seems to have been called into existence by the _insanabile scribendi
+cacoethes_ induced by his fame as a teetotaler. I said characteristic,
+because a jealous dislike of seeing his individuality merged into,
+overshadowed by, or confounded with any other is apparent not only in
+1872, but in 1834, when he carefully named in "My Sketch Book" his
+brother Robert's works, and pictured himself as lifting off the ground,
+by tongs applied to the nose, their publisher Kidd, for whom he is
+anxious to state he only illustrated "The Gentleman in Black" (1831).
+Moreover in 1860 he misused his "Pop-Gun" to picture another publisher,
+who advertised his nephew Percy as Cruikshank _tout court_, as a
+sandwich-man similarly assaulted by him; yet by some freak of
+humour or affection the "very excellent, industrious, worthy good
+fellow" Percy, over whom I throw the embroidery of his uncle's praise,
+bestowed the name of George upon his son, as if for the confusion of
+bibliographers, and the evocation of a spirit armed with the ghosts of
+tongs. Indeed the gods themselves seem to have sported with George
+Cruikshank's name, for Dr Nagler, having read that "the real Simon Pure
+was George Cruikshank," wrote thus in his "Neues allgemeines
+Kuenstler-Lexicon" (1842): "Pure Simon, der eigentliche Name des
+beruhmten Carikaturzeichners Georg [_sic_] Cruikshank."
+
+Simon Pure shall save us from digression by leading us to a didactic
+work by Cruikshank of which Mrs Centlivre's "quaking preacher" would
+have heartily approved. This work is the oil-painting entitled _The
+Worship of Bacchus_ (1862). It is an old man's athletic miracle, being a
+picture thirteen feet four by seven feet eight, of which there exists an
+etching by the same hand of less, though formidable size, which was
+published June 20, 1864. The oil-painting was presented to the nation by
+Cruikshank's friends and conveyed to its destination April 8, 1869.
+Cruikshank drew a fancy sketch of his mammoth on that great day of its
+life. Little did he imagine what the cognoscenti of the twentieth
+century would think of it.
+
+I saw it in 1902; visited it much as one visits an incarcerated friend,
+following a learned official with jingling keys to a dungeon under the
+show-rooms of the National Gallery. It was alone, was convict 495, alone
+and dingy. Many phrases have been found for this picture. John Stewart
+said that it contains "all the elemental types of pictorial grouping,
+generalised on the two axioms of balance and variety." Another critic
+said that "it is not even a picture, but a multitude of pictures and
+bits of pictures crowded together in one huge mass of confusion and
+puzzle." Cruikshank himself said, speaking August 28, 1862, "I have not
+the vanity to call it a picture.... I painted it with a view that a
+lecturer might use it as so many diagrams."
+
+However he felt, Cruikshank spoke correctly. Painted in low relief, the
+oil-painting presents his intention less satisfactorily than his etching
+of the same subject. Whatever its demerit, the work is extremely
+Cruikshankian. Robert and George Cruikshank, in the "Corinthian Capital"
+of "Life in London," patched up a similarly artificial fabric. George,
+in a work that should not be mentioned in the same breath--_The Triumph
+of Cupid_ (1845)--evokes innumerable amatory incidents by means of the
+tobacco which he renounced so contumeliously. We have in _The Worship of
+Bacchus_, the result of a method equally _naif_ and ingenious. The root
+idea is materialised in conjunction with a myriad of associative ideas,
+and the picture is worse than a confusion; it is a ghastly and
+ostentatious pattern at which one can neither laugh nor cry. It is the
+work of a big accomplished child, whose ambition to be grown up has
+destroyed his charm.
+
+At the summit of the picture Bacchus and Silenus wave wine-glasses while
+respectively standing and sitting on hogsheads. In the middle of the
+design is a stone ornamented with death's-heads, on which a drunkard
+waves a glass and bottle in front of the god and demi-god. The stone has
+an inscription tributary to the drunkard's victims. On the left side of
+the throne of Bacchus are a distillery, reformatory, etc.; on the right
+is a House of Correction, Magdalen Hospital, etc. In short, the picture
+is a pictorial chrestomathy of drink. That it has converted people, that
+it has even won the tribute of a man's tears, is not surprising, for it
+is, or was, full of truthful suggestion seizable by the mind's eye. But
+it is not beautiful. Thackeray might call it "most wonderful and
+labyrinthine"; it is ugly and ill painted, for Cruikshank was no Hogarth
+with the brush.
+
+So it lay, and perhaps yet lies in its dungeon, and overhead Silenus
+still triumphs divinely drunk on Rubens's canvas; and Bacchus, ardent
+for Ariadne, leaps from his chariot in that masterpiece of Titian, which
+Sir Edward Poynter believes is "possibly the finest picture in the
+world." Poussin's Bacchanalian festivities are still for the mirth of a
+world whence Bacchus has fled; but the god enthroned on hogsheads is not
+mistaken for Bacchus now: Bacchus was stronger than Cruikshank. The
+whole deathless pagan world of beauty and laughter is by him made rosier
+and more silvery. Cruikshank never drew him; the god he drew was Bung
+in masquerade.
+
+I was at Sotheby's on May 22, 1903, when the Royal Aquarium copy of the
+etching of _The Worship of Bacchus_ was sold. It evoked a sneer of "wall
+paper"; and if etchings could think, it would have envied the seclusion
+in which I found its brother in oils.
+
+But at least it was not given to the nation. The fact that the National
+Gallery should possess Cruikshank's colossal failure instead of his
+_Fairy Ring_, instead of any etching from "Grimm" or "Points of Humour,"
+is an accusation against common sense and a triumph of irony.
+
+Let it be remembered, however, that Cruikshank's exposure of ebriety
+from 1829 to 1875, the date which John Pearce in "House and Home"
+assigns to his last temperance piece, deserved at times the notice of
+fame. Matthew Arnold, denying the power of "breathless glades, cheer'd
+by shy Dian's horn" to calm the spectator of _The Bottle_, showed more
+than his ignorance of Diana and her peace. He showed that Cruikshank the
+preacher was a magician too.
+
+
+
+
+IV
+
+
+The best part of Cruikshank's service to Fact has yet to be considered.
+We have seen how he journalised and exhorted; we have still to see the
+talent he poured into journalism and exhortation refined by his
+historical sense and expressing itself in shapes of treasurable beauty.
+
+The historical sense in art may be liberally defined as an aesthetic
+impulse to fix the vanishing and recover the vanished fact. It may be
+absent at the birth of a cartoon filled with political portraits and it
+may have urged the reproduction of a quiet landscape with nothing more
+human in it than a few trees or a line of surf. It operates without
+pressure of topicality and it is stronger than the tyranny of humour.
+
+The reader, searching for the earliest examples of Cruikshank's
+historical imagination to be found in the books which he illustrated,
+would first of all alight on "The Annals of Gallantry," by Dr A. Moore
+(1814-15), and "An Historical Account of the Campaign in the Netherlands
+in 1815," by William Mudford (1817). Suspecting the grotesque, he would
+nevertheless also examine the thirty plates to the Hudibrastic "Life of
+Napoleon" (1815) by Dr Syntax.
+
+As to the "Annals," one may unreluctantly condemn the whole series of
+plates after a glance at the feeble scratches which disfigure the amours
+of Lady Grosvenor and the Duke of Cumberland, and the elopement of Lady
+W---- with Lord Paget. In Mudford's ungenerous history, Cruikshank's
+frontispiece, engraved by Rouse (as are his other contributions), has
+the stiff integrity of portraiture to be expected from a repressed
+caricaturist; Napoleon in flight on his white horse in another plate
+does not even support the comparison of his horsemanship to a sack of
+flour's; the ribbon-like plate of Waterloo, full of microscopic figures,
+has the chastened spirit natural to a work done "under the inspection of
+officers who were present at that memorable conflict."
+
+The illustrations to Dr Syntax's Hudibrastic poem on Napoleon have some
+originality to recommend them as a starting-point for the student of
+Cruikshank as a delineator of historical subjects. They are etchings,
+broad as the typed surface of an octavo page is long, and include the
+_Red Man_ derided on page 21. But the artist already shows that he has
+fancy as well as satire at his command. Witness the illusion created by
+the sleeping Napoleon lifting the coat on his bed in humping the
+counterpane with perpendicular toes, an effect which was remembered in
+Cruikshank's _Ideality_ (Phrenological Illustrations, 1826). There is
+humour, too, in the etching which represents one of Napoleon's
+grenadiers mounted on a stool in order to look as terrible as his
+companions. Though a rancorous prejudice makes Napoleon stand on a cross
+in one plate and his apothecary smile at poisoning the sick at Jaffa in
+another, there is sympathy in a third which depicts him nursing the King
+of Rome, and the eccentricities of Cruikshank's journalistic style are
+happily absent.
+
+We may now pause at the four famous volumes of "The Humourist"
+(1819-20). They contain, _inter alia_, a portrait of Alfieri--a fine
+figure of silent disdain--in the act of sweeping to the floor the tea
+service of a badly drawn Princess, who was tactless enough to wish he
+had broken the whole set instead of one cup. The table leg is a satyr's
+surmounted by the Mephistophelian head considered appropriate to the
+companions of Pan; above the main design are the implements of a writer;
+below it are two porcelain mandarins yoked to a three-headed and triply
+derisive bust. Another historical subject in "The Humourist" is Daniel
+Lambert, to whom a bear once doffed his hat. Ursine politeness and the
+petrified majesty of fat Lambert fill the foreground of the etching;
+behind is a rout of people frightfully interested in another bear. In
+the former of these etchings the hint is better than the performance;
+the latter hints nothing and performs a little admirably.
+
+1823-4 is a period to which we owe some historical etchings of
+consummate skill. They illustrated "Points of Humour," a work in two
+parts which was expressly designed to afford scope for Cruikshank's
+power of rendering ludicrous situations. The artist was on his mettle,
+and his twenty etchings for this collection of anecdotes are among the
+immortal children of Momus. Among his simpler designs is the scene in
+the apartment of Frederick the Great when his heir presumptive demanded
+if the monarch would return his shuttlecock. The required studies of
+childish impudence and royal amusement are perfect. More elaborate, but
+equally successful, is the drawing of the voracious boor, the
+ill-natured general whom he offered to eat, and the King of Sweden who
+enjoyed the spectacle of their emotions. The boor with the hog on a
+plate under his arm, his terrible teeth a-glitter for hog and general,
+is more alarming than the ogre in Cruikshank's _Hop-o'-my-Thumb_; he
+tacitly affirms his creator's power to confer delicious terrors on the
+nursery. Flying Konigsmark's fear of pointing hand and barrack-like
+paunch mingles exquisitely with the hatred of his backward glance, and
+Charles Gustavus smiles with unpardonable _aplomb_. The etching is a
+comic masterpiece. After this there is no advance in Cruikshank's comic
+treatment of history, for his quite simple rendering, more than ten
+years later, "Miscellany" (1838), of a freak of absent-mindedness on the
+part of Sir Isaac Newton in "Bentley's," is of merely sufficient
+merit.
+
+[Illustration: TURPIN'S FLIGHT THROUGH EDMONTON. From "Rookwood," 1836.]
+
+The Ainsworth-Cruikshank connection began, artistically, with the
+etchings which illustrate the fourth edition of "Rookwood" (1836). If
+for Turpin we read Nevison, the novel may pass as quasi-historical. The
+etching here reproduced is in what may be called Cruikshank's
+"Humourist" style. It has vivacity and brightness. The reader who
+figured himself passing into romance through the pretty portico of trees
+depicted on Ainsworth's title-page, will feel, as he looks at this
+representation of comic prodigy, that he has arrived.
+
+One thief succeeded another, and in 1839 Jack Sheppard was pilfering his
+way through "Bentley's Miscellany." If he had done nothing else,
+Cruikshank would have made a deathless reputation for technical skill by
+the etchings in "Jack Sheppard." Sala, who copied the shop-scene
+entitled _The name on the beam_, observes of this etching, at once so
+precise and imaginative, that it is "in its every detail essentially
+Hogarthian." It is a just saying. One can easily imagine Dr Trusler
+poring over it and recording his small discoveries with something of
+the relish he found in his Hogarthian exploration. Appropriately enough,
+Hogarth's portrait appears in the clever etching which depicts Jack in
+chains sitting to two artists, the other being Sir James Thornhill.
+Thackeray has done justice to the high qualities of the etchings
+entitled _The Storm_ and _The Murder on the Thames_. There are effects
+in Cruikshank's river scenes poetic enough and near enough to that
+verity which Impressionists serve better than Ruskinians, to have
+detained Whistler for a minute that might have regenerated the fame of
+Cruikshank.
+
+[Illustration: JONATHAN WILD SEIZING JACK SHEPPARD AT HIS MOTHER'S GRAVE
+IN WILLESDEN CHURCHYARD.
+
+From "Jack Sheppard," 1839.]
+
+[Illustration: From "Jack Sheppard," 1839.]
+
+"Jack Sheppard," with its requisition of antiquarian exactness so
+plausibly met, may well have suggested to Cruikshank a more epic theme
+than the exploits of a master-thief, revolving about a nobler gaol than
+Newgate. In a letter which may or may not have been posted (it is to be
+read at the back of No. 9910 H in the Cruikshank collection at South
+Kensington), he writes: "The fact is, I am endeavouring to emancipate
+myself from the thraldom of the Booksellers, whose slave I have been
+nearly all my life; to effect this object I have published, in
+conjunction with the author, a work called 'The Tower of London.'"
+
+[Illustration: THE DEATH WARRANT. From "The Tower of London," 1840.]
+
+Of the acrimonious discussion that Cruikshank started by claiming to
+have originated Ainsworth's romance, I shall say little. That Cruikshank
+was the senior partner there is no doubt. It was he who took Ainsworth
+to the Tower, and he asserted that he "hardly ever read a line" of the
+text, which must be considered to illustrate his designs. It may be
+said, however, that Ainsworth's text has been repeatedly devoured
+without the aid of Cruikshank's designs. He was a public idol. Smiled on
+once by Sir Walter Scott, he contrived to become the first
+horror-monger, _via_ history, of an age whose favourite realism was the
+safe realism of torture and decent crime. In the September before his
+death, which occurred January 3, 1882, he was informed by the Mayor of
+Manchester that the last twelve months' record of the public free
+libraries of that town showed that "twenty volumes of his works" were
+"being perused in Manchester by readers of the free libraries every day
+all the year through."
+
+That I may not write a decrescendo about the designs for "The Tower of
+London," I begin with their faults. Cruikshank's Simon Renard is too
+darkling a Spaniard even for a staged Spain, and even Lady Jane Grey's
+waist should have been made rather larger than her throat. "Mere
+skeletons in farthingales," quoth "The Athenaeum" of Cruikshank's Queen
+Mary, Jane and Elizabeth. To what extent defective figure-drawing
+diminishes the proper force of Cruikshank's designs the reader may judge
+by the reproduction of _The Death Warrant_, which is presented as a
+frank example of his melodramatic invention. The masked assassin peers
+at the Spanish Ambassador through the window of the chamber of the Tower
+where the little princes were murdered, and where the pen that has just
+doomed Lady Jane Dudley hovers in Queen Mary's hand. Her hound is an
+incarnate presentiment and the gods of old Drury could have asked no
+more. There are, however, far finer plates in the book. In Underhill,
+the Hot Gospeller, burning at the stake, his finger nails riveted to his
+bare shoulders while he bawls his last agony, Cruikshank shows the
+longevity of the Marian crime--the crime of creating fears and
+loathings, for here we have absolutely a reflective shudder, a naked
+confidence from an abominable place which we thought was cleansed by
+merciful years. No other figure in the gallery of Cruikshank's "Tower"
+is so vital as this dying man, but he drew a handsome Wyat, an
+executioner as repulsive as a ghoul, and groups--for instance Elizabeth
+and her escort on the steps of Traitor's Gate--which a stage manager of
+melodrama might like to imitate.
+
+Partly contemporaneous with "The Tower of London" was Ainsworth's "Guy
+Fawkes" (1840-1) with Cruikshankian etchings, which are as little
+serviceable to the dignity of a brave fanatic as the effigies exhibited
+by boys on the fifth of November. Cruikshank had drawn a typical effigy
+of Guy for "The Every-Day Book" of 1826; twelve years later came his
+ludicrous _Guys in Council_, but being required in 1840 to produce a
+serious Guy he only succeeded in being operatic. In one of his etchings
+the rigidity of Guy's cloak suggests that the garment is a
+"bath-cabinet" in occupation; in another a celestial visitor resembles a
+Dutch doll. Such failures are not to be explained by a desire to annoy
+the publisher of "Guy Fawkes," Richard Bentley, whom Cruikshank bitterly
+attacked in 1842. Cruikshank could and did produce etchings in a hurry
+for stories which he had not read, by way of expressing his dislike for
+a contract which survived his approval of it; but he could also be
+befooled by his own solemnity.
+
+[Illustration: THE DUEL IN TOTHILL FIELDS ("The Miser's Daughter"). From
+"Ainsworth's Magazine," 1842.]
+
+Cruikshank's relations with Ainsworth continued in "Ainsworth's
+Magazine," of which the first number bears the date February 1842. Among
+the stories in this magazine which Cruikshank illustrated must now be
+mentioned "The Miser's Daughter" (1842), "Windsor Castle" (1842-3) and
+"St James's: or the Court of Queen Anne" (1844). The first of these
+stories is only incidentally historical, but it afforded Cruikshank an
+opportunity for quickening his hand with the spirit of place. He has
+told us that his drawing of Westminster Abbey Cloisters and Lambeth
+Church, etc., are "correct copies from nature" [sic], and it almost
+seems as we look at his etchings and water-colours for "The Miser's
+Daughter" that he copied not only stones but living scenes. His ball in
+the Rotunda at Ranelagh has the charm of lavish light and dainty
+gaiety; the humour and grace of his _Masquerade in Ranelagh Gardens_ are
+too obvious for discovery, and his rendering of the pursuit of a
+Jacobite Club on the roofs of houses within view of Westminster Abbey is
+a striking nocturne.
+
+In Cruikshank's designs for "Windsor Castle," Mr Julian Moore finds "the
+minimum of charm and freshness in the drawing, and maximum of
+achievement in technique." I am in disagreement with this verdict, but
+it is not unintelligent. Cruikshank's "machine-ruling" is tyrannous to
+his Ainsworthian work, and an artist serving the historic muse when she
+is very much in earnest can only pray to be academic when he is not
+inspired. But Cruikshank did admirable work for "Windsor Castle," and
+could hardly help wishing to outshine Tony Johannot, who was also
+employed in illustrating that romance. Since "the great George" is not
+present to assail me in a vehement script, I may say that I discern an
+influence of Johannot upon Cruikshank's design (spirited but not
+insufferably vigorous) entitled _The Quarrel between Will Sommers and
+Patch_, for there was something called artistic restraint to be learned
+from the French illustrator of Cervantes, and this quality is in the
+etching I have mentioned, and not negatively there but as a positive
+gift of touch. Of Cruikshank's Henry the Eighth, it need only be said
+that he is bluff King Hal; his Anne Boleyn and Jane Seymour are mere
+females: his Herne is as impressive as a person can be who jeopardises
+the dignity of demonhood by wearing horns.
+
+"St James's," the last important novel by Ainsworth which Cruikshank
+illustrated, gave the artist opportunities for drawing St James's
+Palace, London, and portraits of the Duke of Marlborough and other
+celebrities. He accepted these opportunities, but his most striking
+designs remind one of his illustrations for Smollett. He rejoices in the
+contrast between masculine lath and feminine tub, and in one plate
+afflicts us with a grinning face which exceeds in ugliness any of C.
+Delort's portraits of "l'Homme qui rit." The vigorous design here given
+touches the imagination on account of the absent presence of the dame in
+the picture hanging on the wall.
+
+[Illustration: THE MARQUIS DE GUISCARD ATTEMPTING TO ASSASSINATE HARLEY.
+The man on the table drawing his sword is the Duke of Newcastle ("Saint
+James's"). From "Ainsworth's Magazine," 1844.]
+
+In "Ainsworth's Magazine" for January 1846 the last fruit of
+Cruikshank's connection with Ainsworth appeared, after a year's
+sterility, as a careful etching illustrating that novelist's "Sir Lionel
+Flamstead, a Sketch": in the preceding year Cruikshank produced for W.
+H. Maxwell the series of historic etchings which, in the opinion of Mr
+Frederic G. Stephens, "marks the highest point of Cruikshank's
+invention." These etchings illustrate a history of the insurrections in
+Ireland in 1798 and 1803. In the selection of Cruikshank, Maxwell or his
+publishers may have remembered the skill with which he had illustrated
+I. Whitty's "Tales of Irish Life" (1824), though it is one thing to
+render the frantic humour of a fight arising from O'Finn calling Redmond
+a rascal, or the muddled emotions of a wake, and quite another to
+exhibit the conflict between two nightmares of patriotism. Howbeit
+Cruikshank realised the horror and poetry of war. His twenty-one
+Maxwellian etchings are instructively comparable with Callot's precious
+series "_Les Miseres et les Mal-heurs de la Guerre_" (1633). Callot is
+at once more horrible and self-restrained. One peers into his work; one
+listens to Cruikshank's. The artist of the seventeenth century drew with
+minute delicacy the forms and gestures of men. He studied them as a
+naturalist, indifferent to the individuality of the unit after fixing
+the individuality of the class to which it belongs. Callot's men are
+users of the wheel and the estrapade; they roast the husband while they
+ravish the wife. They are not grotesques: they are men. Maurice Leloir
+drew men of their age and country no more elegantly for the bravest
+novel of Dumas. Cruikshank, on the other hand, drew well and hideously
+not only Irish men, but Irish individuals. His rebel, obscenely jocose,
+impaling a child, might, though a detail in a crowded etching, have been
+drawn for Scotland Yard; so too might a woman squatting and smoking
+while a wretch writhes on four pikes which take his weight and give it
+him back in torture. England is to glow, Ireland is to blush as she
+looks at Cruikshank's people of '98. As clear on the memory as his Irish
+ruffianism is his portrait of the little drummer dying with his leg
+through his drum to protect its voice from dishonour. One has heard of
+Lieutenant Hepenstall--him who was called "The Walking Gallows"--as
+well as of the drummer of Gorey, but Cruikshank was satisfied with
+partizanship, and Ireland forgets him.
+
+Our liberal interpretation of history allows us now to consider a few of
+the works of Cruikshank which preserve for us scenes and types of his
+age with or without the accompaniment of a fictitious text.
+
+For his delineations of the sailor of Nelson's day we owe much to a
+capital but neglected novelist M. H. Barker, author of "Greenwich
+Hospital" (1826), "Topsail-Sheet Blocks" (1838), "The Old Sailor's Jolly
+Boat" (1844), etc. Before the appearance of the earliest of these books
+Cruikshank had etched Lieut. John Sheringham's designs entitled "The
+Sailor's Progress" (1818), and those by Capt. Marryat entitled "The
+Progress of a Midshipman" (1820). The illustrations to the quarto called
+"Greenwich Hospital," are deservedly the most famous of Cruikshank's
+sea-pictures. With lavish detail they exhibit Jack tearing along by
+coach across pigs and fowls at finable knots per hour; carousing in the
+Long Room with billowy sirens under a chandelier of candles; crossing
+the line in a frenzy of ceremonious facetiousness; yelling in an
+inn-parlour--though armless or "half a tree"--his delight in victory and
+Nelson; ... and tied up for a whipping like a naughty boy. Barker was so
+pleased with one of the illustrations for "Greenwich Hospital" that he
+wrote on a proof (No. 1003-4 in the Cruikshank collection at South
+Kensington), "Dear Friend, if you never do another design, the leg of
+that table will immortalise you. It is a bona fide Peg." There is a mood
+in which Clio prefers that crippled table-leg to Cruikshank's idea of
+Solomon Eagle "denouncing of Judgment" upon London.
+
+[Illustration: SOLOMON EAGLE. From the drawing by G. Cruikshank, as
+engraved by Davenport for "A Journal of the Plague Year," 1833.]
+
+We have now sounded the word which invites inquiry as to the nature of
+Cruikshank's artistic service to London. London is not the Tower or St
+James's Palace. Cruikshank, however, is not injured by this scorching
+truism. If we go back to 1827 and 1829 we encounter in "The Gentleman's
+Pocket Magazine" twenty-four _London Characters_, of which fifteen are
+from the hand of George Cruikshank, who doubtless remembered
+Rowlandson's "Characteristic Sketches of the Lower Orders" (1820).
+George is responsible for very neat portraits of a beadle, waterman,
+dustman, watchman ..., and the Cruikshankian enthusiast cries "Eureka!"
+for he spies Mr Bumble among them. With "Sunday in London" (1833) came
+the first example of Cruikshank's comic treatment of London, which a
+book-collector, as distinct from a print-collector, can prize. The
+woodcuts in this volume reveal a state of society in which people had
+less sense of proportion than they have now, and were excessively vain
+or excessively humble, according to the state of their paunch and the
+view of them held by the policeman or the beadle. The power of the
+beadle had not yet been broken by a metrical inquiry concerning the
+origin of his hat. Frenchmen were still "mounseers," and soldiers
+marched to Divine Service through St James's Park to the tune of "Drops
+of Brandy." The flavour of the obsolete is rich in "Sunday in London";
+we who look at it feel strangely toned-down.
+
+[Illustration: THE STREETS, MORNING. From "Sketches by Boz," Second
+Series, 1837.]
