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diff --git a/38318.txt b/38318.txt new file mode 100644 index 0000000..1653d20 --- /dev/null +++ b/38318.txt @@ -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. 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