+
+Place in London as well as character is presented vividly in
+Cruikshank's contributions to "Sketches by Boz" (1836-7). Witness the
+examples here given. In _The Streets, Morning_, I, a Londoner, feel the
+poetry of streets cleansed by quiet, the chastity of Comfort enjoyed, as
+it were, by the tolerance of Hardship. The little sweep is an extinct
+animal, and yet we are in the neighbourhood of Seven Dials. _Monmouth
+Street_, as exhibited by Cruikshank in the same work, is an appreciation
+of the Hebrew dealer in old clothes as well as a caricature. We feel the
+street to be an open-air parlour and nursery combined; it remains
+imperturbably domestic though we walk in it. Another etching, depicting
+a beadle hammering the door of a house supposed to be on fire, elicited
+from Mr Frederick Wedmore the confession that he knew no artist "so
+alive as Cruikshank to the pretty sedateness of Georgian architecture,"
+though the remark will be more appreciated after a look at the pretty
+etching entitled _French Musicians or Les Savoyards_ (1819), reprinted
+in "Cruikshankiana" (1835).
+
+Cruikshank's London ideas were further realised in "Oliver Twist"
+(1838), a novel to which he contributed etchings so documentary as well
+as imaginative that he attempted to deprive Dickens of the glory of
+authorship, by claiming the origination of the story. The fact was, he
+had grown to be a collector: he was collecting fame, and in the passion
+of his hobby he felt that he might claim to have originated the novel
+which owed local colour and a formative idea to his suggestions. The
+subject really belongs to the pathology of egoism. Cruikshank gained
+nothing by seeking laurels in the field of literature except the
+impression on paper of a weakness one prefers to call juvenile rather
+than puerile.
+
+[Illustration: THE LAST CAB-DRIVER. From "Sketches by Boz," Second
+Series, 1837.]
+
+Yet he had much to give Boz, if that gentleman was minded to write of
+rogues. Cruikshank knew all about Buzmen and Adam-tilers; the days when
+he drank bene bowse had not been wasted, if low life be worth depicting.
+We may accept as portraits his Fagin and Sikes and Artful Dodger,
+without digesting the statement that Fagin condemned is himself in
+perplexity, and Fagin uncondemned the image of Sir Charles Napier.
+Undoubtedly, the workhouses in England of the third decade of the
+nineteenth century are in popular fancy all ruled by the nameless master
+in cook's uniform, of whom Oliver asked more, but it is not Boz's
+master, it is Cruikshank's. All beadles are one Mr Bumble--the Bumble of
+Boz and Cruikshank, though without the shadow of the sack with which the
+novelist eclipsed him. The etched scene where Fagin, frying sausages,
+receives Oliver in a den of thieves, has a squalid comfortableness--a
+leering charity--which praises Hell. The etched scene of Sikes's
+desperation on the roof of a house in Jacob's Island, Bermondsey, is in
+essence Misery itself, vermicular as well as violent. The etched scene
+where Fagin sits with blazing eyes in the condemned cell at Newgate
+under a window which shows him up like the Day of Judgment has been
+called "a picture by Fagin," for rhetoric exhausts itself in confessing
+its horror. In "Jack Sheppard," Cruikshank drew Newgate with
+particularity, he drew Bedlam with a maniac in it; for "A Journal of the
+Plague Year," he drew _The Great Pit in Aldgate_, but Fagin in his
+extremity belittles other horrors in Cruikshank's gallery of art. London
+is ashamed to see and acknowledge him; he makes her long for rain, and
+soap in the rain; he makes her remember her river.
+
+The reader will therefore look sympathetically at the powerful etching
+here reproduced from Angus B. Reach's "Clement Lorimer" (1849). It is a
+kidnapping scene; there is a drugged girl in the boat; the pier against
+which an oar has snapped supports an arch of London Bridge.
+
+It might be doubted if Cruikshank personally cared for any locality
+except London if it were not for evidence in the South Kensington Museum
+and the dispersed collection of the metropolitan Royal Aquarium. Number
+9502A/C in the South Kensington collection of his work is a design for a
+house which he intended to build for himself at the seaside. The Royal
+Aquarium collection contained several water-colours by him of littoral
+subjects. Hastings may remember what she was like before the building of
+her esplanade by means of two water-colours by him, dated respectively
+1820 and 1828, which Mr Walter Spencer bought for five guineas. _A
+Distant View of Shakespeare's Cliff, Dover_, secured by Mr Frank
+Karslake, tempted that art-dealer, who was its possessor when I last saw
+it, to withhold it from his customers. It is soft, slight and pretty.
+With a fanciful _Beachy Head_ (a water-colour "sketch from [sic] part
+of Shakespeare's Cliff, Dover, 1830") it sold for seven guineas, the
+"Beachy Head" being an outline of the cliff resembling a head looking
+left with dropped eyelid as seen (perhaps exclusively) by Cruikshank,
+who represents himself as standing in front of it; and I mention this
+"Beachy Head" because the same idea informs a rather subtle drollery in
+"My Sketch Book" (1833), where a couple are depicted in their fright at
+seeing a human face outlined by the edge of the top of Shakespeare's
+Cliff. All the sales mentioned in this paragraph were made at the
+auction at Sotheby's, 22 and 23 May 1903.
+
+[Illustration: Miss Eske carried away during her Trance.
+
+From "Clement Lorimer," 1849.]
+
+We have had already to touch on the way in which Cruikshank was the
+historian of himself. Thanks to his literary aggressiveness, mixed with
+love, so quaint and like talk in expression, that his pages resemble
+cylinders for a phonograph, we look at his autobiographical drawings
+with genuine interest. In Sir Benjamin Ward Richardson's publication of
+1895--"Drawings by George Cruikshank, prepared by him to illustrate an
+intended autobiography"--we are introduced pictorially to "George,
+Nurse, Brother and Mother at Hampstead"; and the same volume shows our
+artist unpleasantly situated on a roof _sub titulo The Button-hole of a
+Naughty boy caught by a nail_. In the South Kensington collection George
+shows us very crudely _a Fire in the South East end of London to which I
+ran when a boy with the Engine from Bloomsbury_. In 1877 George sketched
+himself as he was about 1799, when he looked at his father while Isaac
+Cruikshank was drawing, and we realise the affection in this
+reminiscence upon seeing George's grotesques of low life done when he
+was "a very little boy" on the same page where the academic Isaac has
+drawn a conventional heroic nude and a little girl suitable for a
+nursery magazine (S.K. coll. No. 9814). Under a pencil sketch (S.K.
+coll. No. 9817) we read "George Cruikshank when a boy used to put his
+mother's Fur Tippet over his head like the above and make frightful
+faces for fun." In published work Cruikshank repeatedly presents his own
+portrait, my favourite examples of his self-portraiture being the
+painter in _Nobody desires the Painter to make him as ugly and
+ridiculous as possible_ ("Scraps and Sketches," 1831), and that of
+himself going in as a steward with Dickens and others to a Public Dinner
+("Sketches by Boz," 1836). An excellent example of a comic presentation
+of himself is the frontispiece to this volume. Enviable and admirable
+health of mind is shown by Cruikshank's love of his own face, upon which
+flourished, under a high forehead and "blue-grey eyes, full of a
+cheerful sparkling light," "an ambiguous pair of ornaments," partaking
+"vaguely," writes Mr Walter Hamilton, "of the characteristics" of
+whiskers, moustaches and beard.
+
+I conclude this chapter with a reproduction of a painting by George
+Cruikshank in the South Kensington Museum. The lady is yellow-haired and
+has a good complexion. It appears to be a portrait of Mrs George
+Cruikshank (nee Widdison), his second wife, whose prenomen was Eliza.
+She could draw, for there is a vapid but well-finished female head by
+her in the South Kensington collection of her husband's work (No.
+10,038-4). She is not, of course, to be confounded with Cruikshank's
+sister Eliza, who designed the caricature of the Four Prues.
+
+[Illustration: ELIZA CRUIKSHANK. From a painting by George Cruikshank in
+the South Kensington Museum, No. 9769, endorsed "Mrs George Cruikshank
+E. C. 1884." The date is supposed to refer to the year of presentation
+to the museum.]
+
+
+
+
+V
+
+
+We have now to consider Cruikshank as a supernaturalist. Perhaps there
+is no role in which he is more sincerely esteemed. His simple egoism and
+self-conceit protected him from an apprehension of the nothingness of
+matter in the eye of a being who is uncontrolled by the world-idea. He
+could not conceive that a mind can impose the idea of a form upon an
+inferior mind, or a mind in sympathy with it: hence his egregious
+"discovery concerning ghosts." His world of supernature was a playground
+of fancy where powers are denoted by the same symbols which inform us
+that this animal can run, and that animal can fly, and the other animal
+can think. It is a world of which the major part is peopled with forms
+so lively, gracious and fanciful that Mr Frederick Wedmore's violent
+preference of Keene to Cruikshank seems, in view of it, a kind of
+aggressive rationalism. This world, however, contains the Devil, and on
+this colliery monster we will bestow a few glances.
+
+[Illustration: LEGEND OF ST MEDARD. The Saint has slit the bag in which
+the fiend is carrying children. From "The Ingoldsby Legends," 1842.]
+
+Cruikshank's best idea of the Devil is comedy of tail. In one of the
+"Twelve Sketches illustrative of Sir Walter Scott's Demonology and
+Witchcraft" (1830) he shows the archfiend seated on the back of a
+smiling elf who poses as a quadruped to provide a stool. The fiend is
+"dighting" an arrow by the light of the flaming hair of an elf who wears
+an extinguisher on his tail, and a cat enthusiastically plays with the
+forked appendage of the illustrious artisan. The dignity of labour is
+here inimitably manifest. Lovably ludicrous, too, is the Devil whom
+Cruikshank presents in _The De'il cam fiddling thro' the Town_
+("Illustrations of Popular Works," 1830). "Auld Mahoun's" forked tail
+has caught the exciseman by the cravat. In "Scraps and Sketches" (1832).
+Cruikshank has another Devil who plays on a gridiron as if it were a
+guitar, to soothe a man who has been lassoed by his tail. "And if my
+tail should make you sad I'll strike my light guitar." In "A Discovery
+concerning Ghosts" (1863) Cruikshank depicts the Devil as lifting a
+table with his tail and one hoof. One of the Devils offered to my
+readers--he whom St Medard thwarted--is an example of good work in a bad
+setting; the machine-ruled sky and "scandalously slurred distance" must
+be viewed as symptoms of Cruikshank's dislike for Bentley, the publisher
+of "The Ingoldsby Legends." The cuts from "The True Legend of St Dunstan
+and the Devil" (1848) replace the perverted Pan--Pan as perverted for
+the abolition of his prestige--with a plaintive ruffian whose horns and
+hoofs disgrace a very obvious humanity.
+
+Exit Devil: enter Satan. About 1827 Cruikshank drew him on wood, in the
+act of calling on his followers as related by Milton in "Paradise Lost,"
+Book I., Il. 314-332. Cruikshank described the drawing referred to,
+which was engraved by an unconfident hand, as "the best drawing that I
+ever did in my life." A solitary print of the engraving made of it sold
+at Sotheby's for L3, 6s. On a towering rock, Satan calls up an army
+which looks like living ribbon wound up out of the bottomless pit to the
+ceiling of the air. His personality is felt by the effect of his
+command, not by his individual appearance. Michelangelo might have
+favourably considered this book-illustration as a bare sketch of a
+muster of the damned; for as one looks at it he is tempted to give it to
+half a dozen painters and "put it in hand."
+
+[Illustration: SHOEING THE DEVIL. From Edward G. Flight's "The True
+Legend of St Dunstan and the Devil," 1848.]
+
+[Illustration: THE DEVIL SIGNING. From Edward G Flight's "The True
+Legend of St Dunstan and the Devil," 1848.]
+
+The naive evangelicism of "The Pilgrim's Progress" was productive of
+more of Cruikshank's serious monsters. 1827 is the date of seven
+woodcuts by him for this work (Reid 3555-61) which do not impress Mr
+Spielmann; they are, however, very neatly executed, and the drawing of
+_Christian arriving at the Gate_ is quite unwarrantably pleasant in its
+suggestion of conflict and weariness ending in the bosom of hospitality.
+In 1838 Cruikshank contributed _Vanity Fair_--an elaborate etching--to a
+"Pilgrim's Progress" containing plates by H. Melville. _Vanity Fair_ is
+a skilful catalogue marred by the misnaming of Britain Row. He produced
+another _Vanity Fair, circa 1854_, a vehement and uninteresting design
+which, with companion drawings by him of the same date, appears in Mr
+Henry Frowde's edition of "The Pilgrim's Progress" (1903). These
+drawings (only recently engraved) annoyed Mr G. S. Layard, and me they
+amuse and touch. They show that Cruikshank could draw the face of
+a man whose _metier_ is goodness, ... and that Apollyon--a veritable
+creature of tinker-craft in Bunyan's text--was utterly beyond
+Cruikshank's power to shape according to the crooked splendour of his
+name. One must not forget that a pious convention of absurdity is a trap
+for the critic and the humorist alike. I feel that Cruikshank almost
+loved Bunyan. Witness the large coloured print inscribed in his last
+decade, "Geo. Cruikshank 1871," where Christian--a Galahad of
+knightliness--passes through the snake-afflicted valley of the Shadow of
+Death.
+
+[Illustration: PETER SCHLEMIHL WATCHING THE CLOCK
+
+From "Peter Schlemihl," 1823. Copies of the book dated 1824 are also
+accepted as of the first edition.]
+
+Exit the Pilgrim, and re-enter the Devil. Cruikshank made remarkable
+successes in two series of illustrations wherein this magnate assumes
+the form of a man of our world. The books in which they appear are
+"Peter Schlemihl" by Adelbert von Chamisso (1823) and "The Gentleman in
+Black" by J. Y. Akerman (1831). To Chamisso the Devil is "a silent,
+meagre, pale, tall elderly man" wearing an "old-fashioned grey taffetan
+coat" with a "close-fitting breast-pocket" to it, and he is willing to
+buy Peter's shadow. Meagre and close-fitting is Cruikshank's idea of
+him; he is only substantial enough to give posture and movement to his
+clothes. That is a beautiful etching where he is folding Peter's shadow
+as a tailor folds a suit and Peter is unaware of the terrible oddity of
+a foot on the ground having for shadow a foot in the air--a foot no
+longer subordinate to Peter who will tread the earth in despair when he
+is a shadowless man; and that is a marrow-thrilling etching where
+Peter's tempter stands casting two shadows and flourishing a document
+promising the delivery of Peter's soul to the bearer after its
+separation from Peter's body. There is a haunting cold brightness about
+the Schlemihl etchings. If you see them without a _sensation_ of their
+difference from the work of any body except him who made them, your
+acquaintance includes a prodigy, a Cruikshank plus x. To J. Y. Akerman
+the Devil was "a stout, short, middle-aged gentleman of a somewhat
+saturnine complexion" who "was clad in black" and "had a loose Geneva
+cloak ... of the same colour." Like Schlemihl's customer he pays with a
+bottomless purse and in the cuts, engraved by J. Thompson and C.
+Landells, we see him a grave humorous and sinister person, who after
+his urbanity has been shaken by the cleverness of the law, is exhibited
+without warrant of narrative, as Old Horny on a gibbet. I presume the
+above-mentioned J Thompson, by the way, to be the John Thompson whom
+Cruikshank describes at the foot of a letter from this engraver dated
+"Feb. 7, [18]40," as "the Great, the wonderful Artistic Engraver on
+wood--and who used to engrave my drawings as no other man ever did."
+
+After the Devil comes Punch, who in the puppet play destroys him. Punch
+is only by irony a nursery character. He represents the comic genius of
+murder. A Hooligan may feel like a Pharisee after looking at him. His
+coarse materialism would affront a _pierreuse_. Cruikshank drew Punch as
+early as 1814 in a plate, satirising a fete given by the Duke of
+Portland on the occasion of the baptism of an infant marquis. The plate
+is entitled "Belvoir Frolic's" [sic] and appears in No. 4 of "The
+Meteor." A very long-nosed Punch extols the beverage bearing his name,
+and his infant son falls into a punch-bowl while being baptised by a
+drunkard. It was not, however, till 1828 that a reasonable joker could
+call Cruikshank's great hit a punch. That date is on the title-page of
+"Punch and Judy" edited by J. Payne Collier, for whose publisher (S.
+Prowett) Cruikshank drew the scenes of the immortal puppet-play as
+produced by Piccini, who defied any other puppet-showman in England to
+perform his feat of making the figure with the immoderate neck remove
+its hat with one hand. Thanks to Piccini, then, Cruikshank's Punch is
+the real Punch--a goggling miscreant, whose hump is a rigid and
+misplaced tail and whose military hat, above a crustacean's face,
+completes a rather melancholy effect of mania. The conductor of "George
+Cruikshank's Omnibus" confessed to feeling "that it was easy to
+represent" Punch's "eyes, his nose, his mouth, but that the one
+essential was after all wanting--the _squeak_." Cruikshank was barely
+just to his pencil. As one looks at his Punch one feels that such a
+being is either a squeaker or a mute. As for the Devil, whose role is so
+humiliating in the Punch tromedy (as a neologist might call it), he is
+of an aspect pitiably mean--like a corpse attired in river mud.
+
+[Illustration: PUNCH THROWING AWAY THE BODY OF THE SERVANT. From "Punch
+and Judy," 1828 (early proof). The portrait of George Cruikshank below
+his initials does not appear in the book.]
+
+After this, it is impossible not to realise the enormity of the
+compliment paid by the hand of Cruikshank (serving the imagination of G.
+H.) to Napoleon in that publication of August 1815, rashly stated by Mr
+Bruton to be the finest Napoleonic caricature, which depicts the
+imperial exile of St Helena as the Devil addressing a solar Prince
+Regent. Here the Devil gets the credit of a handsome face and Napoleon
+the debit of cloven feet.
+
+Cruikshank's representation of the Devil as Old Nick has the absurd
+merit of recalling his idea of the servant of a good Peri! Compare _The
+Handsome Clear-starcher_ ("Bentley's Miscellany," 1838) with _The Peri_
+[, the Djin] _and the Taylor_ ("Minor Morals, Part III.," 1839). Both
+these ornaments of my sex have white eyes windowing a black face, and
+the former, with heraldic sulphur fumes above his figure of Elizabethan
+dandy, is, if we do not date him, a horrible gibe at the feminine Satan
+of "sorrows."
+
+Is there, the reader may now ask, not unmindful of the Miltonic drawing
+already described, no Satan among Cruikshank's Netherlanders, to show
+that he saw the sublime of evil as clearly as he saw Fagin? Alas for
+_catalogues raisonnes_! for if it were not for G. W. Reid we could not
+point the querist to Cruikshank's Lucifer in his illustrations on wood
+to George Clinton's "Memoirs of the Life and Writings of Lord Byron"
+(1825). Of "a shape like to the angels, yet of a sterner and a sadder
+aspect of spiritual essence," not less beauteous than the cherubim,
+Cruikshank, with or without an accomplice in another engraver, makes a
+black and white Moor, jointed like a Dutch doll, with wings which an
+Icarus would distrust.
+
+Perhaps the most impressive conception of the author of unhappiness
+which Cruikshank executed was that which he owed to the imagination of
+Mrs Octavian Blewitt. In his last published etching, _The Rose and the
+Lily_ (1875), he depicts, by her instruction, a lake out of which
+appears, like an islet, the weed-covered top of a vast head, the eyes of
+which are the only visible features. The lake is the abode of "The Demon
+of Evil" and his eyes of bale are upturned to regard a fairy queen and
+her suite who hover over a rose and a lily.
+
+Cruikshank's favourite among semi-infernal or hemi-demi-semi celestial
+characters would seem to have been Herne, the demon of Windsor Forest,
+whom legend derives from a suicide. Our illustration of Herne appearing
+to Henry VIII. (1843) is sombre and grandiose. The artist recurred to
+Herne again in one of his beautiful etchings for "The life of Sir John
+Falstaff" by R. B. Brough (1858). Falstaff as Herne, with antlers on his
+head, lies prone beneath the great riven oak which is called Herne's
+oak, because human Herne is supposed to have hanged himself from a bough
+of it. Fairies, depicted by their lover, have taken into their invisible
+web of glamour the grossness of Falstaff, and to me the etching which
+contains in harmony so tragic a tree, so gluttonous a man, and the only
+angels that shame can love without terror is not an illustration of
+Shakespeare but a vision of everybody's heaven. For if it is an
+illustration of Shakespeare, then are these no fairies but Mistress
+Quickly, Anne Page and other actresses, in a punitive and moralising
+mood! The last appearance of Cruikshank's Herne is in a drawing, done
+when the artist was eighty-three, for "Peeps at Life" (1875), in which
+the demon rides through Windsor Forest with a monk behind him.
+
+[Illustration: HERNE THE HUNTER APPEARING TO HENRY VIII. ("Windsor
+Castle"). From "Ainsworth's Magazine," vol. iii., 1843.]
+
+It is now time to say a few words about the Cruikshankian ghost. About
+the year 1860, Cruikshank offered L100 to anyone who should show him a
+ghost "said to have been seen frequently in the neighbourhood of some
+Roman Catholic institution near Leicester." No one claimed the money,
+and Cruikshank remained a religious materialist, charmingly boyish in
+his amusement over the ghosts of tears and dirt. His natural idea of a
+ghost was comic in the way of a wise old world that taxes pain and wrath
+for humour. His designs for Part II. of "Points of Humour" (1824)
+include a vision of spirits discharged from their bodies by the
+ministrations of a pompous doctor, who holds his stick against his mouth
+because Cruikshank condemned the use of "the crutch" as a toothpick. The
+ugliness of these spirits is not excelled by Cruikshank's Giles
+Scroggins, in vol. i. of "The Universal Songster" (1825),--a spook whose
+waving hands like bewitched gloves, exultant toes and nightcap
+tipsy as a blown flame, are duly noted by Molly Brown. Folklore had a
+refining influence on Cruikshank when, for Scott's "Demonology and
+Witchcraft," he etched, in 1830, Mrs Leckie, a white-aproned ghost who,
+by a miracle of Scotchness, is perfectly decorous as she kicks with a
+high heeled shoe the doctor of physic who "shewed some desire to be rid
+of her society." Cruikshank's chef d'oeuvre of ghost-humour is an
+etching for Captain Glascock's "Land Sharks and Sea Gulls" (1838). This
+triumph of pictorial anecdote confronts us with Ann Dobbs, who has
+materialised her head and hands for the purpose of exhibiting, with a
+proper show of accusation, to a whimpering sailor, whose pigtail has
+risen in homage to her, "the feller piece of the broken bit" of her
+tomb-stone, which he had stolen for a holy-stone to clean decks with.
+After this, the reader may be surprised to learn that a ghost, produced
+by Cruikshank for "The Scourge" of August 1815, was serious enough to be
+precautiously blacked out before the plate entitled _A Financial Survey
+of Cumberland, Or the Beggar's Petition_, was put into general
+circulation. It is the ghost of Sellis, the Duke of Cumberland's valet,
+who is made to accuse his earthly master of murder, by these words "Is
+this a razor I see before me? Thou canst not say I did it." Of that
+other serious ghost, St Winifred in "Guy Fawkes" (1840), enough has been
+said. Her dullness is absolutely unmystical, and it is a relief to turn
+from her to look at _The Holy Infant, that prayed as soon as he was
+born_ ("Catholic Miracles," 1825), an exquisitely droll sketch, about as
+large as a penny, of "intense" chubbiness in a hand basin.
+
+Though sympathy with men and women did not make Cruikshank courteous to
+ghosts, he was led by the credulity and experience of his childhood to
+be affectionate to fairies and almost patriotic in his feeling about the
+magical countries in which they dwell. In a note to "Puss in Boots" he
+informs us that his nurse told him when he was "a very little boy" that
+the fairies "had houses in the white places"--_i.e._ fungi--in the
+corners of cellars. In cellars he accordingly looked for them, "and
+certainly did ... fancy" that he saw "very, _very_ tiny little people
+running in and out of these little white houses"--_i.e._fungi--and
+attributed any power he possessed of drawing or describing a
+fairy to his nurse's communications and his visions in cellars.
+
+Like a sword-swallower I saw in Belfast, I will ask you to "put your
+hands together," for the anecdote just related is corroborated by the
+charm of his fairy drawings.
+
+[Illustration: From "Comic Composites for the Scrap-Book," 1821.]
+
+What happened when Cruikshank went into cellars is symbolical of poetry.
+He saw what was not there by that creative touch of mind which
+transforms an object by increasing its similitude to something else. In
+_Comic Composites for the Scrap Book_ (1821), we have intelligent human
+creatures suggested by arrangements of household implements. As I look
+at the mundatory erection here reproduced, I anachronistically hum
+Stephen Glover's "March composed for Prince Albert's Hussars." It is,
+however, less brilliant than the aldermanic bellows and the doctor (with
+a mortar for body, cottonwool for hair and labels for feet), to whom he
+states his symptoms in "Scraps and Sketches" (1831), for they amuse the
+satirist even at this date when gluttony is merely not moderation and
+bored sapience is merely not sympathetic wisdom.
+
+Cruikshank then had one great qualification for illustrating fairy
+tales: he could animate the inanimate. Let us now follow his career as a
+fairy artist, beginning with his first great success.
+
+[Illustration: THE GOOSE GIRL. From "German Popular Stories," vol. ii.,
+1826.]
+
+In 1822 appeared a post-dated volume of "German Popular Stories ...
+collected by M. M. Grimm." A companion volume was published in 1826, and
+both books were adorned by the hand of George Cruikshank. Excepting two
+much-admired German leprechauns or fairy cobblers in one of Cruikshank's
+twenty-two etchings, they do not present a fairy worth smiling at, and
+these cobblers, boundlessly delighted by a present of clothes, are, of
+course, very far from being of the angelic _elite_ of Fairyland, as
+drawn by Sir Joseph Noel Paton for Mrs S. C. Hall. But Fairyland is in
+the imagination of democracy, and he is a good patriot of that country
+who amuses us with its "freaks," for they are dear to the _hoi polloi_
+which appreciate novelty more than perfection. Cruikshank in his Grimm
+mood is for the "living drollery" which cured Sebastian's
+scepticism concerning the phoenix and the unicorn. He rejoicingly
+presents a nose as long as a garden hose--a nose worthy of the beard
+which travels from page 6 to page 7 of his "Table-Book" (1845). He
+refreshes us with the humorous pleasure of the giant inspecting
+Thumbling on the palm of his hand; and he convulses us with the vocal
+display of the ass, dog and cat which plunge through the glass of a
+window into the robbers' room. Ruskin said of these etchings that they
+"were unrivalled in masterfulness of touch since Rembrandt; (in some
+qualities of delineation unrivalled even by him)"; to that eulogy I can
+only add that they are inspiriting because they are candid and vivid,
+and show that realism can be on the side of magic.
+
+Passing without pause some tiny cuts, upon which children would pounce
+for love of gnomes, in "The Pocket Magazine" (1827, 1828), we arrive
+again at Cruikshank's sketches for Scott's "Demonology and Witchcraft"
+(1830), and inspect elves and fairies, barely prettier than mosquitoes,
+annoying mortals. Worry is incarnate in a horizontal man who is
+supported in and drawn through the air by elves, directed by two
+drivers, one on each of his boots. Beautiful is the contempt for
+herrings of an elf standing on a plate which a comrade is about to smash
+with a hammer in the presence of a cheaply-hospitable (and sluttish)
+housewife whom a dozen elves have pulled downstairs by her feet.
+
+Fables which invent sorrow to prevent it can only be classed as
+fairy-tales by a sacrifice of the _mot juste_, which I make in order to
+call attention to an exquisite quartet of etchings by George Cruikshank,
+illustrating Richard Frankum's verses entitled "The Bee and the Wasp"
+(1832). No hand but his who drew the shadow-buyer in Peter Schlemihl
+could have drawn the hair-lines of the criminal insect who mocks the
+drowning bee in the third of these etchings. So pleased and delicate a
+malignancy is expressed in him that he figures to me as a
+personification of evil, and I am disagreeably conscious of smiling to
+think that, because he speaks and is seen, he is a gentleman compared
+with a trypanosome or a bacillus coli.
+
+[Illustration: AMARANTH "THE EVER YOUNG" IS CARRIED TO CORALLION BY THE
+BEE'S MONSTER STEED. From "The Good Genius that Turned Everything into
+Gold," by the Bros Mayhew, 1847.]
+
+A bee--but a superbee--figured in the next fairy book illustrated by
+Cruikshank. In his designs for "The Good Genius that Turned
+Everything into Gold" (1847) he showed for the first time an ambition to
+idealise magic. The idea that power exists in beings of familiar shape
+and wieldy dimensions to build palaces and fleets without mistakes,
+without plans and adjustments, without the publication of embryos behind
+hoardings--to build them without economy and sacrificial fatigue--this
+is the breathless poem of the crowd. The Brothers Mayhew gave this idea
+to Cruikshank, and one at least of his etchings for their story--the
+palace emerging from rock and arborescence--shows that he almost
+objectified it. Thus (unconsciously) did he atone for that neglect of
+opportunity which allowed him to deck the magical and tender, the deep
+and lustrous fiction of E. T. W. Hoffmann, the inspired playmate of
+ideas that rock with laughter and subdue with awe, with nothing better
+than a frigidly humorous picture of a duel with spy-glasses.
+
+In 1848 an incomplete and refined translation of "II Pentamerone"
+appeared with pretty and sprightly designs by Cruikshank. These designs
+show a more direct sympathy with juvenile taste than his famous
+etchings for "German Popular Stories." With shut eyes one can still see
+his ogre swearing at the razor-crop, and his strong man marching off
+with all the wealth of the King of Fair-Flower, while the champion
+blower with one good blast makes bipeds of horses and kites of men.
+Nennella stepping grandly out of the enchanted fish to embrace her
+brother is dear to an indulgent scepticism. There were beautiful fields
+and a fine mansion inside that fish and his toothful mouth is but a
+portico of Fairyland.
+
+[Illustration: From George Cruikshank's Fairy Library, 'Cinderella,'
+1854.]
+
+Tails not having been invented merely to mitigate the sorrows of Satan,
+Cruikshank had some more of these appendages to draw when with "Kit
+Bam's Adventures" (1849) he entered the fairyland of Mrs Cowden Clarke.
+The very rhetorical mariner of that story is remembered for the sake of
+the tails of mer-children twining about his legs in the frontispiece to
+it, and human children allow their Louis Wain to wane for a minute as,
+with Kit Bam, they look at Cruikshank's tortoiseshell cat, ruffed and
+aproned, laying the table while Captain Capsicum, horned and gouty,
+urbanely watches her.
+
+Naturally Cruikshank desired to associate himself permanently with fairy
+stories better known in England than the name of any folklorist or
+Perrault D'Armancourt himself. Rusher had published, circa 1814,
+"Cinderella" and "Dick Whittington" with cuts "designed by Cruikshank,"
+whose prenomen was or was not George; and to George Cruikshank is
+ascribed by Mr Edwin Pearson some early cuts for "Mother Hubbard and her
+Dog." Each of these illustrations could be covered with a quartet of our
+postage stamps and only those for "Mother Hubbard," which are droll and
+tender, possess more than an antiquarian interest. In 1846, in twelve
+designs built round the title "Fairy Songs and Ballads for the young ...
+By O. B. Dussek ...," George Cruikshank illustrated "Dick Whittington,"
+"Jack and the Beanstalk," etc., and was lively and pretty in a wee way.
+These were trifles, however, and Cruikshank was ambitious. In 1853-4 and
+1864 he flattered his ambition by the issue of "George Cruikshank's
+Fairy Library." Unfortunately Ruskin was displeased with the earlier
+issues of this "library," for in 1857 he forbade his disciples to copy
+Cruikshank's designs for "Cinderella," "Jack and the Beanstalk" and "Tom
+Thumb" [_sic_] as being "much over-laboured and confused in line." But
+on July 30, 1853, Mrs Cowden Clarke begged Cruikshank to allow her to
+thank him in the name of herself "and," writes she, "the other grown-up
+children of our family, together with the numerous little nephews and
+nieces who form the ungrown-up children among us, for the delightful
+treat you have bestowed in the shape of the 1st No. of the 'Fairy
+Library.'" This was the maligned "Hop-o'-my-Thumb," the pictures of
+which possess the charm of the artist's "Pentamerone." None of
+Cruikshank's ogres are as horrible as J. G. Pinwell's man-eating giant
+in "The Arabian Nights," and so the ogre in his "Hop-o'-my Thumb" is
+merely a glutton with a knife, but what a passion of entreaty is
+expressed in the kneeling children at his feet! The seven-leagued boots
+are worth all Lilley and Skinner's as, formally introduced, they bow
+before the smiling king. The architectural effect of the design which,
+as it were, makes a historian of a tree is admirable. The beanstalk in
+No. 2 is a true ladder of romance; and, seeing it, I think that
+Cruikshank escaped from the repugnant vulgarity of G. H. on that May or
+June day of 1815 when he drew The _Pedigree of Corporal Violet_ (_alias_
+Napoleon) as a perpendicular of flowers and fungi and dreamed of the
+fairy seed he would sow for children. In "Jack and the Beanstalk" there
+is not only a fairy plant but a real English fairy gauzy-winged, tiny,
+with a wand as fine as a needle. Yet Ruskin was displeased, and we may
+define the fault which caused his displeasure as a finicky unveracity
+about shade and textures.
+
+[Illustration: THE OGRE IN THE FORM OF A LION. From George Cruikshank's
+Fairy Library, "Puss in Boots," 1864.]
+
+In 1866, however, Cruikshank executed two plates for Ruskin; one of them
+illustrated "The Blue Light" from Grimm, the other showed the children
+of Hamelin following the Pied Piper into the mountain; and in the same
+year he almost paralleled the success of his fairy cobblers in Grimm by
+an etching of Pixies engaged in making boots, which he did for Frederick
+Locker, afterwards Locker-Lampson. In 1868 Cruikshank made the large and
+beautiful etching entitled "Fairy Connoisseurs inspecting Mr Frederick
+Locker's Collection of Drawings." Anyone who has read "My Confidences"
+(1896) will acknowledge that it was a happy thought to invite the Little
+People into Mr Locker-Lampson's library, for this bibliophile, so
+humorous and elegant, so ready with the exact Latin quotation needed to
+civilise perfectly the shape of an indecorum, was in essence a child
+whose toys were consecrated to the fairies by his purity in loving them.
+
+We will take leave of Cruikshank as a fairy artist by a look at a sketch
+for his picture _The Fairy Ring_. He painted the picture, which is his
+best oil-painting, in 1855 for the late Henry Miller of Preston, for
+L800. The sketch referred to sold at Sotheby's in 1903 for L25, 10s.
+This sketch--a painting--I saw at the Royal Aquarium, as in a bleak
+railway station without the romance of travel. The Fairy King stands on
+a mushroom about which rotate two rings of merrymakers between which run
+torch bearers. They are mad, these merrymakers, and madness is delight.
+Hard by, a towering foxglove leans into space, bearing two joyous
+sprites. Gigantic is the lunar crescent that shines on the scene; it is
+a gate through which an intrepid fairy rides a bat above the revels. In
+this impressionistic sketch, Cruikshank shows himself participant in the
+mysterious exultation of the open night where man, intruding, feels
+neither seen nor known. _The Fairy Ring_ belongs to the poetry of
+humour. It perorates for a supernaturalist whose fashionable ignorance,
+touched with less durable vulgarity, blinded him to such visions as, in
+our time, the poet "A. E." has depicted. Looking at Cruikshank's
+supernatural world of littleness and prettiness, of mirth, extravagance,
+and oddity, we feel in debt to his limitations.
+
+
+
+
+VI
+
+
+The humour of George Cruikshank deserves separate consideration, because
+it is essentially the man himself. Despite a technical excellence so
+peculiar that, according to the author of Number 1 of "Bursill's
+Biographies," the engraver Thompson "kept a set of special tools,
+silver-mounted and with ivory handles, sacred for" Cruikshank's designs,
+his sense of beauty was not eyes to him. Women he usually saw as lard or
+bone, and this strange perversity of vision and art differentiates him
+from the moderns by more than time. For instance, the women presented by
+Mr S. D. Ehrhart and O'Neill Latham (a lady-artist), to mention only two
+modern humorists, materialise an idea of beauty in humour which was as
+foreign to Cruikshank as apple-blossom to a _pomme de terre_.
+
+[Illustration: A GENTLEMAN'S REST BROKEN (in consequence of going to bed
+with his leg on). From an etching in "Scraps and Sketches," Part 1,
+1828.]
+
+Humour with Cruikshank was elemental. A joke was sacred from
+implication; it was self-sufficient, vocal in line and curve,
+percussive. He was a contemporary of Douglas Jerrold, who was humorous
+when he called a town Hole-cum-Corner. He was a contemporary of Thomas
+Hood, who was humorous when he announced that
+
+        "from her grave in Mary-bone
+    They've come and bon'd your Mary."
+
+He was in that "world of wit" where they kept a nutmeg-grater on the
+table in order to say, when a great man was mentioned, "there's a
+grater." He was in a world where professional humour was perversely
+destructive of faith in imagination.
+
+[Illustration: EXCHANGE NO ROBBERY. From "Points of Humour," 1823. The
+unfaithful wife has concealed her lover in the clock. The husband, who
+has unexpectedly returned, devours bacon at 1 A.M., while she is in an
+agony of apprehension.]
+
+But what is humour? Late though the question be, it should be answered.
+Humour, then, is the ability to receive a shock of pleasant surprise
+from sounds and appearances without attributing importance to them. As
+the proof of humour is physiological, its appeal to the intellect is as
+peremptory as that of terror. It is a benignant despot which relieves us
+from the sense of destiny and of duty. Its range is illimitable. It is
+victoriously beneath contempt and above worship.
+
+Cruikshank was a humorist who could laugh coarsely, broadly, selfishly,
+merrily, well. Coarseness was natural to him, or he would not have
+selected for a (suppressed) illustration in "Italian Tales" (1824) a
+subject which mingles tragedy with the laughter of Cloacina. One can
+only say that humour, like a sparrow, alights without regard to
+conventions. The majority can laugh with Rabelais, though they have not
+the idealism which created Theleme. Jokes that annoy the nose are no
+longer tolerable in art, but in Cruikshank's time so wholesome a writer
+as Captain Marryat thought Gillray worth imitating in his translation of
+disease into terms of humour. Hence _The Headache_ and _The Cholic_
+(1819), signed with an anchor (Captain Marryat's signature) and etched
+by Cruikshank, follow _The Gout_ by Gillray (1799). The reader may well
+ask if the sight of a hideous creature sprawling on a man's foot is
+humour according to my definition. I can only presume that in what Mr
+Grego calls the "port-wine days," Gillray's plate was like sudden
+sympathy producing something so absolutely suitable for swearing at,
+that patients smiled in easy-chairs at grief.
+
+Broad humour has an eye on sex. The uncle who, on being asked at dinner
+for an opinion on a lady's costume, observes that he must go under the
+table to form it, is a type of the broad humorist in modern life.
+Cruikshank had none of that tenderness for women's clothes which in
+modern representation removes altogether the pudical idea from costume
+and substitutes the idea of witchery by foam of lace and coil of skirts.
+His guffaws and those of Captain Marryat and J. P***y, whose invention
+exercised his needle, at the Achilles in Hyde Park, in 1822, are
+vexatious enough to make one wish to restore all fig-leaves to the
+fig-forest. It is not possible for a man with an indefinite and
+inexpressible feeling for woman to laugh like that. Hearing his laughter
+we know that Cruikshank's humour about woman must always be obvious.
+
+[Illustration: "EH., SIRS!" Illustrates "Waverley," by Sir Walter Scott,
+in "Landscape-Historical Illustrations of Scotland and the Waverley
+Novels," 1836.]
+
+It is, and yet it is not measured by the height of her hat as he
+depicted it in 1828, when he contributed to that long series of jokes
+which culminate in Jan Linse's girl at the theatre who will not take her
+hat off because, "mamma, if I put it in my lap I can't see myself." In
+the annals of absurdity is there anything more worthy to be true at the
+expense of the British Navy than Cruikshank's picture of the chambermaid
+confronted with the leg which she has mistaken for a warming-pan?
+Another woman, whom Cruikshank compels us to remember by force of
+humorous idea, is to be found in _Points of Humour_ (1823). She is the
+doxy in "The Jolly Beggars," sitting on the soldier's lap. We see her
+while she holds up
+
+                  "her greedy gab
+    Just like ae aumous dish."
+
+The soldier has lost an arm and a leg, but his face is the face of
+infatuation and her lips are the lips of lust. The toes of her bare feet
+express pleasure longing for ecstasy. I write seriously: they are very
+eloquent toes. There is a fire near the amorous pair, and the dog
+basking by it, uninterested in them, is a token of peace unpried upon.
+Her left hand grasps a pot of whiskey. She is in heaven. Indeed there is
+too much heaven in the picture for me to laugh at it. Behind the
+incongruity which clamours for laughter is the magic of drink reshaping
+in idea a half-butchered man and reviving the fires of sex.
+
+[Illustration: HOPE. From "Phrenological Illustrations," 1826.]
+
+After this we glide politely from women as they blossom in the drollery
+of Cruikshank. Jenny showers "pills, bolus, julep and apozem too" on the
+physicians who would have exenterated her (_vide_ "The New Bath Guide,"
+1830). The "patent washing machines" remember their sex at the approach
+of Waverley (_vide_ "Landscape-Historical Illustrations," 1836), and
+remind us that in 1810 T. Tegg published a less refined _Scotch Washing_
+over the signature of Cruikshank. Nanse sheds the light of a candle upon
+the corpse of the cat compressed by a heavy sitter (_vide_ "The Life of
+Mansie Wauch," 1839). The squaw "in glass and tobacco-pipes dress'd"
+evokes lyrical refusal from the Jack who has sworn to be constant to
+Poll (_vide_ "Songs, Naval, and National, of the late Charles Dibdin,"
+1841). Lady Jane Ingoldsby smilingly--with lifted hand for note of
+interjection--allows her attention to be directed to the half of her
+drowned husband which was not "eaten up by the eels" (_vide_ "Bentley's
+Miscellany," 1843). William's widow contemplates with fury the sailor
+upon whose nose has alighted her dummy babe (_vide_ "The Old Sailor's
+Jolly Boat," 1844); and General Betsy gobbles her novel in a chaotic
+kitchen, oblivious of the horror of her mistress (_vide_ "The Greatest
+Plague in Life," 1847).
+
+In all this pageant of absurdity is wanting the special touch which
+surprises the spectator. The emotions of the women are rendered as with
+a consciousness that they are a merchandise of art and "in stock."
+
+[Illustration: Details from the Plate entitled _Heads of the Table_, in
+"George Cruikshank's Table-Book," 1845.]
+
+The caricaturist of mankind, to immortalise his work, must haunt us with
+physiognomy. Thus Honore Daumier in _Le Bain Chaud_ haunts us with the
+burlesque heroism in the face of a man about to sit down in water which
+pretends to scald him. Sir John Tenniel haunts us with the complacent
+slyness of Dizzy bringing in the hot water for February 1879 to that
+distrustful lie-abed John Bull. Charles Dana Gibson haunts us with the
+charmed vanity of an aged millionairess sitting up, bald and bony, in a
+regal bed, with her coffee-cup arrested in hand by the fulsome puff of
+her person and adornments read to her by her pretty maid. George Du
+Maurier haunts us with the freezing question in the face of the
+knight who has permitted himself to crack an empty eggshell on the
+"Fust o' Hapril."
+
+How does Cruikshank stand as a creator of humorous physiognomy? The
+answer is not from a trumpet. He invented crowds of people who seem
+merely the fruits of formulae, and in comedy the simple application of
+the science of John Caspar Lavater is weak in effect, since laughter is
+tributary to surprise.
+
+Compare Daumier's man in hot water with Cruikshank's _Trotting_ (a
+similar subject in "The Humourist," vol. iii., 1820), and one sees the
+difference between mere Lavaterism and emotion detected with delight.
+Compare Daumier's facetious ruffian asking the time of the man he
+intends to rob with almost any ruffian in Cruikshank's humorous gallery
+and one can only say that, in effect, one drew him to haunt the mind;
+the other to bore it. One ruffian surpasses his type without deserting
+it; the other is the type itself. Here and there, however, Cruikshank
+creates an individual who is more than his type without being divergent
+from it. Do we find such a one in the serious eater in _Hope_
+("Phrenological Specimens," 1826), in whose bone, already as
+innutritious as a toothbrush, his dog confides for sustenance? I think
+so, because I see him when I think of appetite as of tragedy. Humour
+accepts him in deference to her idea that there is nothing that cannot
+be laughed at, and she is worthy of deification when she goes down,
+down, down, laughing where even her worshippers are mute.
+
+I doubt if Cruikshank twice excelled in respect of authenticity in
+humour the host and guest whom he presented in the reproduced subjects
+from _Heads of the Table_ (1845). Humour ascends from his _Hope_ to them
+as to a heaven of animals from a purgatorial region. That even what I
+have called Cruikshank's Lavaterism can be amusing is proved by his
+portrait of Socrates at the moment before he said "rain follows
+thunder."
+
+We owe probably to Cruikshank's inveterate love of punning the capital
+study in disdain as provoked by envy exhibited in one of the lions in
+_The Lion of the Party_ (1845). Of his animal humour I shall have more
+to say: these lions are more human than many of his representations
+of _homo sapiens_; they need no footline.
+
+[Illustration: X
+
+_Xantippe_
+
+From "A Comic Alphabet," 1836. See Pope's "The Wife of Bath" (after
+Chaucer), II. 387-392.]
+
+The student of Cruikshank's humour must follow him through many volumes
+in which his pencil is subservient to literature; and in this journey he
+will often open his mouth to yawn rather than to laugh. The professional
+humorist, like the professional poet, is the prey of the Irony that sits
+up aloft; and Cruikshank was not an exception. Indeed one may say of
+some of his crowded caricatures that one has to wade through them. In
+the humorous illustration of literature his work is seldom risible, but
+it usually pleases by a combination of neatness and energy.
+
+Despite his intense egotism he ventured to associate his art with the
+works of Shakespeare, Fielding, Smollett, R. E. Raspe, Cowper, Byron,
+Scott, Dickens, Goldsmith, Douglas Jerrold, Thackeray, Le Sage, and
+Cervantes. These names evoke a world of humorous life in which is
+missing, to the knowledge of the spectator, only the humour which shines
+in jewels of brief speech and rings in the heavenly onomatopoeia of
+absurdity. Lewis Carroll and Oscar Wilde are decidedly not of that
+world, though Raspe, by a freak of irony, graced his brutal pages with
+lines which the snark-hunter might have coveted, and Smollett's elegance
+in burlesque gravity is dear to an admirer of "The Importance of being
+Earnest."
+
+[Illustration: _Lion of the Party_
+
+From "George Cruikshank's Table Book," 1845.]
+
+For Shakespeare, Cruikshank seems to have felt a tender reverence. As
+early as 1814 we find him drawing Kean as Richard III., and Hamlet for
+J. Roach, the publisher of "The Monthly Theatrical Reporter"; 1815 is
+the date of a lithograph of _Juliet and the Nurse_ published by G.
+Cruikshank and otherwise unmemorable; in 1827 he made one of his
+"Illustrations of Time," a vivacious portrait of Puck about to girdle
+the earth. In 1857-8 came the Cruikshankian series of etchings for R. B.
+Brough's "Life of Sir John Falstaff." This series exhibits great skill
+and conscientiousness; the critic of "The Art Journal" (July 1858) was
+able to suppose them "actual scenes." Falstaff has a serene and majestic
+face; his bulk is too dignified for the scales of a showman; one
+understands his aesthetic abhorrence of a "mountain of mummy." Humour
+cancels his debt of shame for cowardice, and well would it have been if
+that rebellious Lollard, Sir John Oldcastle, the original of
+Falstaff, could have looked into Falstaff's roguish eyes as he reclined
+on the field of Shrewsbury and peeped at his freedom from all the
+bigotries which threaten and terrify mankind. Cruikshank unconsciously
+imparts this thought, but it is with conscience that he is amiable to
+Falstaff, who, begging, hiding, shamming, "facing the music," and dying,
+is his pet and ours by grace of his refined and beautiful art.
+
+We meet Cruikshank's Falstaff again in the drawing entitled _The First
+Appearance of William Shakespeare on the Stage of the Globe_ (January
+1863). Here we have the elite of Shakespeare's creations in a throng
+about his cradle. Titania and Oberon are at its foot, as though he owed
+them birth; Touchstone and Feste try to catch a gleam of laughter from
+his eyes; Prospero waves his wand; Othello gazes with hate at the
+guarded enchanter, more potent than Prospero, who is to bring his woe to
+light; Romeo and Juliet have eyes only for each other. Richard the Third
+is there, sadder than Lear; the witches who prophesied the steps of
+Macbeth towards hell gesticulate hideously by their cauldron; and
+Falstaff, cornuted as becomes the "deer" of Mrs Ford, smiles at a
+vessel that reminds him, as do all vessels, of sack and metheglins.
+There is charm and beauty of ensemble in this picture, which I have
+described from a coloured drawing in the South Kensington Museum made by
+its designer in 1864-5. I know nothing that suggests more forcibly the
+fatefulness hidden in the inarticulate stranger who appears every day in
+the world without a history and without a name.
+
+[Illustration: ADAMS'S VISIT TO PARSON TRULLIBER. Frontispiece to
+"Joseph Andrews," 1831. The book is dated 1832. This is one of the
+plates in "Illustrations of Smollett, Fielding, and Goldsmith" (1832).]
+
+Smollett and Fielding, both novelists who present humour as the flower
+of annoyance and catastrophe, were hardly to be congratulated when
+Cruikshank innocently showed them up in "Illustrations of Smollett,
+Fielding, and Goldsmith" (1832). In both the reader of literature
+discerns a gentleman. In Fielding he sees a radiant man of the world
+from whom literary giants who succeeded him drew nutriment for ambition.
+Both Smollett and Fielding have heroines, and touch men in the nerve of
+sweetness, and fell them with love. But Cruikshank cared naught for
+their women, though he reproduced something equivalent to the charm of
+Shakespeare's "Merry Wives." When first he went to Smollett, it was
+for a _Point of Humour_ (1824), which centres in an "irruption of
+intolerable smells" at dinner. The point pricked, as one may say, but it
+was blunt in effect compared with that of a later artist's drawing of
+_Columbus and the Egg_ or that of Cruikshank's cook swallowing to order
+in _Land Sharks and Sea Gulls_ (1838). The really vivid picture is
+recognised by a lasting imprint on a mind which is incapable of learning
+Bradshaw by heart, and Cruikshank's drawings for Smollett are reduced in
+my mind to _Mrs Grizzle extracting three black hairs from Mr Trunnion_,
+and his drawings for Fielding are reduced into the ruined face and
+rambling fat of Blear-eyed Moll.
+
+Those who will may compare the Smollett of Rowlandson with that of
+Cruikshank. The comparison may determine whether a dog is funnier while
+being trodden on or immediately after, and shows the indifference of
+Rowlandson to his artistic reputation. Cruikshank's attempts to
+illustrate Goldsmith are few and, as a series, unsuccessful. The
+reproduced specimen is a fair example of his realistic method. It
+exhibits the blackguard's sense of absurdity in the Christian altruism
+which paralyses the nerves of the pocket--sensitive usually as the
+nerves of sex--and which tyrannises over the nerves of pride.
+
+[Illustration: THE VICAR OF WAKEFIELD PREACHING TO THE PRISONERS. From
+"Illustrations of Popular Works," 1830.]
+
+Fisher, Son, & Co., the publishers of Cruikshank's illustrations of the
+"Waverley" novels (1836-7-8), assumed "the merit of having been the
+first to illustrate the scenes of mirth, of merriment, of humour, that
+often sparkle" in these works. In "Landscape Historical Illustrations of
+Scotland and the Waverley Novels" he supplied the comic plates; his
+_Bailie Macwheeble rejoicing before Waverley_, for chapter lxvi. of
+"Waverley," was the first etching done by him on steel. His "Waverley"
+etchings are characteristic works, sometimes brilliant in pattern or
+composition, occasionally ministering to a love of physiognomical
+ugliness which the small nurses of the dolls called "golliwoggs" can
+better explain than I. His predilection for the curious and uncanny is
+shown in some striking plates, including that in which he depicts the
+terror of Dougal and Hutcheon as they mistake the ape squatting on
+Redgauntlet's coffin for "the foul fiend in his ain shape."
+
+Cruikshank's illustrations for "Memoirs of the Life and Writings of Lord
+Byron" (1824-5) are cuts which include such deplorable effects of bathos
+(_e.g. Haidee saving Don Juan from her Father's wrath_) that one has no
+heart to praise the rough vigour of _Juan opposing the Entrance to the
+Spirit Room_. A Byron illustrated by protected aborigines seems
+realisable after seeing these pictures. If anybody paid the artist for
+them it should have been Wordsworth; that they did not weigh on
+Cruikshank's conscience, we may infer from the fact that in 1833 he
+cheerfully caricatured Byron for "Rejected Addresses" as a gentleman in
+an easy-chair kicking the terrestrial globe.
+
+We have already discussed the fruit of Cruikshank's association with
+Dickens. We have not, however, paid tribute to Cruikshank's capital
+etchings for "Memoirs of Joseph Grimaldi," edited by Boz (1838). The
+portrait of the famous clown holding in his arms a hissing goose and a
+squeaking pig, while voluble ducks protrude their heads from his pockets
+and a basket of carrots and turnips afflicts his back, is
+extraordinarily funny.
+
+Though Cruikshank's relations with Thackeray were far happier than with
+Dickens, they resulted in nothing important to his reputation. His
+etchings illustrating Thackeray's contributions to "The Comic Almanack"
+(1839-40) weary one with plain or uninteresting faces, though that which
+exhibits the expressive blubber-face of Stubbs, horsed for the birching
+earned by his usury, provokes an irrational smile which serves for
+praise. His illustrations to "A Legend of the Rhine" (Thackeray's
+contribution to "George Cruikshank's Table-Book," 1845) are not equal to
+Thackeray's drawings for "The Rose and the Ring" (1855).
+
+[Illustration: PRO-DI-GI-OUS! (Dominie Sampson in "Guy Mannering"),
+"Landscape-Historical Illustrations of Scotland and the Waverley
+Novels," 1836.]
+
+In the world of humour one does not descend in moving from Thackeray to
+Charles James Lever. With Lever's own portrait of his hero to guide him,
+Cruikshank illustrated "Arthur O'Leary" (1844). Among his ten etchings
+in this novel is an amusing exhibition of Corpulence submitting to
+identification by measurement; it surpasses the scene by Du Maurier in
+which the tailor promises to be round in a minute if his customer will
+press one end of the tape-measure to his waist.
+
+Cruikshank's ten etchings for "Gil Blas" (1833) are the works of an
+intelligent machine, which may be called humorous because it takes down
+the fact that Dame Jacintha held the cup to the Canon's mouth "as if he
+had been an infant." R. Smirke, R.A., with his sympathetic eye for flesh
+(as of a gardener for flowers) is obviously preferable to Cruikshank as
+Le Sage's illustrator, though our artist's Euphrasia is a dainty miss.
+Cruikshank's fifteen illustrations for "Don Quixote" (1833-34) are neat
+and for the most part uninspired renderings of pathological humour.
+Although it was within his ability to make a readable picture without
+words, he merely reminds one of the anecdote of the attack on the
+wind-mills. Compare the plate referred to with the painting on the same
+subject by Jose Moreno Carbonaro. Cruikshank's combatant is no more than
+a knight about to attack something--presumably a wind-mill. Carbonaro
+chooses the moment that exposes the knight as mad, futile, dismally
+droll, and we see him and his horse in the air, the latter enough to
+make Pegasus hiccup with laughter. Cruikshank's designs for "Don
+Quixote" compare favourably, however, with the audacious scratches
+which constitute most of his brother Robert's chronicle of the Knight of
+La Mancha (1824). The collector who affords a crown to buy the former
+designs should also acquire "Rambles in the Footsteps of Don Quixote,"
+by H. D. Inglis, with six etchings by George Cruikshank (1837). The
+etchings--three of which are perfect anecdotes--were evidently done _con
+amore_; but, good as they are, they were lucky if they satisfied an
+editor who believed Inglis's "New Gil Blas" to be "one of the noblest
+and most finished efforts in the line of pure imaginative writing that
+ever fell from the pen of any one man."
+
+[Illustration: DON QUIXOTE AND SANCHO RETURNING HOME. From "The History
+and Adventures of the Renowned Don Quixote," 1833.]
+
+It would be a species of literary somnambulism to wander further in a
+path of bibliography where ideas must be taken as they come instead of
+being ideally chosen and grouped. There is this mischief in Cruikshank's
+fecundity, that it tends to convert even a fairly bright critic into a
+scolytus boring his way through a catalogue. We emerge from our
+burrowing more percipient than before of the speculative nature of the
+undertaking to illustrate illustrious works of imagination. Sinking
+in competitive humour is akin to drowning; for he who materialises
+images despatched to the mind's eye by literary genius incurs the risk
+of having his work not only excelled by images in the eyes of minds
+other than his own, but ignored in compliment to them. Fortunate, then,
+is Cruikshank in the fact that on the whole we do not regret the healthy
+industrialism which permitted him to illustrate so many examples of
+imaginative literature.
+
+The reader to whom any appearance of digression is displeasing in art
+will now kindly believe that only a second has elapsed since he began
+the only complete paragraph of page 183. The scolytus is converted, and
+we return to our true viewpoint--the middle of a heterogeneous
+litter--and look for characteristics of Cruikshankian humour.
+
+[Illustration: NEW READINGS. The Irishman tries to read a reversed sign
+by standing on his head. From "The Humourist," vol. iv., 1821.]
+
+We have seen so much of Cruikshank's kingdom of supernature that it is
+scarcely necessary to revisit it. The reader will note, however, that
+the degradation of the terrible to the absurd is his chief humorous idea
+of supernature, and that he respects the seriousness of fairy tales. Not
+even the burlesque metaphors of Giambattista Basile--that monkey of
+genius among the euphuists--tempts him to ridicule the stories in "Il
+Pentamerone"; no one less than Milton can banish the ridiculous from his
+idea of Satan. A Satan who is a little lower than Punch, is he not more
+absurd than Man figured as a little lower than the angels? He is both
+more absurd and more satisfactory. Out of the folklore of Iceland and
+Wales and Normandy he comes to us outwitted by mortals who seem
+paradoxically to think that the Father of lies has a right to their
+adherence to the letter of their agreements with him. Out of
+Cruikshank's caricature he comes to us with a tail capable of
+delineating a whole alphabet of humour. The fire which he and his demons
+can live in without consumption becomes jocose. If you doubt it, compare
+Cruikshank's etching for Douglas Jerrold's story, "The Mayor of
+Hole-cum-Corner" (1842), with his etching, _Sing old Rose and burn the
+Bellows_ in "Scraps and Sketches" (1828). The human-looking demon with
+his left leg in the flabbergasted mayor's fire is much funnier in effect
+than the negro sailor boiling the kettle over his wooden leg. Human
+terror at superiority over natural law is highly ludicrous when the
+superiority is evinced as though it were ordinary, negligible, and
+compatible with sociableness. We cannot now say of such humour that it
+is a revelation, though once it was brighter than all the fires of
+Smithfield. There are foes of peace which in Cruikshank's simplicity he
+thought of as good. For these, too, there is a Humour to keep them at
+bay, until Science delivers us from their evil by making them obsequious
+to all who see them.
+
+When Humour pretends to drop from the supernatural to the commonplace,
+it--I cannot for the moment persuade myself to write he or she--is about
+to continue its most important mission, for it deserts a subject which
+is naturally laughable for one which is not; it goes from the
+supernatural to the commonplace. The supernatural is naturally laughable
+because the human animal instinctively laughs at that which at once
+transcends and addresses his intelligence, on a principle similar
+perhaps to that which Schopenhauer acted on when he smiled at the angle
+formed by the tangent and the circumference of a circle. At the
+commonplace, however, the human animal never spontaneously laughs. Its
+staleness is not dire to him; but negativeness is not good, and
+Cruikshank helps the commonplace to be his friend.
+
+[Illustration: "THE WITS MAGAZINE" (2 vols., 1818) is "one of the rarest
+books illustrated by G. Cruikshank." A perfect copy is said to be worth
+L80. Another rendering by him of the above incident will be found in
+"The Humourist," vol. iv. (1821)]
+
+When we view the demeanour of Cruikshank towards the commonplace we are
+agreeably surprised by his agility and daring. For instance, take a book
+called "Talpa," by C. W. Hoskyns (1852). It is a narrative of
+agricultural operations, in the course of which the author says, "The
+worst-laid tile is the measure of the goodness and permanence of the
+whole drain, just as the weakest link of a chain is the measure of its
+strength." Cruikshank, not being in the mood for drawing a drain,
+depicts a watchdog who has broken his chain's weakest link and is
+enthusiastically rushing towards an intruder whose most bitable tissues
+are reluctantly offered to him in the attempt to scale a wall. The
+hackneyed metaphor thus obviously illustrated being valueless on the
+page where we find it, our smile is for the "cheek" of the artist in
+calling attention to it rather than for the humour of the drawing as an
+exhibition of funk and glee. Thus the "obvious" marries the obvious,
+and the result is what is called originality. Again, what is more
+commonplace in its effect on the mind than decoration as viewed on
+wall-paper, frames, and linoleum, and in all those devices which flatter
+Nature's alleged abhorrence of vacuum? It is unhealthy to observe their
+repetitiousness. Cruikshank, however, saw that to be amusing where the
+utmost demanded is an inoffensive filling of vacancy was to triumph
+against dulness in its own sanctum. Consequently in the decorations
+above and below the main designs in "The Humourist" (1819-20) an
+appropriate hilarity animates effects which do not frustrate the
+decorative idea of announcing the completeness of the pictures of which
+they are the crown and base. His treatment of title-pages is
+delightfully droll. Thus the title-page of "My Sketch Book" (1834) takes
+the form of a portrait of himself, with a nose like the extinguisher of
+a candlestick, directing the posing of the required capital letters on
+the shelves of a proscenium. On the title page of "The Comic Almanac"
+(1835) the letter ~L~ is a man sitting sideways with his legs stretched
+horizontally together, and on the title-page of "The Pentamerone" (1848)
+the polysyllable becomes the teeth of an abnormal king. Studies by
+Cruikshank in the South Kensington Museum (9950-~T~) show that he
+imagined the letter ~M~ as two Chinamen united by their pigtails, which
+form the ~V~ between the perpendiculars of that letter, and are also
+employed as a hammock. This play with the alphabet is exhibited as early
+as 1828 in _The Pursuit of Letters_, where all the letters in the word
+Literature flee, on legs as thin as the track of Euclid's point, from
+philomathic dogs, while their brethren ~A B C~ attempt to escape from
+three such babes as might have sprung from the foreheads of men made out
+of the dust of encyclopaedias. As late as July 1874, in reply to a
+coaxing letter from George S. Nottage, we see Cruikshank making human
+figures of the letters of the word "Portraits."
+
+[Illustration:
+
+      "while he spake a braying ass
+    Did sing most loud and clear.--William Cowper.
+
+From "The Diverting History of John Gilpin," 1828. An earlier design by
+Cruikshank for "John Gilpin" is in "The Humourist," vol. iii. (1819).
+1836 is the date borne by a new edition of W. A. Nield's very monotonous
+musical setting of John Gilpin, "illustrated by Cruikshank" (presumably
+Robert).]
+
+We return now to the zoological humour which has flashed across these
+pages. In the United States the art of humanising the creatures of
+instinct to make them articulately droll has been practised with such
+success by Gus Dirks, J. S. Pughe, and A. Z. Baker, that if Noah's
+Ark is not too "denominational," it is there that we should seek the
+origin of their humour. Cruikshank, though he did re-draw William
+Clarke's swimming duck holding up an umbrella (in "Three Courses and a
+Dessert," 1830), achieved nothing so triumphantly zoological as the
+ostrich who swallowed her medicine but forgot to uncork the bottle
+containing it, or the porcupine who asked a barber for a shampoo, or the
+cat who discovered that her Thomas was leading a tenth life, or the
+elephant who wondered how the stork managed to convey him to his
+parents, or the beetle-farmer who mowed a hairbrush. Cruikshank,
+however, was in the Ark before them, and brought back enough humour
+resembling theirs to show what he missed, besides humour of a different
+kind which they do not excel. In "Scraps and Sketches" (1829) he
+preceded the Americans in the humour which makes the horse the critic of
+the motor-car, though not in that which seems to make the motor-car the
+caricaturist of the horse; and in the above-named publication he
+represents a dog in the act of prophesying cheap meat for the canine
+race. Again, in "Scraps and Sketches" (1832) two elephants laugh
+together over a pseudopun on the word trunk.
+
+[Illustration: "When the Elephant stands upon his Head, does he himself
+know whether he is standing upon his Head or his Heels?" "George
+Cruikshank's Magazine," February 1854.]
+
+We are not, however, reminded of America by the inquiry printed below
+the elephant on the next page, which might well have surprised Lewis
+Carroll by resemblance more than all the works of Mr G. E. Farrow.
+Neither does America recognise the silence of her own laughter in those
+drawings in which Cruikshank caricatures humanity under zoological
+likenesses. His alderman realising Haynes Bayly's wish to be a butterfly
+in "My Sketch Book" (1835); his coleopteral beadle in "George
+Cruikshank's Omnibus" (1842), are simple attempts to make _tours de
+force_ of what is rather obscurely called the obvious, and one realises
+that art can find itself strong in embracing feeble idea. The most
+striking of his zoological ideas is the effect of abnormal behaviour on
+human people. Witness in "Scraps and Sketches" (1832) the "dreadful
+tail" unfolded in the dialogue: "Doth he woggle his tail?" "Yes, he
+does." "Then I be a dead mon!" One may also cite the horror of the diver
+at the rising in air of a curly and vociferous salmon from the dish
+in front of him (_ibid._). Among all his drawings of animals (those
+for Grimm excepted) there is one etching which stands out as a technical
+triumph produced by a sense of irony. I refer to the etching entitled
+_The Cat Did It!_ in "The Greatest Plague of Life" (1847). Fifteen
+pussies in a kitchen throw the crockery off the dresser, topple the
+draped clothes-horse into the fire, smash the window glass and devour
+the provisions. The scene is like a burlesque of one of its designer's
+etchings in Maxwell's "Irish Rebellion." It is unique.
+
+We must not quit Cruikshank's zoological drawings without remarking on
+the curious inconsistency of his attitude towards animals. We find him
+both callous and tender. In illustrating "The Adventures of Baron
+Munchausen" he chose (one assumes) to draw the Baron flaying the fox by
+flagellation; at any rate we have his wood-cut depicting the abominable
+operation; and in "Scraps and Sketches" (1832), poor Reynard, for the
+sake of a pun, is exhibited as "Tenant intail" of a spring-trap. Yet in
+"My Sketch Book" (1835) he presents us with frogs expostulating with
+small boys for throwing stones at them ("I pray you to cease, my little
+Dears! for though it may be sport to you, it is death to us"). Again,
+his canine reference to cats' meat, already mentioned, implies a
+heartlessness towards horses which is contradicted by his touching but
+not much prized etching _The Knackers Yard_, to be found in "The Voice
+of Humanity" (May 1831), in "The Melange" (1834), and in "The Elysium of
+Animals" (1836). Moreover, in "My Sketch Book" (1835) he severely
+exhibits human insensitiveness to the sufferings of quadrupeds in _The
+Omnibus Brutes--qy. which are they?_ It is therefore clear that
+Cruikshank thought humanely about animals, though as a humorist he was
+irresponsible and gave woe's present to ease--its comicality. And before
+we write him down a vulgarian let us remember our share in his laughter
+at the absurdity of incarnations which confer tails on elemental furies
+and indecencies, and compel elemental importances and respectabilities
+to satisfy their self-love by ruinous grimaces and scaffoldings of
+adipose tissue.
+
+[Illustration: "THE CAT DID IT!" From "The Greatest Plague in Life"
+(1847).]
+
+In a comparison I have already associated Cruikshank with Lewis Carroll,
+who was systematically the finest humorist produced by England till
+his death in 1898. The most intensely comic thing ever wrought by the
+hand of Cruikshank is, I think, by the absolute perfection of its
+reasoning _a priori_, a genuine "carroll" in a minor key. It is the
+drawing in "Scraps and Sketches" (1832) in which, to a haughty, unamused
+commander, the complainant says, "Please, your Honor, Tom Towzer has
+tied my tail so tight that I can't shut my eyes."
+
+One of Cruikshank's humorous ideas is particularly his own, because it
+satisfies his passionate industry. I mean those processions of images
+which he summoned by the enchantment of single central ideas. _The
+Triumph of Cupid_ in "George Cruikshank's Table Book" (1845) is as
+perfect an example as I can cite. Cruikshank is seated by a fire with
+his "little pet dog Lilla" on his lap. From the pipe he is smoking
+ascends and curls around him a world of symbolic life. The car of the
+boy-god is drawn by lions and tigers. Another cupid stands menacingly on
+a pleading Turk; a third cupid is the tyrant over a negro under
+Cruikshank's chair; a fourth cupid, sitting on Cruikshank's left foot,
+toasts a heart at the "fire office"; more cupids are dragging Time
+backwards on the mantelpiece, and another is stealing his scythe.
+Consummate ability is shown in the delicate technique of this etching,
+which was succeeded as an example of _multum in parvo_ by the well-known
+folding etching _Passing Events or the Tail of the Comet of 1853_,
+appearing in "George Cruikshank's Magazine" (February 1854).
+
+[Illustration: TITLE PAGE OF "ILLUSTRATIONS OF TIME," 1827 This drawing
+borrows idea from Gillray, as also does the frontispiece by Cruikshank
+to "Angelo's Picnic" (1834). Compare Gillray's _John Bull taking a
+Luncheon_ (1798).]
+
+Playing on words is very characteristic of Cruikshank's humour. Thus he
+shows us "parenthetical" legs, as Dickens wittily called them, by the
+side of those of "a friend in-kneed," and a man (dumbly miserable)
+arrested on a rope-walk is "taken in tow." Viewing Cruikshank at this
+game does not help one to endorse the statement of Thomas Love Peacock,
+inspired by the drawing of January in "The Comic Almanack" (1838),
+
+    "A great philosopher art thou, George Cruikshank,
+    In thy unmatched grotesqueness,"
+
+for a philosopher is a systematiser and a punster is an anarchist. But
+we do not need him as a philosopher or as an Importance of any kind.
+What we see and accept as philosophy in him is the appropriation of
+misery for that Gargantuan meal of humour to which his Time sits down.
+Yet in that philosophy it is certain that ironists and pessimists excel
+him.
+
+An entomologist as generous in classification as Mr Swinburne, author of
+"Under the Microscope," will now observe me in the process of being
+re-transformed into a scolytus. "Impossible!" cries the reader who
+remembers my repentance on page 203. But I say "Inevitable." Since I had
+the courage to bore my way through a catalogue of famous books
+illustrated humorously by Cruikshank, I feel it my duty to bid the
+reader look at a list of works of which he should acquire all the
+italicised items, in such editions as he can afford, if he wishes to
+know Cruikshank's humour as they know it who call him "The Great
+George."
+
+    The Humourist (4 vols., 1819-20).
+    _German Popular Stories_ (2 vols., 1823-4).
+    _Points of Humour_ (2 vols., 1823-4).
+    _Mornings at Bow Street_ (1824).
+    _Greenwich Hospital_ (1826).
+    _More Mornings at Bow Street_ (1827).
+
+    Phrenological Illustrations (1826).
+    Illustrations of Time (1827).
+    _Scraps and Sketches_ (4 parts and one plate of an
+         unpublished 5th part, 1828-9, 1831-2, 1834).
+    _My Sketch Book_ (9 numbers, with plates dated 1833, 1834, 1835).
+    _Punch and Judy_ (1828).
+    _Three Courses and a Dessert_ (1830).
+    _Cruikshankiana_ (1835).
+    _The Loving Ballad of Lord Bateman_ (1839).
+    _George Cruikshank's Omnibus_ (9 parts, 1841-2).
+    The Bachelor's Own Book (1844).
+    _George Cruikshank's Table Book_ (12 numbers, 1845).
+    George Cruikshank's Fairy Library (4 parts, 1853-4, 1864).
+    George Cruikshank's Magazine (2 numbers, 1854).
+
+This list reminds us that, though Cruikshank often conferred a
+bibliophile's immortality upon authors more "writative," to quote the
+Earl of Rochester, than inspired, he was sometimes the means of
+arresting great literary merit on its way to oblivion. A case in point
+is William Clarke's "Three Courses and a Dessert," a book of racy
+stories containing droll and exquisite cuts by Cruikshank, after rude
+sketches by its author, who did Cruikshank the service of accusing
+him in "The Cigar" (1825) of being stubbornly modest for half an hour.
+Again, we owe to Cruikshank our knowledge of "The Adventures of Sir
+Frizzle Pumpkin; Nights at Mess; and Other Tales" (1836), a work of
+which I will only say that its anonymous narrative of good luck in
+cowardice won a smile from one of the most lovable of poets on the day
+she died.
+
+[Illustration: "The Turk's only daughter approaches to mitigate the
+sufferings of Lord Bateman." "The Loving Ballad of Lord Bateman," 1839.]
+
+"The Loving Ballad of Lord Bateman" is one of the puzzles of literature.
+Mr Andrew Lang decides that it is a _volkslied_, to which, for the
+version of it illustrated by Cruikshank, Thackeray contributed the notes
+considered by some to be by Dickens. Mr Blanchard Jerrold thinks "nobody
+but Thackeray" could have written the lines about "this young bride's
+mother Who never was heard to speak so free," and I think that the notes
+are Thackeray's, and the ballad an example of a class of literature from
+which Thackeray drew comic inspiration. Cruikshank heard it sung outside
+"a wine vaults" (_sic_) at Battle Bridge by a young gentleman called
+"The Tripe-skewer." The ballad became part of Cruikshank's repertory. Mr
+Walter Hamilton states that Cruikshank sang "Lord Bateman" in the
+presence of Dickens and Thackeray "at a dinner of the Antiquarian
+Society, with the Cockney mal-pronunciations he had heard given to it by
+a street ballad-singer." He adds that Thackeray expressed a wish, which
+he allowed Cruikshank to sterilise, to print the ballad with
+illustrations. We may therefore suppose, despite the omission of the
+notes to Lord Bateman from the "Biographical Edition" of Thackeray's
+works, that they are by the author of "The Ballad of Eliza Davis."
+Cruikshank, overflowing with lacteal kindness, added three verses to the
+"loving ballad" as he heard it, in which the bride who yields place to
+the Turk's daughter is married to the "proud porter." Cruikshank's
+etchings are charmingly naive and expressive. The bibliophool pays eight
+guineas for a first edition, minus the shading of the trees in the plate
+entitled _The Proud Young Porter in Lord Bateman's State Apartment_.
+
+"The Bachelor's Own Book" is a story told in pictures and footlines,
+both by the artist. The hero is "Mr Lambkin, gent," a podgy-nosed
+prototype of Juggins, who amuses himself by the nocturnal removal of
+knockers and duly appears in the police court, but is ultimately led to
+domestic felicity by the dreary spectacle of a confirmed bachelor alone
+in an immense salon of the Grand Mausoleum Club. Some of the
+etchings--notably Mr Lambkin feebly revolting against his medicine--are
+mirth-provoking, and his various swaggering attitudes are well-imagined.
+
+"Cruikshankiana" conveniently presents a number of George Cruikshank's
+caricatures in reprints about a decade older than the plates. The
+preface solemnly but with ludicrous inaccuracy states that in each
+etching "a stern moral is afforded, and that in the most powerful and
+attractive manner."
+
+We are now brought to the conclusion of our most important chapter. Will
+Cruikshank's humour live? or, rather, may it live? for things live
+centuries without permission, and the fright of Little Miss Muffet is
+more remembered than the terror of Melmoth. The answer should be "Yes"
+from all who acknowledge beauty in the sparkle of evil and of good. No
+humorist worthy of that forbidden fruit which made thieves of all
+mankind can refrain from the laughter which is paid for by another.
+Mark Twain, who has nerves to thrill for martyred Joan of Arc, delights
+in the epitaph, "Well done, good and faithful servant," pronounced over
+the frizzled corpse of a negro cook. Lowell, the poet, extracted a pun
+from the blind eyes of Milton. _Punch_, in 1905, amused us with the boy
+who supposed that horses were made of cats' meat, and in 1905 Sir
+Francis Burnand thought that the most humorous pictorial joke published
+by him in Punch was Phil May's drawing of a fisherman being invited to
+enter the Dottyville Lunatic Asylum. There is heroism as well as
+vulgarity in laughter saluting death and patience, hippophagy and
+cannibalism, ugliness and deprivation. He is a wise man who sees smiling
+mouths in the rents of ruin and the spaces between the ribs of the
+skeleton angel. Humour, irresponsible and purposeless, is of eternity,
+and to me (at least) it is the one masterful human energy in the world
+to-day. It is against compassion and importance and remorse and horror
+and blame, but it is not for cruelty, or for indifference to distress.
+Nothing exists so separate from truth and falsehood and right and
+wrong. Nothing is more instant in pure appeal to the intellect, no
+blush is more sincere than that of the person who before company cannot
+see a joke. Humorists are dear to the critic because they criticise by
+re-making in the world of idea the things they criticise. Among them
+Cruikshank is dearer than some, less dear than others. Through the
+regency and reign of the eldest son of George the Third he, even more
+than Cobbett, seems to me the historian of genius, by virtue of
+prodigious merriment in vulgar art. The great miscellany of humour which
+he poured out revitalises his name whenever it is examined by the family
+of John Bull. For it is his own humour--the humour of one who had the
+power to appropriate without disgrace because he was himself an
+Original.
+
+
+
+
+VII
+
+
+Our classification of Cruikshank's works has enabled us to see the
+objective range of his artistic personality. A few words must now be
+said of the media in which he worked. Of these media the principal was
+etching.
+
+"O! I've seen Etching!" exclaims Cruikshank in 1859; "it's easy enough,
+you only rub some black stuff over the copper plate, and then take a[n]
+etching needle, and scratch away a bit--and then clap on some a-ke-ta-ke
+(otherwise aquafortis)--and there you are!" "Wash the _steel_," he says
+in another of his quaint revelations, "with a solution of _copper_ in
+_Nitro[u]s acid_--to _tarnish_ the _tarnation Bright steel_ before
+Etching, to save the eyes."
+
+[Illustration: NORNA DESPATCHING THE PROVISIONS. Illustrates "The
+Pirate," by Sir Walter Scott, in "Landscape-Historical Illustrations of
+Scotland, and the Waverley Novels," 1838.]
+
+In his 77th year he says: "I am working away as hard as ever at water
+color drawings and paintings in oil, doing as little Etching as possible
+as that is very slavish work."
+
+As he had etched about 2700 designs when he made this statement, it
+is impossible not to sympathise with his recreative change of medium. It
+must be remembered that, except in dry-point etching, the bite of the
+acid is trusted to engrave the design of the needle and that, when the
+stronger lines are obtained "by allowing the acid to act for a longer
+time" on a particular part or parts of the etched plate, the mechanical
+work, and work of calculation, imposed upon the etcher is formidable.
+Until, in the late seventies of the nineteenth century, the invasion of
+the process-block gave manual freedom to the bookseller's artist, that
+individual was continually sighing over the complexity of the method by
+which he paid the tribute of his imagination to Mammon. In the hands of
+the wood-engraver an artist's unengraved work was apparently always
+liable to the danger of misrepresentation unless the artist engraved it
+himself. Even the great John Thompson is not free from the suspicion of
+having unconsciously assisted "demon printers" in transforming into
+"little dirty scratches" some designs by Daniel Maclise, whose
+expressions are preserved in this sentence. Cruikshank who, if we add
+his woodcuts to his etchings, saw upwards of 4000 designs by him given
+with laborious indirectness to the world, would have been more than
+human if he had considered his unskilfulness in the art of producing and
+employing the colours between black and white as a reason for refraining
+from painting in oils. In 1853 "he entered as a student at the Royal
+Academy"; but his industry, in the role of a pupil of 60, was, it seems,
+less than his humility, for "he made very few drawings in the
+_Antique_," says Mr Charles Landseer, "and never got into the _Life_."
+Cruikshank, however, had exhibited in the Royal Academy as early as
+1830, and in 1848 he dared to paint for the Prince Consort the picture
+entitled _Disturbing the Congregation_. This picture of a boy in church
+looking passionately unconscious of the fact that his sacrilegious
+pegtop is lying on the grave of a knight in full view of the beadle, is
+an anecdote painted more for God to laugh at than for Christians of the
+"so-called nineteenth century," but a philosophic sightseer like myself
+rejoices in it. This picture and _The Fairy Ring_, already praised,
+reveal Cruikshank's talent sufficiently to prevent one from
+regretting that he ultimately preferred covering canvases to furrowing
+plates.
+
+[Illustration: (_a_) CRUSOE'S FARMHOUSE.
+
+(_b_) CRUSOE IN HIS ISLAND HOME.
+
+From "Robinson Crusoe," 1831.]
+
+To do him justice he was academically interested in the whole technique
+of pictorial art as practised in his day. He admitted, for instance, to
+Charles Hancock, "the sole inventor and producer of blocks by the
+process known as 'Etching on Glass,'" that if this invention had come
+earlier before him "it would have altered the whole character" of his
+drawing, though the designs which he produced by Hancock's process--the
+first of which was completed in April 1864--include nothing of
+importance.
+
+We will not further linger over the media of reproduction employed by
+our artist, but summon a few ideas suggested by the vision we have had
+of him sitting like a schoolboy in the schoolroom of the Royal Academy.
+
+As a draughtsman he had been professorial in 1817 when he published with
+S. W. Fores two plates entitled _Striking Effects produced by lines and
+dots for the assistance of young draftsmen_, wherein he showed, like
+Hogarth, the amount of pictorial information which an artist can convey
+by a primitively simple method. He was professorial, too, when in 1865
+he attempted to put in perspective a twelve mile giant taking a stride
+of six miles, on a plate 6 inches long and 3-3/5 inches broad, and
+informed the publisher of "Popular Romances of the West of England"
+(1865) that about 1825 he had attempted to put in perspective the
+Miltonic Satan whose body
+
+    "Prone on the flood, extended long and large,
+    Lay floating many a rood."
+
+Cruikshank's greatest enemy was his mannerism which may even delude the
+pessimist of scant acquaintance with him into the idea that it
+imperfectly disguises an inability to draw up to the standard of Vere
+Foster. The Cruikshankian has merely to direct the attention of such a
+person to the frontispiece executed by Cruikshank for T. J. Pettigrew's
+"History of Egyptian Mummies" (1834). If a man can draw well in the
+service of science his mannerism is the accomplishment of an intention.
+
+[Illustration: THE VETERANS. From "Songs, Naval and National, of the
+late Charles Dibden," 1841.]
+
+Ruskin said that Cruikshank's works were "often much spoiled by a
+curiously mistaken type of face, divided so as to give too much to
+the mouth and eyes and leave too little for forehead," and yet there is
+extant a curious MS. note by Cruikshank to the effect that Mr Ruskin's
+eyes were "in the wrong Place and not set properly in his head," showing
+that Cruikshank was a student of even a patron's physiognomy and
+suggesting that, if Ruskin had roamed in Cruikshank's London he would
+have convicted the artist of a malady of imitativeness. It must be
+remembered that he repeatedly drew recognisable portraits of his
+contemporaries; indeed he was so far from being a realist devoted to
+libel that Mr Layard confides to us that various studies by George
+Cruikshank of "the great George" would, he thinks, "have resulted in an
+undue sublimation had completion ever been attained."
+
+Yet the sublimation of the respectable is precisely the rosy view of
+Cruikshank the man enjoyed by me at the present moment. He is Captain of
+the 24th Surrey Rifle Volunteers; he is Vice-President of the London
+Temperance League. He sketches a beautiful palace as a pastime. He is in
+the same ballroom as Queen Victoria, and Her Majesty bows to him.
+Withal he is sturdy and declines the Prince Consort's offer for his
+collection of works by George Cruikshank. In the end St Paul's Cathedral
+receives him, and the person who knew him most intimately declares on
+enduring stone that she loved him best.
+
+[Illustration: VIGNETTE. From "Peeps at Life," by the London Hermit
+(London: Simpkin, Marshall & Co.), engraved by Bolton, 1875.]
+
+We are now at the end, and cannot stimulate the muse of our prose to
+further efforts. She being silent obliges our blunt British voice to
+speak for itself. Inasmuch as Cruikshank was a mannerist, he is
+inimitable except by them who take great pains to vex the critical of
+mankind. Inasmuch as he expressed the beauty of crookedness, as though
+he found the secret of artistic success in punning on his own name, he
+offers a model worthy of practical study. His fame as an etcher is too
+loud to be lost in the silence of Henri Beraldi, who enumerated "Les
+graveurs du dix-neuvieme siecle," in 12 tomes (1885-1892), without
+mentioning his name. Though C is more employed in the initials of words
+than any other letter in our alphabet, the name of Cruikshank comes only
+after "Curious" in its attractiveness for the readers of entries under
+the letter C in English catalogues of second-hand books. It may be
+that to etchings in books of Cruikshank's period is ascribed, since the
+usurpation of the process-block, the factitious value of curios, and
+that he, Beraldi's Great Omitted, profits thereby. It is a fact that he
+is "collected" like postage-stamps, though no published work of his has
+attained the price per copy of the imperforate twopenny Mauritius of
+1847. But we have descended to a comparison so unfortunate in its
+logical consequences that it is well to prophesy the immortality of
+Cruikshank from other than commercial tokens. Those tokens exist in the
+undying praises of Dickens, Thackeray, "Christopher North," and Ruskin,
+in the enormous work of his principal bibliographer George William Reid,
+and, not least to the spiritual eye, in the permanence of the impression
+made by a few of his designs on a memory that has forgotten a little of
+that literary art which is the only atonement offered by its owner to
+the world for all the irony of his requickened life.
+
+
+
+
+ANNOTATED BIBLIOGRAPHICAL INDEX
+
+_Numbers referring to illustrations are in larger type. The titles of
+      illustrations are in italics, the titles of books and periodicals in
+      inverted commas. An article or demonstrative adjective in parenthesis
+      in the first line of an entry indicates that the article
+      parenthesised begins the title of the subject of that entry._
+
+
+Achilles in Hyde Park, 171.
+  _See_ Brazen, Ladies, Making.
+
+Acton, John Adams. _See_ Cruikshank, George.
+
+Adam-tilers. An Adam-tiler is a receiver of stolen goods, a pickpocket,
+a fence, 103.
+
+"Adventures (The) of Gil Blas of Santillane. Translated from the French
+of Lesage, by T. Smollett, M.D. To which is prefixed a memoir of the
+author, by Thomas Roscoe. Illustrated by George Cruikshank [and K.
+Meadows]" (2 vols., London: Effingham Wilson, 1833; being vols. xvi. and
+xvii. of "The Novelist's Library, edited by Thomas Roscoe, with
+illustrations by George Cruikshank"), 199.
+
+"Adventures (The) of Joseph Andrews, by Henry Fielding, Esq., with
+illustrations by George Cruikshank" (London: James Cochrane & Co., 1832.
+It is vol. vii. of "The Novelist's Library: edited by Thomas Roscoe,
+Esq., with illustrations by George Cruikshank"), $189$.
+
+"Adventures (The) of Sir Frizzle Pumpkin; Nights at Mess; and Other
+Tales. With illustrations by George Cruikshank" (William Blackwood &
+Sons, Edinburgh; and T. Cadell, Strand, London, 1836. The author is Rev.
+James White). 231.
+
+A. E. (George Russell), 161.
+
+_A Going! A Going! The Last Time A Going!!!_ (print pub. 12 April 1821
+by G. Humphrey), 25.
+
+Ainsworth, William Harrison, 77, 81. _See_ Ainsworth's, Artist, Guy
+Fawkes, Jack Sheppard, Miser's, Rookwood, S[ain]t James's, Sir Lionel,
+Tower, Windsor.
+
+"Ainsworth's Magazine: a Miscellany of Romance, General Literature, and
+Art. Edited by William Harrison Ainsworth" (illustrations by George
+Cruikshank appear in the first 6 vols. and the 9th vol. "Guy Fawkes" was
+reprinted with Cruikshank's etchings in vols. xvi. xvii. in 1849 and
+1850. The first 9 vols. were published in London by [successively] Hugh
+Cunningham, 1842; Cunningham & Mortimer, 1842-1843; John Mortimer,
+1843-1845; Henry Colburn, 1845; Chapman & Hall, 1846), 86, $87$, 90, $91$,
+93, 137.
+
+Akerman, John Yonge, 125, 126.
+  _See_ Gentleman.
+
+Albert, Prince (the Prince Consort, born 1819, died 1861), 44, 240, 248.
+  _See_ Original.
+
+Albert Memorial, 43.
+
+Alfieri, 72.
+
+Almanack. _See_ Comic Almanack.
+
+Alphabet. 211-212.
+  _See_ Comic Alphabet.
+
+Andersen, Hans Christian, 36.
+
+"Angelo's Picnic; or, Table Talk, including numerous Recollections of
+Public Characters, who have figured in some part or another of the stage
+of life for the last fifty years; forming an endless variety of talent,
+amusement, and interest, calculated to please every person fond of
+Biographical Sketches and Anecdotes. Written by Himself.... In addition
+to which are several original literary contributions from the following
+Distinguished Authors:--Colman, Theodore Hook, Bulwer, Horace Smith, Mrs
+Radcliffe, Miss Jane Porter, Mrs Hall, Kenny, Peake, Boaden, Hermit in
+London, &c." (London: John Ebers, 1834), $225$.
+
+"Annals (The) of Gallantry, or the Conjugal Monitor," by A. Moore, LL.D.
+(3 vols., London: printed for the proprietors by M. Jones, 1814, 1815.
+First issued in 18 parts), 70-71.
+
+Anti-Slavery. _See_ New.
+
+"Arabian Nights" (the publisher, Mr John Murray, has a record that
+George Cruikshank was paid L67, 4s. for some illustrations for the
+"Arabian Nights"), 156.
+
+Arnold, Matthew, 69.
+
+"Arthur O'Leary: His Wanderings and Ponderings in many Lands. Edited by
+his Friend, Harry Lorrequer, and Illustrated by George Cruikshank. In
+Three Volumes" (London: Henry Colburn, 1844), 196.
+
+"Artist (The) and the Author. A Statement of Facts, by the Artist,
+George Cruikshank. Proving that the Distinguished Author, Mr W. Harrison
+Ainsworth, is 'labouring under a singular delusion' with respect to the
+origin of 'The Miser's Daughter,' 'The Tower of London,' &c." (London:
+Bell & Daldy, 1872), 60.
+
+"Art Journal (The)," 184.
+
+"Athenaeum (The)," 82.
+
+"Attic Miscellany," 11.
+
+Augustus Frederick, Duke of Sussex (6th son of George III., born 1773,
+died 1843. George Cruikshank etched facsimiles of five illustrations in
+a 13th century Hebrew and Chaldee Pentateuch, copies of two
+illuminations from a 13th century Armenian MS. of the Gospels and an
+illumination to a Latin Psalter of the 10th century for "Bibliotheca
+Sussexiana. A descriptive catalogue, accompanied by historical and
+biographical notices of the manuscripts and printed books contained in
+the library of His Royal Highness the Duke of Sussex, K.G., D.C.L., &c.
+&c. &c. &c., in Kensington Palace. By Thomas Joseph Pettigrew, F.R.S.,
+F.A.S., F.L.S., and librarian to H.R.H. the Duke of Sussex" [London:
+Longman & Co., Paternoster Row; Payne & Foss, Pall Mall, Harding & Co.,
+Pall Mall East; H. Bohn, Henrietta Street; and Smith & Son, Glasgow,
+1827]). _See_ Illustrations of Popular.
+
+
+Bacchus _See_ Worship; Oil Painting.
+
+"Bachelor's (The) Own Book. The Adventures of Mr Lambkin, Gent., in the
+Pursuit of Pleasure and Amusement, and also in search of Health and
+Happiness" (designed, etched, and published by George Cruikshank, 1 Aug.
+1844), 232-233.
+
+Baker, A. Z., 212.
+
+Ballooning, 40.
+
+"Banbury Chap-Books." _See_ Pearson, Edwin.
+
+"Bands (The) in the Parks. Copy of a letter supposed to have been sent
+from a High Dignitary of the Church to 'the Right Man in the Right
+Place,' upon the subject of the military Bands Playing in the Parks on
+Sundays. Picked up and published by George Cruikshank" (London: W.
+Tweedie, 1856), 59.
+
+Bank of England, 28.
+
+Bank Restriction Note (Hone is said to have realised over L700 by the
+sale of this shocker), 28.
+
+Barham, Rev. Richard Harris ("Thomas Ingoldsby"; born 6 Dec. 1788, died
+17 June 1845). _See_ Ingoldsby Legends.
+
+Barker, M. H. ("The" and "An" "Old Sailor"), 95.
+  _See_ Greenwich, Old Sailor's Jolly Boat, Topsail-sheet.
+
+Bartholomew Fair, 39.
+
+Basile, Giambattista, 204.
+  _See_ Pentamerone.
+
+Bateman, Lord. _See_ Loving.
+
+Bath. _See_ New Bath.
+
+Bayly, Thomas Haynes (died 22 April 1839), 216.
+
+Beachy Head, 108.
+
+"Beauties (The) of Washington Irving, Esq.... Illustrated with woodcuts,
+engraved by Thompson; from drawings by George Cruikshank, Esq." (4th
+ed., London: Thomas Tegg & Son, 1835. G. Cruikshank illustrated
+"Knickerbocker's New York" [_sic_] with a fine etching entitled _Ten
+Breeches_, and another entitled _Anthony Van Corlear & Peter
+Stuyvesant_, pub. in "Illustrations of Popular Works," 1830). _See_
+Thompson, John.
+
+"Bee (The) and the Wasp. A Fable--in verse. With designs and etchings, by
+G. Cruikshank" (London: Charles Tilt, 1832. The text is by Richard
+Frankum), 148.
+
+Beerbohm, Max, 22.
+
+Belch, W, 12.
+
+Bentley, Richard, publisher (died 10 Sept. 1871 in the 77th year of his
+age), 86.
+
+Bentley's Miscellany (64 vols., London: Richard Bentley, 1837-1868.
+George Cruikshank contributed illustrations to the first 14 vols.
+Charles Dickens edited vols. i.-v., and part of vol. v. William Harrison
+Ainsworth was the next editor, but started an opposition magazine in
+1842), 74 (vol iv., 1838), 133 (The Handsome Clear Starcher), 175 (The
+Ingoldsby Legends).
+
+Beraldi, Henri, 248, 251.
+
+Berenger, Lt.-Col. Baron De. _See_ Stop.
+
+Bergami, Baron Bartolomo, 26.
+
+"Betting (The) Book. By George Cruikshank" (London: W. & F. G. Cash,
+1852), 58.
+
+Blake, William (born 1757, died 12 Aug. 1828). _See_ Three.
+
+Blewitt, Mrs Octavian, 134. _See_ Rose and the Lily.
+
+_Blucher (Old) beating the Corsican Big Drum_ (caricature published by
+S. W. Fores, 8 April 1814), 20.
+
+"Blue Light (The)," 159.
+
+Boleyn, Anne, 90.
+
+Bolton, engraver, 249.
+
+_Boney Hatching a Bulletin, or Snug Winter Quarters_ (caricature
+published Dec. 1812 by Walker & Knight), 18.
+
+_Boney's Elb(a)ow Chair_ (caricature published 5 May 1814 by S. Knight),
+20.
+
+_Boney's Meditations on the island of St Helena. The Devil addressing
+the Sun._ (G. H. invt., G. Cruikshank fect. Caricature published by H.
+Humphrey, Aug. 1815), 133.
+
+_Boney Tir'd of War's alarms_ (caricature published by Walker & Knight,
+Jan. 1813), 18.
+
+"Bottle (The). In eight plates, designed and etched by George
+Cruikshank. Dedicated to Joseph Adshead, Esq., of Manchester. London:
+published for the artist, September 1st, 1847, by David Bogue, 86 Fleet
+Street; Wiley & Putnam, New York; and J. Sands, Sydney, New South Wales.
+Price six shillings," 27, 55-57, 69.
+
+Bowring, John. _See_ Minor.
+
+Boz. _See_ Dickens, Charles.
+
+_Brazen (This) Image was erected by the ladies, in honor of Paddy Carey
+O'Killus, Esq., their Man o' Metal._ (J. P***y invt., G. Cruikshank
+fect. Caricature published by J. Fairburn, 20 July 1822), 171.
+
+_Breaking Up_ (Holiday scene by George Cruikshank, published 12 Dec.
+1826 by S. Knight), 1.
+
+Brighton Pavilion ("the Folly"), 44.
+
+Broadley, A. M., 12. See _Facing_, Reid.
+
+"Brooks _alias_ Read," publisher who employed Percy Cruikshank and
+who was caricatured insultingly by George Cruikshank, 60.
+
+Brough, Robt. B. _See_ Life of Sir.
+
+Bruton, H. W., 133.
+
+Buck, Adam (portrait painter, born 1759, died 1833. The Duke of York was
+among his sitters), 26.
+
+Bull, John, 4, 7, 176. See _John Bull_, _John Bull's_, _Johnny Bull_,
+_Preparing_.
+
+Bunyan, John, 120, 125. See _Christian_, Pilgrim's (2 items).
+
+Burnand, Sir Francis Cowley, (born 29 Nov. 1836; became editor of
+"Punch" in 1880), 234.
+
+Burns, Robert, 116 (_The Deil cam fiddling thro' the Town_), 172 ("The
+Jolly Beggars"). _See_ Royal Academy, 1852.
+
+"Bursill's Biographies. No. 1. George Cruikshank.
+Artist--Humorist--Moralist" (London: John Bursill), 162.
+
+Buzmen. A Buzman is a pickpocket, 103.
+
+Byron, Lord, 183, 195. _See_ Memoirs of the Life.
+
+
+"Cakes and Ale. By Douglas Jerrold" (2 vols., How & Parsons, 1842), 204
+(_The Mayor of Hole-cum-Corner_).
+
+Callot, Jacques (born 1592, died 28 March 1635), 93, 94.
+
+Carbonaro, Jose Moreno, 199.
+
+Carbonic Acid Gas. See _Good Effects_.
+
+Carey, David, 46, 47.
+
+Caroline of Brunswick, wife of George IV. (born 17 May 1768, married
+George, Prince of Wales, 8 April 1795, died 7 Aug. 1821. If the belief
+still linger that Cruikshank was a Caroliniac, see his drawing of _The
+Radical Ladder_ in "The Loyalist's Magazine," 1821. The preface to
+this publication remarks on "that Reginal mania, which for a season
+transported our countrymen"), 25. See _A Going_, Queen's, Royal
+Rushlight.
+
+Carpenter, 27.
+
+Carroll, Lewis, 32, 183-184, 216, 220, 223.
+
+Cash, William, 57.
+
+Catalani, Angelica, 11.
+
+"Catalogue (A) of a Selection from the Works of George Cruikshank,
+Extending over a Period of Upwards of Sixty years [from 1799 to 1863,]
+Now Exhibiting at Exeter Hall. Consisting of Upwards of One Hundred Oil
+Paintings, Water-Colour Drawings, and Original Sketches; together with
+over a Thousand Proof Etchings, from his most popular Works,
+Caricatures, Scrap Books, Son[g] Headings, &c.; and The Worship of
+Bacchus. Open Daily from Ten till Dusk. Admission One Shilling. London:
+William Tweedie, 337, Strand, 1863. Price Two-pence" ('This title is
+copied from that of the 2nd ed. of the catalogue, desirable on account
+of G. Cruikshank's preface which is dated February, 1863), 1.
+
+"Catholic Miracles; illustrated with seven designs, including a
+characteristic portrait of Prince Hohenlohe, by George Cruikshank. To
+which is added a reply to Cobbett's Defence of Catholicism, and his
+Libel on the Reformation" (London: Knight & Lacey. Dublin: Westley &
+Tyrrell, 1825), 140.
+
+Cato Street, 3. See _Interior View of Hayloft_.
+
+Cervantes, 183. _See_ History and,
+Illustrations of Don.
+
+Chamisso, Adelbert von, 125.
+  _See_ Peter.
+
+Charles Gustavus, King of Sweden, 74.
+
+Chesson, Nora (poet), 231.
+
+Chesterton, Gilbert Keith (quoted), 104.
+
+_Children's Lottery Print_ (first published in 1804, by W. Belch,
+Newington Butts, price 1/2d. Mr G. S. Layard observes that "George did
+not make his copy from the earliest state of the plate,"), 15.
+
+_Child's Christmas Piece--Daniel in the Lion's Den._ (An etching. Capt.
+Douglas writes, "the centre is left blank in which the child has to
+write its Christmas piece"), 11.
+
+_Cholic (The)_ (caricature published by G. Humphrey, 12 Feb. 1819),166.
+
+_Christian passing through the Valley of the Shadow of Death_ (print of
+which the foundation is unknown. Published by W. Tweedie, 337 Strand.
+Described on p. 125 from No. 10,043 in The George Cruikshank Collection,
+South Kensington Museum).
+
+"Cigar (The)" (2 vols. London: T. Richardson, 98 High Holborn; Sherwood,
+Jones & Co., Paternoster Row; W. Hunter, Edinburgh, 1825. The vols.
+contain 25 different cuts; the same design appears on both their
+title-pages. Though W. Clarke was the editor of and chief contributor to
+"The Cigar," a re-issue in one vol. of the greater part of its contents,
+containing all the cuts except those on pp. 99 and 378, vol. i., and pp.
+259 and 378, vol. ii., states that "The Cigar" is "by George Cruikshank,
+author of 'Three Courses and a Dessert'"!), 231.
+
+"Cinderella and the Glass Slipper, edited and illustrated with ten
+subjects, designed and etched on steel, by George Cruikshank" (London:
+David Bogue, 1854), 57, $153$. _See_ Royal Academy, 1854, 1859.
+
+Clarke, William (born 1800, died 1838), 215, 228, 231. _See_ Cigar,
+Three Courses.
+
+Clarke, Mrs Mary Anne (nee Thompson, born 27 June 1771), married Clarke
+a stonemason in 1794. In 1803 she appears to have been set up in the
+world of fashion by the Duke of York, whose mistress she became. In 1809
+her practice of accepting bribes from those desiring military promotion
+scandalised the House of Commons, and compelled the Duke to resign the
+post of Commander-in-Chief of the British army. She died 21 June 1852.
+Author of "The Rival Princes" (2 vols., London: C. Chapple, 1810), 4,
+26-27. _See_ Mrs, Return, _Woman_.
+
+Clarke, Mary Cowden, 152. _See_ Kit.
+
+"Clement Lorimer, or, the Book with the Iron Clasps. A Romance by Angus
+B. Reach" (London: David Bogue, 1849; first published in 6 parts), 107,
+$109$.
+
+Cobbett, William (born March 1762, died 18 June 1835. Author of "History
+of the Regency and Reign of King George the Fourth" [London: William
+Cobbett, 1830]), 8, 35, 235. See _Cobbett at_.
+
+_Cobbett at Court, or St James's in a bustle_ (extracted from No. III.
+of "The Censor." Pub. by W. Deans, Catherine St., Strand,
+16 Oct. 1807),32.
+
+Collier, John Payne, 130. _See_ Punch and Judy.
+
+_Columbus and the Egg_, 191.
+
+Comic Almanack (19 vols., 1835-1853. The first six, 1835-1840, were
+published by Tilt. The next three, 1841-1843, were published by Tilt
+& Bogue. The remaining vols., 1844-1853, were published by David
+Bogue. The following is an abridged copy of the words of the first
+title-page: "The Comic Almanack for 1835: an Ephemeris in jest and
+earnest ... by Rigdum Funnidos, Gent. Adorned with a dozen of 'right
+merrie' cuts, pertaining to the months, sketched and etched
+by George Cruikshank, and divers humorous cuts by other hands. London:
+Imprinted for Charles Tilt, Bibliopolist, in Fleet Street. Vizetelly,
+Branston & Co., Printers, Fleet Street"), 32, 35, 39-40, $41$, 52, $53$,
+196, 211-212, 224. _See_ Guys.
+
+"Comic (A) Alphabet, designed, etched, and published by George
+Cruikshank, No. 23 Myddelton Terrace, Pentonville,
+1836," 180 (Socrates), $181$.
+
+_Comic Composites for the Scrap Book_ (published by S. W. Fores, _circa_
+1821-1822. 2nd state published 1 June 1829 by W. B. Cooke), $141$, 142.
+
+Composites. See _Comic Composites_.
+
+_Coriolanus addressing the Plebeians_ (caricature published 27 Feb. 1820
+by G. Humphrey), 4, 35.
+
+_Coronation (The) of the Empress of the Nairs_ (in "The Scourge," 1
+Sept. 1812), 24.
+
+Cowper, William, 183, $213$. _See_ Diverting.
+
+_Cow (The) Pox Tragedy. Scene the Last_ (caricature published 1812 in
+"The Scourge," Aug. 1812), 31.
+
+Crinolines, 32.
+
+Cruikshank, Miss Eliza (died young), 112.
+
+Cruikshank, Mrs Eliza (nee Widdison, who married George Cruikshank, 7
+March 1850), 112, $113$, 248. See _Original_.
+
+Cruikshank, George. For Bibliographies of his works, _see_ Catalogue,
+Reid, Three Cruikshanks, Works. For Biographies of him and kindred
+works, _see_ Bursill's, Jerrold (Blanchard), Layard, Memoir, Meynell,
+Sala, Stephens. For literary and artistic volumes by him, _see_ Artist,
+Bands, Betting, Cinderella, Cruikshankiana, Discovery, Drawings, Few,
+George Cruikshank's (4 items), Glass, Handbook, History of Jack,
+Hop-o'-my-thumb, Illustrations of Time, Jack, My, Phrenological,
+Pop-Gun, Puss, Scraps, Slice, Stop. For pictures exhibited by him, _see_
+Royal Academy. For portraits of him, _see_ frontispiece, 15, 27, 35, 47,
+111, 112, 131. The monument to him, which includes a bust of him, in the
+crypt of St Paul's Cathedral, was designed and executed by John Adams
+Acton. A. Clayton sold a bust of G. Cruikshank to the National Portrait
+Gallery. There is an engraved portrait of him, full of character, by
+D.J. Pound, from a photo by John and Charles Watkins, Parliament St. For
+his residences, _see_ 10.
+
+Cruikshank, Isaac (born 1756?, died 1810 or 1811), 10, 11, 111. See
+_Facing_.
+
+Cruikshank, Isaac Robert (born 1789 or 1790, died 1856), 46, 47, 60, 67,
+111, 200, 213.
+
+Cruikshank, Percy, 60, 65.
+
+"Cruikshankiana: An Assemblage of the Most Celebrated
+Works of George Cruikshank" (London: Thomas McLean, 1835), 233.
+
+Crusoe, Robinson. _See_ Life and.
+
+Cumberland, Duke of (Ernest Augustus, fifth son of George III.),
+139-140.
+
+
+D'Aiguille, P., 27.
+
+_Daniel in the Lion's Den_, 11. See _Child's Christmas_.
+
+Daumier, Honore (born 26 Feb. 1808, died 11 Feb. 1879. His extraordinary
+industry, evidenced by the fact that the catalogue of his lithographed
+works alone enumerates 3958 plates, reminds us of George Cruikshank),
+176, 179.
+
+Davenport, Samuel (line engraver, born 10 Dec. 1783, died 15 July 1867;
+he was one of the earliest to engrave on steel).
+
+Defoe, Daniel. _See_ Life and, Journal.
+
+Delort, C., 90.
+
+Demonology. _See_ Twelve.
+
+_Design for a Palace._ _See_ Palace.
+
+Devil (The), 18-19, 116.
+
+Dibdin, Charles. _See_ Songs.
+
+Dickens, Charles ("Boz," born 7 Feb. 1812, died 9 June 1870), 99, 195,
+224, 231-232. _See_ Oliver, Sketches, Sir Lionel.
+
+"Dick Whittington and his Cat" (a Banbury Chap-Book designed by
+Cruikshank, engraved by Branstone [writes Edwin Pearson], and published
+by [? J. G.] Rusher about 1814. George and Robert Cruikshank designed
+and etched the folding coloured frontispiece to "History of Whittington
+and His Cat," published by Dean & Munday, Threadneedle St., 1822), 155.
+
+"Dictionary (A) of the Slang and Cant Languages" (London: George
+Smeeton, 1809), 46.
+
+_Dinner (The) of the Four-in-Hand Club at Salthill_ (caricature by
+George Cruikshank, published in "The Scourge," 1 June 1811, by M.
+Jones), 51.
+
+Dirks, Gus, 212.
+
+"Discovery (A) Concerning Ghosts; with a rap at the 'Spirit-Rappers,' by
+George Cruikshank. Illustrated with Cuts. Dedicated to the 'Ghost Club'"
+(London: Frederick Arnold, 1863), 59-60, 116.
+
+_Distant (A) View of Shakespeare's Cliff, Dover_, 107.
+
+_Disturbing the Congregation_ (oil-painting painted in 1848 for the
+Prince Consort), 240.
+
+"Diverting (The) History of John Gilpin. Showing how he went farther
+than he intended and came safe home again," with six illustrations by
+George Cruikshank (London: Charles Tilt, 1828), $213$.
+
+Don Quixote 199-200, $201$. _See_ History and Illustrations
+of Don.
+
+Dots. See _Striking_.
+
+Douglas, Capt. R. J. H., 16. See _New Union_, Works.
+
+Doyle, Richard (born 1824, died 10 Dec. 1883), 4.
+
+"Drawings by George Cruikshank prepared by him to illustrate an intended
+autobiography. Published for Sir Benjamin Ward Richardson by Chatto &
+Windus, 214 Piccadilly, London, January 21st, 1895," 59, 108.
+
+"Drunkard (The), a Poem," by John O'Neill, with illustrations by George
+Cruikshank (London: Tilt & Bogue, 1842), 52, 55.
+
+"Drunkard's (The) Children, a Sequel to The Bottle in eight plates, by
+George Cruikshank" (London: published July 1st, 1848, by David Bogue),
+55, 57.
+
+Dumas, Alexandre (_pere_), 94.
+
+Du Maurier, George Louis Palmella Busson (born 6 March 1834, died 8 Oct.
+1896), 43, 176, 196.
+
+Dunstan, St., $122$, $123$. _See_ True.
+
+Dussek, O.B. See _Fairy Songs_.
+
+Dutton, Thomas. _See_ Monthly.
+
+
+Education. _See_ Few.
+
+Egan, Pierce (born 1772, died 1849), 46.
+
+Ehrhart, S. D., 162. "1851: or The Adventures of Mr and Mrs Cursty
+Sandboys." _See_ World's.
+
+Elizabeth, Princess (afterwards Queen of England), 85.
+
+"Elysium (The) of Animals: A Dream. By Egerton Smith" (London: J.
+Nisbet, 1836. The etching by Geo. Cruikshank entitled _The Knackers_
+[sic] _Yard, or the Horses_ [sic] _last home!_ here contains the notice
+"Licensed for Slaughtering Horses"), 220.
+
+Etching, 236, 239.
+
+"Every-Day (The) Book, or Everlasting Calendar of Popular Amusements,
+Sports, Pastimes, Ceremonies, Manners, Customs, and Events, Incident to
+each of the Three Hundred and Sixty-Five Days, in Past and Present
+Times," by William Hone (2 vols., London: Hunt & Clarke, 1826-7.) "The
+Table Book," by William Hone [2 vols., London: Hunt & Clarke, 1827-8.] is
+associated with "The Every-Day Book" in a collective title-page [1831],
+85.
+
+
+_Facing the Enemy_ (caricature published at Ackermann's Gallery, 1797-8.
+Mr A. M. Broadley has an impression of this caricature on which George
+Cruikshank has written "etched by Ik. Cruikshank not any by me G. Ck."),
+12.
+
+Fairies. _See_ "George Cruikshank's Fairy Library."
+
+_Fairy (The)_ Ring, 160, 240.
+
+"Fairy Songs and Ballads for the Young. Written, composed and dedicated
+to Her Royal Highness The Princess Royal, by O. B. Dussek. In Two Books"
+(London: D'Almaine & Co.), 155.
+
+Falstaff, 48, 135. _See_ Life of Sir.
+
+Farrow, G. E., 216.
+
+_Fashion_, 7, 31-2, $33$, $37$. See _Monstrosities of 1816_, _Monstrosities
+of 1826_, _Mushroom_.
+
+_Fat (The) in the Fire_, cut at end of "'Non mi Ricordo!' &c. &c. &c."
+(London: William Hone, 1820), 4.
+
+"Few (A) Remarks on the System of General Education as prepared by the
+National Education League, by George Cruikshank, with a second edition
+of A Slice of Bread and Butter, upon the same subject, with cuts"
+(London: William Tweedie, 1870), 59.
+
+Fielding, Henry, 183, 188. _See_ Adventures of Joseph, Illustrations of
+Smollett, Tom.
+
+"Fireside Plate (The)," an etching for "Oliver Twist," 9.
+
+_First (The) Appearance of William Shakespeare, on the stage of "The
+Globe," surrounded by part of his Dramatic Company, the other members
+coming over the hills._ (Designed by George Cruikshank, Jan. 1863. The
+drawing in the South Kensington Museum was done by our artist in 1864-5,
+and is "from the original water color drawing by George Cruikshank, in
+the possession of T. Morson, Esq., Junr." A replica of the design for Mr
+Morson was "printed in permanent pigments" by the Autotype Fine Art
+Co., Ltd., and published by them at 36 Rathbone Place, London. No.
+10,081 of the George Cruikshank coll. at the South Kensington Museum is
+a smaller version of the same design with a different colour scheme
+signed "George Cruikshank, 1876"), 187. _See_ Royal Academy, 1867.
+
+_Fitting out Moses for the Fair._ _See_ Royal Academy, 1830.
+
+Fitzherbert, Mrs, 17, 22.
+
+Flight, Edward G. _See_ True.
+
+Flying Machines, 40.
+
+Fores, S. W., publisher. 50 Piccadilly, boasted "an Exhibition of the
+compleatest Collection of Caricatures in Europe," 243.
+
+Four-in hand Club. See _Dinner_.
+
+Frankum, Richard, 148. _See_ Bee.
+
+Frederick, Duke of York and Albany, second son of George III. (born 16
+Aug. 1762, died 5 Jan. 1827), 23, 26. _See_ Clarke, Mrs Mary Anne;
+Osnaburg; _Return to Office_.
+
+Frederick the Great, 74.
+
+_French Musicians, or Les Savoyards_ (an etching. London: G. Humphrey,
+16 June 1819), 100.
+
+French Republic. See _Leader_.
+
+Funnidos, Rigdum. _See_ Comic Almanack.
+
+
+"Gentleman (The) in Black," by John Yonge Akerman (London: William Kidd,
+1831), 60, 125.
+
+"Gentlemen's (The) Pocket Magazine and Album of Literature and Fine
+Arts" (London: Joseph Robins, 1827-1829), 96.
+
+George, Prince of Wales, afterwards George IV. (born 12 Aug. 1762, died
+26 June 1830), 4, 8, 19, 22-26, 35, 133. See _Boney's Meditations_,
+_Coriolanus_, _Coronation_, _Fat_, _John Bull Advising_, _Kick_,
+_Meditations_, _Princely Agility_, _R[egen]t_, _Results_, Wright
+(Thomas).
+
+"George Cruikshank's Fairy Library" (4 numbers, London: David
+Bogue, 1853, 1854, 1864), 57 and $153$ (Cinderella), 59, 74 (Hop o' my
+Thumb), 155-156, $157$, 159 (Jack and the Beanstalk).
+
+"George Cruikshank's Magazine" (Edited by Frank E Smedley. London: D.
+Bogue, 1854, Jan. and Feb.), 39 (Passing Events), 44, 59, $217$, 224.
+
+"George Cruikshank's Omnibus. Illustrated with one hundred engravings on
+steel and wood. Edited by Laman Blanchard, Esq." (London: Tilt & Bogue,
+Fleet Street, 1842. First issued in 9 monthly parts, the first for May
+1841 the last for Jan. 1842). Frontispiece, 20, 35, 43, 216.
+
+"George Cruikshank's Table Book" (Edited by Gilbert Abbott a Beckett.
+London: published at the Punch Office, 92 Fleet St., 1845. First issued
+in 12 monthly numbers from Jan. to Dec., 1845), 35, 40, 43, 147, $177$, 180
+and $185$ (_The_ Lion of the Party), 223, 224.
+
+"German Popular Stories, translated from the Kinder und Haus Maerchen,
+collected by M. M. Grimm from Oral Tradition" (London: C. Baldwyn, 1823,
+but issued 1822; vol. ii., London: James Robins & Co.; Dublin:
+Joseph Robins, Jun., & Co., 1826. The etchings were so skilfully
+imitated in Cruikshank's lifetime that he at first sight imagined the
+copies in question to be impressions from the lost plates etched by
+him), 144, $145$, 147, 152.
+
+German Romance. _See_ Specimens.
+
+Ghosts, 31, 59-60, 136, 139-140. _See_ Discovery.
+
+Gibson, Charles Dana, 176.
+
+Gil Blas, 199. _See_ Adventures of Gil.
+
+Gillray, James (born 1757, died 1 June 1815), 7, 8, 11, 16-18, 21, 31,
+166, $225$. _See_ Grego.
+
+Glascock, Capt. (R.N.), 139. _See_ Land Sharks.
+
+"Glass (The) and the New Crystal Palace. By George Cruikshank, with
+cuts" (London: J. Cassell), 58-59, $62$, $63$.
+
+Goldsmith, Oliver, 183, 191. _See_ Illustrations of Smollett, Royal
+Academy 1830, Vicar.
+
+Goles (=Golls, goll means hand), 23.
+
+_Good (The) Effects of Carbonic Acid Gas_ (caricature published by S. W.
+Fores, 10 Dec. 1807), 31.
+
+"Good (The) Genius that turned everything into gold, or, The Queen Bee
+and the Magic Dress, A Christmas Fairy Tale, by the Brothers Mayhew,
+with illustrations by George Cruikshank" (called on the paper cover,
+"Books for the Rail, the Road, and the Fireside. II. The Magic of
+Industry." London: David Bogue, 1847), 148, $149$, 150.
+
+Gorey, 95.
+
+Gould, Sir Francis Carruthers, 4.
+
+"Greatest (The) Plague of Life: or The Adventures of a Lady in Search of
+a Good Servant. By One who has been 'almost worried to death.' Edited by
+the Brothers Mayhew. Illustrated by George Cruikshank" (London: David
+Bogue, 1847. First issued in 6 parts), 176, 219, $221$.
+
+"Greenwich Hospital, a series of Naval Sketches, Descriptive of the Life
+of a Man-of-War's Man. By an Old Sailor," by M. H. Barker (London: James
+Robins & Co.; Dublin: Joseph Robins, Junr., & Co., 1826; first issued in
+four parts, Demy 4to), 95.
+
+Grego, Joseph (author of "The Works of James Gillray, The Caricaturist,
+edited by Thomas Wright, Esq., M.A., F.S.A." [London: Chatto & Windus,
+1873], also of "Rowlandson the Caricaturist" [2 vols., Chatto & Windus,
+1880], Mr Grego died Jan. 24, 1908), 166. _See_ Oliver.
+
+Grimaldi, Joseph (born 18 Dec. 1779, died 31 May 1837). _See_ Memoirs of
+Joseph.
+
+Grimm, Jacob Ludwig Carl and Wilhelm Carl (brothers), 43, 144, 159.
+_See_ German.
+
+Guy, 39 and 85 (Guys in Council, in "The Comic Almanack," 1838), 85 (Guy
+for "The Every-Day Book").
+
+"Guy Fawkes; or, The Gun-powder Treason. An Historical Romance by
+William Harrison Ainsworth," (3 vols., London: Richard Bentley, 1841. It
+came out in "Bentley's Miscellany," vols. vii., viii., ix., x.,
+1840-1841), 85-86, 140.
+
+"Guy Mannering," by Sir Walter Scott, $197$.
+
+
+Hall, Samuel Carter. _See_ Old Story.
+
+Hamilton, Walter, 112, 231. _See_ Memoir of.
+
+Hancock Charles, 243. _See_ Handbook.
+
+"Handbook (A) for Posterity: or Recollections of Twiddle Twaddle by
+George Cruikshank about himself and other people. A series of sixty-two
+etchings on glass with descriptive notes" (London: W. T. Spencer, 1896.
+The notes are by Charles Hancock), 243 (quoted).
+
+Harley, Robert (Earl of Oxford, born 1661, died 21 May 1724), $91$.
+
+Hastings, 107.
+
+_Headache (The)_ (caricature published by G. Humphrey, 12 Feb. 1819),
+166.
+
+Henry VIII., 24, 90, $137$.
+
+Hepenstall, Lieut., 94-95.
+
+Hermit. _See_ Peeps.
+
+Herne, 90, 135, 136, $137$.
+
+Hertford, Marchioness of 4, 24. See _Coronation_.
+
+"Historical (An) Account of the Campaign in the Netherlands in 1815," by
+William Mudford (London: Henry Colburn, 1847. The late Edwin Truman,
+M.R.C.S., as famous for his Cruikshank collection as for his success in
+purifying gutta-percha, states on the mount of the original etched
+plate of "The Battle of Waterloo," for this book, that he considers it
+the most valuable plate in his collection), 71.
+
+"History (The) and Adventures of the Renowned Don Quixote: from the
+Spanish of Miguel De Cervantes Saavedra. By T. Smollett M.D. To which is
+prefixed a memoir of the author by Thomas Roscoe. Illustrated by George
+Cruikshank. In three volumes" (London: Effingham Wilson; Dublin: W. F.
+Wakeman; Edinburgh: Waugh & Innes, 1833; being vols. xiii., xiv., xv. of
+"The Novelist's Library, edited by Thomas Roscoe, with illustrations by
+George Cruikshank"), 199, $201$. _See_ Illustrations.
+
+"History (A) of Egyptian Mummies, and an Account of The Worship and
+Embalming of the Sacred Animals by the Egyptians; with Remarks on the
+Funeral Ceremonies of Different Nations, and Observations on the Mummies
+of the Canary Islands, of the ancient Peruvians, Burman Priests, &c. By
+Thomas Joseph Pettigrew, F.R.S., F.S.A., F.L.S." (London: Longman, Rees,
+Orme, Brown, Green, and Longman, 1834), 244.
+
+"History (The) of Jack and the Beanstalk, edited and illustrated with
+six etchings, by George Cruikshank" (London: David Bogue, 1854), 156,
+159.
+
+"History of the Irish Rebellion in 1798; with memoirs of the Union, and
+Emmett's Insurrection in 1803. By W. H. Maxwell, Esq." (London: Baily,
+Brothers, Cornhill, 1845; first published in 15 parts), 93.
+
+Hoffmann, Ernst Theodor Wilhelm, author of "Meister Floh" (Master Flea),
+which George Cruikshank illustrated in "Specimens of German Romance"
+(vol. ii., 1826), 151.
+
+Hogarth, William (born 1697, died 26 Oct. 1764), 8, 77, 78, 243.
+  _See_ Trusler.
+
+Hone, William (born 1779, died 6 Nov. 1842), 28, 35.
+  _See_ Every-Day, Non, Queen's.
+
+Hood, Thomas (born 1798, died 3 May 1845), 165.
+
+"Hop-o'-my-Thumb and The Seven-League Boots. Edited and illustrated with
+six etchings by George Cruikshank" (London: David Bogue, 1853),
+(No. I of "George Cruikshank's Fairy Library"), 74, 156.
+
+Hoskyns, C. W, 208.
+  _See_ Talpa.
+
+"House and Home," Part VIII, New Series, Oct. 1882 (No. for Sept. 29,
+1882. London E. C.)., 69.
+
+Humour, 165.
+
+"Humourist (The), A Collection of Entertaining Tales, Anecdotes,
+Epigrams, Bon Mots [_sic_], &c. &c." (4 vols, London: J. Robins
+& Co, 1819-1820. First issued in numbers), 35, 72-73, 179,
+$205$, 209, 211, 213.
+
+Humphrey, H., publisher, 20.
+
+Hunt, Robert. _See_ Popular.
+
+Hyde Park, 3, 171.
+
+
+"Illustrations of Don Quixote, in a series of fifteen plates, designed
+and etched by George Cruikshank" (London: Charles Tilt, 1834), 199-200,
+$201$.
+
+"Illustrations of Popular Works. By George Cruikshank" (Part I., without
+successor. London pub. for the Artist by Longman, Rees, Orme, Brown &
+Green, 1830. George Cruikshank dedicates this work to H.R.H.
+Prince Augustus Frederick, Duke of Sussex), 116, 191-192, $193$.
+_See_ Beauties.
+
+"Illustrations of Smollett, Fielding, and Goldsmith, in a series of
+forty-one plates, designed and engraved by George Cruikshank.
+Accompanied by descriptive extracts" (London: Charles Tilt, 1832), 188,
+$189$.
+
+"Illustrations of Time. By George Cruikshank" (London: published May
+1st, 1827, by the Artist, 22 Myddelton Terrace, Pentonville), 184,
+$225$.
+
+_Imperial (The) Family Going to the Devil_ (caricature published
+1 March 1814, by T. Hughes, Ludgate Hill), 19.
+
+"Impostor (The) Unmasked; or, the New Man of the People, with anecdotes,
+never before published [_sic_], illustrative of the character of the
+renowned and immaculate Bardolpho Inscribed without permission, _to that
+superlatively honest and disinterested Man_, R. B. S-r-d-n, Esq."
+(London: Tipper & Richards, 1806. Bardolph was a nickname of R. B.
+Sheridan), 15.
+
+Inglis, Henry David (died 20 March 1835), 200. _See_ Rambles.
+
+"Ingoldsby (The) Legends or Mirth and Marvels, by Thomas Ingoldsby,
+Esquire" (London: Richard Bentley, 1840, 1842, 1847. The author was Rev.
+Richard Harris Barham), $117$, 119, 175 (Lady Jane).
+
+_Interior View of Hayloft, etc., in Cato Street, occupied by the
+Conspiratars_ (etching published by G. Humphrey, 9 March 1820).
+
+
+_"Interior View of the House of God"_ (caricature published in "The
+Scourge," 1 Nov. 1811), 27.
+
+Ireland, 93-95.
+
+Irish Rebellion. _See_ History of the.
+
+Irving, Washington. _See_ Beauties.
+
+"Italian Tales. Tales of Humour, Gallantry, and Romance, selected and
+translated from the Italian, with sixteen illustrative drawings by
+George Cruikshank" (London: Charles Baldwyn, Newgate St., 1824. The
+words "Italian Tales" are not printed on the title-page of the second
+edition. The suppressed plate is _The Dead Rider_, not to be confounded
+with the etching of the same title, representing two friars, each on
+horseback), 166.
+
+
+Jack and the Beanstalk. _See_ History of Jack.
+
+"Jack Sheppard. A Romance. By W. Harrison Ainsworth, Esq." (3 vols.,
+London: Richard Bentley, 1839), 77-78, $79$, $80$, 104.
+
+Jenner, Edward (M.D., born 1749, died 1823), 31.
+
+Jerrold, Blanchard, author of "The Life of George Cruikshank in two
+epochs" (new ed., London: Chatto & Windus, 1898), 46, 231.
+
+Jerrold, Douglas William (born 3 Jan. 1803, died 8 June 1857), 165.
+  _See_ Cakes.
+
+Jersey, Frances, Countess of, 4.
+
+Johannot, Tony (born 9 Nov. 1803, died 4 Aug. 1852), 89.
+
+_John Bull Advising with his Superiors_ (print pub. by S. W. Fores, 3
+April 1808), 23.
+
+_John Bull's Three Stages, or from Good to Bad, and from Bad to Worse_
+(caricature published in "The Scourge" for March 2, 1815), 27.
+
+_Johnny Bull and his Forged Notes!! or Rags and Ruin in the Paper
+Currency!!!_ (caricature published Jan. 1819 by J. Sidebotham, 287
+Strand), 28, $29$.
+
+"Journal (A) of The Plague Year; or Memorials of the Great Pestilence in
+London, in 1665. By Daniel De Foe" (London: John Murray, 1833), 96, $97$,
+104.
+
+_Juliet and the Nurse_ (In Reid 2732, George Cruikshank coll., British
+Museum, are included a plain and a coloured lithograph signed "G. Ck.
+fect. 1815." In MS. below each design are the words "Juliet
+and the Nurse. Pubd. by G. Cruikshank, 117 Dorset St., City, 1815." The
+nurse is enormous and seated; Juliet stands behind her at left. Reid
+2733, a coloured unsigned, undated lithograph without publisher's name,
+has a printed footline--"Juliet and the Nurse." Juliet stands at the
+right of the nurse and there is a curtain at left. The figures are the
+same as in Reid 2732, and Reid says that the design [Reid 2733] is
+copied from a Spanish sketch or etching), 184.
+
+_Juvenile Monstrosities_ (caricature published by G. Humphrey, 24 Jan.
+1826. Reprinted in "Cruikshankiana"), 32, $33$.
+
+
+Karslake, Frank, 107.
+
+Kean, Edmund, 184.
+
+Keene, Charles Samuel (born 10 Aug. 1823, died 4 Jan. 1891), 43.
+
+_Kick (A) from Yarmouth to Wales; or The New Rowly Powly_ (print pub. by
+J. Johnston, 1812. A publication exists entitled "R-y-l Stripes, or, a
+Kick from Yar-h to Wa-s" [London E. Wilson, 1812]), 24.
+
+Kidd, William, 60.
+
+"Kit Bam's Adventures, or, the Yarns of an Old Mariner. By Mary Cowden
+Clarke" (London Grant & Griffith, 1849), 152.
+
+_Knacker's (The) Yard_, 220. _See_ Elysium, Voice.
+
+Konigsmark, 74.
+
+
+_Ladies Buy your Leaf!!_ (caricature by G. Cruikshank, pub. July 1822 by
+Fairburn, Broadway: Irish Chairman), 171.
+
+Lambert, Daniel, 73.
+
+Lambeth, 86.
+
+"Lambkin, Mr." _See_ Bachelor's.
+
+Landells, C. (wood-engraver The only Landells famous as a wood-engraver
+in Cruikshank's working-life is Ebenezer Landells, born 13 April 1808,
+died 1 Oct. 1860 Therefore, though "C. Landells" is on the title-page of
+"The Gentleman in Black" [1831], I suggest that the cuts facing pp. 53,
+95, of which the latter is clearly signed "Landells" _tout court_, are
+by Ebenezer Landells), 126.
+
+Landells, Ebenezer. _See_ Landells, C.
+
+Landscape-Historical Illustrations of Scotland, and the Waverley Novels
+from drawings by J. M. W. Turner, Professor, R.A., Balmer, Bentley,
+Chisholm, Hart, A.R.A., Harding, McClise, A.R.A., Melville, etc. etc.
+Comic Illustrations by G. Cruikshank. "Descriptions by the Rev. G. N.
+Wright, M. A., &c." (2 vols, Fisher, Son, & Co., London, Paris, and
+America, 1836-8. Cruikshank's etchings appear in the same publisher's
+edition in 48 vols. of "Waverley Novels" [1836-8] and they are dated
+1836, 1837, 1838), $169$, 175, 192, $197$, $237$.
+
+Landseer, Charles, 240.
+
+"Land Sharks and Sea Gulls" By Captain Glascock, R.N. (3 vols, London:
+Richard Bentley, 1838), 139, 191.
+
+Lang, Andrew, 231.
+
+Latham, O'Neill, 162.
+
+Layard, George Somes, author of "George Cruikshank's Portraits of
+Himself" (London: W. T. Spencer, 1897), 15, 35, 120, 247.
+
+_Leader (The) of the Parisian Blood Red Republic of 1870, or The
+Infernal Fiend_ (caricature designed, etched and published by George
+Cruikshank, June 1871), 3.
+
+"Legend (A) of the Rhine," 196.
+
+Leloir, Maurice, 94.
+
+Le Sage, Alain Rene, 183. _See_ Adventures of Gil.
+
+Lever, Charles James (born 1806, died 1872), 196.
+
+"Life (The) and Surprising Adventures of Robinson Crusoe, of York,
+Mariner. With introductory verses by Bernard Barton, and illustrated
+with numerous engravings from drawings by George Cruikshank, expressly
+designed for this edition" (2 vols, London John Major, 1831), $241$.
+
+"Life in London, or, the Day and Night Scenes of Jerry Hawthorn, Esq.
+and his elegant friend Corinthian Tom, accompanied by Bob Logic, the
+Oxonian, in their Rambles and Sprees through the Metropolis By Pierce
+Egan, author of 'Walks through Bath,' 'Sporting Anecdotes,' 'Pictures of
+the Fancy,' 'Boxiana,' &c. Dedicated to his most gracious majesty King
+George the Fourth Embellished with thirty six scenes from real life,
+designed and etched by I. R. and G. Cruikshank, and enriched also with
+numerous original designs on Wood, by the same Artists" (London:
+Sherwood, Neely, & Jones, 1821 First issued in 12 monthly parts, the
+first on 2 Oct 1820 the last in July 1821), 46-47 $49$, 67.
+
+"Life in Paris, comprising the Rambles Sprees and Amours of Dick
+Wildfire, of Corinthian Celebrity, and his Bang-up Companion, Squire
+Jenkins and Captain O'Shuffleton, with the whimsical Adventures of the
+Halibut Family, including Sketches of a Variety of other Eccentric
+Characters in the French Metropolis By David Carey Embellished with
+Twenty one Coloured Plates, representing Scenes from Real Life designed
+and engraved by George Cruikshank Enriched also with Twenty two
+Engravings on wood drawn by the same Artist, and executed by Mr White"
+(London: John Fairburn, 1822. It was issued in parts), 46-47.
+
+"Life (The) of Mansie Wauch Tailor in Dalkeith, written by himself. A new
+Edition revised and greatly enlarged With eight illustrations, by George
+Cruickshank [_sic_] William Blackwood & Sons, Edinburgh and Thomas
+Cadell, London, 1839" (The author is David Macbeth Moir), 175.
+
+"Life (The) of Napoleon, a Hudibrastic Poem in fifteen cantos by Doctor
+Syntax, embellished with thirty engravings by G. Cruikshank" (London: T.
+Tegg, III. Cheapside, Wm. Allason, 31 New Bond Street, and J. Dick,
+Edinburgh, 1815 Until H. R. Tedder wrote in "Dictionary of National
+Biography" that "The Life of Napoleon" had been "wrongfully ascribed,"
+the author was generally supposed to be William Combe, who wrote "The
+Tour of Doctor Syntax in Search of the Picturesque," etc.), 21 (_The Red
+Man_), 71-72.
+
+"Life (The) of Sir John Falstaff. Illustrated by George Cruikshank.
+With a biography of the knight from authentic sources by Robert B.
+Brough" (London: Longman, Brown, Green, Longmans, and Roberts, 1858.
+First issued in 10 monthly parts, 1857-8), 184.
+
+Lilla (A long eared spaniel In the South Kensington Museum is a pretty
+pencil sketch, 9784 F, entitled _George, Cruikshank's Godson, George
+Cruikshank Pulford, and his dear little pet dog Lilla_, and another
+pencil sketch, 9611 B, entitled _My little pet dog Lilla_), 223.
+
+Lines. See _Striking_.
+
+Linse, Jan, 171.
+
+Locker-Lampson, Frederick, 159-160.
+
+London 36, 46, 47, 96-107.
+  _See_ Life in London.
+
+London Hermit. _See_ Peeps.
+
+Lottery Print, 15. See _Children's Lottery_.
+
+Louis XVIII. (born 1755, died 1824), 7. See _Old Bumble-head_.
+
+Lowell, James Russell, 234.
+
+"Loving (The) Ballad of Lord Bateman, with XI Plates by George
+Cruikshank" (London: Charles Tilt, Constantinople, Mustapha Syried,
+1839. G. Cruikshank's drawing [for his contemplated autobiography]
+entitled "The Loving Ballad of Lord Bateman," appears in "Drawings by
+George Cruikshank" [1895. _See_ Drawings]), $229$, 231-232.
+
+"Loyalist's (The) Magazine." _See_ Caroline.
+
+
+Mackay, Dr Charles, 55.
+
+Maclise, Daniel (died April 1870), 239.
+
+Magdalen See _Woman_, 27.
+
+_Making Decent!!_ (Caricature published by G. Humphrey, 8 Aug. 1822.
+Invented by Capt. Marryat whose signature is an anchor. G. Cruikshank,
+fect.), 171.
+
+Mansie Wauch. _See_ Life of Mansie.
+
+Marchmont, Frederick. _See_ Cigar, Three Cruikshanks.
+
+Marlborough, John Churchill, Duke of (born 1650, died 1722), 90.
+
+Marryat, Capt. Frederick (born 10 July 1792, died 2 Aug. 1848), 95, 166,
+171. See _Making_, Progress.
+
+Mary I., Queen of England, $83$.
+
+Mathew, Father Theobald (born 1790, died 1857), 48.
+
+Maxwell, William Hamilton, 93, 219. _See_ History of the.
+
+Mayhew, The Brothers, $149$, 151. _See_ Good Genius,
+Greatest.
+
+Mayhew, Henry. _See_ World's.
+
+_Mayor (The) of Hole-cum-Corner_ (frontispiece to vol. 1. of Douglas
+Jerrold's "Cakes and Ale" [1842]), 204.
+
+_Meditations Amongst the Tombs_ (print pub. 1 May 1813, by J. Johnston),
+24.
+
+"Melange (The), a variety of Original Pieces in Prose and Verse;
+comprising the Elysium of Animals. Illustrated by engravings." (By
+Egerton Smith. Liverpool: Egerton Smith & Co., 1834), 220.
+
+Melville, H., 120.
+
+"Memoir (A) of George Cruikshank, Artist and Humourist. With numerous
+illustrations and a L1 Bank Note. By Walter Hamilton, F.R.G.S." (London:
+Elliot Stock, 1878. Students should get the 2nd edition, also dated
+1878, which contains additional matter), 112, 231.
+
+"Memoirs of Joseph Grimaldi. Edited by 'Boz.' With illustrations by
+George Cruikshank In two volumes" (London. Richard Bentley, 1838), 195.
+
+"Memoirs of the Life and Writings of Lord Byron. By George Clinton,
+Esq." (London: James Robins & Co., 1825. Two editions are of this date;
+one has 43 plates, the other 40), 134, 195.
+
+"Merry (The) Wives of Windsor" 191.
+
+"Meteor (The), or Monthly Censor" (vol 1 and 2 Nos of vol ii, London:
+printed by W. Lewis, and sold by T. Hughes 1814), 35, 129.
+
+Meynell, Mrs Alice (author under her maiden name of "A Bundle of Rue:
+Being Memorials of artists recently deceased I. George Cruikshank" This
+chapter appeared in "The Magazine of Art," March 1880), 35.
+
+Michelangelo, 120.
+
+"Midsummer Night's Dream." _See_ Royal Academy, 1853.
+
+Miller, Henry, 160.
+
+Milton, John, 119.
+
+"Minor Morals for Young People. Illustrated in Tales and Travels. By
+John Bowring. With engravings by George Cruikshank and William Heath"
+(London: Whittaker & Co., 1834. The same publishers in 1835 issued Part
+II of this work illustrated by George Cruikshank alone, who also is the
+sole illustrator of Part III issued in Edinburgh by William Tait, in
+London by Simpkin, Marshall & Co., and in Dublin by John Cumming, 1839),
+133.
+
+Miser's (The) Daughter. A Tale by William Harrison Ainsworth (3 vols.,
+London: Cunningham & Mortimer, 1842), 86, $87$, 88.
+
+Moir, David Macbeth (born 1798, died 1851). _See_ Life of Mansie.
+
+Monstrosities. See _Juvenile, Mushroom_.
+
+_Monstrosities of 1816, scene, Hyde Park_ (caricature by G. Cruikshank
+pub. by H. Humphrey, 12 March 1816), 7.
+
+Monstrosities of 1822 (caricature by G. Cruikshank, pub. by G. Humphrey
+Pub. 19 Oct. 1822), 7.
+
+"Monthly (The) Theatrical Reporter, or Literary Mirror," by Thomas
+Dutton, A. M. (London: J. Roach. 1814-15), 184.
+
+Moore, Dr A., 71. _See_ Annals.
+
+Moore, Julian, 89. _See_ Three Cruikshanks.
+
+Moore, Thomas, 19.
+
+"More Mornings at Bow Street. A new Collection of Humourous and
+Entertaining Reports, by John Wight of the _Morning Herald_, with twenty
+five illustrations by George Cruikshank" (London: James Robins & Co.,
+1827), 47.
+
+Mornings at Bow Street: a Selection of the most humourous and
+entertaining reports which have appeared in the _Morning Herald_, by Mr
+Wight (Bow Street: Reporter to the _Morning Herald_) with twenty-one
+illustrative drawings by George Cruikshank (London: Charles Baldwyn
+1824), 47. _See_ Thompson, John.
+
+"Mother Hubbard and her Dog," a Banbury Chap-Book designed by George
+Cruikshank (early work) and engraved by Branston, 155.
+
+_Mother's (A) Love._ _See_ Three.
+
+Mottram, Charles, engraver (born 9 April 1807, died 30 Aug. 1876).
+See _Worship of Bacchus or._
+
+_Mrs Clark's Petticoat_ (caricature published by S. W. Fores, 23 Feb.
+1809), 26.
+
+Mudford, William, 71. _See_ Historical.
+
+Mummies. _See_ History of Egyptian.
+
+Munchausen. _See_ Travels and.
+
+_Mushroom Monstrosities_ (caricature published by G. Humphrey, 24 Jan.
+1826. Reprinted in "Cruikshankiana)," 7.
+
+"My Sketch Book," by George Cruikshank (9 numbers published by George
+Cruikshank, 23 Myddelton Terrace, Pentonville, 1834, 1835, 1836), 60,
+108, 211, 219-220.
+
+
+Nagler, Dr., 65.
+
+Nairs. See _Coronation_.
+
+Napier, Gen. Sir Charles James, G.C.B. (born 10 Aug. 1782, died 29 Aug.
+1853), 103.
+
+Napier Gen. Sir William Francis Patrick (born 17 Dec. 1785, died 10 Feb.
+1860). _See_ Pop-Gun.
+
+Napoleon Buonaparte (born 15 Aug. 1769, died 5 May 1821), 3, 17-21,
+71-72, 133, 159. See _Blucher_, _Boney_, _Boney's_, _Boney Tir'd_,
+_Imperial_, _Life of Napoleon_, _Napoleon's_, _Old Bumble-head_,
+_Peddigree_, _Phenix_.
+
+_Napoleon's Trip from Elba to Paris, and from Paris to St Helena_
+(caricature by G. Cruikshank appearing in "The Scourge" for Sept. 1815).
+
+Netherlands. _See_ Historical.
+
+Nevison, 77.
+
+"New (The) Bath Guide; or Memoirs of the B-n-r-d Family, in a series of
+Poetical Epistles: by Christopher Anstey, Esq.... A new edition: with a
+biographical and topographical preface, and anecdotal annotations, by
+John Britton, F.S.A., and member of several other societies. Embellished
+with engravings" (London: Hurst, Chance & Co., 1830), 175.
+
+Newcastle, Duke of, 91.
+
+Newton, Sir Isaac, 74.
+
+_New (The) Union Club. Being a representation of what took place at a
+celebrated dinner given by a celebrated Society--vide Mr M-r-t's
+Pamphlet, More Thoughts, etc. etc_ ([J]--G Cruikshank sculpt. Pub.
+19 July 1819, by G. Humphrey. In Capt. R. J. H. Douglas's opinion this
+is "the chef d'oeuvre of George Cruikshank's Caricatures." It did not
+impress me particularly. It humourously satirises William
+Wilberforce's Anti-Slavery Movement).
+
+Nield, W. A., 213.
+
+"'Non Mi Ricordo!' &c. &c. &c." (London: William Hone [the author],
+1820). _See_ Fat in the Fire, also 25.
+
+Nottage, George S. (the letter referred to is in the George Cruikshank
+coll., South Kensington Museum, and is dated July 25, 1874, from the
+London Stereoscopic Co.), 212.
+
+
+O'Hara, Kane. _See_ Tom.
+
+_Oil (The) painting of "The Worship of Bacchus," 13 feet 4 by 7 feet 8,
+being conveyed to the National Gallery Department of the British
+Museum_, April 8, 1869, 66.
+
+_Old Bumble-head the 18th trying on the Napoleon Boots, or Preparing for
+the Spanish Campaign_ (caricature by G. Cruikshank, pub. by Jno.
+Fairburn, 17 Feb. 1823), 7.
+
+Oldcastle, Sir John, 184.
+
+Old Sailor. _See_ Barker, M. H.
+
+"Old (The) Sailor's Jolly Boat. Laden with Tales, Yarns,
+Scraps, Fragments, &c. &c. To Please all hands; Pulled by Wit, Fun,
+Humor, and Pathos, and steered by M. H. Barker" (London: W. Strange;
+Nottingham: Allen; Leicester: Allen, 1884, first appeared in 12 parts
+commencing 1 May 1843), 95, 175.
+
+"Old (An) Story, by S. C. Hall, F.S.A., &c." (London: Virtue,
+Spalding, & Co., 1875. To this vol. George Cruikshank contributed
+his "last temperance piece"--_The Last Half Hour_, engraved
+by Dalziel Brothers), 69.
+
+"Oliver Twist. By Charles Dickens" (3 vols., London: Richard Bentley,
+1838. The first issue of the first edition contains the etching
+entitled "Rose Maylie and Oliver" known to collectors as "the
+Fireside plate," which Dickens disliked so much that in Oct. 1838
+he wrote to Cruikshank asking him if he would object to design the plate
+afresh the result being the etching of Rose and Oliver contemplating the
+memorial tablet to Agnes. Nevertheless Cruikshank made a water colour
+drawing of "the Fireside plate," which was published in "Cruikshank's
+water colours with introduction by Joseph Grego," published by A. & C.
+Black early in 1904--the date on title page being 1903), 9 ("fireside
+plate") 60, 99 (Mr Bumble), 103-104.
+
+O'Meara, Dr., 27.
+
+O'Neill, John, 52. _See_ Drunkard.
+
+_On Guard._ _See_ Royal Academy, 1858.
+
+O. P. (Old Prices) riots, 11,
+
+_Original Sketch by George Cruikshank. Her Majesty and the Prince Consort
+at the Ball at Guildhall, July 1851. Mr and Mrs George Cruikshank passing
+before them and the Prince kindly saying to her Majesty "that is George
+Cruikshank," at which her most gracious Majesty smiled and bowed_ (No.
+9454 in the George Cruikshank collection at the South Kensington Museum.
+The etching of this subject [_See_ No. 9454-1] was never completed, but
+promised well), 247.
+
+Osnaburg or Osnabrueck, Hanover. On 27 Feb. 1764, Prince Frederick,
+afterwards Duke of York and Albany, was elected to the bishopric of
+Osnaburg which he retained till 1803, when the bishopric was secularised
+and incorporated with Hanover.
+
+
+P***y, J., 171 See _Brazen_.
+
+Palace (G. Cruikshank's _Design for a palace_ is No. 9396 A (a sheet of
+paper covered on both sides with pencil sketches of various subjects) in
+the George Cruikshank collection in the South Kensington Museum), 247.
+
+"Paradise Lost," 119.
+
+Paris. _See_ Life in Paris.
+
+_Passing Events_ (etching in George Cruikshank's Magazine, Feb. 1854),
+39, 224.
+
+Patricius, 15.
+
+Peacock, Thomas Love, 224.
+
+Pearce, John, 69.
+
+Pearson, Edwin, author of "Banbury Chap-Books and Nursery Toy Book
+Literature (of the eighteenth and early nineteenth centuries) with
+impressions from several hundred wood-cut blocks, by T. and J. Bewick,
+Blake, Cruikshank, Craig, Lee, Austin, and others" (London: Arthur
+Reader, 1890), 155. _See_ Dick Whittington.
+
+_Peddigree_ [sic] _(The) of Corporal Violet_ (caricature published by H.
+Humphrey, 9 June 1815), 159.
+
+"Peeps at Life, and Studies in my Cell, by the London Hermit" (London:
+Simpkin, Marshall & Co., 1875), 136, $249$.
+
+"Pentamerone (The), or the Story of Stories, Fun for the Little Ones, by
+Giambattista Basile. Translated from the Neapolitan by John Edward
+Taylor. With illustrations by George Cruikshank" (London: David Bogue,
+1848), 151-152, 212.
+
+"Peter Schlemihl: from the German of Lamotte Fouque [should be Adelbert
+von Chamisso]. With plates by George Cruikshank" (London: Geo. B.
+Whittaker, 1823), 125, 126, $127$.
+
+Pettigrew, Thomas Joseph _See_ Augustus, History of Egyptians.
+
+_Phenix_ [sic] _(The) of Elba Resuscitated by Treason_ (caricature
+published in "The Scourge" for May 1815), 24.
+
+"Phrenological Illustrations, or an Artist's View of the Craniological
+System of Doctors Gall and Spurzheim," by George Cruikshank. (London:
+published by George Cruikshank, Myddelton Terrace, Pentonville, 1826),
+72, $173$, 179-180.
+
+Piccini, 130.
+
+"Pic Nic (The) Papers." _See_ Sir Lionel.
+
+Pied Piper, 159.
+
+"Pilgrim's (The) Progress, by John Bunyan. Most carefully collated with
+the edition containing the author's last additions and corrections. With
+explanatory notes by William Mason. And a life of the author, by Josiah
+Conder, Esq." (Fisher, Son, & Co, London and Paris, 1838), 120.
+
+"Pilgrim's (The) Progress, by John Bunyan, illustrated with 25 drawings
+on wood by George Cruikshank, from the collection of Edwin Truman, with
+biographical introduction and indexes" (London, Edinburgh, Glasgow, and
+New York: Henry Frowde, 1903), 120, 125.
+
+Pinwell, George John (water-colour painter, born 26 Dec. 1842, died 8
+Sept 1875), 156.
+
+"Pirate (The)," by Sir Walter Scott, $237$.
+
+"Pocket (The) Magazine. Robins's Series" (4 vols., London: James Robins
+& Co., 1827, 1828), 147.
+
+"Points of Humour; illustrated by the Designs of George Cruikshank"
+(London: C. Baldwyn, 1823, 1824), 73-74, 136, $167$, 172.
+
+Pop-Gun (A) fired off by George Cruikshank in defence of the British
+volunteers of 1803, against the uncivil attack upon that body by General
+W. Napier, to which are added some observations upon our National
+Defences, Self-Defence, &c. &c. &c. Illustrated with Cuts (London: W.
+Kent & Co., late D. Bogue. The British Museum copy is stamped "10
+Fe[bruary] [18]60"), $44$, 59, 60.
+
+"Popular Romances of the West of England or, The Drolls Traditions and
+Superstitions of Old Cornwall Collected and edited by Robert Hunt F. R.
+S." (2 vols., London: J. Camden Hotten, 1865), 244.
+
+Portland, Duke of (William Henry Cavendish Bentinck-Scott) 129
+
+_Portraits_ (sketch made in 1874), 212.
+
+Pound, D. J., engraver, _See_ Cruikshank George.
+
+Poussin, Nicholas (born June 1594, died 19 Nov. 1665), 69.
+
+Poynter, Sir Edward, 69.
+
+_Preparing John Bull for General Congress_ (caricature, dated as
+published Aug. 1, 1813, which appeared in vol. vi. of "The Scourge,"
+1813), 7, 43.
+
+Prince Consort. _See_ Albert.
+
+_Princely Agility or the Sprained Ancle_ (print pub. Jan. 1812, by J.
+Joh[n]ston), 98 Cheapside, 24.
+
+"Progress (The) of a Midshipman" (8 designs invented by Capt. Marryat,
+etched by George Cruikshank, published by G. Humphrey, London 1820), 95.
+
+Puck, 184.
+
+Pughe, J. S., 212.
+
+Pulford, George Cruikshank. _See_ Lilla.
+
+"Punch and Judy, with illustrations designed and engraved by George
+Cruikshank. Accompanied by the dialogue of the puppet show, an account
+of its origin, and of puppet-plays in England" (London: S. Prowett,
+1828. The text is by John Payne Collier), 130, $131$.
+
+"Punch, or the London Charivari," 234.
+
+Pure, Simon, 65.
+
+_Pursuit (The) of Letters_ (etching "Designed, Etched and Published by
+Geo. Cruikshank, May 20th, 1828," in "Scraps and Sketches"), 212.
+
+"Puss in Boots" ("George Cruikshank's Fairy Library," No. 4, London:
+Routledge Warne & Routledge Broadway, Ludgate Hill, and F. Arnold, 86
+Fleet Street, 1864), 140, $157$.
+
+
+"Queen's (The) Matrimonial Ladder," by the author of "The Political
+House that Jack Built" (London: William Hone [the author], 1820), 25,
+26. _See_ White.
+
+
+Rabelais, 166.
+
+"Railway Readings." _See_ Cigar.
+
+"Rambles in the Footsteps of Don Quixote. By the late H. D. Inglis,
+author of Spain' 'New Gil Blas, or Pedro of Penaflor': 'The Tyrol':
+'Channel Islands,' &c. &c. With illustrations by George Cruikshank"
+(London: Whittaker & Co., 1837), 200.
+
+Ranelagh, 86, 89.
+
+Raspe, R. E., creator of "Baron Munchausen," 183, 184. _See_ Travels.
+
+Reach, Angus B. _See_ Clement.
+
+Read. _See_ Brooks.
+
+"Redgauntlet," by Sir Walter Scott, 192.
+
+_Red (The) Man_ (engraving by George Cruikshank in "The Life of
+Napoleon" by Dr Syntax), 21, 72.
+
+_R[egen]t (The) Kicking up a Row, or Warwick House in an Uproar!!!_
+(caricature by G. Cruikshank published 20 July 1814, by T. Tegg. In this
+caricature the Prince Regent declares he has burst his stays), 23.
+
+Reid, George William, compiler of the bibliography entitled "A
+Descriptive Catalogue of the works of George Cruikshank" (3 vols.,
+London: Bell & Daldy, 1871. Mr A. M. Broadley possesses "the latest
+corrected and annotated copy" of Reid's George Cruikshank catalogue,
+"annotated and corrected by him, in a very voluminous manner, with a
+view to a second edition"), 12, 16, 120, 134.
+
+"Rejected Addresses: or, The New Theatrum Poetarum," by James Smith and
+Horace Smith. 18th ed. (London: John Murray, 1833), 195.
+
+Rembrandt van Ryn (born 15 July 1606, died 1669), 147.
+
+Renard, Simon, 82, $83$.
+
+_Results of the Northern Excursion_ (print showing George IV. relieving
+an irritated cuticle, pub. by J. Fairburn, 8 Sept. 1822), 25.
+
+_Return (The) to Office_ (caricature by G. Cruikshank published in "The
+Scourge" for 1 July 1811), 26.
+
+Richard III, 184.
+
+Richardson, Sir Benjamin Ward, 59, 108. _See_ Drawings.
+
+Roach, J., 184.
+
+Robinson Crusoe. _See_ Life and.
+
+Rome, King of, 72.
+
+"Romeo and Juliet," 184. See _Juliet_.
+
+"Rookwood, a romance by Wm. Harrison Ainsworth" (London: John Macrone,
+1836), $75$, 77.
+
+Roscoe, Thomas. _See_ Adventures of Gil, Adventures of Joseph, History
+and.
+
+"Rose (The) and the Lily: how they became the emblems of England and
+France. A Fairy Tale By Mrs Octavian Blewitt. With a frontispiece by
+George Cruikshank" (London: Chatto & Windus, 1877. The etched
+frontispiece bears the inscription "Designed and Etched by George
+Cruikshank, Age 83, 1875"), 1, 134-135.
+
+"Rose (The) and the Ring," by W. M. Thackeray, 196.
+
+Rowlandson, Thomas (born 1756, died 1827), 7, 11, 16, 19, 51,
+96-97, 191. _See_ Grego, Joseph.
+
+Royal (The) Academy of Arts (George Cruikshank exhibited in the
+Exhibitions of this Academy pictures entitled as follows, the dates
+being those of the exhibitions. _Fitting out Moses for the fair_, 1830.
+This picture illustrates "The Vicar of Wakefield." _Tam o' Shanter_,
+1852. This picture illustrates the lines--
+
+    "And scarcely had he
+      Maggie rallied,
+    When out the hellish legion
+      sallied"--Burns.
+
+_A Scene from the Midsummer Night's Dream--Titania, Bottom, Mustard
+Seed, Peas Blossom, Moth, and Cobweb_, 1853 This picture illustrates the
+line "Nod to him elves, and do him courtesies." _Cinderella_, 1854. _On
+Guard_, 1858. _Cinderella_, 1859. _The Sober Man's Sunday and the
+Drunkard's Sunday_, 1859. _The first appearance of William Shakespeare
+on the stage of the Globe, with part of his dramatic company, in 1564_,
+1867), 240.
+
+Royal (The) Aquarium, London, 69, 107, 160.
+
+"_Royal (The) Rushlight_" (print published by G. Humphrey 3 March 1821),
+25.
+
+"R-y-l Stripes." _See_ Kick.
+
+Rubens, Peter Paul (born 28 June 1577, died 30 May 1640), 69.
+
+Rusher, printer of Banbury, Oxfordshire, 155.
+
+Ruskin, John (No. 9955 G in the George Cruikshank collection in the
+South Kensington Museum is a pen-sketch entitled _Mr Ruskin's Head_. The
+head has no beard), 147, 155-156, 159, 244, 247.
+
+Russell, George (A. E.), 161.
+
+
+Sailors, 95-96.
+
+"Sailor's (The) Progress," series of etched illustrations in 6
+compartments, signed "I.[=J] S. and G. CK. delt., G. CK. sculpt.,"
+published 10 Jan. 1818 by G. Humphrey, 95.
+
+"S[ain]t James's or the Court of Queen Anne. An Historical Romance by
+William Harrison Ainsworth" (3 vols., London: John Mortimer, 1844), 90,
+$91$.
+
+Sala, George Augustus (author of "George Cruikshank: A Life Memory," in
+The Gentleman's Magazine, May 1878), 15, 77.
+
+Satan, 28, 119, 133, 134, 244.
+
+"Satirist (The), or Monthly Meteor" (14 vols., London: Samuel Tipper,
+1808-1814. George Cruikshank's signature appears to plates in New
+Series, vol. iii., 1813, vol. iv., 1814. He also contributed plates to
+"The Tripod, or New Satirist," for 1814, July 1 and Aug. 1, the only
+numbers published), 35.
+
+Savoyards. See _French_.
+
+_Scale (The) of Justice Reversed_ (caricature published 19 March 1815,
+by S. W. Fores), $5$.
+
+_Scene (A) from the Midsummer Night's Dream._ _See_ Royal Academy, 1853.
+
+Schopenhauer, Arthur, 207.
+
+_Scotch Washing_ (Cruikshank del., published by T. Tegg, 16 Aug. 1810),
+175.
+
+Scott, Sir Walter, 81, 139, 147. _See_ Landscape-Historical, Twelve.
+
+"Scourge (The), or Monthly Expositor of Imposture and Folly" (11 vols.,)
+London, 1811-1816; continued in 1816 as "The Scourge and Satirist," of
+which only 6 numbers appeared; 7 and 43 (_Preparing John Bull for
+General Congress_), 19 (_Napoleon's Trip from Elba_), 20 (_Quadrupeds_),
+24 (_The Coronation of the Empress of the Nairs_ and _The Phenix of
+Elba_), 26 (_The Return to Office_), 27 (_Interior View of the House of
+God_ and _John Bull's Three Stages_), 31 (_The Cow Pox Tragedy_), 51
+(_The Dinner of the Four-in-hand Club_), 139-140 (_A Financial Survey of
+Cumberland_).
+
+"Scraps and Sketches," by George Cruikshank (4 parts [1828-1832] and one
+plate [1834] published by the Artist at 22 Myddelton [also spelt
+Myddleton] Terrace, Pentonville. In 1830 George Cruikshank writes that
+"Scraps and Sketches" "is the third work which I have published on my
+own account"), 35-36, $37$, 39, 51, 111-112, 116, 143, $163$, 172, 204,
+212, 215-216, 223.
+
+Sellis, 140.
+
+Seymour, Jane, 90.
+
+Shakespeare, William, 183-184, 187-188. See _First_, _Life_, _Juliet_,
+Royal Academy, 1853, 1867.
+
+Shakespeare's Cliff, 107, 108. _See_ Distant.
+
+Sheppard, Jack, $79$, $80$ _See_ Jack.
+
+Sheridan, Richard Brinsley Butler (born Sept. 1751, died 7 July 1816),
+15. _See_ Impostor.
+
+Sheringham, Lieut. John, 95.
+
+Sir Frizzle Pumpkin. _See_ Adventures of Sir.
+
+"Sir Lionel Flamstead, a Sketch," by W. Harrison Ainsworth, identical
+with "The Old London Merchant, a Fragment," which was Ainsworth's
+contribution to "The Pic Nic Papers. By Various Hands. Edited by Charles
+Dickens, Esq.... With illustrations by George Cruikshank, Phiz, &c. In
+three volumes" (London: Henry Colburn, 1841), 93.
+
+"Sketches by 'Boz,' illustrative of every-day life, and every-day
+people" (3 vols., London: John Macrone, 1836, 1837. Many of the
+illustrations were enlarged and re-etched for the edition, complete in
+one vol., published by Chapman & Hall in 1839, and issued in 20
+numbers), 99-100, $101$, $105$, 112.
+
+Sleap, Joseph, 35.
+
+"Slice (A) of Bread and Butter, Cut by G. Cruikshank. Being the
+substance of a speech delivered at a public meeting, held for the
+benefit of the Jews' and General Literary and Mechanics' Institute"
+(London: William Tweedie), 59.
+
+Smirke, Robert (painter, born 1752, died 5 Jan. 1845; the date of his
+illustrations of "Gil Blas" is 1809), 199.
+
+Smith, Albert, 39.
+
+Smith, Egerton. _See_ Elysium, Melange.
+
+Smith, Horace (born 1779, died 1849). _See_ Rejected.
+
+Smith, James (born 1775, died 1839). _See_ Rejected.
+
+Smoking, 58, 59. See _Tobacco_.
+
+Smollett, Tobias, 90, 184, 188, 191. _See_ Illustrations of Smollett.
+
+_Sober (The) Man's Sunday, and the Drunkard's Sunday._ _See_ Royal
+Academy, 1859.
+
+Socrates, 180, $181$.
+
+"Songs, Naval and National, of the late Charles Dibdin, with a memoir
+and addenda collected and arranged by Thomas Dibdin, with characteristic
+sketches by George Cruikshank" (London: John Murray, 1841), 175, $245$.
+
+Sotheby, Wilkinson & Hodge, 13 Wellington Street, Strand, London, W. C.,
+70, 108, 119, 160.
+
+South Kensington Museum (=Victoria and Albert Museum), collection of
+George Cruikshank's work, $13$, 111, 112, $113$. See _Christian_,
+_First_, Lilla, Original, Palace, Ruskin.
+
+"Specimens of German Romance, selected and translated [by G. Soane] from
+various authors. In three volumes" (London: Geo. B. Whittaker, 1826),
+151 (E. T. W. Hoffmann, _q. v._).
+
+Spencer, Walter, 107.
+
+Spielmann, Marion H. (F.S.A.), $120$.
+
+Stays. See R_[egen]t._
+
+Steel, 192, 236.
+
+Stephens, Frederic G. (author of "A Memoir of George Cruikshank," to
+which is added Thackeray's Essay "On the Genius of George Cruikshank,"
+London: Sampson Low, Marston, Searle & Rivington, 1891), 32, 93.
+
+Stewart, John, 66.
+
+"Stop Thief; or, Hints to Housekeepers to Prevent Housebreaking. By
+George Cruikshank" (London: Bradbury & Evans, 1851. G. and R. Cruikshank
+assisted in the embellishment of Lieut. Col. Baron De Berenger's "Helps
+and Hints How to Protect Life and Property" [London: T. Hurst, 1835]),
+58.
+
+Stowe, Harriet Beecher. _See_ Uncle.
+
+_Striking Effects Produced by Lines and Dots for the assistance of young
+Draftsmen_ (2 etchings published respectively 4 Aug. 1817 and 23 Sept.
+1817 by S. W. Fores. In the same year G. Blackman, 362 Oxford St,
+London, published 2 more etchings by George Cruikshank entitled _Twelve
+Subjects formed by Dots and Lines_ [pub. 14 June] and _Nine Subjects
+formed by Dots and Lines_ [pub 19 July]. To George Cruikshank is also
+attributed an etching entitled _Another Series formed of Lines and
+Dots_), 243.
+
+"Stubb's Calendar; or, the Fatal Boots," 196.
+
+"Sunday in London. Illustrated in fourteen cuts, by George Cruikshank,
+and a few words by a friend of his; with a copy of Sir Andrew Agnew's
+Bill" (London: Effingham Wilson, 1833; the friend in the title is John
+Wight), 51, 99.
+
+Sussex, Duke of. _See_ Augustus, Illustrations of Popular.
+
+Syntax, Dr., 71. _See_ Life of Napoleon.
+
+
+"Table (The) Book." _See_ Every-Day.
+
+"Tales of Irish Life, illustrative of the manners, customs and
+conditions of the people, by I. Whitty" (2 vols., London: J. Robins &
+Co., 1824), 93.
+
+"Talpa: or the Chronicles of a Clay Farm. An Agricultural Fragment. By
+C. W. H." (London: Reeve & Co., 1852. The author is C. W. Hoskyns), 208.
+
+_Tam o' Shanter_. _See_ Royal Academy, 1852.
+
+Temperance, 48, 49, 52 _et seq._, 247 George Cruikshank's "Last
+temperance piece" was _The Last Half Hour_ in S. C. Hall's "An Old
+Story" (1875). _See_ Bottle, Drunkard, Drunkard's, Glass, Oil, Worship.
+
+Tenniel, Sir John, 176.
+
+Thackeray, William Makepeace (born 18 July 1811, died 23 or 24 Dec.
+1863), 1, 25, 69, 78 196, 231-232. _See_ Stephens, Frederic G.
+
+Thames, 78.
+
+Thistlewood, Arthur (born 1770, hanged 1 May 1820), 3, 35.
+
+Thompson, Alice. _See_ Meynell, Mrs Alice.
+
+Thompson, John (wood-engraver, born 25 May 1785, died 20 Feb. 1866. At
+the Paris Exhibition of 1855, he was awarded the grand medal of honour
+for wood-engraving. He engraved the cuts for "Mornings at Bow Street"
+and "The Beauties of Washington Irving," &c.), 126, 129, 162, 239. _See_
+True.
+
+Thomson, James, 11.
+
+Thornhill, Sir James (Hogarth's father-in-law), 78.
+
+"Three Courses and a Dessert. The Decorations by George Cruikshank"
+(London: Vizetelly, Branston & Co., 1830. The author is W. Clarke), 215.
+
+"Three (The) Cruikshanks. A Bibliographical Catalogue, describing more
+than 500 works ... illustrated by Isaac, George, and Robert Cruikshank,
+compiled by Frederick Marchmont.... The introduction by Julian Moore,
+with illustrations" (London: W. T. Spencer, 1897. A useful book. Prices
+are appended, which should not in some instances be paid by the
+collector who has time to look about him. The frontispiece, reproducing
+George Cruikshank's oil-painting _A Mother's Love_, reminds one of
+William Blake's drawing in sepia of a mother discovering her child in an
+eagle's nest).
+
+Time. _See_ Illustrations of Time.
+
+Titian (=Tiziano Vecellio), 2, 69.
+
+Tobacco (The most interesting anti-tobacco publication associated with
+George Cruikshank is "What Put My Pipe Out; or, Incidents in the Life of
+a Clergyman," published in London by S. W. Partridge, 1862), 58, 59.
+
+"Tom Thumb; a Burletta, altered from Henry Fielding, by Kane O'Hara.
+With Designs by George Cruikshank" (London: Thomas Rodd, 1830), 156
+(where Ruskin may be supposed by anyone who thinks, as I do not, that he
+was incapable of a _lapsus calami_, to refer to the designs for this
+volume).
+
+"Topsail-Sheet Blocks, or, The Naval Foundling. By 'The Old Sailor'" (3
+vols., London: Richard Bentley, 1838, the author is M. H. Barker), 95.
+
+Tothill Fields, $87$.
+
+"Tower (The) of London," by William Harrison Ainsworth (13 parts, the
+last 2 forming a double part. London: Richard Bentley, 1840), 60, 81-82,
+$83$, 85.
+
+"Town Talk, or Living Manners" (5 vols., London: J. Johnson, 1811-1814.
+A periodical. George Cruikshank, contributed to vols. ii. [1812], iv.
+[1813], v. [1813]), 35.
+
+"Travels (The) and Surprising Adventures of Baron Munchausen.
+Illustrated with Five woodcuts by G. Cruikshank, and Twenty-two
+full-page curious engravings." (London: William Tegg, 1867. The author
+is R. E. Raspe. The Cruikshank cuts were "used before in other books,"
+says Capt. Douglas. George Cruikshank also contributed a frontispiece to
+"The Surprising Travels and Adventures of the Renowned Baron
+Munchausen," printed and sold by Dean & Munday, Threadneedle Street,
+London, 1817), 219.
+
+_Triumph (The) of Cupid_, etching in "George Cruikshank's Table-Book"
+(1845), 67, 223-4.
+
+"True (The) Legend of St Dunstan and the Devil, Showing how the
+Horse-Shoe came to be a Charm against Witchcraft. By Edward G. Flight.
+With illustrations drawn by George Cruikshank and engraved by John
+Thompson" (London: D. Bogue, 1848), 119, $122$, $123$.
+
+Trusler, Rev. Dr., author of "Hogarth Moralized." (For an edition of
+that work published by John Major in 1831, George Cruikshank engraved 4
+groups of heads after Hogarth), 77.
+
+Turpin, Dick, $75$, 77.
+
+Twain, Mark, 234.
+
+"Twelve Sketches illustrative of Sir Walter Scott's Demonology and
+Witchcraft, by George Cruikshank" (London: J. Robins & Co., 1830), 139,
+147-148.
+
+
+"Uncle Tom's Cabin," by Harriet Beecher Stowe (London: John Cassell,
+1852), 10, 39.
+
+"Universal (The) Songster; or Museum of Mirth: forming the most
+complete, extensive, and valuable collection of ancient and modern songs
+in the English language...." (3 vols., London: John Fairburn, 1825,
+1826), 136-137.
+
+
+Vaccination. See _Cow, Vaccination against_
+
+_Vaccination against Small Pox or Mercenary and Merciless spreaders of
+Death and Devastation driven out of Society_ (caricature signed
+Cruikshank del. Published by S. W. Fores, 20 June 1808), 31.
+
+"Vicar (The) of Wakefield," 191-192, $193$. _See_ Royal Academy, 1830.
+
+Victoria and Albert Museum. _See_ South Kensington.
+
+Victoria, Queen, 40, 44, 247. _See_ Original.
+
+"Voice (The) of Humanity for the Communication and Discussion of all
+subjects relative to the Conduct of Man towards the Inferior Animal
+Creation" (London: J. Nisbet 1830 [_sic_]. The etching by Geo.
+Cruikshank entitled _The Knackers_ [sic] _Yard, or the Horses_ [sic]
+_last home_! is here _without_ the notice "Licensed for Slaughtering
+Horses." _The Knackers Yard_ appeared in the number for May 1831, and
+re-appeared in vol iii [the title-page of which is dateless], with the
+words "Licensed for Slaughtering Horses," added to the design. In the
+first state of the plate as published is the date 1831), 220.
+
+
+Wardle, Col, Gwyllym Lloyd (member for Oakhampton, Devon, who, in the
+House of Commons, 27 Jan. 1809, made the charge against the Duke of York
+of implication in the misuse of money realised by the sale of
+commissions), 26.
+
+Watts, George Frederick (born 1817, died 1904), 2.
+
+"Waverley," by Sir Walter Scott, $169$, 175, 192.
+
+Wedmore, Frederick, 100, 115.
+
+Westminster Abbey, 86, 89.
+
+"What Put My Pipe Out." _See_ Tobacco.
+
+Whistler, James McNeill (born _circa_ 1835, died July 1903), 78.
+
+White, engraver. _See_ Life in Paris. (There was a wood engraver called
+Henry White, a pupil of Bewick who "produced much good work, notably the
+illustrations for Hone's 'House that Jack Built,' 'The Matrimonial
+Ladder,' [_sic_] &c. _Vide_ 'Bryan's Dictionary of Painters and
+Engravers," revised ed. 1905).
+
+White, Rev. James (born 1803, died 1862). _See_ Adventures of Sir.
+
+Whittington, _See_ Dick.
+
+Whitty, I., 93. _See_ Tales.
+
+Wight, John. _See_ More, Mornings, Sunday.
+
+Wilberforce, William (born 24 Aug. 1759 died 29 July 1833). See _New
+Union_.
+
+Wild, Jonathan, $79$.
+
+Wilde, Oscar, 183-184.
+
+Willesden Churchyard, $79$.
+
+"Windsor Castle, an Historical Romance," by W. Harrison Ainsworth (new
+edition, illustrated by George Cruikshank, and Tony Johannot, with
+designs on wood by W. Alfred Delamotte. London: Henry Colborn, 1843. The
+first edition, also 1843, has only 3 etchings), 89, 90, 135, $137$.
+
+Winsor, Frederick Albert. _See_ Winzer.
+
+Winzer (born 1763, died 11 May 1830. One of the pioneers of gas lighting
+and son of Friedrich Albrecht Winzer. Apparently he was named after his
+father, but he anglicised his name and biography knows him as Frederick
+Albert Winsor). 31.
+
+'Wits (The) Magazine and Attic Miscellany' (2 vols., London: Thomas
+Tegg, 1818), $209$.
+
+_Woman (The) Taken in Adultery, or Mary Magdalen_ (caricature ascribed
+by G. W. Reid to George Cruikshank. Published by S. W. Fores, 15 March
+1809), 27.
+
+Women, 43.
+
+Woodward, H. 12.
+
+Wooler, Thomas Jonathan (born 1785 or 1786, died 29 Oct. 1853, editor of
+"The Black Dwarf" which started 29 Jan. 1817. He was a _tall_ man), 35.
+
+"Works (The) of George Cruikshank Classified and Arranged with
+References to Reid's Catalogue and their approximate values By Capt. R.
+J. H. Douglas, with a frontispiece" (London: printed by J. Davy & Sons,
+1903. Though not quite exhaustive and with several errors this book is
+indispensable to the collector. It is the only bibliography which
+attempts to include all the artist's works to the date of his death).
+
+"World's (The) Show, 1851, or the Adventures of Mr and Mrs Sandboys and
+Family, who came up to London to enjoy themselves, and to see the Great
+Exhibition, by Henry Mayhew and George Cruikshank" (London: David
+Bogue, 1851. First published in 8 parts. The title-page here quoted is
+the one designed by G. Cruikshank, but above the first line of text the
+title is as quoted on p. 44).
+
+_Worship (The) of Bacchus_, oil-painting by George Cruikshank (1862),
+65-70. _See_ Oil painting.
+
+_Worship (The) of Bacchus, or the Drinking Customs of Society, showing
+how universally the intoxicating liquors are used upon every occasion in
+life from the cradle to the grave. The figures outlined on the steel
+plate by George Cruikshank and the engraving finished by Charles
+Mottram_ (London: William Tweedie, 1864), 65.
+
+Wright, Thomas (M.A., F.S.A.), Author of "Caricature History of the
+Georges" (1867), 11.
+
+
+Xantippe, $181$.
+
+
+Yarmouth, The Countess of 4, 24.
+
+Yedis, 28.
+
+York, Duke of. _See_ Frederick.
+
+
+
+
+Transcriber's Notes:
+
+    Missing punctuation has been added.
+
+    Page 32 and sea--betweeen which they strut. The word betweeen
+        changed to between.
+
+    Page 271 [J] Small anchor
+
+    Page 280 Wardle, Col, Gwyllym Lloyd (member for Oakhampton, Devon,
+         who, in the House of Commons, 27 Jany. 1809,
+         Jany. Changed to Jan.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of George Cruikshank, by W. H. Chesson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK GEORGE CRUIKSHANK ***
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